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Have you recently been living by any life philosophy
? Exhaustion. Make a prediction for the future. Constellations. Your favorite painter Anonymous. Are you aware of any conspiracies? Always.
What is it that interests you about photography? Transformational grammar. What is the worst thing about city life? Screeching disturbing noise and noise induced hearing loss. What part of the planet would you like to explore? The core. If You Had To Align Yourself With A Leader In History, Who Would It Be? Hmmmm Socrates, Noam Chomsky. Pick A Field Of Science To Be An Expert Within. Meteorology. What Was The Last Crime You Witnessed? Breaking and Entering. What Is The Next Book You Want To Read? Re-read: John Dos Passos’ The 42nd Parallel; reading now: Vijay Seshadris’ 3 Sections. 

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Summer Or Winter
? Winter in spring. Ultimate Camera? Jacque Henri Lartigue’s Eye Traps. Most Used Camera? Mamiya II 6x7. What Object Do You Want? A utility vehicle with a platform on the roof and an automated retractable ladder. What Object Do You Need? Private 1000 ft studio with digitally adjustable light intensity and temperatures with ability to save formulas for later use. Who Would You Never Work For, No Matter How Much They Offered To Pay? Hmmmm. I can think of many. Describe A Cheap Thrill. good-bad television. Who Would You Most Like To See Embarrass Themselves? Everyone embarrasses themselves. No need to wish for it. 

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Is There Something Wrong With Kids Today, And If So, What
? No. The world conditions them to fear solitude and introversion at great cost. Pick A Historic Moment From The Last Hundred Years To Bring A Camera To. The Rumble in the Jungle, October 1974. Kinshasa, Zaire (Ali was unable to fight in the USA because he had been stripped of his fight license as part of his punishment for not heeding the conscription call to the Army for Vietnam.) Which Talent Would You Most Like To Have? Classically trained pianist composing new music. What will baffle future generations about our day and age? Point Omega |ōˈmāgə, ōˈmē-;| the twenty-fourth star in a constellation: Omega Scorpio. What is your plan for the next 24 hours? Read and sleep.

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Q&A with Jo Ann Walters - Images from the series DOG Town.


  • H Y P E R - O B S E R V A T I O N - N o - 0 1Melbourne photographic assets Sarah Pannell and Nicholas Hawker have launched a new publication series called Hyper Observation. True to its name - “Hyper Observation is an exploration in documenting ones everyday spaces with astute attention given to familiar surroundings often overlooked by others”. Kicking off with a feature from its creators, Nick and Sarah cut the ribbon on what is to be an ongoing series of publications pairing photographers work in this vein. Unfortunately issue #1 has already sold out, so this will have to do for those that couldn’t get their mitts on one. If you don’t wish to snooze and lose again, consider this your warning and keep tuned in for their next release. - www.hyper-observation.co
  • H Y P E R - O B S E R V A T I O N - N o - 0 1Melbourne photographic assets Sarah Pannell and Nicholas Hawker have launched a new publication series called Hyper Observation. True to its name - “Hyper Observation is an exploration in documenting ones everyday spaces with astute attention given to familiar surroundings often overlooked by others”. Kicking off with a feature from its creators, Nick and Sarah cut the ribbon on what is to be an ongoing series of publications pairing photographers work in this vein. Unfortunately issue #1 has already sold out, so this will have to do for those that couldn’t get their mitts on one. If you don’t wish to snooze and lose again, consider this your warning and keep tuned in for their next release. - www.hyper-observation.co
  • H Y P E R - O B S E R V A T I O N - N o - 0 1Melbourne photographic assets Sarah Pannell and Nicholas Hawker have launched a new publication series called Hyper Observation. True to its name - “Hyper Observation is an exploration in documenting ones everyday spaces with astute attention given to familiar surroundings often overlooked by others”. Kicking off with a feature from its creators, Nick and Sarah cut the ribbon on what is to be an ongoing series of publications pairing photographers work in this vein. Unfortunately issue #1 has already sold out, so this will have to do for those that couldn’t get their mitts on one. If you don’t wish to snooze and lose again, consider this your warning and keep tuned in for their next release. - www.hyper-observation.co
  • H Y P E R - O B S E R V A T I O N - N o - 0 1Melbourne photographic assets Sarah Pannell and Nicholas Hawker have launched a new publication series called Hyper Observation. True to its name - “Hyper Observation is an exploration in documenting ones everyday spaces with astute attention given to familiar surroundings often overlooked by others”. Kicking off with a feature from its creators, Nick and Sarah cut the ribbon on what is to be an ongoing series of publications pairing photographers work in this vein. Unfortunately issue #1 has already sold out, so this will have to do for those that couldn’t get their mitts on one. If you don’t wish to snooze and lose again, consider this your warning and keep tuned in for their next release. - www.hyper-observation.co
  • H Y P E R - O B S E R V A T I O N - N o - 0 1Melbourne photographic assets Sarah Pannell and Nicholas Hawker have launched a new publication series called Hyper Observation. True to its name - “Hyper Observation is an exploration in documenting ones everyday spaces with astute attention given to familiar surroundings often overlooked by others”. Kicking off with a feature from its creators, Nick and Sarah cut the ribbon on what is to be an ongoing series of publications pairing photographers work in this vein. Unfortunately issue #1 has already sold out, so this will have to do for those that couldn’t get their mitts on one. If you don’t wish to snooze and lose again, consider this your warning and keep tuned in for their next release. - www.hyper-observation.co

