12 weeks to a vibrant Aurora music scene

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Dear musician friends:

What if 6,000 engaged, attentive listeners could hear your act live?

What if you could quadruple your band’s fan list – before this summer?

What if you got PAID to help make this happen? Would that be worth 3 months of effort from you?

Or let me put it like this: Where do you go to hear and meet the best area musicians? What are the places where artists are coming together to collaborate and audiences are packing in to hear original music – not just one time, but night after night? If Aurora had a place like this, would that be good for our music scene? If you were a central part of it, would it be good for you?

I hope this post doesn’t sound gimmicky. There are a lot of companies now that try to make a quick buck making crazy promises to struggling local artists. You probably know that’s not what I’m about. But I wanted to get your attention. NOT to sell you something else, but to offer you work – and exposure.

This week, I’m considering a new opportunity for local musicians. I’ve been talking with an area arts group that has some resources to do production and marketing far beyond what most local bands can afford. And they’re looking to invest in you.

Here’s what I need: A handful of talented musicians willing to spend 12 weeks getting paid to play covers for audiences who don’t already know who you are. You won’t pick the songs, but you’ll have lots of creative input into your performance. And every week or two, you or your band will play a show of your own. Sound, setup and marketing will all be handled for you. You’ll be part of a team of talented, professional creatives. You won’t be background music or “beer drinking music” – you’ll be the main event. And when you’re done, the area music scene will have something it didn’t have before. And so will you.

You must sing well. You must play at least one instrument well – and the more, the better. You must be hungry enough to work hard, show up on time, and treat your music like a job. And you must be a local solo artist or member of a band that plays original music.

Does that sound like you? I’m not getting into details here – I need to find out first if there’s enough talented, hungry people out there to make this worth doing. I think there are. If you’re one of them and are interested enough to hear more, email me and say so. I’ll share more with you as soon as I can.

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Back for more, I HATE PEOPLE punk metal band in the studio

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I hate people punk metal band recording in the studioIt’s been a month and its time for more punk/metal in the studio… I needed my fix. The guys from I HATE PEOPLE were back to day to record vocal tracks for their upcoming 11 track album. Efficient as ever, the guys laid down tracks for 8 songs in 2.5 hours. If every band recorded this quickly, I’d be outta job for sure. But definitely not short of laughs. These guys know how to have a good time and not take each other too seriously, in fact I don’t think they take each other seriously at all. It’s all jokes and band banter with this band.

It was nice to finally hear the vocals on these songs though. It’s amazing how much that changes things huh? A three chord punk song can get a little boring until you throw in the screaming and feel the energy that makes you want to get up and punch somebody for the love or rock n roll. But its all in good taste. Thanks for screaming my ears off today guys! Next time it’s your face!

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The void spoke back

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It’s all worth it when you push that “play” button for the first time.

Wednesday was one of those moments – actually, it was 74 of them. Most of the musicians who collaborated on Father Peter’s 18-song “Retrospective” piled onto the Backthird chairs and couches, loaded up plates of chicken salad and pretzels and Mary Lou O’Brien’s “Mexican fudge” – and, at long last, pushed play.

This project was an intense one for me and Kyle. Father Peter, who co-leads the 13-city Order of Christ-Sophia, has put out 14 albums in his 11 years as a recording artist. We were honored when he gave us the reigns – and the budget – to re-record the 18 songs his community voted their favorites of his career. He enlisted me as producer and asked me to set the vision for each song, choose the musicians to complement his voice and deliver a better-than-ever result.

Credit the musicians for that one. In case you haven’t heard, we’re developing something of a community here – and I love the way I can hear so many individual contributions on this project. I hear a Dorothy Deen cello solo and realize it’s something I’d never have come up with, or I hear a David Caton bass part and realize he sent a song in a whole new direction the moment he played it. And for me, that’s what Wednesday night was really about – the musicians.

