panos skoulidas – venice

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Panos Skoulidas

Sunblock, Botox and Detox


“Jim Morrison” himself once told me:

“…there is no way in hell you can go CLOSE  to the flame and not get burned…

go close, closer, get BURNED feel the pain, feel the devil breathing on your neck…

pay your dues… ”

That was the thought that kept me sane while i was sweating at the back seat of that police car… those words kept my brain in order when i was struggling with those handcuffs… The “either my wrist is too big or the cuffs too tight” thought wasn’t really helping me at all…

Go CLOSE, “if you hands are free, you ain’t close enough”, i thought and then i passed out….

It took me a while, quite a few  visits to Venice Beach to realize that there is more than the eye can see…

There is the MORNING, welcoming Venice Beach, rollerblades, beautiful one speed beach bicycles, hot girls with bikinis, studs with their ipods strapped on their bare arm… tourists, kids, little dogs, big dogs, INNOCENCE….

As the sun dives into  the pacific, as the noon passes quickly, there is another

“cast” waking up, slowly… the “unfortunate”, the drunks, the homeless, THE UNSTABLE…. you can hear the beer  pouring & smell the  “mary-jane” burning…

SUNSET comes, the vampires now are really up…

the FREAK SHOW  begins…

The TRANSITION from light to darkness comes through the Venice Sunset.. the golden lights,

the MAGIC begins…

The “innocent families” are heading home… Another beautiful day in the Beach  is over…

Over ??????… Hmmm , i dont think so…

When the darkness comes, a whole another Venice wakes up…

Sirens, handcuffs, pain, suffering, BLOOD…. lot’s of blood…

Ladies & Gentlemen,

Welcome to Venice Beach… to my venice world….

relax, enjoy and remember : ” …if you don’t feel the pain, you ain’t CLOSE enough….”

ok, next Corona on me !!!


panos skoulidas


350 Responses to “panos skoulidas – venice”

  • panos…………… you rock bro!!

  • whoa, that dude is having a bad day…..

  • okay.

    for me this just feels like a collection of single images;

    there are some interesting photographs in there, but too many “fillers” for me.

    i find the inconsistencies in style and processing awkward as well – one moment grainy and low contrast, the next black and white, then straight to a kind of “alex webb” style high contrast image.

    thats it for me – a collection of single photographs. needs a tighter edit and a better sequence.

  • WOW. Panos, you’ve really gone & done it here. All those months of nights in the low light of Venice Beach. Days when the sun was bright enough to split open your crusted eyelids. This makes it ALL worthwhile. Sure there will be those who miss the point but, hey man, I did too at the start. For those who don’t get it, I say try it again & again & again until you no longer see this as a photo essay but as life washing over you like surf washing over the sands of Panos’ beach. This, my dear bro, is HOT!!!


  • “An artist is a creature driven by demons. He doesn’t know why they choose him and he’s usually too busy to wonder why.”-faulkner

    Brother P: ironically, i just started re-reading Dostoevsky’s “Besty” (Demons) which had until recently been translated as “The Possessed” when in fact, the title in russian means Demons. A novel filled with madness and black humour, ideas and laughter, death and expansion….the wilding of our possessed selves when consumed by the ideas and times that rattle and cage our waking, panic-licked, drum-kicked lives….

    and this is brilliant and exciting groove to step out into amigo…

    ….besides the brilliant title, and the many remarkable images (#2, 3,6, 13, 18, 20, 25, 26, 28 (i love the flash and this white banana foot!!!!), 36, 40-44, 50, 51 (grain looks familiar ;)) ), 55(!), 56, 59, 60, 63 (iconic!)), is that it is still only the beginning of this intense carnival….anyone that has closely followed this work over the last year would have thought it to Panos’ story, but in truth as the remarkable images and story play it out is really the story of Venice, or rather, the story of a group of people…akin to Goldberg’s kids or bukowski’s dry-humping drunks and poets and gimlet swingers, this story never, not once, condescends but instead celebrates the human show (not the freak show that many think is venice) the lost and lonely and loving folk that call this small corner by the sea traffic’t by tourists and givemeups, strippers and skaters, body-nukes and brain-ribbed cops, the whole, the all that is the LA that I knew when i lived there can still be best understood at Venice, not the venice of the cliche, but the venice of the swing from light to dark to dusk….and it’s all here man, all here in all these images….just as a i never weary of Bukowski’s poems or stories, so too the images for me from Venice…..

