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Flaming June
Flaming June
Flaming June
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Flaming June
ArtistFrederic Leighton
MediumOil on canvas
Dimensions120 cm × 120 cm (47 in × 47 in)
LocationMuseo de Arte de Ponce, Ponce, Puerto Rico

Flaming June is a painting by Sir Frederic Leighton, produced in 1895. Painted with oil paints on a 47-by-47-inch (1,200 mm × 1,200 mm) square canvas, it depicts a sleeping woman in a sensuous version of his classicist Academic style. It is Leighton's most recognisable work, and is much reproduced in posters and other media.

Flaming June disappeared from view in the 1930s and was rediscovered in the 1960s. It was auctioned shortly after, during a period of time known to be difficult for selling Victorian-era paintings, where it failed to sell for its low reserve price of US$140 (the equivalent of $1,126 in modern prices). After the auction, it was promptly purchased by the Museo de Arte de Ponce in Ponce, Puerto Rico. It was brought back to the UK to be displayed at the Royal Academy of Art in 2024 where it was presented as the masterpiece by the artist for his retrospective.

Appraisal

[edit]

Flaming June was first begun as a motif to adorn a marble bath in one of Leighton's other works, Summer Slumber. He became so attached to the design that he decided to create it as a painting in its own right.

The funereal solemnity of Michelangelo's monumental nude has been considerably warmed up, by the Victorian painter, in the act of appropriating and adapting it. Leighton has arranged matters in such a way that, although clothed, his somnolent girl's many charms are alluringly displayed for the delectation of the viewer – who is implicitly put in the position of a voyeur... Her cheeks are flushed, reddened with a blush suggesting that somehow she knows she is being watched, even though she is sleeping.[1]

According to art historian Andrew Graham-Dixon "her pose is loosely modelled on that of Michelangelo's famous statue of Night, in the Medici Tombs in Florence, which Leighton regarded as one of the supreme achievements of Western art."[1] The position of the sleeping woman gave Leighton a great deal of trouble. He made several preliminary sketches to determine the way in which she should lie; in particular he had difficulty making the angle of her right arm look natural. His studies show that the picture went through at least four evolutionary sketches before Leighton came to the end result. Out of these studies, four are nude and one is draped.[2] The draped figure looks the least lifelike, demonstrating Leighton's claimed need to draw from a naked model to achieve a fidelity to nature.

The toxic oleander branch in the top right possibly symbolizes the fragile link between sleep and death.[3]

Flaming June has become Leighton's most recognisable picture. Samuel Courtauld, founder of the Courtauld Institute, called it "the most wonderful painting in existence".[4] The realism of the transparent material worn by the sleeping woman, the stunningly rich colours and the perfectly recreated marble surround are characteristic of Leighton's work, as is his use of natural light. He allows the sunset in the background to appear as molten gold.[5] It has inspired photography with its realism and symbolism in the 20th century, most notably Herbert List's work on Santorini and the enfleshed human soul as an island onto itself. The painting's metaphysical allusions include classical poetry by Pindar with its self-referentiality of union between the viewer, the subject, and the role of noetic imagination in deciphering human existence.[6]

Provenance

[edit]
Leighton's study for Flaming June

The painting's first owners, The Graphic magazine, bought it to create a high-quality reproduction which was given away as a Christmas gift in 1895.[7] When Leighton died in January 1896 it was put in their office window which was passed by the funeral procession. It was loaned to the Ashmolean Museum in early 1900s; its whereabouts after this are unknown. The painting was rediscovered in a Battersea home in the early 1960s, boxed in over a chimney. Andrew Lloyd Webber saw it soon afterwards in a shop on the Kings Road, but his grandmother refused to lend him the £50 asking price, stating: "I will not have Victorian junk in my flat".[4]

In 1963 Luis A. Ferré – the noted Puerto Rican industrialist and politician, who would be elected governor five years later – was on a trip around Europe, engaged in purchasing paintings and sculptures for the Museo de Arte de Ponce in Puerto Rico, which he had founded. "It’s extremely curious to know that this work of such late Victorian importance was bought in Amsterdam by Luis A. Ferré for less than $1,000 dollars in 1960."[8]

