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| Peter Haining David Zack's Correspondense with Peter Horobin Between 1983 and 1988 David Zack mailed over 80 items of correspondence, 4 paperback sci-fi novels and 13 audio cassettes to Pete Horobin's DATA project in Dundee, Scotland. The first arrival was an Ampex audio cassette recorded by the OZ Group in Apro 121 Tepoztlan Morelos Mexico on 11 April 1983. It was entitled MINIMAL ART / For Horobin. Zack plays cello and tenor guitar, talks, sings, whistles, plays Bach Prelude 3. The quality of the audio is erratic suggesting that Zack was using a cheap battery-powered tape machine with a low quality cassette. There is a buzziness to his vocals possibly caused by a faulty external mic connection or the manual input control being turned too far up. His spontaneous energetic creativity is somewhat compromised by apparent financial restrictions combined with environmental problems such as a lack of mains electricity. The overall effect is that of a recording broadcast on a wavelength distressed by atmospheric interference. Zack's collage technique made by breaking into a solid piece of audio with shorter bursts of variable clarity at irregular intervals - creates the erratic quality and imposes a liveliness on the whole soundwork. It is a fine example of live correspondence with its own particular sense of magic - one that would be dulled by a sharper recording quality and more advanced and more expensive equipment. It is fascinating to contemplate and to attempt to trace mail art networks. Their subjective and private nature contradicts their very public, open and democratic function, for on the one hand a novice is instantly established when introduced by a practicing mail artist and although, on the other, anyone can be a mail artist simply by participating in advertised projects it is possible that s/he would remain outside of mature networks operating within mail art. For example, Horobin was drawn into mail art via Cairn in Paris whose mailing list included Peter Below whose personal address book included Robin Crozier and Vittore Baroni both of whom quickly wrote to Horobin inviting him to participate in their mail art projects once Below had involved Horobin in his. Thus Horobin's DATA project was propelled quickly and effectively into the eternal network. Without this personal introduction from three distinctive fronts it is possible that Horobin's isolation in Scotland would have persisted. Foremost among its many strengths, mail art helped to destroy the notion of cultural centralism by placing the correspondent at the hub of his/her own network. In 1983 Zack was publishing his NEO-N OOZE - a photocopied periodical comprising fragments of letters, envelopes, mailed art, Zack's drawings and photographs collaged together on individual sheets and rubberstamped and numbered. NEO-N OOZE 1983/84 is a 40-page loose-leaf publication that appears to be a progression of a previous title - Crazy Old Poets Magazine also referred to as POE TRY Magazine - which likely performed the same function as OOZE - to disseminate correspondence, to provide a forum for Zack's activities, and to bring others into the network. Zack's love of puns and wordplay is evidenced in his publication's title - a play on news - which evolves into ooze - a mire or swamp that has hazardous consequences. One might drown or at the very least become stuck if one wades in too deep. Was Zack implying therefore through the prefix - an abbreviation of Neoism - that the neoist grouping was as culturally dangerous as quicksand or as viscous and stinking as mud? Zack rarely stated his position clearly preferring to deal with ambiguities and enigmas - spinning and weaving correspondence spells designed to entice and entrap the wary and unsuspecting mail artist who would be led by curiosity into his web. It is not clear how many editions (if such a formulaic term applies) of NEO-N OOZE were produced, nor how many copies of each were circulated. Zack's correspondence to Pete Horobin suggests that his output was not structured to a regular publication of predetermined size - eg Baroni's Arte Postale - but that it was organic and possibly controlled by the amount of money available at the time. An OOZE could be a single photocopied letter to one of his correspondents on the blank side of which was typed a letter to Horobin then - at other times the OOZE would consist of a number of photocopied letters to various correspondents - the reverse sides of which might carry either a photocopied stereotypical Zack collage, drawing or a handwritten or typed letter several pages in length. Zack was a prodigious letter writer and ardent communicator. Evident within Zack's OOZEs and associated photocopies are traces of a typed manuscript entitled Modern Mail Art - a collection of essays - and a poetry writing habit that suggests he turned to this form whenever he felt the urge or necessity. His song writing however is not so concrete or permanently set down, instead it is an improvised and spontaneous integral part of an audio cassette letter. In one archived letter he suggests that his audio letters were copied four times and that one of each edition was sent to Rod Summer's VEC Audio Exchange in Maastricht. For me Zack's soundworks are his finest outpourings, which is hardly surprising given his parentage and upbringing. David Zack was born in New Orleans on June 12 1938 the son of Arthur/Arturo Zack (born1900 - died 1985) who was, at the time, resident conductor of the New Orleans symphony orchestra. 