    that the way to tell the story of a place is to be a part of that place, to spend enough time that it becomes part of who you are as well, not in order to separate but in order to be able to celebrate all that surrounds, the yellow’d night light and toilet water, the red dream blood on the floor and nails on the fingers, the white balloons and the white irridencence of the eyes forlorn….all there panos…

    venice will never detox because we are never rid of all our own demons…and demons, at least for me, do not suggest terror or evil but rather the difficulty, the playfulness and the manic love and lusts of what it means to be possessed of this living life that shall depart….

    i love it brother and happy to see it play wide…


  • hmmm.. for me this was about as easy to swallow as a fistful of venice sand. i mean maybe i’m missing the point here or something.. but this just seemed kind of haphazardly thrown together with some good images in there but by and large as ben put “too many “fillers””. it left me thinking “how is this on this website?” no disrespect to the photographer or anybody associated with putting this together but that’s just how it struck me. i apologize but i just had to get this off my chest.

  • Panos

    I knew you are hiding some pictures :)
    Good work my friend.
    Keep shooting, this story will never end!

  • Panos portfolio’s to tell me more about him, not exactly the story for me.
    I really enjoy the different style of images and I getting closer his personality.
    (If somebody knows Panos much better maybe will disprove me.)
    Congratulation for your “daring” portfolio.

    Cheers, Gyula

  • Anton, i would rather say “rap” than “rock”.
    ( thank U master for the slideshow )

  • OK. I think that right now I see in Panos too ways of shooting. One is raw, direct and not cliche because it doesn’t think much and the other is more trying to put things together. You would think that the first often brings the story more forwards, but I find the whole a bit empty. Maybe it is that there are many photographs (beer, food, some unknown lady) that do not bring me much. I do absolutely love others, that are aesthetically pleasing yet they have a lot of content behind them (namely #40 and #60). They seem not to specially try to fit in any place, but due to the amount of time that Panos has spend on location at some point some simple images just *had* to work well. They don’t need any weird angles, no overexposures, no fiddling with the colours to make them work. Whatever his camera or phone had in front of them at that point just had to make a good image. I like those, and I wish the finished essay dropped much of the emptier fluff in their behalf.

  • I have to agree with Ben and Matt. There is some really great work in there, but way too much filler. This is a very very good start to a work in progress, but I think there is so much more to be done. This is a project that Panos could spend years and years on. I would pull the 15 or twenty great images out and call it chapter one.

    Don’t quit on this story yet Panos, I am sure that is not your intention. I think you have just scratched the surface. My advice would be to go deeper. Way Deeper! A great start. Love the title.

  • Gyula hi,
    i totally agree with you.
    i was trying the “mirror effect”.
    you really “nailed” it.
    i wasn’t really trying to tell a story.
    Just like i said to Patricia , while ago,
    i admire her because she is “putting herself” into the “story”…
    100%…. her ( my ) intimate relationship with the world… i was trying to expose,
    not trying to “tell” you how to “see” the world, or how to see “venice beach”..
    you have your own eyes for that, im sure… you dont need me…
    but you “need” me for one thing, and one “thing” only…
    just to express my “intimate” relationship with it (venice) as
    Antoine D’Agata would say..
    peace & hugs..

  • its… more of a “bad” life , than a “bad” day… so to speak

  • Ben hi,
    i do see the “obvious” inconsistencies” you mentioned.
    you are so right… its just me.. my “inconsistencies”,
    my “non professionalism” , my “freestyle” …is sooo obvious…
    but honestly, i don’t “see” any “alex webb” style in my work…
    i could see “DAH black shadows” influence, but even that is too far stretched out…
    but , alex webb’s style, in my work????
    thank you, thank you for that, but i dont see any of that…!!!
    hmmm, at least not conciously…
    again, thank u for your critique!

