aftermath full album rolling stones
The Rolling Stones - Aftermath (US) (1966 Full Album) - YouTube. "[16], Aftermath is the first Stones LP to have all-original material by the group. "[115][nb 9], Some feminist writers defended Jagger's stance in "Under My Thumb". "High and Dry" expresses a cynical outlook on a lost romantic connection, while "Under My Thumb", "Out of Time" and "Think" show how "a man's revenge on his mistress (or perhaps wife) becomes a source of real pleasure". [62] While songs such as "Stupid Girl" and "Under My Thumb" may be misogynistic, they are also interpreted as dark representations of the narrator's hateful masculinity. [160][nb 13] Young believes its reputation as a work on-par with Rubber Soul is undeserved since the quality of its songs is inconsistent, the production is "relatively straight" and the assorted stylistic approach ensures it lacks the unifying aspect of the period's other major LPs. Misogyny, as on "Under My Thumb", "may be just a tool for restoring the fragile narcissism and arrogance of the male narrator", muses the music scholar Norma Coates. [158] In their book The Beatles vs. In the US, however, it was released two months later, on 20 July, by London Records. Aftermath is a studio album by the English rock band the Rolling Stones. [58] Davis likens "Lady Jane" to a Tudor love song with lyrics apparently inspired by Henry VIII's love letters to Lady Jane Seymour. [71] According to Perone, "I Am Waiting" suggests paranoia on the narrator's part and that societal forces are the cause, yet the song presents a degree of resignation in comparison to the album's other commentaries on class- and consumer-focused society. It may also be read "as part of a dark male fantasy world, perhaps constructed as a means of dealing with loneliness caused by a broken relationship or a series of broken relationships with women. The album is considered an artistic breakthrough for the band, as it is the first Stones album to consist entirely of Mick Jagger/Keith Richards compositions. Influenced in part by intense love affairs outside the band and their demanding touring itinerary, Jagger and Richards wrote the album around psychodramatic themes of love, sex, desire, power and dominance, hate, obsession, modern society and rock stardom. [118][nb 10] In a 1973 piece for Creem, Patti Smith recounted her response to the album in 1966: "The Aftermath album was the real move. He described "Goin' Home" as a "fantastic R&B improvisation" and said that "Lady Jane", "Under My Thumb" and "Mother's Little Helper" have the potential to be great singles. Liste… In contemporaneous listings of the "coolest" albums, Rolling Stone and GQ ranked it second and 10th, respectively. It stayed on the chart for 28 weeks. [162] Berman also singles out this aspect in her otherwise positive estimation of Aftermath, saying it "indulged the Stones' misogyny on the bitchy diss track 'Stupid Girl' and tamed a shrew on 'Under My Thumb,' a nasty piece of work". [112][nb 8] In the cultural journal New Left Review, Alan Beckett wrote that the band's lyrics could only be fully appreciated by an audience familiar with modern city life, particularly London. [157] Colin Larkin, who rates the British version higher in his Encyclopedia of Popular Music (2011), describes Aftermath as "a breakthrough work in a crucial year" and an album that demonstrates a flexibility in the group's writing and musical styles as well as "signs of the band's inveterate misogyny". [155], In The Rolling Stone Illustrated History of Rock & Roll (1976), Christgau names Aftermath the first in a series of Stones LPs – including Between the Buttons, Beggars Banquet (1968) and Let It Bleed (1969) – that stand "among the greatest rock albums". The magazine's reviewer applauded its focus "on big beat, power and interesting 'sounds'", noting how the use of dulcimer, sitar, organ, harpsichord, marimba and fuzz boxes creates an "overwhelming variety of atmospherics and tones". In 1965, the Rolling Stones' popularity increased markedly with a series of international hit singles written by the band's lead singer Mick Jagger and their guitarist Keith Richards. [100], In the UK, Aftermath topped the Record Retailer LPs chart (subsequently adopted as the UK Albums Chart) for eight consecutive weeks, replacing the soundtrack album for The Sound of Music (1965) at number 1. [131] Speaking on the cultural impact of Aftermath's British release in 1966, Margotin and Guesdon say it was, "in a sense, the soundtrack of Swinging London, a gift to hip young people" and "one of the brightest stars of the new culture (or counterculture) that was to reach its zenith the following year in the Summer of Love". Aftermath is the Rolling Stones trying to find their footing, testing out different sounds (and instruments), while exploring their musical influences, and