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Wednesday, April 30, 2008

The Homecoming — Full Length

Posted By on Wed, Apr 30, 2008 at 3:17 PM

Greetings Solid State!

Today's edition of the paper featured a portion of an interview I recently conducted with Gabby and Burette Doulgas of  The Cush. Due to space limitations, I was only able print about a third of the conversation. What follows is that interview, in its entirety. Enjoy!


There’s been a noticeable void in the Burlington music scene for the last six months or so as Gabrielle and Burette Douglas of psychedelic rock outfit The Cush retreated to the sunny climes of their home state of Texas for the winter. Long one of the area’s most revered acts, the return of these particular snowbirds is a welcome sight, particularly after yet another long, cold and eerily quiet Vermont winter.
    Seven Days recently caught up with the husband and wife duo at Muddy Waters Café in Burlington in advance of their homecoming gig this Thursday at Higher Ground.

SD: You guys were doing a lot of recording Texas, so when can we expect the new album?
BURETTE DOUGLAS: We don’t know. If we get set up here [Burlington] in time . . . it just depends on how much we get done. If we get enough done, it might be a full record. Or we might do an EP and the hold on to the rest.
    We have a residency tour next month; we’re doing every Tuesday at Pete’s Candy Store in New York City and every Wednesday at The Fire in Philadelphia. And we have some fill in dates in between.
    So we’re gonna do that next month and then back on the recording, concentrate on that and have something by the fall. We have about 30 minutes of music right now.

SD: What’s the lineup nowadays?
GABRIELLE DOUGLAS: Our friend Cody Lee is playing drums with us. He’s from Texas. He played in our old band for about seven years and went over to England with us. It’s been going great. It’s a three-piece so far.

BD: The band’s been morphing for the last few years it seems like. But it’s always like that.

SD: That must have quite an effect on your music.
BD: A little bit, you know. At first we were real worried about it. We used to be a five-piece. And then we were a four-piece with keyboards and stuff. The biggest thing was playing as a three-piece without the keyboard parts.
    The first time we did it, it was for people who had seen us like a million times and they were like “Oh man, the three-piece is my favorite.” So that was reassuring.

GB: Especially in Dallas-Ft. Worth, our friends there have been with us through so many different phases and they were like, “with the three-piece there’s nothing missing. It sounds just as full.”
    Any time you have more members and then break it down, it pushes you in a creative way to figure out how you can play the melody that might be missing.

BD: It puts the songs across in their most basic form. Which is good. You can definitely hear the singing better. We’re trying to concentrate a little bit more on creating sounds with harmonies.

SD: So are the recordings in that stripped-down kind of vein?
BD: A little bit. While we were there [Texas], we recorded drum tracks and they had a piano. So anything we wanted piano on . . . right now it’s kind of piano heavy.
    We have other songs that we’d never recorded with The Cush that we’re going to do up here. We’d like to record Steve [Hadeka] on some stuff because he’s never been on one of records and he was with us for a couple of years.
    I don’t think it’ll be “stripped-down.” I don’t know, there’ll probably be some stuff that’ll still be . . .

GD: It’ll still have all the ear candy.

BD: Right. You know how it is. The record’s one thing and the live show is a little different.

GD: The thing is that it’s happened naturally. Every time we get ready to record, we never have too much of a structured idea of “this is how it’s going to sound.” It just evolves.

BD: I thought the last record was going to be pretty random. There were some songs that I thought didn’t really fit in. But I got out-voted. But then in the end, they really do fit in.
    So right now, we’ve recorded all these ideas that we’ve had. And listening back, it’s kind of all over the place. But by the time we’re done, it’ll be pretty interesting.

SD: How does the scene in Dallas-Ft. Worth differ from Burlington?
GD: Well, one thing is that everything is really big there. We came from Dallas and there was definitely a big music scene there, at the time. But it’s real spread out.
    Here, you’ll walk down the street and you’ll be like “Oh, I saw that guy playing at the Radio Bean last night.” You kind of know who does what and it’s a small small enough place where you could go up to someone and say, “Hey, do you want come over and do some recording?” It’s really cool. There, not really so much. It’s more clique-ish.

