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right now i'm listening to:

sasha - airdrawndagger.....mmmmmmm, chilled prog

quote:

Originally posted by Renegade Free-market capitalilsm a zero sum game. Discuss.

OK.

In one form or another, a zero-sum equation is probably the most common systematic argument against a really free market of voluntary exchange. The essential basis of this argument, whatever its particular focus, is a 'zero-sum game' of wealth, in which everyone cuts pieces of a 'wealth pie,' if you will, which can only be sliced so many ways and is only so large. According to this, any addition to the amount of wealth must have been balanced by its removal from somewhere else. The additions and subtractions add up to consistent amount. Wealth may not be created, only redistributed, the gain and loss adding up to zero.

If one believes this, it is perfectly understandable to object to anyone being richer than someone else (since they have necessarily appropriated more than their 'fair share'), or to think the wealthier western world has to be exploiting the rest of the world since it has a greater piece of the pie, or that profit is unfair because it must come at the expense of someone else even in a voluntary exchange, or to believe in the use of force to 'redress the balance.' These things follow from the zero-sum game of wealth if it is accurate. However, the worst of this phenomenon of belief may be that in some cases, these conclusions themselves are desired, and the zero-sum economics have been discovered as a justification. I believe that to have been the case with many communist economists such as Marx, who really wanted to be justified to hate capitalists, since they already did. Before discussing any specifics, it is worth noting initially that this claim is characteristic of pessimism, and while dealing with it, it is wise to keep in mind that the proclamation of this kind of limit may have less to do with a realistic perception of the world than a pessimistic desire for such a limit to exist.

Capitalism in a free market is not a zero-sum game, and exchange is not limited to zero-sum equations, for multiple reasons. First, wealth is subjective in amount and kind according to individual understandings of value. There cannot be a fixed amount of wealth in the world if the wealth that matters to each person is subjectively different. Certainly, physical commodities and resources like gold and wood and food and stone are not overly subjective in the way we experience them, and they are not interchangeable depending on who you are. But their value to each of us does vary, and it is subjective, depending on who we are. The same is true of the products produced from them, and their various applications. There is also great variation in the worth of what is physical depending on what we have the knowledge to accomplish. To experienced workers today, iron ore means tools and girders to build into the sky. But to our distant ancestors, iron ore was just another rock. In the hands of a skilled doctor today a knife can save a life, but once people only knew that knives were good for cutting up food and each other. Before papyrus and sheepskin became the first kinds of paper and made literature and accounting possible, they were just reeds and a way to keep warm. Obviously the vast difference in value has come from the subjective realm of mental capital. Much of what is often called culture is mental capital, such as art and science, and even every idea or concept, with perhaps a value which is even more subjective. Individual human capacities and abilities count as well, and those are certainly not measurable statistically.

All that matters is that someone values a thing, and then it is real wealth to them. Of course, some people believe that capital which is not physical is not 'real.' But for proof that ideas and concepts can have as much, or much more, real impact than quantities of physical resources, consider the difference that knowledge and technique makes in efficiency, and in what can be accomplished with resources. Once all people spent virtually every waking moment trying to feed and protect themselves with the tools ready at hand. They had all the same basic physical resources. The only important difference is mental; certainly there were fewer people alive to build wealth in the past than there are people building wealth of all kinds now, but exceedingly more value per person is being created today, thanks to the accumulated exchange of mental capital and mental resources. If we were instead billions of cave-dwellers, we would probably still measure wealth in having enough to eat and a fire for warmth. The main reason that some still do is that the profits of unhindered mental and material production and trade have been denied them through the true oppression and exploitation of modern-day societies, which are not free at all.

Another reason the zero-sum equation does not apply is that even according to a given standard of wealth, wealth can be created. Look about you at everything that exists now, all the technology, art, literature, and the material farms and cities, from homes and skyscrapers to gardens and fields. Once people lived in only natural shelter, hunting and gathering, and had none of this. So where did it all come from, if wealth cannot be created? Gains can be made. Effort can accomplish and what is accomplished can accumulate.

Labor is often considered to be the basis of wealth according to zero-sum economics. If all labor is equal in value objectively, if the products produced by less labor are exchanged for what required more hours of labor to make, then that profit is exploitation. In the eyes of many people this has condemned all capitalists as exploiters of their employees, and millions have been killed in the world out of revenge and jealousy, in the name of the 'fairness' of this theory. But it is utterly wrong. It could only be right if value were completely objective, and if the contribution of every person in work is always exactly identical. Labor was closer to commonality when more people did very similar work, such as agricultural farm labor. But labor is in fact highly dissimilar, especially today. It includes inherent and learned talents, experience, individual flair, and many other subjective qualities. It is also worth more or less in subjective value according to the circumstances of the world around the worker. Labor in the strictest physical sense is also a far less significant kind of capital than mental capital, which means the difference between making piles out of sand and making glass out of it, as well as the difference between making glass out of sand and making silicon chips.

The specific justification for a zero-sum game of wealth is often the connection of wealth to a limited amount of resources in the world, a zero-sum game of resources. This claim may be extended to anything from arable land to food production to energy production, to any or all natural resources used by mankind. If this is true, the very use of these limited resources for profit is exploitation of other people. But in practice and in history, every time a limit is found, someone will invent a way to surpass it as long as people are allowed to achieve freely. For example, if the ability to grow food based on available land really stayed constant, this planet could never support billions of people as it does now, with irrigation, hydroponics, and other modern farming techniques effectively creating more cultivated land. It would seem there are always better methods for accomplishment. There are always ways of converting one substance into another more useful one, and even ways of exchanging energy for matter and matter for energy. The only real scientific limits that apparently exist involve the amounts of matter and energy in the universe, and these are hardly limits that we can relate to as human beings.

quote:

Quoted from Richard Feynman: "[T]he idea of distributing everything evenly is based on a theory that there�s only X amount of stuff in the world, that somehow we took it away from the poorer countries in the first place, and therefore we should give it back to them. But this theory doesn�t take into account the real reason for the differences between countries - that is, the development of new techniques for growing food, the development of machinery to grow food and do other things, and the fact that all this machinery requires the concentration of capital. It isn�t the stuff, but the power to make the stuff, that is important. But I realize now that these people were not in science; they didn�t understand it. They didn�t understand technology; they didn�t understand their time."

One popular conviction is that the third world has been exploited by the rest of the world through the pillaging of its resources. There is some truth to this - but not due to a zero-sum of resources. Particularly under the application of the fascism of the past - mercantilism, colonialism, trade monopolies, tariffs, and so on - people in the third world were exploited through force, and their economic progress was set back. The chief means of their exploitation had little to do with shipping more substance out of these lands than was sent back; actually these people were not allowed to innovate and improve using mental capital, and profit accordingly. For example, in India under British colonial occupation, the most weighty leverage for exploitation was in only allowing the Indians to sell raw materials such as indigo dye to the British, prohibiting them from the more profitable work such as producing and dying clothing to sell. This was reserved for British monopolies, which sold finished goods back to the Indians. Even today international trade 'management' interferes using force, preventing some people from prospering even if their own government will let them alone. But this has nothing to do with voluntary exchange. It is economic fascism and tyranny, not simply the use of resources in a free market. Within a free market of individuals, people from any land will always be able to accomplish and prosper far more than those bound by artificial limits.

In a free market, evenly distributing what resources already exist or what is created is both impossible and undesirable. It does not matter that different definitions of capital belong to people in uneven amounts. In fact, this is quite natural because people are different in their abilities and interests. What matters is that in a free market, each person is more likely to achieve his own goals than in any other kind of economy - which includes greater average prosperity as well as relative riches in the hands of those who have made this their goal and achieved it.

we've got

we've got

we've got

we want

we've got

we've got perfect motion.

we've got

we want

we want

we've got

because

we've got perfect motion

we've got

we want chaos

because

we've got perfect motion

we've got

the lot

we'll knock

we'll knock till the doors break open

Eight Guitar Lessons from Dionisio Aguado

Forbidden Food

parody of Electronic's Forbidden City. made it up in 20 seconds.

There's not a hope
When I ate this kind of food
Too much to drink
But not enough to lose
I'm falling apart
Now I've got to suffer
I wish you'd been around when I had this dish

And I can't even wash my hands
I'm drown in this crap
Help me, my friend

I'm feeling a little verklempt.

Please, talk amongst yourselves.

I'll give you a topic.

The Industrial Revolution was neither industrial, nor a revolution.

Discuss

hmmmmmmmmmmmmmmmm

well...........

i suppose...

before.... there was no indsurty... afterwards.. there was heavy industry

but that is not a revolution is it

coz a revolution is a complete change and back to the start.