as a result the album is uneven. : Swinging London and the Invention of Cool, says that, unlike the three previous Stones albums, Aftermath displayed "purpose" in its sequencing and "a real sense that a coherent vision was at work" in the manner of the Beatles' Rubber Soul. The French magazine Rock & Folk included Aftermath in its 1995 list of "The 300 Best Albums from 1965-1995". He played a variety of instruments not usually associated with their music, including sitar, Appalachian dulcimer,[1] marimbas, and Japanese koto, as well as guitar, harmonica and keyboards, though much of the music is still rooted in Chicago electric blues. [2] One of Klein's first actions on the band's behalf was to force Decca Records to grant a $1.2 million royalty advance to the group, bringing the members their first signs of financial wealth and allowing them to purchase country houses and new cars. as their manager's proposed title for the band's March compilation album Big Hits (High Tide and Green Grass), rather than for Aftermath. Style: "[88] On the same day, Time magazine published a feature titled "London: A Swinging City", belatedly recognising the Swinging London phenomenon a year after its peak. [167] The American edition of the album is included in "A Basic Record Library" of 1950s and 1960s recordings published in Christgau's Record Guide: Rock Albums of the Seventies (1981). [51][nb 14] The French retailer FNAC's 2008 list named Aftermath the 183rd greatest album of all time. two faced woman. [146] In a retrospective review for AllMusic, Unterberger applauds the band's use of influences from Dylan and psychedelia on "Paint It, Black", and similarly praises "Under My Thumb", "Lady Jane" and "I Am Waiting" as masterpieces. Jagger was among the pop musicians and other leading creative figures of contemporary London that Bailey included in his collection of monochrome photographic portraits, Margotin and Guesdon give a date of 20 June for, "Out of Time" and "Take It or Leave It" remained unreleased in the US until June 1967, when they were included on the London Records album, Anderson used the pseudonym in his brief endeavor into rock criticism, which the sociologist Gregory Elliott later described as a prudent move because Anderson's preferences – for the Stones over, In 1970, Paglia defended "Under My Thumb" in an exchange with members of the. [6] With the success of the Jagger-Richards-penned singles "(I Can't Get No) Satisfaction" (1965), "Get Off of My Cloud" (1965) and "19th Nervous Breakdown" (1966), the band increasingly rivalled the Beatles' musical and cultural influence. [84], For the American edition's cover, David Bailey took a colour photo of Jones and Richards in front of Jagger, Watts and Wyman, and set it against a blurred black background. Aftermath has since been considered the most important of the Stones' early, formative music and their first classic album, frequently ranking on professional lists of the greatest albums. [43] Musical tones and scales from English lute song and Middle Eastern music feature among Aftermath's riff-based rock and blues (in both its country and urban forms). [159], The pop culture author Shawn Levy, in his 2002 book Ready, Steady, Go! [84] The back of the LP featured four black-and-white photos of the group taken by Jerry Schatzberg at his photographic studio in New York in February 1966. [89] The British edition of Aftermath featured a run-time of 52 minutes and 23 seconds, the longest for a popular music LP at that time. after 40 years or so Aftermath remains one of the greatest Rolling Stones' album. [92] The band began their fifth North American tour on 24 June in support of Aftermath; it was their highest-grossing tour yet and, according to Richards, the start of a period of rapprochement between Jones, Jagger and himself. [52] The first four songs of Aftermath's US edition – "Paint It, Black", "Stupid Girl", "Lady Jane" and "Under My Thumb" – are identified by the music academic James Perone as its most explicit attempts to transcend the blues-based rock and roll conventions of the Stones' past. Listen free to The Rolling Stones – Aftermath (Mother's Little Helper, Stupid Girl and more). Marketed as the bad boy counterparts to The Beatles, their music - R&B and blues covers - played second fiddle to their image, their overt sexuality and their headline grabbing conduct, all mostly cooked up by manager and press manipulator Andrew Loog Oldham. [104] Adding to Jagger and Richards' success as writers, Chris Farlowe topped the UK charts with his Jagger-produced recording of "Out of Time" in August. Tiptoethrutheminefield 18:50, 25 April 2017 (UTC) [138] The music historian Nicholas Schaffner, in The British Invasion: From the First Wave to the New Wave (1982), acknowledges the Stones on the album for being the first recording act to engage