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' $$. .$$ ` ```''''''²²²²²²²²²²²²²'' `²$$ssssS$².$ `$ `$$ $$' .s²s..s$$' $' .$ $$ $$ `²²' .s²²s .s²' .sss. $. $' .$$ $$. .sS²Ss .sS²Ss `s. dP d$'.p² d$' d$$' ' `$ $. d$'$ . $`$b d$' dP d$' dP d$.s²' d$'.P' Y$b $$b .$ `$ $$' $b.d²b.d$ `$$ d$$ss²' d$$ss²' d$$Ss. d$$s² `$$$s.`$$ $' .$ $$. `²²' `²²' .$$ $$$. .d $$$. .d $$$.`$s. $$$$ .s .``²Y$$' $. $' `²SSSSSSSSSSSSS²' `$$$$P²' `$$$$P²' `$$P `$P `$$$$P' `²ssSP' .cC! `$ $. . . .$ `$ ?$! The Music Scene Newsletter - t r a x w e e k l y # 73 !$? $' $ ` ` $ $. .s²²²²s. .s²²²²²s. .s²²²²²s. .s²²²²²s. .s²²²²²s. .s²²²²s. .$ `²²²²' `²²²²²' `²²²²²' `²²²²' `²²²²²' `²²²²²' `²²²²' .sssss. $²s. .sssssss. .sssssss. .sssssss. .sssssss. .s²$ .sssss. .$²' `²²²' `²²²²²' `²²²²²' `²²²²' `²²²²²' `²²²²²' `²²²' `²$. $$ ! TraxWeekly Issue #73 ! Release date: 11 Oct 96 ! Subscribers: 861! $$ `$s. .sss. .sssss. .ssss. .ssss. .sssss. .sssss. .sss. .s$' `²²²²²' $s²' `²²²²²²²²' `²²²²²²²' `²²²²²²²' `²²²²²²²' `²s$ `²²²²²' /-[Introduction]------------------------------------------------------------ ---------------------------------------------------------------------------/ . .s$s.`²s. .s²' ..sss.. .ssssss.. ..sss.. .$$$$$$$.`$$. .$$' .s$$$$$$$$$$$s.`$$$$$$$$$s. .s$$$$$$$$$$s. $$$$$$$$$ $$$. $$$ .$$$$²'.s.`²$$$$.`$$' `²$$$$$.`$$$²' `²$$$$. `$$$$$$$'.$$$$.$$$ $$$$' $$$ `$$$$ $$ :: `$$$$$ $$' .:::. `$$$$ `²²²' s$$`²$$$$' `$$$. $$$ .$$$'.$$ ` .$$$$'.$$ `::. $$$$ $$$ $$$ `$$$. `²$$. $$$ .$$²' $$$ .$$²' s$$$ `:: $$$$ $$$ $$$ `$$b `` $$$ '' $$$.s²'' $$$$. ` .$$$$ .s² .$$$ .$$$ $$$ .s² .$$$ .cC! $$$$s. ²s.`$$$s. .s$$$$' $s.s$$$$'.$$$' `$$. $s.s$$$$' $$$'`$$s..s$$ ²$$$$$$$$$$$²' `²²²²²' ²²' `²$s.`²²²²' ²²² `²²²²²' ``²²²'' Welcome to TraxWeekly Issue #73. First off, my apologies for yet *another* huge break in TraxWeekly releases. I've really slacked on my conviction to keep this newsletter coming once a week, EVERY week. I'm finally back up and running after a chaotic month of moving and banging my head over lead pipes waiting in lines for books, id's, etc...I've been plagued with phone problems, so most of my internet time has been shot. I'm still completely incommunicado outside of school, so I guess TW is now produced exclusively in a complete educational environment. =) Not! As of this writing, I'm connected... praise the gods. =) What is really happening right now? People are releasing tons of music, Hornet is catching up on sorting the archive at ftpcd, and #trax is moving to irc.demoscene.org. Oh yes, and b0b's #trax webpage has moved to http://www.spaz.com/trax/. We've got some excellent articles for you this week, which I hope makes up for some of that lost air time... Finally, congratulations go to John Townsend (jtown) for his appointment to the Hornet archive team. Gene Wie (Psibelius) TraxWeekly Publishing gwie@csusm.edu /-[Contents]---------------------------------------------------------------- ---------------------------------------------------------------------------/ SSSSSSS SSSSSSS SS SS SSSSSSSS SSSSSSS SS SS SSSSSSSS SSSSSSS ss ss ss ss s. ss ss ssss ss s. ss ss sssssss $$ $$ $$ $$ ²$s$$ $$ $$ $$ ²$s$$ $$ $$ .cC! $$$$$$$ $$$$$$$ $$ ²$$ $$ $$$$$$$ $$ ²$$ $$ $$$$$$$ General Articles 1. The State of the Scene........................Psibelius 2. New People on #trax...........................TW Staff 3. Music Contest Changes?........................Snowman 4. Realism: Not an issue.........................Necros 5. The Question of Copyright.....................Psibelius 6. 2nd Generation (from NetMusik, 6 Jun 95)......Saint Vitus Group Columns 7. Skyjump Team 8. (T)he (M)a(X) Advertisements The City Musicians Directory Closing Distribution Subscribtion Information TraxWeekly Staff /-[General Articles]-------------------------------------------------------- ---------------------------------------------------------------------------/ --[1. The State of the Scene]----------------------------------[Psibelius]-- The music scene sure is enjoyable right now. During the last few months we've seen a massive surge in the ranks of musicians now populating the scene community. Along with that, comes with new compositions that are continually pushing the "envelope" in tracked music. =) Take a moment to listen to the top 25 songs that have come out from Music Contest IV. When one compares them to the works from the competitions before it, the difference is jaw-dropping. Not only are the works more refined, the addition of new technology in tracking software has created substantial space for the improvement of existing songs. Times are changing, and the quality of sound available for music is increasing... This issue is very special for me, because this is my 100th article for TraxWeekly. I can still remember the days when Populus was still running this joint. We were