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 Tuesday, October 30, 2007
A Weighty Issue
A couple readers commented that the Shaker-inspired step stool we featured in the “ I Can Do That” column in the November 2007 issue was missing horizontal supports across the sides, which were often seen on traditional Shaker stools ( you can download the plans here). At the rear of the first step, there is 3-1/4" of long-grain-to-long-grain contact due to the cutout, so there was some concern that the glue joint wouldn’t be strong enough to hold under heavy weight, or over a long period of time, were that joint shorter. We were careful to select tight, straight-grained stock with no defects for the side panel glue-up – an important consideration in any panel glue up that has to bear a lot of weight…not that we weigh a lot. But, just to be sure, we had three editors stand on the stool at once, as you can see in the picture above, and other than a few balance issues (hey — I haven’t finished my morning coffee yet), we didn’t experience any problems. There were no joints creaking (other than our knees), and the step stool held together just fine. That being said, were the stool plans modified and the front glue joint were thus shorter, less long-grain-to-long-grain contact could present a problem — we wouldn’t recommend less than 2-1/2". And of course, it is historically accurate to have an interior side rail. So if you have any concerns about the construction integrity (or simply want a more traditional look), add an interior rail across the panel glue-up on both sides, perpendicular to the bottom front horizontal support. You might also consider moving the back horizontal support to be parallel with the bottom front horizontal support, thus forming a square, and keeping the lines less cluttered (you can see an example of this construction in the Shaker Workshops catalog). But, we had 550 pounds worth of editors on our stool (and no, I’m not giving you the breakdown of who weighs what), so I feel confident that it will hold. — Megan Fitzpatrick
Read other entries by Megan Fitzpatrick
Tuesday, October 30, 2007 10:22:39 AM (Eastern Standard Time, UTC-05:00) 
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Monday, October 29, 2007
Greene & Greene: Craftsman Weekend Days 3, 4 & 5
Popular Woodworking contributor David Mathias continues his reports from the Craftsman Weekend in Pasadena, California.
Pasadena Heritage Craftsman Weekend is a three-day
event. My trip to Pasadena, however, is
a full week. A very busy week. So we built a little downtime into the Sunday schedule. By downtime I mean
taking a driving tour and strolling around the exhibition hall gawking at beautiful examples of
contemporary Arts & Crafts pieces and antiques.
As I mentioned in a previous entry, the exhibition is impressive. Through the good fortune of meeting via the Greene-style-furniture Yahoo group I was able to
spend time with Darrell Peart, Tom Stangeland and
Tim Celeski. Tim designs and makes
outdoor furniture, including the world’s first comfortable Adirondack chair, in various Arts & Crafts styles. Tom Stangeland designs furniture inspired by Greene & Greene but with substantial
interpretation. I spent significant time in his
booth and never tired of looking at the pieces he brought. Darrell Peart’s furniture is more obviously
Greene & Greene, including reproductions. His Gamble dining table is a wonderful achievement. Best of all, these men were very generous with their time and knowledge, and great fun to
hang out with. 
At least two Los Angeles-area museums have Greene & Greene furniture in their permanent collections. The collection at the Los Angeles County Museum of Art includes roughly a dozen pieces any number of which may be in storage at any given time. We got lucky – there were four pieces on display, all from the Blacker house, when we visited on Monday: the hall table, a hall chair, a living room chair and the dining room chandelier. The hall table is roughly 6' long and 3' deep. It is elegant and appears to be simple but there are, of course, many subtle details. The drawers presage those of the Gamble house and the lifts on the rails are reminiscent of those from the Robinson house. Many consider the Blacker living room chair to be the ultimate Greene
& Greene furniture design. Having
now seen one, I can understand the sentiment even if I don’t agree. Thinking about trying to make that chair
made my head hurt. Seeing Jim
Ipekjian’s faithful reproduction, on Wednesday, made my ego hurt.
Better known for its Greene & Greene collection is the
Huntington Library and Gardens, our Tuesday destination. The G&G
furniture collection is extensive. The
Thorsen dining table, chairs and sideboard are there. The Robinson dining room furniture resides there in a re-creation
of the room itself. The Ford house
server is also there. The highlights, in my
opinion, are the two dining tables. The
Thorsen table includes stunning inlays and a very interesting base including rails
that meet legs at a corner. The Robinson dining table is likely my new
candidate for Charles’ first great piece of furniture. Not coincidentally, the Robinson house marks
the first collaboration between the Greenes and Peter Hall.
