The first question you need to answer when producing an event is whether you want to do this yourself or outsource to a production company.
As discussed in the introduction to this book, if you choose to take on the production of your event, you will need to be sober, alert, and on call on the day of the show. You will not be able to enjoy the entertainment in the way that the average partygoer will.
If that’s your preference, it can be very exhilarating to produce an event. If it’s not, however, be honest with yourself and don’t half-ass it. You will be letting yourself down, and more importantly you’ll be letting down everyone who is relying on you to create a great show.
We’ve discussed some of the basics over the course of this book. For ease of reference, here they are again.
You will need a sound engineer. You will need a lighting designer. Unless you have an existing stage of sufficient quality to satisfy your entertainers, you will need a stage. You will require a power source, probably a generator or a distro from a reputable rental company. It pays to check in with the previous social chair and discover where they rented a generator.
Remember that all of the people listed above have an agenda, and their agendas will not match up perfectly with yours.
Your lighting designer will want to build the most extravagant lighting set possible. If you have a big-name DJ, that’s probably what you want, because without it he’ll look like a weirdo with a laptop. Otherwise, you’ll want something smaller.
Your sound engineer will want to rent you the highest spec system available. If you’re having a four-thousand-person event in your front yard, you’d better take his advice. If you have a couple of hundred mothers showing up to drink Bloody Marys with their sons before a football game kicks off, you don’t need something nearly that fancy.
Your stage designer can set you up with something that looks like Bonnaroo, with a giant stage liner made of aluminum and lifted on hydraulics, but you probably don’t need it. If I run a stage rental company and I own six stages, I want to sell you on the biggest one, even if it’s totally unnecessary.
One area you should never scrimp on, however, is power. Power is at the core of all your operations. Nothing else that you do matters one iota if you don’t have the power to make it happen.
Make sure that you have more than you need, because if you have an excitable lighting designer, those lights can suck down a whole lot of power. It’s fine for the guy at the generator rental company to tell you their generator can handle a performance, but if your lighting designer is intent on illuminating the entire neighborhood, that won’t help you. In short, be absolutely certain that you have enough power.
Know yourself. You are (hopefully) a responsible person. If you’re reading this book, the chances are that you’ve taken the time to build out a checklist and to confer with people who have more experience than you.
You’re still an amateur.
Be aware of that, and don’t allow people to take advantage of you. At the same time, however, don’t pretend that you know more than the professionals you’re working with. Without them, you won’t have a show, so you need to rely on them.
If someone put a gun to your head and insisted that you run the sound, or made the lights move, you wouldn’t be able to save your own life. Keep that in mind, and you’ll stay humble enough to do a good job. Once you’ve agreed to work with people, you need to trust them.
A common item that comes up in the technical rider is a drum riser, at a cost of between $200 and $400. Did the artist whom you booked specifically request a drum riser? If so, why? Is your stage large enough to comfortably situate a drum riser?
An expensive EDM duo, with one member playing the saxophone and the other playing the drums, probably does need a drum riser. Without it, the audience won’t be able to see the drummer. A $2,000 jam band probably doesn’t need a drum riser. It’s unlikely the drummer will be visible no matter what you do, and it isn’t a big deal.
This is something to discuss with the company you’re renting your stage from. Hopefully, you have a good enough relationship with them that you can trust them to shoot you straight.
You can put yourself in a really difficult position in an attempt to save a little money. Perhaps you end up irritating your artist and they refuse to perform, or they perform but they don’t look good, which is a waste of the thousands of dollars you spent on hiring them for the sake of a small saving.
The moral of the story here is that being an amateur puts you in a quandary. You don’t have many past experiences to draw from, so it’s difficult for you to know that you’re making the right judgment call. You need to trust your suppliers, and yet you know they all have their own agendas. The best thing you can do is choose carefully who you work with and trust them.
Bands will walk if you don’t take care of them properly, and you’d be foolish to think they won’t.
As a rule, national acts do not see playing your fraternity house as an awesome experience. If they’re from other countries, or other areas of the United States, they may have a very negative perception of Greek life.
In all probability, they want to show up, play, get paid, and leave. The last thing you want to do is fuel their negativity. Show them great hospitality, appreciate their work, and give them a positive experience. Not only will you increase the chances that they’ll give you an incredible show, but you’ll also do your successor, and every other chapter of your fraternity, a favor by making it easier to book the same act in the future.