More than half of the two dozen performers on this album turned up for the wrap party – folks like Greg Boerner, Jenn Harding, and a majority of Meathawk and Dick Smith. Since the CDs are hot off the press, it was the first time many of them had heard the record in it’s fully realized form. And it was great to watch them listen.

What made it better, though, was who we got to listen with. A half-dozen members of Father Peter’s community in Chicago joined us for the event, and their appreciation for this project was clear. Father Peter is technically a “national” artist – he travels the country and he’s been on the long list of Grammy nominations several times. But there’s really a core of about 300 people who listen to his music religiously… pun intended. These songs and sentiments are more than entertainment for them; they’re an aid to spiritual growth and devotion. “We will literally wear this record out,” one man told us. “Most of us have heard it a dozen times already.”

Playing the album was great – but the discussion that happened afterward between songwriter, musicians and listeners was even better. Music can be a lonely pursuit at times, even for musicians who play live. We churn out records and sing songs to the back wall of the bar – and there’s a sense of uncertainty that comes with that creative act. Are we accomplishing anything with this? Does anyone actually care? Are we just singing songs into the void?

On Wednesday, we found out the void is people like us. They said “thank you.” So did we.

Thanks to Jazon Etzel for the video above. You can hear – and purchase – Father Peter’s “Retrospective” right here.

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Punk/Metal band “I HATE PEOPLE” in the studio

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I hate people punk metal band in the studioAfter a 4 hour session with local punk/metal band I HATE PEOPLE today, I’ve decided that dollar for dollar punk is the most profitable genre to be in for a band, That or these guys are just lightning fast… It also doesn’t hurt that they are being true to their punk vibe and aren’t afraid to let mistakes be heard on their record, or that half of their songs are under 1:30 in running time. These guys are in to have fun and make a lotta noise and that’s awesome! We recorded drums, bass and guitars for 11 songs in 4 hours.

After years of playing in many bands like Pablo Scooter, Snarmy of Doom and Pound It Out, The guys in IHP formed this band as the “Anti-band” and are focusing their energies on just having fun, not taking themselves too seriously and a lot of wise cracks. Looking forward to having the guys back in February to scream some vocal tracks in your face!

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Recording an Audio book in Spanish with Dr. Lourdes Ferrer

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Lourdes Ferrer  - Professional Speaker and Educator records Audio Book at Backthird AudioMost of the time in the studio at Backthird Audio we’re in the business of recording music and making records. But for the last week I’ve been in the studio with Dr. Lourdes Ferrer recording the audio book version of her book Hispanic Parental Involvement. The book is about empowering and educating Hispanic parents in the United States to be involved with their children’s education, and how the education system in the U.S. works. It outlines 10 competencies parents should learn to help their children to succeed in the U.S. education system and how to overcome the challenges they will face due to the differences in Latin American school systems in comparison to the United States.

Dr. Lourdes, an immigrant from Puerto Rico to the U.S. herself understands first hand the challenges that immigrants face with raising their children in a different culture and education system from that of their home country. She has dedicated her professional life to education, both in the classroom and now as a motivational speaker and author.

Her colorful passion for her work has been a joy to record her audio book with her. While I can only speak a little Spanish recollected from my high school years, It all started to come back to me as we read the book together during the recording process. Wisely, Dr. Lourdes did bring her friend Francisco, fluent in the language to help me catch any mistakes along the way.

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5 questions: session vocalist Mary Lou O’Brien

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Mary Lou O'BrienAfter hearing Mary Lou O’Brien’s performance of “Merry Christmas Baby” on the new Made in Aurora holiday album, I usually get the same questions: “Where did she come from – and why am I just now hearing her?”

Possibly, it’s because you’re not a fan of Cornish folk music. O’Brien has been doing session work in the Chicago area for decades. I asked her to give us the scoop.

1. So where did you come from?
I’ve been working as a studio musician for almost 30 years. (Yikes, I guess I really am that old.) My first act was a traditional wedding band where I cut my teeth. After that I was in a straight ahead rock/funk band; we played a ton of private parties. I was in a Scottish folk band for a minute too! Then there was a trio that played a couple times a month at Mill Race Inn for years. That was the easiest gig ever: the carhops helped load/unload the equipment, the clientele were fantastic and the money was great.

