Cool China Once Used Mould images

Cool China Once Used Mould images

Check out these china once used mould images:

Image from page 708 of “American cookery” (1914)
china once used mould
Image by Internet Archive Book Images
Identifier: americancookery19unse_4
Title: American cookery
Year: 1914 (1910s)
Authors:
Subjects:
Publisher: New York [etc.] : Whitney Publications [etc.]
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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Text Appearing Before Image:
DISHES THAT MEN LIKE WE are always looking for dishes that will please the masculine taste — dishes which once eaten oftenreappear by special request. In these Perfection Salad and Snow Pudding recipes you willfind such dishes, for they have won universal favor with the men wherever they have been served —and I know they have been favorites in my own home for years. Not only will the masculine members of your family appreciate these dishes, but you will likethem too, because they are easy to make and may be made with syrup in place of sugar, when thatprecious article soars in price or is impossible to get.

Text Appearing After Image:
PERFECTION SALAD 2 cup sugar or Yt cupful of syrup 1 teaspoonful salt 1 cup cabbage, finely shredded Yi cup mild vinegar2 cups boiling water2 cups celery, cut small2 tablespoonfuls lemon juice 14, can sweet red peppers orfresh peppers finely cut 1 envelope KNOX SparklingGelatine Yl cup cold water Soak the gelatine in cold water five minutes; add vinegar, lemon juice, boiling water, sugar and salt; stir until dissolved.Strain and when beginning to set add remaining ingredients. Turn into mold, first dipped in cold water, and chill. Serveon lettuce leaves with mayonnaise dressing, or cut in dice and serve in cases made of red or green peppers; or the mixturemay be shaped in molds lined with pimentoes.In my recipes no special molds are required; — any vegetable, china or glass dish will mold them nicely. NOTE: Use fruits instead of vegetables in the above recipe and you have a delicious fruit salad. SNOW PUDDING Yi envelope KNOX Sparkling Gela- s/i cup sugar or tine % cup of syrup i c

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I use scrap wood. I use anything that doesn’t burn in the wood stove
china once used mould
Image by Jim Surkamp
Pots Thru Time With Joy Bridy – This is local clay dug up from around the foundation of my house and I’m going to process it in this old bath tub, and before I process it, I break it up in little pieces and screen it through some hardware cloth, which helps to get any stones, weeds, detritus out of it. This clay does not have high plasticity which means it is a little harder to work with. plasticity definition: Capable of being formed into a shape or moulded without cracking. It might break and crack as I work with it, but that’s probably what I like about it. It adds character, instead of plasticity. It’s also reddish brown stoneware, not real white like a porcelain and not super iron-rich. It won’t be black sort of an orangish color when it’s fired. It will have some porousness. I fire it to a high enough temperature that it’s useful as functional ware as well as sculptural. This clay is also local clay and I’ll break it up into small marble-size pieces and slake it down in water in which I’ll run my hands through it for about ten or fifteen minutes (per) each bucket to get any rocks and stones and grass out. Then I’ll process this clay – once it’s wet – by drying it out slowly on top of bed sheets in the sun – so it’s a nice working consistancy. After I make the pieces I bisque fire them once. Then I’ll glaze and fire them in my wood kiln. (This is my wood kiln here). This is my wood kiln. I designed and built it five years ago. It’s a very old and traditional style and it’s fueled one hundred per cent with wood. I don’t know what the process would have been in the early eras of Weis pottery – if they would have used wood (They used wood and they used groundhog kilns). Ahh groundhog kilns are the type of kiln that I’m trained in. They tend to be long and flame-like, and very low and in the ground; and they fire for a similar amount of time as this kiln. When I fired this kiln, it fires for three days around the clock and Weis pottery would have done a very similar thing. Once you start a firing, you can’t leave it alone. You have to stay with it the whole time. Pots fill the chamber all the way up to the top, from the side wall, all the way up to the bagwall which you can see on the inside. The flame comes in from the fire box into the ware chamber, brings heat and ash and deposits- ash on the pots – leaves flame markings on the pots – then leaves through the exit flues into the chimney and straight up. My kiln reaches 2400 degrees, which is a high, (for) stoneware temperature. Traditionally, I think, kilns were fired a little cooler, probably 2000-2100 degrees. But wood can reach any temperature you would like depending on your combustion zone, your ware chamber, and your chimney. A fifth generation potter Davis P. Brown observed: “Speaking of firing, lots of people think red’s HOT. Red-hot ain’t even hot; when it’s HOT and you look in them, it’s like looking into the sun.” I use scrap wood. I use anything that doesn’t burn in the wood stove and anything that I would burn in a bonfire. So lots of limbs. The skinny limbs have the most minerals so you get the most interesting deposits and they allow for the most flexibility in gaining heat. And it’s all scrap. (I did some research, Joy, showing the data about the Weis’ pottery operation in 1850. And they reported that they spent seven hundred period dollars for a year’s work and they used six hundred cords of wood and a whole lot of lead. what does that signify to you, as a potter?). Six hundred cords of wood is a lot of wood! For me a cord of wood is eight foot by eight foot by four foot, and in a firing I go through maybe two cords of wood. With the groundhog style kiln, they were very inefficient. So they were stoking wood constantly and a lot of that fuel was leaving the kiln as smoke. Nowadays we know a little more on how to capture that fuel better. “A,” it tells me that we had a lot of wood in this area. Six hundred cords of wood is a huge amount of wood. And “B,” the lead is interesting because a lot of our local clays makes a really wonderful “slip,” that also makes a glaze on the inside of the pot. (A slip?) A slip is like a watered down clay. So a “paint” or a “glaze.” A lot of people use the terms back and forth. It would be what you would glaze with. So if they were using lead, it would be very bad for their health. They probably didn’t live long. and “B” it’s expensive. Even then it was expensive, but it was what people thought they needed to do. Nowadays we know that we can use all these natural things, and the styles that I work in are much more akin to what the Weis potters could have been doing in that I use a lot of local clays. I mix my glazes out of ashes and clay bodies. So I have a very low overhead compared to what they did in that I’m not buying any lead, I’m not buying any expensive colorants that they would have done. My studio is similar to the way they would work in that I have a closed system. My water comes from a rain barrel. I don’t have any running water. My kiln is fired with wood. I don’t fire a gas kiln which a lot of people do nowadays. And my clay is closed-cycle: whatever clay comes into my studio I keep recycling until it turns into pots. And, anything I don’t like I “slip” back down and make clay out of it again, which would have been a practice during their time. So everything stays within the studio. (So in many ways, you’re doing a traditional method that the Weises did, but with greater efficiency). It may have been an aesthetic choice for them in that they chose to do specifically what they were doing. As it is now, I could use a very expensive overhead, using porcelain from China and Europe and using glazes that I buy pre-mixed that have expensive rare earth elements in them. But I prefer the more elementary approach in that I like using clay. I like the variables that come into play with wood firing, and with using ash glazes and with mixing a lot of my own ingredients. This my kiln. This is the firebox of my Bourry box wood kiln. It’s different from a groundhog style in that the groundhog style kilns would have been in the ground. You would have had to crawl to get in them. You would have entered only through the front through a very small opening and had to load everything while on your knees. This is the front. This is the fire box. This is where the fire starts. I load it through the ware chamber door which then gets bricked up with rows of bricks. This side is the firebox where the actual fire occurs, and it starts in the bottom. Once the fire hits about eleven hundred degrees, I can close up this door. (How long does that take Joy?) . It takes a day and a half. Then I can open the side-stoking doors on both sides and start stoking across the top, which allows me to reach a temperature of twenty-four hundred degrees inside the chamber. It’s hotter in the firebox, but that’s the chamber temperature. (What type of design is this called?) This is called a “bourry” box – B-O-U-R-R-Y. It’a an Australian design. What it does – it’s a very efficient, wood-burning kiln because the wood is burning up here and the coal bed is down below. Air comes in. It burns the wood, but then all the smoke and the waste products that would be going up the chimney burn off over the coal bed. So I get what we refer to as a “double burn cycle:” getting heat during the first burn of the wood and extra heat as the smoke and gasses burn off. So it’s very efficient. I get no smoke and no waste product in that way, and I use half as much wood that I would in a kiln of this size without the Bourry box fire. It’s a crossed-dressed kiln because the fire box is here and then everything goes up into the chamber and then back down across from the firebox. It’s more to the flame pattern. Groundhog kilns are often called updraft although they are kind of a hybrid, because if you imagine a flame-shaped kiln it’s also going uphill. So your firebox is down below and you’re stoking the wood, and then the kiln goes up and the chimney’s at the top. So it has a little different pull to it. The chimney is always the engine of the kiln. It’s always what’s pulling the heat and flame through the kiln. This is called “wedging” the clay and what it does is it increases plasticity, which means that as you’re working with it, it will stretch a little easier. It also removes air bubbles and makes it smoother to work with in general. Every piece I make has to go across the wedging board. (This is the process they would do back in the 1800s?). This is as old as it gets: with a heavy round wheel at the bottom and a small light round wheel at the top. It’s been done in every culture across the globe. My rims are probably thin compared to theirs (Weises), because I’m used to a more contemporary look and feel. Theirs probably would have been a little beefier, easier to grab, easier to use. (Somebody made the comment that they were like the fiesta ware of their period) um-hm. Yeh. That’s all they had. And they’re all remarkably similar no matter where you go, especially in the Appalachian foothills. If you did/do the kick wheel, you can’t be in a hurry. This would have been a relative of a classic crock form, which would have been useful in every kitchen across the county during the years the Weis family was in operation. It would have been their bread and butter literally. And their tools would have been extremely similar: a wooden stick, some kind of sponge. Something with a point just in case. And for decoration: a fingernail; everybody would have their decoration around here (side of crock), seems to have been some fingernail marks. We can do another one on the electric. This is starting to center the clay on the wheelhead, and before I can actually make the piece, the clay has to be in the center of the wheel completely. These are all different techniques that help make that happen. This is called wedging on the wheel, where I squeeze it up and then lean it back down, and it also helps to align the particles. I have a modern-day wheel here. This is an electric wheel, which is silent, which is really nice. I center the clay if it comes closer to the starting shape that I want. And the first thing that I do to actually throw the pot is called “opening.” I sink my thumbs into the middle and start to create the “inside” versus the “outside.” Now I’m setting the bottom. Without compressing the clay, you end up getting cracks and flaws in the bottom. Using the pressure of my fingers against the wheelhead, compressing the clay between the two makes for a strong, useful pot. Next, I’ll actually pull up the walls of the vessel. This is the part that looks fun – and IS fun. As the pot gets closer to the form that I want, I fine-tune it with different tools. All of them could have been used in any era. This a wooden rib, and, again, it compresses the clay particles. What I’m looking for is a wall that’s even – thin, but not too thin. I want it to be sturdy when it’s used, but not too heavy. So I dance in between thin versus sturdy. At this point where the wall feels good, that I start to think about the form. I find one of the most important parts is the rim. It has to look good, but it also has to be compressed, because it is very common to bang it on a kitchen sink and it would chip if it wasn’t compressed very well. So it’s important to spend a little extra time, making sure that functional pots actually work. (Is that maybe why the Weises had kind of a strong lip?) Yes. A little extra clay at the foot, because that’s also a spot. I’m lucky enough to come out of the tradition of functional pottery throughout history, when I was in Pennsylvania I used to visit the groundhog kiln sites there. What became of the Wise family? Wrote Mary Bedinger Mitchell of her early years in Shepherdstown in the 1850s: “The town was thriving. There was a brick kiln and a very interesting primitive manufactory of the glazed crocks or earthen pots so much in use. It was carried on by an old man in the old house and had quite a medieval flavor.” After the Weis men would dig up and load the low-plasticity, red-burning clay on the outer bend in the Potomac nearby, they would bring it by wagon back to their worksite. To children like Mary the clay mill “was of absorbing interest, and they hoped for a ride on the long wooden shaft or tongue, to which the gentle horse was hitched along going round and round in a prescribed circle, as it patiently ground the clay into a fine smooth powder. A stone burr working on the same principle as a flour mill did the work. Time progressed and tastes changed in favor of the blue glazed crocks and jugs and the Weis manufactory went into a long, slow decline through the rest of the 19th century, the family finally selling their home to George Beltzhoover. Ever faithful at St. Peter’s Lutheran Church, William Weis’ burial site was graced with a stunning urn – so stunning that vandals threatened it. So, today the urn and Weis’ pots bear witness on a secure shelf at St. Peters, just as others bear witness at the Shepherdstown Historic museum, The County Visitors Center, the Jefferson County Museum, and there is the effort to preserve their memory by Pam and Ren Parziale. To this their traditional skills are also kept fresh by Joy Bridy in her modern pottery, but also keeping the ways of the Weises close at hand, literally.

Thanks to Joy Bridy at joybridy.com

Made possible with the generous, community-minded support of American Public University System (apus.edu)

Researched, written, produced by Jim Surkamp.

Primary References:

Weis Pots courtesy St. Peter’s Lutheran Church, Shepherdstown, WV; Jefferson County Museum, Charles Town, WV; and Historic Shepherdstown Museum.
wikiclay.com
heat-work.blogspot.com
ceramica.wikia.com
wvculture.org
wikipedia.org
nlm.nih.gov
studiopottery.com
wvgeohistory.org

Barber, E. A. (1893). “The Pottery and Porcelain of the United States.” New York, NY: G.P. Putnam’s & Sons.

Bourry, Emile; Wilton P. Rix. (1901). ”Treatise on Ceramic Industries: A Complete Manual for Pottery, Tile and Brick Works.” London, UK: Scott & Greenwood & Co.

POTTERY-EARTHENWARE-KILN-TOOLS
Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers (Encyclopaedia, or a Systematic Dictionary of the Sciences, Arts, and Crafts). 1751. edited by Denis Diderot and Jean le Rond d’Alembert Paris, Fr: André le Breton, publisher.

Kenamond, A. D. (1963). “Prominent Men of Shepherdstown, 1762-1962.” Charles Town, WV: Jefferson County Historical Society.

Mitchell, Mary B. “Memories.” edited by Nina Mitchell. Shepherd University Library.

Moler, Mrs. M. S. R.(1940). “George Weis and His Pottery.” Magazine of the Jefferson County Historical Society Vol. 6. pp.16-17.

Morton, Clyde D. (1987). “The Weis Pottery and the Genealogy of the Potters.” Magazine of the Jefferson County Historical Society Vol. 52. pp. 48-55.

Parziale, Reynolds and Pamela. (1981). “Pottery in the 1800s. The Weis Pottery, Shepherdstown, West Virginia.” Magazine of the Jefferson County Historical Society Vol. 47. pp. 23-29.

Rice, A. H.; John Baer Stoudt. (1929). “The Shenandoah Pottery.” Strasburg, VA: Shenandoah Publishing House, Inc.