'I grew up with stars who came to perform' with 'my father's orchestra'. He was instructed in the playing of cello from the age of three and took up the four-string tenor guitar later in life. Both instruments providing the solid bedrock of his experimental audio correspondence. Zack's method of constructing an audio letter is consistent with the way most artists deployed a portable tape recorder - manipulating the maximum amount of effects and tricks from such a basic piece of equipment to create a collage of sounds along a string of magnetic tape without actually cutting the tape in the process. Before audio cassettes were made commercially accessible audio tape - contained on an open reel - was edited by cutting and splicing manually but the sealed cassettes did not permit such a procedure. Instead creative users of audio cassettes edited in the machine through various techniques one of which was to record a block of sound along the whole length of the tape then rewind it and re-record over passages of it either by random selection or a more exact one. This process could be repeated along the length of tape until one had produced a complex intermingling of sounds - either in harmony and accordance with preceding and following parts or in conflict and disassociation with them. The cassette could then be turned over and the second side recorded in the same - or a slightly different - mode. By deploying two tape machines one could play back - eg a recorded vocal track - on one while recording on the other thereby further complicating the array of collaged sounds. I think Zack used all of the above techniques as well as recording himself playing cello or tenor guitar and singing live on his portable Mexican-made Panasonic recorder often while a radio or record deck played in the background. Sometimes he recorded social gatherings to which he was invited or which occurred in the Immortality Center then he would break into these party atmospheres with descriptive voice overs or sections of cello or whatever sprung to mind at the time. As a consequence of his recording methodology Zack's audio cassettes hold up a mirror to his life in Tepoztlan in a more multi-dimensional way than even his layered and informative correspondence. By an eerie alchemical magic the sound conveys the ambient odours and perfumes of drunken nights and lethargic days where Zack is positioned centrally as participant and journalist. Zack moved to Tepoztlan sometime around 1980 /1981 - the precise month and year is vague as dates are contradicted within his correspondence however in one letter he does state that John Lennon was shot while he was travelling by bus to Mexico - possibly to escape financial and social stresses north of the border. Admittedly I know very little of his life before 1983 when he began to correspond with Pete Horobin but already through the diligent efforts of Istvan Kantor many of the blanks I have are being filled. I hope that this retrospective examination of Zack's life and work will also resolve a number of issues and key questions that I have concerning his past - eg what actually took place in Tepoztlan at the Centro de la Correspondencia - its legacy - the survival and/or destruction of his original works of art. From the evidence archived here in Dundee - Zack established himself on land, he described as paradise, owned by his parents upon which he constructed - from concrete blocks - three small detached buildings he referred to as 'houses' - for working - cooking - and bathing. Where the finances came from for such a modest architectural project is unclear but from the written evidence within his correspondence to Pete Horobin he was not exactly impoverished and seemingly had enough US dollars to convert into pesos providing him with a relatively well-off standard of living. I guess that his art form was made on a shoe-string budget and that he cut costs whenever he could - for example, by posting audio cassettes without their cases, using lightweight airmail envelopes, photocopying both sides of the pages and writing letters on the reverse of photocopies and cramming as much correspondence OOZE into an envelope as physically possible. There is nothing extravagant or opulent about Zack's mail art when measured against that of many of his contemporaries. On August 29 1983 Zack wrote - 'Myth construction is my game.' And how effective that game was can surely be assessed by the global success of the Monty Cantsin open pop star project which he initiated after he had 'liberated' Kantor in Budapest in 1977 'and made possible Monty Cantsin and Neoism.' His method was to make contact through the medium of a letter - either written or recorded - encourage exchange and develop that relationship through a process he called 'intense correspondense' which is to say a literary and articulate descriptive form of narrative and self-historification that not only sucked the correspondent into his Tepozteco