scrambling around after the DemoNew's little spring break trying to get something together for us #trax-ers...now look at everything. DN is passing the mid 2000's in subscribers, and TW is a couple hundred away from 1000. The amazing thing is that in spite of all the constant changes in the music scene, these two publications have kept going, and going, and going. And don't count on losing either one in the forseeable future. And keeping this newsletter going *is* a priority. A lot of the staff you see listed now doesn't really have the time to keep writing for the publication. They have school, jobs, and other lives to lead. It's a shame, but that's the reality of things. I'm pretty out of touch with current events also, so if there's someone out there who really thinks they can handle a large chunk of this newsletter, I'd love to have you aboard. No applications, no resumes...just talk to me... I'm finally attending a University. It's a big change from the days in high school when I'd plunk down in front of the monitor and put together TW while playing Doom (does anyone remember that game??? =). TraxWeekly, like the people that put it together, continues to grow. So now that we're back from yet another period of inactivity, where are we headed now? A few updates: IOR is now at the University of California at Santa Cruz. You can reach him at jroth@cats.ucsc.edu. Our friend Flood Myth, creator of the Superunknown scene page, now attends the University of California at San Diego. You can reach him at jasnodgr@ucsd.edu. And yet another week passes in this game we call life... Gene Wie (Psibelius) gwie@csusm.edu ---------------------------------------------------------------------------- --[2. New People on #trax]--------------------------------------[TW Staff]-- "It's not fair!" Since DemoNews has ratings, TraxWeekly should have its own ratings too. And since DN has basically taken care of all of the release ratings, TraxWeekly, in collaboration with Snowman/Hornet, has devised a brand new rating system among rating systems for new members to the #trax community. In this day in age, when computer time is wasted, we must fight to put that time to good use by rating every damned thing possible. So there. =----------------------------------------------------------------(people)-= #trax Size Rated Description =-------------------------------------------------------------------------= /Pappy 6'02 *** A new guy from Mazurka who just got | internet access. /Flipper 5'08 *+ Some lame dude who keeps channel | flooding us and doesn't even | know what the music scene is! /Necros 5'11 ****+ Not really a new person, but we're | just now getting around to | catalogging him. /IOR 6'?? **** Not really a new person either, | but we can't not mention him, | can we? /Quarex ?'?? *********************** It's just too | bad we never see him that much | anymore. =) /death ?'?? [N/A] TraxWeekly doesn't provide negative | ratings. Sorry. /Psibelius 5'07 ***+ Some stupid music dude. This is | about all his music disks get | anyway. Ugh. /Daedalus 5'?? **** Must be fun to have KKK members on | campus at CSUN, eh? =) /Snowman ?'?? [N/A] TraxWeekly is not allowed to rate | the head honcho. It's against | the rules or something. /old/1994/TraxServ [N/A] **** Is there a statute of limitations | on channel bots? =) Well, that's all we have time for this week. Unfortunately, due to an extremely biased and stuck-up set of people reviewers, don't expect any changes or additions to this list anytime soon. Have a nice day. ---------------------------------------------------------------------------- --[3. Music Contest Changes?]------------------------------------[Snowman]-- > --[2. The Realism Thang]----------------------------------------[Sturm]-- > > About the MC4 issue > =================== > > Oh yeah, and this is the reason why there should definitely NOT be a > time limit on tunes!!! If a composer is really writing their own > style, they may need 10 minutes. As a judge, it's your responsibility > not to mark a tune down for the length. Some people really NEED a > build-up and wind-down. Even two tunes of the same style of music can > enormously vary in length - i've seen ambient tunes from 4 minutes to > 60! I would argue that a time limit definitely should be enforced on songs entering Music Contest. This is for a very simple reason; judges have a finite time to rate entries. Yes it would be more "fair" to the entrant to have an undefined maximum time. Even more fair would be having the judges go around to each entrant's house and listen to their song (since sound systems that the composers use vary considerably). Here's another reason... I don't want to listen to a 60 minute-long song that sounds like crap. Much as I would wish otherwise, a large number of