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Each wrapping is different, taken from SF Bay Area publications, mostly free and from neighborhoods where i live or frequent. You can find a thumbprint somewhere on nearly all my zines. Here it’s in the wrapping.

The text of OH Zine #4(a) is expanded a bit already in this blog post. Why do i think my life and thoughts are so special that they must be shared? I don’t. My circumstance could be yours. We all are remarkable to a handful of someones and ordinary to the rest. Contrarily, i find that it is often something that personally seems routine which stands out in starlike inspiration to another. Sharing human experience can itself be a profound experience.

Perhaps you found your zine in a San Francisco laundromat or your mailbox or an Arcata store or somewhere else entirely. Regardless, thanks for reading, and thanks for seeking out The More. This zine is part of the Open Heart Project, an art dialogue around the experiences of love and forgiveness. Here is a link to further reading on the project’s fourth incarnation, initiated with this zine. Archives regarding the first three realizations of the Open Heart Project can be found under its heading.

How does this zine fit into the theme of correspondence? The letters i will be sharing in the ongoing OH4 series are written from a motivation of the courage discussed in part (a). They are hard letters for me to write and even harder for me to send. But i feel compelled to follow through with them to maximize my positive impact in the world. And so i am making them happen. I share them with you in the hopes that they possess some starlit piece of ordinary which will inspire you to access your courage in an engagement of your maximum positive potential.

This zine was printed at an independent, family-owned copy shop on Geary St in the Richmond with the origami wrapping made of Bay Area freebie papers. I enjoy the serendipity of folding papers that weren’t printed with the intention of folding and watching the interplay of patterns emerge. Giving the papers new life before recycling is also a particular joy.

Check back here if you are interested in receiving the rest of the series as it is released throughout 2012.

Photo taken in Betty Bogart Contemplative Alcove at the Asian Art Museum of San Francisco, 2012, by Billy Ravel.

The Open Heart Project #4 (OH4) is happening in 2012. Wanna take a moment to read that announcement? Go ahead, click here.

OH3′s community show was held in April 2010 at Studio S in Eureka, CA, as part of The Ink People’s Brenda Tuxford Gallery series. I took a year off from fully realizing the next installation. 2011 was a cocoon year for the MegBeam, but 2012 is an eclosion year; of course i won’t be able to go at triple speed, only at the speed that the flow allows, more like this.

With this in mind, my new year’s resolutions for 2012 became this:

1) quit biting my hangnails. (I don’t have this one completely conquered yet, but i’m very mindful of it now – definitely achievable by the end of the year.)

2) teach in two other regions of the world besides the SF Bay Area. (I know this can’t happen now because of the way events are unfolding – which i am overjoyed about! but i may teach in one other spot, like in Greensboro, on the side during my arts internship.)

3) visit 12 sanctuaries of different faiths during their services and write about the experience. (Called the Course in Sanctuary. And this one is going super well, with the third sanctuary happening this past weekend. I’m really pursuing this one with gusto.)

4) create 6 Open Heart Zines, releasing one about every other month. (Life is also unfolding to reveal that 6 are possible, but the first won’t be released until later this week, late in the third month of 2012.) The concept of serially presenting work has intrigued me for sometime. I have conducted tests and am ready to launch a truly serial work, in the form of OH4.

What follows is some text used for OH4′s first zine installment.

a shadow scene by MegBeam, at a jam in Arcata, Dec2011.

Revisiting the Courage Manifesto of 2009 sets the perfect context for all else that will follow this year. I invite you to join me.

***

Boldly be honest in your heart and humbly share that honesty.

Boldly actualize yourself as the person you imagine.

Boldly disallow yourself to be of cowardice, or submitting to fear.

Boldly disallow yourself to act  without consideration.

Boldly become a horizon for rising and setting.

Boldly transfer the internal into the external.

Boldly seek in public that which your human soul seeks.

Boldly love with your spirit.

Boldly integrate your life into a giant mystery puzzle.

Boldly be your own authority.

