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Our Culture : Our Future. Report on Australian Indigenous Cultural and Intellectual Property Rights
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1 Report on Australian Indigenous Cultural and Intellectual Property Rights
2 Written and researched by Terri Janke, Principal Consultant, Michael Frankel & Company, Solicitors. Prepared for Australian Institute of Aboriginal and Torres Strait Islander Studies and the Aboriginal and Torres Strait Islander Commission. (c)1998 by Michael Frankel & Company and Terri Janke. ISBN Cumbarra Dreaming This painting depicts the life cycle of the Cumbarra plant. The Emu berries, buds, flowers and leaves are represented alongside a waterhole. The plant is used by Indigenous people for various purposes including eating, healing and spiritual well being. Indigenous peoples knowledge concerning the use and the preparation of the fruit and the leaves is part of their living cultural heritage.
3 FINAL REPORT Report on Australian Indigenous Cultural and Intellectual Property This Report is part of a process to develop practical reform proposals for the improved recognition and protection of indigenous Cultural and Intellectual Property. it contains findings and recommendations developed out of extensive consultations with ATSIC s Indigenous Refernece Group and other interested parties, and in light of feedback received as submissions to the Discussion Paper. The Report was researched and written by Ms Terri Janke, Solicitor and Principal Consultant of Michael Frankel & Company, Solicitors, under contract with the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) and funded by ATSIC. We are grateful for the invaluable contribution of the many individuals, organisations and government departments who contributed to the development of this document, specifically those who took time to provide us with written submissions to the Discussion Paper. Thank you to all the individuals and organisations who responded. We also acknowledge the contribution of the Steering Committee consisting of Dr Mary Edmunds (Chair), Michael Mansell (Indigenous Reference Group), Michael Davis, Graham Dash and Herb Grant (ATSIC), John Sedgewick, Mark Cannon and Darren Knight (Department of Communications and the Arts), Kathleen Schilling (Family Histories Section, AIATSIS), Gaye Sculthorpe (Board Member, AIATSIS); members of the Indigenous Reference Group chaired by Commissioner Ian Delaney; Russell Taylor and Steven Wilde (AIATSIS); members of the Inter-Departmental Committee on Indigenous Cultural and Intellectual Property; the team at Michael Frankel & Company: Michael Frankel (Principal); Raena Lea- Shannon (Associate, Michael Frankel & Company); Greg Duffy (Solicitor, Michael Frankel & Company); Anna Bartle and Corinne Cambourne (Administration, Michael Frankel & Company); Joanne Brown (Consultant); Kim Lincoln (Administration); Bridget Elliot (Editor of Discussion Paper); John Paul Janke (Office of Public Affairs, ATSIC); Victoria Doidge (Magnify Media); Steven Hayes (TND Computer Systems); Daniel Goodwin (Artist); Bruce Pollock (Editor of Final Report) and Helen Stanwix (Layout and Design of Final Report). We also acknowledge the previous contribution of those organisations and individuals who responded to the Stopping the Ripoffs Issue Paper, the House of Representatives Aboriginal and Torres Strait Islander Standing Committere s Inquiry into Culture and Heritage and the consultations undertaken as part of the Social Justice Reports. I
4 The laws and policies cited in this report are current as at December Many changes have occurred since. Nothing contained in this report should be construed as giving legal advice. The purpose of this report is to provide general information on the issues relating to Indigenous Cultural and Intellectual Property. No person should rely on the contents of this report without first obtaining professional legal advice from a qualified legal practitioner.
5 CONTENTS Preface Executive Summary Diagrams XIV XVII XLVI PART ONE - The Nature of Indigenous Cultural and Intellectual Property 1 Ch.1 Indigenous Cultural and Intellectual Property Rights What is Indigenous Cultural and Intellectual Property? General responses to the working definition Scope of Indigenous Cultural and Intellectual Property Use of terminology The nature of Indigenous Cultural and Intellectual Property Living tradition Holistic nature Communal ownership Responsibility and custodianship Consent to use Indigenous Cultural and Intellectual Property Transmission of culture Property versus heritage Preservationist approach Economic approach Updated definition 11 Ch.2 The commercial value of Indigenous Cultural and Intellectual Property Contribution to industry Arts and crafts industry Tourism industry Rural industry Biotechnology industry Advertising industry Film industry Export industry Other industries Indigenous culture contributes towards Academic/research industry Music industry Didgeridoo industry New technology industry Should Indigenous people share in the benefits? Compensation/royalties How should this be calculated? 18 Ch.3 What are the major concerns for Indigenous people? Appropriation of Indigenous arts and cultural expression Unauthorised use of secret/sacred material Appropriation of Indigenous languages The nature of Indigenous language 20 III
6 CONTENTS Other concerns in relatiuon to use of Indigenous languages Recording of Indigenous languages Appropriation of Indigenous spirituality Appropriation of Indigenous biodiversity knowledge Medicinal knowledge Nutritional knowledge Denial of access to Indigenous land and resources Collection of natural resources Appropriation of cultural objects Objects held by museums, universities and cultural institutions Repatriation by museums, universities and cultural institutions Indigenous ancestral remains Human genetic material Access to and management of land and sites Documentation of Indigenous peoples cultures Recording of oral tradition on film and audiotape Access to archives Representation of Indigenous cultures in archives No informed consent Research issues Not informed on full use of cultural material researched Teaching Indigenous studies Indigenous music The impact of new technology When the Bush Track meets the Information Superhighway The Internet and Indigenous cultural material Creation of databases Authenticity and cultural integrity Use of Indigenous designs and styles by non-indigenous artists Use of Indigenous images by other Indigenous artists Misleading product labelling Imported goods passed off as authentic Fraudulent representations of artworks Appropriation of Indigenous personas Manufacturing and authenticity High resale value of artworks Misrepresentation in the media Community organisations and copyright Unfair contracts Lack of political will 41 Ch.4 What rights do Indigenous people want recognised? Proposed rights in Discussion Paper Responses concerning rights 44 IV
7 CONTENTS The right to own and control The right to control commercial use The rights to benefit commercially The right to full and proper attribution The right to protect sacred and significant sites The right to own and control management of lands The right to prevent derogatory, offensive and fallacious use The right to have a say in the preservation and care The right to control the use of traditional knowledge Other suggested rights Updated list of rights 47 PART TWO: Protection Under the Australian Legal Framework 49 Ch.5 Protection under current intellectual property laws What is intellectual property? Rights to use and deal with intellectual property The public domain Copyright Act What is copyright? Meeting the criteria for protection Ownership of copyright Rights granted under copyright Moral rights Performers rights Enforcement of copyright Fair dealing for research and study Sculptures and craftworks on permanent public display Period of protection Limitations of protection The Designs Act What is a design? Meeting the criteria for protection The Patents Act What is a patent? Meeting the criteria for protection Patenting human genetic material High cost of patenting inventions Plant Breeders Rights Act Meeting the criteria for protection Trademarks Act What is a trade mark? The trade mark application/approval process Meeting the criteria Challenging rade marks of Indigenous cultural material Breach of confidence laws Passing off 74 V
