Summary\u00a0<\/strong>?<\/strong><\/h4>\n\n- In depth with MOST Music, bridge for Balkan music<\/li>\n
- Experience again Before Babel Music XP<\/li>\n
- Mini-interview with the team of Fengaros Festival (Cyprus)<\/li>\n
- Brief news from the media, charts and sister projects<\/li>\n
- Open calls, because in spite of everything, life goes on<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
![](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/images\/570c7bbe-c0b4-4cff-a7ea-076b9e1c5c10.jpg\")
How are you? I have to confess that I am starting to get emotionally exhausted from this situation although I have great hope for the vaccination. I bring you a story that has lit up my heart today.<\/p>\n
I illustrate these words with a photo from this past Sunday. It is in the street in front of the cathedral that se\u00f1or Justo has been building for 60 years, without any knowledge of architecture and with recycled materials and the money from donations and sponsors.\u00a0He is now 95 years old and his work is half finished. I don’t think I’ll see him finished in life and the future is uncertain. It is not a cathedral recognised by the Church and has no institutional support, but I would like to think that such a work will not end up collapsing in abandonment.<\/p>\n
Regardless of your religious beliefs, this is an example of the power of human will that can serve us all. You can learn about his story and see more pictures of the building (also inside), which looks like it came from a dream,\u00a0here<\/a>\u00a0and\u00a0here you are a documentary <\/a>with English subtitles with interviews with se\u00f1or Justo.<\/p>\nI hope that this story brings you a moment of happiness and that you enjoy the rest of the content, which I find very interesting and also contains examples of dedication and passion, so needed in our reality.<\/p>\n
Do you want to share any useful experience<\/strong>\u00a0you have had during this difficult time or another content relevant for our community of the global music?<\/h5>\nContact me. And if you find this interesting, share it with your friends. You can read the previous issues\u00a0here<\/a>.\u00a0<\/strong><\/p>\nThanks for your attention and remember that you can check\u00a0our website<\/a>\u00a0to learn about our offers and the artists we work with.<\/p>\nAraceli Tzigane |\u00a0info@mundimapa.com |\u00a0+34 676\u00a030 28 82\u00a0<\/strong><\/p>\nSubscription\u00a0is available here<\/a>.\u00a0<\/strong><\/p>\n
\nIN DEPTH WITH THE TEAM OF\u00a0<\/strong><\/span>MOST MUSIC<\/strong><\/span>\u00a0<\/strong><\/span><\/h3>\nThroughout several previous editions of this magazine I have been sharing some news and interviews with the festivals selected in the MOST Music project (find the links under this interview) and now I have the pleasure of sharing some of the team’s reflections, based on the questions that have come up when I read deeply the website. By the way, the MOST Music website<\/a>\u00a0is very detailed and, if you have not visited it,\u00a0I highly recommend you to do so<\/strong>, both for knowing the project well and for understanding this interview.<\/p>\n\nHere I will only mention two aspects:<\/p>\n<\/div>\n
\n- MOST Project has\u00a0four main areas of activity<\/strong>, focused on artists (export), festivals (exchange, and it includes festivals in several regions of Europe), urban policies and management training for emerging professionals.<\/span><\/li>\n
- And the activity is focused on the\u00a0Balkan countries<\/strong>: Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Kosovo (I copy exactly from their website:\u00a0This designation is without prejudice to positions on status, and is in line with UNSCR 1244\/1999 and the ICJ Opinion on the Kosovo declaration of independence<\/em>), Montenegro, North Macedonia, Romania and Serbia.<\/span><\/li>\n<\/ul>\n
![](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/images\/4e33d3a1-8f01-45f3-9561-2c91339fa610.png\")
