{"id":18,"date":"2018-06-06T00:00:24","date_gmt":"2018-06-06T00:00:24","guid":{"rendered":"http:\/\/podcasts.la.utexas.edu\/death-and-numbers\/?post_type=podcast&#038;p=18"},"modified":"2020-07-10T18:18:11","modified_gmt":"2020-07-10T18:18:11","slug":"food-for-thought-episode-3","status":"publish","type":"podcast","link":"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast\/food-for-thought-episode-3\/","title":{"rendered":"Food for Thought: Episode 3"},"content":{"rendered":"<p class=\"p1\"><span class=\"s1\">In this three-part series, Amy and Caroline are cracking open cookbooks and archival records to learn about the bond between food and text.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">The final episode uses recipe collections to represent the sometimes haphazard but&nbsp;<\/span>often meaningful associations created around our closest relationships with food.<\/p>\n","protected":false},"excerpt":{"rendered":"In this three-part series, Amy and Caroline are cracking open cookbooks and archival records to learn about the bond between food and text. The final episode uses recipe collections to represent the sometimes haphazard but&nbsp;often meaningful associations created around our closest relationships with food.","protected":false},"author":13,"featured_media":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","episode_type":"audio","audio_file":"http:\/\/podcasts.la.utexas.edu\/death-and-numbers\/wp-content\/uploads\/sites\/11\/2018\/06\/Death-and-Numbers-Food-For-Thought-Ep-3.mp3","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"21.14M","filesize_raw":"22162688","date_recorded":"","explicit":"","block":"","itunes_episode_number":"","itunes_title":"","itunes_season_number":"","itunes_episode_type":""},"tags":[19,25,4,3,24],"categories":[],"series":[2],"class_list":{"0":"post-18","1":"podcast","2":"type-podcast","3":"status-publish","5":"tag-archives","6":"tag-collections","7":"tag-cookbooks","8":"tag-food","9":"tag-recipes","10":"series-death-and-numbers","11":"entry"},"acf":{"related_episodes":"","hosts":[{"ID":579,"post_author":"40","post_date":"2020-06-25 17:19:39","post_date_gmt":"2020-06-25 17:19:39","post_content":"<!-- wp:paragraph -->\n<p><a rel=\"noreferrer noopener\" href=\"http:\/\/amyvidor.com\/\" target=\"_blank\">Amy\u00a0<\/a>is a\u00a0<a href=\"https:\/\/liberalarts.utexas.edu\/research\/mellon-esi\/\">postdoctoral fellow<\/a>\u00a0at the University of Texas at Austin (UT). She has a Ph.D. in Comparative Literature from UT, an M.A. in History and Literature from Columbia University, and B.A.s in English and French, and a Minor in Art History from the University of Southern California. Amy has taught college literature, writing, and foreign language courses. For the past five years she has worked as an educational consultant, coaching high school students through ACT\/SAT test prep, AP\/IB exams, college admissions, and more. For more on Amy\u2019s experience, see her resume.<\/p>\n<!-- \/wp:paragraph -->","post_title":"Amy Vidor","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"amy-vidor","to_ping":"","pinged":"","post_modified":"2020-06-25 17:19:39","post_modified_gmt":"2020-06-25 17:19:39","post_content_filtered":"","post_parent":0,"guid":"http:\/\/podcasts.la.utexas.edu\/death-and-numbers\/?post_type=speaker&#038;p=579","menu_order":0,"post_type":"speaker","post_mime_type":"","comment_count":"0","filter":"raw"},{"ID":582,"post_author":"40","post_date":"2020-06-25 17:28:14","post_date_gmt":"2020-06-25 17:28:14","post_content":"<!-- wp:heading {\"level\":3} -->\n<h3>Publications<\/h3>\n<!-- \/wp:heading -->\n\n<!-- wp:list -->\n<ul><li><a href=\"https:\/\/www.linkedin.com\/redir\/redirect?url=https%3A%2F%2Fhumanitiesmediaproject%2Eorg%2Fdeath-numbers-food-thought-ep-1%2F&amp;urlhash=G3ro&amp;trk=public_profile_publication-title\">The Legacy of French Cooking<\/a><\/li><li>Humanities Media Project and Liberal Arts Instructional <\/li><li>In this special three-part series of Death &amp; Numbers, we\u2019re cracking open cookbooks and archival records to learn about the bond between food and text. In episode 1, we pair a largely forgotten 17th century French cookbook with Julia Child\u2019s classic cookbook \"Mastering the Art of French Cooking\" to consider how food writing shapes cultural transmission.