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Portola Festival 2023 Sunday 10/1 tickets at Pier 80 in San Francisco
Sun Oct 1, 2023 - 12:00 PM
Goldenvoice Presents
Portola Festival 2023 Sunday 10/1
Carl Cox Labrinth Skrillex
Pier 80, San Francisco, CA Ages: 21 & Over
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Official Resale - Sunday
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Goldenvoice Presents

Goldenvoice Presents
Portola Festival 2023 Sunday 10/1
Carl Cox Labrinth Skrillex
Pier 80
401 Cesar Chavez
San Francisco, CA 94124
Sun Oct 1, 2023 - 12:00 PM
Ages: 21 & Over
Onsale: Mon May 22, 2023 - 10:00 AM
For complete festival info, visit

Bio: 2manydjs

General Info
- Portola is a 2-day music festival taking place on September 30 & October 1, 2023 at Pier 80 in San Francisco, CA.
- Venue doors open at Noon both days.
- You must be 21 years or older on September 30, 2023 to attend the event. A valid government-issued photo ID is required for entry. Expired ID will not be accepted for entry. No one under the age of 21 will be allowed entry into the festival even if accompanied by an individual 21 years of age or older.
- Show will take place rain or shine.
- No Ins/Outs.
- Line-up, set times, festival hours, and venue are subject to change.
- Food and beverages sold separately.
- Please visit our ADA Page for ADA Information.

Bio: Avalon Emerson

Avalon Emerson’s musical identity was forged on the dancefloor, but her outlook has never been limited to the confines of the club. Quite frankly, it’s not limited to anything. A San Francisco native who grew up in Arizona and first found her artistic footing while DJing at raucous Bay Area warehouse parties, Emerson—who moved to Berlin in 2014 and quickly became a regular behind the decks at the city’s famed Berghain—now stands as one of dance music’s most celebrated contemporary figures. One of the rare DJs who can move seamlessly between the sweaty confines of clubs like Nowadays and massive festivals like Coachella, Primavera Sound and Glastonbury; Avalon is beloved for her melody-rich, genre-agnostic selections. Her 2016 breakthrough “The Frontier” was named one of the decade’s top 20 tracks by Resident Advisor, and in the wake of its success, she’s also been tapped to remix the likes of Slowdive, Robyn, Four Tet, Christine and the Queens, and Octo Octa, among many others. With that resume, Avalon could have easily stayed in the dance music lane and continued to relentlessly tour as a DJ, but even before lockdown suddenly brought parties to a halt, she was itching to do more. With her upcoming project, Avalon Emerson & The Charm, she’s left the DJ booth altogether, venturing into an intimate strain of synth-pop informed by her love of avant-pop auteurs alongside showcasing her singing voice to the world - which she introduced on her acclaimed 2020 DJ-Kicks mix.

Bio: Basement Jaxx

The Basement Jaxx catalogue includes the legendary singles “Red Alert”, “Rendez-Vu”, “Jump n’ Shout”, “Do Your Thing”, “Bingo Bango”, “Romeo”, “Where’s Your Head At” & “Good Luck” as well as a series of albums including the ground-breaking, million selling debut, “Remedy”, the double platinum UK number one collection “The Singles” and the Grammy award winning “Kish Kash”. Twice awarded Best Dance Act at the UK BRIT Awards, the Basement Jaxx live show has graced iconic venues across the globe such as The Hollywood Bowl, London’s Hyde Park, FUJI Festival in Japan and headline slot on the main stage at Glastonbury Festival. More recently, whilst writing music for TV & Film, creating an orchestral collaboration and continuing to release quality music on their own label, Atlantic Jaxx Recordings, they have taken their DJ set around the world, completing a sold out tour of Australia & New Zealand earlier this year & continuing their long running residency at “Glitterbox” in Ibiza this summer.


