Dirndl girls

Dirndl Girls

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Dirndl girls

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Dirndl Girls

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Nevertheless, folk costume was increasingly perceived as a marker of rural and working classes. The background to this development was the French government policy from the midth century onwards of promoting French luxury fashion.

With the purpose of promoting conspicuous consumption , the French designs used expensive materials such as silk , lace , and gold and silver thread.

French modes were promoted throughout Europe by printed media, fashion shows and diplomatic exchanges, with the consequence that by the 18th century France became the European leader of fashion amongst the upper classes.

Other governments e. Austria attempted to fight French economic dominance of the fashion industry by building their own luxury fashion industries; this had the effect of further spreading fashion in the French style.

Thus the spread of French fashions increased the contrast between the fashionable clothes of the wealthier classes and folk costumes, which were increasingly perceived as rustic, not fit for polite society.

This point is illustrated by the first Oktoberfest , held in to celebrate the wedding of Bavarian Crown Prince Ludwig later King Ludwig I to Therese of Saxe-Hildburghausen ; the citizens of Munich were invited to the festivities but were required to dress in French fashions, since their folk costumes were not considered suitable for public occasions.

During the 19th century, the dirndl like its masculine counterpart Lederhosen was recognised by the governments of Bavaria and Austria as approved folk costume.

In Bavaria and Austria, enthusiasm for the different costumes of the rural population developed at the royal courts in the early 19th century.

The German-speaking peoples investigated their cultural heritage as a reaffirmation of their identity.

The result was a flowering of research and artistic work centred around Germanic cultural traditions, expressed in painting, literature, architecture, music and promotion of German language and folklore.

The first extensive description of traditional tracht in the different regions was given by the Bavarian official Joseph von Hazzi — A comprehensive description of Bavarian national costumes was published in by the archivist Felix Joseph von Lipowsky.

A parade of traditional costumes took place in at Oktoberfest , to celebrate the silver wedding anniversary of King Ludwig I of Bavaria and Queen Therese.

Under his successor Maximilian II , traditional costumes were officially recognised as clothing suitable for wearing at the royal court. The king himself included officials wearing tracht in his court ceremonies and wrote in that he considered the wearing of folk costume of "great importance" for national sentiment.

The wearing of dirndls and lederhosen was thus given royal favour. In , the first association to promote folk costume was founded in Miesbach in Bavaria.

In the following years, similar tracht associations Trachtenvereine were founded throughout Germany and Austria.

The tracht associations promoted research and wearing of the traditional clothing in each region. This helped preserve the traditions against the ravages of modernism; in contrast, the wearing of the traditional tracht declined in regions where the tracht associations were not active.

The first umbrella organisation for the tracht associations was founded in By the later 19th century, it had become popular for members of the royal courts in Austria and Bavaria to wear folk costume.

The wearing of folk costume by royalty encouraged its adoption by other members of the upper and wealthier middle classes. In the s and 90s, the dirndl became established as a typical "country" dress amongst the wealthy patrons of the summer holiday resorts of Austria and Bavaria.

An important influence was German Romantic literature, which contrasted the allegedly natural, unspoilt and unpolluted people of the countryside with the artificiality and depravity of urban society.

The adoption of the dirndl as a fashion resulted in the use of a greater variety of materials and colours, and a closer fit to emphasise the female body shape.

As a result, the traditional costume worn by country people was also raised in perceived status. Key in this development were the Jewish brothers Julius and Moritz Wallach , [33] originally from Bielefeld in north-western Germany.

After they moved to Munich with their family in , they became interested in and began promoting Alpine tracht. They employed seamstresses, who industriously produced the first elegant dirndls from colourful printed fabrics, predominantly silk.

The dresses were exhibited by models from the firm in the Alpine resorts. In the hard economic times following the First World War , the dirndl became a big-seller; as a simple summer dress, it was an affordable alternative to the often expensive and elaborately worked historic women's costumes.

In , Moritz Wallach founded the Wallach-haus Wallach House , a specialist supplier of tracht and folk art, which became well-known outside the borders of Germany.

In Austria, the wearing of folk costume was promoted by Viktor von Geramb , professor of folk culture at the universities of Graz and Vienna.