***

I wrote this declaration on a piece of paper, copied, and handed it out to a couple hundred people, some by snail or electronic mail, but mostly by hand around Humboldt County, CA. I was still seeing it posted on refrigerators and walls when i left Arcata in late 2011. Folks seemed to be really moved by it, but mostly, i have seen the impact it had on me. I was at a place in my life where i was not sure what my next big step should be exactly. All i could do was little steps, daily.  And i was struggling with being okay with that. I was asking myself: Is courage only something that happens in other places? Could courage characterize my life here, now, where my heart led me to be? Or was courage something that could only define lives in war zones or politics? A journey of spirit plopped me down with these answers printed above. These are ways of being and encountering life that require courage on a minute to minute basis. Following this path prepares one for those big moments that seem earth shattering. The heroin is already living boldly when she is presented with the opportunity to move a mountain. It is because of that daily practice that she is strong and wise enough to act. And the butterfly does not question the phase of  life we call caterpillar.
***
Over the past three years, The Courage Manifesto has developed in my life to look like this:
***
The courage to choose public transportation or to walk. The courage to not slap a woman in the face as she insulted my creative work repeatedly while we were both naked in a sauna. The courage to not bail on a powerful love that defied reason. The courage to work at a job that felt beneath me to learn the lessons that i knew i was there for. The courage to find ways to eat the way that felt right. The courage to trust that if i follow the universe’s calling for me, it will provide for my needs. The courage to drink less than i want. The courage to distinguish my desires motivating my surface wants. The courage to sleep. The courage to seek detachment from the ego. The courage to not be dramatic. The courage to not kill myself when i feel i can’t handle being a human any more. The courage to empathize with a woman’s pain instead of crumbling under her Super Bitch persona. The courage to keep reaching out to loved ones even when some of them can’t reach back. The courage to engage with spirituality-based groups of people. The courage to create despite my fears. The courage to confront my weaknesses. The courage to admit, “I don’t know.” The courage to talk about hard things. The courage to try new medicinal possibilities. The courage to just do one thing at a time. The courage to seek sacredness. The courage to recognize my strengths. The courage to seek council. The courage to risk falling. The courage to refine my vision. The courage to leave the womb. The courage to keep choosing the path of courage.
***
How does one be a positive force in the world? I believe it’s by living with personal courage day by day. And only the quiet inside of you really knows what that looks like for your person. Sometimes, the mountain that most needs moving is ourselves.

In case you were wondering where the post about Glide Memorial United Methodist Church is, it’s on its way! I decided since my first visit was so particular, being a guide for 22 international students in addition to engaging with the church’s celebration service, i would like to attend one more service before offering my commentary. That second time is schedule for May20. Thanks for your patience and attention.

sunny smiles, Beamer

I decided i want to visit Glide church one more time before i write about it. As an interlude, i give you this first letter. I will include future letters. These are written under a pen name and sent through SFZC.

~ April 30, 2012 ~

“Hi! I’m your new pen-pal from SF Zen Center‘s program. I can’t tell you how delighted i am to be embarking on this spiritual adventure with you. They passed along the three letters you sent them so i begin by responding to those. We are close to the same age, you being 34 and me 30. I’ve never been in prison, and neither has anyone close to me. From my perspective, based on all i’ve read and heard, the prison system is pretty twisted, but so are, it seems, most of our governmental systems. I’ll keep mindfully working to peacefully shift that, but in the meantime, i’m glad you and i can develop a relationship around our shared spiritual search. I came to Buddhism through a very windy route. I was raised in a devoutly Protestant family, even attending a Protestant school through 8th grade. Strangely enough, i was converted out of that faith through my healing process from anorexia. For the past 15 years i have been exploring different spiritual expressions and ways of being engaged with humans through Spirit. Buddhism as an approach has spoken to me more than any other way i’ve found so far, but it wasn’t until i overcame my timidity to be present with a spirit-focused gathering of people that i came to the realization that meditation practice and the Buddhist approach is really my path. This is a joyous discovery. I really didn’t think i’d ever find a path in particular, felt i’d be windy, or winding, my whole life, but here i am. I have been an avid student of yoga with a solid practice in that realm since January 2002. So i’d love to discuss that too, since you expressed interest. I have explored different types of meditation throughout that time, but outside the yogic meditation, i had not cultivated a sitting meditation practice until this past year. It feels revolutionary. And then in the last couple months, i’ve started meditating in groups. Wow, now that’s something else all together. Have you had this opportunity? I know you mentioned that you have been in and out of prison for a number of years, so i’m curious if you have been out since you began your practice. And it was noted in one of your letters that SFZC sent you Suzuki Roshi’s Zen Mind, Beginner’s Mind. Have you read this yet? I’ve read it a couple times and am in my third read now. I wouldn’t be surprised if i keep reading it my whole life because it is so rich in observation & wisdom. Would you like to discuss this book? I haven’t read the other book you mentioned, but i’ll seek it out. Any other suggestions? One of my favorites is Thich Nhat Hahn’s Heart of Understanding. Have you read that one? I’d love to send it to you if you want. I am so stoked, Efrain, for us to share in this spiritual journey together. Thank you for your willingness. I eagerly anticipate your response. I bow to you. Namaste.”

