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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
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<TITLE>Archived Sam Neill Home Page -- Sam Neill</TITLE>
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<META NAME="AUTHOR" CONTENT="Erika Grams">
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</P>
<CENTER>
<TABLE WIDTH=79% BORDER=0 CELLPADDING=2 CELLSPACING=5 BGCOLOR="#ffffcc">
<TR>
<TD>
<P><STRONG>The Sam Neill Home Page will no longer be updated as
of 15 January 2005 and is no longer the Official Sam Neill
Website.</STRONG> The webmaster has decided to retire after 10
years of work on the site. For the time being, the photos,
sounds, FAQ, and filmography (as of their last update) will
remain online as a resource. The mailing lists will also continue
to exist. Thanks to everyone who helped work on this site over
the past 10 years. It's been a blast!</P>
<P>Please continue to visit the website for Sam Neill's winery
<A HREF="http://www.twopaddocks.com/">Two Paddocks</A> and for
his Production Company, <A HREF="http://www.huntawayfilms.co.nz/">Huntaway
Films</A>.
</P>
<P ALIGN=RIGHT>-- Erika Grams, webmeister, retired
</P>
</TD>
</TR>
</TABLE>
</CENTER>
<P ALIGN=CENTER><IMG SRC="line2.gif" NAME="graphics2" ALIGN=BOTTOM HSPACE=5 VSPACE=5 WIDTH=540 HEIGHT=12 BORDER=0>
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<TD>
<P ALIGN=RIGHT><A HREF="films/index.html"><IMG SRC="filmbutton.jpg" NAME="graphics3" ALIGN=BOTTOM WIDTH=250 HEIGHT=30 BORDER=0></A></P>
</TD>
<TD ROWSPAN=6>
<P ALIGN=LEFT><IMG SRC="frontpic-ns.jpg" NAME="graphics4" ALIGN=BOTTOM HSPACE=15 WIDTH=238 HEIGHT=297 BORDER=0></P>
</TD>
<TD VALIGN=TOP></TD>
</TR>
<TR>
<TD>
<P ALIGN=RIGHT><A HREF="snfaq.html"><IMG SRC="faqbutton.jpg" NAME="graphics5" ALIGN=BOTTOM WIDTH=250 HEIGHT=30 BORDER=0></A></P>
</TD>
<TD>
<P><BR>
</P>
</TD>
</TR>
<TR>
<TD>
<P ALIGN=RIGHT><A HREF="pictures/index.html"><IMG SRC="photobutton.jpg" NAME="graphics6" ALIGN=BOTTOM WIDTH=250 HEIGHT=30 BORDER=0></A></P>
</TD>
<TD>
<P><BR>
</P>
</TD>
</TR>
<TR>
<TD>
<P ALIGN=RIGHT><A HREF="sounds/index.html"><IMG SRC="soundbutton.jpg" NAME="graphics7" ALIGN=BOTTOM WIDTH=250 HEIGHT=30 BORDER=0></A></P>
</TD>
<TD>
<P><BR>
</P>
</TD>
</TR>
<TR>
<TD>
<P ALIGN=RIGHT><A HREF="fandom.html"><IMG SRC="fan2button.jpg" NAME="graphics8" ALIGN=BOTTOM WIDTH=250 HEIGHT=30 BORDER=0></A></P>
</TD>
<TD>
<P><BR>
</P>
</TD>
</TR>
<TR>
<TD VALIGN=TOP>
<P ALIGN=RIGHT><A HREF="http://www.twopaddocks.com/"><IMG SRC="tpbutton.jpg" NAME="graphics9" ALIGN=BOTTOM WIDTH=250 HEIGHT=30 BORDER=0></A></P>
</TD>
<TD>
<P><BR>
</P>
</TD>
</TR>
<TR>
<TD COLSPAN=2>
<CENTER>
<TABLE BORDER=0 CELLPADDING=2 CELLSPACING=2>
<TR>
<TD>
<P><BR>
</P>
</TD>
<TD>
<P><A HREF="http://www.huntawayfilms.co.nz/"><IMG SRC="hills.jpg" NAME="graphics10" ALIGN=BOTTOM HSPACE=10 VSPACE=10 WIDTH=140 HEIGHT=53 BORDER=0></A><A HREF="http://www.huntawayfilms.co.nz/"><IMG SRC="logo.jpg" NAME="graphics11" ALIGN=BOTTOM HSPACE=10 VSPACE=10 WIDTH=400 HEIGHT=38 BORDER=0></A></P>
</TD>
</TR>
</TABLE>
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</TD>
<TD>
<P><BR><BR>
</P>
</TD>
</TR>
</TABLE>
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<P ALIGN=CENTER STYLE="margin-bottom: 0in"><IMG SRC="line2.gif" NAME="graphics12" ALIGN=BOTTOM HSPACE=5 VSPACE=5 WIDTH=540 HEIGHT=12 BORDER=0></P>
<CENTER>
<TABLE WIDTH=100% BORDER=0 CELLPADDING=2 CELLSPACING=2>
<TR>
<TD>
<P><FONT FACE="Arial, Helvetica"><FONT SIZE=2><B>Final Update:
January 15, 2005 </B></FONT></FONT>
</P>
</TD>
<TD>
<P ALIGN=CENTER><A HREF="http://us.imdb.com/M/person-exact?+Neill,+Sam"><IMG SRC="ticket2.gif" NAME="graphics13" ALIGN=ABSBOTTOM HSPACE=5 VSPACE=5 WIDTH=68 HEIGHT=48 BORDER=0></A><BR><A HREF="http://us.imdb.com/M/person-exact?+Neill,+Sam"><B>Internet
Movie Database Listing for Sam Neill</B></A>
</P>
</TD>
</TR>
</TABLE>
</CENTER>
<P ALIGN=CENTER><A NAME="disclaimer"></A><IMG SRC="line2.gif" NAME="graphics14" ALIGN=BOTTOM HSPACE=5 VSPACE=5 WIDTH=540 HEIGHT=12 BORDER=0>
<BR><FONT FACE="Arial, Helvetica"><FONT SIZE=4><B>Disclaimer</B></FONT></FONT>
</P>
<P ALIGN=CENTER><STRONG>This webpage has been retired and will no
longer be updated.</STRONG> Additionally it is no longer official and
is not sponsored or endorsed by Mr. Neill. <I>Mr. Neill does not have
an email address, so we cannot forward any e-mail to him.</I> Fan
mail to Mr. Neill should be sent to the address on the <A HREF="fandom.html#fanmail">Fandom
Information</A> page. In addition, we do not own the copyright to
much of the material available on this page; the copyright owners do.
We have tried to provide attribution wherever possible. If we are
asked by the copyright holders to remove any materials due to
copyright infringement, we will politely comply with their request.
Otherwise, please enjoy the information and materials provided below
and thanks for visiting. <BR><IMG SRC="line2.gif" NAME="graphics15" ALIGN=BOTTOM HSPACE=5 VSPACE=10 WIDTH=540 HEIGHT=12 BORDER=0>
<BR><FONT FACE="Arial, Helvetica"><FONT SIZE=4><B>Please note!</B></FONT></FONT>
<BR>From the FAQ, Part 1.3: "Mr. Neill guards his privacy
fiercely and we respect that, encouraging anyone reading this FAQ to
do the same." Thank you. <BR><IMG SRC="line2.gif" NAME="graphics16" ALIGN=BOTTOM HSPACE=5 VSPACE=10 WIDTH=540 HEIGHT=12 BORDER=0></P>
<ADDRESS STYLE="text-align: center"><B>Copyright © Erika Grams
1995-2005</B> / Thanks to the <A HREF="http://www.ibiblio.org/">Ibiblio.org</A>
for hosting this site and for technical assistance. Additional thanks
to Kevin Nicastro for years of help and assistance and to all the
wonderful members over the past 10 years of the Sam Neill Mailing
Lists!
</ADDRESS>
<ADDRESS STYLE="text-align: center"><BR><FONT SIZE=3>Last Updated:<!-- #BeginDate format:En2m -->
16-Jan-2005 7:13<!-- #EndDate --> </FONT>
</ADDRESS>
</BODY>
</HTML> |
Archived Sam Neill Home Page -- Sam Neill
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| |
| --- |
| **The Sam Neill Home Page will no longer be updated as
of 15 January 2005 and is no longer the Official Sam Neill
Website.** The webmaster has decided to retire after 10
years of work on the site. For the time being, the photos,
sounds, FAQ, and filmography (as of their last update) will
remain online as a resource. The mailing lists will also continue
to exist. Thanks to everyone who helped work on this site over
the past 10 years. It's been a blast!
Please continue to visit the website for Sam Neill's winery
[Two Paddocks](http://www.twopaddocks.com/) and for
his Production Company, [Huntaway
Films](http://www.huntawayfilms.co.nz/).
-- Erika Grams, webmeister, retired
|
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| |
|
| |
|
| |
|
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| | |
| --- | --- |
|
| |
|
|
| | |
| --- | --- |
| **Final Update:
January 15, 2005**
| [**Internet
Movie Database Listing for Sam Neill**](http://us.imdb.com/M/person-exact?+Neill,+Sam)
|
**Disclaimer**
**This webpage has been retired and will no
longer be updated.** Additionally it is no longer official and
is not sponsored or endorsed by Mr. Neill. *Mr. Neill does not have
an email address, so we cannot forward any e-mail to him.* Fan
mail to Mr. Neill should be sent to the address on the [Fandom
Information](fandom.html#fanmail) page. In addition, we do not own the copyright to
much of the material available on this page; the copyright owners do.
We have tried to provide attribution wherever possible. If we are
asked by the copyright holders to remove any materials due to
copyright infringement, we will politely comply with their request.
Otherwise, please enjoy the information and materials provided below
and thanks for visiting.
**Please note!**
From the FAQ, Part 1.3: "Mr. Neill guards his privacy
fiercely and we respect that, encouraging anyone reading this FAQ to
do the same." Thank you.
**Copyright © Erika Grams
1995-2005** / Thanks to the [Ibiblio.org](http://www.ibiblio.org/)
for hosting this site and for technical assistance. Additional thanks
to Kevin Nicastro for years of help and assistance and to all the
wonderful members over the past 10 years of the Sam Neill Mailing
Lists!
Last Updated:
16-Jan-2005 7:13
| http://www.ibiblio.org/samneill/ |
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<h1>Mac 512K to Linux Netatalk Server</h1>
<p>The Mac 512K was a technological marvel in its day, but if you have one today you may find it frustratingly limited. It can only read 400K floppies (which can't be created from modern hardware) and it has no internal hard drive. It doesn't have an Ethernet port, nor an expansion slot to add one.</p>
<p>Fortunately, there is a way to connect the Mac 512K, 512Ke, and other classic Macs via AppleShare to a modern network file server. This gives the old Macs access to a virtually unlimited library of software.</p>
<p><i>If your Macintosh has Ethernet, you may want to skip to <a href="#netatalk">setting up the Linux netatalk server</a>.</i></p>
<h2>What You'll Need</h2>
<h3>AppleShare Workstation 1.1 400K Floppy</h3>
<p>Although it says "installer", this is a bootable System 3.3 floppy with AppleShare client functionality.</p>
<div class="Download"><a href="http://www.mediafire.com/download/d120183mcc2dhc5/WorkStation_Installer.image.sit.bin">Download AppleShare Workstation 1.1</a>
<br /><font size="-1">400K MFS disk image</font></div>
<p>You might be able to make your own 400K MFS floppy using an old Mac and Disk Copy 4.2. I lacked a suitably old Mac, so found someone on eBay that could make the disk for me.</p>
<p><i>NOTE: This floppy is only required for the Mac 512K; most other classic Macs have AppleShare included with their System Software / Mac OS installation. The Mac 512Ke can use this floppy, or it can use an 800K System 6.0.8 boot floppy that includes AppleShare 2.0.2.</i></p>
<h3>DB9 LocalTalk PhoneNet Adapter</h3>
<img src="phonenet-db9.jpg" alt="DB9 LocalTalk PhoneNet Adapter" />
<h3>RJ11 PhoneNet Terminator</h3>
<img src="phonenet-terminator.jpg" alt="RJ11 PhoneNet Terminator" />
<p>This terminator comes with most PhoneNet adapters.</p>
<h3>RJ11 4-pin Phone Cable</h3>
<img src="rj11-4pin-cable.jpg" alt="RJ11 4-pin Phone Cable" />
<p>Make sure all 4 pins are connected straight-through. 6-pin wire also should work.</p>
<h3>LocalTalk to Ethernet Bridge</h3>
<img src="farallon-ethermac-iprint-adapter.jpg" alt="Farallon EtherMac iPrint Adapter" />
<p>The <a href="https://www.amazon.com/Proxim-EtherMac-PN553-1-IPrint-Adapter/dp/B00006BA71/">Farallon EtherMac iPrint Adapter</a> works perfectly for bridging AppleShare from LocalTalk to Ethernet.</p>
<h3>Netatalk 2.2.3 with DDP Support Enabled</h3>
<p>Most Linux distributions include some version of Netatalk in their package management, but you specifically need Netatalk 2.2.3 with DDP (EtherTalk) support enabled.</p>
<p>Slackware Linux 14.1 includes Netatalk 2.2.3 with DDP support. You can install it via:</p>
<blockquote>sudo slackpkg install netatalk</blockquote>
<p>NOTE: Netatalk 3.x does not support EtherTalk. Netatalk 2.2.5 should work in theory, but when I tried it the shared volumes didn't show up on the Mac 512K. So, if your distro does not include <a href="http://sourceforge.net/projects/netatalk/files/netatalk/2.2.3/">Netatalk 2.2.3</a>, you'll need to install it yourself. If you build it from source, make sure you include DDP EtherTalk support and the ability to use Linux login passwords (/etc/shadow), like so:</p>
<blockquote>./configure --enable-ddp --with-shadow
<br />make
<br />sudo make install</blockquote>
<p>I've also heard that Netatalk 2.1.6 works, so try that if you have issues with 2.2.3.</p>
<p>NOTE: As of 2019, Slackware now installs netatalk 3.1, which is not compatible with older Macs. If you have netatalk 2.2.3 installed in Slackware, I recommend adding netatalk to /etc/slackpkg/blacklist to avoid updating to version 3.</p>
<a name="hardware"></a>
<h2>Hardware Installation</h2>
<p>Connect the PhoneNet adapter's DB9 end to the Mac 512K printer port.
<br />NOTE: System 3.3 does <i>not</i> look for LocalTalk on the modem port!</p>
<p>Insert the RJ11 terminator into one of the PhoneNet adapter's ports.</p>
<p>Connect the RJ11 4-pin cable from the other PhoneNet port to the LocalTalk to Ethernet bridge.</p>
<img src="phonenet-with-rj11-terminator.jpg" alt="PhoneNet with RJ11 terminator installed" />
<p>Connect an Ethernet patch cable from the LocalTalk to Ethernet bridge to your LAN switch.
<br />NOTE: If you don't use a switch/hub, you'll need a <a href="http://www.datapro.net/products/ethernet-cat5e-crossover-cable.html">cross-over Ethernet cable</a> between the bridge and your server.</p>
<p>Connect the power adapter to the LocalTalk to Ethernet bridge.</p>
<img src="farallon-ethermac-iprint-adapter-setup.jpg" alt="Farallon EtherMac iPrint Adapter installed" />
<p>If you're using the Farallon EtherMac iPrint, you should now see green lights at each end of its LED strip. (The LocalTalk end may briefly flash red when you first connect the power.)</p>
<a name="netatalk"></a>
<h2>Linux Netatalk Configuration</h2>
<p>Everything you need to configure is under /etc/netatalk. You'll need root permission to edit these files.</p>
<h3>atalkd.conf</h3>
<p>This file defines parameters for AppleTalk-over-Ethernet (EtherTalk). It should just be a bunch of comments by default.</p>
<p>Add a single line at the end to specify which network interface to use, such as eth0 for a typical LAN interface, or br0 if your LAN ports are bridged:</p>
<blockquote>eth0</blockquote>
<p>The first time you start Netatalk, the line will automatically get filled with AppleTalk settings:</p>
<blockquote>eth0 -phase 2 -net 0-65534 -addr 65280.62</blockquote>
<p>You shouldn't need to mess with these settings manually.</p>
<p><i>NOTE: If you use a bridge, make sure it exists before rc.atalk is started; otherwise, this will reset to eth0.</i></p>
<h3>afpd.conf</h3>
<p>This file defines which transports to use for AFP. Like atalkd.conf, it's the last line that counts.</p>
<p>The leading dash simply means use the hostname defined in netatalk.conf. We want to use both AppleShare IP (for modern Macs) and EtherTalk (for the bridge to the Mac 512K), so we specify -transall to enable both transports. For TCP/IP access, you may need to use -ipaddr to specify which IP address to listen from; put the Linux server's LAN IP here.</p>
<blockquote>- -transall -ipaddr 10.0.0.2 -mimic RackMac</blockquote>
<p>You could optionally specify user authentication modules here, but we'll do it in netatalk.conf instead.</p>
<h3>netatalk.conf</h3>
<p>This is the big configuration file for Netatalk. You'll want to set a few things here.</p>
<p>The ATALK_NAME specifies what will show up in the Chooser:</p>
<blockquote>ATALK_NAME=Linux-AppleShare</blockquote>
<p>The AFPD_MAX_CLIENTS can be set to whatever number you want, but make sure it's not commented-out:</p>
<blockquote>AFPD_MAX_CLIENTS=32</blockquote>
<p>The AFPD_UAMLIST defines the methods of authentication that are available. We use uams_passwd.so (plaintext) for the Mac 512K, and uams_dhx2_passwd.so for encrypted password communication with modern Macs:</p>
<blockquote>AFPD_UAMLIST="-U uams_passwd.so,uams_dhx2_passwd.so"</blockquote>
<p><b>IMPORTANT: The examples listed in the file's comments might be wrong!</b> Your username/password will be rejected if the module is not found. You should check for yourself to see the exact names of the authentication modules available on your system:</p>
<blockquote>
$ ls -l /etc/netatalk/uams
<br />total 80
<br />-rwxr-xr-x 1 root root 1061 Sep 11 2012 uams_dhx2_passwd.la
<br />-rwxr-xr-x 1 root root 12896 Sep 11 2012 uams_dhx2_passwd.so
<br />-rwxr-xr-x 1 root root 1013 Sep 11 2012 uams_dhx_passwd.la
<br />-rwxr-xr-x 1 root root 9328 Sep 11 2012 uams_dhx_passwd.so
<br />-rwxr-xr-x 1 root root 953 Sep 11 2012 uams_guest.la
<br />-rwxr-xr-x 1 root root 7088 Sep 11 2012 uams_guest.so
<br />-rwxr-xr-x 1 root root 967 Sep 11 2012 uams_passwd.la
<br />-rwxr-xr-x 1 root root 9184 Sep 11 2012 uams_passwd.so
<br />-rwxr-xr-x 1 root root 987 Sep 11 2012 uams_randnum.la
<br />-rwxr-xr-x 1 root root 12240 Sep 11 2012 uams_randnum.so
</blockquote>
<p>If you enable uams_guest.so above, use AFPD_GUEST to select a Linux user for guest access:</p>
<blockquote>
AFPD_GUEST=guest
</blockquote>
<p>We need to enable ATALKD_RUN, but none of the other legacy AppleTalk daemons:</p>
<blockquote>
ATALKD_RUN=yes
<br />#PAPD_RUN=no
<br />#TIMELORD_RUN=no
<br />#A2BOOT_RUN=no
</blockquote>
<p>NOTE: Netatalk takes about 20 seconds to start. If you don't want to wait, you can configure it to start in the background, but I don't recommend doing this until you've made sure everything is working correctly:</p>
<blockquote>
ATALK_BGROUND=yes
</blockquote>
<h3>AppleVolumes.default</h3>
<p>This file defines the shared directories. Like most Netatalk config files, the top is a large block of comments. Leave the default options:upriv,usedots enabled:</p>
<blockquote>
# The line below sets some DEFAULT, starting with Netatalk 2.1.
<br />:DEFAULT: options:upriv,usedots
</blockquote>
<p>But I recommend disabling the default home directory shares:</p>
<blockquote>
# The "~" below indicates that Home directories are visible by default.
<br /># If you do not wish to have people accessing their Home directories,
<br /># please put a pound sign in front of the tilde or delete it.
<br />#~
</blockquote>
<p>Then we specify our shared folders. If you want to write files from the 512K, set volsizelimit:63 to limit each share to 63MB, because Netatalk seems to incorrectly report volume sizes larger than 63MB to System 6 and older; your Mac 512K will show "0K available" and treat the volume as full.</p>
<blockquote>
/srv/appletalk/games Games volsizelimit:63
<br />/srv/appletalk/apps Apps volsizelimit:63
</blockquote>
<p>NOTE: If you want a larger volume to write to from System 7 on a newer Mac, try volsizelimit:2047 (<2GB).</p>
<p>SIDE NOTE: While we're at it, if you also want to host Time Machine for Mac OS X clients, add one more share with options:tm enabled:</p>
<blockquote>/srv/appletalk/timemachine TimeMachine options:tm allowed_hosts:10.0.0.0/24 volsizelimit:1048576</blockquote>
<h3>Create Shared File Directories</h3>
<p>Create the directories we described in AppleVolumes.default, and grant full access permissions:</p>
<blockquote>
mkdir -p /srv/appletalk/games
<br />mkdir -p /srv/appletalk/apps
<br />sudo chmod 777 /srv/appletalk/*
</blockquote>
<h3>Start the Netatalk Service</h3>
<p>Depending on your Linux distribution, you may need to make rc.atalk executable first:</p>
<blockquote>sudo chmod +x /etc/rc.d/rc.atalk</blockquote>
<p>Start Netatalk using rc.atalk (as root):</p>
<blockquote>sudo /etc/rc.d/rc.atalk start</blockquote>
<a name="access"></a>
<h2>Access the Share</h2>
<p>Make sure your hardware is all connected prior to booting the Mac 512K. The LocalTalk to Ethernet bridge must be powered up before the Mac.</p>
<p>Move the plastic tab on the AppleShare Workstation 1.1 floppy to the read/write position (cover the hole). System 3.3 cannot activate AppleShare without writing to the System Folder.</p>
<p>Boot the Mac 512K from the AppleShare Workstation 1.1 floppy disk.</p>
<p>Select the Chooser from the Apple menu.</p>
<p><img src="mac-system-3.3-chooser-appleshare.gif" alt="Mac System 3.3 Chooser with AppleShare" /></p>
<p>Click AppleShare on the left, and allow it to turn AppleTalk on if it is not already. Select your Linux server from the list, type your Linux username into the box, and click OK.</p>
<p>It will ask you for a username and password; again use your Linux username and enter the password for it.</p>
<p>NOTE: It should say "plaintext" next to the password box, indicating the use of uams_passwd.so on the Netatalk server. If it says "scrambled" next to the password box and your login fails, make sure you're not using uams_randnum.so in netatalk.conf or afpd.conf.</p>
<p><img src="mac-system-3.3-appleshare-volumes.gif" alt="Mac System 3.3 AppleShare list of volumes" /></p>
<p>Select a volume to mount and click OK. In my experience, you cannot use the checkboxes to automatically mount volumes at startup; it will give an error about AppleShare Prep if you try.</p>
<p><img src="mac-system-3.3-volume-size-issue.gif" alt="Mac System 3.3 volume size issue, 0K available" /></p>
<p>All volumes will show 0K in disk, but that's not actually true. They will report the volume's maximum size as the available space, unless the volume is 64MB or larger, in which case it will report 0K available.</p>
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.IndexTileCrop img { margin-top: -40px; margin-bottom: -40px; box-shadow: none; }
.Download
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display: inline-block;
padding: 5px;
background-color: #f0eeff;
background: linear-gradient(#ffffff,#d0ccff);
border-color: #000099;
border-style: ridge;
border-width: 2px;
border-radius: 10px;
box-shadow: 1px 2px 2px #bbbbbb;
}
@media print
{
#Menu, .Download, iframe { display: none; }
h1 { font-size: 1.75em; color: #000000; text-shadow: 0px 0px 7px #ffffff; box-shadow: 0px 1px 3px #999999; }
h2 { font-size: 1.5em; page-break-after: avoid; }
h3 { font-size: 1em; page-break-after: avoid; }
p, ol, ul, blockquote { font-size: 0.75em; }
a { text-decoration: none; color: #000000; }
hr { page-break-after: always; border-style: none; color: #ffffff; }
}
@media screen and (max-device-width: 720px)
{
body { background-size: 66%; }
#Menu { width: auto; max-width: 33%; }
#Menu \*, #Content \* { max-width: 100%; }
.MenuLink { white-space: normal; margin-top: 5px; margin-bottom: 5px; }
#MenuHide { display: block; }
blockquote { margin-left: 0px; }
ol, ul { padding-left: 2em; }
ol ul { padding-left: 1em; }
iframe { height: auto; }
}
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| [Raptor007.com](/)
Projects:
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How-To Guides:
[Droid Pro Cyanogen](/droid-pro-cyanogen-instructions/)
[Titan Pocket Root](/unihertz-titan-pocket-root-guide/)
[Mac 512K to Netatalk](/mac-512k-to-linux-netatalk/)
Game Servers:
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Mac 512K to Linux Netatalk Server
The Mac 512K was a technological marvel in its day, but if you have one today you may find it frustratingly limited. It can only read 400K floppies (which can't be created from modern hardware) and it has no internal hard drive. It doesn't have an Ethernet port, nor an expansion slot to add one.
Fortunately, there is a way to connect the Mac 512K, 512Ke, and other classic Macs via AppleShare to a modern network file server. This gives the old Macs access to a virtually unlimited library of software.
*If your Macintosh has Ethernet, you may want to skip to [setting up the Linux netatalk server](#netatalk).*
What You'll Need
AppleShare Workstation 1.1 400K Floppy
Although it says "installer", this is a bootable System 3.3 floppy with AppleShare client functionality.
[Download AppleShare Workstation 1.1](http://www.mediafire.com/download/d120183mcc2dhc5/WorkStation_Installer.image.sit.bin)
400K MFS disk image
You might be able to make your own 400K MFS floppy using an old Mac and Disk Copy 4.2. I lacked a suitably old Mac, so found someone on eBay that could make the disk for me.
*NOTE: This floppy is only required for the Mac 512K; most other classic Macs have AppleShare included with their System Software / Mac OS installation. The Mac 512Ke can use this floppy, or it can use an 800K System 6.0.8 boot floppy that includes AppleShare 2.0.2.*
DB9 LocalTalk PhoneNet Adapter
DB9 LocalTalk PhoneNet Adapter
RJ11 PhoneNet Terminator
RJ11 PhoneNet Terminator
This terminator comes with most PhoneNet adapters.
RJ11 4-pin Phone Cable
RJ11 4-pin Phone Cable
Make sure all 4 pins are connected straight-through. 6-pin wire also should work.
LocalTalk to Ethernet Bridge
Farallon EtherMac iPrint Adapter
The [Farallon EtherMac iPrint Adapter](https://www.amazon.com/Proxim-EtherMac-PN553-1-IPrint-Adapter/dp/B00006BA71/) works perfectly for bridging AppleShare from LocalTalk to Ethernet.
Netatalk 2.2.3 with DDP Support Enabled
Most Linux distributions include some version of Netatalk in their package management, but you specifically need Netatalk 2.2.3 with DDP (EtherTalk) support enabled.
Slackware Linux 14.1 includes Netatalk 2.2.3 with DDP support. You can install it via:
sudo slackpkg install netatalk
NOTE: Netatalk 3.x does not support EtherTalk. Netatalk 2.2.5 should work in theory, but when I tried it the shared volumes didn't show up on the Mac 512K. So, if your distro does not include [Netatalk 2.2.3](http://sourceforge.net/projects/netatalk/files/netatalk/2.2.3/), you'll need to install it yourself. If you build it from source, make sure you include DDP EtherTalk support and the ability to use Linux login passwords (/etc/shadow), like so:
./configure --enable-ddp --with-shadow
make
sudo make install
I've also heard that Netatalk 2.1.6 works, so try that if you have issues with 2.2.3.
NOTE: As of 2019, Slackware now installs netatalk 3.1, which is not compatible with older Macs. If you have netatalk 2.2.3 installed in Slackware, I recommend adding netatalk to /etc/slackpkg/blacklist to avoid updating to version 3.
Hardware Installation
Connect the PhoneNet adapter's DB9 end to the Mac 512K printer port.
NOTE: System 3.3 does *not* look for LocalTalk on the modem port!
Insert the RJ11 terminator into one of the PhoneNet adapter's ports.
Connect the RJ11 4-pin cable from the other PhoneNet port to the LocalTalk to Ethernet bridge.
PhoneNet with RJ11 terminator installed
Connect an Ethernet patch cable from the LocalTalk to Ethernet bridge to your LAN switch.
NOTE: If you don't use a switch/hub, you'll need a [cross-over Ethernet cable](http://www.datapro.net/products/ethernet-cat5e-crossover-cable.html) between the bridge and your server.
Connect the power adapter to the LocalTalk to Ethernet bridge.
Farallon EtherMac iPrint Adapter installed
If you're using the Farallon EtherMac iPrint, you should now see green lights at each end of its LED strip. (The LocalTalk end may briefly flash red when you first connect the power.)
Linux Netatalk Configuration
Everything you need to configure is under /etc/netatalk. You'll need root permission to edit these files.
atalkd.conf
This file defines parameters for AppleTalk-over-Ethernet (EtherTalk). It should just be a bunch of comments by default.
Add a single line at the end to specify which network interface to use, such as eth0 for a typical LAN interface, or br0 if your LAN ports are bridged:
eth0
The first time you start Netatalk, the line will automatically get filled with AppleTalk settings:
eth0 -phase 2 -net 0-65534 -addr 65280.62
You shouldn't need to mess with these settings manually.
*NOTE: If you use a bridge, make sure it exists before rc.atalk is started; otherwise, this will reset to eth0.*
afpd.conf
This file defines which transports to use for AFP. Like atalkd.conf, it's the last line that counts.
The leading dash simply means use the hostname defined in netatalk.conf. We want to use both AppleShare IP (for modern Macs) and EtherTalk (for the bridge to the Mac 512K), so we specify -transall to enable both transports. For TCP/IP access, you may need to use -ipaddr to specify which IP address to listen from; put the Linux server's LAN IP here.
- -transall -ipaddr 10.0.0.2 -mimic RackMac
You could optionally specify user authentication modules here, but we'll do it in netatalk.conf instead.
netatalk.conf
This is the big configuration file for Netatalk. You'll want to set a few things here.
The ATALK\_NAME specifies what will show up in the Chooser:
ATALK\_NAME=Linux-AppleShare
The AFPD\_MAX\_CLIENTS can be set to whatever number you want, but make sure it's not commented-out:
AFPD\_MAX\_CLIENTS=32
The AFPD\_UAMLIST defines the methods of authentication that are available. We use uams\_passwd.so (plaintext) for the Mac 512K, and uams\_dhx2\_passwd.so for encrypted password communication with modern Macs:
AFPD\_UAMLIST="-U uams\_passwd.so,uams\_dhx2\_passwd.so"
**IMPORTANT: The examples listed in the file's comments might be wrong!** Your username/password will be rejected if the module is not found. You should check for yourself to see the exact names of the authentication modules available on your system:
$ ls -l /etc/netatalk/uams
total 80
-rwxr-xr-x 1 root root 1061 Sep 11 2012 uams\_dhx2\_passwd.la
-rwxr-xr-x 1 root root 12896 Sep 11 2012 uams\_dhx2\_passwd.so
-rwxr-xr-x 1 root root 1013 Sep 11 2012 uams\_dhx\_passwd.la
-rwxr-xr-x 1 root root 9328 Sep 11 2012 uams\_dhx\_passwd.so
-rwxr-xr-x 1 root root 953 Sep 11 2012 uams\_guest.la
-rwxr-xr-x 1 root root 7088 Sep 11 2012 uams\_guest.so
-rwxr-xr-x 1 root root 967 Sep 11 2012 uams\_passwd.la
-rwxr-xr-x 1 root root 9184 Sep 11 2012 uams\_passwd.so
-rwxr-xr-x 1 root root 987 Sep 11 2012 uams\_randnum.la
-rwxr-xr-x 1 root root 12240 Sep 11 2012 uams\_randnum.so
If you enable uams\_guest.so above, use AFPD\_GUEST to select a Linux user for guest access:
AFPD\_GUEST=guest
We need to enable ATALKD\_RUN, but none of the other legacy AppleTalk daemons:
ATALKD\_RUN=yes
#PAPD\_RUN=no
#TIMELORD\_RUN=no
#A2BOOT\_RUN=no
NOTE: Netatalk takes about 20 seconds to start. If you don't want to wait, you can configure it to start in the background, but I don't recommend doing this until you've made sure everything is working correctly:
ATALK\_BGROUND=yes
AppleVolumes.default
This file defines the shared directories. Like most Netatalk config files, the top is a large block of comments. Leave the default options:upriv,usedots enabled:
# The line below sets some DEFAULT, starting with Netatalk 2.1.
:DEFAULT: options:upriv,usedots
But I recommend disabling the default home directory shares:
# The "~" below indicates that Home directories are visible by default.
# If you do not wish to have people accessing their Home directories,
# please put a pound sign in front of the tilde or delete it.
#~
Then we specify our shared folders. If you want to write files from the 512K, set volsizelimit:63 to limit each share to 63MB, because Netatalk seems to incorrectly report volume sizes larger than 63MB to System 6 and older; your Mac 512K will show "0K available" and treat the volume as full.
/srv/appletalk/games Games volsizelimit:63
/srv/appletalk/apps Apps volsizelimit:63
NOTE: If you want a larger volume to write to from System 7 on a newer Mac, try volsizelimit:2047 (<2GB).
SIDE NOTE: While we're at it, if you also want to host Time Machine for Mac OS X clients, add one more share with options:tm enabled:
/srv/appletalk/timemachine TimeMachine options:tm allowed\_hosts:10.0.0.0/24 volsizelimit:1048576
Create Shared File Directories
Create the directories we described in AppleVolumes.default, and grant full access permissions:
mkdir -p /srv/appletalk/games
mkdir -p /srv/appletalk/apps
sudo chmod 777 /srv/appletalk/\*
Start the Netatalk Service
Depending on your Linux distribution, you may need to make rc.atalk executable first:
sudo chmod +x /etc/rc.d/rc.atalk
Start Netatalk using rc.atalk (as root):
sudo /etc/rc.d/rc.atalk start
Access the Share
Make sure your hardware is all connected prior to booting the Mac 512K. The LocalTalk to Ethernet bridge must be powered up before the Mac.
Move the plastic tab on the AppleShare Workstation 1.1 floppy to the read/write position (cover the hole). System 3.3 cannot activate AppleShare without writing to the System Folder.
Boot the Mac 512K from the AppleShare Workstation 1.1 floppy disk.
Select the Chooser from the Apple menu.
Mac System 3.3 Chooser with AppleShare
Click AppleShare on the left, and allow it to turn AppleTalk on if it is not already. Select your Linux server from the list, type your Linux username into the box, and click OK.
It will ask you for a username and password; again use your Linux username and enter the password for it.
NOTE: It should say "plaintext" next to the password box, indicating the use of uams\_passwd.so on the Netatalk server. If it says "scrambled" next to the password box and your login fails, make sure you're not using uams\_randnum.so in netatalk.conf or afpd.conf.
Mac System 3.3 AppleShare list of volumes
Select a volume to mount and click OK. In my experience, you cannot use the checkboxes to automatically mount volumes at startup; it will give an error about AppleShare Prep if you try.
Mac System 3.3 volume size issue, 0K available
All volumes will show 0K in disk, but that's not actually true. They will report the volume's maximum size as the available space, unless the volume is 64MB or larger, in which case it will report 0K available. |
| http://www.raptor007.com/mac-512k-to-linux-netatalk/ |
<!DOCTYPE HTML PUBLIC "-//IETF//DTD HTML//EN">
<html>
<head>
<meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1">
<meta name="keywords" content="Ruud Helderman, tuut tuut tuut, ballroom dancing, mazes, Sharp MZ-700 emulator">
<meta name="description" content="Tuut tuut tuut! You're gonna Run to Ruud.">
<meta name="ROBOTS" content="ALL">
<title>Run to Ruud</title>
</head>
<body bgcolor=black text=white link=yellow vlink=yellow alink=yellow>
<p align=center>
<font size="+4" color=red>Tuut tuut tuut!</font><br>
<font face=arial color=teal>--------------------
<font size="+2"> You're gonna </font>
--------------------</font><br>
<font color=aqua size="+4">
Run <font size="+3">to</font> Ruud</font>
</font>
<table align=center border=0 cellpadding=0 cellspacing=0>
<tr align=center valign=top>
<td nowrap height=20 bgcolor=green background="grass.gif">
<img
src="sheeprun.gif" width=48 height=16 hspace=0><img
src="sheeprun.gif" width=48 height=16 hspace=0><img
src="sheeprun.gif" width=48 height=16 hspace=0><img
src="sheeprun.gif" width=48 height=16 hspace=0><img
src="sheeprun.gif" width=48 height=16 hspace=0><img
src="sheeprun.gif" width=48 height=16 hspace=0><img
src="sheeprun.gif" width=48 height=16 hspace=0><img
src="sheeprun.gif" width=48 height=16 hspace=0><img
src="sheeprun.gif" width=48 height=16 hspace=0><img
src="sheeprun.gif" width=48 height=16 hspace=0>
</td></tr>
<tr align=center>
<td nowrap bgcolor=lime>
<font color=green face=Arial size="+2">Run for 2015: the year of the sheep!</font>
</td></tr>
</table>
<p align=center>
Come and play<br>
<a href="laurens.html">Het Sint Laurens Adventure</a><br>
(sorry, Dutch only)<br>
<img src="rhline.bmp" height=3 width=240 align=top vspace=12><br>
<font face=arial>Please pick a subject below</font>
<p align=center>
<table align=center border=1 cellpadding=16 cellspacing=0>
<tr align=center valign=top>
<td width="50%" background="maze.gif">
<i>Enter</i><br>
<a href="enmain.htm" target="_top"><font size="+3" color=aqua>Ruud's Homepage</font></a><br>
<br><font size="-1" face=arial>This time it's personal!</font><br><br>
<a href="nlmain.htm" target="_top"><img src="nlflag.gif" width=50 height=36 border=0 alt="Nederlands"></a>
<a href="enmain.htm" target="_top"><img src="enflag.gif" width=50 height=36 border=0 alt="English"></a>
</td>
<td width="50%" bgcolor="#003300" background="green_bg.gif">
<i>The official</i><br>
<font color=lime size="+2">Ruud & Tracy</font><br>
<a href="photos/index.html" target="_top"><img src="film.jpg" border=0><br>
<font size="+3" color=aqua>Photo Album</font></a>
</td>
</tr>
</table>
<table align=center border=1 cellpadding=16 cellspacing=0>
<tr align=center valign=top>
<td width="50%" bgcolor="#001218" background="isomaze.gif">
<i>Get lost in</i><br>
<font size="+3"><a href="enmaze1.htm" target="_top">Ruud's Maze</a></font><br><br>
Click a flag below to find out more...<br><br>
<a href="nlmaze.htm" target="_top"><img src="nlflag.gif" width=50 height=36 border=0 alt="Nederlands"></a>
<a href="enmaze.htm" target="_top"><img src="enflag.gif" width=50 height=36 border=0 alt="English"></a>
</td>
<td width="50%" bgcolor="#07049C" background="mz700_bg.jpg">
Ruud's<br>
<font size="+2"><a href="enmz700.htm" target="_top">Sharp MZ-700 emulator</a></font><br><br>
For anyone who still remembers this cute 8-bit computer.<br><br>
<a href="nlmz700.htm" target="_top"><img src="nlflag.gif" width=50 height=36 border=0 alt="Nederlands"></a>
<a href="enmz700.htm" target="_top"><img src="enflag.gif" width=50 height=36 border=0 alt="English"></a>
</td>
</tr>
</table>
<table border=0 cellpadding=12 cellspacing=0 width="100%"><tr valign=top>
<td align=center>
<font size="+1">Please run by at any time!</font><br>
Just don't forget the address:<br>
<img src="rhdance.gif" width=25 height=23>
<img src="rhdance.gif" width=25 height=23>
<img src="rhdance.gif" width=25 height=23>
<img src="rhdance.gif" width=25 height=23>
<img src="rhdance.gif" width=25 height=23>
<table border=4 cellpadding=10 cellspacing=0><tr><td nowrap>
<font face=arial size=6>
<a href="http://run.to/ruud" target="_top">http://run.to/ruud</a>
</font>
</td></tr></table>
<font size="-1">
<script>
<!--
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(parseInt(navigator.appVersion) >= 4))
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</td>
<td>
<table border=0 cellpadding=0 cellspacing=0 width="100%"><tr valign=bottom>
<td>
<font size="+1">Special thanks go to:</font>
<table border=0 cellpadding=1 cellspacing=0><tr valign=top>
<td> <img src="rhbullet.gif" width=11 height=11> </td>
<td><a href="http://www.hccnet.nl" target="_top">HCCnet</a>
for the webspace (now 10 Mb).</td>
</tr></table>
</td>
<td align=right>
<a href="http://www.hccnet.nl" target="_top">
<img src="hccnet.gif" width=112 height=60 border=0 alt="HCCnet">
</a>
</td>
</tr></table>
<a href="http://come.to" target="_top">
<img src="v3.gif" width=80 height=40 border=0 alt="V3" align=right>
</a>
<table border=0 cellpadding=1 cellspacing=0><tr valign=top>
<td> <img src="rhbullet.gif" width=11 height=11> </td>
<td><a href="http://come.to" target="_top">V3 - The Internet Identity Company</a>
for the cool (and free!) URL.</td>
</tr></table>
<table border=0 cellpadding=1 cellspacing=0><tr valign=top>
<td> <img src="rhbullet.gif" width=11 height=11> </td>
<td><a href="http://www.magicnet.net/~yak/" target="_top">Jeff 'Yak' Minter</a> for the sheep.
I ripped them from <i>Llamatron</i>, then made them run like hell.</td>
</tr></table>
<table border=0 cellpadding=1 cellspacing=0><tr valign=top>
<td> <img src="rhbullet.gif" width=11 height=11> </td>
<td>André van Duin
for thinking up the <i>tuut tuut tuut</i> slogan.</td>
</tr></table>
</td>
</tr></table>
<hr size=1 color=teal>
<font color=aqua>Ruud Helderman, January 9, 2003.</font><br>
E-mail: <a href="mailto:[email protected]">[email protected]</a>
</body>
</html>
|
Run to Ruud
Tuut tuut tuut!
--------------------
You're gonna
--------------------
Run to Ruud
| |
| --- |
| |
| Run for 2015: the year of the sheep! |
Come and play
[Het Sint Laurens Adventure](laurens.html)
(sorry, Dutch only)
Please pick a subject below
| | |
| --- | --- |
| *Enter*
[Ruud's Homepage](enmain.htm)
This time it's personal!
[Nederlands](nlmain.htm)
[English](enmain.htm) | *The official*
Ruud & Tracy
[Photo Album](photos/index.html) |
| | |
| --- | --- |
| *Get lost in*
[Ruud's Maze](enmaze1.htm)
Click a flag below to find out more...
[Nederlands](nlmaze.htm)
[English](enmaze.htm) |
Ruud's
[Sharp MZ-700 emulator](enmz700.htm)
For anyone who still remembers this cute 8-bit computer.
[Nederlands](nlmz700.htm)
[English](enmz700.htm) |
| | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Please run by at any time!
Just don't forget the address:
| |
| --- |
|
<http://run.to/ruud>
|
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|
| | | | |
| --- | --- | --- | --- |
| Special thanks go to:
| | |
| --- | --- |
| | [HCCnet](http://www.hccnet.nl)
for the webspace (now 10 Mb). |
| [HCCnet](http://www.hccnet.nl) |
[V3](http://come.to)
| | |
| --- | --- |
| | [V3 - The Internet Identity Company](http://come.to)
for the cool (and free!) URL. |
| | |
| --- | --- |
| | [Jeff 'Yak' Minter](http://www.magicnet.net/~yak/) for the sheep.
I ripped them from *Llamatron*, then made them run like hell. |
| | |
| --- | --- |
| | André van Duin
for thinking up the *tuut tuut tuut* slogan. |
|
---
Ruud Helderman, January 9, 2003.
E-mail: [[email protected]](mailto:[email protected])
| https://home.hccnet.nl/r.helderman/ |
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<CENTER><IMG SRC="pics/pl8.jpg" ALIGN="CENTER">
<A HREF="war2.php">Kliknij tu, �eby zobaczy� polsk� wersj� tej strony.</A>
<IMG SRC="pics/pl8.jpg" ALIGN="CENTER"></CENTER>
<HR>
<BR>
<CENTER><FONT SIZE="+2" COLOR="#FF0000">Magic limit of 350000 points (on my level) was crossed<BR>
- see SINGLE 34.</FONT></CENTER>
<BR>
<HR>
<BR>
<B><CENTER>Puds I made with the editor:</CENTER></B><BR><BR>
<CENTER><I>Puds for one player</I><BR><BR></CENTER>
<CENTER>
<TABLE BORDER=0>
<TR ALIGN=center VALIGN=middle>
<TD><I><A HREF="1p_a.php"><IMG ALIGN=center SRC="pics/blood.gif" BORDER="0" ALT=Maps for one player>Puds: 1-10</A><BR><BR>
<A HREF="1p_b.php"><IMG ALIGN=center SRC="pics/speed.gif" BORDER="0" ALT=Puds for one player>Puds: 11-20</A></I></TD>
<TD><IMG ALIGN=center SRC="pics/castle.gif"></TD>
<TD><I><A HREF="1p_c.php"><IMG ALIGN=center SRC="pics/shield.gif" BORDER="0" ALT=Levels for one player>Puds: 21-30</A><BR><BR>
<A HREF="1p_d.php"><IMG ALIGN=center SRC="pics/slow.gif" BORDER="0" ALT=Choose pud>Puds: 31-40</A></I></TD>
</TR>
</TABLE>
<BR>
<!-- <IMG ALIGN=center SRC="pics/new12.jpg"> -->
<I><A HREF="1p_e.php"><IMG ALIGN=center SRC="pics/invisib.gif" BORDER="0" ALT=Choose map>Puds: 41-49</A></I>
<!-- <IMG ALIGN=center SRC="pics/new12.jpg"> -->
</CENTER>
<BR>
<CENTER><FONT SIZE="+1" COLOR="#008080">
The greater number in name of the level, the newer (and maybe better) pud is.
</FONT></CENTER>
<BR>
<HR WIDTH=45%>
<BR>
<CENTER><FONT SIZE="+1" COLOR="#80FF00">!!! NEVER ENDING CONTEST !!!<BR>
<IMG SRC="pics/thebest.jpg"><BR>
If You want to be 'The Best Player of the Level',
just play my single player levels.<BR>
Click here for <A HREF="rules.htm">rules</A> of this contest.</FONT></CENTER>
<BR>
<CENTER><FONT SIZE="+1" COLOR="#80FF00">Here are<BR>
<A HREF="thebest.htm"><FONT SIZE="+3" COLOR="#FF0000">TOP TEN SINGLE PLAYERS</FONT></A><BR>
- winners of 'The Best Player of the Level' Award.</FONT></CENTER>
<BR>
<HR WIDTH=60%>
<CENTER><I>Puds for two players</I><BR><BR></CENTER>
<CENTER>
<TABLE BORDER=0>
<TR ALIGN=center VALIGN=middle>
<TD><IMG ALIGN=center SRC="pics/alx.gif" ALT=Multiplayer Puds></TD>
<TD><IMG ALIGN=center SRC="pics/footman.gif" ALT=Multiplayer Levels></TD>
</TR>
</TABLE>
</CENTER>
<CENTER><I><A HREF="2players.php" ALT=Multiplayer Maps>Puds for two players</A></I></CENTER><BR>
<HR WIDTH=55%>
<CENTER><FONT SIZE="+2" COLOR="#FFFF00">Multiplayer puds</FONT></CENTER>
<BR>
<CENTER>
<I><A HREF="multi.php">Multi puds</A></I>
</CENTER>
<HR WIDTH=70%>
<BR>
<CENTER>
<FONT SIZE="+2" COLOR="#FF0000">Misc files to download</FONT><BR><BR>
<TABLE BORDER=1>
<TR ALIGN=center VALIGN=middle>
<TH>File</TH>
<TH>Downloads</TH>
<TH>Description</TH>
<TH>Size (KB)</TH>
</TR>
<TR ALIGN=center VALIGN=middle>
<TD><A HREF="download.php?plik=war2_fli.zip"><I>"Warcraft 2 RuLeZ" animated logo</I></A></TD>
<TD>
3498</TD>
<TD>It's animated logo of this Warcraft II page.</TD>
<TD>322</TD></TR>
<TR ALIGN=center VALIGN=middle>
<TD><A HREF="download.php?plik=warcrap.zip"><I>"WarcRAP"</I></A></TD>
<TD>
3537</TD>
<TD>This is cool Warcraft 2 rap song, which was made by
<FONT COLOR="#FFFF00">qUeNCy</FONT>. It's in mp3 format.</TD>
<TD>420</TD></TR>
</TABLE>
</CENTER>
<BR>
<HR WIDTH=35%>
<CENTER><FONT SIZE="+2" COLOR="#008000">Gallery of Warcraft II Pictures</FONT><BR>
<A HREF="gallery.htm"><IMG SRC="pics/gallery/gallery.jpg" BORDER="0"><BR>
<I>Gallery of Warcraft II Pictures</I></A></CENTER>
<HR WIDTH=50%>
<BR>
<!-- <CENTER><IMG ALIGN=center SRC="pics/new12.jpg"> -->
<FONT SIZE="+2" COLOR="#80FF00"><BLINK></BLINK></FONT>
<!-- <IMG ALIGN=center SRC="pics/new12.jpg"></CENTER> -->
<BR>
<CENTER><I><A HREF="utils.php"><IMG ALIGN=center SRC="pics/under.gif" BORDER="0">Warcraft II Utils</A></I></CENTER>
<HR WIDTH=40%>
<BR>
<CENTER><IMG ALIGN=center SRC="pics/link.gif"><A HREF="links.htm">
<I>Warcraft II (and other) Links</I></A><IMG ALIGN=center SRC="pics/link.gif"></CENTER>
<HR>
<CENTER><FONT COLOR="#FF0080">Mail to: [email protected]</FONT></CENTER><BR>
<CENTER>Last update: 19 VIII 2001</CENTER>
<HR>
<CENTER>
<FONT SIZE="+2" COLOR="#FFFF00">This site was awarded !!!</FONT></CENTER>
<H6 ALIGN=CENTER>
<A HREF="http://www.stals.com/war2/" TARGET="_parent">
<IMG SRC="pics/award.gif" WIDTH="160"
HEIGHT="145" ALIGN="BOTTOM" NATURALSIZEFLAG="3" BORDER="0"
ALT="Award"><BR>
Stals.CoM - Ultimate Warcraft 2 Site</A><BR>
"Site of the Week"<BR>
07-19-97</H6>
<HR>
<CENTER><IMG SRC="pics/pl8.jpg" ALIGN="CENTER">
<A HREF="war2.php">Kliknij tu, �eby zobaczy� polsk� wersj� tej strony.</A>
<IMG SRC="pics/pl8.jpg" ALIGN="CENTER"></CENTER>
</BODY>
</HTML>
|
WARCRAFT II RuLeZ
You can find here new levels (maps) for the WARCRAFT II.
| | | |
| --- | --- | --- |
| Maps | | |
| | Warcraft | |
| | | Maps |
---
Number of visits of this page since VIII 2001
---
[Kliknij tu, �eby zobaczy� polsk� wersj� tej strony.](war2.php)
---
Magic limit of 350000 points (on my level) was crossed
- see SINGLE 34.
---
**Puds I made with the editor:**
*Puds for one player*
| | | |
| --- | --- | --- |
| *[MapsPuds: 1-10](1p_a.php)
[PudsPuds: 11-20](1p_b.php)* | | *[LevelsPuds: 21-30](1p_c.php)
[ChoosePuds: 31-40](1p_d.php)* |
*[Puds: 41-49](1p_e.php)*
The greater number in name of the level, the newer (and maybe better) pud is.
---
!!! NEVER ENDING CONTEST !!!
If You want to be 'The Best Player of the Level',
just play my single player levels.
Click here for [rules](rules.htm) of this contest.
Here are
[TOP TEN SINGLE PLAYERS](thebest.htm)
- winners of 'The Best Player of the Level' Award.
---
*Puds for two players*
| | |
| --- | --- |
| Multiplayer | Multiplayer |
*[Puds for two players](2players.php)*
---
Multiplayer puds
*[Multi puds](multi.php)*
---
Misc files to download
| File | Downloads | Description | Size (KB) |
| --- | --- | --- | --- |
| [*"Warcraft 2 RuLeZ" animated logo*](download.php?plik=war2_fli.zip) |
3498 | It's animated logo of this Warcraft II page. | 322 |
| [*"WarcRAP"*](download.php?plik=warcrap.zip) |
3537 | This is cool Warcraft 2 rap song, which was made by
qUeNCy. It's in mp3 format. | 420 |
---
Gallery of Warcraft II Pictures
[
*Gallery of Warcraft II Pictures*](gallery.htm)
---
*[Warcraft II Utils](utils.php)*
---
[*Warcraft II (and other) Links*](links.htm)
---
Mail to: [email protected]
Last update: 19 VIII 2001
---
This site was awarded !!!
######
[Award
Stals.CoM - Ultimate Warcraft 2 Site](http://www.stals.com/war2/)
"Site of the Week"
07-19-97
---
[Kliknij tu, �eby zobaczy� polsk� wersj� tej strony.](war2.php)
| http://warcraft2.it64.com/ |
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"><HTML><HEAD><TITLE></TITLE><META content="text/html; charset=UTF-8" http-equiv=Content-Type><META name=GENERATOR content="MSHTML 11.00.9600.18427"><STYLE type=text/css>BODY {
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<P align=center><STRONG><FONT size=5>Steve Meretzky:
Biography</FONT></STRONG></P>
<P><IMG border=0 hspace=5 alt="" src="Images/RarePhotoOfSteveInTie.jpg" width=174 align=left height=232>When Steve began designing games, music was
primarily purchased on vinyl records, mobile phones were the size of a small
suitcase, and the Cubs hadn't won the World Series for many, many decades. (Okay, SOME things never change...)</P><P>Steve
began his game career as a tester, at the legendary adventure game company
Infocom, in 1981. A year later, he began designing games, and has been doing so
continuously for more than a third of a century.<BR><BR>His first game for Infocom
was <EM>Planetfall</EM>, celebrated in the annals of gaming for its lovable
robot sidekick character, Floyd. Other Infocom titles by Steve include <EM>Zork
Zero</EM>, <EM>Leather Goddesses of Phobos</EM>, <EM>A Mind Forever
Voyaging</EM>, and <EM>The Hitchhiker's Guide to the Galaxy</EM>. The latter was
a collaboration with Douglas Adams, author of the original
work.<BR><BR>Following the demise of Infocom, Steve wrote a number of games for
Legend Entertainment, including <EM>Superhero League of Hoboken</EM> and the
<EM>Spellcasting</EM> trilogy, which featured the adventures of a would-be
sorcerer at a school for teaching magic. (And, ahem, this was 8 years
or so before the first Harry Potter book...)<BR><BR>In 1994, Steve co-founded
Boffo Games, along with fellow MIT alums Mike Dornbrook and Leo DaCosta. During
its 3 year existence, Boffo produced two notable games: <EM>The Space Bar</EM>,
a hilarious graphic adventure game, and <EM>Hodj 'n' Podj</EM>, a collection of
mini-games set in a whimsical fairy tale world, presaging the entire casual game
explosion that was to follow in another 5 years or so.<BR><BR>Steve spent more
than five years as Creative Content Director for WorldWinner.com, creating
casual games for online cash tournaments, and helping to guide it from
pre-launch to the point where the site was earning tens of millions of dollars
per year. He created numerous original games for WorldWinner, such as <EM>Word
Cubes</EM>, <EM>Paint Buckets</EM>, and <EM>Skillgammon</EM>, and also adapted
many existing games for tournament play, such as <EM>Cubis</EM>,
<EM>Collapse</EM>, and <EM>Wheel of Fortune</EM>.</P><P>Steve was one of the pioneers of social free-to-play games, joining the Playdom as it's first employee with game experience, and taking part in a wild ride that saw the company grow to 600 people over the course of the next two years, and get acquired by the Walt Disney Company. Following almost 5 years at Playdom/Disney, Steve returned to WorldWinner's parent company, the Game Show Network, working primarily on social casino titles.</P><P>Steve has also worked for publishing giant THQ,
for mobile game developer Floodgate Entertainment, and for Blue Fang Games, the
creator of the <EM>Zoo Tycoon</EM> series. Steve has done consulting work for companies
throughout the game industry, including Blizzard, Harmonix, Disney, Electronic
Arts, Activision, Microprose, and Hasbro.<BR><BR>A frequent speaker at
industry events and at colleges and universities, Steve also directs and
organizes the Mobile Summit at the <A href="http://www.gdconf.com/"><FONT color=#0000ff>Game Developers Conference</FONT></A>, the industry's premier
annual event. Steve is a charter member of the <A href="http://www.igda.org/"><FONT color=#0000ff>International Game Developers
Association</FONT></A>, and served a term on its Board of Directors. He is
co-founder of the Boston chapter of the IGDA, known as <A href="http://www.bostonpostmortem.org/"><FONT color=#0000ff>Post
Mortem</FONT></A>, one of the first such chapters in the world. He is
co-organizer of the annual Game Designers Workshop, which annually brings
together the elite of the game design world for a weekend of hobnobbing and deep
thinking. Steve is the author of four "choose-your-path" novels for young
people, set in the <EM>Zork</EM> universe, and is a member of the <A href="http://www.sfwa.org/"><FONT color=#0000ff>Science Fiction and Fantasy
Writers of America</FONT></A>.</P>
<P align=center>[<A href="index.html"><FONT color=#0000ff>Back to Home
Page</FONT></A>]</P>
<P align=center><FONT size=2>Last updated: 9-23-16. Contact </FONT><A href="mailto:[email protected]"><FONT size=2>[email protected]</FONT></A><FONT size=2>.</FONT></P>
<P align=center></P></BODY></HTML> | BODY {
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**Steve Meretzky:
Biography**
When Steve began designing games, music was
primarily purchased on vinyl records, mobile phones were the size of a small
suitcase, and the Cubs hadn't won the World Series for many, many decades. (Okay, SOME things never change...)
Steve
began his game career as a tester, at the legendary adventure game company
Infocom, in 1981. A year later, he began designing games, and has been doing so
continuously for more than a third of a century.
His first game for Infocom
was *Planetfall*, celebrated in the annals of gaming for its lovable
robot sidekick character, Floyd. Other Infocom titles by Steve include *Zork
Zero*, *Leather Goddesses of Phobos*, *A Mind Forever
Voyaging*, and *The Hitchhiker's Guide to the Galaxy*. The latter was
a collaboration with Douglas Adams, author of the original
work.
Following the demise of Infocom, Steve wrote a number of games for
Legend Entertainment, including *Superhero League of Hoboken* and the
*Spellcasting* trilogy, which featured the adventures of a would-be
sorcerer at a school for teaching magic. (And, ahem, this was 8 years
or so before the first Harry Potter book...)
In 1994, Steve co-founded
Boffo Games, along with fellow MIT alums Mike Dornbrook and Leo DaCosta. During
its 3 year existence, Boffo produced two notable games: *The Space Bar*,
a hilarious graphic adventure game, and *Hodj 'n' Podj*, a collection of
mini-games set in a whimsical fairy tale world, presaging the entire casual game
explosion that was to follow in another 5 years or so.
Steve spent more
than five years as Creative Content Director for WorldWinner.com, creating
casual games for online cash tournaments, and helping to guide it from
pre-launch to the point where the site was earning tens of millions of dollars
per year. He created numerous original games for WorldWinner, such as *Word
Cubes*, *Paint Buckets*, and *Skillgammon*, and also adapted
many existing games for tournament play, such as *Cubis*,
*Collapse*, and *Wheel of Fortune*.
Steve was one of the pioneers of social free-to-play games, joining the Playdom as it's first employee with game experience, and taking part in a wild ride that saw the company grow to 600 people over the course of the next two years, and get acquired by the Walt Disney Company. Following almost 5 years at Playdom/Disney, Steve returned to WorldWinner's parent company, the Game Show Network, working primarily on social casino titles.
Steve has also worked for publishing giant THQ,
for mobile game developer Floodgate Entertainment, and for Blue Fang Games, the
creator of the *Zoo Tycoon* series. Steve has done consulting work for companies
throughout the game industry, including Blizzard, Harmonix, Disney, Electronic
Arts, Activision, Microprose, and Hasbro.
A frequent speaker at
industry events and at colleges and universities, Steve also directs and
organizes the Mobile Summit at the [Game Developers Conference](http://www.gdconf.com/), the industry's premier
annual event. Steve is a charter member of the [International Game Developers
Association](http://www.igda.org/), and served a term on its Board of Directors. He is
co-founder of the Boston chapter of the IGDA, known as [Post
Mortem](http://www.bostonpostmortem.org/), one of the first such chapters in the world. He is
co-organizer of the annual Game Designers Workshop, which annually brings
together the elite of the game design world for a weekend of hobnobbing and deep
thinking. Steve is the author of four "choose-your-path" novels for young
people, set in the *Zork* universe, and is a member of the [Science Fiction and Fantasy
Writers of America](http://www.sfwa.org/).
[[Back to Home
Page](index.html)]
Last updated: 9-23-16. Contact [[email protected]](mailto:[email protected]).
| http://boffo.us/SteveBio.html |
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Welcome to Carbon-izer.com. Contrary to its appearance, it is not a relic of Web 1.0, only an homage to one, the kind of site that has individuality with specialized interests, the sort of thing how the Internet used to be. Explore the site! There's pages on retail, an in-depth look at city street corridors, restaurants, video games, and much more.<br /><br />
<small><a href="hhr.html"><b>Click here</b></a> if you arrived from <a href="http://houstonhistoricretail.com/">Houston Historic Retail</a>.</small><br />
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<span><font size="6"> <img src="scans.png" alt="SCANS & EPHEMERA" /></font></span>
<ul>
<li>The most recent entry, <a href="former/pollo.html"><b>Pollo Tropical's Texas Vacation</b></a> includes a list of the stores and a menu of the ill-fated Texas expansion of this chain.</li>
<li>This small page features the menu of <a href="http://www.carbon-izer.com/features/chaparral/chaparral.html"><b>Chaparral Restaurant</b></a> & Lounge in Dallas. Look for more Dallas content soon.</li>
<li><a href="http://www.carbon-izer.com/features/cypressgardens/cypressgardens.html"><b>Cypress Gardens '94</b></a> is a brief look at a defunct theme park in Florida.</li>
<li>Another Florida icon now just a memory is <a href="http://www.carbon-izer.com/features/treasureship/treasureship.html"><b>The Treasure Ship</b></a> in Panama City Beach. Check this out for two of the restaurants inside of the structure.</li>
<li>This website has one of the few <a href="http://www.carbon-izer.com/features/knex/knex.html"><b>K'NEX fan pages you'll ever find</a></b>.</li>
<li><a href="http://www.carbon-izer.com/features/astro/astro.html"><b>Where in the World But AstroWorld</b></a> can you have so much fun?</li>
<li>Unique McDonald's items and more at <a href="features/smithsonian/smithsonian.html"><b>The Wright Place Food Court</b></a> in Washington D.C.!</li>
<li>For more in this section, check <a href="http://www.carbon-izer.com/features/features.html"><b>here</a></b>. (For a bigger list that includes everything that used to be on that list plus more, click <a href="http://www.carbon-izer.com/features/features-index.html"><b>here</b></a>)</li>
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<span><font size="6"> <img src="places.png" alt="PLACES" /></font></span>
<ul>
<li><a href="aerostar/austin/austin.html"><b>Austin</b></a>: The Austin area covers Bastrop, San Marcos, and more.</li>
<li><a href="aerostar/bcs/bcs.html"><b>College Station-Bryan</b></a>: A companion to the blog Brazos Buildings & Businesses, this finally has a place on the site.</li>
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<!--<li><a href="aerostar/houstother/houstother.html"><b>Houston - Other</b></a>: More entries not covered in other entries.</li>-->
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<!--
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<span><font size="6"> <img src="videogames.png" alt="VIDEO GAMES" /></font></span>
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<!--
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<li><a href="yoot/yoot.html"><b>Yoot Tower Guides</b></a>, a new in-progress section aims to cover this obscure game in great detail.</li>
<li>A mirror of the <a href="http://www.carbon-izer.com/mirror/rad/index.htm"><b>Rad Project</b></a>. It's not mine, but I restored it when I found it was disappeared from the mainstream Internet otherwise.</li>
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<li>Check out our revised pages for <a href="former/wendys.html"><b>Wendy's</b></a>, <a href="former/ccs.html"><b>CC's Coffee House</b></a>, <a href="former/txlc.html"><b>Texas Land & Cattle</b></a>, and <a href="former/lubys.html"><b>Luby's Cafeteria</b></a>!</li>
<li>Visit the <a href="http://www.carbon-izer.com/retail/retail-index.html"><b>Retail Chains</b></a> section, featuring Albertsons.</li>
<li>The <a href="http://www.carbon-izer.com/retail/mallmaps/mallmap-index.html"><b>Mall Directories and Quick Links</b></a>--see all the malls featured on this site!</li>
<li><a href="features/chinacoast/chinacoast.html"><b>China Coast</b></a> - The lost Darden brand, China Coast was supposed to be Chinese food to what Olive Garden was Italian. What happened to the chain?</li>
<li>A list of former <a href="features/rattlers/rattlers.html"><b>Rattlers (Country Store)</b></a> locations before their absorption into Stripes (and later, 7-Eleven).</li>
<li>Check out our pages for <a href="retail/sears/sbdc.html"><b>Sears Bakery Deli Cafe</b></a>, the last hurrah of Sears' in-store eateries, and <a href="retail/schwegmann/superstore.html"><b>Lafayette's The Real Superstore</a></b>!</li>
<li><a href="mcd/mctex.html"><b>Lone Star Arches</b></a>: pictures and stuff of interesting McDonald's restaurants.</li>
</ul>
</li>
<br /><br />
<!--
<li><img src="http://www.carbon-izer.com/indeximg/oldroadsindexthumb.JPG" width="100" height="100"><span style="color: #801080"><small> <b>PHOTOS & MISCELLANEOUS STUFF</b></small></span>
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<li><img src="http://www.carbon-izer.com/indeximg/oldroadsindexthumb.JPG" width="100" height="100">
<span><font size="6"> <img src="photos.png" alt="PHOTOS & MORE" /></font></span>
<ul>
<li><a href="photoessay/italy/italy.html"><B>Italy in 2014</b></a>: Alien spacecrafts! McDonald's hotels! Tiny Walmart stores! Check it out!</li>
<li><a href="photoessay/corsicana/corsicana.html"><b>Carbon-izer Visits the Corsicana Outlet Mall, 2014</b></a>: Visiting the mall on a school trip, unofficially.</li>
<li><a href="http://www.carbon-izer.com/photoessay/arlans/arlans.html"><b>Arlan's Market of Navasota</b></a> still exists in a bit of a time warp.</li>
<li><a href="http://www.carbon-izer.com/features/sunrise/sunrise.html"><b>Sunrise Mall Director's Cut</b></a>: an expanded version of an old Labelscar post.</li>
<li>There's a lot more photo-related content (as well as everything on the site) at <a href="features/features-index.html"><b>The Big List</a></b>.</li>
</ul>
</li>
<br /><br />
<!--
<li><img src="http://www.carbon-izer.com/indeximg/labsthumb.png" width="100" height="100">
<span><font size="6"> <img src="carbon-izer labs.png" alt="CARBON-IZER LABS" /></font></span>
<ul>
<li><a href="http://www.carbon-izer.com/games/exor.html"><b>Exor's Dungeon</b></a> - This will eventually replace the Video Games section entirely.</li>
<li><a href="http://www.carbon-izer.com/random/bluebell/bluebell.html"><b>Melted Blue Bell Ice Cream</b></a> - Discontinued flavors (mostly).</li>
<li><a href="http://www.carbon-izer.com/onepiece/onepiece.html"><b>One Piece Censorship</b></a>: Working page on censoring a great anime to great lengths.</li>
<li><a href="mcd/mctex.html"><b>Lone Star Arches</b></a>: pictures and stuff of interesting McDonald's restaurants.</li>
</ul>
</li>
<br /><br />-->
<li><img src="http://www.carbon-izer.com/features/f-indeximg/beaker.png" width="100" height="100">
<span><font size="6"> <img src="random.png" alt="RANDOM" /></font></span>
<ul>
<li><a href="http://www.carbon-izer.com/random/irishspring/irishspring.html"><b>They Ruined Irish Spring</b></a> - If it was just the logo I wouldn't have cared...but they changed the formula, too.</li>
<li><a href="http://www.carbon-izer.com/onepiece/onepiece.html"><b>One Piece Censorship</b></a>: Working page on censoring a great anime to great lengths.</li>
<li><a href="random/sharpstown/sharpstown.html"><b>A Newer, Safer Sharpstown</b></a>: P.Q. Pine tries to convince you that Sharpstown Center is a safe place to shop.</li>
<li><a href="random/nickhotel/nickhotel.html"><b>The Nickelodeon Hotel—when it was just a Holiday Inn</b></a> covers the Nickelodeon Hotel approximately from 1999 to 2005 when it was Holiday Inn Family Suites Resort.</li>
<li><a href="features/muppets/muppets.html"><b>It's a Very Merry Muppet Christmas Movie Review</b></a> - Carbon-izer's first movie review, in which questionable casting and product placement are discussed.</li>
<li><a href="http://www.carbon-izer.com/junk/junk.html"><b>Junk/Other Stuff</b></a> - Stuff that doesn't fit elsewhere.</li>
</ul>
</li><br /><br />
<!--
<li><a href="http://www.carbon-izer.com/cityd/cityd-index.html"><b>City Directories</b></a> for Houston and beyond. Currently being phased out and merged with Cities.</li>
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<!--
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<li><img src="1123_thumb.jpg" height="100" width="100" />
<span><font size="6"> <img src="carbonizeritself.png" alt="CARBON-IZER ITSELF" /></font></span>
<ul><li><a href="updates.html"><b>Site updates</a></b>. Every site update is depicted with a new thumbnail, and this thumbnail is the one that appears in this section. If it's different than the last time you visited, the site is new!</li>
<li><a href="features/features-index.html"><b>The Big List</a></b>: The current list of everything on the website, with thumbs.</li>
<li>Some <a href="elsewhere.html"><b>links</b></a> to other sites.</li>
<li><b><a href="mailto:[email protected]">Email Me</a></b>, or just save the address by right clicking.</li>
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(c) 2014-2023 Carbon-izer.com | <a href="mailto:[email protected]">Mail</a></font></html></body>
|
Carbon-izer.com - The Site of Everything Else Interesting
span.tab{
padding: 0 15px;
Welcome to Carbon-izer.com. Contrary to its appearance, it is not a relic of Web 1.0, only an homage to one, the kind of site that has individuality with specialized interests, the sort of thing how the Internet used to be. Explore the site! There's pages on retail, an in-depth look at city street corridors, restaurants, video games, and much more.
[**Click here**](hhr.html) if you arrived from [Houston Historic Retail](http://houstonhistoricretail.com/).
* 
+ The most recent entry, [**Pollo Tropical's Texas Vacation**](former/pollo.html) includes a list of the stores and a menu of the ill-fated Texas expansion of this chain.
+ This small page features the menu of [**Chaparral Restaurant**](http://www.carbon-izer.com/features/chaparral/chaparral.html) & Lounge in Dallas. Look for more Dallas content soon.
+ [**Cypress Gardens '94**](http://www.carbon-izer.com/features/cypressgardens/cypressgardens.html) is a brief look at a defunct theme park in Florida.
+ Another Florida icon now just a memory is [**The Treasure Ship**](http://www.carbon-izer.com/features/treasureship/treasureship.html) in Panama City Beach. Check this out for two of the restaurants inside of the structure.
+ This website has one of the few [**K'NEX fan pages you'll ever find**](http://www.carbon-izer.com/features/knex/knex.html).
+ [**Where in the World But AstroWorld**](http://www.carbon-izer.com/features/astro/astro.html) can you have so much fun?
+ Unique McDonald's items and more at [**The Wright Place Food Court**](features/smithsonian/smithsonian.html) in Washington D.C.!
+ For more in this section, check [**here**](http://www.carbon-izer.com/features/features.html). (For a bigger list that includes everything that used to be on that list plus more, click [**here**](http://www.carbon-izer.com/features/features-index.html))
* 
+ [**Austin**](aerostar/austin/austin.html): The Austin area covers Bastrop, San Marcos, and more.
+ [**College Station-Bryan**](aerostar/bcs/bcs.html): A companion to the blog Brazos Buildings & Businesses, this finally has a place on the site.
+ [**Houston**](aerostar/uptown/uptown.html): Many of the various Houston-focused entries have ended up here.
+ [**Waco-Temple-Killeen**](aerostar/waco/waco.html): This section has several older photos from the late 1990s and early 2000s with more expanded articles.
* 
+ [**Exor's Dungeon**](http://www.carbon-izer.com/games/exor.html) - The main page for the Video Games section of this site.
+ [**Games List at Exor's Dungeon**](http://www.carbon-izer.com/games/index-games.html) is my list of several dozen games, complete with release dates and box arts.
+ [**Yoot Tower Guides**](yoot/yoot.html), a new in-progress section aims to cover this obscure game in great detail.
+ A mirror of the [**Rad Project**](http://www.carbon-izer.com/mirror/rad/index.htm). It's not mine, but I restored it when I found it was disappeared from the mainstream Internet otherwise.
+ A dedicated [**SimCity 2000 page**](http://www.carbon-izer.com/games/sc2k/sc2k-index.html) can be found here.
+ A Glider PRO walkthrough (Slumberland) is in its first stages. Check it out [**here**](http://www.carbon-izer.com/games/gpro/gp-walkthrough.txt).
* 
+ Check out our revised pages for [**Wendy's**](former/wendys.html), [**CC's Coffee House**](former/ccs.html), [**Texas Land & Cattle**](former/txlc.html), and [**Luby's Cafeteria**](former/lubys.html)!
+ Visit the [**Retail Chains**](http://www.carbon-izer.com/retail/retail-index.html) section, featuring Albertsons.
+ The [**Mall Directories and Quick Links**](http://www.carbon-izer.com/retail/mallmaps/mallmap-index.html)--see all the malls featured on this site!
+ [**China Coast**](features/chinacoast/chinacoast.html) - The lost Darden brand, China Coast was supposed to be Chinese food to what Olive Garden was Italian. What happened to the chain?
+ A list of former [**Rattlers (Country Store)**](features/rattlers/rattlers.html) locations before their absorption into Stripes (and later, 7-Eleven).
+ Check out our pages for [**Sears Bakery Deli Cafe**](retail/sears/sbdc.html), the last hurrah of Sears' in-store eateries, and [**Lafayette's The Real Superstore**](retail/schwegmann/superstore.html)!
+ [**Lone Star Arches**](mcd/mctex.html): pictures and stuff of interesting McDonald's restaurants.
* 
+ [**Italy in 2014**](photoessay/italy/italy.html): Alien spacecrafts! McDonald's hotels! Tiny Walmart stores! Check it out!
+ [**Carbon-izer Visits the Corsicana Outlet Mall, 2014**](photoessay/corsicana/corsicana.html): Visiting the mall on a school trip, unofficially.
+ [**Arlan's Market of Navasota**](http://www.carbon-izer.com/photoessay/arlans/arlans.html) still exists in a bit of a time warp.
+ [**Sunrise Mall Director's Cut**](http://www.carbon-izer.com/features/sunrise/sunrise.html): an expanded version of an old Labelscar post.
+ There's a lot more photo-related content (as well as everything on the site) at [**The Big List**](features/features-index.html).
* 
+ [**They Ruined Irish Spring**](http://www.carbon-izer.com/random/irishspring/irishspring.html) - If it was just the logo I wouldn't have cared...but they changed the formula, too.
+ [**One Piece Censorship**](http://www.carbon-izer.com/onepiece/onepiece.html): Working page on censoring a great anime to great lengths.
+ [**A Newer, Safer Sharpstown**](random/sharpstown/sharpstown.html): P.Q. Pine tries to convince you that Sharpstown Center is a safe place to shop.
+ [**The Nickelodeon Hotel—when it was just a Holiday Inn**](random/nickhotel/nickhotel.html) covers the Nickelodeon Hotel approximately from 1999 to 2005 when it was Holiday Inn Family Suites Resort.
+ [**It's a Very Merry Muppet Christmas Movie Review**](features/muppets/muppets.html) - Carbon-izer's first movie review, in which questionable casting and product placement are discussed.
+ [**Junk/Other Stuff**](http://www.carbon-izer.com/junk/junk.html) - Stuff that doesn't fit elsewhere.
* 
---
(c) 2014-2023 Carbon-izer.com | [Mail](mailto:[email protected])
| http://www.carbon-izer.com/ |
<html>
<head>
<title>Amanda</title>
<meta name="GENERATOR" content="Microsoft FrontPage 4.0">
<meta name="ProgId" content="FrontPage.Editor.Document">
<base target="_self">
</head>
<frameset rows="148,65%,*">
<frame name="top" scrolling="auto" noresize target="middle" src="amanda_chiaravalle_page.htm">
<frameset cols="*,49%">
<frame name="middle" target="bottom" scrolling="auto" src="pictures_of_me_growing_up.htm">
<frame name="middle1" src="pictures_of_my_family.htm">
</frameset>
<frameset cols="*,49%">
<frame name="bottom" src="Contacts.htm">
<frame name="bottom1" src="Links.htm">
</frameset>
<noframes>
<body>
<p>This page uses frames, but your browser doesn't support them.</p>
</body>
</noframes>
</frameset>
</html>
|
Amanda
This page uses frames, but your browser doesn't support them.
| http://www.chiaravalle.net/Amanda/ |
<html>
<head>
<title>Animated Gifs</title>
<base target="_blank">
</head>
<body bgcolor="#FFFF77">
<p align="center"><font color="#FF0000" face="Comic Sans MS"><big><big><big><big><strong>Animated
Gifs Index</strong></big></big></big></big></font></p>
<p align="center"><a href="http://www.tourettesyndrome.co.uk" target="_top"><img src="../tosylogo.gif" alt="tosy.co.uk - Tourette Syndrome Support in the UK" ALT="tosy.co.uk - Tourette Syndrome Support in the UK" WIDTH="211" HEIGHT="72"></a></p>
<p align="center"><big><big><font face="Comic Sans MS"><a href="../contents.htm" target="_top">Contents</a></font></big></big></p>
<p align="center"><big><font face="Comic Sans MS">This page contains a list of ALL the
animations used on the site's Fun & Animation pages</font></big></p>
<p align="center"><big><strong><font face="Arial">To use one of these images in the <a target="_blank" href="http://pub51.ezboard.com/btourettesyndromesupportuk36971">Discussion
Forum</a></font></strong></big></p>
<p align="center"><font face="Arial">If you want to use one of the animations on this
page, simply copy and paste the following code into the forum message box, replacing
"mouse" with the name of the image file you want to use. (If you are
typing the code, there is only one space - between the img & src)</font></p>
<p align="center"><font color="#FF0000" face="Comic Sans MS"><a href="../xmas/index.htm" target="_top"><big><strong>Christmas Animated Gifs Here!</strong></big></a></font></p>
<p align="center"><a name="code"><font face="Comic Sans MS" color="#8000FF"><big><big><big><big><strong><big>Code</big></strong></big></big></big></big></font></a></p>
<p align="center"><big><strong><font face="Arial" color="#FF0000"><big>[image]</big>http://www.tourettesyndrome.co.uk/images/</font><font face="Arial" color="#800080">mouse</font><font face="Arial" color="#FF0000">.gif<big>[/image]
</big></font></strong></big></p>
<p align="center"> </p>
<p align="center"><a target="_top" href="#CopyPaste"><strong><font face="Arial">If you're
unsure how to copy & paste - click here!</font></strong></a></p>
<p align="center"><font face="Arial">Other forums (and some chat rooms) may only need the
internet address (without the code)</font></p>
<p align="center"><strong><font face="Comic Sans MS"><big>E-Mails</big></font></strong></p>
<p align="center"><font face="Arial">If using Outlook or Outlook Express - click on
Format, then select "Rich Text (HTML)"</font></p>
<p align="center"><font face="Arial">Then simply copy and paste the picture (NOT the
code!) into the E-Mail message</font></p>
<p align="center"><a target="_top" href="#CopyPaste"><strong><font face="Arial">If you're
unsure how to copy & paste - click here!</font></strong></a></p>
<p align="center"><font face="Comic Sans MS" color="#8000FF"><big><strong>Click on the
Image file name you want to view - each one will appear in a new browser window (which
you'll need to close again)</strong></big></font></p>
<p align="center"><font color="#FF0000" face="Comic Sans MS"><a href="../xmas/index.htm" target="_top"><big><strong>Christmas Animated Gifs Here!</strong></big></a></font></p>
<div align="center"><center>
<table border="0" cellpadding="0" width="80%" cellspacing="0">
<tr>
<td width="33%"> <table border="0" cellpadding="0" cellspacing="0" width="100%" msimagelist>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="../life5.htm">alien</a>.gif </font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="angry.gif">angry</a>.gif </font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="ark.gif">ark</a>.gif </font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="balloon1.gif">balloon1</a>.gif </font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="balloon2.gif">balloon2</a>.gif
</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="bart.gif">bart</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="bart2.gif">bart2</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="bats.gif">bats</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="bee.gif">bee</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="bird.gif">bird</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="bird2.gif">bird2</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="birthday.gif">birthday</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="birthday2.gif">birthday2</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="birthday3.gif">birthday3</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="bongos.gif">bongos</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="bulb.gif">bulb</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="bunny.gif">bunny</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="buoy.gif">buoy</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="cactus.gif">cactus</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="cake.gif">cake</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="cake2.gif">cake2</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="chat.gif">chat</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font color="#FF0000" face="Comic Sans MS"><a href="../xmas/index.htm" target="_top"><strong>Christmas Gifs</strong></a></font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="cigar.gif">cigar</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
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</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="piano.gif">piano</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="picka.gif">picka</a>.gif</font></p>
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<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
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</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="plane.gif">plane</a>.gif</font></p>
</td msimagelist>
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<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
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<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
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<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="rabbit.gif">rabbit</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="rabbit2.gif">rabbit2</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="rain.gif">rain</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="roadrunner.gif">roadrunner</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="rolleyes.gif">rolleyes</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="run.gif">run</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="sad.gif">sad</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="sad2.gif">sad2</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="sailboat.gif">sailboat</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="seagull.gif">seagull</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="shark.gif">shark</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="shark2.gif">shark2</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="sheep.gif">sheep</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="sleep.gif">sleep</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="smile.gif">smile</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="smile2.gif">smile2</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="smile3.gif">smile3</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="smile4.gif">smile4</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="smile5.gif">smile5</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="smilelots.gif">smilelots</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="snail.gif">snail</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="snoopy.gif">snoopy</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="sonic.gif">sonic</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="spider.gif">spider</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="spider2.gif">spider2</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="spin.gif">spin</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="sun.gif">sun</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="sunset.gif">sunset</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="taz.gif">taz</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="tiger.gif">tiger</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="tiger2.gif">tiger2</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="tigger.gif">tigger</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="tongue.gif">tongue</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="train.gif">train</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="turtle.gif">turtle</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="turtle2.gif">turtle2</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="viking.gif">viking</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="wow1.gif">wow1</a>.gif</font></p>
</td msimagelist>
</tr>
<tr msimagelist>
<td valign="baseline" width="42" msimagelist><img src="../image001.gif" WIDTH="16" HEIGHT="16"></td>
<td valign="top" width="100%"><p align="left"><font face="Comic Sans MS"><a href="wow2.gif">wow2</a>.gif</font></p>
</td msimagelist>
</tr>
</table msimagelist>
</td>
</tr>
</table>
</center></div>
<p align="center"><a href="http://www.animation-central.com/" target="_blank"><img src="chuck100.gif" WIDTH="88" HEIGHT="31"></a> <font face="Comic Sans MS"> </font>
<a href="http://www.online.ee/~aaleo/anim/index.html" target="_blank"><img src="animbtn.gif" alt="animbtn.gif (2301 bytes)" WIDTH="88" HEIGHT="31"></a>
<a href="http://gifsnow.com/" target="_blank"><img src="gifsnow.gif" alt="gifsnow.gif (8647 bytes)" WIDTH="88" HEIGHT="31"></a> <a href="http://www.harrythecat.com/Graphics/Index.htm"><img src="harrythecat.gif" alt="harrythecat.gif (687 bytes)" WIDTH="120" HEIGHT="49"></a><font face="Comic Sans MS">
</font><a href="http://www.animfactory.com/" target="_blank"><img src="afbutton.gif" alt="afbutton.gif " WIDTH="88" HEIGHT="35"></a></p>
<p align="center"><font face="Comic Sans MS"><a href="http://www.artie.com/gif-anim.htm">www.artie.com</a>
<a href="http://www.camelotdesign.com/edgeanimation.htm" target="_blank">Over The Edge Animation</a> </font></p>
<p align="center"><font face="Comic Sans MS"><strong><big><a href="../life4.htm" target="_top">Kids Fun</a> <a href="../life5.htm" target="_top">More Animation</a> <a href="../life6.htm" target="_top">More
Animation 2</a> <a href="../life7.htm" target="_top">More Animation 3</a>
<a href="../life8.htm" target="_top">More Animation 4</a></big></strong></font></p>
<p align="center"> </p>
<p align="center"><a href="../xmas/index.htm" target="_top"><font color="#FF0000" face="Comic Sans MS"><big><strong>Christmas Animated Gifs Here!</strong></big></font></a></p>
<p align="center"> </p>
<p align="center"><strong><font face="Arial">To use one of these images in the <a target="_blank" href="http://pub51.ezboard.com/btourettesyndromesupportuk36971">Discussion
Forum</a></font></strong></p>
<p align="center"><font face="Arial">If you want to use one of the animations on this
page, simply copy and paste the following code into the forum message box, replacing
"mouse" with the name of the image file you want to use.</font></p>
<p align="center"><big><strong><font face="Arial" color="#FF0000"><big>[image]</big>http://www.tourettesyndrome.co.uk/images/</font><font face="Arial" color="#800080">mouse</font><font face="Arial" color="#FF0000">.gif<big>[/image]
</big></font></strong></big></p>
<p align="center"><font face="Comic Sans MS"> </font></p>
<p align="center"><font face="Arial">Alternatively,<a href="http://www.bergen.com/webchat/icons.html" target="_blank"> this is a website</a>
that gives you the internet address alongside the icon - you will though need to put that
address inside the <img src="website address">
code. More details on the <a href="../forumfaq.htm">Forum FAQ page</a></font></p>
<p align="center"><font face="Arial">Other forums (and some chat rooms) may only need the
internet address (without the code)</font></p>
<p align="center"><big><strong><font face="Comic Sans MS">E-Mails</font></strong></big></p>
<p align="center"><font face="Comic Sans MS">If using Outlook or Outlook Express - click
on Format, then select "Rich Text (HTML)"</font></p>
<p align="center"><font face="Comic Sans MS">Then simply copy and paste the picture (not
the code) into the E-Mail message</font></p>
<p align="center"><a name="CopyPaste"><font face="Comic Sans MS">Copy & Paste</font></a></p>
<p align="center"><font face="Arial">To copy the code, just highlight all the code from<a href="#code" target="_top"> here</a> - or scroll up a little - (place the mouse at
one end of the code, then left click and pull the cursor across the whole line whilst
keeping your finger pressed down - release your finger when all the code is shaded), then
place your mouse anywhere in the shaded text and right click (click the right hand mouse
button) over the shaded area, then click on copy. Come to the forum, go to the message box
where you write your message, and right click again, then click on paste. Then change the
"mouse" to whatever the name of the picture is that you want. <br>
<br>
When using pictures in e-mail. I just right click on the picture I want, click on copy,
then go to the e-mail message, right click where you want the picture, and click on paste.
<br>
That process may be different for the various operating systems and browsers, I don't know
(I use Windows 98 & Internet Explorer 5.5) <br>
Hope this helps! </font></p>
<p align="center"><font face="Arial"><a href="index.htm#top" target="_top"><strong>Back to
Top</strong></a></font></p>
<p align="center"><a href="http://www.tourettesyndrome.co.uk" target="_top"><img src="../tosylogo.gif" alt="tosy.co.uk - Tourette Syndrome Support in the UK" ALT="tosy.co.uk - Tourette Syndrome Support in the UK" WIDTH="211" HEIGHT="72"></a></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto" align="center"><font face="Arial"><!--webbot bot="Timestamp" S-Type="REGENERATED" S-Format="%d %B %Y" startspan -->17 March 2002<!--webbot bot="Timestamp" endspan i-checksum="27259" --> <small>Date last updated</small> <u1:p></u1:p></font></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto" align="center"> </p>
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</a>
<p align="center"> </p>
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|
Animated Gifs
**Animated
Gifs Index**
[](http://www.tourettesyndrome.co.uk)
[Contents](../contents.htm)
This page contains a list of ALL the
animations used on the site's Fun & Animation pages
**To use one of these images in the [Discussion
Forum](http://pub51.ezboard.com/btourettesyndromesupportuk36971)**
If you want to use one of the animations on this
page, simply copy and paste the following code into the forum message box, replacing
"mouse" with the name of the image file you want to use. (If you are
typing the code, there is only one space - between the img & src)
[**Christmas Animated Gifs Here!**](../xmas/index.htm)
**Code**
**[image]http://www.tourettesyndrome.co.uk/images/mouse.gif[/image]**
[**If you're
unsure how to copy & paste - click here!**](#CopyPaste)
Other forums (and some chat rooms) may only need the
internet address (without the code)
**E-Mails**
If using Outlook or Outlook Express - click on
Format, then select "Rich Text (HTML)"
Then simply copy and paste the picture (NOT the
code!) into the E-Mail message
[**If you're
unsure how to copy & paste - click here!**](#CopyPaste)
**Click on the
Image file name you want to view - each one will appear in a new browser window (which
you'll need to close again)**
[**Christmas Animated Gifs Here!**](../xmas/index.htm)
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
|
| | |
| --- | --- |
| | [alien](../life5.htm).gif |
| | [angry](angry.gif).gif |
| | [ark](ark.gif).gif |
| | [balloon1](balloon1.gif).gif |
| | [balloon2](balloon2.gif).gif
|
| | [bart](bart.gif).gif |
| | [bart2](bart2.gif).gif |
| | [bats](bats.gif).gif |
| | [bee](bee.gif).gif |
| | [bird](bird.gif).gif |
| | [bird2](bird2.gif).gif |
| | [birthday](birthday.gif).gif |
| | [birthday2](birthday2.gif).gif |
| | [birthday3](birthday3.gif).gif |
| | [bongos](bongos.gif).gif |
| | [bulb](bulb.gif).gif |
| | [bunny](bunny.gif).gif |
| | [buoy](buoy.gif).gif |
| | [cactus](cactus.gif).gif |
| | [cake](cake.gif).gif |
| | [cake2](cake2.gif).gif |
| | [chat](chat.gif).gif |
| | [**Christmas Gifs**](../xmas/index.htm) |
| | [cigar](cigar.gif).gif |
| | [clown](clown.gif).gif |
| | [confetti](confetti.gif).gif |
| | [dance](dance.gif).gif |
| | [dino](dino.gif).gif |
| | [dino2](dino2.gif).gif |
| | [dog](dog.gif).gif |
| | [dolphin](dolphin.gif).gif |
| | [dolphin2](dolphin2.gif).gif |
| | [dolphin3](dolphin3.gif).gif |
| | [dolphin4](dolphin4.gif).gif |
| | [dragon](dragon.gif).gif |
| | [dragon2](dragon2.gif).gif |
| | [driller](driller.gif).gif |
| | [drummer](drummer.gif).gif |
| | [eek](eek.gif).gif |
| | [elephant](elephant.gif).gif |
| | [eye](eye.gif).gif |
| | [eyes](eyes.gif).gif |
| | [face](face.gif).gif |
| | [face2](face2.gif).gif |
| | [fight](fight.gif).gif |
| | [fish](fish.gif).gif |
| | [fish2](fish2.gif).gif |
| | [fish3](fish3.gif).gif |
| | [fishing](fishing.gif).gif |
|
| | |
| --- | --- |
| | [firework](firework.gif).gif |
| | [firework2](firework2.gif).gif |
| | [firework3](firework3.gif).gif |
| | [fly](fly.gif).gif |
| | [flower](flower.gif).gif |
| | [football](football.gif).gif |
| | [foryou](foryou.gif).gif |
| | [frog](frog.gif).gif |
| | [frog2](frog2.gif).gif |
| | [frog3](frog3.gif).gif |
| | [frog4](frog4.gif).gif |
| | [frown](frown.gif).gif |
| | [galleon](galleon.gif).gif |
| | |
| --- | --- |
| | [ghoul](ghoul.gif).gif |
| | [gift](gift.gif).gif |
| | [gift2](gift2.gif).gif |
| | [globe](globe.gif).gif |
| | [gnome](gnome.gif).gif (not ani) |
| | [gnome1](gnome1.gif).gif |
| | [gnome2](gnome2.gif).gif |
| | [gnome3](gnome3.gif).gif |
| | [goof](goof.gif).gif |
| | [guitar](guitar.gif).gif |
| | [guitar2](guitar2.gif).gif |
| | [halloween](halloween.gif).gif |
| | [halloween2](halloween2.gif).gif |
| | [halloween3](halloween3.gif).gif |
| | [hand](hand.gif).gif |
| | [heart](heart.gif).gif |
| | [heart2](heart2.gif).gif |
| | [hobs](hobs.gif).gif |
| | [homer](homer.gif) .gif |
| | [homer2](homer2.gif).gif |
| | [imissyou](imissyou.gif).gif |
| | [juggler](juggler.gif).gif |
| | [jump](jump.gif).gif |
| | [lightning](lightning.gif).gif |
| | [lion](lion.gif).gif |
| | [lizzy](lizzy.gif).gif |
| | [mickey](mickey.gif).gif |
| | [mixemotions](mixemotions.gif).gif |
| | [monkey](monkey.gif).gif |
| | [monkey2](monkey2.gif).gif |
| | [moose](moose.gif).gif |
| | [mouse](mouse.gif).gif |
| | [mouse2](mouse2.gif).gif |
| | [mouth](mouth.gif).gif |
| | [myth](myth.gif).gif |
|
| | |
| --- | --- |
| | [octopus](octopus.gif).gif |
| | [panic](panic.gif).gif |
| | [penguin](penguin.gif).gif |
| | [penguin2](penguin2.gif).gif |
| | [piano](piano.gif).gif |
| | [picka](picka.gif).gif |
| | [pink](pink.gif).gif |
| | [plane](plane.gif).gif |
| | [pooh](pooh.gif).gif |
| | [pooh2](pooh2.gif).gif |
| | [rabbit](rabbit.gif).gif |
| | [rabbit2](rabbit2.gif).gif |
| | [rain](rain.gif).gif |
| | [roadrunner](roadrunner.gif).gif |
| | [rolleyes](rolleyes.gif).gif |
| | [run](run.gif).gif |
| | [sad](sad.gif).gif |
| | [sad2](sad2.gif).gif |
| | [sailboat](sailboat.gif).gif |
| | [seagull](seagull.gif).gif |
| | [shark](shark.gif).gif |
| | [shark2](shark2.gif).gif |
| | [sheep](sheep.gif).gif |
| | [sleep](sleep.gif).gif |
| | [smile](smile.gif).gif |
| | [smile2](smile2.gif).gif |
| | [smile3](smile3.gif).gif |
| | [smile4](smile4.gif).gif |
| | [smile5](smile5.gif).gif |
| | [smilelots](smilelots.gif).gif |
| | [snail](snail.gif).gif |
| | [snoopy](snoopy.gif).gif |
| | [sonic](sonic.gif).gif |
| | [spider](spider.gif).gif |
| | [spider2](spider2.gif).gif |
| | [spin](spin.gif).gif |
| | [sun](sun.gif).gif |
| | [sunset](sunset.gif).gif |
| | [taz](taz.gif).gif |
| | [tiger](tiger.gif).gif |
| | [tiger2](tiger2.gif).gif |
| | [tigger](tigger.gif).gif |
| | [tongue](tongue.gif).gif |
| | [train](train.gif).gif |
| | [turtle](turtle.gif).gif |
| | [turtle2](turtle2.gif).gif |
| | [viking](viking.gif).gif |
| | [wow1](wow1.gif).gif |
| | [wow2](wow2.gif).gif |
|
[](http://www.animation-central.com/)
[](http://www.online.ee/~aaleo/anim/index.html)
[](http://gifsnow.com/) [](http://www.harrythecat.com/Graphics/Index.htm)
[](http://www.animfactory.com/)
[www.artie.com](http://www.artie.com/gif-anim.htm)
[Over The Edge Animation](http://www.camelotdesign.com/edgeanimation.htm)
**[Kids Fun](../life4.htm) [More Animation](../life5.htm) [More
Animation 2](../life6.htm) [More Animation 3](../life7.htm)
[More Animation 4](../life8.htm)**
[**Christmas Animated Gifs Here!**](../xmas/index.htm)
**To use one of these images in the [Discussion
Forum](http://pub51.ezboard.com/btourettesyndromesupportuk36971)**
If you want to use one of the animations on this
page, simply copy and paste the following code into the forum message box, replacing
"mouse" with the name of the image file you want to use.
**[image]http://www.tourettesyndrome.co.uk/images/mouse.gif[/image]**
Alternatively, [this is a website](http://www.bergen.com/webchat/icons.html)
that gives you the internet address alongside the icon - you will though need to put that
address inside the <img src="website address">
code. More details on the [Forum FAQ page](../forumfaq.htm)
Other forums (and some chat rooms) may only need the
internet address (without the code)
**E-Mails**
If using Outlook or Outlook Express - click
on Format, then select "Rich Text (HTML)"
Then simply copy and paste the picture (not
the code) into the E-Mail message
Copy & Paste
To copy the code, just highlight all the code from [here](#code) - or scroll up a little - (place the mouse at
one end of the code, then left click and pull the cursor across the whole line whilst
keeping your finger pressed down - release your finger when all the code is shaded), then
place your mouse anywhere in the shaded text and right click (click the right hand mouse
button) over the shaded area, then click on copy. Come to the forum, go to the message box
where you write your message, and right click again, then click on paste. Then change the
"mouse" to whatever the name of the picture is that you want.
When using pictures in e-mail. I just right click on the picture I want, click on copy,
then go to the e-mail message, right click where you want the picture, and click on paste.
That process may be different for the various operating systems and browsers, I don't know
(I use Windows 98 & Internet Explorer 5.5)
Hope this helps!
[**Back to
Top**](index.htm#top)
[](http://www.tourettesyndrome.co.uk)
17 March 2002 Date last updated
[](http://easily.co.uk/index.php3?ewnagent=949b6782cb6dd02c0e038529fc370de4)
[](http://counter3.bravenet.com/index.php?id=187387&usernum=183643340&cpv=1)
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"size=1><a href='http://counter.hitbox.com/a/hitboxfree.cgi' target='\_blank'>privacy</a></font></div>";
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\_sv=11;
if(\_hbfb.length!=0){document.write(\_hbfa+\_hbfb+\_hbfc);}else{if((\_rf=="undefined")||(\_rf=="")){
\_rf="bookmark";};document.write(\_hbfa+\_lp+\_gn+"/HG?hc="+\_mn+"&hb="+\_acct+"&n="+escape(\_pn)+
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[](http://rd1.hitbox.com/rd?acct=WQ500527PAWF72EN0)
[privacy](http://counter.hitbox.com/a/hitboxfree.cgi)
| http://www.cwgsy.net/community/tosy/images/ |
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN"
"http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">
<html xmlns="http://www.w3.org/1999/xhtml">
<head>
<title>Table of contents for animations</title>
<style type="text/css">
.style3
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font-family: "Times New Roman", Times, serif;
font-weight: bold;
color: #0000FF;
font-size: large;
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</head>
<body>
<p>
<img alt="" class="style23"
src="homelogo.gif" /><br />
</p>
<! -- Author: Prof. M. Riaz,
University of Minnesota -->
<h1 class="style10">
<span
style='font-size:20.0pt;mso-fareast-font-family:"Times New Roman";color:red'
class="style10">
<span
style='mso-spacerun:yes'>ANIMATION OF ELECTRIC MACHINES</span>:</h1>
<h1
<span
style='font-size:20.0pt;mso-fareast-font-family:"Times New Roman";color:red'
class="style9">
Axial views,
characteristics, space vectors, magnetic fields</span></h1>
<table border="3" bordercolor=red class="style4" align="center">
<tr>
<td>
<span class="style3" lang="en-us">1.</span><span class="style5" lang="en-us"><b>
<a href="http://www.ece.umn.edu/users/riaz/animations/dcmachine.html"
class="style14">Schematic diagram of a dc
machine</a></b></span></td>
</tr>
<tr>
<td class="style24">
<span class="style3" lang="en-us">2.
<a href="http://www.ece.umn.edu/users/riaz/animations/brushlessdc.html"
class="style14">Schematic diagram of a brushless dc motor</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">3.
<a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/dcmotpos0.html">Position control of a dc motor</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">4.
<a href="http://www.ece.umn.edu/users/riaz/animations/imwound.html"
class="style14">Schematic diagram of a round-rotor induction motor</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">5.
<a href="http://www.ece.umn.edu/users/riaz/animations/cage.html"
class="style14">Structure of a squirrel-cage induction
machine</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">6.
<a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/sqmoviemotgen.html">Principle of operation of squirrel-cage induction motor and generator</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">7.
<a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/sqmovies.html">Axial view of a squirrel-cage induction machine</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">8.
<a href="http://www.ece.umn.edu/users/riaz/animations/squirrelcage.html"
class="style14">Developed view of a squirrel-cage induction machine</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">9.
<a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/abcvec.html">Sinusoidally distributed windings and fields in a
3-phase ac machine</a></span></td>
<tr>
<td>
<span class="style3" lang="en-us">10.
<a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/im1phase.html">Magnetic field distributions due to single-phase
excitation</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">11.
<a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/imflux3.html">Air gap flux due to 3-phase excitation</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">12.
<a href="http://www.ece.umn.edu/users/riaz/animations/sinwaves0.html"
class="style14">MMF distributions in a 3-phase ac machine</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">13.
<a href="http://www.ece.umn.edu/users/riaz/animations/spacevectors.html"
class="style14">Motion of space vectors in a 3-phase excitation system</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">14.
<a href="http://www.ece.umn.edu/users/riaz/animations/spavecdqclip.html"
class="style14">Space vector decomposition in the synchronous dq frame</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">15.
<a href="http://www.ece.umn.edu/users/riaz/animations/sinvec.html"
class="style14">Sinusoidal mmf distributions and corresponding space vector
representations</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">16.
<a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/spacevecmovie.html">Space vectors for a balanced 3-phase signal</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">17.
<a href="http://www.ece.umn.edu/users/riaz/animations/3phasewdgs.html"
class="style14">Sinusoidally distributed windings</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">18.
<a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/imphasors.html">Animated phasors of an induction motor (Torque-speed
curve)</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">19.
<a href="http://www.ece.umn.edu/users/riaz/animations/imvfmovie.html"
class="style14">Volt per Herz speed control of an induction motor</a></span></td>
</tr>
<tr>
<td class="style11">
<span class="style3" lang="en-us">20.
<a href="http://www.ece.umn.edu/users/riaz/animations/impulsed.html"
class="style14">Space vector motion in an induction motor under step loads</a></span></td>
<tr>
<td>
<span class="style3" lang="en-us">21. <a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/switchrel.html">Schematic diagram of a 4-phase 8/6 switched-reluctance motor</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">22. <a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/roundsmgen.html">Elementary 3-phase round rotor synchronous generator</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">23. <a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/alternator.html">
Elementary 3-phase salient-pole alternator and generated voltages</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">24. <a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/synchronization.html">
Synchronization of 3-phase ac systems</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">25.<a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/smswing.html">
Transient stability of a synchronous machine described by voltage space
vectors</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">26. <a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/syncgen1.html">
Animated phasor diagrams of a synchronous generator (Compounding curve)</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">27. <a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/syncmotie.html">
Animated phasor diagrams of a synchronous motor (V curve)</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">28. <a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/syncmotpd.html">
Animated phasor diagrams of a synchronous motor (Power-angle curve)</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">29. <a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/inverter3phase.html">
Three-phase inverter</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">30. <a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/dtcmovie.html">
Direct torque control of ac machines</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">31. <a class="style14"
href="http://picasaweb.google.com/mrdrives">Still images</a></span></td>
</tr>
<tr>
<td>
<span class="style3" lang="en-us">32. <a class="style14"
href="http://www.ece.umn.edu/users/riaz/animations/immodels.html">
The mathematics of electric machine modeling</a></span></td>
</tr>
</table>
<p align="center" class="style15">
</p>
<p align="center" class="style15">
</p>
<p class="style16">
<span lang="en-us">These animations are constructed using <span class="style17">
MATLAB</span>. Click <span class="style17">Stop</span> button or press
<span class="style17">Esc</span> key to stop an animation. Click
<span class="style17">Refresh</span> (<span class="style17">Reload</span>)
button to resume. Press <span class="style17">
F11</span> key to establish or exit full screen. Press
<span class="style17">Ctrl</span> <span class="style21">+</span> or <span class="style17">Ctrl -</span> pair
of keys to increase or decrease the size of the page on the screen. </span></p>
<p align="center" class="style18">
<span class="style19">©</span>
<a href="http://www.ece.umn.edu/users/riaz/index.htm"><span class="style20">M.
Riaz</span></a></p>
</body>
</html> |
Table of contents for animations
.style3
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font-weight: bold;
color: #0000FF;
font-size: large;
}
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width: 67%;
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font-family: "Times New Roman", Times, serif;
color: #0000FF;
font-size: large;
}
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text-align: center;
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font-family: "Times New Roman", Times, serif;
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color: #FF0000;
font-size: large;
}
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text-align: center;
font-weight: normal;
}
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}
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height: 150px;
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}
.style24
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}
#
ANIMATION OF ELECTRIC MACHINES:
#
Axial views,
characteristics, space vectors, magnetic fields
| |
| --- |
| 1.**[Schematic diagram of a dc
machine](http://www.ece.umn.edu/users/riaz/animations/dcmachine.html)** |
| 2.
[Schematic diagram of a brushless dc motor](http://www.ece.umn.edu/users/riaz/animations/brushlessdc.html) |
| 3.
[Position control of a dc motor](http://www.ece.umn.edu/users/riaz/animations/dcmotpos0.html) |
| 4.
[Schematic diagram of a round-rotor induction motor](http://www.ece.umn.edu/users/riaz/animations/imwound.html) |
| 5.
[Structure of a squirrel-cage induction
machine](http://www.ece.umn.edu/users/riaz/animations/cage.html) |
| 6.
[Principle of operation of squirrel-cage induction motor and generator](http://www.ece.umn.edu/users/riaz/animations/sqmoviemotgen.html) |
| 7.
[Axial view of a squirrel-cage induction machine](http://www.ece.umn.edu/users/riaz/animations/sqmovies.html) |
| 8.
[Developed view of a squirrel-cage induction machine](http://www.ece.umn.edu/users/riaz/animations/squirrelcage.html) |
| 9.
[Sinusoidally distributed windings and fields in a
3-phase ac machine](http://www.ece.umn.edu/users/riaz/animations/abcvec.html) || 10.
[Magnetic field distributions due to single-phase
excitation](http://www.ece.umn.edu/users/riaz/animations/im1phase.html) |
| 11.
[Air gap flux due to 3-phase excitation](http://www.ece.umn.edu/users/riaz/animations/imflux3.html) |
| 12.
[MMF distributions in a 3-phase ac machine](http://www.ece.umn.edu/users/riaz/animations/sinwaves0.html) |
| 13.
[Motion of space vectors in a 3-phase excitation system](http://www.ece.umn.edu/users/riaz/animations/spacevectors.html) |
| 14.
[Space vector decomposition in the synchronous dq frame](http://www.ece.umn.edu/users/riaz/animations/spavecdqclip.html) |
| 15.
[Sinusoidal mmf distributions and corresponding space vector
representations](http://www.ece.umn.edu/users/riaz/animations/sinvec.html) |
| 16.
[Space vectors for a balanced 3-phase signal](http://www.ece.umn.edu/users/riaz/animations/spacevecmovie.html) |
| 17.
[Sinusoidally distributed windings](http://www.ece.umn.edu/users/riaz/animations/3phasewdgs.html) |
| 18.
[Animated phasors of an induction motor (Torque-speed
curve)](http://www.ece.umn.edu/users/riaz/animations/imphasors.html) |
| 19.
[Volt per Herz speed control of an induction motor](http://www.ece.umn.edu/users/riaz/animations/imvfmovie.html) |
| 20.
[Space vector motion in an induction motor under step loads](http://www.ece.umn.edu/users/riaz/animations/impulsed.html) || 21. [Schematic diagram of a 4-phase 8/6 switched-reluctance motor](http://www.ece.umn.edu/users/riaz/animations/switchrel.html) |
| 22. [Elementary 3-phase round rotor synchronous generator](http://www.ece.umn.edu/users/riaz/animations/roundsmgen.html) |
| 23. [Elementary 3-phase salient-pole alternator and generated voltages](http://www.ece.umn.edu/users/riaz/animations/alternator.html) |
| 24. [Synchronization of 3-phase ac systems](http://www.ece.umn.edu/users/riaz/animations/synchronization.html) |
| 25. [Transient stability of a synchronous machine described by voltage space
vectors](http://www.ece.umn.edu/users/riaz/animations/smswing.html) |
| 26. [Animated phasor diagrams of a synchronous generator (Compounding curve)](http://www.ece.umn.edu/users/riaz/animations/syncgen1.html) |
| 27. [Animated phasor diagrams of a synchronous motor (V curve)](http://www.ece.umn.edu/users/riaz/animations/syncmotie.html) |
| 28. [Animated phasor diagrams of a synchronous motor (Power-angle curve)](http://www.ece.umn.edu/users/riaz/animations/syncmotpd.html) |
| 29. [Three-phase inverter](http://www.ece.umn.edu/users/riaz/animations/inverter3phase.html) |
| 30. [Direct torque control of ac machines](http://www.ece.umn.edu/users/riaz/animations/dtcmovie.html) |
| 31. [Still images](http://picasaweb.google.com/mrdrives) |
| 32. [The mathematics of electric machine modeling](http://www.ece.umn.edu/users/riaz/animations/immodels.html) |
These animations are constructed using
MATLAB. Click Stop button or press
Esc key to stop an animation. Click
Refresh (Reload)
button to resume. Press
F11 key to establish or exit full screen. Press
Ctrl + or Ctrl - pair
of keys to increase or decrease the size of the page on the screen.
©
[M.
Riaz](http://www.ece.umn.edu/users/riaz/index.htm)
| http://people.ece.umn.edu/users/riaz/animations/listanimations.html |
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<p><a href="r/Resultant.html">Acoustic Bass</a> <img src="speaker.gif"></p>
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<p><a href="c/Cymbelstern.html">Akkordglocken</a> <img src="speaker.gif"></p>
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<p><a href="s/Scharf.html">Akuta</a> </p>
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<p><a href="b/Barpfeife.html">Baarpfeife</a> <img src="drawing.gif"></p>
<p><a href="b/Baarpijp.html">Baarpijp</a> </p>
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<p><a href="b/BalladHorn.html">Ballad Horn</a> </p>
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<p><a href="b/Bourdon.html">Bardone</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
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<p><a href="b/Barem.html">Barem</a> </p>
<p><a href="b/Baryton.html">Baritone</a> </p>
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<p><a href="b/Baryton.html">Barytone</a> </p>
<p><a href="b/Bass.html">Bass</a> </p>
<p><a href="b/Bombarde.html">Bass-Bommer</a> <img src="speaker.gif"></p>
<p><a href="d/DoubleClarinet.html">Bass Clarinet</a> </p>
<p><a href="d/DoubleClarinet.html">Bass Clarionet</a> </p>
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<p><a href="b/BassTuba.html">Bass Tuba</a> </p>
<p><a href="b/BassViol.html">Bass Viol</a> </p>
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<p><a href="c/Contrabass.html">Bass Violin</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
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<p><a href="b/Bassonell.html">Bassanello</a> </p>
<p><a href="b/Bourdon.html">Bassbrummer</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="r/Resultant.html">Basse acoustique</a> <img src="speaker.gif"></p>
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<p><a href="f/Fagotto.html">Bassoon</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
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<p><a href="b/Bauerflote.html">Bauerflöt</a> </p>
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<p><a href="b/Bauerflote.html">Bauerflöte</a> </p>
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<p><a href="b/Bauerflote.html">Bauernflöte</a> </p>
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<p><a href="b/Bauerflote.html">Bauernpfeife</a> </p>
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<p><a href="b/Bauerflote.html">Bauerpfeife</a> </p>
</td><td>
<p><a href="b/Bauerflote.html">Baurpfeif[e]</a> </p>
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<p><a href="t/Trombone.html">Bazuin</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="b/BeardedGamba.html">Bearded Gamba</a> </p>
<p><a href="b/Barpfeife.html">Beerpfeife</a> <img src="drawing.gif"></p>
<p><a href="b/Barpfeife.html">Beerpipe</a> <img src="drawing.gif"></p>
<p><a href="b/Barpfeife.html">Behrpfeife</a> <img src="drawing.gif"></p>
<p><a href="b/BellClarinet.html">Bell Clarinet</a> </p>
<p><a href="b/BellDiapason.html">Bell Diapason</a> <img src="drawing.gif"></p>
<p><a href="b/BellFlute.html">Bell Flute</a> </p>
<p><a href="b/BellGamba.html">Bell Gamba</a> <img src="drawing.gif"></p>
<p><a href="b/Bells.html">Bells</a> </p>
<p><a href="b/BibleRegal.html">Bibelregal</a> </p>
<p><a href="b/BibleRegal.html">Bible-Regal</a> </p>
<p><a href="b/Bifara.html">Bifara</a> </p>
<p><a href="b/Bifara.html">Biffaro</a> </p>
<p><a href="b/Bifara.html">Biffra</a> </p>
<p><a href="b/Bifara.html">Biffura</a> </p>
<p><a href="b/Bifara.html">Bifra</a> </p>
<p><a href="v/Vogelgesang.html">Bird Whistle</a> </p>
<p><a href="v/VoxInaudita.html">Blinder Zug</a> </p>
<p><a href="b/Blockflote.html">Block Flute</a> </p>
<p><a href="b/Blockflote.html">Blockflöt</a> </p>
<p><a href="b/Blockflote.html">Blockflöte</a> </p>
<p><a href="b/Blockflotenbass.html">Blockflötenbass</a> </p>
<p><a href="b/Blockflote.html">Blockpfeife</a> </p>
<p><a href="b/Blockflote.html">Blockpipe</a> </p>
<p><a href="b/Blockflote.html">Blokfløjte</a> </p>
<p><a href="b/Blockflote.html">Blokfluit</a> </p>
<p><a href="b/Blockflote.html">Bockflöte</a> </p>
<p><a href="b/BoehmFlute.html">Boehm Flute</a> </p>
<p><a href="o/OrchFlute.html">Boehmflöte</a> <img src="speaker.gif"></p>
<p><a href="o/OrchFlute.html">Boehmischeflöte</a> <img src="speaker.gif"></p>
<p><a href="b/BoisCeleste.html">Bois Celeste</a> </p>
<p><a href="g/Gemshorn.html">Bokflöte</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="b/Bombard.html">Bombard</a> </p>
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<p><a href="b/Bombarde.html">Bombarda</a> <img src="speaker.gif"></p>
</td><td>
<p><a href="b/Bombarde.html">Bombarde</a> <img src="speaker.gif"></p>
<p><a href="b/BombardeEnChamade.html">Bombarde en Chamade</a> </p>
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<p><a href="b/Bombarde.html">Bombardo</a> <img src="speaker.gif"></p>
<p><a href="b/Bombardon.html">Bombardon</a> </p>
<p><a href="b/Bombardon.html">Bombardone</a> </p>
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<p><a href="b/Bombarde.html">Bomhard</a> <img src="speaker.gif"></p>
<p><a href="b/Bombard.html">Bommer</a> </p>
<p><a href="b/Bourdon.html">Bordón</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="b/Bourdon.html">Bordoncino</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="b/Bourdon.html">Bordone</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="e/EchoBourdon.html">Bordonecho</a> <img src="speaker.gif"></p>
<p><a href="b/Bourdon.html">Bordun</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="c/ContraBourdon.html">Bordun-Subbass</a> <img src="speaker.gif"></p>
<p><a href="b/Bourdon.html">Borduna</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="b/Bordunalflote.html">Bordunal</a> </p>
<p><a href="b/Bordunalflote.html">Bordunalflöte</a> </p>
<p><a href="b/Botze.html">Bötze</a> </p>
<p><a href="b/Bourdon.html">Bourdon</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="r/Rohrbordun.html">Bourdon à Cheminée</a> </p>
<p><a href="b/BourdonDoux.html">Bourdon Doux</a> </p>
<p><a href="b/Bordunalflote.html">Bourdonalflöte</a> </p>
<p><a href="e/EchoBourdon.html">Bourdonecho</a> <img src="speaker.gif"></p>
<p><a href="b/BrassRegal.html">Brass Regal</a> </p>
<p><a href="s/Saxophone.html">Brass Saxophone</a> </p>
<p><a href="b/BrassTrumpet.html">Brass Trumpet</a> </p>
<p><a href="v/Viola.html">Bratsche</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="k/Krummhorn.html">Brumhorn</a> <img src="speaker.gif"></p>
<p><a href="b/Bourdon.html">Brummbass</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="k/Krummhorn.html">Brummhorn</a> <img src="speaker.gif"></p>
<p><a href="b/Buccina.html">Buccina</a> </p>
<p><a href="b/Buccina.html">Buccine</a> </p>
<p><a href="b/Bourdon.html">Burdo</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="t/Trombone.html">Buzain</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
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<p><a href="z/Zink.html">Cinq</a> </p>
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<p><a href="c/ClarinDeBatalla.html">Clarín de Compaña</a> </p>
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<p><a href="h/HarmonicClarion.html">Clarion Harmonic</a> </p>
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<p><a href="c/ClarionMirabilis.html">Clarion Mirabilis</a> </p>
<p><a href="c/ClarionMixture.html">Clarion Mixture</a> </p>
<p><a href="c/Clariana.html">Clariona</a> </p>
<p><a href="c/Clarinet.html">Clarionet</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
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<p><a href="c/ContraBombarde.html">Contra Bombarde</a> </p>
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<p><a href="c/ContraBourdon.html">Contra Bourdon</a> <img src="speaker.gif"></p>
<p><a href="d/DoubleBassetHorn.html">Contra Corno di Bassetto</a> </p>
<p><a href="c/ContraDiaphone.html">Contra Diaphone</a> </p>
<p><a href="c/ContraDulcian.html">Contra Dulcian</a> </p>
<p><a href="c/ContraDulciana.html">Contra Dulciana</a> </p>
<p><a href="c/ContraGamba.html">Contra Gamba</a> <img src="speaker.gif"></p>
<p><a href="c/ContraOboe.html">Contra Hautboy</a> <img src="speaker.gif"></p>
<p><a href="c/ContraOboe.html">Contra Oboe</a> <img src="speaker.gif"></p>
<p><a href="d/DoubleOphicleide.html">Contra Ophicleide</a> </p>
<p><a href="b/BassTrombone.html">Contra Posaune</a> <img src="camera.gif"></p>
<p><a href="c/ContraPrincipal.html">Contra Principal</a> <img src="drawing.gif"><img src="underconst.gif"></p>
<p><a href="c/ContraSalicional.html">Contra Salicional</a> </p>
</td><td>
<p><a href="c/ContraSaxophone.html">Contra Saxophone</a> </p>
<p><a href="g/GrosseSpitzflote.html">Contra Spitzflöte</a> </p>
<p><a href="c/ContraTromba.html">Contra Tromba</a> </p>
<p><a href="b/BassTrombone.html">Contra Trombone</a> <img src="camera.gif"></p>
<p><a href="c/ContraTrumpet.html">Contra Trumpet</a> </p>
<p><a href="b/BassTuba.html">Contra Tuba</a> </p>
<p><a href="c/ContraViole.html">Contra Viol</a> </p>
<p><a href="c/ContraViola.html">Contra Viola</a> </p>
<p><a href="c/ContraViolaDaGamba.html">Contra Viola da Gamba</a> </p>
<p><a href="c/ContraViole.html">Contra Viole</a> </p>
<p><a href="c/Contrabass.html">Contra-Violin</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="v/Violone.html">Contra-Violon</a> <img src="drawing.gif"></p>
<p><a href="v/Violone.html">Contra Violone</a> <img src="drawing.gif"></p>
<p><a href="c/Contrabass.html">Contrabass</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="c/Contrabass.html">Contrabasso</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="c/ContraBassoon.html">Contrafagott</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="c/ContraBassoon.html">Contrafagotto</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="b/BassTrombone.html">Contraposaune</a> <img src="camera.gif"></p>
<p><a href="c/ContraPrincipal.html">Contraprinzipal</a> <img src="drawing.gif"><img src="underconst.gif"></p>
<p><a href="c/Contras.html">Contras</a> </p>
<p><a href="b/Bombarde.html">Contras de Bombarda[s]</a> <img src="speaker.gif"></p>
<p><a href="b/Bombarde.html">Contras en Bombardas</a> <img src="speaker.gif"></p>
<p><a href="c/ContrasProfundas.html">Contras Profundas</a> </p>
<p><a href="c/Contrabass.html">Contre-basse</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="c/ContraBombarde.html">Contre Bombarde</a> </p>
<p><a href="c/ContraGamba.html">Contre Gambe</a> <img src="speaker.gif"></p>
<p><a href="c/ContraTrumpet.html">Contre Trompette</a> </p>
<p><a href="v/Violone.html">Contre Viole</a> <img src="drawing.gif"></p>
<p><a href="s/Spitzflote.html">Conus</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="c/Copula.html">Copel</a> </p>
<p><a href="c/Coppendoff.html">Copendoff</a> </p>
<p><a href="c/Copula.html">Copl</a> </p>
<p><a href="c/Copula.html">Coppel</a> </p>
<p><a href="c/Copula.html">Coppeldoef</a> </p>
<p><a href="c/Coppeldone.html">Coppeldone</a> </p>
<p><a href="k/Koppelflote.html">Coppelflöt[e]</a> <img src="camera.gif"></p>
<p><a href="c/Copula.html">Coppelfluit</a> </p>
<p><a href="k/Koppelflote.html">Coppelflute</a> <img src="camera.gif"></p>
<p><a href="c/CopulaMinor.html">Coppeloktave</a> </p>
<p><a href="c/Coppendoff.html">Coppendoff</a> </p>
<p><a href="c/Copula.html">Copula</a> </p>
<p><a href="c/CopulaMajor.html">Copula Maior</a> </p>
<p><a href="c/CopulaMajor.html">Copula Major</a> </p>
<p><a href="c/CopulaMinor.html">Copula Minor</a> </p>
<p><a href="e/EnglishHorn.html">Cor Anglais</a> <img src="speaker.gif"></p>
<p><a href="c/CornoDAmore.html">Cor d'Amour</a> <img src="speaker.gif"></p>
<p><a href="c/CorDHarmonie.html">Cor d'Harmonie</a> </p>
<p><a href="f/FrenchHorn.html">Cor d'Orchestre</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="b/BassetHorn.html">Cor de Basset</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="g/Gemshorn.html">Cor de Chamois</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="c/CorDeNuit.html">Cor de Nuit</a> <img src="speaker.gif"></p>
<p><a href="c/CorDeNuitCeleste.html">Cor de Nuit Celeste</a> </p>
<p><a href="c/CorGlorieux.html">Cor Glorieux</a> </p>
<p><a href="o/OboeHorn.html">Cor-Oboe</a> </p>
<p><a href="w/Waldhorn.html">Cor[s] de Chasse</a> <img src="drawing.gif"></p>
<p><a href="c/Cordedain.html">Cordedain</a> </p>
<p><a href="c/Cordedain.html">Cordelain</a> </p>
<p><a href="k/Krummhorn.html">Cormorne</a> <img src="speaker.gif"></p>
<p><a href="c/Cornemeuse.html">Cornamusa</a> </p>
<p><a href="w/Waldhorn.html">Corne Parforce</a> <img src="drawing.gif"></p>
<p><a href="w/Waldhorn.html">Corne Sylvestre</a> <img src="drawing.gif"></p>
<p><a href="k/Krummhorn.html">Cornehorne</a> <img src="speaker.gif"></p>
<p><a href="c/Cornemeuse.html">Cornemeuse</a> </p>
<p><a href="c/Cornemeuse.html">Cornemuse</a> </p>
<p><a href="c/Cornet.html">Cornet</a> <img src="speaker.gif"></p>
<p><a href="c/CornetzABoucquin.html">Cornet à Boucquin</a> </p>
<p><a href="c/CornetAPavillon.html">Cornet à Pavillon</a> </p>
<p><a href="o/OrchCornet.html">Cornet à Piston</a> </p>
<p><a href="c/CornetDAllemagne.html">Cornet d'Allemagne</a> </p>
<p><a href="c/CornetDeRecit.html">Cornet de Récit</a> </p>
<p><a href="c/CornetDesVioles.html">Cornet de[s] Violes</a> </p>
<p><a href="c/CornetDesBombardes.html">Cornet des Bombardes</a> </p>
<p><a href="c/CornetaClara.html">Cornet[a] Tolosana</a> </p>
<p><a href="c/Cornet.html">Corneta</a> <img src="speaker.gif"></p>
<p><a href="c/CornetaClara.html">Corneta Clara</a> </p>
</td><td>
<p><a href="c/CornetaClara.html">Corneta Real[e]</a> </p>
<p><a href="z/Zink.html">Cornetin</a> </p>
<p><a href="c/Cornet.html">Cornett</a> <img src="speaker.gif"></p>
<p><a href="c/CornetteDeCaccia.html">Cornette de Caccia</a> </p>
<p><a href="c/Cornetti.html">Cornetti</a> </p>
<p><a href="c/Cornettin.html">Cornettin</a> </p>
<p><a href="z/Zink.html">Cornettino</a> </p>
<p><a href="c/Corneta.html">Cornetto</a> </p>
<p><a href="w/Waldhorn.html">Cornetto da Caccia</a> <img src="drawing.gif"></p>
<p><a href="w/Waldhorn.html">Cornetto di Caccia</a> <img src="drawing.gif"></p>
<p><a href="z/Zink.html">Cornetto Muto</a> </p>
<p><a href="c/Corneta.html">Cornetto Primo</a> </p>
<p><a href="c/Corneta.html">Cornetto Secondo</a> </p>
<p><a href="c/Corneta.html">Cornetto Terzo</a> </p>
<p><a href="z/Zink.html">Cornetto Torto</a> </p>
<p><a href="c/CornetzABoucquin.html">Cornetz à Boucquin</a> </p>
<p><a href="f/FrenchHorn.html">Corno</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="c/CornoBassettoSoprano.html">Corno Bassetto, Soprano</a> </p>
<p><a href="b/BassetHorn.html">Corno Basso</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="c/CornoCamoscio.html">Corno Camoscio</a> </p>
<p><a href="c/CornoClarion.html">Corno Clarion</a> </p>
<p><a href="c/CornoDAmore.html">Corno d'Amore</a> <img src="speaker.gif"></p>
<p><a href="c/CornoDiCaccia.html">Corno da Caccia</a> </p>
<p><a href="b/BassetHorn.html">Corno di Bassetto</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="c/CornoDiCaccia.html">Corno di Caccia</a> </p>
<p><a href="c/CornoCamoscio.html">Corno di Camoscio</a> </p>
<p><a href="c/CornoDolce.html">Corno Dolce</a> <img src="drawing.gif"></p>
<p><a href="c/CornoFlute1.html">Corno Flute [1]</a> </p>
<p><a href="c/CornoFlute2.html">Corno Flute [2]</a> </p>
<p><a href="c/CornoInglese.html">Corno Inglese</a> </p>
<p><a href="c/CornoTromba.html">Corno Tromba</a> </p>
<p><a href="z/Zink.html">Cornon</a> </p>
<p><a href="c/Cornopean.html">Cornopean</a> </p>
<p><a href="z/Zink.html">Cornu</a> </p>
<p><a href="w/Waldhorn.html">Cornu Sylvestre</a> <img src="drawing.gif"></p>
<p><a href="c/CompensatingMixture.html">Corroborating Mixture</a> </p>
<p><a href="c/Copula.html">Coupler</a> </p>
<p><a href="c/Copula.html">Coupling-Flute</a> </p>
<p><a href="b/BellDiapason.html">Courcellina</a> <img src="drawing.gif"></p>
<p><a href="c/Courtal.html">Courtal</a> </p>
<p><a href="c/Courtal.html">Courtand</a> </p>
<p><a href="c/Courtal.html">Courtel</a> </p>
<p><a href="p/percussion.html">Crash Cymbal</a> </p>
<p><a href="c/Cremona.html">Cremona</a> </p>
<p><a href="k/Krummhorn.html">Cremorne</a> <img src="speaker.gif"></p>
<p><a href="o/Orlo.html">Cro Orlo</a> <img src="camera.gif"></p>
<p><a href="k/Krummhorn.html">Cromhorne</a> <img src="speaker.gif"></p>
<p><a href="k/Krummhorn.html">Crommehorne</a> <img src="speaker.gif"></p>
<p><a href="k/Krummhorn.html">Cromorne</a> <img src="speaker.gif"></p>
<p><a href="k/Krummhorn.html">Crumhorn</a> <img src="speaker.gif"></p>
<p><a href="c/Cubus.html">Cubus</a> <img src="drawing.gif"></p>
<p><a href="c/Cuckoo.html">Cuckguck</a> <img src="speaker.gif"></p>
<p><a href="c/Cuckoo.html">Cuckoo</a> <img src="speaker.gif"></p>
<p><a href="c/Cuckoo.html">Cuculus</a> <img src="speaker.gif"></p>
<p><a href="c/Cuckoo.html">Cukuk</a> <img src="speaker.gif"></p>
<p><a href="c/Courtal.html">Curtal[l]</a> </p>
<p><a href="s/Spitzflote.html">Cuspida</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="c/Cylinderquint.html">Cylinder-Quinte</a> </p>
<p><a href="c/Cylinderquint.html">Cylinderquint</a> </p>
<p><a href="c/Cymbal.html">Cymbal</a> <img src="speaker.gif"></p>
<p><a href="c/Cymbal.html">Cymbale</a> <img src="speaker.gif"></p>
<p><a href="c/CymbaleHarmonique.html">Cymbale Harmonique</a> </p>
<p><a href="c/Cymbelstern.html">Cymbalstern</a> <img src="speaker.gif"></p>
<p><a href="c/Cymbal.html">Cymbel</a> <img src="speaker.gif"></p>
<p><a href="c/Cymbelbass.html">Cymbelbass</a> </p>
<p><a href="c/Cymbelstern.html">Cymbelglöcklein</a> <img src="speaker.gif"></p>
<p><a href="c/Cymbeloktave.html">Cymbeloktave</a> </p>
<p><a href="c/Cymbelregal.html">Cymbelregal</a> </p>
<p><a href="z/Zymbelscharf.html">Cymbelscharf</a> </p>
<p><a href="c/Cymbelstern.html">Cymbelstern</a> <img src="speaker.gif"></p>
<p><a href="s/Sifflote.html">Cyvelet</a> <img src="speaker.gif"></p>
<p><a href="c/Czakanflote.html">Czakanflöte</a> </p>
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<p><a href="s/Seventeenth.html">Decima</a> <img src="speaker.gif"></p>
<p><a href="n/Nineteenth.html">Decima Nona</a> <img src="speaker.gif"></p>
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<p><a href="d/Dulciana.html">Dolcean</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="d/Dolcette.html">Dolcette</a> </p>
<p><a href="d/DolcetteFlute.html">Dolcette Flute</a> </p>
<p><a href="d/Dulzian.html">Dolcian</a> </p>
<p><a href="d/Dulzian.html">Dolciana</a> </p>
<p><a href="d/Dulciana.html">Dolciane</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="d/Dolciano.html">Dolciano</a> </p>
<p><a href="c/ContraDulciana.html">Dolciano Profundo</a> </p>
<p><a href="d/Dolcissimo.html">Dolcissimo</a> </p>
<p><a href="d/DolcissimoCeleste.html">Dolcissimo Céleste</a> </p>
<p><a href="d/Dolcan.html">Dolkan</a> <img src="drawing.gif"></p>
<p><a href="f/FlautoDolce.html">Dolzflöte</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="d/Dulzian.html">Dolziana</a> </p>
<p><a href="d/Donner.html">Donner</a> </p>
<p><a href="d/Doef.html">Doof</a> </p>
<p><a href="d/Doppelflote.html">Doppelflöt[e]</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="d/Doppelflotenbass.html">Doppelflötenbass</a> </p>
<p><a href="d/Doppelgedeckt.html">Doppelgedackt</a> </p>
<p><a href="d/Doppelgedeckt.html">Doppelgedeckt</a> </p>
<p><a href="d/Doppelkegelregal.html">Doppelkegelregal</a> </p>
<p><a href="c/ContraPrincipal.html">Doppelprincipal</a> <img src="drawing.gif"><img src="underconst.gif"></p>
<p><a href="d/Doppelrohrbordun.html">Doppelrohrbordun</a> </p>
<p><a href="d/Doppelrohrflote.html">Doppelrohrflöte</a> </p>
<p><a href="d/Doppelrohrgedeckt.html">Doppelrohrgedeckt</a> </p>
<p><a href="d/Doppelspitzflote.html">Doppelspitzflöte</a> </p>
<p><a href="d/Doppelt.html">Doppelt</a> </p>
</td><td>
<p><a href="c/ContraBourdon.html">Dopplt Unterbass</a> <img src="speaker.gif"></p>
<p><a href="f/FlautoDoris.html">Doris</a> </p>
<p><a href="n/Nineteenth.html">Dotzena Nazarda</a> <img src="speaker.gif"></p>
<p><a href="c/Contrabass.html">Double Bass</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="d/DoubleBassetHorn.html">Double Basset Horn</a> </p>
<p><a href="c/ContraBassoon.html">Double Bassoon</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="d/DoubleClaribelFlute.html">Double Claribel Flute</a> </p>
<p><a href="d/DoubleClarinet.html">Double Clarinet</a> </p>
<p><a href="c/ContraPrincipal.html">Double Diapason</a> <img src="drawing.gif"><img src="underconst.gif"></p>
<p><a href="c/ContraDulciana.html">Double Dulciana</a> </p>
<p><a href="d/DoubleEnglishHorn.html">Double English Horn</a> </p>
<p><a href="d/Doppelflote.html">Double Flute</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="d/DoubleGemshorn.html">Double Gemshorn</a> </p>
<p><a href="c/ContraOboe.html">Double Hautboy</a> <img src="speaker.gif"></p>
<p><a href="d/DoubleMelodia.html">Double Melodia</a> <img src="speaker.gif"></p>
<p><a href="c/ContraOboe.html">Double Oboe</a> <img src="speaker.gif"></p>
<p><a href="d/DoubleOboeHorn.html">Double Oboe Horn</a> </p>
<p><a href="c/ContraPrincipal.html">Double Open Diapason</a> <img src="drawing.gif"><img src="underconst.gif"></p>
<p><a href="d/DoubleOpenWood.html">Double Open Wood</a> </p>
<p><a href="d/DoubleOphicleide.html">Double Ophicleide</a> </p>
<p><a href="c/ContraPrincipal.html">Double Principal</a> <img src="drawing.gif"><img src="underconst.gif"></p>
<p><a href="s/SubQuint.html">Double Quint</a> </p>
<p><a href="c/ContraSalicional.html">Double Salicional</a> </p>
<p><a href="c/ContraBourdon.html">Double-Stopped Bass</a> <img src="speaker.gif"></p>
<p><a href="c/ContraBourdon.html">Double Stopped Diapason</a> <img src="speaker.gif"></p>
<p><a href="c/Contrabass.html">Double String</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="t/Tenth.html">Double Tierce</a> </p>
<p><a href="b/BassTrombone.html">Double Trombone</a> <img src="camera.gif"></p>
<p><a href="c/ContraTrumpet.html">Double Trumpet</a> </p>
<p><a href="b/BassTuba.html">Double Tuba</a> </p>
<p><a href="f/Fifth.html">Double Twelfth</a> </p>
<p><a href="d/DoubleVoxHumana.html">Double Vox Humana</a> </p>
<p><a href="d/Doublette.html">Doublette</a> </p>
<p><a href="d/Dulzian.html">Doucaine</a> </p>
<p><a href="d/Dolce.html">Douce</a> <img src="drawing.gif"></p>
<p><a href="d/Dulzian.html">Douseynen</a> </p>
<p><a href="p/Pauke.html">Drum Pedal</a> </p>
<p><a href="d/Drums.html">Drums</a> <img src="underconst.gif"></p>
<p><a href="v/VoxInaudita.html">Ductus inutilis</a> </p>
<p><a href="d/Dudelsack.html">Dudelsack</a> </p>
<p><a href="d/Doppelflote.html">Duiflöt</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="d/Doppelflote.html">Duiflöte</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="d/Dolcan.html">Dulcan</a> <img src="drawing.gif"></p>
<p><a href="d/Dulcayna.html">Dulcayna</a> </p>
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<p><a href="f/FlautoDolce.html">Dulceflöt</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="d/Dulceon.html">Dulceon</a> </p>
<p><a href="d/Dulcet.html">Dulcet</a> </p>
<p><a href="d/Dulcet.html">Dulcet Principal</a> </p>
<p><a href="d/Dulcetina.html">Dulcetina</a> </p>
<p><a href="d/Dulzian.html">Dulciaan</a> </p>
<p><a href="d/Dulciana.html">Dulcian</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="d/Dulciana.html">Dulciana</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="d/DulcianaCeleste.html">Dulciana Celeste</a> </p>
<p><a href="d/DulcianaCornet.html">Dulciana Cornet</a> </p>
<p><a href="d/DulcianaFlute.html">Dulciana Flute</a> </p>
<p><a href="d/DulcianaFluteCeleste.html">Dulciana Flute Céleste</a> </p>
<p><a href="d/DulcianaMixture.html">Dulciana Mixture</a> </p>
<p><a href="d/Dulcet.html">Dulciana Octave</a> </p>
<p><a href="d/Dulcet.html">Dulciana Principal</a> </p>
<p><a href="d/Dulciana.html">Dulciane</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FlautoDolce.html">Dulcianflöte</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="d/Dulcimer.html">Dulcimer</a> </p>
<p><a href="f/Fagotto.html">Dulcinus</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="d/Dulcis.html">Dulcis</a> </p>
<p><a href="d/Dolcissimo.html">Dulcissima</a> </p>
<p><a href="d/Dulzian.html">Dultzen</a> </p>
<p><a href="d/Dolcan.html">Dulzaen</a> <img src="drawing.gif"></p>
<p><a href="d/Dolcan.html">Dulzain</a> <img src="drawing.gif"></p>
<p><a href="d/Dulcayna.html">Dulzaina</a> </p>
<p><a href="d/Dulzayna.html">Dulzayna</a> </p>
<p><a href="d/Dulciana.html">Dulzet</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FlautoDolce.html">Dulzfloit</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FlautoDolce.html">Dulzflöte</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="d/Dulzgedackt.html">Dulzgedackt</a> </p>
<p><a href="d/Dulzian.html">Dulzian</a> </p>
<p><a href="d/Dulciana.html">Dulziana</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="d/Dulzian.html">Dulziano</a> </p>
<p><a href="d/Dulzianregal.html">Dulzianregal</a> </p>
<p><a href="d/Dulzian.html">Dulzino</a> </p>
<p><a href="d/Dunecken.html">Dunecken</a> </p>
<p><a href="t/Twelfth.html">Duodecima</a> <img src="speaker.gif"></p>
<p><a href="d/Duophone.html">Duophone</a> </p>
<p><a href="d/Doppelt.html">Duplicat</a> </p>
<p><a href="d/DuytscheFluyt.html">Duytsche Fluyt</a> </p>
<p><a href="d/DuytscheHooren.html">Duytsche Hooren</a> </p>
<p><a href="o/OrchFlute.html">Dwarsfluit</a> <img src="speaker.gif"></p>
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<p><a href="e/EarlyEnglishDiapason.html">Early English Diapason</a> </p>
<p><a href="e/Echo.html">Echo</a> </p>
<p><a href="e/EchoCello.html">Echo 'Cello</a> </p>
<p><a href="e/EchoAeoline.html">Echo Aeoline</a> </p>
<p><a href="e/EchoBourdon.html">Echo Bass</a> <img src="speaker.gif"></p>
<p><a href="e/EchoBourdon.html">Echo Bourdon</a> <img src="speaker.gif"></p>
<p><a href="e/EchoCeleste.html">Echo Céleste</a> </p>
<p><a href="e/EchoClarabella.html">Echo Clarabella</a> </p>
<p><a href="o/OctaveOboe.html">Echo Clarion</a> </p>
<p><a href="e/EchoCornet.html">Echo Cornet</a> </p>
<p><a href="e/EchoCornet.html">Echo-Cornett</a> </p>
<p><a href="e/EchoCymbal.html">Echo Cymbal</a> </p>
<p><a href="e/EchoDiapason.html">Echo Diapason</a> </p>
<p><a href="e/EchoDolcan.html">Echo Dolcan</a> </p>
<p><a href="d/Dolcissimo.html">Echo Dolce</a> </p>
<p><a href="e/EchoDulciana.html">Echo Dulciana</a> </p>
<p><a href="e/EchoDulcianaCeleste.html">Echo Dulciana Céleste</a> </p>
<p><a href="e/EchoDulcianaMixture.html">Echo Dulciana Mixture</a> </p>
<p><a href="e/EchoErzahler.html">Echo Erzähler</a> </p>
<p><a href="e/EchoFagotto.html">Echo Fagotto</a> </p>
<p><a href="e/EchoFifteenth.html">Echo Fifteenth</a> </p>
</td><td>
<p><a href="e/EchoFlute.html">Echo Flute</a> </p>
<p><a href="e/EchoGamba.html">Echo Gamba</a> </p>
<p><a href="e/EchoGedeckt.html">Echo Gedeckt</a> </p>
<p><a href="h/Harfenprinzipal.html">Echo Geigen</a> </p>
<p><a href="h/Harfenprinzipal.html">Echo Geigen Diapason</a> </p>
<p><a href="h/Harfenprinzipal.html">Echo Geigen Principal</a> </p>
<p><a href="e/EchoGemshorn.html">Echo Gemshorn</a> </p>
<p><a href="e/EchoHarmonics.html">Echo Harmonics</a> </p>
<p><a href="e/EchoHorn.html">Echo Horn</a> </p>
<p><a href="e/EchoLieblich.html">Echo Lieblich</a> </p>
<p><a href="s/SuabeFlute.html">Echo Melodia</a> </p>
<p><a href="e/EchoMixture.html">Echo Mixture</a> </p>
<p><a href="e/EchoNachthorn.html">Echo Nachthorn</a> </p>
<p><a href="e/EchoOboe.html">Echo Oboe</a> <img src="drawing.gif"></p>
<p><a href="d/Dulcet.html">Echo Octave</a> </p>
<p><a href="e/EchoOpenFlute.html">Echo Open Flute</a> </p>
<p><a href="e/EchoDiapason.html">Echo Principal</a> </p>
<p><a href="a/Aeoline.html">Echo Salicional</a> <img src="drawing.gif"></p>
<p><a href="e/EchoStoppedFlute.html">Echo Stopped Flute</a> </p>
<p><a href="e/EchoTibiaClausa.html">Echo Tibia</a> </p>
<p><a href="e/EchoTibiaClausa.html">Echo Tibia Clausa</a> </p>
</td><td>
<p><a href="e/EchoTromba.html">Echo Tromba</a> </p>
<p><a href="e/EchoTrumpet.html">Echo Trompete</a> </p>
<p><a href="e/EchoTrumpet.html">Echo Trumpet</a> </p>
<p><a href="e/EchoTwelfth.html">Echo Twelfth</a> </p>
<p><a href="e/EchoViol.html">Echo Viol</a> </p>
<p><a href="e/EchoViolMixture.html">Echo Viol Mixture</a> </p>
<p><a href="e/EchoViola.html">Echo Viola</a> </p>
<p><a href="a/Aeoline.html">Echo Viola da Gamba</a> <img src="drawing.gif"></p>
<p><a href="e/EchoVioleCeleste.html">Echo Viole Céleste</a> </p>
<p><a href="e/EchoViolin.html">Echo Violin</a> </p>
<p><a href="e/EchoVoxHumana.html">Echo Vox Humana</a> </p>
<p><a href="e/EchoBourdon.html">Echobordun</a> <img src="speaker.gif"></p>
<p><a href="e/EchoFlute.html">Echoflöte</a> </p>
<p><a href="d/Donner.html">Effet[s] d'Orage</a> </p>
<p><a href="e/EgyptianHorn.html">Egyptian Horn</a> </p>
<p><a href="e/Eighteenth.html">Eighteenth</a> </p>
<p><a href="e/Eleventh.html">Eleventh</a> </p>
<p><a href="e/Engelstimme.html">Engelstimme</a> </p>
<p><a href="e/EnglishHorn.html">Englisch Horn</a> <img src="speaker.gif"></p>
<p><a href="e/EnglishDiapason.html">Englisch Prinzipal</a> </p>
<p><a href="s/Soave.html">Englische Flöte</a> </p>
</td><td>
<p><a href="e/EnglishDiapason.html">English Diapason</a> </p>
<p><a href="e/EnglishHorn.html">English Horn</a> <img src="speaker.gif"></p>
<p><a href="p/PostHorn.html">English Post Horn</a> </p>
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<p><a href="a/Aeoline.html">Eolina</a> <img src="drawing.gif"></p>
<p><a href="a/Aeoline.html">Êoline</a> <img src="drawing.gif"></p>
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<p><a href="e/ErzahlerCeleste.html">Erzähler Céleste</a> <img src="speaker.gif"></p>
<p><a href="r/Rohrflote.html">Espigueta</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="e/EtherealViolin.html">Ethereal Violin</a> </p>
<p><a href="e/EtherealViolinCeleste.html">Ethereal Violin Celeste</a> </p>
<p><a href="c/Cymbelstern.html">Étoile Sonore</a> <img src="speaker.gif"></p>
<p><a href="e/Euphone.html">Euphon</a> <img src="drawing.gif"></p>
<p><a href="e/Euphone.html">Euphône</a> <img src="drawing.gif"></p>
<p><a href="e/Euphonium.html">Euphonium</a> </p>
<p><a href="v/VoxInaudita.html">Exaudire</a> </p>
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</tr></table>
<table width=100%><tr valign=top><td>
<p><a href="f/Fabertone.html">Faberton</a> </p>
<p><a href="f/Fabertone.html">Fabertone</a> </p>
<p><a href="f/Fagotto.html">Fagot</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="b/BassonHautbois.html">Fagot Oboe</a> <img src="speaker.gif"></p>
<p><a href="b/BassonHautbois.html">Fagot y Oboe</a> <img src="speaker.gif"></p>
<p><a href="f/Fagotto.html">Fagott</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="f/FagottDiskant.html">Fagott-Diskant</a> </p>
<p><a href="f/Fagottbass.html">Fagottbass</a> </p>
<p><a href="f/Fagotto.html">Fagotte</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="f/Fagotto.html">Fagotto</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="f/Fagottone.html">Fagottone</a> </p>
<p><a href="t/TrompetteEnChamade.html">Fan Trumpet</a> <img src="camera.gif"></p>
<p><a href="f/FanTuba.html">Fan Tuba</a> </p>
<p><a href="f/FanfareTrumpet.html">Fanfare Trumpet</a> </p>
<p><a href="f/Feldflote.html">Feldflöt[e]</a> </p>
<p><a href="w/Waldflote.html">Feldflöte</a> <img src="speaker.gif"></p>
<p><a href="w/Waldhorn.html">Feldhorn</a> <img src="drawing.gif"></p>
<p><a href="f/Feldflote.html">Feldpfeife</a> </p>
<p><a href="f/Feldflote.html">Feldpipe</a> </p>
<p><a href="o/OrchTrumpet.html">Feldtrommet</a> </p>
<p><a href="o/OrchTrumpet.html">Feldtrompete</a> </p>
<p><a href="f/Fernflote.html">Fern Flute</a> </p>
<p><a href="f/Fernflote.html">Fernflöte</a> </p>
<p><a href="e/EchoNachthorn.html">Fernhorn</a> </p>
<p><a href="s/StateTrumpet.html">Festival Trumpet</a> </p>
<p><a href="v/Viol.html">Fiedel</a> </p>
<p><a href="m/MilitaryTrumpet.html">Field Trumpet</a> </p>
<p><a href="f/Fife.html">Fife</a> </p>
<p><a href="p/Piffaro.html">Fiffaro</a> </p>
<p><a href="f/Fife.html">Fifre</a> </p>
<p><a href="f/Fifteenth.html">Fifteenth</a> <img src="speaker.gif"></p>
<p><a href="f/Fifth.html">Fifth</a> </p>
<p><a href="p/Philomela.html">Filomela</a> </p>
<p><a href="f/FirstSecondEtc.html">First ...</a> </p>
<p><a href="s/Schwiegel.html">Fistula Largior</a> </p>
<p><a href="f/Feldflote.html">Fistula Militaris</a> </p>
<p><a href="f/Flageolet.html">Fistula Minima</a> </p>
<p><a href="b/Bauerflote.html">Fistula Rurestris</a> </p>
<p><a href="s/Salicional.html">Fistula Salicis</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/Flachflote.html">Flach Flute</a> <img src="speaker.gif"></p>
<p><a href="f/Flachflote.html">Flachfloit</a> <img src="speaker.gif"></p>
<p><a href="f/Flachflote.html">Flachflojte</a> <img src="speaker.gif"></p>
<p><a href="f/Flachflote.html">Flachflöt[e]</a> <img src="speaker.gif"></p>
<p><a href="f/Flachflote.html">Flachpfeife</a> <img src="speaker.gif"></p>
<p><a href="f/Flageolet.html">Flageolet</a> </p>
<p><a href="f/FlageoletEcho.html">Flageolet Echo</a> </p>
<p><a href="f/FlageoletHarmonique.html">Flageolet Harmonique</a> </p>
<p><a href="f/Flageolet.html">Flageolett</a> </p>
<p><a href="f/Flageolet.html">Flageoletta</a> </p>
<p><a href="f/Flageolet.html">Flageolette</a> </p>
<p><a href="t/TwentyFirst.html">Flat Septime</a> </p>
<p><a href="t/TwentyFirst.html">Flat Seventh</a> </p>
<p><a href="t/TwentyFirst.html">Flat Twenty-first</a> </p>
<p><a href="f/FluteABec.html">Flaut-à-Becq</a> </p>
<p><a href="o/OrchFlute.html">Flaut Allemande</a> <img src="speaker.gif"></p>
<p><a href="f/Flotedoucebass.html">Flaut douce-Bass</a> </p>
</td><td>
<p><a href="f/FlautHemiol.html">Flaut Hemiol</a> </p>
<p><a href="o/OrchFlute.html">Flaut Travers</a> <img src="speaker.gif"></p>
<p><a href="h/HarmonicFlute.html">Flauta Armónica</a> <img src="drawing.gif"></p>
<p><a href="s/Spitzflote.html">Flauta Cuspida</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FlautaEuskeria.html">Flauta Euskeria</a> </p>
<p><a href="t/Tapadillo.html">Flauta Tapada</a> </p>
<p><a href="o/OrchFlute.html">Flauta Travesiera</a> <img src="speaker.gif"></p>
<p><a href="f/Flautada.html">Flautada</a> </p>
<p><a href="o/Octave.html">Flautadito</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="o/OpenDiapason.html">Flautado</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="g/Gedeckt.html">Flautado de Violón</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="w/Waldflote.html">Flautado Kuerolofón</a> <img src="speaker.gif"></p>
<p><a href="o/OpenDiapason.html">Flautado Principal</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="t/Tapadillo.html">Flautado Tapado</a> </p>
<p><a href="b/Bourdon.html">Flautado Violón</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="f/FlautatPrincipal.html">Flautat Principal</a> </p>
<p><a href="f/Flageolet.html">Flautim</a> </p>
<p><a href="f/Flautino.html">Flautina</a> </p>
<p><a href="f/FlautinaDolce.html">Flautina Dolce</a> </p>
<p><a href="f/Flautino.html">Flautino</a> </p>
<p><a href="f/Flute.html">Flauto</a> <img src="speaker.gif"></p>
<p><a href="r/Rohrflote.html">Flauto a Camino</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FlautoAllemano.html">Flauto Allemano</a> </p>
<p><a href="f/FlautoAmabile.html">Flauto Amabile</a> </p>
<p><a href="f/FlautoAmoroso.html">Flauto Amoroso</a> </p>
<p><a href="v/VoxAngelica.html">Flauto Angelico</a> <img src="speaker.gif"></p>
<p><a href="f/FlautoAperto.html">Flauto Aperto</a> </p>
<p><a href="r/Rohrflote.html">Flauto Camino</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="s/StoppedDiapason.html">Flauto Coperto</a> </p>
<p><a href="s/Spitzflote.html">Flauto Cuspido</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FlautoDAmore.html">Flauto d'Amore</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="p/Panflote.html">Flauto di Pan</a> </p>
<p><a href="f/FlautoDolce.html">Flauto Dolce</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FlautoDolcissimo.html">Flauto Dolcissimo</a> </p>
<p><a href="f/FlautoDolcissimoCeleste.html">Flauto Dolcissimo Céleste</a> </p>
<p><a href="f/FlautoDoris.html">Flauto Doris</a> </p>
<p><a href="f/FlautoDoris.html">Flauto Douce</a> </p>
<p><a href="f/FlautoDulcio.html">Flauto Dulcio</a> </p>
<p><a href="f/FlautoDulcio.html">Flauto Dulcis</a> </p>
<p><a href="f/FlautoGrave.html">Flauto Grave</a> </p>
<p><a href="h/Hundpfeife.html">Flauto Harmonicissimo</a> </p>
<p><a href="f/FlautoItalico.html">Flauto Italico</a> </p>
<p><a href="m/MajorFlute.html">Flauto Maggiore</a> </p>
<p><a href="m/MajorFlute.html">Flauto Major</a> </p>
<p><a href="f/FlautoMinore.html">Flauto Minor</a> </p>
<p><a href="f/FlautoMinore.html">Flauto Minore</a> </p>
<p><a href="f/FlautoMirabilis.html">Flauto Mirabilis</a> <img src="speaker.gif"></p>
<p><a href="p/Piccolo.html">Flauto Piccolo</a> <img src="speaker.gif"></p>
<p><a href="f/FlautoPrimo.html">Flauto Primo</a> </p>
<p><a href="f/FlautoReale.html">Flauto Reale</a> </p>
<p><a href="f/FlautoStaccato.html">Flauto Staccato</a> </p>
<p><a href="c/Clarabella.html">Flauto Tedesca</a> <img src="drawing.gif"></p>
<p><a href="f/FlautoTedesco.html">Flauto Tedesco</a> </p>
<p><a href="o/OrchFlute.html">Flauto Traverso</a> <img src="speaker.gif"></p>
<p><a href="o/OrchFlute.html">Flauto Travesiera</a> <img src="speaker.gif"></p>
<p><a href="f/FlautoUnisone.html">Flauto Unisone</a> </p>
</td><td>
<p><a href="f/Flautone.html">Flautone</a> </p>
<p><a href="f/Flautonne.html">Flautonne</a> </p>
<p><a href="s/Sesquialtera.html">Flautt in 6ta</a> <img src="speaker.gif"></p>
<p><a href="f/Flute.html">Flet</a> <img src="speaker.gif"></p>
<p><a href="f/Flute.html">Fletna</a> <img src="speaker.gif"></p>
<p><a href="f/Flute.html">Fleut</a> <img src="speaker.gif"></p>
<p><a href="f/Flute.html">Flöt</a> <img src="speaker.gif"></p>
<p><a href="f/Flute.html">Flöte</a> <img src="speaker.gif"></p>
<p><a href="d/Doppelflote.html">Flöte dupla</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="h/Harmonica.html">Flöte-Harmonica</a> <img src="drawing.gif"></p>
<p><a href="f/FloteMajor.html">Flöte Major</a> </p>
<p><a href="f/FloteMinor.html">Flöte Minor</a> </p>
<p><a href="o/OrchFlute.html">Flöte Traversa</a> <img src="speaker.gif"></p>
<p><a href="f/FlautoDolce.html">Flötedouce</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/Flotedoucebass.html">Flötedoucebass</a> </p>
<p><a href="b/BassFlute.html">Flötenbass</a> <img src="speaker.gif"></p>
<p><a href="f/Flotenprincipal.html">Flötenprincipal</a> </p>
<p><a href="l/LabialKlarinette.html">Flue Clarinet</a> </p>
<p><a href="l/LabialCorAnglais.html">Flue Cor Anglais</a> </p>
<p><a href="l/LabialEuphone.html">Flue Euphone</a> </p>
<p><a href="l/LabialOboe.html">Flue Oboe</a> </p>
<p><a href="f/Flugelhorn.html">Fluegelhorn</a> <img src="speaker.gif"></p>
<p><a href="f/Flugelhorn.html">Flügelhorn</a> <img src="speaker.gif"></p>
<p><a href="f/Flute.html">Fluit</a> <img src="speaker.gif"></p>
<p><a href="f/Flute.html">Fluste</a> <img src="speaker.gif"></p>
<p><a href="f/Fluta.html">Fluta</a> </p>
<p><a href="f/Flute.html">Flûte</a> <img src="speaker.gif"></p>
<p><a href="f/FluteABec.html">Flûte à Bec</a> </p>
<p><a href="f/FluteABec.html">Flûte à Becq</a> </p>
<p><a href="f/FluteABiberon.html">Flûte à Biberon</a> <img src="camera.gif"></p>
<p><a href="f/FluteABoucheRonde.html">Flûte-à-Bouche-Ronde</a> </p>
<p><a href="r/Rohrflote.html">Flûte à Cheminée</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FluteAFuseau.html">Flûte à Fuseau</a> </p>
<p><a href="s/Spitzflote.html">Flûte à Fusée</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FluteANeufTrous.html">Flûte à Neuf Trous</a> </p>
<p><a href="b/BellDiapason.html">Flûte à Pavillon</a> <img src="drawing.gif"></p>
<p><a href="s/Spitzflote.html">Flûte à Pointe</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FluteAPyramide.html">Flûte à Pyramide</a> </p>
<p><a href="o/OrchFlute.html">Flute Alemand</a> <img src="speaker.gif"></p>
<p><a href="o/OrchFlute.html">Flûte Allemande</a> <img src="speaker.gif"></p>
<p><a href="s/Soave.html">Flûte Angélique</a> </p>
<p><a href="b/BassFlute.html">Flûte Bass</a> <img src="speaker.gif"></p>
<p><a href="s/StoppedDiapason.html">Flûte Bouchée</a> </p>
<p><a href="f/FluteBoucheeHarmonique.html">Flûte Bouchée Harmonique</a> </p>
<p><a href="f/FluteCeleste.html">Flute Céleste</a> <img src="speaker.gif"></p>
<p><a href="f/Feldflote.html">Flûte Champ</a> </p>
<p><a href="l/Ludwigtone.html">Flute Coelestis</a> <img src="camera.gif"></p>
<p><a href="f/FluteConique.html">Flûte Conique</a> <img src="speaker.gif"></p>
<p><a href="k/Kurzflote.html">Flûte Courte</a> </p>
<p><a href="f/FluteCouverte.html">Flûte Couverte</a> </p>
<p><a href="h/Hohlflote.html">Flûte Creuse</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="o/OrchFlute.html">Flute d'Alemagne</a> <img src="speaker.gif"></p>
<p><a href="o/OrchFlute.html">Flûte d'Allemagne</a> <img src="speaker.gif"></p>
<p><a href="f/FlautoDAmore.html">Flûte d'Amour</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FluteDAmourCeleste.html">Flûte d'Amour Céleste</a> </p>
<p><a href="o/OrchFlute.html">Flûte d'Orchestre</a> <img src="speaker.gif"></p>
</td><td>
<p><a href="f/ForestFlute.html">Flûte de Bois</a> </p>
<p><a href="f/FluteDePedale.html">Flûte de Pédale</a> </p>
<p><a href="w/Waldflote.html">Flûte des Bois</a> <img src="speaker.gif"></p>
<p><a href="f/FlautoDolce.html">Flute Dolce</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="d/Doppelflote.html">Flute Double</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FlautoDolce.html">Flûte Douce</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="d/Doppelflote.html">Flûte dupla</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="s/Spitzflote.html">Flûte en Fusée</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FluteFondamentale.html">Flûte Fondamentale</a> </p>
<p><a href="h/HarmonicFlute.html">Flûte Harmonique</a> <img src="drawing.gif"></p>
<p><a href="f/FluteMagique.html">Flûte Magique</a> </p>
<p><a href="m/MajorFlute.html">Flûte Majeur</a> </p>
<p><a href="f/FluteNasard.html">Flûte Nasard</a> </p>
<p><a href="f/FluteOctaviante.html">Flûte Octaviante</a> <img src="speaker.gif"></p>
<p><a href="f/FluteOctavianteHarmonique.html">Flûte Octaviante Harmonique</a> </p>
<p><a href="f/FluteOctavianteHarmonique.html">Flûte Octaviente Harmonique</a> </p>
<p><a href="f/FluteOctavinHarmonique.html">Flûte Octavin Harmonique</a> </p>
<p><a href="o/OrchFlute.html">Flûte Orchestrale</a> <img src="speaker.gif"></p>
<p><a href="f/FluteOuverte.html">Flûte Ouverte</a> </p>
<p><a href="s/Spitzflote.html">Flûte Pointue</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FlutePrincipal.html">Flute Principal</a> </p>
<p><a href="f/FluteConique.html">Flûte Pyramidale</a> <img src="speaker.gif"></p>
<p><a href="q/Quintflote.html">Flute Quint</a> </p>
<p><a href="o/OrchFlute.html">Flute Traversa</a> <img src="speaker.gif"></p>
<p><a href="o/OrchFlute.html">Flute Traverse</a> <img src="speaker.gif"></p>
<p><a href="o/OrchFlute.html">Flûte Traversière</a> <img src="speaker.gif"></p>
<p><a href="f/FluteTraversiereHarmonique.html">Flûte Traversière Harmonique</a> </p>
<p><a href="o/OrchFlute.html">Flûte Traversine</a> <img src="speaker.gif"></p>
<p><a href="f/FluteTriangulaire.html">Flûte Triangulaire</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FluteTriangulaire.html">Flute Triangular</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="b/BassFlute.html">Flutebass</a> <img src="speaker.gif"></p>
<p><a href="f/Flautone.html">Flûton</a> </p>
<p><a href="f/Fluttuan.html">Fluttuan</a> </p>
<p><a href="f/ForestFlute.html">Forest Flute</a> </p>
<p><a href="f/Fourniture.html">Fornitura</a> <img src="speaker.gif"></p>
<p><a href="f/Fourniture.html">Forniture</a> <img src="speaker.gif"></p>
<p><a href="f/FortyThird.html">Forty-Third</a> </p>
<p><a href="f/Fourniture.html">Fournitura</a> <img src="speaker.gif"></p>
<p><a href="f/Fourniture.html">Fourniture</a> <img src="speaker.gif"></p>
<p><a href="f/FournitureCymbalisee.html">Fourniture Cymbalisée</a> </p>
<p><a href="f/FournitureHarmonique.html">Fourniture Harmonique</a> </p>
<p><a href="f/FourteenthFlatted.html">Fourteenth, Flatted</a> </p>
<p><a href="f/FirstSecondEtc.html">Fourth ...</a> </p>
<p><a href="f/FranzosischePosaune.html">Französische Posaune</a> </p>
<p><a href="f/FrenchHorn.html">French Horn</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FrenchTrumpet.html">French Trumpet</a> </p>
<p><a href="o/OpenDiapason.html">Frontispicium</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="f/Fuchsschwanz.html">Fuchsschwank</a> </p>
<p><a href="f/Fuchsschwanz.html">Fuchsschwanz</a> </p>
<p><a href="f/Fugara.html">Fugara</a> </p>
<p><a href="f/FullFlute.html">Full Flute</a> </p>
<p><a href="f/FullMixture.html">Full Mixture</a> </p>
<p><a href="f/FullFlote.html">Fullflöte</a> </p>
<p><a href="f/FullQuinte.html">Füllquinte</a> </p>
<p><a href="o/OpenDiapason.html">Fundamentalis</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="f/Fourniture.html">Furniture</a> <img src="speaker.gif"></p>
</td><td>
</td></tr></table>
<table border=1><tr>
<a name="G"> </a>
<td align=center width=3.5%><font size=+2><a href="#A">A</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#B">B</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#C">C</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#D">D</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#E">E</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#F">F</a></font></td>
<td align=center width=3.5% bgcolor=#FFFF00><font size=+2><a href="#G">G</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#H">H</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#I">I</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#J">J</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#K">K</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#L">L</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#M">M</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#N">N</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#O">O</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#P">P</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#Q">Q</a></font></td>
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<p><a href="h/Harp.html">Harp</a> <img src="camera.gif"><img src="speaker.gif"></p>
<p><a href="h/HarpAeolone.html">Harp Aeolian</a> </p>
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<p><a href="o/Oboe.html">Hautbois</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="o/OboeDAmore.html">Hautbois d'Amour</a> </p>
<p><a href="o/OrchOboe.html">Hautbois d'Orchestre</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="o/Oboe.html">Hautboy</a> <img src="drawing.gif"><img src="speaker.gif"></p>
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<p><a href="o/OctaveOboe.html">Hautboy Clarion</a> </p>
<p><a href="h/HautboyCornet.html">Hautboy-Cornet</a> </p>
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<p><a href="h/Hellezimbel.html">Hellezimbel</a> </p>
<p><a href="h/Hellflote.html">Hellflöte</a> </p>
<p><a href="h/Hellflote.html">Hellpfeife</a> </p>
<p><a href="h/Hemiol.html">Hemiol</a> </p>
<p><a href="f/FlautHemiol.html">Hemiolflöte</a> </p>
<p><a href="m/Mixture.html">Hintersatz</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="o/Oboe.html">Hoboe</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="h/Hohlflote.html">Hohl Flute</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="h/Hohlflote.html">Hohlflöt[e]</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="h/Hohlflotenbass.html">Hohlflötenbass</a> </p>
<p><a href="h/Hohlflote.html">Hohlpfeife</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="h/Hohlquinte.html">Hohlquinta</a> </p>
<p><a href="h/Hohlquinte.html">Hohlquinte</a> </p>
<p><a href="q/Quintaten.html">Hohlschelle</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="h/Hohlflote.html">Hohpfeife</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="h/Hohlflote.html">Hol-Flute</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="h/HoleFlute.html">Hole-Flute</a> </p>
<p><a href="h/Hohlflote.html">Holflöte</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="h/Hohlflote.html">Holfluit</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="h/Hohlflote.html">Holpfeife</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="h/Hohlflote.html">Holpijp</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="h/Hohlflote.html">Holpipe</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="h/Hohlquinte.html">Holquinte</a> </p>
<p><a href="q/Quintaten.html">Holschelle</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="h/Holtzbass.html">Holtzbass</a> </p>
<p><a href="h/Holzflote.html">Holtzflöte</a> </p>
<p><a href="h/Holzgedeckt.html">Holtzgedackt</a> </p>
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<p><a href="h/HolzernesGelachter.html">Hölzernes Gelächter</a> </p>
<p><a href="h/Holzprinzipal.html">Hölzernprincipal</a> <img src="drawing.gif"></p>
<p><a href="h/Holzflote.html">Holzflöte</a> </p>
<p><a href="h/Holzgedeckt.html">Holzgedackt</a> </p>
<p><a href="h/Holzgedeckt.html">Holzgedeckt</a> </p>
<p><a href="t/Terpodion.html">Holzharmonica</a> </p>
<p><a href="h/Holzkrummhorn.html">Holzkrummhorn</a> </p>
<p><a href="h/Holzflote.html">Holzpfeife</a> </p>
<p><a href="h/Holzposaune.html">Holzposaune</a> </p>
<p><a href="h/Holzprinzipal.html">Holzprinzipal</a> <img src="drawing.gif"></p>
<p><a href="h/Holzrankett.html">Holzrankett</a> </p>
<p><a href="h/Holzregal.html">Holzregal</a> </p>
<p><a href="h/Hoorn.html">Hoorn</a> </p>
<p><a href="t/TrompetteEnChamade.html">Horizontal Trumpet</a> <img src="camera.gif"></p>
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<p><a href="h/Hornbasslein.html">Hornbässlein</a> </p>
<p><a href="h/Hornle.html">Hornle</a> </p>
<p><a href="h/Hornlein.html">Hörnlein</a> </p>
<p><a href="h/Hornli.html">Hörnli</a> </p>
<p><a href="h/HolzernesGelachter.html">Hültze Glechter</a> </p>
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<p><a href="h/Hummel.html">Hummelchen</a> </p>
<p><a href="h/Hundpfeife.html">Hundpfeife</a> </p>
<p><a href="w/Waldhorn.html">Hunting Horn</a> <img src="drawing.gif"></p>
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<p><a href="k/Klarinettbass.html">Klarinettbass</a> </p>
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<p><a href="p/percussion.html">Klaxon Horn</a> </p>
<p><a href="k/Kleinerzahler.html">Klein Erzähler</a> <img src="speaker.gif"></p>
<p><a href="k/Kleinerzahler.html">Klein Erzähler Celeste</a> <img src="speaker.gif"></p>
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<p><a href="g/GemshornFifteenth.html">Klein Octavengemshorn</a> </p>
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<p><a href="k/Kleincimbel.html">Kleiner Cymbel</a> </p>
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<p><a href="k/KleineHohlflote.html">Kleinhohlflöte</a> </p>
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<p><a href="e/EnglishHorn.html">Kopftrompete</a> <img src="speaker.gif"></p>
<p><a href="c/Copula.html">Koppel</a> </p>
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<p><a href="o/Octave.html">Koppeldoof</a> <img src="speaker.gif"><img src="underconst.gif"></p>
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<p><a href="l/LarigotMixture.html">Larigot Mixture</a> </p>
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<p><a href="m/Mixture.html">Lleno</a> <img src="speaker.gif"><img src="underconst.gif"></p>
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<p><a href="m/Magnaton.html">Magnaton</a> </p>
<p><a href="c/ContraBourdon.html">Major Bass</a> <img src="speaker.gif"></p>
<p><a href="m/MajorClarinet.html">Major Clarinet</a> </p>
<p><a href="g/GrandDiapason.html">Major Diapason</a> </p>
<p><a href="m/MajorFlute.html">Major Flute</a> </p>
<p><a href="m/MajorMixture.html">Major Mixtur</a> </p>
<p><a href="m/MajorMixture.html">Major Mixture</a> </p>
<p><a href="m/MajorOctave.html">Major Octave</a> </p>
<p><a href="m/MajorFlute.html">Major Open Flute</a> </p>
<p><a href="g/GrandDiapason.html">Major Principal</a> </p>
<p><a href="q/QuintBass.html">Major Quinte</a> </p>
<p><a href="s/SoloSaxophone.html">Major Saxophone</a> </p>
<p><a href="m/MajorTwelfth.html">Major Twelfth</a> </p>
<p><a href="s/SoloVoxHumana.html">Major Vox Humana</a> </p>
<p><a href="c/ContraBourdon.html">Majorbass</a> <img src="speaker.gif"></p>
<p><a href="m/MajorFlute.html">Majorflöte</a> </p>
<p><a href="m/Manualuntersatz.html">Manualuntersatz</a> </p>
<p><a href="v/VoxInaudita.html">Manum de tabula</a> </p>
<p><a href="m/Marimba.html">Marimba</a> </p>
<p><a href="m/MarimbaHarp.html">Marimba Harp</a> </p>
<p><a href="u/UndaMaris.html">Meerflöte</a> </p>
<p><a href="f/Fifth.html">Megalopente</a> </p>
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<p><a href="r/Resultant.html">Megalophone</a> <img src="speaker.gif"></p>
<p><a href="m/Mellophone.html">Mellophone</a> </p>
<p><a href="m/Melodia.html">Melodia</a> <img src="drawing.gif"></p>
<p><a href="m/Melodic.html">Melodic ...</a> </p>
<p><a href="m/Melodia.html">Melodica</a> <img src="drawing.gif"></p>
<p><a href="m/Melodia.html">Mélodie</a> <img src="drawing.gif"></p>
<p><a href="m/Melophone.html">Melophone</a> </p>
<p><a href="m/Melotone.html">Melotone</a> </p>
<p><a href="v/VoxHumana.html">Menschenstimme</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="v/Vogelgesang.html">Merula</a> </p>
<p><a href="m/Messingregal.html">Messingregal</a> <img src="drawing.gif"></p>
<p><a href="m/MessingregalSingend.html">Messingregal Singend</a> </p>
<p><a href="m/Metallgedackt.html">Metal[l]gedackt</a> </p>
<p><a href="m/Metallgedackt.html">Metal[l]gedeckt</a> </p>
<p><a href="m/MetallicFlute.html">Metallic Flute</a> </p>
<p><a href="m/MetallicStopped.html">Metallic, Stopped</a> </p>
<p><a href="m/Metronomus.html">Metronomus</a> </p>
<p><a href="m/Mixture.html">Micxtuere</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="m/MilitaryTrumpet.html">Military Trumpet</a> </p>
<p><a href="t/Twelfth.html">Minerici</a> <img src="speaker.gif"></p>
<p><a href="m/MinorClarinet.html">Minor Clarinet</a> </p>
<p><a href="m/MinorDiapason.html">Minor Diapason</a> </p>
</td><td>
<p><a href="m/MinorOctave.html">Minor Octave</a> </p>
<p><a href="m/MinorOpenFlute.html">Minor Open Flute</a> </p>
<p><a href="m/MinorPrincipal.html">Minor Principal</a> </p>
<p><a href="m/MinorVoxHumana.html">Minor Vox Humana</a> </p>
<p><a href="f/FlautoMinore.html">Minorflöte</a> </p>
<p><a href="m/Mixture.html">Miscella</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="m/Mittelflote.html">Mittelflöte</a> </p>
<p><a href="m/Mittelgedeckt.html">Mittelgedackt</a> </p>
<p><a href="m/Mittelgedeckt.html">Mittelgedeckt</a> </p>
<p><a href="m/Mixture.html">Mixtuer</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="m/Mixture.html">Mixtur</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="m/MixturChormass.html">Mixtur Chormass</a> </p>
<p><a href="m/MajorMixture.html">Mixtur Major</a> </p>
<p><a href="m/Mixture.html">Mixtura</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="m/MajorMixture.html">Mixtura Major</a> </p>
<p><a href="m/Mixture.html">Mixture</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="m/Mixture.html">Mixtuur</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="m/Mollterz.html">Mollters</a> </p>
<p><a href="m/Mollterz.html">Mollterz</a> </p>
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<p><a href="e/EchoDiapason.html">Montre Echo</a> </p>
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<p><a href="o/OpenDiapason.html">Mostra</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="m/MountedCornet.html">Mounted Cornet</a> </p>
<p><a href="m/Mundflote.html">Mundflöte</a> </p>
<p><a href="m/Musette.html">Musette</a> <img src="drawing.gif"></p>
<p><a href="m/Musicirgedeckt.html">Musicirgedeckt</a> </p>
<p><a href="m/Musicirgedeckt.html">Musikgedackt</a> </p>
<p><a href="m/Musicirgedeckt.html">Musiziergedackt</a> </p>
<p><a href="m/MutedCello.html">Muted 'Cello</a> </p>
<p><a href="m/MutedCornet.html">Muted Cornet</a> </p>
<p><a href="m/MutedDiapason.html">Muted Diapason</a> </p>
<p><a href="m/MutedGamba.html">Muted Gamba</a> </p>
<p><a href="m/MutedHorn.html">Muted Horn</a> </p>
<p><a href="p/percussion.html">Muted Snare Drum</a> </p>
<p><a href="m/MutedStrings.html">Muted Strings</a> </p>
<p><a href="m/MutedTrumpet.html">Muted Trumpet</a> </p>
<p><a href="m/MutedViol.html">Muted Viol</a> <img src="drawing.gif"></p>
<p><a href="m/MutedViolMixture.html">Muted Viol Mixture</a> </p>
<p><a href="m/MutedViola.html">Muted Viola</a> </p>
<p><a href="m/MutedViole.html">Muted Viole</a> </p>
<p><a href="m/MutedViol.html">Muted Violin</a> <img src="drawing.gif"></p>
<p><a href="m/MutedViolinCeleste.html">Muted Violin Céleste</a> </p>
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<p><a href="n/Nachthorn.html">Nachtschall</a> <img src="speaker.gif"></p>
<p><a href="n/Nasard.html">Nasad</a> <img src="speaker.gif"></p>
<p><a href="n/Nasard.html">Nasard</a> <img src="speaker.gif"></p>
<p><a href="n/NasardAFuseau.html">Nasard à Fuseau</a> </p>
<p><a href="r/Rohrnasat.html">Nasard en Cheminée</a> </p>
<p><a href="n/NasardFlute.html">Nasard Flûte</a> </p>
</td><td>
<p><a href="n/NasardGamba.html">Nasard Gamba</a> </p>
<p><a href="n/NasardHarmonique.html">Nasard Harmonique</a> </p>
<p><a href="n/NasardOuvert.html">Nasard Ouvert</a> </p>
<p><a href="n/Nasard.html">Nasarde</a> <img src="speaker.gif"></p>
<p><a href="n/Nasard.html">Nasardo</a> <img src="speaker.gif"></p>
<p><a href="n/Nasardos.html">Nasardos</a> </p>
<p><a href="n/Nasard.html">Nasat</a> <img src="speaker.gif"></p>
<p><a href="n/Nasard.html">Nasatflöte</a> <img src="speaker.gif"></p>
<p><a href="l/Larigot.html">Nasath</a> <img src="speaker.gif"></p>
<p><a href="n/Nasard.html">Nasatquinte</a> <img src="speaker.gif"></p>
<p><a href="n/Nasard.html">Nasaz</a> <img src="speaker.gif"></p>
<p><a href="n/Nason.html">Nashorn</a> </p>
<p><a href="n/Nason.html">Nason</a> </p>
</td><td>
<p><a href="n/Nason.html">Nason Flute</a> </p>
<p><a href="n/Nason.html">Nason Gedackt</a> </p>
<p><a href="n/Nason.html">Nason Gedeckt</a> </p>
<p><a href="n/Nason.html">Nasonflöte</a> </p>
<p><a href="n/Nasard.html">Nassart</a> <img src="speaker.gif"></p>
<p><a href="n/Nasard.html">Nassat</a> <img src="speaker.gif"></p>
<p><a href="s/Spitzquinte.html">Nassatquint</a> </p>
<p><a href="n/Nasard.html">Nassatt</a> <img src="speaker.gif"></p>
<p><a href="n/Nasard.html">Nazar</a> <img src="speaker.gif"></p>
<p><a href="n/Nasard.html">Nazard</a> <img src="speaker.gif"></p>
<p><a href="n/NasardHarmonique.html">Nazard Harmonique</a> </p>
<p><a href="n/Nasard.html">Nazardo</a> <img src="speaker.gif"></p>
<p><a href="n/Nasard.html">Nazat</a> <img src="speaker.gif"></p>
</td><td>
<p><a href="q/Quint.html">Nete</a> <img src="underconst.gif"></p>
<p><a href="n/None.html">Neuvième</a> </p>
<p><a href="n/Nachthorn.html">Night Horn</a> <img src="speaker.gif"></p>
<p><a href="v/Vogelgesang.html">Nightingale</a> </p>
<p><a href="v/VoxInaudita.html">Nihil</a> </p>
<p><a href="n/Nineteenth.html">Nineteenth</a> <img src="speaker.gif"></p>
<p><a href="n/Ninth.html">Ninth</a> </p>
<p><a href="n/Nitsua.html">Nitsua</a> </p>
<p><a href="f/Fuchsschwanz.html">Noli me tangere</a> </p>
<p><a href="n/None.html">None</a> </p>
<p><a href="n/Nonenkornett.html">Nonenkornett</a> </p>
</td></tr></table>
<table border=1><tr>
<a name="O"> </a>
<td align=center width=3.5%><font size=+2><a href="#A">A</a></font></td>
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<td align=center width=3.5%><font size=+2><a href="#C">C</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#D">D</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#E">E</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#F">F</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#G">G</a></font></td>
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<td align=center width=3.5%><font size=+2><a href="#Q">Q</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#R">R</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#S">S</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#T">T</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#U">U</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#V">V</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#W">W</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#X">X</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#Y">Y</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#Z">Z</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#appendices">App.</a></font></td>
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<p><a href="o/Oberton.html">Oberton</a> </p>
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<p><a href="b/BassonHautbois.html">Oboe & Fagotto</a> <img src="speaker.gif"></p>
<p><a href="o/OctaveOboe.html">Oboe Clarion</a> </p>
<p><a href="o/OboeDAmore.html">Oboe d'Amore</a> </p>
<p><a href="o/OboeDAmore.html">Oboe d'Amour</a> </p>
<p><a href="e/EchoOboe.html">Oboe Echo</a> <img src="drawing.gif"></p>
<p><a href="o/OboeFlute.html">Oboe Flute</a> </p>
<p><a href="o/OboeGamba.html">Oboe Gamba</a> </p>
<p><a href="o/OboeHorn.html">Oboe Horn</a> </p>
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<p><a href="g/Gedeckt.html">Obtusa</a> <img src="speaker.gif"><img src="underconst.gif"></p>
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<p><a href="o/Ocarina.html">Ocarina</a> <img src="drawing.gif"></p>
<p><a href="o/Octave.html">Octaaf</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="o/Octave.html">Octav</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="o/Octave.html">Octava</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="f/Fifteenth.html">Octava Composita</a> <img src="speaker.gif"></p>
<p><a href="e/EchoFlute.html">Octava de Ecos</a> </p>
<p><a href="n/Nineteenth.html">Octava de Nasardos</a> <img src="speaker.gif"></p>
<p><a href="t/Tapadillo.html">Octava Tapada</a> </p>
<p><a href="h/Hornbasslein.html">Octavbass</a> </p>
<p><a href="o/Octave.html">Octave</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="o/OctaveBass.html">Octave Bass</a> </p>
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</td><td>
<p><a href="o/OctaveCeleste.html">Octave Celeste</a> </p>
<p><a href="c/ClaribelFlute.html">Octave Clarabella</a> <img src="drawing.gif"></p>
<p><a href="c/ClaironDoublette.html">Octave Clarion</a> </p>
<p><a href="o/Octave.html">Octave Diapason</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="d/Dolcette.html">Octave Dolce</a> </p>
<p><a href="d/Dulcet.html">Octave Dulciana</a> </p>
<p><a href="t/TwentySecond.html">Octave Fifteenth</a> <img src="speaker.gif"></p>
<p><a href="o/OctaveFlute.html">Octave Flute</a> </p>
<p><a href="g/Gambette.html">Octave Gamba</a> <img src="speaker.gif"></p>
<p><a href="g/GeigenOctave.html">Octave Geigen</a> </p>
<p><a href="g/GemshornOctave.html">Octave Gemshorn</a> </p>
<p><a href="o/OctaveOboe.html">Octave Hautboy</a> </p>
<p><a href="o/OctaveHorn.html">Octave Horn</a> </p>
<p><a href="o/OctaveMixture.html">Octave Mixture</a> </p>
<p><a href="o/OctaveOboe.html">Octave Oboe</a> </p>
<p><a href="o/Octave.html">Octave Principal</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="t/Twelfth.html">Octave Quint</a> <img src="speaker.gif"></p>
<p><a href="o/OctaveStoppedDiapason.html">Octave Stopped Diapason</a> </p>
<p><a href="t/TwentyFourth.html">Octave Tierce</a> </p>
<p><a href="t/TrombaClarion.html">Octave Tromba</a> </p>
<p><a href="t/TubaClarion.html">Octave Tuba</a> </p>
<p><a href="n/Nineteenth.html">Octave Twelfth</a> <img src="speaker.gif"></p>
<p><a href="g/Gambette.html">Octave Viol</a> <img src="speaker.gif"></p>
<p><a href="o/OctaveViola.html">Octave Viola</a> </p>
<p><a href="g/Gambette.html">Octave Viole</a> <img src="speaker.gif"></p>
</td><td>
<p><a href="o/OctaveViolin.html">Octave Violin</a> </p>
<p><a href="o/OctaveWood.html">Octave Wood</a> </p>
<p><a href="o/Oktavenbass.html">Octavenbass</a> </p>
<p><a href="o/Octavin.html">Octavin</a> </p>
<p><a href="h/HarmonicPiccolo.html">Octavin Harmonique</a> </p>
<p><a href="h/HarmonicPiccolo.html">Octavina Harmonique</a> </p>
<p><a href="o/Offenbass.html">Offenbass</a> </p>
<p><a href="o/Offenflote.html">Offenflöt</a> </p>
<p><a href="o/Offenflote.html">Offenflöte</a> </p>
<p><a href="o/Offenflotenquinte.html">Offenflötenquinte</a> </p>
<p><a href="o/Offenflotenquinte.html">Offenquintflöte</a> </p>
<p><a href="o/Ophicleide.html">Officleide</a> <img src="speaker.gif"></p>
<p><a href="v/Vogelgesang.html">Oiseau</a> </p>
<p><a href="o/Octave.html">Oktava</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="o/Oktavcymbel.html">Oktavcymbel</a> </p>
<p><a href="o/Oktavenbass.html">Oktavenbass</a> </p>
<p><a href="g/GemshornOctave.html">Oktavengemshorn</a> </p>
<p><a href="o/Octave.html">Oktavenprincipal</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="o/Oktavcymbel.html">Oktavzimbel</a> </p>
<p><a href="u/UndaMaris.html">Onda Maris</a> </p>
<p><a href="o/OpenDiapason.html">Open Diapason</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="c/ContraPrincipal.html">Open Diapason Bass</a> <img src="drawing.gif"><img src="underconst.gif"></p>
<p><a href="t/Twelfth.html">Open Twelfth</a> <img src="speaker.gif"></p>
<p><a href="o/OpenWood.html">Open Wood</a> </p>
<p><a href="o/Ophicleide.html">Ophicleïd</a> <img src="speaker.gif"></p>
</td><td>
<p><a href="o/Ophicleide.html">Ophicléide</a> <img src="speaker.gif"></p>
<p><a href="d/Donner.html">Orage</a> </p>
<p><a href="o/OrchBassoon.html">Orchestral Bassoon</a> </p>
<p><a href="o/OrchBells.html">Orchestral Bells</a> </p>
<p><a href="c/Clarinet.html">Orchestral Clarinet</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="o/OrchCornet.html">Orchestral Cornet</a> </p>
<p><a href="o/OrchBassoon.html">Orchestral Fagotto</a> </p>
<p><a href="o/OrchFlute.html">Orchestral Flute</a> <img src="speaker.gif"></p>
<p><a href="o/OrchOboe.html">Orchestral Hautboy</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="f/FrenchHorn.html">Orchestral Horn</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="o/OrchOboe.html">Orchestral Oboe</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="o/OrchPiccolo.html">Orchestral Piccolo</a> </p>
<p><a href="s/Saxophone.html">Orchestral Saxophone</a> </p>
<p><a href="o/OrchStrings.html">Orchestral Strings</a> </p>
<p><a href="o/OrchTrumpet.html">Orchestral Trumpet</a> </p>
<p><a href="o/OrchTuba.html">Orchestral Tuba</a> </p>
<p><a href="o/OrchViolin.html">Orchestral Violin</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="v/Violoncello.html">Orchestral Violoncello</a> <img src="drawing.gif"></p>
<p><a href="o/Orlo.html">Orlo</a> <img src="camera.gif"></p>
<p><a href="o/Orlo.html">Orlos</a> <img src="camera.gif"></p>
<p><a href="o/Octave.html">Ottava</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="o/Octavin.html">Ottavina</a> </p>
<p><a href="o/Ottavino.html">Ottavino</a> </p>
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<p><a href="c/Cornopean.html">Päanshorn</a> </p>
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<p><a href="b/Bombarde.html">Pammert</a> <img src="speaker.gif"></p>
<p><a href="p/Panflote.html">Pan Flute</a> </p>
<p><a href="p/Panflote.html">Pandean Flute</a> </p>
<p><a href="p/Panflote.html">Panflöte</a> </p>
<p><a href="o/OpenDiapason.html">Parade</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="p/percussion.html">Parade Drum</a> </p>
<p><a href="w/Waldhorn.html">Parforce</a> <img src="drawing.gif"></p>
<p><a href="v/Vogelgesang.html">Passarinhos</a> </p>
<p><a href="t/Trombone.html">Passunen</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="n/Nachthorn.html">Pastorita</a> <img src="speaker.gif"></p>
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<p><a href="b/Bauerflote.html">Päurlin</a> </p>
<p><a href="o/OpenWood.html">Pedal Open Wood</a> </p>
<p><a href="c/ContraPrincipal.html">Pedal Pipes</a> <img src="drawing.gif"><img src="underconst.gif"></p>
<p><a href="p/PedalStringMixture.html">Pedal String Mixture</a> </p>
<p><a href="p/PedalTromba.html">Pedal Tromba</a> </p>
<p><a href="q/Quint.html">Pente</a> <img src="underconst.gif"></p>
<p><a href="p/Perduna.html">Perduna</a> </p>
<p><a href="p/percussion.html">Persian Cymbal</a> </p>
<p><a href="f/Flageolet.html">Petit</a> </p>
<p><a href="p/PetitBourdon.html">Petit Bourdon</a> </p>
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<p><a href="p/PetiteNazard.html">Petite Nazard</a> </p>
</td><td>
<p><a href="p/PetiteTierce.html">Petite Tierce</a> </p>
<p><a href="e/EchoTrumpet.html">Petite Trompette</a> </p>
<p><a href="f/Fife.html">Pfeife</a> </p>
<p><a href="p/Pfeiferflote.html">Pfeiferflöte</a> </p>
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<p><a href="p/Physharmonika.html">Phisharmonika</a> <img src="drawing.gif"></p>
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<p><a href="p/Physharmonika.html">Physharmonika</a> <img src="drawing.gif"></p>
<p><a href="p/Piano.html">Piano</a> </p>
<p><a href="p/Piccolo.html">Piccolo</a> <img src="speaker.gif"></p>
<p><a href="p/PiccoloDAmore.html">Piccolo d'Amore</a> </p>
<p><a href="h/HarmonicPiccolo.html">Piccolo Harmonique</a> </p>
<p><a href="p/Pierced.html">Pierced ...</a> </p>
<p><a href="p/Pifano.html">Pifano</a> </p>
<p><a href="b/Bifara.html">Piffara</a> </p>
<p><a href="b/Bifara.html">Piffaro</a> </p>
<p><a href="s/Schalmei.html">Piffero</a> <img src="drawing.gif"></p>
<p><a href="g/Gedeckt.html">Pileata</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="g/Gedecktquinte.html">Pileata Diapente</a> </p>
<p><a href="g/Grossgedeckt.html">Pileata Magna</a> </p>
<p><a href="m/Mittelgedeckt.html">Pileata Major</a> </p>
<p><a href="c/ContraBourdon.html">Pileata Maxima</a> <img src="speaker.gif"></p>
<p><a href="b/Bauerflote.html">Pileata Minima</a> </p>
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<p><a href="r/Rohrflotenquinte.html">Rohrflötenquinte</a> </p>
<p><a href="r/Rohrflotenquinte.html">Rohrflötquint</a> </p>
<p><a href="r/Rohrgedeckt.html">Rohrgedackt</a> </p>
</td><td>
<p><a href="r/Rohrgedeckt.html">Rohrgedeckt</a> </p>
<p><a href="r/Rohrpommer.html">Rohrgedecktpommer</a> </p>
<p><a href="r/Rohrnasat.html">Rohrnasat</a> </p>
<p><a href="r/Rohrpfeife.html">Rohrpfeife</a> </p>
<p><a href="r/Rohrpommer.html">Rohrpommer</a> </p>
<p><a href="r/Rohrflotenquinte.html">Rohrquint[e]</a> </p>
<p><a href="r/Rohrquintadena.html">Rohrquintade</a> </p>
<p><a href="r/Rohrquintadena.html">Rohrquintaden</a> </p>
<p><a href="r/Rohrquintadena.html">Rohrquintadena</a> </p>
<p><a href="r/Rohrquintadena.html">Rohrquintaton</a> </p>
<p><a href="r/Rohrnasat.html">Rohrquinte</a> </p>
<p><a href="r/Rohrschalmei.html">Rohrschalmei</a> <img src="speaker.gif"></p>
<p><a href="r/Rohrflote.html">Rohrschelle</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="r/Rohrflote.html">Rorflojte</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="v/Vogelgesang.html">Rosignolo</a> </p>
<p><a href="v/Vogelgesang.html">Rossignol</a> </p>
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<p><a href="c/Clarion.html">Scarpa</a> <img src="speaker.gif"><img src="underconst.gif"></p>
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<p><a href="s/Scharfflote.html">Scharflöte</a> </p>
<p><a href="d/Dolcan.html">Scharfpfeife</a> <img src="drawing.gif"></p>
<p><a href="s/Scharfregal.html">Scharfregal</a> </p>
<p><a href="z/Zymbelscharf.html">Scharfzimbel</a> </p>
<p><a href="s/Scharf.html">Scharp</a> </p>
<p><a href="q/Quintadena.html">Scheelpijpen</a> <img src="speaker.gif"></p>
<p><a href="s/Scharf.html">Scherp</a> </p>
<p><a href="s/Serpent.html">Schlangenrohr</a> </p>
<p><a href="s/Schongedeckt.html">Schöngedeckt</a> </p>
<p><a href="s/Schonprinzipal.html">Schönprincipal</a> </p>
<p><a href="s/Schonprinzipal.html">Schönprinzipal</a> </p>
<p><a href="s/Schreier.html">Schreier</a> </p>
<p><a href="s/Schreier.html">Schreierpfeife</a> </p>
<p><a href="s/Schreier.html">Schreipfeife</a> </p>
<p><a href="b/Barpfeife.html">Schreyer</a> <img src="drawing.gif"></p>
<p><a href="b/Barpfeife.html">Schreyerpfeife</a> <img src="drawing.gif"></p>
<p><a href="s/Schreier.html">Schryari</a> </p>
<p><a href="s/Sifflote.html">Schufflet</a> <img src="speaker.gif"></p>
<p><a href="s/SchulzeDiapason.html">Schulze Diapason</a> </p>
<p><a href="s/Schwiegel.html">Schwägel</a> </p>
<p><a href="c/Celeste.html">Schwebung</a> </p>
<p><a href="s/Schwiegel.html">Schwegel</a> </p>
<p><a href="s/Schwiegel.html">Schwegli</a> </p>
<p><a href="s/Schwiegel.html">Schweigel</a> </p>
<p><a href="s/Schweizerspitzgedackt.html">Schweizer-Spitzgedackt</a> </p>
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<p><a href="s/Schweizerbass.html">Schweizerbass</a> </p>
<p><a href="s/Schweizerflote.html">Schweizerflöte</a> </p>
<p><a href="s/Schweizergamba.html">Schweizergamba</a> </p>
<p><a href="s/Schweizergedackt.html">Schweizergedackt</a> </p>
<p><a href="s/Schweizerbass.html">Schweizerpfeifbass</a> </p>
<p><a href="s/Schweizerpfeifdiskant.html">Schweizerpfeifdiskant</a> </p>
<p><a href="s/Schweizerflote.html">Schweizerpfeife</a> </p>
<p><a href="s/Schwiegel.html">Schwiegel</a> </p>
<p><a href="d/Diskantschwiegel.html">Schwiegeldiskant</a> </p>
<p><a href="s/Schwiegel.html">Schwiegelpfeife</a> </p>
<p><a href="s/Schalmei.html">Scialumò</a> <img src="drawing.gif"></p>
</td><td>
<p><a href="f/FirstSecondEtc.html">Second ...</a> </p>
<p><a href="s/Sedecima.html">Sedecima</a> </p>
<p><a href="s/Sedecima.html">Sedetz[e]</a> </p>
<p><a href="s/Sedecima.html">Sedex</a> </p>
<p><a href="t/TerzSepta.html">Sept-Terz</a> </p>
<p><a href="s/SeptTerzian.html">Sept-Terzian</a> </p>
<p><a href="s/SeptTerzianscharf.html">Sept-Terzianscharf</a> </p>
<p><a href="s/Seventeenth.html">Septadecima</a> <img src="speaker.gif"></p>
<p><a href="t/TerzSepta.html">Septerz</a> </p>
<p><a href="t/TwentyFirst.html">Septième</a> </p>
<p><a href="s/SeptiemeMixture.html">Septième Mixture</a> </p>
<p><a href="t/TwentyFirst.html">Septime</a> </p>
<p><a href="s/Septimenchor.html">Septimenchor</a> </p>
<p><a href="s/Septimenkornett.html">Septimenkornet</a> </p>
<p><a href="s/Septimenkornett.html">Septimenkornett</a> </p>
<p><a href="s/Septimensesquialtera.html">Septimensesquialtera</a> </p>
<p><a href="s/Septimenzimbel.html">Septimenzimbel</a> </p>
<p><a href="s/Seventeenth.html">Septuadecima</a> <img src="speaker.gif"></p>
<p><a href="p/Physharmonika.html">Seraphine</a> <img src="drawing.gif"></p>
<p><a href="s/Seraphonflote.html">Seraphonflöte</a> <img src="drawing.gif"></p>
<p><a href="s/Seraphongedeckt.html">Seraphongedeckt</a> </p>
<p><a href="s/Seraphonflote.html">Seraphonpfeife</a> <img src="drawing.gif"></p>
<p><a href="s/Serpent.html">Serpent</a> </p>
<p><a href="s/Serpent.html">Serpentino</a> </p>
<p><a href="s/Sordunregal.html">Sertin</a> <img src="camera.gif"><img src="drawing.gif"></p>
<p><a href="s/Sesquialtera.html">Sesquialter</a> <img src="speaker.gif"></p>
<p><a href="s/Sesquialtera.html">Sesquialtera</a> <img src="speaker.gif"></p>
<p><a href="s/Sesquialtera.html">Sesquialtra</a> <img src="speaker.gif"></p>
<p><a href="s/Seventeenth.html">Sesquioctava</a> <img src="speaker.gif"></p>
<p><a href="s/Seventeenth.html">Seventeenth</a> <img src="speaker.gif"></p>
<p><a href="h/Hundpfeife.html">Seventy-First</a> </p>
<p><a href="s/Sesquialtera.html">Sex Quintaltra</a> <img src="speaker.gif"></p>
<p><a href="s/Sesquialtera.html">Sexquialter</a> <img src="speaker.gif"></p>
<p><a href="s/Sesquialtera.html">Sexquintalter</a> <img src="speaker.gif"></p>
<p><a href="s/Sext.html">Sext</a> </p>
<p><a href="s/Sesquialtera.html">Sexta</a> <img src="speaker.gif"></p>
<p><a href="s/Schalmei.html">Shalomo</a> <img src="drawing.gif"></p>
<p><a href="s/Scharf.html">Sharp</a> </p>
<p><a href="s/Scharf.html">Sharp Mixture</a> </p>
<p><a href="t/TwentyFirst.html">Sharp Twentieth</a> </p>
<p><a href="s/Schalmei.html">Shawm</a> <img src="drawing.gif"></p>
<p><a href="s/Sifflote.html">Siefflit</a> <img src="speaker.gif"></p>
<p><a href="s/Sifflote.html">Siefflöt</a> <img src="speaker.gif"></p>
<p><a href="s/Sifflote.html">Sifflet</a> <img src="speaker.gif"></p>
<p><a href="s/Sifflote.html">Sifflöt[e]</a> <img src="speaker.gif"></p>
<p><a href="l/Larigot.html">Sifflöte</a> <img src="speaker.gif"></p>
<p><a href="s/SilverFlute.html">Silver Flute</a> </p>
<p><a href="s/StateTrumpet.html">Silver Trumpet</a> </p>
<p><a href="c/Cymbal.html">Simbala</a> <img src="speaker.gif"></p>
<p><a href="s/Singengedeckt.html">Singend Gedeckt</a> </p>
<p><a href="p/PrincipalAmabile.html">Singend Principal</a> </p>
<p><a href="p/PrincipalAmabile.html">Singend Prinzipal</a> </p>
<p><a href="z/Zink.html">Singend[e] Kornett[e]</a> </p>
<p><a href="s/Singendregal.html">Singendregal</a> </p>
<p><a href="s/Singengedeckt.html">Singengedeckt</a> </p>
<p><a href="s/SirenumChorus.html">Sirenum Chorus</a> </p>
<p><a href="s/Sifflote.html">Sivflöjte</a> <img src="speaker.gif"></p>
<p><a href="s/Sifflote.html">Sivflöt</a> <img src="speaker.gif"></p>
<p><a href="s/Sixteenth.html">Sixteenth</a> </p>
<p><a href="s/Seventeenth.html">Sixtil</a> <img src="speaker.gif"></p>
<p><a href="p/percussion.html">Sleigh Bells</a> </p>
<p><a href="s/SlottedFlute.html">Slotted Flute</a> <img src="drawing.gif"></p>
<p><a href="e/EarlyEnglishDiapason.html">Small Open Diapason</a> </p>
<p><a href="p/percussion.html">Snare Drum</a> </p>
<p><a href="s/Soave.html">Soave</a> </p>
<p><a href="s/SoftFlute.html">Soft Flute</a> </p>
<p><a href="s/SoftHarmonics.html">Soft Harmonics</a> </p>
<p><a href="s/SoftMixture.html">Soft Mixture</a> </p>
<p><a href="s/Salicional.html">Solacinal</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="s/Salamine.html">Solamine</a> </p>
<p><a href="s/Salicional.html">Solcional</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="o/OrchFlute.html">Soldatenpfeife</a> <img src="speaker.gif"></p>
<p><a href="s/Salicional.html">Solicional</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="s/Sesquialtera.html">Sollicinal</a> <img src="speaker.gif"></p>
<p><a href="s/SoloCello.html">Solo 'Cello</a> </p>
<p><a href="s/SoloCello_Compton.html">Solo Cello (Compton)</a> </p>
</td><td>
<p><a href="s/SoloClarinet.html">Solo Clarinet</a> </p>
<p><a href="c/CornetDeRecit.html">Solo Cornet</a> </p>
<p><a href="s/SoloDiapason.html">Solo Diapason</a> </p>
<p><a href="s/SoloFlute.html">Solo Flute</a> </p>
<p><a href="s/StentorGamba.html">Solo Gamba</a> </p>
<p><a href="s/StentorGamba.html">Solo-Gambe</a> </p>
<p><a href="s/SoloHarmonicFlute.html">Solo Harmonic Flute</a> </p>
<p><a href="s/SoloMixture.html">Solo Mixture</a> </p>
<p><a href="s/SoloMutedCello.html">Solo Muted 'Cello</a> </p>
<p><a href="s/SoloMutedViolin.html">Solo Muted 'Violin</a> </p>
<p><a href="s/SoloPiccolo.html">Solo Piccolo</a> </p>
<p><a href="s/SoloPrinzipalFlote.html">Solo Prinzipal-Flöte</a> </p>
<p><a href="s/SoloSaxophone.html">Solo Saxophone</a> </p>
<p><a href="s/SoloString.html">Solo String</a> </p>
<p><a href="s/SoloTibiaClausa.html">Solo Tibia Clausa</a> </p>
<p><a href="s/SoloTrumpet.html">Solo Trumpet</a> </p>
<p><a href="s/SoloTuba.html">Solo Tuba</a> </p>
<p><a href="s/SoloViolin.html">Solo Violin</a> </p>
<p><a href="s/SoloCello.html">Solo Violoncello</a> </p>
<p><a href="s/SoloVoxHumana.html">Solo Vox Humana</a> </p>
<p><a href="s/SoloFlute.html">Soloflöte</a> </p>
<p><a href="s/SongTrumpet.html">Song Trumpet</a> </p>
<p><a href="s/Sordun.html">Sordini</a> </p>
<p><a href="s/Sordun.html">Sordon</a> </p>
<p><a href="s/Sordun.html">Sordun</a> </p>
<p><a href="s/Sordunregal.html">Sordunenregal</a> <img src="camera.gif"><img src="drawing.gif"></p>
<p><a href="s/Sordunregal.html">Sordunregal</a> <img src="camera.gif"><img src="drawing.gif"></p>
<p><a href="c/ContraBourdon.html">Soubasse</a> <img src="speaker.gif"></p>
<p><a href="s/Sordunregal.html">Sourdin</a> <img src="camera.gif"><img src="drawing.gif"></p>
<p><a href="s/Sordun.html">Sourdine</a> </p>
<p><a href="c/ContraBourdon.html">Sous Basse</a> <img src="speaker.gif"></p>
<p><a href="s/Spillflote.html">Speelfluit</a> <img src="drawing.gif"></p>
<p><a href="s/Spillflote.html">Spielflöte</a> <img src="drawing.gif"></p>
<p><a href="s/Spillflote.html">Spielpfeife</a> <img src="drawing.gif"></p>
<p><a href="s/Spillflote.html">Spillflöte</a> <img src="drawing.gif"></p>
<p><a href="s/Spillflote.html">Spillflute</a> <img src="drawing.gif"></p>
<p><a href="s/Spillgedeckt.html">Spillgedeckt</a> </p>
<p><a href="s/Spillflote.html">Spillpfeife</a> <img src="drawing.gif"></p>
<p><a href="s/Spillflote.html">Spindel Flute</a> <img src="drawing.gif"></p>
<p><a href="s/Spillflote.html">Spindelflöte</a> <img src="drawing.gif"></p>
<p><a href="s/Spillflote.html">Spindle Flute</a> <img src="drawing.gif"></p>
<p><a href="s/Spillflote.html">Spindleflöte</a> <img src="drawing.gif"></p>
<p><a href="s/Spitzflote.html">Spire Flute</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="s/Spitzflote.html">Spireflöte</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="s/Spitzflote.html">Spitsfluit</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="s/Spitzprinzipal.html">Spitz Diapason</a> <img src="speaker.gif"></p>
<p><a href="s/SpitzNazard.html">Spitz Nasat</a> </p>
<p><a href="s/SpitzNazard.html">Spitz Nazard</a> </p>
<p><a href="s/Spitzprinzipal.html">Spitz Principal</a> <img src="speaker.gif"></p>
<p><a href="s/Spitzquinte.html">Spitz Quint</a> </p>
<p><a href="s/Spitzflote.html">Spitzfleut</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="s/Spitzflote.html">Spitzflöte</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="s/SpitzfloteCeleste.html">Spitzflöte Céleste</a> </p>
<p><a href="s/Spitzflotenbass.html">Spitzflötenbass</a> </p>
<p><a href="s/Spitzgamba.html">Spitzgamba</a> </p>
<p><a href="s/Spitzgedeckt.html">Spitzgedackt</a> </p>
<p><a href="s/Spitzgedeckt.html">Spitzgedeckt</a> </p>
<p><a href="s/Spitzgeigen.html">Spitzgeigen</a> </p>
<p><a href="s/Spitzflote.html">Spitzpfeife</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="s/Spitzprinzipal.html">Spitzprinzipal</a> <img src="speaker.gif"></p>
<p><a href="s/Spitzquinte.html">Spitzquinte</a> </p>
<p><a href="g/Glockenspiel.html">Stahlspiel</a> </p>
<p><a href="s/Schwiegel.html">Stammentinpfeife</a> </p>
<p><a href="s/Scharfregal.html">Starckregal</a> </p>
<p><a href="s/Starkgedeckt.html">Starkgedackt</a> </p>
<p><a href="s/Starkgedeckt.html">Starkgedeckt</a> </p>
<p><a href="s/Scharfregal.html">Starkregal</a> </p>
<p><a href="m/Mixture.html">Starkwerk</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="s/StateTrumpet.html">State Trumpet</a> </p>
<p><a href="p/percussion.html">Steamboat Whistle</a> </p>
<p><a href="s/Stenthorn.html">Stenthorn</a> </p>
<p><a href="s/StentorBombarde.html">Stentor Bombarde</a> </p>
<p><a href="c/CornetDesBombardes.html">Stentor Cornet</a> </p>
<p><a href="g/GrandDiapason.html">Stentor Diapason</a> </p>
<p><a href="s/StentorDiaphone.html">Stentor Diaphone</a> </p>
<p><a href="s/StentorGamba.html">Stentor Gamba</a> </p>
</td><td>
<p><a href="s/StentorHorn.html">Stentor Horn</a> </p>
<p><a href="s/StentorMixture.html">Stentor Mixture</a> </p>
<p><a href="s/StentorOctave.html">Stentor Octave</a> </p>
<p><a href="s/StentorSesquialtera.html">Stentor Sesquialtera</a> </p>
<p><a href="s/Stentorflote.html">Stentorflöte</a> </p>
<p><a href="s/StentorGamba.html">Stentorgambe</a> </p>
<p><a href="s/Stentorphone.html">Stentorphon</a> <img src="drawing.gif"></p>
<p><a href="s/Stentorphone.html">Stentorphone</a> <img src="drawing.gif"></p>
<p><a href="c/Cymbelstern.html">Stern</a> <img src="speaker.gif"></p>
<p><a href="s/StillGedeckt.html">Still Flute</a> </p>
<p><a href="s/StillGedeckt.html">Still-Gedackt</a> </p>
<p><a href="s/StillePosaune.html">Still Posaune</a> </p>
<p><a href="s/StillePosaune.html">Stille Posaune</a> </p>
<p><a href="e/EchoVoxHumana.html">Stilles Regal</a> </p>
<p><a href="s/StillGedeckt.html">Stillgedeckt</a> </p>
<p><a href="s/Stillprincipal.html">Stillprincipal</a> </p>
<p><a href="s/StoppedDiapason.html">Stop Diapason</a> </p>
<p><a href="s/StoppedDiapason.html">Stop't Diapason</a> </p>
<p><a href="s/StoppedDiapason.html">Stopped Diapason</a> </p>
<p><a href="s/StoppedDiapason.html">Stopped Flute</a> </p>
<p><a href="h/HarmonicTwelfth.html">Stopped Harmonic Twelfth</a> </p>
<p><a href="m/MetallicStopped.html">Stopped Metallic</a> </p>
<p><a href="s/StoppedTwelfth.html">Stopped Twelfth</a> </p>
<p><a href="d/Donner.html">Storm Pedal</a> </p>
<p><a href="k/Krummhorn.html">Storte</a> <img src="speaker.gif"></p>
<p><a href="s/Streichflote.html">Streichflöte</a> </p>
<p><a href="v/VioleCeleste.html">String Celeste</a> <img src="speaker.gif"></p>
<p><a href="v/ViolaDaGamba.html">String Gamba</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="s/StringMixture.html">String Mixture</a> </p>
<p><a href="s/StringOctave.html">String Octave</a> </p>
<p><a href="s/StringTwelfth.html">String Twelfth</a> </p>
<p><a href="d/Donner.html">Sturm</a> </p>
<p><a href="t/TubaTrumpet.html">Style D Trumpet</a> </p>
<p><a href="s/Suavial.html">Suabe Flöte</a> </p>
<p><a href="s/SuabeFlute.html">Suabe Flute</a> </p>
<p><a href="s/Soave.html">Suabile</a> </p>
<p><a href="s/SuaveFlute.html">Suave Flute</a> <img src="drawing.gif"></p>
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<p><a href="c/ContraBourdon.html">Sub Bourdon</a> <img src="speaker.gif"></p>
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<p><a href="c/ContraPrincipal.html">Sub Principal</a> <img src="drawing.gif"><img src="underconst.gif"></p>
<p><a href="s/SubQuint.html">Sub Quint</a> </p>
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<p><a href="c/ContraBourdon.html">Subbass</a> <img src="speaker.gif"></p>
<p><a href="c/ContraBourdon.html">Subbasso</a> <img src="speaker.gif"></p>
<p><a href="s/Sifflote.html">Subflöt[e]</a> <img src="speaker.gif"></p>
<p><a href="m/Metronomus.html">Subgrossuntersatzregalbass</a> </p>
<p><a href="s/Subtilregal.html">Subtilesregal</a> </p>
<p><a href="s/Subtilregal.html">Subtilregal</a> </p>
<p><a href="s/Sifflote.html">Suff Flöte</a> <img src="speaker.gif"></p>
<p><a href="s/Sifflote.html">Sufflet</a> <img src="speaker.gif"></p>
<p><a href="s/Sifflote.html">Sufflöt</a> <img src="speaker.gif"></p>
<p><a href="s/Sifflote.html">Suiflöt[e]</a> <img src="speaker.gif"></p>
<p><a href="v/VoxInaudita.html">Summer Zug</a> </p>
<p><a href="s/SuperGemshorn.html">Super-Gemshorn</a> </p>
<p><a href="f/Fifteenth.html">Super Octave</a> <img src="speaker.gif"></p>
<p><a href="t/TwentySecond.html">Super Super Octave</a> <img src="speaker.gif"></p>
<p><a href="s/Supergedackt.html">Supergedackt</a> </p>
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<p><a href="f/Fifteenth.html">Superoctaaf</a> <img src="speaker.gif"></p>
<p><a href="f/Fifteenth.html">Superoctav</a> <img src="speaker.gif"></p>
<p><a href="n/Nineteenth.html">Superquint[e]</a> <img src="speaker.gif"></p>
<p><a href="s/Superrohrflote.html">Superrohrflöte</a> </p>
<p><a href="t/TwentySecond.html">Supersedecima</a> <img src="speaker.gif"></p>
<p><a href="s/Subtilregal.html">Suptilregal</a> </p>
<p><a href="p/percussion.html">Surf</a> </p>
<p><a href="f/FlautoDolce.html">Süssflöt[e]</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="s/Schwiegel.html">Swegel</a> </p>
<p><a href="s/Schweizerflote.html">Swiss Flute</a> </p>
<p><a href="v/VoxInaudita.html">Swyger</a> </p>
<p><a href="s/Sylvestrina.html">Sylvestrina</a> </p>
<p><a href="b/BoehmFlute.html">Symphonic Flute</a> </p>
<p><a href="s/Synthematophon.html">Synthematophon</a> </p>
<p><a href="s/Syntheton.html">Syntheton</a> </p>
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<td align=center width=3.5%><font size=+2><a href="#W">W</a></font></td>
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</td><td>
<p><a href="t/TibiaAngusta.html">Tibia Angusta Barbata</a> </p>
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<p><a href="t/TibiaBass.html">Tibia Bass</a> </p>
<p><a href="b/Bifara.html">Tibia Bifara</a> </p>
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<p><a href="w/Waldflote.html">Tibia Sylvestris</a> <img src="speaker.gif"></p>
<p><a href="o/OrchFlute.html">Tibia Transversa</a> <img src="speaker.gif"></p>
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<p><a href="b/Blockflote.html">Tibia Vulgaris</a> </p>
<p><a href="s/Seventeenth.html">Tierce</a> <img src="speaker.gif"></p>
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</td><td>
<p><a href="o/OrchFlute.html">Traverso</a> <img src="speaker.gif"></p>
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<p><a href="p/percussion.html">Triangle</a> </p>
<p><a href="f/FluteTriangulaire.html">Triangular Flute</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"></p>
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<p><a href="t/TrombeReale.html">Trombe Reale</a> </p>
<p><a href="c/Clarion.html">Trombetta</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="t/Tromboncini.html">Tromboncini</a> </p>
<p><a href="t/Trombone.html">Trombone</a> <img src="camera.gif"><img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="t/TromboneOctave.html">Trombone Octave</a> </p>
<p><a href="t/TromboneQuint.html">Trombone Quint</a> </p>
<p><a href="t/Tromboni.html">Tromboni</a> </p>
<p><a href="p/Pauke.html">Trommel</a> </p>
<p><a href="t/Trumpet.html">Trommet</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="t/Trompetenbass.html">Trommetbass</a> </p>
<p><a href="t/Trompetenbass.html">Trommetenbass</a> </p>
<p><a href="t/Trompes.html">Trompes</a> </p>
<p><a href="t/Trumpet.html">Trompet</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="h/HarmonicTrumpet.html">Trompet Harmonique</a> <img src="speaker.gif"></p>
<p><a href="t/Trumpet.html">Trompeta</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="c/Clarion.html">Trompeta Alta</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="t/TrompetaBastarda.html">Trompeta Bastarda</a> <img src="camera.gif"></p>
<p><a href="t/TrompetaDeBatalla.html">Trompeta de Batalla</a> </p>
<p><a href="t/TrompetaDeCaballa.html">Trompeta de Caballa</a> </p>
<p><a href="t/TrompetaMagna.html">Trompeta Imperial</a> </p>
<p><a href="t/TrompetaMagna.html">Trompeta Magna</a> </p>
<p><a href="t/TrompetaReal.html">Trompeta Real</a> </p>
<p><a href="t/TrompetaBastarda.html">Trompeta Recordata</a> <img src="camera.gif"></p>
<p><a href="t/Trumpet.html">Trompete</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
</td><td>
<p><a href="t/Trompetenbass.html">Trompetenbass</a> </p>
<p><a href="t/TrompetenbassChormass.html">Trompetenbass Chormass</a> </p>
<p><a href="t/Trompetenregal.html">Trompetenregal</a> </p>
<p><a href="t/TrompettaArgentea.html">Trompetta Argentea</a> </p>
<p><a href="t/Trumpet.html">Trompette</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="t/TrompetteEnChamade.html">Trompette à Chamade</a> <img src="camera.gif"></p>
<p><a href="c/Clarion.html">Trompette Clarion</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="t/TrompetteCuivre.html">Trompette Cuivre</a> </p>
<p><a href="t/TrompetteEnChamade.html">Trompette en Chamade</a> <img src="camera.gif"></p>
<p><a href="h/HarmonicTrumpet.html">Trompette Harmonique</a> <img src="speaker.gif"></p>
<p><a href="m/MilitaryTrumpet.html">Trompette Militaire</a> </p>
<p><a href="q/QuintTrumpet.html">Trompette Quinte</a> </p>
<p><a href="t/Trumpet.html">Trumpet</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="c/Clarion.html">Trumpet Clarion</a> <img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="q/QuintTrumpet.html">Trumpet Quint</a> </p>
<p><a href="t/TrumpetRoyal.html">Trumpet Royal</a> </p>
<p><a href="t/TrumpetSonora.html">Trumpet Sonora</a> </p>
<p><a href="t/Tuba.html">Tuba</a> <img src="drawing.gif"></p>
<p><a href="b/BassTuba.html">Tuba Bass</a> </p>
<p><a href="t/TubaClarion.html">Tuba Clarion</a> </p>
<p><a href="t/TubaDAmour.html">Tuba d'Amour</a> </p>
<p><a href="h/HarmonicTuba.html">Tuba Harmonic</a> </p>
<p><a href="t/TubaHorn.html">Tuba Horn</a> </p>
<p><a href="t/TubaMirabilis.html">Tuba Imperial</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="t/TubaMirabilis.html">Tuba Magna</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="t/TubaMirabilis.html">Tuba Major</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="t/TubaMinor.html">Tuba Minor</a> </p>
<p><a href="t/TubaMirabilis.html">Tuba Mirabilis</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="b/BassTuba.html">Tuba Profunda</a> </p>
<p><a href="t/TubaProfundissima.html">Tuba Profundissima</a> </p>
<p><a href="t/TubaQuint.html">Tuba Quint</a> </p>
<p><a href="t/TubaShofar.html">Tuba Shofar</a> </p>
<p><a href="t/TubaSonora.html">Tuba Sonora</a> </p>
<p><a href="t/TubaTrumpet.html">Tuba Trumpet</a> </p>
<p><a href="j/Jubal.html">Tubal</a> </p>
<p><a href="j/Jubalflote.html">Tubalflöt[e]</a> </p>
<p><a href="t/Tubasson.html">Tubasson</a> </p>
<p><a href="t/Tussin.html">Tussin</a> </p>
<p><a href="t/Twelfth.html">Twelfth</a> <img src="speaker.gif"></p>
<p><a href="t/TwentyEighth.html">Twenty-Eighth, Flatted</a> </p>
<p><a href="t/TwentyFifth.html">Twenty-Fifth</a> </p>
<p><a href="t/TwentyFirst.html">Twenty-first</a> </p>
<p><a href="t/TwentyFirst.html">Twenty First, Flatted</a> </p>
<p><a href="t/TwentyFourth.html">Twenty-Fourth</a> </p>
<p><a href="t/TwentyNinth.html">Twenty-Ninth</a> </p>
<p><a href="t/TwentySecond.html">Twenty-Second</a> <img src="speaker.gif"></p>
<p><a href="t/TwentySixth.html">Twenty-Sixth</a> </p>
<p><a href="n/None.html">Twenty-Third</a> </p>
<p><a href="t/TwentySecond.html">Two and Twentieth</a> <img src="speaker.gif"></p>
<p><a href="p/percussion.html">Tympani</a> </p>
</td></tr></table>
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<p><a href="v/Vogelgesang.html">Uccelli</a> </p>
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<p><a href="t/TwentyFifth.html">Undezime</a> </p>
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<p><a href="u/UngCornet.html">Ung Cornet</a> </p>
<p><a href="c/ContraBourdon.html">Unterbass</a> <img src="speaker.gif"></p>
<p><a href="u/Unterchormassbass.html">Unterchorbass</a> </p>
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<p><a href="u/Unterchormassbass.html">Unterchormassbass</a> </p>
<p><a href="c/ContraBourdon.html">Untersatz</a> <img src="speaker.gif"></p>
<p><a href="v/Vogelgesang.html">Usignuolo</a> </p>
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<p><a href="v/VoxInaudita.html">Vacant</a> </p>
<p><a href="v/VoxInaudita.html">Vacat</a> </p>
<p><a href="b/Baryton.html">Varitono</a> </p>
<p><a href="v/Viol.html">Vedele</a> </p>
<p><a href="i/ItalianPrincipal.html">Venetian Flute</a> </p>
<p><a href="v/Vibraphone.html">Vibraphone</a> </p>
<p><a href="v/Viol.html">Vidula</a> </p>
<p><a href="v/Viejos.html">Viegas</a> <img src="camera.gif"></p>
<p><a href="v/Viejos.html">Viejas</a> <img src="camera.gif"></p>
<p><a href="v/Viejos.html">Viejos</a> <img src="camera.gif"></p>
<p><a href="o/OrchFlute.html">Vienna Flute</a> <img src="speaker.gif"></p>
<p><a href="t/TwentyNinth.html">Vigesima Nona</a> </p>
<p><a href="t/TwentyFourth.html">Vigesima Quarta</a> </p>
<p><a href="t/TwentySecond.html">Vigesima Seconda</a> <img src="speaker.gif"></p>
<p><a href="v/VigesimaSecundaFortis.html">Vigesima secunda fortis</a> </p>
<p><a href="v/VigesimaSecundaSuavis.html">Vigesima secunda suavis</a> </p>
<p><a href="t/TwentySixth.html">Vigesima Sesta</a> </p>
<p><a href="t/TwentyNinth.html">Vigessima-nona</a> </p>
<p><a href="t/TwentyFourth.html">Vigessima-quarta</a> </p>
<p><a href="t/TwentySecond.html">Vigessima-secunda</a> <img src="speaker.gif"></p>
<p><a href="t/TwentySixth.html">Vigessima-sexta</a> </p>
<p><a href="v/Viol.html">Viol</a> </p>
<p><a href="v/VioleCeleste.html">Viol Celeste</a> <img src="speaker.gif"></p>
<p><a href="c/CornetDesVioles.html">Viol Cornet</a> </p>
<p><a href="v/ViolaDAmore.html">Viol d'Amore</a> <img src="drawing.gif"></p>
<p><a href="v/ViolaDAmore.html">Viol d'Amour</a> <img src="drawing.gif"></p>
<p><a href="o/OrchViolin.html">Viol d'Orchestre</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="v/ViolaDaGamba.html">Viol di Gamba</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="g/Geigen.html">Viol Diapason</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="v/ViolFifteenth.html">Viol Fifteenth</a> </p>
<p><a href="v/ViolFlute.html">Viol Flute</a> </p>
<p><a href="s/StringMixture.html">Viol Mixture</a> </p>
<p><a href="g/GeigenOctave.html">Viol Octave</a> </p>
<p><a href="g/Geigen.html">Viol Principal</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="v/ViolQuint.html">Viol Quint</a> </p>
<p><a href="v/ViolTierce.html">Viol Tierce</a> </p>
<p><a href="v/ViolTwelfth.html">Viol Twelfth</a> </p>
<p><a href="v/Viola.html">Viola</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="v/ViolaAetheria.html">Viola Aetheria</a> </p>
</td><td>
<p><a href="v/ViolaCeleste.html">Viola Céleste</a> </p>
<p><a href="v/ViolaDAmore.html">Viola d'Amore</a> <img src="drawing.gif"></p>
<p><a href="v/ViolaDAmore.html">Viola d'Amour</a> <img src="drawing.gif"></p>
<p><a href="o/OrchViolin.html">Viola d'Orchestra</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="v/ViolaDaGamba.html">Viola da Gamba</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="v/ViolaDiAlta.html">Viola di Alta</a> </p>
<p><a href="v/ViolaDiAlta.html">Viola di Alto</a> </p>
<p><a href="v/ViolaDaGamba.html">Viola di Gamba</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="g/Gambenbass.html">Viola di Gambenbass</a> </p>
<p><a href="v/ViolaDiapason.html">Viola Diapason</a> </p>
<p><a href="v/ViolaDouce.html">Viola Douce</a> </p>
<p><a href="v/ViolaFlute.html">Viola Flute</a> </p>
<p><a href="v/ViolaFluteCeleste.html">Viola Flute Céleste</a> </p>
<p><a href="v/ViolaMajor.html">Viola Major</a> </p>
<p><a href="v/ViolaMinor.html">Viola Minor</a> </p>
<p><a href="v/ViolaPhonon.html">Viola Phonon</a> </p>
<p><a href="v/ViolaPomposa.html">Viola Pomposa</a> </p>
<p><a href="m/MutedViola.html">Viola Sorda</a> </p>
<p><a href="v/ViolaTremolo.html">Viola Tremolo</a> </p>
<p><a href="v/ViolaDaGamba.html">Violadigamba</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="v/ViolaDaGamba.html">Violdigamba</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="v/ViolaDaGamba.html">Violdigambe</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="g/Gambenbass.html">Violdigambenbass</a> </p>
<p><a href="v/Viol.html">Viole</a> </p>
<p><a href="v/VioleAPavillon.html">Viole à Pavillon</a> </p>
<p><a href="v/VioleAPavillonCeleste.html">Viole à Pavillon Céleste</a> </p>
<p><a href="m/MutedViol.html">Viole à Sourdine</a> <img src="drawing.gif"></p>
<p><a href="v/VioleCeleste.html">Viole Céleste</a> <img src="speaker.gif"></p>
<p><a href="m/MutedViol.html">Viole Conique</a> <img src="drawing.gif"></p>
<p><a href="v/ViolaDAmore.html">Viole d'Amour</a> <img src="drawing.gif"></p>
<p><a href="o/OrchViolin.html">Viole d'Orchestre</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="v/VioleCeleste.html">Viole d'Orchestre Céleste</a> <img src="speaker.gif"></p>
<p><a href="v/ViolaDaGamba.html">Viole de Gambe</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="v/ViolFlute.html">Viole Flute</a> </p>
<p><a href="m/MutedViol.html">Viole Sourdine</a> <img src="drawing.gif"></p>
<p><a href="v/Violone.html">Violenbass</a> <img src="drawing.gif"></p>
<p><a href="v/VioleCeleste.html">Violes Célestes</a> <img src="speaker.gif"></p>
<p><a href="g/Gambette.html">Violet</a> <img src="speaker.gif"></p>
<p><a href="v/Violetta.html">Violeta</a> </p>
</td><td>
<p><a href="v/VioletaDeMadera.html">Violeta de Madera</a> </p>
<p><a href="v/Violetta.html">Violetta</a> </p>
<p><a href="g/Gambette.html">Violette</a> <img src="speaker.gif"></p>
<p><a href="v/ViolFlute.html">Violflöte</a> </p>
<p><a href="v/Violichen.html">Violichen</a> </p>
<p><a href="o/OrchViolin.html">Violin</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="c/Contrabass.html">Violin Bass</a> <img src="drawing.gif"><img src="speaker.gif"><img src="underconst.gif"></p>
<p><a href="v/ViolinCeleste.html">Violin Celeste</a> </p>
<p><a href="g/Geigen.html">Violin Diapason</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="g/Geigen.html">Violin Principal</a> <img src="drawing.gif"><img src="speaker.gif"></p>
<p><a href="o/OctaveViolin.html">Violina</a> </p>
<p><a href="v/Violoncello.html">Violincello</a> <img src="drawing.gif"></p>
<p><a href="v/Violin.html">Violine</a> <img src="drawing.gif"></p>
<p><a href="v/Violin.html">Violino</a> <img src="drawing.gif"></p>
<p><a href="m/MutedViol.html">Violino Sordo</a> <img src="drawing.gif"></p>
<p><a href="v/ViolinoVibrato.html">Violino Vibrato</a> </p>
<p><a href="s/StoppedDiapason.html">Violón</a> </p>
<p><a href="v/Violone.html">Violon-Basse</a> <img src="drawing.gif"></p>
<p><a href="v/ViolonDAmour.html">Violon d'Amour</a> </p>
<p><a href="v/Violone.html">Violonbass</a> <img src="drawing.gif"></p>
<p><a href="v/Violoncello.html">Violoncelle</a> <img src="drawing.gif"></p>
<p><a href="c/CelloCeleste.html">Violoncelle Celeste</a> </p>
<p><a href="v/Violoncello.html">Violoncello</a> <img src="drawing.gif"></p>
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<td align=center width=3.5%><font size=+2><a href="#P">P</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#Q">Q</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#R">R</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#S">S</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#T">T</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#U">U</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#V">V</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#W">W</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#X">X</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#Y">Y</a></font></td>
<td align=center width=3.5%><font size=+2><a href="#Z">Z</a></font></td>
<td align=center width=3.5% bgcolor=#FFFF00><font size=+2><a href="#appendices">App.</a></font></td>
<td align=center width=3.5%><a href="index.html">Home</a></td>
</tr></table>
<table width=100%><tr valign=top><td>
<p><a href="_apps/Author.html">About the Author</a> </p>
<p><a href="_apps/About.html">About this Encyclopedia</a> </p>
<p><a href="_apps/Bibliography.html">Bibliography</a> </p>
<p><a href="_apps/WebSite.html">Boring Technical Details</a> </p>
<p><a href="_apps/Copyright.html">Copyright</a> </p>
<p><a href="_apps/Credits.html">Credits</a> </p>
<p><a href="_apps/DefinitionsNeeded.html">Definitions Needed</a> </p>
</td><td>
<p><a href="_apps/DistinctStops.html">Distinct Stops</a> </p>
<p><a href="_apps/Downloads.html">Downloads</a> </p>
<p><a href="_apps/ExamplesNeeded.html">Examples Needed</a> </p>
<p><a href="_apps/FamousPeople.html">Famous People Who Played the Organ</a> </p>
<p><a href="_apps/HaskellBasses.html">Haskell Basses</a> </p>
<p><a href="_apps/SoundFiles.html">How to Contribute Sound Files</a> </p>
<p><a href="_apps/HowToUse.html">How to Use this Encylopedia</a> </p>
</td><td>
<p><a href="_apps/FileIndex.html">Index of Entry Files</a> </p>
<p><a href="_apps/Illustrations.html">Index of Illustrations</a> </p>
<p><a href="_apps/InfoNeeded.html">Information Needed<br>(How <i>You </i>Can Help!)</a> </p>
<p><a href="_apps/LabialReeds.html">Labial Reeds</a> </p>
<p><a href="_apps/Links.html">Links to Other Web Sites</a> </p>
<p><a href="_apps/Mutations.html">Mutations</a> </p>
<p><a href="_apps/Introduction.html">News</a> </p>
</td><td>
<p><a href="_apps/Organs.html">Organs</a> </p>
<p><a href="_apps/RevisionHistory.html">Revision History</a> </p>
<p><a href="_apps/Statistics.html">Statistics</a> </p>
<p><a href="_apps/StopsWithSoundClips.html">Stops With Sound Clips</a> </p>
<p><a href="_apps/StyleSheet.html">Style Sheet</a> </p>
<p><a href="_apps/Timeline.html">Timeline of Organ History</a> </p>
</td></tr></table>
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|
Encyclopedia of Organ Stops
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | | |
| --- | --- | --- | --- | --- |
| [Acoustic Bass](r/Resultant.html)
[Acuta](s/Scharf.html)
[Aelodicon](a/Aelodicon.html)
[Aeolian](a/Aeoline.html)
[Aeolina](a/Aeolina.html)
[Aeoline](a/Aeoline.html)
[Aeoline Céleste](a/AeolineCeleste.html) | [Aeoline Reed](a/AeolineReed.html)
[Aeolodicon](a/Aelodicon.html)
[Aequal](a/AequalPrinzipal.html)
[Aequal-Gemshorn](a/AequalGemshorn.html)
[Aequale](a/AequalPrinzipal.html)
[Aequalprinzipal](a/AequalPrinzipal.html)
[Akkordglocken](c/Cymbelstern.html) | [Akuta](s/Scharf.html)
[Alodicon](a/Aelodicon.html)
[Amorosa](a/Amorosa.html)
[Amoroso](a/Amoroso.html)
[Angelica](e/Engelstimme.html)
[Angenehmgedeckt](l/LieblichGedeckt.html)
[Angle Horn](e/EnglishHorn.html) | [Anthropoglossa](v/VoxHumana.html)
[Äoline](a/AeolineReed.html)
[Apfelregal](a/Apfelregal.html)
[Äqual](a/AequalPrinzipal.html)
[Aqual Gemshorn](a/AequalGemshorn.html)
[Assat](n/Nasard.html)
[Avicinium](v/Vogelgesang.html) | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Baarpfeife](b/Barpfeife.html)
[Baarpijp](b/Baarpijp.html)
[Baarpyp](b/Barpfeife.html)
[Bachflöte](b/Bachflote.html)
[Bährpfeife](b/Barpfeife.html)
[Baixo](f/Fagotto.html)
[Baixonilho](f/Fagotto.html)
[Bajete](b/Bajete.html)
[Bajon](f/Fagotto.html)
[Bajoncillo](f/Fagotto.html)
[Bajoncillo y Clarín](b/BajoncilloYClarin.html)
[Ballad Horn](b/BalladHorn.html)
[Bärbommer](b/Bombard.html)
[Bardone](b/Bourdon.html)
[Barduen](b/Bourdon.html)
[Barem](b/Barem.html)
[Baritone](b/Baryton.html)
[Baritono](b/Baryton.html)
[Bärpfeife](b/Barpfeife.html)
[Bärpipe](b/Barpfeife.html)
[Baryphon](b/Baryphon.html)
[Baryphone](b/Baryphon.html)
[Baryton](b/Baryton.html)
[Barytone](b/Baryton.html)
[Bass](b/Bass.html)
[Bass-Bommer](b/Bombarde.html)
[Bass Clarinet](d/DoubleClarinet.html)
[Bass Clarionet](d/DoubleClarinet.html)
[Bass Drum](p/percussion.html)
[Bass Flute](b/BassFlute.html)
[Bass Horn](b/BassHorn.html)
[Bass-Pommer](b/Bombarde.html)
[Bass Saxophone](c/ContraSaxophone.html)
[Bass Solo String](b/BassString.html)
[Bass String](b/BassString.html)
[Bass Trombone](b/BassTrombone.html)
[Bass Tuba](b/BassTuba.html)
[Bass Viol](b/BassViol.html) | [Bass Violin](c/Contrabass.html)
[Bassanelli](b/Bassonell.html)
[Bassanello](b/Bassonell.html)
[Bassbrummer](b/Bourdon.html)
[Basse acoustique](r/Resultant.html)
[Basse contre](c/Contrabass.html)
[Basse de ...](b/BasseDe.html)
[Basse de Chormorne](c/Chormorne.html)
[Basse de Cromhorne](b/BasseDeCromhorne.html)
[Basse de Viole](b/BasseDeViole.html)
[Basset](b/Basset.html)
[Basset Horn](b/BassetHorn.html)
[Bassethorn](b/BassetHorn.html)
[Bassetthorn](b/BassetHorn.html)
[Bassetto](b/Bassetto.html)
[Bassflöte](b/BassFlute.html)
[Basskornett](b/Basskornett.html)
[Basso Profundo](c/ContraPrincipal.html)
[Basson](f/Fagotto.html)
[Basson-Hautbois](b/BassonHautbois.html)
[Bassonell](b/Bassonell.html)
[Bassoon](f/Fagotto.html)
[Bassoon Regal](b/BassoonRegal.html)
[Bassposaune](b/BassTrombone.html)
[Basstuba](b/BassTuba.html)
[Basszink](b/Basszink.html)
[Basun](t/Trombone.html)
[Bauerflöt](b/Bauerflote.html)
[Bauerflötbass](b/Bauerflotenbass.html)
[Bauerflöte](b/Bauerflote.html)
[Bauerflötenbass](b/Bauerflotenbass.html)
[Bauerlein](b/Bauerflote.html)
[Bäuerlin](b/Bauerflote.html)
[Bauernflöte](b/Bauerflote.html)
[Bauernflötenbass](b/Bauerflotenbass.html)
[Bauernpfeife](b/Bauerflote.html)
[Bauernrohrflöte](b/Bauernrohrflote.html)
[Bauerpfeife](b/Bauerflote.html) | [Baurpfeif[e]](b/Bauerflote.html)
[Baxoncillo](f/Fagotto.html)
[Bazuin](t/Trombone.html)
[Bearded Gamba](b/BeardedGamba.html)
[Beerpfeife](b/Barpfeife.html)
[Beerpipe](b/Barpfeife.html)
[Behrpfeife](b/Barpfeife.html)
[Bell Clarinet](b/BellClarinet.html)
[Bell Diapason](b/BellDiapason.html)
[Bell Flute](b/BellFlute.html)
[Bell Gamba](b/BellGamba.html)
[Bells](b/Bells.html)
[Bibelregal](b/BibleRegal.html)
[Bible-Regal](b/BibleRegal.html)
[Bifara](b/Bifara.html)
[Biffaro](b/Bifara.html)
[Biffra](b/Bifara.html)
[Biffura](b/Bifara.html)
[Bifra](b/Bifara.html)
[Bird Whistle](v/Vogelgesang.html)
[Blinder Zug](v/VoxInaudita.html)
[Block Flute](b/Blockflote.html)
[Blockflöt](b/Blockflote.html)
[Blockflöte](b/Blockflote.html)
[Blockflötenbass](b/Blockflotenbass.html)
[Blockpfeife](b/Blockflote.html)
[Blockpipe](b/Blockflote.html)
[Blokfløjte](b/Blockflote.html)
[Blokfluit](b/Blockflote.html)
[Bockflöte](b/Blockflote.html)
[Boehm Flute](b/BoehmFlute.html)
[Boehmflöte](o/OrchFlute.html)
[Boehmischeflöte](o/OrchFlute.html)
[Bois Celeste](b/BoisCeleste.html)
[Bokflöte](g/Gemshorn.html)
[Bombard](b/Bombard.html)
[Bombard Quint](b/BombardeQuinte.html)
[Bombarda](b/Bombarde.html) | [Bombarde](b/Bombarde.html)
[Bombarde en Chamade](b/BombardeEnChamade.html)
[Bombarde Quinte](b/BombardeQuinte.html)
[Bombardo](b/Bombarde.html)
[Bombardon](b/Bombardon.html)
[Bombardone](b/Bombardon.html)
[Bombart](b/Bombarde.html)
[Bomhard](b/Bombarde.html)
[Bommer](b/Bombard.html)
[Bordón](b/Bourdon.html)
[Bordoncino](b/Bourdon.html)
[Bordone](b/Bourdon.html)
[Bordonecho](e/EchoBourdon.html)
[Bordun](b/Bourdon.html)
[Bordun-Subbass](c/ContraBourdon.html)
[Borduna](b/Bourdon.html)
[Bordunal](b/Bordunalflote.html)
[Bordunalflöte](b/Bordunalflote.html)
[Bötze](b/Botze.html)
[Bourdon](b/Bourdon.html)
[Bourdon à Cheminée](r/Rohrbordun.html)
[Bourdon Doux](b/BourdonDoux.html)
[Bourdonalflöte](b/Bordunalflote.html)
[Bourdonecho](e/EchoBourdon.html)
[Brass Regal](b/BrassRegal.html)
[Brass Saxophone](s/Saxophone.html)
[Brass Trumpet](b/BrassTrumpet.html)
[Bratsche](v/Viola.html)
[Brumhorn](k/Krummhorn.html)
[Brummbass](b/Bourdon.html)
[Brummhorn](k/Krummhorn.html)
[Buccina](b/Buccina.html)
[Buccine](b/Buccina.html)
[Burdo](b/Bourdon.html)
[Buzain](t/Trombone.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Campana](c/Campana.html)
[Campanella](c/Campana.html)
[Campanelli](c/Campana.html)
[Campanello](c/Campana.html)
[Campanetta](g/Glockenspiel.html)
[Campanette](c/Campana.html)
[Campanilla](c/Campana.html)
[Canary](v/Vogelgesang.html)
[Cantus Flute](c/CantusFlute.html)
[Carillon](c/Carillon.html)
[Cart](q/QuarteDeNasard.html)
[Castanets](p/percussion.html)
[Cedirne](c/Cedirne.html)
[Celesta](c/Celesta.html)
[Céleste](c/Celeste.html)
[Celestiana](c/Celestina.html)
[Celestina](c/Celestina.html)
[Celestina Céleste](c/CelestinaCeleste.html)
[Celestina-Viol](c/CelestinaViol.html)
['Cello](v/Violoncello.html)
['Cello Celeste](c/CelloCeleste.html)
['Cello Diapason](c/CelloDiapason.html)
['Cello-Dolce](c/CelloDolce.html)
[Cello Pomposa](v/VioloncelloPomposa.html)
['Cello Violin](c/CelloViolin.html)
[Cembalo](c/Cymbal.html)
[Cembaloregal](c/Cembaloregal.html)
[Chalemie](s/Schalmei.html)
[Chalemoy](s/Schalmei.html)
[Chalmeaux](s/Schalmei.html)
[Chalmouii](s/Schalmei.html)
[Chalumeau](s/Schalmei.html)
[Chamade](c/Chamade.html)
[Cheio](c/Compuestas.html)
[Chimes](c/Chimes.html)
[Chimney Flute](r/Rohrflote.html)
[Chinese [Wood] Block](p/percussion.html)
[Chinese Gong](p/percussion.html)
[Chirimía](c/Chirimia.html)
[Choral](c/Choral.html)
[Choralbass](c/Choralbass.html)
[Choralbasset](c/Choralbass.html)
[Choralflöte](c/Choralflote.html)
[Choralmixtur](c/Choral.html)
[Choralprästant](c/Choralbass.html)
[Choralprincipal](c/Choralbass.html)
[Choralprinzipal](c/Choralbass.html)
[Chormassprincipal](a/AequalPrinzipal.html)
[Chormorne](c/Chormorne.html)
[Chorus Diapason](g/GrandDiapason.html)
[Chrysoglott](c/Celesta.html)
[Cilinderquint](c/Cylinderquint.html)
[Címbala](c/Cymbal.html)
[Cimbale](c/Cymbal.html)
[Cimball](c/Cymbal.html)
[Cimbalo](c/Cymbal.html)
[Cimbel](c/Cymbal.html)
[Cimbelstern](c/Cymbelstern.html)
[Cink](z/Zink.html)
[Cinq](z/Zink.html)
[Clairon](c/Clarion.html)
[Clairon Doublette](c/ClaironDoublette.html)
[Clairon en Chamade](c/ClaironEnChamade.html)
[Clairon Harmonique](h/HarmonicClarion.html)
[Clarabel Flute](c/ClaribelFlute.html)
[Clarabella](c/Clarabella.html)
[Clariana](c/Clariana.html)
[Claribel](c/Clarabella.html)
[Claribel Flute](c/ClaribelFlute.html)
[Claribella](c/Clarabella.html)
[Clarín](c/Clarion.html)
[Clarin Claro](c/ClarinClaro.html)
[Clarin de Bajos](c/ClarinDeBajos.html)
[Clarín de Batalla](c/ClarinDeBatalla.html)
[Clarín de Campaña](c/ClarinDeBatalla.html) | [Clarín de Compaña](c/ClarinDeBatalla.html)
[Clarín de Eco[s]](e/EchoTrumpet.html)
[Clarín de Mar](c/ClarinDeMar.html)
[Clarín Fuerte](c/ClarinFuerte.html)
[Clarin Pardo](c/ClarinPardo.html)
[Clarín Real](c/ClarinReal.html)
[Clarin Sordino](c/ClarinSordino.html)
[Clarín Suave](c/ClarinSuave.html)
[Clarina](c/Clarina.html)
[Clarines](c/Clarines.html)
[Clarines en Quincena](c/ClarinesEnQuincena.html)
[Clarinet](c/Clarinet.html)
[Clarinet à Pavillon](c/ClarinetAPavillon.html)
[Clarinet Flute](c/ClarinetFlute.html)
[Clarinete](c/Clarinete.html)
[Clarinette](c/Clarinet.html)
[Clarinette-Aigue](c/ClarinetteAigue.html)
[Clarinette-Basse](c/ClarinetteBasse.html)
[Clarinetto](c/Clarinet.html)
[Clarino](c/Clarion.html)
[Clarion](c/Clarion.html)
[Clarion Harmonic](h/HarmonicClarion.html)
[Clarion Horn](c/ClarionHorn.html)
[Clarion Mirabilis](c/ClarionMirabilis.html)
[Clarion Mixture](c/ClarionMixture.html)
[Clariona](c/Clariana.html)
[Clarionet](c/Clarinet.html)
[Clarionet Flute](c/ClarinetFlute.html)
[Claron](c/Claron.html)
[Clarone](c/Clarion.html)
[Clavaeolina](c/Clavaeolina.html)
[Clavaeoline](c/Clavaoline.html)
[Claväoline](c/Clavaoline.html)
[Claveoline](c/Clavaoline.html)
[Clear Flute](c/ClearFlute.html)
[Clear Mixture](c/ClearMixture.html)
[Cloches](c/Cloches.html)
[Clochette[s]](j/JeuDeClochette.html)
[Clochettes](c/Cymbelstern.html)
[Closed Horn](c/ClosedHorn.html)
[Coelestina](c/Celestina.html)
[Compensating Mixture](c/CompensatingMixture.html)
[Compensation Mixture](c/CompensatingMixture.html)
[Compensationsmixtur](c/CompensatingMixture.html)
[Compuestas](c/Compuestas.html)
[Compuestas de Lleno](c/Compuestas.html)
[Concert Flute](o/OrchFlute.html)
[Concert Violin](c/ConcertViolin.html)
[Concert Violin Celeste](c/ConcertViolinCeleste.html)
[Concertflöte](o/OrchFlute.html)
[Cone Diapason](s/Spitzprinzipal.html)
[Cone Flute](c/ConeFlute.html)
[Cone Gamba](s/Spitzgamba.html)
[Cone Gamba Céleste](c/ConeGambaCeleste.html)
[Cone Gedackt](c/ConeGedeckt.html)
[Cone Gedeckt](c/ConeGedeckt.html)
[Cone Lieblich Gedact](c/ConeGedeckt.html)
[Coni](s/Spitzflote.html)
[Conical Flute](c/ConicalFlute.html)
[Conoclyte](c/Conoclyte.html)
[Contra Bassoon](c/ContraBassoon.html)
[Contra Bombarde](c/ContraBombarde.html)
[Contra Bombardon](c/ContraBombardon.html)
[Contra Bourdon](c/ContraBourdon.html)
[Contra Corno di Bassetto](d/DoubleBassetHorn.html)
[Contra Diaphone](c/ContraDiaphone.html)
[Contra Dulcian](c/ContraDulcian.html)
[Contra Dulciana](c/ContraDulciana.html)
[Contra Gamba](c/ContraGamba.html)
[Contra Hautboy](c/ContraOboe.html)
[Contra Oboe](c/ContraOboe.html)
[Contra Ophicleide](d/DoubleOphicleide.html)
[Contra Posaune](b/BassTrombone.html)
[Contra Principal](c/ContraPrincipal.html)
[Contra Salicional](c/ContraSalicional.html) | [Contra Saxophone](c/ContraSaxophone.html)
[Contra Spitzflöte](g/GrosseSpitzflote.html)
[Contra Tromba](c/ContraTromba.html)
[Contra Trombone](b/BassTrombone.html)
[Contra Trumpet](c/ContraTrumpet.html)
[Contra Tuba](b/BassTuba.html)
[Contra Viol](c/ContraViole.html)
[Contra Viola](c/ContraViola.html)
[Contra Viola da Gamba](c/ContraViolaDaGamba.html)
[Contra Viole](c/ContraViole.html)
[Contra-Violin](c/Contrabass.html)
[Contra-Violon](v/Violone.html)
[Contra Violone](v/Violone.html)
[Contrabass](c/Contrabass.html)
[Contrabasso](c/Contrabass.html)
[Contrafagott](c/ContraBassoon.html)
[Contrafagotto](c/ContraBassoon.html)
[Contraposaune](b/BassTrombone.html)
[Contraprinzipal](c/ContraPrincipal.html)
[Contras](c/Contras.html)
[Contras de Bombarda[s]](b/Bombarde.html)
[Contras en Bombardas](b/Bombarde.html)
[Contras Profundas](c/ContrasProfundas.html)
[Contre-basse](c/Contrabass.html)
[Contre Bombarde](c/ContraBombarde.html)
[Contre Gambe](c/ContraGamba.html)
[Contre Trompette](c/ContraTrumpet.html)
[Contre Viole](v/Violone.html)
[Conus](s/Spitzflote.html)
[Copel](c/Copula.html)
[Copendoff](c/Coppendoff.html)
[Copl](c/Copula.html)
[Coppel](c/Copula.html)
[Coppeldoef](c/Copula.html)
[Coppeldone](c/Coppeldone.html)
[Coppelflöt[e]](k/Koppelflote.html)
[Coppelfluit](c/Copula.html)
[Coppelflute](k/Koppelflote.html)
[Coppeloktave](c/CopulaMinor.html)
[Coppendoff](c/Coppendoff.html)
[Copula](c/Copula.html)
[Copula Maior](c/CopulaMajor.html)
[Copula Major](c/CopulaMajor.html)
[Copula Minor](c/CopulaMinor.html)
[Cor Anglais](e/EnglishHorn.html)
[Cor d'Amour](c/CornoDAmore.html)
[Cor d'Harmonie](c/CorDHarmonie.html)
[Cor d'Orchestre](f/FrenchHorn.html)
[Cor de Basset](b/BassetHorn.html)
[Cor de Chamois](g/Gemshorn.html)
[Cor de Nuit](c/CorDeNuit.html)
[Cor de Nuit Celeste](c/CorDeNuitCeleste.html)
[Cor Glorieux](c/CorGlorieux.html)
[Cor-Oboe](o/OboeHorn.html)
[Cor[s] de Chasse](w/Waldhorn.html)
[Cordedain](c/Cordedain.html)
[Cordelain](c/Cordedain.html)
[Cormorne](k/Krummhorn.html)
[Cornamusa](c/Cornemeuse.html)
[Corne Parforce](w/Waldhorn.html)
[Corne Sylvestre](w/Waldhorn.html)
[Cornehorne](k/Krummhorn.html)
[Cornemeuse](c/Cornemeuse.html)
[Cornemuse](c/Cornemeuse.html)
[Cornet](c/Cornet.html)
[Cornet à Boucquin](c/CornetzABoucquin.html)
[Cornet à Pavillon](c/CornetAPavillon.html)
[Cornet à Piston](o/OrchCornet.html)
[Cornet d'Allemagne](c/CornetDAllemagne.html)
[Cornet de Récit](c/CornetDeRecit.html)
[Cornet de[s] Violes](c/CornetDesVioles.html)
[Cornet des Bombardes](c/CornetDesBombardes.html)
[Cornet[a] Tolosana](c/CornetaClara.html)
[Corneta](c/Cornet.html)
[Corneta Clara](c/CornetaClara.html) | [Corneta Real[e]](c/CornetaClara.html)
[Cornetin](z/Zink.html)
[Cornett](c/Cornet.html)
[Cornette de Caccia](c/CornetteDeCaccia.html)
[Cornetti](c/Cornetti.html)
[Cornettin](c/Cornettin.html)
[Cornettino](z/Zink.html)
[Cornetto](c/Corneta.html)
[Cornetto da Caccia](w/Waldhorn.html)
[Cornetto di Caccia](w/Waldhorn.html)
[Cornetto Muto](z/Zink.html)
[Cornetto Primo](c/Corneta.html)
[Cornetto Secondo](c/Corneta.html)
[Cornetto Terzo](c/Corneta.html)
[Cornetto Torto](z/Zink.html)
[Cornetz à Boucquin](c/CornetzABoucquin.html)
[Corno](f/FrenchHorn.html)
[Corno Bassetto, Soprano](c/CornoBassettoSoprano.html)
[Corno Basso](b/BassetHorn.html)
[Corno Camoscio](c/CornoCamoscio.html)
[Corno Clarion](c/CornoClarion.html)
[Corno d'Amore](c/CornoDAmore.html)
[Corno da Caccia](c/CornoDiCaccia.html)
[Corno di Bassetto](b/BassetHorn.html)
[Corno di Caccia](c/CornoDiCaccia.html)
[Corno di Camoscio](c/CornoCamoscio.html)
[Corno Dolce](c/CornoDolce.html)
[Corno Flute [1]](c/CornoFlute1.html)
[Corno Flute [2]](c/CornoFlute2.html)
[Corno Inglese](c/CornoInglese.html)
[Corno Tromba](c/CornoTromba.html)
[Cornon](z/Zink.html)
[Cornopean](c/Cornopean.html)
[Cornu](z/Zink.html)
[Cornu Sylvestre](w/Waldhorn.html)
[Corroborating Mixture](c/CompensatingMixture.html)
[Coupler](c/Copula.html)
[Coupling-Flute](c/Copula.html)
[Courcellina](b/BellDiapason.html)
[Courtal](c/Courtal.html)
[Courtand](c/Courtal.html)
[Courtel](c/Courtal.html)
[Crash Cymbal](p/percussion.html)
[Cremona](c/Cremona.html)
[Cremorne](k/Krummhorn.html)
[Cro Orlo](o/Orlo.html)
[Cromhorne](k/Krummhorn.html)
[Crommehorne](k/Krummhorn.html)
[Cromorne](k/Krummhorn.html)
[Crumhorn](k/Krummhorn.html)
[Cubus](c/Cubus.html)
[Cuckguck](c/Cuckoo.html)
[Cuckoo](c/Cuckoo.html)
[Cuculus](c/Cuckoo.html)
[Cukuk](c/Cuckoo.html)
[Curtal[l]](c/Courtal.html)
[Cuspida](s/Spitzflote.html)
[Cylinder-Quinte](c/Cylinderquint.html)
[Cylinderquint](c/Cylinderquint.html)
[Cymbal](c/Cymbal.html)
[Cymbale](c/Cymbal.html)
[Cymbale Harmonique](c/CymbaleHarmonique.html)
[Cymbalstern](c/Cymbelstern.html)
[Cymbel](c/Cymbal.html)
[Cymbelbass](c/Cymbelbass.html)
[Cymbelglöcklein](c/Cymbelstern.html)
[Cymbeloktave](c/Cymbeloktave.html)
[Cymbelregal](c/Cymbelregal.html)
[Cymbelscharf](z/Zymbelscharf.html)
[Cymbelstern](c/Cymbelstern.html)
[Cyvelet](s/Sifflote.html)
[Czakanflöte](c/Czakanflote.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Decem](s/Seventeenth.html)
[Decembass](d/Decembass.html)
[Decima](s/Seventeenth.html)
[Decima Nona](n/Nineteenth.html)
[Decima Quinta](f/Fifteenth.html)
[Decima Settima](s/Seventeenth.html)
[Decupla](t/Tenth.html)
[Dessus de ...](b/BasseDe.html)
[Dessus de Flûte](d/DessusDeFlute.html)
[Dessus de Flûte Allemande](d/DessusDeFlute.html)
[Detzehm](s/Seventeenth.html)
[Detzehmbass](d/Decembass.html)
[Detzem](s/Seventeenth.html)
[Detzembass](d/Decembass.html)
[Deutsche Flöte](w/Wienerflote.html)
[Deuxième ...](f/FirstSecondEtc.html)
[Devanture](o/OpenDiapason.html)
[Diaocton](c/ContraPrincipal.html)
[Diapason](o/OpenDiapason.html)
[Diapason Conique](s/Spitzprinzipal.html)
[Diapason Magna](d/DiapasonMagna.html)
[Diapason Phonon](d/DiapasonPhonon.html)
[Diapason Sonora](d/DiapasonSonora.html)
[Diapente](q/Quint.html)
[Diapente Pileata](g/Gedecktquinte.html)
[Diaphone](d/Diaphone.html)
[Diaphone Profundo](d/DiaphoneProfundo.html)
[Diaphonic Bassoon](d/DiaphonicBassoon.html)
[Diaphonic Diapason](d/Diaphone.html)
[Diaphonic Horn](d/DiaphonicHorn.html)
[Diaphonic Violone](d/DiaphonicBassoon.html)
[Diatonus](s/Seventeenth.html)
[Diez](t/Tenth.html)
[Diez y Novena](l/Larigot.html)
[Diezmonovena](l/Larigot.html)
[Discantprincipal](d/DiskantPrinzipal.html)
[Disdiapason](f/Fifteenth.html)
[Disdiapente](n/Nineteenth.html)
[Disdisdiapason](t/TwentySecond.html)
[Diskantprinzipal](d/DiskantPrinzipal.html)
[Diskantschwiegel](d/Diskantschwiegel.html)
[Ditonus](s/Seventeenth.html)
[Divinare](d/Divinare.html)
[Docena](t/Twelfth.html) | [Doef](d/Doef.html)
[Döeff](d/Doef.html)
[Döff](d/Doef.html)
[Doif](d/Doef.html)
[Doiflöt](d/Doppelflote.html)
[Doiflöte](d/Doppelflote.html)
[Dolcan](d/Dolcan.html)
[Dolcan Céleste](d/DolcanCeleste.html)
[Dolcan Mixture](d/DolcanMixture.html)
[Dolce](d/Dolce.html)
[Dolce Céleste](d/DolceCeleste.html)
[Dolce Cornet](d/DolceCornet.html)
[Dolce Flute](f/FlautoDolce.html)
[Dolce Flute Céleste](d/DolceFluteCeleste.html)
[Dolce Grand Cornet](d/DolceGrandCornet.html)
[Dolce Mixture](d/DolceMixture.html)
[Dolce Suono](d/Dulzian.html)
[Dolceaan](d/Dulzian.html)
[Dolcean](d/Dulciana.html)
[Dolcette](d/Dolcette.html)
[Dolcette Flute](d/DolcetteFlute.html)
[Dolcian](d/Dulzian.html)
[Dolciana](d/Dulzian.html)
[Dolciane](d/Dulciana.html)
[Dolciano](d/Dolciano.html)
[Dolciano Profundo](c/ContraDulciana.html)
[Dolcissimo](d/Dolcissimo.html)
[Dolcissimo Céleste](d/DolcissimoCeleste.html)
[Dolkan](d/Dolcan.html)
[Dolzflöte](f/FlautoDolce.html)
[Dolziana](d/Dulzian.html)
[Donner](d/Donner.html)
[Doof](d/Doef.html)
[Doppelflöt[e]](d/Doppelflote.html)
[Doppelflötenbass](d/Doppelflotenbass.html)
[Doppelgedackt](d/Doppelgedeckt.html)
[Doppelgedeckt](d/Doppelgedeckt.html)
[Doppelkegelregal](d/Doppelkegelregal.html)
[Doppelprincipal](c/ContraPrincipal.html)
[Doppelrohrbordun](d/Doppelrohrbordun.html)
[Doppelrohrflöte](d/Doppelrohrflote.html)
[Doppelrohrgedeckt](d/Doppelrohrgedeckt.html)
[Doppelspitzflöte](d/Doppelspitzflote.html)
[Doppelt](d/Doppelt.html) | [Dopplt Unterbass](c/ContraBourdon.html)
[Doris](f/FlautoDoris.html)
[Dotzena Nazarda](n/Nineteenth.html)
[Double Bass](c/Contrabass.html)
[Double Basset Horn](d/DoubleBassetHorn.html)
[Double Bassoon](c/ContraBassoon.html)
[Double Claribel Flute](d/DoubleClaribelFlute.html)
[Double Clarinet](d/DoubleClarinet.html)
[Double Diapason](c/ContraPrincipal.html)
[Double Dulciana](c/ContraDulciana.html)
[Double English Horn](d/DoubleEnglishHorn.html)
[Double Flute](d/Doppelflote.html)
[Double Gemshorn](d/DoubleGemshorn.html)
[Double Hautboy](c/ContraOboe.html)
[Double Melodia](d/DoubleMelodia.html)
[Double Oboe](c/ContraOboe.html)
[Double Oboe Horn](d/DoubleOboeHorn.html)
[Double Open Diapason](c/ContraPrincipal.html)
[Double Open Wood](d/DoubleOpenWood.html)
[Double Ophicleide](d/DoubleOphicleide.html)
[Double Principal](c/ContraPrincipal.html)
[Double Quint](s/SubQuint.html)
[Double Salicional](c/ContraSalicional.html)
[Double-Stopped Bass](c/ContraBourdon.html)
[Double Stopped Diapason](c/ContraBourdon.html)
[Double String](c/Contrabass.html)
[Double Tierce](t/Tenth.html)
[Double Trombone](b/BassTrombone.html)
[Double Trumpet](c/ContraTrumpet.html)
[Double Tuba](b/BassTuba.html)
[Double Twelfth](f/Fifth.html)
[Double Vox Humana](d/DoubleVoxHumana.html)
[Doublette](d/Doublette.html)
[Doucaine](d/Dulzian.html)
[Douce](d/Dolce.html)
[Douseynen](d/Dulzian.html)
[Drum Pedal](p/Pauke.html)
[Drums](d/Drums.html)
[Ductus inutilis](v/VoxInaudita.html)
[Dudelsack](d/Dudelsack.html)
[Duiflöt](d/Doppelflote.html)
[Duiflöte](d/Doppelflote.html)
[Dulcan](d/Dolcan.html)
[Dulcayna](d/Dulcayna.html) | [Dulceflöt](f/FlautoDolce.html)
[Dulceon](d/Dulceon.html)
[Dulcet](d/Dulcet.html)
[Dulcet Principal](d/Dulcet.html)
[Dulcetina](d/Dulcetina.html)
[Dulciaan](d/Dulzian.html)
[Dulcian](d/Dulciana.html)
[Dulciana](d/Dulciana.html)
[Dulciana Celeste](d/DulcianaCeleste.html)
[Dulciana Cornet](d/DulcianaCornet.html)
[Dulciana Flute](d/DulcianaFlute.html)
[Dulciana Flute Céleste](d/DulcianaFluteCeleste.html)
[Dulciana Mixture](d/DulcianaMixture.html)
[Dulciana Octave](d/Dulcet.html)
[Dulciana Principal](d/Dulcet.html)
[Dulciane](d/Dulciana.html)
[Dulcianflöte](f/FlautoDolce.html)
[Dulcimer](d/Dulcimer.html)
[Dulcinus](f/Fagotto.html)
[Dulcis](d/Dulcis.html)
[Dulcissima](d/Dolcissimo.html)
[Dultzen](d/Dulzian.html)
[Dulzaen](d/Dolcan.html)
[Dulzain](d/Dolcan.html)
[Dulzaina](d/Dulcayna.html)
[Dulzayna](d/Dulzayna.html)
[Dulzet](d/Dulciana.html)
[Dulzfloit](f/FlautoDolce.html)
[Dulzflöte](f/FlautoDolce.html)
[Dulzgedackt](d/Dulzgedackt.html)
[Dulzian](d/Dulzian.html)
[Dulziana](d/Dulciana.html)
[Dulziano](d/Dulzian.html)
[Dulzianregal](d/Dulzianregal.html)
[Dulzino](d/Dulzian.html)
[Dunecken](d/Dunecken.html)
[Duodecima](t/Twelfth.html)
[Duophone](d/Duophone.html)
[Duplicat](d/Doppelt.html)
[Duytsche Fluyt](d/DuytscheFluyt.html)
[Duytsche Hooren](d/DuytscheHooren.html)
[Dwarsfluit](o/OrchFlute.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Early English Diapason](e/EarlyEnglishDiapason.html)
[Echo](e/Echo.html)
[Echo 'Cello](e/EchoCello.html)
[Echo Aeoline](e/EchoAeoline.html)
[Echo Bass](e/EchoBourdon.html)
[Echo Bourdon](e/EchoBourdon.html)
[Echo Céleste](e/EchoCeleste.html)
[Echo Clarabella](e/EchoClarabella.html)
[Echo Clarion](o/OctaveOboe.html)
[Echo Cornet](e/EchoCornet.html)
[Echo-Cornett](e/EchoCornet.html)
[Echo Cymbal](e/EchoCymbal.html)
[Echo Diapason](e/EchoDiapason.html)
[Echo Dolcan](e/EchoDolcan.html)
[Echo Dolce](d/Dolcissimo.html)
[Echo Dulciana](e/EchoDulciana.html)
[Echo Dulciana Céleste](e/EchoDulcianaCeleste.html)
[Echo Dulciana Mixture](e/EchoDulcianaMixture.html)
[Echo Erzähler](e/EchoErzahler.html)
[Echo Fagotto](e/EchoFagotto.html)
[Echo Fifteenth](e/EchoFifteenth.html) | [Echo Flute](e/EchoFlute.html)
[Echo Gamba](e/EchoGamba.html)
[Echo Gedeckt](e/EchoGedeckt.html)
[Echo Geigen](h/Harfenprinzipal.html)
[Echo Geigen Diapason](h/Harfenprinzipal.html)
[Echo Geigen Principal](h/Harfenprinzipal.html)
[Echo Gemshorn](e/EchoGemshorn.html)
[Echo Harmonics](e/EchoHarmonics.html)
[Echo Horn](e/EchoHorn.html)
[Echo Lieblich](e/EchoLieblich.html)
[Echo Melodia](s/SuabeFlute.html)
[Echo Mixture](e/EchoMixture.html)
[Echo Nachthorn](e/EchoNachthorn.html)
[Echo Oboe](e/EchoOboe.html)
[Echo Octave](d/Dulcet.html)
[Echo Open Flute](e/EchoOpenFlute.html)
[Echo Principal](e/EchoDiapason.html)
[Echo Salicional](a/Aeoline.html)
[Echo Stopped Flute](e/EchoStoppedFlute.html)
[Echo Tibia](e/EchoTibiaClausa.html)
[Echo Tibia Clausa](e/EchoTibiaClausa.html) | [Echo Tromba](e/EchoTromba.html)
[Echo Trompete](e/EchoTrumpet.html)
[Echo Trumpet](e/EchoTrumpet.html)
[Echo Twelfth](e/EchoTwelfth.html)
[Echo Viol](e/EchoViol.html)
[Echo Viol Mixture](e/EchoViolMixture.html)
[Echo Viola](e/EchoViola.html)
[Echo Viola da Gamba](a/Aeoline.html)
[Echo Viole Céleste](e/EchoVioleCeleste.html)
[Echo Violin](e/EchoViolin.html)
[Echo Vox Humana](e/EchoVoxHumana.html)
[Echobordun](e/EchoBourdon.html)
[Echoflöte](e/EchoFlute.html)
[Effet[s] d'Orage](d/Donner.html)
[Egyptian Horn](e/EgyptianHorn.html)
[Eighteenth](e/Eighteenth.html)
[Eleventh](e/Eleventh.html)
[Engelstimme](e/Engelstimme.html)
[Englisch Horn](e/EnglishHorn.html)
[Englisch Prinzipal](e/EnglishDiapason.html)
[Englische Flöte](s/Soave.html) | [English Diapason](e/EnglishDiapason.html)
[English Horn](e/EnglishHorn.html)
[English Post Horn](p/PostHorn.html)
[Engprincipal](e/Engprinzipal.html)
[Engprinzipal](e/Engprinzipal.html)
[Eolina](a/Aeoline.html)
[Êoline](a/Aeoline.html)
[Erzähler](e/Erzahler.html)
[Erzähler Céleste](e/ErzahlerCeleste.html)
[Espigueta](r/Rohrflote.html)
[Ethereal Violin](e/EtherealViolin.html)
[Ethereal Violin Celeste](e/EtherealViolinCeleste.html)
[Étoile Sonore](c/Cymbelstern.html)
[Euphon](e/Euphone.html)
[Euphône](e/Euphone.html)
[Euphonium](e/Euphonium.html)
[Exaudire](v/VoxInaudita.html)
[Eyphone](e/Euphone.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | | |
| --- | --- | --- | --- | --- |
| [Faberton](f/Fabertone.html)
[Fabertone](f/Fabertone.html)
[Fagot](f/Fagotto.html)
[Fagot Oboe](b/BassonHautbois.html)
[Fagot y Oboe](b/BassonHautbois.html)
[Fagott](f/Fagotto.html)
[Fagott-Diskant](f/FagottDiskant.html)
[Fagottbass](f/Fagottbass.html)
[Fagotte](f/Fagotto.html)
[Fagotto](f/Fagotto.html)
[Fagottone](f/Fagottone.html)
[Fan Trumpet](t/TrompetteEnChamade.html)
[Fan Tuba](f/FanTuba.html)
[Fanfare Trumpet](f/FanfareTrumpet.html)
[Feldflöt[e]](f/Feldflote.html)
[Feldflöte](w/Waldflote.html)
[Feldhorn](w/Waldhorn.html)
[Feldpfeife](f/Feldflote.html)
[Feldpipe](f/Feldflote.html)
[Feldtrommet](o/OrchTrumpet.html)
[Feldtrompete](o/OrchTrumpet.html)
[Fern Flute](f/Fernflote.html)
[Fernflöte](f/Fernflote.html)
[Fernhorn](e/EchoNachthorn.html)
[Festival Trumpet](s/StateTrumpet.html)
[Fiedel](v/Viol.html)
[Field Trumpet](m/MilitaryTrumpet.html)
[Fife](f/Fife.html)
[Fiffaro](p/Piffaro.html)
[Fifre](f/Fife.html)
[Fifteenth](f/Fifteenth.html)
[Fifth](f/Fifth.html)
[Filomela](p/Philomela.html)
[First ...](f/FirstSecondEtc.html)
[Fistula Largior](s/Schwiegel.html)
[Fistula Militaris](f/Feldflote.html)
[Fistula Minima](f/Flageolet.html)
[Fistula Rurestris](b/Bauerflote.html)
[Fistula Salicis](s/Salicional.html)
[Flach Flute](f/Flachflote.html)
[Flachfloit](f/Flachflote.html)
[Flachflojte](f/Flachflote.html)
[Flachflöt[e]](f/Flachflote.html)
[Flachpfeife](f/Flachflote.html)
[Flageolet](f/Flageolet.html)
[Flageolet Echo](f/FlageoletEcho.html)
[Flageolet Harmonique](f/FlageoletHarmonique.html)
[Flageolett](f/Flageolet.html)
[Flageoletta](f/Flageolet.html)
[Flageolette](f/Flageolet.html)
[Flat Septime](t/TwentyFirst.html)
[Flat Seventh](t/TwentyFirst.html)
[Flat Twenty-first](t/TwentyFirst.html)
[Flaut-à-Becq](f/FluteABec.html)
[Flaut Allemande](o/OrchFlute.html)
[Flaut douce-Bass](f/Flotedoucebass.html) | [Flaut Hemiol](f/FlautHemiol.html)
[Flaut Travers](o/OrchFlute.html)
[Flauta Armónica](h/HarmonicFlute.html)
[Flauta Cuspida](s/Spitzflote.html)
[Flauta Euskeria](f/FlautaEuskeria.html)
[Flauta Tapada](t/Tapadillo.html)
[Flauta Travesiera](o/OrchFlute.html)
[Flautada](f/Flautada.html)
[Flautadito](o/Octave.html)
[Flautado](o/OpenDiapason.html)
[Flautado de Violón](g/Gedeckt.html)
[Flautado Kuerolofón](w/Waldflote.html)
[Flautado Principal](o/OpenDiapason.html)
[Flautado Tapado](t/Tapadillo.html)
[Flautado Violón](b/Bourdon.html)
[Flautat Principal](f/FlautatPrincipal.html)
[Flautim](f/Flageolet.html)
[Flautina](f/Flautino.html)
[Flautina Dolce](f/FlautinaDolce.html)
[Flautino](f/Flautino.html)
[Flauto](f/Flute.html)
[Flauto a Camino](r/Rohrflote.html)
[Flauto Allemano](f/FlautoAllemano.html)
[Flauto Amabile](f/FlautoAmabile.html)
[Flauto Amoroso](f/FlautoAmoroso.html)
[Flauto Angelico](v/VoxAngelica.html)
[Flauto Aperto](f/FlautoAperto.html)
[Flauto Camino](r/Rohrflote.html)
[Flauto Coperto](s/StoppedDiapason.html)
[Flauto Cuspido](s/Spitzflote.html)
[Flauto d'Amore](f/FlautoDAmore.html)
[Flauto di Pan](p/Panflote.html)
[Flauto Dolce](f/FlautoDolce.html)
[Flauto Dolcissimo](f/FlautoDolcissimo.html)
[Flauto Dolcissimo Céleste](f/FlautoDolcissimoCeleste.html)
[Flauto Doris](f/FlautoDoris.html)
[Flauto Douce](f/FlautoDoris.html)
[Flauto Dulcio](f/FlautoDulcio.html)
[Flauto Dulcis](f/FlautoDulcio.html)
[Flauto Grave](f/FlautoGrave.html)
[Flauto Harmonicissimo](h/Hundpfeife.html)
[Flauto Italico](f/FlautoItalico.html)
[Flauto Maggiore](m/MajorFlute.html)
[Flauto Major](m/MajorFlute.html)
[Flauto Minor](f/FlautoMinore.html)
[Flauto Minore](f/FlautoMinore.html)
[Flauto Mirabilis](f/FlautoMirabilis.html)
[Flauto Piccolo](p/Piccolo.html)
[Flauto Primo](f/FlautoPrimo.html)
[Flauto Reale](f/FlautoReale.html)
[Flauto Staccato](f/FlautoStaccato.html)
[Flauto Tedesca](c/Clarabella.html)
[Flauto Tedesco](f/FlautoTedesco.html)
[Flauto Traverso](o/OrchFlute.html)
[Flauto Travesiera](o/OrchFlute.html)
[Flauto Unisone](f/FlautoUnisone.html) | [Flautone](f/Flautone.html)
[Flautonne](f/Flautonne.html)
[Flautt in 6ta](s/Sesquialtera.html)
[Flet](f/Flute.html)
[Fletna](f/Flute.html)
[Fleut](f/Flute.html)
[Flöt](f/Flute.html)
[Flöte](f/Flute.html)
[Flöte dupla](d/Doppelflote.html)
[Flöte-Harmonica](h/Harmonica.html)
[Flöte Major](f/FloteMajor.html)
[Flöte Minor](f/FloteMinor.html)
[Flöte Traversa](o/OrchFlute.html)
[Flötedouce](f/FlautoDolce.html)
[Flötedoucebass](f/Flotedoucebass.html)
[Flötenbass](b/BassFlute.html)
[Flötenprincipal](f/Flotenprincipal.html)
[Flue Clarinet](l/LabialKlarinette.html)
[Flue Cor Anglais](l/LabialCorAnglais.html)
[Flue Euphone](l/LabialEuphone.html)
[Flue Oboe](l/LabialOboe.html)
[Fluegelhorn](f/Flugelhorn.html)
[Flügelhorn](f/Flugelhorn.html)
[Fluit](f/Flute.html)
[Fluste](f/Flute.html)
[Fluta](f/Fluta.html)
[Flûte](f/Flute.html)
[Flûte à Bec](f/FluteABec.html)
[Flûte à Becq](f/FluteABec.html)
[Flûte à Biberon](f/FluteABiberon.html)
[Flûte-à-Bouche-Ronde](f/FluteABoucheRonde.html)
[Flûte à Cheminée](r/Rohrflote.html)
[Flûte à Fuseau](f/FluteAFuseau.html)
[Flûte à Fusée](s/Spitzflote.html)
[Flûte à Neuf Trous](f/FluteANeufTrous.html)
[Flûte à Pavillon](b/BellDiapason.html)
[Flûte à Pointe](s/Spitzflote.html)
[Flûte à Pyramide](f/FluteAPyramide.html)
[Flute Alemand](o/OrchFlute.html)
[Flûte Allemande](o/OrchFlute.html)
[Flûte Angélique](s/Soave.html)
[Flûte Bass](b/BassFlute.html)
[Flûte Bouchée](s/StoppedDiapason.html)
[Flûte Bouchée Harmonique](f/FluteBoucheeHarmonique.html)
[Flute Céleste](f/FluteCeleste.html)
[Flûte Champ](f/Feldflote.html)
[Flute Coelestis](l/Ludwigtone.html)
[Flûte Conique](f/FluteConique.html)
[Flûte Courte](k/Kurzflote.html)
[Flûte Couverte](f/FluteCouverte.html)
[Flûte Creuse](h/Hohlflote.html)
[Flute d'Alemagne](o/OrchFlute.html)
[Flûte d'Allemagne](o/OrchFlute.html)
[Flûte d'Amour](f/FlautoDAmore.html)
[Flûte d'Amour Céleste](f/FluteDAmourCeleste.html)
[Flûte d'Orchestre](o/OrchFlute.html) | [Flûte de Bois](f/ForestFlute.html)
[Flûte de Pédale](f/FluteDePedale.html)
[Flûte des Bois](w/Waldflote.html)
[Flute Dolce](f/FlautoDolce.html)
[Flute Double](d/Doppelflote.html)
[Flûte Douce](f/FlautoDolce.html)
[Flûte dupla](d/Doppelflote.html)
[Flûte en Fusée](s/Spitzflote.html)
[Flûte Fondamentale](f/FluteFondamentale.html)
[Flûte Harmonique](h/HarmonicFlute.html)
[Flûte Magique](f/FluteMagique.html)
[Flûte Majeur](m/MajorFlute.html)
[Flûte Nasard](f/FluteNasard.html)
[Flûte Octaviante](f/FluteOctaviante.html)
[Flûte Octaviante Harmonique](f/FluteOctavianteHarmonique.html)
[Flûte Octaviente Harmonique](f/FluteOctavianteHarmonique.html)
[Flûte Octavin Harmonique](f/FluteOctavinHarmonique.html)
[Flûte Orchestrale](o/OrchFlute.html)
[Flûte Ouverte](f/FluteOuverte.html)
[Flûte Pointue](s/Spitzflote.html)
[Flute Principal](f/FlutePrincipal.html)
[Flûte Pyramidale](f/FluteConique.html)
[Flute Quint](q/Quintflote.html)
[Flute Traversa](o/OrchFlute.html)
[Flute Traverse](o/OrchFlute.html)
[Flûte Traversière](o/OrchFlute.html)
[Flûte Traversière Harmonique](f/FluteTraversiereHarmonique.html)
[Flûte Traversine](o/OrchFlute.html)
[Flûte Triangulaire](f/FluteTriangulaire.html)
[Flute Triangular](f/FluteTriangulaire.html)
[Flutebass](b/BassFlute.html)
[Flûton](f/Flautone.html)
[Fluttuan](f/Fluttuan.html)
[Forest Flute](f/ForestFlute.html)
[Fornitura](f/Fourniture.html)
[Forniture](f/Fourniture.html)
[Forty-Third](f/FortyThird.html)
[Fournitura](f/Fourniture.html)
[Fourniture](f/Fourniture.html)
[Fourniture Cymbalisée](f/FournitureCymbalisee.html)
[Fourniture Harmonique](f/FournitureHarmonique.html)
[Fourteenth, Flatted](f/FourteenthFlatted.html)
[Fourth ...](f/FirstSecondEtc.html)
[Französische Posaune](f/FranzosischePosaune.html)
[French Horn](f/FrenchHorn.html)
[French Trumpet](f/FrenchTrumpet.html)
[Frontispicium](o/OpenDiapason.html)
[Fuchsschwank](f/Fuchsschwanz.html)
[Fuchsschwanz](f/Fuchsschwanz.html)
[Fugara](f/Fugara.html)
[Full Flute](f/FullFlute.html)
[Full Mixture](f/FullMixture.html)
[Fullflöte](f/FullFlote.html)
[Füllquinte](f/FullQuinte.html)
[Fundamentalis](o/OpenDiapason.html)
[Furniture](f/Fourniture.html) | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Gaita[s]](g/Gaitas.html)
[Galonbel](g/Galonbel.html)
[Galoubet](g/Galoubet.html)
[Galoubeth](g/Galoubet.html)
[Gamba](g/Gamba.html)
[Gamba Celeste](g/GambaCeleste.html)
[Gamba Diapason](g/GambaDiapason.html)
[Gambe](g/Gamba.html)
[Gambenbass](g/Gambenbass.html)
[Gambette](g/Gambette.html)
[Gambette Celeste](g/GambetteCeleste.html)
[Gedackt](g/Gedeckt.html)
[Gedackt-Bommer](g/Gedecktpommer.html)
[Gedackt Lieblich](l/LieblichGedeckt.html)
[Gedackt-Pommer](g/Gedecktpommer.html)
[Gedackte Italienische Quinte](g/GedackteItalienischeQuinte.html)
[Gedackte Quinte](g/Gedecktquinte.html)
[Gedackte Quintflöte](g/Gedecktquinte.html)
[Gedacktflöte](g/Gedecktflote.html)
[Gedacktflötoktave](s/Supergedackt.html)
[Gedacktquinte](g/Gedecktquinte.html)
[Gedact](g/Gedeckt.html)
[Gedact-Pommer](g/Gedecktpommer.html)
[Gedact-quint](g/Gedecktquinte.html)
[Gedakt](g/Gedeckt.html)
[Gedaktflöt Chormass](g/GedaktflotChormass.html)
[Gedaktflöt unter Chormass](g/GedaktflotUnterChormass.html)
[Gedaktpommer](g/Gedecktpommer.html)
[Gedämpftregal](g/Gedampftregal.html)
[Gedeckt](g/Gedeckt.html)
[Gedeckt Quint](g/Gedecktquinte.html)
[Gedeckt Tierce](g/GedecktTierce.html)
[Gedeckt Twelfth](g/GedecktTwelfth.html)
[Gedecktbass](g/Gedecktbass.html)
[Gedecktbommer](g/Gedecktpommer.html)
[Gedecktflöte](g/Gedecktflote.html)
[Gedecktpommer](g/Gedecktpommer.html)
[Gedecktquinte](g/Gedecktquinte.html)
[Gedecktregal](g/Gedecktregal.html)
[Gedempftregal](g/Gedampftregal.html)
[Geigen](g/Geigen.html)
[Geigen Diapason](g/Geigen.html)
[Geigen Fifteenth](g/GeigenFifteenth.html)
[Geigen Octave](g/GeigenOctave.html)
[Geigen Principal](g/Geigen.html) | [Geigen Regal](g/Geigenregal.html)
[Geigen Super Octave](g/GeigenFifteenth.html)
[Geigen Twelfth](g/GeigenTwelfth.html)
[Geigenbass](g/Geigenbass.html)
[Geigendregal](g/Geigenregal.html)
[Geigendregälchen](g/Geigenregal.html)
[Geigenoctav](g/GeigenOctave.html)
[Geigenprincipal](g/Geigen.html)
[Geigenprinzipal](g/Geigen.html)
[Geigenregal](g/Geigenregal.html)
[Gelindgedeckt](g/Gelindgedeckt.html)
[Gemshoorn](g/Gemshorn.html)
[Gemshorn](g/Gemshorn.html)
[Gemshorn-Baarpijp](b/Baarpijp.html)
[Gemshorn Celeste](g/GemshornCeleste.html)
[Gemshorn Cornet](g/GemshornCornet.html)
[Gemshorn Diapason](s/Spitzprinzipal.html)
[Gemshorn Fifteenth](g/GemshornFifteenth.html)
[Gemshorn Gamba](g/GemshornGamba.html)
[Gemshorn Mixture](g/GemshornMixture.html)
[Gemshorn Octave](g/GemshornOctave.html)
[Gemshorn Quint](g/Gemshornquinte.html)
[Gemshorn Super Octave](g/GemshornFifteenth.html)
[Gemshorn Twelfth](g/GemshornTwelfth.html)
[Gemshorn Violin](g/GemshornViolin.html)
[Gemshornbass](g/Gemshornbass.html)
[Gemshornquint](g/Gemshornquinte.html)
[Gemshornquinte](g/Gemshornquinte.html)
[Gemsquint[e]](g/Gemshornquinte.html)
[Gemsrohrflöte](g/Gemsrohrflote.html)
[Gemster](g/Gemshorn.html)
[German Flute](g/GermanFlute.html)
[German Gamba](g/GermanGamba.html)
[Gesang-Regal](s/Singendregal.html)
[Gingrina](s/Schalmei.html)
[Glockenflöte](b/BellFlute.html)
[Glockengamba](b/BellGamba.html)
[Glockenregister](g/Glockenspiel.html)
[Glockenspiel](g/Glockenspiel.html)
[Glöckenton](g/Glockleinton.html)
[Glockenzimbel](g/Glockenzimbel.html)
[Glockenzymbel](g/Glockenzimbel.html)
[Glöcklein](c/Campana.html)
[Glöckleinton](g/Glockleinton.html)
[Gongs](g/Gongs.html) | [Gottfried Trumpet](o/OrchTrumpet.html)
[Grand Bourdon](c/ContraBourdon.html)
[Grand Chorus](g/GrandChorus.html)
[Grand Cornet](g/GrandCornet.html)
[Grand Diapason](g/GrandDiapason.html)
[Grand Flute](g/GrandFlute.html)
[Grand Fourniture](g/GrandFourniture.html)
[Grand Mixture](g/GrandMixture.html)
[Grand Mutation](g/GrandMutation.html)
[Grand Octave](m/MajorOctave.html)
[Grand Open Diapason](g/GrandDiapason.html)
[Grand Open Pedal](g/GrandOpenPedal.html)
[Grand Principal](g/GrandDiapason.html)
[Grand Quint](g/GrandQuint.html)
[Grand Quintaten](n/NasardFlute.html)
[Grand Viol](g/GrandViol.html)
[Grande Fourniture](g/GrandFourniture.html)
[Grave](g/GraveMixture.html)
[Grave Flute](f/FlautoGrave.html)
[Grave Mixture](g/GraveMixture.html)
[Gravissima](r/Resultant.html)
[Gravitone](r/Resultant.html)
[Great Bass](c/ContraPrincipal.html)
[Great Tierce](t/Tenth.html)
[Grêle](h/Hail.html)
[Grob-Gedackt](g/Grossgedeckt.html)
[Grob...](g/Grob.html)
[Grobcymbel](g/Grobcymbel.html)
[Grobemixtur Unterchormass](g/GrobemixturUnterchormass.html)
[Groben Principal](g/GrobenPrincipal.html)
[Grober Posaunen-Untersatz](b/BassTrombone.html)
[Grobmixtur](g/Grobmixtur.html)
[Grobposaune](g/Grobposaune.html)
[Grobregal](g/Grobregal.html)
[Gros Bourdon](c/ContraBourdon.html)
[Gros Nasard](f/Fifth.html)
[Gross Cornet](g/GrandCornet.html)
[Gross Flute](g/Grossflote.html)
[Gross Flûte Douce](f/Flautone.html)
[Gross Gamba](g/GrossGamba.html)
[Gross-Gedackt](g/Grossgedeckt.html)
[Gross Geigen](g/Geigenbass.html)
[Gross Mixture](g/GrossMixture.html)
[Gross Nasard](f/Fifth.html)
[Gross Quint](f/Fifth.html) | [Gross-Ranket](g/GrossRanket.html)
[Gross Sesquialtera](g/GrosseSesquialtera.html)
[Gross Tierce](t/Tenth.html)
[Grossdoppelgedeckt](g/Grossdoppelgedeckt.html)
[Grosse Cymbale](g/GrosseCymbale.html)
[Grosse Flöte](g/Grossflote.html)
[Grosse Flûte](g/Grossflote.html)
[Grosse Fourniture](g/GrosseFourniture.html)
[Grosse Quinte](f/Fifth.html)
[Grosse Sesquialtera](g/GrosseSesquialtera.html)
[Grosse Spitzflöte](g/GrosseSpitzflote.html)
[Grosse Tierce](g/GrosseTierce.html)
[Grossflachflöt[e]](g/Grossflachflote.html)
[Grossflöte](g/Grossflote.html)
[Grossgamba](g/GrossGamba.html)
[Grossgedeckt](g/Grossgedeckt.html)
[Grossgemshorn](d/DoubleGemshorn.html)
[Grossgemshornbass](g/Grossgemshornbass.html)
[Grosshohlflöt[e]](g/Grosshohlflote.html)
[Grossholzflöt](g/Grossholzflot.html)
[Grosskoppel](g/Grosskoppel.html)
[Grossnasat](f/Fifth.html)
[Grossnassat](f/Fifth.html)
[Grossoctav](g/Grossoctav.html)
[Grossoctavbass](g/Grossoctavbass.html)
[Grossoktav[e]](g/Grossoctav.html)
[Grossposaune](b/BassTrombone.html)
[Grossprastant](c/ContraPrincipal.html)
[Grossprincipalbass](g/Grossprinzipalbass.html)
[Grossprinzipal](c/ContraPrincipal.html)
[Grossprinzipalbass](g/Grossprinzipalbass.html)
[Grossquerflöte](g/Grossquerflote.html)
[Grossquintenbass](g/Grossquintenbass.html)
[Grossrauschquinte](g/Grossrauschquinte.html)
[Grossregal](g/Grossregal.html)
[Grossrohrflöte](g/Grossrohrflote.html)
[Grossrohrflötenbass](g/Grossrohrflotenbass.html)
[Grosssubbass](c/ContraBourdon.html)
[Grossterz](t/Tenth.html)
[Grossunterbass](c/ContraBourdon.html)
[Grossuntersatz](c/ContraBourdon.html)
[Guckguck](c/Cuckoo.html)
[Gukuk](c/Cuckoo.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | | |
| --- | --- | --- | --- | --- |
| [Haemiol](h/Hemiol.html)
[Hahn](h/Hahn.html)
[Hail](h/Hail.html)
[Halber Cornet](h/HalberCornet.html)
[Halbprincipal](o/Octave.html)
[Harfa](h/Harp.html)
[Harfe](h/Harp.html)
[Harfenprincipal](h/Harfenprinzipal.html)
[Harfenprinzipal](h/Harfenprinzipal.html)
[Harfenregal](h/Harfenregal.html)
[Harfpfeife](h/Harfpfeife.html)
[Harmonia Aethera](h/HarmoniaAetheria.html)
[Harmonia Aetherea](h/HarmoniaAetheria.html)
[Harmonia Aetheria](h/HarmoniaAetheria.html)
[Harmonic Bass](r/Resultant.html)
[Harmonic Claribel](h/HarmonicClaribel.html)
[Harmonic Clarion](h/HarmonicClarion.html)
[Harmonic Cornet](h/HarmonicCornet.html)
[Harmonic Cymbal](h/HarmonicCymbal.html)
[Harmonic Diapason](h/HarmonicDiapason.html)
[Harmonic Flute](h/HarmonicFlute.html)
[Harmonic Gedeckt](h/HarmonicGedeckt.html)
[Harmonic Gemshorn](h/HarmonicGemshorn.html)
[Harmonic Mixture](h/HarmonicMixture.html)
[Harmonic Octave](h/HarmonicOctave.html)
[Harmonic Piccolo](h/HarmonicPiccolo.html)
[Harmonic Plein Jeu](p/PleinJeuHarmonique.html)
[Harmonic Stopped Twelfth](h/HarmonicTwelfth.html)
[Harmonic Tierce](h/HarmonicTierce.html) | [Harmonic Trumpet](h/HarmonicTrumpet.html)
[Harmonic Tuba](h/HarmonicTuba.html)
[Harmonic Tuba Clarion](h/HarmonicTubaClarion.html)
[Harmonic Twelfth](h/HarmonicTwelfth.html)
[Harmonica](h/Harmonica.html)
[Harmonica Aetherica](h/HarmoniaAetheria.html)
[Harmonica Flute](h/Harmonica.html)
[Harmonicabass](h/Harmonicabass.html)
[Harmonics](c/CornetDesBombardes.html)
[Harmonieflöte](h/Harmonieflote.html)
[Harmonietrompete](h/HarmonicTrumpet.html)
[Harmonika](h/Harmonica.html)
[Harmonika Celeste](h/HarmonikaCeleste.html)
[Harmonikabass](h/Harmonicabass.html)
[Harmonique Piccolo](h/HarmonicPiccolo.html)
[Harmonium](p/Physharmonika.html)
[Harp](h/Harp.html)
[Harp Aeolian](h/HarpAeolone.html)
[Harp Aeoline](h/HarpAeolone.html)
[Harp Aeolone](h/HarpAeolone.html)
[Hautbois](o/Oboe.html)
[Hautbois d'Amour](o/OboeDAmore.html)
[Hautbois d'Orchestre](o/OrchOboe.html)
[Hautboy](o/Oboe.html)
[Hautboy & Bassoon](b/BassonHautbois.html)
[Hautboy Clarion](o/OctaveOboe.html)
[Hautboy-Cornet](h/HautboyCornet.html)
[Heckelphone](h/Heckelphone.html)
[Hedeiaphone](h/Hedeiaphone.html) | [Heertrummel](h/Heertrummel.html)
[Hellezimbel](h/Hellezimbel.html)
[Hellflöte](h/Hellflote.html)
[Hellpfeife](h/Hellflote.html)
[Hemiol](h/Hemiol.html)
[Hemiolflöte](f/FlautHemiol.html)
[Hintersatz](m/Mixture.html)
[Hoboe](o/Oboe.html)
[Hohl Flute](h/Hohlflote.html)
[Hohlflöt[e]](h/Hohlflote.html)
[Hohlflötenbass](h/Hohlflotenbass.html)
[Hohlpfeife](h/Hohlflote.html)
[Hohlquinta](h/Hohlquinte.html)
[Hohlquinte](h/Hohlquinte.html)
[Hohlschelle](q/Quintaten.html)
[Hohpfeife](h/Hohlflote.html)
[Hol-Flute](h/Hohlflote.html)
[Hole-Flute](h/HoleFlute.html)
[Holflöte](h/Hohlflote.html)
[Holfluit](h/Hohlflote.html)
[Holpfeife](h/Hohlflote.html)
[Holpijp](h/Hohlflote.html)
[Holpipe](h/Hohlflote.html)
[Holquinte](h/Hohlquinte.html)
[Holschelle](q/Quintaten.html)
[Holtzbass](h/Holtzbass.html)
[Holtzflöte](h/Holzflote.html)
[Holtzgedackt](h/Holzgedeckt.html)
[Holzdulzian](h/Holzdulzian.html) | [Hölzernes Gelächter](h/HolzernesGelachter.html)
[Hölzernprincipal](h/Holzprinzipal.html)
[Holzflöte](h/Holzflote.html)
[Holzgedackt](h/Holzgedeckt.html)
[Holzgedeckt](h/Holzgedeckt.html)
[Holzharmonica](t/Terpodion.html)
[Holzkrummhorn](h/Holzkrummhorn.html)
[Holzpfeife](h/Holzflote.html)
[Holzposaune](h/Holzposaune.html)
[Holzprinzipal](h/Holzprinzipal.html)
[Holzrankett](h/Holzrankett.html)
[Holzregal](h/Holzregal.html)
[Hoorn](h/Hoorn.html)
[Horizontal Trumpet](t/TrompetteEnChamade.html)
[Horizontal Tuba](f/FanTuba.html)
[Horn](f/FrenchHorn.html)
[Horn Diapason](h/HornDiapason.html)
[Horn Gamba](f/Fugara.html)
[Hornbässlein](h/Hornbasslein.html)
[Hornle](h/Hornle.html)
[Hörnlein](h/Hornlein.html)
[Hörnli](h/Hornli.html)
[Hültze Glechter](h/HolzernesGelachter.html)
[Humangedackt](h/Humangedeckt.html)
[Humangedeckt](h/Humangedeckt.html)
[Hummel](h/Hummel.html)
[Hummelchen](h/Hummel.html)
[Hundpfeife](h/Hundpfeife.html)
[Hunting Horn](w/Waldhorn.html) | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | | |
| --- | --- | --- | --- | --- |
| [Imitacion de Tempestad](d/Donner.html) | [Infra Bass](c/ContraBourdon.html) | [Italian Principal](i/ItalianPrincipal.html) | [Iula](j/Jula.html) | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Jauchzendpfeife](j/Jauchzendpfeife.html)
[Jeu de Clochette](j/JeuDeClochette.html)
[Jeu en Montre](o/OpenDiapason.html)
[Jeu Érard](j/JeuErard.html)
[Jubal](j/Jubal.html) | [Jubal Flute](j/Jubalflote.html)
[Jubalflöt[e]](j/Jubalflote.html)
[Jubelhorn](c/Cornopean.html)
[Jula](j/Jula.html)
[Julaquinte](j/Julaquinte.html) | [Junfernregal](j/Jungfernregal.html)
[Jungfernregal](j/Jungfernregal.html)
[Jungfernregalbass](j/Jungfernregalbass.html)
[Jungfernstime](j/Jungfernstime.html)
[Jungfernstimme](j/Jungfernstime.html) | [Jungferstimme](j/Jungfernstime.html)
[Jungfrauenregal](j/Jungfernregal.html)
[Jungfrauenregalbass](j/Jungfernregalbass.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Kälberregal](k/Kalberregal.html)
[Kalliope](k/Kalliope.html)
[Kammerflöte](k/Kammerflote.html)
[Kammergedeckt](k/Kammerflote.html)
[Kammerton-Gedackt](k/Kammerflote.html)
[Keen Strings](k/KeenStrings.html)
[Kegel](s/Spitzflote.html)
[Keraulophon](k/Keraulophone.html)
[Keraulophone](k/Keraulophone.html)
[Kerophone](k/Kerophone.html)
[Kettledrums](d/Drums.html)
[Kewzialflöte](k/Kutzialflote.html)
[Kinura](k/Kinura.html)
[Klarin](c/Clarion.html)
[Klarinett[e]](c/Clarinet.html)
[Klarinettbass](k/Klarinettbass.html)
[Klaroen](c/Clarion.html)
[Klaväoline](c/Clavaoline.html)
[Klaxon Horn](p/percussion.html)
[Klein Erzähler](k/Kleinerzahler.html)
[Klein Erzähler Celeste](k/Kleinerzahler.html)
[Klein Flötenbass](k/Kleinflotenbass.html)
[Klein-Gedackt](k/Kleingedeckt.html) | [Klein Octavengemshorn](g/GemshornFifteenth.html)
[Klein Principal](k/Kleinprinzipal.html)
[Klein Ranket](k/KleinRanket.html)
[Klein Violn](g/GemshornOctave.html)
[Klein[e] Octave](f/Fifteenth.html)
[Kleincimbel](k/Kleincimbel.html)
[Kleine Erzähler](k/Kleinerzahler.html)
[Kleine Erzähler Celeste](k/Kleinerzahler.html)
[Kleine Flöte](k/Kleinflote.html)
[Kleine Hohlflöte](k/KleineHohlflote.html)
[Kleine Mixtur](k/KleineMixture.html)
[Kleine Mixtur Chormass](k/KleineMixturChormass.html)
[Kleine Mixture](k/KleineMixture.html)
[Kleine Zimbel](k/Kleincimbel.html)
[Kleiner Cymbel](k/Kleincimbel.html)
[Kleiner Erzähler](k/Kleinerzahler.html)
[Kleiner Erzähler Celeste](k/Kleinerzahler.html)
[Kleinerzähler](k/Kleinerzahler.html)
[Kleinflachflöt](k/Kleinflachflot.html)
[Kleinflöte](k/Kleinflote.html)
[Kleinflötenbass](k/Kleinflotenbass.html)
[Kleingedeckt](k/Kleingedeckt.html)
[Kleingemshorn](g/GemshornOctave.html) | [Kleinhohlflöte](k/KleineHohlflote.html)
[Kleinmixtur](k/KleineMixture.html)
[Kleinoktav[e]](f/Fifteenth.html)
[Kleinprinzipal](k/Kleinprinzipal.html)
[Kleinquerflöte](k/Kleinquerflote.html)
[Kleinregal](k/Kleinregal.html)
[Kleinregalbass](k/Kleinregalbass.html)
[Kleinschreier](s/Schreier.html)
[Kleinschreyer](s/Schreier.html)
[Kleinterz](k/Kleinterz.html)
[Klingend[e] Cymbel](k/Klingendzimbel.html)
[Klingender Cymbel](k/Klingendzimbel.html)
[Klingendzimbel](k/Klingendzimbel.html)
[Kniegeige](v/ViolaDaGamba.html)
[Knopfregal](k/Knopfregal.html)
[Kontra Bass](c/Contrabass.html)
[Köpflinregal](k/Kopflinregal.html)
[Kopfregal](k/Kopfregal.html)
[Kopftrompete](e/EnglishHorn.html)
[Koppel](c/Copula.html)
[Koppel Flute](k/Koppelflote.html)
[Koppel Octave](c/CopulaMinor.html)
[Koppeldone](c/Coppeldone.html) | [Koppeldoof](o/Octave.html)
[Koppeldous](k/Koppeldous.html)
[Koppelflöt[e]](k/Koppelflote.html)
[Koppelgedackt](k/Koppelgedeckt.html)
[Koppelgedeckt](k/Koppelgedeckt.html)
[Koppeloktav[e]](c/CopulaMinor.html)
[Kornett](z/Zink.html)
[Kromhoorn](k/Krummhorn.html)
[Krumet](k/Krumet.html)
[Krumet Horn](k/Krumet.html)
[Krumhorn](k/Krummhorn.html)
[Krummhorn](k/Krummhorn.html)
[Krummhornregal](k/Krummhornregal.html)
[Kryther](b/Barpfeife.html)
[Kuckuck](c/Cuckoo.html)
[Kuerlofon](k/Kuerlofon.html)
[Kupferflöte](k/Kupferflote.html)
[Kurzeflöte](k/Kurzflote.html)
[Kurzflöte](k/Kurzflote.html)
[Kützialflöte](k/Kutzialflote.html)
[Kuzialflöte](k/Kutzialflote.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | | |
| --- | --- | --- | --- | --- |
| [La Force](l/LaForce.html)
[Labial Clarinet](l/LabialKlarinette.html)
[Labial Cor Anglais](l/LabialCorAnglais.html)
[Labial Euphone](l/LabialEuphone.html)
[Labial Klarinette](l/LabialKlarinette.html)
[Labial Oboe](l/LabialOboe.html)
[Largior](s/Schwiegel.html)
[Largo](l/Larigot.html)
[Larigot](l/Larigot.html) | [Larigot Mixture](l/LarigotMixture.html)
[Liebesgeige](v/ViolaDAmore.html)
[Lieblich Bourdon](l/LieblichBordun.html)
[Lieblich Flute](l/LieblichFlote.html)
[Lieblich Gedackt](l/LieblichGedeckt.html)
[Lieblich Gedact](l/LieblichGedeckt.html)
[Lieblich Quint](l/Lieblichquinte.html)
[Lieblich[e] Gemsquinte](l/LieblichGemsquinte.html)
[Lieblichbordun](l/LieblichBordun.html) | [Lieblichflöt[e]](l/LieblichFlote.html)
[Lieblichgedeckt](l/LieblichGedeckt.html)
[Lieblichgeschallt](l/LieblichGeschallt.html)
[Lieblichnasat](l/Lieblichnasat.html)
[Lieblichpfeif](l/Lieblichpfeif.html)
[Lieblichquinte](l/Lieblichquinte.html)
[Litice](l/Litice.html)
[Liturgical Trumpet](l/LiturgicalTrumpet.html)
[Lituus](l/Litice.html) | [Lleno](m/Mixture.html)
[Locatie](m/Mixture.html)
[Locatio](m/Mixture.html)
[Location](m/Mixture.html)
[Lochgedackt](l/Lochgedackt.html)
[Lochgedeckt](l/Lochgedackt.html)
[Lokatio](m/Mixture.html)
[Ludwigtone](l/Ludwigtone.html)
[Lute](l/Lute.html) | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Magnaton](m/Magnaton.html)
[Major Bass](c/ContraBourdon.html)
[Major Clarinet](m/MajorClarinet.html)
[Major Diapason](g/GrandDiapason.html)
[Major Flute](m/MajorFlute.html)
[Major Mixtur](m/MajorMixture.html)
[Major Mixture](m/MajorMixture.html)
[Major Octave](m/MajorOctave.html)
[Major Open Flute](m/MajorFlute.html)
[Major Principal](g/GrandDiapason.html)
[Major Quinte](q/QuintBass.html)
[Major Saxophone](s/SoloSaxophone.html)
[Major Twelfth](m/MajorTwelfth.html)
[Major Vox Humana](s/SoloVoxHumana.html)
[Majorbass](c/ContraBourdon.html)
[Majorflöte](m/MajorFlute.html)
[Manualuntersatz](m/Manualuntersatz.html)
[Manum de tabula](v/VoxInaudita.html)
[Marimba](m/Marimba.html)
[Marimba Harp](m/MarimbaHarp.html)
[Meerflöte](u/UndaMaris.html)
[Megalopente](f/Fifth.html) | [Megalophone](r/Resultant.html)
[Mellophone](m/Mellophone.html)
[Melodia](m/Melodia.html)
[Melodic ...](m/Melodic.html)
[Melodica](m/Melodia.html)
[Mélodie](m/Melodia.html)
[Melophone](m/Melophone.html)
[Melotone](m/Melotone.html)
[Menschenstimme](v/VoxHumana.html)
[Merula](v/Vogelgesang.html)
[Messingregal](m/Messingregal.html)
[Messingregal Singend](m/MessingregalSingend.html)
[Metal[l]gedackt](m/Metallgedackt.html)
[Metal[l]gedeckt](m/Metallgedackt.html)
[Metallic Flute](m/MetallicFlute.html)
[Metallic, Stopped](m/MetallicStopped.html)
[Metronomus](m/Metronomus.html)
[Micxtuere](m/Mixture.html)
[Military Trumpet](m/MilitaryTrumpet.html)
[Minerici](t/Twelfth.html)
[Minor Clarinet](m/MinorClarinet.html)
[Minor Diapason](m/MinorDiapason.html) | [Minor Octave](m/MinorOctave.html)
[Minor Open Flute](m/MinorOpenFlute.html)
[Minor Principal](m/MinorPrincipal.html)
[Minor Vox Humana](m/MinorVoxHumana.html)
[Minorflöte](f/FlautoMinore.html)
[Miscella](m/Mixture.html)
[Mittelflöte](m/Mittelflote.html)
[Mittelgedackt](m/Mittelgedeckt.html)
[Mittelgedeckt](m/Mittelgedeckt.html)
[Mixtuer](m/Mixture.html)
[Mixtur](m/Mixture.html)
[Mixtur Chormass](m/MixturChormass.html)
[Mixtur Major](m/MajorMixture.html)
[Mixtura](m/Mixture.html)
[Mixtura Major](m/MajorMixture.html)
[Mixture](m/Mixture.html)
[Mixtuur](m/Mixture.html)
[Mollters](m/Mollterz.html)
[Mollterz](m/Mollterz.html)
[Monster](o/OpenDiapason.html)
[Montre](o/OpenDiapason.html)
[Montre Echo](e/EchoDiapason.html) | [Mostra](o/OpenDiapason.html)
[Mounted Cornet](m/MountedCornet.html)
[Mundflöte](m/Mundflote.html)
[Musette](m/Musette.html)
[Musicirgedeckt](m/Musicirgedeckt.html)
[Musikgedackt](m/Musicirgedeckt.html)
[Musiziergedackt](m/Musicirgedeckt.html)
[Muted 'Cello](m/MutedCello.html)
[Muted Cornet](m/MutedCornet.html)
[Muted Diapason](m/MutedDiapason.html)
[Muted Gamba](m/MutedGamba.html)
[Muted Horn](m/MutedHorn.html)
[Muted Snare Drum](p/percussion.html)
[Muted Strings](m/MutedStrings.html)
[Muted Trumpet](m/MutedTrumpet.html)
[Muted Viol](m/MutedViol.html)
[Muted Viol Mixture](m/MutedViolMixture.html)
[Muted Viola](m/MutedViola.html)
[Muted Viole](m/MutedViole.html)
[Muted Violin](m/MutedViol.html)
[Muted Violin Céleste](m/MutedViolinCeleste.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Nachsatz](n/Nasard.html)
[Nachthoorn](n/Nachthorn.html)
[Nachthorn](n/Nachthorn.html)
[Nachthornbass](n/Nachthorn.html)
[Nachthörnchen](n/Nachthorn.html)
[Nachthorngedackt](n/Nachthorngedackt.html)
[Nachtigall](v/Vogelgesang.html)
[Nachtschall](n/Nachthorn.html)
[Nasad](n/Nasard.html)
[Nasard](n/Nasard.html)
[Nasard à Fuseau](n/NasardAFuseau.html)
[Nasard en Cheminée](r/Rohrnasat.html)
[Nasard Flûte](n/NasardFlute.html) | [Nasard Gamba](n/NasardGamba.html)
[Nasard Harmonique](n/NasardHarmonique.html)
[Nasard Ouvert](n/NasardOuvert.html)
[Nasarde](n/Nasard.html)
[Nasardo](n/Nasard.html)
[Nasardos](n/Nasardos.html)
[Nasat](n/Nasard.html)
[Nasatflöte](n/Nasard.html)
[Nasath](l/Larigot.html)
[Nasatquinte](n/Nasard.html)
[Nasaz](n/Nasard.html)
[Nashorn](n/Nason.html)
[Nason](n/Nason.html) | [Nason Flute](n/Nason.html)
[Nason Gedackt](n/Nason.html)
[Nason Gedeckt](n/Nason.html)
[Nasonflöte](n/Nason.html)
[Nassart](n/Nasard.html)
[Nassat](n/Nasard.html)
[Nassatquint](s/Spitzquinte.html)
[Nassatt](n/Nasard.html)
[Nazar](n/Nasard.html)
[Nazard](n/Nasard.html)
[Nazard Harmonique](n/NasardHarmonique.html)
[Nazardo](n/Nasard.html)
[Nazat](n/Nasard.html) | [Nete](q/Quint.html)
[Neuvième](n/None.html)
[Night Horn](n/Nachthorn.html)
[Nightingale](v/Vogelgesang.html)
[Nihil](v/VoxInaudita.html)
[Nineteenth](n/Nineteenth.html)
[Ninth](n/Ninth.html)
[Nitsua](n/Nitsua.html)
[Noli me tangere](f/Fuchsschwanz.html)
[None](n/None.html)
[Nonenkornett](n/Nonenkornett.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Oberton](o/Oberton.html)
[Oboe](o/Oboe.html)
[Oboe & Fagotto](b/BassonHautbois.html)
[Oboe Clarion](o/OctaveOboe.html)
[Oboe d'Amore](o/OboeDAmore.html)
[Oboe d'Amour](o/OboeDAmore.html)
[Oboe Echo](e/EchoOboe.html)
[Oboe Flute](o/OboeFlute.html)
[Oboe Gamba](o/OboeGamba.html)
[Oboe Horn](o/OboeHorn.html)
[Oboe Schalmei](o/OboeSchalmei.html)
[Obtusa](g/Gedeckt.html)
[Obtusior](g/Gedeckt.html)
[Ocarina](o/Ocarina.html)
[Octaaf](o/Octave.html)
[Octav](o/Octave.html)
[Octava](o/Octave.html)
[Octava Composita](f/Fifteenth.html)
[Octava de Ecos](e/EchoFlute.html)
[Octava de Nasardos](n/Nineteenth.html)
[Octava Tapada](t/Tapadillo.html)
[Octavbass](h/Hornbasslein.html)
[Octave](o/Octave.html)
[Octave Bass](o/OctaveBass.html)
[Octave Basset Horn](o/OctaveBassetHorn.html) | [Octave Celeste](o/OctaveCeleste.html)
[Octave Clarabella](c/ClaribelFlute.html)
[Octave Clarion](c/ClaironDoublette.html)
[Octave Diapason](o/Octave.html)
[Octave Dolce](d/Dolcette.html)
[Octave Dulciana](d/Dulcet.html)
[Octave Fifteenth](t/TwentySecond.html)
[Octave Flute](o/OctaveFlute.html)
[Octave Gamba](g/Gambette.html)
[Octave Geigen](g/GeigenOctave.html)
[Octave Gemshorn](g/GemshornOctave.html)
[Octave Hautboy](o/OctaveOboe.html)
[Octave Horn](o/OctaveHorn.html)
[Octave Mixture](o/OctaveMixture.html)
[Octave Oboe](o/OctaveOboe.html)
[Octave Principal](o/Octave.html)
[Octave Quint](t/Twelfth.html)
[Octave Stopped Diapason](o/OctaveStoppedDiapason.html)
[Octave Tierce](t/TwentyFourth.html)
[Octave Tromba](t/TrombaClarion.html)
[Octave Tuba](t/TubaClarion.html)
[Octave Twelfth](n/Nineteenth.html)
[Octave Viol](g/Gambette.html)
[Octave Viola](o/OctaveViola.html)
[Octave Viole](g/Gambette.html) | [Octave Violin](o/OctaveViolin.html)
[Octave Wood](o/OctaveWood.html)
[Octavenbass](o/Oktavenbass.html)
[Octavin](o/Octavin.html)
[Octavin Harmonique](h/HarmonicPiccolo.html)
[Octavina Harmonique](h/HarmonicPiccolo.html)
[Offenbass](o/Offenbass.html)
[Offenflöt](o/Offenflote.html)
[Offenflöte](o/Offenflote.html)
[Offenflötenquinte](o/Offenflotenquinte.html)
[Offenquintflöte](o/Offenflotenquinte.html)
[Officleide](o/Ophicleide.html)
[Oiseau](v/Vogelgesang.html)
[Oktava](o/Octave.html)
[Oktavcymbel](o/Oktavcymbel.html)
[Oktavenbass](o/Oktavenbass.html)
[Oktavengemshorn](g/GemshornOctave.html)
[Oktavenprincipal](o/Octave.html)
[Oktavzimbel](o/Oktavcymbel.html)
[Onda Maris](u/UndaMaris.html)
[Open Diapason](o/OpenDiapason.html)
[Open Diapason Bass](c/ContraPrincipal.html)
[Open Twelfth](t/Twelfth.html)
[Open Wood](o/OpenWood.html)
[Ophicleïd](o/Ophicleide.html) | [Ophicléide](o/Ophicleide.html)
[Orage](d/Donner.html)
[Orchestral Bassoon](o/OrchBassoon.html)
[Orchestral Bells](o/OrchBells.html)
[Orchestral Clarinet](c/Clarinet.html)
[Orchestral Cornet](o/OrchCornet.html)
[Orchestral Fagotto](o/OrchBassoon.html)
[Orchestral Flute](o/OrchFlute.html)
[Orchestral Hautboy](o/OrchOboe.html)
[Orchestral Horn](f/FrenchHorn.html)
[Orchestral Oboe](o/OrchOboe.html)
[Orchestral Piccolo](o/OrchPiccolo.html)
[Orchestral Saxophone](s/Saxophone.html)
[Orchestral Strings](o/OrchStrings.html)
[Orchestral Trumpet](o/OrchTrumpet.html)
[Orchestral Tuba](o/OrchTuba.html)
[Orchestral Violin](o/OrchViolin.html)
[Orchestral Violoncello](v/Violoncello.html)
[Orlo](o/Orlo.html)
[Orlos](o/Orlo.html)
[Ottava](o/Octave.html)
[Ottavina](o/Octavin.html)
[Ottavino](o/Ottavino.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | | |
| --- | --- | --- | --- | --- |
| [Päanshorn](c/Cornopean.html)
[Pájaros](v/Vogelgesang.html)
[Pammert](b/Bombarde.html)
[Pan Flute](p/Panflote.html)
[Pandean Flute](p/Panflote.html)
[Panflöte](p/Panflote.html)
[Parade](o/OpenDiapason.html)
[Parade Drum](p/percussion.html)
[Parforce](w/Waldhorn.html)
[Passarinhos](v/Vogelgesang.html)
[Passunen](t/Trombone.html)
[Pastorita](n/Nachthorn.html)
[Pauerflöte](b/Bauerflote.html)
[Pauke](p/Pauke.html)
[Pauken](d/Drums.html)
[Paukerengel](p/Paukerengel.html)
[Päurlin](b/Bauerflote.html)
[Pedal Open Wood](o/OpenWood.html)
[Pedal Pipes](c/ContraPrincipal.html)
[Pedal String Mixture](p/PedalStringMixture.html)
[Pedal Tromba](p/PedalTromba.html)
[Pente](q/Quint.html)
[Perduna](p/Perduna.html)
[Persian Cymbal](p/percussion.html)
[Petit](f/Flageolet.html)
[Petit Bourdon](p/PetitBourdon.html)
[Petit Cornet](p/PetitCornet.html)
[Petit Nasard](p/PetiteNazard.html)
[Petite Nazard](p/PetiteNazard.html) | [Petite Tierce](p/PetiteTierce.html)
[Petite Trompette](e/EchoTrumpet.html)
[Pfeife](f/Fife.html)
[Pfeiferflöte](p/Pfeiferflote.html)
[Philomela](p/Philomela.html)
[Phisharmonika](p/Physharmonika.html)
[Phocinx](k/Krummhorn.html)
[Phoneuma](p/Phoneuma.html)
[Physharmonica](p/Physharmonika.html)
[Physharmonika](p/Physharmonika.html)
[Piano](p/Piano.html)
[Piccolo](p/Piccolo.html)
[Piccolo d'Amore](p/PiccoloDAmore.html)
[Piccolo Harmonique](h/HarmonicPiccolo.html)
[Pierced ...](p/Pierced.html)
[Pifano](p/Pifano.html)
[Piffara](b/Bifara.html)
[Piffaro](b/Bifara.html)
[Piffero](s/Schalmei.html)
[Pileata](g/Gedeckt.html)
[Pileata Diapente](g/Gedecktquinte.html)
[Pileata Magna](g/Grossgedeckt.html)
[Pileata Major](m/Mittelgedeckt.html)
[Pileata Maxima](c/ContraBourdon.html)
[Pileata Minima](b/Bauerflote.html)
[Pileata Minor](k/Kleingedeckt.html)
[Pilgerchor](p/Pilgerchor.html)
[Plein Jeu](p/PleinJeu.html)
[Plein Jeu Harmonique](p/PleinJeuHarmonique.html) | [Plochflöt](b/Blockflote.html)
[Plockflöt[e]](b/Blockflote.html)
[Plockpfeife](b/Blockflote.html)
[Pomart](p/Pomart.html)
[Pombarda](p/Pombarda.html)
[Pombart](b/Bombarde.html)
[Pommer](g/Gedecktpommer.html)
[Pommer Gedackt](g/Gedecktpommer.html)
[Pontifical Trumpet](s/StateTrumpet.html)
[Portunal](b/Bordunalflote.html)
[Portunal Flute](b/Bordunalflote.html)
[Portunalflöte](b/Bordunalflote.html)
[Portunen](b/Bordunalflote.html)
[Posaunbass](p/Posaunenbass.html)
[Posaune](t/Trombone.html)
[Posaunenbass](p/Posaunenbass.html)
[Posaunenbass Chormass](p/Posaunenchormassbass.html)
[Posaunenbass Unterchormass](p/Posaunenunterchorbass.html)
[Posaunenchormassbass](p/Posaunenchormassbass.html)
[Posaunenunterchorbass](p/Posaunenunterchorbass.html)
[Positie](m/Mixture.html)
[Positien](m/Mixture.html)
[Position](m/Mixture.html)
[Post Horn](p/PostHorn.html)
[Praestant](o/Octave.html)
[Prästant](o/Octave.html)
[Première ...](f/FirstSecondEtc.html)
[Pressior](g/Gedeckt.html)
[Prestant](o/Octave.html) | [Primaria](o/Octave.html)
[Primaria Regula](o/OpenDiapason.html)
[Principaal](o/Octave.html)
[Principal](o/Octave.html)
[Principal Amabile](p/PrincipalAmabile.html)
[Principal Basse](c/ContraPrincipal.html)
[Principal Flute](p/PrincipalFlute.html)
[Principal Mixture](p/PrincipalMixture.html)
[Principal Octave](o/Octave.html)
[Principalbass](p/Prinzipalbass.html)
[Principaldiscant](d/DiskantPrinzipal.html)
[Principale](o/OpenDiapason.html)
[Principale Basso](c/ContraPrincipal.html)
[Principale Doppio](c/ContraPrincipal.html)
[Principalflöte](p/PrincipalFlute.html)
[Principalino](p/PrincipalAmabile.html)
[Prinzipal](o/OpenDiapason.html)
[Prinzipalbass](p/Prinzipalbass.html)
[Prinzipaldiskant](d/DiskantPrinzipal.html)
[Prinzipalflöte](p/PrincipalFlute.html)
[Pro forma](v/VoxInaudita.html)
[Progressio](p/ProgressioHarmonica.html)
[Progressio Harmonica](p/ProgressioHarmonica.html)
[Pusaun](t/Trombone.html)
[Pyramid-Diapason](s/Spitzprinzipal.html)
[Pyramid Flute](p/PyramidFlute.html)
[Pyramidal Flute](p/PyramidFlute.html)
[Pyramidflöte](p/PyramidFlute.html)
[Pyramidon](p/Pyramidon.html) | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Quadragesima](f/Fortieth.html)
[Quadragesima Terza](f/FortyThird.html)
[Quarta](r/Rauschquinte.html)
[Quarta Decima](q/QuartaDecima.html)
[Quartain](r/Rauschquinte.html)
[Quartane](r/Rauschquinte.html)
[Quarte](q/QuarteDeNasard.html)
[Quarte de Nasard](q/QuarteDeNasard.html)
[Quarte de Nazard](q/QuarteDeNasard.html)
[Querfloit](o/OrchFlute.html)
[Querflöt[e]](o/OrchFlute.html)
[Querflötenbass](q/Querflotenbass.html)
[Querpfeife](o/OrchFlute.html)
[Querpipe](o/OrchFlute.html)
[Quiet Gedackt](s/StillGedeckt.html)
[Quincena](f/Fifteenth.html)
[Quindecima](f/Fifteenth.html)
[Quint](q/Quint.html) | [Quint Bass](q/QuintBass.html)
[Quint de Tono](q/Quintaten.html)
[Quint Diapason](q/QuintDiapason.html)
[Quint Flute](n/NasardFlute.html)
[Quint Mixture](q/QuintMixture.html)
[Quint Trombone](t/TromboneQuint.html)
[Quint Trumpet](q/QuintTrumpet.html)
[Quint-viola](q/Quintviole.html)
[Quinta](f/Fifth.html)
[Quinta ad Una](q/Quintaten.html)
[Quintade](q/Quintade.html)
[Quintadecima](f/Fifteenth.html)
[Quintadeen](q/Quintadena.html)
[Quintadeens](q/Quintadena.html)
[Quintadehn](q/Quintaten.html)
[Quintadema](q/Quintadena.html)
[Quintaden](q/Quintadena.html)
[Quintadena](q/Quintadena.html) | [Quintadena Celeste](q/Quintaphon.html)
[Quintadene](q/Quintadena.html)
[Quintadiner](q/Quintadena.html)
[Quintadon](q/Quintaten.html)
[Quintalophon](r/Resultant.html)
[Quintanus](n/Nineteenth.html)
[Quintaphon](q/Quintaphon.html)
[Quintaphone](q/Quintaphon.html)
[Quintaten](q/Quintaten.html)
[Quintathön](q/Quintaten.html)
[Quintaton](q/Quintaten.html)
[Quintatönbass](q/Quintatonbass.html)
[Quintatönsubbass](q/Quintatonsubbass.html)
[Quintbass](q/QuintBass.html)
[Quinte](f/Fifth.html)
[Quinte Bombarde](b/BombardeQuinte.html)
[Quinte-Flûte](q/Quintflote.html)
[Quinte Ouverte](q/QuinteOuverte.html) | [Quinte Viola](q/Quintviole.html)
[Quintenbass](q/QuintBass.html)
[Quintenor](q/Quintaten.html)
[Quintet Bass](s/SubQuint.html)
[Quintflöte](q/Quintflote.html)
[Quintfluit](q/Quintflote.html)
[Quintflute](h/Hohlquinte.html)
[Quintgemshorn](g/Gemshornquinte.html)
[Quintgetön](q/Quintaten.html)
[Quintiden](q/Quintaten.html)
[Quintiten](q/Quintaten.html)
[Quintitenens](q/Quintaten.html)
[Quintnasat](n/Nasard.html)
[Quintspitz](s/Spitzquinte.html)
[Quintviole](q/Quintviole.html)
[Quinzième](f/Fifteenth.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Racket](r/Rankett.html)
[Rackett](r/Rankett.html)
[Rain](p/percussion.html)
[Ranket](r/Rankett.html)
[Rankett](r/Rankett.html)
[Ranquet](r/Rankett.html)
[Ranquette](r/Rankett.html)
[Rauschcimbel](r/RauschendeZimbel.html)
[Rauschende Zimbel](r/RauschendeZimbel.html)
[Rauschflöte](r/Rauschflote.html)
[Rauschmixtur](r/RauschendeZimbel.html)
[Rauschpfeife](r/Rauschflote.html)
[Rauschpfeiffe](r/Rauschflote.html)
[Rauschquarte](r/Rauschquinte.html)
[Rauschquint[e]](r/Rauschquinte.html)
[Rauschwerk](r/Rauschwerk.html)
[Rauschzimbel](r/RauschendeZimbel.html)
[Rechte-Heertrummel](h/Heertrummel.html) | [Recorder](r/Recorder.html)
[Recordor](r/Recorder.html)
[Regaal](r/Regal.html)
[Regal](r/Regal.html)
[Regale](r/Regal.html)
[Regalia[s]](d/Dulzayna.html)
[Regula](o/OpenDiapason.html)
[Regula Minima](f/Fifteenth.html)
[Regula Minor](o/Octave.html)
[Regula Mixta](m/Mixture.html)
[Regula Primaria](o/OpenDiapason.html)
[Reim](r/Reim.html)
[Reinforza a Ligne](r/ReinforzaALigne.html)
[Reliqua](v/VoxInaudita.html)
[Repetirende[r] Cymbel](r/RepetirenderCymbel.html)
[Resimbala](c/Cymbal.html)
[Rest](v/VoxInaudita.html)
[Resultant](r/Resultant.html) | [Resultant Bass](r/Resultant.html)
[Rinforzo a Lingue](r/ReinforzaALigne.html)
[Ripienflöte](f/FullFlote.html)
[Ripieno](m/Mixture.html)
[Ripieno di Cinque](d/DulcianaCornet.html)
[Roerfluit](r/Rohrflote.html)
[Roerquint](r/Rohrflotenquinte.html)
[Rohr Flute](r/Rohrflote.html)
[Rohr-Nasat](r/Rohrnasat.html)
[Rohr Schalmei](r/Rohrschalmei.html)
[Rohr Schalmey](r/Rohrschalmei.html)
[Rohrbordun](r/Rohrbordun.html)
[Rohrbourdon](r/Rohrbordun.html)
[Rohrflöt[e]](r/Rohrflote.html)
[Rohrflötenbass](r/Rohrflotenbass.html)
[Rohrflötenquinte](r/Rohrflotenquinte.html)
[Rohrflötquint](r/Rohrflotenquinte.html)
[Rohrgedackt](r/Rohrgedeckt.html) | [Rohrgedeckt](r/Rohrgedeckt.html)
[Rohrgedecktpommer](r/Rohrpommer.html)
[Rohrnasat](r/Rohrnasat.html)
[Rohrpfeife](r/Rohrpfeife.html)
[Rohrpommer](r/Rohrpommer.html)
[Rohrquint[e]](r/Rohrflotenquinte.html)
[Rohrquintade](r/Rohrquintadena.html)
[Rohrquintaden](r/Rohrquintadena.html)
[Rohrquintadena](r/Rohrquintadena.html)
[Rohrquintaton](r/Rohrquintadena.html)
[Rohrquinte](r/Rohrnasat.html)
[Rohrschalmei](r/Rohrschalmei.html)
[Rohrschelle](r/Rohrflote.html)
[Rorflojte](r/Rohrflote.html)
[Rosignolo](v/Vogelgesang.html)
[Rossignol](v/Vogelgesang.html)
[Russzimbel](r/RauschendeZimbel.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Sacbut](s/Sackbut.html)
[Sackbut](s/Sackbut.html)
[Sackpfeife](m/Musette.html)
[Sadt](s/Sadt.html)
[Sakbut](s/Sackbut.html)
[Salamine](s/Salamine.html)
[Salcional](s/Salicional.html)
[Salicet](s/Salicet.html)
[Salicetbass](s/Salicetbass.html)
[Salicetina](s/Salicetina.html)
[Salicinal](s/Salicional.html)
[Salicional](s/Salicional.html)
[Salicional Celeste](s/SalicionalCeleste.html)
[Salicional Diapason](s/SalicionalDiapason.html)
[Salicionale](s/Salicional.html)
[Salicis Fistula](s/Salicional.html)
[Salizional](s/Salicional.html)
[Salycional](s/Salicional.html)
[Sanftbass](s/Sanftbass.html)
[Sanftflöte](s/Sanftflote.html)
[Sanftgedackt](s/Sanftgedeckt.html)
[Sanftgedeckt](s/Sanftgedeckt.html)
[Saxophon](s/Saxophone.html)
[Saxophone](s/Saxophone.html)
[Scarf](s/Scharf.html)
[Scarpa](c/Clarion.html)
[Schällenpfeifen](q/Quintadena.html)
[Schallflöte](f/Feldflote.html)
[Schallmey](s/Schalmei.html)
[Schallmeybass](s/Schalmeibass.html)
[Schalmei](s/Schalmei.html)
[Schalmei Regal](s/SchalmeiRegal.html)
[Schalmeibass](s/Schalmeibass.html)
[Schalmey](s/Schalmei.html)
[Scharf Cymbel](z/Zymbelscharf.html)
[Scharf[f]](s/Scharf.html)
[Scharfcymbel](z/Zymbelscharf.html)
[Scharfflöte](s/Scharfflote.html)
[Scharfgeige](o/OrchViolin.html)
[Scharflöte](s/Scharfflote.html)
[Scharfpfeife](d/Dolcan.html)
[Scharfregal](s/Scharfregal.html)
[Scharfzimbel](z/Zymbelscharf.html)
[Scharp](s/Scharf.html)
[Scheelpijpen](q/Quintadena.html)
[Scherp](s/Scharf.html)
[Schlangenrohr](s/Serpent.html)
[Schöngedeckt](s/Schongedeckt.html)
[Schönprincipal](s/Schonprinzipal.html)
[Schönprinzipal](s/Schonprinzipal.html)
[Schreier](s/Schreier.html)
[Schreierpfeife](s/Schreier.html)
[Schreipfeife](s/Schreier.html)
[Schreyer](b/Barpfeife.html)
[Schreyerpfeife](b/Barpfeife.html)
[Schryari](s/Schreier.html)
[Schufflet](s/Sifflote.html)
[Schulze Diapason](s/SchulzeDiapason.html)
[Schwägel](s/Schwiegel.html)
[Schwebung](c/Celeste.html)
[Schwegel](s/Schwiegel.html)
[Schwegli](s/Schwiegel.html)
[Schweigel](s/Schwiegel.html)
[Schweizer-Spitzgedackt](s/Schweizerspitzgedackt.html)
[Schweizer Trompete](t/TubaMirabilis.html)
[Schweizerbass](s/Schweizerbass.html)
[Schweizerflöte](s/Schweizerflote.html)
[Schweizergamba](s/Schweizergamba.html)
[Schweizergedackt](s/Schweizergedackt.html)
[Schweizerpfeifbass](s/Schweizerbass.html)
[Schweizerpfeifdiskant](s/Schweizerpfeifdiskant.html)
[Schweizerpfeife](s/Schweizerflote.html)
[Schwiegel](s/Schwiegel.html)
[Schwiegeldiskant](d/Diskantschwiegel.html)
[Schwiegelpfeife](s/Schwiegel.html)
[Scialumò](s/Schalmei.html) | [Second ...](f/FirstSecondEtc.html)
[Sedecima](s/Sedecima.html)
[Sedetz[e]](s/Sedecima.html)
[Sedex](s/Sedecima.html)
[Sept-Terz](t/TerzSepta.html)
[Sept-Terzian](s/SeptTerzian.html)
[Sept-Terzianscharf](s/SeptTerzianscharf.html)
[Septadecima](s/Seventeenth.html)
[Septerz](t/TerzSepta.html)
[Septième](t/TwentyFirst.html)
[Septième Mixture](s/SeptiemeMixture.html)
[Septime](t/TwentyFirst.html)
[Septimenchor](s/Septimenchor.html)
[Septimenkornet](s/Septimenkornett.html)
[Septimenkornett](s/Septimenkornett.html)
[Septimensesquialtera](s/Septimensesquialtera.html)
[Septimenzimbel](s/Septimenzimbel.html)
[Septuadecima](s/Seventeenth.html)
[Seraphine](p/Physharmonika.html)
[Seraphonflöte](s/Seraphonflote.html)
[Seraphongedeckt](s/Seraphongedeckt.html)
[Seraphonpfeife](s/Seraphonflote.html)
[Serpent](s/Serpent.html)
[Serpentino](s/Serpent.html)
[Sertin](s/Sordunregal.html)
[Sesquialter](s/Sesquialtera.html)
[Sesquialtera](s/Sesquialtera.html)
[Sesquialtra](s/Sesquialtera.html)
[Sesquioctava](s/Seventeenth.html)
[Seventeenth](s/Seventeenth.html)
[Seventy-First](h/Hundpfeife.html)
[Sex Quintaltra](s/Sesquialtera.html)
[Sexquialter](s/Sesquialtera.html)
[Sexquintalter](s/Sesquialtera.html)
[Sext](s/Sext.html)
[Sexta](s/Sesquialtera.html)
[Shalomo](s/Schalmei.html)
[Sharp](s/Scharf.html)
[Sharp Mixture](s/Scharf.html)
[Sharp Twentieth](t/TwentyFirst.html)
[Shawm](s/Schalmei.html)
[Siefflit](s/Sifflote.html)
[Siefflöt](s/Sifflote.html)
[Sifflet](s/Sifflote.html)
[Sifflöt[e]](s/Sifflote.html)
[Sifflöte](l/Larigot.html)
[Silver Flute](s/SilverFlute.html)
[Silver Trumpet](s/StateTrumpet.html)
[Simbala](c/Cymbal.html)
[Singend Gedeckt](s/Singengedeckt.html)
[Singend Principal](p/PrincipalAmabile.html)
[Singend Prinzipal](p/PrincipalAmabile.html)
[Singend[e] Kornett[e]](z/Zink.html)
[Singendregal](s/Singendregal.html)
[Singengedeckt](s/Singengedeckt.html)
[Sirenum Chorus](s/SirenumChorus.html)
[Sivflöjte](s/Sifflote.html)
[Sivflöt](s/Sifflote.html)
[Sixteenth](s/Sixteenth.html)
[Sixtil](s/Seventeenth.html)
[Sleigh Bells](p/percussion.html)
[Slotted Flute](s/SlottedFlute.html)
[Small Open Diapason](e/EarlyEnglishDiapason.html)
[Snare Drum](p/percussion.html)
[Soave](s/Soave.html)
[Soft Flute](s/SoftFlute.html)
[Soft Harmonics](s/SoftHarmonics.html)
[Soft Mixture](s/SoftMixture.html)
[Solacinal](s/Salicional.html)
[Solamine](s/Salamine.html)
[Solcional](s/Salicional.html)
[Soldatenpfeife](o/OrchFlute.html)
[Solicional](s/Salicional.html)
[Sollicinal](s/Sesquialtera.html)
[Solo 'Cello](s/SoloCello.html)
[Solo Cello (Compton)](s/SoloCello_Compton.html) | [Solo Clarinet](s/SoloClarinet.html)
[Solo Cornet](c/CornetDeRecit.html)
[Solo Diapason](s/SoloDiapason.html)
[Solo Flute](s/SoloFlute.html)
[Solo Gamba](s/StentorGamba.html)
[Solo-Gambe](s/StentorGamba.html)
[Solo Harmonic Flute](s/SoloHarmonicFlute.html)
[Solo Mixture](s/SoloMixture.html)
[Solo Muted 'Cello](s/SoloMutedCello.html)
[Solo Muted 'Violin](s/SoloMutedViolin.html)
[Solo Piccolo](s/SoloPiccolo.html)
[Solo Prinzipal-Flöte](s/SoloPrinzipalFlote.html)
[Solo Saxophone](s/SoloSaxophone.html)
[Solo String](s/SoloString.html)
[Solo Tibia Clausa](s/SoloTibiaClausa.html)
[Solo Trumpet](s/SoloTrumpet.html)
[Solo Tuba](s/SoloTuba.html)
[Solo Violin](s/SoloViolin.html)
[Solo Violoncello](s/SoloCello.html)
[Solo Vox Humana](s/SoloVoxHumana.html)
[Soloflöte](s/SoloFlute.html)
[Song Trumpet](s/SongTrumpet.html)
[Sordini](s/Sordun.html)
[Sordon](s/Sordun.html)
[Sordun](s/Sordun.html)
[Sordunenregal](s/Sordunregal.html)
[Sordunregal](s/Sordunregal.html)
[Soubasse](c/ContraBourdon.html)
[Sourdin](s/Sordunregal.html)
[Sourdine](s/Sordun.html)
[Sous Basse](c/ContraBourdon.html)
[Speelfluit](s/Spillflote.html)
[Spielflöte](s/Spillflote.html)
[Spielpfeife](s/Spillflote.html)
[Spillflöte](s/Spillflote.html)
[Spillflute](s/Spillflote.html)
[Spillgedeckt](s/Spillgedeckt.html)
[Spillpfeife](s/Spillflote.html)
[Spindel Flute](s/Spillflote.html)
[Spindelflöte](s/Spillflote.html)
[Spindle Flute](s/Spillflote.html)
[Spindleflöte](s/Spillflote.html)
[Spire Flute](s/Spitzflote.html)
[Spireflöte](s/Spitzflote.html)
[Spitsfluit](s/Spitzflote.html)
[Spitz Diapason](s/Spitzprinzipal.html)
[Spitz Nasat](s/SpitzNazard.html)
[Spitz Nazard](s/SpitzNazard.html)
[Spitz Principal](s/Spitzprinzipal.html)
[Spitz Quint](s/Spitzquinte.html)
[Spitzfleut](s/Spitzflote.html)
[Spitzflöte](s/Spitzflote.html)
[Spitzflöte Céleste](s/SpitzfloteCeleste.html)
[Spitzflötenbass](s/Spitzflotenbass.html)
[Spitzgamba](s/Spitzgamba.html)
[Spitzgedackt](s/Spitzgedeckt.html)
[Spitzgedeckt](s/Spitzgedeckt.html)
[Spitzgeigen](s/Spitzgeigen.html)
[Spitzpfeife](s/Spitzflote.html)
[Spitzprinzipal](s/Spitzprinzipal.html)
[Spitzquinte](s/Spitzquinte.html)
[Stahlspiel](g/Glockenspiel.html)
[Stammentinpfeife](s/Schwiegel.html)
[Starckregal](s/Scharfregal.html)
[Starkgedackt](s/Starkgedeckt.html)
[Starkgedeckt](s/Starkgedeckt.html)
[Starkregal](s/Scharfregal.html)
[Starkwerk](m/Mixture.html)
[State Trumpet](s/StateTrumpet.html)
[Steamboat Whistle](p/percussion.html)
[Stenthorn](s/Stenthorn.html)
[Stentor Bombarde](s/StentorBombarde.html)
[Stentor Cornet](c/CornetDesBombardes.html)
[Stentor Diapason](g/GrandDiapason.html)
[Stentor Diaphone](s/StentorDiaphone.html)
[Stentor Gamba](s/StentorGamba.html) | [Stentor Horn](s/StentorHorn.html)
[Stentor Mixture](s/StentorMixture.html)
[Stentor Octave](s/StentorOctave.html)
[Stentor Sesquialtera](s/StentorSesquialtera.html)
[Stentorflöte](s/Stentorflote.html)
[Stentorgambe](s/StentorGamba.html)
[Stentorphon](s/Stentorphone.html)
[Stentorphone](s/Stentorphone.html)
[Stern](c/Cymbelstern.html)
[Still Flute](s/StillGedeckt.html)
[Still-Gedackt](s/StillGedeckt.html)
[Still Posaune](s/StillePosaune.html)
[Stille Posaune](s/StillePosaune.html)
[Stilles Regal](e/EchoVoxHumana.html)
[Stillgedeckt](s/StillGedeckt.html)
[Stillprincipal](s/Stillprincipal.html)
[Stop Diapason](s/StoppedDiapason.html)
[Stop't Diapason](s/StoppedDiapason.html)
[Stopped Diapason](s/StoppedDiapason.html)
[Stopped Flute](s/StoppedDiapason.html)
[Stopped Harmonic Twelfth](h/HarmonicTwelfth.html)
[Stopped Metallic](m/MetallicStopped.html)
[Stopped Twelfth](s/StoppedTwelfth.html)
[Storm Pedal](d/Donner.html)
[Storte](k/Krummhorn.html)
[Streichflöte](s/Streichflote.html)
[String Celeste](v/VioleCeleste.html)
[String Gamba](v/ViolaDaGamba.html)
[String Mixture](s/StringMixture.html)
[String Octave](s/StringOctave.html)
[String Twelfth](s/StringTwelfth.html)
[Sturm](d/Donner.html)
[Style D Trumpet](t/TubaTrumpet.html)
[Suabe Flöte](s/Suavial.html)
[Suabe Flute](s/SuabeFlute.html)
[Suabile](s/Soave.html)
[Suave Flute](s/SuaveFlute.html)
[Suavial](s/Suavial.html)
[Sub Bourdon](c/ContraBourdon.html)
[Sub Octave](s/SubOctave.html)
[Sub Principal](c/ContraPrincipal.html)
[Sub Quint](s/SubQuint.html)
[Sub Tierce](f/Fifth.html)
[Subbass](c/ContraBourdon.html)
[Subbasso](c/ContraBourdon.html)
[Subflöt[e]](s/Sifflote.html)
[Subgrossuntersatzregalbass](m/Metronomus.html)
[Subtilesregal](s/Subtilregal.html)
[Subtilregal](s/Subtilregal.html)
[Suff Flöte](s/Sifflote.html)
[Sufflet](s/Sifflote.html)
[Sufflöt](s/Sifflote.html)
[Suiflöt[e]](s/Sifflote.html)
[Summer Zug](v/VoxInaudita.html)
[Super-Gemshorn](s/SuperGemshorn.html)
[Super Octave](f/Fifteenth.html)
[Super Super Octave](t/TwentySecond.html)
[Supergedackt](s/Supergedackt.html)
[Supergedacktflöte](s/Supergedackt.html)
[Superoctaaf](f/Fifteenth.html)
[Superoctav](f/Fifteenth.html)
[Superquint[e]](n/Nineteenth.html)
[Superrohrflöte](s/Superrohrflote.html)
[Supersedecima](t/TwentySecond.html)
[Suptilregal](s/Subtilregal.html)
[Surf](p/percussion.html)
[Süssflöt[e]](f/FlautoDolce.html)
[Swegel](s/Schwiegel.html)
[Swiss Flute](s/Schweizerflote.html)
[Swyger](v/VoxInaudita.html)
[Sylvestrina](s/Sylvestrina.html)
[Symphonic Flute](b/BoehmFlute.html)
[Synthematophon](s/Synthematophon.html)
[Syntheton](s/Syntheton.html)
[Syringa](s/Syringa.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Tambor](p/Pauke.html)
[Tambourine](p/percussion.html)
[Tap Cymbal](p/percussion.html)
[Tapada](t/Tapadillo.html)
[Tapadillo](t/Tapadillo.html)
[Tapado](t/Tapadillo.html)
[Tappato](t/Tapadillo.html)
[Tarantantara](t/Trumpet.html)
[Teneroon](t/Tenoroon.html)
[Tenori](o/OpenDiapason.html)
[Tenoroon](t/Tenoroon.html)
[Tenoroon Dulciana](t/TenoroonDulciana.html)
[Tenoroon Trumpet](t/TenoroonTrumpet.html)
[Tenth](t/Tenth.html)
[Terpodion](t/Terpodion.html)
[Terpomele](t/Terpomele.html)
[Tertia](s/Seventeenth.html)
[Tertiaan](t/Tertian.html)
[Tertian](t/Tertian.html)
[Tertie](s/Seventeenth.html)
[Terts](s/Seventeenth.html)
[Tertscymbel](t/Terzzimbel.html)
[Tertsfluit](t/Terzflote.html)
[Terz](s/Seventeenth.html)
[Terz Septa](t/TerzSepta.html)
[Terzbass](t/Terzbass.html)
[Terzcymbel](t/Terzzimbel.html)
[Terzenbass](t/Terzbass.html)
[Terzflöte](t/Terzflote.html)
[Terzglöcklein](t/Terzglocklein.html)
[Terzian](t/Tertian.html)
[Terzianscharf](t/Terzianscharf.html)
[Terzsept](t/TerzSepta.html)
[Terzzimbel](t/Terzzimbel.html)
[Terzzymbel](t/Terzzimbel.html)
[Theorba](t/Theorbe.html)
[Theorbe](t/Theorbe.html)
[Theorbo](t/Theorbe.html)
[Third](t/Third.html)
[Third ...](f/FirstSecondEtc.html)
[Thirty-Fifth, Flatted](t/ThirtyFifth.html)
[Thirty-First](t/ThirtyFirst.html)
[Thirty-Sixth](t/ThirtySixth.html)
[Thirty-Third](t/ThirtyThird.html)
[Thubal](j/Jubal.html)
[Thubalflöt[e]](j/Jubalflote.html)
[Thubalflötchormass](t/Thubalflotchormass.html)
[Thubalflötoktave](t/Thubalflotoktave.html)
[Thunbass](c/ContraBourdon.html)
[Thunder](p/percussion.html)
[Thunder Pedal](d/Donner.html)
[Tibia](t/Tibia.html)
[Tibia Angusta](t/TibiaAngusta.html) | [Tibia Angusta Barbata](t/TibiaAngusta.html)
[Tibia Aperta](f/Fugara.html)
[Tibia Bass](t/TibiaBass.html)
[Tibia Bifara](b/Bifara.html)
[Tibia Bifaris](b/Bifara.html)
[Tibia Bifarius](b/Bifara.html)
[Tibia Clausa](t/TibiaClausa.html)
[Tibia Cuspida](s/Spitzflote.html)
[Tibia Dura](t/TibiaDura.html)
[Tibia Flute](t/TibiaFlute.html)
[Tibia Major](t/TibiaMajor.html)
[Tibia Minor](t/TibiaMinor.html)
[Tibia Mollis](t/TibiaMollis.html)
[Tibia Plena](t/TibiaPlena.html)
[Tibia Profunda](t/TibiaProfunda.html)
[Tibia Profundissima](t/TibiaProfundissima.html)
[Tibia Quint](t/TibiaQuint.html)
[Tibia Rex](t/TibiaRex.html)
[Tibia Rurestris](b/Bauerflote.html)
[Tibia Silvestris](w/Waldflote.html)
[Tibia Sylvestria](w/Waldflote.html)
[Tibia Sylvestris](w/Waldflote.html)
[Tibia Transversa](o/OrchFlute.html)
[Tibia Traversa](o/OrchFlute.html)
[Tibia Vulgaris](b/Blockflote.html)
[Tierce](s/Seventeenth.html)
[Tierce Flute](t/TierceFlute.html)
[Tierce Harmonique](h/HarmonicTierce.html)
[Tierce Mixture](t/TierceMixture.html)
[Tiercina](t/Tiercina.html)
[Timballo](p/Pauke.html)
[Timpani](d/Drums.html)
[Tintinabulum](t/Tintinabulum.html)
[Tiorba](t/Theorbe.html)
[Tolkaan](d/Dolcan.html)
[Tolosana](t/Tolosana.html)
[Tom Tom](p/percussion.html)
[Tonbass](g/Gedeckt.html)
[Tonitru](r/Resultant.html)
[Tonnerre](d/Donner.html)
[Tonus Faber](g/Glockleinton.html)
[Tonus Fabri](c/Campana.html)
[Toussein](d/Dulzian.html)
[Touzijn](d/Dulzian.html)
[Touzyn](d/Dulzian.html)
[Transversa](o/OrchFlute.html)
[Traversa](o/OrchFlute.html)
[Traversbass](t/Traversenbass.html)
[Traverse Flute](o/OrchFlute.html)
[Traversenbass](t/Traversenbass.html)
[Traversflöte](o/OrchFlute.html)
[Traversiere](o/OrchFlute.html)
[Traversine](t/Traversine.html) | [Traverso](o/OrchFlute.html)
[Trechterregal](t/Trichterregal.html)
[Trécyne](t/Traversine.html)
[Tredezime](t/Tredezime.html)
[Treizième Cornet](t/TreiziemeCornet.html)
[Treizième Mixture](t/TreiziemeMixture.html)
[Triangle](p/percussion.html)
[Triangular Flute](f/FluteTriangulaire.html)
[Trichterdulzian](t/Trichterdulzian.html)
[Trichterflöte](d/Dolcan.html)
[Trichterpfeife](d/Dolcan.html)
[Trichterregal](t/Trichterregal.html)
[Trigesima Prima](t/ThirtyFirst.html)
[Trigesima Sesta](t/ThirtySixth.html)
[Trigesima-sexta](t/ThirtySixth.html)
[Trigesima-Tertia](t/ThirtyThird.html)
[Trigesima Terza](t/ThirtyThird.html)
[Trinona](t/Trinona.html)
[Triplette](t/Triplette.html)
[Tromba](t/Tromba.html)
[Tromba Bastarda](t/TrombaBastarda.html)
[Tromba Batalha](t/TrombaBatalha.html)
[Tromba Batalla](t/TrombaBatalha.html)
[Tromba Campana](w/Waldhorn.html)
[Tromba Clarion](t/TrombaClarion.html)
[Tromba Magna](t/TrombaMagna.html)
[Tromba Quint](t/TrombaQuint.html)
[Tromba Real](t/TrombaMagna.html)
[Trombe Dolce](t/TrombeDolce.html)
[Trombe Reale](t/TrombeReale.html)
[Trombetta](c/Clarion.html)
[Tromboncini](t/Tromboncini.html)
[Trombone](t/Trombone.html)
[Trombone Octave](t/TromboneOctave.html)
[Trombone Quint](t/TromboneQuint.html)
[Tromboni](t/Tromboni.html)
[Trommel](p/Pauke.html)
[Trommet](t/Trumpet.html)
[Trommetbass](t/Trompetenbass.html)
[Trommetenbass](t/Trompetenbass.html)
[Trompes](t/Trompes.html)
[Trompet](t/Trumpet.html)
[Trompet Harmonique](h/HarmonicTrumpet.html)
[Trompeta](t/Trumpet.html)
[Trompeta Alta](c/Clarion.html)
[Trompeta Bastarda](t/TrompetaBastarda.html)
[Trompeta de Batalla](t/TrompetaDeBatalla.html)
[Trompeta de Caballa](t/TrompetaDeCaballa.html)
[Trompeta Imperial](t/TrompetaMagna.html)
[Trompeta Magna](t/TrompetaMagna.html)
[Trompeta Real](t/TrompetaReal.html)
[Trompeta Recordata](t/TrompetaBastarda.html)
[Trompete](t/Trumpet.html) | [Trompetenbass](t/Trompetenbass.html)
[Trompetenbass Chormass](t/TrompetenbassChormass.html)
[Trompetenregal](t/Trompetenregal.html)
[Trompetta Argentea](t/TrompettaArgentea.html)
[Trompette](t/Trumpet.html)
[Trompette à Chamade](t/TrompetteEnChamade.html)
[Trompette Clarion](c/Clarion.html)
[Trompette Cuivre](t/TrompetteCuivre.html)
[Trompette en Chamade](t/TrompetteEnChamade.html)
[Trompette Harmonique](h/HarmonicTrumpet.html)
[Trompette Militaire](m/MilitaryTrumpet.html)
[Trompette Quinte](q/QuintTrumpet.html)
[Trumpet](t/Trumpet.html)
[Trumpet Clarion](c/Clarion.html)
[Trumpet Quint](q/QuintTrumpet.html)
[Trumpet Royal](t/TrumpetRoyal.html)
[Trumpet Sonora](t/TrumpetSonora.html)
[Tuba](t/Tuba.html)
[Tuba Bass](b/BassTuba.html)
[Tuba Clarion](t/TubaClarion.html)
[Tuba d'Amour](t/TubaDAmour.html)
[Tuba Harmonic](h/HarmonicTuba.html)
[Tuba Horn](t/TubaHorn.html)
[Tuba Imperial](t/TubaMirabilis.html)
[Tuba Magna](t/TubaMirabilis.html)
[Tuba Major](t/TubaMirabilis.html)
[Tuba Minor](t/TubaMinor.html)
[Tuba Mirabilis](t/TubaMirabilis.html)
[Tuba Profunda](b/BassTuba.html)
[Tuba Profundissima](t/TubaProfundissima.html)
[Tuba Quint](t/TubaQuint.html)
[Tuba Shofar](t/TubaShofar.html)
[Tuba Sonora](t/TubaSonora.html)
[Tuba Trumpet](t/TubaTrumpet.html)
[Tubal](j/Jubal.html)
[Tubalflöt[e]](j/Jubalflote.html)
[Tubasson](t/Tubasson.html)
[Tussin](t/Tussin.html)
[Twelfth](t/Twelfth.html)
[Twenty-Eighth, Flatted](t/TwentyEighth.html)
[Twenty-Fifth](t/TwentyFifth.html)
[Twenty-first](t/TwentyFirst.html)
[Twenty First, Flatted](t/TwentyFirst.html)
[Twenty-Fourth](t/TwentyFourth.html)
[Twenty-Ninth](t/TwentyNinth.html)
[Twenty-Second](t/TwentySecond.html)
[Twenty-Sixth](t/TwentySixth.html)
[Twenty-Third](n/None.html)
[Two and Twentieth](t/TwentySecond.html)
[Tympani](p/percussion.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Uccelli](v/Vogelgesang.html)
[Unda Maris](u/UndaMaris.html)
[Undezime](t/TwentyFifth.html) | [Ung Cornet](u/UngCornet.html)
[Unterbass](c/ContraBourdon.html)
[Unterchorbass](u/Unterchormassbass.html) | [Unterchormassbass](u/Unterchormassbass.html)
[Untersatz](c/ContraBourdon.html)
[Usignuolo](v/Vogelgesang.html) | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Vacant](v/VoxInaudita.html)
[Vacat](v/VoxInaudita.html)
[Varitono](b/Baryton.html)
[Vedele](v/Viol.html)
[Venetian Flute](i/ItalianPrincipal.html)
[Vibraphone](v/Vibraphone.html)
[Vidula](v/Viol.html)
[Viegas](v/Viejos.html)
[Viejas](v/Viejos.html)
[Viejos](v/Viejos.html)
[Vienna Flute](o/OrchFlute.html)
[Vigesima Nona](t/TwentyNinth.html)
[Vigesima Quarta](t/TwentyFourth.html)
[Vigesima Seconda](t/TwentySecond.html)
[Vigesima secunda fortis](v/VigesimaSecundaFortis.html)
[Vigesima secunda suavis](v/VigesimaSecundaSuavis.html)
[Vigesima Sesta](t/TwentySixth.html)
[Vigessima-nona](t/TwentyNinth.html)
[Vigessima-quarta](t/TwentyFourth.html)
[Vigessima-secunda](t/TwentySecond.html)
[Vigessima-sexta](t/TwentySixth.html)
[Viol](v/Viol.html)
[Viol Celeste](v/VioleCeleste.html)
[Viol Cornet](c/CornetDesVioles.html)
[Viol d'Amore](v/ViolaDAmore.html)
[Viol d'Amour](v/ViolaDAmore.html)
[Viol d'Orchestre](o/OrchViolin.html)
[Viol di Gamba](v/ViolaDaGamba.html)
[Viol Diapason](g/Geigen.html)
[Viol Fifteenth](v/ViolFifteenth.html)
[Viol Flute](v/ViolFlute.html)
[Viol Mixture](s/StringMixture.html)
[Viol Octave](g/GeigenOctave.html)
[Viol Principal](g/Geigen.html)
[Viol Quint](v/ViolQuint.html)
[Viol Tierce](v/ViolTierce.html)
[Viol Twelfth](v/ViolTwelfth.html)
[Viola](v/Viola.html)
[Viola Aetheria](v/ViolaAetheria.html) | [Viola Céleste](v/ViolaCeleste.html)
[Viola d'Amore](v/ViolaDAmore.html)
[Viola d'Amour](v/ViolaDAmore.html)
[Viola d'Orchestra](o/OrchViolin.html)
[Viola da Gamba](v/ViolaDaGamba.html)
[Viola di Alta](v/ViolaDiAlta.html)
[Viola di Alto](v/ViolaDiAlta.html)
[Viola di Gamba](v/ViolaDaGamba.html)
[Viola di Gambenbass](g/Gambenbass.html)
[Viola Diapason](v/ViolaDiapason.html)
[Viola Douce](v/ViolaDouce.html)
[Viola Flute](v/ViolaFlute.html)
[Viola Flute Céleste](v/ViolaFluteCeleste.html)
[Viola Major](v/ViolaMajor.html)
[Viola Minor](v/ViolaMinor.html)
[Viola Phonon](v/ViolaPhonon.html)
[Viola Pomposa](v/ViolaPomposa.html)
[Viola Sorda](m/MutedViola.html)
[Viola Tremolo](v/ViolaTremolo.html)
[Violadigamba](v/ViolaDaGamba.html)
[Violdigamba](v/ViolaDaGamba.html)
[Violdigambe](v/ViolaDaGamba.html)
[Violdigambenbass](g/Gambenbass.html)
[Viole](v/Viol.html)
[Viole à Pavillon](v/VioleAPavillon.html)
[Viole à Pavillon Céleste](v/VioleAPavillonCeleste.html)
[Viole à Sourdine](m/MutedViol.html)
[Viole Céleste](v/VioleCeleste.html)
[Viole Conique](m/MutedViol.html)
[Viole d'Amour](v/ViolaDAmore.html)
[Viole d'Orchestre](o/OrchViolin.html)
[Viole d'Orchestre Céleste](v/VioleCeleste.html)
[Viole de Gambe](v/ViolaDaGamba.html)
[Viole Flute](v/ViolFlute.html)
[Viole Sourdine](m/MutedViol.html)
[Violenbass](v/Violone.html)
[Violes Célestes](v/VioleCeleste.html)
[Violet](g/Gambette.html)
[Violeta](v/Violetta.html) | [Violeta de Madera](v/VioletaDeMadera.html)
[Violetta](v/Violetta.html)
[Violette](g/Gambette.html)
[Violflöte](v/ViolFlute.html)
[Violichen](v/Violichen.html)
[Violin](o/OrchViolin.html)
[Violin Bass](c/Contrabass.html)
[Violin Celeste](v/ViolinCeleste.html)
[Violin Diapason](g/Geigen.html)
[Violin Principal](g/Geigen.html)
[Violina](o/OctaveViolin.html)
[Violincello](v/Violoncello.html)
[Violine](v/Violin.html)
[Violino](v/Violin.html)
[Violino Sordo](m/MutedViol.html)
[Violino Vibrato](v/ViolinoVibrato.html)
[Violón](s/StoppedDiapason.html)
[Violon-Basse](v/Violone.html)
[Violon d'Amour](v/ViolonDAmour.html)
[Violonbass](v/Violone.html)
[Violoncelle](v/Violoncello.html)
[Violoncelle Celeste](c/CelloCeleste.html)
[Violoncello](v/Violoncello.html)
[Violoncello Pomposa](v/VioloncelloPomposa.html)
[Violoncello Sordo](m/MutedCello.html)
[Violoncello Vibrato](v/VioloncelloVibrato.html)
[Violone](v/Violone.html)
[Violons Célestes](v/ViolonsCelestes.html)
[Virginal](j/Jungfernregal.html)
[Virginregal](j/Jungfernregal.html)
[Vitula](v/Viol.html)
[Viula](v/Viol.html)
[Voce Flebile](v/VoceFlebile.html)
[Voce Umana](p/Piffaro.html)
[Vogar[a]](f/Fugara.html)
[Vogelflöte](v/Vogelflote.html)
[Vogelgesang](v/Vogelgesang.html)
[Vogelgeschrei](v/Vogelgesang.html)
[Vogelgeschrey](v/Vogelgesang.html) | [Voix Angelique](v/VoxAngelica.html)
[Voix Céleste](v/VoixCeleste.html)
[Voix Éolienne](v/VoixEolienne.html)
[Voix Humaine](v/VoxHumana.html)
[Voix Lumineuse](v/VoixCeleste.html)
[Voix Seraphique](n/Nitsua.html)
[Vox Acuta](s/Scharf.html)
[Vox Amorosa](a/Amorosa.html)
[Vox Angelica](v/VoxAngelica.html)
[Vox Balenae](v/VoxBalenae.html)
[Vox Céleste](v/VoixCeleste.html)
[Vox Celestis](v/VoixCeleste.html)
[Vox Cetacea](m/Metronomus.html)
[Vox Coelestis](v/VoixCeleste.html)
[Vox Contralto](v/VoxContralto.html)
[Vox Flebilis](v/VoceFlebile.html)
[Vox Gravissima](r/Resultant.html)
[Vox Humana](v/VoxHumana.html)
[Vox Humana Krummhorn](v/VoxHumanaKrummhorn.html)
[Vox Humana Regal](v/VoxHumanaRegal.html)
[Vox Humana Schalmei](v/VoxHumanaSchalmei.html)
[Vox Inaudita](v/VoxInaudita.html)
[Vox Ineffabilis](v/VoxInaudita.html)
[Vox Mystica](v/VoxMystica.html)
[Vox Pileata](g/Gedeckt.html)
[Vox Pueri](v/VoxPueri.html)
[Vox Retusa](v/VoxRetusa.html)
[Vox Seraphique](n/Nitsua.html)
[Vox Stellarum](c/Cymbelstern.html)
[Vox Tauri](v/VoxPueri.html)
[Vox Vinolata](v/VoxVinolata.html)
[Vox Virgina](v/VoxVirgina.html)
[Vox Virgine](j/Jungfernstime.html)
[Vox Virginea](j/Jungfernstime.html)
[Voz Celeste](v/VoixCeleste.html)
[Voz Humana](v/VoxHumana.html)
[Voz Humane](v/VoxHumana.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Wald Flute](w/Waldflote.html)
[Wald Quint](w/Waldquinte.html)
[Waldflöte](w/Waldflote.html)
[Waldhorn](w/Waldhorn.html)
[Waldhörner](w/Waldhorn.html)
[Waldpfeif[e]](w/Waldflote.html)
[Waldquinte](w/Waldquinte.html) | [Wedge Flute](w/WedgeFlute.html)
[Weidenflöte](w/Weidenflote.html)
[Weidenpfeife](w/Weidenflote.html)
[Weite Pfeife](b/Blockflote.html)
[Weitflöte](h/Hohlflote.html)
[Weitgedackt](w/Weitgedeckt.html)
[Weitgedeckt](w/Weitgedeckt.html) | [Weitpfeife](b/Blockflote.html)
[Weitprincipal](w/Weitprinzipal.html)
[Weitprinzipal](w/Weitprinzipal.html)
[Whistle](w/Whistle.html)
[Wienerflöte](w/Wienerflote.html)
[Wind](p/percussion.html)
[Wohlklang](h/Harmonica.html) | [Wood Diapason](h/Holzprinzipal.html)
[Wood Flute](w/Waldflote.html)
[Wooden Open Flute](w/WoodenOpenFlute.html)
[Woudfluit](w/Waldflote.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | |
| --- | --- | --- |
| [Xylophon](x/Xylophon.html) | [Xylophone](x/Xylophone.html) | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
*no entries*
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [Zampogna](c/Cornemeuse.html)
[Zartbass](z/Zartbass.html)
[Zartflöte](z/Zartflote.html)
[Zartflöte Céleste](z/ZartfloteCeleste.html)
[Zartflute](z/Zartflote.html)
[Zartgedackt](z/Zartgedeckt.html)
[Zartgedeckt](z/Zartgedeckt.html)
[Zartgeige](z/Zartgeige.html)
[Zarthorn](z/Zarthorn.html) | [Zauber Flute](z/Zauberflote.html)
[Zauberflöte](z/Zauberflote.html)
[Zaubergedeckt](z/Zaubergedeckt.html)
[Zauberpiccolo](z/Zauberpiccolo.html)
[Zifflöt](s/Sifflote.html)
[Ziflot](s/Sifflote.html)
[Zimbala](c/Cymbal.html)
[Zimbel](c/Cymbal.html)
[Zimbelbass](c/Cymbelbass.html) | [Zimbelflöte](c/Campana.html)
[Zimbelglocklein](c/Cymbelstern.html)
[Zimbelstern](c/Cymbelstern.html)
[Zinck[e]](z/Zink.html)
[Zinghorn](z/Zinghorn.html)
[Zink[e]](z/Zink.html)
[Zinken](z/Zink.html)
[Zünk](z/Zink.html)
[Zweckpfeife](z/Zweckpfeife.html) | [Zwerck Stärcke](z/ZwerckStarcke.html)
[Zwergpfeife](p/Piccolo.html)
[Zyfflöt](s/Sifflote.html)
[Zymbel](c/Cymbal.html)
[Zymbel-scharf](z/Zymbelscharf.html)
[Zymbelstern](c/Cymbelstern.html)
[Zynck](s/Sesquialtera.html)
[Zynk](s/Sesquialtera.html) |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| [A](#A) | [B](#B) | [C](#C) | [D](#D) | [E](#E) | [F](#F) | [G](#G) | [H](#H) | [I](#I) | [J](#J) | [K](#K) | [L](#L) | [M](#M) | [N](#N) | [O](#O) | [P](#P) | [Q](#Q) | [R](#R) | [S](#S) | [T](#T) | [U](#U) | [V](#V) | [W](#W) | [X](#X) | [Y](#Y) | [Z](#Z) | [App.](#appendices) | [Home](index.html) |
| | | | |
| --- | --- | --- | --- |
| [About the Author](_apps/Author.html)
[About this Encyclopedia](_apps/About.html)
[Bibliography](_apps/Bibliography.html)
[Boring Technical Details](_apps/WebSite.html)
[Copyright](_apps/Copyright.html)
[Credits](_apps/Credits.html)
[Definitions Needed](_apps/DefinitionsNeeded.html) | [Distinct Stops](_apps/DistinctStops.html)
[Downloads](_apps/Downloads.html)
[Examples Needed](_apps/ExamplesNeeded.html)
[Famous People Who Played the Organ](_apps/FamousPeople.html)
[Haskell Basses](_apps/HaskellBasses.html)
[How to Contribute Sound Files](_apps/SoundFiles.html)
[How to Use this Encylopedia](_apps/HowToUse.html) | [Index of Entry Files](_apps/FileIndex.html)
[Index of Illustrations](_apps/Illustrations.html)
[Information Needed(How *You* Can Help!)](_apps/InfoNeeded.html)
[Labial Reeds](_apps/LabialReeds.html)
[Links to Other Web Sites](_apps/Links.html)
[Mutations](_apps/Mutations.html)
[News](_apps/Introduction.html) | [Organs](_apps/Organs.html)
[Revision History](_apps/RevisionHistory.html)
[Statistics](_apps/Statistics.html)
[Stops With Sound Clips](_apps/StopsWithSoundClips.html)
[Style Sheet](_apps/StyleSheet.html)
[Timeline of Organ History](_apps/Timeline.html) |
| http://www.organstops.org/FullIndex.html |
<html>
<head>
<title>The Nuclear Meltdown Productions Home Page</title>
</head>
<BODY bgcolor=000000 BACKGROUND="images/stars.gif"
TEXT="#FFFF70" VLINK="#7070FF" LINK="#FF7070">
<br>
<CENTER><IMG SRC="images/nm_fire_logo.gif"></CENTER>
<br>
<b>Welcome to the official Nuclear Meltdown Productions Home Page!</b>
<p>
<b>Nuclear Meltdown Productions</b> is an established group on the often made fun
of American demo scene. Our goal is simply to have fun and put out an
occasional production. We haven't been very active in the last couple years, but we
hope to change that very soon. =)
<p>
<hr>
First, let's start with a current-up-to-date-awesome-member-list.<br>
<b>Nuclear Meltdown Productions</b> is:
<p>
<center>
<table border=4><tr><td align=center><b>
Handle</b></td><td align=center><b>Position</b></td><td align=center><b>Age</b></td></tr><tr><td>Joe Snow</td><td>Main Coder</td><td>19</td></tr><tr><td>Clueless</td><td>Gore-dude and occasional coding</td><td>21</td></tr><tr><td>Esteban</td><td>Graphician (Retired)</td><td>22</td></tr></table>
<p>
<hr>
<p>
</center>
Next, let's take a look at all of our releases.<p>
<center>
<font size=+2><b>Release List</b></font>
<p>
<table border=4><tr><td align=center><b>
Name</b></td><td align=center><b>Author</b></td><td align=center><b>Approx. Release Date</b></td><td align=center><b>Notes</b></td></tr><tr><td><a href="index.shtml?cur=4">NM Intro 1 (BBS ad)</a></td><td>Joe Snow</td><td>June '93</td><td></td></tr><tr><td><a href="index.shtml?cur=5">Ultimuh (Ultima parody)</a></td><td>Joe Snow</td><td>July '93</td><td></td></tr><tr><td><a href="index.shtml?cur=6">Joe Snow 1-4 (action games)</a></td><td>Joe Snow</td><td>August '93</td><td></td></tr><tr><td>Joe Snow Paint 1.01 (ANSi editor)</td><td>Joe Snow</td><td>December '93</td><td></td></tr><tr><td>Doom the Cheat 1-3 (Doom cheat)</td><td>Joe Snow</td><td>January '94</td><td></td></tr><tr><td><a href="index.shtml?cur=9">Demons Revenge BBS Ad</a></td><td>Joe Snow</td><td>June '94</td><td></td></tr><tr><td><a href="index.shtml?cur=10">Pong 1.0 (action game)</a></td><td>Clueless</td><td>June '95</td><td></td></tr><tr><td><a href="index.shtml?cur=11">NM2 (BBS ad)</a></td><td>Joe Snow</td><td>July '95</td><td></td></tr><tr><td><a href="index.shtml?cur=12">Soap (Dope parody)</a></td><td>Joe Snow</td><td>August '95</td><td></td></tr><tr><td><a href="index.shtml?cur=13">Coconuts BBS Ad</a></td><td>NM Prod.</td><td>August '95</td><td></td></tr><tr><td><a href="index.shtml?cur=14">Joe Snow Paint 4 (ANSi editor)</a></td><td>Joe Snow</td><td>August '95</td><td></td></tr><tr><td><a href="index.shtml?cur=15">4.77 Mhz (8086 demo)</a></td><td>Joe Snow</td><td>
February '96 (<a href="http://www.cdrom.com/pub/demos/hornet/8086">8086 demo compo</a>)
</td><td>1st place in Trixter's 8086 demo compo!!!</td></tr><tr><td><a href="index.shtml?cur=16">Small (4k intro)</a></td><td>Clueless</td><td>June '96 (NAiD '96)
</td><td>?th place in 4k Intro compo</td></tr><tr><td><a href="index.shtml?cur=17">The Mistake (effect)</a></td><td>Clueless</td><td>June '96 (NAiD '96)
</td><td>?th place in Best New FX compo</td></tr><tr><td><a href="index.shtml?cur=18">The Lynch (demo)</a></td><td>NM Prod.</td><td>June '96 (NAiD '96)
</td><td>8th place in demo compo! (out of 17)
See the <a href="lynch_press.txt">official press release</a>.
