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<h2 class='date-header'><span>Monday, June 02, 2008</span></h2>

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<p class=MsoNormal align=right style='margin-bottom:12.0pt;text-align:right'><img height="367" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/gqlaYY5j-eASKEaeEGgVWEzuAm7AlqDx1hCamrsuEF5zVuIh3DZ1etxIoYcTU-wLRtg9Tq4uhZqLz2SCsrZ4d2q9oQC3JIGGtmqCy25f%3Ds0-d" width="500"><br>
<span style='font-size:8.0pt;font-family:Arial'>From <i style='mso-bidi-font-style:normal'>Children&#8217;s Tape </i>by Terry Fox, 1974<span class=GramE>,</span><br>
a work not on Ubuweb</span> <o:p></o:p></p>

<p class=MsoNormal style='margin-bottom:6.0pt'><b style='mso-bidi-font-weight:normal'><span style='font-size:14.0pt;font-family:Arial;color:black'>An Ubu Top Ten (1973 Edition)<o:p></o:p></span></b></p>

<p class=MsoNormal style='margin-bottom:6.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Kenny Goldsmith asked me to program a &#8220;top ten&#8221; list for Ubuweb in June, ten items from its archives that I thought would make a good &#8220;playlist&#8221; for inquiring minds. The list is up on the <a href="http://www.ubu.com/"><span style='color:black'>Ubuweb site</span></a> &amp; I thought I&#8217;d write a little about why I chose what I did here. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:6.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The instant Kenny asked<span class=GramE>,</span> I knew three works &#8211; the first three below &#8211; that simply <i style='mso-bidi-font-style:normal'>had </i>to be on my list. For personal reasons, they&#8217;re my favorite items in the entire Ubu archive. When I realized that all three were from 1973, I decided to look more closely at that year, to test &#8211; so to speak &#8211; just how good an archive Ubuweb actually is. I decided that I would list those items that spoke to my own work both then &amp; now. What could I find that related to my world from 1973? Ubu&#8217;s search feature turned up 149 possibilities, tho there does seem to a certain amount of duplication, multiple ways to getting to certain files. Some of the folks from that larger list that I didn&#8217;t include here would be Guy Debord, Vito Acconci &amp; Jacques Lacan. Their absence has more to do with who I am than the Ubu archive itself. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:6.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>On the other hand, this slice of the Ubuweb pie made me painfully conscious of just how few early language poetry resources can be found here. <span class=GramE>And how very few women.</span> (Basically I put in every one I could justifiably include, and there are only two, both of them collaborators with others.) The list below includes a Jackson Mac Low gatha for Kathy Acker &#8211; then using the public persona of the Black Tarantula &#8211; but relatively little by Acker &amp; none from this important period of her work is available on Ubuweb. I also wished that I could have found more performance art from the West Coast from that same time frame. You can find <a href="http://daddytypes.com/2008/04/03/terry_foxs_childrens_tapes_at_the_getty.php"><span style='color:black'>Terry Fox</span></a> or <a href="http://www.tommarioni.com/"><span style='color:black'>Tom Marioni</span></a>, but not from that year &amp; only a few items. Fox was the closest thing to a performance art superstar I ever saw in the context of the Bay Area, &amp; Marioni&#8217;s Museum of Conceptual Art (MoCA), the ironic name he gave to his loft above the fabled Jerry &amp; Johnny&#8217;s tavern &#8211; all now gone &amp; replaced by the <a href="http://www.sfphotorama.com/uploaded_images/MarriottSanFrancisco_SanFranciscoPhotos-706987.jpg"><span style='color:black'>Marriott Jukebox</span></a> a block from the Moscone Convention Center &#8211; was an important antecedent to all things conceptual, including Ubuweb itself. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:6.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>In 1973, Richard Nixon was still <span class=GramE>president,</span> the Paris Peace Accords were signed in January. The mayor of </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>San Francisco</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> was Joe Alioto, the second in a string of eight consecutive Democratic mayors. George Moscone, who would be third, was still a state senator, a solid liberal but a man known often to be bleary-eyed after lunch. Harvey Milk owned a camera store on  </span><st1:Street><st1:address><span   style='font-size:10.0pt;font-family:Arial;color:black'>Castro Street</span></st1:address></st1:Street><span style='font-size:10.0pt;font-family:Arial;color:black'>. Tho he&#8217;d only lived in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>San Francisco</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> for a year, Milk first ran for the Board of Supervisors in &#8217;73. The Oakland A&#8217;s, led by Reggie Jackson, who led the American League in homeruns with 32, defeated the New York Mets in the World Series in 1973. