Vietnam/The Sixties 2, Sixties Literature 2

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(Education) to GUTHRIE, Woody

55. (Education). NEILL, A.S. Summerhill. A Radical Approach to Child Rearing. NY: Hart (1960). Advance review copy of this important book, about an experimental school in England. By popularizing the notion of experimental schools, Summerhill influenced an entire generation; by the end of the Sixties, "experimental schools" were commonplace, and their presence and the issues they raised fueled the movement to reform public education, a process that is ongoing. Fine in a fine dust jacket, with slip, promotional sheet and 16-page pamphlet with comments on the book by "leading educators, authors and psychologists."

56. ESZTERHAS, Joe. Nark! (San Francisco): (Straight Arrow) (1974). Powerful nonfiction account of undercover narcotics officers, by a writer who is most well-known these days for having written the screenplays for such Hollywood productions as Basic Instinct and Showgirls. Most of this book appeared, in slightly different form, in Rolling Stone magazine. Fine in a fine dust jacket.

57. -. Another copy, this being a review copy. Fine in a fine dust jacket.

58. FARIÑA, Richard and Mimi. Celebrations for a Grey Day. NY: Vanguard (n.d.). Long-playing record album of folk music with literary and political overtones, as might be expected. One song is based on Thomas Pynchon's novel, V; Pynchon was a classmate of Richard Fariña at Cornell in the Fifties. Fine in a near fine sleeve.

59. FARIÑA, Richard. The Richard Fariña Dulcimer Book. (NY): (Gourd Music) (1977). A book transposing the arrangements for dulcimer of a number of Fariña's instrumentals and ballads. Quarto; very near fine in stapled wrappers. Uncommon, and its publication more than a decade after Fariña's death gives an indication of how important a figure he remained in the folk music pantheon.

60. FERLINGHETTI, Lawrence. Starting From San Francisco. (Norfolk): New Directions (1961). A collection of poems by the Beat poet who founded the City Lights Press and City Lights Bookstore, in San Francisco's North Beach. Ferlinghetti's store and press were a nexus of literary activity through the Sixties, and the regular presence of such counterculture heroes as Allen Ginsberg and Gary Snyder established an important connection between North Beach--the site of the San Francisco poetry renaissance of the 1950s--and Haight-Ashbury, the cultural epicenter in the 1960s. This copy has the phonograph record of Ferlinghetti reading intact and unopened in the rear of the book. The pictorial covers are mildly rubbed, as is usual for this title. It is inscribed by Ferlinghetti in 1995. A near fine copy, lacking the dust jacket.

61. FISCHER, Charles. Trips. (n.p.): Futility House (1994). Drug reminiscences from the Sixties. Fine in wrappers. Introduction by Kent Anderson, author of Sympathy for the Devil and Night Dogs. Vivid short stories which depict the sense of adventure that was associated with much drug use in the Sixties.

62. FONDA, Peter, with Terry Southern and Dennis Hopper. Easy Rider. (NY): New American Library (1969). A Signet paperback of the screenplay, co-written by Fonda, Hopper and Southern, with stills from the movie. Also includes a number of articles about the movie, including a piece by Robert Christgau of Rolling Stone about the soundtrack and an introduction by novelist Frederick Tuten. Fine in wrappers.

63. (Free Speech). Appellant's Opening Brief: People of the State of California, Plaintiff and Respondent, vs. Mario Savio and 571 Others, Defendants and Apellants. (Berkeley): (Privately published) (n.d.) [1966]. A brief prepared by Savio's lawyers for the trial stemming from his involvement in the Free Speech Movement. Savio and Michael Rossman were the leading advocates of students' rights to free speech, and the protests engendered by the Free Speech Movement in Berkeley, at the University of California, were the key events of the early '60s in triggering a full-fledged and organized student protest movement throughout the country that lasted throughout the decade, touching on a host of subjects and rewriting the rules of political discourse in this country. By the late Sixties, Berkeley had become the vanguard of the antiwar and radical student movements, earning itself the facetious name, "The People's Republic of Berkeley." Several of the key political events of the time--the uprising over "People's Park," in particular--took place there, with widespread repercussions across the country. This copy of this landmark brief bears the ownership signature of Michael Rossman, co-founder of the Free Speech Movement. An excellent association copy of a key document in the social history of the radical movements of the 1960s. Moderate soiling to cover and edges; otherwise near fine in wrappers.