BD: There’s not a community there, like there is here, the overall support. You have that in cliques and certain groups. But it’s such a big place, it’s hard for people to come together.
    It's pretty competitive out there. We went back to the places we used to play, like 10 years ago in Dallas. It was crazy. All the stages are really big there, so you have places about the size of Higher Ground, but you'll have 10 of those in like three blocks. And it's like that in Austin too. So it's definitely real competitive for bands to get gigs.
    We went there and that whole part of time is all closed up. The scene just dried up. There's little pockets . . .

GD: We had noticed that before we left. We used to live right around the corner from those places and right before we left, it was changing. And we weren't too interested in the vibe. We'd experienced Texas, Austin . . . and we really like the Northeast. So, going back, it was really reaffirming in a lot of ways.

BD: Dallas got less cool and Ft. Worth got a lot cooler. There's a lot of good bands, that's for sure.

GD: South by Southwest was amazing. Austin still seems to be the place. But it is very competitive.

BD: Texas is so big that it's kinda like its own country. So for a lot of bands, just to be a big band in Texas is a big deal because it's a lot of space to cover. And there's really nowhere else to go. Oklahoma City, New Orleans, anywhere else you're gonna be on tour . . . and we've done that. So be up here, to be able to play in other large cities that are really close is a good thing for us. And it still is.

GD: And with the price of gas, it's going to make touring that much more difficult, especially in Texas.

SD: I've actually been wondering when you're going to start seeing effects from that, seeing fewer bands touring because they simply can't afford gas.
BD: I mean, this May, we're going to have to stay in New York instead of coming back to Vermont each week, because that's like $200 bucks each time.

SD: That's a sad commentary when it's cheaper to stay in NYC than to come home. But you guys were able to tour to and from Texas?
BD: We toured down with Ryan [Power]. He was going to visit his brother [in Arkansas], so it was a good way for him to get out of town. Ryan is pretty much a permanent member.
    We played a few bars, but we played a lot of collectives. And those places are always the best. They pay you better, it's more supportive. It worked out really well because between either him or us, we knew people in every town. We didn't make any money, but we definitely paid our way down there. And we played a little bit while we were down there.
    Basically the tour back up was we could either drive up. Or we could drive up and play shows.

GD: St. Louis was cool. There are quite a few folks out there that know us and were there to see us. They found us on MySpace and had been fans for a couple of years.

SD: Ah, the wonders of MySpace!
BD: It's interesting to see, the whole MySpace thing. We've been around since the '90s and it's a lot easier now. People already know you, they already know your songs. That's really neat.

GD: Every place we played, Chicago, Philadelphia, St. Louis, Columbus . . . there was a really good reception. People bought CDs, they knew who we were.

BD: And, on the way down, we played DC and got an e-mail from this guy, Luke Erickson, who was interested in managing us, which we've been waiting on for years. He's from Vermont, but he just got a job with Gold Mountain Entertainment which manages folks like Steve Earle, Band of Horses and a lot of other good bands. He asked us if we need any help.
    We didn't even meet him until South By Southwest. We'd just talked to him on the phone. But he had some ideas for us and has been working some things out. It's been a big help, but it's something we needed like, two years ago.
    We had that distribution deal with Undertow and they distributed our record. But that was about it.
    We're trying to just build our own team. We can record our own records. Indie labels don't have any money. And we have friends on major labels and the labels are telling them that they're not going to do anything special. So what's the point?
    Everybody wants to be independent now, so if we can just build our own little team . . .

GD: Before, not only were we creatively producing the music, but we were trying to promote the band too. And that's a lot of work. We both have day jobs and it's like having a second job. We just knew that if we stuck with it, one day we'd have a pool of people. And that's happening now.

SD: You guys spent some time in England last summer. Any plans to go back?
BD: A label in England, Sonic Cathedral, is going to put out a single from out last record and maybe a new song, we're not sure. That's going to come out this summer and we'll be on a compilation at the end of the year.
    Going to England was cool. We sort of broke into this whole underground psychedelic thing that I never really knew was out there. It's a pretty big scene over there. It's totally different from what you would expect. It's not all druggy or whatever. It's about cool art.

GD: It reminded me a lot of Vermont, actually. There's a community there. there's artists supporting artists and spreading the word about each other.. There's a couple of festivals that want to have us back in July and we want to book some shows in London. But we understand that it's really expensive to do that so . . .