realm but also nourished his appetite for other people's lives and art-making. Through this approach Zack gave as good as he got - the exchange was total - and at times athletic in its mental and physical agility. It was, I think, Al Ackerman who likened a daily mail art production to athleticism as he made strenuous efforts to sustain a vital exchange with a number of personalities each demanding a slightly different, non-formulaic and unique approach. Ideal correspondence was about developing individualised personal relationships that could be interlinked and interwoven around the world. By 1985 the wizard Oz had stopped publishing the erratic and badly photocopied NEO-N OOZE and progressed to a more systematic and regular production of equally badly photocopied spells he called Correspondence Novels. He states that the idea for this structure was given him by Bern Porter, but whether by letter or direct contact is not clear. Neither is it clear whether Porter provided the title or only the filing system that Zack began to establish with such a meaningful effect. Zack began to file his correspondence into 12 separate boxes or novels each comprising a network of 14 artists. The number was loosely based on Al Ackerman's 14 Secret Masters mythology - the 14 being whoever is in direct correspondence with a person at any time. Zack believed that 14 was the maximum number of interactive correspondents any single network could bear before it disintegrated due to the participants not knowing each other. He constantly adjusted each novel's characters - eg Pete Horobin began in CN-2 - OUT SIDE THE OUTSIDER - a reference to a tightly controlled mail art exhibition curated by Eric Finlay in 1982 which included Zack, Lon Spiegelman, and Carlo Pittore from which Horobin was expelled after he declared himself to be a Neoist and that mail art was dead - Finlay's expulsion urged the novelist to move Horobin into CN-9 - THE N-TITY a grouping that consisted of xxxx & xxxx - but here a true understanding of Zack's collectivising system falls apart for I don't think any of the people Zack placed in CNs actually knew who else occupied their particular space nor is there anywhere, that I am aware of, a published account of who exactly was placed where. This may indicate that the structure of the CNs remained a fiction or that it was never truly solidified but remained in a state of flux as correspondents dropped out of particular networks and new ones replaced them. Like any novel, Zack's CNs developed plots, none more complex than his own love affair with a woman mail artist called Snow White Jung - Jung being a play on Young - her family name. Originally from Lincolnshire, Susan Young had been a student of Robin Crozier at Sunderland College of Art during the 1970s. Crozier - perhaps the first UK artist to become involved in mail art through his participation in the Flux Shoe touring exhibition of 1972/73 - encouraged his students to get involved in mail art by supplying them with mail artists' addresses and details of mail art projects to participate in. In accordance with one of mail art's unwritten - Punk-like - laws, Young assumed a fictional persona and through mercurial and mysterious networking magic began exchanging items through the post with David Zack who had moved to Tepoztlan. He began to phantasise about Snow White as only an estranged husband and celibate can. Zack had, by all accounts, led an active and varied sex-life. By whatever combination of spells and enticements Snow White Jung took a leap into her personal void and risked her first adventure abroad, by jet, from Heathrow direct to Mexico City where her mail art lover awaited her arrival with eagerness and a palpitating heart. I don't know for how many weeks - or months - Snow White remained at the Immortallity Centre nor what she thought of her experience there but history reveals that her residency was so pleasurable that she decided to return - possibly for a longer period. Snow White by this time was residing in Nottingham and it was to this destination that her lover set his sights in 1986 when he travelled from Tepoztlan to The DATA Attic to visit Horobin thereby developing two distinctive plots in two different Correspondence Novels - CN-1 and CN-9. When Horobin met the couple at the bus station in Dundee on the morning of December 10 1986 he respected them as a sexual partnership and indeed they stayed in The DATA Attic as such yet the VHS video that the three made together on December 11 reveals, through Snow White's body language and some of her comments about Zack, that all was not as idealised as Zack imagined. He had obviously set his mail art bride up on a pedestal which she - as a somewhat strident feminist with attitude, resented. As Zack's personal plot developed via his correspondence with Snow White - shared through the CN system of distribution and the philosophy of life as art/art as life - the true nature of their relationship began to emerge. Throughout 1986 David Zack progressed his idea of an Immortality Centre - a locus for Neoist activities - to a more community-based co-operative The Centro de la Correspondencia by transferring his house to the organisation and investing 'a million pesos which yields 47,000 pesos a