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This is also because false liberals try to portray the image of Serbs as being rapists. They do this to appeal to women's rights activists, and too many so-called "feminists" in this country are gullible enough to fall for this propaganda. They don't stop to examine the facts and see that many Serbian women have been raped by non-Serbian men in the conflicts in the Balkans. The feminist movement in the United States is really very disappointing. They define "liberation" for women around the world by the standards of American culture, and materialism, without regard for the native cultures of the women they claim they are trying to liberate. Many of them support Bush's war in Afghanistan, believing his propaganda that American bombs have helped to oust the Taliban, and that the Northern Alliance that the US has put in power their is somehow more sensitive to women's rights than the Taliban. They support abortion, and think it's a sign of "liberation" for a woman to have the "right" to kill her fetus, so it's not surprising that they could also justify the killing of innocent Serbian or Afghan civilians, if they can be convinced that the "ends" justify the means. peacefully yours, Nancy Hey "T.V. Weber & Alida Weber" wrote: > STOP NATO: �NO PASARAN! - HTTP://WWW.STOPNATO.ORG.UK > > --------------------------- ListBot Sponsor -------------------------- > Start Your Own FREE Email List at http://www.listbot.com/links/joinlb > ---------------------------------------------------------------------- > > Pete, > > You said, "Maggie O'Kane's article "Hunting Karadzic" > (February 20) follows the current tendency to automatically > grant authenticity to all anti-Serbian testimonies." > Good letter--I'm glad you pointed that out. > > With that in mind, it appears to me that there is a > relationship between the above "current tendency" > and that of male-bashing. > > It may be politically incorrect for me to say this, > but hasn't anyone noticed the preponderance > among Serb-bashers of women who are obviously > embittered against men--and who have gleefully > seized upon the war against the Serbian people > as an opportunity to do extensive male-bashing > along with extensive Serb-bashing? > > Just for starters... > > Pippa Scott, described below, who took off on a > Serb-bashing tour as soon as her husband divorced her. > > Similarly, the Mad Cow, whose husband divorced her > some time ago--thus the spectacle of her bombing > the Serbs and at the same time slobbering all over > various KLA thugs and stooges. > > Hillary, the Ilsa Koch of Kosovo--no explanation necessary. > > Elizabeth Dole, a/k/a "Mrs. ViagraMan"--neither she nor her > husband have ever been capable of loving anyone in ANY > sense of the word. An expensive pill is supposed to fix that? > > Catharine MacKinnon, male-bashing lawyer and professor, > who spread vicious false accusations about Serbs committing > rape--which is no surprise, given that she has been much > despised and ridiculed for her stance that just about all > heterosexual contact is "rape." > > Does anybody care to count up the various fading former > Hollywood starlets, wannabe rock divas, and discarded > ex-wives and ex-girlfriends of prominent entertainers, > who have found solace for their wounded egos in > Serb-bashing? > > Alida "The Serb from Hell" Weber, nee Jatich... > ...from here, EVERY direction is up! > > ----- Original Message ----- > From: "john_peter maher" <[EMAIL PROTECTED]> > To: "john_peter maher" <[EMAIL PROTECTED]> > Sent: Thursday, February 22, 2001 1:10 AM > Subject: Good Radovan Hunting > > > > > > To the Editor: > > > Maggie O'Kane's article "Hunting Karadzic" (February 20) follows the > > > current tendency to automatically grant authenticity to all > > anti-Serbian > > > testimonies. Normal justice never accepted this sort of attitude until > > now. > > > If there hadn't been evidence of gas chambers, crematoria, mountains > > of > > > wigs. dentures, prostheses, bones and corpses, and if the accusations > > had > > > come exclusively from those who opposed Nazism, would the Nuremberg > > trials > > > have been the same? Even if it is politically correct to bash Serbs, > > the > > > Editor has a responsibility to warn his correspondents against easy > > cliches > > > if they lack hardcore evidence to support them. > > > An example: the "masterplan" was a word used by the Nazis. > > Where > > > did Maggie O'Kane find that word in any Serbian source? It is an easy > > paste > > > up job which wouldn't be found in a serious report. This is only one > > > example, I wont list them all. > > > > > > William Markiewicz > > > > > > At 07:55 PM 2/20/01 -0800, you wrote: > > > The Guardian > > > > > > Hunting Radovan > > > For five years Nato's spies have been tracking him through