A pair of handwritten Beatles set-lists will lead a Bonhams sale of historic music memorabilia in Los Angeles next month.
The two lists were written by Paul McCartney in 1960 and 1963, and are amongst only eight handwritten Beatles set-lists known to exist today.
They will now hit the block at Bonhams on October 28, each estimated at $150,000 – $250,000.
“Well-preserved handwritten set lists represent rare and intimate moments in time, classifying them among the most covetable type of performance-related documents,” said Howard Kramer, Bonhams Senior Specialist of Popular Culture.
“These two set lists in Paul McCartney’s handwriting from 1960 and 1963 are astounding artefacts of The Beatles at two key points in their development.
“Each one offers a fascinating glimpse into the creative process behind early performances of a group that redefined rock and roll, and popular culture across the world.”
The earliest set-list was written by McCartney in 1960, when he was just 17 years old, and was used by the band during a gig at The Grosvenor Ballroom in Liscard.
The set featured covers of songs by the likes of Elvis Presley, Little Richard, and Chuck Berry, along with just one original composition, ‘One After 909’, one of the first songs ever written by Lennon and McCartney.
The second list was written by McCartney in 1963, and dates from a Beatles show at the Majestic Ballroom in Luton on April 17.
This show illustrates the band’s development, and includes an even mix of classic covers and original songs such as ‘I Saw Her Standing There’ and ‘From Me To You’. Just one week later the band would perform at the Royal Albert Hall for the first time, and on May 4 they achieved their first U.K number 1 with ‘From Me to You’ / ‘Thank You Girl’.
The list is written on the back of a Parlophone promotional postcard, which the band have all signed on the front. The card is inscribed “lots of Love Lorraine, from The Beatles”, and was given to their driver for the Luton show as a gift for his daughter.
Visitors can visit the exhibition in Casa de la India from Tuesday to Sunday till November 7, 2021 from 12 noon to 2 pm and from 6 pm to 9 pm.
This Wednesday’s exhibition “The Beatles and India “, Model produced by House of India, With support Valladolid City Council, its Municipal Cultural Foundation, a mixed association for promoting tourism in Valladolid and Seminchi, and in collaboration with the Embassy of India, the Cultural Relations Council of India (ICCR), Valladolid University, Silva Screen Records (London) and the Ravi Shankar Foundation.
They attended the opening ceremony Minister of State Foreign Affairs and Culture of the Government of India Meenakashi Legie, Sanjay Verma, Ambassador of India to Spain, Mayor of Valladolid City Council and President of the Casa de la India Foundation, Oscar Punte, Guillermo Rodriguez, Director of the Casa de la India Foundation; General Director Leon Jose Raman Gonzalez and overseer of the Blanca de la Torre exhibition.
The exhibition describes the Beatles’ relationship with Indian culture and philosophy and, in particular, the historical journey that brought the band to India in 1968. And the influence this country had on his music, A journey marked before and after the Liverpool Quartet is not only physical but also spiritual. The exhibition is structured into three parts: first, the main axis, focusing on the journey undertaken by the team Ashram Transcendental Meditation will be introduced by the renowned Guru Maharishi Mahesh Yogi in Rishikesh.
This section shows pictures, documentation, and high-speed installation. The magical structure created by the light and the sound locations of the high-speed installation stand out, with white cloths next to a banyan tree as a symbol of Rishikesh’s nature. You can listen to editions of contemporary musicians from India, some of the songs written by The Beatles, inspired by staying in Rishikesh at the foot of the Himalayas. The second part focuses on the image of George Harrison and his deep relationship with the sitar artist Ravi Shankar, a key feature in understanding the Beetle’s interest in Indian culture, an attraction that initially affected other parts of the world. Fab Four (“Awesome Four”). This section also provides an introduction to Indian music and shows some of its key instruments.
Finally, a small part of the last part is dedicated to a milestone in the dialogue between Indian and Western music in the 1970s: the concert for Bangladesh in New York City in August 1971 (this year marks its 50th anniversary), inspired by Harrison and Shankar and the first charity concert in international music history Known for, it is considered a valuable journal Rolling stone The best live recorded album in history.