This topic is boring. Someone start a new one

quote:

Originally posted by phyrest0rm I'm feeling a little verklempt. Please, talk amongst yourselves. I'll give you a topic. The Industrial Revolution was neither industrial, nor a revolution. Discuss

well...
a carpet is neither a car nor a pet, buckshot is neither a buck nor a shot, ping pong is neither a ping nor a pong, a thighmaster is neither a thigh nor a master, lucky charms are neither lucky nor charms, the word restive has nothing to do with rest and the work noisome has
nothing to do with noise, and finally, the Italian neo-realist film movement was neither Italian nor neo, and not very real.

http://groups.msn.com/_Secure/0LACoEmsPtVFW1!Rb!7jn5ttILfXSMrr4UqOkUZN1d72pp60SqIe!!Ox2mpfy6D!qFASS!tn2adQ/asia-ta.jpg

quote:

Originally posted by DJ Mikey Mike This topic is boring. Someone start a new one

why everyone thinks academic topics are boring? Mikey you ain't the first one. you want a new topic?

ok. here's a few.

Sci-Fi:
The human race will NOT survive.

Internet:
Mozilla is the most important web browser ever created.

Calculus:
in rectangle ABCD, AB is 4 and BC is 5. extend BD past D to E such that DE = BD. how long is AE?

pick one. "Don't complain about lack of options. You've got to pick a few when you do multiple choice. Those are the breaks." - /.

Re: Eight Guitar Lessons from Dionisio Aguado

quote:

Originally posted by fieroavian This is a collection of eight lessons by Dionisio Aguado taken from his method. Most of them are not very difficult or long and they can be very pretty. Segovia recorded these and they can be found on his album "Guitar Etudes; The Segovia Collection, Vol. 7". Throughout, a '>' above a note marks an accent, a 'g' above a note marks a ghost note, and a 'c' before a note (standing for continue) means that the note should not be struck but should be left ringing from the previous place it was played. When necessary, crescendi and diminuendi are abreviated cresc. and dim. and '.'s are trailed out for their duration. LESSON 1 This is in the key of A and in 3/8 time; '|'s represent 8th note beats and 16th note beats are proportionally between them. code: Allegro moderato 1 | | | | | | E|-7--p5---4--h5---0--------|--------------------------| B|--------------------------|--------------------------| G|---------------------6----|--------------------------| D|--------------------------|-7------------------------| A|--------------------------|---------0----------------| E|--------------------------|--------------------------| mf 3 | | | | | | E|-10-p9---8--h9------------|-0------------------------| B|-----------------10-------|--------------------------| G|----------------------11--|--------------------------| D|--------------------------|--------------------------| A|--------------------------|---------0-------4---0----| E|--------------------------|--------------------------| 5 | | | | | | E|-------------0---0--------|-------------0---0--------| B|---------3----------------|---------2----------------| G|---------1----------------|---------2----------------| D|-2------------------------|-2------------------------| A|--------------------------|--------------------------| E|-----------------0--------|-----------------0--------| 7 | | | | | | E|--------------------------|-0------------------------| B|---------4-------4--------|--------------------------| G|---------2-------2--------|-1------------------------| D|--------------------------|--------------------------| A|-2------------------------|--------------------------| E|--------------------------|-0------------------------| repeat measures 1-8 and then continue... 9 | | | | | | E|-12-p10--9--h10-----------|-0------------------------| B|-----------------12--9----|--------------------------| G|--------------------------|--------------------------| D|--------------------------|--------------------------| A|--------------------------|--------------------------| E|--------------------------|---------7-------0--------| 11 | | | | | | E|-14-p12--11-h12--9--------|-0------------------------| B|----------------------10--|--------------------------| G|--------------------------|--------------------------| D|--------------------------|---------2----------------| A|--------------------------|--------------------------| E|--------------------------|-----------------0--------| 13 | | | | | | E|---------0---0---0--------|---------0---0---0--------| B|--------------------------|--------------------------| G|-1------------------------|-2------------------------| D|-0------------------------|--------------------------| A|--------------------------|-4------------------------| E|-----------------0--------|-----------------0--------| 15 | | | | | | E|--------------------------|--------------------------| B|--------------------------|--------------------------| G|-2-------1-------2--------|-1------------------------| D|--------------------------|--------------------------| A|-3-------2-------3--------|-2------------------------| E|-0------------------------|---------0----------------| 17 | | | | | | E|-12-p10--9--h10-----------|-0------------------------| B|-----------------12--9----|--------------------------| G|--------------------------|--------------------------| D|--------------------------|---------2----------------| A|--------------------------|--------------------------| E|--------------------------|-----------------0--------| 19 | | | | | | E|-14-p12--11-h12--9--------|-0------------------------| B|---------------------10---|--------------------------| G|--------------------------|--------------------------| D|--------------------------|---------2----------------| A|--------------------------|--------------------------| E|--------------------------|-----------------0--------| 21 | | | | | | E|-----0-------0-------0----|-----------------5--------| B|---------4-------3--------|---------5----------------| G|--------------------------|-6------------------------| D|-6------------------------|-7------------------------| A|--------------------------|--------------------------| E|--------------------------|--------------------------| 23 | | | | | | E|-7---------------9---7----|-5------------------------|| B|--------------------------|--------------------------|| G|-7------------------------|-6------------------------|| D|--------------------------|--------------------------|| A|--------------------------|-0------------------------|| E|---------0----------------|--------------------------|| repeat measures 9-24. LESSON 2 This is in the key of Am and in 2/4 time; '|'s represent 4th note beats, the '.'s represent 8th note beats, and the 16th notes are proportionally between them. code: Allegro 1 | . | . | . | . | . | . | . | . E|-----0-------0---|-----0-------0---|-----0-------0---|-----0-------0---| B|---1---1---1---1-|---0---0---0---0-|---3---3---3---3-|---1---1---1---1-| G|-2-------2-------|-1---------------|-4-------4-------|-2---------------| D|-----------------|---------2-------|-----------------|-----------------| A|-----------------|-----------------|-----------------|---------0-------| E|-----------------|-----------------|-----------------|-----------------| p 5 | . | . | . | . | . | . | . | . E|-----0-------0---|-----1-------1---|-----0-------0---|-----0-----------| B|---1---1---2---2-|---3---3---3---3-|---1---1---0---0-|---1---1---------| G|-2-------0-------|-----------------|---------1-------|-2---------------| D|-----------------|-3-------0-------|-2---------------|-----------------| A|-----------------|-----------------|-----------------|---------0-------| E|-----------------|-----------------|-----------------|-----------------| 9 | . | . | . | . | . | . | . | . E|-----0-------0---|-----1-------1---|-----0-------0---|-----1-------1---| B|---1---1---1---1-|---0---0---0---0-|---1---1---1---1-|---0---0---0---0-| G|-2-------2-------|-0---------------|-----------------|-0---------------| D|-----------------|-----------------|---------2-------|-----------------| A|-----------------|-----------------|-3---------------|-----------------| E|-----------------|---------3-------|-----------------|---------3-------| mf 13 | . | . | . | . | . | . | . | . E|-----0-------0---|-----0-------0---|-----1-------1---|-----0-----------|| B|---1---1---3---3-|---1---1---1---1-|---0---0---3---3-|---1---1---------|| G|-----------------|-----------------|-----------------|-2---------------|| D|-----------------|-----------------|-0-------2-------|-----------------|| A|-3-------2-------|-0-------3-------|-----------------|---------0-------|| E|-----------------|-----------------|-----------------|-----------------|| repeat measures 9-16 repeat measures 1-8 LESSON 3 This is in the key of G and in 3/8 time; '|'s represent 8th note beats, '.'s mark the 16th note beats, and the 32nd note beats are proportionally between them. code: 1 | . | . | . | . | . | . E|--------------------------|--------------------------| B|-0-----1-0-------1--------|-3------------------------| G|--------------------------|--------------------------| D|-----------------0--------|---------0----------------| A|--------------------------|-2------------------------| E|-3------------------------|--------------------------| mf-p 3 | . | . | . | . | . | . E|-0-----2-3-------0--------|-3------------------------| B|--------------------------|--------------------------| G|--------------------------|--------------------------| D|--------------------------|---------0----------------| A|-3---------------3--------|-2------------------------| E|--------------------------|--------------------------| 5 | . | . | . | . | . | . E|--------------------------|--------------------------| B|---------1-----3-1--------|---------0-----1-0--------| G|---------2-------2--------|---------0-------0--------| D|-0------------------------|-0------------------------| A|--------------------------|--------------------------| E|--------------------------|--------------------------| 7 | . | . | . | . | . | . E|-----------------2--------|-3------------------------| B|-----------------1--------|-0------------------------| G|-2---------------2--------|-0------------------------| D|-4-------0----------------|--------------------------| A|--------------------------|--------------------------| E|--------------------------|---------3----------------| repeat measures 1-8 9 | . | . | . | . | . | . E|--------------------------|--------------------------| B|-----------------0--------|-1------------------------| G|-2-------2-------0--------|-2------------------------| D|-4-----0-4----------------|---------0----------------| A|--------------------------|--------------------------| E|--------------------------|--------------------------| 11 | . | . | . | . | . | . E|--------------------------|--------------------------| B|-0-------0-------1--------|-3-------0----------------| G|-0-------0-------2--------|-4------------------------| D|-------0------------------|-5------------------------| A|--------------------------|--------------------------| E|--------------------------|--------------------------| 13 | . | . | . | . | . | . E|-------0-0----------------|-------0-0----------------| B|-3------------------------|-1------------------------| G|-1------------------------|-2------------------------| D|---------2----------------|---------2----------------| A|--------------------------|--------------------------| E|-----------------0--------|-----------------0--------| cresc............ 15 | . | . | . | . | . | . E|-------0-0----------------|--------------------------| B|-0------------------------|-3-------1----------------| G|-1------------------------|-2------------------------| D|---------2----------------|--------------------------| A|--------------------------|-0------------------------| E|-----------------0--------|--------------------------| dim.......... 17 | . | . | . | . | . | . E|--------------------------|--------------------------| B|-----------------0--------|-1------------------------| G|-2-------2-------0--------|-2------------------------| D|-4-----0-4----------------|---------0----------------| A|--------------------------|--------------------------| E|--------------------------|--------------------------| 19 | . | . | . | . | . | . E|--------------------------|--------------------------| B|-0-------0-------1--------|-3-------0----------------| G|-0-------0-------2--------|-4------------------------| D|-------0------------------|-5------------------------| A|--------------------------|--------------------------| E|--------------------------|--------------------------| 21 | . | . | . | . | . | . E|-------3-3----------------|-------3-3----------------| B|-3------------------------|-5------------------------| G|--------------------------|--------------------------| D|--------------------------|--------------------------| A|-2------------------------|-3------------------------| E|--------------------------|--------------------------| cresc....... 