Formal structure of [135] "Sexy Sadie":
Intro (v) 0:00-0:10 Verse 1 0:10-0:32 Verse 2 0:32-0:54 Middle 8 0:54-1:10 Verse 3 1:10-1:32 Verse 4 1:32-1:54 Middle 8 1:54-2:13 Solo/Coda (v) 2:13-3:14 Comments: "Sexy Sadie" is one of a great many Beatles songs to date to place the first two verses contiguously (as did [1] "Love Me Do", [7] "Do You Want to Know a Secret", [8] "Misery", [9b] "Anna (Go To Him)", [9c] "Boys", [9d] "Chains", [9f] Twist and Shout, [10] "From Me To You", [13e] "Till There Was You", [17] "Little Child", [19] "Not a Second Time", [23] "Can't Buy Me Love", [25] "And I Love Her", [26] "I Should Have Known Better", [28] "If I Fell'', [29] "I'm Happy Just to Dance With You", [31] "A Hard Day's Night", [31b] "Matchbox", [32] "I'll Cry Instead", [35] "Things We Said Today", [40] "I Don't Want To Spoil the Party", [41] "What You're Doing", [42] "No Reply", [43] "Eight Days a Week", [44] "She's a Woman", [44b] "Kansas City/Hey Hey Hey Hey", [46d] "Words of Love", [47] "Ticket to Ride", [49] "I Need You", [50] "Yes It Is", [51] "The Night Before", [52] "You Like Me Too Much", [54] "Tell Me What You See", 56b] "Dizzy Miss Lizzy", [56c] "Bad Boy", [57] "I've Just Seen a Face", [59] "Yesterday", [66] "If I Needed Someone", [68] "We Can Work it Out", [71] "Michelle", [77] "Tomorrow Never Knows", [80] "Paperback Writer", [82] "Doctor Robert", [84] "Taxman", [88] "Yellow Submarine", [89] "I Want To Tell You", [92] "She Said She Said", [95] "Penny Lane", [96] "A Day in the Life", [99] "Fixing a Hole", [100] "Only a Northern Song", [101] "Being for the Benefit of Mr. Kite", [105] "Within You Without You", [111] "All Together Now", [114] "All You Need Is Love", [116] "I Am the Walrus", [122] "Lady Madonna", [126] "Don't Pass Me By", [128] "Blackbird", and [129] "Everybody's Got Something to Hide Except for Me and My Monkey"). But it's also just the 9th Beatles song to date to use contiguous verses other than the first two, precedents being [19] "Not a Second Time" (in which verses 1 and 2 are contiguous, as are verses 3 and 4), [31b] "Matchbox" (in which the first three and last two verses are contiguous), [56b] "Dizzy Miss Lizzy" (in which verses 1-2 are contiguous, as are verses 4-5), [77] "Tomorrow Never Knows" (in which verses 1-3 are contiguous, as are verses 4-7), [80] "Paperback Writer" (in which verses 1-2 are contiguous, as are verses 3-4), [84] "Taxman" (in which verses 1-2 are contiguous, as are verses 3-4), [95] "Penny Lane" (in which verses 1-2 are contiguous, as are verses 4-5), [96] "A Day in the Life" (in which verses 1-3 are contiguous), and [129] "Everybody's Got Something to Hide Except for Me and My Monkey" (in which all three verses are contiguous). Lastly, the coda is both a solo and a coda because the solo just keeps going and eventually fades out. Using a solo as a coda is not terribly rare (the band pulled the trick previously in [46b] "Everybody's Trying to Be My Baby", [60b] "Act Naturally", [71] "Michelle", and [79] "Love You To"), but what is unprecedented in a Beatles track is to use a solo as a coda without also using it elsewhere. All four previous songs that used solos as a coda had additionally used solos in the body of the song. "Sexy Sadie" is the first to use a solo strictly as a coda.