Once it had become part of Museo de Arte de Ponce's collection, it became its symbol and most recognized artwork. Since then, the painting has been loaned to important museums around the world including the Museo del Prado in Madrid in 2008, the Staatsgalerie Stuttgart in Germany in 2009, and the Frick Collection in New York City in 2015.[9]

In 2016 the painting was loaned to the Leighton House Museum in Kensington, and was displayed in the studio where it was created.[4][10][11]

In 2015 an original pencil-and-chalk study for the painting – the model's head – was found on the back of a bedroom door in the mansion inherited by Bamber Gascoigne after the death of his great-aunt Mary Innes-Ker, Duchess of Roxburghe.[12]

In 2023 Leighton's only known colour study for the painting, a small work in oil, was presented to Leighton House Museum by Sir David Verey.[13][14]

Models

[edit]
Dorothy Dene in the 1880s

While the body of the woman remains a mystery, there is speculation that the face is that of either of Leighton's two favourite models in the 1890s, Dorothy Dene[15][16] or Mary Lloyd.[17][18]

Mary Lloyd was the daughter of an impoverished country squire.[19] She came to London and established a highly successful career as an artist's model, posing only for the head and hands, and not nude – an important distinction.[citation needed] She started posing for Leighton in about 1893, was requested to come to pose in January 1895 for Leighton's Lachrymae (1894–1895). She is probably also the model for his 'Twixt Hope and Fear (c. 1895).[19]

References

[edit]

Bibliography

[edit]
[edit]
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Flaming June

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from Grokipedia
Flaming June is a renowned oil-on-canvas painting by British artist Frederic, Lord Leighton (1830–1896), created in 1895 and measuring approximately 47 by 47 inches (119 by 119 cm). It depicts a slumbering woman with reddish hair, curled in a fetal pose on a marble bench, draped in a sheer, flowing orange silk gown that reveals her form, set against a sunlit seascape with a blooming red flower in the foreground. The composition draws inspiration from the pose of a fatigued model during a studio session, which Leighton elaborated into a sinuous, harmonious figure evoking classical ideals of beauty and tranquility, influenced by Michelangelo's sculpture Night from the Medici Chapel. Exhibited at the Royal Academy of Arts in London in 1895, where it captivated audiences for its vibrant color and sensual depiction, the work remained unsold during Leighton's lifetime, with its whereabouts unknown until 1962, when it was discovered behind a panel above a chimneypiece during the demolition of a house in south London and sold to a junk shop for £60, with the frame valued more highly than the canvas itself. Acquired in 1963 by Puerto Rican industrialist Luis A. Ferré for £2,000, it became a cornerstone of the Museo de Arte de Ponce collection, which he founded in 1959, and has since been celebrated as an iconic exemplar of Victorian Aestheticism, emphasizing form, color, and beauty over narrative. The painting's revival in the late 20th century underscores its enduring appeal, with reproductions and exhibitions highlighting its technical mastery in rendering light, texture, and the female figure.

Description

Physical Attributes

Flaming June is an on executed by the British in 1895. The work exemplifies Leighton's mastery within the Academic tradition, characterized by a highly polished surface achieved through meticulous layering and blending of pigments to create seamless transitions and luminous effects. The measures precisely 119.1 × 119.1 cm (46 7/8 × 46 7/8 inches), forming a perfect square that contributes to the painting's balanced composition and intimate scale. This format allows for a focused depiction of the central figure, with the square shape enhancing the artwork's and contemplative mood. Leighton's technique involves precise brushwork, where fine details in skin tones and fabric textures are rendered with controlled strokes, resulting in a smooth, almost sculptural finish that blurs the line between painting and three-dimensional form. As of 2025, Flaming June resides in the permanent collection of the in , where it has been housed since its acquisition in 1963, having returned from loans including to The Metropolitan Museum of Art in 2023–2024. The painting's physical condition remains excellent, preserved through careful conservation efforts that maintain the vibrancy of its oil medium and the integrity of its support.

