<http://www.hi-beam.net/now.gif> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=8aeff5576d&e=f36020cad0> <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=ea09aac92d&e=f36020cad0> This week [January 19 - 27, 2019] in avant garde cinema Enter your event announcements by going to the Flicker Weekly Listing Form <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=723978d966&e=f36020cad0> . To receive the weekly listing via email: Subscribe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0b2ce42b22&e=f36020cad0> . <https://scontent-dfw5-1.xx.fbcdn.net/v/t1.0-9/49854799_2016503881732202_8866176224074924032_n.jpg?_nc_cat=103&_nc_ht=scontent-dfw5-1.xx&oh=906be913393d227351be739450e72084&oe=5CB6FD8F> Wake America! <> [January 22, Austin, TX United States] <https://www.lafilmforum.org/assets/Uploads/Screenings/_resampled/FitWyIyMzQiLCIxNjUiXQ/Where-The-Chocolate-Mountains-ABC-10-and-08-bit-ASSY-185-34985-smaller.jpg> Pat O’Neill: Where the Chocolate Mountains <> [January 27, Los Angeles, California] NEW CALLS FOR ENTRIES: Flatpack Festival (Birmingham, United Kingdom; Deadline: January 20, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=22de16619a&e=f36020cad0> &readfile=2012.ann Winnipeg Underground FIlm Festival (Winnipeg, MB, Canada; Deadline: March 01, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3084aed920&e=f36020cad0> &readfile=2013.ann NOFLASH Video Show (New Brunswick, NJ, USA; Deadline: February 01, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=a02ce7a354&e=f36020cad0> &readfile=2014.ann Edinburgh Short Film Festival 2019 (Edinburgh, Scotland, UK; Deadline: June 24, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=f3df6e5a1b&e=f36020cad0> &readfile=2015.ann UNCG International SUSTAINABILITY SHORTS FILM COMPETITIO (Greensboro, USA; Deadline: February 15, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2c251929c3&e=f36020cad0> &readfile=2016.ann Far Out Film Festival (Nashvlle, TN; Deadline: April 20, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5966d70fa1&e=f36020cad0> &readfile=2017.ann DEADLINES APPROACHING: FRACTO Experimental Film Encounter (Berlin, Germany; Deadline: February 01, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=50cadd082b&e=f36020cad0> &readfile=1998.ann Another Experiment by Women Film Festival (NY NY; Deadline: February 15, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=0700e5ee0f&e=f36020cad0> &readfile=2009.ann Moviate Underground Film Festival (Harrisburg, PA, USA; Deadline: February 02, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=6b43a82415&e=f36020cad0> &readfile=2011.ann Flatpack Festival (Birmingham, United Kingdom; Deadline: January 20, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=efed57d296&e=f36020cad0> &readfile=2012.ann NOFLASH Video Show (New Brunswick, NJ, USA; Deadline: February 01, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9f342bbfbf&e=f36020cad0> &readfile=2014.ann UNCG International SUSTAINABILITY SHORTS FILM COMPETITION (Greensboro, USA; Deadline: February 15, 2019) http://hi-beam.net/cgi-bin/ann.pl?type=calls <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=dca5941eb8&e=f36020cad0> &readfile=2016.ann Events are sorted alphabetically BY CITY within each DATE. This week's programs (summary): * Drone Cinema Film Festival <> [January 19, Santa Monica, CA 90404] * The Films of Baum <> & Lo and Orphan Films From the Center Cinema Co-Op [January 20, Los Angeles, California] * City Symphonies: By Night <> [January 20, New York, NY] * Wake America! <> [January 22, Austin, TX United States] * Peggy Ahwesh'S She Puppet + Doris Wishman'S Indecent Desires <> [January 22, Brooklyn, NY United States] * Ec: Marie Menken <> [January 26, New York, NY] * The Early Films of Penny Slinger <> [January 26, New York, NY] * Ec: Robert Nelson <> [January 26, New York, NY] * Organized Activities <> [January 27, Brooklyn, NY United States] * Pat O’Neill: Where the Chocolate Mountains <> [January 27, Los Angeles, California] SATURDAY, JANUARY 19, 2019 1/19 Santa Monica, CA 90404: Drone Cinema Film Festival 8:30pm, Highways Performance Space, 1651 18th St @18th Street Art Center DRONE CINEMA FILM FESTIVAL The Drone Cinema Film Festival: Selected Works - Los Angeles ...Eight short films of mesmerizing, slow, hypnotic, cinematic tapestries woven from drones of light and sound... Date: Saturday January 19th 2019... Venue: Highways Performance