Costa Mesa, California
Orange County Fair
Pacific Amphitheatre
July 27, 2003

[John Lynch], [Michael Smith], [Christian Ter-Nedden], [Tim Whittome], [Howard Mirowitz]

Review by John Lynch

Well, this was my big 23rd time seeing the man, and first time seeing
Freddie at the ax.  Like the antelope valley fair show some time ago, the
feel was strange and the security tighter than tight.  I saw a man
escorted out for lighting up in the middle of the gig and I was unable to
take my usual walk around the venue to see the best fans in the world
digging it.  But after all it was Orange County.

The set was tight and Bob seemed light and into it.  Although he took a
peculiar leave of absence in the middle of Things Have Changed which had
Tony staring over in bewilderment.  Bob strutted back out just in time to
sing the last verse. I agree with some earlier reviews want that guitar
around his neck at some point!  Whether it be health reasons (I heard
arthritis) or just a change - I think the jams are lost without  Bob in
the middle holding the ax.  

The crowd didn't seem to jive until the 6th song of the night Highway
(that will always get them off their ass - Republican or not) .  Bob
seemed to go slow fast slow fast for he followed that up with It Ain't Me
Babe is his typical rising octaves at the end of every sentence.  Then
Cold Irons Bound.  Freddie seems a little held back compared to Charlie
and he is still getting used of the bands sometimes whimsical breaks at
times.  When he was on he was on, but like I said it takes a while to warm
up to someone new coming into a kick ass combination.

Summer days got everyone dancing again after a strange Moonlight that
seemed rushed.  The two usual strong encores and the crowd was on their

I try to make it a point to bring people to the shows who have never seen
the magic.  Tonight my friend leaned to me at the end of the show and
said, "He's still rocking."  Yes, Tony, he is still rocking.

24 will be the northhampton show in August.  I hope the East coast makes
Bob plug in an electric one more time.


Review by Michael Smith

The day after attending Bob's lackluster performance in Paso Robles, my
traveling companions and I saw Masked and Anonymous in Irvine, then headed
over to Costa Mesa for yet another fair, where we ate some more bad food
while waiting for the show to begin. And what a show it was! The Bob of
the night before was gone, replaced by another Bob, some kind of torch
singer who confidently sang his heart out on six (six!) of his best slow,
moving ballads: I'll Remember You, Make You Feel My Love, It Ain't Me,
Babe, I'll Remember You, Standing in the Doorway and Moonlight. The show
started off on the right foot with a very snappy Tombstone Blues, followed
by an achingly beautiful I'll Remember You. This was great to hear as the
M&A version had been stuck inside my head all day. Make You Feel My Love,
in the fourth slot, provided another early highlight when Bob began with a
great harp intro in which he actually played the song's melody pretty
faithfully. There was more great harp between the verses as well. The
whole show was solid but the other highlights for me were: Cold Irons
Bound - with the same "false ending" as in Kelseyville. Incredibly sung
with Bob roaring out the words like some kind of wrathful god. It Ain't
Me, Babe - another beautiful version. I had no clue what this was when it
started because Larry was playing the cittern without a capo and it
sounded very different. Then, during the middle of the song, the guitar
tech came out and clamped one down on the neck. It didn't detract from the
performance at all though because Bob sang this wonderfully from beginning
to end. I Believe in You - an amazing rendition where I felt like Bob
recaptured the spirit of '79 with his singing (especially the way he drew
out some of the words, like "heeeeeaaaaaaart"). This made my girlfriend
cry. What else can I say? Standing in the Doorway - the new arrangement
from last tour. I wasn't crazy about the mp3s I had heard of this (it
sounded a bit awkward to me - as if the melody Bob was singing didn't go
with the music the band was playing) but I sure was when I heard it in
person. Bob sang this very slowly and deliberately in that great low voice
and nailed down all of the words. Moonlight - this song is just getting
better and better live and this was the best version I've heard yet. Bob's
phrasing was very playful and the audience really egged him on. His
keyboard playing was great on the instrumental break too: he played these
ascending block chords that gave me a feel for how he may have composed
the music for this gem of a song. During the band intros, Bob told the
"pig joke" and it was the best delivery of a joke I've ever heard him
give. This was partially due to the fact that he played the keyboard
during a pregnant pause between each sentence: "We played at a fair last
night and Freddy bought a pig" . . . plays a few notes . . . "I said,
'Freddy, where are you going to keep him?'" . . . plays a few notes . . .
"He said, 'Under my bed," . . . plays a few notes . . . "I said, 'But,
Freddy, what about the smell?'" . . . plays a few notes . . . "He said,
'Oh, I'm sure he'll get used to it.'" He also introduced George as "the
best drummer . . . on this stage" but then added, "probably the best
drummer in _any_ band." To borrow a phrase from the M&A soundtrack liner
notes, to see Dylan in Costa Mesa was to witness "a master in remarkable
form." Catch this tour if you can. Next stop for me: Joliet


