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You’re about to meet an extremely interesting woman. Lynne Friedman is a contemporary abstract and landscape artist whose work has been shown in numerous solo exhibitions. Her paintings hang in many corporate and private collections and in 2013, was selected by the U.S. Department of State “Art-in-Embassies Program” for our embassy in Djibouti, E. Africa and Colombo, Sri Lanka. Get this, Lynne also happens to be a licensed private investigator! Her assignments have taken her around the world. Listen in and hear how she ‘marries’ these two careers.
[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][mk_toggle style=”simple” title=”Transcripts”]Sandi: Welcome to another edition of Conversations with Creative Women. I’m Sandi Klein. Lynne Friedman wears two very distinctive and different hats. A contemporary abstract and landscape artist Lynne Friedman’s paintings explore the emotional impact of season, weather, light, and time. They move from the outdoors into the studio. She’s painted in Spain, Southern France, Costa Rica, Ireland, and New Mexico. For the past several years, has spent time painting enplaneir in Taos and Abiquiu. Where the legendary Georgia Okeeffe lived and worked.
Listed in Who’s Who in American art, Lynne has been awarded seven artist residency grants. Her paintings have been shown in solo exhibitions and in 2013 her work was selected by the U.S. State Department Art and Embasies Program for exhibition in Jabudi East Africa and Colombo Shrilanka She’s had solo exhibitions at the Boothe Western Art Museum in Georgia and the James McNeal Whistler Museum in Massachusetts as well as numerous shows in New York City. Her work hangs in many corporate and private collections.
Then, there’s Lynn Friedman the licensed private investigator, whose assignments have taken her around the world. They include looking for hidden millions off shore. Identifying the source of counterfeit hand bags, and tracking down the birth mother of a sixty year old woman who was abandoned when she was eighteen months old. Lynne got into the world of private investigating working as a college art teacher and not making a whole lot of money.
Lynne. Welcome, and thanks for joining me today.
Lynne: My pleasure.
Sandi: Alright Lynne, painter, private eye. Crazy. No.
Lynne: It is a crazy existence, but I really love it. It’s a very different personas almost. As a private investigator, you think very differently than you do as an artist. As a private investigator, you’re always kind of searching out a way of finding the facts that your client wants and you have to be creative, but you’re looking for factual material. I’ve had some really, really interesting cases over the years. It’s been a lot of fun. It’s never a boring job.
Sandi: But it’s certainly not as emotional as painting. Correct?
Lynne: Exactly. It’s a great balance to painting. As a painter, you’re always faced with the “empty canvas”.
Sandi: Mm
Lynne: There’s no rules and there’s no facts base to work from that you’re heading toward. You’re always in an ambiguous kind of subconscious conscious territory where you’re kind of trying to find your way to solve a problem that you’ve created yourself. One thing about plainer painting or landscape painting is you’re actually have a subject matter that you’re reacting to in front of you. But, if you’re working abstractly, you’re working primarily from inner pressure.
Sandi: Mm Hmm
Lynne: Inner emotive states. You might have some reaction to landscape or the figure or something in the physical world
Sandi: A connection?
Lynne: A connection to something in the physical world.
Sandi: Mm Hmm
Lynne: But it’s much more ambiguous. I find that a really great balance. They really are not related at all. I almost am a different person as an investigator.
Sandi: Can we call you a little schizophrenic or
Lynne: No.
Sandi: Do we call you multi-dimensional?
Lynne: Multi-dimensional. [Laughing]
Sandi: Okay. That’s fair.
Lynne: I like that much better. [Laughing]
Sandi: [Laughing] But I think that’s what’s so fascinating. That you can be all the way over here and make that transition to being all the way over here.
Lynn: It’s true. Not everybody is like that. I’ve met a lot of artists who are nonlinear. They can’t even keep an address book going.
Sandi: Hmm [Laughing]
Lynn: An appointment book going. Then I meet investigators who really are not very visual.
Sandi: Just the facts, mam. Huh.
Lynne: Yea. They’re much more linear.
Sandi: I want to talk about some of your work as a private investigator, but not right now. What I want to start with is how did you know you could paint?
Lynne: I always painted. Even when I was a young child. I was thinking recently, that some of my earliest memories are visual memories. Like the color of a piece of fabric.