Bio: Bonobo

Bonobo's rise has been stealthy but unstoppable and Simon Green, the man behind it all, is now one of the biggest electronic artists of our time, with 6 albums and a revered live show that has seen him play to sold-out crowds across the globe, including multiple shows at Alexandra Palace, Glastonbury, Coachella and Red Rocks Amphitheatre. His last album “Migration” reached #5 in the UK album charts and was GRAMMY nominated along with his subsequent “Linked” single. In 2019 he released the track “Ibrik” via his ‘fabric presents’ compilation and followed up in 2020 with a remix of Mercury Prize winner Michael Kiwanuka’s soulful “Final Days.” 
In 2020 Bonobo teamed up with producer Totally Enormous Extinct Dinosaurs to deliver “Heartbreak,” a track that builds on the foundations of electronic music, tracing a line from the dance floors of 1980’s NYC to today. The 12” is the first to arrive via Bonobo’s new label OUTLIER and expands on the series of club shows and festival stage takeovers under that same banner. Launched at the iconic New York club Output, OUTLIER sees Bonobo playing and curating an array of nights and festivals on either side of the Atlantic which has so far included Field Day, Nuits Sonores, OFFSonar and more, cementing his reputation not just as a prolific producer and musician, but as a DJ and curator too.

Bio: Charlotte Adigéry & Bolis Pupul

 Cultural appropriation and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP on Soulwax’s record label DEEWEE, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink. Their new studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent. Conceptually, the pair wanted to put these observations and ideas about culture today and the zeitgeist into a “time capsule shaped like an egg”, with the idea that you could “bury the album somewhere”, says Bolis, for future generations to find and figure out what the 2020s were all about through their eyes. The egg is “a visual shorthand,” they say, “for new life and unhatched potential.”

Bio: Charlotte de Witte

Charlotte de Witte is a techno phenomenon.

A poster child of a global movement, who’s dead set on exploring the outer fringes of electronic music and standing at the frontline of the ever-growing techno scene. Her trademark style is reflected not just in her meticulously crafted productions or carefully composed DJ sets but also in the sound of many contemporary techno artists, verifying her status as a trailblazer in the global rave movement.

The KNTXT label owner’s career keeps surging at breakneck speed, and we might only have seen the beginning.


Bio: Jockstrap

Jockstrap formed in 2017 after Georgia (also of Black Country, New Road) met Taylor at the Guildhall School Of Music & Drama where they were studying jazz and electronic composition respectively. Generally speaking their modus operandi has been to produce a violently spatially and temporally disrupted form of pop music which sometimes sees them gleefully break apart existing styles only to expertly reassemble them and other times sees them mint entirely fresh genres. Both of them grew up playing and loving classical music and picked up a bug for jazz in college, but their other shared interests include Disclosure and Mica Levi, with Taylor having a penchant for Bob Dylan, and Georgia for Joni Mitchell. They have released a clutch of singles, EPs and a mixtape over the last five years, already giving rise to something of a press narrative: Georgia sings a classic pre-rock & roll orchestral lounge pop song while Taylor forces it through a post-dubstep blender, mixing old with new.
But their debut LP, I Love You Jennifer B, blasts that simplistic reductionism to smithereens. Releasing in the Fall of 2022, Georgia and Taylor said: “I Love You Jennifer B is a collection of Jockstrap tracks that have been 3 years in the making. Everything on it is pretty singular sounding so we hope there is a track on there for everyone and something that speaks to you and says ‘I’m a banger.’”
Much has been made recently of the resurgence in interest in the song ‘Running Up That Hill (A Deal With God)’ via its appearance on the Stranger Things 4 soundtrack but Jockstrap are the only young artists in the UK (both are 24) who currently have the same vision for bending classic pop into wonderful new shapes that Kate Bush had during the mid-80s. Jockstrap effortlessly capture the chaos, joy, uncertainty, intrigue, pain and romance of 2022 like no other.

Bio: Little Dragon

Consisting of school friends Erik Bodin (drums and percussion), Fredrik Wallin (bass), Håkan Wirenstarnd (keyboards) and Yukimi Nagano (vocals), the band have gone on to become one of the most consistent, respected and universally loved bands of recent times.  Recorded in the musical oasis of their Gothenburg Studio — the same studio they have worked in for almost 20 years — on ‘Slugs Of Love’ they bring their distinctive blend of soulful pop, electronics and R&B — all underpinned by lead singer Yukimi’s instantly recognisable vocals — to the fore across 11 tracks that encapsulate the full range of their diverse individual musical influences.


