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What Are They Worth? All is not as it seems in the aberrant apple of rock-poster art collecting
By Steve Bjerklie
In the portentous, fog-bleary summer of 1980, aloof afore the presidential acclamation of a man whose mug already graced cine posters (a time aback the nation agreed: acquisitiveness is good), dance-hall babysitter Bill Graham fabricated affairs to admire two accessible concert runs he was address for his admired band, the Grateful Dead, with two special-edition posters. These posters weren’t for announcement purposes but would be awash to show-goers–“vanity” posters, as they’re alleged in the accession trade. Graham assigned Peter Barsotti, who formed for the administrator (and who still works for Bill Graham Presents, or BGP), and artisan Dennis Larkins to architecture the new posters, which trumpeted a three-week alternation of shows above backward September and aboriginal October by the Dead at the broad old Warfield Amphitheater on Bazaar Street and a afterward agnate alternation at New York’s admirable Radio City Music Hall.
Both posters affection the Dead’s capital iconography. In the Warfield version, a 12-story “Skeleton Sam” wears a stars-and-stripes Uncle Sam top hat and leans accidentally on the larboard ancillary of the amphitheater architecture as addition 12-story skeleton crowned with a band of roses leans on the right. The Radio City adaptation has the aforementioned two skeletons in the aforementioned agreement aptitude adjoin the music hall. Near the basal of the posters, continued curve of Deadheads–Barsotti and Larkins drew some of them as caricatures of BGP employees–clog the sidewalks in advanced of the theaters. Scrawled above the covering in the Warfield affiche is Bill Graham’s acclaimed egg-shaped adduce about the Dead: “They’re not the best at what they do, they’re the abandoned ones that do what they do.”
The columnist run for anniversary affiche was bound to several thousand copies. Neither affiche was anytime reprinted by BGP–in fact, the Radio City adaptation became an burning collector’s account aback the administration of the amphitheater aghast at the angel of skeletons aptitude on their battleground architecture and requested that BGP abort its stocks. The Warfield adaptation additionally became a collector’s account eventually, abundant to my delight. A acquaintance had accustomed me and my helpmate tickets to one of the Warfield shows as a bells present, and we bought a gift archetype of the affiche from a berth in the theater’s lobby, aloof as Bill Graham capital us to. Our new affiche got added to the baby accumulating of San Francisco bedrock posters I had started years ago, aback I was a kid afterward the Avalon Amphitheater and Fillmore West affiche reps into almanac food to aces up alpha handbills.
San Francisco bedrock & cycle posters are added than bright clear images. They are visual, concrete representations of an age, of a style, of a way of active in the apple that already accountable legions of kids to arch West. They swirl, they startle, they stun. Deride through a accumulation of posters and dozens of allegorical nights jump to the eye: the Grateful Dead administration the Fillmore West date with the Miles Davis Quintet; Big Brother and the Holding Aggregation with Janis Joplin aperture for Howlin’ Wolf; a Jefferson Airplane, Dead and Quicksilver bill on New Year’s Eve. History doesn’t still aloof alive in the old posters, it still dances. Wildly.
By 1994, with the Dead added accepted than anytime in the band’s 30-year history, Artrock, a storefront affiche bazaar on Mission Street in San Francisco, offered the Warfield Barsotti/Larkins affiche for bargain for $400, which at the time was an abnormally aerial amount for a bedrock & cycle affiche of about boyish vintage. But aback Jerry Garcia died in August 1995 and the Grateful Dead’s consciousness-expanding bazaar assuredly shut bottomward for good, the amount for any allotment of agenda address the words “Grateful Dead” went crazy. By aftermost November aback Artrock, now broadcast at its Mission Street area into a all-encompassing arcade and catalog-sales outlet, hosted the aperture of “The Art of the Dead,” an affectation of affiche art featuring the Grateful Dead that will cantankerous the country over the abutting two years, the amount of the Warfield affiche had climbed to $950 in the Artrock catalog. My helpmate and I had bought it at the appearance for $20. Its value, alas, has had bigger luck than the marriage.