The “The Beatles and India” exhibition includes items borrowed from various companies and private lenders from many countries, including personalities such as Grandma Boyd, George Harrison’s first wife. Contains original photos and reproduction; Original manuscripts and letters; Gold record for George Harrison Concert for Bangladesh; Audiovisual; Lyrics written in India; Ravi Shankar’s original Siddhar; And tools from India; In other products.
The exhibition “The Beatles and India”, produced by Gaza de la India, is being held in Spain for the first time during a similar film presented in the framework of Seminchi. The new documentary about the four from Liverpool by London production company Silva Screen Records will be screened on October 26 in the Time of History section. The trailer of the film along with the original stories and photos can be seen in the exhibition in the background of the same story (The Beatles’ trip to Rishikesh Ashram).
In fact, the London production company allowed House of India to use the same title and graphic design created for the film, in addition to providing some of the contents of the exhibition. In other countries, such as the United Kingdom and Germany, negotiations are underway with the production company to present the film with an exhibition at festivals and promotional events. The exhibition will be available for touring in Spain after the Valladolid Exhibition.
Silva Screen Records will release this fall, the soundtrack of the film, in addition to the album Songs inspired by the movie “The Beatles and India”, The film and its songs are featured prominently in the Casa de la India exhibition because it celebrates the inspiration that the band had during their stay in India and the lasting influence of their songs on Asian country musicians.
The album, which will be available during the House of India exhibition on the world stage before its release, features the participation of leading Indian artists performing covers of The Beatles songs related to India.. The three artists interviewed in the documentary Malvika Manoj, Tejas Menon and Neil Mukherjee will travel to Spain with Casa de la India for a European tour starting with a concert in Valladolid at the end of October.
Derek Plant found the original version of the White Album track ‘Happiness is a Warm Gun’ in a Ken Dodd record sleeve just as he was heading to take the box the landfill A man was stunned to discover a £10,000 rare Beatles recording that was in a pile of “rubbish” while clearing out his dad’s house after he died.
Derek Plant found the original version of the White Album track “Happiness is a Warm Gun” in a Ken Dodd record sleeve which he was about to throw into the tip.
Dad Harry bought the record in a box of old records at a car boot fair 40 years ago and didn’t realise the 7ins acetate demo recording – which that differs significantly from the final version used on the 1968 album – was in the box.
When he died in 2009, Derek was left with the records but kept the box in his garage.
Derek put the box in his van to take to the landfill and spotted the rare record just in time when the acetate disc slipped out of the sleeve of a Ken Dodd and the Diddymen LP and fell onto his drive, the Liverpool Echo reports.
Derek, 50, then saw the red handwriting on the disc label that read “Happiness is a Warm Gun in Your Hand” and the word “Beatles”.
He realised it was the original recording of the song when he put it on his record player. A tuba thought to have been played by Paul McCartney can be heard more clearly in the demo than on the final version of the album.
It also has John Lennon singing “I Need A Fix ‘Cause I’m Going Down” twice in a row rather than just once in the final commercial release.
Its title was also different as the words “…In Your Hand” were not included in the album track.
Further research revealed the acetate was one of two made at Abbey Road Studios at the request of Paul McCartney because he wanted his girlfriend Linda to hear the song.
Derek, a dad-of-two from Fleetwood, Lancs., has now put it up for sale at an auction and it is expected to sell for more than £10,000.
He said: “I’ve collected vinyl for years and I was clearing out my garage and decided to take a stack of records to charity.
“I had a box of poor condition records which I decided to take to landfill.
“As I threw the box into the van a Ken Dodd album fell onto the drive and as I picked it up this acetate fell from the sleeve. I knew instantly what it was, having collected the Beatles for years. The album it fell from had been part of my late father’s collection and stored in my garage for years.
“He would have picked up the whole box at a boot sale or similar in the 1980s, I doubt very much he even knew the acetate was in there. I had no idea it was there.
“Had the album not fallen from the box the acetate would never have been found and buried in landfill.
“Someone said to me it’s a museum piece, a piece of Beatles history.”
Dan Hampson, of Omega Auctions of Newton-le-Willows, Merseyside, said: “This is a massive find. It is a different version of a song that ended up on the White Album and it is a quite wonderful piece of Beatles history.
“We think that it is one of two such copies in existence.
“The record is in very good condition. There are some surface marks and scuffs but it plays without any problems and with no skips or jumps.”