Their previous full-length album, ‘New Me, Same Us’, was released on Ninja Tune in 2020 and lauded by the likes of the New York Times, NPR, Pitchfork, The Guardian, Mixmag, Crack Magazine and many more, with the band also joining NPR Music for an intimate Tiny Desk (Home) Concert filmed at their long-term home-built studio in Gothenburg, Sweden. Entirely self-produced and recorded at the pioneering Swedish band’s studio, the album hit #5 on Billboard's Top Dance/Electronic Albums chart in the US, with Mixmag calling it “a futuristic record bursting with lush textures and elevated by lead singer Yukimi Nagano’s sublime vocals” and the Guardian finding them on “on deliciously soulful form”. They followed up the release with their “New Me, Same Us Remix EP” which featured the likes of Midland, Octo Octa, Georgia Anne Muldrow, Ela Minus and many more.


The band’s hugely popular and highly regarded live performances have spawned a decade-spanning touring career, including festival highlights such as Coachella, Glastonbury, Lollapalooza, Bestival, Sonar, All Points East, Dimensions Festival, Parklife, Lovebox, Love Saves The Day, Melt and Dour; co-headlining the Hollywood Bowl and Berkeley’s Greek Theatre with Flying Lotus supported by BADBADNOTGOOD and sold out two nights at London’s Roundhouse and most recently, Koko.


They most recently completed an eventful tour across the US and Canada alongside Leon Bridges, playing to a total of 185K people at iconic venues including The Forum (LA), Forest Hills (NYC) and Scotiabank Arena (Toronto). The tour almost didn’t happen though, when a week before they were due to fly out, their driver disappeared with their deposit. “It started as a normal tour, with two buses and drivers, and ended with a lawsuit and various minivans. We had to consider canceling the tour, or finding solutions on the go. In the end we decided to try, and thanks to our amazing team, we succeeded, we couldn't  have done it without them.”


Little Dragon’s new album ‘Slugs Of Love’ is out on July 7th on Ninja Tune.




Bio: Masego

Masego is a grammy-nominated saxophone player, a singer, and a DJ -a singular talent and surprising presence in the musical fabric right now.  He cites the 1930s Harlem big band leader and singer Cab Calloway as a guiding spirit who was mentored by DJ Jazzy Jeff and puts an unabashedly sultry-smooth spin on the R&B, hip hop, and dance music that he and his contemporaries like Lucky Daye, SZA, Ari Lennox, and Smino are making. He towers over 6ft tall with a gold saxophone pendant around his neck, robed in impeccable threads and with tattoos that spell J-A-Z-Z across his knuckles. His debut album, Lady Lady was a showcase of his many sides: funny and flirty, wide-eyed and coming-of-age, mysterious and moody.  The title track paints him as a jazzy heartthrob,a young sax-playing D'Angelo. Elsewhere he’s influenced by trap, Caribbean styles, electric piano funk, and more somber textures. “It's the many emotions of Masego,” he smiles. Masego lived a nomadic youth, moving around with his Jamaican-American fatherwho was in the air force, and his Georgia-born mother. Both are pastors and he lived what he calls a sheltered life, eventually settling in Virginia for Middle School.  He first encountered music in church and his upbringing was strict. “We weren't allowed to listen to hip-hop at all.” When he was eight, he was blown away by a church drummer and taught himself. “YouTube taught me everything I know,” he says. He picked up piano and saxophone too.College was where Masego blossomed. He did a decade's worth of growing up in a matter of months. He built up a reputation at open mic nights. Then discovered the looper pedal on YouTube, bought one, and started writing his own stuff while freestyling in his dorm. “I’d make up songs about nothing,” he says. “Try themout at talent shows and lose badly.” Masego felt most comfortable hiding behind his instruments. Until he noticed one of his peers singing original music at an open mic, garnering attention from the ladies. “I knew I was missing something, so the voice was the next journey,” he says. Getting back to work on making a beat from scratch, Masego played his saxophone and began rapping and scatting over it.