Sanderson, Robert; Coll Monigue. (2000). “Wood-fired Ceramics: Contemporary Practices.” Philadelphia, PA: University of Pennsylvania Press. pp. 10-14.

Sweezy, Nancy. (1994). “Raised in Clay: The Southern Pottery Tradition.” Chapel Hill, NC: University of North Carolina Press.

Timbrell, John. (2005). “The Poison Paradox: Chemicals as Friends and Foes.” Oxford, UK: Oxford University Press. Print.

Weaver, Emma. (1967). “Artisans of the Appalachians.” Photos by Edward L. Dupuy. Asheville, North Carolina: Miller Printing Co.

1860 U.S. Federal Census – Population – National Archive and Records Administration (NARA).

William Weis’ burial site was graced with a stunning urn
china once used mould
Image by Jim Surkamp
Pots Thru Time With Joy Bridy – This is local clay dug up from around the foundation of my house and I’m going to process it in this old bath tub, and before I process it, I break it up in little pieces and screen it through some hardware cloth, which helps to get any stones, weeds, detritus out of it. This clay does not have high plasticity which means it is a little harder to work with. plasticity definition: Capable of being formed into a shape or moulded without cracking. It might break and crack as I work with it, but that’s probably what I like about it. It adds character, instead of plasticity. It’s also reddish brown stoneware, not real white like a porcelain and not super iron-rich. It won’t be black sort of an orangish color when it’s fired. It will have some porousness. I fire it to a high enough temperature that it’s useful as functional ware as well as sculptural. This clay is also local clay and I’ll break it up into small marble-size pieces and slake it down in water in which I’ll run my hands through it for about ten or fifteen minutes (per) each bucket to get any rocks and stones and grass out. Then I’ll process this clay – once it’s wet – by drying it out slowly on top of bed sheets in the sun – so it’s a nice working consistancy. After I make the pieces I bisque fire them once. Then I’ll glaze and fire them in my wood kiln. (This is my wood kiln here). This is my wood kiln. I designed and built it five years ago. It’s a very old and traditional style and it’s fueled one hundred per cent with wood. I don’t know what the process would have been in the early eras of Weis pottery – if they would have used wood (They used wood and they used groundhog kilns). Ahh groundhog kilns are the type of kiln that I’m trained in. They tend to be long and flame-like, and very low and in the ground; and they fire for a similar amount of time as this kiln. When I fired this kiln, it fires for three days around the clock and Weis pottery would have done a very similar thing. Once you start a firing, you can’t leave it alone. You have to stay with it the whole time. Pots fill the chamber all the way up to the top, from the side wall, all the way up to the bagwall which you can see on the inside. The flame comes in from the fire box into the ware chamber, brings heat and ash and deposits- ash on the pots – leaves flame markings on the pots – then leaves through the exit flues into the chimney and straight up. My kiln reaches 2400 degrees, which is a high, (for) stoneware temperature. Traditionally, I think, kilns were fired a little cooler, probably 2000-2100 degrees. But wood can reach any temperature you would like depending on your combustion zone, your ware chamber, and your chimney. A fifth generation potter Davis P. Brown observed: “Speaking of firing, lots of people think red’s HOT. Red-hot ain’t even hot; when it’s HOT and you look in them, it’s like looking into the sun.” I use scrap wood. I use anything that doesn’t burn in the wood stove and anything that I would burn in a bonfire. So lots of limbs. The skinny limbs have the most minerals so you get the most interesting deposits and they allow for the most flexibility in gaining heat. And it’s all scrap. (I did some research, Joy, showing the data about the Weis’ pottery operation in 1850. And they reported that they spent seven hundred period dollars for a year’s work and they used six hundred cords of wood and a whole lot of lead. what does that signify to you, as a potter?). Six hundred cords of wood is a lot of wood! For me a cord of wood is eight foot by eight foot by four foot, and in a firing I go through maybe two cords of wood. With the groundhog style kiln, they were very inefficient. So they were stoking wood constantly and a lot of that fuel was leaving the kiln as smoke. Nowadays we know a little more on how to capture that fuel better. “A,” it tells me that we had a lot of wood in this area. Six hundred cords of wood is a huge amount of wood. And “B,” the lead is interesting because a lot of our local clays makes a really wonderful “slip,” that also makes a glaze on the inside of the pot. (A slip?) A slip is like a watered down clay. So a “paint” or a “glaze.” A lot of people use the terms back and forth. It would be what you would glaze with. So if they were using lead, it would be very bad for their health. They probably didn’t live long. and “B” it’s expensive. Even then it was expensive, but it was what people thought they needed to do. Nowadays we know that we can use all these natural things, and the styles that I work in are much more akin to what the Weis potters could have been doing in that I use a lot of local clays. I mix my glazes out of ashes and clay bodies. So I have a very low overhead compared to what they did in that I’m not buying any lead, I’m not buying any expensive colorants that they would have done. My studio is similar to the way they would work in that I have a closed system. My water comes from a rain barrel. I don’t have any running water. My kiln is fired with wood. I don’t fire a gas kiln which a lot of people do nowadays. And my clay is closed-cycle: whatever clay comes into my studio I keep recycling until it turns into pots. And, anything I don’t like I “slip” back down and make clay out of it again, which would have been a practice during their time. So everything stays within the studio. (So in many ways, you’re doing a traditional method that the Weises did, but with greater efficiency). It may have been an aesthetic choice for them in that they chose to do specifically what they were doing. As it is now, I could use a very expensive overhead, using porcelain from China and Europe and using glazes that I buy pre-mixed that have expensive rare earth elements in them. But I prefer the more elementary approach in that I like using clay. I like the variables that come into play with wood firing, and with using ash glazes and with mixing a lot of my own ingredients. This my kiln. This is the firebox of my Bourry box wood kiln. It’s different from a groundhog style in that the groundhog style kilns would have been in the ground. You would have had to crawl to get in them. You would have entered only through the front through a very small opening and had to load everything while on your knees. This is the front. This is the fire box. This is where the fire starts. I load it through the ware chamber door which then gets bricked up with rows of bricks. This side is the firebox where the actual fire occurs, and it starts in the bottom. Once the fire hits about eleven hundred degrees, I can close up this door. (How long does that take Joy?) . It takes a day and a half. Then I can open the side-stoking doors on both sides and start stoking across the top, which allows me to reach a temperature of twenty-four hundred degrees inside the chamber. It’s hotter in the firebox, but that’s the chamber temperature. (What type of design is this called?) This is called a “bourry” box – B-O-U-R-R-Y. It’a an Australian design. What it does – it’s a very efficient, wood-burning kiln because the wood is burning up here and the coal bed is down below. Air comes in. It burns the wood, but then all the smoke and the waste products that would be going up the chimney burn off over the coal bed. So I get what we refer to as a “double burn cycle:” getting heat during the first burn of the wood and extra heat as the smoke and gasses burn off. So it’s very efficient. I get no smoke and no waste product in that way, and I use half as much wood that I would in a kiln of this size without the Bourry box fire. It’s a crossed-dressed kiln because the fire box is here and then everything goes up into the chamber and then back down across from the firebox. It’s more to the flame pattern. Groundhog kilns are often called updraft although they are kind of a hybrid, because if you imagine a flame-shaped kiln it’s also going uphill. So your firebox is down below and you’re stoking the wood, and then the kiln goes up and the chimney’s at the top. So it has a little different pull to it. The chimney is always the engine of the kiln. It’s always what’s pulling the heat and flame through the kiln. This is called “wedging” the clay and what it does is it increases plasticity, which means that as you’re working with it, it will stretch a little easier. It also removes air bubbles and makes it smoother to work with in general. Every piece I make has to go across the wedging board. (This is the process they would do back in the 1800s?). This is as old as it gets: with a heavy round wheel at the bottom and a small light round wheel at the top. It’s been done in every culture across the globe. My rims are probably thin compared to theirs (Weises), because I’m used to a more contemporary look and feel. Theirs probably would have been a little beefier, easier to grab, easier to use. (Somebody made the comment that they were like the fiesta ware of their period) um-hm. Yeh. That’s all they had. And they’re all remarkably similar no matter where you go, especially in the Appalachian foothills. If you did/do the kick wheel, you can’t be in a hurry. This would have been a relative of a classic crock form, which would have been useful in every kitchen across the county during the years the Weis family was in operation. It would have been their bread and butter literally. And their tools would have been extremely similar: a wooden stick, some kind of sponge. Something with a point just in case. And for decoration: a fingernail; everybody would have their decoration around here (side of crock), seems to have been some fingernail marks. We can do another one on the electric. This is starting to center the clay on the wheelhead, and before I can actually make the piece, the clay has to be in the center of the wheel completely. These are all different techniques that help make that happen. This is called wedging on the wheel, where I squeeze it up and then lean it back down, and it also helps to align the particles. I have a modern-day wheel here. This is an electric wheel, which is silent, which is really nice. I center the clay if it comes closer to the starting shape that I want. And the first thing that I do to actually throw the pot is called “opening.” I sink my thumbs into the middle and start to create the “inside” versus the “outside.” Now I’m setting the bottom. Without compressing the clay, you end up getting cracks and flaws in the bottom. Using the pressure of my fingers against the wheelhead, compressing the clay between the two makes for a strong, useful pot. Next, I’ll actually pull up the walls of the vessel. This is the part that looks fun – and IS fun. As the pot gets closer to the form that I want, I fine-tune it with different tools. All of them could have been used in any era. This a wooden rib, and, again, it compresses the clay particles. What I’m looking for is a wall that’s even – thin, but not too thin. I want it to be sturdy when it’s used, but not too heavy. So I dance in between thin versus sturdy. At this point where the wall feels good, that I start to think about the form. I find one of the most important parts is the rim. It has to look good, but it also has to be compressed, because it is very common to bang it on a kitchen sink and it would chip if it wasn’t compressed very well. So it’s important to spend a little extra time, making sure that functional pots actually work. (Is that maybe why the Weises had kind of a strong lip?) Yes. A little extra clay at the foot, because that’s also a spot. I’m lucky enough to come out of the tradition of functional pottery throughout history, when I was in Pennsylvania I used to visit the groundhog kiln sites there. What became of the Wise family? Wrote Mary Bedinger Mitchell of her early years in Shepherdstown in the 1850s: “The town was thriving. There was a brick kiln and a very interesting primitive manufactory of the glazed crocks or earthen pots so much in use. It was carried on by an old man in the old house and had quite a medieval flavor.” After the Weis men would dig up and load the low-plasticity, red-burning clay on the outer bend in the Potomac nearby, they would bring it by wagon back to their worksite. To children like Mary the clay mill “was of absorbing interest, and they hoped for a ride on the long wooden shaft or tongue, to which the gentle horse was hitched along going round and round in a prescribed circle, as it patiently ground the clay into a fine smooth powder. A stone burr working on the same principle as a flour mill did the work. Time progressed and tastes changed in favor of the blue glazed crocks and jugs and the Weis manufactory went into a long, slow decline through the rest of the 19th century, the family finally selling their home to George Beltzhoover. Ever faithful at St. Peter’s Lutheran Church, William Weis’ burial site was graced with a stunning urn – so stunning that vandals threatened it. So, today the urn and Weis’ pots bear witness on a secure shelf at St. Peters, just as others bear witness at the Shepherdstown Historic museum, The County Visitors Center, the Jefferson County Museum, and there is the effort to preserve their memory by Pam and Ren Parziale. To this their traditional skills are also kept fresh by Joy Bridy in her modern pottery, but also keeping the ways of the Weises close at hand, literally.

Thanks to Joy Bridy at joybridy.com

Made possible with the generous, community-minded support of American Public University System (apus.edu)

Researched, written, produced by Jim Surkamp.

Primary References:

Weis Pots courtesy St. Peter’s Lutheran Church, Shepherdstown, WV; Jefferson County Museum, Charles Town, WV; and Historic Shepherdstown Museum.
wikiclay.com
heat-work.blogspot.com
ceramica.wikia.com
wvculture.org
wikipedia.org
nlm.nih.gov
studiopottery.com
wvgeohistory.org

Barber, E. A. (1893). “The Pottery and Porcelain of the United States.” New York, NY: G.P. Putnam’s & Sons.

Bourry, Emile; Wilton P. Rix. (1901). ”Treatise on Ceramic Industries: A Complete Manual for Pottery, Tile and Brick Works.” London, UK: Scott & Greenwood & Co.

POTTERY-EARTHENWARE-KILN-TOOLS
Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers (Encyclopaedia, or a Systematic Dictionary of the Sciences, Arts, and Crafts). 1751. edited by Denis Diderot and Jean le Rond d’Alembert Paris, Fr: André le Breton, publisher.

Kenamond, A. D. (1963). “Prominent Men of Shepherdstown, 1762-1962.” Charles Town, WV: Jefferson County Historical Society.

Mitchell, Mary B. “Memories.” edited by Nina Mitchell. Shepherd University Library.

Moler, Mrs. M. S. R.(1940). “George Weis and His Pottery.” Magazine of the Jefferson County Historical Society Vol. 6. pp.16-17.

Morton, Clyde D. (1987). “The Weis Pottery and the Genealogy of the Potters.” Magazine of the Jefferson County Historical Society Vol. 52. pp. 48-55.

Parziale, Reynolds and Pamela. (1981). “Pottery in the 1800s. The Weis Pottery, Shepherdstown, West Virginia.” Magazine of the Jefferson County Historical Society Vol. 47. pp. 23-29.

Rice, A. H.; John Baer Stoudt. (1929). “The Shenandoah Pottery.” Strasburg, VA: Shenandoah Publishing House, Inc.

Sanderson, Robert; Coll Monigue. (2000). “Wood-fired Ceramics: Contemporary Practices.” Philadelphia, PA: University of Pennsylvania Press. pp. 10-14.

Sweezy, Nancy. (1994). “Raised in Clay: The Southern Pottery Tradition.” Chapel Hill, NC: University of North Carolina Press.

Timbrell, John. (2005). “The Poison Paradox: Chemicals as Friends and Foes.” Oxford, UK: Oxford University Press. Print.

Weaver, Emma. (1967). “Artisans of the Appalachians.” Photos by Edward L. Dupuy. Asheville, North Carolina: Miller Printing Co.

1860 U.S. Federal Census – Population – National Archive and Records Administration (NARA).

NYC – Metropolitan Museum of Art: Armor of Emperor Ferdinand I

NYC – Metropolitan Museum of Art: Armor of Emperor Ferdinand I

Some cool china molds produce images:

NYC – Metropolitan Museum of Art: Armor of Emperor Ferdinand I
china molds produce
Image by wallyg
Armor of Emperor Ferdinand I, dated 1549
Kunz Lochner (German (Nuremberg), ca. 1510-1567), armorer
German (Nuremberg)
Etched steel; H. overall (as mounted): 67 in. (170.2 cm) Wt. 52.9lb. (24kg)

The ownership of this armor by Ferdinand I (1503-1564) is suggested by the heraldic emblems on the toe caps: the imperial double-headed eagle surmounted by a royal crown, which signifies Ferdinand’s status as king of the Romans and designated successor to his brother, Emperor Charles V. The image of the Virgin and Child on the breastplate was also used by Charles V on his armors. The backplate is decorated with crossed staves and firesteels, the insignia of the Order of the Golden Fleece, of which Ferdinand was a member. Kunz Lochner, Nuremberg’s most celebrated armorer of the period, made several armors for both Ferdinand and his son Archduke Maximilian (15271576), including two matching armors produced about 1546 that are similar to the one seen here.