64. FROST, David. The Presidential Debate, 1968. NY: Stein and Day, 1968. Interviews by the noted television journalist with all of the major candidates for President in 1968--a watershed year in American politics and history. Interviewees include Richard Nixon, Eugene McCarthy, Hubert Humphrey, Robert Kennedy, Nelson Rockefeller, Ronald Reagan, Harold Stassen, George Wallace, and John Lindsay. A revealing glimpse at the contestants in an important Presidential campaign, written while the outcome was still undecided. Gift inscription front flyleaf; else fine in a near fine dust jacket.

65. (Fugs). The Fugs' Songbook! (NY): (Fugs) (n.d.)[c. 1965]. Lyrics only, of twenty-six of the Fugs' songs, most authored by Ed Sanders or Tuli Kupferberg. Mimeographed on 8 1/2" x 11" multi-colored stapled sheets. The Fugs were a New York underground band that created such songs as "I Feel Like Homemade Shit," "Kill for Peace" and "Group Grope." They described their music as "nouveau folk-freak," "sex rock and roll" and "dope thrill chants," among other ways. Coming out of the Lower East Side, and with backgrounds in avant-garde poetry (Sanders ran the Peace Eye Bookshop and Fuck You Press), the Fugs were an influential force in the early years of the East Coast counterculture. Sanders and Kupferberg were serious, accomplished poets; another member, Peter Stampfel, later went on to found the Holy Modal Rounders in the late Sixties, a nouveau folk-rock band that at one time included actor Sam Shepard. Small chip to rear cover; still, near fine. A very fragile item, printed on extremely cheap paper. Very scarce.

66. -. Same title, second printing (Detroit: Artists' Workshop Press, 1966). Printed in an edition of 500 copies from the original Fugs Press edition of 1965. Couple of erasures to the front cover; edge-darkened pages, moderate edgewear; very good. Scarce and extremely fragile.

67. GINSBERG, Allen. Allen Ginsberg Reading at Better Books. (London): Better Books (1965). An LP recording, published in an edition of 100 copies. "What I will be reading here tonight, since most everybody here is an editor of a little magazine or a friend, is caviar in a sense, which is to say writing which is not published, and which I do not know whether or not to publish because I do not know whether or not they are concerned." There are also published poems and excerpts from the journals. Fine, without inner sleeve, in a near fine outer sleeve with two corner bumps.

68. GINSBERG, Allen. Wichita Vortex Sutra. (n.p.): Coyote, 1966. First American edition of this important political poem, printed in an edition of 500 copies. A powerful and strident anti-Vietnam war statement. Signed by the author on the front cover. Light, even surface soiling to white stapled wrappers; else fine.

69. GINSBERG, Allen. Wales - A Visitation July 29th 1967. London: Cape Goliard (1968). Saddle-stitched wrappers, approximately 6 1/2" x 5", in dust wrapper. "An offering for a peaceful summer from Allen Ginsberg and Cape Goliard Press. Not for sale." Limited to 200 copies. Inscribed by Ginsberg to his translators: "For Mary Beach & Claude Pelieu/ - This is copy of first draft of/ Wales LSD Poem/ Allen Ginsberg/ Oct 28, 1968." This being the actual "first draft pamphlet" referred to in the postscript of Ginsberg's letter to Beach and Pelieu of Oct. 28, 1968, which is reproduced in T.V. Baby Poem; apparently Ginsberg sent them the edited typescript of "T.V. Baby Poem," which formed the basis for the published edition of that poem, and also sent them this copy of Wales. The rice paper dust wrapper has one small edge tear at the crown; else fine. An excellent association copy of the true first issue of this poem, which was later reprinted in a much larger format.

70. GINSBERG, Allen. T.V. Baby Poem. (n.p.): (Beach Books) (1968). Quarto; a facsimile of the heavily corrected typescript of this poem, with an afterword consisting of a letter from Ginsberg to Mary Beach and Claude Pelieu, transmitting the typescript along with the copy of Wales - A Visitation listed above. Stapled wrappers; fine.