He saw folk costume as a means of rejuvenating Austrian identity after the collapse of the Austro-Hungarian monarchy during the First World War. He argued that, for folk costume to be a living tradition, it needed to express the individuality of the wearer; thus designs and materials needed to be adapted to contemporary culture and technology.

Consequently, Alpine tracht gained in general popularity and even spread to eastern Austria, where it had not been part of the traditional clothing culture.

The dirndl was increasingly perceived as the Austrian national dress. The dirndl was also promoted through the Trapp Family Singers, who wore dirndls during their performance at the Salzburg Festival , and later on their worldwide tours.

By that year, the dirndl was considered a 'must' in the wardrobe of every fashionable American woman. German traditional costume, including the dirndl, was instrumentalized by the Nazis as a symbol of pan-German identity in the countries under Nazi rule Germany from , Austria from Jews were forbidden to use "folk culture", even though they had played such a prominent role in documenting and promoting it.

Moritz Wallach emigrated to the United States , followed shortly after by Julius. Their brother Max, who had also been involved in the business, was interned in Dachau concentration camp and was murdered at Auschwitz in Viktor von Geramb, who had promoted the dirndl in Austria, lost his position at the University of Vienna in because of his public opposition to Nazi racial theory.

He was especially criticized for his strong attachment to Christian ideas of human worth. The overall effect accentuated the female form and especially the breasts.

The Second World War began a downturn in the popularity of the dirndl. In turn, new fashion influences appeared in popular culture, such as the film Gone With the Wind , which premiered less than three months after the fall of Warsaw.

By , the dirndl had been replaced as an American fashion craze by the wasp waist. In Germany and Austria, the dirndl declined in popularity, especially in the cities.

As a consequence, the dress was regarded as old-fashioned or rustic by many, especially those connected with the fashion industry.

Nevertheless, many others continued to wear the dirndl as a dress for festive occasions, both in the countryside and in cities such as Munich.

Dirndls were regarded as suitable clothing for attending church, public holidays, Oktoberfest and other festive occasions. The dirndl was especially popular in Bavaria as a bridal dress.

A wider revival of interest came with the Summer Olympics in Munich. Led by Silvia Sommerlath now Queen Silvia of Sweden , the hostesses wore sky-blue dirndls as a promotion of Bavarian identity.

In the s, there was a further revival of interest in the dirndl, as traditional clothing was adopted by the environmental and anti-nuclear movements.

Beginning in the late s, dirndls and lederhosen experienced a boom in Austria and Bavaria, with some commentators speaking of a "dirndl Renaissance".

Since the s, increasing numbers of fashion houses have become involved in designing and selling high-end versions.

If every woman wore a dirndl, there would not be any more ugliness". Dirndls and lederhosen have long been standard attire for staff at Volksfeste , but in the s visitors at the festivals did not normally wear folk costume, even at Oktoberfest.

Simone Egger comments that the idea of wearing folk costume to Oktoberfest would previously have been considered "completely absurd, even embarrassing.

One reason given for the increasing popularity of the dirndl and lederhosen is an increased confidence in German self-identity.

In recent decades, there has been a celebration of being German. The culture historian Peter Peter comments on this increased pride in German identity and traditions: [59].

Now there is a new generation that did not know the problems of the Cold War or the Second World War, for whom it is cool to try these old-fashioned things.

I think a very good symbol of this new Germany is the Oktoberfest. Twenty years ago nobody there would dress in the traditional Bavarian costume.

The Oktoberfest, with its enormous number of beer consumers, is a wonderful example of the new Germany that combines iconic tradition with open-mindedness.

It brings people and peoples together more even than football. It is not nationalist - it is now a symbol of German hospitality.

Other commentators link the upsurge in folk costume to economic insecurity caused by globalization, prompting a return to traditional cultural symbols.

Just as jeans, originally rural clothing, were used as an urban antidote to tradition, so dirndl and lederhosen show that, a generation later, people in their metaphysical homelessness are nevertheless in a complex way missing the traditional rural values.

All this is typical of our time. From yoghurt to magazines with rural themes, one abandons oneself to the illusion of the good old times, in which the windowpanes can still keep out the cold wind of globalization.

The dirndl is increasingly attracting attention apart from its area of origin. In , the Times of India ran an article featuring Bollywood actress Celine Jaitley wearing a dirndl; she urged other Indian women to add the dress to their wardrobe.

