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Musician Joe Wong on how playing Milwaukee basement shows launched his career

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Musician Joe Wong on how playing Milwaukee basement shows launched his career


If you’re someone who watches the credits on TV and films, you’ve likely seen drummer Joe Wong’s name scroll past on numerous occasions.

In addition to recording two solo albums – the latest of which is the brand new “Mere Survival” – and performing in bands and as a sideman, the Milwaukee-born Wong has scored many movies and TV shows, including “Russian Doll” and ABC’s “Will Trent,” among others.

Wong, who is now based in Los Angeles, also has recorded nearly 400 episodes of his popular, drummer-focused podcast, The Trap Set.

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Catching up with Wong seemed long overdue and so I took the opportunity to ask him about all this while he was out promoting “Mere Survival.”

Most interesting of all is that he told me, “Every professional opportunity I’ve had is the circuitous byproduct of playing in basements in Milwaukee.”

Read more here…

OnMilwaukee: Let’s start with your Milwaukee credentials for folks who don’t know? Where did grow up, go to school, etc.?

Joe Wong: I was born at St. Joseph’s Hospital. Coincidentally, my mother worked there as a nurse in the ER at the time. I grew up in Wauwatosa and went to public schools there. I attended UWM for a year before transferring to music school on the East Coast.

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That’s going way back! You were in a number of bands here, too, right?

I started playing in bands when I was 14. My first show was in the basement of a since-demolished “hourly motel” called The Camelot Inn on Bluemound Road. Several high school-aged bands rented the space and threw a show.

Soon after, we were playing at clubs like The Globe and The Unicorn. When I was 17, I co-founded a band called Akarso, which was the first band I toured with. At the time, there were a number of houses in Riverwest and on the East Side that hosted basement shows. We played in many of these spaces and met bands from around the country, some of whom later became famous.

When I was 18, I moved into The Bremen House; and we hosted shows up to four nights a week. The house was burgled three times during our tenure, and–years after we’d moved out–the house was featured on the first episode of Hoarders.

Later, I played with some great jazz musicians. I worked in a trio with Neil Davis and Billy Johnson. We played at clubs like The Estate and Caroline’s and hosted a weekly session at Jaimie’s Place on 25th and Capitol. Some of the folks that sat in with us include: Manty Ellis, Berkeley Fudge, Dan Nimmer, George Braith, Harvey Scales, Charles Davis and Jasmine Song. Concurrently, I had short tenures with De La Buena and Sindoola, which was a Senegalese fusion band.

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So, of course everyone wants to know the secret to transitioning from drummer of the local music scene to scoring music for “Russian Doll,” having a successful podcast like “The Trap Set,” and making solo records with the likes of Jim Keltner and Money Mark. Walk us through that path a bit.

Every professional opportunity I’ve had is the circuitous byproduct of playing in basements in Milwaukee. In the ‘90s, there was a lot of crossover between the basement scene and the experimental film community at UWM. The first several films I scored were co-composed with Didier Leplae, who played in bands like Competitorr, whom I recorded when I was in high school).

The drummer of Competitorr, Sarah Price, was one of the filmmakers responsible for “American Movie.” Didier and I scored the subsequent few films by Sarah, Chris Smith and Dan Ollman (“The Yes Men,” “The Pool,” “Summercamp,” “Collapse”). Through the course of working on those films, we met Christy Karacas who hired us on a few of our first TV series (“Robotomy,” “Superjail!,” “Ballmasterz”).

“Ballmasterz” starred Natasha Lyonne, whom I’d also met through Fred Armisen. I first met Fred in the ‘90s when I was playing in Akarso and he was playing drums in a Chicago band called Trenchmouth. We reconnected in 2013 because Fred was a fan of Marnie Stern, with whom I was touring. Fred also became a fan of my podcast.

Because of the podcast, Fred asked me to help produce his Netflix special, “Standup for Drummers,” and during that time I got to know Natasha a bit. Soon after, she asked me to submit some music when she was looking for a composer for “Russian Doll.”

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The podcast served as my bridge between working as a supporting player – as a drummer and film composer – and releasing my own work. I met Jim (Keltner) and Joey (Waronker) through the podcast, and Joey became my neighbor and one of my closest friends. We hung out in my backyard many nights during Covid.

After I released my first album, Jim Keltner emailed me to tell me how much he liked listening to the album in his car. So, when I was writing “Mere Survival” I wrote two of the songs with Jim in mind. Everyone loves playing with Jim, so it was easy to enlist Nate Mendel and Money Mark –  both of whom I’d met years earlier when we recorded a Bill Dolan album together – along with Drew Erickson. Joey was at my house the night before the session and offered to come play percussion, mostly so that he could hang out with Jim.