<\/li><\/ul>\n<!-- \/wp:list -->","post_title":"Caroline Barta","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"caroline-barta","to_ping":"","pinged":"","post_modified":"2020-06-25 17:28:14","post_modified_gmt":"2020-06-25 17:28:14","post_content_filtered":"","post_parent":0,"guid":"http:\/\/podcasts.la.utexas.edu\/death-and-numbers\/?post_type=speaker&#038;p=582","menu_order":0,"post_type":"speaker","post_mime_type":"","comment_count":"0","filter":"raw"}],"guests":"","transcript":"<p>You&#8217;re listening to Death in Numbers, a podcast created by the Humanities Media Project<br \/>\nand the College of Liberal Arts at the University of Texas at Austin.<br \/>\n\ue5d4<br \/>\nWelcome back to our Food for Thought series. I&#8217;m Amy Vidar. And I&#8217;m Carolyn Barta.<br \/>\nAnd our past few episodes, we&#8217;ve discussed how cookbooks bridge cultural boundaries and serve as community<br \/>\norganizers. Today, we hope to give you a taste of a rich American food tradition complicated<br \/>\nby relationships to the family unit and economic reality. We&#8217;ll consider habits of conserving<br \/>\nand extending resources, as well as time honored practices of sustainability and seasonality.<br \/>\nTo kick start this episode, we visited Baylor University&#8217;s Texas collection, which houses over<br \/>\nfifteen hundred Texas cookbooks. Many of these are family volumes. That&#8217;s right.<br \/>\nWe had a delightful day giggling through genealogies, favorite recipes and family stories.<br \/>\nWe discovered the line between a loose family recipe collection and other published cookbooks is quite narrow.<br \/>\nThese homespun cookbooks were spiral bound recipe collections drawn from family lore, newspaper<br \/>\nclippings, package wrappers and promotional materials, Fritos and Jell-O. Oh my.<br \/>\nAnd they were often produced to commemorate anniversaries, family reunions, or even fundraise<br \/>\nfor a beloved charity like a local church or school. The person or persons involved<br \/>\nin the compilation of these books was usually far from a professional chef or celebrity. Well,<br \/>\nexcept maybe in their family. That&#8217;s right. Usually they were caretakers of their family history.<br \/>\nRight? Because no cookbooks are created for commercial success or for wide readership.<br \/>\nMore and more archives are collecting family treasures right alongside publish cookbooks,<br \/>\neven rare book archives like this. Slicing your library at Harvard, the New York Public Library<br \/>\nand the Library of Congress have extensive cookbook collections and recognize their value as historical<br \/>\ndocuments. These collections have extended our knowledge of women&#8217;s lives and literacies<br \/>\nfrom centuries past. As Dr. Rebecca Sharpless, professor of history at Texas Christian<br \/>\nUniversity, explains, there are so many things you can learn about women&#8217;s lives from<br \/>\nreading a cookbook. Holness relied upon popular British cookbooks like Eliza<br \/>\nSmith, the complete housewife published in 1727. These guides were rather<br \/>\nlimiting in the new world because they listed ingredients native to a European climate<br \/>\nas the first American cookbook published in 1796. Amelia Simmons<br \/>\nAmerican cookery prompted the new nation to ask questions about its forming<br \/>\nidentity through food. What is American cuisine? Her book relies<br \/>\non adaptation and imitation. It features recipes that are distinctly North<br \/>\nAmerican and have ingredients like cornmeal, cranberries, turkey<br \/>\nand squash. Of course, indigenous peoples had used regional ingredients<br \/>\nfor thousands of years, but sentence does not attribute her newfound knowledge to existing<br \/>\nfood traditions. What&#8217;s right and the story of early American food New England<br \/>\nhogs the attention. It does not adequately reflect the diversity of emerging American<br \/>\ncuisine. And over the past two centuries, American food has<br \/>\nrepresented these problematic realities. Not only did American cuisine rely<br \/>\non cultural appropriation, the results of colonization and slavery, but<br \/>\nmore specifically, Southern food muddles the diverse conflicts within communities.