In Austria, dirndls continue to be worn on public occasions, even by younger women. The dirndl is considered an important part of Alpine folk culture.

Other aspects of folk culture are Lederhosen for men, traditional sports e. The Catholic church has played an important role in promoting the dirndl in Austria; traditional dress is worn for worship services, especially the major church holidays e.

The Tyrol has a tradition of the heiligen Tracht holy folk costume , which is not to be worn on secular occasions marked by drinking.

Folk costume also continues to be worn for most weddings and festivals. Old traditions are carefully maintained among inhabitants of Alpine areas, even though this is seldom obvious to the visitor: many people are members of cultural associations where the Alpine folk culture is cultivated.

At cultural events, the traditional dirndl is the expected dress for women. Visitors can get a glimpse of the rich customs of the Alps at public Volksfeste.

Even when large events feature only a little folk culture, all participants take part with gusto. Good opportunities to see local people celebrating the traditional culture occur at the many fairs, wine festivals and firefighting festivals which fill weekends in the Austrian countryside from spring to autumn.

Only in the region surrounding Vienna is the traditional folk culture not a regular part of daily life. Some regions are particularly known for their strong dirndl traditions, such as the Tyrol , the Salzkammergut and the Wachau region of Lower Austria.

In Austria, the dirndl is a symbol of national identity, seen in Austria as a national symbol. Festivals at which dirndls are expected dress include festivities for raising the Maypole on the 1st May, the Narzissenfest daffodil festival during May in Bad Aussee, [65] the Salzburg Festival and the Ausseer Kirtag in September.

In Austria, and other parts of south central Europe, there are literally splashy events known as Dirndlspringen, in which attractive young women, are judged by how well they dive from a diving board into a lake or a swimming pool while wearing the dirndl, using it as a swimdress.

In Germany, the dirndl is traditionally worn only in Bavaria, where it is deeply integrated in the traditional culture. In many Bavarian villages, processions to honour St George and St Leonard are special occasions for wearing Alpine tracht.

In all of these activities, the dirndls normally worn are the traditional local designs, considered most suitable for formal occasions.

Modern commercially designed dirndls are worn on less formal occasions. The traditional designs are promoted by and protected by local folk culture associations affiliated with the Bayerische Trachtenverband Bavarian folk costume association.

The designs specify the traditional materials, patterns and colours of clothing, together with jewellery, hats, etc. Currently, six official types of Alpine tracht are recognized in Bavaria, each with designs for men lederhosen and women dirndl : Miesbacher Tracht, Werdenfelser Tracht, Inntaler Tracht, Chiemgauer Tracht, Berchtesgadener Tracht and Isarwinkler Tracht.

The dirndl is regarded as a symbol of Bavaria. It is often worn by women working in businesses related to tourism or traditional culture, including Volksmusik , restaurants and beer gardens.

In recent decades, women from other parts of Germany have shown increasing interest in the dirndl as a festival dress. Until the s, most visitors to Oktoberfest did not wear traditional tracht; it was common to wear jeans.

Since the late s dirndls and Lederhosen have come to be regarded as obligatory wear at the festival. Oktoberfest dirndls tend to be more colourful and revealing.

There is increasing evidence that Germans are coming to view the dirndl as a German, rather than an exclusively Bavarian symbol. In the past few years, "Oktoberfest" celebrations have developed in parts of Germany remote from Bavaria, such as Münster in Westphalia.

Dirndls and lederhosen are now considered an intrinsic part of such events. In South Tyrol, both German and Italian are official languages, and Tyrolean traditions including the dirndl remain deeply integrated in the culture.

Traditional designs vary between regions, valleys and sometimes villages. In Switzerland, the dirndl is the official outfit for certain representations, events, cultural shows and singing old folk songs often involving yodeling.

The German American ethnic group German: Deutschamerikaner are their descendants in North America, and form part of the worldwide German diaspora.

Across the United States there are dozens of German-American cultural or heritage clubs, such as the Donauschwaben heritage clubs. During these festivals, participants often dress in traditional outfits such as dirndls and lederhosen.

From Wikipedia, the free encyclopedia. See also: Heimatfilm. Austria portal Germany portal Switzerland portal.