Music Contest entries are poorly done. If people knew in advance that they would be required to listen to very bad, very long songs, we would have no judges (which wouldn't be fair for anyone). :) Granted there might be an author out there with a kick-ass tune that is 14 minutes long, but I believe the instances of that are disproportionately low. And while I'm at it, let me just laugh. No, "laugh" isn't quite the right word. Smack my forehead with an open palm and yell "DOH!" would be more accurate. Almost as regular as Music Contest are the public articles written about it (and ways to improve it). Before you -- and I mean YOU -- decide to write something about the way Music Contest should be, give some thought as to why it is the way it is. We didn't just slap down rules. We gave careful thought and consideration to many factors, deciding on what seemed the best course of action. For any proposed change to MC you put forth I'll bet I can give at least 3 logical reasons why it won't work. Further, every time I have to respond to one of these things, another 4 songs don't get catalogged (or another 4 people don't get fragged, depending on which night you catch me). :) -- Christopher G. Mann (Snowman) - r3cgm@cdrom.com Hornet Archive Maintainer - [ftp/www].cdrom.com/pub/demos ---------------------------------------------------------------------------- --[4. Realism: Not an issue]--------------------------------------[Necros]-- realism? can you hear the squeaks of the person running his fingers across the strings on the acoustic guitar in a mod? can you hear the 22khz intricacies of the synth choirs? can you hear the soft hall reverb on the bass kick in the drum kit? doubtful. mods aren't meant for this. if they were, everything would be MPEG Layer 3 compressed and we'd need 300mhz machines to hear em. otherwise perhaps we could be distributing 40 meg .wav files with our latest creations. t3 required of course, though. tracked music is inherently synthetic in a very important sense. certainly it's possible to get 'close' to a real sound, but why would you really try to do such a thing, when it's outside the scope of the format (otherwise than for the novelty of course)? i've noticed the best tracked music revels in it's contrivedness, and uses the digital domain to come up with a sound that ISN'T the acoustic stuff you hear all day on the radio, and in that very fact is new and unique. andy necros / five musicians necros@fm.org ---------------------------------------------------------------------------- --[5. The Question of Copyright]-------------------------------[Psibelius]-- The other day, I recieved a rather interesting message from Exxon of Moz[IC]art. It left me thinking for a very long time: >Hi Psib.... > >If I released a commercial record which has samples out of MODs in it, how >was the situation with copyright laws etc. in this case????? >The problem is, that I wouldn't know, where the samples are from, and >because of that I couldn't name the sample creator... > >And: If I was about to do a broadcast on the topic of MODs, do you all >think I should contact the creator of every Song I play, or would some of >you find it ok anyway?? > >But it's all just fictive, I'm not releasing a record(just in case someone >will ever like my demotapes), neither will I do a broadcast show in the >nearer future... (although I'd like to very much :)) > >Regards, >Exxon/moz[IC]art >stefan_trischler@blackbox.at The topic of copyrights as they apply to module music is one that hasn't been covered too much. The basic assumption is that none of us with a decent record in the music scene would dare to use someone else's hard work to make a fast buck. However, as the quality of module music has increased bit by bit, more people are finding it possible to market their creations. Exxon, in your particular case, I'd say contact the composers of the songs you want to broadcast. What's the worst that can happen? One of them will say no, and you still have the pick of countless numbers of other tunes out in the scene today. As for the samples, that's a tough call... I don't know if all of you remember this or not, but last June (1995), an intelligent fellow by the name of Saint Vitus addressed this topic in his newsletter, 'NetMusik.' I quote his statement, "sampling is power." As module musicians, aided with new technology, we can take the notes that cost others thousands to reproduce, and put them to use in our own music. The fact is however, that original songs and the actual "sound" that is there is copyright to the creator. That means taking little sound bites here and there from CD's and such is illegal. But not that any cares right? Herein lies an ambiguity in the law: Is an electronic transmission of a song and/or sounds considered a "live