They should want to play, because that’s what they do for a living, but don’t give them any excuse to bail on you. If you fail to honor part of the contract, that may be all they need to justify walking. Everyone wants a good experience, and your part of that is to treat the band well and make sure they have what they need.
Don’t do things that make them feel your operation is sketchy, such as changing the venue on them at short notice. If something changes, let them know in good time, and make sure that they are aware of all relevant information.
There’s nothing worse than taking a great band and pushing them into a tiny room with no stage, in an unsecured venue, and watching them grin and bear it to get through their set. If all you have is a small room without a stage, make sure they are made aware of that up front.
They may not want to play the gig, or they may find a way to make it work. Either option is better than having them arrive only to discover that the facilities are inadequate.
That’s no way to promote goodwill.
Even when you’re working with bands that provide lighting and sound, you still need to make sure that you’re on top of the venue and communicating effectively with them about what they can expect. In the end, this is simply a matter of treating them with the respect with which you’d like them to treat you.
Sound engineers and lighting designers generally work differently than agents and managers. They may be happy with an agreement based on a handshake, as opposed to submitting a contract. Be a man of your word, and honor that agreement. These guys are not bloodthirsty sharks like the average agent, but that’s no reason to ignore their needs.
Some, however, will send you a contract to sign. If they do, there’s probably no need for you to mark it up, simply because you won’t understand the industry jargon. You’ve given them a tech rider, and you need to trust that they will fulfill it. Unless you’ve spent the past few months studying sound engineering, this is no time to start micromanaging your sound engineer.
I’ve been guilty of this myself. Looking at a quote from a production company or a lighting designer, I’ve started to question the costs. Even as the words have left my mouth, however, I’ve realized that I need to shut up. If your production guys have been kind enough to itemize their quote, realize that you have no idea what the difference is between an XLR cable and an LED. The only thing to be gained from quizzing them is that you irritate them and harm your working relationship.
You can sit down in front of your computer for three hours and puzzle out the difference between different items of equipment, but that’s a waste of your time. A production engineer who provides you with an itemized list of what you’ll be getting is being very professional. Appreciate that, rather than questioning them excessively. If they’re good, it will show in the performance.
In case you’re still concerned about the integrity of your quote, nail down a price as far ahead of time as possible, and ask them to sign a document to the effect that the price won’t increase between the date of the contract and the date of the show. That gives you all the ammunition you need to make sure that the price doesn’t inflate, as long as your needs don’t change.
A lot of young guys who want to be sound engineers will be willing to cut their prices to the bone in order to secure the gig. Cheaper is not necessarily better. Often, what you’re paying for is not the quality of the gear; it’s the experience of the old, salty guy with poor hearing who cusses a lot. He may seem ornery, but he will fix your problems when something goes wrong.
Having high-quality gear is great, but no gear is better than the guy operating it. Sometimes experience costs money, and if you’ve hired a $4,000 national act to come and perform in front of three thousand people in your front yard, money spent on knowing that your sound engineer knows what he’s doing is money well spent.
Let your buddy who swears he’s a sound engineer twiddle the dials when your other buddy’s jam band is coming over to play a two-hour session on your back porch. When you have a major party to throw, you need to work with some- one who has been thoroughly road-tested.
Protect yourself by asking prospective production engineers for references and examples of shows they’ve done. Just as you need to come correct when you’re talking to agents who are wary about working in Greek life, you are totally within your rights to ask for proof of your production guy’s track record.
The chances are that they’ll list events that they worked at neighboring fraternity houses or your own, so you can go to previous social chairs and ask for their opinions. You may even find that you’ve attended some of their events yourself.
A lot of production companies are unwilling to work fraternity parties, because the money isn’t great and there’s a much higher likelihood of the gear being damaged than there is in more controlled settings.
In most markets, there are one or two companies that specialize in Greek life and who have gotten good at it as a result. Always look for a company that you’ve worked with in the past or that can give you solid references. Otherwise, there’s a good chance that they are new to the business and don’t understand what they’re getting into.
Outside parties require more of everything: more power, more sound, more lights, a bigger stage, and more cover in case of rain. If you decide to have an outdoor party, you will spend more money. As a rule of thumb, if you have a $20,000 budget, it’s realistic to expect that 25 percent of it will go toward production. If your budget is $10,000, as much as 50 percent of it may be spent on production.
