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Finding Aids to Individual Collections in the Archive of Folk Culture
THE JAMES MADISON CARPENTER COLLECTION
AFC 1972/001
The James Madison Carpenter Collection consists of manuscript materials, sound recordings, and graphic materials that document primarily British and American folk music, dance, and British ritual drama. The materials span the years 1928-55, with some dated 1972 and 1987. The bulk of the material was collected between 1928-35 by Carpenter during fieldwork in England and Scotland; other material was collected in the United States between 1937 and 1941 by Carpenter and his Duke University students. Through this effort, Carpenter amassed a collection of an estimated 1,000 ballad texts and 850 tunes of the Francis Child canon; 500 sea songs (including chanteys); 1,000 other ballads and songs (texts and many tunes) from Britain and America; 200 children's singing games, riddles, and nursery rhymes (texts and many tunes); 300 British folk plays (texts and some tunes); miscellaneous folktales, African- American spirituals, Cornish carols, and so forth; and approximately 500 related photographic images and 40 drawings. The collection was purchased from Carpenter by the Library of Congress in 1972. An oral history interview with the donor in 1972 and subsequent programs based on the materials complement the collection.
Access and Reproduction: Listening and viewing access to the collection is unrestricted. Duplication of the recorded materials may be governed by copyright.
Key Subjects: Afro-American spirituals, ballads, bothy ballads, castles, chanteys, Chedworth, Child ballads, children's games, children's songs, Christmas plays, Cornish carols, dreg songs, English Folk Dance Society, English folk plays, Hadrian's Wall, Helston Furry dance, mummers' plays, May Day festivals, morris dance, Pace Eggers, ritual drama, Roman baths, songs, Stonehenge, sword dance, wassailers
Primary Languages: English, Gaelic, Scottish
SERIES I: ORIGINAL COLLECTION MATERIAL
Physical Description Location Numbers
Manuscripts: 255 folders 10 reels microfilm Music 3109
Audio Recordings:
179 dictaphone cylinders AFS 4501-4679 (numbers subject to change)(Original field recordings)
220 12" discs at 78 rpm AFS 14,830-15,050 ("sides" 1-440) (Copies made by JMC of cylinders)
22 7" reels at 3.75 ips (Listening copies)
22 10" reels at 7.5 ips AFS 19,900-19,921. LWO 6961, r1-22 (Preservation copies of discs)
Graphic Materials:
40 ink and pencil drawings
346 b&w negatives
598 b&w photoprints
112 b&w glass plate negatives
115 b&w glass transparencies (lantern slides)
SERIES II: ORAL HISTORY, PROGRAMS, AND PRODUCTS
Physical Description Location
4 7" reels FT at 7.5 ips AFS 14,762-14,765, LWO 6918
4 7" reels FT at 7.5 ips (Listening Copies
Graphic Images
1 b&w contact sheet
4 color photoprints
1 b&w photoprint
17 color transparencies
The James Madison Carpenter Collection spans the years 1928- 1987, with the largest portion dated 1928-35. It is arranged into two groups or series. Series I, the bulk of the collection, consists of the materials purchased from Carpenter and includes manuscripts, sound recordings, and graphic materials. It contains the results of Carpenter's fieldwork, his subsequent work on the collection, and documentation of other professional activities. Series II consists of material about the collection, primarily generated by the American Folklife Center at the Library of Congress. It includes manuscript material, sound recordings, and graphic materials. It is an open series.
Carpenter spent most of his life as an American university lecturer. However, he began his collecting activities while conducting research on sea chanteys in the northeast United States (1927-28) and England, Ireland, Wales, and Scotland (1928) for his doctoral dissertation at Harvard University. This year of fieldwork extended into six more as Carpenter traveled throughout Scotland and Britain as a Harvard Fellow, covering (by his estimate) 40,000 miles and recording the texts and tunes of thousands of ballads and folksongs as well as hundreds of folk plays. During his tenure abroad, Carpenter focused, successively, on collecting chanteys (particularly in eastern coast ports of northern England and Scotland, 1929-30), ballads, and songs (chiefly in Scotland and the English counties of Cornwall, Devon, Gloucestershire, Oxfordshire, Warwickshire, Wiltshire, Worcestershire, and Yorkshire, 1929- 33), and folk plays (in England and Scotland, 1934-35). After his return to the United States, Carpenter continued collecting activities while a professor of English at Duke University, concentrating on children's songs and singing games (1938-41).
Through multi-format documentation Carpenter captured approximately 1,000 ballad texts and 850 tunes of the Francis Child canon; 500 sea songs and chanteys; 1,000 other ballads and songs (including bothy ballads and dreg songs) from Britain and America; 200 children's singing games, riddles, and nursery rhymes; 300 British folk plays; miscellaneous folktales, African-American spirituals, Cornish carols, and so forth; and 500 related photographic images and 40 drawings.* Although Carpenter used his collections as the subject of numerous lectures in colleges and universities, he never was successful at publishing his findings.