The helmet was not originally made for the Museum’s armor but has been associated with it since at least the early nineteenth century.

Purchase, George D. Pratt Gift and Rogers Fund, 1933 (33.164ax)

**
The collection of armor, edged weapons, and firearms in The Metropolitan Museum of Art ranks with those of the other great armories of the world, in Vienna, Madrid, Dresden, and Paris. It consists of approximately 15,000 objects that range in date from about 400 B.C. to the nineteenth century. Though Western Europe and Japan are the regions most strongly represented–the collection of more than five thousand pieces of Japanese armor and weapons is the finest outside Japan–the geographical range of the collection is extraordinary, with examples from the Near East, the Middle East, India, Central Asia, China, Southeast Asia, Indonesia, and North America. The Arms and Armor Galleries were renovated and reinstalled in 1991 to display to better effect the outstanding collection of armor and weapons of sculptural and ornamental beauty from around the world.

The Metropolitan Museum of Art‘s permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met’s holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met’s purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.

In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America’s Favorite Architecture list.

The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.

National Historic Register #86003556

NYC – Metropolitan Museum of Art – Astor Court – Cold Spring Pavilion
china molds produce
Image by wallyg
Historically, the finest scholars’ gardens of China were in Suzhou (soochow), a serene city inland from Shanghai. The design of the Astor Court is based on a courtyard in the Garden of the Master of the Fishing Nets (Wangshi Yuan) in Suzhou. Like its model, this court has three typical garden structures: a covered walkway, a small reception hall, and a half-pavilion along the west wall. Cold Spring Pavilion, identified by a tile plaque set in the wall, takes its name from the nearby pool. The exuberant upsweep of the roof corners is characteristic of Chinese architecture in the south.

Gray terracotta was a popular building material in Chinese gardens. In this court, the bricks are arranged in alternating sets of four; the large suqare floor tiles the doorframes, the low balustrades, and the trim along the tops of the walls are all low-fired unglazed ceramic specially produced for the Astor Court at an eighteenth-century imperial kiln near Suzhou. The granite slabs and the wood elements were also crafted in China ccording to traditional techniques. The components were installed by a team of twenty-seven Chinese engineers and craftsmen who worked at the Museum from January through May 1980.

The Ming’s Scholar’s retreat, a garden court and reception hall, was the concept of Brooke Russell Astor and became a reality because of her steadfast and generous support.

**
The Metropolitan Museum of Art‘s permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met’s holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met’s purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.

In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America’s Favorite Architecture list.

The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.

National Historic Register #86003556

Aquilaria malaccensis Lam.
china molds produce
Image by Ahmad Fuad Morad
RIUM, WP Kuala Lumpur, Malaysia.

Aquilaria malaccensis Lam. Thymelaeaceae. CN: [Malay and regional vernacular names – Gaharu, Karas, Depu, Depu kapas, Kelembak, Halim, Alim, Kareh, Kekaras, Kepang, Mengkaras, Tabak, Tangkaras, Tengkaras, Tuikaras, Sigsigi, Calambac, Ching karas, Galoop, Laroo], Agarwood, Aloeswood, Eaglewood, Indian aloewood, Lign-aloes, Malayan eaglewoodtree, Agallochum, Agalocha, Oudh, Agila wood. Distribution – Indian Subcontinent (Bhutan, India – Assam, West Bengal), Indo-China (Myanmar, Thailand), Malesia (Indonesia – Kalimantan, Sumatra; Malaysia; Philippines; Singapore, Brunei); elsewhere cultivated. Tree up to ca 36 m tall. Leaf simple, alternate; inflorescence terminal, 5-petaled flower; fruit capsule splitting into two parts. Habitat – lowland and hill forest up to ca 750 m. A. malaccensis is the major source of agarwood, a resinous heartwood, used for perfume and incense. The resin is produced by the tree in response to infection by a parasitic ascomycetous mould, Phaeoacremonium parasitica, a dematiaceous (dark-walled) fungus. Cultivated trees are deliberately injured and inoculated with the fungal inoculum to induce the formation of resin to isolate the invading pathogen. Traditionally used by Malays for preparation post-natal tonic, resin extract for treating swellings and tumor. Plant classified vulnerable and regulated by CITES due to the depletion of wild trees from indiscriminate cutting for agarwood. Its distribution pattern is likely to have reduced significantly.

Synonym(s):
Agallochum malaccense (Lam.) Kuntze
Aloexylum agallochum Lour.
Aquilaria agallocha Roxb.
Aquilaria agallocha Roxb. ex DC.
Aquilaria agallochum (Lour.) Roxb. ex Finl.
Aquilaria moluccensis Oken
Aquilaria ovata Cav.
Aquilaria secundaria Rumph. ex DC.
Aquilariella malaccensis (Lam.) Tiegh.

Ref. and suggested reading:
FRIM Flora Database
Kamus Dewan Bahasa dan Pustaka, Malaysia
www.theplantlist.org/tpl/record/tro-32000450
www.ars-grin.gov/cgi-bin/npgs/html/taxon.pl?410926
en.wikipedia.org/wiki/Aquilaria_malaccensis
www.conabio.gob.mx/institucion/cooperacion_internacional/…
www.fragrantica.com/notes/Agarwood-Oud–114.html

Cool Two Shot Plastic Parts China images

Cool Two Shot Plastic Parts China images

Check out these two shot plastic parts china images:

Steven F. Udvar-Hazy Center: SR-71 Blackbird (starboard tail view)
two shot plastic parts china
Image by Chris Devers
See more photos of this, and the Wikipedia article.

Details, quoting from Smithsonian National Air and Space Museum | Lockheed SR-71 Blackbird:

No reconnaissance aircraft in history has operated globally in more hostile airspace or with such complete impunity than the SR-71, the world’s fastest jet-propelled aircraft. The Blackbird’s performance and operational achievements placed it at the pinnacle of aviation technology developments during the Cold War.

This Blackbird accrued about 2,800 hours of flight time during 24 years of active service with the U.S. Air Force. On its last flight, March 6, 1990, Lt. Col. Ed Yielding and Lt. Col. Joseph Vida set a speed record by flying from Los Angeles to Washington, D.C., in 1 hour, 4 minutes, and 20 seconds, averaging 3,418 kilometers (2,124 miles) per hour. At the flight’s conclusion, they landed at Washington-Dulles International Airport and turned the airplane over to the Smithsonian.

Transferred from the United States Air Force.

Manufacturer:
Lockheed Aircraft Corporation

Designer:
Clarence L. "Kelly" Johnson

Date:
1964

Country of Origin:
United States of America

Dimensions:
Overall: 18ft 5 15/16in. x 55ft 7in. x 107ft 5in., 169998.5lb. (5.638m x 16.942m x 32.741m, 77110.8kg)
Other: 18ft 5 15/16in. x 107ft 5in. x 55ft 7in. (5.638m x 32.741m x 16.942m)

Materials:
Titanium

Physical Description:
Twin-engine, two-seat, supersonic strategic reconnaissance aircraft; airframe constructed largley of titanium and its alloys; vertical tail fins are constructed of a composite (laminated plastic-type material) to reduce radar cross-section; Pratt and Whitney J58 (JT11D-20B) turbojet engines feature large inlet shock cones.

Steven F. Udvar-Hazy Center: View down onto SR-71 Blackbird & Boeing P-26A Peashooter
two shot plastic parts china
Image by Chris Devers
See more photos of this, and the Wikipedia article.

Details, quoting from Smithsonian National Air and Space Museum | Boeing P-26A Peashooter:

The Boeing P-26A of the mid-to-late 1930s introduced the concept of the high-performance, all-metal monoplane fighter design, which would become standard during World War II. A radical departure from wood-and-fabric biplanes, the Peashooter nonetheless retained an open cockpit, fixed landing gear, and external wing bracing.

Most P-26As stationed overseas were eventually sold to the Philippines or assigned to the Panama Canal Department Air Force, a branch of the U.S. Army Air Corps. Several went to China and one to Spain. This one was based at Selfridge Field in Michigan and Fairfield Air Depot in Ohio between its acceptance by the U.S. Army Air Corps in 1934 and its transfer to the Canal Zone in 1938. It was given to Guatemala in 1942 and flew in the Guatemalan air force until 1954. Guatemala donated it to the Smithsonian in 1957.

Gift of the Guatemalan Air Force, Republic of Guatemala

Manufacturer:
Boeing Aircraft Co.

Date:
1934

Country of Origin:
United States of America

Dimensions:
Wingspan: 8.5 m (27 ft 11 in)
Length:7.3 m (23 ft 11 in)
Height:3.1 m (10 ft 2 in)
Weight, empty:996 kg (2,196 lb)
Weight, gross:1,334 kg (2,935 lb)
Top speed:377 km/h (234 mph)
Engine:Pratt & Whitney R-1340-27, 600 hp
Armament:two .30 cal. M2 Browning aircraft machine guns

• • •

Quoting from Boeing History | P-26 "Peashooter" Fighter:

The all-metal, single-wing P-26, popularly known as the "Peashooter," was an entirely new design for Boeing, and its structure drew heavily on the Monomail. The Peashooter’s wings were braced with wire, rather than with the rigid struts used on other airplanes, so the airplane was lighter and had less drag. Its initial high landing speeds were reduced by the addition of wing flaps in the production models.

Because the P-26 flew 27 mph faster and outclimbed biplane fighters, the Army ordered 136 production-model Peashooters. Acclaimed by pilots for its speed and maneuverability, the small but feisty P-26 formed the core of pursuit squadrons throughout the United States.

Twelve export versions, 11 for China and one for Spain, were built. One of a group of P-26s, turned over to the Philippine Army late in 1941, was among the first Allied fighters to down a Japanese airplane in World War II.

Funds to buy the export version of the Peashooter were partly raised by Chinese Americans. Contribution boxes were placed on the counters of Chinese restaurants.

Specifications

• First flight: March 20, 1932
• Model number: 248/266
• Classification: Fighter
• Span: 28 feet
• Length: 23 feet 7 inches
• Gross weight: 2,995 pounds
• Top speed: 234 mph
• Cruising speed: 200 mph
• Range: 635 miles
• Ceiling: 27,400 feet
• Power: 600-horsepower P&W Wasp engine
• Accommodation: 1 pilot
• Armament: 2 machine guns, 200-pound bomb load

• • • • •

See more photos of this, and the Wikipedia article.

Details, quoting from Smithsonian National Air and Space Museum | Lockheed SR-71 Blackbird:

No reconnaissance aircraft in history has operated globally in more hostile airspace or with such complete impunity than the SR-71, the world’s fastest jet-propelled aircraft. The Blackbird’s performance and operational achievements placed it at the pinnacle of aviation technology developments during the Cold War.

This Blackbird accrued about 2,800 hours of flight time during 24 years of active service with the U.S. Air Force. On its last flight, March 6, 1990, Lt. Col. Ed Yielding and Lt. Col. Joseph Vida set a speed record by flying from Los Angeles to Washington, D.C., in 1 hour, 4 minutes, and 20 seconds, averaging 3,418 kilometers (2,124 miles) per hour. At the flight’s conclusion, they landed at Washington-Dulles International Airport and turned the airplane over to the Smithsonian.

Transferred from the United States Air Force.

Manufacturer:
Lockheed Aircraft Corporation

Designer:
Clarence L. "Kelly" Johnson

Date:
1964

Country of Origin:
United States of America

Dimensions:
Overall: 18ft 5 15/16in. x 55ft 7in. x 107ft 5in., 169998.5lb. (5.638m x 16.942m x 32.741m, 77110.8kg)
Other: 18ft 5 15/16in. x 107ft 5in. x 55ft 7in. (5.638m x 32.741m x 16.942m)

Materials:
Titanium

Physical Description:
Twin-engine, two-seat, supersonic strategic reconnaissance aircraft; airframe constructed largley of titanium and its alloys; vertical tail fins are constructed of a composite (laminated plastic-type material) to reduce radar cross-section; Pratt and Whitney J58 (JT11D-20B) turbojet engines feature large inlet shock cones.

Long Description:
No reconnaissance aircraft in history has operated in more hostile airspace or with such complete impunity than the SR-71 Blackbird. It is the fastest aircraft propelled by air-breathing engines. The Blackbird’s performance and operational achievements placed it at the pinnacle of aviation technology developments during the Cold War. The airplane was conceived when tensions with communist Eastern Europe reached levels approaching a full-blown crisis in the mid-1950s. U.S. military commanders desperately needed accurate assessments of Soviet worldwide military deployments, particularly near the Iron Curtain. Lockheed Aircraft Corporation’s subsonic U-2 (see NASM collection) reconnaissance aircraft was an able platform but the U. S. Air Force recognized that this relatively slow aircraft was already vulnerable to Soviet interceptors. They also understood that the rapid development of surface-to-air missile systems could put U-2 pilots at grave risk. The danger proved reality when a U-2 was shot down by a surface to air missile over the Soviet Union in 1960.

Lockheed’s first proposal for a new high speed, high altitude, reconnaissance aircraft, to be capable of avoiding interceptors and missiles, centered on a design propelled by liquid hydrogen. This proved to be impracticable because of considerable fuel consumption. Lockheed then reconfigured the design for conventional fuels. This was feasible and the Central Intelligence Agency (CIA), already flying the Lockheed U-2, issued a production contract for an aircraft designated the A-12. Lockheed’s clandestine ‘Skunk Works’ division (headed by the gifted design engineer Clarence L. "Kelly" Johnson) designed the A-12 to cruise at Mach 3.2 and fly well above 18,288 m (60,000 feet). To meet these challenging requirements, Lockheed engineers overcame many daunting technical challenges. Flying more than three times the speed of sound generates 316° C (600° F) temperatures on external aircraft surfaces, which are enough to melt conventional aluminum airframes. The design team chose to make the jet’s external skin of titanium alloy to which shielded the internal aluminum airframe. Two conventional, but very powerful, afterburning turbine engines propelled this remarkable aircraft. These power plants had to operate across a huge speed envelope in flight, from a takeoff speed of 334 kph (207 mph) to more than 3,540 kph (2,200 mph). To prevent supersonic shock waves from moving inside the engine intake causing flameouts, Johnson’s team had to design a complex air intake and bypass system for the engines.