the remote > > > mountains of south-eastern > > > Bosnia. So why is Radovan Karadzic, Europe's most wanted war criminal, > > > > > still at large? Maggie O' > > > Kane picks up his scent > > > > I have a hunch that Maggie O'K, whose work already shows characteristics > > of > > fabrication now may be suspected of plagiarism. > > Is she a Soros creature too? > > > > The late lamented Albert Wohlstetter, Nalini Lasziewicz, pipp Scott, and > > Ian > > Williams [the ITN hack: Trnopolje hoax] > > werte part of "Bosnia Archives" 1994-96. > > > > Let's have a look at > > > > Pippa Scott's production on Firing Line. 16 5 98 > > > > LORIMAR employee > > > > Radovan's mother was interviewed [by? when?] and shown in Pippa Scott > > broadcast. > > > > Q: > > Did Maggie O'K get her quotations of Mama Karadzic from thre Firing Line > > hoax? > > > > Cf. > > from Radio Domovina: > > > > " > > > > > > > > > > International Monitor Institute Website > > Parental guidance recommended > > > > > > > > > > FROM 'KNOT'S LANDING' TO PANDORA'S BOX > > > > In another life, Pippa Scott gave humanity television > > dramas. > > Now her > > Westwood-based International Monitor Institute > > stockpiles > > visual > > evidence of man's inhumanity to man > > > > > > By Carol Lynn Mithers > > Carol Lynn Mithers is a Los Angeles-based free-lance > > writer > > > > "Sit down if you want a look," says Pippa Scott. Then > > the > > 64-year-old former actress > > matter-of-factly presents her index of hell. Click on > > the > > computer icon, enter "prison > > camps," "torture," "ethnic cleansing" or "rape," and > > Scott's > > database will tell you where, > > amid hundreds of hours of documentary videotape, to find > > the > > relevant footage. You > > will learn of a European news special featuring > > testimony from > > doctors who performed > > abortions on Bosnian women impregnated by marauding > > Serbs; of a > > British TV report > > in which shellshocked survivors describe their treatment > > in > > Serbian concentration > > camps; of a taped interview with a Serbian soldier who > > graphically details raping and > > killing Muslim women and explains how he learned to slit > > > > people's throats by practicing > > on pigs. > > > > The immediate impulse of a lay viewer confronting the > > human > > brutality Scott has so > > neatly and precisely laid out here is to howl in > > anguish. But > > in 1994, members of the > > first international war crimes tribunal assembled since > > World > > War II had a rather > > different response. They were gathered at The Hague to > > tackle > > the complex task of > > determining whether war crimes had been committed in the > > > > Bosnian conflict, and, if so, > > by whom. Videotape was crucial to the investigation, but > > the > > tape was a logistical > > nightmare, a 600-hour mire of footage, some valuable, > > some > > irrelevant. > > > > Then suddenly -improbably- here was Scott, a Brentwood > > woman > > with flame-colored > > hair, a Hollywood past, and a stunning computer tool > > that > > promised to change > > everything. > > > > It's 5:30 P.M., and the break between day and night > > schedule is > > the only time Scott's > > free to talk. "I'm always working," she says with both > > satisfaction and weariness, > > looking around a small conference room whose bookshelves > > are > > packed with > > videotape. In the four years since making such an > > impression at > > the Hague, Scott has > > expanded her efforts and created a permanent research > > library > > in Westwood. By its > > own definition, the International Monitor Institute > > serves as > > "the world's audiovisual > > conscience." Open to researchers, activists, academics, > > TV > > networks and journalists, > > it is probably the only such archive in existence, a > > meticulously indexed collection of > > film, photos, videos and audiotapes that document > > genocide and > > human rights abuses > > around the globe, exposing and preserving what some > > governments, political parties > > and ethnic factions would rather we forget. > > > > The institute's bland, anonymously modern offices on > > Wilshire > > are an unlikely > > repository of the world's misery. Scott herself seems an > > even > > more unlikely steward. > > She is tall, with high, wide cheekbones and slightly > > slanting > > eyes. She dresses simply > > but expensively and speaks with a musical voice that > > hints at > > her past: as a college > > student she played a pioneer teenager slaughtered by > > Comanches > > in John Ford's > > classic "The Searchers." At 21 she won a Broadway lead > > and > > later appeared in an > > ongoing role in the TV series "The Virginian." Even now, > > she > > regularly describes > > people as "fabulous" - a breathless, show-biz touch that > > > > probably echoes the years she > > spent