But what is the absolute amount of this poster? It is, afterwards all, a print, and bags of copies were originally made. Alike in the aboriginal canicule of the San Francisco bedrock & cycle amphitheater scene, which fostered consciousness-expanding posters as announcement affectation art, book runs were about high. On the aboriginal artwork for BG No. 32, displayed in “The Art of the Dead,” artisan Wes Wilson penciled “2500m” in the allowance to admonish the announcer to run 2,500 copies of the black-and-white poster, featuring a photo of Garcia amidst by Wilson’s annular lettering, to acquaint a Dead appearance at the Fillmore in October 1966.
(Poster collectors, with the advice of the aboriginal appearance producers, accept accustomed a accessible affiche calculation system. Posters for Bill Grahamproduced shows at the Fillmore auditorium, Winterland arena, Fillmore West and added San Francisco and Bay Area venues from 1966 to 1971 are numbered in adjustment and prefixed “BG.” Posters for 196668 shows produced by the Family Dog collective, aboriginal at the Fillmore and afresh at the Avalon Ballroom, are additionally numbered in order, prefixed “FD.” The Dog additionally appointed a amphitheater in Denver in 1968; these posters are adumbrated “FD D.”)
Afterwards posters were printed in greater quantities, to the point area endless of them were kept in accumulator by Graham and the Dog’s nominal arch executive, Chet Helms. Moreover, best of the posters were reprinted by BGP and the Family Dog, the album editions generally calculation in the tens of thousands. Reprints accompany a lower price, of course, than aboriginal editions, but abandoned aback a album is apparent from an aboriginal (both BGP and the Family Dog acutely appointed their accustomed reprints as such). BGP still owns the book negatives for best of the posters for shows the aggregation has produced aback 1966, which is to say that if it chose to, BGP could album again, admitting the company’s controlling in allegation of posters and archives, Jerry Pompili, says he won’t.
But aback best of the stashes of aboriginal editions were apparent and awash years ago, and aback BGP will not, says Pompili, advertise off its actual stocks of originals, the allurement to album is huge, abnormally with prices soaring. Afterwards Garcia’s death, the thousand-dollar band was bound broached by “Blue Rose,” a vanity affiche fatigued by Stanley Mouse and Alton Kelley for the closing of Winterland in 1978 (a BGP show), and the brilliant, advancing “Trip or Freak” clear from 1967, a collaborative accomplishment by Mouse, Kelley and Rick Griffin featuring a leering angel of Lon Chaney in abounding Phantom of the Opera makeup.
Prices for about all Grateful Dead affiche collectibles–the Philip Garris owl-and-skull cairn illustration for a 1976 BGP Grateful Dead/Who appearance at the Oakland Coliseum; the arresting wing-and-pyramid Mouse/Kelley affiche for the Dead’s alternation of 1978 shows in Egypt; and of advance FD No. 26, the affiche Mouse and Kelley able for the Avalon Amphitheater in 1966 that associated the skull-and-roses figure with the Grateful Dead for the aboriginal time–are in the stratosphere. Added rarities additionally rocketed in value. An aboriginal archetype of a advertisement announcement one of the San Francisco Mime Troupe allowances that Bill Graham organized, the parties that alien Graham to bedrock & roll, awash afresh for $5,000. Unsurprisingly, not abandoned accept the choicest posters been reprinted, they’ve been banned as well, generally by acutely acceptable counterfeiters.
“What it all comes bottomward to is that you accept annihilation but someone’s chat that a affiche is aboriginal and not a album or a fake,” patiently explains Jorn Weigelt, a San Mateo banker in fine-art posters. Aftermost November, Weigelt’s firm, The Affiche Connection, hosted the aboriginal bargain in San Francisco of collectible affiche art. Inside the Chinatown Holiday Inn, collectors, decorators and the analytical bid on hundreds of attenuate prints fatigued by the brand of Abbot, Steinlen, and Troxler–classic fin de siecle and aboriginal 20th-century affectation art. The bargain was a huge success: 85 percent of the lots sold, with a top amount of $4,600 bid for a alluring red-hued Absinthian Campari affiche from 1900.
“You are abased on the dealer,” continues Weigelt, whose ancestor is a fine-art affiche banker in Germany. “I mean, how would you know? Why would you know? And the dealers–just because someone’s a banker doesn’t beggarly they apperceive either.” Weigelt says that fakes accept been a botheration on break in the fine-art market. “There are a lot of Lautrecs blind in people’s active apartment that they paid $10,000 for. They attending real, but aren’t.”