Comments by Christian Ter-Nedden

Fellow reviewer John Lynch already mentioned Bob's curious absence during
Things Have Changed. Another interesting aspect was that George Receli
seemed to be doing something wrong during various songs, and Dylan was
looking over at him several times. Whenever that happened, Tony Garnier
would come closer to the drum kit, face George and guide him somehow. Just
an observation, I may be wrong here. Anyway, this started to happen during
Things... and in my vivid imagination, Dylan retreated backstage to
communicate that George be fired on the spot... (I said "vivid

Other than that, as the L.A. Times reviewer pointed out, Dylan was
obviously aware that he was at a county fair, sharing a corny joke about
Freddie Koella having won a pig and now having to get used to its smell.
(There were pigs in abundance not far from the show...). In the middle of
this rather large fair, the amphitheater was sold out with people outside
clamoring for spare tickets. And Dylan was loving every minute of this
show. I have seen him eight times so far (in Europe) and it was probably
the show where I felt it the most why he keeps performing - he's having
far too much fun to retire. The set was varied and interesting, focusing
strongly on Love & Theft and Time Out of Mind with a few old hits strewn
in for good measure. Definitely not a Greatest Hits set. 

I loved the new arrangements for Standing in the Doorway and Cold Irons
Bound. There were a variety of ballads: I'll Remember You, Make You Feel
My Love, Moonlight - all seemed to fit very well into the idea of an
entertainer, not an icon, doing his job really well for the audience of a
county fair. It was Self Portrait and Nashville Skyline Bob many years
later - not The Times They Are A-Changin' Bob. The instrumentation (Bob
stayed on piano throughout) underlined this - we got a fair bit of "I love
Jerry Lee Lewis"-Bob, too! This was clearly in evidence from Tombstone
Blues onwards, particularly in Summer Days and Tweedle Dum. 

Another observation: this was the first Dylan concert I can recall where
the sound was crystal clear and the whole band including Bob totally
coherent from the first second. In my experience from 1991-2000, the first
two pieces are really warm-ups for the fixed third song (which doesn't
change from show to show over a longer period of time) and during song
4the show really gets underway. Not so this night - everything was spot on
and remained tat way. 


Review by Tim Whittome

The amphitheatre adjoined a lively and enjoyable fairground that I could
have easily spent much of a day and evening in if I hadn't been going to
see Bob.  The different experiences of the two side-by-side events
couldn't have been more contrasting.  For example, it wasn't immediately
clear if anyone who was seeing Bob hadn't done anything else than just
parachute straight into the venue without the supposed inconvenience of
walking through a narrow portion of the fairground to get to the concert. 
I decided I must have been one of the few who had probably wandered around
the fair first.  I did spot one other Dylan fan and this was only because
he was wearing a Dylan 1984 tour shirt.  Otherwise I couldn't have guessed
which might offer some kind of clue as to who we all are these days who
visit the shows.  Probably no one could have looked at me and said I
looked like a fan either.  Young and old visit Bob now and probably a lot
of the curious were there too - leaping over from the fair to see a 62
year old legend at the last minute.  

As for the show itself, I have to say that I really enjoyed this one! In
some ways I enjoyed it more than the Wiltern shows from last October -
there's something about outdoor shows where the sound is not as
'in-your-face' with no place to run to as sometimes can ruin indoor shows.
 I had thought last year's Brown Sugar and Summer Days were just a wall of
sound that were not especially enjoyable to experience - they sound better
on the tapes actually!