Sandi: Mm
Lynne: Pattern on a floor. Those, I was always extremely visual. Then, even as a child I painted. One of the nice things that happened, there was a brotherhood contest. I think I was eleven. I won for my painting.
Sandi: What do you mean a brotherhood contest?
Lynne: It was brotherhood week in February.
Sandi: Mm Hmm
Lynne: In each school, my painting one for people of different ethnicities in a garden. I was awarded the prize by Jackie Robinson.
Sandi: Oh. Wow.
Lynne: So, that impressed people. That really impresses people.
Sandi: More than your art. [Laughing]
Lynne: People love sports. [Laughing] That’s my only connection with sports. Is that event.
Sandi: Impressive enough. Yes.
Lynne: I always was an artist.
Sandi: Encouraged by your family? By your parents?
Lynne: Well, modestly. Not, you know, there’s always that question, what are you going to do with it?
Sandi: Mm Hmm Mm Hmm
Lynne: How are you going to make a living and things like that?
Sandi: Because painting is also solitary.
Lynne: I started out going to the Brooklyn Museum Art School, which at that time was a fabulous art school. It was started by Hans Hoffman prior to my time of course. They had multiple classes and you’d have to walk through the galleries to get the art studios and it was just so exciting. You had this wonderful connection with the art historical past.
Sandi: Mm Hmm
Lynne: As you’d go through these galleries. The teachers were wonderful and some of them were known. My father used to drive me to the Brooklyn Museum on Saturday mornings, and I’d go to drawing classes. I remember the first.
Sandi: That’s not modest encouragement, that’s overt encouragement.
Lynne: That was really good encouragement. I have to admit. Yea, it was. That was a lot of effort on his part. I remember the first drawing class I went to, I was sixteen and a half. Of course, I was kind of young and it was nude model. I was so nervous. I remember I was sweating. [Laughing]
Sandi: [Laughing]
Lynne: For a sixteen year old, to be presented with a nude model on a stand, was a pretty shocking thing. I spent ten years after that drawing from models. Once you
Sandi: Get one under your belt.
Lynne: After that it was nothing.
Sandi: Right.
Lynne: It’s still nothing.
Sandi: Mm Hmm
Lynne: It’s just normal stuff, seeing these bodies. I spent about ten years being a graphic artist doing drawings.
Sandi: Mm Hmm
Lynne: Big figurative stuff. Then I switched it to landscape because I felt that that was more challenging in some way.
Sandi: So, you knew that art was “your thing’ and that’s what you also studied when you college.
Lynne: Yes. I became an art teacher.
Sandi: An art teacher.
Lynne: Right. Yea.
Sandi: But at what point were you painting and creating and thinking about selling your work? Is that’s what’s in your head? Or is it this incredible need to express yourself? If the works are sold, what a bonus?
Lynne: Yea. I would say that’s right. I didn’t really think about selling. I was much more motivated to create. I think most artists are like that; it’s an inner need to express themselves visually or explore visual ideas. That eventually, you look at the work and say, will other people like this work, and I’d like to see it out in the world. Then, of course, you begin to accumulate a fair amount of work and you’d like to see some of it sold. It would be nice for people to own it. It’s kind of like your children are out in the world. When people love it, I think that’s the best thing. When people really respond to the work and want to have it in their living space or in a public space, it’s very exciting, that part of it.
Sandi: You certainly have to amass a body of work in order for it to be exhibited. Correct?
Lynne: Right.
Sandi: Do you have an agent?
Lynne: No. Fine art is, “fine art”
Sandi: Yes.
Lynne: As opposed to graphic designers don’t generally have agents. You have do to your own promoting and marketing of your own work. A lot of artists don’t like doing that, so they don’t. They end up dying with five hundred pieces in their studio.
Sandi: Mm Hmm
Lynne: But other artists understand that process. You have to apply for grants. You have to apply for shows at galleries. You have to enter juried shows in the beginning to get a few pieces out into the world. Now, of course, it’s all changed. It used to all be slides and you would send slides which would drive you crazy.
Sandi: Hmm
Lynne: You’d have ten copies of every painting you’ve ever made. You’re constantly sifting slides. That all changed in the 90s and they started with the artist web sites and then jpegs were sent out. At first, people thought that no one would buy art looking at it on a computer.