Bio: Rina Sawayama

The devil works hard, but Rina Sawayama works harder. Fresh off the triumph of her UK and US headline tour, which sold out the Roundhouse in London and saw five-star reviews from The Guardian and NME, the newly minted British-Japanese pop star is following up her celebrated debut album SAWAYAMA with LP2, a colossally ambitious and utterly original record that marries intimate storytelling with arena-sized tunes. In between SAWAYAMA landing on over 50 album of the year lists, including the New York Times (#2), The Guardian (#3) and Rolling Stone (#6), a "superstar-in-the-making"(NME) TV performance on Jimmy Kimmel Live, starring alongside Keanu Reeves in John Wick: Chapter 4, and sparking a change in the BRITS and Mercury Prize eligibility criteria to ensure non-British nationals like Berwyn could be nominated, you'd be forgiven for wondering when she even sleeps.

But Rina -- whose whole raison d'être is bending huge chart influences and blockbuster melodies to her will with precision-tuned songwriting and powerful vocals -- is the rare pop artist for whom honesty is never not an option. Making LP2 was a hardwon battle -- one that didn't come easy -- and was written during a turbulent period in her life that saw her step back and focus on herself: "A lot of people ignore the symptoms of their emotional pain," she explains. "It's when I stopped that I was able to make something meaningful. I've worked hard, but I've also worked hard on my mental health."

Writing and recording LP2 coincided with Rina beginning intensive therapy to process a pain from her youth, and these 13 tracks act as a journey through the revelations and growth she experienced. The shimmery orchestral gloss of track Minor Feelings -- named after the poet Cathy Park Hong's book about the marginalisation of the Asian-American experience -- belies the fact that "minor feelings are majorly getting me down," Rina says, quoting from the lyrics. "It sets the thesis for the record -- like Dynasty did [on SAWAYAMA]."

In the West London studio of her record label Dirty Hit, she spent a year and a half working on an album that melds chart-topper acts and pop genres -- "Garbage and Avril Lavigne and Shania Twain and Pussycat Dolls; and I was listening to a lot of Kacey Musgraves and Dolly [Parton] and Bon Jovi and Aerosmith," she reels off -- with an all-new slate of top-tier producer talent, including Paul Epworth (Adele, Florence & the Machine), Stuart Price (Dua Lipa, The Killers), and long-time collaborators Clarence Clarity and Lauren Aquilina.

"I like making weird ideas come to life," Rina laughs. "It's easier said than done." Take Shania Twain-inspired lead single This Hell, for instance: recorded during a marathon two-day recording session with Epworth and written with Aquilina, the glossily addictive pop-meets-country track is about the pansexual Rina spotting a poster informing her that she was destined for hell, combining classic Shania sass ("let's go girls" line included), glam rock riffs and tongue-in-cheek one-liners that shout out a pantheon of gay icons Britney, Whitney and Princess Di and are destined to be screamed on sticky dancefloors for years to come. "So much about queerness is about queer euphoria and queer humour -- I hope that song has that," Rina says. "Well, if all of us are going to hell, it sounds kind of fun!"

Rina was born in Japan but moved to London as a child and was raised by her single mother -- a relationship she lovingly pays tribute to on the soaring second single Catch Me in the Air, which combines the homespun Irish recorder-arranged catchiness of The Corrs and the vocal jumps of Ray of Light-era Madonna, and was debuted on her Dynasty tour to her rapturous fanbase, who call themselves Pixels. "I really wanted to write about this weird relationship with single parents -- you do catch each other in the air," she explains. "When my mum sees my shows now, she can't believe I've been able to made it work... It's like we're both flying through the air."

Clarity and Price share production duties on the track -- the former landing the most number of credits and the latter working on over half of the album -- and LP2 is a full-throated declaration of Rina's ambition to level up as a main pop girl with a difference, a route she began tracing with the acclaimed 2017 mini-album RINA and 2020's SAWAYAMA. "I just wanted to give that pop euphoria," she says. "I just wanna write big songs that make people feel seen."