<\/span>These interview below has been answered by members of the MOST Team:\u00a0Andr\u00e1s S\u0151r\u00e9s, project manager;\u00a0Bal\u00e1zs Weyer, programme director.<\/strong><\/span><\/div>\n– – – – –<\/div>\n\nMapamundi M\u00fasica (MM): The project MOST Music is quite complex, involves many participants from four main categories: artists, managers, festivals and institutions. Who had the first idea about this? What was the first objective that he\/she wanted to get from this project?<\/strong><\/span><\/p>\nMOST Project team (MPT):\u00a0<\/strong>MOST Music as a project has been a long time in the making. Members of the consortium have been curating this idea for a long while. The idea started out from V4 and European Capital of Culture projects. Initially partners were applying for funds many times and modifying the project plan according to tender evaluations so that it could realize itself. The first objective is what we have been emphasizing on all platforms: a way for the Balkan world music industry\u2019s untapped potential to be channeled into and better connected with the rest of Europe, where infrastructure is oftentimes better.\u00a0<\/span><\/p>\nMM: Following the previous question, when did this idea appear in your mind? How was the procedure between this first idea and the design of the complete project? How many profiles have been involved in the design? And during the development, now that it is being done, which are the profiles involved (I mean the team, not the artists, managers, festivals and policy makers that are the participants in the 4 branches)?\u00a0\u00a0<\/strong><\/span><\/p>\nMPT:\u00a0<\/strong>We applied to Creative Europe four times before the funds were granted. The project plan was modified and expanded according to the detailed feedback that European tenders offer. The fourth version of the tender was accepted.<\/span><\/p>\nIn terms of project design, you of course know that there are 9 partners in the consortium that\u2019s led by Hangvet\u0151, headquartered in Budapest. Leading means that Hangvet\u0151 takes on project management duties. Otherwise consortium members vote on work teams for each pillar, so that certain partners are responsible for certain pillars. These duties are also rotating, so that each partner will have managed each pillar by the end of the project. Managing a pillar means making executive decisions and deciding on experts involved (such as mentors and trainers).<\/p>\n
MM: About the artists part. Every year, 10 artists will be enrolled in this program to receive support and greater visibility. How was the procedure of selection? Is there any jury? If so, who selected the jury and which were the criteria to select them?\u00a0<\/strong><\/span><\/p>\nMPT:\u00a0<\/strong>The selection procedure is decided by a professional jury. Jury members are also involved on a rotating basis from partner organizations. In the first round of MOST Music the members of the jury were Bal\u00e1zs Weyer, programme director of Hangvet\u0151, Budapest; Olsi Sulejmani, president of Balkan World Music Management; and Simon Broughton, editor-in-chief of Songlines Magazine.<\/span><\/p>\nThe selection criteria (apart from citizenship of at least one of the 9 target countries) are as follows:
\n\u25cf\u00a0\u00a0 \u00a0artist\u2019s international potential
\n\u25cf\u00a0\u00a0 \u00a0diversity of selected artists by style, to match the profile of showcase events
\n\u25cf\u00a0\u00a0 \u00a0popularity\/artistic quality
\n\u25cf\u00a0\u00a0 \u00a0long-term engagement with the project
\n\u25cf\u00a0\u00a0 \u00a0artist\u2019s basic infrastructure (web, communication…)
\n\u25cf\u00a0\u00a0 \u00a0artist\u2019s local audience size
\n\u25cf\u00a0\u00a0 \u00a0quality of existing audio and video material (technical and artistically)
\n\u25cf\u00a0\u00a0 \u00a0diversity of selected artists by sub-scenes in world music (e.g. sevdah, brass bands, etc.)
\n\u25cf\u00a0\u00a0 \u00a0diversity of selected artists by gender
\n\u25cf\u00a0\u00a0 \u00a0diversity of selected artists by geography<\/p>\n
MM:\u00a0In the current selection of artists there are no artists from Albania, Croatia, Montenegro or North Macedonia. Of course, this has been the first round of selection and in future rounds they may be. But this arose some questions about this:
\n1.\u00a0\u00a0 \u00a0Did you receive applications from those countries? Albania and Croatia, for instance, have musical styles that are recognized by the UNESCO as immaterial legacy. Didn’t you have applications?
\n2.\u00a0\u00a0 \u00a0If you didn’t have applications from those countries or if you had very few ones, which do you think are the reasons?