That session was at the tail end of the pandemic, after the vaccine became available; and it was life affirming to get to play music in a room with other human beings!

As a drummer I have to ask, were you surprised that a drummer-focused podcast has been as popular as The Trap Set has been? After all, the repertoire of drummer jokes is pretty long and even guys like Ringo have been dismissed by those who think drummers don’t really contribute.

To be honest, I’m not surprised at all. The fact that drummers are often overlooked meant that they were an incredible, untapped source of wisdom. Although most of the guests are drummers, the podcast tends to focus on non-drumming topics, like how folks move through life as artists.

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I was a big fan of Marc Maron, who at the time interviewed other comics exclusively; I was struck by the fact that – even if he didn’t know his guest – they had an immediate intimacy, given their shared vocation.

I was going through a bit of an existential crisis when I started recording the show, and the opportunity to engage with other people who had successfully navigated through the challenges I faced was a gift. My hope was always that, by focusing on a small subset of people but talking about universal human themes, the podcast would resonate with anyone interested in living an artistic life.

It’s hugely rewarding when I hear from non-musicians who feel like the conversations on the show can be applied to their own lives.

Your new solo record is out and has contributions from Jim, Joey and Money Mark but also Pearl Jam’s Matt Cameron. It’s a really interesting and lush-sounding record. Tell us a bit about making it? Is it something you sort of did piece by piece over time or did you have a very specific vision and make it kind of all in one go?

From a logistical perspective, I’ve learned to treat my own records just like my scoring projects; I’ve found it really helpful to work with a deadline and to have someone else in the room. In the case of my first two records, I collaborated with co-producer Mary Timony – I was her drummer over 20 years ago – Dave Fridmann and arranger Paul Cartwright.

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Since I was busy with other projects, I scheduled non-negotiable periods during which I wrote and recorded the album. If, for example, I knew I was going to Seattle to record a song with Matt, I would write a song with him in mind. Even though I have my own studio, I’ve also found it helpful to record my own music elsewhere. I feels more deliberate and focused.

Do you get back home much?

I get back to Milwaukee a couple times a year.

What do you miss most about Milwaukee?

I miss my friends and family most, and the general Midwestern kindness. I miss summer by the lake. I also miss restaurants like Apollo Cafe, Zaffiro’s Pizza, Barbiere’s, Royal India, African Hut (RIP), La Merenda, Beans and Barley and East Garden.

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You always have great projects in the works, it seems. What’s next for you?

I’m working on “Krapopolis,” which was created by Milwaukee native Dan Harmon, as well as “Will Trent” on ABC. I’m working on some new projects with the folks that created “The Midnight Gospel.” I co-produced an album for Mary Timony, and I’m producing a couple other albums for some other artists. My band has some shows coming up this summer. And, of course, I’m starting album No. 3.

Thanks Joe!

Thanks so much for having me!





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Milwaukee, WI

16 music and theater performances to see in Milwaukee in January 2026

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16 music and theater performances to see in Milwaukee in January 2026


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During the performing arts season, arts editor Jim Higgins recommends promising music, dance and theater productions to see in the coming month. Look for these stories in the newspaper the final Sunday of the month. They post online the preceding week at jsonline.com/entertainment/arts.

In Milwaukee’s performing arts scene, the first month of 2026 brings the return of the 21st century’s revolutionary musical, plus a new stage work about Wisconsin artist Mary Nohl.

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Also, it’s a good month for Mozart, both in the concert hall and on stage.

Here are 16 theater, music and dance performances you can enjoy in the Milwaukee area in January. I would never tell you that these are the only shows worth seeing here during that time period.

‘The Godfather,’ Milwaukee Symphony Orchestra

Associate conductor Ryan Tani leads the MSO in performing Nino Rota’s Oscar-nominated score live to screenings of Francis Ford Coppola’s classic American film. 7:30 p.m. Jan. 2-3. Bradley Symphony Center, 212 W. Wisconsin Ave. Visit mso.org or call (414) 291-7605.

‘Cardboard Piano,” Renaissance Theaterworks

Hansol Jung’s drama, which opens in war-ravaged Uganda in 1999, takes on compelling conflicts about faith and homophobia. Jan. 9-Feb. 1, 255 S. Water St. Visit rtwmke.org or call (414) 278-0765.

