Lifestyle
To be in love, in L.A and in Acne Studios on Valentine’s Day
Styled in Acne Studios’ Valentine’s Day edit, three L.A. creative couples brought us into their worlds as they reflected on their artistic journeys, relationships and personal styles as a tool for connection. The simple act of always having their partner’s go-to moisturizer in their bag for them, shopping together or making space for each other’s dreams can yield the kind of fruitful love that makes navigating this world all the better.
Hayley and Clyde
Hayley, left, wears Acne Studios top, belt, skirt and bag, Y Project earrings and model’s own socks. Clyde wears Acne Studios shirt and model’s own socks and Dickies pants.
Smooth jazz plays as the sun pours in over the mountains and into the heart of Hayley Ashton Corley and Clyde Nikolai Corley’s home, tucked away in the hills of Topanga Canyon. Hayley is an artist and model, and her husband Clyde is an artist and filmmaker. Though the two of them have not been professionally photographed together often, they are quite natural together on camera. As the shoot unfolds, Clyde can be found affectionately rubbing Hayley’s hand, gently playing with the wedding band on her ring finger. “I met Clyde when I was 20 and we’ve been together almost 10 years now,” Hayley says. The two got married in India, where Hayley’s family is from, during a three-day ceremony in November 2024. “The wedding was making what was already spiritual, physical,” Clyde says.
When you first met, what drew you to each other?
Hayley: His eyes. I saw him across the room and we both looked at each other. I crossed the room, walked up to him and sat down and wanted to just chat. Then Clyde DM’d me on Instagram and a few weeks later he asked me out to breakfast.
Clyde: We just clicked immediately; we were drawn to each other. We were kids, and she was just so positive and kept talking about all the good things about L.A., which is really refreshing when you’re from L.A., because everybody comes here and kind of hates on things.
What was most memorable about your first date?
Clyde: We went to Figaro Bistrot in Los Feliz. I order an eggs Benedict, and Hayley’s like, “I’ll do the same.” But then she swaps the bread for croissant, makes the egg scrambled, adds spinach, and ends up with this different story sliding around the plate. She was over it and didn’t even eat it.
Hayley: I honestly hate eggs Benedict so much.
Clyde: But we just kept looking at each other and I really liked being around her. Then I got back to my car and got a parking ticket, so it was great. About a $150 brunch that no one enjoyed and that was our first date.
What is your favorite thing about the way your partner styles themselves?
Hayley: Clyde dresses himself by his mood. Some days it’ll be all black or white, but he’s always pulling fits. I feel like I tend to go to Clyde when I want to be dressed a certain way, so he really helps style me.
Clyde: Hayley’s really natural. She wears anything and it’s fire, and I’m inspired by that. Maybe it informs my outlook on clothing. Hayley can play both worlds really well; she can dress up really beautifully and be an absolute stunner. She can tap into her Indian roots and express beautiful dynamic style. She’s also just my muse so I’m obsessed with her.
If you styled each other for the day, what do you think the end results would look like?
Clyde: Hayley loves funny fits I wear, maybe baggy sweatpants and a funny beanie. She loves a messy skater boy look. Or she likes when I’m really dressed up so she’d probably dress me in some fun whimsical stuff.
Hayley: If Clyde were to style me, it’d probably be skinny jeans that are tight on my butt or a really chic skirt. He likes to see my skin and my shape, where sometimes I tend to wear baggy pants.
If you were on a game show, and you had to accurately guess at least five things that you could find in your partner’s bag at any given moment, what would those items be?
Clyde: In her bag right now would be her phone, wallet, her little rose-brown colored lip gloss. She has this energy boosting key from a Chinese herbalist lady in New York, like a tonic. She’s known to bring a phone charger around.
Hayley: For Clyde, I think laptop, hard drive, computer charger, phone, wallet. That’s pretty much it.
You both are so creative. How has being in love enhanced your artistic practice?
Hayley: Clyde is just a really inspiring person to be around. Watching him and his craft inspires me to be a better artist, because he has such discipline, but also flow. The past 10 years of being together has helped me hone in on my own work and practice.