<br \/>\nStay with us. As we feature three vignettes about recipe collections that are either formalized<br \/>\ninto a cookbook or passed down by oral tradition. These represent the sometimes haphazard<br \/>\nbut often meaningful associations created around our closest relationships with food.<br \/>\nFood production and early southern kitchens often put off that African and Caribbean culture<br \/>\nhad seamlessly melded with European transplants. John Edgerton, a journalist who&#8217;s<br \/>\nknown for his work on civil rights and southern culture, has explained the proximity of whites and blacks<br \/>\nin the South. Their isolation from mainstream America and the centrality of women to<br \/>\nthe region&#8217;s foodways made Afro European cookery an existential reality almost from<br \/>\nthe beginning of the United States. The South had thoroughly and individually integrated<br \/>\nits food. That&#8217;s true, at least from a food perspective. But despite the perception<br \/>\nof this complete integration, the realities of 19th and 20th century southern culture more broadly<br \/>\nreflected the after effects of slavery and continued segregation from Jim Crow laws. Even<br \/>\nafter the Civil War, black cooks, mostly women, some men continued to run middle<br \/>\nand upper class kitchens. Remaining hierarchies within southern families gave rise to too prevalent<br \/>\nand often overlapping caricatures of black women connected to food preparation.<br \/>\nThe aunt or mammy figure, which is occasionally swapped out with mis stripped these women of their<br \/>\nfull identities in favor of a two dimensional portrait of their domestic role in a kitchen space.<br \/>\nOstensibly, aunt or mammy were honorary titles bestowed on slaves and later<br \/>\nservants. This contagion is problematic because it really ingratiated them into the family<br \/>\nhierarchy. It tried to make African-American women de sexualized objects.<br \/>\nIt signified that black women would not supplant the woman of the house either in her domestic or her wifely<br \/>\nduties to popular media representations of these caricatures where Mammy and Margaret<br \/>\nMitchell&#8217;s Gone with the Wind, famously portrayed onscreen in 1939 by Hattie McDaniel,<br \/>\nwho was the first black woman to receive an Oscar for best supporting actress, and also Aunt Jemima,<br \/>\na female counterpart to Uncle Tom, created as a marketing ploy. She was a mythic persona,<br \/>\na caricature for all seasons, a jolly fat black woman and a do rag cooking up a storm<br \/>\nscene while she worked right. But this figure of Aunt Jemima only appeared<br \/>\nat the turn of the 20th century through the sales of products like pancake mix. Marketing<br \/>\nagencies perpetuated stereotypes of black women vital work to<br \/>\nreclaim. A history of black cookbook authors has most recently been undertaken by African-American<br \/>\njournalist Toni Tippin Martin and her 2015 book The Demand Methode Two Centuries<br \/>\nof African-American Cookbooks described as a culinary autobiography. Tipton&#8217;s book<br \/>\nemulates the scholarship of a museum exhibition catalog while maintaining the approachability<br \/>\nof an art book for a coffee table. It introduces generally unknown African-American<br \/>\ncookbooks to a wider audience in order to substantiate a heritage of greatness,<br \/>\nexemplify culinary freedom for black cooks, and allow everyone to embrace Jim<br \/>\nIman&#8217;s bandana. Tekin Martin&#8217;s work has recovered, cataloged and critiqued<br \/>\ncontinue to be valued by future Americans. Tipton Martin Articulate to do I&#8217;m a code<br \/>\nand its significance in this clip from the University of Texas Press.