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‘The Fisherman’s Daughters,’ Milwaukee Repertory Theater

In singer-songwriter Katie Dahl’s musical, set in Door County, two sisters fight the state of Wisconsin’s attempt to take their land by eminent domain. Milwaukee Rep says this show is recommended for people 10 years and older. Jan. 9-March 1, Stackner Cabaret, 108 E. Wells St. Visit milwaukeerep.com or call (414) 224-9490.   

‘Celtic Throne II – Psalter of Ireland,” Marcus Performing Arts Center

This all-ages Irish dance, music and theater show is built around the story of the mythological lawgiver Ollav Fola. 7 p.m. Jan. 15, Marcus Performing Arts Center, 929 N. Water St. Visit marcuscenter.org or call (414) 273-7206.

‘The Lehman Trilogy,’ Milwaukee Repertory Theater

The Rep’s second fully staged production in the upgraded Checota Powerhouse Theater is an epic story of immigration, economic ascension and financial collapse, running an estimated 3 hours and 40 minutes with two intermissions. It’s coming to Milwaukee from Minnesota’s Guthrie Theater. Jan. 13-Feb. 8, Checota Powerhouse Theater, 108 E. Wells St. Visit milwaukeerep.com or call (414) 224-9490.  

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‘Maybe We’ll Fly,” Milwaukee Opera Theatre

Milwaukee Opera Theatre is presenting staged readings of a new play by Wisconsin playwright Marie Kohler with music by composer Josh Schmidt. Subject: the life and passion to create of Mary Nohl  (1914-2001), who transformed her Fox Point cottage and yard into an artistic environment. 6:30 p.m. Jan. 16, 1:30 and 4:30 p.m. Jan. 17, Florentine Leuders Opera Center, 926 E. Burleigh St. Visit milwaukeeoperatheatre.org.

‘Folk Songs,’ Trio Mediæval

Early Music Now presents this Norway-based vocal ensemble, in a concert of Norwegian and Scandinavian songs, including lullabies and tales of courtly love. 5 p.m. Jan. 17, St. Joseph Chapel, 1515 S. Layton Blvd. Visit earlymusicnow.org or (414) 225-3113.

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‘Hamilton,’ Marcus Performing Arts Center

The 21st century’s most popular musical returns for its third visit to Milwaukee; it was last here in 2021, when Lin-Manuel Miranda’s hip-hop-infused look at the Founding Fathers reopened the Marcus Performing Arts Center following the pandemic lockdown year. Sixteen performances are scheduled for Jan. 20-Feb. 1 at MPAC, 929 N. Water St. Visit marcuscenter.org or call (414) 273-7206.

‘Amadeus,’ Skylight Opera Theatre

Peter Shaffer’s play pits Mozart, genius composer but vulgar human being, against his more ordinary rival Salieri. Skylight’s production will include a live chamber orchestra. Matt Daniels, Milwaukee Rep’s Scrooge, takes on the key role of Salieri. Jan. 23-Feb. 8, Broadway Theatre Center, 158 N. Broadway. Visit skylightmusictheatre.org or call (414) 291-7800.  

Kerson Leong and Bernard Labadie, Milwaukee Symphony Orchestra

Soloist Leong performs Beethoven’s Violin Concerto, one of the peaks of violin repertoire. Guest conductor Labadie leads the orchestra in Hadyn’s Symphony No. 103 (“Drumroll”). 7:30 p.m. Jan. 23-24, Bradley Symphony Center. Visit mso.org or call (414) 291-7605.

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‘I Am My Own Wife,’ Milwaukee Chamber Theatre

Doug Wright’s one-actor play won both the Pulitzer Prize for Drama and a Tony Award for best play in 2004. In Milwaukee Chamber Theatre’s new production, Jonathan Riker will perform all the characters in this story of famed German transgender figure Charlotte von Mahlsdorf.  Jan. 23-Feb. 8, Broadway Theatre Center, 158 N. Broadway. Visit milwaukeechambertheatre.org or call (414) 291-7800.

‘Baroque Unbound’ Frankly Music

Harpsichodist Paolo Bordignon and piccoloist Jennifer Bouton join violinist Frank Almond and other musicians to perform music of the Baroque era by Vivaldi, Bach and other composers. 7 p.m. Jan. 26, Wisconsin Lutheran College Schwan Concert Hall, 8815 W. Wisconsin Ave., Wauwatosa. Visit franklymusic.org.