Skunk Works engineers also optimized the A-12 cross-section design to exhibit a low radar profile. Lockheed hoped to achieve this by carefully shaping the airframe to reflect as little transmitted radar energy (radio waves) as possible, and by application of special paint designed to absorb, rather than reflect, those waves. This treatment became one of the first applications of stealth technology, but it never completely met the design goals.

Test pilot Lou Schalk flew the single-seat A-12 on April 24, 1962, after he became airborne accidentally during high-speed taxi trials. The airplane showed great promise but it needed considerable technical refinement before the CIA could fly the first operational sortie on May 31, 1967 – a surveillance flight over North Vietnam. A-12s, flown by CIA pilots, operated as part of the Air Force’s 1129th Special Activities Squadron under the "Oxcart" program. While Lockheed continued to refine the A-12, the U. S. Air Force ordered an interceptor version of the aircraft designated the YF-12A. The Skunk Works, however, proposed a "specific mission" version configured to conduct post-nuclear strike reconnaissance. This system evolved into the USAF’s familiar SR-71.

Lockheed built fifteen A-12s, including a special two-seat trainer version. Two A-12s were modified to carry a special reconnaissance drone, designated D-21. The modified A-12s were redesignated M-21s. These were designed to take off with the D-21 drone, powered by a Marquart ramjet engine mounted on a pylon between the rudders. The M-21 then hauled the drone aloft and launched it at speeds high enough to ignite the drone’s ramjet motor. Lockheed also built three YF-12As but this type never went into production. Two of the YF-12As crashed during testing. Only one survives and is on display at the USAF Museum in Dayton, Ohio. The aft section of one of the "written off" YF-12As which was later used along with an SR-71A static test airframe to manufacture the sole SR-71C trainer. One SR-71 was lent to NASA and designated YF-12C. Including the SR-71C and two SR-71B pilot trainers, Lockheed constructed thirty-two Blackbirds. The first SR-71 flew on December 22, 1964. Because of extreme operational costs, military strategists decided that the more capable USAF SR-71s should replace the CIA’s A-12s. These were retired in 1968 after only one year of operational missions, mostly over southeast Asia. The Air Force’s 1st Strategic Reconnaissance Squadron (part of the 9th Strategic Reconnaissance Wing) took over the missions, flying the SR-71 beginning in the spring of 1968.

After the Air Force began to operate the SR-71, it acquired the official name Blackbird– for the special black paint that covered the airplane. This paint was formulated to absorb radar signals, to radiate some of the tremendous airframe heat generated by air friction, and to camouflage the aircraft against the dark sky at high altitudes.

Experience gained from the A-12 program convinced the Air Force that flying the SR-71 safely required two crew members, a pilot and a Reconnaissance Systems Officer (RSO). The RSO operated with the wide array of monitoring and defensive systems installed on the airplane. This equipment included a sophisticated Electronic Counter Measures (ECM) system that could jam most acquisition and targeting radar. In addition to an array of advanced, high-resolution cameras, the aircraft could also carry equipment designed to record the strength, frequency, and wavelength of signals emitted by communications and sensor devices such as radar. The SR-71 was designed to fly deep into hostile territory, avoiding interception with its tremendous speed and high altitude. It could operate safely at a maximum speed of Mach 3.3 at an altitude more than sixteen miles, or 25,908 m (85,000 ft), above the earth. The crew had to wear pressure suits similar to those worn by astronauts. These suits were required to protect the crew in the event of sudden cabin pressure loss while at operating altitudes.

To climb and cruise at supersonic speeds, the Blackbird’s Pratt & Whitney J-58 engines were designed to operate continuously in afterburner. While this would appear to dictate high fuel flows, the Blackbird actually achieved its best "gas mileage," in terms of air nautical miles per pound of fuel burned, during the Mach 3+ cruise. A typical Blackbird reconnaissance flight might require several aerial refueling operations from an airborne tanker. Each time the SR-71 refueled, the crew had to descend to the tanker’s altitude, usually about 6,000 m to 9,000 m (20,000 to 30,000 ft), and slow the airplane to subsonic speeds. As velocity decreased, so did frictional heat. This cooling effect caused the aircraft’s skin panels to shrink considerably, and those covering the fuel tanks contracted so much that fuel leaked, forming a distinctive vapor trail as the tanker topped off the Blackbird. As soon as the tanks were filled, the jet’s crew disconnected from the tanker, relit the afterburners, and again climbed to high altitude.

Air Force pilots flew the SR-71 from Kadena AB, Japan, throughout its operational career but other bases hosted Blackbird operations, too. The 9th SRW occasionally deployed from Beale AFB, California, to other locations to carryout operational missions. Cuban missions were flown directly from Beale. The SR-71 did not begin to operate in Europe until 1974, and then only temporarily. In 1982, when the U.S. Air Force based two aircraft at Royal Air Force Base Mildenhall to fly monitoring mission in Eastern Europe.

When the SR-71 became operational, orbiting reconnaissance satellites had already replaced manned aircraft to gather intelligence from sites deep within Soviet territory. Satellites could not cover every geopolitical hotspot so the Blackbird remained a vital tool for global intelligence gathering. On many occasions, pilots and RSOs flying the SR-71 provided information that proved vital in formulating successful U. S. foreign policy. Blackbird crews provided important intelligence about the 1973 Yom Kippur War, the Israeli invasion of Lebanon and its aftermath, and pre- and post-strike imagery of the 1986 raid conducted by American air forces on Libya. In 1987, Kadena-based SR-71 crews flew a number of missions over the Persian Gulf, revealing Iranian Silkworm missile batteries that threatened commercial shipping and American escort vessels.

As the performance of space-based surveillance systems grew, along with the effectiveness of ground-based air defense networks, the Air Force started to lose enthusiasm for the expensive program and the 9th SRW ceased SR-71 operations in January 1990. Despite protests by military leaders, Congress revived the program in 1995. Continued wrangling over operating budgets, however, soon led to final termination. The National Aeronautics and Space Administration retained two SR-71As and the one SR-71B for high-speed research projects and flew these airplanes until 1999.

On March 6, 1990, the service career of one Lockheed SR-71A Blackbird ended with a record-setting flight. This special airplane bore Air Force serial number 64-17972. Lt. Col. Ed Yeilding and his RSO, Lieutenant Colonel Joseph Vida, flew this aircraft from Los Angeles to Washington D.C. in 1 hour, 4 minutes, and 20 seconds, averaging a speed of 3,418 kph (2,124 mph). At the conclusion of the flight, ‘972 landed at Dulles International Airport and taxied into the custody of the Smithsonian’s National Air and Space Museum. At that time, Lt. Col. Vida had logged 1,392.7 hours of flight time in Blackbirds, more than that of any other crewman.

This particular SR-71 was also flown by Tom Alison, a former National Air and Space Museum’s Chief of Collections Management. Flying with Detachment 1 at Kadena Air Force Base, Okinawa, Alison logged more than a dozen ‘972 operational sorties. The aircraft spent twenty-four years in active Air Force service and accrued a total of 2,801.1 hours of flight time.

Wingspan: 55’7"
Length: 107’5"
Height: 18’6"
Weight: 170,000 Lbs

Reference and Further Reading:

Crickmore, Paul F. Lockheed SR-71: The Secret Missions Exposed. Oxford: Osprey Publishing, 1996.

Francillon, Rene J. Lockheed Aircraft Since 1913. Annapolis, Md.: Naval Institute Press, 1987.

Johnson, Clarence L. Kelly: More Than My Share of It All. Washington D.C.: Smithsonian Institution Press, 1985.

Miller, Jay. Lockheed Martin’s Skunk Works. Leicester, U.K.: Midland Counties Publishing Ltd., 1995.

Lockheed SR-71 Blackbird curatorial file, Aeronautics Division, National Air and Space Museum.

DAD, 11-11-01

Timberland.

Timberland.

Some cool injection moulding images:

Timberland.

Image by Neil. Moralee
Candid street shot.
—————————————-
Timberland LLC is an American manufacturer and retailer of outdoors wear with a focus on footwear.

Timberland footwear is marketed towards people intending outdoor and casual use.[citation needed] The company also sells apparel such as clothes, watches, glasses and leather goods.

In 2007, Timberland was named the 78th best employer in the US on the CNN Money "One hundred best companies to work for" list.[2] Timberland says that it is a proponent of corporate social responsibility. They offer deals on their products that are only available to customers and employees.

In 1918, Timberland founder Nathan Swartz began his shoe-making career in Boston, Massachusetts, as an apprentice stitcher.
n 1952, Swartz bought half an interest in The Abington Shoe Company in South Boston, mainly doing contract work for other manufacturers.
In 1955, Swartz bought the remaining interest and brought his sons into the company.
In 1965, the Swartz family introduced the then innovative injection-molding technology into the footwear industry. This enabled the production of virtually waterproof boots made in colder temperature form or in tropical weather form depending on the customer, by connecting the soles to the leather uppers without stitching.
In 1969, moved the base of its manufacturing operations to Newmarket, New Hampshire.
In 1973, the brand name "Timberland" was introduced for the waterproof leather boots produced by the company. Because the boot proved to be very popular, the company name was officially changed to The Timberland Company.
In 1978 and 1979, Timberland added casual and boat shoes to its boots product line.
In the 1980s, the company expanded internationally – first into the Italian market and, later, to many other countries, this thanks to the youth movement in Milan "Paninari" Paninaro who wore and launched the Timberland brand.
In 1984, purchased a former Melville factory in Tennessee and relocated manufacturing.
Herman Swartz, one of the founder’s sons, took the helm at the company. Under his leadership Timberland began to evolve into a lifestyle brand, adding clothing and women’s shoes to its products.
Throughout the 1990s, the Timberland Company added more product lines such as backpacks, watches, and kids’ footwear.
In 1998, the Timberland PRO series of "Workboots for the Professional" was launched. Jeffrey Swartz stepped up to become Chief Executive Officer of the company and brand his grandfather, uncle, and father had started.
In 2006, the company acquired Howies, the Welsh clothing company.
In 2007, Timberland acquired skateboard-footwear company, iPath. Ipath was sold in 2011 to Klone Labs.
In 2011, Timberland signed a definitive merger agreement with VF Corporation at per share or approximately billion.
In 2012 Howies was sold to its management by VF.

Injection molding die

Image by polapix

Injection Molded Plastic Piece

Image by nebarnix
Mold and piece created by Corey Renner

Cool High Quality Plastic Mould images

Cool High Quality Plastic Mould images

A few nice high quality plastic mould images I found:

Image from page 178 of “William Shakespeare; poet, dramatist, and man” (1901)
high quality plastic mould
Image by Internet Archive Book Images
Identifier: williamshakespe00mabi
Title: William Shakespeare; poet, dramatist, and man
Year: 1901 (1900s)
Authors: Mabie, Hamilton Wright, 1846-1916
Subjects: Shakespeare, William, 1564-1616
Publisher: New York : The Macmillan company London, Macmillan & co., ltd.
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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hadbecome a well-defined and highly developed nationalspeech when Shakespeare began to use it, but wasstill the language of life rather than of literature;its freshest and most beguiling combinations ofsound and sense were still to be made; it was stillwarm from the moulds in which it had been cast; itwas still plastic to the touch of the imagination.The poet had learned its most intimate familiar APPRENTICESHIP 135 symbols of homely, domestic, daily life among thepeople at Strat-ford ; he haddrunk of itsancient classi-cal springs inthe grammarschool; and, inLondon, amongmen of gift,quality, andknowledge ofthe world, hecame quickly tomaster the vo-cabulary of themen of action,adventure, andaffairs. Thedrama as a liter-ary form was atthe same criti-cal stage ; itwas well de-fined, its mainlines were dis-tinctly marked,but it had nothardened into wiluam shakespeare. final fnv TY-i c ^^^ J ^ ^ ^^■^ statue, which stands at the entrance to thellliai iOrmS. jVIall, central Park, New York.

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136 WILLIAM SHAKESPEARE The genius of Marlowe had brought to Its de-velopment the richness of diction and the imagi-native splendour of great poetry. It remained forShakespeare to harmonize both language and artwith the highest individual insight and gift of song,and to blend in forms of ultimate beauty and powerthe vitality of his age, the quality of his genius, agreat philosophy of life, and the freedom and flexi-bility of a language of noble compass both ofthought and music. The stage offered both the form and the field fora great popular literature ; a literature capaciousenough to receive and conserve the largest thoughtconcerning human destiny, to disclose and to employthe finest resources of poetry, and yet to use a speechwhich was part of every Englishmans memory andexperience. The drama was the one great oppor-tunity of expression which the age offered, andShakespeare turned to it instinctively. The meas-ure of his orenius was the measure of his sensitive-ness, and his imagin

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Image from page 168 of “William Shakespeare; poet, dramatist, and man” (1901)
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Identifier: williamshakespea01mabi
Title: William Shakespeare; poet, dramatist, and man
Year: 1901 (1900s)
Authors: Mabie, Hamilton Wright, 1846-1916
Subjects: Shakespeare, William, 1564-1616 Dramatists, English
Publisher: New York, The Macmillan company London, Macmillan & co., ltd.
Contributing Library: The Library of Congress
Digitizing Sponsor: The Library of Congress

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ombined, hadbecome a well-defined and highly developed nationalspeech when Shakespeare began to use it, but wasstill the language of life rather than of literature;its freshest and most beguiling combinations ofsound and sense were still to be made; it was stillwarm from the moulds in which it had been cast; itwas still plastic to the touch of the imagination.The poet had learned its most intimate familiar APPRENTICESHIP 135 symbols of homely, domestic, daily life among thepeople at Strat-ford ; he haddrunk of itsancient classi-cal springs inthe grammarschool; and, inLondon, amongmen of gift,quality, andknowledge ofthe world, hecame quickly tomaster the vo-cabulary of themen of action,adventure, andaffairs. Thedrama as a liter-ary form was atthe same criti-cal stage ; itwas well de-fined, its mainlines were dis-tinctly marked,but it had nothardened into william shakespeare. £• 1 r The J. Q. A. Ward statue, which stands at the entrance to the inailOrmS. Mall, central Park, New York.

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136 WILLIAM SHAKESPEARE The genius of Marlowe had brought to its de-velopment the richness of diction and the imagi-native splendour of great poetry. It remained forShakespeare to harmonize both language and artwith the highest individual insight and gift of song,and to blend in forms of ultimate beauty and powerthe vitality of his age, the quality of his genius, agreat philosophy of life, and the freedom and flexi-bility of a language of noble compass both ofthought and music. The stage offered both the form and the field fora great popular literature ; a literature capaciousenough to receive and conserve the largest thoughtconcerning human destiny, to disclose and to employthe finest resources of poetry, and yet to use a speechwhich was part of every Englishmans memory andexperience. The drama was the one great oppor-tunity of expression which the age offered, andShakespeare turned to it instinctively. The meas-ure of his genius was the measure of his sensitive-ness, and his imagina

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X001 Chevrolet Caprice – USA Police generic

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I picked this one up "for a song" at a car boot sale locally. The Sound+Light no longer works and it looks as though a previous junior owner might have taken it into the bath with him. it did howevber clean up rather well and looks nice on display. The decals are all appararently moulded in to the plastic (rather than paper stickers) and thus they still look sharp.

