From their record-breaking 1987-88 four, comes the CDV long-form, A Show Of Hands features strona live album of the year! A Show Of Hands captures performances from Geddy, Alex and Neil, including a Rush al its neak of power and perfection, perlorming _ special drum solo that will have all Peart fans scream all of their biggest hits. ing! Coming off their huge success with Hold Your Fire, This will be one of the hottest items for the holiday thelr etrongest studio LP in years, Rush delivers a season. Don't be caught short when the Rush army slunning concert. Soonto be available as a VHS and comes! CHECK STOCK ON: Grace Under Pressure (818 476-1/4/2 R, G) Rush (822 541-1/4/2 N, GM) Fly By Night (822 §42-1/4/2 N. Ch)Caress (Of Stee! (82? *19-1/4/2 N, GM) 2112 (822 §45-1/4/2 R, G) A Farewell To Kings (822 546-1/4/2 N, G) Hemispheres (822 547-142 N, G) Permanent Waves (822 §48-1/4/2 N, G) Moving Pictures (822 549-1/4 Ri 200 048-2 G) Signals (822 550-1/4 FR; 810 002-2 G) Exit Stage Lett (822 551-1/4/2 8,G) All The Worlds A Stage (822 $52-1/412 S,G) Archives(#2? 553-1/4 Y) Power Windows(#26 098-1/4/2 S, G) Hold Your Fire(832 464-1/4/2 S,G) ‘SONG TITLES: Big Honey'Subdivisions Marathon/Turn The Page’Manhattan ProjectiMission/Distant Early Warning/Mystic Rhythms! Witch Hunt ‘Par Il of Feat)/Force Ter/Time Stand Still/ed Sector A'Closer To The Heart MERCHANDISING /ADVERTISING AIDS: MinirTrims Poster’Shelt Tal=r/Streamers Banner/Tent Topper/Header Card/Video/Radio SpovTV Spat UPC BAR CODE NUMBERS: 422 836 346-1(LP)/422 836 346-4(CT)/422 B36 346-2(CD) IN STORE OCTOBER 17n i ANADIAN PSM | “BEYOND BORDERS” lex Lifeson, Ed Stone, Liona poyds and Rik Emmett all took part in a productive project entitled "Beyond Borders" Initially, it was a conceptual idea of Rik Emmett's (of another famed Canadian trio "Triumph". ) This project was a non- commercial one, so it greatly appealed to Alex, Liona, and Ed. It was all done out of thei love of music and guitar playing specifically. The final resul was a six minute guitar instrumental piece with four completely different playing styles evident. This extremely experimental song was released as a “soundpage" in the "Guita Player" magazin When it was in the conceptual stage Rik and Alex traded their ideas on cassette tapes through the mail. Soon, they all entered the studio and set to work. | was completed quite quickly bu the end result is an expressive wholesome composition. The song itself is a very moody piece revolving around four opposite styles merged into one. flowing song. Alex’ prosence is very obvious and he did an exeptional solo in the beginning of the song. Overall it's a nice piece that shows a great deal of creativity by every musician that took part in this respectable project. Alex Lifeson: Quotes On The Canadian Guitar Summit hen you work in a band like Rik and I do, you get used to playing in a certain way and having a certain attitude toward writing and performing. But when you do something like this with other musicians-- especially the ones who representa broad musical scope- --it gives you alot of freedom to do other things. For instance, here I approached my role from an atmospheric standpoint, and I tried to tie things together and do things that I normally wouldn't do on a Rush record. For . “Beyond Borders” everybody basically had their parts worked out and know what they were going to do, but because it was in a studio arena, it had a whole different perspec- tive to it. The work was a little more precise, so things took longer. Since we were working on vinyl, we wanted to make sure it was done right. It was fun and very satisfying and Liona also contribute alot of transition points and segues, in addition to the places where they were featur ed. The little bits that come in and out add alot to the flow and work nicely, especially for something that was done inbasically a couple of days. “After spending the day here in February when I recorded my guitar solo, 1 was reminded that I really love playing the guitar. When you do it all of the time, sometimes you forget that. when you perform in a concert hall, it becomes a job, you lose something. Playing the guitar is a wonderful feeling; it's a great expression!" "Rush would never work without a click track. As soon as you get into the drum machines and syncing up quencers, 1's essential that you use one. Now we rely heavily on keyboards an sequencing. You can sync up five or six different sequences on different keyboards and have a fantastic atmosphere adn sound texture. My part in Rush ends up being more of a stricter guitar part, instead of an