Existing in rarefied spaces as one of the few East Asian faces around -- Rina studied politics, psychology and sociology at Cambridge and fronted fashion campaigns as a jobbing model prior to her music career -- only served to gird her determination to make her music a broad church that embraces everyone: "I'm always thinking, Who is this song for?" she explains. "Who is the main character? And who is that person speaking to?"

It's a philosophy underlined in the profoundly moving, Kacey Musgraves-esque LGBTQ country ballad Send My Love to John, written with Aquilina from the perspective of a mother apologising to her queer child for not accepting them. "It's one of my favourites," Rina says. The tearjerker is inspired by a queer nonbinary friend who "has a difficult relationship" with their conservative mother, she explains, only for them to be offered the tiniest glimmer of hope when she ended a conversation with a casual "send my love to John," their current partner.

"They just broke down and said, 'This means so much to me, because my mum will never apologise,'" Rina recounts playing the song back to them. "I'm so happy I could have provided that relief for them."

LP2 isn't just a smorgasbord of monster hits-in-the-waiting -- it's also a bold and honest statement about the singer coming to terms with her own past and the jubilation of turning to the future. It also mirrors Rina's own mental health journey, beginning with her confronting her past and ending with the ecstasy of liberation from these dark feelings. Not for nothing does the word "euphoria" keep coming up in her discussion of the album: "I've designed the tracklist so it takes you on a journey and by the end you feel released by it," she explains, adding that the album was directly inspired by the insights she gained with her therapist. "Hold the Girl was the first song I wrote for the record at the end of 2020 -- I had gone to therapy and had a revelation, so I decided to write the song... That was the start of it, and then I started doing more intense therapy. I was crying before going into the studio and going into the studio to write about it."

LP2 is a testament to that personal evolution and the joyousness of finally emerging out the other side, thanks to tracks like Frankenstein, another bombastic Epworth banger that sounds like Garbage meets Girls Aloud and features Bloc Party drummer Matt Tong, and the thumping anthemic house of Holy, produced by Irish artist and producer For Those I Love and written with Nate Company, who also worked on standout SAWAYAMA single XS.

"It's a very adult record because it's really only fully understood when you become an adult and you can look back on experiences [you had] as a kid," Rina explains. "It's about escapism. It's about looking after yourself, reparenting yourself and finding yourself."

These are big songs in a big album, choreographing female emotion, despair and hope in a record that pulsates with the message that pop can be more complex, darker and so much more meaningful than your typical girl-meets-boy lyricism. "I'm still very much a maximal writer. I hate silences." And that's her down to a tee -- in a world that wants women to be quieter, Rina Sawayama is finding new ways to speak up.


Bio: Sam Gellaitry

Born far away from key electronic music hubs like LA, Glasgow, and London, 24-year-old Sam Gellaitry grew up in Stirling – an old town in central Scotland that’s rich in medieval history and visually stunning views. Living here Sam was exposed to happy hardcore through his older brother – a kind of hard dance music born from the UK and Europe’s breakbeat and rave scenes – this in turn lead to an interest and start in the world production. Sam views the world uniquely through palettes of vivid colour; a C-minor scale becomes purple, C-sharp minor is cool and blue, and nighttime is best evoked in dark F-minor reds. His music is a journey through experience, circumstance, and surroundings, told through his impressive, synesthesia-informed knowledge of different musical tones. His first breakthrough song – 2014 single “Powder” – saw the young artist bridge the gap between hip-hop and electronica, treading delicately as it glitched between maxi-and-minimalism. ‘Escapism’ was Sam’s first extended project released in 2015, with ‘Escapism II’ (2016) and ‘Escapism III’ (2017) following thereafter. The series showcased a young producer picking and choosing his way through a lavish buffet of sound and picked up nods from many of his peers in the electronic scene, like Kaytranada and Flume. Ultimately, this next phase of Sam’s career comes back to why he does it all in the first place, creating colorful music: a source of respite, release, and happiness.