Clyde: I feel the same, in different ways. I’m coming from a place of feeling seen. I got the person who loves me for who I am and I don’t have to keep up with trends or anything. It allows me to focus on the actual feelings I’m trying to express rather than how it’s going to be seen by the outside world. It just allows me to stay inspired. We’re so lucky. I think if love can inspire you to hold on to the things you care about, that’s really advantageous in art.
Mo and Banoffee
It’s a picturesque afternoon in Echo Park. The sun is warm, the breeze is cool and the peaceful bustle feeds the atmosphere at Canyon Coffee. Mo Faulk and Banoffee Faulk, partners in love and creative pursuits, arrive for a late lunch. Both earth signs, the two laugh at the peculiarities they noticed within each other upon first meeting. Together for almost a year, they instantly clicked, which is quite apparent while observing them. They can’t help but smile at each other throughout the shoot, stealing forehead kisses between shots and laughing constantly. It is a connection so in sync it could have been written in the stars. And, as two people with heavy earth sign placements, it nearly was.
With Mo being a creative producer and manager, and Banoffee being a musician and producer, their jobs can be socially demanding. The self-proclaimed homebodies share that their ideal quality pastime is rewatching “Grey’s Anatomy” for the third time, sitting together in silence while enjoying cookie milkshakes, or spending a weekend away in nature.
When you first met, what drew you to each other?
Mo: We both understand the chaos of family dynamics in a way that’s really comforting.
Banoffee: Yeah, it’s nice when you find someone who’s not a nepo baby in L.A., because it’s rare. But the goofiness as well. I was drawn to Mo initially, because they’re attractive, but it was nice to meet someone who can be really silly.
What was the most memorable part about your first date?
Mo: We were coming to hang out as friends, but we left kind of obsessed with each other. Separately, we left and called our friends.
Banoffee: We met at 10 in the morning and left at 4 p.m.
Mo: We just didn’t want to leave each other.
Mo, right, wears Acne Studios jeans, top and bag and Martine Rose shoes. Banoffee wears Acne Studios jeans, top and belt, Martine Rose X Nike shoes and stylist’s own Acne Studios moto jacket.
What is your favorite thing about the way your partner styles themselves?
Mo: With Banoffee it’s always fun because everyday is like a new character. They’re down to put weird stuff together that actually is very cool. I like the playfulness with clothes and it also speaks to the playfulness of our relationship.
Banoffee: Mo’s style is sort of a recontextualized hick. They love a flannel and fishing caps. I like how rugged their style is, but somehow they make it look really high fashion.
If you styled each other for the day, what do you think the end results would look like?
Banoffee: Mo would put me in a baggy jean, with a belt and a little shirt, with some sort of leather jacket or a bomber and a cool sneaker. I feel like Mo’s ethos for dressing is “over-casual is always cooler.”
Mo: Maybe those new jeans you got me, I have no idea.
Banoffee: I’d put you in a vintage thermal.
Mo: Oh, yeah. Little tight thermal, big jeans.
Banoffee: Would we dress each other exactly the same?
If you were on a game show, and you had to accurately guess at least five things that you could find in your partner’s bag at any given moment, what would those items be?
Mo: A Juul, 17 empty Juul pods, a lipliner that’s broken without the top on it, one of those makeup brushes that’s been in there for far too long and maybe a mini hairbrush. And empty contact lens cases.
Banoffee: Mo’s bag is so full, so practical, it’s annoying. They’d have two Aquaphors. The big tube and the little tube. They’d have all of my things: ID, sometimes my passport, medications, my contact lenses. A mini natural mouth wash, gum, a charging cord, deodorant, there’s probably a spare pair of socks, and then those sniffy menthol things for your nose. And a lot of rings, chains, and things that they may or may not want to wear.
With both of you being in the creative industry with overlapping work, how do you think being together has influenced your artistic practice?
Banoffee: I feel like our relationship has re-energized my creative work. We’re each other’s cheerleaders but can also get our hands dirty. It feels cool to be a part of a team in that way. Before I met Mo, I was feeling kind of tired about my work, a little bit like the romance had gone from it, but I feel like since we’ve met, there’s a lot of possibility opening up because we’re in it together.
Mo: I agree. Being in the entertainment industry can feel really lonely. Everyone’s kind of stepping on each other intentionally or not to get to what they want to do, and if things aren’t going the way you want it to it can feel hopeless. But with Banoffee, they think everything I do is cool, every idea I have they’re excited about, and I feel the same way about them. The idea of being a team, it reignites the fire.