The collection represents not only the results of Carpenter's fieldwork, but also documents his fieldwork process. Traveling throughout Britain and Scotland in a small roadster (an Austin Seven), he searched for singers and dancers. While Carpenter found many of his best informants through chance and circumstance, he purposely tracked down some of the singers and performers documented by Francis Child, Gavin Greig, and Cecil Sharp. One of his most prolific informants, Scottish singer Bell Duncan, gave him 300 songs and ballads, of which 62 balads were previously collected by Child. Using a dictaphone powered by a six-volt battery, Carpenter recorded his informants on wax cylinders. He also typed the text with a manual typewriter while the singer dictated. Later he transferred many of the recordings to 12-inch acetate discs, and also taught himself music notation to transcribe approximately 1,000 of the recorded tunes. To record the folk plays, Carpenter usually enlisted several informants to recite the entire ritual drama, thus obtaining multiple versions of each one.
While Carpenter's focus was on the spoken and sung word, his collection includes some documentation of dance and related dance activities (see Appendix A). Many of the mummers' play texts, particularly the sword dance plays, include references to and some description of dance. The sound recordings include fiddle tunes used in morris dance. In addition, photographs depict morris dance (with broom dancing), sword dance, the Helston Furry dance, and dancing at May Day and English Folk Dance Society festivals.
Series I contains Carpenter's fieldwork documentation as well as notes, drafts, and miscellanea accumulated during the ensuing years of work. The fieldwork materials are interrelated; however, these relationships are not always readily apparent. That is, many of the ballads and songs are documented by written texts, recorded tunes, and notated tunes (often with texts). The photographs often depict the subjects of the ballads and songs (castles, rivers), the informants (mummers, wassailers, fishwives), and their environment (cottages, ports, villages). The inventories and indexes are limited at this time; no concordance links all the works together. Many ballads and folk plays are represented by several versions recorded by different informants. In addition, Carpenter's documentation of the informant, place, and date of recording is not consistent or complete.
The manuscript material in Series I consists of approximately 6,500 type- and handwritten leaves, bound and unbound. It contains documentation of Carpenter's fieldwork, subsequent work on the materials, and documentation of Carpenter's other professional activities. After the materials arrived at the Library they were microfilmed in the order in which they were arranged at the time: by "box," "packet," and "mailsack" number (folders 13-184). Since the microfilm has been distributed world-wide and references and guides use this arrangement, that arrangement has been maintained. Therefore, the materials in general are not organized systematically by subject type. Related notes, correspondence, iterations of indexes, and drafts of lectures or publications may be filed separately.
The materials fall into several categories, each of which may have several iterations: texts of ballads, songs, and plays; transcriptions of tunes; lists and indexes; correspondence; lecture notes and drafts; plans and drafts of publications; curriculum and administrative material from Duke University; newspaper clippings; and miscellaneous notes. The music texts and transcriptions include sea songs and chanteys, Child ballads, bothy ballads, dreg songs, children's songs and games, and carols. The ritual drama texts include mummers plays, Christmas plays, sword dance plays, guyzards, pace-eggers, plough boys, and riding the stang.
The manuscripts represent several stages of work, from rough field notes and transcriptions to more complete, alphabetically arranged versions. Some of the manuscripts, particularly the correspondence, notes, and lecture/publication drafts, shed light on the relationship of the photographs to the rest of the materials, Carpenter's fieldwork experiences, and his scholarly analysis of the collection. They also inform the reader about Carpenter's concerns and work after his years as a collector.
The sound recordings in Series I include the wax cylinders and the 12-inch discs used by Carpenter to record in England, Scotland, and the United States, 1928-41. Carpenter copied many of the cylinders onto the discs; he also used the discs for original recordings. According to Carpenter, he recorded approximately 3,000 tunes (many are repeated by the same or different singers), and was the first to make sound recordings of the ballads. The types of recordings include ballads, lyric songs, sea chanteys, fiddle tunes, folk tales, folk plays, children's songs, and African-American songs and tales. A contents list of the sound recordings prepared by Carpenter can be found in folders 9-10.
The graphic images in this series include film negatives, photoprints, glass negatives, glass positives (lantern slides), and drawings, totaling more than 1,000 items. The photographic materials were not indexed or inventoried by Carpenter, and no apparent order to the materials existed. Consequently, they are arranged by subject into the following general categories: performance/ritual, people, structures, ancient structures and artifacts, town and street scenes, landscapes and maritime scenes, and miscellaneous. For the most part, the photographs are not dated, but seem to span the years 1925-35; they depict subjects from England and Scotland. Carpenter or other annotators sometimes noted cryptic descriptions on the backs of photographs, on the front of the lantern slides, or on accompanying paper or enclosures (see folders 185-89, "Notes relating to photographs"). While Carpenter was the primary photographer, he also obtained many photographs from commerical photographers and others. At some point Carpenter made glass negatives of the photoprints, and then glass positives. Therefore, identical images often appear in different mediums.
Although his use of the photographs and their relationship to the other materials is not explicitly stated, it can be discerned that he used the lantern slides to illustrate lectures and planned to use the photographs to accompany publications of the materials. The images cover a range of people, places, and activities, from Carpenter himself (seated in his car), to Christmas wassailers, dancing children, Scottish castles, Roman baths, and market squares. They represent the content of the ballads and songs, the informants themselves, and subjects whose relationship to the collection is not yet known. Of particular note is the documentation of castles in Scotland and England that create a visual record of these structures as they existed before World War II. For a detailed inventory of the photographic materials, see the "Photograph Inventory" in folder 1.