A new organization, the International Best Affiche Dealers Association, was congenital this year; one of its axial purposes is to accord with fakes. “The ability of fakes is limited,” Weigelt comments. “The alignment will accommodate dealers with an befalling to allotment information.”
Does he anticipate San Francisco bedrock posters will advance into a fine-art bazaar for collectors? “Perhaps. But the bazaar has to be clean. If there’s a lot of ambiguity about what’s absolute and what isn’t, and if collectors are borderline about assertive dealers, the bazaar may not advance but abide a amusement for enthusiasts. Long-lasting markets get that way aback everyone’s abiding of what they’re buying.”
But, as Weigelt credibility out, there’s no way to be sure. There’s nothing, in the end, but someone’s word, as aerial as a ghost. Thirty years afterwards the aureate era of the consciousness-expanding bedrock affiche in San Francisco, the posters still accessible for bargain to collectors and gift buyers comprise a wispy, circuitous web of originals, reprints, bootlegs and complete fakes. And in the average of that web is the buyer of the negatives for about all the archetypal Family Dog posters, the bigger bedrock & cycle affiche banker in the world: Artrock.
“Artrock’s cornered the bazaar and they set the prices,” says John Goddard, freeholder of Village Music in Mill Valley, one of the best bedrock & cycle almanac food in the world, which has been affairs posters aback the 1960s. “That’s not necessarily good, but that’s the way it is.” Artrock has, amid added bazaar developments, accustomed $35 as the abject amount for a archetype of best of the Family Dog posters–that is, $35 for a album of aboriginal numbers and $35 for an aboriginal archetype of afterwards numbers, which are beneath approved after. (Artrock’s conception of a attic amount is a analytical echo, by the way, of an addition in addition market. Chet Helms, afore he got into the bedrock & cycle business at the Avalon Ballroom, is the man in the mid-1960s who set $10 as the basal amount for a lid of grass.)
Goddard himself has no affray with Artrock, but credibility out that a lot of rumors apropos the banker ability be the aftereffect of bodies advancing in to Artrock with a affiche to sell, seeing addition archetype of the affiche on Artrock’s bank for a fat price, but afresh actuality offered abandoned a few bucks by the store. “They anticipate they should get bisected the sticker price, but what they don’t apperceive is that Artrock may accept 50 added copies of that affiche in the back. This happens to me with acclimated annal all the time.”
But could Artrock or added dealers be affairs reprints or alike bootlegs as originals? “There’s no acceptable way to acquaint an aboriginal from a absolutely acceptable reprint,” Goddard says, “if the album doesn’t announce that it’s a reprint. Personally, I don’t assurance old posters that are in excellent condition. That’s not to say a mint-condition affiche is a album or bootleg, but I like my old being with holes and scratches and tears.”
He continues: “But what’s a reprint, anyway? A few years ago I was bottomward in New Orleans and got to apperceive the printer who had printed some of the posters for the abundant R&B shows in the 1950s. He still had the aboriginal columnist plates for the posters, and one day he baldheaded a accumulation of 40-year-old agenda in his aback room. So he printed the old posters on the old agenda application the aboriginal plates. Now: Are those reprints or not?” With negatives for about all the archetypal psychedelic-era posters still in actuality and still endemic by companies that accumulation by the bargain of posters … well, bodies accept wondered.
“The aloft dealers don’t advertise bootlegs or reprints as originals,” comments Grant McKinnon, accepted administrator at S.F. Bedrock Posters & Collectibles on Powell in North Beach, a rock-art boutique. “They’ll consistently appear aback to abode you. But fakes are out there. A few years ago I saw copies of BG #105”–Rick Griffin’s acclaimed “Flying Eyeball” affiche for an amazing 1968 BGP appearance featuring Albert King, John Mayall and Jimi Hendrix–“for bargain on Haight Street for $5 to $10. Now, I knew those had to be fakes. It’s a actual admired poster. But they were absolutely acceptable fakes; they looked aloof like the additional printing. The abandoned way you could acquaint was from two tiny deride prints on the edges–something abandoned an able or absolute banker would attending for. The bodies who anticipation they were accepting a accord on that affiche aloof got burned.”
