Monday, March 30, 2009

WEEZER - STILL 'RED' HOT

Considering that most rock bands don’t last five years in the music business, you’d expect one that has thrived for more than 15 to stick to its proven formula for success. But on their latest self-titled release (a.k.a. The Red Album), the members of L.A.’s power-pop-rock band Weezer decided to shake things up a bit.

“One of my greatest challenges this time was to write songs that didn’t have the same old verse-chorus-bridge structure,” says singer, songwriter, and guitarist Rivers Cuomo in a press release for the album.

Beyond arrangements and song structures, a more obvious change can be found in the song credits. Weezer’s biggest hits from its previous five albums include “Buddy Holly,” “Say It Ain’t So,” “Undone (The Sweater Song),” “Hash Pipe,” “Island In The Sun” and “Beverly Hills” — all written and sung by Cuomo. On The Red Album, all four members of the band, which also includes guitarist Brian Bell, drummer Pat Wilson, and bassist Scott Shriner, contribute to the songwriting, and each takes a turn on lead vocals.

In an exclusive interview last September, Bell said that Cuomo’s decision to more fully involve the entire group in the creative process generated a sense of camaraderie that blossomed when the band regrouped for some unique live performances in the summer of 2008.

Dubbed “the Hootenanny Tour,” it allowed musically inclined fans to bring their acoustic guitars and other instruments to the shows and play along with their heroes on a set of Weezer originals and covers. The lucky participants were selected in advance via YouTube tryouts.

“It was more fun than I could possibly imagine,” Bell said. “We hadn’t played live for [more than two] years as a band, and it was a really good way to get our feet wet again. It really helped get a great vibe going within the band and was a great bonding experience between us.”

Much of the thrill for both the band and the fans stemmed from the interactive nature of the shows.

“We didn’t know what to expect,” Bell says. “We weren’t up on a stage. We were in the middle of the floor, and the people were between us. It was kind of frightening at first, but the energy was so positive, and the smiles on people’s faces were so welcoming and inviting that we all relaxed and had a great time.”

Here's "The Greatest Man That Ever Lived" from The Red Album:



Bell said that same sense of fun and rekindled excitement within the band was evident on the group’s recent tour.

“We’re utilizing everybody’s talents, the way that I always wanted to,” he said. “Along with playing bass, Scott has keyboards on his side of the stage. I also have some keyboards, as well as vocal responsibilities. Pat sings and plays guitar. Rivers plays some drums. It’s fun for all of us to show what we can do in addition to playing our usual instruments.”

Much of the media attention Weezer has received lately focuses on the more democratic nature of the group, largely because in the past Cuomo was perceived as a control freak — a view further propagated by the fact that he was uncomfortable with interviews and media attention in general. As James Montgomery wrote for MTV News, “[Weezer] was seen as his personal vehicle, operating on his personal schedule and subject to his personal whims.”

But Bell, who joined the group prior to the recording of the band’s self-titled 1994 debut (a.k.a. The Blue Album), says all members of the band have always had creative input in the recording process.

“We’ve always contributed things like introductions, suggestions of arrangements, the feel of songs, ideas for sounds,” he says. “Of course, Rivers is extremely talented and knows what he wants. I think he’s one of the best melodic writers of our time. If he has a melody and a song that he’s into, I try my best to see his dream through and make it a reality.”

Bell also believes that, as Cuomo has gotten older, he has become more comfortable with the non-musical aspects of the music business.

“There was a time when Rivers would give a number to the amount of interviews he was going to do for an album cycle,” Bell says. “It’s not his favorite thing to do. But I see him getting much, much, much better at it — really answering questions truthfully, and with some wit, and not letting it affect him so much.”

If nothing else, Cuomo finally seems comfortable in his own skin. While he’s always written from the perspective of someone out-of-step with the trendy and popular, his lyrics on The Red Album seem to embrace his inner geek.

I’m ‘a do the things that I want to do / I ain’t got a thing to prove to you” he sings on “Pork and Beans.”

With a revitalized sense of purpose, it’s no surprise that Weezer is already making tentative plans to record its next album, currently penciled in for a late 2009 release.