Throughout this trip I have felt as though I am leading a
charmed existence. Multiple people,
with no reason to do so, have shown me kindness resulting in some
of the best memories of the trip. Kori
Capaldi, operations manager of the Gamble house, invited me to a reception for a
speaker in the Friends of the Gamble House lecture series. The reception was held at the Gamble
house. So Monday evening I found myself standing at
the front door of the Gamble house, having rung the doorbell, waiting for
someone to answer. I’ll never forget
that feeling. The house changes
character at night. Only a poet could
properly describe the warm glow on the wood from the art glass light
fixtures. 
In another example, Jim
Ipekjian graciously agreed to allow several of us into his shop for a brief
tour. Jim is a charming guy and seeing
his shop was a treat. Scattered about
were a number of pieces in various stages of completion. 
Any one of them would be the crowning achievement of my woodworking
career. Jim was nonchalant about them, even encouraging us to touch and
to open
drawers, etc. I was able to sit in his
reproductions of a Blacker living room chair and a Thorsen dining chair
– about
as close as any living person is likely to come to sitting in an
original. More on Jim in my final entry. One day remains in my trip. So far it has been incredible. When we made the schedule, Wednesday was
expected to be the best day. If that
holds true I think my head might explode. You wouldn’t want to miss that.
— David MathiasDavid's final report from Pasadena will appear on this blog on Wednesday
— Bob Lang
Read other entries by Robert W. Lang
Monday, October 29, 2007 3:44:19 PM (Eastern Standard Time, UTC-05:00)
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Woodworking Machines Accessible for Everyone
Some interesting information crossed my desk this past week. General International is introducing a series of tools, known as "Access by General," designed specifically for wheelchair users and individuals with limited mobility. The issue of properly sized and proportionally correct tools was brought to my attention before by non-wheelchair-bound women (and some men) who attend woodworking classes. Some are unable to reach past the table saw blade or feel they need to be taller to effectively use the band saw. These tools could be the answer for many woodworkers, not just those restricted to wheelchairs.
The "Access by General" line, all made in Canada at this time, includes the mainstay of tools in a woodworking shop. A table saw, jointer, band saw, drill press and lathe are the beginning of the line, with promises for additional tool releases during 2008 – made in both Canada and overseas.
The line will be available in stores later this fall; prices are expected to be released by the end of October.
To gain a better understanding of how changes in the table heights and overall dimensions affect a wheelchair user, I adjusted my desk chair to match a wheelchair height (19") and positioned myself at four of the five tools. (The lathe escaped my scrutiny – I don’t turn much).
I began at the jointer. The machine in the Popular Woodworking shop has a table height of 30" while the Access jointer is listed at 28". I can tell you that the 2" differential could make a difference. Seated, I was uncomfortable using our jointer for milling rough lumber. While I was still adequately above the board, I felt much less secure pushing forward while holding the piece to the bed.
Next, I rolled my chair over to our table saw. Here I found a substantial difference. Our saw is 34" tall and the "Access" saw tops out at 29". I felt very out of control ripping a piece of stock. Not only was I pushing directly at the blade, I could not reach past the blade to finish the cut. Push sticks were required and I was cutting a 6" wide board (generally this would be of no concern).
Sitting at the drill press seemed no big deal. I could reach the handles just fine. I was within the standard front-reach measurements specified by the Americans with Disabilities Act accessibility guidelines. But, our drill press overall height is 68" and the “Access” press is only 57 1/2" tall. The 10-1/2" difference would make things much more easy to use from a seated position.
Using our band saw while seated was the most eye opening experience, to say the least. As I sat in the chair, I looked directly at the table edge of our Grizzly G0555X. The table height is 44-1/2". The "Access" band saw has a table height of 32-5/8". That amount is astounding and would make the band saw so much easier to use —not to mention safer.
I applaud General for the effort to produce tools for a specific audience. I also think there will be additional users who would just feel more comfortable using machines that better fit their body structures.
If this is an issue or concern of yours, leave a comment so we can see if General in on course with the "Access by General" line of tools. When the prices are released and further information is in hand, I’ll update this entry with the numbers.