  • Mat hi,
    thank u for your thoughts, critique also…
    you said that u might be missing the “point”???
    no worries,honestly…. there is NO POINT…. you are missing!
    at least “no point”, as far as i’m concerned…
    so , no reason to apologize…
    i wasn’t really trying to make “one”… just
    “mirroring” myself… mirroring my own misery and pain…

  • panos

    my comments aren’t based on a perceived lack of “professionalism”…

    i’m just stating what is clear to me when i looked at this photo-essay.

    here’s the bare facts – i couldn’t watch it further than around 30 images – at this point i lost interest and focus. its all well and good having this idea that the story is about YOU and YOUR experience, but unless this is shown to me in an articulate, visually stunning way, then i’ll quickly lose interest.

    you referenced Antoine D’Agata in a different response – lets just think about Agata for a moment – one mans journey through a dark, mysterious underworld, riven with sexual tension, symbolism and sinister characters. all shot in a highly stylised way, yet there is still a strong consistency in his work.

    now by no means am i saying that you should be shooting like this person or like another person – of course you have to find your own voice – but in this essay i’m not hearing or seeing YOU. the photographs feel like they could have been taken by several different photographers using several different cameras and processed in several different ways. this doesn’t make for a cohesive essay.

    i know i’m not alone in feeling this way, and you can try and avoid it if you want – but i think this scattergun approach to documenting your experiences will hinder this story from evolving into anything more than a collection of single images. i think you need to be harder on yourself in editing, and more focused in the themes and story strands that make up your project.

  • Today is Panos day! Not many reach such a dizzy height Panos: I know it hasn’t ben easy but you have got yourself real close – I can almost feel the heat. Like Ben, I thought I saw a little “Hot Light” aka. Alex Web but immediately said to myself no, it’s pure Panos. Some really strong photographs here. Congratulations, but from now on, don’t use words like non-professional.

    Mike R.

  • There are some really excellent images (#40 is a knock-out!), but as said above, they seem hastily taken and compiled; there is a real lack of coherency in the story and maybe more importantly, the aesthetics. I have no problem mixing colour and b/w (Trent Parke has done it well), but most often it weakens an essay. Photo #51 looks like the crappy PS noise filter.

    Also, as a general comment to the first two essays, I’m getting turned off by the sheer number of images especially when I feel like I’m looking through a person’s unedited photo library — the whole library! And why add music? Both times I have been distracted and feel that it’s more appropriate for a wedding photog’s website — and not “burn” — even if this is just the first incarnation.


  • I agree with the “needs editing” group. There are some very strong images here but the strength of the essay is diluted.

    I don’t know about Panos but it is GREAT to see comments here that are not all euphoric. What is there to learn when everyone is saying only congratulations? :))

    Honesty is a good thing…

  • Panos-

    hmmm.. well i guess i just feel that a photographic essay should have a point. i mean i need something that i can hold onto that will carry me through the essay, a common thread or some other kind of linkage.. as it is it’s put together in a very disparate way that just feels very disjointed. so again i’m going to defer to what ben writes up there i think he hit it on the head. not trying to piss on the parade but….

    and i’m not sure what “mirroring” yourself is.

  • panos and ben,

    this is actually an interesting thought mentioned here: is “visual consistency” a prerequisite to making a succesful essay?

    i have always thought so, and personally i have always tried hard to achieve that…

    BUT now that i see this essay, i’m thinking that i might be wrong… is it actually really necessary? really really?

    really really really?

    i mean, the visual inconsistency reflects the actual “real” inconsistency in venice beach, the rich, the poor, the day, the night, the love, the hate, the happiness, the desperation… everything at the same time… i mean, i can’t even imagine how one would be able capture this wide range of emotions/happenings in one “visual consistent” essay…

    on a personal level, when i was about 20 images in, i felt like i actually was there…

  • “…the photographs feel like they could have been taken by several different photographers using several different cameras and processed in several different ways. this doesn’t make for a cohesive essay…”

    i will have to agree with you again and again… really , no sarcasm here…u nailed it once more!
    Yes…they are different cameras ( M8, d50, iPhone, d200..etc),
    All processed in “different ways”.. & different states OF MIND… from MELLOW to pure CRAZINESS…
    and YES … again, “cohesive”, is not the word…
    welcome to my world
    peace & hugs

  • BEN…

    i went to your site and can certainly see why you might not relate much to Panos….you are more like Soth or Power….refined…thought out…British!!! and you have some truly magical work with a bit more spontaneity than either Soth or Power…in any case, i would love to communicate with you further about an essay here…

    while i obviously support the total freestyle approach of the renegade Greek turned Californian,sometime tow truck driver and homeless Panos, who knows no bounds, i also welcome the best of many genres including yours…you and your comments and your work are most welcomed…i will link to your site…

    cheers, david


    do your dreams????, i literally mean, the “dreams” u see when asleep ( not idealistic ones ),
    have any consistency??? i bet , NOT…
    then why “art” should have any? ( consistency )
    , unless that is the point asked. of course???

