Archive for 2012



Culinary Canvas: Pumpkin Streusel Muffins

This month’s recipe is inspired by one of my favorite artworks in the collection, Orange, Red and Red. Like Rothko’s work, these muffins are composed of layers that add to a more complex flavor. And with Thanksgiving only yesterday, they’re the perfect way to utilize that leftover pumpkin for a Black Friday breakfast. Enjoy!

Mark Rothko, Orange, Red and Red, 1962, Dallas Museum of Art, gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated

Pumpkin Streusel Muffins

Yields 12 regular or 6 large muffins
Level: Easy

Streusel:

¼ cup flour
¼ cup walnuts or pecans, finely chopped
¼ cup packed brown sugar
¼ teaspoon cinnamon
Pinch of salt
3 tablespoons cold unsalted butter

Muffins:

½ cup (1 stick) unsalted butter, melted
1 cup sugar
1 cup pumpkin puree
3 ounces nonfat vanilla yogurt
2 eggs, beaten
1 ½ teaspoons vanilla extract
½ teaspoon fresh ginger, finely grated
1 ½ cups all-purpose flour
1 teaspoon cinnamon
1 teaspoon baking soda
1 teaspoon salt
½ teaspoon baking powder
½ teaspoon nutmeg

Preheat oven to 350° F. Line muffin pan with paper liners or lightly spray muffin pan with nonstick cooking spray.

Streusel: Stir together flour, nuts, brown sugar, cinnamon and salt in small bowl. Using a pastry blender or two forks, cut in cold butter until mixture forms into small crumbs. Set aside.

Muffins: In medium bowl, whisk together melted butter, sugar, pumpkin, yogurt, eggs, vanilla and ginger until combined. In another bowl, stir together flour, cinnamon, baking soda, salt, baking powder and nutmeg. Add flour mixture to pumpkin mixture in two batches, stirring with a rubber spatula until just combined.

Divide batter evenly between muffin cups, filling each cup slightly less than ½ full. Spoon an even layer of streusel into each cup. Cover streusel with remaining batter until each cup is ¾ full. Spoon remaining streusel on top of batter, evenly covering each muffin.

Bake 18-22 minutes, or until a toothpick inserted in the center comes out clean.

 

Recipe adapted from CHEFS Pumpkin Walnut Bread with Streusel.

Sarah Coffey
Assistant to the Chair of Learning Initiatives

Happy Thanksgiving from the DMA

The DMA wishes you a Happy “Turkey” Day with Don Eddy’s Williams Bar-b-qued Turkey from 1973.

Don Eddy, Williams Bar-b-qued Turkey, 1973, color lithograph, Dallas Museum of Art, gift of Dr. Roy M. Fleischmann

And start your Black Friday now with the “Paint It Black” board on the DMA’s Pinterest page.

Kimberly Daniell is the Public Relations Specialist at the Dallas Museum of Art.

Thanksgivingtime

I always look forward to Thanksgiving, as it kicks off my favorite time of year. I also love spending the day watching parades and eating delicious food with my family and friends, while acknowledging the people and things for which I am grateful. (I am thankful for so many things this Thanksgiving!) What I really look forward to each year, however, is indulging in one specific dish…

This poem is titled after my favorite Thanksgiving food. Can you guess the title (and my favorite dish)?

The potato that ate all its carrots,

can see in the dark like a mole,

its eyes the scars

from centuries of shovels, tines.

May spelled backwards

because it hates the light,

pawing its way, padding along,

there in the catacombs.

The poem is titled Yam by Bruce Guernsey.

I found this poem and many others through a great poetry resource: The Poetry Foundation website. A  sorting feature helps users browse through poems by poet, subject, occasion, or even holiday!

Poetry can be a great vehicle to connect with artworks. Take the following stanza from John Greenleaf Whittier’s poem, The Pumpkin. Think of a work of art that resonates with the poem. Why did you make that association?

Ah! on Thanksgiving day, when from East and from West,
From North and from South come the pilgrim and guest,
When the gray-haired New Englander sees round his board
The old broken links of affection restored,
When the care-wearied man seeks his mother once more,
And the worn matron smiles where the girl smiled before,
What moistens the lip and what brightens the eye?
What calls back the past, like the rich Pumpkin pie?