23 | . | . | . | . | . | . E|-----------------2--------|-3------------------------|| B|-------1---------1--------|-0------------------------|| G|---------2----------------|-0------------------------|| D|-0------------------------|--------------------------|| A|--------------------------|--------------------------|| E|--------------------------|---------3----------------|| dim.......... repeat measures 9-24 LESSON 4 This is in the key of A and in 3/8 time; '|'s represent 8th note beats, '.'s mark the 16th note beats, and the 32nd note beats are proportionally between them. Note the triplet 32nd notes on the last beat of measures 7 and 15. code: 1 | . | . | . | . | . | . | . E|----------|-----------------5--------|-5-------4----------------| B|-2-----3--|-5-------2----------------|---------0-------5------5-| G|----------|---------2----------------|--------------------------| D|----------|--------------------------|--------------------------| A|----------|-0------------------------|--------------------------| E|----------|--------------------------|-0------------------------| 4 | . | . | . | . | . | . E|-----------------7--------|-7-------5-------5-----7--| B|-5------------------------|--------------------------| G|---------7----------------|---------6----------------| D|---------6----------------|---------7----------------| A|--------------------------|-0------------------------| E|-0------------------------|--------------------------| 3 /--- 6 | . | . | . | . | . | . . E|-9-------9-------9--------|-10--------------9p7----| B|---------8-------8--------|-7-------------------10-| G|--------------------------|-0----------------------| D|---------7-------7--------|------------------------| A|--------------------------|------------------------| E|--------------------------|------------------------| 8 | . | . | . | . | . | . E|--------------------------|--------------------------| B|-9---------------9--------|/10--------------2-----3--| G|---------9-------7--------|-6------------------------| D|--------------------------|--------------------------| A|-7---------------7--------|-0------------------------| E|--------------------------|--------------------------| 10 | . | . | . | . | . | . E|-----------------5--------|-5-------4----------------| B|-5-------2----------------|---------0-------5------5-| G|---------2----------------|--------------------------| D|--------------------------|--------------------------| A|-0------------------------|--------------------------| E|--------------------------|-0------------------------| 12 | . | . | . | . | . | . E|-----------------7--------|-7-------5-------5-----7--| B|-5------------------------|--------------------------| G|---------7----------------|---------6----------------| D|---------6----------------|---------7----------------| A|--------------------------|-0------------------------| E|-0------------------------|--------------------------| 3 /---14 | . | . | . | . | . | . . E|-9-------9-------9--------|-10--------------9p7----| B|---------8-------8--------|-7-------------------10-| G|--------------------------|-0----------------------| D|---------7-------7--------|------------------------| A|--------------------------|------------------------| E|--------------------------|------------------------| 16 | . | . | . | . | . | . E|--------------------------|--------------------------| B|-9---------------9--------|/10-----------------------| G|---------9-------7--------|-6------------------------| D|--------------------------|--------------------------| A|-7---------------7--------|-0------------------------| E|--------------------------|--------------------------| 18 | . | . | . | . | . | . E|-4-----7-0----------------|---------0-------5--------| B|--------------------------|--------------------------| G|-----------------7--------|-6------------------------| D|-----------------6--------|-7------------------------| A|--------------------------|-0------------------------| E|-0------------------------|--------------------------| 20 | . | . | . | . | . | . E|-4-----7-0----------------|-----------------9-----10-| B|--------------------------|--------------------------| G|-----------------7--------|-7-------6----------------| D|-----------------6--------|-7------------------------| A|--------------------------|-0------------------------| E|-0------------------------|--------------------------| 22 | . | . | . | . | . | . E|-12-----------------------|-7-----9-10---------------| B|-----------------11-------|--------------------------| G|-----------------9--------|-7------------------------| D|--------------------------|-0------------------------| A|---------9----------------|--------------------------| E|--------------------------|--------------------------| 24 | . | . | . | . | . | . E|-----------------4--------|-5------------------------|| B|---------3----------------|--------------------------|| G|--------------------------|-6------------------------|| D|-2------------------------|--------------------------|| A|--------------------------|-0------------------------|| E|--------------------------|--------------------------|| repeat measures 18-25 LESSON 5 This is in the key of G and in 3/4 time; '|'s represent 4th note beats, '.'s mark the 8th note beats, and the 16th note beats are proportionally between them. This was kind of hard to tab. Note the grace notes in measures 1, 3, 5, 9, and 11 and the triplet 8th notes in measures 13 and 14. code: Andante g g 1 | . | . | . | . | . | . E|-0h2h3-----2-0----------------|--------------------------| B|---------------------4--------|/5------------------------| G|-----0---------------2--------|-0------------------------| D|------------------------------|--------------------------| A|---------------------2--------|--------------------------| E|-----0------------------------|-----0--h3---2---0--------| g g 3 | . | . | . | . | . | . E|-2h3h5-----3-2-------0--------|---------7----------------| B|------------------------------|--------------------------| G|---------------------0--------|-8-------8----------------| D|------------------------------|---------9----------------| A|-----0------------------------|-9------------------------| E|---------------------6--------|/7------------------------| g g g g g g > 5 | . | . | . | . | . | . E|-5h7h8-----------------------------|---------------------3----| B|-----------7h8h10------------------|-0------------------------| G|----------------------8h9h11-------|-------------2---0--------| D|-----------------------------------|---------1-------2--------| A|-----------------------------------|--------------------------| E|-----------------------------------|--------------------------| > > 7 | . | . | . | . | . | . E|-----2-------0------------|-0------------------------| B|-1-------0-----------4----|--------------------------| G|-2-------0-------2--------|-0------------------------| D|-----------------4--------|--------------------------| A|-0-------2-------2--------|--------------------------| E|--------------------------|-0------------------------| repeat measures 1-8 g g g g g g 9 | . | . | . | . | . | . E|-7h8h10----10p8p7------7p5p4-------|-4---------------5--------| B|-----------------------------------|-3------------------------| G|-----------------------------------|-----------------5--------| D|-----------------------------------|-----2--h3---2------------| A|-----------------------------------|-----------------0--------| E|-----------------------------------|--------------------------| g g g g g g 11 | . | . | . | . | . | . E|-5h7h8-----8p7p5------5p3p2--------|-2---------------3--------| B|-----------------------------------|-1---------------0--------| G|-----------------------------------|--------------------------| D|-----------------------------------|-----0--h1---0------------| A|-----------------------------------|--------------------------| E|-----------------------------------|-----------------3--------| 3 3 3 3 /-----\ /-----\ /-----\ /-----13 | . . | . . | . . | . . | . | . E|----------------------------|----------0---------------| B|----------------------------|--------------------------| G|-0-h2--4--4-p2--0-----------|----------0---------------| D|-------------------5--4--2--|-2--0---------------------| A|----------------------------|-------3--3-------2---1---| E|----------------------------|--------------------------| 15 | . | . | . | . | . | . E|-0------------------------|--------------------------|| B|-----------------------4--|-5------------------------|| G|-0---------------2--------|-0------------------------|| D|--------------------------|--------------------------|| A|-2------------------------|--------------------------|| E|--------------------------|-0------------------------|| repeat measures 9-16 LESSON 6 This is in the key of A and in 3/4 time; '|'s represent 4th note beats, '.'s mark the 8th note beats, and the 16th note beats are proportionally between them. code: Andantino > 1 | . | . | . | . | . | . E|-----5-------4---2---4---|-5-------4---3---2---0---| B|-------------------------|-2-----------2---3-------| G|-2-------4---------------|-----2---4-----------3---| D|-------------------------|-------------------------| A|-------------------------|-------------------------| E|-------------------------|-------------------------| mf 3 | . | . | . | . | . | . E|---------0---------------|-------------------------| B|-3-----------3---2---0---|-------------------------| G|-4---2---1-------2-------|-2-------1---------------| D|---------------------0---|-------------------------| A|-------------------------|-4---3---2-----------2---| E|-------------------------|-------------0---4-------| > 5 | . | . | . | . | . | . E|-------------------------|-------------------------| B|-----0---2---3-------2---|-0-------0-------1-------| G|-------------------------|-----2-------2-------2---| D|-2---------------3-------|-4-------0-------1-------| A|-------------------------|-------------------------| E|-------------------------|-------------------------| cresc..... 7 | . | . | . | . | . | . E|-------------0-----------|-------------------------| B|---------2-----------0---|-------------------------| G|-----2-----------1-------|-2-----------------------| D|-2---------------0-------|-------------------------| A|-------------------------|-4-----------------------| E|-----------------0-------|-5-----------------------| repeat measures 1-8 and then continue... > 9 | . | . | . | . | . | . E|-----5-----------5-------|-5---4---4---2---1-------| B|-----------------2---4---|-5-------3-------2-------| G|-2-------2---4-----------|---------------------4---| D|-------------------------|-------------------------| A|-------------------------|-------------------------| E|-------------------------|-------------------------| 11 | . | . | . | . | . | . E|-2--h3---2---0-----------|-0--h1---0---------------| B|-----------------4-------|-------------3---2-------| G|-3---------------4---2---|-----------------2---0---| D|-------------------------|-------------------------| A|-------------------------|-------------------------| E|-------------------------|-------------------------| 13 | . | . | . | . | . | . E|-------------------------|-------------------------| B|-3-------2---1---2-------|-------------------------| G|---------------------2---|-0-----------------------| D|-4---3---2---1---2-------|-------------------------| A|---------------------4---|-2---------------0---2---| E|-------------------------|-----0---2---4-----------| cresc............. > > > > 15 | . | . | . | . | . | . E|-----0-------0---2---0---|c0-----------------------| B|---------4---------------|-----4-------3-------2---| G|-------------------------|-------------------------| D|-------------------------|-------------------------| A|-4---------------3-------|-2---------------0-------| E|-------------------------|---------4---------------| > 17 | . | . | . | . | . | . E|-------------------------|-------------------------|| B|c2---0-------------------|-------------------------|| G|-------------2-------1---|-2-----------------------|| D|-0-------2-----------0---|-------------------------|| A|-------------------------|-4-----------------------|| E|-----------------0-------|-5-----------------------|| dim........ repeat measures 9-18. LESSON 7 This is in the key of E and in 2/4 time; '|'s represent 4th note beats, '.'s mark the 8th note beats, and the 16th note beats are proportionally between them. Note the crescendi and diminuendi. code: Andantino 0 | . | . | . | . | . E|-0-------|-0---------------|-2---0---0-------| B|---------|-----4---4-------|-------------0---| G|-----1---|-------------2---|-1-------1-------| D|-2-------|-4-------4-------|-----------------| A|---------|-----------------|-----------------| E|---------|-----------------|-----------------| cresc...... 