From a cost standpoint, there are tremendous benefits to holding an event inside. You’re working with a confined space where you have control of the elements. It’s not going to rain on you. You can halve the number of lights you use and make twice the impact. On the other hand, if you want to create a festival atmosphere with bands playing throughout the day, and you’ve got a huge budget to play with, maybe it’s worth it to you to go outside.
Think carefully about your choice of venue. A lot of your parties will take place at your fraternity house, but some won’t. You need to match the venue with the event.
For a date night, a semiformal, or parents’ weekend, do you need to seek out a more formal setting that’s conducive to dancing and entertainment? On the flipside, if you want to have a really raucous party, are you looking for a place where you can damage everything in sight?
Your venue needs to match your party and your entertainment. Your buddy’s jam band will be happy to play anywhere. A ten-piece party band that specializes in weddings and corporate events won’t want to play in a dirty, smoky dive bar. This is the kind of band you’ll be booking for parents’ weekend and potentially paying $4,000 to $10,000 for, so give them a venue that suits both the band and the attendees. If they’re playing at your fraternity house, give them a large enough stage and a proper green room.
Be aware of your limitations. If you’re traveling, you may be in a hotel or a convention center. Check whether there’s a curfew, and make sure you understand any regulations, especially sound regulations, associated with the venue and the town.
There are three primary ways to make lighting effective. The first is simply to emit a ray of light that is visible from its source. The second is to illuminate the beam using haze or fog. The third is to bounce the light off other objects.
For outdoor events, you can make lighting more powerful by covering the stage and letting the lighting refract off the cover. You can also set up the stage so that lighting is shot up into the branches of trees. As long as it doesn’t trigger the fire alarm, haze is especially effective indoors, where you can control the environment. Overall, you get far more bang for your lighting buck when you go indoors.
Whatever you do, make sure that you have enough power. Don’t employ old lights that suck down a lot of power in an ancient fraternity house that has archaic wiring. That won’t be good for business.
There have been numerous advances in lighting technology over the years, making it lighter, cheaper, and better than it has ever been before. By the same token, expectations are much higher than they used to be.
Bands that have been touring for many years now find that they need to travel with giant lighting rigs merely to stay competitive. This dynamic trickles down, affecting private events as well as ticketed ones. There are more lighting options than ever and more lighting designers excited to put them to work. You need to know the different kinds of lighting and what’s suitable for your party.
Your primary concern should be power. Newer LED lights are very efficient and don’t get as hot as older models, but some lights still use older technology. A good lighting designer should know the difference. If you have all the power you need for modern lighting, and then a lighting designer brings in older lights that have been superseded, suddenly you’ll be struggling for power.
Different types of events require different standards of lighting. DJs, in particular, can look very silly without adequate lighting. More, however, is not always better. A skilled lighting designer can often do more with fewer lights, working in sequence, than an inexperienced designer with more.
Some lighting designers are one-trick ponies. All their designs look identical. This is fine for the genres they’re best suited to, but it’s limiting when applied to other genres. For example, maybe your lighting designer loves creating designs using LED bars or using an LED panel. This will look fantastic for an EDM or jamtronica act, but not for hip-hop or party bands.
Rap performances are best accentuated by strobes, which are actually cheaper than setting up an LED wall or a string of moving lights. Excessive lighting would detract from the focal point of the performance, which is the guy rapping into the microphone.
If you’re booking a DJ, you may benefit from choosing a cheaper entertainer and a more expensive lighting design.
With a rapper, the opposite is true.
Jam bands and Motown bands are entertaining in their own right, and their lighting needs differ again from DJs and rappers. Extravagant lighting designs may look good, but they clutter up the stage. Bands don’t need a lot of additional lighting to look great. They need to be lit from below, in a way that illuminates their faces and bodies.
DJs, on the other hand, benefit from sick light shows that make them look imposing. Make sure that your lighting company understands your specific needs, and that they’re not simply trying to take a one-size-fits-all approach to your lighting. Keep in mind that there’s not always a direct relationship between the number of lights and the expense. Sometimes you’re paying for the qualified person who can execute your show.