BD: We paid our way to get over there the first time and we knew that if we went it would help open some doors, which it did. But we'll see what happens.

SD: So are are you guys glad to be back?
GD: Yes!
BD: Absolutely.

Tuesday, April 29, 2008

Scarlett Fever

Posted By on Tue, Apr 29, 2008 at 5:19 PM

Some of you are likely aware that husky-voiced blonde bombshell, Scarlett Johansson, has been recording an album of Tom Waits covers — with a little help from Ziggy Stardust himself, David Bowie, no less — due out next month. Actors turning to music — whether out of boredom, the need to stave off "Where Are They Now?" status for a few seconds longer or laboring under genuine delusions that they posess actual musical talent — is hardly a new phenomenon. But that doesn't mean it should be allowed to continue.

To wit, who could forget gems such as Tony Danza's The House I Live In? Or Alyssa Milano's Look In My Heart? (We're still waiting on records from Judith Light or Danny Pintauro to complete the "Who's The Boss" hat trick of ignominy). Better yet, whose collection could possibly be complete without Bruce Willis' The Universal Masters Collection? Seriously? He has a whole fucking "Masters Collection?" Die hard indeed. Joey Lawrence box set anyone? How about a Scott Baio Complete Masterworks?

There are, of course, exceptions to every rule. William Shatner's spoken word stuff, while not explicitly "good," per se, is at least oddly entertaining. Billy Bob Thornton is actually pretty decent as well — though he was a musician long before Sling Blade. And Zooey Deschanel's work with M. Ward as She & Him is simply fantastic. Generally speaking though, the forays of actors into music are almost always embarrassingly awful, bringing us back to Ms. Johansson and Tom Waits.

Like any number of red-blooded, heterosexual American males, I love Scarlett Johansson — though not in a creepy Internet-stalker kind of way, mind you . . . ahem. And like any number of superficially depressed American high school students, I was weaned on Tom Waits — in particular, The Early Years Vols. 1 & 2. The gravelly voiced saloon troubadour was a staple on practically every romantically motivated mix-tape I made from the time I was 16. Perhaps that explains why I never had a girlfriend in high school . . . but I digress.

In any event, I adore Tom Waits. Every serious music fan has certain artists they hold as "untouchable," songwriters for whom it is near sacrilege for anyone to attempt to cover — ironically, those are exactly the types of usually iconic artists whose songs are most often done by others. For me, Tom Waits is that artist. Go ahead and hack up Dylan. Release a box set of Beatles tributes. I couldn't care less. But don't mess with Tom.

In order, the ten most egregious offenses of Waits-icide — in my opinion, a crime worthy of punishment by death or a career writing jingles for Burger King — are as follows:
10. Rod Stewart -"Downtown Train"
9. Everything but The Girl - "Downtown Train"
8. Mary Chapin Carpenter - "Downtown Train"
7. Patty Smyth - "Downtown Train"
6. The Manhattan Transfer - "Foreign Affair"
5. The Walkabouts - "Yesterday Is Here"
4. Bette Midler - "Shiver Me Timbers"   
3. Meatloaf - "Martha"
2. Rod Stewart - "Tom Traubert's Blues"
1. Hootie & The Blowfish - "I Hope That I Don't Fall In Love With You"


Given my affection for both Scarlett Johansson and Tom Waits, I view the former's upcoming release with a conflicted morbidity. The karaoke scene in Lost In Translation proved Johansson can sing. But does anyone really believe she's artistically capable of pulling off a Waits cover album? Of course not. That's like asking Marylin Monroe to do Sinatra . . . or algebra, for that matter.

Sadly, judging by "Falling Down," the first video from the album posted today by Pitchfork — who couldn't even bring themselves to "Pitchfork" it, fer chrissakes! — my suspicions/fears appear to be confirmed. Check it out and see if you don't agree. Sigh . . .

Now, if you'll excuse me, I'm going to go listen to Baio's "How Do You Talk To Girls?" on repeat and have myself a good cry.


Monday, April 28, 2008

Workers Benny!

Posted By on Mon, Apr 28, 2008 at 2:51 PM

I just got a phone call from the Vermont Worker's Center and wanted to quickly fill you all in on an event happening... TONIGHT!