2. How did you get into paid session work?
One of the musicians I was in a band with owns a studio and I started doing work for him. Word of mouth led me to other studios. It’s a lot of fun, even when the material isn’t necessarily my cup of tea.

There have been all sorts of projects. I have a friend who used to play keyboards with Kenny Rogers back in the day – he no longer performs, but he still records and has contacts in Nashville. So I do occasional work for him, and he sells his tunes to the powers that be.

As far as more unusual projects go, one of the more different ones was a collection of Cornish folk tunes. Lots of “fal-de-dal-de-diddle-um-day” stuff. And let me tell you, people of Cornish ancestry are serious as a heart attack in making sure it’s understood they are not English; they’re Cornish.

I also recorded a children’s album that was a gas, as it was one of the only kids’ albums I’ve ever heard that had really good tunes and musicians.

3. What’s your favorite project you’ve done?
I have to say that the Made in Aurora projects have been a blast! I’ve gotten to know and work with the nicest and most talented people. I also judge the Kane County Fair Talent Show every year and really enjoy seeing kids of all ages doing their thing. And I have a weekly piano accompaniment gig for a choir at a senior independent living facility and I play for their cocktail parties. The elderly have always had a very special place in my heart, so this was tailor-made for me.

4. What brought you to music in the first place?
I grew up in a musical family of 8 kids and 2 parents, who were all musical in their own way. I began piano lessons when I was 5 years old and continued until I graduated from high school, where I accompanied the choir and musical productions. I always wanted to sing in these activities, but being the only pianist in a small school, I had to stay behind the piano!

I joined a singing group at my church when I was 17 and stayed in touch with the director long after I left. He and I ended up in 2 different bands together over the years. Through that one connection, I ended up meeting every musician I now know.

5. On Made in Aurora Vol. 1, you did some backing vocals – but on the new album we get you up front. Why did you choose the 2 songs you chose?
Well, Joni Mitchell is always a good idea! Although “River” isn’t a traditional Christmas carol, it is about that time of year and it’s just such a beautiful song. And when I hear “Merry Christmas, Baby”, I get a great visual in my head of hanging by the tree, doing the eggnog boogie.

Some of my favorite moments on the album were just hanging with the boys and watching the tunes come to life. And the toughest part was learning how to do a better job of musically thinking on my feet. But I had great teachers and am most grateful!

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“Behind the curtain” of Made in Aurora with recording engineer Kyle Schmidt

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In preparation for Thursday’s “Making Made in Aurora” open house at Backthird Audio, I asked Kyle to give us his perspective on recording and mixing the second Made in Aurora volume.

There’s a whole “man behind the curtain” perspective that comes with being the recording engineer. I get a unique point of view. I get to see the project take shape from start to finish, and watch each song grow from a basic idea to the product that goes off to the record plant.

My favorite part – and the biggest challenge – is the task of understanding the vision that a band or artist has of the song they are recording, then to help make that vision reality in the form of a complete record. In my mind, instruments and performers become colors on a paint brush, and my job is to blend those colors into a masterpiece that people will want to listen to over and over. Recording the songs for Made In Aurora Vol 2: City of Lights was a special treat: Great musicians, great songs, and great performances. Once those pieces are in place, my job gets easier – and a lot more fun.

Several groups contribute songs to each Made in Aurora project. With many musicians on this album returning for a second time, there was a lot more collaboration than on Volume 1. Everyone had become friends and fans of each other’s music. I’m pretty sure Greg Boerner managed to sneak in and play or sing something on almost every song, whether that meant standing in the corner shaking some jingle bells on HOSS’s “Snow Days” or getting in on the choir for “We Three Kings.” And Greg wasn’t the only one making his way onto several songs. Lisa Gloria peppered her ukulele into several songs, Kevin Trudo took lead vocals on a few numbers and played mando on a couple more… and there are many other examples I could tell you about, but you’ll just have to read the liner notes for that.