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:6.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I was living on Sacramento Street near Laurel on what is now shrink row, paying $67.50 for my half of a three-bedroom flat. A few blocks down </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Sacramento</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> <span class=GramE>was</span> Rae Armantrout &amp; her husband, &amp;, two doors off Fillmore, Ronald Johnson, who lived in a household he referred to as the Vinyl Vatican. Barrett Watten had just moved back down from Mendocino, where he&#8217;d been living after graduating from the Iowa Writer&#8217;s Workshop. David Melnick may have still been in graduate school in Berkeley, but many of the poets now routinely associated with San Francisco in the 1970s &#8211; Steve Benson, Carla Harryman, Bob Perelman, Lyn Hejinian were just arriving or not yet on the scene. The only ongoing reading series in town were at SF State out in the fog mid-day (I was working in San Rafael &amp; could never get to those) or at Intersection in North Beach on Tuesday nights, save for a short-lived series in a bookstore/print shop high over Noe Valley called the Empty Elevator Shaft. Barry &amp; I gave a reading at the Shaft, our first reading together, and The Black Tarantula came up afterword to give me the latest chapter of her work-in-progress, <i style='mso-bidi-font-style:normal'>I Dreamt I Was a Nymphomaniac Imagining. <o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-bottom:6.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Over the next half dozen years, that world would change entirely. This list is a blast from <i style='mso-bidi-font-style:normal'>that past</i>. <o:p></o:p></span></p>

<ol style='margin-top:0in' start=1 type=1> <li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;
     tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a      href="http://ubu.artmob.ca/video/Mouris-Frank-Caroline_Frank-Film_1973.avi"><span      style='color:black'>Frank Film</span></a></span></i></b><b      style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;font-family:Arial'> (</span></b><span style='font-size:10.0pt;font-family:Arial'>1973), Frank and Caroline Mouris. An early &amp; great anticipation of animated vispo that actually received the Academy Award for Best Short Subject. Seeing this in a festival of short subjects showed me just how easily the mind can hold onto multiple trains of thought. <i style='mso-bidi-font-style:normal'>Ketjak </i>and the other works that flowed      from that would not have come into being without this example. <o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;  tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a href="http://ubu.artmob.ca/sound/dial_a_poem_poets/disconnected/Disconnected_11_creeley.mp3"><span      style='color:black'>The Name</span></a></span></i></b><i style='mso-bidi-font-style:     normal'><span style='font-size:10.0pt;font-family:Arial'> </span></i><span style='font-size:10.0pt;font-family:Arial'>(1973), Robert Creeley. Creeley read this poem at the </span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'>First</span></st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'>Unitarian</span></st1:PlaceName><span       style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceType><span        style='font-size:10.0pt;font-family:Arial'>Church</span></st1:PlaceType></st1:place><span      style='font-size:10.0pt;font-family:Arial'> in </span><st1:City><st1:place><span        style='font-size:10.0pt;font-family:Arial'>San Francisco</span></st1:place></st1:City><span      style='font-size:10.0pt;font-family:Arial'> on August 31 during the very first poetry reading I ever <span class=GramE>organized,</span> a benefit for the Committee for Prisoner Humanity &amp; Justice (CPHJ). I have no idea who made this tape, nor the one following, but I&#8217;m grateful that they did. <o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a href="http://ubu.artmob.ca/sound/dial_a_poem_poets/disconnected/Disconnected_28_dorn.mp3"><span      style='color:black'>Recollections of Grande Apachería</span></a></span></i></b><span     style='font-size:10.0pt;font-family:Arial'> (1973), Edward Dorn. Dorn, who insisted on arriving late so that he would not have to talk to either Creeley or his other co-reader, Joanne Kyger, closed the same evening with <i style='mso-bidi-font-style:normal'>Apachería. </i>It was the first time I&#8217;d seen the book or heard the work. And, tho I wouldn&#8217;t actually meet her for another four years &amp; 28 days, one of the 400+ people who attended the reading was Krishna Evans, now my wife. <o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a