Beatles historian Mark Lewisohn wrote about the acetate recordings in his book ‘The Complete Beatles Recording Sessions’. He wrote: “A tuba that happened to be in the studio was overdubbed on this day, presumably played by Paul, although its presence is nearly indecipherable in the finished product.
“The enjoyable time they had performing these overdubs, understandably, were what caused John, George and Paul to all claim that this song was their favourite on the ‘White Album’.”
According to Mr Lewisohn, after the Beatles finished recording their sound engineers made two attempts to create a usable mono mix of the track. These weren’t deemed good enough but acetates were created from one of these mixes for John, Paul, George and Ringo to listen to. It was later decided that some of the overdubbed sounds needed tweaking and a decision was made to place the tuba lower in the mix.
The Beatles chart-topping 1970 album, Let It Be, will receive a variety of Special Edition packages on October 15, 2021, via Apple Corps Ltd./Capitol/UMe. The Let It Be album has been newly mixed by producer Giles Martin and engineer Sam Okell in stereo, 5.1 surround DTS, and Dolby Atmos. The new edition, announced Aug. 26, follows the similarly remixed and expanded anniversary editions of Sgt. Pepper’s Lonely Hearts Club Band (2017), The BEATLES (aka The White Album) (2018), and Abbey Road (2019). All the new Let It Be releases feature the new stereo mix of the album as guided by the original “reproduced for disc” version by Phil Spector and sourced directly from the original session and legendary rooftop performance eight-track tapes. The Super Deluxe collections also feature 27 previously unreleased session recordings, a four-track Let It Be EP, and the never before released 14-track Get Back stereo LP mix compiled by engineer Glyn Johns in May 1969.
Three tracks from the newly remixed and expanded edition made their digital release debuts with the Aug. 26 announcement: “Let It Be” (2021 Stereo Mix), “Don’t Let Me Down” (first rooftop performance), and “For You Blue” (Get Back LP Mix). The releases precede director Peter Jackson’s documentary series The Beatles: Get Back, which airs exclusively on Disney+ on over three days, November 25, 26 and 27.
From the announcement: On January 2, 1969, John Lennon, Paul McCartney, George Harrison, and Ringo Starr kickstarted the new year together on a cavernous soundstage at Twickenham Film Studios in London. The Beatles jumped into rehearsals for a project envisioned to get them back to where they once belonged: onstage. For 21 days, cameras and tape recorders documented almost every moment: first at Twickenham and then at The Beatles’ own Apple Studio, where Billy Preston joined them on keyboards. Together they rehearsed brand new originals and jammed on older songs, all captured live and unvarnished.
On January 30, the cameras and recorders were rolling as The Beatles, with Preston, staged what was to be their final concert on the chilly rooftop of their Savile Row Apple Corps headquarters before a small assembly of family and friends, and any others who were within wind-carried range of their amps. The midday performance brought London’s West End to a halt as necks craned skyward from the streets and the windows of neighboring buildings were flung open for better vantage. A flurry of noise complaints drew police officers to the rooftop, shutting the concert down after 42 minutes.
Work to compile an album to be called “Get Back” was carried out in April and May by Glyn Johns, who, for his version, included false starts, banter between songs, early takes rather than later, more polished performances, and even “I’ve Got A Feeling” falling apart with John explaining, “I cocked it up trying to get loud.” The Beatles, however, decided to shelve the project’s copious tapes, film reels, and photos, in order to record and release their LP masterpiece, Abbey Road.
Drawn from the tapes made in January 1969, plus some sessions which preceded and followed those recordings, The Beatles’ final album, Let It Be, was eventually issued on May 8, 1970 (May 18 in the U.S.) to accompany the release of the Let It Be film.
The sessions that brought about the Let It Be album and film represent the only time in The Beatles’ career that they were documented at such great length while creating music in the studio. More than 60 hours of unreleased film footage, more than 150 hours of unreleased audio recordings, and hundreds of unpublished photographs have been newly explored and meticulously restored for three complementary and definitive Beatles releases this fall: a feast for the senses spanning the entire archival treasure. The new Let It Be Special Edition is joined by The Beatles: Get Back, the documentary series directed by three-time Oscar®-winning filmmaker Peter Jackson, and a new hardcover book also titled The Beatles: Get Back. The raw sources explored for the new projects have revealed that a more joyous, benevolent spirit imbued the sessions than was conveyed in the 1970 Let It Be film’s 80 minutes. “I had always thought the original film Let It Be was pretty sad as it dealt with the break-up of our band, but the new film shows the camaraderie and love the four of us had between us,” writes Paul McCartney in his foreword for the Let It Be Special Edition book. “It also shows the wonderful times we had together, and combined with the newly remastered Let It Be album, stands as a powerful reminder of this time. It’s how I want to remember The Beatles.”