One of the most memorable moments for me was the recording of “Merry Christmas Baby” with Mary Lou O’Brien on lead vocals. Both her vocal and all of the instruments were tracked live in a single take. The recording was just a magical intersection where the song, mood and performance all met with perfect harmony. It was definitely a moment that everyone in the room said, “Yeah, man – that was special.”

My job starts with choosing the right microphones to capture the best sounds, listening to the player’s performance, and then finding any holes in the production that need to be filled with additional instruments or voices. The latter is also a role shared by Benjie as producer – and by anyone else that happens to be hanging out in the control room at the time!

Once all the recording was finished, it was time for me to get down to the dirty work of mixing all 16 of the songs recorded. At this point I always feel like I’ve been given a bunch of paint on a canvas and the picture is recognizable – but it lacks definition. It’s my turn to get out that fine-tuned paint brush and do all the touch-up work to bring the recording to life.

Mixing some songs is pretty straightforward – there doesn’t have to be a lot done beyond appropriate EQ, compression, slapping some reverb on the vocals and guitars and then getting all the volume levels right. But there are other mixes where you think, “This song needs something interesting to happen.” The rendition of We Three Kings by Dick Smith was that kind of mix for me. While I was listening, I suddenly had the picture in my mind of a grainy black-and-white film where there was no verbal dialog, just a musical back drop. I wanted to show that picture to the listener by starting the song with a “lo-fi” feel using EQ effects and automation, then slowly bringing in the higher quality sound once the signature melody of the song began. It’s these little things in production and mixing that make the difference.

In the end, I really enjoyed the community vibe of this project. I’ve made a lot of new and closer friends through these albums, and that’s ultimately the kind of feeling we want in our local music community. With any luck this will continue to grow across multiple genres and really prove that there are great musicians all around us, and you don’t have to hear a cover band at a bar to enjoy local music.

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What was it like arranging – and singing – the mayor’s holiday hit?

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recording harp for "Warmest Time"

Recording your own music is one thing – but what does it take to interpret a song you didn’t write? And if the person who wrote it is known around town as “Mr. Mayor”- would that make a difference?

I asked two of the key artists involved in recording Tom and Marilyn Weisner’s song “Christmas is the Warmest Time of the Year” for Made in Aurora Vol. 2: City of Lights to tell us about the process. Here’s what they had to say.

From arranger John Papadolias:

Benjie called me on a Thursday and asked me if I could arrange a Christmas song written by the Weisners. We were going for a jazz swing style arrangement that feels like it belongs in the ’40s or ’50s. I have always been drawn to the “big band with strings” sound. It is a perfect marriage of jazz and classical music. Sinatra did it.

Putting together and big band and orchestra takes time that we didn’t have, so I scaled down the parts: guitar and upright bass for the swing feel, and harp, violin and cello in four-part harmony for the classical feel. I still had the Sinatra thing in my head.

I remember playing at a party and Kevin Trudo sat in on that wonderful old standard “All of Me” by Simons & Marks. Kevin was the voice for this project. We tracked the rhythm parts on a Tuesday, upright bass the following Thursday and finished up with the strings and Kevin that Saturday morning. It was an easy process. I have family and friends to lean on. They made it happen.

from vocalist Kevin Trudo:

I’ve been singing standards (poorly) for as long as I can remember. I went to school for vocal performance at a college with a music program that was very much geared toward jazz. I grew up with songs my father and grandfather sang after dinner and Duke Ellington was one of my first loves. So I should be good at it.

But I’ve spent a lot of time singing dirty folk songs and hiding this part of me. I was pretty amazed to be asked to sing a “pretty” song. I’m surrounded by better singers and folks with the skill and reputation for singing soaring melodies and tin-pan-alley hooks. Me? I write songs. I’m not the go-to guy to sing a Christmas tune.