“There are so many incarnations and periods of the band that it does feel fresh and new again,” Bell says. “I keep using the word ‘fresh,’ but it’s really true. I don’t feel burned out. In a way this feels like a first album for this band.”





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Wednesday, March 25, 2009

IDINA MENZEL - BROADWAY STAR SHINES AS A SINGER-SONGWRITER


It can be a daunting task for an established Broadway musical actor or actress to cross over to a career as a mainstream pop singer. That’s especially true when the artist creates or defines a memorable stage role, and audiences begin to view the performer and the role as one and the same.

In a relatively brief twelve-year Broadway career, Idina Menzel has already created two landmark characters – the bi-sexual performance artist Maureen in Rent, and her Tony Award-winning role as Elphaba, the Wicked Witch of the West in Wicked. She’s also branched out to non-musical roles in television and film (most notably as Patrick Dempsey’s fiancĂ© in Enchanted).

The 37-year-old Long Island native has been touring in support of her latest album (and Warner Brothers Records debut) I Stand.

Her character? Singer-songwriter Idina Menzel.

In her performances Menzel will certainly acknowledge her stage career, perhaps with renditions of Wicked’s “Defying Gravity,” or Rent’s “Take Me or Leave Me,” but concert-goers should expect the bulk of Menzel’s repertoire to be drawn from her own material.

Make no mistake – this is NOT a case of a Broadway singer simply “turning pop.” Menzel’s professional resume as singer-songwriter dates back to 1998, when she released her underrated debut album, Still I Can’t Be Still. The lively, wide-ranging mix of pop, rock, and soul showcased Menzel’s wonderful voice and knack for crafting memorable, somewhat quirky (in a good way) tunes, but failed to find a large audience.

Menzel was eventually dropped from her record label. She spent the next ten years establishing her stage career, but never abandoned her music. During that time she contributed to a few soundtracks and other albums, and in 2004 released a six-song EP entitled Here on the independent Zel Records label.

Menzel was signed to Warner Brothers Records, which released I Stand last year.

Menzel worked with Glen Ballard (Alanis Morissette, Shakira, Annie Lennox) who produced and co-wrote all but one of the songs on I Stand with Menzel. Featuring the singles “Brave,” “Gorgeous,” and the title track, the album is a strong mix of engaging, soulful pop and heartfelt ballads. Menzel’s powerful voice is in top form throughout, but the bigger surprise is the maturity of her songwriting.

Here's the "I Stand" lyric video:



In a press release, Ballard commented, “It's very rare when you have somebody with Idina's vocal skills who also writes so eloquently about what's important to her. I knew I was working with a first-rate writer. She has stories to tell and they're really worth hearing."

Menzel says she’s thrilled when fans dig deep into her lyrics and interpret her songs.

"Sometimes when people hear my new songs they take a completely different meaning from them than what I originally intended,” she says. “I just love that. As a songwriter, it means I've accomplished something bigger than myself."

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GOOD WORKS: Menzel has recorded a brand-new song called "Hope" in support of Major League Baseball and its ongoing programs to raise awareness, as well as funds for research through the new Stand Up To Cancer (SU2C) initiative. Idina's recording of "Hope" was selected as the signature title song for important, inspiring efforts throughout the baseball industry. The song release marks the launch of a series of forthcoming initiatives to be announced at a later date.

"Hope" — which was written by award-winning composer Paul Hampton and produced by Steve Lipson (Annie Lennox, Whitney Houston, Paul McCartney) — is available for purchase through iTunes® and other online retailers.

Proceeds from the sale of the track will go to benefit Stand Up To Cancer. Fans will also be able to get the info on downloading the new song by visiting http://www.idinamenzel.com/, as well as www.MLB.com/Hope.

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Upcoming tour dates for Idina Menzel:

Mar 25, 2009 Glenside/Philadelphia, PA - Keswick Theatre - Buy Tickets
Mar 27, 2009 Wilmington, DE - Grand Opera House - Buy Tickets
Mar 28, 2009 Greenvale, NY – Tilles Center Concert Hall - Buy Tickets




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Tuesday, March 24, 2009

METALLICA, KANYE WEST, PERRY FARRELL & TORI AMOS AT THIS YEAR'S SXSW MUSIC FESTIVAL

Does the performance of a superstar act like Metallica help or hurt SWSW?