‘Encore,’ Milwaukee Ballet

Milwaukee Ballet performs a program of classical and contemporary dance in its intimate We Energies Performance Studio, a 172-seat venue. Jan. 30-Feb. 8, Baumgartner Center for Dance, 128 N. Jackson St. Visit milwaukeeballet.org or call (414) 902-2103.

‘Hellenika,’ Marcus Performing Arts Center

Playwright-composer Kyle Thomas Hanneken has been working for seven years on this large-scale musical about the Greek philosopher Socrates, his teacher Aspasia and the fate of democracy in Athens. While these performances are billed as public readings rather than a fully staged production, this is a big show with 20 performers and 30 songs. 7 p.m. Jan. 30-31, Marcus Performing Arts Center, 929 N. Water St. Visit marcuscenter.org or call (414) 273-7206.

Stephen Hough, Milwaukee Symphony Orchestra

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Pianist Hough, a MacArthur “genius grant” awardee who’s also a composer and a significant writer about music, visits the MSO to perform Mozart’s Piano Concerto No. 21, which movie buffs know from its use in “Elvira Madigan” (1967). Guest conductor Jean-Marie Zeitouni leads a program that includes Mozart’s “Prague” Symphony and works by Ligeti and Kodály. 7:30 p.m. Jan. 31-Feb. 1, Bradley Symphony Center. Visit mso.org or call (414) 291-7605.

Julian Lage, Wilson Center for the Arts

A former child prodigy, Lage is a leading contemporary jazz guitarist and composer. His performance was rescheduled to this date from a previously planned summer concert here. 7:30 p.m. Jan. 31, Wilson Center for the Arts, 3270 Mitchell Park Drive, Brookfield. Visit wilson-center.com or call (262) 781-9520.



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Milwaukee, WI

Judge Hannah Dugan’s clerk reprimanded for calling ICE agent a ‘fascist’

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Judge Hannah Dugan’s clerk reprimanded for calling ICE agent a ‘fascist’


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  • A Milwaukee County Judge’s clerk was reprimanded for calling a federal immigration agent a “fascist.”
  • The clerk, Alan Freed, made the comment outside the courtroom of Judge Hannah Dugan, who was later found guilty of felony obstruction.
  • Freed stated he stood by his comments, calling them political speech, and received the lowest level of a write-up.

Milwaukee County Judge Hannah Dugan’s clerk, who called a federal immigration agent “a fascist” outside a courtroom, was reprimanded for the comment.

Alan Freed testified at Dugan’s federal obstruction trial that he told Dugan the U.S. Immigration and Customs Enforcement agents were in the hallway outside her courtroom on April 18.

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Freed testified he went into the public hallway and called one of the agents a “fascist.”

The agents were in the hallway outside of Dugan’s courtroom to arrest Eduardo Flores-Ruiz, who was wanted for illegally re-entering the U.S. after being previously deported.

In a split verdict, a jury found Dugan guilty of felony obstruction of agents, but not guilty of trying to hide the suspect, a misdemeanor.

Dugan’s defense team is seeking to overturn the jury verdict and will file motions by late January with U.S. District Judge Lynn Adelman.

Milwaukee County Clerk of Courts Anna Hodges said she couldn’t provide specifics about the situation with Freed because it is a personnel matter. But she added it is impermissible, under state Supreme Court rules, for court staff like Freed to express personal opinions on the job.

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Clerks are key employee for judges, calling cases, determining available dates for next hearings and answering questions when the judge is not on the bench.

“People have their own personal opinions, but we need to be professional and appropriate in the courtroom setting,” she said. “Our job is to be impartial.”

Radio host Mark Belling first reported on Hodge’s concern about Freed’s conduct.

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Hodges said her staff, including Freed, are well aware of the state Supreme Court rules on decorum because of required trainings.

In an interview, Freed said he is retiring Jan. 2, but said it was planned and unrelated to his reprimand. He is 70.

Freed said he received the “lowest level of write-up” for what he said on April 18. He said he didn’t back down when it was delivered, and added that it was his first reprimand in seven years as a clerk.

“I said, ‘I stand by my comments, and it’s political speech, and that’s that,’” Freed said.

Freed said the reprimand came before he testified. He said his supervisor approached him again after his testimony, but didn’t give him an additional write-up, because it was for the same thing, he said.

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Freed said he was told by his supervisor that “language like that isn’t appropriate, especially in the public hallway, as you’re an employee of the county, and it doesn’t show good judgment.”

“I said, ‘It was on the spur of the moment, and a lot of us were outraged at what was going on. And I stand by my words.’”

Freed said he wasn’t aware of rules around decorum for court clerks.