Today is Workers Memorial Day, and to commemorate the occasion, the Vermont Worker's Center is holding a benefit at The Monkey House. Yep, that's right. Ryan Smith is very quickly becoming the community host to all good causes.

Workingman's Army will be performing, along with the new Vermont Workers Center labor chorus. I have no idea what that is, but it definitely piques my curiosity!

Door cost is simply a donation of your choosing, and the event is 18+. Everything starts at 8 PM.

It's been a busy week for the Vermont Worker's Center, with their 10th Anniversary dinner last night in Barre. I might try to swing by tonight, but if I don't make it, good luck to the cause!

Par-Tay for the Bay-Bays!

Posted By on Mon, Apr 28, 2008 at 12:08 PM

Do any of our readers have bay-bays? I do not, but I do still manage to keep my finger on the pulse of local and national kids' music, and coming right up is an event worth mentioning.

It has been ten years since local act Robert, Gigi, and Carol released their first CD, "Like the Birdies Sing". While those of you not strapped with kiddies might have never heard of the trio, you likely do know Robert Resnik, if not for his VPR show, "All the Traditions," then at the very least for his CD reviews in Seven Days.

While the trio now performs as a duo, minus Carol, the three will be reuniting for their anniversary, May 24 at Fletcher Free Library. The show runs from 2-4 pm and is free, but money from CD sales will benefit special programs for children and adults.

I started attending weekly Robert and Gigi shows at the library shortly after I became a nanny. And continued to attend for over a year. So I speak from experience when I say that those shows are like a local mommy/nanny/baby social hour, and in incredibly high demand.

No, seriously.

In order to be allowed into the shows, we would have to remember to call the library a full month in advance to register for the next month. If we were too late in calling and the list was filled, we would have to arrive early each week and wait in line, at the slim chance of taking the place of a no-show. And when I say 'wait in line' I really mean it. That staircase in the children's section of the Fletcher Free was packed with babies from all over the block.

To the under five crowd, Robert and Gigi are total rock stars.

So if you have a baby, and you have a chance, you should definitely check out this show. For more information (or perhaps to question about capacity? and time to arrive?) you can call 865-7216. Or, if you'd like to do your part to help the cause and order a copy of the CD, email Robert at

Friday, April 25, 2008

No New Deal. For Real? How Bizarre . . .

Posted By on Fri, Apr 25, 2008 at 3:09 PM

Happy Friday, Solid State!

I just got wind of some pretty exciting Jazz Fest news. And guess what? It has nothing to do with jazz!

The Magic Hat Block Party on Church Street has become something of a yearly staple and is usually my favorite night of the festival. In fact, my coverage of last year's installment prompted the first round of bizarre hate mail directed at yours truly. Gosh, it seems like only yesterday . . .

Anyway, this year the ever-expanding brew-meisters are mixing things up a bit, veering from the typical jam/funk schmaltz that usually dominates the Block Party lineup and going strictly localvore. Frankly, I rallied for this for years when I was an MH employee. But my pleas always seemed to fall on deaf ears. I also lobbied to bring back Humble Patience, Heart of Darkness and Blind Faith . . . still waiting on those, I'm afraid.

Anyway, Magic Hat has certainly carved out a niche for itself in the jam band scene and has a noticeable presence at summer wiggle-fests like Gathering of the Vibes, FloydFest and Bonnaroo. So, in some ways, it was only natural that their local events almost always featured non-local hyphenated-hybrid acts — or, fucking jam bands. Boring, but natural.

With performances by Swale and Mathematicians at last year's Block Party, MH dipped its toes in the local/regional indie-rock water — a big step forward following The Great Jazz Guys Jazz Fest Debacle a few years back. Apparently, it took. This year the newly re-named "Magic Hat Bizarre" will exclusively feature local acts, representing a commendable cross-section of Vermont music.

Unfortunately, I can't divulge the entire lineup at present. But I have been given the green light to leak some highlights. Here they are:

Aussie cock-rockers Led LO/CO will headline the top block stage. Apparently they've once again been granted a brief release from prison. Why they always choose to spend their free time in VT remains a mystery.

Other stages will feature S'nalbans' finest, Farm, who are still pounding out new tracks in the Cave of Legends for a new disc. Also, um, on tap are The Aztext — I'm wagering this marks the first hip-hop performance in Block Party, or perhaps even Jazz Fest history — and a new project from Matt Hayes, the pedal steel player from rumored-to-be-defunct truck-stop rockers Chuch.