<br \/>\nWhen we think about the idea of a Jemima code, some myth based<br \/>\non a myth, it&#8217;s a story of actions,<br \/>\nresponses, behaviors, choices that are made by people in response to<br \/>\nseeing this trademarked image that was used to categorize African-American women<br \/>\nwho worked in America&#8217;s kitchens and was created by two guys<br \/>\nwho wanted to sell more pancake flour. And so they collected<br \/>\ncharacteristics of real women and some from southern plantation<br \/>\nmammy stories. And they came up with this aggregate image that they called Aunt Jemima<br \/>\nand for ever. And Jemima has been the trademark image on cornmeal,<br \/>\npancake flour, lots of other baking products. The problem with that image<br \/>\nis that all of those characteristics lead to stereotyping.<br \/>\nIt&#8217;s sort of a private inside joke told between these guys and their broader community<br \/>\nof obviously of white Americans so that anybody who approaches that image<br \/>\ncomes with their own thoughts, sees it through their own filters. And that includes African-Americans.<br \/>\nRight. So it had this peculiar encoded way of performing as<br \/>\na symbol that sent multiple messages out into the community.<br \/>\nSome as simple as buy this flour, because this wonderful woman that you remember<br \/>\nfrom Slavery Days made really terrific pancakes. The reason that I<br \/>\nfind the stereotyping to be such a problem is that it led to prejudicial treatment<br \/>\nof African-American women in particular. But some men as well who worked in America&#8217;s<br \/>\nkitchens so that we were sometimes categorized as the laborers<br \/>\nwho had to do all this heavy lifting and heavy work. And that&#8217;s not very positive.<br \/>\nOr we were treated as people who really did perform quite<br \/>\nwell in the kitchen. But we did so with a natural instinct, kind of a<br \/>\nvoodoo magic. I&#8217;ve described it, you know, just this way that was generally speaking<br \/>\nin either way, not intelligent. And feminists and African-American scholars have gone<br \/>\neven further to describe that image as a way to keep African-American women<br \/>\nenslaved in a box.<br \/>\nReturning to the Baler archive, we were surprised to find one of the recipe collections profiled by Tipton<br \/>\nMartin, the curator Amy Oliver showed us another work. Tipton Martin had inquired about<br \/>\nbut was not able to feature due to scheduling constraints. The first feature in the gym I&#8217;m A Code,<br \/>\nis by Lucille Bishop Smith, whose resum\u00e9 is as varied as her recipe collection.<br \/>\nSmith&#8217;s accomplishments include marketing the hot roll mix, as well as working as a food<br \/>\neditor for CPA magazine. Working as a food demonstrator and caterer, pastry chef and dietitian.<br \/>\nAs a black woman, she was a pioneer in the culinary profession. Smith&#8217;s Treasure Chest<br \/>\nof Fine Foods offers practical recipes, served with helpful tips, a recipe<br \/>\nfor mock champagne reads. Here is a beverage for your teenage parties. Church<br \/>\ngroups, educators, college students, Baltimore counselors and campers have stamped their approval<br \/>\non this mock champagne as being the answer to a present need. Here it is,<br \/>\nput into a punch bowl, cubes of ice or a molded block of ice or frozen sprite at<br \/>\na pink rose in semi frozen mix, equal amounts of sprite and apple juice and<br \/>\npour over the ice. Allow it to stand for a few minutes, serve cold and delight<br \/>\nyour guests. Try adding a bit of pink coloring to the champagne before pouring over the ice for pink<br \/>\nchampagne. Note mixes serve to retain the sparkle and zest.<br \/>\nYeah, I know what you&#8217;re signaling for your next big party. So not only are Smith&#8217;s collections<br \/>\na treat to read and imagine serving, but they also supported important community work<br \/>\nin addition to raising funds for service projects like improving standards in local slums. Her words,<br \/>\nSmith also conducted itinerant teaching training classes, and she established the commercial cooking<br \/>\nand Baking Department at peer-review A&amp;M University, a historically black college near<br \/>\nHouston, Texas. She really empowered others by using food as a tool of<br \/>\nsocial uplift. Another gem in the Texas collection is the Lone Star cookbook<br \/>\nand Meat Special From the Slaughter Pen to the dining room table by Hardaway Fillmore.