The 40 ink and pencil drawings were drawn by George Baker, a British dry mason who was the son of a mummer. Undated, the drawings depict characters and scenes from mummers and Christmas plays. Often a caption identifies the characters, and multiple drawings of the same ones ("the doctor," "belsebub") exist. Carpenter planned to use these drawings as illustrations for publications on the folk plays.
Series II consists of materials generated by the Library of Congress concerning the collection. It contains manuscipt material, sound recordings, and photographs documenting the 1972 interview with Carpenter as well as a 1987 lecture that drew on collection materials. This is an open series.
BIOGRAPHICAL SKETCH JAMES MADISON CARPENTER
James Madison Carpenter (1888-1984) was born in Booneville, Mississippi. He received both a bachelor of arts degree (1913) and a master of arts degree (1914) from the University of Mississippi. He furthered his graduate training at Harvard University, where he came under the tutelage of Professor G.L. Kittredge, a ballad scholar. At Harvard, Carpenter became interested in British and American folk songs; his dissertation, "Forecastle Songs and Chanties," was completed in 1929.
From 1929 to 1935 Carpenter traveled throughout England and Scotland primarily as a Harvard Fellow, collecting folk songs, folk plays, and other folklore materials. Upon his return to the United States, Carpenter taught himself to notate the tunes he had recorded, and transcribed approximately 1,000 tunes in the next few years. At the same time Carpenter became a college lecturer, giving presentations based on his research at institutions such as Harvard, Wellesley, Vassar, Smith, Radcliffe, Amherst, and the University of Vermont. In 1938 he taught English at Duke University, and continued his collecting of folk songs and children's games, often as part of his curriculum. After five years at Duke, Carpenter taught for one year at William and Mary and then became chairman of the English Department at Greensboro College. His tenure at Greensboro lasted ten years; he formally retired from the department in 1954. Carpenter returned to his hometown of Booneville in 1964, where he lived until his death in 1984.
COLLECTION INVENTORY AND DESCRIPTION
Archive of Folk Culture Administrative Material:
Location Contents
Folder 1 Collection register and photograph inventory. The collection guide (this document) and the item-level inventory of photograph materials.
Folders 2-3 Correspondence, 1970-91. Correspondence between the Library of Congress and James M. Carpenter, Kenneth Goldstein, and others concerning the acquisition of the collection and related matters.
Folder 4 Notes about the collection. Handwritten and typed notes by James M. Carpenter and Alan Jabbour concerning the contents of the collection (n.d.).
Folder 5 Early box/contents lists. Handwritten and typed lists by Alan Jabbour and other Library employees outlining the contents of the collections, primarily the manuscript materials and the microfilm (n.d.).
Folder 6 List: Informants. 4-page typewritten list of names of those from whom Carpenter colleced in northeast Scotland, ca. 1930. Compiled by E.B. Lyle, 1975, from the headings of texts.
Folder 7 "A Guide to the Carpenter Manuscripts." A copy of the work compiled by E.C. Cawte, 1980. A type-written inventory of tunes, songs, and folk drama texts based on the microfilm of the manuscripts. In reel order, lists informant (singer, fiddler, etc.) and title. Includes date and place when listed in the original, as well as brief descriptions of other material such as correspondence and notes.
Folder 8 "A Guide to English Ritual Drama in the Carpenter Manuscripts." A copy of the work compiled by E.C. Cawte, 1980. 58-page, type- written inventory of ritual drama and other folk customs based on the microfilm of the manuscripts. In reel order, each entry includes place, source, Carpenter's folio number, type of custom, summary of materials, and comments. The guide also contains an analysis of the places and numbers of texts collected, a list of customs mentioned by Carpenter, an alphabetical index, and references.
Folders 9-10 Recordings--content list. Original and copy. Typewritten list (with annotations) prepared by Carpenter of the contents of the sound recordings. In disc side order, lists the title of the tune and the name or description of the singer/informant. It includes ballads, fiddle tunes, recitations of mummers' plays, chanteys, forebitters, dreg songs, bothy songs, nursery songs, and spirituals.
Folder 11 Articles by/about JM Carpenter. Photocopies of newspaper and magazine articles by Carpenter (1931, 1938) and about Carpenter and the collection (1985, 1989, 1990).
SERIES I: ORIGINAL COLLECTION MATERIALS
"B" and "P" in parentheses refer to "box" and "packet" numbers corresponding to those referred to in the microfilm. It is not known if this is the original order of the materials or the arrangement imposed by the Library for microfilming. "MS" refers to "mail sack."
Folder 12 Correspondence/papers 1928-39. Correspondence between Carpenter and Harvard University and John Lomax (Library of Congress) concerning his fellowships, collecting experiences, and possible lecture opportunities. Includes original fellowship certificates.