McKinnon adds that it would be actual difficult to get a album accomplished an able as an original. “There’s still a lot of ability about from bodies who accept been allotment of the affiche amphitheatre or collectors aback the beginning. The advice about blush variations in columnist runs and aback the posters were absolutely printed is still available.” He goes on to point out that the inks acclimated to book the aboriginal posters 30 years ago alter from today’s inks in their admixture of elements and in how they adulteration and fade. Papers, too, accept changed.
McKinnon mentions the aboriginal aggregate of The Collector’s Guide to Consciousness-expanding Bedrock Concert Posters, Postcards and Handbills: 1965-1973 by Eric King, which focuses on BGP and Family Dog posters as able-bodied as on the acclaimed “Neon Rose” alternation fatigued by Victor Moscoso for the Matrix nightclub. The King book anxiously describes affiche issues and editions, sizes, inks, agenda affection and what to attending for in reprints and bootlegs. Addition book, the massive album The Art of Rock: Posters from Presley to Punk, aggregate by Paul Grushkin and appear in 1987, is the accepted advertence for images. The two books calm actualize the basal advertence actual in the apple of rock-poster collecting.
BGP’s Jerry Pompili says that he’s apparent “Flying Eyeball” fakes awash out of the trunks of cars “by base East Coast guys.” “If we see it, we’re on those bodies like gorillas. We’ve been actual accurate with the posters over the years; they’re an acutely admired asset to BGP. No asshole is activity to get a affected by us.” He claims the abandoned affiche reprints BGP anytime accustomed were those appear in the 1970s by Winterland Productions, which at the time was still a BGP subsidiary. These were awash with added bedrock & cycle bagatelle in the brief “Bill Graham’s Bedrock Shop” on Columbus Avenue. BGP itself owns abandoned two complete sets of the archetypal series, Nos. 1 through 287, according to Pompili. A complete alternation is on affectation admiral in the Fillmore Auditorium, admitting “some of the rarer” posters at the Fillmore, Pompili says, are absolutely photographs of originals.
Graham, in the beginning, did not see the amount of the posters he was allotment for his shows at the Fillmore. Ben Friedman, a allegorical San Francisco administrator (and acclaimed crank) who had started, managed or bankrupt dozens of businesses, assertive Graham to advertise him a accumulation of posters for $1,000, which Friedman afresh told Graham he was activity to about-face about and advertise for $2,000. Thus began a continued accord of alternate account and frustration, which Friedman additionally continued to the Family Dog.
By the time the ballrooms bankrupt (the Avalon in 1968, Fillmore West in 1971), Friedman endemic the bigger account of bedrock posters in the world. Some he bought for abandoned ten cents anniversary and awash in his Postermat bazaar on Columbus for several dollars. Some, including FD No. 14 (known as “Zig Zag Man”) and FD No. 26, he is accounted to accept reprinted on his own–bootlegged, in a word. By the time he capital to get out of the business because of declining health, Friedman endemic hundreds of bags of posters; he had posters in accumulator by the pallet-load. Facing ample medical bills, he awash the aggregate of his account to addition businessman, Philip Cushway, who fabricated the acquirement on account of the affluence Cushway owns, Artrock.
Bill Graham’s Bedrock Bazaar affiche account was best up by addition adeptness businessman, John Burn, who had additionally bought $.25 and pieces of the Friedman backing over the years. Burn had the eye: “He bankrupt everybody out of the best stuff,” says one affiche dealer. The Bedrock Bazaar acquirement and added buys fattened Burn’s claimed affiche account to 100,000 pieces. He eventually awash all of them to the appetent dealer: Philip Cushway.
Stories and rumors agitate about Philip Cushway like Wes Wilson lettering. Jude Heller, who formed for the Grateful Dead for several years, had a altercation with Cushway afterwards accusing him of affairs official GD commodity afterwards authorization. “He came out and did his little song and dance,” says Heller, who is now announcement administrator for KFOG. “It was a joke. We had to affair a cease-and-desist order.”
One of the aboriginal Artrock employees, Kevin Plamondon, says, “Philip Cushway won’t advertise you Eric King’s book. You accept to go about else, like to Grant, to get a copy. Cushway doesn’t appetite you to be an expert. That’s giving you power. He wants all the ability so he can ascendancy the transaction.”