instrumental thing. That's fine and it satisfies me in that context When I got involved with this project, everything was jus about finished, which enabled me to sit back and put my feet up and play whatever I wanted." "In con rhythm is a function more of feel.. You immediately start tapping your foot, because the music has a certain tlow to it. One of the great things is that we didn’ a dcummer or a rhythm section. [t's strictly guitarists and.nothing else, so we had the freedom to do whatever we wanted.” “I love playing the guitar; when you perform in a concert hall, sometimes you forget that.” —Alex LifesonWhen you first heard of the project, you apprehensive about it? had alot of reservations at first. I thought, players are very goo gonna feel a little weird playing with them." But after talking to Rik, [| felt better. 1 wasn't sure what the piece wouldy sound like, but | thought it was a great idea. If we had recorded IL together off the floor, the result would have been alot different; we wouldn't have had the flow, and the piece wouldn't have been as interesting. When Rik first sent me his demo, | wondered, "What have I gotten my self into?" But once we got together, we joked around and plowed through it. It was fun, and it didn't hurt. Ie Rush is bit Limiting, how ao you ex— pand yourself musically? a [pihe_timitations inside Rush are not that great, but they are there. There are certain things that you wouldn't try doing due to the particular combination of musicians working together and the direction. But apart from that, there is a world of sound and ideas that I can look into, although I'd love to work with some other people too. | have a particular style, and I'd like to explore how I can implement it in other music and songwriting. I've done a couple of things outside of Rush, which has been to exveriment with them. Waving a studio at home is another good way to have the luxury of getting into other music in a fairly big way, but without having to spend alot of money and Lime. { don't feel that 4 were that way; the have to market music done I'm lucky enough to have freedom to make that choice." When you got in- voived with this project, dia you Bee it as an opp ertunity to make a national— istic statement? Then you're from a smaller country, you don't really think about nationalism. doesn't occur to me that I'm a Canadian musician. I'm a musician, period. There are many good Canadian musicians, and probably some bad ones, We've become wore visibly internationally, and the industry has grown alot here. Record companies are more willing to take more chances on Canadian artists now; 10 or 15 years ago you had to go south of the border to accomplish anything on a large scale." It "About 19 years ago | studied classical guitar for about 12 months, and I regret inot keeping it up. | remember the peices that 1 originally learned, and if 1 practice for a while, I can get my fingers back into relative shape. Some of the things I know are fairly standard for grade-six level and include transcription of six lute, "Bouree In E Minor" by J. S. Bach, a couple of short works by Fernando Sor, and a few flamenco peices. 1 also know a sonata by Searletti, which I heard on an album by Segovia. | always liked that peice, so I got the music and took the time to learn and practice it. 1 still don't play it very well, but I try. [t's never too late to develop a style like that guitar is very satistying being able to play the guitar alone is one of the best things about being a musician. When Solo ontinuedAlex: Metro Radio hiverpoo with Kevin McDemster September 1987 Keven McDemster: ili ya Alex! Toronto, which is our home town Alex Lifeson: Hi! How are you? and finished up in Paris. Keven: I'm not bad sir, all the Kevin: It must have been pretty better talking to you. difficult to go into a studio in Montserrat, with all that scenery around you. Ale: much. reat, thank you very 3 7 Alex: It sure was, with all the Kevin: I'm sure it's cheered up Gistractions it was alot casior alot of people in the Northwest as well, a very fleeting visit 1 St bY the poo to the U-K., I belleve Kevin: Was alot of material for tho album written before you went Alex: Yeah, only for a couple of into the studio. of did you days and it's only promotional write some songs while you wore unfortunately. We plan on Taachore? touring back here in England, I guoss around April, | think the middle of April Kevin: We'll talk about that a little later on. The reason for this phone chat today, is of + that Rush is about to se their new album in the is that right? Alex: That's right. Kevin: Now, the