3 | . | . | . | . | . | . | . | . E|-4---2---2---0---|-----------------|-----------------|---------0-------| B|-----------------|-4-------0-------|-0---------------|---------0-------| G|-2-------3-------|-4---------------|-----3---2-------|-2---1-----------| D|-----------------|-----------------|-4-------1---4---|-2---------------| A|-----------------|---------2---6---|-----------------|-----------------| E|-----------------|-----------------|-----------------|---------4---0---| dim.......... 7 | . | . | . E|-----2-----------|---------| B|-2---------------|-5-------| G|-2---------------|---------| D|-----------------|-6-------| A|-0---------------|---------| E|-----------------|-0-------| repeat measures 1-8 and then continue... 9 | . | . | . | . | . | . | . E|-----7---|\2-------0---4---|-0-----------2---|-----------------| B|-9-------|\5---4---2-------|-----4---2-------|-4-------5-------| G|-9-------|-----------------|-4-------3-------|-2-----------4---| D|---------|-----------------|-----------------|-----4---6-------| A|---------|-----------------|-----------------|-----------------| E|---------|-----------------|-----------------|-----------------| 13 | . | . | . | . | . | . | . | . E|---------0-------|-0---------------|-------------2---|-----------------| B|-4---------------|-----4---3-------|-3---2---2-------|-5---4---2---4---| G|-------------1---|---------1---4---|-2-------2-------|-4-------2-------| D|-4-------2-------|-4---------------|-----------------|-----------------| A|-----------------|-----------------|-----------------|---------2-------| E|-----------------|-----------------|-----------------|-----------------| 17 | . E|-0-------|| B|---------|| G|-1-------|| D|---------|| A|---------|| E|-0-------|| repeat measures 9-17. LESSON 8 This is in the keys of Em (meas. 1-18) and E (meas. 19-58) and in 3/8 time; '|'s represent 8th note beats, '.'s mark the 16th note beats, and the 32nd note beats are proportionally between them. Note that measure 19 is marked as "dolce"; this is Italian for "sweet" and should be played softly and sweetly. code: Allegro modereto > 1 | . | . | . | . | . | . E|-0-----2-3-------0-------|-0-----------------------| B|-------------------------|---------4-------0-------| G|-0---------------0-------|-2-----------------------| D|-2---------------2-------|-4-----------------------| A|-------------------------|-------------------------| E|-------------------------|-------------------------| 3 | . | . | . | . | . | . E|-------------------------|-------------------------| B|-------1-0---------------|-0-----------------------| G|-2---------------2-------|-0-----------------------| D|-1---------------1-------|-2-----------------------| A|-------------------------|---------2---------------| E|-------------------------|-------------3---0-------| 5 | . | . | . | . | . | . E|-0-----2-3---------------|-2-------7---------------| B|-----------------0-------|-------------------------| G|-0-----------------------|-------------------------| D|-2-----------------------|-0-----------------------| A|-------------------------|-------------------------| E|-------------------------|-------------------------| 7 | . | . | . | . | . | . E|-----------------0-------|-------------------------| B|-0-----2-3---------------|-3------h4---------------| G|-----------------3-------|-4---------------2-------| D|-4-----------------------|-------------------------| A|-------------------------|-2-----------------------| E|-----------------2-------|-------------------------| repeat measures 1-6 and the following 2 measures are substituted for 7-8 9 | . | . | . | . | . | . E|-------------------------|-------------------------| B|-0-----2-3-------2-------|-0-----------------------| G|-------------------------|-------------------------| D|-4---------------2-------|-0-----------------------| A|-------------------------|-2-----------------------| E|-----------------2-------|-------------------------| then continue on... g 11 | . | . | . | . | . | . E|---------------------------|-0-----------------------| B|-3p1-----0-0---------------|---------0-------0-------| G|-------------------2-------|-0-----------------------| D|-------------------1-------|-2-----------------------| A|---------------------------|-------------------------| E|---------------------------|-------------------------| 13 | . | . | . | . | . | . E|-2-----------------------|-3-------0-------7-----7-| B|---------0-------0-------|-------------------------| G|-2-----------------------|-0-----------------------| D|-------------------------|-------------------------| A|-2-----------------------|-------------------------| E|-------------------------|-0-----------------------| g 15 | . | . | . | . | . | . E|-10--------------4-----4-|-5-----5h8-------5-------| B|-----------------3-------|-----------------------7-| G|-------------------------|-5-----------------------| D|-----------------2-------|-------------------------| A|-------------------------|-0-----------------------| E|-------------------------|-------------------------| 17 | . | . | . | . | . | . E|-0-----------------------|-0-----------------------| B|-----------------4-------|-------------------------| G|-----------------2-------|-1-----------------------| D|-------------------------|-------------------------| A|---------2---------------|-------------------------| E|-------------------------|-0-----------------------| repeat measures 11-18 19 | . | . | . | . | . | . E|-4-----------------------|-2-----------------------| B|---------0-------0-------|---------2-------2-------| G|-------------------------|-------------------------| D|-------------------------|-------------------------| A|-------------------------|---------0-------0-------| E|---------0-------0-------|-------------------------| dolce 21 | . | . | . | . | . | . E|-------------------------|-0-----------------------| B|-4---------------2-----4-|-------------------------| G|---------2-------2-------|---------1-------1-------| D|-------------------------|---------2-------2-------| A|---------2-------2-------|-------------------------| E|-------------------------|-------------------------| 23 | . | . | . | . | . | . E|-4-----------------------|-5-----------------------| B|---------3-------3-------|---------2-------2-------| G|-------------------------|-------------------------| D|---------3-------3-------|---------4-------4-------| A|-------------------------|-------------------------| E|-------------------------|-------------------------| 25 | . | . | . | . | . | . E|-6-----------------------|-7---------------5-------| B|---------5-------5-------|---------4---------------| G|---------5-------5-------|---------4---------------| D|-------------------------|-------------------------| A|-------------------------|-------------------------| E|-------------------------|-------------------------| 27 | . | . | . | . | . | . E|-4---------------5-----4-|-4---------------2-------| B|---------0-------0-------|---------2-------2-----5-| G|-------------------------|-------------------------| D|-------------------------|-------------------------| A|-------------------------|---------0-------0-------| E|---------0-------0-------|-------------------------| 29 | . | . | . | . | . | . E|-------------------------|-0-----------------------| B|-4---------------------4-|-------------------------| G|---------2-------2-------|---------1-------1-------| D|-------------------------|---------2-------2-------| A|---------2-------2-------|-------------------------| E|-------------------------|-------------------------| 31 | . | . | . | . | . | . E|-4---------------5-------|-7---------------5-------| B|---------3-------3-----7-|-------------------------| G|-------------------------|---------6-------6-------| D|---------3-------3-------|---------4-------4-------| A|-------------------------|-------------------------| E|-------------------------|-------------------------| 33 | . | . | . | . | . | . E|-6-----------------------|-7-----------------------| B|-5---------------7-----5-|-4-----------------------| G|-5-----------------------|-4-----------------------| D|-------------------------|-------------------------| A|-------------------------|-------------------------| E|-------------------------|-------------------------| 35 | . | . | . | . | . | . E|-------------------------|-2-----------------------| B|-0-----0-0-------0-------|-----------------0-------| G|-------------------------|-2-----------------------| D|-------------------------|-------------------------| A|-------------------------|-2-----------------------| E|-------------------------|-------------------------| 37 | . | . | . | . | . | . E|-------------------------|-0-----------------------| B|-0-----0-0-------0-------|-----------------0-------| G|-------------------------|-1-----------------------| D|-------------------------|-------------------------| A|-------------------------|-2-----------------------| E|-------------------------|-------------------------| 39 | . | . | . | . | . | . E|-------------------------|-0-------3-----2-0-------| B|-0-----0-0-------0-------|-------------------------| G|-------------------------|-0-----------------------| D|-------------------------|-------------------------| A|-------------------------|-1-----------------------| E|-------------------------|-------------------------| 41 | . | . | . | . | . | . E|-0-------3-----2-0-------|-------------------------| B|-------------------------|-4---------------0-------| G|-0-----------------------|-------------------------| D|-------------------------|-4-----------------------| A|-1-----------------------|-2-----------------------| E|-------------------------|-------------------------| 43 | . | . | . | . | . | . E|-------------------------|-2-----------------------| B|-0-----0-0-------0-------|-----------------0-------| G|-------------------------|-2-----------------------| D|-------------------------|-------------------------| A|-------------------------|-2-----------------------| E|-------------------------|-------------------------| 45 | . | . | . | . | . | . E|-------------------------|-0-----------------------| B|-0-----0-0-------0-------|-----------------0-------| G|-------------------------|-0-----------------------| D|-------------------------|-------------------------| A|-------------------------|-2-----------------------| E|-------------------------|-------------------------| 47 | . | . | . | . | . | . E|-------------------------|-0-----------------------| B|-0-----0-0-------0-------|-------------------------| G|-------------------------|-0-----------------------| D|-------------------------|-------------------------| A|-------------------------|-3---------------2-------| E|-------------------------|-------------------------| 49 | . | . | . | . | . | . E|-------------------------|-------------------------| B|-------------------------|-4-----------------------| G|-------------------------|-------------------------| D|-------------------------|-4-----------------------| A|-1------h2-------3-------|-2-----------------------| E|-------------------------|-------------------------| 51 | . | . | . | . | . | . E|-4-----------------------|-2-----------------------| B|---------0-------0-------|---------2-------2-------| G|-------------------------|-------------------------| D|-------------------------|-------------------------| A|-------------------------|---------0-------0-------| E|---------0-------0-------|-------------------------| 53 | . | . | . | . | . | . E|-------------------------|-0-----------------------| B|-4---------------2-----4-|-------------------------| G|---------2-------2-------|---------1-------1-------| D|-------------------------|---------2-------2-------| A|---------2-------2-------|-------------------------| E|-------------------------|-------------------------| 55 | . | . | . | . | . | . E|-4---------------7-------|-5-----------5p4-2p0-----| B|-3-----------------------|---------------------3p2-| G|-------------------------|-6-----------------------| D|-------------------------|-------------------------| A|-------------------------|-0-----------------------| E|-0-----------------------|-------------------------| 57 | . | . | . | . | . | . E|-------------------------|-0-----------------------|| B|-0---------------4-------|-------------------------|| G|---------1-------2-------|-1-----------------------|| D|-------------------------|-------------------------|| A|---------2-------2-------|-------------------------|| E|-------------------------|-0-----------------------|| repeat measures 1-18 (obey the repeat at measure 8, ignore the repeat at measure 18)