Bob played piano the entire show and the most amusing moment came when he
disappeared from the stage half way through Things Have Changed which
surprised the crowd but the band played on as if it happens at that spot
every time he plays it.  Bob came back to applause, raised his hand to the
band and went right back into 'this place ain't doin me any good, I'm in
the wrong town'.  A great vintage Dylan moment for me and mesmerizing to

Freddie looks uncomfortable in this outfit but occasionally steps out. He
looks older than Bob but probably isn't while Tony and Larry remained as
professional as always.  They stand about half-a-mile from Dylan on the
other side of the stage.  Bob essentially plays the same piano licks on
every song and you couldn't hear it as well as last October. Occasionally,
he leans on the keyboard for support, other times, just taps it lightly
and reluctantly plays it as if it is a chore to use. Each time he plays
the middle keys and gone sadly is the shimmying across the gamut of sounds
of last October but yet, I enjoyed the heck out of it.  

As for the performances themselves, Tombstone, I Believe In You, It
Ain't Me, Tweedle Dee and Things Have Changed were the highlights.
Honest With Me has done its time and so too has Summer Days and the
encores as well, although Watchtower is still high energy.   Moonlight was
gorgeous and so too were Make You Feel My Love and Standing In The

Dylan also made a funny joke about a pig, complimented his band and that
was largely it for speaking.  He looks great, he sounds great and the good
news too is that the shows don't feel as short as they look on the set
lists.  The band is tight and if the gang doesn't look quite as if it is
enjoying itself as much as it did last fall, it would have been hard to
tell if you hadn't been to the shows at the Wiltern etc.

Tim Whittome


Review by Howard Mirowitz

After staying overnight in Cambria following the Paso Robles concert, my
wife and I got on the road back to Southern California around 11:00 AM,
thinking we would have plenty of time to make the 8:00 show at the Orange
County Fair in Costa Mesa, since the fairgrounds are only 10 minutes from
our house.  But the traffic was even worse than it was on the way up … by
the time we got home it was already 6:45 PM and my wife was literally
car-sick from all the stop-and-go driving.  So I gave her ticket to my
son, Eric, who plays 14 different instruments and loves any kind of music,
and 30 minutes later we headed for the fair.

Again I’d made arrangements to meet lots of Bobcats an hour before show
time in front of the main entrance to the Pacific Amphitheatre, but by the
time we arrived there, I’d missed everyone, just like in Paso Robles …
except for tangled_up_in_bob, Blondie and downthehighway, who were loyally
waiting at the designated rendezvous.  The main entrance, however, was
closed, so we had to walk into the Amphitheatre through the fairgrounds,
and on the way there, we saw an incredibly tall man with graying hair walk
by, accompanied by a young woman who might have been 1/3 his size.  He was
over 7 feet tall and this girl didn’t even come up to the level of his
belly button.  As he loped past us, his date nearly running to keep up
with his long strides, I breathed in excitement to downthehighway, “Holy
shit!  That’s Bill Walton!”  Walton, the former UCLA and Portland
basketball star who’s now a sports announcer and a known Dylan fan,
quickly turned his head back to see who had said his name  (as if he could
avoid being recognized! Hah!), but we didn’t try to introduce ourselves,
discretion being the better part of valor … we also caught a glimpse of
Federica trying to score a ticket.  Don’t know if she got in or not,
though I suspect she probably did.

The Pacific Amphitheatre had just been re-opened after a ten-year legal
battle with the residential neighborhood near it.  They had sued to keep
it closed until the noise level during concerts was reduced to something
they could stand. Formerly the venue’s capacity was about 12-15,000,
because there was a large grass terrace above the seating area,  extending
all the way to the property border, with big speakers mounted so people on
the terrace could hear performances.  To meet the new legal requirements,
the terrace had been closed and the speakers removed.  This reduced the
capacity to about 8,000, and although there were still seats available
when we arrived, by the time the show started the place was pretty well
jammed and buzzing.   We found our seats -- in the front center section,
but well back from the stage -- and discovered that we were right next to
Delia and Marvin again.  We hoped that this show would be better than Paso
Robles the night before as the lights went down and the Copland music came