71. GINSBERG, Allen. Planet News. (San Francisco): City Lights (1968). Another title in the City Lights Pocket Poets series, these being poems from the Sixties. A volume that firmly places Ginsberg in the center of the Sixties counterculture with a poem about the "First Party at Ken Kesey's with the Hell's Angels" as well as the intensely political "Wichita Vortex Sutra." The dedicatee of the collection is Neal Cassady--whom Ginsberg calls "the secret hero of these poems." Cassady was the model for Dean Moriarty, the main character of On the Road, Jack Kerouac's classic novel of the Beat Generation, and he was also the driver of Kesey's famous psychedelic bus in the Sixties. As an individual, he provided a link between the impulses of the Beat movement and those of the counterculture, and Ginsberg's dedication both reaffirms that link and becomes, itself, another such connection. This copy is inscribed by Ginsberg in 1976. Recipient's owner signature; near fine in wrappers.

72. -. Another copy, unsigned, fine in wrappers.

73. GINSBERG, Allen. Scrap Leaves. (Millbrook): (Poet's Press) (1968). Small pamphlet reproducing manuscript poems for Diane DiPrima's Poet's Press, one of the influential small poetry houses founded in the Sixties. This is one of 150 numbered copies signed by the author. Fine in stapled wrappers.

74. GINSBERG, Allen. The Gates of Wrath. Bolinas: Grey Fox, 1972. The scarce hardcover edition of this collection of rhymed poems from the period 1948-1952, i.e., written some 4-8 years before "Howl." The introduction to the volume is a letter from Ginsberg to William Carlos Williams, from 1949, in which he transmits the poems and also writes about various other literary matters, including: "My literary liking is Melville in Pierre and the Confidence Man, and in my own generation, one Jack Kerouac whose first book came out this year..." An Atferword by Ginsberg, written in 1971, explains the genesis of the poems, his loss of the manuscript, and its eventual return to him from England by singer Bob Dylan. One of 100 numbered copies signed by the author. Fine, without dust jacket, as issued.

75. GINSBERG, Allen. Bixby Canyon Ocean Path Word Breeze. NY: Gotham Book Mart, 1972. A single poem, illustrated with photographs, and with epigraphs from Jack Kerouac and Neal Cassady. There were a total of 136 hardcover copies, of which this is identified on the colophon as being one of only 10 hors commerce copies--the scarcest state of this title. Signed by the author. Fine, without dust jacket, as issued.

76. GINSBERG, Allen. To Eberhart from Ginsberg. (Lincoln): Penmaen Press, 1976. A limited edition printing a letter about Howl from Ginsberg to Eberhart, written in 1956 as the latter was preparing an article for The New York Times about the young West Coast beat writers. Includes the text of Eberhart's article, an introduction to the volume by him, and a short contemporary note by Ginsberg about both the letter and about Howl itself. Eberhart's article appeared in The New York Times Book Review and it was the first by a major poet, and a major news medium, to recognize the importance of Ginsberg's writing, and "Howl" in particular. Ginsberg, knowing that Eberhart was working on the piece, sent him a long letter--reproduced here--which both explained what "Howl" was about and also, by the its length and the seriousness of its tone and content, convinced Eberhart of Ginsberg's importance as a poet. One of 300 numbered copies signed by Ginsberg and Eberhart. Fine in the original clear plastic dust jacket.

77. (GINSBERG, Allen). "A Talk with Allen Ginsberg" in volume one of an untitled magazine. (Annandale-on-Hudson): (Bard College) (1970). An interview with Ginsberg on a variety of subjects in a "magazine of prose published by and for members of the community of Bard College." Laid into this copy is an autograph postcard to the publisher from Allen Ginsberg, correcting or changing a number of points in the interview. The magazine is very good in stapled wrappers, the card fine in a very good envelope. Unique.

Ginsberg at the Fillmore, 1966

78. (GINSBERG, Allen). Handbill. San Francisco: Artistic Reorganization Throughout San Francisco (n.d.)[1966]. Handbill for a benefit reading by Ginsberg at the Fillmore Auditorium in July, 1966. Also appearing were the rock band, Sopwith Camel, the San Francisco Mime Troupe and various other performers. Brown on white; 5 1/2" x 8 1/2". Fine.

79. GOINES, Donald. Dopefiend. The Story of a Black Junkie. Los Angeles: Holloway House (1971). A paperback original, and a first novel, which gives a realistic view of the drug scene in the urban ghettoes in the late 1960s. Near fine in wrappers.