heheeh

that *has* to be one of the longest posts ever

hey jdat, that's pretty USEFUL so why don't ya post it in the Chill Out Room, if you haven't already? love your avatar, btw. that bird is sweet.

summers over

read this :


> -----Original Message-----
> From: Walker, Jane : BPC [SMTP:[email protected]]
> Sent: Friday, September 13, 2002 11:07 AM
> To: 'Anna'; 'Helen'; 'James'; [email protected][/email];
> [email protected]; 'Rachel'; [email protected][/email]
> Subject: FW: reply vs. forward...A dating lesson from New York.
>
> Poor girl, read the bottom two e-mails. It seems to have travelled
> everywhere.
>
> -----Original Message-----
> From: Bates, Catherine : BPC
> Sent: Friday, September 13, 2002 10:59 AM
> To: Walker, Jane : BPC
> Subject: FW: reply vs. forward...A dating lesson from New York.
>
> Catherine Bates
> Legal Secondee
> Barclays Private Clients Legal
>
> -----Original Message-----
> From: Barlow, Tabatha [mailto:[email protected]]
> Sent: Wednesday, September 11, 2002 5:09 PM
> To: L1 Paralegals; Bates, Catherine : BPC
> Subject: FW: reply vs. forward...A dating lesson from New York.
>
> Go straight to the bottom and then read up two e-mails.... poor girl!
> can't believe how many people have been sent it though
>
> -----Original Message-----
> From: Hopkin, Daniel [[email protected]]
> Sent: 11 September 2002 17:01
> To: Piers Ovenden (E-mail); Tabatha Barlow (E-mail); Oliver Sharp
> (E-mail);
> Dominic Klee (E-mail); Simon Goldsworthy (E-mail)
> Subject: FW: reply vs. forward...A dating lesson from New York.
>
>
> Important: This is a personal e-mail and is not an official
communication
> of
> Slaughter and May. In sending this e-mail, the sender is not acting
as an
> agent, representative, or in any other capacity for or on behalf of
> Slaughter and May. Slaughter and May accepts no responsibility or
> liability
> whatsoever and howsoever arising in connection with this e-mail.
>
________________________________________________________________________
__
> __
> _____
>
> think this one is doing the rounds ...
>
> -----Original Message-----
> From: Hughes, Mark
> Sent: 11 September 2002 16:53
> To: Dave Bates (E-mail); Felix Lepetit (E-mail); Graham Bailey
(E-mail);
> Iain Bubb (E-mail); Liz Gibbs (E-mail); Rebecca Chalkley (E-mail);
Rich
> L-W
> (E-mail); Rosie Stynes (E-mail); Ru Whitehead (E-mail); Rupert
Pritchett
> (E-mail); Sophie Arber (E-mail); Steve Ginn (E-mail); Steve Pratley
> (E-mail); Will T-P (E-mail); '[email protected]';
> '[email protected]'; '[email protected]';
> '[email protected]'; '[email protected]';
'Paul
> Francis'; 'Nigel Wilson-Dykes'; '[email protected]';
> '[email protected]'; '[email protected]';
> '[email protected]'; '[email protected]';
> '[email protected]'; '[email protected]'; 'James
Masters';
> 'Mark Gill'; 'alex harcourt-smith'; '[email protected]';
> '[email protected]'; '[email protected]';
> '[email protected]'; 'Hugo Grubb'; 'Richard Haigh';
> '[email protected]'; 'Daniela Lohlein';
'[email protected]';
> '[email protected]'; 'georgina lown'; 'Emma Day'; 'JAMES LANE,
BLOOMBERG/
> LONDON OF'; 'Rory Semple'; '[email protected]';
> '[email protected]'; Hopkin, Daniel; McIver, Timothy;
Wetherall,
> Stephen; Cunningham, John; '[email protected]'; 'Allen Pyke
> Associates'
> Subject: FW: reply vs. forward...A dating lesson from New York.
>
> 2 emails at bottom - a triumph of technology over intelligence...
>
> -----Original Message-----
> From: Collins, Jennifer:CO (NY)
> [mailto:[email protected]]
> Sent: 11 September 2002 11:32
> To: Roberts, Catrin:BK1 (NY); 'Davies, Andrew - Investment Banking
> (Exchange)'; 'Durmer, Karis (Exchange)'; Rolfe, Katie:MKT (LN); Lange,
> Franck de: (NY); 'jayda arnold'; 'Hughes, Mark'; 'alex jaques'
> Subject: FW: reply vs. forward....
>
>
> read the 2 emails at the bottom, and take note..
>
> -----Original Message---- -
> From: [email protected] [mailto:[email protected]]
> Sent: 11 September 2002 16:12
> To: [email protected]; [email protected];
> [email protected]; [email protected];
[email protected];
> [email protected]
> Subject: FW: reply vs. forward....
>
>
>
>
> -----Original Message-----
> From: Young, Richard:ICM (LN)
> Sent: Wednesday, September 11, 2002 4:07 PM
> To: Dan Marks (E-mail); Laird, Nick:LT (LN); Westlife (E-mail)
> Subject: FW: reply vs. forward....
>
>
> you probably have it by now.. read from the end up - last two
>
> -----Original Message-----
> From: Selwood, Dominic:ICM (LN)
> Sent: Wednesday, September 11, 2002 3:55 PM
> To: Hill, Simon: (LN); Young, Richard:ICM (LN); Charles, Malcolm:ICM
(LN);
> Saidha, Bhooshan:ICM (LN)
> Subject: FW: reply vs. forward....
>
>
> hilarious!!! just read bottom two e-mails. moral of the story -
don't
> hit
> REPLY when you mean FORWARD!
>
> -----Original Message-----
> From: [email protected][/email] [mailto:[email protected]]
> Sent: Wednesday, September 11, 2002 3:42 PM
> To: [email protected]; [email protected];
[email protected];
> [email protected];
> [email protected]; [email protected];
[email protected];
> [email protected][/email]; [email protected]; [email protected];
> [email protected]; [email protected]; [email protected];
> [email protected]; [email protected];
> [email protected]; [email protected]; [email protected];
> [email protected]; [email protected];
> [email protected];
> [email protected]; [email protected];
> [email protected][/email]; [email protected];
> [email protected]
> Subject: FW: reply vs. forward....
>
>
> Scroll to the foot of all the gumph and read the first two messages -
a
> searing indictment of girls I think
>
> > -----Original Message-----
> > From: [email protected]
> [SMTP:[email protected]]
> > Sent: 11 September 2002 15:21
> > To: [email protected]
> > Subject: FW: reply vs. forward....
> > > Read from the bottom of the trail
> > > -----Original Message-----
> > From: Elliot Zissman [mailto:[email protected]]
> > Sent: 11 September 2002 14:15
> > To: [email protected]; Simon Johnson;
> > [email protected]; Nathan Coast; [email protected];
> > Michael Timmins; [email protected]; Mansley,
> > Robert; Lukmani, Mark; Lorenza Treves; Lars; Karina Gorny; Jono
> > Gourlay; 'Jonathan Licht (E-mail)'; jemma sussman; [email protected];
> > Emma Phillips; Dougherty, Louise; Derek Sansom; Daniel Bayfield;
> > [email protected]; Dan;
> > [email protected]; Charlotte Fallon; Cassian Scott;
> > [email protected]; 'Behrmann, Paul';
> > [email protected]; [email protected];
Angus
> > Henderson; Andrew Leek; Alex Latner
> > Subject: Fw: reply vs. forward....
> > > > well, i guess it's my duty to forward this one as well
> > > > -----Original Message-----
> > From: Henry Ward
> > To: [email protected]
> > Sent: 11/09/02 12:23
> > Subject: reply vs. forward....
> > > Doh!
> > Beware all you round-shirking girls, for who foregoes a round...
goes
> > aground... Read up from the bottom...
> > > ----- Original Message -----
> > From: "Tom MoodyStuart"
> > To: "Henry Ward"
> > Sent: Wednesday, September 11, 2002 11:56 AM
> > Subject: Fwd: FW: reply vs. forward....
> > > > ----- Original Message -----
> > From:
> > To: ; ;
> > ; ;
> > ; ;
> > ; ;
> >
> > Sent: Wednesday, September 11, 2002 11:36 AM
> > Subject: FW: reply vs. forward....
> > > > > Typical bird. Read bottom 2 e-mails.
> > >
> > > -----Original Message-----
> > > From: Milic, Ivona
> > > Sent: 11 September 2002 11:14
> > > To: Hong, George; Tennant, Alistair; Armata, Konstantina; Ground,
Ed
> > > Subject: FW: reply vs. forward....
> > >
> > >
> > >
> > > read just bottom 2 e-mails :-)
> > > very funny
> > >
> > >
> > > -----Original Message-----
> > > From: Joyce, Melissa [mailto:[email protected]]
> > > Sent: 11 September 2002 09:25
> > > To: '[email protected]'; '[email protected]';
> > > '[email protected]'; '[email protected]';
> > > '[email protected]'; '[email protected]';
> > > '[email protected]'; 'Marie-Laure Piganeau'; 'Ward, Hannah';
> > > '[email protected]'; Milic, Ivona; '[email protected]'
> > > Subject: FW: reply vs. forward....
> > >
> > >
> > > Read from bottom up - just the first 2 emails....
> > >
> > > -----Original Message-----
> > > From: Rajasingham, Arjuna [mailto:[email protected]]
> > > Sent: 10 September 2002 22:33
> > > To: Joyce, Melissa; [email protected]; [email protected];
Hedayat,
> > > Naz
> > > Subject: FW: reply vs. forward....
> > >
> > >
> > > have you seen this yet? read from bottom up. too funny!