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Cut off from the sea by the suspicious port authorities in Shanghai it seemed that the only way I was going to get out of China was overland. This was my ticket.

In Shanghai I had inquired of every traveler I met about the path ahead of me. I had heard tales of this magnificent and exotic railway adventure before… they called it the greatest railway journey on earth. The longest stretch of steel rail ever layed.

An Australian traveller named Mark told me that he had heard that there was a guy in Beijing who could get me a ticket.

I asked Mark how I could find this guy in Beijing. He said just go there and ask for ‘The Crocodile.’ Just go to a city of some ten million souls and ask for ‘The Crocodile’? It sounded almost insane to me.

Ditching Mark after he made moves on my Chinese girlfriend and ditching my Chinese girlfriend after she got all worked up when a soldier who was following me took a picture of us together on the riverfront… I understood her fear in that time of Tienenmen Square and I knew it was time once again to get moving. It was time to move north to Beijing… the city they once called Peking.

Tsu Tsu Mei was a nice girl. She had told me to call her Eleanor… because that was what she called her ‘American name.’ I couldn’t do it because she just didn’t look like an Eleanor to me… I always called her Tsu Tsu Mei. And I think that she really liked that I did… it would have been easier to call her Eleanor I’m sure… but each time I called her ‘Tsu Tsu Mei’ she gave me this look… it started with a big warm vulnerable smile that made it seem to me that she was melting inside with warm thoughts and shaking knees.

That look always made me want to scoop her up in my arms and give her the same feelings right back. Whenever I said her name and got that look… it just kind of summed everything up right there in that moment. I really liked that. Sometimes I wished that it had gone farther but the way it ended is why I have the memories I do… and I hope she does too… we never hurt each other… never not once… it was the hard and cold government of an opressive authoritarian regime that broke both of our hearts there in Shanghai. It wasn’t either of us… it wasn’t our fault.

I was with Mark the Australian when I met Tsu Tsu Mei… we were tooling around Shanghai and we had just gotten on the bus after a tour of the Shanghai Waterpipe Factory Number Seven where I had just purchased a fine example of a brass opium waterpipe. We had seen the place while riding the bus and jumped off… the factory was really happy to have foreigners tour the place. I couldn’t believe that there were at least six other water bong factories in Shanghai. Somehow we had found the seventh.

As foreigners we were pretty much used to talking in english right in front of people knowing full well that they couldn’t follow our conversation… especially the slang riddled prose we frequently used. When Tsu Tsu Mei got on the bus and stood next to me I turned to Mark and said "man she is the most beautiful Chinese woman I have ever seen."

Before Mark could agree… Tsu Tsu Mei let me know that she appreciated the compliment… she smiled and said "thank you" in perfect english.

Shocked that my subterfuge was exposed at first I was a little embarassed… until Mark took that half of a second to start in on her. No way I thought… I was the one who paid the compliment… I was going to be putting the moves on Tsu Tsu Mei. I’m not sure Australian guys understand the concept of a good ‘wing man’ but Mark sure had some learnin’ to do. He needed to watch the movie ‘Top Gun’ and take some notes.

Tsu Tsu Mei and I arranged to meet later that night in downtown Shanghai and proceeded to become great friends. She even took me to meet her parents… Norman Tsu… the first deaf technical drafting instructor in all of China and his ‘deaf wife Janie.’

Tsu Tsu Mei’s father Norman was sent to the United States to study technical drafting in the fifties. He went to Gaudellet University and he confided in me that he really liked it… that he didn’t want to come back to China… he stopped writing home and corresponding with the government… he wanted to drift away… but they corralled his mother who was a widow by this time… and they made her write Norman a letter that made it really clear that it was in her best interests that Norman return to China. That’s how China got its first deaf technical drafting instructor. Or how they got him back.

Norman always referred to his wife as ‘My deaf wife.’ Both of them were deaf and we passed notes to each other over a marvellous dinner… while Tsu tsu Mei just kept smiling at me and at her parents… unbelievable food Normans deaf wife cooked. It was a feast… and not the Chinese food I was used to… this was exotic and unknown to me. The Tsu’s really went out and they’ve been in my thoughts many times since then.

The Tsu family was really good to me and things were moving right along with Tsu Tsu Mei too until that soldier decided that he’d turn our little hand holding session on the Shanghai riverfrint into a Kodak moment. I had seen that guy following me before… he was the tallest Chinaman I’d ever seen… a full head above the rest of the general population. I found great amusement in shagging him… going into a store and going out the back door. It was really like a game. Still… he always found me… he was on me for days there in Shanghai. And after he took that picture I realized that my company with Tsu Tsu Mei wasn’t looked upon favorably by the authorities. She was terrified of the repurcussions. I knew that was it… I wasn’t going to get her or her family inot any trouble. I was going to get out of Shanghai.

I purchased a train ticket on a sleeper train for the seventeen hour ride from Shanghai to Beijing. How was it that I could go to a city the size of Beijing almost a thousand miles to the north and find this man called ‘The Crocodile’ simply by asking? It seemed completely insane… but such was the world I found myself in this year… for me, 1990 was the year of living insanely.

After seventeen hours of watching China slide by through the window accompanied by the soundtrack of nonstop kung fu videos on the train’s television sets, I stepped off the carriage in Beijing, China’s capital city. Which was a godsend because I could not have taken one more of those videos. The Chinese truly love them… they must be a part of their national identity… the way that the Japanese love Godzilla. Godzilla was a mechanism that helped the Japanese to cope with their loss of World War Two and the painful shock of getting Nuked twice. Even though Godzilla always stomps their cities to pieces they always triumph. It’s like a morality tale with them.

When I was living in Osaka someone who worked in the studio that made the Godzilla movies decided to borrow the costume and wear it to a party where he caused it to be damaged to the tune of a hundred and seventy five thousand dollars. I wish I was at that party. Hanging out with the Nigerians. That would have been epic.

The first european looking guy I saw in Beijing… I stopped him as was my custom in the orient and inquired of the conditions and opportunities there in this new city. Blonde hair in China or Japan had always meant ‘help desk’ to me. We vagabonds and adventurers always stuck together and usually became instant friends as long as there wasn’t a woman involved.

Then I asked him if he had ever heard of ‘The Crocodile.’

He said that he would take me to see him right now. Right then. Right there. Unbelievable. I’m not kidding. No shit. I couldn’t believe it either.

I had found ‘The Crocodile.’

The man walked me to a hotel a few blocks away from the railroad station. It was an old building that looked straight out of the 1920’s, like just about every other building in Beijing. You could see that it was really beautiful at one time… maybe even opulent or exclusive… but it, like anything else that was once beautiful or opulent, it seemed to fall into despair and decay under the custodianship of the communists. That was the way pretty much all of Beijing looked. With brown air and trees and bushes that were different from all those I had even known. I always notice the trees and bushes in a new city. Here on the other side of the world the plant life and the vegetation was odd to me… just unusual enough to stick out in my mind.

The man knocked on the door and we were answered by a nice looking blonde woman on her early twenties. She looked kind of pissed off but invited us in still. My guide just turned around and left with little more than a gesture to the woman. I followed her into the room.

It had become a bit of a self entertainment for me to wonder why the man I was seeking should be called "The Crocodile." It intrigued me from the moment I had heard it and in my mind I came up with all sorts of reasons for the nickname. None of them pleasant.

The room was an illustration in contrasts… inside "The Crocodile" had rented two rooms… he knocked down the wall that had seperated them and completely remolded it. This guy was livin’ cush. He sat on the edge of his bed playing with the tv remote control as if it had befuddled him… I could tell from body language that his girlfriend and he had just been fighting.

"The Crocodile" stood up and turned around to face me… the guy must have been six and a half feet tall… and immediately I could see why they called him "The Crocodile."

He wore these braces on his teeth… the largest mass of metal I’ve ever seen in a persons mouth. Communist braces aren’t very pretty… but these… "The Crocodiles" mouth looked like it had been installed by a blacksmith… an angry, drunken blacksmith. Like hammered bars of hot metal hand forged around each of his teeth.

I had to make myself stop staring as he got right down to business. Croc asked me when I wanted to leave… he said he had one ticket and he wanted a hundred and ten bucks American for it. There’d be no negotiating I could tell that right away. I had a feeling that if I tried that he’d have just relieved me of all my dough right there. Probably my gear too.

We were in a bit of a funny situation for a couple of reasons… I thought the ticket looked fake… it looked worse than some of the permits and passes I’d forged in school. I didn’t have a visa to enter Russia… and I didn’t carry that kind of currency in US dollars. I wasn’t too sure that the Russians would actually be too excited about me coming to their country either. When I expressed this to "The Crocodile" he laughed a powerful and boisterous laugh and told me not to worry about it… he’d just gimme the ticket on good faith… so I could try and get a visa and cash a travellers check or something to come up with the Dollars he wanted. Besides he said "I know where your seat is and when you’ll be leaving and if you fuck me I’ll kill you" after which he laughed another deep laugh and gave me a half hug. "I want my money by next week he said." and walked me to the door where he said goodbye and his girlfriend gave me another dirty look.

That was it. Absolutely fucking unbelievable. I’m in Beijing less than two hours and I found my guy and I got my ticket. Now I just needed a visa from the Soviet Consulate. He’d also tell me there if the ticket was real I figured.

But right now I needed a place to stay. That would have to be my first order of business. The Croc’s hotel seemed a little too luxurious for my budget… I needed something ‘dumpier.’ Something where my kind’d fit in you know?

I walked out of the hotel and on to the street… pausing for a moment to take a breath of the sulfery yellow tinged air and feel the pulse of the street there…a moment to let the vibe of it all sink in. I could have gone left or I could have gone right but it really didn’t matter because I had no idea where I was going anyway. It’s like a rule with me… like walking on the upwind side of the street because that’s where all the paper money blows. Go left.

My friend Joel… the guy who’d saved my ass from the knife weilding Yakuza that pressed certain death into my throat in that bar in Osaka… he told me that he went insane and that he would hear these voices in his head that always said the same thing… "look to the left Joel." If he wasn’t crazy already he said that those voices would do it… he never understood the meaning of it. Stupid voices in your head… they never tell you anything good… like "stay away from that one… she’s trouble." They’re always all cryptic. You gotta try to figure them out and break the code. Joel said the lithium they gave him pretty much shut the voices down. I never had heard voices though. It would probably be fun for a day or two… just to see what they would say. I think if I had voices they would sound like Vincent Price on LSD.

So I went left after I walked out of the Crocodile’s hotel. I usually always go left when I got no idea but this time I was especially glad I did.

I get about a block and right there smack dab… badda bing… I run into this guy I lived with in Osaka Japan… Mike Levine… a Jewish guy from Jersey. He had let me borrow a pair of his shoes because I could find any in my size in Japan. Mike’s got this big smile on his face as he sees me… we hug and slap each others backs and talk about the fight that got me thrown out of the university in Japan that we both went to.

Mike gave me directions to a suitably dumpy hotel and we parted ways.

Walking down the street I saw a couple of American girls… who turned out to be two really granola looking lesbian backpackers from Nebraska.

I stopped them there and asked them where they were staying… they said they had no idea… I invited them to share a hotel room with me if we could find one… plus the thought of girl on girl action sounded like really good fun to me. I felt like I was really going to like Beijing. It seemed like an easy city. Things were looking good.

Was this my lucky day or what?

Shit, I been here for like two hours… I already met the guy I came to meet, had a ticket for the Trans Siberian, hooked up with two lesbians and there we found a three dollar a night hotel. Six yuan a night for each of us. What more greatness could god bestow on me? Another lesbian? A blind supermodel? That would just be asking too much I thought. Lady Luck, I’ve always said, she was indeed a friend of mine.

Never look a gift horse in the mouth they say… so I unpacked my gear in the hotel room… every bit of it… and spread it all around. I always unpack fully so if I get robbed they can’t just take one bag and split… they gotta work for it… then I unscrew all the lightbulbs in the room so they gotta have a flashlight to do it well… and then I make some loud noise making booby trap… like a pyramid of empty beer cans behind the door… then they gotta have nerves of steel to finish the job. Never got robbed once. Never. I have come home more than a few times affected by some intoxicant or another and fallen vicim to my own booby traps though. It always scared the beejesus out of me.

The Nebraska lesbians unpacked too.

Time to get out of here… It was time to go have a look at Beijing.

I left the hotel in a hurry and jumped on the first bus I saw… it didn’t matter where the bus was going…I didn’t care… I was sure that I hadn’t been there anyway. That’s the great thing about exploring like that. A new city… just go anywhere. It’s all new.

Sitting on the bus I was of course the only westerner riding it. The Chinese weren’t as polite as the Japanese and they would just stare at you forever… sometimes with mouth agape even… and I found myself very much the center of attention… the center of attention was something I really didn’t want to be. I kinda wanted to blend in really. That was going to be tough.

I started having what could only be described as auditory hallucinations on that bus… that happened alot to me in China… but right there it was bad… the cacaphony of Chinese voices started to filter itself out in my hyperactive mind and become english… I could understand things sometimes… I was certain that people were commenting on how intoxicated I was… they all knew it… they were all talking about me… looking at me… ‘Is that American guy drunk out of his gourd or what?’ I had to get off that bus. The sweat was pouring from my pores. It was getting to be more than uncomfortable… it was unbearable.

The next stop was my stop no matter where it might be… soon as it stopped I jumped off that bus so fast… I didn’t even have a clue as to where I was… and I didn’t care. Away from that hash house hotel and off of that bus…I just wanted my own little piece of contraband free real estate where I could sit and watch China go by and make amusing comments in my head to entertain myself.

This was my stop.

Before me was layed an enormous plaza… I had never seen such a large paved public space. It was gigantic enough it looked like you could lay down and land a 747 in it if you went from one corner to the next. It was so big and vast that the smog of Beijing obscured the other side of it from me. I didn’t know what this place was, but it made me feel realy small… insignificant actually… which was precisely how I wanted to feel.

I stood at Tienenmen Square.

This was the old Beijing… the one that used to be before the extremely systematic exploitation of cheap labor turned the place into a giant pachinko parlor… this was the dirty, dusty and gritty beijing where products were pulled around on wagons by teams of horses who shit big piles in the streets that you’d go straight over the handlebars of your bicycle if you didn’t look where you were going. I’d seen it.

This was the Beijing where the streets seemed impossibly large considering no one really owned a car… the Beijing where the old people all wore those navy blue or black or gray kung fu outfits and walked around stooping with their hands clasped behind their backs as if some ultimate power had ordered them to for all time.