Let It Be Special Edition (Super Deluxe): 57 tracks
5-CD + 1-Blu-ray (album’s new stereo mix in hi-res 96kHz/24-bit; new 5.1 surround DTS and Dolby Atmos album mixes) with 105-page hardbound book in a 10” by 12” die-cut slipcase
180-gram, half-speed mastered vinyl 4-LP + 45rpm 12-inch vinyl EP with 105-page hardbound book in a 12.5” by 12.5” die-cut slipcase
Let It Be (new stereo mix of original album): 12 tracks Previously unreleased outtakes, studio jams, rehearsals: 27 tracks Previously unreleased 1969 Get Back LP mix by Glyn Johns, newly mastered: 14 tracks Let It Be EP: 4 tracks Glyn Johns’ unreleased 1970 mixes: “Across The Universe” and “I Me Mine”
Giles Martin & Sam Okell’s new stereo mixes: “Don’t Let Me Down” & “Let It Be” singles The Super Deluxe CD and vinyl collections’ book features Paul McCartney’s foreword; an introduction by Giles Martin; a remembrance by Glyn Johns; insightful chapters and detailed track notes by Beatles historian, author, and radio producer Kevin Howlett; and an essay by journalist and author John Harris exploring the sessions’ myths vs. their reality. The book is illustrated, scrapbook style, with rare and previously unpublished photos by Ethan A. Russell and Linda McCartney, as well as never before published images of handwritten lyrics, session notes, sketches, Beatles correspondence, tape boxes, film frames, and more.
Let It Be Special Edition (Deluxe): 26 tracks
2-CD in digipak with a 40-page booklet abridged from the Super Deluxe book Let It Be (new stereo mix of original album): 12 tracks Previously unreleased outtakes, studio jams, rehearsals: 13 tracks Previously unreleased 1970 mix for “Across The Universe”
Let It Be Special Edition (Standard): 12 tracks
1-CD in digipak (new stereo mix of original album)
Digital (album’s new mixes in stereo + hi res 96kHz/24-bit / Dolby Atmos)
180-gram half-speed mastered 1-LP vinyl (new stereo mix of original album)
Limited Edition picture disc 1-LP vinyl illustrated with the album art (new stereo mix of original album)
More from the Aug. 26 announcement: When The Beatles arrived at Twickenham in January 1969, their self-titled album (aka ‘The White Album’) was still topping charts around the world following its November 1968 release. They had an ambitious plan in mind for a project that would include a stage performance for a “TV spectacular” and a live album. Michael Lindsay-Hogg was hired to direct the concert and document the rehearsals with unfettered “fly-on-the-wall” filming and mono audio recording on two camera-linked Nagra reel-to-reel tape machines. Ethan A. Russell was brought in for exclusive all-access photography. Beatles producer George Martin and engineer Glyn Johns supervised the sound. Johns remembers, “Paul told me he had this idea to do a live concert and he wanted me to engineer it, because I had a reasonably good track record of making live albums.”
Impressed by the band’s day-to-day progress with their slate of new songs, Martin later recalled, “It was a great idea, which I thought was well worth working on. A live album of new material. Most people who did a live album would be rehashing old stuff.” After 10 days on the soundstage, The Beatles and the film crew later moved to the band’s more intimate and cozy Apple Studio. There, Johns manned the controls of borrowed equipment from The Beatles’ old stomping ground, Abbey Road Studios, to record on eight-track tape. Billy Preston was invited to play keyboards with the band at Apple, lifting the sessions with his boundless talent and buoyant bonhomie.
In April 1969, The Beatles rush-released their worldwide #1 single “Get Back”/“Don’t Let Me Down.” Promoted as “The Beatles as nature intended” and “as live as can be, in this electronic age,” both sides of the disc were credited to “The Beatles with Billy Preston.”