Bio: The Blaze

DANCEHALL - Out Sept 7:

Listen to SHE:


Bio: Thundercat

Thundercat released his new album It Is What It Is on Brainfeeder Records on April 3, 2020. The album, produced by Flying Lotus and Thundercat, features musical contributions from Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, Steve Lacy, Steve Arrington, BADBADNOTGOOD, Louis Cole and Zack Fox.
It Is What It Is follows his game-changing third album Drunk (2017). That record completed his transition from virtuoso bassist to bonafide star and cemented his reputation as a unique voice that transcends genre. "This album is about love, loss, life and the ups and downs that come with that," Bruner says about It Is What It Is. "It's a bit tongue-in-cheek, but at different points in life you come across places that you don't necessarily understand... some things just aren't meant to be understood."
The tragic passing of his friend Mac Miller in September 2018 had a profound effect on Thundercat and the making of It Is What It Is. "Losing Mac was extremely difficult," he explains. "I had to take that pain in and learn from it and grow from it. It sobered me up... it shook the ground for all of us in the artist community."
Comedy is an integral part of Thundercat's personality. "If you can't laugh at this stuff you might as well not be here," he muses. He seems to be magnetically drawn to comedians from Zack Fox (with whom he collaborates regularly) to Dave Chappelle, Eric Andre and Hannibal Buress whom he counts as friends. "Every comedian wants to be a musician and every musician wants to be a comedian," he says. "And every good musician is really funny, for the most part." It's the juxtaposition, or the meeting point, between the laughter and the pain that is striking listening to It Is What It Is: it really is all-encompassing. "The thing that really becomes a bit transcendent in the laugh is when it goes in between how you really feel," Bruner says. "You're hoping people understand it, but you don't even understand how it's so funny 'cos it hurts sometimes."
Thundercat forms a cornerstone of the Brainfeeder label; he released The Golden Age of Apocalypse (2011), Apocalypse (2013), followed by EP The Beyond / Where The Giants Roam featuring the modern classic "Them Changes." He was later "at the creative epicenter" (per Rolling Stone) of the 21st century's most influential hip-hop album Kendrick Lamar's To Pimp A Butterfly, where he won a Grammy for his collaboration on the track 'These Walls' before releasing his third album Drunk in 2017. In 2018 Thundercat and Flying Lotus composed an original score for an episode of Golden Globe and Emmy award winning TV series Atlanta (created and written by Donald Glover). For his latest album, Thundercat took home the Grammy Award for Progressive R&B Album. And in a truly full-circle moment, he contributed an original song for the reboot of anime he took his name from, Thundercats.

Bio: Winston Surfshirt

Six-piece Sydney collective Winston Surfshirt have spent the past six years establishing themselves as one of Australia’s, and the world’s, finest indie-R&B outfits. Building a dedicated fanbase off the back of two dreamy, lackadaisacal albums and a handful of unforgettable collaborations, they’re a group of unassuming cult heroes. Led by the eponymous Winston Surfshirt, the band channel a vintage kind of rockstardom, one led less by ego than by openness, earnestness, and a drive to share their music with the world. Combining a classic west coast hip-hop sound with the snap of psych-pop and sunny, uniquely Australian charm, the band are a testament to the power of the free-minded and the casually virtuosic.

Breaking through with 2017’s “Be About You”, Winston Surfshirt have gone on to release multi-platinum singles and sell out tours across Australia and Europe. Across two bright, indelible records — 2017’s Sponge Cake and 2019’s Apple Crumble — they’ve built a catalog of warm, impeccably produced hits, winning praise from Zane Lowe and, amazingly, Sir Elton John, the latter of whom called them his “favourite band of the moment”. Their reputation as a bold, undeniable collective — bolstered by their status as a true live band among so many DJ-and-vocalist acts — has led to packed sets at major festivals including Splendour In The Grass and Groovin’ The Moo. In 2021, fans will finally get to hear the band’s long-awaited third record, led by the Ramirez collaboration “All Of The Little Things”. Celebrating the small things that make life great, the song is sure to be a tonic for fans amidst global turmoil. Like all of Winston Surfshirt’s music, it’s an appeal to see the beauty in everyday life — a small R&B song with plenty to give.


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