Bob came on stage to the welcoming roar of the crowd wearing, for once, a
sensible outfit -- a puffy white shirt and plain black trousers.  (I might
as well admit that I’ve never liked all that rhinestone cowboy getup he
usually decks himself out in.)   Just as at Paso Robles, he carried a
jacket and a ten-gallon hat in his hand, and put them on his amp next to
his Oscar.  My son noticed that George had Mardi Gras beads hanging from
his cymbals, which he’d probably always had, only I’d never registered
them before.   Tony, Larry and Freddy were in position, and they led off
with “Tombstone Blues.”  Within the first few bars, I could tell this was
going to be a better show than Paso Robles.  The sound was clear -- far
better than the previous night -- and the mix was good; you could hear the
keyboard distinctly and nothing was clipped or distorted.  Bob sounded
great.  His diction was clear, you could understand every growled
syllable, and he projected focus and concentrated energy.  His stance at
the Yamaha was just like the night before, his body slanting over the
keyboard with one knee bent beneath and the other straight out behind in
line with his ramrod-straight back, a runner taking his mark in the
starting blocks. My son, looking through his binoculars, said, “He doesn’t
look like he has a bad back!  He’s all over it!”  Freddy and Larry played
the same dual-guitar syncopated lead that we’d heard in Paso Robles, with
Freddy hip-humping every note out of his red Strat.  The crowd responded
with its own energy, beginning to stand and dance, and Bob seemed to feed
off that reaction and channel it.

The next song was a surprise – “I’ll Remember You.”  Bob ‘s voice here
seemed muddier, because he was singing lower in his range.  The
instrumentals were pretty, and well controlled, and the slower tempo
gradually dropped the crowd back into its seats.

Then George’s bongos and Tony’s bass line signaled the opening of “Tweedle
Dum And Tweedle Dee.”  Just like at Paso Robles, Larry had his capo on the
3rd fret of his guitar, while Freddy didn’t use a capo.  Bob’s voice was
firm and clear again and lordy, lordy, Freddy got Charley Sexton’s old
bouncy lead riff right down.  This rendition was far superior to that of
the previous night, with even better interplay between Larry and Freddy,
and their guitar work began to pull the audience back up off their butts.

At the end of TD&TD, Bob turned, picked a harp up off his amp, and
proceeded to play a really pretty intro for “To Make You Feel My Love.” 
Once again, a slow song followed a rocking dance number, modulating the
crowd’s enthusiasm in the way Bob seems to try to do from time to time.  
Bob’s rendition was a little bit sing-songy on a few verses, but he more
than made up for it by giving us a little more harp going into the
instrumental break.  Bob once said that he’d made more money from this
song than any other he’d written, and judging by how much he seemed to
enjoy playing it, I’d have to say that he was probably being serious.  He
seems to be playing much more harp this tour than he has in quite a while,
which has the potential to become really interesting if it continues –
especially if at some point he ends up simply fronting the band with only
a mike and harp in hand!  But I wouldn’t want to speculate too much on
that …

“Things Have Changed” was the next song, and in the middle of the
instrumental break, Bob suddenly walked off stage to the left and stayed
off stage for maybe 1 1/2 minutes, leaving the boys to vamp while they and
the crowd waited with bated breath to see when, or if, he would re-emerge.
 All the guys immediately riveted their attention on stage left and just
kept playing with perfect aplomb. None of them so much as looked at any of
the others the whole time Bob was gone! Which I thought was sort of
amazing … if something like that happened to me while I was in a band
playing a packed house at a major metropolitan venue, the very first thing
I’d do is look around at the other musicians and say something like “What
the f**k do we do now?”  But Bob’s guys are all real pros; I guess they’ve
seen it all before and then some, and nothing fazes them anymore. Anyway,
the second Bob re-appeared the crowd gave a big cheer, and the band just
kept right on playing,  It took Bob a bar or two to get  back in sync with
them, and while  Freddy looked visibly relieved, the other guys didn’t
even crack a grin.  Then Bob started to get into the song emotionally, as
he had at Paso Robles, throwing in little ad-libs:  “I’m locked in tight,
aaaaah, but ya know I ’m outta range / I usedta care, buuuuut, things
haaaave chaaaaaaaannngged.”  And at the end we were treated to the best
guitar duet of the evening so far, as Larry and Freddy played a two-part
harmony on thirds with Freddy doing the same kind of syncopated rhythm
trick he’d done at Paso Robles, only this time with more authority and
stage presence and attack.  Parts of the audience again were out of their
seats, dancing in the aisles, and the applause at the end was loud and

As soon as the applause died down, the opening chords to “Highway 61
Revisited” sounded, and Freddy, again playing with a capo on the 3rd fret,
cut loose with a really good lead that injected a jazzy element into the
music’s major 7th chord progression without losing the song’s essential
blues-rock feel.  .   At the end of the verse about Georgia Sam and Poor
Howard (my favorite!), George’s drumming came to a complete stop, Bob
stopped doing his keyboard thing, and for the next two bars, only Tony and
the two guitars kept on playing, and that got whoever wasn’t already
standing and dancing up off their butts and boppin’.   And finally George
and Larry wound up with a great duet lead, again featuring George
syncopating his rhythm against Larry, who played on the beat.  The songs
were getting better and better, and the night was yet young.

