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22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">“Only the anachronism has a chance to outlast the epoch,” the Atrian thor Franz Werfel wrote, the early neteen-forti. At a time of dizzyg cultural change, Werfel saw a hidn advantage the art work that lags behd, s gaze averted to the past. Like many good aphorisms, Werfel’s sayg is a dub assertn that pots to a plex tth. Perceptns of athetic currency—what is morn, what is outmod—grow blurry as time pass and prri shift. Hero of the vanguard lose ltre, background figur beg to she. To be anachronistic is to be outsi one’s time; do not le out belongg to the future.</p><p class="paywall">Sergei Rachmanoff, the foc of this summer’s Bard Mic Ftival, at Bard College, upstate New York, was almost universally nsired a throwback durg his lifetime. Progrsiv srned him as a purveyor of late-Romantic schlock. Conservativ cherished him as a bulwark agast atonal chaos. Neher si saw him as novative. In 1939, four years before his ath, Rachmanoff wrote, “I feel like a ghost wanrg a world grown alien.” Nohels, he enjoyed immense populary, which he retas today. The Send and Third Piano Concertos and the “Rhapsody on a Theme of Pagani” are fixtur of the repertory; the Send Symphony and the “Symphonic Danc” are steady circulatn; the “All-Night Vigil” is beloved of choral groups; the Prelu C-Sharp Mor is a standby at piano petns.</p><p class="paywall">Can such a figure really be emed an anachronism? The issue me up a panel discsn at Bard, and recurs a pann volume, “Rachmanoff and His World,” which the milogist Philip Ross Bullock eded for the ocsn. How to suate a nservative-seemg poser vis-à-vis mornism is a faiar topic at Bard ftivals: surfaced past examatns of Sibeli, Elgar, and Korngold, and will surely arise aga next year, when Vghan Williams has his turn. At the lloqui, someone evably propos that Composer X is more of a mornist than had hherto been spected. This year, the historian Rebec Mchell noted Rachmanoff’s lks to advanced Mosw circl, his tert jazz, his love of fast rs. She ced Marshall Berman’s fn of the mornist as one who is “at home this maelstrom.” The man who met both Leo Tolstoy and Walt Disney fs this scriptn.</p><p class="paywall">One aspect of Rachmanoff’s legacy that serv greater scty is his peculiar ronance wh early-twentieth-century Amerin pop mic. Gee Gershw, the son of Rsian immigrants, uld not have posed “Rhapsody Blue” whout the example of the Rachmanoff ncertos. Frank Satra sang no fewer than three numbers spired by them om the Send Concerto, which was wrten 1900 and 1901: “I Thk of You,” “Full Moon and Empty Arms,” and “All by Myself.” Whenever I hear those tun their origal ntexts, I have a sense of time warpg: a subject of the Tsar is wrg for T Pan Alley. Rachmanoff pos a historil mystery eper than the quat clash of the morns and the nservativ.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">In terms of raw mil talent, Rachmanoff had few ntemporary rivals. Born 1873, he was one of the supreme piano virtuosos of his generatn, exhibg a personaly that his lleague Josef Hofmann lled “steel and gold.” He was a gifted nductor, leadg two notable seasons at the Bolshoi Theatre. And he mastered posn his teens, wng the approval of none other than Tchaikovsky. The Tchaikovsky formula—voluptuo melodi embedd classil stctur—beme Rachmanoff’s own, although he add layers of Debsyan harmony and Wagnerian orchtratn. The thoroughns of his trag is evint his meticulo craftsmanship, which even his harsht crics uld not ny.</p><p class="paywall">Those chart-toppg them, for example, have a way of emergg om terse motivic cells—a smatterg of tervals om a narrow stretch of the sle. On close spectn, the cells often show a kship to the medieval chant Di Irae—Day of Wrath—which Rachmanoff ced obssively throughout his life. His knack for wrgg luxur lyricism om elemental materials is on spectacular display the Eighteenth Variatn of the Pagani Rhapsody. That arch-romantic effn, which serv as a plot pot “The Story of Three Lov,” “Somewhere Time,” and “Groundhog Day,” is rived om Pagani’s tune by way of a trick of versn: where the one go up a mor third, the other go down a mor third; where the one go down a mor send, the other go up a mor send; and so on.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">The bt Rachmanoff performanc illumate the ternnectedns of his language. It’s not enough to pound out the big tun and the thunro double octav; players mt also animate the lightly skterg, almost Menlssohnian passagework that surrounds the splashy moments. At Bard, the young Mosw-born pianist Andrey Gugn proved apt at this sort of quicksilver figuratn. At the openg ncert of the ftival—I attend the first of two weekends—Gugn offered Rachmanoff’s piano transcriptn of three movements om Bach’s Third Parta for vl. The arrangement is a distctly eewheelg treatment of Bach, and reprents somethg more tertg than a fahful adaptatn: documents one major poser listeng to and learng om another.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">Repetn is another key to Rachmanoff’s stctur. At the same ncert, the Viano Strg Quartet, a superb North Amerin group, played the unfished Send Quartet, which mak one regret that Rachmanoff neglected chamber mic his matury. Its slow movement, C mor, is built on a mmerizg cello ostato, risg by slar steps om C to F and then back down. The vls later troduce a ntrary pattern that mov by chromatic steps. Siar vic kn together the doleful sprawl of “The Isle of the Dead,” which received a rich-hued performance om the graduate-level stunt players of <em class="small">TŌN</em> (the Orchtra Now), unr the directn of Leon Botste, Bard’s print and the ftival’s founr. At a subsequent panel, the milogist Mara Frolova-Walker half jokgly scribed Rachmanoff as a proto-mimalist.