  • ok:

    panos…………. you rap bro!!

  • Cathy,
    im with U 100%…
    yes, HARSH CRITIQUE , please…
    dont worry, seen lots of “blood” already…
    ok now, go ahead!!!

  • CATHY…

    yes, yes..honesty is best..and maybe controversy even better….i am pleased we FINALLY got there!!

    you should go back back back in the archives of critique and read the incredible THRASHING Robert Frank got from virtually all of the “best photo minds of the times” when he did The Americans…

    frankly, if i were editing for print, i would take Panos down to the 15 suggested by Pete…but, for a 3.5 minute “experience” i think this pretty much gives a feeling of Panos’ world…it is Panos’ world that needs editing!!!!

    cheers, david

  • I totally do not understand the notion of visual consistency. Each photographer (or writer, musician, artisan, cook, barber) creates in a way that is consistent to their vision, to their contact with and reconciliation with a project (photograph, book, song/album, meal, haircut)….I am soon about also to show an essay in which I used 5 different cameras as a means to convey different light, different moments, emotions, etc….I dont want to make a big issue out of this, as I agree that it is Panos’ work and Panos pleasure and job to have a dialogue with the others (and by the way, I 100% welcome, as I sure Panos and Anton did) this kind of discussion…to weed out the calcified, dead-weed of thought that exists all too commonly amid photography photography sites and blogs and magazines….but, it’s is so simple to tack up an essay with a consistency of “look” (camera, style, etc)…”style” is simply a language in the arsenal of photography and should be see for what it is….the bigger and more essential question for a viewer (my reaction after having watched Panos’ essay a number of times this afternoon) is: have the photographs (in total and individually) sat inside me as a way to convey a story of a place and people….for me, the story does, collectively as images and individually….if it doesn’t alight upon others as it does for me, so be it….i do think that the issues of edit are important and it will be great to hear from Panos about his reasons for the inclusion/exclusion of pics…

    part of the greatness of Burn was to be just this: dialogue: between photographer and reader. I welcome these thoughts…when i show my essay (longer than Panos’), it’ll be a great opportunity to speak about length/editing choices etc…but, i just want to share with you all another story that uses a variety of means to tell a story….I am not comparing Panos’ story to this, but I think it is important that viewers understand that what is IMPORTANT in a critique and an analysis is not for a viewer to impose their points of view or aesthetic upon an essay but to attempt to see and understand what the choices are that the photographer has made, as a way to more richly understand what’s at play and what’s at heart in the work itself…..i’ve always tried to remove my bobblack photographer hat when looking at pics and try to swallow them as Bob Black the dude that loves photography…

    ok, about “consistency” of style:

    running for the day


  • The amount of pictures and the variety of different styles actually suits the project quite well. Maybe you should loose a couple of the shots. But it is quite a big and loose subject so why not have lots of varied pictures?

    It felt like you had showed me the place honestly and I could then go and make my own decision about it. Really tightly edited series of shots certainly seem to add power to very specific stories but are maybe not so good with actual places like Venice Beach. Those really tight edits on pictures of places always make me feel a bit short changed….

    Up until today Panos was a racing car and a photo agency to me. Now it is also someone who is often in Venice Beach…. someone who is not worried about getting into some trouble when he is there. Thanks.

  • Waxy,
    thank you,

    ALL, please , as Cathy said:”
    … but it is GREAT to see comments here that are not all euphoric. What is there to learn when everyone is saying only congratulations? :))…”

    …bring it on,
    teach me, school me, i need to learn,
    feedback please…
    and i promise, i will do the same…

  • see my comment above about consistency ;)))))….for me, i think one of the problems that abounds in the photo world is not the “we love everything so much” or the “we hate everything so much” but the fact that still, photographers still all too often look at others’ work as if it were their own, in stead of seeing the work for what it is, face value: the individual expression of a particular place….

    what i trust will be such a great great to Burn over the long hall is that it shall embrace this peculiarity…this breadth of speech of photographs…..

    for me, the wisest folk are not the ones who are able to articulate the best what their point of view is but rather the one who is the most open to that view that is remarkably different from their own :)))

    therein lay the beauty of Burn to come :))


  • Well Panos, you already know my favorites … they begin with 40, that one hit me hard when I first saw it some months back. To me, that’s it, the fulcrum, there’s a lot of you in there too … Man, just keep going, keep following Jim down the Venice rabbit hole …. Just to be onto this is a big success but it’s not done. You’re not finished Panos.