The South by Southwest Music Festival, or SXSW for short, is one of the biggest, most high-profile annual music festivals in the United States. The Austin, Texas event is one of three festivals (film and interactive media are the focus of the other two) hosted by Austin each year.

Originally geared to music industry professionals to showcase unsigned or up and coming talent on a national level, the twenty-three-year-old event is now a bona fide schmooze-fest for fans, media, and music industry insiders alike. It is the musical equivalent of France’s Cannes Film Festival, with a bit of Mardi Gras thrown in for good measure.

This year’s event ran from March 18 to 22 and featured more than 1,800 musical acts of all genres from around the globe performing on over eighty stages in downtown Austin. Traditionally, most of the performers at the Festival are up-and-coming acts for which an appearance at SXSW has provided early national exposure. For example, Lily Allen was one of the breakout performers at the 2007 Festival.

In recent years, however, more and more established acts have been making “surprise” appearances at SXSW. While their performances are welcomed and appreciated by the music fans in attendance, the presence of chart-topping stars naturally draws media and industry attention away from the newer artists SXSW was originally intended to spotlight.

This year’s Festival featured performances by superstar artists like Metallica, Kanye West, Perry Farrell, and Tori Amos. That was great for the fans, but perhaps not so great for Beach House, the Pepper Pots (pictured left), or any of the hundreds of other lesser-known artists that were trying to generate a buzz in Austin.

Here’s a YouTube video of Kanye West performing “Amazing” at this year’s SXSW (warning: graphic language):





The participation of a few established artists is beneficial to SXSW – it generates publicity, and fosters continued interest in the Festival and similar events around the country. But when it comes to superstars at SXSW, it's not a matter of the more the merrier. I hope that SXSW organizers will be wise enough to regulate the number of star performances in the future.

As it is, SXSW is the United States’ premier music event highlighting new or unknown artists. I’d hate to see it turn into just another red-carpet celebrity showcase.





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Wednesday, March 18, 2009

GEORGE THOROGOOD BACK HOME IN DELAWARE FOR A "GRAND" SHOW

The self-proclaimed “World's Greatest Bar Band” – George Thorogood and the Delaware (yes, we’ll use the group’s full name here) Destroyers – return to their home state for a show at Wilmington, Delaware’s Grand Opera House on Monday, March 23 at 8:00 pm. Tickets are priced from $35 to $52. For more information, call the Grand box office at 302-652-6677.

It’s hard to believe, but it has been six years since Thorogood and the Destroyers performed in Delaware. They rocked Wilmington's Big Kahuna back in 2003.

I’ve never interviewed Thorogood, but through stories told by friends of friends, he always impressed me as a fairly unpretentious guy who charted his own course – as passionate about his semi-pro baseball team as he was about his music career.

The March 2009 issue of Delaware Today magazine features an article that chronicles Thorogood’s career, and what writer Matt Amis calls Thorogood’s “checkered relationship” with his home state. Maybe Thorogood did have a rough adolescence here, but by the early 80s, after he had become Delaware’s first bona fide rock star of the MTV age, Thorogood seemed to have reconciled with his past.

Even though he didn’t officially live here, he certainly was spending time in the area. On at least one occasion circa 1982-83, Thorogood showed up unannounced with his guitar at a now defunct Newark, Delaware bar and grill called the Crap Trap and played a set for open mic night.

Thorogood appears to have maintained that same unassuming personality trait to this day. Regarding his return to Delaware, Thorogood is quoted in the Delaware Today feature as saying, “I’m really looking forward like you wouldn’t believe…. I used to think the only way I’d get into the Grand Opera House is if they asked me to sweep the floor.”

Monday’s show at the Grand is going to be recorded for an upcoming live album. If it comes to fruition, it will be the first live album by a nationally known music artist ever recorded entirely in Delaware.