</p><p class="paywall">Conventnal wisdom has long held that Rachmanoff lost his creative fire after he left Rsia the wake of the Bolshevik Revolutn. Certaly, his productivy dwdled after 1917: his fal twenty-six years, he pleted only six major works. Furthermore, he all but stopped settg texts Rsian, cuttg short a major reer as a vol and dramatic poser. On a Sunday morng at Bard, we heard a cross-sectn of Rachmanoff’s fely varied body of songs, wh arrtg performanc by Alexis Semar, Rebec Rgle Kamarei, Tyler Dunn, and Zhanna Alkhazova. Later that day, Botste led the one-act opera “The Miserly Knight,” wh Nathan Berg givg an imprsively glowerg acunt of the tle role. It’s impossible not to wonr what Rachmanoff might have produced the way of large-sle opera—his three fished operas are all one-acters—if history had turned a different directn.</p><p class="paywall">Rachmanoff’s output may have grown sparse, but his fal major works, the Third Symphony and the “Symphonic Danc,” are among his ft, most discipled creatns. The Third wasn’t on the Bard program, but July I ught a vibrant rendn by performers om the Mic Amy, Santa Barbara. The nductor was Stéphane Denève, who smartly paired Rachmanoff wh Ravel—the send sue om “Daphnis et Chloé.” Bursts of kaleidospic orchtratn the symphony suggt Ravel’s fluence. In ntradictn to Rachmanoff’s public image as a dour spir, his late sr have a smopolan veneer and a sly, ironic tone. At the same time, the Di Irae keeps tollg omoly through them: at the end of the Third, the chant is given an up-tempo, synpated arrangement, as if a dance orchtra were announcg the end of time.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">When classil-mic anizatns prent Rsian mic the days, they often try to distance , whether subtly or explicly, om the btal regime that is wagg war on Ukrae. Denève, addrsg the Santa Barbara dience before the Third, potedly mentned Rachmanoff’s ternatnal nnectns. At Bard, the first person to e onstage was the formidable young Ukraian pianist Artem Yasynskyy, who lnched to an exceptnally grim, ward acunt of the C-Sharp-Mor Prelu. At a panel discsn, Frolova-Walker, who has lived the Uned Kgdom sce 1994, said that the Rsian asslt on Ukrae has changed her perceptn of Rachmanoff’s time exile. “I feel some of the anger and some of the bterns that he mt have felt a hundred tim more,” Frolova-Walker explaed. “It’s a sense of shame, a sense of horror, a sense of the tragic loss of a untry which is still you but which is dog the horrible thgs.”</p><p class="paywall">Vladimir Put, for his part, has attempted to claim Rachmanoff as a personal ornament. In 2013, the Rsian lear floated the ia of buyg Villa Senar, Rachmanoff’s Swiss tate. The effort went nowhere, and the villa now belongs to the nton of Lucerne. There has also been talk of somehow removg the poser’s body om s rtg place, Valhalla, New York. In June, Mosw, the first edn of the Rachmanoff Internatnal Competn for Pianists, Composers, and Conductors took place. Piano nttants me om all of four untri: Rsia, Cha, Belas, and Brazil. Denis Matsuev, the petn’s director, said a vio, “Rachmanoff’s mic is Rsia. When you hear this mic, you image the vast expans of our nature, their sheer sle, the woods. This is mic wh a huge sigh.” On the last pot, there n be ltle argument. ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box ArticlePageSplAdRail-OyjwD jikppc"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="ArticlePageSplAdRailContent-jsltpq iZDmmY spl-ad-rail-ntent"><div class="ArticlePageSplAdRailTop-jUrrVY jzzFg"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="ybhvm"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot 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class="GridItem-buujkM kHPPIF grid--em"><div class="SummaryCollectnGridContent-eVUpRm jTGbEO"><div class="SectnTleRoot-dBGvdq hpRFVl SummaryCollectnGridSectnTle-fCmYwG izjbVn" data-ttid="SectnTle"><hear class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SectnTleHed-dKqZet dxqEAa jfOfxc jttyjJ">Read More</hear></div><div class="SummaryCollectnGridItems-DZShR jBCYOL hi-read-more-ad" data-ttid="SummaryCollectnGridItems"><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Upper Wt Si Cult That Hid Pla Sight" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Unr Review</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-1" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">The Upper Wt Si Cult That Hid Pla Sight</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">In the sixti and seventi, the Sullivanian Instute had a wng sal pch for young New Yorkers: parti, sex, low rent, and affordable therapy.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Jsi Wter</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Novelist Whose Inventns Went Too Far" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Life and Letters</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">The Novelist Whose Inventns Went Too Far</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">After the Ao-Cuban wrer H. G. Carrillo died, his hband learned that almost everythg the wrer had shared about his life was ma up—cludg his Cuban inty.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>D. T. Max</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Are You the Same Person You Used to Be?" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Annals of Inquiry</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">Are You the Same Person You Used to Be?</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">Rearchers have studied how much of our personaly is set om childhood, but what you’re like isn’t who you are.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Joshua Rothman</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz ktcjQn"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 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summary-em__k">Interviews and e-mails wh expedn lears and employe reveal how OceanGate ignored sperate warngs om si and outsi the pany. “It’s a lemon,” one wrote.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Ben Tb</span></span></p></div></div></div></div></div></div><div class="AdWrapper-dQtivb fZrssQ SummaryCollectnGridSummaryItem-WColm hKqhyj ad ad--read-more"><div class="ad__slot ad__slot--read-more" data-no-id="202wl"></div></div></div><div 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