Space... Telephone: (310) 453-2018... Address: 1651 18th St @ 18th Street Art Center (1/2 block north of Olympic Blvd) Santa Monica, CA 90404... Transportation: Metro Expo Line 17th St/SMC Station. R7 Bus - Pico WB & 18th NS (SMC)... Start time: 8:30 PM... Admission: $10... Tickets may be purchased online at http://www.highwaysperformance.org... Opening drone music performance: Randy Greif... Films: Mike Rooke - Return to Source Kat Cascone - LuxLuna Sequencial - Haumea Kris Force - Transmigration Don Haugen - The Black it Moves Between Them Robin Parmar - Division by Zero Michal Seta - [*]nScape Stewart Collinson & Andrea Szigetvari - Transitus Siderum... Curated by Kim Cascone SUNDAY, JANUARY 20, 2019 1/20 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=71b3b62682&e=f36020cad0> 7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd. THE FILMS OF BAUM & LO AND ORPHAN FILMS FROM THE CENTER CINEMA CO-OP Los Angeles premieres, with Thomas Baum and Josh B Mabe in person! In 1968 Tom Palazzolo, Ron Nameth, Jeff Begun, and Larry Janiak founded the Center Cinema Co-op in Chicago, IL to distribute artist films and promote independent filmmaking throughout the Midwest. Its history overlaps with so many other Chicago institutions and notables. The co-op grew from connections with Second City and the legendary Aardvark Theater. Barbara Scharres, Director of Programming at the Siskel Film Center, ran the co-op for many years. The list of members includes the founders of basically every important film institution in Chicago. In 1978 the co-op closed and the films that could not be returned to the filmmakers themselves ended up in various offices and back rooms. In 2015, while working as Program Director of Chicago Filmmakers, Josh B Mabe found a stash of those left-behind films and became enamored with the collection, which had happily survived many years in a storage room of that invaluable institution. He put together one free screening of the material, and tried in vain to locate any of the filmmakers represented. Years later, by one of those weird accidents of the internet-age, he located Thomas Baum, co-director of the 3 of the films in that served as the heart of that screening. Baum’s films, co-directed with Dennis Lo, were singled out as the highlights by the critics who had covered the screening. Baum & Lo made these 3 films in their 20s in New York City while working in the ad department at NBC. The other films in this program contain similar mysteries that hopefully will end as happily. Some of the filmmakers have been found and their families reached out to. Richard Greenberg went on to a massively successful career as a credits and title designer. His film in this screening is an early bright and melodic animation. Tickets: $10 general; $6 for students/seniors; free for Filmforum members. Available in advance from Brown Paper Tickets at https://bpt.me/4034613 or at the door. For more information: www.lafilmforum.org <http://www.lafilmforum.org> or 323-377-7238. 1/20 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=d91d72b126&e=f36020cad0> 8:30 PM, 32 Second Avenue CITY SYMPHONIES: BY NIGHT Svatopluk Innemann PRAGUE BY NIGHT / PRAHA V ZÃŘI SVÄšTEL (1928, 22 min, 35mm-to-DCP, silent. Courtesy of the National Film Archive, Prague.) Eugène Deslaw LES NUIT ÉLECTRIQUES (1930, 13 min, 35mm. Restored print courtesy of CNC - Direction du patrimoine.) Ian Hugo JAZZ OF LIGHTS (1954, 16 min, 16mm) William Klein BROADWAY BY LIGHT (1958, 12 min, 35mm. Print courtesy of the Walker Art Center.) Rudolph Burckhardt SQUARE TIMES (1967, 6.5 min, 16mm) Total running time: ca. 75 min. TUESDAY, JANUARY 22, 2019 1/22 Austin, TX United States: Experimental Response Cinema http://ercatx.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=463e0ab88e&e=f36020cad0> 8:00 PM, The Museum of Human Achievement, 916 Springdale WAKE AMERICA! For its third annual program of “cinematic resistance” to the U.S. presidency of #45, Experimental Response Cinema offers an energized, positive and hopeful collection of avant garde agit-prop films. Featuring works by local as well as national and international media artists, WAKE AMERICA! posits artmaking as a necessary response to the urgent issues of our time. Program includes work by (local artist) Bogdan Perzynsk and Carlo Nasissei, Kerry Laitala, Devon Narine-Singh, Sabine Gruffat, Abdoul-Ganiou Dermani, Gwendolyn Audrey Foster and others to be announced. Entry by donation. Proceeds will go to Refugee Services of Texas. COMPLETE LINEUP Countdown, Bogdan Perzynski, video loop (pre- and post-show). online countdown to the end of presidency. Knee Jerk, Kerry Laitala, 6. there are no trains in trinidad, Devon Narine-Singh, 10. Take It Down, Sabine Gruffat, 13. Reality Fragment 160921, Qigemu (Jasmine Lin & April Lin), 14. "Ega" (Money), Abdoul-Ganiou Dermani, 2. East Side , Carlo Nasisse and Patricia Nogueira, 10. The Leisure Class, Gwendolyn Audrey Foster, 2. I Hope I'm Loud When I'm Dead, Beatrice Gibson, 20. B.A.M. aka By All Means Inc., Ariel Jackson, 4. 