Sandi: But it made more sense to look at it on a slide?
Lynne: No, it didn’t, but that would be just to approve you for a show.
Sandi: Ah. Okay.
Lynne: But, people actually buy art having viewed it on a website. That’s been going on now for at least ten, fifteen years at least. Really probably longer. I think that was a big surprise to a lot of people in the art market. A lot of the galleries wouldn’t put work up online because they didn’t expect to sell it that way. They sell that way.
Sandi; Do you sell that way?
Lynne: I do somewhat. Yes. I have sold to people in other parts of the country. Who I’ve never met, who have only saw the work on the website and then wanted to buy it. It’s a hard thing to reconcile in a way because, just think about the Metropolitan Museum of Art. They put up their collection online. You can look at the paintings in the Met online. But, firsthand experience.
Sandi: Oh, there’s nothing like it.
Lynne: Right. If you talk to Phillippe de Montebello
Sandi: Ah
Lynne: The former headed.
Sandi: Phillippe
Lynne: Phillippe de Montebello. The artist’s firsthand experience. You have to have a one to one interaction with the piece to really
Sandi: Oh, I agree.
Lynne: To experience it fully.
Sandi; And to have an emotional reaction. To walk into a room and see something hanging. That’s how I’ve bought my art.
Lynne: If you look at them, a Rembrandt in a photograph or on a jpeg on a computer, you really can’t see the texture of the paint, the application of the paint. Where it’s thick, where it’s thin. The transparency in certain sections. That’s just an example.
Sandi: Mm Hmm
Lynne: It’s just such a different experience then a jpeg. But, that’s how things have evolved in the last period of time.
Sandi: If you’re just joining us, my guest today is Lynne Friedman. Contemporary and abstract artist and, private investigator. Can somebody make a living regardless of how talented they are?
Lynne: If you have a promoter.
Sandi: Mm Hmm
Lynne: There’s certain galleries that promote certain artists. If you network your way into certain groups of people, you might be able to get a lot of your work out there even though it may not be very good work. Most artists, I don’t think, make a living at their work. They may make a partial living from their work.
Sandi: Struggling artist is not a misnomer.
Lynne: I don’t know if the word is struggling. It’s just that you’d have a recognition that you’d need a second job. Most artists do construction, they do graphic design.
Sandi: Oh they teach.
Lynne: They teach.
Sandi: Mm hmm
Lynne: They have another path for income.
Sandi: Are you at a good place in terms of where you feel about your art?
Lynne: Yea. Well, I have my work out in a lot of places now.
Sandi: As I mentioned.
Lynne: It takes a long time to figure out how to do all that.
Sandi: Mm Hmm
Lynne: I have a big studio so I have everything in my studio. I have a database where I have all my work recorded.
Sandi: Mm Hmm
Lynne: It’s great. Our databases now.
Sandi: Mm Hmm
Lynne: First galleries used them, now artists use them. You have total. You know your inventory.
Sandi: Mm Hmm
Lynne: You can remember which piece was sold to who and when.
Sandi: Mm Hmm
Lynne; That kind of thing. Its get complicated as the years pass and you accumulate more work and more sales. Sometimes someone will say to you, I want this painting for this show and then you say, Oh My God where is that painting.
Sandi: Yea.
Lynne: I can’t remember. You’re frantically looking through paint racks for a painting that you just don’t remember where you put it. It’s a process.
Sandi: Do you feel, that for now, for today, in a very good place in terms of your art?
Lynne: I think, as an artist, you’re always looking to doing the best paintings you possibly can do. I’m a painter.
Sandi: Yes.
Lynne: I don’t do sculpture really. I do some collage. You’re always trying to make a more definitive statement about your work. You know, you have pieces that you’ve done, that your happy with or you’re satisfied with that you have closure with. But, you’re always looking to the next work.
Sandi: Hmm
Lynne: It never really ends. I can’t remember who said it, but it was something like, when he got to be about ninety-five
Sandi: [Laughing]
Lynne: He thought he might begin to learn really how to paint.
Sandi: Do you feel that way?
Lynne: Not in the question of get it? I think I just have more experience so I have more basis to work with.
Sandi: How has it to been to watch yourself evolve? From what you started to paint back then to where you might be today?
Lynne: Well, I do more abstract work now.