H Y P E R - O B S E R V A T I O N - N o - 0 1

Melbourne photographic assets Sarah Pannell and Nicholas Hawker have launched a new publication series called Hyper Observation. True to its name - “Hyper Observation is an exploration in documenting ones everyday spaces with astute attention given to familiar surroundings often overlooked by others”. Kicking off with a feature from its creators, Nick and Sarah cut the ribbon on what is to be an ongoing series of publications pairing photographers work in this vein. 

Unfortunately issue #1 has already sold out, so this will have to do for those that couldn’t get their mitts on one. If you don’t wish to snooze and lose again, consider this your warning and keep tuned in for their next release. 

- www.hyper-observation.co

  • S U N ( D A E ) D A Y - S U B M I S S I O N S Triple header Sun(DAE)day Submissions featuring work from Timothy O’Connell, Sam Gregg and Ryan Koopmans. To see more from each of today’s features click through their respective links.Timothy O’Connell - Images one & two.
Sam Gregg - Images three to seven.
Ryan Koopmans - Image eight.If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        - submissions@theheavycollective.com
  • S U N ( D A E ) D A Y - S U B M I S S I O N S Triple header Sun(DAE)day Submissions featuring work from Timothy O’Connell, Sam Gregg and Ryan Koopmans. To see more from each of today’s features click through their respective links.Timothy O’Connell - Images one & two.
Sam Gregg - Images three to seven.
Ryan Koopmans - Image eight.If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        - submissions@theheavycollective.com
  • S U N ( D A E ) D A Y - S U B M I S S I O N S Triple header Sun(DAE)day Submissions featuring work from Timothy O’Connell, Sam Gregg and Ryan Koopmans. To see more from each of today’s features click through their respective links.Timothy O’Connell - Images one & two.
Sam Gregg - Images three to seven.
Ryan Koopmans - Image eight.If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        - submissions@theheavycollective.com
  • S U N ( D A E ) D A Y - S U B M I S S I O N S Triple header Sun(DAE)day Submissions featuring work from Timothy O’Connell, Sam Gregg and Ryan Koopmans. To see more from each of today’s features click through their respective links.Timothy O’Connell - Images one & two.
Sam Gregg - Images three to seven.
Ryan Koopmans - Image eight.If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        - submissions@theheavycollective.com
  • S U N ( D A E ) D A Y - S U B M I S S I O N S Triple header Sun(DAE)day Submissions featuring work from Timothy O’Connell, Sam Gregg and Ryan Koopmans. To see more from each of today’s features click through their respective links.Timothy O’Connell - Images one & two.
Sam Gregg - Images three to seven.
Ryan Koopmans - Image eight.If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        - submissions@theheavycollective.com
  • S U N ( D A E ) D A Y - S U B M I S S I O N S Triple header Sun(DAE)day Submissions featuring work from Timothy O’Connell, Sam Gregg and Ryan Koopmans. To see more from each of today’s features click through their respective links.Timothy O’Connell - Images one & two.
Sam Gregg - Images three to seven.
Ryan Koopmans - Image eight.If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        - submissions@theheavycollective.com
  • S U N ( D A E ) D A Y - S U B M I S S I O N S Triple header Sun(DAE)day Submissions featuring work from Timothy O’Connell, Sam Gregg and Ryan Koopmans. To see more from each of today’s features click through their respective links.Timothy O’Connell - Images one & two.
Sam Gregg - Images three to seven.
Ryan Koopmans - Image eight.If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        - submissions@theheavycollective.com
  • S U N ( D A E ) D A Y - S U B M I S S I O N S Triple header Sun(DAE)day Submissions featuring work from Timothy O’Connell, Sam Gregg and Ryan Koopmans. To see more from each of today’s features click through their respective links.Timothy O’Connell - Images one & two.
Sam Gregg - Images three to seven.
Ryan Koopmans - Image eight.If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        - submissions@theheavycollective.com

S U N ( D A E ) D A Y - S U B M I S S I O N S 

Triple header Sun(DAE)day Submissions featuring work from Timothy O’Connell, Sam Gregg and Ryan Koopmans. To see more from each of today’s features click through their respective links.