There's plenty more in the works and as info becomes available, I'll be sure to let you know.

Have a great weekend!

Thursday, April 24, 2008

Langdon Street Follies

Posted By on Thu, Apr 24, 2008 at 6:56 PM

Sigh . . .

The new 7D events calendar has been a hot topic of late. And now that we've re-vamped how the listings appear in print, I imagine the buzz is reaching a fevered pitch. Especially in Montpelier.

This pains and embarrasses me to have to write, but the listings in the current issue of Seven Days are woefully incomplete because somehow, most dates for the Langdon Street Cafe never made it to print. My face and hair are pretty much the same shade of red today.

I could make excuses and point to quirks in the new system. But that would only tell half the story and, frankly, do little more than deflect the blame. The bottom line is that I goofed and should have caught the gaffe well before the paper went to the presses. It was my mistake and I take full responsibility.

To that end, here's what should have been listed this week:

Thursday, April 24
Oneside at 8 p.m.

Friday, April 25
Happy Hour with The Heckhounds at 6 p.m.
Fuzz and Carries Caravan of Thieves at 9 p.m.

Saturday, April 26
Rusty Belle at 9 p.m.

Sunday, April 27
Mud Season Concert Series with Jason Wilbur at 3 p.m.
Jazz Night with Andrew Moroz, James Harvey & Anthony Santor at 7 p.m.

Tuesday April, 29
Mystery Fun Night at 8 p.m.

Wednesday, April 30
The Prodigal String Band at 9 p.m.

As you can see, it's a pretty sweet week of music at Radio Bean East. In particular, Jason Wilbur — better known as John Prine's guitarist — should be a great one. And Rusty Belle is truly one of the more interesting Americana acts in the region. I've heard their live show is not to be missed.

In any event, my sincere apologies to Seven Days readers, the Montpelier-area music community and all the bands and artists who were not listed this week. Special apologies go to Langdon Street Cafe and its employees, who apparently have been fielding phone calls about the issue since the paper hit the streets. Sorry guys.

On a brighter note, LSC booking dude Ed DuFresne is planning to send out the first Northeast Kingdom Music Festival press release next week! More to come . . .

Going Nude

Posted By on Thu, Apr 24, 2008 at 5:03 PM

I'm sure most of you remember when Dan mentioned the contest for the coolest Radiohead "Nude" remix. It definitely got people sparring, all of which you can re-live right here.

Well, one of our own took to the challenge.

This morning I received an email from Gregory Douglass, informing his fans that they can now visit his web page to vote for his remix of the song from Radiohead's latest album, "In Rainbows."

Says Gregory, "I figured there would be lots of instrumental remixes so I took a more classic, Gregory
Douglass-esque vocal harmony approach with my remix, please check itout..."

You can listen to what he did, and vote, should you feel inclined, right here.

Wednesday, April 23, 2008

The morning after...

Posted By on Wed, Apr 23, 2008 at 4:45 PM

You know that line from Dazed and Confused when Matthew McConaughey explains his taste in girls? "That's what I love about these high school girls, man. I get older, they stay the same age."

The same is true for ska fans.

Last night's Higher Ground show was awesome, just as I anticipated. What I didn't really expect was that 90% of the room would be younger than me. I last saw Reel Big Fish in 2002. My friend Eric last saw them in 1998.

"Once a decade," he told me. "That's my new policy."

But I guess the age of the crowd helps to explain the band's staying power. Even as their original fans grew up — and in many cases, grew out of them — Reel Big Fish continued attracting the prime music buying audience: teenagers.

An audience that also appreciated local act Husbands AKA. The kids even opened up a mosh pit for the boys! Although, none were able to respond to Chris Valyou's request to buy shots for guitarist Sean Fitzpatrick's birthday. Because of the x's on their hands. Oh well.

Really the most impressive part of the night (RBF set included) was Husbands AKA singer Dylan Burns' performance, despite having been burnt in a fiery blaze the day prior.

No, seriously.

During some routine motorcycle maintenance this past Monday, Dylan was met face to face with a fireball. But even with bandages covering his arms and scalp, and sunglasses to shade his swollen eyes, Burns put on a spirited show, leading high energy choruses about trustafarians as well as ever. And complete with some new "sleeves" tattooed onto his bandages! My favorite read, "RUGGED".