Folders 13-22 Scottish and English songs (B1P1). Typewritten and annotated texts of songs from Scotland and England. Originally bound, now separate 8 1/2 x 6 1/2 inch sheets. Most sheets include name of tune, singer (informant), and date and place of recording. Sheets are numbered, but are not arranged in numerical order. Numbers may refer to various indexes.
Folders 23-28 Scottish ballads (B1P2). Typewritten and annotated texts of ballads from Scotland. Originally bound, now separate 8 1/2 x 6 1/2 inch sheets. Most sheets include name of tune, singer (informant), and date and place of recording. Sheets are numbered, but are not arranged in numerical order. Numbers may refer to various indexes.
Folders 29-35 Mummers plays (B1P3). Typewritten and annotated texts of mummers' plays, including Riding The Stang, Christmas plays, sword dance plays, pace egger plays, and others. Originally bound, now separate 8 1/2 x 6 1/2 inch sheets. Includes name of play/group, location, informant, and text of play, as well as some description of movement/action, costuming, and circumstances of performance. Some plays copied from cited published sources. Often contains several versions of the same play from different informants, as well as the way the informant learned the play. Pages are numbered, but not necessarily arranged in numerical order.
Folders 36-39 Songs and "chanties" (B1P4). Originally bound, now separate 8 1/2 x 6 1/2 inch sheets of typewritten and annotated song texts. Includes title of song and often name of informant, date, and location. Pages are numbered but not necessarily arranged in numerical order. Begins with six-page typewritten and annotated "Index to Songs and Chanties" that lists titles of songs in numerical order and its number (page?).
Folders 40-43 Miscellaneous notes and indices (B2P1). Miscellaneous handwritten notes and song titles, mostly on 8 1/2 x 6 1/2 inch sheets; "Sharp's English Folk Song From Southern Appalaciana;" partial index of song titles and singers; partial sound recordings contents list, #73-126 (see Folder 9); and partial lists of informants, song genres, and titles.
Folders 44-57 Miscellaneous field typescripts and manuscripts (B2P2). Type- and handwritten (annotated) notes and texts similar in format to those in Folders 13-39; "Index to English and Scottish Traditional Ballads" arranged alphabetically by song title.
Folder 58 Miscellaneous notes (B2P3). Type- and handwritten notes on 8 1/2 x 6 1/2 inch sheets. Covers topics such as music, emotions, animal sounds, culture, race, civilization, cultural relativity, faith, students, present trends, and the study of folklore.
Folder 59 Miscellaneous notes and lectures (B2P4). Typewritten and annotated notes on 8 1/2 x 11 inch sheets, mostly dated 1954-55. Includes lecture notes on topics such as education, civilization, and emotions as well as script ideas.
Folder 60 Miscellaneous words and music (B2P5). Handwritten lyrics and accompanying tune transcriptions to several songs.
Folders 61-62 Miscellaneous words and music (B2P6). Handwritten lyrics and accompanying tune transcriptions to songs.
Folder 63 Miscellaneous notes (B2P7). Type- and handwritten notes, including a description of the Shop Acts and a list of songs.
Folder 64 Miscellaneous notes (B2P8). Type- and handwritten notes and a "Plan For Work" concerning his collection.
Folders 65-66 Miscellaneous notes and correspondence (B2P9). Mostly handwritten notes on various size sheets. Includes some correspondence, play texts, and newspaper clippings.
Folders 67-80 Ballads--index and texts, volume 1 (B3). Typewritten 8 1/2 x 11 inch sheets of ballad texts with title, singer/informant, and location. Arranged alphabetically by song title. Begins with annotated drafts of indexes: "Index to Ballads," "Index to American Ballads," "Child Ballad Texts," and "British and American Popular Ballads."
Folders 81-99 Ballads--index and texts, volume 2 (B4). Continuation of the above texts in alphabetical order by song title.
Folders 100-21 Music manuscripts (B5P1). Handwritten transcriptions of tunes on 8 1/2 x 11 inch music sheets, arranged alphabetically by song title. Each tune lists the metronome setting, name of singer/musician/informant and lyrics. Includes some correspondence and notes.
Folders 122-23 Notes (1939 datebook) (B5P2). Miscellaneous correspondence and a bound 1939 "Day Book" with notes listing song titles.
Folder 124 Songs and notes (B5P3). "Lefax" music staff notebook, 6 3/4 x 4 inches, containing handwritten music transcription and notes.
Folder 125 English melodies (B5P4). Bound music notebook, 6 1/2 x 5 inches. Contains transcriptions of titled tunes collected in 1928.
Folder 126 American melodies (B5P4). Bound music notebook, 6 1/2 x 5 inches. Contains transcriptions of titled tunes collected in 1927-28.
Folder 127 Scottish national dictionary (B6P1). Typewritten copy of _The Scottish National Dictionary, Volumes I and II_ by William Grant, published by the Scottish National Dictionary Association, 1941.
Folder 128 Composition book (B6P2). "Southern Maid" composition book, 6 3/4 x 8 1/2 inches. Contains several pages of handwritten notes.