Give “Lonesome George” credit for remembering the First State. Thorogood is one of only a handful of nationally known music artists to mention or allude to Delaware in his songs. In addition to Thorogood’s “Delaware Slide,” the slim list includes “School Days” by Loudon Wainwright III, “Dover, Delaware” by Canadian folk-roots band the Duhks, Perry Como’s “Delaware,” and Fats Waller’s “(You’re A) Square From Delaware.”

Examples of live recordings originating in Delaware are even rarer. In fact, the only other occurrence that I can find of a live recording taking place in Delaware during the rock era is a track on Earthbound, a 1972 album by the British progressive rock band King Crimson. The album opens with a track called “21st Century Schizoid Man” that was recorded in Wilmington at the old State Armory (which used to be located at 10th and DuPont Streets) on February 11, 1972.

King Crimson was opening for the J. Giles Band that night.



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Tuesday, March 17, 2009

TOP-10 IRISH ARTISTS IN ROCK AND POP

Irish musicians have played important roles and influenced every style of music imaginable – from classical, to jazz, to folk, to country. In honor of St. Patrick’s Day, here’s a list of ten notable Irish artists and bands in the pop and rock genres. The list is by no means meant to be definitive, just this Honorary Irishman’s humble opinion. In alphabetical order:
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The Boomtown Rats – Led by future humanitarian Bob Geldof, these post-punk rockers never found a large audience in the States. Even their biggest worldwide hit, “I Don’t Like Mondays” fell short of the Top-40 here. Still, the group’s blend of epic, Springsteen-esque story-songs and punk attitude are worth checking out, especially on the group’s U.S. debut, A Tonic for the Troops.
***
Clannad / Enya – Clannad had been creating its unique combination of traditional Irish folk, Celtic, pop and new age music since the early 70s. It took ten years for the group to achieve international success, primarily through its work on various movie and television soundtracks. Eithne NĂ­ Bhraonáin, better known as Enya, struck out on her own in the mid-80s and found even greater success creating ethereal, multi-layered vocal orchestrations that walked a fine line between pop and new age.
***
The Corrs – This three sisters and a brother act enjoyed a great deal of worldwide success in the ten year period between 1996 and 2006. The band’s sound, epitomized by hits like “Runaway” and “Breathless,” leaned heavily toward pop-rock, but contained a fair sprinkling of traditional Irish influences and instrumentation.
***
The Cranberries – This Limerick-based alternative rock band enjoyed plenty of airplay and chart success for most of the 90s on the basis of its two great strengths – sharp pop songwriting (typified by hits like “Linger,” “Dreams,” and “Salvation”), and the pure, powerful voice of lead singer Dolores O'Riordan.
***
Rory Gallagher – The late, great blues-rock guitarist Rory Gallagher died too young – he was only 47 when years of substance abuse finally caught up with him in 1995. Although his albums sold over 30 million copies worldwide, perhaps his most important and lasting contribution to music is evidenced by his acknowledged influence on guitarists like The Edge, Slash, Johnny Marr, Glenn Tipton, and Brian May.
***
House of Pain / Everlast – In the early 90s, white rappers were still a novelty, and legitimate white rappers were an even bigger rarity. Spittin’ lyrics in a full-on brogue, Everlast stepped to the plate not as a copycat, but as a “copy that.” With an even more successful solo career he demonstrated his range in a variety of musical genres.
***
Van Morrison – Morrison is the reigning monarch of Irish singer-songwriters. Fans might question whether this Rock and Roll Hall of Fame inductee should be recognized more for his exceptional songwriting or for his unique, soulful voice. Fortunately, there’s no need to rush a decision – at age 63, Morrison is still going strong.
***
The Pogues – Some reviews of Pogues concerts talk of shows of unparalleled power and elegance, others of performances marred by incoherent drunkenness. The focal point of contradiction is always Shane MacGowan — singer, songwriter, and enigmatic leader of the group — the man who's equally responsible for the Pogues' greatest achievements as well as its occasional downfalls.
***
Thin Lizzy – For my money, Thin Lizzy is one of the most underrated rock bands of all time. Lead singer Phil Lynott was a fine songwriter, and a charismatic front man. The group was one of the pioneers of the twin lead guitar sound, and a terrific live act.
***
U2 – Okay, Bono and the boys can get a bit pretentious at times, but as a band they’re still the current kings of the mountain. The group has been around long enough to be considered classic rock, but as evidenced by its new chart topping effort, No Line on the Horizon, the band is still taking chances – and finding a large audience in the process.