“The greatest surprise was when the record came out,” Preston remembered in 2002. “They didn’t tell me they were going to put my name on it! The guys were really kind to me.” The “Let It Be” single produced by George Martin, released March 6, 1970, is different from the album version “reproduced” by Phil Spector. Exemplifying Spector’s signature Wall of Sound production style on the Let It Be album is his orchestral overdub on “The Long and Winding Road,” which became The Beatles’ 20th U.S. #1 single.
Directed by Peter Jackson (The Lord of the Rings trilogy, They Shall Not Grow Old), The Beatles: Get Back takes audiences back in time to the band’s intimate recording sessions during a pivotal moment in music history. Because of the wealth of tremendous footage Jackson has reviewed, which he has spent the past three years restoring and editing, The Beatles: Get Back will be presented as three separate episodes. Each episode is approximately two hours in length, rolling out over three days, November 25, 26 and 27, 2021, exclusively on Disney+.
The documentary series showcases the warmth, camaraderie and creative genius that defined the legacy of the iconic foursome, compiled from over 60 hours of unseen footage shot in January 1969 (by Michael Lindsay-Hogg) and more than 150 hours of unheard audio, all of which has been brilliantly restored. Jackson is the only person in 50 years to have been given access to these private film archives. The Beatles: Get Back is the story of John Lennon, Paul McCartney, George Harrison and Ringo Starr as they plan their first live show in over two years, capturing the writing and rehearsing of 14 new songs, originally intended for release on an accompanying live album. The documentary features – for the first time in its entirety – The Beatles’ last live performance as a group, the unforgettable rooftop concert on London’s Savile Row, as well as other songs and classic compositions featured on the band’s final two albums, Abbey Road and Let It Be.
The music in the series is also newly mixed by Giles Martin (Rocketman) and Sam Okell (Yesterday).
Ahead of the series’ debut, Apple Corps Ltd./Callaway Arts & Entertainment will release The Beatles: Get Back book worldwide on Oct. 12. Available in English and nine international language editions, the title is the first official standalone book to be released by The Beatles since the international bestseller The Beatles Anthology. The 240-page hardcover complements the Get Back documentary series and Let It Be Special Edition with transcriptions of many of The Beatles’ recorded conversations from the three weeks of rehearsals and sessions and hundreds of exclusive, never-before-published images, including photos by Ethan A. Russell and Linda McCartney. The Beatles: Get Back begins with a foreword written by Peter Jackson and an introduction by Hanif Kureishi. The book’s texts are edited by John Harris.
LET IT BE SPECIAL EDITION Track list
SUPER DELUXE [5CD+1Blu-ray + 105-page hardbound book in slipcase | digital audio collection] CD1: Let It Be (new stereo mix of original album) 1: Two Of Us 2: Dig A Pony 3: Across The Universe 4: I Me Mine 5: Dig It 6: Let It Be 7: Maggie Mae 8: I’ve Got A Feeling 9: One After 909 10: The Long And Winding Road 11: For You Blue 12: Get Back
CD2: Get Back – Apple Sessions 1: Morning Camera (Speech – mono) / Two Of Us (Take 4) 2: Maggie Mae / Fancy My Chances With You (Mono) 3: Can You Dig It? 4: I Don’t Know Why I’m Moaning (Speech – mono) 5: For You Blue (Take 4) 6: Let It Be / Please Please Me / Let It Be (Take 10) 7: I’ve Got A Feeling (Take 10) 8: Dig A Pony (Take 14) 9: Get Back (Take 19) 10: Like Making An Album? (Speech) 11: One After 909 (Take 3) 12: Don’t Let Me Down (First rooftop performance) 13: The Long And Winding Road (Take 19) 14: Wake Up Little Susie / I Me Mine (Take 11)