1/22 Brooklyn, NY United States: Light Industry http://www.lightindustry.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=7a50f858fe&e=f36020cad0> 7:00 PM, 155 Freeman St PEGGY AHWESH'S SHE PUPPET + DORIS WISHMAN'S INDECENT DESIRES In conjunction with the reissue of Peggy Ahwesh’s zine The Films of Doris Wishman—newly published in an expanded edition by Light Industry and Inpatient Press—we’re hosting a special Ahwesh/Wishman double bill. She Puppet, Peggy Ahwesh, 2001, digital projection, 15 mins “An homage to and commentary on the female action-adventure game Tomb Raider and its busty virtual superstar Lara Croft. I played the game on my computer and simultaneously recorded the gameplay onto videotape. Then I treated the material as ‘found footage’ and recut it in order to rethink the game and consider questions about women, virtual bodies, role-playing, identity issues, and fandom. Ignoring the original drive of action, I make Lara explore the game environment at the edges of the programming world created for her. The limited inventory of Lara's gestures and the militaristic scenarios of the game are considered from a feminist perspective in analyzing the symbolic feminine and the popular culture that has sprung up around Lara Croft. Quotations are from three authors who philosophize the alien, the clone, and the orphan: The Book of Disquiet by Fernando Pessoa, The Female Man by Joanna Russ, and the jazz mystic Sun Ra.” - PA Indecent Desires, Doris Wishman, 1968, digital projection, 75 mins Beginning in the mid-’60s, Ahwesh explains, Wishman “began to produce roughies, a popular style at the time that made explicit the relationship between libido and violence with rough sex play and brutal treatment of women, with very little sexual contact, emotions, or touching. These films have the women endlessly undressing out of their black lace lingerie (a practically Victorian trope), caressing themselves and preening in front of full-length mirrors. As a filmmaker her sense of editing construction has the strangest and most highly developed internal logic; it makes up its own film language.” SATURDAY, JANUARY 26, 2019 1/26 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=9c410a4552&e=f36020cad0> 6:00 PM, 32 Second Avenue EC: MARIE MENKEN All films preserved by Anthology Film Archives. GLIMPSE OF THE GARDEN (1957, 5 min, 16mm) NOTEBOOK (1962-63, 10 min, 16mm, silent) ARABESQUE FOR KENNETH ANGER (1961, 4 min, 16mm) EYE MUSIC IN RED MAJOR (1961, 4 min, 16mm, silent) GO! GO! GO! (1962-64, 12 min, 16mm, silent) LIGHTS (1964-66, 7 min, 16mm, b&w, silent) ANDY WARHOL (1965, 17 min, 16mm) "Marie Menken pioneered the radical transformation of the handheld, somatic camera into a formal matrix that would underpin an entire work in the films she made between 1945 and 1965. […] The extraordinary cinematic style that I have been calling Menken's somatic camera has been her most influential gift to the American avant-garde cinema. It is an embodiment of the Emersonian invention of a pictorial air, the spiritual emancipation automatically brought about by 'certain mechanical changes, a small alteration in our local position.' It is also analogous to the equally Emersonian somatic theory of poesis Charles Olson was developing at nearly the same time: his emphasis on breath and proprioception corresponds to Menken's identification of the camera with her body in motion and her cultivation of the respiratory and nervous agitation of the handheld camera even in its quietest moments." -P. Adams Sitney, EYES UPSIDE DOWN Total running time: ca. 65 min. 1/26 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=1a3befd254&e=f36020cad0> 6:30 PM, 32 Second Avenue THE EARLY FILMS OF PENNY SLINGER Penny Slinger (b. 1947, London) is a Los Angeles-based