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Formal structure of [134] "Helter Skelter":
Intro (ind.) 0:00-0:18 el gtr 0:00-0:03 + vocals 0:03-0:18 Verse 1 0:18-0:41 Chorus 0:41-0:52 Ext 0:52-0:58 Verse 2 0:58-1:18 Chorus 1:18-1:29 Ext 1:29-1:35 Solo 1:35-1:46 Intro 1:46-2:01 Verse 3 2:01-2:21 Chorus 2:21-2:33 Coda 2:33-3:12 Chorus ext 2:33-3:12 False fade out 3:12-3:41 "Blisters" 3:41-4:29 Comments: "Helter Skelter" is yet another Beatles song to use a two-part introduction (following [6b] "A Taste Of Honey", [11] "Thank You Girl", [17] "Little Child", [14b] "Roll Over Beethoven", [24] "You Can't Do That", [31b] "Matchbox", [37] "Baby's in Black", [38b] "Mr. Moonlight", [45] "I Feel Fine", [46e] "Honey Don't", [47] "Ticket to Ride", [62] "Run For Your Life", [63] "Norwegian Wood (This Bird Has Flown)", [66] "If I Needed Someone", [77] "Tomorrow Never Knows", [79] "Love You To", [81] "Paperback Writer", [89] "I Want to Tell You", [92] "She Said She Said", [102] "Lovely Rita", [104] "Getting Better", [105] "Within You Without You", [110] "Baby, You're a Rich Man", [114] "All You Need Is Love", [125] "Revolution 1", [126] "Don't Pass Me By", [130] "Good Night", and [131] "Ob-la-di Ob-la-da"), with the distorted electric guitar heard first, with McCartney's vocals added next. Although the vast majority of Beatles songs so far have used an introduction, "Helter Skelter" is the first to reprise an independent introduction mid-song. Many tunes to date have used introductions based on a section of the song (essentially foreshadowing what is to be heard later), but in this case the introduction is independent of the rest of the music, and the repetition of it mid-song is equally clearly bringing back the beginning and NOT anticipating what is to come. Both [40] "I Don't Want To Spoil the Party" and [43] "Eight Days a Week" use an independent introduction that is reprised at the very end as a coda, but "Helter Skelter" reprises it in the MIDDLE of the song - NOT in the coda. Each of the first two choruses is extended, but this is clearly NOT a tag, as tags are a particular characteristic riff or motif (think "In My Life" or "Day Tripper") whereas this instance is merely a continuation of previous material. The third such extension is omitted in favor of the coda (which has the same structural function as the earlier extensions). The coda itself is quite long and developed in that it has three distinct subsections - the first part being an extension of the chorus (although much longer than the previous chorus extensions and retaining the chorus' guitar lick that were absent in the earlier chorus extensions); the second part a false ending followed by the third part, a fade back in before Ringo's perfect conclusion: "I've got blisters on my fingers!". This fade back in is quite similar to [93] "Strawberry Fields Forever". I cannot count "Helter Skelter" as having a double coda, however, because (again like "Strawberry") this fade in is more the product of studio manipulation than it is a compositional choice about the formal structure of the song. (To find true double codas, see [120] "Hello Goodbye", and [126] "Don't Pass Me By".) The solo is very brief and so underdeveloped that I can barely call it a solo. It will likely be the Beatles' shortest solo section. Formal structure of [133] "Cry Baby Cry": Chorus 0:00-0:11* Verse 1 0:11-0:28 Chorus 0:28-0:40 Verse 2 0:40-0:58 Chorus 0:58-1:10 Verse 3 1:10-1:27 Chorus 1:27-1:40 Verse 4 1:40-1:58 Chorus 1:58-2:10 Chorus 2:10-2:21 Chorus 2:21-2:34 Coda (ind.) 2:34-3:01 Comments: This is the 10th Beatles song so far to open with a chorus (following [12] "She Loves You", [14] "It Won't Be Long", [23] "Can't Buy Me Love", [34] "Any Time at All", [36] "When I Get Home", [48] "Another Girl", [55] "You're Going to Lose That Girl", [69] "Nowhere Man", and [86] "Eleanor Rigby"). It is also the 8th Beatles song so far to use contiguous choruses (following [44b] "Kansas City/Hey Hey Hey Hey", [58] "I'm Down", [73] "Think For Yourself", [90] "Good Day Sunshine", [113] "It's All Too Much", [114] "All You Need Is Love", and [117] "Blue Jay Way"). Since the chorus both starts and ends with the same title lyrics, these contiguous choruses overlap, resulting in slightly shorter choruses than heard earlier in the song. This will be most easily understood visually (click the graphic to enlarge): This example illustrates how the 5th through 7th iterations of the chorus overlap. All the chords, lyrics, and the melody are identical through each chorus until the very last chord (G), which is not omitted from the last 3 choruses, but rather overlaps with the start of each chorus (which also uses the same chord of G). This removes 2 beats from each chorus, which is why the 5th and 6th choruses incorporate a 2/4 bar.