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Friday, March 13, 2009

Carrie Underwood Does Motley Crue on 'American Idol'

My friends are usually very surprised to learn that I’ve never watched a full episode of “American Idol.” Knowing how much I love music and how I try to stay hip to new artists, they are astonished by my indifference to the show. Call me old-fashioned, but I still prefer musicians to work their way up the ladder – playing local clubs and bars and building their audience and reputation one fan at a time.

I’m sure the contestants who make it to the finalists round on the show have worked hard and are dedicated to their music. But by its very nature, the “American Idol” setup is flawed.

I’ve always maintained that being a music critic is much more time-consuming than reviewing theater, movies, television, or books. In every other case, only one viewing or reading is necessary to form an opinion. Music, on the other hand, must be listened to repeatedly before a valid opinion can be formed.

How many times has your opinion of an album changed the more you listened to it? Sometimes a CD that didn’t grab you for weeks ends up being one of your all-time favorites. On the other hand, music that has instant likability often loses its appeal and proves trite or shallow in the long run. But with “American Idol,” the whole point is to gauge the public’s instant, knee-jerk reaction.

Shouldn’t an artist’s songwriting ability also play a part when judging his or her overall talent? On “American Idol” it’s not even considered. Maybe the name of the show should be changed to “American Idol Cover Artist.”

There have been American idols chosen from the country and soul/R&B genres, but most are cast out of the same homogenous Top-40 pop-rock mold. If you are a fan of bluegrass, hip-hop, reggae, or jazz, don’t expect to see an “American Idol” winner representing your favorite style of music anytime soon.

All that being said, I did tune in the conclusion of the Wednesday, March 11 show. I wanted to hear how well country-pop ingĂ©nue Carrie Underwood could pull off a version of Mötley CrĂĽe's “Home Sweet Home.” It was about what I expected - a country-rock-pop ballad that reminded me of Poison's "Every Rose Has Its Thorn."

The season-four winner recorded a cover of the metal band’s most famous power ballad to serve as the new swan song for voted-off contestants. If watched the show and you like what you heard, the song will be available as a digital single exclusively on iTunes through March 16. After that it will be released via other online music retail sites. A portion of the proceeds from sales of the single will benefit the Humane Society of the United States.

"American Idol" airs Tuesdays at 8 pm and Wednesdays at 9 pm on Fox.






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Wednesday, March 11, 2009

BMG Music Service Shutting Down


Brick and mortar music stores aren’t the only outlets adversely affected by the digital download era. First the Columbia House Music Club bit the dust, now BMG Music Service is closing up shop.

Current members recently received an email informing them that the BMG Music Service is being discontinued as of June 30, 2009. They will have until May 31 to redeem certificates or make purchases on the club’s website - bmgmusic.com.

The closing marks the end of an era. For years, both Columbia House (originally known as the Columbia Record Club) and BMG Music Service (originally known as the RCA Music Club) provided music connoisseurs a way to start or add to their music collections in bulk, with their “6 for the price of one” or “Get 11 albums free” offers.

I can still remember as a young teenager getting my introductory shipment of a dozen or albums from Columbia House and thinking, “Wow, I’ve got every album I’ve always wanted.”

A few thousand albums later, I’m still working on that – but that’s another story.

The history of the record clubs starts with Columbia, which was founded in 1955 and was originally owned by CBS Records. RCA Records started up the RCA Music Service shortly thereafter. For most of the years the clubs were in competition with each other, CBS recordings were not available from the RCA club, and RCA recordings were unavailable through Columbia House.

The specifics of the offers changed over the years, but RCA always offered a better deal. With a smaller library of albums, RCA offered fewer “up front,” but required members to only buy one more to complete their membership commitment. Columbia House loaded you up on the front end (11, 12, or more albums), but the membership fulfillment commitment was 5 or 6 albums within three years.