If you pay $100 to see a reunited Guns N’ Roses play at a fifty-thousand capacity stadium, you want to hear every note of that music exactly as it was intended.
For a fraternity party, good audio is important, but it’s not as crucial as it is for a high-end ticketed gig. You’re organizing a free party on a strict budget. At any given time, you can expect at least half of the attendees to be talking, socializing, hitting on girls, flirting with boys, or doing something else that isn’t listening to the band.
You may have two thousand people coming to your party, but that doesn’t mean you need a $4,000 line array rig. Realistically, probably only five hundred to one thousand of them will be listening at any one time, so you can use a rig that’s suitable for one thousand people, and it will be plenty good enough.
A line array is an amazing technological achievement. By hanging speakers in an arc that projects sound out evenly across a large group of people, it makes huge shows in football stadiums possible. Cool though it is, however, you probably don’t need it for your fraternity party. You need enough sound to achieve your goals, but you also don’t want to spend a disproportionate amount of money on audio.
A good, high-quality rig will allow the people who choose to be close to the stage to listen, without blowing excessive funds on the audio. For most purposes, elevated speaker stacks will be totally sufficient.
For guidance, when you have fewer than two hundred guests you can use a DIY setup, which a small band will usually provide themselves. This consists of basic speakers elevated on sticks. Above two hundred attendees, you’ll probably need something bigger than a personal PA system. This is the point at which you’re looking to bring in a speaker stack, which will provide you with enough power for parties with a capacity of three hundred to six hundred people. Above around six hundred people, you will want to elevate your equipment, by setting it up on a stage on top of other gear or building wings onto the stage to give the speakers an additional few feet of height. When you’re catering to more than one thousand people, double down on that, and you should be covered up to two thousand. Only then should you consider a line array.
Equally as important as the sound itself is the necessity of keeping people safe. Bass may be omnidirectional, but high-end frequencies such as guitar and vocals can be pointed in any direction. That means they can be pointed in people’s faces and ears, potentially causing injury.
Speakers that are projecting high-end frequencies need to be situated at least six feet above ground level. If they are sitting on the ground, people can accidentally lean against them and rupture their eardrums.
It’s not funny, and it’s not cool. Irresponsibly sited speakers can cause hearing damage that will affect people for the rest of their lives. Know that if you use a hack sound engineer who doesn’t know what he’s doing, someone could go deaf as a result of his shoddy work. In addition, that person won’t come after the sound engineer. He or she will come after you.
If you’re having a small party in your fraternity house and you don’t have a lot of lighting, you will probably be able to use your internal wall outlets to power your speaker system. In case that’s not enough, a qualified sound engineer or an electrician will be able to tie a distro into your power source.
A distro creates a very powerful connection from your main power source, which can then be taken elsewhere through a giant cable known as a snake. This means you can forego using extension cords that run to great distances from your wall outlets, diminish power, create a trip hazard, and potentially overload your system.
There are stronger power cables you can use instead of extension cords, but a distro is usually the smarter option. Hiring someone to come to your fraternity house and tie in one of these devices runs to around $150, which is dramatically cheaper than using a generator, and a lot safer and more professional than relying on extension cables.
Nonetheless, if you do need a generator, get a generator. Perhaps you’re having a party in your front yard and it’s 250 feet from the nearest power source. Maybe your fraternity house was built in 1880, and it doesn’t have adequate power to serve your party.
A high-quality generator should cost you $500 to $600, tops, and will provide enough power for all of your sound, lighting, and stage needs. Before you make a decision, ask your sound engineer and your lighting engineer to make sure the generator you’re looking to hire is up to specification. To provide peace of mind that you have all the power you need, it’s money well spent.
Many companies that rent generators impose an eight-hour usage limit and will charge you time and a half for operation beyond that limit. If you’re running an all-day event, make sure that you shut off the generator when everyone leaves and the show’s over, otherwise you can find yourself with a bill twice as large as you anticipated because the generator ran all night until it ran out of diesel fuel.
This is the kind of detail you won’t need to concern yourself with if you have a production company running point on your events. If not, however, you can easily trip yourself up and cost your fraternity totally unnecessary money.
Imagine that you’re a chef in a high-performance kitchen. You’re trying to create amazing cuisine in a high pressure environment, and every three minutes a drunk girl bumps into you or a wasted bro vomits on your feet. It’s not going to go well.