album is entitled ‘Hold Your Fire Alex: Yes, that's right. Kevin: How long did it take you to record this album? Alex: It took us about six months, but only four months actunl recording. We started recording in January and finished in mid June. We did it in five different studios, a couple of studios here, the Manor and Farmridge in South England, then we went to beautiful Montserrat with it's swaying palm trees, which is always a bit, of a treat. We she also worked a bit inAlex: No, it was all written before, 1t always is. we started writing at the end of September and continued writing until just before Christmas and took a break thon. We like to always be Prepared as much as possible before going into the studio. Studio's are very expensive places to start experimenting and writing songs, we have done that in the past, and the pressure's too great and it's always much better to be organized. Kevin: One thing that you did surprise me slightly is that you went into the studio pretty quickly after the release of ‘Power Windows’. There wasn't that long between the release of the album and you were back in the studio again. Alex: Well, the album was “-'eased about two years ago (Power Windows). We went on tour sometime in November and the tour finished in May the following year (1986) and then we look that summer off. We started in September, so we started writing this album about a year after the release of Power Windows which for us is just about right. That gives us a release of about eighteen months. Kevin: So with taking a break, you managed to get out of the grind of a tour then back in the studio again for an album, then back out on tour again. Alex: Yes we like to Lake that break, it clears our heads a bit, after a tour obviously, because it's so long and grinding and rather stressful although we did take it a little bit easier on this last tour, it clears our heads so we can approach a new record with more energy. Kevin: I've heard the new album, and it does seem to me, to be more of an up tempo record more than Power Windows. There seemed to be more faster, rockier songs on this album than on the last one. Was that a deliberate thing you set out to do or was that just the way the material came out? Alex: Not really, it was just the way the material came out. We happened to be in that kind of mood. I think we were fired up, we were very energetic during the writing of this record and also very positive. | think it shows on the record, certainly in the way the songs were written, as well as the songs themselves. They do tend to be a little more high energy than a few of the records in the past, much more than Power Windows. Kevin: One thing I have noticed on the new album is as far as you are personally concerned is that your guitar playing on say maybe the last three albums has been slightly understated where on the new album the guitar solo's are sort of in the old wold of Alex Lifeson guitar playing. ‘Alex: Possibly, with my guitar playing I think I qould rather do something that is a little understated, 1 prefer to be in the background in the course of a song and perhaps get more value from less playing, so that it becomes more an Instrument or the whole rather than a singular thing Standing out on it's own. With solos, solos are a very fun thing for me to do. They come rather quickly and it's very spontaneous for me to do. ---continuedho Moving Pictures tour set T incttane of Rush on’ potlasiai as one of the top grossing Live bands of the year This tour featured every thing Crom the Granny Nominated YYZ to the theatrics of Hemispheres. This was the first tour le that the rendary percussion solo was cluded in YYZ. This recording was on the fourth and final night at the Chicago Ampetheatre in 1981. This show consists of a wide array of tunes from over the years and complies into what I believe to be one of their all- time best set lists. Some of the highlights of the concert are: Hemispheres: Prelude, The Camera ye, and Working Man. The entire rarity of this recording is based on one two minute segment at the very end of the show after all the encores that were schedules were over. Alex, being the appreciative guy he is, steps out into the limelight and straps into the acoustic guitar and plays a song that "has never been recorded and you can't buy it anywhere, it's just for those who came tonight." Well, sorry to spoil the occasion Alex, but this selection is worthy of recognition everywhere, not just in Chicago. The tune he plays is unbelievable. It has a country sound to it and a rock feel. The power and mood pushing this song through every