month, now a bit more than a factory worker gets.' A financial move that could not take place until he had applied for immigrant status which, I think, he was granted by the Mexican government. The financial complexities surrounding The Centro are mysterious and arcane for the sums do not make sense and when a kind of clarity does appear one can see an inevitable financial crisis looming - yet Zack does not seem to notice. In May 1986 he writes to his lover - 'Both our names are on our interest statements, Susan, you as Susan Young. Yesterday I got $95,000 interest, and I think it will be a bit more when the latest $300,000 is counted for a whole instead of a half month.' Does he mean here that he had opened a joint account in both their names and that the sums mentioned are in pesos, not dollars? Whatever the case it provoked this response - 'How can I be a co signer when I'm not there to sign? Do you forge my signature? What have you done you've said you'd do? Do you mean get legal and transfer the house and start the association? Yes you have done that? I think you are making out pretty well by the sound of things which is all I got to go on. It takes so long but I expect that's something you have to get accustomed to if you want to live in peace.' In a letter written September 27 1986 he states - 'So I pay 25,000 almost, which is for income tax on my salary of 120,000 a month.' The Centro had employed Zack as translator on a salary of 120,000 pesos per month and Don Pompeio as secretary on the same rate of pay indicating that there were other posts besides yet the organisation did not, as far as I can see, have an income. In letters Zack mentions establishing an agricultural co-op and on June 22 1986 wants to - 'get a tattoo business going here.' He also writes of setting up a community television station and refers to his later audio cassettes as programmes - clearly his imagination was leaping by bounds ahead of practical realities. On December 24 he writes to Snow White - 'Hm now on the bank you are cosigner and beneficiary. So if I died it would be your money, you just sign the certificates and walk into the bank, on the day when they come due.' He was pressuring her into a situation which she was clearly not at ease with for a letter of Wednesday May 21 1986 reveals - 'Ah, hm, you say we're not married...or do you? Hey I feel as if we are. But, allright, I agree with you, we're not married...or is it that we're married but you're not my "wife". Their affair comes to an abrupt conclusion when on April 14 1987 Zack writes to Horobin - 'things have changed with Susan. My impression is she is reconciled with her husband Geof,' This comes mid-way down the second page of condensed type on a foolscap page indicating perhaps that this schism is not as paramount as the news preceding it or - that it was not unexpected. He does seem to be cut up by her decision for he continues - 'Well, fuck, Pete, if you'll pardon the expression. So you see I've been in the strangest state of mind. Well it shifts fast. Basically how I see it is I'm in a novel, which I call CN *1, which is about making a home.' The 4-page letter continues in his customary rambling conversational style mentioning the death of his parents and his nostalgic trip back to New Orleans, where he lived until the age of two, and how Snow had refused to make the trip with him and how he returned to Tepoztlan - implying that he might not have - and how 'since the dogs died I've become very alone here.' Despite his sense of isolation and loneliness he writes - 'I enjoy being solitary....' But there is an atmosphere of brooding despondency compounded by financial worries and his diabetes. At the age of 14 David Zack was diagnosed as diabetic and many of his letters refer to his insulin levels - his continual monitoring - his philosophical approach to his medical condition and how 'feelings would relate somehow to my metabolism.' In his letter of April 14 1987 he writes - 'I've been at 20 units of insulin, the lowest since I started at 160 at age 14 in 1952, no 53.... So it's just weird...' Although his insulin levels had stabilised, a week later he writes - 'I knew things would start to go to hell here at some point and they are.' Then on August 22, in a letter to Horobin, Zack declares - 'I'd like Snow here but it wont be easy, but it doesn't matter. I'm in for the long haul. I'm tied to the mast, like old Ulisses.' (sic) Reading Zack's own diary-like correspondence novel is a roller-coaster ride of emotional highs and lows - a trip across the fertile plains of his imagination where ideas continually spring up indicating that the optimism of a fantasist kept him alive - vital - and on form. On October 13 1987 he wrote to Robin Crozier - 'I decided to adopt the name of the saint of my birthday, according to local custom so am now Nazario Zarakanustra.' A surname he claimed his father told him was the original Jewish family name before they immigrated to the US. On February 14 1988 The Centro de la Correspondencia de Tepoztlan A.C. published a leaflet requesting financial support - 'To continue development of the Tepoztlan Correspondence Center, A.C. as a kind of correspondence community, we must plan to make arrangements to pay BANCOMER, friendly local bank, twenty-five million pesos MEX ($11,000 US) by May 1 st, 1988. Thank you for your help.' In a letter to Horobin dated the same he writes - 'OK, well the need is real and I could go (1) to jail (2) to Minnesota (3) to Holland as well as stay here.' In the margin there is a blue crayon scrawl - (Huh the bank closed my account, so I am living by grace, really, huh!) On March 18 1988 he wrote to Horobin again stating - 'the US social security checks I kept getting after my elders passed, bounced. Hard to say what will be the outcome.......... I am in a space now where I could completely disappear Pete,' This theme is continued in a letter dated March 29 1988 where he addresses 'this hard talk about my criminal activities.' 