This was the square in Beijing where less than a year had passed since thousands of students took a chance to try and change their world… this was the Beijing where tanks had rolled over them without mercy and their bodies were torn apart by the callousness of lead flying around at ballisticly high speeds and cruel random trajectories. This was the Beijing where their blood ran like rivers down the curbs and into the sewers where like the extinguishing of their tender lives for naught all was soon forgotten by a world more infatuated with its demand for cheap consumer electronics in attractive clamshell packaging.

The one year anniversary of the slaughter was approaching and here as if by accident I find myself in the place where history was made and so conveniently forgotten.

Here and there I could still see bullet scars, burns and other marks that told the tale of a failed movement killed in a single night of murderous debauchery.

It was eerie in Beijing. I couldn’t put my finger on it. Was it just the intoxicant’s influence? I couldn’t place it until I found a nice grassy place to sit down and let everything stabilize. Let my altered mind stop spinning.

The young people were all gone.

The government had sent what looked like the entire youth of the capitol city to ‘summer camp,’ where they’d sing patriotic songs and watch lots of motivational films and learn the error of their ways. It was re-education for the entire young population… there was almost no one walking around that city bettween the age of fourteen and twenty one. It was spooky… strange mojo in a strange land. Like some kind of Twilight Zone episode.

Everybody’s seen the picture of ‘Tank Man,’ that guy whose name the world doesn’t know… the one who was walking home from the grocery store with a couple of plastic bags in his hands… the guy who became a lonely human roadblock for a column of tanks… I know I could never forget that guy… he had balls the size of watermelons that one. I woudda love to have bought that guy a drink or eight.

I was walking down that street and a momentary sense of deja vu made me stop… It felt like I’d been there before… it didn’t take too long for the reality to hit me… I was standing in that spot. In the Tank Man’s spot. The premonition came from looking at that photograph.

There was a pay phone there… on the side of the street… you can see it in the Tank Man picture… I thought my parents might like to know where in the world I was so I tried to call them from it without luck. Maybe they’d think it was cool that I was calling them from there I thought.

I wanted to feel the scene out… I wanted to let it all sink in a little bit so I sat down and I had a look around. It all began to unfold in my mind… the direction the tanks came from… the sounds they’d make… their squeaking tracks rolling on the asphalt echoing in the canyon of concrete buildings… I could see the crosswalk he was walking across when it happened.

I stood up, still painting the scene on the canvas of my mind with the brushes of my imagination and I walked towards the crosswalk… just as he did that remarkable day.

Man… sometimes even I have a hard time putting things into words… sometimes feelings, emotions and perceptions are just too powerful and swift to get a grasp on.

Surveying the scene where this historic collision happened from the street… it was so much different than the picture we all know… that was shot from high above… it’s got a whole different tone than the lonliness and isolation that the street level offered. Just like in the square where I had felt so small… even the street there was massive in width… one of those subcompact cars flying through the smog could have crushed me like a bug. The thought of standing my ground in front of a column of many ton armored tanks with their diesel engines shaking and belching thick black smoke and rumbling in anger… I’ll tell you this… with the greatest respect that I can muster… that guy… at that moment… he took on the entire world. He was a bad ass motherfucker who said ‘hey… I don’t like what’s going down here.’ and he backed it up with his hundred and fifty pound body alone in the streets. He never even put those grocery bags down. But for a moment, that man stopped the world. He stood his ground. He stood our ground. He stood for everyman that day.

I didn’t.

I didn’t even chance stopping where he did. I didn’t want to stop a bus.

When I got across the street I walked back towards Tienenmen Square wondering what happened to the guy.

These thoughts were crisply punctuated when I found the remains of a completely flattened bicycle. It had been run over by something pretty heavy because it was as flat as a bicycle could conceivably become. It even had a curve to it… a lot of parts were gone but the frame, the handlebars, even the rims were crushed flat. I picked it up, still thinking about Tank Man and I realized what it meant.

Something inside me wanted to take it home… to show my people… people born and raised with a freedom fought for by others… I wanted to show them what we pretty much let happen here… the great crime that we ignored. It was a strong symbol to me at least of an oppresive government that lost it’s temper on it’s own people.

I’d never get that flattened bicycle home, but I carried stashed inside the tubes of my backpack messages that people had asked me to carry out of the country to a place where mistakenly so they thought good and decent people might give two shits about the treachery bestowed upon them in their quest for what we have but could really care less about. A freedom so strong… a freedom so deep that it was a part of me wether I was conscious about it or not… a freedom that formed the person I was and carried me on a long and mostly accidental journey to a place where youth was cut short for having the audacity and lack of patience to demand a more tolerant society where people would count for just a little more than cheap labor.

I promised myself I’d remember what happened to them. I promised myself that on June 4th, 1990 that I’d say a prayer there in Tienenmen Square. I’d recognize their martyrdom to the cause of freedom and I’d pay my respects on the anniversary of the barbarism of their all powerful and vicious central authority.

When that morning came with its sultry brownish orange sunrise, three hundred and sixty five days after the blood letting, when the flag of a nation was raised over it’s most proud square… I was the only person that wasn’t Chinese standing there as a witness to at least offer the the quiet contempt of my heart and the objection of my soul as a counterbalance to the disgrace of the murder of these children.

There were no television cameras or satellite trucks… no journalists fixing their hair or taking notes on those long pads that they carry. Nothing.

I carried no sign or banner… I spoke no message of objection. I sought to instigate nothing.

I stood there in Tienenmen Square as a witness.

A witness to what the rest of the free world was so selfishly quick to forget.

Two days later I’d board a train that I’d get off of in another world… where a wall that represented hate and anger and mistrust would be falling, hacked to pieces bit by bit by a people celebrating a new freedom and unity.

it wasn’t an OPINION, it was the UGLY MIRROR & other OBVIOUS OBSERVATIONS about why the movie-thing WAR MACHINE is just part of the bendover-and-lie-about-it construct — FKU brad pitt, scott richard

it wasn’t an OPINION, it was the UGLY MIRROR & other OBVIOUS OBSERVATIONS about why the movie-thing WAR MACHINE is just part of the bendover-and-lie-about-it construct — FKU brad pitt, scott richard

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it wasn’t an OPINION, it was the UGLY MIRROR

people mistake the logical differences between words because words are so often misused or overused to only mean one thing.

for example, too many people mistake OBSERVATIONS for OPINIONS.

they can’t really tell the difference.
this can be for many reasons, but usually it’s because their own PERSONAL OPINION has negated the skill of observation from being useful.
they have overridden their ability to see with previous information.

in the NOTSO UNITED STATES, this has become a pandemic.

to the point where the DIRE CONSEQUENCES of poisonous “medications” are still being ignored.

FOR EXAMPLE, the number of sudden deaths from PHARMACEUTICAL drugs has not been counted.

sure, the suicides and “overdoses” have been counted.

and to date, just in the past ten years, OVER HALF A MILLION NOTSO UNITED STATES’ citizens have been murdered by these drugs.

however, because the act of murder was done by the invisible FORCE of the drug, it apparently doesn’t count as an INTENTIONAL POISONING.

but it is.
but that’s not my point today.

my point today is that we know about these INTENTIONAL POISONINGS. we know about these DRUG MURDERS and the MURDERERS who promote them.

we are all aware of that.
you’d have to be deprived of at least three of your human senses to not know this already.

with one exception, ALL school killings by kids have been MEDZ induced.

and that’s what i want to talk about today.

i want to talk about the PEOPLE WHO ARE KILLED by medz users.

about seven years ago the theory of SUDDEN DEATH SYNDROME was started.
as a theory, it warned society that this syndrome could only be stopped if we took people off these toxic poisons that are being masqueraded as MEDICATION.

it is really the biggest lie of the 20th century to spill into the 21st century.

and the afghan takeover supported this industry to no end. 2003 was a notoriously gang busting year for the crop.

there’s a funny moment in brad pitt’s new watered down and slightly tedious movie-thing called “war machine”.
someone is asking someone why the afghan people can’t just grow cotton instead of poppies if the terrain is good for cotton.
then the other someone says, “because cotton would compete with the u.s market of cotton growers.” or something like that.

and FKING PITT let’s that stand.

but that’s fking stupid.
that’s not the reason at all.
in fact, that’s a FKING WOLF IN SHEEP’S CLOTHING answer.

which is why we should be afraid of FACE PEOPLE like pitt and clooney and the lot of ‘em.

they are fking liars, too.

THE REASON they don’t grow cotton in afghanistan is way more FKING OBVIOUS.

it’s because they are growing poppies for the PHARMACEUTICAL CARTELS.
that’s why.
it has nothing to do with cotton.

it is just that cotton is worth about 70 – 80 cents a pound.
poppies are worth 65 billion dollars a year.
which is about 40 billion dollars more than the cotton industry in the united states.

so fku brad.
that’s why they grow poppies in afghanistan instead of fking cotton!!!!

dum movie.

the WAR MACHINE is the pharmaceutical industry.
just fking say it.

go read some more details on opium and such.
it’s good to know stuff:
fking hollywood liars!!!!

******
from online:

"Opium is the name for the latex produced within the seed pods of the opium poppy, Papaver somniferum. The plant is believed to have evolved from a wild strain, Papaver setigerum, which grows in coastal areas of the Mediterranean Sea. Through centuries of cultivation and breeding for opium, the species somniferum evolved. Today, P. somniferum is the only species of Papaver used to produce opium. Opium contains morphine, codeine, noscapine, papaverine, and thebaine. All but thebaine are used clinically as analgesics to reduce pain without a loss of consciousness. Thebaine is without analgesic effect but is of great pharmaceutical value due to its use in the production of semisynthetic opioid morphine analogues such as oxycodone (Percodan), dihydromorphenone (Dilaudid), and hydrocodone (Vicodin).

The psychological effects of opium may have been known to the ancient Sumerians (circa 4,000 B.C.) whose symbol for poppy was hul, "joy" and gil, "plant". The plant was known in Europe at least 4,000 years ago as evidenced by fossil remains of poppy seed cake and poppy pods found in the Neolithic Swiss Lake Dwellings. Opium was probably consumed by the ancient Egyptians and was known to the Greeks as well. Our word opium is derived from the Greek. The poppy is also referred to in Homer’s works the Iliad and the Odyssey (850 B.C.). Hippocrates (460-357 B.C.) prescribed drinking the juice of the white poppy mixed with the seed of nettle.

The opium poppy probably reached China about the fourth century A.D. through Arab traders who advocated its use for medicinal purposes. In Chinese literature, there are earlier references to its use. The noted Chinese surgeon Hua To of the Three Kingdoms (220-264 A.D.) used opium preparations and Cannabis indica for his patients to swallow before undergoing major surgery.

The beginning of widespread opium use in China is associated with the introduction of tobacco smoking in pipes by Dutch from Java in the 17th century. The Chinese mixed Indian opium with the tobacco, two products that were being traded by the Dutch. This practice was adopted throughout the region and predictably resulted in increased opium smoking, both with and without tobacco.

By the late-1700s the British East India Company controlled the prime Indian poppy growing regions and dominated the Asian opium trade. By 1800, they had a monopoly on opium; controlling supply and setting prices.

In 1805, the German pharmacist Friedrich W. SertYrner isolated and described the principal alkaloid and powerful active ingredient in opium. He named it morphium after Morpheus, the Greek god of dreams. We know it today as morphine. This event was soon followed by the discovery of other alkaloids of opium: codeine in 1832 and papaverine in 1848. By the 1850s these pure alkaloids, rather than the earlier crude opium preparations, were being commonly prescribed for the relief of pain, cough, and diarrhea. This period also saw the invention and introduction of the hypodermic syringe.

By the late eighteenth century opium was being heavily used in China as a recreational drug. The Imperial court had banned its use and importation but large quantities were still being smuggled into China. In 1839 the Qing Emperor ordered his minister Lin Zexu to address the opium problem. Lin petitioned Queen Victoria for help but was ignored. In reaction, the emperor confiscated 20,000 barrels of opium and detained some foreign traders. The British retaliated by attacking the port city of Canton. Thus the First Opium War began. The Chinese were defeated and the Treaty of Nanjing was signed in 1842. The British required that the opium trade be allowed to continue, that the Chinese pay a large settlement, and that the Chinese cede Hongkong to the British Empire. The Second Opium War began and ended in 1856 over western demands that opium markets be expanded. The Chinese were again defeated and opium importation to China was legalized.

In the United States during the 19th century, opium preparations and ‘patent medicines’ containing opium extract such as paregoric (camphorated tincture of opium) and laudanum (deodorized opium tincture) became widely available and quite popular. In the 1860s morphine was used extensively pre- and post-operatively as a painkiller for wounded soldiers during the Civil War. Civil War physicians frequently dispensed opiates. In 1866 the Secretary of War stated that during the war the Union Army was issued 10 million opium pills, over 2,840,000 ounces of other opiate preparations (such as laudanum or paregoric), and almost 30,000 ounces of morphine sulphate. The inevitable result was opium addiction, called the ‘army disease’ or the ‘soldier’s disease.’ These opium and morphine addiction problems prompted a scientific search for potent but nonaddictive painkillers. In the 1870s, chemists synthesized a supposedly non-addictive, substitute for morphine by acetylating morphine. In 1898 the Bayer pharmaceutical company of Germany was the first to make available this new drug, 3,6-diacetylmorphine, in large quantities under the trademarked brand name Heroin. 3,6-diacetylmorphine is two to three times more potent than morphine. Most of the increase is due to its increased lipid solubility, which provides enhanced and rapid central nervous system penetration.

Heroin was initially used with much success as a superior cough suppressant for patients with (then incurable) tuberculosis. Tuberculosis patients continued to die, but without the tortuous coughing and pain. A second use of heroin was to combat morphine ad diction – just as morphine was originally used to combat opium addiction. Soon after its introduction, however, Heroin was recognized as having narcotic and addictive properties far exceeding those of morphine.

In December 1914, the United States Congress passed the Harrison Narcotics Act which called for control of each phase of the preparation and distribution of medicinal opium, morphine, heroin, cocaine, and any new derivative that could be shown to have similar properties. It made illegal the possession of these controlled substances. The restrictions in the Harrison Act were most recently redefined by the Federal Controlled Substances Act of 1970. The Act lists as a Schedule II Controlled Substance opium and its derivatives and all parts of theP. somniferum plant except the seed.

The first period of large scale heroin smuggling into the United States since its prohibition occurred during the years 1967 through 1971. Turkish opium was processed into heroin in France and then smuggled into New York.

In the mid-1970s Mexican brown heroin appeared. It was sold at a lower price than European heroin and became readily available in the West and Midwest. By the mid-1980s the U.S. heroin market was being supplied from three regions: Mexico, Southwest Asia (Pakistan, Afghanistan, Turkey, Lebanon), and Southeast Asia (Burma, Laos, Thailand). Soon thereafter, South American heroin from Columbia appeared.

In 1997, Southeast Asia still accounts for well over half of the world’s opium production. It is estimated that the region has the capacity to produce over 200 metric tons of heroin annually. Although much of it is consumed in Asia, thousands of kilograms of Southeast Asian heroin enter the United States each year.