Lex and Petar
Petar, top, wears Acne Studios top, Calvin Klein underwear and model’s own socks, shoes and jewelry. Lex wears Acne Studios jeans, sweater and belt and model’s own jewelry.
Lex Orozco-Cabral and Petar Ilic are on their sunset-lit balcony, overlooking the Hollywood strip. Petar, a Bosnian model and creative, works at a creative agency in the fashion sector, while Lex, a Bay Area native, is a union costume designer and stylist. Both exude a level of comfortable confidence in front of the camera — like two sculptures come to life. Immersing themselves into the fun of it all, Lex jokes, “This is our normal.”
Crossing paths for the first time in New York, connecting over Instagram and finally meeting when Petar moved to L.A., the pair’s romance had been years in the making. Lex, a triple fire sign and Petar, a balance of fire, water and air, live together in WeHo where they love to spend time deep-diving into fashion and pop-culture references. Lex has a larger-than-life personality — he is sure, protective and affirming of Petar, while Petar is calm, grounding and nurturing of Lex. “Two years later and I’m still obsessed with him,” Lex shares lovingly. “He’s just getting better and better,” Petar offers, “and I’m here for where this is gonna take us.”
What about your partner were you most drawn to?
Petar: I have a lot. The list is long. He’s handsome, he’s tall, he’s funny. I love his fashion sense, just everything about him. This is my person. Everything we do from day to day, it’s never boring.
Lex: At first it was physical, he’s just so gorgeous. But then once I met him, I fell in love with his little -isms. He has these buzz words and phrases. And he is genuinely so caring, so kind. I’m like, “Where the f— did he come from?”
What is your favorite thing about the way your partner styles themselves?
Lex: I definitely help him and elevate his style but he had great style before. He’s very minimal, he likes to look refined and polished, like a proper boy, but then at home, he’s dressed really gay. Like, at home it’s sexy undies and a rocker shirt.
Petar: I never really cared too much about dressing up before I met him. One of my favorite things about him is that his style is so crazy. He’s wearing all these amazing pieces. I never really met anyone who cared so much about clothes, and it’s inspiring. I’m like, “this is hot.” He’s like an encyclopedia when it comes to fashion.
If you both had to style each other for the day, what do you think those end results would look like?
Petar: That’s really hard to say.
Lex: I would like him to dress gayer.
Petar: I’m just avoiding all the bullying I can. I get nervous sometimes holding hands.
Lex: But I try to tell him no one is bullying you here, this isn’t Bosnia.
Petar: And that’s true, I’ve never been bullied here in L.A., and he helps me get out of my comfort zone.
If you were on a game show, and you had to accurately guess at least five things that you could find in your partner’s bag at any given moment, what would those items be?
Petar: His phone, wallet, the microfiber cloth for glasses and phones, really just the essentials.
Lex: His crystal stone, his mouth tape. He always has some type of lip gloss, gum and edibles.
Lex holds Acne Studio bag.
You are both very creative. How do you think being together, being in love, has influenced your artistic practice?
Lex: I just have better days. I know that I have the best f—ing boyfriend at home waiting for me. I always say I get the best ideas [when I’m with] him.
Petar: I am just honestly happier from the moment I wake up. The world feels safe and everything is more aligned. Also the subjects we talk about, the things he shows me.
What is something about the way your partner sees the world that you really appreciate?
Lex: He’s so positive and optimistic, and I miss that because I can be jaded working in this industry where you don’t always get credit for your work. I’m more of a stresser, and he calms me down.
Petar: One of my favorite things about him is that he’s very confident, he’s a go-getter. You gotta act like you’re the main character in life and he brings that out of me.
Cierra Black is an Inland Empire-raised, L.A.-based writer and UCLA graduate. With bylines in several publications, Cierra writes about the interplay between art, style, and beauty, and social issues and behaviors.
Photography Kevin Amato
Couples Hayley Ashton Corley and Clyde Nikolai Corley, Banoffee Faulk and Mo Faulk, Lex Orozco-Cabral and Petar Ilic
Creative direction & styling Keyla Marquez
Makeup T’ai Rising-Moore
Hair Adrian Arredondo
Movement director Kate Wallich
Production Matzi
Styling assistant Ronben
Lifestyle
Sunday Puzzle: For Mimi
Sunday Puzzle
NPR
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NPR
This week’s challenge
Today’s puzzle is a tribute to Mimi. Every answer is a familiar two word phrase or name in which each word starts with the letters MI-.