Mail Swap from RAG show

To visit posts about my entries, check out this link.

I hope i will hear from those who received my pieces. And hopefully, they all went to the same person actually. I have hung the three pieces i received in my bedroom. They are featured below.

"Tree Swallow" by Shelley McDonald, Mixed Media, 2011.

It’s a lovely little painting, although i am not totally sure how it connects to the theme of economy. Of course, my pieces had pretty abstractly poetic connections to the theme as well. One friend suggested that maybe this one is referring to the show Portlandia‘s observation about the economy of trendy artpieces with their song “Put a Bird on It!” Maybe. Regardless, I enjoy having this swallow next to me as I sleep. This piece is by Shelley McDonald from British Columbia. I sent her an email and hope perhaps we can start up an art dialogue. She used a nice touch: a subtle bit of glitter mixed into the blue used for the bird’s back. It gives it more shimmer, like those birds seem to do in the sunlight.

"Hanging by a Thread" by Ali Gallo, Mixed Media, 2011.

 This piece was made on a piece of chalkboard it would seem. The “economy” placquard is suspended from a wire though, not thread. It seems to be a commentary from the 99%-ers’ point of view. I dig it. Neither one of these first two pieces are mail art in my definition of the medium, but still interesting. Who cares about definitions? It’s just a fun challenge for me to actually have the pieces seen by the postal workers and be altered somehow by their interaction with it. I think this piece would have stood up very well to the rigors of the postal system, especially since she chose wire instead of thread (unlike my RAG pieces, haha). Ali Gallo is from Edgewood, New Mexico. I’m intrigued by her other work, but she doesn’t give a way to contact her.

Nobel Peace Project's "Bit Change", Mixed Media, 2011.

This one also does not immediately scream “economy” but, also like the others, i really dig it. It is from the Nobel Peace Project, out of Nobel, Ontario, Canada. It does have a signature on the back of the envelope that says (i think) Susan Zord, but in checking out the site more, i think it’s Susan Gold. I have discussed some of my own supreme passion for working against the war machines and for the uniting of humanity, so I identify with this group of artists. I’m contacting them too and am hopefully for continued exchange. Below are pictures of the bits inside the envelope. Great idea, Susan, using the CD slip-cover! It could have probably been mailed just like that, but i don’t see RAG’s address on there. The postal workers could have viewed the bits too, perhaps, in their busy-ness.

from Nobel Peace Project

from Nobel Peace Project

from Nobel Peace Project (on the backs of both of these pieces)

I am enjoying all your pieces, artists if you are reading this, and I hope you will contact me for further exchange :D

Interlude #1

I’ve continued conducting research in my Course in Sanctuary. It’s been requiring some intense processing and introspection and contemplation. And i am having to let all that marinate inside me a while longer, with input of some more living and seeking, before i post about it. A piece of foreshadowing though: hara earthquakes.

Look out for a page from FFP in the Quickest Flipest zine (coming out soon). The OH4: Part1 zine will appear in Arcata & Eureka while I’m up there this wknd and then in SF upon my return next week.

*** See ya out there in the world.

 

Betty Bogart Contemplation Alcove at the Asian Art Museum (Civic Center, SF): look deep inside.

My second sanctuary on the course was the StJohn Coltrane African Orthodox Church, currently located in the Fillmore district of San Francisco. I had passed by a gagillion times while i lived near Alamo Square. A friend had told me about it one day, that he had heard about it and thought it was somewhere in the Fillmore, but not sure where. I had not seen it but could hardly believe it could exist. Really? A John Coltrane church? So i looked for it. Turns out it is part of a big building, looks like just a run-of-the-mill office space from the outside, with a couple poster signs in the windows. Looking in, i could see instruments and chairs and some art on the walls. Yes, there is a church whose patron saint is a famed jazz musician, saxophonist John Coltrane (1926 – 1967). And upon locating it, i quickly moved Coltrane Church to the top of my must-visit list.