The chemical structure of opiates is very similar to that of naturally produced compounds called endorphinsand enkephalins. These compounds are derived from an amino acid pituitary hormone called beta-lipotropin which when released is cleaved to form met-enkephalin, gamma-endorphin, and beta-endorphin. Opiate molecules, due to their similar structure, engage many of the endorphins’ nerve-receptor sites in the brain’s pleasure centers and bring about similar analgesic effects. In the human body, a pain stimulus usually exites an immediate protective reaction followed by the release of endorphins to relieve discomfort and reward the mental learning process. Opiates mimic high levels of endorphins to produce intense euphoria and a heightened state of well-being. Regular use results in increased tolerance and the need for greater quantities of the drug. Profound physical and psychological dependence results from regular use and rapid cessation brings about withdrawal sickness.

In addition to the pleasure/pain centers, there is also a concentration of opiate receptors in the respiratory center of the brain. Opiates have an inhibiting effect on these cells and in the case of an overdose, respiration can come to a complete halt. Opiates also inhibit sensitivity to the impulse to cough.

A third location for these receptors is in the brain’s vomiting center. Opiate use causes nausea and vomiting. Tolerance for this effect is built up very quickly. Opiates effect the digestive system by inhibiting intestinal peristalsis. Long before they were used as painkillers, opiates were used to control diarrhea.

The opium poppy, Papaver somniferum, is an annual plant. From a very small round seed, it grows, flowers, and bears fruit (seed pods) only once. The entire growth cycle for most varieties of this plant takes about 120 days. The seeds of P. somniferum can be distinguished from other species by the appearance of a fine secondary fishnet reticulation within the spaces of the coarse reticulation found all over their surface. When compared with other Papaver species, P. somniferum plants will have their leaves arranged along the stem of the plant, rather than basal leaves, and the leaves and stem will be ‘glabrous’ (hairless). The tiny seeds germinate quickly, given warmth and sufficient moisture. Sprouts appear in fourteen to twenty-one days. In less than six weeks the young plant has grown four large leaves and resembles a small cabbage in appearance. The lobed, dentate leaves are glaucous green with a dull gray or blue tint.

Within sixty days, the plant will grow from one to two feet in height, with one primary, long, smooth stem. The upper portion of this stem is without leaves and is the ‘peduncle’. One or more secondary stems, called ’tillers’, may grow from the main stem of the plant. Single poppy plants in Southeast Asia often have one or more tillers.

As the plant grows tall, the main stem and each tiller terminates in a flower bud. During the development of the bud, the peduncle portion of the stem elongates and forms a distinctive ‘hook’ which causes the bud to be turned upside down. As the flower develops, the peduncle straightens and the buds point upward. A day or two after the buds first point upward, the two outer segments of the bud, called ‘sepals,’ fall away, exposing the flower petals.

Opium poppies generally flower after about ninety days of growth and continue to flower for two to three weeks. The exposed flower blossom is at first crushed and crinkled, but the petals soon expand and become smooth in the sun. Opium poppy flowers have four petals. The petals may be single or double and may be white, pink, reddish purple, crimson red, or variegated. The petals last for two to four days and then drop to reveal a small, round, green fruit which continues to develop. These fruits or pods (also called ‘seedpods’, ‘capsules,’ ‘bulbs,’ or ‘poppy heads’) are either oblate, elongated, or globular and mature to about the size of a chicken egg. The oblate-shaped pods are more common in Southeast Asia.

The main stem of a fully-matured P. somniferum plant can range between two to five feet in height. The green leaves are oblong, toothed and lobed and are between four to fifteen inches in diameter at maturity. The mature leaves have no commercial value except for use as animal fodder.

Only the pod portion of the plant can produce opium alkaloids. The skin of the poppy pod encloses the wall of the pod ovary. The ovary wall consists of an outer, middle, and inner layer. The plant’s latex (opium) is produced within the ovary wall and drains into the middle layer through a system of vessels and tubes within the pod. The cells of the middle layer secrete more than 95 percent of the opium when the pod is scored and harvested.

Cultivators in Mainland Southeast Asia tap the opium from each pod while it remains on the plant. After the opium is scraped, the pods are cut from the stem and allowed to dry. Once dry, the pods are cut open and the seeds are removed and dried in the sun before storing for the following year’s planting. An alternative method of collecting planting seeds is to collect them from intentionally unscored pods, because scoring may diminish the quality of the seeds. Aside from being used as planting seed, the poppy seeds may also be used in cooking and in the manufacture of paints and perfumes. Poppy seed oil is straw-yellow in color, odorless, and has a pleasant, almond-like taste. The opium poppy grows best in temperate, warm climates with low humidity. It requires only a moderate amount of water before and during the early stages of growth. In addition, it is a ‘long day’ photo-responsive plant. As such, it requires long days and short nights before it will develop flowers. The opium poppy plant can be grown in a variety of soils; clay, sandy loam, sandy, and sandy clay, but it responds best to sandy loam soil. This type of soil has good moisture-retentive and nutrient-retentive properties, is easily cultivated, and has a favorable structure for root development. Clay soil types are hard and difficult to pulverize into a good soil texture. The roots of a young poppy plant cannot readily penetrate clay soils, and growth is inhibited. Sandy soil, by contrast, does not retain sufficient water or nutrients for proper growth of the plant.

Excessive moisture or extremely arid conditions will adversely affect the poppy plant’s growth and reduce the alkaloid content. Poppy plants can become waterlogged and die after a heavy rainfall in poorly drained soil. Heavy rainfall in the second and third months of growth can leach alkaloids from the plant and spoil the opium harvest. Dull, rainy, or cloudy weather during this critical growth period may reduce both the quantity and the quality of the alkaloid content.

Opium poppies were widely grown as an ornamental plant and for seeds in the United States until the possession of this plant was declared illegal in the Opium Poppy Control Act of 1942. New generations of plants from the self-sown seed of these original poppies can still be seen in many old ornamental gardens.

The major legal opium poppy growing areas in the world today are in govemment-regulated opium farms in lndia, Turkey and Tasmania, Australia. The major illegal growing areas are in the highlands of Mainland Southeast Asia, specifically Burma (Myanmar), Laos, and Thailand, as well as the adjacent areas of southern China and northwestern Vietnam. The area is known as the ‘Golden Triangle’. In Southwest Asia, opium poppies are grown in Pakistan, Iran, and Afghanistan. Opium poppy is also grown in Lebanon, Guatemala, Colombia and Mexico.

The highlands of Mainland Southeast Asia, at elevations of 800 meters or more above sea level, are prime poppy growing areas. Generally speaking, these poppy-farming areas do not require irrigation, fertilizer, or insecticides for successful opium yields.

Most of the opium poppies of Southeast Asia are grown in Burma (Myamnar), specifically in the Wa and Kokang areas which are in the northeastern quadrant of the Shan State of Burma. Laos is the second-largest illicit opium-producing country in Southeast Asia and third-largest in the world.

In Laos, poppy is cultivated extensively in Houaphan and Xiangkhoang Provinces, as well as the six other northern provinces: Bokeo, Louangnamtha, Louangphabang, Oudomxai, Phongsali and Xaignabouli. Poppy is also grown in many of the remote, mountainous areas of northern Thailand, particularly in Chiang Mai, Chiang Rai, Mae Hong Son, Nan and Tak Provinces.

In China, opium poppies are cultivated by ethnic minority groups in the mountainous frontier regions of Yunnan Province, particularly along the border area with Burma’s Kachin and Shan States. Son La Province, situated between China and Laos, is a major opium poppy cultivation area in Vietnam, as are Lai Chau and Nghe An Provinces.

It is noteworthy that the dominant ethnic groups of Mainland Southeast Asia are not poppy cultivators. The Burmans and Shan of Burma, the Lao of Laos, the Thai of Thailand, the Han Chinese of Yunnan, China, and the Vietnamese of Vietnam are lowlanders and do not traditionally cultivate opium poppies. Rather, it is the ethnic minority highlander groups, such as the Wa, Pa-0, Palaung, Lahu, Lisu, Hmong, and Akha who grow poppies in the highlands of the countries of Southeast Asia.

A typical nuclear family of Mainland Southeast Asian highlanders ranges between five and ten persons,including two to five adults. An average household of poppy farmers can cultivate and harvest about one acre of opium poppy per year. Most of the better fields can support opium poppy cultivation for ten years or more without fertilization, irrigation, or insecticides, before the soil is depleted and new fields must be cleared. In choosing a field to grow opium poppy, soil quality and acidity are critical factors and experienced poppy farmers choose their fields carefully. In Southeast Asia, westerly orientations are typically preferred to optimize sun exposure. Most fields are on mountain slopes at elevations of 1,000 meters (3,000 feet) or more above sea level. Slope gradients of 20 degrees to 40 degrees are considered best for drainage of rain water.

In Mainland Southeast Asia, virgin land is prepared by cutting and piling all brush, vines and small trees in the field during March, at the end of the dry season. After allowing the brush to dry in the hot sun for several days, the field is set afire. This method, called ‘slash-and burn’ or ‘swidden’ agriculture, is commonly practiced by dry field farmers – both highland and lowland – throughout Mainland Southeast Asia in order to ready the land for a variety of field crops. The slash-and-burn method is also used to clear fields for poppy cultivation. Before the rainy season in April, fields by the hundreds of thousands all over the region are set ablaze. A fog-like yellow haze hangs over the area for weeks, reducing visibility for hundreds of miles. In the mountains, the dense haze blocks out the sun and stings the eyes.

A typical highlander family will plant an area of two or three rai in opium poppy (2.53 rai is equivalent to one acre). In August or September, toward the end of the rainy season, highland farmers in Southeast Asia prepare fields selected for opium poppy planting. By this time, the ash resulting from the burn-off of the previous dry season has settled into the soil, providing additional nutrients, especially potash. The soil is turned with long-handled hoes after it is softened by the rains. The farmers then break up the large clumps of soil. Weeds and stones are tossed aside and the ground is leveled off.

Traditionally, most highland and upland farmers in Southeast Asia do not use fertilizer for any of their crops, including the opium poppy, but in recent years opium poppy farmers have started using both natural and chemical fertilizers to increase opium poppy yields. Chicken manure, human feces or the regions’ abundant bat droppings are often mixed into the planting soil before the opium poppy seed is planted.

The planting must be completed by the end of October in order to take advantage of the region’s ‘long days’ in November and December.

The opium poppy seed can be sown several ways: broadcast (tossed by hand); or fix-dropped by hand into shallow holes dug with a metal-tipped dibble stick. About one pound of opium poppy seed is needed to sow one acre of land. The seeds may be white, yellow, coffee-color, gray, black, or blue. Seed color is not related to the color of the flower petals. Beans, cabbages, cotton, parsley, spinach, squash and tobacco are crops typically planted with the opium poppy. These crops neither help nor hinder the cultivation of the opium poppy, but are planted for personal consumption or as a cash crop.

In the highlands of Southeast Asia, it is a common practice to plant maize and opium poppies in the same fields each year. The maize keeps down excessive weeds and provides feed for the farmer’s pigs and ponies. It is grown from April to August. After harvesting the maize, and with the stalks still standing in the fields, the ground is weeded and pulverized. Just before the end of the rainy season, in successive sowings throughout September and October, the poppy seed is broadcast among the maize stalks. These stalks can protect young opium poppy plants from heavy rains.

The opium poppy plants form leaves in the first growth stage, called the ‘cabbage’ or ‘lettuce’ stage. After a month of growth, when the opium poppy is about a foot high, some of the plants are removed (called ‘thinning’) to allow the other plants more room to grow. The ideal spacing between plants is believed to be 20 to 40 centimeters, or about eight to twelve plants per square meter, although some researchers in northern Thailand have reported as many as 18 plants per square meter.

During the first two months, the opium poppies may be damaged or stunted by nature through the lack of adequate sunshine, excessive rainfall, insects, worms, hail storms, early frost, or trampling by animals. The third month of growth does not require as much care as the first two months. Three to four months after planting, from late December to early February, the opium poppies are in full bloom. Mature plants range between three to five feet in height. Most opium poppy varieties in Southeast Asia produce three to five mature pods per plant. A typical opium poppy field has 60,000 to 120,000 poppy plants per hectare, with a range of 120,000 to 275,000 opium-producing pods. The actual opium yield will depend largely on weather conditions and the precautions taken by individual farmers to safeguard the crop. The farmer and his family generally move into the field for the final two weeks, setting up a small field hut on the edge of the opium poppy field.

The scoring of the pods (also called ‘lancing,’ ‘incising,’ or ‘tapping’) begins about two weeks after the flower petals fall from the pods. The farmer examines the pod and the tiny crown portion on the top of the pod very carefully before scoring.

The grayish-green pod will become a dark green color as it matures and it will swell in size. If the points of the pod’s crown are standing straight out or are curved upward, the pod is ready to be scored. If the crown’s points turn downward, the pod is not yet fully matured. Not all the plants in a field will be ready for scoring at the same time and each pod can be tapped more than once.

A set of three or four small blades of iron, glass, or glass splinters bound tightly together on a wooden handle is used to score two or three sides of the pod in a vertical direction. If the blades cut too deep into the wall of the pod, the opium will flow too quickly and will drip to the ground. If the incisions are too shallow, the flow will be too slow and the opium will harden in the pods. A depth of about one millimeter is desired for the incision.

Using a blade-tool designed to cut to that depth, scoring ideally starts in late afternoon so the white raw opium latex can ooze out and slowly coagulate on the surface of the pod overnight. If the scoring begins too early in the afternoon, the sun will cause the opium to coagulate over the incision and block the flow. Raw opium oxidizes, darkens and thickens in the cool night air. Early the next morning, the opium gum is scraped from the surface of the pods with a short-handled, flat, iron blade three to four inches wide.

Opium harvesters work their way backwards across the field scoring the lower, mature pods before the taller pods, in order to avoid brushing up against the sticky pods. The pods continue to produce opium for several days. Farmers will return to these plants – sometimes up to five or six times – to gather additional opium until the pod is totally depleted. The opium is collected in a container which hangs from the farmer’s neck or waist.

The opium yield from a single pod varies greatly, ranging from 10 to 100 milligrams of opium per pod. The average yield per pod is about 80 milligrams. The dried opium weight yield per hectare of poppies ranges from eight to fifteen kilograms.

As the farmers gather the opium, they will commonly tag the larger or more productive pods with colored string or yarn. These pods will later be cut from their stems, cut open, dried in the sun and their seeds used for the following year’s planting.