80. GOLDEN, Jeffrey. Watermelon Summer. Philadelphia: Lippincott (1971). A journal of a young, upper middle class college student who goes to work for a small black cooperative farm organization in rural Georgia. Fine in a very good, price-clipped dust jacket, with a snagged tear upper edge of the front panel.

81. GOODMAN, Mitchell. The Movement Toward a New America. Philadelphia/ NY: Pilgrim Press/ Knopf, 1970. Review copy of this thick book, styled in some measure after the groundbreaking Whole Earth Catalog--i.e., a large-format softcover publication that is a combination compendium, guide, resource reference, etc. for the counterculture. Includes contributions by Ginsberg, Kesey, Chomsky, Levertov, DiPrima, and many, many others. Inscribed by the compiler. Quarto, wrappers; spine-creased, minor sunning; near fine.

82. (Graphic Novel). VAUGHN-JAMES, M. The Projector. (Toronto): (Coach House Press) (1971). Quarto, one of 1000 copies. Bowing to boards; else fine in a near fine, spine- and edge-sunned dust jacket with one edge tear. Essentially, a large-format, hardcover comic book without words--an example of the kind of experimentation with form that was pervasive in the late Sixties and influenced much of what we have come to expect in the arts and media since.

83. (Grateful Dead). The Mile High Underground, Vol. 1, No. 6. (Denver): (Mile High) (Fall, 1967). Denver's underground newspaper. Includes an interview with Leary (and others) that talks at length about Haight-Ashbury, the Beatles, the Grateful Dead, etc. Also includes an Anais Nin piece, Joel Oppenheimer and Frank O'Hara poems (among others) and a piece on resisting the Vietnam war. The rear cover is a Warner Bros. ad for the Grateful Dead's first album, reproducing the album cover art and the single word, in bold type, beneath it: "ARRIVED!"--an indication of the Dead's early underground fame, even prior to their first album. Near fine.

84. (Grateful Dead). Handbill. [San Francisco]: (n.p.) [1967]. "Krishna Consciousness Comes West"--the headline on a handbill for an appearance by the Grateful Dead at the Avalon Ballroom on January 29, 1967. Billing shared with Swami Bhaktivedanta, Allen Ginsberg, Moby Grape, and Big Brother & the Holding Company. 8 1/2" x 11". The proceeds were to benefit the opening of the San Francisco Krishna Temple. The link between rock music, poetry, and eastern spirituality was fundamental to the hippie movement and this handbill, for an event two weeks after the "Human Be-In" in Golden Gate Park, documents that link clearly. Corresponds to the poster depicted in Art of Rock, #2.18. Red and blue on white. One small corner crease, else fine.

85. (Grateful Dead). Handbill. [San Francisco], 1967. A benefit concert at the Fillmore, billed as "Abe Lincoln's Birthday Party" and benefiting the Council for Civic Unity. Also appearing, Moby Grape, Sly and the Family Stone, the New Salvation Army, and Notes from the Underground. 8 3/4" x 11 1/4". Black on white. Fine. The Dead are top-billed but at this point they had not even released an album: their first album didn't come out until more than six months later.

86. (Grateful Dead). Poster for the Anderson Theatre Hell's Angels Benefit. New York, November 23, 1970. A smaller reprint of the original poster, 15 1/4" x 24 1/4". The original poster was approximately 23" x 35" and is perhaps the scarcest of all Grateful Dead posters. Printed in black, blue, green, red and yellow, with an image of a skeleton riding a motorcycle across the face of a tombstone, reaching for marijuana plants growing on the graves. A less-accomplished image than many of the San Francisco psychedelic posters of the period, this was reportedly done by a couple of the Angels' girlfriends with an artistic bent. One lower corner reattached with tape on the verso; all four corners reinforced with tape on verso; an upper corner has a light watermark on the white border. General wear from hanging and light creasing; still very good.

87. (Grateful Dead). Syracuse New Times. (Syracuse): (SNT) (1971). Special concert issue with a history of the band, discography, reviews of the records, etc., done to coincide with a concert by the Dead and the New Riders of the Purple Sage on October 27, 1971. Newsprint yellowed with age. Folded in fourths and rubbed at folds; else near fine.