href="http://media.sas.upenn.edu/pennsound/authors/Creeley/Goddard/Creeley-Robert_Full_Goddard_VT_5-18-73.mp3"><span      style='color:black'>Reading at Goddard College</span></a></span></i></b><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'> </span></i><span style='font-size:10.0pt;font-family:Arial'>(1973), Robert Creeley. Creeley gave this reading three days before his 47<sup>th</sup> birthday. With the death of Charles Olson in 1970, and of Ezra Pound in 1972, Creeley was now unquestionably the dean of post-avant American poets. <o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a href="http://www.ubu.com/papers/mc_carn1.html"><span      style='color:black'>Carnival The First Panel: 1967 &#8211; 1970</span></a></span></i></b><span style='font-size:10.0pt;font-family:Arial'> (1973), Steve McCaffery. Even more than bp Nichol, Steve McCaffery is the writer who brought language writing &amp; what was then being called concrete poetry together. <i style='mso-bidi-font-style:normal'>Carnival </i>was the first major statement of this intent that I ever saw right back when Steve &amp; I were first getting to know one another.<o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a      href="http://media.sas.upenn.edu/pennsound/authors/Mac-Low/CDs/Doings/Mac-Low-Jackson_08_Black-Tarantula_Doings_1982.mp3"><span      style='color:black'>Black Tarantula Crossword Gathas</span></a></span></i></b><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'> </span></i><span style='font-size:10.0pt;font-family:Arial'>(excerpt) (1973), Jackson Mac Low. Mac Low&#8217;s reputation had taken a great leap forward with the publication of <i style='mso-bidi-font-style:normal'>Stanzas for Iris Lezak </i>in 1972. The Black Tarantula was the name then being employed by </span><st1:City><st1:place><span       style='font-size:10.0pt;font-family:Arial'>San Francisco</span></st1:place></st1:City><span      style='font-size:10.0pt;font-family:Arial'> novelist, Kathy Acker. It was Acker who first got me interested in attending performance art events around town. <o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a      href="http://media.sas.upenn.edu/pennsound/authors/Mac-Low/CDs/Doings/Mac-Low-Jackson_09_Vocabulary-for-Mattlin_Doings_1982.mp3"><span      style='color:black'>A Vocabulary for Sharon Belle Matlin</span></a></span></i></b><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'> </span></i><span style='font-size:10.0pt;font-family:Arial'>(1973), Jackson Mac Low. Other voices include Susan Musgrave, George Macbeth, Sean O'Huigin &amp; bpNichol. One of Mac Low&#8217;s more famous works &#8211; you can see the text <a      href="http://www.jongibson.net/assets/Poster29.jpg"><span      style='color:black'>here</span></a>. Caroline Mouris &amp; Susan Musgrave      (presumably the Canadian poet) are the only two women on this list. <o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a      href="http://ubu.artmob.ca/sound/12+2/10+2=12_02.Charles_Amirkhanian.mp3"><span      style='color:black'>Heavy Aspirations</span></a></span></i></b><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'> </span></i><span style='font-size:10.0pt;font-family:Arial'>(1973), Charles Amirkhanian. In 1973, Charles Amirkhanian&#8217;s music program on KPFA radio was a staple of everyone&#8217;s morning &#8211; and everyone&#8217;s music education. I&#8217;d actually taken a wonderful class that Amirkhanian team-taught with choreographer Anna Halprin &amp; poet Brother Antoninus at </span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'>San Francisco</span></st1:PlaceName><span       style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceType><span        style='font-size:10.0pt;font-family:Arial'>State</span></st1:PlaceType></st1:place><span      style='font-size:10.0pt;font-family:Arial'> in 1967. I knew Amirkhanian best as a composer, but his polymath ways took him also to sound texts such as this.<o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a      href="http://media.sas.upenn.edu/pennsound/video/Schwerner/Schwerner-Armand-by-Phill-Niblock_c-1973.rm"><span style='color:black'>Armand Schwerner</span></a></span></i></b><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'> </span></i><span style='font-size:10.0pt;font-family:Arial'>(1973), Phill Niblock. Schwerner reading in an orange windbreaker on a blustery day (</span><st1:place><span style='font-size:10.0pt;font-family:Arial'>Staten Island</span></st1:place><span      style='font-size:10.0pt;font-family:Arial'>?). <i style='mso-bidi-font-style:normal'><span style='mso-spacerun:yes'> </span></i>Schwerner was part of the scene around Jerry Rothenberg &amp; Jackson Mac Low, a connection to the important journal <i style='mso-bidi-font-style:normal'>Caterpillar</i>. His <i style='mso-bidi-font-style:normal'>Tablets </i>are a fun moment in the use of satirical palimpsests to construct authorship. I think of them, along with Ed Friedman&#8217;s <i style='mso-bidi-font-style:normal'>Telephone Book, </i>and the early works of Bernadette Mayer as being important antecedents to conceptual poetry. Niblock I knew principally as a composer, part of the larger scene I came into contact with through Kathy Acker, Peter Gordon &amp; Chris Berg (Clay Fear). <o:p></o:p></span></li>