Plamondon has apparent those affairs up abutting abounding hundreds of times. He abutting the business aback in 1987 aback it was still based in Ann Arbor, Mich. Plamondon, in fact, amid and acquired for Artrock abounding baby but absolutely admired affiche stashes in the Bay Area. He larboard Cushway in 1995 afterwards a absinthian activity over Plamondon’s captivation with Man’s Ruin, the business aggregation for the posters of Frank Kozik, who about abandoned active bedrock & cycle affiche art in San Francisco with his admirable Day-Glo images for New Wave and another bands. Plamondon had brought Kozik to Artrock’s attention, but afterwards a time Kozik acquainted he could bazaar his assignment bigger on his own and abiding Plamondon to advice him.
Plamondon, who eventually alternate to Michigan, charcoal absinthian in account to the affiche art he loves. “Philip Cushway has no curatorial abilities,” the aloft Artrock agent says. “Look, this accomplished affair is congenital on acceptance and trust, which can be calmly shattered.”
Philip Cushway holds my business agenda for a continued minute, staring at the name, alike admitting I’ve fabricated an arrangement and am here, in the Artrock gallery, at our agreed-upon time. He abuse able-bodied knows who I am. “Oh, yeah,” he assuredly says, addition the vowels for affecting effect. “You’re the guy who’s active about boondocks overextension rumors that I’m affairs bootlegs. Why are you accomplishing that? I’m because acknowledged action, you know.” I’ve had interviews activate better.
Up in his ample office, the biggest, best acknowledged banker of bedrock & cycle posters in the apple is added congenial. Framed best “boxing style” posters for James Brown (“Mr. Dynamite!”) shows at the Apollo Amphitheater in New York and added venues band the bank aloft the atramentous covering couch area we sit, aloof aloft Cushway’s graying, curly-haired head. He’s a thick, affable Illinois built-in with Buddy Holly glasses. A acquaintance who knows him says, “Phil seems like an absorbing guy, weirdly absorbing and a tad spooky.”
“I got into the affiche business to accompany adjustment to it,” Cushway tells me on the couch. “Before me there were no catalogs, no 800-numbers for ordering, no credit-card orders, no absolute arrangement of affairs and affairs bedrock posters. I created all that.” He sets a algid can of soda on his coffee table, which, I apprehension afterwards a additional glance, is a coffin. “I’m into the shape, or maybe I aloof like gothic,” he answers to my accessible question. I’m a bit disarmed, added so aback I see that Cushway’s animated at me.
“Look, I’ve formed actual adamantine at this.” Now he glares, this “spooky” man who says he’s in the appointment by 3:30 or 4 every morning (“my accustomed hours”). “It would be baleful for me to do article like advertise bootlegs. Why would I appetite to attenuate the amount of my own product?” Later, he tells me he doesn’t alike absolutely like the posters–“they accomplish collectors go crazy; they’re like a narcotic”–but artlessly capital to become “the bigger and the best.” Still later, Cushway says afterwards explanation: “I’m not in posters to accomplish money.”
But he has, by the bucket, by accomplishing absolutely what he himself states was his goal: “to ascendancy the market.” One of the affidavit Cushway brought his operation from Ann Arbor to California in the backward 1980s was to buy the Friedman and Burn stashes. Those, and abounding others, accept accustomed him added than a actor pieces of inventory. He confused additionally to be in the centermost of the best rock-poster accession bazaar anywhere.
The three-floor Artrock arcade occupies 25,000 aboveboard feet; the abutting additionally rents amplitude abroad in San Francisco for what Cushway calls “the Vault,” his accumulator abode for Artrock’s account of archetypal posters. Bottomward in the basement of the gallery, Cushway after-effects his duke at shelves and pallets of posters. “I’ve got 500,000 pieces of account in this architecture alone.” Posters are accumulated in three-foot, four-foot, six-foot stacks, like bales of hay. “You get 100 posters to the inch,” Cushway says, “1,200 to the foot.”
The Artrock archive additionally sells T-shirts (which are accumulated in Gap-like abundance), stamps and added bedrock paraphernalia. Along one bank in the basement I apprehension a baby abundance ambit of unlabeled agenda boxes ascent from a pallet. “Mounted Beatles photos,” I’m told. “All active by Pete Best,” the Beatles’ aboriginal drummer. “Now there’s a guy who absolutely got screwed.”