<br \/>\nFillmore describes his motive to pass on to housewives, cooks and those expecting to<br \/>\nbecome cooks. The benefit of knowledge acquired by him from study and upward of 30 years experience<br \/>\nin the kitchen as cook. Those who prepare the food are in large measure responsible<br \/>\nfor the health of those who eat it. Therefore, a knowledge as to how to properly prepare food<br \/>\nis indispensable to good health. With over 30 years of experience as a chef and some of<br \/>\nthe largest and leading hotels, cafes and railroad companies in the southwest, including<br \/>\nthe Hilton Hotel in Dallas, Texas, Fillmore&#8217;s menus are organized by course, with suggested prices.<br \/>\nTwenty five cents for slice cucumbers, a dollar fifty for plank steak at lunch or<br \/>\nall the way to 180 for Vienna Schnitzel Holstein for dinner. These<br \/>\npublished volumes expected a larger audience than the family concoctions which first told our attention.<br \/>\nNonetheless, they really reveal a similar care for giving back to their community and they<br \/>\nprioritize teaching healthy food practices for families and neighbors.<br \/>\nThe PBS series A Chef&#8217;s Life highlights how we can benefit from oral tradition passed<br \/>\ndown from generation to generation in the kitchen because not all recipes are written down.<br \/>\nThat&#8217;s true. Many families pass down knowledge through observation and hands on<br \/>\nlessons, recipes shared through such methods risk not including the details<br \/>\nneeded to recreate the recipe on your own. A chef&#8217;s<br \/>\nlife follows Vivian Howard, who grew up in North Carolina tobacco country after<br \/>\npursuing a career as a professional chef in New York. She returned home to open her own restaurant.<br \/>\nHoward describes Southern cooking as a complex cuisine with abundant variations shaped by terrain,<br \/>\nclimate and people inspired by seasonal local food. She seeks out traditional methods<br \/>\nof preparing traditional eastern Carolina dishes. In fact, she often ventures into neighbor&#8217;s kitchens<br \/>\nlike I would do into your kitchen, and she recovers these soon to be lost cooking techniques that use distinctly<br \/>\nregional products. She finds out how to take watermelon, Ryan, that you might usually throw away<br \/>\nand make pickles, or how to whip up a batch of Apple Jacks. Yum! A frequent<br \/>\nguest on this show is Miss Lily Hardy, Septillion Arean Howard<br \/>\nrefers to as her friend and home cook mentor. In a 2016 interview,<br \/>\nMcSally explains as a little girl coming up, I worked in the fields with my daddy and my momma<br \/>\nputting up tobacco and stuff like that. After I got married, I worked at a nursing home<br \/>\nfor about 30 years. But I worked in the fields all my life. I was about 5 years old<br \/>\nwhen I started working in tobacco because my mama and my aunt had us out there. Now<br \/>\nMiss Lilly keeps on working, but with Warren brother, one of Howard&#8217;s produce suppliers,<br \/>\nand in her spare time, she shares tidbits about her family&#8217;s cuisine under the<br \/>\nwatchful eyes of her nonagenarian mother, Mary Von. Miss Lilly re-creates<br \/>\nfamily dishes from sweet potato pie to pineapple and chocolate cake. Interesting<br \/>\ncombination. And what recipes Miss Lily and enacts on screen are deceptively<br \/>\nsimple. But mastering the final result requires the years of experience that only<br \/>\nshe possesses. Every time Wassily demonstrates a dish, whether it&#8217;s macaroni and tomatoes<br \/>\nor fried cornbread, the ingredient list and steps are truly bare bones basic.<br \/>\nBut the results bring rave reviews in one of the first episodes of a chef&#8217;s life.