Composition and Motifs

At the heart of Flaming June's composition stands a central figure: a slumbering woman in a tightly curled pose, her body relaxed yet dynamically arranged in a spiral that conveys both serenity and subtle eroticism. She is draped in a semi-transparent orange gown reminiscent of classical attire, which clings to her form and merges seamlessly with her auburn hair, evoking the timeless ideals of antiquity. This pose is directly inspired by Michelangelo's Night sculpture from the Medici Chapel in Florence, channeling the Renaissance master's depiction of slumbering vulnerability and sensuality to infuse the painting with a profound sense of introspection and beauty. A prominent foreground motif is the oleander branch bearing pink flowers, positioned to the right of the figure against the marble bench, which introduces layers of depth to the . The oleander, with its lush blooms, represents and allure, yet its poisonous nature alludes to danger, transience, and the delicate boundary between and —a theme prevalent in Victorian poetry where such often equates repose with mortality. This dual symbolism subtly underscores the painting's exploration of life's fleeting pleasures and inherent risks, enhancing the contemplative mood without overt narrative. Leighton's color palette emphasizes warm oranges and golds dominating the drapery and figure, which radiate a fiery intensity and blend fluidly to suggest the heat of , while contrasting sharply with the cool blues of the distant and the pale tones of the bench for visual balance and spatial recession. The lighting employs soft, diffused illumination to mimic the hazy glow of a Mediterranean afternoon, with gentle shadows modeling the contours of the woman's body and fabric, thereby heightening the realism and tactile quality of the scene. This interplay of light and color not only evokes the titular "flaming" warmth but also aligns with Leighton's Academic style in prioritizing harmonious form and atmospheric depth.

Creation and Development

Artistic Process

The motif for Flaming June originated as a decorative element intended for an unfinished , Summer Slumber (), where it was planned as a bas-relief on a bath supporting the central figure; Leighton grew so fond of the design that he repurposed it into an independent composition. Developed in 1895, the work stands as one of Frederic Leighton's final major paintings, completed just months before his death on January 25, 1896. Leighton's preparatory process began with a jewel-like color sketch (c. 1895), now housed at , which tested the early composition, including the figure's curled pose and flowing drapery against a sunlit bench. This small study, measuring approximately 11 x 11 cm, captures the vibrant palette and harmonious forms that would define the final canvas, demonstrating Leighton's methodical approach to refining visual balance. In his studio practices, Leighton employed a rigorous academic method, starting with multiple drawn studies of nude models to establish anatomical accuracy and proportions, followed by draped figure sessions to render fabric textures and effects. These preparatory drawings—at least ten survive for Flaming June, with five at Leighton House—emphasized classical harmony, allowing Leighton to idealize the female form while achieving naturalistic rendering of skin tones and semi-transparent veils. He then progressed to compositional sketches and an additional oil study to experiment with color harmonies, such as the cadmium-orange gown and highlights simulating sunlight. This iterative technique underscored Leighton's commitment to technical precision, blending anatomical study with aesthetic idealization to evoke a sense of serene . During development, Leighton faced challenges in configuring the figure for optimal balance, deliberately elongating the thigh and to create a near-perfect circular composition that unified the pose. This adjustment addressed anatomical improbabilities between the passive upper body and dynamic lower limbs, ensuring visual stability on the square . To further enhance compositional focus and introduce a Mediterranean motif, he incorporated oleander branches on the ledge behind the figure, their toxic symbolism subtly contrasting the scene's languid warmth. These refinements, evident across the preparatory works, culminated in the painting's poised elegance, completed through Leighton's controlled revisions before its 1895 exhibition.

Models and Inspirations

The identity of the model for Flaming June (1895) remains a subject of debate among art historians, with no single figure definitively confirmed. Dorothy Dene, born Ada Pullen, an and Leighton's frequent muse throughout the 1880s and 1890s, is widely regarded as the likely model for the figure's body due to her recurring presence in his late works and her supple, athletic build suited to the painting's curled pose. Similarly, Mary Lloyd, another professional and one of Leighton's principal models in his final years, is believed to have provided the head and hands, having posed for him from 1893 onward in related studies. Other possibilities include an anonymous model, as Leighton often employed multiple sitters for composite figures without recording identities. Leighton's preference for professional actresses as models stemmed from their expressive capabilities and familiarity with sustained, dramatic poses, allowing him to capture nuanced gestures while maintaining artistic control. He frequently used partial posing, combining elements from different individuals to achieve an idealized form, as seen in the surviving preparatory drawings for , which include at least ten studies of a "weary model" in draped, curled positions. The painting's inspirations drew from the Victorian era's deep fascination with , evident in Leighton's emphasis on timeless, mythological repose and harmonious proportions reminiscent of and Roman sculptures. This classical ideal was blended with motifs of slumber, such as the serene, reclining female figures in works like Giorgione's Sleeping Venus (c. 1510), which influenced the painting's intimate, dreamlike composition. Additionally, echoes of Pre-Raphaelite principles appear in the vivid color contrasts and celebration of natural beauty intertwined with the human form, reflecting Leighton's early associations with the movement despite his later classical focus. Leighton's Holland Park studio, designed as a multifunctional space with dedicated areas for models to prepare and pose, facilitated his method of using live sitters to infuse realism into idealized scenes. Surrounded by casts of classical and actual draperies, models were posed in semi-transparent fabrics to study light and texture on the body, enabling Leighton to merge lifelike with elevated, sculptural grace. This environment underscored his commitment to preparatory life drawing, where draped poses helped bridge the gap between observed reality and artistic perfection.