Folders 129-31 Notes, etc. (B6P2). Type- and handwritten notes, correspondence drafts, newspaper clippings, and curriculum materials on various size paper. Topics covered include "Music and Cosmic Orientation;" "British Folksong and British Peasants;" segregating methods; Hitler; different types of songs; education; intelligence; folk literature; and expressions of moods, screams, and emotions.
Folders 132-33 Notes (B6P3). Type- and handwritten song lyrics (particularly children's songs) and descriptions of square dances and accompanying tunes. Includes informants' names (possibly Carpenter's students).
Folder 134 Exercise book and notes (B6P4). Bound "Exercise Book," 6 1/4 x 8 inches. Contains handwritten song texts.
Folder 135 Games (B6P5). 4 x 6 inch notecards containing handwritten texts to children's games and songs.
Folder 136 Music (B6P5). Bound music book, 9 1/2 x 7 1/2 inches. Handwritten title on cover: "The Census of American Ballads--Louise Pound Ballad." Handwritten music transcription with lyrics and metronome settings.
Folders 137-48 Miscellaneous notes and papers (B6P6). Type- and handwritten sheets of various sizes. Includes manuscript and lecture drafts, notes, lists and indexes, song texts, glossary (Scottish? Gaelic?), English class administrative notes, and tune transcriptions.
Folders 149-52 Looseleaf notebook (notes and songs) (B6P7). Mostly 8 1/2 x 11 inch sheets, type- and handwritten. Begins with a list, "Summer School Students," and continues with texts of songs. Each text identified with a student's name. Includes some accompanying music transcription.
Folders 153-56 Miscellaneous papers and notes (B7P1). Type- and handwritten sheets of various sizes. Includes notes, song texts, lists of songs (chanteys, Child ballads), and drafts of lectures and/or articles. Bound, 6 1/4 x 8 inch "Exercise Book" with handwritten mummers' play text.
Folders 157-61 Mummers plays and miscellaneous notes (B7P2). Type- and handwritten sheets of various sizes. Includes lecture drafts describing mummers' plays, folk carols, ballads, chanteys, and Carpenter's collecting experiences; texts of plays; and tune transcriptions.
Folders 162-64 American songs (B7P3). Type- and handwritten sheets, mostly 8 1/2 x 11 inch. Texts of songs with name of informant (student?).
Folders 165-76 Music manuscripts books (MS/P1). Twelve music notebooks, 7 1/4 x 5 1/2 inches, 8 1/4 x 7 inches, and 9 1/2 x 7 1/2 inches. Contain hand- written transcriptions of tunes with lyrics, as well as notes.
Folders 177-84 Miscellaneous notes and article drafts (MS/P2). Mostly 8 1/2 x 11 inch sheets, type- and handwritten. Includes article (lecture?) drafts such as "Living Ballads From Britain's Long Dead Past," "Burns' Folksong Muse," "Scotland's Folk Singers," "Collecting Folklore in Britain," and "Folksongs of British Peasants," as well as correspondence drafts such as query letters concerning lecture and publishing opportunities.
Folders 185-89 Notes relating to photographs. Correspondence and other notes (on paper, envelopes, original photoprint enclosures) by Carpenter and others describing the contents of photographs and other miscellaneous information.
Folder 190 Ephemera. Miscellaneous historic postcards, drawings, and printed verses.
Folders 191-4 Oversize originals. Original manuscript material larger than 8 1/2 x 11 inches. Copies can be found in their original place within Folders 12- 184.
Music 3109 Microfilm. Microfilm copy of the original manuscript material in Folders 13-184. Arranged by "box" and "packet" number. 10 reels.
Cyl. 4501-4679 179 Dictaphone cylinders. Original field recordings by James M. Carpenter made in England and Scotland, ca. 1929 to 1935. See AFS 14,830-15,050.
AFS 14,830- 15,050 220 12" acetate discs. Copies made by Carpenter of the cylinders, as well as other disc recordings made in North Carolina and Mississippi. Ca. 1929 to early 1940s. Includes ballads, dance tunes, lyric songs, sea chanteys, fiddle tunes, dreg songs, bothie songs, Wassailer songs, children's songs, carols, mummers' plays, and spirituals. LWO 6961, R1-22. Listening copies are available in the Folklife Reading Room. A content list prepared by Carpenter of the recordings can be found in Folder 9.
AFS 19,900- 19,921 22 10" reels. Preservation copies of AFS 14,830- 15,050. Listening copies are 19,921 available in the Folklife Reading Room.
GRAPHIC MATERIALS
Box 14 Drawings. 40 ink and pencil drawings on loose sheets of various sizes (n.d.). Made by George Baker, a British dry mason whose father was a Mummer. Drawings depict characters and scenes from mummer and Christmas plays. Some drawings include a descriptive caption, such as "Sweet Moll" or "Little Dick Nip."
Box 15 Film negatives. 346 black-and-white film negatives, mostly 4 1/4 x 3 1/4 inches. Arranged numerically by subject category. Unless documented otherwise, the negatives are assumed to have been photographed by James M. Carpenter. Oversize negatives (copy?) can be found in Envelope 1, Box 16. For item-level description, see Folder 1 for the Photograph Inventory.