married to Hollywood executive Lee Rich, with whom > > she > > helped found, then > > run, the enormously successful Lorimar Productions. > > > > Scott still lives well, in a Richard Neutra house she > > renovated > > from a neglected wreck > > to what a friend calls "an island of perfection." And > > she > > maintains a production > > company, Linden Productions, through which she hopes to > > reenter > > the commercial > > entertainment world. (Last May, the PBS series > > "Frontline" > > aired a documentary Scott > > produced on Serbian leader and indicted war criminal > > Radovan > > Karadzic.) > > > > But it is the institute that consumes her now. It is > > still > > indexing footage from Bosnia, and > > for a second tribunal investigating the 1994 mass > > murders of > > Tutsis in Rwanda. It is > > also expanding its focus rapidly, creating fledgling > > archives > > devoted to conflict in > > Myanmar, Iraq, Ethiopia and the Congo. Recently, Scott > > hired > > the director of the > > Cambodian Genocide Project at Yale to open an office on > > the > > East Coast and help the > > institute begin covering Southeast Asia. Scott has > > already > > added a rare interview with > > Pol Pot (done in the mid-'70s by a Yugoslavian news > > team) and a > > collection of > > interviews with Cambodian survivors of his regime to the > > > > archive. > > > > When Scott's not in Westwood, you can find her in > > Kigali, > > Vientiane, Bangkok, > > London, Washington, D.C., or New York, endlessly plying > > connections that might > > bring in new footage. Collecting this material - > > "film-finding" > > in institute terms - is a > > profoundly labor-intensive process of sniffing out, > > contacting > > and cajoling on a global > > scale. The institute gets its film from a sweeping > > variety of > > sources, including armies, > > police, human rights workers, networks and journalists, > > all of > > whom must be > > persuaded to turn over copies of what they have for the > > greater > > good. "We try to get > > material from both sides," says Scott. "And not just war > > > > footage - anything that can > > deepen people's understanding of what the hell > > happened." > > > > Now that the institute is becoming known, sources > > sometimes > > come to Scott: Human > > rights workers have provided shots of villages in > > Myanmar being > > destroyed, pleading, > > "Do something with this!" And a steady stream of young > > filmmakers shows up at the > > office. "Would you like to see my tape?" they beg. "Can > > you put > > it on your Web site?" > > Others remain more wary. "There's a photographer whose > > work I'd > > love to have, but > > he's very elusive, so I'm romancing him," Scott says. > > "It's not > > very different from show > > business, you know." > > > > The equally painstaking task of viewing, translating and > > > > indexing new footage is done > > by the institute's small, eclectic staff, who hold > > degrees in > > fields like philosophy and > > comparative literature, and speak (among other > > languages) > > Kurdish, Kinyarwandan, > > Arabic, Hungarian and Serbo-Croatian. They seem > > constantly at > > work, parked before > > computers, headsets on and faces absolutely impassive as > > they > > view scenes that range > > from neutral shots of generals exhorting troops to > > devastating, > > bloody carnage: a man > > mowed down by sniper fire, a woman screaming as she > > raises a > > mangled limb. > > > > This businesslike detachment is hard won. Institute > > director > > Anne Harringer's previous > > job was in the promotions department at 20th Century > > Fox. She > > walked in her first > > morning at the institute to face footage of naked > > corpses. By > > the third day, she had fled > > the office in tears and ended up pacing Wilshire, > > staring at > > passing motorists. All she > > could think, she remembers, was "Don't you people know?" > > > > The reality of what they're documenting has gotten to > > all of > > the institute staffers at one > > time or another, and several years ago, Scott hired an > > expert > > on genocide and > > post-traumatic stress disorder to hold group therapy > > sessions > > in the office. Ultimately, > > Scott says, "each person finds what he or she can > > handle." > > Still, it is understood that > > everyone will "lose it" from time to time. Scott > > herself, for > > instance, "absolutely can't > > deal with footage in which someone is killed on camera." > > > > "A fascinating riddle about Pippa is how she's been able > > to do > > what she's done," says > > New Yorker writer Lawrence Weschler, a longtime friend. > > "Another is how, in doing > > it, she hasn't gone crazy." > > > > An even more intriguing question about Scott, however, > > is why > > she chose the difficult, > > ill-paid and emotionally wrenching world of