\n3.\u00a0\u00a0 \u00a0As with the artists, has it happened the same with the call for management training?<\/strong><\/span><\/p>\nMPT:\u00a0<\/strong>We had open calls in all the countries listed here, so the reason why one or the other might not be represented in a certain pillar is that there weren\u2019t any or a lot of applicants from them. We have participants from Croatia and North Macedonia in other pillars, such as Management Training and Festival Exchange. However, Albania and Montenegro were hard for us to reach, we had very few applications altogether. In Montenegro one hardship was that we did not have a partner with their local network to help us spread the word. But all in all, we must certainly work on our communication in those regions in future rounds.<\/span><\/p>\nMM: About the part of urban policies, you mention “Projects will then be presented by the tandem (urban creative + policy maker)”. So, I understand you will involve policy makers. Let me see if I understand well. Would those be, for instance, the councillor of culture of a city? I mean, they are real politicians or people assigned by politicians, that can make real decisions, aren’t they? I think so, as you mention that “winning initiatives will be implemented in their respective cities.” How did you get the engagement of those people? Are they guaranteeing some budget from their cities to develop the winning initiatives?<\/strong><\/span><\/p>\nMPT:<\/strong>\u00a0We are only starting up MOST Music and the environment we planned it for was for a very different normal, so please excuse me, but I can only answer in terms of our goals, plans, and hopes, and not in terms of anything that has already been actualized.<\/span><\/p>\nOur goal is to involve real decision-makers: politicians, municipalities, local governments, and more. We hope that such connections between creative industry professionals and decision-makers will bring a certain openness and sensitivity to the situation of creative professionals.<\/p>\n
MM: About the budget, the project is co-funded by Creative Europe. Can you tell me the overall budget? Which were the other co-funders?\u00a0\u00a0<\/strong><\/span><\/p>\nMPT:\u00a0<\/strong>The overall budget is 4 million Euros, half of that is provided by the European Union\u2019s Creative Europe programme (2 million Euros). The rest of the funding was raised by partner organizations and varies from country to country.\u00a0<\/span><\/p>\nMM:\u00a0So far, apart from the emergence of the pandemic, that has made you change some activities to an online environment, did any other event or new idea arose that made you rethink any of the activities planned?\u00a0<\/strong><\/span><\/p>\nMPT:<\/strong>\u00a0Online activities are currently happening in three pillars \u2013 we just finished a week-long online training in the Balkan Music Exchange pillar and are currently in the process of training Urban Creatives and Management Trainees, both are longer, less time-intensive training programmes. Of course one key element of this whole programme is networking and making professional connections \u2013 this is not impossible per se, but it\u2019s certainly not as natural as it could be if we could meet up in real life, as originally planned. We are making every effort to substitute these offline connections in online ways, and to bring in new opportunities for participants to meet and network, such as providing them passes to virtualWOMEX, and more.<\/span><\/p>\n<\/div>\n\n![](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/images\/0379a8b9-003d-4167-bd51-4223ea280083.jpg\")
<\/a><\/p>\nPrevious interviews about festivals included in MOST Music project are available:\u00a0<\/span><\/p>\n\n- Maria Kaimaklioti, Andreas Trachonitis & Lefteris Moumtzis from Fengaros Festival, here below in this same edition<\/span><\/li>\n
- An\u0111ela Gali\u0107 from\u00a0Kami\u010dak Ethno Festival<\/a><\/span><\/li>\n
- Andr\u00e1s Bethlendi from\u00a0Mera World Music<\/a><\/span><\/li>\n
- Zlatan Jaganjac\u00a0from\u00a0Ritam Mediterana<\/a><\/span><\/li>\n
- Dragos Rusu from\u00a0Outernational Days<\/a><\/span><\/li>\n
- Mirza Redzepagic\u00a0from\u00a0Zeman<\/a><\/span><\/li>\n
- Davide Mancini from\u00a0Musicastrada<\/a><\/span><\/li>\n
- B\u00e9la Pap from\u00a0Heritage World Music Festival<\/a><\/span><\/li>\n
- Agnieszka\u00a0Matecka\u00a0from\u00a0Miko\u0142ajki Folkowe<\/a><\/span><\/li>\n
- Bojan\u00a0Djordjevic\u00a0from\u00a0Todo Mundo<\/a><\/span><\/li>\n
- Jordi Fosas from\u00a0Fira Mediterr\u00e0nea<\/a><\/span><\/li>\n<\/ul>\n
Note that some of these interviews are from before the start of MOST Music and before the pandemic.<\/p>\n<\/div>\n
\nEXPERIENCE AGAIN\u00a0BEFORE BABEL MUSIC XP<\/strong><\/span><\/h3>\nAs announced previously, Before Babel Music Xp took place in online format, on days 26 and 27 of November. They have now released the conferenfes in shape of podcast. Find them\u00a0here<\/a>.<\/p>\nI participated in a round table:\u00a0New collaborations and solidarity for professionals relaunching their careers<\/a>. Here below you see the moderator,\u00a0Ludovic Tomas, and me with the other participants:\u00a0Birgit Ellinghaus, Umair Jaffar, Emad Mabrouk and\u00a0Amob\u00e9 M\u00e9v\u00e9gu\u00e9.