– Glen D. Huey
Read other entries by Glen D. Huey
Monday, October 29, 2007 2:02:16 PM (Eastern Standard Time, UTC-05:00)
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Thursday, October 25, 2007
Get Your Own Woodworking Web Space
There are a lot of web sites devoted to woodworking, and the explosion of information available on the Internet has made finding resources and gathering information faster and easier than ever before. One new site, My Werkshop, makes it possible for anyone to set up their own web space for free. In addition to being free, the interface is incredibly easy to use.
All you need to get started is an e-mail address. After creating your account, you can add photos and text about yourself and your work. Other visitors to the site can post comments and choose their favorite projects. If you sell your work, you can use your page as an online gallery, or you can simply share what you're working on with other woodworkers. 
I created a page in just a few minutes; part of it is in the image to the right. Uploading photos is incredibly easy. The software on the site automatically resizes the images, so all you need to do is browse to the file location on your computer and click a button. Adding text is equally simple. All of the boxes on your page have an "edit" button when you are logged in. Click on that and you can add information, change information or delete what you don't want. The site is set up so that you can create a project and add photos and text as you go along. My Werkshop is hosted by Woodwerks Supply as a free service. The community site is connected to the store site, but there isn't any advertising except for a small unobtrusive link at the top of the page. So, if you want to show off and share your work, get started by visiting the site at: http://www.woodwerks.com/werkshop.php Your spell checker may not like it, but you probably will.
— Bob Lang
Read other entries by Robert W. Lang
Thursday, October 25, 2007 9:39:54 PM (Eastern Daylight Time, UTC-04:00)
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Tuesday, October 23, 2007
Greene & Greene: Day 2 In Pasadena
Editor's Note: Popular Woodworking contributor David Mathias continues his reports from the Craftsman Weekend in Pasadena, Calif.
Saturday, October 20
I want to choose my words carefully so as not to overstate my thoughts. Today was one of the best days of my life. I think that’s about right. It was one of those days in which everything falls into place perfectly. One of those days that exceeds all expectations.
Before I get to what I did, I should point out what I didn’t do. There is no way to participate in all of the events that are part of Craftsman Weekend. Literally no way. Some of them conflict. I had a choice between the Greene & Greene bus tour and a trip to, and tour of, Sam Maloof’s shop. I chose the bus tour. I’ll wait a moment for those of you swearing at your screens and calling me an idiot. Done? OK. Did I mention that on the bus tour we got to tour the interiors of two Greene & Greene houses? That was the clincher for me. Now that the tour is over I can honestly say that I don’t regret the decision one bit. 
One of the houses we got to tour was designed in 1906 by Greene & Greene for Caroline Deforest. While not as grand as the Ultimate Bungalows, it is a beautiful home, a home in which I could easily imagine living. Because the house is currently for sale (if you have to ask the price…) we were permitted to take photos inside. The Greenes had not yet discovered the ebony peg. Visual interest was created with round-head brass screws, which I initially mistook for round pegs, on many surfaces. The effect is very pleasing. Board and batten cabinets are original and in excellent condition as are original lighting fixtures. The dining room chandelier has been altered (to imitate that in the Duncan-Irwin house) but the wood elements are original. Numerous large windows, a Greene & Greene signature element, provide a feeling of openness despite ceilings that are low by today’s standard.
In the afternoon we had time to browse the exhibition hall. Vendors included antiques dealers and contemporary artisans of every stripe: furniture, pottery, glass, textiles and lighting. If your Arts & Crafts home needs it, it was there. One of the highlights for me was seeing the work of John Hamm. John is a glass artist who makes pieces that look very much like the originals created for the Greenes by Emil Lange. In fact, his work is in multiple Greene & Greene homes, including the fantastic Blacker house. John was a pleasure to speak with. There was one small piece in his booth that I lusted after all weekend. The exhibition was very impressive and very well run. It’s a must-see if you are in Pasadena for Craftsman Weekend.
 The evening event today was the featured house tour and reception, an annual event. This year’s house: The Henry Robinson estate. Built in 1905 by Peter Hall, his first collaboration with the Greenes, the Robinson house is spectacular. Clocking in at 12,000 square feet on several acres at the edge of the arroyo, both the house and the view from it are breathtaking. The house, once the victim of neglect and bad taste, has been lovingly restored by the current owners, who were at the reception and are obviously quite proud of their accomplishment.