Here are some works of art that I associated with Whittier’s stanza.

Happy Thanksgiving!

Andrea V. Severin
Interpretation Specialist

Artworks shown:

  • Matthew Barney, The Cloud Club, 2002, Mason and Hamlin Symetrigrand piano with stainless steel, silver, white mother-of-pearl, gold lip mother-of-pearl, black lip mother-of-pearl, green abalone, quartersawn Honduras mahogany, lacewood, walnut, ash burl, redwood burl, madrone burl, and Chilean laurel marquetry; internally lubricated plastic; potatoes; concrete, and sterling silver, Dallas Museum of Art, Contemporary Art Fund: Gift of Arlene and John Dayton, Mr. and Mrs. Vernon E. Faulconer, Mr. and Mrs. Bryant M. Hanley, Jr., Marguerite and Robert K. Hoffman, Cindy and Howard Rachofsky, Deedie and Rusty Rose, Gayle and Paul Stoffel, and three anonymous donors; DMA/amfAR Benefit Auction Fund; and Roberta Coke Camp Fund
  • Stephen De Hospodar, Family Portrait, 1932, Linoleum cut, Dallas Museum of Art, gift of the artist
  • Russel Vernon Hunter, Sunday after Dinner, 1943, Oil on masonite, Dallas Museum of Art, Dallas Art Association Purchase
  • Doris Lee, Thanksgiving, 1942, Lithograph, Dallas Museum of Art, Foundation for the Arts, The Alfred and Juanita Bromberg Collection, bequest of Juanita K. Bromberg
  • William S. Warren (designer), “Vogue” pie server, 1935, Wallace Silversmiths (manufacturer), Dallas Museum of Art, The Jewel Stern American Silver Collection, gift of Jewel Stern

Crawl Space: Within the Walls

We recently opened our DMA Staff Art Show, Crawl Space: Within the Walls, on Level M2. DMA employees love art, and some members of our staff create their own works. Stop by and visit the Staff Art Show, on view through January 6, 2013.

Late Night on the Streets of Paris

Last Friday, the Museum kept its doors open until midnight celebrating Posters of Paris: Toulouse-Lautrec and His Contemporaries. During this special Late Night, visitors went on tours of the exhibition, attended lectures about the Parisian celebrities featured on the posters, learned a few French words and phrases, and much much more! Check out some of the highlights of the evening below.

The Matt Tolentino Band created a Parisian ambiance with their French mussette style, getting couples on their feet dancing.

About every hour, an energetic and impressive crew of acrobats, contortionists, and circus performers from Lone Star Circus amazed visitors up and down the Concourse.

Throughout the night, the Poster Studio at the end of the exhibition remained packed with visitors creating their own posters to take home and display on the Poster Studio wall.

From art-making in the Center for Creative Connections to yoga with our resident yogini, there were plenty of activities available for kiddos. One of my favorite family programs is Bedtime Stories with the award-winning storyteller Ann Marie Newman. She always comes dressed in character with props, images, and incredibly creative interactive stories. On this occasion she based her stories on posters from the exhibition. While she animatedly told the tales, images were projected on the wall behind her and kiddos were invited to act out the stories all around her. It was quite a sight to see!

Did you miss all the Late Night Friday fun? Not to worry! The exhibition is open through January 20th and there are plenty more Posters of Paris inspired programs scheduled, including a City of Light free First Tuesday, Gallery Talks, and art-making activities for your littlest learners. We also have some ongoing activities available for anytime you visit the exhibition. As you enter, pick up a Posters of Paris Scavenger Hunt to guide your journey through the streets of Paris, then before you bid us “adieu” create your own poster in the Poster Studio. If you’re still feeling inspired after your visit, use our Culinary Canvas recipe to bake your own Sarah Bernhardt cookies or download our poster-making activity to try at home.

Amusez-vous, mes amis!

Hannah Burney
Community Teaching Programs Assistant

A DMA I Do

Last Saturday, November 10, our very own Nicole Stutzman tied the knot with one of our fellow DMA staffers, Ted Forbes. It was a beautiful ceremony and celebration that fit the happy couple to a T. Congrats Nicole and Ted! Here’s to a wonderful life together filled with happiness, love, and art!