</td></tr><tr><td>Galcon (strategy game)</td><td>Joe Snow</td><td>Winter '99</td><td>
Although the DOS version of this game has never been release, I have created
a <a href="../galcon/gc.html">web version</a> of this enduring classic.</td></tr><tr><td>Rustic Classics (action game package)</td><td>Joe Snow</td><td>Winter '99</td><td>
Although the DOS version of this game was also never released, I have
created a <a href="../rustic/rustic.html">java applet version</a> of this
enduring classic.</td></tr></table>
<p>
<hr>
</center>
<p>
Ooooo...a sneak peak at our upcoming releases!
<p>
<center>
<font size=+2><b>Future Releases</b></font>
<p>
<table border=4><tr><td align=center><b>
Name</b></td><td align=center><b>Author</b></td><td align=center><b>Approx. Release Date</b></td><td align=center><b>Notes</b></td></tr><tr><td>??? (demo?)</td><td>NM Prod.</td><td>Summer '99</td><td>our summer production</td></tr><tr><td>SVGA Beast (remake of the classic)</td><td>Clueless</td><td>Summer '99</td><td>Needs a total rewrite.
See the above mentioned Rustic Classics to play the java version of this
beautiful game.</td></tr><tr><td>Pong 2.0 (bigger and better)</td><td>Clueless</td><td>who knows?</td><td>In the conceptual stage</td></tr></table>
<p>
</center>
<hr>
<p>
<b><A HREF="nminfo13.txt">The Official
Nuclear Meltdown Productions Information File</a></b> (includes lots of
background and history of the group & its members, but needs updating*)
<br><br><font size=-1>
*Needs a lot of updating, which will likely never happen. This
is kept here mostly for historical value. The addresses, phones, etc
are no longer ours. (As of 11/17/99, Jason and I live in NY, and I have
no idea where Steve lives. Also Steve and I are married now. We all own
cars now, and have faster computers. In my case I have four.)
</font>
<p>
<hr>
<p>
<h3>Contact Info</h3>
<table>
<tr align=left>
<th>Internet:</th>
<td>Clueless: <A HREF = "mailto:[email protected]">[email protected]</A></td>
</tr>
<tr align=left>
<th></th>
<td>Joe Snow: <a href="mailto:[email protected]">[email protected]</a></td>
</tr>
<tr align=left>
<th>BBS:</th>
<td>Nuclear Meltdown BBS <b>(508) 234-xxxx</b></td>
</tr>
<tr>
<td></td>
<td>email Joe Snow or Clueless</td>
</tr>
</table>
<p>
<p>
Well, that's about it. I hope you feel that you know us a little
better now...<p>
- Clueless '98<br>
- HTML & Graphics: created by Joe Snow, previously updated and maintained by
<a href="http://www.personal.psu.edu/jkm153">Clueless</a>.
<br>
- Currently updated and maintained (sort of -- still a lot of inaccurate
information on this site) by Philip Hassey.
<p>
<p>
<div class='pickles' style="text-align: center; padding-top: 8px">
<a href='http://www.galcon.com/'><img src='http://www.imitationpickles.org/miniads/galcon.gif' width=103 height=32 alt="Galcon" style='border:1px solid black'></a>
<a href='http://www.imitationpickles.org/melons/'><img src='http://www.imitationpickles.org/miniads/melons.gif' width=103 height=32 alt="Watermelons" style='border:1px solid black'></a>
<a href='http://www.imitationpickles.org/pyweek1/'><img src='http://www.imitationpickles.org/miniads/dynamite.gif' width=103 height=32 alt="Dynamite" style='border:1px solid black'></a>
<a href='http://www.imitationpickles.org/ld487/'><img src='http://www.imitationpickles.org/miniads/chestival.gif' width=103 height=32 alt="The Hairy Chestival" style='border:1px solid black'></a>
<br>
All content of <a href="http://www.imitationpickles.org/">imitation pickles</a>
<a href="http://www.imitationpickles.org/pickles1/index.shtml?cur=copyright">(c) 1999-2008</a> -
<a href="http://www.imitationpickles.org/pickles/contact.html">Phil Hassey</a>
<B>"<a href="http://www.imitationpickles.org/pickles1/index.shtml?cur=wecare">we care</a>"</b></div>
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|
The Nuclear Meltdown Productions Home Page
**Welcome to the official Nuclear Meltdown Productions Home Page!**
**Nuclear Meltdown Productions** is an established group on the often made fun
of American demo scene. Our goal is simply to have fun and put out an
occasional production. We haven't been very active in the last couple years, but we
hope to change that very soon. =)
---
First, let's start with a current-up-to-date-awesome-member-list.
**Nuclear Meltdown Productions** is:
| | | |
| --- | --- | --- |
| **Handle** | **Position** | **Age** |
| Joe Snow | Main Coder | 19 |
| Clueless | Gore-dude and occasional coding | 21 |
| Esteban | Graphician (Retired) | 22 |
---
Next, let's take a look at all of our releases.
**Release List**
| | | | |
| --- | --- | --- | --- |
| **Name** | **Author** | **Approx. Release Date** | **Notes** |
| [NM Intro 1 (BBS ad)](index.shtml?cur=4) | Joe Snow | June '93 | |
| [Ultimuh (Ultima parody)](index.shtml?cur=5) | Joe Snow | July '93 | |
| [Joe Snow 1-4 (action games)](index.shtml?cur=6) | Joe Snow | August '93 | |
| Joe Snow Paint 1.01 (ANSi editor) | Joe Snow | December '93 | |
| Doom the Cheat 1-3 (Doom cheat) | Joe Snow | January '94 | |
| [Demons Revenge BBS Ad](index.shtml?cur=9) | Joe Snow | June '94 | |
| [Pong 1.0 (action game)](index.shtml?cur=10) | Clueless | June '95 | |
| [NM2 (BBS ad)](index.shtml?cur=11) | Joe Snow | July '95 | |
| [Soap (Dope parody)](index.shtml?cur=12) | Joe Snow | August '95 | |
| [Coconuts BBS Ad](index.shtml?cur=13) | NM Prod. | August '95 | |
| [Joe Snow Paint 4 (ANSi editor)](index.shtml?cur=14) | Joe Snow | August '95 | |
| [4.77 Mhz (8086 demo)](index.shtml?cur=15) | Joe Snow |
February '96 ([8086 demo compo](http://www.cdrom.com/pub/demos/hornet/8086))
| 1st place in Trixter's 8086 demo compo!!! |
| [Small (4k intro)](index.shtml?cur=16) | Clueless | June '96 (NAiD '96)
| ?th place in 4k Intro compo |
| [The Mistake (effect)](index.shtml?cur=17) | Clueless | June '96 (NAiD '96)
| ?th place in Best New FX compo |
| [The Lynch (demo)](index.shtml?cur=18) | NM Prod. | June '96 (NAiD '96)
| 8th place in demo compo! (out of 17)
See the [official press release](lynch_press.txt).
|
| Galcon (strategy game) | Joe Snow | Winter '99 |
Although the DOS version of this game has never been release, I have created
a [web version](../galcon/gc.html) of this enduring classic. |
| Rustic Classics (action game package) | Joe Snow | Winter '99 |
Although the DOS version of this game was also never released, I have
created a [java applet version](../rustic/rustic.html) of this
enduring classic. |
---
Ooooo...a sneak peak at our upcoming releases!
**Future Releases**
| | | | |
| --- | --- | --- | --- |
| **Name** | **Author** | **Approx. Release Date** | **Notes** |
| ??? (demo?) | NM Prod. | Summer '99 | our summer production |
| SVGA Beast (remake of the classic) | Clueless | Summer '99 | Needs a total rewrite.
See the above mentioned Rustic Classics to play the java version of this
beautiful game. |
| Pong 2.0 (bigger and better) | Clueless | who knows? | In the conceptual stage |
---
**[The Official
Nuclear Meltdown Productions Information File](nminfo13.txt)** (includes lots of
background and history of the group & its members, but needs updating\*)
\*Needs a lot of updating, which will likely never happen. This
is kept here mostly for historical value. The addresses, phones, etc
are no longer ours. (As of 11/17/99, Jason and I live in NY, and I have
no idea where Steve lives. Also Steve and I are married now. We all own
cars now, and have faster computers. In my case I have four.)
---
### Contact Info
| | |
| --- | --- |
| Internet: | Clueless: [[email protected]](mailto:[email protected]) |
| | Joe Snow: [philip\[email protected]](mailto:[email protected]) |
| BBS: | Nuclear Meltdown BBS **(508) 234-xxxx** |
| | email Joe Snow or Clueless |
Well, that's about it. I hope you feel that you know us a little
better now...
- Clueless '98
- HTML & Graphics: created by Joe Snow, previously updated and maintained by
[Clueless](http://www.personal.psu.edu/jkm153).
- Currently updated and maintained (sort of -- still a lot of inaccurate
information on this site) by Philip Hassey.
[](http://www.galcon.com/)
[](http://www.imitationpickles.org/melons/)
[](http://www.imitationpickles.org/pyweek1/)
[](http://www.imitationpickles.org/ld487/)
All content of [imitation pickles](http://www.imitationpickles.org/)
[(c) 1999-2008](http://www.imitationpickles.org/pickles1/index.shtml?cur=copyright) -
[Phil Hassey](http://www.imitationpickles.org/pickles/contact.html)
**"[we care](http://www.imitationpickles.org/pickles1/index.shtml?cur=wecare)"**
| http://www.imitationpickles.org/nm/ |
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*These are some of the users with web pages hosted on tmok:*
| | | |
| --- | --- | --- |
|
[asdfg](/~asdfg/)
[avalanch](/~avalanch/)
[bcd](/~bcd/)
[buddha](/~buddha/)
[bulb](/~bulb/)
[daver](http://users.ids.net/daveco/)
[dburke](/~dburke/)
[dick](/~dick/)
[dolari](/~dolari/)
[ducttape](/~ducttape/)
|
[exodus](/~exodus/)
[firebane](/~firebane/)
[frobnoid](/~frobnoid/)
[gauze](/~gauze/)
[hbonham](/~hbonham/)
[iolanthe](/~iolanthe/)
[jdz](/~jdz/)
[kpaxton](/~kpaxton/)
[mistvan](/~mistvan/)
[mystik](/~mystik/)
|
[n1ywy](/~n1ywy/)
[pla](/~pla/)
[relbs](/~relbs/)
[sukovic](/~sukovic/)
[tarant8l](/~tarant8l/)
[tpsycho1](/~tpsycho1/)
[tumble](/~tumble/)
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|
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<a href="mailto:[email protected]">Terry Watkins</A>
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Dial-the-Truth Ministries</FONT></TD></TR></TABLE>
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<TR><TD height="100%" align="left" valign="top"><P><font face="Arial, Helvetica, sans-serif">Who, REALLY, is this man we affectionately call Santa Claus?</font></P>
<P><font face="Arial, Helvetica, sans-serif">What do we REALLY know about Santa?</font></P>
<P><font face="Arial, Helvetica, sans-serif">Is Santa just a jolly ol, harmless,
friendly fellow?</font></P>
<P><font face="Arial, Helvetica, sans-serif">Or is there something <I>or someone</I> else
hiding behind jolly ol St. Nick? </font></P>
<B><P><font face="Arial, Helvetica, sans-serif">Before we look at Santa, lets
begin with some basic Bible facts:</font></P>
</B>
<LI><font face="Arial, Helvetica, sans-serif">The Bible clearly teaches a powerful, rebellious, subtle, evil being called the Devil, Lucifer or Satan.
</P>
<font face="Arial, Helvetica, sans-serif"><BLOCKQUOTE>Revelation 12:9<BR>
And the great dragon was cast out, that old serpent, <B>called the Devil, and Satan</B>, which <B>deceiveth the whole world</B>: he was cast out into the earth, and his angels were cast out with him.</BLOCKQUOTE>
</font></font>
<LI><font face="Arial, Helvetica, sans-serif">The Bible teaches Satan rebelled
against God. And Satans reason for rebellion is to be God. Satans goal
is to de-throne God and persuade mankind to rebel against God.
</P>
<font face="Arial, Helvetica, sans-serif"><BLOCKQUOTE>Isaiah 14:12-14<BR>
12 How art thou fallen from heaven, O Lucifer, son of the morning! how art thou cut down to the ground, which didst weaken the nations!<BR>
13 For thou hast said in thine heart, <B>I will ascend into heaven, I will exalt my throne above the stars of God</B>: I will sit also upon the mount of the congregation, in the sides of the north:<BR>
14 I will ascend above the heights of the clouds; <B>I will be like the most High</B>.</BLOCKQUOTE>
</font></font>
<LI><font face="Arial, Helvetica, sans-serif">The Bible clearly teaches Satans
primary attack is the most vulnerable. In Luke 10:19, Jesus Christ compares
Satan to lightning, "<B>I beheld Satan as lightning</B> fall from heaven". Lightning, like Satan, always travels the path of least resistance. The Bible also likens the devil to a "roaring lion" The lion is a "predator of opportunity". The lion looks for the injured, the youngest, the smallest, or the weakest the one with the least ability to run or fight. So it is with Satan. Hes "seeking" those "<B>whom he may</B> devour".
</P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">1 Peter 5:8<BR>
Be sober, be vigilant; because your adversary the devil, as a roaring lion, walketh about, <B>seeking whom he may devour:</font></BLOCKQUOTE>
<font face="Arial, Helvetica, sans-serif"></B>
<P>The great German Reformer, Martin Luther writes in his Table Talks:</P>
<BLOCKQUOTE>"The devil plagues and torments us in the place where we are
most tender <B>and weak.</B> In Paradise, he fell not upon Adam, but
upon Eve."<BR>
(<I>The Table Talk of Martin Luther</I>, #424)</BLOCKQUOTE>
<P>The most vulnerable and least resistance are our children. Its no accident that the Lord Jesus Christ distinctively warns several times against harming or offending these "little ones". </P>
<BLOCKQUOTE>Matthew 18:1-6<BR>
1 At the same time came the disciples unto Jesus, saying, Who is the greatest in the kingdom of heaven?<BR>
2 And Jesus called <B>a little child unto him</B>, and set him in the midst of them,<BR>
3 And said, Verily I say unto you, Except ye be converted, and become as <B>little children</B>, ye shall not enter into the kingdom of heaven.<BR>
4 Whosoever therefore shall humble himself as this little child, the same is greatest in the kingdom of heaven.<BR>
5 And whoso shall receive <B>one such little child</B> in my name receiveth me.<BR>
6 But whoso shall offend <B>one of these little ones</B> which believe in me, it were better for him that a millstone were hanged about his neck, and that he were drowned in the depth of the sea.</BLOCKQUOTE>
<P>The Lord Jesus invites, and encourages little children to come unto him. The younger years are by far the most spiritually fruitful in the life-cycle of an individual. </P>
<BLOCKQUOTE>Mark 10:13-15<BR>
13 And they brought <B>young children</B> to him, that he should touch them: and his disciples rebuked those that brought them.<BR>
14 But when Jesus saw it, <B>he was much displeased</B>, and said unto them, <B>Suffer the little children to come unto me</B>, and forbid them not: for of such is the kingdom of God.<BR>
15 Verily I say unto you, Whosoever shall not receive the kingdom of God <B>as a little child</B>, he shall not enter therein.</BLOCKQUOTE>
<BLOCKQUOTE>Luke 18:15-17<BR>
15 And they brought unto him <B>also infants</B>, that he would touch them: but when his disciples saw it, they rebuked them.<BR>
16 But Jesus called them unto him, and said, <B>Suffer little children to come unto me</B>, and forbid them not: for of such is the kingdom of God.<BR>
17 Verily I say unto you, Whosoever shall not receive the kingdom of God <B>as a little child</B> shall in no wise enter therein.</BLOCKQUOTE>
<P>Without question the most fertile time in the average persons life for receiving and trusting the Lord Jesus is the pre-teen years. Any church bus worker or youth worker knows young children are very receptive to the gospel of Jesus Christ. For them that "child like" faith is natural. Its
what the Lord Jesus described in Matthew 10:15. As we get older; the
sensual, youthful lusts and logical, carnal mind begin to dominate our
minds. And
as that happens, our heart becomes hardened and seared to the spiritual
things of God. </P>
<P>Barna Research Group published a survey conducted among teenagers titled <I>Third Millennium Teens</I>.
Under the subtitle "Displacing the Myths", the report said:</P>
<BLOCKQUOTE>"The Myth: the teen years are evangelistically productive.<BR>
<B>The Reality: if they're not saved by age 13, they probably never will be</B>.
<P>
The report goes on to say, <B>"The data shows clearly that the prime
evangelistic years are those before a person becomes a teenager."</B> (George Barna, <I>Third Millennium Teens</I>, p. 65) </BLOCKQUOTE>
<P>If the most productive time of salvation are the pre-teen years, and if
the pre-teen years are the most vulnerable does it not stand to reason that Satan would fiercely attack this time? Can we not see the overwhelming evidence of this Satanic attack on our children? From the sexual, sensual music of Brittney Spears, or Nsync, to the occult and witchcraft of Harry Potter there is an attack aimed directly at our children. Its blasting from the TV, the music, the Internet, the peer pressure, the public schools Satans attack literally "seeks" to "devour them" into every "nook and cranny".</P>
<P>Many parents have been "lullabied to sleep" with the deception that our children are innocently immune to the attack of Satan. Theres a false security that believes our children will naturally "grow out of it" or "theyre just sowing their wild oats" or maybe "theyre just being kids". But the Bible tells a different story. In Mark chapter 9, God details a frightening occurrence. A man brings his "spirit possessed" son
to the Lord Jesus Christ. </P>
<BLOCKQUOTE>Mark 9:17-29<BR>
17 And one of the multitude answered and said, Master, I have brought unto thee my son, which hath a dumb spirit;<BR>
18 And wheresoever he taketh him, he teareth him: and he foameth, and gnasheth with his teeth, and pineth away: and I spake to thy disciples that they should cast him out; and they could not.<BR>
19 He answereth him, and saith, O faithless generation, how long shall I be with you? how long shall I suffer you? bring him unto me.<BR>
20 And they brought him unto him: and when he saw him, straightway the spirit tare him; and he fell on the ground, and wallowed foaming.<BR>
21 And he asked his father, How long is it ago since this came unto him? <B>And he said, Of a child</B>.<BR>
22 And ofttimes it hath cast him into the fire, and into the waters, to destroy him: but if thou canst do any thing, have compassion on us, and help us.<BR>
23 Jesus said unto him, If thou canst believe, all things are possible to him that believeth.<BR>
24 And straightway the father of the child cried out, and said with tears, Lord, I believe; help thou mine unbelief.<BR>
25 When Jesus saw that the people came running together, he rebuked the foul spirit, saying unto him, Thou dumb and deaf spirit, I charge thee, come out of him, and enter no more into him.<BR>
26 And the spirit cried, and rent him sore, and came out of him: and he was as one dead; insomuch that many said, He is dead.<BR>
27 But Jesus took him by the hand, and lifted him up; and he arose.<BR>
28 And when he was come into the house, his disciples asked him privately, Why could not we cast him out?<BR>
29 And he said unto them, <B>This kind can come forth by nothing, but by prayer and fasting</B>.</BLOCKQUOTE>
<P>Its interesting the apostles could not cast out this "kind" (vs
29). Jesus said, "<B>This kind</B> can come forth by nothing, but
by prayer and fasting." What <B>kind</B> of possession was it? Is
that why the Lord Jesus asked the man "<B>How long</B> is it ago
since this came unto him?" And the man answered, "<B>Of a child</B>". Possibly, these "hard
to cast out" <B>kind</B> are those that enter in a child. Is it
because the "possession" reaches so deep and so strong that theyre
almost impossible to remove? </P>
<P>In Proverbs 22:6, the Bible explains the <I>lifelong</I> fruits of training
a young child in the way he should go. That early training is so strong
and so deep as that child grows and matures they will not depart
from it. </P>
<BLOCKQUOTE>Proverbs 22:6<BR>
Train up a child in the way he should go: and when he is old, <B>he will not depart from it</B>. </BLOCKQUOTE>
<P>But. . . The flip side is: if that same child is trained by the ways of
Satan and the world, chances are that child will "not depart from it." George
Harrison, a devout follower of the Hindu god, Krishna, understood this
life-long influence, Harrison told <I>Rolling Stone</I> Magazine:</P>
<BLOCKQUOTE>"The main thing is to get the kids. . . nail you when youre
young and brainwash you, <B>then theyve got you for the rest of your
life."<BR>
</B>George Harrison, Beatles, (Loose Talk, <I>Rolling Stone</I> Magazine, p. 70)</BLOCKQUOTE>
<P>It has been stated the foundation of a child is shaped by the time that
child is five-years-old, maybe sooner. Without question, the early pre-teen
or "Santa Claus" years are some of the most important in a person's life-long development. It has been truthfully said, "The
hand that rocks the cradle controls the world." </P>
<B><P>That brings us to Santa. . .</P>
</B></font></font>
<P><font face="Arial, Helvetica, sans-serif">Where does Santa Claus fit in the life of a young child? What about the teaching of Santa Claus in the psyche of a child? Is there more to jolly old St. Nick than meets the eye? Is Santa a clever, seemingly harmless, subtle (see Genesis 3:1) attempt to question the truthfulness of God? Is Santa the handiwork of Satan?</font></P>
<P><font face="Arial, Helvetica, sans-serif">May I remind you of the "harmless" question, the subtle serpent, asks Eve in the garden? "Yea, hath God said,. . .?" So
slight. . . So simple. . . And yet so deadly. . .</font></P>
<P><font face="Arial, Helvetica, sans-serif">Not only that. . . Satans attack is not necessarily evil, or bad. In fact, it can be good, or even pleasant. The subtle temptation of Genesis reveals Satans clever "good and pleasant" message. </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Genesis 3:6<BR>
And when the woman saw that the tree <B>was good</B> for food, and that it <B>was pleasant</B> to the eyes, and a tree <B>to be desired</B> to make one wise, she took of the fruit thereof, and did eat, and gave also unto her husband with her; and he did eat.</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">As Eve saw the forbidden fruit,
it was "good" and it was "pleasant" and yet it was
deadly. </font></P>
<P><font face="Arial, Helvetica, sans-serif">The Devil is a "master of disguise". He can take that which looks good and pleasant, and seemingly so innocent and make it so deadly. The Bible says in 2 Corinthians 11:14, "And
no marvel; <B>for Satan himself is transformed into an angel of light</B>" He doesnt appear with horns and a pitch fork breathing fire. He might just appear as a pleasant, friendly, fellow, with "a
broad face and a round little belly, That shook when he laughed, like a bowl
full of jelly. . ."<BR>
</font></P>
<P><font face="Arial, Helvetica, sans-serif">I believe, <B><I>and will prove</B></I>,
Santa Claus is a subtle, deadly attack on our children to confuse, doubt
and rob their God-ordained "child like" faith. Satan knows, if he can somehow get that child through those fruitful early years without trusting the Lord Jesus Christ his
goal of eternal damnation in hell increases substantially. </font></P>
<P><font face="Arial, Helvetica, sans-serif">Lets take a look a Santa. . .</font></P>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">and thou shalt call his name. . . </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red">(Matthew 1:21)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<font face="Arial, Helvetica, sans-serif"><B><P>. . . Santa</P>
</B></font></font>
<P><font face="Arial, Helvetica, sans-serif">You ever noticed how easy it is
to transform "Satan" from "Santa"? Just move the "n" to the end. And presto! "Satan" appears. . . Hmmm
.</font></P>
<P><font face="Arial, Helvetica, sans-serif">An internet Google search on "Satan Claus" [not Santa Claus but
SATAN Claus] found over 1,700 hits! Obviously, there are many that tie the
two together.</font></P>
<P><font face="Arial, Helvetica, sans-serif">The rearranging of letters (called anagrams) to hide secret names or words has long been practiced in the occult. <I>The Jewish Encyclopedia</I> writes of the Jewish occult book called the Cabala:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">"The golden age for
anagrams began with the Cabala. The Platonists had strange notions as to
the influence of anagrammatic virtues, <B>particularly of anagrams evolved from names of persons</B>. It is not surprising, therefore, that the cabalists, like all the Neoplatonists, <B>pretended to discover occult qualities in proper names and in their anagrams</B>." <BR>
(www.jewishencyclopedia.com)</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">One of the most well known anagram in the occult world is the name of Sanat Kumara. Sanat is better known as Satan. Constance Cumbey writes in her best-selling, new-age expose, <I>The Hidden Dangers of the Rainbow</I>, ".
. . <B>they [New Agers] freely call Sanat Kumara (Satan) 'God'</B>. And their
doctrinal reference books by Helena Petrovna Blavatsky and Alice Ann Bailey
freely cross-reference Sanat Kumara with Venus. In occult writings, Lucifer
and Venus are one and the same."</font></P>
<P><font face="Arial, Helvetica, sans-serif">(Constance Cumbey, <I>The Hidden Dangers of the Rainbow</I>, p. 138)</font></P>
<P><font face="Arial, Helvetica, sans-serif">Texe Marrs writes of 'Sanat' in <I>Dark Secrets of the New Age</I>:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">". . . the New Age offers
a being called Sanat Kumara<B>. 'Sanat' is obviously a thinly veiled reference to Satan</B>; nevertheless, New Age teachers evidently believe <B>that the new spelling will alleviate the concerns </B>of
those not yet ready to confess Satan as their Lord and Messiah."<BR>
(Texe Marrs, <I>Dark Secrets of the New Age</I>, pp. 79-80)</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Interesting. . . Where does that put Lord S-A-N-T-A?</font></P>
<P><font face="Arial, Helvetica, sans-serif">H.P. Blavatsky, the Satanist and new age teacher writes in <I>The Secret Doctrine</I>: </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">"many a mysterious sacred
name. . . conveys to the profane ear no more than some ordinary, and often
vulgar [common] word, <B>because it is concealed anagrammatically</B> or
otherwise".<BR>
(H.P. Blavatsky, <I>The Secret Doctrine</I>, Vol II, p. 78)</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Like S-A-N-T-A? </font></P>
<P><font face="Arial, Helvetica, sans-serif">Blavatsky also writes, the name
is not important but the letters.</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">"The name isn't important. <B>It is the letters.</B>"<BR>
(H.P. Blavatsky, <I>The Secret Doctrine</I>, Vol II, p. 350 cited by Gail Riplinger, <I>New Age Versions</I>, p. 52)</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Make no mistake about it. Blavataskys anagrams were used to disguise who her true god was. Blavatasky openly taught Satan is mankinds
true redeemer, creator and Saviour.</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">"And now it stands
proven that <B>Satan</B>, or the Red Fiery Dragon, the Lord of Phosphorus and Lucifer, or Light Bearer,
is in us; it is our Mind <B>our tempter and Redeemer, our intelligent liberator and Saviour</B>.
. ."<BR>
(HP Blavatasky, <I>The Secret Doctrine</I>)<font face="Arial, Helvetica, sans-serif"><P>"<B>Satan, the Serpent of Genesis is the real creator and benefactor</B>, the Father of Spiritual mankind. For it is he . . . who opened the eyes of the automaton (Adam) created by Jehovah. . . he still remains in Esoteric Truth <B>the ever loving messenger</B> .
. ."<BR>
(H.P. Blavatsky, <I>The Secret Doctrine</I>, Vol 3, p. 246)
</font></font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Gail Riplinger writes in her excellent book, <I>New Age Versions</I> on the use of anagrams in the occult world:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">"Lucifer's True Identity
as Satan is <B>Revealed as the Anagram</B>, a Transposition of Letters, To Obscure It. 'Blinds', as esoterics call them, <B>include scrambling the letters of a name to hide the true meaning of a word from the uninitiated</B>."<BR>
(Gail Riplinger, <I>New Age Versions</I>, p. 52)</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Its Interesting Mrs. Riplinger also raises a "red flag" about
the anagram Santa:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">"Gods of the New Age
include Sanatan and Sanatsiyata, . . . New Agers say each name is 'concealed
anagrammatically' 'and are aliases,' and are 'an anagram used for Occult
purposes. <B>Santa, the great usurper of Christ's attention at Christmas, an anagram</B>? "Ole Nick" is listed among the fallen angels or devils in the Dictionary of Fallen Angels. Scholars concur that Christ was born in the fall on the 4th day of the feast of tabernacles. December 25 is actually "the
feast in honor of the birth of the son of the Babylonian queen of heaven,
later called Saturnaha by the heathen Romans."<BR>
(Gail Riplinger, <I>New Age Versions</I>, p. 52)</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Its also worth noting, "Santa" is Spanish for "holy". Santa is also from the Latin word "sanctus"<I> </I> which
means also "saintly, holy". Our English words "saint, sanctify, et al" comes from "santa". Sounds like Satans "I will be like the most High" is
at it again.</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Let them praise thy great and terrible <B>name; for it is holy</B>.<BR>
Psalm 99:3
</P>
</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Gods name is called "holy" over
40 times in the King James Bible.</font></P>
<P><font face="Arial, Helvetica, sans-serif">"Holy Claus". . .?</font></P>
<P><font face="Arial, Helvetica, sans-serif">The name "Santa Claus" is also derived from the Dutch "Sinter Klaas," which
also was a form of Saint Nicholas. </font></P>
<font face="Arial, Helvetica, sans-serif"></FONT><B><FONT FACE="Arial,Helvetica" SIZE=4>
<P><font face="Arial, Helvetica, sans-serif">. . . Claus</font></P>
</B><font face="Arial, Helvetica, sans-serif"></FONT>
</font></font><FONT FACE="Arial,Helvetica" SIZE=2><P><font face="Arial, Helvetica, sans-serif">Is "Claus" another anagram for "Lucas"?</font></P>
<P><font face="Arial, Helvetica, sans-serif">Its no secret "Lucas" and "Lucis" is a new-age "code word" for "Lucifer".
The Alice Bailey founded new age, occult publishing company was originally
named "<I>Lucifer Publishing Company</I>" but in 1924 the name was cleverly changed to "Lucis Trust". By the way, the Lucifer worshipping Lucis Trust is a major player in the works of the United Nations (formerly located in the United Nations building) but now located on "prime-time" 1200
Wall Street. </font></P>
<P><font face="Arial, Helvetica, sans-serif">Claus sounds a lot like "claws".</font></P>
<P><font face="Arial, Helvetica, sans-serif">Maybe "Santa Claus" means "Satan's Claws"? Like lion's "claws"?</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Be sober, be vigilant; because your adversary the devil, <B>as a roaring lion</B>, walketh about, seeking whom he may devour:<BR>
1 Peter 5:8</font></BLOCKQUOTE>
<font face="Arial, Helvetica, sans-serif"><B>
</font></FONT><FONT FACE="Arial,Helvetica" SIZE=4><P><font face="Arial, Helvetica, sans-serif">. . . Jolly Old St. Nick</font></P>
<font face="Arial, Helvetica, sans-serif"></B></font></FONT><FONT FACE="Arial,Helvetica" SIZE=2><P><font face="Arial, Helvetica, sans-serif">While
Santa and Claus may be disguising their real meaning theres no disguising "ol St. Nick". Hes
a well-known character.</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif"><B>Old Nick</B>: "<B>A well-known British name of the Devil</B>. It seems probable that this name is derived from the Dutch <B>Nikken, the devil</B>..."<BR>
(<I>Encyclopedia of Occultism and Parapsychology</I>, p.650)<BR>
<B>
<P><font face="Arial, Helvetica, sans-serif">Nick, the devil.<BR>
</B>(Walter W. Sleay, <I>Concise Dictionary of English Etymology</I>, p. 304)<BR>
</font>
<font face="Arial, Helvetica, sans-serif"><B>
<P>"Devil</B>: Besides the name Satan, he is also called Beelzebub, Lucifer . . . and in popular or rustic speech by many familiar terms as <B>Old Nick </B>.
. ."<BR>
(<I>Oxford English Dictionary</I> Vol III D-E)
</font></font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Actor Adam Sandler and New Line
Studios are well aware "Nick" is an alias for Satan. Their recent movie "Little Nicky" is about the "son of Satan", hence "Little Nicky". A teaser for the film says, "If
your mother was an angel and your father was the devil you'd be messed up
too."</font></P>
<P><font face="Arial, Helvetica, sans-serif">In the popular <I>Cloud Ten Pictures</I> "Apocalypse" film
series <I>Revelation, Tribulation, & Judgment,</I> the Antichrist just so happens to be played by none other than the actor <B>"Nick"</B> Mancuso.
Hmmm
The Cloud Ten Pictures are based on Tim LaHaye and Jerry Jenkins popular <I>Left Behind</I> "Apocalypse" book
series. Oh, the name of the Antichrist in the <I>Left Behind</I> series?
Nicolae "Nick"<B> </B>Carpathia, of course. In fact, one of the books in titled, <B><I>Nicolae, The Rise of the Antichrist</B></I>.</font></P>
<P><font face="Arial, Helvetica, sans-serif">As we mentioned earlier, "Santa Claus" is derived from the Dutch "Sinter Klaas," which
also was a form of Saint Nicholas. </font></P>
<P><font face="Arial, Helvetica, sans-serif">It is also interesting, the book <I>American Slang</I> defines the slang word <B>nick</B>: <B>to rob or steal. </B>(Robert L. Chapman, <I>American Slang</I>, p. 297)</font></P>
<P><font face="Arial, Helvetica, sans-serif">Reminds me of what the Lord Jesus warned us in John 10:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">1 Verily, verily, I say unto you, <B>He that entereth not by the door</B> into the sheepfold, but climbeth up some other way <B>[say a chimney?]</B>, the same is a thief and a robber. . .<BR>
9 I am the door: by me if any man enter in, he shall be saved, and shall go in and out, and find pasture.<BR>
10 The thief cometh not, <B>but for to steal, and to kill, and to destroy</B>: I am come that they might have life, and that they might have it more abundantly.<BR>
John 10:1,9,10</font></BLOCKQUOTE>
</FONT><font face="Arial, Helvetica, sans-serif"><B><FONT FACE="Arial,Helvetica" SIZE=4>
<P><font face="Arial, Helvetica, sans-serif">. . . Father Christmas</font></P>
</B><font face="Arial, Helvetica, sans-serif"></FONT>
</font></font><FONT FACE="Arial,Helvetica" SIZE=2><P><font face="Arial, Helvetica, sans-serif">The "Christmas Poem" reads:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Hurry up please Christmas Day,<BR>
When <B>Father Christmas</B> on his sleigh,<BR>
Comes to pay a visit.<BR>
Into every house he creeps<BR>
While each of us soundly sleeps<BR>
While he pays a visit.</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">The famous anthropologist Claude
Levi-Strauss writes in his popular analysis of "Father Christmas":</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">"Father Christmas is dressed
in scarlet: <B>he is a king</B>. His white beard, his furs and his boots, the sleigh in which he travels evoke winter. <B>He is called 'Father'</B> and he is an old man<B>, thus he incarnates the benevolent form of the authority of the ancients.</B>"</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">In other words, "Father Christmas" is
God <B>incarnate.</font></P>
<font face="Arial, Helvetica, sans-serif"></B>
<P><font face="Arial, Helvetica, sans-serif">Levi-Strauss goes on to write that<B> </B>children believe in him, paying homage to him with letters <B>and prayers.</font></P>
<font face="Arial, Helvetica, sans-serif"></B>
<P>The Devils stated goal in Isaiah 14:13-14, is to be god or the "father". To grab that "crown of the Father". </P>
<P>And what better "I will be like the most High. . - name to fame" than "Father of Christ-mass".</P>
<BLOCKQUOTE>And call no man <B>your father</B> upon the earth: <B>for one is your Father, which is in heaven</B>.<BR>
Matthew 23:9</BLOCKQUOTE>
</font></font></FONT><font face="Arial, Helvetica, sans-serif"><B><FONT FACE="Arial,Helvetica" SIZE=4>
<P><font face="Arial, Helvetica, sans-serif">. . . Kriss Kringle</font></P>
</B><font face="Arial, Helvetica, sans-serif"></FONT>
</font></font><FONT FACE="Arial,Helvetica" SIZE=2><B><P><font face="Arial, Helvetica, sans-serif">
<IMG SRC="images/santa3d.jpg" BORDER="1" HEIGHT="213" WIDTH="200" HSPACE="5" VSPACE="5" ALIGN="RIGHT"> And
theres the friendly, jingle-jangle name of "Kriss Kringle". </font></P>
</B><P><font face="Arial, Helvetica, sans-serif">By far, the name Kriss Kringle
is the most blasphemous. With "Kriss", Satan slowly pulls off the mask. Theres no doubt about the intentions of "Kriss Kringle".</font></P>
<P><font face="Arial, Helvetica, sans-serif">Believe it or not. . . "<B>Kriss
Kringle" is </B>German for "little <B>Christ</B> Child".</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif"><B>"Kriss Kringle</B> A US name for Santa Claus derived from the German <I>Christkindl</I> (<B>little Christ child</B>)."<BR>
(<I>Brewer's Dictionary of Twentieth-Century Phrase and Fable</I>, p. 334)</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Santa Claus or Kriss Kringle is
the counterfeit "<B>Christ </B>Child"! </font></P>
<P><font face="Arial, Helvetica, sans-serif">Why do we supposedly celebrate December
25 along with Kriss Kingle? Its the birth-day of the Christ Child - Kriss
Kringle.</font></P>
<P><font face="Arial, Helvetica, sans-serif">Do you really believe, in a million
years, all these "coincidences" to Satan and blasphemies are just
an accident?</font></P>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">His head and his hairs were white like wool, as white as snow. . . </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red">(Rev. 1:14)</B></font></FONT><font face="Arial, Helvetica, sans-serif">
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">His head and his hairs [his beard] were white like wool, as white as SNOW. . .</font></P>
<P><font face="Arial, Helvetica, sans-serif">A perfect description of . . . Guess Who?</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif"><B>Who's got a beard that's long and white</B> <BR>
Santa's got a beard that's long and white<BR>
<P>
<B>Must be Santa Must be Santa</B><BR>
Must be Santa, Santa Clause<BR>
</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">But its actually . . . The Lord
Jesus Christ in Revelation 1!</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Revelation 1:13-15<BR>
13 And in the midst of the seven candlesticks one like unto the Son of man, clothed with a garment down to the foot, and girt about the paps with a golden girdle.<BR>
14 <B>His head and his hairs</B> [BEARD] <B>were white like wool, as white as snow</B>;. . . .</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">The poem "The Night Before Christmas" describes
Old St. Nick as:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif"><B>"</B>He was dressed all in fur, from his head to his foot,<BR>
And his clothes were all tarnished with ashes and soot;<BR>
A bundle of toys he had flung on his back,<BR>
And he looked like a peddler just opening his pack.<BR>
<P>His eyes how they twinkled! his dimples how merry!<BR>
His cheeks were like roses, his nose like a cherry!<BR>
His droll little mouth was drawn up like a bow,<BR>
<B>And the beard of his chin was as white as the snow;"</B>
</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">The Lord Jesus is also described in Daniel 7:</font></P>
<P><font face="Arial, Helvetica, sans-serif">Daniel 7:9 describes the Lord Jesus,
as the "Ancient of days", "white hair", a king ("thrones cast down. . . did sit"):</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Daniel 7:9<BR>
I beheld till the thrones were cast down, <B>and the Ancient of days</B> did sit, <B>whose garment was white as snow, and the hair of his head like the pure wool:</B> . . . </font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Remember when we saw Claude Lévi-Strauss's popular essay of "Father Christmas":</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">"Father Christmas <B>is dressed in scarlet</B>: <B>he is a king</B>. <B>His white beard</B>, his furs and his boots, the sleigh in which he travels evoke winter. <B>He is called 'Father'</B> and <B>he is an old man, </B>thus he <B>incarnates</B> the benevolent form of <B>the authority of the ancients</B>."</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">He is a Father. . . dressed in scarlet. . . He is a king. . . white beard. . . incarnate. . . authority of the ancients.</font></P>
<P><font face="Arial, Helvetica, sans-serif">Who is he really describing?</font></P>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">Who is this that cometh. . . red in thine apparel </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red"> (Isaiah 63:2)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Who wears boots <B>and a suit of red</B> <BR>
Santa wears boots <B>and a suit of red</B><BR>
<P>
Cap on head, <B>suit that's red</B> <BR>
Special night, beard that's white</P>
<P>
Must be Santa Must be Santa <BR>
<B>Must be Santa, Santa Clause<BR>
</B>
</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">And must be. . . (Are you surprised?) </font></P>
<P><font face="Arial, Helvetica, sans-serif">The Lord Jesus Christ </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">
Isaiah 63:1-2<BR>
1 Who is this that cometh from Edom, with dyed garments from Bozrah? this that is glorious in his apparel, travelling in the greatness of his strength? I that speak in righteousness, mighty to save.<BR>
2 Wherefore art thou <B>red in thine apparel</B>, and thy garments like him that treadeth in the winefat?
<P>Revelation 19:11<BR>
11 And I saw heaven opened, and behold a white horse; and he that sat upon him was called Faithful and True, and in righteousness he doth judge and make war.<BR>
12 His eyes were as a flame of fire, and on his head were many crowns; and he had a name written, that no man knew, but he himself.<BR>
13 <B>And he was clothed with a vesture dipped in blood</B>: and his name is called The Word of God.
</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Do you get the strangest feeling
that someone is "copying" someone? </font></P>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">And his feet. . . as if they burned in a furnace </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red"> (Revelation 1:15)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">Hmmm. . . ?</font></P>
<P><font face="Arial, Helvetica, sans-serif">Now who has their feet in an furnace? Who comes down a chimney into a furnace? </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif"><B>chim * ney<BR>
1. </B>a structure, usually vertical, containing a passage or flue by which the smoke, gases, etc<B>., of a fire or furnace</B> are carried off and by means of which a draft is created<BR>
(Websters Dictionary)</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Santa Claus. . .</font></P>
<P><font face="Arial, Helvetica, sans-serif">And. . . (You already know who else)</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Revelation 1:13-15<BR>
13 And in the midst of the seven candlesticks one like unto <B>the Son of man</B>, clothed with a garment down to the foot, and girt about the paps with a golden girdle.<BR>
14 His head and his hairs were white like wool, as white as snow; and his eyes were as a flame of fire;<BR>
15 <B>And his feet like unto fine brass</B>, <B>as if they burned in a furnace</B>; and his voice as the sound of many waters.</font></BLOCKQUOTE>
</font>
<P><font face="Arial, Helvetica, sans-serif">Satan wasnt just kidding when he said in Isaiah 14:14, ".
. . <B>I will be like the most High</B>."</font></P>
<P><font face="Arial, Helvetica, sans-serif">The Lord Jesus warned us in John
10 about those that ". . . entereth <B>not by the door</B> into the sheepfold, but <B>climbeth up some other way</B> [like
a chimney]. . ." </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">John 10:1, 2, 9,10<BR>
10:1 Verily, verily, I say unto you, <B>He that entereth not by the door</B> into the sheepfold, but <B>climbeth up some other way <FONT COLOR="red">[like a chimney]</FONT>, the same is a thief and a robber</B>.<BR>
2 But he that entereth in by the door is the shepherd of the sheep.<BR>
9 <B>I am the door: by me if any man enter in, he shall be saved, and shall go in and out, and find pasture.<BR>
</B>10 The thief cometh not, but for to steal, and to kill, and to destroy: I am come that they might have life, and that they might have it more abundantly.</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">A little interesting history on Santa and his chimney:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">It seems the "chimney tale" came to us via Thor, the mythical god of fire and lightning. Satan (and Thor) are symbolized by the lightning bolt (Luke 10:18). Thors name means "thunder". The Thor story goes like this; Most families in the pre-patriarchal Scandinavian world would have an altar to Thor their
fireplace. Every year on his birthday, December 25<SUP>th</SUP> (of course)
Thor would come down the chimney to his altar of fire, and bring presents
to the kiddies. (sound familiar?) Oh yea, Thor was "nicknamed" "Klaus of the cinders" or "Sinter Klaus" (a.k.a Santa Claus), because it was believed he would be "singed" as
went into the fireplace.
</P>
<font face="Arial, Helvetica, sans-serif"><P>Thor liked to wear furs in red
for fire, and white for snow. He is usually pictured with a long white
beard. He had a palace in the north. And he
also rode through the sky in a sled pulled by two goats, named Gnasher
and Crasher. (Sound like someone else weve heard of?) Another of Thors nickname was "Old Nick." Thor also carried a "trident" the
pitchfork of Satan.
</font></font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Just a coincident. . . ? Hmmm. .
. Thor the "god" of thunder, fire and lightning. Sounds a lot like
someone else. . . Like maybe. . . Santa and Satan </font></P>
<P><font face="Arial, Helvetica, sans-serif">Its no secret that Thor is also Satan. The rock group KISS, who dressed as "demons from hell" spewed forth fire and blood in their concerts, has a song dedicated to the god of Thor titled "God of Thunder".
Some of the lyrics:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">I was born on Olympus <BR>
To my father a son <BR>
<B>I was raised by the demons</B> <BR>
<B>Trained to reign as the one <BR>
God of thunder and rock and roll. . .<BR>
</B>I gather darkness to please me <BR>
<B>And I command you to kneel <BR>
Before the God of thunder and rock and roll</B> <BR>
The spell you're under <BR>
<B>Will slowly rob you of your virgin soul</B><BR>
<font face="Arial, Helvetica, sans-serif"><BLOCKQUOTE>KISS, <I>God of Thunder
</P>
</BLOCKQUOTE>
</font></font></BLOCKQUOTE>
<font face="Arial, Helvetica, sans-serif"></I><font face="Arial, Helvetica, sans-serif"><P>Theres also the mythological creature named Chimera (coming from the same root word "chim" as
chim-ney). Chimera is a strange creature. It seems Chimera is part <B>lion</B>, part <B>goat</B> and part <B>serpent</B>.
Thats a strange combo. . .? I wonder where they got that from? Chimera breathes
fire and lives in the underworld called Hell. (Hans Biedermann, <I>Dictionary of Symbolism</I>, p. 67)</P>
</font></font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">Is not this the carpenter. . . </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red">(Mark 6:3)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">Mark 6:3 tells us the Lord Jesus Christ was a carpenter.</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Mark 6:3<BR>
<B>Is not this the carpenter</B>, the son of Mary, the brother of James, and Joses, and of Juda, and Simon? and are not his sisters here with us? And they were offended at him.</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif"><IMG SRC="images/carpenter2.jpg" BORDER="0" HEIGHT="143" WIDTH="183" HSPACE="5" VSPACE="5" ALIGN="LEFT">And Santa is no plumber, or electrician, or blacksmith. . . </font></P>
<B><P><font face="Arial, Helvetica, sans-serif">Santa's a guess what a carpenter
too!</font></P>
</B></font>
<P><font face="Arial, Helvetica, sans-serif">Wow! Who would have ever guessed it! What a coincidence. </font></P>
<P><font face="Arial, Helvetica, sans-serif">Oh yea, remember the god-Thor. .
. Another of his symbols a carpenters "hammer".</font></P>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">His house. . . was toward the north </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red"> (Ezekiel 8:14)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">Of course, everyone knows Santa lives at the North Pole. </font></P>
<P><font face="Arial, Helvetica, sans-serif">Brrr. . . Why the north pole? Nobody lives at the North Pole. . . Why did they pick the NORTH Pole? </font></P>
<B><P>Could it possibly be because someone ELSE lives in the north?</P>
</B></font>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Ezekiel 8:14<BR>
Then he brought me to the door of the gate <B>of the LORD'S house which was toward the north</B>; . . .<font face="Arial, Helvetica, sans-serif"><P>Psalm 48:1-2<BR>
1 Great is the LORD, and greatly to be praised in the city of our God, in the mountain of his holiness.<BR>
2 Beautiful for situation, the joy of the whole earth, is mount Zion, <B>on the sides of the north, the city of the great King.
</font></font></BLOCKQUOTE>
<font face="Arial, Helvetica, sans-serif"></B>
<font face="Arial, Helvetica, sans-serif"><P>The Lord dwells in "the north, the city of the great King".</P>
</font></font>
<P><font face="Arial, Helvetica, sans-serif">By the way, do you remember what Lucifer said in Isaiah 14:13, when he rebelled against God? Do you remember where he was going to exalt his throne? </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Isaiah 14:12-14<BR>
12 How art thou fallen from heaven, O Lucifer, son of the morning! how art thou cut down to the ground, which didst weaken the nations!<BR>
13 For thou hast said in thine heart, I will ascend into heaven, I will exalt my throne above the stars of God: I will sit also upon the mount of the congregation, <B>in the sides of the north</B>:<BR>
14 I will ascend above the heights of the clouds; <B>I will be like the most High</B>.</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Where else would Satan ("oops I did it again". . . its
just too easy to get those two mixed up) Claus be but in the NORTH?</font></P>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">. . . who rideth upon the heaven in thy help. . . </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red"> (Deuteronomy 33:26)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif"><IMG SRC="images/santa_sky.gif" BORDER="0" HEIGHT="134" WIDTH="218" HSPACE="5" VSPACE="5" ALIGN="RIGHT">As
everyone knows, Santa miraculously rides upon the heavens as he delivers
his gifts and love. Hes been described for so long, by so many, riding across the sky with his reindeers guiding his merry way you
can almost see Santa as you gaze up in the sky. </font></P>
<P><font face="Arial, Helvetica, sans-serif">The famous poem "The Night Before Christmas" describes
this amazing, flying, red-clothed, bearded, whited-haired, super-man:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">As dry leaves that before the wild hurricane fly,<BR>
When they meet with an obstacle, <B>mount to the sky</B>,<BR>
So up to the house-top the coursers <B>they flew</B>,<BR>
With the sleigh full of toys, and St. Nicholas too</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Sounds a lot like another episode
Im familiar with when the Lord Jesus
Christ went up to heaven:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Acts 1:9-10<BR>
9 And when he had spoken these things, while they beheld, <B>he was taken up; and a cloud received him out of their sight.<BR>
</B>10 <B>And while they looked stedfastly toward heaven as he went up</B>, . . .</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Following Satans ". . . I will be like the most high. . ." script <I>to the letter</I>, Santa mimics the Lord God as found in Deuteronomy 33:26 </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Deuteronomy 33:26<BR>
There is none like unto the God of Jeshurun, <B>who rideth upon the heaven in thy help</B>, and in his excellency <B>on the sky</B>.</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Its also interesting in Ephesians 2:2, Satan is depicted as "the
prince of <B>the power of the air</B>. . ."</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Ephesians 2:2<BR>
Wherein in time past ye walked according to the course of this world, <B>according to the prince of the power of the air</B>, the spirit that now worketh in the children of disobedience:</font></BLOCKQUOTE>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">Ho, ho. . . saith. . . </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red">(Zechariah 2:6)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">Satan Claus. . .?</font></P>
<P><font face="Arial, Helvetica, sans-serif">Right?</font></P>
<P><font face="Arial, Helvetica, sans-serif">Actually. . .</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Zechariah 2:6<BR>
<B>Ho, ho</B>, come forth, and flee from the land of the north, <B>saith the LORD. . .</B></font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">"Ho, Ho. . ."?</font></P>
<P><font face="Arial, Helvetica, sans-serif">I always thought Santa Claus said that. . .?</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif"><B>HO HO HO</B>, cherry nose <BR>
Cap on head, suit that's red <BR>
Special night, beard that's white<BR>
<BR>
<B>Must be Santa Must be Santa <BR>
Must be Santa, Santa Clause</font></BLOCKQUOTE>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">. . .and his angels were cast out with him </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red"> (Revelation 12:9)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">Santas Little Helpers. . .</font></P>
<font face="Arial, Helvetica, sans-serif"></B>
<P>Santa has some cute little helpers called "elves". It so happens, that Elves (a.k.a fairies, trolls, etc.) also are very popular "helpers" in
witchcraft, demonism and the occult. </P>
<I>
<P>The Encyclopedia of Witches and Witchcraft</I> has some interesting insights
into "Santa's Little Helpers". For instance, elves are Satan's fallen angels:</P>
<BLOCKQUOTE>"A host of supernatural beings and spirits who exist between earth
and heaven. . . Fairies [Elves] <B>are fall angels</B>. When God cast Lucifer
from heaven, the angels who were loyal to Lucifer plunged down toward hell
with him."<BR>
(Rosemary Ellen Guiley, <I>The Encyclopedia of Witches and Witchcraft</I>, p. 115)
<P>Revelation 12:9<BR>
And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, <B>and his angels were cast out with him</B>. </BLOCKQUOTE>
<I>
<P>The Encyclopedia of Witches and Witchcraft</I> also writes that some elves have an appetite for human blood:</P>
<BLOCKQUOTE>"Some fairies [elves] were said <B>to suck human blood like vampires</B>."<BR>
(Rosemary Ellen Guiley, <I>The Encyclopedia of Witches and Witchcraft</I>, p. 116)</BLOCKQUOTE>
<P>An interesting "trick" concerning elves is also given in <I>The Encyclopedia of Witches and Witchcraft </I>(p. 117).<I> </I>It
seems some elves will grant peoples' wish and give them gifts <B>if that person will only deny their Christian faith</B>!
Can you say "Santa Claus"?</P>
<P>Elves are found in the writings of Satanist and new age-theosophy guru H.P.
Blavatsky. She claims elves are "disembodied spirits", used in "magic and sorcery" and are "the principal agents in . . . seances." (H.P.
Blavatsky, <I>Isis Unveiled</I>, Vol I, p. 262)</P>
<P>Interesting, elves are also called "trolls". Cathy Burns writes in <I>Masonic and Occult Symbols Illustrated:</P>
</I>
<BLOCKQUOTE>". . . the word <B>troll </B>comes from the Old Norse <B>word for demon</B> and is defined by some sources as a 'devil': <B>a person of great wickedness or maliciousness</B>. . . Of course, <B>Santa has his elves</B>,
too." <BR>
(Cathy Burns, <I>Masonic and Occult Symbols Illustrated, p. 67)</BLOCKQUOTE>
</I>
<BLOCKQUOTE>Elf: 'A small, often mischievous creature considered to have magical powers.' Although some of these creatures may appear cute on the surface, all of them are nonetheless <B>demonic entities</B> that have <B>their origin in the occult world</B>." <BR>
(Cathy Burns, <I>Masonic and Occult Symbols Illustrated, </I>p. 77)</BLOCKQUOTE>
<P>The <I>Dictionary of Symbolism</I> writes of elves:</P>
<BLOCKQUOTE>"Living beneath the surface of the earth, they have ties to the word
of the dead; these 'little people' are often thought of <B>as inhabitants of the underworld</B> [hell]."<BR>
(Hans Biedermann, <I>Dictionary of Symbolism</I>, p. 107)</BLOCKQUOTE>
<P>Before you completely discount elves to the world of fantasy, witches, the
occult and kooks, consider the research of Dr. Kurt Koch. Dr. Koch is without
question the world's foremost authority on demonism and the occult. Dr. Koch,
a devout Christian, has spent a life-time traveling world-wide, researching
and documenting the real-world of demonism, devils and the occult. Dr. Koch
has three complete pages documenting "Goblins and Elves" in his book <I>Occult ABC</I>. Dr. Koch writes of elves:</P>
<BLOCKQUOTE>"<B>These elves often appear to children</B> and even play with them. The moment and adult comes on the scene, the elves disappear. . . If a person wants their help<B>, he must apply to their chief, the devil himself</B> [Santa?]. This however, would cost a person his salvation. <B>The idea these spirits are demonic in origin is in accordance with the Bible</B>."<BR>
(Kurt Koch, <I>Occult ABC</I>, p. 82, 83)</BLOCKQUOTE>
<P>Dr. Koch claims these elves' "chief" is the "devil himself" "Santa's Little Helpers".
Notice how Dr, Koch and others keep linking these elves back to children.</P>
<I>
<P>The Encyclopedia of Witches and Witchcraft</I> says elves, "<B>love to visit new born babies of mortals</B> and
will not hesitate to steal. . ." (Rosemary Ellen Guiley, <I>The Encyclopedia of Witches and Witchcraft</I>, p. 116)</P>
<P>In Dr. Koch's book (pp. 82-85), he gives four detailed, documented actual
accounts involving elves or demons. Dr. Koch, has encountered so many elf-demonic
experiences, he says, "One could write a book <B>just about these little people</B> like the <I>tomter</I> [elves],
but that is not my task." (Kurt Koch, <I>Occult ABC</I>, p. 83)</P>
<P>The great German Reformer Martin Luther also had encounters with elves or goblins. In his Table Talk book, Luther writes on one occasion:</P>
<BLOCKQUOTE>"The goblin [elf] jolted me in bed. But I took little notice of him.
When I was almost asleep, he began such a rumbling on the stairs that you
would have thought someone was throwing three score barrels of wine down them.
I
stood up, went to the stairs, and called out 'If it is you, so be it,' Then
I committed myself to the Lord, of whom it is written, 'Thou hast put all
things under His feet,' and went back to bed. <B>That is the best way to get
rid of him: to scorn him and call on Christ, That he cannot bear'".<BR>
</B>(cited in Kurt Koch, <I>Occult ABC</I>, p. 84)</BLOCKQUOTE>
<I>
<P>The Encyclopedia of Witches and Witchcraft writes, "</I>Many contemporary
Witches believe in fairies [elves] and some see them clairvoyantly". (Rosemary
Ellen Guiley, <I>The Encyclopedia of Witches and Witchcraft</I>, p. 117)</P>
<P>In fact, the very popular book teaching witchcraft to teenagers titled <I>Teen Witch</I> by
witch-author Silver RavenWolf even contains a spell to invoke elves. The
spell called "Elf Locker Spell" is a spell to keep people from breaking into a teenagers school locker. The spell conjures up elves to protect their locker. Witch RavenWolf writes, "At
school, hang the mirror, <B>asking the locker elves (yes, there are elves in school) to protect the locker</B>" (Silver
RavenWolf, <I>Teen Witch, Wicca for a New Generation</I>, p. 215). Then the "teen witch" does some other silly, stupid stuff, and casts their spell (which the book gives in detail). The end of the spell is very, very interesting. Here's what RavenWolf writes, "At
home, set <B>the milk and honey outside</B> to nourish the fairies. (p. 215)" Can you say "milk and cookies"? Can you say "Ho, Ho, Ho"?</P>
<B><P>The Elves of Oz. . .</P>
</B></font>
<P><font face="Arial, Helvetica, sans-serif">One of the most demon-possessed
individuals is rock star, Ozzy Osbourne. Ozzys claim to fame was lead singer of the "Satan-rock" band
Black Sabbath. Ozzy is known for such bizarre and demonic behavior as biting
the head off a bat and a dove. </font></P>
<P><font face="Arial, Helvetica, sans-serif">On September 2, 1989, Ozzy and his
demons nearly murdered his own wife. Heres
how his wife, Sharon Osbourne, describes the terrifying moment to Barbara
Walters on <I>20/20:</font></P>
<font face="Arial, Helvetica, sans-serif"></I>
<BLOCKQUOTE>"I was downstairs reading. He came down with just his underpants
on. And he's like,"<B>We've</B> come to a decision." And I'm like, <B>"We've</B>"?
And he said "<B>You have to die</B>". And then he just dived on me and got
me down on the and was just strangling me. <B>But he was gone. There was blinkers on his eyes. He had gone. It wasn't Ozzy</B>."<BR>
(<I>20/20,</I> Barbara Walters, Nov. 6, 2002)</BLOCKQUOTE>
<P>Sharon later openly tells Barbara Walters on 20/20 of Ozzys "demon" and "little
people" <B>[ELVES]</B> that live in Ozzys head. </P>
<BLOCKQUOTE>"He's just got <B>this demon</B> inside of him. He just can't get rid of these <B>little people [ELVES]</B> that
live in his head."<BR>
(<I>20/20,</I> Barbara Walters, Nov. 6, 2002)</BLOCKQUOTE>
<P>Ozzys wife Sharon also tells <I>People Magazine</I>, being married to Ozzy:
<BLOCKQUOTE>". . . <B>is like living with several different people.</B> One day he can be loving and romantic, <B>but the next day he'll turn into this Jekyll and Hyde monster. I never know what I'm going to wake up with</B>."<BR>
(<I>People Magazine</I>, July, 10, 1989, p. 94)</BLOCKQUOTE>
<P>Ozzy told <I>Hit Parader</I> Magazine:</P>
<BLOCKQUOTE>"I really wish I knew why Ive done some of the things Ive
done over the years. <B>Sometimes I think that Im possessed by some outside spirit. A few years ago, I was convinced of that I
thought I truly was possessed by the devil.</B> I remember sitting through
the Exorcist a dozen times, saying to myself, <B>Yeah, I can relate to that</B>."<BR>
(<I>Hit Parader</I>, Nov., 1984, p. 49)</BLOCKQUOTE>
<P>Yea, they sacrificed their sons and their daughters unto devils,</P>
<P>Psalm 106:37</P>
</font></font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">. . . for his great love wherewith he loved us </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red"> (Ephesians 2:4)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">Oh, how he loves the little children.</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">All the children of the world.<BR>
Red and yellow, black and white,<BR>
They are precious in his site.<BR>
Santa loves the little children of the world.</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">They stand in line to sit in his loving lap. They get their picture with Santa. They tell Santa their most intimate secrets. </font></P>
<P><font face="Arial, Helvetica, sans-serif">They love their Santa because
he first loved them.</font></P>
<P><font face="Arial, Helvetica, sans-serif">Is there something slightly familiar with this picture? </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Mark 10:13-14<BR>
13 <B>And they brought young children to him</B>, that he should touch them: and his disciples rebuked those that brought them.<BR>
14 But when Jesus saw it, <B>he was much displeased</B>, and said unto them, <B>Suffer the little children to come unto me</B>, and forbid them not: for of such is the kingdom of God.</font></BLOCKQUOTE>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">1 John 4:19<BR>
We love him, <B>because he first loved us</B>.</font></BLOCKQUOTE>
</font><B><P><font face="Arial, Helvetica, sans-serif">Satans Ultimate Goal
- Achieved</font></P>
<P><font face="Arial, Helvetica, sans-serif">Remember where we previously read
Satans ultimate goal.</font></P>
</B><P><font face="Arial, Helvetica, sans-serif">"I will be<B> like the
most high"</B> </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Isaiah 14:13-14:<BR>
13 For thou hast said in thine heart, I will ascend into heaven, I will exalt my throne above the stars of God: I will sit also upon the mount of the congregation, in the sides of the north:<BR>
14 I will ascend above the heights of the clouds; <B>I will be like the most High</B>.<BR>
</font></BLOCKQUOTE>
<B><P><font face="Arial, Helvetica, sans-serif">Satan is accomplishing EXACTLY what he wanted. </font></P>
</B><P><font face="Arial, Helvetica, sans-serif">Satans ultimate goal is worship.
And millions of children are lovingly giving him their God-given child-like
faith. They love Santa!</font></P>
<P><font face="Arial, Helvetica, sans-serif">Remember in Luke 4, when Jesus Christ
was tempted of Santa (uh
I mean Satan) in the wilderness. Remember what
Satan offered him. . . And remember what Satan requested in exchange:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Luke 4:5-8<BR>
5 And the devil, taking him up into an high mountain, showed unto him all the kingdoms of the world in a moment of time.<BR>
6 And the devil said unto him, <B>All this power will I give thee, and the glory of them: for that is delivered unto me; and to whomsoever I will I give it.<BR>
</B>7 <B>If thou therefore wilt worship me</B>, all shall be thine.<BR>
8 And Jesus answered and said unto him, Get thee behind me, Satan: for it is written, Thou shalt worship the Lord thy God, and him only shalt thou serve</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Satans ultimate goal <B>worship</B>.
Hell "give" you gifts "whomsoever I will <B>I give it</B>"</font></P>
<P><font face="Arial, Helvetica, sans-serif">Little children are worshipping
him. And not only that he is stealing their child-faith at the greatest time of salvation in their whole life! What a plan! What a master-piece of deception! And the average parents are Satans
greatest evangelists. What an incredible, subtle, diabolical plan. </font></P>
<P><font face="Arial, Helvetica, sans-serif">Do you really believe Santa is just a harmless accidental character of history? </font></P>
<B><P><font face="Arial, Helvetica, sans-serif">Santa Claus has replaced God in the lives of many children.</font></P>
</B>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">. . . Ask, and it shall be given you. . . </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red"> (Matthew 7:7)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">Millions of young children will
anxiously climb into the loving lap of their Santa Claus. Theyll whisper in his ear their little hearts desire. Theyll
quickly wake up Christmas morning with eyes shimmering at their gifts wonderful
Santa gave them. </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Jolly old Saint Nick,<BR>
<B>Lean your ear this way!<BR>
</B>
Don't you tell a single soul<BR>
What I'm going to say;<BR>
Christmas Eve is coming soon;<BR>
Now, you dear old man,<BR>
<B>Whisper what you'll bring to me;<BR>
</B>
Tell me if you can.<BR>
<I>"Jolly Old St. Nick"<BR>
</I></font></BLOCKQUOTE>
</font>
<P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Here comes Santa Claus!<BR>
Here comes Santa Claus!<BR>
Right down Santa Claus Lane. . .<BR>
Bells are ringing, <B>children singing</B>;<BR>
All is merry and bright.<BR>
Hang your stockings <B>and say your prayers</B>,<BR>
<B>'Cause Santa Claus comes tonight.</font></BLOCKQUOTE>
<font face="Arial, Helvetica, sans-serif"></B>
<P><font face="Arial, Helvetica, sans-serif"><IMG SRC="images/ask.jpg" BORDER="0" HEIGHT="111" WIDTH="160" HSPACE="5" VSPACE="5" ALIGN="LEFT">Millions
of children worldwide will be praying and asking their god-Santa for their
presents. And heres the kicker come Christmas morning theyll believe ol Satan (not again. . . theyre just too much alike. . . I mean. . . Santa) lovingly gave them all their presents. Whos
telling these kids these lies? </font></P>
<P><font face="Arial, Helvetica, sans-serif">Santa (or Satan. . . take your pick)
has replaced God as the gracious giver of gifts and the one who answers their
prayers. He is Mr. everything to these
kids at Christmas time. They just need to believe. The "key" to getting your gifts is "believing" in Santa. Millions of kids will be asked this Christmas, "Do
you still believe in Santa?" </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Matthew 21:22<BR>
And all things, whatsoever ye shall ask in prayer, <B>believing, ye shall receive</B>.
</P>
<P>Psalm 37:4<BR>
Delight thyself also in the LORD; <B>and he shall give thee the desires of thine heart</B>.</P>
<P>Matthew 7:7-8, 11<BR>
7 Ask, <B>and it shall be given you</B>; seek, and ye shall find; knock, and it shall be opened unto you:<BR>
8 For every one that asketh receiveth; and he that seeketh findeth; and to him that knocketh it shall be opened. . . .<BR>
11 If ye then, being evil, know how to give good gifts unto your children, <B>how much more shall your Father which is in heaven give good things to them that ask him?<BR>
</B>
<P>James 1:17<BR>
<B>Every good gift and every perfect gift is from above</B>, and cometh down from the Father of lights, with whom is no variableness, neither shadow of turning.
</font></BLOCKQUOTE>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">All power is given unto me in heaven and in earth. </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red"> (Matthew 28:18)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">Isnt it amazing the power Santa
has? </font></P>
<P><font face="Arial, Helvetica, sans-serif">Is there anyone like Santa Claus?</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">He <B>sees</B> you when you're sleeping, He <B>knows </B>when you're awake<BR>
He <B>knows </B>if you've been bad or good So be good for goodness sake<BR>
<P>"Santa Claus is Coming to Town"?</P>
</font></BLOCKQUOTE>
<B><P><font face="Arial, Helvetica, sans-serif">Santa is All Knowing Hes Omniscient</font></P>
</B></font>
<P><font face="Arial, Helvetica, sans-serif">He knows. . . </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">He KNOWS when youre awake<BR>
He KNOWS if you've been good or bad."</font></BLOCKQUOTE>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Bobby wants a pair of skates,<BR>
Suzy wants a sled<BR>
Nellie wants a picture book,<BR>
yellow, blue, and red<BR>
Now I think I'll leave to you<BR>
what to give the rest<BR>
<B>Choose for me, dear Santa Claus;<BR>
you will know the best.</B><BR>
"Jolly Old St. Nick"</font></BLOCKQUOTE>
<B><P><font face="Arial, Helvetica, sans-serif">Santa knows everything. . .</font></P>
</B>
<P><font face="Arial, Helvetica, sans-serif">Children are taught, religiously,
that Santa knows everything. He knows when theyre awake. He knows when theyre
sleeping. He knows what they want for Christmas. </font></P>
<P><font face="Arial, Helvetica, sans-serif">Is the picture getting clear? Do
you see whats REALLY happening?</font></P>
<P><font face="Arial, Helvetica, sans-serif">Santa has the attributes of God Almighty.</font></P>
<P><font face="Arial, Helvetica, sans-serif">Remember that "child-like" faith?
That faith that belongs to God. That faith is being robbed by Santa. </font></P>
<P><font face="Arial, Helvetica, sans-serif">Santa has all the attributes of
God. Santa has replaced God in the lives of "Santa-worshipping" children. <B>Just mention the name of Santa to the average child</B> and watch their little face light up. They love Santa with "all their heart, and with all their soul, and with all their strength, and with all their mind".
They stand in line to sit in his loving lap. They leave him milk and cookies.
It may be a fable to the grown-ups, but those little kids <B>they believe and love Santa with all their little heart!</font></P>
<font face="Arial, Helvetica, sans-serif"></B>
<P><font face="Arial, Helvetica, sans-serif">And why not? Why shouldnt they
believe in Santa?</font></P>
<P><font face="Arial, Helvetica, sans-serif">They are taught, heartily, by the
people they love and trust more than anyone on earth that Santa is their god. Santa knows things that are known only by an Omniscient God. Who else has such power? And why wouldnt they believe it? Why would "mommy and daddy" lie?</font></P>
<P><font face="Arial, Helvetica, sans-serif">The following verses would well
fit the average childs gospel of Santa:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">"Be not ye therefore like
unto them: for <B>Santa knoweth </B>what
things ye have need of, before ye ask him."<BR>
Matthew 6:8<BR>
<B>
<P>Santa knoweth</B> the days of the upright. . .<BR>
Psalm 37:8<BR>
<B>Santa knoweth</B> the thoughts of the wise, . . .<BR>
1 Corinthians 3:20
</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">If you doubt the sincerity of the "Santa Claus-as-god-worship" according
to <I>Encyclopedia Americana</I>, during the Middle Ages, over 400 churches
in England alone were named after "Santa Claus":</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">"His cult [Santa Clause]
and his representation in art achieved their greatest popularity in the Middle
Ages, <B>and in England alone more than 400 churches are named after him</B>."<BR>
(John E. Lynch., "Santa Claus", <I>Encyclopedia Americana</I>, 1988 ed., cited in <I>Saint Who</I> by Dr. Paul E. Heaton)</font></BLOCKQUOTE>
<B><P><font face="Arial, Helvetica, sans-serif">Santa is Everywhere Hes Omnipresent</font></P>
</B></font>
<P><font face="Arial, Helvetica, sans-serif">Hes at the mall. Hes at the parade. Hes on the TV. Hes
at the ball-park. </font></P>
<P><font face="Arial, Helvetica, sans-serif">Hes EVERYWHERE.</font></P>
<P><font face="Arial, Helvetica, sans-serif">Davids testimony to the Omnipresence of God Almighty sounds much like the average childs
omnipresence faith in Santa. </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Psalm 139:7-8<BR>
7 Whither shall I go from thy spirit? or whither shall I flee <B>from thy presence</B>?<BR>
8 If I ascend up into heaven, <B>thou art there</B>: if I make my bed in hell, behold, <B>thou art there</B>.</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Santa "miraculously" visits millions of children, all across the world, in one "quick as a wink" night. "In a moment, in the twinkling of an eye. . ." (1 Cor. 15:52) Santa appears all
over the world! </font></P>
<P><font face="Arial, Helvetica, sans-serif">The poem "The Night Before Christmas" says of Old St. Nick: ".
. . And then<B>, in a twinkling</B>, I heard on the roof. . ." Where did that come from? "In
a moment, <B>in the twinkling</B> of an eye. . ." (1 Cor. 15:52)</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">He <B>sees</B> you when you're sleeping, He knows when you're awake<BR>
He <B>knows</B> if you've been bad or good So be good for goodness sake</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Sound familiar. . .</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Proverbs 15:3<BR>
The <B>eyes of the LORD are in every place</B>, <B>beholding the evil and the good</B>.<font face="Arial, Helvetica, sans-serif"><P>2 Chronicles 16:9<BR>
For <B>the eyes of the LORD run to and fro throughout the whole earth</B>, to show himself strong in the behalf of them whose heart is perfect toward him.
</font></font></BLOCKQUOTE>
<B><P><font face="Arial, Helvetica, sans-serif">Santa is All-Powerful Hes
Omnipotent </font></P>
</B>
<P><font face="Arial, Helvetica, sans-serif">To the average child - Santa can do anything. What can Santa not do?</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Genesis 18:14<BR>
Is <B>anything too hard</B> for the LORD?<BR>
<font face="Arial, Helvetica, sans-serif"><P>Matthew 28:18<BR>
And Jesus came and spake unto them, saying, <B>All power is given unto me</B> in heaven and in earth.
</font></font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Come rain, sleet, snow, storm, hurricane,
the darkest and dreariest of nights Santa comes.</font></P>
<P><font face="Arial, Helvetica, sans-serif">But their Santa NEVER fails!</font></P>
<P><font face="Arial, Helvetica, sans-serif">In one night, the all-powerful,
Santa delivers millions and millions of gifts to children all around the
world. Who could do that? Now, who REALLY believes that? That little child
whos been preached to about Santa. . . Thats who. They believe it. Just ask one. Nothings too hard for their Santa. If the Christian world had, even a small drop of the faith the average child has in Santa wed
have revival overnight! </font></P>
<B><P><font face="Arial, Helvetica, sans-serif">Isnt it amazing what these little children believe "with all their heart" about their god Santa?</font></P>
</B>
<P><font face="Arial, Helvetica, sans-serif">These little kids believe and have
more faith in their Santa than all the Christians of the world. If the Christians
of the world could just catch a spark of that faith these kids have in Santa wed
have a world-wide revival. </font></P>
<P><font face="Arial, Helvetica, sans-serif">Have you ever seriously considered how unbelievable and powerful Santa is?</font></P>
<P><font face="Arial, Helvetica, sans-serif">The scientific journal SPY magazine
(January 1990) constructed a scientific analysis of Santa. Heres some of
there conclusions:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif"> "Santa has 31 hours
of Christmas to work with, thanks to the different time zones and the rotation
of the earth, assuming he travels east to west (which seems logical). This
works out to 822.6 visits per second. This is to say that for each house,
Santa has 1/1000th of a second to park, hop out of the sleigh, jump down
the chimney, fill the stockings, distribute the remaining presents under
the tree, eat whatever snacks have been left, get back up the chimney, get
back into the sleigh and move on to the next house.
<P><font face="Arial, Helvetica, sans-serif">
. . . a total trip of 75-1/2 million miles, not counting stops to do what most of us must do at least once every 31 hours, plus feeding and etc. This means that Santa's sleigh is moving at 650 miles per second, 3,000 times the speed of sound.
</font>
<P><font face="Arial, Helvetica, sans-serif">The payload on the sleigh adds another interesting element. Assuming that each child gets nothing more than a medium-sized lego set (2 pounds), the sleigh is carrying 321,300 tons.
</font>
<P><font face="Arial, Helvetica, sans-serif">
This increases the payload - not even counting the weight of the sleigh - to 353,430 tons. 353,000 tons traveling at 650 miles per second creates enormous air resistance - The lead pair of reindeer will absorb 14.3 QUINTILLION joules [jewels-measurement of energy] of energy. Per second.
</font>
<P><font face="Arial, Helvetica, sans-serif"> In short, they will burst into
flame almost instantaneously and create deafening sonic booms in their
wake. The entire reindeer team will be vaporized
within 4.26 thousandths of a second. Santa, meanwhile, will be subjected
to centrifugal forces 17,500.06 times greater than gravity. A 250-pound
Santa (which seems ludicrously slim) would be pinned to the back of his
sleigh by 4,315,015 pounds of force."<BR>
(SPY Magazine, January 1990) </font>
</font></BLOCKQUOTE>
<font face="Arial, Helvetica, sans-serif"></STRONG>
<P><font face="Arial, Helvetica, sans-serif">In a moment, in the twinkling of
an eye. . ." (1 Cor. 15:52) Santa appears all over the world! He just quietly "tip-toes" in and "tip-toes" out. You hear nothing. See nothing. Like a "thief in the night".
(1 Thess. 5:2).</font></P>
<P><font face="Arial, Helvetica, sans-serif">And we expect our children to believe in a supernatural being that can do all that? </font></P>
<P><font face="Arial, Helvetica, sans-serif"><B>And you know what THEY DO.
. .</B></font></P>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">. . . thy years are throughout all generations. </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red"> (Psalm 102:24)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">Where did Santa come from?</font></P>
<P><font face="Arial, Helvetica, sans-serif">How did Santa get here?</font></P>
<P><font face="Arial, Helvetica, sans-serif">When did Santa "magically" appear?</font></P>
<P><font face="Arial, Helvetica, sans-serif">Like, Melchisedec (which most Bible
students believe to be a reference to the incarnate Jesus Christ), Santa
Claus is like the Son of God, "Without
father, without mother, without descent, having neither beginning of days,
nor end of life; <B>but made like unto the Son of God</B>;. . ." Hebrews
7:3</font></P>
</font>
<P><font face="Arial, Helvetica, sans-serif">Santa is from everlasting to everlasting.
His "years are throughout all generations". Possessing the attribute of an eternal God, Santa ". . . thou art the same, and thy years shall have no end." He
has no beginning. He has no end. Like God Almighty, Santa is eternal. </font></P>
<P><font face="Arial, Helvetica, sans-serif">The famous editorial, "Yes, Virginia There is a Santa Claus",
written by Francis P. Church and published in <I>The New York Sun</I> on September 21, 1897 to 8-year-old Virginia O'Hanlon, ends with the following words: </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">"No Santa Claus! Thank
God, <B>he lives, and he lives forever. A thousand years from now, Virginia, nay, ten times ten thousand years from now</B>,
he will continue to make glad the heart of childhood."<BR>
(Francis P. Church <I>Yes, Virginia There is a Santa Claus</I>, The New York Sun, September 21, 1897)</font></BLOCKQUOTE>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Psalm 93:1-2<BR>
1 The LORD reigneth, he is clothed with majesty; the LORD is clothed with strength, wherewith he hath girded himself: the world also is stablished, that it cannot be moved.<BR>
2 Thy throne is established of old: <B>thou art from everlasting</B>.
<P><font face="Arial, Helvetica, sans-serif">Habakkuk 1:12<BR>
<B>Art thou not from everlasting</B>, O LORD my God, mine Holy One? we shall not die. O LORD, thou hast ordained them for judgment; and, O mighty God, thou hast established them for correction.<BR>
</font>
<P><font face="Arial, Helvetica, sans-serif">Psalm 102:24-27<BR>
24 I said, O my God, take me not away in the midst of my days: <B>thy years are throughout all generations.<BR>
</B>25 Of old hast thou laid the foundation of the earth: and the heavens are the work of thy hands.<BR>
26 They shall perish, but thou shalt endure: yea, all of them shall wax old like a garment; as a vesture shalt thou change them, and they shall be changed:<BR>
27 <B>But thou art the same, and thy years shall have no end</B>.<BR>
</font>
</font></BLOCKQUOTE>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">. . .I will pour out my spirit. . . </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red">(Proverbs 1:23)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif"><B>The Christmas "Spirit"?</font></P>
<font face="Arial, Helvetica, sans-serif"></B></FONT>
</font></font><FONT FACE="Arial,Helvetica" SIZE=2><P><font face="Arial, Helvetica, sans-serif">And
yes, Santa has his own "spirit".</font></P>
<P><font face="Arial, Helvetica, sans-serif">The Christmas "spirit". . . The "Spirit of Christmas" Isnt
that a little strange? </font></P>
<P><font face="Arial, Helvetica, sans-serif">Gene Autrys famous song "Here Comes Santa Claus" begins with the words, "Speakin'
of <B>Christmas spirit</B>"</font></P>
<P><font face="Arial, Helvetica, sans-serif">Ring a bell? . . .</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">John 14:16-17<BR>
16 And I will pray the Father, and he shall give you another Comforter, that he may abide with you for ever;<BR>
17 Even <B>the Spirit</B> of truth; whom the world cannot receive, because it seeth him not, neither knoweth him: but ye know him; for he dwelleth with you, and shall be in you.
<P><font face="Arial, Helvetica, sans-serif">Galatians 4:6<BR>
6 And because ye are sons, <B>God hath sent forth the Spirit of his Son</B> into your hearts, crying, Abba, Father.<BR>
</font>
<P><font face="Arial, Helvetica, sans-serif">1 John 4:1-3<BR>
1 Beloved, <B>believe not every spirit</B>, but try the spirits whether they are of God: because many false prophets are gone out into the world.<BR>
2 <B>Hereby know ye the Spirit of God</B>: Every spirit that confesseth that Jesus Christ is come in the flesh is of God:<BR>
<B>3 And every spirit that confesseth not that Jesus Christ is come in the flesh is not of God: and </B>this is that spirit of antichrist<B>, whereof ye have heard that it should come; and even now already is it in the world <BR>
</B></font>
</font></BLOCKQUOTE>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">Come, ye children. . . I will teach you the fear of. . . </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red"> (Psalm 34:11)</B></font></FONT><font face="Arial, Helvetica, sans-serif">
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">Santa Claus. . .</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif"><B>You better watch out,</B><BR>
You better not cry<BR>
You better not pout,<BR>
<B>I'm telling you why Santa Claus is comin' to town<BR>
</B>He's making a list,<BR>
He's checking it twice<BR>
<B>He's gonna find out<BR>
Who's naughty or nice<BR>
</B></font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Children the world over are taught
to FEAR Santa. Youd better go to bed little boy Santa is watching. Millions of fearful children are told, "Youd
better behave. Santa is watching. You might not get anything for Christmas."</font></P>
<P><font face="Arial, Helvetica, sans-serif">Would not Psalm 76:7 certainly apply to Santa Claus in the eyes of most children?</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Psalm 76:7<BR>
<B>Thou, even thou, art to be feared: and who may stand in thy sight when once thou art angry?<BR>
</B></font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">The fear of the Lord is the "beginning" of
the Christian faith. As is the fear of Santa is the beginning of the faith
of Santa. </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Psalms 111:10<BR>
<B>The fear of the LORD is the beginning of wisdom</B>:. . .</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">While our children should be taught the fear of the Lord, most are taught the sacrilegious fear of the false god of Santa.</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Psalm 34:11<BR>
Come, ye children, hearken unto me: <B>I will teach you the fear of the LORD</B>.</font></BLOCKQUOTE>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">. . . every one of us shall give account of himself to. . . </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red"> (Romans 14:12)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">Santa. . .</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">He's making a list, He's checking it twice<BR>
<B>He's gonna find out Who's naughty or nice<BR>
</B></font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">So then every one of us shall give account of himself to. . . Santa?</font></P>
<P><font face="Arial, Helvetica, sans-serif">Again as God does so does the one
that says, "I will be like the most high".
(Isaiah 14:14)</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Romans 14:12<BR>
So then every one of us shall give account of himself to God.<BR>
<P>Revelation 20:12<BR>
And I saw the dead, small and great, <B>stand before God; and the books were opened</B>: and another book was opened, which is the book of life: <B>and the dead were judged out of those things which were written in the books, according to their works</B>.
</font></BLOCKQUOTE>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">. . . then shall he sit upon the throne of his glory.</FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red"> (Matthew 25:31)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">Take a trip to the local mall at
Christmas time. Go watch Santa sitting on his royal throne. Kids are lined
up to sit on his lap of judgement. What does
Santa ask them, "Have you been a good little boy?" "Have you
been a good little girl? </font></P>
<P><font face="Arial, Helvetica, sans-serif">Ever read Psalm 11:4? </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Psalm 11:4<BR>
The LORD is in his holy temple, <B>the LORD'S throne is in heaven: his eyes behold, his eyelids try, the children of men.<BR>
</font></BLOCKQUOTE>
<font face="Arial, Helvetica, sans-serif"></B>
<P>Theres no question Satan (or Santa. . . ditto) is sitting on his throne. Theres no question its
a mockery and pretender of the judgement of a Holy God. </P>
<BLOCKQUOTE>1 King 22:19<BR>
And he said, Hear thou therefore the word of the LORD: <B>I saw the LORD sitting on his throne, and all the host of heaven standing by him on his right hand and on his left</B>.
<P>Revelation 20:11<BR>
11 And I saw <B>a great white throne</B>, and him that sat on it, from whose face the earth and the heaven fled away; and there was found no place for them.<BR>
12 <B>And I saw the dead, small and great, stand before God</B>; and the books were opened: and another book was opened, which is the book of life: and the dead were judged out of those things which were written in the books, according to their works.<BR>
</BLOCKQUOTE>
<P>Lets not forget the Bible says Satan (and Santa) has a throne.</P>
<BLOCKQUOTE>Isaiah 14:13<BR>
For thou [Lucifer] hast said in thine heart, I will ascend into heaven, <B>I will exalt my throne</B> above the stars of God: I will sit also upon the mount of the congregation, in the sides of the north:</BLOCKQUOTE>
<P>I cant help but think of Acts 12. Remember when Herod, playing Santa, dressed in his Santa suit (royal apparel), on his throne, and the people saying, It is the voice of a god (a.k.a Santa), and not of a man. Sounds a lot like "you-know-who".
And the angel of the Lord kills him for his blasphemy. </P>
<BLOCKQUOTE>Acts 12:21<BR>
21 And upon a set day Herod, <B>arrayed in royal apparel, sat upon his throne</B>, and made an oration unto them.<BR>
22 And the people gave a shout, saying, <B>It is the voice of a god, and not of a man</B>.<BR>
23 And immediately the angel of the Lord smote him, because he gave not God the glory: and he was eaten of worms, and gave up the ghost.<BR>
24 But the word of God grew and multiplied.<BR>
</BLOCKQUOTE>
</font></font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">. . . were judged out of those things which were written in the books, according to their works.</FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red"> (Revelation 20:12)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">Right on schedule. . . Santa also
has a list to judge who's "naughty or nice"</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif"><B>He's making a list</B>, He's checking it twice <BR>
He's gonna find out <B>Who's naughty or nice</font></BLOCKQUOTE>
<font face="Arial, Helvetica, sans-serif"></B>
<P>Over and over, scripture after scripture, Santa grants Satan's ultimate wish, ".
. . I will be like the most High. . ."</P>
<BLOCKQUOTE>Mal 3:16<BR>
Then they that feared the LORD spake often one to another: and the LORD hearkened, and heard it, and a book of remembrance was written before him for them that feared the LORD, and that thought upon his name.<BR>
<P>Rev 5:1<BR>
And I saw in the right hand of him that sat on the throne a book written within and on the backside, sealed with seven seals.<BR>
<P>Rev 20:12-15<BR>
And I saw the dead, small and great, stand before God; and the books were opened: and another book was opened, which is the book of life: and the dead were judged out of those things which were written in the books, according to their works.<BR>
15 And whosoever was not found written in the book of life was cast into the lake of fire. </BLOCKQUOTE>
</font></font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">And many believed on him. . .</FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red"> (John 10:42)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">I wonder how many children this
Christmas will be asked, "Do you BELIEVE in Santa?" I know one thing itll be more than all the Christians of the world asking "Do you BELIEVE in Jesus?". Satans gospel will be preached more than the wonderful gospel of Jesus Christ. His witnesses will be witnessing for him day and night across
the globe. </font></P>
<P><font face="Arial, Helvetica, sans-serif">Do you really believe its just
a coincidence that Satan (I mean. . . Santa. . . I get those two mixed up),
over and over, is counterfeiting the Lord Jesus
Christ? </font></P>
<P><font face="Arial, Helvetica, sans-serif">His attributes. . . His name. . . </font></P>
<P><font face="Arial, Helvetica, sans-serif">And now. . . His Faith </font></P>
<P><font face="Arial, Helvetica, sans-serif">The heart of the Christian faith
is "believing" in the Lord Jesus Christ. Thats the core of the Christian faith. Its not works. It not sacraments. Its not "doing this" or "doing that".
. .</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Acts 16:31<BR>
And they said, <B>Believe</B> on the Lord Jesus Christ, and thou shalt be saved, and thy house</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Belief faith is the essence
and vehicle of the Christian faith. It all hinges on believing.</font></P>
</font><B><P><font face="Arial, Helvetica, sans-serif">Its BELIEVE IN Jesus
. . .</font></P>
<P><font face="Arial, Helvetica, sans-serif">And Guess what? With Santa . . .
Its also BELIEVE IN Santa. . .</font></P>
</B>
<B><P><font face="Arial, Helvetica, sans-serif">Little Boy, Little Girl, DO YOU BELIEVE IN SANTA?</font></P>
</B>
<P><font face="Arial, Helvetica, sans-serif">This one bothers me the most. . .</font></P>
<P><font face="Arial, Helvetica, sans-serif">What happens when these children
put so much false hope into a lie? What happens as that child learns that
wonderful Santa is a hoax? And not only is it a false hope, a faith of deception but
it replaces the attributes and characteristics of a counterfeit Christ for
the True Christ. To confuse matters even worse the Lord Jesus is dragged
into the lie by celebrating his birth. </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">"<B>After you stop believing in Santa Claus</B>,<BR>
The whole world just goes downhill."<BR>
(Tom Clancy, <I>The Sum of All Fears</I>)</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Who that's ever seen the Christmas classic movie <I>The Miracle on the 34<SUP>th</SUP> Street</I> can
ever forget the faith of young Susan Walker (played by the cute Natalie Wood).
Little Susie a skeptic, who doesn't believe in Santa Claus is "converted" by the loveable Kriss Kringle (played by Edmund Gwenn). The main plot of the movie is faith
and belief in Kriss Kringle or Santa.</font></P>
<P><font face="Arial, Helvetica, sans-serif">Remember the highlight of the movie
when Susan's mother, Doris (played by Maureen O'Hara) tells young Susan, " <B>You
must believe in Mr Kingleand keep right on believing. You must have faith
in him</B>".</font></P>
<P><font face="Arial, Helvetica, sans-serif">And young Susie begins repeating
over and over, "<B>I believe, I believe</B>. . ."</font></P>
<P><font face="Arial, Helvetica, sans-serif">Here's how the original author Valentine Davies describes the above scene:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">"Susan thought it over
for a moment and then began muttering <B>with firm conviction</B>: 'I believe,
I believe, I believe'<BR>
(Valentine Davies, <I>Miracle on 34th Street</I>, p. 116)</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Towards the end of the movie, Santa
gives Susie the "desires of her heart" and little Susie is saying, "You were
right mommy, I do believe. I do believe. Mr Kingle is Santa Claus."</font></P>
<P><font face="Arial, Helvetica, sans-serif">It is worth noting what Santa gives
Susan a house. . . Hmmm. . . .</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">John 14:2<BR>
In my Father's house are <B>many mansions</B>: if it were not so, I would have told you. <B>I go to prepare a place for you.</B></font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">In the movie, the movie ends as
Santa (Kriss Kringle) "prepares a place" for little Susie. Remember, they see Santa's cane standing in the corner showing he had been there and did indeed "prepare a place" for
little Susie.</font></P>
<P><font face="Arial, Helvetica, sans-serif">Oh. . . did you notice the shape of Santa's cane he left in the corner on Miracle on 34<SUP>th</SUP> Street?
It looks like a "shepherd's" hook? Hmmm. . . </font></P>
<P><font face="Arial, Helvetica, sans-serif">As one reviewer says of The Miracle on 34<SUP>th</SUP> Street:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">"I guess the reason I, and all the other reviewers, think this film is so great is that it brings back the time when we could 'believe in Santa Claus'".</font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Who has ever seen "Miracle
on 34<SUP>th</SUP> Street" can ever forget cute, little "Natalie Wood" says "when
things don't turn out just right you still have to believe, and oh mommy <B>I do believe, I do</B>". </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">Another reviewer writes, ".
. . this is a beautiful movie<B>, that can make anyone believe in Santa Claus."</B> </font></BLOCKQUOTE>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">Looking for that blessed hope, and the glorious appearing of . . . </FONT><FONT FACE="Arial,Helvetica" SIZE=2 COLOR="red"> (Titus 2:13)</B></FONT>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">Santa.</font></P>
<P><font face="Arial, Helvetica, sans-serif">This Christmas Eve millions and
millions of little children will climb into their beds "looking for their blessed hope and the glorious appearing" of
Santa Claus. </font></P>
<P><font face="Arial, Helvetica, sans-serif">There's not a Christian on the face of this earth looking for and longing for the Lord Jesus Christ as much as the average child looking for their Santa! A child's stolen faith in the coming of Santa puts the Christian's faith to shame. </font></P>
<P><font face="Arial, Helvetica, sans-serif">They are so excited Santas coming!</font></P>
<P><font face="Arial, Helvetica, sans-serif">Probably the greatest theme and
most anticipated event in all the Bible is the Second Coming of the Lord
Jesus Christ. The Apostle Paul mentions the Second
Coming of the Lord Jesus Christ over 50 times. For every one verse on the
First Coming of the Lord Jesus there are at least eight on the Second Coming. Over and over, the New Testament admonishes the Christian to "look" and "wait" for the coming of the Lord Jesus. The last prayer in the Bible is in Revelation 22:20 ".
. . <B>Even so, come, Lord Jesus."</font></P>
<font face="Arial, Helvetica, sans-serif"></B>
<P>The Second Coming of the Lord Jesus Christ is the Christian's "blessed hope":</P>
<BLOCKQUOTE>Looking for that blessed hope, and the glorious appearing of the great God and our Saviour Jesus Christ;<BR>
Titus 2:13</BLOCKQUOTE>
<P>If the subtle serpent, who's heart's desire and ultimate goal is to ". . . be like the most High" (Isaiah 14:14) don't
you know the Second Coming will get his attention. And it does. . .</P>
<P>The gospel of Santa is a "counterfeit" of the "blessed hope" of the coming
of the Lord Jesus Christ.</P>
<P>These precious little children believe it with every fiber in their soul.
And why not, the ones they trust the most, mommy and daddy, are preaching
the message in their little ears, over and over. Santa is coming! Santa is
coming!
And everywhere they go the mall, the store, school the gospel of the glorious appearing of Santa is proclaimed! Everywhere they look! Santa is coming! Santa is coming! Ever wonder why the stores and the world start the Christmas "season" earlier and earlier every year? It could be the "money-hungry-commercialism" motive (1 Timothy 6:10) or it might just be Satan wants to preach his gospel of Santa deeper and deeper in that little child's head and heart and
deceive that little child further and further away from the Lord Jesus Christ! </P>
</font></font>
<BLOCKQUOTE><P><font face="Arial, Helvetica, sans-serif">Oh! You better watch out,<BR>
You better not cry,<BR>
You better not pout, <BR>
I'm telling you why:<BR>
<B>Santa Claus is coming to town!</B> </font></P>
<P><font face="Arial, Helvetica, sans-serif">
<B>Here comes Santa Claus!. . .<BR>
What a beautiful sight.<BR>
All is merry and bright</B>.<BR>
Hang your stockings and <B>say your prayers</B>,<BR>
<B>'Cause Santa Claus comes tonight<BR>
</B>Jump in bed, cover up your head,<BR>
'Cause Santa Claus comes tonight<BR>
So let's give thanks to the Lord above<BR>
'Cause Santa Claus comes tonight,<BR>
</font>
<P><font face="Arial, Helvetica, sans-serif">
Who's got a beard that's long and white <BR>
Santa's got a beard that's long and white<BR>
<B>Who comes around on a special night <BR>
</B>Santa comes around on a special night<BR>
<B>Who very soon will come our way <BR>
Santa very soon will come our way<BR>
</B>Must be Santa Must be Santa<BR>
Must be Santa, Santa Clause<BR>
</font></BLOCKQUOTE>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">1 John 2:28<BR>
And now, <B>little children</B>, <B>abide in him</B>; that, <B>when he shall appear, we may have confidence, and not be ashamed before him at his coming.<BR>
</B><font face="Arial, Helvetica, sans-serif"><P>James 5:8<BR>
Be ye also patient; stablish your hearts: <B>for the coming of the Lord draweth nigh</B>.
</font></font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">I wonder what the Lord thinks about Santa, Satan's Little Helper?</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif"><B>I am the LORD: that is my name: and my glory will I not give to another. . . <BR>
</B>
Isaiah 42:8</font></BLOCKQUOTE>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">Ho! Ho! Ho! I Am God. . .</FONT></B>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">In 1994, the satire magazine <I>The Onion</I> carried
a parody of Santa Claus titled "Ho! Ho! Ho! I Am God". Even though,
it was written as a parody much truth rings from the article. The article
says:</font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">"I love visiting each and
every one of your homes, stuffing your stockings with toys, and enjoying
the milk and cookies you leave for me. But
mostly I love Christmas because it's the celebration of the birth of my son,
Jesus the Christ. <B>You see, I'm God</B>. . . Don't I look familiar? I'm old, I have a white beard, I love everyone. I'm the same God as the one you and your mommy and daddy worship on Sundays. . .
<P>
Okay, I admit it. I'm not God. <B>But I'm better than God</B>. I'm jollier, and I give you real toys, not boring old psalms and empty promises you can only collect on when you die. <B>Worship me, not Him! Worship Santa! I am God</B>!"<BR>
(Santa Claus, "Ho! Ho! Ho! I Am God!" <I>The Onion</I>, 29 Nov. - 5 Dec., 1994, p. 7)
</font></BLOCKQUOTE>
<B><P><font face="Arial, Helvetica, sans-serif">And thats EXACTLY the message
being preached to these little children!</font></P>
</B></font>
<P><font face="Arial, Helvetica, sans-serif">Youd have to be blind to not see the possible connection. And youd
have to be spiritually blind to not see the possible spiritual damage such
a massive, faith-based, God-like, LIE could do to the faith and trust of
that young child. </font></P>
<P><font face="Arial, Helvetica, sans-serif">Landover Baptist, a sacrilegious
spoof site on the Internet, carried an article titled "The Devil is in the Chimney".
Though their motive is sacrilege, the obvious link from Santa to Satan is
not ignored. Here's some of the article: </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif">"And it takes no Sherlock
Holmes to see that the Devil's annual disguise is none other than Santa!
. . . Lucifer may be the wiliest of all the deceitful demons that ever drew
breath of fire in Hell, but he was pretty sloppy when he decided to try to
spoil our Savior's birthday with this disguise. His big devil ego got the
better of him when he decided to name his Christmas Anti-Christ after himself.
He just moved around the letters in the name, 'Satan,' into a sonogram and
got 'Santa.' . . . Satan has tried to undermine Christmas by making Santa
even more popular than Jesus! <BR>
You don't think so? Even the law of the land forbids a baby Jesus in the town square, but who is there instead? You guessed it! Santa! Every time a so-called Christian child asks Santa for something, he is praying to Satan. <B>With
each request fulfilled, parents are unwittingly making a pact with the Devil.
They may as well be writing in blood, 'Satan please distract our children from
Jesus with all these shiny toys!'. . ."<BR>
</B></font></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Someone once said, "Many a truth is told in jest".</font></P>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">But it is just fantasy. . .</FONT></B>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<P><font face="Arial, Helvetica, sans-serif">I'm sure many are thinking, "C'mon, Santa Claus is just fantasy. Nobody takes it serious".</font></P>
<B><P><font face="Arial, Helvetica, sans-serif">And that's where you're WRONG those
little children take their Santa very serious!</font></P>
</B>
<P><font face="Arial, Helvetica, sans-serif">Most parents would not teach their beautiful little children such a lie as Santa Claus. Most parents will not openly lie to their children. Especially something that is a blatant imposter of the Lord Jesus Christ. <B>And Satan knows this. . .</font></P>
<font face="Arial, Helvetica, sans-serif"></B>
<P>But they'll easily do it under the disguise of fantasy. It is just fantasy. . .</P>
<P>Satanist Anton LaVey, author of <I>The Satanic Bible</I> and founder of the
First Church of Satan, says fantasy is a "magic weapon" in Satanism. </P>
<BLOCKQUOTE>"Fantasy plays an important role in any religious curriculum, <B>for the subjective mind is less discriminating about the quality of its food than it is about the taste</B>. . <B>. Thus, fantasy is utilized as a magic weapon</B> [in
Satanism]. . . The Satanist maintains a storehouse of avowed fantasy gathered
from all cultures and from all ages."<BR>
(Anton Szandor LaVey, <I>The Satanic Rituals</I>, p. 15, 27)</BLOCKQUOTE>
<P>Lavey understands Satan's gospel can be quietly preached under the mask of
fantasy. People, such as parents, will allow things, such as Santa Claus,
under the cloak of fantasy into their little child's tender mind that under "serious" circumstances
they would not allow in a million years. But it is just fantasy. . . <B>But
in that little child's vulnerable mind it is truth!</B> </P>
<P>No, you and I don't take it serious. Yes, you and I know Santa Claus is fantasy.
But those little kids are deceived in believing "with all their little heart" in
a god that's an imposter of the Lord Jesus Christ.</P>
<P>What happens when these little children realize that Santa Claus is a lie?
What happens when they later are confronted to make a decision for the Lord
Jesus Christ? What happens later when they're asked to "trust and believe in the Lord Jesus Christ"? </P>
<P><IMG SRC="images/santa_cross1.gif" BORDER="0" HEIGHT="200" WIDTH="154" HSPACE="5" VSPACE="5" ALIGN="RIGHT">I've
heard the conversation of two young boys talking about the Lord Jesus Christ.
They were beyond the age of Santa Claus. As they were talking, one boy asks
the other, "What do you think of all this Jesus Christ stuff"? And the other boy replies, "It
all sounds like another Santa Claus to me <B>probably just another lie</B>".</P>
<P>Santa is Satan's counterfeit of the Lord Jesus Christ. </P>
</font></font>
<P> </P>
<P><font face="Arial, Helvetica, sans-serif">Once you get that child believing
with "all their heart" in Santa then the next logical step is <B>Jesus
and Santa theyre both the same</B> <B>and they're both a LIE</B>.</font></P>
<P><font face="Arial, Helvetica, sans-serif">Obviously, not every person that
believes in Santa Claus as a child will refuse the Lord Jesus Christ. The
truth is, the author of this article "believed in" Santa Claus as a child.
And the truth is, the author of this article did not trust the Lord Jesus
Christ until he was 20 years old. And furthermore, there is absolutely no
doubt whatsoever, that the lie and god-like attributes of Santa Claus influenced
my early beliefs and confusion about the Lord Jesus Christ. </font></P>
<P><font face="Arial, Helvetica, sans-serif">Someone once said "Jesus Christ is nothing but a Santa Claus for adults".
That was my belief of Jesus Christ. . . Another Santa Claus. . . Another
hoax.</font></P>
<P><font face="Arial, Helvetica, sans-serif">And I can tell you this. . .</font></P>
<B><P><font face="Arial, Helvetica, sans-serif">Thank God I was wrong!</font></P>
</B>
<P><font face="Arial, Helvetica, sans-serif">On July 30, 1975 as a 20-year-old
young man, I met the Lord Jesus Christ. And I can tell you He is no Santa Claus! Jesus Christ is no fairy tale! I've been saved for over 27 years. I've had 27 years to "prove Him". And I truthfully, from the depths of my heart, say, "'Tis
So Sweet To Trust in Jesus" </font></P>
<BLOCKQUOTE><font face="Arial, Helvetica, sans-serif"><I>'Tis so sweet to trust in Jesus, Just to take Him at His Word <BR>
Just to rest upon His promise, Just to know: "Thus saith the Lord" </P>
</I></font><I><P><font face="Arial, Helvetica, sans-serif">
Jesus, Jesus, how I trust Him! how I've proved him o'er and o'er! <BR>
Jesus, Jesus, precious Jesus! O for grace to trust Him more! </font></P>
<P><font face="Arial, Helvetica, sans-serif">I'm so glad I learned to trust Thee, Precious Jesus, Savior, Friend; <BR>
And I know that Thou art with me, Wilt be with me to the end.</font></I></BLOCKQUOTE>
<P><font face="Arial, Helvetica, sans-serif">Have you met the Lord Jesus Christ?</font></P>
<P><font face="Arial, Helvetica, sans-serif">Have you ever received the Lord Jesus Christ as YOUR Saviour?</font></P>
<P><font face="Arial, Helvetica, sans-serif">Friend, there is no way these connections from Santa to Satan and counterfeits of the Lord Jesus Christ is just an haphazard fairy tale of history. There is an author. There is an creator. And he is Satan.</font></P>
<P><font face="Arial, Helvetica, sans-serif">And he wants to damn your soul in hell! And he wants to damn the souls of your children in hell!</font></P>
<P><font face="Arial, Helvetica, sans-serif">And he will if you die without
the shed blood of the Lord Jesus Christ!</font></P>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"><B><FONT SIZE=4 COLOR="ff0066">Have you ever been saved? </FONT></B>
</font>
<HR WIDTH="100%" SIZE="8" COLOR="cccccc">
<font face="Arial, Helvetica, sans-serif"></P>
<b>Friend, I want to ask you the most important question you'll ever answer:</b><br>
<br>
<FONT SIZE="3">
<CENTER>
<font face="Arial, Helvetica, sans-serif"> <b>Have you ever received Jesus Christ as your Savior?</FONT>
</font>
</CENTER>
<font face="Arial, Helvetica, sans-serif"></b><BR>
Not joining a church, not religion, not baptism, not good works, not sacraments — but trusted Jesus Christ and Him alone, as your Savior. If not, Friend you could be — one
year, one month, one hour, one minute, one heartbeat — <I><B>away from eternity in a lake of fire!</B></I><br>
<br>
Revelation 20:15 says, <I>"And whosoever was not found written in the book
of life was cast into the lake of fire."</I><br>
<br>
Friend, God does not want you to go to hell. 2 Peter 3:9 says, <I>"The Lord
is. . . not willing that any should perish. . ."</I> Jesus loved you so much He died on a rugged cross, to pay for <I>YOUR</I> sin, and to keep <I>YOU</I> out of hell! Revelation 1:5 says, <I>".
. . Unto him that loved us, and washed us from our sins in his own blood." </I><br>
<br>
<i>Friend, don't EXIT this message, until you MAKE SURE you've received Jesus Christ!<br>
<br>
</i> I assure you — if you die without Jesus Christ — it'll be the
biggest mistake you'll ever make!<br>
<br>
<FONT SIZE="3" COLOR="red">
<CENTER>
<b>DON'T TAKE THE CHANCE!</FONT>
</CENTER>
</B><br>
<i><b>Friend, If you've never been saved, don't wait another minute!</b></i><br>
<br>
</font><b><CENTER>
<FONT SIZE="3">FRIEND, YOU CAN BE SAVED THIS VERY MINUTE!</FONT>
</CENTER>
</b><br>
<br>
<FONT SIZE="3"><b>It is simple to be saved ...</FONT></b><br>
<br>
</font>
<font face="Arial, Helvetica, sans-serif"><b><FONT SIZE="3">
<LI><font face="Arial, Helvetica, sans-serif">Know you're a sinner.</FONT></b><br>
<br>
<blockquote><i>"As it is written, There is none righteous, no, not one:" </i>Romans 3:10<br>
<br>
<i> "... for there is no difference. For all have sinned, and
come short of the glory of God;"</i> Romans 3:23</blockquote>
<br>
</font>
<font face="Arial, Helvetica, sans-serif"><b>
<FONT SIZE="3">
<LI>That Jesus Christ died on the cross to pay for your sins.</FONT></b><br>
<br>
<blockquote><i> "Who his own self bare our sins in his own body on
the tree, ..."</i> 1 Peter 2:24<br>
<br>
<i> "... Unto him that loved us, and washed us from our sins
in his own blood,"</i> Revelation 1:5</blockquote>
<br>
<b>
<FONT SIZE="3"> </font></font><LI><font face="Arial, Helvetica, sans-serif">And the best way you know how, simply trust Him, and Him alone as your personal Savior.</FONT> <br>
<br>
</b>
<blockquote><font face="Arial, Helvetica, sans-serif"><i>"For God so
loved the world, that he gave his only begotten Son, that whosoever
believeth in him should not perish, but have everlasting
life." </i>John 3:16 </font></blockquote>
<font face="Arial, Helvetica, sans-serif"><br>
<FONT SIZE="3">
<CENTER>
<b>WOULD YOU LIKE TO BE SAVED?</b></FONT>
</CENTER>
<br>
Pray this prayer, and mean it with all your heart.<br>
<br>
Just pray this simple prayer, and mean it with all your heart. Lord Jesus, I know that I am a sinner, and unless you save me I am lost forever. I thank you for dying for me at Calvary. I come to you now, the best way I know how, and ask you to save me. I now receive you as my Savior. In Jesus Christ name, Amen.
</font></font>
<P>
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</CENTER>
<hr>
<CENTER>
</CENTER>
<HR SIZE="1" WIDTH="15%" COLOR="FF00000">
<CENTER>
<font size="1" COLOR="000000">Questions, Comments, Suggestions?
<A HREF="mailto:[email protected]"> Please tell us. . .</A><BR>
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SANTA CLAUS: The Great Imposter
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[Terry Watkins](mailto:[email protected])
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Dial-the-Truth Ministries |
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| Who, REALLY, is this man we affectionately call Santa Claus?
What do we REALLY know about Santa?
Is Santa just a jolly ol, harmless,
friendly fellow?
Or is there something *or someone* else
hiding behind jolly ol St. Nick?
**Before we look at Santa, lets
begin with some basic Bible facts:**- The Bible clearly teaches a powerful, rebellious, subtle, evil being called the Devil, Lucifer or Satan.
Revelation 12:9
And the great dragon was cast out, that old serpent, **called the Devil, and Satan**, which **deceiveth the whole world**: he was cast out into the earth, and his angels were cast out with him.
- The Bible teaches Satan rebelled
against God. And Satans reason for rebellion is to be God. Satans goal
is to de-throne God and persuade mankind to rebel against God.
Isaiah 14:12-14
12 How art thou fallen from heaven, O Lucifer, son of the morning! how art thou cut down to the ground, which didst weaken the nations!
13 For thou hast said in thine heart, **I will ascend into heaven, I will exalt my throne above the stars of God**: I will sit also upon the mount of the congregation, in the sides of the north:
14 I will ascend above the heights of the clouds; **I will be like the most High**.
- The Bible clearly teaches Satans
primary attack is the most vulnerable. In Luke 10:19, Jesus Christ compares
Satan to lightning, "**I beheld Satan as lightning** fall from heaven". Lightning, like Satan, always travels the path of least resistance. The Bible also likens the devil to a "roaring lion" The lion is a "predator of opportunity". The lion looks for the injured, the youngest, the smallest, or the weakest the one with the least ability to run or fight. So it is with Satan. Hes "seeking" those "**whom he may** devour".
1 Peter 5:8
Be sober, be vigilant; because your adversary the devil, as a roaring lion, walketh about, **seeking whom he may devour:**
The great German Reformer, Martin Luther writes in his Table Talks:
"The devil plagues and torments us in the place where we are
most tender **and weak.** In Paradise, he fell not upon Adam, but
upon Eve."
(*The Table Talk of Martin Luther*, #424)
The most vulnerable and least resistance are our children. Its no accident that the Lord Jesus Christ distinctively warns several times against harming or offending these "little ones".
Matthew 18:1-6
1 At the same time came the disciples unto Jesus, saying, Who is the greatest in the kingdom of heaven?
2 And Jesus called **a little child unto him**, and set him in the midst of them,
3 And said, Verily I say unto you, Except ye be converted, and become as **little children**, ye shall not enter into the kingdom of heaven.
4 Whosoever therefore shall humble himself as this little child, the same is greatest in the kingdom of heaven.
5 And whoso shall receive **one such little child** in my name receiveth me.
6 But whoso shall offend **one of these little ones** which believe in me, it were better for him that a millstone were hanged about his neck, and that he were drowned in the depth of the sea.
The Lord Jesus invites, and encourages little children to come unto him. The younger years are by far the most spiritually fruitful in the life-cycle of an individual.
Mark 10:13-15
13 And they brought **young children** to him, that he should touch them: and his disciples rebuked those that brought them.
14 But when Jesus saw it, **he was much displeased**, and said unto them, **Suffer the little children to come unto me**, and forbid them not: for of such is the kingdom of God.
15 Verily I say unto you, Whosoever shall not receive the kingdom of God **as a little child**, he shall not enter therein.
Luke 18:15-17
15 And they brought unto him **also infants**, that he would touch them: but when his disciples saw it, they rebuked them.
16 But Jesus called them unto him, and said, **Suffer little children to come unto me**, and forbid them not: for of such is the kingdom of God.
17 Verily I say unto you, Whosoever shall not receive the kingdom of God **as a little child** shall in no wise enter therein.
Without question the most fertile time in the average persons life for receiving and trusting the Lord Jesus is the pre-teen years. Any church bus worker or youth worker knows young children are very receptive to the gospel of Jesus Christ. For them that "child like" faith is natural. Its
what the Lord Jesus described in Matthew 10:15. As we get older; the
sensual, youthful lusts and logical, carnal mind begin to dominate our
minds. And
as that happens, our heart becomes hardened and seared to the spiritual
things of God.
Barna Research Group published a survey conducted among teenagers titled *Third Millennium Teens*.
Under the subtitle "Displacing the Myths", the report said:
"The Myth: the teen years are evangelistically productive.
**The Reality: if they're not saved by age 13, they probably never will be**.
The report goes on to say, **"The data shows clearly that the prime
evangelistic years are those before a person becomes a teenager."** (George Barna, *Third Millennium Teens*, p. 65)
If the most productive time of salvation are the pre-teen years, and if
the pre-teen years are the most vulnerable does it not stand to reason that Satan would fiercely attack this time? Can we not see the overwhelming evidence of this Satanic attack on our children? From the sexual, sensual music of Brittney Spears, or Nsync, to the occult and witchcraft of Harry Potter there is an attack aimed directly at our children. Its blasting from the TV, the music, the Internet, the peer pressure, the public schools Satans attack literally "seeks" to "devour them" into every "nook and cranny".
Many parents have been "lullabied to sleep" with the deception that our children are innocently immune to the attack of Satan. Theres a false security that believes our children will naturally "grow out of it" or "theyre just sowing their wild oats" or maybe "theyre just being kids". But the Bible tells a different story. In Mark chapter 9, God details a frightening occurrence. A man brings his "spirit possessed" son
to the Lord Jesus Christ.
Mark 9:17-29
17 And one of the multitude answered and said, Master, I have brought unto thee my son, which hath a dumb spirit;
18 And wheresoever he taketh him, he teareth him: and he foameth, and gnasheth with his teeth, and pineth away: and I spake to thy disciples that they should cast him out; and they could not.
19 He answereth him, and saith, O faithless generation, how long shall I be with you? how long shall I suffer you? bring him unto me.
20 And they brought him unto him: and when he saw him, straightway the spirit tare him; and he fell on the ground, and wallowed foaming.
21 And he asked his father, How long is it ago since this came unto him? **And he said, Of a child**.
22 And ofttimes it hath cast him into the fire, and into the waters, to destroy him: but if thou canst do any thing, have compassion on us, and help us.
23 Jesus said unto him, If thou canst believe, all things are possible to him that believeth.
24 And straightway the father of the child cried out, and said with tears, Lord, I believe; help thou mine unbelief.
25 When Jesus saw that the people came running together, he rebuked the foul spirit, saying unto him, Thou dumb and deaf spirit, I charge thee, come out of him, and enter no more into him.
26 And the spirit cried, and rent him sore, and came out of him: and he was as one dead; insomuch that many said, He is dead.
27 But Jesus took him by the hand, and lifted him up; and he arose.
28 And when he was come into the house, his disciples asked him privately, Why could not we cast him out?
29 And he said unto them, **This kind can come forth by nothing, but by prayer and fasting**.
Its interesting the apostles could not cast out this "kind" (vs
29). Jesus said, "**This kind** can come forth by nothing, but
by prayer and fasting." What **kind** of possession was it? Is
that why the Lord Jesus asked the man "**How long** is it ago
since this came unto him?" And the man answered, "**Of a child**". Possibly, these "hard
to cast out" **kind** are those that enter in a child. Is it
because the "possession" reaches so deep and so strong that theyre
almost impossible to remove?
In Proverbs 22:6, the Bible explains the *lifelong* fruits of training
a young child in the way he should go. That early training is so strong
and so deep as that child grows and matures they will not depart
from it.
Proverbs 22:6
Train up a child in the way he should go: and when he is old, **he will not depart from it**.
But. . . The flip side is: if that same child is trained by the ways of
Satan and the world, chances are that child will "not depart from it." George
Harrison, a devout follower of the Hindu god, Krishna, understood this
life-long influence, Harrison told *Rolling Stone* Magazine:
"The main thing is to get the kids. . . nail you when youre
young and brainwash you, **then theyve got you for the rest of your
life."**George Harrison, Beatles, (Loose Talk, *Rolling Stone* Magazine, p. 70)
It has been stated the foundation of a child is shaped by the time that
child is five-years-old, maybe sooner. Without question, the early pre-teen
or "Santa Claus" years are some of the most important in a person's life-long development. It has been truthfully said, "The
hand that rocks the cradle controls the world."
**That brings us to Santa. . .**
Where does Santa Claus fit in the life of a young child? What about the teaching of Santa Claus in the psyche of a child? Is there more to jolly old St. Nick than meets the eye? Is Santa a clever, seemingly harmless, subtle (see Genesis 3:1) attempt to question the truthfulness of God? Is Santa the handiwork of Satan?
May I remind you of the "harmless" question, the subtle serpent, asks Eve in the garden? "Yea, hath God said,. . .?" So
slight. . . So simple. . . And yet so deadly. . .
Not only that. . . Satans attack is not necessarily evil, or bad. In fact, it can be good, or even pleasant. The subtle temptation of Genesis reveals Satans clever "good and pleasant" message.
Genesis 3:6
And when the woman saw that the tree **was good** for food, and that it **was pleasant** to the eyes, and a tree **to be desired** to make one wise, she took of the fruit thereof, and did eat, and gave also unto her husband with her; and he did eat.
As Eve saw the forbidden fruit,
it was "good" and it was "pleasant" and yet it was
deadly.
The Devil is a "master of disguise". He can take that which looks good and pleasant, and seemingly so innocent and make it so deadly. The Bible says in 2 Corinthians 11:14, "And
no marvel; **for Satan himself is transformed into an angel of light**" He doesnt appear with horns and a pitch fork breathing fire. He might just appear as a pleasant, friendly, fellow, with "a
broad face and a round little belly, That shook when he laughed, like a bowl
full of jelly. . ."
I believe, ***and will prove***,
Santa Claus is a subtle, deadly attack on our children to confuse, doubt
and rob their God-ordained "child like" faith. Satan knows, if he can somehow get that child through those fruitful early years without trusting the Lord Jesus Christ his
goal of eternal damnation in hell increases substantially.
Lets take a look a Santa. . .
---
**and thou shalt call his name. . . (Matthew 1:21)**
---
**. . . Santa**
You ever noticed how easy it is
to transform "Satan" from "Santa"? Just move the "n" to the end. And presto! "Satan" appears. . . Hmmm
.
An internet Google search on "Satan Claus" [not Santa Claus but
SATAN Claus] found over 1,700 hits! Obviously, there are many that tie the
two together.
The rearranging of letters (called anagrams) to hide secret names or words has long been practiced in the occult. *The Jewish Encyclopedia* writes of the Jewish occult book called the Cabala:
"The golden age for
anagrams began with the Cabala. The Platonists had strange notions as to
the influence of anagrammatic virtues, **particularly of anagrams evolved from names of persons**. It is not surprising, therefore, that the cabalists, like all the Neoplatonists, **pretended to discover occult qualities in proper names and in their anagrams**."
(www.jewishencyclopedia.com)
One of the most well known anagram in the occult world is the name of Sanat Kumara. Sanat is better known as Satan. Constance Cumbey writes in her best-selling, new-age expose, *The Hidden Dangers of the Rainbow*, ".
. . **they [New Agers] freely call Sanat Kumara (Satan) 'God'**. And their
doctrinal reference books by Helena Petrovna Blavatsky and Alice Ann Bailey
freely cross-reference Sanat Kumara with Venus. In occult writings, Lucifer
and Venus are one and the same."
(Constance Cumbey, *The Hidden Dangers of the Rainbow*, p. 138)
Texe Marrs writes of 'Sanat' in *Dark Secrets of the New Age*:
". . . the New Age offers
a being called Sanat Kumara**. 'Sanat' is obviously a thinly veiled reference to Satan**; nevertheless, New Age teachers evidently believe **that the new spelling will alleviate the concerns** of
those not yet ready to confess Satan as their Lord and Messiah."
(Texe Marrs, *Dark Secrets of the New Age*, pp. 79-80)
Interesting. . . Where does that put Lord S-A-N-T-A?
H.P. Blavatsky, the Satanist and new age teacher writes in *The Secret Doctrine*:
"many a mysterious sacred
name. . . conveys to the profane ear no more than some ordinary, and often
vulgar [common] word, **because it is concealed anagrammatically** or
otherwise".
(H.P. Blavatsky, *The Secret Doctrine*, Vol II, p. 78)
Like S-A-N-T-A?
Blavatsky also writes, the name
is not important but the letters.
"The name isn't important. **It is the letters.**"
(H.P. Blavatsky, *The Secret Doctrine*, Vol II, p. 350 cited by Gail Riplinger, *New Age Versions*, p. 52)
Make no mistake about it. Blavataskys anagrams were used to disguise who her true god was. Blavatasky openly taught Satan is mankinds
true redeemer, creator and Saviour.
"And now it stands
proven that **Satan**, or the Red Fiery Dragon, the Lord of Phosphorus and Lucifer, or Light Bearer,
is in us; it is our Mind **our tempter and Redeemer, our intelligent liberator and Saviour**.
. ."
(HP Blavatasky, *The Secret Doctrine*)"**Satan, the Serpent of Genesis is the real creator and benefactor**, the Father of Spiritual mankind. For it is he . . . who opened the eyes of the automaton (Adam) created by Jehovah. . . he still remains in Esoteric Truth **the ever loving messenger** .
. ."
(H.P. Blavatsky, *The Secret Doctrine*, Vol 3, p. 246)
Gail Riplinger writes in her excellent book, *New Age Versions* on the use of anagrams in the occult world:
"Lucifer's True Identity
as Satan is **Revealed as the Anagram**, a Transposition of Letters, To Obscure It. 'Blinds', as esoterics call them, **include scrambling the letters of a name to hide the true meaning of a word from the uninitiated**."
(Gail Riplinger, *New Age Versions*, p. 52)
Its Interesting Mrs. Riplinger also raises a "red flag" about
the anagram Santa:
"Gods of the New Age
include Sanatan and Sanatsiyata, . . . New Agers say each name is 'concealed
anagrammatically' 'and are aliases,' and are 'an anagram used for Occult
purposes. **Santa, the great usurper of Christ's attention at Christmas, an anagram**? "Ole Nick" is listed among the fallen angels or devils in the Dictionary of Fallen Angels. Scholars concur that Christ was born in the fall on the 4th day of the feast of tabernacles. December 25 is actually "the
feast in honor of the birth of the son of the Babylonian queen of heaven,
later called Saturnaha by the heathen Romans."
(Gail Riplinger, *New Age Versions*, p. 52)
Its also worth noting, "Santa" is Spanish for "holy". Santa is also from the Latin word "sanctus" which
means also "saintly, holy". Our English words "saint, sanctify, et al" comes from "santa". Sounds like Satans "I will be like the most High" is
at it again.
Let them praise thy great and terrible **name; for it is holy**.
Psalm 99:3
Gods name is called "holy" over
40 times in the King James Bible.
"Holy Claus". . .?
The name "Santa Claus" is also derived from the Dutch "Sinter Klaas," which
also was a form of Saint Nicholas.
**. . . Claus**
Is "Claus" another anagram for "Lucas"?
Its no secret "Lucas" and "Lucis" is a new-age "code word" for "Lucifer".
The Alice Bailey founded new age, occult publishing company was originally
named "*Lucifer Publishing Company*" but in 1924 the name was cleverly changed to "Lucis Trust". By the way, the Lucifer worshipping Lucis Trust is a major player in the works of the United Nations (formerly located in the United Nations building) but now located on "prime-time" 1200
Wall Street.
Claus sounds a lot like "claws".
Maybe "Santa Claus" means "Satan's Claws"? Like lion's "claws"?
Be sober, be vigilant; because your adversary the devil, **as a roaring lion**, walketh about, seeking whom he may devour:
1 Peter 5:8
. . . Jolly Old St. Nick
While
Santa and Claus may be disguising their real meaning theres no disguising "ol St. Nick". Hes
a well-known character.
**Old Nick**: "**A well-known British name of the Devil**. It seems probable that this name is derived from the Dutch **Nikken, the devil**..."
(*Encyclopedia of Occultism and Parapsychology*, p.650)
**Nick, the devil.**(Walter W. Sleay, *Concise Dictionary of English Etymology*, p. 304)
**"Devil**: Besides the name Satan, he is also called Beelzebub, Lucifer . . . and in popular or rustic speech by many familiar terms as **Old Nick** .
. ."
(*Oxford English Dictionary* Vol III D-E)
Actor Adam Sandler and New Line
Studios are well aware "Nick" is an alias for Satan. Their recent movie "Little Nicky" is about the "son of Satan", hence "Little Nicky". A teaser for the film says, "If
your mother was an angel and your father was the devil you'd be messed up
too."
In the popular *Cloud Ten Pictures* "Apocalypse" film
series *Revelation, Tribulation, & Judgment,* the Antichrist just so happens to be played by none other than the actor **"Nick"** Mancuso.
Hmmm
The Cloud Ten Pictures are based on Tim LaHaye and Jerry Jenkins popular *Left Behind* "Apocalypse" book
series. Oh, the name of the Antichrist in the *Left Behind* series?
Nicolae "Nick"Carpathia, of course. In fact, one of the books in titled, ***Nicolae, The Rise of the Antichrist***.
As we mentioned earlier, "Santa Claus" is derived from the Dutch "Sinter Klaas," which
also was a form of Saint Nicholas.
It is also interesting, the book *American Slang* defines the slang word **nick**: **to rob or steal.** (Robert L. Chapman, *American Slang*, p. 297)
Reminds me of what the Lord Jesus warned us in John 10:
1 Verily, verily, I say unto you, **He that entereth not by the door** into the sheepfold, but climbeth up some other way **[say a chimney?]**, the same is a thief and a robber. . .
9 I am the door: by me if any man enter in, he shall be saved, and shall go in and out, and find pasture.
10 The thief cometh not, **but for to steal, and to kill, and to destroy**: I am come that they might have life, and that they might have it more abundantly.
John 10:1,9,10
**. . . Father Christmas**
The "Christmas Poem" reads:
Hurry up please Christmas Day,
When **Father Christmas** on his sleigh,
Comes to pay a visit.
Into every house he creeps
While each of us soundly sleeps
While he pays a visit.
The famous anthropologist Claude
Levi-Strauss writes in his popular analysis of "Father Christmas":
"Father Christmas is dressed
in scarlet: **he is a king**. His white beard, his furs and his boots, the sleigh in which he travels evoke winter. **He is called 'Father'** and he is an old man**, thus he incarnates the benevolent form of the authority of the ancients.**"
In other words, "Father Christmas" is
God **incarnate.**
Levi-Strauss goes on to write thatchildren believe in him, paying homage to him with letters **and prayers.**
The Devils stated goal in Isaiah 14:13-14, is to be god or the "father". To grab that "crown of the Father".
And what better "I will be like the most High. . - name to fame" than "Father of Christ-mass".
And call no man **your father** upon the earth: **for one is your Father, which is in heaven**.
Matthew 23:9
**. . . Kriss Kringle**
**And
theres the friendly, jingle-jangle name of "Kriss Kringle".**By far, the name Kriss Kringle
is the most blasphemous. With "Kriss", Satan slowly pulls off the mask. Theres no doubt about the intentions of "Kriss Kringle".
Believe it or not. . . "**Kriss
Kringle" is** German for "little **Christ** Child".
**"Kriss Kringle** A US name for Santa Claus derived from the German *Christkindl* (**little Christ child**)."
(*Brewer's Dictionary of Twentieth-Century Phrase and Fable*, p. 334)
Santa Claus or Kriss Kringle is
the counterfeit "**Christ** Child"!
Why do we supposedly celebrate December
25 along with Kriss Kingle? Its the birth-day of the Christ Child - Kriss
Kringle.
Do you really believe, in a million
years, all these "coincidences" to Satan and blasphemies are just
an accident?
---
**His head and his hairs were white like wool, as white as snow. . . (Rev. 1:14)**
---
His head and his hairs [his beard] were white like wool, as white as SNOW. . .
A perfect description of . . . Guess Who?
**Who's got a beard that's long and white**
Santa's got a beard that's long and white
**Must be Santa Must be Santa**
Must be Santa, Santa Clause
But its actually . . . The Lord
Jesus Christ in Revelation 1!
Revelation 1:13-15
13 And in the midst of the seven candlesticks one like unto the Son of man, clothed with a garment down to the foot, and girt about the paps with a golden girdle.
14 **His head and his hairs** [BEARD] **were white like wool, as white as snow**;. . . .
The poem "The Night Before Christmas" describes
Old St. Nick as:
**"**He was dressed all in fur, from his head to his foot,
And his clothes were all tarnished with ashes and soot;
A bundle of toys he had flung on his back,
And he looked like a peddler just opening his pack.
His eyes how they twinkled! his dimples how merry!
His cheeks were like roses, his nose like a cherry!
His droll little mouth was drawn up like a bow,
**And the beard of his chin was as white as the snow;"**
The Lord Jesus is also described in Daniel 7:
Daniel 7:9 describes the Lord Jesus,
as the "Ancient of days", "white hair", a king ("thrones cast down. . . did sit"):
Daniel 7:9
I beheld till the thrones were cast down, **and the Ancient of days** did sit, **whose garment was white as snow, and the hair of his head like the pure wool:** . . .
Remember when we saw Claude Lévi-Strauss's popular essay of "Father Christmas":
"Father Christmas **is dressed in scarlet**: **he is a king**. **His white beard**, his furs and his boots, the sleigh in which he travels evoke winter. **He is called 'Father'** and **he is an old man,** thus he **incarnates** the benevolent form of **the authority of the ancients**."
He is a Father. . . dressed in scarlet. . . He is a king. . . white beard. . . incarnate. . . authority of the ancients.
Who is he really describing?
---
**Who is this that cometh. . . red in thine apparel (Isaiah 63:2)**
---
Who wears boots **and a suit of red**
Santa wears boots **and a suit of red**
Cap on head, **suit that's red**
Special night, beard that's white
Must be Santa Must be Santa
**Must be Santa, Santa Clause**
And must be. . . (Are you surprised?)
The Lord Jesus Christ
Isaiah 63:1-2
1 Who is this that cometh from Edom, with dyed garments from Bozrah? this that is glorious in his apparel, travelling in the greatness of his strength? I that speak in righteousness, mighty to save.
2 Wherefore art thou **red in thine apparel**, and thy garments like him that treadeth in the winefat?
Revelation 19:11
11 And I saw heaven opened, and behold a white horse; and he that sat upon him was called Faithful and True, and in righteousness he doth judge and make war.
12 His eyes were as a flame of fire, and on his head were many crowns; and he had a name written, that no man knew, but he himself.
13 **And he was clothed with a vesture dipped in blood**: and his name is called The Word of God.
Do you get the strangest feeling
that someone is "copying" someone?
---
**And his feet. . . as if they burned in a furnace (Revelation 1:15)**
---
Hmmm. . . ?
Now who has their feet in an furnace? Who comes down a chimney into a furnace?
**chim \* ney
1.** a structure, usually vertical, containing a passage or flue by which the smoke, gases, etc**., of a fire or furnace** are carried off and by means of which a draft is created
(Websters Dictionary)
Santa Claus. . .
And. . . (You already know who else)
Revelation 1:13-15
13 And in the midst of the seven candlesticks one like unto **the Son of man**, clothed with a garment down to the foot, and girt about the paps with a golden girdle.
14 His head and his hairs were white like wool, as white as snow; and his eyes were as a flame of fire;
15 **And his feet like unto fine brass**, **as if they burned in a furnace**; and his voice as the sound of many waters.
Satan wasnt just kidding when he said in Isaiah 14:14, ".
. . **I will be like the most High**."
The Lord Jesus warned us in John
10 about those that ". . . entereth **not by the door** into the sheepfold, but **climbeth up some other way** [like
a chimney]. . ."
John 10:1, 2, 9,10
10:1 Verily, verily, I say unto you, **He that entereth not by the door** into the sheepfold, but **climbeth up some other way [like a chimney], the same is a thief and a robber**.
2 But he that entereth in by the door is the shepherd of the sheep.
9 **I am the door: by me if any man enter in, he shall be saved, and shall go in and out, and find pasture.**10 The thief cometh not, but for to steal, and to kill, and to destroy: I am come that they might have life, and that they might have it more abundantly.
A little interesting history on Santa and his chimney:
It seems the "chimney tale" came to us via Thor, the mythical god of fire and lightning. Satan (and Thor) are symbolized by the lightning bolt (Luke 10:18). Thors name means "thunder". The Thor story goes like this; Most families in the pre-patriarchal Scandinavian world would have an altar to Thor their
fireplace. Every year on his birthday, December 25th (of course)
Thor would come down the chimney to his altar of fire, and bring presents
to the kiddies. (sound familiar?) Oh yea, Thor was "nicknamed" "Klaus of the cinders" or "Sinter Klaus" (a.k.a Santa Claus), because it was believed he would be "singed" as
went into the fireplace.
Thor liked to wear furs in red
for fire, and white for snow. He is usually pictured with a long white
beard. He had a palace in the north. And he
also rode through the sky in a sled pulled by two goats, named Gnasher
and Crasher. (Sound like someone else weve heard of?) Another of Thors nickname was "Old Nick." Thor also carried a "trident" the
pitchfork of Satan.
Just a coincident. . . ? Hmmm. .
. Thor the "god" of thunder, fire and lightning. Sounds a lot like
someone else. . . Like maybe. . . Santa and Satan
Its no secret that Thor is also Satan. The rock group KISS, who dressed as "demons from hell" spewed forth fire and blood in their concerts, has a song dedicated to the god of Thor titled "God of Thunder".
Some of the lyrics:
I was born on Olympus
To my father a son
**I was raised by the demons**
**Trained to reign as the one
God of thunder and rock and roll. . .**I gather darkness to please me
**And I command you to kneel
Before the God of thunder and rock and roll**
The spell you're under
**Will slowly rob you of your virgin soul**
KISS, *God of Thunder*
Theres also the mythological creature named Chimera (coming from the same root word "chim" as
chim-ney). Chimera is a strange creature. It seems Chimera is part **lion**, part **goat** and part **serpent**.
Thats a strange combo. . .? I wonder where they got that from? Chimera breathes
fire and lives in the underworld called Hell. (Hans Biedermann, *Dictionary of Symbolism*, p. 67)
---
**Is not this the carpenter. . . (Mark 6:3)**
---
Mark 6:3 tells us the Lord Jesus Christ was a carpenter.
Mark 6:3
**Is not this the carpenter**, the son of Mary, the brother of James, and Joses, and of Juda, and Simon? and are not his sisters here with us? And they were offended at him.
And Santa is no plumber, or electrician, or blacksmith. . .
**Santa's a guess what a carpenter
too!**
Wow! Who would have ever guessed it! What a coincidence.
Oh yea, remember the god-Thor. .
. Another of his symbols a carpenters "hammer".
---
**His house. . . was toward the north (Ezekiel 8:14)**
---
Of course, everyone knows Santa lives at the North Pole.
Brrr. . . Why the north pole? Nobody lives at the North Pole. . . Why did they pick the NORTH Pole?
**Could it possibly be because someone ELSE lives in the north?**
Ezekiel 8:14
Then he brought me to the door of the gate **of the LORD'S house which was toward the north**; . . .Psalm 48:1-2
1 Great is the LORD, and greatly to be praised in the city of our God, in the mountain of his holiness.
2 Beautiful for situation, the joy of the whole earth, is mount Zion, **on the sides of the north, the city of the great King.**
The Lord dwells in "the north, the city of the great King".
By the way, do you remember what Lucifer said in Isaiah 14:13, when he rebelled against God? Do you remember where he was going to exalt his throne?
Isaiah 14:12-14
12 How art thou fallen from heaven, O Lucifer, son of the morning! how art thou cut down to the ground, which didst weaken the nations!
13 For thou hast said in thine heart, I will ascend into heaven, I will exalt my throne above the stars of God: I will sit also upon the mount of the congregation, **in the sides of the north**:
14 I will ascend above the heights of the clouds; **I will be like the most High**.
Where else would Satan ("oops I did it again". . . its
just too easy to get those two mixed up) Claus be but in the NORTH?
---
**. . . who rideth upon the heaven in thy help. . . (Deuteronomy 33:26)**
---
As
everyone knows, Santa miraculously rides upon the heavens as he delivers
his gifts and love. Hes been described for so long, by so many, riding across the sky with his reindeers guiding his merry way you
can almost see Santa as you gaze up in the sky.
The famous poem "The Night Before Christmas" describes
this amazing, flying, red-clothed, bearded, whited-haired, super-man:
As dry leaves that before the wild hurricane fly,
When they meet with an obstacle, **mount to the sky**,
So up to the house-top the coursers **they flew**,
With the sleigh full of toys, and St. Nicholas too
Sounds a lot like another episode
Im familiar with when the Lord Jesus
Christ went up to heaven:
Acts 1:9-10
9 And when he had spoken these things, while they beheld, **he was taken up; and a cloud received him out of their sight.**10 **And while they looked stedfastly toward heaven as he went up**, . . .
Following Satans ". . . I will be like the most high. . ." script *to the letter*, Santa mimics the Lord God as found in Deuteronomy 33:26
Deuteronomy 33:26
There is none like unto the God of Jeshurun, **who rideth upon the heaven in thy help**, and in his excellency **on the sky**.
Its also interesting in Ephesians 2:2, Satan is depicted as "the
prince of **the power of the air**. . ."
Ephesians 2:2
Wherein in time past ye walked according to the course of this world, **according to the prince of the power of the air**, the spirit that now worketh in the children of disobedience:
---
**Ho, ho. . . saith. . . (Zechariah 2:6)**
---
Satan Claus. . .?
Right?
Actually. . .
Zechariah 2:6
**Ho, ho**, come forth, and flee from the land of the north, **saith the LORD. . .**
"Ho, Ho. . ."?
I always thought Santa Claus said that. . .?
**HO HO HO**, cherry nose
Cap on head, suit that's red
Special night, beard that's white
**Must be Santa Must be Santa
Must be Santa, Santa Clause**
---
**. . .and his angels were cast out with him (Revelation 12:9)**
---
Santas Little Helpers. . .
Santa has some cute little helpers called "elves". It so happens, that Elves (a.k.a fairies, trolls, etc.) also are very popular "helpers" in
witchcraft, demonism and the occult.
*The Encyclopedia of Witches and Witchcraft* has some interesting insights
into "Santa's Little Helpers". For instance, elves are Satan's fallen angels:
"A host of supernatural beings and spirits who exist between earth
and heaven. . . Fairies [Elves] **are fall angels**. When God cast Lucifer
from heaven, the angels who were loyal to Lucifer plunged down toward hell
with him."
(Rosemary Ellen Guiley, *The Encyclopedia of Witches and Witchcraft*, p. 115)
Revelation 12:9
And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, **and his angels were cast out with him**.
*The Encyclopedia of Witches and Witchcraft* also writes that some elves have an appetite for human blood:
"Some fairies [elves] were said **to suck human blood like vampires**."
(Rosemary Ellen Guiley, *The Encyclopedia of Witches and Witchcraft*, p. 116)
An interesting "trick" concerning elves is also given in *The Encyclopedia of Witches and Witchcraft* (p. 117).It
seems some elves will grant peoples' wish and give them gifts **if that person will only deny their Christian faith**!
Can you say "Santa Claus"?
Elves are found in the writings of Satanist and new age-theosophy guru H.P.
Blavatsky. She claims elves are "disembodied spirits", used in "magic and sorcery" and are "the principal agents in . . . seances." (H.P.
Blavatsky, *Isis Unveiled*, Vol I, p. 262)
Interesting, elves are also called "trolls". Cathy Burns writes in *Masonic and Occult Symbols Illustrated:*
". . . the word **troll** comes from the Old Norse **word for demon** and is defined by some sources as a 'devil': **a person of great wickedness or maliciousness**. . . Of course, **Santa has his elves**,
too."
(Cathy Burns, *Masonic and Occult Symbols Illustrated, p. 67)*
Elf: 'A small, often mischievous creature considered to have magical powers.' Although some of these creatures may appear cute on the surface, all of them are nonetheless **demonic entities** that have **their origin in the occult world**."
(Cathy Burns, *Masonic and Occult Symbols Illustrated,* p. 77)
The *Dictionary of Symbolism* writes of elves:
"Living beneath the surface of the earth, they have ties to the word
of the dead; these 'little people' are often thought of **as inhabitants of the underworld** [hell]."
(Hans Biedermann, *Dictionary of Symbolism*, p. 107)
Before you completely discount elves to the world of fantasy, witches, the
occult and kooks, consider the research of Dr. Kurt Koch. Dr. Koch is without
question the world's foremost authority on demonism and the occult. Dr. Koch,
a devout Christian, has spent a life-time traveling world-wide, researching
and documenting the real-world of demonism, devils and the occult. Dr. Koch
has three complete pages documenting "Goblins and Elves" in his book *Occult ABC*. Dr. Koch writes of elves:
"**These elves often appear to children** and even play with them. The moment and adult comes on the scene, the elves disappear. . . If a person wants their help**, he must apply to their chief, the devil himself** [Santa?]. This however, would cost a person his salvation. **The idea these spirits are demonic in origin is in accordance with the Bible**."
(Kurt Koch, *Occult ABC*, p. 82, 83)
Dr. Koch claims these elves' "chief" is the "devil himself" "Santa's Little Helpers".
Notice how Dr, Koch and others keep linking these elves back to children.
*The Encyclopedia of Witches and Witchcraft* says elves, "**love to visit new born babies of mortals** and
will not hesitate to steal. . ." (Rosemary Ellen Guiley, *The Encyclopedia of Witches and Witchcraft*, p. 116)
In Dr. Koch's book (pp. 82-85), he gives four detailed, documented actual
accounts involving elves or demons. Dr. Koch, has encountered so many elf-demonic
experiences, he says, "One could write a book **just about these little people** like the *tomter* [elves],
but that is not my task." (Kurt Koch, *Occult ABC*, p. 83)
The great German Reformer Martin Luther also had encounters with elves or goblins. In his Table Talk book, Luther writes on one occasion:
"The goblin [elf] jolted me in bed. But I took little notice of him.
When I was almost asleep, he began such a rumbling on the stairs that you
would have thought someone was throwing three score barrels of wine down them.
I
stood up, went to the stairs, and called out 'If it is you, so be it,' Then
I committed myself to the Lord, of whom it is written, 'Thou hast put all
things under His feet,' and went back to bed. **That is the best way to get
rid of him: to scorn him and call on Christ, That he cannot bear'".**(cited in Kurt Koch, *Occult ABC*, p. 84)
*The Encyclopedia of Witches and Witchcraft writes, "*Many contemporary
Witches believe in fairies [elves] and some see them clairvoyantly". (Rosemary
Ellen Guiley, *The Encyclopedia of Witches and Witchcraft*, p. 117)
In fact, the very popular book teaching witchcraft to teenagers titled *Teen Witch* by
witch-author Silver RavenWolf even contains a spell to invoke elves. The
spell called "Elf Locker Spell" is a spell to keep people from breaking into a teenagers school locker. The spell conjures up elves to protect their locker. Witch RavenWolf writes, "At
school, hang the mirror, **asking the locker elves (yes, there are elves in school) to protect the locker**" (Silver
RavenWolf, *Teen Witch, Wicca for a New Generation*, p. 215). Then the "teen witch" does some other silly, stupid stuff, and casts their spell (which the book gives in detail). The end of the spell is very, very interesting. Here's what RavenWolf writes, "At
home, set **the milk and honey outside** to nourish the fairies. (p. 215)" Can you say "milk and cookies"? Can you say "Ho, Ho, Ho"?
**The Elves of Oz. . .**
One of the most demon-possessed
individuals is rock star, Ozzy Osbourne. Ozzys claim to fame was lead singer of the "Satan-rock" band
Black Sabbath. Ozzy is known for such bizarre and demonic behavior as biting
the head off a bat and a dove.
On September 2, 1989, Ozzy and his
demons nearly murdered his own wife. Heres
how his wife, Sharon Osbourne, describes the terrifying moment to Barbara
Walters on *20/20:*
"I was downstairs reading. He came down with just his underpants
on. And he's like,"**We've** come to a decision." And I'm like, **"We've**"?
And he said "**You have to die**". And then he just dived on me and got
me down on the and was just strangling me. **But he was gone. There was blinkers on his eyes. He had gone. It wasn't Ozzy**."
(*20/20,* Barbara Walters, Nov. 6, 2002)
Sharon later openly tells Barbara Walters on 20/20 of Ozzys "demon" and "little
people" **[ELVES]** that live in Ozzys head.
"He's just got **this demon** inside of him. He just can't get rid of these **little people [ELVES]** that
live in his head."
(*20/20,* Barbara Walters, Nov. 6, 2002)
Ozzys wife Sharon also tells *People Magazine*, being married to Ozzy:
". . . **is like living with several different people.** One day he can be loving and romantic, **but the next day he'll turn into this Jekyll and Hyde monster. I never know what I'm going to wake up with**."
(*People Magazine*, July, 10, 1989, p. 94)
Ozzy told *Hit Parader* Magazine:
"I really wish I knew why Ive done some of the things Ive
done over the years. **Sometimes I think that Im possessed by some outside spirit. A few years ago, I was convinced of that I
thought I truly was possessed by the devil.** I remember sitting through
the Exorcist a dozen times, saying to myself, **Yeah, I can relate to that**."
(*Hit Parader*, Nov., 1984, p. 49)
Yea, they sacrificed their sons and their daughters unto devils,
Psalm 106:37
---
**. . . for his great love wherewith he loved us (Ephesians 2:4)**
---
Oh, how he loves the little children.
All the children of the world.
Red and yellow, black and white,
They are precious in his site.
Santa loves the little children of the world.
They stand in line to sit in his loving lap. They get their picture with Santa. They tell Santa their most intimate secrets.
They love their Santa because
he first loved them.
Is there something slightly familiar with this picture?
Mark 10:13-14
13 **And they brought young children to him**, that he should touch them: and his disciples rebuked those that brought them.
14 But when Jesus saw it, **he was much displeased**, and said unto them, **Suffer the little children to come unto me**, and forbid them not: for of such is the kingdom of God.
1 John 4:19
We love him, **because he first loved us**.
**Satans Ultimate Goal
- Achieved
Remember where we previously read
Satans ultimate goal.**"I will be **like the
most high"**
Isaiah 14:13-14:
13 For thou hast said in thine heart, I will ascend into heaven, I will exalt my throne above the stars of God: I will sit also upon the mount of the congregation, in the sides of the north:
14 I will ascend above the heights of the clouds; **I will be like the most High**.
**Satan is accomplishing EXACTLY what he wanted.**Satans ultimate goal is worship.
And millions of children are lovingly giving him their God-given child-like
faith. They love Santa!
Remember in Luke 4, when Jesus Christ
was tempted of Santa (uh
I mean Satan) in the wilderness. Remember what
Satan offered him. . . And remember what Satan requested in exchange:
Luke 4:5-8
5 And the devil, taking him up into an high mountain, showed unto him all the kingdoms of the world in a moment of time.
6 And the devil said unto him, **All this power will I give thee, and the glory of them: for that is delivered unto me; and to whomsoever I will I give it.**7 **If thou therefore wilt worship me**, all shall be thine.
8 And Jesus answered and said unto him, Get thee behind me, Satan: for it is written, Thou shalt worship the Lord thy God, and him only shalt thou serve
Satans ultimate goal **worship**.
Hell "give" you gifts "whomsoever I will **I give it**"
Little children are worshipping
him. And not only that he is stealing their child-faith at the greatest time of salvation in their whole life! What a plan! What a master-piece of deception! And the average parents are Satans
greatest evangelists. What an incredible, subtle, diabolical plan.
Do you really believe Santa is just a harmless accidental character of history?
**Santa Claus has replaced God in the lives of many children.**
---
**. . . Ask, and it shall be given you. . . (Matthew 7:7)**
---
Millions of young children will
anxiously climb into the loving lap of their Santa Claus. Theyll whisper in his ear their little hearts desire. Theyll
quickly wake up Christmas morning with eyes shimmering at their gifts wonderful
Santa gave them.
Jolly old Saint Nick,
**Lean your ear this way!**
Don't you tell a single soul
What I'm going to say;
Christmas Eve is coming soon;
Now, you dear old man,
**Whisper what you'll bring to me;**
Tell me if you can.
*"Jolly Old St. Nick"*
Here comes Santa Claus!
Here comes Santa Claus!
Right down Santa Claus Lane. . .
Bells are ringing, **children singing**;
All is merry and bright.
Hang your stockings **and say your prayers**,
**'Cause Santa Claus comes tonight.**
Millions
of children worldwide will be praying and asking their god-Santa for their
presents. And heres the kicker come Christmas morning theyll believe ol Satan (not again. . . theyre just too much alike. . . I mean. . . Santa) lovingly gave them all their presents. Whos
telling these kids these lies?
Santa (or Satan. . . take your pick)
has replaced God as the gracious giver of gifts and the one who answers their
prayers. He is Mr. everything to these
kids at Christmas time. They just need to believe. The "key" to getting your gifts is "believing" in Santa. Millions of kids will be asked this Christmas, "Do
you still believe in Santa?"
Matthew 21:22
And all things, whatsoever ye shall ask in prayer, **believing, ye shall receive**.
Psalm 37:4
Delight thyself also in the LORD; **and he shall give thee the desires of thine heart**.
Matthew 7:7-8, 11
7 Ask, **and it shall be given you**; seek, and ye shall find; knock, and it shall be opened unto you:
8 For every one that asketh receiveth; and he that seeketh findeth; and to him that knocketh it shall be opened. . . .
11 If ye then, being evil, know how to give good gifts unto your children, **how much more shall your Father which is in heaven give good things to them that ask him?**
James 1:17
**Every good gift and every perfect gift is from above**, and cometh down from the Father of lights, with whom is no variableness, neither shadow of turning.
---
**All power is given unto me in heaven and in earth. (Matthew 28:18)**
---
Isnt it amazing the power Santa
has?
Is there anyone like Santa Claus?
He **sees** you when you're sleeping, He **knows** when you're awake
He **knows** if you've been bad or good So be good for goodness sake
"Santa Claus is Coming to Town"?
**Santa is All Knowing Hes Omniscient**
He knows. . .
He KNOWS when youre awake
He KNOWS if you've been good or bad."
Bobby wants a pair of skates,
Suzy wants a sled
Nellie wants a picture book,
yellow, blue, and red
Now I think I'll leave to you
what to give the rest
**Choose for me, dear Santa Claus;
you will know the best.**
"Jolly Old St. Nick"
**Santa knows everything. . .**
Children are taught, religiously,
that Santa knows everything. He knows when theyre awake. He knows when theyre
sleeping. He knows what they want for Christmas.
Is the picture getting clear? Do
you see whats REALLY happening?
Santa has the attributes of God Almighty.
Remember that "child-like" faith?
That faith that belongs to God. That faith is being robbed by Santa.
Santa has all the attributes of
God. Santa has replaced God in the lives of "Santa-worshipping" children. **Just mention the name of Santa to the average child** and watch their little face light up. They love Santa with "all their heart, and with all their soul, and with all their strength, and with all their mind".
They stand in line to sit in his loving lap. They leave him milk and cookies.
It may be a fable to the grown-ups, but those little kids **they believe and love Santa with all their little heart!**
And why not? Why shouldnt they
believe in Santa?
They are taught, heartily, by the
people they love and trust more than anyone on earth that Santa is their god. Santa knows things that are known only by an Omniscient God. Who else has such power? And why wouldnt they believe it? Why would "mommy and daddy" lie?
The following verses would well
fit the average childs gospel of Santa:
"Be not ye therefore like
unto them: for **Santa knoweth** what
things ye have need of, before ye ask him."
Matthew 6:8
**Santa knoweth** the days of the upright. . .
Psalm 37:8
**Santa knoweth** the thoughts of the wise, . . .
1 Corinthians 3:20
If you doubt the sincerity of the "Santa Claus-as-god-worship" according
to *Encyclopedia Americana*, during the Middle Ages, over 400 churches
in England alone were named after "Santa Claus":
"His cult [Santa Clause]
and his representation in art achieved their greatest popularity in the Middle
Ages, **and in England alone more than 400 churches are named after him**."
(John E. Lynch., "Santa Claus", *Encyclopedia Americana*, 1988 ed., cited in *Saint Who* by Dr. Paul E. Heaton)
**Santa is Everywhere Hes Omnipresent**
Hes at the mall. Hes at the parade. Hes on the TV. Hes
at the ball-park.
Hes EVERYWHERE.
Davids testimony to the Omnipresence of God Almighty sounds much like the average childs
omnipresence faith in Santa.
Psalm 139:7-8
7 Whither shall I go from thy spirit? or whither shall I flee **from thy presence**?
8 If I ascend up into heaven, **thou art there**: if I make my bed in hell, behold, **thou art there**.
Santa "miraculously" visits millions of children, all across the world, in one "quick as a wink" night. "In a moment, in the twinkling of an eye. . ." (1 Cor. 15:52) Santa appears all
over the world!
The poem "The Night Before Christmas" says of Old St. Nick: ".
. . And then**, in a twinkling**, I heard on the roof. . ." Where did that come from? "In
a moment, **in the twinkling** of an eye. . ." (1 Cor. 15:52)
He **sees** you when you're sleeping, He knows when you're awake
He **knows** if you've been bad or good So be good for goodness sake
Sound familiar. . .
Proverbs 15:3
The **eyes of the LORD are in every place**, **beholding the evil and the good**.2 Chronicles 16:9
For **the eyes of the LORD run to and fro throughout the whole earth**, to show himself strong in the behalf of them whose heart is perfect toward him.
**Santa is All-Powerful Hes
Omnipotent**
To the average child - Santa can do anything. What can Santa not do?
Genesis 18:14
Is **anything too hard** for the LORD?
Matthew 28:18
And Jesus came and spake unto them, saying, **All power is given unto me** in heaven and in earth.
Come rain, sleet, snow, storm, hurricane,
the darkest and dreariest of nights Santa comes.
But their Santa NEVER fails!
In one night, the all-powerful,
Santa delivers millions and millions of gifts to children all around the
world. Who could do that? Now, who REALLY believes that? That little child
whos been preached to about Santa. . . Thats who. They believe it. Just ask one. Nothings too hard for their Santa. If the Christian world had, even a small drop of the faith the average child has in Santa wed
have revival overnight!
**Isnt it amazing what these little children believe "with all their heart" about their god Santa?**
These little kids believe and have
more faith in their Santa than all the Christians of the world. If the Christians
of the world could just catch a spark of that faith these kids have in Santa wed
have a world-wide revival.
Have you ever seriously considered how unbelievable and powerful Santa is?
The scientific journal SPY magazine
(January 1990) constructed a scientific analysis of Santa. Heres some of
there conclusions:
"Santa has 31 hours
of Christmas to work with, thanks to the different time zones and the rotation
of the earth, assuming he travels east to west (which seems logical). This
works out to 822.6 visits per second. This is to say that for each house,
Santa has 1/1000th of a second to park, hop out of the sleigh, jump down
the chimney, fill the stockings, distribute the remaining presents under
the tree, eat whatever snacks have been left, get back up the chimney, get
back into the sleigh and move on to the next house.
. . . a total trip of 75-1/2 million miles, not counting stops to do what most of us must do at least once every 31 hours, plus feeding and etc. This means that Santa's sleigh is moving at 650 miles per second, 3,000 times the speed of sound.
The payload on the sleigh adds another interesting element. Assuming that each child gets nothing more than a medium-sized lego set (2 pounds), the sleigh is carrying 321,300 tons.
This increases the payload - not even counting the weight of the sleigh - to 353,430 tons. 353,000 tons traveling at 650 miles per second creates enormous air resistance - The lead pair of reindeer will absorb 14.3 QUINTILLION joules [jewels-measurement of energy] of energy. Per second.
In short, they will burst into
flame almost instantaneously and create deafening sonic booms in their
wake. The entire reindeer team will be vaporized
within 4.26 thousandths of a second. Santa, meanwhile, will be subjected
to centrifugal forces 17,500.06 times greater than gravity. A 250-pound
Santa (which seems ludicrously slim) would be pinned to the back of his
sleigh by 4,315,015 pounds of force."
(SPY Magazine, January 1990)
In a moment, in the twinkling of
an eye. . ." (1 Cor. 15:52) Santa appears all over the world! He just quietly "tip-toes" in and "tip-toes" out. You hear nothing. See nothing. Like a "thief in the night".
(1 Thess. 5:2).
And we expect our children to believe in a supernatural being that can do all that?
**And you know what THEY DO.
. .**
---
**. . . thy years are throughout all generations. (Psalm 102:24)**
---
Where did Santa come from?
How did Santa get here?
When did Santa "magically" appear?
Like, Melchisedec (which most Bible
students believe to be a reference to the incarnate Jesus Christ), Santa
Claus is like the Son of God, "Without
father, without mother, without descent, having neither beginning of days,
nor end of life; **but made like unto the Son of God**;. . ." Hebrews
7:3
Santa is from everlasting to everlasting.
His "years are throughout all generations". Possessing the attribute of an eternal God, Santa ". . . thou art the same, and thy years shall have no end." He
has no beginning. He has no end. Like God Almighty, Santa is eternal.
The famous editorial, "Yes, Virginia There is a Santa Claus",
written by Francis P. Church and published in *The New York Sun* on September 21, 1897 to 8-year-old Virginia O'Hanlon, ends with the following words:
"No Santa Claus! Thank
God, **he lives, and he lives forever. A thousand years from now, Virginia, nay, ten times ten thousand years from now**,
he will continue to make glad the heart of childhood."
(Francis P. Church *Yes, Virginia There is a Santa Claus*, The New York Sun, September 21, 1897)
Psalm 93:1-2
1 The LORD reigneth, he is clothed with majesty; the LORD is clothed with strength, wherewith he hath girded himself: the world also is stablished, that it cannot be moved.
2 Thy throne is established of old: **thou art from everlasting**.
Habakkuk 1:12
**Art thou not from everlasting**, O LORD my God, mine Holy One? we shall not die. O LORD, thou hast ordained them for judgment; and, O mighty God, thou hast established them for correction.
Psalm 102:24-27
24 I said, O my God, take me not away in the midst of my days: **thy years are throughout all generations.**25 Of old hast thou laid the foundation of the earth: and the heavens are the work of thy hands.
26 They shall perish, but thou shalt endure: yea, all of them shall wax old like a garment; as a vesture shalt thou change them, and they shall be changed:
27 **But thou art the same, and thy years shall have no end**.
---
**. . .I will pour out my spirit. . . (Proverbs 1:23)**
---
**The Christmas "Spirit"?**
And
yes, Santa has his own "spirit".
The Christmas "spirit". . . The "Spirit of Christmas" Isnt
that a little strange?
Gene Autrys famous song "Here Comes Santa Claus" begins with the words, "Speakin'
of **Christmas spirit**"
Ring a bell? . . .
John 14:16-17
16 And I will pray the Father, and he shall give you another Comforter, that he may abide with you for ever;
17 Even **the Spirit** of truth; whom the world cannot receive, because it seeth him not, neither knoweth him: but ye know him; for he dwelleth with you, and shall be in you.
Galatians 4:6
6 And because ye are sons, **God hath sent forth the Spirit of his Son** into your hearts, crying, Abba, Father.
1 John 4:1-3
1 Beloved, **believe not every spirit**, but try the spirits whether they are of God: because many false prophets are gone out into the world.
2 **Hereby know ye the Spirit of God**: Every spirit that confesseth that Jesus Christ is come in the flesh is of God:
**3 And every spirit that confesseth not that Jesus Christ is come in the flesh is not of God: and** this is that spirit of antichrist**, whereof ye have heard that it should come; and even now already is it in the world**
---
**Come, ye children. . . I will teach you the fear of. . . (Psalm 34:11)**
---
Santa Claus. . .
**You better watch out,**
You better not cry
You better not pout,
**I'm telling you why Santa Claus is comin' to town**He's making a list,
He's checking it twice
**He's gonna find out
Who's naughty or nice**
Children the world over are taught
to FEAR Santa. Youd better go to bed little boy Santa is watching. Millions of fearful children are told, "Youd
better behave. Santa is watching. You might not get anything for Christmas."
Would not Psalm 76:7 certainly apply to Santa Claus in the eyes of most children?
Psalm 76:7
**Thou, even thou, art to be feared: and who may stand in thy sight when once thou art angry?**
The fear of the Lord is the "beginning" of
the Christian faith. As is the fear of Santa is the beginning of the faith
of Santa.
Psalms 111:10
**The fear of the LORD is the beginning of wisdom**:. . .
While our children should be taught the fear of the Lord, most are taught the sacrilegious fear of the false god of Santa.
Psalm 34:11
Come, ye children, hearken unto me: **I will teach you the fear of the LORD**.
---
**. . . every one of us shall give account of himself to. . . (Romans 14:12)**
---
Santa. . .
He's making a list, He's checking it twice
**He's gonna find out Who's naughty or nice**
So then every one of us shall give account of himself to. . . Santa?
Again as God does so does the one
that says, "I will be like the most high".
(Isaiah 14:14)
Romans 14:12
So then every one of us shall give account of himself to God.
Revelation 20:12
And I saw the dead, small and great, **stand before God; and the books were opened**: and another book was opened, which is the book of life: **and the dead were judged out of those things which were written in the books, according to their works**.
---
**. . . then shall he sit upon the throne of his glory. (Matthew 25:31)**
---
Take a trip to the local mall at
Christmas time. Go watch Santa sitting on his royal throne. Kids are lined
up to sit on his lap of judgement. What does
Santa ask them, "Have you been a good little boy?" "Have you
been a good little girl?
Ever read Psalm 11:4?
Psalm 11:4
The LORD is in his holy temple, **the LORD'S throne is in heaven: his eyes behold, his eyelids try, the children of men.**
Theres no question Satan (or Santa. . . ditto) is sitting on his throne. Theres no question its
a mockery and pretender of the judgement of a Holy God.
1 King 22:19
And he said, Hear thou therefore the word of the LORD: **I saw the LORD sitting on his throne, and all the host of heaven standing by him on his right hand and on his left**.
Revelation 20:11
11 And I saw **a great white throne**, and him that sat on it, from whose face the earth and the heaven fled away; and there was found no place for them.
12 **And I saw the dead, small and great, stand before God**; and the books were opened: and another book was opened, which is the book of life: and the dead were judged out of those things which were written in the books, according to their works.
Lets not forget the Bible says Satan (and Santa) has a throne.
Isaiah 14:13
For thou [Lucifer] hast said in thine heart, I will ascend into heaven, **I will exalt my throne** above the stars of God: I will sit also upon the mount of the congregation, in the sides of the north:
I cant help but think of Acts 12. Remember when Herod, playing Santa, dressed in his Santa suit (royal apparel), on his throne, and the people saying, It is the voice of a god (a.k.a Santa), and not of a man. Sounds a lot like "you-know-who".
And the angel of the Lord kills him for his blasphemy.
Acts 12:21
21 And upon a set day Herod, **arrayed in royal apparel, sat upon his throne**, and made an oration unto them.
22 And the people gave a shout, saying, **It is the voice of a god, and not of a man**.
23 And immediately the angel of the Lord smote him, because he gave not God the glory: and he was eaten of worms, and gave up the ghost.
24 But the word of God grew and multiplied.
---
**. . . were judged out of those things which were written in the books, according to their works. (Revelation 20:12)**
---
Right on schedule. . . Santa also
has a list to judge who's "naughty or nice"
**He's making a list**, He's checking it twice
He's gonna find out **Who's naughty or nice**
Over and over, scripture after scripture, Santa grants Satan's ultimate wish, ".
. . I will be like the most High. . ."
Mal 3:16
Then they that feared the LORD spake often one to another: and the LORD hearkened, and heard it, and a book of remembrance was written before him for them that feared the LORD, and that thought upon his name.
Rev 5:1
And I saw in the right hand of him that sat on the throne a book written within and on the backside, sealed with seven seals.
Rev 20:12-15
And I saw the dead, small and great, stand before God; and the books were opened: and another book was opened, which is the book of life: and the dead were judged out of those things which were written in the books, according to their works.
15 And whosoever was not found written in the book of life was cast into the lake of fire.
---
**And many believed on him. . . (John 10:42)**
---
I wonder how many children this
Christmas will be asked, "Do you BELIEVE in Santa?" I know one thing itll be more than all the Christians of the world asking "Do you BELIEVE in Jesus?". Satans gospel will be preached more than the wonderful gospel of Jesus Christ. His witnesses will be witnessing for him day and night across
the globe.
Do you really believe its just
a coincidence that Satan (I mean. . . Santa. . . I get those two mixed up),
over and over, is counterfeiting the Lord Jesus
Christ?
His attributes. . . His name. . .
And now. . . His Faith
The heart of the Christian faith
is "believing" in the Lord Jesus Christ. Thats the core of the Christian faith. Its not works. It not sacraments. Its not "doing this" or "doing that".
. .
Acts 16:31
And they said, **Believe** on the Lord Jesus Christ, and thou shalt be saved, and thy house
Belief faith is the essence
and vehicle of the Christian faith. It all hinges on believing.
**Its BELIEVE IN Jesus
. . .
And Guess what? With Santa . . .
Its also BELIEVE IN Santa. . .**
**Little Boy, Little Girl, DO YOU BELIEVE IN SANTA?**
This one bothers me the most. . .
What happens when these children
put so much false hope into a lie? What happens as that child learns that
wonderful Santa is a hoax? And not only is it a false hope, a faith of deception but
it replaces the attributes and characteristics of a counterfeit Christ for
the True Christ. To confuse matters even worse the Lord Jesus is dragged
into the lie by celebrating his birth.
"**After you stop believing in Santa Claus**,
The whole world just goes downhill."
(Tom Clancy, *The Sum of All Fears*)
Who that's ever seen the Christmas classic movie *The Miracle on the 34th Street* can
ever forget the faith of young Susan Walker (played by the cute Natalie Wood).
Little Susie a skeptic, who doesn't believe in Santa Claus is "converted" by the loveable Kriss Kringle (played by Edmund Gwenn). The main plot of the movie is faith
and belief in Kriss Kringle or Santa.
Remember the highlight of the movie
when Susan's mother, Doris (played by Maureen O'Hara) tells young Susan, " **You
must believe in Mr Kingleand keep right on believing. You must have faith
in him**".
And young Susie begins repeating
over and over, "**I believe, I believe**. . ."
Here's how the original author Valentine Davies describes the above scene:
"Susan thought it over
for a moment and then began muttering **with firm conviction**: 'I believe,
I believe, I believe'
(Valentine Davies, *Miracle on 34th Street*, p. 116)
Towards the end of the movie, Santa
gives Susie the "desires of her heart" and little Susie is saying, "You were
right mommy, I do believe. I do believe. Mr Kingle is Santa Claus."
It is worth noting what Santa gives
Susan a house. . . Hmmm. . . .
John 14:2
In my Father's house are **many mansions**: if it were not so, I would have told you. **I go to prepare a place for you.**
In the movie, the movie ends as
Santa (Kriss Kringle) "prepares a place" for little Susie. Remember, they see Santa's cane standing in the corner showing he had been there and did indeed "prepare a place" for
little Susie.
Oh. . . did you notice the shape of Santa's cane he left in the corner on Miracle on 34th Street?
It looks like a "shepherd's" hook? Hmmm. . .
As one reviewer says of The Miracle on 34th Street:
"I guess the reason I, and all the other reviewers, think this film is so great is that it brings back the time when we could 'believe in Santa Claus'".
Who has ever seen "Miracle
on 34th Street" can ever forget cute, little "Natalie Wood" says "when
things don't turn out just right you still have to believe, and oh mommy **I do believe, I do**".
Another reviewer writes, ".
. . this is a beautiful movie**, that can make anyone believe in Santa Claus."**
---
**Looking for that blessed hope, and the glorious appearing of . . . (Titus 2:13)**
---
Santa.
This Christmas Eve millions and
millions of little children will climb into their beds "looking for their blessed hope and the glorious appearing" of
Santa Claus.
There's not a Christian on the face of this earth looking for and longing for the Lord Jesus Christ as much as the average child looking for their Santa! A child's stolen faith in the coming of Santa puts the Christian's faith to shame.
They are so excited Santas coming!
Probably the greatest theme and
most anticipated event in all the Bible is the Second Coming of the Lord
Jesus Christ. The Apostle Paul mentions the Second
Coming of the Lord Jesus Christ over 50 times. For every one verse on the
First Coming of the Lord Jesus there are at least eight on the Second Coming. Over and over, the New Testament admonishes the Christian to "look" and "wait" for the coming of the Lord Jesus. The last prayer in the Bible is in Revelation 22:20 ".
. . **Even so, come, Lord Jesus."**
The Second Coming of the Lord Jesus Christ is the Christian's "blessed hope":
Looking for that blessed hope, and the glorious appearing of the great God and our Saviour Jesus Christ;
Titus 2:13
If the subtle serpent, who's heart's desire and ultimate goal is to ". . . be like the most High" (Isaiah 14:14) don't
you know the Second Coming will get his attention. And it does. . .
The gospel of Santa is a "counterfeit" of the "blessed hope" of the coming
of the Lord Jesus Christ.
These precious little children believe it with every fiber in their soul.
And why not, the ones they trust the most, mommy and daddy, are preaching
the message in their little ears, over and over. Santa is coming! Santa is
coming!
And everywhere they go the mall, the store, school the gospel of the glorious appearing of Santa is proclaimed! Everywhere they look! Santa is coming! Santa is coming! Ever wonder why the stores and the world start the Christmas "season" earlier and earlier every year? It could be the "money-hungry-commercialism" motive (1 Timothy 6:10) or it might just be Satan wants to preach his gospel of Santa deeper and deeper in that little child's head and heart and
deceive that little child further and further away from the Lord Jesus Christ!
Oh! You better watch out,
You better not cry,
You better not pout,
I'm telling you why:
**Santa Claus is coming to town!**
**Here comes Santa Claus!. . .
What a beautiful sight.
All is merry and bright**.
Hang your stockings and **say your prayers**,
**'Cause Santa Claus comes tonight**Jump in bed, cover up your head,
'Cause Santa Claus comes tonight
So let's give thanks to the Lord above
'Cause Santa Claus comes tonight,
Who's got a beard that's long and white
Santa's got a beard that's long and white
**Who comes around on a special night**Santa comes around on a special night
**Who very soon will come our way
Santa very soon will come our way**Must be Santa Must be Santa
Must be Santa, Santa Clause
1 John 2:28
And now, **little children**, **abide in him**; that, **when he shall appear, we may have confidence, and not be ashamed before him at his coming.**James 5:8
Be ye also patient; stablish your hearts: **for the coming of the Lord draweth nigh**.
I wonder what the Lord thinks about Santa, Satan's Little Helper?
**I am the LORD: that is my name: and my glory will I not give to another. . .**
Isaiah 42:8
---
**Ho! Ho! Ho! I Am God. . .**
---
In 1994, the satire magazine *The Onion* carried
a parody of Santa Claus titled "Ho! Ho! Ho! I Am God". Even though,
it was written as a parody much truth rings from the article. The article
says:
"I love visiting each and
every one of your homes, stuffing your stockings with toys, and enjoying
the milk and cookies you leave for me. But
mostly I love Christmas because it's the celebration of the birth of my son,
Jesus the Christ. **You see, I'm God**. . . Don't I look familiar? I'm old, I have a white beard, I love everyone. I'm the same God as the one you and your mommy and daddy worship on Sundays. . .
Okay, I admit it. I'm not God. **But I'm better than God**. I'm jollier, and I give you real toys, not boring old psalms and empty promises you can only collect on when you die. **Worship me, not Him! Worship Santa! I am God**!"
(Santa Claus, "Ho! Ho! Ho! I Am God!" *The Onion*, 29 Nov. - 5 Dec., 1994, p. 7)
**And thats EXACTLY the message
being preached to these little children!**
Youd have to be blind to not see the possible connection. And youd
have to be spiritually blind to not see the possible spiritual damage such
a massive, faith-based, God-like, LIE could do to the faith and trust of
that young child.
Landover Baptist, a sacrilegious
spoof site on the Internet, carried an article titled "The Devil is in the Chimney".
Though their motive is sacrilege, the obvious link from Santa to Satan is
not ignored. Here's some of the article:
"And it takes no Sherlock
Holmes to see that the Devil's annual disguise is none other than Santa!
. . . Lucifer may be the wiliest of all the deceitful demons that ever drew
breath of fire in Hell, but he was pretty sloppy when he decided to try to
spoil our Savior's birthday with this disguise. His big devil ego got the
better of him when he decided to name his Christmas Anti-Christ after himself.
He just moved around the letters in the name, 'Satan,' into a sonogram and
got 'Santa.' . . . Satan has tried to undermine Christmas by making Santa
even more popular than Jesus!
You don't think so? Even the law of the land forbids a baby Jesus in the town square, but who is there instead? You guessed it! Santa! Every time a so-called Christian child asks Santa for something, he is praying to Satan. **With
each request fulfilled, parents are unwittingly making a pact with the Devil.
They may as well be writing in blood, 'Satan please distract our children from
Jesus with all these shiny toys!'. . ."**
Someone once said, "Many a truth is told in jest".
---
**But it is just fantasy. . .**
---
I'm sure many are thinking, "C'mon, Santa Claus is just fantasy. Nobody takes it serious".
**And that's where you're WRONG those
little children take their Santa very serious!**
Most parents would not teach their beautiful little children such a lie as Santa Claus. Most parents will not openly lie to their children. Especially something that is a blatant imposter of the Lord Jesus Christ. **And Satan knows this. . .**
But they'll easily do it under the disguise of fantasy. It is just fantasy. . .
Satanist Anton LaVey, author of *The Satanic Bible* and founder of the
First Church of Satan, says fantasy is a "magic weapon" in Satanism.
"Fantasy plays an important role in any religious curriculum, **for the subjective mind is less discriminating about the quality of its food than it is about the taste**. . **. Thus, fantasy is utilized as a magic weapon** [in
Satanism]. . . The Satanist maintains a storehouse of avowed fantasy gathered
from all cultures and from all ages."
(Anton Szandor LaVey, *The Satanic Rituals*, p. 15, 27)
Lavey understands Satan's gospel can be quietly preached under the mask of
fantasy. People, such as parents, will allow things, such as Santa Claus,
under the cloak of fantasy into their little child's tender mind that under "serious" circumstances
they would not allow in a million years. But it is just fantasy. . . **But
in that little child's vulnerable mind it is truth!**
No, you and I don't take it serious. Yes, you and I know Santa Claus is fantasy.
But those little kids are deceived in believing "with all their little heart" in
a god that's an imposter of the Lord Jesus Christ.
What happens when these little children realize that Santa Claus is a lie?
What happens when they later are confronted to make a decision for the Lord
Jesus Christ? What happens later when they're asked to "trust and believe in the Lord Jesus Christ"?
I've
heard the conversation of two young boys talking about the Lord Jesus Christ.
They were beyond the age of Santa Claus. As they were talking, one boy asks
the other, "What do you think of all this Jesus Christ stuff"? And the other boy replies, "It
all sounds like another Santa Claus to me **probably just another lie**".
Santa is Satan's counterfeit of the Lord Jesus Christ.
Once you get that child believing
with "all their heart" in Santa then the next logical step is **Jesus
and Santa theyre both the same** **and they're both a LIE**.
Obviously, not every person that
believes in Santa Claus as a child will refuse the Lord Jesus Christ. The
truth is, the author of this article "believed in" Santa Claus as a child.
And the truth is, the author of this article did not trust the Lord Jesus
Christ until he was 20 years old. And furthermore, there is absolutely no
doubt whatsoever, that the lie and god-like attributes of Santa Claus influenced
my early beliefs and confusion about the Lord Jesus Christ.
Someone once said "Jesus Christ is nothing but a Santa Claus for adults".
That was my belief of Jesus Christ. . . Another Santa Claus. . . Another
hoax.
And I can tell you this. . .
**Thank God I was wrong!**
On July 30, 1975 as a 20-year-old
young man, I met the Lord Jesus Christ. And I can tell you He is no Santa Claus! Jesus Christ is no fairy tale! I've been saved for over 27 years. I've had 27 years to "prove Him". And I truthfully, from the depths of my heart, say, "'Tis
So Sweet To Trust in Jesus"
*'Tis so sweet to trust in Jesus, Just to take Him at His Word
Just to rest upon His promise, Just to know: "Thus saith the Lord"**Jesus, Jesus, how I trust Him! how I've proved him o'er and o'er!
Jesus, Jesus, precious Jesus! O for grace to trust Him more!
I'm so glad I learned to trust Thee, Precious Jesus, Savior, Friend;
And I know that Thou art with me, Wilt be with me to the end.*
Have you met the Lord Jesus Christ?
Have you ever received the Lord Jesus Christ as YOUR Saviour?
Friend, there is no way these connections from Santa to Satan and counterfeits of the Lord Jesus Christ is just an haphazard fairy tale of history. There is an author. There is an creator. And he is Satan.
And he wants to damn your soul in hell! And he wants to damn the souls of your children in hell!
And he will if you die without
the shed blood of the Lord Jesus Christ!
---
**Have you ever been saved?**
---
**Friend, I want to ask you the most important question you'll ever answer:**
**Have you ever received Jesus Christ as your Savior?**
|
Not joining a church, not religion, not baptism, not good works, not sacraments — but trusted Jesus Christ and Him alone, as your Savior. If not, Friend you could be — one
year, one month, one hour, one minute, one heartbeat — ***away from eternity in a lake of fire!***
Revelation 20:15 says, *"And whosoever was not found written in the book
of life was cast into the lake of fire."*
Friend, God does not want you to go to hell. 2 Peter 3:9 says, *"The Lord
is. . . not willing that any should perish. . ."* Jesus loved you so much He died on a rugged cross, to pay for *YOUR* sin, and to keep *YOU* out of hell! Revelation 1:5 says, *".
. . Unto him that loved us, and washed us from our sins in his own blood."*
*Friend, don't EXIT this message, until you MAKE SURE you've received Jesus Christ!* I assure you — if you die without Jesus Christ — it'll be the
biggest mistake you'll ever make!
**DON'T TAKE THE CHANCE!**
***Friend, If you've never been saved, don't wait another minute!***
**FRIEND, YOU CAN BE SAVED THIS VERY MINUTE!**
**It is simple to be saved ...**
**- Know you're a sinner.**
> *"As it is written, There is none righteous, no, not one:"* Romans 3:10
>
>
>
> *"... for there is no difference. For all have sinned, and
> come short of the glory of God;"* Romans 3:23
**- That Jesus Christ died on the cross to pay for your sins.**
> *"Who his own self bare our sins in his own body on
> the tree, ..."* 1 Peter 2:24
>
>
>
> *"... Unto him that loved us, and washed us from our sins
> in his own blood,"* Revelation 1:5
- And the best way you know how, simply trust Him, and Him alone as your personal Savior.
> *"For God so
> loved the world, that he gave his only begotten Son, that whosoever
> believeth in him should not perish, but have everlasting
> life."* John 3:16
**WOULD YOU LIKE TO BE SAVED?**
Pray this prayer, and mean it with all your heart.
Just pray this simple prayer, and mean it with all your heart. Lord Jesus, I know that I am a sinner, and unless you save me I am lost forever. I thank you for dying for me at Calvary. I come to you now, the best way I know how, and ask you to save me. I now receive you as my Savior. In Jesus Christ name, Amen.
---
---
Questions, Comments, Suggestions?
[Please tell us. . .](mailto:[email protected])
*Copyright © Dial-the-Truth Ministries*
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<TITLE>Bad Songs of the Seventies </TITLE>
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<FONT SIZE=6>Perfect Sound Forever</FONT></A></P>
<P ALIGN="CENTER"><FONT SIZE=4>presents<FONT></P>
</FONT>
<P ALIGN="CENTER"><FONT SIZE=7 COLOR="#ff6500">BAD SONGS...</FONT><BR>
<FONT SIZE=6 COLOR="#ff6500"><B>THEY SAY SO MUCH</B></FONT></P><BR>
<H3 ALIGN="CENTER">THE WORST MUSICAL REFUSE OF THE '70s</H3>
<P ALIGN="CENTER"></P>
<FONT SIZE=4><P ALIGN="CENTER"> </P>
<P ALIGN="CENTER">Prepared by Billy Bob Hargus</FONT> along with comments by <B>Wes Clark</B><BR>
(originally from December 1995, updated 1998)<BR>
(thanks to Eric Kauz, Geoff Sisson, Paul Richards, Mark D. Randall, lawyrnluv, Rhino, Yahoo) </P>
<P><HR WIDTH="50%"></P>
<BLOCKQUOTE>Of course, this stuff is all pretty subjective but I did have a few criteria for what should be here. I decided to include a song if it: </BLOCKQUOTE>
<UL>
<UL>
<LI>made me sick without even listening to it again </LI>
<LI>made me want to break my radio </LI>
<LI>made my stomach turn </LI>
<LI>brought out violent thoughts of hatred, revenge, etc. </LI>
<LI>reminded me how lame the radio and record companies are </LI>
<LI>could make me want to break my stereo </LI>
<LI>would make me leave a bar or club if they started playing it </LI>
<LI>would make me boo a band who started playing it </LI>
<LI>suspended my believe in a divine force that governs the universe </LI></UL>
</UL>
<BLOCKQUOTE>I'm not saying that there weren't ANY good songs during the 70s but there was just a truck-load of waste back then. If anybody's stupid enough to think that ALL disco sucks, remember that it's just a bastard son of rhythm & blues just like rock'n'roll is- so they're related, see? Also, the 1970's definitely didn't have a monopoly on shitty music- there was tons of crap unleashed on us in the decade before and after and now also (there's a future article there somewhere). Clothes-pin anyone?</BLOCKQUOTE>
<BLOCKQUOTE>I've bolded some of the major offenders, which doesn't mean I 'like' the others better but only that some of the songs are a higher grade of crap than the other manure here.</BLOCKQUOTE>
<BLOCKQUOTE>Also, if we've misquoted a lyric from one of these masterpieces, <A HREF="mailbadsongs.html">please let us know</A>. We don't want to misrepresent great art!</BLOCKQUOTE>
<P><HR WIDTH="50%"></P>
<P>Abba "Dancing Queen" <BR>
Nostalgia for them was cute for a few seconds but get real- 'see that girl/watch that scene/diggin' the dancing queen'<BR>
Abba "Knowing Me, Knowing You"<BR>
Abba "Take A Chance On Me"<BR>
Abba "Waterloo"<BR>
Ace "How Long"<BR>
<B>Morris Albert "Feelings"</B> <BR>
'Wo, wo, wo, feelings...'<BR>
Ambrosia "How Much I Feel"<BR>
America "Horse With No Name" <BR>
A Neil Young imitation in voice only<BR>
America "Tin Man"<BR>
'Oz never did give nothin' to the Tin Man/That he didn't, didn't already have' <BR>
America "Ventura Highway"<BR>
<B>America "Sister Golden Hair"</B> <BR>
A George Harrison imitation- they flatter him<BR>
America "Lonely People"<BR>
America "I Need You"<BR>
<B>Paul Anka "Having My Baby"</B> <BR>
Did someone say abortion?<BR>
Atlanta Rhythm Section "Imaginary Lover" <BR>
Sorry guys but Muscle Shoals is a real rhythm section not you <BR>
Atlanta Rhythm Section "So Into You"<BR>
Bad Company "Rock and Roll Fantasy" <BR>
The Kinks did a little better with this title- 'It's all part of my rock'n'roll dre-eams'<BR>
Bad Company "Feel Like Makin' Love"<BR>
At least this was better than the same title by Roberta Flack<BR>
<B>Bee Gees "How Deep Is Your Love?"</B><BR>
Bee Gees "Love You Inside Out" <BR>
Bee Gees "Stayin' Alive"<BR>
<B>Bee Gees "Too Much Heaven"</B><BR>
Bee Gees "Tragedy"<BR>
Bee Gees "You Should Be Dancing"<BR>
Bellamy Brothers "Let Your Love Flow" <BR>
'Like a bird on wing..'<BR>
George Benson "This Masquerade"<BR>
Chuck Berry "My Ding A Ling" <BR>
A shame that he had to finally go Number 1 with a kiddie song about his dick<BR>
Stephen Bishop "On And On" <BR>
A lot less funny than his ANIMAL HOUSE cameo where he sang 'I gave my love a chicken that had no bone'<BR>
Blue Magic "Side Show"<BR>
Blue Swede "Hooked On A Feeling" <BR>
Did these guys sound constipated or what? 'Ooga-choka!'<BR>
Boney M "Brown Girl in the Ring"<BR>
<B>Debby Boone "You Light Up My Life"</B><BR>
'You give me hope/to car-ry on...'<BR>
<B>Bread "If" <BR>
Bread "Make It With You"</B> <BR>
David Gates did produced Capt. Beefheart once so he has SOME hip credentials<BR>
Jackson Browne "Doctor, My Eyes"<BR>
Really dopey title. It makes about as much sense as "Toys 'R' Us."- Wes<BR>
Eric Burdon "Spill The Wine"<BR>
Glen Campbell "Rhinestone Cowboy"<BR>
Glen Campbell "Southern Nights"<BR>
Captain and Tennille "Do That To Me One More Time"<BR>
Captain and Tennille "Love Will Keep Us Together"<BR>
<B>Captain and Tennille "Muskrat Love"</B> <BR>
If the Carpenters can be hip, why can't Toni?<BR>
Captain and Tennille "Shop Around" <BR>
They thought they could improve on Smokey?<BR>
Captain and Tennille "The Way I Want To Touch You"<BR>
<B>Eric Carmen "All By Myself"</B> <BR>
Cool enough for Greg Brady to sing<BR>
Carpenters "Close To You"<BR>
I know Sonic Youth likes Karen but what about Richard?<BR>
Carpenters "For All We Know"<BR>
Carpenters "Please Mr. Postman"<BR>
Carpenters "Rainy Days And Mondays"<BR>
Carpenters "Sing"<BR>
'Sing/Sing a song'- now, that's deep...<BR>
Carpenters "Top Of The World"<BR>
<B>Carpenters "We've Only Just Begun"</B><BR>
I am proud to say that I got through my newlywed years without once thinking of this song after our reception- Wes<BR>
David Cassidy "Cherish"<BR>
Shaun Cassidy "Da Doo Ron Ron" <BR>
File under 'where are they now?'<BR>
Harry Chapin "Cat's In The Craddle"<BR>
Harry Chapin "Taxi"<BR>
Cher "Gypsies, Tramps and Thieves"<BR>
Cher "Half-Breed"<BR>
Chicago "Baby What A Big Surprise"<BR>
Chicago "Color My World"<BR>
I don't care how many times this was played as the slow dance at dances, I never got to like it- Wes<BR>
Chicago "Does Anybody Know What Time It Is"<BR>
<B>Chicago "If You Leave Me Now"</B><BR>
'You'll take away the biggest part of me/Woo-hoo-hoo-hoo-hoo Baby, please don't go'<BR>
Chicago "Make Me Smile"<BR>
Chicago "Saturday In the Park"<BR>
Chicago "25 Or 6 to 4" <BR>
This actually rocked a little but still...<BR>
Eric Clapton "Lay Down Sally" <BR>
This guy definitely forgot this roots<BR>
Eric Clapton "Promises"<BR>
Eric Clapton "Wonderful Tonight"<BR>
<B>Climax "Precious and Few"</B> <BR>
Painful to think about... 'Precious and few are moments sweet two can share'<BR>
Climax Blues Band "Couldn't Get It Right"<BR>
Joe Cocker "You Are So Beautiful" <BR>
A great blues singer but like Clapton...<BR>
Natalie Cole "I Got Love On My Mind"<BR>
Commodores "Easy" <BR>
A shame they didn't stick with 'Machine Gun' and 'Brick House'<BR>
Commodores "Lady"<BR>
Commodores "Sail On"<BR>
Commodores "Three Times A Lady"<BR>
'You're once, twice, three times a lady'<BR>
But if it didn't exist we wouldn't have heard Eddie Murphy sing it as Buckwheat- Wes<BR>
Bill Conti "Gonna Fly Now (Theme From Rocky)"<BR>
A shame they wouldn't let the Feelies cover this for SOMETHING WILD<BR>
Rita Coolidge "Higher and Higher" <BR>
Jackie Wilson is doing somersults in his grave<BR>
<B>Rita Coolidge "We're All Alone"</B><BR>
Coven "One Tin Soldier"<BR>
Jim Croce "I'll Have To Say I Love You In A Song"<BR>
Jim Croce "Time In A Bottle"<BR>
Crosby, Stills and Nash "Just A Song Before I Go" <BR>
Alright, as long as you leave<BR>
<B>Burton Cummings "Stand Tall"</B><BR>
Daddy Dewdrop "Chick A Boom (Don't Ya Jes' Love It)"<BR>
Charlie Daniels "The Devil Went Down To Georgia"<BR>
Mac Davis "Baby Don't Get Hooked On Me"<BR>
'I'll just use you / then I'll set you free-ee-ee'<BR>
<B>Paul Davis "I Go Crazy"<BR>
Sammy Davis Jr. "The Candy Man"</B><BR>
Dawn "Knock Three Times"<BR>
<B>Dawn "Sweet Gypsy Rose"<BR>
Dawn "Tie A Yellow Ribbon"</B> <BR>
Really big during the Gulf War<BR>
Rick Dees and His Cast of Idiots "Disco Duck"<BR>
Using Daffy would have been much funnier than using Donald<BR>
At least nobody can claim the name of the band is fraudulent- Wes <BR>
John Denver "Rocky Mountain High" <BR>
Even more country than Hank Williams at the time<BR>
John Devner "Sunshine On My Shoulder"<BR>
I always thought this would be a good tune for post-operative lobotomites to learn- Wes<BR>
John Denver "Take Me Home Country Roads"<BR>
John Denver "Thank God I'm A Country Boy"<BR>
Neil Diamond "I Am I Said" <BR>
The Monkees and UB40 do his material better than he does<BR>
Neil Diamond "Song Sung Blue"<BR>
Disco Tex and the Sex-O-Lettes "Get Dancin"<BR>
Bo Donaldson and the Haywoods "Billy Don't Be A Hero" <BR>
A bell-bottom soap opera- 'Come back and make me your wife'<BR>
Doobie Brothers "What A Fool Believes"<BR>
Carl Douglas "Kung Fu Fighting"<BR>
'It was as fast as lightening... In fact, it was a little bit fright-ening'<BR>
Dr. Hook "Only 16" <BR>
These guys were actually funny but maybe that was just Shel Silverstein<BR>
Dr. Hook "Sharing The Night Together"<BR>
Dr. Hook "When You're In Love With A Beautiful Woman"<BR>
For some reason this one gets my wife really angry, so it's valuable- Wes<BR>
<B>Eagles "Best of My Love"</B> <BR>
Rule of thumb- do not use 'wo-ho-ho' as a lyric<BR>
Eagles "Hotel California" <BR>
Part of their musical war with Steely Dan. Nice 'accent'<BR>
Eagles "I Can't Tell You Why"<BR>
Eagles "Lying Eyes"<BR>
Eagles "New Kid In Town"<BR>
Eagles "Take It Easy"<BR>
Eagles "Take It To The Limit"<BR>
Eagles "Witchy Woman"<BR>
Edison Lighthouse "Love Grows (Where My Rosemary Goes)" <BR>
Electric Light Orchestra "Can't Get It Out Of My Head"<BR>
Electric Light Orchestra "Shine A Little Love"<BR>
<B>Yvonne Elliman "If I Can't Have You"</B> <BR>
'..I don't want nobody baby/Wo..oh..oh..'<BR>
Emotions "Best of My Love"<BR>
England Dan and John Ford Coley "I'd Really Love To See You Tonight"<BR>
Exile "Kiss You All Over" <BR>
This is supposed to be a country band, mind you<BR>
Freddy Fender "Before The Next Teardrop Falls"<BR>
'Wasted Days and Wasted Nights' is Tex-Mex worthy of Sir Douglas but this is much too sentimental<BR>
Jay Ferguson "Thunder Island"<BR>
<B>Firefall "Just Remember I Love You"</B><BR>
'And it'll be alright...'<BR>
Firefall "Strange Way"<BR>
First Class "Beach Baby"<BR>
<B>Roberta Flack "Feel Like Making Love"<BR>
Roberta Flack "First Time Ever I Saw Your Face"<BR>
Roberta Flack "Killing Me Softly"<BR>
Roberta Flack/Donny Hathaway "The Closer I Get To You"<BR>
Roberta Flack/Donny Hathaway "Where Is the Love"</B> <BR>
Fleetwood Mac "Dreams" <BR>
Stevie Nicks- the queen of bad rock soap operas<BR>
Floaters "Float On"<BR>
<B>Dan Fogelberg "Longer"</B><BR>
'Longer than, there've been fishes in the ocean/I've been in love with you'<BR>
Foreigner "Cold As Ice"<BR>
'You're willing to sacrifice our love'<BR>
Foreigner "Double Vision"<BR>
Foreigner "Feels Like The First Time"<BR>
Fortunes "Here Comes That Rainy Day Feeling Again"<BR>
Four Seasons "Who Loves You"<BR>
Four Seasons "December 1963 (Oh, What A Night)"<BR>
'What a ver-y special time for me/What a la-dy, what a night' <BR>
<B>Peter Frampton "I'm In You"</B><BR>
Peter Frampton "Show Me The Way" <BR>
Nice wah-wah vocals<BR>
Crystal Gale "Don't It Make My Brown Eyes Blue"<BR>
Gallery "(It's so) Nice To Be With You"<BR>
'I love all the things you say and do'<BR>
Leif Garrett "I Was Made For Dancin'" <BR>
I don't think so<BR>
David Gates "Goodbye Girl"<BR>
<B>Gloria Gaynor "I Will Survive"</B><BR>
Gloria Gaynor "Never Can Say Goodbye"<BR>
<B>David Geddes "Run Joey Run"</B> <BR>
On par with 'Billy, Don't Be a Hero'<BR>
<B>Andy Gibb "I Just Want To Be Your Everything"<BR>
Andy Gibb "Love Is Thicker Than Water"</B> <BR>
Name recoginition always helps<BR>
Andy Gibb "Shadow Dancing"<BR>
<B>Nick Gilder "Hot Child In The City"</B><BR>
'runnin' wild and looking pretty' <BR>
Andrew Gold "Lonely Boy" <BR>
See what happens when you ditch Linda Ronstadt- you become Jerry Brown<BR>
Grand Funk Railroad "Closer To Home"<BR>
Henry Gross "Shannon"<BR>
Guess Who "No Time"<BR>
Guess Who "Share The Land"<BR>
Guess Who "These eyes"<BR>
Guess Who "Undun"<BR>
Hall & Oates "Rich Girl"<BR>
'You're a bitch girl/you're a rich bitch girl'<BR>
Hall & Oates "Sara Smile"<BR>
Hall & Oates "She's Gone"<BR>
Hamilton, Joe Frank & Reynolds "Don't Pull Your Love Out"<BR>
Albert Hammond "It Never Rains In Southern California" <BR>
Thanks for the weather report but it does actually<BR>
George Harrison "Give Me Love (Give Me Peace On Earth)" <BR>
Didn't he learn anything from Monty Python?<BR>
Heatwave "Always and Forever"<BR>
Heatwave "Boogie Nights"<BR>
<B>Dan Hill "Sometimes When We Touch"</B> <BR>
Andrew Dice Clay did a funnier version<BR>
Hollies "He Ain't Heavy"<BR>
<B>Hollies "The Air That I Breathe"<BR>
Eddie Holman "Hey There Lonely Girl"</B> <BR>
Nice Four Seasons falsetto though<BR>
<B>Clint Holmes "Playground In My Mind"</B> <BR>
Even kids could see through this<BR>
Rupert Holmes "Escape (The Pina Colada Song)"<BR>
Thelma Houston "Don't Leave Me This Way"<BR>
Engelbert Humperdinck "After The Loving"<BR>
'...I'm still in love with you'<BR>
Janis Ian "At Seventeen"<BR>
<B>Terry Jacks "Seasons In The Sun"</B> <BR>
'We had joy, we had fun... But the stars we could reach were just starfish on the beach'<BR>
Michael Jackson "Ben"<BR>
<B>Jefferson Starship "Count On Me"</B> <BR>
Guess their vocal coach couldn't make this session<BR>
Jefferson Starship "Miracles"<BR>
Amazing to think they once said 'up against the wall motherfukcers' (or was that Pink Floyd?)<BR>
Jigsaw "Sky High"<BR>
Billy Joel "Just The Way You Are"<BR>
Elton John "Don't Let The Sun Go Down On Me"<BR>
Elton John "Someone Saved My Life Tonight"<BR>
Elton John "Sorry Seems To Be The Hardest Word" <BR>
You SHOULD be sorry Elton- what happened to 'Saturday Night's Alright For Fighting'?<BR>
Elton John and Kiki Dee "Don't Go Breaking My Heart"<BR>
Not as fun as his remake with RuPaul<BR>
Robert John "Sad Eyes"<BR>
Rickie Lee Jones "Chuck E's In Love"<BR>
Joni Mitchell as a fake boho ain't an appealing proposition <BR>
Kansas "Carry On My Wayward Son"<BR>
Kansas "Dust In The Wind"<BR>
I used to call it "Ducks in the Wind"- Wes<BR>
'All we are is dust in the wind'- wow, man...<BR>
<B>Andy Kim "Rock Me Gently"</B><BR>
Carole King "It's Too Late"<BR>
Carole King "So Far Away"<BR>
Kiss "I Was Made For Loving You" <BR>
Their attempt at disco<BR>
Kool and the Gang "Too Hot"<BR>
Vicki Lawrence "The Night The Lights Went Out In Georgia"<BR>
'don't trust your soul to no backwoods southern lawyer'<BR>
Nicolette Larson "Lotta Love"<BR>
She should know better than to try to go up against her old boss Neil Young<BR>
Gordon Lightfoot "If You Could Read My Mind"<BR>
'what a tale my thoughts could tell'<BR>
Gordon Lightfoot "Sundown"<BR>
Gordon Lightfoot "Wreck Of The Edmund Fitzgerald"<BR>
Little River Band "Lonesome Loser"<BR>
'Have you heard about the lonesome loser/beaten by the Queen of Hearts every time..'<BR>
Little River Band "Reminiscing"<BR>
Lobo "I'd Love You To Want Me"<BR>
Lobo "Me And You And Dog Named Boo"<BR>
'Travelin' an' livin' off the land'<BR>
<B>Dave Loggins "Please Come To Boston"</B><BR>
Kenny Loggins "Whenever I Call You Friend"<BR>
Loggins and Messina "Your Mama Don't Dance" <BR>
Newsflash: neither can you guys<BR>
Looking Glass "Brandy"<BR>
Melissa Manchester "Don't Cry Out Loud" <BR>
Maria Maldaur "Midnight At the Oasis"<BR>
Chuck Mangioine "Feels So Good" <BR>
This guy was actually 'jazz'?<BR>
<B>Barry Manilow "Can't Smile Without You"</B><BR>
Barry Manilow "Copacabana"<BR>
'At the Copa/Copacabana/The hottest spot North of Havana..' <BR>
Barry Manilow "It's A Miracle"<BR>
Barry Manilow "I Write The Songs" <BR>
Supposedly a Brian Wilson tribute- 'I am music'<BR>
<B>Barry Manilow "Looks Like Me Made It"</B><BR>
Barry Manilow "Mandy"<BR>
'you came and you gave without taking'<BR>
<B>Johnny Mathis/Deneice Williams "Too Much, Too Little, Too Late"</B><BR>
C.W. McCall "Convoy" <BR>
Good for a laugh but not for repeated listens: 'Eleven long-haired friends of Jesus in a chartreuse micro-bus'<BR>
Paul McCartney/Wings "My Love"<BR>
<B>Marilyn McCoo and Billy Davis Jr. "You Don't Have To Be A Star Baby"</B> <BR>
The title alone is putrid<BR>
Van McCoy "The Hustle"<BR>
Maureen McGovern "Morning After"<BR>
Mary McGregor "Torn Between Two Lovers"<BR>
'Loving both of you, is breaking all the rules'<BR>
Don McLean "American Pie" <BR>
Why do people care what this really means?<BR>
Meatloaf "Paradise By The Dashboard Light" <BR>
Scooter, how could you?<BR>
Meatloaf "Two Out Of Three Ain't Bad"<BR>
Meatloaf "You Took The Words Right Out Of My Mouth"<BR>
Melanie "Brand New Key"<BR>
Eddie Money "Baby Hold On"<BR>
Moody Blues "Nights In White Satin" <BR>
King Crimson should have stolen their mellotron<BR>
Note to wise-asses: this came out in the '60's but was also a hit in the '70's<BR>
Mocedades "Eres Tu"<BR>
<B>Michael Murphy "Wildfire"</B> <BR>
'She kept calling Wiiiiiiild-fire'<BR>
Anne Murray "Snowbird"<BR>
Anne Murray "You Needed Me"<BR>
<B>David Naughton "Makin' It"</B><BR>
New Seekers "I'd Like To Teach The World To Sing" <BR>
Good enough for Coca Cola<BR>
New Seekers "Look What They've Done To My Song"<BR>
<B>Wayne Newton "Daddy Don't You Walk So Fast"</B><BR>
<B>Olivia Newton-John "Have You Ever Been Mellow"</B><BR>
Olivia Newton-John "Hopelessly Devoted To You"<BR>
<B>Olivia Newton-John "I Honestly Love You"</B><BR>
Olivia Newton-John "Let Me Be There" <BR>
If John Denver can be country, I guess she can too.<BR>
Maxine Nightingale "Right Back To Where We Started From"<BR>
'Love is good/love can be strong' <BR>
Nilsson "Without You"<BR>
Harry was actually cool otherwise (really funny too) but a weepy ballad is too much to forgive <BR>
<B>Kenny Nolan "I Like Dreaming"</B><BR>
'Sweet dream baby I love you'<BR>
Ocean "Put Your Hand In The Hand"<BR>
Alan O'Day "Undercover Angel" <BR>
Country disco<BR>
Nigel Olsson "Dancin' Shoes" <BR>
You'd think Elton's drummer would know more about dancin'<BR>
Odyssey "Native New Yorker"<BR>
Orleans "Dance With Me" <BR>
'I want to be your partner/Dance With Me/The music has just started...'<BR>
Orleans "Love Takes Time"<BR>
<B>Donny Osmond "Go Away Little Girl"</B><BR>
A wiser future generation will vindicate Donny Osmond. You watch- Wes<BR>
Donny Osmond "Puppy Love"<BR>
Donny Osmond "The 12th of Never"<BR>
Marie Osmond "Paper Roses"<BR>
The Osmonds "Down By The Lazy River"<BR>
The Osmonds "One Bad Apple" <BR>
This is what they tried to pit against the Jacksons?<BR>
Gilbert O'Sullivan "Alone Again Naturally" <BR>
Bad enough that he had to sue Biz Markie over this<BR>
Gilbert O'Sullivan "Claire"<BR>
Ozark Mountain Daredevils "Jackie Blue"<BR>
Pablo Cruise "Love Will Find A Way"<BR>
Paper Lace "The Night Chicago Died" <BR>
'I heard my mama cry/I heard her pray...'<BR>
To think they wanted the city to have it as their song (about a massacre no less)<BR>
Dolly Parton "Here You Come Again"<BR>
Partridge Family "I Think I Love You" <BR>
At least Danny's still funny<BR>
You're confusing pathetic with funny- Wes <BR>
Peaches and Herb "Reunited"<BR>
Peter Paul and Mary "Leaving On A Jet Plane" <BR>
Wow, talk about weepy<BR>
Pilot "Magic"<BR>
Player "Baby Come Back"<BR>
Pure Prairie League "Amie"<BR>
Python Lee Jackson "In A Broken Dream"<BR>
Before Rod was Rod<BR>
Suzi Quatro "Stumblin' In"<BR>
Queen "We Are The Champions" <BR>
Nice for sporting events but not much else<BR>
Gerry Rafferty "Baker Street" <BR>
Great sax solo though<BR>
Lou Rawls "You'll Never Find Another Love Like Mine" <BR>
Didn't Sam Cooke teach him anything?<BR>
Raydio "Jack and Jill"<BR>
Chris Rea "Fool If You Think It's Over"<BR>
Helen Reddy "Ain't No Way To Treat A Lady"<BR>
Helen Reddy "Angie Baby"<BR>
Helen Reddy "I Am Woman" <BR>
Lovely anthem but why should anyone listen?<BR>
<B>Helen Reddy "I Don't Know How To Love Him"<BR>
Helen Reddy "You and Me Against The World"<BR>
Helen Reddy "Ruby Red Dress (Leave Me Alone)"</B><BR>
Paul Revere "Indian Reservation"<BR>
Proving once again that the best way not to help a group of people is to write a pop song about 'em- Wes<BR>
Charlie Rich "The Most Beautiful Girl In the World" <BR>
He was much too good to try to go pop like this- great for weeping in your beer though<BR>
<B>Cliff Richard "Devil Woman"</B><BR>
Cliff Richard "We Don't Talk Anymore"<BR>
Righteous Brothers "Rock and Roll Heaven" <BR>
Wonder if Darby Crash is there<BR>
<B>Minnie Riperton "Loving You"</B> <BR>
Screaming on a ballad? How punk<BR>
Kenny Rogers "Lady"<BR>
This was country too? No wonder he went into fried chicken<BR>
<B>Kenny Rogers "She Believes In Me"</B><BR>
Rolling Stones "Angie" <BR>
Even Keith would nod off when they did this live<BR>
Linda Ronstadt "Blue Bayou" <BR>
Roy knew how to yell out ballads but she didn't<BR>
<B>Diana Ross "Theme From Mahagony (Do You Know Where You're Going To)"</B><BR>
'Do you like the things that life is showing you?' <BR>
<B>Diana Ross "Touch Me In The Morning"</B><BR>
Todd Rundgren "Hello It's Me"<BR>
Samantha Sang "Emotion"<BR>
<B>Leo Sayer "You Make Me Feel Like Dancing"<BR>
Leo Sayer "When I Need You"</B><BR>
Neil Sedaka "Bad Blood" <BR>
Couldn't Elton John leave well enough alone?<BR>
Neil Sedaka "Laughter In The Rain"<BR>
Bob Seger "We've Got Tonight"<BR>
This from an Ike and Tina fan who did 'Get Out of Denver'? 'Who needs tomor-row/why don't you stay?'<BR>
Silver Convention "Fly Robin Fly"<BR>
Silver Convention "Get Up and Boogie"<BR>
Simon and Garfunkel "Bridge Over Troubled Waters"<BR>
Carly Simon "Anticipation" <BR>
At least Heinz liked this... 'It's keepin' me wai-ai-ai-ting'<BR>
<B>Carly Simon "Haven't Got The Time For The Pain"<BR>
Carly Simon "Nobody Does It Better"</B> <BR>
007 deserved better than this <BR>
<B>Carly Simon "That's The Way I've Always Heard It Should Be"</B><BR>
Carly Simon/James Taylor "Mockingbird"<BR>
<B>Rex Smith "You Take My Breath Away"</B><BR>
Sniff and the Tears "Driver's Seat"<BR>
<B>David Soul "Don't Give Up On Us Baby"</B> <BR>
Much cooler as Starsky or Hutch<BR>
Starbuck "Moonlight Feels Right"<BR>
Starland Vocal Band "Afternoon Delight"<BR>
'Sky rockets in flight...'<BR>
Ringo Starr "Only You"<BR>
Stealers Wheel "Stuck In The Middle With You" <BR>
Do you really need a lame Dylan imitation, even if Quentin Tarentino digs it?<BR>
Cat Stevens "Another Saturday Night" <BR>
Sam Cooke necrophilia<BR>
Cat Stevens "It's A Wild World"<BR>
Cat Stevens "Morning Has Broken"<BR>
Only a special performer can get on Natalie Merchant's shitlist and want to kill Salman Rushdie<BR>
Ray Stevens "Everything Is Beautiful" <BR>
Anybody who can cluck like a chicken shouldn't bother with Barry Manilow<BR>
Al Stewart "Time Passages"<BR>
Al Stewart "Year of the Cat"<BR>
John Stewart "Gold"<BR>
Rod Stewart "D'Ya Think I'm Sexy" <BR>
Forget the fact that he stole this from Jorge Ben- the answer to the title is no<BR>
Rod Stewart "You're In My Heart"<BR>
Stephen Stills "Love The One You're With" <BR>
A lovely hippie sentiment<BR>
<B>Styx "Babe"</B><BR>
Styx "Come Sail Away"<BR>
Styx "Lady"<BR>
Barbra Streisand "Evergreen (Theme From Star Is Born)"<BR>
Barbara Streisand "The Way We Were"<BR>
<B>Barbara Streisand and Neil Diamond "You Don't Bring Me Flowers"</B> <BR>
Even a lounge act wouldn't sink to this pap 'You don't sing me love songs...'<BR>
Sweet "Love Is Like Oxygen"<BR>
Donna Summer "MacArthur's Park" <BR>
Wasn't Richard Harris bad enough?<BR>
Supertramp "Goodbye Stranger" <BR>
Wasn't it a little early to imitate the Bee Gees?<BR>
Supertramp "Logical Song"<BR>
10CC "I'm Not In Love"<BR>
Tavares "Heaven Must Be Missing An Angel" <BR>
Offensive just for the title- it sounds like a really bad pick-up line<BR>
James Taylor "Fire and Rain"<BR>
James Taylor "How Sweet It Is" <BR>
Worse than Marvin's version but it really gauls me to think that he made much more money off of it<BR>
James Taylor "You've Got A Friend"<BR>
Johnnie Taylor "Disco Lady" <BR>
Surely a dip in his good standing as a soul man<BR>
R. Dean Taylor "Indiana Wants Me"<BR>
B.J. Thomas "Another Somebody Done Somebody Wrong Song" <BR>
'And make me feel at home/while I miss my baby/while I miss my baby' <BR>
B.J. Thomas "Raindrops Keep Falling On My Head"<BR>
Three Degrees "When Will I See You Again"<BR>
Three Dog Night "Black and White" <BR>
Even worse than Stevie and McCartney trying to make a positive statement on race relations<BR>
Three Dog Night "Old Fashioned Love Song"<BR>
Three Dog Night "The Show Must Go On"<BR>
Toto "Hold The Line"<BR>
'Love isn't always on time..'<BR>
John Travolta "Let Her In" <BR>
Barbarino sings<BR>
John Travolta and Olivia Newton-John "Summer Nights"<BR>
John Travolta and Olivia Newton-John "You're The One That I Want"<BR>
Andrea True Connection "More More More"<BR>
Bonnie Tyler "It's A Heartache" <BR>
It's a headache<BR>
Frankie Valli "Grease"<BR>
<B>Frankie Valli "My Eyes Adored You"</B> <BR>
'Like a million miles away from me, you couldn't see...' <BR>
Frankie Valli "Swearin' To God"<BR>
Vanity Fair "Hitchin' A Ride"<BR>
<B>Gino Vannelli "I Just Want To Stop"</B> <BR>
'...for your love'<BR>
<B>Randy Vanwarmer "Just When I Needed You The Most"</B><BR>
Village People "In The Navy" <BR>
Good for a laugh if you like camp but nothing you'd want to invest in<BR>
Village People "Macho Man"<BR>
Village People "YMCA"<BR>
Bobby Vinton "My Melody Of Love" <BR>
Well, at least he was multi-lingual<BR>
Jennifer Warnes "Right Time Of The Night"<BR>
Bob Welch "Ebony Eyes"<BR>
<B>Bob Welch "Sentimental Lady"</B><BR>
<B>Andy Williams "Where Do I Begin (Theme From Love Story)"</B> <BR>
More important- when do you end?<BR>
Wings "Goodnight Tonight" <BR>
Paul goes disco- sounds like a lounge act<BR>
Wings "Let 'Em In"<BR>
Wings "Silly Love Songs" <BR>
Paul ought to know- he became the expert after divorcing Lennon (or vice versa)<BR>
Gary Wright "Dream Weaver" <BR>
Appropriately named- puts you to sleep 'I be-lieve we can make it through the ni-ight..'<BR>
<B>John Paul Young "Love Is In The Air"</B> <BR>
<BR>
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<BLOCKQUOTE>Now that you've been suitably sickened, you might want to see the <A HREF="badsongs2.html">professional, constructive criticism</A> we've gotten over this article.</BLOCKQUOTE>
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|
Bad Songs of the Seventies
[](http://www.pipeline.com/~toth)
[Perfect Sound Forever](index.html)
presents
BAD SONGS...
**THEY SAY SO MUCH**
### THE WORST MUSICAL REFUSE OF THE '70s
Prepared by Billy Bob Hargus
along with comments by **Wes Clark**
(originally from December 1995, updated 1998)
(thanks to Eric Kauz, Geoff Sisson, Paul Richards, Mark D. Randall, lawyrnluv, Rhino, Yahoo)
---
> Of course, this stuff is all pretty subjective but I did have a few criteria for what should be here. I decided to include a song if it:
+ made me sick without even listening to it again
+ made me want to break my radio
+ made my stomach turn
+ brought out violent thoughts of hatred, revenge, etc.
+ reminded me how lame the radio and record companies are
+ could make me want to break my stereo
+ would make me leave a bar or club if they started playing it
+ would make me boo a band who started playing it
+ suspended my believe in a divine force that governs the universe
> I'm not saying that there weren't ANY good songs during the 70s but there was just a truck-load of waste back then. If anybody's stupid enough to think that ALL disco sucks, remember that it's just a bastard son of rhythm & blues just like rock'n'roll is- so they're related, see? Also, the 1970's definitely didn't have a monopoly on shitty music- there was tons of crap unleashed on us in the decade before and after and now also (there's a future article there somewhere). Clothes-pin anyone?
> I've bolded some of the major offenders, which doesn't mean I 'like' the others better but only that some of the songs are a higher grade of crap than the other manure here.
> Also, if we've misquoted a lyric from one of these masterpieces, [please let us know](mailbadsongs.html). We don't want to misrepresent great art!
---
Abba "Dancing Queen"
Nostalgia for them was cute for a few seconds but get real- 'see that girl/watch that scene/diggin' the dancing queen'
Abba "Knowing Me, Knowing You"
Abba "Take A Chance On Me"
Abba "Waterloo"
Ace "How Long"
**Morris Albert "Feelings"**
'Wo, wo, wo, feelings...'
Ambrosia "How Much I Feel"
America "Horse With No Name"
A Neil Young imitation in voice only
America "Tin Man"
'Oz never did give nothin' to the Tin Man/That he didn't, didn't already have'
America "Ventura Highway"
**America "Sister Golden Hair"**
A George Harrison imitation- they flatter him
America "Lonely People"
America "I Need You"
**Paul Anka "Having My Baby"**
Did someone say abortion?
Atlanta Rhythm Section "Imaginary Lover"
Sorry guys but Muscle Shoals is a real rhythm section not you
Atlanta Rhythm Section "So Into You"
Bad Company "Rock and Roll Fantasy"
The Kinks did a little better with this title- 'It's all part of my rock'n'roll dre-eams'
Bad Company "Feel Like Makin' Love"
At least this was better than the same title by Roberta Flack
**Bee Gees "How Deep Is Your Love?"**
Bee Gees "Love You Inside Out"
Bee Gees "Stayin' Alive"
**Bee Gees "Too Much Heaven"**
Bee Gees "Tragedy"
Bee Gees "You Should Be Dancing"
Bellamy Brothers "Let Your Love Flow"
'Like a bird on wing..'
George Benson "This Masquerade"
Chuck Berry "My Ding A Ling"
A shame that he had to finally go Number 1 with a kiddie song about his dick
Stephen Bishop "On And On"
A lot less funny than his ANIMAL HOUSE cameo where he sang 'I gave my love a chicken that had no bone'
Blue Magic "Side Show"
Blue Swede "Hooked On A Feeling"
Did these guys sound constipated or what? 'Ooga-choka!'
Boney M "Brown Girl in the Ring"
**Debby Boone "You Light Up My Life"**
'You give me hope/to car-ry on...'
**Bread "If"
Bread "Make It With You"**
David Gates did produced Capt. Beefheart once so he has SOME hip credentials
Jackson Browne "Doctor, My Eyes"
Really dopey title. It makes about as much sense as "Toys 'R' Us."- Wes
Eric Burdon "Spill The Wine"
Glen Campbell "Rhinestone Cowboy"
Glen Campbell "Southern Nights"
Captain and Tennille "Do That To Me One More Time"
Captain and Tennille "Love Will Keep Us Together"
**Captain and Tennille "Muskrat Love"**
If the Carpenters can be hip, why can't Toni?
Captain and Tennille "Shop Around"
They thought they could improve on Smokey?
Captain and Tennille "The Way I Want To Touch You"
**Eric Carmen "All By Myself"**
Cool enough for Greg Brady to sing
Carpenters "Close To You"
I know Sonic Youth likes Karen but what about Richard?
Carpenters "For All We Know"
Carpenters "Please Mr. Postman"
Carpenters "Rainy Days And Mondays"
Carpenters "Sing"
'Sing/Sing a song'- now, that's deep...
Carpenters "Top Of The World"
**Carpenters "We've Only Just Begun"**
I am proud to say that I got through my newlywed years without once thinking of this song after our reception- Wes
David Cassidy "Cherish"
Shaun Cassidy "Da Doo Ron Ron"
File under 'where are they now?'
Harry Chapin "Cat's In The Craddle"
Harry Chapin "Taxi"
Cher "Gypsies, Tramps and Thieves"
Cher "Half-Breed"
Chicago "Baby What A Big Surprise"
Chicago "Color My World"
I don't care how many times this was played as the slow dance at dances, I never got to like it- Wes
Chicago "Does Anybody Know What Time It Is"
**Chicago "If You Leave Me Now"**
'You'll take away the biggest part of me/Woo-hoo-hoo-hoo-hoo Baby, please don't go'
Chicago "Make Me Smile"
Chicago "Saturday In the Park"
Chicago "25 Or 6 to 4"
This actually rocked a little but still...
Eric Clapton "Lay Down Sally"
This guy definitely forgot this roots
Eric Clapton "Promises"
Eric Clapton "Wonderful Tonight"
**Climax "Precious and Few"**
Painful to think about... 'Precious and few are moments sweet two can share'
Climax Blues Band "Couldn't Get It Right"
Joe Cocker "You Are So Beautiful"
A great blues singer but like Clapton...
Natalie Cole "I Got Love On My Mind"
Commodores "Easy"
A shame they didn't stick with 'Machine Gun' and 'Brick House'
Commodores "Lady"
Commodores "Sail On"
Commodores "Three Times A Lady"
'You're once, twice, three times a lady'
But if it didn't exist we wouldn't have heard Eddie Murphy sing it as Buckwheat- Wes
Bill Conti "Gonna Fly Now (Theme From Rocky)"
A shame they wouldn't let the Feelies cover this for SOMETHING WILD
Rita Coolidge "Higher and Higher"
Jackie Wilson is doing somersults in his grave
**Rita Coolidge "We're All Alone"**
Coven "One Tin Soldier"
Jim Croce "I'll Have To Say I Love You In A Song"
Jim Croce "Time In A Bottle"
Crosby, Stills and Nash "Just A Song Before I Go"
Alright, as long as you leave
**Burton Cummings "Stand Tall"**
Daddy Dewdrop "Chick A Boom (Don't Ya Jes' Love It)"
Charlie Daniels "The Devil Went Down To Georgia"
Mac Davis "Baby Don't Get Hooked On Me"
'I'll just use you / then I'll set you free-ee-ee'
**Paul Davis "I Go Crazy"
Sammy Davis Jr. "The Candy Man"**
Dawn "Knock Three Times"
**Dawn "Sweet Gypsy Rose"
Dawn "Tie A Yellow Ribbon"**
Really big during the Gulf War
Rick Dees and His Cast of Idiots "Disco Duck"
Using Daffy would have been much funnier than using Donald
At least nobody can claim the name of the band is fraudulent- Wes
John Denver "Rocky Mountain High"
Even more country than Hank Williams at the time
John Devner "Sunshine On My Shoulder"
I always thought this would be a good tune for post-operative lobotomites to learn- Wes
John Denver "Take Me Home Country Roads"
John Denver "Thank God I'm A Country Boy"
Neil Diamond "I Am I Said"
The Monkees and UB40 do his material better than he does
Neil Diamond "Song Sung Blue"
Disco Tex and the Sex-O-Lettes "Get Dancin"
Bo Donaldson and the Haywoods "Billy Don't Be A Hero"
A bell-bottom soap opera- 'Come back and make me your wife'
Doobie Brothers "What A Fool Believes"
Carl Douglas "Kung Fu Fighting"
'It was as fast as lightening... In fact, it was a little bit fright-ening'
Dr. Hook "Only 16"
These guys were actually funny but maybe that was just Shel Silverstein
Dr. Hook "Sharing The Night Together"
Dr. Hook "When You're In Love With A Beautiful Woman"
For some reason this one gets my wife really angry, so it's valuable- Wes
**Eagles "Best of My Love"**
Rule of thumb- do not use 'wo-ho-ho' as a lyric
Eagles "Hotel California"
Part of their musical war with Steely Dan. Nice 'accent'
Eagles "I Can't Tell You Why"
Eagles "Lying Eyes"
Eagles "New Kid In Town"
Eagles "Take It Easy"
Eagles "Take It To The Limit"
Eagles "Witchy Woman"
Edison Lighthouse "Love Grows (Where My Rosemary Goes)"
Electric Light Orchestra "Can't Get It Out Of My Head"
Electric Light Orchestra "Shine A Little Love"
**Yvonne Elliman "If I Can't Have You"**
'..I don't want nobody baby/Wo..oh..oh..'
Emotions "Best of My Love"
England Dan and John Ford Coley "I'd Really Love To See You Tonight"
Exile "Kiss You All Over"
This is supposed to be a country band, mind you
Freddy Fender "Before The Next Teardrop Falls"
'Wasted Days and Wasted Nights' is Tex-Mex worthy of Sir Douglas but this is much too sentimental
Jay Ferguson "Thunder Island"
**Firefall "Just Remember I Love You"**
'And it'll be alright...'
Firefall "Strange Way"
First Class "Beach Baby"
**Roberta Flack "Feel Like Making Love"
Roberta Flack "First Time Ever I Saw Your Face"
Roberta Flack "Killing Me Softly"
Roberta Flack/Donny Hathaway "The Closer I Get To You"
Roberta Flack/Donny Hathaway "Where Is the Love"**
Fleetwood Mac "Dreams"
Stevie Nicks- the queen of bad rock soap operas
Floaters "Float On"
**Dan Fogelberg "Longer"**
'Longer than, there've been fishes in the ocean/I've been in love with you'
Foreigner "Cold As Ice"
'You're willing to sacrifice our love'
Foreigner "Double Vision"
Foreigner "Feels Like The First Time"
Fortunes "Here Comes That Rainy Day Feeling Again"
Four Seasons "Who Loves You"
Four Seasons "December 1963 (Oh, What A Night)"
'What a ver-y special time for me/What a la-dy, what a night'
**Peter Frampton "I'm In You"**
Peter Frampton "Show Me The Way"
Nice wah-wah vocals
Crystal Gale "Don't It Make My Brown Eyes Blue"
Gallery "(It's so) Nice To Be With You"
'I love all the things you say and do'
Leif Garrett "I Was Made For Dancin'"
I don't think so
David Gates "Goodbye Girl"
**Gloria Gaynor "I Will Survive"**
Gloria Gaynor "Never Can Say Goodbye"
**David Geddes "Run Joey Run"**
On par with 'Billy, Don't Be a Hero'
**Andy Gibb "I Just Want To Be Your Everything"
Andy Gibb "Love Is Thicker Than Water"**
Name recoginition always helps
Andy Gibb "Shadow Dancing"
**Nick Gilder "Hot Child In The City"**
'runnin' wild and looking pretty'
Andrew Gold "Lonely Boy"
See what happens when you ditch Linda Ronstadt- you become Jerry Brown
Grand Funk Railroad "Closer To Home"
Henry Gross "Shannon"
Guess Who "No Time"
Guess Who "Share The Land"
Guess Who "These eyes"
Guess Who "Undun"
Hall & Oates "Rich Girl"
'You're a bitch girl/you're a rich bitch girl'
Hall & Oates "Sara Smile"
Hall & Oates "She's Gone"
Hamilton, Joe Frank & Reynolds "Don't Pull Your Love Out"
Albert Hammond "It Never Rains In Southern California"
Thanks for the weather report but it does actually
George Harrison "Give Me Love (Give Me Peace On Earth)"
Didn't he learn anything from Monty Python?
Heatwave "Always and Forever"
Heatwave "Boogie Nights"
**Dan Hill "Sometimes When We Touch"**
Andrew Dice Clay did a funnier version
Hollies "He Ain't Heavy"
**Hollies "The Air That I Breathe"
Eddie Holman "Hey There Lonely Girl"**
Nice Four Seasons falsetto though
**Clint Holmes "Playground In My Mind"**
Even kids could see through this
Rupert Holmes "Escape (The Pina Colada Song)"
Thelma Houston "Don't Leave Me This Way"
Engelbert Humperdinck "After The Loving"
'...I'm still in love with you'
Janis Ian "At Seventeen"
**Terry Jacks "Seasons In The Sun"**
'We had joy, we had fun... But the stars we could reach were just starfish on the beach'
Michael Jackson "Ben"
**Jefferson Starship "Count On Me"**
Guess their vocal coach couldn't make this session
Jefferson Starship "Miracles"
Amazing to think they once said 'up against the wall motherfukcers' (or was that Pink Floyd?)
Jigsaw "Sky High"
Billy Joel "Just The Way You Are"
Elton John "Don't Let The Sun Go Down On Me"
Elton John "Someone Saved My Life Tonight"
Elton John "Sorry Seems To Be The Hardest Word"
You SHOULD be sorry Elton- what happened to 'Saturday Night's Alright For Fighting'?
Elton John and Kiki Dee "Don't Go Breaking My Heart"
Not as fun as his remake with RuPaul
Robert John "Sad Eyes"
Rickie Lee Jones "Chuck E's In Love"
Joni Mitchell as a fake boho ain't an appealing proposition
Kansas "Carry On My Wayward Son"
Kansas "Dust In The Wind"
I used to call it "Ducks in the Wind"- Wes
'All we are is dust in the wind'- wow, man...
**Andy Kim "Rock Me Gently"**
Carole King "It's Too Late"
Carole King "So Far Away"
Kiss "I Was Made For Loving You"
Their attempt at disco
Kool and the Gang "Too Hot"
Vicki Lawrence "The Night The Lights Went Out In Georgia"
'don't trust your soul to no backwoods southern lawyer'
Nicolette Larson "Lotta Love"
She should know better than to try to go up against her old boss Neil Young
Gordon Lightfoot "If You Could Read My Mind"
'what a tale my thoughts could tell'
Gordon Lightfoot "Sundown"
Gordon Lightfoot "Wreck Of The Edmund Fitzgerald"
Little River Band "Lonesome Loser"
'Have you heard about the lonesome loser/beaten by the Queen of Hearts every time..'
Little River Band "Reminiscing"
Lobo "I'd Love You To Want Me"
Lobo "Me And You And Dog Named Boo"
'Travelin' an' livin' off the land'
**Dave Loggins "Please Come To Boston"**
Kenny Loggins "Whenever I Call You Friend"
Loggins and Messina "Your Mama Don't Dance"
Newsflash: neither can you guys
Looking Glass "Brandy"
Melissa Manchester "Don't Cry Out Loud"
Maria Maldaur "Midnight At the Oasis"
Chuck Mangioine "Feels So Good"
This guy was actually 'jazz'?
**Barry Manilow "Can't Smile Without You"**
Barry Manilow "Copacabana"
'At the Copa/Copacabana/The hottest spot North of Havana..'
Barry Manilow "It's A Miracle"
Barry Manilow "I Write The Songs"
Supposedly a Brian Wilson tribute- 'I am music'
**Barry Manilow "Looks Like Me Made It"**
Barry Manilow "Mandy"
'you came and you gave without taking'
**Johnny Mathis/Deneice Williams "Too Much, Too Little, Too Late"**
C.W. McCall "Convoy"
Good for a laugh but not for repeated listens: 'Eleven long-haired friends of Jesus in a chartreuse micro-bus'
Paul McCartney/Wings "My Love"
**Marilyn McCoo and Billy Davis Jr. "You Don't Have To Be A Star Baby"**
The title alone is putrid
Van McCoy "The Hustle"
Maureen McGovern "Morning After"
Mary McGregor "Torn Between Two Lovers"
'Loving both of you, is breaking all the rules'
Don McLean "American Pie"
Why do people care what this really means?
Meatloaf "Paradise By The Dashboard Light"
Scooter, how could you?
Meatloaf "Two Out Of Three Ain't Bad"
Meatloaf "You Took The Words Right Out Of My Mouth"
Melanie "Brand New Key"
Eddie Money "Baby Hold On"
Moody Blues "Nights In White Satin"
King Crimson should have stolen their mellotron
Note to wise-asses: this came out in the '60's but was also a hit in the '70's
Mocedades "Eres Tu"
**Michael Murphy "Wildfire"**
'She kept calling Wiiiiiiild-fire'
Anne Murray "Snowbird"
Anne Murray "You Needed Me"
**David Naughton "Makin' It"**
New Seekers "I'd Like To Teach The World To Sing"
Good enough for Coca Cola
New Seekers "Look What They've Done To My Song"
**Wayne Newton "Daddy Don't You Walk So Fast"**
**Olivia Newton-John "Have You Ever Been Mellow"**
Olivia Newton-John "Hopelessly Devoted To You"
**Olivia Newton-John "I Honestly Love You"**
Olivia Newton-John "Let Me Be There"
If John Denver can be country, I guess she can too.
Maxine Nightingale "Right Back To Where We Started From"
'Love is good/love can be strong'
Nilsson "Without You"
Harry was actually cool otherwise (really funny too) but a weepy ballad is too much to forgive
**Kenny Nolan "I Like Dreaming"**
'Sweet dream baby I love you'
Ocean "Put Your Hand In The Hand"
Alan O'Day "Undercover Angel"
Country disco
Nigel Olsson "Dancin' Shoes"
You'd think Elton's drummer would know more about dancin'
Odyssey "Native New Yorker"
Orleans "Dance With Me"
'I want to be your partner/Dance With Me/The music has just started...'
Orleans "Love Takes Time"
**Donny Osmond "Go Away Little Girl"**
A wiser future generation will vindicate Donny Osmond. You watch- Wes
Donny Osmond "Puppy Love"
Donny Osmond "The 12th of Never"
Marie Osmond "Paper Roses"
The Osmonds "Down By The Lazy River"
The Osmonds "One Bad Apple"
This is what they tried to pit against the Jacksons?
Gilbert O'Sullivan "Alone Again Naturally"
Bad enough that he had to sue Biz Markie over this
Gilbert O'Sullivan "Claire"
Ozark Mountain Daredevils "Jackie Blue"
Pablo Cruise "Love Will Find A Way"
Paper Lace "The Night Chicago Died"
'I heard my mama cry/I heard her pray...'
To think they wanted the city to have it as their song (about a massacre no less)
Dolly Parton "Here You Come Again"
Partridge Family "I Think I Love You"
At least Danny's still funny
You're confusing pathetic with funny- Wes
Peaches and Herb "Reunited"
Peter Paul and Mary "Leaving On A Jet Plane"
Wow, talk about weepy
Pilot "Magic"
Player "Baby Come Back"
Pure Prairie League "Amie"
Python Lee Jackson "In A Broken Dream"
Before Rod was Rod
Suzi Quatro "Stumblin' In"
Queen "We Are The Champions"
Nice for sporting events but not much else
Gerry Rafferty "Baker Street"
Great sax solo though
Lou Rawls "You'll Never Find Another Love Like Mine"
Didn't Sam Cooke teach him anything?
Raydio "Jack and Jill"
Chris Rea "Fool If You Think It's Over"
Helen Reddy "Ain't No Way To Treat A Lady"
Helen Reddy "Angie Baby"
Helen Reddy "I Am Woman"
Lovely anthem but why should anyone listen?
**Helen Reddy "I Don't Know How To Love Him"
Helen Reddy "You and Me Against The World"
Helen Reddy "Ruby Red Dress (Leave Me Alone)"**
Paul Revere "Indian Reservation"
Proving once again that the best way not to help a group of people is to write a pop song about 'em- Wes
Charlie Rich "The Most Beautiful Girl In the World"
He was much too good to try to go pop like this- great for weeping in your beer though
**Cliff Richard "Devil Woman"**
Cliff Richard "We Don't Talk Anymore"
Righteous Brothers "Rock and Roll Heaven"
Wonder if Darby Crash is there
**Minnie Riperton "Loving You"**
Screaming on a ballad? How punk
Kenny Rogers "Lady"
This was country too? No wonder he went into fried chicken
**Kenny Rogers "She Believes In Me"**
Rolling Stones "Angie"
Even Keith would nod off when they did this live
Linda Ronstadt "Blue Bayou"
Roy knew how to yell out ballads but she didn't
**Diana Ross "Theme From Mahagony (Do You Know Where You're Going To)"**
'Do you like the things that life is showing you?'
**Diana Ross "Touch Me In The Morning"**
Todd Rundgren "Hello It's Me"
Samantha Sang "Emotion"
**Leo Sayer "You Make Me Feel Like Dancing"
Leo Sayer "When I Need You"**
Neil Sedaka "Bad Blood"
Couldn't Elton John leave well enough alone?
Neil Sedaka "Laughter In The Rain"
Bob Seger "We've Got Tonight"
This from an Ike and Tina fan who did 'Get Out of Denver'? 'Who needs tomor-row/why don't you stay?'
Silver Convention "Fly Robin Fly"
Silver Convention "Get Up and Boogie"
Simon and Garfunkel "Bridge Over Troubled Waters"
Carly Simon "Anticipation"
At least Heinz liked this... 'It's keepin' me wai-ai-ai-ting'
**Carly Simon "Haven't Got The Time For The Pain"
Carly Simon "Nobody Does It Better"**
007 deserved better than this
**Carly Simon "That's The Way I've Always Heard It Should Be"**
Carly Simon/James Taylor "Mockingbird"
**Rex Smith "You Take My Breath Away"**
Sniff and the Tears "Driver's Seat"
**David Soul "Don't Give Up On Us Baby"**
Much cooler as Starsky or Hutch
Starbuck "Moonlight Feels Right"
Starland Vocal Band "Afternoon Delight"
'Sky rockets in flight...'
Ringo Starr "Only You"
Stealers Wheel "Stuck In The Middle With You"
Do you really need a lame Dylan imitation, even if Quentin Tarentino digs it?
Cat Stevens "Another Saturday Night"
Sam Cooke necrophilia
Cat Stevens "It's A Wild World"
Cat Stevens "Morning Has Broken"
Only a special performer can get on Natalie Merchant's shitlist and want to kill Salman Rushdie
Ray Stevens "Everything Is Beautiful"
Anybody who can cluck like a chicken shouldn't bother with Barry Manilow
Al Stewart "Time Passages"
Al Stewart "Year of the Cat"
John Stewart "Gold"
Rod Stewart "D'Ya Think I'm Sexy"
Forget the fact that he stole this from Jorge Ben- the answer to the title is no
Rod Stewart "You're In My Heart"
Stephen Stills "Love The One You're With"
A lovely hippie sentiment
**Styx "Babe"**
Styx "Come Sail Away"
Styx "Lady"
Barbra Streisand "Evergreen (Theme From Star Is Born)"
Barbara Streisand "The Way We Were"
**Barbara Streisand and Neil Diamond "You Don't Bring Me Flowers"**
Even a lounge act wouldn't sink to this pap 'You don't sing me love songs...'
Sweet "Love Is Like Oxygen"
Donna Summer "MacArthur's Park"
Wasn't Richard Harris bad enough?
Supertramp "Goodbye Stranger"
Wasn't it a little early to imitate the Bee Gees?
Supertramp "Logical Song"
10CC "I'm Not In Love"
Tavares "Heaven Must Be Missing An Angel"
Offensive just for the title- it sounds like a really bad pick-up line
James Taylor "Fire and Rain"
James Taylor "How Sweet It Is"
Worse than Marvin's version but it really gauls me to think that he made much more money off of it
James Taylor "You've Got A Friend"
Johnnie Taylor "Disco Lady"
Surely a dip in his good standing as a soul man
R. Dean Taylor "Indiana Wants Me"
B.J. Thomas "Another Somebody Done Somebody Wrong Song"
'And make me feel at home/while I miss my baby/while I miss my baby'
B.J. Thomas "Raindrops Keep Falling On My Head"
Three Degrees "When Will I See You Again"
Three Dog Night "Black and White"
Even worse than Stevie and McCartney trying to make a positive statement on race relations
Three Dog Night "Old Fashioned Love Song"
Three Dog Night "The Show Must Go On"
Toto "Hold The Line"
'Love isn't always on time..'
John Travolta "Let Her In"
Barbarino sings
John Travolta and Olivia Newton-John "Summer Nights"
John Travolta and Olivia Newton-John "You're The One That I Want"
Andrea True Connection "More More More"
Bonnie Tyler "It's A Heartache"
It's a headache
Frankie Valli "Grease"
**Frankie Valli "My Eyes Adored You"**
'Like a million miles away from me, you couldn't see...'
Frankie Valli "Swearin' To God"
Vanity Fair "Hitchin' A Ride"
**Gino Vannelli "I Just Want To Stop"**
'...for your love'
**Randy Vanwarmer "Just When I Needed You The Most"**
Village People "In The Navy"
Good for a laugh if you like camp but nothing you'd want to invest in
Village People "Macho Man"
Village People "YMCA"
Bobby Vinton "My Melody Of Love"
Well, at least he was multi-lingual
Jennifer Warnes "Right Time Of The Night"
Bob Welch "Ebony Eyes"
**Bob Welch "Sentimental Lady"**
**Andy Williams "Where Do I Begin (Theme From Love Story)"**
More important- when do you end?
Wings "Goodnight Tonight"
Paul goes disco- sounds like a lounge act
Wings "Let 'Em In"
Wings "Silly Love Songs"
Paul ought to know- he became the expert after divorcing Lennon (or vice versa)
Gary Wright "Dream Weaver"
Appropriately named- puts you to sleep 'I be-lieve we can make it through the ni-ight..'
**John Paul Young "Love Is In The Air"**
> Now that you've been suitably sickened, you might want to see the [professional, constructive criticism](badsongs2.html) we've gotten over this article.
> The URL for this page is *http://www.furious.com/perfect/badsongs.html*
Witness the rest of **PERFECT SOUND FOREVER**
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Hello and
welcome to The Shadowlands. Since 1994, The Shadowlands has been
dedicated
to informing and enlightening visitors on such topics as Ghosts and
hauntings,
mysterious creatures such as Bigfoot and Sea Serpents, UFOs and Aliens,
and many other unsolved mysteries. We have provided general information
on some subjects and a bit more in depth info on others as my time and
experiences allow. If you read this pages with an open mind you should
come away with a better understanding of these mysteries. While all of
these subjects are laughed at or frowned upon by many, We challenge you
to at least take the time to decide for yourself. We have included text
files, video, sounds, pictures, eye witness accounts and more on the
pages
that follow. We are always adding new information and update various
pages
on a monthly basis. We have also have created a few pages to visit when
you need a break from the norm or the studies here. There is something
for everyone here so take the time to look around The Shadowlands and
stop
back often, there's always something new....Thanks Dave Juliano &
Tina
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The Shadowlands
**[GHOSTS and HAUNTINGS](ghost/)** **[BIGFOOT](bf.htm)****[SEA SERPENTS](serpent.htm)** **[UFO](ufo.htm)** **[MYSTERIOUS
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Hello and
welcome to The Shadowlands. Since 1994, The Shadowlands has been
dedicated
to informing and enlightening visitors on such topics as Ghosts and
hauntings,
mysterious creatures such as Bigfoot and Sea Serpents, UFOs and Aliens,
and many other unsolved mysteries. We have provided general information
on some subjects and a bit more in depth info on others as my time and
experiences allow. If you read this pages with an open mind you should
come away with a better understanding of these mysteries. While all of
these subjects are laughed at or frowned upon by many, We challenge you
to at least take the time to decide for yourself. We have included text
files, video, sounds, pictures, eye witness accounts and more on the
pages
that follow. We are always adding new information and update various
pages
on a monthly basis. We have also have created a few pages to visit when
you need a break from the norm or the studies here. There is something
for everyone here so take the time to look around The Shadowlands and
stop
back often, there's always something new....Thanks Dave Juliano &
Tina
Carlson |
# **Visit Little Sparkee's Memorial**
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# **Visit Rocky's Memorial**
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# **Visit Agatha's Memorial**
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<p align="center"><font face="Verdana,Arial,Helvetica" size="2"><b>ASK
ZOD!</b></font></p>
<p align="center">
<img border="0" src="pics/fun.jpg" width="250" height="245"></p>
<p align="center"><font face="Verdana,Arial,Helvetica" size="2">I
will permit you mortals to <a href="#askzod"> <b><u><font color="#00FFFF"> ask me some
questions</font></u></b></a>.<br>
If I deem your question to be worthy enough, I will post it
on this<br>
page along with my superior response to it. If I do not deem
your<br>
question to be worthy, I will be insulted and I will kill
you for this.</font></p>
<p align="center"><font face="Verdana,Arial,Helvetica" size="2"><b><font color="#00FFFF">Note:</font></b>
General Zod receives <b>THOUSANDS</b> of emails and is too
busy<br>
being the ruler of all that exists to answer every one of
them.<br>
If you asked Zod a question, check back on this page to see
if<br>
he felt your question was indeed worthy enough to respond
to.</font></p>
<p align="center"><font face="Verdana,Arial,Helvetica" size="2"><b>Recently
asked questions:</b></font></p>
<div align="center">
<center>
<table border="0" width="450" cellspacing="0" cellpadding="0">
<tr>
<td width="100%"><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Steven Scott<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Hail to Zod!<br>
<br>
Mighty One, I have a young son for whom I have high
hopes. Would you deign to pass along some wisdom that
will help him succeed in life, as you have done? I
would be delighted to see him rise to become one of
your despotic lieutenants one day.<br>
<br>
Thank you, and hail to Zod!</font><p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
Such irrationality... do you really believe that I
would allow a human slave to ever "rise" and stand by
my side? Only Non and Ursa have that coveted
privilege! My loyal slaves are here on planet Houston
to do one thing and one thing only - KNEEL BEFORE ZOD!