Exhibition and Reception

Royal Academy Debut

Flaming June was exhibited at the ' Summer Exhibition in 1895, marking one of the final public showings of 's work before his death the following year. As President of the Royal Academy since 1878, Leighton held a position of immense prestige within the British art establishment, and this exhibition highlighted his enduring influence during the late Victorian period. The painting was presented alongside five other works by Leighton, underscoring its place within his culminating output of the year. The debut occurred in a cultural milieu shaped by the Aesthetic Movement, which emphasized beauty and form over narrative content, ideals that Flaming June exemplified through its harmonious composition and neoclassical references to . Leighton's neoclassical approach, drawing from Greek and Roman traditions, positioned the work as a pinnacle of Victorian classicism, celebrating idealized beauty amid the era's artistic shifts. Following the exhibition, Flaming June was acquired by the proprietors of The Graphic magazine, a prominent illustrated periodical, who recognized its commercial and artistic value for reproduction and display. This purchase reflected the painting's immediate prestige, as The Graphic intended to leverage its visual appeal to enhance their publication's circulation among a wide .

Critical Appraisal

Upon its debut at the Royal Academy in 1895, Flaming June received widespread acclaim from Victorian critics for its evocative portrayal of summer languor and classical beauty, with a review in The Times praising Leighton's masterful handling of the figure's complex pose and his innovative use of a "peculiar reddish orange" palette to capture radiant warmth. In the early 20th century, the painting's reputation endured through influential admirers, notably industrialist and art collector Samuel Courtauld, who around the turn of the century attempted to acquire it and described Flaming June as "the most wonderful painting in existence," lauding its technical mastery in rendering color and light with lifelike realism. Modern scholars regard Flaming June as a pinnacle of , exemplifying Leighton's late-career synthesis of classical idealism and Aestheticist emphasis on form and color over narrative, as seen in its harmonious composition and jewel-like tonal quality that rivals his preparatory sketches. Analyses often explore its themes of and repose, portraying the sleeping woman as a symbol of vulnerable beauty and serene introspection, tempered by subtle undertones of mortality suggested by the oleander branch—a poisonous plant evoking the fragile boundary between slumber and death. Compared to works like Leighton's Lachrymae (1894–95), the painting demonstrates his profound emotional depth through elegant restraint, balancing sensual allure with contemplative stillness. In 2024–2025, the painting was exhibited at the Royal Academy of Arts in , attracting large audiences and further affirming its enduring appeal.

Provenance

Early Ownership

Following its debut at the Royal Academy of Arts in 1895, Flaming June was acquired by the illustrated weekly magazine The Graphic, founded by William Luson Thomas, for £1,154 in 1896. The publication intended to capitalize on the painting's popularity by producing high-quality chromolithograph reproductions, which were sold to subscribers as promotional supplements, thereby disseminating the image widely among British audiences. The painting remained in the possession of until 1906, when it was sold to an affluent widow, a private collector in the . It subsequently passed through other private hands in Britain, with occasional public exhibitions, including a loan to the in Oxford in 1915 and another appearance in 1930. These showings kept the work visible to select audiences amid shifting tastes in art during the early . By the 1930s, amid economic uncertainties including the , Flaming June vanished from public view, likely stored privately or transferred discreetly among collectors as Victorian-era art fell out of favor. Despite its absence from galleries, the painting's cultural presence endured through its earlier reproductions in magazines like and subsequent references in art books, sustaining awareness of Leighton's masterpiece among enthusiasts.