Panorama, Vienna, Angus Stevenson and Maurice Waite. Oxford University Press, Oxford, , page Retrieved Annette Lynch; Mitchell D.

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French modes were promoted throughout Europe by printed media, fashion shows and diplomatic exchanges, with the consequence that by the 18th century France became the European leader of fashion amongst the upper classes.

Other governments e. Austria attempted to fight French economic dominance of the fashion industry by building their own luxury fashion industries; this had the effect of further spreading fashion in the French style.

Thus the spread of French fashions increased the contrast between the fashionable clothes of the wealthier classes and folk costumes, which were increasingly perceived as rustic, not fit for polite society.

This point is illustrated by the first Oktoberfest , held in to celebrate the wedding of Bavarian Crown Prince Ludwig later King Ludwig I to Therese of Saxe-Hildburghausen ; the citizens of Munich were invited to the festivities but were required to dress in French fashions, since their folk costumes were not considered suitable for public occasions.

During the 19th century, the dirndl like its masculine counterpart Lederhosen was recognised by the governments of Bavaria and Austria as approved folk costume.

In Bavaria and Austria, enthusiasm for the different costumes of the rural population developed at the royal courts in the early 19th century.

The German-speaking peoples investigated their cultural heritage as a reaffirmation of their identity. The result was a flowering of research and artistic work centred around Germanic cultural traditions, expressed in painting, literature, architecture, music and promotion of German language and folklore.

The first extensive description of traditional tracht in the different regions was given by the Bavarian official Joseph von Hazzi — A comprehensive description of Bavarian national costumes was published in by the archivist Felix Joseph von Lipowsky.

A parade of traditional costumes took place in at Oktoberfest , to celebrate the silver wedding anniversary of King Ludwig I of Bavaria and Queen Therese.

Under his successor Maximilian II , traditional costumes were officially recognised as clothing suitable for wearing at the royal court.

The king himself included officials wearing tracht in his court ceremonies and wrote in that he considered the wearing of folk costume of "great importance" for national sentiment.

The wearing of dirndls and lederhosen was thus given royal favour. In , the first association to promote folk costume was founded in Miesbach in Bavaria.

In the following years, similar tracht associations Trachtenvereine were founded throughout Germany and Austria.

The tracht associations promoted research and wearing of the traditional clothing in each region. This helped preserve the traditions against the ravages of modernism; in contrast, the wearing of the traditional tracht declined in regions where the tracht associations were not active.

The first umbrella organisation for the tracht associations was founded in By the later 19th century, it had become popular for members of the royal courts in Austria and Bavaria to wear folk costume.

The wearing of folk costume by royalty encouraged its adoption by other members of the upper and wealthier middle classes.

In the s and 90s, the dirndl became established as a typical "country" dress amongst the wealthy patrons of the summer holiday resorts of Austria and Bavaria.

An important influence was German Romantic literature, which contrasted the allegedly natural, unspoilt and unpolluted people of the countryside with the artificiality and depravity of urban society.

The adoption of the dirndl as a fashion resulted in the use of a greater variety of materials and colours, and a closer fit to emphasise the female body shape.

As a result, the traditional costume worn by country people was also raised in perceived status. Key in this development were the Jewish brothers Julius and Moritz Wallach , [33] originally from Bielefeld in north-western Germany.

After they moved to Munich with their family in , they became interested in and began promoting Alpine tracht.

They employed seamstresses, who industriously produced the first elegant dirndls from colourful printed fabrics, predominantly silk.

The dresses were exhibited by models from the firm in the Alpine resorts. In the hard economic times following the First World War , the dirndl became a big-seller; as a simple summer dress, it was an affordable alternative to the often expensive and elaborately worked historic women's costumes.

In , Moritz Wallach founded the Wallach-haus Wallach House , a specialist supplier of tracht and folk art, which became well-known outside the borders of Germany.

In Austria, the wearing of folk costume was promoted by Viktor von Geramb , professor of folk culture at the universities of Graz and Vienna.

He saw folk costume as a means of rejuvenating Austrian identity after the collapse of the Austro-Hungarian monarchy during the First World War.

He argued that, for folk costume to be a living tradition, it needed to express the individuality of the wearer; thus designs and materials needed to be adapted to contemporary culture and technology.