I ask about Kevin Plamondon. “I won’t allocution about him,” frowns Plamondon’s aloft employer. “Kevin did some things he shouldn’t have.” Man’s Ruin? “I won’t allocution about it.”
Afterwards Cushway drives me over to the Vault, swearing me to clandestineness on the location. On the way he explains that he ability anon leave the affiche business, but he won’t say what interests him.
He opens the Vault, an bare allowance in a characterless building. It’s awash bound with metal shelving, all of it billowing beneath the weight of posters.
Not aloof posters, but bags of posters, archetypal posters, endless and rows and folios of them. From an inch-thick accumulation he pulls out a crisp, excellent archetype of a BGP affiche for a 1969 Doors show, autographed in argent ink by Randy Tuten, the poster’s artist. It’s for bargain in the Artrock archive for $125. Everywhere on the shelves are blubbery folios of archetypal numbers–FD No. 14, No. 26, No. 45–neatly shelved like books in a library. The account is both jaw-dropping and depressing. The accuracy is, there are no rarities, annihilation of which Artrock doesn’t already own dozens or hundreds or bags of copies. The catechism of bootlegs and reprints calamity the bazaar is moot. Artrock owns the market. Whether or not San Francisco bedrock & cycle affiche art develops into a fine-art bazaar in the approaching depends absolutely on how Artrock chooses to administer the bazaar now and what happens to Artrock’s account afterwards the arcade and Cushway are gone. Prices could be at their aiguille appropriate now.
As we leave the Vault, I activate to anticipate about who’s acceptable and who’s accident in all this. Certainly Cushway’s winning–he’s won it all. The blimp Vault is proof. Bazaar dealers like McKinnon, with a adherent and loyal beneficiary clientele, are winning, too, at atomic as continued as the market’s acceptable and buyers linger. But the affiche artists themselves aren’t winners, aback they continued ago active abroad the rights for their archetypal assignment to Bill Graham and Chet Helms (though some dealers, including Artrock, accept commissioned new assignment from the brand of Kelley, Mouse and Griffin).
The accidental bush collectors aren’t acceptable either, for they can abandoned advertise their collectibles for the prices accustomed by the dealers if they appear to acquisition addition who will pay bazaar amount piecemeal. Artrock has too abounding copies of aggregate already. It can underprice anyone if it chooses to. The bush collectors who best up their posters at shows or pulled them off of blast acclamation or out of affluence windows accept as their best asset memories of the music and that amazing time in San Francisco.
Afresh it addled me who has absent the most, admitting he doesn’t alike apperceive it. Some years ago, a book administrator gave an artisan alleged Edmund Sullivan a archetype of Edward Fitzgerald’s new adaptation of The Rubáiyát of Omar Khayyam to illustrate. Sullivan drew admirable ink images for about all the poem’s luscious, carnal quatrains, including, as it happens, cardinal 26. “One affair is certain, and the blow is lies,” the quatrain concludes. “The annual that already has absolute for anytime dies.” Sullivan drew the flower; he fabricated it a array of roses. He belted his drawing, in fact, with bushes of roses. He drew a band of roses, too. This Sullivan placed on the arch of the angel he drew to represent the quatrain’s final word–a abounding skeleton animated through stony, clenched teeth.
Edmund Sullivan died years afore Jerry Garcia was born. He never knew that one day his angel would be begin by affiche artisan Stanley Mouse in the basement of the San Francisco Accessible Library in an old 19th-century archetype of The Rubáiyát. He never knew that his “skull-and-roses” image, as it came to be called, would become, as a aftereffect of Mouse’s use of it in FD No. 26, the world’s best apparent accepted music icon.
Sullivan does not apperceive that a first-run archetype of FD No. 26 sells nowadays for $1,500 to $2,500, depending on condition. He did not apperceive about the absorb act, about the abeyant for appropriation above his lifetime, about accessible domain. He never knew that tens of bags of dollars would be spent, and added money still will be spent, affairs and affairs the quintessential San Francisco psychedelic-era bedrock & cycle poster, FD No. 26. He never knew that of all those tens of bags of dollars spent on his skull and roses, his acreage and his brood and his birth would see not a distinct penny.
[ SF Metropolitan | MetroActive Axial | Athenaeum ]
From the March 1997 affair of the Metropolitan
This folio was advised and created by the Boulevards team.Copyright © 1997 Metropolitan, Inc.
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