The coda ("Can you take me back where I came from...?") is entirely independent from the rest of the song, somewhat reminiscent of [120] "Hello Goodbye". Formal Structure of [132] "Revolution":
Intro (ind) 0:00-0:08 Verse 1 0:08-0:34 Bridge 0:34-0:45 Chorus 0:45-0:57 Tag 0:57-1:01 Verse 2 1:01-1:27 Bridge 1:27-1:38 Chorus 1:38-1:50 Tag 1:50-1:54 Solo (v) 1:54-2:11 Verse 3 2:11-2:36 Bridge 2:36-2:47 Chorus 2:47-2:58 Tag 2:58-3:03 Coda (ch) 3:03-3:27 Comments: This one's about as straightforward as they come - a very elaborate, but very clear structure: textbook use of not only the standards of introduction, verse, chorus, solo, and coda, but also of bridge (as I define it) and tag. The only significant structural difference between [132] "Revolution" and [125] "Revolution 1" is the addition of a solo section which was completely omitted from the earlier version. Everything else is identical, at least in terms of formal progress (but different in terms of timing due to different tempos). Formal structure of [131] "Ob-la-di Ob-la-da":
Intro (v) 0:00-0:10 Pno 0:00-0:02 + backing 0:02-0:10 Verse 1 0:10-0:27 Chorus 0:27-0:44 Verse 2 0:44-1:01 Chorus 1:01-1:18 Middle 8 1:18-1:35 Verse 3 1:35-1:52 Chorus 1:52-2:09 Middle 8 2:09-2:26 Verse 4 2:26-2:43 Chorus (abbr.) 2:43-2:58 Coda (ch) 2:58-3:08 Comments: Another 2-part intro (following [6b] "A Taste Of Honey", [11] "Thank You Girl", [17] "Little Child", [14b] "Roll Over Beethoven", [24] "You Can't Do That", [31b] "Matchbox", [37] "Baby's in Black", [38b] "Mr. Moonlight", [45] "I Feel Fine", [46e] "Honey Don't", [47] "Ticket to Ride", [62] "Run For Your Life", [63] "Norwegian Wood (This Bird Has Flown)", [66] "If I Needed Someone", [77] "Tomorrow Never Knows", [79] "Love You To", [81] "Paperback Writer", [89] "I Want to Tell You", [92] "She Said She Said", [102] "Lovely Rita", [104] "Getting Better", [105] "Within You Without You", [110] "Baby, You're a Rich Man", [114] "All You Need Is Love", [125] "Revolution 1", [126] "Don't Pass Me By", and [130] "Good Night"), with a piano solo being heard for the first measure, then the rest of the backing instruments joining in. The final chorus is abbreviated because it segues directly to the coda Formal structure of [130] "Good Night": Intro (M8) 0:00-0:15 + strings (v) 0:15-0:22 Verse 1 0:22-0:52 Middle 8 0:52-1:06 Verse 2 1:06-1:35 Middle 8 1:35-1:50 Break (strings) 1:50-2:04 Verse 3 2:04-2:35 Middle 8 2:33-2:47 Coda (verse) 2:47-3:13 Comments: Another 2 part introduction (following [6b] "A Taste Of Honey", [11] "Thank You Girl", [17] "Little Child", [14b] "Roll Over Beethoven", [24] "You Can't Do That", [31b] "Matchbox", [37] "Baby's in Black", [38b] "Mr. Moonlight", [45] "I Feel Fine", [46e] "Honey Don't", [47] "Ticket to Ride", [62] "Run For Your Life", [63] "Norwegian Wood (This Bird Has Flown)", [66] "If I Needed Someone", [77] "Tomorrow Never Knows", [79] "Love You To", [81] "Paperback Writer", [89] "I Want to Tell You", [92] "She Said She Said", [102] "Lovely Rita", [104] "Getting Better", [105] "Within You Without You", [110] "Baby, You're a Rich Man", [114] "All You Need Is Love", [125] "Revolution 1", and [126] "Don't Pass Me By"), in which first backing chords from the middle 8 are heard, then the verses' melody played by orchestral strings. Perhaps following McCartney's lead, this Lennon song employs are three-part macro-scale structure of verse + middle 8, with a string break between the second and third iterations, all book-ended by an intro and chorus:
Formal Structure of [129] "Everybody's Got Something to Hide Except for Me and My Monkey": Intro (verse) 0:00-0:08 Verse 1 (abbr.) 0:08-0:40 Part 1 (abbr.) 0:08-0:20 Part 2 0:20-0:32 Part 3: Tag 0:32-0:40 Verse 2 0:40-1:20 Part 1 0:40-1:00 Part 2 1:00-1:12 Part 3: Tag 1:12-1:20 Verse 3 1:20-2:00 Part 1 1:20-1:40 Part 2 1:40-1:52 Part 3: Tag 1:52-2:00 Coda (verse) 2:00-2:24 Comments: Many of the songs released on "The White Album" were written as fragments during the Beatles stay in Rishikesh, India in the early months of 1968. "Everybody's Got Something to Hide Except for Me and My Monkey" is one such example - its use of only verses (no choruses, no middle 8s, no solos, et cetera) revealing its fragmentary nature. (NOTE: I count the third and final sub-section of each verse as a tag, but it's clearly a sub-section of the verse and NOT an independent structural component due to its brevity and lack of structural weight.) While it is rather common to find a Beatles song in which the first two verses are contiguous (precedents include [1] "Love Me Do", [7] "Do You Want to Know a Secret", [8] "Misery", [9b] "Anna (Go To Him)", [9c] "Boys", [9d] "Chains", [9f] Twist and Shout, [10] "From Me To You", [13e] "Till There Was You", [17] "Little Child", [19] "Not a Second Time", [23] "Can't Buy Me Love", [25] "And I Love Her", [26] "I Should Have Known Better", [28] "If I Fell'', [29] "I'm Happy Just to Dance With You", [31] "A Hard Day's Night", [31b] "Matchbox", [32] "I'll Cry Instead", [35] "Things We Said Today", [40] "I Don't Want To Spoil the Party", [41] "What You're Doing", [42] "No Reply", [43] "Eight Days a Week", [44] "She's a Woman", [44b] "Kansas City/Hey Hey Hey Hey", [46d] "Words of Love", [47] "Ticket to Ride", [49] "I Need You", [50] "Yes It Is", [51] "The Night Before", [52] "You Like Me Too Much", [54] "Tell Me What You See", 56b] "Dizzy Miss Lizzy", [56c] "Bad Boy", [57] "I've Just Seen a Face", [59] "Yesterday", [66] "If I Needed Someone", [68] "We Can Work it Out", [71] "Michelle", [77] "Tomorrow Never Knows", [80] "Paperback Writer", [82] "Doctor Robert", [84] "Taxman", [88] "Yellow Submarine", [89] "I Want To Tell You", [92] "She Said She Said", [95] "Penny Lane", [96] "A Day in the Life", [99] "Fixing a Hole", [100] "Only a Northern Song", [101] "Being for the Benefit of Mr. Kite", [105] "Within You Without You", [111] "All Together Now", [114] "All You Need Is Love", [116] "I Am the Walrus", [122] "Lady Madonna", [126] "Don't Pass Me By", and [128] "Blackbird"), it is uncommon to find any other contiguous verses. In fact, "Monkey" is just the 8th Beatles song to use contiguous verses other than verses 1 and 2, following [19] "Not a Second Time" (in which verses 1 and 2 are contiguous, as are verses 3 and 4), [31b] "Matchbox" (in which the first three and last two verses are contiguous), [56b] "Dizzy Miss Lizzy" (in which verses 1-2 are contiguous, as are verses 4-5), [77] "Tomorrow Never Knows" (in which verses 1-3 are contiguous, as are verses 4-7), [80] "Paperback Writer" (in which verses 1-2 are contiguous, as are verses 3-4), [84] "Taxman" (in which verses 1-2 are contiguous, as are verses 3-4), [95] "Penny Lane" (in which verses 1-2 are contiguous, as are verses 4-5), and [96] "A Day in the Life" (in which verses 1-3 are contiguous). With such a fragmentary and minimal macro-structure, it is no surprise to find that each verse contains three significant sub-sections: first, that corresponding with the lyrics "Come on, come on..."; second, that corresponding with the lyrics "Take it easy..."; and third, that corresponding with the brief instrumental break immediately following the title lyrics. Additionally, notice that the first part of verse 1 is abbreviated, lasting only 12 seconds - 8 seconds shorter than the first parts of both verses 2 and 3. The following side-by-side comparisons of the three verses show this abbreviation visually (click to enlarge): By observing this graphic, you can see that verses 2 and 3 are practically identical, but verse 1 is shortened, missing the first six measures of the other two verses and substituting two measures of comparable melodic material.