“I’m not aware of that, but maybe (Hodges) has got some document but she hasn’t shared it with me,” said Freed, who was a disability rights lawyer before he became a court clerk.

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Asked if he would have done anything differently on April 18, Freed said he may have tried to convince Dugan not to take Flores-Ruiz and his attorney out of an employee-only door into a private hallway.

At trial, Freed testified he had never seen a defendant use that door in thousands of cases. Dugan guiding the pair into that private hallway was a key part of the case.

“I might have spoken out and encouraged the judge not to do what she did, but you know, that’s her call,” Freed said. “It’s ultimately her courtroom.”



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Milwaukee neighbors finally see massive leaf pile cleanup after months

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Milwaukee neighbors finally see massive leaf pile cleanup after months


MILWAUKEE — Christine LaMarre is finally getting used to a view she hasn’t seen clearly in months.

“I haven’t seen my street for forever… for months,” LaMarre said.

Outside her home on North 89th Street in the Cooper Park neighborhood sat a 150-foot-long leaf pile — frozen under snow and stretching down much of her block.

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The massive pile posed safety concerns for elderly neighbors and made it tough for fire trucks and other vehicles to navigate what had essentially become a one-way street.

“It needed to be cleared for them… and my neighbors wanted it cleared also, because it was in front of three, four houses and they couldn’t get into park or anything,” LaMarre said.

Christine LaMarre

Mike Beiermeister

Christine LaMarre lives off N 89th St.

TMJ4 first spoke to Christine last week after a viewer had reached out, sharing their frustration about the lack of cleanup. By Monday, Milwaukee Department of Public Works crews were out clearing that pile and others in the neighborhood.

Previous Coverage: https://www.tmj4.com/news/milwaukee-county/it-looks-terrible-milwaukee-residents-frustrated-as-massive-leaf-piles-block-streets-for-over-a-month

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Previous Coverage: https://www.tmj4.com/news/milwaukee-county/milwaukee-residents-frustrated-as-leaf-piles-remain-buried-under-snow-dpw-has-plan-to-address-the-leaves

It was a welcome sight for Andy Butula, who also lives on 89th Street.

“It’ll be nice to be able to park in front of my house and just go in,” Butula said.

Andy Butula

Mike Beiermeister

Andy Butula lives off N 89th St.

The city says a snowstorm in late November slowed leaf collection — and that both operations use the same crews and equipment. That’s why some piles sat for weeks, even months.

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“It just seemed like it would have been easier if it would have been taken care of right away before the snow came,” Butula said.

The leaf pile on N 89th St.

Mike Beiermeister

The leaf pile on N 89th Street as crews began clearing it out.

Crews weren’t able to get to every leaf pile in Cooper Park and around the city on Monday. They plan to clean up remaining piles and are getting help from Mother Nature as warmer conditions are expected to carry on the rest of this week.

Related Coverage: https://www.tmj4.com/news/milwaukee-county/milwaukee-neighbors-frustrated-as-uncollected-leaves-create-hazardous-conditions-after-storm

As crews take advantage of the warmer weather, some neighbors on Milwaukee’s west side are thankful to have things back to normal before the holidays.

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“I’m very pleased… mostly for my neighbors, because it was a front of their homes, but it was bothering all of us,” LaMarre said.

The city says about 90% of city-created piles have been cleared. Next, they’ll focus on large resident-created piles.

DPW

Mike Beiermeister

DPW crews out clearing leaf piles in the Cooper Park neighborhood.

According to a spokesperson with Milwaukee DPW, the deadline for residents to rake leaves to the curb was Sunday, November 30. After that date, crews begin collecting leaves citywide, a process that typically takes two to three weeks. This year, however, a significant early winter snowstorm on November 29 interrupted operations. As a result, crews expect to continue collecting larger leaf piles into the new year. Smaller piles will be addressed in the spring.

“We are thankful to residents for being patient with us as we navigating snow operations and leaf collection at the same time as both operations use same staff and equipment. We are currently lucky to have better weather conditions that our staff is taking advantage of for leaf collection,” the spokesperson said.

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Approximately 90% of city-created piles have been collected. Once that work is completed, crews will shift their focus to large resident-created piles. Some of those resident piles have already been collected as part of the city-pile cleanup process.

Residents may report large leaf piles by submitting a request at milwaukee.gov/Click4Action, through the MKE Mobile app, or by calling 414-286-CITY (2489).

This story was reported on-air by Mike Beiermeister and has been converted to this platform with the assistance of AI. Our editorial team verifies all reporting on all platforms for fairness and accuracy.


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