Yep, that's my husband for you!

No, just kidding. Despite the name we're not actually related. That I know of.

Anyway, congrats to the boys for rocking Higher Ground. And if any of you see Dylan around town, don't forget to ask him how he's doing. And maybe buy a CD from him. And then tip him to help fund a new ride.

Any of you who missed the show can catch a (much more affordable) version this Saturday at ECHO. Dan went into more detail about the other acts in this week's column so check that out here. It's not the only good thing happening this weekend though. I also highly recommend the State Radio show at Saint Mike's (SMC students only), and Tick Tick's Stereo Warm-Up dance party at the Monkey House. This month features DJ Llu, David Goliath, Baby Bantam, and everyone's favorite, Mike Device.

I will be missing all of the above for Passover in Northfield so go yourselves and fill me in, ok?


Tuesday, April 22, 2008

Burlington Music: The TV Series

Posted By on Tue, Apr 22, 2008 at 1:09 PM

You folks will actually read a bit more about this in tomorrow's Soundbites column — at least I hope you will. But since it's a multimedia dealie, I figured it might be appropriate for this little blog o' mine as well. Consider it an interactive Soundbites sneak peek!

Anyway, Rebecca Kopycinkski, aka Nuda Veritas, just released the first episode of her brand spankin' new VCAM TV show "Burly Song: Burlington's Musical Zeitgeist." The half-hour long program premieres on Channel 15 in its regular Tuesday slot this evening at 11 p.m. and will run again this Saturday at 7 p.m. However, if 11 o'clock is a little late for you — I'm not here to judge — or if you don't typically find yourself near a TV on a Saturday night — if you do, you're a total loser . . . just kidding. I'm really not here to judge — you can view Episode 1 right here.

In this installment, Ms. Kopycinski hosts the estimable Paddy Reagan for a half-hour of conversation and performance. The show has a definite "cable access" feel, but I dig it. Not like "Wayne's World" cable access, mind you. More like a VCAM version of Charlie Rose . . . but with music . . . and a female host . . . and spray painted records hanging on strings in the background. OK, maybe it's not like Charlie Rose at all.

In any event, the interview portion of the show is pretty informative, especially when Paddy describes his band Cannon Fodder, whom I've been wanting to write about for while now. And Reagan's performance is decent too — though TV is a notoriously difficult outlet for live music.

But my favorite segment — and according to her blog, Rebecca's as well — has got to be the "Cigarette Break" bit at the the end. This time around, Kopycinski  approaches people outside a Farm show at The Monkey House in March — note the effin' snow! — and asks them questions like "What band would you most like to see come to Burlington?" and "If you could play any instrument in any Burlington band, what/who would it be?" Farm multi-instrumentalist Ben Maddox's reply of "like, just playin' one instrument?" is priceless. Show-off.

Be sure to tune in tonight. And if you're interested in performing or helping out with production, you can e-mail Rebecca here.

Fishing for Husbands

Posted By on Tue, Apr 22, 2008 at 10:31 AM

Is everyone heading over to Higher Ground tonight?

In case you weren't aware, hometown newbies Husbands AKA will be playing! And while it's always a big deal when a band plays its first big HG gig, Husbands decided to skip the Showcase Lounge and go right for the Ballroom.


Because they're opening for Reel Big Fish.

Yup, everyone's favorite ska-punk band is coming to Burlington. And what better local group to open the show than our own ska-inspired outfit?

Word is that over 400 tickets have sold so far, so you better grab yours this afternoon if you plan to attend. The price (now $18 on the day of) is certainly steep compared to Husbands' usual shows at the Monkey, or Wasted City, but I for one decided I couldn't miss tonight's ultimate high school throwback. Well, technically middle school for me, but you know.

Speaking of middle school throw backs, did you hear who's playing HG tomorrow night? Hanson. Yep. And if you think the price of tonight's show is steep, don't plan on tomorrow. At $30 a ticket, I'm interested to see just how big a crowd those perfect coifs still draw.

Really I wish Husbands AKA was playing their gig tomorrow instead of tonight. If only for the chance of partially recreating this:


Photo courtesy of Tyson Valyou.

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