As far as i have been able to discover, it is a unique church; no other body of believers has established itself on the basis of the “sound baptism” of Coltrane’s music. However,  this church is part of the African Orthodox order of Christianity, an orthodoxy created in protest of the mainstream Catholic church’s failure to be adequately inclusive of black people in its clergy positions. It was the AOC that canonized John Coltrane. Growing up in the South, i really hadn’t thought much about black folk wanting to be Catholic, considering that most black Christians i knew were Baptist. Being hyper aware of my whiteness, and the undeserved but undeniable privilege that comes with that, i felt a distinct sense of nervousness about attending this service. I have been working hard and long on getting over my worries about the perceptions of others, but the hardest place for me is the white thing, where my cultural curiosity could easily be mistaken for racial haughtiness, disrespect, or – well, i could imagine all sorts of negative possibilities.

I note here that i have limited my research of the church for now, trying to focus on my experience of it. There have been many articles, interviews, and some documentary conducted on the SF spiritual body since its establishment in 1971, four years after their saint’s death. Perhaps i will revisit my visit with widened perspective of analysis after receiving this info.

Knowing the place was spatially pretty small, i made sure i arrived 15 minutes earlier than the advertised service start time of 11:45am on Sundays. Again, i made the mistake of imagining that something that captivates my interest must, of course, also be the interest of overflow crowds. Upon entry, my nervousness dissolved as the people at the front glanced my way with a smile. An older man and a younger woman both were wearing clerical garb of black with the recognizable white Roman collar. I grinned back the warmest MegBeam smile and spoke a perky, “hi!”

I found a seat and arranged myself for what would be an hour before the service actually started, 45 minutes after the advertised time. I wondered if maybe the website just hadn’t been updated, but during my observations the man – who i discovered was the Archbishop Franzo King who founded the church with his wife – answered someone else’s question that service starts at 11:45. Was this preparation intended to be part of the service, just not liturgical?

(photo ripped from the SFMOMA interview) Franzo King & Mark Dukes with my favorite of his paintings in the Coltrane Church.

I joyfully spent that hour listening to the conversations of apparent members, watching their interactions, meditating in my own heart, beaming smiles, and gazing into the iconographic artwork of Mark Dukes. My favorite of his pieces there was a sublimely luminescent interpretation of a tree of life, uniting air, water, and earth. That’s the place where my spirituality dances and bows so i dwelt there for the hour. There were also batik pieces of Coltrane’s image and a painting from a famous black/white photo of the musician back in the day. I believe in preparing oneself for enacting a cosmic drama of ritual so i was perfectly content with the wait. No one else from the congregation showed up though until after noon, it seemed, the first one being a fellow visitor, a young woman who in the end was accompanied by two other young women. They described themselves as church hoppers, looking for their spiritual home. I found that intriguing and attempted to engage a bit, but eventually went back to being silent and turning inward, recognizing that that is my preferred method of engaging in gatherings of faith at this place in my journey.

And i pondered their declared quest: searching for a spiritual home. This is very different from my own reasons for being there, since i am there to observe, with no consideration of possible membership. My spiritual path is one that wants to be engaged in every moment, not just ritual moments, and finds renewed energy through meditation, dance, and creative production. Where i am today, i feel i have found my spiritual home inside me. All beings are there already. And though I find it magical to connect spiritually to a community, that usually happens for me when i am creating performance work in collaboration with other artists, especially the music making sort. That sort of home is an oft-shifting space of time and composition.

A few members reached out to me before the service began. One was the woman pastor, Wanika. She gave me a welcoming handshake and commented on how we had on basically the same pants. A man identified himself as the Doorman and someone who had been with the church long enough to be a clergyman (about 40 years) but confessed to being “a halfway soldier”, laughing at his inability to go all the way for the lord. I gently pressed him to discover what was holding him back but to no avail. In my observation of him throughout the service though, he was serving diligently and with great kindness, robustly welcoming people no matter what they looked like or at which point in the service they arrived. Another man reached out to me, to offer an instrument. It seemed throughout the service that this was his job. I had thought about bringing one of my own instruments, as the website had encouraged,  but in the end chose the stick of jingle bells offered by the layman.