human rights > > work > > at all. She herself > > doesn't know or won't say, offering only this clue: "One > > of the > > themes of my life - it's > > there in the projects I've optioned, the stories I've > > wanted to > > tell, the people to whom > > I've been attracted - has been a fascination with > > refugees." > > > > Phillippa Scott is the daughter of Allan Scott, who > > authored > > scripts for most of the > > Fred Astaire-Ginger Rogers films of the 1930s, and Laura > > > > Straub, a highly cultured > > former actress. She came of age in a rarefied, > > privileged > > world. The enormous parcel > > of land her parents owned at the top of Laurel Canyon > > was a > > seemingly endless stretch > > of trees and brush, the perfect place for a shy, > > overweight > > little girl who felt "madly > > ugly" to read and roam. At night, the family home was > > filled > > with the fast, clever talk of > > a glittering crowd - screenwriters, actors, the editor > > and > > critic Malcolm Cowley, > > artists, including Rufino Tamayo, and her uncle, Adrian > > Scott, > > a writer and acclaimed > > producer. Then in 1947, when Scott was 13, the House > > Unamerican > > Activities > > Committee began hearings into alleged Communist > > infiltration of > > the motion picture > > industry, and her uncle became one of the Hollywood Ten > > for > > refusing to talk. > > > > He spent a year in jail and his Hollywood career was > > destroyed. > > Scott's father, though > > never a Communist Party member, was "blacklisted by > > association," and the onetime > > Academy Award nominee was reduced to working under > > pseudonyms. > > "My parents > > became terribly depressed, and I didn't know what was > > happening, just that I couldn't > > help them. There was the sense that things were spinning > > out of > > control." A blackness > > settled over the family. The money dried up. "The life > > I'd > > known died," says Scott > > quietly. And she learned an unforgettable lesson. It > > was, she > > says: "Don't speak up. > > Don't join. Don't see. Don't stand up for people. Don't > > care - > > it can hurt you." > > > > By the 1950s, Scott had bloomed into a woman of passion > > and > > clear, if restless, > > intelligence. She attended Radcliffe, UCLA and the Royal > > > > Academy of Dramatic Arts, > > but never graduated from any of them. (In her early > > forties, > > she returned to school to > > study architecture - but didn't get that degree, > > either.) But > > the "madly ugly" little girl had > > also blossomed into what a college friend calls "one of > > the > > most ravishingly beautiful > > women you'll ever see," and she set off on a successful > > New > > York acting career. In > > 1960, when she was 28, she married Lee Rich, head of > > programming for advertising > > giant Benton & Bowles. He was 15 years older, driven and > > > > ambitious, and by 1969, > > when Scott was pregnant with their second child, the two > > had > > moved back to > > California and, with Merv Adelson, founded Lorimar > > Productions. > > > > By 1980, hits like "The Waltons," "Dallas" and "Knot's > > Landing" > > were generating > > grosses of more than $ 150 million, and the now aptly > > named > > Rich family had moved > > from Westwood to ever grander mansions in Beverly Hills > > and > > Malibu. And to some > > extent, Pippa Scott began to disappear. > > > > As she aged, her market value as an actress declined. > > Old > > friends fell away as her > > social life came to revolve around those with whom her > > husband > > was working - > > moneymen, show business power brokers and their wives, > > people > > for whom she held > > a certain contempt. "They were not real friends," she > > says. "I > > wasn't interested in going > > out to lunch and looking chic and buying clothes." > > > > What did interest her was the business of making movies > > and TV > > shows. Scott says > > she introduced her husband to the novel that became "The > > > > Waltons," and that she > > continued to scout for other properties and to make > > notes used > > in casting sessions and > > story conferences. Hundreds of dinner table > > conversations with > > her father had taught > > her what made a script work, she says, but she was both > > uncredited and unpaid. "It > > was known that she was working behind the scenes," says > > actress > > Michael Learned, > > who starred in "The Waltons" and became a friend. "But > > her role > > was being the one > > who gave the parties, who entertained and made people > > feel > > comfortable." > > > > "That was part of being a dutiful wife," Scott says now. > > "You > > do it for your husband, > > so you don't want credit. You want it all to accrue to > > him." > > Then, in 1981, she was > > abruptly forced into another exile. For reasons Scott > > refuses > > to discuss, Lee