I suggest you pass these words of wisdom onto your son
quickly, for if it is discovered that he has not been
kneeling, he and his father will bother feel the wrath
of my eye lasers! </font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Kenneth Oliphant, Zodologian<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Dear Zod,<br>
<br>
While kneeling before you in perpetuity, I often
pass the time by pondering Your nature. Though there
is no "time before Zod", in the period before your
rule upon this planet Houston I was a philosopher. I
would like to know how to prove you really exist.
The Ontological Proof for the Existence of Zod has
been derided, and it I am having a difficult time
fending off claims that You are nothing more than a
crutch for the weak-minded. I tried explaining that,
in my opinion, Non and Ursa represent demiurges or
parts of a Zodly trinity, but the azodist were not
having it; how can I prove You really exist, my
immortal General?<br>
<br>
Please excuse my pathetic question as to your
metaphysic, but I long to use my ideology to force
others into the belief that I so cherish as your
slave.</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">Why do
you say these things to me, when you know I will kill
you for it? It is not a slave's position to question
my power, let alone my existence. Such thoughts are no
difference than a foolish act of aggression towards
your rightful ruler! But very well, I will prove to
you that I exist by burning down the house in which
you live with my eye lasers. Perhaps then you will no
longer spend your time pondering such nonsense, and
instead you will focus your miniscule mind on your
rightful ruler, ZOD!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Tom Ryan<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Dear General Zod,<br>
<br>
I have been a loyal slave to you since I was in my
mothers womb. Recently however I have become the
victim of an unfortunate accident. During a fight
between you and Superman I was hit with some debris
from a building that you got smashed into. It broke
both my legs and left me crippled. I blame Superman
entirely for this accident. I got my legs fixed
through years of surgery but now one leg is longer
than the other and I cannot Kneel Before You
properly. Whatever will I do?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">I,
General Zod, your ruler, command you to remove both of
your legs. You will then be in a constant state of
kneeling, thus your life will be a tribute to me!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Adam<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Whilst enjoying your generous protection, in other
words being allowed to live, I realized the
potential for Olympics on Krypton. Do they have
bus-throwing, man-hole-cover discus, or astronaut
booting events there?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">What
are these Olympics you speak of? I have already proven
my immeasurable strength countless times to my slaves.
As for the planet Krypton, it was destroyed long ago
along with all of its foolish inhabitants. Had I been
ruler of Krypton, perhaps it would still exist today.
It is only fitting that they all perished for their
defiance! </font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Bodeman<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
That bastard Non owes me 5 bucks for a meal at Arbys
I bought him . He kept following me making all these
annoying grunting noises like a walrus taking a
giant crap. Please send me a check or money order,
otherwise i got a clip of kryptonite bullets with
your name on it. KNEEL BEFORE BODEMAN!!!</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
As Ursa has told many people before, I do not take
orders... I give them! And just moments ago I ordered
Non to pay you a visit and crush you between his
fingers for your pathetic little threat!</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Rob Webb<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
I love you Zod but what is your first name my lord?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">My
first name is "General". Having been one of my slaves
for many years, you should know this by now. KNEEL!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Jason Swinchock<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Dear General Zod,<br>
<br>
It is hard to type while kneeling before you but I am
dealing with it. I would like to know how I may rule a
part of planet Houston, like Lex Luther ruled
Australia. I am your most loyal slave and I know that
asking a question like this could be punishable by
death but I would like to aid you with your ruling of
Houston!</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
Lex Luthor was killed. I had no more use for him, and
therefore he had to die and Australia is now under my
rule once again. Are you suggesting that you would
like to go down that same path? If so, I will happily
do so. I need no aid in the ruling of planet Houston!
All I need is for my loyal slaves to continue KNEELING
BEFORE ZOD!</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Paul<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
General Zod, I come to you with an urgent message:</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
The protagonist company called Warner Bros. plans on
releasing a Superman film in the near future and
they are all ready broadcasting a series about his
upbringing in Smallville on a pirated station. Neither
one of these even mention the GREAT GENERAL ZOD! How
long must we stand and listen to the blasphemy against
your rule? I implore you, yea, I pray you, to please
destroy these villains who stand against Zod!</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
Indeed I have heard rumors from several slaves about
this. So be it. I shall make these defiant Warner
people pay for this blasphemy with their very lives!
You have done well Paul, and pending you continue
kneel for the remainder of your days, I shall allow
you to live. </font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Non<br>
E-Mail:.......... <a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Oh great and almighty Zod, ruler of this universe, I
am non, your loyal servant. I ask your highness
this, whos is better, me or ursa? Please respond
almighty Zod!</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">
Pathetic. Do you humans really believe you could
deceive me by trying to impersonate Non? Non can't
even speak properly, nor can he write. Non also
happens to be at my side quite frequently, so if he
had a concern, he certainly would not send me a
message from a slave's email account by the name of "Ozunaki".
The punishment for impersonating Zod, Non, or Ursa is
DEATH. I shall seek you out and destroy you Ozunaki!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Laverne Villalobos<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Discoverr the new winnning sexaul erectoin pilll!<br>
This medicatib0n picks up where Viaqgra stops.<br>
<br>
0nly $ 2.20 PER DOSE!</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">Puny
human, it is ironic that you mention pills, for no
amount of pills will be able to ease your suffering
when I am through tearing you apart with my bare
hands.</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Smackcracky<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Dear General ZOD,<br>
<br>
I find myself wondering what your opinion is on gay
marriages and abortion. I am sure that you will have
the solution that Planet Houston has been searching
for. You seem to come from a "Sexually liberated"
planet, as demonstrated by your devotion to your
sadistic, wild eyed girlfriend and furry, "monkey
man" sidekick. Us on Planet Houston can only wonder
what happens in the glorious bedroom of General ZOD,
but since you never seem to have time to take off
your pajamas, it must be exhausting. I await your
superior advice on this confusing subject...</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">What I
do not understand is why matters such as marriage of
any sexes would concern a <i>slave</i> who should be
doing nothing but <i>kneeling</i> in tribute to me! It
appears as though you will soon discover my opinion on
abortion, however, for I have just decided to abort
your life! DIE AS YOU DESERVE TO!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... eric husk<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
o powerful ZOD i would like to kneel before you but
i have no legs what should i do?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">An
understandable question that many slaves have asked
before. I have actually shot off the legs of a few
defiant slaves in the past and they too begged to know
how they could now kneel before me. The answer is
simple. You must now lie face-down before Zod. Do you
understand? LAY BEFORE ZOD!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... jake<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
hey zod, i have already sold my sole to satan but i
want to sell my sole to you. what should i do?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">
Pathetic slave, what on Houston makes you think I
would have any interest in purchasing your shoes?</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Concerned Slave<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
A man name George W. Bush just said you were part of
the "Axis of Evil", what do you intend to do?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">I shall
make him beg for my forgiveness as he kneels before
his rightful ruler. If he does not comply, he will
then die as he deserves to for his defiance!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Unicron<br>
E-Mail:.......... <a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
I am Unicron!<br>
<br>
Anyway, are we allowed to cease kneeling long enough
to procreate? If not you will run out of slaves.</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
A just question, my slave. The answer to your question
is obviously "NO". I will choose slaves who are worthy
enough to carry the seed of Zod. Giving birth to a
little Zodling is a great honor, but with that honor
comes death. For the Zodling does not exit the
mother's womb in the same fashion that your human
infants do. No, the little Zodling exits by cutting a
hole in the mother's stomach with his or her
eye-lasers. </font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Nova<br>
E-Mail:.......... <a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
ZOD... From this day forward, you shall know that
among your "Slaves" there are those, as myself, who
do not fear of this unimaginable power that you
wield, for the forces that we ourselves have far
surpass that in the fact that we CANNOT BE
DESTROYED. I, myself, am immortal, and while I
cannot destroy you, the same goes the other way
around. NO AMOUNT of power can destroy me. And your
futile attempts to do so will end in your inevitable
downfall. Mwahahahahahaha! KNEEL ZOD, KNEEL!!!</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">
Soon-to-be-obliterated defiant one, you are obviously
suffering from delusions of grandeur. Perhaps you have
watched one "movie" too many... perhaps it was this
"Lord of the Rings" that I have heard much about. Do
you think you are an immortal elven warrior? Allow me
to assure you: you are NOT. For here on planet
Houston, all of my slaves BLEED. And bleed you shall
as I crush your defiant, mortal skull!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Thanas Tenofas<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
THEORETICALLY, if you were to die somehow (though
I'm sure it is impossible) should we continue to
kneel in the absence of your glorious presence? What
if a new leader comes and forces us to stand? what
should we do? I want to be able to serve you
properly in any event, so I need to be prepared for
all circumstances.<br>
<br>
Thank you for your blessed leadership! it brings
meaning to us all!</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
Impossible. I cannot and will not die. I shall outlive
every one of you. Furthermore, if anybody ever dared
to come to planet Houston to challenge my rule by
commanding you all to "stand" as opposed to kneeling,
I would kill this insolent being immediately. If you
truly wish to be prepared for all circumstances, you
only need but a strong desire to kneel before your one
and only true leader... ZOD!</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Musicpsycho<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Should I break up with my girlfriend using the
telephone or a letter? Which is more personal, and
likely to cause the least amount of stabbing?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">Just as
you cannot bargain with what you do not have to offer,
you cannot "break up" with whom you aren't "dating" in
the first place. This female whom you speak of has
already found the most impressive male on this planet
and she has given her loyalty to him. That man is YOUR
RULER, ZOD! KNEEL!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Little Jonny Evans<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
<br>
All hail Mighty Zod, our Rightful Ruler!!<br>
<br>
Dear General Zod, I am writing a report for my sixth
grade class (at Kneel Before Zod P.S. 5, Cape Zod, MA)
and was hoping you would answer a question for me
about Krypton.<br>
<br>
Did you have the internet on Krypton, and if so, what
kind of bandwidth did you have?<br>
<br>
-little jonny evans </font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
What is this bandwidth you speak of? I have seen your
human "bands", who often perform wretched "music".
Upon becoming famous, I notice that the width of the
members of said band often increases. I can only
assume this is the "bandwidth" which you are so
concerned with. So, to answer your question, there was
none of this "bandwidth" you speak of on Krypton. The
inhabitants of that planet at least knew when to put
down their eating utensils. </font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Rhinodung<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
While being forced to kneel and serve you for the
rest of our pitiful lives has dramatically reduced
many problems (example: finding jobs, paying
bills... etc) we had before your great, all-powerful
arrival. There is one problem that many of us seek
an answer to: Death! What happens when this befalls
us and we can no longer serve and kneel? Are those
who served you rewarded while those who resisted
suffer for the rest of eternity?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
A fine question my loyal slave. The reward for living
a full life in tribute to me is quite grand. Upon the
day of your death, myself, Non, or Ursa shall
personally bury you in the "National Cemetary of
Worthy Servants". These worthy servants are not
confined to small boxed prisons. We don't put you in a
box at all! We bury you in a kneeling position so that
even in the afterlife you can be a worthy slave. Those
who do not lead such an obedient lifestyle shall have
their corpses eaten and then excreted by Non.</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... dagger<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
If ninjas and pirates get into a fight on a pirate
ship, who wins?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
Who are these "ninja"? Who are these "pirates" and how
did they get a "ship" without my expressed permission?
I can answer your question quite easily. Neither the
ninja nor the pirates would win, for I would kill them
all with my bare hands.</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... thehitman66<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
General Zod,<br>
<br>
Prior to your taking over the planet "Houston", the
rank of general was not the highest authority in
this country... the President of the United States
was. All Generals answered to him. Would you ever
consider changing your title to "President Zod" or
"Supreme Chancellor Zod" or something that might
better reflect the position you occupy?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">And
prior to my rule, </font></font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
you were allowed to stand, rather than grovel before
me on your knees. "President" is no longer a rank on
planet Houston. I, General Zod, am the highest ranking
being on this earth, followed by Non and Ursa. Anyone
else is a mere slave.</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Andrew<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Try as I might, I cannot seem to acheive tight abs.
Crunches, sit-ups, dieting, aerobics--it's all been
futile. What's your secret, oh slim one?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
It's quite simple: Eye-laser surgery.</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Shecky Rimshot<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
As I kneel before you, groveling like the inferior
mortal I am... I can't help but wonder if you get
bored with us always kneeling? Is it all right for
us to mix it up with a little cowering or trembling
occasionally?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">
Absolutely my slave. After all, a true leader cannot
have the attention of his servants if he does not
invoke some fear into their hearts. Continue with your
kneeling, cowering, and trembling!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... The Protective Monkey of Binky<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Do you almighty ZOD understand the enigma that is
Free Chicken?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">How is
"Free Chicken" an enigma? It is no mystery that
anything I want, I take. Therefore, everything that
exists, is free for your rightful leader, Zod, to use
as I please.</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Mr.E.<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
I have a two part question.<br>
1. Why did the fireman wear red suspenders?<br>
2. Why did the chicken cross the road?<br>
Is it a Mr.E. to you?!? </font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
That was a three part question, my ignorant slave.
Nevertheless, I shall answer them:</font></p>
<blockquote>
<p>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
1) It represents the red sun of Krypton.</font></p>
<p>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
2) So he could come kneel before me.</font></p>
<p>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
3) No you are not Mr. E to me. You are "SLAVE".</font></p>
</blockquote>
<hr width="75%" noshade size="1" color="#00FFFF">
<font face="Verdana,Arial,Helvetica" size="2">
Name:........... Your devoted slave<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
While I was kneeling before you, I realized that it is
possible to sing the words "General Zod" to the tune
of the Theme from Superman and also the Love Theme
from Superman. How does that grab you? </font><p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">All
"songs", theme and otherwise, should have the original
words replaced with "General Zod". As long as you
continue to kneel, I see nothing wrong with singing in
tribute to me. However, should you have a voice that I
find unpleasing, I shall kill you for your aural
disturbance.</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... kb<br>
E-Mail:.......... <a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
When kneeling, is the use of a kneeling bench or pad
acceptable, or must the kneeling take place on the
bare floor? Your faithful servant...Death to the son
of Jor-El!!!</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">
Absolutely not! There is to be no aid issued to your
knees. Kneeling is your way of paying tribute to me,
ZOD! It is your way of saying you would rather accept
pain as opposed to defying your rightful leader. I had
better not find that any of you are using kneeling
benches or pads, for if I do, I assure you that your
deaths will be tremendously brutal. KNEEL!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Dave<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Oh great, powerful, wise, and incredibly handsome
Zod. I was wondering when your birthday is so I can
make you something special. I know that you own
everything on the planet Huston but if I make
something it would by all rights belong to you
anyway but I would love the honor of bestowing it on
to you while I was kneeling before you</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">My date
of birth should be celebrated every day for all
eternity. You are my slave, and this gift you wish to
make me should take you an entire lifetime to create.
You may present it to me with your dying breath.
Anything less, will be deemed unacceptable and
punishable by death. </font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Jeremy Folk<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
We all know for a fact that Superman, that puny son
of Jor-El, has worn red briefs that have been worn
down into a dull, girlish pink, but I ask you mighty
emperor of planet Houston, do you wear a pair of
boxers as crimson as the Kryptonian sun?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
I do not know of these "boxers" you speak of, so I
consulted one of my slaves. They explained that I go
"commando-style", so I believe that should answer your
question. Now kneel! Kneel before the "commando-style"
greatness of Zod!</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... A concerned slave<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
O Great Zod, our rightful ruler,<br>
<br>
Before you came to our planet Houston, there were
people who could defeat Superman with this stuff
called Kryptonite. Do you ever worry that these
people would try to defeat you with that stuff?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
An understandable concern, my slave. Nonetheless, you
needn't worry, for all kryptonite has been completely
destroyed. And even if it did exist, do you honestly
think that a human would be so clever as to get it
close enough to me before I killed him for his
defiance? I think not.</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Cyclonis<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Who are you to claim the earth it is rightfully that
of my general and master, Megatron Lord of the
Decepticons.</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
I have already claimed planet Houston, but if there is
a planet called "Earth" I shall claim it too! And not
you, or this "Megatron" can stop me! Come to me
Megatron! I defy you! Come! Come and kneel before Zod!
ZOD!!!!!!!!!!!</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Mad Margaret<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Do I have to kneel? I mean, it's not that I mind
kneeling so much, but it's the getting up part that
really puts a crink in my back. Literally. Anyway,
great Zod, my question is this: how many licks
*does* it take to get to the chewy center of a
Tootsie Pop?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">Then do
not get up! Kneel for all eternity my slave! And what
is this "Tootsie Pop" you speak of? Whatever it may
be, I assure you that it wouldn't take ANY licks to
reach the center of it. One blast from my eye-lasers
and the center would be exposed immediately.</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<font face="Verdana,Arial,Helvetica" size="2">
<br>
Name:........... Phil Ryan<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Hail Zod, Kosmorator; Ruler of ALL!<br>
I kneel before You, Zod and ask: which do You prefer--
regular Kraft macaroni and cheese, or EasyMac? It may
seem like something of a trivial question, but don't
blow it off. My eternal allegiance to You is dependent
on your answer. Either You please me, and I remain
Your slave, or You displease me and suffer. Death is
lurking in my hands, waiting to be set upon some
unfortunate fool--that fool may be You, despite Your
infinite Wisdom. Even You are not invulnerable, Zod:
if You required rest, I'd tell You to sleep with one
eye open! Farewell my friend and superior. I await
Your answer. --Phil, a humble slave, but bold!</font><p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">You
know less about me than most slaves, so I shall
educate you before I destroy you. I *AM* invulnerable
and do not require sleep. Sleep is, as I have said
many times in the past, something that only primitive
mortals such as yourself require. Furthermore, even if
I were to sleep, I would still remain unharmed. Do you
really think an inferior mortal like yourself could
find a way to even scratch me? I think not. And as for
your original question... I am ruler of this planet, I
do not have to choose between "Kraft macaroni and
cheese" and "EasyMac". No, I can have them both! Yes,
as ruler of the planet Houston, I get to enjoy the
pleasantries of mixing both "Kraft Macaroni and
Cheese" and "EasyMac" together! A meal that is truly
worthy of ZOD!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Roll the Potatoe<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Do you realize that when you command you're cowering
slaves to kneel before you, you are in fact leaving
yourself vulnerable to the possibility of an act of
rebellion in the form of someone tying your
bootlaces together. This could cause you to fall
over and undermine your authority.</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
Foolish slave, my bootlaces are just as impenetrable
as my own flesh. You do not possess the strength to
untie them, for they are tied with a powerful
double-knot. Furthermore, any slave or slaves that
would dare attempt such a foolish act of defiance
would meet their demise as I crush their windpipes
with the heel of my boot! </font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Superman<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
If I kneel before you, do you PROMISE to keep your
pants zipped.<br>
<br>
If you do proceed to unzip your pants, I will have
no choice but to rip your weenie out of its sockets,
and throw you into another Neon Coke sign.<br>
<br>
~Superman</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
The Son Of Jor-El... still here on this planet? Come
to me Son Of Jor-El! KNEEL BEFORE ZOD!</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Tim<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Dear ZOD,<br>
<br>
Dear Mighty excellent bodacious ZOD,<br>
I try and kneel before ZOD about 3 times a week, but
in my busy techno life, I don't have the time
required to do this everyday. So if you could blow
up all the corporations and credit card companies on
earth, so I have no distractions from worshipping
you, that would be great. Also pay no attention to
my email. I am changing it to: [email protected].
is that ok? </font>
</p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">Your
new email address will be acceptable, but the amount
of time you are currently spending each week to kneel
before me is not. 3 times a week? You are lucky I have
not torn you apart yet. Corporations, credit cards,
"techno"... these are no longer worries for you
humans. You must spend every moment kneeling before me
as my loyal servants. Do this and you shall live. Do
it not, and you shall die. </font></font>
</p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... The Phone Monkeys<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Mighty Zod,<br>
<br>
As you are All-Knowing, we have a question that has
been causing us much concern: is it true that the
Government is experimenting with psychic powers to
destroy other countries and/or small children? <br>
<br>
Thank you for your great wisdom in this matter.</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">How
many times must I explain to you insolent mortals...
there is no longer any government. The only body that
is ruling over things is me, your ruler... ZOD! And I
have not yet begun experimenting with psychic powers
to destroy countries and small childen, but it is
something that I will consider for the future. Now
KNEEL BEFORE ZOD!</font></font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Curious Slave<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
My lord, while kneeling before you and praising your
very name, I was struck by a moment of intrigue: If
Superman, Mario, Jim Raynor from StarCraft, Link
from the Legend of Zelda, Elminster from the
Forgotten Realms, and a big pink bunny all got into
a fight, how long would you wait before intervening
and kicking all of their lilly asses? In the
meantime, I solemnly kneel.</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
Who are these people that you speak of? I have already
proven that the son of Jor-El is no match for me, but
who are these others that you speak of? Bring them to
me! Come to me Mario, Jim Raynor, Link, and Elminster
if you all dare! I defy you! Come! Come and kneel
before zod! ZOD!!!!!!!!</font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... zia<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
why the hell are you so ugly?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> <font color="#FFFF00">Well "Zia",
we shall soon see who is deemed less attractive when I
paint the planet red with your blood! </font></font>
</p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Kator<br>
E-Mail:.......... <a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
My mighty Lord and Master Zod,<br>
<br>
While kneeling in humble reverence of you, I saw
something... disturbing. On a rack, there was a
comic of your villainous arch-foe Superman, that
proclaimed your famous words, "Kneel Before...".
Upon opening said comic, I found that there was a
person claiming to be you, dear and almighty Zod,
although cased in red armor from head to toe. While
this 'General Zod' thoroughly trashed the Last Peon
Of Krypton, I could not help but wonder if you
allowed this to take place? And if so, should I bow
to this Zod as well, since any who bear the name Zod
have to be related to the almighty Zod?<br>
<br>
Kneeling for an answer,<br>
Kator</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2">
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
I am pleased to see that some humans are worshipping
me by trying to show it with their "artistic" skills.
However, if you are going to depict your ruler,
General Zod, you MUST depict me exactly as I appear
before you today. And why would somebody who is
completely indestructible require this "red armor"
that you speak of? This is a poor representation of
your ruler indeed and such a mistake will inevitably
result in the death of this "comic" creator.</font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... shadow<br>
E-Mail:.......... <a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
General Zod,Overlord of the universe, is it at all
satisfying being ruler of all you survey, knowing
there is noone but to challenge you? How do you occupy
your time when moments of clarity set in knowing full
well you will never be defeated? Forgive me insolence
all mighty ZOD, but are you the most ultimate
arbitrarily advanced contingent based entity or are
you beyond contingency and are of a necessary status?<br>
<br>
kneeling in acquiescence to the almighty ZOD......ZOD!<br>
<br>
IN NOMINE DEI NOSTRI ZOD EXCELSI!<br>
that was just a bit of Latin expressing adoration for
you the mighty Lord of Lords<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00">Loyal
slave, indeed finding things to occupy my time with
when I am the ruler of all that exists might seem
difficult in the eyes of a small mind such as yours.
But I assure you, I have plenty to do. I travel all
over planet Houston to make sure there are no acts of
defiance taking place. This alone takes up most of my
time. Whenever I find an act of defiance taking place,
I must kill everybody involved and destroy the
surrounding areas to make an example. So as you can
see, there is more than enough to occupy my time. And
now I will take up some more of my time by telling you
one very important thing: KNEEL BEFORE ZOD!</font></font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Ryan<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
If you were to get into a fight with the Green
Lantern, would you have some kind of special power
over him, because that you derive your power from
the yellow sun. Or is it just that you dress up in
black pleather and would be weak against his awesome
might. Also, what would happen if there were a
crossover and you got into a fight with Bird Man, he
also derives his powers from the sun, would you both
be equally powerful being that you have the same
power source?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00">Who are
these characters, Green Lantern and Bird Man, that
you speak of? They a probably figments of your
imagination. Even if they were real, they could not
possibly be as strong as ZOD! I am pleased to hear
about this Bird Man however. I see that you are
practiced in worshipping things that fly... good.</font></font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Rhinodung<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
My rightful ruler, hero and mentor,<br>
On account of a faulty back, once kneeling to your
awesome might I found that it would be impossible to
ever extract myself from this position. Would it be
acceptable to act as a pathetic extension of your
supreme will from this position of genuflection? If
this example of human frailty displeases you, I can
only hope to die by your hands.<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00">On the
contrary, the fact that you are now in a permanent
kneeling position, you have nothing to fear. For
kneeling before me for all eternity is the greatest
way one can honor me. So continue to kneel before
me, loyal slave, you shall be allowed to live a life
of servitude for your ruler, General Zod.</font></font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Chris<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Do you wear underwear under your shiny clothes? And
if so are they from Krypton?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00">Such
matters do not concern you. I find it disturbing
that you are so focused on my clothing, rather than
being concern with the fact that I might kill you in
the near future.</font></font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... martzod<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
do you pluck your eyebrows?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00">What
sort of nonsense is this?? You shall be killed for
your insolence.</font></font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... eddie harrison<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
General Zod, I've got a touch of rheumatism in my
knees and wondered if you hd any exercises I could
use to help get them moving again?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00">The
only thing you need to exercise is your daily
worship of me!</font></font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Bobbie<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
There is a car blocking my parking spot. Could you
please blow it out of the way? P.S. You rock.<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00">Not
only did I destroy the intrusive car that you
mentioned, but I have destroyed your parking spot as
well.</font></font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... General Zod<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Who do you think that you are?!?!?!!? How dare you
impersonate a general, especially me, Zod!!!!!!!!!!
I tell you to kneel before me or perish in the hell
fires of Zod!!!!!<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00">For
your absurd attempt to act as a Zod impostor, I will
see that you are torn apart. Die as you deserve to!</font></font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Galvin Chow<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Dear General Zod Our Supreme Ruler,<br>
<br>
If you could have any Earth-woman -- and you can --
which one would you choose? I myself favor Delta
Burke.<br>
<br>
Sincerely,<br>
Slave #2623921<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00">Loyal
Slave, although I could have any earth woman I so
desired, no earth woman could possibly be worthy of
the great Zod. Nor could any earth woman compare to
Ursa.</font></font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Pinto<br>
E-Mail:.......... <a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Since you've been tooling around the universe and
have no doubt traveled at light speed, I have a
question. If you are in a car traveling the speed of
light and turn on your head lights, what happens?
Just curious, your evil lordship type dude.<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00">Since
you have addressed me as your lordship, I will grant
you this answer, even though I would never ride in
such a crude means of transportation like a "car".
If a weak mortal like yourself were to travel at the
speed of light in a car and then turn on the head
lights, you would be vaporized instantly. Your
fragile body structure cannot handle such intense
rays of light. But such a death would be much easier
than the death I will hand to you should ever dare
to defy me! Now kneel before your lordship, General
Zod!</font></font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Dark Jedi<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
If you strike me down, I shall become more powerful
than you can possibly imagine. I am not the Jedi
you're looking for. I can go about my business. Move
along.<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00">So, you
are a Jedi. I remember your weak species. Non and I
have snapped the necks of a thousand Jedi. I now see
that we have one more neck to snap.</font></font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Steve<br>
E-Mail:.......... <a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
So, what are your Grammy picks this year? Think
Linkin Park will win best new artist or Alicia Keys?
Come on, put some of that all-knowing, all-seeing
mojo to work and give us the scoop.....<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00">What is
this "Grammy"? I will defeat him if he ever dares
show his face before me! Kneel before me Alicia
Keys! Kneel before me Linkin Park! I, General Zod am
your rightful leader!</font></font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... SJ<br>
E-Mail:.......... <a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
My friends and I are overwhelmed by your manliness
and sexual charisma. Can we join your harem to be
used as Your Mightiness sees fit? PS We are all
women.<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00">You
will have to speak with Ursa regarding such matters.
If you can defeat her, I will allow you to live and
stand by my side. However, I sincerely doubt this
will ever happen. The probable outcome is that she
will make you kneel before her, just as you now
kneel before me!</font></font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Superman II<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Hey Zod,<br>
<br>
If you're so powerful and a supposed "ruler" then
why did you fall for Superman's trap in the Fortress
of Solitude? That shows you're stupid compared to
the Man of Steel.<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00">Why do
you say this to me when you know I will kill you for
it? As I have stated many times in the past, that
was not me in that foolish "movie". It was what you
humans call an "actor". I have discovered that his
name is Terrence Stamp and I will kill him soon
enough for portraying me as someone who could be
defeated by this "Superman". I have already defeated
your weak Superman. And now, I shall crush you with
my bare hands! KNEEL!</font></font></p>
<p></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Quake Master<br>
E-Mail:.......... <a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Does the almighty Zod play Quake 3? If so, I would
challenge his highness to a duel...<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00">Quake?
I assume you are referring to earthquakes. Lex Luthor
once informed me about his attempt to sink California
into the sea by using earthquakes to his advantage. I
am sure that you are not as adapt at earthquake
creation as he is. And I already know that I can
create earthquakes a thousand times greater than Lex
Luthor's. Therefore, your challenge is empty. SO KNEEL
BEFORE ZOD OR DIE AS YOU DESERVE TO!</font></font></p>
</p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Ben<br>
E-Mail:.......... <a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Neither I nor any member of my family shall ever
kneel before you or swear any loyalty to you. What
do you have to say about that?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00">Then
you and your family will all share a fate far worse
than the Son of Jorel's! KNEEL OR PERISH!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Santa Clause<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Dear General Zod,<br>
I have noticed while checking my list twice, that
you have asked for a Superman action figure. Is this
really true? Your Friend, Santa.</font><font face="verdana,arial" size="2"><tt><br>
</tt></font><font face="Verdana,Arial,Helvetica" size="2">
<br>
<b>Zod's Response:</b> <font color="#FFFF00">Who is
this Santa? I defy you! Come! Come and Kneel Before
Zod! ZOD!!!!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Bin Laden<br>
E-Mail:.......... <a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
I AM BIN LADEN AND WILL ACCEPT NO OTHER WORLD
LEADERS!!! ALL YOR HOUSTON ARE BELONG TO US</font><font face="verdana,arial" size="2"><tt><br>
</tt></font><font face="Verdana,Arial,Helvetica" size="2">
<br>
<b>Zod's Response:</b> <font color="#FFFF00">So
humans, Bin Laden has still eluded your capture?
Wrong. What the world doesn't realize is that I have
already killed him for leaving me the above message.
He was easy to kill and he squealed like a little
school girl. I enjoyed killing him, and then I
buried his remains under a large pile of of
rhinoceros droppings. A very fitting demise if I do
say so myself.</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">
Name:........... Nathan Ingram<br>
E-Mail:..........
<a href="mailto:[email protected]">
[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Dear Zod,<br>
<br>
"The Horse Whisperer". Love it? Hate it? Love to
hear your thoughts.</font><font face="verdana,arial" size="2"><tt><br>
</tt></font><font face="Verdana,Arial,Helvetica" size="2">
<br>
<b>Zod's Response:</b> </font>
<font face="Verdana,Arial,Helvetica" size="2" color="#FFFF00">
Very well. I will have you know that nobody knows
how to influence a horse more than I. I thought that
was very evident considering what happened to the
Son of Jorel.</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Justin Ballard<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Do you have herpes?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> No, but I can promise that you'll be feeling a burning sensation once you meet the wrath of my eye-lasers!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Motslu2k<br>
E-Mail:.......... <a href="mailto:[email protected]"> [email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
General, is it suitable for me to cower at your feet? I am so terrified that kneeling does not seem worthy of your powers. P.S. Do eye lasers make it easier to cook?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> Excellent. Being afraid of Zod is how all of my loyal slaves should feel. You may cower at my feet, but first you must KNEEL. KNEEL BEFORE ZOD! And yes, eye-lasers do indeed make cooking easier, as I have demonstrated in the past.</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... nigoki<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
I have no knees. How am I supposed to kneel before you?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> Humans are already inferior as it is, but a human with no knees is something I have no use for. If you cannot kneel before me, then you will die as you deserve to!</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Jay<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Dear Zod,<br>
At what point did you formulate your plan for world/universal domination? Was it in the Phantom zone or merely when you encountered the sniveling inhabitants of Earth and realized how easily we are dominated?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> I find it strange that you, a human, describe your kind as "sniveling inhabitants of Earth". First, I must correct you. The planet is called "Houston", not "Earth". Next, I was born with the knowledge that I was destined to be ruler of all that exists. And last, KNEEL BEFORE
ZOD!</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Dan Moore<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Do you like pancakes?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> What are these "pancakes" you speak of? They are no match for my powers! Show yourselves cowardly pancakes! Show yourselves! COWARDS!</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Bryan-El<br>
E-Mail:......... [email protected]<br>
<br>
===============================<br>
My Question:<br>
Does the all-powerful Zod have a last name? Or is your first name General?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> My full name is "Zod". Human slaves are allowed to refer to me in any of the following ways:<br>
1) Zod<br>
2) General Zod<br>
3) Our Rightful Ruler/Leader</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Bryan-El<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
In many millions of years, when Earth's yellow sun goes nova and fades to the red glow of your native Krypton, won't you in fact be powerless and no longer able to enforce any rule, even on the then lifeless Houston? I ask because this would turn the notion of your eternal rule to nothing but a farce dreamed up by a pleather-clad alien with self-worth issues. <br>
Your humble slave, Bryan-El of Houston<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> Another question from the same slave? You are pushing your luck, mortal. I have the strength to move planets. Do you not think that I could fly directly into the sun, the very sun that gives me such powers, and move it so that it would not ever collide with planet Houston? Do not ever doubt me, or I shall be forced to make a demonstration of my powers and you will be the one to suffer the consequences.</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... darius<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Zod, is there a phone number for the Krypton tourist board that i can phone for a vacation.<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> Slaves are not allowed to have any "vacations" as you call them. Only I, your ruler, can enjoy such
privileges. Now KNEEL!</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... worm<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Is groveling before Zod also acceptable?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> Yes, as long as you are kneeling while doing so.</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Lois Lane<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Hey Zod, i am incredibly attracted to you.. and i must make love to you as soon as possible! but one thing stands in the way... Batman... i think he's this guy i use to date named Bruce Wayne, can you take him out so i can satisfy my "itch" with you ?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> Why do you say these things to me when you know I will kill you for it?</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Jesse<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
hello Generel Zod, do you like Sega Dreamcast, Sony Playstation2, Nintendo gamecube, or Microsoft Xbox? oh and speaking of which... the Bill Gates guy is getting awefully powerful for a mere Human... perhaps you should kill him.<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> What are these things you speak of? You humans are full of such utter nonsense, I often question whether it is worth ruling you instead of killing every last one of you. Either way, I shall be riding the planet of you soon enough, coward!</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Deac<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
i worship you almighty Zod. I am a waste of air compared to your awsome greatness. i have but one question to ask my lord, when will you kill the Prime Minister of Canada, Jean Chretein, and assume your rightful position as Ruler of
Canada? cause this Jean Chretein is saying on TV that he's the leader of Canada, and his defiance deeply angers me, the pathetic French Man thinks he's better then
Zod? He must be killed.<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> Who is this French Man? Come to me French Man, if you dare! I defy you! Come! Come and kneel before
Zod! ZOD!!!</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... F Street<br>
E-Mail:.......... <a href="mailto:[email protected]"> [email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
When you were trapped in the Phantom Zone, how often did you beat your meat?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> You must be the sole reason the concept of "inferiority" was created. KNEEL BEFORE ZOD!</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... John<br>
E-Mail:.......... <a href="mailto:[email protected]"> [email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
All Hail Lord Zod!<br>
<br>
May I ask if you have any regrets? And if your regret is letting me live this long, please allow me to extinguish my own life.<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> Your display of support for my rule is
admirable, but you do not have the choice when your life shall be extinguished. You may not die without my permission. And when you die, it will most certainly be by my own hands. There is no death more honorable.</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Frank Hanley<br>
E-Mail:.......... <a href="mailto:[email protected]"> [email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
It would be nice if you could mentor poor Non and teach him how to properly shoot his laser eye beams. Why don't you do this?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> Perhaps it would also be nice if I sent Non to your quarters where he would proceed to tear you apart! Now kneel!</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... The Artful Dodger<br>
E-Mail:.......... <a href="mailto:[email protected]"> [email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
I kneel down before you, oh great Zod, and vow loyalty to you... I do have a question for you, however, and I hope you do not find me insolent for doing so. Do you copulate with your colleague Ursa, and if not, what is your relationship <br>
with her?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> Copulation is for the weak. Myself and Ursa are invincible and eternal, so there
is absolutely no need for us to procreate. I am
eternal and this is why I shall rule forever!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Colin Fones-Wolf<br>
E-Mail:.......... <a href="mailto:[email protected]"> [email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
General Zod, I was wondering why you go with the beard look? You'd have much sharper -- thus more menacing -- features if you just shaved.<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> My beard suggests the wisdom and leadership that comes with age. Each whisker is strong enough to poke through your puny human skull. Perhaps I shall use you to demonstrate!</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Jeff<br>
E-Mail:.......... <a href="mailto:[email protected]"> [email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Oh Magnificent One, I was wondering if you could help out my basketball team, Team Metalbeast. I know with your great wisdom we can conquer the Intramural Championship. What advice can you give to my team?<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> Team? What team is this? Are you humans trying to band together to fight me? Do you not remember what happened the last time you attempted this? I literally blew one of your cities away. KNEEL BEFORE YOUR RULER OR YOU WILL DIE.</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Lex Luthor<br>
E-Mail:.......... <a href="mailto:[email protected]"> [email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Zod, How does it feel to know that i played you like a puppet in my plan to own the world... you were merely a pawn in my war with Superman. Kneel Before LEX<br>
<br>
<b>Zod's Response:</b> <font color="#FFFF00"> Lex Luthor. For your defiance, I have dispatched Non and Ursa to kill you. You are no longer "ruler of Australia". I have instead handed rule of Australia to "Steve Irwin", a man who hunts strange "crocodile" creatures. He displays much more bravery than you ever have, coward. And he also submits to me to do my bidding. A very loyal slave indeed.</font>
</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Erin<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
</font><font face="Verdana,Arial,Helvetica" size="2">Who is your favorite New Kid? I like Joey.</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2"><b>Zod's
Response: </b></font><font color="#FFFF00" face="Verdana,Arial,Helvetica" size="2">All human children are "new" since they were all recently born. So why do you feel the need to call them "new"?
Your lack of intellect stuns me. And who is this Joey that you speak of? One of my slaves I imagine...</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Onassis,The Next Generation<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
</font><font face="Verdana,Arial,Helvetica" size="2">I am a man of great power from the place called Greece on the planet Houston..I
also have large amounts of money to spend in order to help you become the true
ruller of planet Houston..All I ask in return is that Ursa becomes my girlfriend....I know you can persuade her to kneel before me.....All hail General Zod!!!!</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2"><b>Zod's
Response: </b></font><font color="#FFFF00" face="Verdana,Arial,Helvetica" size="2">You cannot bargain with what you do not have to offer. You have no power and your money is useless to me. I am ALREADY the ruler of the planet Houston. The only thing I will grant you is the opportunity to KNEEL BEFORE
ZOD!</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... The Yamster<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
</font><font face="Verdana,Arial,Helvetica" size="2">You DO know that I can kick your
lily ass, don't you?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2"><b>Zod's
Response: </b></font><font color="#FFFF00" face="Verdana,Arial,Helvetica" size="2">There are no
lilies on my posterior, and even if there were, you could not kick them. I am your ruler, and for saying such things, I must kill you.</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... AChimp<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
</font><font face="Verdana,Arial,Helvetica" size="2">How often do you get it on with Ursa? Does Non ever join in for a threesome?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2"><b>Zod's
Response: </b></font><font color="#FFFF00" face="Verdana,Arial,Helvetica" size="2">What is this "get it on" that you speak of? Get what on? As for a threesome, yes Non, Ursa, and Zod equals three.
And should you try to defy any one of us, it will be
your last living act.</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Kevin<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
</font><font face="Verdana,Arial,Helvetica" size="2">Why were you the "teacher" in Young Guns???<br>
Did the whole "Zod" gig not pay off too well...?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2"><b>Zod's
Response: </b></font><font color="#FFFF00" face="Verdana,Arial,Helvetica" size="2">Why are you humans so fascinated with these "guns"? They are just bothersome,
crude noisemakers. To answer your question: I am a teacher...
the greatest teacher of all time!<br>
I teach people to obey, serve, and KNEEL!</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Blackjack<br>
E-Mail:.......... <a href="mailto:[email protected]"> [email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
</font><font face="Verdana,Arial,Helvetica" size="2">Hey ZOD, nice to see your skills at grilling some fine cow with your laser eyes.
By any chance are you a <a href="http://www.I-Mockery.com/Meatatarian"><b><font color="#00FFFF">Meatatarian</font></b></a>?</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2"><b>Zod's
Response: </b></font><font color="#FFFF00" face="Verdana,Arial,Helvetica" size="2">A true leader feeds off of the weak, whether they be cattle or humans (though I often can't tell the difference between the two).</font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... JJ<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
How many licks does it take to get to the center of YOUR MOM?</font>
</p>
<p><font face="Verdana,Arial,Helvetica" size="2"><b>Zod's
Response:</b><b> </b><font color="#FFFF00">Who is
this "Mom" that you speak of? I have no
mother, I came from pure energy matter. If I did
have a "Mom" she would be my slave or
would be killed. And there would be no
"licks" to get to the center of her. My
eye-lasers would do get to the center of her in one
shot. This is what happens to those to defy ZOD!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Superman<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Superman loves your baby blues, and he wants to screw! Superman wants to give
Zod the rod! Lather me up and call me me Lex, Superman and Zod are going have
sex! If you must a have a question, then this I must pose, will you bend me
over and give me your hose?<br>
===============================</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2"><b>Zod's
Response:</b><b> </b><font color="#FFFF00">Come to
me, Superman... If you dare! I defy you! Come! Come
and Kneel Before Zod! ZOD!!!!!!!!!!!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Mike<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Did you kill that nasty Amidala chick for getting you fired as Chancellor?<br>
===============================</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2"><b>Zod's
Response:</b><b> </b><font color="#FFFF00">Why do
you say this to me, when you know I will kill you
for it?</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... The Beam<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Do you like The Rentals? Because I think they're the best band ever.<br>
===============================</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2"><b>Zod's
Response:</b><b> </b><font color="#FFFF00">I see
that you have been experiencing the emotion you call
"joy" without my permission. For not
obeying me, I will soon kill you as well as this
"band of Rentals" that you speak of.
KNEEL!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Dave<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
I've noticed lately that when I get up in the morning, my eyes seem to be more
covered in eye crud than usual. I had a cold recently, but that has gone away.
Why do you think my eyes are crusty in the morning?<br>
===============================</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2"><b>Zod's
Response:</b><b> </b><font color="#FFFF00">This is
because you are a pathetic mortal. Just be glad that
I have allowed you to live under my rule for this
long. Now wipe the crust from your eyes and KNEEL
BEFORE ZOD!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... max dejtens<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Do you find it hard being openly homosexual?<br>
===============================</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2"><b>Zod's
Response:</b><b> </b><font color="#FFFF00">I find it
hard resisting the urge to kill you for your
insolence. In fact, I will no longer resist the urge
to kill you... I will instead INDULGE in it!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Chris Murphy<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
Why does my mommy tell me it is wrong to worship Lord Zod? Is she evil?<br>
===============================</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2"><b>Zod's
Response:</b><b> </b><font color="#FFFF00">I have
just killed your "mommy". Worry no more.</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... Chris Giangarlo<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
How can I get girls to like me zod?<br>
P.S. Superman Sucks<br>
===============================</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2"><b>Zod's
Response:</b><b> </b><font color="#FFFF00">I see you
dislike Superman, for this I will spare your life.
But girls only like ZOD. I suggest you stick to men.</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
<p><font face="Verdana,Arial,Helvetica" size="2">Name:........... The Kapn<br>
E-Mail:.......... <a href="mailto:[email protected]">[email protected]</a> <br>
<br>
===============================<br>
My Question:<br>
If you're so superior, how come superman kicked your ass, along with your
boyfriend and skanky little sister? Apparently, Zod is no
match for a REAL All-American Superhero. Maybe you should just
keep your day job in the gothic industrial group, that songs pretty good, alot like techno music.<br>
===============================</font></p>
<p><font face="Verdana,Arial,Helvetica" size="2"><b>Zod's
Response:</b><b> </b><font color="#FFFF00">Why do
you say this to me when you know that I will kill
you for it? Do not EVER compare the great music of
ZOD to the wretched music known as "techno"
that is often found at raves. You human ravers are
the lowest form of life I have ever seen. And for
this reason, and many more, I will soon kill you. So
Kneel Kapn... KNEEL BEFORE ZOD!</font></font></p>
<hr width="75%" noshade size="1" color="#00FFFF">
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<p align="center"><font face="Verdana,Arial,Helvetica" size="2"><b><a name="askzod">Now
ask me your pathetic question:</a></b></font></p>
<p align="center"><strong><font face="Verdana,Arial,Helvetica" size="2">ZOD IS NO LONGER ACCEPTING QUESTIONS, <br />FOR HE HAS DEEMED YOU MORTALS TO BE FAR TOO FOOLISH</strong></font></p>
<hr width="500" noshade size="1" color="#FFFFFF">
<center>
<p><font face="Verdana,Arial,Helvetica" size="1">Do you have a question
for your ruler? Don't hesitate to <a href="askzod.php"><font color="#FFFF00">Ask
Zod!</font></a></font>
</p>
<p><img border="0" src="media/zod-88x33.jpg" width="88" height="33"><br>
<font face="Verdana,Arial,Helvetica" size="1"><b>Link To
www.GeneralZod.net with this button!</b></font>
</p>
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| |
| --- |
|
|
| |
| | | |
| --- | --- | --- |
|
| | |
| --- | --- |
| **ASK
ZOD!**
I
will permit you mortals to [**ask me some
questions**](#askzod).
If I deem your question to be worthy enough, I will post it
on this
page along with my superior response to it. If I do not deem
your
question to be worthy, I will be insulted and I will kill
you for this.
**Note:**
General Zod receives **THOUSANDS** of emails and is too
busy
being the ruler of all that exists to answer every one of
them.
If you asked Zod a question, check back on this page to see
if
he felt your question was indeed worthy enough to respond
to.
**Recently
asked questions:**
| |
| --- |
|
Name:........... Steven Scott
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Hail to Zod!
Mighty One, I have a young son for whom I have high
hopes. Would you deign to pass along some wisdom that
will help him succeed in life, as you have done? I
would be delighted to see him rise to become one of
your despotic lieutenants one day.
Thank you, and hail to Zod!
**Zod's Response:**
Such irrationality... do you really believe that I
would allow a human slave to ever "rise" and stand by
my side? Only Non and Ursa have that coveted
privilege! My loyal slaves are here on planet Houston
to do one thing and one thing only - KNEEL BEFORE ZOD!
I suggest you pass these words of wisdom onto your son
quickly, for if it is discovered that he has not been
kneeling, he and his father will bother feel the wrath
of my eye lasers!
---
Name:........... Kenneth Oliphant, Zodologian
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Dear Zod,
While kneeling before you in perpetuity, I often
pass the time by pondering Your nature. Though there
is no "time before Zod", in the period before your
rule upon this planet Houston I was a philosopher. I
would like to know how to prove you really exist.
The Ontological Proof for the Existence of Zod has
been derided, and it I am having a difficult time
fending off claims that You are nothing more than a
crutch for the weak-minded. I tried explaining that,
in my opinion, Non and Ursa represent demiurges or
parts of a Zodly trinity, but the azodist were not
having it; how can I prove You really exist, my
immortal General?
Please excuse my pathetic question as to your
metaphysic, but I long to use my ideology to force
others into the belief that I so cherish as your
slave.
**Zod's Response:** Why do
you say these things to me, when you know I will kill
you for it? It is not a slave's position to question
my power, let alone my existence. Such thoughts are no
difference than a foolish act of aggression towards
your rightful ruler! But very well, I will prove to
you that I exist by burning down the house in which
you live with my eye lasers. Perhaps then you will no
longer spend your time pondering such nonsense, and
instead you will focus your miniscule mind on your
rightful ruler, ZOD!
---
Name:........... Tom Ryan
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Dear General Zod,
I have been a loyal slave to you since I was in my
mothers womb. Recently however I have become the
victim of an unfortunate accident. During a fight
between you and Superman I was hit with some debris
from a building that you got smashed into. It broke
both my legs and left me crippled. I blame Superman
entirely for this accident. I got my legs fixed
through years of surgery but now one leg is longer
than the other and I cannot Kneel Before You
properly. Whatever will I do?
**Zod's Response:** I,
General Zod, your ruler, command you to remove both of
your legs. You will then be in a constant state of
kneeling, thus your life will be a tribute to me!
---
Name:........... Adam
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Whilst enjoying your generous protection, in other
words being allowed to live, I realized the
potential for Olympics on Krypton. Do they have
bus-throwing, man-hole-cover discus, or astronaut
booting events there?
**Zod's Response:** What
are these Olympics you speak of? I have already proven
my immeasurable strength countless times to my slaves.
As for the planet Krypton, it was destroyed long ago
along with all of its foolish inhabitants. Had I been
ruler of Krypton, perhaps it would still exist today.
It is only fitting that they all perished for their
defiance!
---
Name:........... Bodeman
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
That bastard Non owes me 5 bucks for a meal at Arbys
I bought him . He kept following me making all these
annoying grunting noises like a walrus taking a
giant crap. Please send me a check or money order,
otherwise i got a clip of kryptonite bullets with
your name on it. KNEEL BEFORE BODEMAN!!!
**Zod's Response:**
As Ursa has told many people before, I do not take
orders... I give them! And just moments ago I ordered
Non to pay you a visit and crush you between his
fingers for your pathetic little threat!
---
Name:........... Rob Webb
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
I love you Zod but what is your first name my lord?
**Zod's Response:** My
first name is "General". Having been one of my slaves
for many years, you should know this by now. KNEEL!
---
Name:........... Jason Swinchock
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Dear General Zod,
It is hard to type while kneeling before you but I am
dealing with it. I would like to know how I may rule a
part of planet Houston, like Lex Luther ruled
Australia. I am your most loyal slave and I know that
asking a question like this could be punishable by
death but I would like to aid you with your ruling of
Houston!
**Zod's Response:**
Lex Luthor was killed. I had no more use for him, and
therefore he had to die and Australia is now under my
rule once again. Are you suggesting that you would
like to go down that same path? If so, I will happily
do so. I need no aid in the ruling of planet Houston!
All I need is for my loyal slaves to continue KNEELING
BEFORE ZOD!
---
Name:........... Paul
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
General Zod, I come to you with an urgent message:
The protagonist company called Warner Bros. plans on
releasing a Superman film in the near future and
they are all ready broadcasting a series about his
upbringing in Smallville on a pirated station. Neither
one of these even mention the GREAT GENERAL ZOD! How
long must we stand and listen to the blasphemy against
your rule? I implore you, yea, I pray you, to please
destroy these villains who stand against Zod!
**Zod's Response:**
Indeed I have heard rumors from several slaves about
this. So be it. I shall make these defiant Warner
people pay for this blasphemy with their very lives!
You have done well Paul, and pending you continue
kneel for the remainder of your days, I shall allow
you to live.
---
Name:........... Non
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Oh great and almighty Zod, ruler of this universe, I
am non, your loyal servant. I ask your highness
this, whos is better, me or ursa? Please respond
almighty Zod!
**Zod's Response:**
Pathetic. Do you humans really believe you could
deceive me by trying to impersonate Non? Non can't
even speak properly, nor can he write. Non also
happens to be at my side quite frequently, so if he
had a concern, he certainly would not send me a
message from a slave's email account by the name of "Ozunaki".
The punishment for impersonating Zod, Non, or Ursa is
DEATH. I shall seek you out and destroy you Ozunaki!
---
Name:........... Laverne Villalobos
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Discoverr the new winnning sexaul erectoin pilll!
This medicatib0n picks up where Viaqgra stops.
0nly $ 2.20 PER DOSE!
**Zod's Response:** Puny
human, it is ironic that you mention pills, for no
amount of pills will be able to ease your suffering
when I am through tearing you apart with my bare
hands.
---
Name:........... Smackcracky
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Dear General ZOD,
I find myself wondering what your opinion is on gay
marriages and abortion. I am sure that you will have
the solution that Planet Houston has been searching
for. You seem to come from a "Sexually liberated"
planet, as demonstrated by your devotion to your
sadistic, wild eyed girlfriend and furry, "monkey
man" sidekick. Us on Planet Houston can only wonder
what happens in the glorious bedroom of General ZOD,
but since you never seem to have time to take off
your pajamas, it must be exhausting. I await your
superior advice on this confusing subject...
**Zod's Response:** What I
do not understand is why matters such as marriage of
any sexes would concern a *slave* who should be
doing nothing but *kneeling* in tribute to me! It
appears as though you will soon discover my opinion on
abortion, however, for I have just decided to abort
your life! DIE AS YOU DESERVE TO!
---
Name:........... eric husk
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
o powerful ZOD i would like to kneel before you but
i have no legs what should i do?
**Zod's Response:** An
understandable question that many slaves have asked
before. I have actually shot off the legs of a few
defiant slaves in the past and they too begged to know
how they could now kneel before me. The answer is
simple. You must now lie face-down before Zod. Do you
understand? LAY BEFORE ZOD!
---
Name:........... jake
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
hey zod, i have already sold my sole to satan but i
want to sell my sole to you. what should i do?
**Zod's Response:**
Pathetic slave, what on Houston makes you think I
would have any interest in purchasing your shoes?
---
Name:........... Concerned Slave
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
A man name George W. Bush just said you were part of
the "Axis of Evil", what do you intend to do?
**Zod's Response:** I shall
make him beg for my forgiveness as he kneels before
his rightful ruler. If he does not comply, he will
then die as he deserves to for his defiance!
---
Name:........... Unicron
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
I am Unicron!
Anyway, are we allowed to cease kneeling long enough
to procreate? If not you will run out of slaves.
**Zod's Response:**
A just question, my slave. The answer to your question
is obviously "NO". I will choose slaves who are worthy
enough to carry the seed of Zod. Giving birth to a
little Zodling is a great honor, but with that honor
comes death. For the Zodling does not exit the
mother's womb in the same fashion that your human
infants do. No, the little Zodling exits by cutting a
hole in the mother's stomach with his or her
eye-lasers.
---
Name:........... Nova
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
ZOD... From this day forward, you shall know that
among your "Slaves" there are those, as myself, who
do not fear of this unimaginable power that you
wield, for the forces that we ourselves have far
surpass that in the fact that we CANNOT BE
DESTROYED. I, myself, am immortal, and while I
cannot destroy you, the same goes the other way
around. NO AMOUNT of power can destroy me. And your
futile attempts to do so will end in your inevitable
downfall. Mwahahahahahaha! KNEEL ZOD, KNEEL!!!
**Zod's Response:**
Soon-to-be-obliterated defiant one, you are obviously
suffering from delusions of grandeur. Perhaps you have
watched one "movie" too many... perhaps it was this
"Lord of the Rings" that I have heard much about. Do
you think you are an immortal elven warrior? Allow me
to assure you: you are NOT. For here on planet
Houston, all of my slaves BLEED. And bleed you shall
as I crush your defiant, mortal skull!
---
Name:........... Thanas Tenofas
E-Mail:..........
[Basilisk\_Knight\[email protected]](mailto:[email protected])
===============================
My Question:
THEORETICALLY, if you were to die somehow (though
I'm sure it is impossible) should we continue to
kneel in the absence of your glorious presence? What
if a new leader comes and forces us to stand? what
should we do? I want to be able to serve you
properly in any event, so I need to be prepared for
all circumstances.
Thank you for your blessed leadership! it brings
meaning to us all!
**Zod's Response:**
Impossible. I cannot and will not die. I shall outlive
every one of you. Furthermore, if anybody ever dared
to come to planet Houston to challenge my rule by
commanding you all to "stand" as opposed to kneeling,
I would kill this insolent being immediately. If you
truly wish to be prepared for all circumstances, you
only need but a strong desire to kneel before your one
and only true leader... ZOD!
---
Name:........... Musicpsycho
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Should I break up with my girlfriend using the
telephone or a letter? Which is more personal, and
likely to cause the least amount of stabbing?
**Zod's Response:** Just as
you cannot bargain with what you do not have to offer,
you cannot "break up" with whom you aren't "dating" in
the first place. This female whom you speak of has
already found the most impressive male on this planet
and she has given her loyalty to him. That man is YOUR
RULER, ZOD! KNEEL!
---
Name:........... Little Jonny Evans
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
All hail Mighty Zod, our Rightful Ruler!!
Dear General Zod, I am writing a report for my sixth
grade class (at Kneel Before Zod P.S. 5, Cape Zod, MA)
and was hoping you would answer a question for me
about Krypton.
Did you have the internet on Krypton, and if so, what
kind of bandwidth did you have?
-little jonny evans
**Zod's Response:**
What is this bandwidth you speak of? I have seen your
human "bands", who often perform wretched "music".
Upon becoming famous, I notice that the width of the
members of said band often increases. I can only
assume this is the "bandwidth" which you are so
concerned with. So, to answer your question, there was
none of this "bandwidth" you speak of on Krypton. The
inhabitants of that planet at least knew when to put
down their eating utensils.
---
Name:........... Rhinodung
E-Mail:..........
[\[email protected]](mailto:[email protected])
===============================
My Question:
While being forced to kneel and serve you for the
rest of our pitiful lives has dramatically reduced
many problems (example: finding jobs, paying
bills... etc) we had before your great, all-powerful
arrival. There is one problem that many of us seek
an answer to: Death! What happens when this befalls
us and we can no longer serve and kneel? Are those
who served you rewarded while those who resisted
suffer for the rest of eternity?
**Zod's Response:**
A fine question my loyal slave. The reward for living
a full life in tribute to me is quite grand. Upon the
day of your death, myself, Non, or Ursa shall
personally bury you in the "National Cemetary of
Worthy Servants". These worthy servants are not
confined to small boxed prisons. We don't put you in a
box at all! We bury you in a kneeling position so that
even in the afterlife you can be a worthy slave. Those
who do not lead such an obedient lifestyle shall have
their corpses eaten and then excreted by Non.
---
Name:........... dagger
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
If ninjas and pirates get into a fight on a pirate
ship, who wins?
**Zod's Response:**
Who are these "ninja"? Who are these "pirates" and how
did they get a "ship" without my expressed permission?
I can answer your question quite easily. Neither the
ninja nor the pirates would win, for I would kill them
all with my bare hands.
---
Name:........... thehitman66
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
General Zod,
Prior to your taking over the planet "Houston", the
rank of general was not the highest authority in
this country... the President of the United States
was. All Generals answered to him. Would you ever
consider changing your title to "President Zod" or
"Supreme Chancellor Zod" or something that might
better reflect the position you occupy?
**Zod's Response:** And
prior to my rule,
you were allowed to stand, rather than grovel before
me on your knees. "President" is no longer a rank on
planet Houston. I, General Zod, am the highest ranking
being on this earth, followed by Non and Ursa. Anyone
else is a mere slave.
---
Name:........... Andrew
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Try as I might, I cannot seem to acheive tight abs.
Crunches, sit-ups, dieting, aerobics--it's all been
futile. What's your secret, oh slim one?
**Zod's Response:**
It's quite simple: Eye-laser surgery.
---
Name:........... Shecky Rimshot
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
As I kneel before you, groveling like the inferior
mortal I am... I can't help but wonder if you get
bored with us always kneeling? Is it all right for
us to mix it up with a little cowering or trembling
occasionally?
**Zod's Response:**
Absolutely my slave. After all, a true leader cannot
have the attention of his servants if he does not
invoke some fear into their hearts. Continue with your
kneeling, cowering, and trembling!
---
Name:........... The Protective Monkey of Binky
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Do you almighty ZOD understand the enigma that is
Free Chicken?
**Zod's Response:** How is
"Free Chicken" an enigma? It is no mystery that
anything I want, I take. Therefore, everything that
exists, is free for your rightful leader, Zod, to use
as I please.
---
Name:........... Mr.E.
E-Mail:..........
[mister\[email protected]](mailto:[email protected])
===============================
My Question:
I have a two part question.
1. Why did the fireman wear red suspenders?
2. Why did the chicken cross the road?
Is it a Mr.E. to you?!?
**Zod's Response:**
That was a three part question, my ignorant slave.
Nevertheless, I shall answer them:
1) It represents the red sun of Krypton.
2) So he could come kneel before me.
3) No you are not Mr. E to me. You are "SLAVE".
---
Name:........... Your devoted slave
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
While I was kneeling before you, I realized that it is
possible to sing the words "General Zod" to the tune
of the Theme from Superman and also the Love Theme
from Superman. How does that grab you?
**Zod's Response:** All
"songs", theme and otherwise, should have the original
words replaced with "General Zod". As long as you
continue to kneel, I see nothing wrong with singing in
tribute to me. However, should you have a voice that I
find unpleasing, I shall kill you for your aural
disturbance.
---
Name:........... kb
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
When kneeling, is the use of a kneeling bench or pad
acceptable, or must the kneeling take place on the
bare floor? Your faithful servant...Death to the son
of Jor-El!!!
**Zod's Response:**
Absolutely not! There is to be no aid issued to your
knees. Kneeling is your way of paying tribute to me,
ZOD! It is your way of saying you would rather accept
pain as opposed to defying your rightful leader. I had
better not find that any of you are using kneeling
benches or pads, for if I do, I assure you that your
deaths will be tremendously brutal. KNEEL!
---
Name:........... Dave
E-Mail:..........
[dragonslair\[email protected]](mailto:[email protected])
===============================
My Question:
Oh great, powerful, wise, and incredibly handsome
Zod. I was wondering when your birthday is so I can
make you something special. I know that you own
everything on the planet Huston but if I make
something it would by all rights belong to you
anyway but I would love the honor of bestowing it on
to you while I was kneeling before you
**Zod's Response:** My date
of birth should be celebrated every day for all
eternity. You are my slave, and this gift you wish to
make me should take you an entire lifetime to create.
You may present it to me with your dying breath.
Anything less, will be deemed unacceptable and
punishable by death.
---
Name:........... Jeremy Folk
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
We all know for a fact that Superman, that puny son
of Jor-El, has worn red briefs that have been worn
down into a dull, girlish pink, but I ask you mighty
emperor of planet Houston, do you wear a pair of
boxers as crimson as the Kryptonian sun?
**Zod's Response:**
I do not know of these "boxers" you speak of, so I
consulted one of my slaves. They explained that I go
"commando-style", so I believe that should answer your
question. Now kneel! Kneel before the "commando-style"
greatness of Zod!
---
Name:........... A concerned slave
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
O Great Zod, our rightful ruler,
Before you came to our planet Houston, there were
people who could defeat Superman with this stuff
called Kryptonite. Do you ever worry that these
people would try to defeat you with that stuff?
**Zod's Response:**
An understandable concern, my slave. Nonetheless, you
needn't worry, for all kryptonite has been completely
destroyed. And even if it did exist, do you honestly
think that a human would be so clever as to get it
close enough to me before I killed him for his
defiance? I think not.
---
Name:........... Cyclonis
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Who are you to claim the earth it is rightfully that
of my general and master, Megatron Lord of the
Decepticons.
**Zod's Response:**
I have already claimed planet Houston, but if there is
a planet called "Earth" I shall claim it too! And not
you, or this "Megatron" can stop me! Come to me
Megatron! I defy you! Come! Come and kneel before Zod!
ZOD!!!!!!!!!!!
---
Name:........... Mad Margaret
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Do I have to kneel? I mean, it's not that I mind
kneeling so much, but it's the getting up part that
really puts a crink in my back. Literally. Anyway,
great Zod, my question is this: how many licks
\*does\* it take to get to the chewy center of a
Tootsie Pop?
**Zod's Response:** Then do
not get up! Kneel for all eternity my slave! And what
is this "Tootsie Pop" you speak of? Whatever it may
be, I assure you that it wouldn't take ANY licks to
reach the center of it. One blast from my eye-lasers
and the center would be exposed immediately.
---
Name:........... Phil Ryan
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Hail Zod, Kosmorator; Ruler of ALL!
I kneel before You, Zod and ask: which do You prefer--
regular Kraft macaroni and cheese, or EasyMac? It may
seem like something of a trivial question, but don't
blow it off. My eternal allegiance to You is dependent
on your answer. Either You please me, and I remain
Your slave, or You displease me and suffer. Death is
lurking in my hands, waiting to be set upon some
unfortunate fool--that fool may be You, despite Your
infinite Wisdom. Even You are not invulnerable, Zod:
if You required rest, I'd tell You to sleep with one
eye open! Farewell my friend and superior. I await
Your answer. --Phil, a humble slave, but bold!
**Zod's Response:** You
know less about me than most slaves, so I shall
educate you before I destroy you. I \*AM\* invulnerable
and do not require sleep. Sleep is, as I have said
many times in the past, something that only primitive
mortals such as yourself require. Furthermore, even if
I were to sleep, I would still remain unharmed. Do you
really think an inferior mortal like yourself could
find a way to even scratch me? I think not. And as for
your original question... I am ruler of this planet, I
do not have to choose between "Kraft macaroni and
cheese" and "EasyMac". No, I can have them both! Yes,
as ruler of the planet Houston, I get to enjoy the
pleasantries of mixing both "Kraft Macaroni and
Cheese" and "EasyMac" together! A meal that is truly
worthy of ZOD!
---
Name:........... Roll the Potatoe
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Do you realize that when you command you're cowering
slaves to kneel before you, you are in fact leaving
yourself vulnerable to the possibility of an act of
rebellion in the form of someone tying your
bootlaces together. This could cause you to fall
over and undermine your authority.
**Zod's Response:**
Foolish slave, my bootlaces are just as impenetrable
as my own flesh. You do not possess the strength to
untie them, for they are tied with a powerful
double-knot. Furthermore, any slave or slaves that
would dare attempt such a foolish act of defiance
would meet their demise as I crush their windpipes
with the heel of my boot!
---
Name:........... Superman
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
If I kneel before you, do you PROMISE to keep your
pants zipped.
If you do proceed to unzip your pants, I will have
no choice but to rip your weenie out of its sockets,
and throw you into another Neon Coke sign.
~Superman
**Zod's Response:**
The Son Of Jor-El... still here on this planet? Come
to me Son Of Jor-El! KNEEL BEFORE ZOD!
---
Name:........... Tim
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Dear ZOD,
Dear Mighty excellent bodacious ZOD,
I try and kneel before ZOD about 3 times a week, but
in my busy techno life, I don't have the time
required to do this everyday. So if you could blow
up all the corporations and credit card companies on
earth, so I have no distractions from worshipping
you, that would be great. Also pay no attention to
my email. I am changing it to: [email protected].
is that ok?
**Zod's Response:** Your
new email address will be acceptable, but the amount
of time you are currently spending each week to kneel
before me is not. 3 times a week? You are lucky I have
not torn you apart yet. Corporations, credit cards,
"techno"... these are no longer worries for you
humans. You must spend every moment kneeling before me
as my loyal servants. Do this and you shall live. Do
it not, and you shall die.
---
Name:........... The Phone Monkeys
E-Mail:..........
[lady\[email protected]](mailto:[email protected])
===============================
My Question:
Mighty Zod,
As you are All-Knowing, we have a question that has
been causing us much concern: is it true that the
Government is experimenting with psychic powers to
destroy other countries and/or small children?
Thank you for your great wisdom in this matter.
**Zod's Response:** How
many times must I explain to you insolent mortals...
there is no longer any government. The only body that
is ruling over things is me, your ruler... ZOD! And I
have not yet begun experimenting with psychic powers
to destroy countries and small childen, but it is
something that I will consider for the future. Now
KNEEL BEFORE ZOD!
---
Name:........... Curious Slave
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
My lord, while kneeling before you and praising your
very name, I was struck by a moment of intrigue: If
Superman, Mario, Jim Raynor from StarCraft, Link
from the Legend of Zelda, Elminster from the
Forgotten Realms, and a big pink bunny all got into
a fight, how long would you wait before intervening
and kicking all of their lilly asses? In the
meantime, I solemnly kneel.
**Zod's Response:**
Who are these people that you speak of? I have already
proven that the son of Jor-El is no match for me, but
who are these others that you speak of? Bring them to
me! Come to me Mario, Jim Raynor, Link, and Elminster
if you all dare! I defy you! Come! Come and kneel
before zod! ZOD!!!!!!!!
---
Name:........... zia
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
why the hell are you so ugly?
**Zod's Response:** Well "Zia",
we shall soon see who is deemed less attractive when I
paint the planet red with your blood!
---
Name:........... Kator
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
My mighty Lord and Master Zod,
While kneeling in humble reverence of you, I saw
something... disturbing. On a rack, there was a
comic of your villainous arch-foe Superman, that
proclaimed your famous words, "Kneel Before...".
Upon opening said comic, I found that there was a
person claiming to be you, dear and almighty Zod,
although cased in red armor from head to toe. While
this 'General Zod' thoroughly trashed the Last Peon
Of Krypton, I could not help but wonder if you
allowed this to take place? And if so, should I bow
to this Zod as well, since any who bear the name Zod
have to be related to the almighty Zod?
Kneeling for an answer,
Kator
**Zod's Response:**
I am pleased to see that some humans are worshipping
me by trying to show it with their "artistic" skills.
However, if you are going to depict your ruler,
General Zod, you MUST depict me exactly as I appear
before you today. And why would somebody who is
completely indestructible require this "red armor"
that you speak of? This is a poor representation of
your ruler indeed and such a mistake will inevitably
result in the death of this "comic" creator.
---
Name:........... shadow
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
General Zod,Overlord of the universe, is it at all
satisfying being ruler of all you survey, knowing
there is noone but to challenge you? How do you occupy
your time when moments of clarity set in knowing full
well you will never be defeated? Forgive me insolence
all mighty ZOD, but are you the most ultimate
arbitrarily advanced contingent based entity or are
you beyond contingency and are of a necessary status?
kneeling in acquiescence to the almighty ZOD......ZOD!
IN NOMINE DEI NOSTRI ZOD EXCELSI!
that was just a bit of Latin expressing adoration for
you the mighty Lord of Lords
**Zod's Response:** Loyal
slave, indeed finding things to occupy my time with
when I am the ruler of all that exists might seem
difficult in the eyes of a small mind such as yours.
But I assure you, I have plenty to do. I travel all
over planet Houston to make sure there are no acts of
defiance taking place. This alone takes up most of my
time. Whenever I find an act of defiance taking place,
I must kill everybody involved and destroy the
surrounding areas to make an example. So as you can
see, there is more than enough to occupy my time. And
now I will take up some more of my time by telling you
one very important thing: KNEEL BEFORE ZOD!
---
Name:........... Ryan
E-Mail:..........
[hermes\[email protected]](mailto:[email protected])
===============================
My Question:
If you were to get into a fight with the Green
Lantern, would you have some kind of special power
over him, because that you derive your power from
the yellow sun. Or is it just that you dress up in
black pleather and would be weak against his awesome
might. Also, what would happen if there were a
crossover and you got into a fight with Bird Man, he
also derives his powers from the sun, would you both
be equally powerful being that you have the same
power source?
**Zod's Response:** Who are
these characters, Green Lantern and Bird Man, that
you speak of? They a probably figments of your
imagination. Even if they were real, they could not
possibly be as strong as ZOD! I am pleased to hear
about this Bird Man however. I see that you are
practiced in worshipping things that fly... good.
---
Name:........... Rhinodung
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
My rightful ruler, hero and mentor,
On account of a faulty back, once kneeling to your
awesome might I found that it would be impossible to
ever extract myself from this position. Would it be
acceptable to act as a pathetic extension of your
supreme will from this position of genuflection? If
this example of human frailty displeases you, I can
only hope to die by your hands.
**Zod's Response:** On the
contrary, the fact that you are now in a permanent
kneeling position, you have nothing to fear. For
kneeling before me for all eternity is the greatest
way one can honor me. So continue to kneel before
me, loyal slave, you shall be allowed to live a life
of servitude for your ruler, General Zod.
---
Name:........... Chris
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Do you wear underwear under your shiny clothes? And
if so are they from Krypton?
**Zod's Response:** Such
matters do not concern you. I find it disturbing
that you are so focused on my clothing, rather than
being concern with the fact that I might kill you in
the near future.
---
Name:........... martzod
E-Mail:..........
[maz\[email protected]](mailto:[email protected])
===============================
My Question:
do you pluck your eyebrows?
**Zod's Response:** What
sort of nonsense is this?? You shall be killed for
your insolence.
---
Name:........... eddie harrison
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
General Zod, I've got a touch of rheumatism in my
knees and wondered if you hd any exercises I could
use to help get them moving again?
**Zod's Response:** The
only thing you need to exercise is your daily
worship of me!
---
Name:........... Bobbie
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
There is a car blocking my parking spot. Could you
please blow it out of the way? P.S. You rock.
**Zod's Response:** Not
only did I destroy the intrusive car that you
mentioned, but I have destroyed your parking spot as
well.
---
Name:........... General Zod
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Who do you think that you are?!?!?!!? How dare you
impersonate a general, especially me, Zod!!!!!!!!!!
I tell you to kneel before me or perish in the hell
fires of Zod!!!!!
**Zod's Response:** For
your absurd attempt to act as a Zod impostor, I will
see that you are torn apart. Die as you deserve to!
---
Name:........... Galvin Chow
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Dear General Zod Our Supreme Ruler,
If you could have any Earth-woman -- and you can --
which one would you choose? I myself favor Delta
Burke.
Sincerely,
Slave #2623921
**Zod's Response:** Loyal
Slave, although I could have any earth woman I so
desired, no earth woman could possibly be worthy of
the great Zod. Nor could any earth woman compare to
Ursa.
---
Name:........... Pinto
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Since you've been tooling around the universe and
have no doubt traveled at light speed, I have a
question. If you are in a car traveling the speed of
light and turn on your head lights, what happens?
Just curious, your evil lordship type dude.
**Zod's Response:** Since
you have addressed me as your lordship, I will grant
you this answer, even though I would never ride in
such a crude means of transportation like a "car".
If a weak mortal like yourself were to travel at the
speed of light in a car and then turn on the head
lights, you would be vaporized instantly. Your
fragile body structure cannot handle such intense
rays of light. But such a death would be much easier
than the death I will hand to you should ever dare
to defy me! Now kneel before your lordship, General
Zod!
---
Name:........... Dark Jedi
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
If you strike me down, I shall become more powerful
than you can possibly imagine. I am not the Jedi
you're looking for. I can go about my business. Move
along.
**Zod's Response:** So, you
are a Jedi. I remember your weak species. Non and I
have snapped the necks of a thousand Jedi. I now see
that we have one more neck to snap.
---
Name:........... Steve
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
So, what are your Grammy picks this year? Think
Linkin Park will win best new artist or Alicia Keys?
Come on, put some of that all-knowing, all-seeing
mojo to work and give us the scoop.....
**Zod's Response:** What is
this "Grammy"? I will defeat him if he ever dares
show his face before me! Kneel before me Alicia
Keys! Kneel before me Linkin Park! I, General Zod am
your rightful leader!
---
Name:........... SJ
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
My friends and I are overwhelmed by your manliness
and sexual charisma. Can we join your harem to be
used as Your Mightiness sees fit? PS We are all
women.
**Zod's Response:** You
will have to speak with Ursa regarding such matters.
If you can defeat her, I will allow you to live and
stand by my side. However, I sincerely doubt this
will ever happen. The probable outcome is that she
will make you kneel before her, just as you now
kneel before me!
---
Name:........... Superman II
E-Mail:..........
[c\[email protected]](mailto:[email protected])
===============================
My Question:
Hey Zod,
If you're so powerful and a supposed "ruler" then
why did you fall for Superman's trap in the Fortress
of Solitude? That shows you're stupid compared to
the Man of Steel.
**Zod's Response:** Why do
you say this to me when you know I will kill you for
it? As I have stated many times in the past, that
was not me in that foolish "movie". It was what you
humans call an "actor". I have discovered that his
name is Terrence Stamp and I will kill him soon
enough for portraying me as someone who could be
defeated by this "Superman". I have already defeated
your weak Superman. And now, I shall crush you with
my bare hands! KNEEL!
---
Name:........... Quake Master
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Does the almighty Zod play Quake 3? If so, I would
challenge his highness to a duel...
**Zod's Response:** Quake?
I assume you are referring to earthquakes. Lex Luthor
once informed me about his attempt to sink California
into the sea by using earthquakes to his advantage. I
am sure that you are not as adapt at earthquake
creation as he is. And I already know that I can
create earthquakes a thousand times greater than Lex
Luthor's. Therefore, your challenge is empty. SO KNEEL
BEFORE ZOD OR DIE AS YOU DESERVE TO!
---
Name:........... Ben
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Neither I nor any member of my family shall ever
kneel before you or swear any loyalty to you. What
do you have to say about that?
**Zod's Response:** Then
you and your family will all share a fate far worse
than the Son of Jorel's! KNEEL OR PERISH!
---
Name:........... Santa Clause
E-Mail:..........
[memphis\[email protected]](mailto:[email protected])
===============================
My Question:
Dear General Zod,
I have noticed while checking my list twice, that
you have asked for a Superman action figure. Is this
really true? Your Friend, Santa.
**Zod's Response:** Who is
this Santa? I defy you! Come! Come and Kneel Before
Zod! ZOD!!!!
---
Name:........... Bin Laden
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
I AM BIN LADEN AND WILL ACCEPT NO OTHER WORLD
LEADERS!!! ALL YOR HOUSTON ARE BELONG TO US
**Zod's Response:** So
humans, Bin Laden has still eluded your capture?
Wrong. What the world doesn't realize is that I have
already killed him for leaving me the above message.
He was easy to kill and he squealed like a little
school girl. I enjoyed killing him, and then I
buried his remains under a large pile of of
rhinoceros droppings. A very fitting demise if I do
say so myself.
---
Name:........... Nathan Ingram
E-Mail:..........
[[email protected]](mailto:[email protected])
===============================
My Question:
Dear Zod,
"The Horse Whisperer". Love it? Hate it? Love to
hear your thoughts.
**Zod's Response:**
Very well. I will have you know that nobody knows
how to influence a horse more than I. I thought that
was very evident considering what happened to the
Son of Jorel.
---
Name:........... Justin Ballard
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Do you have herpes?
**Zod's Response:** No, but I can promise that you'll be feeling a burning sensation once you meet the wrath of my eye-lasers!
---
Name:........... Motslu2k
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
General, is it suitable for me to cower at your feet? I am so terrified that kneeling does not seem worthy of your powers. P.S. Do eye lasers make it easier to cook?
**Zod's Response:** Excellent. Being afraid of Zod is how all of my loyal slaves should feel. You may cower at my feet, but first you must KNEEL. KNEEL BEFORE ZOD! And yes, eye-lasers do indeed make cooking easier, as I have demonstrated in the past.
---
Name:........... nigoki
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
I have no knees. How am I supposed to kneel before you?
**Zod's Response:** Humans are already inferior as it is, but a human with no knees is something I have no use for. If you cannot kneel before me, then you will die as you deserve to!
---
Name:........... Jay
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Dear Zod,
At what point did you formulate your plan for world/universal domination? Was it in the Phantom zone or merely when you encountered the sniveling inhabitants of Earth and realized how easily we are dominated?
**Zod's Response:** I find it strange that you, a human, describe your kind as "sniveling inhabitants of Earth". First, I must correct you. The planet is called "Houston", not "Earth". Next, I was born with the knowledge that I was destined to be ruler of all that exists. And last, KNEEL BEFORE
ZOD!
---
Name:........... Dan Moore
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Do you like pancakes?
**Zod's Response:** What are these "pancakes" you speak of? They are no match for my powers! Show yourselves cowardly pancakes! Show yourselves! COWARDS!
---
Name:........... Bryan-El
E-Mail:......... [email protected]
===============================
My Question:
Does the all-powerful Zod have a last name? Or is your first name General?
**Zod's Response:** My full name is "Zod". Human slaves are allowed to refer to me in any of the following ways:
1) Zod
2) General Zod
3) Our Rightful Ruler/Leader
---
Name:........... Bryan-El
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
In many millions of years, when Earth's yellow sun goes nova and fades to the red glow of your native Krypton, won't you in fact be powerless and no longer able to enforce any rule, even on the then lifeless Houston? I ask because this would turn the notion of your eternal rule to nothing but a farce dreamed up by a pleather-clad alien with self-worth issues.
Your humble slave, Bryan-El of Houston
**Zod's Response:** Another question from the same slave? You are pushing your luck, mortal. I have the strength to move planets. Do you not think that I could fly directly into the sun, the very sun that gives me such powers, and move it so that it would not ever collide with planet Houston? Do not ever doubt me, or I shall be forced to make a demonstration of my powers and you will be the one to suffer the consequences.
---
Name:........... darius
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Zod, is there a phone number for the Krypton tourist board that i can phone for a vacation.
**Zod's Response:** Slaves are not allowed to have any "vacations" as you call them. Only I, your ruler, can enjoy such
privileges. Now KNEEL!
---
Name:........... worm
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Is groveling before Zod also acceptable?
**Zod's Response:** Yes, as long as you are kneeling while doing so.
---
Name:........... Lois Lane
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Hey Zod, i am incredibly attracted to you.. and i must make love to you as soon as possible! but one thing stands in the way... Batman... i think he's this guy i use to date named Bruce Wayne, can you take him out so i can satisfy my "itch" with you ?
**Zod's Response:** Why do you say these things to me when you know I will kill you for it?
---
Name:........... Jesse
E-Mail:.......... [increased\[email protected]](mailto:[email protected])
===============================
My Question:
hello Generel Zod, do you like Sega Dreamcast, Sony Playstation2, Nintendo gamecube, or Microsoft Xbox? oh and speaking of which... the Bill Gates guy is getting awefully powerful for a mere Human... perhaps you should kill him.
**Zod's Response:** What are these things you speak of? You humans are full of such utter nonsense, I often question whether it is worth ruling you instead of killing every last one of you. Either way, I shall be riding the planet of you soon enough, coward!
---
Name:........... Deac
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
i worship you almighty Zod. I am a waste of air compared to your awsome greatness. i have but one question to ask my lord, when will you kill the Prime Minister of Canada, Jean Chretein, and assume your rightful position as Ruler of
Canada? cause this Jean Chretein is saying on TV that he's the leader of Canada, and his defiance deeply angers me, the pathetic French Man thinks he's better then
Zod? He must be killed.
**Zod's Response:** Who is this French Man? Come to me French Man, if you dare! I defy you! Come! Come and kneel before
Zod! ZOD!!!
---
Name:........... F Street
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
When you were trapped in the Phantom Zone, how often did you beat your meat?
**Zod's Response:** You must be the sole reason the concept of "inferiority" was created. KNEEL BEFORE ZOD!
---
Name:........... John
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
All Hail Lord Zod!
May I ask if you have any regrets? And if your regret is letting me live this long, please allow me to extinguish my own life.
**Zod's Response:** Your display of support for my rule is
admirable, but you do not have the choice when your life shall be extinguished. You may not die without my permission. And when you die, it will most certainly be by my own hands. There is no death more honorable.
---
Name:........... Frank Hanley
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
It would be nice if you could mentor poor Non and teach him how to properly shoot his laser eye beams. Why don't you do this?
**Zod's Response:** Perhaps it would also be nice if I sent Non to your quarters where he would proceed to tear you apart! Now kneel!
---
Name:........... The Artful Dodger
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
I kneel down before you, oh great Zod, and vow loyalty to you... I do have a question for you, however, and I hope you do not find me insolent for doing so. Do you copulate with your colleague Ursa, and if not, what is your relationship
with her?
**Zod's Response:** Copulation is for the weak. Myself and Ursa are invincible and eternal, so there
is absolutely no need for us to procreate. I am
eternal and this is why I shall rule forever!
---
Name:........... Colin Fones-Wolf
E-Mail:.......... [fonesw\[email protected]](mailto:[email protected])
===============================
My Question:
General Zod, I was wondering why you go with the beard look? You'd have much sharper -- thus more menacing -- features if you just shaved.
**Zod's Response:** My beard suggests the wisdom and leadership that comes with age. Each whisker is strong enough to poke through your puny human skull. Perhaps I shall use you to demonstrate!
---
Name:........... Jeff
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Oh Magnificent One, I was wondering if you could help out my basketball team, Team Metalbeast. I know with your great wisdom we can conquer the Intramural Championship. What advice can you give to my team?
**Zod's Response:** Team? What team is this? Are you humans trying to band together to fight me? Do you not remember what happened the last time you attempted this? I literally blew one of your cities away. KNEEL BEFORE YOUR RULER OR YOU WILL DIE.
---
Name:........... Lex Luthor
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Zod, How does it feel to know that i played you like a puppet in my plan to own the world... you were merely a pawn in my war with Superman. Kneel Before LEX
**Zod's Response:** Lex Luthor. For your defiance, I have dispatched Non and Ursa to kill you. You are no longer "ruler of Australia". I have instead handed rule of Australia to "Steve Irwin", a man who hunts strange "crocodile" creatures. He displays much more bravery than you ever have, coward. And he also submits to me to do my bidding. A very loyal slave indeed.
---
Name:........... Erin
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Who is your favorite New Kid? I like Joey.
**Zod's
Response:** All human children are "new" since they were all recently born. So why do you feel the need to call them "new"?
Your lack of intellect stuns me. And who is this Joey that you speak of? One of my slaves I imagine...
---
Name:........... Onassis,The Next Generation
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
I am a man of great power from the place called Greece on the planet Houston..I
also have large amounts of money to spend in order to help you become the true
ruller of planet Houston..All I ask in return is that Ursa becomes my girlfriend....I know you can persuade her to kneel before me.....All hail General Zod!!!!
**Zod's
Response:** You cannot bargain with what you do not have to offer. You have no power and your money is useless to me. I am ALREADY the ruler of the planet Houston. The only thing I will grant you is the opportunity to KNEEL BEFORE
ZOD!
---
Name:........... The Yamster
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
You DO know that I can kick your
lily ass, don't you?
**Zod's
Response:** There are no
lilies on my posterior, and even if there were, you could not kick them. I am your ruler, and for saying such things, I must kill you.
---
Name:........... AChimp
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
How often do you get it on with Ursa? Does Non ever join in for a threesome?
**Zod's
Response:** What is this "get it on" that you speak of? Get what on? As for a threesome, yes Non, Ursa, and Zod equals three.
And should you try to defy any one of us, it will be
your last living act.
---
Name:........... Kevin
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Why were you the "teacher" in Young Guns???
Did the whole "Zod" gig not pay off too well...?
**Zod's
Response:** Why are you humans so fascinated with these "guns"? They are just bothersome,
crude noisemakers. To answer your question: I am a teacher...
the greatest teacher of all time!
I teach people to obey, serve, and KNEEL!
---
Name:........... Blackjack
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Hey ZOD, nice to see your skills at grilling some fine cow with your laser eyes.
By any chance are you a [**Meatatarian**](http://www.I-Mockery.com/Meatatarian)?
**Zod's
Response:** A true leader feeds off of the weak, whether they be cattle or humans (though I often can't tell the difference between the two).
---
Name:........... JJ
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
How many licks does it take to get to the center of YOUR MOM?
**Zod's
Response:**Who is
this "Mom" that you speak of? I have no
mother, I came from pure energy matter. If I did
have a "Mom" she would be my slave or
would be killed. And there would be no
"licks" to get to the center of her. My
eye-lasers would do get to the center of her in one
shot. This is what happens to those to defy ZOD!
---
Name:........... Superman
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Superman loves your baby blues, and he wants to screw! Superman wants to give
Zod the rod! Lather me up and call me me Lex, Superman and Zod are going have
sex! If you must a have a question, then this I must pose, will you bend me
over and give me your hose?
===============================
**Zod's
Response:**Come to
me, Superman... If you dare! I defy you! Come! Come
and Kneel Before Zod! ZOD!!!!!!!!!!!
---
Name:........... Mike
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Did you kill that nasty Amidala chick for getting you fired as Chancellor?
===============================
**Zod's
Response:**Why do
you say this to me, when you know I will kill you
for it?
---
Name:........... The Beam
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Do you like The Rentals? Because I think they're the best band ever.
===============================
**Zod's
Response:**I see
that you have been experiencing the emotion you call
"joy" without my permission. For not
obeying me, I will soon kill you as well as this
"band of Rentals" that you speak of.
KNEEL!
---
Name:........... Dave
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
I've noticed lately that when I get up in the morning, my eyes seem to be more
covered in eye crud than usual. I had a cold recently, but that has gone away.
Why do you think my eyes are crusty in the morning?
===============================
**Zod's
Response:**This is
because you are a pathetic mortal. Just be glad that
I have allowed you to live under my rule for this
long. Now wipe the crust from your eyes and KNEEL
BEFORE ZOD!
---
Name:........... max dejtens
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Do you find it hard being openly homosexual?
===============================
**Zod's
Response:**I find it
hard resisting the urge to kill you for your
insolence. In fact, I will no longer resist the urge
to kill you... I will instead INDULGE in it!
---
Name:........... Chris Murphy
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
Why does my mommy tell me it is wrong to worship Lord Zod? Is she evil?
===============================
**Zod's
Response:**I have
just killed your "mommy". Worry no more.
---
Name:........... Chris Giangarlo
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
How can I get girls to like me zod?
P.S. Superman Sucks
===============================
**Zod's
Response:**I see you
dislike Superman, for this I will spare your life.
But girls only like ZOD. I suggest you stick to men.
---
Name:........... The Kapn
E-Mail:.......... [[email protected]](mailto:[email protected])
===============================
My Question:
If you're so superior, how come superman kicked your ass, along with your
boyfriend and skanky little sister? Apparently, Zod is no
match for a REAL All-American Superhero. Maybe you should just
keep your day job in the gothic industrial group, that songs pretty good, alot like techno music.
===============================
**Zod's
Response:**Why do
you say this to me when you know that I will kill
you for it? Do not EVER compare the great music of
ZOD to the wretched music known as "techno"
that is often found at raves. You human ravers are
the lowest form of life I have ever seen. And for
this reason, and many more, I will soon kill you. So
Kneel Kapn... KNEEL BEFORE ZOD!
---
|
|
|
|
**Now
ask me your pathetic question:**
**ZOD IS NO LONGER ACCEPTING QUESTIONS,**
---
Do you have a question
for your ruler? Don't hesitate to [Ask
Zod!](askzod.php)
**Link To
www.GeneralZod.net with this button!**
[back
to Zod home](default.php)
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<tr>
<td WIDTH="100%"><img SRC="dot.jpg" height=50 width=50><font face="Raphael"><font size=+1>Welcome
oh ye who traverse the world wide Web to my little Patch of it. I am Softpaw,
The Fae Kitty, and you've entered into my realm, called Underhill . </font></font>
<br><img SRC="dot.jpg" height=50 width=50><font face="Raphael"><font size=+1>A
bright and friendly place to explore. Come and walk about here, you'll
find many interesting things to see. The hills and valleys of my realm
are just filled with many wonderful things.</font></font>
<br><img SRC="dot.jpg" height=50 width=50><font face="Raphael"><font size=+1>To
learn a little of the history of this place, <a href="history.html">stop
of here first,</a> before you begin your exploration.</font></font>
<br><img SRC="dot.jpg" height=50 width=50><font face="Raphael"><font size=+1>As
you walk around you'll first see a small cottage, with a thatch roof and
covered in flowers and vines, this is my home, where you can go to learn
about me, my Dragon, my friends and family, and some of my interests.</font></font>
<br><img SRC="dot.jpg" height=50 width=50><font face="Raphael"><font size=+1>In
the small woods next to the cottage you'll find an interesting sight, for
upon every tree hangs a painting. These paintings are my fantasy artwork,
placed up for your enjoyment. </font></font>
<br><img SRC="dot.jpg" height=50 width=50><font face="Raphael"><font size=+1>Once
you've left the art glade you will come upon a small meadow that
has many felines about, this is where you can learn some about my favorite
animal, the feline. There are Quotes about them, some felines that are
famous or belong to famous people, a whole section on the play CATS and
of course my own wonderful foursome that I call The Brat Cats.</font></font>
<br><img SRC="dot.jpg" height=50 width=50><font face="Raphael"><font size=+1>Just
past this meadow you'll see a large gap, spanned by a rainbow bridge, but
alas you can not cross this bridge, tis revered for those animal
friends of ours that have gone on before us. But you can see many touching
memorials to them, including my own dedicated to my beloved Muffin and
Skye.</font></font>
<br><img SRC="dot.jpg" height=50 width=50><font face="Raphael"><font size=+1>After
leaving the somewhat somber bridge area you'll find a pool with wisteria
all about, and flitting about the vines are fairies of every kind. Let
them tell you about themselves. You might be surprised what they have to
tell.</font></font>
<br><img SRC="dot.jpg" height=50 width=50><font face="Raphael"><font size=+1>One
fairy will break off from the others soon to led you to a small candle
light cave, with pillars on each side. Inside this cave you'll find small
scrolls, on each scroll you will find a different fairy tale, spanning
many countries and writers.</font></font>
<br><img SRC="dot.jpg" height=50 width=50><font face="Raphael"><font size=+1>When
your done reading next you will happen upon a piano and some other instruments.
Here you can take for yourself the music that you have heard on your journey
in Underhill. and find out the words to many of the songs.</font></font>
<br><img SRC="dot.jpg" height=50 width=50><font face="Raphael"><font size=+1>The
next place you will happen upon in underhill is my little menagerie where
you can visit all of my pets that I have collected on the net over the
years. They are quite friendly and if you want they will lead you to where
you can get one of your own.</font></font>
<br><img SRC="dot.jpg" height=50 width=50><font face="Raphael"><font size=+1>After
you leave the menagerie you'll find a spot that has just all kinds of different
things in it, web rings, links to some of my favorite places on the web,
the fonts I used on my pages, available for you to take, the awards I have
ben blessed with and most important, a list of those that helped me make
this little place your in.</font></font>
<br><img SRC="dot.jpg" height=50 width=50><font face="Raphael"><font size=+1>As
you leave my realm you'll notice two small items, one is a journal , but
alas, due to some unsavory types in the past, it is locked to those that
do not have the key. If you wish to open it you must know how and then
leave a note to let me know and you will recive a key. Next to it you will
find a small scroll and a pen, the guest book, please leave your name and
any comments, so that I might know you visited my realm.</font></font>
<center><img SRC="bar.jpg" height=88 width=382>
<br><font face="Raphael"><font size=+1>Realm of the Fae Kitty offers several
awards for webpages. If you care to see what they are and if your page
qualifies click <a href="stuff/awards/myawards.html">HERE </a> and
find out. </font></font>
<br><img SRC="bar.jpg" height=88 width=382>
<br><img SRC="TheDragonandtheFaeKitty2.jpg" height=303 width=216>
<p><font face="Raphael"><font size=+1>This Wonderful painting was made
for me by Jason Blackthorne, I know his Wife , Wren, from Ladies of the
Myst. He did this marvelous painting for me as a surprise and I just love
it. You Can see more of his Art work <a href="http://www.geocities.com/jasonblackthorne/blackthornes_bramble">HERE</a></font></font>
<br><img SRC="bar.jpg" height=88 width=382>
<br><img SRC="dot.jpg" height=50 width=50><u><font face="Raphael"><font size=+4>UPDATES!</font></font></u><img SRC="dot.jpg" height=50 width=50></center>
<p><font face="Raphael"><font size=+1>Counters are still not working.</font></font>
<p><font face="Raphael"><font size=+1>Guestbook is working agian! Thanks
Marsh!.</font></font>
<p><font face="Raphael"><font size=+1>Text has been updated on a few pages.</font></font>
<p><font face="Raphael"><font size=+1>Still trying to get the new Art page
to work. </font></font>
<p><font face="Raphael"><font size=+1>Eventually every page on my sight
will be one I made myself.</font></font>
<p><font face="Raphael"><font size=+1>A new page will still be added to
my personal pages soon. Bob and I have started going to Renaissance faire's
and are now Cast members of a brand new local faire called <a href="http://www.historic-arts.com/white_hart_renaissance_faire/alt_index.htm">White
Hart Renaissance faire.</a></font></font>
<p><img SRC="bar.jpg" height=88 width=382>
<center>
<p><font face="Raphael"><font size=+1>Email me at</font></font>
<br><font face="Raphael"><font size=+1><a href="mailto:[email protected]">[email protected]</a></font></font>
<br><font face="Raphael"><font size=+1>or</font></font>
<br><font face="Raphael"><font size=+1><a href="mailto:[email protected]">[email protected]</a></font></font>
<br><img SRC="bar.jpg" height=88 width=382>
<br><font face="Raphael"><font size=+1>The Music on this page is a song
that a Friend composed just for me and is exclusive to Realm of the Fae
Kitty, Called Softpaw's Theme.</font></font>
<p><font face="Raphael"><font size=+1>Love you lots Mause thanks a ton
for the every so lovely song.</font></font>
<br><font face="Raphael"><font size=+1>You know how much I love it.</font></font>
<br><img SRC="bar.jpg" height=88 width=382></center>
<p><br></td>
</tr>
</table>
</td>
<td ALIGN=RIGHT VALIGN=TOP WIDTH="178">
<center><img SRC="Softpawdoll.gif" ALT="My Avatar Dolly!" height=202 width=157 align=TEXTTOP></center>
<table BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH="178" >
<tr>
<td WIDTH="178"><a href="/personal/jennifer.html" onMouseOver="changeImages('image1', 'image1on')" onMouseOut="changeImages('image1', 'image1off')"><img SRC="me.jpg" NAME="image1" ALT="My little Cottage where you can learn more about me, the Fae Kitty" BORDER=0 height=113 width=178></a></td>
</tr>
<tr>
<td WIDTH="178"><a href="art/Art.html" onMouseOver="changeImages('image2', 'image2on')" onMouseOut="changeImages('image2', 'image2off')"><img SRC="art.jpg" NAME="image2" ALT="The Art Glade, filled with my Fantasy artwork" BORDER=0 height=113 width=178></a></td>
</tr>
<tr>
<td WIDTH="178"><a href="cats/felines.htm" onMouseOver="changeImages('image3', 'image3on')" onMouseOut="changeImages('image3', 'image3off')"><img SRC="cat.jpg" NAME="image3" ALT="The Fae Kitty's most favorite subject, FELINES!" BORDER=0 height=113 width=178></a></td>
</tr>
<tr>
<td WIDTH="178"><a href="girls/kitty.html" onMouseOver="changeImages('image4', 'image4on')" onMouseOut="changeImages('image4', 'image4off')"><img SRC="fur.jpg" NAME="image4" ALT="Come, Meet The Fae Kitty's own kitty girls." BORDER=0 height=113 width=178></a></td>
</tr>
<tr>
<td WIDTH="178"><a href="rainbow/rainbow.htm" onMouseOver="changeImages('image5', 'image5on')" onMouseOut="changeImages('image5', 'image5off')"><img SRC="rain.jpg" NAME="image5" ALT="A selection of Memorial pages for those that have lost beloved pets." BORDER=0 height=113 width=178></a></td>
</tr>
<tr>
<td WIDTH="178"><a href="Fairy/Fairy.html" onMouseOver="changeImages('image6', 'image6on')" onMouseOut="changeImages('image6', 'image6off')"><img SRC="fae.jpg" NAME="image6" ALT="Fairies, a few littel just, fun things about the Fae." BORDER=0 height=113 width=178></a></td>
</tr>
<tr>
<td WIDTH="178"><a href="fairytales/fairytale.html" onMouseOver="changeImages('image7', 'image7on')" onMouseOut="changeImages('image7', 'image7off')"><img SRC="fairy.jpg" NAME="image7" ALT="The Fae Kitty's online collection of some of her favorite Fairy Tales." BORDER=0 height=113 width=178></a></td>
</tr>
<tr>
<td WIDTH="178"><a href="midi/midi.html" onMouseOver="changeImages('image8', 'image8on')" onMouseOut="changeImages('image8', 'image8off')"><img SRC="mid.jpg" NAME="image8" ALT="All the midi's used on thse pages, and the lyrics to them." BORDER=0 height=113 width=178></a></td>
</tr>
<tr>
<td WIDTH="178"><a href="cpets/cyberpets.html" onMouseOver="changeImages('image9', 'image9on')" onMouseOut="changeImages('image9', 'image9off')"><img SRC="pet.jpg" NAME="image9" ALT="Just a little bit of fun, The Fae Kitty's Cyber Pets." BORDER=0 height=113 width=178></a></td>
</tr>
<tr>
<td WIDTH="178"><a href="stuff/other.html" onMouseOver="changeImages('image10', 'image10on')" onMouseOut="changeImages('image10', 'image10off')"><img SRC="other.jpg" NAME="image10" ALT="Links, Credits, Rings, Awards, Fonts." BORDER=0 height=113 width=178></a></td>
</tr>
<tr>
<td WIDTH="178"><a href="http://www.livejournal.com/users/softpaw/" onMouseOver="changeImages('image12', 'image12on')" onMouseOut="changeImages('image12', 'image12off')"><img SRC="LJ.jpg" NAME="image12" ALT="My live journal" BORDER=0 height=113 width=178></a></td>
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</table>
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<p><font face="Raphael"><font size=+1> </font></font></td>
</tr>
</table></div>
<center><font face="Raphael"><font size=+1> I run an online Role-playing
channel Called Gilded Rose Inn, click its banner to find more about
it.</font></font>
<br><a href="http://www.gildedroseinn.com/"><img SRC="Gildedrosebanner.jpg" ALT="My Home on the net. The Gilded Rose Inn on Irc's Nightstar.net" BORDER=0 height=60 width=469></a>
<p><font face="Raphael"><font size=+1>Care to link back to me? Use one
of the banners below!</font></font>
<p><img SRC="Banner.jpg" ALT="My Link Back Banner!" height=115 width=465>
<p><img SRC="RealmFaekittybanner.jpg" ALT="My new link back banner!" height=60 width=469></center>
<center><table BORDER=0 CELLSPACING=0 CELLPADDING=0 WIDTH="297" HEIGHT="343" >
<tr>
<td WIDTH="297" HEIGHT="144"><img SRC="guest-1x1.jpg" NAME="GUEST0" BORDER=0 height=144 width=297></td>
</tr>
<tr>
<td WIDTH="297" HEIGHT="46"><a href="fsguest.php?do=write"><img SRC="guest-2x1.jpg" NAME="GUEST1" ALT="Please Sign my Guestbook" BORDER=0 height=46 width=297></a></td>
</tr>
<tr>
<td WIDTH="297" HEIGHT="10"><img SRC="guest-3x1.jpg" NAME="GUEST2" BORDER=0 height=10 width=297></td>
</tr>
<tr>
<td WIDTH="297" HEIGHT="35"><a href="fsguest.php?do=read&from=0"><img SRC="guest-4x1.jpg" NAME="GUEST3" ALT="Read what others have written in my Guestbook" BORDER=0 height=35 width=297></a></td>
</tr>
<tr>
<td WIDTH="297" HEIGHT="108"><img SRC="guest-5x1.jpg" NAME="GUEST4" BORDER=0 height=108 width=297></td>
</tr>
</table></center>
<center>
<p><font face="Raphael"><font size=+1>To read old guestbook entries please
click <a href="guest/fsguestbook.html">here</a></font></font>
<p><font face="Raphael"><font size=+1>You are visitor number <isml type="counter" option="custom" src="/coun">To
this page</font></font></isml>
<p><img SRC="nebfreedom.gif" height=285 width=455>
<br><a href="http://www.enchantedhollow.com/i"><img SRC="butnhollow.gif" BORDER=0 height=31 width=88></a>
<p><a href="http://www.faekitty.8m.com/" onMouseOver="changeImages('image11', 'image11on')" onMouseOut="changeImages('image11', 'image11off')"><img SRC="fkd.jpg" NAME="image11" ALT="" BORDER=0 height=113 width=178></a></center>
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<td><img SRC="faeb016.gif" height=44 width=86></td>
<td><img SRC="faeb017.gif" height=44 width=118></td>
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| Welcome
oh ye who traverse the world wide Web to my little Patch of it. I am Softpaw,
The Fae Kitty, and you've entered into my realm, called Underhill .
A
bright and friendly place to explore. Come and walk about here, you'll
find many interesting things to see. The hills and valleys of my realm
are just filled with many wonderful things.
To
learn a little of the history of this place, [stop
of here first,](history.html) before you begin your exploration.
As
you walk around you'll first see a small cottage, with a thatch roof and
covered in flowers and vines, this is my home, where you can go to learn
about me, my Dragon, my friends and family, and some of my interests.
In
the small woods next to the cottage you'll find an interesting sight, for
upon every tree hangs a painting. These paintings are my fantasy artwork,
placed up for your enjoyment.
Once
you've left the art glade you will come upon a small meadow that
has many felines about, this is where you can learn some about my favorite
animal, the feline. There are Quotes about them, some felines that are
famous or belong to famous people, a whole section on the play CATS and
of course my own wonderful foursome that I call The Brat Cats.
Just
past this meadow you'll see a large gap, spanned by a rainbow bridge, but
alas you can not cross this bridge, tis revered for those animal
friends of ours that have gone on before us. But you can see many touching
memorials to them, including my own dedicated to my beloved Muffin and
Skye.
After
leaving the somewhat somber bridge area you'll find a pool with wisteria
all about, and flitting about the vines are fairies of every kind. Let
them tell you about themselves. You might be surprised what they have to
tell.
One
fairy will break off from the others soon to led you to a small candle
light cave, with pillars on each side. Inside this cave you'll find small
scrolls, on each scroll you will find a different fairy tale, spanning
many countries and writers.
When
your done reading next you will happen upon a piano and some other instruments.
Here you can take for yourself the music that you have heard on your journey
in Underhill. and find out the words to many of the songs.
The
next place you will happen upon in underhill is my little menagerie where
you can visit all of my pets that I have collected on the net over the
years. They are quite friendly and if you want they will lead you to where
you can get one of your own.
After
you leave the menagerie you'll find a spot that has just all kinds of different
things in it, web rings, links to some of my favorite places on the web,
the fonts I used on my pages, available for you to take, the awards I have
ben blessed with and most important, a list of those that helped me make
this little place your in.
As
you leave my realm you'll notice two small items, one is a journal , but
alas, due to some unsavory types in the past, it is locked to those that
do not have the key. If you wish to open it you must know how and then
leave a note to let me know and you will recive a key. Next to it you will
find a small scroll and a pen, the guest book, please leave your name and
any comments, so that I might know you visited my realm.
Realm of the Fae Kitty offers several
awards for webpages. If you care to see what they are and if your page
qualifies click [HERE](stuff/awards/myawards.html) and
find out.
This Wonderful painting was made
for me by Jason Blackthorne, I know his Wife , Wren, from Ladies of the
Myst. He did this marvelous painting for me as a surprise and I just love
it. You Can see more of his Art work [HERE](http://www.geocities.com/jasonblackthorne/blackthornes_bramble)
UPDATES!
Counters are still not working.
Guestbook is working agian! Thanks
Marsh!.
Text has been updated on a few pages.
Still trying to get the new Art page
to work.
Eventually every page on my sight
will be one I made myself.
A new page will still be added to
my personal pages soon. Bob and I have started going to Renaissance faire's
and are now Cast members of a brand new local faire called [White
Hart Renaissance faire.](http://www.historic-arts.com/white_hart_renaissance_faire/alt_index.htm)
Email me at
[Vannesa\[email protected]](mailto:[email protected])
or
[[email protected]](mailto:[email protected])
The Music on this page is a song
that a Friend composed just for me and is exclusive to Realm of the Fae
Kitty, Called Softpaw's Theme.
Love you lots Mause thanks a ton
for the every so lovely song.
You know how much I love it.
|
| My Avatar Dolly!
| |
| --- |
| [My little Cottage where you can learn more about me, the Fae Kitty](/personal/jennifer.html) |
| [The Art Glade, filled with my Fantasy artwork](art/Art.html) |
| [The Fae Kitty's most favorite subject, FELINES!](cats/felines.htm) |
| [Come, Meet The Fae Kitty's own kitty girls.](girls/kitty.html) |
| [A selection of Memorial pages for those that have lost beloved pets.](rainbow/rainbow.htm) |
| [Fairies, a few littel just, fun things about the Fae.](Fairy/Fairy.html) |
| [The Fae Kitty's online collection of some of her favorite Fairy Tales.](fairytales/fairytale.html) |
| [All the midi's used on thse pages, and the lyrics to them.](midi/midi.html) |
| [Just a little bit of fun, The Fae Kitty's Cyber Pets.](cpets/cyberpets.html) |
| [Links, Credits, Rings, Awards, Fonts.](stuff/other.html) |
| [My live journal](http://www.livejournal.com/users/softpaw/) |
|
I run an online Role-playing
channel Called Gilded Rose Inn, click its banner to find more about
it.
[My Home on the net. The Gilded Rose Inn on Irc's Nightstar.net](http://www.gildedroseinn.com/)
Care to link back to me? Use one
of the banners below!
My Link Back Banner!
My new link back banner!
| |
| --- |
| |
| [Please Sign my Guestbook](fsguest.php?do=write) |
| |
| [Read what others have written in my Guestbook](fsguest.php?do=read&from=0) |
| |
To read old guestbook entries please
click [here](guest/fsguestbook.html)
You are visitor number To
this page
| |
| | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- |
| | | | | | | | |
| | | | | | | | |
| | | | | | | | |
| http://www.softpaw.org/fae2.html |
<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
<head>
<meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1">
<meta name="GENERATOR" content="Mozilla/4.8 [en] (Win95; U) [Netscape]">
<meta name="Author" content="Nathan Lineback">
<meta name="KeyWords" content="Internet Explorer is evil,Internet Explorer sucks,Internet Explorer blows,MSIE sucks,MSIE blows, MSIE is evil,IE is Evil,IE sucks,IE blows, Microsoft sucks,Microsoft is evil,Web integration sucks,Firefox rules,Firefox rocks,Firefox kicks ass,Uninstall IE,Uninstall Internet Explorer,Microsoft Humor">
<title>Internet Explorer is EVIL!</title>
</head>
<body text="#000000" bgcolor="#990000" link="#33CCFF" vlink="#C7C7C7" alink="#FF0000">
<center><a href="../index.html"><img SRC="../graphics/barhome.gif" ALT="Home" NOSAVE BORDER=0 height=23 width=75></a><a href="index.html"><img SRC="../graphics/barevil.gif" ALT="IE is EVIL!" NOSAVE BORDER=0 height=23 width=121></a><a href="../guis/index.html"><img SRC="../graphics/barguis.gif" ALT="GUIs" NOSAVE BORDER=0 height=23 width=65></a><a href="../files/index.html"><img SRC="../graphics/barfiles.gif" ALT="Files" NOSAVE BORDER=0 height=23 width=67></a><a href="../about/index.html"><img SRC="../graphics/barabout.gif" ALT="About" NOSAVE BORDER=0 height=23 width=73></a><a href="../links/index.html"><img SRC="../graphics/barlinks.gif" ALT="Links" NOSAVE BORDER=0 height=23 width=74></a></center>
<table COLS=1 WIDTH="100%" >
<tr>
<td BACKGROUND="burnieani.gif">
<table COLS=3 WIDTH="100%" >
<tr>
<td>
<center><img SRC="billagram2.gif" ALT="EVIL" height=189 width=189></center>
</td>
<td>
<center><font color="#FFFF00"><font size=+4>Internet Explorer is EVIL!</font></font></center>
</td>
<td>
<center><img SRC="billagram2.gif" ALT="EVIL" height=189 width=189></center>
</td>
</tr>
</table>
</td>
</tr>
</table>
<table COLS=1 WIDTH="100%" BGCOLOR="#990000" >
<tr>
<td>
<table COLS=3 WIDTH="100%" >
<tr>
<td BGCOLOR="#666666">
<br><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>History:</font></font></font>
<br><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>
<a href="ieisevilstory.html">IE
is Evil: The story</a></font></font></font>
<br><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>
<a href="fof.html">The
findings of Fact</a></font></font></font>
<br><font face="Arial,Helvetica"><font size=-1> <font color="#66FFFF"><a href="../good/bad.html">A
Glimpse in to an "Enterprise" Intranet</a></font></font></font>
<br><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>
<a href="retrospective.html">Browser
history retrospective</a></font></font></font>
<p><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>Promotional:</font></font></font>
<br><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>
<a href="buttons.html">Anti-IE
buttons</a></font></font></font>
<br><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>
<a href="antimsfiles.html">Parody
Microsoft Files</a></font></font></font>
<p><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>Informational:</font></font></font>
<br><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>
<a href="lab.html">Mad
Deintegration lab</a></font></font></font>
<br> </td>
<td BGCOLOR="#666666"><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>Humor</font></font></font>
<br><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>
<a href="ieerrors.html">New
Internet Explorer Errors</a></font></font></font>
<br><font face="Arial,Helvetica"><font size=-1> <font color="#66FFFF"><a href="onlyie.html">Stupid
web pages</a></font></font></font>
<br><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>
<a href="errwindows.html">Wacky
Windows errors!</a></font></font></font>
<br><font face="Arial,Helvetica"><font size=-1> <font color="#66FFFF"><a href="featurecompare.html">MSIE
verses Firefox comparison guide</a></font></font></font>
<br><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>
<a href="tourmentie4.html">Ways
to torment IE users</a></font></font></font>
<br><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>
<a href="reasons.html">Reasons
not to use IE</a></font></font></font>
<br><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>
<a href="killbill.html">Ways
bill gates should die</a></font></font></font>
<br><font face="Arial,Helvetica"><font size=-1> <font color="#66FFFF"><a href="billwilldo.html">What
will Bill do next? </a></font></font></font>
<br><font face="Arial,Helvetica"><font size=-1> <font color="#66FFFF"><a href="setup.html">The
Windows 98 setup</a></font></font></font>
<br><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>
<a href="billwanted.html">Wanted:
William H Gates!</a></font></font></font>
<br><font face="Arial,Helvetica"><font size=-1> <font color="#66FFFF"><a href="uf.html">User
Frendly</a></font></font></font></td>
<td BGCOLOR="#666666"><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>Misc:</font></font></font>
<br><font face="Arial,Helvetica"><font size=-1> <font color="#66FFFF"><a href="rants.html">Rants</a></font></font></font>
<p><font face="Arial,Helvetica"><font color="#66FFFF"><font size=-1>Other:</font></font></font>
<br><font face="Arial,Helvetica"><font color="#33CCFF"><font size=-1>
<a href="../good/index.html">Firefox
Live</a></font></font></font>
<br><font face="Arial,Helvetica"><font color="#33CCFF"><font size=-1>
<a href="../doom/index.html">Firefox
Doom Party</a></font></font></font>
<br><font face="Arial,Helvetica"><font color="#33CCFF"><font size=-1>
<a href="the_windows_8_car.html">If
Windows 8 were a Car</a></font></font></font>
<br><font face="Arial,Helvetica"><font color="#33CCFF"><font size=-1>
<a href="../guis/index.html">Gui
Gallery</a></font></font></font>
<br> </td>
</tr>
</table>
</td>
</tr>
</table>
<font face="Arial,Helvetica"><font color="#FFFFFF"><font size=-1>This site
is dedicated to preserving and expressing the humor and controversy around
the intrusive introduction of Microsoft Internet Explorer and how Microsoft
abused its dominate position in the Operating System Marketplace.</font></font></font>
<center>
<p><img SRC="get_80x15_01.png" height=15 width=80></center>
<a href="../index.html"><img SRC="../graphics/back.gif" NOSAVE BORDER=0 height=42 width=46 align=ABSCENTER></a><b><a href="../index.html">
Back to my Toasty Technology Page</a></b>
</body>
</html>
|
Internet Explorer is EVIL!
[](../index.html)[](index.html)[](../guis/index.html)[](../files/index.html)[](../about/index.html)[](../links/index.html)
| | | | |
| --- | --- | --- | --- |
|
| | | |
| --- | --- | --- |
| EVIL | Internet Explorer is EVIL! | EVIL |
|
| | | | |
| --- | --- | --- | --- |
|
| | | |
| --- | --- | --- |
| History:
[IE
is Evil: The story](ieisevilstory.html)
[The
findings of Fact](fof.html)
[A
Glimpse in to an "Enterprise" Intranet](../good/bad.html)
[Browser
history retrospective](retrospective.html)
Promotional:
[Anti-IE
buttons](buttons.html)
[Parody
Microsoft Files](antimsfiles.html)
Informational:
[Mad
Deintegration lab](lab.html)
| Humor
[New
Internet Explorer Errors](ieerrors.html)
[Stupid
web pages](onlyie.html)
[Wacky
Windows errors!](errwindows.html)
[MSIE
verses Firefox comparison guide](featurecompare.html)
[Ways
to torment IE users](tourmentie4.html)
[Reasons
not to use IE](reasons.html)
[Ways
bill gates should die](killbill.html)
[What
will Bill do next?](billwilldo.html)
[The
Windows 98 setup](setup.html)
[Wanted:
William H Gates!](billwanted.html)
[User
Frendly](uf.html) | Misc:
[Rants](rants.html)
Other:
[Firefox
Live](../good/index.html)
[Firefox
Doom Party](../doom/index.html)
[If
Windows 8 were a Car](the_windows_8_car.html)
[Gui
Gallery](../guis/index.html)
|
|
This site
is dedicated to preserving and expressing the humor and controversy around
the intrusive introduction of Microsoft Internet Explorer and how Microsoft
abused its dominate position in the Operating System Marketplace.
[](../index.html)**[Back to my Toasty Technology Page](../index.html)**
| http://toastytech.com/evil/ |
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<!--Created by GeoCities Home Page Generator-->
<HTML>
<HEAD>
<TITLE>Buddy Ebsen Tribute Page | Home</TITLE>
<META NAME="Description" CONTENT="The Buddy Ebsen Tribute Page
- non official fan site featuring biography, filmography with
movie, TV and stage work, photos, of the US actor. Infos on his
movies and TV shows. Barnaby Jones episode guide.">
<META NAME="Keywords" CONTENT="Buddy Ebsen, filmography, biography, television, movies, Barnaby Jones, celebrities, Hollywood, movie stars, TV">
</HEAD>
<!--COLOR-->
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VLINK="#000099">
<p><center>
<!--HEAD1-->
<table bgcolor="#A50039" width="550">
<tr align="center"> <td><font color="#AAAAAA"><h2><i>Welcome to</i></h2></font></td></tr>
<!--HEAD2-->
<tr align="center"> <td><font color="#AAAAAA"><h2>The Buddy Ebsen
Tribute Page <br>
<br>
www.actorbuddyebsen.info
</h2></font></td></tr> <p>
</table> </center>
<!--LINE1-->
<p>
<!--BODY-->
<br>
<p>
<p>
<center>
<table border="0" bgcolor="#F3E6C9" width="364" height="158">
<tr align="center">
<td><img src="images/tptitle1.gif" width="364" height="158" alt="The
Buddy Ebsen Tribute Page" align="center"> </td></tr></table>
</center><br>
<br>
<p>
<p><center>
<table border="8" bgcolor="#F3E6C9" width="236" height="299">
<tr align="center">
<td><img src="images/buddy1a.jpg" width="236" height="299"
alt="Buddy Ebsen" align="center"> </td></tr></table>
</center>
<br>
<br>
<center>
<table width="370" border="3" cellpadding="3" cellspacing="3" bgcolor="#ffefae">
<tr align="center"><td><font size="+1"><b><i>Buddy Ebsen </i></b> (1908-2003)<br>
was best known for his portrayal of Jed Clampett from "The Beverly Hillbillies" and as TV sleuth "Barnaby Jones". In the thirties he was a hoofer, who danced in several musical movies. Despite his countrified image he was a versatile actor. His talents included: writing plays, writing songs, producing musicals, painting.
This web site is dedicated to Ebsen and his work.</td></tr>
</table>
</center>
<br>
<br>
<p>
<br>
<p>
<p>
<br>
<center>
<table width="650" border="2" cellpadding="2" cellspacing="2" bgcolor="#ffefae">
<tr><th colspan=3><font face="Comic Sans MS" size="+3" color="#BD9C18">
Buddy Ebsen</font></th> </tr>
<tr><td><img src="images/buddy1a.jpg" width="28" height="35" alt="Buddy Ebsen" align="center"></td>
<td><font face="Comic Sans MS" size="+2" color="#000000"><A HREF="bebio.htm">Biography</a></font></td>
<td><font face"arial,helvetica" color="000000">Vital Statistics and Career</font></td>
</tr>
<tr><td><img src="images/movie.gif" width="48" height="35" alt="Silver Screen" align="center"></td>
<td><font face="Comic Sans MS" size="+2" color="#000000"><A HREF="efilmog1.htm">Filmography I</a> </font></td>
<td><font face"arial,helvetica" color="000000">Theatrical and TV Movies</font></td>
</tr>
<tr> <td><img src="images/telly.gif" width="48" height="35" alt="Television" align="center"></td>
<td><font face="Comic Sans MS" size="+2" color="#000000">
<A HREF="efilmog2.htm">Filmography II</a>
</font></td>
<td><font face"arial,helvetica" color="000000">TV Series and TV Guest Starring</font></td>
</tr>
<tr><td><img src="images/theater.gif" width="48" height="35" alt="Stage" align="center"></td>
<td><font face="Comic Sans MS" size="+2" color="#000000">
<A HREF="efilmog3.htm">Filmography III</a>
</font></td>
<td><font face"arial,helvetica" color="000000">Stage Work, Variety and Miscellaneous</font></td> </tr>
<tr><td><img src="images/buddy1a.jpg" width="28" height="35" alt="Buddy Ebsen" align="center"></td>
<td><font face="Comic Sans MS" size="+2" color="#000000"><A HREF="photgal1.htm">Photo Gallery</a>
</font></td>
<td><font face"arial,helvetica" color="000000">Some of My Favorite Photos of Buddy</font></td>
</tr>
<tr> <td><img src="images/bjtitl1a.gif" width="48" height="35" alt="Barnaby Jones Title"
align="center"> </td>
<td><font face="Comic Sans MS" size="+2" color="#000000"><A HREF="bjones/index.htm">Barnaby
Jones Main Page </a></font></td>
<td><font face"arial,helvetica" color="000000">Info on Detective Series of the 70's</font></td>
</tr>
<tr> <td><img src="images/bjtitl1a.gif" width="48" height="35" alt="Barnaby Jones Title" align="center"> </td>
<td><font face="Comic Sans MS" size="+2" color="#000000"><A HREF="bjones/bjepgli.htm">Barnaby
Jones Episode Guide</a></font></td>
<td><font face"arial,helvetica" color="000000">Title & Airdate Listing with<br>Links
to Credit Listing and Synopses</font></td>
</tr>
<tr> <td><img src="images/bjtitl1a.gif" width="48" height="35" alt="Barnaby Jones Title" align="center"> </td><td><font face="Comic Sans MS" size="+2" color="#000000">
<A HREF="bjaniv36.htm">Special Event, <br> Jan. 28, 2009</a></font></td><td><font face"arial,helvetica" color="000000">Barnaby Jones, 36th Anniversary Greetings</font></td></tr>
<!--space for FAQ
<tr><td><img src="images/faq1.gif" width="48" height="35" alt="FAQ" align="center"></td>
<td><font face="Comic Sans MS" size="+2" color="#000000">...</font></td>
<td><font face"arial,helvetica" color="000000">---</font></td>
</tr>
-->
<!--new guestbook -->
<tr>
<td><img src="images/book1.gif" width="48" height="35" alt="Guestbook" align="center">
</td>
<td><font face="Comic Sans MS" size="+2" color="#A50039">
<A HREF="addbook2.html">Sign Guestbook</a>
</font></td>
<td><font face"arial,helvetica" color="000000"> If You Have a Question or Comment <br>
Please Leave a Note </font></td>
</tr>
<tr><td><img src="images/book2.gif" width="48" height="35" alt="Guestbook"
align="center"></td>
<td><font face="Comic Sans MS" size="+2" color="#A50039">
<A HREF="viewgbe.htm">View Guestbook</a><td><font face"arial,helvetica"
color="000000">To Look at Guest Book Entries </font></td>
</tr>
<tr><td>...</td>
<td><font face="Comic Sans MS" size="+2" color="#A50039">
<A HREF="vilmaobit.htm">
Obituary Vilma Ebsen</a><td><font face"arial,helvetica"
color="000000">Some links to press obituaries for Buddy's sister (1911-2007)</font></td>
</tr>
</table></center><br>
<p>
<br>
<br>
<hr>
<!--LINKS-->
<p><p><center>
<table width="630" border="2" cellpadding="2" cellspacing="2" bgcolor="#D6BD29">
<tr><th colspan=2><font face="Comic Sans MS" size="+2" color="#660000">Links to other sites on the Web</font></th> </tr>
<tr>
<th colspan="2"><font color="#660000" size="5" face="Comic Sans MS">Official Web Sites</font></th>
</td>
</tr>
<!--LINK1-->
<!-- www.buddyebsen.com funktioniert nicht mehr, link entfernt, Jan. 2008 -->
<!--LINK2-->
<tr><td><font face="Comic Sans MS" size="+2" color="#660000">
<A HREF="http://www.unclejedcountry.com">Uncle Jed Country</a></font></td> <td><font face"arial,helvetica" color="000066">A web site especially about Buddy's Uncle Jed Country paintings, posted in Jan. 2000; with video clips about Buddy's lithographs and his movies </font><br>(by Earl Babin /Infinite Horizon)</td></td></tr>
<!--LINK3-->
<tr><td><font face="Comic Sans MS" size="+2" color="#660000"> <A HREF="http://www.buddyebsenmuseum.com">Buddy Ebsen Museum</a> </font></td> <td><font face"arial,helvetica" color="000066">A wonderful new web site displaying memorabilia collected by Buddy Ebsen himself, posted in Aug. 2006; with lots of video and audio clips (requires a Flash Player 8)</font><br>(by NHaK)</td></td></tr>
<!--LINK4 deactivated Jan 09
<tr><td><font face="Comic Sans MS" size="+2" color="#660000">
<A HREF="http://www.sizzlingcoldcase.com">Sizzling Cold Case</a></font></td> <td><font face"arial,helvetica" color="000066">Buddy Ebsen's latest book completed by D. Quinn. A Barnaby Jones novel</font><br></td></td></tr> -->
<!--LINK5-->
<tr><td><font face="Comic Sans MS" size="+2" color="#660000"><A HREF="links1.htm">
More Links</a></font></td>
<td><font face"arial,helvetica" color="000066">
Other interesting external links to Buddy Ebsen related web sites</font></td>
</tr>
</table></center><br><br>
<p>
<hr>
<!--LINE4-->
<p>
<img src="images/rosebud4.jpg" height=120 width= 120 alt="rosebud" align=left >
<br>
<br>
<p><center>
<table width="500" border="0" cellpadding="2" cellspacing="2"
bgcolor="#EFDE42">
<tr><td align="center"><font face="arial,helvetica" color="'000000" size="-1"> This page is created and maintained by R. Boehme, © 1999 - 2009.</tr>
<tr><td align="center"><font face="arial,helvetica" color="'000000" size="-1"> It is an unofficial fan site and it is dedicated to Buddy Ebsen, his work and to all his admirers.</tr>
<tr> <td align="center"><font face="arial,helvetica" color="#FF0080" size="-1"> E-mail: <A HREF="mailto:[email protected]"> [email protected] </a><br> </font></td> </tr>
<tr><td align="center"><font face="arial,helvetica" color="'000000" size="-1"> First appearance March 1999</td></tr><tr><td align="center"><font face="arial,helvetica" color="'000000" size="-1"> Last update Jan. 2009 </td></tr>
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|
Buddy Ebsen Tribute Page | Home
| |
| --- |
| *Welcome to* |
| The Buddy Ebsen
Tribute Page
www.actorbuddyebsen.info
|
| |
| --- |
| The
Buddy Ebsen Tribute Page |
| |
| --- |
| Buddy Ebsen |
| |
| --- |
| ***Buddy Ebsen*** (1908-2003)
was best known for his portrayal of Jed Clampett from "The Beverly Hillbillies" and as TV sleuth "Barnaby Jones". In the thirties he was a hoofer, who danced in several musical movies. Despite his countrified image he was a versatile actor. His talents included: writing plays, writing songs, producing musicals, painting.
This web site is dedicated to Ebsen and his work. |
|
Buddy Ebsen |
| --- |
| Buddy Ebsen | [Biography](bebio.htm) | Vital Statistics and Career |
| Silver Screen | [Filmography I](efilmog1.htm) | Theatrical and TV Movies |
| Television |
[Filmography II](efilmog2.htm)
| TV Series and TV Guest Starring |
| Stage |
[Filmography III](efilmog3.htm)
| Stage Work, Variety and Miscellaneous |
| Buddy Ebsen | [Photo Gallery](photgal1.htm)
| Some of My Favorite Photos of Buddy |
| Barnaby Jones Title | [Barnaby
Jones Main Page](bjones/index.htm) | Info on Detective Series of the 70's |
| Barnaby Jones Title | [Barnaby
Jones Episode Guide](bjones/bjepgli.htm) | Title & Airdate Listing withLinks
to Credit Listing and Synopses |
| Barnaby Jones Title |
[Special Event, Jan. 28, 2009](bjaniv36.htm) | Barnaby Jones, 36th Anniversary Greetings |
| Guestbook |
[Sign Guestbook](addbook2.html)
| If You Have a Question or Comment
Please Leave a Note |
| Guestbook |
[View Guestbook](viewgbe.htm) To Look at Guest Book Entries |
|
| ... |
[Obituary Vilma Ebsen](vilmaobit.htm) Some links to press obituaries for Buddy's sister (1911-2007) |
|
---
| Links to other sites on the Web |
| --- |
| Official Web Sites |
|
[Uncle Jed Country](http://www.unclejedcountry.com) | A web site especially about Buddy's Uncle Jed Country paintings, posted in Jan. 2000; with video clips about Buddy's lithographs and his movies (by Earl Babin /Infinite Horizon) |
| [Buddy Ebsen Museum](http://www.buddyebsenmuseum.com) | A wonderful new web site displaying memorabilia collected by Buddy Ebsen himself, posted in Aug. 2006; with lots of video and audio clips (requires a Flash Player 8)(by NHaK) |
| [More Links](links1.htm) |
Other interesting external links to Buddy Ebsen related web sites |
---
| |
| --- |
| This page is created and maintained by R. Boehme, © 1999 - 2009. |
| It is an unofficial fan site and it is dedicated to Buddy Ebsen, his work and to all his admirers. |
| E-mail: [[email protected]](mailto:[email protected]) |
| First appearance March 1999 |
| Last update Jan. 2009 |
| |
| You are visitor number:
Counter
since the counter was installed August 7, 1999 |
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| --- | --- | --- | --- |
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---
| |
| --- |
|
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<center><table><tr><td><font color="#104e8b" size=-1><pre>In 1992, almost eight decades after the tragic
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<meta name="Description" content="The computer graphics museum , le musée de l'image de synthèse et de l'animation 3d vintage et des logiciels ou software comme autodesk maya cg ou cgi en informatique et plus particulierement sogitec, ilm, pixar, magi synthavision, cray, tron, pixar, sony imageworks, silicon graphics, triplei, evans and sutherland" />
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<h1>THE COMPUTER GRAPHICS MUSEUM </h1>
<p>Musée de l'image de synthèse</p>
<img src="Images/720px-Sogitec-simulateur-1983.jpg" alt="" width="761" height="212" /></h1>
<ul>
<li><a href="http://computergraphmuseum.free.fr/internet.htm" onmouseover="playSound(0)">Internet</a></li>
<li><a href="http://computergraphmuseum.free.fr/history3d.htm" onmouseover="playSound(0)">3dHistory</a></li>
<li><a href="http://computergraphmuseum.free.fr/makingof.htm" onmouseover="playSound(0)">MakingOf</a></li>
<li><a href="http://computergraphmuseum.free.fr/3dhereos.htm" onmouseover="playSound(0)">3dHereos</a></li>
<li><a href="http://computergraphmuseum.free.fr/simulation.htm" onmouseover="playSound(0)">FlightSimulation</a></li>
<li><a href="http://computergraphmuseum.free.fr/magazines.htm" onmouseover="playSound(0)">Magazines</a></li>
<li><a href="http://computergraphmuseum.free.fr/software.htm" onmouseover="playSound(0)">Softwares</a></li>
<li><a href="mailto:[email protected]" onMouseOver="playSound(0)">Contact</a></li>
<li><a href="http://computergraphmuseum.free.fr/computers.htm" onmouseover="playSound(0)">Computers</a></li>
<li><a href="http://computergraphmuseum.free.fr/company.htm" onmouseover="playSound(0)">Company</a></li>
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<div id="CONTENT">
<h2>Welcome in the Computer Graphics Museum</h2>
<div id="TEXT">
<img src="Images/Mike303 superfunk picture HD tron.jpg" alt="" width="214" height="295" />
<embed src="http://analogsynthmuseum.free.fr/Musique%20lecteur%202012/02%20The%20Second%20Wave,%20Sirens.mp3" autostart="true" hidden="false" loop="true"> </embed><br> <br></center>
<br><center><p>I wish you a Merry Christmas 2023 and a Happy new year 2024.</p>
<p>Bonjour, la synthèse d'image tridimentionnelle consiste à créer à l'aide de moyens informatiques des vues en perspectives d'objets, décris uniquement par un ensemble de nombres, l'ordinateur devient une camera braquée sur un monde sans réalité physique qui n'existe comme image de données mathématiques.</p>
<p>The computer generated images CGI consists in creating using average data processing of the sights in prospects for objects, describe only by one whole of numbers, the computer becomes a camera directed on a world without physical reality which does not exist like image of mathematical data.</p>
<br><br><center><p>Welcome in the only Computer Graphics Museum in the world , you will find here a lot of pictures , videos , and informations about rare computer graphics , computers , pictures and videos about company like SOGITEC computer graphics , PIXAR, I.L.M. with Georges Lucas and many more...</p>
<p>Bienvenue dans l'unique musée de l'image de synthèse au monde (Computer Graphics Museum), où vous trouverez les images de synthèses les plus rare produites par des sociétés françaises ou américaines comme la société SOGITEC qui pour moi est la plus représentative de la french touch mais aussi le CCETT, ILM, PIXAR, et bien d'autres.</p>
<p>Le logiciel de prédillection en images de synthese sur ce site est MAYA de ALIAS WAVEFRONT racheté récemment par la Tentaculaire AUTODESK, utilisé abondemment dans la trilogie Star wars ou terminator.</p>
<br><br><center><p>Welcome in the only Computer Graphics Museum in the world , you will find here a lot of pictures , videos , and informations about rare computer graphics , computers , pictures and videos about company like SOGITEC computer graphics , PIXAR, I.L.M. with Georges Lucas and many more... </p>
<p>Un grand nombre d'informations, d'images et de vidéos vous permettront de découvrir des videos rare trouvées au fil des années par mes soins, bonne visite dans le Computer Graphics Museum (Mike).</p>
<h3>Dernière mise à jour 9th july 2020, Last update 9th july 2020 , new Autodesk Maya 2020 videos showreel in Maya folder,( new Terminatro Dark fate making of ,new in digital production the last starfighter making of, 3D hereos folder, Renderman folder updated, Maxell Render folder in softwares folder, new Tecktronix 4014 commercial,new Autodesk Maya 2017, Arnold render & mental ray 2017) , we have some issue with Google chrome so you should use Firefox navigator</h3>
<p>L'autre musée pour les amoureux des synthetiseurs et de la musique electronique c'est l'ANALOG SYNTH MUSEUM consultable en cliquant sur le nom qui suit ( the other museum is the Analog Synth Museum and my friend Alain Guelis the master of music for computer graphics are both available in this next link:<br>
<li><a href="http://analogsynthmuseum.free.fr/index.html">ANALOG SYNTH MUSEUM</a></li>
<li><a href="http://alainguelis.free.fr/index.html">ALAIN GUELIS WEBSITE</a></li> <br>
<p>Who visits the site, look at the planet earth (to see the globe disable ublock)</p><br>
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the computer graphics museum
# THE COMPUTER GRAPHICS MUSEUM
Musée de l'image de synthèse
* [Internet](http://computergraphmuseum.free.fr/internet.htm)
* [3dHistory](http://computergraphmuseum.free.fr/history3d.htm)
* [MakingOf](http://computergraphmuseum.free.fr/makingof.htm)
* [3dHereos](http://computergraphmuseum.free.fr/3dhereos.htm)
* [FlightSimulation](http://computergraphmuseum.free.fr/simulation.htm)
* [Magazines](http://computergraphmuseum.free.fr/magazines.htm)
* [Softwares](http://computergraphmuseum.free.fr/software.htm)
* [Contact](mailto:[email protected])
* [Computers](http://computergraphmuseum.free.fr/computers.htm)
* [Company](http://computergraphmuseum.free.fr/company.htm)
## Welcome in the Computer Graphics Museum
I wish you a Merry Christmas 2023 and a Happy new year 2024.
Bonjour, la synthèse d'image tridimentionnelle consiste à créer à l'aide de moyens informatiques des vues en perspectives d'objets, décris uniquement par un ensemble de nombres, l'ordinateur devient une camera braquée sur un monde sans réalité physique qui n'existe comme image de données mathématiques.
The computer generated images CGI consists in creating using average data processing of the sights in prospects for objects, describe only by one whole of numbers, the computer becomes a camera directed on a world without physical reality which does not exist like image of mathematical data.
Welcome in the only Computer Graphics Museum in the world , you will find here a lot of pictures , videos , and informations about rare computer graphics , computers , pictures and videos about company like SOGITEC computer graphics , PIXAR, I.L.M. with Georges Lucas and many more...
Bienvenue dans l'unique musée de l'image de synthèse au monde (Computer Graphics Museum), où vous trouverez les images de synthèses les plus rare produites par des sociétés françaises ou américaines comme la société SOGITEC qui pour moi est la plus représentative de la french touch mais aussi le CCETT, ILM, PIXAR, et bien d'autres.
Le logiciel de prédillection en images de synthese sur ce site est MAYA de ALIAS WAVEFRONT racheté récemment par la Tentaculaire AUTODESK, utilisé abondemment dans la trilogie Star wars ou terminator.
Welcome in the only Computer Graphics Museum in the world , you will find here a lot of pictures , videos , and informations about rare computer graphics , computers , pictures and videos about company like SOGITEC computer graphics , PIXAR, I.L.M. with Georges Lucas and many more...
Un grand nombre d'informations, d'images et de vidéos vous permettront de découvrir des videos rare trouvées au fil des années par mes soins, bonne visite dans le Computer Graphics Museum (Mike).
### Dernière mise à jour 9th july 2020, Last update 9th july 2020 , new Autodesk Maya 2020 videos showreel in Maya folder,( new Terminatro Dark fate making of ,new in digital production the last starfighter making of, 3D hereos folder, Renderman folder updated, Maxell Render folder in softwares folder, new Tecktronix 4014 commercial,new Autodesk Maya 2017, Arnold render & mental ray 2017) , we have some issue with Google chrome so you should use Firefox navigator
L'autre musée pour les amoureux des synthetiseurs et de la musique electronique c'est l'ANALOG SYNTH MUSEUM consultable en cliquant sur le nom qui suit ( the other museum is the Analog Synth Museum and my friend Alain Guelis the master of music for computer graphics are both available in this next link:
- [ANALOG SYNTH MUSEUM](http://analogsynthmuseum.free.fr/index.html)
- [ALAIN GUELIS WEBSITE](http://alainguelis.free.fr/index.html)
Who visits the site, look at the planet earth (to see the globe disable ublock)
[](https://www.counter12.com)
ANALOGSYNTHMUSEUM; 2011-2018
[Designed by SUPERFUNK@rt](http://www.gettemplate.com)
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<p align="left"><font size="+1" face="ARIAL,HELVETICA"><strong>Hello and welcome to the gail.com FAQ.</strong></font></p>
<p align="left"><font size="+1" face="ARIAL,HELVETICA">
Q: Why isn't there any content here? Can't you at least throw up a picture of your cat for the Internet to check out? <br>
A: Sorry, I have a cat, but she's pretty unexciting by Internet standards. As for why there is very little content here, we wanted to keep the server's attack surface as small as possible to keep it safe.</font></p>
<!-- Okay, if you really want to see a photo of my cat and have resorted to looking at the source HTML, here is a photo: https://gail.com/boxcat.jpg -->
<p align="left"><font size="+1" face="ARIAL,HELVETICA">
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<p align="left"><font size="+1" face="ARIAL,HELVETICA">
Q: How did you manage to get gail.com?<br>
A: My husband registered it as a birthday gift back in 1996.</font></p>
<p align="left"><font size="+1" face="ARIAL,HELVETICA">
Q: How many times a day is this page visited?<br>
A: In 2020 this page received a total of 5,950,012 hits, which is an average of 16,257 per day. Looking at just unique hits, we received a total of 1,295,284, for an average of 3,539 unique hits per day. Occasionally, we get Twitter-bombed and may get several tens of thousands of visitors a day. As an example, on July 21st 2020 we received 109,316 hits.</font></p>
<p align="left"><font size="+1" face="ARIAL,HELVETICA">
Q: Why is your website so popular? Are you one of those famous people that no one knows why they're famous?<br>
A: No, I'm not famous. It seems likely that most visitors simply mistype gmail.com and end up visiting gail.com by mistake.
</font></p>
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Q: I tried to send some photos to my girlfriend and typed gail.com instead of gmail.com in the address field. The photos were of a <i>very</i> personal nature. Can you please delete them?<br>
A: There are only two valid e-mail addresses on the gail.com domain, so it is extremely likely that your photos were rejected by my e-mail provider and deleted. Another interesting gail.com factoid: my amazing e-mail provider, <a href="https://protonmail.com/">ProtonMail</a>, rejects about 1.2 million mis-addressed e-mails per week to the gail.com domain.
</font></p>
<p align="left"><font size="+1" face="ARIAL,HELVETICA">
Q: I think you're infringing on my trademark...<br>
A: If you consult with someone well versed in trademark law, they will tell you that you can't have an exclusive trademark on a common word or name. My husband and I successfully defended ourselves against an attempted domain takeover in 2006; see <a href="http://www.wipo.int/amc/en/domains/decisions/html/2006/d2006-0655.html">WIPO Case D2006-0655</a> for more information.</font></p>
<p align="left"><font size="+1" face="ARIAL,HELVETICA">
Q: Are you interested in monetizing gail.com?<br>
A: No, but thanks for asking.</font></p>
<p align="left"><font size="+1" face="ARIAL,HELVETICA">
Q: Don't you know that you could throw some ads up and make money?<br>
A: Yes, I know, thank you. For those who feel they need more advertising in their life, please have a look at our swanky Electronic Frontier Foundation ad below. If you believe in a free Internet, please consider clicking on the link and donating to the EFF.</font></p>
<p align="left"><font size="+1" face="ARIAL,HELVETICA">
If you have a question not answered above, feel free to send it to: faq at gail period com. Thanks for visiting.</font></p>
<p align="left"><font size="+1" face="ARIAL,HELVETICA">
-Gail</font></p>
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<p><a href="https://eff.org"><img src="https://www.eff.org/sites/default/files/eff-join2.png" alt="Join EFF!" border="0"></a></p>
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gail.com FAQ
**Hello and welcome to the gail.com FAQ.**
Q: Why isn't there any content here? Can't you at least throw up a picture of your cat for the Internet to check out?
A: Sorry, I have a cat, but she's pretty unexciting by Internet standards. As for why there is very little content here, we wanted to keep the server's attack surface as small as possible to keep it safe.
Q: Interested in selling gail.com?
A: Sorry, no.
Q: How did you manage to get gail.com?
A: My husband registered it as a birthday gift back in 1996.
Q: How many times a day is this page visited?
A: In 2020 this page received a total of 5,950,012 hits, which is an average of 16,257 per day. Looking at just unique hits, we received a total of 1,295,284, for an average of 3,539 unique hits per day. Occasionally, we get Twitter-bombed and may get several tens of thousands of visitors a day. As an example, on July 21st 2020 we received 109,316 hits.
Q: Why is your website so popular? Are you one of those famous people that no one knows why they're famous?
A: No, I'm not famous. It seems likely that most visitors simply mistype gmail.com and end up visiting gail.com by mistake.
Q: I tried to send some photos to my girlfriend and typed gail.com instead of gmail.com in the address field. The photos were of a *very* personal nature. Can you please delete them?
A: There are only two valid e-mail addresses on the gail.com domain, so it is extremely likely that your photos were rejected by my e-mail provider and deleted. Another interesting gail.com factoid: my amazing e-mail provider, [ProtonMail](https://protonmail.com/), rejects about 1.2 million mis-addressed e-mails per week to the gail.com domain.
Q: I think you're infringing on my trademark...
A: If you consult with someone well versed in trademark law, they will tell you that you can't have an exclusive trademark on a common word or name. My husband and I successfully defended ourselves against an attempted domain takeover in 2006; see [WIPO Case D2006-0655](http://www.wipo.int/amc/en/domains/decisions/html/2006/d2006-0655.html) for more information.
Q: Are you interested in monetizing gail.com?
A: No, but thanks for asking.
Q: Don't you know that you could throw some ads up and make money?
A: Yes, I know, thank you. For those who feel they need more advertising in their life, please have a look at our swanky Electronic Frontier Foundation ad below. If you believe in a free Internet, please consider clicking on the link and donating to the EFF.
If you have a question not answered above, feel free to send it to: faq at gail period com. Thanks for visiting.
-Gail
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<LI><A HREF="evolution.html">Evolution</A> and where man comes from.
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<li><a href="browsers.html">The War of the Browsers</a>, and the long term significance.
<li><a href=sneakers.html>Kids, $100 Sneakers, and Rap</a>, and what to do about them.
<li><a href=womilitary.html>Women in the Military</a>, why and why not.
<li><a href=decay.html>Moral Decay in American Society</a>, the cause and cure.
<li><a href=fashion.html>Fashion models</a>, and why they are so skinny.
<li><a href="https://www.godsbeacon.com/">Conversations with a Deity</a>. The Hyperbook of Oyva.
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Leo's Lair
Subliminal ad space for rent
Leo's Lair
#### Leo's Lair
By Leo Savage
I'm a very opinionated guy, so I'm using this opportunity to air some of
my opinions. If you don't like 'em, go write yer own web pages.
Here are some of the great issues of the day that I have solved:
1. [The Crime Wave](crime.html), and how to stop it.
- [Our prisons](prisons.html), and what to do about them.
- [Abortion](abortion.html), pro-life versus pro-choice, the final answer.
- [The drug problem](drugs.html) and [marijuana](marijuana.html).
1. [A reply](drugs_reply.html) to my position.
- [My rebuttal](drugs_rebuttal.html) to the reply.- [Beer](beer.html), homebrew versus commercial beer
- [Carrying capacity](carrycap.html). I didn't write this, but you want to read it.
- [Evolution](evolution.html) and where man comes from.
- [The Mind, the Eye, and the Mind's Eye](mindseye.html). Perception and memory, and how they work.
- [The War of the Browsers](browsers.html), and the long term significance.
- [Kids, $100 Sneakers, and Rap](sneakers.html), and what to do about them.
- [Women in the Military](womilitary.html), why and why not.
- [Moral Decay in American Society](decay.html), the cause and cure.
- [Fashion models](fashion.html), and why they are so skinny.
- [Conversations with a Deity](https://www.godsbeacon.com/). The Hyperbook of Oyva.
You can also check out
[my hot spots](hots.html), such as they are. They ain't much.
---
Page accesses to date: 
 [[email protected]](mailto:[email protected])
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Froggie's Photos</font></h1>
<p align="center"><img border="0" src="me-wanted2.jpg" width="500" height="589"></p>
<p align="center">And there's even a reward too... </p>
<hr>
<b>
<p>Froggie's photo pages...my collection of haphazard and not-so-haphazard shots
in a loose organization based on geographic area. These shots were taken using a variety of
cameras, in a variety of areas, and by a variety of people (the variety of
people coming from whomever was in the
given area who I could convince to take my own picture). When you look at most of them, be forewarned
that you'll have to use your browser's "Back" button/command to get back from
the pic links. </p>
<p><a href="jnpics/index.html"><big>Japan Pics</big></a></p>
<p><a href="asiapics/index.html"><big>Other Asia Pics</big></a></p>
<p><a href="shippics/index.html"><big>Ship Pics</big></a></p>
<p><big><a href="babypics/index.html">Baby Pics</a></big></p>
<p><a href="mnpics/early-mn-pics.htm"><big>Early Minnesota Pics</big></a></p>
<p><a href="mnpics/index.html"><big>Minnesota Pics</big></a></p>
<p><a href="mspics/index.html"><big>Mississippi Pics</big></a></p>
<p><big><a href="lookout/index.html">Pictures from Lookout Mountain, TN</a></big></p>
<p><font size="4"><a href="cumberland-gap/index.html">Photos from Cumberland Gap
National Historic Park</a></font></p>
<p><font size="4"><a href="vapics/1stlanding/index.html">Photos from Virginia
Beach's First Landing State Park</a></font></p>
<p><font size="4"><a href="vapics/fallfoliage2004/index.html">Fall Foliage 2004</a></font></p>
<p><font size="4"><a href="vapics/talknetfest11/index.html">TalkNet Fest 11</a></font></p>
<p><a href="other-pics.htm"><big>Other Pics</big></a></p>
<p><a href="../roadpics/index.html"><big>Highway Pictures</big></a></p>
<p><big><a href="../wxpics/index.html">Weather Pictures</a></big></p>
<p><big><a href="../mel/snowpics.htm">Snowstorm Pics</a></big></p>
<p><font size="4"><a href="europe/turkey/ruins/index.html">The Roman Ruins at
Ephesus (Turkey)</a></font></p>
<p><font size="4"><a href="gitmo/index.html">Guantanamo Bay, Cuba</a></font></p>
<p><font size="4"><a href="san_diego/index.html">San Diego, CA</a></font></p>
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<a href="../triskele/index.html" style="text-decoration: none; font-style: italic; color: rgb(255, 255, 255)">Highway
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Highway Photography</a></div></td>
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<a href="../roads/county/counting.htm" style="text-decoration: none; font-style: italic; color: rgb(255, 255, 255)">County Collection</a></div></td>
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<a href="../battletech/index.html" style="text-decoration: none; font-style: italic; color: rgb(255, 255, 255)">Battletech Pages</a></div></td>
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<p align="center">Page last modified
<!--webbot bot="Timestamp" S-Type="EDITED" S-Format="%d %B, %Y" startspan -->18 November, 2007<!--webbot bot="Timestamp" i-checksum="39372" endspan --></p>
<p>(C) 2006-1998, Adam Froehlig</p>
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#
Froggie's Photos
And there's even a reward too...
---
**Froggie's photo pages...my collection of haphazard and not-so-haphazard shots
in a loose organization based on geographic area. These shots were taken using a variety of
cameras, in a variety of areas, and by a variety of people (the variety of
people coming from whomever was in the
given area who I could convince to take my own picture). When you look at most of them, be forewarned
that you'll have to use your browser's "Back" button/command to get back from
the pic links.
[Japan Pics](jnpics/index.html)
[Other Asia Pics](asiapics/index.html)
[Ship Pics](shippics/index.html)
[Baby Pics](babypics/index.html)
[Early Minnesota Pics](mnpics/early-mn-pics.htm)
[Minnesota Pics](mnpics/index.html)
[Mississippi Pics](mspics/index.html)
[Pictures from Lookout Mountain, TN](lookout/index.html)
[Photos from Cumberland Gap
National Historic Park](cumberland-gap/index.html)
[Photos from Virginia
Beach's First Landing State Park](vapics/1stlanding/index.html)
[Fall Foliage 2004](vapics/fallfoliage2004/index.html)
[TalkNet Fest 11](vapics/talknetfest11/index.html)
[Other Pics](other-pics.htm)
[Highway Pictures](../roadpics/index.html)
[Weather Pictures](../wxpics/index.html)
[Snowstorm Pics](../mel/snowpics.htm)
[The Roman Ruins at
Ephesus (Turkey)](europe/turkey/ruins/index.html)
[Guantanamo Bay, Cuba](gitmo/index.html)
[San Diego, CA](san_diego/index.html)**
---
| | | | | | | |
| --- | --- | --- | --- | --- | --- | --- |
|
[Froggie's Home](../index.html) |
[Highway
Heaven](../triskele/index.html) |
[Magnolia Meanderings](../roads/index.html) |
[Highway Photography](../roadpics/index.html) |
[County Collection](../roads/county/counting.htm) |
[Battletech Pages](../battletech/index.html) |
[Froggie's Pics](index.html) |
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18 November, 2007
(C) 2006-1998, Adam Froehlig
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<TITLE>How to «open» microchip and what's inside? : ZeptoBars</TITLE>
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<div class="datacomnew"><div style="position:absolute;width: 0px;height:0px;"><div class="datpos">November 15, 2012</div></div></div>
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<h1>How to «open» microchip and what's inside?</h1><img src="https://3.14.by/files/stlogo.jpg" align="left"/>Microchips - are indeed can be considered a black box - as long as it's working you normally don't look inside. <br />But what if you want to?<br /><br />Today we'll show how to "open" chips and what's inside. <br /><br /><b>WARNING!</b> All operations with concentrated (and especially hot) acids are extremely dangerous. Only trained persons should work with them using required protective equipment (acid-prof gloves, protection glasses, protective suit, fume hood and more). Remember that you only have 2 eyes! <br /><b>This article is for educational purposes only, do not try to repeat!</b>.<br /><br /><h1>Opening microchips</h1>Take some microchips of interest and add concentrated sulfuric acid. Container should be closed, but not airtight, so that fumes can escape (that is extremely important). Heat it to boiling temperature (300 °C). White substance at the bottom is baking soda - it's here to neutralize accidental spills and part of fumes. <br /><img src="https://s.zeptobars.com/acid1.jpg"/><br /><br /><br />After 30-40 minutes, acid "burns" plastic to carbon:<br /><img src="https://s.zeptobars.com/acid2.jpg"/><br /><br />After it cools down, we can sort what is ready for next step and what needs another acid bath (thick, bulky packages usually need 2-3 rounds):<br /><img src="https://s.zeptobars.com/acid3.jpg"/><br /><br />If pieces of carbon stuck to the microchip itself and cannot be removed mechanically, one can remove them in hot concentrated nitric acid (temperature is much lower, ~110-120 °C):<br /><img src="http://3.14.by/files/nitric.jpg" width="1000"/><br /><br /><h1>Taking a look</h1>Images are clickable (beware of 5-25Mb JPEG's).<br />Colors are enhanced, in reality they are much less saturated. <br /><br /><b>PL2303HX </b> — USB<>RS232 converter, chips like this are used in Arduino-like boards for example:<br /><a href="https://s.zeptobars.com/PL2303HX-HD.jpg"><img src="https://s.zeptobars.com/PL2303HX.jpg"></a><br>
<br /><b>LM1117 </b> — low-dropout linear regulator:<br /><a href="https://s.zeptobars.com/LM1117-HD.jpg"><img src="https://s.zeptobars.com/LM1117.jpg"></a><br>
<br /><b>74HC595 </b> — 8-bit shift register:<br /><a href="https://s.zeptobars.com/74HC595-HD.jpg"><img src="https://s.zeptobars.com/74HC595.jpg"></a><br>
<br /><b>NXP 74AHC00</b> — quad 2-input NAND gate. <br />This is a nice example that 'old' tech nodes (1µm and older) are still in use. Also, note how many spare via are there for improved yield..<br /><a href="https://s.zeptobars.com/NXP-74AHC00D-HD.jpg"><img src="https://s.zeptobars.com/NXP-74AHC00D.jpg"></a><br>
<br /><b>Micron MT4C1024 </b> — 1 <a href="http://en.wikipedia.org/wiki/Mebibit">mebibit</a> (2<sup>20</sup> bit) dynamic ram.<br/>Widely used in 286 and 386-era computers, early 90's.<br /><br />Die size - 8662x3969µm.<br /><a href="https://s.zeptobars.com/MT4C1024-HD.jpg"><img src="https://s.zeptobars.com/MT4C1024.jpg"></a><br>
<br /><b>AMD Palce16V8h</b> GAL is an 32x64 array of AND elements.<br />GAL(Generic array logic) microchips are FPGA and CPLD grandfathers. <br /><br />Die size - 2434x2079µm, 1µm technology.<br /><a href="https://s.zeptobars.com/amd-palce16V8h-HD.jpg"><img src="https://s.zeptobars.com/amd-palce16V8h.jpg"></a><br>
<br /><b>ATtiny13A</b> — one of the smallest Atmel's microcontrollers: only 1kb of flash and 32 bytes of SRAM. Die size though appeared to be unexpectedly big (1620x1640 µm).<br /><br />500nm technology node.<br /><a href="https://s.zeptobars.com/atmel-attiny13a-HD.jpg"><img src="https://s.zeptobars.com/atmel-attiny13a.jpg"></a><br>
<br /><b>ATmega8</b> — one of the most popular 8-bit microcontrollers.<br /><br />Die size - 2855x2795µm, technology node 500nm.<br /><a href="https://s.zeptobars.com/atmega8-HD.jpg"><img src="https://s.zeptobars.com/atmega8.jpg"></a><br>
<br /><b>KR580IK80A</b> (later renamed to KR580VM80A) - one of the most widespread soviet processors. Contrary to popular belief, it appeared to be not an Intel 8080A (or 8080) clone, but a code-compatible redesign (while several parts are quite similar, routing is different as well as pad placement).<br /><br />Thinnest lines are 6µm. <br /><a href="https://s.zeptobars.com/kr580ik80a-HD.jpg"><img src="https://s.zeptobars.com/kr580ik80a.jpg"></a><br>
<br /><b>STM32F100C4T6B</b> — is the smallest microcontroller made by STMicroelectronics based on ARM Cortex-M3 core.<br /><br />Die size - 2854x3123µm.<br /><a href="https://s.zeptobars.com/STM32F100C4T6B-HD.jpg"><img src="https://s.zeptobars.com/STM32F100C4T6B.jpg"></a><br>
<br /><b>Altera EPM7032</b> — Altera EPM7032 - CPLD that have seen a lot... One of the last using 5V supply.<br /><br />Die size - 3446x2252µm, technology node 1µm.<br /><a href="https://s.zeptobars.com/altera-epm7032-HD.jpg"><img src="https://s.zeptobars.com/altera-epm7032.jpg"></a><br>
<br /><b>MIFARE</b> chip, used in Moscow's subway RFID tickets.<br /><br />Die size - 640x620 µm.<br /><a href="https://s.zeptobars.com/mifare-HD.jpg"><img src="https://s.zeptobars.com/mifare.jpg"></a><br>
<br />Now black box is open :-)<br /><br />Follow us on Twitter <a href="https://twitter.com/intent/user?screen_name=Zeptobars">@Zeptobars</a> or subscribe to our <a href="https://zeptobars.com/en/rss">RSS feed</a> - we'll continue opening chips.<br /><br />See <a href="https://zeptobars.com/en/read/open-microchip-asic-what-inside-II-msp430-pic-z80">Part II: How to «open» microchip and what's inside? Z80, Multiclet, MSP430, PIC and more</a>.<br /><br /><b>Update:</b> Wow, time flies, It's been 7 years! Just a quick update - since that time I started to decap chips in much smaller acid volume (~0.2-1ml per chip) in test tubes, which is safer. Cleaning in nitric acid is no longer used to reduce process complexity. When needed - I just repeat sulfuric acid etch in test tube. Large etches also make use of chemical fumes neutralization in baking soda solution. Always wear eye protection and gloves! Remember that regular lab gloves <a href="https://www.youtube.com/watch?v=aBVdGGml6bU">self-ignite</a> in fuming nitric acid.<br /><br />You can also now support us at <a href="https://www.patreon.com/zeptobars">Patreon</a>. <div style="margin-top: 10px;float:left;width: 100%;height:1px;">
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November 15, 2012
# How to «open» microchip and what's inside?
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that I am older, wiser, more mature and generally just more awesome, I
find the writing style of my old self quite embarrassing at times. I also
find myself annoyed at the way I used to overuse the ellipsis... This site
used to be updated on a regular basis, but now it isn't as I can't be
arsed any more. See my Twitter if you want to know I'm thinking these
days.</p>
<p>Contact info: click <a href="contact.php">here</a>.</p>
<hr>
<p style="text-align:center;">
<iframe src="https://store.steampowered.com/widget/1068720/" frameborder="0" width="646" height="190"></iframe>
</p>
<hr>
<!--
<h4>So, who is this ARGanoid person?</h4>
<p>I have been on this world for 30+ of the things you Earth humans
foolishly call years. I work as a videogame programmer at <a href="http://www.frontier.co.uk/" target="_top">Frontier Developments</a>. Recently I have been suffering from <a href="rsi.php">repetitive strain injury and voice strain</a>.</p>
<hr>
-->
<div id="catphoto">
<h3>A cat photo</h3>
<img src="gfx/photos/nature/kittens/cat-dalek.jpg" alt="Cat photo" style="width:100%;max-width:800px">
</div>
<hr>
<h3>Links to the rest of this site</h3>
<p>(although you can just use the top bar instead)</p>
<p><a href="argcom.php">Arganoid's comedy page. Click here to look at some of the humourous short stories/plays that I have written.</a></p>
<p><a href="rsi.php">Information on repetitive strain injury (RSI) and voice strain</a></p>
<p><a href="bluddian.php">Arganoid's Captain Blood Worship Page... Loads of stuff on the subject of the most nostalgic (for me, at least) computer game of all time.</a></p>
<p><a href="stscene.php">The Atari ST Scene page - loads of info on old ST demos and stuff about the various ST emulators.</a></p>
<div class="flex-container">
<div><a href="pilsbry/"><img src="pilsbry/pilsbry.jpg" alt="Pilsbry"></a></div>
<div><a href="pilsbry/">The Pilsbry homepage: Information on the games I have written, including Partition Sector - a Bomberman-style game for Windows.</a></div>
</div>
<p><a href="gfx/">ARGanoid's GFX page... A collection of cool pictures, or at least some pictures I thought were cool years ago.</a></p>
<p><a href="pcscene.htm">I used to write reviews and stuff about videogames, but the page hasn't been updated in many years.</a></p>
<p><a href="AncientBlog.htm">The ancient blog</a></p>
<hr>
<div class="flex-container">
<div style="padding:10px">Copyright 1997-2020 Andrew R. Gillett</div>
<div style="padding:10px"><br></div>
<div style="padding:10px"><img src="care.gif" alt="Best viewed with... who cares?"></div>
<div style="padding:10px"><button id="budgie"><img src="bestvw2.gif" alt="Best viewed with a Budgie"></button></div>
<div style="padding:10px"><img src="bveye-anim.gif" alt="Best viewed with Eyes"></div>
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|
ARGnet: Arganoid's home page
[](index.php)
[arganoid.com](https://arganoid.com/)
[Computer Science tutoring](https://tutor.arganoid.com/)
[Arganoid Industries](https://industries.arganoid.com/)
[Comedy](argcom.php)
[Atari ST](stscene.php)
[Captain Blood](bluddian.php)
[Pilsbry](pilsbry/)
[Photos](gfx/photos/)
[RSI + Voice Strain](rsi.php)
[](https://twitter.com/arganoid)
[](https://www.youtube.com/@Arganoid)
[.svg)](https://mastodon.gamedev.place/web/@arganoid)
[TikTok](https://tiktok.com/@arganoidindustries)
[Old blog](https://arganoid.livejournal.com/)
Note that the new URL for this website is [argnet.arganoid.com](https://argnet.arganoid.com/)
---
Virtual home of ARGanoid (Andrew R. Gillett)
*Now without frames!*
Yo, cybersurfers! Welcome to ARGnet, esteemed purveyor of quality stuff
since 1997. This site is a relic from the days when people made their own
homepages. It is written in an ancient form of HTML.
*2017 update: Now HTML5 compliant!*
ARGnet contains loads of interesting stuff, assuming you're
the kind of weirdo who is interested in the same kinds of stuff as me,
which you're probably not. Most of this site was written in 1997/98. Now
that I am older, wiser, more mature and generally just more awesome, I
find the writing style of my old self quite embarrassing at times. I also
find myself annoyed at the way I used to overuse the ellipsis... This site
used to be updated on a regular basis, but now it isn't as I can't be
arsed any more. See my Twitter if you want to know I'm thinking these
days.
Contact info: click [here](contact.php).
---
---
### A cat photo
---
### Links to the rest of this site
(although you can just use the top bar instead)
[Arganoid's comedy page. Click here to look at some of the humourous short stories/plays that I have written.](argcom.php)
[Information on repetitive strain injury (RSI) and voice strain](rsi.php)
[Arganoid's Captain Blood Worship Page... Loads of stuff on the subject of the most nostalgic (for me, at least) computer game of all time.](bluddian.php)
[The Atari ST Scene page - loads of info on old ST demos and stuff about the various ST emulators.](stscene.php)
[](pilsbry/)
[The Pilsbry homepage: Information on the games I have written, including Partition Sector - a Bomberman-style game for Windows.](pilsbry/)
[ARGanoid's GFX page... A collection of cool pictures, or at least some pictures I thought were cool years ago.](gfx/)
[I used to write reviews and stuff about videogames, but the page hasn't been updated in many years.](pcscene.htm)
[The ancient blog](AncientBlog.htm)
---
Copyright 1997-2020 Andrew R. Gillett
| https://argnet.fatal-design.com/index.php |
<HTML>
<HEAD>
<TITLE>Sean's Homepage</TITLE>
</HEAD>
<FRAMESET BORDER="0" COLS="19%,81%">
<FRAME SRC="menu.htm" NAME="Menu">
<FRAME SRC="home.htm" NAME="Main">
</FRAMESET>
</HTML> |
Sean's Homepage
| http://home.ica.net/~shew/ |
<HTML>
<HEAD>
<TITLE>The Icon Browser</TITLE>
</HEAD>
<BODY>
<UL>
<H1>Welcome to The Icon Browser:</H1></p>
Go to the page:</p>
<LI><PRE> <A HREF="icons/icons1-6.html">1-6</A> <A HREF="icons/icons7-12.html">7-12</A> <A HREF="icons/icons13-18.html">13-18</A> <A HREF="icons/icons19-24.html">19-24</A> <A HREF="icons/icons25-30.html">25-30</A></PRE>
<LI><PRE> <A HREF="icons/icons31-36.html">31-36</A> <A HREF="icons/icons37-42.html">37-42</A> <A HREF="icons/icons43-48.html">43-48</A> <A HREF="icons/icons49-54.html">49-54</A> <A HREF="icons/icons55-60.html">55-60</A></PRE>
<LI><PRE> <A HREF="icons/icons61-66.html">61-66</A> <A HREF="icons/icons67-72.html">67-72</A> <A HREF="icons/icons73-78.html">73-78</A> <A HREF="icons/icons79-84.html">79-84</A> <A HREF="icons/icons85-90.html">85-90</A></PRE>
<LI><PRE> <A HREF="icons/icons91-96.html">91-96</A> <A HREF="icons/icons97-102.html">97-102</A> <A HREF="icons/icons103-108.html">103-108</A> <A HREF="icons/icons109-114.html">109-114</A></PRE>
</UL>
<HR>
<h2>Icons Search Engine</h2>
<PRE>
<form method=POST action="/iconbin/iconsearch.cgi"><input type=text name=stringa size=20> <select name="output">
<option value="text"> Only text
<option value="grap"> Text and icons
</select>
<input type=submit value="Search"><input type=reset>
</form>
</PRE>
<hr>
<p>
<PRE>
<A HREF="https://www.linkedin.com/in/gioacchinolavecchia"><b><i>gio</i></b></A> <a href="http://www.ibiblio.org/"><img src="http://www.ibiblio.org/hosted/images/xsm_hosted.gif" width="100" height="33" border="0" alt="hosted by ibiblio" />
</a>
</PRE>
</BODY>
</HTML>
|
The Icon Browser
# Welcome to The Icon Browser:
Go to the page:* ```
[1-6](icons/icons1-6.html) [7-12](icons/icons7-12.html) [13-18](icons/icons13-18.html) [19-24](icons/icons19-24.html) [25-30](icons/icons25-30.html)
```
* ```
[31-36](icons/icons31-36.html) [37-42](icons/icons37-42.html) [43-48](icons/icons43-48.html) [49-54](icons/icons49-54.html) [55-60](icons/icons55-60.html)
```
* ```
[61-66](icons/icons61-66.html) [67-72](icons/icons67-72.html) [73-78](icons/icons73-78.html) [79-84](icons/icons79-84.html) [85-90](icons/icons85-90.html)
```
* ```
[91-96](icons/icons91-96.html) [97-102](icons/icons97-102.html) [103-108](icons/icons103-108.html) [109-114](icons/icons109-114.html)
```
---
## Icons Search Engine
```
Only text
Text and icons
```
---
```
[***gio***](https://www.linkedin.com/in/gioacchinolavecchia) [](http://www.ibiblio.org/)
```
| http://www.ibiblio.org/gio/iconbrowser/ |
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Final//EN">
<HTML>
<HEAD>
***
<title> Children in History </title>
<meta http-equiv="content-type" content="text/html; charset=iso-8859-1">
<meta name="title" content="child musical prodigies : Dudley Walker" >
<link rel="shortcut icon" href="/imagef/gif/faviconh.ico">
<link rel="apple-touch-icon" href="/imagef/gif/faviconh.ico">
<META NAME="Description" CONTENT="Serbian school uniform garments.We hope that you find the HBC site interesting and informative. We have amassed information on a wide range of subjects from jourmalistic and scholarly sources which we have illustrated from our extensive image archive. A critical aspect of HBC is integrating this information from readers all over the world We would like to make our site available to you for free as an open access site. Unfortunately, the growing size of our site and especially the steadily increasing bandwidth usage as our readership increases has made this impossible. We need to ask you for your financial support so that we can continue to make our site available to you. The funds are used to defray the internet hosting fees and to support our research effort.
We have made the subscription fees as low as possible to allow any interested readers to access the site. With photos and text. ">
<META NAME="KeyWords" CONTENT="HBC, Historcal boys clothing, clothing, fashion, boy, boys, children, girl, girls, school uniform, garments, caps, military, tunics, sailor suits, shirts, history, historical, fashion, conrtibutions, registration, ">
<META NAME="ROBOTS" CONTENT="ALL">
</HEAD>
<BODY BGCOLOR="#000066" TEXT="#FFFF00" LINK="#FF0000" ALINK="#FFFF00" VLINK="#99CCFF">
<br>
<br>
<a href="/image/new-archive.html"><img src="/imagef/gif/cih-pur.png"></a>
<br>
<br>
<center>
<img src="/bluline.gif">
</center>
<br>
<br>
<br>
<br>
<CENTER><h1>Children in History</h1></CENTER>
<table border=0 cellpadding=20 width=637 height=666 align=right>
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<td> <a href="/essay/war/cwa/cwa-fy.html">
<IMG SRC="/imagef/date/2014/08/cwa-cf01as.jpg" alt="children in history"> </a>
<hr>
<i>Figure 1.--Children for the most part are lost to history. Historians rarely address them, although with the increasing populrityof social history we see somne attention to history. We see few images of children in ancient art and even with the development of Western art, images of children compose only a small portion of available works. And most are portraits with limited historiucal context. Only with the development of photography (1839) do the image of children increase significantly. We begin to see photogrphs which show children in a histoticl context (1860s) and this gradually increased with technological advances in photography. These two unidentified Pennsylvania children are shown during 1862 in a Federal military camp during the American Civil War. I may have been at about the time that Robert E. Lee and the Army of Northern Virginia was headed their way. Notice the puppy which show how children throughout the ages exhibit many similarities. </i>
</td>
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<p> Our website was founded as a fashion site by an old friemd, Chris Wagner. Knowing that I was interested in photoraphy and history , he asked me tonhelpmwith the site. Anf for some time we primarily worked on fashion as we archived thousands of images, mostly old photographs. Over time I began to think that we could make better use of these images than just assessing fashion trends. We have continued to work on fashion and many of our readers are porimarily interested in fashion. Over time, however, we have begun to also focus on history and a range pf other topics such as anthroology, archeology, economics, sociology, science, and many other topics. One reason I got interested in this effort was whn I was teaching school, my students would ask questions about what life was like for children in the various chronological periods we were studying. I was unprepared for this and in the pre-internet dau=ys, this was something that was not easy to research. thus have addressed history with a unique ficus, how children affected history or were affected by history. This is something often glossed over with the common focus on the grat men amnd mow women of the day. On some topics children were not involved or we have not been able o find ibformation about them, but this is information we are constantly seeking and our growing photographic archive is helping to illustrate he various images we have found.
<br>
<h2><a href="/intro/introh.html">Introduction</a></h2>
<p> Our website began in 1998 with Christopher Wagner's work on historic fashion. After compiling a considerable data base we realized that the fashion data base had comsiderable historical and sociologival value beyond the realm of fashion. I taught school in the years before the internet. I taught a range ofvsocial sciences, including economics, history, psychology, and sociology. My history students would often ask life style questions about young people in the various historical period we studied. They wanted to know about clothing,dance, and music. These were topics that as a young teacher I was not prepared to answer. and in the years beore the unternet it was amaterial that was not easy to research. So it ocuured to me that Chris's fashion work could serve as the beginning of a larger site addressing the role of children in history, both how children affected history and of course more commonly how they were affected by history. And we eant to deave into other disciplines such as anthrplogy, economics, sociolgy as well as various related discipline. It is not always easy to find infomation specifically about children in these disciplines and historical periods. So we often lay the historical foundation first and gradually add the information about children as it becomes available. One important factor to bear in mind is that until the modern age, people lived much shorter lives and thus we now call childhood and the teen years made up a much greater proportion of an individuals live span. An the modern concept of childhhod is a relatively recent development, one originating during the Enlifgtenmnt. Until the 19th century, children after infncy were essentilly dressed and treated as small adults.
<br>
<h2><a href="ani/ani.html">Animals</a></h2>
<p> One of the cornerstones of humam civilization is the domestication of animals. Human civilization is barely conceivable without domesticated animals, although civilization in the Americas developed wkith much less aid of domesticated animals. Geneticists in recent years have made importnt discoveries bout the domestication process.
The domestication actually began before civilization. The dog appears to be the first animal man domesticated. They proved useful in helping the hunts of hunter gthers. It appears that dogs first tamed and bred in China. Geneticists report that about almost all (perhaps 95 percent) of modern dogs have descended from just a few wild dogs domesticate in China. This is interesting because agriculture and civilization developed last in China of the four great river valley civilizations. Dogs of course were espcially useful to huntergaters more than agriculturists. Animal husbandry or the raising of domesticated animals is believed to have appears to have occurred at about the same time agriculture began launching civilization. Two of the most important were goats and sheep were domesticated in the Middle East (abour 10,000 BC). Swine were domesticated from Eurasian wild boar (<i>Sus scrofa</i>). Humans in both Europe and Asia apear to habe domesticatied wild boar independently (about 7.000 BC). Animal Husbandry is of enormous economic importance. They gave humans access to important animal resources using pasture rather than having to expend time and energy in hunting them down. The horse was another important domesticated animal, but of more military as well as economic importance. Geneticists now believe that the horse was first domesticated on the Eurasian Steppe, probably in what is now the Ukraine (probsnly about 4000-3500 BC). The donkey (burro) and camel proved valuable beasts of burden making trade possible over distances like the Silk Road. The humble donkey may be thd most underappreciatedoif all animls. Not only was the donkey important in agriculture and trade, it was commonly unappreciated as a vital animal in warfare. The donkey actually made war, as opposed to localized raiding, possible. An army of any size could not move any significan distance without a way of transporting weapons, food, water, and other supplies. And the donkey provided a way to move these supplies. Geneticists believe that wild asses in northeast Africa are the ancestors of modern donkeys.
<br>
<h2><a href="/bio/bio.html">Biographies</a></h2>
<p> Many famous and not so famous men remember the clothing and hair styles they wore as boys. Or they are recorded in family photographs. The boyhood experiences of these individuals are often recorded better than those of ordinary people. Thus their boyhood experiences are an important vsource of sociological information a well as offering important biographical insights. Not so many years ago it was all up to mom how junior was dressed. In some cases, especially in the late 19th and early 20th Century, moms in Europe and America let their imaginations run wild, choosing elaborate Fauntleroy and kilt outfits for their darling sons. The wife in affluent families rarely worked and thus she had a great deal of time, and in some cases the assistance of nannies and governesses, to see to the care and dressing of their children. The results were very little boys kept in dresses. Ever after they passed out of dresses, little and not little boys done up in dress-like tunics and kilts and lacy Fauntleroy suits and kilts as well as more manly sailor suits.
<br>
<h2><a href="child/child.html">Children</a></h2>
<p> Children are not generally associated with history and great events. History of course is not just a series of great events. This is a theme we have pursued throughout HBC. Great events are, however, clearly important. Children are often most affected by those events. Sometimes they have even been targets of those events. Not infrequently, children have also played important roles in shaping those events. Young people with fresh outlooks unencumbered by the weight of socail conventions have often enspired or promoted important social movements, often but not always for the good. Some images of children have also become symbols of great events.
<br>
<h2><a href="/chron/chronh.html">Chronology</a></h2>
<p> HBC is building a chronology describing the development of boys' clothing styles. Our focus is on the modern era. Yet it is not possibe to fully understand the modern era without an assessment of earlier periods. Thus we have decided to provide some basic background history on human civilization from the dawn of man. We will not pursue these early epocs in the same detail as the modern era, but we believe that it is esential to look at ancient civilizations to begin our assessment of clothing and fashion. We also think that a basic historical perspective is essential to understand the wider cultural context needed to under stand not only fashion, but economics and many other deciplines. We have been very concerned in recent years over the politization of so much of the history appearing in the media and popular culture. Here we will endevor to provide a fact-based assessment of the historical experience.
<br>
<h2><a href="/climate/climate.html">Climatology</a></h2>
<p> Climatology is the study of climate or long term weather conditions (atmospheric pressure and composition, cloud cover, humidity, precipitation, temperture, winds, and other factors). It is an enormously complex discipline because so many different phernomenon affect climate. Climatoligists have to consider not only celestial phenomenon (such as moon and sun gravitation and solar sunspots) as well as a range of earthly phenomenon, including those in the atmosphere, hydrosphere (oceans), cryosphere (frozen areas), land surface, subsurface (volconology is important here), and biosphere. Many of these phenomenon and spheres are poorly researched and understood. Climatolgy is now at the center of the climate change debate. In recent years, climate change has become a mantra of liberal politicans. As House speaker Nancy Palozi explains, "We have a planet to save." In the West, liberal and Socialist politicans have been the strongest supporters of enormnously expensive climate change legislation. The issue does not, however, cut nealy accross traditionsal left-right political cleviages. Thus Green parties have achieved considerable support in Europe, especially Germany. Climate has affected both history and clothing in many ways. Some argue that changing cliate was a factor in forcing primates down from the trees, out of the forest and on to the African savanah resulted in the development of bipedalism, the destinctibe characteristic of homonoids. We now know that homonoids developed bipedialism before they emerged from the forest. The impact of climate on history is enense and well documented and this has continued to our modern age. Climate is an importat factor affecting clothing. One major impact on clothing is utlity. While clothing has been influenced by other factors such as fashion, the first major influence nust have been utility, especially protection from cold weather. As human society became increasingly sophisticated, fashion influences have become increasingly important. Climate continues, however, to be an important factor. We have seasonal discussions on many HBC pages.
<br>
<h2><a href="/hist/clo/cih-clo.html">Clothing</a></h2>
<p> Fashion probably began with the dawn of humnity. This was a first presumably personal adornment. Some anthropologists believe that spotting sunlight shimmering on water was important to finding water. And thus himans wer attracted to shiny things. Here color was also important. And based on primitive peopke today, iy is not always women that are most concerned about fashion and adornment. Clothing followed with the advance of technology and the movemnnt out of Africa. Every civilization that followed had clothing and adornrent as features of their desctincive cultures. And clothing would play an important pat in history. Pastoralism and the production of wool was an important step in human developoment. Silk was at the core of the first commerical contct beteen East and West--the Silk Road. The quest for furs helped to open the American frontier. Cotton was at the heart of the industrial Revolution which was central in creating the modern world. And studies of history aimed at decrbinhg life style and understanding every day life have to included fashion and clothing. As a young teacher, my students would asl life style questions for the various era we studies. I was ill prepared to anser these questions and in the days before the internet, this kind of information was not easy to find. Here we are building a resource that teachers and students can use to find fashion and clothing informationin vrious countrues and historical periods.
<br>
<h2><a href="/dis/dis.html">Disease and Health</a></h2>
<p> Disease is not a topic that has commonly been treated in detail by historians. Some historians have begun to give it more attention. Here Jeremy Diamond's Gun's, Steel, and Germs has powerfully persued the importance of disease in history. The modren threat of both bio-terrorism and the rapid movement of disease vectors as a result of modern communications has drawn further interest in the subject. We now know that the plague had a huge impact on modern Europe. We also know that smallpox and other diseases virtually wide out Native American populations. The topic is of some interest to HBC, both because of its important historical role, but also because of the role children have played in deceloping cures. One other interesting topic is the development of polio in the 20th century and the huge impact it had on children.
<br>
<h2><a href="/eco/eco.html">Economics</a></h2>
<p> HBC is primarily a history site. Marxists would say that economics fundamentally drives history. HBC believes that this is a gross over simplification, but of course economics is a powerful force that affects history, perhaps even the single most powerful force. It is clearly, however, not the only force and often not even the dominant force. Its importance, however, means that it has to be considered by historians. As a result, we will create some pages to address major economic trends such a feudalism, slavery, the industrial revolution, child labor, the depression, globelization, and other developments. Economics is especially important to HBC as the production of textile has been a major economic activity since the dawn of civilization and in fact was at the heart of the Industrial Revolution--the single most important development since the Agricultural Revolution thst created civilization.
<br>
<h2><a href="cih/env/env.html">Environmental Issues</a></h2>
<p> Environmental issues have assumed increasing atention around the world in recent years. The world populpation is growing and is having harmful impacts on the environment, meaning the biophysical environment. As result, there is growing interest in environmental protection, meaning protecting the natural environment. In the 20th century the primary issue was pollution with many people facing poor air and water quality. In the 21st century the emphasis has shifted to first global warming and then redefined to climate change. Climate change is hardly new. In fact, our species developed in large as a response to clinate cahnge some 2 million years ago. Since the earth developeda oceans and atmosphere there has been climate change, much more drastic common change than is the case in modern time. An imprtant part of the climate issue is energy policy. Energy is acritical part of the economy and human well-being. It is only with the miove pf society beyond man power that human civilization debeloped and only with the develooment of mechanical power using fosil fuels was the industrail revolution possible meaning the ability of large numbers of humans tomlive prosperous lives. Many today see energy, especially fossil fuels, as a threat to the enviornment. The issue today is the climatic changes have human agency and the rate of change is disturbing. The major concern is greenhouse gases leading to global warming. Another major issue is habitat loss which affects wildlife leading to species extinctions, but also has consequences for climate change and pollution.
<!
The carbon dioxide equivalent of greenhouse gases (GHG) in the atmosphere has already exceeded over 9000 parts per million (NOAA) (with total "long-term" GHG exceeding 455 parts per million) (Intergovernmental Panel on Climate Report). The amount of greenhouse gas in the atmosphere is possibly above the threshold that can potentially cause climate change. China, India and various countries that contribute to pollution are a major risk in many areas of pollution...It's not next year or next decade, it's now." The UN Office for the Coordination of Humanitarian Affairs (OCHA) has stated "Climate change is not just a distant future threat. It is the main driver behind rising humanitarian needs and we are seeing its impact. The number of people affected and the damages inflicted by extreme weather has been unprecedented."[2] Further, OCHA has stated:
Climate disasters are on the rise. Around 70 percent of disasters are now climate related â up from around 50 percent from two decades ago.
These disasters take a heavier human toll and come with a higher price tag. In the last decade, 2.4 billion people were affected by climate related disasters, compared to 1.7 billion in the previous decade. The cost of responding to disasters has risen tenfold between 1992 and 2008.
Destructive sudden heavy rains, intense tropical storms, repeated flooding and droughts are likely to increase, as will the vulnerability of local communities in the absence of strong concerted action.[3]
Environment destruction caused by humans is a global problem, and this is a problem that is on going every day. By year 2050, the global human population is expected to grow by 2 billion people, thereby reaching a level of 9.6 billion people (Living Blue Planet 24).[4] The human effects on Earth can be seen in many different ways. A main one is the temperature rise, and according to the report âOur Changing Climateâ, the global warming that has been going on for the past 50 years is primarily due to human activities (Walsh, et al. 20). Since 1895, the U.S. average temperature has increased from 1.3 °F to 1.9 °F, with most of the increase taken place since around year 1970 (Walsh, et al. 20).[5][6] >
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<h2><a href="/eth/eth.html">Ethnicity</a></h2>
<p> Ethnicity is another fascinating topic. We have done quite a bit of work on ethnicity, but have not yet approached the topic in a comprehensive fashion. Ethnicity has played a role in history, but this seems to be especially true in the modern age as concepts of race and narionality have plyed an increaingly prominent role. We have an extensive <a href="/chron/na.html">Native American</a> section. Most of the other ethnicity pages are in the individual country pages which we will eventually link here. We also have tribal pages for both <a href="/country/afr/tribes/afr-tribe.html">Africa</a> and the Americas. There are tribal groups in Asia,the MuddkeEast and North Africa, and Oceania, but we have done less work there. This is a topic that until recently could not be studied in a scientific manner, especially during historical periods. DNA research has opened new avenus of investigation. Ethnicity is related to race and often confused with race. There are, however, differences. Biological and sociological factors are involved. Race refers to a person's physical appearance, based on biological inheritance, characteristics like skin color, eye color, hair color, bone/jaw structure etc. Ethnicity, on the other hand, relates to cultural factors such as nationality, culture, ancestry, language and beliefs. As the cultural factors are developed in given areas, they often correlate with race, but are not dependent on it. Thus Americans kidnaped at a young age by Native Americans or foreign children adoped at a young age by Americans or fully enculturated into the culture in which they are raised.
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<h2><a href="cih/free.html">Freedom</a></h2>
<p> The story of freedom is arguavly the key epic of humanity. Here we are not taling avout a history of freedom because freedom has so many ramofications beyound just history, sonoffs in art, economics, mecicie, political, science, and much more, in sum total the saga of human accomplishment. Karl Marx argued that economics has been the driving force of human history. We argue that it is freedom that has been resomsible for the great advances in humany history. This does not mean that aimportant afdvances can not be made in the absence of freedom. Important accomplidhments occurred under Egyptian pharoes and Chinese emperors. Modern mathematics came from India. But it is in the tiny Greek states that the comcet of freedom and Western civilization was born--ironic because slavery was an important part of pat of classical civilization in both Greece and Rome, but the great arc of Wwstern civilzation has been toward freedom. And through many trials and tribulations, reverses and advances has been an advancement of freedom. And as a result Western civilization has forged modernity. Religion is a factor that needs to be considred. Religions have impeded freedpm. And some have ober time both impeded and promoted freddom. This is tru of Christianity whose role in the the development of the concept of freedom and the achievement of free socities is poorly understood. Despte the fact that China was for much of histirt the richest and most technologically productive society in the world, China did not create modernity. Democracy capitalism, the industrial revolution, effective medicine, and science are all creations of Western civilization. It has been responsible not only for political democracuy, but the economics of free market capitalism. Freedom of course is not the only current that flows in Western Civilization, but the great Totalitarian Powers, using Marx's terns were thrown on the 'ash can of history' by the force of freedom mustered by the liberal democracies in the form of political democracy abd economic free market capitalism, including the Soviet Union which his ideology helped create. It is no accident that the most prosperous countries of the world are liberal democracies with vibrant private economic sectors. As a result, migrants by the millions from socities who lack freedom, taking their lives in their hands to reach the countries who have instituionlized freedom. In the 21st century new question has arisen in the saga of freedom, China is by using ftree market capitalism to develop a prosperous society, but with totalitarian controls. The outcome of this new approch will in large part dominate the history of the 21st century as will the competition between liberal democracy and Islamic fundamentalism, a rinteration of a the medival mind in a modrn totalitrin guise..
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<h2><a href="/geo/geo.html">Geography</a></h2>
<p> Since greade school I have been fascinated by geography. Geography is not an easy disipline to define in part because of all the different braches of geography and the activities with which geograophers are involved. The basic definition is smething along the line of the study of the aerial differentiation of the earth's surface. People from ancient times have written about geography. Only since World War II, however, were plate tectonics understood which are the primary mechanism of geological change that are reponsible for geographic features. What originally attracted me to geography was the vast physical and human differences around the world. Only gradually did I become aware of how important geography was in so many aspects of human endevor. This has included both history and clothing, the two major aspects of our HBC website. Geography has affected much more, including climate, cultural, and economics. It has also affected human physiological development which left Native Americans dangeously vulnerable to Old World diseases. Many HBC pages touch on geography and we want to create a page to help HBC readers interested in geography find the pages we have developed. HBC is fortunate to have a geographer among its contributors. He tells us, "I have a Ph.D in what I like to think of as "Historical Geography." I was interested in trying to recreate landscapes (physical and cultural) from the past, and examine factors that impacted and shaped these landscapes. Geographers do other things, of course, such as develop Geographical Information Systems (GISs), hazards research, etc. I am happy to report that university geography departments have grown in size since I was in school. Unfortunately, there has been a trend to merge geography with other disciplines into "social studies". Geographical Awareness quizzes have shown a need to go back to basics, because students have little knowledge of place names these days. School budgets and cutbacks in staff have been a problem."
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<h2><a href="/hist/hist.html">History</a></h2>
<p> HBC is at heart a history site. While our focus is on fashion and issues surrounding children, we touch on a wide range of historical topics. As a result we think it important to discuss the major threds of history and especially how children have been involved and affected. This is something that is often neglected by historiasns and something my students would ask about when I was teaching. We note certain recurrent themes in history. Perhaps the most consistent over time is that major world powers have almost always seen themselves as God's chosen people and the center of the universe. There have also been various basic approaches and methods of interpreting history. Here we are just beginning our assessment. Do let us know if you have any insights or know of major historians that we should mention here. Also we see the images we are archiving as little historical documents and we hope that historical and other researchers will use HBC the HBC archive as a source in their research.
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<h2><a href="/hn/hn.html">Human Nature</a></h2>
<p> Human nature is a term which refers to the intrinic distinguishing characteristics of humanity apart from culture. We know that adukts behave differently affected by the cultures in which thy were raised. Infants could theoretically be placed in any culture and do perfectly well despite their origins. This is a much more complicated topic than it may seem because some critical human behaviors such as language are believed to be learned at critical age periods and once missed the ability to learn lanuage is greatly impaired. This means that human nature can not be completelty separated from culture. Man has evolved to be a cultural being and thus culture is an essential part of human nature. This can be seem in feral children. The subject of human nature has been one which has fascinated man from the dawn of civiization. A wide range of issues emerged besides trying to separate intrinsic behaviors from culture. Issues include what intrinsic behaviors are, what causes them nd how they are transmitted, and how fixed human nature is. These questions are among the oldest and deepest questions in philosophy. And for most of human history, they were considered before the modern science of genetics and DNA were understood. The answers are, however, are not just theoretical, phuilosophical musings. They have vast implications in ethics, politics, economics, child rearing, theology, and ther areas. Human nature has been seen as both a justification for norms of conduct as well as presenting obstacles on living a good life or building a society. The Enligtenment ebraced human nature and idealized the nobel savage. This is seen in the American Declaration of Independence. Marxism takes a different approach. The Soviet Union sought to supress human nature and remake citizens as the new, improved Soviet Man which was probably a major reason the Soviet Union ultimately failed.
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<h2><a href="cih/ide/ide.html">Ideology</a></h2>
<p> Ideology is a system of ideas and ideals, especially one that forms the basis of economic or political theory and policy. Often political parties expose ideologies. Another group of ideas is theology asexpoused by religious gtoups/ Some religions like Islam also expouse political ideology. This has changed over time. The Cgristinity that emerged from the Roman Empire expoused the political ideology of absolutism, but ober time Christianity withdrew from the political realm.
Over time there hace been a huge number of different economic, political, and social system. And political philosophers have written extensively on even more political system including utopia and idealized systemd. Political scientusts have attmpted to develop a 'ist of basic ideologies in which the various historical sociries since the appearance of civilization in Mesopotamia nerly 10 millenia ago can be grouped. A basic grouping on which many historians can agree include five major politicl ideologies: Anarchism, Absolutism, Liberalism, Conservatism, and Socialism. In actual practice, some of these ideologies seem to bleed together, like democratic socialist, and Marxist-Lennist socialism, but over time they have been mutually exclusive in actual societies. It is notable how these ideologies except for absolutism rose in the West.
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<h2><a href="/pres/lead.html">Leaders</a></h2>
<p> As part of our history discussions, we thought it would be helpful to create a section on nationl leaders. For most of history this meant hereditary monarchial leasers with rare exceptions such as Greeks and Romans. As a result we have an extensive royalty section. Of course monarchial systems are not purely hereditart as there are palace coups and civil wars which replaced one dynasty with another, but for the most part the vast majority od sucessions were done on an hereditary basis, justifed by divine right. We are most familiar with European monrchies, but this in fact was a system adopted throughout the world and over the vast span of human history. The reason for this was it was one way to stabalize seccession and avoid war and disorder when a monarch died. In modern times non-monarchial systems have become more common with elections determning leaders. The first modern democracy was the United States. The root of American democracy of course was Britain, although at the ime of the american Revolution, very few Britons could vote. The orld's latgest democracy is India which despite this toyed with the Soviet Union after independnce. Interestingly while democracyis surely the greatest achievement of India, many Indians do not want to admit the British roots. Gradually elections began to be held in more andmore coutries. Unfortunately many elctions are elections in name over and are mere sunterfuges and controoled. This has varied, but was quite common in the post-World War II decoloization of the Third World. The idea of elections, however, are so poweful that even dictators at least pretended to have elections. The arc of history is for real elections to becomne more common around the world, although there are still many coutries, including important countries that do not hold real elections suh as China and Russia.
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<h2><a href="/law/law.html">Law</a></h2>
<p> The history of law is essentially the history of civilization. Even primitive socities have law, although they are not written down. They may be largely traditions. As more sphisticated socities developed with the advent of agriculture, an actual legal code was required to resolve complicated legal questions concerning business and property. The Babylonian king Hamarabi finally made the first step toward a written code. This was a huge step as law based on a written code was less arbitrary and more fair to all concerned. One of the great gifts of Rome was that of law. Roman law played a major role in the eventual emergence of the West. The classical tradition was lost for centuries after the fall of Rome. The Islamic legal system or shria based on the Koran was in the 7th century a progressuve development. The problem with Islamic Law is that Muslims see the Koran as God's final relevation to man and beyond question. Thus with a medieval foundation that can not be questioned are amended, there is an inflexibility in Islamic law making adjustment to the modern world difficult if not impossible. . Emerging from the European Medieval era was English common law, England's great gift to America and its other colonies. English common law was a necessary comcomitant of capitalism which allowed the West to create the modern world. France had nothing like English common law. Louis XIV famously said, "I am the state". Napoleon is one of the great military geniueses of all time and committed to autocracy, but his great achievement was the Code Napoleon which for the first time presented France with a modern legal system. The importance of law is often forgotten in our modern world, but there is a strong correlation between economic prosperity and the rule of law.
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<h2><a href="/nat/nat.html">Nationalism</a></h2>
<p> Nationalism is a powerful concept which has had a huge impact on modern history. At times it has had racial connotations, but this has not always been the case. Under the Fascists in the 20th century it took a particularly virulent turn. We have noted several instances of mixed national background and the struggles associated for the children involved. Some Europeans in the 19th and early 20th century looked down on America for its mixed ancestry wondering if this constituted the basis for a true nation. Nationalism is a belief that countries or nations whether defined (ethnically or culturally) are the primary units of humam society. Proponents of nationalism make a range of cultural, economic, and political claims based upon their comminment to their country and its service. The fundamental claim is that the nation as defined is the sole only legitimate basis for the any political state. Furthermore each nation believes that it is entitled to its own political state and self determination. Here nations come in conflict because many nations have overlapping territorial claims and some nations fall totally within the territory of larger states. Complications arise because a nation usually consists of an ethnic, religious, or cultural community while a state is a soverign political enitentity. Modern nationalism is a largely European concept, although it is now most intense in the countries outside the European Union. European states until the French Revolution were largely multi-ethnic kingdoms and empires. Even in unifoed countries like Britain France, and Spain there was considrable wthnic and linguistic diversity. The wars of the French Revolution and Napoleonic era inspired the growth of nationalism, often due to the opposition to French occupation. This led to the unification of Italy and Germny as well to the desore for states among the barious national groups of central and eastern Europe. The nationalism of the 19th century led to the terrible tragedies of Worl;d War I and II. As a result, the concept has come into disrepute in Europe. In contrast it is often a highly effective rallying cry to the people of the Third World.
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<h2><a href="/race/mod/cou/rmc-us.html">Race</a></h2>
<p> Race has been a major factor in American history. The importance an ramificaions of race are factors still not fully appreciated by many Americans. The overiding issue has been slavery. Slavery in America was limited to blacks, in part because theIndians proved impossible to enslave. There were Whites subjected to indentured servitude. It took the Civil War to end slavery, but the impact of slavery continue to affect America. America is a multi-ethnic society. A series of immigrant waves from Europe have left their imprint on the United States. The prominence of the Civil Rights Movement in America gave many the impression that racism was an American phenomenon. The Movement suceeded in ending state-sponsored rascism, but thelingering impact of racism continues. Blacks have been the largest ethnic minority in america. Vlacks have now been replaced by Hispanics as the largest minority. The immigration in the 19th and early 20th century was largely from Europe. This changes with new immigration laws in the 1960s. Immigration now occurs from all over the world and this is changing thecracial makep of the United States.
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<h2><a href="/rel/rel.html">Religion</a></h2>
<p> Religion is an organized set of beliefs explaining the cause, operation, an purpose of life and the uiverse. The development of religion is one of the distinguishing characteristics of mandkind. Most religions have associated moral codes. Religion has been a major force in history. It is unclear at what stage in human history religion developed. Early religions were normally animistic and polytheistic in nature. The adoption of monotheism is seen as an advanced important stage in human development. Religions involve ritual and devotional behavior . Distinctive clothes and costumes are adopted by many religions.
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<h2><a href="/royal/royalindex.html">Royalty</a></h2>
<p> European and American Children's fashions, especially in the 19th and early 20th centuries were strongly influenced by the way royal families dressed their children. Queen Victoria was especially influential as so many of her children and grandchildren maired into royal familes throught Europe. Kaiser Wilhelm II, for example, was the Queen's grandson. While the British House of Windsor was the most influential in this regard, other royal families also had great influence, at least in their own countries.
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<h2><a href="/sci/science.html">Science</a></h2>
<p>An important topic is modern science in the making the modern world. Quite a number of issues need to be considered. Science has prevented and cured disease as well as revolutionized the world's economy and productive capacity, allowing large numbers of people to lead comfortable lives for the first time in history. This of course is obvious. Less obvious is the image of modern science. When I began teaching school, I was surprised to find that science was among the least popular subjects with American students. I was suprised at this because as a boy I found science fascinating. We are not entirely sure why this was, but suspect teaching methods were a factor. Another observation is the image of science among young people. Given the fact that scientists and inventors played a major role in building modern industrial states, you would think scientists would have very positive images. But this is often not the case. Here we suspect the popular media is a factor. To the extent that scientists appear in cartoons, movies, and television--the "mad" scientist is a very common character. Another factor is religion which sometimes see science as a threat.
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<h2><a href="/class/class.html">Social Class</a></h2>
<p> From time immemorial human scociety has stratified ifself. Social hierarchies were present in hunter-gathering society and became much more prevalent with the development of agriculture and civilization. Only in our modern age has human society began to seriously address the issues of class with yet limited success. Any assessment of clothing and fashion should include all strata of society. And until modern times the lower strata of society were by far the most numerous. This presents a problem for HBC because the available imagery often focuses on the upper classes. With ancient civilizations images of children are rare and those of peasant children almost not existant. Even in our modern age, photographs tend to be much more available for the middle class and wealthy than the very poor who often could not afford photographs. And ofcourse catalogs focused on clients with money to spend. Readers need to bear this basic problem in mind when using HBC. We have, however, attempted to address clothing and other issues associated with the less-affluent classes. And on many HBC pages on specific styles you will find a social class paragraph.
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<h2><a href="/royal/royalindex.html">Royalty</a></h2>
<p> European and American Children's fashions, especially in the 19th and early 20th centuries were strongly influenced by the way royal families dressed their children. Queen Victoria was especially influential as so many of her children and grandchildren maired into royal familes throught Europe. Kaiser Wilhelm II, for example, was the Queen's grandson. While the British House of Windsor was the most influential in this regard, other royal families also had great influence, at least in their own countries.
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<H2>Children in History Website</H2>
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<p><i>Navigate the Children in History Website: <br>
[<a href="/aboutus/aboutus.html">About Us</a>]<br>
<b>[<a href="/intro/introh.html">Introduction</a>]
[<a href="/bio/bio.html">Biographies</a>]
[<a href="/chron/chronh.html">Chronology</a>]
[<a href="/climate/climate.html">Climatology</a>]
[<a href="/hist/clo/cih-clo.html">Clothing</a>]
[<a href="/dis/dis.html">Disease and Health</a>]
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[<a href="/geo/geo.html">Geography</a>]
[<a href="/hist/hist.html">History</a>]
[<a href="/hn/hn.html">Human Nature</a>]
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[<a href="/nat/nat.html">Nationalism</a>]
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[<a href="/rel/rel.html">Religion</a>]
[<a href="/royal/royalindex.html">Royalty</a>]
[<a href="/sci/science.html">Science</a>]
[<a href="/class/class.html">Social Class</a>]<br>
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[<a href="/cont.html">Contributions</a>]
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Children in History
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# Children in History
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| [children in history](/essay/war/cwa/cwa-fy.html)
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*Figure 1.--Children for the most part are lost to history. Historians rarely address them, although with the increasing populrityof social history we see somne attention to history. We see few images of children in ancient art and even with the development of Western art, images of children compose only a small portion of available works. And most are portraits with limited historiucal context. Only with the development of photography (1839) do the image of children increase significantly. We begin to see photogrphs which show children in a histoticl context (1860s) and this gradually increased with technological advances in photography. These two unidentified Pennsylvania children are shown during 1862 in a Federal military camp during the American Civil War. I may have been at about the time that Robert E. Lee and the Army of Northern Virginia was headed their way. Notice the puppy which show how children throughout the ages exhibit many similarities.* |
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Our website was founded as a fashion site by an old friemd, Chris Wagner. Knowing that I was interested in photoraphy and history , he asked me tonhelpmwith the site. Anf for some time we primarily worked on fashion as we archived thousands of images, mostly old photographs. Over time I began to think that we could make better use of these images than just assessing fashion trends. We have continued to work on fashion and many of our readers are porimarily interested in fashion. Over time, however, we have begun to also focus on history and a range pf other topics such as anthroology, archeology, economics, sociology, science, and many other topics. One reason I got interested in this effort was whn I was teaching school, my students would ask questions about what life was like for children in the various chronological periods we were studying. I was unprepared for this and in the pre-internet dau=ys, this was something that was not easy to research. thus have addressed history with a unique ficus, how children affected history or were affected by history. This is something often glossed over with the common focus on the grat men amnd mow women of the day. On some topics children were not involved or we have not been able o find ibformation about them, but this is information we are constantly seeking and our growing photographic archive is helping to illustrate he various images we have found.
## [Introduction](/intro/introh.html)
Our website began in 1998 with Christopher Wagner's work on historic fashion. After compiling a considerable data base we realized that the fashion data base had comsiderable historical and sociologival value beyond the realm of fashion. I taught school in the years before the internet. I taught a range ofvsocial sciences, including economics, history, psychology, and sociology. My history students would often ask life style questions about young people in the various historical period we studied. They wanted to know about clothing,dance, and music. These were topics that as a young teacher I was not prepared to answer. and in the years beore the unternet it was amaterial that was not easy to research. So it ocuured to me that Chris's fashion work could serve as the beginning of a larger site addressing the role of children in history, both how children affected history and of course more commonly how they were affected by history. And we eant to deave into other disciplines such as anthrplogy, economics, sociolgy as well as various related discipline. It is not always easy to find infomation specifically about children in these disciplines and historical periods. So we often lay the historical foundation first and gradually add the information about children as it becomes available. One important factor to bear in mind is that until the modern age, people lived much shorter lives and thus we now call childhood and the teen years made up a much greater proportion of an individuals live span. An the modern concept of childhhod is a relatively recent development, one originating during the Enlifgtenmnt. Until the 19th century, children after infncy were essentilly dressed and treated as small adults.
## [Animals](ani/ani.html)
One of the cornerstones of humam civilization is the domestication of animals. Human civilization is barely conceivable without domesticated animals, although civilization in the Americas developed wkith much less aid of domesticated animals. Geneticists in recent years have made importnt discoveries bout the domestication process.
The domestication actually began before civilization. The dog appears to be the first animal man domesticated. They proved useful in helping the hunts of hunter gthers. It appears that dogs first tamed and bred in China. Geneticists report that about almost all (perhaps 95 percent) of modern dogs have descended from just a few wild dogs domesticate in China. This is interesting because agriculture and civilization developed last in China of the four great river valley civilizations. Dogs of course were espcially useful to huntergaters more than agriculturists. Animal husbandry or the raising of domesticated animals is believed to have appears to have occurred at about the same time agriculture began launching civilization. Two of the most important were goats and sheep were domesticated in the Middle East (abour 10,000 BC). Swine were domesticated from Eurasian wild boar (*Sus scrofa*). Humans in both Europe and Asia apear to habe domesticatied wild boar independently (about 7.000 BC). Animal Husbandry is of enormous economic importance. They gave humans access to important animal resources using pasture rather than having to expend time and energy in hunting them down. The horse was another important domesticated animal, but of more military as well as economic importance. Geneticists now believe that the horse was first domesticated on the Eurasian Steppe, probably in what is now the Ukraine (probsnly about 4000-3500 BC). The donkey (burro) and camel proved valuable beasts of burden making trade possible over distances like the Silk Road. The humble donkey may be thd most underappreciatedoif all animls. Not only was the donkey important in agriculture and trade, it was commonly unappreciated as a vital animal in warfare. The donkey actually made war, as opposed to localized raiding, possible. An army of any size could not move any significan distance without a way of transporting weapons, food, water, and other supplies. And the donkey provided a way to move these supplies. Geneticists believe that wild asses in northeast Africa are the ancestors of modern donkeys.
## [Biographies](/bio/bio.html)
Many famous and not so famous men remember the clothing and hair styles they wore as boys. Or they are recorded in family photographs. The boyhood experiences of these individuals are often recorded better than those of ordinary people. Thus their boyhood experiences are an important vsource of sociological information a well as offering important biographical insights. Not so many years ago it was all up to mom how junior was dressed. In some cases, especially in the late 19th and early 20th Century, moms in Europe and America let their imaginations run wild, choosing elaborate Fauntleroy and kilt outfits for their darling sons. The wife in affluent families rarely worked and thus she had a great deal of time, and in some cases the assistance of nannies and governesses, to see to the care and dressing of their children. The results were very little boys kept in dresses. Ever after they passed out of dresses, little and not little boys done up in dress-like tunics and kilts and lacy Fauntleroy suits and kilts as well as more manly sailor suits.
## [Children](child/child.html)
Children are not generally associated with history and great events. History of course is not just a series of great events. This is a theme we have pursued throughout HBC. Great events are, however, clearly important. Children are often most affected by those events. Sometimes they have even been targets of those events. Not infrequently, children have also played important roles in shaping those events. Young people with fresh outlooks unencumbered by the weight of socail conventions have often enspired or promoted important social movements, often but not always for the good. Some images of children have also become symbols of great events.
## [Chronology](/chron/chronh.html)
HBC is building a chronology describing the development of boys' clothing styles. Our focus is on the modern era. Yet it is not possibe to fully understand the modern era without an assessment of earlier periods. Thus we have decided to provide some basic background history on human civilization from the dawn of man. We will not pursue these early epocs in the same detail as the modern era, but we believe that it is esential to look at ancient civilizations to begin our assessment of clothing and fashion. We also think that a basic historical perspective is essential to understand the wider cultural context needed to under stand not only fashion, but economics and many other deciplines. We have been very concerned in recent years over the politization of so much of the history appearing in the media and popular culture. Here we will endevor to provide a fact-based assessment of the historical experience.
## [Climatology](/climate/climate.html)
Climatology is the study of climate or long term weather conditions (atmospheric pressure and composition, cloud cover, humidity, precipitation, temperture, winds, and other factors). It is an enormously complex discipline because so many different phernomenon affect climate. Climatoligists have to consider not only celestial phenomenon (such as moon and sun gravitation and solar sunspots) as well as a range of earthly phenomenon, including those in the atmosphere, hydrosphere (oceans), cryosphere (frozen areas), land surface, subsurface (volconology is important here), and biosphere. Many of these phenomenon and spheres are poorly researched and understood. Climatolgy is now at the center of the climate change debate. In recent years, climate change has become a mantra of liberal politicans. As House speaker Nancy Palozi explains, "We have a planet to save." In the West, liberal and Socialist politicans have been the strongest supporters of enormnously expensive climate change legislation. The issue does not, however, cut nealy accross traditionsal left-right political cleviages. Thus Green parties have achieved considerable support in Europe, especially Germany. Climate has affected both history and clothing in many ways. Some argue that changing cliate was a factor in forcing primates down from the trees, out of the forest and on to the African savanah resulted in the development of bipedalism, the destinctibe characteristic of homonoids. We now know that homonoids developed bipedialism before they emerged from the forest. The impact of climate on history is enense and well documented and this has continued to our modern age. Climate is an importat factor affecting clothing. One major impact on clothing is utlity. While clothing has been influenced by other factors such as fashion, the first major influence nust have been utility, especially protection from cold weather. As human society became increasingly sophisticated, fashion influences have become increasingly important. Climate continues, however, to be an important factor. We have seasonal discussions on many HBC pages.
## [Clothing](/hist/clo/cih-clo.html)
Fashion probably began with the dawn of humnity. This was a first presumably personal adornment. Some anthropologists believe that spotting sunlight shimmering on water was important to finding water. And thus himans wer attracted to shiny things. Here color was also important. And based on primitive peopke today, iy is not always women that are most concerned about fashion and adornment. Clothing followed with the advance of technology and the movemnnt out of Africa. Every civilization that followed had clothing and adornrent as features of their desctincive cultures. And clothing would play an important pat in history. Pastoralism and the production of wool was an important step in human developoment. Silk was at the core of the first commerical contct beteen East and West--the Silk Road. The quest for furs helped to open the American frontier. Cotton was at the heart of the industrial Revolution which was central in creating the modern world. And studies of history aimed at decrbinhg life style and understanding every day life have to included fashion and clothing. As a young teacher, my students would asl life style questions for the various era we studies. I was ill prepared to anser these questions and in the days before the internet, this kind of information was not easy to find. Here we are building a resource that teachers and students can use to find fashion and clothing informationin vrious countrues and historical periods.
## [Disease and Health](/dis/dis.html)
Disease is not a topic that has commonly been treated in detail by historians. Some historians have begun to give it more attention. Here Jeremy Diamond's Gun's, Steel, and Germs has powerfully persued the importance of disease in history. The modren threat of both bio-terrorism and the rapid movement of disease vectors as a result of modern communications has drawn further interest in the subject. We now know that the plague had a huge impact on modern Europe. We also know that smallpox and other diseases virtually wide out Native American populations. The topic is of some interest to HBC, both because of its important historical role, but also because of the role children have played in deceloping cures. One other interesting topic is the development of polio in the 20th century and the huge impact it had on children.
## [Economics](/eco/eco.html)
HBC is primarily a history site. Marxists would say that economics fundamentally drives history. HBC believes that this is a gross over simplification, but of course economics is a powerful force that affects history, perhaps even the single most powerful force. It is clearly, however, not the only force and often not even the dominant force. Its importance, however, means that it has to be considered by historians. As a result, we will create some pages to address major economic trends such a feudalism, slavery, the industrial revolution, child labor, the depression, globelization, and other developments. Economics is especially important to HBC as the production of textile has been a major economic activity since the dawn of civilization and in fact was at the heart of the Industrial Revolution--the single most important development since the Agricultural Revolution thst created civilization.
## [Environmental Issues](cih/env/env.html)
Environmental issues have assumed increasing atention around the world in recent years. The world populpation is growing and is having harmful impacts on the environment, meaning the biophysical environment. As result, there is growing interest in environmental protection, meaning protecting the natural environment. In the 20th century the primary issue was pollution with many people facing poor air and water quality. In the 21st century the emphasis has shifted to first global warming and then redefined to climate change. Climate change is hardly new. In fact, our species developed in large as a response to clinate cahnge some 2 million years ago. Since the earth developeda oceans and atmosphere there has been climate change, much more drastic common change than is the case in modern time. An imprtant part of the climate issue is energy policy. Energy is acritical part of the economy and human well-being. It is only with the miove pf society beyond man power that human civilization debeloped and only with the develooment of mechanical power using fosil fuels was the industrail revolution possible meaning the ability of large numbers of humans tomlive prosperous lives. Many today see energy, especially fossil fuels, as a threat to the enviornment. The issue today is the climatic changes have human agency and the rate of change is disturbing. The major concern is greenhouse gases leading to global warming. Another major issue is habitat loss which affects wildlife leading to species extinctions, but also has consequences for climate change and pollution.
## [Ethnicity](/eth/eth.html)
Ethnicity is another fascinating topic. We have done quite a bit of work on ethnicity, but have not yet approached the topic in a comprehensive fashion. Ethnicity has played a role in history, but this seems to be especially true in the modern age as concepts of race and narionality have plyed an increaingly prominent role. We have an extensive [Native American](/chron/na.html) section. Most of the other ethnicity pages are in the individual country pages which we will eventually link here. We also have tribal pages for both [Africa](/country/afr/tribes/afr-tribe.html) and the Americas. There are tribal groups in Asia,the MuddkeEast and North Africa, and Oceania, but we have done less work there. This is a topic that until recently could not be studied in a scientific manner, especially during historical periods. DNA research has opened new avenus of investigation. Ethnicity is related to race and often confused with race. There are, however, differences. Biological and sociological factors are involved. Race refers to a person's physical appearance, based on biological inheritance, characteristics like skin color, eye color, hair color, bone/jaw structure etc. Ethnicity, on the other hand, relates to cultural factors such as nationality, culture, ancestry, language and beliefs. As the cultural factors are developed in given areas, they often correlate with race, but are not dependent on it. Thus Americans kidnaped at a young age by Native Americans or foreign children adoped at a young age by Americans or fully enculturated into the culture in which they are raised.
## [Freedom](cih/free.html)
The story of freedom is arguavly the key epic of humanity. Here we are not taling avout a history of freedom because freedom has so many ramofications beyound just history, sonoffs in art, economics, mecicie, political, science, and much more, in sum total the saga of human accomplishment. Karl Marx argued that economics has been the driving force of human history. We argue that it is freedom that has been resomsible for the great advances in humany history. This does not mean that aimportant afdvances can not be made in the absence of freedom. Important accomplidhments occurred under Egyptian pharoes and Chinese emperors. Modern mathematics came from India. But it is in the tiny Greek states that the comcet of freedom and Western civilization was born--ironic because slavery was an important part of pat of classical civilization in both Greece and Rome, but the great arc of Wwstern civilzation has been toward freedom. And through many trials and tribulations, reverses and advances has been an advancement of freedom. And as a result Western civilization has forged modernity. Religion is a factor that needs to be considred. Religions have impeded freedpm. And some have ober time both impeded and promoted freddom. This is tru of Christianity whose role in the the development of the concept of freedom and the achievement of free socities is poorly understood. Despte the fact that China was for much of histirt the richest and most technologically productive society in the world, China did not create modernity. Democracy capitalism, the industrial revolution, effective medicine, and science are all creations of Western civilization. It has been responsible not only for political democracuy, but the economics of free market capitalism. Freedom of course is not the only current that flows in Western Civilization, but the great Totalitarian Powers, using Marx's terns were thrown on the 'ash can of history' by the force of freedom mustered by the liberal democracies in the form of political democracy abd economic free market capitalism, including the Soviet Union which his ideology helped create. It is no accident that the most prosperous countries of the world are liberal democracies with vibrant private economic sectors. As a result, migrants by the millions from socities who lack freedom, taking their lives in their hands to reach the countries who have instituionlized freedom. In the 21st century new question has arisen in the saga of freedom, China is by using ftree market capitalism to develop a prosperous society, but with totalitarian controls. The outcome of this new approch will in large part dominate the history of the 21st century as will the competition between liberal democracy and Islamic fundamentalism, a rinteration of a the medival mind in a modrn totalitrin guise..
## [Geography](/geo/geo.html)
Since greade school I have been fascinated by geography. Geography is not an easy disipline to define in part because of all the different braches of geography and the activities with which geograophers are involved. The basic definition is smething along the line of the study of the aerial differentiation of the earth's surface. People from ancient times have written about geography. Only since World War II, however, were plate tectonics understood which are the primary mechanism of geological change that are reponsible for geographic features. What originally attracted me to geography was the vast physical and human differences around the world. Only gradually did I become aware of how important geography was in so many aspects of human endevor. This has included both history and clothing, the two major aspects of our HBC website. Geography has affected much more, including climate, cultural, and economics. It has also affected human physiological development which left Native Americans dangeously vulnerable to Old World diseases. Many HBC pages touch on geography and we want to create a page to help HBC readers interested in geography find the pages we have developed. HBC is fortunate to have a geographer among its contributors. He tells us, "I have a Ph.D in what I like to think of as "Historical Geography." I was interested in trying to recreate landscapes (physical and cultural) from the past, and examine factors that impacted and shaped these landscapes. Geographers do other things, of course, such as develop Geographical Information Systems (GISs), hazards research, etc. I am happy to report that university geography departments have grown in size since I was in school. Unfortunately, there has been a trend to merge geography with other disciplines into "social studies". Geographical Awareness quizzes have shown a need to go back to basics, because students have little knowledge of place names these days. School budgets and cutbacks in staff have been a problem."
## [History](/hist/hist.html)
HBC is at heart a history site. While our focus is on fashion and issues surrounding children, we touch on a wide range of historical topics. As a result we think it important to discuss the major threds of history and especially how children have been involved and affected. This is something that is often neglected by historiasns and something my students would ask about when I was teaching. We note certain recurrent themes in history. Perhaps the most consistent over time is that major world powers have almost always seen themselves as God's chosen people and the center of the universe. There have also been various basic approaches and methods of interpreting history. Here we are just beginning our assessment. Do let us know if you have any insights or know of major historians that we should mention here. Also we see the images we are archiving as little historical documents and we hope that historical and other researchers will use HBC the HBC archive as a source in their research.
## [Human Nature](/hn/hn.html)
Human nature is a term which refers to the intrinic distinguishing characteristics of humanity apart from culture. We know that adukts behave differently affected by the cultures in which thy were raised. Infants could theoretically be placed in any culture and do perfectly well despite their origins. This is a much more complicated topic than it may seem because some critical human behaviors such as language are believed to be learned at critical age periods and once missed the ability to learn lanuage is greatly impaired. This means that human nature can not be completelty separated from culture. Man has evolved to be a cultural being and thus culture is an essential part of human nature. This can be seem in feral children. The subject of human nature has been one which has fascinated man from the dawn of civiization. A wide range of issues emerged besides trying to separate intrinsic behaviors from culture. Issues include what intrinsic behaviors are, what causes them nd how they are transmitted, and how fixed human nature is. These questions are among the oldest and deepest questions in philosophy. And for most of human history, they were considered before the modern science of genetics and DNA were understood. The answers are, however, are not just theoretical, phuilosophical musings. They have vast implications in ethics, politics, economics, child rearing, theology, and ther areas. Human nature has been seen as both a justification for norms of conduct as well as presenting obstacles on living a good life or building a society. The Enligtenment ebraced human nature and idealized the nobel savage. This is seen in the American Declaration of Independence. Marxism takes a different approach. The Soviet Union sought to supress human nature and remake citizens as the new, improved Soviet Man which was probably a major reason the Soviet Union ultimately failed.
## [Ideology](cih/ide/ide.html)
Ideology is a system of ideas and ideals, especially one that forms the basis of economic or political theory and policy. Often political parties expose ideologies. Another group of ideas is theology asexpoused by religious gtoups/ Some religions like Islam also expouse political ideology. This has changed over time. The Cgristinity that emerged from the Roman Empire expoused the political ideology of absolutism, but ober time Christianity withdrew from the political realm.
Over time there hace been a huge number of different economic, political, and social system. And political philosophers have written extensively on even more political system including utopia and idealized systemd. Political scientusts have attmpted to develop a 'ist of basic ideologies in which the various historical sociries since the appearance of civilization in Mesopotamia nerly 10 millenia ago can be grouped. A basic grouping on which many historians can agree include five major politicl ideologies: Anarchism, Absolutism, Liberalism, Conservatism, and Socialism. In actual practice, some of these ideologies seem to bleed together, like democratic socialist, and Marxist-Lennist socialism, but over time they have been mutually exclusive in actual societies. It is notable how these ideologies except for absolutism rose in the West.
## [Leaders](/pres/lead.html)
As part of our history discussions, we thought it would be helpful to create a section on nationl leaders. For most of history this meant hereditary monarchial leasers with rare exceptions such as Greeks and Romans. As a result we have an extensive royalty section. Of course monarchial systems are not purely hereditart as there are palace coups and civil wars which replaced one dynasty with another, but for the most part the vast majority od sucessions were done on an hereditary basis, justifed by divine right. We are most familiar with European monrchies, but this in fact was a system adopted throughout the world and over the vast span of human history. The reason for this was it was one way to stabalize seccession and avoid war and disorder when a monarch died. In modern times non-monarchial systems have become more common with elections determning leaders. The first modern democracy was the United States. The root of American democracy of course was Britain, although at the ime of the american Revolution, very few Britons could vote. The orld's latgest democracy is India which despite this toyed with the Soviet Union after independnce. Interestingly while democracyis surely the greatest achievement of India, many Indians do not want to admit the British roots. Gradually elections began to be held in more andmore coutries. Unfortunately many elctions are elections in name over and are mere sunterfuges and controoled. This has varied, but was quite common in the post-World War II decoloization of the Third World. The idea of elections, however, are so poweful that even dictators at least pretended to have elections. The arc of history is for real elections to becomne more common around the world, although there are still many coutries, including important countries that do not hold real elections suh as China and Russia.
## [Law](/law/law.html)
The history of law is essentially the history of civilization. Even primitive socities have law, although they are not written down. They may be largely traditions. As more sphisticated socities developed with the advent of agriculture, an actual legal code was required to resolve complicated legal questions concerning business and property. The Babylonian king Hamarabi finally made the first step toward a written code. This was a huge step as law based on a written code was less arbitrary and more fair to all concerned. One of the great gifts of Rome was that of law. Roman law played a major role in the eventual emergence of the West. The classical tradition was lost for centuries after the fall of Rome. The Islamic legal system or shria based on the Koran was in the 7th century a progressuve development. The problem with Islamic Law is that Muslims see the Koran as God's final relevation to man and beyond question. Thus with a medieval foundation that can not be questioned are amended, there is an inflexibility in Islamic law making adjustment to the modern world difficult if not impossible. . Emerging from the European Medieval era was English common law, England's great gift to America and its other colonies. English common law was a necessary comcomitant of capitalism which allowed the West to create the modern world. France had nothing like English common law. Louis XIV famously said, "I am the state". Napoleon is one of the great military geniueses of all time and committed to autocracy, but his great achievement was the Code Napoleon which for the first time presented France with a modern legal system. The importance of law is often forgotten in our modern world, but there is a strong correlation between economic prosperity and the rule of law.
## [Nationalism](/nat/nat.html)
Nationalism is a powerful concept which has had a huge impact on modern history. At times it has had racial connotations, but this has not always been the case. Under the Fascists in the 20th century it took a particularly virulent turn. We have noted several instances of mixed national background and the struggles associated for the children involved. Some Europeans in the 19th and early 20th century looked down on America for its mixed ancestry wondering if this constituted the basis for a true nation. Nationalism is a belief that countries or nations whether defined (ethnically or culturally) are the primary units of humam society. Proponents of nationalism make a range of cultural, economic, and political claims based upon their comminment to their country and its service. The fundamental claim is that the nation as defined is the sole only legitimate basis for the any political state. Furthermore each nation believes that it is entitled to its own political state and self determination. Here nations come in conflict because many nations have overlapping territorial claims and some nations fall totally within the territory of larger states. Complications arise because a nation usually consists of an ethnic, religious, or cultural community while a state is a soverign political enitentity. Modern nationalism is a largely European concept, although it is now most intense in the countries outside the European Union. European states until the French Revolution were largely multi-ethnic kingdoms and empires. Even in unifoed countries like Britain France, and Spain there was considrable wthnic and linguistic diversity. The wars of the French Revolution and Napoleonic era inspired the growth of nationalism, often due to the opposition to French occupation. This led to the unification of Italy and Germny as well to the desore for states among the barious national groups of central and eastern Europe. The nationalism of the 19th century led to the terrible tragedies of Worl;d War I and II. As a result, the concept has come into disrepute in Europe. In contrast it is often a highly effective rallying cry to the people of the Third World.
## [Race](/race/mod/cou/rmc-us.html)
Race has been a major factor in American history. The importance an ramificaions of race are factors still not fully appreciated by many Americans. The overiding issue has been slavery. Slavery in America was limited to blacks, in part because theIndians proved impossible to enslave. There were Whites subjected to indentured servitude. It took the Civil War to end slavery, but the impact of slavery continue to affect America. America is a multi-ethnic society. A series of immigrant waves from Europe have left their imprint on the United States. The prominence of the Civil Rights Movement in America gave many the impression that racism was an American phenomenon. The Movement suceeded in ending state-sponsored rascism, but thelingering impact of racism continues. Blacks have been the largest ethnic minority in america. Vlacks have now been replaced by Hispanics as the largest minority. The immigration in the 19th and early 20th century was largely from Europe. This changes with new immigration laws in the 1960s. Immigration now occurs from all over the world and this is changing thecracial makep of the United States.
## [Religion](/rel/rel.html)
Religion is an organized set of beliefs explaining the cause, operation, an purpose of life and the uiverse. The development of religion is one of the distinguishing characteristics of mandkind. Most religions have associated moral codes. Religion has been a major force in history. It is unclear at what stage in human history religion developed. Early religions were normally animistic and polytheistic in nature. The adoption of monotheism is seen as an advanced important stage in human development. Religions involve ritual and devotional behavior . Distinctive clothes and costumes are adopted by many religions.
## [Royalty](/royal/royalindex.html)
European and American Children's fashions, especially in the 19th and early 20th centuries were strongly influenced by the way royal families dressed their children. Queen Victoria was especially influential as so many of her children and grandchildren maired into royal familes throught Europe. Kaiser Wilhelm II, for example, was the Queen's grandson. While the British House of Windsor was the most influential in this regard, other royal families also had great influence, at least in their own countries.
## [Science](/sci/science.html)
An important topic is modern science in the making the modern world. Quite a number of issues need to be considered. Science has prevented and cured disease as well as revolutionized the world's economy and productive capacity, allowing large numbers of people to lead comfortable lives for the first time in history. This of course is obvious. Less obvious is the image of modern science. When I began teaching school, I was surprised to find that science was among the least popular subjects with American students. I was suprised at this because as a boy I found science fascinating. We are not entirely sure why this was, but suspect teaching methods were a factor. Another observation is the image of science among young people. Given the fact that scientists and inventors played a major role in building modern industrial states, you would think scientists would have very positive images. But this is often not the case. Here we suspect the popular media is a factor. To the extent that scientists appear in cartoons, movies, and television--the "mad" scientist is a very common character. Another factor is religion which sometimes see science as a threat.
## [Social Class](/class/class.html)
From time immemorial human scociety has stratified ifself. Social hierarchies were present in hunter-gathering society and became much more prevalent with the development of agriculture and civilization. Only in our modern age has human society began to seriously address the issues of class with yet limited success. Any assessment of clothing and fashion should include all strata of society. And until modern times the lower strata of society were by far the most numerous. This presents a problem for HBC because the available imagery often focuses on the upper classes. With ancient civilizations images of children are rare and those of peasant children almost not existant. Even in our modern age, photographs tend to be much more available for the middle class and wealthy than the very poor who often could not afford photographs. And ofcourse catalogs focused on clients with money to spend. Readers need to bear this basic problem in mind when using HBC. We have, however, attempted to address clothing and other issues associated with the less-affluent classes. And on many HBC pages on specific styles you will find a social class paragraph.
## [Royalty](/royal/royalindex.html)
European and American Children's fashions, especially in the 19th and early 20th centuries were strongly influenced by the way royal families dressed their children. Queen Victoria was especially influential as so many of her children and grandchildren maired into royal familes throught Europe. Kaiser Wilhelm II, for example, was the Queen's grandson. While the British House of Windsor was the most influential in this regard, other royal families also had great influence, at least in their own countries.
## Children in History Website
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[[Climatology](/climate/climate.html)]
[[Clothing](/hist/clo/cih-clo.html)]
[[Disease and Health](/dis/dis.html)]
[[Economics](/eco/eco.html)]
[[Geography](/geo/geo.html)]
[[History](/hist/hist.html)]
[[Human Nature](/hn/hn.html)]
[[Law](/law/law.html)]
[[Nationalism](/nat/nat.html)]
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<H1><FONT COLOR="#000000">Cruises on research vessels</FONT></H1></DIV>
<P>During my studies of oceanography at the <A HREF="http://www.ifm.uni-hamburg.de" ONMOUSEOVER="window.status='IfM, main page'; return true" ONMOUSEOUT="window.status=''; return true">Institute of Oceanography</A> at the <A HREF="http://www.uni-hamburg.de" ONMOUSEOVER="window.status='University of Hamburg, main page'; return true" ONMOUSEOUT="window.status=''; return true">University of Hamburg</A> and thereafer
during my work at <A HREF="http://www.geomar.de" ONMOUSEOVER="window.status='GEOMAR, Research Center for Marine Geoscinces in Kiel, main page'; return true" ONMOUSEOUT="window.status=''; return true">GEOMAR</A> in Kiel, I participate on several cruises on board
of research vessels. These pages will give a short and incomplete overview over the cruises and the scientific background of each as far as I remember. </P>
<H2><FONT COLOR="#000000">Pictures from my cruises:</FONT></H2>
<P>Press on the links in the table below for pictures and explanations from the specific cruise.</P>
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<TD><B>Ship </B></TD>
<TD><B>Year </B></TD>
<TD><B>Destination and background</B></TD>
</TR>
<TR>
<TD><A HREF="alkor89/index.html">R.V. Alkor</A></TD>
<TD>1989</TD>
<TD>in the Baltic Sea. Student excursion, oceanographic background teaching</TD>
</TR>
<TR>
<TD><A HREF="valdivia90/index.html">R.V. Valdivia</A></TD>
<TD>1990</TD>
<TD>in the north Atlantic. North Atlantic deep water formation, overflow over Greenland - Island ridge</TD>
</TR>
<TR>
<TD><A HREF="heinke92/index.html">R.V. Heinke</A></TD>
<TD>1992</TD>
<TD>in the North Sea. Biological standard programm for fish larvie abundances.</TD>
</TR>
<TR>
<TD><A HREF="mya93/index.html">R.V. Mya</A></TD>
<TD>1993</TD>
<TD>in the wadden sea around Sylt. Student excursion in the German Bight wadden sea. Experiments on reaction of the wadden sea sediments to environmental changes.</TD>
</TR>
<TR>
<TD><A HREF="heinke94/index.html">R.V. Heinke</A></TD>
<TD>1994</TD>
<TD>west off Ireland. Fish larvie abundances and CTD measurements in the area of the Porcupine Bank </TD>
</TR>
<TR>
<TD><A HREF="sonne96/index.html">R.V. Sonne</A></TD>
<TD>1996</TD>
<TD>in the Arabian Sea. Water column and sediment measurements to estimate benthic and pelagic turn over.</TD>
</TR>
<TR>
<TD><A HREF="meteor98/index.html">R.V. Meteor</A></TD>
<TD>1998</TD>
<TD>in the North Atlantic. Also water column and sediment measurements to estimate benthic and pelagic turn over.</TD>
</TR>
<TR>
<TD><A HREF="sonne02/index.html">R.V. Sonne</A></TD>
<TD>2002</TD>
<TD>in the Pacific (Hydrate Ridge). Methane fluxes and anaerobic methane oxidation in gas hydrate bearing sediments off Oregon, USA.</TD>
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Research vessel cruises
# Cruises on research vessels
During my studies of oceanography at the [Institute of Oceanography](http://www.ifm.uni-hamburg.de) at the [University of Hamburg](http://www.uni-hamburg.de) and thereafer
during my work at [GEOMAR](http://www.geomar.de) in Kiel, I participate on several cruises on board
of research vessels. These pages will give a short and incomplete overview over the cruises and the scientific background of each as far as I remember.
## Pictures from my cruises:
Press on the links in the table below for pictures and explanations from the specific cruise.
| **Ship** | **Year** | **Destination and background** |
| [R.V. Alkor](alkor89/index.html) | 1989 | in the Baltic Sea. Student excursion, oceanographic background teaching |
| [R.V. Valdivia](valdivia90/index.html) | 1990 | in the north Atlantic. North Atlantic deep water formation, overflow over Greenland - Island ridge |
| [R.V. Heinke](heinke92/index.html) | 1992 | in the North Sea. Biological standard programm for fish larvie abundances. |
| [R.V. Mya](mya93/index.html) | 1993 | in the wadden sea around Sylt. Student excursion in the German Bight wadden sea. Experiments on reaction of the wadden sea sediments to environmental changes. |
| [R.V. Heinke](heinke94/index.html) | 1994 | west off Ireland. Fish larvie abundances and CTD measurements in the area of the Porcupine Bank |
| [R.V. Sonne](sonne96/index.html) | 1996 | in the Arabian Sea. Water column and sediment measurements to estimate benthic and pelagic turn over. |
| [R.V. Meteor](meteor98/index.html) | 1998 | in the North Atlantic. Also water column and sediment measurements to estimate benthic and pelagic turn over. |
| [R.V. Sonne](sonne02/index.html) | 2002 | in the Pacific (Hydrate Ridge). Methane fluxes and anaerobic methane oxidation in gas hydrate bearing sediments off Oregon, USA. |
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THE FORM THEY PROMISED ME IS GREAT BUT MY TRANSITION SHALL BE AGONIZING
AHHHH OH GOD PLEASE KILL ME PLEASE
[](/teeth.html)
[](/links.html)
<http://www.boogiejack.com/doodads.html>
*COOL SONG 2 SURF THE WEB 2!!!!!!!!!!!!!*
**WHAT WILL BE SHALL BE DIVINITY ADIEU!**
"Outwardly: dumbly, I shamble about, a thing that could never have been known as human, a thing whose shape is so alien a travesty that humanity becomes more obscene for the vague resemblance. Inwardly: alone. Here."
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[
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.gif)
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| EXPLORE: |
  
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my name is exe welcome 2 my homepage!
[click](/dancefuckerdance.html) [2](/dancefuckerdance.html) [go](/dancefuckerdance.html) [somewhere](/IMCOMING.html)!
i dropped my html all over the place! :( if u don't know where 2 start try clicking on some pics or go to the COOL LINKS banner somewhere on the left!
LINK 2 MAH SITE ::::::
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pix | journal |
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|
**PEEP MY NEWEST UPDATES::::** 8 / 21 / 2020 MADE PAGE 4 CAR CUZ I LOVE IT!
10 / 19 / 2019 MADE RAD UPDATES 2 FRONT PAGE AND SOME OTHER PAGES. SCARECROW WORSHIP STATION COMING ALONG OKAY. LOOKING 4 MORE STUFF TO PUT ON MY FRONT PAGE
[THE BEGINNING OF MY RICHARD CHASE PAGE (UNDER CO.)](/richardchase.html) |
# SIGN MY GUEST BOOK IF UR NOT A LOSER LOL I HAVE LOTS OF COOL PAGES THAT I LIKE 2 UPDATE AND SOMETIMES I MAKE A HIDDEN PAGE RIGHT NOW I AM WORKING ON MAKING PAGES FOR DOLLZ AND OTHER STUFF I LIKE
*"I am tired of earth... these people... I'm tired of being caught in the tangle of their lives..."*
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| and at the end of fear . . . |
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<td valign="top" width="20%"><font face="Verdana"><strong><a href="basics.html">
<font size="4">The
Basics</font></a></strong><font size="4"> </font></font>
<p><font size="4" face="Verdana">Articles on basic care and considerations for new or
prospective owners.</font></p>
<p><font size="4" face="Verdana"><a href="vethealth.html"><b>Vet/Health
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<p><font size="4" face="Verdana">Articles pertaining to health, nutrition, and
veterinary care.</font></p>
<p><a href="breeddevel.html"><b><font size="4" face="Verdana">Breeding
and Development</font></b></a></p>
<p><font size="4" face="Verdana">Articles and pictures about hedgehog breeding, growth,
and development.</font></p>
<p><font size="4" face="Verdana"><b><a href="advanced.html">Advanced
Care Issues</a></b></font></p>
<p><font size="4" face="Verdana">Articles for people who already own a hedgehog or want
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<p><font size="4" face="Verdana">Learn more about hedgehog colors!</font></p>
<p><font size="4" face="Verdana"><b><a href="other.html">Purchase
a Hedgehog</a></b></font></p>
<p><font size="4" face="Verdana">Wondering where to buy a hedgehog? Start
here!</font></p>
<p><font size="4" face="Verdana"><b><a href="supplies.html">Hedgehogabilia</a></b></font></p>
<p><font size="4" face="Verdana">Where to purchase hedgehog supplies and collectibles.</font></p>
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<p><font size="4" face="Verdana">Meet the hedgehogs of Hedgehog Valley!</font></p>
<p><font size="4" face="Verdana"><b><a href="otrcrtrs.html">Other
Critters</a></b></font></p>
<p><font face="Verdana"><font size="4">Meet the other critters that call
or have called Hedgehog Valley
their home!<br>
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<p align="center"><b><font size="6" face="Verdana">The Hedgehog Primer </font>
</b>
</p>
<p align="center"><font face="Verdana"><img border="0" src="/031403a.jpg" width="278" height="342">
</font>
</p>
<p align="center"><font FACE="Verdana" size="5">The Hedgehog Primer is a practical
guide to the care of pet hedgehogs, based on sound knowledge and
experience. This book is for beginning and experienced hedgehog
enthusiasts alike, providing a firm foundation to keep your hedgehog
happy and healthy! At 82 pages, this 8-1/2" x 11" book is full
of excellent information. Inner photographs are in black and white.
Publication date 3/03, ISBN 1-59196-211-0. List price $10.95. </font>
</p>
<p align="center"><font face="Verdana" size="5">Please
<a href="http://www.facebook.com/hedgehogvalley">contact us</a> to
purchase.</font></p>
<p align="center"> </p>
<p class="MsoNormal"><span style="font-family:Verdana"><b>
<font size="5">I. An
introduction to hedgehogs</font></b><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">A.
What kind of animal is a hedgehog?</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">B.
What species are these hedgehogs?</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">C.
The history of hedgehogs in the pet trade</font><o:p><font size="5">
</font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">D.
Are hedgehogs good pets?</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">E.
Where do I find a hedgehog?</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">F.
Why are hedgehogs expensive?</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">G.
How do I choose a pet hedgehog?</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>1. Gender differences</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>2. Temperament</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>3. Health</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><b>
<font size="5">II. Getting
ready for a pet hedgehog</font></b><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">A.
Housing</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">B.
Environment</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">C.
Feeding </font> <o:p>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">D.
Exercise</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">E.
Bedding</font><span style="mso-tab-count:1"><font size="5">
</font>
</span><o:p>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">F.
Cage accessories and toys</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">G.
Check your attitude and expectations</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">H.
Finding a veterinarian</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">I.
Finding the right hedgehog for you</font><b><o:p><font size="5"> </font>
</o:p>
</b></span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><b>
<font size="5">III. When
hedgehog comes home</font></b><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">A.
Handling hedgehogs</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">B.
Common adjustment difficulties</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">C.
Understanding behavior/communication</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">D.
Behavioral issues</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>1. Biting</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>2. Quilling</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>3.<span style="mso-spacerun: yes"> </span>Self-anointing</font><o:p><font size="5">
</font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">E.
Hedgehog hide and seek (�hedgie-proofing�)</font><b><o:p><font size="5">
</font>
</o:p>
</b></span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><b>
<font size="5">IV. Keeping your
hedgehog healthy</font></b><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">A.
When to take your hedgehog to the vet</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">B.
Common medical problems</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>1. Mites</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>2. Respiratory infections</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>3. Tumors and abscesses</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>4. Fatty liver</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>5. Dental issues</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>6. Obesity</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>7. Ear problems</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>8. �Wobbliness�</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>9. Fleas</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">C.
Cleanliness and bathing</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">D.
Communicating with your veterinarian</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">E.
What to keep in your hedgehog care/first aid kit</font><o:p><font size="5">
</font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><b>
<font size="5">V. Beyond the
basics</font></b><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">A.
Travel with hedgehogs</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">B.
Hedgehogs and other pets</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">C.
Hedgehogs in public settings</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">D.
Hedgehog colors</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">E.
The hedgehog community</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>1. International Hedgehog Association</font><o:p><font size="5">
</font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>2. Showing your hedgehog</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>3. Online communities</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">F.
Preparing for a pet sitter</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><b>
<font size="5">VI. Breeding
hedgehogs</font></b><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">A.
Introduction to the perils of breeding</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">B.
Licensure</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">C.
The many hats of a hedgehog breeder</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">D.
Breeder ethics</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">E.
From beginning to babies</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>1. Choosing breeding stock</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>2. Putting them together</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>3. Pregnancy</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>4. Infancy</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>5. Toddlerhood</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5"> </font></span><font size="5"><span style="mso-tab-count:1">
</span>5. Weaning</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">F.
Hand feeding</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">G.
Predicting adult color from baby color</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><b>
<font size="5">VII. Making
things for your hedgehog</font></b><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">A.
Hedgebag</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">B.
Craft foam tubes</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">C.
Storage tote cage</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">D.
Fleece blanket</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">E.
Storage blocks playpen</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">G.
Toys from �trash�</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><b>
<font size="5">VIII. Resources</font></b><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">A.
Bibliography</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">B.
Recommended Readings</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><span style="mso-tab-count:
1"><font size="5">
</font> </span><font size="5">C.
Internet Resources</font><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><b>
<font size="5">IX. Index</font></b><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal"><span style="font-family:Verdana"><b>
<font size="5">X. Apendices</font></b><o:p><font size="5"> </font>
</o:p>
</span></p>
<p class="MsoNormal" style="margin-left:.75in;text-indent:-.25in;mso-list:l0 level1 lfo3;
tab-stops:list .75in"><font face="Verdana" size="5">A.</font><span style="font-style:normal; font-variant:normal; font-weight:normal; font-family:Verdana"><font size="5">
</font>
</span><font size="5" face="Verdana">Hedgehog�s Journal</font><o:p><font size="5" face="Verdana">
</font>
</o:p>
</p>
<p class="MsoNormal" style="margin-left:.75in;text-indent:-.25in;mso-list:l0 level1 lfo3;
tab-stops:list .75in"><font face="Verdana" size="5">B.</font><span style="font-style:normal; font-variant:normal; font-weight:normal; font-family:Verdana"><font size="5">
</font>
</span><font size="5" face="Verdana">Additional Photos</font><o:p><font size="5" face="Verdana">
</font>
</o:p>
</p>
<p class="MsoNormal" style="margin-left:.75in;text-indent:-.25in;mso-list:l0 level1 lfo3;
tab-stops:list .75in"><font face="Verdana" size="5">C.</font><span style="font-style:normal; font-variant:normal; font-weight:normal; font-family:Verdana"><font size="5">
</font>
</span><font size="5" face="Verdana">Acknowledgements</font><o:p><font size="5" face="Verdana">
</font>
</o:p>
</p>
<p align="center"><font face="Verdana" size="4">Antigone
Means</font></p>
<p align="center"><font face="Verdana" size="4">Iola, KS</font></p>
<p align="center"><font face="Verdana" size="5">
<a href="http://www.facebook.com/hedgehogvalley">contact us</a></font></p>
<p align="center"><font size="1" face="Verdana">All information on this web site is copyright of Hedgehog Valley. You may view/print the web pages for your personal use. You may also provide a link to these pages without prior approval. No one is allowed to re-post the information from Hedgehog Valley Web Site, including pictures, to any other web site, without the approval of Hedgehog Valley. Copyright 2002</font></p>
<p align="center"><font face="Verdana"><br>
<b>This page last updated by Tig on 11/12/18</b></font></p>
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The Hedgehog Primer
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| **[The
Basics](basics.html)**
Articles on basic care and considerations for new or
prospective owners.
[**Vet/Health
Care**](vethealth.html)
Articles pertaining to health, nutrition, and
veterinary care.
[**Breeding
and Development**](breeddevel.html)
Articles and pictures about hedgehog breeding, growth,
and development.
**[Advanced
Care Issues](advanced.html)**
Articles for people who already own a hedgehog or want
to know more than just the basics.
**[Colors](showclr.html)**
Learn more about hedgehog colors!
**[Purchase
a Hedgehog](other.html)**
Wondering where to buy a hedgehog? Start
here!
**[Hedgehogabilia](supplies.html)**
Where to purchase hedgehog supplies and collectibles.
**[Our
Herd](ourherd.html)**
Meet the hedgehogs of Hedgehog Valley!
**[Other
Critters](otrcrtrs.html)**
Meet the other critters that call
or have called Hedgehog Valley
their home!
| | **The Hedgehog Primer**
The Hedgehog Primer is a practical
guide to the care of pet hedgehogs, based on sound knowledge and
experience. This book is for beginning and experienced hedgehog
enthusiasts alike, providing a firm foundation to keep your hedgehog
happy and healthy! At 82 pages, this 8-1/2" x 11" book is full
of excellent information. Inner photographs are in black and white.
Publication date 3/03, ISBN 1-59196-211-0. List price $10.95.
Please
[contact us](http://www.facebook.com/hedgehogvalley) to
purchase.
**I. An
introduction to hedgehogs**
A.
What kind of animal is a hedgehog?
B.
What species are these hedgehogs?
C.
The history of hedgehogs in the pet trade
D.
Are hedgehogs good pets?
E.
Where do I find a hedgehog?
F.
Why are hedgehogs expensive?
G.
How do I choose a pet hedgehog?
1. Gender differences
2. Temperament
3. Health
**II. Getting
ready for a pet hedgehog**
A.
Housing
B.
Environment
C.
Feeding
D.
Exercise
E.
Bedding
F.
Cage accessories and toys
G.
Check your attitude and expectations
H.
Finding a veterinarian
I.
Finding the right hedgehog for you
**III. When
hedgehog comes home**
A.
Handling hedgehogs
B.
Common adjustment difficulties
C.
Understanding behavior/communication
D.
Behavioral issues
1. Biting
2. Quilling
3. Self-anointing
E.
Hedgehog hide and seek (�hedgie-proofing�)
**IV. Keeping your
hedgehog healthy**
A.
When to take your hedgehog to the vet
B.
Common medical problems
1. Mites
2. Respiratory infections
3. Tumors and abscesses
4. Fatty liver
5. Dental issues
6. Obesity
7. Ear problems
8. �Wobbliness�
9. Fleas
C.
Cleanliness and bathing
D.
Communicating with your veterinarian
E.
What to keep in your hedgehog care/first aid kit
**V. Beyond the
basics**
A.
Travel with hedgehogs
B.
Hedgehogs and other pets
C.
Hedgehogs in public settings
D.
Hedgehog colors
E.
The hedgehog community
1. International Hedgehog Association
2. Showing your hedgehog
3. Online communities
F.
Preparing for a pet sitter
**VI. Breeding
hedgehogs**
A.
Introduction to the perils of breeding
B.
Licensure
C.
The many hats of a hedgehog breeder
D.
Breeder ethics
E.
From beginning to babies
1. Choosing breeding stock
2. Putting them together
3. Pregnancy
4. Infancy
5. Toddlerhood
5. Weaning
F.
Hand feeding
G.
Predicting adult color from baby color
**VII. Making
things for your hedgehog**
A.
Hedgebag
B.
Craft foam tubes
C.
Storage tote cage
D.
Fleece blanket
E.
Storage blocks playpen
G.
Toys from �trash�
**VIII. Resources**
A.
Bibliography
B.
Recommended Readings
C.
Internet Resources
**IX. Index**
**X. Apendices**
A.
Hedgehog�s Journal
B.
Additional Photos
C.
Acknowledgements
Antigone
Means
Iola, KS
[contact us](http://www.facebook.com/hedgehogvalley)
All information on this web site is copyright of Hedgehog Valley. You may view/print the web pages for your personal use. You may also provide a link to these pages without prior approval. No one is allowed to re-post the information from Hedgehog Valley Web Site, including pictures, to any other web site, without the approval of Hedgehog Valley. Copyright 2002
**This page last updated by Tig on 11/12/18**
|
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Welcome
Broadcast via the eyes of [Mertz](mertz.html), this site features a wide array of oddities and random ramblings inspired by and dedicated to sock monkeys.
Recent Updates
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<center>
<h1>Pyrotechnics</h1>
</center>
The most enduring passion in my life has been pyrotechnics.
I was into it before <a href=../electronics/>electronics</a>, before
<a href=../photo/>photography</a>.
It's occasionally gotten me into <a href=misdemeanor.html>trouble</a>,
not to mention the occasional <a href=closeCalls.html>close call</a>,
but it's enhanced my life considerably.
<p>
In March 1990, I started a <a href=plist/>
pyrotechnics mailing list</a>.
It proved popular enough that eventually the newsgroup
<a href=news:rec.pyrotechnics>rec.pyrotechnics</a>
was created, with the volume of the mailing list used as justification.
In its early years (1990-1994), I archived rec.pyrotechnics.
You can retrieve compressed tarfiles of the messages from those years
<a href=ftp://ftp.armory.com/pub/text/rec.pyro>here</a>.
<br>
<h3>My Pyrotechnics Pages</h3>
<ul>
<li><a href="doap/">Diary of a Pyro</a> - a story about pyrotechnics
<li><a href=NI3incid.html>Experiences</a> I had in high school with
nitrogen triiodide, written up for a humor class.
<li>A more brief <a href=NI3_posting.html>account</a> of my fun with
NI<sub>3</sub>.
<li><a href=MarinaBeachParty.html>4th of July 1987</a> at the Sand Plant
<li><a href=1989july4.html>4th of July 1989</a> at Seaside Beach
<li><a href=../writing/1999july4.html#boomcity>4th of July 1999</a> at Boom City
<li><a href=1991july4.html>Invitation</a> to the 1991 4th of July Party
<li>Some <a href=rocketShoot.html>model rocket shoots</a> we've had
<li>Take a <a href=pyrotest.html>pyro purity test</a>!
<li><a href=cryoRocket_icb.html>Cryotechnic Rocket Experiment</a>
<li><a href=shakerpop/>Application of Tiny Explosives</a>
</ul>
<h3><a href="/~images/?s=pyro">Photo Galleries</a></h3>
<h3>Pyrotechnic Materials Supply Houses</h3>
<ul>
<li><a href=http://www.skylighter.com/>Skylighter, Inc.</a>
- "A Supermarket for Pyrotechnics Professionals & Fireworks Making" (books, chemicals, tubes, tools, etc.)
<li><a href='http://www.pyrocreations.com/'>Pyrocreations.com</a> - fuse, tubes, shells, ball mills, etc.
</ul>
<h3>Other Pyrotechnic Resources</h3>
<ul>
<li><a href='www.76pyro.com'>'76 Pyro Magazine</a> -
This is a large-format glossy quarterly magazine, filled with informative
articles, both on general pyrotechnic topics and on people and places of
interest to those with a pyrotechnic bent.
It's backed up by some nice photography.
A high-quality magazine, not a back-room production.
Even the ads are interesting to pyrotechnic afficionados :)
</ul>
<h3>Further Pyrotechnics-Related Pages</h3>
<ul>
<li>Petri Pihko's <a href=http://cc.oulu.fi/~kempmp/pyro.html>
pyrotechnics page</a>.
<li>Tom Dimock's <a href=http://www.pyropage.com/>Pyro Page</a>.
<li>Keith Legg's <a href=http://perihelionvfx.com/ORRIHKAL.html>Personal Pyrotechnics Anecdotes</a>
<li><a href=http://wpa.pyrotechnics.org/>
Western Pyrotechnic Association</a>
<li><a href=http://www.pyropage.com/Misc/rec.pyro.faq.html>
The rec.pyrotechnics FAQ (answers to Frequently Asked Questions)</a>
<li><a href=http://www.jpyro.com>The Journal of Pyrotechnics</a>
</a>
<li><a href=http://www.fireworksnews.com>American Fireworks News</a>
</ul>
<hr>
<table width="100%">
<tr>
<td align="left" style="width: 10%;"><g:plusone></g:plusone></td>
<td align="center" style="width: 80%;">This web page maintained by <a href=/~spcecdt/>John DuBois</a></td>
<td align="right" style="width: 10%;"></td>
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Pyrotechnics
# Pyrotechnics
The most enduring passion in my life has been pyrotechnics.
I was into it before [electronics](../electronics/), before
[photography](../photo/).
It's occasionally gotten me into [trouble](misdemeanor.html),
not to mention the occasional [close call](closeCalls.html),
but it's enhanced my life considerably.
In March 1990, I started a [pyrotechnics mailing list](plist/).
It proved popular enough that eventually the newsgroup
[rec.pyrotechnics](news:rec.pyrotechnics)
was created, with the volume of the mailing list used as justification.
In its early years (1990-1994), I archived rec.pyrotechnics.
You can retrieve compressed tarfiles of the messages from those years
[here](ftp://ftp.armory.com/pub/text/rec.pyro).
### My Pyrotechnics Pages
* [Diary of a Pyro](doap/) - a story about pyrotechnics
* [Experiences](NI3incid.html) I had in high school with
nitrogen triiodide, written up for a humor class.
* A more brief [account](NI3_posting.html) of my fun with
NI3.
* [4th of July 1987](MarinaBeachParty.html) at the Sand Plant
* [4th of July 1989](1989july4.html) at Seaside Beach
* [4th of July 1999](../writing/1999july4.html#boomcity) at Boom City
* [Invitation](1991july4.html) to the 1991 4th of July Party
* Some [model rocket shoots](rocketShoot.html) we've had
* Take a [pyro purity test](pyrotest.html)!
* [Cryotechnic Rocket Experiment](cryoRocket_icb.html)* [Application of Tiny Explosives](shakerpop/)
### [Photo Galleries](/~images/?s=pyro)
### Pyrotechnic Materials Supply Houses
* [Skylighter, Inc.](http://www.skylighter.com/)
- "A Supermarket for Pyrotechnics Professionals & Fireworks Making" (books, chemicals, tubes, tools, etc.)
* [Pyrocreations.com](http://www.pyrocreations.com/) - fuse, tubes, shells, ball mills, etc.
### Other Pyrotechnic Resources
* ['76 Pyro Magazine](www.76pyro.com) -
This is a large-format glossy quarterly magazine, filled with informative
articles, both on general pyrotechnic topics and on people and places of
interest to those with a pyrotechnic bent.
It's backed up by some nice photography.
A high-quality magazine, not a back-room production.
Even the ads are interesting to pyrotechnic afficionados :)
### Further Pyrotechnics-Related Pages
* Petri Pihko's [pyrotechnics page](http://cc.oulu.fi/~kempmp/pyro.html).
* Tom Dimock's [Pyro Page](http://www.pyropage.com/).
* Keith Legg's [Personal Pyrotechnics Anecdotes](http://perihelionvfx.com/ORRIHKAL.html)* [Western Pyrotechnic Association](http://wpa.pyrotechnics.org/)* [The rec.pyrotechnics FAQ (answers to Frequently Asked Questions)](http://www.pyropage.com/Misc/rec.pyro.faq.html)* [The Journal of Pyrotechnics](http://www.jpyro.com)
* [American Fireworks News](http://www.fireworksnews.com)
---
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<img align=right src="http://www.darkwaver.com/eklectique/gfx1/switch.jpg" width=180 height=198 alt="Susan and Tina" class="insetright" />
<img src="http://www.darkwaver.com/eklectique/gfx1/switch4.jpg" width=347 height=140 alt="Switchblade Symphony" />
<p class="byline">Article - Alicia Porter<br />
Photos - Jeff Carlisle</p >
<p style="clear:both"><i>Right before their Salt Lake City concert on December 13, 1997, KRCL DJ's Alan
Moss and Avant Bone (Alan Chow), along with me, sat down with Tina Root and Susan Wallace of
Switchblade Symphony for a very impromptu interview.</i></p>
<p><b>Alan:</b> <i>So you have two full length albums out now and some other singles.
Wasn't there an album that was just released for concert-goers on the
last tour?</i></p>
<p><span class="pink">Susan Wallace:</span> Yes, that was the Scrapbook CD that we put together. It was mostly
based on our two demos that were self-released. A lot of people wanted
to have them for their own collection. We weren't really planning on releasing
them, we didn't think it was our best material, but it was in such high
demand. That CD was not released by Cleopatra, just by us, for our fans.
</p>
<p><span class="babyblue">Tina Root:</span> That was something special, we only made 1500 of them. This time
we have comic books. Those will be available in the stores eventually.
But we wanted to have something different for the tour.</p>
<p><span class="pink">Susan Wallace:</span> The person that did the artwork for the comic book is amazing. It
was the guy that does the Crow comics. He had sent us some artwork just
because he was a fan. We really liked what he did, then the idea of a comic
book was tossed in the air. We met with him and talked to him for a couple
of minutes. He took a couple of pictures of us, then he made the comic
off it. So the phrasing isn't really things that we would say. Personality-wise
it's based on a lot of the song material on Serpentine Gallery and what
he picked up in the few minutes that he talked to us. It's like a scary
child's tale kind of thing.</p>
<p><b>Alan:</b> <i>Do you have anything planned for the future, are you going to
head back to the studio?</i></p>
<p><span class="pink">Susan Wallace:</span> Well, I've been writing. Right after we finished our second tour,
we got back on the 4th of July, I just locked myself in my room for two
months. I usually do most of my writing in my room with my computer and
all my toys. I just keep myself there, isolate myself from everything.
I have all these old videotapes and photographs that I look at to try to
get me into that frame of mind. So we have some songs ready. When we get
back we're going to make a video for "Soldiers." Then probably
we'll just take a break and work on some new material. We would like to
get an opening slot for a bigger band, but we haven't really had any luck
right now because we're sort of in the middle where we can't be classified
as one thing. Some bands, what they hear of us is not really what we are.
They feel we're too "gothy" or we're too one thing or the other,
and they don't really know what we're about. They haven't seen us, so they
don't know.</p>
<img src="http://www.darkwaver.com/eklectique/gfx1/susan.jpg" width=211 alt="Susan Wallace" height=310 class="insetright" />
<p><b>Avant Bone:</b> <i>Is that a problem with the music industry?</i></p>
<p><span class="babyblue">Tina Root:</span> A lot of it has to do with our record label and its resources, and
the way that we're promoted as a band. We really are not into the whole
scene division thing that's going on right now. We like meshing different
styles of music with our own. We feel we have a core sound, and we're able
to experiment with different types of musicians. Like on this disc, Bread
and Jam for Francis, we have a DJ scratching.</p>
<p><b>Avant Bone:</b> <i>That's a comment that somebody said to me the other day, that
the new album was different from the previous albums, that they thought
it was trip hop.</i></p>
<p><span class="pink">Susan Wallace:</span> It does have trip hop elements in it, but people have to understand
also that first of all, Serpentine Gallery is really old. If anyone goes
back and looks at a picture of themselves, what they were doing, where
they were working or what they were listening to years ago, it'll be different.
There has to be some kind of growth, you have to keep evolving. In addition
to that, half the songs on Serpentine Gallery were two years old when we
put them on it. Those were songs that we had done before we were ever on
Cleopatra, "Gutter Glitter," "Mine Eyes," "Bloody
Knuckles," and "Bad Trash." We also had a really low budget,
we didn't have a lot of capabilities that we had on this album. We didn't have the ability back then to get a really good
producer or have a live drummer. We didn't have a lot of the resources,
and we were also a lot younger. So we've improved and expanded in a lot
of ways. We feel like whatever we do it's always going to have our elements.
It's always going to have Tina's very melodic, operatic, or weird vocals.
I'll always be doing the harpsichord, string stuff with a heavy groove
under it. And maybe we'll want to have an upright bass player, or a trumpet
player, or a male falsetto. We like to integrate other things in to have
different feels, but we want to keep our same elements going on.</p>
<p><b>Alan:</b> <i>Do you see a further progression in the future to experiment
more?</i></p>
<p><span class="babyblue">Tina Root:</span> Yeah, we want to just keep feeding our minds, we don't want to become
stagnant. We don't ever want to write in order to fit into any specific
scene. There's so many different types of music to take from and to use
to your benefit, whether you're listening to it or writing it. We don't
want to limit ourselves.</p>
<p><b>Avant Bone:</b> <i>There are always those people who will resist change or something
different.</i></p>
<p><span class="pink">Susan Wallace:</span> Yeah, the "I'm too cool for that" kind of thing. But everybody
does it, I'd be a total hypocrite if I said that I didn't. Everybody compares
people or classifies people. Mostly when we put an album out, it's all
about what's going on with us emotionally, what we've seen the last tour,
everything that happened and the people that we met, everything that happens
when we get home. The album is based on all of our own personal thoughts
and feelings. Everything that we put out, regardless of how it sounds,
it's going to be 100% of our soul in it.</p>
<p><b>Alan:</b> <i>Where did the name Switchblade Symphony come from?</i></p>
<p><span class="babyblue">Tina Root:</span> I first started taking voice when I was in theater, and then I started
taking lessons. I had a vocal teacher who wanted me to go classical. Then
I found out who Nina Hagen was. I love how she meshed classical singing
with punk rock. It's like taking a symphony or the different parts of a
symphony, the intricacy of it and cutting it up with a blade, then putting
in other parts and different types of music -- whether it's somebody scratching
or me singing strange or whatever. You can take things and cut them up
and put them back together again into something new and different.</p>
<p><b>Alan:</b> <i>How has Cleopatra Records been to work with, has that been a
good arrangement?</i></p>
<img src="http://www.darkwaver.com/eklectique/gfx1/tina.jpg" height=300 width=221 alt="Tina Root" class="inset" />
<p><span class="babyblue">Tina Root:</span> It's been good for us. If we would have been signed onto a major
label earlier on it might have been kind of frightening for all of us.
So we've been able to retain creative control, which has been really nice.
The only problem we have right now is with lack of promotion in different
areas, different genres of music. We totally appreciate the gothic scene,
but we feel we have an ability to venture out to different types of scenes,
to affect people that aren't necessarily from the gothic scene. Like when
we're on tour and we're playing clubs, the staff at the clubs end up coming up to us going "God, you know I
have never heard of your band and I totally love you." It's because
we've been promoted in Gothic type, Propaganda-type magazines and stuff.
So that's our only problem really with them.</p>
<p>
<span class="pink">Susan Wallace:</span> We are pigeonholed in that sense, but they are really good. They
make suggestions to us here and there, they're really into doing tributes
and covers, but they basically let us do whatever we want. We have full
control over whatever we want to do, so that's really nice, it's a luxury
that you don't think should be a luxury, it should be a right. But that's
not how it works.</p>
<p><b>Alan:</b> <i>Do you like doing covers?</i></p>
<p><b><font color="#ff8ac2">Susan</font> and <font color="#48B4FB">Tina:</font></b> No</p>
<p><span class="pink">Susan Wallace:</span> We did one cover, we did Siouxsie and the Banshees "Nightshift."
We did it in like a day. They kept asking, we kept saying no. Then the
day before it was going to go out we're like, okay we'll do it, so we put
this thing out really fast. It was interesting, but I would rather focus
on my own music and put the time, money and energy into my own creativity
rather than doing somebody else's song. I've seen other people do it, and
I think some people can do it when they put their own thing out. I'm not
referring to anybody like Vanilla Ice or Puff Daddy who completely bastardize
and take all the integrity out of a piece of art then they call it their
own. I'm not about that at all. A lot of covers are really cool if they're
done in the right way, like when Bananarama did the song "Venus."
I just feel like right now I'd rather focus on what we're doing instead
of what someone else is doing. </p>
<p><b>Alan:</b> <i>If you had your choice of bands to tour with, what would be a
couple of acts that you think you would fit really well with?</i></p>
<p><span class="babyblue">Tina Root:</span> We were up for the Sneaker Pimps tour and we missed it, I guess
just by a hair. In fact, earlier I was talking to our booking agency and
he said that we still had a chance to get on that tour, I think that would
be really good for us. I'd like to tour with Bjork, Portishead...</p>
<p><span class="pink">Susan Wallace:</span> or Marilyn Manson, or someone a little bit different. We're trying
to find someone that is in between. I would love to play with Neurosis.
I think that a lot of the people that like them would like us, and some
of them wouldn't. Some of them would want something harder, darker, whatever.
But I'd love to play with them, they really are intense. There's no chance
in hell it'll ever happen, but I would love to play with Tom Waits. He
tours once every ten years, I don't know if he'll ever go out again, but
if he did I would just, I'd do anything. </p>
<p><b>Alicia:</b> <i>There's this piece in "The Event" about your show, it says that
you make Trent Reznor sound like sunshine in comparison and that you're
like a feminized Marilyn Manson.</i></p>
<p><span class="babyblue">Tina Root:</span> We've had comparisons a lot with Marilyn Manson, and I tend to believe
it's more of a visual thing. When I see them in their videos,
they're almost like cartoon characters, and we get really
animé on stage. Plus there's this weird like strange childhood thing that
both bands have in common.
I look at them as being completely on the evil side, and I look at us as
being on the good side. So we're complete opposites in a sense which is
maybe why we get comparisons with them. Visually there's a lot of stuff
going on that's somewhat similar I would say.</p>
<p><span class="pink">Susan Wallace:</span> Lyrically, the content isn't like them, but it is mostly a visual
shock value type thing. I think whoever is the video director for both
those bands is amazing. We want to get to the point where we have that,
we want the budget that we can make a cool video, that we can have cool
theatrics. When we do home shows, we always have cool theater stuff, props
and costumes and stuff that we can't do when we're touring. We don't have
the capabilities right now. But we want that, we want to get bigger so
we have a bigger budget so we can give our audience what we have. Right
now we feel like we're only giving them a portion of what we have.</p>
<p><b>Alicia:</b> <i>What would you have in your live shows ideally?</i></p>
<p><span class="babyblue">Tina Root:</span> Much more theatrics going on, a lot of props. We would make our
own little land on stage. It'd be so fun, swings, stuff like that.</p>
<p><span class="pink">Susan Wallace:</span> We'd like to create a different area, swings, men on stilts, juggling
midgets, ballerina dancers. We'd like to have more of a different crew,
like have a DJ scratch on one song, a bass player on one song, have different
musicians to play with and more stage props. But we always do something
different. We did a dark carnival theme where we all dressed up like clowns,
and had a spinning thing with knives in it. We did a winter theme where
the whole stage was blue. We had ice on the walls, we all wore these big
white wigs, our faces were all silver. We did a forest theme with tons
of trees all over the stage. We want to be able to do that when we travel.
When we played with Type O Negative they had two snow machines, and for
the climax of the show, the snow came off either side of the stage. It
was huge, so pretty. We were like, "How much are those a week?"
figuring out how long it's going to take us before we can get something
like that. </p>
<p><span class="babyblue">Tina Root:</span> We have a bubble machine and we have two cats that we brought with
us on our last tour, these big tall cats they're like four feet tall and
they're white.</p>
<p><span class="pink">Susan Wallace:</span> and Tina made them.</p>
<p><span class="babyblue">Tina Root:</span> and they're glittery and they're really pretty.</p>
<p><span class="pink">Susan Wallace:</span> They were so cool. We didn't bring them this time though because
we didn't want to overdo it. The bubbles can only go for so long.</p>
<p><span class="babyblue">Tina Root:</span> We didn't want it to be cheese.</p>
<p><b>Alicia:</b> <i>There's one thing I wanted to ask you about your personal opinion,
not according to Switchblade Symphony, but in your lives, what do you think
that the term gothic means?</i></p>
<p><span class="babyblue">Tina Root:</span> I personally feel that the gothic scene is somewhat afraid of showing
a lot of human emotion. I feel like there's a lot of pressure on the younger
kids in the gothic scene to remain very tactful and very closed. Like when
we first started playing shows for the gothic scene in San Francisco, they
were really afraid to really get into the show, to move and to feel a groove.
We got them moving, and I feel like we kind of somewhat, not really, educated
them...</p>
<p><span class="pink">Susan Wallace:</span> We made a little bit of progress, we encourage people to move. </p>
<p><span class="babyblue">Tina Root:</span> Yeah, we made progress. We want people to feel comfortable with
being human. The whole fang thing is cool for people just as long as they
don't feel that it's necessary to exist. You know, everybody's human and
if you don't fit that specific visual gothic "look" you shouldn't
be shunned from the scene. That scene kind of judges people on "the
look," and I'm not really into that.</p>
<p><span class="pink">Susan Wallace:</span> I feel also really strongly that every gothic scene in every town
that we've been to is made up of a lot of very well-read, intelligent,
creative people. One person is a photographer, one's a student, one's a
musician, one's a writer. There is so much creativity and sensitivity in
the scene. The thing that bothers me is that I feel like right now the
public is really interested in this underground scene and what is being
projected is this really lame image of this idiot who goes on Jerry Springer
and is talking all this bullshit. It takes all the integrity out of the
scene. People on the outside don't see it as a beautiful thing because
they're seeing this person running around through a graveyard going, "Look
at me, I love the graveyard, I love blood," and they're not seeing
all the artisticness. I want people to see that, so they don't think that
it is something it's not, because it's so much deeper than what the public
sees. That's what bothers me about it, that certain people choose to project
that lame image, and I don't think that's all there is. It's very much
a cosmetic thing, and it's very much a visual thing, but there's so much
more going on. I wish that people could see that.</p>
<p><span class="babyblue">Tina Root:</span> Yeah, I think that that goes for every scene. Like the hip hop scene
is associated with violence, but there's a lot of people filled with integrity
in that scene. I think a lot of that has to be blamed on the press and
on the music business. The music business has a lot of control over what
people, the younger kids, are hearing on the radio. People that don't
have the ability to go out and search for albums, people that live in smaller
towns and only get MTV and major radio stations. So the business is really
manipulating what is being heard by the youth. It kind of is depressing
in a way what they're choosing to feed to them.</p>
<p><span class="pink">Susan Wallace:</span> They're spoon-feeding them Hootie and the Blowfish and all this
generic crap when there's so many bands with real integrity, if they would
only feed them those lyrics that actually have something to say. Something
that is not all about the artist and how many girls they have or how many
guns they have. It's all about them, and it's so vain because you can use
your popularity to teach somebody or to get a message across.</p>
<p><span class="babyblue">Tina Root:</span> You have a responsibility, as soon as you get up there, we both
feel you have a responsibility to at least project something that's intelligent
and redeeming. There's so many bands out there that are being backed financially
that really don't have the thing inside that really is necessary. </p>
<p><span class="pink">Susan Wallace:</span> It's all marketing. Like the Spice Girls are all into this whole
girlie thing and there's so much more they could say. Look at Tracy Chapman.
She doesn't have to say shit and she's just beautiful, she's so cool. </p>
<p><span class="babyblue">Tina Root:</span> That was a good move, by the music scene. I was really surprised
by the business, that she got as much popularity or as much backing as
the did. I was like, okay, there is hope. Somebody that has integrity just
got signed and got a decent deal, and is on MTV.</p>
<p><span class="pink">Susan Wallace:</span> It's because she's genuine. You can't argue with when someone's
real, you can see it. Even if you don't like them. Like Jewel for example,
I hate Jewel, but I think she's very real. I think she's sincere, and I
have a lot of respect for her. But I wouldn't buy her album because I'm
just not into her.</p>
<p><b>Alan:</b> <i>Does that mean you wouldn't mind getting on a major record label
as long as you could maintain your integrity because it allows more of
an avenue to expose people to your music?</i></p>
<p><span class="pink">Susan Wallace:</span> Well it's a Catch-22. We've never been forced into that position
where we fully understand the terms of it. If they say, "We'll give
you this million dollar contract," or whatever they're going to do,
what are the consequences of that? We don't know yet. We want to, we want
to be on MTV, we want to be on major radio, but I can't get up in the morning
and look at myself if I'm doing something that I hate. If what we're doing
turns out to be mainstream, and I hope that we can...</p>
<p><b>Avant Bone:</b> <i>What a dirty word you just said.</i></p>
<p><span class="pink">Susan Wallace:</span> But mainstream shouldn't be a dirty word.</p>
<p><span class="babyblue">Tina Root:</span> It's not a dirty word. As long as you don't sell out to get there.</p>
<p><span class="pink">Susan Wallace:</span> To me selling out is doing something that I don't want to do so
that I get money. If I'm doing what I want to do and I'm a millionaire,
I am totally successful. We're just squeaking by, but we're able to travel
all around the world and make our music and play it for people. I feel
so successful right now and happy, but I would be a lot happier if I had
a little bit more money so that I could buy things like cat food and wine,
whatever I want. </p>
<p><span class="babyblue">Tina Root:</span> Our goal is to expose our music to as many people as possible, regardless
of what kind of people they are. We would love to see a big huge melting
pot of people in our audience, all different types of people identifying
with our music. Because we're not trying to fit any specific type of person,
we're just giving ourselves. Like she said earlier, if we become famous
doing that then we've succeeded in getting our dream.</p>
<p><span class="pink">Susan Wallace:</span> But we are a little bit afraid of losing the people that we have
right now, because we do understand there is that "I used to like
them but now I'm tired of hearing about them" or "Now they're
different" or however they feel...</p>
<p><b>Avant Bone:</b> <i>Some might feel betrayed in some ways?</i></p>
<p><span class="pink">Susan Wallace:</span> Yeah, I'm really afraid that we're going to lose some of those people.
I know that we will and that we probably already have a little bit. I hope
that they just know that we're still real, and I hope they'll just give
us a chance, listen. I think the new album will take some people a minute
to get used to because it maybe isn't what they're expecting, but it's
totally us and it's real. We don't want to lose our fans that we have right
now because they are so wonderful. The gothic scene generally has opened
its arms to us and been so loving. Tina and I pay for everything ourselves. We can do that because people come to our shows, buy T-shirts and the album.
That's the only reason that we're here and we don't want to lose them,
we don't want them to feel that we turned our backs on them, ever.</p>
<p><b>Avant Bone:</b> <i>How did you two meet?</i></p>
<p><span class="babyblue">Tina Root:</span> We met as musicians. She actually knew my brother before I knew
her. Mutual friends introduced us, both of us were looking for people to
work with. So we initially met on the phone and spoke for eight hours straight
just going "Oh my God, oh my God, oh my God" either we were the
same or we were the opposite so we balanced each other out. Since then
we've been the same way, and luckily we've had this growth pattern that's
been parallel. If we grow away from each other, we both learn about what
the other person is learning about at that point. That's kind of what we
want the gothic scene to do with us too is grow with us and not close its
doors. Like if we bring a DJ up on the stage, to be open to that and to
realize that there's other music beyond the scene that really is incredible
they really need to listen to.</p>
<p><b>Avant Bone:</b> <i>It's a difficult thing fighting people's preconceived notions
of what you should be.</i></p>
<p><span class="babyblue">Tina Root:</span> Yeah but music is one thing that we all have as a society that everyone
can understand. Why segregate that? Why segregate art when it's the one
thing we have that we don't need to? There's so much segregation, so many
different dress codes right now with the swing scene and all of this stuff.
All of them have their redeeming qualities. If people were just to experiment
with them, see what it's about.</p>
<p><span class="pink">Susan Wallace:</span> Go experience it, see what it's about instead of just saying, "That sucks." At least check it out and say "I
didn't like it." You can't say you don't like something if you don't
know what it is.</p>
<div align="center">
<a href="http://www.darkwaver.com/eklectique/gfx1/tina2.jpg"><img src="http://www.darkwaver.com/eklectique/gfx1/tina2-s.jpg" width=125 height=150 alt="Tina" hspace="10" /></a>
<a href="http://www.darkwaver.com/eklectique/gfx1/switchlive.jpg"><img src="http://www.darkwaver.com/eklectique/gfx1/switchlive-s.jpg" width=175 height=150 alt="Tina and Susan" hspace="10" /></a>
<a href="http://www.darkwaver.com/eklectique/gfx1/tina3.jpg"><img src="http://www.darkwaver.com/eklectique/gfx1/tina3-s.jpg" width=139 height=150 alt="Tina and a cigarette" hspace="10" /></a>
</div>
<p class="byline center">Concert photos by Alicia</p>
</div>
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<br />
<a href="http://www.darkwaver.com/eklectique/contents.html"><img border=0 src="http://www.darkwaver.com/eklectique/gfx1/contents.jpg" alt="Eklectique Contents" height="45" width="197" /></a>
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<li class="first"><a href="http://www.darkwaver.com/eklectique/switchblade.html" class="inactive">Switchblade Symphony Interview</a></li>
<li><a href="http://www.darkwaver.com/eklectique/dye.html">How To Dye Your Hair Blue</a></li>
<li><a href="http://www.darkwaver.com/eklectique/fashion.html">What Your Goth Fashion Means</a></li>
<li><a href="http://www.darkwaver.com/eklectique/poetry.html">Underground Poetry</a></li>
<li class="first"><a href="http://www.darkwaver.com/eklectique/music-review.html">Music and Website Reviews</a></li>
<li><a href="http://www.darkwaver.com/eklectique/visual.html">Dark Artwork and Photography</a></li>
<li><a href="http://www.darkwaver.com/eklectique/old-bat.html">You Know You're an Old Bat When...</a></li>
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Eklectique: An Interview with Switchblade Symphony
Article - Alicia Porter
Photos - Jeff Carlisle
*Right before their Salt Lake City concert on December 13, 1997, KRCL DJ's Alan
Moss and Avant Bone (Alan Chow), along with me, sat down with Tina Root and Susan Wallace of
Switchblade Symphony for a very impromptu interview.*
**Alan:** *So you have two full length albums out now and some other singles.
Wasn't there an album that was just released for concert-goers on the
last tour?*
Susan Wallace: Yes, that was the Scrapbook CD that we put together. It was mostly
based on our two demos that were self-released. A lot of people wanted
to have them for their own collection. We weren't really planning on releasing
them, we didn't think it was our best material, but it was in such high
demand. That CD was not released by Cleopatra, just by us, for our fans.
Tina Root: That was something special, we only made 1500 of them. This time
we have comic books. Those will be available in the stores eventually.
But we wanted to have something different for the tour.
Susan Wallace: The person that did the artwork for the comic book is amazing. It
was the guy that does the Crow comics. He had sent us some artwork just
because he was a fan. We really liked what he did, then the idea of a comic
book was tossed in the air. We met with him and talked to him for a couple
of minutes. He took a couple of pictures of us, then he made the comic
off it. So the phrasing isn't really things that we would say. Personality-wise
it's based on a lot of the song material on Serpentine Gallery and what
he picked up in the few minutes that he talked to us. It's like a scary
child's tale kind of thing.
**Alan:** *Do you have anything planned for the future, are you going to
head back to the studio?*
Susan Wallace: Well, I've been writing. Right after we finished our second tour,
we got back on the 4th of July, I just locked myself in my room for two
months. I usually do most of my writing in my room with my computer and
all my toys. I just keep myself there, isolate myself from everything.
I have all these old videotapes and photographs that I look at to try to
get me into that frame of mind. So we have some songs ready. When we get
back we're going to make a video for "Soldiers." Then probably
we'll just take a break and work on some new material. We would like to
get an opening slot for a bigger band, but we haven't really had any luck
right now because we're sort of in the middle where we can't be classified
as one thing. Some bands, what they hear of us is not really what we are.
They feel we're too "gothy" or we're too one thing or the other,
and they don't really know what we're about. They haven't seen us, so they
don't know.
**Avant Bone:** *Is that a problem with the music industry?*
Tina Root: A lot of it has to do with our record label and its resources, and
the way that we're promoted as a band. We really are not into the whole
scene division thing that's going on right now. We like meshing different
styles of music with our own. We feel we have a core sound, and we're able
to experiment with different types of musicians. Like on this disc, Bread
and Jam for Francis, we have a DJ scratching.
**Avant Bone:** *That's a comment that somebody said to me the other day, that
the new album was different from the previous albums, that they thought
it was trip hop.*
Susan Wallace: It does have trip hop elements in it, but people have to understand
also that first of all, Serpentine Gallery is really old. If anyone goes
back and looks at a picture of themselves, what they were doing, where
they were working or what they were listening to years ago, it'll be different.
There has to be some kind of growth, you have to keep evolving. In addition
to that, half the songs on Serpentine Gallery were two years old when we
put them on it. Those were songs that we had done before we were ever on
Cleopatra, "Gutter Glitter," "Mine Eyes," "Bloody
Knuckles," and "Bad Trash." We also had a really low budget,
we didn't have a lot of capabilities that we had on this album. We didn't have the ability back then to get a really good
producer or have a live drummer. We didn't have a lot of the resources,
and we were also a lot younger. So we've improved and expanded in a lot
of ways. We feel like whatever we do it's always going to have our elements.
It's always going to have Tina's very melodic, operatic, or weird vocals.
I'll always be doing the harpsichord, string stuff with a heavy groove
under it. And maybe we'll want to have an upright bass player, or a trumpet
player, or a male falsetto. We like to integrate other things in to have
different feels, but we want to keep our same elements going on.
**Alan:** *Do you see a further progression in the future to experiment
more?*
Tina Root: Yeah, we want to just keep feeding our minds, we don't want to become
stagnant. We don't ever want to write in order to fit into any specific
scene. There's so many different types of music to take from and to use
to your benefit, whether you're listening to it or writing it. We don't
want to limit ourselves.
**Avant Bone:** *There are always those people who will resist change or something
different.*
Susan Wallace: Yeah, the "I'm too cool for that" kind of thing. But everybody
does it, I'd be a total hypocrite if I said that I didn't. Everybody compares
people or classifies people. Mostly when we put an album out, it's all
about what's going on with us emotionally, what we've seen the last tour,
everything that happened and the people that we met, everything that happens
when we get home. The album is based on all of our own personal thoughts
and feelings. Everything that we put out, regardless of how it sounds,
it's going to be 100% of our soul in it.
**Alan:** *Where did the name Switchblade Symphony come from?*
Tina Root: I first started taking voice when I was in theater, and then I started
taking lessons. I had a vocal teacher who wanted me to go classical. Then
I found out who Nina Hagen was. I love how she meshed classical singing
with punk rock. It's like taking a symphony or the different parts of a
symphony, the intricacy of it and cutting it up with a blade, then putting
in other parts and different types of music -- whether it's somebody scratching
or me singing strange or whatever. You can take things and cut them up
and put them back together again into something new and different.
**Alan:** *How has Cleopatra Records been to work with, has that been a
good arrangement?*
Tina Root: It's been good for us. If we would have been signed onto a major
label earlier on it might have been kind of frightening for all of us.
So we've been able to retain creative control, which has been really nice.
The only problem we have right now is with lack of promotion in different
areas, different genres of music. We totally appreciate the gothic scene,
but we feel we have an ability to venture out to different types of scenes,
to affect people that aren't necessarily from the gothic scene. Like when
we're on tour and we're playing clubs, the staff at the clubs end up coming up to us going "God, you know I
have never heard of your band and I totally love you." It's because
we've been promoted in Gothic type, Propaganda-type magazines and stuff.
So that's our only problem really with them.
Susan Wallace: We are pigeonholed in that sense, but they are really good. They
make suggestions to us here and there, they're really into doing tributes
and covers, but they basically let us do whatever we want. We have full
control over whatever we want to do, so that's really nice, it's a luxury
that you don't think should be a luxury, it should be a right. But that's
not how it works.
**Alan:** *Do you like doing covers?*
**Susan and Tina:** No
Susan Wallace: We did one cover, we did Siouxsie and the Banshees "Nightshift."
We did it in like a day. They kept asking, we kept saying no. Then the
day before it was going to go out we're like, okay we'll do it, so we put
this thing out really fast. It was interesting, but I would rather focus
on my own music and put the time, money and energy into my own creativity
rather than doing somebody else's song. I've seen other people do it, and
I think some people can do it when they put their own thing out. I'm not
referring to anybody like Vanilla Ice or Puff Daddy who completely bastardize
and take all the integrity out of a piece of art then they call it their
own. I'm not about that at all. A lot of covers are really cool if they're
done in the right way, like when Bananarama did the song "Venus."
I just feel like right now I'd rather focus on what we're doing instead
of what someone else is doing.
**Alan:** *If you had your choice of bands to tour with, what would be a
couple of acts that you think you would fit really well with?*
Tina Root: We were up for the Sneaker Pimps tour and we missed it, I guess
just by a hair. In fact, earlier I was talking to our booking agency and
he said that we still had a chance to get on that tour, I think that would
be really good for us. I'd like to tour with Bjork, Portishead...
Susan Wallace: or Marilyn Manson, or someone a little bit different. We're trying
to find someone that is in between. I would love to play with Neurosis.
I think that a lot of the people that like them would like us, and some
of them wouldn't. Some of them would want something harder, darker, whatever.
But I'd love to play with them, they really are intense. There's no chance
in hell it'll ever happen, but I would love to play with Tom Waits. He
tours once every ten years, I don't know if he'll ever go out again, but
if he did I would just, I'd do anything.
**Alicia:** *There's this piece in "The Event" about your show, it says that
you make Trent Reznor sound like sunshine in comparison and that you're
like a feminized Marilyn Manson.*
Tina Root: We've had comparisons a lot with Marilyn Manson, and I tend to believe
it's more of a visual thing. When I see them in their videos,
they're almost like cartoon characters, and we get really
animé on stage. Plus there's this weird like strange childhood thing that
both bands have in common.
I look at them as being completely on the evil side, and I look at us as
being on the good side. So we're complete opposites in a sense which is
maybe why we get comparisons with them. Visually there's a lot of stuff
going on that's somewhat similar I would say.
Susan Wallace: Lyrically, the content isn't like them, but it is mostly a visual
shock value type thing. I think whoever is the video director for both
those bands is amazing. We want to get to the point where we have that,
we want the budget that we can make a cool video, that we can have cool
theatrics. When we do home shows, we always have cool theater stuff, props
and costumes and stuff that we can't do when we're touring. We don't have
the capabilities right now. But we want that, we want to get bigger so
we have a bigger budget so we can give our audience what we have. Right
now we feel like we're only giving them a portion of what we have.
**Alicia:** *What would you have in your live shows ideally?*
Tina Root: Much more theatrics going on, a lot of props. We would make our
own little land on stage. It'd be so fun, swings, stuff like that.
Susan Wallace: We'd like to create a different area, swings, men on stilts, juggling
midgets, ballerina dancers. We'd like to have more of a different crew,
like have a DJ scratch on one song, a bass player on one song, have different
musicians to play with and more stage props. But we always do something
different. We did a dark carnival theme where we all dressed up like clowns,
and had a spinning thing with knives in it. We did a winter theme where
the whole stage was blue. We had ice on the walls, we all wore these big
white wigs, our faces were all silver. We did a forest theme with tons
of trees all over the stage. We want to be able to do that when we travel.
When we played with Type O Negative they had two snow machines, and for
the climax of the show, the snow came off either side of the stage. It
was huge, so pretty. We were like, "How much are those a week?"
figuring out how long it's going to take us before we can get something
like that.
Tina Root: We have a bubble machine and we have two cats that we brought with
us on our last tour, these big tall cats they're like four feet tall and
they're white.
Susan Wallace: and Tina made them.
Tina Root: and they're glittery and they're really pretty.
Susan Wallace: They were so cool. We didn't bring them this time though because
we didn't want to overdo it. The bubbles can only go for so long.
Tina Root: We didn't want it to be cheese.
**Alicia:** *There's one thing I wanted to ask you about your personal opinion,
not according to Switchblade Symphony, but in your lives, what do you think
that the term gothic means?*
Tina Root: I personally feel that the gothic scene is somewhat afraid of showing
a lot of human emotion. I feel like there's a lot of pressure on the younger
kids in the gothic scene to remain very tactful and very closed. Like when
we first started playing shows for the gothic scene in San Francisco, they
were really afraid to really get into the show, to move and to feel a groove.
We got them moving, and I feel like we kind of somewhat, not really, educated
them...
Susan Wallace: We made a little bit of progress, we encourage people to move.
Tina Root: Yeah, we made progress. We want people to feel comfortable with
being human. The whole fang thing is cool for people just as long as they
don't feel that it's necessary to exist. You know, everybody's human and
if you don't fit that specific visual gothic "look" you shouldn't
be shunned from the scene. That scene kind of judges people on "the
look," and I'm not really into that.
Susan Wallace: I feel also really strongly that every gothic scene in every town
that we've been to is made up of a lot of very well-read, intelligent,
creative people. One person is a photographer, one's a student, one's a
musician, one's a writer. There is so much creativity and sensitivity in
the scene. The thing that bothers me is that I feel like right now the
public is really interested in this underground scene and what is being
projected is this really lame image of this idiot who goes on Jerry Springer
and is talking all this bullshit. It takes all the integrity out of the
scene. People on the outside don't see it as a beautiful thing because
they're seeing this person running around through a graveyard going, "Look
at me, I love the graveyard, I love blood," and they're not seeing
all the artisticness. I want people to see that, so they don't think that
it is something it's not, because it's so much deeper than what the public
sees. That's what bothers me about it, that certain people choose to project
that lame image, and I don't think that's all there is. It's very much
a cosmetic thing, and it's very much a visual thing, but there's so much
more going on. I wish that people could see that.
Tina Root: Yeah, I think that that goes for every scene. Like the hip hop scene
is associated with violence, but there's a lot of people filled with integrity
in that scene. I think a lot of that has to be blamed on the press and
on the music business. The music business has a lot of control over what
people, the younger kids, are hearing on the radio. People that don't
have the ability to go out and search for albums, people that live in smaller
towns and only get MTV and major radio stations. So the business is really
manipulating what is being heard by the youth. It kind of is depressing
in a way what they're choosing to feed to them.
Susan Wallace: They're spoon-feeding them Hootie and the Blowfish and all this
generic crap when there's so many bands with real integrity, if they would
only feed them those lyrics that actually have something to say. Something
that is not all about the artist and how many girls they have or how many
guns they have. It's all about them, and it's so vain because you can use
your popularity to teach somebody or to get a message across.
Tina Root: You have a responsibility, as soon as you get up there, we both
feel you have a responsibility to at least project something that's intelligent
and redeeming. There's so many bands out there that are being backed financially
that really don't have the thing inside that really is necessary.
Susan Wallace: It's all marketing. Like the Spice Girls are all into this whole
girlie thing and there's so much more they could say. Look at Tracy Chapman.
She doesn't have to say shit and she's just beautiful, she's so cool.
Tina Root: That was a good move, by the music scene. I was really surprised
by the business, that she got as much popularity or as much backing as
the did. I was like, okay, there is hope. Somebody that has integrity just
got signed and got a decent deal, and is on MTV.
Susan Wallace: It's because she's genuine. You can't argue with when someone's
real, you can see it. Even if you don't like them. Like Jewel for example,
I hate Jewel, but I think she's very real. I think she's sincere, and I
have a lot of respect for her. But I wouldn't buy her album because I'm
just not into her.
**Alan:** *Does that mean you wouldn't mind getting on a major record label
as long as you could maintain your integrity because it allows more of
an avenue to expose people to your music?*
Susan Wallace: Well it's a Catch-22. We've never been forced into that position
where we fully understand the terms of it. If they say, "We'll give
you this million dollar contract," or whatever they're going to do,
what are the consequences of that? We don't know yet. We want to, we want
to be on MTV, we want to be on major radio, but I can't get up in the morning
and look at myself if I'm doing something that I hate. If what we're doing
turns out to be mainstream, and I hope that we can...
**Avant Bone:** *What a dirty word you just said.*
Susan Wallace: But mainstream shouldn't be a dirty word.
Tina Root: It's not a dirty word. As long as you don't sell out to get there.
Susan Wallace: To me selling out is doing something that I don't want to do so
that I get money. If I'm doing what I want to do and I'm a millionaire,
I am totally successful. We're just squeaking by, but we're able to travel
all around the world and make our music and play it for people. I feel
so successful right now and happy, but I would be a lot happier if I had
a little bit more money so that I could buy things like cat food and wine,
whatever I want.
Tina Root: Our goal is to expose our music to as many people as possible, regardless
of what kind of people they are. We would love to see a big huge melting
pot of people in our audience, all different types of people identifying
with our music. Because we're not trying to fit any specific type of person,
we're just giving ourselves. Like she said earlier, if we become famous
doing that then we've succeeded in getting our dream.
Susan Wallace: But we are a little bit afraid of losing the people that we have
right now, because we do understand there is that "I used to like
them but now I'm tired of hearing about them" or "Now they're
different" or however they feel...
**Avant Bone:** *Some might feel betrayed in some ways?*
Susan Wallace: Yeah, I'm really afraid that we're going to lose some of those people.
I know that we will and that we probably already have a little bit. I hope
that they just know that we're still real, and I hope they'll just give
us a chance, listen. I think the new album will take some people a minute
to get used to because it maybe isn't what they're expecting, but it's
totally us and it's real. We don't want to lose our fans that we have right
now because they are so wonderful. The gothic scene generally has opened
its arms to us and been so loving. Tina and I pay for everything ourselves. We can do that because people come to our shows, buy T-shirts and the album.
That's the only reason that we're here and we don't want to lose them,
we don't want them to feel that we turned our backs on them, ever.
**Avant Bone:** *How did you two meet?*
Tina Root: We met as musicians. She actually knew my brother before I knew
her. Mutual friends introduced us, both of us were looking for people to
work with. So we initially met on the phone and spoke for eight hours straight
just going "Oh my God, oh my God, oh my God" either we were the
same or we were the opposite so we balanced each other out. Since then
we've been the same way, and luckily we've had this growth pattern that's
been parallel. If we grow away from each other, we both learn about what
the other person is learning about at that point. That's kind of what we
want the gothic scene to do with us too is grow with us and not close its
doors. Like if we bring a DJ up on the stage, to be open to that and to
realize that there's other music beyond the scene that really is incredible
they really need to listen to.
**Avant Bone:** *It's a difficult thing fighting people's preconceived notions
of what you should be.*
Tina Root: Yeah but music is one thing that we all have as a society that everyone
can understand. Why segregate that? Why segregate art when it's the one
thing we have that we don't need to? There's so much segregation, so many
different dress codes right now with the swing scene and all of this stuff.
All of them have their redeeming qualities. If people were just to experiment
with them, see what it's about.
Susan Wallace: Go experience it, see what it's about instead of just saying, "That sucks." At least check it out and say "I
didn't like it." You can't say you don't like something if you don't
know what it is.
[](http://www.darkwaver.com/eklectique/gfx1/tina2.jpg)
[](http://www.darkwaver.com/eklectique/gfx1/switchlive.jpg)
[](http://www.darkwaver.com/eklectique/gfx1/tina3.jpg)
Concert photos by Alicia
[](http://www.darkwaver.com/eklectique/contents.html)
* [Switchblade Symphony Interview](http://www.darkwaver.com/eklectique/switchblade.html)
* [How To Dye Your Hair Blue](http://www.darkwaver.com/eklectique/dye.html)
* [What Your Goth Fashion Means](http://www.darkwaver.com/eklectique/fashion.html)
* [Underground Poetry](http://www.darkwaver.com/eklectique/poetry.html)
* [Music and Website Reviews](http://www.darkwaver.com/eklectique/music-review.html)
* [Dark Artwork and Photography](http://www.darkwaver.com/eklectique/visual.html)
* [You Know You're an Old Bat When...](http://www.darkwaver.com/eklectique/old-bat.html)
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<title>Web Design - The First 100 Years</title>
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<p><a href="https://idlewords.com/">Idle Words</a> > <a href="https://idlewords.com/talks/">Talks</a> > Web Design: The First 100 Years
<p>This is the expanded version of a <a href="https://www.webstock.org.nz/14/programme/presentations/">talk I gave on September 9, 2014</a>, at the HOW Interactive Design conference in Washington, DC.
<hr/>
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<td><a href="https://static.pinboard.in/w100/w100.002.jpg"><img style="width:250px" src="https://static.pinboard.in/w100/thumbs/w100.002.jpg"></a></td>
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<p>Designers! I am a San Francisco computer programmer, but I come in peace!
<p>I would like to start with a parable about airplanes.</p>
<p>In 1981, my mother and I flew from Warsaw to New York City in this airplane, an <a href="https://en.wikipedia.org/wiki/Ilyushin_Il-62">Ilyushin-62</a>.
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<td><a href="https://static.pinboard.in/w100/w100.003.jpg"><img style="width:250px" src="https://static.pinboard.in/w100/thumbs/w100.003.jpg"></a></td>
<td><p>The Il-62 exemplifies a Soviet design approach I like to think of as "add engines until airborne".
<p>Soviet engineers lacked the computers to calculate all the bending and wiggling the wings would do if you hung the engines under them, so they just strapped engines on the back.
<p>This plane actually used a little kickstand when it was parked empty, to keep it from tipping over and pointing up like a rocket.</p>
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<td><a href="https://static.pinboard.in/w100/w100.004.jpg"><img style="width:250px" src="https://static.pinboard.in/w100/thumbs/w100.004.jpg"></a></td>
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<p>In those days, Warsaw had maybe ten flights a day. It was a big deal to spot a plane in the sky. The airport itself was a tiny concrete building not much bigger than this conference room, so my mom and I were completely overwhelmed on arrival at JFK airport, with its maze of gates. To top it off, neither of us spoke English.
<p> We ran around the airport, out of breath, until we finally found our way to a waiting room where other passengers were sitting and waiting for the Pan Am flight to Houston. We sat down to wait, too. And then, without warning, the waiting room took off.
<p>That was my introduction to the Boeing 747.
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<td><a href="https://static.pinboard.in/w100/w100.005.jpg"><img style="width:250px" src="https://static.pinboard.in/w100/thumbs/w100.005.jpg"></a></td>
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<p>The 747 is a masterpiece of industrial design. Everything we think of as normal about air travel, for better or worse, was invented for this airplane and its immediate predecessor, the 707. That includes seats on rails, overhead bins, drink trolleys, sliding window shades, the little fan above your seatâyou name it.
<p>There are so many wonderful stories about the 747. It was two and a half times bigger than the largest passenger jet ever built. They had to make a special factory to assemble it, and they were still building the factory as the first planes came off the line. They were also still tinkering with the design. Engineers would run out onto the shop floor waving amended drawings, and annoyed foremen on the production line would cuss them out.
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<td><a href="https://static.pinboard.in/w100/w100.006.jpg"><img style="width:250px" src="https://static.pinboard.in/w100/thumbs/w100.006.jpg"></a></td>
<td>
<p>The 747 required over 75,000 technical drawings. All of them were done by hand. There was no computer aided design to help engineers figure out how to put everything together, just a massive filing system.
<p>Boeing had to build a full-scale plywood model of the plane from these drawings to make sure everything fit together, and that multiple systems weren't trying to occupy the same space.
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<td><a href="https://static.pinboard.in/w100/w100.007.jpg"><img style="width:250px" src="https://static.pinboard.in/w100/thumbs/w100.007.jpg"></a></td>
<td><p>My favorite fact about the 747 is that it was built by the company's B team, Boeing's version of the Bad News Bears. All the top engineers, and the ambitious up and comers, had gotten themselves assigned to Boeing's prestige project, a plane called the <a href="https://en.wikipedia.org/wiki/Boeing_2707">2707</a>, or supersonic transport.
<p>The SST was going to fly at almost three times the speed of sound, about 2900 kilometers an hour. It had swing wings. And it was the first-ever widebody design. Everyone believed that the SST was the future of jet travel.
<p>
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<td><a href="https://static.pinboard.in/w100/w100.009.jpg"><img style="width:250px" src="https://static.pinboard.in/w100/thumbs/w100.009.jpg"></a></td>
<td>The 747 was meant to be a stopgap. It was supposed to serve the airlines until the SST entered service in the 1970's, at which point it would be demoted to a freighter.
<p>This is a Pan Am advertisement from the period, showcasing the 'planes of tomorrow' that were 'just over the horizon'.
<p>
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<p>In fact, that famous hump on the 747 is there specifically to make it easier to load freight. This was not a plane with a glamorous future.
<p> It wasn't just Boeing working to build an SST. The Europeans were developing the Concorde, and the Soviet Union was hard at work on their own version.
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<p>This was a giddy time for aviation. Pan Am even started <a href="https://backstoryradio.org/2013/08/19/pan-am-and-the-waiting-list-for-the-moon/">taking reservations</a> for commercial flights to the Moon! They had a waiting list with over 90,000 names.
<p>The point of my parable is this: imagine if you could travel back in time and offer to show one of those Boeing engineers what air travel would look like in 2014, fifty years on.
<p> What might he have expected to see?
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<p>Keep in mind that in 1965, the Gemini project had just started. Astronauts were in earth orbit, testing the technology and procedures needed for getting to the Moon. The Space Race was in full swing.
<p>The Soviets and Europeans were both developing a giant supersonic airliner.
<p>As this period chart shows, transportation speed was increasing at an exponential rate, and we were just about to head up that steep slope towards interstellar travel. Though the underlying technologies kept changing, the overall trend was as clear as it was unstoppable.
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<p>One thing the engineer might have expected to see in 2014 was a radioactive wasteland. The Cold War was a grim reality, and many people expected it to end in disaster.
<p>But if we had not killed ourselves, he would have expected moon bases, maybe a Mars base. He wouldn't be surprised to see flying cars everywhere, or atomic airplanes with unlimited range.
<p>Without question there would be routine supersonic travel at unimaginable speed and comfort between any two cities in the world.
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Consider what that engineer had seen happen in his own lifetime. The first attempts at powered flight took place right around the time he was born.
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In the twenties, when he was a boy, airliners like the <a href="https://en.wikipedia.org/wiki/Junkers_G_24">Junkers G-24</a> could fly 14 passengers at 170 kph.
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The 1930's brought the all-metal <a href="https://en.wikipedia.org/wiki/Douglas_DC-3">DC-3</a>. It could fly 30 people at 333 kph.
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That was also the era of the famous <a href="https://en.wikipedia.org/wiki/Boeing_314_Clipper">Boeing Clippers</a>. They had luxurious sleeper berths and took six days to get from San Francisco to Hong Kong.
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<p>In the 1940's, Boeing introduced the <a href="https://en.wikipedia.org/wiki/Boeing_377_Stratocruiser">Stratocruiser</a>, a pressurized plane that could fly at 480 kph.
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<p>Finally, in the 50's, Boeing ushered in the Jet Age with the <a href="https://en.wikipedia.org/wiki/Boeing_707">Boeing 707</a>, which could cross the Atlantic ocean at nearly 1,000 kph.
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<p>I submit to you that the last thing that Boeing engineer would expect to see in 2014 is what actually happened. Here is today's most advanced passenger aircraft, the Boeing 787.
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<p>Unless you are an airplane nerd, you would be hard pressed to distinguish the 787 from its grandfather.
<p>And in fact, this revolutionary new plane flies slower than the 707.
<p>The basic configuration of an airliner has not changed in sixty years. You have a long tube, swept wings with multiple engines mounted underneath, and a top speed of around 900 kph.
<p>So what happened to the future?
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<p>It's not that the technology failed. We built, tested and flew giant planes that could cruise at over three times the speed of sound.
<p>This is the <a href="https://en.wikipedia.org/wiki/North_American_XB-70_Valkyrie">Valkyrie</a>, a massive strategic bomber painted white so that it won't catch fire from the flash of its own nuclear bombs. This plane was test flown in 1965 and nearly made it into production.
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<p>The SR-71 Blackbird, another Mach 3 plane, did make it into production, and flew for decades. It still holds all the speed records.
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<p>We even got supersonic airliners! The Concorde entered commercial service and safely ferried douchebags across the Atlantic for 25 years. If you're my age, you may remember seeing one taxi past you at the airport.
<p>The Russians got in on it too, with a plane derisively called the Concordeski. This proved too loud and unreliable for passenger service, so it ended up being a transport jet. It carried fruits and vegetables from Central Asia at twice the speed of sound.
<p>My favorite line from <a href="https://en.wikipedia.org/wiki/Tupolev_Tu-144">the Wikipedia article</a> is that the plane was so loud, "you couldn't hear the passenger two seats away from you screaming". He had to pass you a note saying "aaaaaaugh".
<p>The first time they took journalists up on this thing, there were so many alarms going off that the pilot had to borrow a pillow from the passengers to stuff into the alarm klaxon. But it flew!
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<p>And it's not like the space program was a failure. We landed men on the Moon not once, but six times.
<p>Because we're Americans, we didn't just put men on the moonâwe put cars on the Moon, three of them.
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<p>We even had a dude play golf up there.
<p>Our poor engineer had every right to assume that the breakthroughs he'd seen over his entire working life were on track to continue. He lived at a time of accelerating technological change, where in ten years we had gone from propeller planes to lunar exploration.
<p>The next generation of technology was not just a dream; it was already in the prototype stage.
<p>But it all just kind of stopped.
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<p>We have a space station in 2014, but it's too embarrassing to talk about. Sometimes we send Canadians up there.
<p>Never mind the Moonâwe can't even launch astronauts into orbit anymore. If we want to go to our sad-sack space station, we have to ask the Russians, and they're mean to us.
<p>Can you imagine the look in that engineer's eyes?
<p>The technology was pointing in one direction, the future was clear and inevitable. And then it never happened. Why?