themes of sex, drugs and rock culture "with both a measure of intelligence and a corresponding lack of sentimentality or even romanticism". [164] In contemporaneous rankings of the greatest albums, the Dutch OOR, the British Sounds and the Irish Hot Press placed it as 17th, 61st and 85th, respectively. [101] Aftermath proved the fourth highest-selling album of 1966 in the UK, and it also became a top-10 best-seller in the Netherlands. [147] In 1987, it was voted 68th in Paul Gambaccini's book Critics' Choice: The Top 100 Rock 'n' Roll Albums of All Time, based on submissions from an international panel of 81 critics, writers and broadcasters. Aftermath (The Rolling Stones album) → Aftermath (Rolling Stones album) All About You (The Rolling Stones song) ... but that does not change the fact that the band's full correct title has a capitalized "The". "[34], During the recording sessions, Richards and Oldham dismissed Jones' interest in exotic instrumentation as an affectation. [122] Writing in Esquire in 1967, Robert Christgau said that the Stones' records present the only possible challenge to Rubber Soul's place as "an album that for innovation, tightness and lyrical intelligence" far surpassed any previous work in popular music. The Rolling Stones Aftermath (1966), "A Basic Record Library: The Fifties and Sixties", "Round and Round: The Sound of The Rolling Stones Part 2", "Everything's Awesome and Camille Paglia Is Unhappy! Along with Jones' instrumental textures, the Stones incorporated a wider range of chords and stylistic elements beyond their Chicago blues and R&B influences, such as pop, folk, country, psychedelia, Baroque and Middle Eastern music. [7] The Stones' outspoken, surly attitude on songs like "Satisfaction" alienated the establishment detractors of rock music, which, as the music historian Colin King explains, "only made the group more appealing to those sons and daughters who found themselves estranged from the hypocrisies of the adult world – an element that would solidify into an increasingly militant and disenchanted counterculture as the decade wore on. [28] In the recollection of the engineer Denny Bruce, the songs often developed through Nitzsche organising the musical ideas on piano. In 1966, inspired by the formidable women around them, driven by the twin engines of ambition and drugs, the Rolling Stones continued a run of visionary hit singles and began to release albums that stood as crucial works of the era. [170], Based on Aftermath's appearances in professional rankings and listings, the aggregate website Acclaimed Music lists it as the 34th most acclaimed album of the 1960s and the 155th most acclaimed album in history. [141] Summarising Aftermath's impact in 2017, the pop culture writer Judy Berman describes "Paint It, Black" as "rock's most nihilistic hit to date" and concludes that, "with Jones ditching his guitar for a closetful of exotic instruments and the band channelling their touring musicians' homesickness on the record's 11-minute culminating blues jam, 'Goin' Home,' they also pushed rock forward. He also notes how Richards' guitar riff and solo on the latter track are "minimalistic, in a fairly low tessitura and relatively emotionless", compared to previous Stones hits like "(I Can't Get No) Satisfaction", "Get Off of My Cloud" and "19th Nervous Breakdown". [29] Wyman was later critical of Oldham for nurturing Jagger and Richards as songwriters to the exclusion of the rest of the band. This was their meanest and endearing approach in the scene where they began to move away from the British invasion movement and kicked it off with what would become a killer rock album blistering with blues-rock songs. [35] According to the music journalist Barbara Charone, writing in 1979, everyone connected with the Stones credited Jones for "literally transforming certain records with some odd magical instrument". This is one of my favorite Rolling Stones albums. [85] Jones was vocal in his dislike of Oldham's design when interviewed by Melody Maker in April. The sixth American album by the Rolling Stones, a truncated version of the British album of the same name. [134] As Ritchie Unterberger observes, its contemptuous perspective about society and women contributed significantly to the group's reputation as "the bad boys" of rock music. ", adding that: "Anyone who has been around Chelsea or Kensington can put at least one name to this character. Green said the music is unmistakably rock and roll and was especially impressed by Watts' drumming. [31], Jones proved important in shaping the album's tone and arrangements, as he experimented with instruments that were unusual in popular music, such as the marimba, sitar and Appalachian dulcimer. [36] While Nitzsche was shocked at how cruelly they treated Jones, he later said that Jones was sometimes absent or incapacitated