Lastly, also notice that Part 1 of the first verse concludes with a 9/8 bar while the other two verses retain 4/4. As to why Lennon decided to make only the first verse this way, I am uncertain. Given the novel structure of [127] "Revolution 9", I am temporarily skipping it and jumping ahead to [128] "Blackbird":
Formal structure of "Blackbird": Intro (v) 0:00-0:04 Verse 1 0:04-0:28 Ext 0:23-0:28 Verse 2 0:28-0:47 Middle 8 0:47-0:58 Break (v) 0:58-1:16 Middle 8 1:16-1:28 Break (v) 1:28-1:47 Verse 3 1:47-2:05 Coda (ext of verse) 2:05-2:18 Comments: "Blackbird" is yet another Beatles song to use contiguous verses (following [1] "Love Me Do", [7] "Do You Want to Know a Secret", [8] "Misery", [9b] "Anna (Go To Him)", [9c] "Boys", [9d] "Chains", [9f] Twist and Shout, [10] "From Me To You", [13e] "Till There Was You", [17] "Little Child", [19] "Not a Second Time", [23] "Can't Buy Me Love", [25] "And I Love Her", [26] "I Should Have Known Better", [28] "If I Fell'', [29] "I'm Happy Just to Dance With You", [31] "A Hard Day's Night", [31b] "Matchbox", [32] "I'll Cry Instead", [35] "Things We Said Today", [40] "I Don't Want To Spoil the Party", [41] "What You're Doing", [42] "No Reply", [43] "Eight Days a Week", [44] "She's a Woman", [44b] "Kansas City/Hey Hey Hey Hey", [46d] "Words of Love", [47] "Ticket to Ride", [49] "I Need You", [50] "Yes It Is", [51] "The Night Before", [52] "You Like Me Too Much", [54] "Tell Me What You See", 56b] "Dizzy Miss Lizzy", [56c] "Bad Boy", [57] "I've Just Seen a Face", [59] "Yesterday", [66] "If I Needed Someone", [68] "We Can Work it Out", [71] "Michelle", [77] "Tomorrow Never Knows", [80] "Paperback Writer", [82] "Doctor Robert", [84] "Taxman", [88] "Yellow Submarine", [89] "I Want To Tell You", [92] "She Said She Said", [95] "Penny Lane", [96] "A Day in the Life", [99] "Fixing a Hole", [100] "Only a Northern Song", [101] "Being for the Benefit of Mr. Kite", [105] "Within You Without You", [111] "All Together Now", [114] "All You Need Is Love", [116] "I Am the Walrus", [122] "Lady Madonna", and [126] "Don't Pass Me By"), however in this case there is an extension separating the verses - something not found in any other song to date. If you count the breaks as verses (they use the same music, just without vocals), then the last break and last verse are also contiguous verses. Formal structure of [126] "Don't Pass Me By":
Intro 0:00-0:16 (2 parts) el pno 0:00-0:11 beat 0:11-0:16 Verse 1 0:16-0:43 Verse 2 0:43-1:09 Chorus 1:09-1:38 Verse 3 1:44-2:10 Chorus 2:10-2:39 Coda 1 2:39-2:50 Beat 2:50-2:56 Chorus 2:56-3:26 Coda 2 3:26-3:40 Ext 3:40-3:49 Comments: The introduction is again in two parts (similar to [6b] "A Taste Of Honey", [11] "Thank You Girl", [17] "Little Child", [14b] "Roll Over Beethoven", [24] "You Can't Do That", [31b] "Matchbox", [37] "Baby's in Black", [38b] "Mr. Moonlight", [45] "I Feel Fine", [46e] "Honey Don't", [47] "Ticket to Ride", [62] "Run For Your Life", [63] "Norwegian Wood (This Bird Has Flown)", [66] "If I Needed Someone", [77] "Tomorrow Never Knows", [79] "Love You To", [81] "Paperback Writer", [89] "I Want to Tell You", [92] "She Said She Said", [102] "Lovely Rita", [104] "Getting Better", [105] "Within You