\n![](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/images\/9b127a7a-f96e-4976-b07f-3819d9298de4.png\")
<\/a><\/p>\n
How are you? I have to confess that I am starting to get emotionally exhausted from this situation although I have great hope for the vaccination. I bring you a story that has lit up my heart today.<\/p>\n
I illustrate these words with a photo from this past Sunday. It is in the street in front of the cathedral that se\u00f1or Justo has been building for 60 years, without any knowledge of architecture and with recycled materials and the money from donations and sponsors.\u00a0He is now 95 years old and his work is half finished. I don’t think I’ll see him finished in life and the future is uncertain. It is not a cathedral recognised by the Church and has no institutional support, but I would like to think that such a work will not end up collapsing in abandonment.<\/p>\n
Regardless of your religious beliefs, this is an example of the power of human will that can serve us all. You can learn about his story and see more pictures of the building (also inside), which looks like it came from a dream,\u00a0here<\/a>\u00a0and\u00a0here you are a documentary <\/a>with English subtitles with interviews with se\u00f1or Justo.<\/p>\n I hope that this story brings you a moment of happiness and that you enjoy the rest of the content, which I find very interesting and also contains examples of dedication and passion, so needed in our reality.<\/p>\n Contact me. And if you find this interesting, share it with your friends. You can read the previous issues\u00a0here<\/a>.\u00a0<\/strong><\/p>\n Thanks for your attention and remember that you can check\u00a0our website<\/a>\u00a0to learn about our offers and the artists we work with.<\/p>\n Araceli Tzigane |\u00a0info@mundimapa.com |\u00a0+34 676\u00a030 28 82\u00a0<\/strong><\/p>\n Subscription\u00a0is available here<\/a>.\u00a0<\/strong><\/p>\n Throughout several previous editions of this magazine I have been sharing some news and interviews with the festivals selected in the MOST Music project (find the links under this interview) and now I have the pleasure of sharing some of the team’s reflections, based on the questions that have come up when I read deeply the website. By the way, the MOST Music website<\/a>\u00a0is very detailed and, if you have not visited it,\u00a0I highly recommend you to do so<\/strong>, both for knowing the project well and for understanding this interview.<\/p>\n Here I will only mention two aspects:<\/p>\n<\/div>\n Mapamundi M\u00fasica (MM): The project MOST Music is quite complex, involves many participants from four main categories: artists, managers, festivals and institutions. Who had the first idea about this? What was the first objective that he\/she wanted to get from this project?<\/strong><\/span><\/p>\n MOST Project team (MPT):\u00a0<\/strong>MOST Music as a project has been a long time in the making. Members of the consortium have been curating this idea for a long while. The idea started out from V4 and European Capital of Culture projects. Initially partners were applying for funds many times and modifying the project plan according to tender evaluations so that it could realize itself. The first objective is what we have been emphasizing on all platforms: a way for the Balkan world music industry\u2019s untapped potential to be channeled into and better connected with the rest of Europe, where infrastructure is oftentimes better.\u00a0<\/span><\/p>\n MM: Following the previous question, when did this idea appear in your mind? How was the procedure between this first idea and the design of the complete project? How many profiles have been involved in the design? And during the development, now that it is being done, which are the profiles involved (I mean the team, not the artists, managers, festivals and policy makers that are the participants in the 4 branches)?\u00a0\u00a0<\/strong><\/span><\/p>\n MPT:\u00a0<\/strong>We applied to Creative Europe four times before the funds were granted. The project plan was modified and expanded according to the detailed feedback that European tenders offer. The fourth version of the tender was accepted.