performance?" I haven't done very much research on this subject at all, so I can't really help out Exxon here. What I can do is point you to a few decent sources for information. First thing's first. Read Saint Vitus' article from the June 1st, 1995 issue (and only issue) of NetMusik. It's really a shame that only one issue of NetMusik ever came out. It doesn't really seem like much, but when one realizes that all 22k of that newsletter is complete, concrete, information, presented in a coherent and thoughtful format, its a tough competitor. I don't know if Saint Vitus is still hanging around today. If he is, and one of you knows him, please send him this way. =) If there's one person who presented professional journalism, it was Saint Vitus. Then you might want to check out ARK, which was advertised a few issues ago in TW. ARK is a service which provides some legal information to aspiring 'net musicians. You can reach it at the URL http://www.arkangel.com/law/. That particular section is the Beareau Law Scrolls, dealing with this subject. Enough of that realism stuff, it's time to move to something that really affects us. Readers? I'd like to hear your perspective on copyrights and the legality of "ripping" samples from CD's, tapes, records, other media, etc. It's a fact that a lot of us can make our own samples. Now, what is different because those samples are sounds created and copyrighted by someone else? Let's see some letters for next week. Until next time... Gene Wie (Psibelius) TraxWeekly Publishing gwie@csusm.edu ---------------------------------------------------------------------------- --[6. Second Generation]-------------------------------------[Saint Vitus]-- [Note: This article was taken from the June 1st, 1995 release of St. Vitus' NetMusik newsletter. His email was given as robe0041@gold.tc.umn.edu; I'm unsure whether he still goes by that account. Perhaps one of us should try to contact him =).] Sampling = Power. There's just no doubt about it. Sampling means power in a hell of a lot of ways. It's the power of assimilating some one else's high-priced production values and instruments, and using them for your own purposes. A note that may have cost a record company thousands of dollars to create now becomes part of your repertoire in the short instant it takes to digitize it. Stealing sound from audio gods. You are Prometheus. It's the power of improving on a sound - taking a horn sample from Dizzy Gillespie and layering a sax from Ellington over it. Or an African frog. Or anything. Stitching together a new, live, noisy beast from the corpses of dead songs. You are Frankenstein. It's the power of building on a riff, a groove you heard just for a second that was left neglected, orphaned in the song. Knowing you can feed it, make it grow. Emancipating it from the aural slavery you first heard it in. You are Moses. It's the power of twisting meaning. Making Nancy Reagan say "Yes!" to drugs, or Mr. Rogers start a sentence that Charles Manson finishes. Negativland calls it "culture jamming" - the experience of playing the culture that surrounds you like a musical instrument. Smashing sound bytes together like atoms on a test range in 1940's Nevada. You're goddamn Oppenheimer. Sampling IS power. Traditional copyright laws, however, recognize NO ORIGINALITY in any creation done with samples. No power. "2nd Generation" is going be a recurring feature in NetMusik, discussing ideas, techniques, and legal updates regarding the musical quark of the 90's, the sample. If we're going to do that, though, we first need to give it some definition. - The Fat Boys On Copyright Law - Let's be straight on this. Sampling is cool. Sampling is fun. Sampling is neat. Sampling is also 100% illegal. Being technical, releasing a work in a fixed format that contains samples OF ANY SORT without the permission of the sampled artists - that's what's illegal. What does "of any sort" mean? "Of any sort" means melodies are protected. Meaning just because you play "Happy Birthday To You" on your kazoo, don't think you don't owe Happy Birthday To You, Inc., for using their song. It also means drumbeats are protected. Yup. This was established in 1992. Prior to that, only actual melodies were protected. And what have the Fat Boys given to copyright law? More than you'd think. The Fat Boys have precedent with one of the largest issues in copyright law - at least as it relates to us. After another rap artist sampled the human beatbox noises that the Fat Boys made and used them, the law ruled that any sound that was recognizable, was protected. Now, being practical, what the hell does all this mean? Should we care? My answer? To a point. We should definitely care, we should definitely know the law. Ignorance can be used as a weapon against you. And at