note is immeasur- recorded able. Maybe in the future we will see it on a studio track. This is the last tour besides Signals that Rush settled MIDI live instead of Metal. The last several tours have been by but like Robert Plant "You can't do the same free expression." | am glad like this to listen to. This 2112/Medley/Froewill/Limelight/ Hemispheres: Prelude/The Camera Eye/YY2Z/The Trees/Xanadu/ The Spirit Of Radto/Red Bagchetta/Beneath, Between, and the Heart/ says, thing in a day and call it Sawyet7— Vital bient Natural Science/~ Working Man/By-Tor And The Snow Dog/In The End/In The Mood/La Villa Strangiato/Alex solo. If you would like a copy of "Rush ‘'n Roulette” send $10.00 to Rush On Stage, 314 Acadia Ave.. Winston-Salem, NC 27127. All chocks payable tot Eric Merola. JHE NECROMANCER 314 Acedia AV®., Winston-Salem, NC 27127MAKING MEMORIES /: TEMPLES of ca Alex Lifeson Neil OI Pe SYRINX enebanam art GeddyLee ACiaN FECOROS wo TAPES: n the annals of RUSH this |if their careers were only meant album soars as yet another |to be three year stint. Despite turning point in the being deeply in dept, they set never-ending musical into the studio and the fruit of crusade endured by the band. This album, "2112", was their fourth voyage into the studio and the outlook was dim. These recording sessions were to produce hopefully an album of vengence for RUSH. Dejected by the dismal sales of their third LP "Caress Of Steel", they were looking for an album that would shake the ail the way into 2112. Sure enough, Rush did just that. After surviving the “Down Tubes Tour", RUSH wondered The the harvest was what many fans nsider their most astonishing album even to the present. The swirling winds of change begin the dawn of the album with the side-long, science-fiction epic 2112. Orchestrated very similarly to Tenaikovsky's 1812 Overture, 2112 demonstrates the melodic diversity in the music RUSH creates. Ayn Rand is responsible for most of the lyrical influence on this album. The story told in the song isabout a man who finds a glorious discovery; a guitar. But, when he reveals it to the Priests", he is condemned for his discovery. The guitar is destroyed simply because of the fact that it wasn't normal culture. He is oppressed by his society and his discovery was forgotten. The rest of the album discusses simple themes such as not getting something for nothing (in very general but Alex interview: Liverpool 9/87 continued Alex: I don't like to work them out beforehand, I just like to go in and do them. I think that's the way I work best, with this one I was able to capture more of the mood and the feel of the individual songs. Kevin: So you are the Stratocasters for the solo's or different guitars around? No, I used different ones this time actually! There's a company in Canada currently making guitars called Signature. | tried one about a year ago just to see what it was like and fell in love with it. I used it on a solo of the material in the studio, and just relied on the old Strat's for the rest. Kevin: So your still striving to find different guitar sounds with each album? Alex: No, striving to find a better sound with this album. Kevin: So, do you have any idea when the album will be released in the U-K.? Alex: I believe it's sometime around October the 18th. still using in the studio have you used this time Alex Kevin: Is that going to be political terms). Alex and Geddy also get their share of writing on this album with Alex's "Lessons" and Geddy's "Tears". This LP put Rush back into the public eye and on the the lighted stage. Record sales increased and so did the number of fans. I am sure that many people that are reading this article were introduced to to Rush with the release of 2112. If you would like to share your story with our readers about how you were first introduced to Rush please send it in. For me... well it's a long story. It started when I got "RUSH" for my first birthday... =--Brian Siskind worldwide? Alex: No, actually the album's been released worldwide. It's been out since the first week of September in North America. | believe the record company decided to hold off over here, for one of two of a thousand reasons. Kevin: Their going to keep the British fans waiting a bit longer to hear the new album. Avex? 1 wouldn't (Laugh)! But the record company feels it's wisest to wait a little bit. So, unfortunately you have to wait a bit longer, but we're all really, really happy with the results of this record - I'm quite proud of it! Kevin: I won't drag you into a conversation about record company politics because I know musicians don't like talking