'However I did indeed sign and cash some US government social security checks for my parents after they died, and the bank in the US two years later sent these checks back to the bank here.' This statement of guilt comes after a similar admission within a letter to Horobin dated October 31 1984 in which he says his mother died on August 8 1984 and - 'I was living on my folks Social Security pensions' - 393 and 183 $ US a month. One could easily, if one wished to take the time, by simple arithmetic compute the amount of money Zack embezzled out of the US government over that four-year period. Yet, although the bank froze his assets he doesn't seem unduly concerned, for he believes he can sell a collection of '600 works of art by a popular artist who was friends with my parents'. These artworks along with prints of Hogarth's Rake's Progress - which he asks Horobin to research a valuation for - are an essential part of his parent's estate, which he clearly hopes will resolve his financial woes. Perhaps Snow White could read the graffiti writ large upon the square pueblo wall when she wrote to him stating that she could never live with him - share his novel - life - phantasies - dreams - illusions. Her final decision is confirmed in a letter that Zack addressed to her on August 20 1987 - 'Between you and me, Snow you said we could never live together. Hm this to me is the most important thing but I have your message clearly. You don't want to live with me.' The penultimate handwritten letter sent to Pete Horobin is in three parts dated 14 November 1988 and was sent from CERS, Cuernavaca, Morelos, Mexico - 'I better write Kantor who sent his new record. About going to jail and being in jail I think better attention to detail is definitely called for. I'm studying Jung's The Nature of the Psyche and one thing it makes me think is for years I've been paying/putting too much emphasis on empathy and not enough on thinking. Hm I am at the time of writing this in the library of the Centro Estatal de Rehabilitacion Central, which happens to be full of paintings by these guys here on whom I wrote an article which is to develop an art movement. It's five and alcoholics are gathering here anonymously. Hm at 6 I start to teach English in preparatory school. I'm intent on getting out of here Pete by selling the house, leaving me land to live on sometimes and giving me money to travel to Chicago where I plan to teach English to Latins and see what impulses develop in correspondence and correspondence community.' Zack's final letter to Horobin is in two parts and spans Christmas 1988. It begins on Christmas Eve and closes on the day after Christmas. 'A tremendous three day festival. Last night I sang with the band, improvising hm Mario Musical.' The letter describes his prison accommodation as consisting of two rooms, one of which he uses as an office with his typewriter which took two months to get in along with ribbon and paper. His mood is up-beat - positive - as he plans a future plot which sees him with 'the house I was living in and about half the land to use, rent the main house for artisans to use, a mixture from the city Mexico and Tepozteco.................In fact Pete I am very interested in the whole situation.' I would have liked to close this correspondence novel with a prophetic quote - something heart-stoppingly profound - from Zack's last letter to Horobin but all there is in the closing paragraph is this - 'And I think the satisfaction is to work on something with people it's fun to be around, and also who are involved in what you are very involved with. So how to avoid being protective, and then learn to move in this correspondense context.' In accordance with the literary tradition that all books of weight and substance should have an epilogue I offer the following as one to this correspondence essay about Zack's correspondence novels. Convinced that there was at least one letter missing from the box of Zack's correspondence to Pete Horobin in The Attic Archive I made a search through the catalogue's chapter on 1989 - The Year of the Tent - when Horobin lived outside for a year in Scotland carrying out his mailing activities as normal, and sure enough I found a long letter from David Zack Hill - the name he was known as in CERS - to Pete Horobin DATA ATTIC IN TENT dated April 2nd 1989 4.18 and entitled PRISON MEMORY with a sub-title - Visiting Day at the Centro Estatal de Adaptacion Social in Cuernavaca. Cristina's parents. Instant arrival of birth certificate. The letter commences