8 CONTENTS Meeting the criteria Summary 75 Ch.6 Protection under cultural heritage laws What is cultural heritage? Ownership of cultural heritage Focus of the legislation Tangible cultural heritage versus intangible cultural heritage Scientific and historical value versus cultural and spiritual value Relics versus living cultural material Ministerial discretionary power Indigenous participation in the decision-making process Restoration of hunting, gathering and fishing rights Cultural heritage agreements Conservation and land management laws Current reform proposals Evatt Review of the Aboriginal and Torres Strait Islander Heritage Protection Act 1984 (Cth) Proposed minimum standards South Australian Aboriginal heritage law reform proposals 86 Ch.7 Other Relevent Laws Archives laws The Australian Archives Act 1983 (Cth) Review of the Archives Act State laws Other access of information laws Museum legislation Native Title Act Land rights legislation Defamation Racial vilification legislation Privacy Trade Practices Act 1974 (Cth) Customs Act and import and export of Indigenous cultural material Administration and Probate Act (NT) Broadcasting laws Laws relating to geographical place names 96 Ch.8 International laws International law International conventions relating to intellectual property Paris Convention for the Protection of Industrial Property (1883) Berne Convention for the Protection of Literary and Artistic Works (1886)100 VI
9 CONTENTS Rome Convention (1961) Budapest Treaty (1977) International Trade-related Aspects of Intellectual Property Rights Agreement UNESCO Convention of Cultural Property (1970) International conventions on human rights International Covenant on Civil and Political Rights International Covenant on Economic, Social and Cultural Rights International Labour Organisation Convention Convention of Biological Diversity Draft Declaration on the Rights of Indigenous Peoples 107 PART THREE: Developing Strategies for Protection 109 Ch.9 Amendments to the Copyright Act Moral rights for Indigenous custodians Copyright Amendment Bill Issues for consideration Responses Collection of fees for use of Indigenous cultural works What is a collective administration system? Suggested legislative model raised in the Discussion Paper Review of Australian copyright collecting societies Issues for consideration Collection of fees for use of Indigenous works Defining Indigenous cultural works Indigenous cultural recording Performers rights Responses Is amending the Copyright Act appropriate? 130 Ch.10 Amendments to the Designs Act Should Indigenous styles be registrable? Issues relating to registration of Indigenous designs The appropriateness of designs law to cater for Indigenous needs 133 Ch.11 Amendments to the Patents Act and the Plant Breeders Act The Patents Act Patenting Indigenous medicinal plants Excluding patents of Indigenous genetic material Patenting Indigenous rights to traditional medicines Expiration of patents which make use of Indigenous knowledge Full and informed consent of Indigenous knowledge Amendments to the Plant Breeders Rights Act 140 Ch.12 Amendments to Trademarks Act Maori trade mark developments 142 VII
10 CONTENTS 12.2 Amendments to Australian trade marks law Whether to allow registration of trade marks with Indigenous content Checks and balances Prior written consent Existing trade marks 148 Ch.13 Amendments to cultural heritage legislation Indigenous rights to own and manage Indigenous cultural heritage Holistic definition of Indigenous cultural heritage 154 Ch.14 Amendments to museums, archives and cultural institutions laws Amendments to museums legislation Ownership of cultural materials Representation on boards Repatriation issues Should there be amendments to museum legislation? Amendments to archives legislation Ownership/custodianship of archives Dealing with sensitive or sacred material 163 Ch.15 Amendments to Native Title Act Amendments to the Native Title Act Native Title Amendment Bill Common law native title claims 168 Ch.16 Amendments to other relevant laws Amendments to broadcasting laws Trade practices issues Customs Issues 174 Ch.17 Developments of common law What is the common law? Equitable ownership of copyright Blasphemy Unfair competition Passing off 178 Ch.18 Specific Legislation Legislative models of protection Is specific legislation appropriate? Purpose of the legislation Scope of the legislation Tangible versus intangible Rights in perpetuity Communal versus individual ownership Traditional knowledge versus new knowledge Arts and cultural expression versus science and biodiversity Torres Strait Islanders 185 VIII
11 CONTENTS Traditional versus urban focus Active provision Prohibited use Remuneration Structure Centralised body Tribunal system Statutory body Separate legal bodies Authorised uses Possible remedies Exemptions and fair dealing Relationship with intellectual property laws Grace period Codes of conduct Further Indigenous consultation/education 194 Ch.19 Indigenous authentication systems National Indigenous authentication trade mark What type of trade mark? Series of marks Protection of marks What is the purpose of the mark Defining authenticity Marketing the mark and labelling system Rules governing use of the mark Who will be the registered owner of the mark? Design for trade mark Business credential systems Referral services Other authentication systems 206 Ch.20 Collecting systems Introduction of public domain royalties system Introduction of a resale royalty What is the resale royalty? Australian Copyright Council Report on Resale Royalty (1989) Benefits for Indigenous artists Introduction by way of contract French and European legislation Indigenous collecting society 212 Ch.21 Negotiating rights under agreement Biodiversity agreements Local government Government authorities Regional agreements 219 IX
12 CONTENTS Workshop on traditional knowledge and biodiversity Cultural contracts Publishing agreements Location agreements Industry body agreements Mechanisms for negotiating agreements 223 Ch.22 Developing cultural infrastructure Establishing a national Indigenous cultural authority Functions of the Authority A national alliance Monitoring systems Developing industry codes Establishing an Indigenous Australian Centre for traditional medicines Establishing registers AIATSIS register Indigenous arts and designs register Register for clearing uses Are registers useful? Establishing keeing places and community cultural centres National Indigenous archives Government records National Indigenous film archives Indigenous cultural legal services Indigenous arts agency Establishing networks With other Australian Indigenous peoples organisations With international Indigenous peoples organisations With government and industry bodies Indigenous owned and controlled recording, research and publishing companies 236 Ch.23 Development of policies and protocols Repatriation of human remains Previous Possessions: New Obligations policy Draft national principles for the return of Aboriginal and Torres Strait Islander cultural property Management of heritage places The Burra Charter Guidelines for the protection, management and use of Aboriginal and Torres Strait Islander cultural heritage places Aboriginal and Torres Strait Islander protocols for libraries, archives and information services State and Commonwealth archives and other government agencies National Film and Sound Archive National Library of Australia 248 X