Timothy O’Connell - Images one & two.

Sam Gregg - Images three to seven.

Ryan Koopmans - Image eight.

If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        

- submissions@theheavycollective.com

I.P.F - 2 0 1 4 - I S - H E R E

Melbourne’s Independent Photography Festival is now accepting print submissions for their 2014 Photo Prize! Head on over to their site for more info and get serious about those entries.

Entries close Mon / 13th / October - don’t sleep, time waits for no one. 

- www.independentphotographyfestival.com

  • S U N ( D A E ) D A Y - S U B M I S S I O N S  This week we spotlight the work of Baltimore photographer Jerome Freeman. It turns out Jerome is the younger cousin of one of our earlier features Jesse Freeman, peruse that link too for some Freeman double trouble. To see more of Jerome’s work head to his blogroll here.  "Film photography is and will continue to be my primary form of expression. I am thrilled by the unique characteristics of the different film formats, and the moment of discovery as each roll is developed. My photos stem from my curiosity of how different people live and their changing conditions. I believe knowing or getting to know your subject on a personal level results in photos that create an emotional response. With the time set for my work, I’m with my subject experiencing and observing the events and details that define their life.Photography allows me to make personal connections with the different people and cultures that surround me. My process of documentation allows me to understand individuals on a level I couldn’t without a camera. A warming response through photos of lives that bring insight to a reality one doesn’t live is what I wish to achieve.”If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        - submissions@theheavycollective.com
  • S U N ( D A E ) D A Y - S U B M I S S I O N S  This week we spotlight the work of Baltimore photographer Jerome Freeman. It turns out Jerome is the younger cousin of one of our earlier features Jesse Freeman, peruse that link too for some Freeman double trouble. To see more of Jerome’s work head to his blogroll here.  "Film photography is and will continue to be my primary form of expression. I am thrilled by the unique characteristics of the different film formats, and the moment of discovery as each roll is developed. My photos stem from my curiosity of how different people live and their changing conditions. I believe knowing or getting to know your subject on a personal level results in photos that create an emotional response. With the time set for my work, I’m with my subject experiencing and observing the events and details that define their life.Photography allows me to make personal connections with the different people and cultures that surround me. My process of documentation allows me to understand individuals on a level I couldn’t without a camera. A warming response through photos of lives that bring insight to a reality one doesn’t live is what I wish to achieve.”If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        - submissions@theheavycollective.com
  • S U N ( D A E ) D A Y - S U B M I S S I O N S  This week we spotlight the work of Baltimore photographer Jerome Freeman. It turns out Jerome is the younger cousin of one of our earlier features Jesse Freeman, peruse that link too for some Freeman double trouble. To see more of Jerome’s work head to his blogroll here.  "Film photography is and will continue to be my primary form of expression. I am thrilled by the unique characteristics of the different film formats, and the moment of discovery as each roll is developed. My photos stem from my curiosity of how different people live and their changing conditions. I believe knowing or getting to know your subject on a personal level results in photos that create an emotional response. With the time set for my work, I’m with my subject experiencing and observing the events and details that define their life.Photography allows me to make personal connections with the different people and cultures that surround me. My process of documentation allows me to understand individuals on a level I couldn’t without a camera. A warming response through photos of lives that bring insight to a reality one doesn’t live is what I wish to achieve.”If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        - submissions@theheavycollective.com
  • S U N ( D A E ) D A Y - S U B M I S S I O N S  This week we spotlight the work of Baltimore photographer Jerome Freeman. It turns out Jerome is the younger cousin of one of our earlier features Jesse Freeman, peruse that link too for some Freeman double trouble. To see more of Jerome’s work head to his blogroll here.  "Film photography is and will continue to be my primary form of expression. I am thrilled by the unique characteristics of the different film formats, and the moment of discovery as each roll is developed. My photos stem from my curiosity of how different people live and their changing conditions. I believe knowing or getting to know your subject on a personal level results in photos that create an emotional response. With the time set for my work, I’m with my subject experiencing and observing the events and details that define their life.Photography allows me to make personal connections with the different people and cultures that surround me. My process of documentation allows me to understand individuals on a level I couldn’t without a camera. A warming response through photos of lives that bring insight to a reality one doesn’t live is what I wish to achieve.”If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        - submissions@theheavycollective.com
  • S U N ( D A E ) D A Y - S U B M I S S I O N S  This week we spotlight the work of Baltimore photographer Jerome Freeman. It turns out Jerome is the younger cousin of one of our earlier features Jesse Freeman, peruse that link too for some Freeman double trouble. To see more of Jerome’s work head to his blogroll here.  "Film photography is and will continue to be my primary form of expression. I am thrilled by the unique characteristics of the different film formats, and the moment of discovery as each roll is developed. My photos stem from my curiosity of how different people live and their changing conditions. I believe knowing or getting to know your subject on a personal level results in photos that create an emotional response. With the time set for my work, I’m with my subject experiencing and observing the events and details that define their life.Photography allows me to make personal connections with the different people and cultures that surround me. My process of documentation allows me to understand individuals on a level I couldn’t without a camera. A warming response through photos of lives that bring insight to a reality one doesn’t live is what I wish to achieve.”If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        - submissions@theheavycollective.com
  • S U N ( D A E ) D A Y - S U B M I S S I O N S  This week we spotlight the work of Baltimore photographer Jerome Freeman. It turns out Jerome is the younger cousin of one of our earlier features Jesse Freeman, peruse that link too for some Freeman double trouble. To see more of Jerome’s work head to his blogroll here.  "Film photography is and will continue to be my primary form of expression. I am thrilled by the unique characteristics of the different film formats, and the moment of discovery as each roll is developed. My photos stem from my curiosity of how different people live and their changing conditions. I believe knowing or getting to know your subject on a personal level results in photos that create an emotional response. With the time set for my work, I’m with my subject experiencing and observing the events and details that define their life.Photography allows me to make personal connections with the different people and cultures that surround me. My process of documentation allows me to understand individuals on a level I couldn’t without a camera. A warming response through photos of lives that bring insight to a reality one doesn’t live is what I wish to achieve.”If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        - submissions@theheavycollective.com
  • S U N ( D A E ) D A Y - S U B M I S S I O N S  This week we spotlight the work of Baltimore photographer Jerome Freeman. It turns out Jerome is the younger cousin of one of our earlier features Jesse Freeman, peruse that link too for some Freeman double trouble. To see more of Jerome’s work head to his blogroll here.  "Film photography is and will continue to be my primary form of expression. I am thrilled by the unique characteristics of the different film formats, and the moment of discovery as each roll is developed. My photos stem from my curiosity of how different people live and their changing conditions. I believe knowing or getting to know your subject on a personal level results in photos that create an emotional response. With the time set for my work, I’m with my subject experiencing and observing the events and details that define their life.Photography allows me to make personal connections with the different people and cultures that surround me. My process of documentation allows me to understand individuals on a level I couldn’t without a camera. A warming response through photos of lives that bring insight to a reality one doesn’t live is what I wish to achieve.”If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        - submissions@theheavycollective.com