That’s the position you’re putting your artists and your sound engineer in if you don’t provide them with proper security.
First and foremost, you need barricades to prevent people from jumping on the stage, interfering with your artists’ performance, and potentially hurting themselves or damaging expensive equipment.
The random drunk girl who jumps on stage always gets a good response from the crowd, but she doesn’t know what she’s stepping on or what she’s interrupting. The entertainer may become so frustrated that he gives up and walks off stage.
The stage is also full of expensive gear, which can easily be damaged. If people get on stage, they can get hurt. It’s fun to have a girl jump on stage and dance with the band, but it’s also a grotesque risk. You need stage security to prevent it from happening or, if it must happen, to keep it orderly.
Girls travel in herds. They go to the bathroom together, and they will want to get on stage together. If one gets up there, another three or four will want to jump up as well. One person can comfortably handle three people, because they can gently grab one with their left hand and one with their right hand. The third will follow because she doesn’t want to be up there alone. Any more than that, and one person won’t be able to handle them with ease. Make sure that you hire enough people to conduct stage security. Also, consider installing some barricades to make their job easier.
Your artist isn’t a security guard and doesn’t want to be. He has no interest in looking like the bad guy by stopping his show and ushering someone off stage. This is the job of stage security, and it is essential. Security is there to make sure that your sound engineer, your stage manager, and your artist aren’t called into action to evict drunk people from the stage.
Stage security needs to be well trained, polite, and assertive. They need to look the part. They are the primary barrier between drunk people who want to get on stage and the fulfillment of that desire. You don’t want the performance to turn into a farce, however amusing that might seem for the audience.
In addition to stage security, you will need backstage security. Backstage is where things get broken, or stolen, or both. If you’ve got some guy lurking backstage with $10,000 of guitar cases and trussing, you’re asking for trouble. Even if he doesn’t have malicious intentions, he has probably been drinking. The next thing you know, he’s urinating on your power source or he’s got his hands in the guacamole. This is why you need backstage security.
You may have some problems with people complaining that this is their fraternity, and their money paid for the party. That’s true, but the backstage security guy is ensuring that their money is spent on a great party, rather than reimbursing an angry artist for damage to their equipment. Good security is your friend, not your enemy.
Your first line of defense, before partygoers even reach the security guys, should be a set of barricades. It’s important that you have some form of barrier between the general population and the stage/backstage area.
For a small party, the barrier may be primarily psychological. A series of wooden stakes hammered into the ground and connected by a brightly colored ribbon may be enough. Obviously, that won’t hold people back if they are committed to getting past it, but the simple fact of acknowledging a barrier makes the job of the security guards easier.
The next step up from a ribbon could be construction fencing. Again, this can be crossed very easily, but it forms a first line of defense. Beyond construction fencing, you can employ a form of barricade known as bicycle racks, named because they resemble bicycle racks.
These are very effective. Their only weakness is that eventually they can be pushed forward, meaning that a straight line of bicycle racks can be made to cave inward in the middle.
For a very large act, you may want to invest in proper barricades, which are known as blow-through barricades. These are employed at festivals and political rallies. No amount of pressure from the crowd will knock them down.
They are expensive. You may spend $800 securing your stage. On the other hand, they provide extremely good protection, and they also include pedestals from which security guards can observe the entire crowd. This allows them both to make sure people aren’t breaching the perimeter and also to look out for anyone who is dehydrated, who has had too much to drink and is passing out, or who is being assaulted.
Another advantage of blow-through barricades is that they protect the stage. Some stages are extremely strong, but most are not built to withstand pressure from the front. A thousand people pushing a stage from the front can topple it, leading to serious injuries or even killing people. For very high-energy acts, such as certain rappers and DJs, investing in proper barricades is a requirement.
Where should you situate your green room?
The obvious choice is probably to use somebody’s room. The problem you will run into, however, is that people feel a justifiable sense of entitlement when their dues are being used to hire a band and they find that the band has taken over their room. It can be very difficult to explain to those people that the green room is off-limits.
You will always encounter some dickhead who wants to go into the green room and get the rapper high or do drugs with the band. Not only is this clearly illegal, it can result in the cops raiding you and getting your show shut down.