the very least, it can certainly spring a number of very annoying surprises on you. It's important if we're going to be the people whom the law affects, to be aware of, and strive to change it so that it's not detrimental to us. On the other hand, many people get by perfectly well by not clearing any samples, and just not worrying about it. Biz Markie is a good example. He's been sued over half a dozen times for ripping off beats and samples without permission. He just keeps doing it. It shouldn't interfere with your creativity. First law. However, you may want to ask the ring of British DJ's who were selling their mixes containing bits of Annie Lennox, Seal, and other artists if it matters. They were shut down, product seized, and each heavily fined. It does have an effect, but it's a slow, cumulative fog of an effect. A fog that creates indecisiveness, and a fear to release in a wide scale any work that's threatening to the status quo. By status quo, I don't just mean morals and attitudes. I mean threatening to the way culture is produced, packaged, and sold around the world by major conglomerates who dominate their markets in a way that would be unacceptable if it were any other commodity, such as oil or steel. It's something I think is worth fighting against, and something I certainly want to be informed about. Speaking of culture conglomerates... -If The Net Won't Come To The Record Producers... - The Recording Industry Association of America, or R.I.A.A. as they are affectionately known, is going to be an acronym to watch for in the next few years. These are the folks responsible for making sure that nobody out there is skimping on their royalties, whether they're playing a Barney CD for a batch full of hyperactive daycare preschoolers, a radio in a restaurant, or distributing 15-second samples of bands on a BBS in California. (All true.) Think of them as a sort of musical tax-collector. The R.I.A.A. has been watching the net very carefully in the past few years - watching it turn from a simple communication mechanism to the most powerful individually controlled mass-medium to ever exist. In the past, the R.I.A.A. has been able to keep a steady, monolithic, legally- imposing presence on physically-based business. But the net ain't like no Taco Bell. You see, part of copyright law as it relates to royalties is that the piece in question must be played in a public performance. Radio is a public performance. So is that Barney CD. But downloading a song over the net? Is that a public performance? The jury's still out on that one. The R.I.A.A., never a group to be hindered when there's money to be found, realized that it had better try to pioneer some ground, here, or risk being fossilized by technology. In December 1993 they filed suit against Compuserve for an alleged 690 copyright infringements; specifically 690 unlicensed downloads of a MIDI version of "Unchained Melody". They were seeking $100,000 per infringement. The case was settled out of court. High on their successes, on August 2, 1994, the R.I.A.A. submitted a formal complaint to the Congressional task force on the National Information Infrastructure. This task force will be telling Congress what areas of the Net need to be looked at, and in some way regulated. The R.I.A.A. is trying to convince the task force that a digital transmission is the same as a public performance, and should be subject to payment of royalties. Will this affect you? Well, it certainly won't help. If Congress decides that a digital transmission is the same as a public performance, you could forseeably feel a major tremor in net creativity, as form letters are sent out to those with copyrightable sounds (and other works), and a mass of ugly, complicated and essentially useless disclaimers fly in your face at every URL and address known to man. Certainly the quality and availability of net music will go down, and hey - these guys sued a bunch of pre-schoolers. Who knows what sort of evils they're capable of? As always, better informed than uninformed. Most of your Congressmen and -women have email addresses. Search them out, save them. Write to them. It's simplicity itself. And it does a lot more good than you might think. A fantastic site about copyright law as it applies to the net is NegativWorldWideWebLand.