S U N ( D A E ) D A Y - S U B M I S S I O N S  

This week we spotlight the work of Baltimore photographer Jerome Freeman. It turns out Jerome is the younger cousin of one of our earlier features Jesse Freeman, peruse that link too for some Freeman double trouble. To see more of Jerome’s work head to his blogroll here.  

"Film photography is and will continue to be my primary form of expression. I am thrilled by the unique characteristics of the different film formats, and the moment of discovery as each roll is developed. 

My photos stem from my curiosity of how different people live and their changing conditions. I believe knowing or getting to know your subject on a personal level results in photos that create an emotional response. With the time set for my work, I’m with my subject experiencing and observing the events and details that define their life.

Photography allows me to make personal connections with the different people and cultures that surround me. My process of documentation allows me to understand individuals on a level I couldn’t without a camera. A warming response through photos of lives that bring insight to a reality one doesn’t live is what I wish to achieve.”

If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs, a link to your portfolio and a short description on your work or series to:        

- submissions@theheavycollective.com


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It is helpful to once in a while stir the stew.

Navigating the road between maintaining personal freedom and earning a crust can be a rocky one. Sit in one place too long and stagnate or cut loose until the cash runs out. Armed with a restless spirit perhaps the decision becomes easier, but maybe not the road. 

Burk Uzzle has carved out a career with the ideas of integrity and personal freedom always close at hand. He joined LIFE magazine at the tender age of 23, and later became member and twice president of institutional heavyweight Magnum. Needless to say Burk Uzzle has two feet firmly planted in the tradition of classic story telling. With an eye keenly fixed on a distinctly American sensibility, Uzzle dances between humour and wit, shrewdly capturing a portrait of his countrymen. 