13 CONTENTS Film Australia s code of conduct Research funding bodies AIATSIS funding guidelines Government policies Australia Council Aboriginal and Torres Strait Islander Arts Board (Australia Council) Australian Industrial Property Organisation DOCA s return of cultural property program Land council policies Central Land Council s Policy of Sacred Objects Industry association policies NIAAA Policy Statement Other suggested areas for policy development Language policy Indigenous music policy 258 Ch.24 Codes of ethics Medical and scientific research guidelines New technology guidelines Media Other suggested areas for codes of ethics Research University education sector Professional associations Collecting societies to establish guidelines 264 Ch.25 Education and awareness strategies Improved awareness strategies for Indigenous Australians Legal education for Indigenous artists, writers and performers Awareness program for the wider community School education Greater consultation on reform options 268 Ch.26 Conclusion Short-term strategies Development of Indigenous cultural protocols Negotiate rights under contracts Establishment of an authenticity trade mark Education and awareness strategies Development of networks Development of codes of ethics Medium to long-term strategies Establishment of Indigenous unit within AIPO Establishment of a national Indigenous cultural authority New laws A holistic approach 272 XI
14 CONTENTS APPENDIX1: Indigenous Reference Group: Draft Principles and Guidelines for the Protection of Indigenous Culture and Intellectual Property 273 APPENDIX 2: List of Respondents to Our Culture:Our Future Discussion Paper 279 APPENDIX 3: Indigenous Cultural Heritage Laws 283 A3.1 Commonwealth legislation 283 A3.1.1 Aboriginal and Torres Strait Islander Heritage Protection Act 1984 (Cth) 283 A3.1.2 Protection of Moveable Cultural Heritage Act 1987 (Cth) 284 A3.1.3 World Heritage Properties Conservation Act 1983 (Cth) 285 A3.1.4 Museum of Australia Act 1980 (Cth) 286 A3.1.5 Aboriginal and Torres Strait Islander Commission Act 1989 (Cth) 286 A3.1.6 Australian Heritage Commission Act 1975 (Cth) 286 A3.1.7 Australian Institute of Aboriginal and Torres Strait Islander Studies Act 1989 (Cth) 287 A3.1.8 Environment Protection (Impact of Proposals) Act 1974 (Cth) 288 A3.2 Northern Territory legislation 288 A3.2.1 The Aboriginal Land Rights (Northern Territory) Act 1976 (Cth) 288 A3.2.2 Northern Territory Heritage Conservation Act A3.3 New South Wales legislation 290 A3.3.1 National Parks and Wildlife Act 1974 (NSW) 290 A3.4 South Australian legislation 291 A3.4.1 South Australian Aboriginal Heritage Act A3.5 Queensland legislation 292 A3.5.1 Queensland Cultural Records Act 292 A3.5.2 Queensland Cultural Heritage Act 293 A3.5.3 Wet Tropics of Queensland World Heritage Area Conservation Act A3.6 Victorian legislation 293 A3.6.1 Aboriginal and Torres Strait Islander Heritage Protection Amendment Act A3.6.2 Archaeological and Aboriginal Relics Preservation Act A3.7 Western Australian legislation 295 A3.7.1 Aboriginal Heritage Act 1972 (WA) 295 A3.8 Tasmanian legislation 296 A3.8.1 National Parks and Wildlife Act 1970 (Tas) 296 A3.8.2 The Aboriginal Relics Act A3.8.3 Museums (Aboriginal Remains) Act A3.8.4 Planning laws 298 A3.8.5 Living Marine Resource Management Act APPENDIX 4: Model Laws for Protection 299 A4.1 The Aboriginal Folklore Model (1981)299 A4.2 UNESCO/WIPO Model Provisions for the Protection of Folklore 300 A4.2.1 Definition of folklore 301 XII
15 CONTENTS A4.2.2 Nature of protection 301 A4.2.3 Prior authorisation by a competent authority 301 A4.2.4 Where is authorisation required? 301 A4.2.5 Fair use provisions 302 A4.2.6 Prohibited use 302 A4.2.7 Remuneration 303 A4.2.8 Reciprocity 303 A4.2.9 Sanctions 303 A Towards an international standard 303 A Phuket Plan of Action 304 A4.3 Tunis Model Law on Copyright for Developing Countries 304 APPENDIX 5: International Indigenous Peoples Discourses 306 Abbreviations 315 Glossary of Terms 316 Bibliography 318 Index 325 XIII
16 Preface Background In October 1994, the then Federal Attorney-General, the Minister for Aboriginal and Torres Strait Islander Affairs and the Minister for Communications and the Arts, jointly released an Issues Paper, Stopping the Ripoffs: Intellectual Property Protection for Aboriginal and Torres Strait Islander Peoples. This paper called for submissions from interested parties on the inadequacies of current intellectual property laws in their application to Indigenous arts and culture, and sought recommendations on how these might be overcome. Inter-Departmental Committee on Indigenous Arts and Cultural Expression An Inter-Departmental Committee on Indigenous Arts and Cultural Expression (IDC) was set up to evaluate the submissions; to consider legislative and policy reform in this area; and make recommendations to the Government. The IDC is now chaired by the Department of Communications and the Arts and includes representatives from the Attorney-General s Department, the Aboriginal and Torres Strait Islander Commission (ATSIC), the Australian Industrial Property Organisation, the Department of Tourism and the Office of Indigenous Affairs. Many of the submissions recommended the introduction of specific legislation to give Indigenous custodians the necessary rights to control the use of their arts and cultural material by others. Indigenous Reference Group In early 1996, ATSIC established an Indigenous Reference Group (IRG) to find out what Indigenous people believe should be protected, and how problems in this area could best be solved. The IRG is chaired by Ian Delaney, one of the ATSIC Commissioners responsible for Arts, Culture, Broadcasting, Language and the Environment. The IRG consists of Indigenous people who have expertise and experience regarding cultural and intellectual property. Members include representatives from the National Indigenous Arts Advocacy Association, the Foundation for Aboriginal and Islander Research Action and the National Indigenous Media Association of Australia. The skill and guidance of the IRG provided enormous assistance in the development of the Report s final recommendations. The IRG also drafted a set of principles and guidelines for the protection of Indigenous Cultural and Intellectual Property Rights. These Principles and Guidelines are listed at Appendix 1 together with a list of Indigenous Reference Group members. XIV
17 Indigenous Cultural and Intellectual Property (ICIP) Project ATSIC also funded the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS) to coordinate a project which aims to develop practical reforms that would improve protection and ensure recognition of Indigenous Cultural and Intellectual Property. AIATSIS appointed Michael Frankel & Company, Solicitors, to carry out the project. Ms Terri Janke is the Principal Consultant. A Steering Committee comprising representatives from ATSIC, the IDC, the IRG and AIATSIS has been convened to oversee the ICIP Project. The Discussion Paper A Discussion Paper, Our Culture: Our Future, which put forward proposals for the improved recognition and protection of Indigenous Cultural and Intellectual Property, was released in July The Discussion Paper identified and outlined some issues and proposed solutions raised in submissions received in response to the following previous government inquiries: Stopping the Ripoffs: Intellectual Property Protection for Aboriginal and Torres Strait Islander Peoples. The House of Representatives Standing Committee on Aboriginal and Torres Strait Islander Affairs Inquiry into Culture and Heritage. Social Justice Reports and findings from the consultation process conducted by ATSIC, the Office of the Aboriginal and Torres Strait Islander Social Justice Commissioner, and the Council for Aboriginal Reconciliation. The Discussion Paper was sent to various Indigenous organisations, industry bodies and government organisations seeking responses to various reform options for the improved recognition and protection of Indigenous Cultural and Intellectual Property. The paper also aimed to inform Indigenous peoples about the current laws and international developments which effect their rights to use and control their cultural and intellectual property. A total of 70 submissions were received in response to the Our Culture: Our Future Discussion Paper. A full list of respondents is included in Appendix 2. The Consultants also attended the following workshops: Mirimbiak Aboriginal Nations Corporation Indigenous Cultural and Intellectual Property Workshop Melbourne, Victoria 9-10 October 1997 XV