Andrea, Sarah, Hannah, Shannon, Melissa, and Amy

Nicole being serenaded to You’ve Lost that Lovin’ Feelin’

Sarah Coffey
Assistant to the Chair of Learning Initiatives

Getting Inside the Teenage Brain

Last month, Shannon and our colleagues at the Nasher Sculpture Center decided to bring together our respective teen groups so they could get to know each other.  The DMA Teen Docents met with the Nasher’s Student Advisory Board for an evening of art-making, food, and conversation.  Our main conversation point centered on things docents should (and shouldn’t) say or do on high school tours.  Our docents often have a hard time connecting with our teenage visitors, so we thought that sharing advice in the teens’ own words would be the first step in helping our docents feel more comfortable with these groups in the galleries.  Some of the comments that resonated with docents were:

  • I really don’t like when docents treat you like children or assume that you don’t know anything and are very momish around students.
  • Make it not just guiding us around like sheep, but know really interesting facts about that artist, the time period, the technique, or that specific work of art.  Like what makes it really cool or unique and why does it deserve to be at the Museum.
  • Show respect towards the artist and be open-minded about the work.
  • Pay attention to your group.  If they’re not engaged or interested, move on so they don’t zone out for the rest of the tour.
  • Make it cool and interactive and not just looking at the works of art.

A group of teens in the DMA’s galleries

Our docents also read an article written by a 15 year-old titled Why Museums Suck.  Howard Hwang visited six museums in Los Angeles and shared his frank opinions about what made each Museum so terrible.  Hwang isn’t shy about voicing his distaste for art museums, labeling them as boring, places for “old people,” and even describing docents as “answering machines.”   His opinions brought a bit of levity to our discussion, but a lot of his comments really did hit home with our docents.  How can we connect with someone who hates old, boring art and is most concerned with what he’ll buy for lunch?

We talked a lot about how we can make make teenagers feel comfortable in the Museum, and we agreed that a tone of mutual respect needs to be set at the very beginning of a tour.  Many docents felt that we need to set up the expectation that the students will be engaged in the tour, but also that they’ll have fun while they’re at the Museum.  One docent mentioned that we need to “pop the bubble of pretention” and remind students that we’re all looking at works of art and learning together.  Docent-guided tours are not intended to be lectures–as Hwang put it, that type of tour “is like being in a locked room with Oprah talking constantly.”  Instead, tours should be conversations with docents and students both contributing to the dialogue and moving the conversation forward.  By helping students feel comfortable and welcome, they’re more likely to want to engage in these discussions.

A DMA Docent discusses American art on a guided tour

Another of Hwang’s directives to museums was decidedly simple: “You have to make it hands-on and interactive.”  At the DMA, the Center For Creative Connections (C3) is answering this call, and cultivating an interactive space where visitors can look, touch, listen, read, make and talk about art.  C3 endeavors to inspire and engage audiences through unique programming, like our Urban Armor workshops.  This distinctive program for tweens and teens offers students a chance to meet, relate, and investigate themselves and the world around them.  Classes are designed in a way that the concept of identity is the heartbeat of each workshop.  Teenagers are at a critical age of self-discovery, so each Urban Armor workshop is designed to promote decision-making, critical thinking skills, and self-determination.

A photograph from the most recent Urban Armor workshop at Klyde Warren Park

This past Sunday, Urban Armor took teens on a photography walk through Klyde Warren Park.  The workshop focused on using positive and negative space in environmental photography, and encouraged students to reflect on the individual choices they make when taking a photograph.  Armed with a camera, each participant explored the Park on their own, with DMA staff acting as facilitators.  This time of autonomous art-making is a central component of each Urban Armor workshop.  The final portion of class was dedicated to discussing what each student had captured during their photo walk.  It was important to encourage the teens to reflect upon and discuss the individual decisions made during each photograph, so that their individual choices could be linked to tangible outcomes.  Each student’s collection of photographs was uploaded to the DMA’s Flickr account, where they are able to view their own and other’s images, and share with the public.  The most exciting outcome of the workshop will come a few weeks from now, as each student enters his or her photographs into the C3 Encountering Space photography exhibition.  Teens have an opportunity to see their artwork publicly displayed in the C3 space!