(also ripped from the SFMOMA blog) One of Mark Dukes icon paintings of the Saint John Coltrane.

Then the service began!!! As promised, the worship was guided by a focused interpretation of Coltrane music and a Catholic liturgy. A deacon waved incense, and there was sitting/standing/call/response. The Archbishop and Pastor had donned robes, as had the elementary-school-aged drummer and the acolyte. Everyone played instruments, their voices as well as man-made instruments. And i joined in with my jingle stick. I was glad i had it. I loved joining in the music making with the elementary-aged drummer, the electric dobro playing pastor, and the saxophone playing archbishop. Those pure music portions were the most spiritually uplifting moments of the service for me. Coltrane Church includes in its mission a search to develop their relationship with god partially through sound as a meditative union.  Their sincere, public pursuit of this was joyous for my own being. I often create this sort of sound union experience in my inner-sanctuary that is omnipresent with me. But as seems to be the common draw for religious practitioners, there is something special about seeking that at the same time, in the same place with other human beings. During the musical liturgy, i focused my eyes on the tree paintings and the sun/moon in the Jesus painting.

There were two offering collections. I had brought a little money for that contribution which i gave upon the first plea. But then the surprise second plea came. And of course i had nothing left to give on the second plea, having given it all on the first. Now, i totally understand the need to ask for funding and state your case eloquently. I’ve been involved in lots of fundraising. But i have never felt comfortable with churches begging for funding during worship services. It just doesn’t seem to be appropriate to me, because i know how organized religion has often used its power to manipulate people. I’ve thought a lot about this in the five days since attending the service, and I’ve come to many conclusions, which may be the most important part of my own participation in this service. Many spiritual paths see giving money as an act of worship, and maybe it’s just my own hangups about money that spur my heart to buck when it gets mixed into sanctuary participation. It’s just a personal preference for that money seeking, which has to happen somehow for the work to continue, to happen in a different way, at a different time. All the people i encountered at the church seemed so pure and light-bearing in their faith, i trust them in their methods, even though they are different from mine.

Pastor Wanika delivered a message about protecting our minds, being steadfast and single-purposed in our devotion to our faith. There was lots of soundmaking from the congregation but evidently not enough to satisfy the pastor. When she directly addressed the believers to respond vocally, i didn’t join in, more and more decidedly self-identifying as a non-believer. Which brings me once again to the subject of communion.

The website had said that communion was served only on the first sunday of the month, which i was relieved to discover so i wouldn’t have to confront that debate once again within myself during this much more intimate service. But, as the universe would have it, i couldn’t escape this confrontation. For whatever reason, Pastor Wanika announced they were indeed going to be serving communion that day. Deep breath, Megan, you don’t have to decide this minute. I had turned off my phone/timepiece for the service of course. And escaping into timeless is an important characteristic for my own deeply spiritual experiences. But it was pretty close to the end, after hours of sound-union with the godness, and the pastor’s message, and the archbishop’s commentary on the message. I had considered the possibility that maybe this was the time to partake in the communion, just to explore what that experience might be like in my state of unbelieving. What sort of spiritual act could this sacred meal be for me? Alas, as the members partook, i still just could not bring myself to do anything but sit still in meditation, both in a Christian-prayerlike position and a zen posture, holding the cosmic mudra at my belly. I felt one of the music leaders near me at some point, compelling me to open my eyes. She directly asked me, “Do you want communion?” and the doorman even offered that it was free. No, i smiled, and shook my head, closing my eyes again. Maybe once again, I am too concerned about the impact of my actions on others rather than pursuit of my own spiritual experience. Is this balanced within me or do i need to incorporate more abandon?  That moment though I felt completely confident in my decision. I am unequivocally not a believer with y’all in your faith. Your genuine approach is beautiful, and I felt I would mar it with my contradiction. This is probably not possible, but this is where I was that day. One day.

Seats filled and emptied in a tide of worshippers throughout the service. I was moved to a spiritual mountaintop by the experience, despite my outlier belief system, and i am still figuring out what i saw from up there. I was still descending from the clouds when i arrived at work later that day. I want to visit again, when i certainly will bring along an instrument i love to play.