88. (Grateful Dead). The Book of the Dead. London: (n.p.) 1972. Tour book from the Dead's stop at the Lyceum in London, on May 23, 1972, on their first European tour, which yielded the "Europe 72" album. Contains a history of the band for British audiences; biographies; various comments and quotes; and many photos. An introduction to the Dead for British audiences, who until that time had only had the records--and the Grateful Dead were well-known for not being "captured" on their records--and the Dead's reputation to prepare them for the music. This book attempts to put the music into context, explaining the exploratory improvisations in search of a spontaneous harmony that characterized Grateful Dead concerts and brought to them an element of risk, unpredictability and exhilaration--and made them attractive as a metaphor for life in general. Oblong quarto in plain black wrappers. A near fine copy and a very scarce tourbook.

89. (Grateful Dead). Garcia. A Signpost to New Space. (SF): Straight Arrow (1972). The scarce hardcover edition of this book on the Grateful Dead's fabled lead guitarist. Consists of a long foreword by Charles Reich (author of The Greening of America), the Rolling Stone interview with Garcia, and a "stoned Sunday rap" with Garcia, Reich, and Mountain Girl, along with a number of photographs of Garcia, the other participants in the talks, and the members of the Grateful Dead. This is an advance review copy, with publicity letter laid in. The letter is a bit creased from where is extends from the book; otherwise it and the book are very near fine in a similar dust jacket with one spot of rubbing on the spine. At the time of this book, Garcia and the Dead were still relatively unsuccessful commercially, despite a strong cult following at their live performances. By the time he died in 1995, of complications from heroin addiction, Garcia had become a major celebrity and a mainstream icon: his obituary was front cover news for various weeklies and generated an enormous amount of coverage, including special issues of such popular magazines as People--the largest-circulation weekly in the U.S. The transformation of Garcia and the Dead from fringe cult figures to mainstream icons mirrors a transformation in American society over the same period, during which the values and ideas that were originally associated with the hippie counterculture--and given particularly full expression by the Grateful Dead--were gradually absorbed into mainstream American culture: everything from tie-dye to natural foods to eastern religions and New Age spirituality--not to mention recreational drug use.

90. -. Another copy. Trace foxing to the foredge; else fine in a similar dust jacket with one tiny corner chip.

91. -. Another copy. Owner name, middle signatures slipping; very good in a very good dust jacket.

92. -. Same title, the issue in wrappers. Crease to front cover; very good.

Original Sketch for Grateful Dead Album Cover

93. (Grateful Dead). MOUSE, Stanley. Ice Cream Boy. (n.p.: n.p., n.d.)[1972]. Original sketch for the cover of the Grateful Dead's album "Europe '72," first titled "Overthere." 8 1/2" x 11". Shows an early version of "Ice Cream Boy"--who became an iconic figure after the album came out--and the original title--written above the figure as "OVERTHERE" (one word) and below him as "OverThere." In this pencil sketch, "Ice Cream Boy" has spiky hair, which was changed in the final version. The sheet also includes an early pencil sketch of the even more enduring Rolling Stones "tongue" icon--which was first used on their album, Sticky Fingers, which was released in 1972, the year the Dead took their first tour of Europe. The image varies from that which was finally used for the Stones in a couple of important respects--in particular the absence of teeth (the mouth is more fully closed than the final version) and the presence of a drop of saliva that appears to have been expelled vigorously. The final image eliminated the saliva altogether. An early and significant sketch for two of the most identifiable icons of the most enduring rock bands of the 1960s, by one of the most highly regarded of the San Francisco poster artists, Stanley Mouse. In addition to numerous posters, Mouse also designed and drew the cover for Workingman's Dead, the first Grateful Dead album to achieve significant commercial success. Several light (coffee?) stains, one corner torn; very good. Signed by Mouse.

94. (Grateful Dead). HARRISON, Hank. The Grateful Dead. (NY): Links (1973). The second printing of this controversial history of the Grateful Dead--the first book written about the band, which caused some consternation because of certain of its characterizations of some of the people on the fringes of the Dead's circle. A completely revised edition was issued in 1985. Quarto; wrappers; short tear upper edge of front cover and crease on front cover; still about very good. This does not have the flexi-disk recording of Neal Cassady rapping with the Grateful Dead playing in the background that the first printing had.