Ex. Assignment for soldiers –> MILITARY MISSION
1. Pageant title for a contestant from Detroit
2. One of the Twin Cities
3. Nickname for the river through New Orleans
4. Super short skirt
5. Neighborhood in Los Angeles that contains Museum Row
6. Just over four times the distance from the earth to the moon
7. Goateed sing-along conductor of old TV
8. American financier who pioneered so-called “junk bonds”
9. Little accident
10. Land-based weapon in America’s nuclear arsenal
11. In “Snow White,” the evil queen’s words before “on the wall”
Last week’s challenge
Last week’s challenge comes from Benita Rice, of Salem, Ore. Name a famous foreign landmark (5,4). Change the eighth letter to a V and rearrange the result to make an adjective that describes this landmark. What landmark is it?
Answer
Notre Dame –> Renovated
Winner
Chee Sing Lee of Bangor, Maine
This week’s challenge
This week’s challenge comes from James Ellison, of Jefferson City, Mo. Think of a popular movie of the past decade. Change the last letter in its title. The result will suggest a lawsuit between two politicians of the late 20th century — one Republican and one Democrat. What’s the movie and who are the people?
If you know the answer to the challenge, submit it below by Thursday, April 23 at 3 p.m. ET. Listeners whose answers are selected win a chance to play the on-air puzzle.
Lifestyle
L.A.’s unofficial Statue of Liberty is a Fashion Nova billboard off the 10 Freeway
This story is part of Image’s April’s Thresholds issue, a tour of L.A. architecture as it’s actually experienced.
A landmark is a landmark because it tells you that you’re home now — the piece of earth you’ve chosen to inhabit saying, “You’ve made it back, congratulations.” We identify our cities with their landmarks, and because we identify with our cities, we identify with the landmarks too. They are us and we are them, mirroring each other through eternity. A city like New York or Chicago, with the Chrysler Building, the Bean, etc., has landmarks that exist in the world’s popular consciousness. But L.A.’s most cherished landmarks belong to us and us alone, a secret you’re let in on if you live here long enough and pay attention.
The Fashion Nova baddie in horizontal sprawl off the Vertigo, for example, is an emblem for those in the know. Our twisted version of a capitalist guardian angel, patron saint of spandex in a cropped matching set. Welcome to El Pueblo de Nuestra Señora la Reina de los Ángeles de Fashion Nova. Merging on the 110 South from the 10 East while the sunset burns and traffic thickens is a miracle in more ways than one, and in the spirit of compulsively performing the sign of the cross when you pass a church on the freeway, this billboard is deserving of its own acknowledgment.
It may not be the landmark L.A. asked for, but in Sayre Gomez’s painting “Vertigo,” you begin to understand why it’s the one we deserve. At the opening for “Precious Moments,” Gomez’s solo show at David Kordansky, the room was vibrating. A game of energetic ping-pong unfolded underneath the gallery’s fluorescent light, beams of identification, recollections or stabs of grief bouncing off each piece in the exhibition. People were seeing hyperspecific parts of a city they love reflected in a hyperspecific way — for better and for worse. Recognition has two edges and they both happen to be sharp. Gomez twists the knife deeper for a good cause: He wants you not just to look but to really see.
In his work exist iconic signs of beloved local establishments — like the Playpen — the blinding glint reflecting off downtown’s skyline, telephone poles regarded as totems. The line to see Gomez’s replica of L.A.’s graffiti towers, “Oceanwide Plaza,” snaked through the gallery’s courtyard. Once inside, at least three graffiti writers whose names were blasted on the replica pointed it out proudly, even gave out stickers to take home. The truth can be beautiful and it can be ugly — in this case it’s both — on the flip side showing up in the form of smog, tattered flags and an abandoned graffiti tower that starkly represents the pitfalls of capitalism and greed, a neon arrow pointing to the homelessness crisis.
Because the Vertigo is something everybody who lives here recognizes as central to a sort of framework of Los Angeles. And I think the encampment has become that as well. It’s connecting these integral components — something that’s more revelatory and more fun with something that’s more grave.