Another delightful announcement: Factual Fiction Press will be the productions intern at Elsewhere Collaborative of creatives tucked within the ancient mountains of my native Southland, Greensboro, NC. I will be living, creating, and learning among a century-ian collection of thrift and the creative individuals currently participating in the project. I grew up in the South but have not lived there since early 2005, save a terrifying few month span in Charleston between the Paris and California moves – terrifying only because of the state of my spirit, not the place. A lot of water has flowed under my bridge since then, and I feel finally ready to share my most earnest of expressions with my fellow Carolinians. (For more on the process to making this happen, check out this post.) I am grateful for this opportunity that will undoubtedly prove to be a sweet cog in a new wheel of my life. My plan is to embark crosscountry in early August, making SHADOWjam adventure stops along the way.

I’ll keep you posted so you can join in the journey.

<< Eyelet >> (by MegBeam, Alsace, 2004)

on the Quickest Flip!!!

Factual Fiction Press is delighted to be one of the artists in the NEW inclusive online gallery and shop called QUICKEST FLIP, founded by the amazing Jamie Walsh. Currently I only have some mail art options on there, but with the release of the first QF zine – entitled Quickest Flipest – there will be some new options, so keep your eyes peeled. FFP will appear in the zine as a page display of new work available as well as a cadavre exquis (exquisite corpse) drawing in collaboration with the most beautiful combination of gentleness and strength, Dave DeAngelo, and the most hospitable monster-museum curator, E. Francis Kohler.

Be sure to stop by the site and explore this diverse gathering of artistry.

logo by Jason Arsaga.

We SHADOWjam-med it out again at the Monster Flat in San Francisco, CA, on February 19, 2012.

Below are some recollections of what we encountered in our shared dream.

All photos are by E. Francis Kohler.

(Photo Credit: E. Francis Kohler) Early in the day, we were able to play a little bit with the sun as our light source, rather than the OHP.

(Photo Credit: E. Francis Kohler) A color version of the MegBeam working on setup.

(Photo Credit: E. Francis Kohler) A puppet made by Leslie Howabauten at the first Factual Fiction SHADOWjam in Arcata, 2011. It continues to haunt & inspire us.

(Photo Credit: E. Francis Kohler) Testing out the new Path puppet made by Francis, creates a fascinating effect with the goat & MegBeam.(Photo Credit: E. Francis Kohler)

(Photo Credit: E. Francis Kohler) And the journey begins ...

(Photo Credit: E. Francis Kohler) Welcome by MegBeam.

Welcome, fellow human creatures.

And we find ourselves at the intersection of the perfect time & place, together here for some moments.

Let us arrive in this here, together, with a sigh *** a sigh.

Let us arrive in this here, together, with a hoot *** a hoot.

and a howl *** a howl.

and a flash *** a flash.

and a hush *** _____________.

What is a SHADOWjam? It is a coming together of people who listen to each other with their everything. The people engage in this listening by being what they must be in response – a sound maker, a silence holder, a light bender, a light chaser, a shadow, a question,

a a a a a a a a …

There are moments when space will abound, spaciousness to your eyes or your ears or your heart.

Don’t be scared of it. I encourage you to embrace it.

And remember: this is not my show. This is our show. Nothing happens without us engaging this Nowness.

(Photo Credit: E. Francis Kohler)

(Photo Credit: E. Francis Kohler) This jam begins with a peregrination of the seed-collector.

(Photo Credit: E. Francis Kohler)

birthing stars in the night

all night

then the selfish gorilla finds

stars are still out at daytime

(Photo Credit: E. Francis Kohler)

eating bluehead

(Photo Credit: E. Francis Kohler) damn, francis, you really captured the almost-impossible to capture.

(Photo Credit: E. Francis Kohler)

(Photo Credit: E. Francis Kohler)

(Photo Credit: E. Francis Kohler)

screaming satan

(Photo Credit: E. Francis Kohler)

(Photo Credit: E. Francis Kohler)

quadrupus is going bowling

while intimidated

colors are walking

& bloodthirsty fox is stalking

(Photo Credit: E. Francis Kohler)

kit carson died

& was buried

in Taos, New Mexico

(Photo Credit: E. Francis Kohler)

the seed of life

is being carried

into the ocean

walking to up

(Photo Credit: E. Francis Kohler)

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