Boxes 16-22 (Folders 195-255) Photoprints. 598 black-and-white photoprints of various sizes. Arranged numerically by subject category. Unless otherwise indicated, photoprints corresponding to film negatives are assumed to have been taken by Carpenter. Includes many photoprints by other photographers who are often identified in captions on the photoprint or in other documentation. Multiple copies of the same image exist. For item-level description, see Folder 1 for the Photograph Inventory.
Boxes 23-26 Glass plate negatives. Approximately 112 black- and-white glass plate negatives, 4 x 3 1/4 inches. Hand-tinted with pink. Arranged numerically by subject category. Only two do not correspond to photoprints or film negatives of the same image. For item-level description, see Folder 1 for the Photograph Inventory.
Boxes 27-33 Glass transparencies (lantern slides). Approximately 115 black-and-white glass lantern slides, 4 x 3 1/4 inches. Arranged numerically by subject category. Almost all correspond to glass negatives of the same image; only four do not correspond to film negatives or photoprints of the same image. Most have a one- or two-word desciption printed on the label, presumably by Carpenter. Originally arranged by the collector in groups that may correspond to lecture topics. For item-level description and groupings, see Folder 1 for Photograph Inventory.
Folder 256 Oral history interview transcript. Transcript provided by Dr. Kenneth Goldstein in 1981 of the interview with Carpenter recorded by Alan Jabbour in Carpenter's home in Booneville, Mississippi, May 27, 1972. See sound recordings AFS 14,762-14,765.
Folder 258 Lecture materials. "Raise A Fire and Strike A Light." Press release and flier promoting the lecture by Paul Smith on British folk drama in the Carpenter Collection presented at the Library on November 19, 1987.
AFS 14,762- 14,765 Oral history interview. Four 7" reels, LWO 6918. Interview with Carpenter recorded by Alan Jabbour in Carpenter's home in Booneville, Mississippi on May 27, 1972. A transcript of the interview can be found in folder 256. Listening copies are available in the Folklife Reading Room.
Folder 257 Photoprints. 4 color photoprints of Carpenter taken in May 1972, presumably outside his home in Booneville. Photographer probably Alan Jabbour.
Folder 259 Lecture materials: photographs. One black-and- white contact sheet and one 8 x 10 photoprint of the lecture by Paul Smith on November 19, 1987.
Envelope 2 Lecture materials: slides. 17 color transparencies of photoprints and drawings of Mummers housed in this collection used for the November 19, 1987, lecture by Paul Smith. Photographed by Carl Fleischhauer.
* A "bothy" is a lean-to in the horse's stable where farm hands slept. "Dreg" refers to the men in small rowboats who would pull a dredge to harvest oysters.
APPENDIX A: DANCE-RELATED MATERIAL
Carpenter was primarily interested in collecting ballads and songs and folk plays; however, since dance is often an integral part of these folk expressions, the materials in the collection include some documentation of dance or dance-related activities, as described below.
MANUSCRIPT MATERIALS
The majority of the folk plays can be found in folders 29-35, "Mummers Plays." Carpenter's documentation of the plays focused on texts. Many of the plays include dance sections, whether or not this was noted by Carpenter. Some of the texts make references to dance within the speeches or lyrics of the characters; other times Carpenter makes a reference to action within the play ("they danced"). A few of the plays, most notably the sword dance plays, contain more description of the dance movements and formations. Based on review during processing, the following are plays (listed using Carpenter's title, informant, and sometimes location) in which Carpenter noted dancing occurs or that feature some description of dancing.
Folder 29 "Ploughboys, Tathwell, Robert Brader"
" Plough Jags or Morris Dancers, Middle Rasen, JF&S Sellars"
Folder 30 "Sword Dance, Kirby Mourside" (handwritten)
" Helmsby Sword Dancers" (handwritten)
" Thistlewate Belerby Sword Dance" (handwritten)
" Sword Dance at Kirkby Malzeard, John Craft (log book)"
" Ampleforth Sword Dance, Mr. William Garbutt"
" Greatham Sword Dance Play, Thomas Armstrong"
" Greatham Sword Dance, Rutherford MS P"
"Easdon Sword Dancers, Mr. Tom Vennar"
" Bellerby Sword Dance Play, William Thistlethwaite"
" Sword Dance Play, Jack Kendray, Bellerby"
Folder 31 "Hunton Verson, Robert Spence, Morton-on-Swale, Northallerton"
" Hunton Sword Dance, Thomas James and Fred Pounder"
" Sword Dance Play, Hunton, James Pounder, Chaytor Torrace, Fishburn, County Durham"
" Sword Dance Play, Hunton, John Carlin" "The Sword Dance, Startforth, Henry Scott"
Folder 132 "Notes," contains some descriptions of several square dances and a few diagrams. These were most likely collected in the United States.
The sound recordings probably contain some tunes used for morris dance, sword dance, and dance interludes in mummers' plays. It is difficult to tell from the titles listed in the recordings content list. However, "fiddle tunes" (Carpenter recording numbers 232-249) probably include dance tunes. See "Recordings--content list" in folders 9-10.