artist who has been exploring the connection between eroticism, mysticism, feminism, and art for over fifty years. During her studies at the Chelsea College of Art in late 1960s London, Slinger became interested in the world of dreams and myths, which deeply influenced her own practice, mining Surrealist imagery to plumb the depths of the feminine psyche and subconscious. This led her to discover the toolkit of Tantra and to examine and express the more liberated realms of superconsciousness. Using a range of media including photographic collage, 16mm film, and sculpture, Slinger's lexicon of symbols examines how a woman is seen and how she sees herself - woman as goddess, woman as object of desire, and other lenses. In these works Slinger presents the body (often her own) and its parts as vehicles for expressing states of consciousness. Her bodies are not passive, but instead actively investigate all aspects of the psychological and sensual worlds of the awakening feminine. In these ways Slinger boldly unveils the taboo, the transgressive, the sacred, and the profane. PENNY SLINGER IN PERSON! The first four titles presented here are short films created by Slinger in 1969, some directly related to her thesis presentation at Chelsea College of Art. Incorporating her visual art and other projects of that time - drawings, sculpture, installation, and performance - these short works explore the young artist's burgeoning interests in dreams, myths, the feminine psyche, and the patriarchal consumption of the female form. Shot in a derelict mansion in Northamptonshire, LILFORD HALL is a collaboration with filmmaker Peter Whitehead, featuring Slinger and Suzanka Fraey. Never finished, the uncut footage documents the artists experimenting with themes of the unconscious and the metaphysical, imagery that would later serve as material for the hauntingly surreal series of collages in Slinger's seminal publication, "An Exorcism" (1977). Slinger stated of this series, "the images and accompanying captions present a record of the 'unraveling' of the Self from dualistic limitations and the projections of others. It sets an example for psychic confrontation and transformation." 1969 EXHIBIT (1969, 3.5 min, 16mm-to-digital, silent) MOUTHS AND MASKS (1969, 5 min, 16mm-to-digital, silent) STAIRS, TUNNELS AND MIRRORS (1969, 11 min, 16mm-to-digital, silent) MAX ERNST, UNE SEMAINE DE BONTE (1969, 12.5 min, 16mm-to-digital, silent) LILFORD HALL (1969, ca. 30-min excerpt, 16mm-to-digital, silent) Total running time: ca. 65 min. 1/26 New York, NY: Anthology Film Archives http://www.anthologyfilmarchives.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=93ccd590f3&e=f36020cad0> 8:00 PM, 32 Second Avenue EC: ROBERT NELSON THE GREAT BLONDINO (1967, 42 min, 16mm. Preservation print, with thanks to the Academy Film Archive.) "The original Blondino was a 19th-century tightrope artist who among other feats crossed Niagara Falls trundling a wheelbarrow. In this film, Nelson sees Blondino as a metaphor for those who still try. Too subtle to be allegorical, the picture is in the shape of a quixotic search in which the goal is the journey and the means is the end." -MUSEUM OF MODERN ART "It is…difficult to get at the rich visual texture that is the film's most striking attribute. Long stretches are concerned with Blondino's visions, dreams, and dreams within dreams. The film unfolds in brief recurring patterns of imagery. Even the more straightforward sections are dense with interpolated newsreel and TV commercial footage, visual gags, and homemade special effects. The net effect is funny, seamless, and elusive." -J. Hoberman, "A Filmmakers Filming Monograph" & BLEU SHUT (1970, 33 min, 16mm. Preservation print, with thanks to the Academy Film Archive.) "Boat-name quizzes, dogs, cuts from Dreyer's JOAN OF ARC in montage with a sultry whore, a car running up a ramp and crashing, pornography, a passionate embrace by a thirties hero and heroine; all somehow implicating Dreyer and Joan in the perverse synthesis of sex and technology. What's happening here? Basically Nelson is leaving things unsaid." -Leo Regan Total running time: ca. 80 min. SUNDAY, JANUARY 27, 2019 1/27 Brooklyn, NY United States: UnionDocs http://www.uniondocs.org <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=21441f5ee2&e=f36020cad0> 7:30 PM, 322 Union Ave ORGANIZED ACTIVITIES We’re thrilled to welcome filmmaker