Then, for the first time of the evening, the band put down its electric
instruments.  Tony got the string bass, Larry grabbed his cittern, George
picked up an acoustic guitar with a capo at the 5th fret, and the band
began to play a slow, sad version of  “It Ain’t Me, Babe”.  From behind
the keyboard, Bob sang like he was really thinking about somebody, someone
who once really meant something to him, his voice gasping and biting the
words of each verse, ending each chorus to the cheers of the audience with
a low, deep finality:  “It ain’t me you’re lookin’ forrrr, Baaaaaaabe.” 
Larry’s fingerpicking on the cittern melded with Freddy’s complex guitar
figures to create a sound almost like a harpsichord, full of rapidly
alternating, ringing plucked notes, and in the instrumental break, they
played yet another fine lead duet, this time based on fifths, and when Bob
added in his harp, it was like he was still singing, the emotion kept
riding the curling wave of the music just as sad and so sweet … and it was
finally a unique thing, complete in itself, a new-wrought sculpture of
sound totally unlike the country-style arrangement of the song that’s been
a mainstay of Bob’s performances for the last few years.  It would be nice
if this became the new standard version, but in a way, it would be more
beautiful if Bob and the band never played it this way again.

The standing ovation that followed gave the band a chance to get their
electric gear back, and here came the familiar wandering fragment of an
Indian raga that meant George was going to start pounding those drums to
kick off “Cold Irons Bound”.  Freddy was again capoed way up around the
5th fret and Larry had his capo on the first fret as they once more moved
together, standing next to each other in that dual-guitar attack we’d seen
the night before in Paso Robles.  Bob ’s singing was appropriately growly
and hungry, rolling with the beat, and at the instrumental break, George
took off on a honking, off-beat improvisation that reached back for its
theme to the introductory raga, inserting its strange modal intervals into
the spaces between Larry’s driving chords and Tony and George’s hammering
herky-jerk rhythm strokes.  The song came to an end, the crowd jumped up
to cheer, and  -- whoah! Surprise! -- the band started back up! And played
two more bars of outro and then slammed the door shut again.  And the
crowd cheered even more.

Well, after all that rockin’ excitement, Bob must have thought things
might be getting out of hand, because the next song was a slow one -- “I
Believe In You.” The band played this one slow and stately, and though
Dylan’s delivery lapsed into those sing-songy jumps of an octave at the
end of each phrase, the band compensated for it as Freddy played a little
riff in the bridge that sounded something like the chorus lead from
Zevon’s “Lawyers, Guns and Money”; then Larry and Freddy collaborated once
again on a duet lead, this time on thirds, and at the end Bob cut in with
a little bit of harp.  Freddy seemed, so far, to be taking more care this
evening not to lag or drift off the beat of the songs and especially not
to bend his notes flat as much as he had the previous night.

Without any caucusing in between songs (unlike the previous evening’s
show, where they huddled after every number), the band kicked into
“Watching The River Flow,” and Bob walked out in front of the drum riser
to conduct the performance. This song has been getting better and better
since last fall, and this was a great version that would have blown the
ceiling off the Pacific Amphitheatre if it had had a ceiling.  Larry
dominated the opening with his great slide work; then Bob took charge and
showed us some fine honky-tonk chops; then Freddy got his shot and gave us
the same Chicago blues lead he put together in Paso Robles, only even
better this time -- getting a roar from the audience -- and finally Larry
and Freddy stepped forward together for that patented dual-guitar attack.
Practically nobody in the seats was sitting, most were dancing, and at the
end, everyone was cheering.