<p>First, we ran into diminishing returns. As these planes got faster, they got more expensive to design and operate. Pushing all that air out of the way required exotic materials and vast amounts of fuel.
<p>The space program was even worse. Those rockets used a lot of public money that could be better spent on bombing Vietnam.
<p>Second, there were unexpected drawbacks. Economists have that great word, "externalities", for anything they find doesn't fit their model of the world. One externality of supersonic planes was the sonic boom. The Air Force spent <a href="https://en.wikipedia.org/wiki/Oklahoma_City_sonic_boom_tests">six months flying supersonic over Oklahoma City</a> to convince itself that the constant noise bothered people.
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<p>Another externality was that exhaust from SSTs damaged the ozone layer.
<p>Boeing was genuinely surprised that people cared about this stuff. What does it matter if the sun is coming through your shattered window and burning your skin, if you can have a supersonic airliner? But it wasn't worth it!
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<p>Because the technologies we had were good enough. It turned out that very few people needed to cross an ocean in three hours instead of six hours. On my way to this conference, I flew from Switzerland to San Francisco. It took eleven hours and cost me around a thousand dollars. It was a long flight and kind of uncomfortable and boring. But I crossed the planet in half a day!
<p>Being able to get anywhere in the world in a day is really good enough. We complain about air travel but consider that for a couple of thousand dollars, you can go anywhere, overnight.
<p>The people designing the planes of tomorrow got so caught up in the technology that they forgot to ask the very important question, âwhat are we building this for?â
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<p>Today I hope to persuade you that the same thing that happened to aviation is happening with the Internet. Here we are, fifty years into the computer revolution, at what feels like our moment of greatest progress. The outlines of the future are clear, and oh boy is it futuristic. </p>
<p>But we're running into physical and economic barriers that aren't worth crossing.
<p>We're starting to see that putting everything online has real and troubling social costs.
<p>And the devices we use are becoming 'good enough', to the point where we can focus on making them cheaper, more efficient, and accessible to everyone.
<p>So despite appearances, despite the feeling that things are accelerating and changing faster than ever, I want to make the shocking prediction that the Internet of 2060 is going to look recognizably the same as the Internet today.
<p>Unless we screw it up.
<p>And I want to convince you that this is the best possible news for you as designers, and for us as people.
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<p>The defining feature of our industry since the invention of the transistor has been exponential growth.
<p>Exponential growth is one of those buzzwords that has an exact technical meaning. It just means that something keeps doubling, over and over again. Pop science authors never get tired of telling us that we have poor intuitions for exponential growth.
<p> For example, here is Britney Gallivan posing with a sheet of paper folded 11 times.
<p>If she could fold that sheet 50 times, the paper stack would reach nearly to the Sun. And it would be half a proton in diameter.
<p>(It's folding that last proton that's really hard.)
<p>This example illustrates the two things you need to know about exponential growth: it lets you get to large numbers very quickly. And it always runs into physical barriers.
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I'm sure you have heard of Moore's Law. In its original form, it says "the number of transistors we can mass-produce on a silicon wafer doubles" every year or two. Moore made this observation in 1965, and it's held up ever since.
<p>There's a popular understanding of Moore's Law, too, which says that "computers always get faster and more capable".
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For fifty years we've ridden that wave. If you were active in the 1990's or 2000's, you may remember the feeling. You would buy a new computer, and a few months later there would be a better model, twice as fast, for the same price.
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In those days there was an arms race between Intel and AMD, the main consumer chip manufacturers. Intel would release a 1 GHz processor, and AMD would follow with a 1.1 GHz rival.
<p>CPUs were defined by clock speed. The speeds kept going up. Until suddenly, around 2005, there was a hitch.
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Intel had been working on a monster 7 GHz chip. The problem was how much heat this chip generated, 150 watts, or as much as an E-Z Bake oven.
<p>150 watts is the kind of light bulb that you get in trouble for having in college, because it threatens to set your Bob Marley poster on fire.
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Deterred by all this heat, Intel changed strategy. Instead of making the CPUs smaller, hotter, and faster, they would just start putting more of them on each wafer.
<p>Suddenly we had 'cores'. Your software didn't just automatically get faster with each generation anymore. Now it had to be written in a way that could use these 'cores', which programmers are still grappling with.
<p>So while Moore's Law still technically holdsâthe number of transistors on a chip keeps increasingâits spirit is broken. Computers don't necessarily get faster with time. In fact, they're getting slower!
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This is because we're moving from desktops to laptops, and from laptops to smartphones. Some people are threatening to move us to wristwatches.
<p>In terms of capability, these devices are a step into the past. Compared to their desktop brethren, they have limited memory, weak processors, and barely adequate storage.
<p>And nobody cares, because the advantages of having a portable, lightweight connected device are so great. And for the purposes of taking pictures, making calls, and surfing the internet, they've crossed the threshold of 'good enough'. <p>What people want from computers now is better displays, better battery life and above all, a better Internet connection.
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Something similar happened with storage, where the growth rate was even faster than Moore's Law. I remember the state-of-the-art 1MB hard drive in our computer room in high school. It cost a thousand dollars.
<p>Here's a photo of a multi-megabyte hard drive from the seventies. I like to think that the guy in the picture didn't have to put on the bunny suit, it was just what he liked to wear.
<p>Modern hard drives are a hundred times smaller, with a hundred times the capacity, and they cost a pittance. Seagate recently released an 8TB consumer hard drive.
<p>But again, we've chosen to go backwards by moving to solid state storage, like you find in smartphones and newer laptops. Flash storage sacrifices capacity for speed, efficiency and durability.
<p>Or else we put our data in 'the cloud', which has vast capacity but is orders of magnitude slower.
<p>These are the victories of good enough. This stuff is fast enough.
<p>Intel could probably build a 20 GHz processor, just like Boeing can make a Mach 3 airliner. But they won't. There's a corrollary to Moore's law, that every time you double the number of transistors, your production costs go up. Every two years, Intel has to build a completely new factory and production line for this stuff. And the industry is turning away from super high performance, because most people don't need it.
<p>The hardware is still improving, but it's improving along other dimensions, ones where we are already up against hard physical limits and can't use the trick of miniaturization that won us all that exponential growth.
<p>Battery life, for example. The limits on energy density are much more severe than on processor speed. And it's really hard to make progress. So far our advances have come from making processors more efficient, not from any breakthrough in battery chemistry.
<p>Another limit that doesn't grow exponentially is our ability to move information. There's no point in having an 8 TB hard drive if you're trying to fill it over an AT&T network. Data constraints hit us on multiple levels. There are limits on how fast cores can talk to memory, how fast the computer can talk to its peripherals, and above all how quickly computers can talk to the Internet. We can store incredible amounts of information, but we can't really move it around.
<p>So the world of the near future is one of power constrained devices in a bandwidth-constrained environment. It's very different from the recent past, where hardware performance went up like clockwork, with more storage and faster CPUs every year.
<p>And as designers, you should be jumping up and down with relief, because hard constraints are the midwife to good design. The past couple of decades have left us with what I call an exponential hangover.
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Our industry is in complete denial that the exponential sleigh ride is over. Please, we'll do anything! Optical computing, quantum computers, whatever it takes. We'll switch from silicon to whatever you want. Just don't take our toys away.
<p>But all this exponential growth has given us terrible habits. One of them is to discount the present.
<p>When things are doubling, the only sane place to be is at the cutting edge. By definition, exponential growth means the thing that comes next will be equal in importance to everything that came before. So if you're not working on the next big thing, you're nothing.
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This leads to a contempt for the past. Too much of what was created in the last fifty years is gone because no one took care to preserve it.
<p>Since I run a bookmarking site for a living, I've done a little research on link rot myself. Bookmarks are different from regular URLs, because presumably anything you've bookmarked was once worth keeping. What I've learned is, about 5% of this disappears every year, at a pretty steady rate. A customer of mine just posted how 90% of what he saved in 1997 is gone. This is unfortunately typical.
<p>We have heroic efforts like the Internet Archive to preserve stuff, but that's like burning down houses and then cheering on the fire department when it comes to save what's left inside. It's no way to run a culture. We take better care of scrap paper than we do of the early Internet, because at least we look at scrap paper before we throw it away.
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<p>This contempt for the past also ignores the reality of our industry, which is that we work almost exclusively with legacy technologies.
<p>The operating system that runs the Internet is 45 years old.
<p>The protocols for how devices talk to each other are 40 years old.
<p>Even what we think of as the web is nearing its 25th birthday.
<p>Some of what we use is downright ancientâflat panel displays were invented in 1964, the keyboard is 150 years old.
<p> The processor that's the model for modern CPUs dates from 1976.
<p> Even email, which everyone keeps trying to reinvent, is nearing retirement age.
<p>I cheated by calling this talk 'Web Design: The First 100 years' because we're already nearly halfway there. However dismissive we are of this stuff, however much we insist that it will get swept away by a new generation of better technology, it stubbornly refuses to go. Our industry has deep roots in the past that we should celebrate and acknowledge.
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The flip side of our disregard for the past is a love of gratuitous change. Any office worker who uses Microsoft products knows this pain. At some point fairly early on, Microsoft Office became good enough. Windows became good enough.
<p>But that hasn't stopped Microsoft from constantly releasing new versions, and forcing people to upgrade. I pick on Microsoft because so many of us have experience with their software, but this holds true for any software vendor.
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Consider the war Microsoft is waging against XP users. After years of patching, XP became a stable, beloved, and useful operating system. A quarter of desktops still run it.
<p>This is considered a national crisis.
<p>Rather than offer users persuasive reasons to upgrade software, vendors insist we look on upgrading as our moral duty. The idea that something might work fine the way it is has no place in tech culture.
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<p>A further symptom of our exponential hangover is bloat. As soon as a system shows signs of performance, developers will add enough abstraction to make it borderline unusable. Software forever remains at the limits of what people will put up with. Developers and designers together create overweight systems in hopes that the hardware will catch up in time and cover their mistakes.
<p>We complained for years that browsers couldn't do layout and javascript consistently. As soon as that got fixed, we got busy writing libraries that reimplemented the browser within itself, only slower.
<p>It's 2014, and consider one hot blogging site, Medium. On a late-model computer it takes me ten seconds for a Medium page (which is literally a formatted text file) to load and render. This experience was faster in the sixties.
<p>The web is full of these abuses, extravagant animations and so on, forever a step ahead of the hardware, waiting for it to catch up.
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<p>This exponential hangover leads to a feeling of exponential despair.</p>
<p>
What's the point of pouring real effort into something that is going to disappear or transform in just a few months? The restless sense of excitement we feel that something new may be around the corner also brings with it a hopelessness about whatever we are working on now, and a dread that we are missing out on the next big thing.
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<p>The other part of our exponential hangover is how we build our businesses. The cult of growth denies the idea that you can build anything useful or helpful unless you're prepared to bring it to so-called "Internet scale". There's no point in opening a lemonade stand unless you're prepared to take on PepsiCo.
<p>I always thought that things should go the other way. Once you remove the barriers of distance, there's room for all sorts of crazy niche products to find a little market online. People can eke out a living that would not be possible in the physical world. Venture capital has its place, as a useful way to fund long-shot projects, but not everything fits in that mold.
<p>The cult of growth has led us to a sterile, centralized web. And having burned through all the easy ideas within our industry, we're convinced that it's our manifest destiny to start disrupting everyone else.
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I think it's time to ask ourselves a very designy question: "What is the web actually for?"
<p>I will argue that there are three competing visions of the web right now. The one we settle on will determine whether the idiosyncratic, fun Internet of today can survive.
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<p>Vision 1: <b>CONNECT KNOWLEDGE, PEOPLE, AND CATS</b>.
<p>This is the correct vision.</p>
<p>The Web erases the barrier of distance between people, and it puts all of human knowledge at our fingertips. It also allows us to look at still images and videos of millions of cats, basically all of it for free, from our homes or a small device we carry in our pocket.
<p>No one person owns it, no one person controls it, you don't need permission to use it. And the best part is, you are encouraged to contribute right back. You can post your own cat pictures.
<p>Why is this not enough?
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<p>The feline vision of the Internet is fundamentally a humble one, because it does not presume that developers and designers know what they are doing. There are no limits on what people (and cats) can get up to once you link them together. On a planet of seven billion people and millions of cats, the chance that you are going to be able to think of all the best ideas is zero. Someone is always going to come up with something you never expected. A web that connects people in a way where they can contribute gives its authors a chance to be surprised.
<p>We've seen this play out time and again, in that the most productive and revolutionary aspects of web culture came out of left field. The idea of a free, universally editable encyclopedia sounded insane. The idea that a free operating system could run half the Internet was insane. That <a href="https://polymathprojects.org">volunteers in blog comments</a> could write collaborative math papers with some of the most brilliant mathematicians in the world sounded insane.
<p>A currency based entirely on cryptographic hashing still sounds insane, but it sure is interesting.
<p>Even the world wide web itself is the product of a physics nerd winging it, and convincing his colleagues to try out something new.
<p>The Internet is full of projects big and small whose defining trait is that they came out of nowhere and captured people's imaginations. It's also full of awesome cat videos. The key part of this vision is that the Internet succeeds by remaining open and participatory. No one acts as gatekeeper, and it is not just a channel for mindless consumption.
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<p>Vision 2: <b>FIX THE WORLD WITH SOFTWARE</b></p>
<p>This is the prevailing vision in Silicon Valley.
<p>The world is just one big hot mess, an accident of history. Nothing is done as efficiently or cleverly as it could be if it were designed from scratch
by California programmers. The world is a crufty legacy system crying out to be optimized.
<p>If you have spent any time using software, you might recognize this as an appalling idea. Fixing the world with software is like giving yourself a haircut with a lawn mower. It works in theory, but there's no room for error in the implementation.
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<p>This vision holds that the Web is only a necessary first step to a brighter future. In order to fix the world with software, we have to put software hooks into people's lives. Everything must be instrumented, quantified, and networked. All devices, buildings, objects, and even our bodies must become "smart" and net-accessible.
<p>Then we can get working on optimizing the hell out of life.
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<p>Marc Andreessen has this arresting quote, that âsoftware is eating the world.â He is happy about it. The idea is that industry after industry is going to fall at the hands of programmers who automate and rationalize it.
<p>We started with music and publishing. Then retailing. Now we're apparently doing taxis. We're going to move a succession of industries into the cloud, and figure out how to do them better. Whether we have the right to do this, or whether it's a good idea, are academic questions that will be rendered moot by the unstoppable forces of Progress. It's a kind of software Manifest Destiny.
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<p>To achieve this vision, we must have software intermediaries in every human interaction, and in our physical environment.
<p>But what if after software eats the world, it turns the world to shit?
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Consider how fundamentally undemocratic this vision of the Web is. Because the Web started as a technical achievement, technical people are the ones who get to call the shots. We decide how to change the world, and the rest of you have to adapt.
<p>There is something quite colonial, too, about collecting data from users and repackaging it to sell back to them. I think of it as the White Nerd's Burden.
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<p>Technological Utopianism has been tried before and led to some pretty bad results. There's no excuse for not studying the history of positivism, scientific Marxism and other attempts to rationalize the world, before making similar promises about what you will do with software.
<p>Like everything in tech, there is prior art!</p>
<p>And then there's the third vision of the Internet:
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<p>Vision 3: <b>BECOME AS GODS, IMMORTAL CREATURES OF PURE ENERGY LIVING IN A CRYSTALLINE PARADISE OF OUR OWN CONSTRUCTION</b></p>
<p>This is the insane vision. I'm a little embarrassed to talk about it, because it's so stupid. But circumstances compel me.</p>
<p>In this vision, the Internet and web are just the first rung of a ladder that leads to neural implants, sentient computers, nanotechnology and eventually the Singularity, that mystical moment when progress happens so quickly that all of humanity's problems disappear and are replaced, presumably, with problems beyond our current understanding.
<p>This is the vision of 'accelerating returns', very reminiscent to that hockey stick graph I showed earlier, where we were supposed to have interstellar travel by 2010.
<p>This Apocalyptic vision of the Internet and technical progress has captured the imaginations of some of the most influential people in our industry.
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<p>Grown adults, people who can tie their own shoes and are allowed to walk in traffic, seriously believe that we're walking a tightrope between existential risk and immortality.
<p> Some of them are the most powerful figures in our industry, people who can call up Barack Obama about the dangers of nanotechnology, and Obama has to say âMichelle, I need to take this.â
<p>âBarack, it is three o'clock in the morning."
<p>âI know, but this guy is scared of sentient artificial intelligence and he's a huge contributor.â
<p>And then Obama just has to sit there and listen to this shit.
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<p>So because powerful people in our industry read bad scifi as children, we now confront a stupid vision of the web as gateway to robot paradise.
<p>Here's Ray Kurzweil, a man who honestly and sincerely believes he is never going to die. He works at Google. Presumably he stays at Google because he feels it advances his agenda.
<p>Google works on some loopy stuff in between plastering the Internet with ads.
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<p>And here is Elon Musk, the founder of PayPal, builder of rockets and electric cars. Musk has his suitcase packed for the robot rebellion:
<p>âThe risk of something seriously dangerous happening is in the five year timeframe. 10 years at most.â
<p>âWith artificial intelligence we are summoning the demon. In all those stories where thereâs the guy with the pentagram and the holy water, itâs like â yeah, heâs sure he can control the demon. Doesnât work out.â
<p>âWe need to be super careful with AI. Potentially more dangerous than nukes.â
<p>âHope we're not just the biological boot loader for digital superintelligence. Unfortunately, that is increasingly probable.â
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Let me give you a little context here. This little fellow is <i>Caenorhabditis elegans </i>, a nematode worm that has 302 neurons. The absolute state of the art in simulating intelligence is this worm. We can <a href="https://www.openworm.org">simulate its brain</a> on supercomputers and get it to wiggle and react, althogh not with full fidelity.
<p>And here I'm talking just about our ability to simulate. We don't even know where to start when it comes to teaching this virtual <i>c. elegans</i> to bootstrap itself into being a smarter, better nematode worm.
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<p>In fact, forget about wormsâwe barely have computers powerful enough to <a href="https://arstechnica.com/gaming/2011/08/accuracy-takes-power-one-mans-3ghz-quest-to-build-a-perfect-snes-emulator/">emulate the hardware of a Super Nintendo</a>.
<p>If you talk to anyone who does serious work in artificial intelligence (and it's significant that the people most afraid of AI and nanotech have the least experience with it) they will tell you that progress is slow and linear, just like in other scientific fields.
<p>But since unreasonably fearful people helm our industry and have the ear of government, we have to seriously engage their stupid vision.
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<p>I've taken the liberty of illustrating Musk's greatest fear.
<p>At best, having the the top tiers of our industry include figures who believe in fairy tales is a distraction. At worst, it promotes a kind of messianic thinking and apocalyptic Utopianism that can make people do dangerous things with all their money.
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<p>These three visions lead to radically different worlds.
<p>If you think the Web is a way to <b>CONNECT KNOWLEDGE, PEOPLE, AND CATS</b>, then your job is to get the people and cats online, put a decent font on the knowledge, and then stand back and watch the magic happen.
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If you think your job is to <b>FIX THE WORLD WITH SOFTWARE</b>, then the web is just the very beginning. There's a lot of work left to do. Really you're going to need sensors in every house, and it will help if everyone looks through special goggles, and if every refrigerator can talk to the Internet and confess its contents.
<p>You promise to hook up all this stuff up for us, and in return, we give you the full details of our private lives. And we don't need to worry about people doing bad things with it, because your policy is for that not to happen.
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And if you think that the purpose of the Internet is to <b>BECOME AS GODS, IMMORTAL CREATURES OF PURE ENERGY LIVING IN A CRYSTALLINE PARADISE OF OUR OWN INVENTION</b>, then your goal is total and complete revolution. Everything must go.
<p>The future needs to get here as fast as possible, because your biological clock is ticking!
<p>The first group wants to CONNECT THE WORLD.
<p>The second group wants to EAT THE WORLD.
<p>And the third group wants to END THE WORLD.
<p>These visions are not compatible.
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<p>I realize this all sounds a little grandiose.You came here to hear about media selectors, not aviation and eschatology.
<p>But you all need to pick a side.
<p>Right now there's a profound sense of irreality in the tech industry. All problems are to be solved with technology, especially the ones that have been caused with previous technology. The new technologies will fix it.
<p> We see businesses that don't produce anything and run at an astonishing loss valued in the billions of dollars.
<p>We see a whole ecosystem of startups and businesses that seem to exist only to serve one other, or the needs of very busy and very rich tech workers in a tiny sliver of our world.
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<p>At the same time, we hear grandiose promises about how technology will fundamentally improve the lives of every person on Earth, even though that contradicts our own experience of the last thirty years.
<p>There is something fishy about all this promised progress. The engine is revving faster and faster, we can see that the accelerator is pegged, but somehow the view out the window never changes.
<p>When we point out that Silicon Valley doesn't seem to be engaging the real world, that wages have been flat for thirty years, that Utopia seems further away than it's been in a generation, we get impatient excuses.
<p>Tech culture is like a deadbeat who lives on your basement sofa. You ask him:
<p>âWhen are you going to do all those things you promised?â
<p>âOh, wait until everyone has a computer.â
<p>âThey do.â
<p>âOkay, I mean wait until they're all online. â
<p>âThey are. Why isn't the world better?â
<p>âWell, wait until they all have smartphones... and wearable devices,â and the excuses continue.
<p>The real answer is, technology hasn't changed the world because we haven't cared enough to change it.
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There's a William Gibson quote that Tim O'Reilly likes to repeat: "the future is here, it's just not evenly distributed yet."
<p>O'Reilly takes this to mean that if we surround ourselves with the right people, it can give us a sneak peek at coming attractions.
<p>I like to interpret this quote differently, as a call to action. Rather than waiting passively for technology to change the world, let's see how much we can do with what we already have.
<p>Let's reclaim the web from technologists who tell us that the future they've imagined is inevitable, and that our role in it is as consumers.
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<p>The Web belongs to us all, and those of us in this room are going to spend the rest of our lives working there. So we need to make it our home.
<p>We live in a world now where not millions but billions of people work in rice fields, textile factories, where children grow up in appalling poverty. Of those billions, how many are the greatest minds of our time? How many deserve better than they get? What if instead of dreaming about changing the world with tomorrow's technology, we used today's technology and let the world change us? Why do we need to obsess on artificial intelligence, when we're wasting so much natural intelligence?
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<p>When I talk about a hundred years of web design, I mean it as a challenge. There's no law that says that things are guaranteed to keep getting better.
<p>The web we have right now is beautiful. It shatters the tyranny of distance. It opens the libraries of the world to you. It gives you a way to bear witness to people half a world away, in your own words. It is full of cats. We built it by accident, yet already we're taking it for granted. We should fight to keep it!
<br/><br><br/>
<p>TUMULTUOUS, SUSTAINED APPLAUSE</p>
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<div style="width:700px; margin-left:100px;">
<p><b>You Will Also Love Reading</b>:
<p><a href="https://idlewords.com/talks/internet_with_a_human_face.htm">The Internet With A Human Face</a> (on surveillance, centralization, and why 'investor storytime' is not a viable economic foundation for the web)
<p><a href="https://idlewords.com/talks/our_comrade_the_electron.htm">Our Comrade The Electron</a> (the astonishing life of Lev Termen, a rant on surveillance, and how your iPhone is descended from the theremin.)
</div>
<p><a href="https://idlewords.com/">Idle Words</a> > <a href="https://idlewords.com/talks/">Talks</a>
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Web Design - The First 100 Years
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[Idle Words](https://idlewords.com/) > [Talks](https://idlewords.com/talks/) > Web Design: The First 100 Years
This is the expanded version of a [talk I gave on September 9, 2014](https://www.webstock.org.nz/14/programme/presentations/), at the HOW Interactive Design conference in Washington, DC.
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| | Designers! I am a San Francisco computer programmer, but I come in peace!
I would like to start with a parable about airplanes.
In 1981, my mother and I flew from Warsaw to New York City in this airplane, an [Ilyushin-62](https://en.wikipedia.org/wiki/Ilyushin_Il-62).
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| | The Il-62 exemplifies a Soviet design approach I like to think of as "add engines until airborne".
Soviet engineers lacked the computers to calculate all the bending and wiggling the wings would do if you hung the engines under them, so they just strapped engines on the back.
This plane actually used a little kickstand when it was parked empty, to keep it from tipping over and pointing up like a rocket.
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| | In those days, Warsaw had maybe ten flights a day. It was a big deal to spot a plane in the sky. The airport itself was a tiny concrete building not much bigger than this conference room, so my mom and I were completely overwhelmed on arrival at JFK airport, with its maze of gates. To top it off, neither of us spoke English.
We ran around the airport, out of breath, until we finally found our way to a waiting room where other passengers were sitting and waiting for the Pan Am flight to Houston. We sat down to wait, too. And then, without warning, the waiting room took off.
That was my introduction to the Boeing 747.
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| | The 747 is a masterpiece of industrial design. Everything we think of as normal about air travel, for better or worse, was invented for this airplane and its immediate predecessor, the 707. That includes seats on rails, overhead bins, drink trolleys, sliding window shades, the little fan above your seatâyou name it.
There are so many wonderful stories about the 747. It was two and a half times bigger than the largest passenger jet ever built. They had to make a special factory to assemble it, and they were still building the factory as the first planes came off the line. They were also still tinkering with the design. Engineers would run out onto the shop floor waving amended drawings, and annoyed foremen on the production line would cuss them out.
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| | The 747 required over 75,000 technical drawings. All of them were done by hand. There was no computer aided design to help engineers figure out how to put everything together, just a massive filing system.
Boeing had to build a full-scale plywood model of the plane from these drawings to make sure everything fit together, and that multiple systems weren't trying to occupy the same space.
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| | My favorite fact about the 747 is that it was built by the company's B team, Boeing's version of the Bad News Bears. All the top engineers, and the ambitious up and comers, had gotten themselves assigned to Boeing's prestige project, a plane called the [2707](https://en.wikipedia.org/wiki/Boeing_2707), or supersonic transport.
The SST was going to fly at almost three times the speed of sound, about 2900 kilometers an hour. It had swing wings. And it was the first-ever widebody design. Everyone believed that the SST was the future of jet travel.
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| | The 747 was meant to be a stopgap. It was supposed to serve the airlines until the SST entered service in the 1970's, at which point it would be demoted to a freighter.
This is a Pan Am advertisement from the period, showcasing the 'planes of tomorrow' that were 'just over the horizon'.
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| | In fact, that famous hump on the 747 is there specifically to make it easier to load freight. This was not a plane with a glamorous future.
It wasn't just Boeing working to build an SST. The Europeans were developing the Concorde, and the Soviet Union was hard at work on their own version.
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| | This was a giddy time for aviation. Pan Am even started [taking reservations](https://backstoryradio.org/2013/08/19/pan-am-and-the-waiting-list-for-the-moon/) for commercial flights to the Moon! They had a waiting list with over 90,000 names.
The point of my parable is this: imagine if you could travel back in time and offer to show one of those Boeing engineers what air travel would look like in 2014, fifty years on.
What might he have expected to see?
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| | Keep in mind that in 1965, the Gemini project had just started. Astronauts were in earth orbit, testing the technology and procedures needed for getting to the Moon. The Space Race was in full swing.
The Soviets and Europeans were both developing a giant supersonic airliner.
As this period chart shows, transportation speed was increasing at an exponential rate, and we were just about to head up that steep slope towards interstellar travel. Though the underlying technologies kept changing, the overall trend was as clear as it was unstoppable.
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| | One thing the engineer might have expected to see in 2014 was a radioactive wasteland. The Cold War was a grim reality, and many people expected it to end in disaster.
But if we had not killed ourselves, he would have expected moon bases, maybe a Mars base. He wouldn't be surprised to see flying cars everywhere, or atomic airplanes with unlimited range.
Without question there would be routine supersonic travel at unimaginable speed and comfort between any two cities in the world.
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Consider what that engineer had seen happen in his own lifetime. The first attempts at powered flight took place right around the time he was born.
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In the twenties, when he was a boy, airliners like the [Junkers G-24](https://en.wikipedia.org/wiki/Junkers_G_24) could fly 14 passengers at 170 kph.
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The 1930's brought the all-metal [DC-3](https://en.wikipedia.org/wiki/Douglas_DC-3). It could fly 30 people at 333 kph.
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That was also the era of the famous [Boeing Clippers](https://en.wikipedia.org/wiki/Boeing_314_Clipper). They had luxurious sleeper berths and took six days to get from San Francisco to Hong Kong.
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| | In the 1940's, Boeing introduced the [Stratocruiser](https://en.wikipedia.org/wiki/Boeing_377_Stratocruiser), a pressurized plane that could fly at 480 kph.
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| | Finally, in the 50's, Boeing ushered in the Jet Age with the [Boeing 707](https://en.wikipedia.org/wiki/Boeing_707), which could cross the Atlantic ocean at nearly 1,000 kph.
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| | I submit to you that the last thing that Boeing engineer would expect to see in 2014 is what actually happened. Here is today's most advanced passenger aircraft, the Boeing 787.
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| | Unless you are an airplane nerd, you would be hard pressed to distinguish the 787 from its grandfather.
And in fact, this revolutionary new plane flies slower than the 707.
The basic configuration of an airliner has not changed in sixty years. You have a long tube, swept wings with multiple engines mounted underneath, and a top speed of around 900 kph.
So what happened to the future?
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| | It's not that the technology failed. We built, tested and flew giant planes that could cruise at over three times the speed of sound.
This is the [Valkyrie](https://en.wikipedia.org/wiki/North_American_XB-70_Valkyrie), a massive strategic bomber painted white so that it won't catch fire from the flash of its own nuclear bombs. This plane was test flown in 1965 and nearly made it into production.
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| | The SR-71 Blackbird, another Mach 3 plane, did make it into production, and flew for decades. It still holds all the speed records.
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| | We even got supersonic airliners! The Concorde entered commercial service and safely ferried douchebags across the Atlantic for 25 years. If you're my age, you may remember seeing one taxi past you at the airport.
The Russians got in on it too, with a plane derisively called the Concordeski. This proved too loud and unreliable for passenger service, so it ended up being a transport jet. It carried fruits and vegetables from Central Asia at twice the speed of sound.
My favorite line from [the Wikipedia article](https://en.wikipedia.org/wiki/Tupolev_Tu-144) is that the plane was so loud, "you couldn't hear the passenger two seats away from you screaming". He had to pass you a note saying "aaaaaaugh".
The first time they took journalists up on this thing, there were so many alarms going off that the pilot had to borrow a pillow from the passengers to stuff into the alarm klaxon. But it flew!
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| | And it's not like the space program was a failure. We landed men on the Moon not once, but six times.
Because we're Americans, we didn't just put men on the moonâwe put cars on the Moon, three of them.
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| | We even had a dude play golf up there.
Our poor engineer had every right to assume that the breakthroughs he'd seen over his entire working life were on track to continue. He lived at a time of accelerating technological change, where in ten years we had gone from propeller planes to lunar exploration.
The next generation of technology was not just a dream; it was already in the prototype stage.
But it all just kind of stopped.
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| | We have a space station in 2014, but it's too embarrassing to talk about. Sometimes we send Canadians up there.
Never mind the Moonâwe can't even launch astronauts into orbit anymore. If we want to go to our sad-sack space station, we have to ask the Russians, and they're mean to us.
Can you imagine the look in that engineer's eyes?
The technology was pointing in one direction, the future was clear and inevitable. And then it never happened. Why?
First, we ran into diminishing returns. As these planes got faster, they got more expensive to design and operate. Pushing all that air out of the way required exotic materials and vast amounts of fuel.
The space program was even worse. Those rockets used a lot of public money that could be better spent on bombing Vietnam.
Second, there were unexpected drawbacks. Economists have that great word, "externalities", for anything they find doesn't fit their model of the world. One externality of supersonic planes was the sonic boom. The Air Force spent [six months flying supersonic over Oklahoma City](https://en.wikipedia.org/wiki/Oklahoma_City_sonic_boom_tests) to convince itself that the constant noise bothered people.
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| | Another externality was that exhaust from SSTs damaged the ozone layer.
Boeing was genuinely surprised that people cared about this stuff. What does it matter if the sun is coming through your shattered window and burning your skin, if you can have a supersonic airliner? But it wasn't worth it!
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| | Because the technologies we had were good enough. It turned out that very few people needed to cross an ocean in three hours instead of six hours. On my way to this conference, I flew from Switzerland to San Francisco. It took eleven hours and cost me around a thousand dollars. It was a long flight and kind of uncomfortable and boring. But I crossed the planet in half a day!
Being able to get anywhere in the world in a day is really good enough. We complain about air travel but consider that for a couple of thousand dollars, you can go anywhere, overnight.
The people designing the planes of tomorrow got so caught up in the technology that they forgot to ask the very important question, âwhat are we building this for?â
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| | Today I hope to persuade you that the same thing that happened to aviation is happening with the Internet. Here we are, fifty years into the computer revolution, at what feels like our moment of greatest progress. The outlines of the future are clear, and oh boy is it futuristic.
But we're running into physical and economic barriers that aren't worth crossing.
We're starting to see that putting everything online has real and troubling social costs.
And the devices we use are becoming 'good enough', to the point where we can focus on making them cheaper, more efficient, and accessible to everyone.
So despite appearances, despite the feeling that things are accelerating and changing faster than ever, I want to make the shocking prediction that the Internet of 2060 is going to look recognizably the same as the Internet today.
Unless we screw it up.
And I want to convince you that this is the best possible news for you as designers, and for us as people.
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| | The defining feature of our industry since the invention of the transistor has been exponential growth.
Exponential growth is one of those buzzwords that has an exact technical meaning. It just means that something keeps doubling, over and over again. Pop science authors never get tired of telling us that we have poor intuitions for exponential growth.
For example, here is Britney Gallivan posing with a sheet of paper folded 11 times.
If she could fold that sheet 50 times, the paper stack would reach nearly to the Sun. And it would be half a proton in diameter.
(It's folding that last proton that's really hard.)
This example illustrates the two things you need to know about exponential growth: it lets you get to large numbers very quickly. And it always runs into physical barriers.
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I'm sure you have heard of Moore's Law. In its original form, it says "the number of transistors we can mass-produce on a silicon wafer doubles" every year or two. Moore made this observation in 1965, and it's held up ever since.
There's a popular understanding of Moore's Law, too, which says that "computers always get faster and more capable".
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For fifty years we've ridden that wave. If you were active in the 1990's or 2000's, you may remember the feeling. You would buy a new computer, and a few months later there would be a better model, twice as fast, for the same price.
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In those days there was an arms race between Intel and AMD, the main consumer chip manufacturers. Intel would release a 1 GHz processor, and AMD would follow with a 1.1 GHz rival.
CPUs were defined by clock speed. The speeds kept going up. Until suddenly, around 2005, there was a hitch.
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Intel had been working on a monster 7 GHz chip. The problem was how much heat this chip generated, 150 watts, or as much as an E-Z Bake oven.
150 watts is the kind of light bulb that you get in trouble for having in college, because it threatens to set your Bob Marley poster on fire.
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Deterred by all this heat, Intel changed strategy. Instead of making the CPUs smaller, hotter, and faster, they would just start putting more of them on each wafer.
Suddenly we had 'cores'. Your software didn't just automatically get faster with each generation anymore. Now it had to be written in a way that could use these 'cores', which programmers are still grappling with.
So while Moore's Law still technically holdsâthe number of transistors on a chip keeps increasingâits spirit is broken. Computers don't necessarily get faster with time. In fact, they're getting slower!
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This is because we're moving from desktops to laptops, and from laptops to smartphones. Some people are threatening to move us to wristwatches.
In terms of capability, these devices are a step into the past. Compared to their desktop brethren, they have limited memory, weak processors, and barely adequate storage.
And nobody cares, because the advantages of having a portable, lightweight connected device are so great. And for the purposes of taking pictures, making calls, and surfing the internet, they've crossed the threshold of 'good enough'. What people want from computers now is better displays, better battery life and above all, a better Internet connection.
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| |
Something similar happened with storage, where the growth rate was even faster than Moore's Law. I remember the state-of-the-art 1MB hard drive in our computer room in high school. It cost a thousand dollars.
Here's a photo of a multi-megabyte hard drive from the seventies. I like to think that the guy in the picture didn't have to put on the bunny suit, it was just what he liked to wear.
Modern hard drives are a hundred times smaller, with a hundred times the capacity, and they cost a pittance. Seagate recently released an 8TB consumer hard drive.
But again, we've chosen to go backwards by moving to solid state storage, like you find in smartphones and newer laptops. Flash storage sacrifices capacity for speed, efficiency and durability.
Or else we put our data in 'the cloud', which has vast capacity but is orders of magnitude slower.
These are the victories of good enough. This stuff is fast enough.
Intel could probably build a 20 GHz processor, just like Boeing can make a Mach 3 airliner. But they won't. There's a corrollary to Moore's law, that every time you double the number of transistors, your production costs go up. Every two years, Intel has to build a completely new factory and production line for this stuff. And the industry is turning away from super high performance, because most people don't need it.
The hardware is still improving, but it's improving along other dimensions, ones where we are already up against hard physical limits and can't use the trick of miniaturization that won us all that exponential growth.
Battery life, for example. The limits on energy density are much more severe than on processor speed. And it's really hard to make progress. So far our advances have come from making processors more efficient, not from any breakthrough in battery chemistry.
Another limit that doesn't grow exponentially is our ability to move information. There's no point in having an 8 TB hard drive if you're trying to fill it over an AT&T network. Data constraints hit us on multiple levels. There are limits on how fast cores can talk to memory, how fast the computer can talk to its peripherals, and above all how quickly computers can talk to the Internet. We can store incredible amounts of information, but we can't really move it around.
So the world of the near future is one of power constrained devices in a bandwidth-constrained environment. It's very different from the recent past, where hardware performance went up like clockwork, with more storage and faster CPUs every year.
And as designers, you should be jumping up and down with relief, because hard constraints are the midwife to good design. The past couple of decades have left us with what I call an exponential hangover.
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| |
Our industry is in complete denial that the exponential sleigh ride is over. Please, we'll do anything! Optical computing, quantum computers, whatever it takes. We'll switch from silicon to whatever you want. Just don't take our toys away.
But all this exponential growth has given us terrible habits. One of them is to discount the present.
When things are doubling, the only sane place to be is at the cutting edge. By definition, exponential growth means the thing that comes next will be equal in importance to everything that came before. So if you're not working on the next big thing, you're nothing.
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| |
This leads to a contempt for the past. Too much of what was created in the last fifty years is gone because no one took care to preserve it.
Since I run a bookmarking site for a living, I've done a little research on link rot myself. Bookmarks are different from regular URLs, because presumably anything you've bookmarked was once worth keeping. What I've learned is, about 5% of this disappears every year, at a pretty steady rate. A customer of mine just posted how 90% of what he saved in 1997 is gone. This is unfortunately typical.
We have heroic efforts like the Internet Archive to preserve stuff, but that's like burning down houses and then cheering on the fire department when it comes to save what's left inside. It's no way to run a culture. We take better care of scrap paper than we do of the early Internet, because at least we look at scrap paper before we throw it away.
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| | This contempt for the past also ignores the reality of our industry, which is that we work almost exclusively with legacy technologies.
The operating system that runs the Internet is 45 years old.
The protocols for how devices talk to each other are 40 years old.
Even what we think of as the web is nearing its 25th birthday.
Some of what we use is downright ancientâflat panel displays were invented in 1964, the keyboard is 150 years old.
The processor that's the model for modern CPUs dates from 1976.
Even email, which everyone keeps trying to reinvent, is nearing retirement age.
I cheated by calling this talk 'Web Design: The First 100 years' because we're already nearly halfway there. However dismissive we are of this stuff, however much we insist that it will get swept away by a new generation of better technology, it stubbornly refuses to go. Our industry has deep roots in the past that we should celebrate and acknowledge.
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| |
The flip side of our disregard for the past is a love of gratuitous change. Any office worker who uses Microsoft products knows this pain. At some point fairly early on, Microsoft Office became good enough. Windows became good enough.
But that hasn't stopped Microsoft from constantly releasing new versions, and forcing people to upgrade. I pick on Microsoft because so many of us have experience with their software, but this holds true for any software vendor.
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| |
Consider the war Microsoft is waging against XP users. After years of patching, XP became a stable, beloved, and useful operating system. A quarter of desktops still run it.
This is considered a national crisis.
Rather than offer users persuasive reasons to upgrade software, vendors insist we look on upgrading as our moral duty. The idea that something might work fine the way it is has no place in tech culture.
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| | A further symptom of our exponential hangover is bloat. As soon as a system shows signs of performance, developers will add enough abstraction to make it borderline unusable. Software forever remains at the limits of what people will put up with. Developers and designers together create overweight systems in hopes that the hardware will catch up in time and cover their mistakes.
We complained for years that browsers couldn't do layout and javascript consistently. As soon as that got fixed, we got busy writing libraries that reimplemented the browser within itself, only slower.
It's 2014, and consider one hot blogging site, Medium. On a late-model computer it takes me ten seconds for a Medium page (which is literally a formatted text file) to load and render. This experience was faster in the sixties.
The web is full of these abuses, extravagant animations and so on, forever a step ahead of the hardware, waiting for it to catch up.
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| | This exponential hangover leads to a feeling of exponential despair.
What's the point of pouring real effort into something that is going to disappear or transform in just a few months? The restless sense of excitement we feel that something new may be around the corner also brings with it a hopelessness about whatever we are working on now, and a dread that we are missing out on the next big thing.
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| | The other part of our exponential hangover is how we build our businesses. The cult of growth denies the idea that you can build anything useful or helpful unless you're prepared to bring it to so-called "Internet scale". There's no point in opening a lemonade stand unless you're prepared to take on PepsiCo.
I always thought that things should go the other way. Once you remove the barriers of distance, there's room for all sorts of crazy niche products to find a little market online. People can eke out a living that would not be possible in the physical world. Venture capital has its place, as a useful way to fund long-shot projects, but not everything fits in that mold.
The cult of growth has led us to a sterile, centralized web. And having burned through all the easy ideas within our industry, we're convinced that it's our manifest destiny to start disrupting everyone else.
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| |
I think it's time to ask ourselves a very designy question: "What is the web actually for?"
I will argue that there are three competing visions of the web right now. The one we settle on will determine whether the idiosyncratic, fun Internet of today can survive.
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| | Vision 1: **CONNECT KNOWLEDGE, PEOPLE, AND CATS**.
This is the correct vision.
The Web erases the barrier of distance between people, and it puts all of human knowledge at our fingertips. It also allows us to look at still images and videos of millions of cats, basically all of it for free, from our homes or a small device we carry in our pocket.
No one person owns it, no one person controls it, you don't need permission to use it. And the best part is, you are encouraged to contribute right back. You can post your own cat pictures.
Why is this not enough?
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| | The feline vision of the Internet is fundamentally a humble one, because it does not presume that developers and designers know what they are doing. There are no limits on what people (and cats) can get up to once you link them together. On a planet of seven billion people and millions of cats, the chance that you are going to be able to think of all the best ideas is zero. Someone is always going to come up with something you never expected. A web that connects people in a way where they can contribute gives its authors a chance to be surprised.
We've seen this play out time and again, in that the most productive and revolutionary aspects of web culture came out of left field. The idea of a free, universally editable encyclopedia sounded insane. The idea that a free operating system could run half the Internet was insane. That [volunteers in blog comments](https://polymathprojects.org) could write collaborative math papers with some of the most brilliant mathematicians in the world sounded insane.
A currency based entirely on cryptographic hashing still sounds insane, but it sure is interesting.
Even the world wide web itself is the product of a physics nerd winging it, and convincing his colleagues to try out something new.
The Internet is full of projects big and small whose defining trait is that they came out of nowhere and captured people's imaginations. It's also full of awesome cat videos. The key part of this vision is that the Internet succeeds by remaining open and participatory. No one acts as gatekeeper, and it is not just a channel for mindless consumption.
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| | Vision 2: **FIX THE WORLD WITH SOFTWARE**
This is the prevailing vision in Silicon Valley.
The world is just one big hot mess, an accident of history. Nothing is done as efficiently or cleverly as it could be if it were designed from scratch
by California programmers. The world is a crufty legacy system crying out to be optimized.
If you have spent any time using software, you might recognize this as an appalling idea. Fixing the world with software is like giving yourself a haircut with a lawn mower. It works in theory, but there's no room for error in the implementation.
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| | This vision holds that the Web is only a necessary first step to a brighter future. In order to fix the world with software, we have to put software hooks into people's lives. Everything must be instrumented, quantified, and networked. All devices, buildings, objects, and even our bodies must become "smart" and net-accessible.
Then we can get working on optimizing the hell out of life.
|
| | Marc Andreessen has this arresting quote, that âsoftware is eating the world.â He is happy about it. The idea is that industry after industry is going to fall at the hands of programmers who automate and rationalize it.
We started with music and publishing. Then retailing. Now we're apparently doing taxis. We're going to move a succession of industries into the cloud, and figure out how to do them better. Whether we have the right to do this, or whether it's a good idea, are academic questions that will be rendered moot by the unstoppable forces of Progress. It's a kind of software Manifest Destiny.
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| | To achieve this vision, we must have software intermediaries in every human interaction, and in our physical environment.
But what if after software eats the world, it turns the world to shit?
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Consider how fundamentally undemocratic this vision of the Web is. Because the Web started as a technical achievement, technical people are the ones who get to call the shots. We decide how to change the world, and the rest of you have to adapt.
There is something quite colonial, too, about collecting data from users and repackaging it to sell back to them. I think of it as the White Nerd's Burden.
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| | Technological Utopianism has been tried before and led to some pretty bad results. There's no excuse for not studying the history of positivism, scientific Marxism and other attempts to rationalize the world, before making similar promises about what you will do with software.
Like everything in tech, there is prior art!
And then there's the third vision of the Internet:
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| | Vision 3: **BECOME AS GODS, IMMORTAL CREATURES OF PURE ENERGY LIVING IN A CRYSTALLINE PARADISE OF OUR OWN CONSTRUCTION**
This is the insane vision. I'm a little embarrassed to talk about it, because it's so stupid. But circumstances compel me.
In this vision, the Internet and web are just the first rung of a ladder that leads to neural implants, sentient computers, nanotechnology and eventually the Singularity, that mystical moment when progress happens so quickly that all of humanity's problems disappear and are replaced, presumably, with problems beyond our current understanding.
This is the vision of 'accelerating returns', very reminiscent to that hockey stick graph I showed earlier, where we were supposed to have interstellar travel by 2010.
This Apocalyptic vision of the Internet and technical progress has captured the imaginations of some of the most influential people in our industry.
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| | Grown adults, people who can tie their own shoes and are allowed to walk in traffic, seriously believe that we're walking a tightrope between existential risk and immortality.
Some of them are the most powerful figures in our industry, people who can call up Barack Obama about the dangers of nanotechnology, and Obama has to say âMichelle, I need to take this.â
âBarack, it is three o'clock in the morning."
âI know, but this guy is scared of sentient artificial intelligence and he's a huge contributor.â
And then Obama just has to sit there and listen to this shit.
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| | So because powerful people in our industry read bad scifi as children, we now confront a stupid vision of the web as gateway to robot paradise.
Here's Ray Kurzweil, a man who honestly and sincerely believes he is never going to die. He works at Google. Presumably he stays at Google because he feels it advances his agenda.
Google works on some loopy stuff in between plastering the Internet with ads.
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| | And here is Elon Musk, the founder of PayPal, builder of rockets and electric cars. Musk has his suitcase packed for the robot rebellion:
âThe risk of something seriously dangerous happening is in the five year timeframe. 10 years at most.â
âWith artificial intelligence we are summoning the demon. In all those stories where thereâs the guy with the pentagram and the holy water, itâs like â yeah, heâs sure he can control the demon. Doesnât work out.â
âWe need to be super careful with AI. Potentially more dangerous than nukes.â
âHope we're not just the biological boot loader for digital superintelligence. Unfortunately, that is increasingly probable.â
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| |
Let me give you a little context here. This little fellow is *Caenorhabditis elegans* , a nematode worm that has 302 neurons. The absolute state of the art in simulating intelligence is this worm. We can [simulate its brain](https://www.openworm.org) on supercomputers and get it to wiggle and react, althogh not with full fidelity.
And here I'm talking just about our ability to simulate. We don't even know where to start when it comes to teaching this virtual *c. elegans* to bootstrap itself into being a smarter, better nematode worm.
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| | In fact, forget about wormsâwe barely have computers powerful enough to [emulate the hardware of a Super Nintendo](https://arstechnica.com/gaming/2011/08/accuracy-takes-power-one-mans-3ghz-quest-to-build-a-perfect-snes-emulator/).
If you talk to anyone who does serious work in artificial intelligence (and it's significant that the people most afraid of AI and nanotech have the least experience with it) they will tell you that progress is slow and linear, just like in other scientific fields.
But since unreasonably fearful people helm our industry and have the ear of government, we have to seriously engage their stupid vision.
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| | I've taken the liberty of illustrating Musk's greatest fear.
At best, having the the top tiers of our industry include figures who believe in fairy tales is a distraction. At worst, it promotes a kind of messianic thinking and apocalyptic Utopianism that can make people do dangerous things with all their money.
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| | These three visions lead to radically different worlds.
If you think the Web is a way to **CONNECT KNOWLEDGE, PEOPLE, AND CATS**, then your job is to get the people and cats online, put a decent font on the knowledge, and then stand back and watch the magic happen.
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| |
If you think your job is to **FIX THE WORLD WITH SOFTWARE**, then the web is just the very beginning. There's a lot of work left to do. Really you're going to need sensors in every house, and it will help if everyone looks through special goggles, and if every refrigerator can talk to the Internet and confess its contents.
You promise to hook up all this stuff up for us, and in return, we give you the full details of our private lives. And we don't need to worry about people doing bad things with it, because your policy is for that not to happen.
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| |
And if you think that the purpose of the Internet is to **BECOME AS GODS, IMMORTAL CREATURES OF PURE ENERGY LIVING IN A CRYSTALLINE PARADISE OF OUR OWN INVENTION**, then your goal is total and complete revolution. Everything must go.
The future needs to get here as fast as possible, because your biological clock is ticking!
The first group wants to CONNECT THE WORLD.
The second group wants to EAT THE WORLD.
And the third group wants to END THE WORLD.
These visions are not compatible.
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| | I realize this all sounds a little grandiose.You came here to hear about media selectors, not aviation and eschatology.
But you all need to pick a side.
Right now there's a profound sense of irreality in the tech industry. All problems are to be solved with technology, especially the ones that have been caused with previous technology. The new technologies will fix it.
We see businesses that don't produce anything and run at an astonishing loss valued in the billions of dollars.
We see a whole ecosystem of startups and businesses that seem to exist only to serve one other, or the needs of very busy and very rich tech workers in a tiny sliver of our world.
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| | At the same time, we hear grandiose promises about how technology will fundamentally improve the lives of every person on Earth, even though that contradicts our own experience of the last thirty years.
There is something fishy about all this promised progress. The engine is revving faster and faster, we can see that the accelerator is pegged, but somehow the view out the window never changes.
When we point out that Silicon Valley doesn't seem to be engaging the real world, that wages have been flat for thirty years, that Utopia seems further away than it's been in a generation, we get impatient excuses.
Tech culture is like a deadbeat who lives on your basement sofa. You ask him:
âWhen are you going to do all those things you promised?â
âOh, wait until everyone has a computer.â
âThey do.â
âOkay, I mean wait until they're all online. â
âThey are. Why isn't the world better?â
âWell, wait until they all have smartphones... and wearable devices,â and the excuses continue.
The real answer is, technology hasn't changed the world because we haven't cared enough to change it.
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| |
There's a William Gibson quote that Tim O'Reilly likes to repeat: "the future is here, it's just not evenly distributed yet."
O'Reilly takes this to mean that if we surround ourselves with the right people, it can give us a sneak peek at coming attractions.
I like to interpret this quote differently, as a call to action. Rather than waiting passively for technology to change the world, let's see how much we can do with what we already have.
Let's reclaim the web from technologists who tell us that the future they've imagined is inevitable, and that our role in it is as consumers.
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| | The Web belongs to us all, and those of us in this room are going to spend the rest of our lives working there. So we need to make it our home.
We live in a world now where not millions but billions of people work in rice fields, textile factories, where children grow up in appalling poverty. Of those billions, how many are the greatest minds of our time? How many deserve better than they get? What if instead of dreaming about changing the world with tomorrow's technology, we used today's technology and let the world change us? Why do we need to obsess on artificial intelligence, when we're wasting so much natural intelligence?
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| | When I talk about a hundred years of web design, I mean it as a challenge. There's no law that says that things are guaranteed to keep getting better.
The web we have right now is beautiful. It shatters the tyranny of distance. It opens the libraries of the world to you. It gives you a way to bear witness to people half a world away, in your own words. It is full of cats. We built it by accident, yet already we're taking it for granted. We should fight to keep it!
|
**You Will Also Love Reading**:
[The Internet With A Human Face](https://idlewords.com/talks/internet_with_a_human_face.htm) (on surveillance, centralization, and why 'investor storytime' is not a viable economic foundation for the web)
[Our Comrade The Electron](https://idlewords.com/talks/our_comrade_the_electron.htm) (the astonishing life of Lev Termen, a rant on surveillance, and how your iPhone is descended from the theremin.)
[Idle Words](https://idlewords.com/) > [Talks](https://idlewords.com/talks/)
| https://idlewords.com/talks/web_design_first_100_years.htm |
<HTML>
<HEAD>
<META NAME="GENERATOR" CONTENT="Adobe PageMill 3.0 Mac">
<TITLE>Abyssinian Cats</TITLE>
<META NAME="description" CONTENT="Abyssinian Cats are loyal companions to the humans they adopt.
Charming and intelligenct they soon become beloved members of their housholds">
<META NAME="keywords" CONTENT="Abyssinian Cats, Abyssinian, JIMPAT, Ras Amari, Makeda, Aslani,
Qetesh, Aslan, CFA, jimpat, cats, purebred, Cat Fancier, Cat Fancy">
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<BODY BGCOLOR="#11112e" LINK="#ffff00" ALINK="#ff9900" VLINK="#00ffff">
<P><CENTER><FONT COLOR="#11112e"<P> </CENTER></P>
<P><CENTER> </CENTER></P>
<P><CENTER><TABLE WIDTH="80%" BORDER="0" CELLSPACING="4" CELLPADDING="0">
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<TD WIDTH="2%"> </TD>
<TD WIDTH="96%">
<P><CENTER> <FONT COLOR="#000000"><IMG SRC="Graphics/AbyssinianCatsTitle.jpg"
ALIGN="BOTTOM" BORDER="0"></FONT></CENTER></P>
<P><CENTER></CENTER>
</P>
<div align="center">
<p><img src="Graphics/NewSheba3.jpg" width="567" height="814" border="0" align="middle"></p>
</div>
<CENTER>
<FONT COLOR="#cccccc">© Copyright 2003 Jim Child </FONT></CENTER>
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</TR>
<TR>
<TD WIDTH="2%"> </TD>
<TD WIDTH="96%">
<P>
<CENTER><FONT COLOR="#ff9900" SIZE="+4"> Grand Champion, Regional Winner Makeda Koenigin Fawn Sheba</FONT>
<p><font color="#ff9900" size="5">CFA's Best Fawn Abyssinian, 6th Best Abyssinian</font></p>
<p><font color="#ff9900" size="5">Great Lakes Region's 13th Best Cat in Championship, </font></p>
<p><font color="#ff9900" size="5">Best Fawn Abyssinian</font></p>
</CENTER>
<P>
<CENTER><FONT COLOR="#ff9900" SIZE="+3">A Fawn Abyssinian Female</FONT></CENTER>
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<TD WIDTH="2%"> </TD>
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<TD WIDTH="2%"> </TD>
<TD WIDTH="96%">
<P>
<CENTER> <FONT COLOR="#ff9900" SIZE="+2">Active, Intelligent,
Loyal, Creative, Noble. All these adjectives apply to Abyssinian
Cats. They make wonderful pets and companions. Ours do well with
the other cats and the dog.</FONT></CENTER>
<P>
<CENTER><FONT COLOR="#ff9900" SIZE="+2">The cat shown above
came from Jimpat Cattery near Baltimore, MD and Washington, DC.</FONT></CENTER>
<P>
<CENTER><FONT COLOR="#ff9900" SIZE="+2">Pat Thompson, our
breeder, often has wonderful kittens looking for a new home.</FONT></CENTER></P>
<P><CENTER><FONT COLOR="#ff9900" SIZE="+2">Click here for </FONT><FONT
SIZE="+2"><A HREF="JimPatCats.html">Pat's Cats</A></FONT></CENTER>
</TD>
<TD WIDTH="2%"> </TD>
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<TD WIDTH="2%"> </TD>
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<H2><CENTER><I><HR SIZE="5"></I></CENTER></H2>
<CENTER>
<p><font size="+2" color="#ff9900">Qetesh is a Champion and we'll bring her back out later this year.</font></p>
</CENTER>
<P>
<CENTER><FONT COLOR="#ff9900" SIZE="+2">Here is an early picture
of our fawn female kitten, Jimpat Makeda Koenigin Fawn Sheba
and her sister, Jimpat Qetesh. Qetesh lives with Pat Thompson
and visits us for shows.</FONT></CENTER>
<P>
<CENTER><FONT COLOR="#ff9900" SIZE="+2"><IMG SRC="Graphics/Sisters.jpg"
ALIGN="BOTTOM" BORDER="0"><!--SELECTION--><!--/SELECTION--></FONT></CENTER></P>
<P><CENTER><FONT COLOR="#ff9900" SIZE="+2">Here is Sheba again.
She's a real sweetie!</FONT></CENTER></P>
<P><CENTER><FONT COLOR="#ff9900" SIZE="+2"><IMG SRC="Graphics/Sheba.jpg"
HEIGHT="480" ALIGN="BOTTOM" BORDER="0"></FONT></CENTER></P>
<P><CENTER><FONT COLOR="#ff9900" SIZE="+2">And here a photograph of our red, Grand Premier Jimpat Reds Ras Amari. He is a real schmooze and loves to bury into our laps and under the covers at night!</FONT></CENTER></P>
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<CENTER><FONT COLOR="#ff9900" SIZE="+2">Here is one of our favorite ruddy, Premier Clarion's Alp Aslani.</FONT>
<p><font color="#ff9900" size="+2">He too is a real schmooze. The bed can get quite crowded on cold winter nights.</font></p>
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Abyssinian Cats
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© Copyright 2003 Jim Child | |
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Grand Champion, Regional Winner Makeda Koenigin Fawn Sheba
CFA's Best Fawn Abyssinian, 6th Best Abyssinian
Great Lakes Region's 13th Best Cat in Championship,
Best Fawn Abyssinian
A Fawn Abyssinian Female
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Loyal, Creative, Noble. All these adjectives apply to Abyssinian
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the other cats and the dog.
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came from Jimpat Cattery near Baltimore, MD and Washington, DC.
Pat Thompson, our
breeder, often has wonderful kittens looking for a new home.
Click here for [Pat's Cats](JimPatCats.html)
| |
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Qetesh is a Champion and we'll bring her back out later this year.
Here is an early picture
of our fawn female kitten, Jimpat Makeda Koenigin Fawn Sheba
and her sister, Jimpat Qetesh. Qetesh lives with Pat Thompson
and visits us for shows.
Here is Sheba again.
She's a real sweetie!
And here a photograph of our red, Grand Premier Jimpat Reds Ras Amari. He is a real schmooze and loves to bury into our laps and under the covers at night!
Here is one of our favorite ruddy, Premier Clarion's Alp Aslani.
He too is a real schmooze. The bed can get quite crowded on cold winter nights.
| |
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<p>This is a post I never wanted to make. Due to my declining health and income, I am going to have to close down the Museum this year. Because of my health problems, I have been unable to get over to the Museum to work on it for about 4 months. My declining income leaves no money to do necessary repairs to the building, and of course, I can no longer do the needed work.</p>
<p> I want to see all the Museum Collection go back to collectors. The problem is, I can't ship, and I can no longer drive to ship. And the other problem is with my location on the East Coast of Canada. I wish I could recover at least some of the money I have put into it over the years purchasing and shipping items here. I have always kept the Museum free of charge to everyone, and I wish I could keep it open forever.</p>
<div>
<p> The very last thing I want to see is for any of the collection go for scrap. I have sunk too much work, sweat and tears into it to see all my work go to waste, and I don't want to see any of these artifacts lost to others. I began the Museum to save them, which I have been able to do for many years.</p>
<p> We are working on plans to disperse the collection, so bear with me. It will not re-open this spring. As soon as I have more information, I will let you all know. </p>
<p> Other selected collectors have been informed privately of this, and now, I guess is the time for all to know. As I said, this is the announcement I have never ever wanted to make.</p>
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<p align="center"><img src="../new01.gif" width="35" height="20" alt="new!"><A HREF="teletype/rtty.html">Teletype
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<p align="center"><img src="../update.gif" width="35" height="20"><A HREF="demo2.html">1950
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<td> <BLOCKQUOTE>
<p><font size="-1">In August 2012, we had a visit from John Arsenault,
and while viewing the exhibits, he videoed part of his tour. This
is the video that he took. Note: It shows only a few of the museum
exhibits, and was not pre-planned or scripted. I wasn't feeling
that well the day it was done, so the narration is not what it
would have normally been. That being said, it does give you an
idea of what you can expect to see during a museum tour.</font></p>
<TR>
<tr>
<td> <center>
<img src="museum3.jpg" width="600" height="450"> </center></td>
</tr>
<tr>
<td> <p><font size="-1">Right of entrance door. The backboard
is used to display the key system KSU's and wall office telephones
covering a time period of the 50's till late 1980's; desk
sets are located below on the shelves. To the right of this
photo, the lines and insulator display. Photo shows the Northern
Electric QUJ9B 1A2 KSU. I have added a 564 to the shelf below
along the black 565 and more recently a number of other business
sets. The telephone line and power lines have been run to
the KSU and a 554 (normal 500 series wall phone) mounted on
a backboard, with a 6041QAA key unit mounted underneath. More
recently, lines to other phones have been added to this set-up.
</font></p>
<p><font size="-1"> New in this photo December 9th 2005 are
the TIE Mod Key 16 microprocessor controlled key system unit
(the blue box to the left and under the QUJ8A and QUJ9B).
This KSU has provision for 6 incoming lines, and 8 extensions
as presently equipped. It is fully user programmable and has
such features as music on hold, speed dial, conference calling,
night answer and paging, etc. The left two phones on the top
shelf of the display are connected to this KSU. </font></p>
<p><font size="-1">New June 15th 2006, is a Nortel Norstar 6x16
KSU, a compact, fully programmable KSU capable of 6 lines,
and 16 stations or sets. This is the gray box to the right
of the TIE system, and below and to the right of the QUJ9B
1A2 system. This currently operates the two Meridian sets
on the right hand side of the top shelf, one on the next shelf,
one in the office, and one in the workshop. As presently programmed,
one can select to dial out, or to call through to any of the
other sets, or to do a system wide page, and many other currently
programmed features. As I mentioned, this system is incredible,
programmable with a seemingly endless list of features, and
I will be kept busy playing with it for a while! Thousands
of these systems are still in use across the continent, a
favorite of business for many years. Thanks to Terry Biddlecombe
who found this item for me. An ATA2 analog terminal adapter
was received on Jun 19th, 2006 which will allow standard phones
to be demonstrated on this system using a sixth line. </font></p>
<p><font size="-1">Mar 31, 2007 - A QUJ8A shoebox type four-slot
1A2 KSU was received this winter, and has been added to the
left of the larger QUJ10B. It has been connected to a pair
of telephones below. Thanks to Don Ferguson for obtaining
this from a Bell Canada friend of his and sending it down.
Also new to the above display is a Bogen Music on Hold FM
tuner/cassette player located under the top shelf, which now
provides music on hold to the Norstar system. A RAD (remote
access device) which allows the Norstar system to be remotely
or locally programmed via computer has also been added to
the Norstar system.A line was run from the 6x16 to it Apr.
5th 2006 in preparation to seeting it up. This should be a
great improvement over the awkward normal programming done
via the keypad of one of the phones.</font></p>
<p><font size="-1">All of these business systems are operational
and can be demonstrated. When the Strowger "<A HREF="demo.html">switching
demo</A>" is completed, it will be assigned a number to call
the second line on the Nortel Norstar system, so it will be
possible to call this system's phones from the demo and vice-versa.
It will be a "melding of the ages".</font></p>
<p><font size="-1">Also new to the display Jun 22, 2006, showing
to the left of the switchboard in the above photo is a plain
face Northern Electric 1317 (c.a. 1927) phone with a short
mouth, and unlike the Western Electric 317 mounted to the
other side of the switchboard and showing in the photo below,
has a selective c.o. ringing button. A missing receiver diaphram,
bakelite mouthpiece, and its missing original oak shelf have
been replaced. This phone was donated by Ross Coffin to the
collection. It is now 100% operational with the switchboard
as are the other magneto phones on display in the photo below.</font></p>
<p><font size="-1">Added Jul 01, 2006 are two military phones,
to the left of the 1317. Both were manufactured by Northern
Electric. The field phone on the mantle is a TA-43/PT complete
with canvas carrying bag made in the 50's and 60's for the
military here in Canada - an identical Western Electric manufactured
version was used by U.S. Forces. Above it is an unusual phone.
Based on the N400CG subset, this phone is an N400CG with a
handset hook, switch, and handset built into it, just as an
N717CG is an N500CG with a handset hook, switch and handset.
The phone's military model is an MD2146. This phone was built
in March 1940, and features the rare 6 sided type "NU"
handset. These two phones were donated by Terry Murphy and
kindly brought to the Island by his friend, Stirling Wight.
</font></p>
<p><font size="-1">Added Aug 02, 2006, a 12 line military switchboard
for this display found on eBay, model <a href="sb22.jpg">SB-22/PT</a>.
You will see it immediately to the left of the two military
phones, under its yellow striped top in the photos above and
below. This switchboard is a magneto board, with talk battery
and night alarm supplied by four D cells located in a self-contained
battery holder. A handset and also a David Clark behind the
head headset have been located to use with the board, and
the board is currently operational with the field phone. As
of October, 2006, both military phones mentioned above have
been connected to, and are fully operational with this switchboard.
The major hold-up was finding a suitable power supply to provide
a talk battery source for the MD2146. Until October, only
the field phone with its built in batteries was set up to
work with the board. Terry and Stirling, you got me interested
in military phones. It's ALL your fault :-)</font></p>
<p><font size="-1">Mid winter, 2006/2007, a small pocket military
switchboard was donated by Terry Murphy. It is located in
front of the TA-43/PT in a small, flat metal case. This board
consists of plugs, one of each would attach to the line of
each phone. To connect lines, one plug would be connected
directly into the plugs of the other lines to be interconnected.
Each clear plug has a built in lamp which would flash when
the magento on the line was turned to alert the operator.
The advantage of this system was its portability; small size,
light weight, and simplicity. Because of these attributes,
it was an excellent battlefield system.</font> </p>
<center>
<table width="88%" border="0">
<tr>
<td width="54%"><img src="151-al.jpg" width="166" height="286" alt="WE151-AL"></td>
<td width="46%"><font size="-1">Also added the same day,
Aug 02, 2006, is a dial American Tel. & Telegraph
151AL candlestick donated by Bill Jackson. This is a
wonderful phone, and has an original #2 dial made on
May 7th, 1918. The finish on this phone is also original
and magnificent! Prior to display, it has required only
buffing and replacement cords. When received, it had
modern white cords on it - luckily, the last time I
worked on a candlestick, I picked up an extra handset
cord, and had a mounting cord from another previous
project. This phone was manufactured by Western Electric
in the early 20's. The number 2AA dial is considered
a rarity today. This phone has been placed on the telephone
table in the photo below. The WE-20AL previously on
it has been returned to the shelf.</font></td>
</tr>
</table>
</center></BLOCKQUOTE></td>
</tr>
<tr>
<td> <center>
<img src="museum4.jpg" width="600" height="450" alt="May 22 2006">
</center></td>
</tr>
<tr>
<td> <BLOCKQUOTE>
<p><font color="#FF0000" size="-1"><strong> <img src="../new01.gif" width="35" height="20">Apr
02 2010 - Above photo shows a new display case (center), added
for a number of 500 series and other phones which are expected
in the near future. A white MDF top has to been added to 4 stock
bookshelves. This will be used to display different types and
colours of 500 series phones, as well as Harmony and Contempora
phones. Some 500s, Contemporas, and Harmonys have been temporarily
set up the top, awaiting others which may be coming soon. There
is enough room for 40 or so phones in this display on the top
shelf, and the shelves beneath. </strong></font></p>
<p><strong><font color="#FF0000" size="-1"><img src="../new01.gif" width="35" height="20">Apr
02, 2011 - Also from Vivian Bostwick, via her niece, Pam Hanselman,
who came across the photos of her aunt's pen and ink drawings
on this site, a shadow box display located in the window to the
left of this photo. She had created this from items she collected
while working for the telephone company, and is a truly interesting
display of telephone related miniatures.</font></strong></p>
<p><font size="-1">June 20, 2007 - Tom Vaughn, one of our readers
send a number of photos and drawings he found in a Phoenix, Az.
yard sale. These are all on a theme representing telephone operators.
The photos are AT&T stock photos, and include a photo of an operator
at her board, a couple of fairly famous ones used at one time
or other in Bell ads, an operator plugging her cords into a globe,
a more modern operator "plugging into history" with images of
Alexander Graham Bell, a soldier, and an early operator showing
in the background, Service for Victory, and another quite well
known early ad photo, "You've Come A Long Way, Baby" - depicting
an operator with lines coming from an open wire pole in one hand
and connecting to an image of a city, factories, and a farmhouse
with the other. Included with these were a number of drawings
of headsets etc. used by operators throughout the years. These
were drawn by a lady named Vivian Bostwick of Phoenix in pen and
ink. She is the same lady who made the shadow box displayed above.
These have been framed and mounted above and around the switchboard
and magneto telephone display</font></p>
<p><font size="-1">June 29, 2007, a number of items from Eleanor
Meek were added to the displays. In this photo is a large group
photo of 70's Island Tel employees added above the left window.
Also added today is a plexiglass "Operators Services"
sign mounted above the wooden wall phones approximately the middle
of the photo. As the sign is clear, it doesn't show well from
this distance.</font></p>
<p><font size="-1">Aug 28, 2006 - Purchased the evening before,
a Northern Electric 20L candlestick phone and an accordian mount
made by made by the Modern Appliances Co. of Chicago, Ill. has
been mounted on the left-hand side of the window frame. This phone
is as close to mint as one can expect to find. The scissors or
accordion was of the more unusual adonized copper finish type,
and with years of use, has worn to present an interesting pattern
of copper crosshatches corresponding to the position the scissors
were normally left in. This combination of phone/scissor mount
were often used by train dispatchers - they tuck against the wall,
till you need them, then pull out on the scissors for use. This
particular one graced the offices of the Montague Furnishings
Company for many years. Montague Furnishings built quality household
furniture and caskets earlier in the 1900's, and at the time this
phone would have been in active use, their phone number was 13-2.</font></p>
<p><font size="-1">Viewing to the right of the lines and insulator
display. Here, you will see a Northern Electric 1240 Switchboard
and some of the oak wall phones in the collection. To the right
of the board, a photo of this board in operation in Tyne Valley
where it provided service until Nov. 30 1977. Prior to 1950 or
so, this board didn't have a dial. This was added in the 50's
so that the operator could connect subscribers to Charlottetown
and Summerside numbers (and other automatic exchanges as they
came into service). </font></p>
<p><font size="-1">Below the photo, a metal telephone battery box;
WE317B then to the right, 211 with N400 subset and below that,
N717CG - to the far right, N293GP and N1517CG, and above the 293,
a N500CG subset, and to its lower left, another 211 with E1 handset.
Calculagraph on left of top shelf, then a series of candlesticks,
followed by varieties of 202's. </font></p>
<p><font size="-1">After a year of procrastination, the vintage
1955 linoleum on the floors has finally been stripped and waxed
- I would love to put down a light coloured ceramic tile in the
museum, but alas, I can't afford to do it in the foreseeable future.
This area looks much better than in previous photos due to the
improvement in the floors. New overhead lighting has brightened
up the area considerably. </font></p>
<p><font size="-1">As of the last weekend of June 25 2005, the majority
of the magneto sets were connected so they could be used with
the 1240 switchboard and could ring, and be rung to/from the board.
At this point, they could not talk with the board due to lack
of talk battery supply to the phones and board. In mid October
2006, power supplies were added for each phone, to replace talk
batteries which are now no longer made, and all phones are 100%
operational with the board. From any of the magneto phones surrounding
the board, calls can be originated, and through the board, be
connected to any of the other magneto phones, just as they would
have been when the board was operational in Tyne Valley. It is
nice to finally be able to give a complete hands-on demonstration
of the magneto sets and of the board.</font></p>
<p><font size="-1">A newly found phone was added the week of Dec
2 2005. It is a rare Bell Canada phone dating from the 1891 to
1895 period made in the Bell Canada mechanical department in Montreal
(previous to the formation of Northern Electric & Manufacturing
Co. in 1895). It is a 3 box phone with a Blake transmitter (center
box), and a long pole outside terminal receiver. The top box contains
a magneto and bells, and sports an old sawtooth lightning arrestor
on the top of the top box. The lower box is the battery box. These
phones used a battery jar which sat on a shelf hidden inside this
lower box. This is the oldest phone I have. You can see it between
the two windows in the photo above.</font></p>
<p><font size="-1">Also added recently is a round base 102 B1 phone
with its E1 handset to the left of the three 202's. This phone
was manufactured between 1928 and 1930. In the corner, a newly
added telephone table which displays one of the early candlesticks.</font></p>
<p><font size="-1">Spring 2010 - Wire and cable display on backboard
above mantle.</font></p>
</BLOCKQUOTE></td>
</tr>
<tr>
<td> <center>
<img src="museum2.jpg" width="600" height="450" alt="May 22 2006">
</center></td>
</tr>
<tr>
<td> <BLOCKQUOTE>
<p><font size="-1">Added June 29, 2007 - Several items from Eleanor
Meek added in this photo. To the left of the Northern Electric
horn speaker is an NE 1120DA candlestick microphone. It was built
as a microphone, not as a phone, unlike many so-called microphones
which may be seen elsewhere. This is built on a candlestick base
with an NE designed push to talk switch located where the hookswitch
would normally be mounted. and bears the NE nameplate on the bottom
of the upright shaft.</font></p>
<p><font size="-1">Also added the same day is a dial-less 554 wall
phone from Eleanor, 2nd from the left on the right hand backboard.
It has been mated with a 1967 NE QK82A magneto in a hard plastic
case located directly below it. Cranking the magneto will ring
the 554 above.</font></p>
<p><font size="-1">In addition, third from the right on the same
backboard, you will see a British TMC (Telephone Manufacturing
Company) magneto wall phone from Eleanor. These phones were exported
to Canada in great numbers, mostly to Manitoba and Saskatchewan,
but in lesser numbers here. They are very rarely seen in Britain
today as most of the production came to Canada. These were used
here when most of our telephone production was producing dial
phones, and when there were some rural magneto exchanges which
required equipment. The same stands true with the 554 and magneto
above.</font></p>
<p><font size="-1">Added September 24 2006: Northern Electric speaker
driver and horn model R6900, c.a. 1922 located in the corner,
found at a local yard sale. This contained the sound producing
components in the box under it, and the horn amplified this sound.
The box is cast metal, and the cone made of a fiber material.
This is a great example of an early loud speaker, and an example
of Northern Electric's many non-telephone items.</font></p>
<p><font size="-1">Right: A Northern Electric 555 PBX [Private Branch
eXchange] common battery switchboard, which was picked up the
first week of June 2005 with the help of Linda and Jeffery from
an antique dealer in the Kensington area. This board is of the
type used by businesses, hotels, and motels for their internal
phone system and was manufactured in the mid-70's. This also the
type of board used by Lilly Tomlin's telephone operator character,
"Ernestine" on Rowan and Martin's "Laugh-In"
comedy show of many years ago. Ernestine was known for such one
liners as; "One ringy dingy, two ringy dingy's" (Snort,
Snort), and "We don't care. We don't have to. We're the phone
company." This board was originally used at a bank in Summerside.</font></p>
<p><font size="-1">It was in sad shape, with many parts missing,
and the wooden side panels rotted due to poor storage for many
years. However, along with it, came a second board, largely stripped,
but which contained the majority of parts needed to do a full
restoration. New sides were fabricated using shop grade birch
plywood, and casters were installed, making the board easier to
move to work on. The sides were stained to match the top cover
which was dirty, but undamaged. Several cord units were moved
over from the second unit, and all units were given a complete
overhaul, including burnishing relays, lubricating switches, etc..
The dial mount was broken, but I was able to locate a brand new
one still in its box and it has now been replaced. Alas, the parts
board had no dial or mount.</font></p>
<p><font size="-1">The weekend of June 10th, the varnishing of new
sides was completed, and power supply and ring generator installed.
The switchboard is now operating 100%. Phones on top may be rung
from the 555 switchboard, as well as phones on the jacks along
the wall added the weekend of June 25 2005, and eventually, other
phones will be added to the system. It gives an immense sense
of satisfaction to be able to give an old item like this a new
lease on life.</font></p>
<p><font size="-1">Most of these phones shown in the photo above
are Northern Electric, Northern Telecom, or Nortel, with the exception
of one or two which are Western Electric. The other noteable exception
is the RCA magneto ships' phone shown second from the right. Fourth
from the right, is a Western Electric 750b panel phone, designed
to mount flush with the wall. Aside from other models, there are
a 302, and 5302, and many different 500 set variations including
wall phones and phones with amplified handsets. Several date from
the beginning of the 500 series with the original metal dial.
A few of these have been brought in - enough to show some of the
colour variations and different varieties available. The display
continues with more recent touch-tone versions, princess phones,
and more recent Northern Electric/Telecom, and Nortel varieties.
</font></p>
<p><font size="-1">A Northern Electric Uniphone #5 Desk Stand &
N400CG Subset is in the far left corner, with a Uniphone #6 wall
phone mounted above - a recently acquired Uniphone #2 wall phone
has filled the space below the #6, and a Uniphone #1 sits off
to the immediate right on the shelf next to the 302. A 325J call
box is located in the front corner, right next to the RCA sound
powered ship phone. </font></p>
<p><font size="-1">Just to the left of the #5 and magneto subset
is a Uniphone #1 with a very rare handset - the 6 sided "NU"
handset. This handset was used shortly after the Uniphone first
came out, quickly being replaced with F1 handsets. During service
calls, most uniphones later had their handsets replaced with F1's,
making these handsets quite rare today.</font></p>
<p><font size="-1">A framed special series set of stamps issued
to telecommunication employees on the occasion of the 100th anniversary
of the invention of the telephone has been mounted above the N400CG
subset, along with a stock certificate from the Kingston (PEI)
Telephone Company Ltd., one of PEI's early independent telephone
companies.</font></p>
<p><font size="-1">In this shot, second from the right on the shelf
directly below the window, as a Northern Electric AA1, essentially
a 302 phone minus the network and ringer which was designed for
use with the N500CG magneto subset to its immediate left. This
phone would be equivalent to a Uniphone #5. On the lower shelf,
just out of this photo, in a leather case, is a CNR Rairoad trackside
phone built by Northern Electric and a Stromberg-Carlson 1212
"Fat Boy" desk telephone, the first desk telephone manufactured
in North America to incorporate its ringer and network in the
base. Also added, three 511 two line 500 sets, two sitting on
the PBX board.</font> </p>
<p><font size="-1">The framed telephone prints above the displays
are courtesy of George Howard and Jim Barr. </font></p>
</BLOCKQUOTE></td>
</tr>
<tr>
<td> <center>
<img src="museum1.jpg" width="600" height="450" alt="May 20 2006">
</center></td>
</tr>
<tr>
<td> <BLOCKQUOTE>
<p><font size="-1">June 23, 2007 - From the 50's to the new Millenium!
- A surplus Nevada Bell Northern Telecom Millenium (left) made
in 1994 had been added to the payphone collection in the museum.
This microprocessor based telephone is the most advanced and secure
payphone in the world, and continues to be the payphone of choice
across North America. A list of its features may be found on the
following page: <A HREF="millenium.html" TARGET="_blank">Nortel
Millenium</A> The Nortel Payphone division was sold in April 2000
to Quortech (a Gores Technology Group Company) and the phones
continue to be made by them. Because ot its secure nature, this
will remain a static display only. The Millenium has been mounted
on a metal backboard for display and had been updated with Island
Tel bezel and instruction cards, remnants from the recent change
from Island Tel branding to Aliant.</font></p>
<p><font color="#FF0000" size="-1"><strong><img src="../new01.gif" width="35" height="20"></strong></font><font size="-1">Apr
02, 2011 - A desk model Millenniun has been added to the Millennium
display. This is one of two I purchased this past winter. The
desk model takes only credit cards - no coins, and is on the shelf
directly below the wall Millennium. Alarge yellow card reader
is located on its right hand side. It is programmed in much the
same way as the wall Millennium. This model was used chiefly in
hotels and motels.</font></p>
<p><font size="-1">Added the last week of June, 2007 is a white
bookcase to hold our collection of PEI telephone books. The brown
bookcase formerly in this location has been moved to the left
under the Millenium payphone.</font></p>
<p><font size="-1">Late fall 2006, a DVD and video display were
moved to a new overhead shelf in the corner above the AE payphone.
This will allow us to play telephone related videos for museum
visitors. These include an instructional video on dialing a phone
produced in the 1930's, and old telephone company ad, and a video
of an early step by step switch. Anyone have other interesting
telephone related videos?</font></p>
<p><font size="-1">Ex dining room area. Doors which open off this
space are to a storage area, office/workshop, and ex-kitchen area
which is used for storage for phones not on active display and
for parts. The room divider is used for further display of phones.
A Northern Telecom DisplayPhone is set up on the divider, and
for the kids, a 1970's orginal dial Mickey Mouse phone with G
type handset and two Ericophones. Behind the divider, is the payphone,
tools and equipment, and new cellular display. <A HREF="ne233.html" TARGET="_blank">Northern
Electric 233G</A>, <A HREF="qsd3a.html" TARGET="_blank">Northern
Electric QSD3A</A>, and <A HREF="3slot.html" TARGET="_blank">Automatic
Electric LPB82</A> payphones are located in this area. The Northern
Telecom Centurion has been moved out to the new booth in the museum
entrance, and the QSD3A brought over from the other house. Phone
lines have been run so any of the payphones in this area may be
demonstrated.</font></p>
<p><font size="-1">Various pieces of PEI telephone advertising paraphenalia
are also displayed throughout the museum, including booth signs,
branded toolcases and notebook cases, as well as advertising dial
surrounds and other items which could be classified as ephemera.
</font></p>
<p><font size="-1">This area has been re-organized to hold our growing
collection of cell and mobile phones in addition to the existing
payphone and switching displays. </font></p>
<p><font size="-1">While I have concentrated chiefly on wired telephones,
I have decided I could not represent the complete history of the
telephone on P.E.I. without having a display of early cell phones:
</font></p>
<p><font size="-1">So far on display are: Motorola SCN2532 22 button
Bag, Motorola SCN2453 15 button Bag, Motorola SCN2395 18 button
Bag, Uniden CP900 Bag, Motorola Brick 89040CACBA, Motorola 76722CARSA,
Motorola Teletac 250, Motorola Teletac 650 (Looks like a Microtac
650, but with an older style LED display instead of the larger
LCD display on the Microtac), 2 Motorola Microtac 650's (One of
these was my first cell phone), Motorola 120c, and a Motorola
120e, plus a number of recently added analog and digital models.
</font></p>
<p><font size="-1">A chance find at a yard sale Saturday, Oct 22
2005 eliminated my shortage of brick phones - in a $5 box of goodies
I found a Motorola Signal Series brick, Motorola Omega Series
brick, and a Cantel/Motorola brick, as well as a Motorola Pocket
Classic 910 non-flip phone, all working, amongst a large variety
of other cell related items. </font></p>
<p><font size="-1">The week of Nov 04 2005, a large number of additional
cell phones were added thanks to phones supplied by Don Woodbury
of Wireless Express in Ontario. The cellular display, it is beginning
to look pretty darn impressive, representing most of the earliest
Motorola cell phones spanning the years of 1984 when cell phone
were first introduced to the market till approximately 2002. A
number of cellphones are not visible behind the room divider.</font></p>
<p><font size="-1">New to this area, April/May 2006: The frame in
the backgound is the Strowger switching demonstration unit, which
uses Strowger switches to automatically connect calls. This is
1920 - 1975 or so technology which still works well. When I am
done building the switch, it will be capable of handling 3 simultaneous
calls on 3 paths, and handle 12 lines as currently configured.
I am not done with the project, but it can already demonstrate
how a Strowger switch works by putting a call dialed with the
butt set on the input, through a selector and connector, and ring
through to a phone on the output. Dial tone is provided. <A HREF="demo.html">See
my Demo page</A>. The shelves to the right will hold a display
of switching tools, loop leak tester, photos of the PEI Strowger
switches, a set of promotional coasters showing the DMS-100 electronic
switch, the replacement used when the Strowger switches were removed
from PEI service, and the switch test stand.</font></p>
<p><font size="-1">In the space between the windows, a small but
representative collection of entrance protectors dating from the
1920's to 1980's. These were placed where the line entered your
building and would protect your phone from voltage spikes and
lightening strikes.</font></p>
<p><font size="-1">Added July 03, 2006. two wonderful items from
John MacDonald. First, on the room divider in the photo above,
a display case with two NOS Western Electric 1004A line phones!
Next, in the corner next to the switching demo, a photo of the
original 1950 Siemens Strowger switch, and 1988 photo of the newly
installed Nortel DMS-100 exchange, along with a with a commemorative
plaque issued by IslandTel on the occasion of the cutover to the
new DMS-100 exchange in 1988. This was also donated by John MacDonald.
This plaque has one of the original switch wipers from the 1950
switch mounted on it.... Since we can't bring back the long gone
Siemens Strowger switch, it is wonderful to have at least this
wonderful piece of memorabilia from it</font></p>
</BLOCKQUOTE></td>
</tr>
</table>
<TABLE BORDER="0" width="825">
<TR>
<TD colspan="2"> <center>
<img src="museum7.jpg" width="600" height="450">
</center>
<BLOCKQUOTE>
<p><font size="-1">This new photo shows some detail of the tool
display. Growing the tool collection has been the major focus
of winter 2006/2007's collecting. For the next little while, this
area will change from day to day, as new items arrive and I play
with the placement of what is there. In this area are a number
of toolboxes containing our now quite extensive collection of
small switching and line tools (somewhere well over 250 different
tool types covering both telephone and teletype types), a climbing
belt and pole strap and associated pole spurs, Strowger Loop tester,
Megger, Western Electric 145A Test Set and AT-8629 Test Probe,
KS-8455L2 Bell System Line Loop Tester (aka.kick meter, also Brownie),
a string of linesman's butt sets including a GTE Automatic Electric
Type 801 (plus another in the AE display), Western Electric pin
dial 1011B set, and hanging on the demo rack a Western Electric
1013 butt set, and more modern Harris-Dracon TS-21, TS-22, and
TS-22AL sets, and in one of the tool boxes, a Northern Telecom
C.O. butt set similar in useage to the rest, but with a number
of changeable cord sets/tips for different uses. In the Automatic
Electric display by the museum exit is what was called a West
Test set, a device for useage on magneto lines. In one of the
cases is a Progressive Electonics 77M toner, leather case, and
a 200B inductive amplifier used for tracing lines within a building,
and the yellow case at the bottom is a Dynatel 3M 573-573A Sheath
Fault Cable Locator for locating and finding faults in inaccessable
underground cables. On the top shelf left, a Strowger test stand
with selector switch. On the table to the right of this display
is an Automatic Electric Test Turret type 21, which originated
in the Whistler, BC. C/O. and which was provided to the museum
by Terry Biddlecombe. The step by step switching demo shows to
the left of the photo. This was used to diagnose switch and line
problems from the premises of the C.O. For a complete listing
of tool items in the collection see our <A HREF="tools_switching.pdf">tool
list</A>. I am currently looking for a mannequin to display the
linesman's items. This collection continues to grow at a rapid
pace.</font></p>
<p><font size="-1">April 6, 2007 - Another tool case has been added
to the display. This is the wider case on the right, and contained
chiefly teletype service tools and all teletype tools in the collection
have been moved into this case. This case has the logo of the
Corporation de Téléphone de Quebec on its top cover.
The two cases to the left of it contain mainly C.O. and line tools.
On the second shelf, a Stromberg Carlson 19C buttset has been
added (on the right of the other butt sets, black with its brass
bands holding the transmitter and receiver on). This set dates
from before dials were used on phones, and has had a later dial
mount installed on the flip side.</font></p>
<p><font size="-1">April 11, 2007 - A CMC 7336 Coin Test Set has
been purchased for the display. This device will test older non-digital
payphone's coin collect and return functions for proper operation..
</font></p>
</BLOCKQUOTE></TD>
</TR>
<TR>
<TD width="390"> <center>
<img src="museum8.jpg" width="200" height="500"> </center></TD>
<TD width="425"> <p><font size="-1">Our new mechanical dialing pencil
and telephone company pin displays. Special mechanical pencils were
made by the Autopoint and Durolite pencil companies for use by operators
at the telephone companies with a ball on the end which was used
to facilitate dialing. These were actually patented by Bell; U.S.
Patent No. 2,247,027, and they were considered a "dialing tool",
model KS-8300. The green and black pencils as well as the pen (3rd
from the bottom) were for telephone company use only. On May 13
2007, I added a device designed to slip over the eraser of a normal
non-mechanical pencil with the same ball on the end as the earlier
mechanical pencils, a model KS-8400-1. This device was made later
than the mechanical pencil type and replaced them in use. There
is another telephone company device made which I don't yet have
- a red version of the KS-8300 pencil with a larger lead, designed
for mark/sense useage, filling in blocks on computer read cards
used for billing and toll tracking. Other companies made similar
devices, but could not for patent reasons duplicate the dialing
ball on the end of the Bell System pencils. The white pencil second
from top and the gold pencil second from the bottom are examples
of non telephone company pencils. For dialing, they had ends designed
to "hook" the edges of dials to facilitate dialing by
their users.</font></p>
<p> </p>
<p><font size="-1">We have begun a small collection of Canadian Telephone
company pins. These are located in the lower frame. In the frame
are a number of Canadian pins, an International Brotherhood of Electrical
Workers pin, 5 year employee's pin from Island Tel, and various
other pins from NewTel, BC Tel, Alberta Government Telephone, Telephone
Pioneers, Northern Telecom/Nortel, GTE Automatic Electric. A very
early and large New Brunswick Telephone Co. employee pin was added
May 13, 2007 displaying the employee number 201. This originated
from the collection of Russel Phillips, Dorn Ridge, NB, a long time
employee of NB Tel.It is not known if this was his employee number,
or whether it was one he collected from another, older retiree.
Two service pins from his estate are ordered, one for 15 years service,
and one for 43 years service, and will be added to the display when
they arrive. I have nothing from MT&T from the Nova Scotia yet,
or from SaskTel, Quebec, or Ontario, and no Aliant or Bell/Aliant
pins. It is my hope that this small collection will continue to
grow with time to cover all major Canadian companies, past and present.
Another large number of BC Tel and Telus pins have arrived from
my friend Terry Biddlecombe and are now included in the display.</font></p>
<p> </p></TD>
</TR>
<TR>
<TD colspan="2"> <center>
<img src="museum6.jpg" width="600" height="450" alt="May 20 2006">
</center></TD>
</TR>
<TR>
<TD colspan="2"> <BLOCKQUOTE>
<p><font size="-1">Automatic Electric display in progress. Here
you will find an AE-40 and AE-50, AE-80 and 90, AE-80e's, AE 87
and 187 multiline sets, Linear phone, AE-182e Starlite phone,
AE-192 wall phones, and other AE sets. The odd looking device
on the right hand side of the center shelf is a Automatic Electric
Secretarial Answering Unit, essentially a mini-switchboard for
offices. An AE magneto wall phone is mounted next to the door.
Two Swedish Ericophones are shown on the room divider, and ceramic
and glass insulators on the shelves above. The enlongated phone
between the windows was known as an Enterphone, and was used as
an apartment entry system..</font></p>
<p><font size="-1">July 06, 2007 - Over the winter, several Styleline
telephones were received from Terry Biddlecombe, and 3 more received
a few days ago. To better display these, a backboard was mounted
above the window and the wall mounted Stylelines were moved onto
the backboard along with the two AE192's. This, and an additional
shelf added below will allow for future expansion of the display.
In Spring, 2008, a number of additional wall stylelines from Terry
along with another AE-192 were received and mounted on the upper
display board</font></p>
<p><font size="-1">New to this display is a 1954 matchbook advertising
the AE-80 produced in the new AE plant in Brockville. This matchbook
was distributed within the first year of the new plant's operation.
It is located in a frame above the Enterphone. Photos have been
added to the display of the old Phillips Electrical Works plant
which originally produced AE phones in Brockville, the Strowger
switch bank assembly line in the new (1954) GTE/AE plant, an outside
aerial view of the new plant, and a 2002 photo of the plant after
several ownership changes, at the time owned by SCI.</font></p>
<p><font size="-1">April 6, 2007, a turquoise SE 183 Spacemaker
phone was added to the display, located on the right window frame.
</font></p>
<p><font size="-1">Added the weekend of Sept. 23, 2006, a Leich
901 Convertible magneto phone visible on the top shelf, right
hand side. The Leich Electric Company was in later years bought
out by GTE, and its phones were produced as a division of the
company along with Automatic Electric and produced in GTE plants
making this a suitable location for this phone. The 901 was a
convertible phone, i.e. it could be used as either a desk phone,
or turned magneto up and wall mounted to be used as a wall phone.
The cradle is designed to work either way to hold the handset.
In place of a dial, it was fitted with a magneto.</font></p>
<p><font size="-1">Also visible in the upper shot, left, an angle
bracket used on farmer's telephone lines which screwed on the
side of a pole to mount one line. This is mounted directly above
the AE-90 phone and below the doorbell, and is complete with a
clear pony insulator.</font></p>
<p><font size="-1">Newly added to this display the week of Nov 04
2005, a brown dial AE-981 Styleline phone (bottom shelf, 4th from
the left, and to the right of the white AE-982 touch call Styleline),
West Magneto Test Set (in its leather case) next to the orange
AE-801 butt sets, and to the right of that is a device known as
a Secretarial Answering Unit (SAU) and its accompanying AE-80.
The West Test Set was the early non-dial equivalent of a butt
set, and contained a magneto for ringing and internal talk batteries.
Two AE-33 ringers have been added to the right of the AE-182e
Starlight on the top right shelf. One of these eventually will
be added to the Automatic Electric payphone in the payphone/cellular
area.</font></p>
<p><font size="-1">This display would not exist if it were not with
the help from Terry Biddlecombe.</font></p>
<font size="-1"><A NAME="books"></A></font><A NAME="books"></a>
<p> <font size="-1"><IMG SRC="../update.gif" ALT="Update!" WIDTH="35" HEIGHT="20">Vintage
telephone books and service manuals are located on the shelves of
the brown (and now the new white) bookcase. Additionally, a 1928
phone book is located on the WE317's shelf next to the 1240 switchboard
in the main display area. We are trying to build a full collection
of Telephone Company of P.E.I., Island Tel and Aliant phone books,
even for more recent years. We currently have the following books:
Prince Edward Island Telephone System 1928, Prince Edward Island
Telephone System 1929 (Donated by Crystal Squires of Morell, May
5, 2009), Island Telephone Co., 1945 Island Telephone Co.~, 1957,
1958, 1960, 1961, 1962, 1963, 1964, 1965, 1966, 1967, 1968*, 1969,
1970, 1971, 1972%, 1973*, 1973 Bedeque Supplemental, 1974*, 1975*,
1976, 1977^, 1978+, 1979, and IslandTel 1980+, 1981, 1982^, 1983+,
1984+, 1985+, 1986^, 1987, 1988+, 1989, 1990^, 1991^ 1992, 1993+,
1994+, 1995|, 1996, 1997 <SUP>1</SUP>, 1998, 1999, 2000%, 2001,
and Aliant (PEI) 2002, 2003, 2004, 2005, 2006, 2007, and 2008, 2009,
2010, 2011, 2012, 2013. Donations of any PEI directories for years
which we are missing would very much be appreciated. One relatively
recent book, which showed a lupin field and house in Orwell Cove
has eluded me, and I would truly love to find that one. Let us know,
if you have any year, however, as yours might be in better condition
than one of those in the collection. One never knows what might
show up while house cleaning! If you have an old phone book, are
about to discard it, and are wondering if it might be one still
needed, please email me at <A HREF="/cdn-cgi/l/email-protection#8ce8e4f9e2f8e9fecce5ffe0ede2e8fee9ebe5fff8e9fea2efe3e1"><span class="__cf_email__" data-cfemail="781c100d160c1d0a38110b1419161c0a1d1f110b0c1d0a561b1715">[email protected]</span></A>.
<P> To view the covers of some of the books in the museum collection,
click on "<a href="http://www.oldtelephonebooks.com/phcape.html" target="_blank">Gwillim
Law's Telephone Book Site</a>", where he has posted images
I sent him of these books.</font></BLOCKQUOTE>
<font size="-1">
<p></p>
</font> </TD>
</TR>
</TABLE>
<TABLE BORDER="0" width="825">
<TR>
<TD colspan="2"> <center>
</center></TD>
</TR>
<TR>
<TD colspan="2"> <BLOCKQUOTE>
<p><font size="-1">In May 2005, work clearing out the museum entrance
area was completed - blinds were installed, and the area was painted.
In early June, the alarm system was installed and activated. Additional
phone jacks to several displays were added at that time. The entrance
floor was repaired and repainted the week of June 25th, 2005.</font></p>
<p align="center"><font size="-1"><img src="tty1.jpg" width="600" height="400"></font></p>
<p align="left"><font size="-1"><img src="../new01.gif" width="35" height="20">The
next series of three photos will show the Museum entranceway and
its collection of teletype and Telegraph equipment. Shown to the
left in this photo is an AN/UGC 504 military high speed Ascii/Baudot
teletype received in June 2010. To its right is an ASR-33 teletype
received in August 2010 from Catherine Fillmore of York, PA. To
its right, a Model 28 ASR teletype received in Dec 2009 from Bernie
MacIntyre. All units are operational and can be displayed working.</font></p>
<p align="center"><font size="-1"><img src="tty2.jpg" width="600" height="400"></font></p>
<p align="left"><font size="-1"><img src="../new01.gif" width="35" height="20">This
photo is of the same area, and shows a Model 15 teletype manufactured
in the 1930's. This was donated to the display by Bruce Rosen,
of Mass. Adjacent to the Model 15 is a Data-Tek 9600 terminal
tester, which can be used in loop mode to test the teletype equipment.
The Model 15, as with the other teletypes is fully operational.
To its left, Benner Nawman BN4000AX lighted telephone enclosure
brought over from Nova Scotia by Tom and Rose Dill. This has been
mounted in the entrance to the museum across from the ADCO shelf
and Centurion, and currently has an Ernest Telecom based COCOT
phone displayed in it which was purchased from a seller in Quebec.
The porcelain coated sides of this shelf have white handset logos
on them with a blue background. To their left, a small collection
of telegraph items, keys, semi-automatic bugs, sounders, etc.</font></p>
<p align="center"><font size="-1"><img src="tty3.jpg" width="600" height="400"></font></p>
<p align="left"><font size="-1"><img src="../new01.gif" width="35" height="20">A
view of the entranceway showing a KSR-33 teletype (essentially
an ASR-33 built without tape reader and punch. This machine was
received back in 1985 from Island Tel and used as a computer i/o
device, then loaned to a friend who used it for a while, then
he stored it in his barn for the past 20 years. It was received
back from him in April 2010 rusty and inoperative, but I managed
to repair it with much help from Greenkeys list members. Videoms
of these teletypes in operation may be viewed on my <A HREF="https://www.youtube.com/user/TelcoPEI" TARGET="_blank">YouTube
Channel</A>.</font></p>
<p align="left"><font size="-1">To its left, an Aliant supplied
"ADCO 15 Acousti-Call Compact Shelf" which arrived Oct
12 2005, and a Northern Telecom Centurion which was formerly located
inside the museum proper has been mounted in it. This phone is
modified so it doesn't require coins, and so that those inserted
will fall right back out the coin return. It will be for demonstration
only, but is functional.</font></p>
<p align="left"><font size="-1">Above those, a Toshiba DK-280 microprocessor
based digital business system was added in the first couple of
weeks of June, 2008, along with an Octel 200 message (voicemail)
server located below the KSU on the floor next to the ADCO booth.
This system is equipped with 8 loop lines, 16 digital phones,
16 analog phones and 8 dtmf receivers. The CPU is the large system
processor, release 3 or 4 and it has PIOU card for admin, smdr
and paging. Three telephones have been set up so far to demonstrate
its many functions, resting on a shelf below the system. As time
goes by, I will be installing more lines for this system - I have
16 digital phones which can operate from it. One trunk line is
connected, and any demo phone can answer incoming calls on this
trunk, and page or transfer calls to the other line. The voice
mail is not set up yet, but is on the "to do" list.
This complete system, including phones and voicemail was donated
by Kevin Doyle and Sun Life on Kent Street in Charlottetown.</font></p>
<p align="center"><font size="-1"><img src="wkshp.jpg" width="600" height="400"></font></p>
<p align="left"><font size="-1"><img src="../new01.gif" width="35" height="20">In
the spring of 2011, it was decided, that I had to have the old
kitchen area in the museum renovated. Its paint was peeling badly
due to humidity and its floors rotten due to poor air circulation.
I hired a contractor to do the work, as I was unable for health
reasons to do it myself. Then came the heart attack. While I was
in hospital recovering, they stripped out the room, replaced the
walls and the floors, added ventillation, and half of this area
became the new museum workshop (previously, the whole room had
served as a quasi-workshop). During this time, Linda and Jeffery
supervised the work and laid out the tools. I think they did a
fine job, don't you? The contractor was Shawn Power, a local gentleman
who has done many projects for our family in the past.</font></p>
<p align="center"><font size="-1"><img src="wkshp2.jpg" width="600" height="400"></font></p>
<p align="left"><font size="-1">Another View of the workshop portion.</font></p>
<p align="center"><font size="-1"><img src="office.jpg" width="600" height="400"></font></p>
<p align="left"><font size="-1"><img src="../new01.gif" width="35" height="20">The
other side of the room became the new office, with shelves holding
tools, and parts, and on the end wall, a power ventillation system
and coffee station. Throughout the new area, there is storage
below the counters. Vents have also been added to the interior
door promote air flow and to allow it to be closed off from the
rest of the museum when in use.</font></p>
<p align="center"><font size="-1"><img src="oldoffice.jpg" width="600" height="400"></font></p>
<font size="-1"><img src="../new01.gif" width="35" height="20">The
room that formerly used as an office then became free for display
area. Shown here are a number of 1950's and later phones which can
be demonstrated using a phone line simulator. (Phones not on top
shelf are bagged in plastic to keep them clean). In this area, it
is possible to dial up other phones on display and to have simultaneous
conversations using two line simulators, and visitors are encouraged
to do so. The kids will love this area! To the left, is the stairway
to the upstairs of the museum, which can eventually become display
space when needed. The wall to the left against the stairs, once
the location of a large built-in desk, is now completely open for
displays, switchboards, etc. For now, there is quite a bit of unused
space in this room. After this room was cleared out by Linda, Crystal,
and Jeffery, the desk built-in was removed, and wall repairs and
repainting completed by the contractors. The door to this room has
been removed to make it part of the museum display space and to
encourage air-flow throughout the building.</font></BLOCKQUOTE></TD>
</TR>
<TR>
<TD width="305"> <div align="left"><img src="newbooth1.jpg" width="300" height="454" alt="MD9021 + Centurion">
</div></TD>
<TD width="510"> <p><font size="-1">Oct 14 2005, the exterior booth
arrived, identical to the Northern Electric MD9021 parts booth mentioned
above, but complete in every aspect including doors and concrete
pad. Superman would have loved this one! Sorry, Clark - privacy
curtains are optional. Aliant brought it down, and plunked it down
right where I wanted it, adjacent to the front corner of the museum
house. Thank you, Aliant! I am told this is one of only three full
booths with intact doors remaining on the Island. It is in great
shape for 50 year old booth!</font></p>
<p><font size="-1">Oct. 12, 2006 - One year later, the MD9021 Booth
is now shown with a newly installed NOS Centurion QSD-2400-E touch-tone
prepay payphone purchased from Bruce Freedman in CT. Bruce is a
reseller of Nortel equipment. This is the second Centurion in the
collection, the first installed in the ADCO booth in the museum
entranceway. Although this phone is 100% operable, it is for a display
only, and not connected to a line. Instruction cards in the phone
reflect this fact. As with other payphones in the collection, all
coins inserted are set to be returned automatically via the coin
return slot. For months now, I had been searching for another Centurion
for this booth, or parts to complete a partial Centurion I had.
This booth is the first thing one sees when they come in the driveway
and has been a frequent topic for conversation. It has always bothered
me that I had no phone in it, and I didn't want to sacrifice one
of the older 3 slot phones to the weather. A Centurion was a good
choice, as there are still many Centurions in booths across the
Island.<i> Needed for this display: an exterior telephone book holder
and cover, preferably with IslandTel branding or non-branded (must
be legitimately obtained as are all items in this collection).</i></font></p></TD>
</TR>
<TR>
<TD colspan="2"> <P ALIGN="center"><font size="-1">All photos will be
retaken when there are significant changes to their respective areas.
Please read the "Comments" page for information on the
latest proposed museum project!. </font></P></TD>
</TR>
</TABLE>
<HR ALIGN="center" WIDTH=30%>
<P>
<TABLE BORDER="0" width="841">
<TR>
<TD> <p align="center"><strong>Visitors 2005</strong></p>
<p><font size="-1">The Museum has had a number of visitors since I
first started work on it. One of the first was Rev. Dave Roberts,
from Sandy, Utah, a minister for the Church of the Risen Christ
and Cowboy Christians of Sandy, Utah who arrived to see the museum
May 27, 2005. Prior to becoming a minister, Dave worked as an operator
on cordboards in both Quebec, and in Saskatchewan, and currently
has a small museum set up of his own in Sandy, Utah. Dave is a member
of both the ATCA and TCI telephone collectors groups.</font></p>
<p><font size="-1"> Dave had contacted me a couple of weeks before,
telling me he was going to visit Quebec, and asked it it would be
possible to see the museum. He departed Woodstock, N.B. around 9
a.m., and arrived here around 4:30 p.m. in the afternoon, and he
and the young gentleman with him, Colter stayed till 6:30'ish then
headed off the Wood Island end of the Island so that his young companion
could experience a ferry ride. He hoped to make it all the way back
to Quebec that evening. Rev. Dave loved the museum, in particular,
the 1240 magneto switchboard, the model he had operated years ago.
He marvelled at its excellent condition.</font></p>
<p><font size="-1"> Colter loved the more modern phones - one tends
to love the telephones of the time of their youth most - but this
lad loved them all! Before leaving, both met Linda's tame neighbourhood
squirrel, and the young lad had a number of photos taken while he
fed the little beast. Both were surprised by the small, chipmunk
size of our native squirrels. I am really pleased that both enjoyed
themselves so much after what would have been a very long and tiring
trip.</font></p>
<p><font size="-1">In early July 2005, I had a visit from Grant Munro
from British Columbia. Grant, also a telephone collector, runs a
business there, "Grant's Telephone Classics" renting telephones,
booths, switchboards, and other items for use as movie and stage
props. Grant currently holds the record for visitor from furthest
away. Anyone from California or better yet, Australia or New Zealand?
Grant recently donated an Automatic Electric "West" magneto
test set to the museum, shown above in the Automatic Electric display.
Thank you Grant!</font></p>
<p><font size="-1">Also in July 2005, a visit from Bob Grise and family
of Richmond, Kentucky. While on a trip to Nova Scotia recently,
they popped over to the Island for a day, and stopped by the museum
in the evening. They not only enjoyed the museum, but also loved
the Island's scenery. </font><font size="-1">Bob is a collector
like me and has served on the Board of the TCI club, and is a member
of the ATCA group. He has set up a telephone system in a camp near
his home town.</font></p>
<p><font size="-1">August 2005 brought a number of guests, Jim MacEachern,
John Collins, Ian MacEachern, and others to the museum. They were
the first to view the new museum sign.</font></p>
<p><font size="-1">Sept 13th, 2005,we had a visit by Terry Miller
and his wife Carol, of Alberta. Terry is a former employee of AGT,
and is a volunteer in a museum project out there. That same afternoon,
a visit from Dawn Ellis, formerly of New Brunswick, and now residing
in N. Carolina. Dawn is descended from Robert Ellis and Hannah Darby
of Summerside, and has been a regular on the Island Register for
years.</font></p>
<p><font size="-1">The following Saturday, we had a visit from two
gentlemen, Garth Bulman of Charlottetown, and Nick Vine Hall, from
Australia. Garth is a long time supporter of the Island Register
- our partner in producing the Lake Map pages and a provider of
many other items for the page. Nick is a genealogist and maritime
historian of more than 30 years experience. "The Voice Of Nick Vine
Hall" has been heard by millions of people in Australia and overseas.
Nick, of course takes the record of the visitor from furthest away
from all our other contenders. It was a pleasure having a visit
from Garth and Nick!</font></p>
<p><font size="-1">Visitors Oct 4th, 2005 were Anna and Oliver MacDonald
of West Point. Anna and Oliver donated a couple of vintage cell
phones to the collection</font></p>
<P><font size="-1"> Visitors Oct 16, 2005 were Edna MacLeod of Mount
Buchanan and Carol and Peter Taylor of Montague, Massachusetts</font>
<P align="center"><strong>Visitors 2006</strong>
<P><font size="-1">The first visitor of the 2006 season was a courier
who had dropped off a parcel for Jeffery. While at the door, he
joked tongue in cheek with Linda that he needed a quarter to try
out the payphone. Of course, there is no phone in the booth, but
Linda told him about the museum. He then asked whether it would
be possible for him to have a tour... I took him over, and he spent
the next half hour marvelling over the collection. He loved the
new switching demo. His mother is a retired Island Tel operator,
and during his youth, he had been given a tour of the old Charlottetown
Strowger exchange. He told me that this brought back many memories.
In the summer, he is going to bring his mother to see the museum
as well. It was interesting, especially because of how he found
out about the collection.</font>
<P><font size="-1">Vistors June 27th, 2006 were Phil Warren, his wife
Pam of California, and two of his Island cousins.</font>
<P><font size="-1">July 05 2006, we had a visit to the see the collection
by Mary-Lou MacDonald, Alan Picco, and Ray and Marge Chafe from
Ontario. Mary-Lou is the daughter of John MacDonald, the gentleman
who has kindly donated a pair of Western Electric line phones in
a display case, and a plaque issued by IslandTel following the changeover
to DMS-100 from the old Siemens SxS switch in Summerside in 1988.
The plaque has one of the original SxS switch's wiper mounted on
it. Mary-Lou and guests brought the items down from Ontario while
on vacation.</font>
<P><font size="-1">Visitors July 19, 2006 - Eardley and Ethelene Beaton
and Eardley's sister Beverley (Beaton) MacPhail. After patricipating
in a Beaton Reunion in Alexandra, PEI, they dropped in for a visit
before returning home. </font>
<P><font size="-1">Visitors July 22, 2006 - Tonya and Chad Perkins.
Both members of the Telephone Museum in Ellesworth Maine, they stopped
in on their trip through the Maritimes. </font>
<P><font size="-1">Visitors Aug 15, 2006 - Mitchell Janoff, Patty
Greco and Norm Janoff from White Plains, New York. Arriving on Holland
America's Maasdam, and driving out to see the collection, this party
became the first visitors to arrive on a cruise ship! Mitch is a
well known collector, and Norm is an ex-employee of GTE Automatic
Electric's Northlake, Ill. plant and AG Communications, of GTD5
switch fame.</font>
<center>
<p align="left"><font size="-1">The week of August 25, 2006 brought
the return of Ian MacEachern and his son, their second visit to
the museum, having seen it for the first time last year about
this time.It is nice to have repeat visitors. </font></p>
<p align="left"><font size="-1">Saturday, August 26th 2006 brought
a visit from Tom and Rose Dill, and Ted and Judy Burgess. Both
couples stopped off to see the museum, and to drop off a small
lighted payphone shelf which will be mounted in the outer area
of the museum soon! Thanks! </font></p>
<p align="left"><font size="-1">Wednesday, August 30, 2006 brought
a visit from Ron and Eileen Nelson of Calgary, following a brief
visit discussing the Island Register.</font></p>
<p align="left"><font size="-1">Thursday, August 31, 2006 we had
visits from three separate groups - the first were Gary and Jean
O'Brien from Great Britain, our first visitors from the British
Isles. Gary and Jean are on the Island for a month or so... </font></p>
<p align="left"><font size="-1">An hour later John Warren, daughter
Rachel Warren of Morell, Tony and Kathleen Walsh of Ajax Ontario,
and John's grandson Warren Halliday of Cornwall arrived. John
works with me at Canada Post and while on vacation wanted to see
the museum, as he had heard me talk about it at work. With him
were his youngest daughter Rachel and grandson Warren - they had
a great time, seeing and using their first dial phone, and seeing
and using for the first time in their lives, magneto phones. The
highlight for them, I think was the Mickey Mouse phone. Their
faces just beamed the whole time they were here. It is exactly
this which makes all the work and expense worthwhile - to give
young people their first experience with vintage phones! Alas,
I didn't get their photo before they left - I had inadvertently
left my camera in the other house following Gary and Jean's visit.</font></p>
<p align="left"><font size="-1">In the evening of the same day,
a visit from my brother, Stephen, his wife, Cat, and children
Fiona and Kier from Ontario. Steve and family saw the museum for
the first time, and though he has of course seen the house before,
and parts of the collection, it was the first time he had seen
the full extent of the collection. Once again, the kids had a
great time. It was a busy day!</font></p>
<p align="left"><font size="-1">November 7, 2006, we had a visit
from Bernie MacIntyre and Philip Acorn, both retired employees
of Island Tel. The last time Bernie was down was back when the
museum was just a dream, and we were still living in the other
house. Philip kindly brought down a few books to add to the museum's
displays. Both enjoyed themselves, surrounded by equipment they
were so familiar with from their years with the company.</font></p>
<p align="center"><strong>Visitors 2007</strong></p>
<p align="left"><font size="-1">March 10, 2007 - A very early pair
of visitors started off the 2007 season. Mother and daughter Tiffany
Byrd and Veronica Bauer (right) visited the museum, so Veronica
could research a Heritage Fair project. It was an expremely nice
visit, and I hope the experience will help Veronica with her project.!</font></p>
<p align="left"><font size="-1">March 18, 2007 - Another early pair
of visitors. This is Stewart MacRae, and his granddaughter Kennedie
Ogden who also visited to research her Heritage Fair project.
Between her visit and speaking with her grandfather, she should
have the jump on a lot of other children. Before his retirement,
Stewart worked for IslandTel and often worked in our area on the
lines and phones.</font></p>
<p align="left"><font size="-1">April 16, 2007 - A tour by a TIAPEI
group as part of a course in PEI history and culture they are
taking. A great time was had by all!</font></p>
<p align="left"><font size="-1">June 29, 2007 - We had a very nice
visit from Eleanor Meek of Charlottetown, and Irene MacRae and
Mary Lantz, both from Southport. Eleanor and her late husband,
Roger were long time employees of Island Tel. Eleanor brought
with her a number of items for display in the museum. See the
"<a href="new.html">Projects and New Items</a>" page
for photos of these. I am sorry but the batteries on my digital
camera had run down, so I was unable to take a photo of Eleanor
and friends. Perhaps one day, I will get another chance.</font></p>
<p align="left"><font size="-1">July 18, 2007 - We had a nice visit
from Joe and Judy Grant of Ontario, and from Fred MacDonald of
Charlottetown.</font></p>
<p align="left"><font size="-1">Aug 03, 2007 - We had a nice visit
from Jim McElroy, his mother, Madelyn McElroy, and his wife Evelyn
of Randolph, Mass. Jim became interested in the museum when I
began the switching demo construction, and has been an avid follower
of the telephone notes in the newsletter since. Evelyn was reminded
while touring the museum of an early job she had where she would
be called upon to operate the company switchboard on occasion.</font></p>
<p align="left"><font size="-1">Aug 14, 2007 - Fred and Martha MacDonald
dropped in to see the museum. Fred is a retired telephone man
(New England Telephone) living in Atkinson, NH, and who has his
roots on PEI. The old homestead is only about a mile away from
the museum.. It was a very enjoyable visit! </font></p>
<p align="left"><font size="-1">Sept 07, 2007 - We had a nice visit
from Hazel (Jenkins) Sanford, of Coquitlam, BC, Hazel was on the
Island visiting relatives!</font></p>
<p align="left"><font size="-1">Sept 26, 2007 - Don Ferguson stopped
by on his visit to the Island for a quick visit to the museum,
and to drop off some key telephone equipment including a 1A Key
System Unit, a couple of ringing generators, power supply for
the above, a couple of key telephones (a 564 and 565) and a terminal
box for the system. Don last fall mailed a large number of telephone
parts obtained from a couple of friends involved with Bell Canada.
These included various small 1A1 and 1A2 ksu parts, fuses, lamps,
etc. and the QUJ8A KSU mounted in the museum (showing in the top
photo on this page). What arrived today were those items too heavy
to mail. Thank you Don. Sorry, no photo - the camera caught me
with its batteries discharged!</font></p>
<p align="center"><strong>Visitors 2008</strong></p>
<p align="left"><font size="-1">April 15 2008 - For the second year
running, we had a visit from a TIAPEI group as part of a course
in PEI history and culture they are taking. There were ten people
in all, including their guide, Dutch Thompson.</font></p>
<p align="left"><font size="-1">Jun 27 2008 - We had a visit from
my co-worker, Michelle Dunlop, her daughter, Jennifer Horton,
and Michelle's mother, Betty Birt. Michelle and her family will
be returning in the fall, at which time I will post a photo of
them. They all appeared to enjoy their visit, especially Michelle
who had a great time ringing phones from the PBX, with Jennifer
trying to catch whichever phone was ringing at the time. It was
quite amusing, to say the least! Of course, whenever Jennifer
got close to the ringing phone, Michelle would ring another one.
These are some of my favorite people :-).</font></p>
<p align="left"><font size="-1">July 5 2008 - We had a nice visit
from Rev. Leonard and Ruth Zecchini from Fitchburg, Ma. Both seemed
to enjoy their visit!</font></p>
<p align="left"><font size="-1">July 22, 2008 - We had the great
pleasure Monday this week to have John Collins from Saria, Ontario
for the second time to view the museum, and also Helen and David
Hahn. They had an enjoyable visit.</font></p>
<p align="left"><font size="-1">Aug 22, 2008 - David Arnfast from
Truro, N.S., visited the museum. David is a dedicated Insulator
collector and antiques enthusiast. Alas, when David visited, I
as usual took my camera over, but when I went to take a photo,
found its batteries dead.</font></p>
<p align="left"><font size="-1">Aug 23, 2008 - We had a lovely visit
from Joyce Craven, who vitisted the museum, and brought down a
computer for the "<A HREF="../lforkids.html">Laptops for
Kids</A>" program. Joyce, from Duxbury, Ma., was on holiday
to PEI..</font></p>
<p align="left"><font size="-1">Aug 27, 2008 - Dan and Louise MacInnis,
long time users of the Island Register, and Darlene, Trevor, and
Sophie MacInnis were surprise visitors to see the museum today.
Sophie was another child who received their introduction of dial
telephones during the visit, and all were thrilled to see the
switchboards, and the Strowger switching display.</font></p>
<p align="left"><font size="-1">Aug 30, 2008 - Another surprise
Museum visit occured today, when the cousin of an acquaintance
of ours showed up at the door wanting a tour. He was Hal Babcock
of Fredericton, NB., and had been driving down our road on his
way to the mussell plant at the end, when he noticed the museum.
His comment in the Museum guestbook: Awesome! For a person who
discovered the museum by accident, he was extremely interested
in all that he saw, and enjoyed his visit very much.</font></p>
<p align="left"><font size="-1">Sep 13, 2008 - We had a lovely visit
from Ruth Murphy of Saugus, MA., and Patricia Warren, of Exeter,
NH. Ruth is a retired telephone company worker, while Patricia
works for the USPS. Both enjoyed themselves, and it was a lovely
visit!</font></p>
<p align="left"><font size="-1">September 27, 2008 - We has a visit
from Alice Mombourquette and her husband Cliff. They stopped in
on their way to a reunion, to see the museum and to drop off a
few telephones and a few computer items. Alice got to see for
the first time, her PBX operator's notebook, several books she
had donated, and photos of her aunt, Aunt Clarice Lina (aka Tas)
Whitman Miller, "Tas", a PBX operator at a bank in Halifax during
the mid 1900's on display. Alice preferred I didn't take a photo,
so, sorry no photo!</font></p>
<p align="left"><font size="-1">October 03, 2008 - Collectors Gary
Goff, of Brea, Ca., and Rob Baxter, of Victoria, BC. arrived today
on the Royal Princess Cruise ship. I picked them up at the terminal,
and drove them out to see the museum. Once the museum visit was
done, we came next door to our house, where Gary and Rob spent
time answering emails using our wireless connection. After this,
we returned to town, and after a short tour around the city, I
took them back to the terminal. Both enjoyed their brief visit
to the Island.</font></p>
<table width="75%" border="0">
<tr>
<td> <p align="center"><strong>Visitors 2009</strong></p>
<p align="left"><font size="-1">March 29, 2009 - The first
visitors of the year arrived. Elizabeth and daughter Sarah
Visser came so that Sarah could research a school project
on the telephone. They had a great time, and I hope that
it gave Sarah the information she needed. I loaned Sarah
a Northern Electric N717CG for "Show and Tell"
when she presents her assignment.</font></p>
<p align="left"><font size="-1">.April 04, 2009 - Karen and
Tom VanWinkle, and their three children Ryan, Tristan, and
Jack visited the museum. One of their children was researching
a Heritage Fair project on the telephone. All enjoyed the
visit on the wamest day of spring so far.</font></p>
<p align="left"><font size="-1">May 14, 2009 - I had a return
visit from Sarah Visser mentioned above in the notes for
March 29th. She has won the local Heritage fair with her
project on the telephone and is proceeding to the next level.
I loaned Sarah a second phone for her display, a Northern
Electric dial 302 to display along with the N717CG she already
has, to step her display up a notch. Good Luck Sarah! </font></p>
<p align="left"><font size="-1">June 09, 2009 - We had a lovely
visit this past Sunday from Jean MacKay and Rosanne Mackay,
her sister-in-law. It was a lovely day, and they enjoyed
their visit, I am told!</font></p>
<p align="center"><img src="conklin.jpg" width="300" height="225"></p>
<p align="left"><font size="-1">June 18, 2009 - Bob and AnneMarie
Conklin from Poland, Ohio dropped in not only to see the
museum, but also to talk genealogy. Bob is a regular reader
of this newsletter. They were great people and I hope they
enjoyed their visit. It is always nice to meet Island Register
users. They are on a quick visit to the Island, doing family
research, visiting cemeteries and the archives, and took
time out of their short trip to say hello! The day was perfect,
26 degrees and sunny - almost 80 f. but with a good breeze
to keep it from getting too humid. The only downside is
that the Cove was unusually inundated with mosquitoes, though
not as bad as earlier in the week. I do hope they enjoy
the rest of their visit.</font></p>
<p align="center"><font size="-1"><img src="gazely.jpg" width="188" height="251"></font></p>
<p align="left"><font size="-1">July 01, 2009 (Canada Day)
was a fairly busy day for the museum. We had a lovely visit
from Donna Gazely and her husband Rick from Hamilton, Ontario.
They regular users of the page. It was a lovely visit, enjoyed
by all. </font></p>
<p align="center"><font size="-1"><img src="amj.jpg" width="167" height="223"></font></p>
<p align="left"><font size="-1">The second visit Canada Day
was from Adam-Michael James, director of "The Nine Lives
of L. M. Montgomery" He has borrowed a period candlestick
phone to be used in the play running this summer at the
Carrefour Theatre from July 11 until August 22 in Charlottetown.
Read more about him, and about the play at: <A HREF="http://www.ninelivesoflmm.com/" TARGET="_blank">http://www.ninelivesoflmm.com/</A>.</font></p>
<p align="center"><img src="bsmith.jpg" width="223" height="222"></p>
<p align="left"><font size="-1">July 08, 2009 - We had a lovely
visit from Brian Smith and his son, Gavin Smith Wednesday
morning. Brian is an employee of Bell Canada. Both enjoyed
their visit. Brian has taken the first steps toward building
his own Strowger switch, which he hopes to put on the CNET
netork when complete.</font></p>
<p align="center"><img src="lrising.jpg" width="263" height="222"></p>
<p align="left"><font size="-1">July 13, 2009 - Linda Rising
and Karl Rehmer visited the museum today while on a bike
tour of P.E.I. Linda worked with Norm Janoff who visited
a couple of years ago, at AG Communication Systems in Phoenix,
Az. Norm recommended this as a "must stop" for
her while on her visit to the Island. In the photo above,
Linda and Karl are shown holding two DVD's brought with
them, a play and video showing in one a day in the life
of a new employee, and the other, a play depicting the invention
of the Strowger switch (an example of which, they are standing
in front of). Sadly, I have not yet had time to view these,
but intend to the very first chance I get!. Linda wrote
in the musum guestbook, "An awesome museum! Thanks
for saving all this history!!" My pleasure, Linda and
Karl, and thanks for stopping by.</font></p>
<CENTER>
<table width="75%" border="0">
<tr>
<td><img src="roofing1.jpg" width="300" height="225"></td>
<td> <div align="right"><img src="roofing2.jpg" width="300" height="225"></div></td>
</tr>
</table>
</CENTER>
<p align="left"> </p>
<p align="left"><font size="-1">July 14, 2009 - After two
years of replacing various sections of roofing on the museum,
I finally decided to replace the entire roof with steel
roofing. While not my number one choice, I was able to get
a reduced price for the roof in Heron Blue, which just happens
to have been the blue used by Island Tel on their phone
booths. While working on the installation of the new roof,
the workmen from Farnham Roofing asked to see the museum,
and were given a tour. Those who took the tour were Philip
Farnham, and his two sons Brent and Paul, and Eliot Christian.
The new roof should provide many years of maintenance free
protection for the Museum. The building will soon be re-painted,
and the trim color will be changed to a more neutral blue-grey.
As a result of the cost of the new roof, it is highly unlikely
that there will be any major additions to the museum collection
this year, but it will protect the building and its contents
for many years.</font></p>
<p align="center"><img src="roofing4.jpg" width="300" height="229"></p>
<p align="center"><img src="lkinch.jpg" width="111" height="223"></p>
<p align="left"><font size="-1">Aug 03, 2009 - Larry Kinch
dropped by with two computers for Laptops for kids, and
to see the museum. Despite the museum building's rather
rough looking exterior with its scraped paint, he enjoyed
his visit.</font></p>
<p align="center"><img src="pataylnes.jpg" width="151" height="223"></p>
<p align="left"><font size="-1">Aug 12, 2009 - It was a busy
day on the museum front this Wednesday. We had two groups
visiting, First of all, Charles and Katherine Dingwell,
then following, a visit from Hans and Pat Aylnes of Norway.
Sadly, I didn't have the camera out when Charles and Katherine
visited, but got it out later when Pat and Hans visited.
Charles brought two items for the museum, a Northern Electric
1317 which has been converted for use on modern lines; also
a Northern Electric subset, unfortunately stripped of most
parts. I will have to locate a new desk and new cords for
the 1317, and restore it to its original condition. While
this visit proceeded, the painters were busy painting the
exterior of the building. </font></p>
<p align="center"><img src="bgough.jpg" width="500" height="375"></p>
<p align="left"><font size="-1">Aug 14, 2009 - We had several
visitors today, but one group who specifically came to see
the museum. These were Brian Gough, J.P. Gaudet (former
host of CFCY's Hoedown show), and last but not least Barry
Butler. I mention Barry in particular, as he used to work
with me at the post office. I had no idea Barry was to be
amongst the visitors - they kept it a surprise for me. They
stayed a very long time, and we had some very interesting
discussions about their collective memories of the telephone
here. They all had a great time, I had a great time, and
I was sorry to see them leave.</font></p>
<p align="center"><img src="drake.jpg" width="400" height="300"></p>
<p align="left"><font size="-1">Aug 18, 2009 - Another group
visited the museum today. They were Maxine Drake and son
David, of Vernon, BC, and James and Lois Gillis of Pownal,
PEI. David also brought down a laptop computer for the Laptops
for Kids program. It was an enjoyable visit!</font></p>
<p align="left"><font size="-1">Aug 21, 2009 - We had a visit
from Fred Horne, Mary Burke, of Nine Mile Creek, and Anne
Burke of Vancouver, BC. They appeared to have enjoyed themselves!
Sorry, no photos. </font></p>
<p align="center"><img src="dand.jpg" width="188" height="251"></p>
<p align="left"><font size="-1">Aug 28, 2009 - We had a visit
from Ray and Phyllis Dand from Burnaby, BC today. Phyllis
is the contributor of newspaper transcriptions on the Island
Register. They spent some time first in the main house talking
genealogy and history, then we retired over to the telephone
museum. They have a great interest in telephones and antiques,
and enjoyed themselves in the museum.</font></p>
<p align="center"><img src="wford.jpg" width="400" height="300"></p>
<p align="left"><font size="-1">Sept 18, 2009 - Wallace and
Valerie Ford of McInnis Point, PEI and Albuquerque, New
Mexico visited the museum. They are long term users and
subscribers to the Island Register's newsletter, and have
heard so much about the museum, that they simply had to
visit :-) Wallace during college, was the operator of a
555 PBX switchboard, an example of which is shown beside
them.</font></p>
<p align="left"><font size="-1">Oct 09, 2009 - While working
on the museum Friday, we had a call from Donald MacDonald
of Belfast, who then came down with Rebecca MacKay of the
Isle of Raasay. It was an enjoyable visit, and I am glad
that they weren't bothered too much with the disorder caused
by the work we were doing! Rebecca left the following kind
comment in the guest book: "A unique, informative collection
- an invaluable aid to education. Your enthusiasm is evident
in the amount of work involved in the collection and the
amount of knowledge you are able to impart". Sorry,
but I don't have a photo - the museum was a bit of a construction
zone that day as new track lighting was being installed.
I was concerned that the work going on would lessen their
enjoyment of the visit, but apparently, it didn't!</font></p>
<p align="center"><strong>Visitors 2010</strong></p>
<p align="center"><font size="-1"><img src="bgough2.jpg" width="170" height="275"></font></p>
<p align="left"><font size="-1">May 15, 2010 - Brian Gough's
second visit, this time with wife, Myrna., Brian was bringing
down a Fairchild Teletypesetter Standard Perforator for
a museum display, and wanted to catch up with the winter's
additions. Although I didn't take this photo for this reason,
you will see the freshly stripped out garden in the background.
Linda has spent several days removing the old overgrown
garden! It was holding too much moisture against the wall,
with the result that shingles were rotting. We are replacing
it with several smaller hostas after landscaping cloth is
laid down to control weeds. Cedar mulch will cover the cloth
to make it low maintenance.</font></p>
<p align="center"><font size="-1"><img src="berniem.jpg" width="225" height="300"></font></p>
<p align="left"><font size="-1">May 25, 2010 - Bernie MacIntyre
stopped down to see the teletype display, and to see his
old Model 28 ASR in operation. Bernie came with a couple
of items for the museum, a West Test set, and a mechanical
digital operator's clock. Thank you, Bernie, not only for
today's items, but for the Model 28 Teletype we picked up
from him before the winter last year, broken down into several
sections due to its weight. Bernie is shown in the photo
above beside the now working Model 28.</font></p>
<p align="center"><font size="-1"><img src="hardy_pole.jpg" width="236" height="399"></font></p>
<p align="left"><font size="-1">May 29, 2010 - We had a visit
from Lloyd and Louise Hardy of Freeland, PEI. They enjoyed
the display, especially the Tyne Valley switchboard, which
until November 1977 served their area. They brought two
of the original poles used there, complete with brackets
and pony insulators. Many years ago, he and his father took
down 1 mile of the Tyne Valley/Freeland [Conroy] line when
Island Tel buried the area's cables. </font></p>
<p align="left"><font size="-1">Longer period poles have been
found for these which will allow their mounting outside
the museum, and the display of the brackets, insulators,
and open wire. They were put up June 12, 1010 and the wire,
brackets and insulators the following morning. See <A HREF="https://www.islandregister.com/phones/new.html">https://www.islandregister.com/phones/new.html</A>
for a photo.</font></p>
<p align="center"><img src="reynolds.jpg" width="218" height="300"></p>
<p align="left"><font size="-1">Jun 12, 2010 - We had a visit
from Duane and Lea Reynolds of Colorado Springs who were
visiting the Island. They first of all, dropped off two
laptops for the kids program, then enjoyed a visit to the
museum. Our little neighbourhood fox was there during their
visit, something they enjoyed immensely.</font></p>
<p align="center"><img src="arnfast.jpg" width="217" height="299"></p>
<p align="left"><font size="-1">July 1, 2010, Canada Day.
We had a second visit from Dave and Karen Arnfast of Truro.
They brought a small test set, a Northern Electric wooden
rate full of insulators, some insulator pins, and a 1910
Northern Electric Book, "How to Build Rural Telephone
Lines". Thank you!</font></p>
<p align="center"><font size="-1"><img src="maacdonald1.jpg" width="400" height="353"></font></p>
<p align="left"><font size="-1">July 06, 2010 - We had a nice
visit from Jim and Shirley Semple and Jack and Dale MacDonald
Tuesday morning. They were ex-employees of MT&T. They
enjoyed their visit, and were impressed with the scope of
the displays.</font></p>
<p align="center"><font size="-1"><img src="catherinef.jpg" width="300" height="280"></font></p>
<p align="left"><font size="-1">July 30, 2010 - We had a lovely
visit from Catherine Fillmore (left) and Wanda Miller (right),
both of York, PA. Catherine brought an ASR-33 teletype her
late husband, Ivan had gotten at the University of Ohio
radio station in the late 60's. Ivan, like myself, was a
Ham radio operator. The teletype is in very good condition,
though a couple of problems have been found in it since,
it is very clean and repairable. Catherine planned her vacation
around the teletype this year. She has always wanted to
visit Cavendish, and decided this was the year to kill two
birds with one stone. Thank you so much, Catherine. It was
lovely meeting you. Teletype shown between them. See more
on this machine on the "<A HREF="new.html">Projects and
New Items</A>" page</font></p>
<p align="center"><img src="rebremner.jpg" width="250" height="243"></p>
<p align="left"><font size="-1">Aug 06, 2010 A.M. - We had
a visit from Rick and Eileen Bremner of Austin, TX. They
have both been regular users of the Island Register for
years, and were very happy to finally see the museum.</font></p>
<p align="center"><font size="-1"><img src="wiegel.jpg" width="300" height="225"></font></p>
<p align="left"><font size="-1">Aug 06, 2010 P.M. - Laura
and Jeff Weigel of Redlands, Ca., visited the museum on
their way out to the Belfast Highland games.</font></p>
<p align="center"><font size="-1"><img src="cooke.jpg" width="250" height="349"></font></p>
<p align="left"><font size="-1">Aug 20, 2010 - Bob Cooke and
Melissa Keith of Lower Sackville, NS, visited the museum.
Bob's late father was an employee of MT&T. Bob is a
collector of broadcast radio equipment, and has a small
telephone collection, remnants of his father's collection.
They both enjoyed the teletype display, because of former
broadcasting backgrounds. Both enjoyed their visit.</font></p>
<p align="center"><img src="jeffsteves.jpg" width="182" height="301"></p>
<p align="left"><font size="-1">Aug. 28, 2010 - We had a visit
from Jeff Steeves of Moncton. Jeff donated a Northern Telecom
NT9G60AA outdoor weatherproof telephone for the museum display.
Jeff's father at one time was an employee of NBTel and at
another time worked for Marsland Engineering in Ontario,
one of the Canadian manufacturers of teletypes, and the
predecessor of Leigh instruments who built my KSR-33 teletype.Jeff
himself worked as a com tech in the military. It was an
interesting visit! Jeff is also, like me, a Ham Radio operator.</font></p>
<p align="center"><img src="clements.jpg" width="406" height="300"></p>
<p align="left"><font size="-1">Sep 11, 2010 - We had a lovely
visit to the museum by a group of people from Montague,
PEI. Included in the group were the honorable Gilbert R.
Clements and his wife Wilma, Aileen MacLure, and Mary and
Dick MacLean. Gilbert is a retired politician and was the
25th Lieutenant Governor of Prince Edward Island, serving
in that capacity from 30 August 1995 until 8 May 2001. Many
are not aware that Gilbert is also a very accomplished photographer
- his photos af the Montague area adorn many a building
on PEI. Dick was the founder of MacLean's Ready Mix in Pooles
Corners, PEI. I believe they all enjoyed themselves and
it certainly was an interesting visit for me.</font></p>
<p align="center"><img src="mckay.jpg" width="250" height="300"></p>
<p align="left"><font size="-1">Sunday, Sep 26, 2010 - We
had a visit from Heston and Francis MacKay of Ontario, and
Fenton and Anna MacKay of Oyster Bed Bridge who dropped
in for a tour of the museum and enjoyed themselves! It was
a fairly impromptu tour, as I hadn't know they were on the
way. Despite this, I was able to give them the "royal"
tour :-) Back Row: Linda Hunter, Heston MacKay; Front: Fenton
MacKay, Anna MacKay, and Francis MacKay..</font></p>
<p align="center"><img src="waynemerit.jpg" width="300" height="225"></p>
<p align="left"><font size="-1">Wednesday, Oct 6th, 2010 -
We had a visit from Dave Marzola and Wayne Merit from California.
Dave and Wayne are retirees of he telephone company down
there, and Wayne is a volunteer curator at the JKL Museum
of Telephony near Stockton, California. While I was worried
that Wayne wouldn't enjoy the museum, since he is used to
a much larger museum with huge collection, he had a great
time. He particularily enjoyed the teletype collection,
as he had cut his teeth on teletypes years ago, and also
enjoyed my 3 box Blake transmitter phone, something the
JKL museum didn't have. JKL had teletypes, but doesn't have
them set up in an operational display yet. It was a great
visit, and it was nice to meet both Wayne and Dave.</font></p>
<p align="center"><strong>Visitors 2011</strong></p>
<p align="center"><strong><img src="turner1.jpg" width="301" height="300"></strong></p>
<p align="left"><font size="-1">Saturday, April 10, 2011 -
We had a visit from Kimberley and Wayne Turner, and their
children Chad, and twins Robyn and Cassidy. Robyn and Cassidy
are in the midst of doing a heritage project on the telephone,
and they came to learn more about the telephone on PEI.
I do believe all enjoyed their tour, and the kids left happily
carrying insulators I gave them for a souvenir</font>!</p>
<p align="left"><font size="-1"><em>Illness kept me from showing
the museum for several months, May to mid-July. My apologies
if you had hoped to visit and couldn't due to this. Following
an impromptu visit from Dana Sunders in July, I began accepting
appointments to see the museum again on a limited basis..</em></font></p>
<p align="left"><font size="-1">July 10, 2011 - We had a short
visit from Dana Saunders of Environmental Tree Service who
was removing some trees on the property. Dana enjoyed the
museum! As he was already here, I gave him a very short
tour with assistance from Linda. Sorry, no photo.</font></p>
<p align="center"><img src="shiels.jpg" width="350" height="266"></p>
<p align="left"><font size="-1">July 18, 2011 - Carol and
Pete Taylor, and John & Carol Shiels of Mass. visited
the museum. Carol Shiels has had contact with me regarding
geneology and donated a bag phone a couple of years ago.
</font></p>
<p align="center"><img src="paulmac.jpg" width="200" height="300"></p>
<p align="left"><font size="-1">August 6, 2011 - We had a
visit from Paul MacKinnon of Holden, Me. Paul brought a
Model 15 teletype from Bruce Rosen of Boston for the museum
display.</font></p>
<p align="center"><img src="berniem2.jpg" width="222" height="249"></p>
<p align="left"><font size="-1">Aug 11, 2011 - Bernie MacIntyre
made a return visit to see changes in the museum which have
occured in the past 12 months, and to see the new Model
15 brought from Boston by Paul MacKinnon from Boston, and
to visit the Model 28 ASR teletype he donated last year.
Once again, he loved hearing the old machines and seeing
them in operation!.</font></p>
<p align="center"><img src="kelly.jpg" width="400" height="298"></p>
<p align="left"><font size="-1">Aug 29, 2011 - Ken Acorn,
Leo Kelly, and Karen Kelly visited the museum. I used to
work with Karen and Ken.</font></p>
<p align="center"><img src="hennessey.jpg" width="400" height="267"></p>
<p align="left"><font size="-1">September 11, 2011 - We had
a visit from Gary MacInnis, Fran Dowling, Andy and Rose
Hennessey. All enjoyed their visit. Leo had heard about
the museum through the newsletter since I opened it, and
finally got his chance to see it! It was nice to see them.</font></p>
<p align="left"><font size="-1">September 15, 2011 - My Brother
Steve, his wife, Catriona, and children Fiona and son, Kier
visited the museum. Steve lives in Cardinal. Ontario. The
kids loved the new display area, where I have two line simulators
connected to dial and touch tone phones. They stayed in
there calling each other of different phones while Mom and
Dad, and I toured the rest of the musem. It was the kid's
first exposure to dial phones, and they had a ball!</font></p>
<p align="center"><strong>Visitors 2012</strong></p>
<p align="left"><font size="-1">I didn't get early 2012 visitors
posted for one reason or other, but here are visitors from
July onwards.</font></p>
<p align="center"><font size="-1"><img src="phyllis%20beer.jpg" width="400" height="365"></font></p>
<p align="left"><font size="-1">July 28, 2012 - We had a nice
visit from Phyllis (Yeo) Beer of Mississauga, Ont. (right),
her sister Heather Farrar (left),and their brother's grandson,
Anthony Yeo (middle), of Fairview, PEI. It was an enjoyable
visit, and they all enjoyed the displays!</font></p>
<p align="left"><font size="-1">July 29, 2012 - In the am,
Chad Perkins from Maine visited for the second time. It
wasn't a tour visit, Chad brought a Cisco router for use
with the VOIP phone system, and spent a couple of hours
installing it. It was wonderful seeing him again...Sorry,
we were too busy to take a photo.</font></p>
<p align="center"><font size="-1"><img src="schaefersm.jpg" width="300" height="310"></font></p>
<p align="left"><font size="-1">July 29, 2012 - In the pm,
we had a visit from Bob Schaefer and his wife, Bobbi from
Gardnerville, Nevada. Bob is a Ham Radio operator, and is
a retired senior microwave technician and U.S. Merchant
Marine Radio Officer.</font></p>
<p align="center"><font size="-1"><img src="jarsenault.jpg" width="300" height="253"></font></p>
<p align="left"><font size="-1">Aug 11, 2012 - John Arsenault
from Guelph, Ontario visited the museum today. Photo shows
John standing next to a Northern Electric Centurion the
museum entranceway, suitable, as I was first contacted by
John several years ago after he had bought a Centurion for
his home. John donated an uncommon 1966 NE 500 L/M to the
museum. </font></p>
<p align="center"><img src="fyfe.jpg" width="400" height="318"></p>
<p align="left"><font size="-1">Aug 19, 2012 - Jeff Poll,
Ottawa, Enka Fyfe, Arden and Ava Fyfe-Garrett, and Alfred
Fyfe of Stanley Bridge.</font></p>
<p align="center"><font size="-1">_____</font></p>
<p align="left"><font size="-1">I would like to mention that
if you find yourself in the area and haven't made an appointment,
try anyway. If there is no-one in the museum house, knock
on the door of our house in front of the museum, and if
possible, I would be pleased to give you a tour. Please,
before you head out only to see the museum, call first to
see if we are home and able to show it to you. I would not
want you to make a trip out for nothing.</font></p></td>
</tr>
</table>
</center></TD>
</TR>
</TABLE>
<hr align="center" width=30%>
<P>
</CENTER>
<P>So far, the Museum has had visitors from P.E.I., Nova Scotia, New Brunswick,
Ontario, Alberta, British Columbia, Arizona, California, Colorado, Kentucky,
New York, New Hampshire, New Mexico, Maine, Massachusetts, New Mexico, North
Carolina, Ohio, Pensylvania, Kentucky, Texas, Utah, Australia, Isle of Rassay,
Great Britain, and Norway.</P>
<A NAME="visit">If you would like to view the museum, please email me at <A HREF="/cdn-cgi/l/email-protection#503438253e2435221039233c313e3422353739232435227e333f3d"><span class="__cf_email__" data-cfemail="e2868a978c968790a28b918e838c869087858b91968790cc818d8f">[email protected]</span></A>,
and we can arrange for a time you to view it. There is no charge, but the
visits will have to co-oincide with my unusual hours. When you arrange a visit,
I will fill you in with directions to the museum, phone number, etc. Bring
your children - let them see the telephones of yesteryear! School groups escorted
by teachers are welcome.</A>
<p></P>
</blockquote>
<BLOCKQUOTE>
<CENTER>
<p><b><font size="+2" color="#FF0000">Wanted for Displays:</font></b></p>
</CENTER>
<P> <font size="-1">This is our "Wish List". From time to time, we are looking
for various particular items for the museum. This doesn't mean these are
the only items needed, but those hard to find items I am hoping that someone
reading might be able to help us find. If you have anything which might
help, please contact me at the address in the paragraph above...</font>
<P>
<UL>
<LI>Old Phone Index Devices (<A HREF="https://www.islandregister.com/phones/indexes.html">examples</A>)
<LI>Telegraph keys, Sounders and ephemera.
<LI>Model 19 teletype for teletype display (must be found on PEI due to
cost of shipping)!
<LI>Male or Female mannequin (display dummy with legs) to display as a linesman
(linesperson) to display the linesman's equipment as worn.
<LI>Exterior telephone book cover and holder for the outside booth display,
preferably with IslandTel branding or no logo. This must be legitimately
obtained as are all items in the collection..
<LI>Strowger Linefinders for the switching demo.
<LI>More old PEI Telephone Books to add to directory collection. <A HREF="#books">Click
to see years already on display</A>.
<LI>Any other items, phones, documents, tools, Island Tel, Aliant or Trans-Canada
Telephone System adverisements or other ephemera (i.e. advertising dial
surrounds or accessories, or number indexes) you think might be of interest
and which may be of interest to visitors!
</UL>
<CENTER>
<p><B><FONT SIZE="+2" COLOR="#FF0000">More Coming Soon... Please call again!</FONT></B></p>
<table width="75%" border="0">
<tr>
<td width="47%"> <table border=0 style="background-color: #fff; padding: 5px;" cellspacing=0 width="347">
<tr>
<td> <img src="https://groups.google.com/groups/img/3/groups_bar.gif" height=26 width=132 alt="Google Groups"> Telecom Museum operators and</td>
</tr>
<tr>
<td style="padding-left: 5px"> volunteers - subscribe to the telecom_museum
Group! </td>
</tr>
<form action="https://groups.google.com/group/telecom_museum/boxsubscribe">
<input type=hidden name="hl" value="en">
<tr>
<td style="padding-left: 5px;"> Email:
<input type=text name=email> <input type=submit name="sub" value="Subscribe"> </td>
</tr>
</form>
<tr>
<td align=right> <a href="https://groups.google.com/group/telecom_museum?hl=en">Visit
this group</a> </td>
</tr>
</table></td>
<td width="53%"><font size="-1">The Telecom_Museum group is a discussion
arena for all telephone museum operators and for museum volunteers
to discuss setting up displays, to share knowledge, and for everything
pertaining to running telephone Museums.As it grows, we hope to get
some lively discussions on topics common to all involved.</font></td>
</tr>
</table>
</CENTER>
</BLOCKQUOTE>
<P>
<CENTER>
</CENTER>
<HR ALIGN="center" SIZE=2 WIDTH="30%">
<P>
<CENTER>
<TABLE BORDER="0" CELLPADDING="10" width="100%" bgcolor="#FFFFFF">
<TR>
<TD><CENTER>
<B><A HREF="telephone1.html"><FONT SIZE="-2" FACE="Arial">Wooden Wall
Phones</FONT></A></B></CENTER></TD>
<TD><CENTER>
<B><A HREF="telephone2.html"><FONT SIZE="-2" FACE="Arial">Metal Desk,
Wall Sets</FONT></A></B></CENTER></TD>
<TD><CENTER>
<B><A HREF="telephone3.html"><FONT SIZE="-2" FACE="Arial">Plastic,
Bakelite Phones</FONT></A></B></CENTER></TD>
<TD><CENTER>
<B><A HREF="payphone.html"><FONT SIZE="-2" FACE="Arial">Payphones</FONT></A></B></CENTER></TD>
<TD><CENTER>
<B><A HREF="co.html"><FONT SIZE="-2" FACE="Arial">C.O. Equipment</FONT></A></B></CENTER></TD>
<TD><CENTER>
<B><A HREF="misc.html"><FONT SIZE="-2" FACE="Arial">Accessories</FONT></A></B></CENTER></TD>
<TD><CENTER>
<B><A HREF="ae.html"><FONT SIZE="-2" FACE="Arial">A.E. Phones</FONT></A></B></CENTER></TD>
<TD><CENTER>
<B><A HREF="telephones.html"><FONT SIZE="-2" FACE="Arial">Museum</FONT></A></B></CENTER></TD>
</TR>
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<TR>
<TD><CENTER>
<B><A HREF="partyline.html"><FONT SIZE="-2" FACE="Arial">Party Lines!</FONT></A></B></CENTER></TD>
<TD><CENTER>
<B><A HREF="pioneers.html"><FONT SIZE="-2" FACE="Arial">Pioneers!</FONT></A></B></CENTER></TD>
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<B><A HREF="independants.html"><FONT SIZE="-2" FACE="Arial">Rural
Companies!</FONT></A></B></CENTER></TD>
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<B><A HREF="telephones.html"><FONT SIZE="-2" FACE="Arial">On-line
Museum!</FONT></A></B></CENTER></TD>
<TD><CENTER>
<B><A HREF="phonelink.html"><FONT SIZE="-2" FACE="Arial">Links!</FONT></A></B></CENTER></TD>
<TD><CENTER>
<B><FONT SIZE="-2" FACE="Arial"><A HREF="thebook/phonebook.html">Comments?</A></FONT></B></CENTER></TD>
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The Telephone on Prince Edward Island - Telephone Museum of Prince Edward Island - Museum Progress
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| **[Party Lines!](partyline.html)** | **[Pioneers!](pioneers.html)** | **[Rural Companies!](independants.html)** | **[On-line Museum!](telephones.html)** | **[Links!](phonelink.html)** | **[Comments?](thebook/phonebook.html)** | **[Home!](phones.html)** |
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| Museum Sign | **The Telephone Museum of Prince Edward Island** |
>
>
>
> >
> > This is a post I never wanted to make. Due to my declining health and income, I am going to have to close down the Museum this year. Because of my health problems, I have been unable to get over to the Museum to work on it for about 4 months. My declining income leaves no money to do necessary repairs to the building, and of course, I can no longer do the needed work.
> >
> >
> > I want to see all the Museum Collection go back to collectors. The problem is, I can't ship, and I can no longer drive to ship. And the other problem is with my location on the East Coast of Canada. I wish I could recover at least some of the money I have put into it over the years purchasing and shipping items here. I have always kept the Museum free of charge to everyone, and I wish I could keep it open forever.
> >
> >
> >
> > The very last thing I want to see is for any of the collection go for scrap. I have sunk too much work, sweat and tears into it to see all my work go to waste, and I don't want to see any of these artifacts lost to others. I began the Museum to save them, which I have been able to do for many years.
> >
> >
> > We are working on plans to disperse the collection, so bear with me. It will not re-open this spring. As soon as I have more information, I will let you all know.
> >
> >
> > Other selected collectors have been informed privately of this, and now, I guess is the time for all to know. As I said, this is the announcement I have never ever wanted to make.
> >
> >
> >
> > 
> > [Our
> > Facebook Page](https://www.facebook.com/groups/PEITelelephoneMuseum)!
> >
> > 
> > [New Projects and New Items Page](new.html)! - This page will
> > show detailed photos of the latest Museum Acquisitions!
> >
> >
> > [Teletype
> > Page](teletype/rtty.html): Showing the teletype machines ready and in progress for the
> > museum
> >
> >
> > [1950
> > Strowger Switch Demo](demo2.html) - until finished, updated Daily/Weekly
> >
> >
> >
> >
> >
> >
> >
> >
> >
>
>
>
>
>
> | |
> | --- |
> |
>
>
> |
> |
> In August 2012, we had a visit from John Arsenault,
> and while viewing the exhibits, he videoed part of his tour. This
> is the video that he took. Note: It shows only a few of the museum
> exhibits, and was not pre-planned or scripted. I wasn't feeling
> that well the day it was done, so the narration is not what it
> would have normally been. That being said, it does give you an
> idea of what you can expect to see during a museum tour.
> ||
> |
> | Right of entrance door. The backboard
> is used to display the key system KSU's and wall office telephones
> covering a time period of the 50's till late 1980's; desk
> sets are located below on the shelves. To the right of this
> photo, the lines and insulator display. Photo shows the Northern
> Electric QUJ9B 1A2 KSU. I have added a 564 to the shelf below
> along the black 565 and more recently a number of other business
> sets. The telephone line and power lines have been run to
> the KSU and a 554 (normal 500 series wall phone) mounted on
> a backboard, with a 6041QAA key unit mounted underneath. More
> recently, lines to other phones have been added to this set-up.
>
> New in this photo December 9th 2005 are
> the TIE Mod Key 16 microprocessor controlled key system unit
> (the blue box to the left and under the QUJ8A and QUJ9B).
> This KSU has provision for 6 incoming lines, and 8 extensions
> as presently equipped. It is fully user programmable and has
> such features as music on hold, speed dial, conference calling,
> night answer and paging, etc. The left two phones on the top
> shelf of the display are connected to this KSU.
> New June 15th 2006, is a Nortel Norstar 6x16
> KSU, a compact, fully programmable KSU capable of 6 lines,
> and 16 stations or sets. This is the gray box to the right
> of the TIE system, and below and to the right of the QUJ9B
> 1A2 system. This currently operates the two Meridian sets
> on the right hand side of the top shelf, one on the next shelf,
> one in the office, and one in the workshop. As presently programmed,
> one can select to dial out, or to call through to any of the
> other sets, or to do a system wide page, and many other currently
> programmed features. As I mentioned, this system is incredible,
> programmable with a seemingly endless list of features, and
> I will be kept busy playing with it for a while! Thousands
> of these systems are still in use across the continent, a
> favorite of business for many years. Thanks to Terry Biddlecombe
> who found this item for me. An ATA2 analog terminal adapter
> was received on Jun 19th, 2006 which will allow standard phones
> to be demonstrated on this system using a sixth line.
> Mar 31, 2007 - A QUJ8A shoebox type four-slot
> 1A2 KSU was received this winter, and has been added to the
> left of the larger QUJ10B. It has been connected to a pair
> of telephones below. Thanks to Don Ferguson for obtaining
> this from a Bell Canada friend of his and sending it down.
> Also new to the above display is a Bogen Music on Hold FM
> tuner/cassette player located under the top shelf, which now
> provides music on hold to the Norstar system. A RAD (remote
> access device) which allows the Norstar system to be remotely
> or locally programmed via computer has also been added to
> the Norstar system.A line was run from the 6x16 to it Apr.
> 5th 2006 in preparation to seeting it up. This should be a
> great improvement over the awkward normal programming done
> via the keypad of one of the phones.
> All of these business systems are operational
> and can be demonstrated. When the Strowger "[switching
> demo](demo.html)" is completed, it will be assigned a number to call
> the second line on the Nortel Norstar system, so it will be
> possible to call this system's phones from the demo and vice-versa.
> It will be a "melding of the ages".
> Also new to the display Jun 22, 2006, showing
> to the left of the switchboard in the above photo is a plain
> face Northern Electric 1317 (c.a. 1927) phone with a short
> mouth, and unlike the Western Electric 317 mounted to the
> other side of the switchboard and showing in the photo below,
> has a selective c.o. ringing button. A missing receiver diaphram,
> bakelite mouthpiece, and its missing original oak shelf have
> been replaced. This phone was donated by Ross Coffin to the
> collection. It is now 100% operational with the switchboard
> as are the other magneto phones on display in the photo below.
> Added Jul 01, 2006 are two military phones,
> to the left of the 1317. Both were manufactured by Northern
> Electric. The field phone on the mantle is a TA-43/PT complete
> with canvas carrying bag made in the 50's and 60's for the
> military here in Canada - an identical Western Electric manufactured
> version was used by U.S. Forces. Above it is an unusual phone.
> Based on the N400CG subset, this phone is an N400CG with a
> handset hook, switch, and handset built into it, just as an
> N717CG is an N500CG with a handset hook, switch and handset.
> The phone's military model is an MD2146. This phone was built
> in March 1940, and features the rare 6 sided type "NU"
> handset. These two phones were donated by Terry Murphy and
> kindly brought to the Island by his friend, Stirling Wight.
>
> Added Aug 02, 2006, a 12 line military switchboard
> for this display found on eBay, model [SB-22/PT](sb22.jpg).
> You will see it immediately to the left of the two military
> phones, under its yellow striped top in the photos above and
> below. This switchboard is a magneto board, with talk battery
> and night alarm supplied by four D cells located in a self-contained
> battery holder. A handset and also a David Clark behind the
> head headset have been located to use with the board, and
> the board is currently operational with the field phone. As
> of October, 2006, both military phones mentioned above have
> been connected to, and are fully operational with this switchboard.
> The major hold-up was finding a suitable power supply to provide
> a talk battery source for the MD2146. Until October, only
> the field phone with its built in batteries was set up to
> work with the board. Terry and Stirling, you got me interested
> in military phones. It's ALL your fault :-)
> Mid winter, 2006/2007, a small pocket military
> switchboard was donated by Terry Murphy. It is located in
> front of the TA-43/PT in a small, flat metal case. This board
> consists of plugs, one of each would attach to the line of
> each phone. To connect lines, one plug would be connected
> directly into the plugs of the other lines to be interconnected.
> Each clear plug has a built in lamp which would flash when
> the magento on the line was turned to alert the operator.
> The advantage of this system was its portability; small size,
> light weight, and simplicity. Because of these attributes,
> it was an excellent battlefield system.
>
>
>
> | | |
> | --- | --- |
> | WE151-AL | Also added the same day,
> Aug 02, 2006, is a dial American Tel. & Telegraph
> 151AL candlestick donated by Bill Jackson. This is a
> wonderful phone, and has an original #2 dial made on
> May 7th, 1918. The finish on this phone is also original
> and magnificent! Prior to display, it has required only
> buffing and replacement cords. When received, it had
> modern white cords on it - luckily, the last time I
> worked on a candlestick, I picked up an extra handset
> cord, and had a mounting cord from another previous
> project. This phone was manufactured by Western Electric
> in the early 20's. The number 2AA dial is considered
> a rarity today. This phone has been placed on the telephone
> table in the photo below. The WE-20AL previously on
> it has been returned to the shelf. |
>
>
> |
>
> |
> |
> May 22 2006
> |
> |
> **Apr
> 02 2010 - Above photo shows a new display case (center), added
> for a number of 500 series and other phones which are expected
> in the near future. A white MDF top has to been added to 4 stock
> bookshelves. This will be used to display different types and
> colours of 500 series phones, as well as Harmony and Contempora
> phones. Some 500s, Contemporas, and Harmonys have been temporarily
> set up the top, awaiting others which may be coming soon. There
> is enough room for 40 or so phones in this display on the top
> shelf, and the shelves beneath.**
> **Apr
> 02, 2011 - Also from Vivian Bostwick, via her niece, Pam Hanselman,
> who came across the photos of her aunt's pen and ink drawings
> on this site, a shadow box display located in the window to the
> left of this photo. She had created this from items she collected
> while working for the telephone company, and is a truly interesting
> display of telephone related miniatures.**
> June 20, 2007 - Tom Vaughn, one of our readers
> send a number of photos and drawings he found in a Phoenix, Az.
> yard sale. These are all on a theme representing telephone operators.
> The photos are AT&T stock photos, and include a photo of an operator
> at her board, a couple of fairly famous ones used at one time
> or other in Bell ads, an operator plugging her cords into a globe,
> a more modern operator "plugging into history" with images of
> Alexander Graham Bell, a soldier, and an early operator showing
> in the background, Service for Victory, and another quite well
> known early ad photo, "You've Come A Long Way, Baby" - depicting
> an operator with lines coming from an open wire pole in one hand
> and connecting to an image of a city, factories, and a farmhouse
> with the other. Included with these were a number of drawings
> of headsets etc. used by operators throughout the years. These
> were drawn by a lady named Vivian Bostwick of Phoenix in pen and
> ink. She is the same lady who made the shadow box displayed above.
> These have been framed and mounted above and around the switchboard
> and magneto telephone display
> June 29, 2007, a number of items from Eleanor
> Meek were added to the displays. In this photo is a large group
> photo of 70's Island Tel employees added above the left window.
> Also added today is a plexiglass "Operators Services"
> sign mounted above the wooden wall phones approximately the middle
> of the photo. As the sign is clear, it doesn't show well from
> this distance.
> Aug 28, 2006 - Purchased the evening before,
> a Northern Electric 20L candlestick phone and an accordian mount
> made by made by the Modern Appliances Co. of Chicago, Ill. has
> been mounted on the left-hand side of the window frame. This phone
> is as close to mint as one can expect to find. The scissors or
> accordion was of the more unusual adonized copper finish type,
> and with years of use, has worn to present an interesting pattern
> of copper crosshatches corresponding to the position the scissors
> were normally left in. This combination of phone/scissor mount
> were often used by train dispatchers - they tuck against the wall,
> till you need them, then pull out on the scissors for use. This
> particular one graced the offices of the Montague Furnishings
> Company for many years. Montague Furnishings built quality household
> furniture and caskets earlier in the 1900's, and at the time this
> phone would have been in active use, their phone number was 13-2.
> Viewing to the right of the lines and insulator
> display. Here, you will see a Northern Electric 1240 Switchboard
> and some of the oak wall phones in the collection. To the right
> of the board, a photo of this board in operation in Tyne Valley
> where it provided service until Nov. 30 1977. Prior to 1950 or
> so, this board didn't have a dial. This was added in the 50's
> so that the operator could connect subscribers to Charlottetown
> and Summerside numbers (and other automatic exchanges as they
> came into service).
> Below the photo, a metal telephone battery box;
> WE317B then to the right, 211 with N400 subset and below that,
> N717CG - to the far right, N293GP and N1517CG, and above the 293,
> a N500CG subset, and to its lower left, another 211 with E1 handset.
> Calculagraph on left of top shelf, then a series of candlesticks,
> followed by varieties of 202's.
> After a year of procrastination, the vintage
> 1955 linoleum on the floors has finally been stripped and waxed
> - I would love to put down a light coloured ceramic tile in the
> museum, but alas, I can't afford to do it in the foreseeable future.
> This area looks much better than in previous photos due to the
> improvement in the floors. New overhead lighting has brightened
> up the area considerably.
> As of the last weekend of June 25 2005, the majority
> of the magneto sets were connected so they could be used with
> the 1240 switchboard and could ring, and be rung to/from the board.
> At this point, they could not talk with the board due to lack
> of talk battery supply to the phones and board. In mid October
> 2006, power supplies were added for each phone, to replace talk
> batteries which are now no longer made, and all phones are 100%
> operational with the board. From any of the magneto phones surrounding
> the board, calls can be originated, and through the board, be
> connected to any of the other magneto phones, just as they would
> have been when the board was operational in Tyne Valley. It is
> nice to finally be able to give a complete hands-on demonstration
> of the magneto sets and of the board.
> A newly found phone was added the week of Dec
> 2 2005. It is a rare Bell Canada phone dating from the 1891 to
> 1895 period made in the Bell Canada mechanical department in Montreal
> (previous to the formation of Northern Electric & Manufacturing
> Co. in 1895). It is a 3 box phone with a Blake transmitter (center
> box), and a long pole outside terminal receiver. The top box contains
> a magneto and bells, and sports an old sawtooth lightning arrestor
> on the top of the top box. The lower box is the battery box. These
> phones used a battery jar which sat on a shelf hidden inside this
> lower box. This is the oldest phone I have. You can see it between
> the two windows in the photo above.
> Also added recently is a round base 102 B1 phone
> with its E1 handset to the left of the three 202's. This phone
> was manufactured between 1928 and 1930. In the corner, a newly
> added telephone table which displays one of the early candlesticks.
> Spring 2010 - Wire and cable display on backboard
> above mantle.
> |
> |
> May 22 2006
> |
> |
> Added June 29, 2007 - Several items from Eleanor
> Meek added in this photo. To the left of the Northern Electric
> horn speaker is an NE 1120DA candlestick microphone. It was built
> as a microphone, not as a phone, unlike many so-called microphones
> which may be seen elsewhere. This is built on a candlestick base
> with an NE designed push to talk switch located where the hookswitch
> would normally be mounted. and bears the NE nameplate on the bottom
> of the upright shaft.
> Also added the same day is a dial-less 554 wall
> phone from Eleanor, 2nd from the left on the right hand backboard.
> It has been mated with a 1967 NE QK82A magneto in a hard plastic
> case located directly below it. Cranking the magneto will ring
> the 554 above.
> In addition, third from the right on the same
> backboard, you will see a British TMC (Telephone Manufacturing
> Company) magneto wall phone from Eleanor. These phones were exported
> to Canada in great numbers, mostly to Manitoba and Saskatchewan,
> but in lesser numbers here. They are very rarely seen in Britain
> today as most of the production came to Canada. These were used
> here when most of our telephone production was producing dial
> phones, and when there were some rural magneto exchanges which
> required equipment. The same stands true with the 554 and magneto
> above.
> Added September 24 2006: Northern Electric speaker
> driver and horn model R6900, c.a. 1922 located in the corner,
> found at a local yard sale. This contained the sound producing
> components in the box under it, and the horn amplified this sound.
> The box is cast metal, and the cone made of a fiber material.
> This is a great example of an early loud speaker, and an example
> of Northern Electric's many non-telephone items.
> Right: A Northern Electric 555 PBX [Private Branch
> eXchange] common battery switchboard, which was picked up the
> first week of June 2005 with the help of Linda and Jeffery from
> an antique dealer in the Kensington area. This board is of the
> type used by businesses, hotels, and motels for their internal
> phone system and was manufactured in the mid-70's. This also the
> type of board used by Lilly Tomlin's telephone operator character,
> "Ernestine" on Rowan and Martin's "Laugh-In"
> comedy show of many years ago. Ernestine was known for such one
> liners as; "One ringy dingy, two ringy dingy's" (Snort,
> Snort), and "We don't care. We don't have to. We're the phone
> company." This board was originally used at a bank in Summerside.
> It was in sad shape, with many parts missing,
> and the wooden side panels rotted due to poor storage for many
> years. However, along with it, came a second board, largely stripped,
> but which contained the majority of parts needed to do a full
> restoration. New sides were fabricated using shop grade birch
> plywood, and casters were installed, making the board easier to
> move to work on. The sides were stained to match the top cover
> which was dirty, but undamaged. Several cord units were moved
> over from the second unit, and all units were given a complete
> overhaul, including burnishing relays, lubricating switches, etc..
> The dial mount was broken, but I was able to locate a brand new
> one still in its box and it has now been replaced. Alas, the parts
> board had no dial or mount.
> The weekend of June 10th, the varnishing of new
> sides was completed, and power supply and ring generator installed.
> The switchboard is now operating 100%. Phones on top may be rung
> from the 555 switchboard, as well as phones on the jacks along
> the wall added the weekend of June 25 2005, and eventually, other
> phones will be added to the system. It gives an immense sense
> of satisfaction to be able to give an old item like this a new
> lease on life.
> Most of these phones shown in the photo above
> are Northern Electric, Northern Telecom, or Nortel, with the exception
> of one or two which are Western Electric. The other noteable exception
> is the RCA magneto ships' phone shown second from the right. Fourth
> from the right, is a Western Electric 750b panel phone, designed
> to mount flush with the wall. Aside from other models, there are
> a 302, and 5302, and many different 500 set variations including
> wall phones and phones with amplified handsets. Several date from
> the beginning of the 500 series with the original metal dial.
> A few of these have been brought in - enough to show some of the
> colour variations and different varieties available. The display
> continues with more recent touch-tone versions, princess phones,
> and more recent Northern Electric/Telecom, and Nortel varieties.
>
> A Northern Electric Uniphone #5 Desk Stand &
> N400CG Subset is in the far left corner, with a Uniphone #6 wall
> phone mounted above - a recently acquired Uniphone #2 wall phone
> has filled the space below the #6, and a Uniphone #1 sits off
> to the immediate right on the shelf next to the 302. A 325J call
> box is located in the front corner, right next to the RCA sound
> powered ship phone.
> Just to the left of the #5 and magneto subset
> is a Uniphone #1 with a very rare handset - the 6 sided "NU"
> handset. This handset was used shortly after the Uniphone first
> came out, quickly being replaced with F1 handsets. During service
> calls, most uniphones later had their handsets replaced with F1's,
> making these handsets quite rare today.
> A framed special series set of stamps issued
> to telecommunication employees on the occasion of the 100th anniversary
> of the invention of the telephone has been mounted above the N400CG
> subset, along with a stock certificate from the Kingston (PEI)
> Telephone Company Ltd., one of PEI's early independent telephone
> companies.
> In this shot, second from the right on the shelf
> directly below the window, as a Northern Electric AA1, essentially
> a 302 phone minus the network and ringer which was designed for
> use with the N500CG magneto subset to its immediate left. This
> phone would be equivalent to a Uniphone #5. On the lower shelf,
> just out of this photo, in a leather case, is a CNR Rairoad trackside
> phone built by Northern Electric and a Stromberg-Carlson 1212
> "Fat Boy" desk telephone, the first desk telephone manufactured
> in North America to incorporate its ringer and network in the
> base. Also added, three 511 two line 500 sets, two sitting on
> the PBX board.
> The framed telephone prints above the displays
> are courtesy of George Howard and Jim Barr.
> |
> |
> May 20 2006
> |
> |
> June 23, 2007 - From the 50's to the new Millenium!
> - A surplus Nevada Bell Northern Telecom Millenium (left) made
> in 1994 had been added to the payphone collection in the museum.
> This microprocessor based telephone is the most advanced and secure
> payphone in the world, and continues to be the payphone of choice
> across North America. A list of its features may be found on the
> following page: [Nortel
> Millenium](millenium.html) The Nortel Payphone division was sold in April 2000
> to Quortech (a Gores Technology Group Company) and the phones
> continue to be made by them. Because ot its secure nature, this
> will remain a static display only. The Millenium has been mounted
> on a metal backboard for display and had been updated with Island
> Tel bezel and instruction cards, remnants from the recent change
> from Island Tel branding to Aliant.
> Apr
> 02, 2011 - A desk model Millenniun has been added to the Millennium
> display. This is one of two I purchased this past winter. The
> desk model takes only credit cards - no coins, and is on the shelf
> directly below the wall Millennium. Alarge yellow card reader
> is located on its right hand side. It is programmed in much the
> same way as the wall Millennium. This model was used chiefly in
> hotels and motels.
> Added the last week of June, 2007 is a white
> bookcase to hold our collection of PEI telephone books. The brown
> bookcase formerly in this location has been moved to the left
> under the Millenium payphone.
> Late fall 2006, a DVD and video display were
> moved to a new overhead shelf in the corner above the AE payphone.
> This will allow us to play telephone related videos for museum
> visitors. These include an instructional video on dialing a phone
> produced in the 1930's, and old telephone company ad, and a video
> of an early step by step switch. Anyone have other interesting
> telephone related videos?
> Ex dining room area. Doors which open off this
> space are to a storage area, office/workshop, and ex-kitchen area
> which is used for storage for phones not on active display and
> for parts. The room divider is used for further display of phones.
> A Northern Telecom DisplayPhone is set up on the divider, and
> for the kids, a 1970's orginal dial Mickey Mouse phone with G
> type handset and two Ericophones. Behind the divider, is the payphone,
> tools and equipment, and new cellular display. [Northern
> Electric 233G](ne233.html), [Northern
> Electric QSD3A](qsd3a.html), and [Automatic
> Electric LPB82](3slot.html) payphones are located in this area. The Northern
> Telecom Centurion has been moved out to the new booth in the museum
> entrance, and the QSD3A brought over from the other house. Phone
> lines have been run so any of the payphones in this area may be
> demonstrated.
> Various pieces of PEI telephone advertising paraphenalia
> are also displayed throughout the museum, including booth signs,
> branded toolcases and notebook cases, as well as advertising dial
> surrounds and other items which could be classified as ephemera.
>
> This area has been re-organized to hold our growing
> collection of cell and mobile phones in addition to the existing
> payphone and switching displays.
> While I have concentrated chiefly on wired telephones,
> I have decided I could not represent the complete history of the
> telephone on P.E.I. without having a display of early cell phones:
>
> So far on display are: Motorola SCN2532 22 button
> Bag, Motorola SCN2453 15 button Bag, Motorola SCN2395 18 button
> Bag, Uniden CP900 Bag, Motorola Brick 89040CACBA, Motorola 76722CARSA,
> Motorola Teletac 250, Motorola Teletac 650 (Looks like a Microtac
> 650, but with an older style LED display instead of the larger
> LCD display on the Microtac), 2 Motorola Microtac 650's (One of
> these was my first cell phone), Motorola 120c, and a Motorola
> 120e, plus a number of recently added analog and digital models.
>
> A chance find at a yard sale Saturday, Oct 22
> 2005 eliminated my shortage of brick phones - in a $5 box of goodies
> I found a Motorola Signal Series brick, Motorola Omega Series
> brick, and a Cantel/Motorola brick, as well as a Motorola Pocket
> Classic 910 non-flip phone, all working, amongst a large variety
> of other cell related items.
> The week of Nov 04 2005, a large number of additional
> cell phones were added thanks to phones supplied by Don Woodbury
> of Wireless Express in Ontario. The cellular display, it is beginning
> to look pretty darn impressive, representing most of the earliest
> Motorola cell phones spanning the years of 1984 when cell phone
> were first introduced to the market till approximately 2002. A
> number of cellphones are not visible behind the room divider.
> New to this area, April/May 2006: The frame in
> the backgound is the Strowger switching demonstration unit, which
> uses Strowger switches to automatically connect calls. This is
> 1920 - 1975 or so technology which still works well. When I am
> done building the switch, it will be capable of handling 3 simultaneous
> calls on 3 paths, and handle 12 lines as currently configured.
> I am not done with the project, but it can already demonstrate
> how a Strowger switch works by putting a call dialed with the
> butt set on the input, through a selector and connector, and ring
> through to a phone on the output. Dial tone is provided. [See
> my Demo page](demo.html). The shelves to the right will hold a display
> of switching tools, loop leak tester, photos of the PEI Strowger
> switches, a set of promotional coasters showing the DMS-100 electronic
> switch, the replacement used when the Strowger switches were removed
> from PEI service, and the switch test stand.
> In the space between the windows, a small but
> representative collection of entrance protectors dating from the
> 1920's to 1980's. These were placed where the line entered your
> building and would protect your phone from voltage spikes and
> lightening strikes.
> Added July 03, 2006. two wonderful items from
> John MacDonald. First, on the room divider in the photo above,
> a display case with two NOS Western Electric 1004A line phones!
> Next, in the corner next to the switching demo, a photo of the
> original 1950 Siemens Strowger switch, and 1988 photo of the newly
> installed Nortel DMS-100 exchange, along with a with a commemorative
> plaque issued by IslandTel on the occasion of the cutover to the
> new DMS-100 exchange in 1988. This was also donated by John MacDonald.
> This plaque has one of the original switch wipers from the 1950
> switch mounted on it.... Since we can't bring back the long gone
> Siemens Strowger switch, it is wonderful to have at least this
> wonderful piece of memorabilia from it
> |
>
>
>
>
> | |
> | --- |
> |
>
>
>
> This new photo shows some detail of the tool
> display. Growing the tool collection has been the major focus
> of winter 2006/2007's collecting. For the next little while, this
> area will change from day to day, as new items arrive and I play
> with the placement of what is there. In this area are a number
> of toolboxes containing our now quite extensive collection of
> small switching and line tools (somewhere well over 250 different
> tool types covering both telephone and teletype types), a climbing
> belt and pole strap and associated pole spurs, Strowger Loop tester,
> Megger, Western Electric 145A Test Set and AT-8629 Test Probe,
> KS-8455L2 Bell System Line Loop Tester (aka.kick meter, also Brownie),
> a string of linesman's butt sets including a GTE Automatic Electric
> Type 801 (plus another in the AE display), Western Electric pin
> dial 1011B set, and hanging on the demo rack a Western Electric
> 1013 butt set, and more modern Harris-Dracon TS-21, TS-22, and
> TS-22AL sets, and in one of the tool boxes, a Northern Telecom
> C.O. butt set similar in useage to the rest, but with a number
> of changeable cord sets/tips for different uses. In the Automatic
> Electric display by the museum exit is what was called a West
> Test set, a device for useage on magneto lines. In one of the
> cases is a Progressive Electonics 77M toner, leather case, and
> a 200B inductive amplifier used for tracing lines within a building,
> and the yellow case at the bottom is a Dynatel 3M 573-573A Sheath
> Fault Cable Locator for locating and finding faults in inaccessable
> underground cables. On the top shelf left, a Strowger test stand
> with selector switch. On the table to the right of this display
> is an Automatic Electric Test Turret type 21, which originated
> in the Whistler, BC. C/O. and which was provided to the museum
> by Terry Biddlecombe. The step by step switching demo shows to
> the left of the photo. This was used to diagnose switch and line
> problems from the premises of the C.O. For a complete listing
> of tool items in the collection see our [tool
> list](tools_switching.pdf). I am currently looking for a mannequin to display the
> linesman's items. This collection continues to grow at a rapid
> pace.
> April 6, 2007 - Another tool case has been added
> to the display. This is the wider case on the right, and contained
> chiefly teletype service tools and all teletype tools in the collection
> have been moved into this case. This case has the logo of the
> Corporation de Téléphone de Quebec on its top cover.
> The two cases to the left of it contain mainly C.O. and line tools.
> On the second shelf, a Stromberg Carlson 19C buttset has been
> added (on the right of the other butt sets, black with its brass
> bands holding the transmitter and receiver on). This set dates
> from before dials were used on phones, and has had a later dial
> mount installed on the flip side.
> April 11, 2007 - A CMC 7336 Coin Test Set has
> been purchased for the display. This device will test older non-digital
> payphone's coin collect and return functions for proper operation..
>
> |
> |
> | Our new mechanical dialing pencil
> and telephone company pin displays. Special mechanical pencils were
> made by the Autopoint and Durolite pencil companies for use by operators
> at the telephone companies with a ball on the end which was used
> to facilitate dialing. These were actually patented by Bell; U.S.
> Patent No. 2,247,027, and they were considered a "dialing tool",
> model KS-8300. The green and black pencils as well as the pen (3rd
> from the bottom) were for telephone company use only. On May 13
> 2007, I added a device designed to slip over the eraser of a normal
> non-mechanical pencil with the same ball on the end as the earlier
> mechanical pencils, a model KS-8400-1. This device was made later
> than the mechanical pencil type and replaced them in use. There
> is another telephone company device made which I don't yet have
> - a red version of the KS-8300 pencil with a larger lead, designed
> for mark/sense useage, filling in blocks on computer read cards
> used for billing and toll tracking. Other companies made similar
> devices, but could not for patent reasons duplicate the dialing
> ball on the end of the Bell System pencils. The white pencil second
> from top and the gold pencil second from the bottom are examples
> of non telephone company pencils. For dialing, they had ends designed
> to "hook" the edges of dials to facilitate dialing by
> their users.
>
> We have begun a small collection of Canadian Telephone
> company pins. These are located in the lower frame. In the frame
> are a number of Canadian pins, an International Brotherhood of Electrical
> Workers pin, 5 year employee's pin from Island Tel, and various
> other pins from NewTel, BC Tel, Alberta Government Telephone, Telephone
> Pioneers, Northern Telecom/Nortel, GTE Automatic Electric. A very
> early and large New Brunswick Telephone Co. employee pin was added
> May 13, 2007 displaying the employee number 201. This originated
> from the collection of Russel Phillips, Dorn Ridge, NB, a long time
> employee of NB Tel.It is not known if this was his employee number,
> or whether it was one he collected from another, older retiree.
> Two service pins from his estate are ordered, one for 15 years service,
> and one for 43 years service, and will be added to the display when
> they arrive. I have nothing from MT&T from the Nova Scotia yet,
> or from SaskTel, Quebec, or Ontario, and no Aliant or Bell/Aliant
> pins. It is my hope that this small collection will continue to
> grow with time to cover all major Canadian companies, past and present.
> Another large number of BC Tel and Telus pins have arrived from
> my friend Terry Biddlecombe and are now included in the display.
> |
> |
> May 20 2006
> |
> |
> Automatic Electric display in progress. Here
> you will find an AE-40 and AE-50, AE-80 and 90, AE-80e's, AE 87
> and 187 multiline sets, Linear phone, AE-182e Starlite phone,
> AE-192 wall phones, and other AE sets. The odd looking device
> on the right hand side of the center shelf is a Automatic Electric
> Secretarial Answering Unit, essentially a mini-switchboard for
> offices. An AE magneto wall phone is mounted next to the door.
> Two Swedish Ericophones are shown on the room divider, and ceramic
> and glass insulators on the shelves above. The enlongated phone
> between the windows was known as an Enterphone, and was used as
> an apartment entry system..
> July 06, 2007 - Over the winter, several Styleline
> telephones were received from Terry Biddlecombe, and 3 more received
> a few days ago. To better display these, a backboard was mounted
> above the window and the wall mounted Stylelines were moved onto
> the backboard along with the two AE192's. This, and an additional
> shelf added below will allow for future expansion of the display.
> In Spring, 2008, a number of additional wall stylelines from Terry
> along with another AE-192 were received and mounted on the upper
> display board
> New to this display is a 1954 matchbook advertising
> the AE-80 produced in the new AE plant in Brockville. This matchbook
> was distributed within the first year of the new plant's operation.
> It is located in a frame above the Enterphone. Photos have been
> added to the display of the old Phillips Electrical Works plant
> which originally produced AE phones in Brockville, the Strowger
> switch bank assembly line in the new (1954) GTE/AE plant, an outside
> aerial view of the new plant, and a 2002 photo of the plant after
> several ownership changes, at the time owned by SCI.
> April 6, 2007, a turquoise SE 183 Spacemaker
> phone was added to the display, located on the right window frame.
>
> Added the weekend of Sept. 23, 2006, a Leich
> 901 Convertible magneto phone visible on the top shelf, right
> hand side. The Leich Electric Company was in later years bought
> out by GTE, and its phones were produced as a division of the
> company along with Automatic Electric and produced in GTE plants
> making this a suitable location for this phone. The 901 was a
> convertible phone, i.e. it could be used as either a desk phone,
> or turned magneto up and wall mounted to be used as a wall phone.
> The cradle is designed to work either way to hold the handset.
> In place of a dial, it was fitted with a magneto.
> Also visible in the upper shot, left, an angle
> bracket used on farmer's telephone lines which screwed on the
> side of a pole to mount one line. This is mounted directly above
> the AE-90 phone and below the doorbell, and is complete with a
> clear pony insulator.
> Newly added to this display the week of Nov 04
> 2005, a brown dial AE-981 Styleline phone (bottom shelf, 4th from
> the left, and to the right of the white AE-982 touch call Styleline),
> West Magneto Test Set (in its leather case) next to the orange
> AE-801 butt sets, and to the right of that is a device known as
> a Secretarial Answering Unit (SAU) and its accompanying AE-80.
> The West Test Set was the early non-dial equivalent of a butt
> set, and contained a magneto for ringing and internal talk batteries.
> Two AE-33 ringers have been added to the right of the AE-182e
> Starlight on the top right shelf. One of these eventually will
> be added to the Automatic Electric payphone in the payphone/cellular
> area.
> This display would not exist if it were not with
> the help from Terry Biddlecombe.
>
> Update!Vintage
> telephone books and service manuals are located on the shelves of
> the brown (and now the new white) bookcase. Additionally, a 1928
> phone book is located on the WE317's shelf next to the 1240 switchboard
> in the main display area. We are trying to build a full collection
> of Telephone Company of P.E.I., Island Tel and Aliant phone books,
> even for more recent years. We currently have the following books:
> Prince Edward Island Telephone System 1928, Prince Edward Island
> Telephone System 1929 (Donated by Crystal Squires of Morell, May
> 5, 2009), Island Telephone Co., 1945 Island Telephone Co.~, 1957,
> 1958, 1960, 1961, 1962, 1963, 1964, 1965, 1966, 1967, 1968\*, 1969,
> 1970, 1971, 1972%, 1973\*, 1973 Bedeque Supplemental, 1974\*, 1975\*,
> 1976, 1977^, 1978+, 1979, and IslandTel 1980+, 1981, 1982^, 1983+,
> 1984+, 1985+, 1986^, 1987, 1988+, 1989, 1990^, 1991^ 1992, 1993+,
> 1994+, 1995|, 1996, 1997 1, 1998, 1999, 2000%, 2001,
> and Aliant (PEI) 2002, 2003, 2004, 2005, 2006, 2007, and 2008, 2009,
> 2010, 2011, 2012, 2013. Donations of any PEI directories for years
> which we are missing would very much be appreciated. One relatively
> recent book, which showed a lupin field and house in Orwell Cove
> has eluded me, and I would truly love to find that one. Let us know,
> if you have any year, however, as yours might be in better condition
> than one of those in the collection. One never knows what might
> show up while house cleaning! If you have an old phone book, are
> about to discard it, and are wondering if it might be one still
> needed, please email me at [[email protected]](/cdn-cgi/l/email-protection#8ce8e4f9e2f8e9fecce5ffe0ede2e8fee9ebe5fff8e9fea2efe3e1).
> To view the covers of some of the books in the museum collection,
> click on "[Gwillim
> Law's Telephone Book Site](http://www.oldtelephonebooks.com/phcape.html)", where he has posted images
> I sent him of these books.
>
>
> |
>
>
>
>
> | |
> | --- |
> |
> |
> |
> In May 2005, work clearing out the museum entrance
> area was completed - blinds were installed, and the area was painted.
> In early June, the alarm system was installed and activated. Additional
> phone jacks to several displays were added at that time. The entrance
> floor was repaired and repainted the week of June 25th, 2005.
>
> The
> next series of three photos will show the Museum entranceway and
> its collection of teletype and Telegraph equipment. Shown to the
> left in this photo is an AN/UGC 504 military high speed Ascii/Baudot
> teletype received in June 2010. To its right is an ASR-33 teletype
> received in August 2010 from Catherine Fillmore of York, PA. To
> its right, a Model 28 ASR teletype received in Dec 2009 from Bernie
> MacIntyre. All units are operational and can be displayed working.
>
> This
> photo is of the same area, and shows a Model 15 teletype manufactured
> in the 1930's. This was donated to the display by Bruce Rosen,
> of Mass. Adjacent to the Model 15 is a Data-Tek 9600 terminal
> tester, which can be used in loop mode to test the teletype equipment.
> The Model 15, as with the other teletypes is fully operational.
> To its left, Benner Nawman BN4000AX lighted telephone enclosure
> brought over from Nova Scotia by Tom and Rose Dill. This has been
> mounted in the entrance to the museum across from the ADCO shelf
> and Centurion, and currently has an Ernest Telecom based COCOT
> phone displayed in it which was purchased from a seller in Quebec.
> The porcelain coated sides of this shelf have white handset logos
> on them with a blue background. To their left, a small collection
> of telegraph items, keys, semi-automatic bugs, sounders, etc.
>
> A
> view of the entranceway showing a KSR-33 teletype (essentially
> an ASR-33 built without tape reader and punch. This machine was
> received back in 1985 from Island Tel and used as a computer i/o
> device, then loaned to a friend who used it for a while, then
> he stored it in his barn for the past 20 years. It was received
> back from him in April 2010 rusty and inoperative, but I managed
> to repair it with much help from Greenkeys list members. Videoms
> of these teletypes in operation may be viewed on my [YouTube
> Channel](https://www.youtube.com/user/TelcoPEI).
> To its left, an Aliant supplied
> "ADCO 15 Acousti-Call Compact Shelf" which arrived Oct
> 12 2005, and a Northern Telecom Centurion which was formerly located
> inside the museum proper has been mounted in it. This phone is
> modified so it doesn't require coins, and so that those inserted
> will fall right back out the coin return. It will be for demonstration
> only, but is functional.
> Above those, a Toshiba DK-280 microprocessor
> based digital business system was added in the first couple of
> weeks of June, 2008, along with an Octel 200 message (voicemail)
> server located below the KSU on the floor next to the ADCO booth.
> This system is equipped with 8 loop lines, 16 digital phones,
> 16 analog phones and 8 dtmf receivers. The CPU is the large system
> processor, release 3 or 4 and it has PIOU card for admin, smdr
> and paging. Three telephones have been set up so far to demonstrate
> its many functions, resting on a shelf below the system. As time
> goes by, I will be installing more lines for this system - I have
> 16 digital phones which can operate from it. One trunk line is
> connected, and any demo phone can answer incoming calls on this
> trunk, and page or transfer calls to the other line. The voice
> mail is not set up yet, but is on the "to do" list.
> This complete system, including phones and voicemail was donated
> by Kevin Doyle and Sun Life on Kent Street in Charlottetown.
>
> In
> the spring of 2011, it was decided, that I had to have the old
> kitchen area in the museum renovated. Its paint was peeling badly
> due to humidity and its floors rotten due to poor air circulation.
> I hired a contractor to do the work, as I was unable for health
> reasons to do it myself. Then came the heart attack. While I was
> in hospital recovering, they stripped out the room, replaced the
> walls and the floors, added ventillation, and half of this area
> became the new museum workshop (previously, the whole room had
> served as a quasi-workshop). During this time, Linda and Jeffery
> supervised the work and laid out the tools. I think they did a
> fine job, don't you? The contractor was Shawn Power, a local gentleman
> who has done many projects for our family in the past.
>
> Another View of the workshop portion.
>
> The
> other side of the room became the new office, with shelves holding
> tools, and parts, and on the end wall, a power ventillation system
> and coffee station. Throughout the new area, there is storage
> below the counters. Vents have also been added to the interior
> door promote air flow and to allow it to be closed off from the
> rest of the museum when in use.
>
> The
> room that formerly used as an office then became free for display
> area. Shown here are a number of 1950's and later phones which can
> be demonstrated using a phone line simulator. (Phones not on top
> shelf are bagged in plastic to keep them clean). In this area, it
> is possible to dial up other phones on display and to have simultaneous
> conversations using two line simulators, and visitors are encouraged
> to do so. The kids will love this area! To the left, is the stairway
> to the upstairs of the museum, which can eventually become display
> space when needed. The wall to the left against the stairs, once
> the location of a large built-in desk, is now completely open for
> displays, switchboards, etc. For now, there is quite a bit of unused
> space in this room. After this room was cleared out by Linda, Crystal,
> and Jeffery, the desk built-in was removed, and wall repairs and
> repainting completed by the contractors. The door to this room has
> been removed to make it part of the museum display space and to
> encourage air-flow throughout the building. |
> | MD9021 + Centurion
> | Oct 14 2005, the exterior booth
> arrived, identical to the Northern Electric MD9021 parts booth mentioned
> above, but complete in every aspect including doors and concrete
> pad. Superman would have loved this one! Sorry, Clark - privacy
> curtains are optional. Aliant brought it down, and plunked it down
> right where I wanted it, adjacent to the front corner of the museum
> house. Thank you, Aliant! I am told this is one of only three full
> booths with intact doors remaining on the Island. It is in great
> shape for 50 year old booth!
> Oct. 12, 2006 - One year later, the MD9021 Booth
> is now shown with a newly installed NOS Centurion QSD-2400-E touch-tone
> prepay payphone purchased from Bruce Freedman in CT. Bruce is a
> reseller of Nortel equipment. This is the second Centurion in the
> collection, the first installed in the ADCO booth in the museum
> entranceway. Although this phone is 100% operable, it is for a display
> only, and not connected to a line. Instruction cards in the phone
> reflect this fact. As with other payphones in the collection, all
> coins inserted are set to be returned automatically via the coin
> return slot. For months now, I had been searching for another Centurion
> for this booth, or parts to complete a partial Centurion I had.
> This booth is the first thing one sees when they come in the driveway
> and has been a frequent topic for conversation. It has always bothered
> me that I had no phone in it, and I didn't want to sacrifice one
> of the older 3 slot phones to the weather. A Centurion was a good
> choice, as there are still many Centurions in booths across the
> Island. *Needed for this display: an exterior telephone book holder
> and cover, preferably with IslandTel branding or non-branded (must
> be legitimately obtained as are all items in this collection).* |
> | All photos will be
> retaken when there are significant changes to their respective areas.
> Please read the "Comments" page for information on the
> latest proposed museum project!. |
>
>
>
>
> ---
>
>
>
>
>
> | | | | |
> | --- | --- | --- | --- |
> | **Visitors 2005**
> The Museum has had a number of visitors since I
> first started work on it. One of the first was Rev. Dave Roberts,
> from Sandy, Utah, a minister for the Church of the Risen Christ
> and Cowboy Christians of Sandy, Utah who arrived to see the museum
> May 27, 2005. Prior to becoming a minister, Dave worked as an operator
> on cordboards in both Quebec, and in Saskatchewan, and currently
> has a small museum set up of his own in Sandy, Utah. Dave is a member
> of both the ATCA and TCI telephone collectors groups.
> Dave had contacted me a couple of weeks before,
> telling me he was going to visit Quebec, and asked it it would be
> possible to see the museum. He departed Woodstock, N.B. around 9
> a.m., and arrived here around 4:30 p.m. in the afternoon, and he
> and the young gentleman with him, Colter stayed till 6:30'ish then
> headed off the Wood Island end of the Island so that his young companion
> could experience a ferry ride. He hoped to make it all the way back
> to Quebec that evening. Rev. Dave loved the museum, in particular,
> the 1240 magneto switchboard, the model he had operated years ago.
> He marvelled at its excellent condition.
> Colter loved the more modern phones - one tends
> to love the telephones of the time of their youth most - but this
> lad loved them all! Before leaving, both met Linda's tame neighbourhood
> squirrel, and the young lad had a number of photos taken while he
> fed the little beast. Both were surprised by the small, chipmunk
> size of our native squirrels. I am really pleased that both enjoyed
> themselves so much after what would have been a very long and tiring
> trip.
> In early July 2005, I had a visit from Grant Munro
> from British Columbia. Grant, also a telephone collector, runs a
> business there, "Grant's Telephone Classics" renting telephones,
> booths, switchboards, and other items for use as movie and stage
> props. Grant currently holds the record for visitor from furthest
> away. Anyone from California or better yet, Australia or New Zealand?
> Grant recently donated an Automatic Electric "West" magneto
> test set to the museum, shown above in the Automatic Electric display.
> Thank you Grant!
> Also in July 2005, a visit from Bob Grise and family
> of Richmond, Kentucky. While on a trip to Nova Scotia recently,
> they popped over to the Island for a day, and stopped by the museum
> in the evening. They not only enjoyed the museum, but also loved
> the Island's scenery. Bob is a collector
> like me and has served on the Board of the TCI club, and is a member
> of the ATCA group. He has set up a telephone system in a camp near
> his home town.
> August 2005 brought a number of guests, Jim MacEachern,
> John Collins, Ian MacEachern, and others to the museum. They were
> the first to view the new museum sign.
> Sept 13th, 2005,we had a visit by Terry Miller
> and his wife Carol, of Alberta. Terry is a former employee of AGT,
> and is a volunteer in a museum project out there. That same afternoon,
> a visit from Dawn Ellis, formerly of New Brunswick, and now residing
> in N. Carolina. Dawn is descended from Robert Ellis and Hannah Darby
> of Summerside, and has been a regular on the Island Register for
> years.
> The following Saturday, we had a visit from two
> gentlemen, Garth Bulman of Charlottetown, and Nick Vine Hall, from
> Australia. Garth is a long time supporter of the Island Register
> - our partner in producing the Lake Map pages and a provider of
> many other items for the page. Nick is a genealogist and maritime
> historian of more than 30 years experience. "The Voice Of Nick Vine
> Hall" has been heard by millions of people in Australia and overseas.
> Nick, of course takes the record of the visitor from furthest away
> from all our other contenders. It was a pleasure having a visit
> from Garth and Nick!
> Visitors Oct 4th, 2005 were Anna and Oliver MacDonald
> of West Point. Anna and Oliver donated a couple of vintage cell
> phones to the collection
> Visitors Oct 16, 2005 were Edna MacLeod of Mount
> Buchanan and Carol and Peter Taylor of Montague, Massachusetts
> **Visitors 2006**
> The first visitor of the 2006 season was a courier
> who had dropped off a parcel for Jeffery. While at the door, he
> joked tongue in cheek with Linda that he needed a quarter to try
> out the payphone. Of course, there is no phone in the booth, but
> Linda told him about the museum. He then asked whether it would
> be possible for him to have a tour... I took him over, and he spent
> the next half hour marvelling over the collection. He loved the
> new switching demo. His mother is a retired Island Tel operator,
> and during his youth, he had been given a tour of the old Charlottetown
> Strowger exchange. He told me that this brought back many memories.
> In the summer, he is going to bring his mother to see the museum
> as well. It was interesting, especially because of how he found
> out about the collection.
> Vistors June 27th, 2006 were Phil Warren, his wife
> Pam of California, and two of his Island cousins.
> July 05 2006, we had a visit to the see the collection
> by Mary-Lou MacDonald, Alan Picco, and Ray and Marge Chafe from
> Ontario. Mary-Lou is the daughter of John MacDonald, the gentleman
> who has kindly donated a pair of Western Electric line phones in
> a display case, and a plaque issued by IslandTel following the changeover
> to DMS-100 from the old Siemens SxS switch in Summerside in 1988.
> The plaque has one of the original SxS switch's wiper mounted on
> it. Mary-Lou and guests brought the items down from Ontario while
> on vacation.
> Visitors July 19, 2006 - Eardley and Ethelene Beaton
> and Eardley's sister Beverley (Beaton) MacPhail. After patricipating
> in a Beaton Reunion in Alexandra, PEI, they dropped in for a visit
> before returning home.
> Visitors July 22, 2006 - Tonya and Chad Perkins.
> Both members of the Telephone Museum in Ellesworth Maine, they stopped
> in on their trip through the Maritimes.
> Visitors Aug 15, 2006 - Mitchell Janoff, Patty
> Greco and Norm Janoff from White Plains, New York. Arriving on Holland
> America's Maasdam, and driving out to see the collection, this party
> became the first visitors to arrive on a cruise ship! Mitch is a
> well known collector, and Norm is an ex-employee of GTE Automatic
> Electric's Northlake, Ill. plant and AG Communications, of GTD5
> switch fame.
>
> The week of August 25, 2006 brought
> the return of Ian MacEachern and his son, their second visit to
> the museum, having seen it for the first time last year about
> this time.It is nice to have repeat visitors.
> Saturday, August 26th 2006 brought
> a visit from Tom and Rose Dill, and Ted and Judy Burgess. Both
> couples stopped off to see the museum, and to drop off a small
> lighted payphone shelf which will be mounted in the outer area
> of the museum soon! Thanks!
> Wednesday, August 30, 2006 brought
> a visit from Ron and Eileen Nelson of Calgary, following a brief
> visit discussing the Island Register.
> Thursday, August 31, 2006 we had
> visits from three separate groups - the first were Gary and Jean
> O'Brien from Great Britain, our first visitors from the British
> Isles. Gary and Jean are on the Island for a month or so...
> An hour later John Warren, daughter
> Rachel Warren of Morell, Tony and Kathleen Walsh of Ajax Ontario,
> and John's grandson Warren Halliday of Cornwall arrived. John
> works with me at Canada Post and while on vacation wanted to see
> the museum, as he had heard me talk about it at work. With him
> were his youngest daughter Rachel and grandson Warren - they had
> a great time, seeing and using their first dial phone, and seeing
> and using for the first time in their lives, magneto phones. The
> highlight for them, I think was the Mickey Mouse phone. Their
> faces just beamed the whole time they were here. It is exactly
> this which makes all the work and expense worthwhile - to give
> young people their first experience with vintage phones! Alas,
> I didn't get their photo before they left - I had inadvertently
> left my camera in the other house following Gary and Jean's visit.
> In the evening of the same day,
> a visit from my brother, Stephen, his wife, Cat, and children
> Fiona and Kier from Ontario. Steve and family saw the museum for
> the first time, and though he has of course seen the house before,
> and parts of the collection, it was the first time he had seen
> the full extent of the collection. Once again, the kids had a
> great time. It was a busy day!
> November 7, 2006, we had a visit
> from Bernie MacIntyre and Philip Acorn, both retired employees
> of Island Tel. The last time Bernie was down was back when the
> museum was just a dream, and we were still living in the other
> house. Philip kindly brought down a few books to add to the museum's
> displays. Both enjoyed themselves, surrounded by equipment they
> were so familiar with from their years with the company.
> **Visitors 2007**
> March 10, 2007 - A very early pair
> of visitors started off the 2007 season. Mother and daughter Tiffany
> Byrd and Veronica Bauer (right) visited the museum, so Veronica
> could research a Heritage Fair project. It was an expremely nice
> visit, and I hope the experience will help Veronica with her project.!
> March 18, 2007 - Another early pair
> of visitors. This is Stewart MacRae, and his granddaughter Kennedie
> Ogden who also visited to research her Heritage Fair project.
> Between her visit and speaking with her grandfather, she should
> have the jump on a lot of other children. Before his retirement,
> Stewart worked for IslandTel and often worked in our area on the
> lines and phones.
> April 16, 2007 - A tour by a TIAPEI
> group as part of a course in PEI history and culture they are
> taking. A great time was had by all!
> June 29, 2007 - We had a very nice
> visit from Eleanor Meek of Charlottetown, and Irene MacRae and
> Mary Lantz, both from Southport. Eleanor and her late husband,
> Roger were long time employees of Island Tel. Eleanor brought
> with her a number of items for display in the museum. See the
> "[Projects and New Items](new.html)" page
> for photos of these. I am sorry but the batteries on my digital
> camera had run down, so I was unable to take a photo of Eleanor
> and friends. Perhaps one day, I will get another chance.
> July 18, 2007 - We had a nice visit
> from Joe and Judy Grant of Ontario, and from Fred MacDonald of
> Charlottetown.
> Aug 03, 2007 - We had a nice visit
> from Jim McElroy, his mother, Madelyn McElroy, and his wife Evelyn
> of Randolph, Mass. Jim became interested in the museum when I
> began the switching demo construction, and has been an avid follower
> of the telephone notes in the newsletter since. Evelyn was reminded
> while touring the museum of an early job she had where she would
> be called upon to operate the company switchboard on occasion.
> Aug 14, 2007 - Fred and Martha MacDonald
> dropped in to see the museum. Fred is a retired telephone man
> (New England Telephone) living in Atkinson, NH, and who has his
> roots on PEI. The old homestead is only about a mile away from
> the museum.. It was a very enjoyable visit!
> Sept 07, 2007 - We had a nice visit
> from Hazel (Jenkins) Sanford, of Coquitlam, BC, Hazel was on the
> Island visiting relatives!
> Sept 26, 2007 - Don Ferguson stopped
> by on his visit to the Island for a quick visit to the museum,
> and to drop off some key telephone equipment including a 1A Key
> System Unit, a couple of ringing generators, power supply for
> the above, a couple of key telephones (a 564 and 565) and a terminal
> box for the system. Don last fall mailed a large number of telephone
> parts obtained from a couple of friends involved with Bell Canada.
> These included various small 1A1 and 1A2 ksu parts, fuses, lamps,
> etc. and the QUJ8A KSU mounted in the museum (showing in the top
> photo on this page). What arrived today were those items too heavy
> to mail. Thank you Don. Sorry, no photo - the camera caught me
> with its batteries discharged!
> **Visitors 2008**
> April 15 2008 - For the second year
> running, we had a visit from a TIAPEI group as part of a course
> in PEI history and culture they are taking. There were ten people
> in all, including their guide, Dutch Thompson.
> Jun 27 2008 - We had a visit from
> my co-worker, Michelle Dunlop, her daughter, Jennifer Horton,
> and Michelle's mother, Betty Birt. Michelle and her family will
> be returning in the fall, at which time I will post a photo of
> them. They all appeared to enjoy their visit, especially Michelle
> who had a great time ringing phones from the PBX, with Jennifer
> trying to catch whichever phone was ringing at the time. It was
> quite amusing, to say the least! Of course, whenever Jennifer
> got close to the ringing phone, Michelle would ring another one.
> These are some of my favorite people :-).
> July 5 2008 - We had a nice visit
> from Rev. Leonard and Ruth Zecchini from Fitchburg, Ma. Both seemed
> to enjoy their visit!
> July 22, 2008 - We had the great
> pleasure Monday this week to have John Collins from Saria, Ontario
> for the second time to view the museum, and also Helen and David
> Hahn. They had an enjoyable visit.
> Aug 22, 2008 - David Arnfast from
> Truro, N.S., visited the museum. David is a dedicated Insulator
> collector and antiques enthusiast. Alas, when David visited, I
> as usual took my camera over, but when I went to take a photo,
> found its batteries dead.
> Aug 23, 2008 - We had a lovely visit
> from Joyce Craven, who vitisted the museum, and brought down a
> computer for the "[Laptops for
> Kids](../lforkids.html)" program. Joyce, from Duxbury, Ma., was on holiday
> to PEI..
> Aug 27, 2008 - Dan and Louise MacInnis,
> long time users of the Island Register, and Darlene, Trevor, and
> Sophie MacInnis were surprise visitors to see the museum today.
> Sophie was another child who received their introduction of dial
> telephones during the visit, and all were thrilled to see the
> switchboards, and the Strowger switching display.
> Aug 30, 2008 - Another surprise
> Museum visit occured today, when the cousin of an acquaintance
> of ours showed up at the door wanting a tour. He was Hal Babcock
> of Fredericton, NB., and had been driving down our road on his
> way to the mussell plant at the end, when he noticed the museum.
> His comment in the Museum guestbook: Awesome! For a person who
> discovered the museum by accident, he was extremely interested
> in all that he saw, and enjoyed his visit very much.
> Sep 13, 2008 - We had a lovely visit
> from Ruth Murphy of Saugus, MA., and Patricia Warren, of Exeter,
> NH. Ruth is a retired telephone company worker, while Patricia
> works for the USPS. Both enjoyed themselves, and it was a lovely
> visit!
> September 27, 2008 - We has a visit
> from Alice Mombourquette and her husband Cliff. They stopped in
> on their way to a reunion, to see the museum and to drop off a
> few telephones and a few computer items. Alice got to see for
> the first time, her PBX operator's notebook, several books she
> had donated, and photos of her aunt, Aunt Clarice Lina (aka Tas)
> Whitman Miller, "Tas", a PBX operator at a bank in Halifax during
> the mid 1900's on display. Alice preferred I didn't take a photo,
> so, sorry no photo!
> October 03, 2008 - Collectors Gary
> Goff, of Brea, Ca., and Rob Baxter, of Victoria, BC. arrived today
> on the Royal Princess Cruise ship. I picked them up at the terminal,
> and drove them out to see the museum. Once the museum visit was
> done, we came next door to our house, where Gary and Rob spent
> time answering emails using our wireless connection. After this,
> we returned to town, and after a short tour around the city, I
> took them back to the terminal. Both enjoyed their brief visit
> to the Island.
>
>
> | | | |
> | --- | --- | --- |
> | **Visitors 2009**
> March 29, 2009 - The first
> visitors of the year arrived. Elizabeth and daughter Sarah
> Visser came so that Sarah could research a school project
> on the telephone. They had a great time, and I hope that
> it gave Sarah the information she needed. I loaned Sarah
> a Northern Electric N717CG for "Show and Tell"
> when she presents her assignment.
> .April 04, 2009 - Karen and
> Tom VanWinkle, and their three children Ryan, Tristan, and
> Jack visited the museum. One of their children was researching
> a Heritage Fair project on the telephone. All enjoyed the
> visit on the wamest day of spring so far.
> May 14, 2009 - I had a return
> visit from Sarah Visser mentioned above in the notes for
> March 29th. She has won the local Heritage fair with her
> project on the telephone and is proceeding to the next level.
> I loaned Sarah a second phone for her display, a Northern
> Electric dial 302 to display along with the N717CG she already
> has, to step her display up a notch. Good Luck Sarah!
> June 09, 2009 - We had a lovely
> visit this past Sunday from Jean MacKay and Rosanne Mackay,
> her sister-in-law. It was a lovely day, and they enjoyed
> their visit, I am told!
>
> June 18, 2009 - Bob and AnneMarie
> Conklin from Poland, Ohio dropped in not only to see the
> museum, but also to talk genealogy. Bob is a regular reader
> of this newsletter. They were great people and I hope they
> enjoyed their visit. It is always nice to meet Island Register
> users. They are on a quick visit to the Island, doing family
> research, visiting cemeteries and the archives, and took
> time out of their short trip to say hello! The day was perfect,
> 26 degrees and sunny - almost 80 f. but with a good breeze
> to keep it from getting too humid. The only downside is
> that the Cove was unusually inundated with mosquitoes, though
> not as bad as earlier in the week. I do hope they enjoy
> the rest of their visit.
>
> July 01, 2009 (Canada Day)
> was a fairly busy day for the museum. We had a lovely visit
> from Donna Gazely and her husband Rick from Hamilton, Ontario.
> They regular users of the page. It was a lovely visit, enjoyed
> by all.
>
> The second visit Canada Day
> was from Adam-Michael James, director of "The Nine Lives
> of L. M. Montgomery" He has borrowed a period candlestick
> phone to be used in the play running this summer at the
> Carrefour Theatre from July 11 until August 22 in Charlottetown.
> Read more about him, and about the play at: <http://www.ninelivesoflmm.com/>.
>
> July 08, 2009 - We had a lovely
> visit from Brian Smith and his son, Gavin Smith Wednesday
> morning. Brian is an employee of Bell Canada. Both enjoyed
> their visit. Brian has taken the first steps toward building
> his own Strowger switch, which he hopes to put on the CNET
> netork when complete.
>
> July 13, 2009 - Linda Rising
> and Karl Rehmer visited the museum today while on a bike
> tour of P.E.I. Linda worked with Norm Janoff who visited
> a couple of years ago, at AG Communication Systems in Phoenix,
> Az. Norm recommended this as a "must stop" for
> her while on her visit to the Island. In the photo above,
> Linda and Karl are shown holding two DVD's brought with
> them, a play and video showing in one a day in the life
> of a new employee, and the other, a play depicting the invention
> of the Strowger switch (an example of which, they are standing
> in front of). Sadly, I have not yet had time to view these,
> but intend to the very first chance I get!. Linda wrote
> in the musum guestbook, "An awesome museum! Thanks
> for saving all this history!!" My pleasure, Linda and
> Karl, and thanks for stopping by.
>
>
>
> | | |
> | --- | --- |
> | | |
>
>
>
>
> July 14, 2009 - After two
> years of replacing various sections of roofing on the museum,
> I finally decided to replace the entire roof with steel
> roofing. While not my number one choice, I was able to get
> a reduced price for the roof in Heron Blue, which just happens
> to have been the blue used by Island Tel on their phone
> booths. While working on the installation of the new roof,
> the workmen from Farnham Roofing asked to see the museum,
> and were given a tour. Those who took the tour were Philip
> Farnham, and his two sons Brent and Paul, and Eliot Christian.
> The new roof should provide many years of maintenance free
> protection for the Museum. The building will soon be re-painted,
> and the trim color will be changed to a more neutral blue-grey.
> As a result of the cost of the new roof, it is highly unlikely
> that there will be any major additions to the museum collection
> this year, but it will protect the building and its contents
> for many years.
>
>
> Aug 03, 2009 - Larry Kinch
> dropped by with two computers for Laptops for kids, and
> to see the museum. Despite the museum building's rather
> rough looking exterior with its scraped paint, he enjoyed
> his visit.
>
> Aug 12, 2009 - It was a busy
> day on the museum front this Wednesday. We had two groups
> visiting, First of all, Charles and Katherine Dingwell,
> then following, a visit from Hans and Pat Aylnes of Norway.
> Sadly, I didn't have the camera out when Charles and Katherine
> visited, but got it out later when Pat and Hans visited.
> Charles brought two items for the museum, a Northern Electric
> 1317 which has been converted for use on modern lines; also
> a Northern Electric subset, unfortunately stripped of most
> parts. I will have to locate a new desk and new cords for
> the 1317, and restore it to its original condition. While
> this visit proceeded, the painters were busy painting the
> exterior of the building.
>
> Aug 14, 2009 - We had several
> visitors today, but one group who specifically came to see
> the museum. These were Brian Gough, J.P. Gaudet (former
> host of CFCY's Hoedown show), and last but not least Barry
> Butler. I mention Barry in particular, as he used to work
> with me at the post office. I had no idea Barry was to be
> amongst the visitors - they kept it a surprise for me. They
> stayed a very long time, and we had some very interesting
> discussions about their collective memories of the telephone
> here. They all had a great time, I had a great time, and
> I was sorry to see them leave.
>
> Aug 18, 2009 - Another group
> visited the museum today. They were Maxine Drake and son
> David, of Vernon, BC, and James and Lois Gillis of Pownal,
> PEI. David also brought down a laptop computer for the Laptops
> for Kids program. It was an enjoyable visit!
> Aug 21, 2009 - We had a visit
> from Fred Horne, Mary Burke, of Nine Mile Creek, and Anne
> Burke of Vancouver, BC. They appeared to have enjoyed themselves!
> Sorry, no photos.
>
> Aug 28, 2009 - We had a visit
> from Ray and Phyllis Dand from Burnaby, BC today. Phyllis
> is the contributor of newspaper transcriptions on the Island
> Register. They spent some time first in the main house talking
> genealogy and history, then we retired over to the telephone
> museum. They have a great interest in telephones and antiques,
> and enjoyed themselves in the museum.
>
> Sept 18, 2009 - Wallace and
> Valerie Ford of McInnis Point, PEI and Albuquerque, New
> Mexico visited the museum. They are long term users and
> subscribers to the Island Register's newsletter, and have
> heard so much about the museum, that they simply had to
> visit :-) Wallace during college, was the operator of a
> 555 PBX switchboard, an example of which is shown beside
> them.
> Oct 09, 2009 - While working
> on the museum Friday, we had a call from Donald MacDonald
> of Belfast, who then came down with Rebecca MacKay of the
> Isle of Raasay. It was an enjoyable visit, and I am glad
> that they weren't bothered too much with the disorder caused
> by the work we were doing! Rebecca left the following kind
> comment in the guest book: "A unique, informative collection
> - an invaluable aid to education. Your enthusiasm is evident
> in the amount of work involved in the collection and the
> amount of knowledge you are able to impart". Sorry,
> but I don't have a photo - the museum was a bit of a construction
> zone that day as new track lighting was being installed.
> I was concerned that the work going on would lessen their
> enjoyment of the visit, but apparently, it didn't!
> **Visitors 2010**
>
> May 15, 2010 - Brian Gough's
> second visit, this time with wife, Myrna., Brian was bringing
> down a Fairchild Teletypesetter Standard Perforator for
> a museum display, and wanted to catch up with the winter's
> additions. Although I didn't take this photo for this reason,
> you will see the freshly stripped out garden in the background.
> Linda has spent several days removing the old overgrown
> garden! It was holding too much moisture against the wall,
> with the result that shingles were rotting. We are replacing
> it with several smaller hostas after landscaping cloth is
> laid down to control weeds. Cedar mulch will cover the cloth
> to make it low maintenance.
>
> May 25, 2010 - Bernie MacIntyre
> stopped down to see the teletype display, and to see his
> old Model 28 ASR in operation. Bernie came with a couple
> of items for the museum, a West Test set, and a mechanical
> digital operator's clock. Thank you, Bernie, not only for
> today's items, but for the Model 28 Teletype we picked up
> from him before the winter last year, broken down into several
> sections due to its weight. Bernie is shown in the photo
> above beside the now working Model 28.
>
> May 29, 2010 - We had a visit
> from Lloyd and Louise Hardy of Freeland, PEI. They enjoyed
> the display, especially the Tyne Valley switchboard, which
> until November 1977 served their area. They brought two
> of the original poles used there, complete with brackets
> and pony insulators. Many years ago, he and his father took
> down 1 mile of the Tyne Valley/Freeland [Conroy] line when
> Island Tel buried the area's cables.
> Longer period poles have been
> found for these which will allow their mounting outside
> the museum, and the display of the brackets, insulators,
> and open wire. They were put up June 12, 1010 and the wire,
> brackets and insulators the following morning. See <https://www.islandregister.com/phones/new.html>
> for a photo.
>
> Jun 12, 2010 - We had a visit
> from Duane and Lea Reynolds of Colorado Springs who were
> visiting the Island. They first of all, dropped off two
> laptops for the kids program, then enjoyed a visit to the
> museum. Our little neighbourhood fox was there during their
> visit, something they enjoyed immensely.
>
> July 1, 2010, Canada Day.
> We had a second visit from Dave and Karen Arnfast of Truro.
> They brought a small test set, a Northern Electric wooden
> rate full of insulators, some insulator pins, and a 1910
> Northern Electric Book, "How to Build Rural Telephone
> Lines". Thank you!
>
> July 06, 2010 - We had a nice
> visit from Jim and Shirley Semple and Jack and Dale MacDonald
> Tuesday morning. They were ex-employees of MT&T. They
> enjoyed their visit, and were impressed with the scope of
> the displays.
>
> July 30, 2010 - We had a lovely
> visit from Catherine Fillmore (left) and Wanda Miller (right),
> both of York, PA. Catherine brought an ASR-33 teletype her
> late husband, Ivan had gotten at the University of Ohio
> radio station in the late 60's. Ivan, like myself, was a
> Ham radio operator. The teletype is in very good condition,
> though a couple of problems have been found in it since,
> it is very clean and repairable. Catherine planned her vacation
> around the teletype this year. She has always wanted to
> visit Cavendish, and decided this was the year to kill two
> birds with one stone. Thank you so much, Catherine. It was
> lovely meeting you. Teletype shown between them. See more
> on this machine on the "[Projects and
> New Items](new.html)" page
>
> Aug 06, 2010 A.M. - We had
> a visit from Rick and Eileen Bremner of Austin, TX. They
> have both been regular users of the Island Register for
> years, and were very happy to finally see the museum.
>
> Aug 06, 2010 P.M. - Laura
> and Jeff Weigel of Redlands, Ca., visited the museum on
> their way out to the Belfast Highland games.
>
> Aug 20, 2010 - Bob Cooke and
> Melissa Keith of Lower Sackville, NS, visited the museum.
> Bob's late father was an employee of MT&T. Bob is a
> collector of broadcast radio equipment, and has a small
> telephone collection, remnants of his father's collection.
> They both enjoyed the teletype display, because of former
> broadcasting backgrounds. Both enjoyed their visit.
>
> Aug. 28, 2010 - We had a visit
> from Jeff Steeves of Moncton. Jeff donated a Northern Telecom
> NT9G60AA outdoor weatherproof telephone for the museum display.
> Jeff's father at one time was an employee of NBTel and at
> another time worked for Marsland Engineering in Ontario,
> one of the Canadian manufacturers of teletypes, and the
> predecessor of Leigh instruments who built my KSR-33 teletype.Jeff
> himself worked as a com tech in the military. It was an
> interesting visit! Jeff is also, like me, a Ham Radio operator.
>
> Sep 11, 2010 - We had a lovely
> visit to the museum by a group of people from Montague,
> PEI. Included in the group were the honorable Gilbert R.
> Clements and his wife Wilma, Aileen MacLure, and Mary and
> Dick MacLean. Gilbert is a retired politician and was the
> 25th Lieutenant Governor of Prince Edward Island, serving
> in that capacity from 30 August 1995 until 8 May 2001. Many
> are not aware that Gilbert is also a very accomplished photographer
> - his photos af the Montague area adorn many a building
> on PEI. Dick was the founder of MacLean's Ready Mix in Pooles
> Corners, PEI. I believe they all enjoyed themselves and
> it certainly was an interesting visit for me.
>
> Sunday, Sep 26, 2010 - We
> had a visit from Heston and Francis MacKay of Ontario, and
> Fenton and Anna MacKay of Oyster Bed Bridge who dropped
> in for a tour of the museum and enjoyed themselves! It was
> a fairly impromptu tour, as I hadn't know they were on the
> way. Despite this, I was able to give them the "royal"
> tour :-) Back Row: Linda Hunter, Heston MacKay; Front: Fenton
> MacKay, Anna MacKay, and Francis MacKay..
>
> Wednesday, Oct 6th, 2010 -
> We had a visit from Dave Marzola and Wayne Merit from California.
> Dave and Wayne are retirees of he telephone company down
> there, and Wayne is a volunteer curator at the JKL Museum
> of Telephony near Stockton, California. While I was worried
> that Wayne wouldn't enjoy the museum, since he is used to
> a much larger museum with huge collection, he had a great
> time. He particularily enjoyed the teletype collection,
> as he had cut his teeth on teletypes years ago, and also
> enjoyed my 3 box Blake transmitter phone, something the
> JKL museum didn't have. JKL had teletypes, but doesn't have
> them set up in an operational display yet. It was a great
> visit, and it was nice to meet both Wayne and Dave.
> **Visitors 2011**
>
> Saturday, April 10, 2011 -
> We had a visit from Kimberley and Wayne Turner, and their
> children Chad, and twins Robyn and Cassidy. Robyn and Cassidy
> are in the midst of doing a heritage project on the telephone,
> and they came to learn more about the telephone on PEI.
> I do believe all enjoyed their tour, and the kids left happily
> carrying insulators I gave them for a souvenir!
> *Illness kept me from showing
> the museum for several months, May to mid-July. My apologies
> if you had hoped to visit and couldn't due to this. Following
> an impromptu visit from Dana Sunders in July, I began accepting
> appointments to see the museum again on a limited basis..*
> July 10, 2011 - We had a short
> visit from Dana Saunders of Environmental Tree Service who
> was removing some trees on the property. Dana enjoyed the
> museum! As he was already here, I gave him a very short
> tour with assistance from Linda. Sorry, no photo.
>
> July 18, 2011 - Carol and
> Pete Taylor, and John & Carol Shiels of Mass. visited
> the museum. Carol Shiels has had contact with me regarding
> geneology and donated a bag phone a couple of years ago.
>
>
> August 6, 2011 - We had a
> visit from Paul MacKinnon of Holden, Me. Paul brought a
> Model 15 teletype from Bruce Rosen of Boston for the museum
> display.
>
> Aug 11, 2011 - Bernie MacIntyre
> made a return visit to see changes in the museum which have
> occured in the past 12 months, and to see the new Model
> 15 brought from Boston by Paul MacKinnon from Boston, and
> to visit the Model 28 ASR teletype he donated last year.
> Once again, he loved hearing the old machines and seeing
> them in operation!.
>
> Aug 29, 2011 - Ken Acorn,
> Leo Kelly, and Karen Kelly visited the museum. I used to
> work with Karen and Ken.
>
> September 11, 2011 - We had
> a visit from Gary MacInnis, Fran Dowling, Andy and Rose
> Hennessey. All enjoyed their visit. Leo had heard about
> the museum through the newsletter since I opened it, and
> finally got his chance to see it! It was nice to see them.
> September 15, 2011 - My Brother
> Steve, his wife, Catriona, and children Fiona and son, Kier
> visited the museum. Steve lives in Cardinal. Ontario. The
> kids loved the new display area, where I have two line simulators
> connected to dial and touch tone phones. They stayed in
> there calling each other of different phones while Mom and
> Dad, and I toured the rest of the musem. It was the kid's
> first exposure to dial phones, and they had a ball!
> **Visitors 2012**
> I didn't get early 2012 visitors
> posted for one reason or other, but here are visitors from
> July onwards.
>
> July 28, 2012 - We had a nice
> visit from Phyllis (Yeo) Beer of Mississauga, Ont. (right),
> her sister Heather Farrar (left),and their brother's grandson,
> Anthony Yeo (middle), of Fairview, PEI. It was an enjoyable
> visit, and they all enjoyed the displays!
> July 29, 2012 - In the am,
> Chad Perkins from Maine visited for the second time. It
> wasn't a tour visit, Chad brought a Cisco router for use
> with the VOIP phone system, and spent a couple of hours
> installing it. It was wonderful seeing him again...Sorry,
> we were too busy to take a photo.
>
> July 29, 2012 - In the pm,
> we had a visit from Bob Schaefer and his wife, Bobbi from
> Gardnerville, Nevada. Bob is a Ham Radio operator, and is
> a retired senior microwave technician and U.S. Merchant
> Marine Radio Officer.
>
> Aug 11, 2012 - John Arsenault
> from Guelph, Ontario visited the museum today. Photo shows
> John standing next to a Northern Electric Centurion the
> museum entranceway, suitable, as I was first contacted by
> John several years ago after he had bought a Centurion for
> his home. John donated an uncommon 1966 NE 500 L/M to the
> museum.
>
> Aug 19, 2012 - Jeff Poll,
> Ottawa, Enka Fyfe, Arden and Ava Fyfe-Garrett, and Alfred
> Fyfe of Stanley Bridge.
> \_\_\_\_\_
> I would like to mention that
> if you find yourself in the area and haven't made an appointment,
> try anyway. If there is no-one in the museum house, knock
> on the door of our house in front of the museum, and if
> possible, I would be pleased to give you a tour. Please,
> before you head out only to see the museum, call first to
> see if we are home and able to show it to you. I would not
> want you to make a trip out for nothing. |
>
>
> |
>
>
>
>
> ---
>
>
>
>
>
>
>
>
> So far, the Museum has had visitors from P.E.I., Nova Scotia, New Brunswick,
> Ontario, Alberta, British Columbia, Arizona, California, Colorado, Kentucky,
> New York, New Hampshire, New Mexico, Maine, Massachusetts, New Mexico, North
> Carolina, Ohio, Pensylvania, Kentucky, Texas, Utah, Australia, Isle of Rassay,
> Great Britain, and Norway.
>
>
> If you would like to view the museum, please email me at [[email protected]](/cdn-cgi/l/email-protection#503438253e2435221039233c313e3422353739232435227e333f3d),
> and we can arrange for a time you to view it. There is no charge, but the
> visits will have to co-oincide with my unusual hours. When you arrange a visit,
> I will fill you in with directions to the museum, phone number, etc. Bring
> your children - let them see the telephones of yesteryear! School groups escorted
> by teachers are welcome.
>
>
>
>
>
>
> **Wanted for Displays:**
>
>
>
> This is our "Wish List". From time to time, we are looking
> for various particular items for the museum. This doesn't mean these are
> the only items needed, but those hard to find items I am hoping that someone
> reading might be able to help us find. If you have anything which might
> help, please contact me at the address in the paragraph above...
>
> + Old Phone Index Devices ([examples](https://www.islandregister.com/phones/indexes.html))
> + Telegraph keys, Sounders and ephemera.
> + Model 19 teletype for teletype display (must be found on PEI due to
> cost of shipping)!
> + Male or Female mannequin (display dummy with legs) to display as a linesman
> (linesperson) to display the linesman's equipment as worn.
> + Exterior telephone book cover and holder for the outside booth display,
> preferably with IslandTel branding or no logo. This must be legitimately
> obtained as are all items in the collection..
> + Strowger Linefinders for the switching demo.
> + More old PEI Telephone Books to add to directory collection. [Click
> to see years already on display](#books).
> + Any other items, phones, documents, tools, Island Tel, Aliant or Trans-Canada
> Telephone System adverisements or other ephemera (i.e. advertising dial
> surrounds or accessories, or number indexes) you think might be of interest
> and which may be of interest to visitors!
>
>
>
> **More Coming Soon... Please call again!**
>
>
>
>
> | | | | | | |
> | --- | --- | --- | --- | --- | --- |
> |
>
> | |
> | --- |
> | Google Groups Telecom Museum operators and |
> | volunteers - subscribe to the telecom\_museum
> Group! |
>
>
> | Email:
> |
>
> | [Visit
> this group](https://groups.google.com/group/telecom_museum?hl=en) |
>
> | The Telecom\_Museum group is a discussion
> arena for all telephone museum operators and for museum volunteers
> to discuss setting up displays, to share knowledge, and for everything
> pertaining to running telephone Museums.As it grows, we hope to get
> some lively discussions on topics common to all involved. |
>
>
>
>
>
>
>
>
---
| | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- |
|
**[Wooden Wall
Phones](telephone1.html)** |
**[Metal Desk,
Wall Sets](telephone2.html)** |
**[Plastic,
Bakelite Phones](telephone3.html)** |
**[Payphones](payphone.html)** |
**[C.O. Equipment](co.html)** |
**[Accessories](misc.html)** |
**[A.E. Phones](ae.html)** |
**[Museum](telephones.html)** |
| | | | | | | |
| --- | --- | --- | --- | --- | --- | --- |
|
**[Party Lines!](partyline.html)** |
**[Pioneers!](pioneers.html)** |
**[Rural
Companies!](independants.html)** |
**[On-line
Museum!](telephones.html)** |
**[Links!](phonelink.html)** |
**[Comments?](thebook/phonebook.html)** |
**[Home!](phones.html)** |
---
##### © [Dave Hunter](/cdn-cgi/l/email-protection#e18589948f958493a188928d808f859384868892958493cf828e8c) and
The Island Register: HTML and Graphics
##### Last Updated: 4/18/2015 8:12:59 AM
##### Return to "[The Island Register](../index.html)"!
---
| https://www.islandregister.com/phones/museum.html |
<html>
<head>
<title>Medieval Names Archive</title>
<META NAME="ROBOTS" CONTENT="NOINDEX, NOFOLLOW">
</head>
<body bgcolor="ffffff" text="000000">
<center>
<a href="http://www.s-gabriel.org/names"><img
src="http://www.s-gabriel.org/images/medievalnames.jpg" width=595 height=98></a>
</center>
<p>
This collection of articles on medieval and Renaissance names is intended
to help historical re-creators to choose authentic names. These articles
were gathered from various places, and some of them appear
<a href="links.shtml">elsewhere</a>. In all cases, the copyright on each
article belongs to its <a href="authors.shtml">authors</a>.
<p>
For frequent users, we offer a
<a href="shortindex.shtml">compact index</a>; but please read the following
introduction at least once.
<hr/>
<h2>What's New</h2>
<ul>
<li> <a href="https://names.caerlaverockroll.com/Saint-Dolay1554.html">Names from Saint Dolay, Brittany, 1554-1582</a>, by Iago ab Adam (Michael Case)
<li><a href="ffride/latvian_bynames.html">Bynames from 15-17th century Latvia</a>, by Rebecca Lucas (ffride wlffsdotter), newly updated!
<li> <a href="http://www.pbe.kcl.ac.uk/data/index.html">Prosopography of the Byzantine Empire I (641-867)</a>
<li><a href="https://names.caerlaverockroll.com/Brehan-Loudeac1536.html">Names from Bréhan-Loudéac, Brittany, 1536-1552</a>, by Iago ab Adam (Michael Case)
<li><a href="http://yarntheory.net/ursulageorges/names/classicalgreeknames.html">A Simple Guide to Classical Greek Names</a>, by Ursula Georges
<li><a href="https://heraldry.sca.org/kwhss/2017/inn%20signs%20dictionary%20JdL.pdf">Dictionary of Inn-Sign Names in Medieval and Renaissance England</a>, by Juliana de Luna
<li><a href="https://s-gabriel.org/names/kallinikos/tlaxcala1591.pdf">Spanish Names from the 1591 Tlaxcala Census</a>, by Kallinikos Gavras
</ul>
<hr/>
<h2>Choosing a Medieval Name</h2>
Choosing a medieval name is easy: Open any book on any aspect of medieval
history, and there will be some names. Choose one. Don't duplicate the
entire name of some historical person; that's generally considered
inappropriate for our game. But you can pick a given name from one person
and a surname from another person, and you're all set. You will have a
documented medieval name that you can be proud to use.
<p>
To be honest, it isn't <i>that</i> easy. at least not if you truly want an
authentic name. Few history books reproduce names in the exact forms that
were recorded in period documents. Most of the names are modernized and
anglicized, both in spelling and form. Depending on just how authentic you
want your name to be, you may or may not decide to worry about these
details; this collection of articles assumes that you want your name to be
as authentic as possible.
<h4>Good and Bad Sources</h4>
It's also easy to get led astray by bad sources. There are a lot of books
and lists of names that are useless, misleading, or erroneous. We've put
together <a href="http://www.s-gabriel.org/faq/sources.html">some
guidelines</a> to help you identify good sources, with a list of some of
the books most commonly used in the Society, and a list of
<a href="http://www.s-gabriel.org/names/arval/badpages.shtml">websites not
to use</a> for choosing a medieval name. The Laurel Sovereign of Arms has
similar lists of books that are
<a href="http://www.sca.org/heraldry/laurel/admin.html#APPENDIX_H">good</a>
and
<a href="http://www.sca.org/heraldry/laurel/admin.html#APPENDIX_F">bad</a>
sources; and the Laurel website has a
<a href="http://www.sca.org/heraldry/laurel/Annotatedname.html">longer
list</a> as well.
<p>
Many people in the Society have written articles to help you choose an
authentic name. Answers to some common general questions can be found
in the Academy of Saint Gabriel
<a href="http://www.s-gabriel.org/faq/">Client's Guide</a>.
<a name="problemnames"></a>
<a name="problem"></a>
<a href="http://www.medievalscotland.org/problem/">
<h4>The Problem Names Project</h4></a>
Some names that many people think of as common to the Middle Ages or
Renaissance are either purely modern or otherwise problematic. For
example, some names which were used in one medieval culture are now
mistakenly believed to have been used in others. Other medieval names
are mispronounced, or thought to be feminine names when they were
only masculine. If there are common misconceptions about the pre-1600
use of a name, it may be a "Problem Name". Pointing out these
misconceptions is the purpose of the
<a href="http://www.medievalscotland.org/problem/names/">Problem Names
Project</a> of the Academy of S. Gabriel. It includes a couple
dozen articles on specific names that are commonly misused by
re-creationists.
<h4>You can help!</h4>
If you have an article that you
would like to contribute to this library, please check out <a href="guidelines.shtml">our guidelines</a> on making your
article as useful as possible.
<p><hr><p>
<a name="toc"><h2>Table of Contents</h2></a>
<h4><a href="general.shtml">General Information on Medieval Personal
Naming</a></h4>
<ul>
<li><a href="http://www.s-gabriel.org/names/arval/badpages.shtml">WWW Names
Pages for Medievalists to Avoid</a>
<li><a href="http://www.s-gabriel.org/names/dietmar/hints.html">Choosing a Society Name: Hints for Newcomers</a>
<li><a href="http://medievalscotland.org/jones/namechange.shtml">
The Tale of Tangwystyl; or It's Your Name and You Can Change If You
Want To</a>
<li><a href="http://www.s-gabriel.org/names/arval/bynames">A Brief Introduction to Medieval Bynames</a>
<li><a href="http://members.tripod.com/nicolaa5/articles/latin.html">
The Latinization of Names in the Middle Ages</a>
<li><a href="http://dmnes.org/">Dictionary of Medieval Names from European Sources</a>
<li><a href="http://slumberland.org/sca/articles/onlineheraldicbooklinks.html">Some heraldic and onomastic books found for free online</a>
</ul>
<p><h4>Personal Names in Specific Cultures</h4></p>
<table cellpadding="0" cellspacing="7" width="750">
<tr>
<td valign="top">
<li><a href="english.shtml"><b>English, Old English, and Anglo-Norman Names</b></a>
<li><a href="scandinavian.shtml"><b>Scandinavian Names</b></a>
<li><a href="german.shtml"><b>German Names</b></a>
<li><a href="lowcountries.shtml"><b>Names from the Low Countries</b></a>
<li><a href="french.shtml"><b>Frankish and French Names</b></a>
<li><a href="occitan.shtml"><b>Occitan and Catalan Names</b></a>
<li><a href="iberian.shtml"><b>Spanish and Portuguese Names</b></a>
<li><a href="italian.shtml"><b>Italian Names</b></a>
<li><a href="scottish.shtml"><b>Scottish Names</b></a>
<li><a href="irish.shtml"><b>Irish and Manx Names</b></a>
<li><a href="pceltic.shtml"><b>Welsh, Cornish, and Breton Names</b></a>
<li><a href="otherearly.shtml#earlyceltic"><b>Early Celtic Names</b></a>
<li><a href="otherearly.shtml#gaulish"><b>Gaulish Names</b></a>
<li><a href="otherearly.shtml#pictish"><b>Pictish Names</b></a>
<li><a href="otherearly.shtml#roman"><b>Classical Roman Names</b></a>
<li><a href="greek.shtml"><b>Greek and Armenian Names</b></a>
</td>
<td valign="top">
<li><a href="coptic.shtml"><b>Demotic, Coptic, and Nubian Names</b></a>
<li><a href="otherearly.shtml#gothic"><b>Gothic Names</b></a>
<li><a href="slavic.shtml"><b>Slavic Names</b></a>
<li><a href="baltic.shtml"><b>Baltic Names</b></a>
<li><a href="hungarian.shtml"><b>Hungarian Names</b></a>
<li><a href="othereu.shtml#romanian"><b>Romanian Names</b></a>
<li><a href="othereu.shtml#romany"><b>Romany Names</b></a>
<li><a href="jewish.shtml"><b>Jewish Names</b></a>
<li><a href="islamic.shtml"><b>Arabic, Persian, Turkish, and Islamic Names</b></a>
<li><a href="otherasian.shtml#centralasian"><b>Central Asian</b></a>
<li><a href="otherearly.shtml#scythian"><b>Ancient Iranian Names</b></a>
<li><a href="mongol.shtml"><b>Mongol Names</b></a>
<li><a href="otherasian.shtml#indian"><b>Indian Names</b></a>
<li><a href="otherasian.shtml#chinese"><b>Chinese Names</b></a>
<li><a href="otherasian.shtml#japanese"><b>Japanese Names</b></a>
<li><a href="newworld.shtml"><b>Names from the New World</b></a>
</td>
</tr>
</table>
</ul>
<p><a href="nonhuman.shtml"><b>Names of Things</b></a>
(including places, ships, buildings, clans, military units, and orders
of chivalry)</p>
<p>
<a href="http://www.panix.com/~gabriel/academy-library/">Articles in
preparation</a>, currently available only to members of the
<a href="http://www.s-gabriel.org">Academy of S. Gabriel</a>.
<p><hr><p>
<font size=-1>
<i>The Medieval Names Archive</i> is published by
<a href="http://yarntheory.net/ursulageorges/">Ursula Georges</a>. It was historically published by <a href="http://www.s-gabriel.org">the Academy of Saint Gabriel</a>.
<br>
Copyright on individual articles belongs to their authors.
<br>
http://www.s-gabriel.org/names/index.shtml
</font>
</body>
</html>
|
Medieval Names Archive
[](http://www.s-gabriel.org/names)
This collection of articles on medieval and Renaissance names is intended
to help historical re-creators to choose authentic names. These articles
were gathered from various places, and some of them appear
[elsewhere](links.shtml). In all cases, the copyright on each
article belongs to its [authors](authors.shtml).
For frequent users, we offer a
[compact index](shortindex.shtml); but please read the following
introduction at least once.
---
## What's New
* [Names from Saint Dolay, Brittany, 1554-1582](https://names.caerlaverockroll.com/Saint-Dolay1554.html), by Iago ab Adam (Michael Case)
* [Bynames from 15-17th century Latvia](ffride/latvian_bynames.html), by Rebecca Lucas (ffride wlffsdotter), newly updated!
* [Prosopography of the Byzantine Empire I (641-867)](http://www.pbe.kcl.ac.uk/data/index.html)* [Names from Bréhan-Loudéac, Brittany, 1536-1552](https://names.caerlaverockroll.com/Brehan-Loudeac1536.html), by Iago ab Adam (Michael Case)
* [A Simple Guide to Classical Greek Names](http://yarntheory.net/ursulageorges/names/classicalgreeknames.html), by Ursula Georges
* [Dictionary of Inn-Sign Names in Medieval and Renaissance England](https://heraldry.sca.org/kwhss/2017/inn%20signs%20dictionary%20JdL.pdf), by Juliana de Luna
* [Spanish Names from the 1591 Tlaxcala Census](https://s-gabriel.org/names/kallinikos/tlaxcala1591.pdf), by Kallinikos Gavras
---
## Choosing a Medieval Name
Choosing a medieval name is easy: Open any book on any aspect of medieval
history, and there will be some names. Choose one. Don't duplicate the
entire name of some historical person; that's generally considered
inappropriate for our game. But you can pick a given name from one person
and a surname from another person, and you're all set. You will have a
documented medieval name that you can be proud to use.
To be honest, it isn't *that* easy. at least not if you truly want an
authentic name. Few history books reproduce names in the exact forms that
were recorded in period documents. Most of the names are modernized and
anglicized, both in spelling and form. Depending on just how authentic you
want your name to be, you may or may not decide to worry about these
details; this collection of articles assumes that you want your name to be
as authentic as possible.
#### Good and Bad Sources
It's also easy to get led astray by bad sources. There are a lot of books
and lists of names that are useless, misleading, or erroneous. We've put
together [some
guidelines](http://www.s-gabriel.org/faq/sources.html) to help you identify good sources, with a list of some of
the books most commonly used in the Society, and a list of
[websites not
to use](http://www.s-gabriel.org/names/arval/badpages.shtml) for choosing a medieval name. The Laurel Sovereign of Arms has
similar lists of books that are
[good](http://www.sca.org/heraldry/laurel/admin.html#APPENDIX_H)
and
[bad](http://www.sca.org/heraldry/laurel/admin.html#APPENDIX_F)
sources; and the Laurel website has a
[longer
list](http://www.sca.org/heraldry/laurel/Annotatedname.html) as well.
Many people in the Society have written articles to help you choose an
authentic name. Answers to some common general questions can be found
in the Academy of Saint Gabriel
[Client's Guide](http://www.s-gabriel.org/faq/).
[#### The Problem Names Project](http://www.medievalscotland.org/problem/)
Some names that many people think of as common to the Middle Ages or
Renaissance are either purely modern or otherwise problematic. For
example, some names which were used in one medieval culture are now
mistakenly believed to have been used in others. Other medieval names
are mispronounced, or thought to be feminine names when they were
only masculine. If there are common misconceptions about the pre-1600
use of a name, it may be a "Problem Name". Pointing out these
misconceptions is the purpose of the
[Problem Names
Project](http://www.medievalscotland.org/problem/names/) of the Academy of S. Gabriel. It includes a couple
dozen articles on specific names that are commonly misused by
re-creationists.
#### You can help!
If you have an article that you
would like to contribute to this library, please check out [our guidelines](guidelines.shtml) on making your
article as useful as possible.
---
## Table of Contents
#### [General Information on Medieval Personal
Naming](general.shtml)
* [WWW Names
Pages for Medievalists to Avoid](http://www.s-gabriel.org/names/arval/badpages.shtml)* [Choosing a Society Name: Hints for Newcomers](http://www.s-gabriel.org/names/dietmar/hints.html)* [The Tale of Tangwystyl; or It's Your Name and You Can Change If You
Want To](http://medievalscotland.org/jones/namechange.shtml)* [A Brief Introduction to Medieval Bynames](http://www.s-gabriel.org/names/arval/bynames)* [The Latinization of Names in the Middle Ages](http://members.tripod.com/nicolaa5/articles/latin.html)* [Dictionary of Medieval Names from European Sources](http://dmnes.org/)* [Some heraldic and onomastic books found for free online](http://slumberland.org/sca/articles/onlineheraldicbooklinks.html)
#### Personal Names in Specific Cultures
| | |
| --- | --- |
| - [**English, Old English, and Anglo-Norman Names**](english.shtml)- [**Scandinavian Names**](scandinavian.shtml)- [**German Names**](german.shtml)- [**Names from the Low Countries**](lowcountries.shtml)- [**Frankish and French Names**](french.shtml)- [**Occitan and Catalan Names**](occitan.shtml)- [**Spanish and Portuguese Names**](iberian.shtml)- [**Italian Names**](italian.shtml)- [**Scottish Names**](scottish.shtml)- [**Irish and Manx Names**](irish.shtml)- [**Welsh, Cornish, and Breton Names**](pceltic.shtml)- [**Early Celtic Names**](otherearly.shtml#earlyceltic)- [**Gaulish Names**](otherearly.shtml#gaulish)- [**Pictish Names**](otherearly.shtml#pictish)- [**Classical Roman Names**](otherearly.shtml#roman)- [**Greek and Armenian Names**](greek.shtml)
| - [**Demotic, Coptic, and Nubian Names**](coptic.shtml)- [**Gothic Names**](otherearly.shtml#gothic)- [**Slavic Names**](slavic.shtml)- [**Baltic Names**](baltic.shtml)- [**Hungarian Names**](hungarian.shtml)- [**Romanian Names**](othereu.shtml#romanian)- [**Romany Names**](othereu.shtml#romany)- [**Jewish Names**](jewish.shtml)- [**Arabic, Persian, Turkish, and Islamic Names**](islamic.shtml)- [**Central Asian**](otherasian.shtml#centralasian)- [**Ancient Iranian Names**](otherearly.shtml#scythian)- [**Mongol Names**](mongol.shtml)- [**Indian Names**](otherasian.shtml#indian)- [**Chinese Names**](otherasian.shtml#chinese)- [**Japanese Names**](otherasian.shtml#japanese)- [**Names from the New World**](newworld.shtml)
|
[**Names of Things**](nonhuman.shtml)
(including places, ships, buildings, clans, military units, and orders
of chivalry)
[Articles in
preparation](http://www.panix.com/~gabriel/academy-library/), currently available only to members of the
[Academy of S. Gabriel](http://www.s-gabriel.org).
---
*The Medieval Names Archive* is published by
[Ursula Georges](http://yarntheory.net/ursulageorges/). It was historically published by [the Academy of Saint Gabriel](http://www.s-gabriel.org).
Copyright on individual articles belongs to their authors.
http://www.s-gabriel.org/names/index.shtml
| https://s-gabriel.org/names/index.shtml |
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Latest Torrent
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<a href="magnet:?xt=urn:btih:30925b334a0cc4521c5e6a83b7ae7ec46fd296e2&dn=Terry%20A.%20Davis%20-%20TempleOS%20Archive%20%282018-12-26%29&tr=udp%3A%2F%2F62.138.0.158%3A6969%2Fannounce&tr=udp%3A%2F%2F51.15.4.13%3A1337%2Fannounce&tr=udp%3A%2F%2F185.225.17.100%3A1337%2Fannounce&tr=http%3A%2F%2F185.225.17.100%3A1337%2Fannounce&tr=udp%3A%2F%2F151.80.120.115%3A2710%2Fannounce&tr=udp%3A%2F%2F208.83.20.20%3A6969%2Fannounce&tr=udp%3A%2F%2F184.105.151.164%3A6969%2Fannounce&tr=http%3A%2F%2F184.105.151.164%3A6969%2Fannounce&tr=udp%3A%2F%2F128.1.203.23%3A8080%2Fannounce&tr=udp%3A%2F%2F51.15.40.114%3A80%2Fannounce&tr=http%3A%2F%2F128.1.203.23%3A8080%2Fannounce&tr=udp%3A%2F%2F5.2.79.22%3A6969%2Fannounce&tr=udp%3A%2F%2F95.211.168.204%3A2710%2Fannounce&tr=udp%3A%2F%2F89.234.156.205%3A451%2Fannounce&tr=udp%3A%2F%2F5.206.28.90%3A6969%2Fannounce&tr=udp%3A%2F%2F176.31.106.35%3A80%2Fannounce&tr=udp%3A%2F%2F5.2.79.219%3A1337%2Fannounce&tr=udp%3A%2F%2F51.38.184.185%3A6969%2Fannounce&tr=udp%3A%2F%2F8.9.31.140%3A2000%2Fannounce&tr=udp%3A%2F%2F37.235.174.46%3A2710%2Fannounce&tr=udp%3A%2F%2F188.246.227.212%3A80%2Fannounce&tr=http%3A%2F%2F51.38.184.185%3A6969%2Fannounce&tr=http%3A%2F%2F5.2.70.184%3A443%2Fannounce&tr=http%3A%2F%2F51.68.122.172%3A80%2Fannounce&tr=udp%3A%2F%2F51.15.76.199%3A6969%2Fannounce&tr=udp%3A%2F%2F212.47.227.58%3A6969%2Fannounce&tr=udp%3A%2F%2F159.100.245.181%3A6969%2Fannounce&tr=https%3A%2F%2F104.31.71.251%3A443%2Fannounce&tr=https%3A%2F%2F104.28.2.5%3A443%2Fannounce&tr=http%3A%2F%2F104.28.2.5%3A80%2Fannounce&tr=http%3A%2F%2F104.18.48.52%3A80%2Fannounce&tr=http%3A%2F%2F45.119.209.194%3A6961%2Fannounce&tr=http%3A%2F%2F104.31.209.10%3A80%2Fannounce&tr=udp%3A%2F%2F210.244.71.25%3A6969%2Fannounce&tr=udp%3A%2F%2F37.187.123.8%3A2710%2Fannounce&tr=udp%3A%2F%2F77.73.68.210%3A80%2Fannounce&tr=udp%3A%2F%2F85.202.163.5%3A6969%2Fannounce&tr=udp%3A%2F%2F64.32.13.242%3A6969%2Fannounce&tr=udp%3A%2F%2F45.56.74.11%3A6969%2Fannounce&tr=udp%3A%2F%2F95.211.195.88%3A2710%2Fannounce&tr=https%3A%2F%2F77.73.68.210%3A443%2Fannounce&tr=http%3A%2F%2F210.244.71.25%3A6969%2Fannounce&tr=http%3A%2F%2F62.210.202.61%3A80%2Fannounce&tr=http%3A%2F%2F77.73.68.210%3A80%2Fannounce&tr=http%3A%2F%2F64.78.163.242%3A2710%2Fannounce&tr=http%3A%2F%2F45.56.74.11%3A6969%2Fannounce&tr=http%3A%2F%2F139.99.45.37%3A80%2Fannounce&tr=http%3A%2F%2F82.209.230.66%3A80%2Fannounce&tr=http%3A%2F%2F158.69.62.21%3A443%2Fannounce&tr=udp%3A%2F%2F91.121.255.214%3A2710%2Fannounce&tr=udp%3A%2F%2F94.23.217.90%3A1337%2Fannounce&tr=udp%3A%2F%2F138.68.225.164%3A6969%2Fannounce&tr=https%3A%2F%2F104.31.91.56%3A443%2Fannounce&tr=http%3A%2F%2F91.121.255.214%3A2710%2Fannounce&tr=http%3A%2F%2F185.217.0.76%3A80%2Fannounce.php&tr=http%3A%2F%2F185.217.0.76%3A80%2Fannounce&tr=http%3A%2F%2F185.217.0.78%3A80%2Fannounce&tr=http%3A%2F%2F198.251.81.243%3A8080%2Fannounce&tr=http%3A%2F%2F185.217.0.77%3A80%2Fannounce&tr=http%3A%2F%2F188.68.224.156%3A6969%2Fannounce">Magnet</a>
<br>
Video Streams:
<a href="https://odysee.com/@TempleOS:5/ArchiveStream:9">Odysee</a> (NSFW) |
<a href="https://t.me/templeos_archive_stream">Telegram</a> (NSFW)
<br>
Communities:
<a href="https://www.reddit.com/r/TempleOS_Official">
Reddit
</a>
|
<a href="https://discord.gg/AGE8WXEBDu">
Discord
</a>
|
<a href="https://discord.gg/pMjhukRrUD">
Discord
</a>
|
<a href="https://rvlt.gg/E3XaNd3m">
Revolt
</a>
|
<a href="https://riot.kiwifarms.net/#/room/#TempleOS:matrix.kiwifarms.net">
Matrix
</a>
|
<a href="https://kiwiirc.com/client/irc.rizon.net/#templeos">
#templeos on Rizon (IRC)
</a>
|
<a href="https://steamcommunity.com/groups/TempleOfficial">
Steam
</a>
<br>
AppStore: <a href="https://12of7templeos.neocities.org/SupStore.html">SupStore</a>
<br>
Merch:
<a href="https://www.d3vur.com/product-category/templeos-collection/">D3VUR</a> |
<a href="https://maximumcomfy.com/collections/temple-os/">Maximum Comfy</a> |
<a href="http://www.templeos.store">Temple OS Store</a> |
<a href="https://www.redbubble.com/shop/TempleOS">RedBubble</a> |
<a href="https://www.aliexpress.com/wholesale?SearchText=TempleOS">AliExpress</a>
<br>
<a href="https://templeos.org/support.html">
Support
</a>
<br>
<b>NOTE: The providing of these links are not endorsements. Simply a list known communities and services. Additional links can be added by request.</b>
</p>
</div>
<hr>
<div id="main">
<iframe src="https://www.youtube.com/embed/oH41gGBVpkE" width=640 height=360
allow="autoplay; encrypted-media" allowfullscreen>
</iframe>
</div>
<div id="content">
<div>
<h3>Terry A. Davis (1969 - 2018). Rest in peace!</h3>
</div>
<div id="donate">
<p>In the wake of Terry A. Davis' passing his family has requested supporters of his donate to
"organizations working to ease the pain and suffering caused by mental illness" such as
<a href="https://www.bbrfoundation.org">The Brain & Behavior Research Foundation</a> and
<a href="https://www.nami.org">National Alliance on Mental Illness</a>.</p>
</div>
</div>
</body>
<hr>
<footer>
<div style="display: none">The templeos.org domain and website are maintained by trapexit</div>
<p id="disclaimer">
All content related to Terry A. Davis, TempleOS, J Operating System, SparrowOS, or LoseThos should be considered public domain.
</p>
</footer>
</html>
|
TempleOS
[Download the free, public domain, 64-bit operating system, Temple Operating System.
](Downloads/TempleOS.ISO)
[Downloads](/Downloads/)
Archive:
[Archive.org](https://archive.org/details/TerryADavis_TempleOS_Archive) |
[Odysee ([invite](https://odysee.com/$/invite/@TempleOS:5))](https://odysee.com/@TempleOS:5) |
[Latest Torrent](https://archive.org/download/TerryADavis_TempleOS_Archive/torrents/Terry%20A.%20Davis%20-%20TempleOS%20Archive%20%282018-12-26%29.torrent) |
[Magnet](magnet:?xt=urn:btih:30925b334a0cc4521c5e6a83b7ae7ec46fd296e2&dn=Terry%20A.%20Davis%20-%20TempleOS%20Archive%20%282018-12-26%29&tr=udp%3A%2F%2F62.138.0.158%3A6969%2Fannounce&tr=udp%3A%2F%2F51.15.4.13%3A1337%2Fannounce&tr=udp%3A%2F%2F185.225.17.100%3A1337%2Fannounce&tr=http%3A%2F%2F185.225.17.100%3A1337%2Fannounce&tr=udp%3A%2F%2F151.80.120.115%3A2710%2Fannounce&tr=udp%3A%2F%2F208.83.20.20%3A6969%2Fannounce&tr=udp%3A%2F%2F184.105.151.164%3A6969%2Fannounce&tr=http%3A%2F%2F184.105.151.164%3A6969%2Fannounce&tr=udp%3A%2F%2F128.1.203.23%3A8080%2Fannounce&tr=udp%3A%2F%2F51.15.40.114%3A80%2Fannounce&tr=http%3A%2F%2F128.1.203.23%3A8080%2Fannounce&tr=udp%3A%2F%2F5.2.79.22%3A6969%2Fannounce&tr=udp%3A%2F%2F95.211.168.204%3A2710%2Fannounce&tr=udp%3A%2F%2F89.234.156.205%3A451%2Fannounce&tr=udp%3A%2F%2F5.206.28.90%3A6969%2Fannounce&tr=udp%3A%2F%2F176.31.106.35%3A80%2Fannounce&tr=udp%3A%2F%2F5.2.79.219%3A1337%2Fannounce&tr=udp%3A%2F%2F51.38.184.185%3A6969%2Fannounce&tr=udp%3A%2F%2F8.9.31.140%3A2000%2Fannounce&tr=udp%3A%2F%2F37.235.174.46%3A2710%2Fannounce&tr=udp%3A%2F%2F188.246.227.212%3A80%2Fannounce&tr=http%3A%2F%2F51.38.184.185%3A6969%2Fannounce&tr=http%3A%2F%2F5.2.70.184%3A443%2Fannounce&tr=http%3A%2F%2F51.68.122.172%3A80%2Fannounce&tr=udp%3A%2F%2F51.15.76.199%3A6969%2Fannounce&tr=udp%3A%2F%2F212.47.227.58%3A6969%2Fannounce&tr=udp%3A%2F%2F159.100.245.181%3A6969%2Fannounce&tr=https%3A%2F%2F104.31.71.251%3A443%2Fannounce&tr=https%3A%2F%2F104.28.2.5%3A443%2Fannounce&tr=http%3A%2F%2F104.28.2.5%3A80%2Fannounce&tr=http%3A%2F%2F104.18.48.52%3A80%2Fannounce&tr=http%3A%2F%2F45.119.209.194%3A6961%2Fannounce&tr=http%3A%2F%2F104.31.209.10%3A80%2Fannounce&tr=udp%3A%2F%2F210.244.71.25%3A6969%2Fannounce&tr=udp%3A%2F%2F37.187.123.8%3A2710%2Fannounce&tr=udp%3A%2F%2F77.73.68.210%3A80%2Fannounce&tr=udp%3A%2F%2F85.202.163.5%3A6969%2Fannounce&tr=udp%3A%2F%2F64.32.13.242%3A6969%2Fannounce&tr=udp%3A%2F%2F45.56.74.11%3A6969%2Fannounce&tr=udp%3A%2F%2F95.211.195.88%3A2710%2Fannounce&tr=https%3A%2F%2F77.73.68.210%3A443%2Fannounce&tr=http%3A%2F%2F210.244.71.25%3A6969%2Fannounce&tr=http%3A%2F%2F62.210.202.61%3A80%2Fannounce&tr=http%3A%2F%2F77.73.68.210%3A80%2Fannounce&tr=http%3A%2F%2F64.78.163.242%3A2710%2Fannounce&tr=http%3A%2F%2F45.56.74.11%3A6969%2Fannounce&tr=http%3A%2F%2F139.99.45.37%3A80%2Fannounce&tr=http%3A%2F%2F82.209.230.66%3A80%2Fannounce&tr=http%3A%2F%2F158.69.62.21%3A443%2Fannounce&tr=udp%3A%2F%2F91.121.255.214%3A2710%2Fannounce&tr=udp%3A%2F%2F94.23.217.90%3A1337%2Fannounce&tr=udp%3A%2F%2F138.68.225.164%3A6969%2Fannounce&tr=https%3A%2F%2F104.31.91.56%3A443%2Fannounce&tr=http%3A%2F%2F91.121.255.214%3A2710%2Fannounce&tr=http%3A%2F%2F185.217.0.76%3A80%2Fannounce.php&tr=http%3A%2F%2F185.217.0.76%3A80%2Fannounce&tr=http%3A%2F%2F185.217.0.78%3A80%2Fannounce&tr=http%3A%2F%2F198.251.81.243%3A8080%2Fannounce&tr=http%3A%2F%2F185.217.0.77%3A80%2Fannounce&tr=http%3A%2F%2F188.68.224.156%3A6969%2Fannounce)
Video Streams:
[Odysee](https://odysee.com/@TempleOS:5/ArchiveStream:9) (NSFW) |
[Telegram](https://t.me/templeos_archive_stream) (NSFW)
Communities:
[Reddit](https://www.reddit.com/r/TempleOS_Official)
|
[Discord](https://discord.gg/AGE8WXEBDu)
|
[Discord](https://discord.gg/pMjhukRrUD)
|
[Revolt](https://rvlt.gg/E3XaNd3m)
|
[Matrix](https://riot.kiwifarms.net/#/room/#TempleOS:matrix.kiwifarms.net)
|
[#templeos on Rizon (IRC)](https://kiwiirc.com/client/irc.rizon.net/#templeos)
|
[Steam](https://steamcommunity.com/groups/TempleOfficial)
AppStore: [SupStore](https://12of7templeos.neocities.org/SupStore.html)
Merch:
[D3VUR](https://www.d3vur.com/product-category/templeos-collection/) |
[Maximum Comfy](https://maximumcomfy.com/collections/temple-os/) |
[Temple OS Store](http://www.templeos.store) |
[RedBubble](https://www.redbubble.com/shop/TempleOS) |
[AliExpress](https://www.aliexpress.com/wholesale?SearchText=TempleOS)
[Support](https://templeos.org/support.html)
**NOTE: The providing of these links are not endorsements. Simply a list known communities and services. Additional links can be added by request.**
---
### Terry A. Davis (1969 - 2018). Rest in peace!
In the wake of Terry A. Davis' passing his family has requested supporters of his donate to
"organizations working to ease the pain and suffering caused by mental illness" such as
[The Brain & Behavior Research Foundation](https://www.bbrfoundation.org) and
[National Alliance on Mental Illness](https://www.nami.org).
---
The templeos.org domain and website are maintained by trapexit
All content related to Terry A. Davis, TempleOS, J Operating System, SparrowOS, or LoseThos should be considered public domain.
| http://templeos.org/ |
<html>
<head>
<title>What Is An Annual, Perennial, Biennial?</title>
</head>
<body bgcolor="#FCF3CC" link="#819775" vlink="#FCF3CC" alink="#BEC9B8">
<table align="center" width="700" height="700" cellpadding="10" border="0" cellspacing="0">
<tr><td colspan="2" background="../top.jpg"><br></td></tr>
<tr><td colspan="2" align="center" background="../middle.jpg"><img src="../header.jpg"></td></tr>
<tr><td colspan="2" background="../middle.jpg"><p align="center"><font size="+2"><b>Annual, Perennial, Biennial?</b></font></p>
<b>Annuals -</b> Plants that perform their entire life cycle from seed to flower
<table width="150" align="right" border="0">
<tr><td align="center"><a href="../photos/annualplainscor.jpg"><img src="../photos/annualplainscor.jpg" width="150"></a><br>
<font size="-1"><i>Annual Plains Coreopsis</i></font>
</td></tr></table>
to seed within a single growing season. All roots, stems and leaves of the plant die annually. Only the dormant seed bridges the gap between one generation and the next.<p>
<b>Perennials -</b> Plants that persist for many growing seasons. Generally the top portion of the plant dies back each winter and regrows the following spring
<table width="150" align="left">
<tr><td align="center"><a href="../photos/perennialpurplecone.jpg"><img src="../photos/perennialpurplecone.jpg" width="150"></a><br>
<font size="-1"><i>Perennial Purple Coneflower</i></font>
</td></tr></table>
from the same root system (e.g. Purple Coneflower). Many perennial plants do keep their leaves year round and offer attractive borders and groundcover (e.g. Tickseed, Shasta and Ox-Eyed Daisy). NOTE: WHEN STARTING PERENNIAL PLANTS FROM SEED, BLOOMS WILL BE OBSERVED IN EITHER THE SPRING OR SUMMER OF THE SECOND YEAR AND EACH YEAR THEREAFTER (e.g. Ox-Eyed Daisy planted in the spring of 1996 will not bloom until the spring of 1997).<p>
<b>Biennials -</b> Plants which require two years to complete their life cycle.
<table width="150" align="right">
<tr><td align="center"><a href="../photos/biennialfoxglove.jpg"><img src="../photos/biennialfoxglove.jpg" width="150"></a><br>
<font size="-1"><i>Biennial Foxglove</i></font>
</td></tr></table>
First season growth results in a small rosette of leaves near the soil surface. During the second season's growth stem elongation, flowering and seed formation occur followed by the entire plant's death.<p>
<b>Annual/Perennial -</b> A plant can behave as an annual or a perennial depending on local climatic and geographic growing conditions. In the southern portion of the United States, these plants tend to grow much quicker than in the north due to the warmer weather and extended growing season. For example: a Black-Eyed Susan would behave as an annual if grown in Louisiana; whereas, if grown in Ohio, a Black-Eyed Susan would behave as a perennial.<p>
</td></tr>
<tr><td colspan="2" align="center" background="../middle.jpg">
<hr size="0" color="#819775"><br>
<font size="-1">
<a href="../index.html">Index</a> | <a href="../photoalbum.html">Photos</a> | <a href="../growinginfo.html">Growing Info</a> | <a href="../seedsources.html">Seed Sources</a> | <a href="../weblinks.html">Web Links</a> | <a href="../mixes.html">Mixes</a> | <a href="../hardinesszone.html">Zone Map</a>
</font>
</td></tr>
<tr><td colspan="2" background="../bottom.jpg"><br></td></tr>
</table>
</body>
</html>
|
What Is An Annual, Perennial, Biennial?
| |
| --- |
| |
| |
| **Annual, Perennial, Biennial?**
**Annuals -** Plants that perform their entire life cycle from seed to flower
| |
| --- |
|
*Annual Plains Coreopsis* |
to seed within a single growing season. All roots, stems and leaves of the plant die annually. Only the dormant seed bridges the gap between one generation and the next.
**Perennials -** Plants that persist for many growing seasons. Generally the top portion of the plant dies back each winter and regrows the following spring
| |
| --- |
|
*Perennial Purple Coneflower* |
from the same root system (e.g. Purple Coneflower). Many perennial plants do keep their leaves year round and offer attractive borders and groundcover (e.g. Tickseed, Shasta and Ox-Eyed Daisy). NOTE: WHEN STARTING PERENNIAL PLANTS FROM SEED, BLOOMS WILL BE OBSERVED IN EITHER THE SPRING OR SUMMER OF THE SECOND YEAR AND EACH YEAR THEREAFTER (e.g. Ox-Eyed Daisy planted in the spring of 1996 will not bloom until the spring of 1997).
**Biennials -** Plants which require two years to complete their life cycle.
| |
| --- |
|
*Biennial Foxglove* |
First season growth results in a small rosette of leaves near the soil surface. During the second season's growth stem elongation, flowering and seed formation occur followed by the entire plant's death.
**Annual/Perennial -** A plant can behave as an annual or a perennial depending on local climatic and geographic growing conditions. In the southern portion of the United States, these plants tend to grow much quicker than in the north due to the warmer weather and extended growing season. For example: a Black-Eyed Susan would behave as an annual if grown in Louisiana; whereas, if grown in Ohio, a Black-Eyed Susan would behave as a perennial.
|
|
---
[Index](../index.html) | [Photos](../photoalbum.html) | [Growing Info](../growinginfo.html) | [Seed Sources](../seedsources.html) | [Web Links](../weblinks.html) | [Mixes](../mixes.html) | [Zone Map](../hardinesszone.html)
|
| |
| https://aggie-hort.tamu.edu/wildseed/growing/annual.html |
<head><title>Not Acceptable!</title></head><body><h1>Not Acceptable!</h1><p>An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod_Security.</p></body></html> | Not Acceptable!# Not Acceptable!
An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod\_Security.
| http://www.randomuseless.info/ |
<html><head><title>The Classic Pokemon Page!</title></head>
<body background="./The Classic Pokemon Page!_files/pb.gif">
<center><table bgcolor="white" width="50%">
<tbody><tr><td><center>
<img src="./The Classic Pokemon Page!_files/hr.gif">
<h1>The Classic Pokemon Page</h1>
<img src="./The Classic Pokemon Page!_files/hr.gif">
<p><img src="./The Classic Pokemon Page!_files/combo.gif" alt="Approaching the Pokemon World..." width="40%"></p></center>
<p>Here's just a few pages about a series from my childhood, & maybe yours too. I was there when the series was new, & want to share how it was for those who were not.
</p><p>I wanted to have this up by 2018, for the 20th annivisiary of Pokemon's release in the U.S., but that was not to be. I had a bit of free time one night this week, so I started working.
</p><p>There are many Pokemon sites focused on the history of the series, game mechanics, and the like. These pages are different; they're nostalgia-focused. As such they're personal; based primarely on my memories. There are too few personal sites on the web today; these few pages are meant to return to a simpler time...
</p><p><img src="./The Classic Pokemon Page!_files/pbbullet.gif"><a href="https://websitering.neocities.org/pkmn/toon2.htm">The Cartoon</a> - The first piece of Pokemon media to make an impression...
</p><p><img src="./The Classic Pokemon Page!_files/pbbullet.gif"><a href="https://websitering.neocities.org/pkmn/games.htm">The Games</a> - Which let us enter the world ourselves...
</p><p><img src="./The Classic Pokemon Page!_files/pbbullet.gif"><a href="https://websitering.neocities.org/pkmn/craze.htm">The Craze, The End, & Rebirth</a> - We went crazy for Pokemon! Then the craze ended...
</p><p><img src="./The Classic Pokemon Page!_files/pbbullet.gif"><a href="fan.htm">Links & Fan Works</a> - Or how we responded... A collection of links to fan pages, sites, & stories, in order of nostalgic interest, as determined by me, since it's my site.
<center></p><p><img src="./The Classic Pokemon Page!_files/hr.gif"></p>Pokemon, & associated copyrights & trademarks are the property of their respected owners.<p>Any use of said property is small & for an educational purpose, as perscribed in the Fair Use provisions of U.S. copyright laws.</p><p>Original works hosted here are in the released into public domain by the webmaster.</p><p>Part of <a href="https://websitering.neocities.org/">WebSiteRing</a>, subject to WebSite Ring's <a href="https://websitering.neocities.org/privacy.htm">Privacy Policy</a></p><p><img src="./The Classic Pokemon Page!_files/hr.gif">
</p></td></tr>
</tbody></table>
<center><p><img src="./The Classic Pokemon Page!_files/trainer.gif">
</p></center></center></body></html> |
The Classic Pokemon Page!
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The Classic Pokemon Page
Approaching the Pokemon World...
Here's just a few pages about a series from my childhood, & maybe yours too. I was there when the series was new, & want to share how it was for those who were not.
I wanted to have this up by 2018, for the 20th annivisiary of Pokemon's release in the U.S., but that was not to be. I had a bit of free time one night this week, so I started working.
There are many Pokemon sites focused on the history of the series, game mechanics, and the like. These pages are different; they're nostalgia-focused. As such they're personal; based primarely on my memories. There are too few personal sites on the web today; these few pages are meant to return to a simpler time...
[The Cartoon](https://websitering.neocities.org/pkmn/toon2.htm) - The first piece of Pokemon media to make an impression...
[The Games](https://websitering.neocities.org/pkmn/games.htm) - Which let us enter the world ourselves...
[The Craze, The End, & Rebirth](https://websitering.neocities.org/pkmn/craze.htm) - We went crazy for Pokemon! Then the craze ended...
[Links & Fan Works](fan.htm) - Or how we responded... A collection of links to fan pages, sites, & stories, in order of nostalgic interest, as determined by me, since it's my site.
Pokemon, & associated copyrights & trademarks are the property of their respected owners.Any use of said property is small & for an educational purpose, as perscribed in the Fair Use provisions of U.S. copyright laws.Original works hosted here are in the released into public domain by the webmaster.Part of [WebSiteRing](https://websitering.neocities.org/), subject to WebSite Ring's [Privacy Policy](https://websitering.neocities.org/privacy.htm)
|
| https://websitering.neocities.org/pkmn/menu |
<head><title>Not Acceptable!</title></head><body><h1>Not Acceptable!</h1><p>An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod_Security.</p></body></html> | Not Acceptable!# Not Acceptable!
An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod\_Security.
| https://puzzleworld.org/PuzzleWorld/ |
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<meta name="description" content="Collins collector page">
<meta name="keywords" content="Collins,S/Line,Drake,amateur radio,ham radio,K1XR">
<title>Bruce, K1XR's Page</title>
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<div align="center">
<center>
<table border="0" cellspacing="0">
<tr>
<th align="center" colspan="2"><a href="https://www.collinsradio.com/"><img SRC="collinslogo.gif" ALT="Collins Winged Emblem. Click for CCA." HSPACE="10" VSPACE="10" BORDER="0" width="296" height="99"></a></th>
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<td align="center" colspan="2" height="15"></td>
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<td align="center" colspan="2">
<h1>Bruce, K1XR's Page</h1>
</td>
</tr>
<tr>
<td align="center" colspan="2"><img SRC="rule02.gif" HSPACE="20" VSPACE="20" WIDTH="468" HEIGHT="22"> </td>
</tr>
<tr>
<td align="center" colspan="2">
This page is dedicated to my good friend <b>Bruce Marton, K1XR.</b> Bruce is a very keen <b>Collins</b>
and <b>Drake</b> collector. On this page, we pay a visit to his magnificent station.</td>
</tr>
<tr>
<td align="center" colspan="2">
<img SRC="rule02.gif" HSPACE="20" VSPACE="20" WIDTH="468" HEIGHT="22"> </td>
</tr>
<tr>
<td align="center" colspan="2"><b>The main S-Line operating position,</b> <font size="-1">with 516F-2, KWM-2A, 75S-3C,
312B-4 and 30L-1. The KWM-2A is used as a transmitter/transceiver, with the 75S-3C. Note
the Symetrix 528E voice processor, used with a Shure SM-7 microphone.</font></td>
</tr>
<tr>
<td align="center" colspan="2" height="21"></td>
</tr>
<tr>
<td align="center" colspan="2">
<img SRC="k1xr_1a.jpg" ALT="The main S-Line operating position." HSPACE="20" VSPACE="20" BORDER="1" width="640" height="512"> </td>
</tr>
<tr>
<td align="center" colspan="2"><img SRC="rule02.gif" HSPACE="20" VSPACE="20" width="468" height="22"> </td>
</tr>
<tr>
<td align="center" colspan="2"><b>Another look </b><font size="-1">at the main S-Line operating position. The view from
the operating position is to the east, over the Atlantic Ocean, from the top of a 125 ft.
cliff.</font> </td>
</tr>
<tr>
<td align="center" colspan="2" height="21"></td>
</tr>
<tr>
<td align="center" colspan="2">
<img SRC="k1xr_4.jpg" ALT="Another view of the main S-Line operating position." HSPACE="20" VSPACE="20" BORDER="1" width="640" height="512"> </td>
</tr>
<tr>
<td align="center" colspan="2"><img SRC="rule02.gif" HSPACE="20" VSPACE="20" WIDTH="468" HEIGHT="22"> </td>
</tr>
<tr>
<td align="center" colspan="2"><b>The new operating position,</b> <font size="-1">with
Icom IC-781 and IC-751A, Acom amplifier and Drake C-line. </font></td>
</tr>
<tr>
<td align="center" colspan="2" height="21"> <font size="-1">The Audio
Technica AT 3525 mic and Symetrix 528E voice processor can also be seen. </font></td>
</tr>
<tr>
<td align="center" colspan="2" height="21"> </td>
</tr>
<tr>
<td align="center" colspan="2">
<img SRC="k1xr_2a.jpg" ALT="The new operating position. Photo by Bruce Marton, K1XR." HSPACE="20" VSPACE="20" BORDER="1" width="640" height="426"> </td>
</tr>
<tr>
<td align="center" colspan="2"><img SRC="rule02.gif" HSPACE="20" VSPACE="20" width="468" height="22"> </td>
</tr>
<tr>
<td align="center" colspan="2">
Newly acquired goodies from the <b>Rochester, NH Hamfest</b> <font size="-1">(oscilloscope,
30L-1, TS-118/AP).</font> </td>
</tr>
<tr>
<td align="center" colspan="2" height="21"></td>
</tr>
<tr>
<td align="center" colspan="2">
<img SRC="k1xr_6a.jpg" ALT="Newly acquired Rochester, NH Hamfest goodies." HSPACE="20" VSPACE="20" BORDER="1" width="640" height="512"></td>
</tr>
<tr>
<td align="center" colspan="2"><img SRC="rule02.gif" HSPACE="20" VSPACE="20" width="468" height="22"> </td>
</tr>
<tr>
<td align="center" colspan="2"><b>Interior view of the 30L-1, </b><font size="-1">after we spent 3 hours restoring the
interior and rewiring<b> </b>the power supply for 240V mains.</font> </td>
</tr>
<tr>
<td align="center" colspan="2"><b><font color="#FFFF00">So nice and clean!</font></b> </td>
</tr>
<tr>
<td align="center" colspan="2" height="21"></td>
</tr>
<tr>
<td align="center" colspan="2">
<img SRC="30l1_1.jpg" ALT="Interior view of the 30L-1." HSPACE="20" VSPACE="20" BORDER="1" width="640" height="512"></td>
</tr>
<tr>
<td align="center" colspan="2"><img SRC="rule02.gif" HSPACE="20" VSPACE="20" width="468" height="22"> </td>
</tr>
<tr>
<td align="center" colspan="2"><b>The tower,</b> <font size="-1">with 10-element <a
href="https://www.tennadyne.com/default.htm"> Tennadyne</a> T-10 13-30 MHz LPDA on a 30 ft.
boom at 200 ft. over the ocean.</font> </td>
</tr>
<tr>
<td align="center" colspan="2" height="21"></td>
</tr>
<tr>
<td align="center" colspan="2"><a href="https://www.tennadyne.com/default.htm">
<img SRC="tower.jpg" ALT="Tower, with Tennadyne LPDA. Click for Tennadyne site." HSPACE="20" VSPACE="20" BORDER="2" width="512" height="482"> </a> </td>
</tr>
<tr>
<td align="center" colspan="2"><img SRC="rule02.gif" HSPACE="20" VSPACE="20" width="468" height="22"> </td>
</tr>
<tr>
<td align="center" colspan="2"><b>Two family members,</b> <font size="-1">already guarding the new acquisition.</font> </td>
</tr>
<tr>
<td align="center" colspan="2" height="21"></td>
</tr>
<tr>
<td align="center" colspan="2">
<img border="1" src="maxmolly3.jpg" hspace="20" vspace="20" alt="Max and Molly, with Bruce in background." width="512" height="409"></td>
</tr>
<tr>
<td align="center" colspan="2"> </td>
</tr>
<tr>
<td align="center" colspan="2"><img SRC="rule02.gif" HSPACE="20" VSPACE="20" width="468" height="22"></td>
</tr>
<tr>
<td align="center" colspan="2"><b>The new <font color="#FFFF00">homebrew</font> 20m 7-element Log-Yagi</b> in
position on the tower, with K1RX on the tower.</td>
</tr>
<tr>
<td align="center" colspan="2"> </td>
</tr>
<tr>
<td align="center" colspan="2">
<img border="1" src="20m_ant.jpg" hspace="20" vspace="20" alt="The new 20m 7-element Log-Yagi in position on the tower, with K1RX on the tower. Photo by Bruce Marton, K1XR." width="640" height="426"></td>
</tr>
<tr>
<td align="center" colspan="2"><a href="../ss/k1xr/index.html">View a slide show</a>
<font color="#FFFF00">of the antenna construction project.</font></td>
</tr>
<tr>
<td align="center" colspan="2">
<img SRC="rule02.gif" HSPACE="20" VSPACE="20" width="468" height="22"> </td>
</tr>
<tr>
<td align="center" colspan="2"><form><p><input type="button" value="Click here" onclick="window.location='collins.html'"><font color="#FFFF00"><i>
for a thumbnail history of the Collins Radio Company.</i></font></p></form>
</td>
</tr>
<tr>
<td align="center" colspan="2">
<img SRC="rule02.gif" HSPACE="20" VSPACE="20" width="468" height="22"> </td>
</tr>
<tr>
<td align="center" colspan="2">
<h2><font size="+2" color="#FFCC33"><blink>Hot Links</blink></font></h2>
</td>
</tr>
<tr>
<td align="center" colspan="2" height="21"></td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" WIDTH="9" HEIGHT="9"><a href="https://www.collinsradio.com/">The
Collins Collectors' Association</a>
</td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<a href="https://www.collinsra.org/"><img SRC="bullet2.gif" HSPACE="5" BORDER="0" WIDTH="9" HEIGHT="9">The
Collins Radio Association</a>
</td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<a href="https://www.angelfire.com/de/vk3kcm/"><img SRC="bullet2.gif" HSPACE="5" BORDER="0" WIDTH="9" HEIGHT="9">Ian McLean's Australian Collins Page</a>
</td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" width="9" height="9"><a href="https://www.rockwellcollins.com/">Rockwell
Collins, Inc.</a>
</td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" width="9" height="9"><a target="_blank" href="horizons2012_32007.pdf">A
Brief History of Collins Mechanical Filters</a></td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" width="9" height="9"><a target="_blank" href="https://www.texasarchive.org/library/index.php?title=2013_00626">A
History of the Collins Radio Company: WW2 to 1971</a></td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" width="9" height="9"><a href="https://www.collinsclubs.com/carc/">Collins
Amateur Radio Club</a> - <font color="#FFFF00"><i>including the B-29 Radio
Project</i></font></td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" width="9" height="9"><a href="https://www.wa3key.com/collins.html">The
WA3KEY Virtual Collins Radio Museum</a> - <i><font color="#FFFF00">including</font>
<a href="https://www.wa3key.com/hf2050.html">HF-2050</a> <font color="#FFFF00"> and</font> <a href="https://www.wa3key.com/95s1.html">95S-1(A)</a></i>
</td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" WIDTH="9" HEIGHT="9"><a href="https://www.qsl.net/pa0jta/">Roel,
PAØJTA's Collins Site & Picture Gallery</a>
</td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" WIDTH="9" HEIGHT="9"><a href="https://www.w8zr.net/vintage/receivers/hf2050.htm">W8ZR's Collins HF-2050 Page</a></td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" WIDTH="9" HEIGHT="9"><a href="https://web.tiscali.it/milradio73/radio_651S1.html">Collins 651S-1 HF Receiver</a>
</td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" width="9" height="9"><a href="https://web.tiscali.it/milradio73/radio_618T.html">Collins Brochure: 618T-x
Airborne HF Transceiver</a>
</td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" width="9" height="9"><a href="https://www.hamanuals.com/Svcman.html">Collins
Service Bulletin Index</a> - <i><font color="#FFFF00">on the</font></i> <a href="https://www.hamanuals.com/">Hamanuals</a>
<font color="#FFFF00"><i>website</i></font>
</td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" width="9" height="9"><font color="#FFFF00">Dutch,
WB7DYW's</font>
<a href="https://www.qsl.net/wb7dyw/">R-390</a>
<font color="#FFFF00">Page</font></td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" width="9" height="9"><a href="https://www.wb4hfn.com/COLLINS/CollinsPageHome.htm">WB4HFN's
Collins Home Page</a></td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" width="9" height="9"><a href="https://www.wb4hfn.com/DRAKE">WB4HFN's
Drake Home Page</a></td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" width="9" height="9"><a href="https://www.jvgavila.com/index.htm">José, EB5AGV's
Radio & Test Equipment Site</a> - <i><font color="#FFFF00">including</font>
<a href="https://www.jvgavila.com/r390a.htm">R-390A</a></i>
</td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" width="9" height="9"><font color="#FFFF00">The
Radio Era Archives</font> <a href="https://www.radioera.com/r390a.htm">R390A/URR
Museum</a> <font color="#FFFF00">Radio Page</font>
</td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" WIDTH="9" HEIGHT="9"><a href="https://www.rl-drake.com/">R.L. Drake
Company</a>
</td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" WIDTH="9" HEIGHT="9"><a href="https://mailman.qth.net/mailman/listinfo/drake">The
Drake List Home Page</a>
</td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" WIDTH="9" HEIGHT="9"><a href="https://www.drakemuseum.com/">The Drake Virtual Museum</a></td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" WIDTH="9" HEIGHT="9"><font color="#FFFF00">Terry
O'Laughlin's</font> <a href="https://watkins-johnson.terryo.org/">
Watkins-Johnson</a> <font color="#FFFF00">Site</font></td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" WIDTH="9" HEIGHT="9"><font color="#FFFF00">Rockwell-Collins
on</font> <a href="https://en.wikipedia.org/wiki/Rockwell_Collins">Wikipedia</a></td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
<img SRC="bullet2.gif" HSPACE="5" WIDTH="9" HEIGHT="9"><a href="../index.html">Adam, VA7OJ/AB4OJ's
Home Page</a>
</td>
</tr>
<tr>
<td width="20" height="25" >
</td>
<td height="25" >
</td>
</tr>
<tr>
<td colspan="2" align="center" >
<img SRC="rule02.gif" HSPACE="20" VSPACE="10" width="468" height="22">
</td>
</tr>
<tr>
<td align="center" colspan="2" >
<a href="https://www.rockwellcollins.com/"><img SRC="collinslogo.jpg" HSPACE="40" VSPACE="10" alt="Rockwell Collins" border="1" width="49" height="47"></a><a href="https://www.rl-drake.com/"><img SRC="drakelogo.jpg" HSPACE="40" VSPACE="17" BORDER="1" alt="R.L. Drake & Co." width="108" height="34"></a>
</td>
</tr>
<tr>
<td colspan="2" align="center" >
<img SRC="rule02.gif" HSPACE="20" VSPACE="10" width="468" height="22">
</td>
</tr>
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<td colspan="2" align="center" >
We hope you enjoyed your virtual <b>Collins</b> and <b>Drake</b> tour. Please stop by
again.
</td>
</tr>
<tr>
<td colspan="2" align="center" height="21" >
</td>
</tr>
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<td colspan="2" align="center" >
<p align="center"><b><font size="-1">Collins</font></b> <font size="-1">Winged
Emblem logo and S-line background by kind permission of </font><a href="mailto:i_mclean%20at%20excite%20period%20charlie%20oscar%20mike"><font size="-1">Mr. Ian McLean, VK3CM</font></a></p>
</td>
</tr>
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<td colspan="2" align="center" height="21" >
</td>
</tr>
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<td colspan="2" align="center" >
If you have comments or suggestions,
<a href="mailto:bmarton_at_maine_dot_rr_dot_com">e-mail Bruce, K1XR</a>
</td>
</tr>
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<td colspan="2" align="center" height="21" >
</td>
</tr>
<tr>
<td colspan="2" align="center" >
<a href="https://www.microsoft.com/en-us/download/details.aspx?id=36179" target="_blank">
<img alt="Expression Web 4" class="auto-style1" height="40" src="../images/exp.jpg" width="41"></a>
</td>
</tr>
<tr>
<td colspan="2" align="center" >
</td>
</tr>
<tr>
<td colspan="2" align="center" >
Page last updated:
<!--webbot bot="Timestamp" S-Type="EDITED" S-Format="%m/%d/%y" startspan -->09/25/19<!--webbot bot="Timestamp" i-checksum="13534" endspan -->
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<font size="-1"><font color="#FFFFFF">Copyright © 1999-2019 A. Farson </font><i><font color="#FFFF00">(including
images except where noted).</font></i><font color="#FFFFFF"> All
rights reserved.</font><font color="#000099">.</font></font>
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Bruce, K1XR's Page
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| [Collins Winged Emblem. Click for CCA.](https://www.collinsradio.com/) |
| --- |
| |
| Bruce, K1XR's Page |
| |
|
This page is dedicated to my good friend **Bruce Marton, K1XR.** Bruce is a very keen **Collins**
and **Drake** collector. On this page, we pay a visit to his magnificent station. |
| |
| **The main S-Line operating position,** with 516F-2, KWM-2A, 75S-3C,
312B-4 and 30L-1. The KWM-2A is used as a transmitter/transceiver, with the 75S-3C. Note
the Symetrix 528E voice processor, used with a Shure SM-7 microphone. |
| |
| The main S-Line operating position. |
| |
| **Another look** at the main S-Line operating position. The view from
the operating position is to the east, over the Atlantic Ocean, from the top of a 125 ft.
cliff. |
| |
| Another view of the main S-Line operating position. |
| |
| **The new operating position,** with
Icom IC-781 and IC-751A, Acom amplifier and Drake C-line. |
| The Audio
Technica AT 3525 mic and Symetrix 528E voice processor can also be seen. |
| |
| The new operating position. Photo by Bruce Marton, K1XR. |
| |
|
Newly acquired goodies from the **Rochester, NH Hamfest** (oscilloscope,
30L-1, TS-118/AP). |
| |
| Newly acquired Rochester, NH Hamfest goodies. |
| |
| **Interior view of the 30L-1,** after we spent 3 hours restoring the
interior and rewiringthe power supply for 240V mains. |
| **So nice and clean!** |
| |
| Interior view of the 30L-1. |
| |
| **The tower,** with 10-element [Tennadyne](https://www.tennadyne.com/default.htm) T-10 13-30 MHz LPDA on a 30 ft.
boom at 200 ft. over the ocean. |
| |
| [Tower, with Tennadyne LPDA. Click for Tennadyne site.](https://www.tennadyne.com/default.htm) |
| |
| **Two family members,** already guarding the new acquisition. |
| |
| Max and Molly, with Bruce in background. |
| |
| |
| **The new homebrew 20m 7-element Log-Yagi** in
position on the tower, with K1RX on the tower. |
| |
| The new 20m 7-element Log-Yagi in position on the tower, with K1RX on the tower. Photo by Bruce Marton, K1XR. |
| [View a slide show](../ss/k1xr/index.html)
of the antenna construction project. |
| |
| *for a thumbnail history of the Collins Radio Company.* |
| |
| Hot Links |
| |
| | [The
Collins Collectors' Association](https://www.collinsradio.com/) |
| | [The
Collins Radio Association](https://www.collinsra.org/) |
| | [Ian McLean's Australian Collins Page](https://www.angelfire.com/de/vk3kcm/) |
| | [Rockwell
Collins, Inc.](https://www.rockwellcollins.com/) |
| | [A
Brief History of Collins Mechanical Filters](horizons2012_32007.pdf) |
| | [A
History of the Collins Radio Company: WW2 to 1971](https://www.texasarchive.org/library/index.php?title=2013_00626) |
| | [Collins
Amateur Radio Club](https://www.collinsclubs.com/carc/) - *including the B-29 Radio
Project* |
| | [The
WA3KEY Virtual Collins Radio Museum](https://www.wa3key.com/collins.html) - *including
[HF-2050](https://www.wa3key.com/hf2050.html) and [95S-1(A)](https://www.wa3key.com/95s1.html)* |
| | [Roel,
PAØJTA's Collins Site & Picture Gallery](https://www.qsl.net/pa0jta/) |
| | [W8ZR's Collins HF-2050 Page](https://www.w8zr.net/vintage/receivers/hf2050.htm) |
| | [Collins 651S-1 HF Receiver](https://web.tiscali.it/milradio73/radio_651S1.html) |
| | [Collins Brochure: 618T-x
Airborne HF Transceiver](https://web.tiscali.it/milradio73/radio_618T.html) |
| | [Collins
Service Bulletin Index](https://www.hamanuals.com/Svcman.html) - *on the* [Hamanuals](https://www.hamanuals.com/)
*website* |
| | Dutch,
WB7DYW's
[R-390](https://www.qsl.net/wb7dyw/)
Page |
| | [WB4HFN's
Collins Home Page](https://www.wb4hfn.com/COLLINS/CollinsPageHome.htm) |
| | [WB4HFN's
Drake Home Page](https://www.wb4hfn.com/DRAKE) |
| | [José, EB5AGV's
Radio & Test Equipment Site](https://www.jvgavila.com/index.htm) - *including
[R-390A](https://www.jvgavila.com/r390a.htm)* |
| | The
Radio Era Archives [R390A/URR
Museum](https://www.radioera.com/r390a.htm) Radio Page |
| | [R.L. Drake
Company](https://www.rl-drake.com/) |
| | [The
Drake List Home Page](https://mailman.qth.net/mailman/listinfo/drake) |
| | [The Drake Virtual Museum](https://www.drakemuseum.com/) |
| | Terry
O'Laughlin's [Watkins-Johnson](https://watkins-johnson.terryo.org/) Site |
| | Rockwell-Collins
on [Wikipedia](https://en.wikipedia.org/wiki/Rockwell_Collins) |
| | [Adam, VA7OJ/AB4OJ's
Home Page](../index.html) |
| | |
| |
| [Rockwell Collins](https://www.rockwellcollins.com/)[R.L. Drake & Co.](https://www.rl-drake.com/) |
| |
|
We hope you enjoyed your virtual **Collins** and **Drake** tour. Please stop by
again.
|
| |
| **Collins** Winged
Emblem logo and S-line background by kind permission of [Mr. Ian McLean, VK3CM](mailto:i_mclean%20at%20excite%20period%20charlie%20oscar%20mike) |
| |
|
If you have comments or suggestions,
[e-mail Bruce, K1XR](mailto:bmarton_at_maine_dot_rr_dot_com) |
| |
| [Expression Web 4](https://www.microsoft.com/en-us/download/details.aspx?id=36179) |
| |
|
Page last updated:
09/25/19 |
|
| |
| --- |
|
|
|
| |
| Copyright © 1999-2019 A. Farson *(including
images except where noted).* All
rights reserved.. |
| https://www.ab4oj.com/k1xr/ |
<html>
<head>
<title>Javascript browser games for Nintendo DSi/3DS/2DS</title>
<META NAME="language" CONTENT="English">
<META NAME="country" CONTENT="Germany">
<META NAME="keywords" CONTENT="N3ds, Game,browser game, free, Javascript, Kielack, MSNTV, WebTV, Dreamcast, Spiel, Web Design, free, kostenlos, Online Game, ">
<META NAME="description" CONTENT="An overview Of javascript web browser games that Armin Kielack had optimised for Nintendo 3DS/ N2DS .">
<meta name="author" content="armin kielack">
<meta name="viewport" content="width=320, initial-scale=1, maximum-scale=1">
</head>
<body >
<div id="topscreen">
<h2>Froxot Browser Games for Nintendo DSi/3DS/2DS</h2>
Your Nintendo3DS (N3DS) or Nintendo DSi, and now also the Nintendo 2DS (N2DS), allow you to browse the internet.
If you do not have it yet, you can get it by downloading a system update.
<p>
And with the new internet browser you can not only surf the internet.
The Nintendo 3DS Internet browser allows you to play lots of smaller short games for which you would never
want to buy a cartridge. Below you can a see a list of webgames that were adapted for Nintendo Handheld systems.
</div>
<p> </p>
<div id="bottomscreen">
<table>
<tr><td><a href="colorcode.php"><img src="icon/colorcode60.png" height="60" width="60" /></a></td><td><font size=5><a href="colorcode.php">Break Color Code</a></font></td></tr>
<tr><td><a href="liquid/color-sort.php"><img src="icon/sortpuzz.png" height="60" width="60" /></a></td><td><font size=5><a href="liquid/color-sort.php">Liquid Color Sort</a></font></td></tr>
<tr><td><a href='sznill/box.php' ><img src="icon/pigs60.png" height="60" width="60" /></a> </td><td><font size=5> <a href='sznill/box.php' >Pigs-and-Sties</a></font></td></tr>
<tr><td><a href='getacross.php'><img src="icon/across60.png" height="60" width="60" /></a> </td><td><font size=5><a href='getacross.php'> Across</a></font></td></tr>
<tr><td><a href='sokoban_level.php'><img src="icon/sokoban60.png" height="60" width="60" /></a> </td><td><font size=5><a href='sokoban_level.php'>Sokoban</a></font></td></tr>
<tr><td><a href='sudoku.php?level=4&action=generate'><img src="icon/sudoku60.png" height="60" width="60"/></a> </td><td><font size=5> <a href='sudoku.php?level=4&action=generate'>Sudoku</a></font></td></tr>
<tr><td><a href='tetris.php'><img src="icon/tetris60.png" height="60" width="60" /></a> </td><td><font size=5><a href='tetris.php'>Tetris</a></font></td></tr>
<tr><td><a href='hanoi.php'><img src="icon/hanoi60.png" height="60" width="60" /></a> </td><td><font size=5><a href='hanoi.php'>Tower of Hanoi</a></font></td></tr>
<tr><td><a href="floodit.php"><img src="icon/floodit60.png" height="60" width="60" /></a></td><td><font size=5><a href="floodit.php">Flood It</a></font></td></tr>
<div style='background-color:green'></div>
<tr><td><a href='destroya_n3ds.php'><img src="icon/destroya60.png" height="60" width="60" /></a> </td><td><font size=5><a href='destroya_n3ds.php'>N3DS Battleship</a></font></td></tr>
<tr><td><a href='mines.php'><img src="icon/mines60.png" height="60" width="60" /></a> </td><td><font size=5><a href='mines.php'>3DS Minesweeper</a></font></td></tr>
<tr><td><a href='memory.php'><img src="icon/memory.png" height="60" width="60" /></a> </td><td><font size=5><a href='memory.php'>N3DS Memory</a></font></td></tr>
<tr><td><a href='tic-tac-toe/tic-tac-toe-start.htm'><img src="icon/tictactoe60.png" height="60" width="60" /></a> </td><td><font size=5><a href='tic-tac-toe/tic-tac-toe-start.htm'>Tic Tac Toe</a></font></td></tr>
<tr><td><a href='taipei.php'><img src="icon/taipei60.png" height="60" width="60" /></a> </td><td><font size=5><a href='taipei.php'>Taipei</a></font></td></tr>
<tr><td><a href='trove_n3ds.php'><img src="icon/trove60.png" height="60" width="60" /></a> </td><td><font size=5><a href='trove_n3ds.php'>Treasure Trove</a></font></td></tr>
<tr><td><a href='rotos.php'><img src="icon/rotos60.png" height="60" width="60" /></a> </td><td><font size=5><a href='rotos.php'>Rotos</a></font></td></tr>
<tr><td><a href='solitair.php'><img src="icon/solitair60.png" height="60" width="60" /></a> </td><td><font size=5><a href='solitair.php'>Marble Solitair</a></font></td></tr>
<tr><td><a href='sudoku6.php?level=4&action=generate'><img src="icon/sudoku660.png" height="60" width="60" /></a> </td><td><font size=5><a href='sudoku6.php?level=4&action=generate'>Kids-Sudoku</a></font></td></tr>
<tr><td><a href='sznill/sznill_single.php'><img src="icon/sznill60.png" height="60" width="60" /></a> </td><td><font size=5><a href='sznill/sznill_single.php'>sznill puzzle</a></font></td></tr>
<tr><td><a href='sznill/sznill.php'><img src="icon/sznillbattle60.png" height="60" width="60" /></a> </td><td><font size=5><a href='sznill/sznill.php'>sznill battle</a></font></td></tr>
<tr><td><a href='lines.php'><img src="icon/lines60.png" height="60" width="60" /></a></td><td><font size=5><a href='lines.php'>Funky Lines</a></font></td></tr>
<tr><td><a href='triple-search.php'><img src="icon/triple60.png" height="60" width="60" /></a></td><td><font size=5><a href='triple-search.php'>Search Triples</a></font></td></tr>
<tr><td><a href='color.php'><img src="icon/colors60.png" height="60" width="60" /></a></td><td><font size=5><a href='color.php'>Colors</a></font></td></tr>
<tr><td><a href='zamba.php'><img src="icon/zamba60.png" height="60" width="60" /></a></td><td><font size=5><a href='zamba.php'>Ramba Zamba</a></font></td></tr>
<tr><td><a href='balls.php'><img src="icon/balls60.png" height="60" width="60" /></a></td><td><font size=5><a href='balls.php'>Falling Balls</a></font></td></tr>
<tr><td><a href='castle.php'><img src="icon/castle60.png" height="60" width="60" /></a></td><td><font size=5><a href='castle.php'>Castle Puzzle</a></font></td></tr>
<tr><td><a href='hardpuzz.php'><img src="icon/hardpuzz60.png" height="60" width="60" /></a></td><td><font size=5><a href='hardpuzz.php'>Hard Abstract Puzzle</a></font></td></tr>
<tr><td><a href='ticknine.php'><img src="icon/ticknine60.png" height="60" width="60" /></a></td><td><font size=5><a href='ticknine.php'>Ticknine Dice Game</a></font></td></tr>
<tr><td><a href='calcdoku.php'><img src="icon/calcdoku60.png" height="60" width="60" /></a></td><td><font size=5><a href='calcdoku.php'>CalcDoku/MathDoku</a></font></td></tr>
<tr><td><a href='kidsmaze.php'><img src="icon/maze60.png" height="60" width="60" /></a></td><td><font size=5><a href='kidsmaze.php'>KidsMaze</a></font></td></tr>
<tr><td><a href='truckgame.php'><img src="icon/truckgame60.png" height="60" width="60" /></a></td><td><font size=5><a href='truckgame.php'>Truck Sort</a></font></td></tr>
<tr><td><a href='simpletruckgame.php'><img src="icon/simpletruck60.png" height="60" width="60" /></a></td><td><font size=5><a href='simpletruckgame.php'>Simple Truck Sort</a></font></td></tr>
<tr><td><a href='jumpline.php'><img src="icon/jumpline60.png" height="60" width="60" /></a></td><td><font size=5><a href='jumpline.php'>Jump in Line</a></font></td></tr>
<tr><td><a href='oasis.php'><img src="icon/oasis60.png" height="60" width="60" /></a></td><td><font size=5><a href='oasis.php'>Oasis</a></font></td></tr>
<tr><td><a href='flowcontrol.php'><img src="icon/flowcontrol60.png" height="60" width="60" /></a></td><td><font size=5><a href='flowcontrol.php'>Flow Controller</a></font></td></tr>
<tr><td><a href='roofdrop.php'><img src="icon/roofdrop60.png" height="60" width="60" /></a></td><td><font size=5><a href='roofdrop.php'>RoofDrop</a></font></td></tr>
<tr><td><a href='pipedrop.php'><img src="icon/pipedrop60.png" height="60" width="60" /></a></td><td><font size=5><a href='pipedrop.php'>PipeDrop</a></font></td></tr>
<tr><td><a href='checker.htm'><img src="icon/mathcheck.png" height="60" width="60" /></a></td><td><font size=5><a href='checker.htm'>Check Math</a></font></td></tr>
<tr><td><a href="http://www.kielack.de/games/calctrainer.php" ><img src="icon/mathtrain.png" height="60" width="60" /></a></td><td><font size=5><a href="http://www.kielack.de/games/calctrainer.php" >train + - * and / </a></font></td></tr>
<tr><td><a href='lights.php'><img src="icon/light60.png" height="60" width="60" /></a></td><td><font size=5><a href='lights.php'>LightsOut</a></font></td></tr>
<tr><td><a href='huarong_dao.php'><img src="icon/huarong60.png" height="60" width="60" /></a></td><td><font size=5><a href='huarong_dao.php'>Huarong Dao</a></font></td></tr>
<tr><td><a href="pattern.php" ><img src="icon/pattern60.png" height="60" width="60" /></a></td><td><font size=5><a href='pattern.php'>Memorise Pattern</a></font></td></tr>
<tr><td><a href="advmaze.php"><img src="icon/advmaze.png" height="60" width="60" /></a></td><td><font size=5><a href='advmaze.php'>simple adventure maze</a></font></td></tr>
<tr><td> </td><td><font size=5><a href="eliza.php">Eliza</a></font></td></tr>
<tr><td> </td><td><font size=5><a href="highscore/comments.php">CommentBox</a></font></td></tr>
<tr><td> </td><td><font size=5><a href="vocab/index.php">personal vocab. trainer</a></font></td></tr>
</table>
<script type="text/javascript"><!--
google_ad_client = "ca-pub-5304247048860588";
/* 3ds_block */
google_ad_slot = "6545798194";
google_ad_width = 234;
google_ad_height = 60;
//-->
</script>
<script type="text/javascript"
src="//pagead2.googlesyndication.com/pagead/show_ads.js">
</script>
<p>
I have programmed also <a href='http://www.kielack.de/games.htm'>more javascript browser games</a> for other systems
</div>
</body>
<html> |
Javascript browser games for Nintendo DSi/3DS/2DS
## Froxot Browser Games for Nintendo DSi/3DS/2DS
Your Nintendo3DS (N3DS) or Nintendo DSi, and now also the Nintendo 2DS (N2DS), allow you to browse the internet.
If you do not have it yet, you can get it by downloading a system update.
And with the new internet browser you can not only surf the internet.
The Nintendo 3DS Internet browser allows you to play lots of smaller short games for which you would never
want to buy a cartridge. Below you can a see a list of webgames that were adapted for Nintendo Handheld systems.
| | |
| --- | --- |
| | [Break Color Code](colorcode.php) |
| | [Liquid Color Sort](liquid/color-sort.php) |
| | [Pigs-and-Sties](sznill/box.php) |
| | [Across](getacross.php) |
| | [Sokoban](sokoban_level.php) |
| | [Sudoku](sudoku.php?level=4&action=generate) |
| | [Tetris](tetris.php) |
| | [Tower of Hanoi](hanoi.php) |
| | [Flood It](floodit.php) |
| | [N3DS Battleship](destroya_n3ds.php) |
| | [3DS Minesweeper](mines.php) |
| | [N3DS Memory](memory.php) |
| | [Tic Tac Toe](tic-tac-toe/tic-tac-toe-start.htm) |
| | [Taipei](taipei.php) |
| | [Treasure Trove](trove_n3ds.php) |
| | [Rotos](rotos.php) |
| | [Marble Solitair](solitair.php) |
| | [Kids-Sudoku](sudoku6.php?level=4&action=generate) |
| | [sznill puzzle](sznill/sznill_single.php) |
| | [sznill battle](sznill/sznill.php) |
| | [Funky Lines](lines.php) |
| | [Search Triples](triple-search.php) |
| | [Colors](color.php) |
| | [Ramba Zamba](zamba.php) |
| | [Falling Balls](balls.php) |
| | [Castle Puzzle](castle.php) |
| | [Hard Abstract Puzzle](hardpuzz.php) |
| | [Ticknine Dice Game](ticknine.php) |
| | [CalcDoku/MathDoku](calcdoku.php) |
| | [KidsMaze](kidsmaze.php) |
| | [Truck Sort](truckgame.php) |
| | [Simple Truck Sort](simpletruckgame.php) |
| | [Jump in Line](jumpline.php) |
| | [Oasis](oasis.php) |
| | [Flow Controller](flowcontrol.php) |
| | [RoofDrop](roofdrop.php) |
| | [PipeDrop](pipedrop.php) |
| | [Check Math](checker.htm) |
| | [train + - \* and /](http://www.kielack.de/games/calctrainer.php) |
| | [LightsOut](lights.php) |
| | [Huarong Dao](huarong_dao.php) |
| | [Memorise Pattern](pattern.php) |
| | [simple adventure maze](advmaze.php) |
| | [Eliza](eliza.php) |
| | [CommentBox](highscore/comments.php) |
| | [personal vocab. trainer](vocab/index.php) |
<!--
google\_ad\_client = "ca-pub-5304247048860588";
/\* 3ds\_block \*/
google\_ad\_slot = "6545798194";
google\_ad\_width = 234;
google\_ad\_height = 60;
//-->
I have programmed also [more javascript browser games](http://www.kielack.de/games.htm) for other systems
| http://froxot.de/ |
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<HTML>
<HEAD>
<SCRIPT LANGUAGE="JavaScript">
strLocation = window.location + "";
nIndex = strLocation.indexOf("index.html");
if (nIndex > 0)
{
strBase = strLocation.substring(0, nIndex);
}
else
{
strBase = window.location.href;
}
strBase += "turkeypenpickerswebpage/";
document.writeln("<BASE HREF='" + strBase + "'>");
</SCRIPT>
<TITLE>turkey pen pickers web page</TITLE>
<META NAME="generator" CONTENT="Web Studio, Version 4.0 SP4 for Windows">
<META NAME="creation-date" CONTENT="Wed, 02 Apr, 2008 13:51:14 PST">
<META NAME="website-id" CONTENT="WSSITE7D8331A1626252AF0">
<META NAME="author" CONTENT="Turkey Pen Pickers">
<META NAME="description" CONTENT="bluegrass band from the Eastern Shore of Virginia loves to play, have a good time, and perform at functions on the Eastern Shore.">
<META NAME="keywords" CONTENT="bluegrass music eastern shore banjo mandolin aeschliman candy scholarship fund caisson philpot drury stith eddy songs">
<style type="text/css">
p {margin-top:0}
</style>
<STYLE TYPE="text/css">
<!--
a:link { text-decoration:underline; color: black;}
a:visited { text-decoration:underline; color: #0000a0;}
a:hover { text-decoration:underline; color: #00ff40;}
-->
</STYLE>
</HEAD>
<BODY BACKGROUND="HomePage/IMAG000.GIF" style="margin:0 0 1px 0; height:100%">
<TABLE width="1127" border="0" CELLPADDING="0" CELLSPACING="0" align="center">
<tr>
<td>
<DIV ID="CTRDIV" style="position:absolute; padding: 0px; height:100%; width: 1127px">
<DIV ID="TXTOBJ7D54617101B1C1F1" STYLE=" position:absolute; top:558px; left:249px; width:743px; height:200px; z-index:0;">
<DIV style="BORDER-TOP-WIDTH: 0px; BORDER-LEFT-WIDTH: 0px; FONT-SIZE: 10pt; BORDER-BOTTOM-WIDTH: 0px; MARGIN: 1px; COLOR: #000000; FONT-FAMILY: Comic Sans MS; BACKGROUND-COLOR: transparent; BORDER-RIGHT-WIDTH: 0px" link=#ff0000>
<FONT style="FONT-SIZE: 18pt">
<FONT color=#ffff00>
Welcome to the official web site of the Turkey Pen Pickers, a bluegrass band originating from Craddockville(nee Turkey Pen) on Virginia's beautiful Eastern Shore. The group has been jamming together for four years now and usually gets together on Thursday nights at the Chair Place in Craddockville. We welcome any new or old players to stop by and play with us.