The wet opium gum collected from the pods contains a relatively high percentage of water and needs to be dried for several days. High-quality raw opium will be brown (rather than black) in color and will retain its sticky texture. Experienced opium traders can quickly determine if the opium has been adulterated with tree sap, sand, or other such materials. Raw opium in Burma, Laos and Thailand is usually sun-dried, weighed in a standard 1.6 kilogram quantity (called a ‘viss’ in Burma; a ‘choi’ in Laos and Thailand), wrapped in banana leaf or plastic and then stored until ready to sell, trade, or smoke. While opium smoking is common among most adult opium poppy farmers, heavy addiction is generally limited to the older, male farmers. The average yearly consumption of cooked opium per smoker is estimated to be 1.6 kilograms.

A typical opium poppy farmer household in Southeast Asia will collect 2 to 5 choi or viss (3 to 9 kilograms) of opium from a year’s harvest of a one-acre field. That opium will be dried, wrapped and stacked on a shelf by February or March. If the opium has been properly dried, it can be stored indefinitely. Excessive moisture and heat can cause the opium to deteriorate but, once dried, opium is relatively stable. In fact, as opium dries and becomes less pliable, its value increases due to the decrease in water weight per kilogram.

Before opium is smoked, it is usually ‘cooked’. Uncooked opium contains moisture, as well as soil, leaves, twigs, and other impurities which diminish the quality of the final product. The raw opium collected from the opium poppy pods is placed in an open cooking pot of boiling water where the sticky globs of opium alkaloids quickly dissolve. Soil, twigs, plant scrapings, etc., remain undissolved. The solution is then strained through cheesecloth to remove these impurities. The clear brown liquid that remains is opium in solution, sometimes called ‘liquid opium’. This liquid is then re-heated over a low flame until the water is driven off into the air as steam leaving a thick dark brown paste. This paste is called ‘prepared’, ‘cooked’, or ‘smoking’ opium. It is dried in the sun until it has a putty-like consistency. The net weight of the cooked opium is generally only eighty percent that of the original raw opium. Thus, cooked opium is more pure than its original, raw form, and has a higher monetary value.

Cooked opium is suitable for smoking or eating by opium users. Traditionally there is only one group of opium poppy farmers, the Hmong, who prefer not to cook their opium before smoking. Most other ethnic groups, including Chinese opium addicts, prefer smoking cooked opium. If the opium is to be sold to traders for use in morphine or heroin laboratories, it is not necessary to cook it first. The laboratory operators generally use 55-gallon oil drums or huge cooking vats to dissolve the raw opium before beginning the morphine extraction process.

Raw or cooked opium contains more than thirty-five different alkaloids, including morphine, which accounts for approximately ten percent of the total raw opium weight. Heroin manufacturers must first extract the morphine from the opium before converting the morphine to heroin. The extraction is a simple process, requiring only a few chemicals and a supply of water. Since the morphine base is about one-tenth the weight and volume of raw opium, it is desirable to reduce the opium to morphine before transporting the product any great distance. Morphine is sometimes extracted from opium in small clandestine ‘laboratories’ which may be set up near the opium poppy fields.

The process of extracting morphine from opium involves dissolving opium in hot water, adding lime to precipitate the non-morphine alkaloids and then adding ammonium chloride to precipitate the morphine from the solution. An empty oil drum and some cooking pots are all that is needed.

The following is a step-by-step description of morphine extraction in a typical Southeast Asian laboratory:

1. An empty 55-gallon oil drum is placed on bricks about a foot above the ground and a fire is built under the drum. Thirty gallons of water are added to the drum and brought to a boil. Ten to fifteen kilograms of raw opium are added to the boiling water.

2. With stirring, the raw opium eventually dissolves in the boiling water, while soil, leaves, twigs, and other non-soluble materials float in the solution. Most of these materials are scooped out of the clear brown ‘liquid opium’ solution.

3. Slaked lime (calcium hydroxide), or more often a readily available chemical fertilizer with a high content of lime, is added to the solution. The lime converts the water insoluble morphine into the water soluble calcium morphenate. The other opium alkaloids do not react with the lime to form soluble calcium salts. Codeine is slightly water soluble and gets carried over with the calcium morphenate in the liquid. For the most part, the other alkaloids become part of the residual sediment ‘sludge’ that comes to rest on the bottom of the oil drum.

4. As the solution cools, and after the insolubles precipitate out, the morphine solution is scooped from the drum and poured through a filter of some kind. Burlap rice sacks are often used as filters. They are later squeezed in a press to remove most of the solution from the wet sacks. The solution is then poured into large cooking pots and re-heated, but not boiled.

5.Ammonium chloride is added to the heated calcium morphenate solution to adjust the alkalinity to a pH of 8 to 9, and the solution is then allowed to cool. Within one or two hours, the morphine base and the unextracted codeine base precipitate out of the solution and settle to the bottom of the cooking pot.

6.The solution is then poured off through cloth filters. Any solid morphine base chunks in the solution will remain on the cloth. The morphine base is removed from both the cooking pot and from the filter cloths, wrapped and squeezed in cloth, and then dried in the sun. When dry, the crude morphine base is a coffee-colored powder.

7.This ‘crude’ morphine base, commonly known by the Chinese term p’i-tzu throughout Southeast Asia, may be further purified by dissolving it in hydrochloric acid, adding activated charcoal, re-heating and re-filtering. The solution is filtered several more times, and the morphine (morphine hydrochloride) is then dried in the sun.

8.Morphine hydrochloride (still tainted with codeine hydrochloride) is usually formed into small brick-sized blocks in a press and wrapped in paper or cloth. The most common block size is 2 inches by 4 inches by 5 inches weighing about 1.3 kilograms (3 lbs). The bricks are then dried for transport to heroin processing laboratories.

Approximately 13 kilograms of opium, from one hectare of opium poppies, are needed to produce each morphine block of this size. The morphine blocks are bundled and packed for transport to heroin laboratories by human couriers or by pack animals. Pack mules are able to carry 100-kilogram payloads over 200 miles of rugged mountain trails in less than three weeks.

The conversion of morphine hydrochloride to heroin base is a relatively simple and inexpensive procedure. The necessary chemicals are readily available industrial chemicals. The equipment is very basic and quite portable. Heroin conversion laboratories are generally located in isolated, rural areas due to the telltale odors of the lab’s chemicals. Acetic anhydride, in particular, is a key chemical with the easily identified very pungent odor of pickles.

Heroin synthesis is a two-step process which generally requires twelve to fourteen hours to complete. Heroin base is the intermediate product. Typically, morphine hydrochloride bricks are pulverized and the dried powder is then placed in an enamel or stainless steel rice cooking pot. The liquid acetic anhydride is then added. The pot lid is tied or clamped on, with a damp towel used for a gasket. The pot is carefully heated for about two hours, below boiling, at a constant temperature of 185 degrees Fahrenheit. It is never allowed to boil or to become so hot as to vent fumes. It is agitated by tilting and swirling until all of the morphine has dissolved. Acetic anhydride reacts with the morphine to form diacetylmorphine (heroin). This acetylation process will work either with morphine hydrochloride or p’i-tzu (crude morphine base).

When cooking is completed, the pot is cooled and opened. The morphine and the acetic anhydride have now become chemically bonded, creating an impure form of diacetylmorphine (heroin). Water is added at three times the volume of acetic anhydride and the mixture is stirred. Activated charcoal is added and mixed by stirring and the mixture is then filtered to remove colored impurities. Solids remaining on the filter are discarded. Sodium carbonate, used at 2.5 pounds per pound of morphine, is dissolved in hot water and added slowly to the liquid until effervescence stops. This precipitates the heroin base which is then filtered and dried by heating in a steam bath for an hour. For each pound of morphine, about 11 ounces of crude heroin base is formed. The heroin base may be dried, packed and transported to a heroin refining laboratory or it may be purified further and/or converted to heroin hydrochloride, a water-soluble salt form of heroin, at the same site.

Southeast Asian heroin base is an intermediate product which can be further converted to either a smoking form (Heroin No. 3) or an injectable form (Heroin No. 4).

(Smoking Heroin, heroin hydrochloride)

To make heroin No. 3, the crude base is mixed with hydrochloric acid resulting in heroin hydrochloride. Adulterants including caffeine are added after this conversion. For each kilogram of crude heroin base about one kilogram of caffeine is used. Various ‘flavorings’ such as quinine hydrochloride or strychnine hydrochloride may be added in 7 gram or 14 gram increments. Next, the wet paste mix is stirred to dryness over the steam bath. The resulting dry Heroin No. 3 will be in the form of coarse lumps. These are crushed and passed through a #8 to #10 mesh sieve, and the grains (pieces) are then packaged for sale. The entire process takes about eight hours and requires only minimal skill. While extra attention to stirring is required to assure dryness, one man can prepare a one-kilogram block of Heroin No. 3 during this time.

(Injectable Heroin)

To the heroin base mixture in the pot, water is added at three times the volume of acetic anydride and mixed by stirring. A small amount of chloroform is added. The mixture is stirred and then allowed to stand for twenty minutes. Doing so precipitates highly-colored impurities and a red, greasy liquid. The water layer is carefully poured off and saved in a clean pot, leaving the red grease in the pot. In a clean pot, activated charcoal is stirred into the aqueous solution and is filtered to remove solid impurities. The decolorizing effects of the charcoal, combined with the chloroform treatment, will leave a light yellow solution. The use of charcoal is repeated one or more times, until the solution is colorless.

Approximately 1.1 kilograms of sodium carbonate per 0.5 kilogram of morphine is dissolved in hot water and added slowly to the mixture until the effervescence stops. This precipitates the heroin base which is then filtered and dried by heating on a steam bath. The heroin base is heated until dryness is complete, an imperative for the preparation of Heroin No.4. The powder should be very white at this stage. If not white, the base is redissolved in diluted acid, treated repeatedly with activated charcoal, reprecipitated and dried. The ultimate purity and color of the resulting heroin hydrochloride depends largely on the quality of the heroin base.

The following optional steps are sometimes taken by skilled heroin chemists to increase quality.

For each pound of heroin base 1,100 milliliters of ethyl alcohol is heated to boiling. The heroin base is added and stirred until completely dissolved. The heated solution is then quickly filtered through a Büchner funnel that has been preheated and poured into a heated flask. This hot filtration removes the traces of sodium carbonate that remained in the base. The solution is quickly cooled in an ice bath, where it becomes very thick; like ice cream. The substance is put into a pan and set in a large refrigerator. A fan is set to blow across the pan to cause slow evaporation of the alcohol while the paste crystallizes. After several hours, it is vacuum-filtered. The filtrate, pure ethyl alcohol, is re-used. The solid material, ‘alcohol morphine base’, is actually recrystallized heroin base.

The heroin product, either heroin base or recrystallized heroin base, is weighed. For each pound of solid product, 3,000 milliliters of ethyl alcohol, 3,000 milliliters of ether, and 102 milliliters of concentrated hydrochloric acid are measured out. The solid is dissolved by heating with one-third of the alcohol and one-half of the acid. Another one-third of the acid is added and mixed by stirring. Next, acid is added slowly, drop by drop, until the product is completely converted to the hydrochloride. Two methods of testing this end product may be used. Either a drop of solution evaporates on a clean glass plate, leaving no trace of cloudiness in the residue, or a drop of the solution placed on Congo red paper causes the paper to turn blue.

Once the acid is added, the remaining alcohol is stirred in. Half of the ether is then added with stirring and the mixture is allowed to stand for fifteen minutes. It must be examined with great care since it is extremely volatile and flammable. Once the first small crystals are detected, the remaining ether is added at once. The vessel is stirred, covered and allowed to stand for twenty minutes to one hour. The mixture becomes nearly solid after an hour. At this point, it is filtered and the solids are collected on clean filter paper. The paper is wrapped around the crystals and placed on wooden trays, usually over lime rock, to dry. When the crystals of pure heroin hydrochloride are dry, they are packaged. Batches of 5 to 10 kilograms are commonly made at one time, the largest batch being an estimated 20 kilograms.

Chemicals used to isolate morphine from opium include ammonium chloride, calcium carbonate (limestone), and calcium hydroxide (slaked lime). The precursor chemical normally used in the conversion of morphine to heroin is acetic anhydride. Chemical reagents used in the conversion process include sodium carbonate and activated charcoal. Chemical solvents needed are chloroform, ethyl alcohol (ethanol), ethyl ether and acetone. Other chemicals may be substituted for these preferred chemicals, but most or all of these preferred chemicals are readily available through smugglers and suppliers.

Necessary laboratory equipment includes measuring cups, funnels, filter paper, litmus paper and a stainless steel pot. Only the most sophisticated heroin labs use glass flasks, propane gas ovens, Bunsen burners, vacuum pumps, autoclaves, electric blenders, venting hoods, centrifuges, reflux condensers, electric drying ovens and elaborate exhaust systems. Portable, gasoline-powered generators are often used at clandestine heroin conversion laboratories used to power various electrical devices."

Another day…
china tooling making suppliers
Image by revdode
another die caster.
This one was more successful than the last, better facilities and tool making on a level with any european supplier I’ve seen.

Random International: Rain Room

Random International: Rain Room

Check out these injection moulding images:

Random International: Rain Room

Image by Jon’sTripBook
Olympus µ[mju:]-II
Kodak Ultramax 400

Injection-moulded protractor

Image by CORE-Materials
DoITPoMS, University of Cambridge

The colours in the image are the result of birefringence and relate to the residual strain in the polystyrene. The pattern of strain is indicative of the flow of material during the injection process and it highlights the injection point (at 152 degrees on the outer scale), and two ‘weld lines’ (at 338 and on the central bar) where two distinct flows of material meet. The weld line is a common point of failure because there is limited intermixing of the two fronts during the time allowed.

System
Polystyrene (PS)

Composition
Not specified

Reaction

Processing
Polystyrene was injected into a mould from a single point and has flowed round the component to meet at two noticeable ‘weld lines’

Applications
Polystyrene is hard and inexpensive and its use is very widespread. CD cases and clear plastic cups are common examples. Domestic appliance casings are also typically made from PS

Sample preparation

Technique
Cross-polarised light microscopy

Contributor
J A Curran

Organisation
Department of Materials Science and Metallurgy, University of Cambridge

View micrograph in DoITPoMS website

Injection-moulded protractor

Image by CORE-Materials
DoITPoMS, University of Cambridge

The colours in the image are the result of birefringence and relate to the residual strain in the polystyrene. The pattern of strain is indicative of the flow of material during the injection process and it highlights a ‘weld line’ where two distinct flows of material meet. The weld line is a common point of failure because there is limited intermixing of the two fronts during the time allowed.

System
Polystyrene (PS)

Composition
Not specified

Reaction

Processing
Polystyrene was injected into a mould from a single point and has flowed round the component to meet at a noticeable ‘weld line’

Applications
Polystyrene is hard and inexpensive and its use is very widespread. CD cases and clear plastic cups are common examples. Domestic appliance casings are also typically made from PS

Sample preparation

Technique
Cross-polarised light microscopy

Contributor
J A Curran

Organisation
Department of Materials Science and Metallurgy, University of Cambridge

View micrograph in DoITPoMS website