18 Queensland Community Arts Network Jumbunna Centre for Australian Indigenous Studies, Education and Research Indigenous Cultural and Intellectual Property Workshop Brisbane, Queensland 20 October 1997 Knowledge & Learning Circle - Indigenous Intellectual Property Rights and Freedoms Jamberoo, New South Wales October 1997 The contents of this Report This Report contains findings and recommendations to be presented to the Board of Commissioners of the Aboriginal and Torres Strait Islander Commission for consideration. The findings and recommendations are based on feedback from various workshops, meetings, consultations and submissions received in response to the Our Culture: Our Future Discussion Paper. PART ONE discusses the nature of Indigenous Cultural and Intellectual Property and the aspects of it that Indigenous people feel should be protected. PART TWO examines how far the existing Australian legal system protects these aspects of Indigenous Intellectual and Cultural Property. PART THREE considers possible solutions under the headings: Legislative solutions; Administrative responses; Policies, protocols and codes of ethics. XVI
19 PART ONE The Nature of Indigenous Cultural and Intellectual Property What is Indigenous cultural and intellectual property? Indigenous Cultural and Intellectual Property Rights refers to Indigenous Australians rights to their heritage. Such rights are also known as Indigenous Heritage Rights. Heritage consists of the intangible and tangible aspects of the whole body of cultural practices, resources and knowledge systems developed, nurtured and refined by Indigenous people and passed on by them as part of expressing their cultural identity. Heritage includes: CHAPTER ONE EXECUTIVE SUMMARY Literary, performing and artistic works (including music, dance, song, ceremonies, symbols and designs, narratives and poetry) Languages Scientific, agricultural, technical and ecological knowledge (including cultigens, medicines and sustainable use of flora and fauna) Spiritual knowledge All items of moveable cultural property including burial artefacts Indigenous ancestral remains Indigenous human genetic material (including DNA and tissues) Cultural environment resources (including minerals and species) Immovable cultural property (including Indigenous sites of significance, sacred sites and burials) Documentation of Indigenous peoples heritage in all forms of media (including scientific, ethnographic research reports, papers and books, films, XVII
20 Our Culture: Our Future sound recordings). The heritage of an Indigenous people is a living one and includes items which may be created in the future, based on that heritage. Any definition of Indigenous Cultural and Intellectual Property should be flexible to reflect the notions of the particular Indigenous group and the fact that this may differ from group to group and may change over time. Recommendations: EXECUTIVE SUMMARY 1.1 Informed debate concerning the above definition especially in relation to the issue of commerce versus culture; property versus heritage, should be encouraged. 1.2 Indigenous Australians should be kept informed of the world debate concerning: 1. Indigenous Cultural and Intellectual Property Rights 2. the protection of folklore. CHAPTER TWO The commercial value of Indigenous cultural and intellectual property Contribution to industry The overwhelming response in this area was that Indigenous cultures contribute substantially to the Australian economy in a range of industries, including: Arts and crafts Tourism Rural (including bush foods and traditional medicines) Biotechnology Advertising Film Import/export. Respondents also noted some other commercial uses of Indigenous cultural heritage, including: Academic/research Music Didgeridoo. XVIII
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Pet Palace Resort in Columbus, Ohio is a premier pet boarding, dog grooming, and doggie daycare facility, preferred by many Columbus pet owners who care deeply about their pets and want the best care for them. Contact us via phone or email to set your pet up at our Columbus location (near the Airport). We look forward to seeing you and your pet!
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We help you search for a Erskine lute tutor. Lute tuition are a great method to start a fun new hobby, pick up a new talent and gain confidence with lute. Please use our service to search for Erskine lute teachers and determine which best suits your needs so you can begin your lute lessons in Erskine straight away!
This is the best way to find Erskine lute teachers in the UK, helping you find Erskine lute tuition in your area and Erskine teachers to assist with any instrument, for example, piano, violin or guitar. We can help you find Erskine lute lessons or a one-to-one Erskine lute tutor to prepare for lute exams and improve your lute skills! Our search will order Erskine lute tutors near you by their tuition charges and proximity to you.
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text:
This Stagg Children's Percussion Kit is packed full of high-quality great sounding percussion all complete in a transparent plastic box with a sealable lid. Catering for use by up to 13 people at one time this neat little pack is a great addition to any Primary School musical instrument collection neatly slotting away in a cupboard or on the shelf of a music trolley and offering a variety of different sounds from mini cymbals egg shakers castanets and much more.Box Contents: 1x wooden Jingle stick 1x 4inch wooden mini tambourine w/ 1 row of jingles rivetted head & beater 1x metal triangle w/ metal beater 1x mini dual tick-tone w/ beater 2x mini sleigh bell sets on circular yellow plastic frames 1x sleigh bell set on wooden stick frame 1 pair of wooden castanets 1 pair of mini cymbals 1 pair of plastic mini maracas (red head on black handle) 1 pair of red plastic egg shakers Total weight: 1.3 kg / 2.86 lbs
Products are shipped by the individual Fruugo retailers, who are located across Europe and the rest of the world. The delivery times and shipping prices vary depending on the retailer's location, the destination country and the selected delivery method.
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text: Melissa Kenison is a passionate, communications leader. She joined Hardy Girls Healthy Women after filming a story on Girls Rock! Weekend as a Multimedia Journalist for WCSH6-TV in Portland, Maine in 2013. She has served on the Hardy Halloween / Freaky 5k committee to secure publicity and strategic partnerships and is active in supporting their mission to improve the lives of girls and women. She is a digital marketer and social media strategist for the Portland-based company Sea Bags. She teaches Social Media at the University of Southern Maine. And is thrilled to have emceed the 2015 Miss Maine Pageant. When she's not working, you can find her dancing, cuddling with her dog Jacket or attending (and occasionally officiating at) an improbable number of weddings.