Many times I have read that the Greene/Hall collaboration was an important factor in the Greenes’ rapid evolution. Seeing the Robinson house made me understand that claim. The furniture in the Robinson is clearly a leap forward. The dining room furniture in particular is wonderful. (Interestingly, the original furniture is in a recreation of the room in the Huntington Library while reproductions are in the actual dining room.) The dining room table is a precursor to the Gamble dining table. Living room built-ins are also exceptional. The furniture in the home includes details that are different from, though just as beautiful, as those with which we are familiar from the Greenes’ better-known work. One very interesting example is that cloudlifts have been replaced with a dovetail-shaped element providing a similar effect.
I don’t know how the day could have been any better. It’ll be hard to top but I’m open to trying.
David Mathias
Thanks David, we are looking forward to more. — Bob Lang
Read other entries by Robert W. Lang
Tuesday, October 23, 2007 3:11:15 PM (Eastern Daylight Time, UTC-04:00)
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Tool Test: Ridgid’s New 13" Portable Planer
Most woodworkers consider the thickness planer to be one of the most important machines in a woodshop. As a result, many manufacturers have produced a variety of sizes in planers. None has been written about as much as the 13" portable planer.
This size planer has gone through a multitude of changes over the years with each transition making it a better machine. More features are being added, and the tool is growing into a workhorse in most home shops.
Ridgid has an improved version of its portable planer, the new R4330. This 15-amp machine has new features, but it retains the useful features from the previous model.
The improvements start with the guts of the machine. What used to be a two-knife cutterhead is now a three-knife design. Also, the rpm was increased by more than 10 percent. The planer now produces 30,000 cuts per minute (CPM) versus only 18,000 CPM with the prior unit. That greatly improves the cutting performance of the machine.
Plus, the newly designed knives are still of the dual-edge, quick-change variety; each is self-indexing and self-aligning, and you can adjust the knives from side-to-side to compensate for small nicks. A complete knife change can be accomplished in 30 minutes or less.
According to Ridgid, differences in the appearance of finished cuts from either of the two cutting speeds on competing models was negligible, so the company decided against a two-speed function for the R4330 planer, settling on a single speed of 96 cuts per inch at a feed rate of 26 feet per minute.
A significant design change in the R4330 planer is a four-post design on which the cutterhead travels instead of the two-post design used in the past. Ridgid officials said the cutterhead is secure enough in this design that it eliminated the depth-of-cut locking mechanism from the machine.
On portable planers, as with the R4330, snipe is controlled by adjusting the infeed and outfeed tables. However, right out of the box, this planer showed little snipe and it was at the trailing end of the board. So little in fact, that regular sanding would correct the problem.
An improved dust hood that opens and closes by simply rotating the hood door is a nice added feature. No planer should be used without proper dust collection, but there are times when being able to open the door to clear an obstruction is an added benefit.
The “Repeat-A-Cut” and “Ind-I-Cut” features are from the previous model. I found the Repeat-A-Cut feature handy to use. Being able to reach one of eight different thicknesses by selecting a predetermined depth stop builds accuracy into your work. I did, however, find the Ind-I-Cut feature to be a bit fussy and not as accurate to use.
Ridgid’s 13" portable planer is available at Home Depot for $349. That’s a savings of $50 versus the older model. However, no extra set of knives is included and if you want a stand it’ll be extra, too. Also, check the box to ensure you’re buying the new machine. Both models have identical Home Depot SKU numbers. (more specifications are available on Ridgid's web site.)
— Glen D. Huey
Read other entries by Glen D. Huey | Read other Tool Tests
Tuesday, October 23, 2007 8:36:30 AM (Eastern Daylight Time, UTC-04:00)
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Monday, October 22, 2007
Greene & Greene: Report From Pasadena
As I mentioned last week one of our authors, David Mathias, is spending a week in California immersing himself in all things Greene & Greene. Here is the first of several reports from David:
Friday Oct. 19
I grew up in Wilmington, Del. Wilmington is located roughly 30 minutes from Philadelphia and two hours from both New York and Washington, D.C. Therefore, I’ve had the opportunity to visit Washington’s wonderful monuments and museums many times. On the last occasion, we visited the Lincoln Memorial. Though I had been there before, I was struck with a strong sense of history and being in the presence of greatness. Today at the 16th Annual Craftsman Weekend, I felt the same way.