<\/span><\/p>\n In terms of project design, you of course know that there are 9 partners in the consortium that\u2019s led by Hangvet\u0151, headquartered in Budapest. Leading means that Hangvet\u0151 takes on project management duties. Otherwise consortium members vote on work teams for each pillar, so that certain partners are responsible for certain pillars. These duties are also rotating, so that each partner will have managed each pillar by the end of the project. Managing a pillar means making executive decisions and deciding on experts involved (such as mentors and trainers).<\/p>\n MM: About the artists part. Every year, 10 artists will be enrolled in this program to receive support and greater visibility. How was the procedure of selection? Is there any jury? If so, who selected the jury and which were the criteria to select them?\u00a0<\/strong><\/span><\/p>\n MPT:\u00a0<\/strong>The selection procedure is decided by a professional jury. Jury members are also involved on a rotating basis from partner organizations. In the first round of MOST Music the members of the jury were Bal\u00e1zs Weyer, programme director of Hangvet\u0151, Budapest; Olsi Sulejmani, president of Balkan World Music Management; and Simon Broughton, editor-in-chief of Songlines Magazine.<\/span><\/p>\n The selection criteria (apart from citizenship of at least one of the 9 target countries) are as follows: MM:\u00a0In the current selection of artists there are no artists from Albania, Croatia, Montenegro or North Macedonia. Of course, this has been the first round of selection and in future rounds they may be. But this arose some questions about this: MPT:\u00a0<\/strong>We had open calls in all the countries listed here, so the reason why one or the other might not be represented in a certain pillar is that there weren\u2019t any or a lot of applicants from them. We have participants from Croatia and North Macedonia in other pillars, such as Management Training and Festival Exchange. However, Albania and Montenegro were hard for us to reach, we had very few applications altogether. In Montenegro one hardship was that we did not have a partner with their local network to help us spread the word. But all in all, we must certainly work on our communication in those regions in future rounds.<\/span><\/p>\n MM: About the part of urban policies, you mention “Projects will then be presented by the tandem (urban creative + policy maker)”. So, I understand you will involve policy makers. Let me see if I understand well. Would those be, for instance, the councillor of culture of a city? I mean, they are real politicians or people assigned by politicians, that can make real decisions, aren’t they? I think so, as you mention that “winning initiatives will be implemented in their respective cities.” How did you get the engagement of those people? Are they guaranteeing some budget from their cities to develop the winning initiatives?<\/strong><\/span><\/p>\n MPT:<\/strong>\u00a0We are only starting up MOST Music and the environment we planned it for was for a very different normal, so please excuse me, but I can only answer in terms of our goals, plans, and hopes, and not in terms of anything that has already been actualized.<\/span><\/p>\n Our goal is to involve real decision-makers: politicians, municipalities, local governments, and more. We hope that such connections between creative industry professionals and decision-makers will bring a certain openness and sensitivity to the situation of creative professionals.<\/p>\n MM: About the budget, the project is co-funded by Creative Europe. Can you tell me the overall budget? Which were the other co-funders?\u00a0\u00a0<\/strong><\/span><\/p>\n MPT:\u00a0<\/strong>The overall budget is 4 million Euros, half of that is provided by the European Union\u2019s Creative Europe programme (2 million Euros). The rest of the funding was raised by partner organizations and varies from country to country.\u00a0<\/span><\/p>\n MM:\u00a0So far, apart from the emergence of the pandemic, that has made you change some activities to an online environment, did any other event or new idea arose that made you rethink any of the activities planned?