Without You", [110] "Baby, You're a Rich Man", [114] "All You Need Is Love", and [125] "Revolution 1"). "Don't Pass Me By" is also another song to employ contiguous verses (as was the case previously with [1] "Love Me Do", [7] "Do You Want to Know a Secret", [8] "Misery", [9b] "Anna (Go To Him)", [9c] "Boys", [9d] "Chains", [9f] Twist and Shout, [10] "From Me To You", [13e] "Till There Was You", [17] "Little Child", [19] "Not a Second Time", [23] "Can't Buy Me Love", [25] "And I Love Her", [26] "I Should Have Known Better", [28] "If I Fell'', [29] "I'm Happy Just to Dance With You", [31] "A Hard Day's Night", [31b] "Matchbox", [32] "I'll Cry Instead", [35] "Things We Said Today", [40] "I Don't Want To Spoil the Party", [41] "What You're Doing", [42] "No Reply", [43] "Eight Days a Week", [44] "She's a Woman", [44b] "Kansas City/Hey Hey Hey Hey", [46d] "Words of Love", [47] "Ticket to Ride", [49] "I Need You", [50] "Yes It Is", [51] "The Night Before", [52] "You Like Me Too Much", [54] "Tell Me What You See", 56b] "Dizzy Miss Lizzy", [56c] "Bad Boy", [57] "I've Just Seen a Face", [59] "Yesterday", [66] "If I Needed Someone", [68] "We Can Work it Out", [71] "Michelle", [77] "Tomorrow Never Knows", [80] "Paperback Writer", [82] "Doctor Robert", [84] "Taxman", [88] "Yellow Submarine", [89] "I Want To Tell You", [92] "She Said She Said", [95] "Penny Lane", [96] "A Day in the Life", [99] "Fixing a Hole", [100] "Only a Northern Song", [101] "Being for the Benefit of Mr. Kite", [105] "Within You Without You", [111] "All Together Now", [114] "All You Need Is Love", [116] "I Am the Walrus", and [122] "Lady Madonna"). Most significantly and unusual, however, is the double coda - something the band used only once before in [120] "Hello Goodbye". (Recall that [93] "Strawberry Fields Forever" also used two codas, but that was the product of studio manipulation - fading out, then fading back in again - rather than a compositional choice by the songwriters, so I do not count it as two separate formal divisions here.) Formal structure of [125] "Revolution 1": Intro 0:00-0:16 ac. gtr, perc. 0:00-0:05 +el gtr 0:05-0:16 Verse 1 0:16-0:48 Bridge 0:48-1:02 Chorus 1:02-1:17 Tag 1:17-1:22 Verse 2 1:22-1:54 Bridge 1:54-2:06 Chorus 2:06-2:21 Tag 2:21-2:26 Verse 3 2:26-2:57 Bridge 2:57-3:10 Chorus 3:10-3:24 Tag 3:24-3:29 Coda (ch) 3:29-4:15 Comments: Another two-part intro (following [6b] "A Taste Of Honey", [11] "Thank You Girl", [17] "Little Child", [14b] "Roll Over Beethoven", [24] "You Can't Do That", [31b] "Matchbox", [37] "Baby's in Black", [38b] "Mr. Moonlight", [45] "I Feel Fine", [46e] "Honey Don't", [47] "Ticket to Ride", [62] "Run For Your Life", [63] "Norwegian Wood (This Bird Has Flown)", [66] "If I Needed Someone", [77] "Tomorrow Never Knows", [79] "Love You To", [81] "Paperback Writer", [89] "I Want to Tell You", [92] "She Said She Said", [102] "Lovely Rita", [104] "Getting Better", [105] "Within You Without You", [110] "Baby, You're a Rich Man", and [114] "All You Need Is Love"). The macro-scale formal plan for the song can be seen as three iterations of a verse, bridge, chorus, and tag, all bookended by an intro and coda:
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