about record company politics. Alex: Well, I'm sure they have their reasons, I'm sure their right. They know this market better than I do, I just play the thing! Kevin: Your in the U.K. just to do promotion as you've already continued next month=—Limelight Living on a lighted stage Approaches the unreal Vv For those who think and feel L In touch with some reality Beyond the guilded cage Cast in this unlikely role, I11-equipped to act With insufficient tact One must put up barriers To keep oneself intact Living in the limelight ‘The universal dream For those wish to seem Those who wish to be Must put aside the alienation| Get on with the fascination ‘The real relation The underlying theme Living in a fisheye lens Caught in the camera eye I have no heart to lie 1 can't pretend a stranger Is a long-awaited friend ALL the world’s indeed a stage And we are merely players Performers and portrayers Each another's audience Outside the gilded cage Lyrics by Neil Peart A RE Analysis imelight is a very appropriate title for a song Neil wrote about coming in torms with life “on a lighted stage." In less modern timos, limelight was literally that ~ a brilliant light created by the oxidation of lime and used in theaters to throw an intense beam off light upon a particular actor. Hollywood with all it's glamour gave the term new meaning when it created entertainers and movie stars whom the public adored and worshipped. Rock and Roll promoters then picked up this hype and created their own demigods. Because these industries created superstars, the public has come to expect more than just performance from the players. White the entertainer may be expected to pander their audience, it's not fair to expect this from the actor or musician, yet people continue to expect the player to play the role of a star. The role is supposed to go something like this: First, the star is somehow better everyone else. He or she is not only supposed to perform, but there is also the additional duty of making people reevaluate their lives. The star is supposed to smile warmly for the camera on each and every occasion. They're supposed to enjoy being famous. In writing Limelight, Neil takes exception to this What it is then, that's so terrible about being a star? "Caught in the cmaera eye" clues one into realizing the terrible invasion of privacy the performer must suffer through. Those of us "who wish to seem" can't possibly know what it is like to have little or no privacy. When people seek to know everything about a star and pry into thanthelr personal Life, they create the alienation Neil must “put aside. "1 can't pretend a stranger is a long awaited friend" ciues one into realizing that Neil cannot accept the role of "Oh. it's nice to moet you. Yes, of course, I'll pose for a picture. Yes, it's great famous." One should not conclude this song that Neil is unfriendly. When he can meet people on equal terms, I'm sure he is as nice as the next person. But by being “cast in this unlikely role" and all unfair trappings of the arra of the star, he has to "put up barriers." A lot of people may not understand that. I'd suggest they listen to LIMELIGHT. by Jay Robert being from au ONS #1 why did Rush decide to call themselves "Rush"? #2 What does "Yyz" mean? What will be the name of the now live? Me and a friend are tacking our brains for fauous Quotes because we are gure the title will have ‘stage’ in it Cra : and for or The World's A Stage", and "Exit...Stage Left"). #4 Has “Rivendell” ever performed live? | wonder it is the only Rush song been since that doesn't feature drums. #> if Polygram drops Rush, then who will pick them up? Peter M. Renfro Ans. #1 There wasn't really @ particular reason for the band to call themselves "Rush". I guess it just fit the times ('68-'69)» After all, the were still teenagers when they first formed. Ans. #2 "Yyz" stemmed from the code lettering on Toronto Airport luggage tags. In Geddy introduces the "yyzed" (which is the concert, song as french pronunciation for "Yyz"). Ans. #3 Well, unless you haven't been keeping up with current events, the live album is to be entitled "A Show Of Hands". It is to be released Oct. 17. [t will consist of (in order he Big Money /Sub divisions/Marathon/Turn The Page/Manhattan Project/Mission/ Distant Early Warning/Mystic Rhy thms/Witeh Hunt/Force Yen/Time Stand Still/Red Sector A/Closer To Heart. We cannot understand why Closer To The Heatt is on the new live album when it is on Exit. We also do not know where the drum solo will be put. [t will probably be put al the end of Closer To The Heart. Ans. #4 No, "Rivendell" has never been performed live to our knowledge. Ans. #5 If Polygram does drop Rush, Rush will either hang it up, or go back to their original label, "Moon" records. ~Canadian G Ttar Summit contin. you play by yourself, the guitar sounds so beautiful because of the combination of harmonies and melodies that are boElectric Ladyland Studios New 135mn VG LA Forum 2/4/88 =$6.00 York. 12/74; Includes a few as +$7-00- tracks from Fly By Night. EX+ }— adn... + $6.00. toronto, Canada 3/7/88 13omn VGr+ tere eerie ees C20) Cleviand, Ohio i974 - "Stella Dynamics" 75mn. EX+ ...