> > >
> > >
> > > -----Original Message-----
> > > From: Elisa Kearney [mailto:[email protected]]
> > > Sent: Tuesday, September 10, 2002 4:46 PM
> > > To: Rajasingham, Arjuna
> > > Subject: FW: reply vs. forward....
> > >
> > >
> > > Have you seen this - hilaroius - this is real not a forward - you
> > > will love it.
> > > ---------------------- Forwarded by Elisa Kearney/NY/UNO on
10/09/2002
> > > 04:47 PM ---------------------------
> > >
> > >
> > > "Brett Hayhurst" on 10/09/2002 02:59:52 PM
> > >
> > > To: "Elisa Kearney (E-mail)"
> > > cc:
> > >
> > > Subject: FW: reply vs. forward....
> > >
> > > here is what happens in NYC if your not careful.
> > >
> > > B-read from the bottom
> > > -----Original Message-----
> > > From: Fred Bruun [mailto:[email protected]]
> > > Sent: September 10, 2002 2:41 PM
> > > To: Brett Hayhurst; Fraser Chapman; 'Chris Eby'
> > > Subject: FW: reply vs. forward....
> > >
> > >
> > > -----Original Message-----
> > > From: Simon Paradine [mailto:[email protected]]
> > > Sent: September 10, 2002 2:19 PM
> > > To: Fred Bruun; Ben Harris
> > > Subject: FW: reply vs. forward....
> > >
> > >
> > > -----Original Message-----
> > > From: Ettl,Scott [mailto:[email protected]]
> > > Sent: Tuesday, September 10, 2002 1:05 PM
> > > To: 'Alan Robert Jones'; '[email protected]';
> > > '[email protected]'; 'Dan Yender'; 'Danielle
Ettl';
> > > 'daylyn finnegan'; 'Deana Gazzola'; '[email protected]';
> > > 'Ernie'; 'Jeff
> > > Kempa'; 'JILL'; 'Jonathan Fischer'; '[email protected]'; 'Lisa
> > > Romano';
> > > '[email protected]'; '[email protected]'; 'RJ'; 'Rita
Salcedo';
> > > '[email protected]'
> > > Subject: FW: reply vs. forward....
> > >
> > > Ok, basically you want to read the first few e-mails at the
bottom.
> > >
> > > BTW: Danielle, Jeff, Fischer or Steph do you know any of the
people
> > > on this chain? It is a bunch of people from PWC and MSDW.
> > >
> > > Ettl
> > > -----Original Message-----
> > > From: Rich Perkins [[email protected]]
> > > Sent: Tuesday, September 10, 2002 11:36 AM
> > > To: Allan Goldberg - QuestRG email; Haines,Allison; Ben Lawsky -
> > > work email; Billy Eiselstein - work email; Brett Berman - work
> > > email; Christine Decarlo - email; David Bender - email 1; Shek -
> > > email; David Kamin; David
> > > Weisberg - work email; Errol Deans - work email; Fred Dimyan -
QuestRG
> > > email; Irv Firman - work email; McCleary,Benjamin; Jeremy
Feinstein -
> > > work
> > > email; Joanna Benefico; Josh Kamin - work email; Peter Ackerman;
Rob
> > > Joyce
> > > - work email; Sarah Perkins Stallings - work email; Ettl,Scott;
Scott
> > > Gilefsky; Stephen Stallings - work email; Tracey Daugherty - work
> email
> > > #1
> > > Subject: reply vs. forward....
> > >
> > > Now this is funny. Read from the bottom up?these things spread
fast,
> > > thought I'd help out.
> > >
> > >
> > > -----Original Message-----
> > > From: Marie Rentschler [mailto:[email protected]]
> > > Sent: Monday, September 09, 2002 3:06 PM
> > > To: [email protected]; [email protected]
> > > Subject: Fwd: FW: START from bottom
> > >
> > >
> > > OK. obvi start from the bottom... Anyone remember this guy?? I'm
> > > sorta embarassed...for him and me! But a good laugh on a Monday
> > > morning! Hope you all had great weekends!!!
> > >
> > > -----Original Message-----
> > > From: Natasha Szarkowski
> > > Sent: Friday, September 06, 2002 4:55 PM
> > > To: Becca Parsons; Erin Beguin
> > > Subject: FW: START from bottom
> > >
> > > This is long but fuuny. And Real.
> > >
> > > -----Original Message-----
> > > From: Van Furniss [mailto:[email protected]]
> > > Sent: Friday, September 06, 2002 4:28 PM
> > > To: [email protected]
> > > Subject: START from bottom
> > >
> > >
> > > Funny Stuff... not only do i know Trip but i was at the damn party
> > > last nite small world !!!!
> > >
> > > read from the VERY bottom
> > >
> > > dv
> > >
> > > -----Original Message-----
> > >
> > > Sent: Friday, September 06, 2002 3:52 PM
> > > To: Sara Selbert
> > > Subject: FW: the next CHUNG IS KING!!
> > > Importance: High
> > >
> > >
> > > ridiculous...
> > >
> > > -----Original Message-----
> > > From: Ditillio Michael [mailto:[email protected]]
> > > Sent: Friday, September 06, 2002 3:14 PM
> > > To: 'Pat Piserchia'; [email protected]; [email protected];
> > > [email protected]; [email protected]; Mansour, Michael;
> > > 'Anthony Salva (E-mail)'; 'Kim, John H'; 'Sonjay Vishnupad
> > > (E-mail)'; 'Christopher Eddy (E-mail)';
> > > '[email protected]'; '[email protected]';
> > > '[email protected]'; '[email protected]'; 'Christy Day
(E-mail)';
> > > Dekalo, Limore; Korenberg, Matthew; 'Marcy, Todd'
> > > Subject: FW: the next CHUNG IS KING!!
> > > Importance: High
> > >
> > >
> > > start from the bottom and work your way up. i'm sure some of you
> > > have already got this. it seems to have made its way around wall
> > > street. this girl hit reply instead of forward to send this to her
> > > friends.
> > >
> > > -----Original Message-----
> > > From: Freddy Victoria [mailto:[email protected]]
> > > Sent: Friday, September 06, 2002 3:16 PM
> > > To: [email protected]; [email protected]; [email protected]
> > > Subject: FW: the next CHUNG IS KING!!
> > > Importance: High
> > >
> > >
> > > you guys will love this...
> > >
> > > Read the first two e-mails from the bottom.
> > > some "poor girl" hit reply instead of forward to a guy she went on
a
> > > date with. Ah, the joys of being single in NYC...
> > >
> > > -----Original Message-----
> > > From: Laurence B. Elgart [mailto:[email protected]]
> > > Sent: Friday, September 06, 2002 2:50 PM
> > > To: Karina Mayer; Lana Shekhtman (E-mail) (E-mail)
> > > Subject: FW: the next CHUNG IS KING!!
> > >
> > >
> > > I love NY...
> > >
> > > -----Original Message-----
> > > From: Meyerowitz, Ira [mailto:[email protected]]
> > > Sent: Friday, September 06, 2002 2:27 PM
> > > To: 'Balan (Work)'; Laurence B. Elgart
> > > Subject: FW: the next CHUNG IS KING!!
> > >
> > >
> > > read from the very bottom up. a guy sends an email to a girl he
took
> > > out on a date and she writes a forward to her friend but hits
reply
> > > to the guy.
> > >
> > > -----Original Message-----
> > > From: Kuzycz, Adrian
> > > Sent: Friday, September 06, 2002 1:41 PM
> > > To: Bordetsky, Barry; Bilfield, Peter; Manoff, Brian; McGuire,
> > > Alexandria; Meyerowitz, Ira
> > > Subject: FW: the next CHUNG IS KING!!
> > >
> > >
> > > How fast until it hits the entire eastern seaboard?
> > >
> > > Adrian I. Kuzycz, Esq.
> > > Littman Krooks & Roth P.C.
> > > 655 Third Avenue, 20th Floor
> > > New York, New York 10017
> > > Telephone: 212.490.2020
> > > Fax: 212.490.2990
> > > www.lkrlaw.com
> > >
> > >
> > > -----Original Message-----
> > > From: Babanskyj, Alexandra
[mailto:[email protected]]
> > > Sent: Friday, September 06, 2002 12:43 PM
> > > To: '[email protected]'; Dorian Mazurkevich (E-mail); Kuzycz,
> > > Adrian; '[email protected]'; '[email protected]'
> > > Subject: FW: the next CHUNG IS KING!!
> > >
> > >
> > > I thought you guys would appreciate this. Scroll down and read
from
> > > bottom up (2 emails)...
> > >
> > > -----Original Message-----
> > > From: Sachse, Will
> > > Sent: Friday, September 06, 2002 1:35 PM
> > > To: Babanskyj, Alexandra; Peiffer, Kimberly
> > > Subject: FW: the next CHUNG IS KING!!
> > >
> > > check out this bit of social blunder (read from bottom).
> > >
> > > -----Original Message-----
> > > From: Trunk, Michael
> > > Sent: Friday, September 06, 2002 1:25 PM
> > > To: Sachse, Will; Segal, Marc; Robison, William; Gainor, Tracey;
> > > Meredith, Daren; Baird, Lisa; Long, Philip
> > > Subject: FW: the next CHUNG IS KING!!
> > >
> > >
> > > read from the bottom up.
> > >
> > > -----Original Message-----
> > > From: Anderson, Amber
> > > Sent: Friday, September 06, 2002 12:24 PM
> > > To: Johnson, Jennifer; Natiello, Christian; Nunziata, Gregg;
Trunk,
> > > Michael
> > > Subject: FW: the next CHUNG IS KING!!
> > >
> > >
> > > email is evil--not to add to this girl's humiliation, but read
from
> > > the bottom up.
> > >
> > > -----Original Message-----
> > > From: Bolzan, Anthony
> > > Sent: Friday, September 06, 2002 12:13 PM
> > > To: Huntington, Jack; Porter, Matthew; Loughman, Mark; Anderson,
> > > Amber
> > > Subject: FW: the next CHUNG IS KING!!
> > >
> > >
> > > This girl will have to leave the country now . . .