<li class=MsoNormal style='color:black;margin-bottom:6.0pt;mso-list:l1 level1 lfo3;tab-stops:list .5in'><b style='mso-bidi-font-weight:normal'><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'><a      href="http://ubu.artmob.ca/video/Broughton-James_High-Kukus_1973.avi"><span      style='color:black'>High Kukus</span></a></span></i></b><i      style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial'> </span></i><span style='font-size:10.0pt;font-family:Arial'>(1973), James Broughton. Filmmaker &amp; poet Broughton, seen here in both roles, was one of the few presences of the old </span><st1:City><st1:place><span        style='font-size:10.0pt;font-family:Arial'>San Francisco</span></st1:place></st1:City><span      style='font-size:10.0pt;font-family:Arial'> avant-garde that existed immediately after World War 2, before the Berkeley Renaissance took the F Train across the Bay &amp; the Beats came to town, still active by the early 1970s. Broughton taught at the San Francisco Art Institute for years (the same job Bill Berkson has today) and did much to bring those art worlds together. In 1973, Broughton was younger than I am today. <o:p></o:p></span></li>
</ol>

<p class=MsoNormal style='margin-left:.0in'><span style='font-size:10.0pt;font-family:Arial'>So I think the question of Ubuweb as an archive is mixed. What&#8217;s there is actually pretty terrific. What&#8217;s missing is large to the point of disturbing. That&#8217;s probably to be expected from what amounts to a one-man <span style='color:black'>operation, and it suggests that a major future question for Ubu, as well as for other similar archives, such as <a href="http://epc.buffalo.edu/"><span style='color:black'>the Electronic Poetry Center</span></a>, <a href="http://eclipsearchive.org/"><span style='color:black'>Eclipse</span></a>, <a href="http://writing.upenn.edu/pennsound/"><span style='color:black'>PENNsound</span></a>, or <a href="http://www.english.uiuc.edu/maps/index.htm"><span style='color:black'>Modern American Poetry</span></a>, just to name a few, will be how to institutionalize (and thus make systematic, complete &#8211; whatever that might mean &#8211; and permanent, or at least</span> long lasting) the riches they do hold. <span style='color:black'><o:p></o:p></span></span></p>
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<a href="http://www.ucpress.edu/books/pages/10742.php">I: The Age of Huts<br /><br /></a>             <a href="http://www.ucpress.edu/books/pages/10742.php"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/u_VsYLU9NS_tJXOrl6A4RM1Dne7QkuSslpBc0StgKSXXoIDStYoXqSwDo2tuxST00QD3ynVJH4yjAhcEzTWyM0F_RriCRx9yZdyygceY2wm-%3Ds0-d" /></a><br /><br /><br />II: Tjanting<br /><br /><a href="https://www.saltpublishing.com/products/tjanting-9781876857196"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/efy1lIcVIKeKSdy_WUDIxV8WLN0OJmA3f7enQ2XDwxwt7Bh5ssfQQAkW_o4oG6FqrB1RGf7CX-Rw-VQ4u36RIuwSsCMxWjjHFDP4c7CbW2d_%3Ds0-d" /></a><br /><br /><br /><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx">III: The Alphabet<br /><br /></a><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx"><img id="ctl00_MainContent_ProductInfo1_ctl00_PrimaryImage_PrimaryImage" onclick="javascript:window.open(&#39;http://www.uapress.ua.edu//images/temp/212-1897-Product_LargeToMediumImage.jpeg&#39;, 1, &#39;resizable=1, width=500, height=700&#39;)" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/OnaMjXm2h6XxneM04RgHx1Bkf2Wi9UE3a8c3o0NDvW5wXo7BK3MaM5VP9YfbEIpHYxAstTorwhNW4lhhkNuua5bDX7Ogr2UgZ1NMDDjeh-0bNnuo-WH-9pGHIR6lv-4-_UDHVNe36xB6%3Ds0-d" style="border: 1px solid Gray;" /></a><br /><div><br /></div><div>IV. from Universe</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div>
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<h2 class='title'>Other Books in Print</h2>
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<span style="font-weight: bold;">MEMOIRS &amp; COLLABORATIONS</span><br /><a href="https://www.amazon.com/Leningrad-American-Writers-Soviet-Union/dp/1562790056">Leningrad</a><br /><a href="http://www.thegrandpiano.org/">The Grand Piano</a><br /><a href="https://www.saltpublishing.com/products/under-albany-9781844710515">Under Albany</a><br /><br /><span style="font-weight: bold;">CRITICISM</span><br /><a href="http://www.spdbooks.org/Producte/0937804207/the-new-sentence.aspx">The New Sentence</a><br /><br /><span style="font-weight: bold;">ANTHOLOGY</span><br /><a href="https://secure.touchnet.com/C22921_ustores/web/classic/product_detail.jsp?PRODUCTID=327&SINGLESTORE=true">In The American Tree</a><br /><br /><br /><br />
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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