The photographs listed below include images of dancing as well as of actitivies that include dance, such as mummers' plays, May Day celebrations, and the English Folk Dance Society (EDFS) festivals. For a more detailed list and explanation, see the Photograph Inventory in Folder 1.
Film Negatives/Photoprints
P1-5: P1-p1 to P5-p1 The Mummers Bampton
P24: P24-p1-2 Graphic of mummers
P10: Mummer group
P11: P11-p1-2 Mummer group
P12: Padstow Hobby 'oss,, Cornwall
P13-14: P13-p1 to P14-p1 Mari Lloyd (Hobby 'oss), Wales
P15: Midgley Pace Eggers, Yorkshire
P25-27: P25-p1 to P27-p1 Bampton Morris
P28-31: Bampton Morris, Oxfordshire (and broom dancing--at EFDS?)
P32-33: P32-p1 to P33-p1 Bampton Morris (Ilmington mummers)
P34-35: P34-p1-2; P35-p1-2; P35-n1 Bampton Morris (Ilmington mummers)
P36: P36-p1 Sam Bennett, Ilmington Morris Fiddler
P37: Sam Bennett....and broom dancer
P38: Broom dancer
P47-48: William Nathan "Jinky" Wells, BamptonMorris Fiddler, Oxfordshire, w/Bampton Morri
P49-50: Jinky Wells, Bampton
P51: Samual Bennett, Ilmington
P39-40: P39-p1 to P40-p1-2 Fool with conical hat
P43: P43-p1 EFDS demonstration team-Morris Morris Men, Oxfordshire
P44-46: "EFDS Festival Stanway 11-7-25"
P52: P52-p1-5 Goathland Plough Stotts, N. Yorkshire P52-n1 "
P53: Sword dancers
P56: Sword dancers (girls)
P57-58: Helston furry dance
P59: Cotswold village Mayday
P60: P60-p1 "Ettington 2. 24-5-33"
P61: "Ilmington 1."
P62: "Ilmington 24-5-33 2."
P63: "Empire Day 1933. Ilmington 1" Sam Bennett and girls
P64: P64-p1 "Empire Day 1933 Ilmington 2"
P65: Sam Bennett and fool and others (same day as above)
P66: P66-p1 Sam Bennett with fool and ladies (same day as above)
P67: Ragnee Hathaway (same day as above)
P68: Children dancing with ribbons
P69: Sam Bennett fiddling with dancers
P70: P70-p1 "May Day Shipston 1924"
P71: "May Day, Shipston-on-Stoor no. 1, 1926"
P72: "Shipston, May 1st, 1928 9"
P73: "Shipston, 1-5-30 16"
P74: P74-p1 "Upper Slaugher May 1st 1933"
P75: P75-n1 "Mr. Sam Bennett's Morris Dancers"
P76-77 Maypole
P83-87: P83-p1 to P87-p1 Saxon funeral--dancing w/Sam Bennett
P561: The Mummers Bampton
P562: P562-t1 The Mummers Bampton
P564: P564-t1 (Graphic--mummers)
P565: P565-t1; P565-n1Pace-Eggers, Yorkshire
P568: P568-t1 The Morris Men, Bampton
P569: (Fool with conical hat)
P570: P570-t1 Morris Men, Oxford (EFDS)
P571: P571-t1 Sword Dancers, Yorkshire
P572: P572-t1 Sword Dancers
P573: P573-t1 English Maypole Dances ("Upper Slaughter, 1933...")
P574: P574-t1 English Mayday Dances
June 23, 2011 Legal | External Link Disclaimer


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Everybody is afraid of something. For certain people, it's spiders (arachnophobia) or bees (apiphobia) or even high places (acrophobia). For others, extreme dental phobia (dentophobia) is the thing that scares them and keeps them far away from the dentist's office.
The thought of the dreaded chair, the screech of the drill, the unbearable sucking sound of the vacuum tube; it's enough to trigger a fight or flight reaction that keeps many people away from the dentist.
Regular checkups allow your dentist to detect, treat and even prevent oral health issues. If things like cavities or gum disease go untreated, they can result in infection, pain and even costly extractions. Because there's an ongoing connection between oral health and overall health, your dentist may even be able to detect other health concerns as well.
Reach out to your dentist ahead of time to discuss what you dread about the office and the overall experience. This allows you to work together on creating an approach that works for both of you while also putting your mind at ease. If you're scheduling a procedure, talk to your dentist about what that entails so you can prepare yourself.


text:
Dombrowski on Red Sox trade deadline: No…
Dave Dombrowski: No payroll restrictions from Red Sox owners
But emphasis is still on getting more out of current players
Dave Dombrowski (Staff photo by Christopher Evans)
By Jason Mastrodonato | jason.mastrodonato@bostonherald.com | Boston Herald
Read between the lines and it sounds like Red Sox boss Dave Dombrowski isn't eager to make any big additions before the trade deadline.
Speaking on WEEI before the Sox' key series with the New York Yankees on Thursday, the president of baseball operations said there are no payroll restrictions from the owners, but the emphasis is still on getting the current players to perform better.