(http://sunsite.unc.edu/id/negativland/) You might want to take a gander. That's the 2nd Generation rant this time around. I know there are some musicians out there who are angry at how I've slammed the R.I.A.A., and would love to make the case for royalties. So write! We'll publish a rebuttal in a future issue. Next Time: Samples - Making, Obtaining, And Mutilating Them: A Guide - "This is a chord. Here's another. Here's a third. Now go start your own band!" + a diagram in "Sniffin' Glue", 1977, the first punk rock fanzine - ---------------------------------------------------------------------------- /-[Group Columns]----------------------------------------------------------- ---------------------------------------------------------------------------/ --[8. Skyjump Team]--------------------------------------------------------- Hello From D.J. Skyjump I'm Back as President and this is the New Track From Spermaster SkYjUMP tEAM - 1996 PROdUCtiON Presents NAME : Ex-Traemor fORMAt : XM - 8 Tracks tYPE : Hard-Trance (c) 7 Oct 1996 - by Spermaster Grab it From our WWW Page : http://sdc.wtm.tudelft.nl/skyjump-team/ or from sdc.wtm.tudelft.nl /pub/music/groups/SKYJUMP-TEAM ----------------------------------------------------------------------------- -[9. The MaX]-------------------------------------------------------------- Announcing a new MOD group - TMX (T{he} M{a}X). TMX is dedicated to making high quality dance music, ranging from spaced out ambient to in-yer-face drum'n'bass (quality rhyme, eh?) Anyway, we're looking for members. Anybody who is interested in joining should send one of their best songs to me at u05rjf@abdn.ac.uk for evaluation. I'll let you know within a few days whether you've been accepted or not. Anyway, we plan to release a CD after a while, and *hopefully* at some point in the future do some gigs. No matter what your level of expertise, submit your MOD - we're not looking for in-depth knowledge of all effects, we just want people with an ear for a good tune. Response has been fairly high so far, so please make contact soon if you are thinking about it. rUz ''~`` ( o o ) +------------------.oooO--(_)--Oooo.---------------------- -+ | | | u05rjf@abdn.ac.uk .oooO http://www.abdn.ac.uk/~u05rjf | | ( ) Oooo. | +---------------------\ (----( )--------------------------+ \_) ) / (_/ ---------------------------------------------------------------------------- /-[Advertisements]---------------------------------------------------------- ---------------------------------------------------------------------------/ ---------------------------------------------------------------------------- The City Musicians Directory *** http://www.soton.ac.uk/~dpd195/musicns.html *** A proud part of BassQ's "Music City" (http://www.reading.ac.uk/~stu95gm/) The City Musicians Directory serves as an online database of musicians, providing personal as well as group contact information. CMD is a free service, maintained on a volunteer basis, and serves the internet community in expanding on awareness of the growing music scene. Questions and Comments: David Dupplaw - aka Aurora/Gemini DD@wychway.demon.co.uk dpd195@ecs.soton.ac.uk http://www.soton.ac.uk/~dpd195 ---------------------------------------------------------------------------- /-[Closing]----------------------------------------------------------------- ---------------------------------------------------------------------------/ TraxWeekly is available via FTP from: ftp.cdrom.com /demos/incoming/info (new issues) ftp.cdrom.com /demos/info/traxw/ (back issues) To subscribe, send mail to: listserver@unseen.aztec.co.za and put in the message body: subscribe trax-weekly [name] (NOT address) To unsubscribe, mail same and: unsubscribe trax-weekly (in message body) Contributions for TraxWeekly must be formatted for *76* columns, must have a space preceding each line, and have some measure of journalistic value. Please avoid the use of high ascii characters, profanity, and subjects not proper for public discussion. Contributions should be mailed as plain ascii text or filemailed (MIME/UUE only) to: gwie@csusm.edu before 11:00pm PST (North America) every Thursday. TraxWeekly is released over the listserver and ftp.cdrom.com every Friday at 10:00am PST (North America). TraxWeekly does not discriminate based on age, gender, race, political preferences, religious preferences, or eliteness. The staff can be reached at the following: Editor: Psibelius (Gene Wie)..............gwie@csusm.edu Staff: Atlantic (Barry Freeman)..........as566@torfree.net Benjamin Krause...................orogork@cs.tu-berlin.de DennisC (Dennis Courtney).........dennisc@community.net Fred (Fred Fredricks).............fred@paracom.com Kal Zakath (John Townsend)........jtownsen@sescva.esc.edu Kleitus (Seth Katzman)............skatzman@global2000.net Mage (Glen Dwayne Warner).........gdwarner@cvn70b.vinson.navy.mil Mick Rippon.......................rip@hunterlink.net.au Trifixion.........................trifix@orion.polaristel.net Zinc (Justin Ray).................rays@direct.ca Reporter: Island of Reil (Jesse Rothenberg).jroth@csusm.edu Graphic Contributors: Cruel Creator . Stezotehic . Squidgalator2 . White Wizard TraxWeekly is a HORNET affiliation. 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