Nellie Kluz all the way from the Windy City to present ORGANIZED ACTIVITIES, a program comprised almost entirely of NYC Premieres of her short documentary works. Vadim Rizov praised her documentary style in Filmmaker Magazine with the observation that ”Kluz’s inquisitive eye captures glimpses of often kitschy or strange events without abandoning well-meaning curiosity.” She has been a Flaherty Seminar Fellowship, and was the recipient of the Princess Grace Film Award and a Rooftop Films Short Film Grant, and as well as named one of Filmmaker Magazine’s recent “25 Faces of Independent Film”. This program of her short videos explores collective belief systems and fantasies, and the infrastructures that support them. They look for loopholes: in the flow of time; the economic grind; and prosaic reality. Emphasizing personal contact and experiential knowledge, these works come out of open-ended encounters with various kinds of believers and myth-makers. In these films, Kluz considers the appeal of ritualized spaces and contact zones for people with competing ideologies. The camera pays close attention to the textures of faces, voices, and surfaces, using observational documentary approaches to carefully grasp and re-arrange details. Kluz will be in attendance and in conversation with collaborator LJ Frezza following the program. ------------ PROGRAM ------------ MUST SEE Nellie Kluz, 2016, 13 min., digital. All over America, rain or shine, pilgrims journey together. ALL THE WITCHES Nellie Kluz, 2015, 4.5 min., digital Witches, cinematographers and other members of the crew pass a night together in the woods. GOLD PARTY Nellie Kluz, 2013, 16 min Gold is a commodity that thrives in uncertain economic climates. There’s a harvest every day as scrap dealers comb through excess metal from flusher times, buying up discarded gold to re-sell to refineries. VIDEO FOR DEREK Nellie Kluz, 2015, 2 min The Real Story SERPENTS AND DOVES Nellie Kluz, 2018, 30 min Behind the scenes at a Christian passion play staged in the Ozark mountains. A dramatization of the last days and resurrection of Jesus Christ, the play is a decades-long evangelizing project, tourist attraction, and spectacle – part religious ritual, part community theater. In a space where associations are swirling, the cast and crew speak about their experiences, memories, and fears. runtime: 94 min. 1/27 Los Angeles, California: Filmforum http://www.lafilmforum.org/ <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=5ede9efd34&e=f36020cad0> 7:30 pm, Spielberg Theatre at the Egyptian, 6712 Hollywood Blvd. PAT O’NEILL: WHERE THE CHOCOLATE MOUNTAINS Pat O’Neill in person! Filmforum is delighted to host a return screening of Pat O’Neill’s latest film, Where the Chocolate Mountains, which has only played once before in Los Angeles. “A tour de force of digital art, Where the Chocolate Mountains (2015, 55 min.) is a major new opus from Pat O’Neill, one of the all-time guiding lights of the Los Angeles avant-garde, whose pioneering use of the optical printer marked a creative breakthrough in composite image-making in cinema. Continuing in the vein of his renowned 35mm epics Water and Power (1989), Trouble in the Image (1996) and Decay of Fiction (2002), the founding CalArts faculty member combines haunting cinematography of the Chocolate Mountains along the border between California and Arizona—long used as a bombing range by the military—with footage shot in L.A., Mexico and Prague, intimate self-portraits, and recurring graphic motifs to create irrepressible, stunningly detailed streams of multilayered sight and sound.” – Steve Anker, REDCAT Tickets: $10 general; $6 for students/seniors; free for Filmforum members. Available in advance from Brown Paper Tickets at https://chocolatemountains.bpt.me or at the door. For more information: www.lafilmforum.org <http://www.lafilmforum.org> or 323-377-7238. _____ Let us know about your alternative film/video event! Enter your event announcements by going to the Flicker Weekly Listing Form <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=3388d4fbc7&e=f36020cad0> . To receive the weekly listing via email, send a message to Subscribe <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=772fc118f0&e=f36020cad0> . <https://hi-beam.us9.list-manage.com/track/click?u=e4e99825c1d97f8de6eaffad3&id=2eddab736e&e=f36020cad0>
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