Consequently, Alpine tracht gained in general popularity and even spread to eastern Austria, where it had not been part of the traditional clothing culture.

The dirndl was increasingly perceived as the Austrian national dress. The dirndl was also promoted through the Trapp Family Singers, who wore dirndls during their performance at the Salzburg Festival , and later on their worldwide tours.

By that year, the dirndl was considered a 'must' in the wardrobe of every fashionable American woman. German traditional costume, including the dirndl, was instrumentalized by the Nazis as a symbol of pan-German identity in the countries under Nazi rule Germany from , Austria from Jews were forbidden to use "folk culture", even though they had played such a prominent role in documenting and promoting it.

Moritz Wallach emigrated to the United States , followed shortly after by Julius. Their brother Max, who had also been involved in the business, was interned in Dachau concentration camp and was murdered at Auschwitz in Viktor von Geramb, who had promoted the dirndl in Austria, lost his position at the University of Vienna in because of his public opposition to Nazi racial theory.

He was especially criticized for his strong attachment to Christian ideas of human worth. The overall effect accentuated the female form and especially the breasts.

The Second World War began a downturn in the popularity of the dirndl. In turn, new fashion influences appeared in popular culture, such as the film Gone With the Wind , which premiered less than three months after the fall of Warsaw.

By , the dirndl had been replaced as an American fashion craze by the wasp waist. In Germany and Austria, the dirndl declined in popularity, especially in the cities.

As a consequence, the dress was regarded as old-fashioned or rustic by many, especially those connected with the fashion industry.

Nevertheless, many others continued to wear the dirndl as a dress for festive occasions, both in the countryside and in cities such as Munich.

Dirndls were regarded as suitable clothing for attending church, public holidays, Oktoberfest and other festive occasions. The dirndl was especially popular in Bavaria as a bridal dress.

A wider revival of interest came with the Summer Olympics in Munich. Led by Silvia Sommerlath now Queen Silvia of Sweden , the hostesses wore sky-blue dirndls as a promotion of Bavarian identity.

In the s, there was a further revival of interest in the dirndl, as traditional clothing was adopted by the environmental and anti-nuclear movements.

Beginning in the late s, dirndls and lederhosen experienced a boom in Austria and Bavaria, with some commentators speaking of a "dirndl Renaissance".

Since the s, increasing numbers of fashion houses have become involved in designing and selling high-end versions. If every woman wore a dirndl, there would not be any more ugliness".

Dirndls and lederhosen have long been standard attire for staff at Volksfeste , but in the s visitors at the festivals did not normally wear folk costume, even at Oktoberfest.

Simone Egger comments that the idea of wearing folk costume to Oktoberfest would previously have been considered "completely absurd, even embarrassing.

One reason given for the increasing popularity of the dirndl and lederhosen is an increased confidence in German self-identity. In recent decades, there has been a celebration of being German.

The culture historian Peter Peter comments on this increased pride in German identity and traditions: [59]. Now there is a new generation that did not know the problems of the Cold War or the Second World War, for whom it is cool to try these old-fashioned things.

I think a very good symbol of this new Germany is the Oktoberfest. Twenty years ago nobody there would dress in the traditional Bavarian costume.

The Oktoberfest, with its enormous number of beer consumers, is a wonderful example of the new Germany that combines iconic tradition with open-mindedness.

It brings people and peoples together more even than football. It is not nationalist - it is now a symbol of German hospitality.

Other commentators link the upsurge in folk costume to economic insecurity caused by globalization, prompting a return to traditional cultural symbols.

Just as jeans, originally rural clothing, were used as an urban antidote to tradition, so dirndl and lederhosen show that, a generation later, people in their metaphysical homelessness are nevertheless in a complex way missing the traditional rural values.

All this is typical of our time. From yoghurt to magazines with rural themes, one abandons oneself to the illusion of the good old times, in which the windowpanes can still keep out the cold wind of globalization.

The dirndl is increasingly attracting attention apart from its area of origin. In , the Times of India ran an article featuring Bollywood actress Celine Jaitley wearing a dirndl; she urged other Indian women to add the dress to their wardrobe.

In Austria, dirndls continue to be worn on public occasions, even by younger women. The dirndl is considered an important part of Alpine folk culture.