Rich filed > > for divorce. Lorimar was sold, leaving Scott extremely > > wealthy > > but adrift. She was, > > she says, aimless, confused and snubbed by the Hollywood > > elite > > she'd made no effort > > to please. In 1982 she fled with her younger daughter to > > New > > York. "I was terrified. > > Absolutely lost. It was three or four years before I > > could stop > > bleeding," she says > > quietly. "There was a great clot of pain in the middle > > of my > > stomach, and it was pure > > grief: Grief over the marriage, grief over the fact that > > we > > weren't a family anymore, > > grief that I wasn't sure I could be strong enough for my > > > > daughters so that they wouldn't > > feel the pain, too. It was a cruel time." > > > > When the emotional hemorrhaging finally stopped, Scott > > tried to > > get into film and TV > > production on her own, but since everything she'd done > > for > > Lorimar had been off the > > record, she lacked credibility. The Los Angeles office > > she > > opened ended up making > > infomercials for products such as Thigh Master. > > > > Then, in 1991, Mary Anne Schwalbe, an old college friend > > who > > had become director > > of the international Women's Commission for Refugee > > Women and > > Children, > > persuaded Scott to make a series of short documentaries > > showing > > conditions in > > refugee camps. Schwalbe says that the films, used by the > > > > commission to lobby for > > policy change, helped Scott "believe again in her own > > intelligence and ability." But she > > also saw them as "just something to do" - until late > > 1993, when > > she made her first > > fact-finding trip to the Balkans. > > > > It was a brutal historical moment. Serbian nationalists, > > in > > their campaign of "ethnic > > cleansing," had wounded, raped or killed tens of > > thousands of > > Bosnian Muslims and > > driven hundreds of thousands more from their homes. > > Scott, > > whose post-divorce > > home was an Upper East Side penthouse, now found herself > > > > touring Croatian refugee > > camps, where families lived in tents a foot deep in > > water that > > the winter air sometimes > > turned to ice. Women wept as they told of being > > separated from > > children or husbands > > now surely dead. Scott explored besieged Sarajevo in a > > flak > > jacket, filming > > bombed-out hospitals and interviewing survivors with a > > video > > camera, a risky act in a > > place where anything small and black might be taken for > > a gun. > > "The place was a > > meltdown," she says. "All night long there were snipers > > at > > work." > > > > The flood of war-zone adrenaline and accumulation of > > terrible > > stories produced a > > seismic inner shift. "The trip was heartbreaking, life > > changing," she says. "It was . . . ." > > > > Scott stops abruptly. The affluence of West L.A. makes > > the > > frozen tent cities of the > > Balkans seem almost unimaginable. But they remain clear > > to > > Scott. Her eyes fill. > > > > "That people could live that badly, be treated that > > badly and > > other people didn't see it, > > or know about it . . . . For days, I couldn't stop > > sobbing," > > she says. "And these were a > > very different kind of tears than those I'd cried over > > my > > divorce." > > > > In Bosnia, Scott confronted "careerists filled with > > doublespeak, who didn't give a > > damn about anything as long as they stayed in power." > > The > > juxtaposition of such > > callousness with such suffering filled her with > > something else: > > political rage. This > > newfound driving force in her life gained focus soon > > after she > > returned to the United > > States and was put in touch with Cherif Bassiouni, an > > eminent > > professor of > > international law at DePaul University in Chicago. > > Bassiouni > > chaired a U.N. Security > > Council commission that was gathering information about > > events > > in the former > > Yugoslavia - a necessary first step to a war crimes > > tribunal. > > He promptly escorted > > Scott into a huge room filled with videotaped film and > > news > > reports in half a dozen > > languages, all of which somehow had to be systematically > > > > organized to be usable. > > > > "Because of my show business background, I knew > > immediately I > > could help," says > > Scott. "I said, 'We edit movies on computers now. We can > > use > > computers to take > > them apart.' " Within nine months, she and her > > production > > manager had cobbled > > existing software into a program that arranged the films > > in > > searchable databases. She > > hired a staff to begin using the new tool, and with > > Bassiouni, > > made two more > > data-collecting trips to Central Europe, where their > > discoveries included stunning > > footage of the Bosnian Serb military rounding up Muslim > > men > > just before