  • MAT…

    exactly where are YOU coming from??? you refer to Ben who has shown his hand and a good one…you have not….pretty hard to swallow anything from anyone who is hiding….come on out, show us!!! it won’t hurt….

  • I don’t know of any recognized photographic works which don’t have some kind of consistency. Though, that doesn’t make “consistency” a strict rule to follow, but it might give you a slight hint.

    If you made the choise of non-consistency a priori to the shooting – as a way to convey you Venice impressions – well it’s your choice as the artist. But, if qualified people tells you that it doesn’t really work for them, then maybe you should reevaluate your choise.

    On the other hand, if the non-consistency is just a product of hap-hazard shooting with whatever equipment available (and without any thought through visual expression), then you should definately revise your way of working on this project.

    Did you make a conscious choise about this apparent lack of coherence? – or did it just happen to turn out this way?

  • Panos

    I will fallow after Ben.
    You know I am your big fan, and I think this is very good series of your photos, but I have to confess I saw deeper and more united stuff in you earlier pulished works.
    What key have you used during editing? Only story, or only esthetic?
    or maybe something more personal?
    what about your book?
    how many pictures you have?

  • Joni,
    you also nailed it…
    you said “empty”…
    “empty, just like me…”
    thank u

  • it’s a start.. and there are good photos in there, although for me many miss the mark.
    in so far as i think about the moment and wonder if some are just outside of that discipline.. a discipline i enjoy very much. there is a clear indication that you’re photoing constantly which is really promising, and i think that if the project were drawn out longer there would be obvious photos to replace others.. the learning-curve viewable on the mac site you have for the work is clearly steep and since late summer good photos have turned up with greater frequency..

    so it comes down to what you want panos..? i remember reading a number of grumpy posts about what is shite and what you don’t like.. i reckon you have a good idea of what you do like and that could come through.
    for me your strongest work remains your most recent.. of dark kids and interpersonal relationships.. of genuine contrived moments and with a tighter command of yer light-box.
    i guess in future shows this work will be more evident – i hope so – since it was those photos i was mostly looking out for here.. although i guess they do not fit the venice remit so well..


  • “it is Panos’ world that needs editing!!!!”….

    Yeah maybe, but then Panos would cease to be Panos! Edit the photos and leave Panos and his world to run their course.

  • Yeah. I agree with many that there are way too many fillers in this essay. 60 pictures is a ton for a still slideshow…maybe if you also recorded audio and put together a short multimedia piece you could get away with posting so many pictures, but for me I just see a few gems in between a bunch of snapshots( well not snapshots, just a bunch of loose and incoherent pictures). Tighter edits are always hard as it makes one really have to sit down and think about how they want their project to be seen, understood. I would continue with this project and I like the idea of having about 15-20 Really nice gems and use that as Chapter 1. Other than that, sifting through 60 pictures is a bit much for many, I got lost at 30 and turned away… Especially when you are diluting the experience of your really nice work with so many shots that just miss the mark. Nice job though and I would love to see a more concise edit.



  • of genuine UNcontrived moments.. that’s what i meant to write.
    what i mean to say is that for me it becomes dull seeing people who obviously know they are being photoed, doing the old ‘look at me’ poses..
    it could be a comment on the people you are photoing, perhaps they like to show of.. loud.. drunk.. i’ve seen that many times in clubs..
    for me the work which stands the test of time tends to be more caught moments, or if the moments are contrived they are more choreographed and less average.

    in any case.. if random is what you are and what you wanted to achieve then that is what you have – so well done..