It was an incredible day. As a member of the Greene-style-furniture Yahoo group, I regularly interact with Greene & Greene fans from around the country. My friend Tom Moore and I had volunteered to help several of the group’s members set up their booths for the Exhibition that is part of Pasadena Heritage’s Craftsman Weekend. That’s how I met Darrell Peart, Tom Stangeland and Tim Celeski and got to see, carry and help assemble some of their very beautiful furniture. It is, by far, the most fun I’ve ever had helping people move. 
Exterior of the Gamble House
And from there the day only got better. Our next stop was the Gamble House. Arriving at the Gamble House is an almost surreal experience. As the Greene brothers best-known work, and a museum that is regularly open to the public, it is an iconic structure. But to approach in person a building that I’ve spent so much time studying in pictures is odd. I don’t know a better way to say it. Though I had been there once before, I was awed.
The interior of the Gamble House is a stunning achievement. During the standard, one-hour tour you can only begin to glimpse all there is to see. I suspect that I could spend several days just in the entry hall and still not notice all of the details. Subtlety is everywhere. As is wood. On much of the first floor, nearly every surface is wood. Teak and mahogany are everywhere. The desire to touch the beautifully finished surfaces is almost overwhelming, though doing is strictly prohibited (except when climbing the stairs). Sensory overload is a given. The attention to detail is almost insane. One example: The shape of the dining room table is mirrored in the shape of the dining room chandelier and repeated in switch plates in the room. It also appears in inlays in the master bedroom.
Exterior of the Irwin House Many casual fans don’t realize that in the Park Place neighborhood you can’t turn around without stumbling on a Greene & Greene home. Our last official event of the day was a walking tour of the area where we saw about a dozen more of their houses and were able to go inside two that are lesser known. The docent for the tour stressed the rapid evolution of the Greenes’ style. Seeing so many homes in rapid succession makes it obvious. The curve of their creative genius was very steep. Highlights included the James Culbertson house (the first name is included to distinguish it from the Culbertson sisters’ house – the Greenes had many repeat clients and personal referrals), the Duncan-Irwin house (a personal favorite – I resisted the urge to knock on the door and ask for an interior tour) and Charles Greene’s own house, which also served as something of an architectural laboratory for Charles.  Exterior gate and clinker brick wall at the Van Rossem House
David will be sending us more reports and photos this week, including some rarely seen interior details. Check back here, or subscribe to the updates in the upper left corner of the page. — Bob Lang
Read other entries by Robert W. Lang
Monday, October 22, 2007 3:07:26 PM (Eastern Daylight Time, UTC-04:00)
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Saturday, October 20, 2007
Three New Classes at Kelly Mehler’s School of Woodworking
Kelly Mehler
has opened the registration for his 2008 classes, including three
classes that I’ll be teaching on precision handsawing, planecraft and
building the Holtzapffel workbench from Issue 8 of Woodworking Magazine.
There
are still spots available (as of this posting). If the classes fill up,
I encourage you to sign up for the waiting list. People’s schedules
change and so many of the people on the waiting list get in.
Before I drone on about the classes I’m teaching, I also want to point out that Larry Williams and Don McConnell of Clark & Williams will be teaching a class on making wooden moulding planes
at Kelly Mehler’s school on Feb. 25-29. I would take this class if I
had the time in my schedule available. These two gentlemen are a living
treasure, and the way they build these tools is without compromise or
shortcut.
OK, now for the self-serving part of the entry that helps keep my children in Nikes.
Precision Handsawing: March 1-2
 This is one of my favorite weekend classes
to teach because I think there is so much to learn about sawing and
sawtooth technology. During the weekend, we’ll be learning all about an
English-style of sawing (though you don’t have to use Western saws to
do it). And we’ll be building a traditional sawbench. That’s a good
thing, because I keep giving my sawbenches away to woodworkers as gifts.
Building Furniture With Handplanes: June 14-15
This is a new weekend class
that I’ve developed based on requests from other woodworkers. Many
handplane classes focus on the bench planes but they ignore the joinery
planes and how to actually use the tools to build furniture. In this
class, we’ll learn a bit about sharpening and a great deal about using
both bench planes and joinery planes, such as rabbet planes, plow
planes, router planes and shoulder planes. And we’re going to use all
these planes to build a Shaker silverware tray.