> > >
> > > (read from the bottom)
> > >
> > > email is dangerous
> > >
> > > -----Original Message-----
> > > From: Rauchway, Jonathan [mailto:[email protected]]
> > > Sent: Friday, September 06, 2002 11:42 AM
> > > To: Alexander Ponomarenko (E-mail); Anthony Bolzan (E-mail); Bob
> > > Berstein (E-mail); Caryn G. Mazin (E-mail); Geoff Millsom
(E-mail);
> > > James Augustus S. G. van Wynen (E-mail); Jeremy Heckerling
(E-mail);
> > > Jimmy Blanco
> > > (E-mail); Lon V. D. Hughes (E-mail); Marc Berger (E-mail); Marc
> Watkins
> > > (E-mail);
> > > Michael Koby (E-mail); Sean Melchionda (E-mail); Stuart Klein
> (E-mail);
> > > Tony D'Ambrosio (E-mail)
> > > Subject: FW: the next CHUNG IS KING!!
> > >
> > >
> > > Read from the bottom . . .
> > >
> > > -----Original Message-----
> > > From: Rosenberg, Barrie L.
> > > Sent: Friday, September 06, 2002 11:24 AM
> > > To: Rauchway, Jonathan; Handley, Siobhan A.
> > > Subject: FW: the next CHUNG IS KING!!
> > >
> > >
> > > Read from the bottom up! This guy wrote an e-mail to this girl,
and
> > > instead of forwarding it to a friend (as was intended), the girl
> > > mistakenly replied to the guy....
> > >
> > > -----Original Message-----
> > > From: Pastor, Anthony A. [mailto:[email protected]]
> > > Sent: Friday, September 06, 2002 10:42 AM
> > > To: Morty Dubin (E-mail); Amy Bennett (E-mail); Barrie Rosenberg
> > > (E-mail); Brett Gross (E-mail); Kara Topjian (E-mail); Kathyrn
> > > Gambino (E-mail); Laura Mankin (E-mail); Marcello Paoletti
(E-mail);
> > > Rebecca Alden (E-mail);
> > > Colgan, Ryan; De, Sona; Heather Fennell; Jennifer Strent; Kahn,
> Michael
> > > P.;
> > > Khue Hoang; Kotzer, Natalie; Krista Rycroft; Ladejola-Diaba,
> Franciscus;
> > > Michael Beck; Thomas O'Connor
> > > Subject: FW: the next CHUNG IS KING!!
> > >
> > >
> > >
> > > -----Original Message-----
> > > From: [email protected]
> > > [mailto:[email protected]]
> > > Sent: Friday, September 06, 2002 10:21 AM
> > > To: [email protected]; [email protected]; [email protected];
> > > [email protected]; [email protected]
> > > Subject: the next CHUNG IS KING!!
> > >
> > >
> > > ok, read the bottom 2 emails...this girl needs to learn the
> > > difference btwn reply and forward...SO funny....
> > >
> > > __________________________________
> > > Catherine Jaccodine
> > > General Manager
> > > Conde Nast Bridal Group, Online Properties
> > > 212.286.6377
> > >
> > >
> > >
> > >
> > > To: Catherine Jaccodine/CN Bridal/CNP@CNP, [email protected],
> > > [email protected], [email protected],
> > > [email protected], [email protected],
> > > [email protected], [email protected],
> > > [email protected], Catherine Jaccodine/CN Bridal/CNP@CNP,
> > > [email protected], [email][email protected],
> > > [email protected], [email protected],
> > > [email protected], [email protected],
> > > [email protected], [email protected],
> > > [email protected], [email protected],
> > > [email protected], [email protected],
> > > [email protected], [email protected], [email protected],
> > > [email protected], [email protected],
> > > [email][email protected], [email protected],
> > > [email protected], [email protected],
> > > [email protected], [email protected], [email protected],
> > > [email protected], [email protected],
> > > [email protected],
> > > [email protected], [email protected],
> > > [email protected], [email protected]
> > > cc:
> > > Subject: the next CHUNG IS KING!!
> > >
> > >
> > > How long will it for this one to around and around! Read below -
> > > TREMENDOUS!
> > >
> > > -----Original Message-----
> > > From: Bither, Chris
> > > Sent: Friday, September 06, 2002 9:20 AM
> > > To: Adam Furber (E-mail); Andi Bither (E-mail); Anup Goswami
> > > (E-mail); Bob Ruland (E-mail); Dan Seto (E-mail); James Conrad
> > > (E-mail); Keith Dixon (E-mail); Nora stohl (E-mail); Scott Reed
> > > (E-mail); Porter Stohl (E-mail); Ty Carmichael (E-mail); Kasa,
> > > Thomas; Gary E. Zimmerman
> > > (E-mail)
> > > Subject: RE: dang!
> > >
> > >
> > > ouch
> > >
> > >
> > > -----Original Message-----
> > > From: Andrew Finver [mailto:[email protected]]
> > > Sent: Friday, September 06, 2002 7:53 AM
> > > To: Andrew Finver
> > > Subject: dang!
> > > Importance: High
> > >
> > >
> > > OK, this is a real set of emails - read from the bottom up (won't
> > > take more than a minute) and notice the sender's use of "reply"
> > > rather than forward. ugly dating scene in nyc.
> > >
> > > sucks to be that girl this morning!
> >
> --------------------------------------------------------------------
> > > --
> > >
> > > ----- Forwarded by Sam Greene on 09/05/2002 02:13 PM -----
> > > [email protected]
> > > To: [email protected], [email][email protected], [email protected],
> > > [email protected], [email protected],
> > > [email][email protected], 09/05/2002 01:48
> > > [email protected],
> > > [email protected]
> > > PM cc:
> > > Subject: FW: READ IMMEDIATELY-- UNBELIEVABLE
> > >
> > >
> > > Drop what you're doing and read this. The following is an exchange
> > > between a friend of a guy that sits on our desk and a girl he took
> > > out on a date
> > >
> > > read from the bottom up. oh my lord.
> > >
> > > -------- Forwarded by James William Salter/JPMCHASE on 09/05/2002
> > > 01:44 PM
> > > To: James William Salter/JPMCHASE@JPMORGAN, Arthur
> > > J. Mirante/JPMCHASE@JPMORGAN |
> > > cc:
> > > Subject: FW: All time low
> > >
> > >
> > > Christopher R.D. Cattani
> > > JP Morgan- Institutional Equity Sales
> > > 277 Park Ave- 9th Floor
> > >
> > > ----- Forwarded by Christopher R Cattani/JPMCHASE on 09/05/2002
> > >
> > > -----Original Message-----
> > > From: Tripp Murray
> > > To: Christopher R Cattani
> > > cc:
> > > 01:38 PM
> > > Subject: FW: All Time Low
> > >
> > >
> > > Please, read my email first. Then read her email, I think that she
> > > was forwarding my email to a friend but hit reply instead. You
will
> > > love this
> > >
> > > -----Original Message-----
> > > From: [email][email protected]
> > > [mailto:[email protected]]
> > > Sent: Thursday, September 05, 2002 10:48 AM
> > > To: Tripp Murray
> > > Subject: All time low
> > >
> > >
> > > Ok first -- here is the e-mail I received from Tripp, the new guy
I
> > > met last week. If you want to go out, perhaps we can get him to
pay
> > > for drinks at the Park. Since we have not slept together, he will
of
> > > course be trying to impress me and will, therefore, do anything I
> > > ask. Unlike
> > > John, who fell asleep during sex last night. I went over to his
place
> > > last
> > > night around 11:30. We started having sex. When I noticed his eyes
> > > were closed for a little too long, I said "John wake up." At
which,
> > > point he shot up saying "what'd I miss." Yes, I think that is a
new
> low.
> > >
> > > Let me know about tonight. I think you need company.
> > >
> > >
> > > ------Original Message-----
> > > From: Tripp Murray
> > > To: Mary B Callahan/US/ABAS/[email protected]
> > > cc:
> > > 09/05/2002 10:01
> > > Subject:
> > >
> > >
> > > So are you off to the Bon Jovi show tonight in Times Square?
Sounds
> > > like it is going to some turnout. What division of audit are you
in
> > > for PWC? Are you heading out tonight? A friend of mine is leaving
> > > for MBA School in France so, he is throwing himself a going away
> > > party at Park, ever been? What are the plans for this weekend,
> > > recovery from the long weekend or adding just a little more hurt
to
> > > the situation?
> > >
> > > TTFN,
> > >
> > > Tripp Murray
> > > Associate
> > > TM Capital Corp.
> > >
>
>

anyone know where I could host my pics and be allowed remote linking and without pop ups ( when you'd access the page ) ?


anyone got some funny jokes?

I woke up today at 2 pm and didn't feel like going to work, so I didn't go , cause I'm allowed to do my own hours.

I 'll go tomorrow saturday, cause I have nothing else to do,

gotta bring the money in

I'm listening to some kruder and dorfmeister right now, makes me wanna smoke a phat one

lalalalala

velour 100 = sky from underwater !

best song ever!

my lifes tune, that I've been banging for many years, and many more years to come

I heard that dogs vision was black and white, is that true?

what's everyone up to this weekend?

I think I'm going to be bored

my love
if you are out there

pull me out of my misery

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