</FONT>
</FONT>
</DIV>
</DIV>
<DIV ID="TXTOBJ7D54018B3B1F6D1" STYLE=" position:absolute; top:1663px; left:128px; width:115px; height:32px; z-index:1;">
<DIV style="BORDER-TOP-WIDTH: 0px; BORDER-LEFT-WIDTH: 0px; FONT-SIZE: 10pt; BORDER-BOTTOM-WIDTH: 0px; MARGIN: 1px; COLOR: #000000; FONT-FAMILY: Times New Roman; BACKGROUND-COLOR: transparent; BORDER-RIGHT-WIDTH: 0px" link=#ff0000>
<CENTER>
<FONT style="FONT-SIZE: 18pt">
<STRONG><FONT style="FONT-SIZE: 16pt" face="Comic Sans MS" color=#ffff00>
<A class=a href="Biography.html" name=Biography>Biography</A></FONT>
</STRONG></FONT>
</CENTER>
</DIV>
</DIV>
<DIV ID="TXTOBJ7D54018B3B23CB1" STYLE=" position:absolute; top:926px; left:102px; width:143px; height:37px; z-index:2;">
<DIV style="BORDER-TOP-WIDTH: 0px; BORDER-LEFT-WIDTH: 0px; FONT-SIZE: 10pt; BORDER-BOTTOM-WIDTH: 0px; MARGIN: 1px; COLOR: #000000; FONT-FAMILY: Times New Roman; BACKGROUND-COLOR: transparent; BORDER-RIGHT-WIDTH: 0px" link=#ff0000>
<CENTER>
<STRONG><FONT style="FONT-SIZE: 18pt" face="Comic Sans MS" color=#ffff00>
<A class=a href="Song_List.html" name="Song List">Song List</A></FONT>
</STRONG></CENTER>
</DIV>
</DIV>
<DIV ID="TXTOBJ7D54018C4382801" STYLE=" position:absolute; top:1705px; left:575px; width:309px; height:37px; z-index:3;">
<DIV style="BORDER-TOP-WIDTH: 0px; BORDER-LEFT-WIDTH: 0px; FONT-SIZE: 10pt; BORDER-BOTTOM-WIDTH: 0px; MARGIN: 1px; COLOR: #000000; FONT-FAMILY: Times New Roman; BACKGROUND-COLOR: transparent; BORDER-RIGHT-WIDTH: 0px" link=#ff0000>
<CENTER>
<STRONG><FONT style="FONT-SIZE: 18pt" face="Comic Sans MS" color=#ffff00>
<A class=a title="Candy's Scholarship Fund" href="Candys_Scholarship_Fund.html" name="Candy's Scholarship Fund">Candy's Scholarship Fund</A></FONT>
</STRONG></CENTER>
</DIV>
</DIV>
<DIV ID="TXTOBJ7D54018CA163991" STYLE=" position:absolute; top:1704px; left:212px; width:196px; height:37px; z-index:4;">
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</STRONG></CENTER>
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Luke, Candy, Wade, Tom
</FONT>
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Bill, Drury, Eddy, Allen C.
</FONT>
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Some nites we play at Tom's Workshop
</FONT>
</DIV>
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Rae
</FONT>
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<FONT style="FONT-SIZE: 10pt" color=#ffff00>
Original pickers
</FONT>
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</DIV>
</div>
</td>
</tr>
</table>
</BODY>
</HTML>
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turkey pen pickers web page
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| --- |
|
Welcome to the official web site of the Turkey Pen Pickers, a bluegrass band originating from Craddockville(nee Turkey Pen) on Virginia's beautiful Eastern Shore. The group has been jamming together for four years now and usually gets together on Thursday nights at the Chair Place in Craddockville. We welcome any new or old players to stop by and play with us.
**[Biography](Biography.html)**
**[Song List](Song_List.html)**
**[Candy's Scholarship Fund](Candys_Scholarship_Fund.html "Candy's Scholarship Fund")**
**[Schedule/News](ScheduleNews.html "Schedule/News")**
**[Biography](Biography.html)**
**[Song List](Song_List.html)**
**[Candys Scholarship Fund](Candys_Scholarship_Fund.html)**
Luke, Candy, Wade, Tom
Bill, Drury, Eddy, Allen C.
**[ScheduleNews](ScheduleNews.html)**
**[Song List](Song_List.html)**
**[Contact Us](Contact_Us.html "Contact Us")**
**[Contact Us](Contact_Us.html "Contact Us")**
Some nites we play at Tom's Workshop
Rae
Original pickers
**[Photo Gallery](Photo_Gallery.html "Photo Gallery")**
|
| http://turkeypen.esva.net/ |
<html><head><title>All Hail Hypnotoad!</title></head>
<body>
<img src="hypnotoad.gif">
<embed src="hypnotoad.mp3" width=1 height=1 border="0" autostart="true" autoplay="true" loop="true" volume="100%">
</body></html>
| All Hail Hypnotoad!
| http://hypnotoad.esva.net/ |
<head><title>Not Acceptable!</title></head><body><h1>Not Acceptable!</h1><p>An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod_Security.</p></body></html> | Not Acceptable!# Not Acceptable!
An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod\_Security.
| http://theabsolute.net/minefield/ |
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN"
"http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">
<!-- scots.html K. J. Turner 26/05/23 -->
<html xmlns="http://www.w3.org/1999/xhtml">
<head>
<title>Scots Tongue</title>
<link rev="made" href="http://www.cs.stir.ac.uk/~kjt/"/>
<meta name="keywords" content="dialect Scotland Scottish Scots tongue"/>
</head>
<body background="vellum.gif">
<div style="text-align: center">
<h1>Scots Tongue</h1>
<img src="scotland-small.gif" alt="Scotland Map"/>
</div>
<blockquote>
<img src="dot-purple.gif" alt="Purple Dot" width="14" height="14"/>
<a href="#Scots">Scots Tongue</a>
<br/>
<img src="dot-purple.gif" alt="Purple Dot" width="14" height="14"/>
<a href="#Pronunciation">Scottish Pronunciation</a>
<br/>
<img src="dot-purple.gif" alt="Purple Dot" width="14" height="14"/>
<a href="#ScotshWords">Scottish Words</a>
<br/>
<img src="dot-purple.gif" alt="Purple Dot" width="14" height="14"/>
<a href="#GivenNames">Scottish Given Names</a>
<br/>
<img src="dot-purple.gif" alt="Purple Dot" width="14" height="14"/>
<a href="#Sayings">Scottish Sayings</a>
<br/>
<img src="dot-purple.gif" alt="Purple Dot" width="14" height="14"/>
<a href="#FamilyNames">Scottish Family Names</a>
<br/>
<img src="dot-purple.gif" alt="Purple Dot" width="14" height="14"/>
<a href="#PlaceNames">Scottish Place Names</a>
</blockquote>
<img src="warn-red-small.gif" alt="Warning"/> This is an informal guide to the
Scots tongue for the benefit of occasional visitors to Scotland or readers of
Scottish literature. It makes no claims to be authoritative, complete or
accurate.
<h2><a id="Scots" name="Scots">Scots Tongue</a></h2>
<p>
A visitor to Scotland is most likely to come across standard English
pronounced in the local fashion. However Scotland has its own distinct
language. Apart from the Scots Tongue, Scotland also claims a second
language - Gaelic (which has affinities to Irish Gaelic, Welsh, ancient
Cornish and Breton).
</p>
<p>
The Scots language evolved from Anglo-Saxon; a parallel development led to
English. Other influences on Scots included Latin, Norse, French and Gaelic.
Scots first became widespead in the 14th century, and was commonly used at
the Scottish court.
</p>
<p>
Major regions in Scotland (e.g. Aberdeen, Ayrshire, Glasgow, Edinburgh,
Fife, Inverness) have their own distinct accents and dialect words. See,
for example, the Glasgow <em>Patter</em> books by Michael Munro (Holmes
McDougall, Glasgow). Many older words survive thanks to the poetry of
Robert Burns and others. Only words in general use are included below.
There are dictionaries of Scottish words, e.g. the <em>Concise Scots
Dictionary</em> (Aberdeen University Press).
</p>
<p>
The following web links may be useful:
</p>
<ul>
<li>
<a href="https://accent-map.expedia.co.uk/" target="_blank"
rel="noopener noreferrer">Accent Map of The British Isles</a>
</li>
<li>
<a href="https://www.dsl.ac.uk/" target="_blank"
rel="noopener noreferrer">Dictionary of The Scots Language</a>
</li>
<li>
<a href="https://www.scots-online.org/" target="_blank"
rel="noopener noreferrer">Online Scots Dictionary and Pronunciation
Guide</a>
</li>
<li>
<a href="https://www.scotslanguage.com/" target="_blank"
rel="noopener noreferrer">Scots Language Centre</a>
</li>
<li>
<a href="https://scotsthesaurus.org/" target="_blank"
rel="noopener noreferrer">Historical Thesaurus of Scots</a>
</li>
<li>
<a href="https://www.scottishcorpus.ac.uk/" target="_blank"
rel="noopener noreferrer">Scottish Corpus of Texts and Speech</a>
</li>
<li>
<a href="https://stooryduster.co.uk/" target="_blank" rel="noopener noreferrer">Scottish Words
Illustrated</a>
</li>
</ul>
<h2><a id="Pronunciation" name="Pronunciation">Scots Pronunciation</a></h2>
<center>
<table border="1">
<tr>
<th align="left" width="20%">Sound/Word</th>
<th align="left" width="80%">Pronunciation</th>
</tr>
<tr>
<td>ch</td>
<td>
This is an aspirated ‘k’ sound as in the German
‘ach’.
</td>
</tr>
<tr>
<td>Gaelic</td>
<td>
This celtic language spoken in Scotland (‘Gàidhlig’)
has a whole range of sounds that can be best learned by hearing them.
</td>
</tr>
<tr>
<td>glottal stop</td>
<td>
In some areas of Scotland (e.g. Glasgow), the final ‘t’ of
a syllable is not pronounced. Instead the throat is closed to cut the
word off. Thus ‘bit’ might sound more like ‘bih’
(with a short and truncated vowel), or ‘water’ as
‘wa-er’.
</td>
</tr>
<tr>
<td>-ing</td>
<td>
The final ‘g’ is often elided (e.g. ‘walking’
sounds like ‘walkin’).
</td>
</tr>
<tr>
<td>Milngavie</td>
<td>
A town near Glasgow whose pronunciation is commonly used to confuse
visitors (‘Mil-guy’ or ‘Mul-guy’).
</td>
</tr>
<tr>
<td>qu</td>
<td>
This is silent in some proper names (e.g. Colquhoun =
‘Co-hoon’).
</td>
</tr>
<tr>
<td>r</td>
<td>This is rolled on the tongue.</td>
</tr>
<tr>
<td>stress</td>
<td>
The pattern of stress is usually that of English, but in some
proper names the last syllable is stressed (e.g.
Dun-<strong>bar</strong>, Dun-<strong>lop</strong>).
</td>
</tr>
<tr>
<td>z</td>
<td>
This is silent in some proper names (e.g. Culzean =
‘Cul-ain’, Dalziel = ‘Dee-el’, Menzies =
‘Ming-is’).
</td>
</tr>
</table>
</center>
<h2><a id="ScotshWords" name="ScotshWords">Scots Words</a></h2>
<p>
The following list gives sample Scottish words that a visitor or reader
might come across, and is certainly not complete. Most words are likely to
be used only in Scotland, but some are known to English speakers in general.
The spelling of some words is unclear as the language is mostly spoken. Some
words also have other meanings.
</p>
<center>
<table border="1">
<tr>
<th align="left" width="20%">Scottish</th>
<th align="left" width="80%">Standard English</th>
</tr>
<tr>
<td>-a</td>
<td>-ow (e.g. ‘arra’, ‘ra morra’)</td>
</tr>
<tr>
<td>a'</td>
<td>all</td>
</tr>
<tr>
<td>Aberdonian</td>
<td>of/from Aberdeen</td>
</tr>
<tr>
<td>aboot</td>
<td>about</td>
</tr>
<tr>
<td>ae</td>
<td>of</td>
</tr>
<tr>
<td>-ae</td>
<td>
‘have’ as a suffix to a verb (widae = would have)
</td>
</tr>
<tr>
<td>aebody</td>
<td>anybody</td>
</tr>
<tr>
<td>agin</td>
<td>against</td>
</tr>
<tr>
<td>aff</td>
<td>off</td>
</tr>
<tr>
<td>Ah</td>
<td>I</td>
</tr>
<tr>
<td>ain</td>
<td>own</td>
</tr>
<tr>
<td>aglae</td>
<td>awry</td>
</tr>
<tr>
<td>an'</td>
<td>and</td>
</tr>
<tr>
<td>ane</td>
<td>one</td>
</tr>
<tr>
<td>aroun</td>
<td>around</td>
</tr>
<tr>
<td>Athol brose</td>
<td>sweet oatmeal dessert</td>
</tr>
<tr>
<td>auld</td>
<td>old</td>
</tr>
<tr>
<td>Auld Reekie</td>
<td>nickname for Edinburgh</td>
</tr>
<tr>
<td>Auld Lang Syne</td>
<td>
a poem by Burns widely sung at New Year (literally ‘old long
since’, sometimes incorrectly quoted as ‘for the sake of
auld lang syne’)
</td>
</tr>
<tr>
<td>aw</td>
<td>all</td>
</tr>
<tr>
<td>awa</td>
<td>away</td>
</tr>
<tr>
<td>awfu, awfy</td>
<td>awfully</td>
</tr>
<tr>
<td>bahookie</td>
<td>behind (buttocks)</td>
</tr>
<tr>
<td>bairn</td>
<td>child</td>
</tr>
<tr>
<td>bampot (Glaswegian)</td>
<td>headcase</td>
</tr>
<tr>
<td>bannock</td>
<td>biscuit or scone</td>
</tr>
<tr>
<td>(The) Barras</td>
<td>
outdoor street market in Glasgow (‘The Barrows’, Barrowland)
</td>
</tr>
<tr>
<td>bauchle</td>
<td>
worn-out shoe (literally), an old and dishevelled man (figuratively)
</td>
</tr>
<tr>
<td>ba'heid, bawheid</td>
<td>bald headed person</td>
</tr>
<tr>
<td>baw</td>
<td>ball</td>
</tr>
<tr>
<td>bawbee</td>
<td>an old penny</td>
</tr>
<tr>
<td>ben</td>
<td>mountain</td>
</tr>
<tr>
<td>ben</td>
<td>inside (e.g. ‘cam ben the hoose’)</td>
</tr>
<tr>
<td>besom</td>
<td>broom (literally), difficult woman (figuratively)</td>
</tr>
<tr>
<td>bide</td>
<td>stay</td>
</tr>
<tr>
<td>bidie-in</td>
<td>live-in partner</td>
</tr>
<tr>
<td>bile</td>
<td>
boil (e.g. ‘Awa an bile yer heid!’ = ‘Get lost!’)
</td>
</tr>
<tr>
<td>birl</td>
<td>spin</td>
</tr>
<tr>
<td>blae</td>
<td>blue</td>
</tr>
<tr>
<td>blaeberry</td>
<td>bilberry</td>
</tr>
<tr>
<td>blether</td>
<td>(idle) chatter</td>
</tr>
<tr>
<td>blootered</td>
<td>very drunk</td>
</tr>
<tr>
<td>Blue Train</td>
<td>Glasgow suburban train</td>
</tr>
<tr>
<td>boak</td>
<td>vomit, retch</td>
</tr>
<tr>
<td>body</td>
<td>person (e.g. ‘Whit's a body tae dae?’)</td>
</tr>
<tr>
<td>bogle</td>
<td>phantom</td>
</tr>
<tr>
<td>bonnie, bonny</td>
<td>beautiful</td>
</tr>
<tr>
<td>bonspiel</td>
<td>(ice) curling tournament</td>
</tr>
<tr>
<td>bowf</td>
<td>smell strongly</td>
</tr>
<tr>
<td>brae</td>
<td>slope</td>
</tr>
<tr>
<td>braw</td>
<td>fine</td>
</tr>
<tr>
<td>breenge</td>
<td>rush</td>
</tr>
<tr>
<td>breeks</td>
<td>trousers</td>
</tr>
<tr>
<td>bridie</td>
<td>meat in pastry pie</td>
</tr>
<tr>
<td>broch</td>
<td>prehistoric circular stone tower</td>
</tr>
<tr>
<td>broon</td>
<td>
brown (‘The Broons’ is a well-known cartoon from the Sunday
Post newspaper)
</td>
</tr>
<tr>
<td>brose</td>
<td>broth made using oatmeal</td>
</tr>
<tr>
<td>bumfle</td>
<td>bump or raised area (in cloth)</td>
</tr>
<tr>
<td>bunnet</td>
<td>cap (bonnet)</td>
</tr>
<tr>
<td>burn</td>
<td>stream</td>
</tr>
<tr>
<td>Burns Supper</td>
<td>
a traditional dinner to celebrate the birth of famous Scottish poet
Robert Burns (25th January)
</td>
</tr>
<tr>
<td>buroo</td>
<td>
employment bureau (‘on the buroo’ = receiving unemployment
benefit)
</td>
</tr>
<tr>
<td>but and ben</td>
<td>cottage</td>
</tr>
<tr>
<td>ca', caw</td>
<td>call</td>
</tr>
<tr>
<td>ca'/caw canny</td>
<td>be careful</td>
</tr>
<tr>
<td>caber</td>
<td>
a log used in the traditional game of ‘tossing the caber’
</td>
</tr>
<tr>
<td>cam</td>
<td>came</td>
</tr>
<tr>
<td>canny</td>
<td>careful</td>
</tr>
<tr>
<td>cauld</td>
<td>cold</td>
</tr>
<tr>
<td>caw</td>
<td>drive, turn (e.g. rope, wheel)</td>
</tr>
<tr>
<td>ceilidh</td>
<td>a traditional event with music and dancing</td>
</tr>
<tr>
<td>chanty</td>
<td>chamber pot</td>
</tr>
<tr>
<td>chiel</td>
<td>fellow</td>
</tr>
<tr>
<td>chuckie</td>
<td>pebble</td>
</tr>
<tr>
<td>chust (Highland)</td>
<td>just</td>
</tr>
<tr>
<td>claes</td>
<td>clothes</td>
</tr>
<tr>
<td>clarty</td>
<td>dirty</td>
</tr>
<tr>
<td>claymore</td>
<td>the traditional Scottish broad sword (‘Gaelic claidheamh
mhor’ - great sword)</td>
</tr>
<tr>
<td>clegg</td>
<td>horsefly</td>
</tr>
<tr>
<td>Clockwork Orange</td>
<td>
nickname for the Glasgow underground due to the colour of the coaches
</td>
</tr>
<tr>
<td>cloot</td>
<td>cloth, clothing</td>
</tr>
<tr>
<td>clootie dumpling</td>
<td>a pudding (like Christmas pudding) steamed in a cloth</td>
</tr>
<tr>
<td>close</td>
<td>common stairwell in a tenement</td>
</tr>
<tr>
<td>cludgie</td>
<td>toilet</td>
</tr>
<tr>
<td>clype</td>
<td>telltale</td>
</tr>
<tr>
<td>cock-a-leekie</td>
<td>chicken and leek soup</td>
</tr>
<tr>
<td>coo</td>
<td>cow</td>
</tr>
<tr>
<td>coorie</td>
<td>hide, nestle</td>
</tr>
<tr>
<td>coorie doon</td>
<td>cuddle down (to sleep)</td>
</tr>
<tr>
<td>cootie</td>
<td>louse, nit</td>
</tr>
<tr>
<td>corbie</td>
<td>raven, crow</td>
</tr>
<tr>
<td>corrie-fisted</td>
<td>left-handed</td>
</tr>
<tr>
<td>coup, cowp</td>
<td>tip over, tumble, dump</td>
</tr>
<tr>
<td>couthy</td>
<td>genial</td>
</tr>
<tr>
<td>crabbit</td>
<td>ill-tempered</td>
</tr>
<tr>
<td>cratur</td>
<td>creature (used jocularly for whisky)</td>
</tr>
<tr>
<td>craw</td>
<td>crow (‘shoot the craw’ = go away)</td>
</tr>
<tr>
<td>Crivens!</td>
<td>Crumbs!</td>
</tr>
<tr>
<td>croft(er)</td>
<td>small-scale farm(er)</td>
</tr>
<tr>
<td>crowdie</td>
<td>
curd cheese (Highlands), oatmeal and water or buttermilk (Lowlands)
</td>
</tr>
<tr>
<td>cud</td>
<td>could</td>
</tr>
<tr>
<td>Cullen Skink</td>
<td>soup made with smoked haddock</td>
</tr>
<tr>
<td>cundie (Dundonian)</td>
<td>drain at side of road</td>
</tr>
<tr>
<td>dae</td>
<td>do</td>
</tr>
<tr>
<td>daunce</td>
<td>
dance (an old riposte: ‘Are ye dauncin? No it's just the way ah'm
staunin.’)
</td>
</tr>
<tr>
<td>deid</td>
<td>dead</td>
</tr>
<tr>
<td>de'il</td>
<td>devil</td>
</tr>
<tr>
<td>dike</td>
<td>wall</td>
</tr>
<tr>
<td>dod</td>
<td>lump</td>
</tr>
<tr>
<td>dominie</td>
<td>schoolmaster</td>
</tr>
<tr>
<td>donnert</td>
<td>stunned</td>
</tr>
<tr>
<td>doo</td>
<td>dove (or pigeon)</td>
</tr>
<tr>
<td>doocot</td>
<td>dovecot</td>
</tr>
<tr>
<td>dook</td>
<td>
duck (in the sense of wetting - ‘dooking for apples’ is a
Halloween game involving placing your face into a basin of water to
retrieve a floating apple by biting on it)
</td>
</tr>
<tr>
<td>doon</td>
<td>down (‘doon the watter’ is a trip down the Clyde)</td>
</tr>
<tr>
<td>doot</td>
<td>doubt (‘Ah hae ma doots’ = I'm doubtful)</td>
</tr>
<tr>
<td>Doric</td>
<td>Abderdonian dialect</td>
</tr>
<tr>
<td>dram</td>
<td>small quantity of whisky</td>
</tr>
<tr>
<td>drap, drappie</td>
<td>drop</td>
</tr>
<tr>
<td>dreep</td>
<td>drip (also used of dropping off a wall)</td>
</tr>
<tr>
<td>dreich</td>
<td>miserable, cold and wet (weather)</td>
</tr>
<tr>
<td>drookit</td>
<td>soaking wet</td>
</tr>
<tr>
<td>drouth(y)</td>
<td>thirst(y)</td>
</tr>
<tr>
<td>dug</td>
<td>dog</td>
</tr>
<tr>
<td>dunderheid</td>
<td>idiot</td>
</tr>
<tr>
<td>Dundonian</td>
<td>of/from Dundee</td>
</tr>
<tr>
<td>dunt</td>
<td>bump</td>
</tr>
<tr>
<td>dunny</td>
<td>room at bottom of tenement</td>
</tr>
<tr>
<td>dwam</td>
<td>daydream</td>
</tr>
<tr>
<td>dyke</td>
<td>wall</td>
</tr>
<tr>
<td>ee, een</td>
<td>eye, eyes</td>
</tr>
<tr>
<td>eechie ochie</td>
<td>neither here nor there</td>
</tr>
<tr>
<td>een</td>
<td>eyes</td>
</tr>
<tr>
<td>eejit</td>
<td>idiot</td>
</tr>
<tr>
<td>efter</td>
<td>after</td>
</tr>
<tr>
<td>erse</td>
<td>arse</td>
</tr>
<tr>
<td>fae</td>
<td>from</td>
</tr>
<tr>
<td>faimly</td>
<td>family</td>
</tr>
<tr>
<td>fair</td>
<td>somewhat (e.g. ‘fair taken wi’)</td>
</tr>
<tr>
<td>Fair (fortnight)</td>
<td>
traditional summer holiday period in Glasgow (the second two weeks
of July, e.g. ‘where are ye gaun fur the Fair?’)
</td>
</tr>
<tr>
<td>faither</td>
<td>father</td>
</tr>
<tr>
<td>fankle</td>
<td>(twisted) mess</td>
</tr>
<tr>
<td>fash</td>
<td>bother (‘dinnae fash yersel’ = don't bother yourself)</td>
</tr>
<tr>
<td>feart</td>
<td>afraid</td>
</tr>
<tr>
<td>ferm(er)</td>
<td>farm(er)</td>
</tr>
<tr>
<td>first foot</td>
<td>
the first visitor in the New Year (who, for good luck, should be
handsome and bring a gift such as a piece of coal)
</td>
</tr>
<tr>
<td>firth</td>
<td>estuary</td>
</tr>
<tr>
<td>flair</td>
<td>floor</td>
</tr>
<tr>
<td>footer</td>
<td>fiddle, nuisance</td>
</tr>
<tr>
<td>footer about</td>
<td>mess about</td>
</tr>
<tr>
<td>forby(e)</td>
<td>besides</td>
</tr>
<tr>
<td>fower</td>
<td>four</td>
</tr>
<tr>
<td>fowk</td>
<td>folk</td>
</tr>
<tr>
<td>frae</td>
<td>from</td>
</tr>
<tr>
<td>frein</td>
<td>friend</td>
</tr>
<tr>
<td>fu'</td>
<td>full, drunk</td>
</tr>
<tr>
<td>fur</td>
<td>for</td>
</tr>
<tr>
<td>fush</td>
<td>fish</td>
</tr>
<tr>
<td>gae, gang</td>
<td>go</td>
</tr>
<tr>
<td>gallus</td>
<td>daring</td>
</tr>
<tr>
<td>(stupid) galoot</td>
<td>idiot</td>
</tr>
<tr>
<td>gaun</td>
<td>going</td>
</tr>
<tr>
<td>get het up</td>
<td>become agitated</td>
</tr>
<tr>
<td>gey</td>
<td>rather</td>
</tr>
<tr>
<td>ghillie</td>
<td>hunting/fishing guide, laced shoe</td>
</tr>
<tr>
<td>gillie</td>
<td>hunting/fishing guide</td>
</tr>
<tr>
<td>girdle</td>
<td>flat, round plate for baking</td>
</tr>
<tr>
<td>girn</td>
<td>complain, cry (e.g. of child)</td>
</tr>
<tr>
<td>glaikit</td>
<td>stupid, glazed (expression)</td>
</tr>
<tr>
<td>Glaswegian</td>
<td>of/from Glasgow</td>
</tr>
<tr>
<td>glaur</td>
<td>mire</td>
</tr>
<tr>
<td>Glescae</td>
<td>Glasgow</td>
</tr>
<tr>
<td>glen</td>
<td>valley</td>
</tr>
<tr>
<td>gloaming</td>
<td>dusk</td>
</tr>
<tr>
<td>gonny</td>
<td>
(are you) going to (e.g. ‘Gonny no shout sae loud?’)
</td>
</tr>
<tr>
<td>gowk</td>
<td>fool (e.g. ‘Hunty gowk’ refers to April Fool's Day)</td>
</tr>
<tr>
<td>gralloch</td>
<td>to disembowel, entrails (of a deer)</td>
</tr>
<tr>
<td>greet</td>
<td>weep</td>
</tr>
<tr>
<td>guddle</td>
<td>fish with the hands (figuratively a mess)</td>
</tr>
<tr>
<td>guid</td>
<td>good</td>
</tr>
<tr>
<td>guiser</td>
<td>
child who goes round the houses dressed up on Halloween
(‘guisin’)
</td>
</tr>
<tr>
<td>hae</td>
<td>have</td>
</tr>
<tr>
<td>haggis</td>
<td>pudding made from minced meat (offal) and oatmeal</td>
</tr>
<tr>
<td>haill</td>
<td>whole</td>
</tr>
<tr>
<td>hame</td>
<td>home</td>
</tr>
<tr>
<td>hauf</td>
<td>half</td>
</tr>
<tr>
<td>haver</td>
<td>talk nonsense</td>
</tr>
<tr>
<td>Havers!</td>
<td>Nonsense!</td>
</tr>
<tr>
<td>haud</td>
<td>hold (‘Haud yer wheesht!’ = ‘Shut up!’)</td>
</tr>
<tr>
<td>hauf</td>
<td>half</td>
</tr>
<tr>
<td>haugh</td>
<td>meadow by a river</td>
</tr>
<tr>
<td>heavy</td>
<td>dark beer</td>
</tr>
<tr>
<td>heid</td>
<td>head</td>
</tr>
<tr>
<td>heid bummer</td>
<td>head person</td>
</tr>
<tr>
<td>Help ma Boab!</td>
<td>Goodness gracious!</td>
</tr>
<tr>
<td>hen</td>
<td>
vocative term for a woman (e.g. ‘It's aw richt, hen’),
or a general term of endearment for anyone
</td>
</tr>
<tr>
<td>hert(y)</td>
<td>heart(y)</td>
</tr>
<tr>
<td>het</td>
<td>
heated (also ‘it’ of someone chosen in a children's game)
</td>
</tr>
<tr>
<td>Hielan</td>
<td>Highland</td>
</tr>
<tr>
<td>high heidyin</td>
<td>high-up person in organisation</td>
</tr>
<tr>
<td>hing</td>
<td>
hang (‘hingin oot the windae’ is street-watching from
one's window)
</td>
</tr>
<tr>
<td>hirple</td>
<td>limp</td>
</tr>
<tr>
<td>Hogmanay</td>
<td>New Year's Eve</td>
</tr>
<tr>
<td>hoor</td>
<td>whore</td>
</tr>
<tr>
<td>hoose</td>
<td>house</td>
</tr>
<tr>
<td>hootenanny</td>
<td>celebration (e.g. New Year)</td>
</tr>
<tr>
<td>Hoots!</td>
<td>Well then!</td>
</tr>
<tr>
<td>hough</td>
<td>shank of meat</td>
</tr>
<tr>
<td>howk</td>
<td>dig (tattie howkin is digging for potatoes)</td>
</tr>
<tr>
<td>howf(f)</td>
<td>inn</td>
</tr>
<tr>
<td>howk</td>
<td>dig</td>
</tr>
<tr>
<td>huv</td>
<td>have</td>
</tr>
<tr>
<td>-icht</td>
<td>-ight (e.g. nicht, richt)</td>
</tr>
<tr>
<td>ilka</td>
<td>every</td>
</tr>
<tr>
<td>intae</td>
<td>into</td>
</tr>
<tr>
<td>-it</td>
<td>-ed (e.g. ‘wantit’ = ‘wanted’)</td>
</tr>
<tr>
<td>ither</td>
<td>other</td>
</tr>
<tr>
<td>jalouse</td>
<td>guess</td>
</tr>
<tr>
<td>Jessie</td>
<td>a cowardly or weak-willed male (e.g. ‘Ye're just a big
Jessie!’)</td>
</tr>
<tr>
<td>Jimmy, Jock</td>
<td>generic term for a man (e.g. ‘Hey there, Jimmy!’)</td>
</tr>
<tr>
<td>jine</td>
<td>join</td>
</tr>
<tr>
<td>Jings!</td>
<td>Gosh!</td>
</tr>
<tr>
<td>jist</td>
<td>just</td>
</tr>
<tr>
<td>jobbery (spelling?)</td>
<td>squint</td>
</tr>
<tr>
<td>keech</td>
<td>excrement</td>
</tr>
<tr>
<td>keek</td>
<td>look</td>
</tr>
<tr>
<td>ken</td>
<td>know</td>
</tr>
<tr>
<td>kirk</td>
<td>church</td>
</tr>
<tr>
<td>lad o' pairts</td>
<td>talented man</td>
</tr>
<tr>
<td>laddie</td>
<td>boy</td>
</tr>
<tr>
<td>laldie/laldy</td>
<td>
thrashing (‘gie it laldie’ = give it all your energies)
</td>
</tr>
<tr>
<td>Lake of Menteith</td>
<td>the only lake in Scotland, all others being called lochs</td>
</tr>
<tr>
<td>lang</td>
<td>long</td>
</tr>
<tr>
<td>lassie</td>
<td>girl</td>
</tr>
<tr>
<td>len</td>
<td>lend</td>
</tr>
<tr>
<td>loch</td>
<td>lake</td>
</tr>
<tr>
<td>loon (Aberdonian)</td>
<td>boy</td>
</tr>
<tr>
<td>loup</td>
<td>leap</td>
</tr>
<tr>
<td>loupin</td>
<td>(literally) leaping, (figuratively) throbbing or disgusting</td>
</tr>
<tr>
<td>lug</td>
<td>ear</td>
</tr>
<tr>
<td>lum</td>
<td>
chimney (e.g. ‘lang may your lum reek’ = may you always be
prosperous enough to have coal)
</td>
</tr>
<tr>
<td>ma</td>
<td>my</td>
</tr>
<tr>
<td>mair</td>
<td>more</td>
</tr>
<tr>
<td>maist</td>
<td>most</td>
</tr>
<tr>
<td>mak</td>
<td>make</td>
</tr>
<tr>
<td>makar</td>
<td>poet</td>
</tr>
<tr>
<td>maroclous (Glaswegian)</td>
<td>very drunk (‘miraculous’)</td>
</tr>
<tr>
<td>maun</td>
<td>must</td>
</tr>
<tr>
<td>maw</td>
<td>mother</td>
</tr>
<tr>
<td>merrit</td>
<td>married</td>
</tr>
<tr>
<td>messages</td>
<td>shopping</td>
</tr>
<tr>
<td>micht(y)</td>
<td>might(y)</td>
</tr>
<tr>
<td>Michty me!</td>
<td>Goodness gracious!</td>
</tr>
<tr>
<td>midden</td>
<td>rubbish heap</td>
</tr>
<tr>
<td>mind</td>
<td>remember (e.g. ‘dae ye mind him?’)</td>
</tr>
<tr>
<td>mingin</td>
<td>smelly</td>
</tr>
<tr>
<td>mither</td>
<td>mother</td>
</tr>
<tr>
<td>mon</td>
<td>
vocative term for a man (e.g. ‘Whit're ye daeing,
mon?’)
</td>
</tr>
<tr>
<td>Mon!</td>
<td>My!</td>
</tr>
<tr>
<td>mony</td>
<td>many</td>
</tr>
<tr>
<td>moose</td>
<td>mouse</td>
</tr>
<tr>
<td>mooth</td>
<td>mouth</td>
</tr>
<tr>
<td>morra</td>
<td>(to)morrow</td>
</tr>
<tr>
<td>muir</td>
<td>moor</td>
</tr>
<tr>
<td>-na, -nae</td>
<td>
‘no’, or ‘not’ as a suffix to a verb (dinna =
don't, wisnae = wasn't)
</td>
</tr>
<tr>
<td>neep</td>
<td>turnip</td>
</tr>
<tr>
<td>ne'er</td>
<td>never</td>
</tr>
<tr>
<td>Ne'erday</td>
<td>New Year's Day</td>
</tr>
<tr>
<td>neuk</td>
<td>corner</td>
</tr>
<tr>
<td>no</td>
<td>not (e.g. ‘it's no hot’)</td>
</tr>
<tr>
<td>(the) noo</td>
<td>now (e.g. ‘Ah'm gaun oot the noo’)</td>
</tr>
<tr>
<td>nyaff</td>
<td>irritating or worthless (person)</td>
</tr>
<tr>
<td>o</td>
<td>of</td>
</tr>
<tr>
<td>Och!</td>
<td>Well!</td>
</tr>
<tr>
<td>Och aye the noo!</td>
<td>Well then!</td>
</tr>
<tr>
<td>-ocht</td>
<td>-ought (e.g. bocht, thocht)</td>
</tr>
<tr>
<td>ony</td>
<td>any</td>
</tr>
<tr>
<td>oor</td>
<td>our</td>
</tr>
<tr>
<td>oot(side)</td>
<td>out(side)</td>
</tr>
<tr>
<td>Orcadian</td>
<td>from Orkney</td>
</tr>
<tr>
<td>outwith</td>
<td>outside</td>
</tr>
<tr>
<td>ower</td>
<td>over, rather</td>
</tr>
<tr>
<td>oxter</td>
<td>armpit</td>
</tr>
<tr>
<td>palaver</td>
<td>fuss</td>
</tr>
<tr>
<td>pairt</td>
<td>part (‘a lad o pairts’ = someone of significance)</td>
</tr>
<tr>
<td>paralytic</td>
<td>very drunk</td>
</tr>
<tr>
<td>paw</td>
<td>father</td>
</tr>
<tr>
<td>pech</td>
<td>pant</td>
</tr>
<tr>
<td>peely-wally</td>
<td>pale</td>
</tr>
<tr>
<td>peever</td>
<td>hopscotch (the peever being the puck)</td>
</tr>
<tr>
<td>pibroch</td>
<td>music for the bagpipes</td>
</tr>
<tr>
<td>piece</td>
<td>slide of bread with jam, etc.</td>
</tr>
<tr>
<td>polis</td>
<td>police</td>
</tr>
<tr>
<td>procurator fiscal</td>
<td>chief public prosecutor</td>
</tr>
<tr>
<td>provost</td>
<td>mayor</td>
</tr>
<tr>
<td>puddin</td>
<td>pudding</td>
</tr>
<tr>
<td>puggle</td>
<td>
tire out (e.g. ‘fair puggled’ = ‘rather worn out’)
</td>
</tr>
<tr>
<td>puir</td>
<td>poor</td>
</tr>
<tr>
<td>pun(d)</td>
<td>pound (money, weight)</td>
</tr>
<tr>
<td>ra</td>
<td>the (e.g. ‘ra nicht’ = tonight)</td>
</tr>
<tr>
<td>rammy</td>
<td>noisy fight</td>
</tr>
<tr>
<td>rid</td>
<td>red</td>
</tr>
<tr>
<td>rone (pipe)</td>
<td>down-pipe from gutter</td>
</tr>
<tr>
<td>sae</td>
<td>so</td>
</tr>
<tr>
<td>sair</td>
<td>
sore (‘a sair fecht’ = ‘a sore fight’ means
something problematic)
</td>
</tr>
<tr>
<td>Samhain</td>
<td>(Gealic) Halloween</td>
</tr>
<tr>
<td>sang</td>
<td>song</td>
</tr>
<tr>
<td>Sassenach</td>
<td>an Englishman (‘Saxon’)</td>
</tr>
<tr>
<td>scratcher</td>
<td>bed</td>
</tr>
<tr>
<td>scunner</td>
<td>nuisance (‘fair scunnered’ = quite vexed)</td>
</tr>
<tr>
<td>see</td>
<td>
consider (e.g. ‘see they computers’, prior to making some
negative remark)
</td>
</tr>
<tr>
<td>see in the bells</td>
<td>
wait up until midnight on New Years Eve (when the bells are rung)
</td>
</tr>
<tr>
<td>sees</td>
<td>
give (e.g. ‘sees us a len ae yer newspaper’)
</td>
</tr>
<tr>
<td>-sel</td>
<td>-self (e.g. ‘hissel’ = ‘himself’)</td>
</tr>
<tr>
<td>semmit</td>
<td>vest (undergarment)</td>
</tr>
<tr>
<td>sgian dubh</td>
<td>
a knife often worn decoratively with Highland dress (Gaelic for
‘black knife’)
</td>
</tr>
<tr>
<td>shieling</td>
<td>hut for pasturage</td>
</tr>
<tr>
<td>shoogle/shoogly</td>
<td>shake/shaky</td>
</tr>
<tr>
<td>shoot the craw</td>
<td>go</td>
</tr>
<tr>
<td>skelf</td>
<td>splinter</td>
</tr>
<tr>
<td>skelly</td>
<td>squint</td>
</tr>
<tr>
<td>skelp</td>
<td>smack</td>
</tr>
<tr>
<td>skirl</td>
<td>loud noise, wailing sound (of bagpipes)</td>
</tr>
<tr>
<td>skite</td>
<td>skip (off a surface, e.g. skiting stones off water), smack</td>
</tr>
<tr>
<td>skivvy</td>
<td>servant</td>
</tr>
<tr>
<td>Slàinte! (Gaelic)</td>
<td>Cheers!, Your Health!</td>
</tr>
<tr>
<td>slater</td>
<td>woodlouse</td>
</tr>
<tr>
<td>sma</td>
<td>small</td>
</tr>
<tr>
<td>smeddum</td>
<td>dust, spirit</td>
</tr>
<tr>
<td>smirr</td>
<td>fine rain (noun and verb)</td>
</tr>
<tr>
<td>snaw</td>
<td>
snow (‘like snaw aff a dike’ = very quickly)
</td>
</tr>
<tr>
<td>snell</td>
<td>very cold (weather)</td>
</tr>
<tr>
<td>Special</td>
<td>a commercial beer</td>
</tr>
<tr>
<td>sparra</td>
<td>sparrow</td>
</tr>
<tr>
<td>spurtle</td>
<td>wooden spoon</td>
</tr>
<tr>
<td>stan/staun</td>
<td>stand</td>
</tr>
<tr>
<td>stane</td>
<td>stone</td>
</tr>
<tr>
<td>stank</td>
<td>drain (in road)</td>
</tr>
<tr>
<td>staun</td>
<td>stand</td>
</tr>
<tr>
<td>steamie</td>
<td>communal wash-house</td>
</tr>
<tr>
<td>stoat, stot</td>
<td>bounce (heavy rain is said to stoat off the ground)</td>
</tr>
<tr>
<td>stoater</td>
<td>stunning woman</td>
</tr>
<tr>
<td>stoshious (Glaswegian, spelling?)</td>
<td>very drunk</td>
</tr>
<tr>
<td>stook</td>
<td>bundle of hay or straw</td>
</tr>
<tr>
<td>stookie</td>
<td>
a uselessly immobile person (e.g. ‘dinnae stan aroun like a
stookie’, i.e. like a stook), a plaster cast
</td>
</tr>
<tr>
<td>stoor, stour</td>
<td>dust</td>
</tr>
<tr>
<td>stooshie/stushie</td>
<td>commotion</td>
</tr>
<tr>
<td>stowed out</td>
<td>packed full</td>
</tr>
<tr>
<td>stramash</td>
<td>commotion</td>
</tr>
<tr>
<td>stravaig</td>
<td>wander about</td>
</tr>
<tr>
<td>syboe</td>
<td>spring onion</td>
</tr>
<tr>
<td>-t</td>
<td>-ed</td>
</tr>
<tr>
<td>tae</td>
<td>to</td>
</tr>
<tr>
<td>tak</td>
<td>take</td>
</tr>
<tr>
<td>Tartan</td>
<td>a commercial beer</td>
</tr>
<tr>
<td>tattie</td>
<td>potato</td>
</tr>
<tr>
<td>telt</td>
<td>told</td>
</tr>
<tr>
<td>Teuchter</td>
<td>Highlander (often pejorative)</td>
</tr>
<tr>
<td>thae/they</td>
<td>that/those (e.g. ‘see they computers’)</td>
</tr>
<tr>
<td>thegither</td>
<td>together</td>
</tr>
<tr>
<td>thirl</td>
<td>bind, pierce</td>
</tr>
<tr>
<td>thole</td>
<td>endure</td>
</tr>
<tr>
<td>thon</td>
<td>that</td>
</tr>
<tr>
<td>thrapple</td>
<td>throat</td>
</tr>
<tr>
<td>thrawn</td>
<td>perverse</td>
</tr>
<tr>
<td>toon/toun</td>
<td>town</td>
</tr>
<tr>
<td>toty</td>
<td>tiny</td>
</tr>
<tr>
<td>(Edinburgh) Trades</td>
<td>
traditional summer holiday period in Edinburgh (the first two weeks of
July)
</td>
</tr>
<tr>
<td>trauchle</td>
<td>trouble</td>
</tr>
<tr>
<td>trews</td>
<td>trousers</td>
</tr>
<tr>
<td>tumshie</td>
<td>turnip (figuratively a useless person)</td>
</tr>
<tr>
<td>twa</td>
<td>two</td>
</tr>
<tr>
<td>verra</td>
<td>very</td>
</tr>
<tr>
<td>wabbit</td>
<td>pale and weak (as after illness or exertion)</td>
</tr>
<tr>
<td>wain</td>
<td>child</td>
</tr>
<tr>
<td>wally</td>
<td>china? (a ‘wally dug’ is a china dog book-end)</td>
</tr>
<tr>
<td>wan</td>
<td>one</td>
</tr>
<tr>
<td>watter</td>
<td>
water (Glaswegians traditionally went ‘doon the watter’,
i.e. the Clyde, for their holidays)
</td>
</tr>
<tr>
<td>wean</td>
<td>child</td>
</tr>
<tr>
<td>wee</td>
<td>small</td>
</tr>
<tr>
<td>Wee Free</td>
<td>Free Church of Scotland</td>
</tr>
<tr>
<td>wee heavy</td>
<td>strong beer (barley wine)</td>
</tr>
<tr>
<td>weel</td>
<td>well</td>
</tr>
<tr>
<td>weel-kent</td>
<td>well-known</td>
</tr>
<tr>
<td>wersh</td>
<td>tasteless, bitter</td>
</tr>
<tr>
<td>wha</td>
<td>who</td>
</tr>
<tr>
<td>wham</td>
<td>whom</td>
</tr>
<tr>
<td>whaur</td>
<td>where</td>
</tr>
<tr>
<td>wheech</td>
<td>whiz</td>
</tr>
<tr>
<td>wheen</td>
<td>lot</td>
</tr>
<tr>
<td>Wheesht!</td>
<td>Quiet!</td>
</tr>
<tr>
<td>whit</td>
<td>what</td>
</tr>
<tr>
<td>wi</td>
<td>with</td>
</tr>
<tr>
<td>wid, wud</td>
<td>would</td>
</tr>
<tr>
<td>wifie</td>
<td>(old) woman</td>
</tr>
<tr>
<td>windae</td>
<td>window</td>
</tr>
<tr>
<td>wis/wus</td>
<td>was</td>
</tr>
<tr>
<td>wrang</td>
<td>
wrong (an old pun: ‘is that a cake or am ah wrang?’ =
‘a meringue’)
</td>
</tr>
<tr>
<td>wull</td>
<td>will</td>
</tr>
<tr>
<td>ye</td>
<td>you</td>
</tr>
<tr>
<td>yer</td>
<td>your</td>
</tr>
<tr>
<td>yett</td>
<td>barred iron gate</td>
</tr>
<tr>
<td>yin</td>
<td>one</td>
</tr>
</table>
</center>
<h2><a id="Sayings" name="Sayings">Scottish Sayings</a></h2>
<p>
Here are a very few examples of sayings:
</p>
<center>
<table border="1">
<tr>
<th align="left">Saying</th>
<th align="left">Meaning</th>
</tr>
<tr>
<td>A wee thing amuses the bairns</td>
<td>
Simple people are amused by simple things
</td>
</tr>
<tr>
<td>Guid things come in sma bulk</td>
<td>
Just because something is small doesn't mean it's of little value
</td>
</tr>
<tr>
<td>
Here's tae us, wha's like us, gey few an they're aw deid
(with variants on this)
</td>
<td>
A toast in jest, claiming that few others are like us
</td>
</tr>
<tr>
<td>It taks a lang spoon tae sup wi' the de'il</td>
<td>Keep your distance when dealing with bad things</td>
</tr>
<tr>
<td>It's a sair fecht</td>
<td>That's too bad, that's life</td>
</tr>
<tr>
<td>Ne'er cast a cloot til May be oot</td>
<td>Do not discard clothing until May (month or blossom) is out</td>
</tr>
<tr>
<td>Tak tent o time ere time taks tent of thee</td>
<td>
Take care of how you spend your time before you eventually die
</td>
</tr>
</table>
</center>
<h2><a id="GivenNames" name="GivenNames">Scottish Given Names</a></h2>
<p>
Some Scottish given (first) names derive from the Gaelic, some from
other settlers' languages (e.g. English, Scandinavian). Here are some common
examples:
</p>
<center>
<table border="1">
<tr>
<th align="left">Forename</th>
<th align="left">Equivalent</th>
</tr>
<tr>
<td>Alasdair</td>
<td>English ‘Alastair’ or ‘Alexander’</td>
</tr>
<tr>
<td>Andra</td>
<td>English ‘Andrew’</td>
</tr>
<tr>
<td>Calum</td>
<td>English ‘Malcolm’</td>
</tr>
<tr>
<td>Christina</td>
<td>Gaelic ‘Cairistiona’</td>
</tr>
<tr>
<td>Dauvit</td>
<td>English ‘David’</td>
</tr>
<tr>
<td>Donald</td>
<td>Gaelic ‘Domhnal’</td>
</tr>
<tr>
<td>Dougal/Dugal</td>
<td>Gaelic ‘Dugall’, English ‘Dugald’</td>
</tr>
<tr>
<td>Duncan</td>
<td>Gaelic ‘Donnchadh’</td>
</tr>
<tr>
<td>Fergus</td>
<td>Gaelic ‘Fearghus’</td>
</tr>
<tr>
<td>Fiona</td>
<td>Gaelic ‘Fionnuala’</td>
</tr>
<tr>
<td>Flora</td>
<td>Gaelic ‘Floraidh’</td>
</tr>
<tr>
<td>Hendrie</td>
<td>English ‘Henry’</td>
</tr>
<tr>
<td>Iain</td>
<td>English ‘Ian’</td>
</tr>
<tr>
<td>Kenneth</td>
<td>Gaelic ‘Coinneach’</td>
</tr>
<tr>
<td>Kirsten</td>
<td>English ‘Christine’</td>
</tr>
<tr>
<td>Lachlan</td>
<td>Gaelic ‘Lachlann’</td>
</tr>
<tr>
<td>Mairead</td>
<td>English ‘Marion’</td>
</tr>
<tr>
<td>Maìri</td>
<td>English ‘Mary’</td>
</tr>
<tr>
<td>Morag</td>
<td>English ‘Marion’</td>
</tr>
<tr>
<td>Niall</td>
<td>English ‘Neil’</td>
</tr>
<tr>
<td>Rab/Rabbie</td>
<td>English ‘Robert’</td>
</tr>
<tr>
<td>Seumas</td>
<td>English ‘James’</td>
</tr>
<tr>
<td>Tam</td>
<td>English ‘Tom’</td>
</tr>
</table>
</center>
<h2><a id="FamilyNames" name="FamilyNames">Scottish Family Names</a></h2>
<p>
Scottish family names (surnames) often have the prefix ‘Mac' or
‘Mc' meaning ‘son of'. Telephone directories and the like
often list these together; it can be hard to remember if someone is
‘MacLean' or ‘McLean', for example. Some family names
derive from Scottish towns (e.g. Cowie, Glasgow, Stirling). Here are a
very few examples of Scottish surnames (apart from the ‘Mac/Mc'
forms):
</p>
<center>
<table border="1">
<tr>
<th align="left">Surname</th>
</tr>
<tr>
<td>Baird</td>
</tr>
<tr>
<td>Blair</td>
</tr>
<tr>
<td>Buchanan</td>
</tr>
<tr>
<td>Campbell</td>
</tr>
<tr>
<td>Ferguson</td>
</tr>
<tr>
<td>Fraser</td>
</tr>
<tr>
<td>Gilmore/Gilmour</td>
</tr>
<tr>
<td>Muir</td>
</tr>
<tr>
<td>Scott</td>
</tr>
<tr>
<td>Stewart/Stuart</td>
</tr>
<tr>
<td>Wylie</td>
</tr>
</table>
</center>
<h2><a id="PlaceNames" name="PlaceNames">Scottish Place Names</a></h2>
<p>
Place names in Scotland often have common prefixes, many derived from Gaelic
or Norse. Ordinary words like ‘ben' and ‘glen' also appear
frequently in names. Here are a few sample prefixes:
</p>
<center>
<table border="1">
<tr>
<th align="left">Prefix</th>
<th align="left">Meaning</th>
</tr>
<tr>
<td>Aber-</td>
<td>at the mouth of a river</td>
</tr>
<tr>
<td>Ard-</td>
<td>promontory, height</td>
</tr>
<tr>
<td>Auchen-</td>
<td>field</td>
</tr>
<tr>
<td>Auchter-</td>
<td>top of</td>
</tr>
<tr>
<td>Cambus-</td>
<td>where a twisting river passes</td>
</tr>
<tr>
<td>Dal-</td>
<td>meadow</td>
</tr>
<tr>
<td>Drum-</td>
<td>ridge</td>
</tr>
<tr>
<td>Dun-</td>
<td>hill or fort</td>
</tr>
<tr>
<td>-Inch-</td>
<td>island</td>
</tr>
<tr>
<td>Inver-</td>
<td>at the mouth of a river</td>
</tr>
<tr>
<td>Kil-</td>
<td>cell of a saint, churchyard</td>
</tr>
<tr>
<td>Kin-</td>
<td>head</td>
</tr>
<tr>
<td>Kinloch-</td>
<td>at the head of a lake</td>
</tr>
<tr>
<td>Kirk-</td>
<td>church, fort</td>
</tr>
<tr>
<td>Knock, Nock</td>
<td>hillock</td>
</tr>
<tr>
<td>Strath-</td>
<td>river valley</td>
</tr>
</table>
</center>
<br/>
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|
Scots Tongue
# Scots Tongue
>
> 
> [Scots Tongue](#Scots)
>
>
> 
> [Scottish Pronunciation](#Pronunciation)
>
>
> 
> [Scottish Words](#ScotshWords)
>
>
> 
> [Scottish Given Names](#GivenNames)
>
>
> 
> [Scottish Sayings](#Sayings)
>
>
> 
> [Scottish Family Names](#FamilyNames)
>
>
> 
> [Scottish Place Names](#PlaceNames)
>
 This is an informal guide to the
Scots tongue for the benefit of occasional visitors to Scotland or readers of
Scottish literature. It makes no claims to be authoritative, complete or
accurate.
## Scots Tongue
A visitor to Scotland is most likely to come across standard English
pronounced in the local fashion. However Scotland has its own distinct
language. Apart from the Scots Tongue, Scotland also claims a second
language - Gaelic (which has affinities to Irish Gaelic, Welsh, ancient
Cornish and Breton).
The Scots language evolved from Anglo-Saxon; a parallel development led to
English. Other influences on Scots included Latin, Norse, French and Gaelic.
Scots first became widespead in the 14th century, and was commonly used at
the Scottish court.
Major regions in Scotland (e.g. Aberdeen, Ayrshire, Glasgow, Edinburgh,
Fife, Inverness) have their own distinct accents and dialect words. See,
for example, the Glasgow *Patter* books by Michael Munro (Holmes
McDougall, Glasgow). Many older words survive thanks to the poetry of
Robert Burns and others. Only words in general use are included below.
There are dictionaries of Scottish words, e.g. the *Concise Scots
Dictionary* (Aberdeen University Press).
The following web links may be useful:
* [Accent Map of The British Isles](https://accent-map.expedia.co.uk/)
* [Dictionary of The Scots Language](https://www.dsl.ac.uk/)
* [Online Scots Dictionary and Pronunciation
Guide](https://www.scots-online.org/)
* [Scots Language Centre](https://www.scotslanguage.com/)
* [Historical Thesaurus of Scots](https://scotsthesaurus.org/)
* [Scottish Corpus of Texts and Speech](https://www.scottishcorpus.ac.uk/)
* [Scottish Words
Illustrated](https://stooryduster.co.uk/)
## Scots Pronunciation
| Sound/Word | Pronunciation |
| --- | --- |
| ch |
This is an aspirated ‘k’ sound as in the German
‘ach’.
|
| Gaelic |
This celtic language spoken in Scotland (‘Gàidhlig’)
has a whole range of sounds that can be best learned by hearing them.
|
| glottal stop |
In some areas of Scotland (e.g. Glasgow), the final ‘t’ of
a syllable is not pronounced. Instead the throat is closed to cut the
word off. Thus ‘bit’ might sound more like ‘bih’
(with a short and truncated vowel), or ‘water’ as
‘wa-er’.
|
| -ing |
The final ‘g’ is often elided (e.g. ‘walking’
sounds like ‘walkin’).
|
| Milngavie |
A town near Glasgow whose pronunciation is commonly used to confuse
visitors (‘Mil-guy’ or ‘Mul-guy’).
|
| qu |
This is silent in some proper names (e.g. Colquhoun =
‘Co-hoon’).
|
| r | This is rolled on the tongue. |
| stress |
The pattern of stress is usually that of English, but in some
proper names the last syllable is stressed (e.g.
Dun-**bar**, Dun-**lop**).
|
| z |
This is silent in some proper names (e.g. Culzean =
‘Cul-ain’, Dalziel = ‘Dee-el’, Menzies =
‘Ming-is’).
|
## Scots Words
The following list gives sample Scottish words that a visitor or reader
might come across, and is certainly not complete. Most words are likely to
be used only in Scotland, but some are known to English speakers in general.
The spelling of some words is unclear as the language is mostly spoken. Some
words also have other meanings.
| Scottish | Standard English |
| --- | --- |
| -a | -ow (e.g. ‘arra’, ‘ra morra’) |
| a' | all |
| Aberdonian | of/from Aberdeen |
| aboot | about |
| ae | of |
| -ae |
‘have’ as a suffix to a verb (widae = would have)
|
| aebody | anybody |
| agin | against |
| aff | off |
| Ah | I |
| ain | own |
| aglae | awry |
| an' | and |
| ane | one |
| aroun | around |
| Athol brose | sweet oatmeal dessert |
| auld | old |
| Auld Reekie | nickname for Edinburgh |
| Auld Lang Syne |
a poem by Burns widely sung at New Year (literally ‘old long
since’, sometimes incorrectly quoted as ‘for the sake of
auld lang syne’)
|
| aw | all |
| awa | away |
| awfu, awfy | awfully |
| bahookie | behind (buttocks) |
| bairn | child |
| bampot (Glaswegian) | headcase |
| bannock | biscuit or scone |
| (The) Barras |
outdoor street market in Glasgow (‘The Barrows’, Barrowland)
|
| bauchle |
worn-out shoe (literally), an old and dishevelled man (figuratively)
|
| ba'heid, bawheid | bald headed person |
| baw | ball |
| bawbee | an old penny |
| ben | mountain |
| ben | inside (e.g. ‘cam ben the hoose’) |
| besom | broom (literally), difficult woman (figuratively) |
| bide | stay |
| bidie-in | live-in partner |
| bile |
boil (e.g. ‘Awa an bile yer heid!’ = ‘Get lost!’)
|
| birl | spin |
| blae | blue |
| blaeberry | bilberry |
| blether | (idle) chatter |
| blootered | very drunk |
| Blue Train | Glasgow suburban train |
| boak | vomit, retch |
| body | person (e.g. ‘Whit's a body tae dae?’) |
| bogle | phantom |
| bonnie, bonny | beautiful |
| bonspiel | (ice) curling tournament |
| bowf | smell strongly |
| brae | slope |
| braw | fine |
| breenge | rush |
| breeks | trousers |
| bridie | meat in pastry pie |
| broch | prehistoric circular stone tower |
| broon |
brown (‘The Broons’ is a well-known cartoon from the Sunday
Post newspaper)
|
| brose | broth made using oatmeal |
| bumfle | bump or raised area (in cloth) |
| bunnet | cap (bonnet) |
| burn | stream |
| Burns Supper |
a traditional dinner to celebrate the birth of famous Scottish poet
Robert Burns (25th January)
|
| buroo |
employment bureau (‘on the buroo’ = receiving unemployment
benefit)
|
| but and ben | cottage |
| ca', caw | call |
| ca'/caw canny | be careful |
| caber |
a log used in the traditional game of ‘tossing the caber’
|
| cam | came |
| canny | careful |
| cauld | cold |
| caw | drive, turn (e.g. rope, wheel) |
| ceilidh | a traditional event with music and dancing |
| chanty | chamber pot |
| chiel | fellow |
| chuckie | pebble |
| chust (Highland) | just |
| claes | clothes |
| clarty | dirty |
| claymore | the traditional Scottish broad sword (‘Gaelic claidheamh
mhor’ - great sword) |
| clegg | horsefly |
| Clockwork Orange |
nickname for the Glasgow underground due to the colour of the coaches
|
| cloot | cloth, clothing |
| clootie dumpling | a pudding (like Christmas pudding) steamed in a cloth |
| close | common stairwell in a tenement |
| cludgie | toilet |
| clype | telltale |
| cock-a-leekie | chicken and leek soup |
| coo | cow |
| coorie | hide, nestle |
| coorie doon | cuddle down (to sleep) |
| cootie | louse, nit |
| corbie | raven, crow |
| corrie-fisted | left-handed |
| coup, cowp | tip over, tumble, dump |
| couthy | genial |
| crabbit | ill-tempered |
| cratur | creature (used jocularly for whisky) |
| craw | crow (‘shoot the craw’ = go away) |
| Crivens! | Crumbs! |
| croft(er) | small-scale farm(er) |
| crowdie |
curd cheese (Highlands), oatmeal and water or buttermilk (Lowlands)
|
| cud | could |
| Cullen Skink | soup made with smoked haddock |
| cundie (Dundonian) | drain at side of road |
| dae | do |
| daunce |
dance (an old riposte: ‘Are ye dauncin? No it's just the way ah'm
staunin.’)
|
| deid | dead |
| de'il | devil |
| dike | wall |
| dod | lump |
| dominie | schoolmaster |
| donnert | stunned |
| doo | dove (or pigeon) |
| doocot | dovecot |
| dook |
duck (in the sense of wetting - ‘dooking for apples’ is a
Halloween game involving placing your face into a basin of water to
retrieve a floating apple by biting on it)
|
| doon | down (‘doon the watter’ is a trip down the Clyde) |
| doot | doubt (‘Ah hae ma doots’ = I'm doubtful) |
| Doric | Abderdonian dialect |
| dram | small quantity of whisky |
| drap, drappie | drop |
| dreep | drip (also used of dropping off a wall) |
| dreich | miserable, cold and wet (weather) |
| drookit | soaking wet |
| drouth(y) | thirst(y) |
| dug | dog |
| dunderheid | idiot |
| Dundonian | of/from Dundee |
| dunt | bump |
| dunny | room at bottom of tenement |
| dwam | daydream |
| dyke | wall |
| ee, een | eye, eyes |
| eechie ochie | neither here nor there |
| een | eyes |
| eejit | idiot |
| efter | after |
| erse | arse |
| fae | from |
| faimly | family |
| fair | somewhat (e.g. ‘fair taken wi’) |
| Fair (fortnight) |
traditional summer holiday period in Glasgow (the second two weeks
of July, e.g. ‘where are ye gaun fur the Fair?’)
|
| faither | father |
| fankle | (twisted) mess |
| fash | bother (‘dinnae fash yersel’ = don't bother yourself) |
| feart | afraid |
| ferm(er) | farm(er) |
| first foot |
the first visitor in the New Year (who, for good luck, should be
handsome and bring a gift such as a piece of coal)
|
| firth | estuary |
| flair | floor |
| footer | fiddle, nuisance |
| footer about | mess about |
| forby(e) | besides |
| fower | four |
| fowk | folk |
| frae | from |
| frein | friend |
| fu' | full, drunk |
| fur | for |
| fush | fish |
| gae, gang | go |
| gallus | daring |
| (stupid) galoot | idiot |
| gaun | going |
| get het up | become agitated |
| gey | rather |
| ghillie | hunting/fishing guide, laced shoe |
| gillie | hunting/fishing guide |
| girdle | flat, round plate for baking |
| girn | complain, cry (e.g. of child) |
| glaikit | stupid, glazed (expression) |
| Glaswegian | of/from Glasgow |
| glaur | mire |
| Glescae | Glasgow |
| glen | valley |
| gloaming | dusk |
| gonny |
(are you) going to (e.g. ‘Gonny no shout sae loud?’)
|
| gowk | fool (e.g. ‘Hunty gowk’ refers to April Fool's Day) |
| gralloch | to disembowel, entrails (of a deer) |
| greet | weep |
| guddle | fish with the hands (figuratively a mess) |
| guid | good |
| guiser |
child who goes round the houses dressed up on Halloween
(‘guisin’)
|
| hae | have |
| haggis | pudding made from minced meat (offal) and oatmeal |
| haill | whole |
| hame | home |
| hauf | half |
| haver | talk nonsense |
| Havers! | Nonsense! |
| haud | hold (‘Haud yer wheesht!’ = ‘Shut up!’) |
| hauf | half |
| haugh | meadow by a river |
| heavy | dark beer |
| heid | head |
| heid bummer | head person |
| Help ma Boab! | Goodness gracious! |
| hen |
vocative term for a woman (e.g. ‘It's aw richt, hen’),
or a general term of endearment for anyone
|
| hert(y) | heart(y) |
| het |
heated (also ‘it’ of someone chosen in a children's game)
|
| Hielan | Highland |
| high heidyin | high-up person in organisation |
| hing |
hang (‘hingin oot the windae’ is street-watching from
one's window)
|
| hirple | limp |
| Hogmanay | New Year's Eve |
| hoor | whore |
| hoose | house |
| hootenanny | celebration (e.g. New Year) |
| Hoots! | Well then! |
| hough | shank of meat |
| howk | dig (tattie howkin is digging for potatoes) |
| howf(f) | inn |
| howk | dig |
| huv | have |
| -icht | -ight (e.g. nicht, richt) |
| ilka | every |
| intae | into |
| -it | -ed (e.g. ‘wantit’ = ‘wanted’) |
| ither | other |
| jalouse | guess |
| Jessie | a cowardly or weak-willed male (e.g. ‘Ye're just a big
Jessie!’) |
| Jimmy, Jock | generic term for a man (e.g. ‘Hey there, Jimmy!’) |
| jine | join |
| Jings! | Gosh! |
| jist | just |
| jobbery (spelling?) | squint |
| keech | excrement |
| keek | look |
| ken | know |
| kirk | church |
| lad o' pairts | talented man |
| laddie | boy |
| laldie/laldy |
thrashing (‘gie it laldie’ = give it all your energies)
|
| Lake of Menteith | the only lake in Scotland, all others being called lochs |
| lang | long |
| lassie | girl |
| len | lend |
| loch | lake |
| loon (Aberdonian) | boy |
| loup | leap |
| loupin | (literally) leaping, (figuratively) throbbing or disgusting |
| lug | ear |
| lum |
chimney (e.g. ‘lang may your lum reek’ = may you always be
prosperous enough to have coal)
|
| ma | my |
| mair | more |
| maist | most |
| mak | make |
| makar | poet |
| maroclous (Glaswegian) | very drunk (‘miraculous’) |
| maun | must |
| maw | mother |
| merrit | married |
| messages | shopping |
| micht(y) | might(y) |
| Michty me! | Goodness gracious! |
| midden | rubbish heap |
| mind | remember (e.g. ‘dae ye mind him?’) |
| mingin | smelly |
| mither | mother |
| mon |
vocative term for a man (e.g. ‘Whit're ye daeing,
mon?’)
|
| Mon! | My! |
| mony | many |
| moose | mouse |
| mooth | mouth |
| morra | (to)morrow |
| muir | moor |
| -na, -nae |
‘no’, or ‘not’ as a suffix to a verb (dinna =
don't, wisnae = wasn't)
|
| neep | turnip |
| ne'er | never |
| Ne'erday | New Year's Day |
| neuk | corner |
| no | not (e.g. ‘it's no hot’) |
| (the) noo | now (e.g. ‘Ah'm gaun oot the noo’) |
| nyaff | irritating or worthless (person) |
| o | of |
| Och! | Well! |
| Och aye the noo! | Well then! |
| -ocht | -ought (e.g. bocht, thocht) |
| ony | any |
| oor | our |
| oot(side) | out(side) |
| Orcadian | from Orkney |
| outwith | outside |
| ower | over, rather |
| oxter | armpit |
| palaver | fuss |
| pairt | part (‘a lad o pairts’ = someone of significance) |
| paralytic | very drunk |
| paw | father |
| pech | pant |
| peely-wally | pale |
| peever | hopscotch (the peever being the puck) |
| pibroch | music for the bagpipes |
| piece | slide of bread with jam, etc. |
| polis | police |
| procurator fiscal | chief public prosecutor |
| provost | mayor |
| puddin | pudding |
| puggle |
tire out (e.g. ‘fair puggled’ = ‘rather worn out’)
|
| puir | poor |
| pun(d) | pound (money, weight) |
| ra | the (e.g. ‘ra nicht’ = tonight) |
| rammy | noisy fight |
| rid | red |
| rone (pipe) | down-pipe from gutter |
| sae | so |
| sair |
sore (‘a sair fecht’ = ‘a sore fight’ means
something problematic)
|
| Samhain | (Gealic) Halloween |
| sang | song |
| Sassenach | an Englishman (‘Saxon’) |
| scratcher | bed |
| scunner | nuisance (‘fair scunnered’ = quite vexed) |
| see |
consider (e.g. ‘see they computers’, prior to making some
negative remark)
|
| see in the bells |
wait up until midnight on New Years Eve (when the bells are rung)
|
| sees |
give (e.g. ‘sees us a len ae yer newspaper’)
|
| -sel | -self (e.g. ‘hissel’ = ‘himself’) |
| semmit | vest (undergarment) |
| sgian dubh |
a knife often worn decoratively with Highland dress (Gaelic for
‘black knife’)
|
| shieling | hut for pasturage |
| shoogle/shoogly | shake/shaky |
| shoot the craw | go |
| skelf | splinter |
| skelly | squint |
| skelp | smack |
| skirl | loud noise, wailing sound (of bagpipes) |
| skite | skip (off a surface, e.g. skiting stones off water), smack |
| skivvy | servant |
| Slàinte! (Gaelic) | Cheers!, Your Health! |
| slater | woodlouse |
| sma | small |
| smeddum | dust, spirit |
| smirr | fine rain (noun and verb) |
| snaw |
snow (‘like snaw aff a dike’ = very quickly)
|
| snell | very cold (weather) |
| Special | a commercial beer |
| sparra | sparrow |
| spurtle | wooden spoon |
| stan/staun | stand |
| stane | stone |
| stank | drain (in road) |
| staun | stand |
| steamie | communal wash-house |
| stoat, stot | bounce (heavy rain is said to stoat off the ground) |
| stoater | stunning woman |
| stoshious (Glaswegian, spelling?) | very drunk |
| stook | bundle of hay or straw |
| stookie |
a uselessly immobile person (e.g. ‘dinnae stan aroun like a
stookie’, i.e. like a stook), a plaster cast
|
| stoor, stour | dust |
| stooshie/stushie | commotion |
| stowed out | packed full |
| stramash | commotion |
| stravaig | wander about |
| syboe | spring onion |
| -t | -ed |
| tae | to |
| tak | take |
| Tartan | a commercial beer |
| tattie | potato |
| telt | told |
| Teuchter | Highlander (often pejorative) |
| thae/they | that/those (e.g. ‘see they computers’) |
| thegither | together |
| thirl | bind, pierce |
| thole | endure |
| thon | that |
| thrapple | throat |
| thrawn | perverse |
| toon/toun | town |
| toty | tiny |
| (Edinburgh) Trades |
traditional summer holiday period in Edinburgh (the first two weeks of
July)
|
| trauchle | trouble |
| trews | trousers |
| tumshie | turnip (figuratively a useless person) |
| twa | two |
| verra | very |
| wabbit | pale and weak (as after illness or exertion) |
| wain | child |
| wally | china? (a ‘wally dug’ is a china dog book-end) |
| wan | one |
| watter |
water (Glaswegians traditionally went ‘doon the watter’,
i.e. the Clyde, for their holidays)
|
| wean | child |
| wee | small |
| Wee Free | Free Church of Scotland |
| wee heavy | strong beer (barley wine) |
| weel | well |
| weel-kent | well-known |
| wersh | tasteless, bitter |
| wha | who |
| wham | whom |
| whaur | where |
| wheech | whiz |
| wheen | lot |
| Wheesht! | Quiet! |
| whit | what |
| wi | with |
| wid, wud | would |
| wifie | (old) woman |
| windae | window |
| wis/wus | was |
| wrang |
wrong (an old pun: ‘is that a cake or am ah wrang?’ =
‘a meringue’)
|
| wull | will |
| ye | you |
| yer | your |
| yett | barred iron gate |
| yin | one |
## Scottish Sayings
Here are a very few examples of sayings:
| Saying | Meaning |
| --- | --- |
| A wee thing amuses the bairns |
Simple people are amused by simple things
|
| Guid things come in sma bulk |
Just because something is small doesn't mean it's of little value
|
|
Here's tae us, wha's like us, gey few an they're aw deid
(with variants on this)
|
A toast in jest, claiming that few others are like us
|
| It taks a lang spoon tae sup wi' the de'il | Keep your distance when dealing with bad things |
| It's a sair fecht | That's too bad, that's life |
| Ne'er cast a cloot til May be oot | Do not discard clothing until May (month or blossom) is out |
| Tak tent o time ere time taks tent of thee |
Take care of how you spend your time before you eventually die
|
## Scottish Given Names
Some Scottish given (first) names derive from the Gaelic, some from
other settlers' languages (e.g. English, Scandinavian). Here are some common
examples:
| Forename | Equivalent |
| --- | --- |
| Alasdair | English ‘Alastair’ or ‘Alexander’ |
| Andra | English ‘Andrew’ |
| Calum | English ‘Malcolm’ |
| Christina | Gaelic ‘Cairistiona’ |
| Dauvit | English ‘David’ |
| Donald | Gaelic ‘Domhnal’ |
| Dougal/Dugal | Gaelic ‘Dugall’, English ‘Dugald’ |
| Duncan | Gaelic ‘Donnchadh’ |
| Fergus | Gaelic ‘Fearghus’ |
| Fiona | Gaelic ‘Fionnuala’ |
| Flora | Gaelic ‘Floraidh’ |
| Hendrie | English ‘Henry’ |
| Iain | English ‘Ian’ |
| Kenneth | Gaelic ‘Coinneach’ |
| Kirsten | English ‘Christine’ |
| Lachlan | Gaelic ‘Lachlann’ |
| Mairead | English ‘Marion’ |
| Maìri | English ‘Mary’ |
| Morag | English ‘Marion’ |
| Niall | English ‘Neil’ |
| Rab/Rabbie | English ‘Robert’ |
| Seumas | English ‘James’ |
| Tam | English ‘Tom’ |
## Scottish Family Names
Scottish family names (surnames) often have the prefix ‘Mac' or
‘Mc' meaning ‘son of'. Telephone directories and the like
often list these together; it can be hard to remember if someone is
‘MacLean' or ‘McLean', for example. Some family names
derive from Scottish towns (e.g. Cowie, Glasgow, Stirling). Here are a
very few examples of Scottish surnames (apart from the ‘Mac/Mc'
forms):
| Surname |
| --- |
| Baird |
| Blair |
| Buchanan |
| Campbell |
| Ferguson |
| Fraser |
| Gilmore/Gilmour |
| Muir |
| Scott |
| Stewart/Stuart |
| Wylie |
## Scottish Place Names
Place names in Scotland often have common prefixes, many derived from Gaelic
or Norse. Ordinary words like ‘ben' and ‘glen' also appear
frequently in names. Here are a few sample prefixes:
| Prefix | Meaning |
| --- | --- |
| Aber- | at the mouth of a river |
| Ard- | promontory, height |
| Auchen- | field |
| Auchter- | top of |
| Cambus- | where a twisting river passes |
| Dal- | meadow |
| Drum- | ridge |
| Dun- | hill or fort |
| -Inch- | island |
| Inver- | at the mouth of a river |
| Kil- | cell of a saint, churchyard |
| Kin- | head |
| Kinloch- | at the head of a lake |
| Kirk- | church, fort |
| Knock, Nock | hillock |
| Strath- | river valley |
---
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<td WIDTH="800"><b><font size=+3>Doom Reviews for the Recreational User</font></b>
<p><i>By <a href="http://www.toolworks.com/bilofsky">Walt Bilofsky</a></i>
<p>Last modified 4/28/99. Last reviews added 2/18/97. You are visitor number <img SRC="/cgi-sys/Count.cgi?ft=0|tr=1|trgb=255;255;255|pad=N|dd=doom|st=61874|sh=1|df=doom.dat" HSPACE=4 height=35 width=150 align=ABSCENTER></td>
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<td><b><font face="Arial,Helvetica"><font color="#FF6600">NOTICE:
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<p>One of the best things about DOOM is playing lots of great levels created
by hordes of stupendously clever authors . But how to decide which one
to try next? To help you resolve this serious matter, this page shares
my personal reaction to some levels I've played.
<p>Now, there are lots of really expert DOOM fanatics, and just so you
understand, I am not one of them. I am a recreational DOOM user. I don't
inhale. I don't exhale flame. I don't play deathmatches, and I DOOM despite
the blood and gore, not because of it.
<p>Everybody has different tastes. What I look for is playability and the
cleverness of the WAD author. I'm not fussy about mismatched textures and
like that. If this sounds reasonable, these reviews may save you some time
and bring you some enjoyment. If not, don't blame me, don't flame me; there
are lots of other people on the Web who know more about DOOM than I do.
Here are just two of them:
<ul>
<li>
<a href="http://www.tic.de/ticbest.html">TiC's Good WAD list</a>: Recommendations
from the authors of some great levels.</li>
<li>
<a href="http://doomgate.gamers.org/~williams/">The All-Time Best Doom
Levels</a>: Nominated and selected by popular vote.</li>
</ul>
If you haven't tried DOOM, you can download it from <a href="http://www.idsoftware.com/">id
Software</a>. For tons more links, see the <a href="http://www.cdrom.com/pub/idgames/docs/rgcd-pips/FTP_WWW_sites.html">DOOM
FTP/WWW Site List</a> (or the latest version on the <a href="news:rec.games.computer.doom.announce">rec.games.computer.doom.announce</a>
newsgroup). And if you're a WAD author, be sure to read <a href="http://www.apci.net/~ron1701/">The
Unoffical WAD Designer's Handbook</a>.
<p>Now the reviews. These are, of course, just my opinion. I always play
on UV and I save a lot. Oh, reviews marked "New" mean it's a new review
- the WAD may have been around for a while. Enjoy.
<table BORDER=4 CELLSPACING=20 CELLPADDING=4 >
<tr VALIGN=TOP>
<td WIDTH="133">Rrd201
362K<!--<IMG SRC="new.gif" HEIGHT=20 WIDTH=38 ALIGN=ABSBOTTOM> -->
<br>7 levels
<br>DOOM II </td>
<td WIDTH="796">This is, above all, a thinking mans WAD. It is not
the kind you get through just by entering every door that opens and shooting
everything that moves. You will get stuck. You will need to
ponder. You will also enjoy plenty of tough battles, and though there
are some layouts that are perplexing as they unwind, that kind is particularly
satisfying to master.
<p>The author warns that each level was meant to stand alone, so I wound
up with too many resources by playing them in sequence. Nevertheless,
the game play was so good that it easily held my interest.
<p>As always, a few gripes. The author is rather fond of arch-viles
on the early levels. A few of the puzzles seemed extra subtle, particularly
the exit off Level 4. That level was one of the places I got that
"on-a-treadmill" feeling, which also occasionally resulted from a heavy
hand with invisible transporters. But usually it just meant it was
time to stop running around and think. The art and geometry are varied
without overwhelming, and both are well-integrated with the fine game play
and work smoothly to contribute to it. In all aspects of this WAD,
the authors intelligence shines through. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom2/m-o/osiris.zip">Osiris</a>
2,069K
<br>8 levels
<br>DOOM II
<br>Total Conversion </td>
<td WIDTH="796">This ambitious, near-total conversion with an Egyptian
theme contains much to admire. Quake fans will appreciate the well-executed
spooky new monsters, particularly the Arch-Vile of the Nile. The
three new weapons are obviously products of an advanced civilization, and
a delight to use. Marvelous Egyptian art and new music carries the
theme through, and at its best the WAD conveys all the thrill and apprehension
of exploring a long-sealed pyramid.
<p>At first I was jarred by the juxtaposition of traditional Doom elements
and characters with the new Egyptian motif. (Or maybe I just enjoyed
the new monsters so much that I wanted more of them and fewer soldiers.)
The game play was not notable: interesting layouts but a bit too much resources
and straightforward battles. And was it my imagination, or were the
bad guys' reflexes and armor a bit weaker? They sure seemed easy
to take in close combat.
<p>By the last three levels, though, the WAD is really cooking. These
are fine large levels with plenty of geometric variety, and the Egyptian
monsters and artwork finally come together in a coherent whole. The
run-and-shoot one-dimensionality of earlier levels is mostly overcome here
by the unfolding of the layout and a more deft mixing of monsters.
Still, you can predictably count on a bad guy in most every passage, and
more bad guys if you return to an area after opening up a new portion of
the level.
<p>You wont find a BFG-9000 or cyberdemon - so many frames were used to
add atmosphere and detail that there wasnt room for them, and they arent
missed.
<p>The authors arrogate a little more control over the player than I appreciate.
On most levels, by the time you find out how many secrets you've missed,
you're locked out of returning to most of the level to hunt for them -
even using cheat codes, which they thoughtfully disabled. So although
there may have been some clever secrets, the only slightly interesting
puzzle I can attest to in all the eight levels was the one that opened
the final exit.
<p>And I still haven't figured out the motivation for the occasional snatch
of Egyptian reggae music. But no matter - the authors of Osiris have
dared much, and created a truly memorable WAD. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom2/v-z/welhell.zip">Welhell</a>
481K
<br>3 levels
<br>DOOM II </td>
<td WIDTH="796">It's pointlessly difficult to get out of the first room
(and the author offers a hint), but beyond that, the first level is the
best of the three in this WAD. This is one of those levels in which
many places are initially confusing, tantalizing or frustrating, which
transforms into a special satisfaction at the end, where all is familiar,
the bad guys are toast, and you can roam safely and at will.
<p>I found the next two levels rather tedious, though. Invisible
floors have never appealed to me, and they are lavishly used in level 2,
along with lots of invisible barriers that teleport you someplace useless.
There's a fine line between an author offering you a puzzle and playing
with you like a cat plays with a mouse, and for me, this level was a long
way over that line. The author's hints suggest there's more subtlety
to Level 3, but for me it was simply the obligatory final battle, perhaps
too grand a finale for a three level WAD. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="http://www.teamtnt.com/ixet.htm">Eternal</a>
7,893K
<br>12 levels
<br>DOOM II </td>
<td WIDTH="796">Lovely, large levels, twelve of 'em, in this marvelous
partial conversion. Now, don't judge the WAD by the first level. Although
technically competent, it was linear, straightforward and unchallenging:
super shotgun and shells in the first room. But the rest were great - large,
lavishly decorated levels with plenty to appreciate. Level 2 had a nice
spooky atmosphere, also clever puzzles. Level 4 was a marathon with some
really spiffy sewers. Level 5 featured an awesome fluorescent blue hall,
and 6 was a nifty creepy castle, just beautifully drawn. 7 was complex
and intricate, and I got to savor punching out an Arch-vile! I thought
Level 11 might have been the best, expansively nonlinear, lots of action,
several large spaces are developed as you return to them, and the bad guys
just keep popping up.
<p>If Eternal can be faulted, it would be for less than deft mixing of
monsters on a few early levels, and lots of invisible trip wires in open
areas. I'll forgive the use of the same cyberdemon trick in two levels.
The few new sounds were, for once, in good taste. And the huge layouts,
good play, snappy music and spectacular, realistic artwork make this WAD
an absolute don't miss.
<p>(Note: Since I reviewed this WAD, it has been extended to 27 levels,
and I was told the new ones are just as good. For the latest, check <a href="http://www.teamtnt.com/">TeamTNT's
Web page</a>.) </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133">Mayhem
60K
<br>1 level
<br>DOOM </td>
<td WIDTH="796">Some of the puzzles in this level are very tough, and one
or two right at the end are unfair. But the experienced player may well
enjoy the challenge of getting that far. This WAD has tons of puzzles and
secrets, but it's the author's first, and suffers from some flaws: undistinguished
secret doors, one-time lifts, lots of places where you can get permanently
trapped, and the inability to go back to an area once you've completed
it, depriving the player of the freedom to roam that is one of the delights
of DOOM. But from the start, with a fiendishly clever warren of dark corridors,
the author shows a talent for packing a lot of interest into a small area.
Later on, he proves it's not just a fluke by penning you up in one large,
open square room, throwing a platoon of monsters at you, then doing the
same thing - almost - three or four more times, and it all stays interesting.
If you can make it through the last puzzles - or are mensch enough to give
up, like I did - you'll be glad you tried. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133">Sin
City 1,782K
<br>9 levels
<br>DOOM II </td>
<td WIDTH="796">It seems like these levels may have been written by the
same author at two different levels of experience. The first five were
not to my taste at all. Too many weapons, ammo and monsters at the start,
substitute sound effects which sound like they were taped in a zoo with
a cheap cassette recorder, secret doors that were overly obvious, or sometimes
completely undistinguished, lots of monsters with their backs turned (too
easy), including a cyberdemon on level 2 (too easy), crude artwork, one-way
doors, and the hallmark of DOOM bad taste: storm troopers from Wolfenstein.
Finally, at the end of level 3, we get a challenge - if you can call being
in a hall with ten cyberdemons and no invulnerability a challenge. I call
it futile, on the grounds that the player should be able to try for 100%
kills.
<p>The last four levels were large and played better, though 6 and 9 dragged
a bit. Seven had better play, lots of hidden doors and a nice cyberdemon
fight. Level 8 was by far the best - big, a fine play, and artistically
and geometrically imaginative enough to be well worth the download. My
advice: Grab it, but if you're dissatisfied with the start, skip to Level
6. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom2/p-r/painful.zip">Painful</a>
309K
<br>4 levels
<br>DOOM II </td>
<td WIDTH="796">Recommended by a correspondent who said it was "different"
and he personally enjoyed it. But tastes differ, and unfortunately I could
not agree. It had one cute touch: shooting some hanging dolls. But beware
of any WAD where you get the super shotgun, rocket launcher, and scads
of ammo in the first room. Through this WAD, the same dull themes were
repeated over and over. Needlessly long hallways. Regiments of troops to
be mowed down with the chaingun, though it got so boring I started using
the rockets which were in overgenerous supply. Obvious arrows on the floors
and ceilings. Some fugitive storm troopers from Wolfenstein. And not much
challenge. I regret to report, I found Painful painless - and pointless. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133">Cleimos 2 (files1
and 2),
2,370K
<br>32 levels
<br>DOOM II </td>
<td WIDTH="796">Technically this is a partial conversion, but the altered
intro screens and one new monster aren't what makes these levels stand
out. What's special is the authors' artistic touch - the fabulous visual
variety. Right from the start this WAD is beautifully laid out and decorated.
Repeated design themes include tantalizing peepholes into areas you'll
visit later, well-chosen near-symmetry, mazes (oh, are there mazes!) and
often a central room connecting subareas of the level, sometimes with three
keyed doors. A paucity of health and ammo in the first half provides a
good challenge.
<p>Half a demerit for starting with full sized levels instead of getting
off the ground gradually, although the beginning levels are relatively
simple. Level 6 is nonlinear and varied, a particularly good play. Though
Level 11 is somewhat flawed by many controls and trips being distant from
the doors they open, you will pat yourself on the back if you can exit
with three 100's.
<p>A few smaller levels, and then #15 - large, complex, again the nifty
use of near-symmetry, and a key puzzle that's subtle but solvable. Mazes
are the theme of the next two levels, and if it's slow slogging just getting
through them, the assortment of artistic treatments is memorable. But the
following levels had that on-a-treadmill feeling that comes from linearity
and predictability. There's just not enough cleverness required to defeat
the layouts, although the variety of appearances continues to impress.
Level 22 breaks out with a delightfully moody graveyard and catacombs,
followed by a fine slugfest in a nifty layout and two more nice levels.
The solo player should consider Level 26 to be the last one; the last four
are meant for deathmatch and the play is otherwise uninteresting.
<p>There were many things to like in Cleimos 2. My favorites were the treatments
of the mazes, and the use of light and shadow in the dark levels to create
a somber atmosphere. This WAD gets top marks for art and layout, close
to it for playability.</td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a NAME="icarus"></a><a href="ftp://mirrors.aol.com/pub/pc_games/doom/themes/TeamTNT/icarus.zip">Icarus</a>
2,782K
<br>32 levels
<br>DOOM II </td>
<td WIDTH="796">This opus from <a href="http://www.teamtnt.com/">Team
TNT</a> is highly competent in play, layouts and art. At the start, the
small levels are not particularly challenging, except for the lack of resources.
But artistically, the style is intriguingly novel, enough so to keep interest
up through the first half dozen or so levels. After that things improve
considerably - the play and layouts advance from fair to quite nice, and
the art continues to entertain and not infrequently delight.
<p>I ran into a few obscure puzzles that needed to be solved to proceed,
but didn't consider any of them unfair (at least not the ones I got). I
encountered some system crashes on a few levels, and a number of toxic
pools and other places where you can get stuck without an exit. Special
kudos to level 24, again with a nice appearance and floor plan, enhanced
by a few unkillable monsters. (These are produced by an arch-vile bug;
here's a <a href="archvile.htm">hint</a> on dealing with them if you need
it.)
<p>Most of the levels are not really large, but with 32 of them available
it was relaxing to zip through two or three in one sitting, rather than
spending several nights stuck in one big one. All in all, I found Icarus
a nicely executed change of pace. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133">Memento
Mori 2881K
<br>32 levels
<br>DOOM II </td>
<td WIDTH="796">Memento Mori is a complete suite: 32 levels gathered by
<a href="http://www.geocities.com/Hollywood/2299/index.html">TiC</a>
from 21 top WAD authors and beautifully integrated. The intent seems to
be to create a WAD to match up against the pros from Id, and they certainly
achieve that goal. There's good pacing of monsters, you slowly accumulate
the more powerful weapons, and if the levels don't push the boundaries
of artistic expression, they are visually consistent while growing in difficulty
and maintaining a high standard of quality.
<p>There isn't room here to comment on each level, but many of them deserve
a few words. The first half of the levels are fairly standard DOOM. Level
4 features several races to the lift and some good old-fashioned slugfests.
Some levels are quite complex and really test an experienced player - Levels
9 and 12, for instance, the latter containing a battle that is all but
unsurvivable in UV. (The authors do warn that the WAD is playable in single
player - the way I evaluate all WADs - but was designed for co-op play.)
<p>Level 15 is a nice example of the genre of a large compound with multiple,
varied buildings offering good play. It's unfortunately more linear than
it seems, but some huge battles provide stiff tests. Level 17 breaks out
of the mold with a beautifully executed creaky old mansion, complete with
the usual secret panels, a graveyard, and challenges that require both
craftiness and skill (including, unfortunately, one that can't be solved
in single-player). Level 20 is a wide-open, topographically delightful
level with enough puzzles and twists that you'll feel deep satisfaction
when you're the last living creature there. Level 21 puts you inside a
hugely complicated, intensely nonlinear nuclear plant with great variety
of layout, combat and scenery - really a top notch offering, artistically,
stylistically and in enjoyability of play.
<p>From there, though, things go downhill. Level 22 is one of those unmotivated
levels where you feel like the author is running you through a laboratory
maze. Typical is a set of four identical paths between two rooms - you
have to run through all four in turn. Levels 23 and 24 sport interesting
layouts, but boil down to endless tiring sets of megabattles, useful mainly
as a clinic in how to fight with a BFG9000. And while I'm grumbling, the
second secret level, number 32, was a stultifying example of why linearity
makes for boring play.
<p>Fun for your brain returns on Level 27; it's real nonlinear with plenty
of secrets and some resources you'd best not gobble up before finding out
their intended use.
<p>Number 28 is a remarkable level. I found it exhausting in its complexity,
annoying for all the times I pulled a switch and then had to go look for
its effect, and really, by the time you've killed the dozenth cyberdemon
or arch-vile, you do want to call it a day. Yet this level is so nicely
paced, rich with secret doors and neat jumps, and the battles so well drawn,
that it is completely compelling - darn it!
<p>Level 29, also huge and tough, had a better balance of monsters, good
puzzles, and was artistically appealing, particularly the surrounding landscape.
It did have a puzzle requiring cooperative play. On Level 30, unlike some
final levels, the author did not take advantage of his last opportunity
to be unreasonable, and I was glad of it.
<p>Memento Mori may not offer a constant stream of surprises for the jaded
WAD-roamer, but it certainly achieves the goal of providing 30 generally
high quality levels of enjoyable play. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom2/d-f/dickwad2.zip">Dickwad2</a>
580K
<br>10 levels
<br>DOOM II </td>
<td WIDTH="796">This WAD is playable enough to make it worth going through,
but with a number of little irritations mixed in. After the first few,
not particularly notable, levels, we get to a fine maze, which requires
perhaps a tad too much running around. The enjoyable variety of level 7
is offset by an overload of secret doors, many not distinguished by texture
or other clues. And the final level didn't end after all the baddies were
killed. Other lapses in taste include use of a Wolfenstein trooper and
some silly sound effects and graphics. Overall, though, not a bad play. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a NAME="waterfront"></a><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom2/v-z/wtrfront.zip">Waterfront</a>
228K
<br>1 level
<br>DOOM II </td>
<td WIDTH="796">This level presents some nice new ideas, and the author
shows good artistic self-control, staying within DOOM's style but extending
the boundaries. I liked the ship moored at the dock, and the incongruous
but pleasant background music. There were plenty of bad guys to fight,
but the author provides good cover and just the right amount of ammo. There
are even some unshootable troopers, thanks to deliberate exploitation of
a bug in DOOM, but the author provides a <a href="archvile.htm">hint</a>
on how to do 'em in. Only two complaints: I didn't discover any secrets,
and I wish there had been more levels in the WAD. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom2/a-c/caslotr2.zip">Caslotr2</a>
223K
<br>1 level
<br>DOOM II </td>
<td WIDTH="796">Another WAD by the author of Waterfront. Not as much of
an artistic success, but well-executed and worth playing. A good mix of
bad guys with the right amount of ammo and health. Spiral staircases and
passages throughout the level lend a unifying touch, while variety is provided
by a nice assortment of room geometries, and an order of play that is nonlinear
outside the castle and linear inside. Nothing too startling or challenging
about this one, but not dull either. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/p-r/return01.zip">Return01</a>
519K
<br>9 levels
<br>DOOM </td>
<td WIDTH="796">A tour de force of engineering, this full episode contains
nine complex levels. There are some faults: there's too much health and
ammo available, some of the secret doors are not hinted at, and many puzzles
were difficult. Until the last three levels, they lack artistic variety;
with so many controls and lifts, they all seem designed by a brilliant
mechanical engineer. But within the limits of that genre, the author achieves
huge success. He uses height quite creatively, with lots of dropoffs from
passages into cross passages, and multiple exits from some of the many
lifts. Most of the levels are very nonlinear, giving the player the sense
of freedom that is one of the real joys of DOOM. All this combines to give
each level a rich complexity that makes the entire package immensely entertaining. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://ftp.cdrom.com/.5/idgames/themes/university/school.zip">SchoolDM</a>
2,158K
<p>(Or try their <a href="http://kirahvi.joensuu.fi/~POCD/e_main.html">Web
page</a>. This link updated 2/17/98 so will probably work.)
<br>
<p>4 levels
<br>Total conversion
<br>DOOM </td>
<td WIDTH="796">One of the charms of DOOM for me is that despite all the
gore, it doesn't take itself too seriously. Monsters that look like grinning
balloons and the Michelin Tire Man which gurgle comically as they expire
keep the player aware that it's not blood, just virtual ketchup. So I found
something unsettling about this technically stunning but a little too realistic
full conversion for DOOM, especially the two levels that accurately represent
schools and require the player to gun down teachers attacking with canes
and redheaded girls with rayguns. Putting the "game noir" aspect aside,
or if you're on the authors' side of the generation gap and think this
is good clean fun, their technique is totally outstanding. New monsters
and one new weapon add to the enjoyment, as do the transformations of other
DOOM objects, music, and sounds, particularly the ones in Finnish. Health
objects cleverly (though a bit depressingly) become alcoholic, and the
exploding barrels are now ... no, I won't ruin it for you. The accurate
portrayal of two school buildings makes those levels somewhat tedious to
play, and one wishes the authors had tried to overcome that with clever
puzzles, clearly motivated controls, or mixes of monsters. But the secret
level is novel and totally outstanding, and even though there are tons
of ammo around, it's still an absorbing play. Some technical comments:
Read the instructions carefully - it looks like you need to run DeHackEd
but actually that's optional. And one level was too large to save on my
machine. In summary, the game is technically and artistically brilliant,
with a high level of polish, and if you don't find the premise too violent
or juvenile, you'll love it. For the rest of us, I hope the authors will
post the secret level as a standalone - and use their considerable talents
to write some WADs with more challenging play and more general appeal.
<p><i>Note: Their <a href="http://kirahvi.joensuu.fi/~POCD/e_main.html">Web
site</a> now also contains an updated version, <a href="ftp://ftp.cdrom.com/.5/idgames/themes/university/schoold2.zip">School
Doom II</a>, with more levels.</i></td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/s-u/subway21.zip">Subway21</a>
152K
<br>1 level
<br>DOOM </td>
<td WIDTH="796">A marvelous, classic WAD, based on a segment of the Washington,
D.C. subway system. Imaginative, especially the music, puzzles, and artistic
touches like graffiti and pictures. A WAD that sticks in the memory long
after it's been played. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/d-f/elements.zip">Elements</a>
527K
<br>5 levels
<br>DOOM </td>
<td WIDTH="796">Five nice levels by the author of Subway. Quite playable,
good balance of ammo and health, all done with artistic consistency. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/s-u/uac_dead.zip">UAC_Dead
</a>148K
<br>1 level
<br>DOOM </td>
<td WIDTH="796">This level is another old standard. I thought this one
was not too bad, but mostly just a long series of stir up the baddies,
let them kill each other off, finish off the survivors and go on to the
next one. No good puzzles. Very linear. Some good effects. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/s-u/serenity.zip">Serenity</a>
396K
<br>8 levels
<br>DOOM </td>
<td WIDTH="796">This WAD is the first in the trilogy that continues with
Eternity and Infinity. Implementation was seamless. Play was rather dull
- lots of run and blast, run and blast. Very irritating tendency to close
doors behind the player permanently, so you have to start the level over
to retry things. The play wasn't hard enough in UV (which the authors know),
so this made up for it somewhat. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/g-i/infinity.zip">Infinity</a>
456K
<br>8 levels
<br>DOOM </td>
<td WIDTH="796">The third set of WADS in the Serenity, Eternity, Infinity
trilogy. Again a great implementation, and by now there's a little aesthetic
interest too. Even one or two hidden doors that give the player a (tiny)
tingle of satisfaction. And some imaginative contrivances - trap doors,
lifts, neat room geometry, etc. Still, it's mostly run and blast, with
lots of mixed monster rooms so you can mostly let them run and blast each
other. I found too much linearity throughout this whole series. And rarely
if ever does one have to stop and think. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="http://www.gamers.org/pub/games/idgames/levels/doom2/m-o/mrrwads1.zip">MRRWads1</a>
760K
<br>6 levels
<br>DOOM I & II </td>
<td WIDTH="796">I liked this package of two Doom and four Doom II WADs.
Playability is most important to me, and in this collection it was excellent.
<br>Eyestorm: Lots of variety, lots of secrets. Too bad it finishes with
one of those "message" endings so you can't find out how many secrets you
missed. Still, one of the best WADs I've seen.
<br>Ying1: Another excellent play, though not as extensive as Eyestorm.
Lots of monsters to slug through, yet the neat room layouts give an extra
dimension to the fighting and keep it from being just another run-and-shoot
WAD. Also good use of varied textures and shapes, all integrated with good
taste.
<br>Hall1: Again excellent play, although the behavior of the monsters
in the last room was a bit puzzling. Lots of false walls, and puzzles hard
enough that I felt good after getting through them. Good restraint in availability
of health and especially ammo. Again good imagination in room geometry.
One or two places that didn't ever make sense to me (but then there was
one secret I never got either ...)
<br>Bigopen: A few mismatched textures, but my real criterion is playability.
And on this one it wasn't excellent - it was perfect. I got through it
on UV with only a few stop and thinks, but felt really proud of myself
when it was over.
<br>Hall2: Another eminently playable level. Clever use of the beginning
room as the play develops. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/m-o/mrdm2301.zip">MRDM2301</a>
47K
<br>1 level
<br>DOOM </td>
<td WIDTH="796">This level is quite playable, with interesting geometries
and a challenging balance between resources and monsters on UV. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/0-9/01fava.zip">01Fava</a>
381K
<br>9 levels
<br>DOOM </td>
<td WIDTH="796">The first time I tried this WAD, I made it through three
levels of similar geometry, meaningless combat and dull secrets before
giving up completely. Behind every door lurk the same four basic monsters
in the same combinations. The endlessly self-congratulatory text file accompanying
the wad didn't add to my pleasure. A later try found level 6 to be large
and interesting, but still no challenge on UV. It's on the Best Doom Levels
web page, but I can't figure out why. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/a-c/aloha999.zip">Aloha999</a>
342K
<br>8 levels
<br>DOOM </td>
<td WIDTH="796">Another "Best Doom Level" that makes no sense to me. Any
WAD in which you find armor and a chainsaw in the second room can't be
too tough. The author's delight in building in little nooks from which
monsters blindside the unwary player got pretty boring after the ninth
or tenth time. If you like killing wave upon wave of imps, and chainsawing
herds of demons, this is your idea of fun levels. It wasn't mine - I quit
after the second level, mildly disgusted at stumbling across too much ammo
and weapons far in advance of needing or earning them. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/0-9/666epis.zip">666Epis</a>
218K
<br>5 levels
<br>DOOM </td>
<td WIDTH="796">A nicely engineered set of five levels, and quite challenging
on UV. Playable, polished, good balance of ammo and monsters. Some nice
bits of engineering. And yet ... there was something just a wee bit tedious
about the episodes. I didn't find myself excited about finding out what
was around the next corner. Maybe it was the difficulty, or maybe there
just wasn't enough cleverness underneath it all. I dunno. Bottom line:
Recommended, but maybe not as enthusiastically as it probably deserves. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/s-u/sudtic.zip">SudTiC</a>
566K
<br>9 levels
<br>DOOM </td>
<td WIDTH="796">A rollicking good play by TiC - nothing too extraordinary,
but quite nicely executed and never tedious. A few nits to pick - lack
of variety in monsters and style of architecture, and a nasty tendency
to plant secret doors without varying the texture or alignment. Still,
they managed to keep it interesting, and it's always a pleasure to see
a multi-level package that can sustain itself. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/g-i/galaxia.zip">Galaxia</a>
324K
<br>1 level
<br>DOOM </td>
<td WIDTH="796">This large level shows both the talent and the inexperience
of this first-time Czech author, and the talent wins out by a wide margin.
New music, sounds and graphics are well-integrated. There are at least
five distinctive types of areas (warehouse, railroad, sewers, etc.), strikingly
defined by both geometry and art. This builds a story line within the episode
to a degree I have not seen before in a DOOM level. On the down side, there
are secret doors not distinguished by texture or otherwise, a total absence
of puzzles, spider demons that are not killable or meant to be killed,
and, as far as I could see, areas that, once left, could not be reached
again. But a few new and clever ideas, decent playability, and above all
the artistic coherence, make this one of the best levels I've seen. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/themes/starwars/starwars.zip">Starwars</a>
1351K
<br>4 levels
<br>Total conversion
<br>DOOM </td>
<td WIDTH="796">The conversion is impressive, with completely new graphics,
monsters, weapons and sound. Play is poor at first, with a certain monotony
to the room layout that is not varied by the run-and-shoot action. The
levels are made up of similar or symmetric areas. But after the first level,
a degree of ingenuity appears in the small variations in geometry and operation,
and that keeps the game interesting throughout. But only barely: there
are no puzzles worth thinking about, not all secret doors vary in texture,
and the monsters, though faithful to the Star Wars theme, do not have the
personality or cleverness of the original Doom cast of characters. (But
that's inherent in the premise. Lucas had the same problem in Dark Forces,
their Doom conversion.) One nasty problem: one or two of the levels are
large enough to preclude saving. Still, a tour-de-force of Wadsmanship,
and worth a look. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom2/m-o/obtic11.zip">ObTiC11</a>
1863K
<br>17 levels
<br>Partial conversion
<br>DOOM II </td>
<td WIDTH="796">Eminently playable, often clever, not repetitive, with
some new weapons and monsters. However, some levels were a little small,
and there were occasional places that could not be reached (or at least
not by me). Despite which, absolutely top notch. </td>
</tr>
<tr VALIGN=TOP>
<td WIDTH="133"><a href="ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom2/a-c/certdeth.zip">Certdeth</a>
136K
<br>1 level
<br>DOOM II </td>
<td WIDTH="796">This large, difficult level lacks great variety in textures,
and is pretty much straight slug-it-out in play, but the authors rise above
all that with good geometry and deft mixing of monsters to create a level
that holds the player's interest (as long as he survives). Well worth playing. </td>
</tr>
</table>
<a href="http://www.toolworks.com/bilofsky"><img SRC="../waltss.jpg" HSPACE=15 VSPACE=15 BORDER=0 height=65 width=88 align=CENTER></a>
Visit <a href="http://www.toolworks.com/bilofsky">Walt's Home Page</a>
or <a href="mailto:[email protected]">send him email</a>.
</body>
</html>
|
Doom Reviews for the Recreational User
| | | |
| --- | --- | --- |
| | **Doom Reviews for the Recreational User**
*By [Walt Bilofsky](http://www.toolworks.com/bilofsky)*
Last modified 4/28/99. Last reviews added 2/18/97. You are visitor number | |
| |
| --- |
| **NOTICE:
This page is frozen - it won't be updated any more. I just don't
have the time to play WADs or keep the page up. The WADs are pretty
timeless, and the reviews should continue to be helpful, so please enjoy.**
---
**I WILL NOT
PROVIDE ASSISTANCE WITH DOOM OR REPLY TO EMAILS ON DOOM.**
**SEE THE LINKS
BELOW IF YOU NEED HELP.** |
One of the best things about DOOM is playing lots of great levels created
by hordes of stupendously clever authors . But how to decide which one
to try next? To help you resolve this serious matter, this page shares
my personal reaction to some levels I've played.
Now, there are lots of really expert DOOM fanatics, and just so you
understand, I am not one of them. I am a recreational DOOM user. I don't
inhale. I don't exhale flame. I don't play deathmatches, and I DOOM despite
the blood and gore, not because of it.
Everybody has different tastes. What I look for is playability and the
cleverness of the WAD author. I'm not fussy about mismatched textures and
like that. If this sounds reasonable, these reviews may save you some time
and bring you some enjoyment. If not, don't blame me, don't flame me; there
are lots of other people on the Web who know more about DOOM than I do.
Here are just two of them:
* [TiC's Good WAD list](http://www.tic.de/ticbest.html): Recommendations
from the authors of some great levels.
* [The All-Time Best Doom
Levels](http://doomgate.gamers.org/~williams/): Nominated and selected by popular vote.
If you haven't tried DOOM, you can download it from [id
Software](http://www.idsoftware.com/). For tons more links, see the [DOOM
FTP/WWW Site List](http://www.cdrom.com/pub/idgames/docs/rgcd-pips/FTP_WWW_sites.html) (or the latest version on the [rec.games.computer.doom.announce](news:rec.games.computer.doom.announce)
newsgroup). And if you're a WAD author, be sure to read [The
Unoffical WAD Designer's Handbook](http://www.apci.net/~ron1701/).
Now the reviews. These are, of course, just my opinion. I always play
on UV and I save a lot. Oh, reviews marked "New" mean it's a new review
- the WAD may have been around for a while. Enjoy.
| | |
| --- | --- |
| Rrd201
362K
7 levels
DOOM II | This is, above all, a thinking mans WAD. It is not
the kind you get through just by entering every door that opens and shooting
everything that moves. You will get stuck. You will need to
ponder. You will also enjoy plenty of tough battles, and though there
are some layouts that are perplexing as they unwind, that kind is particularly
satisfying to master.
The author warns that each level was meant to stand alone, so I wound
up with too many resources by playing them in sequence. Nevertheless,
the game play was so good that it easily held my interest.
As always, a few gripes. The author is rather fond of arch-viles
on the early levels. A few of the puzzles seemed extra subtle, particularly
the exit off Level 4. That level was one of the places I got that
"on-a-treadmill" feeling, which also occasionally resulted from a heavy
hand with invisible transporters. But usually it just meant it was
time to stop running around and think. The art and geometry are varied
without overwhelming, and both are well-integrated with the fine game play
and work smoothly to contribute to it. In all aspects of this WAD,
the authors intelligence shines through. |
| [Osiris](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom2/m-o/osiris.zip)
2,069K
8 levels
DOOM II
Total Conversion | This ambitious, near-total conversion with an Egyptian
theme contains much to admire. Quake fans will appreciate the well-executed
spooky new monsters, particularly the Arch-Vile of the Nile. The
three new weapons are obviously products of an advanced civilization, and
a delight to use. Marvelous Egyptian art and new music carries the
theme through, and at its best the WAD conveys all the thrill and apprehension
of exploring a long-sealed pyramid.
At first I was jarred by the juxtaposition of traditional Doom elements
and characters with the new Egyptian motif. (Or maybe I just enjoyed
the new monsters so much that I wanted more of them and fewer soldiers.)
The game play was not notable: interesting layouts but a bit too much resources
and straightforward battles. And was it my imagination, or were the
bad guys' reflexes and armor a bit weaker? They sure seemed easy
to take in close combat.
By the last three levels, though, the WAD is really cooking. These
are fine large levels with plenty of geometric variety, and the Egyptian
monsters and artwork finally come together in a coherent whole. The
run-and-shoot one-dimensionality of earlier levels is mostly overcome here
by the unfolding of the layout and a more deft mixing of monsters.
Still, you can predictably count on a bad guy in most every passage, and
more bad guys if you return to an area after opening up a new portion of
the level.
You wont find a BFG-9000 or cyberdemon - so many frames were used to
add atmosphere and detail that there wasnt room for them, and they arent
missed.
The authors arrogate a little more control over the player than I appreciate.
On most levels, by the time you find out how many secrets you've missed,
you're locked out of returning to most of the level to hunt for them -
even using cheat codes, which they thoughtfully disabled. So although
there may have been some clever secrets, the only slightly interesting
puzzle I can attest to in all the eight levels was the one that opened
the final exit.
And I still haven't figured out the motivation for the occasional snatch
of Egyptian reggae music. But no matter - the authors of Osiris have
dared much, and created a truly memorable WAD. |
| [Welhell](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom2/v-z/welhell.zip)
481K
3 levels
DOOM II | It's pointlessly difficult to get out of the first room
(and the author offers a hint), but beyond that, the first level is the
best of the three in this WAD. This is one of those levels in which
many places are initially confusing, tantalizing or frustrating, which
transforms into a special satisfaction at the end, where all is familiar,
the bad guys are toast, and you can roam safely and at will.
I found the next two levels rather tedious, though. Invisible
floors have never appealed to me, and they are lavishly used in level 2,
along with lots of invisible barriers that teleport you someplace useless.
There's a fine line between an author offering you a puzzle and playing
with you like a cat plays with a mouse, and for me, this level was a long
way over that line. The author's hints suggest there's more subtlety
to Level 3, but for me it was simply the obligatory final battle, perhaps
too grand a finale for a three level WAD. |
| [Eternal](http://www.teamtnt.com/ixet.htm)
7,893K
12 levels
DOOM II | Lovely, large levels, twelve of 'em, in this marvelous
partial conversion. Now, don't judge the WAD by the first level. Although
technically competent, it was linear, straightforward and unchallenging:
super shotgun and shells in the first room. But the rest were great - large,
lavishly decorated levels with plenty to appreciate. Level 2 had a nice
spooky atmosphere, also clever puzzles. Level 4 was a marathon with some
really spiffy sewers. Level 5 featured an awesome fluorescent blue hall,
and 6 was a nifty creepy castle, just beautifully drawn. 7 was complex
and intricate, and I got to savor punching out an Arch-vile! I thought
Level 11 might have been the best, expansively nonlinear, lots of action,
several large spaces are developed as you return to them, and the bad guys
just keep popping up.
If Eternal can be faulted, it would be for less than deft mixing of
monsters on a few early levels, and lots of invisible trip wires in open
areas. I'll forgive the use of the same cyberdemon trick in two levels.
The few new sounds were, for once, in good taste. And the huge layouts,
good play, snappy music and spectacular, realistic artwork make this WAD
an absolute don't miss.
(Note: Since I reviewed this WAD, it has been extended to 27 levels,
and I was told the new ones are just as good. For the latest, check [TeamTNT's
Web page](http://www.teamtnt.com/).) |
| Mayhem
60K
1 level
DOOM | Some of the puzzles in this level are very tough, and one
or two right at the end are unfair. But the experienced player may well
enjoy the challenge of getting that far. This WAD has tons of puzzles and
secrets, but it's the author's first, and suffers from some flaws: undistinguished
secret doors, one-time lifts, lots of places where you can get permanently
trapped, and the inability to go back to an area once you've completed
it, depriving the player of the freedom to roam that is one of the delights
of DOOM. But from the start, with a fiendishly clever warren of dark corridors,
the author shows a talent for packing a lot of interest into a small area.
Later on, he proves it's not just a fluke by penning you up in one large,
open square room, throwing a platoon of monsters at you, then doing the
same thing - almost - three or four more times, and it all stays interesting.
If you can make it through the last puzzles - or are mensch enough to give
up, like I did - you'll be glad you tried. |
| Sin
City 1,782K
9 levels
DOOM II | It seems like these levels may have been written by the
same author at two different levels of experience. The first five were
not to my taste at all. Too many weapons, ammo and monsters at the start,
substitute sound effects which sound like they were taped in a zoo with
a cheap cassette recorder, secret doors that were overly obvious, or sometimes
completely undistinguished, lots of monsters with their backs turned (too
easy), including a cyberdemon on level 2 (too easy), crude artwork, one-way
doors, and the hallmark of DOOM bad taste: storm troopers from Wolfenstein.
Finally, at the end of level 3, we get a challenge - if you can call being
in a hall with ten cyberdemons and no invulnerability a challenge. I call
it futile, on the grounds that the player should be able to try for 100%
kills.
The last four levels were large and played better, though 6 and 9 dragged
a bit. Seven had better play, lots of hidden doors and a nice cyberdemon
fight. Level 8 was by far the best - big, a fine play, and artistically
and geometrically imaginative enough to be well worth the download. My
advice: Grab it, but if you're dissatisfied with the start, skip to Level
6. |
| [Painful](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom2/p-r/painful.zip)
309K
4 levels
DOOM II | Recommended by a correspondent who said it was "different"
and he personally enjoyed it. But tastes differ, and unfortunately I could
not agree. It had one cute touch: shooting some hanging dolls. But beware
of any WAD where you get the super shotgun, rocket launcher, and scads
of ammo in the first room. Through this WAD, the same dull themes were
repeated over and over. Needlessly long hallways. Regiments of troops to
be mowed down with the chaingun, though it got so boring I started using
the rockets which were in overgenerous supply. Obvious arrows on the floors
and ceilings. Some fugitive storm troopers from Wolfenstein. And not much
challenge. I regret to report, I found Painful painless - and pointless. |
| Cleimos 2 (files1
and 2),
2,370K
32 levels
DOOM II | Technically this is a partial conversion, but the altered
intro screens and one new monster aren't what makes these levels stand
out. What's special is the authors' artistic touch - the fabulous visual
variety. Right from the start this WAD is beautifully laid out and decorated.
Repeated design themes include tantalizing peepholes into areas you'll
visit later, well-chosen near-symmetry, mazes (oh, are there mazes!) and
often a central room connecting subareas of the level, sometimes with three
keyed doors. A paucity of health and ammo in the first half provides a
good challenge.
Half a demerit for starting with full sized levels instead of getting
off the ground gradually, although the beginning levels are relatively
simple. Level 6 is nonlinear and varied, a particularly good play. Though
Level 11 is somewhat flawed by many controls and trips being distant from
the doors they open, you will pat yourself on the back if you can exit
with three 100's.
A few smaller levels, and then #15 - large, complex, again the nifty
use of near-symmetry, and a key puzzle that's subtle but solvable. Mazes
are the theme of the next two levels, and if it's slow slogging just getting
through them, the assortment of artistic treatments is memorable. But the
following levels had that on-a-treadmill feeling that comes from linearity
and predictability. There's just not enough cleverness required to defeat
the layouts, although the variety of appearances continues to impress.
Level 22 breaks out with a delightfully moody graveyard and catacombs,
followed by a fine slugfest in a nifty layout and two more nice levels.
The solo player should consider Level 26 to be the last one; the last four
are meant for deathmatch and the play is otherwise uninteresting.
There were many things to like in Cleimos 2. My favorites were the treatments
of the mazes, and the use of light and shadow in the dark levels to create
a somber atmosphere. This WAD gets top marks for art and layout, close
to it for playability. |
| [Icarus](ftp://mirrors.aol.com/pub/pc_games/doom/themes/TeamTNT/icarus.zip)
2,782K
32 levels
DOOM II | This opus from [Team
TNT](http://www.teamtnt.com/) is highly competent in play, layouts and art. At the start, the
small levels are not particularly challenging, except for the lack of resources.
But artistically, the style is intriguingly novel, enough so to keep interest
up through the first half dozen or so levels. After that things improve
considerably - the play and layouts advance from fair to quite nice, and
the art continues to entertain and not infrequently delight.
I ran into a few obscure puzzles that needed to be solved to proceed,
but didn't consider any of them unfair (at least not the ones I got). I
encountered some system crashes on a few levels, and a number of toxic
pools and other places where you can get stuck without an exit. Special
kudos to level 24, again with a nice appearance and floor plan, enhanced
by a few unkillable monsters. (These are produced by an arch-vile bug;
here's a [hint](archvile.htm) on dealing with them if you need
it.)
Most of the levels are not really large, but with 32 of them available
it was relaxing to zip through two or three in one sitting, rather than
spending several nights stuck in one big one. All in all, I found Icarus
a nicely executed change of pace. |
| Memento
Mori 2881K
32 levels
DOOM II | Memento Mori is a complete suite: 32 levels gathered by
[TiC](http://www.geocities.com/Hollywood/2299/index.html)
from 21 top WAD authors and beautifully integrated. The intent seems to
be to create a WAD to match up against the pros from Id, and they certainly
achieve that goal. There's good pacing of monsters, you slowly accumulate
the more powerful weapons, and if the levels don't push the boundaries
of artistic expression, they are visually consistent while growing in difficulty
and maintaining a high standard of quality.
There isn't room here to comment on each level, but many of them deserve
a few words. The first half of the levels are fairly standard DOOM. Level
4 features several races to the lift and some good old-fashioned slugfests.
Some levels are quite complex and really test an experienced player - Levels
9 and 12, for instance, the latter containing a battle that is all but
unsurvivable in UV. (The authors do warn that the WAD is playable in single
player - the way I evaluate all WADs - but was designed for co-op play.)
Level 15 is a nice example of the genre of a large compound with multiple,
varied buildings offering good play. It's unfortunately more linear than
it seems, but some huge battles provide stiff tests. Level 17 breaks out
of the mold with a beautifully executed creaky old mansion, complete with
the usual secret panels, a graveyard, and challenges that require both
craftiness and skill (including, unfortunately, one that can't be solved
in single-player). Level 20 is a wide-open, topographically delightful
level with enough puzzles and twists that you'll feel deep satisfaction
when you're the last living creature there. Level 21 puts you inside a
hugely complicated, intensely nonlinear nuclear plant with great variety
of layout, combat and scenery - really a top notch offering, artistically,
stylistically and in enjoyability of play.
From there, though, things go downhill. Level 22 is one of those unmotivated
levels where you feel like the author is running you through a laboratory
maze. Typical is a set of four identical paths between two rooms - you
have to run through all four in turn. Levels 23 and 24 sport interesting
layouts, but boil down to endless tiring sets of megabattles, useful mainly
as a clinic in how to fight with a BFG9000. And while I'm grumbling, the
second secret level, number 32, was a stultifying example of why linearity
makes for boring play.
Fun for your brain returns on Level 27; it's real nonlinear with plenty
of secrets and some resources you'd best not gobble up before finding out
their intended use.
Number 28 is a remarkable level. I found it exhausting in its complexity,
annoying for all the times I pulled a switch and then had to go look for
its effect, and really, by the time you've killed the dozenth cyberdemon
or arch-vile, you do want to call it a day. Yet this level is so nicely
paced, rich with secret doors and neat jumps, and the battles so well drawn,
that it is completely compelling - darn it!
Level 29, also huge and tough, had a better balance of monsters, good
puzzles, and was artistically appealing, particularly the surrounding landscape.
It did have a puzzle requiring cooperative play. On Level 30, unlike some
final levels, the author did not take advantage of his last opportunity
to be unreasonable, and I was glad of it.
Memento Mori may not offer a constant stream of surprises for the jaded
WAD-roamer, but it certainly achieves the goal of providing 30 generally
high quality levels of enjoyable play. |
| [Dickwad2](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom2/d-f/dickwad2.zip)
580K
10 levels
DOOM II | This WAD is playable enough to make it worth going through,
but with a number of little irritations mixed in. After the first few,
not particularly notable, levels, we get to a fine maze, which requires
perhaps a tad too much running around. The enjoyable variety of level 7
is offset by an overload of secret doors, many not distinguished by texture
or other clues. And the final level didn't end after all the baddies were
killed. Other lapses in taste include use of a Wolfenstein trooper and
some silly sound effects and graphics. Overall, though, not a bad play. |
| [Waterfront](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom2/v-z/wtrfront.zip)
228K
1 level
DOOM II | This level presents some nice new ideas, and the author
shows good artistic self-control, staying within DOOM's style but extending
the boundaries. I liked the ship moored at the dock, and the incongruous
but pleasant background music. There were plenty of bad guys to fight,
but the author provides good cover and just the right amount of ammo. There
are even some unshootable troopers, thanks to deliberate exploitation of
a bug in DOOM, but the author provides a [hint](archvile.htm)
on how to do 'em in. Only two complaints: I didn't discover any secrets,
and I wish there had been more levels in the WAD. |
| [Caslotr2](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom2/a-c/caslotr2.zip)
223K
1 level
DOOM II | Another WAD by the author of Waterfront. Not as much of
an artistic success, but well-executed and worth playing. A good mix of
bad guys with the right amount of ammo and health. Spiral staircases and
passages throughout the level lend a unifying touch, while variety is provided
by a nice assortment of room geometries, and an order of play that is nonlinear
outside the castle and linear inside. Nothing too startling or challenging
about this one, but not dull either. |
| [Return01](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/p-r/return01.zip)
519K
9 levels
DOOM | A tour de force of engineering, this full episode contains
nine complex levels. There are some faults: there's too much health and
ammo available, some of the secret doors are not hinted at, and many puzzles
were difficult. Until the last three levels, they lack artistic variety;
with so many controls and lifts, they all seem designed by a brilliant
mechanical engineer. But within the limits of that genre, the author achieves
huge success. He uses height quite creatively, with lots of dropoffs from
passages into cross passages, and multiple exits from some of the many
lifts. Most of the levels are very nonlinear, giving the player the sense
of freedom that is one of the real joys of DOOM. All this combines to give
each level a rich complexity that makes the entire package immensely entertaining. |
| [SchoolDM](ftp://ftp.cdrom.com/.5/idgames/themes/university/school.zip)
2,158K
(Or try their [Web
page](http://kirahvi.joensuu.fi/~POCD/e_main.html). This link updated 2/17/98 so will probably work.)
4 levels
Total conversion
DOOM | One of the charms of DOOM for me is that despite all the
gore, it doesn't take itself too seriously. Monsters that look like grinning
balloons and the Michelin Tire Man which gurgle comically as they expire
keep the player aware that it's not blood, just virtual ketchup. So I found
something unsettling about this technically stunning but a little too realistic
full conversion for DOOM, especially the two levels that accurately represent
schools and require the player to gun down teachers attacking with canes
and redheaded girls with rayguns. Putting the "game noir" aspect aside,
or if you're on the authors' side of the generation gap and think this
is good clean fun, their technique is totally outstanding. New monsters
and one new weapon add to the enjoyment, as do the transformations of other
DOOM objects, music, and sounds, particularly the ones in Finnish. Health
objects cleverly (though a bit depressingly) become alcoholic, and the
exploding barrels are now ... no, I won't ruin it for you. The accurate
portrayal of two school buildings makes those levels somewhat tedious to
play, and one wishes the authors had tried to overcome that with clever
puzzles, clearly motivated controls, or mixes of monsters. But the secret
level is novel and totally outstanding, and even though there are tons
of ammo around, it's still an absorbing play. Some technical comments:
Read the instructions carefully - it looks like you need to run DeHackEd
but actually that's optional. And one level was too large to save on my
machine. In summary, the game is technically and artistically brilliant,
with a high level of polish, and if you don't find the premise too violent
or juvenile, you'll love it. For the rest of us, I hope the authors will
post the secret level as a standalone - and use their considerable talents
to write some WADs with more challenging play and more general appeal.
*Note: Their [Web
site](http://kirahvi.joensuu.fi/~POCD/e_main.html) now also contains an updated version, [School
Doom II](ftp://ftp.cdrom.com/.5/idgames/themes/university/schoold2.zip), with more levels.* |
| [Subway21](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/s-u/subway21.zip)
152K
1 level
DOOM | A marvelous, classic WAD, based on a segment of the Washington,
D.C. subway system. Imaginative, especially the music, puzzles, and artistic
touches like graffiti and pictures. A WAD that sticks in the memory long
after it's been played. |
| [Elements](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/d-f/elements.zip)
527K
5 levels
DOOM | Five nice levels by the author of Subway. Quite playable,
good balance of ammo and health, all done with artistic consistency. |
| [UAC\_Dead](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/s-u/uac_dead.zip)148K
1 level
DOOM | This level is another old standard. I thought this one
was not too bad, but mostly just a long series of stir up the baddies,
let them kill each other off, finish off the survivors and go on to the
next one. No good puzzles. Very linear. Some good effects. |
| [Serenity](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/s-u/serenity.zip)
396K
8 levels
DOOM | This WAD is the first in the trilogy that continues with
Eternity and Infinity. Implementation was seamless. Play was rather dull
- lots of run and blast, run and blast. Very irritating tendency to close
doors behind the player permanently, so you have to start the level over
to retry things. The play wasn't hard enough in UV (which the authors know),
so this made up for it somewhat. |
| [Infinity](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/g-i/infinity.zip)
456K
8 levels
DOOM | The third set of WADS in the Serenity, Eternity, Infinity
trilogy. Again a great implementation, and by now there's a little aesthetic
interest too. Even one or two hidden doors that give the player a (tiny)
tingle of satisfaction. And some imaginative contrivances - trap doors,
lifts, neat room geometry, etc. Still, it's mostly run and blast, with
lots of mixed monster rooms so you can mostly let them run and blast each
other. I found too much linearity throughout this whole series. And rarely
if ever does one have to stop and think. |
| [MRRWads1](http://www.gamers.org/pub/games/idgames/levels/doom2/m-o/mrrwads1.zip)
760K
6 levels
DOOM I & II | I liked this package of two Doom and four Doom II WADs.
Playability is most important to me, and in this collection it was excellent.
Eyestorm: Lots of variety, lots of secrets. Too bad it finishes with
one of those "message" endings so you can't find out how many secrets you
missed. Still, one of the best WADs I've seen.
Ying1: Another excellent play, though not as extensive as Eyestorm.
Lots of monsters to slug through, yet the neat room layouts give an extra
dimension to the fighting and keep it from being just another run-and-shoot
WAD. Also good use of varied textures and shapes, all integrated with good
taste.
Hall1: Again excellent play, although the behavior of the monsters
in the last room was a bit puzzling. Lots of false walls, and puzzles hard
enough that I felt good after getting through them. Good restraint in availability
of health and especially ammo. Again good imagination in room geometry.
One or two places that didn't ever make sense to me (but then there was
one secret I never got either ...)
Bigopen: A few mismatched textures, but my real criterion is playability.
And on this one it wasn't excellent - it was perfect. I got through it
on UV with only a few stop and thinks, but felt really proud of myself
when it was over.
Hall2: Another eminently playable level. Clever use of the beginning
room as the play develops. |
| [MRDM2301](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/m-o/mrdm2301.zip)
47K
1 level
DOOM | This level is quite playable, with interesting geometries
and a challenging balance between resources and monsters on UV. |
| [01Fava](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/0-9/01fava.zip)
381K
9 levels
DOOM | The first time I tried this WAD, I made it through three
levels of similar geometry, meaningless combat and dull secrets before
giving up completely. Behind every door lurk the same four basic monsters
in the same combinations. The endlessly self-congratulatory text file accompanying
the wad didn't add to my pleasure. A later try found level 6 to be large
and interesting, but still no challenge on UV. It's on the Best Doom Levels
web page, but I can't figure out why. |
| [Aloha999](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/a-c/aloha999.zip)
342K
8 levels
DOOM | Another "Best Doom Level" that makes no sense to me. Any
WAD in which you find armor and a chainsaw in the second room can't be
too tough. The author's delight in building in little nooks from which
monsters blindside the unwary player got pretty boring after the ninth
or tenth time. If you like killing wave upon wave of imps, and chainsawing
herds of demons, this is your idea of fun levels. It wasn't mine - I quit
after the second level, mildly disgusted at stumbling across too much ammo
and weapons far in advance of needing or earning them. |
| [666Epis](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/0-9/666epis.zip)
218K
5 levels
DOOM | A nicely engineered set of five levels, and quite challenging
on UV. Playable, polished, good balance of ammo and monsters. Some nice
bits of engineering. And yet ... there was something just a wee bit tedious
about the episodes. I didn't find myself excited about finding out what
was around the next corner. Maybe it was the difficulty, or maybe there
just wasn't enough cleverness underneath it all. I dunno. Bottom line:
Recommended, but maybe not as enthusiastically as it probably deserves. |
| [SudTiC](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/s-u/sudtic.zip)
566K
9 levels
DOOM | A rollicking good play by TiC - nothing too extraordinary,
but quite nicely executed and never tedious. A few nits to pick - lack
of variety in monsters and style of architecture, and a nasty tendency
to plant secret doors without varying the texture or alignment. Still,
they managed to keep it interesting, and it's always a pleasure to see
a multi-level package that can sustain itself. |
| [Galaxia](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom/g-i/galaxia.zip)
324K
1 level
DOOM | This large level shows both the talent and the inexperience
of this first-time Czech author, and the talent wins out by a wide margin.
New music, sounds and graphics are well-integrated. There are at least
five distinctive types of areas (warehouse, railroad, sewers, etc.), strikingly
defined by both geometry and art. This builds a story line within the episode
to a degree I have not seen before in a DOOM level. On the down side, there
are secret doors not distinguished by texture or otherwise, a total absence
of puzzles, spider demons that are not killable or meant to be killed,
and, as far as I could see, areas that, once left, could not be reached
again. But a few new and clever ideas, decent playability, and above all
the artistic coherence, make this one of the best levels I've seen. |
| [Starwars](ftp://mirrors.aol.com/pub/pc_games/doom/themes/starwars/starwars.zip)
1351K
4 levels
Total conversion
DOOM | The conversion is impressive, with completely new graphics,
monsters, weapons and sound. Play is poor at first, with a certain monotony
to the room layout that is not varied by the run-and-shoot action. The
levels are made up of similar or symmetric areas. But after the first level,
a degree of ingenuity appears in the small variations in geometry and operation,
and that keeps the game interesting throughout. But only barely: there
are no puzzles worth thinking about, not all secret doors vary in texture,
and the monsters, though faithful to the Star Wars theme, do not have the
personality or cleverness of the original Doom cast of characters. (But
that's inherent in the premise. Lucas had the same problem in Dark Forces,
their Doom conversion.) One nasty problem: one or two of the levels are
large enough to preclude saving. Still, a tour-de-force of Wadsmanship,
and worth a look. |
| [ObTiC11](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom2/m-o/obtic11.zip)
1863K
17 levels
Partial conversion
DOOM II | Eminently playable, often clever, not repetitive, with
some new weapons and monsters. However, some levels were a little small,
and there were occasional places that could not be reached (or at least
not by me). Despite which, absolutely top notch. |
| [Certdeth](ftp://mirrors.aol.com/pub/pc_games/doom/levels/doom2/a-c/certdeth.zip)
136K
1 level
DOOM II | This large, difficult level lacks great variety in textures,
and is pretty much straight slug-it-out in play, but the authors rise above
all that with good geometry and deft mixing of monsters to create a level
that holds the player's interest (as long as he survives). Well worth playing. |
[](http://www.toolworks.com/bilofsky)
Visit [Walt's Home Page](http://www.toolworks.com/bilofsky)
or [send him email](mailto:[email protected]).
| https://www.toolworks.com/doom/ |
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<PRE><B><BIG><BIG><A HREF="https://cryptome.org/hudsonyards-collateral/index.html">Hudson Yards COLLATERAL</A></BIG></BIG></B>
<B><BIG><BIG><BIG>2023</BIG></BIG></BIG></B>
<B><BIG><BIG>DECEMBER 2023</BIG></BIG></B>
<B><A HREF="https://cryptome.org/2023/09/Valentine-CIA-Capers-01/DEA-CIA-Drug-Wars.zip">2023-047.zip</A> DEA-CIA War on Drugs Archive, December 22, 2023</B> (1.330GB)
<B><A HREF="https://cryptome.org/2023/09/Valentine-CIA-Capers-01/CIA-MKULTRA.zip">2023-046.zip</A> CIA MKULTRA Program, December 22, 2023</B> (41.2MB)
<B><A HREF="https://cryptome.org/2023/12/kunstler-v-cia-077.pdf">2023-045.pdf</A> Court Rules in Favor of Assange in CIA/Pompeo Spying, December 19, 2023</B>
<B><A HREF="https://cryptome.org/2023/12/assange-hearing-set.htm">2023-044.htm</A> Assange Extradition Hearing Set, December 19, 2023</B>
<B><A HREF="https://cryptome.org/2023/12/Phoenix-Program-Documents-02.htm">2023-043.htm</A> Phoenix Program Documents 02, December 5, 2023</B>
<B><BIG><BIG>NOVEMBER 2023</BIG></BIG></B>
<B><A HREF="https://cryptome.org/2023/11/Phoenix-Program-Documents-01.htm">2023-042.htm</A> Phoenix Program Documents 01, November 29, 2023</B>
<B><A HREF="https://cryptome.org/2023/11/Valentine-CIA-Capers-Archive.htm">2023-041.htm</A> Douglas Valentine CIA Capers Archive, November 10, 2023</B>
<B><BIG><BIG>OCTOBER 2023</BIG></BIG></B>
<B><A HREF="https://cryptome.org/2023/10/20-April-1993-USMJ-Ponsor-02.pdf">2023-040.pdf</A> Douglas Valentine Sues CIA for PHOENIX Documents, October 14, 2023</B>
<B><BIG><BIG>SEPTEMBER 2023</BIG></BIG></B>
<B><A HREF="https://cryptome.org/2023/09/Valentine-CIA-Capers-02/Phoenix%20Audio%20Files/Colby,%20Bill/WilliamColbyTape2Side1.wav">2023-039.wav</A> CIA Director William Colby Comments on MKULTRA Drug Interrogation Operation 3, September 30, 2023</B> (133MB)
<B><A HREF="https://cryptome.org/2023/09/Valentine-CIA-Capers-02/Phoenix%20Audio%20Files/Colby,%20Bill/WilliamColbyTape1Side2.wav">2023-038.wav</A> CIA Director William Colby Comments on MKULTRA Drug Interrogation Operation 2, September 30, 2023</B> (321MB)
<B><A HREF="https://cryptome.org/2023/09/Valentine-CIA-Capers-02/Phoenix%20Audio%20Files/Colby,%20Bill/WilliamColbyTape1Side1.wav">2023-037.wav</A> CIA Director William Colby Comments on MKULTRA Drug Interrogation Operation 1, September 30, 2023</B> (327MB)
<B><BIG><BIG>AUGUST 2023</BIG></BIG> </B>
<B><A HREF="https://cryptome.org/2023/08/Assange-Hilton-054.pdf">2023-036.pdf</A> Letter to Judge Hilton on Cryptome Closing Until Assange Is Freed, August 31, 2023</B>
<B><A HREF="https://cryptome.org/cryptome-closed.html">2023-035.htm</A> Cryptome Closed Until Assange Is Freed, August 20, 2023</B>
<B><A HREF="https://cryptome.org/2023/08/Trump-et-al-GA-Indictments.pdf">2023-034.pdf</A> Georgia v.Trump et al Indictments, August 15, 2023</B> (98 pages, 24 MB)
<B><A HREF="https://cryptome.org/2023/08/NSA-Syrian-LI.htm">2023-033.htm</A> The NSA Hack of Syrian Lawful Intercept (LI), August 11, 2023</B>
<B><A HREF="https://cryptome.org/2023/08/US-Investments-in-NatSec-of-Countries-of-Concern.htm">2023-032.htm</A> US Investments in NatSec of Countries of Concern, August 9, 2023</B>
<B><BIG><BIG>JULY 2023</BIG></BIG> </B>
<B><A HREF="https://cryptome.org/2023/07/PIAB-702-Report.pdf">2023-031.pdf</A> President's Intelligence Advisory Board (PIAB) and Intelligence Ovesight Board (IOB) Review of FISA Section 702 and Recommendations for Reauthorization, July 31, 2023</B> (94MB)
<B><A HREF="https://cryptome.org/2023/07/Oppenheimer-Hearing-Transcript.zip">2023-030.zip</A> Oppenheimer Hearing Transcripts, July 23, 2022</B> (353MB)
<B><A HREF="https://open.substack.com/pub/roberteringer/p/liechtenstein-the-vatican-and-rene?r=u2b3q&utm_campaign=post&utm_medium=web">2023-029.htm</A> Offsite: Liechtenstein, The Vatican & Rene Brulhart, July 19, 2023</B>
<B><A HREF="https://open.substack.com/pub/roberteringer/p/where-on-earth-is-frank-schneider?r=u2b3q&utm_campaign=post&utm_medium=web">2023-028.htm</A> Offsite: Where On Earth Is Frank Schneider?, July 19, 2023</B>
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<B><BIG><BIG>JUNE 2023</BIG></BIG> </B>
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<B><A HREF="https://cryptome.org/2023/06/Ellsberg-Halperin-Taiwan-Straits-Crisis.pdf">2023-025.pdf</A> Mirror Ellsberg Halperin Taiwan Straits Crisis, June 21, 2023</B> (691 pages, 850MB)
<B><A HREF="https://cryptome.org/2023/06/Ellsberg-Offshore-Islands-Feb-1963.pdf">2023-024.pdf</A> Mirror Ellsberg Offshore Islands Crisis, June 21,2023</B> (75MB)
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<B><A HREF="https://cryptome.org/2023/06/Ellsberg-BNSP.pdf">2023-022.pdf</A> Mirror Ellsberg BNSP, June 21, 2023 </B>(36MB)
<B><A HREF="https://cryptome.org/2023/06/Ellsberg-nuclear-war.pdf">2023-021.pdf</A> Daniel Ellsberg Released Top Secret Nuclear War Document, June 19, 2023</B> (3.7MB)
<B><A HREF="https://cryptome.org/cryptome-classified-index-1.htm">2023-032.htm</A> Cryptome Classified Documents Index - Part 1 2016-2023</B>
<B><A HREF="https://cryptome.org/2023/06/Trump-Cannon-2023-06-13.pdf">2023-031.pdf</A> Request to Judge Cannon to Add Cryptome as Co-Defendant to Prosecution of Donald J. Trump, June 13, 2023</B>
<B><A HREF="https://cryptome.org/2023/06/shin-bet-killer.pdf">2023-030.pdf</A> Shin Bet Has a Killer (You are being lied to), June 11, 2023</B> (in Hebrew)
<B><A HREF="https://cryptome.org/2023/06/Trump-Filings-2023-0609.pdf">2023-029.pdf</A> Trump Indictment Docket and Filings 2023-0609, June 9, 2023</B> (60 pages, 3.7MB)
<B><BIG><BIG>MAY 2023</BIG></BIG></B>
<B><A HREF="https://cryptome.org/000/Gilder-AMNH-Gang-DOB.zip">2023-028.zip</A> Gilder Center, AMNH, Studio Gang, DOB Filing, AR/ST/M/PL 2018, May 21, 2023</B> (329 Sheets, 239MB)
<B><A HREF="https://cryptome.org/2023/05/Teixeria-Hennessy-2023-05-19.pdf">2023-027.pdf</A> Request to Judge Hennessy to Add Cryptome as Co-Defendant to Complaints of Jack Teixeira, May 19, 2023</B>
<B><A HREF="https://cryptome.org/2023/05/Birchum-NSA-TS-SCI.zip">2023-026.zip</A> Robert Birchum, USAF Officer, Pleads Guilty to Retaining NSA TOP SECRET/SCI Documents, May 18, 2023</B> (74MB)
<B><BIG><BIG>APRIL 2023</BIG></BIG></B>
<B><BIG><BIG></BIG></BIG></B>
<B><A HREF="https://cryptome.org/2023/04/Teixeira-020.pdf">2023-025.pdf</A> Jack Teixeira Opposition to Supplemental Motion for Detention, Apri 27, 2023</B> (89 pages, 28MB)
<B><A HREF="https://cryptome.org/2023/04/Teixeira-020.zip">2023-024.zip</A> Jack Teixeira Opposition to Supplemental Motion for Detention, Apri 27, 2023</B> (89 pages, 28MB)
<B><A HREF="https://cryptome.org/2023/04/Teixeira-019.pdf">2023-023.pdf</A> Jack Teixeira Supplemental Motion for Detention, Apri 27, 2023</B> (48 pages, 6MB)
<B><A HREF="https://cryptome.org/2023/04/Ellsberg-2023-0420.pdf">2023-022.pdf</A> Nuclear Secrets Daniel Ellsberg Never Leaked, April 20, 2023</B>
<B><A HREF="https://cryptome.org/2023/04/Teixeira-001-008.pdf">2023-021.pdf</A> Jack Teixeira Court Filings 001-008, April 16, 2023</B> (3MB)
<B><A HREF="https://cryptome.org/2023/04/Leaked-Classified-Docs.zip">2023-020.zip</A> Leaked Classified Documents, April 16, 2023</B> (Updated with 4chan/4chan-2/CN-47/WaPo, 53MB)
<B><A HREF="https://cryptome.org/2023/04/Assange-Hilton-2023-0410.pdf">2023-019.pdf</A> </B> <B>Cryptome Submits 3rd Request to Judge Hilton/DoJ on Assange Prosecution, April 10, 2023</B>
<B><BIG><BIG>MARCH 2023</BIG></BIG></B>
<B><A HREF="https://cryptome.org/000/121185680-Hill-161-Maiden-Lane.zip">2023-018.zip</A> NYC's "Leaning Tower" Construction Drawings, March 24, 2023</B> (436B)
<B><A HREF="https://cryptome.org/2023/03/kwok-002.pdf">2023-017.pdf</A> Ho Wan Kwok (Miles Guo) Indictment Unsealed, March 16, 2023</B>
<B><A HREF="https://cryptome.org/2023/03/Assange-Hilton-2023-0303.pdf">2023-016.pdf</A> Cryptome Submits 2nd Request to Judge Hilton/DoJ on Assange Prosecution, March 3, 2023</B>
<B><A HREF="https://cryptome.org/2023/03/ellsberg-fatal.htm">2023-015.htm</A> Legendary Leaker Daniel Ellsberg Announces His Fatal Disease, March 2, 2023</B>
<B><A HREF="https://cryptome.org/2023/03/ASSESSMENT_OF_THE_LOSS_OF_THE_USS_PUEBLO.PDF">2023-014.pdf</A> NSA <STRIKE>Top Secret</STRIKE>: ASSESSMENT_OF_THE_LOSS_OF_THE_USS_PUEBLO, March 1, 2023 (5.3MB)</B>
<B><A HREF="https://cryptome.org/2023/03/19690228_Doc_3075790_Cryptographic.pdf">2023-013.pdf</A> NSA <STRIKE>Top Secret</STRIKE>: 19690228_Doc_3075790_Cryptographic - USS Pueblo, March 1, 2023 (21MB)</B>
<B><A HREF="https://cryptome.org/2023/03/appendices_jul48.pdf">2023-012.pdf </A> NSA <STRIKE>Top Secret</STRIKE>: UK-USA Agreement appendices_jul48, March 1, 2023 (21MB)</B>
<B><A HREF="https://cryptome.org/2023/03/new_ukusa_agree_10may55.pdf">2023-011.pdf</A> NSA <STRIKE>Top Secret</STRIKE>: new_ukusa_agree_10may55, March 1, 2023 (17MB)</B>
<B><BIG><BIG>FEBRUARY 2023</BIG></BIG></B>
<B><A HREF="https://blog.nuclearsecrecy.com">2023-010.htm</A> Offsite: Restricted Data: The Nuclear Secrecy Blog, February 17, 2023</B>
<B><A HREF="https://www.amazon.com/Declassification-Engine-History-Reveals-Americas/dp/1101871571">2023-009.htm</A> Offsite: The Declassification Engine: What History Reveals About America's Top Secrets, February 10, 2023</B>
<B><A HREF="https://seymourhersh.substack.com">2023-008.htm</A> Offsite: Seymour Hersh on Nord Stream Pipeline Attack, February 8, 2023</B>
<B><BIG><BIG>JANUARY 2023</BIG></BIG></B>
<B><A HREF="https://cryptome.org/2023/01/nichols-cops-killing.pdf">2023-007.pdf</A> Tyre Nichols Cops Killing Indictment, January 27,2023</B>
<B><A HREF="https://cryptome.org/2023/01/mcgonigal-shestakov-002.pdf">2023-006.pdf</A> McGonigal-Shestakov Indictment NY, January 25,2023</B>
<B><A HREF="https://cryptome.org/2023/01/mcgonigal-001.pdf">2023-005.pdf</A> McGonigal Indictment DC, January 25,2023</B>
<B><A HREF="https://www.governmentattic.org/48docs/NARAofrPpTrump_2023.pdf">2023-004.pdf</A> Offsite: National Archives Sorts Trump Presidential Papers, January 21, 2023</B>
<B><A HREF="https://cryptome.org/2023/01/Why-Secret-Docs-Show-Up.pdf">2023-003.pdf</A> Why Do Secret Documents Show Up in Strange Places, January 15, 2023</B>
<B><A HREF="https://cryptome.org/2023/01/WikiLeaks-Vault-7.zip">2023-002.zip</A> Mirror: WikiLeaks Vault 7 CIA Files, January 15, 2023</B> (1.5GB)
<B><A HREF="https://cryptome.org/2022/10/wikileaks-files-index.html">2023-001.htm</A> WikiLeaks List of Files, January 15, 2023</B>
<B><BIG><BIG><BIG>2022</BIG></BIG></BIG></B>
<B><BIG><BIG>DECEMBER 2022</BIG></BIG></B>
<B><A HREF="https://cryptome.org/2022/12/Trump-Taxes-2015-2020.zip">2022-053.zip</A> Donald J. and Melania Trump Taxes 2015-2020, December 30, 2022 (Zipped PDF, 5,885 pages, 1.3GB)</B>
<B><A HREF="https://cryptome.org/2022/12/Title-18-Section-793.pdf">2022-052.pdf</A> Title 18 Section 793 "Espionage" Assange Charges, December 15, 2022</B>
<B><A HREF="https://www.newsweek.com/i-am-assange-daniel-ellsberg-other-allies-demand-us-prosecute-them-too-1766616">2022-051.htm</A> Offsite: Newsweek: Daniel Ellsberg and John Young Interviewed on Assange, December 15, 2022</B>
<B><A HREF="https://www.democracynow.org/2022/12/14/daniel_ellsberg_john_young_assange_case">2022-050.htm</A> Offsite: Democracy Now: Daniel Ellsberg and John Young Interviewed on Assange, December 14, 2022</B>
<B><A HREF="https://twitter.com/Cryptome_org/status/1602660726698639362?cxt=HHwWhIC85ZHc5b0sAAAA">2022-049.htm</A> Offsite: Crown Prosecution Service Resonds to John Young on Assange, December 13, 2022</B>
<B><A HREF="https://cryptome.org/2022/12/CPS-JA-JY-2022-1210.pdf">2022-048.pdf</A></B> <B>Request to UK Crown Prosecution Service to Add Cryptome as Co-Defendant to Prosecution of Julian Assange, December 12, 2022</B>
<B><A HREF="https://cryptome.org/2022/12/Assange/Assange-044.pdf">2022-047.pdf</A> USG-v-Julian Assange Second Superceding Indictment, December 4, 2022 (2MB)</B>
<B><A HREF="https://cryptome.org/2022/12/Assange/Assange-Charges.pdf">2022-046.pdf</A> USG-v-Julian Assange Case Summary Charges, December 4, 2022</B>
<B><A HREF="https://cryptome.org/2022/12/Assange/Assange-Docket.pdf">2022-045.pdf</A> USG-v-Julian Assange Court Docket, December 4, 2022</B>
<B><A HREF="https://youtube.com/watch?v=jt_bWBup-88">2022-044.htm</A> Offsite: Cryptome-John Young Interviewed by Consortium News, December 2, 2022</B>
<B><A HREF="https://cryptome.org/2022/12/doj-ja/doj-ja-cryptome-02.htm">2022-043.htm</A> Supplemental Request to DoJ to Add Cryptome as Co-Defendant to Prosecution of Julian Assange, December 1, 2022</B>
<B><A HREF="https://cryptome.org/2022/12/doj-ja/judge-ja-cryptome.htm">2022-042.htm</A> Request to Judge Hilton to Add Cryptome as Co-Defendant to Prosecution of Julian Assange, December 1, 2022</B>
<B><BIG><BIG>NOVEMBER 2022</BIG></BIG></B>
<B><A HREF="https://cryptome.org/2022/11/doj-ja/doj-ja-cryptome-01.htm">2022-041.htm</A> Request to DoJ to Add Cryptome as Co-Defendant to Prosecution of Julian Assange, November 28, 2022</B>
<B><A HREF="https://cryptome.org/000/The-Shed-Diller-Scofidio-Renfro.pdf">2022-040.pdf</A> The Shed Construction Drawings NYC, Diller-Scofidio-Renfro, November 19, 2022</B> (24MB)
<B><A HREF="https://cryptome.org/2022/11/holmes-1655.pdf">2022-039.pdf</A> Elizabeth Holmes Defense Motion for Downward Sentencing, November 19, 2022</B> (13MB)
<B><A HREF="https://cryptome.org/2022/11/CIA-Journalists-NYT.zip">2022-038.zip</A> CIA Recruiting of Journalists Via NYT 1977, November 1, 2022</B> (2MB)
<B><BIG><BIG>OCTOBER 2022</BIG></BIG></B>
<B><A HREF="https://cryptome.org/cryptocomb-archive.zip">2022-037.zip</A> Mirror of <A HREF="http://cryptocomb.org">Cryptocomb</A> Names of CIA Officers, Stations, Bases, October 29, 2022</B> (42MB)
<B><A HREF="https://cryptome.org/000/121190308-75-11th-Avenue-BIG.zip">2022-036.zip</A> BIG Construction Drawings 76 11th Avenue, NYC, October 21,2022</B> (455MB)
<IMG SRC="pict3.jpg" ALIGN="Bottom" ALT="[Image]" WIDTH="679" HEIGHT="370">
<B><BIG><BIG>SEPTEMBER 2022</BIG></BIG></B>
<B><A HREF="https://cryptome.org/2022/09/Communication_in_a_world_of_pervasive_surveillance-phd-thesis.pdf">2022-035.pdf</A> Updated: Communication in a world of pervasive surveillance, September 28, 2022</B> (24MB)
<B><A HREF="https://cryptome.org/2022/09/2022-NYSAG-Trumps.zip">2022-034.zip</A> NY State Attorney General Lawsuit Against the Trumps, September 21, 2022 (83MB)</B>
<B><BIG><BIG>AUGUST 2022</BIG></BIG></B>
<B><A HREF="https://cryptome.org/2022/08/Trump-Search-Affidavit-102.pdf">2022-033.pdf</A> Trump Search Affidavit Unsealed, August 26, 2022</B>
<B><A HREF="https://cryptome.org/2022/08/Inside-the-War-Between-Trump-and-His-Generals.pdf">2022-032.pdf</A> Inside the War Between Trump and His Generals, August 8, 2022</B> (9.3M)
<B><A HREF="https://cryptome.org/000/36-West-66th-Street-Tuned-Slosh-Damper.pdf">2022-031.pdf</A> Tuned Slosh Damper for Manhattan high-rise by Snohetta, August 7, 2022</B> (8.5MB)
<B><A HREF="https://cryptome.org/2022/08/cyberintel-warn-2022.pdf">2022-030.pdf</A> Cyber Intelligence: Strategic Warning Is Possible, August 4,2022</B>
<B><BIG><BIG>JULY 2022</BIG></BIG></B>
<B><A HREF="https://cryptome.org/2022/07/navy/navy-undersea-subs.htm">2022-029.htm</A> US Navy Undersea Submarine Bases, July 31, 2022</B>
<B><A HREF="https://cryptome.org/2022/07/burned-and-blinded2022.pdf">2022-028.pdf</A> Burned and Blinded: Escalation Risks of Intelligence Loss from Countercyber Operations in Crisis, July 25, 2022</B>
<B><A HREF="https://cryptome.org/2022/07/ofcom-searches.htm">2022-027.htm</A> Ofcom Searches, July 24, 2022</B>
<B><A HREF="https://www.youtube.com/watch?v=EbtpE0VbndI">2022-026.htm</A> Offsite: CIA Numbers Stations, July 24, 2022</B>
<B><A HREF="https://mega.nz/file/5B02hZ5Z#LqyFi1KqNSX0Cz1ISVXk8pcTXxvFAWGQjRofRWfnk4A">2022-025.zip</A> Offsite: 3 GB zip file for manufacturing information for Amazon Web Services, July 10, 2022</B>
<B><BIG><BIG>JUNE 2022</BIG></BIG></B>
<B><A HREF="https://cryptome.org/2022/06/dancho-danchev-e-book.htm">2022-024.htm</A> Dancho Danchev Official E-Book Compilation Archive, June 22, 2022</B>
<B><A HREF="https://cryptome.org/2022/06/21-00039-OIG.pdf">2022-023.pdf</A> SEC OIG Report on Employees Release of Information to Reporters, June 19, 2022</B>
<B><A HREF="https://cryptome.org/2022/06/cyber-intelligence-danchev.pdf">2022-022.pdf</A> Cyber Intelligence - Danchev Memoir, June 8, 2022</B>
<B><A HREF="https://cryptome.org/2022/06/How-Trustless-Is-Bitcoin-Really.pdf">2022-021.pdf</A> How Trustless Is Bitcoin Really? Related <A HREF="https://cryptome.org/2022/06/bitcoin.pdf">Paper</A>, June 7, 2022</B>
<B><A HREF="https://cryptome.org/2022/06/schulte-keefe.pdf">2022-020.pdf</A> The Surreal Case of a C.I.A Hacker's Revenge, June 6, 2022</B> (9MB)
<B><BIG><BIG>MAY 2022</BIG></BIG></B>
<B><A HREF="https://cryptome.org/2022/06/stanton-sad.pdf">2022-019.pdf</A> John Stanton: United States Stuck in the Antarctic Night like the Belgica, June 3, 2022</B>
<B><A HREF="https://cryptome.org/2022/05/schulte-820.pdf">2022-018.pdf</A></B> <B>Joshua Schulte Proposed Questions for Jurors (Voir Dire) May 23, 2022</B>
<B><A HREF="https://cryptome.org/2022/05/stanton-ppp.pdf">2022-017.pdf</A> John Stanton: The Pope, The Punk and the Presidents, May 13, 2022</B>
<B><BIG><BIG>APRIL 2022</BIG></BIG></B>
<IMG src="111w57SHoP.jpg" align="Bottom" alt="[Image]" width="900" height="629">
<B><A href="https://cryptome.org/000/121332968-111-West-57th-Street-Shop.pdf">2022-016.pdf</A> Construction Drawings 111 West 57th Street NYC Supertall by SHoP Architects< April 5, 2022</B> (190MB)
<B><A href="https://cryptome.org/2022/04/bucha/bucha-massacre.htm">2022-015.htm</A> Massacre at Bucha, Ukraine by Russian Soldiers, April 3, 2022</B>
<B><A href="https://cryptome.org/2022/04/maxwell-653.pdf">2022-014.pdf</A> Judge Denies Ghislaine Maxwell New Trial re Juror 50, April 1,2022</B>
<B><BIG><BIG>MARCH 2022</BIG></BIG></B>
<B><A href="https://cryptome.org/2022/03/Unkenholz-001.pdf">2022-013.pdf</A> NSA Employee Indicted for Conveying Top Secret/SCI Material, March 31,2022</B>
<B><A href="https://cryptome.org/2022/03/eastman-260.pdf">2022-012.pdf</A> Judge Finds John Eastman and Trump Planned a Coup, March 28, 2022</B>
<B><A href="https://cryptome.org/2022/03/Alphabet-Sidewalk-Labs-Failed.pdf">2022-011.pdf</A> Alphabet Sidewalk Labs Failed, March 22, 2022</B>
<B><A href="https://cryptome.org/2022/03/savage.pdf">2022-010.pdf</A> Is Biden a War Criminal?, March 22, 2022</B>
<B><A href="https://cryptome.org/000/NYC-DOB-New-WTC.zip">2022-009.zip</A> NYC DOB Review of New WTC Buildings, March 14, 2022</B> (179MB)
<B><A href="https://covertactionmagazine.com/archives/">2022-008.htm</A> Offsite: Covert Action Magazine Archives, March 5, 2022</B>
<B><A href="https://www.governmentattic.org/44docs/CIAagencyWideIssuances_2003-2021.pdf">2022-007.pdf</A> Offsite: CIA agency-wide regulatory issuances and the policy covering The Agency Regulatory System, 2003-2021, March 4, 2022</B>
<B><BIG><BIG>FEBRUARY 2022</BIG></BIG></B>
<B><A href="https://cryptome.org/2022/02/wholeaked.htm">2022-006.htm</A> wholeaked - a new open source program to catch whistle blowers, February 21, 2022</B>
<B><A href="https://cryptome.org/2022/02/rusk2022.pdf">2022-005.pdf</A> Scenario for a War in Eastern Ukraine, February 3, 2022</B>
<B><A href="https://cryptome.org/2022/02/Documents-for-January-6.zip">2022-004.zip</A> FOIA Documents Requested for January 6 Insurrection, February 1, 2022</B> (267MB)
<B><BIG><BIG>JANUARY 2022</BIG></BIG></B>
<B><A href="https://cryptome.org/2022/01/rhodes-crowl-walden-001.pdf">2022-003.pdf</A> US Indicts 19 Oath Keepers Including Founder for Seditious Conspiracy, January 13, 2022</B> (2.2MB)
<B><A href="https://cryptome.org/Sartre-Aesthetic-Theory.pdf">2022-002.pdf</A> An Aesthetic Theory Based on the Work of Jean-Paul Sartre, January 4, 2022</B> (72 pages. 72MB)
<B><A href="https://cryptome.org/2022/01/chemical-warfare-questions.pdf">2022-001.pdf</A> Chemical Warfare: Many Unanswered Questions, January 1, 2022</B> (140 pages, 11MB)
<B><BIG><BIG><BIG>2021</BIG></BIG></BIG></B>
<B><BIG><BIG>DECEMBER 2021</BIG></BIG></B>
<B><A href="https://cryptome.org/000/121331059-626-1st-Avenue-SHoP.zip">2021-116.zip</A> "Broke-Back" Twin Towers, SHoP Architects, 626 1st Avenue, Manhattan, Construction Drawings, December 12, 2021</B> (237MB)
<B><A href="https://cryptome.org/2021/12/USA-v-Assange-Judgment-Summary101221.pdf">2021-115.pdf</A> UK Court Denies Assange Appeal - Judgment and Summary, December 10, 2021</B> (435KB)
<B><A href="https://cryptome.org/2021/12/Ghislaine-Noelle-Maxwell-Kids-Live-Safe.pdf">2021-114.pdf</A> Ghislaine Noelle Maxwell Kids Live Safe Background Report, December 7, 2021</B> (1.5MB)
<B><A href="https://www.secret-bases.co.uk/secret2.htm?permalink=SEROCU#SEROCU">2021-113.htm</A> Offsite: Thames Valley Police 'outs' South East Regional Organised Crime Unit SEROCU, December 2, 2021</B>
<B><A href="https://cryptome.org/2021/12/intel-oversight-corp-spying.pdf">2021-112.pdf</A> Of intelligence oversight and the challenge of surveillance corporatism, December 2, 2021</B>
<B><A href="https://cryptome.org/2021/12/CIA-Trump-Intelligence-Briefing.pdf">2021-111.pdf</A> CIA: Trump Intelligence Briefing, December 1, 2021</B> (1.2MB<B>)</B>
<B><BIG><BIG>NOVEMBER 2021</BIG></BIG></B>
<B><A href="https://cryptome.org/2021/11/Muschamp-Cryptome-2003.pdf">2021-110.pdf</A> Herbert Muschamp Inquires about WTC Design Contracts, November 14, 2021</B>
<B><A href="https://cryptome.org/2021/11/Eric-Leroy-Adams.pdf">2021-109.pdf</A> Sanitized Spy Profile of (Mayor-Elect) Eric Leroy Adams, November 3, 2021</B> (525KB)
<B><BIG><BIG>OCTOBER 2021</BIG></BIG></B>
<B><A href="https://www.cs.columbia.edu/~smb/papers/bugs21.pdf">2021-108.pdf</A> Offsite: Bugs in our Pockets: The Risks of Client-Side Scanning, October 15, 2021</B>
<B><A href="https://cryptome.org/000/121192761-1228-York-Avenue.pdf">2021-107.pdf</A> New riverfront building for Rockefeller University, Rafael Vinoly Architect, October 14, 2021</B> (131MB)
<B><A href="https://cryptome.org/2021/10/432-Park-Condo-02.pdf">2021-106.pdf</A> Supertall 432 Park Condominium Sues Developer for Building Faults, October 8, 2021</B>
<B><A href="https://cryptome.substack.com/p/inglorious-supertalls">2021-105.htm</A> Inglorious Supertalls, October 3, 2021</B>
<B><A href="https://cryptome.org/000/0-Structural-Peer-Review-Practice-in-New-York-City.pdf">2021-104.pdf</A> Repost: Structural Peer Review Practice in New York City, November 18, 2018</B>
<B><A href="https://www.nytimes.com/2021/10/01/realestate/supertalls-safety.html">2021-103.htm</A> Offsite: New York Times: New Supertalls Test the Limits, as the City Consults an Aging Playbook, October 1,2021</B>
<B><A href="https://cryptome.org/000/most-dangerous-nyc-buildings.htm">2021-102.htm</A> Repost: New Cryptome Series: Most Dangerous NYC Buildings, November 18, 2019</B>
<B><A href="http://cryptome.org/00/21-nyc-most-dangerous.pdf">2021-101.pdf</A> Repost: 21 NYC Most Dangerous Buildings, November 6, 2018</B>
<B><BIG><BIG>SEPTEMBER 2021</BIG></BIG></B>
<B><A href="https://cryptome.org/2021/09/baier-001.pdf">2021-100.pdf</A> Ex-NSA Mercenary Hackers Charged with UAE Spying, September 14, 2021https://cryptome.org/2021/09/baier-001.pdf</B>
<B><A href="https://cryptome.org/2021/09/pax-technica.pdf">2021-093.pdf</A> Pax Technica, Philip Howard, Septmber 6, 2021</B> (1.3MB)
<B><A href="https://cryptome.org/2021/09/custodians-internet.pdf">2021-092.pdf</A> Custodians of the Internet, Tarleton Gillespie, September 6, 2021</B> (1.9MB)
<B><BIG><BIG>AUGUST 2021</BIG></BIG></B>
<B><A href="https://www.secret-bases.co.uk/secret2.htm?permalink=SAS#SAS">2021-091.htm</A> Offsite: UK Special Forces (SAS) MAB5 Computer Network Exploit unit, August 9, 2021</B>
<B><A href="https://cryptome.org/2021/08/Surfside-Design-Faulty.pdf">2021-090.pdf</A> Analysis of Surfside Condo Faulty Design and Construction, August 8, 2021</B> (7MB)
<B><BIG><BIG>JULY 2021</BIG></BIG></B>
<B><A href="https://cryptome.org/2021/07/hale-248.pdf">2021-089.pdf</A> Daniel Everette Hale Sentencing Minutes, July 28, 2021</B>
<B><A href="https://cryptome.org/2021/07/schulte-485.pdf">2021-088.pdf</A> Joshua Schulte Granted Representation by Himself Pro Se, July 27, 2021</B>
<B><A href="https://cryptome.org/2021/07/Executive-Order-2021-0709.pdf">2021-087.pdf</A> Executive Order on Promoting Competition in the American Economy, July 9, 2021</B>
<B><A href="https://cryptome.org/2021/07/Surfside-dob-structural-docs.zip">2021-086.zip</A> Surfside Condo Structural Drawings, July 4, 2021</B> (8.7MB)
<B><BIG><BIG>JUNE 2021</BIG></BIG></B>
<B><A href="https://cryptome.org/2021/06/NSA-Cyber-Command.pdf">2021-085.pdf</A> NSA Cyber Command East Campus Buildings, June 22, 2021</B> (900KB)
<B><A href="https://cryptome.org/2021/06/Peck-Barb-1974.pdf">2021-084.pdf</A> Winslow Peck (Perry Fellwock) 1st NSA Whistleblower in 1971 Adds 1974 Comments, June 18, 2021</B>
<B><A href="https://cryptome.org/2021/06/Bitcoin-with-References.pdf">2021-083.pdf</A> Satoshi Nakamoto's Original Bitcoin Paper with References, June 14, 2021</B> (85 pages, 6.4MB)
<B><A href="https://cryptome.org/000/270-Park-Avenue-Photos-2021-0609.zip">2021-082.zip</A> JP Morgan Chase New Headquarters, 270 Park Avenue Progress Photos 2021-0609, June 13, 2021</B> (156 Photos, 660MB)
<B><A href="https://cryptome.org/2021/06/ilp_manual012918.pdf">2021-081.pdf</A> Pasco Sheriff's Office Intelligence-Led Policing Manual (83 pages), June 11, 2021</B> (2MB)
<B><A href="https://cryptome.org/cryptome-archive.htm">2021-080.htm</A> Cryptome Archive Update to June 7, 2021, June 7, 2021</B>
<B><A href="https://cryptome.org/2021/06/Indian-Encryption-Debate.pdf">2021-079.pdf</A> Expert Stakeholder Consultation Report on the Indian Encryption Debate (28 pages), June 5, 2021</B> (10MB)
<B><A href="https://cryptome.org/2021/06/edwards-guilty-plea.pdf">2021-078.pdf</A> Natalie Mayflower Sours Edwards Guilty Plea Transcript, June 5, 2021</B>
<B><A href="https://cryptome.org/2021/06/edwards-complaint.pdf">2021-077.pdf</A> Natalie Mayflower Sours Edwards Complaint (18 pages), June 4, 2021</B> (1.3MB)
<B><BIG><BIG>MAY 2021</BIG></BIG></B>
<B><A href="https://cryptome.org/2021/05/Epidemiological-Consultation-EPICON-Reports.pdf">2021-076.pdf</A> Epidemiological Consultation EPICON Reports 2007, May 24, 2021</B>
<B><A href="https://cryptome.org/2021/05/MOD-Guide.pdf">2021-075.pdf</A> UK MOD Guide to Appointments & Invitations 2007, May 24, 2021</B>
<B><A href="https://cryptome.org/2021/05/Hall-Report.pdf">2021-074.pdf</A> Tony Hall on Review of Media Access to MOD Personnel 2007, May 24, 2021</B>
<B><A href="https://cryptome.org/2021/05/MoD-Media.pdf">2021-073.pdf</A> UK MOD Contact with the Media and Communicating in Public 2007, May 24, 2021</B>
<B><A href="https://cryptome.org/2021/05/Project-Air-Force-1996.pdf">2021-072.pdf</A> Project Air Force 1946-1996, RAND, by Morton Halperin, May 23, 2021</B> (3MB)
<B><A href="https://cryptome.org/2021/05/1958-Taiwan-Straits-Crisis-Halperin.zip">2021-071.zip</A> Companion to Ellsberg Leak 2021, 691-page RAND report by Morton Halperin, May 22, 2021</B> (736MB)
<B><A href="https://cryptome.org/2021/05/Ellsberg-Leak-2021.zip">2021-070.zip</A> Ellsberg Leak 2021, May 22, 2021</B> (83MB)
<B><A href="https://cryptome.org/2021/05/crypto-mag-3-01_e.pdf">2021-069.pdf</A> Crypto AG Magazine March 2001, May 21, 2021</B> (1.5MB)
<B><A href="https://cryptome.org/2021/05/greenberg-105.pdf">2021-068.pdf</A> Joel Greenberg Plea Agreement (Child Sex Trafficking et al), May 17, 2021</B> (6MB)
<B><A href="https://cryptome.org/2021/05/EO-Nations-Cybersecurity.pdf">2021-067.pdf</A> Executive Order on Improving the Nation's Cybersecurity, May 12, 2021</B>
<B><A href="https://cryptome.org/2021/05/UK-Draft-Online-Safety-Bill.pdf">2021-066.pdf</A> UK Draft Online Safety Bill, May 12, 2021</B> (1.9MB)
<B><A href="https://cryptome.org/2021/05/UK-Computer-Misuse-Act-1990.pdf">2021-065.pdf</A> UK Computer Misuse Act 1990, May 12, 2021</B>
<B><A href="https://cryptome.org/2021/05/Barrack-Guests-2017.pdf">2021-064.pdf</A> Tom Barrack’s 2017 Presidential Inauguration Chairman’s Global Dinner Guest List, May 11, 2021</B>
<B><BIG><BIG>APRIL 2021</BIG></BIG></B>
<B><A href="https://cryptome.org/2021/04/Joseph-Meyer-IEEE-1977.pdf">2021-063.pdf</A> NSA Releases Ex-Top Secret Umbra Joseph Meyer Letter to IEEE 1997, April 30, 2021</B>
<B><A href="https://cryptome.org/2021/04/whatfreewords-py.tar.gz">2021-062.gz</A> WhatFreeWords Python Library, April 30, 2021</B>
<B><A href="https://cryptome.org/2021/04/WhatFreeWords-Javascript-Library.txt">2021-061.txt</A> WhatFreeWords Javascript Library, April 30, 2021</B> (2.5MB)
<B><A href="https://cryptome.org/2021/04/Combating-Ransomware.pdf">2021-060.pdf</A> Combating Ransomware-A Comprehensive Framework for Action, April 29, 2021</B>
<B><A href="https://cryptome.org/2021/04/bin-ladin-raid-10.pdf">2021-059.pdf</A> Ten Years On: Inside the Bin Ladin Raid: A Conversation with McRaven and Rasmussen, April 27, 2021</B>
<B><A href="https://cryptome.org/2021/04/Americans-AI.pdf">2021-058.pdf</A> Americans Minds Are Artificially Intelligent, April 24, 2021</B>
<B><A href="https://www.youtube.com/watch?v=OLTGAGVOGzk">2021-057.vid</A> 10 Vanderbilt Avenue Supertall, Manhattan, Plate Glass Install Video, April 21, 2021</B>
<B><A href="https://cryptome.org/2021/04/Stone-IRS-001.pdf">2021-056.pdf</A> Roger Stone and Lydia Stone vs IRS Complaint, April 17, 2021</B>
<B><A href="https://cryptome.org/000/121207087-270-Park-Avenue-SSP-2021-04-05.pdf">2021-055.pdf</A> JP Morgan Chase HQ 270 Park Avenue Demolition Site Safety Plan, April 16, 2021</B> (8MB)
<B><A href="https://cryptome.org/2021/04/ATT-WOO-Removal.pdf">2021-054.pdf</A> ATT Worldwide Short-Wave Radio WOO Site Removal, April 16, 2021</B> (3MB)
<B><A href="https://cryptome.org/2021/04/John-Inglis-2013.htm">2021-053.htm</A> HTM: NSA John Inglis on Edward Snowden 2013, April 13, 2021</B>
<B><A href="https://cryptome.org/2021/04/John-Inglis-2013.pdf">2021-053.pdf</A> PDF: NSA John Inglis on Edward Snowden 2013, April 13, 2021</B>
<B><A href="http://news.newenergytimes.net/iter/">2021-052.htm</A> Offsite: ITER, The Grand Illusion: A Forensic Investigation of Power Claims, April 12, 2021</B>
<B><A href="https://cryptome.org/2021/04/maxwell-197-199.pdf">2021-051.pdf</A> Ghislaine Maxwell Refutes USA Claims of Detention Conditions, April 11, 2021</B>
<B><A href="https://cryptome.org/000/121191021-42-Trinity-Place-FXFowle.pdf">2021-050.pdf</A> 121191921-42 Trinity Place FXFowle Construction Drawings, April 10, 2021 (1657MB)</B>
<B><A href="https://cryptome.org/2021/04/maxwell-195-196.pdf">2021-049.pdf</A> USA vs Ghislaine Maxwell Detention Conditions, April 8, 2021</B>
<B><A href="https://cryptome.org/2021/04/hale-197.pdf">2021-048.pdf</A> Daniel Hale Plea Agreement, April 1, 2021</B>
<B><BIG><BIG>MARCH 2021</BIG></BIG></B>
<B><A href="https://cryptome.org/000/270-Park-Avenue-SSP-2021-03-19.pdf">2021-047.pdf</A> JP Morgan Chase Bank Headquarters Cellar Demolition Site Safety Plan 2021-03-19, March 31, 2021</B> (7.8MB)
<B><A href="https://cryptome.org/2021/03/maxwell-187.pdf">2021-046.pdf</A> Ghislaine Maxwell Superceding Indictment, March 30, 2021</B>
<B><A href="https://cryptome.org/2021/03/bubbagump2.pdf">2021-045.pdf</A> Joe Biden’s Shameful Push for War with China and Russia: Ignoring</B> <B>History, Denying Reality, March 28, 2021</B>
<B><A href="http://cryptome.xxx/ttt/ttt.htm">2021-044.htm</A> Unzipped 30 Torrents from Tillie Kottmann's Antiproprietary Telegram channel, March 27, 2021</B>
<B><A href="http://cryptome.xxx/Antiproprietary-torrents.zip">2021-043.zip</A> 30 Torrents from Tillie Kottmann's Antiproprietary Telegram channel, March 21, 2021 (1.7MB)</B>
<B><A href="https://cryptome.org/2021/03/CIA-Lovett-1945.pdf">2021-042.pdf</A> Lovett Report of 1945 Setting Up the Central Intelligence Agency (ex-Top Secret), March 20, 2021</B> (2MB)
<B><A href="https://cryptome.org/2021/03/kottman-001.pdf">2021-041.pdf</A> Tillie Kottmann Indictment, March 19, 2021</B> (20MB)
<B><A href="https://www.secret-bases.co.uk/secret2.htm?permalink=MO3">2021-040.htm</A> Offsite: Met Police MO3 Covert Operations Technical Surveillance Unit, March 16, 2021</B>
<B><A href="https://cryptome.org/2021/03/nz-embassy.pdf">2021-039.pdf</A> New Zealand Embassy Security Enhancements, Washington DC, Construction Drawings, March 13, 2021</B> (3.3MB)
<B><A href="https://cryptome.org/2021/03/sky-indictment.pdf">2021-038.pdf</A> Sky Global Indictment, March 13, 2021</B> (2MB)
<B><A href="https://cryptome.org/000/Bezos-DC-Mansion.pdf">2021-037.pdf</A> Jeff Bezos DC Mansion Construction Drawings (81 sheets), March 11, 2021</B> (112MB)
<B><A href="https://mailchi.mp/offitkurman/donziger-trial-delayed-again-213312?e=28bf2612ee">2021-036.htm</A> Offsite: 200+ lawyers file judicial complaint against Judge Lewis A. Kaplan, March 10, 2021</B>
<B><BIG><BIG>FEBRUARY 2021</BIG></BIG></B>
<B><A href="https://cryptome.org/2021/02/Assessment-Saudi-Gov-Role-in-JK-Death-20210226.pdf">2021-035.pdf</A> ODNI: Assessing the Saudi Government's Role in the Killing of Jamal K.hashoggi, February 26, 2021</B>
<B><A href="https://cryptome.org/2021/02/maxwell-160.pdf">2021-034.pdf</A> Ghislaine Maxwell Offers to Renounce FR/UK Citizenship/Assets for Bail Release, February 26, 2021</B>
<B><A href="https://cryptome.org/2021/02/aispuro-001.pdf">2021-033.pdf</A> Complaint/Arrest Warrant for Emma Coronel Aispuro, El Chapo's Wife, February 23, 2021</B>
<B><A href="https://cryptome.org/000/NYC-Structural-Peer-Reviews.zip">2021-032.zip</A> Updated: NYC High-Rise Structural Peer Reviews, February 22, 2021</B> (336MB)
<B><A href="https://cryptome.org/000/121204785-JP-Morgan-HQ-270-Park-Avenue-SSP-2021-01-20.pdf">2021-031.pdf</A> JP Morgan HQ Demolition Below Ground Site Safety Plan, February 22, 2021</B> (3.5MB)
<B><A href="https://cryptome.org/2021/02/maxwell-159.pdf">2021-030.pdf</A> Ghislaine Maxwell Searched 1,400 Times, February 21, 2021</B>
<B><A href="https://cryptome.org/2021/02/scappaticci-audio.zip">2021-029.zip</A> Freddie Scappaticci Covert Interviews in 3 Formats, February 21, 2021</B> (54MB)
<B><A href="https://cryptome.org/2021/000/121205604-JP-Morgan-270-Park-Avenue-NB.zip">2021-028.zip</A> JP Morgan Headquarters New Building, Structural Peer Review, CCDs, CPC, FDNY, February 19, 2021</B> (1.4MB)
<B><A href="https://cryptome.org/2021/02/cia-declass-2007.pdf">2021-027.pdf</A> CIA Declassification Report for 2007, February 16, 2021</B> (1.5MB)
<B><A href="https://cryptome.org/2021/02/trump-trial-memo-2021-02-08.pdf">2021-026.pdf</A> Trump Trial Memo, 8 February, 2021</B> (78 pages, 13MB)
<B><A href="https://cryptome.org/000/sgn/nyc-occupied-unsafe-high-rises.htm">2021-025.htm</A> NYC Occupied Unsafe High-Rise Buildings, February 5, 2021</B>
<B><A href="https://cryptome.org/2021/02/demarr-complaint.pdf">2021-024.pdf</A> John Demarr Complaint of Cryptocurrency Fraud, February 3, 2021</B>
<B><A href="https://cryptome.org/2021/02/trump-trial-defense.pdf">2021-023.pdf</A> Trump Trial Defense, February 2, 2021</B> (1.7MB)
<B><A href="https://cryptome.org/2021/02/trump-trial-memo.pdf">2021-022.pdf</A> Correction: Trump Impeachment Trial Memorandum, February 2, 2021</B> (12MB)
<B><BIG><BIG>JANUARY 2021</BIG></BIG></B>
<B><A href="https://cryptome.org/2021/01/sensitive-court-procedures.pdf">2021-021.pdf</A> Sensitive Court Procedures Following SolarWinds Breach, January 31, 2021</B>
<B><A href="https://cryptome.org/2021/01/Surveillance-Coup.pdf">2021-020.pdf</A> Surveillance Coup vs Democracy, January 31, 2021</B>
<B><A href="https://cryptome.org/000/JP-Morgan-270-Park-Avenue-Demolition-SSP-2021-0127.pdf">2021-019.pdf</A> JP Morgan 270 Park Avenue Demolition Site Safety Plan 2021-0127, January 31,2021</B> (4MB)
<B><A href="https://cryptome.org/2021/01/schulte-447.pdf">2021-018.pdf</A> Joshua Schulte, Alleged Vault 7 Leaker, Requests Correction of Horrific Special Administrative Measures, January 24, 2021</B>
<B><A href="https://cryptome.org/2021/01/oathkeepers-complaint.pdf">2021-017.pdf</A> Oathkeepers Attack on the Capitol Complaint, January 23, 2021</B>
<B><A href="https://cryptome.org/2021/01/powell-complaint.pdf">2021-016.pdf</A> Dominion Voting Systems v. Sidney Powell Complaint, January 19, 2021</B> (124 pages, 5MB)
<B><A href="https://cryptome.org/2021/01/powell-filings.pdf">2021-015.pdf</A> Dominion Voting Systems v. Sidney Powell Filings List, January 19, 2021</B>
<B><A href="https://cryptome.org/2021/01/Inauguration-Threat-Assessment-2021.pdf">2021-014.pdf</A> Inauguration Threat Assessment 2021, January 16, 2021</B> (4MB)
<B><A href="https://cryptome.org/2021/01/Poitras-Letter.html">2021-013.html</A> Laura Poitras Open Letter on Firing by The Intercept, January 14, 2021</B>
<B><A href="https://cryptome.org/2021/01/odni-eo12333.pdf">2021-012.pdf</A> ODNI Issues Attorney General Procedures for EO 12333 Compliance, January 14, 2021</B> (3.9MB)
<B><A href="https://cryptome.org/2021/01/dodm-s-5240-01-a.pdf">2021-011.pdf</A> NSA Releases Declassified DoD SIGINT Governing Manual S-5240.01A, January 13, 2021</B> (24MB)
<B><A href="https://cryptome.org/2021/01/trump-impeachment-2.pdf">2021-010.pdf</A> Trump Articles of Impeachment II, January 11, 2021</B>
<B><A href="https://cryptome.org/2021/01/assange-pardon-petition.pdf">2021-009.pdf</A> Pardon Petition of Julian Assange, January 11, 2021</B> (2.2MB)
<B><A href="https://cryptome.org/cryptome-archive.htm">2021-008.htm</A> Cryptome Archive Update to January 10, 2021, January 10, 2021</B>
<B><A href="https://cryptome.org/2021/01/Protective-Operations-Quick-Reference-Guide.pdf">2021-007.pdf</A> Federal Law Enforcement Protective Operations Quick Reference Guide, January 5, 2021</B>
<B><A href="https://cryptome.org/2021/01/Kushner-NYIF-Grand.zip">2021-006.zip</A> Kushner Real Estate Project Exclusively for Rich Non-Americans Development Documents, January 4, 2021</B> (185MB)
<B><A href="https://cryptome.org/2021/01/Trump-Georgia-Call-Full-Audio.mp3">2021-005.mp3</A> Full 1-Hour Audio of Trump Call with Georgia Election Officials, January 4, 2021</B> (150MB)
<B><A href="https://cryptome.org/2021/01/USA-v-Assange-judgment-040121.pdf">2021-004.pdf</A> USA v Assange Judgement, January 4, 2021</B>
<B><A href="https://cryptome.org/2021/01/USA-v-Assange-annex-040121.pdf">2021-003.pdf</A> USA v Assange Judgement Annex, January 4, 2021</B>
<B><A href="https://cryptome.org/2021/01/Trump-Georgia-Call.pdf">2021-002.pdf</A> Transcript of Trump Call with Georgia Election Officials, January 4, 2021</B>
<B><A href="https://cryptome.org/2021/01/SARS-CoV-2-Lineage-B-1-1-7.pdf">2021-001.pdf</A> Report on New Covid Variant UK B117 in the UK, December 31, 2020, January 1, 2021</B>
<B><A href="https://cryptome.org/cryptout.htm">Cryptout</A> January-December 2019</B>
<A name="pk">Cryptome-16-1105 <[email protected]></A><BR>Key ID: 0x28679DAA
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<BR><A name="pk">John Young 15-0915 <[email protected]></A>
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CopUcw24Kg0=
=GXYU
-----END PGP PUBLIC KEY BLOCK-----
<BR><HR>
</PRE>
<P>
<FONT color="#ff0000"><FONT color="#ff0000"> </FONT><B>Premiere Full Video
by dnCRYPTOME</B></FONT><B>: False Tallies-the Prisoner's Dilemma?</B>
<P>
<A href="https://vimeo.com/145453201">https://vimeo.com/145453201</A>
<P>
<A href="http://2016.transmediale.de/content/tacit-futures-1-building-snowden-archives">http://2016.transmediale.de/content/tacit-futures-1-building-snowden-archives</A>
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<HR>
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<A name="sendto">Email: cryptome[at]earthlink.net</A><BR>
Mail: Cryptome, 251 West 89th Street, New York, NY 10024<BR>
Telephone for messages: 212-873-8700
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<HR>
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Mirrors of the Cryptome Archive should be accessed with caution, none have
been authenticated by Cryptome and sigs can be faked to hide tampering. There
is growing censor-tamper-implant-bowdlerize-redact-tag-track of archives,
torrents, drops, shares, wikis, disclosure sites.
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<HR>
<P>
Cryptome disavows mirrors of its archive due to tampering with files, hashes,
signatures and implant insertion.
<A href="https://cpunks.org/pipermail/cypherpunks/2015-November/011093.html">https://cpunks.org/pipermail/cypherpunks/2015-November/011093.html</A>
<P>
<A href="https://cryptome.biz/">Cryptome.biz</A>, a Russian virtual currency
site
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<HR>
<PRE><B><A href="https://cryptome.org/cryptome-archive.htm">Cryptome Archive 1996-Present</A></B><BR><B>Note: Bots, spiders and siphons downloading more than 100 files per day are</B><BR><B> blocked.</B> <B>Python, Wget and Bot Not, Thanks. Bots are vile bandwith wasters.</B>
<HR><BR><BR><BR><BR><BR><BR>
<PRE><B>5 November 2016: Do not use the two following keys, they have been </B><BR><B>forged</B> <B>padded and uploaded.</B><BR>John Young 15-0915 <[email protected]> 0xD87D436C<BR>Cryptome 15-0915 <[email protected]> 0x8CD47BD5<BR><BR><BR><BR><BR><BR>
</PRE></PRE>
<P>
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<P>
<P>
<P>
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<HR>
<P>
John Young Architect: <A href="http://jya.com/">http://jya.com</A><BR>
Special Inspections:
<A href="http://jya.com/special-inspections.htm">http://jya.com/special-inspections.htm</A><BR>
NYC DoB-Licensed Site Safety Manager 1992-1995<BR>
NYC DoB Site Safety Manager 40-Hour and Examination 2016
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Cryptome
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---
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| Cryptome welcomes documents for publication that are prohibited by
governments worldwide, in particular material on freedom of expression, privacy,
cryptology, dual-use technologies, national security, intelligence, and secret
governance -- open, secret and classified documents -- but not limited to
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[Reference Assange Extradition
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---
**Cryptome marks 27 years, June 1996 - June 2023, thanks to uncountable
mostly anonymous doxers.**
[Donate $100](https://cryptome.org/donations.htm) for the
[Cryptome Archive](https://cryptome.org/cryptome-archive.htm)
of 103,000 files from June 1996 to **June 2023** on 1 USB (100GB).
Cryptome [public key](https://cryptome.org/#pk)
(Search site with
[Google](https://www.google.com/search?q=cryptome&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a&channel=sb)
for most not all.)
```
**[Cryptome Archive 2016-1996](https://cryptome.org/cryptome-2016-1996.htm)** **Full 20-year Index**
**[Deborah Natsios and John Young Bibliography](http://natsios-young.org/)**
**[John Young Architect](https://cryptome.org/jya/John-Young-Architect.pdf)**
```
```
**[Hudson Yards COLLATERAL](https://cryptome.org/hudsonyards-collateral/index.html)**
**2023**
**DECEMBER 2023**
**[2023-047.zip](https://cryptome.org/2023/09/Valentine-CIA-Capers-01/DEA-CIA-Drug-Wars.zip) DEA-CIA War on Drugs Archive, December 22, 2023** (1.330GB)
**[2023-046.zip](https://cryptome.org/2023/09/Valentine-CIA-Capers-01/CIA-MKULTRA.zip) CIA MKULTRA Program, December 22, 2023** (41.2MB)
**[2023-045.pdf](https://cryptome.org/2023/12/kunstler-v-cia-077.pdf) Court Rules in Favor of Assange in CIA/Pompeo Spying, December 19, 2023**
**[2023-044.htm](https://cryptome.org/2023/12/assange-hearing-set.htm) Assange Extradition Hearing Set, December 19, 2023**
**[2023-043.htm](https://cryptome.org/2023/12/Phoenix-Program-Documents-02.htm) Phoenix Program Documents 02, December 5, 2023**
**NOVEMBER 2023**
**[2023-042.htm](https://cryptome.org/2023/11/Phoenix-Program-Documents-01.htm) Phoenix Program Documents 01, November 29, 2023**
**[2023-041.htm](https://cryptome.org/2023/11/Valentine-CIA-Capers-Archive.htm) Douglas Valentine CIA Capers Archive, November 10, 2023**
**OCTOBER 2023**
**[2023-040.pdf](https://cryptome.org/2023/10/20-April-1993-USMJ-Ponsor-02.pdf) Douglas Valentine Sues CIA for PHOENIX Documents, October 14, 2023**
**SEPTEMBER 2023**
**[2023-039.wav](https://cryptome.org/2023/09/Valentine-CIA-Capers-02/Phoenix%20Audio%20Files/Colby,%20Bill/WilliamColbyTape2Side1.wav) CIA Director William Colby Comments on MKULTRA Drug Interrogation Operation 3, September 30, 2023** (133MB)
**[2023-038.wav](https://cryptome.org/2023/09/Valentine-CIA-Capers-02/Phoenix%20Audio%20Files/Colby,%20Bill/WilliamColbyTape1Side2.wav) CIA Director William Colby Comments on MKULTRA Drug Interrogation Operation 2, September 30, 2023** (321MB)
**[2023-037.wav](https://cryptome.org/2023/09/Valentine-CIA-Capers-02/Phoenix%20Audio%20Files/Colby,%20Bill/WilliamColbyTape1Side1.wav) CIA Director William Colby Comments on MKULTRA Drug Interrogation Operation 1, September 30, 2023** (327MB)
**AUGUST 2023**
**[2023-036.pdf](https://cryptome.org/2023/08/Assange-Hilton-054.pdf) Letter to Judge Hilton on Cryptome Closing Until Assange Is Freed, August 31, 2023**
**[2023-035.htm](https://cryptome.org/cryptome-closed.html) Cryptome Closed Until Assange Is Freed, August 20, 2023**
**[2023-034.pdf](https://cryptome.org/2023/08/Trump-et-al-GA-Indictments.pdf) Georgia v.Trump et al Indictments, August 15, 2023** (98 pages, 24 MB)
**[2023-033.htm](https://cryptome.org/2023/08/NSA-Syrian-LI.htm) The NSA Hack of Syrian Lawful Intercept (LI), August 11, 2023**
**[2023-032.htm](https://cryptome.org/2023/08/US-Investments-in-NatSec-of-Countries-of-Concern.htm) US Investments in NatSec of Countries of Concern, August 9, 2023**
**JULY 2023**
**[2023-031.pdf](https://cryptome.org/2023/07/PIAB-702-Report.pdf) President's Intelligence Advisory Board (PIAB) and Intelligence Ovesight Board (IOB) Review of FISA Section 702 and Recommendations for Reauthorization, July 31, 2023** (94MB)
**[2023-030.zip](https://cryptome.org/2023/07/Oppenheimer-Hearing-Transcript.zip) Oppenheimer Hearing Transcripts, July 23, 2022** (353MB)
**[2023-029.htm](https://open.substack.com/pub/roberteringer/p/liechtenstein-the-vatican-and-rene?r=u2b3q&utm_campaign=post&utm_medium=web) Offsite: Liechtenstein, The Vatican & Rene Brulhart, July 19, 2023**
**[2023-028.htm](https://open.substack.com/pub/roberteringer/p/where-on-earth-is-frank-schneider?r=u2b3q&utm_campaign=post&utm_medium=web) Offsite: Where On Earth Is Frank Schneider?, July 19, 2023**
**[2023-027.zip](https://cryptome.org/000/130-William-St-Adjaye-DOB-Approved-Arch-MH-PL-ST-Plans-11-06-2017.zip) Adjaye's 130 William Street, NYC, Full A/E Construction Dawings, July 9, 2023** (435 pages, 430MB)
**[2023-026.pdf](https://cryptome.org/2023/07/Assange-High-Court-Appeal.pdf) Assange High Court Appeal, July 7, 2023** (947KB)
**JUNE 2023**
**[2023-025.pdf](https://cryptome.org/2023/06/Ellsberg-Halperin-Taiwan-Straits-Crisis.pdf) Mirror Ellsberg Halperin Taiwan Straits Crisis, June 21, 2023** (691 pages, 850MB)
**[2023-024.pdf](https://cryptome.org/2023/06/Ellsberg-Offshore-Islands-Feb-1963.pdf) Mirror Ellsberg Offshore Islands Crisis, June 21,2023** (75MB)
**[2023-023.pdf](https://cryptome.org/2023/06/Ellsberg-Taiwan-Quemoy.pdf) Mirror Ellsberg Taiwan Quemoy Crisis, June 21,2023** (1.3MB)
**[2023-022.pdf](https://cryptome.org/2023/06/Ellsberg-BNSP.pdf) Mirror Ellsberg BNSP, June 21, 2023** (36MB)
**[2023-021.pdf](https://cryptome.org/2023/06/Ellsberg-nuclear-war.pdf) Daniel Ellsberg Released Top Secret Nuclear War Document, June 19, 2023** (3.7MB)
**[2023-032.htm](https://cryptome.org/cryptome-classified-index-1.htm) Cryptome Classified Documents Index - Part 1 2016-2023**
**[2023-031.pdf](https://cryptome.org/2023/06/Trump-Cannon-2023-06-13.pdf) Request to Judge Cannon to Add Cryptome as Co-Defendant to Prosecution of Donald J. Trump, June 13, 2023**
**[2023-030.pdf](https://cryptome.org/2023/06/shin-bet-killer.pdf) Shin Bet Has a Killer (You are being lied to), June 11, 2023** (in Hebrew)
**[2023-029.pdf](https://cryptome.org/2023/06/Trump-Filings-2023-0609.pdf) Trump Indictment Docket and Filings 2023-0609, June 9, 2023** (60 pages, 3.7MB)
**MAY 2023**
**[2023-028.zip](https://cryptome.org/000/Gilder-AMNH-Gang-DOB.zip) Gilder Center, AMNH, Studio Gang, DOB Filing, AR/ST/M/PL 2018, May 21, 2023** (329 Sheets, 239MB)
**[2023-027.pdf](https://cryptome.org/2023/05/Teixeria-Hennessy-2023-05-19.pdf) Request to Judge Hennessy to Add Cryptome as Co-Defendant to Complaints of Jack Teixeira, May 19, 2023**
**[2023-026.zip](https://cryptome.org/2023/05/Birchum-NSA-TS-SCI.zip) Robert Birchum, USAF Officer, Pleads Guilty to Retaining NSA TOP SECRET/SCI Documents, May 18, 2023** (74MB)
**APRIL 2023**
**[2023-025.pdf](https://cryptome.org/2023/04/Teixeira-020.pdf) Jack Teixeira Opposition to Supplemental Motion for Detention, Apri 27, 2023** (89 pages, 28MB)
**[2023-024.zip](https://cryptome.org/2023/04/Teixeira-020.zip) Jack Teixeira Opposition to Supplemental Motion for Detention, Apri 27, 2023** (89 pages, 28MB)
**[2023-023.pdf](https://cryptome.org/2023/04/Teixeira-019.pdf) Jack Teixeira Supplemental Motion for Detention, Apri 27, 2023** (48 pages, 6MB)
**[2023-022.pdf](https://cryptome.org/2023/04/Ellsberg-2023-0420.pdf) Nuclear Secrets Daniel Ellsberg Never Leaked, April 20, 2023**
**[2023-021.pdf](https://cryptome.org/2023/04/Teixeira-001-008.pdf) Jack Teixeira Court Filings 001-008, April 16, 2023** (3MB)
**[2023-020.zip](https://cryptome.org/2023/04/Leaked-Classified-Docs.zip) Leaked Classified Documents, April 16, 2023** (Updated with 4chan/4chan-2/CN-47/WaPo, 53MB)
**[2023-019.pdf](https://cryptome.org/2023/04/Assange-Hilton-2023-0410.pdf)** **Cryptome Submits 3rd Request to Judge Hilton/DoJ on Assange Prosecution, April 10, 2023**
**MARCH 2023**
**[2023-018.zip](https://cryptome.org/000/121185680-Hill-161-Maiden-Lane.zip) NYC's "Leaning Tower" Construction Drawings, March 24, 2023** (436B)
**[2023-017.pdf](https://cryptome.org/2023/03/kwok-002.pdf) Ho Wan Kwok (Miles Guo) Indictment Unsealed, March 16, 2023**
**[2023-016.pdf](https://cryptome.org/2023/03/Assange-Hilton-2023-0303.pdf) Cryptome Submits 2nd Request to Judge Hilton/DoJ on Assange Prosecution, March 3, 2023**
**[2023-015.htm](https://cryptome.org/2023/03/ellsberg-fatal.htm) Legendary Leaker Daniel Ellsberg Announces His Fatal Disease, March 2, 2023**
**[2023-014.pdf](https://cryptome.org/2023/03/ASSESSMENT_OF_THE_LOSS_OF_THE_USS_PUEBLO.PDF) NSA Top Secret: ASSESSMENT\_OF\_THE\_LOSS\_OF\_THE\_USS\_PUEBLO, March 1, 2023 (5.3MB)**
**[2023-013.pdf](https://cryptome.org/2023/03/19690228_Doc_3075790_Cryptographic.pdf) NSA Top Secret: 19690228\_Doc\_3075790\_Cryptographic - USS Pueblo, March 1, 2023 (21MB)**
**[2023-012.pdf](https://cryptome.org/2023/03/appendices_jul48.pdf) NSA Top Secret: UK-USA Agreement appendices\_jul48, March 1, 2023 (21MB)**
**[2023-011.pdf](https://cryptome.org/2023/03/new_ukusa_agree_10may55.pdf) NSA Top Secret: new\_ukusa\_agree\_10may55, March 1, 2023 (17MB)**
**FEBRUARY 2023**
**[2023-010.htm](https://blog.nuclearsecrecy.com) Offsite: Restricted Data: The Nuclear Secrecy Blog, February 17, 2023**
**[2023-009.htm](https://www.amazon.com/Declassification-Engine-History-Reveals-Americas/dp/1101871571) Offsite: The Declassification Engine: What History Reveals About America's Top Secrets, February 10, 2023**
**[2023-008.htm](https://seymourhersh.substack.com) Offsite: Seymour Hersh on Nord Stream Pipeline Attack, February 8, 2023**
**JANUARY 2023**
**[2023-007.pdf](https://cryptome.org/2023/01/nichols-cops-killing.pdf) Tyre Nichols Cops Killing Indictment, January 27,2023**
**[2023-006.pdf](https://cryptome.org/2023/01/mcgonigal-shestakov-002.pdf) McGonigal-Shestakov Indictment NY, January 25,2023**
**[2023-005.pdf](https://cryptome.org/2023/01/mcgonigal-001.pdf) McGonigal Indictment DC, January 25,2023**
**[2023-004.pdf](https://www.governmentattic.org/48docs/NARAofrPpTrump_2023.pdf) Offsite: National Archives Sorts Trump Presidential Papers, January 21, 2023**
**[2023-003.pdf](https://cryptome.org/2023/01/Why-Secret-Docs-Show-Up.pdf) Why Do Secret Documents Show Up in Strange Places, January 15, 2023**
**[2023-002.zip](https://cryptome.org/2023/01/WikiLeaks-Vault-7.zip) Mirror: WikiLeaks Vault 7 CIA Files, January 15, 2023** (1.5GB)
**[2023-001.htm](https://cryptome.org/2022/10/wikileaks-files-index.html) WikiLeaks List of Files, January 15, 2023**
**2022**
**DECEMBER 2022**
**[2022-053.zip](https://cryptome.org/2022/12/Trump-Taxes-2015-2020.zip) Donald J. and Melania Trump Taxes 2015-2020, December 30, 2022 (Zipped PDF, 5,885 pages, 1.3GB)**
**[2022-052.pdf](https://cryptome.org/2022/12/Title-18-Section-793.pdf) Title 18 Section 793 "Espionage" Assange Charges, December 15, 2022**
**[2022-051.htm](https://www.newsweek.com/i-am-assange-daniel-ellsberg-other-allies-demand-us-prosecute-them-too-1766616) Offsite: Newsweek: Daniel Ellsberg and John Young Interviewed on Assange, December 15, 2022**
**[2022-050.htm](https://www.democracynow.org/2022/12/14/daniel_ellsberg_john_young_assange_case) Offsite: Democracy Now: Daniel Ellsberg and John Young Interviewed on Assange, December 14, 2022**
**[2022-049.htm](https://twitter.com/Cryptome_org/status/1602660726698639362?cxt=HHwWhIC85ZHc5b0sAAAA) Offsite: Crown Prosecution Service Resonds to John Young on Assange, December 13, 2022**
**[2022-048.pdf](https://cryptome.org/2022/12/CPS-JA-JY-2022-1210.pdf)** **Request to UK Crown Prosecution Service to Add Cryptome as Co-Defendant to Prosecution of Julian Assange, December 12, 2022**
**[2022-047.pdf](https://cryptome.org/2022/12/Assange/Assange-044.pdf) USG-v-Julian Assange Second Superceding Indictment, December 4, 2022 (2MB)**
**[2022-046.pdf](https://cryptome.org/2022/12/Assange/Assange-Charges.pdf) USG-v-Julian Assange Case Summary Charges, December 4, 2022**
**[2022-045.pdf](https://cryptome.org/2022/12/Assange/Assange-Docket.pdf) USG-v-Julian Assange Court Docket, December 4, 2022**
**[2022-044.htm](https://youtube.com/watch?v=jt_bWBup-88) Offsite: Cryptome-John Young Interviewed by Consortium News, December 2, 2022**
**[2022-043.htm](https://cryptome.org/2022/12/doj-ja/doj-ja-cryptome-02.htm) Supplemental Request to DoJ to Add Cryptome as Co-Defendant to Prosecution of Julian Assange, December 1, 2022**
**[2022-042.htm](https://cryptome.org/2022/12/doj-ja/judge-ja-cryptome.htm) Request to Judge Hilton to Add Cryptome as Co-Defendant to Prosecution of Julian Assange, December 1, 2022**
**NOVEMBER 2022**
**[2022-041.htm](https://cryptome.org/2022/11/doj-ja/doj-ja-cryptome-01.htm) Request to DoJ to Add Cryptome as Co-Defendant to Prosecution of Julian Assange, November 28, 2022**
**[2022-040.pdf](https://cryptome.org/000/The-Shed-Diller-Scofidio-Renfro.pdf) The Shed Construction Drawings NYC, Diller-Scofidio-Renfro, November 19, 2022** (24MB)
**[2022-039.pdf](https://cryptome.org/2022/11/holmes-1655.pdf) Elizabeth Holmes Defense Motion for Downward Sentencing, November 19, 2022** (13MB)
**[2022-038.zip](https://cryptome.org/2022/11/CIA-Journalists-NYT.zip) CIA Recruiting of Journalists Via NYT 1977, November 1, 2022** (2MB)
**OCTOBER 2022**
**[2022-037.zip](https://cryptome.org/cryptocomb-archive.zip) Mirror of [Cryptocomb](http://cryptocomb.org) Names of CIA Officers, Stations, Bases, October 29, 2022** (42MB)
**[2022-036.zip](https://cryptome.org/000/121190308-75-11th-Avenue-BIG.zip) BIG Construction Drawings 76 11th Avenue, NYC, October 21,2022** (455MB)
[Image]
**SEPTEMBER 2022**
**[2022-035.pdf](https://cryptome.org/2022/09/Communication_in_a_world_of_pervasive_surveillance-phd-thesis.pdf) Updated: Communication in a world of pervasive surveillance, September 28, 2022** (24MB)
**[2022-034.zip](https://cryptome.org/2022/09/2022-NYSAG-Trumps.zip) NY State Attorney General Lawsuit Against the Trumps, September 21, 2022 (83MB)**
**AUGUST 2022**
**[2022-033.pdf](https://cryptome.org/2022/08/Trump-Search-Affidavit-102.pdf) Trump Search Affidavit Unsealed, August 26, 2022**
**[2022-032.pdf](https://cryptome.org/2022/08/Inside-the-War-Between-Trump-and-His-Generals.pdf) Inside the War Between Trump and His Generals, August 8, 2022** (9.3M)
**[2022-031.pdf](https://cryptome.org/000/36-West-66th-Street-Tuned-Slosh-Damper.pdf) Tuned Slosh Damper for Manhattan high-rise by Snohetta, August 7, 2022** (8.5MB)
**[2022-030.pdf](https://cryptome.org/2022/08/cyberintel-warn-2022.pdf) Cyber Intelligence: Strategic Warning Is Possible, August 4,2022**
**JULY 2022**
**[2022-029.htm](https://cryptome.org/2022/07/navy/navy-undersea-subs.htm) US Navy Undersea Submarine Bases, July 31, 2022**
**[2022-028.pdf](https://cryptome.org/2022/07/burned-and-blinded2022.pdf) Burned and Blinded: Escalation Risks of Intelligence Loss from Countercyber Operations in Crisis, July 25, 2022**
**[2022-027.htm](https://cryptome.org/2022/07/ofcom-searches.htm) Ofcom Searches, July 24, 2022**
**[2022-026.htm](https://www.youtube.com/watch?v=EbtpE0VbndI) Offsite: CIA Numbers Stations, July 24, 2022**
**[2022-025.zip](https://mega.nz/file/5B02hZ5Z#LqyFi1KqNSX0Cz1ISVXk8pcTXxvFAWGQjRofRWfnk4A) Offsite: 3 GB zip file for manufacturing information for Amazon Web Services, July 10, 2022**
**JUNE 2022**
**[2022-024.htm](https://cryptome.org/2022/06/dancho-danchev-e-book.htm) Dancho Danchev Official E-Book Compilation Archive, June 22, 2022**
**[2022-023.pdf](https://cryptome.org/2022/06/21-00039-OIG.pdf) SEC OIG Report on Employees Release of Information to Reporters, June 19, 2022**
**[2022-022.pdf](https://cryptome.org/2022/06/cyber-intelligence-danchev.pdf) Cyber Intelligence - Danchev Memoir, June 8, 2022**
**[2022-021.pdf](https://cryptome.org/2022/06/How-Trustless-Is-Bitcoin-Really.pdf) How Trustless Is Bitcoin Really? Related [Paper](https://cryptome.org/2022/06/bitcoin.pdf), June 7, 2022**
**[2022-020.pdf](https://cryptome.org/2022/06/schulte-keefe.pdf) The Surreal Case of a C.I.A Hacker's Revenge, June 6, 2022** (9MB)
**MAY 2022**
**[2022-019.pdf](https://cryptome.org/2022/06/stanton-sad.pdf) John Stanton: United States Stuck in the Antarctic Night like the Belgica, June 3, 2022**
**[2022-018.pdf](https://cryptome.org/2022/05/schulte-820.pdf)** **Joshua Schulte Proposed Questions for Jurors (Voir Dire) May 23, 2022**
**[2022-017.pdf](https://cryptome.org/2022/05/stanton-ppp.pdf) John Stanton: The Pope, The Punk and the Presidents, May 13, 2022**
**APRIL 2022**
[Image]
**[2022-016.pdf](https://cryptome.org/000/121332968-111-West-57th-Street-Shop.pdf) Construction Drawings 111 West 57th Street NYC Supertall by SHoP Architects< April 5, 2022** (190MB)
**[2022-015.htm](https://cryptome.org/2022/04/bucha/bucha-massacre.htm) Massacre at Bucha, Ukraine by Russian Soldiers, April 3, 2022**
**[2022-014.pdf](https://cryptome.org/2022/04/maxwell-653.pdf) Judge Denies Ghislaine Maxwell New Trial re Juror 50, April 1,2022**
**MARCH 2022**
**[2022-013.pdf](https://cryptome.org/2022/03/Unkenholz-001.pdf) NSA Employee Indicted for Conveying Top Secret/SCI Material, March 31,2022**
**[2022-012.pdf](https://cryptome.org/2022/03/eastman-260.pdf) Judge Finds John Eastman and Trump Planned a Coup, March 28, 2022**
**[2022-011.pdf](https://cryptome.org/2022/03/Alphabet-Sidewalk-Labs-Failed.pdf) Alphabet Sidewalk Labs Failed, March 22, 2022**
**[2022-010.pdf](https://cryptome.org/2022/03/savage.pdf) Is Biden a War Criminal?, March 22, 2022**
**[2022-009.zip](https://cryptome.org/000/NYC-DOB-New-WTC.zip) NYC DOB Review of New WTC Buildings, March 14, 2022** (179MB)
**[2022-008.htm](https://covertactionmagazine.com/archives/) Offsite: Covert Action Magazine Archives, March 5, 2022**
**[2022-007.pdf](https://www.governmentattic.org/44docs/CIAagencyWideIssuances_2003-2021.pdf) Offsite: CIA agency-wide regulatory issuances and the policy covering The Agency Regulatory System, 2003-2021, March 4, 2022**
**FEBRUARY 2022**
**[2022-006.htm](https://cryptome.org/2022/02/wholeaked.htm) wholeaked - a new open source program to catch whistle blowers, February 21, 2022**
**[2022-005.pdf](https://cryptome.org/2022/02/rusk2022.pdf) Scenario for a War in Eastern Ukraine, February 3, 2022**
**[2022-004.zip](https://cryptome.org/2022/02/Documents-for-January-6.zip) FOIA Documents Requested for January 6 Insurrection, February 1, 2022** (267MB)
**JANUARY 2022**
**[2022-003.pdf](https://cryptome.org/2022/01/rhodes-crowl-walden-001.pdf) US Indicts 19 Oath Keepers Including Founder for Seditious Conspiracy, January 13, 2022** (2.2MB)
**[2022-002.pdf](https://cryptome.org/Sartre-Aesthetic-Theory.pdf) An Aesthetic Theory Based on the Work of Jean-Paul Sartre, January 4, 2022** (72 pages. 72MB)
**[2022-001.pdf](https://cryptome.org/2022/01/chemical-warfare-questions.pdf) Chemical Warfare: Many Unanswered Questions, January 1, 2022** (140 pages, 11MB)
**2021**
**DECEMBER 2021**
**[2021-116.zip](https://cryptome.org/000/121331059-626-1st-Avenue-SHoP.zip) "Broke-Back" Twin Towers, SHoP Architects, 626 1st Avenue, Manhattan, Construction Drawings, December 12, 2021** (237MB)
**[2021-115.pdf](https://cryptome.org/2021/12/USA-v-Assange-Judgment-Summary101221.pdf) UK Court Denies Assange Appeal - Judgment and Summary, December 10, 2021** (435KB)
**[2021-114.pdf](https://cryptome.org/2021/12/Ghislaine-Noelle-Maxwell-Kids-Live-Safe.pdf) Ghislaine Noelle Maxwell Kids Live Safe Background Report, December 7, 2021** (1.5MB)
**[2021-113.htm](https://www.secret-bases.co.uk/secret2.htm?permalink=SEROCU#SEROCU) Offsite: Thames Valley Police 'outs' South East Regional Organised Crime Unit SEROCU, December 2, 2021**
**[2021-112.pdf](https://cryptome.org/2021/12/intel-oversight-corp-spying.pdf) Of intelligence oversight and the challenge of surveillance corporatism, December 2, 2021**
**[2021-111.pdf](https://cryptome.org/2021/12/CIA-Trump-Intelligence-Briefing.pdf) CIA: Trump Intelligence Briefing, December 1, 2021** (1.2MB**)**
**NOVEMBER 2021**
**[2021-110.pdf](https://cryptome.org/2021/11/Muschamp-Cryptome-2003.pdf) Herbert Muschamp Inquires about WTC Design Contracts, November 14, 2021**
**[2021-109.pdf](https://cryptome.org/2021/11/Eric-Leroy-Adams.pdf) Sanitized Spy Profile of (Mayor-Elect) Eric Leroy Adams, November 3, 2021** (525KB)
**OCTOBER 2021**
**[2021-108.pdf](https://www.cs.columbia.edu/~smb/papers/bugs21.pdf) Offsite: Bugs in our Pockets: The Risks of Client-Side Scanning, October 15, 2021**
**[2021-107.pdf](https://cryptome.org/000/121192761-1228-York-Avenue.pdf) New riverfront building for Rockefeller University, Rafael Vinoly Architect, October 14, 2021** (131MB)
**[2021-106.pdf](https://cryptome.org/2021/10/432-Park-Condo-02.pdf) Supertall 432 Park Condominium Sues Developer for Building Faults, October 8, 2021**
**[2021-105.htm](https://cryptome.substack.com/p/inglorious-supertalls) Inglorious Supertalls, October 3, 2021**
**[2021-104.pdf](https://cryptome.org/000/0-Structural-Peer-Review-Practice-in-New-York-City.pdf) Repost: Structural Peer Review Practice in New York City, November 18, 2018**
**[2021-103.htm](https://www.nytimes.com/2021/10/01/realestate/supertalls-safety.html) Offsite: New York Times: New Supertalls Test the Limits, as the City Consults an Aging Playbook, October 1,2021**
**[2021-102.htm](https://cryptome.org/000/most-dangerous-nyc-buildings.htm) Repost: New Cryptome Series: Most Dangerous NYC Buildings, November 18, 2019**
**[2021-101.pdf](http://cryptome.org/00/21-nyc-most-dangerous.pdf) Repost: 21 NYC Most Dangerous Buildings, November 6, 2018**
**SEPTEMBER 2021**
**[2021-100.pdf](https://cryptome.org/2021/09/baier-001.pdf) Ex-NSA Mercenary Hackers Charged with UAE Spying, September 14, 2021https://cryptome.org/2021/09/baier-001.pdf**
**[2021-093.pdf](https://cryptome.org/2021/09/pax-technica.pdf) Pax Technica, Philip Howard, Septmber 6, 2021** (1.3MB)
**[2021-092.pdf](https://cryptome.org/2021/09/custodians-internet.pdf) Custodians of the Internet, Tarleton Gillespie, September 6, 2021** (1.9MB)
**AUGUST 2021**
**[2021-091.htm](https://www.secret-bases.co.uk/secret2.htm?permalink=SAS#SAS) Offsite: UK Special Forces (SAS) MAB5 Computer Network Exploit unit, August 9, 2021**
**[2021-090.pdf](https://cryptome.org/2021/08/Surfside-Design-Faulty.pdf) Analysis of Surfside Condo Faulty Design and Construction, August 8, 2021** (7MB)
**JULY 2021**
**[2021-089.pdf](https://cryptome.org/2021/07/hale-248.pdf) Daniel Everette Hale Sentencing Minutes, July 28, 2021**
**[2021-088.pdf](https://cryptome.org/2021/07/schulte-485.pdf) Joshua Schulte Granted Representation by Himself Pro Se, July 27, 2021**
**[2021-087.pdf](https://cryptome.org/2021/07/Executive-Order-2021-0709.pdf) Executive Order on Promoting Competition in the American Economy, July 9, 2021**
**[2021-086.zip](https://cryptome.org/2021/07/Surfside-dob-structural-docs.zip) Surfside Condo Structural Drawings, July 4, 2021** (8.7MB)
**JUNE 2021**
**[2021-085.pdf](https://cryptome.org/2021/06/NSA-Cyber-Command.pdf) NSA Cyber Command East Campus Buildings, June 22, 2021** (900KB)
**[2021-084.pdf](https://cryptome.org/2021/06/Peck-Barb-1974.pdf) Winslow Peck (Perry Fellwock) 1st NSA Whistleblower in 1971 Adds 1974 Comments, June 18, 2021**
**[2021-083.pdf](https://cryptome.org/2021/06/Bitcoin-with-References.pdf) Satoshi Nakamoto's Original Bitcoin Paper with References, June 14, 2021** (85 pages, 6.4MB)
**[2021-082.zip](https://cryptome.org/000/270-Park-Avenue-Photos-2021-0609.zip) JP Morgan Chase New Headquarters, 270 Park Avenue Progress Photos 2021-0609, June 13, 2021** (156 Photos, 660MB)
**[2021-081.pdf](https://cryptome.org/2021/06/ilp_manual012918.pdf) Pasco Sheriff's Office Intelligence-Led Policing Manual (83 pages), June 11, 2021** (2MB)
**[2021-080.htm](https://cryptome.org/cryptome-archive.htm) Cryptome Archive Update to June 7, 2021, June 7, 2021**
**[2021-079.pdf](https://cryptome.org/2021/06/Indian-Encryption-Debate.pdf) Expert Stakeholder Consultation Report on the Indian Encryption Debate (28 pages), June 5, 2021** (10MB)
**[2021-078.pdf](https://cryptome.org/2021/06/edwards-guilty-plea.pdf) Natalie Mayflower Sours Edwards Guilty Plea Transcript, June 5, 2021**
**[2021-077.pdf](https://cryptome.org/2021/06/edwards-complaint.pdf) Natalie Mayflower Sours Edwards Complaint (18 pages), June 4, 2021** (1.3MB)
**MAY 2021**
**[2021-076.pdf](https://cryptome.org/2021/05/Epidemiological-Consultation-EPICON-Reports.pdf) Epidemiological Consultation EPICON Reports 2007, May 24, 2021**
**[2021-075.pdf](https://cryptome.org/2021/05/MOD-Guide.pdf) UK MOD Guide to Appointments & Invitations 2007, May 24, 2021**
**[2021-074.pdf](https://cryptome.org/2021/05/Hall-Report.pdf) Tony Hall on Review of Media Access to MOD Personnel 2007, May 24, 2021**
**[2021-073.pdf](https://cryptome.org/2021/05/MoD-Media.pdf) UK MOD Contact with the Media and Communicating in Public 2007, May 24, 2021**
**[2021-072.pdf](https://cryptome.org/2021/05/Project-Air-Force-1996.pdf) Project Air Force 1946-1996, RAND, by Morton Halperin, May 23, 2021** (3MB)
**[2021-071.zip](https://cryptome.org/2021/05/1958-Taiwan-Straits-Crisis-Halperin.zip) Companion to Ellsberg Leak 2021, 691-page RAND report by Morton Halperin, May 22, 2021** (736MB)
**[2021-070.zip](https://cryptome.org/2021/05/Ellsberg-Leak-2021.zip) Ellsberg Leak 2021, May 22, 2021** (83MB)
**[2021-069.pdf](https://cryptome.org/2021/05/crypto-mag-3-01_e.pdf) Crypto AG Magazine March 2001, May 21, 2021** (1.5MB)
**[2021-068.pdf](https://cryptome.org/2021/05/greenberg-105.pdf) Joel Greenberg Plea Agreement (Child Sex Trafficking et al), May 17, 2021** (6MB)
**[2021-067.pdf](https://cryptome.org/2021/05/EO-Nations-Cybersecurity.pdf) Executive Order on Improving the Nation's Cybersecurity, May 12, 2021**
**[2021-066.pdf](https://cryptome.org/2021/05/UK-Draft-Online-Safety-Bill.pdf) UK Draft Online Safety Bill, May 12, 2021** (1.9MB)
**[2021-065.pdf](https://cryptome.org/2021/05/UK-Computer-Misuse-Act-1990.pdf) UK Computer Misuse Act 1990, May 12, 2021**
**[2021-064.pdf](https://cryptome.org/2021/05/Barrack-Guests-2017.pdf) Tom Barrack’s 2017 Presidential Inauguration Chairman’s Global Dinner Guest List, May 11, 2021**
**APRIL 2021**
**[2021-063.pdf](https://cryptome.org/2021/04/Joseph-Meyer-IEEE-1977.pdf) NSA Releases Ex-Top Secret Umbra Joseph Meyer Letter to IEEE 1997, April 30, 2021**
**[2021-062.gz](https://cryptome.org/2021/04/whatfreewords-py.tar.gz) WhatFreeWords Python Library, April 30, 2021**
**[2021-061.txt](https://cryptome.org/2021/04/WhatFreeWords-Javascript-Library.txt) WhatFreeWords Javascript Library, April 30, 2021** (2.5MB)
**[2021-060.pdf](https://cryptome.org/2021/04/Combating-Ransomware.pdf) Combating Ransomware-A Comprehensive Framework for Action, April 29, 2021**
**[2021-059.pdf](https://cryptome.org/2021/04/bin-ladin-raid-10.pdf) Ten Years On: Inside the Bin Ladin Raid: A Conversation with McRaven and Rasmussen, April 27, 2021**
**[2021-058.pdf](https://cryptome.org/2021/04/Americans-AI.pdf) Americans Minds Are Artificially Intelligent, April 24, 2021**
**[2021-057.vid](https://www.youtube.com/watch?v=OLTGAGVOGzk) 10 Vanderbilt Avenue Supertall, Manhattan, Plate Glass Install Video, April 21, 2021**
**[2021-056.pdf](https://cryptome.org/2021/04/Stone-IRS-001.pdf) Roger Stone and Lydia Stone vs IRS Complaint, April 17, 2021**
**[2021-055.pdf](https://cryptome.org/000/121207087-270-Park-Avenue-SSP-2021-04-05.pdf) JP Morgan Chase HQ 270 Park Avenue Demolition Site Safety Plan, April 16, 2021** (8MB)
**[2021-054.pdf](https://cryptome.org/2021/04/ATT-WOO-Removal.pdf) ATT Worldwide Short-Wave Radio WOO Site Removal, April 16, 2021** (3MB)
**[2021-053.htm](https://cryptome.org/2021/04/John-Inglis-2013.htm) HTM: NSA John Inglis on Edward Snowden 2013, April 13, 2021**
**[2021-053.pdf](https://cryptome.org/2021/04/John-Inglis-2013.pdf) PDF: NSA John Inglis on Edward Snowden 2013, April 13, 2021**
**[2021-052.htm](http://news.newenergytimes.net/iter/) Offsite: ITER, The Grand Illusion: A Forensic Investigation of Power Claims, April 12, 2021**
**[2021-051.pdf](https://cryptome.org/2021/04/maxwell-197-199.pdf) Ghislaine Maxwell Refutes USA Claims of Detention Conditions, April 11, 2021**
**[2021-050.pdf](https://cryptome.org/000/121191021-42-Trinity-Place-FXFowle.pdf) 121191921-42 Trinity Place FXFowle Construction Drawings, April 10, 2021 (1657MB)**
**[2021-049.pdf](https://cryptome.org/2021/04/maxwell-195-196.pdf) USA vs Ghislaine Maxwell Detention Conditions, April 8, 2021**
**[2021-048.pdf](https://cryptome.org/2021/04/hale-197.pdf) Daniel Hale Plea Agreement, April 1, 2021**
**MARCH 2021**
**[2021-047.pdf](https://cryptome.org/000/270-Park-Avenue-SSP-2021-03-19.pdf) JP Morgan Chase Bank Headquarters Cellar Demolition Site Safety Plan 2021-03-19, March 31, 2021** (7.8MB)
**[2021-046.pdf](https://cryptome.org/2021/03/maxwell-187.pdf) Ghislaine Maxwell Superceding Indictment, March 30, 2021**
**[2021-045.pdf](https://cryptome.org/2021/03/bubbagump2.pdf) Joe Biden’s Shameful Push for War with China and Russia: Ignoring** **History, Denying Reality, March 28, 2021**
**[2021-044.htm](http://cryptome.xxx/ttt/ttt.htm) Unzipped 30 Torrents from Tillie Kottmann's Antiproprietary Telegram channel, March 27, 2021**
**[2021-043.zip](http://cryptome.xxx/Antiproprietary-torrents.zip) 30 Torrents from Tillie Kottmann's Antiproprietary Telegram channel, March 21, 2021 (1.7MB)**
**[2021-042.pdf](https://cryptome.org/2021/03/CIA-Lovett-1945.pdf) Lovett Report of 1945 Setting Up the Central Intelligence Agency (ex-Top Secret), March 20, 2021** (2MB)
**[2021-041.pdf](https://cryptome.org/2021/03/kottman-001.pdf) Tillie Kottmann Indictment, March 19, 2021** (20MB)
**[2021-040.htm](https://www.secret-bases.co.uk/secret2.htm?permalink=MO3) Offsite: Met Police MO3 Covert Operations Technical Surveillance Unit, March 16, 2021**
**[2021-039.pdf](https://cryptome.org/2021/03/nz-embassy.pdf) New Zealand Embassy Security Enhancements, Washington DC, Construction Drawings, March 13, 2021** (3.3MB)
**[2021-038.pdf](https://cryptome.org/2021/03/sky-indictment.pdf) Sky Global Indictment, March 13, 2021** (2MB)
**[2021-037.pdf](https://cryptome.org/000/Bezos-DC-Mansion.pdf) Jeff Bezos DC Mansion Construction Drawings (81 sheets), March 11, 2021** (112MB)
**[2021-036.htm](https://mailchi.mp/offitkurman/donziger-trial-delayed-again-213312?e=28bf2612ee) Offsite: 200+ lawyers file judicial complaint against Judge Lewis A. Kaplan, March 10, 2021**
**FEBRUARY 2021**
**[2021-035.pdf](https://cryptome.org/2021/02/Assessment-Saudi-Gov-Role-in-JK-Death-20210226.pdf) ODNI: Assessing the Saudi Government's Role in the Killing of Jamal K.hashoggi, February 26, 2021**
**[2021-034.pdf](https://cryptome.org/2021/02/maxwell-160.pdf) Ghislaine Maxwell Offers to Renounce FR/UK Citizenship/Assets for Bail Release, February 26, 2021**
**[2021-033.pdf](https://cryptome.org/2021/02/aispuro-001.pdf) Complaint/Arrest Warrant for Emma Coronel Aispuro, El Chapo's Wife, February 23, 2021**
**[2021-032.zip](https://cryptome.org/000/NYC-Structural-Peer-Reviews.zip) Updated: NYC High-Rise Structural Peer Reviews, February 22, 2021** (336MB)
**[2021-031.pdf](https://cryptome.org/000/121204785-JP-Morgan-HQ-270-Park-Avenue-SSP-2021-01-20.pdf) JP Morgan HQ Demolition Below Ground Site Safety Plan, February 22, 2021** (3.5MB)
**[2021-030.pdf](https://cryptome.org/2021/02/maxwell-159.pdf) Ghislaine Maxwell Searched 1,400 Times, February 21, 2021**
**[2021-029.zip](https://cryptome.org/2021/02/scappaticci-audio.zip) Freddie Scappaticci Covert Interviews in 3 Formats, February 21, 2021** (54MB)
**[2021-028.zip](https://cryptome.org/2021/000/121205604-JP-Morgan-270-Park-Avenue-NB.zip) JP Morgan Headquarters New Building, Structural Peer Review, CCDs, CPC, FDNY, February 19, 2021** (1.4MB)
**[2021-027.pdf](https://cryptome.org/2021/02/cia-declass-2007.pdf) CIA Declassification Report for 2007, February 16, 2021** (1.5MB)
**[2021-026.pdf](https://cryptome.org/2021/02/trump-trial-memo-2021-02-08.pdf) Trump Trial Memo, 8 February, 2021** (78 pages, 13MB)
**[2021-025.htm](https://cryptome.org/000/sgn/nyc-occupied-unsafe-high-rises.htm) NYC Occupied Unsafe High-Rise Buildings, February 5, 2021**
**[2021-024.pdf](https://cryptome.org/2021/02/demarr-complaint.pdf) John Demarr Complaint of Cryptocurrency Fraud, February 3, 2021**
**[2021-023.pdf](https://cryptome.org/2021/02/trump-trial-defense.pdf) Trump Trial Defense, February 2, 2021** (1.7MB)
**[2021-022.pdf](https://cryptome.org/2021/02/trump-trial-memo.pdf) Correction: Trump Impeachment Trial Memorandum, February 2, 2021** (12MB)
**JANUARY 2021**
**[2021-021.pdf](https://cryptome.org/2021/01/sensitive-court-procedures.pdf) Sensitive Court Procedures Following SolarWinds Breach, January 31, 2021**
**[2021-020.pdf](https://cryptome.org/2021/01/Surveillance-Coup.pdf) Surveillance Coup vs Democracy, January 31, 2021**
**[2021-019.pdf](https://cryptome.org/000/JP-Morgan-270-Park-Avenue-Demolition-SSP-2021-0127.pdf) JP Morgan 270 Park Avenue Demolition Site Safety Plan 2021-0127, January 31,2021** (4MB)
**[2021-018.pdf](https://cryptome.org/2021/01/schulte-447.pdf) Joshua Schulte, Alleged Vault 7 Leaker, Requests Correction of Horrific Special Administrative Measures, January 24, 2021**
**[2021-017.pdf](https://cryptome.org/2021/01/oathkeepers-complaint.pdf) Oathkeepers Attack on the Capitol Complaint, January 23, 2021**
**[2021-016.pdf](https://cryptome.org/2021/01/powell-complaint.pdf) Dominion Voting Systems v. Sidney Powell Complaint, January 19, 2021** (124 pages, 5MB)
**[2021-015.pdf](https://cryptome.org/2021/01/powell-filings.pdf) Dominion Voting Systems v. Sidney Powell Filings List, January 19, 2021**
**[2021-014.pdf](https://cryptome.org/2021/01/Inauguration-Threat-Assessment-2021.pdf) Inauguration Threat Assessment 2021, January 16, 2021** (4MB)
**[2021-013.html](https://cryptome.org/2021/01/Poitras-Letter.html) Laura Poitras Open Letter on Firing by The Intercept, January 14, 2021**
**[2021-012.pdf](https://cryptome.org/2021/01/odni-eo12333.pdf) ODNI Issues Attorney General Procedures for EO 12333 Compliance, January 14, 2021** (3.9MB)
**[2021-011.pdf](https://cryptome.org/2021/01/dodm-s-5240-01-a.pdf) NSA Releases Declassified DoD SIGINT Governing Manual S-5240.01A, January 13, 2021** (24MB)
**[2021-010.pdf](https://cryptome.org/2021/01/trump-impeachment-2.pdf) Trump Articles of Impeachment II, January 11, 2021**
**[2021-009.pdf](https://cryptome.org/2021/01/assange-pardon-petition.pdf) Pardon Petition of Julian Assange, January 11, 2021** (2.2MB)
**[2021-008.htm](https://cryptome.org/cryptome-archive.htm) Cryptome Archive Update to January 10, 2021, January 10, 2021**
**[2021-007.pdf](https://cryptome.org/2021/01/Protective-Operations-Quick-Reference-Guide.pdf) Federal Law Enforcement Protective Operations Quick Reference Guide, January 5, 2021**
**[2021-006.zip](https://cryptome.org/2021/01/Kushner-NYIF-Grand.zip) Kushner Real Estate Project Exclusively for Rich Non-Americans Development Documents, January 4, 2021** (185MB)
**[2021-005.mp3](https://cryptome.org/2021/01/Trump-Georgia-Call-Full-Audio.mp3) Full 1-Hour Audio of Trump Call with Georgia Election Officials, January 4, 2021** (150MB)
**[2021-004.pdf](https://cryptome.org/2021/01/USA-v-Assange-judgment-040121.pdf) USA v Assange Judgement, January 4, 2021**
**[2021-003.pdf](https://cryptome.org/2021/01/USA-v-Assange-annex-040121.pdf) USA v Assange Judgement Annex, January 4, 2021**
**[2021-002.pdf](https://cryptome.org/2021/01/Trump-Georgia-Call.pdf) Transcript of Trump Call with Georgia Election Officials, January 4, 2021**
**[2021-001.pdf](https://cryptome.org/2021/01/SARS-CoV-2-Lineage-B-1-1-7.pdf) Report on New Covid Variant UK B117 in the UK, December 31, 2020, January 1, 2021**
**[Cryptout](https://cryptome.org/cryptout.htm) January-December 2019**
Cryptome-16-1105 <[email protected]>Key ID: 0x28679DAA
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---
```
**Premiere Full Video
by dnCRYPTOME****: False Tallies-the Prisoner's Dilemma?**
<https://vimeo.com/145453201>
<http://2016.transmediale.de/content/tacit-futures-1-building-snowden-archives>
---
Email: cryptome[at]earthlink.net
Mail: Cryptome, 251 West 89th Street, New York, NY 10024
Telephone for messages: 212-873-8700
---
Mirrors of the Cryptome Archive should be accessed with caution, none have
been authenticated by Cryptome and sigs can be faked to hide tampering. There
is growing censor-tamper-implant-bowdlerize-redact-tag-track of archives,
torrents, drops, shares, wikis, disclosure sites.
---
Cryptome disavows mirrors of its archive due to tampering with files, hashes,
signatures and implant insertion.
<https://cpunks.org/pipermail/cypherpunks/2015-November/011093.html>
[Cryptome.biz](https://cryptome.biz/), a Russian virtual currency
site
[registered
25 November 2015](http://www.networksolutions.com/whois/registry-data.jsp?domain=cryptome.biz), is not affiliated with Cryptome.org.
---
```
**[Cryptome Archive 1996-Present](https://cryptome.org/cryptome-archive.htm)****Note: Bots, spiders and siphons downloading more than 100 files per day are** **blocked.** **Python, Wget and Bot Not, Thanks. Bots are vile bandwith wasters.**
---
```
**5 November 2016: Do not use the two following keys, they have been** **forged** **padded and uploaded.**John Young 15-0915 <[email protected]> 0xD87D436CCryptome 15-0915 <[email protected]> 0x8CD47BD5
```
```
---
John Young Architect: [http://jya.com](http://jya.com/)
Special Inspections:
<http://jya.com/special-inspections.htm>
NYC DoB-Licensed Site Safety Manager 1992-1995
NYC DoB Site Safety Manager 40-Hour and Examination 2016
---
|
| |
| --- |
|
```
```
```
```
|
| |
|
| https://cryptome.org/ |
<head><title>Not Acceptable!</title></head><body><h1>Not Acceptable!</h1><p>An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod_Security.</p></body></html> | Not Acceptable!# Not Acceptable!
An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod\_Security.
| http://www.taleofgenji.org/ |
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<title>TOSCANAFANTASY </title>
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span.newscss
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font-family: "Lucida Calligraphy";
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color: #000080;
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color: #000080;
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border-width: 0px;
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{
text-align: right;
}
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border: 2px solid #000080;
background-image: url('calendari/weblink12.gif');
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text-align: left;
background-image: url('calendari/weblink12.gif');
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<table cellpadding="0" height="396" id="table1" bordercolorlight="#CE0000" cellspacing="0" style="; width: 895px;" class="style23">
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<tr>
<td width="886" class="ms-classic4-tl" align="center" style="background-image: url('weblink12.gif'); text-align:left; line-height:100%" height="0" nowrap>
<a title="Mappa del sito" href="../MAPPA%20DEL%20SITO/mappa%20del%20sito.htm">
<img border="0" id="img1" src="button87.jpg" height="33" width="110" alt="Mappa del sito" onmouseover="FP_swapImg(1,0,/*id*/'img1',/*url*/'button79.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img1',/*url*/'button87.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img1',/*url*/'button80.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img1',/*url*/'button79.jpg')" fp-style="fp-btn: Metal Tab 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-proportional: 0" fp-title="Mappa del sito"></a><a title="Sala Giochi" href="../SALA%20GIOCHI/Giochi%20Online%20.htm"><img border="0" id="img2" src="button88.jpg" height="33" width="110" alt="Sala giochi" onmouseover="FP_swapImg(1,0,/*id*/'img2',/*url*/'button1A1.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img2',/*url*/'button88.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img2',/*url*/'button1B1.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img2',/*url*/'button1A1.jpg')" fp-style="fp-btn: Metal Tab 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-proportional: 0" fp-title="Sala giochi"></a><a title="Fotogallery" href="../FOTOGALLERY/INDICE%20FOTOGALLERY/Indice%20Fotogallery.htm"><img border="0" id="img3" src="button1D3.jpg" height="33" width="110" alt="Fotogallery" fp-style="fp-btn: Metal Tab 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-proportional: 0" fp-title="Fotogallery" onmouseover="FP_swapImg(1,0,/*id*/'img3',/*url*/'button1E3.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img3',/*url*/'button1D3.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img3',/*url*/'button1F3.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img3',/*url*/'button1E3.jpg')"></a><a title="Cucina Toscana" href="../CUCINA/Cucina.htm"><img border="0" id="img4" src="button89.jpg" height="33" width="110" alt="Cucina" onmouseover="FP_swapImg(1,0,/*id*/'img4',/*url*/'button81.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img4',/*url*/'button89.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img4',/*url*/'button82.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img4',/*url*/'button81.jpg')" fp-style="fp-btn: Metal Tab 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-proportional: 0" fp-title="Cucina"></a><a title="I miei banner" href="../I%20MIEI%20BANNER/I%20miei%20banner.htm"><img border="0" id="img5" src="button90.jpg" height="33" width="110" alt="I miei banner" onmouseover="FP_swapImg(1,0,/*id*/'img5',/*url*/'button83.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img5',/*url*/'button90.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img5',/*url*/'button84.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img5',/*url*/'button83.jpg')" fp-style="fp-btn: Metal Tab 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-proportional: 0" fp-title="I miei banner"></a><a title="Saimicadove Eventi Toscana" href="http://www.saimicadove.it"><img border="0" id="img6" src="button91.jpg" height="33" width="110" alt="Sagre e feste" onmouseover="FP_swapImg(1,0,/*id*/'img6',/*url*/'button85.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img6',/*url*/'button91.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img6',/*url*/'button86.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img6',/*url*/'button85.jpg')" fp-style="fp-btn: Metal Tab 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-proportional: 0" fp-title="Sagre e feste"></a><a title="Tirreno News" href="http://iltirreno.gelocal.it/"><img border="0" id="img9" src="button92.jpg" height="33" width="110" alt="Tirreno News" onmouseover="FP_swapImg(1,0,/*id*/'img9',/*url*/'button2A3.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img9',/*url*/'button92.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img9',/*url*/'button2B3.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img9',/*url*/'button2A3.jpg')" fp-style="fp-btn: Metal Tab 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-proportional: 0" fp-title="Tirreno News"></a><a href="http://www.meteotoscana.it/"><img border="0" id="img10" src="button2C2.jpg" height="33" width="109" alt="Meteo" onmouseover="FP_swapImg(1,0,/*id*/'img10',/*url*/'button2D2.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img10',/*url*/'button2C2.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img10',/*url*/'button2E2.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img10',/*url*/'button2D2.jpg')" fp-style="fp-btn: Metal Tab 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-proportional: 0" fp-title="Meteo">
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<!-- Colonna di Sinistra -->
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<a title="Ricette toscane" href="../INDICE%20CUCINA/Indice%20cucina.htm">
<img border="0" id="img14" src="button39.jpg" height="22" width="130" alt="Ricette" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000; fp-proportional: 0" fp-title="Ricette" onmouseover="FP_swapImg(1,0,/*id*/'img14',/*url*/'button30.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img14',/*url*/'button39.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img14',/*url*/'button31.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img14',/*url*/'button30.jpg')">
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<img border="0" id="img15" src="button42.jpg" height="26" width="130" alt="la mia grafica" onmouseover="FP_swapImg(1,0,/*id*/'img15',/*url*/'button32.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img15',/*url*/'button42.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img15',/*url*/'button33.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img15',/*url*/'button32.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000" fp-title="la mia grafica"></a><a title="La mia grafica" href="../LA%20MIA%20GRAFICA/Grafica.htm">
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<br>
<a title="I miei Hobby" href="../I%20MIEI%20HOBBY/I%20miei%20Hobby.htm">
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<font face="Trebuchet MS">
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<img border="0" id="img66" src="button3B2.jpg" height="26" width="130" alt="Le mie creazioni" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-size: 11; fp-font-color-hover: #800080; fp-font-color-press: #800000" fp-title="Le mie creazioni" onmouseover="FP_swapImg(1,0,/*id*/'img66',/*url*/'button3C2.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img66',/*url*/'button3B2.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img66',/*url*/'button3D1.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img66',/*url*/'button3C2.jpg')">
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<a title="Barzellette" href="../BARZELLETTE/Barzellette.htm">
<img border="0" id="img18" src="button99.jpg" height="26" width="130" alt="Barzellette" onmouseover="FP_swapImg(1,0,/*id*/'img18',/*url*/'button37.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img18',/*url*/'button99.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img18',/*url*/'button38.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img18',/*url*/'button37.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000" fp-title="Barzellette">
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<a title="Arti e Mestieri" href="../ARTI%20e%20MESTIERI/Arti%20e%20mestieri.htm">
<img border="0" id="img19" src="button100.jpg" height="26" width="130" alt="Arti e mestieri" onmouseover="FP_swapImg(1,0,/*id*/'img19',/*url*/'button3A1.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img19',/*url*/'button100.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img19',/*url*/'button3B1.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img19',/*url*/'button3A1.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000" fp-title="Arti e mestieri">
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<br>
<a title="Poesie" href="../POESIE/POESIE/Poesie.htm">
<img border="0" id="img20" src="button3C1.jpg" height="26" width="130" alt=" Poesie" onmouseover="FP_swapImg(1,0,/*id*/'img20',/*url*/'button3D.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img20',/*url*/'button3C1.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img20',/*url*/'button3E.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img20',/*url*/'button3D.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000" fp-title=" Poesie">
</a>
<br>
<a title="Giochi di una volta" href="../PASSATEMPI%20DI%20UNA%20VOLTA/Giochi%20e%20Passatempi%20.htm">
<img border="0" id="img21" src="button3F.jpg" height="26" width="130" alt="Giochi di una volta" onmouseover="FP_swapImg(1,0,/*id*/'img21',/*url*/'button40.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img21',/*url*/'button3F.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img21',/*url*/'button41.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img21',/*url*/'button40.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000" fp-title="Giochi di una volta">
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<a title="Musica" href="../MUSICA/musica.htm">
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<a title="Facebook" href="https://www.facebook.com/toscanafantasy.sitoweb">
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<a title="Pinterest" href="https://it.pinterest.com/stefanellaspine/">
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<a title="Forumfree" href="https://toscanafantasy.forumfree.it/">
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La Colomba della Pace Vola di Sito in Sito.
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Aiutala a Fare il Giro del Mondo Portandola nel Tuo Sito Web.
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<font size="2" color="#CC66FF">
<MARQUEE TITLE="marquee"
class="Scroller"
direction="up"
scrollamount="2"
scrolldelay="0"
onmouseover="this.stop()"
onmouseout="this.start()"
width="133"
height="206"
style="font-family: Verdana; font-weight: bold; text-align:justify">
"Io la vedo questa
terra,la sento
premere sotto i miei
piedi.E' la mia
terra.E' una terra che
ama il silenzio come
lo amo io. E se
rompo questo
silenzio con la mia
voce lo faccio per
rendere omaggio a
questi luoghi e alla
mia gente.La musica
penetra la terra,la
percorre e vola
lontanissimo.E'
un messaggio d'amore"
Andrea Bocelli
</MARQUEE>
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<a target="_blank" href="http://www.mrenata.com">by Renata</a>
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<br>
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<br>
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<span class="style6">Presentazione</span>
</address>
<address> </address>
<address> </address>
<address>
<font color="#00006A" face="Trebuchet MS, Arial, Helvetica">
Mi presento: tanti miei amici del web,mi conoscono con il nick di Stefina,così userò questo nome per la presentazione.
<br>
Tanti anni fa avevo ed ho tutt'ora la passione della fotografia e delle diapositive,che facevo ve/dere solo a parenti e amici.
<br>
Navigando su Internet e vedendo tanti siti inerenti alle mie passioni,mi sono chiesta "perché non pubblicare anch'io un
sito?"
<br>
Premetto che non sapevo nemmeno da dove iniziare, però i
miei amici mi hanno convinto a farlo, così mi hanno dato dei buoni consigli.
<br>
In questo sito troverete tutto quello che riguarda la mia amata toscana, dove io sono nata e cresciuta.
<br>
Ho voluto valorizzare la Toscana con i suoi paesaggi,piatti tipici,arti e mestieri, divertimento di un tempo.....
<br>
Nel mio sito troverete anche un angolo di divertimento per passare un momento di svago e relax,un angolo per la
musica,i miei hobby con i miei lavori,una collezione di gif animate più belle e tanto altro ancora.....
<br>
Buon divertimento
Stefina
</font>
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<span class="style9"> </span>
<span class="style8"> Scrivi un commento di saluto</span>
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</iframe>
<iframe frameborder="0" width="180" height="75"
src="https://www5.cbox.ws/box/?boxid=326030&boxtag=3690&sec=form"
marginheight="2" marginwidth="2" scrolling="no"
allowtransparency="yes" name="I4"
style="border-left: 1px solid #DBE2ED; border-right: 1px solid #DBE2ED; border-bottom: 1px solid #DBE2ED; border-top: 0px; float: absmiddle;"
id="I4">
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<address>
</address>
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<img src="https://www.toscanafantasy.com/GIF/MENU%20LINEE%20DIV/LINEE%20DIVISORIE%2011/image003.gif" width="219" height="78">
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<address class="style7"> </address>
<address>
<span class="style16"> </span>
<span class="style17"> Vota il mio sito qui</span>
</address>
<address>
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</address>
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<a href="http://sacalul35.mastertop100.net/in.php?site=stefanella" target="_blank">
<img src="vote.gif" width=88 height=31 border=0>
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<address>
</address>
<address>
<span class="style18">
<span class="style19">Scrivimi qui</span>
</span>
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Tutti i diritti di proprietà e di Copyright anche se non espressamente specificati vengono riconosciuti ai legittimi proprietari. Toscanafantasy non vanta alcun diritto su di essi
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<font size="2" color="#000000">Copyright © 2009 Toscanafantasy - Tutti i diritti riservati.</font>
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<address> </address>
<address>Gif animate dal web</address>
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<a title="San Valentino" href="../GIF/MENU%20SAN%20VALENTINO/Indice%20San%20Valentino.htm">
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</a>
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<img border="0" id="img77" src="button186.jpg" height="22" width="130" alt="Festività" onmouseover="FP_swapImg(1,0,/*id*/'img77',/*url*/'button157.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img77',/*url*/'button186.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img77',/*url*/'button158.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img77',/*url*/'button157.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000; fp-proportional: 0" fp-title="Festività">
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</a>
</address>
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<a title="Fate e Farfalle" href="../GIF/MENU%20FATE/Indice%20Fate%20e%20Farfalle.htm">
<img border="0" id="img79" src="button188.jpg" height="22" width="130" alt="Fate e farfalle" onmouseover="FP_swapImg(1,0,/*id*/'img79',/*url*/'button161.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img79',/*url*/'button188.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img79',/*url*/'button162.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img79',/*url*/'button161.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000; fp-proportional: 0" fp-title="Fate e farfalle">
</a>
</address>
<address class="style22">
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</address>
<address class="style22">
<a href="../GIF/MENU%20DOLLS/Indice%20Dolls.htm" title="Indice dolls">
<img border="0" id="img81" src="button4D1.jpg" height="22" width="130" alt="Dolls" onmouseover="FP_swapImg(1,0,/*id*/'img81',/*url*/'button4E1.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img81',/*url*/'button4D1.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img81',/*url*/'button4F.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img81',/*url*/'button4E1.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000; fp-proportional: 0" fp-title="Dolls">
</a>
</address>
<address class="style22">
<img border="0" id="img82" src="button189.jpg" height="22" width="130" alt="Immagini" onmouseover="FP_swapImg(1,0,/*id*/'img82',/*url*/'button163.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img82',/*url*/'button189.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img82',/*url*/'button164.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img82',/*url*/'button163.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000; fp-proportional: 0" fp-title="Immagini">
</address>
<address class="style22">
<a href="../GIF/GIF%20ANIMALI/Indice%20Animali.htm" title="Indice">
<img border="0" id="img83" src="button190.jpg" height="22" width="130" alt="Animali" onmouseover="FP_swapImg(1,0,/*id*/'img83',/*url*/'button165.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img83',/*url*/'button190.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img83',/*url*/'button166.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img83',/*url*/'button165.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000; fp-proportional: 0" fp-title="Animali">
</a>
</address>
<address class="style22">
<a title="Fiori e Piante" href="../GIF/MENU%20FIORI%20E%20PIANTE/Indice%20fiori%20e%20piante.htm">
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<address class="style22">
<a title="Linee Divisorie" href="../GIF/MENU%20LINEE%20DIV/Indice%20Linee%20Divisorie.htm">
<img border="0" id="img85" src="button192.jpg" height="22" width="130" alt="Linee divisorie" onmouseover="FP_swapImg(1,0,/*id*/'img85',/*url*/'button5A1.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img85',/*url*/'button192.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img85',/*url*/'button5B2.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img85',/*url*/'button5A1.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000; fp-proportional: 0" fp-title="Linee divisorie">
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</address>
<address class="style22">
<a title="Indice Smiles" href="../GIF/MENU'%20SMILES/Indice%20Smiles.htm">
<img border="0" id="img86" src="button5C2.jpg" height="22" width="130" alt="Smiles" onmouseover="FP_swapImg(1,0,/*id*/'img86',/*url*/'button5D2.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img86',/*url*/'button5C2.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img86',/*url*/'button5E1.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img86',/*url*/'button5D2.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000; fp-proportional: 0" fp-title="Smiles">
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</address>
<address class="style22">
<a title="Carnevale" href="../GIF/MENU%20CARNEVALE/Indice%20Carnevale.htm">
<img border="0" id="img87" src="button5F2.jpg" height="22" width="130" alt="Carnevale" onmouseover="FP_swapImg(1,0,/*id*/'img87',/*url*/'button169.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img87',/*url*/'button5F2.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img87',/*url*/'button170.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img87',/*url*/'button169.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000; fp-proportional: 0" fp-title="Carnevale">
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<address class="style22">
<a title="Indice Appesi" href="../GIF/MENU%20APPESI/INDICE%20APPESI/Indice%20Appesi.htm">
<img border="0" id="img88" src="button193.jpg" height="22" width="130" alt="Appesi" onmouseover="FP_swapImg(1,0,/*id*/'img88',/*url*/'button171.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img88',/*url*/'button193.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img88',/*url*/'button172.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img88',/*url*/'button171.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000; fp-proportional: 0" fp-title="Appesi">
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<address class="style22">
<a title="Indice" href="../GIF/MENU%20ALFABETO/Indice.htm">
<img border="0" id="img89" src="button194.jpg" height="22" width="130" alt="Alfabeto" onmouseover="FP_swapImg(1,0,/*id*/'img89',/*url*/'button173.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img89',/*url*/'button194.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img89',/*url*/'button174.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img89',/*url*/'button173.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000; fp-proportional: 0" fp-title="Alfabeto">
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</address>
<address class="style22">
<a title="Basi Glitter " href="../BASI%20GLITTER/BASI%20GLITTER%201/Basi%20Glitter%201.htm">
<img border="0" id="img90" src="button195.jpg" height="22" width="130" alt="Basi Glitter" onmouseover="FP_swapImg(1,0,/*id*/'img90',/*url*/'button175.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img90',/*url*/'button195.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img90',/*url*/'button6A2.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img90',/*url*/'button175.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000; fp-proportional: 0" fp-title="Basi Glitter">
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<address class="style22">
<a title="Sfondi" href="../SFONDI/SFONDI%201/Sfondi%201.htm">
<img border="0" id="img91" src="button6B2.jpg" height="22" width="130" alt="Sfondi" onmouseover="FP_swapImg(1,0,/*id*/'img91',/*url*/'button6C2.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img91',/*url*/'button6B2.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img91',/*url*/'button6D2.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img91',/*url*/'button6C2.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000; fp-proportional: 0" fp-title="Sfondi">
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<address class="style22">
<a title="Basi per Banner" href="../GIF/BASI%20PER%20BANNER/BASI%20PER%20BANNER%201/Basi%20per%20Banner.htm">
<img border="0" id="img92" src="button6E2.jpg" height="22" width="130" alt="Basi per Banner" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000; fp-proportional: 0" fp-title="Basi per Banner" onmouseover="FP_swapImg(1,0,/*id*/'img92',/*url*/'button6F2.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img92',/*url*/'button6E2.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img92',/*url*/'button176.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img92',/*url*/'button6F2.jpg')">
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<address class="style22">
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<address class="style22">
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<img border="0" id="img94" src="button197.jpg" height="22" width="130" alt="Saluti" onmouseover="FP_swapImg(1,0,/*id*/'img94',/*url*/'button179.jpg')" onmouseout="FP_swapImg(0,0,/*id*/'img94',/*url*/'button197.jpg')" onmousedown="FP_swapImg(1,0,/*id*/'img94',/*url*/'button180.jpg')" onmouseup="FP_swapImg(0,0,/*id*/'img94',/*url*/'button179.jpg')" fp-style="fp-btn: Brick Column 1; fp-font-style: Bold; fp-font-color-hover: #800080; fp-font-color-press: #800000; fp-proportional: 0" fp-title="Saluti">
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<a title="Indice varie" href="../GIF/MENU'%20VARIE/Indice%20varie.htm">
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<a title="Le mie gif" href="../GIF/LE%20MIE%20GIF/INDICE/Indice%20Le%20mie%20gif.htm">
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<address class="style22"> </address>
<address class="style22"> </address>
<table style="width: 100%" class="style12">
<tr>
<td class="style10">
<address style="font-size: 12.0pt; font-family: Times New Roman; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; margin-bottom: .0001pt" class="style11">
<span style="font-size:10.0pt">Toscanafantasy ringrazia: </span>
</address>
<address style="font-size: 12.0pt; font-family: Times New Roman; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; margin-bottom: .0001pt" class="style11">
<a style="text-decoration: underline; text-underline: single" href="http://www.fantasygif.it">
<span style="font-size:10.0pt">
<font color="#000000">www.fantasygif.it</font></span>
</a>
</address>
<address style="font-size: 12.0pt; font-family: Times New Roman; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; margin-bottom: .0001pt" class="style11">
<a style="text-decoration: underline; text-underline: single" href="http://www.asbafo.it">
<span style="font-size:10.0pt"><font color="#000000">www.asbafo.com</font></span>
</a>
</address>
<address style="font-size: 12.0pt; font-family: Times New Roman; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; margin-bottom: .0001pt" class="style11">
<a style="text-decoration: underline; text-underline: single" href="http://www.myhouseonweb.eu">
<span style="font-size:10.0pt"><font color="#000000">www.myhouseonweb.eu</font></span>
</a>
</address>
<address style="font-size: 12.0pt; font-family: Times New Roman; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; margin-bottom: .0001pt" class="style11">
<span style="font-size: 12.0pt; font-family: Times New Roman">
<a style="text-decoration: underline; text-underline: single" href="http://www.ilovegif.net">
<span style="font-size:10.0pt"><font color="#000000">www.ilovegif.net</font></span>
</a>
</span>
</address>
<address style="font-family: Times New Roman; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; margin-bottom: .0001pt" class="style11">
<span style="text-decoration: underline">
<font size="2" color="#0000FF">
<a href="http://www.graphicmania.it">
<font color="#000000">www.graphicmania.it</font>
</a>
</font>
</span>
</address>
<address style="font-family: Times New Roman; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; margin-bottom: .0001pt" class="style11">
<span style="text-decoration: underline">
<font size="2" color="#000000">www.megghy.com</font>
</span>
</address>
<address style="font-family: Times New Roman; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; margin-bottom: .0001pt" class="style11">
<span style="text-decoration: underline">
<font size="2" color="#0000FF">
<a href="http://www.fantasmina.com">
<font color="#000000">www.fantasmina.com</font>
</a>
</font>
</span>
</address>
<address style="font-family: Times New Roman; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; margin-bottom: .0001pt" class="style11">
<a target="_BLANK" href="http://www.graficaugusto.org">
<font color="#000000">www.graficaugusto.org</font></a>
</address>
</td>
</tr>
</table>
<br>
<table style="width: 100%" class="style15">
<tr>
<td style="width: 194px">
<span class="style13">
<em>Disclaimer</em>
</span>
</td>
</tr>
</table>
<table style="width: 100%" class="style15">
<tr>
<td class="style14">
<address>
<font size="2">Questo sito non rappresenta una testata giornalistica in quanto viene aggiornato senza alcuna periodicità.</font>
</address>
<address>
<font size="2">Non può pertanto considerarsi un prodotto editoriale ai sensi della legge n. 62 del 7.03.2001</font>
</address>
</td>
</tr>
</table>
<br>
<table style="width: 100%" class="style15">
<tr>
<td class="style14">
<font size="2">
Alcune immagini e gif animate sono prese in rete, per cui se trovate lavori coperti da © segnalatelo , Toscanafantasy provvederà a toglierli.
</font>
</td>
</tr>
</table>
<br>
<table style="width: 100%" class="style15">
<tr>
<td class="style14">
<address align="left" style="margin-left: 2px">
<font size="2">Scritti e foto © di Toscanafantasy o dei membri di questo sito.</font>
</address>
<address align="left" style="margin-left: 2px">
<font size="2">ALL RIGHTS RESERVED!</font>
</address>
<address align="left" style="margin-left: 2px">
<font size="2">( tranne ciò che è reperito dal web)</font>
</address>
</td>
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<!-- Colonna di Destra -->
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</tr>
</table>
</div>
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</html> |
TOSCANAFANTASY
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[I miei Hobby](../I%20MIEI%20HOBBY/I%20miei%20Hobby.htm "I miei Hobby")
[Le mie creazioni](../LE%20MIE%20CREAZIONI/Le%20mie%20creazioni.htm "SITI AMICI")
[Proverbi toscani](../PROVERBI/Proverbi%20toscani.htm "Proverbi Toscani")
[Barzellette](../BARZELLETTE/Barzellette.htm "Barzellette")
[Arti e mestieri](../ARTI%20e%20MESTIERI/Arti%20e%20mestieri.htm "Arti e Mestieri")
[Poesie](../POESIE/POESIE/Poesie.htm "Poesie")
[Giochi di una volta](../PASSATEMPI%20DI%20UNA%20VOLTA/Giochi%20e%20Passatempi%20.htm "Giochi di una volta")
[MUSICA](../MUSICA/musica.htm "Musica")
[FORUM](https://toscanafantasy.forumfree.it/ "Forum")
[CHAT](../CHAT/Chat%20di%20Toscanafantasy.htm "Chat di Toscanafantasy")
[SITI AMICI](../SITI%20AMICI/Siti%20Amici.htm "SITI AMICI")
[utenti ip tracking](http://www.histats.com)
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La Colomba della Pace Vola di Sito in Sito.
Aiutala a Fare il Giro del Mondo Portandola nel Tuo Sito Web.
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"Io la vedo questa
terra,la sento
premere sotto i miei
piedi.E' la mia
terra.E' una terra che
ama il silenzio come
lo amo io. E se
rompo questo
silenzio con la mia
voce lo faccio per
rendere omaggio a
questi luoghi e alla
mia gente.La musica
penetra la terra,la
percorre e vola
lontanissimo.E'
un messaggio d'amore"
Andrea Bocelli
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| | [by Renata](http://www.mrenata.com) |
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Presentazione
Mi presento: tanti miei amici del web,mi conoscono con il nick di Stefina,così userò questo nome per la presentazione.
Tanti anni fa avevo ed ho tutt'ora la passione della fotografia e delle diapositive,che facevo ve/dere solo a parenti e amici.
Navigando su Internet e vedendo tanti siti inerenti alle mie passioni,mi sono chiesta "perché non pubblicare anch'io un
sito?"
Premetto che non sapevo nemmeno da dove iniziare, però i
miei amici mi hanno convinto a farlo, così mi hanno dato dei buoni consigli.
In questo sito troverete tutto quello che riguarda la mia amata toscana, dove io sono nata e cresciuta.
Ho voluto valorizzare la Toscana con i suoi paesaggi,piatti tipici,arti e mestieri, divertimento di un tempo.....
Nel mio sito troverete anche un angolo di divertimento per passare un momento di svago e relax,un angolo per la
musica,i miei hobby con i miei lavori,una collezione di gif animate più belle e tanto altro ancora.....
Buon divertimento
Stefina
Scrivi un commento di saluto
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Vota il mio sito qui
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Scrivimi qui
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Tutti i diritti di proprietà e di Copyright anche se non espressamente specificati vengono riconosciuti ai legittimi proprietari. Toscanafantasy non vanta alcun diritto su di essi
|
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Copyright © 2009 Toscanafantasy - Tutti i diritti riservati.
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Gif animate dal web
[Natale](../GIF/MENU'%20NATALE/Indice%20Natale.htm "Natale")
[Pasqua](../GIF/MENU%20PASQUA/Indice%20Pasqua.htm "Indice pasqua")
[Halloween](../GIF/MENU%20HALLOWEEN/Indice%20Halloween.htm "Halloween")
[Ricorrenze](../GIF/MENU'%20RICORRENZE/INDICE%20RICORRENZE/Indice%20ricorrenze.htm "Ricorrenze")
[San Valentino](../GIF/MENU%20SAN%20VALENTINO/Indice%20San%20Valentino.htm "San Valentino")
Festività
[Globi e gocce](../GIF/MENU'%20GLOBI%20E%20GOCCE/Indice%20Globi%20e%20Gocce.htm "Globi e Gocce")
[Fate e farfalle](../GIF/MENU%20FATE/Indice%20Fate%20e%20Farfalle.htm "Fate e Farfalle")
Fantasy
[Dolls](../GIF/MENU%20DOLLS/Indice%20Dolls.htm "Indice dolls")
Immagini
[Animali](../GIF/GIF%20ANIMALI/Indice%20Animali.htm "Indice")
[Fiori e piante](../GIF/MENU%20FIORI%20E%20PIANTE/Indice%20fiori%20e%20piante.htm "Fiori e Piante")
[Linee divisorie](../GIF/MENU%20LINEE%20DIV/Indice%20Linee%20Divisorie.htm "Linee Divisorie")
[Smiles](../GIF/MENU'%20SMILES/Indice%20Smiles.htm "Indice Smiles")
[Carnevale](../GIF/MENU%20CARNEVALE/Indice%20Carnevale.htm "Carnevale")
[Appesi](../GIF/MENU%20APPESI/INDICE%20APPESI/Indice%20Appesi.htm "Indice Appesi")
[Alfabeto](../GIF/MENU%20ALFABETO/Indice.htm "Indice")
[Basi Glitter](../BASI%20GLITTER/BASI%20GLITTER%201/Basi%20Glitter%201.htm "Basi Glitter ")
[Sfondi](../SFONDI/SFONDI%201/Sfondi%201.htm "Sfondi")
[Basi per Banner](../GIF/BASI%20PER%20BANNER/BASI%20PER%20BANNER%201/Basi%20per%20Banner.htm "Basi per Banner")
[Cornici](../GIF/MENU%20CORNICI/Indice%20cornici.htm "Basi per Banner")
[Saluti](../GIF/SALUTI/Indice%20saluti.htm "Indice saluti")
[Varie](../GIF/MENU'%20VARIE/Indice%20varie.htm "Indice varie")
[Le mie gif](../GIF/LE%20MIE%20GIF/INDICE/Indice%20Le%20mie%20gif.htm "Le mie gif")
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Toscanafantasy ringrazia:
[www.fantasygif.it](http://www.fantasygif.it)
[www.asbafo.com](http://www.asbafo.it)
[www.myhouseonweb.eu](http://www.myhouseonweb.eu)
[www.ilovegif.net](http://www.ilovegif.net)
[www.graphicmania.it](http://www.graphicmania.it)
www.megghy.com
[www.fantasmina.com](http://www.fantasmina.com)
[www.graficaugusto.org](http://www.graficaugusto.org)
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*Disclaimer*
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Questo sito non rappresenta una testata giornalistica in quanto viene aggiornato senza alcuna periodicità.
Non può pertanto considerarsi un prodotto editoriale ai sensi della legge n. 62 del 7.03.2001
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Alcune immagini e gif animate sono prese in rete, per cui se trovate lavori coperti da © segnalatelo , Toscanafantasy provvederà a toglierli.
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Scritti e foto © di Toscanafantasy o dei membri di questo sito.
ALL RIGHTS RESERVED!
( tranne ciò che è reperito dal web)
|
|
| https://www.toscanafantasy.com/HOMEPAGE/Homepage.index.htm |
<head><title>Not Acceptable!</title></head><body><h1>Not Acceptable!</h1><p>An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod_Security.</p></body></html> | Not Acceptable!# Not Acceptable!
An appropriate representation of the requested resource could not be found on this server. This error was generated by Mod\_Security.
| http://www.thegodfathertrilogy.com/ |
<html>
<head>
<meta http-equiv="Content-Type" content="text/html; charset=windows-1252">
<meta http-equiv="Content-Language" content="en-us">
<meta name="resource-type" content="document">
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<meta name="GENERATOR" content="Microsoft FrontPage 6.0">
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<title>Patina's Treasures - Desktop Themes & Screen Savers</title>
<style>
a:link { color: #E1CCA0; text-decoration: none }
a:visited { color: #E1CCA0; text-decoration: none }
a:active { color: #5F5643; text-decoration: none }
a:hover { color: #5F5643; text-decoration: none }
</style>
<script language="JavaScript"> <!-- Hide from old browsers
var iName=""; var nav=navigator.appName.indexOf("Netscape"); var vers=parseInt(navigator.appVersion);
if ( (nav != -1 && vers >= 3) || (vers == 4) ) {
default1 = new Image(); default1.src = "graphics/about_off.gif"
changed1 = new Image(); changed1.src = "graphics/about_on.gif"
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changed2 = new Image(); changed2.src = "graphics/themes_on.gif"
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document[iName].src = pSrc;
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// end hiding --></SCRIPT>
</head>
<body bgcolor="#000000" text="#1E2720" link="#E1CCA0" vlink="#E1CCA0" style="font-family: Verdana, Arial" alink="#5F5643" background="graphics/35bge.jpg">
<center>
<table width="100%" cellspacing="0" cellpadding="0" border="0" height="100%">
<tr>
<td width="100%" colspan="3">
</td>
</tr>
<tr>
<th valign="top" width="25%" align="right">
<p> </p>
<p> </p>
<p>
<a href="about.shtml" onmouseover="iName='image1'; Ichange('changed1')" onmouseout="Ichange('default1')" style="color: #E1CCA0; text-decoration: none">
<font size="2">
<img border="0" src="graphics/about_off.gif" name="image1" alt="About Patina's Treasures" width="56" height="59"></font></a></p>
<p>
<a href="themes.shtml" onmouseover="iName='image2'; Ichange('changed2')" onmouseout="Ichange('default2')" style="color: #E1CCA0; text-decoration: none">
<font size="2">
<img border="0" src="graphics/themes_off.gif" name="image2" alt="Desktop Theme Treasures" width="56" height="59"></font></a></p>
<p>
<a href="savers.shtml" onmouseover="iName='image3'; Ichange('changed3')" onmouseout="Ichange('default3')" style="color: #E1CCA0; text-decoration: none">
<font size="2">
<img border="0" src="graphics/savers_off.gif" name="image3" alt="Screen Saver Treasures" width="56" height="59"></font></a></p>
<p>
<a href="faq.shtml" onmouseover="iName='image4'; Ichange('changed4')" onmouseout="Ichange('default4')" style="color: #E1CCA0; text-decoration: none">
<font size="2">
<img border="0" src="graphics/faq_off.gif" name="image4" alt="Frequently Asked Questions" width="56" height="59"></font></a></p>
<p>
<a href="links.shtml" onmouseover="iName='image5'; Ichange('changed5')" onmouseout="Ichange('default5')" style="color: #E1CCA0; text-decoration: none">
<font size="2">
<img border="0" src="graphics/links_off.gif" name="image5" alt="Links to Favorites" width="56" height="59"></font></a></p>
<p>
<a href="contact.shtml" onmouseover="iName='image6'; Ichange('changed6')" onmouseout="Ichange('default6')" style="color: #E1CCA0; text-decoration: none">
<font size="2">
<img border="0" src="graphics/contact_off.gif" name="image6" alt="Contact Me" width="56" height="59"></font></a></p></th>
<!-- Themes -->
<td width="50%" valign="top">
<div align="center">
<table border="0" width="469" height="100%" cellspacing="0" cellpadding="0" style="border-collapse: collapse">
<tr>
<td valign="top" height="79" background="graphics/map_top.gif" colspan="3" width="469">
<p align="center"> </p>
</td>
</tr>
<tr>
<td valign="top" background="graphics/map_left.gif" align="left" width="35">
</td>
<td valign="top" background="graphics/map_tiled.gif" align="center" width="395">
<b>
<font size="2">
<img border="0" src="graphics/map_title.gif" width="400" height="130"></font></b><p>
<font size="4"><b>Desktop Themes<br>
<img border="0" src="graphics/divider.gif" width="369" height="15"></b></font></p>
<table border="0" width="100%" cellspacing="0" cellpadding="3" style="border-collapse: collapse">
<tr>
<td></td>
<td align="right"></td>
</tr>
<tr>
<td colspan="2"><font size="2"><b>Theme Title</b></font></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="42ndstp.shtml">
42nd Street</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><b><font size="2">10/04/2004</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4allconv.shtml">A Little Less Conversation</a></b></font></td>
<td align="right"><b><font size="2">08/18/2002</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4athsunp.shtml">Across The Sun</a>
</b></font></td>
<td align="right"><b><font size="2">07/10/2004</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4algria.shtml">Alegria</a></b></font></td>
<td align="right"><b><font size="2">07/10/2003</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4allurap.shtml">Allura</a> <i>Update</i></b></font></td>
<td align="right"><b><font size="2">09/27/2004</font></b></td>
</tr>
<tr>
<td>
<b>
<font size="2"><a href="4angelsn.shtml">Angels in the Snow</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><font size="2"><b>09</b></font><b><font size="2">/21/2004</font></b></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4angeldp.shtml">
Angels of the Deep</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><font size="2"><b>09</b></font><b><font size="2">/21/2004</font></b></td>
</tr>
<tr>
<td>
<b>
<a href="4alistnp.shtml">
<font size="2">Anybody Listening</font></a></b></td>
<td align="right"><b><font size="2">02/14/2001</font></b></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4blxmasp.shtml">
Blue Christmas</a></font></b></td>
<td align="right"><font size="2"><b>12</b></font><b><font size="2">/15/2002</font></b></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4bndayp.shtml">
Brand New Day</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><b><font size="2">10/04/2004</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4bheavn.shtml">Breath of Heaven</a>
<img border="0" src="graphics/new_icon.gif" width="23" height="12"></b></font></td>
<td align="right"><b><font size="2">12/24/2004</font></b></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4bspirit.shtml">
Butterfly Spirit</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><font size="2"><b>10</b></font><b><font size="2">/05/2004</font></b></td>
</tr>
<tr>
<td><b>
<font size="2">
<a href="4cmystp.shtml">
Castle in the Myst</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><font size="2"><b>10</b></font><b><font size="2">/03/2004</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4xmasd.shtml">A Christmas Dream</a></b></font></td>
<td align="right"><font size="2"><b>12</b></font><b><font size="2">/15/2002</font></b></td>
</tr>
<tr>
<td>
<b>
<a href="4cpearlp.shtml">
<font size="2">Classic Pearls</font></a></b></td>
<td align="right"><b><font size="2">04/11/2000</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4coreefp.shtml">A Coral Reef</a> <i>Update</i></b></font></td>
<td align="right"><b><font size="2">10/03/2004</font></b></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4dzone.shtml">
Danger Zone</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><b><font size="2">10/03/2004</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4drainp.shtml">Dancing Rain</a>
<img border="0" src="graphics/new_icon.gif" width="23" height="12"></b></font></td>
<td align="right"><b><font size="2">05/16/2006</font></b></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4dadp.shtml">Die Another Day</a></font></b></td>
<td align="right"><b><font size="2">12/15/2002</font></b></td>
</tr>
<tr>
<td><b>
<a href="4dreamp.shtml">
<font size="2">The Dream</font></a></b></td>
<td align="right"><b><font size="2">08/18/2001</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4dreamsq.shtml">Dream Sequence</a></b></font></td>
<td align="right"><b><font size="2">09/16/2003</font></b></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4eltonjp.shtml">
Elton John</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><font size="2"><b>10</b></font><b><font size="2">/07/2004</font></b></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4silence.shtml">
Enjoy the Silence</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><b><font size="2">10/03/2004</font></b></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4fandang.shtml">
Fandango</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><b><font size="2">10/03/2004</font></b></td>
</tr>
<tr>
<td>
<font size="2">
<b>
<a href="4galeonp.shtml">
Galleon</a></b></font></td>
<td align="right"><b><font size="2">09/06/2002</font></b></td>
</tr>
<tr>
<td>
<b>
<a href="4gimachp.shtml">
<font size="2">Ghost in the Machinery</font></a></b></td>
<td align="right"><b><font size="2">12/07/2000</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4hsbeat.shtml">Heart Still Beating</a></b></font></td>
<td align="right"><b><font size="2">02/04/2003</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4hrsunp.shtml">House of the Rising Sun</a></b></font></td>
<td align="right"><font size="2"><b>10/17/2001</b></font></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4itcoldp.shtml">It's Cold Outside</a>
<img border="0" src="graphics/new_icon.gif" width="23" height="12"></b></font></td>
<td align="right"><font size="2"><b>11/08/2004</b></font></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4ksweetp.shtml">Kinda Sweet</a> <i>Update</i></b></font></td>
<td align="right"><font size="2"><b>09/27/2004</b></font></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4kirainp.shtml">Kisses in the Rain</a> <i>Update</i></b></font></td>
<td align="right"><font size="2"><b>09/27/2004</b></font></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4lawowlp.shtml">Lake of the White Owl</a>
</b></font></td>
<td align="right"><b><font size="2">07/10/2004</font></b></td>
</tr>
<tr>
<td>
<b>
<font size="2"><a href="4lkpeng.shtml">Las Ketchup Penguin</a></font></b></td>
<td align="right"><font size="2"><b>10/23/2002</b></font></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4reflect.shtml">
Life's Reflections</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><font size="2"><b>09</b></font><b><font size="2">/27/2004</font></b></td>
</tr>
<tr>
<td><b>
<font size="2">
<a href="4lvidalp.shtml">
Livin' La Vida Loca</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><b><font size="2">10/05/2004</font></b></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4avalonp.shtml">
Longing for Avalon</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><font size="2"><b>09</b></font><b><font size="2">/27/2004</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4lolovep.shtml">The Look of Love</a> <i>Update</i></b></font></td>
<td align="right"><font size="2"><b>10/03/2004</b></font></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4mcxmasp.shtml">
Merry Chicks Christmas</a></font></b></td>
<td align="right"><b><font size="2">12/15/2002</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4mcircle.shtml">Moon Circle</a>
</b></font></td>
<td align="right"><font size="2"><b>11/08/2004</b></font></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4mtunep.shtml">
Moon Tune</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><b><font size="2">09/03/2004</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4nhdream.shtml">Night Hawk's Dream</a>
</b></font></td>
<td align="right"><font size="2"><b>10/08/2004</b></font></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4nlifep.shtml">Nightlife</a></b></font></td>
<td align="right"><b><font size="2">03/12/2003</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4nfhalwn.shtml">No Fear Halloween</a></b></font></td>
<td align="right"><b><font size="2">10/10/2002</font></b></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4nbywldp.shtml">
Nobody in the World</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><b><font size="2">10/03/2004</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4oasisp.shtml">Oasis</a></b></font></td>
<td align="right"><font size="2"><b>09/03/2002</b></font></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4oceandr.shtml">Ocean Dreams</a> <i>Update</i></b></font></td>
<td align="right"><font size="2"><b>10/03/2004</b></font></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4otsumrp.shtml">
Ode To Summer</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><b><font size="2">09/22/2004</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4omadp.shtml">Orbiting Madness</a> <i>Update</i></b></font></td>
<td align="right"><font size="2"><b>10/03/2004</b></font></td>
</tr>
<tr>
<td>
<b>
<a href="4patsocn.shtml">
<font size="2">Patti's Ocean</font></a></b></td>
<td align="right"><b><font size="2">10/11/1999</font></b></td>
</tr>
<tr>
<td><font size="2"><b><a href="icpnxmas.shtml">Penguin Christmas</a></b></font></td>
<td align="right"><font size="2"><b>12</b></font><b><font size="2">/16/2002</font></b></td>
</tr>
<tr>
<td><font size="2"><b><a href="4penguin.shtml">Penguin Fantasy</a></b></font></td>
<td align="right"><b><font size="2">06/13/2002</font></b></td>
</tr>
<tr>
<td><font size="2"><b><a href="4phalwn.shtml">Penguin Halloween</a></b></font></td>
<td align="right"><b><font size="2">09/22/2002</font></b></td>
</tr>
<tr>
<td><font size="2"><b><a href="4pensumr.shtml">Penguin Summer</a></b></font></td>
<td align="right"><b><font size="2">06/21/2002</font></b></td>
</tr>
<tr>
<td><b>
<a href="4plantsp.shtml">
<font size="2">Planets of the Universe</font></a></b></td>
<td align="right"><b><font size="2">08/18/2001</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4ravenp.shtml">The Raven</a> <i>Update</i></b></font></td>
<td align="right"><font size="2"><b>10/03/2004</b></font></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4safarip.shtml">Safari</a></b></font></td>
<td align="right"><b><font size="2">06/18/2004</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4sdance.shtml">Sea Dance</a></b></font></td>
<td align="right"><b><font size="2">04/04/2004</font></b></td>
</tr>
<tr>
<td>
<b>
<a href="4sheartp.shtml">
<font size="2">Shape of My Heart</font></a></b></td>
<td align="right"><b><font size="2">04/28/2001</font></b></td>
</tr>
<tr>
<td><b>
<font size="2"><a href="4snowdp.shtml">Snow Drift</a></font></b></td>
<td align="right"><b><font size="2">12/15/2002</font></b></td>
</tr>
<tr>
<td><b>
<a href="4sobchp.shtml">
<font size="2">South Beach</font></a></b></td>
<td align="right"><b><font size="2">08/18/2001</font></b></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4supernt.shtml">
Supernatural</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><b><font size="2">10/03/2004</font></b></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4swheart.shtml">
Sweetheart</a></font></b></td>
<td align="right"><b><font size="2">01/15/2003</font></b></td>
</tr>
<tr>
<td>
<b>
<a href="4theartp.shtml">
<font size="2">Tattoo Heart</font></a></b></td>
<td align="right"><b><font size="2">04/28/2001</font></b></td>
</tr>
<tr>
<td>
<b>
<a href="4maskp.shtml">
<font size="2">This Masquerade</font></a></b></td>
<td align="right"><b><font size="2">02/06/2001</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4halwnp.shtml">This is Halloween</a> <i>Update</i></b></font></td>
<td align="right"><b><font size="2">09/21/2004</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4upaint.shtml">Under A Painted Sky</a>
<img border="0" src="graphics/new_icon.gif" width="23" height="12"></b></font></td>
<td align="right"><b><font size="2">04/30/2005</font></b></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4vclouds.shtml">Valley in the Clouds</a> <i>Update</i></b></font></td>
<td align="right"><font size="2"><b>09/03/2004</b></font></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4wscreen.shtml">Widescreen</a></font></b></td>
<td align="right"><font size="2"><b>09/03/2002</b></font></td>
</tr>
<tr>
<td>
<font size="2"><b><a href="4wmillsp.shtml">Windmills of Your Mind</a></b></font></td>
<td align="right"><b><font size="2">02/22/2003</font></b></td>
</tr>
<tr>
<td>
<b>
<font size="2">
<a href="4wizardp.shtml">
Wizard</a> </font></b>
<font size="2"><b> <i>Update</i></b></font></td>
<td align="right"><b><font size="2">10/03/2004</font></b></td>
</tr>
<tr>
<td colspan="2">
<p align="center">
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Patina's Treasures - Desktop Themes & Screen Savers
a:link { color: #E1CCA0; text-decoration: none }
a:visited { color: #E1CCA0; text-decoration: none }
a:active { color: #5F5643; text-decoration: none }
a:hover { color: #5F5643; text-decoration: none }
<!-- Hide from old browsers
var iName=""; var nav=navigator.appName.indexOf("Netscape"); var vers=parseInt(navigator.appVersion);
if ( (nav != -1 && vers >= 3) || (vers == 4) ) {
default1 = new Image(); default1.src = "graphics/about\_off.gif"
changed1 = new Image(); changed1.src = "graphics/about\_on.gif"
default2 = new Image(); default2.src = "graphics/themes\_off.gif"
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default3 = new Image(); default3.src = "graphics/savers\_off.gif"
changed3 = new Image(); changed3.src = "graphics/savers\_on.gif"
default4 = new Image(); default4.src = "graphics/faq\_off.gif"
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default5 = new Image(); default5.src = "graphics/links\_off.gif"
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if ( (nav != -1 && vers >= 3) || (vers == 4) ) {
var pSrc=eval(p+ ".src");
document[iName].src = pSrc;
}
}
// end hiding -->
| |
| --- |
| |
|
[About Patina's Treasures](about.shtml)
[Desktop Theme Treasures](themes.shtml)
[Screen Saver Treasures](savers.shtml)
[Frequently Asked Questions](faq.shtml)
[Links to Favorites](links.shtml)
[Contact Me](contact.shtml) |
| |
| --- |
| |
| |
**Desktop Themes**
| | |
| --- | --- |
| | |
| **Theme Title** |
| **[42nd Street](42ndstp.shtml)**
***Update*** | **10/04/2004** |
| **[A Little Less Conversation](4allconv.shtml)** | **08/18/2002** |
| **[Across The Sun](4athsunp.shtml)** | **07/10/2004** |
| **[Alegria](4algria.shtml)** | **07/10/2003** |
| **[Allura](4allurap.shtml) *Update*** | **09/27/2004** |
| **[Angels in the Snow](4angelsn.shtml)**
***Update*** | **09****/21/2004** |
| **[Angels of the Deep](4angeldp.shtml)**
***Update*** | **09****/21/2004** |
| **[Anybody Listening](4alistnp.shtml)** | **02/14/2001** |
| **[Blue Christmas](4blxmasp.shtml)** | **12****/15/2002** |
| **[Brand New Day](4bndayp.shtml)**
***Update*** | **10/04/2004** |
| **[Breath of Heaven](4bheavn.shtml)** | **12/24/2004** |
| **[Butterfly Spirit](4bspirit.shtml)**
***Update*** | **10****/05/2004** |
| **[Castle in the Myst](4cmystp.shtml)**
***Update*** | **10****/03/2004** |
| **[A Christmas Dream](4xmasd.shtml)** | **12****/15/2002** |
| **[Classic Pearls](4cpearlp.shtml)** | **04/11/2000** |
| **[A Coral Reef](4coreefp.shtml) *Update*** | **10/03/2004** |
| **[Danger Zone](4dzone.shtml)**
***Update*** | **10/03/2004** |
| **[Dancing Rain](4drainp.shtml)** | **05/16/2006** |
| **[Die Another Day](4dadp.shtml)** | **12/15/2002** |
| **[The Dream](4dreamp.shtml)** | **08/18/2001** |
| **[Dream Sequence](4dreamsq.shtml)** | **09/16/2003** |
| **[Elton John](4eltonjp.shtml)**
***Update*** | **10****/07/2004** |
| **[Enjoy the Silence](4silence.shtml)**
***Update*** | **10/03/2004** |
| **[Fandango](4fandang.shtml)**
***Update*** | **10/03/2004** |
|
**[Galleon](4galeonp.shtml)** | **09/06/2002** |
| **[Ghost in the Machinery](4gimachp.shtml)** | **12/07/2000** |
| **[Heart Still Beating](4hsbeat.shtml)** | **02/04/2003** |
| **[House of the Rising Sun](4hrsunp.shtml)** | **10/17/2001** |
| **[It's Cold Outside](4itcoldp.shtml)** | **11/08/2004** |
| **[Kinda Sweet](4ksweetp.shtml) *Update*** | **09/27/2004** |
| **[Kisses in the Rain](4kirainp.shtml) *Update*** | **09/27/2004** |
| **[Lake of the White Owl](4lawowlp.shtml)** | **07/10/2004** |
| **[Las Ketchup Penguin](4lkpeng.shtml)** | **10/23/2002** |
| **[Life's Reflections](4reflect.shtml)**
***Update*** | **09****/27/2004** |
| **[Livin' La Vida Loca](4lvidalp.shtml)**
***Update*** | **10/05/2004** |
| **[Longing for Avalon](4avalonp.shtml)**
***Update*** | **09****/27/2004** |
| **[The Look of Love](4lolovep.shtml) *Update*** | **10/03/2004** |
| **[Merry Chicks Christmas](4mcxmasp.shtml)** | **12/15/2002** |
| **[Moon Circle](4mcircle.shtml)** | **11/08/2004** |
| **[Moon Tune](4mtunep.shtml)**
***Update*** | **09/03/2004** |
| **[Night Hawk's Dream](4nhdream.shtml)** | **10/08/2004** |
| **[Nightlife](4nlifep.shtml)** | **03/12/2003** |
| **[No Fear Halloween](4nfhalwn.shtml)** | **10/10/2002** |
| **[Nobody in the World](4nbywldp.shtml)**
***Update*** | **10/03/2004** |
| **[Oasis](4oasisp.shtml)** | **09/03/2002** |
| **[Ocean Dreams](4oceandr.shtml) *Update*** | **10/03/2004** |
| **[Ode To Summer](4otsumrp.shtml)**
***Update*** | **09/22/2004** |
| **[Orbiting Madness](4omadp.shtml) *Update*** | **10/03/2004** |
| **[Patti's Ocean](4patsocn.shtml)** | **10/11/1999** |
| **[Penguin Christmas](icpnxmas.shtml)** | **12****/16/2002** |
| **[Penguin Fantasy](4penguin.shtml)** | **06/13/2002** |
| **[Penguin Halloween](4phalwn.shtml)** | **09/22/2002** |
| **[Penguin Summer](4pensumr.shtml)** | **06/21/2002** |
| **[Planets of the Universe](4plantsp.shtml)** | **08/18/2001** |
| **[The Raven](4ravenp.shtml) *Update*** | **10/03/2004** |
| **[Safari](4safarip.shtml)** | **06/18/2004** |
| **[Sea Dance](4sdance.shtml)** | **04/04/2004** |
| **[Shape of My Heart](4sheartp.shtml)** | **04/28/2001** |
| **[Snow Drift](4snowdp.shtml)** | **12/15/2002** |
| **[South Beach](4sobchp.shtml)** | **08/18/2001** |
| **[Supernatural](4supernt.shtml)**
***Update*** | **10/03/2004** |
| **[Sweetheart](4swheart.shtml)** | **01/15/2003** |
| **[Tattoo Heart](4theartp.shtml)** | **04/28/2001** |
| **[This Masquerade](4maskp.shtml)** | **02/06/2001** |
| **[This is Halloween](4halwnp.shtml) *Update*** | **09/21/2004** |
| **[Under A Painted Sky](4upaint.shtml)** | **04/30/2005** |
| **[Valley in the Clouds](4vclouds.shtml) *Update*** | **09/03/2004** |
| **[Widescreen](4wscreen.shtml)** | **09/03/2002** |
| **[Windmills of Your Mind](4wmillsp.shtml)** | **02/22/2003** |
| **[Wizard](4wizardp.shtml)**
***Update*** | **10/03/2004** |
|
**If you like Patina's Treasures, please tell a friend about us using this
"Tell A Friend!" form.**
| | | |
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|
| Tell A Friend! |
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| **Type In Your Name:** |
|
**This site subscribes to these rules regarding use of downloaded files and
preserving integrity of authorship:*** **Files are for personal and private use only.**
* **Files are not to be distributed without
permission.**
* **Files are not to be added to any online
collection without permission.**
* **Files are not to be redistributed via email,
CD or any other media form for profit, or otherwise.**
* **Files are not to be repackaged and
distributed in any form other than as done so by the original author.**
* **Files are not to be altered, tampered with,
stripped or redistributed either singly, in part or in whole.**
* **Readme files are to be left intact at all
times, even when specific permission may have been received to redistribute.**
* **Authors are to be contacted personally
regarding any use of their work beyond its specified and intended purpose.**
|
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<TITLE>Mosaic Communications - What is the Internet? (H)</TITLE>
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<H1>
What is the Internet?
</H1>
<H2>
<HR>
<B>...as many as 25 to 30 million people are on the Internet today, with the number growing at 10 to 15 percent per month.</B>
<HR>
</H2>
The Internet is a complex global network consisting of thousands of independent computer networks run by private businesses, government agencies and educational and research institutions. Rather than a specific kind of network, however, the Internet is actually better thought of as a set of standards or protocols that lets various types of networks intercommunicate. The protocol, called TCP/IP, enables communications between public and private networks running over any medium: phone lines, traditional network lines, fiber, and even cable television wires and wireless systems. It is also computer-independent, running across PCs, Macintoshes, workstations and mainframes.<P>
Across the Internet, users can share information, discuss topics of interest, research various subjects, or -- increasingly -- conduct commerce. Commercial use of the Internet promises to be an area of explosive growth in the years ahead, as companies look for ways to reach the increasing number of users online and to leverage the Internet to streamline and improve their business.<P>
To gain access, a company or organization creates a local network using off-the-shelf technology from any of a number of vendors and then pays an Internet service provider for a link from that network to the Internet. An individual at home can also link his or her computer to the Internet through an Internet service provider. Once connected, an individual can communicate with any other person on the Internet, even if that person resides halfway around the world.<P>
According to industry estimates, as many as 25 to 30 million people are on the Internet today, with the number growing at 10 to 15 percent per month. Today, the Internet spans all seven continents and every developed country. While more than fifty percent of current Internet users are in companies or organizations, the number of home users is growing rapidly.<P>
<H6>
Mosaic Communications and the Mosaic Communications logo<BR>
are trademarks of Mosaic Communications Corporation.
</H6>
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| Mosaic Communications - What is the Internet? (H)
```
```
#
What is the Internet?
##
---
**...as many as 25 to 30 million people are on the Internet today, with the number growing at 10 to 15 percent per month.**
---
The Internet is a complex global network consisting of thousands of independent computer networks run by private businesses, government agencies and educational and research institutions. Rather than a specific kind of network, however, the Internet is actually better thought of as a set of standards or protocols that lets various types of networks intercommunicate. The protocol, called TCP/IP, enables communications between public and private networks running over any medium: phone lines, traditional network lines, fiber, and even cable television wires and wireless systems. It is also computer-independent, running across PCs, Macintoshes, workstations and mainframes.
Across the Internet, users can share information, discuss topics of interest, research various subjects, or -- increasingly -- conduct commerce. Commercial use of the Internet promises to be an area of explosive growth in the years ahead, as companies look for ways to reach the increasing number of users online and to leverage the Internet to streamline and improve their business.
To gain access, a company or organization creates a local network using off-the-shelf technology from any of a number of vendors and then pays an Internet service provider for a link from that network to the Internet. An individual at home can also link his or her computer to the Internet through an Internet service provider. Once connected, an individual can communicate with any other person on the Internet, even if that person resides halfway around the world.
According to industry estimates, as many as 25 to 30 million people are on the Internet today, with the number growing at 10 to 15 percent per month. Today, the Internet spans all seven continents and every developed country. While more than fifty percent of current Internet users are in companies or organizations, the number of home users is growing rapidly.
######
Mosaic Communications and the Mosaic Communications logo
are trademarks of Mosaic Communications Corporation.
```
[](../../index.html)
```
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<P align="center"><A HREF="http://nikodemus.iwarp.com/fantasy/fantasy.htm" ><IMG id=HoverImage height=120 alt="Fantasy and Science Fiction Area" hspace=5 src="fantbut.jpg" width=160 vspace=5 border=0></A>
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<P align="center"> </P><A HREF="http://www.softquad.com/products/hotmetal/" ></A></TD>
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<H2 ALIGN="center"><FONT COLOR="#cc0000"><FONT SIZE="+1"><FONT SIZE="+1" ><FONT SIZE="+4"> Welcome</FONT></FONT></FONT><FONT SIZE="+1" ></FONT></FONT> </H2>
<P align="left"><FONT color="#ffff00" size="3">
10-12-2000 Sorry about the long period since the last
update but I had to get a submission in on time. I know
you all will forgive me<GRIN>. I'm currently working on a fantasy novel(we'll see how it
goes) so i thought I would share it with you all as I write it.
The World of Turimar area is currently up with some maps and a description of some of the races.
As I write chapters I will post them there also.I included game stats when applicable(For AD&D,Rifts/Palladium, And
Rolemaster).</FONT> </P>
<P align="left"><FONT color="#ffff00" size="3">10-2-2000 More pictures in
the Fantasy Art Gallery. The poetry and Lyrics section is
up.(Only one poem for now but will add more tommorrow.) Next area to
go up will be the Fantasy Fiction area.I have also decided to remove the
anime button and area. Thank you everyone who has given me suggestions so
far I am keeping notes and once all the areas are up will be applying some
of the suggested changes. One note, some of the pages just use a
normal background and some use pictures..i need to know if from your
end the pictures slow down the site too much and if which of the
backgrounds i used are best for a site standard. Thank you for all of your
help and opinions. Yes ,you may put my poetry on other sites. Just keep
the image as is and include a link to my site on your page
somewhere.</FONT><FONT color="#ffff00" size="3"> </FONT></P>
<P align="left"><FONT color="#ffff00" size="3">9-30-200 working on sum bugs i
noticed and the info about me is finally up.....</FONT></P>
<P align="left">9-28-2000 The Link and Roleplaying areas are up & so is my
Guestbook. Consider my guestbook as sortof a grafitti wall.(the flipping
pages below)</P>
<P>
9-27-2000 Fantasy page is up(only the galleries work right now)</P>
<P>9-26-2000(First day semi-up)<BR>. .Not the prettiest Site in the
world. Not yet at least! I will be updating and adding areas as we go. First
area to be activated will be The Fantasy/Sci-Fi Art/Stories section. Later on
this week I will add the Games section. Take a look around. Any suggestions or
Help would be appreciated as I am new to this. E-mail to
<A href="mailto:[email protected]">[email protected]</A>
<BR><BR>
. .Also please Click on my sponsors.(you don't have to stay there if you don't
want to.(I'll code them to open in a new window)). I wouldn't want to resort to
pop-up's or forced links(as they are some of the most annoying AND fustrating
things on the web).<BR><BR> . .One last
note, I am accepting submissions of Gaming errata(all
RPG games), poetry, lyrics , and stories. There will be a
poetry/lyrics section here as I am a writer(Spell checkers are wonderful
<<GRIN>>). You will get full credit for your submission. Later
on I will be putting up an e-magazine and then I will take
peoples opinions, editorials, and reviews of almost anything. If you
submit a long story please break it up into chapters.</P>
<P> </P>
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<FONT SIZE="+2" color="#cc0000">Submission Requirements:</FONT></TH>
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<P align="center"><BR><A HREF="http://nikodemus.iwarp.com/me.htm"><BR><IMG height=180 alt="Info on me , My history, Family, & Friends" hspace=5 src="mebut.jpg" width=140 vspace=10 border=0 ></A><A href="index.htm"></A><BR><A href="index.htm"></A><BR><A href="index.htm"></A><A href="http://nikodemus.iwarp.com/fsguestbook.html"><IMG height=75 alt="My Guestbook" hspace=0 src="pageturn.gif" width=140 vspace=5 border=0></A><BR><A href="index.htm"></A><BR><A onmouseover="if (HoverImage1.src) {HoverImage1.src=emailbuta.gif}" onmouseout="if (HoverImage1.src) {HoverImage1.src=emailbutb.gif}" href="mailto:[email protected]" ><IMG id=HoverImage1 height=37 alt="Send me Your feedback!" src="emailbuta.gif" width=137 border=0 ></A><A href="index.htm"></A><BR><A href="index.htm"></A><BR><A href="index.htm"><IMG height=20 alt="Top of Page" src="topbl.gif" width=60 align=absBottom border=0></A></P></TD>
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<UL>
<LI>No Adult(Sexual) Material
<LI>Keep profanity to a minimum
<LI>Any copyright information so the proper people get credit
<LI>Written/typed permission to put it on this web site
<LI>Name that you wish accredited with this document & Return E-mail
address.
<LI>REAL NAME(won't be shown if requested)
<LI>Any other tid-bits you think you need to give
<LI>I CANNOT pay for these submissions.this is a FREE site and would not
remain so if I did
<LI>If you want me to take off anything you have sent just e-mail me (it
may take up to a week(rarely))
<LI>Email submissions to <A href="mailto:[email protected]">[email protected]</A><A href="[email protected]"></A> </LI></UL></TH>
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<P><FONT SIZE="-1">This document
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| Welcome
10-12-2000 Sorry about the long period since the last
update but I had to get a submission in on time. I know
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<H1>Developer Forum '95 Photo Album</H1>
<P>For those of you who were not able to attend the Forum, here are some photos to give you an idea of the activities and attendance at
this year's event. For those of you who were there, maybe you'll find yourself in some of the photos.
<P>To see enlarged versions of the photos, click on the photo.
<HR>
<H2>The Setting</H2>
<CENTER>
<P> <A HREF="forum_images/forum_2.gif"><IMG SRC="forum_images/forum_2s.gif" ALIGN="TOP" ALT="The Fairmont Hotel"></A><BR>
<P>The Fairmont Hotel in downtown San Jose was the place.
<P>You knew you were there when you saw this...<BR>
<P><A HREF="forum_images/forum_3.gif"><IMG SRC="forum_images/forum_3s.gif" ALIGN="TOP" ALT="The Forum Signs"></A>
<P><A HREF="forum_images/forum_33.gif"><IMG SRC="forum_images/forum_33s.gif" ALIGN="TOP" ALT="Good food was sure to be found (and eaten)"></A> <A HREF="forum_images/forum_34.gif"><IMG SRC="forum_images/forum_34s.gif" ALIGN="TOP" ALT="And the band played on..."></A><BR>
<P>There was food and entertainment...
<P><A HREF="forum_images/forum_13.gif"><IMG SRC="forum_images/forum_13s.gif" ALIGN="TOP" ALT="What to choose, what to do...?"></A><BR>
<P>while attendees decided which sessions to attend.
</CENTER>
<HR>
<H2>Once Things Got Started...</H2>
<CENTER>
<P><A HREF="forum_images/forum_64.gif"><IMG SRC="forum_images/forum_64s.gif" ALIGN="TOP" ALT="Kirk Loevner's Welcome to the Forum"></A><BR>
<P>Kirk Loevner welcomed the attendees to the Forum in the opening session.
<P><A HREF="forum_images/forum_61.gif"><IMG SRC="forum_images/forum_61s.gif" ALIGN="TOP" ALT="Forest Baskett's keynote presentation"></A> <A HREF="forum_images/forum_75.gif"><IMG SRC="forum_images/forum_75s.gif" ALIGN="TOP" ALT="Joe Dinucci's Rousing Keynote talk"></A><BR>
<P>Forest Baskett and Joe DiNucci, among others, gave keynote talks.
<P><A HREF="forum_images/forum_68.gif"><IMG SRC="forum_images/forum_68s.gif" ALIGN="TOP" ALT="the crowd in the Imperial Ballroom"></A><BR>
<P>It got pretty crowded in the Imperial Ballroom from time to time.
</CENTER>
<HR>
<H2>Then the "Real Meat" of the Forum... <BR>
The Technical Sessions, Labs and Office Hours</H2>
<CENTER>
<P><A HREF="forum_images/forum_84.gif"><IMG SRC="forum_images/forum_84s.gif" ALIGN="TOP" ALT="A presentation in the Regency I Room"></A> <A HREF="forum_images/forum_104.gif"><IMG SRC="forum_images/forum_104s.gif" ALIGN="TOP" ALT="A presentation in the Imperial Ballroom"></A><BR>
<P>Some talks were in smaller rooms, while others took place in the Imperial Ballroom.
<P><A HREF="forum_images/forum_82.gif"><IMG SRC="forum_images/forum_82s.gif" ALIGN="TOP" ALT="Lab time in the California Room"></A> <A HREF="forum_images/forum_92a.gif"><IMG SRC="forum_images/forum_92as.gif" ALIGN="TOP" ALT="Working in pairs in the Crystal Room Lab"></A><BR>
<P>The labs were almost always full.
<P><A HREF="forum_images/forum_98.gif"><IMG SRC="forum_images/forum_98s.gif" ALIGN="TOP" ALT="Teaming up on the Office Hours staff"></A> <A HREF="forum_images/forum_99.gif"><IMG SRC="forum_images/forum_99s.gif" ALIGN="TOP" ALT="One-on-one help during office hours"></A><BR>
<P>Office hours were very popular; time-slots filled up quickly (we'll remember that next year).<BR>
Some people came in groups to get questions answered, while others came for that one-on-one help.
</CENTER>
<HR>
<H2>We Did Take Breaks...</H2>
<CENTER>
<P><A HREF="forum_images/forum_164.gif"><IMG SRC="forum_images/forum_164s.gif" ALIGN="TOP" ALT="Eating at the Tent"></A> <A HREF="forum_images/forum_186.gif"><IMG SRC="forum_images/forum_186s.gif" ALIGN="TOP" ALT="More eating at the tent"></A><BR>
<P>Mostly to eat, of course. And there was plenty of food to digest at lunch while you were digesting the content of the sessions you
just attended.
</CENTER>
<HR>
<H2>The Campus Visit</H2>
<CENTER>
<P><A HREF="forum_images/forum_274.gif"><IMG SRC="forum_images/forum_274s.gif" ALIGN="TOP" ALT="Campus Visit"></A> <A HREF="forum_images/forum_265.gif"><IMG SRC="forum_images/forum_265s.gif" ALIGN="TOP" ALT="Food (of course) at the Campus Visit"></A><BR>
<P>The campus visit provided opportunities to hang out (and eat more food)...
<P><A HREF="forum_images/forum_279.gif"><IMG SRC="forum_images/forum_279s.gif" ALIGN="TOP" ALT="A Division's Display at the Campus Visit"></A> <A HREF="forum_images/forum_275.gif"><IMG SRC="forum_images/forum_275s.gif" ALIGN="TOP" ALT="A Magician says "Pick a Card""></A><BR>
<P>see the divisional displays, participate in some magical goings-on...
<P><A HREF="forum_images/forum_331.gif"><IMG SRC="forum_images/forum_331s.gif" ALIGN="TOP" ALT="Yikes! I got scanned!"><A HREF="forum_images/forum_218.gif"><IMG SRC="forum_images/forum_218s.gif" ALIGN="TOP" ALT="Campus Store "></A><BR>
<P>get "scanned," and maybe even buy an SGI T-shirt or two.
</CENTER>
<HR>
<H2>After Hours</H2>
<P>We don't have pictures of the activities in the labs after hours. However, many people came to play games
and surf the Internet until Midnight each night.
<P> Maybe that explains the bags under our eyes...
<hr>
<P><CENTER><IMG SRC="forumlogo.gif" ALIGN="TOP" ALT="Developer Forum '95 Logo"></CENTER>
<pre>
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Developer Forum '95 Photo Album
# Developer Forum '95 Photo Album
For those of you who were not able to attend the Forum, here are some photos to give you an idea of the activities and attendance at
this year's event. For those of you who were there, maybe you'll find yourself in some of the photos.
To see enlarged versions of the photos, click on the photo.
---
## The Setting
[](forum_images/forum_2.gif)
The Fairmont Hotel in downtown San Jose was the place.
You knew you were there when you saw this...
[](forum_images/forum_3.gif)
[](forum_images/forum_33.gif) [](forum_images/forum_34.gif)
There was food and entertainment...
[](forum_images/forum_13.gif)
while attendees decided which sessions to attend.
---
## Once Things Got Started...
[](forum_images/forum_64.gif)
Kirk Loevner welcomed the attendees to the Forum in the opening session.
[](forum_images/forum_61.gif) [](forum_images/forum_75.gif)
Forest Baskett and Joe DiNucci, among others, gave keynote talks.
[](forum_images/forum_68.gif)
It got pretty crowded in the Imperial Ballroom from time to time.
---
## Then the "Real Meat" of the Forum...
The Technical Sessions, Labs and Office Hours
[](forum_images/forum_84.gif) [](forum_images/forum_104.gif)
Some talks were in smaller rooms, while others took place in the Imperial Ballroom.
[](forum_images/forum_82.gif) [](forum_images/forum_92a.gif)
The labs were almost always full.
[](forum_images/forum_98.gif) [](forum_images/forum_99.gif)
Office hours were very popular; time-slots filled up quickly (we'll remember that next year).
Some people came in groups to get questions answered, while others came for that one-on-one help.
---
## We Did Take Breaks...
[](forum_images/forum_164.gif) [](forum_images/forum_186.gif)
Mostly to eat, of course. And there was plenty of food to digest at lunch while you were digesting the content of the sessions you
just attended.
---
## The Campus Visit
[](forum_images/forum_274.gif) [](forum_images/forum_265.gif)
The campus visit provided opportunities to hang out (and eat more food)...
[](forum_images/forum_279.gif) [](forum_images/forum_275.gif)
see the divisional displays, participate in some magical goings-on...
[[](forum_images/forum_218.gif)
get "scanned," and maybe even buy an SGI T-shirt or two.](forum_images/forum_331.gif)
---
## After Hours
We don't have pictures of the activities in the labs after hours. However, many people came to play games
and surf the Internet until Midnight each night.