The ambiance returned to slow and stately for “Standing In The Doorway.” 
When Bob began to sing, he emoted the lines on a forced cadence -- "Ah
don’t know if I saw ya -- if  ah -- would kiss ya -- or kill -- ya” --
that made it seem as if he were channeling the ghost of the song’s
narrator, as if the narrator had seized control of him against his will. 
Larry played a sweet, country twang lead, and then -- as Bob pointed to
Freddy -- he stepped aside.  Freddy then stepped forward and unfortunately
suffered an apparent relapse, laying down a quick funky jazz line that
recalled how he was playing the night before in Paso Robles; his lead
seemed to ignore the emotional content of the song, it was late off the
beat and flat off the key, and it defocused the audience’s mood somewhat. 
 Well, nothing’s perfect …

Now the lights went down, as they always do between songs, and while the
stage was still dark, Larry made some kind of a rapid vibrating noise by
wiggling his slide, and then all of a sudden “Honest With Me” started and
the stage lights came back up as Bob walked out from behind the Yamaha and
across the stage to talk to Tony for a while; I think that was the first
time all night that there was any kind of visible discussion.  It was the
usual version, but at the instrumental break, Bob walked out from behind
the Yamaha again, over to where Larry and Freddy were standing next to
each other, and pointed to his right with his right hand, his elbow
resting on his hip, which swiveled a little bit in the direction he was
pointing, and then to his left with his left hand, the same way.  When he
pointed to his right, Larry whanged his guitar, and when he pointed to his
left, Freddy whanged his.  Then he did it again and the same thing
happened … and then he walked back to his Yamaha and the song ended

The next song was “Moonlight”, and this was another highlight.  Bob sang
it better than any other performance I’ve heard except the one on the
album, actually hitting every high note on key, instead of just kind of
suggesting the envelope of those notes with wheezy talking breaths as he
did during Charley’s final tour last fall.  And he sang it with an
incredible dirty-old-man's leer in his voice and a disreputable twinkle in
his eye that got cheers in response from the crowd on every verse, turning
the song into an aging roue's pickup fantasy: “I know when the tahme is
right to striiiiiiiiiiiiiike,” he emoted, with a sly glance at the front
rows; “Don’t ask for whooom the bell tollllls, for love, it tolls for
youuu, my friennnnnnnnd,” he crooned, sliding his voice from high down to
low on the drawn-out final word of each phrase.  Bob also played a nice
bassy piano lead in the instrumental release, and Freddy contributed a
nice jazz lead with some cool fast finger work mixed with real stretch
chromatic modulations that fit right into the mood of the tune. 
Absolutely everybody in the place was standing almost all the way through

And when it ended, Bob introduced the band, playing little piano riffs in
between each intro and right after the punchlines of his jokes, like a
real lounge lizard emcee. He told the same joke about Freddy buying a pig
and putting it under his bed (Freddy got a big roar from the audience),
and the same joke about George being the best drummer on the stage
(another roar)  … and then he added, “or any stage”  (another roar).

The main set ended with “Summer Days”, the last highlight of the evening,
and a great set finale, because this was the night that Freddy finally
banished Charley’s shade and put his own stamp on this song.  He took
control of the lead and cranked it up and up and up and never ran out of
ideas. Larry and Tony contributed their usual antics, and it was way, way
more fun and danceable than it was at Paso Robles.

The end, and the band went into Formation, the applause and cheers
cascading down from the seats and onto the stage, and then off, until
after a minute or two they returned for a two-song encore -- "Like A
Rolling Stone” and “All Along The Watchtower” -- and then the performance
was really over, since it was 10:30, curfew time for the venue under the
legal restrictions that governed its re-opening.  All in all, a much
better show than Paso Robles, a show where we really saw for the first
time a hint of what Freddy’s transformative potential might ultimately do
for Bob and his band.

After the show, most of our group, exhausted from three days of
long-distance driving from gig to gig all over California, and having to
go back to work the next morning, called it a night … but a few hardy
souls -- simplythat, Michael Smith, downthehighway, Julie and The Baker’s
Son --  adjourned to my house for a couple of beers, a debriefing, and a
fun jam session which I wish to heck I had recorded.  I also wish I were
going East to follow the rest of this tour, to keep watching how things
continue to develop with Freddy.  I have a feeling that if he sticks with
Bob and the band for long enough, he might eventually have quite an
impact.  Quite an impact, indeed.



page by Bill Pagel

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