The Urban Armor participants in Klyde Warren Park

At the DMA, we are working to cultivate spaces and programs that engage teens and involve them in the Museum.  Maybe teens like Howard Hwang would think differently about museums if they could see their artwork hanging on the wall.  We are also continuing to work with our docents to provide tips to better engage with teens on tours.  For now, we’re going to turn the conversation over to you.  If you’re a teacher, what tricks do you use to get teens talking about art?  If you’re a teen, what would you like to see happen at the DMA that might make you want to spend more time here?  We look forward to your responses!

Shannon Karol
Manager of Docent Programs and Gallery Teaching

Danielle Schulz
McDermott Intern for Family Experiences

Special thanks to Amanda Batson and J.C. Bigornia.

DMA Staff Art Show

Last Friday, the Dallas Museum of Art Staff celebrated the opening of a new show, Crawl Space: Within the Walls, which features works of art by our very own staff. Crawl Space turns the spotlight around onto those who make possible the other wonderful exhibitions on view here at the Museum. In this show, you will find a myriad of subjects and media by representatives from many of the DMA’s departments, from curators to grant writers to the gallery attendants who insure the safety of our collection.

I asked the participants to consider their pieces in relation to the DMA’s permanent collection by responding to the question: “If you could have your work installed next to something from the DMA, what would it be?” Here is a sampling of the responses:

“I would love it if my two photographs could flank [Andrew Wyeth’s That Gentleman]. I believe the images all have similar tones that reflect stillness, reflection, and solitude.” – Reagan Duplisea, Associate Registrar for Exhibitions, 4 years at the DMA

  • Andrew Wyeth, That Gentleman, 1960, Dallas Museum of Art, Dallas Art Association Purchase.
  • Reagan Duplisea, Ascendez (Tribute to Madame J, I), 2010
  • Reagan Duplisea, Descendez (Tribute to Madame J, II), 2010.

“I would like to have Banquete Chair with Pandas installed next to my collages. My collages are playful and speak to 1950s consumer culture while the Campana chair does something similar with a 21st century sensibility. Also, both may be said to deal with the theme of animals run amuck.” – Dana Harper, Assistant Librarian, 4 years at the DMA.

  • Dana Harper, Dream Kitchen #1, 2012.
  • Fernando and Humberto Campana, Banquete Chair with Pandas, designed 2006, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund.
  • Dana Harper, Dream Kitchen #2, 2012.

“I would love to see my painting, Garden of Earthlike Planet Delights, paired with this mask. The mask is primal, dark, mysterious, and speaks of danger and tribal ritual. I love listening to the big three Diaghilev-era Stravinsky ballets in sequence and on ‘repeat all’ while I paint. For me, it isn’t hard to imagine some faraway, earthlike, but strange world in our galaxy where there may exist primitive humanoid tribes experiencing life in ways similar to our own prehistoric times.” – David Caldwell, Gallery Attendant, 1 year at the DMA.

  • David Caldwell, Garden of Earthlike Planet Delights, 2012.
  • Northern New Caledonia, Mask, late 19th – early 20th century, Dallas Museum of Art, The Roberta Coke Camp Fund.

“I would want my drawing to go next to Sir Winston Churchill’s Self-Portrait from the Reves Collection. It’s a very simple colored pencil drawing of a pig. I think my drawing (of my dog, Cooper) would have a lot of fun hanging out with Churchill’s drawing.” – Hayley Dyer, Teaching Specialist, 2 years at the DMA

  • Winston Churchill, Self Portrait, Dallas Museum of Art, The Wendy and Emery Reves Collection.
  • Hayley Dyer, Mon Petit Chien, 2012.

“I have always been fascinated with using people as my subject matter, because from a simple gesture, expression, attire, or scene, there is almost always a story behind them.” – Kay Sims, Lead Security Supervisor, 15 years at the DMA

  • Henri de Toulouse-Lautrec, The Last Respects, 1887, Dallas Museum of Art, The Wendy and Emery Reves Collection.
  • Kay Sims, Sketchy Doodles, 1989-2011.
  • Rembrandt van Rijn, Three Heads of Women, One Asleep, 1637, Dallas Museum of Art, gift of Calvin J. Holmes.