Maybe that explains the bags under our eyes...
---
```
```
| http://www.employees.org/~drich/SGI/DeveloperForum95/Silicon_Graphics_Developer_Forum_95_The_CD_Volume_1/photos/photo_album.html |
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<h1>Fake Dog for Home Security</h1>
<p>Fake dog barking for home security while on vacation.</p>
Mon 27 June 2022
<hr />
<p>I set up a fake dog that barks if my surveillance cameras are triggered while I'm out of town on vacation. It's a pair of computer speakers plugged into a Raspberry Pi, which is an inexpensive single-board computer. One speaker faces the front door and the other faces the side door.</p>
<p>When the front door camera is triggered my surveillance camera system sends a message to the Raspberry Pi. A simple program plays an audio clip of a big dog barking through the side speaker and then the front speaker. The change in speakers simulates a dog moving towards the front door. The opposite happens if the side door camera is triggered.</p>
<p>You can find the <a class="external" href="https://git.tannercollin.com/tanner/woof">source code</a> on my Gitea.</p>
<p><img alt="fake-dog.jpg" src="/media/fake-dog.jpg"></p>
<h2 id="technical-details"><a class="toclink" href="#technical-details">Technical Details</a></h2>
<p>My surveillance cameras sit on a separate network without internet access and their RTSP streams are consumed by the Blue Iris NVR software running on a dedicated Windows box. When an object is detected moving through a defined area for certain cameras, Blue Iris is configured to send an MQTT message to the <code>iot/cameras</code> topic via the Mosquitto broker running on my media server.</p>
<p>A Python script kept alive by Supervisor runs on the Raspberry Pi and listens to the topic using the <code>asyncio-mqtt</code> module. It receives and tries to decode a JSON message like <code>{"serial": "SE-N-ZoneB"}</code>. If the camera's serial is found in a dict at the top of the script, the corresponding audio file is played using Pygame. Controlling which speaker barks is done by muting the left or right channel in the stereo audio file.</p>
<p><img alt="fake-dog2.png" src="/media/fake-dog2.png"></p>
<h2 id="future-improvements"><a class="toclink" href="#future-improvements">Future Improvements</a></h2>
<p>The dog has a lot of false positives from the cameras being triggered by car headlights or small animals<span class="aside"> (like a real dog)</span>. This isn't a big deal since no one is home to hear it bark and it isn't loud enough for my neighbours to hear (I've asked). I would rather have a false positive than a false negative.</p>
<p>A huge improvement would be to combine the camera data with a physical trigger. A break beam sensor mounted on stair railings or an accelerometer mounted under the steps would work for this. But it would be annoying to mount, route power to, and harden for harsh Calgary winters. Perhaps the accelerometers are sensitive enough to mount inside, close to the entrances.</p>
<p>Update: a reader emailed me mentioning that he has a similar set up that's triggered by a HFS-DC06 radar sensor mounted inside his house. This module seems like a good option for me because it can sense through an external wall.</p>
<h2 id="efficacy"><a class="toclink" href="#efficacy">Efficacy</a></h2>
<p>According to <a class="external" href="https://news.t0.vc/TRMA">former burglars</a>, barking dogs and security cameras are some of the best deterrents to home invasions. The dog sounds fake to me, but I know it isn't real. I'm hoping that a rushing burglar won't spend time pondering if the barking is from an elaborate speaker setup and will just move on to a different house.</p>
<p>I previously caught a prowler who went into my backyard and tested my garage door handle to see if it was locked. He then broke into my neighbour's truck and garage after. He gets to have his face on my website:</p>
<p><img alt="fake-dog3.jpg" src="/media/fake-dog3.jpg"></p>
<p>The extra peace of mind while I'm away is worth the evening it took to set up. It was very easy to make because I reused the code I wrote for <a class="internal" href="/p">Protospace</a>'s PA system doorbell that you can find on <a class="external" href="https://github.com/protospace/doorbell">GitHub</a>. It operates similarly by playing an audio file based on which 433 MHz doorbell is pressed.</p>
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Fake Dog for Home Security | t0.vc
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# Fake Dog for Home Security
Fake dog barking for home security while on vacation.
Mon 27 June 2022
---
I set up a fake dog that barks if my surveillance cameras are triggered while I'm out of town on vacation. It's a pair of computer speakers plugged into a Raspberry Pi, which is an inexpensive single-board computer. One speaker faces the front door and the other faces the side door.
When the front door camera is triggered my surveillance camera system sends a message to the Raspberry Pi. A simple program plays an audio clip of a big dog barking through the side speaker and then the front speaker. The change in speakers simulates a dog moving towards the front door. The opposite happens if the side door camera is triggered.
You can find the [source code](https://git.tannercollin.com/tanner/woof) on my Gitea.
## [Technical Details](#technical-details)
My surveillance cameras sit on a separate network without internet access and their RTSP streams are consumed by the Blue Iris NVR software running on a dedicated Windows box. When an object is detected moving through a defined area for certain cameras, Blue Iris is configured to send an MQTT message to the `iot/cameras` topic via the Mosquitto broker running on my media server.
A Python script kept alive by Supervisor runs on the Raspberry Pi and listens to the topic using the `asyncio-mqtt` module. It receives and tries to decode a JSON message like `{"serial": "SE-N-ZoneB"}`. If the camera's serial is found in a dict at the top of the script, the corresponding audio file is played using Pygame. Controlling which speaker barks is done by muting the left or right channel in the stereo audio file.
## [Future Improvements](#future-improvements)
The dog has a lot of false positives from the cameras being triggered by car headlights or small animals (like a real dog). This isn't a big deal since no one is home to hear it bark and it isn't loud enough for my neighbours to hear (I've asked). I would rather have a false positive than a false negative.
A huge improvement would be to combine the camera data with a physical trigger. A break beam sensor mounted on stair railings or an accelerometer mounted under the steps would work for this. But it would be annoying to mount, route power to, and harden for harsh Calgary winters. Perhaps the accelerometers are sensitive enough to mount inside, close to the entrances.
Update: a reader emailed me mentioning that he has a similar set up that's triggered by a HFS-DC06 radar sensor mounted inside his house. This module seems like a good option for me because it can sense through an external wall.
## [Efficacy](#efficacy)
According to [former burglars](https://news.t0.vc/TRMA), barking dogs and security cameras are some of the best deterrents to home invasions. The dog sounds fake to me, but I know it isn't real. I'm hoping that a rushing burglar won't spend time pondering if the barking is from an elaborate speaker setup and will just move on to a different house.
I previously caught a prowler who went into my backyard and tested my garage door handle to see if it was locked. He then broke into my neighbour's truck and garage after. He gets to have his face on my website:
The extra peace of mind while I'm away is worth the evening it took to set up. It was very easy to make because I reused the code I wrote for [Protospace](/p)'s PA system doorbell that you can find on [GitHub](https://github.com/protospace/doorbell). It operates similarly by playing an audio file based on which 433 MHz doorbell is pressed.
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<td><div class="cushycms" title="Main Content" id="apDiv1" div><div style="text-align: center"><strong>THE ROMAN HEAD FROM TECAXIC-CALIXTLAHUACA, MEXICO: A REVIEW OF THE EVIDENCE (1)<br />
</strong></div>
<div style="text-align: center">(1) This is an extended and revised version of a paper presented by Romeo H. Hristov and Santiago Genovés T. at the 66th Annual Meeting of the Society of American Archaeology in New Orleans, LA, April 22, 2001)<br />
<br />
</div>
<div style="text-align: justify"> </div>
<div><strong>Background <br />
</strong><br />
From the early sixteenth century until the present many hypotheses of Pre-Columbian transoceanic contacts have been discussed (Sorenson and Raish 1996). With the only exception of the well-established Medieval Norse contacts with North American Indians (McGee 1984) all of the mentioned hypotheses share a common critical weakness: the lack of support in direct archaeological evidence, that is, genuine Old Word objects found in Pre-Columbian archaeological contexts (Willey 1985: 358). During the XIX and XX centuries some more or less reliable finds of such objects were reported from Mesoamerica; however, until the present time none of them have been accepted as incontrovertible evidence of inter-hemispheric contact before 1492.</div>
Among the mentioned data one of the most trustworthy is a small terracotta head of supposed Roman origin found in Mexico (García Payón 1961, 1979: 205-206; Heine-Geldern 1961; see Figure 1). The figurine was discovered in 1933 during the excavation of a burial offering in the Pre-Hispanic settlement of Tecaxic-Calixtlahuaca, located nearly forty miles NW of Mexico City (Figure 2). <br />
<img src="calixtlahuaca_21_3689853961.png" height="590" alt="" width="1294" /><br />
<br />
The offering was placed under three intact floors of a pyramidal structure and, besides the head, includes different objects of gold, copper, turquoise, rock crystal, jet, bone, shell and pottery. Although the burial itself was dated between 1476-1510 A.D. Ernst Boehringer, an eminent classical archaeologist, has argued that the head is a Roman work from the II-III century A.D. The considerable discrepancy of more than one thousand years between the figurine and the other artifacts in the offering has raised certain suspicions about the reliability of the find, and therefore it was not generally accepted as evidence of transoceanic contacts in the 34th International Congress of Americanists (Vienna, 1960).<br />
In 1995 FS Archaeömetrie in the University of Heidelberg, Germany performed a thermoluminescence (TL) age test of the piece which established its age limits between IX century B.C. and the middle XIII century A.D. (Schaaf and Wagner 2001, Hristov and Genovés 2001). This result clears up the doubts of Colonial manufacture of the artifact, and makes the hypothesis of Roman origin –among other possibilities- applicable. The identification of the head as Roman work from the II-III century A.D. has been further confirmed by Bernard Andreae, a director emeritus of the German Institute of Archaeology in Rome, Italy. According to Andreae<br />
<br />
<div style="margin-left: 40px">"[the head] is without any doubt Roman, and the lab analysis has confirmed that it is ancient. The stylistic examination tells us more precisely that it is a Roman work from around the II century A.D., and the hairstyle and the shape of the beard present the typical traits of the Severian emperors period [193-235 A.D.], exactly in the ‘fashion’ of the epoch." (Andreae cited in Domenici 2000: 29).<br />
</div>
<div> On the other hand, an examination of the field notes of the archaeologist in charge of the excavation as well as the site itself have not revealed, in either case, signs of possible disturbances of the context (Hristov and Genovés 1999). During the last three decades over a dozen references concerning re-use of small Olmec artifacts in the Classical (III-IX centuries A.D.) or the Postclassical (X-XV centuries A.D.) contexts have been published, which give sufficient credibility to the appearance of a piece from the II-III century A.D. in context of the late XV century A.D (Navarrete 1982). Especially suggestive in this respect is the discovery of a small Olmec mask from the early first millennia B.C. inside a XV century A.D. burial offering in the Great Temple of Mexico-Tenochtitlán (Matos 1979). Furthermore, the recent discovery of a Roman trade post dated from the I B.C. to III A.D. centuries in the Lanzarote island, Canary Archipelago (Atoche Peña 1995) suggest a possible relationship of the Roman find from Mexico to some trans-Atlantic voyage (perhaps accidental) that may have happened during that period.</div>
<div><br />
<strong>Discussion<br />
<br />
</strong> During the past decade the publications of Hristov and Genovés (1999, 2001) on the apparently Roman head from Tecaxic-Calixtlahuaca has generated a publicity in sixteen languages, considerable amount of polemic and not a little confusion. The six main objections against the reliability of the evidence have been summarized by Michael E. Smith, a professor of archaeology in the Arizona State University:<br />
</div>
<a href="http://www.public.asu.edu/~mesmith9/tval/RomanFigurine.html">http://www.public.asu.edu/~mesmith9/tval/RomanFigurine.html</a><br />
<br />
The first one is that <strong>“… [the head] may be a hoax. This could be a Roman figurine, but it was planted at the site, or in the laboratory, by a student or colleague of the excavator. The late Dr. John Paddock, a leading Mesoamerican scholar, used to tell classes at the Universidad de las Américas that the object was planted as a joke by Hugo Moedano, a student who worked at the site. Many archaeologists in Mexico have heard this story and they tend to believe it. I have checked with people who knew García Payón and some who knew Moedano, and I have been unable to confirm or reject this suggestion. Hristov and Genovés neglect to mention Paddock's ideas in their article.” <br />
</strong> Actually this situation has been addressed thoughtfully in Hristov and Genovés (2001), as well in a paper read at April 22, 2001 during the 66th Annual Meeting of the Society of American Archaeology in New Orleans, Louisiana. Michael E. Smith was present at the reading of the paper in the SAA meeting, and he also cites Hristov and Genovés’ article in his web page. Therefore, to claim that “Hristov and Genovés neglect to mention Paddock's ideas …” seems, to put it mildly, paradoxical. Notwithstanding, for the sake of clarity the principal points from Hristov and Genovés (2001) are recapitulated below.<br />
The possibility of recent intrusion of the head was suggested by Paul Schmidt (an archaeologist in the Instituto de Investigaciones Antropológicas-UNAM in Mexico City) in a letter to the Editorial Office of <em>Ancient Mesoamerica </em>from March 6, 2000 which deserves an extensive quotation: <br />
<br />
<div style="margin-left: 40px"> “The citing of the unpublished TL date without the authors’ (Schaaf and Wagner) permission reflects Hristov’s well known unethical approach to life. We had plenty of problems with him while he was here as Santiago’s protégé. Later we have heard about his alleged academic affiliation with SMU based on a library card which was apparently revoked when SMU discovered he was using them as academic affiliation (check on this to confirm because my knowledge is a rumor from a letter in Aztlan).<br />
................................................................................................................<br />
When Hristov was here, two or three years ago, he approached me to read the first draft of the article. At that time I told him something the old-timers know: A typical student prank; the figurine was planted in Don Pepe's [José Garcia Payón's] dig, the saying goes, by Hugo Moedano. Don Pepe took it so seriously that no one had the heart to tell him it was a joke. This I remember having been told by John Paddock, and others of the older generation –Jaime Litvak for example- had heard this. Hristov refused to check out the story; he told me he had not encountered a published reference to this anywhere!<br />
Taking into consideration Hristov's known unethical behavior and the obvious controversy which would result from the publication, I find it extremely hard to believe that two of the three serious and professional referees (and in this case perhaps five should have been consulted) would support the article. Consider that a preliminary version of the article was published in <em>Arqueología Mexicana</em>, causing Jaime Litvak to resign from the editorial board."<br />
<br />
</div>
<div> Schmidt’s enthusiastic but misinformed assessment of my “well known unethical approach to life“ and his peculiar mind-set toward the topic of the pre-Columbian transoceanic voyages are irrelevant for the present debate; however, the factual inaccuracies in his claims that “Hristov refused to check out the story; he told me he had not encountered a published reference to this anywhere“ are a different matter, and will be argued in continuation.<br />
In late 1996 Schmidt informed Hristov that "everybody knows that the head is Colonial" and García-Payón was not present during the excavation, so surely somebody had "planted' it as a joke. Neither the thermoluminescence (TL) age limits, nor the excavation report supports the suspicion of Colonial manufacture and/or intrusion of the artifact into the apparently pre-Hispanic archaeological context. In 1997 Hristov personally asked Fernando García Payón, José García Payón's son, if he knew something about the first objection. His response was that during the 1960s his father frequently was asked if he was present during the excavation, and he always assured them that he had been.</div>
<div> In 1998 Hristov asked Schmidt again if he could remember the source of his information about the "planting" of the head, and Schmidt informed him that he “believed to have heard from John Paddock that Hugo Moedano planted the head”. By that time both Paddock and Moedano had passed away. Therefore, the only option was to ask some of the well-known Mexican scholars of the older generation. None of them had ever heard such a story, neither from Hugo Moedano nor from John Paddock (Román Piña Chán, Angel García Cook, Luis Torres Montes, Carlos C. Navarrete, and Jorge V. Angulo, personal communication to Romeo Hristov 1998). At that point the further investigation of the allegation was stopped, but in 2000 Romeo Hristov asked Fernando García Payón if he knew something about a possible "planting" of the artifact by Hugo Moedano. His response was that Hugo Moedano "...had never been present during the excavation," and this was just "nonsense." <br />
There is one more point to be made before concluding this comment. In the only work on the Tecaxic-Calixtlahuaca’s head published during his lifetime García Payón (1961: 2) notes that the figurine was brought personally by Ignacio Bernal (an eminent Mexican archaeologist and then sub-director of the National Institute of Anthropology and History) at the XXXIV International Congress of Americanists in Vienna, 1960. John Paddock was a student of Ignacio Bernal in the Mexico City College, his assistant during the excavation of Yagul (Oaxaca) in the mid-50s, and in 1966 they published an important work together titled <em>Ancient Oaxaca: discoveries in Mexican archeology and history</em> (Stanford: Stanford University Press); therefore, it is hard to believe that Bernal was not also warned by Paddock about the “planting” of the figurine and, if he was, to be unconcerned with it. Yet Bernal never mentioned about such possibility, neither during the congress debates nor in the paragraph on García Payón’s excavation in Calixtlahuaca published nearly two decades later in the <em>Historia de la Arqueología en México </em>(Bernal 1979: 167). Such silence about the alleged “planting” of the head seems even more puzzling in the two remarkably well-researched, and highly critical articles on the topic of the pre-Columbian transoceanic voyages published after García Payón’s note by another leading Mexican archaeologist and close friend of Paddock, Alfonso Caso (Caso 1964, 1965). The pathetic line of reasoning in Schmidt's letter that “Don Pepe [José Garcia Payón] took it so seriously that no one had the heart to tell him it was a joke“ is, in my judgment, unconvincing in extreme. </div>
The second objection is that <strong>“This may be a Roman figurine, but it was introduced into the Calixtlahuaca artifact collections, after excavation, through error. García Payón did not take extensive notes on his fieldwork, and it is entirely possible that extraneous objects may have been introduced into the collections after excavation. The collection of artifacts from Calixtlahuaca, now curated in the Museo de Antropología in Toluca, includes numerous donations of ceramic vessels from other sites, added to the collections after excavation (see: Smith, Michael E., Jennifer Wharton and Melissa McCarron, Las ofrendas de Calixtlahuaca. Expresión Antropológica (in press, 2002) Perhaps the Roman figurine can be explained in a similar fashion.”</strong> <br />
Smith’s observation regarding inadequacies in the cataloguing of donated ceramic vessels is perfectly correct. However, to deduce from it that “García Payón did not take extensive notes on his fieldwork …” or that the head may have been introduced into the collections “… after excavation, through error” would be misleading. Whatever omissions (or mistakes) in registering the provenance of donated artifacts may have been made, none of them ever have been cited by García Payón as discovered during his excavations in Tecaxic-Calixtlahuaca. On the other hand, both the location and the context where the head was discovered were meticulously described and accompanied with a photo of the excavation, plan of the two burials and eight plates with photographs or drawings of the associated artifacts (García Payón 1979: 206). <br />
At third place, Smith points out that <strong>“This may be a Roman figurine, but it was introduced to Calixtlahuaca in the early days of the Spanish colonial period. It may have been brought from Europe to Mexico by a Spaniard, and it found its way into a Terminal Postclassic/Early Colonial offering at Calixtlahuaca. It is not possible to tell, from the contents or context, whether the offering dates to the period before the Spanish conquest of Mexico or from the early Spanish colonial period. My continuing analyses of these materials may shed light on this issue in the future.” <br />
</strong> During the past half century several embarrassing situations with Old World artifacts of supposed pre-Columbian importation that turned out to be of colonial or recent manufacture have been reported (Hristov and Genovés 2005; Epstein 1980: 9-10; and Andrews Wyllys IV and Boggs 1967, among others); hence, the legitimacy of such concern with the Tecaxic-Calixtlahuaca’s find scarcely can be disputed. The three main possibilities in this regard are briefly addressed below: <br />
Firstly, although the burial itself seems to be pre-Columbian, the figurine nevertheless may have been deposited within the offering by a Spaniard (or any other European) during the early Colonial period. No direct evidence exist to support such a possibility, but it is least hinted at by the widespread practice of looting pre-Columbian tombs during the Conquest and in the early Colonial period (Bernal 1979: 40-41). Yet if the burial was disturbed and an ancient Roman figurine deposited, by whatever reason, nothing is more unlikely than the gold artifacts in the offering (Garcia Payón 1979: 205-206) to be left intact. <br />
Secondly, if the burial is assumed to be from the early Colonial period it is perfectly credible that the figurine was obtained by the Matlatzincas after 1518 and included in the offering with the rest of artifacts. In such a case the traces of intrusion through the three superimposed floors under which the offering was deposited would have been easily detectable, especially if we bear in mind that the settlement of Tecaxic-Calixtlahuaca was abandoned after its conquest by the Aztecs in 1510, and any repair is unlikely to have been carried out due to the disuse of the structure. Nevertheless in the reasonably detailed report of the excavation (García Payón 1979: 204-206) there is no mention at all of alterations to the floors under which the burial was deposited.<br />
Thirdly, the head could have been imported into the New World by some European visitor between 1492-1510, and somehow to have found its way to Central Mexico. In this regard it must be reminded that during the mentioned lapse of time the Matlatzincas were under Aztec domain, so the artifact would have come to the Toluca Valley most probably through the Aztec "pochtecas", but in any case with Aztec knowledge. In this context, however, the lack of the slightest reference about any encounter of the Aztecs or any of their vassals with Europeans is inexplicable in the otherwise detailed and reasonably reliable late historical tradition in Nahuatl. The mentioned silence makes the proposed idea highly improbable if one bears in mind: (1) the deep religious and political meaning of the Aztec belief that bearded foreigners coming westward from the Atlantic would conquer and destroy their kingdom and, (2) how fast Moctecuhzoma II was informed about the Spaniards arrival in Veracruz in 1518, and the great impact of this event among the Aztec rulers.<br />
Another objection raised by Smith is that <strong>“this is a post-Roman European Christian figurine, introduced to Calixtlahuaca in the early days of the Spanish colonial period. This was the initial professional reaction upon García Payón's publication of the object in 1960. I have yet to be convinced that the figurine really is Roman in origin - no one has shown illustrations of known Roman figurines next to this object. Could it be a post-Roman Christian figure? More research is needed. Arguments that this figurine is Roman in origin need to back that notion up with more than vague statements that "Professor so-and-so says that it looks Roman." <br />
</strong> To begin with, it must be stressed that the term “post-Roman European Christian figurine” is both imprecise and misguiding about the assumed chronology of the piece. The fact is that the initial professional reaction was that the figurine is a Colonial object (that is, manufactured anywhere between the early XVI to the early XIX century, either in New Spain or Europe), and was catalogued as such in the National Museum of Anthropology in Mexico City. <br />
The identification of the piece as Roman work from the II-III century AD is based mainly on the stylistic analysis done by two specialists in Classical archaeology and art (Ernst Boehringer and Bernard Andreae) although some limited support to the suggested chronology is also provided by the TL age test. Its remarkable realism and physical embodiments of personality clearly set it apart from the early Christian portraits types, but are common in the Roman male busts from the mentioned period (Figure 3). Personally, I think that there are very narrow limits to the possibility of tracing the exact place of origin and the cultural background of the figurine. However, in broad outlines its close stylistic similarities with two small Punic terracotta masks (Figures 4 and 5) at least offer a hint that its origin was most likely somewhere in the Levant or Hispania rather than the Italian Peninsula. <br />
The next objection is regarding the <strong>”… problems with the thermoluminescence dates reported by Hristov and Genoves. The physicists who ran the dates have objected to the way the dates are described by Hristov and Genoves (Wagner, Günther, letter to New Scientist April 8, 2000 (no. 2233), pp. 64-65). This is discussed in the following articles: <br />
Schaaf, Peter and Günther A. Wagner (2001) Comments on "Mesoamerican Evidence of Pre-Columbian Transoceanic Contacts" by Hristov and Genovés. <em>Ancient Mesoamerica </em>12:79-82. <br />
Hristov, Romeo H. and Santiago Genovés T. (2001) Reply to Peter Schaaf and Günther A. Wagner's "Comments on 'Mesoamerican Evidence of Pre-Columbian Transoceanic Contacts'". <em>Ancient Mesoamerica </em>12:83-86. <br />
</strong> For those unfamiliar with the two cited articles, the principal aspects of the so-called “problems with the thermoluminescence dates” are summarized below. In early 1995 Romeo H. Hristov was provided with a copy of the FS Archaeömetrie TL age test report which indicated the manufacture of the Tecaxic-Calixtlahuaca’s head as no later than the beggining of the Christian era <a href="http://www.unm.edu/~rhristov/TLTestReport.jpg">[View the TL report]</a>. In 1996 the age limits of the find were calculated by Peter G. Schaaf at 1780± 400 B.P. (184 B.C.-616 A.D.), and cited as such in Hristov and Genovés (1999). Notwithstanding, when the article was in print, Schaaf and Wagner, anticipating the heated controversy that the find may generate, decided to shift to the most conservative calculation of the thermoluminescence age limits, that is 870 B.C.- 1270 A.D. <br />
As already discussed in the previous pages, the corrected TL age limits once again made the assumption of Colonial origin of the figurine untenable and support, although with less certainty, the hypothesis of Roman origin of the figurine. <br />
Smith’s last objection is regarding the alleged <strong>“problems with the archaeological context of the “Roman figurine”. The “Roman figurine” supposedly excavated at Calixtlahuaca was not documented using standard archaeological procedures. Excavator José García Payón did not publish professionally adequate descriptions of any of his excavations at the site. After his death, two posthumous reports were issued (García Payón 1979; 1981), but these contain very little specific information on the excavations or individual contexts. The “Roman figurine” cannot be considered well documented according to the normal standards of archaeological practice. If one compares García Payón’s publications with any of the excavation reports listed below, the contrast is obvious. The following kinds of documentation—standard for professional archaeological fieldwork in the twentieth century—are lacking for Calixtlahuaca: <br />
<br />
1. Photographs of the process of excavation. <br />
2. Photographs of the object in situ. <br />
3. Photographs of the offering said to have yielded the figurine. <br />
4. Plan maps of the excavation, the object in situ, or the offering. <br />
5. Profile drawings showing the stratigraphic context of the figurine or the offering. <br />
6. Detailed descriptions of the course of excavation (there is a brief summary) <br />
7. Descriptions of the excavator’s reconstruction of the processes of construction and deposition of the structure and offering. <br />
8. Illustrations of the figurine, the offering, or the associated objects, made at the time of excavation. <br />
9. Catalog entries for the figurine or any of the finds from Calixtlahuaca. <br />
10. Laboratory or museum records showing the presence of the figurine and associated objects from the time of excavation. <br />
<br />
These problems of data reporting affect more than just the “Roman figurine” from Calixtlahuaca. The lack of documentation applies to nearly all of the finds from García Payón’s fieldwork. While these problems do not invalidate the “Roman figurine” as a potentially valid Precolumbian find, their implication is that it is impossible today to reconstruct the archaeological context of the find. It certainly cannot be claimed that this find is “well documented” or that it comes from “a good archaeological context.” The excavation of the “Roman figurine” fails to meet even the minimum standards of archaeological reporting. <br />
One might be tempted to suggest that such reporting standards were lower in the 1930s than they are today, and thus it may be unfair to criticize García Payón on these grounds. While archaeological documentation and publishing standards certainly are much higher today, other archaeologists working in central Mexico in the 1920s and 1930s—Mexicans, North Americans, and Europeans—provided adequate documentation of their fieldwork and finds that meets the standards listed above. The following examples support this claim: <br />
<br />
Anonymous <br />
1935 <em>Tenayuca: estudio arqueológico de la pirámide de este lugar.</em> Departamento de Monumentos de la Secretaría de Educación Públic, Talleres Gráficos del Museo Nacional de Antropología, Historia y Etnografía, Mexico City. <br />
Bernal, Ignacio <br />
1979 <em>A History of Mexican Archaeology: The Vanished Civilizations of Middle America.</em> Thames and Hudson, New York. <br />
García Payón, José <br />
1979 <em>La zona arqueológica de Tecaxic-Calixtlahuaca y los matlatzincas: etnología y arqueología (textos de la segunda parte), edited by Wanda Tommasi de Magrelli and Leonardo Manrique Castañeda, vol. 30.</em> Biblioteca Enciclopédica del Estado de México, Toluca. <br />
1981<em> La zona arqueológica de Tecaxic-Calixtlahuaca y los matlatzincas: etnología y arqueología (tablas, planos e ilustraciones de la segunda parte), edited by Wanda Tommasi de Magrelli and Leonardo Manrique Castañeda, vol. 31. </em>Biblioteca Enciclopédica del Estado de México, Toluca. <br />
Linné, Sigvald <br />
1934 <em>Archaeological Researches at Teotihuacan, Mexico.</em> Publication, vol. 1. Ethnographic Museum of Sweden, Stockholm. <br />
Vaillant, George C. <br />
1930 <em>Excavations at Zacatenco. </em>Anthropological Papers, vol. 32, no. 1. American Museum of Natural History, New York. <br />
1931 <em>Excavations at Ticoman.</em> Anthropological Papers, vol. 32, no. 2. American Museum of Natural History, New York. <br />
</strong> <br />
In sum, Smith basically asserts that (1) “…José García Payón did not publish professionally adequate descriptions of any of his excavations at the site”, and (2)”the excavation of the ‘Roman figurine’ fails to meet even the minimum standards of archaeological reporting”. This opinion is not only highly subjective, but it also is not free of inaccuracies.<br />
To begin, it should be stressed that José García Payón was one of the most erudite and respected Mexican archaeologists from the mid-XX century. As discussed above, several aspects of his interpretative work in Tecaxic-Calixtlahuaca indeed are outdated (for example, the assumed use of some architectural structures and the ceramic classification), and there is a lot left to be desired about the catalogue entries of the artifacts. Without doubt these are not negligible problems, but they also are among the most common ones in the Mesoamerican archaeological research from the first half of XX century (Bernal 1979: 154-188, cf. endnote 1) . When discussing the mentioned aspects of García Payón’s work, a paragraph in Bernal (1979: 162) on Vaillant’s research in Zacatenco and Ticoman (see Smith’s sixth and the seventh bibliographical references), half of which is discussion on its chronological errors, merits consideration as well. <br />
Furthermore, Smith is suggesting that “… other archaeologists working in central Mexico in the 1920s and 1930s—Mexicans, North Americans, and Europeans—provided [more] adequate documentation of their fieldwork and finds that meets the [ten] standards listed above”. From the seven bibliographical references cited as examples two are the 2nd and the 3rd volumes of García Payón’s work on Tecaxic-Calixtlahuaca, and the third is the previously referred <em>A History of Mexican Archaeology</em>… by Ignacio Bernal, which chapter VIII offers an concise review of the Mexican archaeology between 1910-1950. The remaining four works cannot be dealt with adequately in brief compass, but any careful revision of them will not fail to reveal tree important issues: first, none of them (including the untypically “modern” work of Linné) fulfills in every single detail even the first eight of the ten requests in Smith’s list; second, that there is considerable variations between them in the amount and the sophistication of technical details in the excavation accounts and third, although Linné and Vaillant's publications are indeed more systematic and detailed, their technical aspects are basically no different from García Payón’s work. <br />
Once this issue is addressed, the opinions of Wanda Tomassi de Magrelli (archaeologist) and Leonardo Manrique Castañeda (linguist), who revised and prepared García Payón’s manuscript for the publication of the 2nd, the 3rd and the 4th volumes of the research in Tecaxic-Calixtlahuaca deserves to be cited:<br />
<div style="margin-left: 40px"><br />
When working with it [García Payón’s manuscript of the excavation in Tecaxic-Calixtlahuaca], we realized that, notwithstanding of its venerable age, it is extraordinarily actual because the exploration was extremely careful and the [excavation] techniques very close to the used today …” (Tomassi and Manrique 1979: XXI).<br />
</div>
<div> It already has been mentioned that the excavation of the two burials where the Roman figurine was discovered have been documented with a photo of the excavation, plan of the two burials and eight plates with photographs and drawings of each one of the associated twenty-off artifacts; this record was also completed with two pages of reasonably detailed accounting of the excavation (García Payón 1979: 205-206, see endnote 2). Therefore, it seems all peculiar (and to me, inexplicable) how Smith has arrived at the conclusion that the excavation “fails to meet even the minimum standards of archaeological reporting.” <br />
<br />
<strong>Conclusions</strong></div>
<div><br />
As final remarks it is worthwhile to emphasize, once again, that in its fundamental aspects such as domestic plants and animals, knowledge and use of metals, writhing and language systems, and religious beliefs, among others, the Old and the New World civilizations until the early sixteenth century were firmly different and, consequently, independent from each other (Hristov 1998: 237; Hristov and Genovés 1998: 52-53; Hristov and Genovés 2001:85). However, there are also some data of various kinds and levels of credibility that suggest the existence of a few sporadic, most probably accidental, transoceanic voyages before Columbus, which apparently had very limited -if any- cultural and biological impact. The find of an apparently Roman head in Tecaxic-Calixtlahuaca, Mexico, seems to support the occurrence of one such voyage across the middle Atlantic, possibly somewhere in the first centuries of the Christian era. <br />
On the other hand, notwithstanding that the Canary Islands were discovered around 1334 A.D., the highly probable contacts between the ancient Mediterranean world and the Canaries were confirmed for first time only a decade and half ago. In 1987 a Roman trade post dated between the first century B.C. and the third century A.D. was discovered in the Lanzarote island (Atoche Peña et al. 1995), and the continuing archaeological research has proved in 2006 that not only the Romans but also the Punic seafarers reached the archipelago no later than the fourth century B.C. (Atoche Peña et al. 2009). The implications of these discoveries in the discussion of the possible Pre-Columbian Trans-Atlantic contacts are obvious, and it is not entirely unreasonable to expect in the near future that systematical archaeological studies in the Caribbean, Mexico, Central America and Brazil may provide more -and more conclusive- data related to some isolated cases of trans-Atlantic voyages before 1492.</div>
<br />
-----------------------------------------<br />
1 This and the following citations are based on the Spanish language edition of Bernal’s book, which is included in the list of References.<br />
<br />
2 Most of the photos, drawings and plans from the excavation were prepared for publication as 4th volume of García Payón’s work on Tecaxic-Calixtlahuaca; regretfully, the manuscript and all field notes of García Payón were lost during the earthquake in Mexico City in 1985 (Hristov and Genovés 1999: 210) . Notwithstanding several previously published photos, plans and two descriptions of the excavation and the context where the head was found (García Payón 1961: 1-2; 1979: 205-206) provide sufficient base for assessment of the find. <br />
<br />
<strong>References</strong> <br />
<br />
Andrews Wyllys IV, Edward and Stanley Boggs <br />
1967 An African Art Object in Apparently Early Archaeological Context in El Salvador: A Caveat to the Diffusionist. <em>Ethnos</em> 1-4: 18-25 <br />
<br />
Atoche Peña, Pablo, Juan Paz Peralta, Maria Ramírez Rodríguez y Maria Ortíz Palomar<br />
1995 <em>Evidencias arqueólogicas del mundo romano en Lanzarote, islas Canarias.</em> Servicio de Publicaciones del Exmo. Cabildo Insular de Lanzarote, Arrecife<br />
<br />
Atoche Peña, Maria Angeles Ramírez Rodríguez, JoséDomingo Torres Plaza and Sergio Pérez González<br />
2009 Excavaciones arqueológicas en el yacimiento de Buenavista (Tiagua, Lanzarote): primera campaña 2006, <em>Canarias Arqueológica (Segunda época). </em>III (17): 9-52<br />
<br />
Bernal, Ignacio<br />
1979 <em>Historia de la Arqueología en México.</em> México: Editorial Porrúa, S. A.<br />
<br />
Caso, Alfonso <br />
1964 Relations between the Old and the New Worlds: A Note on Methodology, Actas y <em>Memorias del XXXV Congreso Internacional de Americanistas (México, D.F., 1962), 1: 55-71.</em> México: Editorial Libros de México S. A. de C. V. <br />
<br />
1965 Semejanzas de diseño que no indican contactos culturales, <em>Cuadernos Americanos.</em> 143(6): 147-152<br />
<br />
Domenici, Viviano<br />
2000 Il parere dell archaeologo Bernard Andreae: ha i tratti tipici dell arte del secondo secolo dopo Cristo. Non mi stupisce che siano arrivati in America, <em>Corriere della Sera</em>. February 27, 2000, p. 29<br />
<br />
Epstein, Jeremiah. F. 1980. Pre-Columbian Old World Coins in America: An Examination of the Evidence.<em> Current Anthropology </em>21 (1): 1-12 <br />
<br />
García Payón, José<br />
1936 <em>La zona arqueológica de Tecaxic-Calixtlahuaca y los matlatzincas. Primera parte.</em> México: Secretaría de Educación Pública<br />
<br />
1961 Una cabecita de barro, de extraña fisonomía, <em>Boletín INAH.</em> 6: 1-2<br />
<br />
1979 <em>La zona arqueológica de Tecaxic-Calixtlahuaca y los matlatzincas. Segunda parte.</em> México: Biblioteca Enciclopédica del Estado de México<br />
<br />
1981 <em>La zona arqueológica de Tecaxic-Calixtlahuaca y los matlatzincas. Tablas, planos e ilustraciones de la segunda parte.</em> México: Biblioteca Enciclopédica del Estado de México<br />
<br />
Heine-Geldern, Robert <br />
1961 Ein römischer Fund aus dem vorkolumbischen Mexiko, <em>Anzeiger der Osterreichischen Akademie der Wissenschaft. Philosophisch-Historische Klasse.</em> 98 (16):117-119<br />
<br />
Hristov, Romeo<br />
1998 Reseña de John L. Sorenson and Martin H. Raish Pre-Columbian Contacts with the Americas across the oceans. An annotated bibliography, <em>Cuadernos Americanos (Nueva Epoca).</em> 68 (2): 237-239<br />
<br />
Hristov, Romeo and Santiago Genovés<br />
2005 The "Phoenician" head from Las Balsas, Mexico, <em>Antiquity.</em> Vo.79, No 304, http://www.antiquity.ac.uk/projgall/hristov/index.html<br />
<br />
1998 Viajes transatlánticos antes de Colón. <em>Arqueología Mexicana </em>VI (33): 48-53<br />
<br />
1999 Mesoamerican evidence of Pre-Columbian transoceanic contacts. <em>Ancient Mesoamerica.</em>10 (2): 207-213<br />
<br />
2001 Reply to Peter Schaaf, Peter and Günther A. Wagner’s "Comments on ‘Mesoamerican evidence of Pre-Columbian transoceanic contacts’", <em>Ancient Mesoamerica.</em> 12 (2): 83-85<br />
<br />
Matos, Eduardo <br />
1979 Una máscara olmeca en el Templo Mayor de Tenochtitlán, <em>Anales de Antropología.</em> XVI: 11-19<br />
<br />
McGee, Robert<br />
1984 Contact between Native North Americans and medieval Norse: A Review of the evidence, <em>American Antiquity.</em> 49 (1): 4-26<br />
<br />
Navarrete, Carlos<br />
1982 Acotación bibliográica sobre dos notas olmecas, <em>Revista Mexicana de Estudios Antropológicos.</em> XXVIII: 159-173<br />
<br />
Tomassi, Wanda and Leonardo Manrique<br />
1979 Presentación, in <em>La zona arqueológica de Tecaxic-Calixtlahuaca y los matlatzincas. Segunda parte</em>, by José García Payón. México: Biblioteca Enciclopédica del Estado de México, p. XXI-XXIII <br />
<br />
Schaaf, Peter and Günther Wagner<br />
2001 Comments on the "Mesoamerican evidence of Pre-Columbian transoceanic contacts" by Hristov and Genovés in Ancient Mesoamerica 10:207-213, 1999, <em>Ancient Mesoamerica. </em>12 (1): 79-81<br />
<br />
Sorenson, John and Martin Raish<br />
1996 <em>Pre-Columbian contacts with the Americas across the oceans. An Annotated Bibliography.</em> Provo: Research Press<br />
<br />
Willey, Gordon <br />
1985 Some continuing problems in the New World culture history, <em>American Antiquity.</em> 50 (2): 357-363<br />
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Calixtlahuaca's Head
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| **THE ROMAN HEAD FROM TECAXIC-CALIXTLAHUACA, MEXICO: A REVIEW OF THE EVIDENCE (1)**
(1) This is an extended and revised version of a paper presented by Romeo H. Hristov and Santiago Genovés T. at the 66th Annual Meeting of the Society of American Archaeology in New Orleans, LA, April 22, 2001)
**Background**
From the early sixteenth century until the present many hypotheses of Pre-Columbian transoceanic contacts have been discussed (Sorenson and Raish 1996). With the only exception of the well-established Medieval Norse contacts with North American Indians (McGee 1984) all of the mentioned hypotheses share a common critical weakness: the lack of support in direct archaeological evidence, that is, genuine Old Word objects found in Pre-Columbian archaeological contexts (Willey 1985: 358). During the XIX and XX centuries some more or less reliable finds of such objects were reported from Mesoamerica; however, until the present time none of them have been accepted as incontrovertible evidence of inter-hemispheric contact before 1492.
Among the mentioned data one of the most trustworthy is a small terracotta head of supposed Roman origin found in Mexico (García Payón 1961, 1979: 205-206; Heine-Geldern 1961; see Figure 1). The figurine was discovered in 1933 during the excavation of a burial offering in the Pre-Hispanic settlement of Tecaxic-Calixtlahuaca, located nearly forty miles NW of Mexico City (Figure 2).
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<title>The Black Iron Prison</title>
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<div class="divTableCell">Once, in a cheap science fiction novel, Fat had come across a perfect description of the Black Iron Prison, but set in the far future. So if you superimposed the past (ancient Rome) over the present (California in the twentieth century) and superimposed the far future world of <em>The Android Cried Me a River</em> over that, you got the Empire, as the supra- or trans-temporal constant. Everyone who had ever lived was literally surrounded by the iron walls of the prison; they were all inside it and none of them knew it.<br />
<p align="right">– Philip K. Dick</p>
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<h2>The Black Iron Prison</h2>
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<p>What is the Black Iron Prison? Philip K. Dick said that the perfect description is that of a timeforsaken place, blending past, present, and future, buildings cast in wicked black—where the “alien” from the sci-fi movies of that name might call home. As for my own vision of it, it was nothing like earth of the waking mind ever was, not at all; my memory of the place was distinctly of an <em>otherworldly </em>landscape. It had a consistent aesthetic, between each time I visited, though I think it may have been that the buildings and such details might have changed between showings. PKD also said that this was the true nature of the world, that we do not perceive the ’Prison has always had us caged within it. Which makes sense, why he thought of it in that light, for he saw it superimposed on our everyday reality. But like I said, I had a different tack: I looked out the window and I didn’t recognize anything, like I had been transported to… well, I wasn’t allowed to think it while I was there: I had been transported to Hell. No other word fits.</p>
<p>Was it just a hallucination? If it were purely one person’s imagination, that doesn’t explain why other people saw some version of it, too. Is it then something like an archetype, something hardwired into the human mind, if not brain—maybe the vision of it is hidden in everyone’s mental structure? Eternity seems to be some factor that is intrinsic in it: past, present, and future as one in the architecture, as Dick noted. I have described this elsewhere, that in Bosch’s <em>Garden of Earthly Delights, </em>in the third panel, “Hell”, there is in the far back a large building. I was in that building. That was where I was in the ’Prison, that exact place—what Bosch had entitled, “Hell”. If you look closely, too, you will notice that the building is partly in ruins, not a completely concrete object. How about that? It is a ghost building, a building only visible in a nightmare.</p>
<p>What do we make of Hell? Why is it that the world was supposedly locked behind the structures of it, then? As for it being the “bad place” of the afterworld, Hell wasn’t made by God. It is a perverse and twisted place, whose architecture is of pure evil; God has virtually no part in it, except for the fact that it originally was part of Heaven. Called the “ruined part of Heaven”, when Satan was cast from above, the place he and his angels had been residing they tore from greater Heaven and was given to the fallen angels as a separate realm. The reminiscence of Eternity is that timelessness one perceives. Even if, as it is written, it too shall one day have an end in the lake of fire. From the scale that Heaven operates on, it is my understanding that that ruined part of Heaven could easily envelop the whole of the world, whatever those dimensions might be as a noosphere, what I call the Halospace.</p>
<p>Is it real? If we understand reality as a shared experience, then it is real in that limited sense. Or perhaps in another limited sense, it is that archetypical representation of the dark side within human beings in general. If you will not allow a spiritual realm to exist, one might imagine it to be something like a place you go in dreams, or nightmares. Or could they be common hallucinations, like everyone seeing snakes when they take a specific psychoactive drug? It is a vision of darkness, in any case. It is a vision of all that is wrong in the world, if you ever do experience it, a merciless mood that makes up the stagnant air, the sensation: “abandon all hope ye who enter here”. But what if it <em>were </em>real, what would that mean? What if it is not completely in the eye of the beholder, but has separate existence apart from the observer? How does that affect the world? How would it affect <em>your </em>world?</p>
<p>If you wish deeper than what is writ here, faith is required of you, and reason. For it is not the end of faith when its object is plainly true; there will always be further that on that might be speculated upon, based on where reason seems to lead. And what is faith? “Faith is taking the first step even when you don’t see the whole staircase.” [Martin Luther King, Jr.] A leap of faith and a leap of insight are like fraternal twins. One may, in fact, use or confuse one for the other. Now, do we believe in the objective reality of the Black Iron Prison? For some, the question seems easy to answer: there is no place where it actually could exist, for it can only be a mental construct. But as we have said before, if it a shared mental construct—which at some level affects our psychology—if all of us follow the rails it puts down in our minds in a consistent way, then does it not in some way actually and really exist? Could we all of us be fooled?</p>
<p>The ’Prison is made of iron. Why is it iron, when we’re talking about it being in a shadow dimension, with no true substance to it at all? Perhaps that it is specifically <em>black </em>is the clue. Iron was perhaps the most useful metal that human beings have ever found. In itself, there is no evil—but <em>black </em>iron, that which is put to dark purpose, iron would be then the opposite of that utility, being instead being wielded of nefarious mind. It is then become the all purpose material of evil. That is the Black Iron. And prison? Perhaps you have heard, of this life: you can’t win, you can’t break even, and there is no way out of the game. Even without a strictly physical form, the Black Iron Prison is so named correctly. But surely, there are parts of the world, both human and of nature, that are not elements of Hell, right? How is it that PKD said it is the true structure of the world? And others have said it, too, that we are completely enclosed by it, the whole of the world is imprisoned… It could be that it all is truly is in the eye of the beholder.</p>
<p>Philip K. saw the BIP, and then saw his freedom from it, the “real world’s” freedom from it, in 1974 when President Nixon resigned. The king deposed without violence by the work of two artisans—or were they modern day knights? Yes, the world was freed, but only from the point of view of PKD. For I know that I myself witnessed the BIP years after he had left the world. And one fine day in May, 1991, I saw the world freed of the ’Prison, myself, on the other side of the dream barrier: in my mind’s eye did I see all souls escape. The ’Prison is gone for everyone, from my point of view. That means, however, that other people may be able to see it still. The Halospace has a weird way of working. But let’s think about this: Phil said that the Black Iron Prison is, at the guts of it, a system of control, a means of power for the archons of this world. That would be the Devil and his own, for Satan once tempted Christ with the rule of all the world, and he couldn’t have offered what was not his.</p>
<p>Phil thought, after he saw the mighty king deposed, that the saw the ’Prison regroup and reformulate itself in the gap that had been left. But it was not that which he saw happen—not completely. The hole that had been punched in it was a permanent one, and cover it up as they will, <em>it is still there. </em><a style="color: #ffff00;" href="https://warinheaven.com/2015/03/walt-disney-is-god/">Walt Disney is God</a>. Yea, verily. But again, not everyone is free of the ’Prison from their point of view. The Black Iron Prison, ultimately, is most rationally perceived as a psychological construct, which limits our actions and our perspective(s) on the world. (Thus its ultimate reality.) What Phil and I saw in visions, and others, can be compared to a nice visual graph of a mathematical function. The real work of such a graph is in the equations that define it. That’s where the numbers are crunched. What is the Black Iron Prison, down where the rubber hits the road, where the functions live? It’s Hell. Yes, what we initially started with. But more precisely, it is <em>the idea of Hell.</em> And everybody has one.</p>
<p>Therefore, the rule of Hell over the world was broken in the minds of Philip K. Dick and me (and most likely others). And if you are reading this right now, its hold on <em>you, </em>too, is being punctured. Understand that the freedom afforded you is not to go wild, party all the time, and not to do a speck of work. It is not a freedom of the hedonistic kind. As above, the ’Prison is a psychological construct: the freedom is to free your mind. It is a freedom from fear. It is freedom to love. There is no specific rule to follow, except maybe the one common to basically all religions: love your neighbor as yourself. Otherwise, it is a freedom from the rules, too. And if you hadn’t guessed, maybe give a shout-out to Jesus, since it was he who set us free… And listen, we’re all of us neighbors to each other, especially these days, when distance is no factor in how we are all just that. And to love? Don’t you know how? Love is so simple, we’ll never understand it. That doesn’t mean we shouldn’t try.</p>
<br /><center><em>From <a style="color: #ffff00;" href="http://warinheaven.com">War in Heaven</a></em><br /><br />Continue... <em><a style="color: #ffff00;" href="/nightmare.html">My Vision of the Prison (The Nightmare) ⊳⊳</a></em></center></div>
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The Black Iron Prison
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Once, in a cheap science fiction novel, Fat had come across a perfect description of the Black Iron Prison, but set in the far future. So if you superimposed the past (ancient Rome) over the present (California in the twentieth century) and superimposed the far future world of *The Android Cried Me a River* over that, you got the Empire, as the supra- or trans-temporal constant. Everyone who had ever lived was literally surrounded by the iron walls of the prison; they were all inside it and none of them knew it.
– Philip K. Dick
[](/images/bip.jpg)
## The Black Iron Prison
What is the Black Iron Prison? Philip K. Dick said that the perfect description is that of a timeforsaken place, blending past, present, and future, buildings cast in wicked black—where the “alien” from the sci-fi movies of that name might call home. As for my own vision of it, it was nothing like earth of the waking mind ever was, not at all; my memory of the place was distinctly of an *otherworldly* landscape. It had a consistent aesthetic, between each time I visited, though I think it may have been that the buildings and such details might have changed between showings. PKD also said that this was the true nature of the world, that we do not perceive the ’Prison has always had us caged within it. Which makes sense, why he thought of it in that light, for he saw it superimposed on our everyday reality. But like I said, I had a different tack: I looked out the window and I didn’t recognize anything, like I had been transported to… well, I wasn’t allowed to think it while I was there: I had been transported to Hell. No other word fits.
Was it just a hallucination? If it were purely one person’s imagination, that doesn’t explain why other people saw some version of it, too. Is it then something like an archetype, something hardwired into the human mind, if not brain—maybe the vision of it is hidden in everyone’s mental structure? Eternity seems to be some factor that is intrinsic in it: past, present, and future as one in the architecture, as Dick noted. I have described this elsewhere, that in Bosch’s *Garden of Earthly Delights,* in the third panel, “Hell”, there is in the far back a large building. I was in that building. That was where I was in the ’Prison, that exact place—what Bosch had entitled, “Hell”. If you look closely, too, you will notice that the building is partly in ruins, not a completely concrete object. How about that? It is a ghost building, a building only visible in a nightmare.
What do we make of Hell? Why is it that the world was supposedly locked behind the structures of it, then? As for it being the “bad place” of the afterworld, Hell wasn’t made by God. It is a perverse and twisted place, whose architecture is of pure evil; God has virtually no part in it, except for the fact that it originally was part of Heaven. Called the “ruined part of Heaven”, when Satan was cast from above, the place he and his angels had been residing they tore from greater Heaven and was given to the fallen angels as a separate realm. The reminiscence of Eternity is that timelessness one perceives. Even if, as it is written, it too shall one day have an end in the lake of fire. From the scale that Heaven operates on, it is my understanding that that ruined part of Heaven could easily envelop the whole of the world, whatever those dimensions might be as a noosphere, what I call the Halospace.
Is it real? If we understand reality as a shared experience, then it is real in that limited sense. Or perhaps in another limited sense, it is that archetypical representation of the dark side within human beings in general. If you will not allow a spiritual realm to exist, one might imagine it to be something like a place you go in dreams, or nightmares. Or could they be common hallucinations, like everyone seeing snakes when they take a specific psychoactive drug? It is a vision of darkness, in any case. It is a vision of all that is wrong in the world, if you ever do experience it, a merciless mood that makes up the stagnant air, the sensation: “abandon all hope ye who enter here”. But what if it *were* real, what would that mean? What if it is not completely in the eye of the beholder, but has separate existence apart from the observer? How does that affect the world? How would it affect *your* world?
If you wish deeper than what is writ here, faith is required of you, and reason. For it is not the end of faith when its object is plainly true; there will always be further that on that might be speculated upon, based on where reason seems to lead. And what is faith? “Faith is taking the first step even when you don’t see the whole staircase.” [Martin Luther King, Jr.] A leap of faith and a leap of insight are like fraternal twins. One may, in fact, use or confuse one for the other. Now, do we believe in the objective reality of the Black Iron Prison? For some, the question seems easy to answer: there is no place where it actually could exist, for it can only be a mental construct. But as we have said before, if it a shared mental construct—which at some level affects our psychology—if all of us follow the rails it puts down in our minds in a consistent way, then does it not in some way actually and really exist? Could we all of us be fooled?
The ’Prison is made of iron. Why is it iron, when we’re talking about it being in a shadow dimension, with no true substance to it at all? Perhaps that it is specifically *black* is the clue. Iron was perhaps the most useful metal that human beings have ever found. In itself, there is no evil—but *black* iron, that which is put to dark purpose, iron would be then the opposite of that utility, being instead being wielded of nefarious mind. It is then become the all purpose material of evil. That is the Black Iron. And prison? Perhaps you have heard, of this life: you can’t win, you can’t break even, and there is no way out of the game. Even without a strictly physical form, the Black Iron Prison is so named correctly. But surely, there are parts of the world, both human and of nature, that are not elements of Hell, right? How is it that PKD said it is the true structure of the world? And others have said it, too, that we are completely enclosed by it, the whole of the world is imprisoned… It could be that it all is truly is in the eye of the beholder.
Philip K. saw the BIP, and then saw his freedom from it, the “real world’s” freedom from it, in 1974 when President Nixon resigned. The king deposed without violence by the work of two artisans—or were they modern day knights? Yes, the world was freed, but only from the point of view of PKD. For I know that I myself witnessed the BIP years after he had left the world. And one fine day in May, 1991, I saw the world freed of the ’Prison, myself, on the other side of the dream barrier: in my mind’s eye did I see all souls escape. The ’Prison is gone for everyone, from my point of view. That means, however, that other people may be able to see it still. The Halospace has a weird way of working. But let’s think about this: Phil said that the Black Iron Prison is, at the guts of it, a system of control, a means of power for the archons of this world. That would be the Devil and his own, for Satan once tempted Christ with the rule of all the world, and he couldn’t have offered what was not his.
Phil thought, after he saw the mighty king deposed, that the saw the ’Prison regroup and reformulate itself in the gap that had been left. But it was not that which he saw happen—not completely. The hole that had been punched in it was a permanent one, and cover it up as they will, *it is still there.* [Walt Disney is God](https://warinheaven.com/2015/03/walt-disney-is-god/). Yea, verily. But again, not everyone is free of the ’Prison from their point of view. The Black Iron Prison, ultimately, is most rationally perceived as a psychological construct, which limits our actions and our perspective(s) on the world. (Thus its ultimate reality.) What Phil and I saw in visions, and others, can be compared to a nice visual graph of a mathematical function. The real work of such a graph is in the equations that define it. That’s where the numbers are crunched. What is the Black Iron Prison, down where the rubber hits the road, where the functions live? It’s Hell. Yes, what we initially started with. But more precisely, it is *the idea of Hell.* And everybody has one.
Therefore, the rule of Hell over the world was broken in the minds of Philip K. Dick and me (and most likely others). And if you are reading this right now, its hold on *you,* too, is being punctured. Understand that the freedom afforded you is not to go wild, party all the time, and not to do a speck of work. It is not a freedom of the hedonistic kind. As above, the ’Prison is a psychological construct: the freedom is to free your mind. It is a freedom from fear. It is freedom to love. There is no specific rule to follow, except maybe the one common to basically all religions: love your neighbor as yourself. Otherwise, it is a freedom from the rules, too. And if you hadn’t guessed, maybe give a shout-out to Jesus, since it was he who set us free… And listen, we’re all of us neighbors to each other, especially these days, when distance is no factor in how we are all just that. And to love? Don’t you know how? Love is so simple, we’ll never understand it. That doesn’t mean we shouldn’t try.
*From [War in Heaven](http://warinheaven.com)*
Continue... *[My Vision of the Prison (The Nightmare) ⊳⊳](/nightmare.html)*
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</td>
<td></td>
<td align="center" valign="middle">
</td>
</tr>
<tr>
<td colspan="4" align="center" valign="middle">
<a href="http://www.nrahq.org/education/training/marksmanship/">
<img alt="Marksman qualification" src="Marksman_Qualification.png" border="0" hspace="5" valign="top">
</a>
</td>
</tr>
</table>
</td>
</TR>
</TABLE>
<BR>
<table>
</tr>
<tr>
<td width="100%">
(12/20/12) <A href="http://larrycorreia.wordpress.com/2012/12/20/an-opinion-on-gun-control/">Larry Correia on the current wave of Gun Control hysteria</a>.
A must-read.
<BR><BR>
</td>
<td align="center">
</td>
</tr>
<tr>
<td width="100%">
(02/04/12) New artwork: "Thank you" cards for a buycott of a carry-friendly (or carry-tolerant) retailer,
such as <A href="http://blog.joehuffman.org/2012/01/25/StarbucksAppreciation.aspx">Starbucks Coffee</a>.
Sized for 3x5 business cards per <A href="http://www.vistaprint.com">VistaPrint</a>.
Coming shortly: a sheet suitable for printing your own on card stock.
<BR></br>
<A HREF="http://creativecommons.org/licenses/by-nc-sa/3.0/">Creative Commons licensed.</a> Contact me for a commercial license if needed.
<BR><BR>
<td align="center">
<!-- add the sheet-of-cards PDF here -->
</td></td>
<td align="center">
<A href="gunstuff/carry_friendly_business_buycott_card.png">
<img src="gunstuff/carry_friendly_business_buycott_card_thumb.png" border="1" alt="Carry-Friendly Buycott thank you card"></a>
</td>
</tr>
<tr>
<td width="100%">
(11/04/11) New artwork, to balance out the "Gun-Free" Zone signs.
<A HREF="http://creativecommons.org/licenses/by-nc-sa/3.0/">Creative Commons licensed.</a> Contact me for a commercial license if needed.
<BR><BR>
</td>
<td align="center">
<A href="gunstuff/self-defense-zone.png">
<img alt="Self Defense Zone" src="gunstuff/self-defense-zone_thumb.png"></a>
<BR>
<A href="gunstuff/self-defense-zone.svg"><font size="-2">SVG source file</font></a>
</td>
<td align="center">
<A href="gunstuff/gun-allowed-zone.png">
<img alt="Gun Allowed Zone" src="gunstuff/gun-allowed-zone_thumb.png"></a>
<BR>
</td>
</tr>
<tr>
<td width="100%">
(11/14/08) My revision of
<a href="http://en.wikipedia.org/wiki/Martin_Niem%C3%B6ller">Pastor Martin Niemöller</a>'s
<a href="http://en.wikipedia.org/wiki/First_they_came...">First they came</a> poem:
<a href="First_they_came_for.txt">The lament of the AHSA supporter</a>
<br>
Gun owners cannot afford to fall for the divide-and-conquer strategies
of those who would disarm the People.
<p>
</td>
</tr>
<tr>
<td width="100%">
(04/20/08) In response to
<a href="http://media.www.easttennessean.com/media/storage/paper203/news/2008/04/17/News/Carrying.On.Campus-3332245.shtml">the
utter idiocy of the Eastern Tennessee State University administration</a>, which thinks stickers will deter someone intent on murder:
<blockquote><i>Large decals have been placed on the doors of every building to
warn students of six years imprisonment and a maximum fine of $3,000 if a firearm
is brought onto school premises. The decal also states that those who have
the appropriate concealed handgun license are not excluded from those penalties.
Although these are viewed as helpful and useful changes ...</i></blockquote>
I've updated my Gun-Free Zone signs...
<a href="http://www.zazzle.com/no_guns_allowed_innocent_dead_sticker-217394506780473308">Stickers
are available on Zazzle.</a>
<br>
<A HREF="http://creativecommons.org/licenses/by-nc-sa/3.0/">Creative Commons licensed.</a> Contact me for a commercial license if needed.
</td>
<td align="center">
<A href="gun-free-zone-bloody.png">
<img alt="Bloody Gun Free Zone" src="gun-free-zone-bloody_thumb.png"></a>
<BR>
<A href="gun-free-zone-bloody.svg"><font size="-2">SVG source file</font></a>
</td>
<td align="center">
<a href="no-guns-allowed-bloody.png">
<img alt="Bloody No Guns Allowed" src="no-guns-allowed-bloody_thumb.png"></a>
<BR>
<font size="-2"> </font>
</td>
</tr>
<tr>
<td width="100%">
(4/18/08) Ten inches of snow in one afternoon is not a big deal during winter most places,
though in the puget sound we only get snow like that every few years.
It <i>is</i> a big deal when the afternoon is in mid-April...
</td>
<td></td>
<td align="center">
<a href="http://www.pavoninestudios.com/snowdayapr.jpg">
<img src="http://www.pavoninestudios.com/snowdayapr.jpg" width="150" alt="7:30 PM 04/18/08">
</a>
</td>
</tr>
<tr>
<td width="100%">
(2/16/08) Okay, enough gloom. We get <i>beautiful</i> sunrises here sometimes...
<BR>Sorry about the bamboo obscuring the heart of the sunrise, the shot was kinda rushed.
</td>
<td></td>
<td align="center">
<A href="Sunrise_080215.JPG">
<img alt="Sunrise 02/15/08" src="Sunrise_080215_thumb.JPG"></a>
<BR>
<font size="-2">click to enlarge</font>
</td>
</tr>
<tr>
<td width="100%">
(04/26/07 - updated 2/16/08) My take on the VT tragedy, the shootings in the Westboro Mall, and other similar tragedies.
The solution to violent gun crime is <i>not</i> victim disarmament.
<br>
<A HREF="http://creativecommons.org/licenses/by-sa/2.5/">Creative Commons licensed.</a>
</td>
<td align="center">
<A href="gun-free-zone.png">
<img alt="Gun Free Zone - Guaranteed 100% defenseless victims" src="gun-free-zone_thumb.png"></a>
<BR>
<A href="gun-free-zone.svg"><font size="-2">SVG source file</font></a><BR><BR>
</td>
<td align="center">
<a href="gun_free_zones_arent_apparel_plain.png">
<img alt="Gun Free Zones - Aren't" src="gun_free_zones_arent_thumb.png"></a>
<BR>
<font size="-2">click for CafePress t-shirt compatible image</font>
</td>
</tr>
</table>
<p>
(01/20/07) In response to Microsoft proposing their <b>"Open" XML</b>
document file format as an ISO standard, I have written
<a href="ANSI_MS_OpenXML_letter.xhtml">a letter of protest</a>
to
<a href="http://www.ansi.org/about_ansi/staff_directory/staff_directory.aspx?menuid=1">the members of</a>
<a href="http://www.ansi.org/standards_activities/overview/overview.aspx?menuid=3">ANSI</a>
responsible for representing the USA to the ISO.
See
<a href="http://www.groklaw.net/article.php?story=2007011720521698">Groklaw</a>
and
<a href="http://www.consortiuminfo.org/standardsblog/article.php?story=20070117145745854">Andy
Updegrove's blog</a>
at
<a href="http://www.consortiuminfo.org/">the ConsortiumInfo.org standards consortia website</a>
for more information about this blatant bid to corrupt the international standards process to protect
Microsoft's virtual monopoly on office software.
<P>
(01/07/07) Yet more cat pix (from the archives):
<A HREF="Kali_HP_Cat_Toe_Warming_Device.jpg">Kali Miao approves of the laser printer.</A>
<P>
(12/15/06) I've updated my
<a href="http://www.impsec.org/linux/security/scanner-tarpit.html">Scanner Tarpit HOWTO</a>
to reflect the work I've been doing with LaBrea to
<a href="http://www.impsec.org/linux/security/scanner-tarpit-8.html#ss8.1">tarpit spambots
and other spammers</a>.
<P>
(07/31/06) More <a href="http://thesaurus.reference.com/search?r=2&q=accolade">accolades</a>
for my wife's skills in paper-hole-punching-at-a-distance...
<a href="AGoodDayAtTheRange_3.html">A Good Day at the Range #3</a>
<P>
(07/22/06) I took my sweet time writing these up...
<br>
<a href="AGoodDayAtTheRange_1.html">A Good Day at the Range #1</a>
and
<a href="AGoodDayAtTheRange_2.html">A Good Day at the Range #2</a>
<br>
...wherein I brag about my wife's marksmanship.
<P>
<TABLE><TR>
<td>
(07/09/06) Per a request thrown to the winds on a.s.r: the OADS patch
(visit <a href="OADS/anvil_chorus.html">the Anvil Chorus page</a> for more images)
</td><td>
</td><td>
<A href="OADS/OADS_ultio_ultionis_superne.png"><img src="OADS/OADS_ultio_ultionis_superne_thumb.png" border="0" alt="OADS patch"></a>
</td><td>
</td><td>
...and the patch on a mug, perfect for drinking coffee while negotiating with vendors
or answering another annoying support request:
</td><td>
<A href="http://www.cafepress.com/cp/prod.aspx?p=impsec.48127520"><img src="http://images.cafepress.com/product/48127520_150x150_Front.jpg" height="128" alt="OADS mug"></a>
</td></tr></table>
<P>
<P>
(06/30/03) Yet more cat pix:
<A HREF="ziba-summer-do-4.JPG">Ziba in her summer 'do</A>
<P>
(05/27/02) Yet more cat pix:
<A HREF="cassie-the-ditz.jpg">Cassiopeia being a ditz</A> (yes, she really did look like that...)
<P>
(04/07/02) <A HREF="http://www.impsec.org/linux/security/scanner-tarpit.html">the Scanner Tarpit HOWTO</A>
<P>
(01/01/02) Yet more cat pix:
<UL>
<LI><A HREF="ziba-chin-scratches.jpg">Ooo - good chin scratches!</A></LI>
<LI><A HREF="ez-dirty-cat-vortex.jpg">Cat Vortex upkeep</A></LI>
<LI><A HREF="ez-eyes-of-doom.jpg">Fun with flash photography
(a.k.a. the Eyes of Doom - or -
"after staring at the Cat Vortex for extended periods of time, your
eyes go a bit wonky")</A></LI>
</UL>
(The Cat Vortex is what your cat is watching when she's staring intently
at a blank spot on the wall. Cats find it fascinating, but humans
can't understand what all the fuss is about.)
<P>
(12/15/01) Here's <A HREF="ms-punish.txt">my letter to the DOJ about the
proposed Microsoft settlement</A>.
<P>
<HR>
<H1>Security resources</H1>
<P>
<H2>the Email Sanitizer</H2>
<P>
Do you administer an email server? If so, you need a way to protect your
users against worms, buffer-overflow attacks on their mailers, and
social-engineering attacks on their trust. The Email Sanitizer installs on
your Procmail-capable mail gateway and lets you detect and block these
attacks. Don't rely only on the end user's virus protection, which is
reactive (virus updates appear <I>after</I> the virus is already spreading)
and may be out-of-date (or nonexistent).
<P>
Visit the
<A HREF="http://www.impsec.org/email-tools/procmail-security.html">Enhancing
E-Mail Security With Procmail</A> page.
[
<A HREF="http://www.impsec.org/email-tools/procmail-security.html">HTTP Mirror 1 (US: WA)</A>
|
<A HREF="http://oftedal.no/~jhardin/email-tools/procmail-security.html">HTTP Mirror 2 (EU: NO)</A>
|
<A HREF="http://kanon.net/~jhardin/email-tools/procmail-security.html">HTTP Mirror 3 (EU: NL)</A>
|
<A HREF="http://grebopple.accessunited.com.au/email-tools/procmail-security.html">HTTP Mirror 4 (AU)</A>
]
<P>
<TABLE WIDTH="100%" CELLPADDING="0" CELLSPACING="0">
<TR>
<TD ALIGN="left"><H2>Linux Firewall and Masquerade resources</H2></TD>
<TD ALIGN="right">
</TD>
</TR>
</TABLE>
<H3>Linux 2.2 VPN Masquerade</H3>
[
<A HREF="http://www.impsec.org/linux/masquerade/ip_masq_vpn.html">HTTP Mirror 1 (US: WA)</A>
|
<A HREF="http://oftedal.no/~jhardin/linux/masquerade/ip_masq_vpn.html">HTTP Mirror 2 (EU: NO)</A>
|
<A HREF="http://kanon.net/~jhardin/linux/masquerade/ip_masq_vpn.html">HTTP Mirror 3 (EU: NL)</A>
]
<P>
Linux 2.2 kernel support for masquerading
<A HREF="http://www.Europe.F-Secure.com/support/vpn+/faq/techfaq.html">IPsec</A> and
<A HREF="http://www.microsoft.com/ntserver/commserv/deployment/moreinfo/pptpfaq.asp">PPTP</A>
Virtual Private Network traffic. Now you can securely work from
home or from across the country via the Internet, while still allowing
<EM>simultaneous</EM> Internet access for the rest of your local net.
<P>
<BLOCKQUOTE>
<PRE>
IPsec
Client -.
|
PPTP | Linux IPsec or
Client -+-> Masq and --> Internet --> Firewall --> PPTP
| Firewall Server
Others -+
|
</PRE>
</BLOCKQUOTE>
<P>
<H3>The ipfwadm Dotfile Module</H3>
[
<A HREF="ftp://ftp.rubyriver.com/pub/jhardin/ipfwadm/ipfwadm.html">FTP Mirror 1</A>
]
<P>
A GUI front end for managing a Linux 2.0.<I>x</I> firewall for your home or
small business network. Improve the security of your Internet access with
minimal hassle.
<P>
Access the Internet from several computers at the <STRONG>same
time</STRONG> through only <EM>one</EM> IP address and telephone line or
ISDN/DSL/Cable Modem. Great for homes where two (or more) people want to
surf at the same time, or if you want to telecommute while the kids play!
You should also take a look at
<A HREF="http://ipmasq.webhop.net/">the Linux IP Masquerade Resource
page</A>.
<P>
<BLOCKQUOTE>
<PRE>
System
One ---------.
|
|
System | Linux
Two ---------+--> Masq and ---> Internet
| Firewall
Other |
Systems -----'
</PRE>
</BLOCKQUOTE>
<P>
<HR>
<H3>I used to produce <A HREF="b5.html">the JMS CIS Digest</A>.</H3>
<P>
<HR>
<H3>My résumé in <A HREF="resume-jh.html">standard single-page format</A>.</H3>
<P>
<HR>
<H2>Other things I do:</H2>
<UL>
<LI>Read SF -
<a href="http://www.baen.com/catalog/category/view/s/john-ringo/id/1881/">John Ringo</a>
especially, but also
<a href="http://www.baen.com/catalog/category/view/s/lois-mcmaster-bujold/id/1650/">Lois McMaster Bujold</a>,
<a href="http://www.baen.com/catalog/category/view/s/david-weber/id/1952/">David Weber</a>,
<a href="http://www.baen.com/catalog/category/view/s/tom-kratman/id/1800/">Col. Tom Kratman</a>,
<a href="http://www.baen.com/catalog/category/view/s/michael-z-williamson/id/1963/">Michael Z. "Mad Mike" Williamson</a>,
<a href="http://www.baen.com/catalog/category/view/s/eric-flint/id/1720/">Eric Flint</a>,
and <i>of course</i> Robert Heinlein.
<LI>Work (too much, lately)
<LI>Contribute to <a href="http://spamassassin.apache.org/">Apache SpamAssassin</a>
(my rules sandbox is
<a href="http://svn.apache.org/viewvc/spamassassin/trunk/rulesrc/sandbox/jhardin/">here</a>)
<LI>Collect fortune cookies. You can <A HREF="fortunes">grab my collection</A> if you're interested.
<LI>Accrete cats. "...and then there were five."
(...and mourn their loss. We're down to <strike>four</strike> <strike>three</strike> two now.
RIP OJ, 19 years old and sorely missed.)
(...three - there will soon be a new kitten in the house!)
(...two. RIP Cassiopeia, 14 years old and we miss her terribly.
I find you can't really fill a cat-shaped hole in your heart with another cat.)
(...one. RIP Kali Miao, much too suddenly and the cat-shaped hole grows.)
(...maybe we have another, our neighbor's cat is now living on our front porch...)
(Sigh. Outdoor cats disappear far too easily and unexpectedly. The cat-shaped hole grows again.)
(...three - two new kittens!)
<LI>Waste far too much time playing
<a href="http://www.urbandead.com">Urban Dead</a> (as
<a href="http://www.urbandead.com/profile.cgi?id=232069">"Constantine Bothari"</a>)
and
<A HREF="http://www.q3arena.com/">Quake III Arena</A>
(in the form of
<A HREF="http://www.urbanterror.net/">Urban Terror</A>
and
<A HREF="http://alternatefire.planetquake.gamespy.com/">Ultra Freeze Tag</A>).
For other Urban Dead players, here is my
<a href="Urban_Dead/">file of evidence against bad guys</a>.
<BR>
...Well, not so much, any more.
Gaming has become less a part of my life as the character of my company has changed,
and as how I want to spend my spare time has changed.
<LI>Occasionally play <EM>Full Thrust</EM> and
<A HREF="http://www.google.com/search?hl=en&q=dirtside+II"><EM>Dirtside II</EM></A>
("Dammit, Sarge! The REMFs have dumped another green Second Looie on us!")<BR>
I hope to someday write a DS2 vehicle- and TOE-builder in C#.
<BR>
</UL>
<P>
Here's a (rather old now)
<A HREF="john1.jpg">picture of me</A>, a
<A HREF="john+kite.jpg">picture of me and my kite</A> (which is for sale, contact me if you're interested),
and a <A HREF="http://www.pavoninestudios.com">link to my wife's jewelry and art business
page</A> if you're interested...
<!--
<P>
A very good friend is designing and selling
<a href="http://www.pacificprocesssolutions.com/">innovative constant-flow
biodiesel centrifuges</a> that are automatically self-adjusting - if you're
producing biodiesel at more than small volumes (e.g. you're a co-op or a
commercial producer) take a look. You have nothing to lose but your settling
tanks! (They have since gone out of business - biodiesel didn't take off quite as
much as hoped.)
-->
<P>
Here's <A HREF="wishlist.html">my wish list</A> if you feel the urge to send me a gift... :)
<P>
Send me some e-mail at <A HREF="mailto:[email protected]"><[email protected]></A>
<P>
My old email addresses:
<A HREF="mailto:[email protected]"><[email protected]></A>
<A HREF="mailto:[email protected]"><[email protected]></A>
<P>
My 2048-bit public key:
<P>
<PRE>
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Version: PGP 5.0
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4B/fdcnGLqkmngCJAD8DBRg2+7wW2CLm5rhzLnkRAqWhAKDUGDjGgxIq2VVC9d4/
/z3Gnvi87ACg25/0m/bZX9I1G5JGb+8TPIVE8Gw=
=/1ix
-----END PGP PUBLIC KEY BLOCK-----
</PRE>
<P>
<HR>
<a href="http://validator.w3.org/check?uri=referer"><img
src="http://www.w3.org/Icons/valid-html401"
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<H6>$Id: index.html,v 1.182 2020-06-22 18:51:18-07 jhardin Exp jhardin $</H6>
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</HTML>
|
John Hardin's Home Page
| | | | | | | |
| --- | --- | --- | --- | --- | --- | --- |
|
Hi there. My name is John Hardin, and
I guess I have collected enough useful stuff to warrant a home page...
---
[WA and Federal firearm laws wallet pamphlet](firearms_laws_washington.pdf)
|
[WA Open Carry LEO Training Bulletins wallet pamphlet](open_carry_training_bulletins_washington.pdf)
|
[No Guns No Money card front](nogunfront.png) and [back](nogunback.png)
|
[Scanner Tarpit HOWTO](http://www.impsec.org/linux/security/scanner-tarpit.html)
|
[Email Sanitizer](http://www.impsec.org/email-tools/procmail-security.html)
|
[Firearms files (manuals, etc.)](gunstuff/)
| | | | |
| --- | --- | --- | --- |
| | [2nd Amendment Foundation logo](http://saf.org/) | | |
| [Marksman qualification](http://www.nrahq.org/education/training/marksmanship/) |
|
|
|
(12/20/12) [Larry Correia on the current wave of Gun Control hysteria](http://larrycorreia.wordpress.com/2012/12/20/an-opinion-on-gun-control/).
A must-read.
| |
|
(02/04/12) New artwork: "Thank you" cards for a buycott of a carry-friendly (or carry-tolerant) retailer,
such as [Starbucks Coffee](http://blog.joehuffman.org/2012/01/25/StarbucksAppreciation.aspx).
Sized for 3x5 business cards per [VistaPrint](http://www.vistaprint.com).
Coming shortly: a sheet suitable for printing your own on card stock.
[Creative Commons licensed.](http://creativecommons.org/licenses/by-nc-sa/3.0/) Contact me for a commercial license if needed.
| | [Carry-Friendly Buycott thank you card](gunstuff/carry_friendly_business_buycott_card.png) |
|
(11/04/11) New artwork, to balance out the "Gun-Free" Zone signs.
[Creative Commons licensed.](http://creativecommons.org/licenses/by-nc-sa/3.0/) Contact me for a commercial license if needed.
| [Self Defense Zone](gunstuff/self-defense-zone.png)
[SVG source file](gunstuff/self-defense-zone.svg) | [Gun Allowed Zone](gunstuff/gun-allowed-zone.png)
|
|
(11/14/08) My revision of
[Pastor Martin Niemöller](http://en.wikipedia.org/wiki/Martin_Niem%C3%B6ller)'s
[First they came](http://en.wikipedia.org/wiki/First_they_came...) poem:
[The lament of the AHSA supporter](First_they_came_for.txt)
Gun owners cannot afford to fall for the divide-and-conquer strategies
of those who would disarm the People.
|
|
(04/20/08) In response to
[the
utter idiocy of the Eastern Tennessee State University administration](http://media.www.easttennessean.com/media/storage/paper203/news/2008/04/17/News/Carrying.On.Campus-3332245.shtml), which thinks stickers will deter someone intent on murder:
*Large decals have been placed on the doors of every building to
warn students of six years imprisonment and a maximum fine of $3,000 if a firearm
is brought onto school premises. The decal also states that those who have
the appropriate concealed handgun license are not excluded from those penalties.
Although these are viewed as helpful and useful changes ...*
I've updated my Gun-Free Zone signs...
[Stickers
are available on Zazzle.](http://www.zazzle.com/no_guns_allowed_innocent_dead_sticker-217394506780473308)
[Creative Commons licensed.](http://creativecommons.org/licenses/by-nc-sa/3.0/) Contact me for a commercial license if needed.
| [Bloody Gun Free Zone](gun-free-zone-bloody.png)
[SVG source file](gun-free-zone-bloody.svg) | [Bloody No Guns Allowed](no-guns-allowed-bloody.png)
|
|
(4/18/08) Ten inches of snow in one afternoon is not a big deal during winter most places,
though in the puget sound we only get snow like that every few years.
It *is* a big deal when the afternoon is in mid-April...
| | [7:30 PM 04/18/08](http://www.pavoninestudios.com/snowdayapr.jpg) |
|
(2/16/08) Okay, enough gloom. We get *beautiful* sunrises here sometimes...
Sorry about the bamboo obscuring the heart of the sunrise, the shot was kinda rushed.
| | [Sunrise 02/15/08](Sunrise_080215.JPG)
click to enlarge |
|
(04/26/07 - updated 2/16/08) My take on the VT tragedy, the shootings in the Westboro Mall, and other similar tragedies.
The solution to violent gun crime is *not* victim disarmament.
[Creative Commons licensed.](http://creativecommons.org/licenses/by-sa/2.5/) | [Gun Free Zone - Guaranteed 100% defenseless victims](gun-free-zone.png)
[SVG source file](gun-free-zone.svg) | [Gun Free Zones - Aren't](gun_free_zones_arent_apparel_plain.png)
click for CafePress t-shirt compatible image |
(01/20/07) In response to Microsoft proposing their **"Open" XML**
document file format as an ISO standard, I have written
[a letter of protest](ANSI_MS_OpenXML_letter.xhtml)
to
[the members of](http://www.ansi.org/about_ansi/staff_directory/staff_directory.aspx?menuid=1)
[ANSI](http://www.ansi.org/standards_activities/overview/overview.aspx?menuid=3)
responsible for representing the USA to the ISO.
See
[Groklaw](http://www.groklaw.net/article.php?story=2007011720521698)
and
[Andy
Updegrove's blog](http://www.consortiuminfo.org/standardsblog/article.php?story=20070117145745854)
at
[the ConsortiumInfo.org standards consortia website](http://www.consortiuminfo.org/)
for more information about this blatant bid to corrupt the international standards process to protect
Microsoft's virtual monopoly on office software.
(01/07/07) Yet more cat pix (from the archives):
[Kali Miao approves of the laser printer.](Kali_HP_Cat_Toe_Warming_Device.jpg)
(12/15/06) I've updated my
[Scanner Tarpit HOWTO](http://www.impsec.org/linux/security/scanner-tarpit.html)
to reflect the work I've been doing with LaBrea to
[tarpit spambots
and other spammers](http://www.impsec.org/linux/security/scanner-tarpit-8.html#ss8.1).
(07/31/06) More [accolades](http://thesaurus.reference.com/search?r=2&q=accolade)
for my wife's skills in paper-hole-punching-at-a-distance...
[A Good Day at the Range #3](AGoodDayAtTheRange_3.html)
(07/22/06) I took my sweet time writing these up...
[A Good Day at the Range #1](AGoodDayAtTheRange_1.html)
and
[A Good Day at the Range #2](AGoodDayAtTheRange_2.html)
...wherein I brag about my wife's marksmanship.
| | | | | | |
| --- | --- | --- | --- | --- | --- |
|
(07/09/06) Per a request thrown to the winds on a.s.r: the OADS patch
(visit [the Anvil Chorus page](OADS/anvil_chorus.html) for more images)
| | [OADS patch](OADS/OADS_ultio_ultionis_superne.png) | |
...and the patch on a mug, perfect for drinking coffee while negotiating with vendors
or answering another annoying support request:
| [OADS mug](http://www.cafepress.com/cp/prod.aspx?p=impsec.48127520) |
(06/30/03) Yet more cat pix:
[Ziba in her summer 'do](ziba-summer-do-4.JPG)
(05/27/02) Yet more cat pix:
[Cassiopeia being a ditz](cassie-the-ditz.jpg) (yes, she really did look like that...)
(04/07/02) [the Scanner Tarpit HOWTO](http://www.impsec.org/linux/security/scanner-tarpit.html)
(01/01/02) Yet more cat pix:
* [Ooo - good chin scratches!](ziba-chin-scratches.jpg)
* [Cat Vortex upkeep](ez-dirty-cat-vortex.jpg)
* [Fun with flash photography
(a.k.a. the Eyes of Doom - or -
"after staring at the Cat Vortex for extended periods of time, your
eyes go a bit wonky")](ez-eyes-of-doom.jpg)
(The Cat Vortex is what your cat is watching when she's staring intently
at a blank spot on the wall. Cats find it fascinating, but humans
can't understand what all the fuss is about.)
(12/15/01) Here's [my letter to the DOJ about the
proposed Microsoft settlement](ms-punish.txt).
---
# Security resources
## the Email Sanitizer
Do you administer an email server? If so, you need a way to protect your
users against worms, buffer-overflow attacks on their mailers, and
social-engineering attacks on their trust. The Email Sanitizer installs on
your Procmail-capable mail gateway and lets you detect and block these
attacks. Don't rely only on the end user's virus protection, which is
reactive (virus updates appear *after* the virus is already spreading)
and may be out-of-date (or nonexistent).
Visit the
[Enhancing
E-Mail Security With Procmail](http://www.impsec.org/email-tools/procmail-security.html) page.
[
[HTTP Mirror 1 (US: WA)](http://www.impsec.org/email-tools/procmail-security.html)
|
[HTTP Mirror 2 (EU: NO)](http://oftedal.no/~jhardin/email-tools/procmail-security.html)
|
[HTTP Mirror 3 (EU: NL)](http://kanon.net/~jhardin/email-tools/procmail-security.html)
|
[HTTP Mirror 4 (AU)](http://grebopple.accessunited.com.au/email-tools/procmail-security.html)
]
| | |
| --- | --- |
| Linux Firewall and Masquerade resources | |
### Linux 2.2 VPN Masquerade
[
[HTTP Mirror 1 (US: WA)](http://www.impsec.org/linux/masquerade/ip_masq_vpn.html)
|
[HTTP Mirror 2 (EU: NO)](http://oftedal.no/~jhardin/linux/masquerade/ip_masq_vpn.html)
|
[HTTP Mirror 3 (EU: NL)](http://kanon.net/~jhardin/linux/masquerade/ip_masq_vpn.html)
]
Linux 2.2 kernel support for masquerading
[IPsec](http://www.Europe.F-Secure.com/support/vpn+/faq/techfaq.html) and
[PPTP](http://www.microsoft.com/ntserver/commserv/deployment/moreinfo/pptpfaq.asp)
Virtual Private Network traffic. Now you can securely work from
home or from across the country via the Internet, while still allowing
*simultaneous* Internet access for the rest of your local net.
>
>
> ```
>
> IPsec
> Client -.
> |
> PPTP | Linux IPsec or
> Client -+-> Masq and --> Internet --> Firewall --> PPTP
> | Firewall Server
> Others -+
> |
>
> ```
>
>
### The ipfwadm Dotfile Module
[
[FTP Mirror 1](ftp://ftp.rubyriver.com/pub/jhardin/ipfwadm/ipfwadm.html)
]
A GUI front end for managing a Linux 2.0.*x* firewall for your home or
small business network. Improve the security of your Internet access with
minimal hassle.
Access the Internet from several computers at the **same
time** through only *one* IP address and telephone line or
ISDN/DSL/Cable Modem. Great for homes where two (or more) people want to
surf at the same time, or if you want to telecommute while the kids play!
You should also take a look at
[the Linux IP Masquerade Resource
page](http://ipmasq.webhop.net/).
>
>
> ```
>
> System
> One ---------.
> |
> |
> System | Linux
> Two ---------+--> Masq and ---> Internet
> | Firewall
> Other |
> Systems -----'
>
> ```
>
>
---
### I used to produce [the JMS CIS Digest](b5.html).
---
### My résumé in [standard single-page format](resume-jh.html).
---
## Other things I do:
* Read SF -
[John Ringo](http://www.baen.com/catalog/category/view/s/john-ringo/id/1881/)
especially, but also
[Lois McMaster Bujold](http://www.baen.com/catalog/category/view/s/lois-mcmaster-bujold/id/1650/),
[David Weber](http://www.baen.com/catalog/category/view/s/david-weber/id/1952/),
[Col. Tom Kratman](http://www.baen.com/catalog/category/view/s/tom-kratman/id/1800/),
[Michael Z. "Mad Mike" Williamson](http://www.baen.com/catalog/category/view/s/michael-z-williamson/id/1963/),
[Eric Flint](http://www.baen.com/catalog/category/view/s/eric-flint/id/1720/),
and *of course* Robert Heinlein.
* Work (too much, lately)
* Contribute to [Apache SpamAssassin](http://spamassassin.apache.org/)
(my rules sandbox is
[here](http://svn.apache.org/viewvc/spamassassin/trunk/rulesrc/sandbox/jhardin/))
* Collect fortune cookies. You can [grab my collection](fortunes) if you're interested.
* Accrete cats. "...and then there were five."
(...and mourn their loss. We're down to four three two now.
RIP OJ, 19 years old and sorely missed.)
(...three - there will soon be a new kitten in the house!)
(...two. RIP Cassiopeia, 14 years old and we miss her terribly.
I find you can't really fill a cat-shaped hole in your heart with another cat.)
(...one. RIP Kali Miao, much too suddenly and the cat-shaped hole grows.)
(...maybe we have another, our neighbor's cat is now living on our front porch...)
(Sigh. Outdoor cats disappear far too easily and unexpectedly. The cat-shaped hole grows again.)
(...three - two new kittens!)
* Waste far too much time playing
[Urban Dead](http://www.urbandead.com) (as
["Constantine Bothari"](http://www.urbandead.com/profile.cgi?id=232069))
and
[Quake III Arena](http://www.q3arena.com/)
(in the form of
[Urban Terror](http://www.urbanterror.net/)
and
[Ultra Freeze Tag](http://alternatefire.planetquake.gamespy.com/)).
For other Urban Dead players, here is my
[file of evidence against bad guys](Urban_Dead/).
...Well, not so much, any more.
Gaming has become less a part of my life as the character of my company has changed,
and as how I want to spend my spare time has changed.
* Occasionally play *Full Thrust* and
[*Dirtside II*](http://www.google.com/search?hl=en&q=dirtside+II)
("Dammit, Sarge! The REMFs have dumped another green Second Looie on us!")
I hope to someday write a DS2 vehicle- and TOE-builder in C#.
Here's a (rather old now)
[picture of me](john1.jpg), a
[picture of me and my kite](john+kite.jpg) (which is for sale, contact me if you're interested),
and a [link to my wife's jewelry and art business
page](http://www.pavoninestudios.com) if you're interested...
Here's [my wish list](wishlist.html) if you feel the urge to send me a gift... :)
Send me some e-mail at [<[email protected]>](mailto:[email protected])
My old email addresses:
[<[email protected]>](mailto:[email protected])
[<[email protected]>](mailto:[email protected])
My 2048-bit public key:
```
-----BEGIN PGP PUBLIC KEY BLOCK-----
Version: PGP 5.0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=/1ix
-----END PGP PUBLIC KEY BLOCK-----
```
---
[](http://validator.w3.org/check?uri=referer)
[Best viewed with
*Any* Browser](http://www.anybrowser.org/campaign/)
###### $Id: index.html,v 1.182 2020-06-22 18:51:18-07 jhardin Exp jhardin $
| http://www.impsec.org/~jhardin/ |
<!DOCTYPE html>
<!--[if lt IE 7]> <html class="no-js lt-ie9 lt-ie8 lt-ie7"> <![endif]-->
<!--[if IE 7]> <html class="no-js lt-ie9 lt-ie8"> <![endif]-->
<!--[if IE 8]> <html class="no-js lt-ie9"> <![endif]-->
<!--[if gt IE 8]><!--> <html class="no-js"> <!--<![endif]-->
<head>
<meta charset="utf-8">
<meta http-equiv="X-UA-Compatible" content="IE=edge">
<meta name="description" content>
<meta name="viewport" content="width=device-width, initial-scale=1">
<title>Jurassic Systems</title>
<link rel="stylesheet" href="/css/normalize.css">
<link rel="icon" href="/favicon.ico">
<link rel="stylesheet" href="/css/jurassicSystems.css">
<script src="/js/lib/modernizr.js"></script>
</head>
<body>
<!--[if lt IE 7]>
<p class="browsehappy">You are using an <strong>outdated</strong> browser. Please <a href="http://browsehappy.com/">upgrade your browser</a> to improve your experience.</p>
<![endif]-->
<div id="home-key"><a href="/about"><img src="/img/homeKey.jpg" /></a></div>
<div id="irix-boot"><img id="boot-dialogue" src="/img/irixBoot.gif"></img></div>
<div id="intro">
<div class="view-cover"></div>
<div id="intro-box">
<iframe id="intro-scene" width="560" height="315" src="https://www.youtube.com/embed/RfiQYRn7fBg?showinfo=0" frameborder="0" allowfullscreen></iframe>
<div id="intro-text">Watch the above scene from Jurassic Park, then hold on to your butts and press continue to launch the recreation. Type <strong>"help"</strong> into the console to see a list of commands.</div><div id="intro-divider"></div><div id="continue-button"><img src="/img/continueButton.png"></div>
</div>
</div>
<div id="environment">
<div id="irix-desktop">
<div class="irix-window" id="main-terminal" style="z-index: 2">
<div class="window-bar"></div>
<input type="text" class="buffer" id="main-buffer" autocomplete="off">
<div class="inner-wrap" id="main-inner">
<div class="terminal-view">
<div class="console-preabmle">
Jurassic Park, System Security Interface<br>
Version 4.0.5, Alpha E<br>
Ready...<br>
</div>
<div id="main-input" class="command-history"></div>
<span id="main-prompt">></span>
<span class="command-input" id="curr-main-input"></span><span id="main-cursor" class="cursor"> </span>
</div>
</div>
</div>
<div class="irix-window" id="gr-osview">
<div class="window-bar"></div>
</div>
<div class="irix-window" id="zebra-girl">
<div class="window-bar"></div>
</div>
<div class="irix-window" id="chess-terminal" style="z-index: 1">
<div class="window-bar"></div>
<input type="text" class="buffer" id="chess-buffer" autocomplete="off">
<div class="inner-wrap" id="chess-inner">
<div class="terminal-view">
<div class="console-preabmle">
<div>CHESS: select level of play desired</div>
<table cellspacing="0">
<tr>
<td>0.</td>
<td>80</td>
<td>moves</td>
<td>in</td>
<td>694</td>
<td>minutes</td>
</tr>
<tr>
<td>1.</td>
<td>80</td>
<td>moves</td>
<td>in</td>
<td>213</td>
<td>minutes</td>
</tr>
<tr>
<td>2.</td>
<td>70</td>
<td>moves</td>
<td>in</td>
<td>200</td>
<td>minutes</td>
</tr>
<tr>
<td>3.</td>
<td>60</td>
<td>moves</td>
<td>in</td>
<td>190</td>
<td>minutes</td>
</tr>
<tr>
<td>4.</td>
<td>60</td>
<td>moves</td>
<td>in</td>
<td>240</td>
<td>minutes</td>
</tr>
<tr>
<td>5.</td>
<td>60</td>
<td>moves</td>
<td>in</td>
<td>10</td>
<td>minutes</td>
</tr>
<tr>
<td>6.</td>
<td>60</td>
<td>moves</td>
<td>in</td>
<td>50</td>
<td>minutes</td>
</tr>
<tr>
<td>7.</td>
<td>1</td>
<td>move</td>
<td>in</td>
<td>68</td>
<td>minutes</td>
</tr>
<tr>
<td>8.</td>
<td>1</td>
<td>move</td>
<td>in</td>
<td>96</td>
<td>minutes</td>
</tr>
<tr>
<td>9.</td>
<td>1</td>
<td>move</td>
<td>in</td>
<td>680</td>
<td>minutes</td>
</tr>
</table>
<div class="chess-line">Enter Level: 1</div>
<div class="chess-line">Illegal move</div>
</div>
<div class="command-history"></div>
<span class="command-input" id="curr-chess-input"></span><span id="chess-cursor" class="cursor"> </span>
</div>
</div>
</div>
</div>
<div id="apple-desktop">
<div id="mac-hd-window" class="mac-window">
</div>
<div id="the-king-window" class="mac-window">
<div class="window-bar"></div>
<video height="540" width="540" loop id="the-king-video">
<source src="/vid/theKing.mp4" type="video/mp4">
Your browser does not support the video tag.
</video>
<div id="the-king-blur"></div>
</div>
</div>
</div>
<script src="/js/lib/jquery.js"></script>
<script src="/js/lib/soundmanager2-nodebug-jsmin.js"></script>
<script src="/js/jurassicSystems.js"></script>
<script defer src="https://static.cloudflareinsights.com/beacon.min.js/v84a3a4012de94ce1a686ba8c167c359c1696973893317" integrity="sha512-euoFGowhlaLqXsPWQ48qSkBSCFs3DPRyiwVu3FjR96cMPx+Fr+gpWRhIafcHwqwCqWS42RZhIudOvEI+Ckf6MA==" data-cf-beacon='{"rayId":"83c01809cf21ec90","version":"2023.10.0","r":1,"token":"5ad072d7d9a847ee912370f641207d64","b":1}' crossorigin="anonymous"></script>
</body>
</html>
|
Jurassic Systems
[](/about)
Watch the above scene from Jurassic Park, then hold on to your butts and press continue to launch the recreation. Type **"help"** into the console to see a list of commands.
Jurassic Park, System Security Interface
Version 4.0.5, Alpha E
Ready...
>
CHESS: select level of play desired
| | | | | | |
| --- | --- | --- | --- | --- | --- |
| 0. | 80 | moves | in | 694 | minutes |
| 1. | 80 | moves | in | 213 | minutes |
| 2. | 70 | moves | in | 200 | minutes |
| 3. | 60 | moves | in | 190 | minutes |
| 4. | 60 | moves | in | 240 | minutes |
| 5. | 60 | moves | in | 10 | minutes |
| 6. | 60 | moves | in | 50 | minutes |
| 7. | 1 | move | in | 68 | minutes |
| 8. | 1 | move | in | 96 | minutes |
| 9. | 1 | move | in | 680 | minutes |
Enter Level: 1
Illegal move
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<h1>Welcome!<br>Â </h1>
<p>Ancient Egypt: the Mythology is dedicated to providing the most detailed and accurate information about the
gods, goddesses, and religious beliefs of the ancient Egyptian people.</p>
<p>The website is divided into five major sections:</p>
<dl>
<dt><a href="section-deities.htm">the Gods</a></dt>
<dd>An encyclopedia of the major gods and goddesses in Egyptian mythology.</dd>
<dd class="popular"><em>Most Popular:</em> <a href="bastet.htm">Bastet</a>, <a href="anubis.htm">Anubis</a>, <a
href="osiris.htm">Osiris</a><br><em>New entries:</em> <a href="renenutet.htm">Renenutet</a>, <a
href="baal.htm">Baal</a>, <a href="ihy.htm">Ihy</a>, <a href="reshep.htm">Reshep</a></dd>
<dt><a href="section-myths.htm">the Myths</a></dt>
<dd>The major myths & folktales of the ancient Egypt.</dd>
<dd class="popular"><em>Most Popular:</em> <a href="mythisis.htm">Isis & Osiris</a>, <a
href="mythre.htm">The Story of Re</a>, <a href="mythhatshep.htm">The Great Queen Hatshepsut</a></dd>
<dt><a href="section-symbols.htm">the Symbols</a></dt>
<dd>A guide to common symbols in ancient Egyptian art and religion.</dd>
<dd class="popular"><em>Most Popular:</em> <a href="scarab.htm">Scarab</a>, <a href="colors.htm">Colors</a>, <a
href="udjat.htm">Eye of Horus</a></dd>
<dt><a href="section-land.htm">the Land</a></dt>
<dd>Articles about Egyptian religion as practiced in local cult centers like <a href="thebes.htm">Thebes</a>, <a
href="memphis.htm">Memphis</a> & <a href="ennead.htm">Heliopolis</a>. Also, includes articles about
Egyptian history & daily life.</dd>
<dd class="popular"><em>Most Popular:</em> <a href="ennead.htm">the Ennead of Heliopolis</a>, <a
href="cleomyth.htm">Common Myths about Cleopatra</a>, <a href="funerarytexts.htm">the Funerary Texts</a>
</dd>
<dt><span style="color: #ff0000;">the writers</span><br>Earn an <a
href="https://www.washingtontech.edu/medicalbillingcoding.html">online medical billing coding certificate
</a>at Washington Tech</dt>
<dt><a href="section-resources.htm">the Resources</a></dt>
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style="line-height: 107%; font-family: Verdana;">high school online</span></a></span><span lang="EN-US"
style="line-height: 107%; font-family: Verdana;"> courses are Northgate Academy Christian School.
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# [Ancient Egypt: the Mythology (Return to Home Page)](http://www.egyptianmyths.net/)
* [What's New?](new.htm)
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# Welcome!Â
Ancient Egypt: the Mythology is dedicated to providing the most detailed and accurate information about the
gods, goddesses, and religious beliefs of the ancient Egyptian people.
The website is divided into five major sections:
[the Gods](section-deities.htm)
An encyclopedia of the major gods and goddesses in Egyptian mythology.
*Most Popular:* [Bastet](bastet.htm), [Anubis](anubis.htm), [Osiris](osiris.htm)
*New entries:* [Renenutet](renenutet.htm), [Baal](baal.htm), [Ihy](ihy.htm), [Reshep](reshep.htm)
[the Myths](section-myths.htm)
The major myths & folktales of the ancient Egypt.
*Most Popular:* [Isis & Osiris](mythisis.htm), [The Story of Re](mythre.htm), [The Great Queen Hatshepsut](mythhatshep.htm)
[the Symbols](section-symbols.htm)
A guide to common symbols in ancient Egyptian art and religion.
*Most Popular:* [Scarab](scarab.htm), [Colors](colors.htm), [Eye of Horus](udjat.htm)
[the Land](section-land.htm)
Articles about Egyptian religion as practiced in local cult centers like [Thebes](thebes.htm), [Memphis](memphis.htm) & [Heliopolis](ennead.htm). Also, includes articles about
Egyptian history & daily life.
*Most Popular:* [the Ennead of Heliopolis](ennead.htm), [Common Myths about Cleopatra](cleomyth.htm), [the Funerary Texts](funerarytexts.htm)
the writers
Earn an [online medical billing coding certificate](https://www.washingtontech.edu/medicalbillingcoding.html) at Washington Tech
[the Resources](section-resources.htm)
Enroll today at EHS and complete an
[accredited high school diploma
online](http://www.excelhighschool.com).
Take
[high school online](http://www.northgateacademy.com) courses are Northgate Academy Christian School.
Earn [Pilot License Paris TN](https://safeflightaviation.com/) at
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<title>How Blackjack Works by Norm Wattenberger</title>
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<meta name="description" content="How Blackjack Works and How Card Counting Works by Norman Wattenberger. In charts and graphs; see the inner workings of Blackjack in detail.">
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<h1>How Blackjack Works</h1>
<div align="center">
<h2>A Web-based Blackjack book by Norman Wattenberger</h2>
</div>
<p>Testing the concept that a picture is worth a pile of words, this online
book takes a look at Blackjack and Card Counting using 145 charts. Simple
concepts through advanced techniques are examined. The book won't teach
you a Blackjack "system." A hundred such books exist. (For a
full, free 540-page book that teaches Blackjack from the ground up, see
<a href="http://www.qfit.com/book" target="_blank">Free Blackjack Book</a>.) The idea
here is to demonstrate the mechanics of Blackjack focusing on the vulnerabilities
of both the house and the player. Graphs are used instead of tables of
data to provide an instant view of the relative importance of various
aspects of Blackjack. From this we can see more clearly areas of exploitation
and also the reasons that many card counters don't make it.</p>
<p>An online form was selected for this book because full color books are
expensive, it makes for an easy reference, and it is trivial to modify
and extend. BlackjackinColor is a living document — suggestions for
changes and additions are welcome at <a href="/cdn-cgi/l/email-protection#f0838580809f8284b081969984de939f9d">Suggestions.</a></p>
<p>Since later pages build on information and explanations in earlier pages,
the easiest method of understanding this site is to start with the <a href="blackjackfirstcards1.htm">first
page</a> and use the Next buttons to travel to the end. Alternatively
the index can be used below:</p>
<p>Acknowledgment: Many thanks to Don Schlesinger for cleaning up my atrocious
use of the Queen's English. </p>
<blockquote>
<h4>1. Basic Strategy</h4>
<ul>
<li><a href="blackjackfirstcards1.htm">1.1 What Blackjack hands do
we get?</a> </li>
<li><a href="blackjackfirstcards2.htm">1.2 What are the good Blackjack
hands?</a> </li>
<li><a href="blackjackfirstcards3.htm">1.3 What hands get the money?</a>
</li>
<li><a href="blackjackfirstcards4.htm">1.4 What hands do we get including
dealer upcards?</a> </li>
<li><a href="blackjackfirstcards5.htm">1.5 What are the effects of
common rules?</a> </li>
</ul>
<h4>2. Data by Count</h4>
<ul>
<li><a href="truecount1.htm">2.1 How often do we get each true count?</a>
</li>
<li><a href="truecount2.htm">2.2 How valuable is each true count?</a>
</li>
<li><a href="truecount3.htm">2.3 How do indexes affect advantages
of counts?</a> </li>
<li><a href="truecount4.htm">2.4 How do different manners of true
counting differ?</a> </li>
<li><a href="truecount5.htm">2.5 How does the card count affect win/lose/push
rates?</a> </li>
<li><a href="truecount6.htm">2.6 How does the count affect splits,
double downs, Blackjacks and insurance?</a> </li>
<li><a href="truecount7.htm">2.7 Where do indexes come from?</a> </li>
<li><a href="runningcount1.htm">2.8 What about unbalanced card counting
frequencies?</a> </li>
<li><a href="runningcount2.htm">2.9 What about unbalanced card counting
advantages?</a> </li>
</ul>
<h4>3. Data by Depth</h4>
<ul>
<li><a href="penetration1.htm">3.1 Why is depth important in Blackjack?</a>
</li>
<li><a href="penetration2.htm">3.2 What is the advantage at different
depths?</a> </li>
</ul>
<h4>4. Data by Penetration (SCORE Charts)</h4>
<ul>
<li><a href="penetration3.htm">4.1 How much does penetration matter?</a>
</li>
<li><a href="penetration4.htm">4.2 How much do card counting indexes
matter?</a> </li>
<li><a href="penetration5.htm">4.3 How much do bet spreads matter?</a>
</li>
<li><a href="penetration6.htm">4.4 How much do card counting strategies
matter?</a> </li>
<li><a href="penetration7.htm">4.5 What about ace-neutral strategies
and ace side counts?</a> </li>
<li><a href="penetration8.htm">4.6 What effect do rules have?</a>
</li>
<li><a href="penetration9.htm">4.7 How often should we recalculate
true counts?</a> </li>
<li><a href="penetration10.htm">4.8 Where should we sit?</a> </li>
<li><a href="penetration11.htm">4.9 How many hands should we play
at once?</a> </li>
<li><a href="penetration12.htm">4.10 Should I bet by half counts?</a>
</li>
<li><a href="penetration13.htm">4.11 What if I play the strategy for
the wrong rules?</a> </li>
</ul>
<h4>5. Error Data</h4>
<ul>
<li><a href="blackjackerrors1.htm">5.1 How do Blackjack dealer errors
affect us?</a> </li>
<li><a href="blackjackerrors2.htm">5.2 How do player errors affect
us?</a> </li>
</ul>
<h4>6. Cover Data</h4>
<ul>
<li><a href="cardcountingcover1.htm">6.1 How does cover betting affect
max bets? </a> </li>
<li><a href="cardcountingcover2.htm">6.2 How does cover betting affect
SCOREs?</a> </li>
<li><a href="cardcountingcover3.htm">6.3 How does number of players
interact with cover betting?</a> </li>
<li><a href="cardcountingcover4.htm">6.4 How can the effects of cover
betting be reduced?</a> </li>
<li><a href="cardcountingcover5.htm">6.5 How do cover plays affect
SCOREs?</a> </li>
<li><a href="cardcountingcover6.htm">6.6 How does cover Insurance
affect SCOREs?</a> </li>
<li><a href="cardcountingcover7.htm">6.7 What is the cost of tipping?</a>
</li>
</ul>
<h4>7. Variance and Volatility Data</h4>
<ul>
<li><a href="blackjackvariance1.htm">7.1 What is the difference between
the long and short run?</a> </li>
<li><a href="blackjackvariance2.htm">7.2 What is the range of my results?</a>
</li>
<li><a href="blackjackvariance3.htm">7.3 How many sessions/trips should
I win?</a> </li>
</ul>
<h4>8. Bankrolls, Goals, Risk Data</h4>
<ul>
<li><a href="blackjackrisk1.htm">8.1 What is my risk of ruin?</a>
</li>
<li><a href="blackjackrisk2.htm">8.2 What is the probability I will
achieve goals?</a> </li>
<li><a href="blackjackrisk3.htm">8.3 How many Blackjack hands will
it take?</a> </li>
<li><a href="blackjackrisk4.htm">8.4 How does changing risk affect
win rate?</a> </li>
</ul>
<h4>9. Optimal Betting Data</h4>
<ul>
<li><a href="optimalbetting1.htm">9.1 What effect does penetration
have on optimal bets?</a> </li>
<li><a href="optimalbetting2.htm">9.2 How much is lost with rational
bet sizes?</a> </li>
</ul>
<h4>10. Effects on Other Players</h4>
<ul>
<li><a href="othereffects1.htm">10.1 How does back-counting affect
others?</a> </li>
<li><a href="othereffects2.htm">10.2 How does changing number of hands
affect others?</a> </li>
<li><a href="othereffects3.htm">10.3 How does bad-card eating affect
others?</a> </li>
</ul>
<h4>11. Unusual Effects and Miscellaneous Data</h4>
<ul>
<li><a href="blackjackeffects1.htm">11.1 What is the effect of the
cut card?</a> </li>
<li><a href="blackjackeffects2.htm">11.2 What is the effect of Floating
Advantage on card counting?</a> </li>
<li><a href="truecount8.htm">11.3 Do
we spend more time in positive or negative counts?</a> </li>
<li><a href="cardsperround.htm">11.4 How
many cards are dealt per hand?</a> </li>
</ul>
<h4>12. Side Bet Data</h4>
<ul>
<li><a href="blackjacksidebet1.htm">12.1 How do we card count Lucky
Ladies?</a> </li>
</ul>
<h4>13. Peeking Data</h4>
<ul>
<li><a href="cardcountingextra1.htm">13.1 What is the gain from peeking
at player downcards?</a></li>
<li><a href="cardcountingextra2.htm">13.2 What is the gain from peeking
at burn cards?</a></li>
<li><a href="cardcountingextra3.htm">13.3 What is the gain from peeking
at dealer hole cards?</a></li>
<li><a href="cardcountingextra4.htm">13.4 What is the advantage if
we know the first card dealt?</a></li>
</ul>
<h4>14. Voodoo Charts</h4>
<ul>
<li><a href="useless1.htm">14.1 How do targets and stop losses affect
us?</a> </li>
<li><a href="useless2.htm">14.2 What are dealer hand total and bust
frequencies?</a> </li>
<li><a href="useless3.htm">14.3 How long are streaks?</a> </li>
<li><a href="useless5.htm">14.4 What does a positive progression session
look like?</a> </li>
<li><a href="useless4.htm">14.5 What does a Martingale session look
like?</a> </li>
<li><a href="useless6.htm">14.6 How does the third base player affect
you?</a> </li>
</ul>
<h4>15. Blackjack Shuffle Tracking Charts</h4>
<ul>
<li><a href="Shuffletracking1.htm">15.1 How does shuffle tracking
affect SCORE?</a> </li>
<li><a href="Shuffletracking3.htm">15.2 How does shuffle tracking
affect others?</a> </li>
<li><a href="Shuffletracking2.htm">15.3 How does shuffle tracking
affect the count?</a></li>
</ul>
</blockquote>
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<textarea name="textfield" wrap="VIRTUAL" cols="70" rows="3"><a href="http://www.blackjackincolor.com">BlackjackinColor.com</a> How Blackjack Works - an online book</textarea>
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<p align="center">Other sites by <a href="http://www.normanwattenberger.com" target="_blank">Norman Wattenberger</a><br>
Please no solicitations for affiliate ads. I have no interest.</p>
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How Blackjack Works by Norm Wattenberger
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| --- | --- | --- |
| | | |
| | How Blackjack Works
A Web-based Blackjack book by Norman Wattenberger
Testing the concept that a picture is worth a pile of words, this online
book takes a look at Blackjack and Card Counting using 145 charts. Simple
concepts through advanced techniques are examined. The book won't teach
you a Blackjack "system." A hundred such books exist. (For a
full, free 540-page book that teaches Blackjack from the ground up, see
[Free Blackjack Book](http://www.qfit.com/book).) The idea
here is to demonstrate the mechanics of Blackjack focusing on the vulnerabilities
of both the house and the player. Graphs are used instead of tables of
data to provide an instant view of the relative importance of various
aspects of Blackjack. From this we can see more clearly areas of exploitation
and also the reasons that many card counters don't make it.
An online form was selected for this book because full color books are
expensive, it makes for an easy reference, and it is trivial to modify
and extend. BlackjackinColor is a living document — suggestions for
changes and additions are welcome at [Suggestions.](/cdn-cgi/l/email-protection#f0838580809f8284b081969984de939f9d)
Since later pages build on information and explanations in earlier pages,
the easiest method of understanding this site is to start with the [first
page](blackjackfirstcards1.htm) and use the Next buttons to travel to the end. Alternatively
the index can be used below:
Acknowledgment: Many thanks to Don Schlesinger for cleaning up my atrocious
use of the Queen's English.
1. Basic Strategy
* [1.1 What Blackjack hands do
we get?](blackjackfirstcards1.htm)
* [1.2 What are the good Blackjack
hands?](blackjackfirstcards2.htm)
* [1.3 What hands get the money?](blackjackfirstcards3.htm)
* [1.4 What hands do we get including
dealer upcards?](blackjackfirstcards4.htm)
* [1.5 What are the effects of
common rules?](blackjackfirstcards5.htm)
2. Data by Count
* [2.1 How often do we get each true count?](truecount1.htm)
* [2.2 How valuable is each true count?](truecount2.htm)
* [2.3 How do indexes affect advantages
of counts?](truecount3.htm)
* [2.4 How do different manners of true
counting differ?](truecount4.htm)
* [2.5 How does the card count affect win/lose/push
rates?](truecount5.htm)
* [2.6 How does the count affect splits,
double downs, Blackjacks and insurance?](truecount6.htm)
* [2.7 Where do indexes come from?](truecount7.htm)
* [2.8 What about unbalanced card counting
frequencies?](runningcount1.htm)
* [2.9 What about unbalanced card counting
advantages?](runningcount2.htm)
3. Data by Depth
* [3.1 Why is depth important in Blackjack?](penetration1.htm)
* [3.2 What is the advantage at different
depths?](penetration2.htm)
4. Data by Penetration (SCORE Charts)
* [4.1 How much does penetration matter?](penetration3.htm)
* [4.2 How much do card counting indexes
matter?](penetration4.htm)
* [4.3 How much do bet spreads matter?](penetration5.htm)
* [4.4 How much do card counting strategies
matter?](penetration6.htm)
* [4.5 What about ace-neutral strategies
and ace side counts?](penetration7.htm)
* [4.6 What effect do rules have?](penetration8.htm)
* [4.7 How often should we recalculate
true counts?](penetration9.htm)
* [4.8 Where should we sit?](penetration10.htm)
* [4.9 How many hands should we play
at once?](penetration11.htm)
* [4.10 Should I bet by half counts?](penetration12.htm)
* [4.11 What if I play the strategy for
the wrong rules?](penetration13.htm)
5. Error Data
* [5.1 How do Blackjack dealer errors
affect us?](blackjackerrors1.htm)
* [5.2 How do player errors affect
us?](blackjackerrors2.htm)
6. Cover Data
* [6.1 How does cover betting affect
max bets?](cardcountingcover1.htm)
* [6.2 How does cover betting affect
SCOREs?](cardcountingcover2.htm)
* [6.3 How does number of players
interact with cover betting?](cardcountingcover3.htm)
* [6.4 How can the effects of cover
betting be reduced?](cardcountingcover4.htm)
* [6.5 How do cover plays affect
SCOREs?](cardcountingcover5.htm)
* [6.6 How does cover Insurance
affect SCOREs?](cardcountingcover6.htm)
* [6.7 What is the cost of tipping?](cardcountingcover7.htm)
7. Variance and Volatility Data
* [7.1 What is the difference between
the long and short run?](blackjackvariance1.htm)
* [7.2 What is the range of my results?](blackjackvariance2.htm)
* [7.3 How many sessions/trips should
I win?](blackjackvariance3.htm)
8. Bankrolls, Goals, Risk Data
* [8.1 What is my risk of ruin?](blackjackrisk1.htm)
* [8.2 What is the probability I will
achieve goals?](blackjackrisk2.htm)
* [8.3 How many Blackjack hands will
it take?](blackjackrisk3.htm)
* [8.4 How does changing risk affect
win rate?](blackjackrisk4.htm)
9. Optimal Betting Data
* [9.1 What effect does penetration
have on optimal bets?](optimalbetting1.htm)
* [9.2 How much is lost with rational
bet sizes?](optimalbetting2.htm)
10. Effects on Other Players
* [10.1 How does back-counting affect
others?](othereffects1.htm)
* [10.2 How does changing number of hands
affect others?](othereffects2.htm)
* [10.3 How does bad-card eating affect
others?](othereffects3.htm)
11. Unusual Effects and Miscellaneous Data
* [11.1 What is the effect of the
cut card?](blackjackeffects1.htm)
* [11.2 What is the effect of Floating
Advantage on card counting?](blackjackeffects2.htm)
* [11.3 Do
we spend more time in positive or negative counts?](truecount8.htm)
* [11.4 How
many cards are dealt per hand?](cardsperround.htm)
12. Side Bet Data
* [12.1 How do we card count Lucky
Ladies?](blackjacksidebet1.htm)
13. Peeking Data
* [13.1 What is the gain from peeking
at player downcards?](cardcountingextra1.htm)
* [13.2 What is the gain from peeking
at burn cards?](cardcountingextra2.htm)
* [13.3 What is the gain from peeking
at dealer hole cards?](cardcountingextra3.htm)
* [13.4 What is the advantage if
we know the first card dealt?](cardcountingextra4.htm)
14. Voodoo Charts
* [14.1 How do targets and stop losses affect
us?](useless1.htm)
* [14.2 What are dealer hand total and bust
frequencies?](useless2.htm)
* [14.3 How long are streaks?](useless3.htm)
* [14.4 What does a positive progression session
look like?](useless5.htm)
* [14.5 What does a Martingale session look
like?](useless4.htm)
* [14.6 How does the third base player affect
you?](useless6.htm)
15. Blackjack Shuffle Tracking Charts
* [15.1 How does shuffle tracking
affect SCORE?](Shuffletracking1.htm)
* [15.2 How does shuffle tracking
affect others?](Shuffletracking3.htm)
* [15.3 How does shuffle tracking
affect the count?](Shuffletracking2.htm)
To link to this site, copy the following:
<a href="http://www.blackjackincolor.com">BlackjackinColor.com</a> How Blackjack Works - an online book
Other sites by [Norman Wattenberger](http://www.normanwattenberger.com)
Please no solicitations for affiliate ads. I have no interest. | |
| |
*copyright © 2007, Norm Wattenberger, [QFIT
Blackjack](http://www.qfit.com), All rights reserved*
| |
| https://www.blackjackincolor.com/ |
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<Group description="Tabs Background" selector=".tabs-outer .PageList">
<Variable name="tabs.background.color" description="Background Color" type="color" default="#f5f5f5"/>
<Variable name="tabs.selected.background.color" description="Selected Color" type="color" default="#eeeeee"/>
</Group>
<Group description="Post Title" selector="h3.post-title, .comments h4">
<Variable name="post.title.font" description="Font" type="font"
default="normal normal 22px Arial, Tahoma, Helvetica, FreeSans, sans-serif"/>
</Group>
<Group description="Date Header" selector=".date-header">
<Variable name="date.header.color" description="Text Color" type="color"
default="#222222"/>
<Variable name="date.header.background.color" description="Background Color" type="color"
default="transparent"/>
<Variable name="date.header.font" description="Text Font" type="font"
default="normal bold 11px Arial, Tahoma, Helvetica, FreeSans, sans-serif"/>
<Variable name="date.header.padding" description="Date Header Padding" type="string" default="inherit"/>
<Variable name="date.header.letterspacing" description="Date Header Letter Spacing" type="string" default="inherit"/>
<Variable name="date.header.margin" description="Date Header Margin" type="string" default="inherit"/>
</Group>
<Group description="Post Footer" selector=".post-footer">
<Variable name="post.footer.text.color" description="Text Color" type="color" default="#666666"/>
<Variable name="post.footer.background.color" description="Background Color" type="color"
default="#f9f9f9"/>
<Variable name="post.footer.border.color" description="Shadow Color" type="color" default="#eeeeee"/>
</Group>
<Group description="Gadgets" selector="h2">
<Variable name="widget.title.font" description="Title Font" type="font"
default="normal bold 11px Arial, Tahoma, Helvetica, FreeSans, sans-serif"/>
<Variable name="widget.title.text.color" description="Title Color" type="color" default="#000000"/>
<Variable name="widget.alternate.text.color" description="Alternate Color" type="color" default="#999999"/>
</Group>
<Group description="Images" selector=".main-inner">
<Variable name="image.background.color" description="Background Color" type="color" default="#ffffff"/>
<Variable name="image.border.color" description="Border Color" type="color" default="#eeeeee"/>
<Variable name="image.text.color" description="Caption Text Color" type="color" default="#222222"/>
</Group>
<Group description="Accents" selector=".content-inner">
<Variable name="body.rule.color" description="Separator Line Color" type="color" default="#eeeeee"/>
<Variable name="tabs.border.color" description="Tabs Border Color" type="color" default="#eeeeee"/>
</Group>
<Variable name="body.background" description="Body Background" type="background"
color="#f6fbf6" default="$(color) none repeat scroll top left"/>
<Variable name="body.background.override" description="Body Background Override" type="string" default=""/>
<Variable name="body.background.gradient.cap" description="Body Gradient Cap" type="url"
default="url(https://resources.blogblog.com/blogblog/data/1kt/simple/gradients_light.png)"/>
<Variable name="body.background.gradient.tile" description="Body Gradient Tile" type="url"
default="url(https://resources.blogblog.com/blogblog/data/1kt/simple/body_gradient_tile_light.png)"/>
<Variable name="content.background.color.selector" description="Content Background Color Selector" type="string" default=".content-inner"/>
<Variable name="content.padding" description="Content Padding" type="length" default="10px" min="0" max="100px"/>
<Variable name="content.padding.horizontal" description="Content Horizontal Padding" type="length" default="10px" min="0" max="100px"/>
<Variable name="content.shadow.spread" description="Content Shadow Spread" type="length" default="40px" min="0" max="100px"/>
<Variable name="content.shadow.spread.webkit" description="Content Shadow Spread (WebKit)" type="length" default="5px" min="0" max="100px"/>
<Variable name="content.shadow.spread.ie" description="Content Shadow Spread (IE)" type="length" default="10px" min="0" max="100px"/>
<Variable name="main.border.width" description="Main Border Width" type="length" default="0" min="0" max="10px"/>
<Variable name="header.background.gradient" description="Header Gradient" type="url" default="none"/>
<Variable name="header.shadow.offset.left" description="Header Shadow Offset Left" type="length" default="-1px" min="-50px" max="50px"/>
<Variable name="header.shadow.offset.top" description="Header Shadow Offset Top" type="length" default="-1px" min="-50px" max="50px"/>
<Variable name="header.shadow.spread" description="Header Shadow Spread" type="length" default="1px" min="0" max="100px"/>
<Variable name="header.padding" description="Header Padding" type="length" default="30px" min="0" max="100px"/>
<Variable name="header.border.size" description="Header Border Size" type="length" default="1px" min="0" max="10px"/>
<Variable name="header.bottom.border.size" description="Header Bottom Border Size" type="length" default="0" min="0" max="10px"/>
<Variable name="header.border.horizontalsize" description="Header Horizontal Border Size" type="length" default="0" min="0" max="10px"/>
<Variable name="description.text.size" description="Description Text Size" type="string" default="140%"/>
<Variable name="tabs.margin.top" description="Tabs Margin Top" type="length" default="0" min="0" max="100px"/>
<Variable name="tabs.margin.side" description="Tabs Side Margin" type="length" default="30px" min="0" max="100px"/>
<Variable name="tabs.background.gradient" description="Tabs Background Gradient" type="url"
default="url(https://resources.blogblog.com/blogblog/data/1kt/simple/gradients_light.png)"/>
<Variable name="tabs.border.width" description="Tabs Border Width" type="length" default="1px" min="0" max="10px"/>
<Variable name="tabs.bevel.border.width" description="Tabs Bevel Border Width" type="length" default="1px" min="0" max="10px"/>
<Variable name="post.margin.bottom" description="Post Bottom Margin" type="length" default="25px" min="0" max="100px"/>
<Variable name="image.border.small.size" description="Image Border Small Size" type="length" default="2px" min="0" max="10px"/>
<Variable name="image.border.large.size" description="Image Border Large Size" type="length" default="5px" min="0" max="10px"/>
<Variable name="page.width.selector" description="Page Width Selector" type="string" default=".region-inner"/>
<Variable name="page.width" description="Page Width" type="string" default="auto"/>
<Variable name="main.section.margin" description="Main Section Margin" type="length" default="15px" min="0" max="100px"/>
<Variable name="main.padding" description="Main Padding" type="length" default="15px" min="0" max="100px"/>
<Variable name="main.padding.top" description="Main Padding Top" type="length" default="30px" min="0" max="100px"/>
<Variable name="main.padding.bottom" description="Main Padding Bottom" type="length" default="30px" min="0" max="100px"/>
<Variable name="paging.background"
color="#ffffff"
description="Background of blog paging area" type="background"
default="transparent none no-repeat scroll top center"/>
<Variable name="footer.bevel" description="Bevel border length of footer" type="length" default="0" min="0" max="10px"/>
<Variable name="mobile.background.overlay" description="Mobile Background Overlay" type="string"
default="transparent none repeat scroll top left"/>
<Variable name="mobile.background.size" description="Mobile Background Size" type="string" default="auto"/>
<Variable name="mobile.button.color" description="Mobile Button Color" type="color" default="#ffffff" />
<Variable name="startSide" description="Side where text starts in blog language" type="automatic" default="left"/>
<Variable name="endSide" description="Side where text ends in blog language" type="automatic" default="right"/>
*/
/* Content
----------------------------------------------- */
body {
font: normal normal 14px Arial, Tahoma, Helvetica, FreeSans, sans-serif;
color: #222222;
background: #f6fbf6 none repeat scroll top left;
padding: 0 40px 40px 40px;
}
html body .region-inner {
min-width: 0;
max-width: 100%;
width: auto;
}
h2 {
font-size: 22px;
}
a:link {
text-decoration:none;
color: #121fb3;
}
a:visited {
text-decoration:none;
color: #121fb3;
}
a:hover {
text-decoration:underline;
color: #1a00ff;
}
.body-fauxcolumn-outer .fauxcolumn-inner {
background: transparent url(//www.blogblog.com/1kt/simple/body_gradient_tile_light.png) repeat scroll top left;
_background-image: none;
}
.body-fauxcolumn-outer .cap-top {
position: absolute;
z-index: 1;
height: 400px;
width: 100%;
}
.body-fauxcolumn-outer .cap-top .cap-left {
width: 100%;
background: transparent url(//www.blogblog.com/1kt/simple/gradients_light.png) repeat-x scroll top left;
_background-image: none;
}
.content-outer {
-moz-box-shadow: 0 0 40px rgba(0, 0, 0, .15);
-webkit-box-shadow: 0 0 5px rgba(0, 0, 0, .15);
-goog-ms-box-shadow: 0 0 10px #333333;
box-shadow: 0 0 40px rgba(0, 0, 0, .15);
margin-bottom: 1px;
}
.content-inner {
padding: 10px 10px;
}
.content-inner {
background-color: #ffffff;
}
/* Header
----------------------------------------------- */
.header-outer {
background: #f6fbf7 url(//www.blogblog.com/1kt/simple/gradients_light.png) repeat-x scroll 0 -400px;
_background-image: none;
}
.Header h1 {
font: normal normal 42px Play;
color: #666666;
text-shadow: 1px 2px 3px rgba(0, 0, 0, .2);
}
.Header h1 a {
color: #666666;
}
.Header .description {
font-size: 140%;
color: #666666;
}
.header-inner .Header .titlewrapper {
padding: 22px 30px;
}
.header-inner .Header .descriptionwrapper {
padding: 0 30px;
}
/* Tabs
----------------------------------------------- */
.tabs-inner .section:first-child {
border-top: 0 solid #eeeeee;
}
.tabs-inner .section:first-child ul {
margin-top: -0;
border-top: 0 solid #eeeeee;
border-left: 0 solid #eeeeee;
border-right: 0 solid #eeeeee;
}
.tabs-inner .widget ul {
background: #f5f5f5 url(//www.blogblog.com/1kt/simple/gradients_light.png) repeat-x scroll 0 -800px;
_background-image: none;
border-bottom: 1px solid #eeeeee;
margin-top: 0;
margin-left: -30px;
margin-right: -30px;
}
.tabs-inner .widget li a {
display: inline-block;
padding: .6em 1em;
font: normal normal 14px Arial, Tahoma, Helvetica, FreeSans, sans-serif;
color: #999999;
border-left: 1px solid #ffffff;
border-right: 1px solid #eeeeee;
}
.tabs-inner .widget li:first-child a {
border-left: none;
}
.tabs-inner .widget li.selected a, .tabs-inner .widget li a:hover {
color: #000000;
background-color: #eeeeee;
text-decoration: none;
}
/* Columns
----------------------------------------------- */
.main-outer {
border-top: 0 solid #eeeeee;
}
.fauxcolumn-left-outer .fauxcolumn-inner {
border-right: 1px solid #eeeeee;
}
.fauxcolumn-right-outer .fauxcolumn-inner {
border-left: 1px solid #eeeeee;
}
/* Headings
----------------------------------------------- */
div.widget > h2,
div.widget h2.title {
margin: 0 0 1em 0;
font: normal bold 11px Arial, Tahoma, Helvetica, FreeSans, sans-serif;
color: #000000;
}
/* Widgets
----------------------------------------------- */
.widget .zippy {
color: #999999;
text-shadow: 2px 2px 1px rgba(0, 0, 0, .1);
}
.widget .popular-posts ul {
list-style: none;
}
/* Posts
----------------------------------------------- */
h2.date-header {
font: normal bold 11px Arial, Tahoma, Helvetica, FreeSans, sans-serif;
}
.date-header span {
background-color: transparent;
color: transparent;
padding: inherit;
letter-spacing: inherit;
margin: inherit;
}
.main-inner {
padding-top: 30px;
padding-bottom: 30px;
}
.main-inner .column-center-inner {
padding: 0 15px;
}
.main-inner .column-center-inner .section {
margin: 0 15px;
}
.post {
margin: 0 0 25px 0;
}
h3.post-title, .comments h4 {
font: normal normal 22px Arial, Tahoma, Helvetica, FreeSans, sans-serif;
margin: .75em 0 0;
}
.post-body {
font-size: 110%;
line-height: 1.4;
position: relative;
}
.post-body img, .post-body .tr-caption-container, .Profile img, .Image img,
.BlogList .item-thumbnail img {
padding: 2px;
background: #ffffff;
border: 1px solid #ffffff;
-moz-box-shadow: 1px 1px 5px rgba(0, 0, 0, .1);
-webkit-box-shadow: 1px 1px 5px rgba(0, 0, 0, .1);
box-shadow: 1px 1px 5px rgba(0, 0, 0, .1);
}
.post-body img, .post-body .tr-caption-container {
padding: 5px;
}
.post-body .tr-caption-container {
color: #222222;
}
.post-body .tr-caption-container img {
padding: 0;
background: transparent;
border: none;
-moz-box-shadow: 0 0 0 rgba(0, 0, 0, .1);
-webkit-box-shadow: 0 0 0 rgba(0, 0, 0, .1);
box-shadow: 0 0 0 rgba(0, 0, 0, .1);
}
.post-header {
margin: 0 0 1.5em;
line-height: 1.6;
font-size: 90%;
}
.post-footer {
margin: 20px -2px 0;
padding: 5px 10px;
color: #666666;
background-color: #f9f9f9;
border-bottom: 1px solid #eeeeee;
line-height: 1.6;
font-size: 90%;
}
#comments .comment-author {
padding-top: 1.5em;
border-top: 1px solid #eeeeee;
background-position: 0 1.5em;
}
#comments .comment-author:first-child {
padding-top: 0;
border-top: none;
}
.avatar-image-container {
margin: .2em 0 0;
}
#comments .avatar-image-container img {
border: 1px solid #ffffff;
}
/* Comments
----------------------------------------------- */
.comments .comments-content .icon.blog-author {
background-repeat: no-repeat;
background-image: url(data:image/png;base64,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);
}
.comments .comments-content .loadmore a {
border-top: 1px solid #999999;
border-bottom: 1px solid #999999;
}
.comments .comment-thread.inline-thread {
background-color: #f9f9f9;
}
.comments .continue {
border-top: 2px solid #999999;
}
/* Accents
---------------------------------------------- */
.section-columns td.columns-cell {
border-left: 1px solid #eeeeee;
}
.blog-pager {
background: transparent none no-repeat scroll top center;
}
.blog-pager-older-link, .home-link,
.blog-pager-newer-link {
background-color: #ffffff;
padding: 5px;
}
.footer-outer {
border-top: 0 dashed #bbbbbb;
}
/* Mobile
----------------------------------------------- */
body.mobile {
background-size: auto;
}
.mobile .body-fauxcolumn-outer {
background: transparent none repeat scroll top left;
}
.mobile .body-fauxcolumn-outer .cap-top {
background-size: 100% auto;
}
.mobile .content-outer {
-webkit-box-shadow: 0 0 3px rgba(0, 0, 0, .15);
box-shadow: 0 0 3px rgba(0, 0, 0, .15);
}
.mobile .tabs-inner .widget ul {
margin-left: 0;
margin-right: 0;
}
.mobile .post {
margin: 0;
}
.mobile .main-inner .column-center-inner .section {
margin: 0;
}
.mobile .date-header span {
padding: 0.1em 10px;
margin: 0 -10px;
}
.mobile h3.post-title {
margin: 0;
}
.mobile .blog-pager {
background: transparent none no-repeat scroll top center;
}
.mobile .footer-outer {
border-top: none;
}
.mobile .main-inner, .mobile .footer-inner {
background-color: #ffffff;
}
.mobile-index-contents {
color: #222222;
}
.mobile-link-button {
background-color: #121fb3;
}
.mobile-link-button a:link, .mobile-link-button a:visited {
color: #ffffff;
}
.mobile .tabs-inner .section:first-child {
border-top: none;
}
.mobile .tabs-inner .PageList .widget-content {
background-color: #eeeeee;
color: #000000;
border-top: 1px solid #eeeeee;
border-bottom: 1px solid #eeeeee;
}
.mobile .tabs-inner .PageList .widget-content .pagelist-arrow {
border-left: 1px solid #eeeeee;
}
.content-outer {
max-width: 1400px !important;
}
/* fix header */
#header-inner {
width: 100% !important;
background-position: right !important;
}
.titlewrapper {
padding: 11px 30px 0 !important;
}
.descriptionwrapper {
margin-bottom: 0 !important;
}
.description {
font-size: 120% !important;
}
/* suppress things */
.date-header {
display: none;
}
#Attribution1 {
display: none;
}
.post-author, .post-timestamp, .reaction-buttons {
display: none;
}
/* h2: sidebar titles */
/* h3: post title */
.post-title , .entry-title {
font-size: 180% !important;
margin-top: 0 !important;
}
.entry-title a:link, .entry-title a:visited, .entry-title a:active{
color: #a03;
}
#main h2 {
color:#333;
margin-bottom:.4em;
margin-top: 13px;
font-size:140%;
}
#main h3 {
color:#333;
margin-bottom:.4em;
margin-top: 13px;
font-size:110%;
}
#main h4 {
color:#333;
margin-bottom:.5em;
}
#sidebar-right-1 a:link, #sidebar-right-1 a:visited, #sidebar-right-1 a:active {
color: #666;
}
#sidebar-right-1 h2 {
font-size: 100%;
color: #666;
}
/* disable image box */
element.style {
}
table.chargers img {
height: 18px;
}
table.chargers img {
height: 18px;
}
.post-body img, .post-body .tr-caption-container {
padding: 5px;
}
.post-body img, .post-body .tr-caption-container, .Profile img, .Image img, .BlogList .item-thumbnail img {
padding: 0;
background: #ffffff;
border: none;
-moz-box-shadow: none;
-webkit-box-shadow: none;
box-shadow: none;
}
/* Special items */
a:link img.hilite, a:visited img.hilite {
color: #fff;
}
a:hover img.hilite, a:hover img.hilite2 {
color: #f66;
}
a:active img.hilite {
color: #33c;
}
.hilite {cursor:zoom-in}
pre {color:#000000;border:1px solid #000000;}
pre.repl { background-color:#e0e0f0; font-size:120%;}
pre.arc { background-color:#e0e0f0; font-size:120%;}
pre.code { background-color:#e0f0e0; font-size:120%; white-space:pre-wrap;white-space:-moz-pre-wrap;white-space:-pre-wrap;white-space:-o-pre-wrap;word-wrap:break-word;text-wrap:unrestricted;}
code { font-size: 100%;}
blockquote { font-size: 110%; background: transparent url("//static.righto.com/images/blockquote.gif") no-repeat 0 0; margin: 20px 0px; padding: 0px 40px;}
div.cite {font-size: .8em;.; font-style: italic; color: #888; margin-bottom: 9px;}
a.ref { color: gray;vertical-align: super; text-decoration: none; font-size:60%;margin-left: 2px;}
a img.hilite {
border: 1px solid;
color: #888;
z-index: 2;
}
a img.hilite2, a:active img.hilite2 {
border: 1px solid;
color: #f6fbf6;
}
table.chargers {
border-width: 1px;
border-spacing: 2px;
border-style: outset;
border-color: gray;
border-collapse: collapse;
background-color: white;
}
table.chargers th.maker {
padding-right: 5px;
text-align: right;
}
table.chargers th {
border-width: 1px;
padding: 3px;
border-style: inset;
border-color: gray;
background-color: white;
text-align: center;
}
table.chargers img {
height: 18px;
}
table.chargers td {
text-align: center;
border-width: 1px;
padding: 2px 8px;
border-style: inset;
border-color: gray;
background-color: white;
}
--></style>
<style id='template-skin-1' type='text/css'><!--
body {
min-width: 750px;
}
.content-outer, .content-fauxcolumn-outer, .region-inner {
min-width: 750px;
max-width: 750px;
_width: 750px;
}
.main-inner .columns {
padding-left: 0px;
padding-right: 240px;
}
.main-inner .fauxcolumn-center-outer {
left: 0px;
right: 240px;
/* IE6 does not respect left and right together */
_width: expression(this.parentNode.offsetWidth -
parseInt("0px") -
parseInt("240px") + 'px');
}
.main-inner .fauxcolumn-left-outer {
width: 0px;
}
.main-inner .fauxcolumn-right-outer {
width: 240px;
}
.main-inner .column-left-outer {
width: 0px;
right: 100%;
margin-left: -0px;
}
.main-inner .column-right-outer {
width: 240px;
margin-right: -240px;
}
#layout {
min-width: 0;
}
#layout .content-outer {
min-width: 0;
width: 800px;
}
#layout .region-inner {
min-width: 0;
width: auto;
}
--></style>
<meta content='width=device-width, initial-scale=1.0, maximum-scale=12.0, minimum-scale=.25, user-scalable=yes' name='viewport'/>
<meta content='mw8ww70r3jW0GzXY6j1d' name='follow_it-verification-code'/>
<link href='https://www.blogger.com/dyn-css/authorization.css?targetBlogID=6264947694886887540&zx=39f3a7b6-2dce-49cc-9204-b2ce342e2bdc' media='none' onload='if(media!='all')media='all'' rel='stylesheet'/><noscript><link href='https://www.blogger.com/dyn-css/authorization.css?targetBlogID=6264947694886887540&zx=39f3a7b6-2dce-49cc-9204-b2ce342e2bdc' rel='stylesheet'/></noscript>
<meta name='google-adsense-platform-account' content='ca-host-pub-1556223355139109'/>
<meta name='google-adsense-platform-domain' content='blogspot.com'/>
</head>
<body class='loading'>
<div class='navbar no-items section' id='navbar'>
</div>
<div class='body-fauxcolumns'>
<div class='fauxcolumn-outer body-fauxcolumn-outer'>
<div class='cap-top'>
<div class='cap-left'></div>
<div class='cap-right'></div>
</div>
<div class='fauxborder-left'>
<div class='fauxborder-right'></div>
<div class='fauxcolumn-inner'>
</div>
</div>
<div class='cap-bottom'>
<div class='cap-left'></div>
<div class='cap-right'></div>
</div>
</div>
</div>
<div class='content'>
<div class='content-fauxcolumns'>
<div class='fauxcolumn-outer content-fauxcolumn-outer'>
<div class='cap-top'>
<div class='cap-left'></div>
<div class='cap-right'></div>
</div>
<div class='fauxborder-left'>
<div class='fauxborder-right'></div>
<div class='fauxcolumn-inner'>
</div>
</div>
<div class='cap-bottom'>
<div class='cap-left'></div>
<div class='cap-right'></div>
</div>
</div>
</div>
<div class='content-outer'>
<div class='content-cap-top cap-top'>
<div class='cap-left'></div>
<div class='cap-right'></div>
</div>
<div class='fauxborder-left content-fauxborder-left'>
<div class='fauxborder-right content-fauxborder-right'></div>
<div class='content-inner'>
<header>
<div class='header-outer'>
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555 timer teardown: inside the world's most popular IC
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<div style="color: #666; font-size: 90%">This article is translated into Vietnamese at: <a href="https://chuyenmuccongnghe.com/2016/09/18/ben-trong-chip-dinh-thoi-555/">Bên trong chíp định thời 555</a>.
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<p>
If you've played around with electronic circuits, you probably know<a class="ref" href="#ref1">[1]</a>
the 555 timer integrated circuit,
said to be the world's best-selling integrated circuit
with billions sold.
Designed by analog IC wizard Hans Camenzind<a class="ref" href="#ref2">[2]</a> in 1970, the 555 has been called one of the
<a href="http://spectrum.ieee.org/semiconductors/processors/25-microchips-that-shook-the-world">greatest chips of all time</a> with
whole books devoted to
<a target="_blank" href="https://www.amazon.com/s/ref=as_li_ss_tl?_encoding=UTF8&camp=1789&creative=390957&fst=as%3Aoff&keywords=555%20timer&linkCode=ur2&qid=1448837596&rh=n%3A283155%2Ck%3A555%20timer&sort=relevancerank&tag=rightocom&linkId=TXV2AQJUMMXQUHBP">555</a>
<a href="https://archive.org/details/electronics_-_Forrest_Mims-engineers_mini-notebook_555_timer_circuits_radio_sha">timer</a>
<a href="http://chiclassiccomp.org/docs/content/books/ICTimerCookbook1stEd1977_WalterGJung.pdf">circuits</a>.
<p>
Given the popularity of the 555 timer, I thought it would be interesting to find out what's inside the 555 timer and how it works.
While the 555 timer is usually sold as a black plastic IC, it is also available in a metal can, which can be cut open with a hacksaw<a class="ref" href="#ref3">[3]</a>
revealing the tiny die inside.
<p>
<a href="//static.righto.com/images/555/1-penny.jpg"><img alt="Inside the 555 timer. The tiny die in the package is connected to the 8 pins by wires." class="hilite" height="403" src="//static.righto.com/images/555/penny-w600.jpg" title="Inside the 555 timer. The tiny die in the package is connected to the 8 pins by wires." width="600">
</a>
<p>
<div class="cite">
Inside the 555 timer. The tiny die in the package is connected to the 8 pins by wires.
</div>
<h2>A brief explanation of the 555 timer</h2>
The 555 timer has hundreds of applications, operating as anything from a timer or latch to a voltage-controlled oscillator or modulator.
The diagram below illustrates how the 555 timer operates as a simple oscillator.
Inside the 555 chip, three resistors form a divider generating references voltages of 1/3 and 2/3 of the supply voltage.
The external capacitor will charge and discharge between these limits, producing an oscillation.
In more detail, the capacitor will slowly charge (A) through the external resistors until its voltage hits the 2/3 reference.
At that point (B), the upper (threshold) comparator switches the flip flop off and the output off. This turns on the discharge transistor, slowly discharging the capacitor (C). When the voltage on the capacitor hits the 1/3 reference (D), the lower (trigger) comparator turns on, setting the flip flop and the output, and the cycle repeats. The values of the resistors and capacitor control the timing, from microseconds to hours.<a class="ref" href="#ref4">[4]</a>
<p>
<a href="//static.righto.com/images/555/555_operation.png"><img alt="Diagram showing how the 555 timer can operate as an oscillator." class="hilite" height="348" src="//static.righto.com/images/555/555_operation-w800.png" title="Diagram showing how the 555 timer can operate as an oscillator." width="800">
</a>
<p>
<div class="cite">
Diagram showing how the 555 timer can operate as an oscillator.
</div>
<p>
To summarize, the key components of the 555 timer are the comparators to detect the upper and lower voltage limits, the three-resistor divider to set these limits, and the flip flop to keep track of whether the circuit is charging or discharging.
The 555 timer has two other pins (reset and control voltage) that I haven't covered above; they can be used for more complex circuits.
<h2>The structure of the integrated circuit</h2>
The photo below shows the silicon die of the 555 through a microscope.
On top of the silicon, a thin layer of metal connects different parts of the chip. This metal is clearly visible in the photo as yellowish-white traces and regions. Under the metal, a thin, glassy silicon dioxide layer provides insulation between the metal and the silicon, except where contact holes in the silicon dioxide allow the metal to connect to the silicon. At the edge of the chip, thin wires connect the metal pads to the chip's external pins.
<p>
<a href="//static.righto.com/images/555/die.png"><img alt="Die photo of the 555 timer." class="hilite" height="495" src="//static.righto.com/images/555/die-w600.png" title="Die photo of the 555 timer." width="600">
</a>
<p>
<div class="cite">
Die photo of the 555 timer.
</div>
<p>
The different types of silicon on the chip are harder to see.
Regions of the chip are treated (<a href="https://en.wikipedia.org/wiki/Doping_(semiconductor)">doped</a>) with impurities to change the electrical properties of the silicon. N-type silicon has an excess of electrons (negative), while P-type silicon lacks electrons (positive).
In the photo, these regions show up as a slightly different color surrounded by a thin black border.
These regions are the building blocks of the chip, forming transistors and resistors.
<h3>NPN transistors inside the IC</h3>
Transistors are the key components in a chip. The 555 timer uses NPN and PNP bipolar transistors.
If you've studied electronics, you've probably seen a diagram of an NPN transistor like the one below, showing the collector (C), base (B), and emitter (E) of the transistor, The transistor is illustrated as a sandwich of P silicon in between two symmetric layers of N silicon; the N-P-N layers make an NPN transistor.
It turns out that transistors on a chip look nothing like this, and the base often isn't even in the middle!
<p>
<a href="//static.righto.com/images/555/npn_transistor.png"><img alt="Schematic symbol for an NPN transistor, along with an oversimplified diagram of its internal structure." class="hilite" height="200" src="//static.righto.com/images/555/npn_transistor-w300.png" title="Schematic symbol for an NPN transistor, along with an oversimplified diagram of its internal structure." width="300">
</a>
<p>
<div class="cite">
Schematic symbol for an NPN transistor, along with an oversimplified diagram of its internal structure.
</div>
<p>
The photo below shows one of the transistors in the 555 as it appears on the chip.
The slightly different tints in the silicon indicate regions that has been doped to form N and P regions.
The whitish-yellow areas are the metal layer of the chip on top of the silicon - these form the wires connecting to the collector, emitter, and base. You can spot an emitter on the chip by its "bullseye" structure, while the base rectangle surrounds the emitter.
<p>
<a href="//static.righto.com/images/555/trans_npn_labeled.png"><img alt="An NPN transistor in the 555 timer chip. The collector (C), emitter (E) and base (B) are labeled, along with N and P doped silicon." class="hilite" height="445" src="//static.righto.com/images/555/trans_npn_labeled-w450.png" title="An NPN transistor in the 555 timer chip. The collector (C), emitter (E) and base (B) are labeled, along with N and P doped silicon." width="450">
</a>
<p>
<div class="cite">
An NPN transistor in the 555 timer chip. The collector (C), emitter (E) and base (B) are labeled, along with N and P doped silicon.
</div>
<p>
Underneath the photo is a cross-section drawing illustrating how the transistor is constructed. There's a lot more than just the N-P-N sandwich you see in books, but if you look carefully at the vertical cross section below the 'E', you can find the N-P-N that forms the transistor. The emitter (E) wire is connected to N+ silicon. Below that is a P layer connected to the base contact (B). And below that is an N+ layer connected (indirectly) to the collector (C).<a class="ref" href="#ref5">[5]</a>
The transistor is surrounded by a P+ ring that isolates it from neighboring components.
<p>
<h3>PNP transistors inside the IC</h3>
You might expect PNP transistors to be similar to NPN transistors, just swapping the roles of N and P silicon. But for a variety of reasons, PNP transistors have an entirely different construction.
They consist of a small circular emitter (P), surrounded by a ring shaped base (N), which is surrounded by the collector (P). This forms a P-N-P sandwich horizontally (laterally), unlike the vertical structure of the NPN transistors.
<P>
The diagram below shows one of the PNP transistors in the 555, along with a cross-section showing the silicon structure.
Note that although the metal contact for the base is on the edge of the transistor, it is electrically connected through the N and N+ regions to its active ring in between the collector and emitter.
A metal line is routed between the collector and base, but is not part of the transistor.
<p>
<a href="//static.righto.com/images/555/trans_pnp_labeled.png"><img alt="A PNP transistor in the 555 timer chip. Connections for the collector (C), emitter (E) and base (B) are labeled, along with N and P doped silicon. The base forms a ring around the emitter, and the collector forms a ring around the base." class="hilite" height="404" src="//static.righto.com/images/555/trans_pnp_labeled-w500.png" title="A PNP transistor in the 555 timer chip. Connections for the collector (C), emitter (E) and base (B) are labeled, along with N and P doped silicon. The base forms a ring around the emitter, and the collector forms a ring around the base." width="500">
</a>
<p>
<div class="cite">
A PNP transistor in the 555 timer chip. Connections for the collector (C), emitter (E) and base (B) are labeled, along with N and P doped silicon. The base forms a ring around the emitter, and the collector forms a ring around the base.
</div>
<p>
The output transistors in the 555 are much larger than the other transistors and have a different structure in order to produce the high-current output. The photo below shows one of the output transistors. Note the multiple interlocking "fingers" of the emitter and base, surrounded by the large collector.
<p>
<a href="//static.righto.com/images/555/trans_npn_big_labeled.png"><img alt="A large, high-current NPN output transistor in the 555 timer chip. The collector (C), base (B) and emitter (E) are labeled." class="hilite" height="331" src="//static.righto.com/images/555/trans_npn_big_labeled-w400.png" title="A large, high-current NPN output transistor in the 555 timer chip. The collector (C), base (B) and emitter (E) are labeled." width="400">
</a>
<p>
<div class="cite">
A large, high-current NPN output transistor in the 555 timer chip. The collector (C), base (B) and emitter (E) are labeled.
</div>
<h3>How resistors are implemented in silicon</h3>
Resistors are a key component of analog chips. Unfortunately, resistors in ICs are large and inaccurate; the resistances can vary by 50% from chip to chip. Thus, analog ICs are designed so only the ratio of resistors matters, not the absolute values, since the ratios remain nearly constant.
<p>
<a href="//static.righto.com/images/555/resistor.png"><img alt="A resistor inside the 555 timer. The resistor is a strip of P silicon between two metal contacts." class="hilite" height="142" src="//static.righto.com/images/555/resistor-w300.png" title="A resistor inside the 555 timer. The resistor is a strip of P silicon between two metal contacts." width="300">
</a>
<p>
<div class="cite">
A resistor inside the 555 timer. The resistor is a strip of P silicon between two metal contacts.
</div>
<p>
The photo above shows a 1KΩ resistor in the 555, formed from a strip of P silicon (visible as an outline). Note that the resistor connects two metal wires and another metal wire crosses it.
The resistor below is an L-shaped 100KΩ <i>pinch resistor</i>.
A layer of N silicon on top of the pinch resistor makes the conductive region much thinner (i.e. pinches it), forming a much higher but less accurate resistance.
<p>
<a href="//static.righto.com/images/555/pinch_resistor.png"><img alt="A pinch resistor inside the 555 timer. The resistor is a strip of P silicon between two metal contacts. An N layer on top pinches the resistor and increases the resistance." class="hilite" height="257" src="//static.righto.com/images/555/pinch_resistor-w300.png" title="A pinch resistor inside the 555 timer. The resistor is a strip of P silicon between two metal contacts. An N layer on top pinches the resistor and increases the resistance." width="300">
</a>
<p>
<div class="cite">
A pinch resistor inside the 555 timer. The resistor is a strip of P silicon between two metal contacts. An N layer on top pinches the resistor and increases the resistance.
</div>
<h3>IC component: The current mirror</h3>
There are some subcircuits that are very common in analog ICs, but may seem mysterious at first. The current mirror is one of these.
If you've looked at analog IC block diagrams, you may have seen the symbols below, indicating a current source, and wondered what a current source is and why you'd use one. The idea is you start with one known current and then you can "clone" multiple copies of the current with a simple transistor circuit, the current mirror.
<p>
<a href="//static.righto.com/images/741/1-current_source.png"><img alt="Schematic symbols for a current source." class="hilite" height="98" src="//static.righto.com/images/741/current_source-w150.png" title="Schematic symbols for a current source." width="150">
</a>
<p>
<div class="cite">
Schematic symbols for a current source.
</div>
<p>
<p>
The following circuit shows how a current mirror is implemented with two identical transistors.<a class="ref" href="#ref6">[6]</a> A reference current passes through the transistor on the left. (In this case, the current is set by the resistor.) Since both transistors have the same emitter voltage and base voltage, they source the same current, so the current on the right matches the reference current on the left.
<p>
<a href="//static.righto.com/images/741/1-current_mirror.png"><img alt="Current mirror circuit. The current on the right copies the current on the left." class="hilite" height="250" src="//static.righto.com/images/741/current_mirror-w213.png" title="Current mirror circuit. The current on the right copies the current on the left." width="213">
</a>
<p>
<div class="cite">
Current mirror circuit. The current on the right copies the current on the left.
</div>
<p>
A common use of a current mirror is to replace resistors. As explained earlier, resistors inside ICs are both inconveniently large and inaccurate. It saves space to use a current mirror instead of a resistor whenever possible.
Also, the currents produced by a current mirror are nearly identical, unlike the currents produced by two resistors.
<p>
<a href="//static.righto.com/images/555/trans_mirror_labeled.png"><img alt="Three transistors form a current mirror in the 555 timer chip. They all share the same base and two transistors share emitters." class="hilite" height="274" src="//static.righto.com/images/555/trans_mirror_labeled-w600.png" title="Three transistors form a current mirror in the 555 timer chip. They all share the same base and two transistors share emitters." width="600">
</a>
<p>
<div class="cite">
Three transistors form a current mirror in the 555 timer chip. They all share the same base and two transistors share emitters.
</div>
The three transistors above form a current mirror with two outputs. Note the three transistors share the base connection, tied to the collector on the right, and the emitters on the right are tied together. The transistor on the left is a <a href="https://en.wikipedia.org/wiki/Widlar_current_source">Widlar current source</a>, a modified mirror that produces a smaller current. On the schematic, the two transistors on the right are drawn as a single two-collector transistor, Q19.
<h3>IC component: The differential pair</h3>
The second important circuit to understand is the differential pair, the most common two-transistor subcircuit used in analog ICs.<a class="ref" href="#ref7">[7]</a>
You may have wondered how a comparator compares two voltages, or an op amp subtracts two voltages. This is the job of the differential pair.
<p>
<a href="//static.righto.com/images/555/differential_pair.png"><img alt="Schematic of a simple differential pair circuit. The current sink sends a fixed current I through the differential pair. If the two inputs are equal, the current is split equally between the two branches. Otherwise, the branch with the higher input voltage gets most of the current." class="hilite" height="300" src="//static.righto.com/images/555/differential_pair-w250.png" title="Schematic of a simple differential pair circuit. The current sink sends a fixed current I through the differential pair. If the two inputs are equal, the current is split equally between the two branches. Otherwise, the branch with the higher input voltage gets most of the current." width="250">
</a>
<p>
<div class="cite">
Schematic of a simple differential pair circuit. The current sink sends a fixed current I through the differential pair. If the two inputs are equal, the current is split equally between the two branches. Otherwise, the branch with the higher input voltage gets most of the current.
</div>
<p>
The schematic above shows a simple differential pair. The current sink at the bottom provides a fixed current I, which is split between the two input transistors. If the input voltages are equal, the current will be split equally into the two branches (I1 and I2). If one of the input voltages is a bit higher than the other, the corresponding transistor will conduct more current, so one branch gets more current and the other branch gets less.
A small input difference is enough to direct most of the current into the "winning" branch, flipping the comparator on or off.
<p>
In the 555, the threshold comparator uses NPN transistors, while the trigger comparator uses PNP transistors. This allows the threshold comparator to work near the supply voltage and the trigger comparator to work near ground. The 555's comparators also use two transistors on each input (<a href="https://en.wikipedia.org/wiki/Darlington_transistor">Darlington pair</a>) to buffer the inputs.
<p>
<h2>The 555 schematic interactive explorer</h2>
The 555 die photo and schematic<a class="ref" href="#ref8">[8]</a>
below are interactive. Click on a component in the die or schematic, and a brief explanation of the component will be displayed.
(For a thorough discussion of how the 555 timer works, see
<a href="http://shop.emscdn.com/KitInstrux/555/555_principles_revB3.pdf">555 Principles of Operation</a>.)
<p>
For a quick overview,
the large output transistors and discharge transistor are the most obvious features on the die.
The threshold comparator consists of Q1 through Q8. The trigger comparator consists of Q10 through Q13, along with current mirror Q9.
Q16 and Q17 form the flip flop. The three 5KΩ resistors forming the voltage divider are in the middle of the chip.<a class="ref" href="#ref9">[9]</a>
Urban legend says that the 555 is named after these three 5K resistors, but
<a href="http://www.semiconductormuseum.com/Transistors/LectureHall/Camenzind/Camenzind_Page2.htm">according to its designer</a>
555 is just an arbitrary number in the 500 chip series
<p>
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var view2 = new View(schematic555Data, "schematic555", "//static.righto.com/images/555/schematic_philips.png", controller, 800, 541);
//var view2 = new View(schematic555Data, "schematic555", "schematic-philips.png", controller, 800, 541);
});
</script>
<h2>How I photographed the 555 die</h2>
Integrated circuit usually come in a black epoxy package which require inconveniently dangerous <a href="http://zeptobars.ru/en/read/how-to-open-microchip-asic-what-inside">concentrated acid</a> to open.
Instead, I bought a 555 in a metal can (below).
To examine the die, I used a <a href="https://www.amazon.com/gp/product/B004WMFOY4/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B004WMFOY4&linkCode=as2&tag=rightocom&linkId=MNRLKEIWAYBRWVA6">metallurgical microscope</a>. Unlike a standard microscope, the metallurgical microscope shines light down through the lens allowing it to work with opaque objects (such as chips).
I stitched the photos together with Hugin (<a href="http://www.righto.com/2015/12/creating-high-resolution-integrated.html">details</a>).
<p>
<a href="//static.righto.com/images/555/package.png"><img alt="The 555 timer in a metal can package. (Banana for scale)" class="hilite" height="364" src="//static.righto.com/images/555/package-w400.png" title="The 555 timer in a metal can package. (Banana for scale)" width="400">
</a>
<p>
<div class="cite">
The 555 timer in an eight-pin metal can package. (Banana for scale)
</div>
<p>
<h2>The failed improved 555</h2>
Given the popularity of the 555, it's surprising that it has several rookie design flaws; unbalanced comparators, large operating currents, an asymmetric output waveform, and temperature sensitivity.<a class="ref" href="#ref10">[10]</a>
<p>
In 1997, Camenzind redesigned the 555 to create a much better chip that could run at much lower voltages.
The improved chip was sold by Zetex as the
<a href="http://www.diodes.com/_files/datasheets/ZSCT1555.pdf">ZSCT1555</a>, but unfortunately was a flop.
The continuing success of the original 555 and the failure of the improved successor can be viewed as an example of the <a href="https://www.jwz.org/doc/worse-is-better.html">worse is better</a> principle.
<p>
<h2>Conclusion</h2>
I hope you've found this look inside the 555 timer chip interesting.
Next time you're building a <a href="http://makezine.com/2012/08/24/555-timer-weekend-projects/">555 project</a>, you'll know exactly what's inside the chip.
If you enjoyed this article, I've also reverse-engineered the
<a href="http://www.righto.com/2015/10/inside-ubiquitous-741-op-amp-circuits.html">741 op amp</a> and
<a href="http://www.righto.com/2014/09/reverse-engineering-counterfeit-7805.html">7805 voltage regulator</a>.
Thanks to Eric Schlaepfer<a class="ref" href="#ref11">[11]</a> for helpful comments.
<p>
<a href="https://twitter.com/kenshirriff">Follow me on Twitter</a> and you won't miss an article!
<h2>Notes and references</h2>
<a name="ref1"></a>[1]
The 555 timer is iconic enough to appear on
<a href="https://www.spreadshirt.com/555+timer+mugs+&+drinkware">mugs</a>, <a href="https://www.spreadshirt.com/555+timer+bags+&+backpacks">bags</a>,
<a href="http://www.zazzle.co.uk/555+timer+gifts">caps</a> and
<a href="https://teespring.com/555timer-grey3">t-shirts</a>.
<p>
<a href="//static.righto.com/images/555/555_tshirt.png"><img alt="The 555 timer is popular enough to appear on t-shirts. Courtesy of EEVblog." class="hilite" height="266" src="//static.righto.com/images/555/555_tshirt-w350.png" title="The 555 timer is popular enough to appear on t-shirts. Courtesy of EEVblog." width="350">
</a>
<p>
<div class="cite">
The 555 timer is popular enough to appear on t-shirts. Courtesy of EEVblog.
</div>
<p>
<a name="ref2"></a>[2]
The book <i>Designing Analog Chips</i> written by the 555's inventor Hans Camenzind is really interesting, and I recommend it if you want to know how analog chips work.
Chapter 11 has an extensive discussion of the 555's history and operation. Page 11-3 claims the 555 has been the best-selling IC every year, although I don't know if that is still true.
The free PDF is <a href="http://www.designinganalogchips.com/">here</a>
or get
<a rel="nofollow" href="https://www.amazon.com/gp/product/1589397185/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=1589397185&linkCode=as2&tag=rightocom&linkId=GEY5H6J5JINDRNMP">the book</a>.
<p>
<a name="ref3"></a>[3]
You can cut an IC can open with a plain hacksaw, but a jeweler's saw gives a much cleaner cut. I got a jeweler's saw on eBay for $14, and used the #2 blade. Make sure you cut near the top of the IC so you don't hit the die as I did.
<p>
<a name="ref4"></a>[4]
The brilliant part of the 555 timer is that the oscillation frequency depends only on the external resistors and capacitor and is insensitive to the supply voltage. If the supply voltage drops, the 1/3 and 2/3 references drop too, so you might expect the oscillations to be faster. But the lower voltage charges the capacitor more slowly, canceling this out and keeping the frequency constant.
<p>
This voltage insensitivity is so tricky that the chip's designer didn't figure it out until near the end of the 555's design,
but it made a big difference.
The original design was more complex and required nine pins, which is a terrible size for an IC
since there are no packages between 8 and 14 pins.
The final, simpler 555 design worked with 8 pins, making the chip's packaging much cheaper.
(See page 11-3 of <i>Designing Analog Chips</i> for the full story.)
<p>
<a name="ref5"></a>[5]
You might have wondered why there is a distinction between the collector and emitter of a transistor, when the typical diagram of a transistor is symmetrical.
As you can see from the die photo, the collector and emitter are very different in a real transistor. In addition to the very large size difference, the silicon doping is different. The result is a transistor will have <a href="https://en.wikibooks.org/wiki/Semiconductors/Introduce_to_Transistor#Operating_Modes">poor gain</a> if the collector and emitter are swapped.
<p>
<a name="ref6"></a>[6]
For more information about current mirrors, check <a href="https://en.wikipedia.org/wiki/Current_mirror">wikipedia</a>, any analog IC book, or chapter 3 of
<a href="http://www.designinganalogchips.com/_count/designinganalogchips.pdf">Designing Analog Chips</a>.
<p>
<a name="ref7"></a>[7]
Differential pairs are also called long-tailed pairs.
According to
<a href="https://www.amazon.com/gp/product/0470245999/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=0470245999&linkCode=as2&tag=rightocom&linkId=M7Y4IGG5INYYFPEW">Analysis and Design of Analog Integrated Circuits</a>
differential pairs are "perhaps the most widely used two-transistor subcircuits in monolithic
analog circuits." (p214)
For more information about differential pairs, see <a href="https://en.wikipedia.org/wiki/Differential_amplifier#Long-tailed_pair">wikipedia</a>, any analog IC book, or chapter 4 of
Designing Analog Chips.
<p>
<a name="ref8"></a>[8]
The 555 schematic used in this article is from the
<a href="http://pdf.datasheetcatalog.com/datasheet/philips/NE_SA_SE555_C_2.pdf">Philips datasheet</a>.
<p>
<a name="ref9"></a>[9]
Note that the three resistors for the voltage divider are parallel and next to each other.
This helps ensure they have the same resistance even if there are electrical variations across the silicon.
<p>
<a name="ref10"></a>[10]
I'm not criticizing the 555; Hans Camenzind points out the
design flaws and attributes them to "the early period
of IC design (and the inexperience of a rookie designer)";
see Designing Analog Chips, page 11-4.
The design of a 555 replacement is discussed in detail in
"Redesigning the old 555", IEEE Spectrum, September 1997.
That article makes it clear how much much faster IC design is now than in 1970.
It took months to create the layout of the 555 chip by hand and manually verify it for correctness.
The new chip took two days to layout and 20 minutes to verify.
<p>
<a name="ref11"></a>[11]
Evil Mad Scientist sells a very cool
<a href="http://shop.evilmadscientist.com/productsmenu/tinykitlist/652">
discrete 555 timer kit</a>, duplicating the 555 circuit on a larger scale with individual transistors and resistors — it actually works as a 555 replacement.
Their <a href="http://www.evilmadscientist.com/2011/555-footstool/">555 footstool</a> is also worth a look.
<p>
<a href="//static.righto.com/images/555/evilmadscientist.jpg"><img alt="Large-size 555 timer created by Evil Mad Scientist Lab." class="hilite" height="300" src="//static.righto.com/images/555/evilmadscientist-w400.jpg" title="Large-size 555 timer created by Evil Mad Scientist Lab." width="400">
</a>
<p>
<div class="cite">
Large-size 555 timer created by Evil Mad Scientist Lab.
</div>
<p>
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<dt class='comment-author ' id='c2992976880358571999'>
<a name='c2992976880358571999'></a>
<div class="avatar-image-container avatar-stock"><span dir="ltr"><a href="https://www.blogger.com/profile/02627689074278588696" target="" rel="nofollow" onclick="" class="avatar-hovercard" id="av-2992976880358571999-02627689074278588696"><img src="//www.blogger.com/img/blogger_logo_round_35.png" width="35" height="35" alt="" title="electronicsguy">
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<a href='https://www.blogger.com/profile/02627689074278588696' rel='nofollow'>electronicsguy</a>
said...
</dt>
<dd class='comment-body' id='Blog1_cmt-2992976880358571999'>
<p>
Excellent work Ken! Have been using the 555 for 25 years now. Always wondered how it looked like inside :)
</p>
</dd>
<dd class='comment-footer'>
<span class='comment-timestamp'>
<a href='http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1456021925943#c2992976880358571999' title='comment permalink'>
February 20, 2016 at 6:32 PM
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said...
</dt>
<dd class='comment-body' id='Blog1_cmt-4650901317333568369'>
<p>
Great article - I enjoyed it.<br /><br />Slight editing error (I presume) where you state:<br /><br />"Given the popularity of the 555, it's surprising that it has several rookie design flaws: According to its designer, it has several rookie design flaws:"
</p>
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<dd class='comment-footer'>
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February 21, 2016 at 12:28 PM
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<dt class='comment-author ' id='c4284835627275014474'>
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<div class="avatar-image-container avatar-stock"><span dir="ltr"><a href="https://www.blogger.com/profile/15598982784376330187" target="" rel="nofollow" onclick="" class="avatar-hovercard" id="av-4284835627275014474-15598982784376330187"><img src="//www.blogger.com/img/blogger_logo_round_35.png" width="35" height="35" alt="" title="Joao Miguel">
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<a href='https://www.blogger.com/profile/15598982784376330187' rel='nofollow'>Joao Miguel</a>
said...
</dt>
<dd class='comment-body' id='Blog1_cmt-4284835627275014474'>
<p>
Nice article! Good to know the early times of IC design!
</p>
</dd>
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February 22, 2016 at 6:50 PM
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<dt class='comment-author ' id='c5338595384375327823'>
<a name='c5338595384375327823'></a>
<div class="avatar-image-container avatar-stock"><span dir="ltr"><a href="https://www.blogger.com/profile/06741034155147889332" target="" rel="nofollow" onclick="" class="avatar-hovercard" id="av-5338595384375327823-06741034155147889332"><img src="//www.blogger.com/img/blogger_logo_round_35.png" width="35" height="35" alt="" title="Jacques">
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<a href='https://www.blogger.com/profile/06741034155147889332' rel='nofollow'>Jacques</a>
said...
</dt>
<dd class='comment-body' id='Blog1_cmt-5338595384375327823'>
<p>
very interesting!<br /><br />as for: "The continuing success of the original 555 and the failure of the improved successor can be viewed as an example of the worse is better principle."<br /><br />I would attribute this failure to poor marketing. The fact is that modern CMOS version of the 555 are successfull.
</p>
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February 23, 2016 at 8:15 AM
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<dd class='comment-body' id='Blog1_cmt-4950832802766896184'>
<p>
Hi,<br /><br />I'm glad to see some analog IC reverse engineering stuff.<br />Last year, i tried to reverse the ne556 (there is a nice picture of it from zeptobar: http://zeptobars.com/en/read/stm-ne556-555) and i wasnt able to identify transistor type (pnp/npn). I had no clue for that, so i just ignored the type then tried to eliminate the "impossibru" design with hypothesis (yeah, painful).<br />As far as i known the circular shape of emitter is for compensating device mismatch between transistors. NPN can also have circular emitter. Or am i wrong?<br /><br />Btw, the device layout of Q21 looks like a diode?<br />For me, this shit looks like <a href="http://stfsux.tuxfamily.org/wat.png" rel="nofollow">that</a>
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<dd class='comment-footer'>
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February 23, 2016 at 2:55 PM
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<dd class='comment-body' id='Blog1_cmt-6811168352261195189'>
<p>
Cool!<br />I haven't used an actual 555 in a long time; nowadays, in the interest of reduced component count and board space, I end up sending a cheap little MCU to do a 555's job (well, a 555 or maybe a 556 plus passives plus a couple of gates).<br />Downside of the MCU: with a real analog timer and discrete gates, I'd never have to wonder where-the-heck that stray trailing pulse is coming from. Or, worst case, I could probe the workings with a scope and see what was happening.
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February 25, 2016 at 3:27 PM
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Anonymous
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<p>
useful and interesting for any student from computer engineering or electronics, for high school only at geeks and hackers section
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February 29, 2016 at 8:17 AM
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<dd class='comment-body' id='Blog1_cmt-3567607880282438797'>
<p>
"bite": on the chips I've seen, NPN transistors are usually rectangular and PNP are usually round, because NPN transistors are vertical while PNP transistors are lateral with the base and collector surrounding the emitter. (I'm using "The Art of Analog Layout" page 80 as a reference.) But I don't know if that's true in the 556 you're looking at.<br /><br />As for Q21, yes it looks like a diode. This is one of the components I puzzled over for a while, since a diode doesn't make sense in the circuit but there's not obvious collector. After looking closely, I think what's happening is there's no isolation "moat" between Q21 and Q22 so they share the same N region connected to Vcc. In other words, Q22's Vcc-to-collector connection also serves as Q21's Vcc-to-collector connection.
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<p>
Folks at Zeptobars posted nice hi-res die-shot of 555 http://zeptobars.com/en/read/national-semiconductor-LMC555<br />Probably inspired by your excellent write-up. Thanks!.
</p>
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<dd class='comment-body' id='Blog1_cmt-804677695933774033'>
<p>
@KenShirriff: oh ok right. But you point out another question I always had. Sometimes the N-region (or epitaxial layer) is polarized, in <a href="http://stfsux.tuxfamily.org/ricstuff/wat2.png" rel="nofollow">this circuit</a> the whole resistors share the same N-region with Q22 and Q21. What's the purpose of this? For the resistors it's ok, it will <a href="http://stfsux.tuxfamily.org/ricstuff/wat3.png" rel="nofollow">reverse bias parasitic diodes</a> but about q22/q21, i have no idea :(<br />Your book looks like good but a bit expensive :D<br />My ref. is currently "Bipolar and MOS Analog Circuit Design", it's not bad, I didn't found a better one.
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<p>
Hi bite, thanks for the comment. I don't know why the resistors and Q21/Q22 share the N region. Maybe it was convenient for layout? Thanks for your book recommendation - I'll take a look. By the way, Amazon has a used copy of "<a href="http://amzn.to/1osN31v" rel="nofollow">The Art of Analog Layout</a>" for $13.88.
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<p>
Excellent work mate, so glad I found this site! Thank you for the hard work involved in making such a great page. Don't worry I won't be pointing out what I "think" is an "editing error".<br />Lmao... I often wonder what needs to happen in someones life to make them do foolish things to someone they have never even met....<br /><br />Thanks again!!
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<p>
Wonderful stuff. I am old enough to remember its introduction and have used it many times in my designs over the years. Also fallen into the "crowbar" trap presented with the bipolar versions, especially when working within circuits containing counters or processors etc. where without adequate precautions the 555 will present a microscopic short on the supply rails at switch over and create havoc. Also found it useful as an auto reset device for remote processor based systems (by remote I mean physically remote as in some weather stations) If you gate the address / data lines into a 555 configured as a "missing pulse detector" then should the system freeze, the output of the 555 can be used to perform a reset hopefully restoring function to the system.<br />
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<p>
This is an amazing website. The interactive die and schematic was my personal favorite. I teach semiconductor fab and packaging classes (die attach and wire bonding) at Lorain County Community College in Elyria, OH and we use the 555 for so many circuits. It's such a versatile circuit. Thank you for putting this together. I will be sharing this with my current classes and my remaining classes as long as it's online. Many thanks and cheers. ~Johnny Vanderford <a href="/cdn-cgi/l/email-protection" class="__cf_email__" data-cfemail="39534f58575d5c4b5f564b5d7955564b5850575a5a5a175c5d4c">[email protected]</a> www.lcccmems.com
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<p>
I have done a lot of pictures of different 555 dies.<br />If you are interested: www.richis-lab.de/555.htm<br />The comments are in german language but google translator is your friend and of course the pictures are international! :)
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<p>
One of the best famous IC of the world. Still in use.<br />
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<p>
I do remember time when 555 was too expensive and exotic for everyday use. There was standard way to implement same functionality with NANDs using all the gates in SN7400, but cannot find it now in the Interwebbs. Especially when Russians started to make 7400 look-a-likes with 2 millimeter pin spacing.
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<p>
50 years, you can still buy and use it these days!
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I joined Magic Dot around 1972 and we were using a modified 555 for our touch switch that Hans had changed the top metal layer for our needs. I met with him later as we were designing an IC for an encoded keyboard version. I believe I still have a wafer of the 555 or the modified version that we used.
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Check out these Quantum diamond microscope images of the same die:<br />https://arxiv.org/pdf/2109.11473.pdf
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<a class='post-count-link' href='http://www.righto.com/2022/11/'>
November
</a>
<span class='post-count' dir='ltr'>(3)</span>
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<a class='post-count-link' href='http://www.righto.com/2022/08/'>
August
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<span class='post-count' dir='ltr'>(1)</span>
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<a class='post-count-link' href='http://www.righto.com/2022/07/'>
July
</a>
<span class='post-count' dir='ltr'>(1)</span>
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<a class='post-count-link' href='http://www.righto.com/2022/06/'>
June
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<span class='post-count' dir='ltr'>(1)</span>
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<a class='post-count-link' href='http://www.righto.com/2022/05/'>
May
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<span class='post-count' dir='ltr'>(1)</span>
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<a class='post-count-link' href='http://www.righto.com/2022/04/'>
April
</a>
<span class='post-count' dir='ltr'>(4)</span>
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<a class='post-count-link' href='http://www.righto.com/2022/03/'>
March
</a>
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<a class='post-count-link' href='http://www.righto.com/2022/02/'>
February
</a>
<span class='post-count' dir='ltr'>(3)</span>
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<a class='post-count-link' href='http://www.righto.com/2022/01/'>
January
</a>
<span class='post-count' dir='ltr'>(2)</span>
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<a class='post-count-link' href='http://www.righto.com/2021/'>
2021
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<span class='post-count' dir='ltr'>(26)</span>
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<a class='post-count-link' href='http://www.righto.com/2021/12/'>
December
</a>
<span class='post-count' dir='ltr'>(4)</span>
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<a class='post-count-link' href='http://www.righto.com/2021/11/'>
November
</a>
<span class='post-count' dir='ltr'>(2)</span>
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<a class='post-count-link' href='http://www.righto.com/2021/09/'>
September
</a>
<span class='post-count' dir='ltr'>(1)</span>
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<a class='post-count-link' href='http://www.righto.com/2021/08/'>
August
</a>
<span class='post-count' dir='ltr'>(1)</span>
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<a class='post-count-link' href='http://www.righto.com/2021/07/'>
July
</a>
<span class='post-count' dir='ltr'>(2)</span>
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<a class='post-count-link' href='http://www.righto.com/2021/06/'>
June
</a>
<span class='post-count' dir='ltr'>(2)</span>
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<a class='post-count-link' href='http://www.righto.com/2021/05/'>
May
</a>
<span class='post-count' dir='ltr'>(1)</span>
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<a class='post-count-link' href='http://www.righto.com/2021/04/'>
April
</a>
<span class='post-count' dir='ltr'>(2)</span>
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<a class='post-count-link' href='http://www.righto.com/2021/03/'>
March
</a>
<span class='post-count' dir='ltr'>(4)</span>
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<a class='post-count-link' href='http://www.righto.com/2021/02/'>
February
</a>
<span class='post-count' dir='ltr'>(4)</span>
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<a class='post-count-link' href='http://www.righto.com/2021/01/'>
January
</a>
<span class='post-count' dir='ltr'>(3)</span>
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<a class='post-count-link' href='http://www.righto.com/2020/'>
2020
</a>
<span class='post-count' dir='ltr'>(33)</span>
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<a class='post-count-link' href='http://www.righto.com/2020/12/'>
December
</a>
<span class='post-count' dir='ltr'>(2)</span>
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<a class='post-count-link' href='http://www.righto.com/2020/11/'>
November
</a>
<span class='post-count' dir='ltr'>(3)</span>
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<a class='post-count-link' href='http://www.righto.com/2020/10/'>
October
</a>
<span class='post-count' dir='ltr'>(2)</span>
</li>
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<a class='post-count-link' href='http://www.righto.com/2020/09/'>
September
</a>
<span class='post-count' dir='ltr'>(4)</span>
</li>
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<a class='post-count-link' href='http://www.righto.com/2020/08/'>
August
</a>
<span class='post-count' dir='ltr'>(5)</span>
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<a class='post-count-link' href='http://www.righto.com/2020/07/'>
July
</a>
<span class='post-count' dir='ltr'>(2)</span>
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<a class='post-count-link' href='http://www.righto.com/2020/06/'>
June
</a>
<span class='post-count' dir='ltr'>(3)</span>
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<a class='post-count-link' href='http://www.righto.com/2020/05/'>
May
</a>
<span class='post-count' dir='ltr'>(4)</span>
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<a class='post-count-link' href='http://www.righto.com/2020/04/'>
April
</a>
<span class='post-count' dir='ltr'>(2)</span>
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<a class='post-count-link' href='http://www.righto.com/2020/03/'>
March
</a>
<span class='post-count' dir='ltr'>(5)</span>
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<a class='post-count-link' href='http://www.righto.com/2020/01/'>
January
</a>
<span class='post-count' dir='ltr'>(1)</span>
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</li>
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<a class='post-count-link' href='http://www.righto.com/2019/'>
2019
</a>
<span class='post-count' dir='ltr'>(18)</span>
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<a class='post-count-link' href='http://www.righto.com/2019/11/'>
November
</a>
<span class='post-count' dir='ltr'>(3)</span>
</li>
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<a class='post-count-link' href='http://www.righto.com/2019/10/'>
October
</a>
<span class='post-count' dir='ltr'>(2)</span>
</li>
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<a class='post-count-link' href='http://www.righto.com/2019/09/'>
September
</a>
<span class='post-count' dir='ltr'>(3)</span>
</li>
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<a class='post-count-link' href='http://www.righto.com/2019/08/'>
August
</a>
<span class='post-count' dir='ltr'>(1)</span>
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<a class='post-count-link' href='http://www.righto.com/2019/07/'>
July
</a>
<span class='post-count' dir='ltr'>(4)</span>
</li>
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<a class='post-count-link' href='http://www.righto.com/2019/04/'>
April
</a>
<span class='post-count' dir='ltr'>(2)</span>
</li>
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<a class='post-count-link' href='http://www.righto.com/2019/02/'>
February
</a>
<span class='post-count' dir='ltr'>(1)</span>
</li>
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<a class='post-count-link' href='http://www.righto.com/2019/01/'>
January
</a>
<span class='post-count' dir='ltr'>(2)</span>
</li>
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</li>
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<a class='post-count-link' href='http://www.righto.com/2018/'>
2018
</a>
<span class='post-count' dir='ltr'>(17)</span>
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<a class='post-count-link' href='http://www.righto.com/2018/12/'>
December
</a>
<span class='post-count' dir='ltr'>(1)</span>
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<a class='post-count-link' href='http://www.righto.com/2018/09/'>
September
</a>
<span class='post-count' dir='ltr'>(4)</span>
</li>
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<a class='post-count-link' href='http://www.righto.com/2018/08/'>
August
</a>
<span class='post-count' dir='ltr'>(1)</span>
</li>
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<a class='post-count-link' href='http://www.righto.com/2018/06/'>
June
</a>
<span class='post-count' dir='ltr'>(1)</span>
</li>
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<a class='post-count-link' href='http://www.righto.com/2018/05/'>
May
</a>
<span class='post-count' dir='ltr'>(1)</span>
</li>
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<a class='post-count-link' href='http://www.righto.com/2018/04/'>
April
</a>
<span class='post-count' dir='ltr'>(1)</span>
</li>
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<a class='post-count-link' href='http://www.righto.com/2018/03/'>
March
</a>
<span class='post-count' dir='ltr'>(3)</span>
</li>
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</a>
<a class='post-count-link' href='http://www.righto.com/2018/02/'>
February
</a>
<span class='post-count' dir='ltr'>(1)</span>
</li>
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</a>
<a class='post-count-link' href='http://www.righto.com/2018/01/'>
January
</a>
<span class='post-count' dir='ltr'>(4)</span>
</li>
</ul>
</li>
</ul>
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</a>
<a class='post-count-link' href='http://www.righto.com/2017/'>
2017
</a>
<span class='post-count' dir='ltr'>(21)</span>
<ul class='hierarchy'>
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<a class='post-count-link' href='http://www.righto.com/2017/12/'>
December
</a>
<span class='post-count' dir='ltr'>(5)</span>
</li>
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<a class='post-count-link' href='http://www.righto.com/2017/11/'>
November
</a>
<span class='post-count' dir='ltr'>(2)</span>
</li>
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</a>
<a class='post-count-link' href='http://www.righto.com/2017/10/'>
October
</a>
<span class='post-count' dir='ltr'>(3)</span>
</li>
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</a>
<a class='post-count-link' href='http://www.righto.com/2017/08/'>
August
</a>
<span class='post-count' dir='ltr'>(1)</span>
</li>
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</a>
<a class='post-count-link' href='http://www.righto.com/2017/07/'>
July
</a>
<span class='post-count' dir='ltr'>(2)</span>
</li>
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</a>
<a class='post-count-link' href='http://www.righto.com/2017/06/'>
June
</a>
<span class='post-count' dir='ltr'>(2)</span>
</li>
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</a>
<a class='post-count-link' href='http://www.righto.com/2017/04/'>
April
</a>
<span class='post-count' dir='ltr'>(2)</span>
</li>
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</a>
<a class='post-count-link' href='http://www.righto.com/2017/03/'>
March
</a>
<span class='post-count' dir='ltr'>(2)</span>
</li>
</ul>
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</a>
<a class='post-count-link' href='http://www.righto.com/2017/02/'>
February
</a>
<span class='post-count' dir='ltr'>(1)</span>
</li>
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</a>
<a class='post-count-link' href='http://www.righto.com/2017/01/'>
January
</a>
<span class='post-count' dir='ltr'>(1)</span>
</li>
</ul>
</li>
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<a class='post-count-link' href='http://www.righto.com/2016/'>
2016
</a>
<span class='post-count' dir='ltr'>(34)</span>
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<a class='post-count-link' href='http://www.righto.com/2016/12/'>
December
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October
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September
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August
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July
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June
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May
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April
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February
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<ul class='posts'>
<li><a href='http://www.righto.com/2016/02/reverse-engineering-arm1-processors.html'>Reverse engineering the ARM1 processor's microinst...</a></li>
<li><a href='http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html'>555 timer teardown: inside the world's most popula...</a></li>
<li><a href='http://www.righto.com/2016/02/reverse-engineering-arm1-instruction.html'>Reverse engineering ARM1 instruction sequencing, c...</a></li>
<li><a href='http://www.righto.com/2016/02/the-arm1-processors-flags-reverse.html'>The ARM1 processor's flags, reverse engineered</a></li>
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2015
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November
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October
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August
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February
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2014
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October
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September
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May
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March
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February
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2013
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November
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September
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August
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July
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June
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April
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February
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January
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2012
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December
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November
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October
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May
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March
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February
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2011
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December
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July
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May
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April
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March
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February
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2010
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December
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November
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October
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August
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June
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May
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April
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March
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January
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<span class='post-count' dir='ltr'>(2)</span>
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2009
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<span class='post-count' dir='ltr'>(22)</span>
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December
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November
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<span class='post-count' dir='ltr'>(5)</span>
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555 timer teardown: inside the world's most popular IC
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#
[Ken Shirriff's blog](http://www.righto.com/)
Computer history, restoring vintage computers, IC reverse engineering, and whatever
###
555 timer teardown: inside the world's most popular IC
This article is translated into Vietnamese at: [Bên trong chíp định thời 555](https://chuyenmuccongnghe.com/2016/09/18/ben-trong-chip-dinh-thoi-555/).
If you've played around with electronic circuits, you probably know[[1]](#ref1)
the 555 timer integrated circuit,
said to be the world's best-selling integrated circuit
with billions sold.
Designed by analog IC wizard Hans Camenzind[[2]](#ref2) in 1970, the 555 has been called one of the
[greatest chips of all time](http://spectrum.ieee.org/semiconductors/processors/25-microchips-that-shook-the-world) with
whole books devoted to
[555](https://www.amazon.com/s/ref=as_li_ss_tl?_encoding=UTF8&camp=1789&creative=390957&fst=as%3Aoff&keywords=555%20timer&linkCode=ur2&qid=1448837596&rh=n%3A283155%2Ck%3A555%20timer&sort=relevancerank&tag=rightocom&linkId=TXV2AQJUMMXQUHBP)
[timer](https://archive.org/details/electronics_-_Forrest_Mims-engineers_mini-notebook_555_timer_circuits_radio_sha)
[circuits](http://chiclassiccomp.org/docs/content/books/ICTimerCookbook1stEd1977_WalterGJung.pdf).
Given the popularity of the 555 timer, I thought it would be interesting to find out what's inside the 555 timer and how it works.
While the 555 timer is usually sold as a black plastic IC, it is also available in a metal can, which can be cut open with a hacksaw[[3]](#ref3)
revealing the tiny die inside.
[](//static.righto.com/images/555/1-penny.jpg)
Inside the 555 timer. The tiny die in the package is connected to the 8 pins by wires.
## A brief explanation of the 555 timer
The 555 timer has hundreds of applications, operating as anything from a timer or latch to a voltage-controlled oscillator or modulator.
The diagram below illustrates how the 555 timer operates as a simple oscillator.
Inside the 555 chip, three resistors form a divider generating references voltages of 1/3 and 2/3 of the supply voltage.
The external capacitor will charge and discharge between these limits, producing an oscillation.
In more detail, the capacitor will slowly charge (A) through the external resistors until its voltage hits the 2/3 reference.
At that point (B), the upper (threshold) comparator switches the flip flop off and the output off. This turns on the discharge transistor, slowly discharging the capacitor (C). When the voltage on the capacitor hits the 1/3 reference (D), the lower (trigger) comparator turns on, setting the flip flop and the output, and the cycle repeats. The values of the resistors and capacitor control the timing, from microseconds to hours.[[4]](#ref4)
[](//static.righto.com/images/555/555_operation.png)
Diagram showing how the 555 timer can operate as an oscillator.
To summarize, the key components of the 555 timer are the comparators to detect the upper and lower voltage limits, the three-resistor divider to set these limits, and the flip flop to keep track of whether the circuit is charging or discharging.
The 555 timer has two other pins (reset and control voltage) that I haven't covered above; they can be used for more complex circuits.
## The structure of the integrated circuit
The photo below shows the silicon die of the 555 through a microscope.
On top of the silicon, a thin layer of metal connects different parts of the chip. This metal is clearly visible in the photo as yellowish-white traces and regions. Under the metal, a thin, glassy silicon dioxide layer provides insulation between the metal and the silicon, except where contact holes in the silicon dioxide allow the metal to connect to the silicon. At the edge of the chip, thin wires connect the metal pads to the chip's external pins.
[](//static.righto.com/images/555/die.png)
Die photo of the 555 timer.
The different types of silicon on the chip are harder to see.
Regions of the chip are treated ([doped](https://en.wikipedia.org/wiki/Doping_(semiconductor))) with impurities to change the electrical properties of the silicon. N-type silicon has an excess of electrons (negative), while P-type silicon lacks electrons (positive).
In the photo, these regions show up as a slightly different color surrounded by a thin black border.
These regions are the building blocks of the chip, forming transistors and resistors.
### NPN transistors inside the IC
Transistors are the key components in a chip. The 555 timer uses NPN and PNP bipolar transistors.
If you've studied electronics, you've probably seen a diagram of an NPN transistor like the one below, showing the collector (C), base (B), and emitter (E) of the transistor, The transistor is illustrated as a sandwich of P silicon in between two symmetric layers of N silicon; the N-P-N layers make an NPN transistor.
It turns out that transistors on a chip look nothing like this, and the base often isn't even in the middle!
[](//static.righto.com/images/555/npn_transistor.png)
Schematic symbol for an NPN transistor, along with an oversimplified diagram of its internal structure.
The photo below shows one of the transistors in the 555 as it appears on the chip.
The slightly different tints in the silicon indicate regions that has been doped to form N and P regions.
The whitish-yellow areas are the metal layer of the chip on top of the silicon - these form the wires connecting to the collector, emitter, and base. You can spot an emitter on the chip by its "bullseye" structure, while the base rectangle surrounds the emitter.
[](//static.righto.com/images/555/trans_npn_labeled.png)
An NPN transistor in the 555 timer chip. The collector (C), emitter (E) and base (B) are labeled, along with N and P doped silicon.
Underneath the photo is a cross-section drawing illustrating how the transistor is constructed. There's a lot more than just the N-P-N sandwich you see in books, but if you look carefully at the vertical cross section below the 'E', you can find the N-P-N that forms the transistor. The emitter (E) wire is connected to N+ silicon. Below that is a P layer connected to the base contact (B). And below that is an N+ layer connected (indirectly) to the collector (C).[[5]](#ref5)
The transistor is surrounded by a P+ ring that isolates it from neighboring components.
### PNP transistors inside the IC
You might expect PNP transistors to be similar to NPN transistors, just swapping the roles of N and P silicon. But for a variety of reasons, PNP transistors have an entirely different construction.
They consist of a small circular emitter (P), surrounded by a ring shaped base (N), which is surrounded by the collector (P). This forms a P-N-P sandwich horizontally (laterally), unlike the vertical structure of the NPN transistors.
The diagram below shows one of the PNP transistors in the 555, along with a cross-section showing the silicon structure.
Note that although the metal contact for the base is on the edge of the transistor, it is electrically connected through the N and N+ regions to its active ring in between the collector and emitter.
A metal line is routed between the collector and base, but is not part of the transistor.
[](//static.righto.com/images/555/trans_pnp_labeled.png)
A PNP transistor in the 555 timer chip. Connections for the collector (C), emitter (E) and base (B) are labeled, along with N and P doped silicon. The base forms a ring around the emitter, and the collector forms a ring around the base.
The output transistors in the 555 are much larger than the other transistors and have a different structure in order to produce the high-current output. The photo below shows one of the output transistors. Note the multiple interlocking "fingers" of the emitter and base, surrounded by the large collector.
[](//static.righto.com/images/555/trans_npn_big_labeled.png)
A large, high-current NPN output transistor in the 555 timer chip. The collector (C), base (B) and emitter (E) are labeled.
### How resistors are implemented in silicon
Resistors are a key component of analog chips. Unfortunately, resistors in ICs are large and inaccurate; the resistances can vary by 50% from chip to chip. Thus, analog ICs are designed so only the ratio of resistors matters, not the absolute values, since the ratios remain nearly constant.
[](//static.righto.com/images/555/resistor.png)
A resistor inside the 555 timer. The resistor is a strip of P silicon between two metal contacts.
The photo above shows a 1KΩ resistor in the 555, formed from a strip of P silicon (visible as an outline). Note that the resistor connects two metal wires and another metal wire crosses it.
The resistor below is an L-shaped 100KΩ *pinch resistor*.
A layer of N silicon on top of the pinch resistor makes the conductive region much thinner (i.e. pinches it), forming a much higher but less accurate resistance.
[](//static.righto.com/images/555/pinch_resistor.png)
A pinch resistor inside the 555 timer. The resistor is a strip of P silicon between two metal contacts. An N layer on top pinches the resistor and increases the resistance.
### IC component: The current mirror
There are some subcircuits that are very common in analog ICs, but may seem mysterious at first. The current mirror is one of these.
If you've looked at analog IC block diagrams, you may have seen the symbols below, indicating a current source, and wondered what a current source is and why you'd use one. The idea is you start with one known current and then you can "clone" multiple copies of the current with a simple transistor circuit, the current mirror.
[](//static.righto.com/images/741/1-current_source.png)
Schematic symbols for a current source.
The following circuit shows how a current mirror is implemented with two identical transistors.[[6]](#ref6) A reference current passes through the transistor on the left. (In this case, the current is set by the resistor.) Since both transistors have the same emitter voltage and base voltage, they source the same current, so the current on the right matches the reference current on the left.
[](//static.righto.com/images/741/1-current_mirror.png)
Current mirror circuit. The current on the right copies the current on the left.
A common use of a current mirror is to replace resistors. As explained earlier, resistors inside ICs are both inconveniently large and inaccurate. It saves space to use a current mirror instead of a resistor whenever possible.
Also, the currents produced by a current mirror are nearly identical, unlike the currents produced by two resistors.
[](//static.righto.com/images/555/trans_mirror_labeled.png)
Three transistors form a current mirror in the 555 timer chip. They all share the same base and two transistors share emitters.
The three transistors above form a current mirror with two outputs. Note the three transistors share the base connection, tied to the collector on the right, and the emitters on the right are tied together. The transistor on the left is a [Widlar current source](https://en.wikipedia.org/wiki/Widlar_current_source), a modified mirror that produces a smaller current. On the schematic, the two transistors on the right are drawn as a single two-collector transistor, Q19.
### IC component: The differential pair
The second important circuit to understand is the differential pair, the most common two-transistor subcircuit used in analog ICs.[[7]](#ref7)
You may have wondered how a comparator compares two voltages, or an op amp subtracts two voltages. This is the job of the differential pair.
[](//static.righto.com/images/555/differential_pair.png)
Schematic of a simple differential pair circuit. The current sink sends a fixed current I through the differential pair. If the two inputs are equal, the current is split equally between the two branches. Otherwise, the branch with the higher input voltage gets most of the current.
The schematic above shows a simple differential pair. The current sink at the bottom provides a fixed current I, which is split between the two input transistors. If the input voltages are equal, the current will be split equally into the two branches (I1 and I2). If one of the input voltages is a bit higher than the other, the corresponding transistor will conduct more current, so one branch gets more current and the other branch gets less.
A small input difference is enough to direct most of the current into the "winning" branch, flipping the comparator on or off.
In the 555, the threshold comparator uses NPN transistors, while the trigger comparator uses PNP transistors. This allows the threshold comparator to work near the supply voltage and the trigger comparator to work near ground. The 555's comparators also use two transistors on each input ([Darlington pair](https://en.wikipedia.org/wiki/Darlington_transistor)) to buffer the inputs.
## The 555 schematic interactive explorer
The 555 die photo and schematic[[8]](#ref8)
below are interactive. Click on a component in the die or schematic, and a brief explanation of the component will be displayed.
(For a thorough discussion of how the 555 timer works, see
[555 Principles of Operation](http://shop.emscdn.com/KitInstrux/555/555_principles_revB3.pdf).)
For a quick overview,
the large output transistors and discharge transistor are the most obvious features on the die.
The threshold comparator consists of Q1 through Q8. The trigger comparator consists of Q10 through Q13, along with current mirror Q9.
Q16 and Q17 form the flip flop. The three 5KΩ resistors forming the voltage divider are in the middle of the chip.[[9]](#ref9)
Urban legend says that the 555 is named after these three 5K resistors, but
[according to its designer](http://www.semiconductormuseum.com/Transistors/LectureHall/Camenzind/Camenzind_Page2.htm)
555 is just an arbitrary number in the 500 chip series
Click the die or schematic for details...
.chiptext {
border: 2px solid gray;
margin-bottom:7px;
min-height: 2.7em;
padding: 5px;
font-family:sans-serif;
width: 536px;
}
.chipcanvasholder {
display: inline-block;
height: 600px;
position: relative;
width: 800px;
}
.chipcanvasholder canvas {
position: absolute;
top: 0;
left: 0;
}
$(document).ready(function() {
var controller = {
hilite: function(id) {
if (notes[id]) {
$('#chiptext555').html(notes[id]);
} else {
$('#chiptext555').html('');
}
view1.unhilite();
view1.ctx2.strokeStyle = 'rgba(0,0,0,0)';
if (view1.data[id].type == 'NPN') {
view1.ctx2.fillStyle = 'rgba(0,0,255,0.2)';
} else if (view1.data[id].type == 'PNP') {
view1.ctx2.fillStyle = 'rgba(255,0,0,0.2)';
} else {
view1.ctx2.fillStyle = 'rgba(0,255,0,0.2)';
}
view2.ctx2.fillStyle = view1.ctx2.fillStyle;
view1.drawDataBox(id, view1.ctx2);
view1.ctx2.fillStyle = 'rgba(255,0,255,0.8)';
view1.drawDataFeature(id, view1.ctx2, false);
view1.hilite();
view2.unhilite();
view2.ctx2.strokeStyle = 'rgba(0,0,0,0)';
view2.drawDataBox(id, view2.ctx2);
view2.hilite();
},
unhilite: function(id) {
$('#chiptext').html('');
view1.unhilite(id);
view2.unhilite(id);
},
loaded: function(view) {
view.ctx1.font = 'bold 18px arial';
view.ctx1.fillStyle = 'rgba(0,0,100,1)';
view1.pinColor = 'white';
view1.componentColor = '#0cc';
view.ctx2.font = 'bold 16px arial';
if (view == view1) {
view1.drawDataFeatures(view1.ctx1, true);
}
},
};
var view1 = new View(die555Data, "die555", "//static.righto.com/images/555/1-die.png", controller, 750);
// var view1 = new View(die555Data, "die555", "die.png", controller, 750);
var view2 = new View(schematic555Data, "schematic555", "//static.righto.com/images/555/schematic\_philips.png", controller, 800, 541);
//var view2 = new View(schematic555Data, "schematic555", "schematic-philips.png", controller, 800, 541);
});
## How I photographed the 555 die
Integrated circuit usually come in a black epoxy package which require inconveniently dangerous [concentrated acid](http://zeptobars.ru/en/read/how-to-open-microchip-asic-what-inside) to open.
Instead, I bought a 555 in a metal can (below).
To examine the die, I used a [metallurgical microscope](https://www.amazon.com/gp/product/B004WMFOY4/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B004WMFOY4&linkCode=as2&tag=rightocom&linkId=MNRLKEIWAYBRWVA6). Unlike a standard microscope, the metallurgical microscope shines light down through the lens allowing it to work with opaque objects (such as chips).
I stitched the photos together with Hugin ([details](http://www.righto.com/2015/12/creating-high-resolution-integrated.html)).
[](//static.righto.com/images/555/package.png)
The 555 timer in an eight-pin metal can package. (Banana for scale)
## The failed improved 555
Given the popularity of the 555, it's surprising that it has several rookie design flaws; unbalanced comparators, large operating currents, an asymmetric output waveform, and temperature sensitivity.[[10]](#ref10)
In 1997, Camenzind redesigned the 555 to create a much better chip that could run at much lower voltages.
The improved chip was sold by Zetex as the
[ZSCT1555](http://www.diodes.com/_files/datasheets/ZSCT1555.pdf), but unfortunately was a flop.
The continuing success of the original 555 and the failure of the improved successor can be viewed as an example of the [worse is better](https://www.jwz.org/doc/worse-is-better.html) principle.
## Conclusion
I hope you've found this look inside the 555 timer chip interesting.
Next time you're building a [555 project](http://makezine.com/2012/08/24/555-timer-weekend-projects/), you'll know exactly what's inside the chip.
If you enjoyed this article, I've also reverse-engineered the
[741 op amp](http://www.righto.com/2015/10/inside-ubiquitous-741-op-amp-circuits.html) and
[7805 voltage regulator](http://www.righto.com/2014/09/reverse-engineering-counterfeit-7805.html).
Thanks to Eric Schlaepfer[[11]](#ref11) for helpful comments.
[Follow me on Twitter](https://twitter.com/kenshirriff) and you won't miss an article!
## Notes and references
[1]
The 555 timer is iconic enough to appear on
[mugs](https://www.spreadshirt.com/555+timer+mugs+&+drinkware), [bags](https://www.spreadshirt.com/555+timer+bags+&+backpacks),
[caps](http://www.zazzle.co.uk/555+timer+gifts) and
[t-shirts](https://teespring.com/555timer-grey3).
[](//static.righto.com/images/555/555_tshirt.png)
The 555 timer is popular enough to appear on t-shirts. Courtesy of EEVblog.
[2]
The book *Designing Analog Chips* written by the 555's inventor Hans Camenzind is really interesting, and I recommend it if you want to know how analog chips work.
Chapter 11 has an extensive discussion of the 555's history and operation. Page 11-3 claims the 555 has been the best-selling IC every year, although I don't know if that is still true.
The free PDF is [here](http://www.designinganalogchips.com/)
or get
[the book](https://www.amazon.com/gp/product/1589397185/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=1589397185&linkCode=as2&tag=rightocom&linkId=GEY5H6J5JINDRNMP).
[3]
You can cut an IC can open with a plain hacksaw, but a jeweler's saw gives a much cleaner cut. I got a jeweler's saw on eBay for $14, and used the #2 blade. Make sure you cut near the top of the IC so you don't hit the die as I did.
[4]
The brilliant part of the 555 timer is that the oscillation frequency depends only on the external resistors and capacitor and is insensitive to the supply voltage. If the supply voltage drops, the 1/3 and 2/3 references drop too, so you might expect the oscillations to be faster. But the lower voltage charges the capacitor more slowly, canceling this out and keeping the frequency constant.
This voltage insensitivity is so tricky that the chip's designer didn't figure it out until near the end of the 555's design,
but it made a big difference.
The original design was more complex and required nine pins, which is a terrible size for an IC
since there are no packages between 8 and 14 pins.
The final, simpler 555 design worked with 8 pins, making the chip's packaging much cheaper.
(See page 11-3 of *Designing Analog Chips* for the full story.)
[5]
You might have wondered why there is a distinction between the collector and emitter of a transistor, when the typical diagram of a transistor is symmetrical.
As you can see from the die photo, the collector and emitter are very different in a real transistor. In addition to the very large size difference, the silicon doping is different. The result is a transistor will have [poor gain](https://en.wikibooks.org/wiki/Semiconductors/Introduce_to_Transistor#Operating_Modes) if the collector and emitter are swapped.
[6]
For more information about current mirrors, check [wikipedia](https://en.wikipedia.org/wiki/Current_mirror), any analog IC book, or chapter 3 of
[Designing Analog Chips](http://www.designinganalogchips.com/_count/designinganalogchips.pdf).
[7]
Differential pairs are also called long-tailed pairs.
According to
[Analysis and Design of Analog Integrated Circuits](https://www.amazon.com/gp/product/0470245999/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=0470245999&linkCode=as2&tag=rightocom&linkId=M7Y4IGG5INYYFPEW)
differential pairs are "perhaps the most widely used two-transistor subcircuits in monolithic
analog circuits." (p214)
For more information about differential pairs, see [wikipedia](https://en.wikipedia.org/wiki/Differential_amplifier#Long-tailed_pair), any analog IC book, or chapter 4 of
Designing Analog Chips.
[8]
The 555 schematic used in this article is from the
[Philips datasheet](http://pdf.datasheetcatalog.com/datasheet/philips/NE_SA_SE555_C_2.pdf).
[9]
Note that the three resistors for the voltage divider are parallel and next to each other.
This helps ensure they have the same resistance even if there are electrical variations across the silicon.
[10]
I'm not criticizing the 555; Hans Camenzind points out the
design flaws and attributes them to "the early period
of IC design (and the inexperience of a rookie designer)";
see Designing Analog Chips, page 11-4.
The design of a 555 replacement is discussed in detail in
"Redesigning the old 555", IEEE Spectrum, September 1997.
That article makes it clear how much much faster IC design is now than in 1970.
It took months to create the layout of the 555 chip by hand and manually verify it for correctness.
The new chip took two days to layout and 20 minutes to verify.
[11]
Evil Mad Scientist sells a very cool
[discrete 555 timer kit](http://shop.evilmadscientist.com/productsmenu/tinykitlist/652), duplicating the 555 circuit on a larger scale with individual transistors and resistors — it actually works as a 555 replacement.
Their [555 footstool](http://www.evilmadscientist.com/2011/555-footstool/) is also worth a look.
[](//static.righto.com/images/555/evilmadscientist.jpg)
Large-size 555 timer created by Evil Mad Scientist Lab.
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Labels:
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[electronics](http://www.righto.com/search/label/electronics),
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#### 20 comments:
[](https://www.blogger.com/profile/02627689074278588696)
[electronicsguy](https://www.blogger.com/profile/02627689074278588696)
said...
Excellent work Ken! Have been using the 555 for 25 years now. Always wondered how it looked like inside :)
[February 20, 2016 at 6:32 PM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1456021925943#c2992976880358571999 "comment permalink")
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[Unknown](https://www.blogger.com/profile/02103910966464157236)
said...
Great article - I enjoyed it.
Slight editing error (I presume) where you state:
"Given the popularity of the 555, it's surprising that it has several rookie design flaws: According to its designer, it has several rookie design flaws:"
[February 21, 2016 at 12:28 PM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1456086532759#c4650901317333568369 "comment permalink")
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[Joao Miguel](https://www.blogger.com/profile/15598982784376330187)
said...
Nice article! Good to know the early times of IC design!
[February 22, 2016 at 6:50 PM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1456195816584#c4284835627275014474 "comment permalink")
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[Jacques](https://www.blogger.com/profile/06741034155147889332)
said...
very interesting!
as for: "The continuing success of the original 555 and the failure of the improved successor can be viewed as an example of the worse is better principle."
I would attribute this failure to poor marketing. The fact is that modern CMOS version of the 555 are successfull.
[February 23, 2016 at 8:15 AM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1456244153180#c5338595384375327823 "comment permalink")
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[](http://meatspin.com/)
[bite](http://meatspin.com/)
said...
Hi,
I'm glad to see some analog IC reverse engineering stuff.
Last year, i tried to reverse the ne556 (there is a nice picture of it from zeptobar: http://zeptobars.com/en/read/stm-ne556-555) and i wasnt able to identify transistor type (pnp/npn). I had no clue for that, so i just ignored the type then tried to eliminate the "impossibru" design with hypothesis (yeah, painful).
As far as i known the circular shape of emitter is for compensating device mismatch between transistors. NPN can also have circular emitter. Or am i wrong?
Btw, the device layout of Q21 looks like a diode?
For me, this shit looks like [that](http://stfsux.tuxfamily.org/wat.png)
[February 23, 2016 at 2:55 PM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1456268132547#c4950832802766896184 "comment permalink")
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[Eric Wilner](https://www.blogger.com/profile/04351991168469225129)
said...
Cool!
I haven't used an actual 555 in a long time; nowadays, in the interest of reduced component count and board space, I end up sending a cheap little MCU to do a 555's job (well, a 555 or maybe a 556 plus passives plus a couple of gates).
Downside of the MCU: with a real analog timer and discrete gates, I'd never have to wonder where-the-heck that stray trailing pulse is coming from. Or, worst case, I could probe the workings with a scope and see what was happening.
[February 25, 2016 at 3:27 PM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1456442838576#c6811168352261195189 "comment permalink")
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Anonymous
said...
useful and interesting for any student from computer engineering or electronics, for high school only at geeks and hackers section
[February 29, 2016 at 8:17 AM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1456762651982#c8831330898452135136 "comment permalink")
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[Ken Shirriff](https://www.blogger.com/profile/08097301407311055124)
said...
"bite": on the chips I've seen, NPN transistors are usually rectangular and PNP are usually round, because NPN transistors are vertical while PNP transistors are lateral with the base and collector surrounding the emitter. (I'm using "The Art of Analog Layout" page 80 as a reference.) But I don't know if that's true in the 556 you're looking at.
As for Q21, yes it looks like a diode. This is one of the components I puzzled over for a while, since a diode doesn't make sense in the circuit but there's not obvious collector. After looking closely, I think what's happening is there's no isolation "moat" between Q21 and Q22 so they share the same N region connected to Vcc. In other words, Q22's Vcc-to-collector connection also serves as Q21's Vcc-to-collector connection.
[March 18, 2016 at 10:39 AM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1458322742360#c3567607880282438797 "comment permalink")
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[Unknown](https://www.blogger.com/profile/09850214523126141905)
said...
Folks at Zeptobars posted nice hi-res die-shot of 555 http://zeptobars.com/en/read/national-semiconductor-LMC555
Probably inspired by your excellent write-up. Thanks!.
[March 22, 2016 at 4:45 PM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1458690324166#c214837064437697231 "comment permalink")
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[](https://stfsux.tuxfamily.org/)
[bite](https://stfsux.tuxfamily.org/)
said...
@KenShirriff: oh ok right. But you point out another question I always had. Sometimes the N-region (or epitaxial layer) is polarized, in [this circuit](http://stfsux.tuxfamily.org/ricstuff/wat2.png) the whole resistors share the same N-region with Q22 and Q21. What's the purpose of this? For the resistors it's ok, it will [reverse bias parasitic diodes](http://stfsux.tuxfamily.org/ricstuff/wat3.png) but about q22/q21, i have no idea :(
Your book looks like good but a bit expensive :D
My ref. is currently "Bipolar and MOS Analog Circuit Design", it's not bad, I didn't found a better one.
[April 3, 2016 at 8:08 AM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1459696096180#c804677695933774033 "comment permalink")
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[Ken Shirriff](https://www.blogger.com/profile/08097301407311055124)
said...
Hi bite, thanks for the comment. I don't know why the resistors and Q21/Q22 share the N region. Maybe it was convenient for layout? Thanks for your book recommendation - I'll take a look. By the way, Amazon has a used copy of "[The Art of Analog Layout](http://amzn.to/1osN31v)" for $13.88.
[April 3, 2016 at 11:58 AM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1459709910688#c1762961048067338216 "comment permalink")
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[willg](https://www.blogger.com/profile/01132384567888031463)
said...
Excellent work mate, so glad I found this site! Thank you for the hard work involved in making such a great page. Don't worry I won't be pointing out what I "think" is an "editing error".
Lmao... I often wonder what needs to happen in someones life to make them do foolish things to someone they have never even met....
Thanks again!!
[October 9, 2016 at 10:51 AM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1476035478389#c7628360666398701484 "comment permalink")
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[Unknown](https://www.blogger.com/profile/13049867443081618420)
said...
Wonderful stuff. I am old enough to remember its introduction and have used it many times in my designs over the years. Also fallen into the "crowbar" trap presented with the bipolar versions, especially when working within circuits containing counters or processors etc. where without adequate precautions the 555 will present a microscopic short on the supply rails at switch over and create havoc. Also found it useful as an auto reset device for remote processor based systems (by remote I mean physically remote as in some weather stations) If you gate the address / data lines into a 555 configured as a "missing pulse detector" then should the system freeze, the output of the 555 can be used to perform a reset hopefully restoring function to the system.
[June 22, 2017 at 6:23 PM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1498180990621#c1611729526825550302 "comment permalink")
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Johnny Vanderford
said...
This is an amazing website. The interactive die and schematic was my personal favorite. I teach semiconductor fab and packaging classes (die attach and wire bonding) at Lorain County Community College in Elyria, OH and we use the 555 for so many circuits. It's such a versatile circuit. Thank you for putting this together. I will be sharing this with my current classes and my remaining classes as long as it's online. Many thanks and cheers. ~Johnny Vanderford [[email protected]](/cdn-cgi/l/email-protection) www.lcccmems.com
[November 13, 2018 at 1:24 PM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1542144299227#c5257005751502833439 "comment permalink")
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[](http://www.richis-lab.de)
[Richi](http://www.richis-lab.de)
said...
I have done a lot of pictures of different 555 dies.
If you are interested: www.richis-lab.de/555.htm
The comments are in german language but google translator is your friend and of course the pictures are international! :)
[May 1, 2019 at 8:47 AM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1556725621086#c4231471920396392540 "comment permalink")
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[Алексей Фурман](https://www.blogger.com/profile/15312474068067343934)
said...
One of the best famous IC of the world. Still in use.
[October 15, 2019 at 6:50 PM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1571190630146#c1652655416871732447 "comment permalink")
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Anonymous
said...
I do remember time when 555 was too expensive and exotic for everyday use. There was standard way to implement same functionality with NANDs using all the gates in SN7400, but cannot find it now in the Interwebbs. Especially when Russians started to make 7400 look-a-likes with 2 millimeter pin spacing.
[June 5, 2020 at 6:40 AM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1591364437495#c2412308637291810213 "comment permalink")
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Anonymous
said...
50 years, you can still buy and use it these days!
[September 18, 2020 at 6:53 AM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1600437194275#c3474149169630859420 "comment permalink")
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[[email protected]](https://www.blogger.com/profile/09259081771763288600)
said...
I joined Magic Dot around 1972 and we were using a modified 555 for our touch switch that Hans had changed the top metal layer for our needs. I met with him later as we were designing an IC for an encoded keyboard version. I believe I still have a wafer of the 555 or the modified version that we used.
[March 29, 2021 at 8:42 AM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1617032578240#c1797751678567052085 "comment permalink")
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Anonymous
said...
Check out these Quantum diamond microscope images of the same die:
https://arxiv.org/pdf/2109.11473.pdf
[January 24, 2022 at 4:20 PM](http://www.righto.com/2016/02/555-timer-teardown-inside-worlds-most.html?showComment=1643070010551#c2631319733380643612 "comment permalink")
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<FONT SIZE=6 COLOR="#ff0000"><P ALIGN="CENTER">*Coping with Kidney Stones*</FONT><br><Font size=+2><i>By: Spitfire</i><br>24 October 2005</font></p>
<P>First let me say that I sincerely hope that neither you nor anyone you know ever needs this information. I tolerate pain well, having been cut, stabbed, bruised, crushed, burned and even stitched up without anesthesia, but *nothing* hurts as much as kidney stone pain. If you develop a kidney stone and medical help is not available, youll want to know this.</P>
<P>For some background, the common types of kidney stones are crystals that grow inside the kidneys. The most common form of stone is formed from calcium in combination with either oxalate or phosphate. There are also stones formed from uric acid. Ive had both calcium oxalate and uric acid stones. The stones Ive had range from the size of a grain of sand to the size of a large cooked grain of rice. This doesnt sound very big but because of the crystalline structure there are dozens of extremely sharp points and edges sticking out of the stones. Imagine taking a grain of rice, sticking razor blades and needles in it and sending it through your Ureter (the tube that connects your kidney to your bladder)</P>
<P>The pain is caused by three main mechanisms. First, the sharp edges of the stones cut and slice as the stone moves through the Ureter. Second, the pain causes tiny muscles around the Ureter to contract until they cramp, causing more pain. Over time that pain can cause major skeletal muscles to cramp up and even sprain. If the stone completely blocks the Ureter, urine backs up and causes pain that way. The good news is that kidney stones will usually pass by themselves over time. If yours doesnt, its beyond the scope of this article and you better hope you have a doctor on your team.</P>
<P>Indicators of a kidney stone attack may include a dull aching pain in your side or lower back. You may feel bloated, gassy or constipated, but no amount of peeing, farting or pooping relieves the feeling. Your pee may or may not have blood in it, displaying as red or orange in color. The first kidney stone I ever had started with a gassy cramping that progressed to a dull aching pain and then to the real pain. All the rest of them have skipped the gassy cramping stage and started with a dull ache, and then the real pain has started. You wont mistake the "real pain". Imagine someone punching you in the stomach, kicking you in your private parts and then stabbing your side with an ice pick multiple times - its worse than that! The first time you get one of these things youre going down and youre going to be curled up in a ball on the ground gasping for breath. It feels like something important has broken inside. If youre really lucky the pain will be intense enough to make you projection vomit. After the first time you may not go down but anything within arms reach is in serious trouble and you may still need something to hurl in!</P>
<P>OK bro, *that* sounded like fun, now what about treatment? If the hospitals are functioning I highly recommend the ER. Theyll hook you up to a large bore saline IV and as soon as theyre sure its a kidney stone theyll squirt some Demerol in it which will take the pain down in less than a minute. Unfortunately theyre also using the IV to try and push the stone out (never worked for me) and this causes more pain as the urine backs up. They may also inject a couple of tubes of radioactive liquid in you and then do X-Rays so they can find the stone and see how big it is. This is handy, especially the first time, but after several of the things I learned that my stones didnt need surgery and would pass when they were good and ready to pass. (Mine usually get stuck where the Ureter narrows and then again at the opening to the bladder) By the way, if they do need to intervene because the stone is too big they can sometimes blast it with sound waves and if not they can put a probe in through your bladder into the Ureter and try to remove or crush the stone. My urologist strongly recommended against this as long as I could manage the pain and I took his suggestion.</P>
<P>No hospital? I suggest that part of your medical preps include some moderately strong pain killers, and I dont mean aspirin, Advil or Tylenol. Were talking Percocet or Morphine here. After youve had one kidney stone, any urologist worth seeing will give you a script for at least 30 tablets of either. Percocet served me fine for years but recently they have made me vomit so my doctor switched me to instant release Morphine tablets. The key to effective pain pill use is to take them at the first sign of pain. If you wait until youre a puddle on the floor they just dont work as well. If you manage to capture a stone and get it analyzed your doctor may be able to prescribe a pill that helps keep them from forming. Urocit worked fairly well for me but ended up causing horrible acid reflux so I had to stop taking it. And no, they dont have anything to dissolve an existing stone, at least nothing theyre telling me about.</P>
<P>No meds? The pain can still be managed. WARNING - be careful here folks you could drown or burn yourself. I once had a urologist from an unspecified Middle Eastern country who was supposed to be on call in my AO the weekend I had my 4<SUP>th</SUP> kidney stone attack. The POS called back six hours after I phoned his emergency service (repeatedly). He was three states away at a golf resort and couldnt prescribe any meds strong enough to help with the pain over the phone. He did however clue me in on a technique that has worked for me every time (thanks for waiting until the 4<SUP>th</SUP> time Ive had this to tell me ya lousy, oh never mind I fired him anyway).</P>
<P>Run the hottest bathtub of water you can stand and get in. Make sure your abdomen (tummy through crotch) is covered. If the pain subsides, great, if not add more hot water until it does. If you run out of hot water or if you have your water heater set to a low "safe" temperature you may need to boil water on the stove. One gallon should be enough to add to the water already in the tub. This works best if youre already in the tub and someone else pours the boiling water in, being very careful to not pour it on you. I usually draw my legs up to my chest and my wife pours the boiling water in at the other end of the bathtub. At any rate, when the water is hot enough the pain should subside within a few seconds. Be very careful now, its easy to get too hot and pass out. I keep a *plastic* water bottle on the edge of the tub and drink every few minutes. If you get dizzy, sleepy or notice your skin turning bright red, you need to get out right away, pain or not. Depending on the severity of the attack, this technique stops the pain for between 20 minutes and several hours after I get out of the tub. If water is an issue, leave it in until youre sure you wont need it, that way you can just add more hot water.</P>
<P>If youre prone to kidney stone attacks you need to drink lots of plain water, especially during an attack. A minimum of ½ gallon per day is recommended and more wont hurt anything. With any luck at all the stone will pass within a few days, although Ive had three now that took over two months - those got stuck at the bladder opening which doesnt hurt so much. For you men especially, put your mind at ease, once it gets in the bladder you can stop worrying, itll pass through your penis without much trouble at all, in fact unless youre paying attention you probably wont even notice it passing.</P>
<P>Well, not a fun subject but hopefully useful if you ever need the information.
<br><font size=+2 color=red><i>Spitfire</i></font>
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Coping with Kidney Stones
\*Coping with Kidney Stones\*
*By: Spitfire*
24 October 2005
First let me say that I sincerely hope that neither you nor anyone you know ever needs this information. I tolerate pain well, having been cut, stabbed, bruised, crushed, burned and even stitched up without anesthesia, but \*nothing\* hurts as much as kidney stone pain. If you develop a kidney stone and medical help is not available, youll want to know this.
For some background, the common types of kidney stones are crystals that grow inside the kidneys. The most common form of stone is formed from calcium in combination with either oxalate or phosphate. There are also stones formed from uric acid. Ive had both calcium oxalate and uric acid stones. The stones Ive had range from the size of a grain of sand to the size of a large cooked grain of rice. This doesnt sound very big but because of the crystalline structure there are dozens of extremely sharp points and edges sticking out of the stones. Imagine taking a grain of rice, sticking razor blades and needles in it and sending it through your Ureter (the tube that connects your kidney to your bladder)
The pain is caused by three main mechanisms. First, the sharp edges of the stones cut and slice as the stone moves through the Ureter. Second, the pain causes tiny muscles around the Ureter to contract until they cramp, causing more pain. Over time that pain can cause major skeletal muscles to cramp up and even sprain. If the stone completely blocks the Ureter, urine backs up and causes pain that way. The good news is that kidney stones will usually pass by themselves over time. If yours doesnt, its beyond the scope of this article and you better hope you have a doctor on your team.
Indicators of a kidney stone attack may include a dull aching pain in your side or lower back. You may feel bloated, gassy or constipated, but no amount of peeing, farting or pooping relieves the feeling. Your pee may or may not have blood in it, displaying as red or orange in color. The first kidney stone I ever had started with a gassy cramping that progressed to a dull aching pain and then to the real pain. All the rest of them have skipped the gassy cramping stage and started with a dull ache, and then the real pain has started. You wont mistake the "real pain". Imagine someone punching you in the stomach, kicking you in your private parts and then stabbing your side with an ice pick multiple times - its worse than that! The first time you get one of these things youre going down and youre going to be curled up in a ball on the ground gasping for breath. It feels like something important has broken inside. If youre really lucky the pain will be intense enough to make you projection vomit. After the first time you may not go down but anything within arms reach is in serious trouble and you may still need something to hurl in!
OK bro, \*that\* sounded like fun, now what about treatment? If the hospitals are functioning I highly recommend the ER. Theyll hook you up to a large bore saline IV and as soon as theyre sure its a kidney stone theyll squirt some Demerol in it which will take the pain down in less than a minute. Unfortunately theyre also using the IV to try and push the stone out (never worked for me) and this causes more pain as the urine backs up. They may also inject a couple of tubes of radioactive liquid in you and then do X-Rays so they can find the stone and see how big it is. This is handy, especially the first time, but after several of the things I learned that my stones didnt need surgery and would pass when they were good and ready to pass. (Mine usually get stuck where the Ureter narrows and then again at the opening to the bladder) By the way, if they do need to intervene because the stone is too big they can sometimes blast it with sound waves and if not they can put a probe in through your bladder into the Ureter and try to remove or crush the stone. My urologist strongly recommended against this as long as I could manage the pain and I took his suggestion.
No hospital? I suggest that part of your medical preps include some moderately strong pain killers, and I dont mean aspirin, Advil or Tylenol. Were talking Percocet or Morphine here. After youve had one kidney stone, any urologist worth seeing will give you a script for at least 30 tablets of either. Percocet served me fine for years but recently they have made me vomit so my doctor switched me to instant release Morphine tablets. The key to effective pain pill use is to take them at the first sign of pain. If you wait until youre a puddle on the floor they just dont work as well. If you manage to capture a stone and get it analyzed your doctor may be able to prescribe a pill that helps keep them from forming. Urocit worked fairly well for me but ended up causing horrible acid reflux so I had to stop taking it. And no, they dont have anything to dissolve an existing stone, at least nothing theyre telling me about.
No meds? The pain can still be managed. WARNING - be careful here folks you could drown or burn yourself. I once had a urologist from an unspecified Middle Eastern country who was supposed to be on call in my AO the weekend I had my 4th kidney stone attack. The POS called back six hours after I phoned his emergency service (repeatedly). He was three states away at a golf resort and couldnt prescribe any meds strong enough to help with the pain over the phone. He did however clue me in on a technique that has worked for me every time (thanks for waiting until the 4th time Ive had this to tell me ya lousy, oh never mind I fired him anyway).
Run the hottest bathtub of water you can stand and get in. Make sure your abdomen (tummy through crotch) is covered. If the pain subsides, great, if not add more hot water until it does. If you run out of hot water or if you have your water heater set to a low "safe" temperature you may need to boil water on the stove. One gallon should be enough to add to the water already in the tub. This works best if youre already in the tub and someone else pours the boiling water in, being very careful to not pour it on you. I usually draw my legs up to my chest and my wife pours the boiling water in at the other end of the bathtub. At any rate, when the water is hot enough the pain should subside within a few seconds. Be very careful now, its easy to get too hot and pass out. I keep a \*plastic\* water bottle on the edge of the tub and drink every few minutes. If you get dizzy, sleepy or notice your skin turning bright red, you need to get out right away, pain or not. Depending on the severity of the attack, this technique stops the pain for between 20 minutes and several hours after I get out of the tub. If water is an issue, leave it in until youre sure you wont need it, that way you can just add more hot water.
If youre prone to kidney stone attacks you need to drink lots of plain water, especially during an attack. A minimum of ½ gallon per day is recommended and more wont hurt anything. With any luck at all the stone will pass within a few days, although Ive had three now that took over two months - those got stuck at the bladder opening which doesnt hurt so much. For you men especially, put your mind at ease, once it gets in the bladder you can stop worrying, itll pass through your penis without much trouble at all, in fact unless youre paying attention you probably wont even notice it passing.
Well, not a fun subject but hopefully useful if you ever need the information.
*Spitfire*
---
www.alpharubicon.com
All materials at this site not otherwise credited are Copyright © 1996 - 2005 Trip Williams. All rights reserved. May be reproduced for personal use only. Use of any material contained herein is subject to stated terms or written permission.
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<HTML><HEAD>
<TITLE>The Richfiles: The Solar BEAM Robots Page</TITLE>
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<CENTER><H2>BEAM Solar Robots</H2></CENTER>
<P><HR><p>
<center><IMG SRC="robots/solarrobots.jpg"><br>
Three of my solar robots: a Solar Roller, a Photovore, and a Photopopper, all BEAM</center>
<p>
All three bots are based on the basic solar engine. One is a SunEater II and simply stores solar energy till it can pulse a motor. The Photovore and photopopper both use a pair of solar engines attached to photodiodes. The solar engine with the highest amount of light on the photodiode triggers. This makes the robot actualy seek out light!<p>
I'd recomend going to <A HREF="http://www.solarbotics.com">Solarbotics</A>. They have kits, and they are very excelent for learning basic BEAM robotics.
<P><HR><p><center>
These are the individual images of each robot.<p>
<IMG SRC="robots/SunEater.jpg"><br>
A SunEater II based SolarRoller
<p>
<IMG SRC="robots/Photovore.jpg"><br>
A Simple Photovore with rear "caster" wheel
<p>
<IMG SRC="robots/Photopopper.jpg"><br>
A Solarbotics Photopopper
<p>
<IMG SRC="robots/Poppers.jpg"><br>
My old Solarbotics Photovore, and a new one I got for free. New one is red.</center><p>
Here is a short video of the older Solarbotics Photovore from a clip from Algo's FACTory. It's next to Walkman Jr.
<p><A HREF="robots/WalkmanPhotopopper.mov" TARGET="WalkmanPhotopopperVideoWindow">Walkman & Photopopper Video-253 K</A>
<p><hr><p>
<b>Schematics of various solar engines:</b>
<center>
<p><IMG SRC="robots/FLEDSE.gif"><br>
Schematic of the FLED SE<p>
<IMG SRC="robots/1381SE.gif"><br>
Schematic of the 1381 SE<p>
<IMG SRC="robots/LM3909SE.gif"><br>
Schematic of the LM3909 SE<p>
<IMG SRC="robots/MaximSE.gif"><br>
Schematic of the MAXIM SE<p>
<hr>
<p><IMG SRC="robots/D1SE.gif"><br>
Schematic of the D1 Solar engine (charges in the day, fires at night)
<p><hr><p>
<b>Schematics of various photovores:</b><p>
<hr>
<p><IMG SRC="robots/Photopopper.gif"><br>
Schematic of the Solarbotics photopopper<p>
<hr>
<p><IMG SRC="robots/SEIIISchem.gif"><br>
Schematic of the SE III<p>
<IMG SRC="robots/SEIIIPCB.gif"><br>
PCB layout of the SE III<p>
<IMG SRC="robots/SEIIILayout.gif"><br>
Parts layout of the SE III<p>
<IMG SRC="robots/SEIIIMech.gif"><br>
SE III Mechanics
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The Richfiles: The Solar BEAM Robots Page
# The RichFiles
## BEAM Solar Robots
---
Three of my solar robots: a Solar Roller, a Photovore, and a Photopopper, all BEAM
All three bots are based on the basic solar engine. One is a SunEater II and simply stores solar energy till it can pulse a motor. The Photovore and photopopper both use a pair of solar engines attached to photodiodes. The solar engine with the highest amount of light on the photodiode triggers. This makes the robot actualy seek out light!
I'd recomend going to [Solarbotics](http://www.solarbotics.com). They have kits, and they are very excelent for learning basic BEAM robotics.
---
These are the individual images of each robot.
A SunEater II based SolarRoller
A Simple Photovore with rear "caster" wheel
A Solarbotics Photopopper
My old Solarbotics Photovore, and a new one I got for free. New one is red.
Here is a short video of the older Solarbotics Photovore from a clip from Algo's FACTory. It's next to Walkman Jr.
[Walkman & Photopopper Video-253 K](robots/WalkmanPhotopopper.mov)
---
**Schematics of various solar engines:**
Schematic of the FLED SE
Schematic of the 1381 SE
Schematic of the LM3909 SE
Schematic of the MAXIM SE
---
Schematic of the D1 Solar engine (charges in the day, fires at night)
---
**Schematics of various photovores:**
---
Schematic of the Solarbotics photopopper
---
Schematic of the SE III
PCB layout of the SE III
Parts layout of the SE III
SE III Mechanics
---
[Return to the Robotics Page](RobotTopics.html)
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<td width="35%"><small>Tour : click picture below for previous</small></td>
<td width="29%"><p align="center"><a href="http://www.electricstuff.co.uk" target="_top">Back
to Mike's <font color="#FF8020">Electric</font> Stuff<strong> </a> </strong></td>
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<h1 align="center"><a href="lasfluo.html"><img src="smlas.jpg" alt="wpe13E.jpg (46686 bytes)" align="left" WIDTH="59" HEIGHT="50"></a><a href="lucozade.html"><img src="miniluc.JPG" alt="99926005.JPG (323072 bytes)" border="1" hspace="5" width="75" height="68" vspace="1" align="right"></a>Fun with a BIG laser!</h1>
<p align="center"><img src="scarylaser.gif" width="192" height="241" alt="High-res GIF - will print OK up to A5 size"></p>
<p><strong>This information is provided 'as is'. Readers should only attempt to experiment
with this stuff if they are competent at electronics work and understand the dangers of
mains voltages. No responsibility is accepted for any damage, injury or death (however
serious) or disruption of the space-time continuum caused by anything remotely connected
to this website. It is assumed that users are familiar with the potential hazards of
lasers - if not, please go to </strong><a href="http://www.laserfaq.com">http://www.laserfaq.com</a>
f<strong>irst and read the safety information there. </strong>Many<strong> </strong>thanks
to Eric King at <a href="http://www.laserinnovations.com">Laser Innovations</a>, and Steve
Roberts at the <a href="http://www.polymer.uakron.edu/">University of Akron</a> for
helping with info about this type of laser. </p>
<p align="center"><img src="fbiglas1.jpg" alt="wpeC.jpg (110328 bytes)" border="2" hspace="5" vspace="5" WIDTH="845" HEIGHT="154"></p>
<p align="left">A while ago, I got hold of some very large ion laser tubes, from a friend
who rescued them from a scrapyard - apparently they were from prototype medical laser
systems. These are seriously BIG lasers - 3 feet long, requiring water cooling and several
kilowatts of input power to produce a few watts of laser output. Two of the tubes were
fairly quickly diagnosed as being non-starters (although they would probably be
rebuildable by a professional laser refurbisher). The third, a Krypton tube, looked more
promising though, as the filament was intact and there was no sign of physical damage.
After some research, I identified it as a Coherent Innova 90 tube, requiring 230VDC at
25-35 amps, a filament supply of 3V at about 35 amps, and a starting impulse of several
KV. Fortunately the latter two requirements were not a problem as the filament
transformer and high voltage igniter unit were still attached to the huge hunk of
aluminium that this and one of the other tubes was bolted to, but powering this
sucker was still going to be something of a challenge.....!</p>
<p align="left">I started off with a simple pulsed supply, charging a bank of four 3300uF
400V electrolytics, then discharging through the tube by operating the igniter. This
conformed that the tube was gas-intact, giving a bright purple plasma flash, but no sign
of lasing, presumably due to the mirrors not being in alignment. Aligning in pulse mode
was going to be pretty near impossible, as I could only easily produce one pulse per
second - it would take forever to find the correct alignment at that rate! I did try
alignment with an external helium-neon laser, but still no hint of lasing... </p>
<p align="left">So now it was time to get serious with the power supply..... Large ion
tubes like this use solenoids around the tube to produce a magnetic field to concentrate
the plasma, and the solenoid on this tube used very heavy-gauge wire, and was designed to
be connected in series with the 25-35A anode supply. This had 2 advantages for building a
crude PSU - firstly I didn't need a seperate supply for it, and secondly, it would act as
a ballast resistance, giving a reasonable amount of control of the tube current by varying
the DC supply voltage. Fortunately, when I built my workshop a few years ago, I had the
foresight to lay a 10mm<sup>2</sup> mains supply cable, good for at least 50 amps. I also
had a huge dual-ganged variac (which coincidentally was originally used to control the
intensity of two halogen lamps in a very old YAG laser), and four 3300uF 400V
electrolytics I bought very cheap from a radio rally (hamfest). All I had to buy were a
couple of 400v 35 amp bridge rectifiers - I used two, one fed from each gang of the
variac, partly to spread the load, and partly to get a more equal current through each
gang of the variac, as the voltages from each side varied by a volt or two depending on
the setting. A bit of extra wiring from the breaker box, and a couple of uprated circuit
breakers later, I was ready to shove some serious power into this tube....</p>
<p align="left">After hooking up a cooling water supply, I applied some heater current,
fired up the variac and hit the igniter button. The tube started drawing a couple of amps
with a nice purple glow visible from each end - so far, so good... Gently cranked up
the current to 20A, 25A..30A... Loud hum from variac, lights dimming slightly, and
that familiar smell of 'hot electrics' from the variac..... I figured that the alignment
probably wasn't too far out, due to the previous work with the helium-neon tube, and the
OC (output cpupler) end was probably the most likely to be misaligned (as the distance
from the alignment laser was shorter) so the easiest thing to do was to remove the
retaining cap to loosen off the OC mirror, and wiggle it about, in a highly unscientific
fashion.... After a few seconds' fairly random movement, I saw the tiniest momentary red
flash - this instantly confirmed that the <em>Beast is Alive</em> and would lase!!! The
smell of Hot Variac was getting pretty strong by now, so I switched off to let things cool
off a bit, and replaced the mirror retaining cap. The mirror mounting and alignment system
on this laser is quite well designed, allowing quick searching for a rough alignment point
by rocking the end plate back and forth against spring tension, so you can traverse a
reasonable adjustment range very quickly. Powering up again after things had cooled
down a bit, it only took a couple of minutes to get some initial lasing - this then
allowed me to reduce the current and to peak the output with less chance of things smoking
- by this time, even the cable I'd run to the breaker box was getting worryingly warm!</p>
<p align="left">After carefully cleaning the optics, the output is now seriously bright -
even at 25 amps tube current, the beam will burn holes in black paper. I've not yet
managed to photograph this, as the intensity of the beam completely dazzles the digital
camera!</p>
<p><img src="bredlas3.jpg" alt="wpe15B.jpg (68790 bytes)" border="2" hspace="5" vspace="5" align="left" WIDTH="586" HEIGHT="292"><a name="redlaser"></a><img src="ttlaser.jpg" alt="ttlaser.jpg (13023 bytes)" align="right" WIDTH="320" HEIGHT="240"><First light! <em>"More Power Igor....</em>".</p>
<p align="right">>Running the laser at the<a href="http://www.richieburnett.co.uk/winter.html"> 2001 Cambridge teslathon</a>, just
before all the lights went out....! <br clear="all">
</p>
<p><img src="lashup.jpg" alt="wpe15C.jpg (97690 bytes)" align="left" border="2" hspace="5" vspace="5" WIDTH="427" HEIGHT="283"><img src="healig.jpg" alt="wpe11.jpg (94329 bytes)" align="right" border="2" hspace="5" vspace="5" WIDTH="319" HEIGHT="219"><<a name="variac"></a>Overall view of <strike>lashup</strike>
test set-up. Meters on shelf measure water temperature, flow rate (RPM of turbine type
flow sensor), Tube voltage, and DC supply voltage. 100 Amp isolating switch mounted on
wall (below yellow bin), with second breaker used as a switch to allow the second variac
gang to be switched on after the first - switching both gangs on at once usually trips the
45 amp breaker in the main house box!</p>
<p align="right">> Initial alignment using Helium-Neon tube, mounted on two X/Y
micrometer mounts from a surplus fibre optic fusion splicer.<br clear="left">
</p>
<p><img src="variac.jpg" alt="wpe15A.jpg (88603 bytes)" align="left" border="2" hspace="5" vspace="5" WIDTH="399" HEIGHT="280"><img src="fbiglas2.jpg" alt="wpeD.jpg (71930 bytes)" align="right" border="2" hspace="5" vspace="5" WIDTH="397" HEIGHT="178"><The Variac From Hell! Two 10 amp variacs, ganged together, and
grossly overloaded. Loud hum and smell of burning varnish....! </p>
<p align="right">>Two 35 amp bridge rectifiers (one fed from each variac) on heatsinks,
and two of the four 3300uF 400V electrolytic smoothing caps.<br clear="all">
</p>
<p align="left"><img src="fbiglas3.jpg" alt="wpeE.jpg (90490 bytes)" align="left" border="2" hspace="5" vspace="5" WIDTH="438" HEIGHT="284"><img src="fbiglas4.jpg" alt="wpeF.jpg (73160 bytes)" align="right" border="2" hspace="5" vspace="5" WIDTH="433" HEIGHT="228">< Tube Current measurement via
clamp-meter (I originally used a current-sensing shunt but switched to the clampmeter when
it started glowing!). Red button on right is used to manually discharge the smoothing caps
via the big green resistor to the right of the clampmeter. Filament transformer
bottom-right.</p>
<p align="right">> Igniter unit - this generates a high voltage impulse to strike the
tube. Brown coil on top passes the 30 amp anode current, and a high voltage generator and
spark gap injects a HV impulse across this inductance to ionise the gas.<br clear="all">
</p>
<p><br clear="all">
<a href="lasfluo.html"><img src="smlas.jpg" alt="wpe13E.jpg (46686 bytes)" align="left" WIDTH="59" HEIGHT="50"></a><a href="lucozade.html"><img src="miniluc.JPG" alt="99926005.JPG (323072 bytes)" border="1" hspace="5" width="75" height="68" vspace="1" align="right"></a></p>
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<td width="36%" height="9"><small>Click picture above for Previous</small></td>
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Fun with a BIG laser....
| | | | |
| --- | --- | --- | --- |
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| Tour : click picture below for previous | [Back
to Mike's Electric Stuff](http://www.electricstuff.co.uk) | Click picture below for next |
---
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| [wpe13E.jpg (46686 bytes)](lasfluo.html)[99926005.JPG (323072 bytes)](lucozade.html)Fun with a BIG laser!
High-res GIF - will print OK up to A5 size
**This information is provided 'as is'. Readers should only attempt to experiment
with this stuff if they are competent at electronics work and understand the dangers of
mains voltages. No responsibility is accepted for any damage, injury or death (however
serious) or disruption of the space-time continuum caused by anything remotely connected
to this website. It is assumed that users are familiar with the potential hazards of
lasers - if not, please go to** <http://www.laserfaq.com>
f**irst and read the safety information there.** Manythanks
to Eric King at [Laser Innovations](http://www.laserinnovations.com), and Steve
Roberts at the [University of Akron](http://www.polymer.uakron.edu/) for
helping with info about this type of laser.
wpeC.jpg (110328 bytes)
A while ago, I got hold of some very large ion laser tubes, from a friend
who rescued them from a scrapyard - apparently they were from prototype medical laser
systems. These are seriously BIG lasers - 3 feet long, requiring water cooling and several
kilowatts of input power to produce a few watts of laser output. Two of the tubes were
fairly quickly diagnosed as being non-starters (although they would probably be
rebuildable by a professional laser refurbisher). The third, a Krypton tube, looked more
promising though, as the filament was intact and there was no sign of physical damage.
After some research, I identified it as a Coherent Innova 90 tube, requiring 230VDC at
25-35 amps, a filament supply of 3V at about 35 amps, and a starting impulse of several
KV. Fortunately the latter two requirements were not a problem as the filament
transformer and high voltage igniter unit were still attached to the huge hunk of
aluminium that this and one of the other tubes was bolted to, but powering this
sucker was still going to be something of a challenge.....!
I started off with a simple pulsed supply, charging a bank of four 3300uF
400V electrolytics, then discharging through the tube by operating the igniter. This
conformed that the tube was gas-intact, giving a bright purple plasma flash, but no sign
of lasing, presumably due to the mirrors not being in alignment. Aligning in pulse mode
was going to be pretty near impossible, as I could only easily produce one pulse per
second - it would take forever to find the correct alignment at that rate! I did try
alignment with an external helium-neon laser, but still no hint of lasing...
So now it was time to get serious with the power supply..... Large ion
tubes like this use solenoids around the tube to produce a magnetic field to concentrate
the plasma, and the solenoid on this tube used very heavy-gauge wire, and was designed to
be connected in series with the 25-35A anode supply. This had 2 advantages for building a
crude PSU - firstly I didn't need a seperate supply for it, and secondly, it would act as
a ballast resistance, giving a reasonable amount of control of the tube current by varying
the DC supply voltage. Fortunately, when I built my workshop a few years ago, I had the
foresight to lay a 10mm2 mains supply cable, good for at least 50 amps. I also
had a huge dual-ganged variac (which coincidentally was originally used to control the
intensity of two halogen lamps in a very old YAG laser), and four 3300uF 400V
electrolytics I bought very cheap from a radio rally (hamfest). All I had to buy were a
couple of 400v 35 amp bridge rectifiers - I used two, one fed from each gang of the
variac, partly to spread the load, and partly to get a more equal current through each
gang of the variac, as the voltages from each side varied by a volt or two depending on
the setting. A bit of extra wiring from the breaker box, and a couple of uprated circuit
breakers later, I was ready to shove some serious power into this tube....
After hooking up a cooling water supply, I applied some heater current,
fired up the variac and hit the igniter button. The tube started drawing a couple of amps
with a nice purple glow visible from each end - so far, so good... Gently cranked up
the current to 20A, 25A..30A... Loud hum from variac, lights dimming slightly, and
that familiar smell of 'hot electrics' from the variac..... I figured that the alignment
probably wasn't too far out, due to the previous work with the helium-neon tube, and the
OC (output cpupler) end was probably the most likely to be misaligned (as the distance
from the alignment laser was shorter) so the easiest thing to do was to remove the
retaining cap to loosen off the OC mirror, and wiggle it about, in a highly unscientific
fashion.... After a few seconds' fairly random movement, I saw the tiniest momentary red
flash - this instantly confirmed that the *Beast is Alive* and would lase!!! The
smell of Hot Variac was getting pretty strong by now, so I switched off to let things cool
off a bit, and replaced the mirror retaining cap. The mirror mounting and alignment system
on this laser is quite well designed, allowing quick searching for a rough alignment point
by rocking the end plate back and forth against spring tension, so you can traverse a
reasonable adjustment range very quickly. Powering up again after things had cooled
down a bit, it only took a couple of minutes to get some initial lasing - this then
allowed me to reduce the current and to peak the output with less chance of things smoking
- by this time, even the cable I'd run to the breaker box was getting worryingly warm!
After carefully cleaning the optics, the output is now seriously bright -
even at 25 amps tube current, the beam will burn holes in black paper. I've not yet
managed to photograph this, as the intensity of the beam completely dazzles the digital
camera!
wpe15B.jpg (68790 bytes)ttlaser.jpg (13023 bytes)<First light! *"More Power Igor....*".
>Running the laser at the [2001 Cambridge teslathon](http://www.richieburnett.co.uk/winter.html), just
before all the lights went out....!
wpe15C.jpg (97690 bytes)wpe11.jpg (94329 bytes)<Overall view of lashup
test set-up. Meters on shelf measure water temperature, flow rate (RPM of turbine type
flow sensor), Tube voltage, and DC supply voltage. 100 Amp isolating switch mounted on
wall (below yellow bin), with second breaker used as a switch to allow the second variac
gang to be switched on after the first - switching both gangs on at once usually trips the
45 amp breaker in the main house box!
> Initial alignment using Helium-Neon tube, mounted on two X/Y
micrometer mounts from a surplus fibre optic fusion splicer.
wpe15A.jpg (88603 bytes)wpeD.jpg (71930 bytes)<The Variac From Hell! Two 10 amp variacs, ganged together, and
grossly overloaded. Loud hum and smell of burning varnish....!
>Two 35 amp bridge rectifiers (one fed from each variac) on heatsinks,
and two of the four 3300uF 400V electrolytic smoothing caps.
wpeE.jpg (90490 bytes)wpeF.jpg (73160 bytes)< Tube Current measurement via
clamp-meter (I originally used a current-sensing shunt but switched to the clampmeter when
it started glowing!). Red button on right is used to manually discharge the smoothing caps
via the big green resistor to the right of the clampmeter. Filament transformer
bottom-right.
> Igniter unit - this generates a high voltage impulse to strike the
tube. Brown coil on top passes the 30 amp anode current, and a high voltage generator and
spark gap injects a HV impulse across this inductance to ionise the gas.
[wpe13E.jpg (46686 bytes)](lasfluo.html)[99926005.JPG (323072 bytes)](lucozade.html)
|
| | | | |
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|
---
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|
| http://www.electricstuff.co.uk/biglaserfun.html |
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"><html><head><META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=ISO-8859-1"><title>The Great Pyramid of Giza</title>
<meta name="description" content="An 1880's visit deep inside the Pyramid."><meta name="keywords" content="Gisa Giza Cheops Khufu Great Pyramid Egypt"></head>
<body bgcolor="#339999"><br><br><br><center><img src="Pyramids-Raphael-Tuck-1906.jpg" alt="" border="0" width="447" height="282"><br><small><i>by Raphael Tuck, 1906</i></small></center><br><br><center><h1>The Pyramids of Egypt</h1></center><br><br><br>
<big>The Giza Pyramids</big> are the most massive stone buildings in the world today, and among the most ancient. Surrounded by the ever-growing suburbs of Cairo on one side and the seemingly endless Sahara on the other, the Pyramids look out on our modern world with a mute question:<br><br>"How?"<br clear=all><br>How could men of 4500 years ago build so grandly, so perfectly, when conventional archeology claims they had only recently been simple herders and farmers?<br><br>In all their attempts to explain away the pyramids, the archaeologists fall far short of plausibility. The Pyramids are simply too large, too well engineered to have been built at the beginnings of civilization.<br><br><big>Yet There They Stand.</big><br><br><center><img src="Gisa-Pyramids-Francis-Frith-1862.jpg" alt="The Giza Pyramids rise like mountains from the desert." border="0" width="607" height="427"><br><i><small>The Pyramids at Giza,<br>Photograph by Francis Frith, 1862</small></i></center><br>
<br><br>To visit the Giza Pyramids today one must survive a gauntlet of merchants, camel renters and guides, each with their agreed-on territory which you must cross as they stand directly in your way, all-but grabbing your arms. After paying the entrance fee you share the narrow spaces inside with an endless stream of chattering tourists. Whether you regard the Pyramid as a tomb, a temple, or something else, there is precious little silence in which to take in the enormity of the place.<br><br><br><br>
<center><img src="Pyramid-Sphinx-Roberts.jpg" alt="" border="0" width="707" height="440"><br><i><small>Engraving by David Roberts, 1838.</small></i></center>
<br><br><br>
<br><img src="Sphinx-Livadas-Coutsicos.jpg" alt="The Great Sphinx-by Livadas and Coutsicos." border="0" width="288" height="328" align="right" hspace="20" vspace="10">
<big><i>"'They are the tombs of Cheops and Chephren', says the Grecian. 'They are
the tombs of Seth and Enoch', says the imaginative Arab. An
English traveler with a mind warmed by the desert sun and misled by his heart,
tells you that the Great Pyramid contains the ashes
of the Patriarch Joseph.<br><br>It is all this
which constitutes the very charm of a visit to these ancient monuments.<br><br>You smile, and your smile is followed and reproved by a sigh. One thing
you know: that the king, and the philosopher, and the poet
of the times of old, men who mark fields as they pass with their own
mighty names, have certainly been here. Alexander spurred his horse to its base, and Pythagoras, with naked foot, stood upon its summit."</i></big><br><br><small><i>by Moyle Sherer, 1824.<br>(R) Colored photo: Livadas and Coutsicos</i></small><br clear=all><br><br>
<br><br><center>
<img src="Cheops-pyramid-Espen-Birkelund-CC.jpg" alt="A line of tourists wait to enter the pyramid, while the true entrance stands above, unused." border="0" width="311" height="415">
<a href="Great-Pyramid-Cheops.htm#grand-gallery"><img src="Great-pyramid-entrance-Vivant-Denon-1808.jpg" alt="A raised plaza with diagonal stones meeting in an arch, marks the original entrance to Cheops Pyramid." border="0" width="341" height="415"></a><br><i><small>(Left) Photograph by Espen Birkelund, CreativeCommons.<br>(Right) Engraving by Vivant Denon, 1808</small></i></center><br><br>
There are two ways to enter the Great Pyramid. Every day a long line of tourists waits to crawl into the twisted tunnel dug by those who would rob the treasures of this place. The original entrance to Cheops' Pyramid was hidden then. Exposed now by the loss of the Pyramid's limestone casing, the true entrance is far more impressive, a grand stone arch fit for a Pharaoh. We can safely ignore the tourists, only those with imagination can follow.
<br><br><br><br><center><img src="Giza-Pyramids-sunset-Napoleon.jpg" alt="Napoleon's horsemen galloping about the Pyramids." border="0" width="780" height="425"><br><i><small>The Great Pyramid of Cheops (Left)<br>and the Pyramid of Chephren (Right)<br>From La Description de l'Egypte 1809 - 1822<br>Engraving commissioned by Napoleon.</small></i></center><br>
<br><br>
PYMD.com has descriptions by both modern and 19th century authors and a number of beautiful 19th century engravings. We point out some anomalies and questions along the way, but the intent is to give the feel of the "World's most important archeological site". The final page (you can skip to it <a href="Greatest-Mystery-of-Egypt.htm">HERE</a>) confronts the questions raised by the pyramids. These ancient wonders defy the conventional view of history and must eventually force a re-appraisal of the origin of human civilization.</i><br><br><br>
<h2><center>The Pyramids of Egypt<br><small><i>an exploration of the dawn of civilization</i></small></center></h2><br><br>
<br><br>
<center><img src="wings.jpg" alt="wings of the Sun." border="0" width="244" height="72"></center>
<br><br><center><big><big>PYMD.COM</big><br><i>Ancient Egypt's Age of the Pyramids</i></big>
<br>
<big>Giza:</big>
<br><a href="Climbing-the-Great-Pyramid.htm">Climbing the Great Pyramid</a>
<br><a href="Great-Pyramid-Cheops.htm">The Great Pyramid of Cheops</a>
<br><a href="Second-Pyramid-Chephren.htm">The Second Greatest Pyramid - Chephren</a>
<br><a href="Valley-Temple-Khafre.htm">Valley Temple of Chephren</a>
<br><a href="Pyramid-of-Menkaure-Giza.htm">The Pyramid of Menkaure</a>
<br><a href="Great-Sphinx.htm">The Great Sphinx</a>
<br><a href="Giza-other-sites.htm">More About Giza</a>
<br><big>Before Giza:</big>
<br><a href="Saqqara-Pyramids-Djoser.htm">The Pyramids at Saqqara</a>
<br><a href="Pyramids-of-Sneferu.htm">The Pyramids of Sneferu</a>
<br><a href="Greatest-Mystery-of-Egypt.htm">The Greatest Mystery of All</a>.
</center><br><br><br>
<center><big>For the rest of Ancient Egypt: <br><a href="http://AscendingPassage.com">AscendingPassage.com</a></big></center><br><br><br>
<br><br><br><br><a href="Climbing-the-Great-Pyramid.htm"><img src="scribes.jpg" alt="Scribes Tour" border="0" width="101" height="51" align="right" hspace="30" vspace="10"></a>
<br clear=all><center><a href="sitemap.htm">sitemap</a></center>
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| The Great Pyramid of Giza
*by Raphael Tuck, 1906*
# The Pyramids of Egypt
The Giza Pyramids are the most massive stone buildings in the world today, and among the most ancient. Surrounded by the ever-growing suburbs of Cairo on one side and the seemingly endless Sahara on the other, the Pyramids look out on our modern world with a mute question:
"How?"
How could men of 4500 years ago build so grandly, so perfectly, when conventional archeology claims they had only recently been simple herders and farmers?
In all their attempts to explain away the pyramids, the archaeologists fall far short of plausibility. The Pyramids are simply too large, too well engineered to have been built at the beginnings of civilization.
Yet There They Stand.
*The Pyramids at Giza,
Photograph by Francis Frith, 1862*
To visit the Giza Pyramids today one must survive a gauntlet of merchants, camel renters and guides, each with their agreed-on territory which you must cross as they stand directly in your way, all-but grabbing your arms. After paying the entrance fee you share the narrow spaces inside with an endless stream of chattering tourists. Whether you regard the Pyramid as a tomb, a temple, or something else, there is precious little silence in which to take in the enormity of the place.
*Engraving by David Roberts, 1838.*
*"'They are the tombs of Cheops and Chephren', says the Grecian. 'They are
the tombs of Seth and Enoch', says the imaginative Arab. An
English traveler with a mind warmed by the desert sun and misled by his heart,
tells you that the Great Pyramid contains the ashes
of the Patriarch Joseph.
It is all this
which constitutes the very charm of a visit to these ancient monuments.
You smile, and your smile is followed and reproved by a sigh. One thing
you know: that the king, and the philosopher, and the poet
of the times of old, men who mark fields as they pass with their own
mighty names, have certainly been here. Alexander spurred his horse to its base, and Pythagoras, with naked foot, stood upon its summit."*
*by Moyle Sherer, 1824.
(R) Colored photo: Livadas and Coutsicos*
[](Great-Pyramid-Cheops.htm#grand-gallery)
*(Left) Photograph by Espen Birkelund, CreativeCommons.
(Right) Engraving by Vivant Denon, 1808*
There are two ways to enter the Great Pyramid. Every day a long line of tourists waits to crawl into the twisted tunnel dug by those who would rob the treasures of this place. The original entrance to Cheops' Pyramid was hidden then. Exposed now by the loss of the Pyramid's limestone casing, the true entrance is far more impressive, a grand stone arch fit for a Pharaoh. We can safely ignore the tourists, only those with imagination can follow.
*The Great Pyramid of Cheops (Left)
and the Pyramid of Chephren (Right)
From La Description de l'Egypte 1809 - 1822
Engraving commissioned by Napoleon.*
PYMD.com has descriptions by both modern and 19th century authors and a number of beautiful 19th century engravings. We point out some anomalies and questions along the way, but the intent is to give the feel of the "World's most important archeological site". The final page (you can skip to it [HERE](Greatest-Mystery-of-Egypt.htm)) confronts the questions raised by the pyramids. These ancient wonders defy the conventional view of history and must eventually force a re-appraisal of the origin of human civilization.
## The Pyramids of Egypt*an exploration of the dawn of civilization*
PYMD.COM
*Ancient Egypt's Age of the Pyramids*
Giza:
[Climbing the Great Pyramid](Climbing-the-Great-Pyramid.htm)
[The Great Pyramid of Cheops](Great-Pyramid-Cheops.htm)
[The Second Greatest Pyramid - Chephren](Second-Pyramid-Chephren.htm)
[Valley Temple of Chephren](Valley-Temple-Khafre.htm)
[The Pyramid of Menkaure](Pyramid-of-Menkaure-Giza.htm)
[The Great Sphinx](Great-Sphinx.htm)
[More About Giza](Giza-other-sites.htm)
Before Giza:
[The Pyramids at Saqqara](Saqqara-Pyramids-Djoser.htm)
[The Pyramids of Sneferu](Pyramids-of-Sneferu.htm)
[The Greatest Mystery of All](Greatest-Mystery-of-Egypt.htm).
For the rest of Ancient Egypt:
[AscendingPassage.com](http://AscendingPassage.com)
[](Climbing-the-Great-Pyramid.htm)
[sitemap](sitemap.htm)
| http://pymd.com/ |
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You can use the too, just remember to give Rlan credit</small></font></td>
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|
Update GIFS
| |
| --- |
| logo.gif (29158 bytes) |
| |
| --- |
| When
I have time, I've tried to put up animated GIFs inside the update, to make them a bit more
enjoyable (WHEN I update that is ;>) So here is the whole clab of them over the years.
You can use the too, just remember to give Rlan credit |
| | |
| --- | --- |
| advancewars.gif (2835 bytes) | aiko.gif (8121 bytes) |
| birdo.gif (2984 bytes) | altered.gif (15476 bytes) |
| amy.gif (2726 bytes) | ak.gif (1490 bytes) |
| ani.gif (3140 bytes) | blastegg.gif (7018 bytes) |
| blazesonic.gif (2834 bytes) | bomb.gif (6185 bytes) |
| fswalk.gif (19854 bytes) | bsrun.gif (9205 bytes) |
| bubsy.gif (1677 bytes) | bunnie.gif (6567 bytes) |
| chao.gif (8830 bytes) | chao_fly.gif (5115 bytes) |
| cm.gif (873 bytes) | cool1.gif (5019 bytes) |
| dawg.gif (4106 bytes) | diz.gif (1483 bytes) |
| doraemon.gif (3167 bytes) | egg3.gif (636 bytes) |
| eggdance3.gif (5284 bytes) | egglaug.gif (978 bytes) |
| eggman.gif (9580 bytes) | espio.gif (2987 bytes) |
| ewj.gif (5855 bytes) | fallcha2.gif (1354 bytes) |
| fang.gif (722 bytes) | fat.gif (2358 bytes) |
| bomberman.gif (1341 bytes) | infinity.gif (4541 bytes) |
| kidd.gif (637 bytes) | kirby.gif (1121 bytes) |
| klonda.gif (5489 bytes) | knux3d.gif (3309 bytes) |
| mario64.gif (52280 bytes) | megamanx.gif (6951 bytes) |
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| mini.gif (1541 bytes) | mk64.gif (20690 bytes) |
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| neko.gif (5198 bytes) | nights1.gif (1452 bytes) |
| wolverine.gif (15397 bytes) | peng.gif (2466 bytes) |
| pinobee.gif (6810 bytes) | pixel.gif (62399 bytes) |
| ray.gif (4112 bytes) | red.gif (1748 bytes) |
| redsonic.gif (9716 bytes) | rlan.gif (6739 bytes) |
| ris.gif (1916 bytes) | ristar.gif (4104 bytes) |
| ristar1.gif (1943 bytes) | ristar2.gif (679 bytes) |
| ristar4.gif (1673 bytes) | ristar3.gif (1204 bytes) |
| rep.gif (14211 bytes) | rockmanexe.gif (3074 bytes) |
| runup.gif (12378 bytes) | s3dbad.gif (8497 bytes) |
| sasonic.gif (7926 bytes) | shadowskating.gif (5084 bytes) |
| spark.gif (1848 bytes) | strider.gif (3761 bytes) |
| tbackw.gif (14322 bytes) | supers.gif (34314 bytes) |
| swing.gif (12695 bytes) | sub.gif (24396 bytes) |
| pac.gif (782 bytes) | toejam.gif (1926 bytes) |
| vec.gif (4599 bytes) | wabbit.gif (1514 bytes) |
| war.gif (9133 bytes) | wario.gif (33950 bytes) |
| zero1.gif (7126 bytes) | tbi.gif (6627 bytes) |
| wwinner.gif (6012 bytes) | x3.gif (13476 bytes) |
| yeah.gif (11202 bytes) | zero.gif (9196 bytes) |
| woah.gif (4377 bytes) | zool.gif (4513 bytes) |
| peach.gif (14469 bytes) | |
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<img border="3" src="images/Artemis23_7_2.jpg" width="347" height="300" align="right" vspace="3">My
name is Estelle Sandford and I run a rattery based in Somerset, known as
The
Rats of Alpha Centauri. Alpha Centauri
is my NFRS registered stud-name. </p>
<p align="left">Over the years I have kept and breed quite a few varieties
of rats. This section of my website is devoted to information about rats and
their care. The articles are written by me unless otherwise indicated, but the links page will hopefully
end up being a very comprehensive set of links to online rat related articles.
If you have an article you wish to have added or linked or know of good articles that
should be linked, please <a href="mailto:[email protected]">contact me</a>.</p>
<p align="left">I am not a vet and have no veterinary
qualifications, so any articles which detail treatments are based on my own
opinions,
personal experiences with my vet or from friends who have recommended treatments.
In the cases where the article was not written by me it is the author's personal experiences
or opinions which I support or agree with. </p>
<p class="auto-style1"><a href="alphacentauri.html" target="_top">
<img border="0" height="150" src="images/alphacentauri/acbanner.jpg" width="468"></a></p>
<hr>
<p align="center"><b><font size="5" color="#0066CC">Site Map</font></b></p>
<p align="left">
<a href="yourrats.html"><font size="4" color="#330066"><b>Your Rats</b></font></a></p>
<ul>
<li>
<p align="justify"><a href="petrat.html">Keeping Rats as Pets</a> -
<font color="#0066CC"><i>Estelle</i></font></li>
<li>
<p align="justify"><font color="#0066CC"><a href="feeding.html">Diet &
Feeding</a><i> - Estelle</i></font></li>
<li>
<p align="justify"><font color="#0066CC"><a href="housing.html">Housing,
Accessories & Bedding</a><i> - Estelle</i></font></li>
<li>
<p align="justify"><a href="selectrats.html">Selecting your rats</a> -<b><font size="4" color="#330066">
</font></b><i><font color="#0066CC">Estelle</font></i></li>
<li>
<p align="justify"><font color="#0066CC"><a href="choosebreeder.html">
Choosing a Breeder</a><i> - Estelle</i></font></li>
<li>
<p align="justify"><font color="#0066CC"><a href="Petshops.html">A Guide To
What To Look For If You Must Buy Rats From Pet Shops!</a> - <i>Estelle</i></font></li>
<li>
<p align="justify"><font color="#0066CC"><a href="sexingrats.html">Sexing Rats</a><i> - Estelle</i></font>
</li>
<li>
<p align="justify"><font color="#0066CC"><a href="ratintro.html">Introducing New Rats
</a><i>-
Estelle</i></font></li>
<li>
<p align="justify"><font color="#0066CC"><a href="temperament.html">Temperament</a> -<i> Alison</i></font>
</li>
</ul>
<p align="left">
<b><font size="4" color="#330066"><a href="health.html"><font color="#330066">
Health</font></a></font></b></p>
<ul>
<li>
<p align="justify"><a href="ailments.html">Rat Health</a> - <i>
<font color="#0066CC">Estelle</font></i></li>
<li>
<p align="justify"><font color="#0066CC"><a href="healthchecks.html">Rat Health Checks</a><i> -
Estelle</i></font></li>
<li>
<p align="justify"><a href="postop.html">Operations & Post Operative Care</a> -
<i><font color="#0066CC"><a href="mailto:[email protected]">Joolzratbag</a></font></i>
</li>
<li>
<p align="justify"><a href="antilump.html">Anti Lump Mix </a>- <i>
<font color="#0066CC"><a href="mailto:[email protected]">Joolzratbag</a></font></i>
</li>
<li>
<p align="justify"><a href="choosevet.html">Choosing a vet</a> -
<font color="#0066CC"><i>Estelle</i></font></li>
<li>
<p align="justify"><font color="#0066CC"><a href="catlitters.html">Rat Bedding</a><i> - Estelle</i></font>
</li>
<li>
<p align="justify"><font color="#0066CC"><a href="firstaidkit.html">Rat First Aid Kit</a><i> -
Marion/Estelle</i></font></li>
<li>
<p align="justify"><font color="#0066CC"><a href="tardak.html">Tardak</a><i> - Estelle</i></font>
</li>
<li>
<p align="justify"><font color="#0066CC"><a href="quarantine.html">Quarantining Rats</a><i> -
Estelle</i></font></li>
</ul>
<p align="left"><b><font size="4" color="#330066"><a href="breedshow.html">
<font color="#330066">Breeding & Showing</font></a></font></b><ul>
<li>
<p align="justify"><a href="breeding.html">General breeding page</a><font color="#0066CC"> -
<i>Estelle</i></font></li>
<li>
<p align="justify"><a href="kittengrowth.html">Kitten growth</a><font color="#0066CC"><i> - Estelle</i></font></li>
<li>
<p align="justify"><font color="#0066CC"><a href="sexingrats.html">Sexing Rats</a><i> - Estelle</i></font>
</li>
<li>
<p align="justify"><font color="#0066CC"><a href="Nature_nuture.html">Nature
or Nuture?</a><i> - Estelle</i></font>
</li>
<li>
<p align="justify"><a href="Mentoring.html">Mentoring</a><font color="#0066CC"> -
<i>Estelle</i></font></li>
<li>
<p align="justify"><font color="#0066CC"><a href="showingrats.html">Showing Rats</a><i> - Estelle</i></font>
</li>
<li>
<p align="justify"><a href="varieties.html">Varieties</a></li>
<li>
<p align="justify"><a href="comparison.html">General Comparison
<font color="#0066CC">Pictures </font></a><font color="#0066CC">- <i>Estelle</i></font>
</li>
<li>
<p align="justify"><font color="#0066CC"><a href="blackeyed.html">Breeding Black
Eyed Varieties</a><i> - Estelle</i></font></li>
<li>
<p align="justify"><font color="#0066CC"><a href="burmese.html">Breeding Burmese Varieties</a><i> - Estelle</i></font></li>
<li>
<p align="justify"><font color="#0066CC"><a href="golden.html">Golden
Himalayan</a><i> - Estelle</i></font></li>
<li>
<p align="justify"><font color="#0066CC"><a href="comparison_B.html">Burmese &
BE Comparison Pictures</a></font><font color="#330066"><b> </b>
</font><font color="#0066CC"><i>- Estelle</i></font></li>
<li>
<p align="justify"><a href="dumboears.htm">Dumbo Ears</a><font color="#330066"><b> </b>
</font><font color="#0066CC"><i>- Estelle</i></font></li>
</ul>
<p align="left">
<b><font size="4" color="#330066"><a href="geninfo.html"><font color="#330066">General
Information Pages</font></a></font></b></p>
<ul>
<li>
<p align="justify"><font color="#0066CC"><a href="agility.html">Agility & Obedience</a> -<i>
Estelle</i></font></li>
<li>
<p align="justify"><font color="#0066CC"><a href="rescue.html">Rescue to Reality
</a><i>-
<a href="mailto:[email protected]">Siobhan</a></i></font></li>
<li>
<p align="justify"><a href="exportrats.html">Exporting Rats</a><font color="#0066CC"><i>
- Estelle</i></font><br></li>
<li>
<p align="justify"><a href="importingrats.html">Importing rats to the UK</a><font color="#0066CC"><i>
- Estelle</i></font></p></li>
</ul>
<p align="justify"><a href="links.html"><font color="#330066" size="4"><b>Links</b></font></a></p>
<p align="justify"> </p>
</td>
</tr>
</table>
<p align="center"> Send mail to
<a href="mailto:[email protected]">Estelle</a>
with questions or comments about this web site.<br>
Images & Text
Copyright © 2008
Estelle Sandford, Alpha Centauri<br>
Please do not reproduce without permission<br>
Last modified:
<!--webbot bot="TimeStamp" s-type="EDITED" s-format="%B %d, %Y" startspan
-->February 15, 2017<!--webbot bot="TimeStamp" endspan i-checksum="41541" --> </p>
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My
name is Estelle Sandford and I run a rattery based in Somerset, known as
The
Rats of Alpha Centauri. Alpha Centauri
is my NFRS registered stud-name.
Over the years I have kept and breed quite a few varieties
of rats. This section of my website is devoted to information about rats and
their care. The articles are written by me unless otherwise indicated, but the links page will hopefully
end up being a very comprehensive set of links to online rat related articles.
If you have an article you wish to have added or linked or know of good articles that
should be linked, please [contact me](mailto:[email protected]).
I am not a vet and have no veterinary
qualifications, so any articles which detail treatments are based on my own
opinions,
personal experiences with my vet or from friends who have recommended treatments.
In the cases where the article was not written by me it is the author's personal experiences
or opinions which I support or agree with.
---
**Site Map**
[**Your Rats**](yourrats.html)* [Keeping Rats as Pets](petrat.html) -
*Estelle*
* [Diet &
Feeding](feeding.html) *- Estelle*
* [Housing,
Accessories & Bedding](housing.html) *- Estelle*
* [Selecting your rats](selectrats.html) -*Estelle*
* [Choosing a Breeder](choosebreeder.html) *- Estelle*
* [A Guide To
What To Look For If You Must Buy Rats From Pet Shops!](Petshops.html) - *Estelle*
* [Sexing Rats](sexingrats.html) *- Estelle*
* [Introducing New Rats](ratintro.html) *-
Estelle*
* [Temperament](temperament.html) - *Alison*
**[Health](health.html)*** [Rat Health](ailments.html) - *Estelle*
* [Rat Health Checks](healthchecks.html) *-
Estelle*
* [Operations & Post Operative Care](postop.html) -
*[Joolzratbag](mailto:[email protected])*
* [Anti Lump Mix](antilump.html) - *[Joolzratbag](mailto:[email protected])*
* [Choosing a vet](choosevet.html) -
*Estelle*
* [Rat Bedding](catlitters.html) *- Estelle*
* [Rat First Aid Kit](firstaidkit.html) *-
Marion/Estelle*
* [Tardak](tardak.html) *- Estelle*
* [Quarantining Rats](quarantine.html) *-
Estelle*
**[Breeding & Showing](breedshow.html)*** [General breeding page](breeding.html) -
*Estelle*
* [Kitten growth](kittengrowth.html) *- Estelle*
* [Sexing Rats](sexingrats.html) *- Estelle*
* [Nature
or Nuture?](Nature_nuture.html) *- Estelle*
* [Mentoring](Mentoring.html) -
*Estelle*
* [Showing Rats](showingrats.html) *- Estelle*
* [Varieties](varieties.html)
* [General Comparison
Pictures](comparison.html) - *Estelle*
* [Breeding Black
Eyed Varieties](blackeyed.html) *- Estelle*
* [Breeding Burmese Varieties](burmese.html) *- Estelle*
* [Golden
Himalayan](golden.html) *- Estelle*
* [Burmese &
BE Comparison Pictures](comparison_B.html)
*- Estelle*
* [Dumbo Ears](dumboears.htm)
*- Estelle*
**[General
Information Pages](geninfo.html)**
* [Agility & Obedience](agility.html) - *Estelle*
* [Rescue to Reality](rescue.html) *-
[Siobhan](mailto:[email protected])*
* [Exporting Rats](exportrats.html) *- Estelle*
* [Importing rats to the UK](importingrats.html) *- Estelle*
[**Links**](links.html)
|
Send mail to
[Estelle](mailto:[email protected])
with questions or comments about this web site.
Images & Text
Copyright © 2008
Estelle Sandford, Alpha Centauri
Please do not reproduce without permission
Last modified:
February 15, 2017
| http://www.estellesandford.co.uk/ |
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<h1>Ryan Drum</h1>
<h2>Island Herbs</h2>
<h3>P O Box 25, Waldron, WA 98297-0025</h3> <p class="center"><a href="about.htm">About Ryan</a> | <a href="articles.htm">Articles</a> | <a href="mailto:[email protected]">Contact Ryan</a></p>
<hr />
<h3>Medicinal Uses of Seaweeds</h3>
<hr />
<p>Updated from Gaia 2008 Conference Notes</p>
<h4> INTRODUCTION</h4>
<p>Seaweeds offer a wide range of therapeutic possibilities both internally and
externally. The term Seaweeds in this case refers only to macrophytic marine
algae, both wild and cultivated, growing in saltwater.</p>
<p>Botanically, seaweeds are classified as Green, Brown, or Red. A particular
seaweed’s placement in one of these groups is determined first by its
photosynthetic pigments, then its reproductive mode, then its micro and macro
morphologies, and finally by its phycopolymers. The obvious visual color of
a particular seaweed species may not match its taxonomic color, which can
be confusing to the beginner. Persevere.</p>
<p>Here I will discuss seaweed’s primary and secondary metabolites and
some of their respective peculiarities and therapeutic uses. References are
provided for further information .</p>
<p> <span class="thick">SEAWEED CONSUMPTION</span><br />
Simply eating unprocessed dried seaweeds can yield many healing benefits.
Many physical ailments in both humans and their companion animals can be regularly
resolved with the simple addition of seaweeds to their respective diets. Although
therapeutic seaweed constituents can be extracted singly or in clusters, in
cases of chronic conditions, I usually recommend patients eat seaweeds, not
extracts. I prefer the seaweeds to be eaten uncooked in most cases. The digestive
flora in a particular person may take up to 4 months to agree to produce dedicated
enzymes to thoroughly digest dietary seaweeds. Oftimes the individual’s
enteroflora must commit resources to recognizing the molecular structures
on and in seaweeds and subsequently use them as food. This is the basis for
the recommendation that it is far more productive to eat a small amount of
seaweed daily rather than larger amounts occasionally. The key to bacterial
dietary adaptation is continual exposure to the new food material. Consequently,
positive therapeutic changes caused by eating seaweeds regularly may take
several weeks to several months to become obvious.</p>
<p> <span class="thick">RESISITANCE TO EATING SEAWEEDS</span><br />
When patients are oral adverse to the tastes, smells, and/or textures of seaweeds,
I urge them to add seaweeds as small pieces or powder(s) to foods strongly
flavoured with spices such as: cayenne, fried onions, raw garlic, chili powder,
curry, or vinegar.</p>
<p><span class="thick">SEAWEEDS AS MEDICINE</span></p>
<p>Seaweeds as the Best Dietary Sources of Essential Minerals</p>
<p>All essential minerals are provided by dietary seaweeds. No land plant even
remotely approaches seaweeds as sources of metabolically-required minerals(See
Bergner1997). Seaweeds can provide minerals often absent from freshwater and
food crops grown on mineral-depleted soils. In addition to eating seaweeds
regularly, those gardening for food can use copious amounts of seaweeds for
mulch and fertilizer(Traditional Irish fertilizer, see: Man of Aran, and The
Field), add seaweeds abundantly to compost, and even make seaweed tea sprayed
directly onto leaves for foliar feeding through the stomates , as ways to
therapeutically get trace elements into patients a trifle covertly.</p>
<p> Leon Uris in his novel, Trinity, delightfully describes the social scene
accompanying “kelping” by the Irish.</p>
<p> Seaweeds are 20-50% dry weight mineral(Kazutosi, 2002). This figure is obtained
by burning off seaweed’s organic material and weighing the remaining
ash. The elements abundant in seaweeds include: potassium, sodium, calcium,
magnesium, zinc, copper, chloride, sulfur, phosphorous, vanadium, cobalt,
manganese, selenium, bromine, iodine, arsenic, iron, and fluorine. </p>
<p> The large Brown seaweeds (Laminaria species ( known collectively as Kombu),
various kelps(Icelandic kelp, Norwegian kelp, Bullwhip kelp,Sugar kelp,Giant
Pacific kelp, and Hijiki), Bladderwrack, Rockweed, Sargassum, Wakame, and
Sea Palm, tend to contain more minerals per unit weight than the Red seaweeds
(Nori, Irish Moss, Dulse, Grapestone, and Euchemia). </p>
<p> Many human body substances require particular mineral elements as part(s)
of their respective structure. Examples are iron for hemoglobin and iodine
for thyroxine.</p>
<p> For our bodies to function, we use proteins called enzymes. Most enzymes
require one or more coenzymatic factors; these coenzymatic factors are usually
one or more metals. cations. Chronic dietary shortages or disease-related
mineral depletions can produce both specific and general disease conditions:
Iodine shortage results in varying degrees of thyroid dysfunction; poor absorption
of dietary calcium can result in osteoporosis. Adequate residential body mineral
supplies are critical for optimal body system functioning. My personal observations
support the notion that non-specific disease categories such as Chronic Fatigue,
lack of energy, subclinical depression and depressed immunity are probably
due to inadequate minerals either in the diet and /or in the body. Many times
I have seen chronically exhausted patients exhibit complete symptom resolution
after several weeks of adding 5-10 grams of seaweeds to their daily diets.
</p>
<p> In the hydrated seaweeds, raw or cooked, minerals are mostly in aqueous
solution and readily available for intestinal absorption in humans. These
accumulated minerals can be loosely considered primary metabolites. Even though
they are not manufactured by the seaweeds, they are concentrated against the
osmotic gradient to cause a much higher concentration of each mineral inside
seaweed cells and intercellular spaces than in the surrounding seawater. This
enables seaweeds to use water equilibrium mechanics to move materials in and
out of their cells. It is no accident that seaweeds concentrate metal cations
and other elements many times their respective concentrations in seawater.
They have almost unlimited access to mineral resources unavailable to most
land plants and animals.</p>
<p> <span class="thick">CAUTION: </span>Celtic Sea Salt and other designer so-called natural or
raw, evaporated seawater sea salt products are not good sources of some trace
elements, particularly iodine, iron, copper, and selenium. This is unfortunate
since just plain sea salt is basically healthier than the modified commercial
table salts.</p>
<p><span class="thick">IODINE</span><br />
The single most important element provided by seaweeds, is Iodine. It is more
abundant in seaweeds, any seaweed, than any plants or animals. Land plants,
vascular plants in particular, seem to have no detectable iodine requirement.</p>
<p> ALL vertebrate animals REQUIRE IODINE. This iodine is used in thyroid hormones,
T4, thyroxine, and T3, tri-iodothyronine to control all fetal development,
postnatal growth, and ongoing daily body metabolism. No iodine, no vertebrate
life. The choice of iodine seems to have been its isoptopic stability: there
is only one known natural iodine isotope, iodine 127. It is reliable, not
subject to radioactive decay.</p>
<p> When vertebrates lived in the sea, even at about 60ppb, there was a constant
reliable source of iodine. Since some vertebrates left the sea, obtaining
enough iodine has been a challenge to their descendants, including ourselves.</p>
<p> Since no land plants have a need for iodine, their taking it in from roots
or leaves may be just incidental. That has meant that few land plants are
reliable or even adequate iodine sources unless consumed in large quantities
as by large herbivores. Plants grown proximal to the marine environment and
those deliberately fertilized with seaweeds can accumulate enough iodine to
provide adequate dietary supplies for herbivores and humans. Potatoes, garlic
and other root crops are the best accumulators and dietary sources of plant-based
iodine supplies.</p>
<p> Eating 3-5 grams of most dried, unrinsed seaweeds will provide the RDA of
100-150 micrograms. </p>
<p> Lack of iodine can cause developmental structural and neural fetal abnormalities
collectively called cretinism. This condition, directly as a result of low
maternal iodine supplies, is difficult to correct postpartum, if at all. The
treatment is adequate maternal iodine consumption from the mother’s
initial beginning as an egg in her maternal grandmother.</p>
<p> That means treating the problem 2 generations before a particular pregnancy.
In the moment, maternal iodine supplies can be monitored by maternal urine
testing and any deficiencies immediately corrected by adding dietary iodine.
Mammalian fetal iodine need is about three times per unit body weight of the
mother.</p>
<p> In adult humans, chronic low iodine consumption often results from iodine
deficient soils and water, and consequently low iodine food. The human consequence
is: first, goiter, an enlargement of the thyroid gland, deliberately generated
by TSH (thyroid-stimulating Hormone) to increase thyroid gland cell surface
area and more “iodine traps”,and secondly, various manifestations
of hypothyroidism.</p>
<p> The treatment is often simply more dietary iodine for both conditions And
this can be easily accomplished with dietary seaweeds.</p>
<p> Chronic pernicious human iodine deficiency developed during 7000 of continuous
extractive agriculture in the interior of China resulting in tens of millions
of near-cretinous citizens by the mid-1900’s. For treatment,the Chinese
developed warm-water Laminaria kelp varieties which they now cultivate in
great quantity with entire villages growing and processing up to 650,000 metric
tons each year to provide more than enough dietary iodine for 1.5 billion
Chinese(Druehl,2000). This is a most curious successful marvel; nearly 5000
years ago, in an herbal attributed to the Emperor Shen Nung, goiter was described,
and the treatment was seaweed, apparently Fucus. Nori seaweed was also touted
as the most wonderful elixer (Katzutosi).</p>
<p> <span class="thick">CAUTION</span>: Some individuals are extremely sensitive to iodine. A little
bit too much intheir diets and they begin to exhibit hyperthyroid signs and
symptoms: nervousness, heart palpitations, sleeplessness, irritability and
even iodine-induced goiter. If these symptoms appear, first inquire about
seaweed/iodine consumption(from any source, including dairy and baked goods).
Individuals with “seafood allergy” seem especially sensitive to
iodine. Contrary to some practitioners and their believing patients, nobody
has “iodine allergy”. No iodine, no life.</p>
<p> <span class="thick">SEAWEED IODINE CONTENT</span><br />
Icelandic kelp, 8000ppm, Norwegian kelp 4000ppm, Atlantic kelp 1500-2000ppm,
Pacific kelps 500-1200ppm, Fucus spp. 200-500ppm, Wakame 50-150ppm, Sargassum
35ppm, and Nori 15 ppm. These are all approximate and will vary considerably
by season, location, age, and harvest practices.</p>
<p> The Japanese and other Asians apparently usually soak their Kombu and other
seaweeds in freshwater for 10-30 minutes prior to using in miso broth and
other cooking , which removes about 60% of the iodine (Hazutosi). Curiously,
I was told by Japanese nationals that the kombu was left in the miso broth
for 10-20 minutes and then discarded.</p>
<p> The soaking or prolonged rinsing of high-iodine content seaweeds may reduce
the risks for excess iodine-induced disease. </p>
<p> For some interesting views on iodine and health, please see Guy Abraham
MD’s website, <a class="one" href="http://www.optimox.com" target="_blank">www.optimox.com</a></p>
<p><span class="thick">IODINE PROTECTION</span><br />
The iodine story as related to human health took an interesting turn when
Uranium was used to cause nuclear fission: one of the decay products of nuclear
explosions is Iodine 131. That means not only nuclear weapons, bombs, but
also, all of the controlled nuclear events in Nuclear reactor fuel rods. <span class="oblique">ALL
NUCLEAR FACILITIES </span>release radioactive Iodine 131 into the atmosphere.
Hundreds of them are licensed to do so. This means that we are all continually
and erratically dusted with Iodine 131 every day of every year. As shown by
reliable research for over 50 years, nuclear power plant stack gases circle
the earth in 3-5 days, continuously dusting us all until all settled. Additionally,
there are nuclear disasters, such as Three-mile Island in USA and Chernobyl
in Ukraine. The Chernobyl disaster on 26.April 1986 released enormous quantities
of Iodine 131 into the atmosphere. Since then, millions of iodine131-induced
thyroid disease patients have been reported worldwide starting shortly after
the event and continuing today. Relatively rare 20 years ago and unknown prior
to 1945, thyroid cancer is now the number one cancer in children in USA. Thyroid
cancer is one of the fastest increasing cancers in both adult men and women.</p>
<p> Iodine 131 is hazardous because our bodies will happily take it in if we
need iodine. Since prior to the human atomic age there was no iodine 131,
we have no defense against it if we need iodine, and no way to selectively
excrete it. IF we have sufficient iodine in our bodies, Iodine 127, the only
natural iodine isotope, our bodies will not take in the heavier iodine 131.
How the weighing is done is an interesting question to be considered elsewhere.
The critical information is: if we continually take in 150 micrograms of iodine
127 daily, we will most likely be protected from iodine-deficiency “iodine
aggressive uptake”. We can do this by eating 5-10 grams of seaweeds
daily. If we are worried about iodine 131 which reasonably might be expected
in the seaweed, we can let the seaweed iodine 131 if any, decay for 8 weeks.
How do we know and expect this seaweed iodine to be protective against iodine
131 fallout and decay? The Polish example. Within hours after the onset of
the Chernobyl disaster, Polish authorities acted to get iodine solutions,
potassium and sodium iodide tablets, even seaweed tablets and capsules into
as many of their citizens as possible to protect them from the nearby huge
amounts of iodine 131 coming their way. Over the intervening 20 years, the
Polish people treated with iodine 127 have almost 1000 time less thyroid disease
than neighboring countries even further than Poland from the Chernobyl disaster
site.</p>
<p> Unfortunately, ALL Nuclear Power Plants are nuclear disasters waiting to
happen. Not because of evil intent (we hope) but because of mechanical and
materials deterioration and human error. Hundreds more nuclear power plants
are planned, especially by developing countries anxious to reduce their energy
dependencies on fossil fuels. Of course, that will mean increasingly huge
amounts of radioactive iodine 131 into the atmosphere and huge quantities
of nuclear waste begging for safe disposal. Simpler of course, would be to
boil water with solar mirrors. All nuclear power plants so far are just fancy
water boilers. Strange.</p>
<h3> Eat your seaweeds.</h3>
<p> Iodine passes readily through the epidermis, and alveolar cell walls into
the body in addition to intestinal absorption. This means that any iodine
13l we breath or get on our skins is likely to be absorbed if we are the least
bit iodine 127 deficient.</p>
<p> How is iodine 131 hazardous? It radioactively decays with a half life of
about 8 days. This means in 8 weeks, there is probably not much left in a
particular sample, and not enough to cause radiation damage. Iodine 131 decays
with the release of a high energy Beta particle, which crashes ionizingly
through adjacent tissues, and ionizing high energy gamma radiation. There
is no safe exposure to radioactive-decay sourced ionizing radiation (Shannon,
1995) </p>
<p><span class="thick">POTASSIUM</span><br />
All living cells, and that means all of our cells, need potassium all of the
time to function and stay alive. There are no exceptions. Our bodies have
no innate potassium conservation mechanisms. The human evolutionary assumption
seems to be that we will always have plenty of potassium available in our
wild and live food diets, since all living cells require potassium. This is
in contrast to sodium, also an essential element, for which we have a very
rigorous sodium conservation mechanism.</p>
<p> The human tongue, just as the average beginning analytical chemistry student,
seems to have difficulty distinguishing potassium from sodium: both taste
salty. In equal amounts, potassium is up to 8 times saltier than sodium.</p>
<p> Often, overwrought patients will complain of constant “salt cravings”
even though they eat a lot of salty foods.”I just can’t seem to
get enough salt” is a common statement. These people are often overweight,
puffy (edemic), and complain of exhaustion. I suggest high-potassium powdered
seaweed (almost any seaweed, although the kelps tend to have more potassium
than other seaweeds) up to 10 grams daily until symptoms resolve. So far,
I have not encountered any indications of potassium toxicity which might have
been caused by excessive consumption of hi-potassium seaweeds, although such
poisoning may be possible. If practitioners are concerned, prescribe less
seaweed consumption at any one time.</p>
<p> I believe that almost any craving for salt in our dietary times of heavily
salted, with sodium chloride, home-cooking, restaurant meals, and preserved
foods is a strong indication of potassium deficiency, especially in pregnancy.
</p>
<p> Potassium is essential for even minimal nerve and muscle functioning, and
as a cross-membrane transporter ion for neurotransmittors and hormones. I
have observed that adding high-potassium foods, especially seaweeds, to the
diets of ADD children (instead of Ritalin) and adults can significantly improve
behavior and mental functioning.</p>
<p> Similarly, fibromyalgia patients, the exhausted, the forgetful, the moody,
the agitated, anxiety disorders, and depression are all favorably improved
with high-potassium diets and seaweeds. </p>
<p> YES! Before grabbing the herbal nerviness and muscle analgesics, try feeding
the nerves and muscles their essential mineral foods: potassium, sodium, calcium
and magnesium The last three, are all abundant in all seaweeds: sodium,2-4%,
calcium 0.5-1.0%, magnesium 0.2-1.0%.. In addition to optimal nerve and muscle
functioning, these four elements are important in transporting many substances
along the intercellular integrin network.</p>
<p> Many women patients eating seaweeds to reduce PMS symptom severity report
a distinct cyclical waxing and waning of seaweed cravings.</p>
<p> <span class="thick">SELENIUM</span><br />
Selenium is present in all seaweeds in physiologically significant amounts.</p>
<p> Selenium is, like its partner in thyroid hormone metabolism, apparently
not required by any land plants although some do concentrate it (Brazil nuts
are the usual culprit). No selenium, no thyroid hormone production and conversion
of T4 to T3.</p>
<p> Selenium is present in all edible animals, and is easily absorbed from eggs
in the diet. Selenium is required for many critical metabolic actions besides
the selenodeiodinases. </p>
<p> Men usually have a much higher selenium demand than women because, like
zinc, it is secreted in the male reproductive ejaculate, and must be replaced
to maintain ejaculate production and sperm fertility. Check for selenium deficiency
in males with fertility issues.</p>
<p><span class="thick">PHYCOPOLYMERS</span><br />
All seaweeds contain a large proportion (25-40%) of mucopolysaccharides ,
collectively referred to as Phycopolymers. </p>
<p> The brown algal phycopolymers are algin and fucoidan, both sulfated galactans.</p>
<p> <span class="thick">ALGIN</span><br />
Algin has great therapeutic value as a heavy metal detoxifying agent.. When
added to the diet as a component of edible brown seaweed, algin powder, or
sodium alginate, it can bind heavy metals present in the food stream and carry
them out with the stool, since algin is generally not digestible(Schecter.1997).</p>
<p> Excretory algin tends to bind metal ions presented in the small intestine
from distal body locations. A complex diffusion gradient transport system
will move poisonous metal atoms a few at a time to the intestine for probable
binding to insoluble dietary fiber. Apparently this is a way of removing hazardous
metals in a way which avoids damaging the kidneys. Regular eating of even
small amounts of brown algae can be an ongoing metal detoxification practice
which can reduce the quenching of enzymes by heavy metals.</p>
<p> Hair analysis can be a better predictor of excess metal poisoning than blood
or urine analysis because the body seems to use the sulfhydral groups in hair
proteins as an excretory mechanism which also protects the kidneys. If a patient
presents with relatively high levels of toxic metals in hair, blood, or urine,
the addition of 3-5 grams brown seaweed to the daily diet will help remove
those metals from the body, but not the hair, of course.</p>
<p> Using brown algae as part of an aggressive metal removal treatment plan
is recommended for both acute and chronic exposures and actual poisoning.
Reducing further exposure to heavy metals is of course essential for a metal
removal plan to succeed. I usually recommend a lot of rolled oats in the diet
( every morning) to aid the seaweeds in metal removal. For some persons, adding
the seaweed to the oatmeal seems to hasten metal removal. This combination
will tend to bulk the stool and reduce transit time. I also encourage at least
2L of water (just water, not drinks) intake daily; as well as frequent hot
baths and saunas with vigorous dry skin brushing before and after each bath
or sauna.</p>
<p><span class="oblique">Chronic Passive Metal Poisoning</span><br />
Industrial activities, mining, and nuclear power activities release relatively
large amounts of usually unseen toxic metals into our air, water, and unfortunately
onto our food crops. We are all being continually poisoned.</p>
<p> From nuclear facilities (radioactive medical wastes are increasingly a source
of radioactive metal poisoning) we are exposed to radioactive isotopes released
into the air by way of gaseous emissions and radioactive substances released
into cooling water.</p>
<p> Since most of these exposures are probably going to continue for the foreseeable
future, we are advised to do what we can to reduce their negative health effects.
The best action may be to eat a diet that is continually detoxifying our bodies.
Regular seaweed consumption should be a part of that diet. </p>
<p> I predict that age-related dementia and perhaps Alzheimer’s can be
prevented or suppressed by regular consumption of algin-rich brown seaweeds,
to slow the bioaccumulation of neurotoxic metals. The kelps and popular dietary
brown seaweeds can do this.</p>
<p> Some of the salts of alginic acid present in aqueous solutions in ingested
brown algae, such as potassium and sodium alginates, are digestible by intestinal
flora. The metals they contain are released into the food stream and tend
to be bound up by the undigested algal fibers.</p>
<p> <span class="thick">FUCOIDAN</span><br />
Fucoidan can be easily cooked out of most edible brown algae by simmering
20-40 minutes in water (alone or in food). When consumed, it seems to reduce
the intensity of the inflammatory response and promote more rapid tissue healing
after wound trauma and surgical trauma. This means that brown seaweed broth
is recommended after auto collision , sports injuries, bruising falls, muscle
and joint damage, and deep tissue cuts, including voluntary surgery. </p>
<p> <span class="oblique">Surgery</span><br />
I recommend patients anticipating surgery eat 3-5 grams brown seaweed cooked
as a vegetable broth daily for a week or two prior to surgery. Fucoidan in
the pre-surgical patient diet seems to reduce the intensity of blood loss
and vascular bed collapse shock during and after surgery. The mechanism for
this positive effect is unclear. </p>
<p> We can all statistically expect major surgery sometime in our individual
lives. We are the only animal that voluntarily submits to surgery. I believe
this may cause some body integrity sanctity problems internally which may
negatively effect the wound response and subsequent healing. Fucoidan may
help the body decide to heal after voluntary surgery and other wounding such
as radiation and chemotherapy.</p>
<p> Patients undergoing radiation or chemotherapy seem to benefit from regular
fucoidan consumption via brown seaweed broth before, during, and after treatments.
They report fewer and less intense adverse reactions, better recovery and
sense of well-being.</p>
<p> <span class="oblique">Antiviral Action </span><br />
Fucoidan interferes with every stage of viral attack, cell attachment, cell
penetration, and intracellular virion production by stimulating the production
of antiviral cytokines. There may be some viral suppression in virus-infested
patients but results are difficult to verify or measure. Research continues
into using fucoidan or its derivatives to combat common viral infestations:
HIV, HPV, and Herpes.</p>
<p> A fucoidan curiosity is that its teminal sugar is Fucose. All human cells
studied have very precise Fucose recepter sites on their surfaces. Perhaps
this results in stronger therapeutic responses.</p>
<h4>RED ALGAL POLYMERS</h4>
The main red algal polymers are agar and carrageenan, and mainly porphyran
in nori. All of these polymers are sulfated galactans. They are modestly water-soluble,
partially digestible and easily extracted from red seaweeds by boiling . <p></p>
<p> <span class="thick">Carrageenan</span><br />
Carrageenan was originally isolated by simply boiling red seaweeds for an
hour or more , discarding the seaweed mass, and saving the usually thick mucilaginous
liquid. It was used for soups, hot gruels when mixed with grains, seafood,
and peas. It was drunk as a soothing treatment for sore mouths and throats
and for constipation relief.</p>
<p> It was used by the poor starving Irish during the oppressive British occupation
of Ireland for 800 years as an emergency food, filling if not totally nutritious.</p>
<p> Today, carrageenan is used in over ten thousand proprietary industrial,
food, and health and beauty products as a thickener, gelling agent, meat and
sugar extender, medicines, and paints. Red seaweeds containing carrageenan
have been overharvested in many places, including the intertidal zones of
the Canadian Maritime Provinces and many of the Carribean Islands. Now, to
meet demand, the world’s largest aquaculture farms are located in Malaysia,
Indonesia, and the Philipines, where the red alga Euchemia is grown on nets.
Historically, it has been used as a sexual lubricant in China, Korea, and
Japan for millennia.</p>
<p> Carrageenan eaten as red seaweeds such as dulse, Irish moss, and Euchemia,
is partially digested and absorbed as small globular gel masses into the lymph
and blood stream. It can provide sugar molecules for glycoproteins secreted
by mucous membranes and for cell surface aminoglycan labeling. </p>
<p><span class="oblique"><span class="thick">Medicinal Uses</span></span> </p>
<p> <span class="thick">RESPIRATORY TREATMENT</span><br />
Until 1935, pneumonia was the leading recorded cause human death in the USA.
100 years ago, five of the top ten causes of death in men were respiratory
diseases.</p>
<p> Today, asthma is the leading cause of juvenile school absenteeism and is
increasingly an affliction of adults. </p>
<p>Red algae containing carrageenan have been used for millennia as treatments
for respiratory ailments, especially intractable sinus infections and lingering
pneumonias. Asthma was not separated out as such in the old literature.</p>
<p>I use plain boiled-out carrageenan singly or in combination with strong antimicrobial
herbs for all respiratory ailments. The process is simple:</p>
<ul>
<li> Place an ounce of carrageenan-containing red seaweed in a food-grade
mesh bag</li>
<li> Place the bag in a stainless steel boiler or ceramic “Crockpot”
containing up to 1l of water.</li>
<li> Bring to a boil and simmer for ½-4 hours. The bag of seaweed can
be left in the crockpot, setting at LOW, for 8-12 hours, which means overnight
for breakfast readiness. </li>
<li> Stir or otherwise pump the gel out of the mesh bag while simmering; this
will move the dissolved gel out of the bag and allow more extraction. If
this step is omitted, the gel may just thicken , clog the mesh pores, and
remain a mess in the mesh bag </li>
<li> Pour off the fluid gel, while hot</li>
<li> If only one extraction is enough, hang the bag from something over a
container and let more gel drip out </li>
<li> The red seaweed mass remaining in the mesh bag can be simmered and the
gel fluid poured off again and again, up to 4-5 times with more gel extracted
each time </li>
</ul>
<p>The gel can be consumed as soon as cool. It can be flavoured with anything
suitable from honey, fruit juice, cinnamon, cayenne, vanilla, maple syrup,
cocoa powder, to various distilled spirits, herbal tinctures and milk.</p>
<p> The extracted gel will keep cold without spoiling for only about two days.
It is an excellent growth medium for microbes. Do not leave gel unused for
more than two days in a refrigerator with out boiling again briefly to sterilize
it.</p>
<p> I recommend consuming at least a pint a day for children and a quart or
more per day for adults up to a week or until respiratory symptoms resolve.</p>
<p> In cases of obvious microbial infection, add strong herbs such as elecampange,
osha, Lomatium, even garlic in the extraction bag, or as a separately-prepared
tea mixture; tinctures can also be added to the gel after removing from boiler.</p>
<p> The herbal-enhanced gels are usually good expectorants and can improve cough
productivity.</p>
<p> The first gel extracted is often very strongly seaweed- flavoured and unpalatable
to children and those with a resistant sensitive nature. The flavourings listed
above can mask the strong seaweed flavours. </p>
<p> Those flavours are usually not present in the gel produced in second and
more extraction episodes of the same bag of red seaweed. </p>
<p> I think that cases of respiratory mycoplasma (often presenting as adult-onset
asthma in people over 35) are helped by the gel with the addition of strong
herbs, especially elecampagne.</p>
<p> A soothing carrageenan gel variant is to use 5 parts red seaweed, and one
part each : Usnea lichen, fennel seeds, marshmallow root (powdered) and hawthorn
berries. This is very helpful for throats sore from excessive coughing.</p>
<p><span class="thick">CAUTIONS</span> for Red Seaweed Gel Use: Small amounts of carrageenan gel
can help heal ulcers including ulcerative colitis. Large amounts may worsen
alimentary ulcers and erosive bowel diseases, especially in the bowel if carrageenan
successfully competes with the bowel membranes for water from the stool.</p>
<p><span class="thick">ANTIVIRAL RED SEAWEEDS</span><br />
In vitro tests in the 1950’s and 1960’s showed that some red algae
are strongly antiviral. The ideas were developed by Robert Ellis and Natasha
Calvin, who used scuba gear in SE Alaska to harvest three species of subtidal
red algae to produce a mixture called Alaska Dulse. This was taken internally
as a very effective treatment for SHINGLES.</p>
<p> Natasha has passed and Robert is no longer providing the Alaska Dulse. From
Blue Moon Marine, Kim and Mark Donovan are test-marketing antiherpetic crèmes
and lotions for cold sores, shingles and hopefully genital herpes. I have
tried their products on recurring shingles with some lessening of lesion severity
but not a great improvement. Clinical trials are underway in cooperation with
the Bastyr University Clinic.</p>
<p> Strong antiviral activity has been observed in a variety of heavily modified
carrageenans and research continues on how to use this in commercial medications.
I do not know if occasional consumption of red seaweed gels will be antiviral.</p>
<p> One carrageenan derivative showed strong anti-HIV activity when delivered
as a contraceptive vaginal foam.</p>
<p> <span class="thick">ERECTILE DYSFUNCTION</span><br />
On a very memorable visit to Caye Caulker in the Belizian Carribean, I had
an interesting seaweed encounter. Whilst strolling along the unpaved path
of the merchantile zone, we came upon a little juice stand where fresh tropical
juices were made and sold. The children were thirsty as usual and so we got
some watermelon banana pineapple slurries for them. I noticed a couple of
recycled whiskey bottles with hand-printed tape labels that read “SEAWEED
DRINK”. I inquired about it. It was the most expensive item on display.
The young woman in charge said she did not know much about its manufacture,
but I could talk with the owner tomorrow at a time designated. I bought a
bottle and she recommended that I flavour it with rum or whiskey, since it
did not have any alcohol in it and it would spoil quickly in the tropical
heat. “It make you strong, mon!” she assured me with a BIG smile.</p>
<p> I did not add any alcohol and drank it over an hour or two. It tasted just
like red seaweed gel at home onisland. It took several days before I was able
to meet with the owner and seaweed drink maker. He was extremely reluctant
to talk about the product. Eventually I told him about my own production of
seaweed drinks back in Washington State and he eased up a bit. </p>
<p> He told me that the process had been the same for thousands of years, used
by the Ancient Maya and the Arawaks and Caribs. Using stone-weighted poles
with hooks, the seaweed was spun off the seafloor and loaded into canoes or
now small sailboats and brought to shore where it was laid out in the sun
to be washed by rains and bleached by sun until a yellowishwhite colour and
no seaweedy flavours remained. The mass looked like distressed pasta noodles
when he gave me a big handful of dried seaweed. He told me that just like
grapestone, it could be boiled many times and thick gel came out each time,
up to 12 times. Impressive. He was especially reluctant to take me out to
witness the harvest or do some myself. The Rastafarians had the Seaweed Drink
monopoly and perhaps he feared my setting up a little drink stand.</p>
<p> I bought several bottles of it during three weeks on Caye Caulker. Eventually
the salespeople asked “How you doin, mon?” I had to be educated
as to the intended purpose of the Seaweed Drink. It was a renowned local treatment
for erectile dysfunction and my otherwise recreational excessive purchases
and assumed consumption was cause for much laughter and smirking stares.</p>
<p> I really could not detect any positive therapeutic effect or behavioural
changes.</p>
<p> Eight years later I get an inquiry from some patients who are looking for
Sea Moss. I checked in with some of my phycological colleagues, notably Dr.
Mel Goldstein of U. Victoria in BC.</p>
<p> He had been in charge of the Sea Moss recovery program in Santa Lucia, Virgin
Islands.The popularity of Sea Moss as a virility drink had led to its extermination
from all of the larger Carribean islands and locals were continually asking
him during his research years there, where he had seen any Sea Moss It was
very rare and occurred only on tiny dangerous uninhabited rocky islands He
decided to try and use basic seaweed mariculture techniques to grow Sea Moss
using starts from wild patches. It worked eventually and many bays on the
Virgin Islands, Jamaica, Barbados, Trinidad, and other islands have ropes
and poles growing Sea Moss to meet an expanding market demand. The red seaweeds
, species of Euchemia, Gracillaria and Hydroputia were originally harvested
to make a traditional pre-contact breakfast gruel, and to thicken jellies
as well as make soothing drinks. Now, Sea Moss is sold in tourist shops ,
featured in local jams and jellies, and served as a special ethnic gruel to
tourists.</p>
<p> The Maya apparently used the gel with ground cacao, vanilla bean, and honey
to make a treat.</p>
<p> I have no information about erectile dysfunction amongst the ancient Maya.</p>
<p> I make the assumption that the Sea Moss drink must have had some positive
effects on male libido or erectile dysfunction. What the actual effects in
terms of tissue changes might be, I can only speculate that circulation may
be improved and mucous membranes more productive. There are many causes of
erectile dysfunction and most of these are behavioral, such as smoking, alcohol
consumption, chronic dehydration, obesity, medications, sociology. I doubt
if seaweed drink alone will overcome these causes. We will keep trying, however.</p>
<h4>HORMONES IN SEAWEEDS</h4>
<p><span class="thick">Melatonin</span><br />
Melatonin is abundant in many seaweeds, up to 1000 times the amounts found
in land plants such as Feverfew and St. John’s Wort. This may explain
some of the calming effects of eating seaweeds. Night-time harvested seaweed
has much more melatonin content than daytime-harvested seaweed of the same
species. There may be some useful therapeutic opportunities using seaweed-sourced
melatonin.</p>
<p><span class="thick">Thyroid Hormones in Seaweeds</span><br />
Brown seaweeds are the only known non-animal sources of thyroid hormones.</p>
<p> The presence of organically-bound iodine in brown seaweeds as thyroid hormones
may explain some of the effects of eating some brown seaweeds.</p>
<p> <span class="thick">DI-IODOTHYRONINE (DIT)</span><br />
Fucus spp of brown seaweeds have been used as treatment for thyroid disorders
. The thyroid hormone present in Fucus is Di-Iodothyronine (DIT); it is weakly
active if al all as a thyroid hormone in the mammalian body. Two DIT molecules
are condensed in an elegant esterification reaction to produce tetraiodotyrosine(T4,
Thyroxine). The organically bound iodine in Fucus may enhance T4 production
by providing some prefabricated portions of T4. I have not seen any studies
tracing Fucus-sourced DIT to either the thyroid gland or circulating T4.</p>
<p> The therapeutic effects of using powdered Fucus, 3-5 grams daily resemble
the therapeutic effects of thyroxine medications: shrinking of goiters, weight
loss, resolution of symptomatic non-autoimmune hypothyroidism, return of vim
and vigor, lessening of psychiatric disruptions, and resolution of eczemas.