Other aspects of folk culture are Lederhosen for men, traditional sports e. The Catholic church has played an important role in promoting the dirndl in Austria; traditional dress is worn for worship services, especially the major church holidays e.

The Tyrol has a tradition of the heiligen Tracht holy folk costume , which is not to be worn on secular occasions marked by drinking. Folk costume also continues to be worn for most weddings and festivals.

Old traditions are carefully maintained among inhabitants of Alpine areas, even though this is seldom obvious to the visitor: many people are members of cultural associations where the Alpine folk culture is cultivated.

At cultural events, the traditional dirndl is the expected dress for women. Visitors can get a glimpse of the rich customs of the Alps at public Volksfeste.

Even when large events feature only a little folk culture, all participants take part with gusto. Good opportunities to see local people celebrating the traditional culture occur at the many fairs, wine festivals and firefighting festivals which fill weekends in the Austrian countryside from spring to autumn.

Only in the region surrounding Vienna is the traditional folk culture not a regular part of daily life. Some regions are particularly known for their strong dirndl traditions, such as the Tyrol , the Salzkammergut and the Wachau region of Lower Austria.

In Austria, the dirndl is a symbol of national identity, seen in Austria as a national symbol. Festivals at which dirndls are expected dress include festivities for raising the Maypole on the 1st May, the Narzissenfest daffodil festival during May in Bad Aussee, [65] the Salzburg Festival and the Ausseer Kirtag in September.

In Austria, and other parts of south central Europe, there are literally splashy events known as Dirndlspringen, in which attractive young women, are judged by how well they dive from a diving board into a lake or a swimming pool while wearing the dirndl, using it as a swimdress.

In Germany, the dirndl is traditionally worn only in Bavaria, where it is deeply integrated in the traditional culture. In many Bavarian villages, processions to honour St George and St Leonard are special occasions for wearing Alpine tracht.

In all of these activities, the dirndls normally worn are the traditional local designs, considered most suitable for formal occasions.

Modern commercially designed dirndls are worn on less formal occasions. The traditional designs are promoted by and protected by local folk culture associations affiliated with the Bayerische Trachtenverband Bavarian folk costume association.

The designs specify the traditional materials, patterns and colours of clothing, together with jewellery, hats, etc.

Currently, six official types of Alpine tracht are recognized in Bavaria, each with designs for men lederhosen and women dirndl : Miesbacher Tracht, Werdenfelser Tracht, Inntaler Tracht, Chiemgauer Tracht, Berchtesgadener Tracht and Isarwinkler Tracht.

The dirndl is regarded as a symbol of Bavaria. It is often worn by women working in businesses related to tourism or traditional culture, including Volksmusik , restaurants and beer gardens.

In recent decades, women from other parts of Germany have shown increasing interest in the dirndl as a festival dress. Until the s, most visitors to Oktoberfest did not wear traditional tracht; it was common to wear jeans.

Since the late s dirndls and Lederhosen have come to be regarded as obligatory wear at the festival. Oktoberfest dirndls tend to be more colourful and revealing.

There is increasing evidence that Germans are coming to view the dirndl as a German, rather than an exclusively Bavarian symbol.

In the past few years, "Oktoberfest" celebrations have developed in parts of Germany remote from Bavaria, such as Münster in Westphalia.

Dirndls and lederhosen are now considered an intrinsic part of such events. In South Tyrol, both German and Italian are official languages, and Tyrolean traditions including the dirndl remain deeply integrated in the culture.

Traditional designs vary between regions, valleys and sometimes villages. In Switzerland, the dirndl is the official outfit for certain representations, events, cultural shows and singing old folk songs often involving yodeling.

The German American ethnic group German: Deutschamerikaner are their descendants in North America, and form part of the worldwide German diaspora.

Across the United States there are dozens of German-American cultural or heritage clubs, such as the Donauschwaben heritage clubs.

During these festivals, participants often dress in traditional outfits such as dirndls and lederhosen. From Wikipedia, the free encyclopedia. See also: Heimatfilm.

Austria portal Germany portal Switzerland portal. Panorama, Vienna, Angus Stevenson and Maurice Waite. Oxford University Press, Oxford, , page Retrieved Annette Lynch; Mitchell D.

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