the 1995 > > massacre of more than 7,000 at Srebrenica. > > > > About the time the footage was being turned over to the > > tribunal, Scott had an idea. > > Since most of the film was publicly broadcast material, > > why not > > keep copies, and form > > a permanent research library? "It outraged me - outraged > > me - > > that there were > > rewriters of the Holocaust," she says. "I thought well, > > it's > > jolly hard to rewrite this > > history when you have thousands of hours of it on film." > > > > "Using pictures, via computer, to help identify victims, > > > > witnesses and perpetrators is an > > important move forward," says Bassiouni. Also key - > > especially > > as the world struggles > > toward the creation of a permanent international > > criminal court > > - is the fact that the > > indexes often address a central problem facing war > > crimes > > prosecutors: how to pin > > down culpability. If, for instance, a military unit > > sends a > > mortar round into a completely > > civilian area, who should be held responsible for the > > resulting > > deaths? That nation's > > president? The head of its army? The man who fired the > > fatal > > shots? If, however, there > > is TV footage of a local political leader saying proudly > > that > > he gave the orders to > > shoot, you may well have a case. "It certainly speeded > > up our > > work," says Richard > > Goldstone, former chief prosecutor for the Yugoslavia > > tribunal. > > "I've no doubt that any > > future prosecutor working along these lines would > > consider it > > an essential tool." > > > > By the time Scott demonstrated the new system for > > prosecutors > > at The Hague, the > > work had changed from job to calling. Delighted > > prosecutors > > asked Scott to continue > > her efforts. Soon additional tapes collected by the > > court began > > arriving in her Los > > Angeles office to be broken down. Word of the system got > > out, > > and within a year, > > Scott and her associates were working for the tribunal > > investigating the Rwanda killings > > as well. > > > > Neither of the tribunals was able to pay her. And > > although > > various foundations fund her > > work, Scott has had to dip into her private fortune - > > she won't > > say how much. > > > > "She has been utterly selfless in the way she's gone > > about this > > work," says Aryeh > > Neier, president of financier George Soros' Open > > Society, a > > foundation that has > > supported the institute. "It has been the antithesis of > > glory-seeking." > > > > It seems impossible to find anyone in the human rights > > field > > who speaks of Scott in less > > than glowing terms. Graham Blewitt, deputy chief > > prosecutor at > > the Yugoslavia > > tribunal, praises her as "remarkable." Richard Trank, > > director > > of media projects for the > > Museum of Tolerance, goes for "amazing." To independent > > photographer Martin > > Sugarman, who has documented conflict in Kashmir, the > > Balkans, > > Pakistan and > > Palestine, her gift of a no-strings-attached check to > > finance > > trips to Tibet and East > > Timor "told me there is a God after all. In over eight > > years of > > working in the human > > rights field, this was the first time anyone offered to > > assist > > with hard cash." > > > > Scott shrugs off the compliments. She takes great pride > > in what > > she's done. But she is > > without illusions. The last hundred years, after all, > > have > > witnessed the mass murders of > > Armenians, Jews, Muslims, Russians, Cambodians and > > Tutsis. The > > institute's Balkan > > archives are starting to grow again, with footage from > > Kosovo. > > No mere piece of film, > > however great its power, seems strong enough to stop the > > > > butchery. But that, > > emphasizes Scott, isn't the point. > > > > "It took 50 years before the Holocaust came home to lots > > of > > people. Meanwhile, it > > seems that my job is to get the material in so it isn't > > lost. > > So it isn't destroyed. And so it > > can't be denied. > > > > "Do you remember what I said about my first trips to the > > > > refugee camps? That I was > > stunned that so many terrible things were going on and > > people > > weren't able to see? > > > > "Well," she says, "Now they can." > > > > Close > > Zatvori " > > > > > > ______________________________________________________________________ > To unsubscribe, write to [EMAIL PROTECTED] --------------------------- ANTI-NATO INFORMATION LIST ==^================================================================ This email was sent to: [email protected] EASY UNSUBSCRIBE click here: http://topica.com/u/?a84x2u.a9617B Or send an email to: [EMAIL PROTECTED] T O P I C A -- Register now to manage your mail! http://www.topica.com/partner/tag02/register ==^================================================================