This is especially true of women enduring postpartum physiological depression
after several years of being pregnant and nursing one or more children.</p>
<p> I have seen no reports of thyrotoxicity from Fucus consumption. </p>
<p> Women with low thyroid function, according to thyroid panel blood tests
report improved test results.</p>
<p> Any similar results from using Fucus teas will be due to inorganic iodine
supply increase and probably not from DIT. DIT is not very water soluble.</p>
<p> Fucus is used to wean mildly hypothyroid patients off thyroid hormone medication.</p>
<p> This can work only if the patient has a thyroid gland mass capable of making
T4 and T3 in sufficient quantities to supply body needs. Those without a thyroid
gland may be helped by the iodine from Fucus, alleviating the need to mine
thyroid medications for iodine. This may also explain in part the alleged
weight loss results from ingesting Fucus; to wit, upregulation of basal body
metabolic rate from iodine alone.</p>
<p><span class="thick">Thyroxine and Tri-iodothyronine in Brown Seaweeds</span><br />
T4 and T3 have been found as the main organically bound iodine compounds in
several brown seaweeds, notably Laminaria sp. and Sargassum sp. Up to 10%
of Lamiarian iodine may be in MIT, DIT, T3, orT4. Even more in the less commoinly
available Sargassum (less commercially available; it is a rapidly expanding
invasive of all temperate coasts; this may be good news for thyroid sufferers.)
(Kazutosi 2002).</p>
<p> Kombu is one of the top 5 most consumed seaweeds in Japan and USA. The physiological
effects of regular kombu consumption can be: resolution of coronary artery
disease, healthier liver function, higher metabolic rate, faster food transit
time, lower LDL cholesterol,, higher HDL cholesterol blood levels. If the
thyroid hormones in kombu and Sargassum are available from food, this could
turn out to be an effective treatment to replace both synthetic thyroxines
and animal-thyroid medications.</p>
<p> I assume at least some T4 and T3 get into the human body from dietary Kombu
and stimulate more rapid clearing of fatty wastes from the liver, enabling
more rapid removal of blood borne fatty wastes.</p>
<p> T4 and T3 are biphenols and are not water soluble. Oil extractions of Kombu
may provide T4 and T3 as well as DIT and MIT(Mono-iodotyrosine) and be an
effective thyrosupportive medicine.</p>
<p> Powdered Fucus is mixed with olive oil as a vegan replacement for cod liver
oil and seems to work as well or better than cod liver oil</p>
<h4>ESSENTIAL FAT AND VITAMINS IN SEAWEEDS</h4
><p>
Most seaweeds are rich in vitamins, especially the B vitamins, including B12.</p>
<p> They also have significant amounts (1-3%)of Omega-3 fatty acids. Nori, in
particular has 3% omega-3 fatty acids and large amounts of vitamins A and
C. Interestingly, eating lots of nori is the Japanese prescription for boys
who may have inherited male pattern baldness. In Scandinavia, the eating of
refined sugars is discouraged for the same condition. Perhaps a combination
could treat both hair loss and slow the progression of pattern baldness in
both men and women? </p>
<p><span class="thick">BROWN SEAWEED- ENHANCED EXCRETION OF DIOXINS AND PCBS</span><br />
Very exciting and encouraging research by Morita and Nakano (2) using seaweeds
for Dioxin and PCB (polychlorinated biphenyl) excretion demonstrates clearly
that the brown seaweeds Hiziki, Wakame, and Kombu speed body clearing of dioxins
and PCBs.</p>
<p> Dioxins and PCBs are extremely toxic. They are lipophilic and are not water-soluble;
they are readily absorbed from the digestive tract and stored in adipose tissue
and the liver in abundance. Once stored, their eventual excretion tends to
be very slow. Studies on Vietnam veterans and herbicide-spraying personnel
showed dioxin body half-lives of 11.3-19.6 years.</p>
<p> In the excretory process, dioxins are shed from the GI walls into the food
stream and expelled via the feces; but, only if they are not reabsorbed from
the colon prior to actual excretion. It is this reabsorption that causes the
prolonged body retention of Dioxins and PCBs.</p>
<p> The authors used rats in their initial seaweed experiments and monotypic
encapsulated dried seaweed powders. Their results showed conclusively that:</p>
<ul class="decimal">
<li> Dietary seaweeds effectively inhibit reabsorption of Dioxin mixture congeners
excreted into the gut from the GI walls and promote their fecal excretion.</li>
<li> The seaweeds inhibited the initial uptake of dietary-sourced Dioxins
and PCBs from food, binding them for fecal elimination. Foods are the primary
sources of Dioxins and PCBs for most of us.</li>
<li> Seaweeds accelerated whole body elimination of Dioxins and their metabolites.</li>
<li> Body processing of stored Dioxins before metabolite excretion was assumed
to be hastened.</li>
</ul>
<p> Although rat and human digestive physiologies differ, Morita and Nakano’s
work strongly suggests that in humans regular dietary consumption of commercially
available brown seaweeds will likely reduce Dioxin and PCB uptake and speed
the fecal elimination of body-accumulated Dioxins and PCBs. The authors intend
to use human subjects for equivalent research to demonstrate seaweed-enhanced
dioxin and PCB excretion.</p>
<p> In the work cited, the most effective brown seaweed was Wakame, followed
closely by both Hiziki and Kombu.</p>
<p> Dioxins, PCBs, and PBDEs (polybromated diethyl ethers) are found in all
humans tested (100%)! This means that all of us can likely begin to benefit
immediately from regular eating of 5-10 gm/daily of brown seaweed which can
serve as toxic Dioxin, PCB, and PBDE exit vectors.</p>
<p><span class="thick">POST TRAUMATIC STRESS SYNDROME</span><br />
I wonder about the probable relation of brain-loaded Dioxin and PCBs to psychiatric
symptoms of Post Traumatic Stress Syndrome, especially considering the long
body half-lives of these substances in adipose tissues. Since the brain is
nearly 50% fat, it can be considered an adipose tissue.</p>
<p> In practice I would definitely recommend daily consumption of 4-10 gm Wakame
and other dietary brown seaweeds for prevention of Dioxin and PCB uptake and
their continual removal, bound to seaweed fiber, and excreted in the stool.</p>
<p> This work adds to the knowledge that regular consumption of brown seaweeds
facilitates and hastens the removal of toxic heavy metals from both the human
body and our ingested food. In addition to providing most of our essential
mineral cations, brown seaweeds also rid us of dangerous health-negative substances.</p>
<p><span class="thick">THYROID HEALTH</span><br />
PCBs and PBDEs are known endocrine and thyroid disrupters. In light of the
toxin-removal results reported by Morita and Nakano, part of the thyrosupportive
action of dietary brown seaweeds probably results from reducing PCB and PBDE
uptake from food and their concomitant accelerated fecal excretion. This is
in addition to providing thyroessential iodine (5) and thyroid hormone homologs
(T4, T3, DIT & MIT), (l0).</p>
<p><span class="thick">WEIGHT LOSS</span><br />
Those dieting for weight loss release adipose-sequestered PBCs, Dioxins, and
PBDEs into their blood and lymph. Ingesting brown seaweeds may mitigate the
negative consequences caused by weight loss toxin releases.</p>
<p> <span class="thick">CARRAGEENAN INHIBITION OF PAPILLOMA VIRUS INFECTION</span><br />
Papilloma viruses infect vertebrate skin and mucosal tissues. Human infection
with genital HPV (human papilloma virus) is very common with an estimated
lifetime risk of infection at about 75%. Most genital HPV infections are sub-clinical
and self-limiting, but some persistently infected individuals have lesions
that progress to cancer. Certain sexually transmitted HPV are allegedly responsible
for most, if not all, cases of uterine cervical cancer, benign genital warts
(condyloma accuminata), and a large portion of ano-genital cancer, and head
and neck cancers. HPV-initiated cervical cancer is allegedly the #1 lethal
cancer amongst women worldwide.</p>
<p> In 2007, the first prophylactic HPV vaccines were released. Their protection
timeline for a vaccinated individual is unknown. The vaccines are recommended
only for young women, 11-25 and are intended to be effective against only
2 of the at least 33 forms of genital HPV. They are expensive. Why are young
men not being vaccinated, since they can carry the two suspected carcinogenic
HPV strains? Will the next vaccine(s) protect against HPV-induced penile cancers?</p>
<p>In a bizarre instance of medical tyranny, the governor of Texas decreed that
all young women, 11-25 were required to be vaccinated with the new HPV vaccines.
Although described as a public health gesture, I suspect the real reason was
to help the marketers recover their development costs at the possible expense
of the young women being vaccinated. I applaud the sagacity of the Texas lawmakers
who overwhelmingly voted out the decree.</p>
<p>In a rigorous study (3), Buck and colleagues, brilliantly demonstrate that
carrageenan extracted from red seaweed inhibits HPV infection. The modified
carrageenan (C-iota) acts primarily by preventing binding of HPV virions to
cell surfaces; carrageenan also exhibits a post-attachment inhibitory effect
on virions, quenching infectivity.</p>
<p> The research used tissue cultures and tissue models to test the carrageenan.</p>
<p>Carrageenan is an easily extracted, sulfated unbranched polygalactose red
algal polymer. It is used in thousands of patented applications in food and
cosmetic products and in sexual lubricants.</p>
<p> Carrageenan-containing sexual lubricants and condoms lubricated with gel
containing carrageenan were extremely effective at blocking HPV infectivity,
even when the condom gel was diluted one million times. The authors tested
several condoms and sexual lubricants for HPV infectivity inhibition. Only
products containing Carrageenan were HPV inhibitive.</p>
<p> Lubricants containing other seaweed gels, agar and algin, were much less
effective HPV inhibitors. Non-carrageenan-coated condoms are, at best, only
marginally effective for preventing sexual transmission of HPV.</p>
<p> Carrageenan in condom gels seems well tolerated by the human vagina. The
pH of the human vagina is typically below 4.5. Carrageenan extracts maintain
anti-HPV infectivity at pH 4.5.</p>
<p>I believe that carrageenan red seaweed extract gels are effective, relatively
inexpensive protection against the spread/acquisition of genital HPV. There
are no data yet about the real or potential treatment with carrageenan of
existing HPV lesions. Seaweed gels have been used as sexual lubricants for
5000 years (5,11). Perhaps the antiviral prophylactic action of red seaweed
gel as a microbiocide was recognized then. Carrageenan gel as a sexual lubricant
is completely edible and a tissue stimulant. I suggest it should be investigated
as a replacement for topical estradiol vaginal creams.</p>
<p><span class="thick">JORRP</span><br />
A rare (1/25,000 births) HPV condition is JORRP (Juvenile Onset Recurrent
Respiratory Papillomatosis), in which HPV-induced large benign tumors develop
on airway surfaces. The main treatment is surgical removal of recurring obstructive
masses. JORRP is thought to be vertically transmitted HPV types 6 or 11 from
genital warts during birth. Pharmaceutical grade carrageenan gels could become
a safe perinatal cervicovaginal preventative for JORRP and asymptomatic vertically
transmitted HPV by adding the gels to the perinatal birth canal in women known
to carry HPV types 6 & 11.</p>
<p><span class="thick">SEAWEEDS AND SOY</span><br />
A recent paper by Jane Teas and colleagues<span class="super">(5)</span> ambitiously attempts to elucidate
what if any, effects dietary seaweed (dried, powdered, encapsulated Alaria,
American Wakame), and a soya protein isolate, singly and together, have on
thyroid function. I applaud their use of a simple seaweed, rather than a processed
seaweed extract. I am suspicious of the soya extract, but agree that use of
an industrial product as opposed to real, unrefined food is appropriate, since
American women consume thousands of tons of soya protein isolate yearly. </p>
<p> The results demonstrated markedly increased seaweed-sourced iodine uptake
and small measurable changes in thyroid function with the seaweed powder.
Soya isolate did not seem to alter thyroid function. The seaweed with soya
produced the same increased iodine uptake and up-regulated thyroid function.</p>
<p> My complaints about the study are: too small a sample (25), possibly due
to severely exclusionary criteria for study eligibility; the very short study
time (7 weeks); the limited (1 week) ingestion of soya protein isolate; the
use of soya protein isolate rather than real food; and the high probability
that ingested American Wakame, Alaria, does not induce the same human physiological
responses as Japanese Wakame, Undaria.</p>
<p> The minimal results produced a long narrative in which the two lead authors
ranted and repeated their long-standing iodophobia (fear of dietary iodine).
The authors did concede their work to be “… supportive of the
idea that seaweed, possibly via iodine, could be involved in breast cancer
prevention”. Their comparative discussion of thyroid disease and breast
cancer between American and Asian women is very conservative, intriguing,
and well referenced. I do not believe that Asian women traditionally ate either
encapsulated Alaria seaweed powder or soya protein isolate. This distinct
factor probably invalidates rigorous ethnic comparisons of diets and subjects’
responses. </p>
<p> The small database in this study seems to provide minimal therapeutic direction.</p>
<p> The authors do not cite a previous study by Yamori et al on Okinawan Japanese
immigrant descendents in Brazil, using powdered Wakame and Soya isoflavone
powder, published in 2001.</p>
<p><span class="thick">TERTIARY SEAWEED THERAPY</span><br />
Meat cattle fed fungal-infected fescue hay typically display a lethargy, which
impedes growth and weight gain. The disease is called “Fescue Toxicosis”.
Grass fertilized with Rockweed seaweed, Ascophyllum nodosum, suction-harvested
by the ton for Acadian Sea Plants, Dartmouth, Nova Scotia, did not stimulate
fungal-infected fescue lethargy.<span class="super">(11)</span>. The seaweed provided ample copper and
other trace nutrients via the Tall Fescue grass fed to the animals. The authors
conclude that the animals’ basic health and immunity were greatly enhanced.</p>
<p> This work, over several years and hundreds of animals, demonstrates the
probable positive effects on humans from eating produce from seaweed-fertilized
plants.</p>
<p> Superior health was observed in Irish populations who had access to abundant
seaweeds for fertilizer for their crops. (See ref. 12 for a graphic account
of Irish kelping.)</p>
<p><span class="thick">SEAWEED ARSENIC SCARE</span><br />
In April 2007, Amster et al published a diatribe against herbal supplements
and kelp tablets in particular<span class="super">(8)</span>, Case Report: Potential Arsenic Toxicosis
Secondary to Herbal Kelp Supplement. I think calling kelp tablets an “herbal
supplement” in the paper’s title seems deliberately hostile and
knowingly erroneous. Few of us would label kelp tablets an herbal supplement;
kelp is not an herb. Unfortunately, the authors in their haste to publication
and sloppy peer-review spelled Laminaria incorrectly (their spelling: Liminaria).
</p>
<p> The article was remarkably similar to the guilt-by-association attacks on
comfrey nearly 20 years ago. In this case, it is the assumption that kelp-sourced
arsenic produced the patient’s overt symptoms. That the article was
generated by the Veterinary School at UC Davis is telling.</p>
<p> The article reports on one patient who allegedly took 3x the recommended
daily dosage of kelp tablets for a year and presented subsequently with elevated
arsenic levels and alleged symptoms of chronic arsenic poisoning. After stopping
the kelp tablets, her symptoms and arsenic levels improved to near normal
levels.</p>
<p> The authors claim that this case demonstrates the toxic heavy metal contamination
problems of unregulated herbs and other health supplements. </p>
<p> No.</p>
<p> Their database is inadequate to make any certain conclusion.</p>
<p> Seaweeds are not “contaminated” with arsenic. All seaweeds contain
arsenic; they deliberately accumulate arsenic up to 10,000 times the concentrations
of arsenic in the seawater in which they are growing. Seaweeds contain an
average of 30 parts per million arsenic, dry weight<span class="super">(9)</span>.</p>
<p> Japanese scientists are quick to point out that “if seaweed-sourced
arsenic were a real problem, most Japanese would present with either chronic
or acute arsenic poisoning very early in life” and would display foreshortened
life spans (4,10). Instead, Japanese enjoy the longest human health spans,
longest human life spans, and eat the most seaweeds per capita.</p>
<p> Arsenic comes in all seafood.</p>
<p> Arsenic is deliberately added to the diets of most commercially grown so-called
“broiler chickens”. The arsenic acts as a growth accelerant and
remains in the tissues. It is cheap and effective. Chickens normally require
5-8 months to reach maturity and adult size. Factory meat chickens reach market
size in 6-7 weeks. They are bloated sham chickens.</p>
<p> Arsenic pesticides are still used abundantly. Millions of outdoor decks
and wooden playground structures are impregnated with Paris Green, Copper
Arsenate to retard decay. Paris Green is a better wood preservative alternative
than Penta-Chloro-Phenol, a known vicious endocrine disruptor. Arsenic is
readily absorbed through the human epidermis upon contact. </p>
<p> Rice grown in Arkansas and Louisiana has 30 ppm arsenic; California rice
has 15ppm.</p>
<p> To ban arsenic is to ban food.</p>
<p><span class="thick">EXTERNAL SEAWEED TREATMENTS</span><br />
Ireland , the Mediterranean, the Pacific Northwest, and other coastal areas
have long histories of using seaweed baths for relief from muscle and joint
pains, eczema, ectoparasites,, and prostatic swelling.</p>
<p>A CASE OF THE KNEES<br />
A 50-year old woman presented with terribly painful knees. She was told her
cartilege had severely deteriorated. She was using a cane or walker all of
the time and was expecting the wheelchair soon. She had been a very active
herb grower and weekend clown for over 20 years. The combination of working
on her knees and clowning around had been very bad for her knees. I told her
I could fix her knees if she was completely compliant. Here was the treatment:</p>
<p> I told her she would need to soak her legs in a hot Fucus (Bladderwrack)
bath for four hours each day for up to a year. When she categorically refused,
I could only remind her of the painful alternatives. </p>
<p> We agreed on a compromise: tall (l6 inches) rubber boots, several sizes
too large. Hot Fucus slurry, made from DRIED FUCUS, was poured into the boots
and her feet placed in them, with about 2 inches between the top of the Fucus
slurry and the top of the boot. That way she could sit at her shop, walk around,
and keep the boots on for four hours. Heat was a problem=keeping the boots
and slurries warm. A hotpad applied external to the boots worked well. I provided
both the boots and all of the Fucus she would use without charge. All she
had to do was comply And that included no more clowning around, at work or
home.</p>
<p> She did and after almost a year, all symptoms were resolved, she could walk
without either pain or cane. I checked her every year for a decade and no
return of symptoms</p>
<p> Now, 15 years later she is still symptom free.</p>
<p> I had perhaps excessive confidence in the treatment based on local and traditional
First Nations folklore about the use of prolonged hot Fucus mush soaking by
mostly elderly women to relieve aching leg and foot joints.</p>
<p> THE INVADER GETS SOAKED<br />
Traditionally, long weekends to many weeks’ holidays were taken by English
Victorians to the impoverished West Coast of Ireland. There they steamed and
soaked luxuriously in very hot baths filled with seawater and at least 10
gallons of fresh Fucus serrattus, a particularly mucoidal brown seaweed. This
treatment performed very thorough exfoliation of old dead skin squamous debris,
stimulated peripheral circulation, and imparted comfort to many aches and
pains. Swollen prostate glands seemed to shrink.</p>
<p> The most exciting part was the amazing increase in skin sensitivity and
touchability. Seaweed bathing became a must for newlyweds and those seeking
romantic revivals in fading libido relationships. Nearly 100 years ago, scores
of seaweed bath houses existed. Only a handful survive from those times. Dozens
of new seaweed baths have been built in the past decade in response to both
renewed interest in the healthy effects of seaweed bathing, and the entry
of the Irish Republic into the European Union and a great influx of European
immigrants and tourists.</p>
<p> <span class="thick">OTHER</span><br />
My favorite therapeutic traditional use of seaweed is as a parlor floor shock
absorber. In Hildene, the palatial home of Robert Todd Lincoln in Manchester,
Vermont, a thick layer of dried seaweed,(probably stiff fronds of Chondrus
crispus) is underneath the parlor dance floor to reduce impact trauma to dancing
couples’ feet. I was not able to obtain a sample.</p>
<p><span class="thick">BOOKS FOR GENERAL SEAWEED INFORMATION</span><br />
<span class="oblique">Arasaki, S. and T. Vegetables From The Sea. 1983</span>. Japan Publications,
INC. ISBN 0-87040-475-X<br />
Excellent review of traditional and contemporary Japanese uses of seaweeds.
Includes many tables listing various nutritional components of seaweeds, including:
minerals, amino acids, starches, polymers, fatty acids, vitamins and peptides.</p>
<p> Describes basic seaweed biology, many edible seaweeds, and a bunch of traditional
sea vegetable receipes. Industrial uses and seaweed mariculture are described.
Some of the authors' original seaweed researches are included. A well-translated
and organised text makes this a relatively easy read of some highly technical
aspects of seaweed biology, particularly metabolic physiology and ecology.</p>
<p><span class="oblique">Cooksley, Valerie. Seaweed. 2007</span>. Stewart, Tabore, & Chang. ISNB
10:1-58479-538-7<br />
Best all-round, thorough, very readable comprehensive text emphasizing health
and nutritional seaweed topics. Excellent introductory survey useful for healers,
beauticians, and the general public. Well-documented, conveniently organised,
good index, and contains current resource lists for seaweeds and seaweed products.</p>
<p><span class="thick">BEST SEA VEGETABLE COOKBOOK </span><br />
<span class="oblique">Erhart, Shep and Cerier, Leslie. Sea Vegetable Celebration. 2001</span>. Book
Publishing Co. ISBN 1-57067-123-0<br />
Shep presents an excellent brief discussion of seaweed biology followed by
wonderful sea vegetable receipes from Leslie.</p>
<p> Shep, like myself, likes a lot of sea vegetable and some other food to dilute
the sea vegetable. Leslie takes a less sea vegetable-dominant approach and
offers foods with sea vegetables. Some very appealing color photos of delicious
food.</p>
<p> Further sea vegetable receipes are in Leslie's most recent book, <span class="oblique">Going
Wild in the Kitchen</span>.</p>
<p><span class="thick">REFERENCES</span><br />
Abraham,G. www.optimox.com<br />
Druehl, L. 2000. Pacific Seaweeds<br />
Drum, R. 2000. Sea Vegetables. In Planting Our Future. Gladstar & Hirsch,
eds. Pp 277-284.<br />
Erhart, S. and Cerier, L. 2001. Sea Vegetable Celebration<br />
Flaherty, R. Man of Aran. Documentary film with scenes of Aran farmers making
soil from rocks and seaweeds.<br />
Kingsbury,J. and Sze, P. 1997. Seaweeds of Cape Cod and the Islands. 2ndED<br />
McConnaughey,E. 1985. Sea Vegetables.<br />
O’Clair, R. and Lindstrom, S. 2001. North Pacific Seaweeds.<br />
Schecter,S. 1997. Fighting Radiation and Pollution<br />
Shannon, S. 1993. Diet for the Atomic Age.</p>
<p><span class="thick">SEAWEED SOURCES</span><br />
BC Kelp. POB 274, Prince Rupert, BC V8J 3P3, Canada. 250-622-7085<br />
Island Herbs, POB 25, Waldron, WA 98297<br />
Maine Seaweed Co. POB 57, Steuben, Maine 04680<br />
Maine Coast Sea Vegetables. 3 Georges Pond RD., Franklin, Maine 04634 207-565-2907<br />
Mendocino Sea Vegetables. POB 455, Philo, CA 95466. 707-895-2996<br />
Nature Spirit Herbs. POB 150, Williams, OR 97544. 541-846-7995</p>
<p><span class="thick">ADDITIONAL REFERENCES</span><br />
1. Cooksley, V. 2007. Seaweed<br />
2. Morita, K. and Nakano, T. 2002. “Seaweed Accelerates the Excretion
of Dioxin Stored in Rats”. J. Agric. Food Chem. 50: Pp 910-917<br />
3. Buck, C. et al. 2006 “Carrageenan Is a Potent Inhibitor of Papillomavirus
Infection”. PloSPathogens 2: Pp 671-680. www.plospathogens.org<br />
4. Arasaki, S. and T. l983. Vegetables From the Sea. Japan Pub. Inc.<br />
5. Teas, J. etal. 2007. “Seaweed and Soy: Companion Foods in Asian Cuisine
and Their Effects on Thyroid Function in American Women”. J. Med. Food
10: Pp 90-100.reprints from: [email protected]<br />
6. Konig, G. and Wright, A. 1993. “Algal Secondary Metabolites and Their
Pharmaceutical Potential”. Ch. 19 in: Human Medicinal Agents From Plants.
Am. Chem. Soc. Pp. 276-293<br />
7. Fitton, J. 2003. “Brown Marine Algae. A Survey of Therapeutic Potentials”.
Alternative & Complementary Therapies Pp.29-33. Reprints of this paper
from: Karen Ballen, Alt. & Comp. Therapies: 914-834-3100.<br />
8. Amster, E. et al. 2007. “Case Report: Potential Arsenic Toxicosis
Secondary to Herbal Kelp Supplement”. Evirn. Health Persp. 115: Pp 606-608.<br />
9. Bergner, P. 1997. Healing Power of Minerals. P.13<br />
10. Katsutosi, N. 2002. Seaweeds Kaiso: Bountiful Harvest From The Sea: Sustenance
For Health and Well-Being.<br />
11. Saker, K. et al. 2001. “Tasco Forage II. Monocyte Immune Cell Response
and Performance of Beef Steers Grazing Tall Fescue Treated with a Seaweed
Extract”. J. Anim. Sci. 79:1Pp. 022-1031.<br />
12. Uris, L. 1957 Trinity</p>
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Medicinal Uses of Seaweeds
# Ryan Drum
## Island Herbs
### P O Box 25, Waldron, WA 98297-0025
[About Ryan](about.htm) | [Articles](articles.htm) | [Contact Ryan](mailto:[email protected])
---
### Medicinal Uses of Seaweeds
---
Updated from Gaia 2008 Conference Notes
#### INTRODUCTION
Seaweeds offer a wide range of therapeutic possibilities both internally and
externally. The term Seaweeds in this case refers only to macrophytic marine
algae, both wild and cultivated, growing in saltwater.
Botanically, seaweeds are classified as Green, Brown, or Red. A particular
seaweed’s placement in one of these groups is determined first by its
photosynthetic pigments, then its reproductive mode, then its micro and macro
morphologies, and finally by its phycopolymers. The obvious visual color of
a particular seaweed species may not match its taxonomic color, which can
be confusing to the beginner. Persevere.
Here I will discuss seaweed’s primary and secondary metabolites and
some of their respective peculiarities and therapeutic uses. References are
provided for further information .
SEAWEED CONSUMPTION
Simply eating unprocessed dried seaweeds can yield many healing benefits.
Many physical ailments in both humans and their companion animals can be regularly
resolved with the simple addition of seaweeds to their respective diets. Although
therapeutic seaweed constituents can be extracted singly or in clusters, in
cases of chronic conditions, I usually recommend patients eat seaweeds, not
extracts. I prefer the seaweeds to be eaten uncooked in most cases. The digestive
flora in a particular person may take up to 4 months to agree to produce dedicated
enzymes to thoroughly digest dietary seaweeds. Oftimes the individual’s
enteroflora must commit resources to recognizing the molecular structures
on and in seaweeds and subsequently use them as food. This is the basis for
the recommendation that it is far more productive to eat a small amount of
seaweed daily rather than larger amounts occasionally. The key to bacterial
dietary adaptation is continual exposure to the new food material. Consequently,
positive therapeutic changes caused by eating seaweeds regularly may take
several weeks to several months to become obvious.
RESISITANCE TO EATING SEAWEEDS
When patients are oral adverse to the tastes, smells, and/or textures of seaweeds,
I urge them to add seaweeds as small pieces or powder(s) to foods strongly
flavoured with spices such as: cayenne, fried onions, raw garlic, chili powder,
curry, or vinegar.
SEAWEEDS AS MEDICINE
Seaweeds as the Best Dietary Sources of Essential Minerals
All essential minerals are provided by dietary seaweeds. No land plant even
remotely approaches seaweeds as sources of metabolically-required minerals(See
Bergner1997). Seaweeds can provide minerals often absent from freshwater and
food crops grown on mineral-depleted soils. In addition to eating seaweeds
regularly, those gardening for food can use copious amounts of seaweeds for
mulch and fertilizer(Traditional Irish fertilizer, see: Man of Aran, and The
Field), add seaweeds abundantly to compost, and even make seaweed tea sprayed
directly onto leaves for foliar feeding through the stomates , as ways to
therapeutically get trace elements into patients a trifle covertly.
Leon Uris in his novel, Trinity, delightfully describes the social scene
accompanying “kelping” by the Irish.
Seaweeds are 20-50% dry weight mineral(Kazutosi, 2002). This figure is obtained
by burning off seaweed’s organic material and weighing the remaining
ash. The elements abundant in seaweeds include: potassium, sodium, calcium,
magnesium, zinc, copper, chloride, sulfur, phosphorous, vanadium, cobalt,
manganese, selenium, bromine, iodine, arsenic, iron, and fluorine.
The large Brown seaweeds (Laminaria species ( known collectively as Kombu),
various kelps(Icelandic kelp, Norwegian kelp, Bullwhip kelp,Sugar kelp,Giant
Pacific kelp, and Hijiki), Bladderwrack, Rockweed, Sargassum, Wakame, and
Sea Palm, tend to contain more minerals per unit weight than the Red seaweeds
(Nori, Irish Moss, Dulse, Grapestone, and Euchemia).
Many human body substances require particular mineral elements as part(s)
of their respective structure. Examples are iron for hemoglobin and iodine
for thyroxine.
For our bodies to function, we use proteins called enzymes. Most enzymes
require one or more coenzymatic factors; these coenzymatic factors are usually
one or more metals. cations. Chronic dietary shortages or disease-related
mineral depletions can produce both specific and general disease conditions:
Iodine shortage results in varying degrees of thyroid dysfunction; poor absorption
of dietary calcium can result in osteoporosis. Adequate residential body mineral
supplies are critical for optimal body system functioning. My personal observations
support the notion that non-specific disease categories such as Chronic Fatigue,
lack of energy, subclinical depression and depressed immunity are probably
due to inadequate minerals either in the diet and /or in the body. Many times
I have seen chronically exhausted patients exhibit complete symptom resolution
after several weeks of adding 5-10 grams of seaweeds to their daily diets.
In the hydrated seaweeds, raw or cooked, minerals are mostly in aqueous
solution and readily available for intestinal absorption in humans. These
accumulated minerals can be loosely considered primary metabolites. Even though
they are not manufactured by the seaweeds, they are concentrated against the
osmotic gradient to cause a much higher concentration of each mineral inside
seaweed cells and intercellular spaces than in the surrounding seawater. This
enables seaweeds to use water equilibrium mechanics to move materials in and
out of their cells. It is no accident that seaweeds concentrate metal cations
and other elements many times their respective concentrations in seawater.
They have almost unlimited access to mineral resources unavailable to most
land plants and animals.
CAUTION: Celtic Sea Salt and other designer so-called natural or
raw, evaporated seawater sea salt products are not good sources of some trace
elements, particularly iodine, iron, copper, and selenium. This is unfortunate
since just plain sea salt is basically healthier than the modified commercial
table salts.
IODINE
The single most important element provided by seaweeds, is Iodine. It is more
abundant in seaweeds, any seaweed, than any plants or animals. Land plants,
vascular plants in particular, seem to have no detectable iodine requirement.
ALL vertebrate animals REQUIRE IODINE. This iodine is used in thyroid hormones,
T4, thyroxine, and T3, tri-iodothyronine to control all fetal development,
postnatal growth, and ongoing daily body metabolism. No iodine, no vertebrate
life. The choice of iodine seems to have been its isoptopic stability: there
is only one known natural iodine isotope, iodine 127. It is reliable, not
subject to radioactive decay.
When vertebrates lived in the sea, even at about 60ppb, there was a constant
reliable source of iodine. Since some vertebrates left the sea, obtaining
enough iodine has been a challenge to their descendants, including ourselves.
Since no land plants have a need for iodine, their taking it in from roots
or leaves may be just incidental. That has meant that few land plants are
reliable or even adequate iodine sources unless consumed in large quantities
as by large herbivores. Plants grown proximal to the marine environment and
those deliberately fertilized with seaweeds can accumulate enough iodine to
provide adequate dietary supplies for herbivores and humans. Potatoes, garlic
and other root crops are the best accumulators and dietary sources of plant-based
iodine supplies.
Eating 3-5 grams of most dried, unrinsed seaweeds will provide the RDA of
100-150 micrograms.
Lack of iodine can cause developmental structural and neural fetal abnormalities
collectively called cretinism. This condition, directly as a result of low
maternal iodine supplies, is difficult to correct postpartum, if at all. The
treatment is adequate maternal iodine consumption from the mother’s
initial beginning as an egg in her maternal grandmother.
That means treating the problem 2 generations before a particular pregnancy.
In the moment, maternal iodine supplies can be monitored by maternal urine
testing and any deficiencies immediately corrected by adding dietary iodine.
Mammalian fetal iodine need is about three times per unit body weight of the
mother.
In adult humans, chronic low iodine consumption often results from iodine
deficient soils and water, and consequently low iodine food. The human consequence
is: first, goiter, an enlargement of the thyroid gland, deliberately generated
by TSH (thyroid-stimulating Hormone) to increase thyroid gland cell surface
area and more “iodine traps”,and secondly, various manifestations
of hypothyroidism.
The treatment is often simply more dietary iodine for both conditions And
this can be easily accomplished with dietary seaweeds.
Chronic pernicious human iodine deficiency developed during 7000 of continuous
extractive agriculture in the interior of China resulting in tens of millions
of near-cretinous citizens by the mid-1900’s. For treatment,the Chinese
developed warm-water Laminaria kelp varieties which they now cultivate in
great quantity with entire villages growing and processing up to 650,000 metric
tons each year to provide more than enough dietary iodine for 1.5 billion
Chinese(Druehl,2000). This is a most curious successful marvel; nearly 5000
years ago, in an herbal attributed to the Emperor Shen Nung, goiter was described,
and the treatment was seaweed, apparently Fucus. Nori seaweed was also touted
as the most wonderful elixer (Katzutosi).
CAUTION: Some individuals are extremely sensitive to iodine. A little
bit too much intheir diets and they begin to exhibit hyperthyroid signs and
symptoms: nervousness, heart palpitations, sleeplessness, irritability and
even iodine-induced goiter. If these symptoms appear, first inquire about
seaweed/iodine consumption(from any source, including dairy and baked goods).
Individuals with “seafood allergy” seem especially sensitive to
iodine. Contrary to some practitioners and their believing patients, nobody
has “iodine allergy”. No iodine, no life.
SEAWEED IODINE CONTENT
Icelandic kelp, 8000ppm, Norwegian kelp 4000ppm, Atlantic kelp 1500-2000ppm,
Pacific kelps 500-1200ppm, Fucus spp. 200-500ppm, Wakame 50-150ppm, Sargassum
35ppm, and Nori 15 ppm. These are all approximate and will vary considerably
by season, location, age, and harvest practices.
The Japanese and other Asians apparently usually soak their Kombu and other
seaweeds in freshwater for 10-30 minutes prior to using in miso broth and
other cooking , which removes about 60% of the iodine (Hazutosi). Curiously,
I was told by Japanese nationals that the kombu was left in the miso broth
for 10-20 minutes and then discarded.
The soaking or prolonged rinsing of high-iodine content seaweeds may reduce
the risks for excess iodine-induced disease.
For some interesting views on iodine and health, please see Guy Abraham
MD’s website, [www.optimox.com](http://www.optimox.com)
IODINE PROTECTION
The iodine story as related to human health took an interesting turn when
Uranium was used to cause nuclear fission: one of the decay products of nuclear
explosions is Iodine 131. That means not only nuclear weapons, bombs, but
also, all of the controlled nuclear events in Nuclear reactor fuel rods. ALL
NUCLEAR FACILITIES release radioactive Iodine 131 into the atmosphere.
Hundreds of them are licensed to do so. This means that we are all continually
and erratically dusted with Iodine 131 every day of every year. As shown by
reliable research for over 50 years, nuclear power plant stack gases circle
the earth in 3-5 days, continuously dusting us all until all settled. Additionally,
there are nuclear disasters, such as Three-mile Island in USA and Chernobyl
in Ukraine. The Chernobyl disaster on 26.April 1986 released enormous quantities
of Iodine 131 into the atmosphere. Since then, millions of iodine131-induced
thyroid disease patients have been reported worldwide starting shortly after
the event and continuing today. Relatively rare 20 years ago and unknown prior
to 1945, thyroid cancer is now the number one cancer in children in USA. Thyroid
cancer is one of the fastest increasing cancers in both adult men and women.
Iodine 131 is hazardous because our bodies will happily take it in if we
need iodine. Since prior to the human atomic age there was no iodine 131,
we have no defense against it if we need iodine, and no way to selectively
excrete it. IF we have sufficient iodine in our bodies, Iodine 127, the only
natural iodine isotope, our bodies will not take in the heavier iodine 131.
How the weighing is done is an interesting question to be considered elsewhere.
The critical information is: if we continually take in 150 micrograms of iodine
127 daily, we will most likely be protected from iodine-deficiency “iodine
aggressive uptake”. We can do this by eating 5-10 grams of seaweeds
daily. If we are worried about iodine 131 which reasonably might be expected
in the seaweed, we can let the seaweed iodine 131 if any, decay for 8 weeks.
How do we know and expect this seaweed iodine to be protective against iodine
131 fallout and decay? The Polish example. Within hours after the onset of
the Chernobyl disaster, Polish authorities acted to get iodine solutions,
potassium and sodium iodide tablets, even seaweed tablets and capsules into
as many of their citizens as possible to protect them from the nearby huge
amounts of iodine 131 coming their way. Over the intervening 20 years, the
Polish people treated with iodine 127 have almost 1000 time less thyroid disease
than neighboring countries even further than Poland from the Chernobyl disaster
site.
Unfortunately, ALL Nuclear Power Plants are nuclear disasters waiting to
happen. Not because of evil intent (we hope) but because of mechanical and
materials deterioration and human error. Hundreds more nuclear power plants
are planned, especially by developing countries anxious to reduce their energy
dependencies on fossil fuels. Of course, that will mean increasingly huge
amounts of radioactive iodine 131 into the atmosphere and huge quantities
of nuclear waste begging for safe disposal. Simpler of course, would be to
boil water with solar mirrors. All nuclear power plants so far are just fancy
water boilers. Strange.
### Eat your seaweeds.
Iodine passes readily through the epidermis, and alveolar cell walls into
the body in addition to intestinal absorption. This means that any iodine
13l we breath or get on our skins is likely to be absorbed if we are the least
bit iodine 127 deficient.
How is iodine 131 hazardous? It radioactively decays with a half life of
about 8 days. This means in 8 weeks, there is probably not much left in a
particular sample, and not enough to cause radiation damage. Iodine 131 decays
with the release of a high energy Beta particle, which crashes ionizingly
through adjacent tissues, and ionizing high energy gamma radiation. There
is no safe exposure to radioactive-decay sourced ionizing radiation (Shannon,
1995)
POTASSIUM
All living cells, and that means all of our cells, need potassium all of the
time to function and stay alive. There are no exceptions. Our bodies have
no innate potassium conservation mechanisms. The human evolutionary assumption
seems to be that we will always have plenty of potassium available in our
wild and live food diets, since all living cells require potassium. This is
in contrast to sodium, also an essential element, for which we have a very
rigorous sodium conservation mechanism.
The human tongue, just as the average beginning analytical chemistry student,
seems to have difficulty distinguishing potassium from sodium: both taste
salty. In equal amounts, potassium is up to 8 times saltier than sodium.
Often, overwrought patients will complain of constant “salt cravings”
even though they eat a lot of salty foods.”I just can’t seem to
get enough salt” is a common statement. These people are often overweight,
puffy (edemic), and complain of exhaustion. I suggest high-potassium powdered
seaweed (almost any seaweed, although the kelps tend to have more potassium
than other seaweeds) up to 10 grams daily until symptoms resolve. So far,
I have not encountered any indications of potassium toxicity which might have
been caused by excessive consumption of hi-potassium seaweeds, although such
poisoning may be possible. If practitioners are concerned, prescribe less
seaweed consumption at any one time.
I believe that almost any craving for salt in our dietary times of heavily
salted, with sodium chloride, home-cooking, restaurant meals, and preserved
foods is a strong indication of potassium deficiency, especially in pregnancy.
Potassium is essential for even minimal nerve and muscle functioning, and
as a cross-membrane transporter ion for neurotransmittors and hormones. I
have observed that adding high-potassium foods, especially seaweeds, to the
diets of ADD children (instead of Ritalin) and adults can significantly improve
behavior and mental functioning.
Similarly, fibromyalgia patients, the exhausted, the forgetful, the moody,
the agitated, anxiety disorders, and depression are all favorably improved
with high-potassium diets and seaweeds.
YES! Before grabbing the herbal nerviness and muscle analgesics, try feeding
the nerves and muscles their essential mineral foods: potassium, sodium, calcium
and magnesium The last three, are all abundant in all seaweeds: sodium,2-4%,
calcium 0.5-1.0%, magnesium 0.2-1.0%.. In addition to optimal nerve and muscle
functioning, these four elements are important in transporting many substances
along the intercellular integrin network.
Many women patients eating seaweeds to reduce PMS symptom severity report
a distinct cyclical waxing and waning of seaweed cravings.
SELENIUM
Selenium is present in all seaweeds in physiologically significant amounts.
Selenium is, like its partner in thyroid hormone metabolism, apparently
not required by any land plants although some do concentrate it (Brazil nuts
are the usual culprit). No selenium, no thyroid hormone production and conversion
of T4 to T3.
Selenium is present in all edible animals, and is easily absorbed from eggs
in the diet. Selenium is required for many critical metabolic actions besides
the selenodeiodinases.
Men usually have a much higher selenium demand than women because, like
zinc, it is secreted in the male reproductive ejaculate, and must be replaced
to maintain ejaculate production and sperm fertility. Check for selenium deficiency
in males with fertility issues.
PHYCOPOLYMERS
All seaweeds contain a large proportion (25-40%) of mucopolysaccharides ,
collectively referred to as Phycopolymers.
The brown algal phycopolymers are algin and fucoidan, both sulfated galactans.
ALGIN
Algin has great therapeutic value as a heavy metal detoxifying agent.. When
added to the diet as a component of edible brown seaweed, algin powder, or
sodium alginate, it can bind heavy metals present in the food stream and carry
them out with the stool, since algin is generally not digestible(Schecter.1997).
Excretory algin tends to bind metal ions presented in the small intestine
from distal body locations. A complex diffusion gradient transport system
will move poisonous metal atoms a few at a time to the intestine for probable
binding to insoluble dietary fiber. Apparently this is a way of removing hazardous
metals in a way which avoids damaging the kidneys. Regular eating of even
small amounts of brown algae can be an ongoing metal detoxification practice
which can reduce the quenching of enzymes by heavy metals.
Hair analysis can be a better predictor of excess metal poisoning than blood
or urine analysis because the body seems to use the sulfhydral groups in hair
proteins as an excretory mechanism which also protects the kidneys. If a patient
presents with relatively high levels of toxic metals in hair, blood, or urine,
the addition of 3-5 grams brown seaweed to the daily diet will help remove
those metals from the body, but not the hair, of course.
Using brown algae as part of an aggressive metal removal treatment plan
is recommended for both acute and chronic exposures and actual poisoning.
Reducing further exposure to heavy metals is of course essential for a metal
removal plan to succeed. I usually recommend a lot of rolled oats in the diet
( every morning) to aid the seaweeds in metal removal. For some persons, adding
the seaweed to the oatmeal seems to hasten metal removal. This combination
will tend to bulk the stool and reduce transit time. I also encourage at least
2L of water (just water, not drinks) intake daily; as well as frequent hot
baths and saunas with vigorous dry skin brushing before and after each bath
or sauna.
Chronic Passive Metal Poisoning
Industrial activities, mining, and nuclear power activities release relatively
large amounts of usually unseen toxic metals into our air, water, and unfortunately
onto our food crops. We are all being continually poisoned.
From nuclear facilities (radioactive medical wastes are increasingly a source
of radioactive metal poisoning) we are exposed to radioactive isotopes released
into the air by way of gaseous emissions and radioactive substances released
into cooling water.
Since most of these exposures are probably going to continue for the foreseeable
future, we are advised to do what we can to reduce their negative health effects.
The best action may be to eat a diet that is continually detoxifying our bodies.
Regular seaweed consumption should be a part of that diet.
I predict that age-related dementia and perhaps Alzheimer’s can be
prevented or suppressed by regular consumption of algin-rich brown seaweeds,
to slow the bioaccumulation of neurotoxic metals. The kelps and popular dietary
brown seaweeds can do this.
Some of the salts of alginic acid present in aqueous solutions in ingested
brown algae, such as potassium and sodium alginates, are digestible by intestinal
flora. The metals they contain are released into the food stream and tend
to be bound up by the undigested algal fibers.
FUCOIDAN
Fucoidan can be easily cooked out of most edible brown algae by simmering
20-40 minutes in water (alone or in food). When consumed, it seems to reduce
the intensity of the inflammatory response and promote more rapid tissue healing
after wound trauma and surgical trauma. This means that brown seaweed broth
is recommended after auto collision , sports injuries, bruising falls, muscle
and joint damage, and deep tissue cuts, including voluntary surgery.
Surgery
I recommend patients anticipating surgery eat 3-5 grams brown seaweed cooked
as a vegetable broth daily for a week or two prior to surgery. Fucoidan in
the pre-surgical patient diet seems to reduce the intensity of blood loss
and vascular bed collapse shock during and after surgery. The mechanism for
this positive effect is unclear.
We can all statistically expect major surgery sometime in our individual
lives. We are the only animal that voluntarily submits to surgery. I believe
this may cause some body integrity sanctity problems internally which may
negatively effect the wound response and subsequent healing. Fucoidan may
help the body decide to heal after voluntary surgery and other wounding such
as radiation and chemotherapy.
Patients undergoing radiation or chemotherapy seem to benefit from regular
fucoidan consumption via brown seaweed broth before, during, and after treatments.
They report fewer and less intense adverse reactions, better recovery and
sense of well-being.
Antiviral Action
Fucoidan interferes with every stage of viral attack, cell attachment, cell
penetration, and intracellular virion production by stimulating the production
of antiviral cytokines. There may be some viral suppression in virus-infested
patients but results are difficult to verify or measure. Research continues
into using fucoidan or its derivatives to combat common viral infestations:
HIV, HPV, and Herpes.
A fucoidan curiosity is that its teminal sugar is Fucose. All human cells
studied have very precise Fucose recepter sites on their surfaces. Perhaps
this results in stronger therapeutic responses.
#### RED ALGAL POLYMERS
The main red algal polymers are agar and carrageenan, and mainly porphyran
in nori. All of these polymers are sulfated galactans. They are modestly water-soluble,
partially digestible and easily extracted from red seaweeds by boiling .
Carrageenan
Carrageenan was originally isolated by simply boiling red seaweeds for an
hour or more , discarding the seaweed mass, and saving the usually thick mucilaginous
liquid. It was used for soups, hot gruels when mixed with grains, seafood,
and peas. It was drunk as a soothing treatment for sore mouths and throats
and for constipation relief.
It was used by the poor starving Irish during the oppressive British occupation
of Ireland for 800 years as an emergency food, filling if not totally nutritious.
Today, carrageenan is used in over ten thousand proprietary industrial,
food, and health and beauty products as a thickener, gelling agent, meat and
sugar extender, medicines, and paints. Red seaweeds containing carrageenan
have been overharvested in many places, including the intertidal zones of
the Canadian Maritime Provinces and many of the Carribean Islands. Now, to
meet demand, the world’s largest aquaculture farms are located in Malaysia,
Indonesia, and the Philipines, where the red alga Euchemia is grown on nets.
Historically, it has been used as a sexual lubricant in China, Korea, and
Japan for millennia.
Carrageenan eaten as red seaweeds such as dulse, Irish moss, and Euchemia,
is partially digested and absorbed as small globular gel masses into the lymph
and blood stream. It can provide sugar molecules for glycoproteins secreted
by mucous membranes and for cell surface aminoglycan labeling.
Medicinal Uses
RESPIRATORY TREATMENT
Until 1935, pneumonia was the leading recorded cause human death in the USA.
100 years ago, five of the top ten causes of death in men were respiratory
diseases.
Today, asthma is the leading cause of juvenile school absenteeism and is
increasingly an affliction of adults.
Red algae containing carrageenan have been used for millennia as treatments
for respiratory ailments, especially intractable sinus infections and lingering
pneumonias. Asthma was not separated out as such in the old literature.
I use plain boiled-out carrageenan singly or in combination with strong antimicrobial
herbs for all respiratory ailments. The process is simple:
* Place an ounce of carrageenan-containing red seaweed in a food-grade
mesh bag
* Place the bag in a stainless steel boiler or ceramic “Crockpot”
containing up to 1l of water.
* Bring to a boil and simmer for ½-4 hours. The bag of seaweed can
be left in the crockpot, setting at LOW, for 8-12 hours, which means overnight
for breakfast readiness.
* Stir or otherwise pump the gel out of the mesh bag while simmering; this
will move the dissolved gel out of the bag and allow more extraction. If
this step is omitted, the gel may just thicken , clog the mesh pores, and
remain a mess in the mesh bag
* Pour off the fluid gel, while hot
* If only one extraction is enough, hang the bag from something over a
container and let more gel drip out
* The red seaweed mass remaining in the mesh bag can be simmered and the
gel fluid poured off again and again, up to 4-5 times with more gel extracted
each time
The gel can be consumed as soon as cool. It can be flavoured with anything
suitable from honey, fruit juice, cinnamon, cayenne, vanilla, maple syrup,
cocoa powder, to various distilled spirits, herbal tinctures and milk.
The extracted gel will keep cold without spoiling for only about two days.
It is an excellent growth medium for microbes. Do not leave gel unused for
more than two days in a refrigerator with out boiling again briefly to sterilize
it.
I recommend consuming at least a pint a day for children and a quart or
more per day for adults up to a week or until respiratory symptoms resolve.
In cases of obvious microbial infection, add strong herbs such as elecampange,
osha, Lomatium, even garlic in the extraction bag, or as a separately-prepared
tea mixture; tinctures can also be added to the gel after removing from boiler.
The herbal-enhanced gels are usually good expectorants and can improve cough
productivity.
The first gel extracted is often very strongly seaweed- flavoured and unpalatable
to children and those with a resistant sensitive nature. The flavourings listed
above can mask the strong seaweed flavours.
Those flavours are usually not present in the gel produced in second and
more extraction episodes of the same bag of red seaweed.
I think that cases of respiratory mycoplasma (often presenting as adult-onset
asthma in people over 35) are helped by the gel with the addition of strong
herbs, especially elecampagne.
A soothing carrageenan gel variant is to use 5 parts red seaweed, and one
part each : Usnea lichen, fennel seeds, marshmallow root (powdered) and hawthorn
berries. This is very helpful for throats sore from excessive coughing.
CAUTIONS for Red Seaweed Gel Use: Small amounts of carrageenan gel
can help heal ulcers including ulcerative colitis. Large amounts may worsen
alimentary ulcers and erosive bowel diseases, especially in the bowel if carrageenan
successfully competes with the bowel membranes for water from the stool.
ANTIVIRAL RED SEAWEEDS
In vitro tests in the 1950’s and 1960’s showed that some red algae
are strongly antiviral. The ideas were developed by Robert Ellis and Natasha
Calvin, who used scuba gear in SE Alaska to harvest three species of subtidal
red algae to produce a mixture called Alaska Dulse. This was taken internally
as a very effective treatment for SHINGLES.
Natasha has passed and Robert is no longer providing the Alaska Dulse. From
Blue Moon Marine, Kim and Mark Donovan are test-marketing antiherpetic crèmes
and lotions for cold sores, shingles and hopefully genital herpes. I have
tried their products on recurring shingles with some lessening of lesion severity
but not a great improvement. Clinical trials are underway in cooperation with
the Bastyr University Clinic.
Strong antiviral activity has been observed in a variety of heavily modified
carrageenans and research continues on how to use this in commercial medications.
I do not know if occasional consumption of red seaweed gels will be antiviral.
One carrageenan derivative showed strong anti-HIV activity when delivered
as a contraceptive vaginal foam.
ERECTILE DYSFUNCTION
On a very memorable visit to Caye Caulker in the Belizian Carribean, I had
an interesting seaweed encounter. Whilst strolling along the unpaved path
of the merchantile zone, we came upon a little juice stand where fresh tropical
juices were made and sold. The children were thirsty as usual and so we got
some watermelon banana pineapple slurries for them. I noticed a couple of
recycled whiskey bottles with hand-printed tape labels that read “SEAWEED
DRINK”. I inquired about it. It was the most expensive item on display.
The young woman in charge said she did not know much about its manufacture,
but I could talk with the owner tomorrow at a time designated. I bought a
bottle and she recommended that I flavour it with rum or whiskey, since it
did not have any alcohol in it and it would spoil quickly in the tropical
heat. “It make you strong, mon!” she assured me with a BIG smile.
I did not add any alcohol and drank it over an hour or two. It tasted just
like red seaweed gel at home onisland. It took several days before I was able
to meet with the owner and seaweed drink maker. He was extremely reluctant
to talk about the product. Eventually I told him about my own production of
seaweed drinks back in Washington State and he eased up a bit.
He told me that the process had been the same for thousands of years, used
by the Ancient Maya and the Arawaks and Caribs. Using stone-weighted poles
with hooks, the seaweed was spun off the seafloor and loaded into canoes or
now small sailboats and brought to shore where it was laid out in the sun
to be washed by rains and bleached by sun until a yellowishwhite colour and
no seaweedy flavours remained. The mass looked like distressed pasta noodles
when he gave me a big handful of dried seaweed. He told me that just like
grapestone, it could be boiled many times and thick gel came out each time,
up to 12 times. Impressive. He was especially reluctant to take me out to
witness the harvest or do some myself. The Rastafarians had the Seaweed Drink
monopoly and perhaps he feared my setting up a little drink stand.
I bought several bottles of it during three weeks on Caye Caulker. Eventually
the salespeople asked “How you doin, mon?” I had to be educated
as to the intended purpose of the Seaweed Drink. It was a renowned local treatment
for erectile dysfunction and my otherwise recreational excessive purchases
and assumed consumption was cause for much laughter and smirking stares.
I really could not detect any positive therapeutic effect or behavioural
changes.
Eight years later I get an inquiry from some patients who are looking for
Sea Moss. I checked in with some of my phycological colleagues, notably Dr.
Mel Goldstein of U. Victoria in BC.
He had been in charge of the Sea Moss recovery program in Santa Lucia, Virgin
Islands.The popularity of Sea Moss as a virility drink had led to its extermination
from all of the larger Carribean islands and locals were continually asking
him during his research years there, where he had seen any Sea Moss It was
very rare and occurred only on tiny dangerous uninhabited rocky islands He
decided to try and use basic seaweed mariculture techniques to grow Sea Moss
using starts from wild patches. It worked eventually and many bays on the
Virgin Islands, Jamaica, Barbados, Trinidad, and other islands have ropes
and poles growing Sea Moss to meet an expanding market demand. The red seaweeds
, species of Euchemia, Gracillaria and Hydroputia were originally harvested
to make a traditional pre-contact breakfast gruel, and to thicken jellies
as well as make soothing drinks. Now, Sea Moss is sold in tourist shops ,
featured in local jams and jellies, and served as a special ethnic gruel to
tourists.
The Maya apparently used the gel with ground cacao, vanilla bean, and honey
to make a treat.
I have no information about erectile dysfunction amongst the ancient Maya.
I make the assumption that the Sea Moss drink must have had some positive
effects on male libido or erectile dysfunction. What the actual effects in
terms of tissue changes might be, I can only speculate that circulation may
be improved and mucous membranes more productive. There are many causes of
erectile dysfunction and most of these are behavioral, such as smoking, alcohol
consumption, chronic dehydration, obesity, medications, sociology. I doubt
if seaweed drink alone will overcome these causes. We will keep trying, however.
#### HORMONES IN SEAWEEDS
Melatonin
Melatonin is abundant in many seaweeds, up to 1000 times the amounts found
in land plants such as Feverfew and St. John’s Wort. This may explain
some of the calming effects of eating seaweeds. Night-time harvested seaweed
has much more melatonin content than daytime-harvested seaweed of the same
species. There may be some useful therapeutic opportunities using seaweed-sourced
melatonin.
Thyroid Hormones in Seaweeds
Brown seaweeds are the only known non-animal sources of thyroid hormones.
The presence of organically-bound iodine in brown seaweeds as thyroid hormones
may explain some of the effects of eating some brown seaweeds.
DI-IODOTHYRONINE (DIT)
Fucus spp of brown seaweeds have been used as treatment for thyroid disorders
. The thyroid hormone present in Fucus is Di-Iodothyronine (DIT); it is weakly
active if al all as a thyroid hormone in the mammalian body. Two DIT molecules
are condensed in an elegant esterification reaction to produce tetraiodotyrosine(T4,
Thyroxine). The organically bound iodine in Fucus may enhance T4 production
by providing some prefabricated portions of T4. I have not seen any studies
tracing Fucus-sourced DIT to either the thyroid gland or circulating T4.
The therapeutic effects of using powdered Fucus, 3-5 grams daily resemble
the therapeutic effects of thyroxine medications: shrinking of goiters, weight
loss, resolution of symptomatic non-autoimmune hypothyroidism, return of vim
and vigor, lessening of psychiatric disruptions, and resolution of eczemas.
This is especially true of women enduring postpartum physiological depression
after several years of being pregnant and nursing one or more children.
I have seen no reports of thyrotoxicity from Fucus consumption.
Women with low thyroid function, according to thyroid panel blood tests
report improved test results.
Any similar results from using Fucus teas will be due to inorganic iodine
supply increase and probably not from DIT. DIT is not very water soluble.
Fucus is used to wean mildly hypothyroid patients off thyroid hormone medication.
This can work only if the patient has a thyroid gland mass capable of making
T4 and T3 in sufficient quantities to supply body needs. Those without a thyroid
gland may be helped by the iodine from Fucus, alleviating the need to mine
thyroid medications for iodine. This may also explain in part the alleged
weight loss results from ingesting Fucus; to wit, upregulation of basal body
metabolic rate from iodine alone.
Thyroxine and Tri-iodothyronine in Brown Seaweeds
T4 and T3 have been found as the main organically bound iodine compounds in
several brown seaweeds, notably Laminaria sp. and Sargassum sp. Up to 10%
of Lamiarian iodine may be in MIT, DIT, T3, orT4. Even more in the less commoinly
available Sargassum (less commercially available; it is a rapidly expanding
invasive of all temperate coasts; this may be good news for thyroid sufferers.)
(Kazutosi 2002).
Kombu is one of the top 5 most consumed seaweeds in Japan and USA. The physiological
effects of regular kombu consumption can be: resolution of coronary artery
disease, healthier liver function, higher metabolic rate, faster food transit
time, lower LDL cholesterol,, higher HDL cholesterol blood levels. If the
thyroid hormones in kombu and Sargassum are available from food, this could
turn out to be an effective treatment to replace both synthetic thyroxines
and animal-thyroid medications.
I assume at least some T4 and T3 get into the human body from dietary Kombu
and stimulate more rapid clearing of fatty wastes from the liver, enabling
more rapid removal of blood borne fatty wastes.
T4 and T3 are biphenols and are not water soluble. Oil extractions of Kombu
may provide T4 and T3 as well as DIT and MIT(Mono-iodotyrosine) and be an
effective thyrosupportive medicine.
Powdered Fucus is mixed with olive oil as a vegan replacement for cod liver
oil and seems to work as well or better than cod liver oil
#### ESSENTIAL FAT AND VITAMINS IN SEAWEEDS
Most seaweeds are rich in vitamins, especially the B vitamins, including B12.
They also have significant amounts (1-3%)of Omega-3 fatty acids. Nori, in
particular has 3% omega-3 fatty acids and large amounts of vitamins A and
C. Interestingly, eating lots of nori is the Japanese prescription for boys
who may have inherited male pattern baldness. In Scandinavia, the eating of
refined sugars is discouraged for the same condition. Perhaps a combination
could treat both hair loss and slow the progression of pattern baldness in
both men and women?
BROWN SEAWEED- ENHANCED EXCRETION OF DIOXINS AND PCBS
Very exciting and encouraging research by Morita and Nakano (2) using seaweeds
for Dioxin and PCB (polychlorinated biphenyl) excretion demonstrates clearly
that the brown seaweeds Hiziki, Wakame, and Kombu speed body clearing of dioxins
and PCBs.
Dioxins and PCBs are extremely toxic. They are lipophilic and are not water-soluble;
they are readily absorbed from the digestive tract and stored in adipose tissue
and the liver in abundance. Once stored, their eventual excretion tends to
be very slow. Studies on Vietnam veterans and herbicide-spraying personnel
showed dioxin body half-lives of 11.3-19.6 years.
In the excretory process, dioxins are shed from the GI walls into the food
stream and expelled via the feces; but, only if they are not reabsorbed from
the colon prior to actual excretion. It is this reabsorption that causes the
prolonged body retention of Dioxins and PCBs.
The authors used rats in their initial seaweed experiments and monotypic
encapsulated dried seaweed powders. Their results showed conclusively that:
* Dietary seaweeds effectively inhibit reabsorption of Dioxin mixture congeners
excreted into the gut from the GI walls and promote their fecal excretion.
* The seaweeds inhibited the initial uptake of dietary-sourced Dioxins
and PCBs from food, binding them for fecal elimination. Foods are the primary
sources of Dioxins and PCBs for most of us.
* Seaweeds accelerated whole body elimination of Dioxins and their metabolites.
* Body processing of stored Dioxins before metabolite excretion was assumed
to be hastened.
Although rat and human digestive physiologies differ, Morita and Nakano’s
work strongly suggests that in humans regular dietary consumption of commercially
available brown seaweeds will likely reduce Dioxin and PCB uptake and speed
the fecal elimination of body-accumulated Dioxins and PCBs. The authors intend
to use human subjects for equivalent research to demonstrate seaweed-enhanced
dioxin and PCB excretion.
In the work cited, the most effective brown seaweed was Wakame, followed
closely by both Hiziki and Kombu.
Dioxins, PCBs, and PBDEs (polybromated diethyl ethers) are found in all
humans tested (100%)! This means that all of us can likely begin to benefit
immediately from regular eating of 5-10 gm/daily of brown seaweed which can
serve as toxic Dioxin, PCB, and PBDE exit vectors.
POST TRAUMATIC STRESS SYNDROME
I wonder about the probable relation of brain-loaded Dioxin and PCBs to psychiatric
symptoms of Post Traumatic Stress Syndrome, especially considering the long
body half-lives of these substances in adipose tissues. Since the brain is
nearly 50% fat, it can be considered an adipose tissue.
In practice I would definitely recommend daily consumption of 4-10 gm Wakame
and other dietary brown seaweeds for prevention of Dioxin and PCB uptake and
their continual removal, bound to seaweed fiber, and excreted in the stool.
This work adds to the knowledge that regular consumption of brown seaweeds
facilitates and hastens the removal of toxic heavy metals from both the human
body and our ingested food. In addition to providing most of our essential
mineral cations, brown seaweeds also rid us of dangerous health-negative substances.
THYROID HEALTH
PCBs and PBDEs are known endocrine and thyroid disrupters. In light of the
toxin-removal results reported by Morita and Nakano, part of the thyrosupportive
action of dietary brown seaweeds probably results from reducing PCB and PBDE
uptake from food and their concomitant accelerated fecal excretion. This is
in addition to providing thyroessential iodine (5) and thyroid hormone homologs
(T4, T3, DIT & MIT), (l0).
WEIGHT LOSS
Those dieting for weight loss release adipose-sequestered PBCs, Dioxins, and
PBDEs into their blood and lymph. Ingesting brown seaweeds may mitigate the
negative consequences caused by weight loss toxin releases.
CARRAGEENAN INHIBITION OF PAPILLOMA VIRUS INFECTION
Papilloma viruses infect vertebrate skin and mucosal tissues. Human infection
with genital HPV (human papilloma virus) is very common with an estimated
lifetime risk of infection at about 75%. Most genital HPV infections are sub-clinical
and self-limiting, but some persistently infected individuals have lesions
that progress to cancer. Certain sexually transmitted HPV are allegedly responsible
for most, if not all, cases of uterine cervical cancer, benign genital warts
(condyloma accuminata), and a large portion of ano-genital cancer, and head
and neck cancers. HPV-initiated cervical cancer is allegedly the #1 lethal
cancer amongst women worldwide.
In 2007, the first prophylactic HPV vaccines were released. Their protection
timeline for a vaccinated individual is unknown. The vaccines are recommended
only for young women, 11-25 and are intended to be effective against only
2 of the at least 33 forms of genital HPV. They are expensive. Why are young
men not being vaccinated, since they can carry the two suspected carcinogenic
HPV strains? Will the next vaccine(s) protect against HPV-induced penile cancers?
In a bizarre instance of medical tyranny, the governor of Texas decreed that
all young women, 11-25 were required to be vaccinated with the new HPV vaccines.
Although described as a public health gesture, I suspect the real reason was
to help the marketers recover their development costs at the possible expense
of the young women being vaccinated. I applaud the sagacity of the Texas lawmakers
who overwhelmingly voted out the decree.
In a rigorous study (3), Buck and colleagues, brilliantly demonstrate that
carrageenan extracted from red seaweed inhibits HPV infection. The modified
carrageenan (C-iota) acts primarily by preventing binding of HPV virions to
cell surfaces; carrageenan also exhibits a post-attachment inhibitory effect
on virions, quenching infectivity.
The research used tissue cultures and tissue models to test the carrageenan.
Carrageenan is an easily extracted, sulfated unbranched polygalactose red
algal polymer. It is used in thousands of patented applications in food and
cosmetic products and in sexual lubricants.
Carrageenan-containing sexual lubricants and condoms lubricated with gel
containing carrageenan were extremely effective at blocking HPV infectivity,
even when the condom gel was diluted one million times. The authors tested
several condoms and sexual lubricants for HPV infectivity inhibition. Only
products containing Carrageenan were HPV inhibitive.
Lubricants containing other seaweed gels, agar and algin, were much less
effective HPV inhibitors. Non-carrageenan-coated condoms are, at best, only
marginally effective for preventing sexual transmission of HPV.
Carrageenan in condom gels seems well tolerated by the human vagina. The
pH of the human vagina is typically below 4.5. Carrageenan extracts maintain
anti-HPV infectivity at pH 4.5.
I believe that carrageenan red seaweed extract gels are effective, relatively
inexpensive protection against the spread/acquisition of genital HPV. There
are no data yet about the real or potential treatment with carrageenan of
existing HPV lesions. Seaweed gels have been used as sexual lubricants for
5000 years (5,11). Perhaps the antiviral prophylactic action of red seaweed
gel as a microbiocide was recognized then. Carrageenan gel as a sexual lubricant
is completely edible and a tissue stimulant. I suggest it should be investigated
as a replacement for topical estradiol vaginal creams.
JORRP
A rare (1/25,000 births) HPV condition is JORRP (Juvenile Onset Recurrent
Respiratory Papillomatosis), in which HPV-induced large benign tumors develop
on airway surfaces. The main treatment is surgical removal of recurring obstructive
masses. JORRP is thought to be vertically transmitted HPV types 6 or 11 from
genital warts during birth. Pharmaceutical grade carrageenan gels could become
a safe perinatal cervicovaginal preventative for JORRP and asymptomatic vertically
transmitted HPV by adding the gels to the perinatal birth canal in women known
to carry HPV types 6 & 11.
SEAWEEDS AND SOY
A recent paper by Jane Teas and colleagues(5) ambitiously attempts to elucidate
what if any, effects dietary seaweed (dried, powdered, encapsulated Alaria,
American Wakame), and a soya protein isolate, singly and together, have on
thyroid function. I applaud their use of a simple seaweed, rather than a processed
seaweed extract. I am suspicious of the soya extract, but agree that use of
an industrial product as opposed to real, unrefined food is appropriate, since
American women consume thousands of tons of soya protein isolate yearly.
The results demonstrated markedly increased seaweed-sourced iodine uptake
and small measurable changes in thyroid function with the seaweed powder.
Soya isolate did not seem to alter thyroid function. The seaweed with soya
produced the same increased iodine uptake and up-regulated thyroid function.
My complaints about the study are: too small a sample (25), possibly due
to severely exclusionary criteria for study eligibility; the very short study
time (7 weeks); the limited (1 week) ingestion of soya protein isolate; the
use of soya protein isolate rather than real food; and the high probability
that ingested American Wakame, Alaria, does not induce the same human physiological
responses as Japanese Wakame, Undaria.
The minimal results produced a long narrative in which the two lead authors
ranted and repeated their long-standing iodophobia (fear of dietary iodine).
The authors did concede their work to be “… supportive of the
idea that seaweed, possibly via iodine, could be involved in breast cancer
prevention”. Their comparative discussion of thyroid disease and breast
cancer between American and Asian women is very conservative, intriguing,
and well referenced. I do not believe that Asian women traditionally ate either
encapsulated Alaria seaweed powder or soya protein isolate. This distinct
factor probably invalidates rigorous ethnic comparisons of diets and subjects’
responses.
The small database in this study seems to provide minimal therapeutic direction.
The authors do not cite a previous study by Yamori et al on Okinawan Japanese
immigrant descendents in Brazil, using powdered Wakame and Soya isoflavone
powder, published in 2001.
TERTIARY SEAWEED THERAPY
Meat cattle fed fungal-infected fescue hay typically display a lethargy, which
impedes growth and weight gain. The disease is called “Fescue Toxicosis”.
Grass fertilized with Rockweed seaweed, Ascophyllum nodosum, suction-harvested
by the ton for Acadian Sea Plants, Dartmouth, Nova Scotia, did not stimulate
fungal-infected fescue lethargy.(11). The seaweed provided ample copper and
other trace nutrients via the Tall Fescue grass fed to the animals. The authors
conclude that the animals’ basic health and immunity were greatly enhanced.
This work, over several years and hundreds of animals, demonstrates the
probable positive effects on humans from eating produce from seaweed-fertilized
plants.
Superior health was observed in Irish populations who had access to abundant
seaweeds for fertilizer for their crops. (See ref. 12 for a graphic account
of Irish kelping.)
SEAWEED ARSENIC SCARE
In April 2007, Amster et al published a diatribe against herbal supplements
and kelp tablets in particular(8), Case Report: Potential Arsenic Toxicosis
Secondary to Herbal Kelp Supplement. I think calling kelp tablets an “herbal
supplement” in the paper’s title seems deliberately hostile and
knowingly erroneous. Few of us would label kelp tablets an herbal supplement;
kelp is not an herb. Unfortunately, the authors in their haste to publication
and sloppy peer-review spelled Laminaria incorrectly (their spelling: Liminaria).
The article was remarkably similar to the guilt-by-association attacks on
comfrey nearly 20 years ago. In this case, it is the assumption that kelp-sourced
arsenic produced the patient’s overt symptoms. That the article was
generated by the Veterinary School at UC Davis is telling.
The article reports on one patient who allegedly took 3x the recommended
daily dosage of kelp tablets for a year and presented subsequently with elevated
arsenic levels and alleged symptoms of chronic arsenic poisoning. After stopping
the kelp tablets, her symptoms and arsenic levels improved to near normal
levels.
The authors claim that this case demonstrates the toxic heavy metal contamination
problems of unregulated herbs and other health supplements.
No.
Their database is inadequate to make any certain conclusion.
Seaweeds are not “contaminated” with arsenic. All seaweeds contain
arsenic; they deliberately accumulate arsenic up to 10,000 times the concentrations
of arsenic in the seawater in which they are growing. Seaweeds contain an
average of 30 parts per million arsenic, dry weight(9).
Japanese scientists are quick to point out that “if seaweed-sourced
arsenic were a real problem, most Japanese would present with either chronic
or acute arsenic poisoning very early in life” and would display foreshortened
life spans (4,10). Instead, Japanese enjoy the longest human health spans,
longest human life spans, and eat the most seaweeds per capita.
Arsenic comes in all seafood.
Arsenic is deliberately added to the diets of most commercially grown so-called
“broiler chickens”. The arsenic acts as a growth accelerant and
remains in the tissues. It is cheap and effective. Chickens normally require
5-8 months to reach maturity and adult size. Factory meat chickens reach market
size in 6-7 weeks. They are bloated sham chickens.
Arsenic pesticides are still used abundantly. Millions of outdoor decks
and wooden playground structures are impregnated with Paris Green, Copper
Arsenate to retard decay. Paris Green is a better wood preservative alternative
than Penta-Chloro-Phenol, a known vicious endocrine disruptor. Arsenic is
readily absorbed through the human epidermis upon contact.
Rice grown in Arkansas and Louisiana has 30 ppm arsenic; California rice
has 15ppm.
To ban arsenic is to ban food.
EXTERNAL SEAWEED TREATMENTS
Ireland , the Mediterranean, the Pacific Northwest, and other coastal areas
have long histories of using seaweed baths for relief from muscle and joint
pains, eczema, ectoparasites,, and prostatic swelling.
A CASE OF THE KNEES
A 50-year old woman presented with terribly painful knees. She was told her
cartilege had severely deteriorated. She was using a cane or walker all of
the time and was expecting the wheelchair soon. She had been a very active
herb grower and weekend clown for over 20 years. The combination of working
on her knees and clowning around had been very bad for her knees. I told her
I could fix her knees if she was completely compliant. Here was the treatment:
I told her she would need to soak her legs in a hot Fucus (Bladderwrack)
bath for four hours each day for up to a year. When she categorically refused,
I could only remind her of the painful alternatives.
We agreed on a compromise: tall (l6 inches) rubber boots, several sizes
too large. Hot Fucus slurry, made from DRIED FUCUS, was poured into the boots
and her feet placed in them, with about 2 inches between the top of the Fucus
slurry and the top of the boot. That way she could sit at her shop, walk around,
and keep the boots on for four hours. Heat was a problem=keeping the boots
and slurries warm. A hotpad applied external to the boots worked well. I provided
both the boots and all of the Fucus she would use without charge. All she
had to do was comply And that included no more clowning around, at work or
home.
She did and after almost a year, all symptoms were resolved, she could walk
without either pain or cane. I checked her every year for a decade and no
return of symptoms
Now, 15 years later she is still symptom free.
I had perhaps excessive confidence in the treatment based on local and traditional
First Nations folklore about the use of prolonged hot Fucus mush soaking by
mostly elderly women to relieve aching leg and foot joints.
THE INVADER GETS SOAKED
Traditionally, long weekends to many weeks’ holidays were taken by English
Victorians to the impoverished West Coast of Ireland. There they steamed and
soaked luxuriously in very hot baths filled with seawater and at least 10
gallons of fresh Fucus serrattus, a particularly mucoidal brown seaweed. This
treatment performed very thorough exfoliation of old dead skin squamous debris,
stimulated peripheral circulation, and imparted comfort to many aches and
pains. Swollen prostate glands seemed to shrink.
The most exciting part was the amazing increase in skin sensitivity and
touchability. Seaweed bathing became a must for newlyweds and those seeking
romantic revivals in fading libido relationships. Nearly 100 years ago, scores
of seaweed bath houses existed. Only a handful survive from those times. Dozens
of new seaweed baths have been built in the past decade in response to both
renewed interest in the healthy effects of seaweed bathing, and the entry
of the Irish Republic into the European Union and a great influx of European
immigrants and tourists.
OTHER
My favorite therapeutic traditional use of seaweed is as a parlor floor shock
absorber. In Hildene, the palatial home of Robert Todd Lincoln in Manchester,
Vermont, a thick layer of dried seaweed,(probably stiff fronds of Chondrus
crispus) is underneath the parlor dance floor to reduce impact trauma to dancing
couples’ feet. I was not able to obtain a sample.
BOOKS FOR GENERAL SEAWEED INFORMATION
Arasaki, S. and T. Vegetables From The Sea. 1983. Japan Publications,
INC. ISBN 0-87040-475-X
Excellent review of traditional and contemporary Japanese uses of seaweeds.
Includes many tables listing various nutritional components of seaweeds, including:
minerals, amino acids, starches, polymers, fatty acids, vitamins and peptides.
Describes basic seaweed biology, many edible seaweeds, and a bunch of traditional
sea vegetable receipes. Industrial uses and seaweed mariculture are described.
Some of the authors' original seaweed researches are included. A well-translated
and organised text makes this a relatively easy read of some highly technical
aspects of seaweed biology, particularly metabolic physiology and ecology.
Cooksley, Valerie. Seaweed. 2007. Stewart, Tabore, & Chang. ISNB
10:1-58479-538-7
Best all-round, thorough, very readable comprehensive text emphasizing health
and nutritional seaweed topics. Excellent introductory survey useful for healers,
beauticians, and the general public. Well-documented, conveniently organised,
good index, and contains current resource lists for seaweeds and seaweed products.
BEST SEA VEGETABLE COOKBOOK
Erhart, Shep and Cerier, Leslie. Sea Vegetable Celebration. 2001. Book
Publishing Co. ISBN 1-57067-123-0
Shep presents an excellent brief discussion of seaweed biology followed by
wonderful sea vegetable receipes from Leslie.
Shep, like myself, likes a lot of sea vegetable and some other food to dilute
the sea vegetable. Leslie takes a less sea vegetable-dominant approach and
offers foods with sea vegetables. Some very appealing color photos of delicious
food.
Further sea vegetable receipes are in Leslie's most recent book, Going
Wild in the Kitchen.
REFERENCES
Abraham,G. www.optimox.com
Druehl, L. 2000. Pacific Seaweeds
Drum, R. 2000. Sea Vegetables. In Planting Our Future. Gladstar & Hirsch,
eds. Pp 277-284.
Erhart, S. and Cerier, L. 2001. Sea Vegetable Celebration
Flaherty, R. Man of Aran. Documentary film with scenes of Aran farmers making
soil from rocks and seaweeds.
Kingsbury,J. and Sze, P. 1997. Seaweeds of Cape Cod and the Islands. 2ndED
McConnaughey,E. 1985. Sea Vegetables.
O’Clair, R. and Lindstrom, S. 2001. North Pacific Seaweeds.
Schecter,S. 1997. Fighting Radiation and Pollution
Shannon, S. 1993. Diet for the Atomic Age.
SEAWEED SOURCES
BC Kelp. POB 274, Prince Rupert, BC V8J 3P3, Canada. 250-622-7085
Island Herbs, POB 25, Waldron, WA 98297
Maine Seaweed Co. POB 57, Steuben, Maine 04680
Maine Coast Sea Vegetables. 3 Georges Pond RD., Franklin, Maine 04634 207-565-2907
Mendocino Sea Vegetables. POB 455, Philo, CA 95466. 707-895-2996
Nature Spirit Herbs. POB 150, Williams, OR 97544. 541-846-7995
ADDITIONAL REFERENCES
1. Cooksley, V. 2007. Seaweed
2. Morita, K. and Nakano, T. 2002. “Seaweed Accelerates the Excretion
of Dioxin Stored in Rats”. J. Agric. Food Chem. 50: Pp 910-917
3. Buck, C. et al. 2006 “Carrageenan Is a Potent Inhibitor of Papillomavirus
Infection”. PloSPathogens 2: Pp 671-680. www.plospathogens.org
4. Arasaki, S. and T. l983. Vegetables From the Sea. Japan Pub. Inc.
5. Teas, J. etal. 2007. “Seaweed and Soy: Companion Foods in Asian Cuisine
and Their Effects on Thyroid Function in American Women”. J. Med. Food
10: Pp 90-100.reprints from: [email protected]
6. Konig, G. and Wright, A. 1993. “Algal Secondary Metabolites and Their
Pharmaceutical Potential”. Ch. 19 in: Human Medicinal Agents From Plants.
Am. Chem. Soc. Pp. 276-293
7. Fitton, J. 2003. “Brown Marine Algae. A Survey of Therapeutic Potentials”.
Alternative & Complementary Therapies Pp.29-33. Reprints of this paper
from: Karen Ballen, Alt. & Comp. Therapies: 914-834-3100.
8. Amster, E. et al. 2007. “Case Report: Potential Arsenic Toxicosis
Secondary to Herbal Kelp Supplement”. Evirn. Health Persp. 115: Pp 606-608.
9. Bergner, P. 1997. Healing Power of Minerals. P.13
10. Katsutosi, N. 2002. Seaweeds Kaiso: Bountiful Harvest From The Sea: Sustenance
For Health and Well-Being.
11. Saker, K. et al. 2001. “Tasco Forage II. Monocyte Immune Cell Response
and Performance of Beef Steers Grazing Tall Fescue Treated with a Seaweed
Extract”. J. Anim. Sci. 79:1Pp. 022-1031.
12. Uris, L. 1957 Trinity
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<P align=right><FONT color=#000000 size=+1>By Kevin McCorry</FONT></P>
<CENTER></CENTER><BR><BR><IMG src="alien-p.jpg"><BR>A
Twentieth Century Fox Release on May 25, 1979.<BR>Directed by Ridley
Scott.<BR>Produced by Gordon Carroll, David Giler, and Walter
Hill.<BR>Screenplay by Dan O'Bannon.<BR>Starring Tom Skerritt, Sigourney
Weaver, John Hurt, Harry Dean Stanton, Veronica Cartwright, Ian Holm, and Yaphet
Kotto.<BR>Music by Jerry Goldsmith.
<P>
<IMG src="alienripley.jpg" align=left><B>Alien</B>, a dark thriller overlapping the science fiction and horror genres, was one of the top science fiction films of 1979, a year when audiences were filling theatres to view such <B>Star Wars</B>-inspired action-fantasy films as <B>Moonraker</B>, <B>The Black Hole</B>, <B>Buck Rogers in the 25th Century</B>, and <B>Superman</B>. Suspenseful and shocking rather than action-driven, <B>Alien</B> arrived with much advance publicity, speculation on the look of the title creature, and rumour about its macabre way of procreating.
<P>
This Ridley Scott-directed opus boasts high production values channelled not into space battle scenes and flashy explosions, but into set designs and detailed model spaceships, intended for slow camera pans to show the intricacy of futuristic architecture and the horrible irony by which a beastly creature easily makes this technological layout its own and stalks a seven-person crew. It kills them one-by-one, before the last remaining crew member, Sigourney Weaver's courageous Ripley, manages to dispatch the alien into space, after having destroyed her crew's mothership, the Nostromo, and its cargo in her earlier attempt to neutralise the creature.
<P>
The story of <B>Alien</B> is not original. The notion of a malevolent, devouring, otherworldly creature is common to the science fiction genre, and comparisons to the events in <B>Alien</B> can be found in the American-Japanese "camp" classic, <B>The Green Slime</B>, and such television series as <B>Space: 1999</B> and <B>Doctor Who</B>. A <B>Space: 1999</B> episode involving a tentacled alien monster invading a deep-space probeship and ingesting one-by-one the hapless crew, leaving only one survivor to return to Earth and a sceptical public, bears striking similarity to the story plot of <B>Alien</B> and the opening of its sequel, <B>Aliens</B>. <B>Space: 1999</B> and <B>Alien</B> were both filmed in Pinewood Studios in Buckinghamshire, England, and models and visual effects for <B>Alien</B> were provided by such people as Brian Johnson, Nick Allder, and Martin Bower, three key contributors to the aesthetic of <B>Space: 1999</B>.
<P>
<IMG src="a1pic9.jpg" align=right> The detachable, modular design of the Eagle spaceships in <B>Space: 1999</B> was a precursor to the appealing realism of the modular Nostromo, whose detachable lander and escape shuttle give the impression of a spaceship tractable to human activity and diverse conditions. Unlike the sleek, fixed shell of the bulky Starship Enterprise in <B>Star Trek</B>, models in both <B>Space: 1999</B> and <B>Alien</B> are detailed, with many projections and indentations, and separable, like an organism that can detach and reassemble its component parts, or "organs", when circumstances dictate. This motif of the "organic" spaceship is vital to the narrative of <B>Alien</B>, allowing the Nostromo to shed its bulky cargo and land on a hostile planet, and permitting escape in a small shuttle when a desperate Ripley decides to detonate the Nostromo in hope of destroying the creature in the explosion.
<P>
<B>Alien</B>'s unique appeal lies in the stylish design of these models and the equal intricacy in the construction of interior sets. Technology, with abundant computer panels, consoles, and power system circuitry, is blended with human comfort, for which the ship is fitted with plastic, cushioned seats and bulkheads and adorned with hanging collages of jingly crystal and girly pictures from magazines, yielding a "trash-culture-of-the future" motif that Scott would later use for his 1982 opus, <B>Blade Runner</B>.
<P>
In opposition to the future proposed by Stanley Kubrick's <B>2001- A Space Odyssey</B> or by <B>Space: 1999</B>'s immaculate, bright, and purely scientific Moonbase Alpha, <B>Alien</B> proposes a dystopia, rather like that of <B>Blade Runner</B>, where migration into space is not motivated by exploration for furtherance of knowledge, but by the eternal profit margin. The Nostromo crew are mercenaries, paid cogs in a machine of economic power. Individuality is tolerated to some extent, as seen in the casual, personalised garments, for example, crewman Brett's Hawaiian shirt. To perhaps foreshadow the revelation of his android nature and coincide with his strict adherence to corporate directives, Science Officer Ash's costume is the most official-looking and uniform-like. Still, Company badges are on garments worn by all of the crew, signifying a technological capitalism whose quest for gain has been extended into interstellar space and left its "mark" on all of them, a capitalism that despite its futuristic aspects, continues to encourage decadent consumption, hence the trash-culture evident on the ship.
<P>
Decadence is most evident in the crew's smoking and sloven eating habits. A haze of cigarette smoke that hovers over the crew as they confer in their all-in-one lounge, dining, and briefing room, is a seeming symbol for the industrial pollution of Earth, also alluded to by the towering factory imagery of the Nostromo's cargo. Vice, smut, and greed have not been transcended in this capitalist future. The human race is still spiritually immature, and the Nostromo is an apropos reflection of man's immaturity, representing a technology that has not spiritually liberated the race from its primitive tendencies.<BR><BR>Unlike the aglow hull of <B>Star Trek</B>'s U.S.S. Enterprise, the Nostromo's exterior body is dimly lit. Its dank and dark interior has a post-modern industrial factory look, most notably in the lower decks. In contrast to the sleek, clean engineering room of the Enterprise, the Nostromo's is laden with grime, steamy, and wet. Effluent pours down from unseen pipes, effluent which Harry Dean Stanton's Brett character uses to cool his brow as he searches for Jones the Cat and is targeted by the alien as next to die. And the computer room has an un-glossy, seemingly impure, dark white look. Even the supposedly immaculate whites in the cryogenic chamber and infirmary and on the diaper-like garments worn by the crew while in cryogenic sleep, all have a gloomy aspect which seems to accord with the residue-laden, dark aesthetic of the other areas of the ship, suggesting a future technology tied to man's frailties, a dirtying of technology, a turning of it into little more than a mechanical "bimbo" to "reproduce" the monetary "progeny" of his unbounded materialism.
<P>
<IMG src="a1pic1.jpg" align=left> Technology has been the spawn of man's limitless quest for material profit, while man is a child of his technology, as suggested in the diaper-like garments worn by the crew while under the care of their maternal spaceship, whose computer is named Mother. Technology has become part of a reproductive process, and people are assets begotten from it. It is the matriarch of this future world.
<P>
<IMG src="a1pic3.jpg" align=right> The <I>mise-en-scene</I> of the Nostromo, of the planet on which it lands, and of the alien ship where the Nostromo crew finds the eggs that spawn the creature, are best credited to production designer H. R. Giger, whose bio-mechanical motif likening the alien and technology (in the Nostromo) accounts for much of the aesthetic appeal of this film. In essence, the bio-mechanical motif broaches two corresponding ideas: organic machinery and mechanical organisms. The former idea is exemplified by the fact that Ash, one of the crew, looks human and organic, but is actually a machine, quite like the mechanical Nostromo having the look of a living thing. The other notion of a mechanical organism is manifest in the unrelentingly efficient, machine-like reproductive system of the alien creature.
<P>The Nostromo corridors, similar to those of the alien craft where the crew
finds the incubation area for the alien eggs, have scaly projections and
indentations similar to the physiology of the alien organism, and the tunnel
motif of the corridors likens them to the tubes inside a mother's belly. Pipes
are situated on the corridors like blood vessels along the walls of a Fallopian
tube, establishing a visual correspondence, a birthing motif, between the set
design of the Nostromo and that of the alien craft. And so too is the ghastly,
perverted reproduction of the alien aesthetically connected through set design
to technology, which in this film, is depicted as an extension of mankind's
"other", "alien", less-than-noble side of nature.
<P>Ships of sail have frequently been given a female gender by travellers who
wish a nurturing, protecting sense of security on the high seas. The Nostromo
computer is given the designation of "Mother", "soul" of the ship, powerful
maintainer or "giver" of life to its dependent crew. Indeed, the Nostromo sets
have the look of the interior of a woman birthing, or in an obscure sense
re-birthing, with her diapered adult occupants. Such imagery brings to mind a
notion of regression by return to a womb. To not ascend or improve. To instead
be as close as possible to the place of conception. To relive either the
irresponsible childhood of an individual or that of the human race. Infantile
primitivism.
<P>Such a desire, for an adult male, is as perverse as the desire of an adult
female to dominate a man, to be like an insect queen, with male progenitors
entirely under her will. These are aspects of the "alien" other side of the
human spirit, contrary to what is considered normal. And the concept that
technology, as represented in this film, is becoming an extension and thus a
part of man's darker side quite understandably gives apt rise to a fear of
machines, upon which man is more and more dependent, becoming a replacement for
the mother in the male id's regressive urge above described- and becoming akin
to the monstrous, phallic female, or on another tangent to the same idea,
phallic female organisms with mechanical ruthlessness. The alien in the film
would appear to symbolise the darker side of the wild libido, from which man's
ego has in the future still not liberated him, taken to its most twisted
extreme.
<P>The deliberate directorial style of <B>Alien</B> contrasts sharply with that
of James Cameron's fast-and-furious sequel, <B>Aliens</B>. In both
<B>Alien</B> and <B>Blade Runner</B>, Ridley Scott uses tension punctuated by
brief but extreme bursts of violence and demonstrates a British preference for
long, specular moments. <B>Alien</B> opens with an extended camera pan around
the Nostromo's empty decks and tunnel-like corridors, so that the viewer is
something of a voyeur prior to the coming-on-the-scene of the seven human
characters. As they emerge from their cryogenic torpor, the first to rise is
Kane, who ironically is also the first to die in the perverse birthing of the
alien. Slow dissolves of Kane rising and adjusting himself suggest a time lapse
of indeterminate length, an ersatz growth process inside the technological
"womb", of which Kane's chest will be a macabre, biological extension for
incubating the alien organism.<P>
<CENTER><IMG
src="a1pic5.jpg"> <IMG
src="a1pic7.jpg"></CENTER>
<P>
Scott's most provocative
image, noted by many appreciators of the film's visual style, involves a pulling
back of the film frame to show Kane, Captain Dallas, and Lambert venturing
inside the alien ship through a vagina-shaped entry port between its "legs" as
though they were three sperm, and finding themselves in a labyrinthine series of
darkened tunnels leading to a womb-like egg hatchery where the fatally curious
Kane finds the otherworldly extension of humanity's darker side taken to its
most extreme. It turns the reproductive process onto this man, making him the
carrier of an embryo, forcefully "ejaculated" into him by the alien "face
hugger", an alien organism that may be a representation of the phallic female,
the dark, negative side of feminist power, the female "animus", while Ripley's
heroism will represent a rather more positive aspect of the dominant
female.<BR><BR>The alien seems to be the biological extension of human
technology, which has been given a seemingly feminine power over humans as
suggested in the imagery of the Nostromo and in the "Mother" designation for the
ship's computer. The alien is deemed the "perfect organism", like a fool-proof
machine grimly carrying out its assigned task, violently using humans as pawns
in an inhuman and ghastly life cycle. The bio-mechanically designed alien is an
entity devoid of pity or of "delusions of morality", quite like the robot Ash or
like the computer, Mother, who is impassive to Ripley's pleas when Ripley tries
to stop a preassigned self-destruct of the ship. The technology, the ship, and
the alien organism are projections of an otherness within the human psyche, the
dark beast of instinct that future man, in his less-than-virtuous, mercenary,
seedy, and coarsely sexual lifestyle, has not transcended. Its ruthless life
cycle is regarded by a corporation on Earth to have a commodity value rather
like that of the rest of their technology, including the ships.<BR><BR>This
notion is greatly enhanced by depiction of the alien coming out from inside a
man and blending in with the technological surroundings, camouflaging itself in
the cavernous tunnels of the ship. It seems very resembling of the technology,
and aptly so. The set design of <B>Alien</B> suggests symbolic association
between the alien and the Nostromo, projections of human vice, regressive mother
fixations, and perverse feminine power.<BR><BR>In summary, the <i>mise-en-scene</i> of
<B>Alien</B> proposes a dystopic future in which the flaws in human nature are
brought with man as he moves into space for mercenary, gratifying purposes and
is dependent upon technology such that the ship's computer- and by extension the
ship itself- is designated as "Mother". <B>Alien</B> establishes a
bio-mechanical motif to connect the ruthless alien organism to technology and to
the spacecraft Nostromo, which, in its dark, grimy look, reflects the continued
decadence of man. Spawned from the darker part of the imagination, it is the
antithesis to what is considered normal for both sexes, evoking fear of the
abnormal, of the dangers, both literal and psychological, of technology becoming
tied to man's darker side- out-of-control, decadent capitalism and
out-of-control id-release. It is the monster within the collective immature
human psyche, which is manifested as a devouring beast. By playing to the almost
primordial fascination with and fear of "the other" within the human psyche,
<B>Alien</B> has achieved popularity and re-transformed science fiction's
monster-from-another-world sub-genre.<BR><BR>Sources<BR><BR>Jung, Carl G.,
Henderson, Joseph L., <I>et al.</I>. <B>Man and His Symbols</B>. Doubleday and Company,
Garden City, New York, 1964.<BR><BR>"The Making of <B>Alien</B>". <B>Starlog</B>
# 23. Starlog Press, June, 1979.<BR>
<P>
<HR>
All images (c) Twentieth Century Fox<BR>
<B>Textual content (c) Kevin McCorry, with all rights
reserved<BR>This article, the observations, the interpretations, and the ideas
therein are the intellectual property of the author unless otherwise noted and
may not be reproduced and then altered in any way without the express written
consent of the author, and any scholarly quoting, paraphrasing, or other
repetition of them MUST be accompanied by full stated credit to the author, with
failure to do so possibly exposing an individual or group to litigation and
possible civil or criminal penalty</B>
<hr>
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<hr></html> | Dystopic Future: The Set Design in Alien
#
Dystopic Future: The Set Design of
**Alien**
By Kevin McCorry
A
Twentieth Century Fox Release on May 25, 1979.
Directed by Ridley
Scott.
Produced by Gordon Carroll, David Giler, and Walter
Hill.
Screenplay by Dan O'Bannon.
Starring Tom Skerritt, Sigourney
Weaver, John Hurt, Harry Dean Stanton, Veronica Cartwright, Ian Holm, and Yaphet
Kotto.
Music by Jerry Goldsmith.
**Alien**, a dark thriller overlapping the science fiction and horror genres, was one of the top science fiction films of 1979, a year when audiences were filling theatres to view such **Star Wars**-inspired action-fantasy films as **Moonraker**, **The Black Hole**, **Buck Rogers in the 25th Century**, and **Superman**. Suspenseful and shocking rather than action-driven, **Alien** arrived with much advance publicity, speculation on the look of the title creature, and rumour about its macabre way of procreating.
This Ridley Scott-directed opus boasts high production values channelled not into space battle scenes and flashy explosions, but into set designs and detailed model spaceships, intended for slow camera pans to show the intricacy of futuristic architecture and the horrible irony by which a beastly creature easily makes this technological layout its own and stalks a seven-person crew. It kills them one-by-one, before the last remaining crew member, Sigourney Weaver's courageous Ripley, manages to dispatch the alien into space, after having destroyed her crew's mothership, the Nostromo, and its cargo in her earlier attempt to neutralise the creature.
The story of **Alien** is not original. The notion of a malevolent, devouring, otherworldly creature is common to the science fiction genre, and comparisons to the events in **Alien** can be found in the American-Japanese "camp" classic, **The Green Slime**, and such television series as **Space: 1999** and **Doctor Who**. A **Space: 1999** episode involving a tentacled alien monster invading a deep-space probeship and ingesting one-by-one the hapless crew, leaving only one survivor to return to Earth and a sceptical public, bears striking similarity to the story plot of **Alien** and the opening of its sequel, **Aliens**. **Space: 1999** and **Alien** were both filmed in Pinewood Studios in Buckinghamshire, England, and models and visual effects for **Alien** were provided by such people as Brian Johnson, Nick Allder, and Martin Bower, three key contributors to the aesthetic of **Space: 1999**.
 The detachable, modular design of the Eagle spaceships in **Space: 1999** was a precursor to the appealing realism of the modular Nostromo, whose detachable lander and escape shuttle give the impression of a spaceship tractable to human activity and diverse conditions. Unlike the sleek, fixed shell of the bulky Starship Enterprise in **Star Trek**, models in both **Space: 1999** and **Alien** are detailed, with many projections and indentations, and separable, like an organism that can detach and reassemble its component parts, or "organs", when circumstances dictate. This motif of the "organic" spaceship is vital to the narrative of **Alien**, allowing the Nostromo to shed its bulky cargo and land on a hostile planet, and permitting escape in a small shuttle when a desperate Ripley decides to detonate the Nostromo in hope of destroying the creature in the explosion.
**Alien**'s unique appeal lies in the stylish design of these models and the equal intricacy in the construction of interior sets. Technology, with abundant computer panels, consoles, and power system circuitry, is blended with human comfort, for which the ship is fitted with plastic, cushioned seats and bulkheads and adorned with hanging collages of jingly crystal and girly pictures from magazines, yielding a "trash-culture-of-the future" motif that Scott would later use for his 1982 opus, **Blade Runner**.
In opposition to the future proposed by Stanley Kubrick's **2001- A Space Odyssey** or by **Space: 1999**'s immaculate, bright, and purely scientific Moonbase Alpha, **Alien** proposes a dystopia, rather like that of **Blade Runner**, where migration into space is not motivated by exploration for furtherance of knowledge, but by the eternal profit margin. The Nostromo crew are mercenaries, paid cogs in a machine of economic power. Individuality is tolerated to some extent, as seen in the casual, personalised garments, for example, crewman Brett's Hawaiian shirt. To perhaps foreshadow the revelation of his android nature and coincide with his strict adherence to corporate directives, Science Officer Ash's costume is the most official-looking and uniform-like. Still, Company badges are on garments worn by all of the crew, signifying a technological capitalism whose quest for gain has been extended into interstellar space and left its "mark" on all of them, a capitalism that despite its futuristic aspects, continues to encourage decadent consumption, hence the trash-culture evident on the ship.
Decadence is most evident in the crew's smoking and sloven eating habits. A haze of cigarette smoke that hovers over the crew as they confer in their all-in-one lounge, dining, and briefing room, is a seeming symbol for the industrial pollution of Earth, also alluded to by the towering factory imagery of the Nostromo's cargo. Vice, smut, and greed have not been transcended in this capitalist future. The human race is still spiritually immature, and the Nostromo is an apropos reflection of man's immaturity, representing a technology that has not spiritually liberated the race from its primitive tendencies.
Unlike the aglow hull of **Star Trek**'s U.S.S. Enterprise, the Nostromo's exterior body is dimly lit. Its dank and dark interior has a post-modern industrial factory look, most notably in the lower decks. In contrast to the sleek, clean engineering room of the Enterprise, the Nostromo's is laden with grime, steamy, and wet. Effluent pours down from unseen pipes, effluent which Harry Dean Stanton's Brett character uses to cool his brow as he searches for Jones the Cat and is targeted by the alien as next to die. And the computer room has an un-glossy, seemingly impure, dark white look. Even the supposedly immaculate whites in the cryogenic chamber and infirmary and on the diaper-like garments worn by the crew while in cryogenic sleep, all have a gloomy aspect which seems to accord with the residue-laden, dark aesthetic of the other areas of the ship, suggesting a future technology tied to man's frailties, a dirtying of technology, a turning of it into little more than a mechanical "bimbo" to "reproduce" the monetary "progeny" of his unbounded materialism.
 Technology has been the spawn of man's limitless quest for material profit, while man is a child of his technology, as suggested in the diaper-like garments worn by the crew while under the care of their maternal spaceship, whose computer is named Mother. Technology has become part of a reproductive process, and people are assets begotten from it. It is the matriarch of this future world.
 The *mise-en-scene* of the Nostromo, of the planet on which it lands, and of the alien ship where the Nostromo crew finds the eggs that spawn the creature, are best credited to production designer H. R. Giger, whose bio-mechanical motif likening the alien and technology (in the Nostromo) accounts for much of the aesthetic appeal of this film. In essence, the bio-mechanical motif broaches two corresponding ideas: organic machinery and mechanical organisms. The former idea is exemplified by the fact that Ash, one of the crew, looks human and organic, but is actually a machine, quite like the mechanical Nostromo having the look of a living thing. The other notion of a mechanical organism is manifest in the unrelentingly efficient, machine-like reproductive system of the alien creature.
The Nostromo corridors, similar to those of the alien craft where the crew
finds the incubation area for the alien eggs, have scaly projections and
indentations similar to the physiology of the alien organism, and the tunnel
motif of the corridors likens them to the tubes inside a mother's belly. Pipes
are situated on the corridors like blood vessels along the walls of a Fallopian
tube, establishing a visual correspondence, a birthing motif, between the set
design of the Nostromo and that of the alien craft. And so too is the ghastly,
perverted reproduction of the alien aesthetically connected through set design
to technology, which in this film, is depicted as an extension of mankind's
"other", "alien", less-than-noble side of nature.
Ships of sail have frequently been given a female gender by travellers who
wish a nurturing, protecting sense of security on the high seas. The Nostromo
computer is given the designation of "Mother", "soul" of the ship, powerful
maintainer or "giver" of life to its dependent crew. Indeed, the Nostromo sets
have the look of the interior of a woman birthing, or in an obscure sense
re-birthing, with her diapered adult occupants. Such imagery brings to mind a
notion of regression by return to a womb. To not ascend or improve. To instead
be as close as possible to the place of conception. To relive either the
irresponsible childhood of an individual or that of the human race. Infantile
primitivism.
Such a desire, for an adult male, is as perverse as the desire of an adult
female to dominate a man, to be like an insect queen, with male progenitors
entirely under her will. These are aspects of the "alien" other side of the
human spirit, contrary to what is considered normal. And the concept that
technology, as represented in this film, is becoming an extension and thus a
part of man's darker side quite understandably gives apt rise to a fear of
machines, upon which man is more and more dependent, becoming a replacement for
the mother in the male id's regressive urge above described- and becoming akin
to the monstrous, phallic female, or on another tangent to the same idea,
phallic female organisms with mechanical ruthlessness. The alien in the film
would appear to symbolise the darker side of the wild libido, from which man's
ego has in the future still not liberated him, taken to its most twisted
extreme.
The deliberate directorial style of **Alien** contrasts sharply with that
of James Cameron's fast-and-furious sequel, **Aliens**. In both
**Alien** and **Blade Runner**, Ridley Scott uses tension punctuated by
brief but extreme bursts of violence and demonstrates a British preference for
long, specular moments. **Alien** opens with an extended camera pan around
the Nostromo's empty decks and tunnel-like corridors, so that the viewer is
something of a voyeur prior to the coming-on-the-scene of the seven human
characters. As they emerge from their cryogenic torpor, the first to rise is
Kane, who ironically is also the first to die in the perverse birthing of the
alien. Slow dissolves of Kane rising and adjusting himself suggest a time lapse
of indeterminate length, an ersatz growth process inside the technological
"womb", of which Kane's chest will be a macabre, biological extension for
incubating the alien organism.
 
Scott's most provocative
image, noted by many appreciators of the film's visual style, involves a pulling
back of the film frame to show Kane, Captain Dallas, and Lambert venturing
inside the alien ship through a vagina-shaped entry port between its "legs" as
though they were three sperm, and finding themselves in a labyrinthine series of
darkened tunnels leading to a womb-like egg hatchery where the fatally curious
Kane finds the otherworldly extension of humanity's darker side taken to its
most extreme. It turns the reproductive process onto this man, making him the
carrier of an embryo, forcefully "ejaculated" into him by the alien "face
hugger", an alien organism that may be a representation of the phallic female,
the dark, negative side of feminist power, the female "animus", while Ripley's
heroism will represent a rather more positive aspect of the dominant
female.
The alien seems to be the biological extension of human
technology, which has been given a seemingly feminine power over humans as
suggested in the imagery of the Nostromo and in the "Mother" designation for the
ship's computer. The alien is deemed the "perfect organism", like a fool-proof
machine grimly carrying out its assigned task, violently using humans as pawns
in an inhuman and ghastly life cycle. The bio-mechanically designed alien is an
entity devoid of pity or of "delusions of morality", quite like the robot Ash or
like the computer, Mother, who is impassive to Ripley's pleas when Ripley tries
to stop a preassigned self-destruct of the ship. The technology, the ship, and
the alien organism are projections of an otherness within the human psyche, the
dark beast of instinct that future man, in his less-than-virtuous, mercenary,
seedy, and coarsely sexual lifestyle, has not transcended. Its ruthless life
cycle is regarded by a corporation on Earth to have a commodity value rather
like that of the rest of their technology, including the ships.
This
notion is greatly enhanced by depiction of the alien coming out from inside a
man and blending in with the technological surroundings, camouflaging itself in
the cavernous tunnels of the ship. It seems very resembling of the technology,
and aptly so. The set design of **Alien** suggests symbolic association
between the alien and the Nostromo, projections of human vice, regressive mother
fixations, and perverse feminine power.
In summary, the *mise-en-scene* of
**Alien** proposes a dystopic future in which the flaws in human nature are
brought with man as he moves into space for mercenary, gratifying purposes and
is dependent upon technology such that the ship's computer- and by extension the
ship itself- is designated as "Mother". **Alien** establishes a
bio-mechanical motif to connect the ruthless alien organism to technology and to
the spacecraft Nostromo, which, in its dark, grimy look, reflects the continued
decadence of man. Spawned from the darker part of the imagination, it is the
antithesis to what is considered normal for both sexes, evoking fear of the
abnormal, of the dangers, both literal and psychological, of technology becoming
tied to man's darker side- out-of-control, decadent capitalism and
out-of-control id-release. It is the monster within the collective immature
human psyche, which is manifested as a devouring beast. By playing to the almost
primordial fascination with and fear of "the other" within the human psyche,
**Alien** has achieved popularity and re-transformed science fiction's
monster-from-another-world sub-genre.
Sources
Jung, Carl G.,
Henderson, Joseph L., *et al.*. **Man and His Symbols**. Doubleday and Company,
Garden City, New York, 1964.
"The Making of **Alien**". **Starlog**
# 23. Starlog Press, June, 1979.
---
All images (c) Twentieth Century Fox
**Textual content (c) Kevin McCorry, with all rights
reserved
This article, the observations, the interpretations, and the ideas
therein are the intellectual property of the author unless otherwise noted and
may not be reproduced and then altered in any way without the express written
consent of the author, and any scholarly quoting, paraphrasing, or other
repetition of them MUST be accompanied by full stated credit to the author, with
failure to do so possibly exposing an individual or group to litigation and
possible civil or criminal penalty**
---
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<HTML
><HEAD
>
<TITLE>[Appendix A] Quick Reference </TITLE>
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NAME="DC.date"
CONTENT="1998-08-03T20:54:28Z"><META
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>Appendix A</FONT
></B
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><A
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><DIV
CLASS="APPENDIX"
><H1
CLASS="appendix"
><A
CLASS="title"
NAME="VI6-AP-A"
>A. Quick Reference </A
></H1
><DIV
CLASS="htmltoc"
><P
><B
>Contents:</B
><BR><A
CLASS="sect1"
HREF="#VI6-AP-A-TAB-0"
TITLE="A.1 Movement Commands"
>Movement Commands</A
><BR><A
CLASS="sect1"
HREF="appa_02.htm"
TITLE="A.2 Editing Commands"
>Editing Commands</A
><BR><A
CLASS="sect1"
HREF="appa_03.htm"
TITLE="A.3 Exit Commands"
>Exit Commands</A
><BR><A
CLASS="sect1"
HREF="appa_04.htm"
TITLE="A.4 Command Line Options"
>Command Line Options</A
><BR><A
CLASS="sect1"
HREF="appa_05.htm"
TITLE="A.5 Other ex Commands"
>Other ex Commands</A
></P
><P
></P
></DIV
><P
CLASS="para"
><A
CLASS="indexterm"
NAME="VI6-AP-A-IX-VI-CMNDS-QREF"
></A
><A
CLASS="indexterm"
NAME="VI6-AP-A-IX-EX-CMNDS-QREF"
></A
><A
CLASS="indexterm"
NAME="VI6-AP-A-IX-QUICK-REFVI"
></A
></P
><P
CLASS="para"
>This appendix lists <KBD
CLASS="command"
>vi</KBD
> commands and <KBD
CLASS="command"
>ex</KBD
> commands according to
their use.</P
><DIV
CLASS="sect1"
><H2
CLASS="sect1"
><A
CLASS="title"
NAME="VI6-AP-A-TAB-0"
>A.1 Movement Commands</A
></H2
><TABLE
CLASS="informaltable"
><TBODY
CLASS="tbody"
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><EM
CLASS="emphasis"
>Character</EM
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
></TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>h</CODE
>, <CODE
CLASS="literal"
>j</CODE
>, <CODE
CLASS="literal"
>k</CODE
>, <CODE
CLASS="literal"
>l</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Left, down, up, right (<IMG
SRC="../chars/larr.gif"
ALT="<-">, <IMG
SRC="../chars/darr.gif"
ALT="-v">, <IMG
SRC="../chars/uarr.gif"
ALT="-^">, <IMG
SRC="../chars/rarr.gif"
ALT="->">)</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><EM
CLASS="emphasis"
>Text</EM
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
></TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>w</CODE
>, <CODE
CLASS="literal"
>W</CODE
>, <CODE
CLASS="literal"
>b</CODE
>, <CODE
CLASS="literal"
>B</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Forward, backward by word</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>e</CODE
>, <CODE
CLASS="literal"
>E</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>End of word</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>)</CODE
>, <CODE
CLASS="literal"
>(</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Beginning of next, previous sentence</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>}</CODE
>, <CODE
CLASS="literal"
>{</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Beginning of next, previous paragraph</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>]]</CODE
>, <CODE
CLASS="literal"
>[[</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Beginning of next, previous section</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><EM
CLASS="emphasis"
>Lines</EM
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
></TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>0</CODE
>, <CODE
CLASS="literal"
>$</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>First, last position of current line</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>^</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>First character of current line (ignore spaces)</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>+</CODE
>, <CODE
CLASS="literal"
>-</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>First character of next, previous line</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="replaceable"
><I
>n</I
></CODE
><CODE
CLASS="literal"
>|</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Column <EM
CLASS="emphasis"
>n</EM
> of current line</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>H</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Top line of screen</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>M</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Middle line of screen</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>L</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Last line of screen</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="replaceable"
><I
>n</I
></CODE
><CODE
CLASS="literal"
>H</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><EM
CLASS="emphasis"
>n</EM
> (number) of lines after top line</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="replaceable"
><I
>n</I
></CODE
><CODE
CLASS="literal"
>L</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><EM
CLASS="emphasis"
>n</EM
> (number) of lines before last line</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><EM
CLASS="emphasis"
>Screens</EM
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
></TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><KBD
CLASS="keycap"
>[CTRL-F]</KBD
>, <KBD
CLASS="keycap"
>[CTRL-B]</KBD
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Scroll forward, backward one screen</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><KBD
CLASS="keycap"
>[CTRL-D]</KBD
>
<KBD
CLASS="keycap"
>[CTRL-U]</KBD
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Scroll down, up one-half screen</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><KBD
CLASS="keycap"
>[CTRL-E]</KBD
> <KBD
CLASS="keycap"
>[CTRL-Y]</KBD
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Show one more line at bottom, top of window</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>z</CODE
> <KBD
CLASS="keycap"
>[RETURN]</KBD
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Reposition line with cursor: to top of screen</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>z.</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Reposition line with cursor: to middle of screen</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>z-</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Reposition line with cursor: to bottom of screen</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><KBD
CLASS="keycap"
>[CTRL-L]</KBD
> <KBD
CLASS="keycap"
>[CTRL-R]</KBD
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Redraw screen (without scrolling)</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><EM
CLASS="emphasis"
>Searches</EM
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
></TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>/</CODE
><CODE
CLASS="replaceable"
><I
>pattern</I
></CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Search forward for pattern</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>?</CODE
><CODE
CLASS="replaceable"
><I
>pattern</I
></CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Search backward for pattern</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>n</CODE
>, <CODE
CLASS="literal"
>N</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Repeat last search in same, opposite direction</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>/</CODE
>, <CODE
CLASS="literal"
>?</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Repeat previous search forward, backward</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>f</CODE
><CODE
CLASS="replaceable"
><I
>x</I
></CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Search forward for character <EM
CLASS="emphasis"
>x</EM
> in current line</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>F</CODE
><CODE
CLASS="replaceable"
><I
>x</I
></CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Search backward for character <EM
CLASS="emphasis"
>x</EM
> in current line</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>t</CODE
><CODE
CLASS="replaceable"
><I
>x</I
></CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Search forward for character before <EM
CLASS="emphasis"
>x</EM
> in current line</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>T</CODE
><CODE
CLASS="replaceable"
><I
>x</I
></CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Search backward for character after <EM
CLASS="emphasis"
>x</EM
> in current line</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>;</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Repeat previous current-line search</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>'</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Repeat previous current-line search in opposite direction</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><EM
CLASS="emphasis"
>Line number</EM
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
></TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><KBD
CLASS="keycap"
>[CTRL-G]</KBD
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Display current line number</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="replaceable"
><I
>n</I
></CODE
><CODE
CLASS="literal"
>G</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Move to line number <EM
CLASS="emphasis"
>n</EM
></TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>G</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Move to last line in file</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>:</CODE
><CODE
CLASS="replaceable"
><I
>n</I
></CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Move to line number <EM
CLASS="emphasis"
>n</EM
></TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><EM
CLASS="emphasis"
>Marking position</EM
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
></TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>m</CODE
><CODE
CLASS="replaceable"
><I
>x</I
></CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Mark current position as <EM
CLASS="emphasis"
>x</EM
></TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>`</CODE
><CODE
CLASS="replaceable"
><I
>x</I
></CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Move cursor to <EM
CLASS="emphasis"
>x</EM
></TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>``</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Return to previous mark or context</TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>'</CODE
><CODE
CLASS="replaceable"
><I
>x</I
></CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Move to beginning of line containing mark <EM
CLASS="emphasis"
>x</EM
></TD
></TR
><TR
CLASS="row"
VALIGN="TOP"
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
><CODE
CLASS="literal"
>''</CODE
></TD
><TD
CLASS="entry"
ROWSPAN="1"
COLSPAN="1"
>Return to beginning of line containing previous mark</TD
></TR
></TBODY
></TABLE
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[Appendix A] Quick Reference
# Learning the vi Editor
| | | |
| --- | --- | --- |
| [Previous: 7.5 Editing Program Source Code](ch07_05.htm "7.5 Editing Program Source Code ") | **Appendix A** | [Next: A.2 Editing Commands](appa_02.htm "A.2 Editing Commands") |
---
# A. Quick Reference
**Contents:**
[Movement Commands](#VI6-AP-A-TAB-0 "A.1 Movement Commands")
[Editing Commands](appa_02.htm "A.2 Editing Commands")
[Exit Commands](appa_03.htm "A.3 Exit Commands")
[Command Line Options](appa_04.htm "A.4 Command Line Options")
[Other ex Commands](appa_05.htm "A.5 Other ex Commands")
This appendix lists `vi` commands and `ex` commands according to
their use.
## A.1 Movement Commands
| | |
| --- | --- |
| *Character* | |
| `h`, `j`, `k`, `l` | Left, down, up, right (<-, -v, -^, ->) |
| *Text* | |
| `w`, `W`, `b`, `B` | Forward, backward by word |
| `e`, `E` | End of word |
| `)`, `(` | Beginning of next, previous sentence |
| `}`, `{` | Beginning of next, previous paragraph |
| `]]`, `[[` | Beginning of next, previous section |
| *Lines* | |
| `0`, `$` | First, last position of current line |
| `^` | First character of current line (ignore spaces) |
| `+`, `-` | First character of next, previous line |
| `*n*``|` | Column *n* of current line |
| `H` | Top line of screen |
| `M` | Middle line of screen |
| `L` | Last line of screen |
| `*n*``H` | *n* (number) of lines after top line |
| `*n*``L` | *n* (number) of lines before last line |
| *Screens* | |
| `[CTRL-F]`, `[CTRL-B]` | Scroll forward, backward one screen |
| `[CTRL-D]`
`[CTRL-U]` | Scroll down, up one-half screen |
| `[CTRL-E]` `[CTRL-Y]` | Show one more line at bottom, top of window |
| `z` `[RETURN]` | Reposition line with cursor: to top of screen |
| `z.` | Reposition line with cursor: to middle of screen |
| `z-` | Reposition line with cursor: to bottom of screen |
| `[CTRL-L]` `[CTRL-R]` | Redraw screen (without scrolling) |
| *Searches* | |
| `/``*pattern*` | Search forward for pattern |
| `?``*pattern*` | Search backward for pattern |
| `n`, `N` | Repeat last search in same, opposite direction |
| `/`, `?` | Repeat previous search forward, backward |
| `f``*x*` | Search forward for character *x* in current line |
| `F``*x*` | Search backward for character *x* in current line |
| `t``*x*` | Search forward for character before *x* in current line |
| `T``*x*` | Search backward for character after *x* in current line |
| `;` | Repeat previous current-line search |
| `'` | Repeat previous current-line search in opposite direction |
| *Line number* | |
| `[CTRL-G]` | Display current line number |
| `*n*``G` | Move to line number *n* |
| `G` | Move to last line in file |
| `:``*n*` | Move to line number *n* |
| *Marking position* | |
| `m``*x*` | Mark current position as *x* |
| ````*x*` | Move cursor to *x* |
| ```` | Return to previous mark or context |
| `'``*x*` | Move to beginning of line containing mark *x* |
| `''` | Return to beginning of line containing previous mark |
---
| | | |
| --- | --- | --- |
| [Previous: 7.5 Editing Program Source Code](ch07_05.htm "7.5 Editing Program Source Code ") | [Learning the vi Editor](index.htm "Learning the vi Editor") | [Next: A.2 Editing Commands](appa_02.htm "A.2 Editing Commands") |
| 7.5 Editing Program Source Code | [Book Index](index/idx_a.htm "Book Index") | A.2 Editing Commands |
---
| http://www.cs.ait.ac.th/~on/O/oreilly/unix/vi/appa_01.htm |
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</tr>
<tr>
<td><font face="Arial" size="2"><a name="A" href="http://tralfaz-archives.com/coverart/A/A.html"> </a></font></td>
<td colspan="2"> </td>
</tr>
<tr>
<td width="3%"> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/A/A.html">The Letter A</a> </span></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" style="font-size: smaller"> <a href="#top" style="text-decoration: none"> °°</a></font></span></td>
<td width="44%" align="left" valign="top" style="border:1px solid #000; padding:10px;"><div align="left">
<p align="left" class="style3"><b> <font face="Arial" size="2"> <a href="http://tralfaz-archives.com/coverart/A/Action_Suits/action_suits.html" style="text-decoration: none"> The Action Suits</a></font></b><font face="Arial" size="2"> (Featuring Peter Bagge on Cover Art and Drums)</font></p>
<blockquote>
<p align="left" class="style8">Fun Flies b/w Your Soft Light <br>
Fun Flies b/w Before <br>
4-Track Mind b/w My Janeane <br>
Cancer Father b/w Visualize Ballard</p>
</blockquote>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/A/adam_kings.htm"><font face="Arial" size="2">Adam
and the Ants </font></a><font face="Arial" size="2"> - </font></b> <span class="style17">Kings
of the Wild Frontier</span></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/A/adderley_blues.html" style="text-decoration: none">The Cannonball Adderley Quintet</a> - </b>Them
Dirty Blues </font></p>
<p class="style3"><font face="Arial" size="2"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/A/aerosmith_ruts.htm">Aerosmith</a> - </b>Night in the Ruts </font></font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/A/Allison/allison_pages.htm">Mose
Allison</a> - </b>The
Man and His Music </font> </p>
<blockquote>
<p class="style3"> <font face="Arial" size="2">Ramblin' with Mose
Allison <br>
I Love the Life I Live<br>
Wild Man on the Loose<br>
Transfiguration of Hiram Brown<br>
Mose Goes</font></p>
</blockquote>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/A/allman_bros_fillmore_east.htm"><font face="Arial" size="2">Allman Brothers Band</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">At the Fillmore East</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/A/almeida_22.html"><font face="Arial" size="2">Laurindo Almeida</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Acapulco '22</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/A/aloha_one.htm"><strong>Aloha
Screwdriver</strong></a> - One
Too Many </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/A/Alpert/alpert_pages.html" style="text-decoration: none">Herb Alpert and the Tijuana Brass</a> - </b> </font> <font face="Arial" size="2"> Ladies and Gentlemen, Presenting...</font></p>
<blockquote>
<p class="style3"> <font face="Arial" size="2">Whipped Cream and Other Delights<br>
Volume 2<br>
Herb Alpert's Ninth<br>
The Brass are Comin'</font></p>
</blockquote>
<p class="style3"> <b> <font face="Arial" size="2"> </font> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/A/alvin_unsung.html"> <font face="Arial" size="2">Phil Alvin</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Un "Sung Stories"</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/A/ambrosia_road.htm"><font face="Arial" size="2">Ambrosia </font></a><font face="Arial" size="2">- </font></b> <font face="Arial" size="2">Road
Island </font></p>
<p class="style3"> <font face="Arial" size="2"><b> <a
href="http://tralfaz-archives.com/coverart/A/jon_anderson_seven.html" style="text-decoration: none"> Jon Anderson</a> - </b>Song of Seven</font></p>
<p class="style3"> <b><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/A/antino_live.html" style="text-decoration: none">The Anti-Nowhere League</a> - </font></b> <font face="Arial" size="2">Live in Yugoslavia</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/A/animals.html" style="text-decoration: none">The Animals</a> - </b>In the Beginning</font></p>
<p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/A/animals_tracks.htm" style="text-decoration: none">The Animals</a> - </b>Animal Tracks </font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/A/arnold_travel.htm"><strong>Eddy
Arnold</strong></a> - Have Guitar
Will Travel </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/A/Asia/asia_pages.html">Asia</a> - </b></font> <font face="Arial" size="2"> A Prog-Rock Collective...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Asia<br>
Alpha<br>
Astra</font></p>
</blockquote>
</div></td>
<td width="44%" align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/A/associa_in.html"><font face="Arial" size="2">The Association</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Insight Out</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/A/astronauts_aok.htm"><strong>The
Astronauts</strong></a> - Astronauts
Orbit Kampus </font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/A/asylum_II.html" style="text-decoration: none">The Asylum Choir</a> - </b>The Asylum Choir II</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/A/asylum_look.html">The Asylum Choir</a> - </b>Look Inside The Asylum Choir</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/A/Atkins/atkins.html" style="text-decoration: none">Chet Atkins</a> - </b></font> <font face="Arial" size="2">The House that Chet Built</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Finger Pickin' Good<br>
A Session With Chet Atkins <br>
A Session With Chet Atkins (Re-Issue)<br>
Chet Atkins in Hollywood<br>
Chet Atkins Workshop<br>
Christmas With Chet Atkins<br>
Picks on the Beatles<br>
Mr. Guitar<br>
Caribbean Guitar<br>
At Home<br>
Stay Tuned<br>
Chet Atkins in 3 Dimensions<br>
It's a Guitar World<br>
Solid Gold '69<br>
Guitar Country<br>
Hi-Fi In Focus<br>
Hum and Strum Along With Chet<br>
The Most Popular Guitar<br>
Chet Picks on the Pops<br>
Hometown Guitar<br>
My Favorite Guitars<br>
The Guitar Genius<br>
Chester and Lester<br>
The Atkins-Travis Traveling Show</font></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/A/Auger/auger_pages.htm" style="text-decoration: none">Brian
Auger </a> -</b> A Small Taste of His Music... </font></p>
<blockquote>
<p class="style8">Search Party <br>
Live Oblivion <br>
Straight Ahead</p>
</blockquote></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" size="2"><a name="B" href="http://tralfaz-archives.com/coverart/B/B.html"> </a></font></span></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td><span class="style3"></span></td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/B/B.html">The Letter B</a> </span></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" style="font-size: smaller"> <a href="#top" style="text-decoration: none"> °°</a></font></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/b-52s_b-52s.html">The B-52's</a> - </b>The B-52's</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/B/b-52s_partymix.html" style="text-decoration: none">The B-52's</a> - </b>Party Mix</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/bacharach_pussycat.htm"><font face="Arial" size="2">Burt Bacharach - </font></a></b><font face="Arial" size="2">What's New Pussy Cat?</font></p>
<p class="style3"><b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/baez_any.html"><font face="Arial" size="2">Joan Baez</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">Any Day Now</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/B/Baja/baja_pages.html" style="text-decoration: none">The Baja Marimba Band</a> - </b>Slightly South of the Border... </font></p>
<blockquote>
<p class="style3"> <font face="Arial" style="font-size: smaller">The Baja Marimba Band<br>
Those Were the Days<br>
For Animals Only<br>
Watch Out!<br>
Do You Know the Way to San Jose</font></p>
</blockquote> <p class="style3"> <b> <font face="Arial" size="2"> </font> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/baker_elysian.html"> <font face="Arial" size="2">Baker Gurvitz Army</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Elysian Encounter</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/band_pink.html"><font face="Arial" size="2">The Band</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Music from Big Pink</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/bangles_ep.htm"><font size="2" face="Arial">Bangles</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Bangles
(E.P.) </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/B/banks.html" style="text-decoration: none">Tony Banks</a> - </b>A Curious Feeling</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/B/barker_77.htm">Warren
Barker</a> - </b>77 Sunset Strip </font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/barragan_twist.html">Joe Barragan and the Twist Stompers</a> - </b>Twist Party</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/B/barry_thunderball.htm"><strong>John
Barry</strong></a> - Thunderball </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/B/basil_mickey.htm">Toni
Basil</a> - </b>Mickey
(Club Mix / Spanish Version) </font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/B/basile_paris.html" style="text-decoration: none">Jo Basile</a> - </b>Accordion de Paris</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/B/bass_bells.htm" style="text-decoration: none">Sid Bass </a> - </b>With Bells On </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/B/batt.html" style="text-decoration: none">Mike Batt</a> - </b>Schizophonia</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/B/bauduc.htm"><strong>Baduc
and Lamare</strong></a> - Two-Beat
Generation </font></p>
<p class="style3"><b> <a href="http://tralfaz-archives.com/coverart/B/Baxter/baxter_pages.html" style="text-decoration: none"><font size="2" face="Arial">Les Baxter</font></a><font size="2" face="Arial"> - </font></b><font size="2" face="Arial">The Baxter Wing is Right This Way...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Skins (A Bongo Party With Les Baxter)<br>
Space Escapade<br>
Young Pops<br>
Teen Drums<br>
'round the World With...<br>
The Ritual of the Savage<br>
Hell's Belles Soundtrack<br>
</font> </p>
</blockquote> <p class="style3"><font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/B/BBC.html" style="text-decoration: none">BBC Records</a> - </b>Sound Effects</font></p>
<p class="style3"><b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/bears_bears.html"><font face="Arial" size="2">The Bears</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">The Bears</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/B/beat_happi.html" style="text-decoration: none">Beat Farmers</a> - </b>The Pursuit of Happiness</font></p>
<p class="style3"><b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/Beatles/beatles_2nd.html"><font face="Arial" size="2">The Beatles</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">The Beatles Second Album</font></p>
<p class="style3"><b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/beau_brum_intro.html"><font face="Arial" size="2">The Beau Brummels</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Introducing the Beau Brummels</font></p>
<p class="style3"><font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/B/belafonte_midnight.html" style="text-decoration: none"> Harry Belafonte</a> - </b>The Midnight Special</font></p>
<p class="style3"><b> <font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/B/Belew/belew_pages.htm">Adrian Belew</a> - </font></b><font size="2" face="Arial">The Guitarist of Choice...</font> </p>
<blockquote>
<p class="style3"><font face="Arial" size="2"> Twang Bar King<br>
Lone Rhino<br>
Desire Caught by the Tail</font></p>
</blockquote>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/bernstein_mocking.html"><font face="Arial" size="2">Elmer Bernstein</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">To Kill a Mockingbird</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/bernstein_golden.html"><font face="Arial" size="2">Elmer Bernstein</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">The Man With the Golden Arm</font></p>
<p class="style3"> <b> <font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/B/berry_jazz.html" style="text-decoration: none">The Bill Berry Quartet</a> - </font></b> <font size="2" face="Arial">Jazz…and Swinging Percussion</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/berry_giant.html"><font face="Arial" size="2">Leon Berry</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Giant Wurlitzer Pipe Organ Vol. 3</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/B/big_brother_1st.html" style="text-decoration: none">Big Brother & the Holding Co.</a> - </b>1st Album</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/B/big_brother_cheap.html" style="text-decoration: none">Big
Brother & the Holding Co.</a> - </b>Cheap Thrills</font></p>
<p class="style3"><b><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/B/Big_Sandy/big_sandy_pages.htm">Big
Sandy and His Fly-Rite Boys</a> - </font></b><font face="Arial" size="2">A
Little Western Swing for Your Party </font></p>
<blockquote>
<p class="style14">Fly Right... <br>
La Plaga<br>
...with Glen Glenn</p>
</blockquote></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/B/Black/black_pages.htm">Bill Black</a> - </b>With and Without his Combo</font></p>
<blockquote>
<p class="style3"> <font face="Arial" style="font-size: smaller">Saxy Jazz <br>
Let's Twist Her<br>
King of the Road</font></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/B/black_dab.html" style="text-decoration: none">Jimmy Carl Black and the Mannish Boys</a> - </b>A Lil' Dab'l Do Ya</font></p>
<p class="style3"><b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/black_sab_para.html"><font face="Arial" size="2">Black Sabbath</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Paranoid</font></p>
<p class="style3"><b> <a href="http://tralfaz-archives.com/coverart/B/blasters_blasters.html" style="text-decoration: none"><font face="Arial" size="2">The Blasters</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">The Blasters</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/blodwyn_ahead.html"><font face="Arial" size="2">Blodwyn Pig</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Ahead Rings Out</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/bloodrock_2.htm"><font face="Arial" size="2">Bloodrock</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Bloodrock 2 </font></p>
<p class="style3"> <b> </b><b><a href="http://tralfaz-archives.com/coverart/B/BOC_tyranny.html" style="text-decoration: none"><font face="Arial" size="2">The Blue Oyster Cult</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Tyranny and Mutation</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/blues_proj_proj.htm"><font face="Arial" size="2">The Blues Project</font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">Projections</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/Bolling/bolling_pages.html"><font face="Arial" size="2">Claude Bolling</font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">A Man and His Suites</font></p>
<blockquote>
<p class="style3"> <font face="Arial" size="2">Rolling with Bolling<br>
California Suite<br>
Picnic Suite<br>
Concerto for Classic Guitar and Jazz Piano<br>
Jazz a la Francaise</font></p>
</blockquote> <p class="style3"><b><a href="http://tralfaz-archives.com/coverart/B/bombs_bullets.htm" style="text-decoration: none"><font size="2" face="Arial">Bombs
for Whitey</font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">Lost
Generation/Bullet to the Soul</font></p>
<p class="style3"><b><a href="http://tralfaz-archives.com/coverart/B/bookerT_mcl.html" style="text-decoration: none"><font face="Arial" size="2">Booker
T. & the M.G.'s</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">McLemore Avenue</font></p>
<p class="style3"><b><a href="http://tralfaz-archives.com/coverart/B/bourgeois_tagg.html" style="text-decoration: none"><font face="Arial" size="2">Bourgeois Tagg</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Bourgeois Tagg</font></p>
<p class="style3"><b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/Bowie/bowie_pages.html"><font size="2" face="Arial">David Bowie </font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">The Ever Evolving Artist </font></p>
<blockquote>
<p class="style3"> <font face="Arial" size="2">Images 1966 / 1967 <br>
The Man Who Sold the World <br>
Scary Monsters and Super Creeps<br>
Heroes<br>
Drive-In Saturday<br>
</font></p>
</blockquote> <p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/brewer_weeds.html"><font face="Arial" size="2">Brewer and Shipley</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">Weeds</font></p>
<p class="style3"><b> <a href="http://tralfaz-archives.com/coverart/B/brandx_moro.html" style="text-decoration: none"><font face="Arial" size="2">Brand X</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">Moroccan Roll</font></p>
<p class="style3"><b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/Bromberg/bromberg_pages.html"><font face="Arial" size="2">David Bromberg</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2"> David and his Various Bands</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2"> David Bromberg<br>
Reckless Abandon<br>
You Should See the Rest of the Band<br>
Wanted Dead or Alive</font></p>
</blockquote> <p class="style3"><b> <a href="http://tralfaz-archives.com/coverart/B/brood_come.html" style="text-decoration: none"><font face="Arial" size="2">The Brood</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">I'll Come Again b/w Knock on My Door</font></p>
<p class="style3"><font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/B/Brubeck/brubeck_pages.html" style="text-decoration: none">The Dave Brubeck Pages</a> - </b></font> <font face="Arial" size="2">The Master of Time</font></p>
<blockquote>
<p class="style14">Time Out<br>
Gone With the Wind<br>
Time Further Out<br>
Time Changes<br>
Jazz at Oberlin<br>
Two Generations of Brubeck</p>
</blockquote>
<p class="style3"><font face="Arial" size="2"> </font><b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/bruford_tornado.html"><font face="Arial" size="2">Bruford</font></a></b><font size="2" face="Arial"> - Gradually Going Tornado</font></p>
<p class="style3"><b> <a
href="http://tralfaz-archives.com/coverart/B/budgie_brittania.html" style="text-decoration: none"><font face="Arial" size="2">Budgie</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">If I Were Brittania I'd Waive the Rules</font></p>
<p class="style3"><b><a
href="http://tralfaz-archives.com/coverart/B/budgie_nightflight.htm" style="text-decoration: none"><font face="Arial" size="2">Budgie</font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">Nightflight</font></p>
<p class="style3"><b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/burdon_BWblues.html"><font face="Arial" size="2">Eric Burdon and Jimmy Witherspoon</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">Black & While Blues</font></p>
<p class="style3"><b><a
href="http://tralfaz-archives.com/coverart/B/burgess_raw_deal.htm" style="text-decoration: none"><font face="Arial" size="2">Sonny
Burgess </font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">Raw
Deal </font></p>
<p class="style3"><b><a
href="http://tralfaz-archives.com/coverart/B/bushkin_kick.htm" style="text-decoration: none"><font face="Arial" size="2">Joe Bushkin </font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">I Get a Kick Out of Porter </font></p>
<p class="style3"><b><font face="Arial" size="2"> </font> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/butterfield_blues.htm"> <font face="Arial" size="2">Paul Butterfield Blues Band </font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">The Paul Butterfield Blues Band </font></p>
<p class="style3"><b> <a
href="http://tralfaz-archives.com/coverart/B/byrd_hollywood.html" style="text-decoration: none"><font face="Arial" size="2">Charlie Byrd</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">Hollywood Byrd</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/B/byrds_sweet.html"><font face="Arial" size="2">The Byrds</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">Sweetheart of the Rodeo</font></p></td>
</tr>
<tr>
<td><font face="Arial" size="2"><a name="C" href="http://tralfaz-archives.com/coverart/C/C.html"> </a></font></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/C/C.html">The Letter C </a></span></td>
</tr>
<tr>
<td><span class="style3"><a href="#top" style="text-decoration: none"><font face="Arial" style="font-size: smaller">°°</font></a></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/C/cale_naturally.html" style="text-decoration: none"> J. J. Cale</a> - </b>Naturally</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/C/cale_trou.html" style="text-decoration: none">J.J. Cale</a> - </b>Troubadour</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/C/california.html">Randy
California </a>- </b>Kapt. Kopter and the Fabulous Twirly Birds</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/C/camel.html" style="text-decoration: none">Camel</a> - </b>Moonmadness</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/C/camel_house.html" style="text-decoration: none">Camel</a> - </b>I Can See Your House From Here</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/C/campbell_hey.html" style="text-decoration: none">Glen Campbell</a> - </b>Hey, Little One</font></p>
<p class="style3"> <font face="Arial" size="2"><b> <a
href="http://tralfaz-archives.com/coverart/C/camper_van_free.html" style="text-decoration: none"> Camper Van Beethoven</a> - </b>Telephone Free Landslide Victory</font></p>
<p class="style3"> <font face="Arial" size="2"><b> <a
href="http://tralfaz-archives.com/coverart/C/camper_van_II.html" style="text-decoration: none"> Camper Van Beethoven</a> - </b>II & III</font></p>
<p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/C/camper_vanchad.htm" style="text-decoration: none">Camper Van Chadbourne </a> - </b>Camper Van Chadbourne </font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/Captain_Beefheart/capt_beefheart_pages.htm"> <font face="Arial" size="2">Captain </font> <font face="Arial" size="2">Beefheart
and His Magic Band</font></a></b> <font size="2" face="Arial">- Music
and Madness </font></p>
<p class="style3"><font size="2" face="Arial">Bluejeans
and Moonbeams<br>
Shiny Beast (Bat Chain Puller) <br>
Doc at the Radar Station<br>
Abba Zaba</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/capt_bey_first.htm"><font face="Arial" size="2">Captain Beyond</font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">Captain Beyond </font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/capt_bey_suff.html"><font face="Arial" size="2">Captain Beyond</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Sufficiently Breathless</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/caravan_stun.html">Caravan</a> - </b>Cunning Stunts</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/C/caravan_blind.html" style="text-decoration: none">Caravan</a> - </b>Blind Dog at St. Dunstans</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/C/carlos_sonic.html" style="text-decoration: none">Walter Carlos</a> - </b>Sonic Seasonings</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/carlos_clock.html">Walter Carlos</a> - </b>Clockwork Orange</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/C/Carter/carter_blues.htm"><strong>Ron
Carter</strong></a> - Blues Farm </font></p>
<p class="style3"><font face="Arial"><a href="http://tralfaz-archives.com/coverart/C/Cash/cash_pages.htm" style="text-decoration: none"><font size="2"><strong>Johnny Cash</strong></font></a><b><font size="2"> - </font></b></font><font size="2" face="Arial">The Johnny Cash Pages</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Orange Blossom Special<br>
Blood, Sweat and Tears<br>
Everybody Loves a Nut</font></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/chamber_time.htm">The
Chambers Brothers </a> - </b>The Time Has Come </font></p>
<p class="style3"> <b> <font face="Arial" size="2"> </font> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/charles_country.html"> <font face="Arial" size="2">Ray Charles</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Modern Sounds in Country & Western Music</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/C/Chilton/chilton_feud.htm" style="text-decoration: none">Alex
Chilton</a> - </b>Feudalist Tarts </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/C/chilton_high.html" style="text-decoration: none">Alex
Chilton</a> - </b>High Priest</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/C/DC5/dc5_pages.htm" style="text-decoration: none">The
Dave Clark Five </a> - </b>Always glad to see them... </font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2"> Glad All Over <br>
The Dave clark Five Return! <br>
Coast to Coast </font></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/C/clark_fingers.html" style="text-decoration: none">Roy Clark</a> - </b>The Lightning Fingers of Roy Clark</font></p>
<p class="style3"><font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/C/clarke_rocks.htm" style="text-decoration: none"> Stanley
Clarke</a> - </b>Rocks, Pebbles and Sand </font></p>
<p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/C/clash_black.html" style="text-decoration: none">The
Clash</a> - </b>Black Market Clash</font></p>
</td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/clash_london.html"><font face="Arial" size="2">The Clash</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">London Calling</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/C/cliff.html" style="text-decoration: none">Jimmy Cliff</a> - </b>The Harder They Come</font></p>
<p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/C/cobham_obsrev.htm" style="text-decoration: none">Billy Cobham's Glass Menagerie - </a></b>Observations & Reflections </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/C/cody_live.html" style="text-decoration: none">Commander Cody</a> - </b>Live Deep in the Heart of Texas</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/C/colder_best.htm">Ben Colder</a> - </b>The Best of Ben Colder</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/C/cole.html" style="text-decoration: none">Nat King Cole</a> - </b>Love is a Many Splendored Thing</font></p>
<p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/C/collins_frost.htm" style="text-decoration: none">Albert Collins </a> - </b>Frostbite</font></p>
<p class="style3"><font face="Arial"><b> <font size="2"> </font> <a href="http://tralfaz-archives.com/coverart/C/Collins/collins_pages.html" style="text-decoration: none"> <font size="2">Judy Collins</font></a><font size="2"> - </font> </b> </font><font size="2" face="Arial">The Judy Collins Pages</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">A Maid of Constant Sorrow<br>
The Judy Collins Concert<br>
In My Life</font><br>
</p>
</blockquote> <p class="style3"> <b> <font face="Arial" size="2"> </font> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/coltrane_alice_illum.html"> <font face="Arial" size="2">Alice Coltrane and Devadip Carlos Santana</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2"> Illuminations</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/coltrane_blues.html"><font face="Arial" size="2">John Coltrane</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2"> Plays the Blues</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/condon_jam.htm"><font face="Arial" size="2">Eddie Condon's All-Stars</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2"> Jam Session </font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/cooder_paradise.html"><font face="Arial" size="2">Ry Cooder</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2"> Paradise and Lunch</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/cooper_killer.html"><font face="Arial" size="2">Alice Cooper</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2"> Killer</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/Corea/corea_mad.html"><font face="Arial" size="2">Chick Corea</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2"> The Mad Hatter</font></p>
<p class="style3"> <b> <a href="http://tralfaz-archives.com/coverart/C/cornwell_facts.html" style="text-decoration: none"><font size="2" face="Arial">Hugh Cornwell</font></a><font size="2" face="Arial"> - </font></b><font face="Arial" size="2"> Facts + Figures</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/C/Costello/costello_pages.html" style="text-decoration: none">The Work of Elvis Costello</a> - </b>...and His Attractions</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2"> My Aim is
True<br>
The Only Flame in Town<br>
Get Happy!!<br>
Armed Forces<br>
Live at Hollywood High</font></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"> </font><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/C/cottonhead_another.html" style="text-decoration: none; font-weight: 700">Cottonhead</a> - Another Day, Another Dream</font></p> <p class="style3"><font face="Arial" size="2"><a style="text-decoration: none; font-weight: 700" href="http://tralfaz-archives.com/coverart/C/cottonhead_swab.html">Cottonhead</a> - S.W.A.B.</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/C/creach_playing.htm"><strong>Papa
John Creach & Zulu </strong></a>- Playing My Fiddle for
You</font></p>
<p class="style3"><font face="Arial" size="2"><a style="text-decoration: none; font-weight: 700" href="http://tralfaz-archives.com/coverart/C/cream_best.htm">Cream</a> - Best of Cream </font></p>
<p class="style3"> <b> <a href="http://tralfaz-archives.com/coverart/C/crew_cuts_campus.html" style="text-decoration: none"><font size="2" face="Arial">The Crew Cut - </font></a></b> <font size="2" face="Arial">On the Campus</font></p>
<p class="style3"> <b> <a href="http://tralfaz-archives.com/coverart/C/crew_cuts_baby.html" style="text-decoration: none"><font size="2" face="Arial">The Crew Cuts</font></a><font size="2" face="Arial"> - </font></b><font size="2" face="Arial">You Must Have Been a Beautiful Baby!</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/cubano_cha.htm"><font face="Arial" size="2"><span class="style18">Jose
Cubano And His Orchestra</span></font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">Cha
Cha Cha </font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/cugat_viva.html"><font face="Arial" size="2">Xavier
Cugat and his Orchestra</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">Viva
Cugat!</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/C/Cugat/cugat_caval.htm"><font face="Arial" size="2">Xavier
Cugat and his Orchestra</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">Cugat Cavalcade</font></p></td>
</tr>
<tr>
<td><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/D/D.html" name="D"> </a></font></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/D/D.html">The Letter D </a></span></td>
</tr>
<tr>
<td><span class="style7"><a href="#top" style="text-decoration: none"><font face="Arial" style="font-size: smaller">°°</font></a></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/D/Damned/damned_pages.html">The Damned</a> - </b></font> <font face="Arial" size="2">Punk Forefathers...</font> </p>
<blockquote>
<p><font face="Arial" size="2">New Rose<br>
Music for Pleasure<br>
Phantasmagoria<br>
Anything</font></p>
</blockquote>
<p><span class="style7"><font face="Arial" size="2"> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/D/daniels_fire.html"> Charlie </a> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/D/daniels_fire.html"> Daniels Band</a> </font></span><span class="style3"><font face="Arial" size="2">- Fire on the Mountain</font></span></p>
<p><span class="style7"> <font face="Arial" size="2"><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/D/Davis/davis_pages.html">Miles Davis</a></font></span><span class="style3"><font face="Arial" size="2"> - </font> <font face="Arial" size="2">An American Master...</font></span></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Sketches of Spain<br>
At Carnegie Hall<br>
FridayNight at the Blackhawk<br>
</font></p>
</blockquote> <p><span class="style7"> <font face="Arial" size="2"><a
href="http://tralfaz-archives.com/coverart/D/skeeter_davis.html" style="text-decoration: none">Skeeter Davis</a></font></span><span class="style3"><font face="Arial" size="2"> - The End of the World</font></span></p>
<p><span class="style7"><font face="Arial" size="2"><a
href="http://tralfaz-archives.com/coverart/D/davis_skeeter_nrbq.htm" style="text-decoration: none">Skeeter Davis and NRBQ</a></font></span><span class="style3"><font face="Arial" size="2"> - She Sings, They Play </font></span></p>
<p><span class="style7"> <font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/D/deadmilk_meta.html" style="text-decoration: none">The Dead Milkmen</a> </font></span><span class="style3"><font face="Arial" size="2">- Metaphysical Graffiti</font></span></p>
<p><span class="style7"> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/D/death_zap.html"><font face="Arial" size="2">Death By Chocolate</font></a></span><span class="style3"><font face="Arial" size="2"> - Zap the World</font></span></p>
<p><span class="style7"><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/D/defranco_bravura.html"><font face="Arial" size="2">Buddy DeFranco</font></a></span><span class="style3"><font face="Arial" size="2"> - Bravura</font></span></p>
<p class="style3"><span class="style7"> <font face="Arial" size="2"><a
href="http://tralfaz-archives.com/coverart/D/denny/denny.html" style="text-decoration: none">Martin Denny</a></font></span><span class="style3"><font face="Arial" size="2"> - Step Right This Way to the Denny Pages</font></span></p>
<blockquote>
<p class="style3"><font size="2" face="Arial"> Exotica<br>
Exotica Volume II<br>
Exotica Volume III<br>
Quiet Village<br>
Hypnotique<br>
Forbidden Island<br>
Latin Village<br>
Exotic Percussion<br>
Hawaii<br>
Hawaii Goes A Go-Go<br>
Afro-Desia<br>
Romantica<br>
Hawaii Tattoo <br>
Exotica Suite<br>
The Enchanted Sea </font><font size="2" face="Arial"> </font></p>
</blockquote>
<p><span class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/D/derek_concert.htm"><strong>Derek
and the Dominos</strong></a> - In Concert</font></span> </p>
<p><span class="style7"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/D/desmond_blue.html" style="text-decoration: none">Paul Desmond</a></font></span><span class="style3"><font size="2" face="Arial"> - </font> <font size="2" face="Arial">Desmond Blue</font></span></p>
<p><span class="style7"> <a href="http://tralfaz-archives.com/coverart/D/devo_devo.html" style="text-decoration: none"><font size="2" face="Arial">Devo</font></a></span><span class="style3"><font size="2" face="Arial"> - </font> <font size="2" face="Arial">Q: Are We Not Men?</font></span></p>
<p class="style7"> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/D/devol_bacc.html"><font size="2" face="Arial">Frank DeVol and his Orchestra</font></a><font size="2" face="Arial"> - </font> <font size="2" face="Arial">Bacchanal!</font></p>
<p><span class="style7"> <a href="http://tralfaz-archives.com/coverart/D/devres_voodoo.html" style="text-decoration: none"><font size="2" face="Arial">Jean de Vres & His Afro Drums</font></a></span><span class="style3"><font size="2" face="Arial"> - </font> <font size="2" face="Arial">Exciting Voodoo!</font></span></p>
<p><span class="style7"> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/D/Dickerson/Dickerson_pages.html"><font size="2" face="Arial">Deke Dickerson</font></a></span><span class="style3"><font size="2" face="Arial"> - </font> <font face="Arial" size="2">The Adventures of Deke and His Band...</font></span></p>
<blockquote>
<p class="style3"><font face="Arial" size="2"> r...and His Guitar<br>
More Million $eller$<br>
Rhythm, Rhyme and Truth<br>
The Melody<br>
Deke Down Under!<br>
In 3 - Dimensions!<br>
Country Meets Soul<br>
</font></p>
</blockquote></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p><strong><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/D/Dexy/dexy_eileen.htm">Dexy's
Midnight Runners</a></font></strong> - <span class="style3"><font size="2" face="Arial">Come
On Eileen </font></span></p>
<p><span class="style7"><a href="http://tralfaz-archives.com/coverart/D/dictators_blood.html" style="text-decoration: none"><font size="2" face="Arial">The Dictators</font></a></span><span class="style3"><font size="2" face="Arial"> - </font> <font size="2" face="Arial">Bloodbrothers</font></span></p>
<p><span class="style7"> <a href="http://tralfaz-archives.com/coverart/D/diddley.html" style="text-decoration: none"><font size="2" face="Arial">Sir Bald Diddley</font></a></span><span class="style3"><font size="2" face="Arial"> - </font> <font size="2" face="Arial">More...Live</font></span></p>
<p><span class="style7"><a href="http://tralfaz-archives.com/coverart/D/diddley_bo.htm" style="text-decoration: none"><font size="2" face="Arial">Bo Diddley</font></a></span><span class="style3"><font size="2" face="Arial"> - </font> <font size="2" face="Arial">Bo Diddley </font></span></p>
<p><span class="style7"><a href="http://tralfaz-archives.com/coverart/D/dillards_copper.htm" style="text-decoration: none"><font size="2" face="Arial">The Dillards</font></a></span><span class="style3"><font size="2" face="Arial"> - </font> <font size="2" face="Arial">Copperfields</font></span></p>
<p><span class="style3"><span class="style7"><font face="Arial" size="2"><a
href="http://tralfaz-archives.com/coverart/D/Dimeola/dimeola_soar.htm" style="text-decoration: none">Al Di Meola</a></font></span><font face="Arial" size="2"> - Soaring Through a Dream</font></span></p>
<p><span class="style7"><a href="http://tralfaz-archives.com/coverart/D/dinosaurs_dinosaurs.htm"><font size="2" face="Arial">Dinosaurs</font></a></span><span class="style3"><font size="2" face="Arial"> - </font> <font size="2" face="Arial">Dinosaurs</font></span></p>
<p><span class="style7"> <a href="http://tralfaz-archives.com/coverart/D/dio_last.html" style="text-decoration: none"><font size="2" face="Arial">Dio</font></a></span><span class="style3"><font size="2" face="Arial"> - </font> <font size="2" face="Arial">The Last in Line</font></span></p>
<p><span class="style7"> <font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/D/dire_brothers.html" style="text-decoration: none">Dire Straits</a></font></span><span class="style3"><font size="2" face="Arial"> - </font> <font size="2" face="Arial">Brothers in Arms</font></span></p>
<p><span class="style7"> <a href="http://tralfaz-archives.com/coverart/D/Dregs/dregs_night.htm" style="text-decoration: none"><font size="2" face="Arial">Dixie Dregs </font></a></span><span class="style3"><font size="2" face="Arial"> - </font> <font size="2" face="Arial">Night of the Living Dregs </font></span></p>
<p><span class="style7"><a href="http://tralfaz-archives.com/coverart/D/Dregs/dregs_earth.htm" style="text-decoration: none"><font size="2" face="Arial">Dixie Dregs </font></a></span><span class="style3"><font size="2" face="Arial"> - </font> <font size="2" face="Arial">Dregs of the Earth </font></span></p>
<p><span class="style7"><a href="http://tralfaz-archives.com/coverart/D/dixon_romeo.html" style="text-decoration: none"><font size="2" face="Arial">Don Dixon</font></a></span><span class="style3"><font size="2" face="Arial"> - </font> <font size="2" face="Arial">Romeo at Juillard</font></span></p>
<p><span class="style7"> <a href="http://tralfaz-archives.com/coverart/D/dolby_buick.html" style="text-decoration: none"><font size="2" face="Arial">Thomas Dolby</font></a></span><span class="style3"><font size="2" face="Arial"> - </font> <font size="2" face="Arial">Alien's Ate My Buick</font></span></p>
<p><span class="style7"> <a
href="http://tralfaz-archives.com/coverart/D/donovan_covers.html" style="text-decoration: none"><font size="2" face="Arial">Donovan</font></a></span><span class="style3"><font size="2" face="Arial"> - Visit the Donovan Section...</font></span></p>
<blockquote>
<p><span class="style16">Barabajagal<br>
Catch the Wind<br>
Cosmic Wheels<br>
Fairytale<br>
For Little Ones<br>
In Concert<br>
Mellow Yellow <br>
Sunshine Superman<br>
The Best Of<br>
The Hurdy Gurdy Man<br>
Minstrel Boy<br>
A Gift From a Flower to a Garden<br>
Golden Hour of Donovan<br>
Universal Soldier<br>
Donovan (Belgium)</span></p>
</blockquote> <p><span class="style7"> <a
href="http://tralfaz-archives.com/coverart/D/doors_goldmine.html" style="text-decoration: none"><font size="2" face="Arial">The Doors</font></a></span><span class="style3"><font size="2" face="Arial"> - </font> <font size="2" face="Arial">Weird Scenes Inside the Gold Mine</font></span></p>
<p><span class="style7"> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/D/dread_unled.html"><font size="2" face="Arial">Dread Zeppelin</font></a></span><span class="style3"><font size="2" face="Arial"> - </font> <font face="Arial" size="2">Un-Led-Ed</font></span></p>
<p><span class="style7"> <a href="http://tralfaz-archives.com/coverart/D/dread_whole.html" style="text-decoration: none"> <font size="2" face="Arial">Dread Zeppelin</font></a></span><span class="style3"><font size="2" face="Arial"> - </font> <font size="2" face="Arial">Whole Lotta Love</font></span></p>
<p><span class="style7"> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/D/dr_john_plays.html"><font face="Arial" size="2">Dr. John</font></a></span><span class="style3"><font face="Arial" size="2"> - Dr. John Plays Mac Rebennack</font></span></p>
<p><span class="style7"> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/D/dust_hard.html"> <font face="Arial" size="2">Dust</font></a></span><span class="style3"><font face="Arial" size="2"> - Hard Attack</font></span></p>
<p><span class="style7"> <a href="http://tralfaz-archives.com/coverart/D/Dylan/dylan_pages.htm" style="text-decoration: none"> <font size="2" face="Arial">Bob
Dylan</font></a></span><span class="style3"><font size="2" face="Arial"> -
A Master of Words and Music</font></span></p>
<blockquote>
<p><span class="style16">Another Side of Bob
Dylan<br>
Bringing It All Back Home<br>
Highway 61 Revisited<br>
Street Legal<br>
</span>
</blockquote></td>
</tr>
<tr>
<td><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/E/E.html" name="E"> </a></font></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/E/E.html">The Letter E </a></span></td>
</tr>
<tr>
<td><span class="style7"><a href="#top" style="text-decoration: none"><font face="Arial" style="font-size: smaller">°°</font></a></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/E/echo_songs.html" ">Echo & the Bunnymen</a> - </b>Songs the Learn & Sing</font></p>
<p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/E/Echo/echo_heaven.htm" ">Echo & the
Bunnymen</a> - </b>Heaven Up Here </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/E/Eddy/eddy_pages.htm">Duane
Eddy</a> - </b></font> <font face="Arial" size="2">A
man and his guitar </font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Especially for You <br>
<span class="style26 style36"><font face="Arial"
size="2">The "Twangs" The "Thang"</font></span><br>
The Ballad of Paladin </font></p>
</blockquote>
<p><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/E/Edmunds/edmunds_DE7th.htm"><strong>Dave Edmunds</strong></a> - D Eth </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/E/edwards_exotic.html" style="text-decoration: none">Webley Edwards</a> - </b>Exotic Instrumentals</font></p>
<p class="style3"> <font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/E/ekseption_dance.html" style="text-decoration: none"> Ekseption</a> - </b>Dance Macabre</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/E/ekseption_trinity.html" style="text-decoration: none">Ekseption</a> - </b>Trinity</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/E/electric_under.htm" style="text-decoration: none">The Electric Prunes </a> - </b>Underground</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/E/ellis_pair.html" style="text-decoration: none">Herb Ellis and Ross Tompkins</a> - </b>A Pair To Draw To</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/E/ellis_two.html" style="text-decoration: none">Herb Ellis and Joe Pass</a> - </b>Two for the Road</font></p> <p class="style3"> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/E/Eloy/eloy_pages.html">Eloy</a> - </b></font> <font face="Arial" size="2">The Music of Eloy</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Time to Turn<br>
Planets<br>
Performance<br>
Colours</font><br>
</p>
</blockquote></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/E/elvis.html" style="text-decoration: none">Elvis</a> - </b>Separate Ways</font></p>
<p class="style3"><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/E/Ely/ely_pages.htm">Joe
Ely</a> - </b></font> <font face="Arial" size="2">The
Music of Joe Ely </font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Down the Drag <br>
Musta
Notta Gotta Lotta<br>
Lord of the Highway <br>
</font></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/E/emerson_honky.html" style="text-decoration: none"> Keith Emerson</a> - </b>Honky</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/E/elp_tarkus.html" style="text-decoration: none">Emerson, Lake and Palmer</a> - </b>Tarkus</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/E/english_beat_stop.html" style="text-decoration: none">The English Beat</a> - </b>I Just Can't Stop It</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/E/egypsy_egypsy.html" style="text-decoration: none">English Gypsy</a> - </b>English Gypsy</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/E/entwhistle.html" style="text-decoration: none">John Entwhistle</a> - </b>Smash You Head Against the Wall</font></p>
<p class="style3"><font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/E/epps_bongo.htm" style="text-decoration: none"> Preston Epps </a> - </b>Bongos, Bongos, Bongos </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/E/escovedo_real.htm" style="text-decoration: none">Alejandro Escovedo</a> - </b>Real Animal </font></p>
<p class="style3"> <font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/E/esquivel_other.html" style="text-decoration: none"> Esquivel</a> - </b>Other Worlds, Other Sounds</font></p>
<p class="style3"> <font face="Arial" size="2"> <b> <a href="http://tralfaz-archives.com/coverart/E/esquivel_hifi.html" style="text-decoration: none"> Esquivel</a> - </b>Exploring New Sounds in Hi-Fi</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/E/evans_out.htm"><strong>Gil
Evans</strong></a> - Out of the Cool </font></p></td>
<td> </td>
</tr>
<tr>
<td><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/F/F.html" name="F"> </a></font></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/F/F.html">The Letter F </a></span></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" style="font-size: smaller"> <a href="#top" style="text-decoration: none"> °°</a></font></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><b><a href="http://tralfaz-archives.com/coverart/F/feliciano_feliciano.html" style="text-decoration: none"><font size="2" face="Arial">Jose Feliciano</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Feliciano!</font></p>
<p class="style3"><b> <a href="http://tralfaz-archives.com/coverart/F/Ferguson/ferguson_newport.htm" style="text-decoration: none"><font size="2" face="Arial">Maynard Ferguson</font></a><font size="2" face="Arial"> - </font></b><font size="2" face="Arial">A Message from Newport </font></p>
<p class="style3"><b><a href="http://tralfaz-archives.com/coverart/F/ferguson_carnival.html" style="text-decoration: none"><font size="2" face="Arial">Maynard Ferguson</font></a><font size="2" face="Arial"> - </font></b><font size="2" face="Arial">Carnival</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/F/Ferrante/ferrante_pages.html" style="text-decoration: none">Ferrante & Teicher</a> - </b></font> <font face="Arial" size="2">Come and See F & T</font></p>
<blockquote>
<p class="style16"> West Side Story<br>
Pianos in Paradise<br>
Soundproof<br>
Soundblast<br>
Blast Off!<br>
Twin Pianos<br>
Rhapsody<br>
Love in the Generation Gap<br>
By Popular Demand<br>
The Exciting Sounds of...<br>
Our Golden Favorites<br>
The Piano Artistry of Ferrante & Teicher</p>
</blockquote>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/F/ferry_bete.html"><font face="Arial" size="2">Bryan Ferry</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">Bete Noire</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/F/fiedler_hifi.htm"><strong>Arthur
Fiedler</strong></a> - Hi-Fi </font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/F/fielding_swingin.html" style="text-decoration: none">Jerry Fielding and his Orchestra</a> - </b>Swingin' in Hi-Fi Rock 'n Roll Matriculates</font></p>
<p class="style3"><font size="2" face="Arial"><strong><a href="http://tralfaz-archives.com/coverart/F/filthy_crowd.htm">Filthy
Friends</a></strong> -
Any Kind of Crowd </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/F/Firesign/firesign.html" style="text-decoration: none">The Firesign Theatre</a> - </b>The Home of the Firesign Folks</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Don't Crush That Dwarf, Hand Me the Pliers<br>
In the Next World You're On Your Own<br>
Nick Danger, Third Eye<br>
Waiting for the Electrician or Someone like Him</font></p>
</blockquote> <p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/F/Fitzgerald/fitzgerald_pages.html" style="text-decoration: none">Ella Fitzgerald</a> - </b></font> <font face="Arial" size="2">Always the Lady...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Wishes You a Swinging Christmas<br>
Clap Hands, Here Comes Charlie<br>
A Perfect Match - Ella and Basie<br>
Lady Time<br>
Misty Blue</font><b> </b></p>
</blockquote></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/F/Flamin_groov/flamin_pages.htm"><font face="Arial" size="2">The Flamin' Groovies Pages</font></a><font size="2" face="Arial"> - </font></b><font size="2" face="Arial">Powerful Pop</font> </p>
<blockquote>
<p class="style3"><font face="Arial" size="2">In Person!!!!<br>
Crazy Macy/Let Me Rock <br>
Fantastic Plastic</font></p>
</blockquote>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/F/fjets_xmas.html" style="text-decoration: none">Flat Duo Jets</a> - </b>I'll Have a Merry Christmas Without You</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/F/F_Mac/Fleetwood_pages.html">Fleetwood Mac</a> - </b></font> <font size="2" face="Arial">Early Mac Adventures...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Black Magic Woman<br>
Kiln House<br>
Mystery to Me</font></p>
</blockquote> <p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/F/flock_swamps.html" style="text-decoration: none">The Flock</a> - </b>Dinosaur Swamps</font></p>
<p class="style3"> <font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/F/focus_waves.html" style="text-decoration: none"> Focus</a> - </b>Moving Waves</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/F/fontana.html" style="text-decoration: none">Wayne Fontana and the Mindbenders</a> - </b>The Game of Love</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/F/forbert_orbit.htm"><strong>Steve
Forbert</strong></a> - Little Stevie
Orbit </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/F/Foxx/foxx_pages.htm">Redd Foxx</a> - </b></font> <font size="2" face="Arial">Redd Live and in Rare Form</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">This is Foxx<br>
The Best Party Fun<br>
Crack Up</font></p>
</blockquote>
<p class="style3"><font size="2" face="Arial"><strong><a href="http://tralfaz-archives.com/coverart/F/francis_connie_sing.htm">Connie Francis</a></strong> - Sing Along With Connie</font></p>
<p class="style3"><font size="2" face="Arial"><strong><a href="http://tralfaz-archives.com/coverart/F/fried_lasso.htm">Kinky Friedman</a></strong> - Lasso from El Paso</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/F/fripp_league.html" style="text-decoration: none">Robert Fripp</a> - </b>The League of Gentlemen</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/F/fripp_pussy.html" style="text-decoration: none">Fripp and Eno</a> - </b>(No Pussyfooting)</font></p>
<p class="style3"> <font face="Arial" size="2"> <b> </b></font><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/F/frivolous_sour.html" style="text-decoration: none">The Frivolous Five</a> - </b>Sour Cream and Other Delights</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/F/funk_one.html"><font face="Arial" size="2">Funkadelic</font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">One Nation Under a Groove</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/F/funland.html" style="text-decoration: none">Funland</a> - </b>Sweetness</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/F/funtime.htm" style="text-decoration: none">Funtime</a> - </b>Funtime</font></p></td>
</tr>
<tr>
<td><font face="Arial" size="2"><a name="G" href="http://tralfaz-archives.com/coverart/G/G.html"> </a></font></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td><font face="Arial" size="2"> </font></td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/G/G.html">The Letter G </a></span></td>
</tr>
<tr>
<td><span class="style3"><a href="#top" style="text-decoration: none"><font face="Arial" style="font-size: smaller">°°</font></a><font face="Arial" size="2"><b></b></font></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/G/gabriel_2.html" style="text-decoration: none">Peter Gabriel</a> - </b>Peter Gabriel (2nd Album)</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/G/galway_carol.html" style="text-decoration: none">James Galway</a> - </b>Christmas Carol</font></p>
<p class="style3"> <font face="Arial" size="2"><b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/G/Garcia/garcia_pages.html"> Jerry Garcia</a> - </b></font> <font face="Arial" size="2">Apart from the Dead...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Garcia<br>
Garcia "Compliments Of"<br>
Run for the Roses<br>
Reflections</font><br>
</p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/G/garrett_50_guitars.htm">Tommy
Garrett</a> - </b></font> <font face="Arial" size="2">50 Guitars
Visit Hawaii</font></p>
<p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/G/gaye_live.html" style="text-decoration: none">Marvin Gaye</a> - </b>Marvin Gaye Live!</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/G/gaye_whats.htm"><strong>Marvin
Gaye</strong></a> - What's Going
On </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/G/Genesis/genesis_pages.html">Genesis</a> - </b></font> <font face="Arial" size="2">Just a Bit Out There...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Live<br>
A Trick of the Tail<br>
Reflection - Rock Theatre</font><br>
</p>
</blockquote> <p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/G/Gentle_Giant/gentle_giant_pages.html" style="text-decoration: none">Gentle Giant</a> - </b> </font> <font face="Arial" size="2">Right This Way to the Big Fellow...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Civilian<br>
Octopus<br>
The Missing Piece<br>
Interview</font></p>
</blockquote>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/G/gen_x_kiss.htm"><font size="2" face="Arial">Gen
X </font></a><font size="2" face="Arial">- </font></b><font size="2" face="Arial">Kiss
Me Deadly </font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/G/Getz/getz_pages.html"><font size="2" face="Arial">Stan
Getz</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Horn
of Plenty...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">The Greatest of...<br>
...With Guest Artist Laurindo Almeida<br>
Reflections<br>
Getz / Gilberto<br>
Jazz Samba</font></p>
</blockquote>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/G/Gillespie/gillespie_original.htm"><font face="Arial" size="2">Dizzy
Gillispie</font> </a><font face="Arial" size="2">- </font></b> <font face="Arial" size="2">Dizzy
Gillespie and his Original Orchestra</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/G/Gillespie/gillespie_1980.htm"><font face="Arial" size="2">Dizzy Gillispie</font> </a><font face="Arial" size="2">- </font></b> <font face="Arial" size="2">Digital
at Montreux, 1980 </font></p>
<p class="style3"><font size="2" face="Arial"><span class="style20"><a href="http://tralfaz-archives.com/coverart/G/gilmore_fair.htm">Jimmie Dale Gilmore</a></span></font> - <font size="2" face="Arial"> Fair & Square</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/G/glassp_poe.html"><font face="Arial" size="2">The Glass Prism</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Poe Through the Glass Prism</font></p>
<p class="style3"><b> <a
href="http://tralfaz-archives.com/coverart/G/gleason_lonesome.html" style="text-decoration: none"><font size="2" face="Arial">Jackie Gleason</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Lonesome Echo</font></p>
<p class="style3"><b><font size="2" face="Arial"> </font> <a
href="http://tralfaz-archives.com/coverart/G/Gleason/gleason_misty.htm" style="text-decoration: none"> <font size="2" face="Arial">Jackie Gleason</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Music to Make You Misty </font> </p>
<p class="style3"><b><a
href="http://tralfaz-archives.com/coverart/G/gold_ern_mad.htm" style="text-decoration: none"><font size="2" face="Arial">Ernest Gold</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">It's a Mad, Mad, Mad, Mad World</font></p>
<p class="style3"><b><a
href="http://tralfaz-archives.com/coverart/G/gold_marty_wired.htm" style="text-decoration: none"><font size="2" face="Arial">Marty Gold</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Wired for Sound</font></p>
<p class="style3"><b><a
href="http://tralfaz-archives.com/coverart/G/good_rats_city.htm" style="text-decoration: none"><font size="2" face="Arial">Good Rats </font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Rat City in Blue</font></p></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/G/Gordon/gordon_pages.html"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/G/Good_Rats/good_rats_riches.htm"><strong>Good
Rats</strong></a> - From Rats to Riches </font></a></b></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/G/Gordon/gordon_pages.html"><font size="2" face="Arial">Robert Gordon</font></a><font size="2" face="Arial"> - </font></b> <font face="Arial" size="2">Rockabilly All Night Long...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Rock Billy Boogie<br>
The Way I Walk b/w Sea Cruise<br>
Fresh Fish Special <br>
Fire (7")</font></p>
</blockquote>
<p class="style3"><font face="Arial"><b><a
href="http://tralfaz-archives.com/coverart/G/graduate.html" style="text-decoration: none"><font size="2">Graduate</font></a><font size="2"> (Roland
Orzabal) - </font></b></font> <font size="2" face="Arial">Acting
My Age</font></p>
<p class="style3"><b> <font size="2" face="Arial"> </font> <a href="http://tralfaz-archives.com/coverart/G/gfunk_survival.html" style="text-decoration: none"> <font size="2" face="Arial">Grand
Funk</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Survival</font><b> </b></p>
<p class="style3"><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/G/Grateful_Dead/gdead_pages.html">Grateful Dead</a> - </b></font> <font face="Arial" size="2">Keep on Dancin' Children...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Shakedown Street<br>
Good Lovin'<br>
Workingman's Dead<br>
Grateful Dead (2 LP Live Set)<br>
History of the Grateful Dead, Vol. 1 (Bear's Choice)<br>
Live At The Felt Forum 12/5/1971<br>
From the Mars Hotel<br>
Blues for Allah<br>
Farewell to Winterland</font></p>
</blockquote> <p class="style3"> <font face="Arial" size="2"> <a href="http://tralfaz-archives.com/coverart/G/green_carry.htm" style="text-decoration: none; font-weight: 700"> Grant Green</a> - Carryin' On </font></p>
<p class="style3"><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/G/Green_on_Red/green_on_red_pages.html">Green on Red </a> - </b></font> <font face="Arial" size="2">Music from the Heart ...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">1st Album <br>
Gravity Talks <br>
No Free lunch</font></p>
</blockquote> <p class="style3"><b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/G/green_persuav.html"> <font face="Arial" size="2">Urbie Green</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">The Persuasive Trombone of Urbie Green</font></p>
<p class="style3"> <b> <font face="Arial" size="2"> </font> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/G/greenfield_fire.html"> <font face="Arial" size="2">Dave Greenfield & J.J. Burnel</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Fire & Water (Ecoutez Vos Murs)</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/G/greenfield_burnel_rain.htm"><font face="Arial" size="2">Dave
Greenfield & J.J. Burnel</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Rain
& Dole & Tea</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/G/greenslade_time.html" style="text-decoration: none">Greenslade</a> - </b>Time and Tide</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/G/greenslade.html" style="text-decoration: none">Dave Greenslade</a> - </b>Cactus Choir</font></p>
<p class="style3"> <font face="Arial" size="2"><b> <a
href="http://tralfaz-archives.com/coverart/G/grin.html" style="text-decoration: none"> Grin</a> - </b>Gone Crazy</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/G/grisman_mondo.html" style="text-decoration: none">David Grisman</a> - </b>Mondo Mando</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/G/grisman_quintet.html" style="text-decoration: none">The David Grisman Quintet</a> - </b>The David Grisman Quintet</font></p>
<p class="style3"> <b><font size="2"><font face="Arial"><a href="http://tralfaz-archives.com/coverart/G/Gruppo/gruppo_copy.html" style="text-decoration: none">Gruppo Sportivo</a> - </font></font></b> <font face="Arial" size="2">Copy Copy</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/G/Guaraldi/guaraldi_pages.html"><font size="2" face="Arial">Vince Guaraldi </font> </a> <font size="2" face="Arial"> - </font> </b> <font size="2" face="Arial">There's More Than Peanuts to This guy...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Cast Your Fate to the Wind<br>
Vince Guaraldi / Bola Sete and Friends<br>
From All Sides (W/Bola Sete)<br>
Jazz Impressions<br>
In Person<br>
Linus and Lucy<br>
</font></p>
</blockquote></td>
</tr>
<tr>
<td><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/H/H.html" name="H"> </a></font></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td><font size="2" face="Arial"> </font></td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/H/H.html">The Letter H </a></span></td>
</tr>
<tr>
<td><a href="#top" style="text-decoration: none"><font face="Arial" style="font-size: smaller">°°</font></a></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><b><a href="http://tralfaz-archives.com/coverart/H/Hackett/hackett_page.html" style="text-decoration: none"><font size="2" face="Arial">Steve Hackett</font></a></b><font size="2" face="Arial"> - The Hackett Wing is This Way...</font></p>
<blockquote>
<p><font face="Arial" size="2">Voyage of the Acolyte<br>
Please Don't Touch<br>
Spectral Mornings</font></p>
</blockquote> <p><b> <a href="http://tralfaz-archives.com/coverart/H/haggard_pride.html" style="text-decoration: none"><font size="2" face="Arial">Merle Haggard</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Pride in What I Am</font></p>
<p><b><a href="http://tralfaz-archives.com/coverart/H/hammer_seven.html" style="text-decoration: none"><font size="2" face="Arial">Jan Hammer</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">The First Seven Days</font></p>
<p><b><a href="http://tralfaz-archives.com/coverart/H/hampton_paris.htm" style="text-decoration: none"><font size="2" face="Arial">Lionel
Hampton</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Lionel
Hampton in Paris </font></p>
<p><b><a href="http://tralfaz-archives.com/coverart/H/hancock_head.htm" style="text-decoration: none"><font size="2" face="Arial">Herbie Hancock </font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Headhunters</font></p>
<p><b> <a
href="http://tralfaz-archives.com/coverart/H/annie.html" style="text-decoration: none"><font size="2" face="Arial">Annie Haslam</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Annie in Wonderland</font></p>
<p> <b> <a href="http://tralfaz-archives.com/coverart/H/hawaiian_perc.html" style="text-decoration: none"><font size="2" face="Arial">Hawaii Goes Percussion</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Hawaii Goes Percussion</font></p>
<p><b><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/H/hawaiian_dukes.htm">The Hawaiin Surfers</a> - </font></b> <font size="2" face="Arial">The Hawaiin Surfers at Duke Kahanamoku's</font></p>
<p> <b> <a href="http://tralfaz-archives.com/coverart/H/hawkwind_hall.html" style="text-decoration: none"><font size="2" face="Arial">Hawkwind</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Hall of the Mountain Grill</font></p>
<p> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/H/hawkwind_warrior.html"><font size="2" face="Arial">Hawkwind</font></a><font size="2" face="Arial"> - </font></b> <font face="Arial" size="2">Warrior on the Edge of Time</font></p>
<p><b><a href="http://tralfaz-archives.com/coverart/H/Hayman/hayman_pages.htm" style="text-decoration: none"><font size="2" face="Arial">Richard
Hayman </font></a></b><font size="2" face="Arial"> -
Music in an International Vein...</font></p>
<blockquote>
<p><font face="Arial" size="2">Havana in Hi - Fi<br>
Voodoo!<br>
Carumba!</font></p>
</blockquote>
<p><b> </b><b><a href="http://tralfaz-archives.com/coverart/H/headcoatees_dav.html" style="text-decoration: none"><font size="2" face="Arial">Thee
Headcoatees</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Davey
Crockett (Gabba Hey)</font></p>
<p> <b> <a href="http://tralfaz-archives.com/coverart/H/headcoatees_santa.html" style="text-decoration: none"><font size="2" face="Arial">Thee Headcoatees</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Santa</font></p>
<p> <b> <a href="http://tralfaz-archives.com/coverart/H/headcoats_lane.html" style="text-decoration: none"><font size="2" face="Arial">Thee Headcoats</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Headcoat Lane</font></p>
<p><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/H/Heat/rev_heat_laugh.htm"><strong>Reverend
Horton Heat</strong></a> - Laughin' & Cryin'
With ... </font></p>
<p><b> <a
href="http://tralfaz-archives.com/coverart/H/hedges_breakfast.html" style="text-decoration: none"><font size="2" face="Arial">Michael Hedges</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Breakfast in the Field</font></p>
<p><b><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/H/hkp.htm">Helen
Keller Plaid</a></font> <font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">One
Swell Foop! </font></p>
<p> <b> <a href="http://tralfaz-archives.com/coverart/H/hella_blue.html" style="text-decoration: none"><font size="2" face="Arial">The Hellacopters</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Down Right Blue</font></p>
<p> <b><a href="http://tralfaz-archives.com/coverart/H/Hendrix/hendrix_pages.html" style="text-decoration: none"><font size="2" face="Arial">Jimi Hendrix</font></a></b><font size="2" face="Arial"> - The Words and Music...</font></p>
<blockquote>
<p><font face="Arial" size="2"> Electric Ladyland (British Release) <br>
Rainbow Bridge Soundtrack <br>
Birth of a Success <br>
The Miami Pop Festival<br>
Can You Please Crawl Out Your Window?</font></p>
</blockquote> <p> <b> <a href="http://tralfaz-archives.com/coverart/H/hensley_proud.html" style="text-decoration: none"><font size="2" face="Arial">Ken Hensley</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Proud Words on a Dusty Shelf</font></p>
<p><b> <font size="2" face="Arial"> </font> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/H/Hermits/hermits_pages.html"> </a></b></p>
</td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/H/Hermits/hermits_pages.html"><font size="2" face="Arial">Herman's
Hermits</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Peter
Noone and His Mates...</font></p>
<blockquote>
<p><font face="Arial" size="2"> Introducing Herman's Hermits<br>
Hold On!<br>
Greatest Hits</font><font face="Arial" size="2"> </font></p>
</blockquote>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/H/heywood_breeze.htm"><strong>Eddie
Heywood</strong></a> - Breezin' Along with he Breeze </font></p>
<p class="style3"><b><a href="http://tralfaz-archives.com/coverart/H/hirt_swing.html" style="text-decoration: none"><font size="2" face="Arial">Al Hirt</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">At Dan's Pier 600 in New Orleans</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/H/Hirt/hornet.htm"><strong>Al
Hirt</strong></a> - The Horn Meets
the Hornet </font></p>
<p> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/H/hitchcock_music.html"><font size="2" face="Arial">Alfred Hitchcock</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Alfred Hitchcock Presents...Music to Be Murdered By</font></p>
<p><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/H/Hitchcock/hitchcock_swift.htm"><font size="2" face="Arial">Robyn Hitchcock
and Emma Swift </font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Love
is a Drag </font></p>
<p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/H/holdsworth_ata.html" style="text-decoration: none">Allan Holdsworth</a> - </b>Atavachron</font></p>
<p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/H/homer_old.htm" style="text-decoration: none">Homer and Jethro</a> - </b>The Old Crusty Minstrels</font></p>
<p> <font face="Arial" size="2"> <b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/H/hopkins_tinman.html">Nicky Hopkins</a> - </b>The Tin Man Was a Dreamer</font></p>
<p><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/H/hot_toddies_jag.htm"><strong>The
Hot Toddies</strong></a> - Jaguar b/w Kickstart
My Heart </font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/H/hot_tuna_first.html" style="text-decoration: none">Hot Tuna</a> - </b></font> <font face="Arial" size="2">Jack, Jorma and their extended family...</font></p>
<blockquote>
<p><font face="Arial" size="2"> Hot Tuna (1st Album)<br>
First Pull Up, Then Pull Down<br>
Burgers<br>
Double Dose</font></p>
</blockquote> <p> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/H/howe.html" style="text-decoration: none">Steve Howe</a> - </b>The Steve Howe Album</font></p>
<p> <font face="Arial" size="2"><b> <a
href="http://tralfaz-archives.com/coverart/H/hubbard_first.html" style="text-decoration: none"> Freddie Hubbard</a> - </b>First Light</font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/H/hubbard_straight.html" style="text-decoration: none">Freddie Hubbard</a> - </b>Straight Life</font></p>
<p> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/H/hundley_giant.html"><font face="Arial" size="2">Craig Hundley</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Arrival of a Young Giant</font></p>
<p> <font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/H/hunter_tigerf.html" style="text-decoration: none"> Robert Hunter</a> - </b>Tiger Rose</font></p>
<p> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/H/Hunter/hunter_jack.html">Robert Hunter</a> - </b>Jack O'Roses</font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/H/hunters_human.html" style="text-decoration: none">Hunters and Collectors</a> - </b>Human Frailty</font></p>
<p><font size="2" face="Arial"><strong><a href="http://tralfaz-archives.com/coverart/H/Husker_Du/husker_land.htm">Husker Du</a></strong> - Land Speed Record </font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/H/husker_zen.html" style="text-decoration: none">Husker Du</a> - </b>Zen Arcade</font></p>
<p> <font face="Arial" size="2"> <b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/H/Hyman/hyman_pages.html">Dick Hyman</a> - </b></font> <font face="Arial" size="2">The Keyboard Artistry of...</font></p>
<blockquote>
<p><font face="Arial" size="2">Provocative Piano<br>
The Age of Electronicus<br>
Moog<br>
The Man from O.R.G.A.N.</font></p>
</blockquote></td>
</tr>
<tr>
<td><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/I/I.html" name="I"> </a></font></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/I/I.html">The Letter I </a></span></td>
</tr>
<tr>
<td><a href="#top" style="text-decoration: none"><font face="Arial" style="font-size: smaller">°°</font></a></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style10"><span class="style12"><b><a href="http://tralfaz-archives.com/coverart/I/Icicle_Works/icicle_pages.htm">The Icicle Works</a> - </b></font> From a whisper...</span></p>
<blockquote class="style11">
<p><font size="2">Up Here in the North of England<br>
Who Do You Want for Your Love?<br>
Seven Horses<br>
Hollow Horse <br>
When It All Comes Down</font></p>
</blockquote>
<p class="style3 style9"><font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/I/If_pretty.html" style="text-decoration: none"> If</a> - </b>Not Just Another Bunch of Pretty Faces</font></p>
<p> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/I/inmates_shot.html" style="text-decoration: none">The Inmates</a> - </b>A Shot in the Dark</font></p>
<p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/I/incredible_lets.htm" style="text-decoration: none">The Incredible Casuals </a> - </b>Let's Go! (Summer Fun Maxi-EP)</font></p>
<p><font size="2" face="Arial"><strong><a href="http://tralfaz-archives.com/coverart/I/incredible_string_5000.htm">The Incredible String
Band</a></strong> - The 5000
Spirits </font></p></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style10"><span class="style12"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/I/Iron_Butterfly/IronB_pages.html">Iron Butterfly</a> - </b></font> The Thunder of the Gods...</span></p>
<blockquote class="style11">
<p><font size="2">Live<br>
Heavy<br>
Metamorphosis</font></p>
</blockquote>
<p class="style11"><font size="2"><a href="http://tralfaz-archives.com/coverart/I/isaak_dancin.htm" style="text-decoration: none"><strong>Chris
Isaak</strong></a> - Dancin'</font></p>
<p class="style11"><font size="2"><b><a href="http://tralfaz-archives.com/coverart/I/its_a_beautiful/its_a_beautiful_pages.htm" style="text-decoration: none"><font size="2">It's a Beautiful Day</font></a> - </b></font> <font size="2">A little of that San Francisco sound ...</font></p>
<blockquote class="style11">
<p><font size="2"> It's a Beautiful Day<br>
Marrying Maiden<br>
Choice Quality Stuff / Anytime </font></p>
</blockquote>
<p><font size="2" face="Arial"> <a href="http://tralfaz-archives.com/coverart/I/ivy_pete_limbo.htm"><strong>Ivy
Pete and his Limbomaniacs</strong></a><strong> - </strong>Limbo Party </font></p></td>
</tr>
<tr>
<td><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/J/J.html" name="J"> </a></font></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/J/J.html">The Letter J </a></span></td>
</tr>
<tr>
<td><a href="#top" style="text-decoration: none"><font face="Arial" style="font-size: smaller">°°</font></a></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3 style9"><b><a href="http://tralfaz-archives.com/coverart/J/jackson5_ross.html" style="text-decoration: none">The Jackson 5</a> - </b>Diana Ross Presents...</font></p>
<p> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/J/jackson.html" style="text-decoration: none">Joe Jackson</a> - </b>Look Sharp!</font></p>
<p> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/J/jackson_night.html" style="text-decoration: none">Joe Jackson</a> - </b>Night and Day</font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/J/jackson_bags.html" style="text-decoration: none">Milt Jackson and Wes Montgomery</a> - </b>Bags Meets Wes</font></p>
<p><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/J/Jackson_Milt/jackson_skyline.htm"><strong>Milt
Jackson</strong></a> - The Jazz Skyline </font></p>
<p><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/J/jackson_wanda_please.htm"><strong>Wanda Jackson</strong></a> - Please Help Me, I'm Falling </font></p>
<p><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/J/jacquet_message.htm"><strong>Illinois Jacquet</strong></a> - The Message </font></p>
<p> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/J/Jam/jam_pages.html" style="text-decoration: none">The Jam</a> - </b></font> <font face="Arial" size="2">The Sound and the Fury</font></p>
<blockquote>
<p><font face="Arial" size="2"> This is the Modern World<br>
Sound Affects<br>
Setting Sons</font></p>
</blockquote>
<p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/J/Jamal/jamal_pages.htm">Ahmd
Jamal</a> - </b></font> <font face="Arial" size="2">And
His Piano Artistry </font></p>
<blockquote>
<p><font face="Arial" size="2"> Happy
Moods <br>
Count
'Em 88 <br>
Jamal at the Penthouse</font></p>
</blockquote>
<p><b><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/J/jan_and_dean_folk.htm">Jan
and Dean</a></font> <font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Folk
'n Roll </font></p>
<p><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/J/japan_oil.html"><font face="Arial" size="2">Japan</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Oil
on Canvas</font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/J/jarrett_stair.html" style="text-decoration: none">Keith Jarrett</a> - </b>Staircase</font></p>
<p class="style17"> </p>
</td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style8"><a href="http://tralfaz-archives.com/coverart/J/Jefferson_Airplane/jefferson_pages.htm"><strong>The
Jefferson Airplane</strong></a> - To the Sixties and Beyond!</p>
<blockquote>
<p class="style18"> <font face="Arial"><span class="style10">After Bathing
at Baxter's</span><br>
<span class="style10">Bark</span><br>
<span class="style10">Volunteers</span></font></p>
</blockquote> <p class="style8"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/J/J_Starship_blows.htm" style="text-decoration: none">Jefferson
Starship</a> - </b>Blows Against the Empire </font></p>
<p class="style10"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/J/jstarship_red.html" style="text-decoration: none">Jefferson
Starship</a> - </b>Red Octopus</font></p>
<p> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/J/jelly_bishops_kings.html" style="text-decoration: none">Jelly Bishops</a> - </b>Kings of Barstool Mountain</font></p>
<p> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/J/jethro_tull_horses.html" style="text-decoration: none">Jethro Tull</a> - </b>Heavy Horses</font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/J/jethro_tull_wood.html" style="text-decoration: none">Jethro Tull</a> - </b>Songs from the Wood</font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/J/jobim_jobim.html" style="text-decoration: none">Antonio Carlos Jobim</a> - </b>Jobim</font></p>
<p> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/J/Jobim/jobim_wave.html">Antonio Carlos Jobim</a> - </b>Wave</font></p>
<p><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/J/John_Elton/john_madman.htm"><strong>Elton
John</strong></a> - Madman Across the Water </font></p>
<p><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/J/johnson_trombone.htm"><strong>JJ Johnson, Kai Winding, Bennie Green</strong></a> - Trombone By Three </font></p>
<p><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/J/Jones/jones_pages.html" style="text-decoration: none">The Jonah Jones Quartet </a> - </b></font> <font face="Arial" size="2">Jazz That Swings... </font></p>
<blockquote>
<p><font face="Arial" size="2"> Swingin' on Broadway<br>
Jumpin' With a Shuffle<br>
Swingin' at the Cinema </font></p>
</blockquote> <p> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/J/jupp_juppan.html"><font face="Arial" size="2">Mickey Jupp</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Juppanese</font></p></td>
</tr>
<tr>
<td><font face="Arial" size="2"> <a href="http://tralfaz-archives.com/coverart/K/K.html" name="K"> </a></font></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/K/K.html">The Letter K </a></span></td>
</tr>
<tr>
<td><a href="#top" style="text-decoration: none"><font face="Arial" style="font-size: smaller">°°</font></a></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/K/kaempf_swingin.htm">Bert Kaempfert And His Orchestra</a> - </b>A Swingin' Safari</font></p>
<p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/K/kamen_newyork.htm">Michael
Kamen</a> - </b>New York Rock </font></p>
<p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/K/kansas_masque.html" style="text-decoration: none">Kansas</a> - </b>Masque</font></p>
<p> <b> <font face="Arial" size="2"> </font> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/K/kantner_baron.html"> <font face="Arial" size="2">Paul
Kantner, Grace Slick & David Freiberg</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2"> Baron
von Toolbooth & The Chrome Nun</font></p>
<p> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/K/kauk_quah.html" style="text-decoration: none">Jorma
Kaukonen</a> - </b>Quah</font></p>
<p> <font face="Arial" size="2"> <b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/K/Kaukonen/kaukonen_jorma.html">Jorma
Kaukonen</a> - </b>Jorma</font></p>
<p> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/K/keith_and_donna.html" style="text-decoration: none">Keith & Donna</a> - </b>Keith & Donna</font></p>
<p><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/K/kenton_bossa.htm"><strong>Stan
Kenton</strong></a> - Artistry in Bossa Nova </font></p>
<p><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/K/kern_flutes.htm" style="text-decoration: none">Jerome
Kern </a> - </b>Flutes & Percussion </font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/K/king_cook.html" style="text-decoration: none">B.B.
King</a> - </b>Live in the Cook County Jail</font></p>
<p> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/K/BB_King/king_bb_take.html">B.B.
King</a> - </b>Take It Home</font></p>
<p><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/K/King_Crimson/king_crimson_pages.htm"><font face="Arial" size="2">King
Crimson </font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">The
Music of Robert Fripp and Friends </font></p>
<blockquote>
<p><font face="Arial" size="2">In the Court of the Crimson King<br>
Lark's Tongues in Aspic<br>
Earthbound</font></p>
</blockquote>
<p> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/K/kingfish_kingfish.html"><font face="Arial" size="2">Kingfish</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Kingfish</font></p>
<p><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/K/kingfish_kingfish1.html"><font face="Arial" size="2">Kingfish</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Kingfish</font></p>
<p><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/K/kingsmen_bikini.htm"><strong>The
Kingsmen</strong></a> - How to Stuff a Wild Bikini </font></p>
<p><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/K/kingston_trio_hungry.html" style="text-decoration: none">The
Kingston Trio</a> - </b>"...from the Hungry i"</font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/K/kingston_trio_first.html" style="text-decoration: none">The
Kingston Trio</a> - </b>The Kingston Trio</font></p>
</td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/K/king_u_orbit.html" style="text-decoration: none">King
Uszniewicz and His Uszniewicztones</a> - </b>Direct from the
Orbit Room</font></p>
<p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/K/kinks_schoolboys.html" style="text-decoration: none">The
Kinks</a> - </b></font> <font face="Arial" size="2">Ray Davies
and His Chums</font></p>
<blockquote>
<p><font face="Arial" size="2">Schoolboys in Disgrace<br>
Everybody's in Show-Biz, Everybody's a Star<br>
Candy from Mr. Dandy<br>
The Kinks Kontroversy</font></p>
</blockquote> <p> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/K/kitt_bad.html"><font face="Arial" size="2">Earth
Kitt</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">That
Bad Eartha</font></p>
<p> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/K/klaatu.html" style="text-decoration: none">Klaatu</a> - </b>Sir
Army Suit</font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/K/klaatu_hope.html" style="text-decoration: none">Klaatu</a> - </b>Hope</font></p>
<p> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/K/klemmer_waterfall.html"><font face="Arial" size="2">John
Klemmer</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Waterfalls</font></p>
<p><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/K/klemperer_strav.htm"><font face="Arial" size="2">Otto
Klemperer </font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">Stravinsky,
Symphony in Three Movements </font></p>
<p><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/K/knitters_poor.html"><font face="Arial" size="2">The
Knitters</font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">Poor
Little Critter on the Road</font></p>
<p><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/K/kole_rod.htm"><font size="2" face="Arial">Jerry
Kole & The Strokers</font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">Hot
Rod Alley </font></p>
<p><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/K/Kooper/kooper_pages.htm"><font face="Arial" size="2">Al
Kooper </font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">A
Legend On and Off the Stage </font></p>
<blockquote>
<p><font face="Arial" size="2">I Stand Alone <br>
...of the Blues Project Among Others<br>
Al's Big Deal / Unclaimed Freight-An Al Kooper Anthology</font></p>
</blockquote>
<p><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/K/Kottke/kottke_pages.html"><font face="Arial" size="2">Leo
Kottke</font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">A
Master of the Guitar...</font></p>
<blockquote>
<p><font face="Arial" size="2">Ice
Water<br>
Greenhouse<br>
6 and 12 String Guitar</font></p>
</blockquote>
<p><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/K/Kronos/kronos_monk.htm"><font face="Arial" size="2">Kronos
Quartet </font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">Monk
Suite </font></p>
<blockquote>
<blockquote>
<p> </p>
</blockquote>
</blockquote></td>
</tr>
<tr>
<td><a href="http://tralfaz-archives.com/coverart/L/L.html" name="L"> <font size="2" face="Arial"> </font></a></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/L/L.html">The Letter L </a></span></td>
</tr>
<tr>
<td><a href="#top" style="text-decoration: none"><font face="Arial" style="font-size: smaller">°°</font></a></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/L/labeef/labeef_pages.htm" style="text-decoration: none">Sleepy
LaBeef </a>- </b></font> <font face="Arial" size="2">The Legend... </font></p>
<blockquote>
<p><font face="Arial" size="2">1977
Rockabilly<br>
Downhome Rockabilly (Charley Records) <br>
Downhome Rockabilly (Sun Records) </font></p>
</blockquote> <p><b> <a
href="http://tralfaz-archives.com/coverart/L/lake.html" style="text-decoration: none"><font size="2" face="Arial">Lake</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Lake</font></p>
<p><b> <font size="2" face="Arial"> </font> <a
href="http://tralfaz-archives.com/coverart/L/kdlang_torch.html" style="text-decoration: none"> <font size="2" face="Arial">k.
d. lang and the Reclines</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Absolute
Torch and Twang</font></p>
<p><b> <a href="http://tralfaz-archives.com/coverart/L/lang_shadow.html" style="text-decoration: none"><font size="2" face="Arial">k.
d. lang</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Shadowland – The
Owen Bradley Sessions</font></p>
<p><b><a href="http://tralfaz-archives.com/coverart/L/Langford/langford_skull.htm" style="text-decoration: none"><font size="2" face="Arial">Jon
Langford & Skull Orchard </font></a><font size="2" face="Arial">- </font></b> <font size="2" face="Arial">Days
and Nights </font></p>
<p><b> <a href="http://tralfaz-archives.com/coverart/L/lateef_lovers.html" style="text-decoration: none"><font size="2" face="Arial">Yusef
Lateef</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Plays
for Lovers</font></p>
<p><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/L/leaves_joe.htm"><strong>The Leaves</strong></a> - Hey Joe </font></p>
<p><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/L/lee_sincerely.htm"><strong>Brenda Lee</strong></a> - Sincerely, Brenda Lee</font></p>
<p><b> <a href="http://tralfaz-archives.com/coverart/L/lehrer_revisited.html" style="text-decoration: none"><font size="2" face="Arial">Tom
Lehrer</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Revisited</font></p>
<p><b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/L/Lennon/lennon_rock.html"><font face="Arial" size="2">John
Lennon</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Rock
'N' Roll</font></p>
<p><b> <a
href="http://tralfaz-archives.com/coverart/L/lewis_clown.html" style="text-decoration: none"><font size="2" face="Arial">Gary
Lewis & the Playboys</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Everybody
Loves a Clown</font></p>
<p><b><a
href="http://tralfaz-archives.com/coverart/L/Lewis_Gary/lewis_gary_session.htm" style="text-decoration: none"><font size="2" face="Arial">Gary
Lewis & the Playboys</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">In
Session With... </font></p>
<p> <b> </b><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/L/Lewis/lewis_pages.htm"><font size="2" face="Arial">Ramsey
Lewis </font> </a> <font size="2" face="Arial"> - </font> </b> <font size="2" face="Arial">The
Easy Sounds of... </font></p>
<blockquote>
<p><font face="Arial" size="2">Up Pops Ramsey<br>
Stretching
Out<br>
The In Crowd </font></p>
</blockquote>
<p> <b> </b> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/L/leyden_cha.html"><font face="Arial" size="2">Norman
Leyden</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Sing
While Dancing the Cha Cha</font></p>
<p> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/L/Light/light_pages.html"><font size="2" face="Arial">Enoch
Light </font> </a> <font size="2" face="Arial"> - </font> </b> <font size="2" face="Arial">The
Hip World of...</font></p>
<blockquote>
<p><font face="Arial" size="2">Patterns
in Sound<br>
Dimension 3<br>
Persuasive Percussion Volume 2<br>
Persuasive Percussion Volume 3<br>
</font><font face="Arial" size="2">12
Smash Hits</font></p>
</blockquote>
<p><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/L/lindisfarne_finest.htm" style="text-decoration: none; font-weight: 700">Lindisfarne</a> - </font> <font size="2" face="Arial">Lindisfarne's
Finest Hour </font></p>
<p><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/L/lindley_el.html" style="text-decoration: none; font-weight: 700">David
Lindley</a> - </font> <font size="2" face="Arial">El Rayo-X</font></p></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p><b><a href="http://tralfaz-archives.com/coverart/L/littlefeat_time.html" style="text-decoration: none"><font size="2" face="Arial">Little
Feat</font></a> </b> <font size="2" face="Arial">- Some of Dixie's
Finest...</font></p>
<blockquote>
<p><font face="Arial" size="2">Waiting
for Columbus<br>
Feats Don't Fail Me Now<br>
Time Loves a Hero</font></p>
</blockquote> <p><b> <font size="2" face="Arial"> </font> <a
href="http://tralfaz-archives.com/coverart/L/living_guitars.html" style="text-decoration: none"> <font size="2" face="Arial">Living
Guitars</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Shindig</font></p>
<p><b><a
href="http://tralfaz-archives.com/coverart/L/loney_rock.htm" style="text-decoration: none"><font size="2" face="Arial">Roy Loney</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Rock and roll Dance Party With…</font></p>
<p> <a href="http://tralfaz-archives.com/coverart/L/looking_glass.html" style="text-decoration: none"> <font size="2" face="Arial"><b>Looking
Glass</b></font></a><b><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Looking
Glass</font></p>
<p> <b> <a href="http://tralfaz-archives.com/coverart/L/los_ad_bongo.html" style="text-decoration: none"><font size="2" face="Arial">Los
Admiradores</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Bongos</font></p>
<p><b><a href="http://tralfaz-archives.com/coverart/L/Los_Admiradores/Los_Admiradores_bongos_flutes.htm" style="text-decoration: none"><font size="2" face="Arial">Los
Admiradores</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Bongos/Flutes/Guitars</font></p>
<p><b> <a
href="http://tralfaz-archives.com/coverart/L/los_corraleros.html" style="text-decoration: none"><font size="2" face="Arial">Los
Corraleros</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Del
Manigual Vol. 2</font></p>
<p><b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/L/lobos_light.html"><font size="2" face="Arial">Los
Lobos</font></a><font size="2" face="Arial"> - </font></b> <font face="Arial" size="2">By
the Light of the Moon</font></p>
<p><b> </b><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/L/Los_Strait/los_strait_pages.htm"><font size="2" face="Arial">Los
Straitjackets </font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">Instrumental
Surf Wizards... </font></p>
<blockquote>
<p><font face="Arial" size="2">Supersonic Guitars in 3-D<br>
The Utterly Fantastic and Totally Unbelievable Sounds of...<br>
The Further Adventures of... <br>
Hark the Herald Angels Sing / Silver Bells<br>
Jet Set<br>
The Sox are Rockin'</font></p>
</blockquote>
<p><b><a href="http://tralfaz-archives.com/coverart/L/Love/love_four.htm" style="text-decoration: none"><font size="2" face="Arial">Love</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">Four
Sail </font></p>
<p><b><a href="http://tralfaz-archives.com/coverart/L/lovich_stateless.htm" style="text-decoration: none"><font size="2" face="Arial">Lene
Lovich</font></a><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/L/Love/love_four.htm" style="text-decoration: none"> </a> - </font></b> <font size="2" face="Arial">Stateless</font></p>
<p><b><a href="http://tralfaz-archives.com/coverart/L/Lspoonful_best.html" style="text-decoration: none"><font size="2" face="Arial">The
Lovin' Spoonful</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">The
Best of...</font></p>
<p><b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/L/Lowe/Lowe_pages.html"><font size="2" face="Arial">Nick
Lowe</font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">Songsmith
Extraordinaire...</font></p>
<blockquote>
<p class="style17">Pure Pop for Now People<br>
Jesus of Cool<br>
...and His Cowboy Outfit<br>
Go 'Way Hound Dog<br>
I Knew The Bride (When She Used To Rock 'N' Roll)</p>
</blockquote>
<p><b> <a
href="http://tralfaz-archives.com/coverart/L/lulu.html" style="text-decoration: none"><font size="2" face="Arial">Lulu
/ The Mindbenders</font></a><font size="2" face="Arial"> - </font></b> <font size="2" face="Arial">To
Sir With Love</font></p>
<p><b> </b><b><font face="Arial" size="2"><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/L/Lyman/lyman_pages.htm">The
Exotic Sounds of</a> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/L/Lyman/lyman_lei.html"> Arthur
Lyman - </a></font></b> <font face="Arial" size="2">At its best! </font></p>
<blockquote>
<p><font face="Arial" size="2">Taboo<br>
Leis of Jazz <br>
On Broadway </font></p>
</blockquote></td>
</tr>
<tr>
<td><blockquote class="style3">
<p align="center"><font face="Arial" size="2"><a name="M" href="http://tralfaz-archives.com/coverart/M/M.html"> </a></font></p>
</blockquote>
</td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/M/M.html">The
Letter M </a></span></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" size="2"><b> </b></font><a href="#top" style="text-decoration: none"> <font face="Arial" style="font-size: smaller">°°</font></a></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p align="left"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/mad_daddys_woodstock.htm">Mad
Daddys</a> - </b>Take Me Back to Woodstock </font></p>
<p align="left"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/mahal_bro.html" style="text-decoration: none">Taj
Mahal</a> - </b>Brothers</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/Mahal/mahal_oooh.html">Taj
Mahal</a> - </b>Oooh So Good 'n Blues</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/mahavishnu_birds.html" style="text-decoration: none">Mahavishnu
Orchestra</a> - </b>Birds of Fire</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/mahavishnu_apoc.html" style="text-decoration: none">Mahavishnu
Orchestra</a> - </b>Apocalypse</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/mahogany_tales.html" style="text-decoration: none">Mahogany
Rush</a> - </b>Tales of the Unexpected</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/makia_hawaii.html">Sam </a> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/makia_hawaii.html"> Makia
and his Surf Riders</a> - </b>Hawaiian Island Magic</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/malo_malo.html">Malo</a> - </b>Malo</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/man_slow.html" style="text-decoration: none">Man</a> - </b>Slow
Motion</font></p>
<p class="style3"> <font face="Arial" size="2"><b> </b></font><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/M/gunn.html" style="text-decoration: none">Henry
Mancini</a> - </b>Peter Gunn</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/M/more_gunn.html" style="text-decoration: none">Henry
Mancini</a> - </b>More Music From Peter Gunn</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/mangione_bellavia.html" style="text-decoration: none">Chuck
Mangione</a> - </b>Bellavia</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/mann_gate.html"><font face="Arial" size="2">Herbie
Mann</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">At
the Village Gate</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/mariachi_hats.htm"><font face="Arial" size="2">The
Mariachi Brass </font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Hats
Off - Featuring Chet Baker </font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/marillion_reel.html"><font face="Arial" size="2">Marillion</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Real
to Reel</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/marillion_misplace.html"><font face="Arial" size="2">Marillion</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Misplaced
Childhood</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/M/marley_vibe.html" style="text-decoration: none">Bob
Marley & the Wailers</a> - </b>Rastaman Vibration</font></p>
<p class="style3"> <font face="Arial" size="2"> <b> <a href="http://tralfaz-archives.com/coverart/M/marsalis_codes.html" style="text-decoration: none"> Wynton
Marsalis</a> - </b>Black Codes (from the Underground)</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/martha_parc.html" style="text-decoration: none">Martha
and the Muffins</a> - </b>Danseparc</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/Martha/martha_metro.html">Martha
and the Muffins</a> - </b>Metro Music</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/M/dean_martin.html" style="text-decoration: none">Dean
Martin</a> - </b>French Style</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/M/dean_martin_houston.html" style="text-decoration: none">Dean
Martin</a> - </b>Houston</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/M/dave_mason.html" style="text-decoration: none">Dave
Mason</a> - </b>Headkeeper</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/matchbox_midnite.html" style="text-decoration: none">Matchbox</a> - </b>Midnite
Dymanos</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/mccan_swiss.htm">Les
McCann & Eddie Harris</a> - </b>Swiss Movement </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/mccartney_ram.html" style="text-decoration: none">Paul
and Linda McCartney</a> - </b>Ram</font></p>
<p class="style3"><font face="Arial" size="2"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/McCartney/mccartney_another.htm" style="text-decoration: none">Paul
McCartney</a> - </b>Another Day </font></font></p>
<p class="style3"> <b> </b><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/mcgear_mcgear.html"><font face="Arial" size="2">Mike
McGear</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">McGear</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/mcken_spring.html"><font face="Arial" size="2">Mckendree
Spring</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Spring
Suite</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/mclaughlin_friday.html" style="text-decoration: none">John
McLaughlin</a> - </b>Friday Night in San Francisco</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/M/mpuppets_huevos.html" style="text-decoration: none">Meat
Puppets</a> - </b>"Huevos"</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/mpuppets_mirage.html">Meat
Puppets</a> - </b>Mirage</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/meco_star.html"><font face="Arial" size="2">Meco</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Star
Wars and Other Galactic Funk</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/me_first_bar.html">Me</a></b><a style="text-decoration: none; font-weight: 700" href="http://tralfaz-archives.com/coverart/M/me_first_bar.html"> First
and the Gimme Gimmes</a> - </font> <font face="Arial" size="2">Ruin
Jonny's Bar Mitzvah</font></p>
<p class="style3"><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/me_first_bar.html">Me</a></b><a style="text-decoration: none; font-weight: 700" href="http://tralfaz-archives.com/coverart/M/Me_First/me_first_country.htm"> First
and the Gimme Gimmes</a> - Love Their Country </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/Mekons/Mekons_pages.html" style="text-decoration: none">The
Mekons</a> - </b> 30 Years Along and Still Making fine
Music...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">The
Edge of the World<br>
Slightly
South of the Border<br>
Greetings
Eight<br>
Crime
and Punishment<br>
Snow
b/w Another One<br>
This
Sporting Life b/w Fight the Cuts<br>
Hole
in the Ground<br>
The
Dream and Lie of...<br>
Disco
45 12"<br>
Empire
of the Senseless / Pete Shelley Interview<br>
Honky
Tonkin'<br>
The
Mekons Rock'n'Roll</font></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/membranes_gift.html" style="text-decoration: none">The
Membranes</a> - </b>The Gift of Life</font> <font face="Arial" size="2"> </font></p>
<p class="style3"><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/membrane_pin.html">The
Membranes</a> - </b>Pin Stripe Hype E.P.</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/Mendes/mendes_pages.html">Sergio
Mendes & Brasil 66</a> - </b></font> <font face="Arial" size="2">South
American Spice...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">The Fool on the Hill<br>
The Look of Love<br>
Greatest Hits </font></p>
</blockquote></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/Merrill/merrill_pages.html" style="text-decoration: none">Buddy
Merrill</a> - </b></font> <font face="Arial" size="2">A Boy and
His Guitar...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Holiday for Guitars<br>
Guitar Sounds of the "70's"<br>
The Exciting World of Buddy Merrill</font></p>
</blockquote>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/metheny_chau.htm"><font face="Arial" size="2">Pat
Metheny </font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">New
Chautauqua </font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/miller_sailor.html"><font face="Arial" size="2">Steve
Miller Band</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Sailor</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/Miller/miller_20th.htm"><font face="Arial" size="2">Steve
Miller Band</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Living
in the 20th Century </font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/M/mingus_ahum.html" style="text-decoration: none">Charles
Mingus</a> - </b>Mingus Ah Um</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/Minus5/minus5_slim.htm">The Minus 5</a> - </b>Songs for Slim</font></p>
<p class="style3"><font face="Arial" size="2"></font><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/M/minutemen.html" style="text-decoration: none">Minutemen</a> - </b>3-Way
Tie (for Last)</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/mitchell_chad_concert.htm" style="text-decoration: none">The
Chad Mitchell Trio </a> - </b>In Concert / Everybody's Listening </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/mitchell_chalk.html" style="text-decoration: none">Joni
Mitchell</a> - </b>Chalk Mark in a Rain Storm</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/moby_grape_wow.html" style="text-decoration: none">Moby
Grape</a> - </b>Wow</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/MJQ/mjq_pages.html"><font face="Arial" size="2">The
Modern Jazz Quartet</font></a> - </b></font> <font face="Arial" size="2">Four
Men on a Mission... </font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2"> In Memoriam<br>
The Legendary Profile <br>
On Tour <br>
Patterns</font></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/M/MJQ/mjq_oscar_opera.htm">The
Modern Jazz Quartet</a></font><a href="http://tralfaz-archives.com/coverart/M/MJQ/mjq_oscar_opera.htm">/The
Oscar Peterson Trio</a> - </b></font> <font face="Arial" size="2">At
the Opera House </font></p>
<p class="style3"><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/Monk/monk_pages.html">Thelonious
Monk </a> - </b></font> <font face="Arial" size="2">A Man,
A Piano and his Muse</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Live
at the Blackhawk<br>
Criss-Cross<br>
Underground</font></p>
</blockquote> <p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/M/monks_of_doom.html" style="text-decoration: none">The
Monks of Doom</a> - </b>The Cosmodemonic Telegraph Company</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/mono_skin.htm">The
Mono Men</a> - </b>Skin & Tonic </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/monro_russia.htm">Matt Monro</a> - </b>From Russia with Love</font></p>
<p class="style3"> <font face="Arial" size="2"> <b> <a href="http://tralfaz-archives.com/coverart/M/montenegro_bb.html" style="text-decoration: none"> Hugo
Montenegro</a> - </b>Bongos + Brass</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/M/montgomery_dreaming.html" style="text-decoration: none">Wes
Montgomery</a> - </b>California Dreaming</font></p>
<p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/M/Montgomery/montgomery_trio.htm" style="text-decoration: none">Wes
Montgomery</a> - </b>The Wes Montgomery Trio </font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/M/montrose_mont.htm"><strong>Montrose</strong></a> - Warner Bros.
Presents... </font></p>
<p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/M/Monty_Python/monty_match.htm" style="text-decoration: none">Monty
Python </a> - </b>Matching Tie and Handkerchief</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/moon_two.htm">Keith
Moon</a> - </b>Two Sides of the Moon </font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/M/MTM/MTM_pages.html" style="text-decoration: none">Mary
Tyler Moore (Cover Model)</a> - </b>Step This Way to the Moore
Collection...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Raoul Martinez: Cha Cha Cha<br>
Lew Raymond: Million Sellers<br>
Steve Philips: Organ Favorites<br>
Miguelito Valdez!: Latin Rhythms<br>
Miguel Lopez: Latin Favorites<br>
Gordon Fleming: Gigi<br>
Norman Leslie Orchestra: Gigi<br>
Nestor Amaral: Favorites from Italy</font></p>
</blockquote> <p class="style3"> <font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/M/morricone_good.htm" style="text-decoration: none; font-weight: 700">Ennio Morricone - </a></font><font size="2" face="Arial">The Good, The Bad And The Ugly • Original Motion Picture Soundtrack </font></p>
<p class="style3"><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/M/motels_rob.html" style="text-decoration: none; font-weight: 700">The
Motels</a> - Little Robbers</font></p>
<p class="style3"> <b> <font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/M/Mothers/mothers_ruben.html" style="text-decoration: none">The
Mothers of Invention</a> - </font></b><font size="2" face="Arial">Cruising
with Ruben and the Jets</font></p>
<p class="style3"><b><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/M/Mothers/mothers_worst_of.htm" style="text-decoration: none">The
Mothers of Invention</a> - </font></b><font size="2" face="Arial">The
**** of The Mothers </font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/M/mott_brain.html" style="text-decoration: none">Mott
the Hoople</a> - </b>Brain Capers</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/Mott/mott_dudes.htm" style="text-decoration: none">Mott
the Hoople</a> - </b>All the Young Dudes </font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/mottola_warm.html"><font face="Arial" size="2">Tony
Mottola (plus the Now Sound)</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">Warm,
Wild & Wonderful</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/mountain_climb.html"><font face="Arial" size="2">Mountain</font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">Climbing!</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/M/move_move.htm"><font size="2" face="Arial">The
Move </font></a><font face="Arial" size="2"> - </font></b><font face="Arial" size="2">The
Move </font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/M/mulligan_getz.html" style="text-decoration: none">Gerry
Mulligan</a> - </b>Gerry Mulligan Meets Stan Getz</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/murphie_tijuana.htm">Chips
Murphie & His Border Brass</a> - </b>This is Tijuana Country </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/M/Musselwhite/mussel_stand.htm" style="text-decoration: none">Charlie
Musselwhite</a> - </b>Stand Back! Here Comes Charley Musselwhite's Southside
Band</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/M/musselwhite_harm.html" style="text-decoration: none">Charlie
Musselwhite</a> - </b>The Harmonica According to...</font></p></td>
</tr>
<tr>
<td><font face="Arial" size="2"><a name="N" href="http://tralfaz-archives.com/coverart/N/N.html"> </a></font></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/N/N.html">The
Letter N </a></span></td>
</tr>
<tr>
<td><a href="#top" style="text-decoration: none"><font face="Arial" style="font-size: smaller">°°</font></a></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/N/Nash/nash_beginners.htm">Graham
Nash</a> - </b>Songs
for Beginners </font></p>
<p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/N/nean_twinkle.html" style="text-decoration: none">The
Neanderthals</a> - </b>Twinkle Toes b/w 2000 LB. Werewolf</font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/N/neil_hole.html" style="text-decoration: none">Neil</a> - </b>Hole
in My Shoe</font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/N/Nektar/Nektar_pages.html" style="text-decoration: none">Nektar</a> - </b></font> <font face="Arial" size="2">Come
Along for the Ride...</font></p>
<blockquote>
<p class="style17">A Tab in the Ocean<br>
Remember the Future<br>
Down to Earth<br>
Recycled<br>
Sunday Night at London Roundhouse<br>
Sounds Like This<br>
Journey to the Centre of the Eye<br>
Man in the Moon<br>
Magic is a Child</p>
</blockquote>
<p> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/N/Nelson/nelson_whirls.htm"><font face="Arial" size="2">Bill
Nelson</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">The
Love That Whirls (Diary of a Thinking Heart)</font></p>
<p><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/N/nelson_chance.html"><font face="Arial" size="2">Bill
Nelson</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Chance
Encounters in the Garden of Lights</font></p>
<p> <font size="2"><b> <a href="http://tralfaz-archives.com/coverart/N/nelson_and_then.html" style="text-decoration: none"><font face="Arial">Willie
Nelson</font></a><font face="Arial"> - </font></b></font> <font face="Arial" size="2">...And
Then I Wrote</font></p>
<p><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/N/newman_born.htm"><strong>Randy
Newman</strong></a> - Born Again </font></p>
<p> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/N/new_order_power.html"><font face="Arial" size="2">New
Order</font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">Power,
Corruption & Lies</font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/N/nrps_nrps.html" style="text-decoration: none">New
Riders of the Purple Sage</a> - </b>New Riders of the Purple
Sage</font></p>
<p> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/N/new_riders.html" style="text-decoration: none">New
Riders of the Purple Sage</a> - </b>The Adventures of Panama
Red</font></p>
<p> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/N/NYRE/NYRE_NYRE.html">The
New York Rock & Roll Ensemble</a> - </b>The New York Rock & Roll
Ensemble</font></p>
</td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/N/nyre_roll.html" style="text-decoration: none">The
New York Rock Ensemble</a> - </b>Roll Over<b> </b></font></p>
<p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/N/nice_autumn.html" style="text-decoration: none">The
Nice</a> - </b>Autumn to Spring</font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/N/nichols_beyond.html" style="text-decoration: none">Nichelle
Nichols</a> - </b>Beyond Antares b/w Uhura's Theme</font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/N/nilsson_dracula.html" style="text-decoration: none">Harry
Nilsson</a> - </b>Son of Dracula</font></p>
<p> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/N/Nimoy/nimoy_pages.html" style="text-decoration: none">Leonard
Nimoy</a> - </b></font> <font face="Arial" size="2">Enter Leonard's
Universe</font></p>
<blockquote>
<p><font face="Arial" size="2">The Way I Feel<br>
The Touch of Leonard Nimoy<br>
Space Odyssey<br>
Presents Mr. Spock's Music from Outer Space<br>
Two Sides of Leonard Nimoy<br>
Outer Space/Inner Mind </font></p>
</blockquote> <p> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/N/1910_123.html"><font face="Arial" size="2">1910
Fruitgum Co.</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">1,
2, 3 Red Light</font></p>
<p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/N/nixon_skid.htm" style="text-decoration: none">Mojo
Nixon and Skid Roper </a> - </b>Mojo Nixon and Skid Roper </font></p>
<p> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/N/nomads_out.html" style="text-decoration: none">The
Nomads</a> - </b>(I'm) Out of It b/w Fan Club</font></p>
<p> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/N/NRBQ/nrbq_dig.html"><font face="Arial" size="2">NRBQ</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Diggin'
Uncle Q</font></p>
<p><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/N/numan_pleasure.htm"><font size="2" face="Arial">Gary
Numan</font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">The
Pleasure Principle </font></p></td>
</tr>
<tr>
<td><font face="Arial" size="2"><a name="O" href="http://tralfaz-archives.com/coverart/O/O.html"> </a></font></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/O/O.html">The
Letter O </a></span></td>
</tr>
<tr>
<td><a href="#top" style="text-decoration: none"><font face="Arial" style="font-size: smaller">°°</font></a><font face="Arial" size="2"> </font></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p><font face="Arial" size="2"><a style="text-decoration: none; font-weight: 700" href="http://tralfaz-archives.com/coverart/O/oldintheway.html">Old
and in the Way</a> - Old and in the Way</font></p> <p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/O/oldfield_crises.html"><font face="Arial" size="2">Mike
Oldfield</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Crises</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/O/omega_time.html" style="text-decoration: none">Omega</a> - </b>Time
Robber</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/O/101_italian.html"><font face="Arial" size="2">101 Strings</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Italian Hits </font></p>
<p><span class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/O/101_jet_set.htm"><font face="Arial" size="2">101 Strings</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Sounds and Songs of the Jet Set </font></span></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/O/Orbison/orbison_pages.html" style="text-decoration: none">Roy
Orbison</a> - </b> </font> <font face="Arial" size="2">Enter
the Vault of Roy...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Orbiting with Roy Orbison<br>
At the Rock House<br>
Roy Orbison Sings<br>
There is Only One</font></p>
</blockquote> </td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/O/oregon_roots.htm" style="text-decoration: none">Oregon</a> - </b>Roots
in the Sky </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/O/orlando.html" style="text-decoration: none">Tony
Orlando & Dawn</a> - </b>Greatest Hits</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/O/ozzy.html" style="text-decoration: none">Ozzy
Osbourse</a> - </b>Bark at the Moon</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/O/osibisa.html" style="text-decoration: none">Osibisa</a> - </b>Osibisa</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/O/ossman_time.htm">Davis Ossman</a> - </b>How Time Flys</font></p></td>
</tr>
<tr>
<td><font face="Arial" size="2"> <a name="P" href="http://tralfaz-archives.com/coverart/P/P.html"> </a></font></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/P/P.html">The
Letter P </a></span></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" style="font-size: smaller"><a href="#top" style="text-decoration: none">°°</a></font></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/P/partridge_date.htm">The
Partridge Family</a> - </b>Up to Date </font></p>
<p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/P/pass_sign.html" style="text-decoration: none">Joe
Pass</a> - </b>A Sign of the Times</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/P/passport_infinity.html" style="text-decoration: none">Passport</a> - </b>Infinity
Machine</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/P/pent_sweet.htm"><strong>The
Pentangle</strong></a> - Sweet Child </font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/P/perrey-kingsley_in.html" style="text-decoration: none">Perrey-Kingsley</a> - </b>The
In Sound From Way Out</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/P/Peterson/peterson_pages.html" style="text-decoration: none">Oscar
Peterson </a> - </b></font> <font face="Arial" size="2">The
Prince of the Piano and His Friends...</font></p>
<blockquote>
<p class="style16">Night Train<br>
Hello Herbie<br>
The Trio<br>
Nigerian Marketplace<br>
At Newport<br>
Stan Getz and The Oscar Peterson Trio<br>
Soft Sands<br>
Jousts<br>
The Giants (Peterson, Pass & Brown)<br>
Tenderly</p>
</blockquote>
<p class="style3"> <font face="Arial" size="2"> </font><font face="Arial" size="2"><b><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/P/Phantom_Surfers/phantom_surfers_pages.htm">The
Phantom Surfers</a></b></font> - </b></font> <font face="Arial" size="2">Their
music, their craft... </font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Play The Music From The
Big-Screen Spectaculars!<br>
<font face="Arial" size="2">The Great Surf Crash Of '97</font><br>
<font face="Arial" size="2">The Exciting Sounds of Model Road Racing</font></font></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/P/Phillips/phillips_page.html" style="text-decoration: none">Anthony
Phillips</a> - </b></font> <font face="Arial" size="2">With Cover
Art By Peter Cross</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">The Geese and the Ghost<br>
Sides<br>
Antiques<br>
Wise After the Event<br>
Private Parts and Pieces</font></p>
</blockquote> <p class="style3"><font size="2"><b><a href="http://tralfaz-archives.com/coverart/P/phranc_folk.html" style="text-decoration: none"><font face="Arial">Phranc</font></a><font face="Arial"> - </font></b></font> <font face="Arial" size="2">Folksinger</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/P/pfloyd_animals.html" style="text-decoration: none">Pink
Floyd</a> - </b>Animals</font><font size="2"><b> </b></font></p>
</td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/P/Pink_Floyd/pink_floyd_relics.htm" style="text-decoration: none">Pink
Floyd</a> - </b>Relics</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/P/pitney_world.html"><font face="Arial" size="2">Gene
Pitney</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Sings
World Wide Winners</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/P/poco_crazy.htm">Poco</a> - </b>Crazy Eyes </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/P/pogues_grace.html" style="text-decoration: none">The
Pogues</a> - </b>If I Should Fall From Grace With God</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/P/polkacide.html" style="text-decoration: none">Polkacide</a> - </b>Polkacide</font></p>
<p class="style3"> <font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/P/poindexter.html" style="text-decoration: none"> Buster
Poindexter</a> - </b>Buster Poindexter</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/P/Ponty/ponty_pages.htm" style="text-decoration: none">Jean-Luc
Ponty</a> - </b>A man and his violin</font> </p>
<blockquote>
<p class="style16">Mystical Adventures<br>
Civilized Evil<br>
Fables<span class="style16"><br>
</span></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/P/pop_group_y.html" style="text-decoration: none">The
Pop Group</a> - </b>Y</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/P/post_hill.htm">Mike
Post</a> - </b>The
Theme From Hill Street Blues </font></p>
<p class="style3"> <font face="Arial" size="2"> <b> </b></font><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/P/Prado/prado_king.html">Perez
Prado and His Orchestra </a> - </b>Mambo By the King</font></p>
<p class="style3"><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/P/Prado/pradomania.htm">Perez
Prado and His Orchestra </a> - </b>Prado Mania </font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/P/pfm_pass.html" style="text-decoration: none">Premiata
Forneria Marconi (PFM) </a> - </b>Passpartu</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/P/PFM/pfm_world.htm" style="text-decoration: none">Premiata
Forneria Marconi (PFM) </a> - </b>The World Became the World</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/P/prima_wild.html">Louis
Prima </a> - </b>Call of the Wildest</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/P/Prima/prima_together.htm">Louis
Prima and Keely Smith</a> - </b>Together</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/P/procol_1st.html" style="text-decoration: none">Procol
Harum</a> - </b>Procol Harum</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/P/pufnstuff.htm" style="text-decoration: none">Pufnstuff</a> - </b>Pufnstuf Original Sound Track Album</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/P/purple_rides.html" style="text-decoration: none">The
Purple Helmets</a> - </b>The Purple Helmets Ride Again</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/P/Purple_Helmets/purple_brand.htm" style="text-decoration: none">The
Purple Helmets</a> - </b>Brand New Cadillac</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/P/pussycats.html" style="text-decoration: none">Pussy
Cats</a> - </b>Harry Nilsson and John Lennon</font></p></td>
</tr>
<tr>
<td><font face="Arial" size="2"> <a name="Q" href="http://tralfaz-archives.com/coverart/Q/Q.html"> </a></font></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/Q/Q.html">The
Letter Q </a></span></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" style="font-size: smaller"><a href="#top" style="text-decoration: none">°°</a></font></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/Q/queen_flash.html" style="text-decoration: none">Queen</a> - </b>The
Original Flash Gordon Soundtrack</font></p>
<p class="style3"><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/Q/Quicksilver/quicksilver_pages.htm">Quicksilver
Messenger Service </a> - </b></font> <font face="Arial" size="2">Songs
of the Sixties and More..</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Just
For Love <br>
What
About Me <br>
Shady
Grove <br>
Happy
Trails </font></p>
</blockquote></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"> </td>
</tr>
<tr>
<td><font face="Arial" size="2"> <a name="R" href="http://tralfaz-archives.com/coverart/R/R.html"> </a></font></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/R/R.html">The
Letter R </a></span></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" style="font-size: smaller"> <a href="#top" style="text-decoration: none"> °°</a></font></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/R/ramjam.html" style="text-decoration: none">Ram
Jam</a> - </b>Ram Jam</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/R/Ramones/joey_rock.htm">Joey
Ramone</a> - </b>Rock "N
Roll is the Answer </font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/R/Ramones/joey_christmas.htm"><strong>Joey
Ramone</strong></a> - Christmas
spirit...In My House </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/R/ramones.html" style="text-decoration: none">Ramones</a> - </b>Road
to Ruin</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/R/Ramones/ramones_meltdown.htm"><strong>Ramones</strong></a> - Meltdown With
The Ramones </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/R/rampal.html" style="text-decoration: none">Jean-Pierre
Rampal</a> - </b>Japanese Melodies for Flute and Harp</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/R/rank_and_file_sun.htm"><strong>Rank
and File</strong></a> - Sundown </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/R/rare_air.html" style="text-decoration: none">Rare
Air</a> - </b>Space Piper</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/R/rare_earth_get.html"><font face="Arial" size="2">Rare
Earth</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Get
Ready</font></p>
<p class="style3"><font face="Arial" size="2"><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/R/Raybeats/raybeats_pages.htm"><strong>The
Raybeats</strong></a></font><b> - </b></font> <font face="Arial" size="2">Surf's
Up! </font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2"><font face="Arial" size="2"><b> </b><font face="Arial" size="2">Guitar
Beat</font></font><br>
<font face="Arial" size="2">Roping Wild Bears</font><br>
It's Only a Movie </font></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/R/redbone_double.htm" style="text-decoration: none">Leon
Redbone </a> - </b>Double Time </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/R/reed_best.html" style="text-decoration: none">Jimmy
Reed</a> - </b>The Very Best of Jimmy Reed</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/R/Reed/reed_new_york.htm" style="text-decoration: none">Lou
Reed</a> - </b>New York </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/R/rein_quin.htm" style="text-decoration: none">Django
Reinhardt </a> - </b>The Quintette of the Hot Club of France
- Volume 1</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/R/rem_chronic.html" style="text-decoration: none">REM</a> - </b>Chronic
Town</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/R/Renaissance/renaiss_scheh.htm" style="text-decoration: none">Renaissance</a> - </b>Scheherazade
and Other Stories </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/R/replacements_pleased.html" style="text-decoration: none">The
Replacements</a> - </b>Pleased to Meet Me</font></p>
<p class="style3"><font face="Arial" size="2"><b><font face="Arial" size="2"><a
href="http://tralfaz-archives.com/coverart/R/Return/return_to_forever_pages.htm" style="text-decoration: none">Return
to Forever</a></font> - </b></font> <font face="Arial" size="2">Music
for your Mind... </font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2"><font face="Arial" size="2"><b> </b>Romantic
Warrior</font><br>
<font face="Arial" size="2">Musicmagic</font><br>
Live</font></p>
</blockquote>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/R/Revere/revere_pages.htm">Paul
Revere & the Raiders</a> - </b>This is Where the Action Is!</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2"><font face="Arial" size="2"><b> </b>Here They Come<br>
Just Like Us<br>
Goin' to Memphis</font></font></p>
</blockquote>
<p class="style3"><font size="2" face="Arial"><strong><a href="http://tralfaz-archives.com/coverart/R/richards_one.htm">Keith
Richards</a></strong> - One Stone
Alone </font></p></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/R/richman_back.html" style="text-decoration: none">Jonathan
Richman</a> - </b>Back in Your Life</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/R/righteous_back.html" style="text-decoration: none">The
Righteous Brothers</a> - </b>Back to Back</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/R/riley_harper.htm">Jeannie
C. Riley</a> - </b>Harper
Valley P.T.A<b>. </b></font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/R/rip_chords_cobra.htm">The
Rip Chords </a>- </b><b></b>Hey Little Cobra and Other Hot Rod
Hits</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/R/ripley_revenge.html" style="text-decoration: none">Duane
Ripley and His Go Go Set</a> - </b>Revenge of the 50 Foot Killer
Go-Go Girls (From Outer Space)</font></p>
<p class="style3"> <font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/R/rivers_rocks.html" style="text-decoration: none"> Johnny
Rivers</a> - </b>Rivers Rocks the Folk</font></p>
<p class="style3"> <font face="Arial" size="2"> <b> </b></font><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/R/rivers_gogo.html" style="text-decoration: none">Johnny
Rivers</a> - </b>At the Whisky a Go Go</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/R/robbins_devil.html"><font face="Arial" size="2">Marty
Robbins</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Devil
Woman</font></p>
<p class="style3"> <b><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/R/robins_away.html" style="text-decoration: none">Smokey
Robinson and the Miracles</a> - </font></b> <font face="Arial" size="2">Away
We A' Go-Go</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/R/rogers_martians.html"><font face="Arial" size="2">Shorty
Rogers and His Giants</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Martians
Come Back!</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/R/Rstones/rstones_pages.html">The
Rolling Stones</a> - </b></font> <font face="Arial" size="2">Ladies
and Gentlemen Presenting...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2"> Gimmee Shelter<br>
Flowers<br>
Let It Bleed<br>
Sticky Fingers<br>
Their Satanic Majesties Request<br>
Out of Our Heads<br>
Between the Buttons<br>
Miss You/Far Away Eyes<br>
</font></p>
</blockquote> <p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/R/rollins_bridge.htm"><font face="Arial" size="2">Sonny
Rollins </font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">The
Bridge </font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/R/roper_lydia.html"><font face="Arial" size="2">Skid
Roper</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Lydia's
Cafe</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/R/rose_some.htm"><font face="Arial" size="2">Kristi
Rose and the Midnight Walkers</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Some
People </font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/R/rugolo_bugs.htm"><font size="2" face="Arial">Pete
Rugolo And His Orchestra</font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">Music
for Hi-Fi Bugs</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/R/Rundgren/rundgren_wizard.html"><font face="Arial" size="2">Todd
Rundgren</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">A
Wizard, A True Star</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/R/rush_moving.html" style="text-decoration: none">Rush</a> - </b>Moving
Pictures</font></p>
<p class="style3"><span class="style19"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/R/rutherford_mike_working.htm">Mike Rutherford</a></font></span> - <font size="2" face="Arial">Working
In Line/Compression</font></p></td>
</tr>
<tr>
<td><font face="Arial" size="2"><a name="S" href="http://tralfaz-archives.com/coverart/S/S.html"> </a></font></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/S/S.html">The
Letter S </a></span></td>
</tr>
<tr>
<td><p class="style3"><font face="Arial" style="font-size: smaller"><a href="#top" style="text-decoration: none">°°</a></font><font face="Arial" size="2"></font></p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"> </p>
<p class="style3"><font face="Arial" style="font-size: smaller"><a href="#top" style="text-decoration: none">°°</a></font><font face="Arial" size="2"></font></p></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"> <a href="http://tralfaz-archives.com/coverart/S/sahm_groovers.htm" style="text-decoration: none; font-weight: 700"> Doug
Sahm - </a>Groovers Paradise </font></p>
<p class="style3"><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/S/Sahm/sahm_border.htm" style="text-decoration: none; font-weight: 700">Sir
Douglas Quintet (Doug Sahm) - </a>Border Wave </font></p>
<p class="style3"><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/S/sancious_trans.html" style="text-decoration: none; font-weight: 700">David
Sancious and Tone</a> - Transformation (The Speed of Love)</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/S/sandals_end.htm">The
Sandals</a> - </b>The
Endless Summer </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/santana_abraxas.html" style="text-decoration: none">Santana</a> - </b>Abraxas</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/S/santana_beyond.html" style="text-decoration: none">Santana</a> - </b>Beyond
Appearances</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/SandJ.html"><font face="Arial" size="2">Santo & Johnny</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Santo & Johnny</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/S/satan_pilg_soul.html" style="text-decoration: none">Satan's
Pilgrims</a> - </b>Soul Pilgrim</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/Savoy_Brown/sbrown_look.html"><font face="Arial" size="2">Savoy
Brown</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Looking
In</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/scaggs_boz.html" style="text-decoration: none">Boz
Scaggs</a> - </b>Boz Scaggs</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/schifrin_miss.htm">Lalo
Schifrin</a> - </b>Music
From Mission Impossible </font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/S/schory_wild.html" style="text-decoration: none">Dick
Schory's New Percussion Ensemble</a> - </b>Wild Percussion and
Horn's A'Plenty</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/schulz_charlie.html"><font face="Arial" size="2">Charles
M. Schulz</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">A
Charlie Brown Christmas</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/sheron_south.htm"><font face="Arial" size="2">Gil
Scott-Heron and Brian Jackson </font> </a><font face="Arial" size="2">- </font></b> <font size="2" face="Arial">From
South Africa to South Carolina</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/segovia_bach.html"><font face="Arial" size="2">Andre
Segovia</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Bach: Chaconne</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/S/setzer_rockabilly.htm"><strong>Brian
Setzer</strong></a> - Rockabilly
Riot! </font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/S/sf_seals_ipecac.htm"><strong>SF
Seals</strong></a> - Ipecac/How Did
You Know?</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/S/sf_seals_still.htm"><strong>SF
Seals</strong></a> - Still?/Don't Underestimate Me</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/shadowy_pets.html" style="text-decoration: none">Shadowy
Men on a Shadowy Planet</a> - </b>Music for Pets</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/shakti_handful.html" style="text-decoration: none">Shakti</a> - </b>A
Handful of Beauty</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/S/shankar_six.htm"><strong>Ravi
Shankar</strong></a> - Six Ragas </font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/S/shearing_swingin.htm"><strong>George
Shearing Quintet with Nancy Wilson</strong></a> -
The Swingin's Mutual!</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/sholle_catfish.html" style="text-decoration: none">Jon
Sholle</a> - </b>Catfish for Supper</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/Shonen_Knife/shonen_pages.html">Shonen
Knife</a> - </b></font> <font face="Arial" size="2">AKA The Osaka
Ramones</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2"> Secret No. 712<br>
E.S.P.<br>
Brand New Knife<br>
Fun! Fun! Fun!<br>
</font></p>
</blockquote>
<p class="style3"> <font face="Arial" size="2"><b> </b></font><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/silva_remnants.html" style="text-decoration: none">Jimmy
Silva</a> - </b>The Remnants of the Empty Set</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/silva_fly.html" style="text-decoration: none">Jimmy
Silva</a> - </b>Fly Like a Dog</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/S/silver_piano.htm"><strong>Eric
Silver </strong></a>- Piano Hi-Fi </font></p>
<p class="style3"> <b><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/S/silverstein_where.html" style="text-decoration: none">Shel
Silverstein</a> - </font></b> <font face="Arial" size="2">Where
the Sidewalk Ends</font></p>
<p class="style3"><b><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/S/silverstein_freak.htm" style="text-decoration: none">Shel
Silverstein</a> - </font></b> <font size="2" face="Arial">Freakin' at
the Freakers Ball </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/simone_blue.html" style="text-decoration: none">Nina
Simone</a> - </b>Little Girl Blue</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/S/sinatra.html" style="text-decoration: none">Frank
Sinatra</a> - </b>Sings for Only the Lonely</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/nsinatra_boots.html" style="text-decoration: none">Nancy
Sinatra</a> - </b>Boots</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/S/slade_alive.html" style="text-decoration: none">Slade</a> - </b>Slade
Alive!</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/Slade/slade_crackers.htm" style="text-decoration: none">Slade</a> - </b>Crackers</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/S/smfaces_ogden.html" style="text-decoration: none">The
Small Faces</a> - </b>Ogden's Nut Gone Flake</font></p>
<p class="style3"> <b> </b><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/Smith_Jimmy/smith_jimmy_pages.htm"><font face="Arial" size="2">Jimmy
Smith </font></a> <font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">The
Keyboards of... </font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">
Midnight Special<br>
The Dynamic Duo<br>
Who's Afraid of Virginia Woolf? <br>
Bashin' - The Unpredictable Jimmy Smith</font></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/smith_because.html" style="text-decoration: none">Patti
Smith Group</a> - </b>Because the Night b/w Rock 'n Roll Star</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/S/smith_wave.html" style="text-decoration: none">Patti
Smith Group</a> - </b>Wave</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/smithereens_green.html" style="text-decoration: none">The
Smithereens</a> - </b>Green Thoughts</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/S/smothers_onion.html" style="text-decoration: none">The
Smothers Brothers</a> - </b>...at the Purple Onion</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/S/snow.html" style="text-decoration: none">Phoebe
Snow</a> - </b>Phoebe Snow</font></p>
<p class="style3"> <font face="Arial" size="2"> <b> </b></font><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/snyder_perc.html" style="text-decoration: none">Terry
Snyder and the All Stars</a> - </b>Persuasive Percussion Volume
2</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/social_D.html" style="text-decoration: none">Social
Distortion</a> - </b>Social Distortion</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/soft_cell_non.html" style="text-decoration: none">Soft
Cell</a> - </b>Non-Stop Erotic Cabaret</font></p>
<p class="style3"> <font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/S/Sonny_and_Cher/sonny_pages.html" style="text-decoration: none">Sonny
and Cher </a> - </b></font> <font face="Arial" size="2">Their
Music and Style ...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2"> Look
at Us<br>
All
I Ever Need Is You<br>
Mama
Was a Rock and Roll Singer...</font></p>
</blockquote> <p class="style3"><font face="Arial" size="2"><br>
</font><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/sons_west.html"><font face="Arial" size="2">Sons
of the Purple Sage</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Western
Favorites</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/sopwith_sop.htm" style="text-decoration: none">Sopwith
Camel </a> - </b>Sopwith Camel </font> </p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/sounds_space.html" style="text-decoration: none">Sounds
in Space</a> - </b>Sounds in Space</font></p>
</td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/Scots/scots_trouse.htm"><font face="Arial" size="2">Southern
Culture on the Skids </font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Party
at My Trouse </font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/sparks_kimono.html"><font face="Arial" size="2">Sparks</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Kimono
My House</font></p>
<p class="style3"><font size="2" face="Arial"><strong><a href="http://tralfaz-archives.com/coverart/S/sparks_pulling.htm">Sparks</a></strong> - Pulling Rabbits
Out of a Hat</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/speedway_drives.htm"><font face="Arial" size="2">Speedway</font></a><font face="Arial" size="2"> - </font></b> <font size="2" face="Arial">He
Drives Me Wild </font></p>
<p class="style3"><b><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/S/spiral_more.htm">Spiral Starecase</a> - </font></b> <font size="2" face="Arial">More Today Than Yesterday</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/Spirit/spirit_pages.html" style="text-decoration: none">Spirit</a> - </b></font> <font face="Arial" size="2">Music
from the Family ...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Spirit<br>
The
Twelve Dreams of Dr. Sardonicus<br>
The
Adventures of Kaptain Kopter & Commander Cassidy in Potato Land<br>
The
Family That Plays Together <br>
</font> </p>
</blockquote> <p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/split_enz_true.html" style="text-decoration: none">Split
Enz</a> - </b>True Colors</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/S/spooky_tooth.html" style="text-decoration: none">Spooky
Tooth</a> - </b>The Mirror</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/spotnicks_paris.html" style="text-decoration: none">The
Spotnicks</a> - </b>Live in Paris</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/springfield_memphis.htm">Dusty Springfield</a> - </b>Dusty in Memphis</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/squire_fish.html"><font face="Arial" size="2">Chris
Squire</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Fish
Out of Water</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/Steeleye_Span/steeleye_pages.html" style="text-decoration: none">Steeleye
Span</a> - </b></font> <font face="Arial" size="2">Spanning the
Spectrum...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Storm
Force Ten<br>
Now
We Are Six<br>
All
Around My Hat<br>
Below
the Salt</font></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/S/steppenwolf_1st.html" style="text-decoration: none"> Steppenwolf</a> - </b>Steppenwolf</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/sterling_cocktail.html"><font face="Arial" size="2">Jack
Sterling and His Quintet</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Cocktail
Swing</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/S/Stevens/cats_pages.html" style="text-decoration: none">Cat
Stevens</a> - </b></font> <font face="Arial" size="2">Listen
to the Music of the Cat</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2"> Buddha
and the Chocolate Box<br>
Teaser
and the Firecat<br>
The
World of Cat Stevens<br>
Tea
for the Tillerman</font></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/Stewart_Al/stewart_al_orange.htm" style="text-decoration: none">Al
Stewart</a> - </b>Orange</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/stewart_cat.html" style="text-decoration: none">Al
Stewart</a> - </b>Year of the Cat</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/stewart_sing.html" style="text-decoration: none">Rod
Stewart</a> - </b>Sing It Again Rod</font></p>
<p class="style3"><font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/S/stewart_coast.htm" style="text-decoration: none"> Rod
Stewart and the Faces</a> - </b>Coast to Coast </font></p>
<p class="style3"> <font face="Arial" size="2"><b> </b></font><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/Stranglers/stranglers.html" style="text-decoration: none">The
Stranglers</a> - </b></font> <font face="Arial" size="2">This
Way to the Land of the Stranglers</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2"> The Raven (in 3D)<br>
Duchess b/w Fools Rush Out<br>
Sverige b/w In the Shadows<br>
Something Better Change<br>
Skin Deep<br>
Midnight Summer Dream b/w Vladimir & Olga<br>
Nice in Nice b/w Since You Went Away<br>
Don't Bring Harry + 3 More...<br>
Feline<br>
Long Black Veil / Waltzinblack<br>
Dreamtime<br>
Golden Brown/Strange Little Girl</font></p>
</blockquote> <p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/straw_incense.html"><font face="Arial" size="2">The
Strawberry Alarm Clock</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Incense
and Peppermints</font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/S/strawbs_burst.htm"><strong>The
Strawbs</strong></a> - Bursting
at the Seams</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/sugarloaf_sugarloaf.htm">Sugarloaf</a> - </b>Sugarloaf</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/S/sumac_xtabay.html" style="text-decoration: none">Yma
Sumac</a> - </b>Voice of Xtabay</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/sunshine_co.html"><font face="Arial" size="2">The
Sunshine Company</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">The
Sunshine Company</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/Supersuckers/supersuckers_pages.html" style="text-decoration: none">The
Supersuckers</a> - </b></font> <font face="Arial" size="2">C'mon
in, They're a-Waitin' on Ya...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">The
Smoke of Hell<br>
400
Bucks / Caliente<br>
Must've
Been High<br>
The
Sacrilicious Sounds of...</font></p>
</blockquote> <p class="style3"> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/Supremes/Supremes_pages.htm">The
Supremes</a> - </b></font> <font face="Arial" size="2">The Songs
of the Supremes</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">
I Hear a Symphony<br>
Love Child<br>
A' Go-Go<br>
A Bit of Liverpool</font></p>
</blockquote> <p class="style3"> <font face="Arial" size="2"> <b> <a href="http://tralfaz-archives.com/coverart/S/surfers_islands.html" style="text-decoration: none"> The
Surfers</a> - </b>The Islands Call</font></p>
<p class="style3"> <font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/S/surfin_dave.html" style="text-decoration: none"> Surfin'
Dave and the Absent Legends</a> - </b>In Search of a Decent Haircut</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/surf_trio_forbidden.html" style="text-decoration: none">The
Surf Trio</a> - </b>Forbidden Sounds</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/S/surfrajettes_party.htm" style="text-decoration: none">The
Surfrajettes </a> - </b>Party Line/Toxic</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/S/Synergy/synergy_pages.html"><font face="Arial" size="2">Synergy</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">The
Electronic Worlds of Larry Fast</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Electric
Realizations for Rock Orchestra<br>
Sequencer<br>
Cords</font></p>
</blockquote></td>
</tr>
<tr>
<td><font face="Arial" size="2"><a name="T" href="http://tralfaz-archives.com/coverart/T/T.html"> </a></font></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/T/T.html">The
Letter T </a></span></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" style="font-size: smaller"><a href="#top" style="text-decoration: none">°°</a></font></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/T/tad_loser.html" style="text-decoration: none">Tad</a> - </b> Loser
B/W Cooking With Gas</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/T/Tail_Gators/Tail_Gators_pages.htm">The
Tail Gators</a> </b> -
The real stuff right here sir...</font></p>
<blockquote>
<p class="style3"> <font face="Arial" size="2">Swamp Rock <br>
Mumbo Jumbo <br>
Tore Up </font></p>
</blockquote>
<p><font face="Arial" size="2"><a href="http://tralfaz-archives.com/coverart/T/theads_creatures.html" style="text-decoration: none"><b>Talking
Heads</b></a><b> - </b>Little Creatures</font></p>
<p> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/T/theads_ton.html" style="text-decoration: none">Talking
Heads</a> - </b>Speaking in Tongues</font></p>
<p> <font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/T/Tangerine_Dream/tangerine_pages.html" style="text-decoration: none">Tangerine
Dream</a> - </b> </font> <font face="Arial" size="2">Enter the
Worlds of the Tangerine Dream...</font></p>
<blockquote>
<p><font face="Arial" size="2">Ricochet<br>
Green Desert<br>
Force Majeure<br>
Stratosfear</font></p>
</blockquote> <p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/T/totz_alien.html" style="text-decoration: none">Tater
Totz</a> - </b>Alien Sleestacks From Brazil</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/T/tatum_piano.htm" style="text-decoration: none">Art
Tatum </a> - </b>Piano Starts Here </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/T/bram.html" style="text-decoration: none">Bram
Tchaikovsky</a> - </b>Pressure</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/T/tchai_strange.htm" style="text-decoration: none">Bram
Tchaikovsky</a> - </b>Strange Man, Changed Man</font></p>
<p><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/T/TYA/tya_pages.htm" style="text-decoration: none">Ten
Years After </a> - </b> </font> <font face="Arial" size="2">Alvin
Lee and Co.</font></p>
<blockquote>
<p><font face="Arial" size="2">Ten Years After<br>
Watt<br>
A Space in Time</font></p>
</blockquote> <p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/T/Thompson/thompson_small.htm"><strong>Richard
Thompson </strong></a>- Small
Town Romance </font></p>
<p class="style3"><font size="2" face="Arial"><a href="http://tralfaz-archives.com/coverart/T/Thompson/thompson_haul.htm"><strong>Richard
Thompson </strong></a>- Haul Me Up </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/T/3dognite_gold.html" style="text-decoration: none">Three
Dog Night</a> - </b>Golden Bisquits</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/T/Three_Johns/three_johns.html" style="text-decoration: none">The
Three Johns</a> - </b></font> <font face="Arial" size="2">Don't
Be Scared Children...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">The
Death of Everything<br>
A.W.O.L<br>
Brainbox
(He's a Brainbox)<br>
Demonocracy
- The Singles<br>
Never
and Always<br>
Some
History<br>
The
World of the Workers<br>
Death
of the European<br>
World
By Storm<br>
Atom
Drum Bop<br>
Live
in Chicago</font></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/T/3suns_soft.html" style="text-decoration: none">The
Three Suns</a> - </b>Soft and Sweet</font><font face="Arial" size="2"><br>
</font> <font face="Arial" size="2"> </font></p>
</td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/T/Three_Suns/3suns_ball.html">The
Three Suns</a> - </b>Having a Ball With...</font><font face="Arial" size="2"></font><font face="Arial" style="font-size: smaller"> </font> </p>
<p class="style3"><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/T/Timms/timms_pages.html">Sally
Timms and the Drifting Cowgirls</a> - </b></font> <font face="Arial" size="2">She
of the Velvet Voice</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">This
House is a House of Trouble<br>
Somebody's
Rocking My Dreamboat<br>
The
Butcher's Boy EP</font></p>
</blockquote> <p class="style3"> <font face="Arial" size="2"><b> <a
href="http://tralfaz-archives.com/coverart/T/hobbit.html" style="text-decoration: none"> J.
R. R. Tolkien</a> - </b>The Hobbit</font></p>
<p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/T/tjader_soul.htm" style="text-decoration: none">Cal
Tjader </a> - </b>Soul Sauce </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/T/Tomita/tomita_pages.html" style="text-decoration: none">Tomita</a> - </b></font> <font face="Arial" size="2">He,
Who is Tomita...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Snowflakes are Dancing<br>
The Planets<br>
Firebird<br>
The Bermuda Triangle<br>
Bolero</font></p>
</blockquote> <p class="style3"> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/T/Tosh/tosh_pages.html">Peter
Tosh</a></b> - Find Peace with Peter...</font></p>
<blockquote>
<p class="style3"><a href="#top" style="text-decoration: none"> </a><font face="Arial" size="2">Bush
Doctor<br>
Legalize
It<br>
Mama
Africa<br>
</font></p>
</blockquote> <p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/T/townshend_empty.html" style="text-decoration: none">Pete
Townshend</a> - </b>Empty Glass</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/T/trace_birds.html">Trace</a> - </b> Birds</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/T/Traffic/traffic_low.html"><font face="Arial" size="2">Traffic</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">The
Low Spark of High Heeled Boys</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/T/Traffic/traffic_shoot.html">Traffic</a> - </b> Shoot
out at the Fantasy Factory</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/T/trapeze_final.html" style="text-decoration: none">Trapeze</a> - </b> The
Final Swing</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/T/troglo.html" style="text-decoration: none">Troglomen</a> - </b> Ding
Dong</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/T/trower_sighs.html" style="text-decoration: none">Robin
Trower</a> - </b>Bridge of Sighs</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/T/trower_blt.html" style="text-decoration: none">Robin
Trower</a> - </b>B.L.T.</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/T/turrentine_sugar.html" style="text-decoration: none">Stanley
Turrentine</a> - </b>Sugar</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/T/Turrentine/turrentine_rough.htm" style="text-decoration: none">Stanley
Turrentine</a> - </b>Rough 'N Tumble </font></p>
<p class="style3"><a href="#top" style="text-decoration: none"> </a><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/T/turtles_gold.html" style="text-decoration: none">The
Turtles</a> - </b>Golden Hits</font></p></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" size="2"><a name="U" href="http://tralfaz-archives.com/coverart/U/U.html"> </a></font></span></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/U/U.html">The
Letter U </a></span></td>
</tr>
<tr>
<td><span class="style3"><a href="#top" style="text-decoration: none"><font face="Arial" style="font-size: smaller">°°</font></a></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><b><font face="Arial" size="2"> </font> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/U/U2_war.html"> <font face="Arial" size="2">U2</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">War</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/U/ub40_rat.htm"><font face="Arial" size="2">UB40</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Rat
in the Kitchen </font></p>
<p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/U/ullman.html" style="text-decoration: none">Tracey
Ullman</a> - </b>You Broke My Heart in 17 Places</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/U/ultravox_quartet.html" style="text-decoration: none">Ultravox</a> - </b>Quartet</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/U/undertones.html" style="text-decoration: none">The
Undertones</a> - </b>The Undertones</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/U/union_gap_woman.html" style="text-decoration: none">The
Union Gap</a> (featuring Gary Puckett) - </b>Woman, Woman</font></p>
</td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/U/UTs_live.html" style="text-decoration: none">The
Untouchables</a> - </b>Live and Let Dance</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/U/Uriah_Heep/heep_1st.htm">Uriah
Heep</a> - </b>Uriah Heep</font></p>
<p class="style3"><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/U/U_Heep_wizard.html">Uriah
Heep</a> - </b>Demons and Wizards</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/U/utopia_deface.html" style="text-decoration: none">Utopia</a> = </b>Deface
the Music</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/U/Utopia/utopia_ra.htm" style="text-decoration: none">Utopia</a> = </b>RA</font></p></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" size="2"><a name="V" href="http://tralfaz-archives.com/coverart/V/V.html"> </a></font></span></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/V/V.html">The
Letter V </a></span></td>
</tr>
<tr>
<td><span class="style3"><a href="#top" style="text-decoration: none"><font face="Arial" style="font-size: smaller">°°</font></a></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><a href="#top" style="text-decoration: none"></a><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/V/van_halen_1984.html" style="text-decoration: none">Van
Halen</a> - </b>MCMLXXXIV</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/V/vangelis_heaven.html" style="text-decoration: none">Vangelis</a> - </b>Heaven
and Hell</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/V/vanilla_fudge_near.html" style="text-decoration: none">Vanilla
Fudge</a> - </b>Near the Beginning</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/V/van_zandt_flyin.htm" style="text-decoration: none">Townes
Van Zandt </a> - </b>Flyin' Shoes </font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/V/Various/various_artists.html" style="text-decoration: none">Various
Artists</a> - </b></font> <font face="Arial" size="2">Click Here
for Soundtracks and Multiple Artist Collections</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">20 Explosive Dynamic
Super Smash Hit Explosions!<br>
20 Explosive Hits<br>
2001 A Space Odyssey<br>
21 Golden Gate Greats - KYA 1260<br>
Camelot - The Al Goodman Orchestra, Richard Torigi<br>
Dance Craze: The Best of British Ska...Live!<br>
Every Band Has a Shonen Knife Who Loves Them<br>
Fast Product - The First Year Plan<br>
First Vibration<br>
Fruity - The New Age of Warner Bros. / Reprise<br>
Hillbilly Jazz Volume 1<br>
The Hit-Kickers Series - Vol. 9<br>
The Jetsons - The First Family on the Moon (1965)<br>
The Jetsons - The First Family on the Moon (1977)<br>
The Joe Gibbs Family of Artists: Reggae Christmas<br>
La Bamba<br>
Las Vegas Grind, Volume Four<br>
Legend - Tangerine Dream<br>
Mar Y Sol: The First International Puerto Rico Pop Festival<br>
Mondo Drive-In<br>
Music to Read James Bond By<br>
The New Spirit of Capitol<br>
New Underground<br>
Odyssey from Altec<br>
Pop Hits - Country Flavored<br>
Rock Then & Now!<br>
The Rykodisc/Hannibal Fall '94 Collection<br>
San Francisco Sound<br>
San Jose is Ground Zero<br>
The Super Groups<br>
Surfin' Roots<br>
</font><font face="Arial" size="2"><br>
<br>
</font><font face="Arial" size="2"> </font><font face="Arial" size="2"> </font></p>
</blockquote></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/V/Various/various_artists.html" style="text-decoration: none">Various
Artists (cont.)</a> - </b></font> <font face="Arial" size="2">Click Here
for Soundtracks and Multiple Artist Collections</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">'Til Things are Brighter<br>
Time to Get It Together<br>
To Sir With Love - Lulu, The Mind Benders<br>
A Very Special Christmas<br>
We Do 'em Our Way<br>
Well Up and Bubble<br>
When the Boys Meet the Girls - Herman's Hermits, Connie Francis, Sam the Sham and more...<br>
Windham Hill Records Sampler '84<br>
</font></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/V/vaughan_sweet.html" style="text-decoration: none">Sarah
Vaughan</a> - </b>Sweet, Sultry and Swinging</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/V/VU/VU_pages.htm" style="text-decoration: none">The
Velvet Underground </a> - </b> </font> <font face="Arial" size="2">An
American Original </font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">& Nico <br>
White Light/White Heat <br>
Loaded</font></p>
</blockquote>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/V/ventures/ventures_covers.html" style="text-decoration: none">The
Ventures</a> - </b> </font> <font face="Arial" size="2">This
Way to the Ventures Section</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2"> Play Telstar...<br>
Flights of Fantasy<br>
The Guitar Genius of the Ventures<br>
Mashed Potatoes and Gravy<br>
$1,000,000 Weekend<br>
Another Smash!!!<br>
Hawaii Five-O<br>
The Ventures "visual sound STEREO"<br>
Surfin' & Spyin'<br>
Guitar Freakout<br>
Colorful Ventures<br>
10th Anniversary Album<br>
Knock Me Out!<br>
I Walk the Line (and Other Giant Hits)</font></p>
</blockquote> <p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/V/Verlaine/verlaine_pages.html" style="text-decoration: none">Tom
Verlaine </a> - </b> </font> <font face="Arial" size="2">Life
After Television... </font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Dreamtime <br>
Words
From the Front <br>
Flash
Light </font></p>
</blockquote> <p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/V/vfemmes.html" style="text-decoration: none">Violent
Femmes</a> - </b>Violent Femmes</font></p>
<p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/V/violent_naked.htm" style="text-decoration: none">Violent
Femmes</a> - </b>The Blind Leading the Naked </font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/V/vollen_caverna.html"><font face="Arial" size="2">Andreas
Vollenweider</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Caverna
Magica</font></p></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" size="2"><a name="W" href="http://tralfaz-archives.com/coverart/W/W.html"> </a></font></span></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/W/W.html">The
Letter W </a></span></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" style="font-size: smaller"><a href="#top" style="text-decoration: none">°°</a></font></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/W/wakeman_silent.html" style="text-decoration: none">Rick
Wakeman</a> - </b>Silent Nights</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/W/wall_do.html" style="text-decoration: none">Wall
of Voodoo</a> - </b>Do It Again</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a href="http://tralfaz-archives.com/coverart/W/washington_wine.html" style="text-decoration: none">Grover
Washington Jr.</a> - </b>Winelight</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/W/watkins_frames.html" style="text-decoration: none">Kit
Watkins</a> - </b>Frames of Mind</font></p>
<p class="style3"> <font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/W/Weather_Report/weather_report_pages.html" style="text-decoration: none"> Weather
Report</a> - </b></font> <font face="Arial" size="2">To the Weather
Pages...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Heavy
Weather<br>
I
Sing the Body Electric<br>
Mr.
Gone</font></p>
</blockquote> <p class="style3"> <b> <font face="Arial" size="2"> </font> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/W/webb_pete.html"> <font face="Arial" size="2">Jack
Webb</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Pete
Kelly's Blues (Soundtrack)</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/W/weir.html" style="text-decoration: none">Bob
Weir</a> - </b> Ace</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/W/west_fatsby.htm"><font face="Arial" size="2">Leslie
West</font></a><font face="Arial" size="2">- </font></b> <font face="Arial" size="2">The
Great Fatsby </font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/W/WBL_whatever.html"><font face="Arial" size="2">West,
Bruce & Laing</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Whatever
Turns You On</font></p>
<p class="style3"> <font face="Arial" size="2"> <b> <a href="http://tralfaz-archives.com/coverart/W/weston_sweet.html" style="text-decoration: none"> Paul
Weston</a> - </b>The Sweet and the Swingin'</font></p>
<p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/W/white_rhap.html"><font face="Arial" size="2">Barry
White</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Rhapsody
in White</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/W/who.html" style="text-decoration: none">The
Who</a> - </b> Sell Out</font></p>
<p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/W/Who/who_french.htm" style="text-decoration: none">The
Who</a> - </b> Disque D'or </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/W/wilco_speak.htm">Wilco</a> - </b> Speak to
the Rose </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/W/williamson_hobbit.htm">Nicol Williamson</a> - </b> The Hobbit</font></p></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/W/winchester_1st.html"><font face="Arial" size="2">Jesse
Winchester</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Jesse
Winchester</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/W/Winding/winding_pages.html" style="text-decoration: none">The
Trombone of Kai Winding </a>- </b></font> <font face="Arial" size="2">Many
Moods, Many Sounds ...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2"> !!!More!!! Featuring
Kenny Burrell<br>
The Great Kai Winding Sound<br>
Modern Country </font></p>
</blockquote>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/W/wings_run.html" style="text-decoration: none">Wings</a> - </b> Band
on the Run</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/W/winston_december.html" style="text-decoration: none">George
Winston</a> - </b>December - Piano solos</font></p>
<p class="style3"> <font face="Arial" size="2"><b> <a href="http://tralfaz-archives.com/coverart/W/Winter_Johnny/winter_pages.html" style="text-decoration: none">The
Guitar Sounds of Johnny Winter </a>- </b></font> <font face="Arial" size="2">Along
with His Brother and Friends ...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Second Winter<br>
Johnny and Edgar Winter - Together<br>
Saints & Sinners <br>
Captured Live</font></p>
</blockquote> <p class="style3"> <b> </b><b><font face="Arial" size="2"><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/W/Wishbone_Ash/wishbone_number.html">Wishbone
Ash</a> - </font></b> <font face="Arial" size="2">Number the
Brave</font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/W/Wishbone_Ash/wishbone_twin.html"><font face="Arial" size="2">Wishbone
Ash</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">Twin
Barrels Burning</font></p>
<p class="style3"> <font face="Arial" size="2"> <b> <a href="http://tralfaz-archives.com/coverart/W/witherspoon_roots.html" style="text-decoration: none"> Jimmy
Witherspoon</a> - </b>Roots</font></p>
<p class="style3"> <font face="Arial" size="2"> <b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/W/witherspoon_guilty.html">Jimmy
Witherspoon</a> - </b>Guilty</font></p>
<p class="style3"><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/W/wood_gimmee.htm">Ron
Wood </a> - </b>Gimme Some Neck </font></p>
<p class="style3"><font face="Arial" size="2"><b><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/W/wood_christmas.htm">Roy
Wood </a> - </b>I Wish It Could Be Christmas Everyday </font></p>
<p class="style3"> <b> <a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/W/woods_harp.html"><font face="Arial" size="2">Sylvia
Woods</font></a><font face="Arial" size="2"> - </font></b> <font face="Arial" size="2">The
Harp of Brandiswhiere</font></p>
<p class="style3"> <font face="Arial" size="2"><b> </b></font><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/W/wreckless_wreckless.html" style="text-decoration: none">Wreckless
Eric</a> - </b>Wreckless Eric</font></p></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" size="2"><a name="X" href="http://tralfaz-archives.com/coverart/X/X.html"> </a></font></span></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/X/X.html">The
Letter X </a></span></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" size="2"><b> </b></font><a href="#top" style="text-decoration: none"> <font face="Arial" style="font-size: smaller">°°</font></a><font face="Arial" size="2"><b></b></font></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/X/xcover.html" style="text-decoration: none">X</a> - </b>Under
the Big Black Sun</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/X/X_grand.html" style="text-decoration: none">X</a> - </b>Ain't
Love Grand</font></p>
</td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/X/XTC/XTC_pages.html" style="text-decoration: none">XTC</a> - </b></font> <font face="Arial" size="2">Bright
Little Tunesmiths They Are...</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Black Sea<br>
English Settlement<br>
Mummer<br>
The Big Express<br>
Wait Till Your Boat Goes Down</font></p>
</blockquote></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" size="2"><a name="Y" href="http://tralfaz-archives.com/coverart/Y/Y.html"> </a></font></span></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/Y/Y.html">The
Letter Y </a></span></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" size="2"><b> </b></font><a href="#top" style="text-decoration: none"> <font face="Arial" style="font-size: smaller">°°</font></a><font face="Arial" size="2"><b></b></font></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><b><font face="Arial" size="2"><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/Y/yardbirds_roger.htm">The
Yardbirds </a> - </font></b> <font face="Arial" size="2">Roger
the Engineer </font></p>
<p class="style3"><b><font face="Arial" size="2"><a style="text-decoration: none" href="http://tralfaz-archives.com/coverart/Y/Y_T_mean.html">Y & T</a> - </font></b> <font face="Arial" size="2">Mean
Streak</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/Y/yes_time.html" style="text-decoration: none">Yes</a> - </b>Time
and a Word</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a
href="http://tralfaz-archives.com/coverart/Y/yes.html" style="text-decoration: none">Yes</a> - </b>Yessongs</font></p>
</td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/Y/young_wing.html" style="text-decoration: none">Jesse
Colin Young</a> - </b>Love on the Wing</font></p>
<p class="style3"> <font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/Y/young_young.html" style="text-decoration: none">Neil
Young</a> - </b>Neil Young</font></p>
<p class="style3"> <font face="Arial" size="2"><b> </b></font><font face="Arial" size="2"><b> <a
href="http://tralfaz-archives.com/coverart/Y/young.html" style="text-decoration: none"> Neil
Young & the Bluenotes</a> - </b>This Notes for You</font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/Y/young_rasc_good.htm" style="text-decoration: none">The
Young Rascals</a> - </b>Good Lovin' </font></p></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" size="2"><a name="Z" href="http://tralfaz-archives.com/coverart/Z/Z.html"> </a></font></span></td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"><span class="style4"><a href="http://tralfaz-archives.com/coverart/Z/Z.html">The
Letter Z </a></span></td>
</tr>
<tr>
<td><span class="style3"><font face="Arial" size="2"><b> </b></font><a href="#top" style="text-decoration: none"> <font face="Arial" style="font-size: smaller">°°</font></a><font face="Arial" size="2"><b></b></font></span></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/Z/zappa/zappa_pages.html" style="text-decoration: none">Frank
Zappa</a> - </b></font> <font face="Arial" size="2">The House
That Frank Built</font></p>
<blockquote>
<p class="style3"><font face="Arial" size="2">Hot
Rats<br>
The
Grand Wazoo<br>
Studio
Tan<br>
Them
or Us<br>
Orchestral
Favorites<br>
Roxy & Elsewhere<br>
Waka
/ Jawaka<br>
200
Motels</font></p>
</blockquote></td>
<td align="left" valign="top" style="border:1px solid #000; padding:10px;"><p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/Z/zentner_des.htm">Si
Zentner</a> </b>- Desafinado </font></p>
<p class="style3"><font face="Arial" size="2"><b><a href="http://tralfaz-archives.com/coverart/Z/zztop_elim.html" style="text-decoration: none">ZZ
Top</a> - </b>Eliminator</font></p></td>
</tr>
<tr>
<td> </td>
<td colspan="2" align="left" valign="top"> </td>
</tr>
<tr>
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A Thru Z Listing
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| --- | --- |
| [A](#A) [B](#B) [C](#C) [D](#D) [E](#E) [F](#F) [G](#G) [H](#H) [I](#I) [J](#J) [K](#K) [L](#L) [M](#M) [N](#N) [O](#O) [P](#P) [Q](#Q) [R](#R) [S](#S) [T](#T) [U](#U) [V](#V) [W](#W) [X](#X) [Y](#Y) [Z](#Z) |
| | |
| | |
| | [The Letter A](http://tralfaz-archives.com/coverart/A/A.html) |
| [°°](#top) |
**[The Action Suits](http://tralfaz-archives.com/coverart/A/Action_Suits/action_suits.html)** (Featuring Peter Bagge on Cover Art and Drums)
Fun Flies b/w Your Soft Light
Fun Flies b/w Before
4-Track Mind b/w My Janeane
Cancer Father b/w Visualize Ballard
**[Adam
and the Ants](http://tralfaz-archives.com/coverart/A/adam_kings.htm) -** Kings
of the Wild Frontier
**[The Cannonball Adderley Quintet](http://tralfaz-archives.com/coverart/A/adderley_blues.html) -** Them
Dirty Blues
**[Aerosmith](http://tralfaz-archives.com/coverart/A/aerosmith_ruts.htm) -** Night in the Ruts
**[Mose
Allison](http://tralfaz-archives.com/coverart/A/Allison/allison_pages.htm) -** The
Man and His Music
Ramblin' with Mose
Allison
I Love the Life I Live
Wild Man on the Loose
Transfiguration of Hiram Brown
Mose Goes
**[Allman Brothers Band](http://tralfaz-archives.com/coverart/A/allman_bros_fillmore_east.htm) -** At the Fillmore East
**[Laurindo Almeida](http://tralfaz-archives.com/coverart/A/almeida_22.html) -** Acapulco '22
[**Aloha
Screwdriver**](http://tralfaz-archives.com/coverart/A/aloha_one.htm) - One
Too Many
**[Herb Alpert and the Tijuana Brass](http://tralfaz-archives.com/coverart/A/Alpert/alpert_pages.html) -** Ladies and Gentlemen, Presenting...
Whipped Cream and Other Delights
Volume 2
Herb Alpert's Ninth
The Brass are Comin'
**[Phil Alvin](http://tralfaz-archives.com/coverart/A/alvin_unsung.html) -** Un "Sung Stories"
**[Ambrosia](http://tralfaz-archives.com/coverart/A/ambrosia_road.htm) -** Road
Island
**[Jon Anderson](http://tralfaz-archives.com/coverart/A/jon_anderson_seven.html) -** Song of Seven
**[The Anti-Nowhere League](http://tralfaz-archives.com/coverart/A/antino_live.html) -** Live in Yugoslavia
**[The Animals](http://tralfaz-archives.com/coverart/A/animals.html) -** In the Beginning
**[The Animals](http://tralfaz-archives.com/coverart/A/animals_tracks.htm) -** Animal Tracks
[**Eddy
Arnold**](http://tralfaz-archives.com/coverart/A/arnold_travel.htm) - Have Guitar
Will Travel
**[Asia](http://tralfaz-archives.com/coverart/A/Asia/asia_pages.html) -** A Prog-Rock Collective...
Asia
Alpha
Astra
| **[The Association](http://tralfaz-archives.com/coverart/A/associa_in.html) -** Insight Out
[**The
Astronauts**](http://tralfaz-archives.com/coverart/A/astronauts_aok.htm) - Astronauts
Orbit Kampus
**[The Asylum Choir](http://tralfaz-archives.com/coverart/A/asylum_II.html) -** The Asylum Choir II
**[The Asylum Choir](http://tralfaz-archives.com/coverart/A/asylum_look.html) -** Look Inside The Asylum Choir
**[Chet Atkins](http://tralfaz-archives.com/coverart/A/Atkins/atkins.html) -** The House that Chet Built
Finger Pickin' Good
A Session With Chet Atkins
A Session With Chet Atkins (Re-Issue)
Chet Atkins in Hollywood
Chet Atkins Workshop
Christmas With Chet Atkins
Picks on the Beatles
Mr. Guitar
Caribbean Guitar
At Home
Stay Tuned
Chet Atkins in 3 Dimensions
It's a Guitar World
Solid Gold '69
Guitar Country
Hi-Fi In Focus
Hum and Strum Along With Chet
The Most Popular Guitar
Chet Picks on the Pops
Hometown Guitar
My Favorite Guitars
The Guitar Genius
Chester and Lester
The Atkins-Travis Traveling Show
**[Brian
Auger](http://tralfaz-archives.com/coverart/A/Auger/auger_pages.htm) -** A Small Taste of His Music...
Search Party
Live Oblivion
Straight Ahead
|
| | |
| | [The Letter B](http://tralfaz-archives.com/coverart/B/B.html) |
| [°°](#top) | **[The B-52's](http://tralfaz-archives.com/coverart/B/b-52s_b-52s.html) -** The B-52's
**[The B-52's](http://tralfaz-archives.com/coverart/B/b-52s_partymix.html) -** Party Mix
**[Burt Bacharach -](http://tralfaz-archives.com/coverart/B/bacharach_pussycat.htm)** What's New Pussy Cat?
**[Joan Baez](http://tralfaz-archives.com/coverart/B/baez_any.html) -** Any Day Now
**[The Baja Marimba Band](http://tralfaz-archives.com/coverart/B/Baja/baja_pages.html) -** Slightly South of the Border...
The Baja Marimba Band
Those Were the Days
For Animals Only
Watch Out!
Do You Know the Way to San Jose
**[Baker Gurvitz Army](http://tralfaz-archives.com/coverart/B/baker_elysian.html) -** Elysian Encounter
**[The Band](http://tralfaz-archives.com/coverart/B/band_pink.html) -** Music from Big Pink
**[Bangles](http://tralfaz-archives.com/coverart/B/bangles_ep.htm) -** Bangles
(E.P.)
**[Tony Banks](http://tralfaz-archives.com/coverart/B/banks.html) -** A Curious Feeling
**[Warren
Barker](http://tralfaz-archives.com/coverart/B/barker_77.htm) -** 77 Sunset Strip
**[Joe Barragan and the Twist Stompers](http://tralfaz-archives.com/coverart/B/barragan_twist.html) -** Twist Party
[**John
Barry**](http://tralfaz-archives.com/coverart/B/barry_thunderball.htm) - Thunderball
**[Toni
Basil](http://tralfaz-archives.com/coverart/B/basil_mickey.htm) -** Mickey
(Club Mix / Spanish Version)
**[Jo Basile](http://tralfaz-archives.com/coverart/B/basile_paris.html) -** Accordion de Paris
**[Sid Bass](http://tralfaz-archives.com/coverart/B/bass_bells.htm) -** With Bells On
**[Mike Batt](http://tralfaz-archives.com/coverart/B/batt.html) -** Schizophonia
[**Baduc
and Lamare**](http://tralfaz-archives.com/coverart/B/bauduc.htm) - Two-Beat
Generation
**[Les Baxter](http://tralfaz-archives.com/coverart/B/Baxter/baxter_pages.html) -** The Baxter Wing is Right This Way...
Skins (A Bongo Party With Les Baxter)
Space Escapade
Young Pops
Teen Drums
'round the World With...
The Ritual of the Savage
Hell's Belles Soundtrack
**[BBC Records](http://tralfaz-archives.com/coverart/B/BBC.html) -** Sound Effects
**[The Bears](http://tralfaz-archives.com/coverart/B/bears_bears.html) -** The Bears
**[Beat Farmers](http://tralfaz-archives.com/coverart/B/beat_happi.html) -** The Pursuit of Happiness
**[The Beatles](http://tralfaz-archives.com/coverart/B/Beatles/beatles_2nd.html) -** The Beatles Second Album
**[The Beau Brummels](http://tralfaz-archives.com/coverart/B/beau_brum_intro.html) -** Introducing the Beau Brummels
**[Harry Belafonte](http://tralfaz-archives.com/coverart/B/belafonte_midnight.html) -** The Midnight Special
**[Adrian Belew](http://tralfaz-archives.com/coverart/B/Belew/belew_pages.htm) -** The Guitarist of Choice...
Twang Bar King
Lone Rhino
Desire Caught by the Tail
**[Elmer Bernstein](http://tralfaz-archives.com/coverart/B/bernstein_mocking.html) -** To Kill a Mockingbird
**[Elmer Bernstein](http://tralfaz-archives.com/coverart/B/bernstein_golden.html) -** The Man With the Golden Arm
**[The Bill Berry Quartet](http://tralfaz-archives.com/coverart/B/berry_jazz.html) -** Jazz…and Swinging Percussion
**[Leon Berry](http://tralfaz-archives.com/coverart/B/berry_giant.html) -** Giant Wurlitzer Pipe Organ Vol. 3
**[Big Brother & the Holding Co.](http://tralfaz-archives.com/coverart/B/big_brother_1st.html) -** 1st Album
**[Big
Brother & the Holding Co.](http://tralfaz-archives.com/coverart/B/big_brother_cheap.html) -** Cheap Thrills
**[Big
Sandy and His Fly-Rite Boys](http://tralfaz-archives.com/coverart/B/Big_Sandy/big_sandy_pages.htm) -** A
Little Western Swing for Your Party
Fly Right...
La Plaga
...with Glen Glenn
| **[Bill Black](http://tralfaz-archives.com/coverart/B/Black/black_pages.htm) -** With and Without his Combo
Saxy Jazz
Let's Twist Her
King of the Road
**[Jimmy Carl Black and the Mannish Boys](http://tralfaz-archives.com/coverart/B/black_dab.html) -** A Lil' Dab'l Do Ya
**[Black Sabbath](http://tralfaz-archives.com/coverart/B/black_sab_para.html) -** Paranoid
**[The Blasters](http://tralfaz-archives.com/coverart/B/blasters_blasters.html) -** The Blasters
**[Blodwyn Pig](http://tralfaz-archives.com/coverart/B/blodwyn_ahead.html) -** Ahead Rings Out
**[Bloodrock](http://tralfaz-archives.com/coverart/B/bloodrock_2.htm) -** Bloodrock 2
**[The Blue Oyster Cult](http://tralfaz-archives.com/coverart/B/BOC_tyranny.html) -** Tyranny and Mutation
**[The Blues Project](http://tralfaz-archives.com/coverart/B/blues_proj_proj.htm) -** Projections
**[Claude Bolling](http://tralfaz-archives.com/coverart/B/Bolling/bolling_pages.html) -** A Man and His Suites
Rolling with Bolling
California Suite
Picnic Suite
Concerto for Classic Guitar and Jazz Piano
Jazz a la Francaise
**[Bombs
for Whitey](http://tralfaz-archives.com/coverart/B/bombs_bullets.htm) -** Lost
Generation/Bullet to the Soul
**[Booker
T. & the M.G.'s](http://tralfaz-archives.com/coverart/B/bookerT_mcl.html) -** McLemore Avenue
**[Bourgeois Tagg](http://tralfaz-archives.com/coverart/B/bourgeois_tagg.html) -** Bourgeois Tagg
**[David Bowie](http://tralfaz-archives.com/coverart/B/Bowie/bowie_pages.html) -** The Ever Evolving Artist
Images 1966 / 1967
The Man Who Sold the World
Scary Monsters and Super Creeps
Heroes
Drive-In Saturday
**[Brewer and Shipley](http://tralfaz-archives.com/coverart/B/brewer_weeds.html) -** Weeds
**[Brand X](http://tralfaz-archives.com/coverart/B/brandx_moro.html) -** Moroccan Roll
**[David Bromberg](http://tralfaz-archives.com/coverart/B/Bromberg/bromberg_pages.html) -** David and his Various Bands
David Bromberg
Reckless Abandon
You Should See the Rest of the Band
Wanted Dead or Alive
**[The Brood](http://tralfaz-archives.com/coverart/B/brood_come.html) -** I'll Come Again b/w Knock on My Door
**[The Dave Brubeck Pages](http://tralfaz-archives.com/coverart/B/Brubeck/brubeck_pages.html) -** The Master of Time
Time Out
Gone With the Wind
Time Further Out
Time Changes
Jazz at Oberlin
Two Generations of Brubeck
**[Bruford](http://tralfaz-archives.com/coverart/B/bruford_tornado.html)** - Gradually Going Tornado
**[Budgie](http://tralfaz-archives.com/coverart/B/budgie_brittania.html) -** If I Were Brittania I'd Waive the Rules
**[Budgie](http://tralfaz-archives.com/coverart/B/budgie_nightflight.htm) -** Nightflight
**[Eric Burdon and Jimmy Witherspoon](http://tralfaz-archives.com/coverart/B/burdon_BWblues.html) -** Black & While Blues
**[Sonny
Burgess](http://tralfaz-archives.com/coverart/B/burgess_raw_deal.htm) -** Raw
Deal
**[Joe Bushkin](http://tralfaz-archives.com/coverart/B/bushkin_kick.htm) -** I Get a Kick Out of Porter
**[Paul Butterfield Blues Band](http://tralfaz-archives.com/coverart/B/butterfield_blues.htm) -** The Paul Butterfield Blues Band
**[Charlie Byrd](http://tralfaz-archives.com/coverart/B/byrd_hollywood.html) -** Hollywood Byrd
**[The Byrds](http://tralfaz-archives.com/coverart/B/byrds_sweet.html) -** Sweetheart of the Rodeo |
| | |
| | [The Letter C](http://tralfaz-archives.com/coverart/C/C.html) |
| [°°](#top) | **[J. J. Cale](http://tralfaz-archives.com/coverart/C/cale_naturally.html) -** Naturally
**[J.J. Cale](http://tralfaz-archives.com/coverart/C/cale_trou.html) -** Troubadour
**[Randy
California](http://tralfaz-archives.com/coverart/C/california.html) -** Kapt. Kopter and the Fabulous Twirly Birds
**[Camel](http://tralfaz-archives.com/coverart/C/camel.html) -** Moonmadness
**[Camel](http://tralfaz-archives.com/coverart/C/camel_house.html) -** I Can See Your House From Here
**[Glen Campbell](http://tralfaz-archives.com/coverart/C/campbell_hey.html) -** Hey, Little One
**[Camper Van Beethoven](http://tralfaz-archives.com/coverart/C/camper_van_free.html) -** Telephone Free Landslide Victory
**[Camper Van Beethoven](http://tralfaz-archives.com/coverart/C/camper_van_II.html) -** II & III
**[Camper Van Chadbourne](http://tralfaz-archives.com/coverart/C/camper_vanchad.htm) -** Camper Van Chadbourne
**[Captain Beefheart
and His Magic Band](http://tralfaz-archives.com/coverart/C/Captain_Beefheart/capt_beefheart_pages.htm)** - Music
and Madness
Bluejeans
and Moonbeams
Shiny Beast (Bat Chain Puller)
Doc at the Radar Station
Abba Zaba
**[Captain Beyond](http://tralfaz-archives.com/coverart/C/capt_bey_first.htm) -** Captain Beyond
**[Captain Beyond](http://tralfaz-archives.com/coverart/C/capt_bey_suff.html) -** Sufficiently Breathless
**[Caravan](http://tralfaz-archives.com/coverart/C/caravan_stun.html) -** Cunning Stunts
**[Caravan](http://tralfaz-archives.com/coverart/C/caravan_blind.html) -** Blind Dog at St. Dunstans
**[Walter Carlos](http://tralfaz-archives.com/coverart/C/carlos_sonic.html) -** Sonic Seasonings
**[Walter Carlos](http://tralfaz-archives.com/coverart/C/carlos_clock.html) -** Clockwork Orange
[**Ron
Carter**](http://tralfaz-archives.com/coverart/C/Carter/carter_blues.htm) - Blues Farm
[**Johnny Cash**](http://tralfaz-archives.com/coverart/C/Cash/cash_pages.htm)**-** The Johnny Cash Pages
Orange Blossom Special
Blood, Sweat and Tears
Everybody Loves a Nut
**[The
Chambers Brothers](http://tralfaz-archives.com/coverart/C/chamber_time.htm) -** The Time Has Come
**[Ray Charles](http://tralfaz-archives.com/coverart/C/charles_country.html) -** Modern Sounds in Country & Western Music
**[Alex
Chilton](http://tralfaz-archives.com/coverart/C/Chilton/chilton_feud.htm) -** Feudalist Tarts
**[Alex
Chilton](http://tralfaz-archives.com/coverart/C/chilton_high.html) -** High Priest
**[The
Dave Clark Five](http://tralfaz-archives.com/coverart/C/DC5/dc5_pages.htm) -** Always glad to see them...
Glad All Over
The Dave clark Five Return!
Coast to Coast
**[Roy Clark](http://tralfaz-archives.com/coverart/C/clark_fingers.html) -** The Lightning Fingers of Roy Clark
**[Stanley
Clarke](http://tralfaz-archives.com/coverart/C/clarke_rocks.htm) -** Rocks, Pebbles and Sand
**[The
Clash](http://tralfaz-archives.com/coverart/C/clash_black.html) -** Black Market Clash | **[The Clash](http://tralfaz-archives.com/coverart/C/clash_london.html) -** London Calling
**[Jimmy Cliff](http://tralfaz-archives.com/coverart/C/cliff.html) -** The Harder They Come
**[Billy Cobham's Glass Menagerie -](http://tralfaz-archives.com/coverart/C/cobham_obsrev.htm)** Observations & Reflections
**[Commander Cody](http://tralfaz-archives.com/coverart/C/cody_live.html) -** Live Deep in the Heart of Texas
**[Ben Colder](http://tralfaz-archives.com/coverart/C/colder_best.htm) -** The Best of Ben Colder
**[Nat King Cole](http://tralfaz-archives.com/coverart/C/cole.html) -** Love is a Many Splendored Thing
**[Albert Collins](http://tralfaz-archives.com/coverart/C/collins_frost.htm) -** Frostbite
**[Judy Collins](http://tralfaz-archives.com/coverart/C/Collins/collins_pages.html) -** The Judy Collins Pages
A Maid of Constant Sorrow
The Judy Collins Concert
In My Life
**[Alice Coltrane and Devadip Carlos Santana](http://tralfaz-archives.com/coverart/C/coltrane_alice_illum.html) -** Illuminations
**[John Coltrane](http://tralfaz-archives.com/coverart/C/coltrane_blues.html) -** Plays the Blues
**[Eddie Condon's All-Stars](http://tralfaz-archives.com/coverart/C/condon_jam.htm) -** Jam Session
**[Ry Cooder](http://tralfaz-archives.com/coverart/C/cooder_paradise.html) -** Paradise and Lunch
**[Alice Cooper](http://tralfaz-archives.com/coverart/C/cooper_killer.html) -** Killer
**[Chick Corea](http://tralfaz-archives.com/coverart/C/Corea/corea_mad.html) -** The Mad Hatter
**[Hugh Cornwell](http://tralfaz-archives.com/coverart/C/cornwell_facts.html) -** Facts + Figures
**[The Work of Elvis Costello](http://tralfaz-archives.com/coverart/C/Costello/costello_pages.html) -** ...and His Attractions
My Aim is
True
The Only Flame in Town
Get Happy!!
Armed Forces
Live at Hollywood High
[Cottonhead](http://tralfaz-archives.com/coverart/C/cottonhead_another.html) - Another Day, Another Dream [Cottonhead](http://tralfaz-archives.com/coverart/C/cottonhead_swab.html) - S.W.A.B.
[**Papa
John Creach & Zulu**](http://tralfaz-archives.com/coverart/C/creach_playing.htm) - Playing My Fiddle for
You
[Cream](http://tralfaz-archives.com/coverart/C/cream_best.htm) - Best of Cream
**[The Crew Cut -](http://tralfaz-archives.com/coverart/C/crew_cuts_campus.html)** On the Campus
**[The Crew Cuts](http://tralfaz-archives.com/coverart/C/crew_cuts_baby.html) -** You Must Have Been a Beautiful Baby!
**[Jose
Cubano And His Orchestra](http://tralfaz-archives.com/coverart/C/cubano_cha.htm) -** Cha
Cha Cha
**[Xavier
Cugat and his Orchestra](http://tralfaz-archives.com/coverart/C/cugat_viva.html) -** Viva
Cugat!
**[Xavier
Cugat and his Orchestra](http://tralfaz-archives.com/coverart/C/Cugat/cugat_caval.htm) -** Cugat Cavalcade |
| | |
| | [The Letter D](http://tralfaz-archives.com/coverart/D/D.html) |
| [°°](#top) | **[The Damned](http://tralfaz-archives.com/coverart/D/Damned/damned_pages.html) -** Punk Forefathers...
New Rose
Music for Pleasure
Phantasmagoria
Anything
[Charlie](http://tralfaz-archives.com/coverart/D/daniels_fire.html) [Daniels Band](http://tralfaz-archives.com/coverart/D/daniels_fire.html) - Fire on the Mountain
[Miles Davis](http://tralfaz-archives.com/coverart/D/Davis/davis_pages.html) - An American Master...
Sketches of Spain
At Carnegie Hall
FridayNight at the Blackhawk
[Skeeter Davis](http://tralfaz-archives.com/coverart/D/skeeter_davis.html) - The End of the World
[Skeeter Davis and NRBQ](http://tralfaz-archives.com/coverart/D/davis_skeeter_nrbq.htm) - She Sings, They Play
[The Dead Milkmen](http://tralfaz-archives.com/coverart/D/deadmilk_meta.html) - Metaphysical Graffiti
[Death By Chocolate](http://tralfaz-archives.com/coverart/D/death_zap.html) - Zap the World
[Buddy DeFranco](http://tralfaz-archives.com/coverart/D/defranco_bravura.html) - Bravura
[Martin Denny](http://tralfaz-archives.com/coverart/D/denny/denny.html) - Step Right This Way to the Denny Pages
Exotica
Exotica Volume II
Exotica Volume III
Quiet Village
Hypnotique
Forbidden Island
Latin Village
Exotic Percussion
Hawaii
Hawaii Goes A Go-Go
Afro-Desia
Romantica
Hawaii Tattoo
Exotica Suite
The Enchanted Sea
[**Derek
and the Dominos**](http://tralfaz-archives.com/coverart/D/derek_concert.htm) - In Concert
[Paul Desmond](http://tralfaz-archives.com/coverart/D/desmond_blue.html) - Desmond Blue
[Devo](http://tralfaz-archives.com/coverart/D/devo_devo.html) - Q: Are We Not Men?
[Frank DeVol and his Orchestra](http://tralfaz-archives.com/coverart/D/devol_bacc.html) - Bacchanal!
[Jean de Vres & His Afro Drums](http://tralfaz-archives.com/coverart/D/devres_voodoo.html) - Exciting Voodoo!
[Deke Dickerson](http://tralfaz-archives.com/coverart/D/Dickerson/Dickerson_pages.html) - The Adventures of Deke and His Band...
r...and His Guitar
More Million $eller$
Rhythm, Rhyme and Truth
The Melody
Deke Down Under!
In 3 - Dimensions!
Country Meets Soul
| **[Dexy's
Midnight Runners](http://tralfaz-archives.com/coverart/D/Dexy/dexy_eileen.htm)** - Come
On Eileen
[The Dictators](http://tralfaz-archives.com/coverart/D/dictators_blood.html) - Bloodbrothers
[Sir Bald Diddley](http://tralfaz-archives.com/coverart/D/diddley.html) - More...Live
[Bo Diddley](http://tralfaz-archives.com/coverart/D/diddley_bo.htm) - Bo Diddley
[The Dillards](http://tralfaz-archives.com/coverart/D/dillards_copper.htm) - Copperfields
[Al Di Meola](http://tralfaz-archives.com/coverart/D/Dimeola/dimeola_soar.htm) - Soaring Through a Dream
[Dinosaurs](http://tralfaz-archives.com/coverart/D/dinosaurs_dinosaurs.htm) - Dinosaurs
[Dio](http://tralfaz-archives.com/coverart/D/dio_last.html) - The Last in Line
[Dire Straits](http://tralfaz-archives.com/coverart/D/dire_brothers.html) - Brothers in Arms
[Dixie Dregs](http://tralfaz-archives.com/coverart/D/Dregs/dregs_night.htm) - Night of the Living Dregs
[Dixie Dregs](http://tralfaz-archives.com/coverart/D/Dregs/dregs_earth.htm) - Dregs of the Earth
[Don Dixon](http://tralfaz-archives.com/coverart/D/dixon_romeo.html) - Romeo at Juillard
[Thomas Dolby](http://tralfaz-archives.com/coverart/D/dolby_buick.html) - Alien's Ate My Buick
[Donovan](http://tralfaz-archives.com/coverart/D/donovan_covers.html) - Visit the Donovan Section...
Barabajagal
Catch the Wind
Cosmic Wheels
Fairytale
For Little Ones
In Concert
Mellow Yellow
Sunshine Superman
The Best Of
The Hurdy Gurdy Man
Minstrel Boy
A Gift From a Flower to a Garden
Golden Hour of Donovan
Universal Soldier
Donovan (Belgium)
[The Doors](http://tralfaz-archives.com/coverart/D/doors_goldmine.html) - Weird Scenes Inside the Gold Mine
[Dread Zeppelin](http://tralfaz-archives.com/coverart/D/dread_unled.html) - Un-Led-Ed
[Dread Zeppelin](http://tralfaz-archives.com/coverart/D/dread_whole.html) - Whole Lotta Love
[Dr. John](http://tralfaz-archives.com/coverart/D/dr_john_plays.html) - Dr. John Plays Mac Rebennack
[Dust](http://tralfaz-archives.com/coverart/D/dust_hard.html) - Hard Attack
[Bob
Dylan](http://tralfaz-archives.com/coverart/D/Dylan/dylan_pages.htm) -
A Master of Words and Music
Another Side of Bob
Dylan
Bringing It All Back Home
Highway 61 Revisited
Street Legal
|
| | |
| | [The Letter E](http://tralfaz-archives.com/coverart/E/E.html) |
| [°°](#top) | **[Echo & the Bunnymen](http://tralfaz-archives.com/coverart/E/echo_songs.html) -** Songs the Learn & Sing
**[Echo & the
Bunnymen](http://tralfaz-archives.com/coverart/E/Echo/echo_heaven.htm) -** Heaven Up Here
**[Duane
Eddy](http://tralfaz-archives.com/coverart/E/Eddy/eddy_pages.htm) -** A
man and his guitar
Especially for You
The "Twangs" The "Thang"
The Ballad of Paladin
[**Dave Edmunds**](http://tralfaz-archives.com/coverart/E/Edmunds/edmunds_DE7th.htm) - D Eth
**[Webley Edwards](http://tralfaz-archives.com/coverart/E/edwards_exotic.html) -** Exotic Instrumentals
**[Ekseption](http://tralfaz-archives.com/coverart/E/ekseption_dance.html) -** Dance Macabre
**[Ekseption](http://tralfaz-archives.com/coverart/E/ekseption_trinity.html) -** Trinity
**[The Electric Prunes](http://tralfaz-archives.com/coverart/E/electric_under.htm) -** Underground
**[Herb Ellis and Ross Tompkins](http://tralfaz-archives.com/coverart/E/ellis_pair.html) -** A Pair To Draw To
**[Herb Ellis and Joe Pass](http://tralfaz-archives.com/coverart/E/ellis_two.html) -** Two for the Road **[Eloy](http://tralfaz-archives.com/coverart/E/Eloy/eloy_pages.html) -** The Music of Eloy
Time to Turn
Planets
Performance
Colours
| **[Elvis](http://tralfaz-archives.com/coverart/E/elvis.html) -** Separate Ways
**[Joe
Ely](http://tralfaz-archives.com/coverart/E/Ely/ely_pages.htm) -** The
Music of Joe Ely
Down the Drag
Musta
Notta Gotta Lotta
Lord of the Highway
**[Keith Emerson](http://tralfaz-archives.com/coverart/E/emerson_honky.html) -** Honky
**[Emerson, Lake and Palmer](http://tralfaz-archives.com/coverart/E/elp_tarkus.html) -** Tarkus
**[The English Beat](http://tralfaz-archives.com/coverart/E/english_beat_stop.html) -** I Just Can't Stop It
**[English Gypsy](http://tralfaz-archives.com/coverart/E/egypsy_egypsy.html) -** English Gypsy
**[John Entwhistle](http://tralfaz-archives.com/coverart/E/entwhistle.html) -** Smash You Head Against the Wall
**[Preston Epps](http://tralfaz-archives.com/coverart/E/epps_bongo.htm) -** Bongos, Bongos, Bongos
**[Alejandro Escovedo](http://tralfaz-archives.com/coverart/E/escovedo_real.htm) -** Real Animal
**[Esquivel](http://tralfaz-archives.com/coverart/E/esquivel_other.html) -** Other Worlds, Other Sounds
**[Esquivel](http://tralfaz-archives.com/coverart/E/esquivel_hifi.html) -** Exploring New Sounds in Hi-Fi
[**Gil
Evans**](http://tralfaz-archives.com/coverart/E/evans_out.htm) - Out of the Cool | |
| | |
| | [The Letter F](http://tralfaz-archives.com/coverart/F/F.html) |
| [°°](#top) | **[Jose Feliciano](http://tralfaz-archives.com/coverart/F/feliciano_feliciano.html) -** Feliciano!
**[Maynard Ferguson](http://tralfaz-archives.com/coverart/F/Ferguson/ferguson_newport.htm) -** A Message from Newport
**[Maynard Ferguson](http://tralfaz-archives.com/coverart/F/ferguson_carnival.html) -** Carnival
**[Ferrante & Teicher](http://tralfaz-archives.com/coverart/F/Ferrante/ferrante_pages.html) -** Come and See F & T
West Side Story
Pianos in Paradise
Soundproof
Soundblast
Blast Off!
Twin Pianos
Rhapsody
Love in the Generation Gap
By Popular Demand
The Exciting Sounds of...
Our Golden Favorites
The Piano Artistry of Ferrante & Teicher
**[Bryan Ferry](http://tralfaz-archives.com/coverart/F/ferry_bete.html) -** Bete Noire
[**Arthur
Fiedler**](http://tralfaz-archives.com/coverart/F/fiedler_hifi.htm) - Hi-Fi
**[Jerry Fielding and his Orchestra](http://tralfaz-archives.com/coverart/F/fielding_swingin.html) -** Swingin' in Hi-Fi Rock 'n Roll Matriculates
**[Filthy
Friends](http://tralfaz-archives.com/coverart/F/filthy_crowd.htm)** -
Any Kind of Crowd
**[The Firesign Theatre](http://tralfaz-archives.com/coverart/F/Firesign/firesign.html) -** The Home of the Firesign Folks
Don't Crush That Dwarf, Hand Me the Pliers
In the Next World You're On Your Own
Nick Danger, Third Eye
Waiting for the Electrician or Someone like Him
**[Ella Fitzgerald](http://tralfaz-archives.com/coverart/F/Fitzgerald/fitzgerald_pages.html) -** Always the Lady...
Wishes You a Swinging Christmas
Clap Hands, Here Comes Charlie
A Perfect Match - Ella and Basie
Lady Time
Misty Blue
| **[The Flamin' Groovies Pages](http://tralfaz-archives.com/coverart/F/Flamin_groov/flamin_pages.htm) -** Powerful Pop
In Person!!!!
Crazy Macy/Let Me Rock
Fantastic Plastic
**[Flat Duo Jets](http://tralfaz-archives.com/coverart/F/fjets_xmas.html) -** I'll Have a Merry Christmas Without You
**[Fleetwood Mac](http://tralfaz-archives.com/coverart/F/F_Mac/Fleetwood_pages.html) -** Early Mac Adventures...
Black Magic Woman
Kiln House
Mystery to Me
**[The Flock](http://tralfaz-archives.com/coverart/F/flock_swamps.html) -** Dinosaur Swamps
**[Focus](http://tralfaz-archives.com/coverart/F/focus_waves.html) -** Moving Waves
**[Wayne Fontana and the Mindbenders](http://tralfaz-archives.com/coverart/F/fontana.html) -** The Game of Love
[**Steve
Forbert**](http://tralfaz-archives.com/coverart/F/forbert_orbit.htm) - Little Stevie
Orbit
**[Redd Foxx](http://tralfaz-archives.com/coverart/F/Foxx/foxx_pages.htm) -** Redd Live and in Rare Form
This is Foxx
The Best Party Fun
Crack Up
**[Connie Francis](http://tralfaz-archives.com/coverart/F/francis_connie_sing.htm)** - Sing Along With Connie
**[Kinky Friedman](http://tralfaz-archives.com/coverart/F/fried_lasso.htm)** - Lasso from El Paso
**[Robert Fripp](http://tralfaz-archives.com/coverart/F/fripp_league.html) -** The League of Gentlemen
**[Fripp and Eno](http://tralfaz-archives.com/coverart/F/fripp_pussy.html) -** (No Pussyfooting)
**[The Frivolous Five](http://tralfaz-archives.com/coverart/F/frivolous_sour.html) -** Sour Cream and Other Delights
**[Funkadelic](http://tralfaz-archives.com/coverart/F/funk_one.html) -** One Nation Under a Groove
**[Funland](http://tralfaz-archives.com/coverart/F/funland.html) -** Sweetness
**[Funtime](http://tralfaz-archives.com/coverart/F/funtime.htm) -** Funtime |
| | |
| | [The Letter G](http://tralfaz-archives.com/coverart/G/G.html) |
| [°°](#top) | **[Peter Gabriel](http://tralfaz-archives.com/coverart/G/gabriel_2.html) -** Peter Gabriel (2nd Album)
**[James Galway](http://tralfaz-archives.com/coverart/G/galway_carol.html) -** Christmas Carol
**[Jerry Garcia](http://tralfaz-archives.com/coverart/G/Garcia/garcia_pages.html) -** Apart from the Dead...
Garcia
Garcia "Compliments Of"
Run for the Roses
Reflections
**[Tommy
Garrett](http://tralfaz-archives.com/coverart/G/garrett_50_guitars.htm) -** 50 Guitars
Visit Hawaii
**[Marvin Gaye](http://tralfaz-archives.com/coverart/G/gaye_live.html) -** Marvin Gaye Live!
[**Marvin
Gaye**](http://tralfaz-archives.com/coverart/G/gaye_whats.htm) - What's Going
On
**[Genesis](http://tralfaz-archives.com/coverart/G/Genesis/genesis_pages.html) -** Just a Bit Out There...
Live
A Trick of the Tail
Reflection - Rock Theatre
**[Gentle Giant](http://tralfaz-archives.com/coverart/G/Gentle_Giant/gentle_giant_pages.html) -** Right This Way to the Big Fellow...
Civilian
Octopus
The Missing Piece
Interview
**[Gen
X](http://tralfaz-archives.com/coverart/G/gen_x_kiss.htm) -** Kiss
Me Deadly
**[Stan
Getz](http://tralfaz-archives.com/coverart/G/Getz/getz_pages.html) -** Horn
of Plenty...
The Greatest of...
...With Guest Artist Laurindo Almeida
Reflections
Getz / Gilberto
Jazz Samba
**[Dizzy
Gillispie](http://tralfaz-archives.com/coverart/G/Gillespie/gillespie_original.htm) -** Dizzy
Gillespie and his Original Orchestra
**[Dizzy Gillispie](http://tralfaz-archives.com/coverart/G/Gillespie/gillespie_1980.htm) -** Digital
at Montreux, 1980
[Jimmie Dale Gilmore](http://tralfaz-archives.com/coverart/G/gilmore_fair.htm) - Fair & Square
**[The Glass Prism](http://tralfaz-archives.com/coverart/G/glassp_poe.html) -** Poe Through the Glass Prism
**[Jackie Gleason](http://tralfaz-archives.com/coverart/G/gleason_lonesome.html) -** Lonesome Echo
**[Jackie Gleason](http://tralfaz-archives.com/coverart/G/Gleason/gleason_misty.htm) -** Music to Make You Misty
**[Ernest Gold](http://tralfaz-archives.com/coverart/G/gold_ern_mad.htm) -** It's a Mad, Mad, Mad, Mad World
**[Marty Gold](http://tralfaz-archives.com/coverart/G/gold_marty_wired.htm) -** Wired for Sound
**[Good Rats](http://tralfaz-archives.com/coverart/G/good_rats_city.htm) -** Rat City in Blue | **[[**Good
Rats**](http://tralfaz-archives.com/coverart/G/Good_Rats/good_rats_riches.htm) - From Rats to Riches](http://tralfaz-archives.com/coverart/G/Gordon/gordon_pages.html)**
**[Robert Gordon](http://tralfaz-archives.com/coverart/G/Gordon/gordon_pages.html) -** Rockabilly All Night Long...
Rock Billy Boogie
The Way I Walk b/w Sea Cruise
Fresh Fish Special
Fire (7")
**[Graduate](http://tralfaz-archives.com/coverart/G/graduate.html) (Roland
Orzabal) -** Acting
My Age
**[Grand
Funk](http://tralfaz-archives.com/coverart/G/gfunk_survival.html) -** Survival
**[Grateful Dead](http://tralfaz-archives.com/coverart/G/Grateful_Dead/gdead_pages.html) -** Keep on Dancin' Children...
Shakedown Street
Good Lovin'
Workingman's Dead
Grateful Dead (2 LP Live Set)
History of the Grateful Dead, Vol. 1 (Bear's Choice)
Live At The Felt Forum 12/5/1971
From the Mars Hotel
Blues for Allah
Farewell to Winterland
[Grant Green](http://tralfaz-archives.com/coverart/G/green_carry.htm) - Carryin' On
**[Green on Red](http://tralfaz-archives.com/coverart/G/Green_on_Red/green_on_red_pages.html) -** Music from the Heart ...