text:
Singed General Guide by hsidd4
Not Updated For Current Season
This guide has not yet been updated for the current season. Please keep this in mind while reading. You can see the most recently updated guides on the browse guides page.
Top Laner
Singed Build
Purchase Order
Ability Sequence
Not Updated For Current Season
The masteries shown here are not yet updated for the current season, the guide author needs to set up the new masteries. As such, they will be different than the masteries you see in-game.
Pros and Cons
Very tanky while dishing out lots of damage
Scales very well into late game
Can fall behind and still peel/tank decently because of ult.
Can clear minion waves very well.
Can proxy farm whenever Ghost or R is up(obviously need to be careful with this)
Shaky early game.
Can be kited hard.
CC can shut singed down.
Requires you to learn his 'tricks' (Sky AA, Invisible Poison trail, etc)


text:
Melcher-Dallas, who finished their regular volleyball season at 14 – 8 on the year, opens regional tournament play tonight in their own house against visiting Grandview Park Baptist.
Keywords: Bluegrass Conference, Melcher-Dallas Volleyball, Today's Local Sports, Volleyball Regionals
78% of Americans have confidence in our military. Do you?
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call: (641) 842-3161 | (641) 628-8672


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- science - Photographer
Rosa RoeModel Female Charlotte, North Carolina, US
Mayhem # 3194347
About MeHello Mayhemers. I'm Rosa Roe. New to model mayhem but not new to modeling. Modeling was not a plan or an idea of mine. It came with the territory of being around the right people that could influence the beginning. So far, I've enjoyed the release and expression it has brought.The only way I think is outside the box. Im tired of the ordinary. Change is needed so I dare to be different. I want my photography to tell stories so as I build my portfolio, I desire to send a message.
Ready to work with the best photographers.
Locations I represent: Florence, SC Columbia, SC Charlotte, NC
Tag and inbox here for work interest. LETS CREATE
Instagram: 7deadly_sins
Twitter: @sevendeadly_sin
Publications: DYMEZLOUNGE Magazine (Sept 2013)
BADD Magazine (October 2013)
Have you worked with Rosa Roe? Add Credits for Rosa Roe! >>
Credit NotesMarcel Anthony
Walter Priece
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JUST NICE PHOTOGRAPHY Photographer
J M Images Photographer
Daniel Newton Russia Model
Jalens Photography Photographer
J Brown Photographer
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text:
Have you already licensed Microsoft Vista? Are you planning to? Let the Community know how you licensed or are planning on licensing Microsoft Vista.
4 Replies
Sep 25, 2008 at 8:03 UTC
Currently, the only Vista licences I have are on my home computers and they are OEM versions that came with new hardware... At work, we downgraded them all to XP(Dell's "Downgrade rights" program)...
We are not planning to go to Vista with the new OS comming soon... We have a lot of expensive legacy apps that don't work (even install in some case) on Vista... We're planning replacing those apps soon, so we should be good for the next OS... Or will M$ will trick us by locking the new apps too? Nobody can say...
Oct 24, 2008 at 2:53 UTC
You need to add a fifth option:
"Will never in a million years license Vista."
Dec 5, 2008 at 8:32 UTC
Also add option for "Bootleg."
We dished out two brand Dell workstations that came with Vista 64-Bit. The unsuspecting CAD Drawers refer to the operating system as a "Virus" and I have to deal with nothing by complaints from them.
I used the same operating system on my own desktop here at work for a couple of months and it drove me CRAZY. My biggest gripe was how much of a bloated slug it was and how my folder views would always be forgotten. Also, file transfers timed out all of the time and seemed to take twice as long. You'd think at least the simple things would work...
Feb 4, 2010 at 5:44 UTC
License came on machine. Depending on the department, some we downgraded to XP, but when 7 came out we immediately migrated to it. No more Vista on my network, period.
We had printer issues with Vista, and those also existed on Windows 7. HP released a slew of updates in December and it seems stable now.
This discussion has been inactive for over a year.
You may get a better answer to your question by starting a new discussion.