Sandi: Mm Hmm
Lynne: I’ve just kind of in the last two-three years, worked much more abstractly. You know what’s interesting? Sometimes you do a body of work and you don’t really know where it came from. Somehow, later on, because it’s subliminal,
Sandi: Mm Hmm
Lynne: At some level. You learn things about what you did, that you didn’t really know you were doing when you did them. It’s only when see the work up. You have a show in a gallery, you put up fifteen pieces and you look at them. Then you realize certain things about the work that you didn’t realize when you did it. So, there’s sometimes a subliminal or unknown message that’s coming through the work that you didn’t intend consciously.
Sandi: Yea. But that, in and of itself is very exciting.
Lynne: That is very exciting. It really, it really is exciting. Because you didn’t do it consciously. You didn’t know that you were creating some mysterious process. Something came through you that you were unaware of.
Sandi: What’s it like to paint on planier.
Lynne: Well, you have to schlepp all your materials outdoors. You have to have a good setup so you can carry everything. The plus part of it is you get to spend time in a very focused way in very interesting places. I love that planier painting. You see wonderful things. You see the clouds moving and changing.
Sandi: Hmm
Lynne: You see some animals doing whatever they’re going to be doing and you’re there watching them. It’s a meditation out to a painting. It really is.
Sandi: Is it hypnotic?
Lynne: I wouldn’t call it hypnotic. I mean, you are in a kind of a different space. You only notice what you, you only observe what you want to see. You don’t. If someone comes up to you and asks you a question, you can’t really talk to them. You have to say I’m busy. You’re not available for the outside world.
Sandi: Your work is not completed outside. Is it?
Lynne: Sometimes it is. Sometimes it’s completed outside and sometimes it’s not. My visual memory is strong from working outdoors, that I can take a piece that is well along outdoors and finish it in studio. I’m not wedded to realistic accuracy.
Sandi: Huh. Uh Huh.
Lynne: I’m much more wedded to making the painting work.
Sandi: And speak to you?
Lynne: Yea. And feel complete. Where I have closure on the painting. If the painting, because the painting will talk to you. It will tell you, that green in the upper left doesn’t work.
Sandi: Um Hmm
Lynne: Or, you need to change a color in the lower right. This is too long, this isn’t straight enough, this is not balanced. It talks to you in different ways the painting. Visual recall is probably a big part of my process.
Sandi: So, you don’t take photographs?
Lynne: I occasionally take photographs, but I never use them.
Sandi: So, it’s what’s in your head.
Lynne: Yes. If I look at the photograph and I look at my painting, there’s really no relationship.
Sandi: Hmm
Lynne: I mean, some people do work from photographs. I don’t really do that. I really need the raw experience of the outdoor.
Sandi: Do you paint with other people?
Lynne: I don’t paint with other, well, I have one friend I paint outdoors with. We don’t work next to each other. We just work in the general area together.
Sandi: Mm Hmm
Lynne: We’re basically alone. In my studio, I’m alone with music or radio.
Sandi: Do you paint every day?
Lynne: Not every single day because I’m a private investigator. [Laughing]
Sandi: We’re going to get to that in a minute. Yea.
Lynne: I’d say three, four, about three-four days a week I’m painting.
Sandi: And do you miss it when more time goes by?
Lynne: I can’t really live without painting. I really need it. Some people have to meditate every day. Painting is my meditation.
Sandi: Isn’t it fabulous that you could make a career out of something that is so vital to your life. To your being.
Lynne: I feel lucky. I feel lucky to have, to be an artist. I think artists are very special in that way. They have a way of being in the world. I include dance and musicians, all those kinds of people. Their way of being in the world is very rich. People who, I think that a lot of people who don’t have a passion for a creative area miss out.
Sandi: But then, there are the people who have that passion and it’s not recognized.
Lynne: Of course, there’s hundreds and thousands of artists who work and are not recognized. Or who don’t make an effort to get their work out, or don’t get their work out.
Sandi: Or even if they do get their work out, it necessarily mean that somebody’s going to buy it.
Lynne: I think as an artist, your basic premise is you do it because you want to do it and you need to do it.
Sandi: Yea. You have to do it.
Lynne: If you don’t sell, so be it.
Sandi: Yea, but you also have to survive.
Lynne: Well, that’s the other job you have.