1st Album
Gravity Talks
No Free lunch
**[Urbie Green](http://tralfaz-archives.com/coverart/G/green_persuav.html) -** The Persuasive Trombone of Urbie Green
**[Dave Greenfield & J.J. Burnel](http://tralfaz-archives.com/coverart/G/greenfield_fire.html) -** Fire & Water (Ecoutez Vos Murs)
**[Dave
Greenfield & J.J. Burnel](http://tralfaz-archives.com/coverart/G/greenfield_burnel_rain.htm) -** Rain
& Dole & Tea
**[Greenslade](http://tralfaz-archives.com/coverart/G/greenslade_time.html) -** Time and Tide
**[Dave Greenslade](http://tralfaz-archives.com/coverart/G/greenslade.html) -** Cactus Choir
**[Grin](http://tralfaz-archives.com/coverart/G/grin.html) -** Gone Crazy
**[David Grisman](http://tralfaz-archives.com/coverart/G/grisman_mondo.html) -** Mondo Mando
**[The David Grisman Quintet](http://tralfaz-archives.com/coverart/G/grisman_quintet.html) -** The David Grisman Quintet
**[Gruppo Sportivo](http://tralfaz-archives.com/coverart/G/Gruppo/gruppo_copy.html) -** Copy Copy
**[Vince Guaraldi](http://tralfaz-archives.com/coverart/G/Guaraldi/guaraldi_pages.html) -** There's More Than Peanuts to This guy...
Cast Your Fate to the Wind
Vince Guaraldi / Bola Sete and Friends
From All Sides (W/Bola Sete)
Jazz Impressions
In Person
Linus and Lucy
|
| | |
| | [The Letter H](http://tralfaz-archives.com/coverart/H/H.html) |
| [°°](#top) | **[Steve Hackett](http://tralfaz-archives.com/coverart/H/Hackett/hackett_page.html)** - The Hackett Wing is This Way...
Voyage of the Acolyte
Please Don't Touch
Spectral Mornings
**[Merle Haggard](http://tralfaz-archives.com/coverart/H/haggard_pride.html) -** Pride in What I Am
**[Jan Hammer](http://tralfaz-archives.com/coverart/H/hammer_seven.html) -** The First Seven Days
**[Lionel
Hampton](http://tralfaz-archives.com/coverart/H/hampton_paris.htm) -** Lionel
Hampton in Paris
**[Herbie Hancock](http://tralfaz-archives.com/coverart/H/hancock_head.htm) -** Headhunters
**[Annie Haslam](http://tralfaz-archives.com/coverart/H/annie.html) -** Annie in Wonderland
**[Hawaii Goes Percussion](http://tralfaz-archives.com/coverart/H/hawaiian_perc.html) -** Hawaii Goes Percussion
**[The Hawaiin Surfers](http://tralfaz-archives.com/coverart/H/hawaiian_dukes.htm) -** The Hawaiin Surfers at Duke Kahanamoku's
**[Hawkwind](http://tralfaz-archives.com/coverart/H/hawkwind_hall.html) -** Hall of the Mountain Grill
**[Hawkwind](http://tralfaz-archives.com/coverart/H/hawkwind_warrior.html) -** Warrior on the Edge of Time
**[Richard
Hayman](http://tralfaz-archives.com/coverart/H/Hayman/hayman_pages.htm)** -
Music in an International Vein...
Havana in Hi - Fi
Voodoo!
Carumba!
**[Thee
Headcoatees](http://tralfaz-archives.com/coverart/H/headcoatees_dav.html) -** Davey
Crockett (Gabba Hey)
**[Thee Headcoatees](http://tralfaz-archives.com/coverart/H/headcoatees_santa.html) -** Santa
**[Thee Headcoats](http://tralfaz-archives.com/coverart/H/headcoats_lane.html) -** Headcoat Lane
[**Reverend
Horton Heat**](http://tralfaz-archives.com/coverart/H/Heat/rev_heat_laugh.htm) - Laughin' & Cryin'
With ...
**[Michael Hedges](http://tralfaz-archives.com/coverart/H/hedges_breakfast.html) -** Breakfast in the Field
**[Helen
Keller Plaid](http://tralfaz-archives.com/coverart/H/hkp.htm) -** One
Swell Foop!
**[The Hellacopters](http://tralfaz-archives.com/coverart/H/hella_blue.html) -** Down Right Blue
**[Jimi Hendrix](http://tralfaz-archives.com/coverart/H/Hendrix/hendrix_pages.html)** - The Words and Music...
Electric Ladyland (British Release)
Rainbow Bridge Soundtrack
Birth of a Success
The Miami Pop Festival
Can You Please Crawl Out Your Window?
**[Ken Hensley](http://tralfaz-archives.com/coverart/H/hensley_proud.html) -** Proud Words on a Dusty Shelf
| **[Herman's
Hermits](http://tralfaz-archives.com/coverart/H/Hermits/hermits_pages.html) -** Peter
Noone and His Mates...
Introducing Herman's Hermits
Hold On!
Greatest Hits
[**Eddie
Heywood**](http://tralfaz-archives.com/coverart/H/heywood_breeze.htm) - Breezin' Along with he Breeze
**[Al Hirt](http://tralfaz-archives.com/coverart/H/hirt_swing.html) -** At Dan's Pier 600 in New Orleans
[**Al
Hirt**](http://tralfaz-archives.com/coverart/H/Hirt/hornet.htm) - The Horn Meets
the Hornet
**[Alfred Hitchcock](http://tralfaz-archives.com/coverart/H/hitchcock_music.html) -** Alfred Hitchcock Presents...Music to Be Murdered By
**[Robyn Hitchcock
and Emma Swift](http://tralfaz-archives.com/coverart/H/Hitchcock/hitchcock_swift.htm) -** Love
is a Drag
**[Allan Holdsworth](http://tralfaz-archives.com/coverart/H/holdsworth_ata.html) -** Atavachron
**[Homer and Jethro](http://tralfaz-archives.com/coverart/H/homer_old.htm) -** The Old Crusty Minstrels
**[Nicky Hopkins](http://tralfaz-archives.com/coverart/H/hopkins_tinman.html) -** The Tin Man Was a Dreamer
[**The
Hot Toddies**](http://tralfaz-archives.com/coverart/H/hot_toddies_jag.htm) - Jaguar b/w Kickstart
My Heart
**[Hot Tuna](http://tralfaz-archives.com/coverart/H/hot_tuna_first.html) -** Jack, Jorma and their extended family...
Hot Tuna (1st Album)
First Pull Up, Then Pull Down
Burgers
Double Dose
**[Steve Howe](http://tralfaz-archives.com/coverart/H/howe.html) -** The Steve Howe Album
**[Freddie Hubbard](http://tralfaz-archives.com/coverart/H/hubbard_first.html) -** First Light
**[Freddie Hubbard](http://tralfaz-archives.com/coverart/H/hubbard_straight.html) -** Straight Life
**[Craig Hundley](http://tralfaz-archives.com/coverart/H/hundley_giant.html) -** Arrival of a Young Giant
**[Robert Hunter](http://tralfaz-archives.com/coverart/H/hunter_tigerf.html) -** Tiger Rose
**[Robert Hunter](http://tralfaz-archives.com/coverart/H/Hunter/hunter_jack.html) -** Jack O'Roses
**[Hunters and Collectors](http://tralfaz-archives.com/coverart/H/hunters_human.html) -** Human Frailty
**[Husker Du](http://tralfaz-archives.com/coverart/H/Husker_Du/husker_land.htm)** - Land Speed Record
**[Husker Du](http://tralfaz-archives.com/coverart/H/husker_zen.html) -** Zen Arcade
**[Dick Hyman](http://tralfaz-archives.com/coverart/H/Hyman/hyman_pages.html) -** The Keyboard Artistry of...
Provocative Piano
The Age of Electronicus
Moog
The Man from O.R.G.A.N.
|
| | |
| | [The Letter I](http://tralfaz-archives.com/coverart/I/I.html) |
| [°°](#top) | **[The Icicle Works](http://tralfaz-archives.com/coverart/I/Icicle_Works/icicle_pages.htm) -** From a whisper...
Up Here in the North of England
Who Do You Want for Your Love?
Seven Horses
Hollow Horse
When It All Comes Down
**[If](http://tralfaz-archives.com/coverart/I/If_pretty.html) -** Not Just Another Bunch of Pretty Faces
**[The Inmates](http://tralfaz-archives.com/coverart/I/inmates_shot.html) -** A Shot in the Dark
**[The Incredible Casuals](http://tralfaz-archives.com/coverart/I/incredible_lets.htm) -** Let's Go! (Summer Fun Maxi-EP)
**[The Incredible String
Band](http://tralfaz-archives.com/coverart/I/incredible_string_5000.htm)** - The 5000
Spirits | **[Iron Butterfly](http://tralfaz-archives.com/coverart/I/Iron_Butterfly/IronB_pages.html) -** The Thunder of the Gods...
Live
Heavy
Metamorphosis
[**Chris
Isaak**](http://tralfaz-archives.com/coverart/I/isaak_dancin.htm) - Dancin'
**[It's a Beautiful Day](http://tralfaz-archives.com/coverart/I/its_a_beautiful/its_a_beautiful_pages.htm) -** A little of that San Francisco sound ...
It's a Beautiful Day
Marrying Maiden
Choice Quality Stuff / Anytime
[**Ivy
Pete and his Limbomaniacs**](http://tralfaz-archives.com/coverart/I/ivy_pete_limbo.htm) **-** Limbo Party |
| | |
| | [The Letter J](http://tralfaz-archives.com/coverart/J/J.html) |
| [°°](#top) | **[The Jackson 5](http://tralfaz-archives.com/coverart/J/jackson5_ross.html) -** Diana Ross Presents...
**[Joe Jackson](http://tralfaz-archives.com/coverart/J/jackson.html) -** Look Sharp!
**[Joe Jackson](http://tralfaz-archives.com/coverart/J/jackson_night.html) -** Night and Day
**[Milt Jackson and Wes Montgomery](http://tralfaz-archives.com/coverart/J/jackson_bags.html) -** Bags Meets Wes
[**Milt
Jackson**](http://tralfaz-archives.com/coverart/J/Jackson_Milt/jackson_skyline.htm) - The Jazz Skyline
[**Wanda Jackson**](http://tralfaz-archives.com/coverart/J/jackson_wanda_please.htm) - Please Help Me, I'm Falling
[**Illinois Jacquet**](http://tralfaz-archives.com/coverart/J/jacquet_message.htm) - The Message
**[The Jam](http://tralfaz-archives.com/coverart/J/Jam/jam_pages.html) -** The Sound and the Fury
This is the Modern World
Sound Affects
Setting Sons
**[Ahmd
Jamal](http://tralfaz-archives.com/coverart/J/Jamal/jamal_pages.htm) -** And
His Piano Artistry
Happy
Moods
Count
'Em 88
Jamal at the Penthouse
**[Jan
and Dean](http://tralfaz-archives.com/coverart/J/jan_and_dean_folk.htm) -** Folk
'n Roll
**[Japan](http://tralfaz-archives.com/coverart/J/japan_oil.html) -** Oil
on Canvas
**[Keith Jarrett](http://tralfaz-archives.com/coverart/J/jarrett_stair.html) -** Staircase
| [**The
Jefferson Airplane**](http://tralfaz-archives.com/coverart/J/Jefferson_Airplane/jefferson_pages.htm) - To the Sixties and Beyond!
After Bathing
at Baxter's
Bark
Volunteers
**[Jefferson
Starship](http://tralfaz-archives.com/coverart/J/J_Starship_blows.htm) -** Blows Against the Empire
**[Jefferson
Starship](http://tralfaz-archives.com/coverart/J/jstarship_red.html) -** Red Octopus
**[Jelly Bishops](http://tralfaz-archives.com/coverart/J/jelly_bishops_kings.html) -** Kings of Barstool Mountain
**[Jethro Tull](http://tralfaz-archives.com/coverart/J/jethro_tull_horses.html) -** Heavy Horses
**[Jethro Tull](http://tralfaz-archives.com/coverart/J/jethro_tull_wood.html) -** Songs from the Wood
**[Antonio Carlos Jobim](http://tralfaz-archives.com/coverart/J/jobim_jobim.html) -** Jobim
**[Antonio Carlos Jobim](http://tralfaz-archives.com/coverart/J/Jobim/jobim_wave.html) -** Wave
[**Elton
John**](http://tralfaz-archives.com/coverart/J/John_Elton/john_madman.htm) - Madman Across the Water
[**JJ Johnson, Kai Winding, Bennie Green**](http://tralfaz-archives.com/coverart/J/johnson_trombone.htm) - Trombone By Three
**[The Jonah Jones Quartet](http://tralfaz-archives.com/coverart/J/Jones/jones_pages.html) -** Jazz That Swings...
Swingin' on Broadway
Jumpin' With a Shuffle
Swingin' at the Cinema
**[Mickey Jupp](http://tralfaz-archives.com/coverart/J/jupp_juppan.html) -** Juppanese |
| | |
| | [The Letter K](http://tralfaz-archives.com/coverart/K/K.html) |
| [°°](#top) | **[Bert Kaempfert And His Orchestra](http://tralfaz-archives.com/coverart/K/kaempf_swingin.htm) -** A Swingin' Safari
**[Michael
Kamen](http://tralfaz-archives.com/coverart/K/kamen_newyork.htm) -** New York Rock
**[Kansas](http://tralfaz-archives.com/coverart/K/kansas_masque.html) -** Masque
**[Paul
Kantner, Grace Slick & David Freiberg](http://tralfaz-archives.com/coverart/K/kantner_baron.html) -** Baron
von Toolbooth & The Chrome Nun
**[Jorma
Kaukonen](http://tralfaz-archives.com/coverart/K/kauk_quah.html) -** Quah
**[Jorma
Kaukonen](http://tralfaz-archives.com/coverart/K/Kaukonen/kaukonen_jorma.html) -** Jorma
**[Keith & Donna](http://tralfaz-archives.com/coverart/K/keith_and_donna.html) -** Keith & Donna
[**Stan
Kenton**](http://tralfaz-archives.com/coverart/K/kenton_bossa.htm) - Artistry in Bossa Nova
**[Jerome
Kern](http://tralfaz-archives.com/coverart/K/kern_flutes.htm) -** Flutes & Percussion
**[B.B.
King](http://tralfaz-archives.com/coverart/K/king_cook.html) -** Live in the Cook County Jail
**[B.B.
King](http://tralfaz-archives.com/coverart/K/BB_King/king_bb_take.html) -** Take It Home
**[King
Crimson](http://tralfaz-archives.com/coverart/K/King_Crimson/king_crimson_pages.htm) -** The
Music of Robert Fripp and Friends
In the Court of the Crimson King
Lark's Tongues in Aspic
Earthbound
**[Kingfish](http://tralfaz-archives.com/coverart/K/kingfish_kingfish.html) -** Kingfish
**[Kingfish](http://tralfaz-archives.com/coverart/K/kingfish_kingfish1.html) -** Kingfish
[**The
Kingsmen**](http://tralfaz-archives.com/coverart/K/kingsmen_bikini.htm) - How to Stuff a Wild Bikini
**[The
Kingston Trio](http://tralfaz-archives.com/coverart/K/kingston_trio_hungry.html) -** "...from the Hungry i"
**[The
Kingston Trio](http://tralfaz-archives.com/coverart/K/kingston_trio_first.html) -** The Kingston Trio | **[King
Uszniewicz and His Uszniewicztones](http://tralfaz-archives.com/coverart/K/king_u_orbit.html) -** Direct from the
Orbit Room
**[The
Kinks](http://tralfaz-archives.com/coverart/K/kinks_schoolboys.html) -** Ray Davies
and His Chums
Schoolboys in Disgrace
Everybody's in Show-Biz, Everybody's a Star
Candy from Mr. Dandy
The Kinks Kontroversy
**[Earth
Kitt](http://tralfaz-archives.com/coverart/K/kitt_bad.html) -** That
Bad Eartha
**[Klaatu](http://tralfaz-archives.com/coverart/K/klaatu.html) -** Sir
Army Suit
**[Klaatu](http://tralfaz-archives.com/coverart/K/klaatu_hope.html) -** Hope
**[John
Klemmer](http://tralfaz-archives.com/coverart/K/klemmer_waterfall.html) -** Waterfalls
**[Otto
Klemperer](http://tralfaz-archives.com/coverart/K/klemperer_strav.htm) -** Stravinsky,
Symphony in Three Movements
**[The
Knitters](http://tralfaz-archives.com/coverart/K/knitters_poor.html) -** Poor
Little Critter on the Road
**[Jerry
Kole & The Strokers](http://tralfaz-archives.com/coverart/K/kole_rod.htm) -** Hot
Rod Alley
**[Al
Kooper](http://tralfaz-archives.com/coverart/K/Kooper/kooper_pages.htm) -** A
Legend On and Off the Stage
I Stand Alone
...of the Blues Project Among Others
Al's Big Deal / Unclaimed Freight-An Al Kooper Anthology
**[Leo
Kottke](http://tralfaz-archives.com/coverart/K/Kottke/kottke_pages.html) -** A
Master of the Guitar...
Ice
Water
Greenhouse
6 and 12 String Guitar
**[Kronos
Quartet](http://tralfaz-archives.com/coverart/K/Kronos/kronos_monk.htm) -** Monk
Suite
|
| | |
| | [The Letter L](http://tralfaz-archives.com/coverart/L/L.html) |
| [°°](#top) | **[Sleepy
LaBeef](http://tralfaz-archives.com/coverart/L/labeef/labeef_pages.htm) -** The Legend...
1977
Rockabilly
Downhome Rockabilly (Charley Records)
Downhome Rockabilly (Sun Records)
**[Lake](http://tralfaz-archives.com/coverart/L/lake.html) -** Lake
**[k.
d. lang and the Reclines](http://tralfaz-archives.com/coverart/L/kdlang_torch.html) -** Absolute
Torch and Twang
**[k.
d. lang](http://tralfaz-archives.com/coverart/L/lang_shadow.html) -** Shadowland – The
Owen Bradley Sessions
**[Jon
Langford & Skull Orchard](http://tralfaz-archives.com/coverart/L/Langford/langford_skull.htm) -** Days
and Nights
**[Yusef
Lateef](http://tralfaz-archives.com/coverart/L/lateef_lovers.html) -** Plays
for Lovers
[**The Leaves**](http://tralfaz-archives.com/coverart/L/leaves_joe.htm) - Hey Joe
[**Brenda Lee**](http://tralfaz-archives.com/coverart/L/lee_sincerely.htm) - Sincerely, Brenda Lee
**[Tom
Lehrer](http://tralfaz-archives.com/coverart/L/lehrer_revisited.html) -** Revisited
**[John
Lennon](http://tralfaz-archives.com/coverart/L/Lennon/lennon_rock.html) -** Rock
'N' Roll
**[Gary
Lewis & the Playboys](http://tralfaz-archives.com/coverart/L/lewis_clown.html) -** Everybody
Loves a Clown
**[Gary
Lewis & the Playboys](http://tralfaz-archives.com/coverart/L/Lewis_Gary/lewis_gary_session.htm) -** In
Session With...
**[Ramsey
Lewis](http://tralfaz-archives.com/coverart/L/Lewis/lewis_pages.htm) -** The
Easy Sounds of...
Up Pops Ramsey
Stretching
Out
The In Crowd
**[Norman
Leyden](http://tralfaz-archives.com/coverart/L/leyden_cha.html) -** Sing
While Dancing the Cha Cha
**[Enoch
Light](http://tralfaz-archives.com/coverart/L/Light/light_pages.html) -** The
Hip World of...
Patterns
in Sound
Dimension 3
Persuasive Percussion Volume 2
Persuasive Percussion Volume 3
12
Smash Hits
[Lindisfarne](http://tralfaz-archives.com/coverart/L/lindisfarne_finest.htm) - Lindisfarne's
Finest Hour
[David
Lindley](http://tralfaz-archives.com/coverart/L/lindley_el.html) - El Rayo-X | **[Little
Feat](http://tralfaz-archives.com/coverart/L/littlefeat_time.html)** - Some of Dixie's
Finest...
Waiting
for Columbus
Feats Don't Fail Me Now
Time Loves a Hero
**[Living
Guitars](http://tralfaz-archives.com/coverart/L/living_guitars.html) -** Shindig
**[Roy Loney](http://tralfaz-archives.com/coverart/L/loney_rock.htm) -** Rock and roll Dance Party With…
[**Looking
Glass**](http://tralfaz-archives.com/coverart/L/looking_glass.html) **-** Looking
Glass
**[Los
Admiradores](http://tralfaz-archives.com/coverart/L/los_ad_bongo.html) -** Bongos
**[Los
Admiradores](http://tralfaz-archives.com/coverart/L/Los_Admiradores/Los_Admiradores_bongos_flutes.htm) -** Bongos/Flutes/Guitars
**[Los
Corraleros](http://tralfaz-archives.com/coverart/L/los_corraleros.html) -** Del
Manigual Vol. 2
**[Los
Lobos](http://tralfaz-archives.com/coverart/L/lobos_light.html) -** By
the Light of the Moon
**[Los
Straitjackets](http://tralfaz-archives.com/coverart/L/Los_Strait/los_strait_pages.htm) -** Instrumental
Surf Wizards...
Supersonic Guitars in 3-D
The Utterly Fantastic and Totally Unbelievable Sounds of...
The Further Adventures of...
Hark the Herald Angels Sing / Silver Bells
Jet Set
The Sox are Rockin'
**[Love](http://tralfaz-archives.com/coverart/L/Love/love_four.htm) -** Four
Sail
**[Lene
Lovich](http://tralfaz-archives.com/coverart/L/lovich_stateless.htm) -** Stateless
**[The
Lovin' Spoonful](http://tralfaz-archives.com/coverart/L/Lspoonful_best.html) -** The
Best of...
**[Nick
Lowe](http://tralfaz-archives.com/coverart/L/Lowe/Lowe_pages.html) -** Songsmith
Extraordinaire...
Pure Pop for Now People
Jesus of Cool
...and His Cowboy Outfit
Go 'Way Hound Dog
I Knew The Bride (When She Used To Rock 'N' Roll)
**[Lulu
/ The Mindbenders](http://tralfaz-archives.com/coverart/L/lulu.html) -** To
Sir With Love
**[The
Exotic Sounds of](http://tralfaz-archives.com/coverart/L/Lyman/lyman_pages.htm) [Arthur
Lyman -](http://tralfaz-archives.com/coverart/L/Lyman/lyman_lei.html)** At its best!
Taboo
Leis of Jazz
On Broadway
|
|
| |
| | [The
Letter M](http://tralfaz-archives.com/coverart/M/M.html) |
| [°°](#top) | **[Mad
Daddys](http://tralfaz-archives.com/coverart/M/mad_daddys_woodstock.htm) -** Take Me Back to Woodstock
**[Taj
Mahal](http://tralfaz-archives.com/coverart/M/mahal_bro.html) -** Brothers
**[Taj
Mahal](http://tralfaz-archives.com/coverart/M/Mahal/mahal_oooh.html) -** Oooh So Good 'n Blues
**[Mahavishnu
Orchestra](http://tralfaz-archives.com/coverart/M/mahavishnu_birds.html) -** Birds of Fire
**[Mahavishnu
Orchestra](http://tralfaz-archives.com/coverart/M/mahavishnu_apoc.html) -** Apocalypse
**[Mahogany
Rush](http://tralfaz-archives.com/coverart/M/mahogany_tales.html) -** Tales of the Unexpected
**[Sam](http://tralfaz-archives.com/coverart/M/makia_hawaii.html) [Makia
and his Surf Riders](http://tralfaz-archives.com/coverart/M/makia_hawaii.html) -** Hawaiian Island Magic
**[Malo](http://tralfaz-archives.com/coverart/M/malo_malo.html) -** Malo
**[Man](http://tralfaz-archives.com/coverart/M/man_slow.html) -** Slow
Motion
**[Henry
Mancini](http://tralfaz-archives.com/coverart/M/gunn.html) -** Peter Gunn
**[Henry
Mancini](http://tralfaz-archives.com/coverart/M/more_gunn.html) -** More Music From Peter Gunn
**[Chuck
Mangione](http://tralfaz-archives.com/coverart/M/mangione_bellavia.html) -** Bellavia
**[Herbie
Mann](http://tralfaz-archives.com/coverart/M/mann_gate.html) -** At
the Village Gate
**[The
Mariachi Brass](http://tralfaz-archives.com/coverart/M/mariachi_hats.htm) -** Hats
Off - Featuring Chet Baker
**[Marillion](http://tralfaz-archives.com/coverart/M/marillion_reel.html) -** Real
to Reel
**[Marillion](http://tralfaz-archives.com/coverart/M/marillion_misplace.html) -** Misplaced
Childhood
**[Bob
Marley & the Wailers](http://tralfaz-archives.com/coverart/M/marley_vibe.html) -** Rastaman Vibration
**[Wynton
Marsalis](http://tralfaz-archives.com/coverart/M/marsalis_codes.html) -** Black Codes (from the Underground)
**[Martha
and the Muffins](http://tralfaz-archives.com/coverart/M/martha_parc.html) -** Danseparc
**[Martha
and the Muffins](http://tralfaz-archives.com/coverart/M/Martha/martha_metro.html) -** Metro Music
**[Dean
Martin](http://tralfaz-archives.com/coverart/M/dean_martin.html) -** French Style
**[Dean
Martin](http://tralfaz-archives.com/coverart/M/dean_martin_houston.html) -** Houston
**[Dave
Mason](http://tralfaz-archives.com/coverart/M/dave_mason.html) -** Headkeeper
**[Matchbox](http://tralfaz-archives.com/coverart/M/matchbox_midnite.html) -** Midnite
Dymanos
**[Les
McCann & Eddie Harris](http://tralfaz-archives.com/coverart/M/mccan_swiss.htm) -** Swiss Movement
**[Paul
and Linda McCartney](http://tralfaz-archives.com/coverart/M/mccartney_ram.html) -** Ram
**[Paul
McCartney](http://tralfaz-archives.com/coverart/M/McCartney/mccartney_another.htm) -** Another Day
**[Mike
McGear](http://tralfaz-archives.com/coverart/M/mcgear_mcgear.html) -** McGear
**[Mckendree
Spring](http://tralfaz-archives.com/coverart/M/mcken_spring.html) -** Spring
Suite
**[John
McLaughlin](http://tralfaz-archives.com/coverart/M/mclaughlin_friday.html) -** Friday Night in San Francisco
**[Meat
Puppets](http://tralfaz-archives.com/coverart/M/mpuppets_huevos.html) -** "Huevos"
**[Meat
Puppets](http://tralfaz-archives.com/coverart/M/mpuppets_mirage.html) -** Mirage
**[Meco](http://tralfaz-archives.com/coverart/M/meco_star.html) -** Star
Wars and Other Galactic Funk
**[Me](http://tralfaz-archives.com/coverart/M/me_first_bar.html)** [First
and the Gimme Gimmes](http://tralfaz-archives.com/coverart/M/me_first_bar.html) - Ruin
Jonny's Bar Mitzvah
**[Me](http://tralfaz-archives.com/coverart/M/me_first_bar.html)** [First
and the Gimme Gimmes](http://tralfaz-archives.com/coverart/M/Me_First/me_first_country.htm) - Love Their Country
**[The
Mekons](http://tralfaz-archives.com/coverart/M/Mekons/Mekons_pages.html) -** 30 Years Along and Still Making fine
Music...
The
Edge of the World
Slightly
South of the Border
Greetings
Eight
Crime
and Punishment
Snow
b/w Another One
This
Sporting Life b/w Fight the Cuts
Hole
in the Ground
The
Dream and Lie of...
Disco
45 12"
Empire
of the Senseless / Pete Shelley Interview
Honky
Tonkin'
The
Mekons Rock'n'Roll
**[The
Membranes](http://tralfaz-archives.com/coverart/M/membranes_gift.html) -** The Gift of Life
**[The
Membranes](http://tralfaz-archives.com/coverart/M/membrane_pin.html) -** Pin Stripe Hype E.P.
**[Sergio
Mendes & Brasil 66](http://tralfaz-archives.com/coverart/M/Mendes/mendes_pages.html) -** South
American Spice...
The Fool on the Hill
The Look of Love
Greatest Hits
| **[Buddy
Merrill](http://tralfaz-archives.com/coverart/M/Merrill/merrill_pages.html) -** A Boy and
His Guitar...
Holiday for Guitars
Guitar Sounds of the "70's"
The Exciting World of Buddy Merrill
**[Pat
Metheny](http://tralfaz-archives.com/coverart/M/metheny_chau.htm) -** New
Chautauqua
**[Steve
Miller Band](http://tralfaz-archives.com/coverart/M/miller_sailor.html) -** Sailor
**[Steve
Miller Band](http://tralfaz-archives.com/coverart/M/Miller/miller_20th.htm) -** Living
in the 20th Century
**[Charles
Mingus](http://tralfaz-archives.com/coverart/M/mingus_ahum.html) -** Mingus Ah Um
**[The Minus 5](http://tralfaz-archives.com/coverart/M/Minus5/minus5_slim.htm) -** Songs for Slim
**[Minutemen](http://tralfaz-archives.com/coverart/M/minutemen.html) -** 3-Way
Tie (for Last)
**[The
Chad Mitchell Trio](http://tralfaz-archives.com/coverart/M/mitchell_chad_concert.htm) -** In Concert / Everybody's Listening
**[Joni
Mitchell](http://tralfaz-archives.com/coverart/M/mitchell_chalk.html) -** Chalk Mark in a Rain Storm
**[Moby
Grape](http://tralfaz-archives.com/coverart/M/moby_grape_wow.html) -** Wow
**[The
Modern Jazz Quartet](http://tralfaz-archives.com/coverart/M/MJQ/mjq_pages.html) -** Four
Men on a Mission...
In Memoriam
The Legendary Profile
On Tour
Patterns
**[The
Modern Jazz Quartet](http://tralfaz-archives.com/coverart/M/MJQ/mjq_oscar_opera.htm)[/The
Oscar Peterson Trio](http://tralfaz-archives.com/coverart/M/MJQ/mjq_oscar_opera.htm) -** At
the Opera House
**[Thelonious
Monk](http://tralfaz-archives.com/coverart/M/Monk/monk_pages.html) -** A Man,
A Piano and his Muse
Live
at the Blackhawk
Criss-Cross
Underground
**[The
Monks of Doom](http://tralfaz-archives.com/coverart/M/monks_of_doom.html) -** The Cosmodemonic Telegraph Company
**[The
Mono Men](http://tralfaz-archives.com/coverart/M/mono_skin.htm) -** Skin & Tonic
**[Matt Monro](http://tralfaz-archives.com/coverart/M/monro_russia.htm) -** From Russia with Love
**[Hugo
Montenegro](http://tralfaz-archives.com/coverart/M/montenegro_bb.html) -** Bongos + Brass
**[Wes
Montgomery](http://tralfaz-archives.com/coverart/M/montgomery_dreaming.html) -** California Dreaming
**[Wes
Montgomery](http://tralfaz-archives.com/coverart/M/Montgomery/montgomery_trio.htm) -** The Wes Montgomery Trio
[**Montrose**](http://tralfaz-archives.com/coverart/M/montrose_mont.htm) - Warner Bros.
Presents...
**[Monty
Python](http://tralfaz-archives.com/coverart/M/Monty_Python/monty_match.htm) -** Matching Tie and Handkerchief
**[Keith
Moon](http://tralfaz-archives.com/coverart/M/moon_two.htm) -** Two Sides of the Moon
**[Mary
Tyler Moore (Cover Model)](http://tralfaz-archives.com/coverart/M/MTM/MTM_pages.html) -** Step This Way to the Moore
Collection...
Raoul Martinez: Cha Cha Cha
Lew Raymond: Million Sellers
Steve Philips: Organ Favorites
Miguelito Valdez!: Latin Rhythms
Miguel Lopez: Latin Favorites
Gordon Fleming: Gigi
Norman Leslie Orchestra: Gigi
Nestor Amaral: Favorites from Italy
[Ennio Morricone -](http://tralfaz-archives.com/coverart/M/morricone_good.htm) The Good, The Bad And The Ugly • Original Motion Picture Soundtrack
[The
Motels](http://tralfaz-archives.com/coverart/M/motels_rob.html) - Little Robbers
**[The
Mothers of Invention](http://tralfaz-archives.com/coverart/M/Mothers/mothers_ruben.html) -** Cruising
with Ruben and the Jets
**[The
Mothers of Invention](http://tralfaz-archives.com/coverart/M/Mothers/mothers_worst_of.htm) -** The
\*\*\*\* of The Mothers
**[Mott
the Hoople](http://tralfaz-archives.com/coverart/M/mott_brain.html) -** Brain Capers
**[Mott
the Hoople](http://tralfaz-archives.com/coverart/M/Mott/mott_dudes.htm) -** All the Young Dudes
**[Tony
Mottola (plus the Now Sound)](http://tralfaz-archives.com/coverart/M/mottola_warm.html) -** Warm,
Wild & Wonderful
**[Mountain](http://tralfaz-archives.com/coverart/M/mountain_climb.html) -** Climbing!
**[The
Move](http://tralfaz-archives.com/coverart/M/move_move.htm) -** The
Move
**[Gerry
Mulligan](http://tralfaz-archives.com/coverart/M/mulligan_getz.html) -** Gerry Mulligan Meets Stan Getz
**[Chips
Murphie & His Border Brass](http://tralfaz-archives.com/coverart/M/murphie_tijuana.htm) -** This is Tijuana Country
**[Charlie
Musselwhite](http://tralfaz-archives.com/coverart/M/Musselwhite/mussel_stand.htm) -** Stand Back! Here Comes Charley Musselwhite's Southside
Band
**[Charlie
Musselwhite](http://tralfaz-archives.com/coverart/M/musselwhite_harm.html) -** The Harmonica According to... |
| | |
| | [The
Letter N](http://tralfaz-archives.com/coverart/N/N.html) |
| [°°](#top) | **[Graham
Nash](http://tralfaz-archives.com/coverart/N/Nash/nash_beginners.htm) -** Songs
for Beginners
**[The
Neanderthals](http://tralfaz-archives.com/coverart/N/nean_twinkle.html) -** Twinkle Toes b/w 2000 LB. Werewolf
**[Neil](http://tralfaz-archives.com/coverart/N/neil_hole.html) -** Hole
in My Shoe
**[Nektar](http://tralfaz-archives.com/coverart/N/Nektar/Nektar_pages.html) -** Come
Along for the Ride...
A Tab in the Ocean
Remember the Future
Down to Earth
Recycled
Sunday Night at London Roundhouse
Sounds Like This
Journey to the Centre of the Eye
Man in the Moon
Magic is a Child
**[Bill
Nelson](http://tralfaz-archives.com/coverart/N/Nelson/nelson_whirls.htm) -** The
Love That Whirls (Diary of a Thinking Heart)
**[Bill
Nelson](http://tralfaz-archives.com/coverart/N/nelson_chance.html) -** Chance
Encounters in the Garden of Lights
**[Willie
Nelson](http://tralfaz-archives.com/coverart/N/nelson_and_then.html) -** ...And
Then I Wrote
[**Randy
Newman**](http://tralfaz-archives.com/coverart/N/newman_born.htm) - Born Again
**[New
Order](http://tralfaz-archives.com/coverart/N/new_order_power.html) -** Power,
Corruption & Lies
**[New
Riders of the Purple Sage](http://tralfaz-archives.com/coverart/N/nrps_nrps.html) -** New Riders of the Purple
Sage
**[New
Riders of the Purple Sage](http://tralfaz-archives.com/coverart/N/new_riders.html) -** The Adventures of Panama
Red
**[The
New York Rock & Roll Ensemble](http://tralfaz-archives.com/coverart/N/NYRE/NYRE_NYRE.html) -** The New York Rock & Roll
Ensemble | **[The
New York Rock Ensemble](http://tralfaz-archives.com/coverart/N/nyre_roll.html) -** Roll Over
**[The
Nice](http://tralfaz-archives.com/coverart/N/nice_autumn.html) -** Autumn to Spring
**[Nichelle
Nichols](http://tralfaz-archives.com/coverart/N/nichols_beyond.html) -** Beyond Antares b/w Uhura's Theme
**[Harry
Nilsson](http://tralfaz-archives.com/coverart/N/nilsson_dracula.html) -** Son of Dracula
**[Leonard
Nimoy](http://tralfaz-archives.com/coverart/N/Nimoy/nimoy_pages.html) -** Enter Leonard's
Universe
The Way I Feel
The Touch of Leonard Nimoy
Space Odyssey
Presents Mr. Spock's Music from Outer Space
Two Sides of Leonard Nimoy
Outer Space/Inner Mind
**[1910
Fruitgum Co.](http://tralfaz-archives.com/coverart/N/1910_123.html) -** 1,
2, 3 Red Light
**[Mojo
Nixon and Skid Roper](http://tralfaz-archives.com/coverart/N/nixon_skid.htm) -** Mojo Nixon and Skid Roper
**[The
Nomads](http://tralfaz-archives.com/coverart/N/nomads_out.html) -** (I'm) Out of It b/w Fan Club
**[NRBQ](http://tralfaz-archives.com/coverart/N/NRBQ/nrbq_dig.html) -** Diggin'
Uncle Q
**[Gary
Numan](http://tralfaz-archives.com/coverart/N/numan_pleasure.htm) -** The
Pleasure Principle |
| | |
| | [The
Letter O](http://tralfaz-archives.com/coverart/O/O.html) |
| [°°](#top) | [Old
and in the Way](http://tralfaz-archives.com/coverart/O/oldintheway.html) - Old and in the Way **[Mike
Oldfield](http://tralfaz-archives.com/coverart/O/oldfield_crises.html) -** Crises
**[Omega](http://tralfaz-archives.com/coverart/O/omega_time.html) -** Time
Robber
**[101 Strings](http://tralfaz-archives.com/coverart/O/101_italian.html) -** Italian Hits
**[101 Strings](http://tralfaz-archives.com/coverart/O/101_jet_set.htm) -** Sounds and Songs of the Jet Set
**[Roy
Orbison](http://tralfaz-archives.com/coverart/O/Orbison/orbison_pages.html) -** Enter
the Vault of Roy...
Orbiting with Roy Orbison
At the Rock House
Roy Orbison Sings
There is Only One
| **[Oregon](http://tralfaz-archives.com/coverart/O/oregon_roots.htm) -** Roots
in the Sky
**[Tony
Orlando & Dawn](http://tralfaz-archives.com/coverart/O/orlando.html) -** Greatest Hits
**[Ozzy
Osbourse](http://tralfaz-archives.com/coverart/O/ozzy.html) -** Bark at the Moon
**[Osibisa](http://tralfaz-archives.com/coverart/O/osibisa.html) -** Osibisa
**[Davis Ossman](http://tralfaz-archives.com/coverart/O/ossman_time.htm) -** How Time Flys |
| | |
| | [The
Letter P](http://tralfaz-archives.com/coverart/P/P.html) |
| [°°](#top) | **[The
Partridge Family](http://tralfaz-archives.com/coverart/P/partridge_date.htm) -** Up to Date
**[Joe
Pass](http://tralfaz-archives.com/coverart/P/pass_sign.html) -** A Sign of the Times
**[Passport](http://tralfaz-archives.com/coverart/P/passport_infinity.html) -** Infinity
Machine
[**The
Pentangle**](http://tralfaz-archives.com/coverart/P/pent_sweet.htm) - Sweet Child
**[Perrey-Kingsley](http://tralfaz-archives.com/coverart/P/perrey-kingsley_in.html) -** The
In Sound From Way Out
**[Oscar
Peterson](http://tralfaz-archives.com/coverart/P/Peterson/peterson_pages.html) -** The
Prince of the Piano and His Friends...
Night Train
Hello Herbie
The Trio
Nigerian Marketplace
At Newport
Stan Getz and The Oscar Peterson Trio
Soft Sands
Jousts
The Giants (Peterson, Pass & Brown)
Tenderly
****[The
Phantom Surfers](http://tralfaz-archives.com/coverart/P/Phantom_Surfers/phantom_surfers_pages.htm)** -** Their
music, their craft...
Play The Music From The
Big-Screen Spectaculars!
The Great Surf Crash Of '97
The Exciting Sounds of Model Road Racing
**[Anthony
Phillips](http://tralfaz-archives.com/coverart/P/Phillips/phillips_page.html) -** With Cover
Art By Peter Cross
The Geese and the Ghost
Sides
Antiques
Wise After the Event
Private Parts and Pieces
**[Phranc](http://tralfaz-archives.com/coverart/P/phranc_folk.html) -** Folksinger
**[Pink
Floyd](http://tralfaz-archives.com/coverart/P/pfloyd_animals.html) -** Animals | **[Pink
Floyd](http://tralfaz-archives.com/coverart/P/Pink_Floyd/pink_floyd_relics.htm) -** Relics
**[Gene
Pitney](http://tralfaz-archives.com/coverart/P/pitney_world.html) -** Sings
World Wide Winners
**[Poco](http://tralfaz-archives.com/coverart/P/poco_crazy.htm) -** Crazy Eyes
**[The
Pogues](http://tralfaz-archives.com/coverart/P/pogues_grace.html) -** If I Should Fall From Grace With God
**[Polkacide](http://tralfaz-archives.com/coverart/P/polkacide.html) -** Polkacide
**[Buster
Poindexter](http://tralfaz-archives.com/coverart/P/poindexter.html) -** Buster Poindexter
**[Jean-Luc
Ponty](http://tralfaz-archives.com/coverart/P/Ponty/ponty_pages.htm) -** A man and his violin
Mystical Adventures
Civilized Evil
Fables
**[The
Pop Group](http://tralfaz-archives.com/coverart/P/pop_group_y.html) -** Y
**[Mike
Post](http://tralfaz-archives.com/coverart/P/post_hill.htm) -** The
Theme From Hill Street Blues
**[Perez
Prado and His Orchestra](http://tralfaz-archives.com/coverart/P/Prado/prado_king.html) -** Mambo By the King
**[Perez
Prado and His Orchestra](http://tralfaz-archives.com/coverart/P/Prado/pradomania.htm) -** Prado Mania
**[Premiata
Forneria Marconi (PFM)](http://tralfaz-archives.com/coverart/P/pfm_pass.html) -** Passpartu
**[Premiata
Forneria Marconi (PFM)](http://tralfaz-archives.com/coverart/P/PFM/pfm_world.htm) -** The World Became the World
**[Louis
Prima](http://tralfaz-archives.com/coverart/P/prima_wild.html) -** Call of the Wildest
**[Louis
Prima and Keely Smith](http://tralfaz-archives.com/coverart/P/Prima/prima_together.htm) -** Together
**[Procol
Harum](http://tralfaz-archives.com/coverart/P/procol_1st.html) -** Procol Harum
**[Pufnstuff](http://tralfaz-archives.com/coverart/P/pufnstuff.htm) -** Pufnstuf Original Sound Track Album
**[The
Purple Helmets](http://tralfaz-archives.com/coverart/P/purple_rides.html) -** The Purple Helmets Ride Again
**[The
Purple Helmets](http://tralfaz-archives.com/coverart/P/Purple_Helmets/purple_brand.htm) -** Brand New Cadillac
**[Pussy
Cats](http://tralfaz-archives.com/coverart/P/pussycats.html) -** Harry Nilsson and John Lennon |
| | |
| | [The
Letter Q](http://tralfaz-archives.com/coverart/Q/Q.html) |
| [°°](#top) | **[Queen](http://tralfaz-archives.com/coverart/Q/queen_flash.html) -** The
Original Flash Gordon Soundtrack
**[Quicksilver
Messenger Service](http://tralfaz-archives.com/coverart/Q/Quicksilver/quicksilver_pages.htm) -** Songs
of the Sixties and More..
Just
For Love
What
About Me
Shady
Grove
Happy
Trails
| |
| | |
| | [The
Letter R](http://tralfaz-archives.com/coverart/R/R.html) |
| [°°](#top) | **[Ram
Jam](http://tralfaz-archives.com/coverart/R/ramjam.html) -** Ram Jam
**[Joey
Ramone](http://tralfaz-archives.com/coverart/R/Ramones/joey_rock.htm) -** Rock "N
Roll is the Answer
[**Joey
Ramone**](http://tralfaz-archives.com/coverart/R/Ramones/joey_christmas.htm) - Christmas
spirit...In My House
**[Ramones](http://tralfaz-archives.com/coverart/R/ramones.html) -** Road
to Ruin
[**Ramones**](http://tralfaz-archives.com/coverart/R/Ramones/ramones_meltdown.htm) - Meltdown With
The Ramones
**[Jean-Pierre
Rampal](http://tralfaz-archives.com/coverart/R/rampal.html) -** Japanese Melodies for Flute and Harp
[**Rank
and File**](http://tralfaz-archives.com/coverart/R/rank_and_file_sun.htm) - Sundown
**[Rare
Air](http://tralfaz-archives.com/coverart/R/rare_air.html) -** Space Piper
**[Rare
Earth](http://tralfaz-archives.com/coverart/R/rare_earth_get.html) -** Get
Ready
[**The
Raybeats**](http://tralfaz-archives.com/coverart/R/Raybeats/raybeats_pages.htm) **-** Surf's
Up!
Guitar
Beat
Roping Wild Bears
It's Only a Movie
**[Leon
Redbone](http://tralfaz-archives.com/coverart/R/redbone_double.htm) -** Double Time
**[Jimmy
Reed](http://tralfaz-archives.com/coverart/R/reed_best.html) -** The Very Best of Jimmy Reed
**[Lou
Reed](http://tralfaz-archives.com/coverart/R/Reed/reed_new_york.htm) -** New York
**[Django
Reinhardt](http://tralfaz-archives.com/coverart/R/rein_quin.htm) -** The Quintette of the Hot Club of France
- Volume 1
**[REM](http://tralfaz-archives.com/coverart/R/rem_chronic.html) -** Chronic
Town
**[Renaissance](http://tralfaz-archives.com/coverart/R/Renaissance/renaiss_scheh.htm) -** Scheherazade
and Other Stories
**[The
Replacements](http://tralfaz-archives.com/coverart/R/replacements_pleased.html) -** Pleased to Meet Me
**[Return
to Forever](http://tralfaz-archives.com/coverart/R/Return/return_to_forever_pages.htm) -** Music
for your Mind...
Romantic
Warrior
Musicmagic
Live
**[Paul
Revere & the Raiders](http://tralfaz-archives.com/coverart/R/Revere/revere_pages.htm) -** This is Where the Action Is!
Here They Come
Just Like Us
Goin' to Memphis
**[Keith
Richards](http://tralfaz-archives.com/coverart/R/richards_one.htm)** - One Stone
Alone | **[Jonathan
Richman](http://tralfaz-archives.com/coverart/R/richman_back.html) -** Back in Your Life
**[The
Righteous Brothers](http://tralfaz-archives.com/coverart/R/righteous_back.html) -** Back to Back
**[Jeannie
C. Riley](http://tralfaz-archives.com/coverart/R/riley_harper.htm) -** Harper
Valley P.T.A**.**
**[The
Rip Chords](http://tralfaz-archives.com/coverart/R/rip_chords_cobra.htm) -** Hey Little Cobra and Other Hot Rod
Hits
**[Duane
Ripley and His Go Go Set](http://tralfaz-archives.com/coverart/R/ripley_revenge.html) -** Revenge of the 50 Foot Killer
Go-Go Girls (From Outer Space)
**[Johnny
Rivers](http://tralfaz-archives.com/coverart/R/rivers_rocks.html) -** Rivers Rocks the Folk
**[Johnny
Rivers](http://tralfaz-archives.com/coverart/R/rivers_gogo.html) -** At the Whisky a Go Go
**[Marty
Robbins](http://tralfaz-archives.com/coverart/R/robbins_devil.html) -** Devil
Woman
**[Smokey
Robinson and the Miracles](http://tralfaz-archives.com/coverart/R/robins_away.html) -** Away
We A' Go-Go
**[Shorty
Rogers and His Giants](http://tralfaz-archives.com/coverart/R/rogers_martians.html) -** Martians
Come Back!
**[The
Rolling Stones](http://tralfaz-archives.com/coverart/R/Rstones/rstones_pages.html) -** Ladies
and Gentlemen Presenting...
Gimmee Shelter
Flowers
Let It Bleed
Sticky Fingers
Their Satanic Majesties Request
Out of Our Heads
Between the Buttons
Miss You/Far Away Eyes
**[Sonny
Rollins](http://tralfaz-archives.com/coverart/R/rollins_bridge.htm) -** The
Bridge
**[Skid
Roper](http://tralfaz-archives.com/coverart/R/roper_lydia.html) -** Lydia's
Cafe
**[Kristi
Rose and the Midnight Walkers](http://tralfaz-archives.com/coverart/R/rose_some.htm) -** Some
People
**[Pete
Rugolo And His Orchestra](http://tralfaz-archives.com/coverart/R/rugolo_bugs.htm) -** Music
for Hi-Fi Bugs
**[Todd
Rundgren](http://tralfaz-archives.com/coverart/R/Rundgren/rundgren_wizard.html) -** A
Wizard, A True Star
**[Rush](http://tralfaz-archives.com/coverart/R/rush_moving.html) -** Moving
Pictures
[Mike Rutherford](http://tralfaz-archives.com/coverart/R/rutherford_mike_working.htm) - Working
In Line/Compression |
| | |
| | [The
Letter S](http://tralfaz-archives.com/coverart/S/S.html) |
| [°°](#top)
[°°](#top) | [Doug
Sahm -](http://tralfaz-archives.com/coverart/S/sahm_groovers.htm) Groovers Paradise
[Sir
Douglas Quintet (Doug Sahm) -](http://tralfaz-archives.com/coverart/S/Sahm/sahm_border.htm) Border Wave
[David
Sancious and Tone](http://tralfaz-archives.com/coverart/S/sancious_trans.html) - Transformation (The Speed of Love)
**[The
Sandals](http://tralfaz-archives.com/coverart/S/sandals_end.htm) -** The
Endless Summer
**[Santana](http://tralfaz-archives.com/coverart/S/santana_abraxas.html) -** Abraxas
**[Santana](http://tralfaz-archives.com/coverart/S/santana_beyond.html) -** Beyond
Appearances
**[Santo & Johnny](http://tralfaz-archives.com/coverart/S/SandJ.html) -** Santo & Johnny
**[Satan's
Pilgrims](http://tralfaz-archives.com/coverart/S/satan_pilg_soul.html) -** Soul Pilgrim
**[Savoy
Brown](http://tralfaz-archives.com/coverart/S/Savoy_Brown/sbrown_look.html) -** Looking
In
**[Boz
Scaggs](http://tralfaz-archives.com/coverart/S/scaggs_boz.html) -** Boz Scaggs
**[Lalo
Schifrin](http://tralfaz-archives.com/coverart/S/schifrin_miss.htm) -** Music
From Mission Impossible
**[Dick
Schory's New Percussion Ensemble](http://tralfaz-archives.com/coverart/S/schory_wild.html) -** Wild Percussion and
Horn's A'Plenty
**[Charles
M. Schulz](http://tralfaz-archives.com/coverart/S/schulz_charlie.html) -** A
Charlie Brown Christmas
**[Gil
Scott-Heron and Brian Jackson](http://tralfaz-archives.com/coverart/S/sheron_south.htm) -** From
South Africa to South Carolina
**[Andre
Segovia](http://tralfaz-archives.com/coverart/S/segovia_bach.html) -** Bach: Chaconne
[**Brian
Setzer**](http://tralfaz-archives.com/coverart/S/setzer_rockabilly.htm) - Rockabilly
Riot!
[**SF
Seals**](http://tralfaz-archives.com/coverart/S/sf_seals_ipecac.htm) - Ipecac/How Did
You Know?
[**SF
Seals**](http://tralfaz-archives.com/coverart/S/sf_seals_still.htm) - Still?/Don't Underestimate Me
**[Shadowy
Men on a Shadowy Planet](http://tralfaz-archives.com/coverart/S/shadowy_pets.html) -** Music for Pets
**[Shakti](http://tralfaz-archives.com/coverart/S/shakti_handful.html) -** A
Handful of Beauty
[**Ravi
Shankar**](http://tralfaz-archives.com/coverart/S/shankar_six.htm) - Six Ragas
[**George
Shearing Quintet with Nancy Wilson**](http://tralfaz-archives.com/coverart/S/shearing_swingin.htm) -
The Swingin's Mutual!
**[Jon
Sholle](http://tralfaz-archives.com/coverart/S/sholle_catfish.html) -** Catfish for Supper
**[Shonen
Knife](http://tralfaz-archives.com/coverart/S/Shonen_Knife/shonen_pages.html) -** AKA The Osaka
Ramones
Secret No. 712
E.S.P.
Brand New Knife
Fun! Fun! Fun!
**[Jimmy
Silva](http://tralfaz-archives.com/coverart/S/silva_remnants.html) -** The Remnants of the Empty Set
**[Jimmy
Silva](http://tralfaz-archives.com/coverart/S/silva_fly.html) -** Fly Like a Dog
[**Eric
Silver**](http://tralfaz-archives.com/coverart/S/silver_piano.htm) - Piano Hi-Fi
**[Shel
Silverstein](http://tralfaz-archives.com/coverart/S/silverstein_where.html) -** Where
the Sidewalk Ends
**[Shel
Silverstein](http://tralfaz-archives.com/coverart/S/silverstein_freak.htm) -** Freakin' at
the Freakers Ball
**[Nina
Simone](http://tralfaz-archives.com/coverart/S/simone_blue.html) -** Little Girl Blue
**[Frank
Sinatra](http://tralfaz-archives.com/coverart/S/sinatra.html) -** Sings for Only the Lonely
**[Nancy
Sinatra](http://tralfaz-archives.com/coverart/S/nsinatra_boots.html) -** Boots
**[Slade](http://tralfaz-archives.com/coverart/S/slade_alive.html) -** Slade
Alive!
**[Slade](http://tralfaz-archives.com/coverart/S/Slade/slade_crackers.htm) -** Crackers
**[The
Small Faces](http://tralfaz-archives.com/coverart/S/smfaces_ogden.html) -** Ogden's Nut Gone Flake
**[Jimmy
Smith](http://tralfaz-archives.com/coverart/S/Smith_Jimmy/smith_jimmy_pages.htm) -** The
Keyboards of...
Midnight Special
The Dynamic Duo
Who's Afraid of Virginia Woolf?
Bashin' - The Unpredictable Jimmy Smith
**[Patti
Smith Group](http://tralfaz-archives.com/coverart/S/smith_because.html) -** Because the Night b/w Rock 'n Roll Star
**[Patti
Smith Group](http://tralfaz-archives.com/coverart/S/smith_wave.html) -** Wave
**[The
Smithereens](http://tralfaz-archives.com/coverart/S/smithereens_green.html) -** Green Thoughts
**[The
Smothers Brothers](http://tralfaz-archives.com/coverart/S/smothers_onion.html) -** ...at the Purple Onion
**[Phoebe
Snow](http://tralfaz-archives.com/coverart/S/snow.html) -** Phoebe Snow
**[Terry
Snyder and the All Stars](http://tralfaz-archives.com/coverart/S/snyder_perc.html) -** Persuasive Percussion Volume
2
**[Social
Distortion](http://tralfaz-archives.com/coverart/S/social_D.html) -** Social Distortion
**[Soft
Cell](http://tralfaz-archives.com/coverart/S/soft_cell_non.html) -** Non-Stop Erotic Cabaret
**[Sonny
and Cher](http://tralfaz-archives.com/coverart/S/Sonny_and_Cher/sonny_pages.html) -** Their
Music and Style ...
Look
at Us
All
I Ever Need Is You
Mama
Was a Rock and Roll Singer...
**[Sons
of the Purple Sage](http://tralfaz-archives.com/coverart/S/sons_west.html) -** Western
Favorites
**[Sopwith
Camel](http://tralfaz-archives.com/coverart/S/sopwith_sop.htm) -** Sopwith Camel
**[Sounds
in Space](http://tralfaz-archives.com/coverart/S/sounds_space.html) -** Sounds in Space | **[Southern
Culture on the Skids](http://tralfaz-archives.com/coverart/S/Scots/scots_trouse.htm) -** Party
at My Trouse
**[Sparks](http://tralfaz-archives.com/coverart/S/sparks_kimono.html) -** Kimono
My House
**[Sparks](http://tralfaz-archives.com/coverart/S/sparks_pulling.htm)** - Pulling Rabbits
Out of a Hat
**[Speedway](http://tralfaz-archives.com/coverart/S/speedway_drives.htm) -** He
Drives Me Wild
**[Spiral Starecase](http://tralfaz-archives.com/coverart/S/spiral_more.htm) -** More Today Than Yesterday
**[Spirit](http://tralfaz-archives.com/coverart/S/Spirit/spirit_pages.html) -** Music
from the Family ...
Spirit
The
Twelve Dreams of Dr. Sardonicus
The
Adventures of Kaptain Kopter & Commander Cassidy in Potato Land
The
Family That Plays Together
**[Split
Enz](http://tralfaz-archives.com/coverart/S/split_enz_true.html) -** True Colors
**[Spooky
Tooth](http://tralfaz-archives.com/coverart/S/spooky_tooth.html) -** The Mirror
**[The
Spotnicks](http://tralfaz-archives.com/coverart/S/spotnicks_paris.html) -** Live in Paris
**[Dusty Springfield](http://tralfaz-archives.com/coverart/S/springfield_memphis.htm) -** Dusty in Memphis
**[Chris
Squire](http://tralfaz-archives.com/coverart/S/squire_fish.html) -** Fish
Out of Water
**[Steeleye
Span](http://tralfaz-archives.com/coverart/S/Steeleye_Span/steeleye_pages.html) -** Spanning the
Spectrum...
Storm
Force Ten
Now
We Are Six
All
Around My Hat
Below
the Salt
**[Steppenwolf](http://tralfaz-archives.com/coverart/S/steppenwolf_1st.html) -** Steppenwolf
**[Jack
Sterling and His Quintet](http://tralfaz-archives.com/coverart/S/sterling_cocktail.html) -** Cocktail
Swing
**[Cat
Stevens](http://tralfaz-archives.com/coverart/S/Stevens/cats_pages.html) -** Listen
to the Music of the Cat
Buddha
and the Chocolate Box
Teaser
and the Firecat
The
World of Cat Stevens
Tea
for the Tillerman
**[Al
Stewart](http://tralfaz-archives.com/coverart/S/Stewart_Al/stewart_al_orange.htm) -** Orange
**[Al
Stewart](http://tralfaz-archives.com/coverart/S/stewart_cat.html) -** Year of the Cat
**[Rod
Stewart](http://tralfaz-archives.com/coverart/S/stewart_sing.html) -** Sing It Again Rod
**[Rod
Stewart and the Faces](http://tralfaz-archives.com/coverart/S/stewart_coast.htm) -** Coast to Coast
**[The
Stranglers](http://tralfaz-archives.com/coverart/S/Stranglers/stranglers.html) -** This
Way to the Land of the Stranglers
The Raven (in 3D)
Duchess b/w Fools Rush Out
Sverige b/w In the Shadows
Something Better Change
Skin Deep
Midnight Summer Dream b/w Vladimir & Olga
Nice in Nice b/w Since You Went Away
Don't Bring Harry + 3 More...
Feline
Long Black Veil / Waltzinblack
Dreamtime
Golden Brown/Strange Little Girl
**[The
Strawberry Alarm Clock](http://tralfaz-archives.com/coverart/S/straw_incense.html) -** Incense
and Peppermints
[**The
Strawbs**](http://tralfaz-archives.com/coverart/S/strawbs_burst.htm) - Bursting
at the Seams
**[Sugarloaf](http://tralfaz-archives.com/coverart/S/sugarloaf_sugarloaf.htm) -** Sugarloaf
**[Yma
Sumac](http://tralfaz-archives.com/coverart/S/sumac_xtabay.html) -** Voice of Xtabay
**[The
Sunshine Company](http://tralfaz-archives.com/coverart/S/sunshine_co.html) -** The
Sunshine Company
**[The
Supersuckers](http://tralfaz-archives.com/coverart/S/Supersuckers/supersuckers_pages.html) -** C'mon
in, They're a-Waitin' on Ya...
The
Smoke of Hell
400
Bucks / Caliente
Must've
Been High
The
Sacrilicious Sounds of...
**[The
Supremes](http://tralfaz-archives.com/coverart/S/Supremes/Supremes_pages.htm) -** The Songs
of the Supremes
I Hear a Symphony
Love Child
A' Go-Go
A Bit of Liverpool
**[The
Surfers](http://tralfaz-archives.com/coverart/S/surfers_islands.html) -** The Islands Call
**[Surfin'
Dave and the Absent Legends](http://tralfaz-archives.com/coverart/S/surfin_dave.html) -** In Search of a Decent Haircut
**[The
Surf Trio](http://tralfaz-archives.com/coverart/S/surf_trio_forbidden.html) -** Forbidden Sounds
**[The
Surfrajettes](http://tralfaz-archives.com/coverart/S/surfrajettes_party.htm) -** Party Line/Toxic
**[Synergy](http://tralfaz-archives.com/coverart/S/Synergy/synergy_pages.html) -** The
Electronic Worlds of Larry Fast
Electric
Realizations for Rock Orchestra
Sequencer
Cords
|
| | |
| | [The
Letter T](http://tralfaz-archives.com/coverart/T/T.html) |
| [°°](#top) | **[Tad](http://tralfaz-archives.com/coverart/T/tad_loser.html) -** Loser
B/W Cooking With Gas
**[The
Tail Gators](http://tralfaz-archives.com/coverart/T/Tail_Gators/Tail_Gators_pages.htm)** -
The real stuff right here sir...
Swamp Rock
Mumbo Jumbo
Tore Up
[**Talking
Heads**](http://tralfaz-archives.com/coverart/T/theads_creatures.html) **-** Little Creatures
**[Talking
Heads](http://tralfaz-archives.com/coverart/T/theads_ton.html) -** Speaking in Tongues
**[Tangerine
Dream](http://tralfaz-archives.com/coverart/T/Tangerine_Dream/tangerine_pages.html) -** Enter the
Worlds of the Tangerine Dream...
Ricochet
Green Desert
Force Majeure
Stratosfear
**[Tater
Totz](http://tralfaz-archives.com/coverart/T/totz_alien.html) -** Alien Sleestacks From Brazil
**[Art
Tatum](http://tralfaz-archives.com/coverart/T/tatum_piano.htm) -** Piano Starts Here
**[Bram
Tchaikovsky](http://tralfaz-archives.com/coverart/T/bram.html) -** Pressure
**[Bram
Tchaikovsky](http://tralfaz-archives.com/coverart/T/tchai_strange.htm) -** Strange Man, Changed Man
**[Ten
Years After](http://tralfaz-archives.com/coverart/T/TYA/tya_pages.htm) -** Alvin
Lee and Co.
Ten Years After
Watt
A Space in Time
[**Richard
Thompson**](http://tralfaz-archives.com/coverart/T/Thompson/thompson_small.htm) - Small
Town Romance
[**Richard
Thompson**](http://tralfaz-archives.com/coverart/T/Thompson/thompson_haul.htm) - Haul Me Up
**[Three
Dog Night](http://tralfaz-archives.com/coverart/T/3dognite_gold.html) -** Golden Bisquits
**[The
Three Johns](http://tralfaz-archives.com/coverart/T/Three_Johns/three_johns.html) -** Don't
Be Scared Children...
The
Death of Everything
A.W.O.L
Brainbox
(He's a Brainbox)
Demonocracy
- The Singles
Never
and Always
Some
History
The
World of the Workers
Death
of the European
World
By Storm
Atom
Drum Bop
Live
in Chicago
**[The
Three Suns](http://tralfaz-archives.com/coverart/T/3suns_soft.html) -** Soft and Sweet
| **[The
Three Suns](http://tralfaz-archives.com/coverart/T/Three_Suns/3suns_ball.html) -** Having a Ball With...
**[Sally
Timms and the Drifting Cowgirls](http://tralfaz-archives.com/coverart/T/Timms/timms_pages.html) -** She
of the Velvet Voice
This
House is a House of Trouble
Somebody's
Rocking My Dreamboat
The
Butcher's Boy EP
**[J.
R. R. Tolkien](http://tralfaz-archives.com/coverart/T/hobbit.html) -** The Hobbit
**[Cal
Tjader](http://tralfaz-archives.com/coverart/T/tjader_soul.htm) -** Soul Sauce
**[Tomita](http://tralfaz-archives.com/coverart/T/Tomita/tomita_pages.html) -** He,
Who is Tomita...
Snowflakes are Dancing
The Planets
Firebird
The Bermuda Triangle
Bolero
**[Peter
Tosh](http://tralfaz-archives.com/coverart/T/Tosh/tosh_pages.html)** - Find Peace with Peter...
Bush
Doctor
Legalize
It
Mama
Africa
**[Pete
Townshend](http://tralfaz-archives.com/coverart/T/townshend_empty.html) -** Empty Glass
**[Trace](http://tralfaz-archives.com/coverart/T/trace_birds.html) -** Birds
**[Traffic](http://tralfaz-archives.com/coverart/T/Traffic/traffic_low.html) -** The
Low Spark of High Heeled Boys
**[Traffic](http://tralfaz-archives.com/coverart/T/Traffic/traffic_shoot.html) -** Shoot
out at the Fantasy Factory
**[Trapeze](http://tralfaz-archives.com/coverart/T/trapeze_final.html) -** The
Final Swing
**[Troglomen](http://tralfaz-archives.com/coverart/T/troglo.html) -** Ding
Dong
**[Robin
Trower](http://tralfaz-archives.com/coverart/T/trower_sighs.html) -** Bridge of Sighs
**[Robin
Trower](http://tralfaz-archives.com/coverart/T/trower_blt.html) -** B.L.T.
**[Stanley
Turrentine](http://tralfaz-archives.com/coverart/T/turrentine_sugar.html) -** Sugar
**[Stanley
Turrentine](http://tralfaz-archives.com/coverart/T/Turrentine/turrentine_rough.htm) -** Rough 'N Tumble
**[The
Turtles](http://tralfaz-archives.com/coverart/T/turtles_gold.html) -** Golden Hits |
| | |
| | [The
Letter U](http://tralfaz-archives.com/coverart/U/U.html) |
| [°°](#top) | **[U2](http://tralfaz-archives.com/coverart/U/U2_war.html) -** War
**[UB40](http://tralfaz-archives.com/coverart/U/ub40_rat.htm) -** Rat
in the Kitchen
**[Tracey
Ullman](http://tralfaz-archives.com/coverart/U/ullman.html) -** You Broke My Heart in 17 Places
**[Ultravox](http://tralfaz-archives.com/coverart/U/ultravox_quartet.html) -** Quartet
**[The
Undertones](http://tralfaz-archives.com/coverart/U/undertones.html) -** The Undertones
**[The
Union Gap](http://tralfaz-archives.com/coverart/U/union_gap_woman.html) (featuring Gary Puckett) -** Woman, Woman | **[The
Untouchables](http://tralfaz-archives.com/coverart/U/UTs_live.html) -** Live and Let Dance
**[Uriah
Heep](http://tralfaz-archives.com/coverart/U/Uriah_Heep/heep_1st.htm) -** Uriah Heep
**[Uriah
Heep](http://tralfaz-archives.com/coverart/U/U_Heep_wizard.html) -** Demons and Wizards
**[Utopia](http://tralfaz-archives.com/coverart/U/utopia_deface.html) =** Deface
the Music
**[Utopia](http://tralfaz-archives.com/coverart/U/Utopia/utopia_ra.htm) =** RA |
| | |
| | [The
Letter V](http://tralfaz-archives.com/coverart/V/V.html) |
| [°°](#top) | **[Van
Halen](http://tralfaz-archives.com/coverart/V/van_halen_1984.html) -** MCMLXXXIV
**[Vangelis](http://tralfaz-archives.com/coverart/V/vangelis_heaven.html) -** Heaven
and Hell
**[Vanilla
Fudge](http://tralfaz-archives.com/coverart/V/vanilla_fudge_near.html) -** Near the Beginning
**[Townes
Van Zandt](http://tralfaz-archives.com/coverart/V/van_zandt_flyin.htm) -** Flyin' Shoes
**[Various
Artists](http://tralfaz-archives.com/coverart/V/Various/various_artists.html) -** Click Here
for Soundtracks and Multiple Artist Collections
20 Explosive Dynamic
Super Smash Hit Explosions!
20 Explosive Hits
2001 A Space Odyssey
21 Golden Gate Greats - KYA 1260
Camelot - The Al Goodman Orchestra, Richard Torigi
Dance Craze: The Best of British Ska...Live!
Every Band Has a Shonen Knife Who Loves Them
Fast Product - The First Year Plan
First Vibration
Fruity - The New Age of Warner Bros. / Reprise
Hillbilly Jazz Volume 1
The Hit-Kickers Series - Vol. 9
The Jetsons - The First Family on the Moon (1965)
The Jetsons - The First Family on the Moon (1977)
The Joe Gibbs Family of Artists: Reggae Christmas
La Bamba
Las Vegas Grind, Volume Four
Legend - Tangerine Dream
Mar Y Sol: The First International Puerto Rico Pop Festival
Mondo Drive-In
Music to Read James Bond By
The New Spirit of Capitol
New Underground
Odyssey from Altec
Pop Hits - Country Flavored
Rock Then & Now!
The Rykodisc/Hannibal Fall '94 Collection
San Francisco Sound
San Jose is Ground Zero
The Super Groups
Surfin' Roots
| **[Various
Artists (cont.)](http://tralfaz-archives.com/coverart/V/Various/various_artists.html) -** Click Here
for Soundtracks and Multiple Artist Collections
'Til Things are Brighter
Time to Get It Together
To Sir With Love - Lulu, The Mind Benders
A Very Special Christmas
We Do 'em Our Way
Well Up and Bubble
When the Boys Meet the Girls - Herman's Hermits, Connie Francis, Sam the Sham and more...
Windham Hill Records Sampler '84
**[Sarah
Vaughan](http://tralfaz-archives.com/coverart/V/vaughan_sweet.html) -** Sweet, Sultry and Swinging
**[The
Velvet Underground](http://tralfaz-archives.com/coverart/V/VU/VU_pages.htm) -** An
American Original
& Nico
White Light/White Heat
Loaded
**[The
Ventures](http://tralfaz-archives.com/coverart/V/ventures/ventures_covers.html) -** This
Way to the Ventures Section
Play Telstar...
Flights of Fantasy
The Guitar Genius of the Ventures
Mashed Potatoes and Gravy
$1,000,000 Weekend
Another Smash!!!
Hawaii Five-O
The Ventures "visual sound STEREO"
Surfin' & Spyin'
Guitar Freakout
Colorful Ventures
10th Anniversary Album
Knock Me Out!
I Walk the Line (and Other Giant Hits)
**[Tom
Verlaine](http://tralfaz-archives.com/coverart/V/Verlaine/verlaine_pages.html) -** Life
After Television...
Dreamtime
Words
From the Front
Flash
Light
**[Violent
Femmes](http://tralfaz-archives.com/coverart/V/vfemmes.html) -** Violent Femmes
**[Violent
Femmes](http://tralfaz-archives.com/coverart/V/violent_naked.htm) -** The Blind Leading the Naked
**[Andreas
Vollenweider](http://tralfaz-archives.com/coverart/V/vollen_caverna.html) -** Caverna
Magica |
| | |
| | [The
Letter W](http://tralfaz-archives.com/coverart/W/W.html) |
| [°°](#top) | **[Rick
Wakeman](http://tralfaz-archives.com/coverart/W/wakeman_silent.html) -** Silent Nights
**[Wall
of Voodoo](http://tralfaz-archives.com/coverart/W/wall_do.html) -** Do It Again
**[Grover
Washington Jr.](http://tralfaz-archives.com/coverart/W/washington_wine.html) -** Winelight
**[Kit
Watkins](http://tralfaz-archives.com/coverart/W/watkins_frames.html) -** Frames of Mind
**[Weather
Report](http://tralfaz-archives.com/coverart/W/Weather_Report/weather_report_pages.html) -** To the Weather
Pages...
Heavy
Weather
I
Sing the Body Electric
Mr.
Gone
**[Jack
Webb](http://tralfaz-archives.com/coverart/W/webb_pete.html) -** Pete
Kelly's Blues (Soundtrack)
**[Bob
Weir](http://tralfaz-archives.com/coverart/W/weir.html) -** Ace
**[Leslie
West](http://tralfaz-archives.com/coverart/W/west_fatsby.htm)-** The
Great Fatsby
**[West,
Bruce & Laing](http://tralfaz-archives.com/coverart/W/WBL_whatever.html) -** Whatever
Turns You On
**[Paul
Weston](http://tralfaz-archives.com/coverart/W/weston_sweet.html) -** The Sweet and the Swingin'
**[Barry
White](http://tralfaz-archives.com/coverart/W/white_rhap.html) -** Rhapsody
in White
**[The
Who](http://tralfaz-archives.com/coverart/W/who.html) -** Sell Out
**[The
Who](http://tralfaz-archives.com/coverart/W/Who/who_french.htm) -** Disque D'or
**[Wilco](http://tralfaz-archives.com/coverart/W/wilco_speak.htm) -** Speak to
the Rose
**[Nicol Williamson](http://tralfaz-archives.com/coverart/W/williamson_hobbit.htm) -** The Hobbit | **[Jesse
Winchester](http://tralfaz-archives.com/coverart/W/winchester_1st.html) -** Jesse
Winchester
**[The
Trombone of Kai Winding](http://tralfaz-archives.com/coverart/W/Winding/winding_pages.html) -** Many
Moods, Many Sounds ...
!!!More!!! Featuring
Kenny Burrell
The Great Kai Winding Sound
Modern Country
**[Wings](http://tralfaz-archives.com/coverart/W/wings_run.html) -** Band
on the Run
**[George
Winston](http://tralfaz-archives.com/coverart/W/winston_december.html) -** December - Piano solos
**[The
Guitar Sounds of Johnny Winter](http://tralfaz-archives.com/coverart/W/Winter_Johnny/winter_pages.html) -** Along
with His Brother and Friends ...
Second Winter
Johnny and Edgar Winter - Together
Saints & Sinners
Captured Live
**[Wishbone
Ash](http://tralfaz-archives.com/coverart/W/Wishbone_Ash/wishbone_number.html) -** Number the
Brave
**[Wishbone
Ash](http://tralfaz-archives.com/coverart/W/Wishbone_Ash/wishbone_twin.html) -** Twin
Barrels Burning
**[Jimmy
Witherspoon](http://tralfaz-archives.com/coverart/W/witherspoon_roots.html) -** Roots
**[Jimmy
Witherspoon](http://tralfaz-archives.com/coverart/W/witherspoon_guilty.html) -** Guilty
**[Ron
Wood](http://tralfaz-archives.com/coverart/W/wood_gimmee.htm) -** Gimme Some Neck
**[Roy
Wood](http://tralfaz-archives.com/coverart/W/wood_christmas.htm) -** I Wish It Could Be Christmas Everyday
**[Sylvia
Woods](http://tralfaz-archives.com/coverart/W/woods_harp.html) -** The
Harp of Brandiswhiere
**[Wreckless
Eric](http://tralfaz-archives.com/coverart/W/wreckless_wreckless.html) -** Wreckless Eric |
| | |
| | [The
Letter X](http://tralfaz-archives.com/coverart/X/X.html) |
| [°°](#top) | **[X](http://tralfaz-archives.com/coverart/X/xcover.html) -** Under
the Big Black Sun
**[X](http://tralfaz-archives.com/coverart/X/X_grand.html) -** Ain't
Love Grand | **[XTC](http://tralfaz-archives.com/coverart/X/XTC/XTC_pages.html) -** Bright
Little Tunesmiths They Are...
Black Sea
English Settlement
Mummer
The Big Express
Wait Till Your Boat Goes Down
|
| | |
| | [The
Letter Y](http://tralfaz-archives.com/coverart/Y/Y.html) |
| [°°](#top) | **[The
Yardbirds](http://tralfaz-archives.com/coverart/Y/yardbirds_roger.htm) -** Roger
the Engineer
**[Y & T](http://tralfaz-archives.com/coverart/Y/Y_T_mean.html) -** Mean
Streak
**[Yes](http://tralfaz-archives.com/coverart/Y/yes_time.html) -** Time
and a Word
**[Yes](http://tralfaz-archives.com/coverart/Y/yes.html) -** Yessongs | **[Jesse
Colin Young](http://tralfaz-archives.com/coverart/Y/young_wing.html) -** Love on the Wing
**[Neil
Young](http://tralfaz-archives.com/coverart/Y/young_young.html) -** Neil Young
**[Neil
Young & the Bluenotes](http://tralfaz-archives.com/coverart/Y/young.html) -** This Notes for You
**[The
Young Rascals](http://tralfaz-archives.com/coverart/Y/young_rasc_good.htm) -** Good Lovin' |
| | |
| | [The
Letter Z](http://tralfaz-archives.com/coverart/Z/Z.html) |
| [°°](#top) | **[Frank
Zappa](http://tralfaz-archives.com/coverart/Z/zappa/zappa_pages.html) -** The House
That Frank Built
Hot
Rats
The
Grand Wazoo
Studio
Tan
Them
or Us
Orchestral
Favorites
Roxy & Elsewhere
Waka
/ Jawaka
200
Motels
| **[Si
Zentner](http://tralfaz-archives.com/coverart/Z/zentner_des.htm)** - Desafinado
**[ZZ
Top](http://tralfaz-archives.com/coverart/Z/zztop_elim.html) -** Eliminator |
| | |
| | [Back to the Gallery](http://tralfaz-archives.com/coverart/coverart.html) |
| |
| | [About
Us](http://tralfaz-archives.com/coverart/about_us.htm) | [Contact
Us](mailto:[email protected]?subject=Cover%20Art%20Questions) | © 2020
Tralfaz-Archives.com |
| | |
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| | |
| http://tralfaz-archives.com/coverart/cover_art_list.html |
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<td align="center"><font color="#FFCC00" face="TimesRoman" size="+1"><span style="font-size:18">I am Nalin. I am one of Computer Technician in Sri Lanka.</span></font></td>
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<td align="center"><font size="+1"><span style="font-size:18">I am a employer of Platinum Enterprise Pvt Ltd<br>If you need to know more about my Company, you can find it through below<br> </span></font></td>
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<td bgcolor="#FFCC99" align="center"><a href="http://www.platinumsl.com/"><b><font color="#FF0000"><span style="font-size:14">Platinum Enterprise Pvt Ltd.</span></font></b></a></td>
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<td bgcolor="#FFCCCC" valign="middle" align="center"><font color="#000000" face="TimesRoman"><span style="font-size:14">Dear Friends, If you would like to know anything about me or any other Informations from me, you can send email to me.</span></font></td>
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<td bgcolor="#00FFFF"><font color="#0000CC" face="Arial"><span style="font-size:14">If you would like to chat with me use this yahoo ID </span></font><b><font color="#0000CC" face="Arial"><span style="font-size:14"> nalindr21</span></font></b></td>
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<td bgcolor="#99FFFF" align="center"><a href="http://www.realplayer.com/"><font color="#000000" face="Arial"><span style="font-size:14">Download Real player one for Sinhala songs </span></font></a></td>
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<td bgcolor="#CCFFFF" align="center"><font color="#000000" face="Arial"><span style="font-size:14">Click this to listen </span></font><a href="http://www.sinhalasongs.net/"><font color="#000000" face="Arial"><span style="font-size:14">Sinhala songs</span></font></a></td>
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<html>
<title>Kevin McCorry's Home Page</title>
<p>
<center><h3><a href="weblog2.html">Weblog</a> updated. December 23, 2023.<br><a href="lifestorykev-2.html">McCorry's Memoirs Era 2</a> updated. December 15, 2023.</h3></center>
<p>
<body alink="" background="" bgcolor="#87ceeb" link="" text="" vlink="">
<center><img src="photo-3.jpg" border="4"><br><i>Freelance writer, photographer, videographer, and dapper voyageur with nearsighted, grey-blue eyes, and brown and slightly wavy hair with somewhat darker sideburns, shown here at Lake Louise in the Rocky Mountains in Alberta, Canada in July, 1995.</i><br>
<h1>Kevin McCorry's Home Page</h1></center>
<br><br><font><font face="Helvetica, Arial">For 57 years thus far lived on this Earth, I, <a href="mailto:[email protected]">Kevin McCorry</a>, have been fascinated by human imagination at its extremes. This Website is dedicated to twentieth century entertainment of this type: animated cartoons, heroes human, super-human, and canine of television series and movies, and conceptual science fiction (or science fantasy).
<p>
All of this Website's Web pages, including this one, are formatted to the 4:3 computer monitor screen dimensions. All of my Web pages should be viewed at the aspect ratio of 4:3. Such was the standard aspect ratio of Web pages in 1997, the year of origin of this Website.
<p>
<img src="bugs-show-trans.gif" align="left">
Bugs Bunny wishes to be at once virtuous and carefree and must repel antagonists (e.g. Elmer Fudd, Yosemite Sam, Daffy Duck, <i>et al.</i>) intending his demise or the usurping or undermining of his property or principles. Wile E. Coyote and Sylvester Cat have carnivorous desires for, respectively, the rapid Road Runner and the clever Tweety Bird. Rooster Foghorn Leghorn enjoys his fun and his bachelorhood, an existence complicated by a tiny chicken hawk, a barnyard dog that wants revenge for Foghorn's playfully violent attacks on his posterior, and a lovelorn hen. Daffy Duck vainly aims for fame and fortune. Pepe Le Pew seeks romance, despite his skunk's stench. Speedy Gonzales strives to provide nourishment for himself and his fellow Mexican mice, often in conflict with a mice-craving or cheese-defending Sylvester. <i>Et cetera</i>.
<p>
I have admired Looney Tunes and Merrie Melodies animated cartoon shorts (to which I will refer on this Website as cartoons) since pre-school. Vibrant, variable colour, impressionistic design of characters and settings, and showy slapstick coinciding with subtly sophisticated humour endeared the Warner Brothers cartoons to me through my formative years- and they are therefore nostalgically cherished, plus appreciated on an increasingly mature level. I watched these cartoons on television and retained remarkably precise memories of their broadcast order in various compilation television series, having been intrigued by the combinations of particular cartoons with similar themes, motifs, <i>et cetera</i>, and I have chosen to share my factual knowledge of these television shows and impressions of the cartoons with the world.
</font></font>
<p>
<font><font face="Helvetica, Arial">
Available here are information articles and episode guides for the television series by which Looney Tunes and Merrie Melodies and their anthropomorphised animal characters have been seen and enjoyed by several generations of people by the millions.</font></font>
<p>
<center>
<img src="daffydog0p0.jpg"> <img src="pens0p0p.jpg"> <img src="beepbeeponstage.jpg"> <img src="thugs0p09oo.jpg"> <img src="jacksign0p0.jpg">
<p>
<table border="">
<tbody><tr>
<th colspan="2"><b>Televised Looney Tunes and Merrie Melodies</b></th>
</tr>
<tr>
<th><a href="bbshow.html"><img src="bugsshowtv.jpg"></a><br>
<a href="bbshow.html"><b>The Bugs Bunny Show<br>
(1960-2; 1971-5) Page</b></a></th>
<th><a href="rrshow.html"><img src="rrshowtv.jpg"></a><br>
<a href="rrshow.html"><b>The Road Runner Show<br> (1966-8; 1971-2) Page</b></a></th>
</tr>
<tr>
<th><a href="bbrr.html"><img src="bbrrtv.jpg"></a><br>
<a href="bbrr.html"><b>The Bugs Bunny/Road Runner Hour<br> (1968-71; 1975-85) Page</b></a></th>
<th><a href="bugsbunnytweety.html"><img src="bugstweettv.jpg"></a><br>
<a href="bugsbunnytweety.html"><b>The Bugs Bunny and Tweety Show<br> (1986-2000) Page</b></a></th>
</tr>
<tr>
<th><a href="merrie.html"><img src="merrietv.jpg"></a><br>
<a href="merrie.html"><b>The Merrie Melodies: Starring Bugs Bunny and Friends<br> (1990-4) Page</b></a></th>
<th><a href="others.html"><img src="otherstvl1.jpg"></a><br>
<a href="others.html"><b>The Other Television Shows Starring the Warner Brothers<br> Cartoon Characters</b></a></th>
</tr>
</tbody></table>
</center>
<br clear="all">
<font><font face="Helvetica, Arial">And this is not all. There is also a <a href="bbrrgallery.html">supplementary image gallery</a> to <b>The Bugs Bunny/Road Runner Hour</b> (1968-71; 1975-85) Page.
<p>
Of course, Warner Brothers does not have a monopoly on vividly imaginative animation, and I am not limited to Looney Tunes and Merrie Melodies in my cartoon fancies. Kindred spirits are rare for many of my preferences, such as for the mind-bending weirdness and desolate visuals of latter seasons of some of the television series listed below. Necessary, introspective, and often solitary journeys into extraordinary or alien locales happen frequently in my favoured entertainments.</font></font>
<p>
<font><font face="Helvetica, Arial">
As with the Warner Brothers cartoon compilation television series, format of treatment here consists of articles and episode guides. The episode guides in a few cases do acknowledge some of oft-stated criticisms of certain aspects of production or story-writing and do express my quibbles with some occasionally less imaginative story premises, but are on the whole reverent and, if I may say so myself, quite intelligently proffered.</font></font>
<p>
<center>
<img src="fireweb.jpg">
<p>
<table border="">
<tbody><tr>
<th colspan="1"> <b>Other Animated Cartoon Television Programmes</b> </th>
</tr>
<tr>
<th><a href="flintston.html"><img src="flinttv.jpg"></a><br>
<a href="flintston.html"><b>The Flintstones<br> (1960-6) Page</b></a></th>
</tr>
<tr>
<th><a href="rrobin.html"><img src="rhoodtv.jpg"></a><br>
<a href="rrobin.html"><b>The Rocket Robin Hood<br> (1966-9) Page</b></a></th><th>
</th></tr>
<tr>
<th><a href="spidey.html"><img src="spideytv1.jpg"></a><br>
<a href="spidey.html"><b>The Spiderman<br> (1967-70) Page</b></a></th>
</tr>
<tr>
<th><a href="panther.html"><img src="panttv.jpg"></a><br>
<a href="panther.html"><b>The Pink Panther Show<br> (1969-81) Page</b></a></th>
</tr>
<tr>
<th><a href="blazers.html"><img src="starblazertv.jpg"></a><br>
<a href="blazers.html"><b>The Star Blazers<br> (1979-80) Page</b></a></th>
</tr>
</tbody></table>
</center>
<br clear="all">
<font><font face="Helvetica, Arial">Further, I have an evident affinity for the notion in live-action film and television of the travelling or wandering hero, such as a suave, womanising, death-defying secret agent, a Moon colony adrift in vast, unknown space, or a dog with extraordinary intellect and helpful tendencies. I can therefore also appreciate the plight of the hero who is restricted from moving, like a man trapped in a bizarre village from which escape is ostensibly impossible or a scientist who must confine himself to his home to prevent his out-of-control alter-ego from violently emerging from him against his will.
</font></font><p><font><font face="Helvetica, Arial">
Polar explorers, especially the ill-fated Scott of the Antarctic, a real-life man who ventured fatally into inhospitable territory, have fascinated me too. I am mystified and awed by the frontiers of the Earth and of the universe and the dangers and unknown elements that exist beyond our everyday lives. So, conceptual science fiction (or science fantasy) has been a love of mine since age 10, and classic films and television series of the genre have been most stimulating.</font></font>
<p>
<center>
<img src="eaglesoverbreakaway0.jpg"> <img src="london.jpg"> <img src="jeklab0p0.jpg"> <img src="bondmoonraker0.jpg">
<p>
<table border="">
<tbody><tr>
<th colspan="2"><b>Live-Action Fanciful Entertainments</b></th>
</tr>
<tr>
<th><a href="prisoner-1.html"><img src="prisonertv.jpg"></a><br>
<a href="prisoner-1.html"><b>The Prisoner<br> (1967-8) Page</b></a></th>
<th><a href="sp1999ep0.html"><img src="space19tv.jpg"></a><br>
<a href="sp1999ep0.html"><b>The Space: 1999<br> (1975-7) Page</b></a></th>
</tr>
<tr>
<th><a href="hobo.html"><img src="hobotv1.jpg"></a><br>
<a href="hobo.html"><b>The Littlest Hobo<br> (1979-85) Page</b></a></th>
<th><a href="lastplace.html"><img src="lasttv.jpg"></a><br>
<a href="lastplace.html"><b>The Last Place On Earth<br> (1985) Page</b></a></th>
</tr>
<tr>
<th><a href="jekhyde.html"><img src="jhy.jpg"></a><br>
<a href="jekhyde.html"><b>Dr. Jekyll's Many Hydes:</b></a><b> <br>
<a href="jekhyde.html">The Film and Television Versions of the Horror Tale</a></b> </th>
<th><a href="bond.html"><img src="bond072.jpg"></a><br>
<a href="bond.html"><b>The James Bond<br> Films</b></a><br></th>
</tr>
<tr>
<th><a href="earthsup.html"><img src="earthsup.jpg"></a><br>
<a href="earthsup.html"><b>From Big Screen to Small Screen: Earthquake and<br> Superman</b></a></th>
<th><a href="dallas.html"><img src="dallastv.jpg"></a><br>
<a href="dallas.html"><b>Sci-Fi Soap: Dallas' "Dream Season"<br>
or Pamela Ewing: "Sleeper of the Year"</b></a></th>
</tr>
<tr>
<th><a href="trilogies.html"><img src="tesb.jpg"></a><br>
<a href="trilogies.html"><b>Examining<br>
Movie Trilogies</b></a></th>
<th><a href="reunion.html"><img src="r6m.jpg"></a><br>
<a href="reunion.html"><b>The Dream That Died:</b></a><b> <br>
<a href="reunion.html">The Late 1980s Television Show Reunion Movies</a></b> </th>
</tr>
</tbody></table>
</center>
<br clear="all">
<font><font face="Helvetica, Arial">Again, this is not all. There is also a <a href="sp1999ep0gallery.html">supplementary image gallery</a> to The <b>Space: 1999</b> (1975-7) Page.
</font></font><p><font><font face="Helvetica, Arial">
And here are my often controversial master writings of study and interpretation of certain productions.</font></font>
<p>
<center>
<img src="bugshydepoint.jpg"> <img src="bacel0p0p1.jpg"> <img src="tazzoopic0p9p.jpg">
<p>
<table border="">
<tbody><tr>
<th colspan="2"><b>Articles of Observation and Interpretation</b></th>
</tr>
<tr>
<th><a href="hyde2.html"><img src="hydelitt.jpg"></a><br>
<a href="hyde2.html"><b>"Hyde and Hare": An Overlooked Masterpiece</b></a></th>
<th><a href="bugsbunny1955.html"><img src="rsz_1955titles.jpg"></a><br>
<a href="bugsbunny1955.html"><b>"Deconstructing" Bugs: The Bugs Bunny Cartoons of 1955</b></a> </th>
</tr>
<tr>
<th><a href="tasarticle.html"><img src="rsz_0074.jpg"></a><br>
<a href="tasarticle.html"><b>Nuance and Suggestion in the Tweety and Sylvester Series</b></a> </th>
<th><a href="taz.html"><img src="rsz_tazpix.jpg"></a><br>
<a href="taz.html"><b>Taz</b></a></th>
</tr>
<tr>
<th><a href="klaatu.html"><img src="klaatupict.jpg"></a><br>
<a href="klaatu.html"><b>The Alien Saviour: Klaatu in The Day the Earth Stood Still</b></a></th>
<th><a href="alien-2.html"><img src="thealienegg.jpg"></a><br>
<a href="alien-2.html"><b>Dystopic Future: The Set Design of Alien</b></a></th>
</tr>
</tbody></table>
</center>
<br clear="all">
<font><font face="Helvetica, Arial">In my work on constructing this Website, I have had the opportunity, privilege, and pleasure of interviewing people of considerable importance in the production of some of my favourite entertainments.</font></font>
<p>
<center><a href="klawitter.html"><b>Exclusive Interview With John Klawitter</b></a><br>
<a href="freiberger.html"><b>Exclusive Interview With Fred Freiberger</b></a><br>
<a href="dew.html"><b>Exclusive Interview With Simon Christopher Dew</b></a></center>
<p>
<font><font face="Helvetica, Arial">And I have written personal tributes to the three directors of the Warner Brothers cartoons that have entertained and impressed me very much in the many eras of my life.</font></font>
</p><p>
</p><center><a href="1999mckimson.html"><b>Remembering Robert McKimson</b></a><br>
<a href="1999frizfreleng.html"><b>A Tribute to Friz Freleng</b></a><br>
<a href="1999chuckjones.html"><b>In Appreciation of Chuck Jones</b></a></center>
<p>
<font><font face="Helvetica, Arial">What life experiences could incline a person to so enthusiastically embrace all of these productions? <a href="cklm.html">My aspired television channel</a> is indicative of the broadcast schedules on television during my childhood. However, I prefer to be thorough. To this end, I have written my own biography.
<p>
My biography is not a mere itemised listing of my life's most significant events, transitions, accomplishments, <i>et cetera</i>. It is a comprehensive telling of how I came to be interested in opuses of imagination shown on television and in the cinema. And it elaborates upon the significance of those opuses and their broadcasts or screenings, together with my social life and its rises and falls, in development of my particular outlooks. The biography is without any doubt this Website's most comprehensive undertaking. It is brimming with memories of experiencing all of the entertainments that I have fancied and that I now venerate, and with a profusion of images of the productions themselves, merchandise (books, magazines, toys, commercial videotape and videodisc) based on them, places of import for my seminal viewings of and cognitive responses to the productions, and me and my family.</font></font>
<p>
<center><img src="mont5.jpg"> <img src="mont5next0.jpg"> <img src="meatwork08p.jpg">
<p>
<table border="">
<tbody><tr>
<th colspan="2"><b>McCorry's Memoirs</b></th>
</tr>
<tr>
<th><a href="lifestorykev.html"><img src="03tv.jpg"></a><br>
<a href="lifestorykev.html"><b>McCorry's Memoirs Era 1: <br> A Pre-Schooler in a Sheltered Cage (1966-72)</b></a></th>
<th><a href="lifestorykev-2.html"><img src="dsigntv.jpg"></a><br>
<a href="lifestorykev-2.html"><b>McCorry's Memoirs Era 2:</b></a><b> <br>
<a href="lifestorykev-2.html">Where am I? In the Village of My Childhood (1972-7)</a></b> </th>
</tr>
<tr>
<th><a href="1976-8.html"><img src="planets99tv.jpg"></a><br>
<a href="1976-8.html"><b>Space: 1976-8: Boy Meets Alpha</b></a><br>
(<b>supplementary memoirs from the time period <br>
(1976-8) of CBC Television's full-network <br>
<b>Space: 1999</b> broadcasts)</b></th>
<th><a href="lifestorykev-3.html"><img src="pict17tv.jpg"></a><br>
<a href="lifestorykev-3.html"><b>McCorry's Memoirs Era 3:</b></a><b> <br>
<a href="lifestorykev-3.html">Massive Family Move...</a></b> <br>
<a href="lifestorykev-3.html">Boy Removed From His Roots...</a> <br>
<a href="lifestorykev-3.html">Hurled into Suburban Maze (1977-82)</a> </th>
</tr>
<tr>
<th><a href="lifestorykev-4.html"><img src="82tv.jpg"></a><br>
<a href="lifestorykev-4.html"><b>McCorry's Memoirs Era 4:</b></a><b> <br> <a href="lifestorykev-4.html">He's a Pitcher and a Scholar and a Sci-Fi Fan (1982-7)</a></b> </th>
<th><a href="lifestorykev-5.html"><img src="photo-1tvera5.jpg"></a><br>
<a href="lifestorykev-5.html"><b>McCorry's Memoirs Era 5: <br> Blasts From the Past (1987-92)</b></a></th>
</tr>
<tr>
<th><a href="lifestorykev-6.html"><img src="stoodstill.jpg"></a><br>
<a href="lifestorykev-6.html"><b>McCorry's Memoirs Era 6:</b></a><b> <br> <a href="lifestorykev-6.html">The Era My Life Stood Still (1992-7)</a></b> </th>
<th><a href="lifestorykev-7.html"><img src="stubldgtv.jpg"></a><br>
<a href="lifestorykev-7.html"><b>McCorry's Memoirs Era 7:</b></a><b> <br> <a href="lifestorykev-7.html">Spins a Website, Any Size (1997-2009)</a></b> </th>
</tr>
</tbody></table>
</center>
<br clear="all">
<font><font face="Helvetica, Arial">And a <a href="addendum.html">McCorry's Memoirs Addendum</a> is followed by an adjunct to my autobiography, <a href="weblog0.html">Kevin McCorry's Weblog</a>.</font></font>
<p><hr>
All images involving Looney Tunes and Merrie Melodies and <b>Superman</b> image (c) Warner Bros.<br>
<b>Spiderman</b> and <b>Rocket Robin Hood</b> images (c) Krantz Films<br>
<b>Flintstones</b> image (c) Hanna-Barbera<br>
<b>Pink Panther Show</b> image (c) United Artists/DePatie-Freleng Enterprises<br>
<b>Star Blazers</b> image (c) Jupiter Films/Sunwagon Productions/Voyager Entertainment Inc.<br>
<b>Space: 1999</b> and <b>The Prisoner</b> images (c) ITC Entertainment/ITV Studios Global Entertainment<br>
<b>The Littlest Hobo</b> images (c) Glen-Warren Productions<br>
<b>Dr. Jekyll & Mr. Hyde</b> images (c) Paramount Publix Corp. and Warner Bros.<br>
James Bond movie and montage images (c) United Artists<br>
<b>The Last Place On Earth</b> image (c) Central Productions/Renegade Films<br>
<b>Dallas</b> image (c) Lorimar Pictures<br>
<b>The Empire Strikes Back</b> image (c) Lucasfilm Ltd.<br>
<b>Return of the Six Million Dollar Man and the Bionic Woman</b> image (c) Universal Television<br>
<b>The Day the Earth Stood Still</b> and <b>Alien</b> images (c) Twentieth Century Fox<br>
<b>Text on this Website and on all of its component Web pages may not be
reproduced in full and then altered in any way without my permission<br>
All images are the copyright of the respective production or
distribution companies, and their use on my Website is in accordance
with fair use provisions</b><br>
<hr></body></html>
|
Kevin McCorry's Home Page
### [Weblog](weblog2.html) updated. December 23, 2023.[McCorry's Memoirs Era 2](lifestorykev-2.html) updated. December 15, 2023.
*Freelance writer, photographer, videographer, and dapper voyageur with nearsighted, grey-blue eyes, and brown and slightly wavy hair with somewhat darker sideburns, shown here at Lake Louise in the Rocky Mountains in Alberta, Canada in July, 1995.*
# Kevin McCorry's Home Page
For 57 years thus far lived on this Earth, I, [Kevin McCorry](mailto:[email protected]), have been fascinated by human imagination at its extremes. This Website is dedicated to twentieth century entertainment of this type: animated cartoons, heroes human, super-human, and canine of television series and movies, and conceptual science fiction (or science fantasy).
All of this Website's Web pages, including this one, are formatted to the 4:3 computer monitor screen dimensions. All of my Web pages should be viewed at the aspect ratio of 4:3. Such was the standard aspect ratio of Web pages in 1997, the year of origin of this Website.
Bugs Bunny wishes to be at once virtuous and carefree and must repel antagonists (e.g. Elmer Fudd, Yosemite Sam, Daffy Duck, *et al.*) intending his demise or the usurping or undermining of his property or principles. Wile E. Coyote and Sylvester Cat have carnivorous desires for, respectively, the rapid Road Runner and the clever Tweety Bird. Rooster Foghorn Leghorn enjoys his fun and his bachelorhood, an existence complicated by a tiny chicken hawk, a barnyard dog that wants revenge for Foghorn's playfully violent attacks on his posterior, and a lovelorn hen. Daffy Duck vainly aims for fame and fortune. Pepe Le Pew seeks romance, despite his skunk's stench. Speedy Gonzales strives to provide nourishment for himself and his fellow Mexican mice, often in conflict with a mice-craving or cheese-defending Sylvester. *Et cetera*.
I have admired Looney Tunes and Merrie Melodies animated cartoon shorts (to which I will refer on this Website as cartoons) since pre-school. Vibrant, variable colour, impressionistic design of characters and settings, and showy slapstick coinciding with subtly sophisticated humour endeared the Warner Brothers cartoons to me through my formative years- and they are therefore nostalgically cherished, plus appreciated on an increasingly mature level. I watched these cartoons on television and retained remarkably precise memories of their broadcast order in various compilation television series, having been intrigued by the combinations of particular cartoons with similar themes, motifs, *et cetera*, and I have chosen to share my factual knowledge of these television shows and impressions of the cartoons with the world.
Available here are information articles and episode guides for the television series by which Looney Tunes and Merrie Melodies and their anthropomorphised animal characters have been seen and enjoyed by several generations of people by the millions.
    
| **Televised Looney Tunes and Merrie Melodies** |
| --- |
|
[**The Bugs Bunny Show
(1960-2; 1971-5) Page**](bbshow.html) |
[**The Road Runner Show (1966-8; 1971-2) Page**](rrshow.html) |
|
[**The Bugs Bunny/Road Runner Hour (1968-71; 1975-85) Page**](bbrr.html) |
[**The Bugs Bunny and Tweety Show (1986-2000) Page**](bugsbunnytweety.html) |
|
[**The Merrie Melodies: Starring Bugs Bunny and Friends (1990-4) Page**](merrie.html) |
[**The Other Television Shows Starring the Warner Brothers Cartoon Characters**](others.html) |
And this is not all. There is also a [supplementary image gallery](bbrrgallery.html) to **The Bugs Bunny/Road Runner Hour** (1968-71; 1975-85) Page.
Of course, Warner Brothers does not have a monopoly on vividly imaginative animation, and I am not limited to Looney Tunes and Merrie Melodies in my cartoon fancies. Kindred spirits are rare for many of my preferences, such as for the mind-bending weirdness and desolate visuals of latter seasons of some of the television series listed below. Necessary, introspective, and often solitary journeys into extraordinary or alien locales happen frequently in my favoured entertainments.
As with the Warner Brothers cartoon compilation television series, format of treatment here consists of articles and episode guides. The episode guides in a few cases do acknowledge some of oft-stated criticisms of certain aspects of production or story-writing and do express my quibbles with some occasionally less imaginative story premises, but are on the whole reverent and, if I may say so myself, quite intelligently proffered.
| **Other Animated Cartoon Television Programmes** |
| --- |
|
[**The Flintstones (1960-6) Page**](flintston.html) |
|
[**The Rocket Robin Hood (1966-9) Page**](rrobin.html) | |
|
[**The Spiderman (1967-70) Page**](spidey.html) |
|
[**The Pink Panther Show (1969-81) Page**](panther.html) |
|
[**The Star Blazers (1979-80) Page**](blazers.html) |
Further, I have an evident affinity for the notion in live-action film and television of the travelling or wandering hero, such as a suave, womanising, death-defying secret agent, a Moon colony adrift in vast, unknown space, or a dog with extraordinary intellect and helpful tendencies. I can therefore also appreciate the plight of the hero who is restricted from moving, like a man trapped in a bizarre village from which escape is ostensibly impossible or a scientist who must confine himself to his home to prevent his out-of-control alter-ego from violently emerging from him against his will.
Polar explorers, especially the ill-fated Scott of the Antarctic, a real-life man who ventured fatally into inhospitable territory, have fascinated me too. I am mystified and awed by the frontiers of the Earth and of the universe and the dangers and unknown elements that exist beyond our everyday lives. So, conceptual science fiction (or science fantasy) has been a love of mine since age 10, and classic films and television series of the genre have been most stimulating.
   
| **Live-Action Fanciful Entertainments** |
| --- |
|
[**The Prisoner (1967-8) Page**](prisoner-1.html) |
[**The Space: 1999 (1975-7) Page**](sp1999ep0.html) |
|
[**The Littlest Hobo (1979-85) Page**](hobo.html) |
[**The Last Place On Earth (1985) Page**](lastplace.html) |
|
[**Dr. Jekyll's Many Hydes:**](jekhyde.html) **[The Film and Television Versions of the Horror Tale](jekhyde.html)** |
[**The James Bond Films**](bond.html) |
|
[**From Big Screen to Small Screen: Earthquake and Superman**](earthsup.html) |
[**Sci-Fi Soap: Dallas' "Dream Season"
or Pamela Ewing: "Sleeper of the Year"**](dallas.html) |
|
[**Examining
Movie Trilogies**](trilogies.html) |
[**The Dream That Died:**](reunion.html) **[The Late 1980s Television Show Reunion Movies](reunion.html)** |
Again, this is not all. There is also a [supplementary image gallery](sp1999ep0gallery.html) to The **Space: 1999** (1975-7) Page.
And here are my often controversial master writings of study and interpretation of certain productions.
  
| **Articles of Observation and Interpretation** |
| --- |
|
[**"Hyde and Hare": An Overlooked Masterpiece**](hyde2.html) |
[**"Deconstructing" Bugs: The Bugs Bunny Cartoons of 1955**](bugsbunny1955.html) |
|
[**Nuance and Suggestion in the Tweety and Sylvester Series**](tasarticle.html) |
[**Taz**](taz.html) |
|
[**The Alien Saviour: Klaatu in The Day the Earth Stood Still**](klaatu.html) |
[**Dystopic Future: The Set Design of Alien**](alien-2.html) |
In my work on constructing this Website, I have had the opportunity, privilege, and pleasure of interviewing people of considerable importance in the production of some of my favourite entertainments.
[**Exclusive Interview With John Klawitter**](klawitter.html)
[**Exclusive Interview With Fred Freiberger**](freiberger.html)
[**Exclusive Interview With Simon Christopher Dew**](dew.html)
And I have written personal tributes to the three directors of the Warner Brothers cartoons that have entertained and impressed me very much in the many eras of my life.
[**Remembering Robert McKimson**](1999mckimson.html)
[**A Tribute to Friz Freleng**](1999frizfreleng.html)
[**In Appreciation of Chuck Jones**](1999chuckjones.html)
What life experiences could incline a person to so enthusiastically embrace all of these productions? [My aspired television channel](cklm.html) is indicative of the broadcast schedules on television during my childhood. However, I prefer to be thorough. To this end, I have written my own biography.
My biography is not a mere itemised listing of my life's most significant events, transitions, accomplishments, *et cetera*. It is a comprehensive telling of how I came to be interested in opuses of imagination shown on television and in the cinema. And it elaborates upon the significance of those opuses and their broadcasts or screenings, together with my social life and its rises and falls, in development of my particular outlooks. The biography is without any doubt this Website's most comprehensive undertaking. It is brimming with memories of experiencing all of the entertainments that I have fancied and that I now venerate, and with a profusion of images of the productions themselves, merchandise (books, magazines, toys, commercial videotape and videodisc) based on them, places of import for my seminal viewings of and cognitive responses to the productions, and me and my family.
  
| **McCorry's Memoirs** |
| --- |
|
[**McCorry's Memoirs Era 1: A Pre-Schooler in a Sheltered Cage (1966-72)**](lifestorykev.html) |
[**McCorry's Memoirs Era 2:**](lifestorykev-2.html) **[Where am I? In the Village of My Childhood (1972-7)](lifestorykev-2.html)** |
|
[**Space: 1976-8: Boy Meets Alpha**](1976-8.html)
(**supplementary memoirs from the time period
(1976-8) of CBC Television's full-network
**Space: 1999** broadcasts)** |
[**McCorry's Memoirs Era 3:**](lifestorykev-3.html) **[Massive Family Move...](lifestorykev-3.html)**
[Boy Removed From His Roots...](lifestorykev-3.html)
[Hurled into Suburban Maze (1977-82)](lifestorykev-3.html) |
|
[**McCorry's Memoirs Era 4:**](lifestorykev-4.html) **[He's a Pitcher and a Scholar and a Sci-Fi Fan (1982-7)](lifestorykev-4.html)** |
[**McCorry's Memoirs Era 5: Blasts From the Past (1987-92)**](lifestorykev-5.html) |
|
[**McCorry's Memoirs Era 6:**](lifestorykev-6.html) **[The Era My Life Stood Still (1992-7)](lifestorykev-6.html)** |
[**McCorry's Memoirs Era 7:**](lifestorykev-7.html) **[Spins a Website, Any Size (1997-2009)](lifestorykev-7.html)** |
And a [McCorry's Memoirs Addendum](addendum.html) is followed by an adjunct to my autobiography, [Kevin McCorry's Weblog](weblog0.html).
---
All images involving Looney Tunes and Merrie Melodies and **Superman** image (c) Warner Bros.
**Spiderman** and **Rocket Robin Hood** images (c) Krantz Films
**Flintstones** image (c) Hanna-Barbera
**Pink Panther Show** image (c) United Artists/DePatie-Freleng Enterprises
**Star Blazers** image (c) Jupiter Films/Sunwagon Productions/Voyager Entertainment Inc.
**Space: 1999** and **The Prisoner** images (c) ITC Entertainment/ITV Studios Global Entertainment
**The Littlest Hobo** images (c) Glen-Warren Productions
**Dr. Jekyll & Mr. Hyde** images (c) Paramount Publix Corp. and Warner Bros.
James Bond movie and montage images (c) United Artists
**The Last Place On Earth** image (c) Central Productions/Renegade Films
**Dallas** image (c) Lorimar Pictures
**The Empire Strikes Back** image (c) Lucasfilm Ltd.
**Return of the Six Million Dollar Man and the Bionic Woman** image (c) Universal Television
**The Day the Earth Stood Still** and **Alien** images (c) Twentieth Century Fox
**Text on this Website and on all of its component Web pages may not be
reproduced in full and then altered in any way without my permission
All images are the copyright of the respective production or
distribution companies, and their use on my Website is in accordance
with fair use provisions**
---
| http://www.kevinmccorrytv.ca/ |
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<span style="font-size:9pt; color: #dddddd; text-align:center; display:block">Serving the dragon <a href="http://www.otherkin.net">otherkin</a> community since January 1998.</span>
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<table width=100%><tr><td><span style="font:Arial, Helvetica, sans-serif; font-size: 1.1em; color: #ffffff; text-decoration:underline">Draconic News</span></td><td align=right><table><tr></tr></table></td></tr></table><table border=0 cellpadding=4 cellspacing=1><tr><td bgcolor=#017E99>8-10-18, 7:20pm: <b>New user registration fixed</b></td></tr><tr><td bgcolor=#330077 style="color: #dddddd">I fixed a bug preventing new users from registering using certain web browsers. I never knew about the problem because my original test browser did not encounter the issue. If anyone still has problems, please email [email protected]<p>
New users are now prompted to create a password instead of being sent a random password later.<p>
Current password is now required to change account information via <em>Edit account info</em>.</tr><tr><td><img src="/images/spics/tran1x5.gif" width=1 height=5></td></tr><tr><td bgcolor=#017E99>6-07-18, 10:00pm: <b>We're back, baby!</b></td></tr><tr><td bgcolor=#330077 style="color: #dddddd">Find a Dragon is ported and tested, new user registration, Edit Account Info, forums advanced search, and all admin features. Basically, everything should be working again. If you notice problems, let me know.</tr><tr><td><img src="/images/spics/tran1x5.gif" width=1 height=5></td></tr><tr><td bgcolor=#017E99>6-05-18, 12:21am: <b>Forums are back!</b></td></tr><tr><td bgcolor=#330077 style="color: #dddddd">After many days of marathon coding, data conversion, importing, and testing, the forums are restored!<p>
Amazingly, it all seems to work just as before, even obscure things like signature image resizing. Message search works, but advanced search fields do not. Search is now based on a different piece of software so I need to see what fields in advanced search will translate.<p>
Also, I un-archived messages posted in the last year so you can reply to them. Going forward, messages won't be archived till they're 365 days old instead of 90 days.<p>
If you notice any new bugs, especially critical things like duplicate messages appearing, messages being lost, linked out of order, etc, please email [email protected] immediately because the longer such things propagate, the harder they are to fix.<p>
Most of my time has been spent converting message bodies from flat-file storage to in-database storage, and stored procedures from one database format to another. This is a pretty complicated task, but I found conversion software that gets it about 80% of the way. Unfortunately the remaining 20% is the most obscure stuff that is harder to figure out how to convert. Each time I figure out how to convert an obscure feature, I convert every use of that feature in every proc that uses it. So at this point, I'm hoping most of the remaining 87 procs will install without many additional features to figure out, in which case the remaining site features should be ready in the next weekish. But we'll see.</tr><tr><td><img src="/images/spics/tran1x5.gif" width=1 height=5></td></tr><tr><td bgcolor=#017E99>5-28-18, 2:06pm: <b>Moving servers</b></td></tr><tr><td bgcolor=#330077 style="color: #dddddd">Draconic's hard drive died. I've been wanting to move the site to a hosting service for a long time, but it requires converting the existing database to a new system. That work is not complete, but I'm going to work on completing it rather than waste time and money on restoring to a new hard drive.<p>
Features on this page that aren't greyed-out have been converted. I'll un-grey more links above as I restore various sections.<p>
There was a nightly backup run that seems to be intact, so not much data should have been lost. I've imported the latest version of the database to the new server and am working on converting database logic.</tr><tr><td><img src="/images/spics/tran1x5.gif" width=1 height=5></td></tr><tr><td bgcolor=#017E99>12-10-14, 7:27am: <b>Dragon Dating Simulator</b></td></tr><tr><td bgcolor=#770066 style="color: #dddddd"><a href="http://igg.me/p/dragon-dating-simulator-a-visual-novel/x/1906447" target="_blank">Indiegogo</a> has someone wanting to produce a dragon dating simulator game. It looks a little hokey, but the artwork's decent and the humor looks reminiscent of the old text adventure games on DOS. It's pretty cheap to fund a copy for yourself and the author only gets the money if they reach their goal in the next 8 days, so spread the word.<p>
UPDATE: They extended the deadline so you now have about 26 days.</tr><tr><td><img src="/images/spics/tran1x5.gif" width=1 height=5></td></tr><tr><td bgcolor=#017E99>11-27-14, 2:09pm: <b>Back online</b></td></tr><tr><td bgcolor=#330077 style="color: #dddddd">Around Nov 23rd, the Draconic server experienced a hard drive failure. It turned out that the hard drive that failed on the server was only used by the live snapshot backup system and that the main drive is still working after removing the failed drive.<p>
During the downtime, it was assumed the server was not easily recoverable and we began to move to a new web hosting provider. Because a new host will save a lot of money vs running the dedicated server Draconic currently runs on, we're going to continue that move. It means porting a lot of database procedures to MySQL format which could take awhile, given KaniS's limited free time. Unfortunately this does mean the daily backups of the old server will no longer be occurring but hopefully nothing will fail before I complete the move to the new server, or maybe I can find an old 20gb or larger IDE drive to use to restore the backup system.
<p>
One thing the new hosting provider does not provide is IRC service. We're still deciding what to do about that, but the old IRC server should be working for now.<p>
UPDATE 12-6: Ragora has set up a new IRC server and will be maintaining it. Thanks Ragora! irc.draconic.net now points at the new server and our local server will be deactivated in a few days. Porting MySQL code to the new web server has been going faster than anticipated so far, but I'm not to the complicated stuff yet.
UPDATE 12-26: Daily snapshot backups are working again.</tr><tr><td><img src="/images/spics/tran1x5.gif" width=1 height=5></td></tr><tr><td bgcolor=#017E99>8-08-14, 1:01pm: <b>Internet connection problems</b></td></tr><tr><td bgcolor=#330077 style="color: #dddddd">Draconic's internet connection is having some sort of problem with the line that the phone company can't come take a look at till at least Thursday. Until then, the site is often running slowly and is sometimes unreachable. We're sorry for the inconvenience.<p>
Update: Verizon has to repair something in equipment on a phone pole that's on someone else's land, so they're waiting for permission to enter private property. They were supposed to give an updated ETA but never called. Hopefully things will be fixed early this week.
Update 2: The connection was fixed on Wednesday.</tr><tr><td><img src="/images/spics/tran1x5.gif" width=1 height=5></td></tr><tr><td bgcolor=#017E99>5-28-14, 1:41pm: <b>Draconic's new IP</b></td></tr><tr><td bgcolor=#330077 style="color: #dddddd">The new IP will be 66.159.195.153 and that new IP should become active Monday morning.<p>
If the web site stops loading for you on Monday, try loading <a href="http://66.159.195.153" target="_blank">http://66.159.195.153</a><p>
If that loads a message saying "This site can not be loaded by IP address", then the site is up under the new IP. If the connection times out without loading any page, then the site is still not available at either IP and you'll just have to wait.<p>
Unfortunately you can't use the site by its IP address. Instead, wait 5 minutes. Close your browser, then try <a href="http://www.draconic.com" target="_blank">http://www.draconic.com</a> again. If it still won't load, restart your computer. Restart your router, DSL modem, and/or cable modem as well since they will often cache DNS entries.<p>
If it still won't work, then your DNS servers are caching the old IP for longer than they should. You can either just wait (a few hours will probably do it for most people), or you can <a href="http://www.rackspace.com/knowledge_center/article/how-do-i-modify-my-hosts-file" target="_blank">click here</a> for how to add a local DNS override to your hosts file. Add this line to your hosts file, save, then restart your browser:<p>
66.159.195.153 www.draconic.com<p>
Add a reminder to your calendar to remove that line from your hosts file in a few days or if/when the IP ever changes again, you won't be able to access the site because your hosts file will force you to use the wrong IP.<p>
This IP change will also apply to irc.draconic.com but you should be able to connect to IRC directly using the new IP 66.159.195.153 if you need to.<p>
Remember, these instructions won't be accessible on the web site if the web site is down so be sure to save them somewhere.</tr><tr><td><img src="/images/spics/tran1x5.gif" width=1 height=5></td></tr><tr><td bgcolor=#017E99>5-28-14, 10:09am: <b>Draconic is changing IPs</b></td></tr><tr><td bgcolor=#330077 style="color: #dddddd">Apparently the local hardware host for Draconic's DSL is going bankrupt so the ISP needs to move us to a different facility. This will require changing our IP address. I don't know what the new address will be yet, but I will post another announcement when I do. The change should happen in 3-5 business days. The web site will definitely go down for some period while they move the connection. It could be a short down time or a long one if they have technical difficulties.<p>
For some people, your DNS servers will continue to resolve draconic.com to the old IP even after I change the main DNS entry. I've temporarily changed the main entry to tell other DNS servers to request a refresh every 5 minutes, but not all servers will honor that, so it could take a few hours or maybe even days for the local DNS servers of some of you to get updated with the new IP address. Keep an eye out for what the new IP is and I'll try to include instructions for how you might temporarily work around problems with local DNS caching the old IP.</tr><tr><td><img src="/images/spics/tran1x5.gif" width=1 height=5></td></tr><tr><td bgcolor=#017E99>10-16-11, 9:54am: <b>Memorial</b></td></tr><tr><td bgcolor=#770066 style="color: #dddddd">Athus Nadorian, aka Brian Dyer, passed away on Tuesday the 11th of October 2011 after a car accident. I just found out.<p>
Athus is one of the earliest scalies I knew. One of the few who still felt close even after long periods of separation. He was definitely one of the kindest and most loving dragons I knew. May he find a place amongst the waves and wind again.<p>
His friends have created a memorial to this sea dragon at <a href="http://www.athusnadorian.com" target="_blank">www.athusnadorian.com</a>.
<p>
- KaniS</tr></table><p><table><tr><td class="button"><a href="/index.php?maxNewsDate=2011-10-16+09%3A54%3A40">Older news...</a></td></tr></table></td><p></tr></table>
<p>
<font size=-1 color=#009999>This site is maintained by
<a href="kanis.php">Chris Dragon</a> (aka KaniS), along with help from others in the Draconic community.<br>
KaniS may be reached through e-mail at <i><a href="mailto:[email protected]">[email protected]</a></i><br>
If you'd like to provide a link to Draconic from your site, please feel free to use one of the logos
provided <a href="logos.php">here</a>.
</font>
</td></tr>
</table>
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Draconic
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| Serving the dragon [otherkin](http://www.otherkin.net) community since January 1998. |
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| [Forums](main/forums/) | [Chat](http://www.draconic.net/) | [Find a Dragon](main/fad/) | [Links Database](links/) |
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| [Art](gallery/whelan.php) | [Poetry](poetry/) | [For Dragons](fordragons/) | [Help & FAQ](faq.php) |
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| Draconic News |
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| 8-10-18, 7:20pm: **New user registration fixed** |
| I fixed a bug preventing new users from registering using certain web browsers. I never knew about the problem because my original test browser did not encounter the issue. If anyone still has problems, please email [email protected]
New users are now prompted to create a password instead of being sent a random password later.
Current password is now required to change account information via *Edit account info*. |
| |
| 6-07-18, 10:00pm: **We're back, baby!** |
| Find a Dragon is ported and tested, new user registration, Edit Account Info, forums advanced search, and all admin features. Basically, everything should be working again. If you notice problems, let me know. |
| |
| 6-05-18, 12:21am: **Forums are back!** |
| After many days of marathon coding, data conversion, importing, and testing, the forums are restored!
Amazingly, it all seems to work just as before, even obscure things like signature image resizing. Message search works, but advanced search fields do not. Search is now based on a different piece of software so I need to see what fields in advanced search will translate.
Also, I un-archived messages posted in the last year so you can reply to them. Going forward, messages won't be archived till they're 365 days old instead of 90 days.
If you notice any new bugs, especially critical things like duplicate messages appearing, messages being lost, linked out of order, etc, please email [email protected] immediately because the longer such things propagate, the harder they are to fix.
Most of my time has been spent converting message bodies from flat-file storage to in-database storage, and stored procedures from one database format to another. This is a pretty complicated task, but I found conversion software that gets it about 80% of the way. Unfortunately the remaining 20% is the most obscure stuff that is harder to figure out how to convert. Each time I figure out how to convert an obscure feature, I convert every use of that feature in every proc that uses it. So at this point, I'm hoping most of the remaining 87 procs will install without many additional features to figure out, in which case the remaining site features should be ready in the next weekish. But we'll see. |
| |
| 5-28-18, 2:06pm: **Moving servers** |
| Draconic's hard drive died. I've been wanting to move the site to a hosting service for a long time, but it requires converting the existing database to a new system. That work is not complete, but I'm going to work on completing it rather than waste time and money on restoring to a new hard drive.
Features on this page that aren't greyed-out have been converted. I'll un-grey more links above as I restore various sections.
There was a nightly backup run that seems to be intact, so not much data should have been lost. I've imported the latest version of the database to the new server and am working on converting database logic. |
| |
| 12-10-14, 7:27am: **Dragon Dating Simulator** |
| [Indiegogo](http://igg.me/p/dragon-dating-simulator-a-visual-novel/x/1906447) has someone wanting to produce a dragon dating simulator game. It looks a little hokey, but the artwork's decent and the humor looks reminiscent of the old text adventure games on DOS. It's pretty cheap to fund a copy for yourself and the author only gets the money if they reach their goal in the next 8 days, so spread the word.
UPDATE: They extended the deadline so you now have about 26 days. |
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| 11-27-14, 2:09pm: **Back online** |
| Around Nov 23rd, the Draconic server experienced a hard drive failure. It turned out that the hard drive that failed on the server was only used by the live snapshot backup system and that the main drive is still working after removing the failed drive.
During the downtime, it was assumed the server was not easily recoverable and we began to move to a new web hosting provider. Because a new host will save a lot of money vs running the dedicated server Draconic currently runs on, we're going to continue that move. It means porting a lot of database procedures to MySQL format which could take awhile, given KaniS's limited free time. Unfortunately this does mean the daily backups of the old server will no longer be occurring but hopefully nothing will fail before I complete the move to the new server, or maybe I can find an old 20gb or larger IDE drive to use to restore the backup system.
One thing the new hosting provider does not provide is IRC service. We're still deciding what to do about that, but the old IRC server should be working for now.
UPDATE 12-6: Ragora has set up a new IRC server and will be maintaining it. Thanks Ragora! irc.draconic.net now points at the new server and our local server will be deactivated in a few days. Porting MySQL code to the new web server has been going faster than anticipated so far, but I'm not to the complicated stuff yet.
UPDATE 12-26: Daily snapshot backups are working again. |
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| 8-08-14, 1:01pm: **Internet connection problems** |
| Draconic's internet connection is having some sort of problem with the line that the phone company can't come take a look at till at least Thursday. Until then, the site is often running slowly and is sometimes unreachable. We're sorry for the inconvenience.
Update: Verizon has to repair something in equipment on a phone pole that's on someone else's land, so they're waiting for permission to enter private property. They were supposed to give an updated ETA but never called. Hopefully things will be fixed early this week.
Update 2: The connection was fixed on Wednesday. |
| |
| 5-28-14, 1:41pm: **Draconic's new IP** |
| The new IP will be 66.159.195.153 and that new IP should become active Monday morning.
If the web site stops loading for you on Monday, try loading <http://66.159.195.153>
If that loads a message saying "This site can not be loaded by IP address", then the site is up under the new IP. If the connection times out without loading any page, then the site is still not available at either IP and you'll just have to wait.
Unfortunately you can't use the site by its IP address. Instead, wait 5 minutes. Close your browser, then try <http://www.draconic.com> again. If it still won't load, restart your computer. Restart your router, DSL modem, and/or cable modem as well since they will often cache DNS entries.
If it still won't work, then your DNS servers are caching the old IP for longer than they should. You can either just wait (a few hours will probably do it for most people), or you can [click here](http://www.rackspace.com/knowledge_center/article/how-do-i-modify-my-hosts-file) for how to add a local DNS override to your hosts file. Add this line to your hosts file, save, then restart your browser:
66.159.195.153 www.draconic.com
Add a reminder to your calendar to remove that line from your hosts file in a few days or if/when the IP ever changes again, you won't be able to access the site because your hosts file will force you to use the wrong IP.
This IP change will also apply to irc.draconic.com but you should be able to connect to IRC directly using the new IP 66.159.195.153 if you need to.
Remember, these instructions won't be accessible on the web site if the web site is down so be sure to save them somewhere. |
| |
| 5-28-14, 10:09am: **Draconic is changing IPs** |
| Apparently the local hardware host for Draconic's DSL is going bankrupt so the ISP needs to move us to a different facility. This will require changing our IP address. I don't know what the new address will be yet, but I will post another announcement when I do. The change should happen in 3-5 business days. The web site will definitely go down for some period while they move the connection. It could be a short down time or a long one if they have technical difficulties.
For some people, your DNS servers will continue to resolve draconic.com to the old IP even after I change the main DNS entry. I've temporarily changed the main entry to tell other DNS servers to request a refresh every 5 minutes, but not all servers will honor that, so it could take a few hours or maybe even days for the local DNS servers of some of you to get updated with the new IP address. Keep an eye out for what the new IP is and I'll try to include instructions for how you might temporarily work around problems with local DNS caching the old IP. |
| |
| 10-16-11, 9:54am: **Memorial** |
| Athus Nadorian, aka Brian Dyer, passed away on Tuesday the 11th of October 2011 after a car accident. I just found out.
Athus is one of the earliest scalies I knew. One of the few who still felt close even after long periods of separation. He was definitely one of the kindest and most loving dragons I knew. May he find a place amongst the waves and wind again.
His friends have created a memorial to this sea dragon at [www.athusnadorian.com](http://www.athusnadorian.com).
- KaniS |
| |
| --- |
| [Older news...](/index.php?maxNewsDate=2011-10-16+09%3A54%3A40) |
|
This site is maintained by
[Chris Dragon](kanis.php) (aka KaniS), along with help from others in the Draconic community.
KaniS may be reached through e-mail at *[[email protected]](mailto:[email protected])*
If you'd like to provide a link to Draconic from your site, please feel free to use one of the logos
provided [here](logos.php).
|
| https://www.draconic.com/ |
<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
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<head>
<meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1">
<meta name="Author" content="Richard N. Diehl">
<meta name="GENERATOR" content="Notepad">
<meta name="Description" content="Links to sites associated with the collection of vintage video tape reocrding equipment in use before Betamax and VHS">
<title>LabGuy's World: Extinct Video Tape Recorder Related Links</title>
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<b><font size="+3">LabGuy's World:</font>
<font size="+2"> Extinct Video Tape Recorder Related Links</font>
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<! RESTORATION COMPANY LINKS ! SUB TABLE 1 !>
<center><hr width="100%">
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<p>
<b>
<u>
<font size="+2">Magnetic Tape Restoration Information and Companies:</font>
</u>
</b>
</p>
<b>
<font color="#000000" size="+1">
If you are looking to get an old video tape transferred to a modern format, these are some of the companies that can help. Over 90% of video tape that is older than 10 years is most probably not immediately playable. These companies and individuals have developed specialized processes for restoring sticky shedding tape to playable condition. Their engineers then digitally process the recovered recordings and transfer them to almost any format you desire, including DVD. Trust me when I tell you, restoring your own tape is hit and miss. You are more likely to destroy the tape or your irreplacable VTR than to recover it. That is why these companies have come into existence. Very rotten tape can break precious video heads or burn out the main motor of old VTRs! Be warned!
</b>
<br /><br />
<p>
<b>
Also listed, are some links to information web sites that explain proper tape storage and handling, how tape actually degrades and breaks down, and how to restore the tape to a playable condition.
</b>
</p>
<b>
NOTE: If you have a magnetic tape restoration service and wish it to be listed here, drop me a line. Now, <i>In no particular order..."
</font>
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<! Greatbear Audio & Video Digitising !>
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<font color="#000000" size="+1"><b><u>
<a href="https://thegreatbear.net/">Greatbear Audio & Video Digitising</a></u></b>
</font>
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<td align="left" valign="top">
<font size="+1">
<b>Greatbear is a specialist audio and video digitising and conservation studio, working to preserve valuable recordings and archives. We are based in Bristol, UK and work internationally. We have the expertise and technology to restore, replay and transfer almost all formats of audio and video tape. We have collected and restored a studio-full of vintage video equipment for high-quality transfer of magnetic video tape from all eras, including old and rare video formats. Our website also has many lovingly-photographed machines and tapes.</b>
</font>
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<! IMMURE RECORDS !>
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<td align="left" valign="top">
<font color="#000000" size="+1"><b><u>
<a href="http://www.immurerecords.com/">IMMURE RECORDS</a></u></b>
</font>
</td>
<td align="left" valign="top">
<font size="+1">
<b>Welcome to Immure Records. We are a premier audio and video transfer service company located in Blaine, MN. We specialize in audio/video restoration, audio/video preservation, audio forensic examination, post-production audio mastering and vocal recording. Along with these services we also provide CD and DVD duplication with full color inserts and disc printing with no minimum order. You will never pay a set-up fee on any of our services. You should never have to pay for these unnecessary fees. </b>
</font>
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<! DC VIDEO !>
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<font color="#000000" size="+1"><b><u>
<a href="https://www.dcvideo.com/">DC VIDEO</a></u></b>
</font>
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<font size="+1">
<b>DC Video is an industry leader in providing high quality videotape transfer and video remastering services to media content owners and producers throughout the world. Whether your videotape is obsolete, rare, 2, ¼, commercial or consumer grade or even all of the above(!) DC Video can provide the media solutions you seek.</b>
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<! AVTRANSFER !>
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<font color="#000000" size="+1"><b><u>
<a href="http://www.avtransfers.biz/">AVTRANSFERS</a></u></b>
</font>
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<font size="+1"><b>
AvTransfers is a UK Studio offering Video, Cine Film and Audio transfer services to the U.K and Europe.They have a wide variety of current , professional and vintage video systems to transfer your vintage video formats to DVD or Online Formats. Please visit our site for a comprehensive list of services and formats on offer.<b>
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<font color="#000000" size="+1"><b><u>
<a href="http://www.specsbros.com/">SPECS BROTHERS</a></u></b>
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<font color="#000000" size="+1"><b>
Video & Audio Tape Restoration. Experience: 250,000 Tapes Strong! Providing Disaster Planning <i>and</i> Recovery and Tape Preservation Services.
</font></b>
</td>
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<! BAVC BAY AREA VIDEO COALITION !>
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<td align="left" valign="top">
<font color="#000000" size="+1"><b><U>
<a href="http://www.bavc.org/">BAVC Bay Area Video Coalition</a></u></b>
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<font size="+1"><b>
The Bay Area Video Coalition is the nation's largest noncommercial media arts center dedicated to providing access to media, education, and technology.</b>
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<! MSE MEDIA SOLUTIONS !>
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<font color="#000000" size="+1"><b>
<a href="http://www.msemedia.com/">MSE Media Solutions</a></b>
</font>
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<font color="#000000" size="+1"><b>
New and Used Video Tape Sales and Restoration Services. They may also purchase
your video tape.</b>
</font>
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<! ...I'D HAVE BAKED A TAPE !>
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<td align="left" valign="top">
<font color="#000000" size="+1"><b>
<a href="http://www.wendycarlos.com/bake%20a%20tape/baketape.html">If I knew your were coming, I'd have baked a tape!</a></b>
</font>
</td>
<td align="left" valign="top">
<font color="#000000" size="+1"><b>
A Recipe for Tape Restoration. By Eddie Ciletti. Very detailed explanations with a lot of photos. Mr. Ciletti provides detailed plans for a do it yourself tape baking system. Recommended for the highly ambitious!</b> </font>
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<! NATIONAL TECHNICAL ALLIANCE !>
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<td align="left" valign="top">
<font color="#000000" size="+1"><b>
<font size="+1"><a Href="http://www.clir.org/pubs/reports/pub54/glossary.html">National
Technical Alliance</a></font></b>
</td>
<td align="left" valign="top">
<font color="#000000" size="+1"><b>
Magnetic Tape Storage and Handling. A guide for Libraries and Archives. Avoid a major crisis in advance! By Dr. John W.C. Van Bogart, National Media Laboratory, June 1995.</b>
</font>
</td>
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<! PHOTO SEARCH STOCK FOOTAGE AND VIDEO !>
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<td align="left" valign="top">
<font color="#000000" size="+1"><b>
<a href="http://www.fotosearch.com/">Foto Search Stock Footage and Video Clips</a></b>
</font>
</td>
<td align="left" valign="top">
<font color="#000000" size="+1"><b>
Foto Search Stock Photography and Stock Footage allows users to search from more than 11 million images and 150,000 video clips from 140 quality publishers at one site. Top footage vendors available include Artbeats, Corbis, Creatas Footage, Digital Hotcakes, Getty, Film Disc, National Geographic, Reel House, and many, many more.</b>
</font>
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<font color="#000000" size="+1"><b>
<a href="https://www.youtube.com/channel/UCt2UipISexd0yg9VoNrxDhQ">Rick Thomas</a></b>
</font>
</td>
<td align="left" valign="top">
<font color="#000000" size="+1"><b>
Rick Thomas is a specialist in dubbing Sony AV-5000 and AV-5000A tapes. He has several decks and claims hundreds of hours of dubs for satisfied customers. Drop him a line! Here's a picture of one of his completed customised [<a href="RT_AV-5000A_003.jpg">AV-5000's</a>].</b>
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<font size="+1">Video Equipment Repair Resources:
</font>
</u>
</b>
</center><br />
<b><a href="http://www.aheadtek.com/index.html">DRS Ahead Technologies:</a> - Supplying Magnetic Head Solutions Around the Globe. AheadTek is committed to strengthening its reputation as the preferred supplier of specialty magnetic heads fulfilling the needs of thousands of customers worldwide in the television broadcast, video production, computer and data storage industries. (This company is able to offer rebuild services for many types of video tape heads and head assemblies. Note that three is no guarantee they can help you with parts that are TOO old. But, they do rebuild quadruplex head assemblies, Type C and miniDV heads for certain. It can never hurt to ask.)
</b><br /><br />
<b><a href="http://www.srdpc.com/witt/">Terry's Rubber Rollers & Wheels:</a> - Do you have a Reel to Reel tape recorder sitting in the back of a closet, or stashed away, because the pinch roller or idler wheel is dried out, hard, cracked or ruined from improper chemical cleaning? This IS the solution!
</b><br /><br />
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<b>
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<font size="+1">Vintage Video Equipment and Program Collections and Services:
</font>
</u>
</b>
</center>
<p>
<b>
<a href="http://www.melbournevideoproduction.com.au/video-terms/">Melbourne Video Productions</a> - "Web video that works!" We love video and can't wait to share our passion with you and your business. This link takes you to their sub page of Video Terms and Definitions. <a href="http://www.melbournevideoproduction.com.au/">Melbourne Video Productions Home Page</a>
</b>
</p>
<p>
<b>
<a href="http://www.rewindmuseum.com/">Rewind Museum</a> - A museum of vintage consumer electronics and milestone achievements. A site primarily about consumer electronics and in particular first achievements and so it has a somewhat wider topical range than video and TV.
</b>
</p>
<p>
<b>
<a href="http://www.lionlamb.us/quadpark.html">Quadruplex Park</a> - "<i>Where the Broadcast Dinosaurs Live!</i>" Tim Stoffel documents the Quadruplex VTR's that were manufactured by Ampex and RCA. He also has the most information available about obsolete video tape formats.
</b>
</p>
<p>
<b>
<a href="http://www.pharis-video.com/p21.htm">Chuck Pharis Video</a> - Absolutely the best collection of vintage television production equipment on the web! A massive site. Be prepared to spend some time browsing!
</b>
</p>
<p>
<b>
<a href="http://www.oldtechnology.net/">Mikey's Home Page</a> - Michael Bennet's page of European consumer VCR's and 405 line TV stuff. A nicely designed and highly whimsical home page to boot!
</b>
</p>
<p>
<b><a href="http://www.totalrewind.org">Total Rewind Virtual Museum</a> - of Home Video! Documents the arrival of the home VCR in Britain.
</b>
</p>
<p>
<b>
<a href="http://www.passions-incongrues.com">Passions Incongrues</a> - This is the latest site to join the growing legions of collectors of things that make video! Authored by my good friend, Bruno Merlier! Check out his latest acquisition, a super rare Sony CV-5100P PAL VTR! Fully operational too!!!
</b>
</p>
<p>
<b>
<a href="http://users.pandora.be/frank.ttt/">Vintage Sound & Vision</a> - A new video equipment collector's site by Frank T. A very nice collection of European gear.
</b>
</p>
<p>
<b>
<a href="http://www.vtoldboys.com/">BBC VT - A Record</a> - A visual history of video tape operations at the BBC. A wonderful site operated by Chris Booth.
</b>
</p>
<p>
<b>
<a href="http://www.angelfire.com/alt/cartrivision/index.html">Cartrivision:
A unique way of looking at things</a> - A web page by my friend, Luke Perry.
</b>
</p>
<p>
<b>
<a href="http://www.toirm.com/">High Tech Hobbies and Collectible Electronics</a> - Another video collector, Bruce Rogers, struts his stuff for your amazement! This is a work in progress, so be sure to check back frequently. Let Bruce know that you found his page through LabGuy's World Links and that we can't wait for his next update!
</b>
</p>
<p>
<b>
<a href="http://home.iae.nl/users/pb0aia/cm/studio2.html">Kee's Computer Home: Studio 2:</a> - Kee has many nice old tape recorders. An Elcassette deck, an 8track recorder and many VTRs and VCRs!
</b>
</p>
<p>
<b>
<a href="http://www.phantomprod.com/">Phantom Productions</a> - By Chris and Martin Theopholis. This site has a great vintage recorder section including the Roberts 1000.
</b>
</p>
<p>
<b>
<a href="http://www.videoinfo.nl/">De Historie Van De Video!</a> - (in Dutch) Great web site with a couple of things that even LabGuy didn't know about! Great job, Martijn!
</b>
</p>
<p>
<b>
<a href="http://www.kgc.de/mumien.html">Hier leben die mumien!</a> - Videoformate längst vergangener Jahre haben bei uns eine Heimat gefunden. In German. (Obviously!) Klaus G. Carsten's tribute page to extinct VTR's, which translates to, "The mummies live here!". Good coverage of the topic plus a few good pictures.
</b>
</p>
<p>
<b>
<a href="http://www.epanorama.net/links/repair.html">Electronics Repair Links</a> - Just the resource for those of you who are attempting to repair your collectable artifacts!
</b>
</p>
<p>
<b>
<a href="http://www.experimentaltvcenter.org/history/index.html">The
Video History Project</a> - The Experimental Television Centers Video History Project is an on-going research initiative which documents video art and community television, as it evolved in rural and urban New York State, and across the US. Begun in 1994, the Project has several initiatives including research, conferences and the web site.
</b>
</p>
<p>
<b>
<a href="http://www.radiomuseum-bocket.de/">Privates Loewe-Opta Radiomuseum</a> - A German site devoted to the products of Loewe-Opta (Lion Optical), a large manufacture of radios and televisions which I also feature in my video catalog. Tell Hans, "LabGuy sent me"!
</b>
</p>
<p>
<b>
<a href="http://www.radiolaguy.com/">Radiolaguy</a> - This site is dedicated to providing a service to those interested in the preservation and collecting of vintage Radios, Television and related items. He also has a very nice vintage radio museum.
</b>
</p>
<p>
<b>
<a href="http://members.tripod.com/~FrameMaster/index.html">The Restelli Collection</a>; - The Early History of Television Through Visual Images! The Personal Photographs of Television Pioneer, Dr. Vladimir Kosma Zworykin and More! </b>
</p>
<p>
<b>
<a href="http://www.epi-centre.com/reports/9510acs.html">The Original Electronic Imaging System</a> - Forty years of British Independent television celebrated in Amsterdam. By John Henshall
</b>
</p>
<p>
<b>
<a href="http://www.palsite.com/">The PAL Site</a> - The home of the PAL video system by Alan Barnett and Martin Evans. Covering the history of Betamax, V2000 and Umatic formats.
</b>
</p>
<p>
<b>
<a href="http://bertinot.com/tv/">Dave's Vintage Televisions</a> - Dave Bertinot's excellent collection of vintage television receivers.
</b>
</p>
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<center><hr width="100%">
<b>
<u>
<font size="+1">Memorial sites:</font>
</u>
</b>
</center>
<p>
<b>
<a href="http://www.roizen.com/ron/joe_roizen.htm">Joseph Roizen:</a> - Here is a memorial to a man I never met, only knew by rumor, but whom I have come to respect for his contributions to video state of the art at both Ampex and IVC.
</b>
</p>
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<center><hr width="100%">
<b>
<u>
<font size="+1">Vacuum Tube Links:</font>
</u>
</b>
</center>
<p>
<b>
<a href="http://www.tubecollectors.org/">Vacuum Tube Collectors Association:</a> - The center of the universe as far as this hobby is concerned. If you collect "vacuum tubes", "glow bottles", or other "nothing state devices", then this is the organization for you!
</b>
</p>
<p>
<b>
<a href="http://www.sphere.bc.ca/test/tubes.html">Sphere Research:</a> - Welcome To The Sphere Research Canadian Test Equipment Site! Vacuum tubes, vacuum tube links and useful information.
</b>
</p>
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<center><hr width="100%">
<b>
<u>
<font size="+1">Discussion Groups:</font>
</u>
</b>
</center>
<p>
<b>
<a href="https://groups.io/g/OldVTRS">Groups dot eye oh: Old VTR's</a> - This group was created (12/2000) and moderated by Matt Patoray as a result of Labguy's World site, which was only a few megabytes in size at the time! Join us and let's all talk about those old rotary head boat anchors that we all love (hate?) so much. We can share all the information, documentation and web sites that we know about too.
</b>
</p>
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<center><hr width="100%">
<b>
<u>
<font size="+1">Television, Radio & Recording History Web Sites:</font>
</u>
</b>
</center>
<p>
<b>
<a href="http://www.terramedia.co.uk/">Terramedia U.K.</a> - An excellent site covering the historical time line of audio/visual media history by David Fisher.
</b>
</p>
<p>
<b>
<a href="http://www.oldradio.com/archives/hardware/TV/RCA-TV.htm">Broadcast
Archive - RCA Equipment Section</a> - An incredible archive of RCA video cameras and recorders. A must visit for the serious researcher! </b>
</p>
<p>
<b>
<a href="http://www.kingoftheroad.net/">King of the Road!</a> - Kris Trexler is an auto enthusiast with an intense passion for the road. His interests range from chrome laden 50's cruisers to the latest high technology transportation of the 21st Century. Cruise on down the highway to learn more about these wonderful machines as well as learn about early color TV broadcasting in the 1950's and 60's! (Kris is the
editor of my favorite TV show! ~L.G.)
</b>
</p>
<p>
<b>
<a href="http://www.kingoftheroad.net/colorTV/TVcams-in-action.html">RCA
Color Television Cameras</a> - A new page added to the previously
mentioned site. Check this out, it is FANTASTIC!!!
</b>
</p>
<p>
<b>
<a href="http://www.pavekmuseum.org/">Pavek Museum of Broadcasting</a> - houses one of the world's finest collections of antique radio, television, and broadcast equipment. The Pavek has gained international recognition for its continuing efforts in preserving and documenting the history of an industry that has made monumental changes in the fabric of modern life.
</b>
</p>
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<center><hr width="100%">
<b>
<u>
<font size="+1">Video Disk History Sites:</font>
</u>
</b>
</center>
<p>
<b>
<a href="http://www.tvdawn.com/index.htm">The Dawn of TV</a> - The oldest video recordings recovered! Learn about the amazing restoration of several old, recently discovered Baird Phonovision Records, that had been lost for 80 years!
</b>
</p>
<p>
<b>
<a href="http://www.cedmagic.com/selectavision.html">CED Magic</a> - The story of the RCA Capacitive Video Disk. AKA: The RCA SelectaVision Video Disc System. This
system worked with a mechanical stylus that was actually in physical contact
with a recording disk, just like the audio phonograph!
</b>
</p>
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<center><hr width="100%">
<b>
<u>
<font size="+1">Educational Resources:</font>
</u>
</b>
</center>
<p>
<b>
<a href="http://cybercollege.com/tvp_ind.htm">Television Production Course!</a> - By Ron Whittaker, Ph.D. "A Comprehensive Cybertext" Covering Studio and field production.
</b>
</p>
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<center><hr width="100%">
<b>
<u>
<font size="+1">Television and Recording Related Orginizations:</font>
</u>
</b>
</center>
<p>
<b>
<a href="http://www.aes.org/">AES</a> - The Audio Engineering Society, now in its fifth decade, is the only professional society devoted exclusively to audio technology.
</b>
</p>
<p>
<b>
<a href="http://www.ansi.org">ANSI</a> - The American National Standards Institute (ANSI) has served in its capacity as administrator and coordinator of the United States private sector voluntary standardization system for more than 80 years.
</b>
</p>
<p>
<b><a href="http://www.atsc.org/">ATSC</a> - The Advanced Television Systems Committee (ATSC) is an international organization of 200 members that is establishing voluntary technical standards for advanced television systems.
</b>
</p>
<p>
<b>
<a href="http://www.gtc.org.uk">Guild of Television Camera Men</a> - The Guild of Television Cameramen (GTC) is a professional body whose object is to ensure and preserve the professional status of the Television Cameraman and to establish, uphold and advance the standards of qualification and competence of the Television Cameraman.
</b>
</p>
<p>
<b>
<a href="http://www.iec.ch/">IEC</a> - The International Electromechanical Commission is the international standards and conformity assessment body for all fields of electrotechnology.
</b>
</p>
<p>
<b>
<a href="http://www.ieee.org/">IEEE</a> - Technical objectives center on advancing the theory and practice of electrical, electronics, and computer engineering and science.
</b>
</p>
<p>
<b>
<a href="http://www.iso.ch/">ISO</a> - International Standards Organization - Standards are documented agreements containing technical specifications or other precise criteria to be used consistently as rules, guidelines, or definitions of characteristics, to ensure that materials, products, processes and services are fit for their purpose.</b>
</p>
<p>
<b>
<a href="http://itsnet.org/">ITS</a> - The Association of Imaging Technology and Sound.</font></font></b>
</p>
<p>
<b>
<a href="http://www.nab.org/">NAB</a> - The National Association of Broadcasters. They have the BEST convention in Las Vegas each year (usually) in April.
</b>
</p>
<p>
<b>
<a href="http://www.nabanet.com">NABA</a> - North American Broadcasters Association.
</b>
</p>
<p>
<b>
<a href="http://www.sbe.org/">SBE</a> - Society of Broadcast Engineers.
</b>
</p>
<p>
<b>
<a href="http://www.smpte.org/">SMPTE</a> - The Society of Motion Picture and Television Engineers. LabGuy is a member. Why aren't you?</font></font></b>
</p>
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<center><hr width="100%">
<b>
<u>
<font size="+1">"Strictly Commercial" Video Sites:</font>
</u>
</b>
</center>
<p>
<b>
<a href="http://www.batterymart.com/">Battery Mart</a> - A source of replacement batteries for all things electric. Especially old portapacks!
</b>
</p>
<p>
<b>
<a href="http://www.ampex.com/">Ampex Home Page</a> - Ampex is a leading supplier of high-capacity, high performance digital storage systems capable of functioning in demanding environments on land, at sea or in the air. In addition to offering a line of state-of-the-art products, Ampex works closely with its customers to provide solutions to complex data capture requirements that may involve major modifications to an existing product or development of an entirely new product or technology.
</b>
</p>
<p>
<b><a href="http://www.primeimageinc.com/">Prime Image, Inc.</a> - The industry leader in video time management. Prime Image originally manufactured TBCs and Frame Synchronizers.
</b>
</p>
<p>
<b>
<a href="http://www.harryposter.com/">Harry Poster Vintage TVs and Antique Radios</a> - We Buy, Sell and Prop 20th Century Industrial and Machine Age Electronics. For the Collector, Museum, Prop and Set Designer. Plus Stereoscopic 3D Cameras and Accessories.
</b>
</p>
<p>
<b>
<a href="http://www.digitalvideo.com/">Anifur.com</a> - Dedicated to restoring old Tektronix Computers and Displays.
</b>
</p>
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<center><hr width="100%">
<b>
<u>
<font size="+1">All kinds of Technology Information sites:</font>
</u>
</b>
</center>
<p>
<b>
<a href="http://www.seanet.com/~bradford/blue_green_screen_visual_effects_1.html">The Blue Screen / Chroma Key Page</a> - There had to be one. Here it is!
</b>
</p>
<p>
<b>
<a href="http://www.seanet.com/Users/bradford/ntscvideo.html">NTSC Video Signal Basics</a> - You gotta know your tools before you really know what you're doing.
</b>
</p>
<p>
<b>
<a href="http://www.howstuffworks.com/vcr.htm">How A VCR Works</a> - The inner workings of the VCR, as presented by Marshall Brain, who has one of the most interesting sites on the Web. This page really gets into taking a VHS VCR to pieces and examining exactly how it works.
</b>
</p>
<p>
<b>
<a href="http://www.howstuffworks.com/index.htm">How Stuff Works</a> - is a great place to come to learn about how things work in the world around you. The source page of the previous link.
</b>
</p>
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<center><hr width="100%">
<b>
<u>
<font size="+1">Amateur Radio, SSTV, ATV & Hobby Links:</font>
</u>
</b>
</center>
<p>
<b>
<a href="http://www.k6ben.com/K6BEN_ATV/Home.html">W6SVA ATV repeater, San Jose, CA.</a> - ATV for the San Jose, south San Francisco bay area. Located atop Mt. Loma Prieta at 3800+ feet, it covers the entire region from San Francisco in the north to Montery and Santa Cruz. (This repeater experienced a call sign change in January 2020. Formerly know as K6BEN.)
</b>
</p>
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<b>
<font size="+1">[<a href="index.html">HOME</a>]
</font>
</b>
</center>
<hr width="100%"><font color="#C0C0C0">Created 1998 Last updated: July 25, 2020</font>
<! END MAIN TABLE OF THE PAGE
</td>
</tr>
</table></center>
</dl>
</body>
</html>
|
LabGuy's World: Extinct Video Tape Recorder Related Links
| | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| **LabGuy's World:
Extinct Video Tape Recorder Related Links**
---
| |
| --- |
|
**Magnetic Tape Restoration Information and Companies:**
**If you are looking to get an old video tape transferred to a modern format, these are some of the companies that can help. Over 90% of video tape that is older than 10 years is most probably not immediately playable. These companies and individuals have developed specialized processes for restoring sticky shedding tape to playable condition. Their engineers then digitally process the recovered recordings and transfer them to almost any format you desire, including DVD. Trust me when I tell you, restoring your own tape is hit and miss. You are more likely to destroy the tape or your irreplacable VTR than to recover it. That is why these companies have come into existence. Very rotten tape can break precious video heads or burn out the main motor of old VTRs! Be warned!**
**Also listed, are some links to information web sites that explain proper tape storage and handling, how tape actually degrades and breaks down, and how to restore the tape to a playable condition.**
**NOTE: If you have a magnetic tape restoration service and wish it to be listed here, drop me a line. Now, *In no particular order..."***
|
| **[Greatbear Audio & Video Digitising](https://thegreatbear.net/)**
|
**Greatbear is a specialist audio and video digitising and conservation studio, working to preserve valuable recordings and archives. We are based in Bristol, UK and work internationally. We have the expertise and technology to restore, replay and transfer almost all formats of audio and video tape. We have collected and restored a studio-full of vintage video equipment for high-quality transfer of magnetic video tape from all eras, including old and rare video formats. Our website also has many lovingly-photographed machines and tapes.**
|
| **[IMMURE RECORDS](http://www.immurerecords.com/)**
|
**Welcome to Immure Records. We are a premier audio and video transfer service company located in Blaine, MN. We specialize in audio/video restoration, audio/video preservation, audio forensic examination, post-production audio mastering and vocal recording. Along with these services we also provide CD and DVD duplication with full color inserts and disc printing with no minimum order. You will never pay a set-up fee on any of our services. You should never have to pay for these unnecessary fees.**
|
| **[DC VIDEO](https://www.dcvideo.com/)**
|
**DC Video is an industry leader in providing high quality videotape transfer and video remastering services to media content owners and producers throughout the world. Whether your videotape is obsolete, rare, 2, ¼, commercial or consumer grade or even all of the above(!) DC Video can provide the media solutions you seek.**
|
| **[AVTRANSFERS](http://www.avtransfers.biz/)**
| **AvTransfers is a UK Studio offering Video, Cine Film and Audio transfer services to the U.K and Europe.They have a wide variety of current , professional and vintage video systems to transfer your vintage video formats to DVD or Online Formats. Please visit our site for a comprehensive list of services and formats on offer.** |
| **[SPECS BROTHERS](http://www.specsbros.com/)**
| **Video & Audio Tape Restoration. Experience: 250,000 Tapes Strong! Providing Disaster Planning *and* Recovery and Tape Preservation Services.** |
| **[BAVC Bay Area Video Coalition](http://www.bavc.org/)**
| **The Bay Area Video Coalition is the nation's largest noncommercial media arts center dedicated to providing access to media, education, and technology.**
|
| **[MSE Media Solutions](http://www.msemedia.com/)**
| **New and Used Video Tape Sales and Restoration Services. They may also purchase
your video tape.**
|
| **[If I knew your were coming, I'd have baked a tape!](http://www.wendycarlos.com/bake%20a%20tape/baketape.html)**
| **A Recipe for Tape Restoration. By Eddie Ciletti. Very detailed explanations with a lot of photos. Mr. Ciletti provides detailed plans for a do it yourself tape baking system. Recommended for the highly ambitious!** |
| **[National
Technical Alliance](http://www.clir.org/pubs/reports/pub54/glossary.html)**
| **Magnetic Tape Storage and Handling. A guide for Libraries and Archives. Avoid a major crisis in advance! By Dr. John W.C. Van Bogart, National Media Laboratory, June 1995.**
|
| **[Foto Search Stock Footage and Video Clips](http://www.fotosearch.com/)**
| **Foto Search Stock Photography and Stock Footage allows users to search from more than 11 million images and 150,000 video clips from 140 quality publishers at one site. Top footage vendors available include Artbeats, Corbis, Creatas Footage, Digital Hotcakes, Getty, Film Disc, National Geographic, Reel House, and many, many more.**
|
| **[Rick Thomas](https://www.youtube.com/channel/UCt2UipISexd0yg9VoNrxDhQ)**
| **Rick Thomas is a specialist in dubbing Sony AV-5000 and AV-5000A tapes. He has several decks and claims hundreds of hours of dubs for satisfied customers. Drop him a line! Here's a picture of one of his completed customised [[AV-5000's](RT_AV-5000A_003.jpg)].**
|
---
**Video Equipment Repair Resources:**
**[DRS Ahead Technologies:](http://www.aheadtek.com/index.html) - Supplying Magnetic Head Solutions Around the Globe. AheadTek is committed to strengthening its reputation as the preferred supplier of specialty magnetic heads fulfilling the needs of thousands of customers worldwide in the television broadcast, video production, computer and data storage industries. (This company is able to offer rebuild services for many types of video tape heads and head assemblies. Note that three is no guarantee they can help you with parts that are TOO old. But, they do rebuild quadruplex head assemblies, Type C and miniDV heads for certain. It can never hurt to ask.)**
**[Terry's Rubber Rollers & Wheels:](http://www.srdpc.com/witt/) - Do you have a Reel to Reel tape recorder sitting in the back of a closet, or stashed away, because the pinch roller or idler wheel is dried out, hard, cracked or ruined from improper chemical cleaning? This IS the solution!**
---
**Vintage Video Equipment and Program Collections and Services:**
**[Melbourne Video Productions](http://www.melbournevideoproduction.com.au/video-terms/) - "Web video that works!" We love video and can't wait to share our passion with you and your business. This link takes you to their sub page of Video Terms and Definitions. [Melbourne Video Productions Home Page](http://www.melbournevideoproduction.com.au/)**
**[Rewind Museum](http://www.rewindmuseum.com/) - A museum of vintage consumer electronics and milestone achievements. A site primarily about consumer electronics and in particular first achievements and so it has a somewhat wider topical range than video and TV.**
**[Quadruplex Park](http://www.lionlamb.us/quadpark.html) - "*Where the Broadcast Dinosaurs Live!*" Tim Stoffel documents the Quadruplex VTR's that were manufactured by Ampex and RCA. He also has the most information available about obsolete video tape formats.**
**[Chuck Pharis Video](http://www.pharis-video.com/p21.htm) - Absolutely the best collection of vintage television production equipment on the web! A massive site. Be prepared to spend some time browsing!**
**[Mikey's Home Page](http://www.oldtechnology.net/) - Michael Bennet's page of European consumer VCR's and 405 line TV stuff. A nicely designed and highly whimsical home page to boot!**
**[Total Rewind Virtual Museum](http://www.totalrewind.org) - of Home Video! Documents the arrival of the home VCR in Britain.**
**[Passions Incongrues](http://www.passions-incongrues.com) - This is the latest site to join the growing legions of collectors of things that make video! Authored by my good friend, Bruno Merlier! Check out his latest acquisition, a super rare Sony CV-5100P PAL VTR! Fully operational too!!!**
**[Vintage Sound & Vision](http://users.pandora.be/frank.ttt/) - A new video equipment collector's site by Frank T. A very nice collection of European gear.**
**[BBC VT - A Record](http://www.vtoldboys.com/) - A visual history of video tape operations at the BBC. A wonderful site operated by Chris Booth.**
**[Cartrivision:
A unique way of looking at things](http://www.angelfire.com/alt/cartrivision/index.html) - A web page by my friend, Luke Perry.**
**[High Tech Hobbies and Collectible Electronics](http://www.toirm.com/) - Another video collector, Bruce Rogers, struts his stuff for your amazement! This is a work in progress, so be sure to check back frequently. Let Bruce know that you found his page through LabGuy's World Links and that we can't wait for his next update!**
**[Kee's Computer Home: Studio 2:](http://home.iae.nl/users/pb0aia/cm/studio2.html) - Kee has many nice old tape recorders. An Elcassette deck, an 8track recorder and many VTRs and VCRs!**
**[Phantom Productions](http://www.phantomprod.com/) - By Chris and Martin Theopholis. This site has a great vintage recorder section including the Roberts 1000.**
**[De Historie Van De Video!](http://www.videoinfo.nl/) - (in Dutch) Great web site with a couple of things that even LabGuy didn't know about! Great job, Martijn!**
**[Hier leben die mumien!](http://www.kgc.de/mumien.html) - Videoformate längst vergangener Jahre haben bei uns eine Heimat gefunden. In German. (Obviously!) Klaus G. Carsten's tribute page to extinct VTR's, which translates to, "The mummies live here!". Good coverage of the topic plus a few good pictures.**
**[Electronics Repair Links](http://www.epanorama.net/links/repair.html) - Just the resource for those of you who are attempting to repair your collectable artifacts!**
**[The
Video History Project](http://www.experimentaltvcenter.org/history/index.html) - The Experimental Television Centers Video History Project is an on-going research initiative which documents video art and community television, as it evolved in rural and urban New York State, and across the US. Begun in 1994, the Project has several initiatives including research, conferences and the web site.**
**[Privates Loewe-Opta Radiomuseum](http://www.radiomuseum-bocket.de/) - A German site devoted to the products of Loewe-Opta (Lion Optical), a large manufacture of radios and televisions which I also feature in my video catalog. Tell Hans, "LabGuy sent me"!**
**[Radiolaguy](http://www.radiolaguy.com/) - This site is dedicated to providing a service to those interested in the preservation and collecting of vintage Radios, Television and related items. He also has a very nice vintage radio museum.**
**[The Restelli Collection](http://members.tripod.com/~FrameMaster/index.html); - The Early History of Television Through Visual Images! The Personal Photographs of Television Pioneer, Dr. Vladimir Kosma Zworykin and More!**
**[The Original Electronic Imaging System](http://www.epi-centre.com/reports/9510acs.html) - Forty years of British Independent television celebrated in Amsterdam. By John Henshall**
**[The PAL Site](http://www.palsite.com/) - The home of the PAL video system by Alan Barnett and Martin Evans. Covering the history of Betamax, V2000 and Umatic formats.**
**[Dave's Vintage Televisions](http://bertinot.com/tv/) - Dave Bertinot's excellent collection of vintage television receivers.**
---
**Memorial sites:**
**[Joseph Roizen:](http://www.roizen.com/ron/joe_roizen.htm) - Here is a memorial to a man I never met, only knew by rumor, but whom I have come to respect for his contributions to video state of the art at both Ampex and IVC.**
---
**Vacuum Tube Links:**
**[Vacuum Tube Collectors Association:](http://www.tubecollectors.org/) - The center of the universe as far as this hobby is concerned. If you collect "vacuum tubes", "glow bottles", or other "nothing state devices", then this is the organization for you!**
**[Sphere Research:](http://www.sphere.bc.ca/test/tubes.html) - Welcome To The Sphere Research Canadian Test Equipment Site! Vacuum tubes, vacuum tube links and useful information.**
---
**Discussion Groups:**
**[Groups dot eye oh: Old VTR's](https://groups.io/g/OldVTRS) - This group was created (12/2000) and moderated by Matt Patoray as a result of Labguy's World site, which was only a few megabytes in size at the time! Join us and let's all talk about those old rotary head boat anchors that we all love (hate?) so much. We can share all the information, documentation and web sites that we know about too.**
---
**Television, Radio & Recording History Web Sites:**
**[Terramedia U.K.](http://www.terramedia.co.uk/) - An excellent site covering the historical time line of audio/visual media history by David Fisher.**
**[Broadcast
Archive - RCA Equipment Section](http://www.oldradio.com/archives/hardware/TV/RCA-TV.htm) - An incredible archive of RCA video cameras and recorders. A must visit for the serious researcher!**
**[King of the Road!](http://www.kingoftheroad.net/) - Kris Trexler is an auto enthusiast with an intense passion for the road. His interests range from chrome laden 50's cruisers to the latest high technology transportation of the 21st Century. Cruise on down the highway to learn more about these wonderful machines as well as learn about early color TV broadcasting in the 1950's and 60's! (Kris is the
editor of my favorite TV show! ~L.G.)**
**[RCA
Color Television Cameras](http://www.kingoftheroad.net/colorTV/TVcams-in-action.html) - A new page added to the previously
mentioned site. Check this out, it is FANTASTIC!!!**
**[Pavek Museum of Broadcasting](http://www.pavekmuseum.org/) - houses one of the world's finest collections of antique radio, television, and broadcast equipment. The Pavek has gained international recognition for its continuing efforts in preserving and documenting the history of an industry that has made monumental changes in the fabric of modern life.**
---
**Video Disk History Sites:**
**[The Dawn of TV](http://www.tvdawn.com/index.htm) - The oldest video recordings recovered! Learn about the amazing restoration of several old, recently discovered Baird Phonovision Records, that had been lost for 80 years!**
**[CED Magic](http://www.cedmagic.com/selectavision.html) - The story of the RCA Capacitive Video Disk. AKA: The RCA SelectaVision Video Disc System. This
system worked with a mechanical stylus that was actually in physical contact
with a recording disk, just like the audio phonograph!**
---
**Educational Resources:**
**[Television Production Course!](http://cybercollege.com/tvp_ind.htm) - By Ron Whittaker, Ph.D. "A Comprehensive Cybertext" Covering Studio and field production.**
---
**Television and Recording Related Orginizations:**
**[AES](http://www.aes.org/) - The Audio Engineering Society, now in its fifth decade, is the only professional society devoted exclusively to audio technology.**
**[ANSI](http://www.ansi.org) - The American National Standards Institute (ANSI) has served in its capacity as administrator and coordinator of the United States private sector voluntary standardization system for more than 80 years.**
**[ATSC](http://www.atsc.org/) - The Advanced Television Systems Committee (ATSC) is an international organization of 200 members that is establishing voluntary technical standards for advanced television systems.**
**[Guild of Television Camera Men](http://www.gtc.org.uk) - The Guild of Television Cameramen (GTC) is a professional body whose object is to ensure and preserve the professional status of the Television Cameraman and to establish, uphold and advance the standards of qualification and competence of the Television Cameraman.**
**[IEC](http://www.iec.ch/) - The International Electromechanical Commission is the international standards and conformity assessment body for all fields of electrotechnology.**
**[IEEE](http://www.ieee.org/) - Technical objectives center on advancing the theory and practice of electrical, electronics, and computer engineering and science.**
**[ISO](http://www.iso.ch/) - International Standards Organization - Standards are documented agreements containing technical specifications or other precise criteria to be used consistently as rules, guidelines, or definitions of characteristics, to ensure that materials, products, processes and services are fit for their purpose.**
**[ITS](http://itsnet.org/) - The Association of Imaging Technology and Sound.**
**[NAB](http://www.nab.org/) - The National Association of Broadcasters. They have the BEST convention in Las Vegas each year (usually) in April.**
**[NABA](http://www.nabanet.com) - North American Broadcasters Association.**
**[SBE](http://www.sbe.org/) - Society of Broadcast Engineers.**
**[SMPTE](http://www.smpte.org/) - The Society of Motion Picture and Television Engineers. LabGuy is a member. Why aren't you?**
---
**"Strictly Commercial" Video Sites:**
**[Battery Mart](http://www.batterymart.com/) - A source of replacement batteries for all things electric. Especially old portapacks!**
**[Ampex Home Page](http://www.ampex.com/) - Ampex is a leading supplier of high-capacity, high performance digital storage systems capable of functioning in demanding environments on land, at sea or in the air. In addition to offering a line of state-of-the-art products, Ampex works closely with its customers to provide solutions to complex data capture requirements that may involve major modifications to an existing product or development of an entirely new product or technology.**
**[Prime Image, Inc.](http://www.primeimageinc.com/) - The industry leader in video time management. Prime Image originally manufactured TBCs and Frame Synchronizers.**
**[Harry Poster Vintage TVs and Antique Radios](http://www.harryposter.com/) - We Buy, Sell and Prop 20th Century Industrial and Machine Age Electronics. For the Collector, Museum, Prop and Set Designer. Plus Stereoscopic 3D Cameras and Accessories.**
**[Anifur.com](http://www.digitalvideo.com/) - Dedicated to restoring old Tektronix Computers and Displays.**
---
**All kinds of Technology Information sites:**
**[The Blue Screen / Chroma Key Page](http://www.seanet.com/~bradford/blue_green_screen_visual_effects_1.html) - There had to be one. Here it is!**
**[NTSC Video Signal Basics](http://www.seanet.com/Users/bradford/ntscvideo.html) - You gotta know your tools before you really know what you're doing.**
**[How A VCR Works](http://www.howstuffworks.com/vcr.htm) - The inner workings of the VCR, as presented by Marshall Brain, who has one of the most interesting sites on the Web. This page really gets into taking a VHS VCR to pieces and examining exactly how it works.**
**[How Stuff Works](http://www.howstuffworks.com/index.htm) - is a great place to come to learn about how things work in the world around you. The source page of the previous link.**
---
**Amateur Radio, SSTV, ATV & Hobby Links:**
**[W6SVA ATV repeater, San Jose, CA.](http://www.k6ben.com/K6BEN_ATV/Home.html) - ATV for the San Jose, south San Francisco bay area. Located atop Mt. Loma Prieta at 3800+ feet, it covers the entire region from San Francisco in the north to Montery and Santa Cruz. (This repeater experienced a call sign change in January 2020. Formerly know as K6BEN.)**
---
**[[HOME](index.html)]**
---
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<title>George Bush Jr: Fired from Anti-Christ Position</title>
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<h1 align="center"><img src="images/redbush.jpg" width="191" height="215"> Is
George W. Bush the Anti-Christ? <img src="images/redbush.jpg" width="191" height="215"></h1>
<p>George W. Bush: president of the United States, commander in chief of the most
lethal military force on the globe, born-again Christian, scourge of the sane
and
Anti-christ? Four years ago, the notion that George Bush jr. might be the spawn
of Satan could have been easily dismissed out of hand by most rational Christians,
even though his record as Governor of Texas illustrates a proclivity towards
"evil", or at least, very un-christian-like behavior. But given the amount and
degree of Satanesque actions Bush has instigated in the last four years, even
the non-religious have to think twice before dismissing the theory. </p>
<p>The theory itself is discussed in a multitude of sources: <a href="http://www.m-w.com/cgi-bin/dictionary?va=premillennialists" target="_blank">premillennialists</a>
who are always declaring someone in power to be the Anti-christ, but are sure
they have the right person this time; premillennialists who believe in the Anti-christ
but do not think it is Bush; regular Christians who don't believe in premillennialism
but are concerned with the nature of Bush's actions; and satirists who use the
language of premillennialists to not only poke fun at the them, but to point
out the reality of Bush's "evil" side. In fact, it is often these satirical
sources that provide some of the most complete information and evidence for
the argument that G.W. is the Anti-christ, or at least an incompetent son-of-a-bitch.
Furthermore, while scanning the various articles from all the groups above,
I encountered instances where the "true believers" mimicked the satirical sources,
almost as if they couldn't tell that these sites were a joke, and even going
so far as to cross-link their sites. This is why I will present the argument
based on the best satire site I found, because the same points are to be found
on the premillennialists sites, but with a much poorer presentation.</p>
<p> The web site titled "George W Bush is the Antichrist" (<a href="http://www.geocities.com/%20" target="_blank">http://www.geocities.com/
trebor_92627/Bush.htm</a>) provides a complete presentation of the theory that
Bush is the son of Satan. The first point of argument is the attempt to associate
Bush with the iconoclastic number 666. This attempt at numerological wizardry
is where all of the various hermeneutics are at their weakest (see also: <a href="http://www.konformist.com/%20" target="_blank">http://www.konformist.com/
2000/bushjr666.htm</a>). Apparently it must be attempted, because everyone knows
the true Anti-christ has to be associated with the sign of the Beast, 666, so
that the shoe must be made to fit, by any means necessary. The next and perhaps
most universal point in the theory is the interpolation of the biblical prophesies
noted in the books of Daniel and Revelation. Once again, these descriptions
(similar in all the sites) make for fascinating reading in the way the coincidences
and points of collusion all fit together nicely to form a coherent narrative.
However, as Mark Fenster describes in his book <i>Conspiracy Theories</i>, this
form of eschatology formulates its conclusion first and then recreates the evidence
to fulfill it in a process that is continual and repeating (158). Thus, one
can imagine that once Bush fails to fulfill his role as bringer of the Apocalypse,
an interpretation based on a new Anti-christ will materialize easily out of
the premillennialists grist mill.</p>
<p> A third and similar aspect of this theory is the interpretation of the prophesies
of Nostradamus regarding the end of the world (see also: <a href="http://www.100megsfree4.com/%20" target="_blank">http://www.100megsfree4.com/
farshores/jd0924.htm</a>). This process of interpretation is similar to the
one above and just as problematic for its narrative form. Both attempts to extrapolate
meaning from historical texts in order to prove their relevance to present reality
("reading the signs") take on the appearance of a psychic or tarot card reading.
In other words, the narrative is made relevant by picking and choosing which
parts of both the prophetic text and present reality to include in the interpretation.
Hence, one can easily find texts from the late eighties and early nineties declaring
George Bush Sr. to be the Anti-christ, and later, shunting Bill Clinton into
place at the head of the table of the "New World Order". </p>
<p>The most common and well-documented piece of evidence concerns both Bushes'
membership in Yale's clandestine organization, the Skull and Bones Society,
and in a related manner, Prescott Bush's financial ties to the Nazi party before
and during WWII. Even if the accusation is not taken as far as Bush is the Anti-christ,
this evidence is used to show that George Bush Jr. is a Satanist, or at least
connected to a money-mongering "evil" family (see also: <a href="http://www.cuttingedge.org/news/n1314.cfm" target="_blank">http://www.cuttingedge.org/news/n1314.cfm</a>
, <a href="http://www.tarpley.net/bush2.htm" target="_blank">http://www.tarpley.net/bush2.htm</a>
, <a href="http://www.clydelewis.com/dis/societal/societal.html" target="_blank">http://www.clydelewis.com/dis/societal/societal.html</a>).
Both of these points are fairly well documented (CBS's 60 Minutes aired a special
on Skull and Bones October 6th) but it is usually the premillenialists who infer
that associations like these prove that Bush is the Anti-christ. Until Bush
bares his fangs and starts shooting brimstone out of his eyes, this assumption
cannot be proven, however, the evidence does prove two points: one, that Bush
and many other persons in positions of power hold allegiance to a "secret" fraternity
that potentially uses participation in its own rites as forms of blackmail,
and two, that the Bush family has a history of making a profit off of war, regardless
of the human consequences.</p>
<p> I have chosen this particular conspiracy theory because it fulfills the criteria
of the assignment: "it is quite plausible", but while I do not think it is correct,
it nevertheless points out specific truths about George W. Bush and our government.
Being at least agnostic, and most likely atheist, I do not believe in the Anti-christ.
However, given the nature of George W. Bush's nefarious behavior over the past
few years (see<a href="http://www.wage-slave.org/scorecard.html" target="_blank">
http://www.wage-slave.org/scorecard.html</a> for an "evil index"), I am willing
to hear the various explanations for his motives. Has George Bush's agenda been
hijacked by war mongerers and the proponents of the Project for the New American
Century, or by Satan. Well, what's the difference? Can it be the case that he
and others think they are actually bettering the world by systematically destroying
part of it? Maybe so. One thing the Anti-christ conspiracy does point out is
that for whatever reason, something has gone severely wrong in George Bush's
White House. Some may say it is evil. I would say it is evil only in a non-supernatural
way. It is low level, base, and human evil, based on a simplistic human nature's
co-tendency toward greed, laziness and power-control. One of my cohorts claims
that a 9/11 conspiracy is impossible because they "believe in human nature more
than that." First off, human nature needs qualifications; it is not inherently
or exclusively "good" or "bad". And second, given all that we have uncovered
as a class and as a society concerning the misdeeds of those in power, how are
we to understand this "badness" if we do not view it as being unmistakably human?
Interpreting George Bush as the Anti-christ and all his works as pre-ordained
acts of evil biblical prophesy fulfilled is disempowering. It is a point that
relates to both of Fenster's discussions of Christian millennialism and conspiracy
theory as play. Concerning the former he states: The apocalyptic biblical prophecies,
particularly as they are interpreted and articulated within popular eschatology,
provide a violent, fantastic vision of supernatural warfare that allows for
little human agency beyond the individual choice of committing one's life to
Christ. (171) And regarding conspiracy theory as play, "It may be a source of
populist pleasure, but conspiracy theory of this sort also substitutes fears
of all-powerful conspiratorial groups for political activism and hope." And
it is this "political engagement" that "has been abandoned as a site of endemic
disappointment, an impossible instrument to work individually or collectively
on the world" (219). Therefore, the downsides of both forms of conspiracy dealing
with in this particular anti-christ theory are the potential for disempowerment
and political disengagement. For the Christian premillenialists, they are able
to stick their political heads in the collective sand while simultaneously thinking
that they are meaningfully participating in society by continually "reading
the signs" of current events. And for the people engaged in conspiratorial play,
the obvious pitfall lies in using humor not just as a coping mechanism that
might lead to liberation from fear, but one that becomes bogged down in ineffectual
cynicism. As Fenster points out, it is "a cynical abandonment of profound political
realities that merely reaffirms the dominant political order" (219).</p>
<p> Both of these outcomes are unacceptable, and only serve to empower the object
of their disdain by creating political apathy. George Bush is not the Anti-christ.
For one, he is too stupid. If one is to follow the prophecy, the Anti-christ
will be intelligent, charming and able to win the hearts and minds of the people
worldwide. Clearly, if he is the Anti-christ, then he is failing to adequately
fulfill the role he has been given by his Father. He is more like the Anti-christ's
"special" brother, who, tired of being kept away in the attic, escapes and attempts
to prove to the world (and his Father) that he really can be the Anti-christ,
if only they had given him the chance. Perhaps that is even more dangerous than
a true Anti-christ, a third-string anti-christ with something to prove. Regardless
of George W. Bush's anti-divine status and mental capabilities, he must not
be underestimated. His "evil" must be kept out of the range of the supernatural,
precisely because he and all his "handlers" or cronies (depending on how you
want to look at it) are merely humans, and their corruption and conspiratorial
war and money mongering can be exposed as just that, human fallacy. To think
otherwise is to place the Monkey King on a pedestal he doesn't deserve, a pedestal
beyond the reach of the people he is supposed to represent. </p>
<p> </p>
<h2 align="center"><a href="JFK.html">JFK Conspiracy</a><br>
or<br>
<a href="index.html">HOME</a> </h2>
<h2 align="center"> </h2>
<h6 align="center"><font face="Verdana, Arial, Helvetica, sans-serif">© 2003
Jacob Lunow. All rights revered, all wrongs <br>
reversed. Prohibited where void.Certain restrictions <br>
may apply. Use as directed by physician. May cause <br>
headaches, diarrhea, nausea. TX, NJ, CT, Puerto Rico<br>
& Guam may not be eligible to participate. May contain<br>
partially hydrogenated vegetable oil and/or lard.</font></h6>
</body>
</html>
|
George Bush Jr: Fired from Anti-Christ Position
# Is
George W. Bush the Anti-Christ?
George W. Bush: president of the United States, commander in chief of the most
lethal military force on the globe, born-again Christian, scourge of the sane
and
Anti-christ? Four years ago, the notion that George Bush jr. might be the spawn
of Satan could have been easily dismissed out of hand by most rational Christians,
even though his record as Governor of Texas illustrates a proclivity towards
"evil", or at least, very un-christian-like behavior. But given the amount and
degree of Satanesque actions Bush has instigated in the last four years, even
the non-religious have to think twice before dismissing the theory.
The theory itself is discussed in a multitude of sources: [premillennialists](http://www.m-w.com/cgi-bin/dictionary?va=premillennialists)
who are always declaring someone in power to be the Anti-christ, but are sure
they have the right person this time; premillennialists who believe in the Anti-christ
but do not think it is Bush; regular Christians who don't believe in premillennialism
but are concerned with the nature of Bush's actions; and satirists who use the
language of premillennialists to not only poke fun at the them, but to point
out the reality of Bush's "evil" side. In fact, it is often these satirical
sources that provide some of the most complete information and evidence for
the argument that G.W. is the Anti-christ, or at least an incompetent son-of-a-bitch.
Furthermore, while scanning the various articles from all the groups above,
I encountered instances where the "true believers" mimicked the satirical sources,
almost as if they couldn't tell that these sites were a joke, and even going
so far as to cross-link their sites. This is why I will present the argument
based on the best satire site I found, because the same points are to be found
on the premillennialists sites, but with a much poorer presentation.
The web site titled "George W Bush is the Antichrist" ([http://www.geocities.com/
trebor\_92627/Bush.htm](http://www.geocities.com/%20)) provides a complete presentation of the theory that
Bush is the son of Satan. The first point of argument is the attempt to associate
Bush with the iconoclastic number 666. This attempt at numerological wizardry
is where all of the various hermeneutics are at their weakest (see also: [http://www.konformist.com/
2000/bushjr666.htm](http://www.konformist.com/%20)). Apparently it must be attempted, because everyone knows
the true Anti-christ has to be associated with the sign of the Beast, 666, so
that the shoe must be made to fit, by any means necessary. The next and perhaps
most universal point in the theory is the interpolation of the biblical prophesies
noted in the books of Daniel and Revelation. Once again, these descriptions
(similar in all the sites) make for fascinating reading in the way the coincidences
and points of collusion all fit together nicely to form a coherent narrative.
However, as Mark Fenster describes in his book *Conspiracy Theories*, this
form of eschatology formulates its conclusion first and then recreates the evidence
to fulfill it in a process that is continual and repeating (158). Thus, one
can imagine that once Bush fails to fulfill his role as bringer of the Apocalypse,
an interpretation based on a new Anti-christ will materialize easily out of
the premillennialists grist mill.
A third and similar aspect of this theory is the interpretation of the prophesies
of Nostradamus regarding the end of the world (see also: [http://www.100megsfree4.com/
farshores/jd0924.htm](http://www.100megsfree4.com/%20)). This process of interpretation is similar to the
one above and just as problematic for its narrative form. Both attempts to extrapolate
meaning from historical texts in order to prove their relevance to present reality
("reading the signs") take on the appearance of a psychic or tarot card reading.
In other words, the narrative is made relevant by picking and choosing which
parts of both the prophetic text and present reality to include in the interpretation.
Hence, one can easily find texts from the late eighties and early nineties declaring
George Bush Sr. to be the Anti-christ, and later, shunting Bill Clinton into
place at the head of the table of the "New World Order".
The most common and well-documented piece of evidence concerns both Bushes'
membership in Yale's clandestine organization, the Skull and Bones Society,
and in a related manner, Prescott Bush's financial ties to the Nazi party before
and during WWII. Even if the accusation is not taken as far as Bush is the Anti-christ,
this evidence is used to show that George Bush Jr. is a Satanist, or at least
connected to a money-mongering "evil" family (see also: <http://www.cuttingedge.org/news/n1314.cfm>
, <http://www.tarpley.net/bush2.htm>
, <http://www.clydelewis.com/dis/societal/societal.html>).
Both of these points are fairly well documented (CBS's 60 Minutes aired a special
on Skull and Bones October 6th) but it is usually the premillenialists who infer
that associations like these prove that Bush is the Anti-christ. Until Bush
bares his fangs and starts shooting brimstone out of his eyes, this assumption
cannot be proven, however, the evidence does prove two points: one, that Bush
and many other persons in positions of power hold allegiance to a "secret" fraternity
that potentially uses participation in its own rites as forms of blackmail,
and two, that the Bush family has a history of making a profit off of war, regardless
of the human consequences.
I have chosen this particular conspiracy theory because it fulfills the criteria
of the assignment: "it is quite plausible", but while I do not think it is correct,
it nevertheless points out specific truths about George W. Bush and our government.
Being at least agnostic, and most likely atheist, I do not believe in the Anti-christ.
However, given the nature of George W. Bush's nefarious behavior over the past
few years (see<http://www.wage-slave.org/scorecard.html> for an "evil index"), I am willing
to hear the various explanations for his motives. Has George Bush's agenda been
hijacked by war mongerers and the proponents of the Project for the New American
Century, or by Satan. Well, what's the difference? Can it be the case that he
and others think they are actually bettering the world by systematically destroying
part of it? Maybe so. One thing the Anti-christ conspiracy does point out is
that for whatever reason, something has gone severely wrong in George Bush's
White House. Some may say it is evil. I would say it is evil only in a non-supernatural
way. It is low level, base, and human evil, based on a simplistic human nature's
co-tendency toward greed, laziness and power-control. One of my cohorts claims
that a 9/11 conspiracy is impossible because they "believe in human nature more
than that." First off, human nature needs qualifications; it is not inherently
or exclusively "good" or "bad". And second, given all that we have uncovered
as a class and as a society concerning the misdeeds of those in power, how are
we to understand this "badness" if we do not view it as being unmistakably human?
Interpreting George Bush as the Anti-christ and all his works as pre-ordained
acts of evil biblical prophesy fulfilled is disempowering. It is a point that
relates to both of Fenster's discussions of Christian millennialism and conspiracy
theory as play. Concerning the former he states: The apocalyptic biblical prophecies,
particularly as they are interpreted and articulated within popular eschatology,
provide a violent, fantastic vision of supernatural warfare that allows for
little human agency beyond the individual choice of committing one's life to
Christ. (171) And regarding conspiracy theory as play, "It may be a source of
populist pleasure, but conspiracy theory of this sort also substitutes fears
of all-powerful conspiratorial groups for political activism and hope." And
it is this "political engagement" that "has been abandoned as a site of endemic
disappointment, an impossible instrument to work individually or collectively
on the world" (219). Therefore, the downsides of both forms of conspiracy dealing
with in this particular anti-christ theory are the potential for disempowerment
and political disengagement. For the Christian premillenialists, they are able
to stick their political heads in the collective sand while simultaneously thinking
that they are meaningfully participating in society by continually "reading
the signs" of current events. And for the people engaged in conspiratorial play,
the obvious pitfall lies in using humor not just as a coping mechanism that
might lead to liberation from fear, but one that becomes bogged down in ineffectual
cynicism. As Fenster points out, it is "a cynical abandonment of profound political
realities that merely reaffirms the dominant political order" (219).
Both of these outcomes are unacceptable, and only serve to empower the object
of their disdain by creating political apathy. George Bush is not the Anti-christ.
For one, he is too stupid. If one is to follow the prophecy, the Anti-christ
will be intelligent, charming and able to win the hearts and minds of the people
worldwide. Clearly, if he is the Anti-christ, then he is failing to adequately
fulfill the role he has been given by his Father. He is more like the Anti-christ's
"special" brother, who, tired of being kept away in the attic, escapes and attempts
to prove to the world (and his Father) that he really can be the Anti-christ,
if only they had given him the chance. Perhaps that is even more dangerous than
a true Anti-christ, a third-string anti-christ with something to prove. Regardless
of George W. Bush's anti-divine status and mental capabilities, he must not
be underestimated. His "evil" must be kept out of the range of the supernatural,
precisely because he and all his "handlers" or cronies (depending on how you
want to look at it) are merely humans, and their corruption and conspiratorial
war and money mongering can be exposed as just that, human fallacy. To think
otherwise is to place the Monkey King on a pedestal he doesn't deserve, a pedestal
beyond the reach of the people he is supposed to represent.
## [JFK Conspiracy](JFK.html)
or
[HOME](index.html)
##
###### © 2003
Jacob Lunow. All rights revered, all wrongs
reversed. Prohibited where void.Certain restrictions
may apply. Use as directed by physician. May cause
headaches, diarrhea, nausea. TX, NJ, CT, Puerto Rico
& Guam may not be eligible to participate. May contain
partially hydrogenated vegetable oil and/or lard.
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Since we're not getting paid for this by anyone -- not the Peacekeepers, not the IASA, not the Luxans or the Delvians or<br>
even the Committee to Free Rygel XVI (also not SciFi Channel, the Jim Henson Co., Hallmark Entertainment, the actors or<br>
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| --- | --- | --- | --- | --- | --- | --- |
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**
customers have been taken by TGUT since May 5, 1999.**
[Sign Our
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Comments](http://books.dreambook.com/perridox/tgut.html)
[Courtesy of Dreambook](http://www.dreambook.com)
Since we're not getting paid for this by anyone -- not the Peacekeepers, not the IASA, not the Luxans or the Delvians or
even the Committee to Free Rygel XVI (also not SciFi Channel, the Jim Henson Co., Hallmark Entertainment, the actors or
anyone else associated with FARSCAPE), we're refusing to actually put much serious effort into it. If you have a problem
with that, fill out the little index card on the front desk. And we'll feed it to the DRD's.
**-- Kiki and Perri**
| | | |
| --- | --- | --- |
| [Previous Farscape Site](http://www.ringsurf.com/netring?ring=farscape;25;action=prev) | This
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Last updated March 29, 2004.
| [Next Farscape Site](http://www.ringsurf.com/netring?ring=farscape;25;action=next) |
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<pre><span aria-hidden="true" class="grime">.....@@@..</span> <span aria-hidden="true" class="grime">....@.....</span>
<span aria-hidden="true" class="grime">@@@@..@...</span> <span aria-hidden="true" class="grime">@@@...@@@@</span>
<span aria-hidden="true" class="grime">@@@.....@@</span> <span aria-hidden="true" class="grime">@@..@..@@@</span>
<span aria-hidden="true" class="grime">@@..@@@..@</span> <span aria-hidden="true" class="grime">........@@</span>
<span aria-hidden="true" class="grime">@....@....</span> <span aria-hidden="true" class="grime">@@@@@@@..@</span>
<span aria-hidden="true" class="grime">..@@...@@@</span> <span aria-hidden="true" class="grime">--^^--</span> <span aria-hidden="true" class="grime">.@@@@@....</span>
<span aria-hidden="true" class="grime">@....@..@@</span> <span aria-hidden="true" class="grime">...</span> <a href="sleep/" >Sleep</a> <span aria-hidden="true" class="grime">...</span> <span aria-hidden="true" class="grime">..@@@..@@@</span>
<span aria-hidden="true" class="grime">..@@......</span> <span aria-hidden="true" class="grime">,,--,,</span> <span aria-hidden="true" class="grime">@..@....@@</span>
<span aria-hidden="true" class="grime">.....@@@@@</span> <span aria-hidden="true" class="grime">.....@@...</span>
<span aria-hidden="true" class="grime">@@@@..@@@@</span> <a href="sleep/" >Sleep</a> Is The Most Important <a href="meal/" >Meal</a> Of The <span aria-hidden="true" class="grime">.@@@....@@</span>
<span aria-hidden="true" class="grime">@@@....@@@</span> <a href="day/" >Day</a>. <a href="sleep/" >Sleep</a> Is Saying Goodbye For A <span aria-hidden="true" class="grime">..@..@@..@</span>
<span aria-hidden="true" class="grime">@@..@@..@@</span> While. If You Can <a href="dream/" class="link">Dream</a>, You Also Get <span aria-hidden="true" class="grime">..........</span>
<span aria-hidden="true" class="grime">.........@</span> To Visit <a href="friends/" >Friends</a> And Other <a href="animals/" >Animals</a>. <span aria-hidden="true" class="grime">@@@@@@@@@.</span>
<span aria-hidden="true" class="grime">@@@@@@@@..</span> <span aria-hidden="true" class="grime">.@@@@@@@..</span>
<span aria-hidden="true" class="grime">.@@@@@@...</span> <span aria-hidden="true" class="grime">..,,..</span> <span aria-hidden="true" class="grime">..@@@@@...</span>
<span aria-hidden="true" class="grime">..@@@@..@@</span> <span aria-hidden="true" class="grime">...@@@..@@</span>
<span aria-hidden="true" class="grime">...@@....@</span> <a href="deeper/" class="link">Deeper</a> Than <a href="death/" >Death</a> Is To Be <a href="alive/" >Alive</a> And <span aria-hidden="true" class="grime">@@..@.....</span>
<span aria-hidden="true" class="grime">@@....@@..</span> <a href="asleep/" >Asleep</a>. It Is <a href="death/" >Death</a> If It Was Temporary <span aria-hidden="true" class="grime">@.....@@@@</span>
<span aria-hidden="true" class="grime">@..@@.....</span> And Rejuvenating. <span aria-hidden="true" class="grime">..@@@..@@@</span>
<span aria-hidden="true" class="grime">......@@@@</span> <span aria-hidden="true" class="grime">...@....@@</span>
<span aria-hidden="true" class="grime">.@@@@..@@@</span> <span aria-hidden="true" class="grime">..,,..</span> <span aria-hidden="true" class="grime">@@...@@...</span>
<span aria-hidden="true" class="grime">..@@....@@</span> <span aria-hidden="true" class="grime">@..@....@@</span>
<span aria-hidden="true" class="grime">.....@@...</span> <a href="sleep/" >Sleep</a> Is A <a href="black/" >Black</a> <a href="marble/" class="link">Marble</a> <a href="outside/" class="link">Outside</a> Of <span aria-hidden="true" class="grime">.....@@...</span>
<span aria-hidden="true" class="grime">@@@@....@@</span> Which There Is <a href="nothing/" class="link">Nothing</a>. <a href="inside/" >Inside</a> Is All <span aria-hidden="true" class="grime">.@@@....@@</span>
<span aria-hidden="true" class="grime">@@@..@@...</span> The <a href="stars/" >Stars</a> And In The Middle A <span aria-hidden="true" class="grime">..@..@@..@</span>
<span aria-hidden="true" class="grime">@@......@@</span> Black lake. At The Foot Of This <a href="lake/" >Lake</a> <span aria-hidden="true" class="grime">@.........</span>
<span aria-hidden="true" class="grime">...@@@@...</span> Stands An <a href="old/" >Old</a> <a href="friend/" >Friend</a>. <span aria-hidden="true" class="grime">..@@@@@@@.</span>
<span aria-hidden="true" class="grime">@@..@@..@@</span> <span aria-hidden="true" class="grime">...@@@@@..</span>
<span aria-hidden="true" class="grime">.........@</span> <span aria-hidden="true" class="grime">..,,..</span> <span aria-hidden="true" class="grime">@@..@@@...</span>
<span aria-hidden="true" class="grime">@@@@@@@@..</span> <span aria-hidden="true" class="grime">.....@..@@</span>
<span aria-hidden="true" class="grime">@@@@@@@...</span> When You <a href="sleep/" >Sleep</a> All <a href="sound/" >Sound</a> Is <a href="internal/" >Internal</a>. <span aria-hidden="true" class="grime">@@@@.....@</span>
<span aria-hidden="true" class="grime">@@@@@@..@@</span> When You <a href="sleep/" >Sleep</a> Your Brain Shrinks. <span aria-hidden="true" class="grime">.@@..@@@..</span>
<span aria-hidden="true" class="grime">.@@@@....@</span> <span aria-hidden="true" class="grime">......@...</span>
<span aria-hidden="true" class="grime">..@@..@@..</span> <span aria-hidden="true" class="grime">..,,..</span> <span aria-hidden="true" class="grime">.@@@@...@@</span>
<span aria-hidden="true" class="grime">.........@</span> <span aria-hidden="true" class="grime">..@@..@...</span>
<span aria-hidden="true" class="grime">@@@@@@@@..</span> If You Wish To Measure <a href="sleep/" >Sleep</a>, Use These <span aria-hidden="true" class="grime">........@@</span>
<span aria-hidden="true" class="grime">@@@@@@@..@</span> Four Quantifiers:: Grip, Deepness, <span aria-hidden="true" class="grime">@@@@@@@..@</span>
<span aria-hidden="true" class="grime">@@@@@@....</span> Otherworldiness And Revitalization. <span aria-hidden="true" class="grime">.@@@@@....</span>
<span aria-hidden="true" class="grime">.@@@@..@@.</span> <span aria-hidden="true" class="grime">..@@@..@@.</span>
<span aria-hidden="true" class="grime">..@@......</span> Grip Goes From Not <a href="being/" >Being</a> Able To Let Go <span aria-hidden="true" class="grime">...@......</span>
<span aria-hidden="true" class="grime">@....@@@@@</span> All <a href="day/" >Day</a> (Left) To Not Caring To <span aria-hidden="true" class="grime">@@...@@@@@</span>
<span aria-hidden="true" class="grime">..@@..@@@@</span> <a href="remember/" >Remember</a> (Right). <span aria-hidden="true" class="grime">@..@..@@@@</span>
<span aria-hidden="true" class="grime">.......@@@</span> <span aria-hidden="true" class="grime">.......@@.</span>
<span aria-hidden="true" class="grime">@@@@@@..@@</span> Deepness Goes From <a href="being/" >Being</a> Several <span aria-hidden="true" class="grime">.@@@@@....</span>
<span aria-hidden="true" class="grime">.@@@@....@</span> Hundred Meters Down (Left) To Barely <span aria-hidden="true" class="grime">..@@@..@@.</span>
<span aria-hidden="true" class="grime">..@@..@@..</span> Touching The <a href="surface/" >Surface</a> (Right). <span aria-hidden="true" class="grime">@..@......</span>
<span aria-hidden="true" class="grime">@.........</span> <span aria-hidden="true" class="grime">.....@@@@@</span>
<span aria-hidden="true" class="grime">..@@@@@@@@</span> Otherworldliness Goes From A Single <span aria-hidden="true" class="grime">@@@@..@@@@</span>
<span aria-hidden="true" class="grime">...@@@@@@.</span> Coherent <a href="dreamscape/" >Dreamscape</a> (Left), Via <a href="normal/" >Normal</a> <span aria-hidden="true" class="grime">@@@....@@.</span>
<span aria-hidden="true" class="grime">@@..@@@@..</span> <a href="dream/" >Dream</a> Amounts (Middle) To No <a href="dreams/" >Dreams</a> <span aria-hidden="true" class="grime">@@..@@....</span>
<span aria-hidden="true" class="grime">.....@@...</span> (Right). <span aria-hidden="true" class="grime">@......@@.</span>
<span aria-hidden="true" class="grime">@@@@....@@</span> <span aria-hidden="true" class="grime">..@@@@....</span>
<span aria-hidden="true" class="grime">.@@..@@..@</span> Revitalization Goes From A Feeling Of <span aria-hidden="true" class="grime">@..@@..@@.</span>
<span aria-hidden="true" class="grime">..........</span> Not Having Slept At All (Left) To <a href="being/" >Being</a> <span aria-hidden="true" class="grime">..........</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> Full Of <a href="energy/" >Energy</a> And Maybe Optimism <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> (Right). <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">,,</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <a href="high/" >High</a> Otherworldliness And <a href="high/" >High</a> Grip Is <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> A Particularly Effective Combo. <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">--^^--</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">...</span> See Also <span aria-hidden="true" class="grime">...</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">,,--,,</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <a href="sleep_deities/" class="link">Sleep deities</a> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> The <a href="blackbird/" class="link">Blackbird</a> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <a href="solipsism/" class="link">Solipsism</a> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">--^^--</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">...</span> Furthermore <span aria-hidden="true" class="grime">...</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">,,--,,</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> This Is Still A <a href="place/" >Place</a>: Here, In The <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> Silence, <a href="darkness/" >Darkness</a> And <a href="night/" class="link">Night</a> - And <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <a href="loneliness/" >Loneliness</a>, Holding A Kind Of Dilution <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> Of <a href="reality/" >Reality</a>, And <a href="suddenly/" >Suddenly</a> It'S Not <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> Important That I Lie In My Bed, The <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> Lack Of <a href="presence/" >Presence</a> Brings The Notion <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> That, If I Do Not Choose <a href="sleep/" >Sleep</a>, I <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> Choose <a href="past/" >Past</a>, <a href="future/" >Future</a>, Something With <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> More Substance Than The Objects I <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <a href="surround/" >Surround</a> Myself With. <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
<span aria-hidden="true" class="grime">@@@@@@@@@@</span> <span aria-hidden="true" class="grime">@@@@@@@@@@</span>
</pre>
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sleep
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```
.....@@@.. ....@.....
@@@@..@... @@@...@@@@
@@@.....@@ @@..@..@@@
@@..@@@..@ ........@@
@....@.... @@@@@@@..@
..@@...@@@ --^^-- .@@@@@....
@....@..@@ ... [Sleep](sleep/) ... ..@@@..@@@
..@@...... ,,--,, @..@....@@
.....@@@@@ .....@@...
@@@@..@@@@ [Sleep](sleep/) Is The Most Important [Meal](meal/) Of The .@@@....@@
@@@....@@@ [Day](day/). [Sleep](sleep/) Is Saying Goodbye For A ..@..@@..@
@@..@@..@@ While. If You Can [Dream](dream/), You Also Get ..........
.........@ To Visit [Friends](friends/) And Other [Animals](animals/). @@@@@@@@@.
@@@@@@@@.. .@@@@@@@..
.@@@@@@... ..,,.. ..@@@@@...
..@@@@..@@ ...@@@..@@
...@@....@ [Deeper](deeper/) Than [Death](death/) Is To Be [Alive](alive/) And @@..@.....
@@....@@.. [Asleep](asleep/). It Is [Death](death/) If It Was Temporary @.....@@@@
@..@@..... And Rejuvenating. ..@@@..@@@
......@@@@ ...@....@@
.@@@@..@@@ ..,,.. @@...@@...
..@@....@@ @..@....@@
.....@@... [Sleep](sleep/) Is A [Black](black/) [Marble](marble/) [Outside](outside/) Of .....@@...
@@@@....@@ Which There Is [Nothing](nothing/). [Inside](inside/) Is All .@@@....@@
@@@..@@... The [Stars](stars/) And In The Middle A ..@..@@..@
@@......@@ Black lake. At The Foot Of This [Lake](lake/) @.........
...@@@@... Stands An [Old](old/) [Friend](friend/). ..@@@@@@@.
@@..@@..@@ ...@@@@@..
.........@ ..,,.. @@..@@@...
@@@@@@@@.. .....@..@@
@@@@@@@... When You [Sleep](sleep/) All [Sound](sound/) Is [Internal](internal/). @@@@.....@
@@@@@@..@@ When You [Sleep](sleep/) Your Brain Shrinks. .@@..@@@..
.@@@@....@ ......@...
..@@..@@.. ..,,.. .@@@@...@@
.........@ ..@@..@...
@@@@@@@@.. If You Wish To Measure [Sleep](sleep/), Use These ........@@
@@@@@@@..@ Four Quantifiers:: Grip, Deepness, @@@@@@@..@
@@@@@@.... Otherworldiness And Revitalization. .@@@@@....
.@@@@..@@. ..@@@..@@.
..@@...... Grip Goes From Not [Being](being/) Able To Let Go ...@......
@....@@@@@ All [Day](day/) (Left) To Not Caring To @@...@@@@@
..@@..@@@@ [Remember](remember/) (Right). @..@..@@@@
.......@@@ .......@@.
@@@@@@..@@ Deepness Goes From [Being](being/) Several .@@@@@....
.@@@@....@ Hundred Meters Down (Left) To Barely ..@@@..@@.
..@@..@@.. Touching The [Surface](surface/) (Right). @..@......
@......... .....@@@@@
..@@@@@@@@ Otherworldliness Goes From A Single @@@@..@@@@
...@@@@@@. Coherent [Dreamscape](dreamscape/) (Left), Via [Normal](normal/) @@@....@@.
@@..@@@@.. [Dream](dream/) Amounts (Middle) To No [Dreams](dreams/) @@..@@....
.....@@... (Right). @......@@.
@@@@....@@ ..@@@@....
.@@..@@..@ Revitalization Goes From A Feeling Of @..@@..@@.
.......... Not Having Slept At All (Left) To [Being](being/) ..........
@@@@@@@@@@ Full Of [Energy](energy/) And Maybe Optimism @@@@@@@@@@
@@@@@@@@@@ (Right). @@@@@@@@@@
@@@@@@@@@@ @@@@@@@@@@
@@@@@@@@@@ ,, @@@@@@@@@@
@@@@@@@@@@ @@@@@@@@@@
@@@@@@@@@@ [High](high/) Otherworldliness And [High](high/) Grip Is @@@@@@@@@@
@@@@@@@@@@ A Particularly Effective Combo. @@@@@@@@@@
@@@@@@@@@@ @@@@@@@@@@
@@@@@@@@@@ --^^-- @@@@@@@@@@
@@@@@@@@@@ ... See Also ... @@@@@@@@@@
@@@@@@@@@@ ,,--,, @@@@@@@@@@
@@@@@@@@@@ @@@@@@@@@@
@@@@@@@@@@ [Sleep deities](sleep_deities/) @@@@@@@@@@
@@@@@@@@@@ The [Blackbird](blackbird/) @@@@@@@@@@
@@@@@@@@@@ [Solipsism](solipsism/) @@@@@@@@@@
@@@@@@@@@@ @@@@@@@@@@
@@@@@@@@@@ --^^-- @@@@@@@@@@
@@@@@@@@@@ ... Furthermore ... @@@@@@@@@@
@@@@@@@@@@ ,,--,, @@@@@@@@@@
@@@@@@@@@@ @@@@@@@@@@
@@@@@@@@@@ This Is Still A [Place](place/): Here, In The @@@@@@@@@@
@@@@@@@@@@ Silence, [Darkness](darkness/) And [Night](night/) - And @@@@@@@@@@
@@@@@@@@@@ [Loneliness](loneliness/), Holding A Kind Of Dilution @@@@@@@@@@
@@@@@@@@@@ Of [Reality](reality/), And [Suddenly](suddenly/) It'S Not @@@@@@@@@@
@@@@@@@@@@ Important That I Lie In My Bed, The @@@@@@@@@@
@@@@@@@@@@ Lack Of [Presence](presence/) Brings The Notion @@@@@@@@@@
@@@@@@@@@@ That, If I Do Not Choose [Sleep](sleep/), I @@@@@@@@@@
@@@@@@@@@@ Choose [Past](past/), [Future](future/), Something With @@@@@@@@@@
@@@@@@@@@@ More Substance Than The Objects I @@@@@@@@@@
@@@@@@@@@@ [Surround](surround/) Myself With. @@@@@@@@@@
@@@@@@@@@@ @@@@@@@@@@
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```
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<h1>Nursing: Looking back...</h1>
<p>My career in nursing came an end in December 2020 and on this page
I look back over the last 36 years that I have spent working in a public
hospital as a Registered Nurse, with 32 years of that time spent in the
strangest of worlds, the world of Intensive Care. I am attempting to not
only look back at this time but also to see what I have to take away from
such a career into the (hopefully) long years of retirement.</p>
<p>It is a page that I have been writing for several months now, mostly
because I have a certain dislike for looking <em>back</em> when my goal
in retirement has always been to look <em>forward</em>. Nevertheless I
have completed this page now and I sincerely hope that it ties off some
of my past for me and perhaps also is useful page for other nurses who
are coming to the end of their careers...</p>
<h2>A nursing timeline...</h2>
<p>I was not entirely sure how to structure this examination of a long nursing
career but when I was interviewed in my workplace about 'nursing in the
old days' I could see a few naturally occurring divisions in my career
that might help you, Gentle Reader, in making sense of this long page.
And, dare I say it, perhaps this division will also help me to see the
structure in my own nursing career; a career that was neither particularly
well organised nor particularly well structured!</p>
<h3>Training years...</h3>
<p>My training to become a Registered Nurse began back in 1984 when in
Australia the last groups of nurses were being put through Hospital based
training. Subsequent to this of course the training of Registered Nurses
moved to University degree programs. But for me, the somewhat callow young
man of the times, this was an opportunity to be paid for three years and
I put no more thought than that into this decision!</p>
<p>The training back then consisted of periods of lectures in a school type
setting on the grounds of the Hospital interspersed with substantial periods
of hands on 'on the job' training. Working in the Hospital we were given
somewhat desultory supervision while providing basic and then increasingly
more complex nursing care for patients. The entire training took three years
and at the end there was a State exam to be passed with various practical
skills asssessed in the Hospital before this final exam was attempted.</p>
<p>I have often heard people claim that the training of Registered Nurses
should return to this system but as one who went through this training I
would disagree. It was an entrenched system that reeked of military
training with power held by some pretty scary women who did not tolerate
questioning and did not tolerate change; believe me when I assure you that
it was long past time for change in that system! I went through the whole
system and came out the other end well qualified to be a Registered Nurse
but it was a bruising and many times unsympathetic system that was ready
for the major changes coming.</p>
<p>As this section of the page is not meant to be an encyclodaedic account
of my early experiences as a very, very junior nurse I have chosen instead
to highlight about half a dozen or more experiences from that time that still
live in my mind. I will add to these memories as they come back to me over
time:</p>
<h4>Three Day Fecal Fat</h4>
<p>There is some heavy material coming so I thought I would start with a
lighter memory! As a 'PTS' nurse (Preliminary Training School) the older
nurses would go out of their way to gift you with all the best that nursing
has to offer. And with nursing it is always about the poo! I am not sure
if this is still done but all those years ago there was a test for fat
absorption where a patient was fed a diet with a set amount of fat and
their poo was analysed for the fat content.</p>
<p>So in the pan room was a very large tin coffee tin, Pablo coffee actually,
and the most junior nurse on the ward got to scrape the poo from the bed pan
into this tin using a wooden tongue depressor. Day one was ok but trust me
by day three a strong stomach was required. And I never, ever drank Pablo
coffee after that experience and in fact I believe that Pablo coffee no
longer exists...</p>
<h4>Intensive Care</h4>
<p>It was odd that for a man who would
eventually be a Clinical Nurse Educator in a busy Intensive Care Unit
that my stay in ICU as a junior nurse did not make that much of an
impression on me. I remember seeing all of the Bird ventilators and
being a little impressed with this amazing technology, also impressed
with central lines and the early arterial lines. The arterial lines
were connected to a transducer known as a 'Bentley Dome' and I remember
learning the skill of carefully filling the dome with sterile fluid
until a small meniscus formed before screwing the dome firmly down.
And, Gentle Reader, I was taught the skill of reading both Tidal Volume
and Minute Volume from the Bird ventilators by disconnecting the circuit
and placing a Wright's Spirometer in place. With the PEEP turned off of
course!</p>
<p>Many other small memories, I remember assembling the additives
for the TPN and adding them to the bag on the ward, I remember the
director of the ICU bringing his special Cardiac Output computer out
while we all stood in a circle, astounded at this raw technology. And
I remember as well those unfortunate patients in the side rooms that
nobody really wanted to look after, so awful was their prognosis...</p>
<h4>The Milperra Massacre</h4>
<p>I was the very greenest of
PTS nurses in 1984 when close to the Hospital there was a fight between
two gangs of bikies that become known as the Milperra Massacre. Senseless
loss of life and a great deal of violence with firearms, baseball bats,
knives as well as fists and feet. I will never forget that evening shift
on the Orthopaedic Ward when I heard somebody walking up the corridor
and when I looked there was a police officer in full body armour,
carrying a shotgun and walking up towards me. Not what I ever expected
on this ward where the standard action was broken hips, Hamilton-Russel
traction and Steinmann Pins.</p>
<p>I admitted one of the bikies that night
who had been hit across the face with a baseball bat and had one knee
shout out with a shotgun. I introduced myself and explained that I
would be completing his admission form. First question from me was
'What is your name?' and I will never forget the way he looked at me
and said: 'My name is Pig'! Almost too much for this little PTS nurse.
Over the years I have toughened up but at the beginning there was not
much toughness there...</p>
<h4>First cardiac arrest</h4>
<p>I was in my first year (as
a PTS nurse) when I was involved in my first big Medical Emergency, and
it was a great demonstration of how completely without a clue I was
back then. For reasons that escape me there were three nurses and a
wardsman assisting moving a very old and sick man up the bed. He
landed on the bed with a bit of a bump and then looked a bit funny,
although this was the end of my perception of what was going on. The
wardsman however looked at the old man and said 'He's arrested' and
of course this was exactly what had happened. One of the other nurses
started chest compressions and I started mouth to mouth. Remember,
Gentle Reader, that this was early in 1988 and that is what we did
back then</p>
<p>I remember the feeling of his unshaved face against mine,
I remember the feeling through my mouth of the rattle of sputum in
his chest and I remember the sour taste of his mouth. And as happens
for the most part when your heart stops the old man died, it shames
me that I not remember any more details about him or did not even
look a little deeper into his presentation to hospital or his life
before then but as I have mentioned before I was a very young and
callow man at this time.</p>
<h4>The Falling Man</h4>
<p>I remember the falling man vividly
in part because I have a photographic memory and in part because I still
feel a sort of unbelief that the whole thing actually occurred. The
Hospital that I was training in had long verandahs lining the wards
and it was a convention that we would sun any pressure areas on these
balconies. I was outside doing something inconsequential with one of
these patients when I saw that a couple of metres away from me an old
man had walked out the rail of the balcony. I knew him but not well
and what I remember mostly now is that he had a Polish name and one
artificial leg. He stood there for a second and then he hoisted his
artificial leg up on top of the railing and before I could even think
of reacting he threw himself off the balcony onto the pavement below.</p>
<p>The feeling of unbelief that I had at the time remains with me even now,
almost 40 years after his death. I looked over the rail and saw a nurse
had rushed out to him where he lay and she told me later that he had
obviously died on impact from at least massive trauma to the back of
his head. Now Gentle Reader there was no debriefing back in those days
so that story has remained with me to deal with by myself as I saw fit.
Times have changed in that regard for the better. I think the man's
name was Eddie but much more than that I do not know and as a callow
and thoughtless man at the time I made no further investigations...</p>
<h3>Training ends...</h3>
<p>I have left out here my <em>darkest</em> memory from those early years,
a memory of a baby who died in the ED; this was a truly traumatic incident
for me and after all of these long years I still have unresolved feelings
about that baby and that evening shift in the ED. Perhaps one day I will
include this story but not right now...</p>
<p>And so I completed my training, passed the required registration exam
and thus became a Registered Nurse. I was completely unaware that this would
be my career, my work, for the next couple of decades but then in those
days I did not look ahead too far or think about <em>anything</em> too
deeply. I easily found a job in another Hospital and after the obligatory
year in the trenches there I found my way yet again to the Intensive Care
Unit.</p>
<h3>Intensive Care, the long years...</h3>
<p>Gentle Reader, I then spent 25 long years working 'on the floor' in the
Intensive Care Unit and this is a course that I would strongly advise
<em>against</em> for anybody reading this page! It was an <em>extremely</em>
important time for me as an Intensive Care nurse as this 25 years is where
I slowly and painfully assembled my ICU skills. </p>
<p>I learnt to care for
patients undergoing conventional ventilation, HFOV (it was a bit thing
in its time Gentle Reader!), iNO, dialysis in all of its myriad forms,
SB Tubes (also big in their time), Pulmonary Artery Catheters and all
of the assemblage of ICU technology. But 25 years is too much for even
the most level headed ICU nurse and I now know that the work for a bed
side nurse in the ICU will eventually consume anybody that stays for too
long.</p>
<p>And in this 25 years on the floor I have a few memories that still
remain as high points in my career despite the long passage of time that
separates me from from most of these memories. I place them here, in
no particular order, and I suspect I will add to these memories over time
as I attempt to sort out my thoughts and memories:</p>
<h4>First organ donation</h4>
<p>In my first few years I
confess that I was a little like a kid in a candy shop: swept away
with the technology of the ICU, lost in the adrenaline rush of caring
for critically ill patients. It was a good experience to have as later
in my career I could be a little less judgemental of those who responded
only to the mind of ICU and not the heart. But everybody must change
after this initial period of excitement and for me this came with a
16 year old girl who came to the ICU late in 1990 following a combination
of electrocution, drowning and cardiac arrest at her home. I was not used
to looking after such a young person but I was used to using the technology
of the ICU by now.</p>
<p> But something changed in me when I saw the eventual
diagnosis of brain death and I saw the mechanisms of organ donation
swing into action. I saw the grief and lack of comprehension of the
family, I saw their tears and eventually saw the young girl wheeled
off to OT for the removal of her organs. Finding the <em>heart</em>
of ICU rather than living in its <em>head</em> comes to all ICU nurses
eventually and I am grateful that it happened for me early in my ICU
career. And I have not forgotten Felicity after all of these long
years.</p>
<h4>Guillain-Barré Syndrome</h4>
<p>During my long
years on the floor in the ICU I cared for a small but significant
number of patients with severe Guillain-Barré Syndrome. The
valuable lesson that I learned with these people is that their initial
requirements for high levels of technological care (plasma exchange,
intubation, tracheostomy etc) are almost always outweighed, especially
in the later stages, by their requirements for extraordinarily high
levels of nursing care.</p>
<p>And it was always imperative to form a close
connection with people who were almost always frightened and fearful.
Without fail these patients were extraordinary people and it was a
privilege to care for them and at least for a time become such an
important part of their lives.</p>
<h4>Web Site</h4>
<p>And just to move away a little from the
drama of ICU! I had been creating web sites since the late 1990s as a
hobby and I decided in the early 2000s to create a web site for the ICU
that I worked in. This was well before the days of corporate control,
corporate templates and web sites created by committee, all things
Gentle Reader that I loathe intensely. After a degree of success I
managed to wangle myself a day away from the floor per week and a nice
laptop to write the site with. I am very, very happy that this web site
continues to this day although in a vastly altered look and format
from my very early amateurish dabblings</p>
<p>Still, I was grateful for
the support from the ICU Director and enjoyed having time at work to
dive a bit deeper into web design. Odd that this web site, that hosts
this page, has actually become simpler, not more complex: hand written
HTML and CSS driven layout with all static pages. Perhaps everybody
looks for clarity and simplicity as they get older, certainly I am...</p>
<h4>Meningococcal Sepsis</h4>
<p>This is a truly frightening
disease that I met relatively early in my ICU career, towards the end
of 1996. I had then been working in the ICU for about eight years and I
thought that I was pretty comfortable with most patients and their conditions.
This feeling of comfort was challenged many times over the next two
decades that I spent nursing 'on the floor' but this was perhaps my
first major shake up of confidence. A young school girl contracted the
disease and for a long, long time was critically ill in the ICU with
not only multi-organ failure but also with the loss of huge areas of
skin and muscle.</p>
<p>The disease moved so fast in the very early stages
that I was <em>almost</em> left behind in both tasks that I had to
perform and in understanding of what was happening so quickly to this
unfortunate young lady. A formative moment in my early ICU career.
And for those ignorant of the nature of ICU, those who feel that ICU
nurses only look after machines, I can tell you that I came into contact
with this young lady many times over the next 20 years or so and I
grieved when she eventually died in her late 30s.</p>
<h3>End of beside nursing</h3>
<p>Doubtless there will be more memories to place on this list as I look
back over my long career 'on the floor' but here at least is a starting
point for my recollections. I enjoyed it all hugely and for the most part
I lived up to all of the challenges thrown my way. I met some incredible
nurses and was part of a team that was as good as any Critical Care team in
the world. But at the end of this 25 years I could tell that my time as a
'hands on' nurse was coming to an end. I was becoming angry, a little bitter
even, and I could see small mistakes creeping into my work particularly
during and following night shifts. By good fortune a change then came my way...</p>
<h3>Education......</h3>
<p>After some life changing experiences in a Yoga ashram I finally looked
<em>up</em> from a quarter of a century working on 'the floor' in ICU to
seek other things. I applied for a position as Clinical Nurse Educator
(CNE) in the Intensive Care Unit and I was not only accepted in this
position but I worked as a part of the Education team for the next 8 years
until my eventual retirement at the end of 2020. </p>
<p>In many ways for me it
represented the <em>pinnacle</em> of my career in Critical Care and I remember
this time with enormous affection, in part for the many obstacles surmounted
by myself and others in the Education team and in part for the many fine
Critical Care nurses the Education team produced over that eight year period.</p>
<p>I have many, many memories of this time but I can perhaps isolate a
few memories and achievements from this time, which I give below, again in
no particular order:</p>
<h4>New Graduate Nurses</h4>
<p>Work with Registered Nurses new to the world of ICU was one of the most
satisfying aspects of work as a Clinical Nurse Educator. As part of the
Education Team I worked with completely raw University Graduates and in
so many cases managed to produce some really skilled, caring and beautiful
nurses.</p>
<p>I would often see one of these nurses, when fully trained, accomplishing
some amazing work in ICU and I would always think: 'There goes one of my
New Graduate Nurses!'. My best wishes to all of these fantastic nurses
that now are perfectly capable of finding their own way in the world of
Critical Care.</p>
<h4>Advanced Life Support</h4>
<p>During my long years on the floor in ICU I would eagerly find my way
to the forefront whenever Advanced Life Support (ALS) was required:
exsanguinating haemorrhage, cardiac arrest, emergency intubation etc.
But I learnt when I became a CNE in the ICU that although performing ALS
in 'real life' is a vital and necessary part of the Critical Care world
equally important is developing the skill set required to effectively
teach and mentor junior and senior members of the ICU team in ALS.</p>
<p>It was immensely satisfying to gain credentialling as an ALS instructor
and teach / assess ALS programs both internally for the ICU and also externally
for other hospitals in the area. And again there is great satisfaction when
retiring from ICU to see that this teaching has taken root with many realy,
really skilled staff members in the frontline of Medical Emergencies,
performing their roles with skill and in depth knowledge. Very, very satisfying!</p>
<h4>Covid-19</h4>
<p>Certainly I will never forget my involvement with the first wave of
Covid-19 patients in the Intensive Care Unit. We were very, very lucky in
that first wave as there were not that many patients with this terrible
disease that came through the door of our ICU; nothing like the experience
of many other ICUs throughout the world.</p>
<p>To see the disease at first hand in the ICU was both an illustration
of how powerless we can all be in the face of disease as well as an
opportunity to experience first hand a piece of history that will be
analysed and endlessly discussed for a long time to come.</p>
<h4>New Technology</h4>
<p>I confess, Gentle Reader, that I am a great lover of technology and
sometimes the Intensive Care Unit seemed like a playground stocked with
the most incredible technology. I have always enjoyed working with modern
ventilators, Balloon Pumps (IABP), inhaled Nitric Oxide (iNO), dialysis
machines and the like. The technology and the machines themselves always
came easily to me and the opportunity to get in at the cutting edge and
not only use but instruct the usage of the newest ICU machinery was a
gift on most days!</p>
<p>One great example for me was being part of the team that rolled out
Citrate / Calcium regional anticoagulation using the amazing Fresenius
Multi-Filtrate Pro. This involved not only a new dialysis machine but also
a huge change to the concepts of dialysis that the ICU was accustomed to.
Incredibly difficult education work but again very, very satisfying to
see the work complete and the new approach to dialysis now part of ICU
culture.</p>
<h4>Public Speaking</h4>
<p>One very personal benefit to myself from my eight years as CNE was that
I slowly matured as a public speaker. Before this time I was <em>absolutely
petrified</em> of any form of public speaking and would deliberately avoid
any gathering where I knew that I would be required to speak. Working as
a CNE certainly beat that fear out of me!</p>
<p>As CNE there is a requirement to be able to communicate with small groups
by the bedside, larger groups in more formal inservices for ICU as well
external groups of people in much for formal settings. For me it was not
an easy process but eventually I was able to speak confidently to all of
these groups and this is one skill that I take away from this job now that
I have retired!</p>
<h3>Career end</h3>
<p>And then on Friday December 4th 2020 I chose to leave my nursing life behind
and start a new life in retirement. It is not often in life that you will
get an opportunity to start again and it is my plan to grasp this opportunity
firmly with both hands. To not only build a <em>new</em> life but to also
build a life that has grown out of the lessons that I have learned in the
<em>old</em> one. And writing this page and editing it again and again
over the coming years will help me to both clarify and learn from these
lessons.</p>
<p> And still I am working at the <em>meaning</em> of my long career
in ICU, trying to find out if I was a good nurse and was useful and kind
to patients and their families as well as colleagues that I have worked
with over the years; trying to work out if during all of this time I was
a <em>good</em> man, if I have made a difference?</p>
<h2>And in conclusion...</h2>
<p>I have spent many months writing up this small page with the expectation
that I will return to it from time to time to edit and re-edit as I continue
to examine my former nursing career. The page has hopefully a dual function
of allowing me to organise my thoughts as well as to hopefully provide material
of interest to others who are perhaps treading the same path. Please feel free to
contact me with any errors of <em>fact</em> that you have found on this page,
any errors of <em>opinion</em> will probably remain uncorrected. In the meantime
I am having a great time in my retirement, what about you?</p>
</main>
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Nursing: Looking back...
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# Nursing: Looking back...
My career in nursing came an end in December 2020 and on this page
I look back over the last 36 years that I have spent working in a public
hospital as a Registered Nurse, with 32 years of that time spent in the
strangest of worlds, the world of Intensive Care. I am attempting to not
only look back at this time but also to see what I have to take away from
such a career into the (hopefully) long years of retirement.
It is a page that I have been writing for several months now, mostly
because I have a certain dislike for looking *back* when my goal
in retirement has always been to look *forward*. Nevertheless I
have completed this page now and I sincerely hope that it ties off some
of my past for me and perhaps also is useful page for other nurses who
are coming to the end of their careers...
## A nursing timeline...
I was not entirely sure how to structure this examination of a long nursing
career but when I was interviewed in my workplace about 'nursing in the
old days' I could see a few naturally occurring divisions in my career
that might help you, Gentle Reader, in making sense of this long page.
And, dare I say it, perhaps this division will also help me to see the
structure in my own nursing career; a career that was neither particularly
well organised nor particularly well structured!
### Training years...
My training to become a Registered Nurse began back in 1984 when in
Australia the last groups of nurses were being put through Hospital based
training. Subsequent to this of course the training of Registered Nurses
moved to University degree programs. But for me, the somewhat callow young
man of the times, this was an opportunity to be paid for three years and
I put no more thought than that into this decision!
The training back then consisted of periods of lectures in a school type
setting on the grounds of the Hospital interspersed with substantial periods
of hands on 'on the job' training. Working in the Hospital we were given
somewhat desultory supervision while providing basic and then increasingly
more complex nursing care for patients. The entire training took three years
and at the end there was a State exam to be passed with various practical
skills asssessed in the Hospital before this final exam was attempted.
I have often heard people claim that the training of Registered Nurses
should return to this system but as one who went through this training I
would disagree. It was an entrenched system that reeked of military
training with power held by some pretty scary women who did not tolerate
questioning and did not tolerate change; believe me when I assure you that
it was long past time for change in that system! I went through the whole
system and came out the other end well qualified to be a Registered Nurse
but it was a bruising and many times unsympathetic system that was ready
for the major changes coming.
As this section of the page is not meant to be an encyclodaedic account
of my early experiences as a very, very junior nurse I have chosen instead
to highlight about half a dozen or more experiences from that time that still
live in my mind. I will add to these memories as they come back to me over
time:
#### Three Day Fecal Fat
There is some heavy material coming so I thought I would start with a
lighter memory! As a 'PTS' nurse (Preliminary Training School) the older
nurses would go out of their way to gift you with all the best that nursing
has to offer. And with nursing it is always about the poo! I am not sure
if this is still done but all those years ago there was a test for fat
absorption where a patient was fed a diet with a set amount of fat and
their poo was analysed for the fat content.
So in the pan room was a very large tin coffee tin, Pablo coffee actually,
and the most junior nurse on the ward got to scrape the poo from the bed pan
into this tin using a wooden tongue depressor. Day one was ok but trust me
by day three a strong stomach was required. And I never, ever drank Pablo
coffee after that experience and in fact I believe that Pablo coffee no
longer exists...
#### Intensive Care
It was odd that for a man who would
eventually be a Clinical Nurse Educator in a busy Intensive Care Unit
that my stay in ICU as a junior nurse did not make that much of an
impression on me. I remember seeing all of the Bird ventilators and
being a little impressed with this amazing technology, also impressed
with central lines and the early arterial lines. The arterial lines
were connected to a transducer known as a 'Bentley Dome' and I remember
learning the skill of carefully filling the dome with sterile fluid
until a small meniscus formed before screwing the dome firmly down.
And, Gentle Reader, I was taught the skill of reading both Tidal Volume
and Minute Volume from the Bird ventilators by disconnecting the circuit
and placing a Wright's Spirometer in place. With the PEEP turned off of
course!
Many other small memories, I remember assembling the additives
for the TPN and adding them to the bag on the ward, I remember the
director of the ICU bringing his special Cardiac Output computer out
while we all stood in a circle, astounded at this raw technology. And
I remember as well those unfortunate patients in the side rooms that
nobody really wanted to look after, so awful was their prognosis...
#### The Milperra Massacre
I was the very greenest of
PTS nurses in 1984 when close to the Hospital there was a fight between
two gangs of bikies that become known as the Milperra Massacre. Senseless
loss of life and a great deal of violence with firearms, baseball bats,
knives as well as fists and feet. I will never forget that evening shift
on the Orthopaedic Ward when I heard somebody walking up the corridor
and when I looked there was a police officer in full body armour,
carrying a shotgun and walking up towards me. Not what I ever expected
on this ward where the standard action was broken hips, Hamilton-Russel
traction and Steinmann Pins.
I admitted one of the bikies that night
who had been hit across the face with a baseball bat and had one knee
shout out with a shotgun. I introduced myself and explained that I
would be completing his admission form. First question from me was
'What is your name?' and I will never forget the way he looked at me
and said: 'My name is Pig'! Almost too much for this little PTS nurse.
Over the years I have toughened up but at the beginning there was not
much toughness there...
#### First cardiac arrest
I was in my first year (as
a PTS nurse) when I was involved in my first big Medical Emergency, and
it was a great demonstration of how completely without a clue I was
back then. For reasons that escape me there were three nurses and a
wardsman assisting moving a very old and sick man up the bed. He
landed on the bed with a bit of a bump and then looked a bit funny,
although this was the end of my perception of what was going on. The
wardsman however looked at the old man and said 'He's arrested' and
of course this was exactly what had happened. One of the other nurses
started chest compressions and I started mouth to mouth. Remember,
Gentle Reader, that this was early in 1988 and that is what we did
back then
I remember the feeling of his unshaved face against mine,
I remember the feeling through my mouth of the rattle of sputum in
his chest and I remember the sour taste of his mouth. And as happens
for the most part when your heart stops the old man died, it shames
me that I not remember any more details about him or did not even
look a little deeper into his presentation to hospital or his life
before then but as I have mentioned before I was a very young and
callow man at this time.
#### The Falling Man
I remember the falling man vividly
in part because I have a photographic memory and in part because I still
feel a sort of unbelief that the whole thing actually occurred. The
Hospital that I was training in had long verandahs lining the wards
and it was a convention that we would sun any pressure areas on these
balconies. I was outside doing something inconsequential with one of
these patients when I saw that a couple of metres away from me an old
man had walked out the rail of the balcony. I knew him but not well
and what I remember mostly now is that he had a Polish name and one
artificial leg. He stood there for a second and then he hoisted his
artificial leg up on top of the railing and before I could even think
of reacting he threw himself off the balcony onto the pavement below.
The feeling of unbelief that I had at the time remains with me even now,
almost 40 years after his death. I looked over the rail and saw a nurse
had rushed out to him where he lay and she told me later that he had
obviously died on impact from at least massive trauma to the back of
his head. Now Gentle Reader there was no debriefing back in those days
so that story has remained with me to deal with by myself as I saw fit.
Times have changed in that regard for the better. I think the man's
name was Eddie but much more than that I do not know and as a callow
and thoughtless man at the time I made no further investigations...
### Training ends...
I have left out here my *darkest* memory from those early years,
a memory of a baby who died in the ED; this was a truly traumatic incident
for me and after all of these long years I still have unresolved feelings
about that baby and that evening shift in the ED. Perhaps one day I will
include this story but not right now...
And so I completed my training, passed the required registration exam
and thus became a Registered Nurse. I was completely unaware that this would
be my career, my work, for the next couple of decades but then in those
days I did not look ahead too far or think about *anything* too
deeply. I easily found a job in another Hospital and after the obligatory
year in the trenches there I found my way yet again to the Intensive Care
Unit.
### Intensive Care, the long years...
Gentle Reader, I then spent 25 long years working 'on the floor' in the
Intensive Care Unit and this is a course that I would strongly advise
*against* for anybody reading this page! It was an *extremely*
important time for me as an Intensive Care nurse as this 25 years is where
I slowly and painfully assembled my ICU skills.
I learnt to care for
patients undergoing conventional ventilation, HFOV (it was a bit thing
in its time Gentle Reader!), iNO, dialysis in all of its myriad forms,
SB Tubes (also big in their time), Pulmonary Artery Catheters and all
of the assemblage of ICU technology. But 25 years is too much for even
the most level headed ICU nurse and I now know that the work for a bed
side nurse in the ICU will eventually consume anybody that stays for too
long.
And in this 25 years on the floor I have a few memories that still
remain as high points in my career despite the long passage of time that
separates me from from most of these memories. I place them here, in
no particular order, and I suspect I will add to these memories over time
as I attempt to sort out my thoughts and memories:
#### First organ donation
In my first few years I
confess that I was a little like a kid in a candy shop: swept away
with the technology of the ICU, lost in the adrenaline rush of caring
for critically ill patients. It was a good experience to have as later
in my career I could be a little less judgemental of those who responded
only to the mind of ICU and not the heart. But everybody must change
after this initial period of excitement and for me this came with a
16 year old girl who came to the ICU late in 1990 following a combination
of electrocution, drowning and cardiac arrest at her home. I was not used
to looking after such a young person but I was used to using the technology
of the ICU by now.
But something changed in me when I saw the eventual
diagnosis of brain death and I saw the mechanisms of organ donation
swing into action. I saw the grief and lack of comprehension of the
family, I saw their tears and eventually saw the young girl wheeled
off to OT for the removal of her organs. Finding the *heart*
of ICU rather than living in its *head* comes to all ICU nurses
eventually and I am grateful that it happened for me early in my ICU
career. And I have not forgotten Felicity after all of these long
years.
#### Guillain-Barré Syndrome
During my long
years on the floor in the ICU I cared for a small but significant
number of patients with severe Guillain-Barré Syndrome. The
valuable lesson that I learned with these people is that their initial
requirements for high levels of technological care (plasma exchange,
intubation, tracheostomy etc) are almost always outweighed, especially
in the later stages, by their requirements for extraordinarily high
levels of nursing care.
And it was always imperative to form a close
connection with people who were almost always frightened and fearful.
Without fail these patients were extraordinary people and it was a
privilege to care for them and at least for a time become such an
important part of their lives.
#### Web Site
And just to move away a little from the
drama of ICU! I had been creating web sites since the late 1990s as a
hobby and I decided in the early 2000s to create a web site for the ICU
that I worked in. This was well before the days of corporate control,
corporate templates and web sites created by committee, all things
Gentle Reader that I loathe intensely. After a degree of success I
managed to wangle myself a day away from the floor per week and a nice
laptop to write the site with. I am very, very happy that this web site
continues to this day although in a vastly altered look and format
from my very early amateurish dabblings
Still, I was grateful for
the support from the ICU Director and enjoyed having time at work to
dive a bit deeper into web design. Odd that this web site, that hosts
this page, has actually become simpler, not more complex: hand written
HTML and CSS driven layout with all static pages. Perhaps everybody
looks for clarity and simplicity as they get older, certainly I am...
#### Meningococcal Sepsis
This is a truly frightening
disease that I met relatively early in my ICU career, towards the end
of 1996. I had then been working in the ICU for about eight years and I
thought that I was pretty comfortable with most patients and their conditions.
This feeling of comfort was challenged many times over the next two
decades that I spent nursing 'on the floor' but this was perhaps my
first major shake up of confidence. A young school girl contracted the
disease and for a long, long time was critically ill in the ICU with
not only multi-organ failure but also with the loss of huge areas of
skin and muscle.
The disease moved so fast in the very early stages
that I was *almost* left behind in both tasks that I had to
perform and in understanding of what was happening so quickly to this
unfortunate young lady. A formative moment in my early ICU career.
And for those ignorant of the nature of ICU, those who feel that ICU
nurses only look after machines, I can tell you that I came into contact
with this young lady many times over the next 20 years or so and I
grieved when she eventually died in her late 30s.
### End of beside nursing
Doubtless there will be more memories to place on this list as I look
back over my long career 'on the floor' but here at least is a starting
point for my recollections. I enjoyed it all hugely and for the most part
I lived up to all of the challenges thrown my way. I met some incredible
nurses and was part of a team that was as good as any Critical Care team in
the world. But at the end of this 25 years I could tell that my time as a
'hands on' nurse was coming to an end. I was becoming angry, a little bitter
even, and I could see small mistakes creeping into my work particularly
during and following night shifts. By good fortune a change then came my way...
### Education......
After some life changing experiences in a Yoga ashram I finally looked
*up* from a quarter of a century working on 'the floor' in ICU to
seek other things. I applied for a position as Clinical Nurse Educator
(CNE) in the Intensive Care Unit and I was not only accepted in this
position but I worked as a part of the Education team for the next 8 years
until my eventual retirement at the end of 2020.
In many ways for me it
represented the *pinnacle* of my career in Critical Care and I remember
this time with enormous affection, in part for the many obstacles surmounted
by myself and others in the Education team and in part for the many fine
Critical Care nurses the Education team produced over that eight year period.
I have many, many memories of this time but I can perhaps isolate a
few memories and achievements from this time, which I give below, again in
no particular order:
#### New Graduate Nurses
Work with Registered Nurses new to the world of ICU was one of the most
satisfying aspects of work as a Clinical Nurse Educator. As part of the
Education Team I worked with completely raw University Graduates and in
so many cases managed to produce some really skilled, caring and beautiful
nurses.
I would often see one of these nurses, when fully trained, accomplishing
some amazing work in ICU and I would always think: 'There goes one of my
New Graduate Nurses!'. My best wishes to all of these fantastic nurses
that now are perfectly capable of finding their own way in the world of
Critical Care.
#### Advanced Life Support
During my long years on the floor in ICU I would eagerly find my way
to the forefront whenever Advanced Life Support (ALS) was required:
exsanguinating haemorrhage, cardiac arrest, emergency intubation etc.
But I learnt when I became a CNE in the ICU that although performing ALS
in 'real life' is a vital and necessary part of the Critical Care world
equally important is developing the skill set required to effectively
teach and mentor junior and senior members of the ICU team in ALS.
It was immensely satisfying to gain credentialling as an ALS instructor
and teach / assess ALS programs both internally for the ICU and also externally
for other hospitals in the area. And again there is great satisfaction when
retiring from ICU to see that this teaching has taken root with many realy,
really skilled staff members in the frontline of Medical Emergencies,
performing their roles with skill and in depth knowledge. Very, very satisfying!
#### Covid-19
Certainly I will never forget my involvement with the first wave of
Covid-19 patients in the Intensive Care Unit. We were very, very lucky in
that first wave as there were not that many patients with this terrible
disease that came through the door of our ICU; nothing like the experience
of many other ICUs throughout the world.
To see the disease at first hand in the ICU was both an illustration
of how powerless we can all be in the face of disease as well as an
opportunity to experience first hand a piece of history that will be
analysed and endlessly discussed for a long time to come.
#### New Technology
I confess, Gentle Reader, that I am a great lover of technology and
sometimes the Intensive Care Unit seemed like a playground stocked with
the most incredible technology. I have always enjoyed working with modern
ventilators, Balloon Pumps (IABP), inhaled Nitric Oxide (iNO), dialysis
machines and the like. The technology and the machines themselves always
came easily to me and the opportunity to get in at the cutting edge and
not only use but instruct the usage of the newest ICU machinery was a
gift on most days!
One great example for me was being part of the team that rolled out
Citrate / Calcium regional anticoagulation using the amazing Fresenius
Multi-Filtrate Pro. This involved not only a new dialysis machine but also
a huge change to the concepts of dialysis that the ICU was accustomed to.
Incredibly difficult education work but again very, very satisfying to
see the work complete and the new approach to dialysis now part of ICU
culture.
#### Public Speaking
One very personal benefit to myself from my eight years as CNE was that
I slowly matured as a public speaker. Before this time I was *absolutely
petrified* of any form of public speaking and would deliberately avoid
any gathering where I knew that I would be required to speak. Working as
a CNE certainly beat that fear out of me!
As CNE there is a requirement to be able to communicate with small groups
by the bedside, larger groups in more formal inservices for ICU as well
external groups of people in much for formal settings. For me it was not
an easy process but eventually I was able to speak confidently to all of
these groups and this is one skill that I take away from this job now that
I have retired!
### Career end
And then on Friday December 4th 2020 I chose to leave my nursing life behind
and start a new life in retirement. It is not often in life that you will
get an opportunity to start again and it is my plan to grasp this opportunity
firmly with both hands. To not only build a *new* life but to also
build a life that has grown out of the lessons that I have learned in the
*old* one. And writing this page and editing it again and again
over the coming years will help me to both clarify and learn from these
lessons.
And still I am working at the *meaning* of my long career
in ICU, trying to find out if I was a good nurse and was useful and kind
to patients and their families as well as colleagues that I have worked
with over the years; trying to work out if during all of this time I was
a *good* man, if I have made a difference?
## And in conclusion...
I have spent many months writing up this small page with the expectation
that I will return to it from time to time to edit and re-edit as I continue
to examine my former nursing career. The page has hopefully a dual function
of allowing me to organise my thoughts as well as to hopefully provide material
of interest to others who are perhaps treading the same path. Please feel free to
contact me with any errors of *fact* that you have found on this page,
any errors of *opinion* will probably remain uncorrected. In the meantime
I am having a great time in my retirement, what about you?
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<h1>Welcome to the Star Wars Galaxy!</h1>
<p>Are you a big Star Wars fan? <strong>I am!</strong>
<p><strong>I <font color="red">LOVE</font> Star Wars!!!</strong> </p>
<p>Come see the Star Wars Galaxy, a growing universe of fun Star Wars stuff. Of course, I will show you my collection of <a href="https://www.wijnandsgalaxy.com/star-wars-lego.html" onclick="return FIX.track(this);">Lego Star Wars ships</a> and <a href="https://www.wijnandsgalaxy.com/star-wars-legos.html" onclick="return FIX.track(this);">minifigs</a>, and tell you everything about my favorite people from Star Wars. You can get your own Star Wars name by using the <a href="https://www.wijnandsgalaxy.com/star-wars-name-generator.html" onclick="return FIX.track(this);">Star Wars Name Generator</a>. And I give you tips for my favorite <a href="https://www.wijnandsgalaxy.com/star-wars-games.html" onclick="return FIX.track(this);">Star Wars Games</a>. </p>
<h3>Who am I?</h3>
<img src="https://www.wijnandsgalaxy.com/images/xjedi-master-wijnand.jpg.pagespeed.ic.rTxlM1xjta.jpg" alt="Wijnand's Picture" align="right" border="1" height="200" hspace="20" width="140">My name is Wijnand, I'm 10 years old, and a huge Star Wars fan from when I was 4 years old and watched the movies with my Dad. If you wonder about my name, it's Dutch. And I'm Dutch too. My English is not so good yet, so my Dad helps me with the site.
<p>Every day I play with my <a href="https://www.wijnandsgalaxy.com/star-wars-lego.html" onclick="return FIX.track(this);">Lego Star Wars Ships</a> and <a href="https://www.wijnandsgalaxy.com/star-wars-legos.html" onclick="return FIX.track(this);">Minifigs</a>. It's quite a big collection! And I love to draw... <a href="https://www.wijnandsgalaxy.com/star-wars-pictures.html" onclick="return FIX.track(this);">pictures of Star Wars</a> of course! </p>
<p>My favorite characters are Yoda and Darth Vader. </p>
<p> </p>
<p>But this site is not just a place for me to share with you... if you want to share <strong>your</strong> favorite Star Wars pictures and stories with your fellow Jedi Masters, you can do that soon. Just keep a look out for <strong>"Expand the Galaxy"</strong>, this shows where you can send it to us so we can check it out and put it on the site. Thanks! </p>
<p>I hope you like the site, and come back often! </p>
<p>Bye-bye!!! </p>
<p><img src="https://www.wijnandsgalaxy.com/images/xwijnand-signature.gif.pagespeed.ic.EoTSNE19Pw.png" alt="Wijnand."><br>
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# Welcome to the Star Wars Galaxy!
Are you a big Star Wars fan? **I am!**
**I LOVE Star Wars!!!**
Come see the Star Wars Galaxy, a growing universe of fun Star Wars stuff. Of course, I will show you my collection of [Lego Star Wars ships](https://www.wijnandsgalaxy.com/star-wars-lego.html) and [minifigs](https://www.wijnandsgalaxy.com/star-wars-legos.html), and tell you everything about my favorite people from Star Wars. You can get your own Star Wars name by using the [Star Wars Name Generator](https://www.wijnandsgalaxy.com/star-wars-name-generator.html). And I give you tips for my favorite [Star Wars Games](https://www.wijnandsgalaxy.com/star-wars-games.html).
### Who am I?
My name is Wijnand, I'm 10 years old, and a huge Star Wars fan from when I was 4 years old and watched the movies with my Dad. If you wonder about my name, it's Dutch. And I'm Dutch too. My English is not so good yet, so my Dad helps me with the site.
Every day I play with my [Lego Star Wars Ships](https://www.wijnandsgalaxy.com/star-wars-lego.html) and [Minifigs](https://www.wijnandsgalaxy.com/star-wars-legos.html). It's quite a big collection! And I love to draw... [pictures of Star Wars](https://www.wijnandsgalaxy.com/star-wars-pictures.html) of course!
My favorite characters are Yoda and Darth Vader.
But this site is not just a place for me to share with you... if you want to share **your** favorite Star Wars pictures and stories with your fellow Jedi Masters, you can do that soon. Just keep a look out for **"Expand the Galaxy"**, this shows where you can send it to us so we can check it out and put it on the site. Thanks!
I hope you like the site, and come back often!
Bye-bye!!!
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<html>
<head>
<meta http-equiv="content-type" content="text/html; charset=ISO-8859-1">
<title>Mark 1 FORTH Computer</title>
<LINK rel=stylesheet type="text/css" href="../Style.css">
</head>
<body bgcolor="#ffffff" text="#000000">
<h1>Mark 1 FORTH Computer</h1>
<table width="100%">
<tr>
<td><b>Architecture</b></td>
<td><a href="Photos.htm">Photos</a></td>
<td><a href="Schematics.htm">Schematics</a></td>
<td><a href="#More">More homemade computers</a></td>
<td><a href="../Projects.htm">Back to projects</a></td>
</tr>
</table>
<hr>
This computer has no microprocessor. The CPU is discrete TTL logic.
<p><img alt="Mark 1 FORTH Computer" src="IMG/Rack1_40.jpg" width=900 height=500>
<p>I bought my first TTL data book in 1979.
I was learning 6502 machine code at the time and dreamt of building a simple TTL CPU.
I sketched some circuit ideas; but that was as far as it went.
Now, 25 years later, I've finally done it!
Working evenings and weekends, the Mark 1 took a month to design, 4 months to build and a month to program.
Here's the result:<p>
<img alt="Recursive factorial demo" src="IMG/Factorial.gif" width=652 height=331>
<p>
<b><tt>Myself</tt></b> is a standard way to implement recursion in FORTH.
Even if you're not familiar with FORTH, if I tell you it's a stack-based language, and uses reverse polish notation (RPN), you might be able to figure out how this works.
<h3>Specification</h3>
<table>
<tr><td width=150>Technology</td><td>TTL (HCMOS)</td></tr>
<tr><td>Clock</td><td>1 MHz</td></tr>
<tr><td>Data Bus</td><td>8-Bit</td></tr>
<tr><td>Address Bus</td><td>16-Bit</td></tr>
<tr><td>Software</td><td><a href="../FORTH.htm">fig-FORTH</a></td></tr>
</table>
<h3>System Overview</h3>
<p><img width=800 height=523 src="IMG/System.gif" alt="Block diagram"></p>
<table border=1>
<tr>
<td>Module</td>
<td>Width<br>(bits)</td>
<td>Description</td>
<td width=400>Comments</td>
</tr>
<tr>
<td><p>ALU</p></td>
<td><p align=right style='text-align:right'>8</p></td>
<td><p>Arithmetic and logic unit</p></td>
<td width=400><small>
The ALU data path is a bottleneck.
It takes four clock cycles to load the inputs, set the ALU function, and read the result.
This is the least satisfactory aspect of the whole design.
</small></td>
</tr>
<tr>
<td><p>OP</p></td>
<td><p align=right style='text-align:right'>8</p></td>
<td><p>Operand register</p></td>
<td width=400 rowspan=2><small>
OP is loaded into the uppermost 8 bits of µPC.
The lower 4 bits are reset to zero.
</small></td>
</tr>
<tr>
<td><p>µPC</p></td>
<td><p align=right style='text-align:right'>12</p></td>
<td><p>Microcode program counter</p></td>
</tr>
<tr>
<td><p>W</p></td>
<td><p align=right style='text-align:right'>16</p></td>
<td><p>FORTH Working register</p></td>
<td width=400 rowspan=2><small>
The 16-bit index registers, IP and W, support increment, decrement, and can address memory.
</small></td>
</tr>
<tr>
<td><p>IP</p></td>
<td><p align=right style='text-align:right'>16</p></td>
<td><p>FORTH Instruction Pointer</p></td>
</tr>
<tr>
<td><p>PSP</p></td>
<td><p align=right style='text-align:right'>8</p></td>
<td><p>FORTH Parameter stack pointer</p></td>
<td width=400 rowspan=2><small>
The stack pointers, RSP and PSP, are 8-bit up/down counters feeding the A1-A9 address inputs of the stack RAMs.
The least significant address input (A0) selects the upper or lower byte.
Logically, the stacks are 16-bits wide by 256 words deep.
The FORTH word length is 16 bits.
</small></td>
</tr>
<tr>
<td><p>RSP</p></td>
<td><p align=right style='text-align:right'>8</p></td>
<td><p>FORTH Return stack pointer</p></td>
</tr>
<tr>
<td><p>Stack RAM</p></td>
<td><p align=right style='text-align:right'>16</p></td>
<td><p>Dedicated stack RAM</p></td>
</tr>
<tr>
<td><p>0</p></td>
<td><p align=right style='text-align:right'>8</p></td>
<td><p>Force 00H on data bus</p></td>
</tr>
</table>
<h3>µ-Instruction Format</h3>
<p>
The Mark 1 is a micro-programmed machine with a highly encoded "vertical" microcode.
The microinstruction (µ) is only 8-bits wide.
One normally thinks in terms of "horizontal" microcodes, which are wider and less encoded.
Some are very wide indeed.
The Mark 1 is more like a RISC processor.
</p>
<p>The 8-bit µ-instruction (µ) is encoded as follows:</p>
<TABLE BORDER WIDTH=550>
<TR>
<TD></TD>
<TD WIDTH="7%">µ7</TD>
<TD WIDTH="7%">µ6</TD>
<TD WIDTH="7%">µ5</TD>
<TD WIDTH="7%">µ4</TD>
<TD WIDTH="7%">µ3</TD>
<TD WIDTH="7%">µ2</TD>
<TD WIDTH="7%">µ1</TD>
<TD WIDTH="7%">µ0</TD>
</TR>
<TR>
<TD>Move LSB</TD>
<TD>0</TD>
<TD>0</TD>
<TD COLSPAN=3>Source</TD>
<TD COLSPAN=3>Destination</TD>
</TR>
<TR>
<TD>Move MSB</TD>
<TD>0</TD>
<TD>1</TD>
<TD COLSPAN=3>Source</TD>
<TD COLSPAN=3>Destination</TD>
</TR>
<TR>
<TD>Decrement</TD>
<TD>1</TD>
<TD>0</TD>
<TD>0</TD>
<TD>0</TD>
<TD>0</TD>
<TD>0</TD>
<TD COLSPAN=2>Register</TD>
</TR>
<TR>
<TD>Disable IRQ</TD>
<TD>1</TD>
<TD>0</TD>
<TD>0</TD>
<TD>0</TD>
<TD>0</TD>
<TD>1</TD>
<TD>x</TD>
<TD>x</TD>
</TR>
<TR>
<TD>Increment</TD>
<TD>1</TD>
<TD>0</TD>
<TD>0</TD>
<TD>0</TD>
<TD>1</TD>
<TD>0</TD>
<TD COLSPAN=2>Register</TD>
</TR>
<TR>
<TD>Enable IRQ</TD>
<TD>1</TD>
<TD>0</TD>
<TD>0</TD>
<TD>0</TD>
<TD>1</TD>
<TD>1</TD>
<TD>x</TD>
<TD>x</TD>
</TR>
<TR>
<TD>Jump Direct (zero page)</TD>
<TD>1</TD>
<TD>0</TD>
<TD>0</TD>
<TD>1</TD>
<TD COLSPAN=4>Address</TD>
</TR>
<TR>
<TD>Set ALU function</TD>
<TD>1</TD>
<TD>0</TD>
<TD>1</TD>
<TD>0</TD>
<TD COLSPAN=4>Function</TD>
</TR>
<TR>
<TD>Jump Indirect (µPC←OP*16)</TD>
<TD>1</TD>
<TD>0</TD>
<TD>1</TD>
<TD>1</TD>
<TD>x</TD>
<TD>x</TD>
<TD>x</TD>
<TD>x</TD>
</TR>
<TR>
<TD>Conditional skip</TD>
<TD>1</TD>
<TD>1</TD>
<TD COLSPAN=2>Test</TD>
<TD COLSPAN=4>Distance</TD>
</TR>
</TABLE>
<p>The source and destination fields of the move instructions are coded as follows:</p>
<table border width=320>
<tr><td></td><td>Destination</td><td>Source</td></tr>
<tr><td>000</td><td>W</td><td>W</td></tr>
<tr><td>001</td><td>IP</td><td>IP</td></tr>
<tr><td>010</td><td>TOS</td><td>TOS</td></tr>
<tr><td>011</td><td>R</td><td>R</td></tr>
<tr><td>100</td><td>Memory[W]</td><td>Memory[W]</td></tr>
<tr><td>101</td><td>OP</td><td>Memory[IP]</td></tr>
<tr><td>110</td><td>ALU input A</td><td>Zero</td></tr>
<tr><td>111</td><td>ALU input B</td><td>ALU output</td></tr>
</table>
<small>TOS = Top of parameter stack; R = Top of return stack</small>
<p>The Mark 1 executes 1 µ-instruction per clock cycle (1MHz).</p>
<p>Decoding is done centrally using 74HC138 1-of-8 decoders.
Decoded control signals are distributed via the back plane.
Simple gating is then required at card level to complete the decoding.</p>
<p>The conditional is a skip not a branch.
It inhibits loading of another µ-instruction for a specified number of cycles if the test is true.
The skip distance is decremented to zero at which point normal execution resumes.</p>
<p>The "µPC←OP*16" instruction (1011xxxx) a.k.a. XOP loads the uppermost 8-bits of the program counter (µPC) from the operand register.
It's a form of indirect jump.</p>
<p>The other jump instruction (1001xxxx) has a 4-bit operand and can only reach the first 16 bytes of the µ-ROM.</p>
<p>
The 74181-based ALU requires 8 control signals.
These are decoded from the 4-bit ALU function field in the µ-instruction using a 7x16 diode matrix ROM.
The shaded squares indicate positions where diodes are fitted:</p>
<table border=1 cellspacing=0 cellpadding=0 style='border-collapse:collapse;
border:none;mso-border-alt:solid windowtext .5pt;mso-padding-alt:0in 5.4pt 0in 5.4pt'>
<tr>
<td width=57 valign=top style='width:42.6pt;border:solid windowtext .5pt;
padding:0in 5.4pt 0in 5.4pt'>
</td>
<td width=57 valign=top style='width:42.65pt;border:solid windowtext .5pt;'>
<p align=center style='text-align:center'>OP</p>
</td>
<td width=57 valign=top style='width:42.65pt;border:solid windowtext .5pt;'>
<p align=center style='text-align:center'>S0</p>
</td>
<td width=57 valign=top style='width:42.65pt;border:solid windowtext .5pt;'>
<p align=center style='text-align:center'>S1</p>
</td>
<td width=57 valign=top style='width:42.65pt;border:solid windowtext .5pt;'>
<p align=center style='text-align:center'>S2</p>
</td>
<td width=57 valign=top style='width:42.65pt;border:solid windowtext .5pt;'>
<p align=center style='text-align:center'>S3</p>
</td>
<td width=57 valign=top style='width:42.65pt;border:solid windowtext .5pt;'>
<p align=center style='text-align:center'>M</p>
</td>
<td width=57 valign=top style='width:42.65pt;border:solid windowtext .5pt;'>
<p align=center style='text-align:center'>FLAG</p>
</td>
<td width=57 valign=top style='width:42.65pt;border:solid windowtext .5pt;'>
<p align=center style='text-align:center'>D6</p>
</td>
<td width=57 valign=top style='width:42.65pt;border:solid windowtext .5pt;'>
<p align=center style='text-align:center'>D7</p>
</td>
</tr>
<tr>
<td width=57>0</td>
<td width=57>ADD</td>
<td width=57>1</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57>1</td>
<td width=57 style='background:#E5E5E5'>L</td>
<td width=57>x</td>
<td width=57>H</td>
<td width=57>H</td>
</tr>
<tr>
<td>1</td>
<td width=57>ADC</td>
<td width=57>1</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57>1</td>
<td width=57 style='background:#E5E5E5'>L</td>
<td width=57>x</td>
<td width=57>x</td>
<td width=57 style='background:#E5E5E5'>L</td>
</tr>
<tr>
<td width=57>2</td>
<td width=57>SUB</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57>1</td>
<td width=57>1</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57 style='background:#E5E5E5'>L</td>
<td width=57>x</td>
<td width=57 style='background:#E5E5E5'>L</td>
<td width=57>H</td>
</tr>
<tr>
<td>3</td>
<td width=57>SBB</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57>1</td>
<td width=57>1</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57 style='background:#E5E5E5'>L</td>
<td width=57>H</td>
<td width=57>x</td>
<td width=57 style='background:#E5E5E5'>L</td>
</tr>
<tr>
<td width=57>4</td>
<td width=57>ASL</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57>1</td>
<td width=57>1</td>
<td width=57 style='background:#E5E5E5'>L</td>
<td width=57>x</td>
<td width=57>H</td>
<td width=57>H</td>
</tr>
<tr>
<td width=57>5</td>
<td width=57>ROL</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57>1</td>
<td width=57>1</td>
<td width=57 style='background:#E5E5E5'>L</td>
<td width=57>x</td>
<td width=57>x</td>
<td width=57 style='background:#E5E5E5'>L</td>
</tr>
<tr>
<td width=57>6</td>
</tr>
<tr>
<td width=57>7</td>
</tr>
<tr>
<td width=57>8 (a)</td>
<td width=57>0<</td>
<td width=57>1</td>
<td width=57>1</td>
<td width=57>1</td>
<td width=57>1</td>
<td width=57>H</td>
<td width=57 style='background:#E5E5E5'>L</td>
<td width=57>x</td>
<td width=57>x</td>
</tr>
<tr>
<td width=57>8 (b)</td>
<td width=57>A</td>
<td width=57>1</td>
<td width=57>1</td>
<td width=57>1</td>
<td width=57>1</td>
<td width=57>H</td>
<td width=57>x</td>
<td width=57>x</td>
<td width=57>x</td>
</tr>
<tr>
<td width=57>9</td>
<td width=57>B</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57>1</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57>1</td>
<td width=57>H</td>
<td width=57>x</td>
<td width=57>x</td>
<td width=57>x</td>
</tr>
<tr>
<td width=57>10</td>
<td width=57>AND</td>
<td width=57>1</td>
<td width=57>1</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57>1</td>
<td width=57>H</td>
<td width=57>x</td>
<td width=57>x</td>
<td width=57>x</td>
</tr>
<tr>
<td width=57>11</td>
<td width=57>OR</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57>1</td>
<td width=57>1</td>
<td width=57>1</td>
<td width=57>H</td>
<td width=57>x</td>
<td width=57>x</td>
<td width=57>x</td>
</tr>
<tr>
<td width=57>12</td>
<td width=57>NOT</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57>H</td>
<td width=57 style='background:#E5E5E5'>L</td>
<td width=57>x</td>
<td width=57>x</td>
</tr>
<tr>
<td width=57>13</td>
<td width=57>XOR</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57>1</td>
<td width=57>1</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57>H</td>
<td width=57>x</td>
<td width=57>x</td>
<td width=57>x</td>
</tr>
<tr>
<td width=57>14</td>
<td width=57>A=B</td>
<td width=57>1</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57 style='background:#E5E5E5'>0</td>
<td width=57>1</td>
<td width=57>H</td>
<td width=57>x</td>
<td width=57>x</td>
<td width=57>x</td>
</tr>
<tr>
<td width=57>15</td>
</tr>
</table>
<p>The control signals are transmitted from the diode matrix to the ALU via the data bus.</p>
<p>M is hard-wired to µ3.</p>
<p>D6 and D7 control the carry input as follows:</p>
<table border=1>
<tr>
<td>D6</td>
<td>D7</td>
<td>Carry IN</td>
</tr>
<tr>
<td>X</td>
<td>L</td>
<td>Previous carry OUT</td>
</tr>
<tr>
<td>H</td>
<td>H</td>
<td>0</td>
</tr>
<tr>
<td>L</td>
<td>H</td>
<td>1</td>
</tr>
</table>
<p>FLAG selects sign or overflow testing.
Sign testing routes the most significant bit of the ALU result to the conditional test multiplexer.
Overflow testing required the addition of a quad-XOR gate.
The 74181 does not generate an overflow signal (the later 382 variant does).
This was not used in the end because FORTH implements signed comparison by testing the sign of the result after subtraction.</p>
<h3>Backplane</h3>
<p>The Mark 1 is housed in a 3U 19"
IEC297 sub-rack with a 64-way DIN 41612 backplane.
The bus layout is shown below.
The "A" row resembles a standard 8-bit microprocessor bus.
The "C" row carries the µ-instruction and various decoded control signals.
The fully-bussed pins (1, 2, 31, & 32) carry power supply and clocks.</p>
<table border=1 cellspacing=0 cellpadding=0 style='border-collapse:collapse;
border:none;mso-border-alt:solid windowtext .5pt;mso-padding-alt:0in 5.4pt 0in 5.4pt'>
<tr>
<td width=234 colspan=3><h2>A</h2></td>
<td width=321 colspan=4><h2>C</h2></td>
</tr>
<tr>
<td width=45><p>1</p></td>
<td width=510 colspan=6><p>+5V</p></td>
</tr>
<tr>
<td width=45><p>2</p></td>
<td width=510 colspan=6><p>CLK1</p></td>
</tr>
<tr>
<td width=45><p>3</p></td>
<td width=57><p>D0</p></td>
<td width=132 rowspan=8><h2>DATA</h2></td>
<td width=47><p>3</p></td>
<td width=95><p>µ0</p></td>
<td width=180 colspan=2 rowspan=8 style='text-align:center'><h2>µ</h2>
</td>
</tr>
<tr>
<td width=45>
<p>4</p>
</td>
<td width=57>
<p>D1</p>
</td>
<td width=47>
<p>4</p>
</td>
<td width=95>
<p>µ1</p>
</td>
</tr>
<tr>
<td width=45>
<p>5</p>
</td>
<td width=57>
<p>D2</p>
</td>
<td width=47>
<p>5</p>
</td>
<td width=95>
<p>µ2</p>
</td>
</tr>
<tr>
<td width=45>
<p>6</p>
</td>
<td width=57>
<p>D3</p>
</td>
<td width=47>
<p>6</p>
</td>
<td width=95>
<p>µ3</p>
</td>
</tr>
<tr>
<td width=45>
<p>7</p>
</td>
<td width=57>
<p>D4</p>
</td>
<td width=47>
<p>7</p>
</td>
<td width=95>
<p>µ4</p>
</td>
</tr>
<tr>
<td width=45>
<p>8</p>
</td>
<td width=57>
<p>D5</p>
</td>
<td width=47>
<p>8</p>
</td>
<td width=95>
<p>µ5</p>
</td>
</tr>
<tr>
<td width=45>
<p>9</p>
</td>
<td width=57>
<p>D6</p>
</td>
<td width=47>
<p>9</p>
</td>
<td width=95>
<p>µ6</p>
</td>
</tr>
<tr>
<td width=45>
<p>10</p>
</td>
<td width=57>
<p>D7</p>
</td>
<td width=47>
<p>10</p>
</td>
<td width=95>
<p>µ7</p>
</td>
</tr>
<tr>
<td width=45>
<p>11</p>
</td>
<td width=57>
<p>A0</p>
</td>
<td width=132 rowspan=16><h2>ADDRESS</h2></td>
<td width=47>
<p>11</p>
</td>
<td width=95>
<p>µ210=101</p>
</td>
<td width=180 colspan=2>
<p>Dest=OP</p>
</td>
</tr>
<tr>
<td width=45>
<p>12</p>
</td>
<td width=57>
<p>A1</p>
</td>
<td width=47>
<p>12</p>
</td>
<td width=95>
<p>µ210=110</p>
</td>
<td width=180 colspan=2>
<p>Dest=ALU A</p>
</td>
</tr>
<tr>
<td width=45>
<p>13</p>
</td>
<td width=57>
<p>A2</p>
</td>
<td width=47>
<p>13</p>
</td>
<td width=95>
<p>µ210=111</p>
</td>
<td width=180 colspan=2>
<p>Dest=ALU B</p>
</td>
</tr>
<tr>
<td width=45>
<p>14</p>
</td>
<td width=57>
<p>A3</p>
</td>
<td width=47>
<p>14</p>
</td>
<td width=95>
<p>µ210=000</p>
</td>
<td width=180 colspan=2>
<p>W</p>
</td>
</tr>
<tr>
<td width=45>
<p>15</p>
</td>
<td width=57>
<p>A4</p>
</td>
<td width=47>
<p>15</p>
</td>
<td width=95>
<p>µ210=001</p>
</td>
<td width=180 colspan=2>
<p>IP</p>
</td>
</tr>
<tr>
<td width=45>
<p>16</p>
</td>
<td width=57>
<p>A5</p>
</td>
<td width=47>
<p>16</p>
</td>
<td width=95>
<p>µ210=010</p>
</td>
<td width=113>
<p>Dest=TOS</p>
</td>
<td width=66>
<p>PSP</p>
</td>
</tr>
<tr>
<td width=45>
<p>17</p>
</td>
<td width=57>
<p>A6</p>
</td>
<td width=47>
<p>17</p>
</td>
<td width=95>
<p>µ210=011</p>
</td>
<td width=113>
<p>Dest=R</p>
</td>
<td width=66>
<p>RSP</p>
</td>
</tr>
<tr>
<td width=45>
<p>18</p>
</td>
<td width=57>
<p>A7</p>
</td>
<td width=47>
<p>18</p>
</td>
<td width=95>
<p>SRC=111</p>
</td>
<td width=180 colspan=2>
<p>ALU</p>
</td>
</tr>
<tr>
<td width=45>
<p>19</p>
</td>
<td width=57>
<p>A8</p>
</td>
<td width=47>
<p>19</p>
</td>
<td width=95>
<p>SRC=000</p>
</td>
<td width=180 colspan=2>
<p>W</p>
</td>
</tr>
<tr>
<td width=45>
<p>20</p>
</td>
<td width=57>
<p>A9</p>
</td>
<td width=47>
<p>20</p>
</td>
<td width=95>
<p>SRC=001</p>
</td>
<td width=180 colspan=2>
<p>IP</p>
</td>
</tr>
<tr>
<td width=45>
<p>21</p>
</td>
<td width=57>
<p>A10</p>
</td>
<td width=47>
<p>21</p>
</td>
<td width=95>
<p>SRC=010</p>
</td>
<td width=180 colspan=2>
<p>TOS</p>
</td>
</tr>
<tr>
<td width=45>
<p>22</p>
</td>
<td width=57>
<p>A11</p>
</td>
<td width=47>
<p>22</p>
</td>
<td width=95>
<p>SRC=011</p>
</td>
<td width=180 colspan=2>
<p>R</p>
</td>
</tr>
<tr>
<td width=45>
<p>23</p>
</td>
<td width=57>
<p>A12</p>
</td>
<td width=47>
<p>23</p>
</td>
<td width=95>
<p>µ=1000xxxx</p>
</td>
<td width=180 colspan=2>
<p>INC / DEC</p>
</td>
</tr>
<tr>
<td width=45>
<p>24</p>
</td>
<td width=57>
<p>A13</p>
</td>
<td width=47>
<p>24</p>
</td>
<td width=95>
<p>µ=1001xxxx</p>
</td>
<td width=180 colspan=2>
<p>JUMP #</p>
</td>
</tr>
<tr>
<td width=45>
<p>25</p>
</td>
<td width=57>
<p>A14</p>
</td>
<td width=47>
<p>25</p>
</td>
<td width=95>
<p>µ=1010xxxx</p>
</td>
<td width=180 colspan=2>
<p>ALU Function</p>
</td>
</tr>
<tr>
<td width=45>
<p>26</p>
</td>
<td width=57>
<p>A15</p>
</td>
<td width=47>
<p>26</p>
</td>
<td width=95>
<p>µ=1011xxxx</p>
</td>
<td width=180 colspan=2>
<p>JUMP OP</p>
</td>
</tr>
<tr>
<td width=45>
<p>27</p>
</td>
<td width=57>
<p>MR</p>
</td>
<td width=132>
<p>Memory Read</p>
</td>
<td width=47>
<p>27</p>
</td>
<td width=95>
<p>M@IP</p>
</td>
<td width=180 colspan=2>
<p>Address = IP</p>
</td>
</tr>
<tr>
<td width=45>
<p>28</p>
</td>
<td width=57>
<p>MW</p>
</td>
<td width=132>
<p>Memory Write</p>
</td>
<td width=47>
<p>28</p>
</td>
<td width=95>
<p>M@W</p>
</td>
<td width=180 colspan=2>
<p>Address = W</p>
</td>
</tr>
<tr>
<td width=45>
<p>29</p>
</td>
<td width=57>
<p>RESET</p>
</td>
<td width=132>
</td>
<td width=47>
<p>29</p>
</td>
<td width=95>
<p>LO</p>
</td>
<td width=180 colspan=2>
<p>LO-byte</p>
</td>
</tr>
<tr>
<td width=45>
<p>30</p>
</td>
<td width=57>
<p>IRQ</p>
</td>
<td width=132>
</td>
<td width=47>
<p>30</p>
</td>
<td width=95>
<p>HI</p>
</td>
<td width=180 colspan=2>
<p>HI-byte</p>
</td>
</tr>
<tr>
<td width=45>
<p>31</p>
</td>
<td width=510 colspan=6>
<p>CLK2</p>
</td>
</tr>
<tr>
<td width=45>
<p>32</p>
</td>
<td width=510 colspan=6>
<p>0V</p>
</td>
</tr>
</table>
<p>The clocks are in quadrature.
CLK1 <strike>rises</strike>falls at the beginning of the machine cycle.
CLK2 is used to generate write-enable signals for the RAM and I/O.</p>
<p>All control signals are active low.</p>
<h3>Microcode sequencer</h3>
<p>The sequencer has a 12-bit micro-program counter (µPC).
The uppermost 8-bits can be loaded from the OP Latch, effecting a jump to one of 256 microcode routines.
Each routine starts on a 16-byte µ-page boundary.</p>
<p><img width=554 height=152 src="IMG/Sequencer.gif" alt="Sequencer block diagram"></p>
<p>Opcodes, the machine language of the macro-machine, are loaded into the OP latch from the data bus under
micro-program control. They can be fetched from memory using one of the index registers as a program counter.
A simple <i>micro-interpreter</i> consists of the following 3 µ-instructions:</p>
<table bgcolor="#e0e0e0" width="100%"><tr><td><pre>
OP←Memory[Index] Load OP latch from memory
Index←Index+1 Increment "program counter"
µPC←OP*16 Execute microcode routine
</pre></td></tr></table>
<p>How do these 3 µ-instructions get executed?
One possibility is to append them to the end of every µ-routine.
A slower but more space-efficient option is to append a jump to them.
Mark 1 microcode has a jump specifically for this.</p>
<h3>Virtual machine</h3>
<p>It's possible to customise the the instruction set and thereby create a "virtual machine".</p>
<p>Opcodes can have zero, one, or more operands.
The µ-routines consume operands by incrementing the program counter.
During development, I used this two-operand POKE instruction to test the UART.
This expects a 16-bit address followed by a data byte:</p>
<table bgcolor="#e0e0e0" width="100%"><tr><td><pre>
Poke: Index.Lo ← Memory [PC] ; Address LO
PC ← PC+1
Index.Hi ← Memory [PC] ; Address HI
PC ← PC+1
Temp ← Memory [PC] ; Data byte
PC ← PC+1
Memory [Index] ← Temp ; Do the POKE
Jump Next
</pre></td></tr></table>
<p>The Mark 1 was designed to support the FORTH virtual machine.
The following FORTH primitives are micro-programmed:</p>
<tt>
EXIT LIT EXECUTE
BRANCH 0BRANCH (LOOP) (DO) U* U/ AND OR XOR LEAVE R> >R R 0= 0< + D+
MINUS DMINUS OVER DROP SWAP DUP @ C@ ! C! (DOES)
</tt>
<h3>Forth model</h3>
<p>My original plan was to build a subroutine-threaded FORTH. High-level definitions were to be called explicitly, primitives were to be compiled inline:</p>
<table bgcolor="#e0e0e0" width="100%">
<tr>
<td width=300 valign=top>
<table>
<tr><td><tt>: Foo DUP SWAP DROP ;</tt></td></tr>
<tr><td> </td></tr>
<tr><td><tt>: Bar OVER Foo ROT ;</tt></td></tr>
</table>
</td>
<td valign=top>
<table>
<tr><td><tt>Foo:</tt></td><td><tt>DB OP_DUP, OP_SWAP, OP_DROP, OP_EXIT</tt></td></tr>
<tr><td> </td></tr>
<tr><td><tt>Bar:</tt></td><td><tt>DB OP_OVER, OP_CALL</tt></td></tr>
<tr><td> </td><td><tt>DW Foo</tt></td></tr>
<tr><td> </td><td><tt>DB OP_ROT, OP_EXIT</tt></td></tr>
</table>
</td>
</tr>
</table>
<p>I abandoned this idea because most FORTHs use indirect threading and I wanted a full-featured standard FORTH with all the usual compiler facilities.
Many compiling words are tightly coupled to the indirectly threaded model.</p>
<p>Indirectly threaded code is a list of execution tokens.
An execution token is a code field address.
The code field is a pointer to machine code.
This presented a problem on the mark 1 because it has separate macro and micro address spaces.
What should go in the code field?
My solution was to shorten it to 1 byte and store the opcode:</p>
<table border=1 cellspacing=0 cellpadding=0 style='border-collapse:collapse;
border:none;mso-border-alt:solid windowtext .5pt;mso-padding-alt:0in 5.4pt 0in 5.4pt'>
<tr>
<td>
<p align=center style='text-align:center'><br><b>Subroutine-threaded</b><br> </p>
</td>
<td>
<p align=center style='text-align:center'><br><b>Indirectly-threaded</b><br> </p>
</td>
<td>
<p align=center style='text-align:center'><br><b>Mark 1</b><br> </p>
</td>
</tr>
<tr>
<td width=210 valign=top>
<pre>
Foo: DB OP_DUP
DB OP_SWAP
DB OP_DROP
DB OP_EXIT
Bar: DB OP_OVER
DB OP_CALL
DW Foo
DB OP_ROT
DB OP_EXIT
</pre>
</td>
<td width=210 valign=top>
<pre>
cfa_Foo: DW Enter
pfa_Foo: DW cfa_DUP
DW cfa_SWAP
DW cfa_DROP
DW cfa_Exit
cfa_Bar: DW Enter
pfa_Bar: DW cfa_OVER
DW cfa_Foo
DW cfa_ROT
DW cfa_Exit
cfa_Exit: DW pfa_Exit
pfa_Exit: .. code ..
cfa_DUP: DW pfa_DUP
pfa_DUP: .. code ..
</pre>
</td>
<td width=210 valign=top>
<pre>
cfa_Foo: DB OP_ENTER
pfa_Foo: DW cfa_DUP
DW cfa_SWAP
DW cfa_DROP
DW cfa_Exit
cfa_Bar: DB OP_ENTER
pfa_Bar: DW cfa_OVER
DW cfa_Foo
DW cfa_ROT
DW cfa_Exit
cfa_Exit: DB OP_EXIT
cfa_DUP: DB OP_DUP
cfa_SWAP: DB OP_SWAP
</pre>
</td>
</tr>
</table>
<p>In Mark 1 assembly language, the FORTH <i>inner interpreter</i> (NEXT) looks like this:</p>
<table bgcolor="#e0e0e0" width="100%"><tr><td><pre>
NEXT: mov w.l, [ip] ; W ← XT, IP ← IP+2
inc ip
mov w.h, [ip]
inc ip
mov op, [w] ; OP ← [CFA]
inc w ; W ← PFA
xop ; µPC ← OP*16
</pre></td></tr></table>
<p>It follows the convention of invoking primitives with the PFA in W as required by ENTER:</p>
<table bgcolor="#e0e0e0" width="100%"><tr><td><pre>
ENTER: dec rsp ; Push IP
mov rs, ip
mov ip, w ; IP ← PFA
jmp NEXT
EXIT: mov ip, rs ; Pop IP
inc rsp
jmp NEXT
</pre></td></tr></table>
<p><i>Note: My microcode assembler expands 16-bit moves into a pair of 8-bit µ-instructions.</i></p>
<p>Notice how the last 3 µ-instructions in NEXT resemble the simple micro-interpreter described earlier.
This was used to advantage in the implementation of multiplication and division.</p>
<h3>Math primitives</h3>
<p>The math primitives U* and U/ were split into 3 opcodes to optimise performance:</p>
<table bgcolor="#e0e0e0" width="100%"><tr><td><pre>
cfa_UMUL: DB OP_MUL_BEGIN, 16 DUP(OP_MUL_BIT), OP_MUL_END
cfa_UDIV: DB OP_DIV_BEGIN, 16 DUP(OP_DIV_BIT), OP_DIV_END
</pre></td></tr></table>
<p>I use the Microsoft Assembler (MASM) to create ROM images for the macro memory space.
The syntax "16 DUP()" tells MASM to repeat the enclosed byte 16 times.
It's equivalent to:</p>
<table bgcolor="#e0e0e0" width="100%"><tr><td><pre>
cfa_Uxxx: DB OP_XXX_BEGIN
pfa_Uxxx: DB OP_XXX_BIT, OP_XXX_BIT, OP_XXX_BIT, OP_XXX_BIT
DB OP_XXX_BIT, OP_XXX_BIT, OP_XXX_BIT, OP_XXX_BIT
DB OP_XXX_BIT, OP_XXX_BIT, OP_XXX_BIT, OP_XXX_BIT
DB OP_XXX_BIT, OP_XXX_BIT, OP_XXX_BIT, OP_XXX_BIT
DB OP_XXX_END
</pre></td></tr></table>
<p>First, NEXT calls _BEGIN with the address of the PFA (i.e. the first _BIT) in W.
_BEGIN and _BIT end by jumping to the 3<sup>rd</sup> from last instruction in NEXT.
This executes _BIT 16 times incrementing W as it goes.
W acts as the loop counter or temporary program counter.
Finally, _END jumps to the high-level NEXT.
</p>
<h3>Power-on reset</h3>
<p>Reset forces µPC to 000H.
The first 8 bytes of the µ-ROM contain the following:</p>
<table bgcolor="#e0e0e0" width="100%"><tr><td><pre>
RESET: mov w, 0 ; W ← 0002h
inc w
inc w
dis ; Disable IRQ
mov ip.l, [w] ; IP ← Cold start vector
inc w
mov ip.h, [w]
Next: ...
</pre></td></tr></table>
<p>This initialises the high-level instruction pointer (IP) from a cold start vector at location 0002h in main memory.
It then drops through into NEXT.</p>
<p>The high-level ROM assembly begins like this:</p>
<table bgcolor="#e0e0e0" width="100%"><tr><td><pre>
.Model Tiny
.Code
Include OPS.INC
ORG 0
DW 0FFFFh ; Reserved for IRQ vector
DW Reset ; Cold-start vector
Reset DW UART_Init
...
</pre></td></tr></table>
<p>Offset 0000h is reserved for the interrupt vector.</p>
<h3>Software development</h3>
I wrote a single-pass assembler for Mark 1 microcode.
This generates Intel Hex images of the µ-ROM, and a list of opcodes formatted as MASM EQU statements.
High-level ROMs are created using the Microsoft MASM assembler.
The /TINY command-line switch forces linker version 6.15 to generate binary .COM files,
which are then converted to Intel Hex.
<p>
Burning EPROMs soon became tedious and I wrote a ROM-resident monitor to accept Intel Hex downloads via the serial port.
This is how FORTH was originally loaded; but the latest version is ROM-resident.
I now have a PC-based simulator for debugging, FORTH is fairly stable, and there's less need for the monitor.
<p>
My original FORTH, posted here in 2003,
reversed the stack order of quotients and remainders left by division words.
This has been corrected.
Here's the latest code:
<p>
<table>
<tr><td><a href="SRC/Asm.cpp">Asm.cpp</a></td><td width=50></td><td>µ Assembler</td><td align=center valign=middle rowspan=8 width=300><font size=5 color=blue><b>UPDATED</b></font><br><font size=3 color=blue>December 2006</font></td></tr>
<tr><td><a href="SRC/ROM.ASM">ROM.ASM</a> <a href="SRC/ROM.HEX">ROM.HEX</a></td><td></td><td>µ-ROM</td></tr>
<tr><td><a href="SRC/OPS.INC">OPS.INC</a></td><td></td><td>MASM include file</td></tr>
<tr><td><a href="SRC/Boot.ASM">Boot.ASM</a></td><td></td><td>Monitor</td></tr>
<tr><td><a href="SRC/Forth.ASM">Forth.ASM</a> <a href="SRC/Forth.HEX">Forth.HEX</a></td><td></td><td>fig-FORTH</td></tr>
<tr><td><a href="SRC/Bin2Hex.cpp">Bin2Hex.cpp</a></td><td></td><td>Binary to Intel Hex conversion tool</td></tr>
<tr><td><a href="SRC/dotbat">build.bat</a></td><td></td><td>Build script</td></tr>
<tr><td><a href="SRC/Sim.zip">Sim.zip</a></td><td></td><td>Simulator</td></tr>
</table>
<p>
This implementation of fig-FORTH is based on the original May 1979 Installation Manual for the 6502 by Bill Ragsdale.
It deviates from the standard in the following ways:
<ul>
<li>ANSI names for header navigation words e.g. PFA>CFA</li>
<li>?DUP instead of -DUP</li>
<li>Vocabulary support omitted</li>
<li>CFA is 1-byte wide</li>
</ul>
Most fig-compliant code should run with little or no alteration.
See the examples (e.g. DOER-MAKE) in the simulator zip.
<h3>STOP PRESS - Mark 1 Cloned!</h3>
Aaron Tang, a student at the Universiti Teknologi Petronas in Malaysia, has built a Mark 1 FORTH Computer;
and one of his classmates, Aidil Jazmi, has cloned Bill Buzbee's Magic-1.
Visit their <a href="http://www.aidilj.com/homemadecpu">UTP Cloners</a> page to read all about it.
Aaron first contacted me in March 2006 with a few questions, and by October 2006 his computer was working.
He used the same eurocards, mounted in a similar rack to mine, and followed my layout very closely; but, whereas I mostly used pen-wiring, Aaron's computer is wire-wrapped.
Well done to both Aaron and Aidil.
<a name="More"></a>
<h3>More homemade computers</h3>
<p>You'll find more homemade computers on my <a href="../Links.htm#Homemade">links</a> page.
<br>Please visit the other sites on the web ring (below) and don't forget to have a look at my <a href="../Mk2/Architecture.htm">Mark 2 FORTH Computer</a>.
<hr>
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|
Mark 1 FORTH Computer
# Mark 1 FORTH Computer
| | | | | |
| --- | --- | --- | --- | --- |
| **Architecture** | [Photos](Photos.htm) | [Schematics](Schematics.htm) | [More homemade computers](#More) | [Back to projects](../Projects.htm) |
---
This computer has no microprocessor. The CPU is discrete TTL logic.
I bought my first TTL data book in 1979.
I was learning 6502 machine code at the time and dreamt of building a simple TTL CPU.
I sketched some circuit ideas; but that was as far as it went.
Now, 25 years later, I've finally done it!
Working evenings and weekends, the Mark 1 took a month to design, 4 months to build and a month to program.
Here's the result:
**Myself** is a standard way to implement recursion in FORTH.
Even if you're not familiar with FORTH, if I tell you it's a stack-based language, and uses reverse polish notation (RPN), you might be able to figure out how this works.
### Specification
| | |
| --- | --- |
| Technology | TTL (HCMOS) |
| Clock | 1 MHz |
| Data Bus | 8-Bit |
| Address Bus | 16-Bit |
| Software | [fig-FORTH](../FORTH.htm) |
### System Overview
| | | | |
| --- | --- | --- | --- |
| Module | Width(bits) | Description | Comments |
| ALU | 8 | Arithmetic and logic unit |
The ALU data path is a bottleneck.
It takes four clock cycles to load the inputs, set the ALU function, and read the result.
This is the least satisfactory aspect of the whole design.
|
| OP | 8 | Operand register |
OP is loaded into the uppermost 8 bits of µPC.
The lower 4 bits are reset to zero.
|
| µPC | 12 | Microcode program counter |
| W | 16 | FORTH Working register |
The 16-bit index registers, IP and W, support increment, decrement, and can address memory.
|
| IP | 16 | FORTH Instruction Pointer |
| PSP | 8 | FORTH Parameter stack pointer |
The stack pointers, RSP and PSP, are 8-bit up/down counters feeding the A1-A9 address inputs of the stack RAMs.
The least significant address input (A0) selects the upper or lower byte.
Logically, the stacks are 16-bits wide by 256 words deep.
The FORTH word length is 16 bits.
|
| RSP | 8 | FORTH Return stack pointer |
| Stack RAM | 16 | Dedicated stack RAM |
| 0 | 8 | Force 00H on data bus |
### µ-Instruction Format
The Mark 1 is a micro-programmed machine with a highly encoded "vertical" microcode.
The microinstruction (µ) is only 8-bits wide.
One normally thinks in terms of "horizontal" microcodes, which are wider and less encoded.
Some are very wide indeed.
The Mark 1 is more like a RISC processor.
The 8-bit µ-instruction (µ) is encoded as follows:
| | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | µ7 | µ6 | µ5 | µ4 | µ3 | µ2 | µ1 | µ0 |
| Move LSB | 0 | 0 | Source | Destination |
| Move MSB | 0 | 1 | Source | Destination |
| Decrement | 1 | 0 | 0 | 0 | 0 | 0 | Register |
| Disable IRQ | 1 | 0 | 0 | 0 | 0 | 1 | x | x |
| Increment | 1 | 0 | 0 | 0 | 1 | 0 | Register |
| Enable IRQ | 1 | 0 | 0 | 0 | 1 | 1 | x | x |
| Jump Direct (zero page) | 1 | 0 | 0 | 1 | Address |
| Set ALU function | 1 | 0 | 1 | 0 | Function |
| Jump Indirect (µPC←OP\*16) | 1 | 0 | 1 | 1 | x | x | x | x |
| Conditional skip | 1 | 1 | Test | Distance |
The source and destination fields of the move instructions are coded as follows:
| | | |
| --- | --- | --- |
| | Destination | Source |
| 000 | W | W |
| 001 | IP | IP |
| 010 | TOS | TOS |
| 011 | R | R |
| 100 | Memory[W] | Memory[W] |
| 101 | OP | Memory[IP] |
| 110 | ALU input A | Zero |
| 111 | ALU input B | ALU output |
TOS = Top of parameter stack; R = Top of return stack
The Mark 1 executes 1 µ-instruction per clock cycle (1MHz).
Decoding is done centrally using 74HC138 1-of-8 decoders.
Decoded control signals are distributed via the back plane.
Simple gating is then required at card level to complete the decoding.
The conditional is a skip not a branch.
It inhibits loading of another µ-instruction for a specified number of cycles if the test is true.
The skip distance is decremented to zero at which point normal execution resumes.
The "µPC←OP\*16" instruction (1011xxxx) a.k.a. XOP loads the uppermost 8-bits of the program counter (µPC) from the operand register.
It's a form of indirect jump.
The other jump instruction (1001xxxx) has a 4-bit operand and can only reach the first 16 bytes of the µ-ROM.
The 74181-based ALU requires 8 control signals.
These are decoded from the 4-bit ALU function field in the µ-instruction using a 7x16 diode matrix ROM.
The shaded squares indicate positions where diodes are fitted:
| | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | OP | S0 | S1 | S2 | S3 | M | FLAG | D6 | D7 |
| 0 | ADD | 1 | 0 | 0 | 1 | L | x | H | H |
| 1 | ADC | 1 | 0 | 0 | 1 | L | x | x | L |
| 2 | SUB | 0 | 1 | 1 | 0 | L | x | L | H |
| 3 | SBB | 0 | 1 | 1 | 0 | L | H | x | L |
| 4 | ASL | 0 | 0 | 1 | 1 | L | x | H | H |
| 5 | ROL | 0 | 0 | 1 | 1 | L | x | x | L |
| 6 |
| 7 |
| 8 (a) | 0< | 1 | 1 | 1 | 1 | H | L | x | x |
| 8 (b) | A | 1 | 1 | 1 | 1 | H | x | x | x |
| 9 | B | 0 | 1 | 0 | 1 | H | x | x | x |
| 10 | AND | 1 | 1 | 0 | 1 | H | x | x | x |
| 11 | OR | 0 | 1 | 1 | 1 | H | x | x | x |
| 12 | NOT | 0 | 0 | 0 | 0 | H | L | x | x |
| 13 | XOR | 0 | 1 | 1 | 0 | H | x | x | x |
| 14 | A=B | 1 | 0 | 0 | 1 | H | x | x | x |
| 15 |
The control signals are transmitted from the diode matrix to the ALU via the data bus.
M is hard-wired to µ3.
D6 and D7 control the carry input as follows:
| | | |
| --- | --- | --- |
| D6 | D7 | Carry IN |
| X | L | Previous carry OUT |
| H | H | 0 |
| L | H | 1 |
FLAG selects sign or overflow testing.
Sign testing routes the most significant bit of the ALU result to the conditional test multiplexer.
Overflow testing required the addition of a quad-XOR gate.
The 74181 does not generate an overflow signal (the later 382 variant does).
This was not used in the end because FORTH implements signed comparison by testing the sign of the result after subtraction.
### Backplane
The Mark 1 is housed in a 3U 19"
IEC297 sub-rack with a 64-way DIN 41612 backplane.
The bus layout is shown below.
The "A" row resembles a standard 8-bit microprocessor bus.
The "C" row carries the µ-instruction and various decoded control signals.
The fully-bussed pins (1, 2, 31, & 32) carry power supply and clocks.
| | |
| --- | --- |
| A | C |
| 1 | +5V |
| 2 | CLK1 |
| 3 | D0 | DATA | 3 | µ0 | µ |
| 4 | D1 | 4 | µ1 |
| 5 | D2 | 5 | µ2 |
| 6 | D3 | 6 | µ3 |
| 7 | D4 | 7 | µ4 |
| 8 | D5 | 8 | µ5 |
| 9 | D6 | 9 | µ6 |
| 10 | D7 | 10 | µ7 |
| 11 | A0 | ADDRESS | 11 | µ210=101 | Dest=OP |
| 12 | A1 | 12 | µ210=110 | Dest=ALU A |
| 13 | A2 | 13 | µ210=111 | Dest=ALU B |
| 14 | A3 | 14 | µ210=000 | W |
| 15 | A4 | 15 | µ210=001 | IP |
| 16 | A5 | 16 | µ210=010 | Dest=TOS | PSP |
| 17 | A6 | 17 | µ210=011 | Dest=R | RSP |
| 18 | A7 | 18 | SRC=111 | ALU |
| 19 | A8 | 19 | SRC=000 | W |
| 20 | A9 | 20 | SRC=001 | IP |
| 21 | A10 | 21 | SRC=010 | TOS |
| 22 | A11 | 22 | SRC=011 | R |
| 23 | A12 | 23 | µ=1000xxxx | INC / DEC |
| 24 | A13 | 24 | µ=1001xxxx | JUMP # |
| 25 | A14 | 25 | µ=1010xxxx | ALU Function |
| 26 | A15 | 26 | µ=1011xxxx | JUMP OP |
| 27 | MR | Memory Read | 27 | M@IP | Address = IP |
| 28 | MW | Memory Write | 28 | M@W | Address = W |
| 29 | RESET | | 29 | LO | LO-byte |
| 30 | IRQ | | 30 | HI | HI-byte |
| 31 | CLK2 |
| 32 | 0V |
The clocks are in quadrature.
CLK1 risesfalls at the beginning of the machine cycle.
CLK2 is used to generate write-enable signals for the RAM and I/O.
All control signals are active low.
### Microcode sequencer
The sequencer has a 12-bit micro-program counter (µPC).
The uppermost 8-bits can be loaded from the OP Latch, effecting a jump to one of 256 microcode routines.
Each routine starts on a 16-byte µ-page boundary.
Opcodes, the machine language of the macro-machine, are loaded into the OP latch from the data bus under
micro-program control. They can be fetched from memory using one of the index registers as a program counter.
A simple *micro-interpreter* consists of the following 3 µ-instructions:
| |
| --- |
|
```
OP←Memory[Index] Load OP latch from memory
Index←Index+1 Increment "program counter"
µPC←OP*16 Execute microcode routine
```
|
How do these 3 µ-instructions get executed?
One possibility is to append them to the end of every µ-routine.
A slower but more space-efficient option is to append a jump to them.
Mark 1 microcode has a jump specifically for this.
### Virtual machine
It's possible to customise the the instruction set and thereby create a "virtual machine".
Opcodes can have zero, one, or more operands.
The µ-routines consume operands by incrementing the program counter.
During development, I used this two-operand POKE instruction to test the UART.
This expects a 16-bit address followed by a data byte:
| |
| --- |
|
```
Poke: Index.Lo ← Memory [PC] ; Address LO
PC ← PC+1
Index.Hi ← Memory [PC] ; Address HI
PC ← PC+1
Temp ← Memory [PC] ; Data byte
PC ← PC+1
Memory [Index] ← Temp ; Do the POKE
Jump Next
```
|
The Mark 1 was designed to support the FORTH virtual machine.
The following FORTH primitives are micro-programmed:
EXIT LIT EXECUTE
BRANCH 0BRANCH (LOOP) (DO) U\* U/ AND OR XOR LEAVE R> >R R 0= 0< + D+
MINUS DMINUS OVER DROP SWAP DUP @ C@ ! C! (DOES)
### Forth model
My original plan was to build a subroutine-threaded FORTH. High-level definitions were to be called explicitly, primitives were to be compiled inline:
| | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
|
| |
| --- |
| : Foo DUP SWAP DROP ; |
| |
| : Bar OVER Foo ROT ; |
|
| | |
| --- | --- |
| Foo: | DB OP\_DUP, OP\_SWAP, OP\_DROP, OP\_EXIT |
| |
| Bar: | DB OP\_OVER, OP\_CALL |
| | DW Foo |
| | DB OP\_ROT, OP\_EXIT |
|
I abandoned this idea because most FORTHs use indirect threading and I wanted a full-featured standard FORTH with all the usual compiler facilities.
Many compiling words are tightly coupled to the indirectly threaded model.
Indirectly threaded code is a list of execution tokens.
An execution token is a code field address.
The code field is a pointer to machine code.
This presented a problem on the mark 1 because it has separate macro and micro address spaces.
What should go in the code field?
My solution was to shorten it to 1 byte and store the opcode:
| | | |
| --- | --- | --- |
| **Subroutine-threaded** | **Indirectly-threaded** | **Mark 1** |
|
```
Foo: DB OP_DUP
DB OP_SWAP
DB OP_DROP
DB OP_EXIT
Bar: DB OP_OVER
DB OP_CALL
DW Foo
DB OP_ROT
DB OP_EXIT
```
|
```
cfa_Foo: DW Enter
pfa_Foo: DW cfa_DUP
DW cfa_SWAP
DW cfa_DROP
DW cfa_Exit
cfa_Bar: DW Enter
pfa_Bar: DW cfa_OVER
DW cfa_Foo
DW cfa_ROT
DW cfa_Exit
cfa_Exit: DW pfa_Exit
pfa_Exit: .. code ..
cfa_DUP: DW pfa_DUP
pfa_DUP: .. code ..
```
|
```
cfa_Foo: DB OP_ENTER
pfa_Foo: DW cfa_DUP
DW cfa_SWAP
DW cfa_DROP
DW cfa_Exit
cfa_Bar: DB OP_ENTER
pfa_Bar: DW cfa_OVER
DW cfa_Foo
DW cfa_ROT
DW cfa_Exit
cfa_Exit: DB OP_EXIT
cfa_DUP: DB OP_DUP
cfa_SWAP: DB OP_SWAP
```
|
In Mark 1 assembly language, the FORTH *inner interpreter* (NEXT) looks like this:
| |
| --- |
|
```
NEXT: mov w.l, [ip] ; W ← XT, IP ← IP+2
inc ip
mov w.h, [ip]
inc ip
mov op, [w] ; OP ← [CFA]
inc w ; W ← PFA
xop ; µPC ← OP*16
```
|
It follows the convention of invoking primitives with the PFA in W as required by ENTER:
| |
| --- |
|
```
ENTER: dec rsp ; Push IP
mov rs, ip
mov ip, w ; IP ← PFA
jmp NEXT
EXIT: mov ip, rs ; Pop IP
inc rsp
jmp NEXT
```
|
*Note: My microcode assembler expands 16-bit moves into a pair of 8-bit µ-instructions.*
Notice how the last 3 µ-instructions in NEXT resemble the simple micro-interpreter described earlier.
This was used to advantage in the implementation of multiplication and division.
### Math primitives
The math primitives U\* and U/ were split into 3 opcodes to optimise performance:
| |
| --- |
|
```
cfa_UMUL: DB OP_MUL_BEGIN, 16 DUP(OP_MUL_BIT), OP_MUL_END
cfa_UDIV: DB OP_DIV_BEGIN, 16 DUP(OP_DIV_BIT), OP_DIV_END
```
|
I use the Microsoft Assembler (MASM) to create ROM images for the macro memory space.
The syntax "16 DUP()" tells MASM to repeat the enclosed byte 16 times.
It's equivalent to:
| |
| --- |
|
```
cfa_Uxxx: DB OP_XXX_BEGIN
pfa_Uxxx: DB OP_XXX_BIT, OP_XXX_BIT, OP_XXX_BIT, OP_XXX_BIT
DB OP_XXX_BIT, OP_XXX_BIT, OP_XXX_BIT, OP_XXX_BIT
DB OP_XXX_BIT, OP_XXX_BIT, OP_XXX_BIT, OP_XXX_BIT
DB OP_XXX_BIT, OP_XXX_BIT, OP_XXX_BIT, OP_XXX_BIT
DB OP_XXX_END
```
|
First, NEXT calls \_BEGIN with the address of the PFA (i.e. the first \_BIT) in W.
\_BEGIN and \_BIT end by jumping to the 3rd from last instruction in NEXT.
This executes \_BIT 16 times incrementing W as it goes.
W acts as the loop counter or temporary program counter.
Finally, \_END jumps to the high-level NEXT.
### Power-on reset
Reset forces µPC to 000H.
The first 8 bytes of the µ-ROM contain the following:
| |
| --- |
|
```
RESET: mov w, 0 ; W ← 0002h
inc w
inc w
dis ; Disable IRQ
mov ip.l, [w] ; IP ← Cold start vector
inc w
mov ip.h, [w]
Next: ...
```
|
This initialises the high-level instruction pointer (IP) from a cold start vector at location 0002h in main memory.
It then drops through into NEXT.
The high-level ROM assembly begins like this:
| |
| --- |
|
```
.Model Tiny
.Code
Include OPS.INC
ORG 0
DW 0FFFFh ; Reserved for IRQ vector
DW Reset ; Cold-start vector
Reset DW UART_Init
...
```
|
Offset 0000h is reserved for the interrupt vector.
### Software development
I wrote a single-pass assembler for Mark 1 microcode.
This generates Intel Hex images of the µ-ROM, and a list of opcodes formatted as MASM EQU statements.
High-level ROMs are created using the Microsoft MASM assembler.
The /TINY command-line switch forces linker version 6.15 to generate binary .COM files,
which are then converted to Intel Hex.
Burning EPROMs soon became tedious and I wrote a ROM-resident monitor to accept Intel Hex downloads via the serial port.
This is how FORTH was originally loaded; but the latest version is ROM-resident.
I now have a PC-based simulator for debugging, FORTH is fairly stable, and there's less need for the monitor.
My original FORTH, posted here in 2003,
reversed the stack order of quotients and remainders left by division words.
This has been corrected.
Here's the latest code:
| | | | |
| --- | --- | --- | --- |
| [Asm.cpp](SRC/Asm.cpp) | | µ Assembler | **UPDATED**December 2006 |
| [ROM.ASM](SRC/ROM.ASM) [ROM.HEX](SRC/ROM.HEX) | | µ-ROM |
| [OPS.INC](SRC/OPS.INC) | | MASM include file |
| [Boot.ASM](SRC/Boot.ASM) | | Monitor |
| [Forth.ASM](SRC/Forth.ASM) [Forth.HEX](SRC/Forth.HEX) | | fig-FORTH |
| [Bin2Hex.cpp](SRC/Bin2Hex.cpp) | | Binary to Intel Hex conversion tool |
| [build.bat](SRC/dotbat) | | Build script |
| [Sim.zip](SRC/Sim.zip) | | Simulator |
This implementation of fig-FORTH is based on the original May 1979 Installation Manual for the 6502 by Bill Ragsdale.
It deviates from the standard in the following ways:
* ANSI names for header navigation words e.g. PFA>CFA
* ?DUP instead of -DUP
* Vocabulary support omitted
* CFA is 1-byte wide
Most fig-compliant code should run with little or no alteration.
See the examples (e.g. DOER-MAKE) in the simulator zip.
### STOP PRESS - Mark 1 Cloned!
Aaron Tang, a student at the Universiti Teknologi Petronas in Malaysia, has built a Mark 1 FORTH Computer;
and one of his classmates, Aidil Jazmi, has cloned Bill Buzbee's Magic-1.
Visit their [UTP Cloners](http://www.aidilj.com/homemadecpu) page to read all about it.
Aaron first contacted me in March 2006 with a few questions, and by October 2006 his computer was working.
He used the same eurocards, mounted in a similar rack to mine, and followed my layout very closely; but, whereas I mostly used pen-wiring, Aaron's computer is wire-wrapped.
Well done to both Aaron and Aidil.
### More homemade computers
You'll find more homemade computers on my [links](../Links.htm#Homemade) page.
Please visit the other sites on the web ring (below) and don't forget to have a look at my [Mark 2 FORTH Computer](../Mk2/Architecture.htm).
---
## Homebuilt CPUs WebRing
JavaScript by [Qirien Dhaela](mailto:[email protected])
### Join the ring?
David Brooks, designer of the Simplex-III homebrew computer, has founded the Homebuilt CPUs Web Ring.
To join, drop [Dave](mailto:[email protected]) a line, mentioning your page's URL.
You'll need to copy this code fragment into your page.
---
| | | |
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<h1>Remarkable Corvettes</h1>
<h2>A collection of special Corvettes</h2>
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<ul><li><a href="/" rel="self" id="current">Start</a><ul><li><a href="aboutme/index.html" rel="self">About me</a></li><li><a href="whatsthat/index.html" rel="self">What's a Prototype?</a></li></ul></li><li><a href="News/index.html" rel="self">News</a></li><li><a href="search/index.html" rel="self">Search website</a></li><li><a href="gm_prototypes/index.html" rel="self">Prototypes by GM</a></li><li><a href="gm_specials/index.html" rel="self">Specials by GM</a></li><li><a href="other_specials/index.html" rel="self">Specials by others</a></li><li><a href="pacecars/index.html" rel="self">Pace Cars</a></li></ul>
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<h2>Remarkable Corvettes</h2><br/>On the internet, you can find a lot on Corvettes. You can even find a lot on Corvette prototypes. However, you can't find all prototypes collected in one place. On this site, you can! My site is called “Remarkable Corvettes” because I want to collect information about prototypes and other very special Corvettes. In the list of prototypes I also included a few non-Corvette models. They are here because they contributed significantly to the history of Corvette. I want to collect as many of them as possible and I want to know all about them!<br/><br/>This site is a continuation of www.corvette.nl, which was ended when GM Europe asked for their domain back ;-)<br/><br/>Feel free to e-mail me if you know of a special Corvette or prototype that has not been mentioned here or if you have additional information on the collected cars.<br/><br/><img class="imageStyle" alt="" src="files/page13_1.jpg" width="459" height="344"/><br/><em>1990 CERV III</em><br/><br/><strong><u>Special thanks to:</u></strong><br/><strong>* Michel van Osenbruggen</strong> of <a href="https://www.bit.nl/" rel="external">Bit Internet Technology</a><br/>for letting me use this domain and hosting this site.<br/><br/><strong>* Joffrey Ofman, Aart Timmer and Henri Kroeze</strong><br/>for their contributions on the www.Corvette.nl site, on which this site is based.<br/><br/><strong>* Wayne Ellwood</strong><br/>for supplying me with tons of pictures and info on prototypes and special Corvettes.<br/><br/><strong>* Michael Westenberg<br/></strong>for explaining the COPO, FSO and SO codes.<br/><br/><strong>* Jeroen van Geffen<br/></strong>for his info on multiple Callaway models.<br/><br/><strong>* </strong><strong><a href="https://kpolsson.com/vettehis/" rel="external">Ken Polsson's Chronology of Chevrolet Corvettes</a></strong><strong><br/></strong>for his extensive history on this car.<br/><br/>This site is completely made on a <a href="https://www.apple.com/" rel="external">Mac</a> with <a href="https://www.realmacsoftware.com/" rel="external">Rapidweaver</a>. <br/><br/>Have fun!<br/>Mario van Ginneken<br/>
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Remarkable Corvettes
# Remarkable Corvettes
## A collection of special Corvettes
* [Start](/)
+ [About me](aboutme/index.html)
+ [What's a Prototype?](whatsthat/index.html)
* [News](News/index.html)
* [Search website](search/index.html)
* [Prototypes by GM](gm_prototypes/index.html)
* [Specials by GM](gm_specials/index.html)
* [Specials by others](other_specials/index.html)
* [Pace Cars](pacecars/index.html)
#
## Remarkable Corvettes
On the internet, you can find a lot on Corvettes. You can even find a lot on Corvette prototypes. However, you can't find all prototypes collected in one place. On this site, you can! My site is called “Remarkable Corvettes” because I want to collect information about prototypes and other very special Corvettes. In the list of prototypes I also included a few non-Corvette models. They are here because they contributed significantly to the history of Corvette. I want to collect as many of them as possible and I want to know all about them!
This site is a continuation of www.corvette.nl, which was ended when GM Europe asked for their domain back ;-)
Feel free to e-mail me if you know of a special Corvette or prototype that has not been mentioned here or if you have additional information on the collected cars.
*1990 CERV III*
**Special thanks to:**
**\* Michel van Osenbruggen** of [Bit Internet Technology](https://www.bit.nl/)
for letting me use this domain and hosting this site.
**\* Joffrey Ofman, Aart Timmer and Henri Kroeze**
for their contributions on the www.Corvette.nl site, on which this site is based.
**\* Wayne Ellwood**
for supplying me with tons of pictures and info on prototypes and special Corvettes.
**\* Michael Westenberg**for explaining the COPO, FSO and SO codes.
**\* Jeroen van Geffen**for his info on multiple Callaway models.
**\*** **[Ken Polsson's Chronology of Chevrolet Corvettes](https://kpolsson.com/vettehis/)**for his extensive history on this car.
This site is completely made on a [Mac](https://www.apple.com/) with [Rapidweaver](https://www.realmacsoftware.com/).
Have fun!
Mario van Ginneken
© 2004/2024 corvettes.nl [Contact Me](mailto:[email protected])
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* [Start](/) >
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