From Woodstock to Martin Luther King’s funeral, Uzzle has been witness to some of the defining moments in recent history - his photographs are lucid documents of that cultural giant we call America. With such an iconic catalogue, it was our pleasure to have a chinwag with the man about how heart, mind and energy creates great work.

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It seems from very early on you knew you wanted to be a photographer, Growing up in small-town North Carolina, was there a desire to see father afield? Is it curiosity that made you want to take photographs? 

I certainly had a natural curiosity for that big world out there that I kept seeing in Life Magazine. A small town that I really did not like at all accentuated that. Still, I have always liked to keep moving and have a tradition of getting restless.

Now, however, after settling into another small town in North Carolina after decades of living all over the place, an interesting new development has changed how I think about subject matter.

I’ve found that working with the same people over and over, and staying within a particular community and knowing these people really well has brought out a much greater sensitivity.

It’s going deeper in the well, as opposed to hopping from place to place and being relegated to surfing the surface. Even with dramatic and exotic subjects and places, and perhaps especially if one is hooked on the exotic and sensational, working too quickly can often presuppose superficiality.

Also helpful is working with large format film with the demands of discipline and craft. I tend to perceive and compose and “feel” the pictures much better with that kind of approach. Emotional depth does not suffer with that approach. And, it has a great “Look.”

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A great deal of your archive focuses on the American landscape, you once said that its craziness, the humor, the bizarre, the loneliness, and its starkness give you a kick. Could you elaborate on that and perhaps the distinctly American vision that preoccupies you?

The American Landscape has its concrete and pavement and angularity within which nature makes, generally, a token sort of appearance. Our discordant American aesthetic has been slow to develop a visual culture.

That automatically offers opportunities for the “Poor Lonesome Me” look, which I try to avoid. Then there is satire, or more preferably whimsy and humor. The “Pop Art” sense of graphics, when I can keep myself out of the “Kitsch Ditch,” is a hoot to work with.

There is an excitement to the energy of color and space relationships that come naturally in America. I have written on the back of my cameras the word “celebrate.” (As opposed to “incriminate”) That does not need to imply blandness, or a simplistic mentality.

The classic photo essay is for the most part a thing of the past, working for LIFE must have afforded you the time and commitment to engage with your subjects, do you mourn the death of publications like LIFE and classic story telling?

Yes. However, there was a formula approach that we saw in some of those essays. That’s only natural in a professional realm with the marketplace as a critical partner.

That is noticeable in much of the journalism of today, and possibly even more so in much of the art community. Not that this is anything new in the history of the world.

Question is, how to be better than that, and make a living.

Is teaching the answer? For me, no.

Some of the best work, but certainly not all, has been done by independently wealthy folks.

I have great admiration for those sturdy souls that are simply bound and determined to do things as they think they should be, and let the commercial chips fall where they may.

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The death of Martin Luther King was one of the defining moments in a very tumultuous chapter in American history, after photographing him in life, it must have been hard to photograph his funeral, how did his death effect you personally and more broadly the American experience?

It was a heartbreak, from which we gained courage.

Most people would give their left leg to shoot for Magnum, being given the stripes, was it a defining moment in your career? Do you feel like it pushed you as a photographer?

Yes. Magnum was small when I was a member, and we hung out together. Those conversations were life changing.

There are echoes of Henri Cartier-Bresson’s work in your own, his ability to squeeze the uncanny out of the everyday, what was it like working with the man? What do you look for when taking a photograph?

I showed my work to HCB quite a few times, and will never forget some of his most direct advice. “Respect Your Subject.” Study the Quattrocento painters. Never explicit in detailed methodology, his advice was the kind of head-trip that forced growth, if one was capable.

Having been twice president for the agency, what do you think Magnum is to photography now, do you think its haloed mantle is still relevant with shifts in contemporary photography?

I left Magnum in 1983, after 15 years as a member, when it was quite small compared to today’s Magnum population. I left because, as another ex-Magnum photographer, Ernst Haas, so eloquently put it: “after a while, being in Magnum is like holding hands and dancing in a circle.”

I agree with that ” holding hands” observation, but would also suggest the same was true after being with Life, or any other organization for a prolonged time.

I do not have informed knowledge or opinion about today’s Magnum, but I’m sure their standards are very high.

All of those environments have their own theology, points of view about how they, as a group, see themselves in the context of the big outside world.

It is helpful to once in a while stir the stew.

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