“If my piece, Tie Down Thoughts with a Culinary Flair, could be installed next to something from the DMA’s collection, I would imagine it flanked by Bruce Conner’s Knox and Robert Rauschenberg’s Night Hutch. Both of these artists layer found images and objects, resulting in a uniquely recontextualized composition. The layers range from subtle, delicate pieces of cloth referencing “hoarfrost” to attention-grabbing objects protruding from the surface of a chunky assemblage. The layers in my work are meant to mimic the inner layers of the subconscious and how they relate to our outward perceptions. Both of these artists have greatly influenced my understanding of creating a language through mixed-media.” – Nicole Norton, Visitor Services Assistant, 1 year at the DMA.

  • Bruce Conner, Knox, 1963, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund.
  • Nicole Norton, Tie Down Thoughts with a Culinary Flair, 2012.
  • Robert Rauschenberg, Night Hutch, 1976, Dallas Museum of Art, gift of the artist.

Crawl Space will remain on view through January 6, 2013 in the Mezzanine 2 hallway.

Alex Vargo
McDermott Intern for Gallery Teaching

Feasting: From Ancient Mexico to Our Kitchens

On Thursday, November 15, cookbook author Diana Kennedy, often called the Julia Child of Mexico, will be here to discuss her cookbook Oaxaca al Gusto: An Infinite Gastronomy, as well as the feasting traditions of ancient Mexico.

Oaxaca al Gusto: An Infinite Gastronomy is equal parts historic document and kitchen guide, focusing on the traditional cuisine of the Oaxaca region of Mexico. In preparation for this event, the DMA’s programming team decided to try some recipes from the book to see what they were like (and to test their kitchen skills).

Stacey Lizotte, Head of Adult Programming and Multimedia Services:

I decided to make Clavaria Mushrooms in Mole (Mole de hongos de curenito de venado) because I have always wanted to learn how to make a mole sauce. This recipe called for a few ingredients that I could not find in the four different grocery stores that I went to. I replaced the main ingredient, clavaria mushrooms, with a mix of regular button mushrooms and oyster mushrooms. I also could not find dried costeños chiles and instead went with dried gaujillo chiles.

Ingredients for Clavaria Mushrooms in Mole (Mole de hongos de curenito de venado)

First you make a paste of the mushrooms and then add them to a pureed tomato, chile, garlic, onion, and spice mixture before frying in a skillet with lard over high heat. You then mix with masa to thicken the sauce. Traditionally, this dish is just served with corn tortillas.

Mushroom paste

I found the mole to be on the mild side and would serve it with a meat next time, either chicken or beef, in addition to the tortillas.

Things I learned: You can toast the chiles on an electric stove top burner if you don’t have a comal as recommended in the book. And, you will need a very large skillet for the last step, as this recipe makes a lot of mole.

Roasting chiles on electric stove

Clavaria Mushrooms in Mole (Mole de hongos de curenito de venado)

Liz Menz, Manager of Adult Programming:

I am without question the least experienced cook of our team, so I chose to make a simpler recipe, Red Chickpea Soup (Molito de garbanzo rojo). After a pep talk from a few of my more kitchen-savvy friends and a deep breath, I gathered my ingredients and went to work. I did make one small change to the recipe and replaced the lard with Crisco to make it vegetarian friendly.

Ingredients for Red Chickpea Soup (Molito de garbanzo rojo)

After whisking the chickpea powder/flour into water to get a smooth consistency, I turned to my blender to puree the onion, garlic, and tomatoes.

Tomato, onion, and garlic in blender to puree

I added the chickpea mixture to boiling salted water and let it reduce for quite a while to get a thicker consistency for the soup. Meanwhile, the Crisco was melting in a larger skillet to fry and reduce the onion, garlic, and tomato puree. After the puree had reduced some, I added it to the pot with the chickpea base and whisked regularly as it reduced more. After letting it simmer for a while on low, the soup thickened up quite a bit.

Chickpea mixture and tomato puree reducing on stove

The soup was very tasty and, as I mwentioned to a co-worker afterwards, would also make a great base for veggies or meat for a heartier meal.

Things I learned: The puree mixture fries and reduces much quicker than I expected, whereas the soup reduced very slowly. Also, my Google app on my phone was just as important as my whisk–in fact, for this inexperienced cook, it was essential!