at page 50 and terminates on page 63 suggesting that this 14 page section addressed to Horobin is part of a much longer narrative, the constituent parts of which were posted to Zack's numerous correspondents - there were around 168 at the peak of his correspondence novel writing activity - but this is an idealised figure based on Zack's unsubstantiated CN structure. I suspect this figure was a gross exaggeration of his correspondense reality invented to inflate his mail art myth. In these latter stages of his practice the figure had been drastically narrowed down to a few dependable correspondents whom he knew would sustain his art form inside. Each A5 page is tightly typed, the letters feint and at times indistinct revealing that his ribbon was running dry as he attempted to cram as many rambling thoughts down as possible before it dried up altogether - with little possibility of him being able to replace it. The top of each page carries the same title while the date and time shift lending a profundity to the work as it records the rhythmic passing of time and its measurement by the completion of each page - page 51 commences at 4.35 - page 56 commences at 17.51 - page 57 moves forward to April 4 1989 at 19.23 - page 60 progresses to April 5 1989 at 9.52 and the final page starts at 11.11 on the same date. The mood of the letter yo-yos up and down as his temperament swings from depression, regret and anxiety to elation as he plans a hesitant future. It describes his poor physical condition - his swelling feet - the course of pills he has been prescribed by the prison doctor - his bartolo which he and his prison bride have rights to three days a week - Cristina, his new wife - his fears that 'Those people in Tepoztlan I was playing with can steal the house and leave me in jail for life, or steal the house and free me to land on the street with a pile of papers I can't carry, and no place to carry them to.' - his plans to put his correspondence novel archive into a computer so that he 'can improvise with it like with music.' - his plan to 'name the place in Tepoztlan The Bern Porter Correspondence Center. A.C and to incorporate it in Canada as well as Mexico and the US.' - the miracle of Cristina and how between them they have ten children 'counting her twins of eleven, and the Young Lion, and the one we have sparked into life together,' - his request to Horobin to 'please be a godfather to us, a compadre as we say in Mexico.' - the story of Felix Cituch, a fellow inmate - his concern 'to bring the swelling down is very advisable as diabetics are prone to gangrene in swollen feet,' - his access to the prison music studio - his imprisonment - he quotes from Dylan's All Along the Watchtower - his relationship with writing and Cristina - 'Pete, this is the last page. I don't know who the next letter is to. I don't feel depressed. Aside from the pill to take the swelling in my feet down, I feel quite clear. How are you in the Scotch mountains, ol friend, I wonder?' 'And there are better parts of this world than a jail in Mexico, or than Mexico period, to do it, Pete. No. What it is, there are places to go to live easy, and to bring money and especially technology from there to here. And beyond that a technique of special interaction, Pete.' 'Right now I want to write more letters. And copy some material for Cristina. That guard wants to use my text to learn English, he says, sitting here, and I say, OK. My birth certificate is on the way and now they are calling me to the caseta.' The letter ends and is signed in blue biro - David Zack Hill On the reverse of each of this 14 page PRISON MEMORY is a handwritten poem in blue biro, signed David Nazario and dated. The final one of April 7 1989 reads - Monty Cantsin decided To spend a year in the mountains To forget himself And Become Peaks and Valleys. Every fifteen days He found himself In his Mail At the DATA ATTIC. It was occupied by TENT. Monty Cantsin lived in a tent, Tramping the Scottish mountains. To bring on the Great Art Strike. Zack's personal correspondence novel is a modern tragedy - a classic narrative about one man's dreams being broken and shattered before his eyes and in his wake as he progresses along his life's path or through the pages and chapters. And like the best tragedies, Zack's provides all the essential ingredients for myth-building on an epic scale - certainly one as exaggerated as Van Gogh's. There are so many imponderables and non-provable circumstances - such as the true number of active correspondents he kept in contact with at any one time - to fuel debate and a fantastical interpretation of his reality. The reality he lived may never have approached a truth but somewhere between the tens of thousands of lines he typed and penned there exists an accurate reflection of David Zack. On September 12 1986 he wrote - 'Well Pete I think letters are as good a literary form as any, maybe the very best.' An indication perhaps that he was a traditional writer whose focus was on extending the form of the novel to totally embrace correspondense and fully integrate it with the lived experience so that reality and fiction merged completely. Text: © Peter Haining. All rights reserved.
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