text: Show Hide image Politics 7 October 2010 Google experiments with previews of pages in search results Google has not yet commented about its new experiment. Sign up for our weekly email * Google is testing a search results page that shows a preview of the pages it generates. Google users have reported seeing a search results page where some results are highlighted with a blue background. When the user hovers above that result with their mouse, Google generates a preview of the page on the right side highlighting the text in the original search query. Google searchers can already refine their searches to generate results with page previews through the search options panel on the left side of the search results page, but those previews are smaller and not automatically generated. The search company has offered page previews as a search option for a while, but not by default. Google did not comment about its new experiment. Subscribe from just £1 per issue More


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Fleury, Pens blank SabresNov 25, 2010 - 4:58 AM
Pascal Dupuis notched the lone score for the Penguins, who have won four in a row.
"We didn't stop with the hard work throughout the game," Fleury said. "They're a good offensive team but we did a good job of keeping them to the outside.
Jhonas Enroth played well in defeat, making 28 saves for the Sabres, who have dropped three of four.
Buffalo played without the services of goaltender Ryan Miller and forward Tim Connolly, both of whom were sidelined with groin injuries.
Both teams flew at each other furiously in the first period, and though Enroth was strong with 14 saves, Dupuis' redirection of a Sidney Crosby feed was the lone score, coming with 4:56 left.
"It was a deflected puck, and obviously, he caught me off-guard there," said Enroth on the only mistake he made in the contest. "I think I screwed up when I tried to play the puck instead of looking at the shooter."
Fleury was challenged with 11 saves in the middle 20 minutes, while Enroth had to stop just seven chances.
Buffalo wasted a prime chance to draw even on consecutive minor penalties to Pittsburgh early in the third period as Fleury was equal to the task. The visitors also failed to extend their lead on the power play that followed.
Enroth was pulled inside the final minute of regulation, and though Thomas Vanek had a quality chance in the slot, Jason Pominville pulled a blast wide with 18 seconds left and the Penguins played keep-away in the final moments.
Game Notes
It was Fleury's first regular-season whitewash since a 3-0 win at Boston on March 18...The Quebec native registered his 17th career shutout...This marked the first Penguins shutout at Buffalo since January 21, 2003 -- a 0-0 tie -- and also marked the Pens' first shutout win in upstate New York since a 2-0 decision on January 10, 2002.
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rootsMattDOOM777 Added 5 roots
Penguins 1, Sabres 0 FinalDec 1 7:23 PM
Nov 24 9:32 PM
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rootsRUWTbot Added 11 roots (Close Finish)
Penguins 1, Sabres 0 3rd - 3:20Nov 24 9:27 PM
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rootsRUWTbot Added 10 roots (Close Finish)
Penguins 1, Sabres 0 3rd - 4:59Nov 24 9:25 PM
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rootsRUWTbot Added 13 roots (Close Finish)
Penguins 1, Sabres 0 3rd - 6:36Nov 24 9:20 PM
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Penguins 1, Sabres 0 3rd - 8:39Nov 24 9:16 PM
End of Regulation
Nov 24 8:37 PM
End of 2nd
Nov 24 7:43 PM
- Pittsburgh Goal - Pascal Dupuis (6), from Sidney Crosby at 15:04.
Penguins 1, Sabres 0 1st - 4:56Nov 24 7:34 PM
1st Period - 20:00
Nov 24 7:09 PM
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Penguins vs. SabresJun 23 6:02 AM
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- Crosby, Kessel help Penguins beat Lightning 4-2 in Game 3 May 19


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Google Chromebooks and Citrix: Harnessing the Power of Web and Virtualized Apps for Your Organization
IT decision makers and business executives are looking for more cost effective, simpler and productive ways to manage computing across the organization. The increasing trend of web-based and cloud hosted applications provide the opportunity to better serve the productivity needs of employees but the organization must overcome a new set of complex, security and user management concerns that threaten to put additional pressure on the resource and budget constrained IT organization.
In this webinar, Google and Citrix will share how they have enabled a new enterprise use case that enables instant and complete access to web, browser and virtualized applications whether hosted in the cloud or behind the firewall. The result is a fast, intuitive and easy way for organizations to manage the computing environment with peace of mind from the built in security of having all business apps hosted in the cloud and web. Users benefit by having complete and instant access to their corporate apps, business desktops and documents from anywhere enabling a true win-win for both the enterprise and employees.
Join Cyrus Mistry, Sr. Product Manager from Google along with Benjamin Baer, Sr. Director of Product Management at Citrix for this informative one hour webinar to learn:
- How organizations can take full advantage of the trend towards cloud and web-based applications
- A new approach to enterprise security that protects the enterprise and gives employees the richness of a full computing experience
- How to enable the virtual workstyle with instant access to web and browser based applications along with full native access to business desktops and corporate apps from anywhere
- A more cost effective, simpler and productive approach to better manage computing across the organization
Featured Speakers:
Cyrus Mistry,
Benjamin Baer,
Follow @DABCC Follow @douglasabrown


text:
Rookie Sean O'Sullivan doesn't have any overpowering pitches, but Angels manager Mike Scioscia knows what he likes about the burly right-hander.
"Sean is a very confident young pitcher," Scioscia said. "Although he's 21, his makeup is well beyond that. When you look at his minor league history, there's one thing that jumps out at you -- he wins."
Indeed, O'Sullivan is 38-19 in his professional career, including a 2-0 start at the major league level. None of those victories came above the Class A level until this season. O'Sullivan spent last year in the Class A California League (leading the league with 16 victories) and opened this season in Class AA.
"If you'd asked me in the spring if I'd be here, I would have looked you right in the face and said, 'No,'" O'Sullivan said. "But doors opened. Some opportunities came up, and I've been able to take advantage of this opportunity. It's been a real roller coaster. I'm still on the 'up' part."
The Angels are counting on that. When Ervin Santana returns to the rotation Friday, he will bump Matt Palmer and his 7-1 record into the bullpen. O'Sullivan will stay in the rotation for at least one more start Saturday.
"Where O'Sullivan is, we didn't want to put him in the bullpen," Scioscia said. "Palmer is more suited for this role right now."
O'Sullivan could be sent back to Class AAA quickly, to keep pitching on a regular turn. An off day Thursday and the upcoming All-Star break would allow the Angels to go with just four starters the rest of the first half.
"I try to take care of what I can control," O'Sullivan said. "I just try to show up and keep working. I'll be here as long as I'll be here."
ANGELS 5, ORIOLES 2: The Angels opened a 10-game homestand that will lead into the All-Star break by holding the Orioles to just five hits. RHP John Lackey and LHP Brian Fuentes combined on the five-hitter, and OF Bobby Abreu supplied the offense. Abreu hit a solo home run in the fourth inning and a three-run homer in the fifth, both off Orioles starter Jeremy Guthrie.
Copyright (C) 2009 The Sports Xchange. All Rights Reserved.


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For a chick with a boyfriend, Lady D is definitely not shy about sharing her bangin' body with strangers. This gorgeous Euro babe is only in dude's car for a few minutes before she's got her perky small tits out and her black thong around her knees.
Official Release Date: Mar 12, 2016
Actors: Lady D
Studio: Mofos
Categories: HD porn, Brunette, Natural Tits, Shaved Pussy, Teen, +18
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Audio: AAC, STEREO, 48 kHz, 127 kb/s


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Picture from our vacation in williamsburg, VA
I used my sewing machine to do the stiches around the border. Flowers are made out of dyed coffee filters. One of my earlier layouts. My first attempt at doing rub ons. Hidden journaling where the yellow button is.
$2.49 $2.37
Item Discontinued
$5.00 $4.49


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text: OverviewBack to top Natural Max - Simply Hoodia - 60 Capsules Item# :64854UPC# :047868116993 Brand:Natural Max Size/Form:60 Capsules Servings:60 Dosage:1 Capsule(s) Hoodia (Hoodia gordonii) is a slender column cactus that is found in the Kalahari Desert of South Africa. The native people of the Kalahari Desert (Xhomani San bushmen) have used Hoodia for hundreds, if not thousands of years, for its special properties. The Hoodia sourced specifically for the NaturalMax® brand provides a high quality, potent ingredient directly from South Africa.