$7.00. INTERVIEWS "Pink Pop Festival” Holland. [Neil Peart "Off The Record” 198 6/4/79 60mn EX+ FM Broadcast | 60un........$7-00 eag08 +$7.00. Alex Lifeson U.K. 1987 60mn Washington, D.C. 1976. After ocnetse. $7500 “all The World's A Stage" 90an| Includes ‘The Necromancer’ VG+| Geddy Lee "Rockline" 1987 60mn pace 37.00) epee ie etorne $ 7/200) Oslo, Norway 1979 60mn VG+ U.K. Import "1012" Includes unreleased live recordings and St. Louis, A must!! Mo 1980 90mn EX++ 38.00 j_—$ interviews 60mn....$6.00 1986 VIDEO 5/3/83 90mn VG+..$7.00 New World Tour Charlotte, NC 3/25/83 90mn EX*..$6.00 Madison Square Gardens NY 1982 90mn $6.00 Meadowlands, NJ 1984 VG 135un seas +$7.00 Quebec City "Looking Through Any Window" "86 VG 135m $/.u0 ush 'n Roulette" Chicago Montreal 7/14/84 120mn (private) Amph. 4th night; 1981 - Good/Fair....$18.00 includes unreleased acoustic Jam by Alex. 135mn EX+++ Quebec 3/3/86 120mn (private) Fai sive o otdietnage $105 00 weveees$1B.00 “Signals Transmitted" Nassau [§,, Louis, MO 3/1/88 120an Gol. Long Island, NY 12/9/82.:9|/(5ivata) éxcolieat!!...:$24.00 13mn EX+++....$10.00 Toronto, Canada 3/7/88 120un Ahoy, Rotterdam, Holland (nrivatevuENCollanteali:. 426.00 Promos: In The Mood, Finding My Way, and Best I Can (from D.K Rock Concert '75. Anthem, Fly By Night (live in '75). The Troes, Circumstances, and La Villa (live in '78). A Farewell To Kings, Xanadu, and Closer To The Heart (studio stage '79). Tom Sawyer (studio), Limelight, Vital Signs, Subdivisions, Countdown, The Body electric, Dist. Ear. Warn.,Atter-[a Se HAVE MANY RUSH AND ZEPPE, audio/video. For free cata- log: By-Tor and Black Dog, 82 Albertson Pky-, Albert son, NY 11507. WANT RUSH Madison Square Garden video 1987. Roy H. 22 Shore Pk. Rd.» Great Neck, NY 10023 Welp fellow Rush fan wants everyone's help focating Rush material. I have much Rush, Zeppelin, and Firm. Send your list to: Joel Plitt, 938 E. Yale, Ontario, California, 91764- Wanted: Rush bootlegs (audio/video), T-shirts, posters, etc. For correspondence and/or trade, please write to: Brian B.y 4800 Cayuga Dr-, St. Louis, MO 63123. T-shirts, posters, and more! Free catalog write tot MUSICADE, 11199 Sorrento Valley Rd-, Suite J-F, San Diego, CA 92121. Or call: (619)452-1525 ZEPPELIN FANS! ZOSO: The Led Zeppelin gathering place. Send $3.00 for this month's issue to: Zoso Mag.» 1390 arket St., Suite 2623, San Francisco, CA 94102- “Traffic Manager" The Music Collector's Newsletter. Send $2.00 to: "Traffic Manager”. P.O. Box 1333, Lombard, IL 601A. ROMANCER - ! Everything from to audio/video to T-shirts For an updated list write to: Monica Davidson, 4025 NE 125th, Seattle, WA 98125. The Necromancer offers classified for free as long as they do not involve selling something. If you would like to place an ad which involves selling an item(s) the rates are as follows:0-20 words $15.00, every word thereafter is 75¢ extra. Geddy Lee Laity Born July 29, 1953 Home Toronto, Canada First Song Learned Love’ (Yardbirds) one child "For Your Family Married, Personal favorite Rush album Hold Your Fire Goal Make better musicimage, The Enemy Within, The Big Money, Lock And Key, and Time Stand Still. total 120mn $25.00 ALL The World's Indeed A Stage’ Next Month: Rarities: Many Little odds and ends of Rush from 1980 to 1988. TV commercials, Neil Peart interview 1980 interviews, concert footage, ns Approx. 40mn $10.00. pink, "A Show Of Hands’ a Pop Festival = The Necromancer Is published BOOKS every month of the year and a single issue is $3.00 and a on} RUSH by Brian HMarrgan $13.00 lyoar subscription is $22.90- SUCCESS UNDER PRESSURE by Stve Gett..$10.00 THE NECROMANCER NEW! VISIONS by Bill (B-Man) 314 Acadia Ave $25.00. Winston-Salom, NC aes 27127 ALL pricos include shipping and handling. Make all checks to: Erle Merola checks payable to: le If you have any questions Merola. comments write us of cal 723-8623. QAnaiog Productions 1988ens of Grandeur Visions of Splendour TW NECROMANCER 914 Acadia Ave. - Winston-Salem, NC 27127 Lo: JOrry Brown 10930 whit Jack, ley cr. rem et8) FL Gez1e