Sandi: Exactly.
Lynne: That’s what’s keeping you surviving.
Sandi: So, the other job you have.
Lynne: Yea. [Laughing]
Sandi: Go for it girl.
Lynne: Well, you know.
Sandi: How does somebody become a private investigator?
Lynne: I always loved Nancy Drew mysteries when I was
Sandi: I read them too, but I’m not a P.I. [Laughing]
Lynne: The Mystery Under the Staircase.
Sandi: [Laughing]
Lynne: I just loved them. She had her little roadster car. I don’t know. I’ve always been, I like mystery. I like intrigue. I like research. I feel life is research. I don’t mean that just as an investigator, I mean that in all aspects.
Sandi: Mm Hmm
Lynne: That you’re always challenged in life to find ways or pathways. The more research you do, the better off you are. You have most alternatives and options available to you. Being a research investigator has been really great for me in lots of ways. Outside of doing it as a career.
Sandi: But I mean, how do you get involved in that?
Lynne: People have good luck in certain ways. This is one of my experiences of really good luck. I was in graduate school at Columbia Teacher’s College. I was doing a doctorate on Art Education.
Sandi: Oh. That’s so similar to finding millions offshore. Yea.
Lynne: Right.
Sandi: [Laughing]
Lynne: It was, I was doing it with the Egyptian collection and sixth graders and best ways to teach art appreciation. I got very, very good at doing research.
Sandi: Mm Hmm
Lynne: I always had a second job. I used to get temp jobs. One of the places I was sent to was a small private investigations firm. They asked me to review lawsuits and summarize them. That was a very comfortable thing for me to do. I was offered a project job there.
Sandi: Mm Hmm
Lynne: That was a company that was small at the time, but began to grow humongously at that time. Databases had just started coming in. It was the early 80s. The company had maybe fifteen people. It grew to a hundred and seventy five. It was only an office in New York, it went to Hong Kong, it went to Paris.
Sandi: Did you find that all very sexy when you started working there. It was an adjustment. These people were very smart. [Laughing]
Lynne: [Laughing] And you had to be very quick.
Sandi: Uh Huh
Lynne: This was a different world than I had spent time in. I worked hard at it. To be able to do it.
Sandi: Uh Huh.
Lynne: The company grew really large. I grew with it. I was hiring other investigators and researchers and I was traveling to Buenos Aires on a research assignments. I grew in the business basically. I learned the business being there.
Sandi: You were still painting at the time.
Lynne: I was still teaching.
Sandi: Teaching. Oh my God.
Lynne: I was teaching at Mahattanville College. I would go from working all day to teaching at night at Mahattanville College up in Purchase New York. I was doing both for a while. At a certain point, I gave up the teaching because it was adjunct work.
Sandi: If you’re just joining us, my guest today is Lynn Friedman, contemporary and abstract artist who also happens to be a private investigator. Alright, so you’re typing these summaries and you’re traveling to places. Now, how did you move up into the actual run an investigation level?
Lynne: Well, I just. I learned the business. There are certain steps you take in an investigation. You get identifies on the individual, the company. You read the filings if it’s a publicly held company. You contact sources who know that industry. You call people on the phone and ask them questions. You travel to a foreign location and meet with sources.
Sandi: Were you under cover?
Lynne: I have used aliases at occasion. I have aliases.
Sandi: Let’s pick a case. Shall we do the one about the woman who was abandoned at eighteen months?
Lynne: That’s a fairly recent case. This woman was a porn star.
Sandi: Huh. [Laughing]
Lynne; A beautiful woman, now in her sixties. She then was director of a feminist porn company that made feminist porn. It’s a very well-known company. She was abandoned by her mother when she was eighteen months old. She grew up with her grandmother. She did have a father, but he was a musician and traveled. She wanted to find out where her mother was and more about her. I found her mother in another state. Her mother had died. We got the death certificate. The real key question she had, was what did her mother die of?
Sandi: Had her mother recently died?
Lynne: Five years ago.
Sandi: Oh, so it’s not that you just missed her.
Lynne: No, I didn’t just miss her.
Sandi: Mm Hmm
Lynne: She had died of cancer and my client had the same kind of cancer.
Sandi: Ah Ha
Lynne: So, that was really very emotional. She obviously inherited the gene.