Red Chickpea Soup (Molito de garbanzo rojo)

Denise Helbing, Manager of Partner Programs:

I decided to finish off our departmental Oaxacan meal with dessert so I made Rice Pudding (Arroz con leche).

For this dish, you only need a few simple ingredients. The only “special” ingredient I didn’t already have was evaporated milk.

Ingredients for Rice Pudding (Arroz con leche)

You just cook the rice in a bit of water with the spices first, then add the two milks and lime and cook slowly for about thirty0 minutes, stirring regularly.

Cooking all the ingredients

The unique aspect of this pudding, compared to other rice puddings I have made or eaten, was the addition of the lime rind during the cooking process. It combined nicely with the cinnamon and allspice and gave the pudding a distinct flavor.

Removing lime rind from milk

This recipe did not call for any sugar or sweetener (like honey or agave), and to me, rice pudding, in a dessert form, needs to be a little bit sweet, so I must make a confession; I added some simple syrup to my pudding at the end of cooking.

I served it as suggested with a bit of lime zest and cream (half and half) on top. My husband said it reminded him of decadent, rich Fruit Loops. And he likes Fruit Loops, so that was a compliment!

Rice Pudding (Arroz con leche)

Feasting in Ancient Mexio is part of our programming for the special exhibition The Legacy of the Plumed Serpent in Ancient Mexico. The exhibition will be on view through Sunday, November 25.

Friday Photos: Tea Time!

While I am definitely a tea drinker year round, there’s nothing I love more about fall and winter than curling up on the couch with a nice hot cup of tea… now if only our Texas weather would cooperate and cool down a bit!

Tea began its journey in China, travelled to Japan, India and Britain, and from there it was carried to countries around the world.  With its discovery placed around 2730 BC, the history of tea is steeped (get it?) in cultural relevance from the beautiful zen Japanese tea ceremony to the refined class of the English afternoon tea.  And with the recent election, we cannot forget the role that tea played in the rebellious Boston Tea Party!

Luckily, the Dallas Museum of Art has a fantastic collection of tea sets and related works of art to help me get in a cozy state of mind, regardless of the weather!

Featured artworks:

  • Jean-Emile Puiforcat, Tea and coffee service, c. 1925, Dalals Museum of Art, the Patsy Lacy Griffith Collection, gift of Patsy Lacy Griffith by exchange
  • Étienne-Henri Le Guay (gilder), Sèvres Porcelain Factory (manufacturer), Tea service (déjeuner),1789, Dallas Museum of Art, gift of Michael L. Rosenberg
  • Reuben Haley (designer, Fulper-Stangl Pottery (manufacturer), “Square Modern” tea service, 1925, Dallas Museum of Art, gift of Sidney and George Perutz in honor of Kevin W. Tucker
  • James Abbott McNeill Whistler, Afternoon Tea, 1895, Dallas Museum of Art, Foundation for the Arts, The Alfred and Juanita Bromberg Collection, bequest of Juanita K. Bromberg
  • Harold Stabler (designer), Adie Brothers, Ltd. (manufacturer), Tea service, Dallas Museum of Art, The Karl and Esther Hoblitzelle Collection, gift of the Hoblitzelle Foundation by exchange
  • Thomas Wilkinson and Sons (manufacturer), “Pelican Ware” tea service, 1885, Dallas Museum of Art, anonymous gift
  • Michael Graves (designer), Fratelli Alessi (manufacturer), Tea and coffee service (from the “Piazza” series), 1980, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund
  • Margarete Heymann-Marks (designer), Hael Workshops for Artistic Ceramics (manufacturer), Tea service, c. 1930, Dallas Museum of Art, 20th-Century Design Fund
  • Nicholas Krushenick, Boston Tea Party, 1975, Dallas Museum of Art, gift of Michael L. Rosenberg
  • John C. Moore (designer), Mulford, Wendell & Co (manufacturer), Tea and coffee service, c. 1851, Dallas Museum of Art, gift of T. Peter Townsend and Joanna Townsend
  • Antonio Pineda, Tea set, c. 1960, Dallas Museum of Art, 20th-Century Design Fund
  • Tea stand with cover and bowl, Tibet, 18th century, Dallas Museum of Art, gift of Alta Brenner in memory of her daughter Andrea Bernice Brenner-McMullen

Pilar Wong
McDermott Intern for Community Teaching


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