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Item: 2044965
| Model: 711475
(8 reviews)
Shipping Included
Your order will be held for 48hrs.
* We do our best to update club pricing and inventory amounts as they change. However, there may be slight differences in actual club pricing and inventory levels. Therefore, the price reflected and the inventory is estimated as of {{currentDate}} and does not include taxes or application of in-Club coupons. In-Club coupons must be printed and presented at checkout and are subject to valid dates and the terms of the coupon offer.In-Club Coupons, In-Club Clipless Coupons and Online Instant Savings are supported by manufacturer funding. State and local laws may require sales tax to be charged on BJ's pre-discounted price if the product is subject to sales tax. Orders placed within 2 hours of closing will be ready tomorrow at opening.
A timeless and beloved pastime of kids and adults of all ages, the Lionel Pennsylvania Flyer O gauge train set comes with the track as well as a powerful 0-8-0 locomotive with a real working headlight, tender car, boxcar, 3-dome tank car, caboose and 4 bonus 10" track pieces to keep the fun chugging along. You'll love sending the ready-to-run out-of-the-box train around the easy to set up track while listening to a realistic air whistle in the tender and the sound of steam puffs. A real smoke unit sends up little clouds of smoke for even greater fun. The transformer controlled electric train features forward, neutral and reverse speeds for easy handling around the track. A billboard with 2 images, 10 telephone poles, an engineer figure, a fireman figure and an opening door on the boxcar offer imaginative play.Product Features:
(based on 8 reviews)
of respondents would recommend this to a friend.
Ratings Distribution
5 Stars
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Reviewed by 8 customers
Displaying reviews 1-8
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Great train starter kit.
By Little Rol
from New Freedom, PA
Comments about BJs Wholesale Club Lionel Pennsylvania Flyer Ready-to-Run O Gauge Train Set with Bonus Track:
The track in the train kit was easy to put together after first reading the instruction book and working carefully with the first two pieces of track. The train cars and engine were also easy to put on track and hook together, but first read the instruction book.
Bottom Line Yes, I would recommend this to a friend
Was this review helpful? Yes / No
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Great Looking Trains!
By Adnil
from Hanover, MD
I bought this for my husband because he has always wanted a good quality train set and we just bought a huge Victorian House with attic set up with train tables/tunnels!
Great train to start
By Papa
from Cleveland Ohio
A great gift for my six year old grandson who loves trains
Great Train Set
By Pete
from Georgia
We were pleased with the quality and price. The train set included everything needed.The bonus track allowed us to encircle the Christmas tree. The grandkids love it!
Best Strter Train
By Mom of a train fanatic
from Woodstock, GA
I have been shopping around for several years for a train for under our Christmas tree. Thanks to BJs.com for the flash sell, we purchased this one. The track is easy to put together. The train is very colorful. You can purchase extra holiday cards to add to it. The bonus track makes it perfect to place under the largest of trees. It is a perfect first train set.
By Glenn Family
from Marilla, NY
This train came with a broken transformer box. We were not able to use this on Christmas morning. Diappointing. Lionel authorized dealer will not repair it under warranty becuase it was bought from BJ's.com. Had to file a claim directly with Lionel and return the cord & handle form the transformer box. Waiting for Lionel to ship us a new transformer box.
Bottom Line No, I would not recommend this to a friend
Lionel #1 of Trains
By Tom the Train Wizard
Wonderful train set! This train runs smoothly on the Fastrack. The cars are very detailed and this is a great train set to start a professional layout.
Great product at a great price!
By Bill the train guy
from Stafford, VA
We put the train set together around our Christmas tree to impress our almost three year old grandson who is visiting from Alaska. Mission accomplished!
BJs.com uses several different shipping methods to best serve our Members. More than one shipping method is available for certain items. Please be aware that not all shipping methods are available for all items.* By clicking on the "Change" button in the "Shipping Methods" section of the "Final Order Review" page, you will be able to see a list of available shipping options. If a certain shipping method is not displayed, we regret that it is not available for that item.
* Shipping information is always approximate and may be based on information given to us by manufacturers and vendors.
Orders placed via these shipping options are not guaranteed to be delivered within a certain time frame. Standard Ground is generally the least expensive option.
Standard Ground: Standard Ground includes delivery via U.S. Priority Mail®, United States Postal Service®, UPS® Ground and FedEx® Ground.
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BJ's selects the highest quality Merchandise for our Members and stands behind the products we sell. If you are not completely satisfied with your purchase, you are entitled to a refund or exchange subject to the following guidelines. Please return your product to the nearest BJ's Club location or by following the instructions here.
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Returned merchandise must be in new condition with its original packing and accessories intact. Items purchased over 1 year ago will not be considered in new condition. If you are returning a product please check to make sure your return meets the following conditions:
We regret that BJ's cannot cover the cost of shipping for products returned due to buyer's remorse.
*Bulk online sales are final and cannot be returned; reference Terms of Use available on BJs.com by clicking here, or contact your BJ's business partner with questions.
If you have ordered one of these non-returnable items, please inspect the item carefully and if possible, refuse delivery of incorrect or damaged products. Once the item has been accepted it will be deemed to be the correct item and in good working condition. Any issues that arise after the item is signed for must be resolved through the manufacturer's warranty.
Please see BJs.com's return policy before initiating a return.
You may return your item at any BJ's Club location or by following the instructions below.
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Item: 156726662 |
Model: 711475


text:
What is your username? ZeoSpark
Please link to the wiki here: http://mario.answers.wikia.com/wiki/Mario_Answers
How many edits have you made on that wiki? 105
How many days/months have you been editing there? 9 months (though some on and off edits due to inactivity of the wiki itself.
On the Special Pages → Special:ListUsers when was the last time an admin edited, and who was it? DarmaniTheFourth on June 15, 2013.
Any other information: Hello. I hope to adopt the Mario Answers to have it afflicate with the Mario Wiki. The answers wiki appears to be semi active with an unregistered user posting questions every now and again, but it seems like that user is posting questions unrelating to the Mario series. I hope to adopt the wiki to make it more noticable and help prevent against any spam of unrelating questions.
What is your username? Mistress FI
How many edits have you made on this wiki? 73 (I made some more on an older account, as well as anonymously, if that matters.)
How many days/months have you been editing there? One of my oldest edits on any account there was on February 19th, 2013.
When was the last time an admin edited? As far as I can tell, the last time this has been edited by an admin was by ZeoSpark in February of 2015.
Any additional info: Well, I've sort of been editing this site by myself now, alongside a handful of anons...And by editing, I mean marking most of the irrelevant posts that come up for deletion and trying to answer some of the more reasonable ones that I can. I try to regulate the kinds of things people post and let them know if what they're posting isn't right for the site, and...well, I think this process could really be helped along if there were an admin on duty, but right now, it seems to just be me there. I think that, if possible, the site could benefit from a bit of a redesign, perhaps? I've got a lot of free time on my hands and would be eager and happy to tackle it if given the ability to do so. Mistress FI (talk) 10:27, December 26, 2015 (UTC)