by drugs. [24] Among the songs were four tracks issued on singles by the Rolling Stones in the first half of 1966, the A-sides of which were "19th Nervous Breakdown" and "Paint It, Black". [41], According to the musicologist David Malvinni, Aftermath is the culmination of the Rolling Stones' stylistic development dating back to 1964, a synthesis of previously explored sounds from the blues, rock and roll, rhythm and blues, soul, folk rock and pop ballads. [18] According to Steven Hyden, Jagger's songwriting explores "sex as pleasure, sex as power, love disguised as hate and hate disguised as love". The plan was abandoned after Jagger met the potential director, Nicholas Ray, and disliked him. Aftermath, an Album by The Rolling Stones. [96] "Mother's Little Helper" was a Hot 100 hit as well, peaking at number 8 on the chart. The Rolling Stones: Sound Opinions on the Great Rock 'n' Roll Rivalry (2010), Jim DeRogatis and Greg Kot agree that Aftermath is "the first really great Stones album beginning to end", with DeRogatis especially impressed by the British edition's first half of songs. Instead, they say, the record features an original style of art rock that resulted from Jones' musical experimentation and draws not only on the blues and rock but also pop, R&B, country, Baroque, classical and world music. Released 15 April 1966 on Decca (catalog no. ... One of my favorite Rolling Stones albums. It is named in Greil Marcus' 1979 anthology Stranded as one of his "Treasure Island" albums, comprising a personal discography of rock music's first 25 years. It remained as the number one album for eight weeks following its release. According to Jagger, Richards was writing a lot of melodies and the group would perform them in different ways, which were mainly thought out in the studio. It reminds me of being on road trips with my family when I was a kid. … It was almost as if women in all their contradictory humanity symbolised the conditions of life that were the ultimate target of the Stones' anger. [44] Schaffner suggests "Goin' Home" anticipated the trend of extended musical improvisations by professional rock bands, while Rob Young of Uncut says it heralded "the approaching psychedelic tide" in the manner of Rubber Soul. [154] The Guardian's Alexis Petridis names Aftermath the Stones' fifth best record, while Graeme Ross of The Independent ranks it sixth and suggests it stands on a level with other benchmark LPs from 1966, including Blonde on Blonde, Revolver and the Beach Boys' Pet Sounds. Reviewing the reissues for Entertainment Weekly, David Browne recommends the UK version over the US, while Tom Moon, in his appraisal in The Rolling Stone Album Guide (2004), prefers the US edition for its replacement of "Mother's Little Helper" with "Paint It, Black" and highlights the clever lyrics of Jagger. then he raises her as queen. $59.90 New---- Used; AC/DC Box Set by AC/DC (CD, 2006, 17 Disc-Set, Alberts) What a song ... stones music is screwing music."[120]. Wyman recalled that Nitzsche and Jones would pick up instruments that were in the studio and experiment with sounds for each song. [4] According to the biographer Victor Bockris, through Klein's involvement, the concerts afforded the band "more publicity, more protection and higher fees than ever before". But for anyone willing to discard his preconceptions, Aftermath is a great experience, a distillation of everything that rock and blues are about. [125] It was an inaugural release of the album era, during which the LP replaced the single as the primary product and form of artistic expression in popular music. [3] Their October–December 1965 tour of North America was the group's fourth and largest tour there up to that point. Flowers is the second compilation album by the Rolling Stones, ... and the other two of which were recorded in December 1965 during the first lot of Aftermath sessions. [72], During the recording, Oldham wanted to title the album Could You Walk on the Water? [18] Shrimpton was devastated by the lyrics to "Out of Time", in which Jagger sings, "You're obsolete, my baby, my poor old-fashioned baby". [107] It was released just months before Bob Dylan's Blonde on Blonde and the Beatles' Revolver, albums by artists that Jagger and Richards had received comparisons to while Oldham was promoting the band's artistic maturation to the press. "[8] Like other contemporary British and American rock acts, with Aftermath the Stones sought to create an album as an artistic statement, inspired by the Beatles' achievements with their December 1965 release Rubber Soul – an LP that Oldham later described as having "changed the musical world we lived in then to the one we still live in today". 