Ahh, those were the days...

Sony acquired Columbia House in 1987 when they bought CBS Records; the same year, RCA was acquired by Bertelsmann Music Group, and its music club was renamed BMG Music Service.

The clubs have not totally vanished - Columbia House still runs a DVD club, and BMG is going to continue its yourmusic.com service, where CDs are sold at reduced prices. But I can’t help but feel that another piece of recent Americana is fading away.

Future generations of young music fans will never know the joy of opening a big box of CDs and thinking, “Wow, I’ve got every album I’ve always wanted.”




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Monday, March 9, 2009

RACING KITES FLYING HIGH WITH NEW EP


New Jersey's Racing Kites headlines a show this Friday, March 13 at Wilmington, Delaware’s Harmony Grange showcasing five young, energetic pop-rock bands. Joining Racing Kites on the bill are suburban Philly’s The Skylife, The Dangerous Summer from Ellicott City, MD, Horrible Horrible Creatures from Chester County, PA, and Elkton, Maryland/Newark, Delaware-based Christian rockers Love Beyond Reason.

For Racing Kites, the gig is an early stop on a cross-country tour (see complete tour dates below) in support of its brand-new five song EP, Be My Runaway. It’s also a homecoming show for guitarist and backing vocalist Matt Federer, a native Delawarean who still resides here.

The band, which also includes singer-songwriter Alex Ziabko, drummer Rick Szpakowski, guitarist Matt Howard, and bassist Preston Rahbari, has been steadily gaining momentum and growing its fan base since forming three years ago. Racing Kites’ 2006 release, We Hold It All Together sold close to 2,000 CDs and 2,300 downloads on Itunes. Absolutepunk featured them as a “top band to know,” and last year Abercrombie & Fitch selected Racing Kites’ CD sampler to be played in its stores nationwide.

Be My Runaway should only further the group’s chances of landing a recording contract. These young 20-somethings play well-written, high-energy, melody driven pop-rock anthems in the Fall Out Boy, Cartel, All-American Rejects vein.

The title track is typical of the smart, clap-your-hands appeal of the five songs on Be My Runaway. Ziabko sings his young love tales with heart-on-his-sleeve sincerity – all the better to strike a chord with the band’s large contingent of female fans. Backing harmonies, sing-along choruses, and layers of power chords only add to the infectious nature of tunes like “All Night Is Alright,” “Takeover,” and “Tonight’s Attraction.” For a change of pace, there’s the bouncy, acoustic-based “My Everything.”

There’s nothing groundbreaking on Be My Runaway, but everything is done with a professional flair and style. Just as important, the guys all sound like they’re having a blast. Their sense of fun and excitement is contagious and should translate well to a packed house at the Harmony Grange this weekend.

Tickets for the 6 p.m. show are $10. Harmony Grange is located at 3201 Limestone Road in Wilmington. If you can’t make it to Friday’s show, Racing Kites will also perform a free acoustic show at Hot Topic at Wilmington's Concord Mall on Saturday, March 14 at 6 p.m.

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Racing Kites Tour Dates

March 12 Blairsville, PA The Corner Pocket

March 13 Wilmington, DE Harmony Grange

March 14 Wilmington, DE Hot Topic: instore

March 15 Winchester, VA ZeroPak

March 17 Wilmington, NC Soapbox

March 20 SXSW

March 21 SXSW

March 22 San Antonio, TX White Rabbit

March 25 Dallas, TX Live @Mokah

March 26 Rosewell, New Mexico The Unit Center

March 27 Tempe, AZ The Sets

March 28 Palm Springs, CA Ignition

March 30 San Francisco, CA Sub Mission Art Space

April 1 Tacoma, WA Viaduct

April 3 Palmdale, Ca The Crossing

April 4 Irvine, CA Bamboozle Left
Verizon Wireless Amphitheater

April 5 Irvine, CA Bamboozle Left
Verizon Wireless Amphitheater

April 17 LaCrosse, WI The warehouse

April 18 Mokena, IL The SoundLab

April 19 Morris, IL The Korova



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