Nevertheless I was asked and was sent a fantastic demo of a fantastic tune that scared the crap outta me. First thing, Tom and Marilyn Weisner wrote it. Dude. That’s the Mayor and Aurora’s first lady. I’m over my head.

Then, John Papadolius arranged. I’ve been a fan of his for years and he’s a real jazz guy. I’m WAY over my head.

Finally, I got a demo with Vic Hawks on it. I’ve known Vic since grade school and he’s the real deal. That dude’s on Broadway.

I’m completely hosed.

But I got it, and I’m too proud to say no. So I loaded the tune into my phone and took it everywhere for 2 weeks. Yup. I’m hosed. I get in the box to sing it – and I was scared. You know what’s calming? When the writer and arranger show up for the session. No pressure. Another very comforting thing? Having spent 2 weeks hearing it wrong.

But, man. There’s nothing better than something scary after you’ve done it. Do it, y’all. Scare yourselves. It’s worth it. I did my best and I hope it makes you happy. Thanks for being a part of this – and happy holidays.

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Andrea Dawn on musical cousins, bitter Christmases, and Made in Aurora Vol. 2

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I’m writing this on Jeremy Keen’s laptop. I borrow it all the time to do demoing for my new album, due out early 2012. I met Jeremy at Community Christian Church in 2008, and he told me about this gathering of musicians called The Guild at this Aurora recording studio, Backthird Audio. I had no idea what would grow from that seed. I met these brilliantly strange people named Ben Thomas, Kevin Trudo, recently Steve Warrenfeltz, and many many more.

The last 3 years I’ve spent my Christmas seasons uncovering hidden holiday music with Thomas, Keen, Benjie Hughes, Mandy Hughes, David Yeager, and my husband Zach for the annual Tiny Candle Christmas show. I’ve rapped, I’ve sung, I’ve danced, I’ve played wine glasses full of water… I’ve been pushed out of my shell. I’ve also worked these last few years on City of Lights, the home-grown, multi-artist, Christmas brainchild of Keen. This is all a whole heck-of-a-lot of Christmas cheer for a Scrooge like me.

It’s true; I don’t totally love the Christmas season. The last time I saw Ben Thomas he told me it just isn’t Christmas to him without a little bit of my bitterness towards the season.

And I can say, even for me, that it isn’t Christmas without my Aurora musical family. And they all fit the family bill just right.

I think it’s safe to say that my family has grown this year with the merging of the Made in Aurora and City of Lights projects to create Made In Aurora Vol. 2: City of Lights. (See what we did there sneaking both projects into the title? Creative folks here.) I’ve gained an insightful hippie uncle in Steve Warrenfeltz, the owner of Kiss The Sky record store in Geneva, Illinois, and executive producer of the MiA albums. I’ve gained an artistic, easy-going cousin in Lisa Gloria, and a little relief from so much testosterone. And about 40 male cousins, twice removed, who write dirty things in the Backthird guest book. But I love them anyway.

This year, even though Tiny Candle is on sabbatical, I feel just as bonded with my Aurora family through the MiA project – but much less stressed. And with some time to see my real family, who I think might miss me. Before that, though, our little musical version of Island of The Lost Toys – where everyone is special in more ways than one, but ultimately brilliant – will be releasing the new album on Nov. 25, then playing a release show at The Copley Theater on Dec. 18.

You should probably come.

Andrea Dawn lives, plays, writes, records and performs in downtown Aurora, Illinois. She led two songs – “War is Over” and “Mr. Evergreen” – on Made in Aurora Vol. 2, and sang backup on a bunch more. You can hear the first single and video now on Youtube.

Past Tiny Candle and City of Lights CDs are now bundled with the new Made in Aurora album, available now online.

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5 Questions: Steve Wick of Resonance Audio

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Steve WickSteve Wick has made music his career since the late ‘80s, working by varying turns as a live network board engineer and announcer for radio, a program producer, a staff composer, a Foley artist, a sound designer and session guitar player. He currently works as a self-employed independent media producer and music composer under the business name Resonance Audio.