CD3: Get Back – Rehearsals and Apple Jams 1: On The Day Shift Now (Speech – mono) / All Things Must Pass (Rehearsals – mono) 2: Concentrate On The Sound (mono) 3: Gimme Some Truth (Rehearsal – mono) 4: I Me Mine (Rehearsal – mono) 5: She Came In Through The Bathroom Window (Rehearsal) 6: Polythene Pam (Rehearsal – mono) 7: Octopus’s Garden (Rehearsal – mono) 8: Oh! Darling (Jam) 9: Get Back (Take 8) 10: The Walk (Jam) 11: Without A Song (Jam) – Billy Preston with John and Ringo 12: Something (Rehearsal – mono) 13: Let It Be (Take 28) CD4: Get Back LP – 1969 Glyn Johns Mix 1: One After 909 2: I’m Ready (aka Rocker) / Save The Last Dance For Me / Don’t Let Me Down 3: Don’t Let Me Down 4: Dig A Pony 5: I’ve Got A Feeling 6: Get Back 7: For You Blue 8: Teddy Boy 9: Two Of Us 10: Maggie Mae 11: Dig It 12: Let It Be 13: The Long And Winding Road 14: Get Back (Reprise) CD5: Let It Be EP 1: Across The Universe (unreleased Glyn Johns 1970 mix) 2: I Me Mine (unreleased Glyn Johns 1970 mix) 3: Don’t Let Me Down (new mix of original single version) 4: Let It Be (new mix of original single version) Blu-ray: Let It Be Special Edition audio mixes Dolby Atmos 96kHz/24-bit DTS-HD Master Audio 5.1 96kHz/24-bit High Res Stereo (2019 Stereo Mix)
Ringo is delighted with the new documentary The Beatles: Get Back. Ringo reckons people were presented with an image that the four youthful pals had turned on each other. He has long been unhappy that fans felt the band were at each other’s throats recording the Let it Be album, as portrayed in the Let It Be film 51 years ago. Ringo is overjoyed Oscar-winning director Peter Jackson has recut a new version, this time serving up more of “the joy and laughter” between members.
Ringo said: “The point I am trying to make was from day one, 30 days later, no matter what happened we had an album, we did the show on the roof and did all this video. “There is no doubt of the record and we did have a few ups and downs, but that is what life is all about.
“First of all I never liked the film that came out. It was always [centred] around four seconds of a month. I thought there was no joy and no laughter, and I was telling Peter Jackson this.” He added: “We found 56 hours of unused footage.”
Ringo is delighted with the new version, which will air on Disney+ over three nights in November.
He said: “Peter started putting it together then he’d fly into LA and show me pieces of it. “We were laughing, we were lads. But to get back to the original one, there was a discussion and there were four guys in a room for a month, that had up days, down days, music days. But the music never, ever once got lost in what we were doing.
“It was the first time we went in the studio, especially George and I, and John did not have any songs and Paul didn’t have any songs.
“Usually they had two or three, so we could start. So there was a whole discussion. But when you look at it, it’s a six-hour documentary and it is like the ocean, the waves of joy and ‘Oh what is that going on?’
“Laughter and playing great. We never stopped loving each other. Once we heard the count in… whatever was going on, everybody did their best.”
Ringo spoke of his emotions and revealed how the finale of the film with the band’s final concert on Apple’s roof was a matter of convenience.
Ringo said: “The Beatles on the roof – India was pushed forward or maybe somewhere in Rome, on Everest, or Egypt in a mummy’s tomb. Paul said, ‘let’s just walk across the road’.
“And now it has become the biggest icon known to man.”
Recently Ringo revealed fans will finally be able to see their entire farewell concert. Mr Lindsay-Hogg has defended his original film’s narrative, which charted the last studio sessions together before the band split up.
He said: “I was aware that they were beginning to get on each other’s nerves.”
The director sensed the tension building and positioned his cameras so the drama could unfold naturally. He added: “I didn’t want them to feel the cameras were intrusive.
“I put one camera up in the gantry shooting down, so they didn’t see it. I moved the other back to the end of the studio. So they didn’t really know the cameras were there, which gave them the opportunity to get it off their chest.”
What will we see in this long-anticipated treat for Fab Four fans? “A lot of joy,” Ringo Starr promises of Peter Jackson’s new documentary series.
Here’s a tally for The Beatles: Get Back. 6 Hours of footage in the documentary series 14 Number of songs the band wrote and rehearsed during the making of the project 42 Length, in minutes, of the Beatles’ final live concert—on the roof of Apple Records in London. It’s shown in its entirety during the last of Get Back’s episodes, which debut over three straight nights. 60 Hours of never-before-seen footage the series is culled from 150 Hours of unheard audio that, like the video, has been painstakingly restored The Beatles: Get Back, Premiere, Thursday, November 25, Disney+
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