I’ve seen this happen. Some guy who wanted to be cool started smoking weed with the rapper, prior to the show. When the rapper’s tour manager cracked a window to let the smoke out, three cops, who knew there was a party brewing and were looking for an excuse to pounce, arrested the rapper and the guy who was supplying him. The show got shut down, and the fraternity was out $20,000, for no return.
If someone wants to be a hero and smoke with the rapper, insist that he waits until after the show. At least, this way, if he gets busted, it won’t ruin the night for everyone else.
Often, the idea of a proper green room is dismissed as a minor concern. It shouldn’t be. It’s very likely that you’ll be keeping $10,000 worth of equipment in there, so you need to know that the room is lockable. You also need it to be close enough to the stage for the artist to get from the green room to the stage without being bothered, and for their gear to be transported quickly and easily.
Your artists need to be 100 percent comfortable that the green room is secure. They want to prepare for a show in peace and quiet. They have a lot of expensive equipment that they do not want to see damaged or stolen. They may have a wad of cash that you’ve given them for the show. Obviously, you do not want to open yourself up to accusations that the cash has taken a walk on your watch. Unless you can guarantee the security of the artist, their gear, and their hospitality rider, you don’t have a formal green room.
Some bands are amazing performers but total sleazebags on a personal level. If the room is insecure and girls get into the green room, videos of them using drugs could find their way on to YouTube. Worse yet, someone could register an accusation of assault, costing you thousands of dollars in lawyer’s fees and a colossal headache. The only way to be totally safe is to maintain a complete separation between the artists and the general population. That means the green room needs to be monitored constantly, which is very difficult to do if it’s in your fraternity house and the party is in the front yard.
A much more sensible solution would be to rent a twenty- foot-by-twenty-foot tension tent, and shell out an extra $200 to have a couple of walls set up so that people can’t see inside it. If you locate it behind or beside the stage, it can double as a staging facility and a place where artists can relax out of the sun or the rain.
You may not want to spend $500 to $700 on erecting a tent to use as a green room, but that money could save you a lot of trouble. Maybe you can save on the cost of production personnel because it acts as a staging ground and you don’t need to employ as many production personnel. Maybe it prevents you from getting sued by the artist because his $3,000 Les Paul guitar doesn’t get damaged.
A good green room is an important part of your show, and sometimes it’s worth spending a little extra money to make sure that artists are secure and in close proximity to the stage.
Stage management is often overlooked because inexperienced social chairs assume that the production manager is also the stage manager. This is not the case.
The stage manager’s job is to make sure that the band is on stage when they’re supposed to be on stage and to check that they have microphones, stage directions, and beverages.
Stage managers are responsible for walking the band up to the stage with a flashlight so they can see where they’re going in the dark. They’re responsible for giving the band a five-minute warning so they come off stage in time. Stage managers usually help with tasks such as disassembling the band’s drum kit so that they can get off stage in a timely fashion.
They are especially useful when there is more than one entertainer on the bill, because those are the occasions when you will be running on a tight schedule and you need someone to keep track of time. If you don’t hire a stage manager, you will soon discover that you are the stage manager, and if you aren’t up for the job, you will invite chaos.
As social chair, you are responsible for hiring people to fill all of these positions unless you delegate that role to someone else. If you’ve hired a lighting director, a sound engineer, and a security manager, but you forgot to hire a stage manager, you get to be a stage manager for the evening.
If you did all of the above and also forgot to hire someone to work the door on the green room, suddenly you’re doing two jobs at once. If you also neglected to equip the green room properly, you’re doing both those jobs and you’ll need to go off site to get food and beer and cigarettes for the band. It’s physically impossible. You cannot be in three places at once. This is why you need proper support.
When you choose to produce an event yourself, there’s a proper way to go about it. You can do this, but you’ll need to be organized, create a checklist, and hire the people you need to help you, because anything that you don’t delegate effectively becomes your problem.
TREY MYERS is the president and founder of Turnipblood Entertainment, a full-service private events company specializing in Greek life.
Over the course of 7 years in the entertainment industry, Trey has worked in various capacities at leading agencies, including the Agency For ThePerforming Arts (APA), The Agency Group (now owned by United Talent Agency), and Nimbleslick Entertainment.
Trey’s other experiences include artist management, tour management, event production, and promotions.
He wrote the definitive book that this content comes from, The Perfect Southern Fraternity Party.
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