1. How do you get work?
100% of the work I am involved with today is via word of mouth. What I’ve found is that it doesn’t matter how good your website is or how well-thought out your business plan, unless you have real people out there saying how satisfied they were with your work, you’ll not grow or get work. Anybody can create a sparkly facade of talent and professionalism, but few can actually back it up. You need to methodically prove yourself and build a market base over time.

I worked for many years at a radio network and then a studio where I had many opportunities and met a lot of people. I made it a point to keep in touch with many of them because of similar interests. When I would hear from them about an opportunity, no matter how small, I would go all-out on it, not making money an issue. I apparently made an impression because many of them called me back! Many of the folks I’m working with today go back 20+ years. And then there are those I’ve worked with who refer me. I just got a call this week from an indie producer in Kansas wanting music for a radio production he’s working on. I’ve never met him! The ONLY reason he called is because of good work I did for two other clients.

2. What’s the toughest job you’ve done?
Years ago I was contacted to write and record a simple music theme for an audio book. I wrote what I thought was a nice piece based on the client’s requests. The guy who called me loved what I came up with – so I continued on it, filling it out to spec and finishing off the instrumentation. A few days later I got a call from the same guy, telling me that a couple others on the “creative team” had some issues with the music in places. Could I adjust?

I said ok, as it’s common to make tweaks. We went back and forth several more times to please even other folks. Then I got this call: “So Steve, the cleaning lady in the office – who is also a musician – overheard us reviewing the most recent version and she had some comments on the arrangement.”

This simple project was suddenly a study in art-by-committee, which rarely works. I had to draw the line and tell them that I would need to bump my compensation if further revisions were to be made. They signed off on the one I sent following that conversation.

The lessoned learned was to always ask up front, “Who is the ONE person making the final creative decisions on the project?” If there isn’t anyone specific, I encourage the client to find one.  That’s the person I deal with.

3. How has music changed since you started? Where are the opportunities now for musicians?
I remember when a “holy grail” Yamaha DX7 synth cost $4,000 – I saw a used one on sale recently for $100. Most of the classic, highly sought-after synths and music technology are now also available as software instrument “plug ins” at a fraction of the old prices, and they’re much more powerful.

Technology has progressed to where now it is possible for anyone in a bedroom studio or basement to obtain the equipment needed to produce, record, sell and get a song on the radio independently.  However, that is also the downside to the current music biz. With so many people calling themselves “musicians” and clamoring to be listened to, it’s harder than ever to get your voice heard–even if you are amazing (even success on American Idol does not guarantee a lasting career).

More than ever before, an artist needs to be authentic and highly creative not only in their art, but also in the way they present themselves. Getting music out there has always been about good business practice – the difference is that today most musicians are choosing to do it solo or with very little help and, unfortunately, experience. But if you can create some buzz around your product, work hard and make people happy, you’ll have some measure of success.

4. What would you differently if you were starting over now, from scratch?
I would freak out less about the equipment and focus more on the craft. I spent several years when I first started out dropping a ton of money and effort on all kinds of stuff I thought I needed to run a good studio and make me sound good. I’ve since unloaded much of it on Ebay. What I’ve learned is that if you are a mediocre artist distracted by gear lust, it doesn’t matter how much money you throw at your craft –  you will just make your mediocre efforts sound a little better. Work on making quality art with a minimum of “stuff.” A great mic, clean preamp and properly treated recording space are 90% of a great sound. Throw in some creativity, talent and a good ear and you’ve got something.

5. What’s the most unusual job you’ve done?
I once was hired by a local musician to be in the house band for a concert video shoot. When I got there, I was told that I would be playing “electric air guitar” and to act like it was really me playing. So I did. Easiest gig ever – it was 90 minutes of me jamming flawlessly, guitar unplugged, never sounding better. I’ve treasured my copy of the final DVD product and still laugh about it when I see the other guys who were on stage with me that night.

Find Resonance Audio online and on Facebook, or sample Steve’s original instrumental guitar recordings at stevewick.com.

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