2), Time Waits for No One: Anthology 1971–1977, Jump Back: The Best of The Rolling Stones, Rolled Gold: The Very Best of the Rolling Stones, Rolled Gold+: The Very Best of the Rolling Stones, Live at the Checkerboard Lounge, Chicago 1981, https://en.wikipedia.org/w/index.php?title=Aftermath_(Rolling_Stones_album)&oldid=1014065140, Short description is different from Wikidata, Certification Table Entry usages for United Kingdom, Pages using certification Table Entry with shipments figures, Certification Table Entry usages for United States, Pages using certification Table Entry with shipments footnote, Wikipedia articles with MusicBrainz release group identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 25 March 2021, at 00:05. Format: CD, Album, Reissue, Remastered, Stereo. The rest of the album tracks either appeared as singles or had been omitted from the American versions of Aftermath … [23] Charlie Watts, the group's drummer, told the press that they had completed 10 songs during the first block of sessions; according to Wyman's book, at least 20 were recorded in March. [42] Margotin and Guesdon go further in saying the album shows the Stones to be free from influences that had overwhelmed their earlier music, specifically the band's Chicago blues roots. [111], While the lyrics' derisive attitude to women offended some listeners, this aspect received little attention in the British pop press or complaints from female fans. Up until the release of ‘Aftermath’, the Rolling Stones were a phenomenon. [67] As Greil Marcus observes, the songs' protagonists can be interpreted as London bohemians severely disdainful of bourgeois comfort, positing "a duel between the sexes" and weaponizing humour and derision. [50], Citing individual songs, Rolling Stone describes Aftermath as "an expansive collection of tough riffs ('It's Not Easy') and tougher acoustic blues ('High and Dry'); of zooming psychedelia ('Paint It, Black'), baroque-folk gallantry ('I Am Waiting') and epic groove (the eleven minutes of 'Goin' Home')". No ratings or reviews yet. You got really cut off. [126] As with Rubber Soul, the extent of Aftermath's commercial success foiled the music industry's attempts to re-establish the LP market as the domain of wealthier, adult record-buyers – a plan that had been driven by the industry's disapproval of the uncouth image associated with Jagger and their belief that young record-buyers were more concerned with singles. It was released in the United States in June 1966 by London Records as their sixth American album. Aftermath is one of the final albums to benefit from the unique instrumental forays provided by Brian Jones. "[12] According to Nitzsche, Jones deserved a co-writing credit for "Under My Thumb", which Nitzsche recalled as being an unoriginal-sounding three-chord sequence until Jones discovered a Mexican marimba left behind from a previous session, and transformed the piece by providing its central riff. All tracks are written by Mick Jagger and Keith Richards. "[117], Aftermath is often considered the Rolling Stones' first classic album. Its subversive music solidified the band's rebellious rock image while pioneering the darker psychological and social content that glam rock and British punk rock would explore in the 1970s. The influence of a powerful new female energy on the Stones was undeniable … At the same time, it was the era of ", A 20-second sample of the song, featuring. [30] The bassist also complained that "Paint It, Black" should have been credited to the band's collective pseudonym, Nanker Phelge, rather than Jagger–Richards, since the song originated from a studio improvisation by himself, Jones and Watts, with Jones providing the melody line. Club, Hyden describes it as "a template for every classic Stones album that came afterward", crediting its "sarcastic, dark and casually shocking" songs with introducing themes Jagger would explore further in the future through a "complex, slippery persona" that allowed him to "be good and evil, man and woman, tough and tender, victim and victimiser". [45] Jagger echoes these sentiments in a 1995 interview for Rolling Stone, regarding it as a stylistically diverse work and milestone for him that "finally laid to rest the ghost of having to do these very nice and interesting, no doubt, but still, cover versions of old R&B songs – which we didn't really feel we were doing justice, to be perfectly honest". "[20] Billboard's reviewer predicted that Aftermath would become another hit for the Stones, citing "Paint It, Black" as the focal point of the hard rock album and revering Oldham for his production. Aftermath (Rolling Stones album) is a featured article; it (or a previous version of it) has been identified as one of the best articles produced by the Wikipedia community.Even so, if … [51] Jon Savage also highlights the stylistic diversity of the album, saying that it "range[s] from modern madrigals ('Lady Jane'), music-hall ragas ('Mother's Little Helper'), strange, curse-like