<br \/>\nMiss Lilly teaches Howard how to make biscuits with just hold buttermilk lard and self raising<br \/>\nflour, which are all at room temperature. Her cooking techniques rely on the five senses<br \/>\ngathering together the dough until it feels right and waiting for the smell of the biscuits baking to<br \/>\nknow when they&#8217;re done. Her recipe doesn&#8217;t specify enough in temperature cooking time, which is a<br \/>\nlittle like those early cookbooks we&#8217;ve discussed. In fact, fans of the show will even go and take<br \/>\nlessons from Mississippi and learn how to make her biscuits. But there still is no recipe that they can write<br \/>\ndown because her recipes are closely guarded and really only end up being documented by other<br \/>\npeople. Howard&#8217;s cookbook Deep Run Routes features several of these recipes<br \/>\nthat are based on her lessons with Miss Lily in the kitchen. And it&#8217;s important to have<br \/>\nthis documentation provided because some of these recipes will never get out of here. As our<br \/>\nshow profile explains, her grilled chicken is highly prized address with the closely guarded<br \/>\nNorth Carolina style barbecue sauce. Warren is a regular fixture at her dinner table and has<br \/>\nasked often after the recipe. And even though Warren is her boss, he&#8217;ll be the first to warn you<br \/>\nthat Lily told me. If she told me the recipe, she&#8217;d have to kill me.<br \/>\nIn the past three episodes, we&#8217;ve considered how food not only sustains and nourishes individuals,<br \/>\nbut also signifies growth and development of a people and their culture. We&#8217;ve uncovered<br \/>\nhow, even in the most contentious and polarized of times, like the height of the Cold War or the<br \/>\nuncertainty of a civil war, the necessity of food brings communities together. When we talk<br \/>\nabout food for thought, we haven&#8217;t just met literal food or the thought that we might have biting<br \/>\ninto a rainbow bagel. Rather, we&#8217;ve wanted to consider how food can serve as an analogy for the<br \/>\nrelationships we create in the kitchen and around the table and how patterns of those relationships<br \/>\nare preserved in food archives. While this feature of American cooking remains uncertain,<br \/>\nit always has. We are optimistic that it will taste great.<br \/>\nThis has been Death in Numbers, a podcast created and produced by the Humanities Media Project<br \/>\nand the College of Liberal Arts at U.T. Austin and Liberal Arts Instructional Technology<br \/>\nServices. We are Amy Vidar and Caroline Baarda. Notes for the show, including<br \/>\nlinks and photos can be found on our Web site. Humanity&#8217;s media project dot org.<br \/>\nOur theme music is enthusiast by Tourre&#8217;s. Thank you for listening.<\/p>\n"},"episode_featured_image":false,"episode_player_image":"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/wp-content\/uploads\/sites\/11\/2018\/03\/DeathandNumbers.jpg","download_link":"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast-download\/18\/food-for-thought-episode-3.mp3","player_link":"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast-player\/18\/food-for-thought-episode-3.mp3","audio_player":"<audio class=\"wp-audio-shortcode\" id=\"audio-18-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast-player\/18\/food-for-thought-episode-3.mp3?_=1\" \/><a href=\"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast-player\/18\/food-for-thought-episode-3.mp3\">https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast-player\/18\/food-for-thought-episode-3.mp3<\/a><\/audio>","episode_data":{"playerMode":"dark","subscribeUrls":[],"rssFeedUrl":"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/feed\/podcast\/death-and-numbers","embedCode":"<blockquote class=\"wp-embedded-content\" data-secret=\"vs2HyZt6oA\"><a href=\"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast\/food-for-thought-episode-3\/\">Food for Thought: Episode 3<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/podcasts.la.utexas.edu\/death-and-numbers\/podcast\/food-for-thought-episode-3\/embed\/#?secret=vs2HyZt6oA\" width=\"500\" height=\"350\" title=\"&#8220;Food for Thought: Episode 3&#8221; &#8212; Death and Numbers\" data-secret=\"vs2HyZt6oA\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! 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