— Sayre Gomez
In the main gallery, I was stuck on “Vertigo.” On the 12-foot canvas, my eye went to the place out of focus: the thin strip of billboard in the background featuring a young woman with sand-dune hips, patent knee-high boots and long black hair laid up on her side, wearing cat ears and a tiger bodysuit as flush as second skin. The model made the kind of eye contact that felt dangerous — might cause an accident if you’re not careful. “#1 Halloween Destination … FASHION NOVA,” it read. I knew her, anyone who has driven through the two main arteries of Los Angeles knows her. The black-and-white smiley motif of the Vertigo, an events space, sat right next to her face, just happy to be there, it seemed, above a painted sign that says “Ready to Party?”
The sky was the color of cotton candy, but the stale kind that’s been hardening in a plastic bag for days after the fair. Something rancid about it. In the foreground of the painting was a car encampment with a tattered floral sheet woven through the windows, cloth tarps and couch cushions creating a shield against the elements. Small plastic children’s toys lined at the top of the car — dinosaurs and dump trucks and sharks — creating their own shrunken skyline in front of the Vertigo, signaling that young kids likely lived there. It’s less juxtaposition for juxtaposition’s sake and more an accurate reflection of the breakneck duality of living in a place like L.A.
Even angels exist within the context of their environments. Our Fashion Nova baddie hangs off the Vertigo, a building that has used its ad space as physical clickbait and political posturing for over a decade. It’s promoting the kind of fast fashion brand that’s been regarded as a case study on the industry’s environmental impact. In the years the billboard has been up, it’s looked over dozens and dozens of car encampments like the one depicted in Gomez’s piece.
She feels dubious, yes. But no less like ours.
Julissa James: I’ve lived in L.A. for 13 years now. For me, the city and the architecture of the city is less the Frank Lloyd Wrights and Frank Gehrys — there’s that — but other landmarks that signal, “Oh, I’m home.” The Fashion Nova baddie above the Vertigo has always been that for me. Your piece is layered and there’s so much more to it than just that, but that’s the first thing I saw and was like, “Whoa. I need to talk to Sayre. We need to talk about ‘Vertigo.’”
Sayre Gomez: It’s like L.A.’s Statue of Liberty. It’s the city of anti-landmarks, you know what I mean? I mean, there’s the Hollywood sign, which I think is so telling, because it’s the remnants of a real estate venture. The city is built by real estate schemes and 100 years later we’re feeling the effects of it. You’ve got empty skyscrapers and a massive homeless catastrophe. L.A. doesn’t really have real landmarks. It has anti-landmarks.
JJ: When did the Fashion Nova billboard above the Vertigo click for you as something that felt representative of the city, or something that you wanted to depict?
SG: My studio is in Boyle Heights, so I pass that billboard multiple times a week. This is my 20th year in L.A. and that building’s always been a big mystery to me. It was empty when I moved here before this guy Shawn Farr bought it and turned it into Casa Vertigo. I think he probably makes more money on it with the ad space than anything. I know nobody who has ever been there. Very mysterious to me. So that’s what I was drawn to.
(Paul Salveson from David Kordansky Gallery)
The Vertigo has always been mysterious to me. And that whole fashion industry is mysterious to me — the kind of shmatta, American Apparel-adjacent, or maybe coming out of the wake of that. These kinds of businesses, or the representations of these businesses, how do they function and how do they flourish? Is it aboveboard? What more perfectly encapsulates that than that building? It’s this weird thing you can’t quite figure out but somehow it has a lot of money and then it’s an event space, supposedly billed as that. Clearly it’s this big ad thing, and I’m very interested in the changing dynamics of capital. The capital of yesteryear, which was based on the brick and mortar, where things are being made in a specific location, maybe on an assembly line or in a specific way, to a kind of capital that is based solely on advertising or on viewership. These beautiful buildings acting as pedestals for some kind of ad space, you know? It becomes an anti-landmark for me. Something where I’m like, “Oh, there’s that thing again.”
JJ: It’s this gorgeous Beaux Arts building …
SG: It’s a Freemason building!
JJ: When I’ve talked to some people about the Vertigo, they’re like, “the Fashion Nova building?”