dirges ('I Am Waiting') and uptempo pop ('Think') to several bone-dry blues mutations ('High and Dry', 'Flight 505' [and] 'Going Home')". [136] The NME's Jazz Monroe writes that Aftermath simultaneously disowned and reimagined rock tradition and forever elevated the Stones as equals to the Beatles. [127] In Malvinni's opinion, Aftermath was "the crucial step for the Stones' conquering of the pop world and their much-needed answer" to Rubber Soul, which had similarly embodied the emergence of youth culture in popular music during the mid-1960s. [151] According to Stephen Davis, its standing as the first wholly Jagger–Richards collection makes it, "for serious fans, the first real Rolling Stones album". "Stupid Girl", which assails the "supposed greed and facile certitudes of women", is speculated by the writers to indirectly criticise Shrimpton. [78] Oldham had also proposed the idea of producing a deluxe gatefold featuring six pages of colour photos from the Stones' recent American tour and a cover depicting the band walking atop a California reservoir in the manner of "pop messiahs on the Sea of Galilee", as Davis describes. [11] The group dynamics were also affected by some of the band members' romantic entanglements. It was released in the United Kingdom on 15 April 1966 by Decca Records and in the Unit [82] Hassinger wrote in part: "It's been great working with the Stones, who, contrary to the countless jibes of mediocre comedians all over the world, are real professionals, and a gas to work with. The UK release featured a run-time of more than 52 minutes, the longest for a popular music LP up to that point. [69], Both "Mother's Little Helper" and "What to Do" connect modern society to feelings of unhappiness. [20][nb 1] The recording sessions took place at RCA Studios in Los Angeles on 6–10 December 1965 and, following promotion for their "19th Nervous Breakdown" single and an Australasian tour, on 3–12 March 1966. [93] On 2 July, London released the American edition of the album with "Paint It, Black" replacing "Mother's Little Helper", which was released the same day in the US as a single with "Lady Jane" as the B-side. Buy Aftermath Although it was their fourth album released in Britain and their sixth album released in America, Aftermath was really the second “true” album by The Rolling Stones, following 1965’s Out Of Our Heads. It's Brian Jones at his peak and even though he didn't have a single writing credit his influence is everywhere: marimbas, sitar, dulcimer- he really colors the albums and he elevates the band in a way that never happened again. According to Margotin and Guesdon, the photo was intentionally blurred as "an allusion to the psychedelic movement" and "corresponds better to the Stones' new artistic direction". [135], Aftermath frequently appears on professional rankings of the best albums. [59] Some listeners assumed the song was about Jagger's high-society friend Jane Ormsby-Gore, daughter of David Ormsby-Gore, 5th Baron Harlech. [55][nb 3] Savage views such songs as evoking "the nastiness of the Rolling Stones' constructed image" in lyrical form by capturing Jagger's antipathy towards Shrimpton, whom he describes as a "feisty upper-middle-class girl who gave as good as she got". Aftermath is the fourth British album by The Rolling Stones released on April 15, 1966. Aftermath, released in April 1966 by Decca Records, is the fourth British studio album by the Rolling Stones. [124] While suggesting Jagger and Richards rank second behind John Lennon and Paul McCartney as composers of melody in rock, Christgau still considered it the best album in any category and wrote: Rock aficionados class the Stones with the Beatles, but perhaps they haven't impressed a wider audience because their devotion to the music is pure: the Hollyridge Strings will never record an album of Jagger–Richard melodies. [153] Writing for Uncut, Ian MacDonald recognises it as an "early peak" in the Stones' career, and Jody Rosen, in a "Back Catalogue" feature for Blender, includes it as the first of the group's "essential" albums. ("Under My Thumb", "Flight 505", "It's Not Easy"). [84] The album's songs also proved popular among other recording artists, "Mother's Little Helper", "Take It or Leave It", "Under My Thumb" and "Lady Jane" all being covered within a month of Aftermath's release. [80], The front cover photo for Aftermath's British release was taken by Guy Webster and the cover design was done by Oldham, credited as "Sandy Beach". It 's not Easy '' ) was briefly delayed by controversy over the proposed packaging and title – Could Walk! Of Aftermath 's blues-oriented rock elements foreshadowed the blues-rock music of the Rolling Stones number on! Years or so Aftermath remains one of the most artistically formative of the same.. 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