95. (Grateful Dead). BRANDELIUS, Jerilyn Lee. Grateful Dead Family Album. (NY): Warner Books (1989). Quarto, heavily illustrated with color and black and white photographs of the band and friends, spanning nearly 25 years. Arranged as a scrapbook more than a sequential narrative or documentary history. Fine in a fine dust jacket.

96. (Grateful Dead). TRIST, Alan. The Water of Life. A Tale of the Grateful Dead. Eugene: Hulogos'i, 1989. A traditional folk tale in the "grateful dead" genre of stories, with illustrations by Jim Carpenter. Fine in a fine dust jacket, and signed by Trist. With a blurb by Robert Hunter.

97. (Grateful Dead). HUNTER, Robert. Ripple. Berkeley: Black Oak, 1990. A broadside excerpt from "A Box of Rain." Approximately 8 1/2" x 12 1/2"; near fine, with a slight ripple at the top that would disappear with framing.

98. (Groupies). FABIAN, Jenny and BYRNE, Johnny. Groupie. (London): New English Library (1969). A novelized account of the life of a groupie in the late Sixties. The "groupie" phenomenon--young women who pursued rock stars in order to have sex with them--became widespread in the late Sixties. The more successful groupies became minor celebrities in their own right, and helped to institutionalize the celebrity status of the stars they pursued, and rock musicians in general. Inscribed by Byrne. Pages edge-darkened; else fine in a very good, spine-faded dust jacket with a bit of edge creasing.

99. (Groupies). Groupies and Other Girls. NY: Bantam Books (1970). A paperback original, edited by Jann Werner, which expands on a special article in Rolling Stone magazine earlier in the year. Includes interviews with, and photographs of, a number of the more prominent groupies, plus comments from a number of rock musicians. Spine-creased; near fine in wrappers.

100. GUTHRIE, Arlo. Alice's Restaurant. NY: Grove (1968). The "novelization" of Guthrie's famous song, an antiwar and counterculture anthem, illustrated with cartoon drawings by Marvin Glass. Near fine in wrappers.

101. -. Same title (Garden City: Doubleday, 1970), the screenplay from the film based on Guthrie's song, with introductions by Venable Herndon and Arthur Penn. Herndon co-wrote the screenplay with Penn, and Penn also directed the film. Near fine in wrappers and signed by Guthrie on the front cover.

102. GUTHRIE, Arlo. This is the Arlo Guthrie Book. NY: Amsco (1969). Photo and songbook, with Arlo's 8th grade report card reproduced in facsimile. The frontispiece is a family portrait taken in 1960, with Arlo's father, Woody, in the advanced stages of Huntington's chorea, the degenerative disease that killed him. Quarto in wrappers, with fold-out photographic cover. A near fine copy.

103. (GUTHRIE, Arlo). BROCK, Alice May. Alice's Restaurant Cookbook. (NY): Random House (1969). The cookbook from the restaurant Arlo Guthrie made famous with his song and movie, with a recorded introduction by Guthrie on a flexible record still tipped in to the rear endpaper. Illustrated with photographs, stills from the movie, and drawings by Alice Brock. Signed by Brock, with the inscription "Peace." Stain to foredge; near fine in a very good dust jacket.

104. GUTHRIE, Woody. Born to Win. NY: Macmillan (1965). A collection of miscellaneous writings by the folk legend, father of Arlo Guthrie and inspiration and model for Bob Dylan in his early days as a singer of politically charged folk songs. Guthrie had written a memoir in the early Forties, Bound for Glory, which described his years of traveling around the country, hopping freight trains and singing folk songs about the forgotten little people of the American experience. His songs, and his somewhat romanticized description of his life, anticipated the social movements of the Beats and the counterculture--in particular, his concern for the underdog, his suspicion of big government and big corporations, and, finally, his freewheeling travels. Guthrie became a folk hero in his generation, one of the most influential figures of his time, and his most famous songs-- "This Land is Your Land" among them--became so widely known that they became a part of the American folk vernacular. No attempt to understand the 1960s can ignore Guthrie's influence as a model. This is a review copy of the hardcover issue of this collection, with review slip laid in. Near fine in a dust jacket with some acidification showing to the jacket flaps, but still near fine.

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