Build the Holtzapffel Workbench: Sept. 8-13
This six-day class
is going to be the highlight of my fall. We’re going to build the
Holtzapffel Cabinetmaker’s Workbench, the bench on the cover of Issue 8
and the bench I use in my shop at home. I’ve modified the construction
process slightly so we’ll be building benches that can be knocked down
and shipped back to your home when we’re done. You’ll be able to build
the bench in ash, yellow pine or maple. We’re going to source all the
wood for you and do the brutal machining before you arrive so the first
day we’ll be gluing up the top.
If you have any questions about the classes, feel free to drop me a line. Also, I’ll soon be posting my schedule with the Marc Adams School of Woodworking as well.
— Christopher Schwarz
Read other entries by Christopher Schwarz
Saturday, October 20, 2007 11:40:49 AM (Eastern Daylight Time, UTC-04:00)
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Friday, October 19, 2007
Hand Tools for Power Tool Woodworkers
Confusing the Beginners-In Person
I don't make many personal appearances, but next Saturday, October 27, I will be at the Woodcraft store in Roswell, Georgia. I'll be giving some presentations and hanging around to talk to people. If you're in the area I hope you'll find the time to stop by and say hello.
A week or so ago I wrote on the blog about what hand tools I use, and one of the things I'll be talking about in Georgia is using hand tools in a modern woodworking shop. One of the things I see happen is that people who want to learn to use hand tools get overwhelmed and confused by the variety of tools, and the tendency of experts to get bogged down in minutia. One of the most frequent questions we get asked at the magazine is, "What tools and skills do I need to get started?" My answer is, "You don't need them all, and if you can shave your face without cutting off your nose, you're well on the way to developing the skills."
My plan is to go through the basics, give some recommendations on the most often-used tools, the skills to use them effectively, and some techniques you don't see every day. I will also be talking about the Festool Domino
the experience we've had with it here in our shop, and how it compares to other methods of making joints.
In between the formal stuff, I'll be there to answer questions and talk about almost anything. If you have a copy of one of my books I'll be glad to sign it, and if you want to pick up a book or a set of large format plans, I'll have them on hand. I hope to see you there. — Bob Lang
Read other entries by Robert W. Lang
Friday, October 19, 2007 2:43:20 PM (Eastern Daylight Time, UTC-04:00)
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Thursday, October 18, 2007
Greene & Greene Fans: This is Your Holiday Weekend
Fans of Greene & Greene furniture often refer to a trip to Pasadena as a pilgrimage. Pasadena (and the nearby Huntington Museum) is home to the majority of original Greene & Greene work that can be seen by the public. This coming weekend, Pasadena Heritage, a community organization, is hosting an event that to a Greene & Greene fan is like the Super Bowl, New Year's Eve, St. Patrick's Day and Mardi Gras combined. The 16th Annual Craftsman Weekend is the one opportunity to see things that are normally kept behind closed doors. If I thought I could get away with it, I'd hop on a plane and go. One of our authors, David Mathias has done just that, and he promises to fill us in on what he sees this weekend.
The picture above is a reproduction that David made of the Gamble House entry table, featured in our February 2007 issue. That issue also featured a second Greene & Greene project, an adaptation of the Thorsen House side table based on drawings from my book "Shop Drawings for Greene & Greene Furniture." David is also working on a Greene & Greene-inspired bench that will be featured in our February 2008 issue.
One of the highlights of the weekend will be a "Behind the Velvet Ropes" Tour of the Gamble House, hosted by Jim Ipekjian. Jim has been working on repairing and reproducing Greene & Greene furniture and original homes for nearly 30 years, and is probably the most knowledgeable person in the world on original construction details. We featured Jim and his work in our December 2006 issue.
Other makers of Greene & Greene-style furniture will be displaying their work Saturday and Sunday, including Thomas Stangeland and Darrell Peart. Darrel made the table shown above, featured in our November 2007 issue. In addition to the article, there are additional photos and other information online.
To those of you in Southern California who are able to attend, have a great weekend, and let us know what you saw by leaving a comment or sending me an e-mail. For the rest of us, we will have to wait for David's reports from the field. Sign up for free updates to the blog (in the upper left hand corner of the page) and we'll let you know when those are posted.
— Bob Lang
Read other entries by Robert W. Lang
Thursday, October 18, 2007 2:54:39 PM (Eastern Daylight Time, UTC-04:00)
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