Rediscovery and Acquisition

In 1962, Flaming June was rediscovered during building demolition on in , where a worker found the unframed canvas rolled up and concealed in a disused amidst . Dismissing its artistic value amid the era's disfavor for Victorian painting, the finder sold it to a local art supply shop for the presumed worth of its ornate original frame alone, fetching just £60—equivalent to approximately $170 at the time. The painting then passed through a /art dealer and two other private owners before being acquired by art dealer Jeremy Maas, who recognized its merit despite lukewarm market interest and displayed it in his Clifford Street gallery. In 1963, Puerto Rican industrialist, politician, and philanthropist encountered the work there during a visit and acquired it outright for £2,000 (approximately $5,600), undeterred by advisors who viewed Victorian art as outdated. Ferré, intent on building a world-class collection to elevate cultural access in , donated Flaming June to the newly founded in 1965, establishing it as a foundational piece that symbolized the institution's commitment to European masterpieces.

Legacy and Cultural Impact

Iconic Status

_Flaming June has earned the affectionate nickname "the of the " owing to its mesmerizing allure and its permanent home at the in , where it draws visitors from around the world as a centerpiece of the collection. This designation underscores the painting's status as an enigmatic icon of beauty, much like Leonardo da Vinci's masterpiece, but rooted in the languid, sun-drenched atmosphere of a tropical setting. In art historical discourse, Flaming June stands as an epitome of late Victorian Aestheticism, embodying the movement's credo of "art for art's sake" through its prioritization of sensual form and color over narrative depth. The painting's depiction of a reclining woman in diaphanous orange drapery exemplifies Leighton's neoclassical precision fused with Aesthetic ideals, frequently analyzed in studies of 19th-century representations of gender and beauty, where the figure's poised repose evokes both erotic vulnerability and idealized femininity. Critics have long praised Leighton's technical mastery in rendering the translucent gown and luminous skin, which enhances its role as a benchmark of Academic painting. The work symbolizes Frederic Leighton's enduring legacy as a pillar of Victorian art, often featured in museum highlights and scholarly texts on Academic traditions, where it represents the zenith of his career and the era's pursuit of visual splendor. Its public fascination persists through its recognition in surveys and exhibitions, cementing Leighton's reputation for crafting timeless images of human grace. Flaming June's enduring appeal lies in its evocation of eternal summer and feminine repose, themes that transcend the to resonate with modern audiences seeking and aesthetic . The painting's dreamlike quality— a woman suspended in serene slumber amid blooming oleanders—captures a universal longing for tranquility, ensuring its place as a cultural emblem of beauty's quiet power.

Reproductions and Influence

Following its rediscovery in the , Flaming June became one of the most widely reproduced Victorian paintings, appearing on , calendars, and various merchandise that popularized its image among a broad audience. The painting's ethereal depiction of slumbering beauty resonated in student dorms and homes as a favored print, contributing to its status as a cultural staple. Commercial reproductions, including high-quality canvas prints and oil painting replicas, continue to be produced by galleries and retailers, ensuring its accessibility beyond walls. The painting's global visibility has been enhanced through international exhibitions and loans since the mid-20th century, drawing large crowds and scholarly attention. Notable displays include its loan to in 2007, marking a significant return to ; the in New York from to September 2015, its first major U.S. appearance in over 35 years; the in 2023–2024 as part of a Ponce collection tour; and a dedicated exhibition at the Royal Academy of Arts from February 2024 to January 2025. In 2025, Flaming June was included in the touring exhibition 'The Sense of Beauty: Six Centuries of Painting from ,' displayed at venues including the Meadows Museum (through 22, 2025) and subsequent stops at the Museum of Art, Museum of Fine Arts Houston, Oklahoma City Museum of Art, , and . These loans from the in , the painting's home since 1963, have underscored its enduring appeal and facilitated its integration into diverse cultural narratives. Flaming June has exerted a subtle yet pervasive influence on , serving as a symbol of Victorian and themes of repose and beauty. Its image has permeated visual media, inspiring references in discussions of and , and evolving into an icon that transcends its original context. The painting's vibrant orange and somnolent pose have echoed in broader artistic dialogues, though direct appropriations in or remain anecdotal rather than systematically documented. In the digital era, high-resolution images of Flaming June are readily available online through institutional archives and art databases, amplifying its reach to global audiences. It has been featured in educational videos and lectures, including the Frick Collection's introductory film and various documentaries exploring Leighton's oeuvre and the painting's journey from obscurity to . These media presentations often highlight its significance within Puerto Rican collections and Victorian art, further cementing its cultural legacy.