\u00a0<\/strong><\/span><\/p>\n MPT:<\/strong>\u00a0Online activities are currently happening in three pillars \u2013 we just finished a week-long online training in the Balkan Music Exchange pillar and are currently in the process of training Urban Creatives and Management Trainees, both are longer, less time-intensive training programmes. Of course one key element of this whole programme is networking and making professional connections \u2013 this is not impossible per se, but it\u2019s certainly not as natural as it could be if we could meet up in real life, as originally planned. We are making every effort to substitute these offline connections in online ways, and to bring in new opportunities for participants to meet and network, such as providing them passes to virtualWOMEX, and more.<\/span><\/p>\n<\/div>\n Previous interviews about festivals included in MOST Music project are available:\u00a0<\/span><\/p>\n Note that some of these interviews are from before the start of MOST Music and before the pandemic.<\/p>\n<\/div>\n As announced previously, Before Babel Music Xp took place in online format, on days 26 and 27 of November. They have now released the conferenfes in shape of podcast. Find them\u00a0here<\/a>.<\/p>\n I participated in a round table:\u00a0New collaborations and solidarity for professionals relaunching their careers<\/a>. Here below you see the moderator,\u00a0Ludovic Tomas, and me with the other participants:\u00a0Birgit Ellinghaus, Umair Jaffar, Emad Mabrouk and\u00a0Amob\u00e9 M\u00e9v\u00e9gu\u00e9.Do you want to share any useful experience<\/strong>\u00a0you have had during this difficult time or another content relevant for our community of the global music?<\/h5>\n
\nIN DEPTH WITH THE TEAM OF\u00a0<\/strong><\/span>MOST MUSIC<\/strong><\/span>\u00a0<\/strong><\/span><\/h3>\n
\n
<\/span>These interview below has been answered by members of the MOST Team:\u00a0Andr\u00e1s S\u0151r\u00e9s, project manager;\u00a0Bal\u00e1zs Weyer, programme director.<\/strong><\/span><\/div>\n
\n\u25cf\u00a0\u00a0 \u00a0artist\u2019s international potential
\n\u25cf\u00a0\u00a0 \u00a0diversity of selected artists by style, to match the profile of showcase events
\n\u25cf\u00a0\u00a0 \u00a0popularity\/artistic quality
\n\u25cf\u00a0\u00a0 \u00a0long-term engagement with the project
\n\u25cf\u00a0\u00a0 \u00a0artist\u2019s basic infrastructure (web, communication…)
\n\u25cf\u00a0\u00a0 \u00a0artist\u2019s local audience size
\n\u25cf\u00a0\u00a0 \u00a0quality of existing audio and video material (technical and artistically)
\n\u25cf\u00a0\u00a0 \u00a0diversity of selected artists by sub-scenes in world music (e.g. sevdah, brass bands, etc.)
\n\u25cf\u00a0\u00a0 \u00a0diversity of selected artists by gender
\n\u25cf\u00a0\u00a0 \u00a0diversity of selected artists by geography<\/p>\n
\n1.\u00a0\u00a0 \u00a0Did you receive applications from those countries? Albania and Croatia, for instance, have musical styles that are recognized by the UNESCO as immaterial legacy. Didn’t you have applications?
\n2.\u00a0\u00a0 \u00a0If you didn’t have applications from those countries or if you had very few ones, which do you think are the reasons?
\n3.\u00a0\u00a0 \u00a0As with the artists, has it happened the same with the call for management training?<\/strong><\/span><\/p>\n<\/a><\/p>\n\n
\nEXPERIENCE AGAIN\u00a0BEFORE BABEL MUSIC XP<\/strong><\/span><\/h3>\n
\n<\/a><\/p>\n
![\"Forward](\"https:\/\/cdn-images.mailchimp.com\/icons\/social-block-v2\/outline-dark-forwardtofriend-48.png\")
<\/a><\/td>\n![\"Share](\"https:\/\/cdn-images.mailchimp.com\/icons\/social-block-v2\/outline-dark-facebook-48.png\")
<\/a><\/td>\n![](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/images\/4539ff82-139d-44ae-9476-1e59a0cc1999.jpg\")
<\/p>\n![](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/images\/977f1a0e-5e26-458a-a9d3-1770ed042e4b.png\")
<\/strong><\/p>\n![](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/images\/c4cd13a9-4654-41f1-b823-3986633fb796.jpg\")
<\/p>\n![](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/images\/c91595bd-066f-4a1a-b747-83eb72509153.jpg\")
<\/p>\n![](\"https:\/\/mcusercontent.com\/993c677d53044839b1b39b2dc\/images\/81aa0614-7e5f-412d-9635-b79d9bafd498.png\")
<\/span><\/a><\/div>\n