Sandi: Mm Hmm
Lynne: Then the question was, what could she find out about her mother? She remembered a half-brother from when she was two and three years old and where was he? So I began doing research in, it was like Ohio, not near here. I found that her mother had married two times after she had left. I found the half-brother. I was able to give her, ultimately, the address and phone numbers of her family through her mother that she’d never met her whole life.
Sandi: Wow
Lynne: She had a, she got to meet them. It was very, very emotional for her. That was a really nice case. To be able to help a person solve some major life.
Sandi: She was never adopted, she was raised by her grandmother.
Lynne: Right. No, she was never adopted. She ended up being in foster care for a few years. I think she had some early childhood things that were hard. As an investigator you try to keep your distance a bit.
Sandi: And not get emotionally involved you mean?
Lynne: You don’t want to get to emotionally involved and you don’t want to know about things that are irrelevant to the investigation.
Sandi: Mm Hmm
Lynne: For instance, what her childhood was like, where she moved to, what happened with her grandmother? You don’t want to know all that. You really just want to stay focused on your assignment.
Sandi: Right. It clouds other things.
Lynne: Also, investigations cost money. You don’t want to incur time and expense in directions that are not relevant to what you’re investigative goals are.
Sandi: What’s another case that really gripped you?
Lynne: There was a big bank on Third Avenue that went under. The president of the bank went to jail. He went to what’s called Club Fed.
Sandi: Uh huh.
Lynne: In Lompach in Pennsylvania.
Sandi: Mm Hmm
Lynne: We were hired by the FDIC. Federal Deposit Insurance Corporation to find the money that disappeared.
Sandi: How much money are you talking about?
Lynne: Forty million.
Sandi: Oh okay. Not chump change.
Lynne: [Laughing] No, these are always big, big cases.
Sandi: Mm Hmm
Lynne: This man had been from Argentina. Buenos Aries. We were able to get, he was in jail, his notes on where he had his money stored.
Sandi; [Laughing]
Lynne: It was written in Spanish from Hebrew, and we had to have it translated into English.
Sandi: Mm Hmm
Lynne: Then figure out what his short hand really meant.
Sandi: Meant. Mm Hmm
Lynne: When you’re in prison, this is pre-cellphones. The pay phones, they say on there, you’re being recorded.
Sandi: Mm Hmm
Lynne: They had tapes at the prison of all his phone conversations to people outside the prison. They were all in Spanish. They were all translated into English. I was able to figure out all the assets he still held because he was talking to the people who owned the hotels that he owned in Buenos Aries.
Sandi: Mm Hmm
Lynne: There were other things too. So, eventually I went to Buenos Aries and had to meet with a number of people because we wanted to follow certain trails. That was very exciting. Then, we went to the prison to depose him because he was supposed to be released. That was the most interesting thing because you don’t usually see the target of your investigation.
Sandi: Mm Hmm
Lynne: He was a very charming good looking man and in very good
Sandi: Maybe he would have bought one of your paintings.
Lynne: [Laughing]
Sandi: [Laughing]
Lynne: I don’t mix art and investigations.
Sandi: Ah, uh huh
Lynne: So the lawyer who I was with, was to deposing him and asking him questions. I was sitting there, knowing the answers, and he lied about everything. He did it so well, if you looked at him, you never would have known he was lying.
Sandi: Mm
Lynne: There was nothing I could about it. He knew I knew. He knew everything about him. He was sent back to Buenos Aries. They never, they collected partially on the debt.
Sandi: The rest is out there somewhere.
Lynne: Wherever it is. Yea. I think he had some involvement with some federal agency. It had to do during the contra
Sandi: Uh Huh. Iran/Contra
Lynne: Iran/Contra period.
Sandi: Yea.
Lynne: It was an exciting case and it went on for a very long time.
Sandi: Mm Hmm
Lynne: It was quite something.
Sandi: You know, we could go on and on and on, but we’re out of time. It just goes so fast especially when it gets so interesting.
Lynne: Thanks so much.
Sandi: I really appreciate your coming today Lynne. It was really fascinating to get to know you.
Lynne: Great.
Sandi: I really appreciate it.
Lynne: I appreciate it too, and it’s lovely to be here.
Sandi: Join us for another edition of Conversations with Creative Women. I’m Sandi Klein.
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