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Dean Bottomley
Dean Bottomley Poems
- Primrose Promise I saw a Primrose today, I doubt it saw ...
- A Sonnet To Bread And Butter P... If you would have the ...
- The Old Man In The Corner How well I remember as I'm slumped ...
- A Birth It was a hard journey, and painful too. It lasted ...
- A Blackbird I listened to him for over an hour: Chest out, ...
- Why Why Why Why Why Why does no-one hear my screams As I am ...
- Ant Scurrying, hurrying, shiny and black A tiny head and a ...
I have been scribbling silly verses since I was 10. A lot were written to help with bad feeling, like when my Dad died when I was 10.5yo, and when I had other serious problems in my life. I think being able to scribble silly verses got bad feelings out of my head and helped to keep me going mental. Now I am TRYING to learn to improve a bit.
I am going to remove my poems and leave the ... more »
Click here to add this poet to your My Favorite Poets.
Comments about Dean Bottomley
Primrose Promise
I saw a Primrose today, I doubt it saw me
As it peeped, coyly from amongst the long grass.
How can such hope and promise be held
In such a small shy flower?
It holds the yellow of the sun in its pale face
A promise of the warmth of spring and summer.
The cold is past, and nature now wakes
All her sleeping children.
I has the green of new life in its silky leaves;
Waking, stretching, reaching skyward towards the sun.
New life is here, good times will follow.
It lifts the down cast soul
PoemHunter.com Updates
Check out
Classic Poets
Footsteps of Angels
Henry Wadsworth Longfellow
A Song About Myself
John Keats
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Project Coordinator - Operations - Big Food Brand
- Recruiter
- Henry Nicholas Associates
- Location
- Bristol (City Centre)
- Salary
- £16000 - £20000 per annum
- Posted
- 04 Oct 2016
- Closes
- 27 Oct 2016
- Sector
- Graduate, Trainee
- Contract Type
- Permanent
We're looking for a highly motivated, driven Project Coordinator or Operations Executive with existing operations or project management experience either from an internship or a full time commercial role. This is a fantastic opportunity to further your career by working in a brand new role for an exciting, big name food brand. You could be an Operations Executive or Assistant with process management experience looking for a step up or simply a highly ambitious and organised graduate looking for a new challenge within the world of food. The company. On offer is a unique opportunity to work with a hugely passionate, operations team to manage key accounts and processes across the South West. My client offers a fun creative working environment as well as some great career progression opportunities. The culture within this company is fast moving and as they are rapidly growing this would be a great opportunity for someone entrepreneurial to really progress their career in operations or project management. The role. The right Project Coordinator or Operations Executive will play a pivotal part in the management of various stakeholders, analysing simple data and forecasts and most importantly the scheduling and reporting on important internal processes for the company. You will use your logistical and organisational skills to help manage, optimise and deliver on company targets. You will be an intelligent, hands-on communicator who will be liaising with key internal stakeholders on a regular basis. The experience we need. 12 months within a similar operations executive or project executive position, ideally having had some experience with data analyisis / reporting on trends and scheduling Strong communication skills with the ability to influence all types of stakeholders Excellent attention to details with the ability to pick up new IT systems quickly Effective project and budget management skills Experience managing workflow to tight deadlines Personable, creative, dynamic, reliable and confident in managing your own workload What you'll get in return. Excellent career progression. A chance to work with a well-known food brand to help expand the company further The opportunity to work in a creative environment where ideas are shared and rewarded A competitive salary and good benefit package. How to apply. If this sounds of interest, then please click the apply button right away to send your CV through to Emma straight away. This job was originally posted as www.totaljobs.com/job/66792235


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FY 2017-2018 Holiday Schedule
Tuesday, July 4, 2017
*December 27, 28, 29 are reduced service days. As in past years, it is expected that most units will be closed and most employees will not be working on these three days. Additional information regarding these reduced service days will be communicated closer to this holiday period. Employees can choose to use three days of benefits (vacation, floating holidays), or take time without pay, or any combination thereof.
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Baron Therapy Services
About Baron Therapy Services15 Research Dr.
Woodbridge, CT 06525
Phone: (203) 387-1401
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Visit our other museum!
Taos Historic Museums is a private non-profit educational 503 (c) corporation which owns and operates both the Martinez Hacienda and the Blumenschein Home & Museum.
THM encourages everyone to visit both of our fine museums to see what offerings are in store.
Here's the link to the Blumenschein Home & Museum
And the link to Taos Historic Museums


text:
Mega-condensers are highly specialized components used for vehicles. Perhaps required for spaceships, the exact purpose is unknown, but at least two mega-condensers are known to exist:
- Panthro mentions there being one in the ThunderTank, but it is unknown if it is hyper-space grade
In Feliner, Part 1, Panthro mentions needing a mega-condenser in order to finish the Feliner. Snarf suggests that the Ratstar might have one, which Panthro agrees is a good idea. Thus, in Feliner, Part 2, the ThunderCats attempt to track down the Ratstar's mega-condenser.
Mumm-Ra absconds with the device before the ThunderCats arrive, but eventually Lion-O tracks it down and takes possession of it.
In a later episode it is revealed that the ThunderTank has a mega-condenser as well.
Open Questions
- Did the Mutant Mothership have a mega-condenser?
- If so, was it reused in any Mutant vehicles/technology?
- How was the Ratstar operational in ThunderCats Ho! The Movie if the mega-condenser was still in the Feliner? Is it due to Mumm-Ra's sorcery or is there another explanation?
- Where did the mega-condenser in the ThunderTank come from?
- Is there a difference between hyper-space mega-condensers and ordinary mega-condensers? Or is one just an abbreviation? This is hard to know as the terminology is not used consistently.
Trivia & Notes
- Snarf refers to it as "mega-dingus"
- ThunderCats outtakes include the Lion-O voice actor Larry Kenney struggling with the line: "Let's find the mega-condenser".