SG: They always have the woman in the same pose — same pose, different clothes. If you remember before Fashion Nova, they would have these provocative ad campaigns or provocative slogans. “Twerk Miley” was up, remember that? They did a Trump one: “TRUMP NOW.” They did one for Kanye when he ran for president. The 10 and the 110 are literally the crossroads of the city, so it’s really poised to be a special building. It has a special designation because of the location.
JJ: Talk to me about the process of doing this piece. Where did it start and how did it evolve?
SG: I was cruising around that vicinity trying to see if I could get a good vantage point to take photos of Vertigo. And then I stumbled upon this car — the car that’s in the foreground of the painting. Anytime I see an encampment that has kids’ toys, things that reference back to the lives of children, it hits hard. But I like to lay it all out there. I like to make things confrontational. I want it to be difficult. The painting isn’t based on a one-to-one photo [Gomez paints from a composite rendering of images he’s taken around town], but I knew that I wanted to use that car, and I knew I wanted to get the Vertigo building, and so I started just messing around with different iterations. I could never find a good angle to take a good photo of the building, so I just went on Vertigo’s website and I was like, “I’m just using these.” I switched the sky and put a more moody, atmospheric sky in.
JJ: Which I loved, because we know that feeling — you’re merging onto the 110 and you see a beautiful sunset. The euphoria of like, “L.A. is the best city in the world.” But you know what? What I found so interesting about your piece is that it was revealing to me about myself, but also about so many of us that live in L.A. and have lived here for years and have developed a jadedness. When I saw your piece, immediately I was like, “Oh my God, the Vertigo! The Vertigo! The Vertigo!” And then I was like, “OK, wait, hold on, there’s so much more going on here.” But the fact that my eye went to that first instead of the car encampment, the kids’ toys, brought up a lot of questions about my own relationship to the city and the things that we choose to see, the things that maybe we’ve seen so much of that we subconsciously filter it out. Why was it important for you to put these two things up against each other in this way?
SG: Because the Vertigo is something everybody who lives here recognizes as central to a sort of framework of Los Angeles. And I think the encampment has become that as well. It’s connecting these integral components — something that’s more revelatory and more fun with something that’s more grave. That’s what I’m doing in my work at large. I use the sunsets and the beauty to create a dialogue, to entice people to sort of look a little bit at how things are contextualized, how things act, what’s actually happening. I don’t make things in a vacuum. I was working on this show and I was going to really push this agenda of incorporating more of my experience with my kids into the work. That’s also a double-edged sword. I wanted to interject some levity, because the work can get so dark. I wanted to bring in some iconography from their world and things that they get excited about. When you’re juxtaposing that with really stark things, it becomes darker. I want to thicken the stock a little bit. Make things a little more complex.
Lifestyle
‘Wait Wait’ for April 18. 2026: With Not My Job guest Phil Pritchard
Phil Pritchard of the Hockey Hall of Fame works the 2019 NHL Awards at the Mandalay Bay Events Center on June 19, 2019 in Las Vegas, Nevada. (Photo by Bruce Bennett/Getty Images)
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This week’s show was recorded in Chicago with host Peter Sagal, judge and guest scorekeeper Alzo Slade, Not My Job guest Phil Pritchard and panelists Alonzo Bodden, Adam Burke, and Dulcé Sloan. Click the audio link above to hear the whole show.
Who’s Alzo This Time
The Don Vs The Poppa; World’s Worst Doctor; Should We Eat That?
Panel Questions
Big Cheese News!
Bluff The Listener
Our panelists tell three stories about someone missing a huge opportunity in the news, only one of which is true.
Not My Job: Phil Pritchard, the NHL’s Keeper of the Stanley Cup, answers three questions about the other NHL, National Historic Landmarks
Peter talks to Phil Pritchard, the NHL’s Keeper of the Stanley Cup. Phil plays our game called, “Let’s Go Visit The NHL” Three questions about National Historic Landmarks.
Panel Questions
The Trump Dump and Air Traffic Control Becomes Animal Control
Limericks
Alzo Slade reads three news-related limericks: Spice Up Your Spring Cleaning; A Fizzy Meaty Drink; The Right Way to Eat Peeps.
Lightning Fill In The Blank
All the news we couldn’t fit anywhere else
Predictions
Our panelists predict the next big AirBnB story in the news
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