  • thanks david.

    i dunno – i’m not so narrow minded that i’ll just cast aside a certain type of photography or photographer – my tastes in photography are diverse; on monday i might be looking at Paolo Roversi and Peter Lindbergh; on tuesday I’ll be getting my fix of Patrick Zachman and Agata; I’ll follow that up on wednesday with a bit of Lars Tunbjork and Tim Davis; thursday I’ll get all nostalgic and research Chris Killips “Inflagrante” and maybe pair that up with “Kosmos” by Adam Bartos; then by friday maybe I’ll be looking at early Friedlander, followed by Epstein’s Family Business, Jodi Bieber’s “Of Dogs and Wolves”, Taryn Simon’s “An American Index…’, Balazs Gardi’s “The Valley”, a wee bit of David Lachappelle and a good hour looking for hotties on the Cobra Snake and Last Nights Party..

    all valid in this day and age…

    okay, so i dropped lots of names and showed that i have an eclectic taste. i probably come across like a bit of a know it all – but i think there is a point to this.

    All those photographers. so different. i like all of them (okay, maybe not the cobrasnake!) – but think about the work that resonates – from any of the aforementioned guys and girls – and even if it doesn’t have a “visual consistency” per se, it has either:

    – a sequence – an order that stimulates and surprises, and that leads the viewer on a journey in some way.


    – a strong, well articulated and presented concept.

    i think with Panos’ essay, there are a few strings that could be picked up on, strengthened, and bound together to make a much stronger whole. thats all.

  • …short multimedia piece… great advice
    thank U Matt!
    peace & hugs

  • David,
    you are totally right… i need to somehow “reinvent” my self…!!!??
    how??? i have no idea…:-(

    “…interpersonal relationships..”
    thats what it is!!!
    thanks D.B

  • the “book” is a different approach… also!
    nothing to do with the slideshow!
    text, all over, different sequence…
    or maybe the same…
    everything evolves…

  • also I had my comp muted and didnt know there was music…HA. but yea.. do some creative edits and move the pictures with the music so its not just 2 sec per image…you know…like some sweet magnum in motion stuff. Get some final cut pro express or something and just have fun and jam out…editing pictures to music is probably one of the best things one can do…its just soo much fun.

  • One more thought:

    It’s wonderful to tell the story of people without actually using people in every frame. The lead-off image (i.e., pistol shot) is an example of this, but the few others that I remember are weak… such as the dinner plate. And I might only remember the gun because it was a gun. Maybe there are more but if there are they are unmemorable. Something to consider to round out an essay…

  • Mr. Harvey

    i sense a bit of hostility and an implied insult in your reply. i mean your comment section has a space for website.. so i put mine. the fact that there is nothing for you to view at this time is kind of incidental and i fail to see how that cancels my completely valid and substantiated opinion out. but i understand where you’re coming from with the tribe mentality and protecting ‘yours’ from outsiders.. i mean i think that’s a pretty natural reaction. but the fact is that i do have an opinion and i have voiced it here whether or not you agree with it is kind of irrelevant to me. i’ve had extensive discussions with several photographers regarding this particular essay and the consensus opinion is that this is really shoddily done, which really shocked me as a photographer. i had, perhaps naively, come to expect great things from Burn.

    but anyway if you’d like a look at some unedited work of mine then please feel free to drop me an email and i’ll give you unfettered access.

  • James Hudson,
    thank U.. i hope , i believe,
    i have a new, “real” , friend, “amigo”, here,
    in this “bloody”, “burning” blog… “BURN”…
    u feel me???
    coz, i definitely “feel” & welcome U , here…
    step in, come closer to the “BURNing fire”…
    thanks again
    peace & hugs

  • Matt…!!!!
    time inconsistency… perfect!!!!!
    why every slide should be equally 2 second exposed…
    thank u matt… you are brilliant….
    hmmm… i should redo this… regarding the “weakness” or “strength” of each tif”…
    peace & hugs!

  • Great discussion around here and very instructive. I do agree with most of you. The essay is long and needs a tough edit (that’s very familiar to me, I always have the same problem….), but have good pieces in it. I do have my three favourite shots that really made me use the ‘pause button’ for a while, and for the rest of the pictures I just followed the slideshow feeling the mood of Pano’s world at Venice Beach. I think he managed well to show us the atmosphere at this place. You can feel it, and you can also “feel” Panos behind the frames. Definitely that’s a good start. But I would cut down some of the pictures to reduce the amount to the best shots. It will be more impressive!
    Don’t stop, Panos!!

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