References

  1. https://www.metmuseum.org/perspectives/flaming-june
  2. https://www.metmuseum.org/art/collection/search/888184
  3. https://www.bbc.com/culture/article/20161115-the-erotic-masterpiece-we-nearly-lost
  4. https://www.royalacademy.org.uk/exhibition/flaming-june
  5. https://www.theartstory.org/artist/leighton-frederic/
  6. https://www.dailyartmagazine.com/painting-of-the-week-flaming-june-by-sir-frederic-leighton/
  7. https://www.frick.org/sites/default/files/pdf/press/pressrelease_web.pdf
  8. https://artincontext.org/flaming-june-by-frederic-leighton/
  9. https://victorianweb.org/painting/leighton/paintings/47.html
  10. https://www.britannica.com/biography/Frederic-Leighton-Baron-Leighton
  11. https://www.rbkc.gov.uk/museums/frederic-leightons-flaming-june-making-icon
  12. https://artuk.org/discover/stories/frederic-leightons-flaming-june-facts-and-fictions
  13. https://www.artgallery.nsw.gov.au/collection/works/42.1975/
  14. https://www.royalacademy.org.uk/article/iconic-flaming-june
  15. https://www.rbkc.gov.uk/lordleightonsdrawings/ldessays/essay4.asp
  16. https://artuk.org/discover/stories/the-careful-draughtsman-frederic-leightons-drawings
  17. https://www.royalacademy.org.uk/art-artists/name/lord-leighton-pra
  18. https://www.countrylife.co.uk/luxury/art-and-antiques/the-most-wonderful-painting-in-existence-once-sold-for-30-and-considered-less-valuable-than-its-frame-is-back-in-london-265684
  19. https://www.historytoday.com/archive/foundations/flaming-june
  20. https://madeleineemeraldthiele.wordpress.com/2017/02/04/flaming-june-at-leighton-house-museum/
  21. https://www.frick.org/exhibitions/flaming_june/masterpiece
  22. https://nymag.com/vindicated/2016/11/flaming-june-a-masterpiece-once-thought-worthless.html
  23. https://www.measuringworth.com/datasets/exchangepound/
  24. https://artsandculture.google.com/story/flaming-june-by-lord-frederic-leighton-museo-de-arte-de-ponce/qAWBa7FDV8CtJA?hl=en
  25. https://www.theguardian.com/artanddesign/2016/dec/16/frederic-leighton-flaming-june
  26. https://www.researchgate.net/publication/262852719_The_Deathly_Sleep_of_Frederic_Leighton%27s_Painted_Women
  27. https://www.academia.edu/27156710/The_Deathly_Sleep_of_Frederic_Leightons_Painted_Women
  28. https://www.theguardian.com/artanddesign/2023/may/28/flaming-june-once-a-student-poster-favourite-returns-to-london-home
  29. https://www.1st-art-gallery.com/Lord-Frederick-Leighton/Flaming-June.html
  30. https://www.theartnewspaper.com/2007/05/03/lord-leightons-masterpiece-flaming-june-to-go-on-display-at-tate-britain
  31. https://www.frick.org/exhibitions/past/2015/flaming_june
  32. https://www.metmuseum.org/press-releases/last-chance-ponce-loans-2024-news
  33. https://fineartconnoisseur.com/2025/05/60-masterworks-from-puerto-rico-on-tour/
  34. https://www.frick.org/press/leighton%25E2%2580%2599s_flaming_june
  35. https://www.theguardian.com/artanddesign/2024/feb/18/flaming-june-royal-academy-review-frederic-lord-leighton
  36. https://www.frick.org/exhibitions/flaming_june/flaming_june
  37. https://www.youtube.com/watch?v=rZbNtWA_mmk
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