"There is no reason anybody has said, 'You can't do it,' but you also have to have a real significant reason you are going to go above that ($246 million mark)," Dombrowski said. "We have a lot of good players that I think we need to show that we can run with the guys that we have. But if there is a right piece out there we think can make a difference, nobody has said you can't do it."
The Red Sox went above the highest tier of the luxury tax threshold last year and paid the price, not only in dollars but in draft capital. Dombrowski has been adamant that dropping 10 spots on the team's first pick in the draft is a "big penalty" for over-spending. The Sox are currently under the highest level of the tax.
Instead, Dombrowski sees the acquisition of fifth starter Andrew Cashner from the Orioles and Nathan Eovaldi's return from the injured list as two key additions for the Red Sox, who have been spinning their wheels all season and remain on the outside of the playoff picture.
Adding Cashner was "more a necessity," Dombrowski told WEEI. "I know people say, 'Well he hasn't really pitched very well, first outing was not very good, but that first All-Star game outing by about everybody concerns me because it's not their normal rest period. The second one, he really didn't pitch poorly in Baltimore. He pitched OK. Made a couple of bad pitches, but we didn't score any runs that particular game, and the one thing we talked about is needing to get six innings out of that fifth starter's spot, which we haven't been getting all season long, so he really accomplished that."
With the Sox so far away from the Yankees in the American League East, entering the series 11 games back, the team is destined for a one-game playoff in the wild card game. And Dombrowski doesn't seem convinced it's worth gutting the farm system to upgrade a team for one game.
"I think we're still in a position to sit back and see how things go," Dombrowski said. "There's not a lot of needs, per se, that we have with the club because we're leading the league in runs scored. You can always get better. We've got five starters going out there, they can always get better. Of course you've got more guys in your bullpen and people constantly point to that. But with Eovaldi coming back, that helps us. I know he didn't have a good outing the other day, but we feel very comfortable with him out there."
Dombrowski stressed the Red Sox preferred Eovaldi to come back as a starter, but they didn't feel they had the luxury of waiting for him to get stretched out again.
He sees a bullpen of Eovaldi, Brandon Workman and Matt Barnes as good enough to compete.
"I'm not sure how much we would buy in at that point," Dombrowski said. "But I guess we'll just sit back here over the next couple of days. We've got a big weekend series with the Yankees, probably one of the couple of best teams in Major League Baseball. They've beaten us up pretty good this year. But we'll sit back and see what happens."
PEACE IN PUERTO RICO
Alex Cora was wearing a Puerto Rico shirt to celebrate the resignation of governor Ricardo A. Rosselló, who had caused most of the island to revolt against him after the publication of some disturbing messages, the cherry on top after years of making false promises.
"What a night," Cora said. "What a night last night. Very anxious at 5:00 when I got on the plane and just listened to everything that was going on. Just waiting for our ex-governor to say the words. Just to be around family at 11:30, just watching TV and the message, it was cool, to be honest with you.
"I think the cool thing was that there was no blood. No blood in all these protests. It was very peaceful. And I think Riccardo made the right decision. Now we have to work."
The Red Sox have used Eovaldi just once since his return on Saturday, but Cora said he's been waiting for the right moment and hopes to use him only with the lead in the eighth or ninth inning. …
Michael Chavis was out of the lineup again and it looks like it'll be a platoon with him and Brock Holt at second base going forward. Cora said Chavis will play the next two days against a pair of lefties.
Cora hasn't dropped the protest yet from Wednesday's 3-2 loss to the Rays, but admitted he has very little chance of winning. "I think it's going nowhere," he said.
Jason Mastrodonato | sports reporter
Jason Mastrodonato is a sports reporter and columnist who specializes in the Red Sox. A graduate of Northeastern University, he began covering the Sox in 2011. He joined the Herald in 2015 after stops at the Globe, MLB.com and MassLive.com.
jason.mastrodonato@bostonherald.com
Follow Jason Mastrodonato	@JMastrodonato
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redpajama_set_name: RedPajamaCommonCrawl


text:
withania cancer menopause Grand Rounds spearmint rosemary nigella kan jang weight gain Phytotherapy Desk Reference PCOS astragalus kidney stones ADRs fatty liver stress green tea andrographolide branched chain amino acids camellia estrogen receptor Integrative oncology mentha-spicata insomnia diabetes andrographis liver
Withania Update May 2021
Withania somnifera Image credit By Wowbobwow12 at English Wikipedia, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=60520795
Withania somnifera Overview - May 2021
By Michael Thomsen, MSc, ND
Michael Thomsen is herbalist and naturopath. Originally from Denmark, he completed studies in Naturopathy and Herbal Medicine in Sydney, graduating in 1986. Michael specialises in integrative oncology supporting patients with lifestyle and dietary advice, nutritional and herbal medicines and hyperthermia via allied clinics. His company, Eusano Healthcare, has pioneered whole body and local hyperthermia in Australia, importing and distributing ARTG listed medical infrared and hyperthermia devices made in Germany. He has a Master of Science, Graduate School of Integrative Medicine, Swinburne University and is currently a PhD scholar at Sydney University Medical School. Michael is researching chemotherapy-induced mucositis, intestinal dysbiosis and the possible role of probiotics as adjunct medicines in cancer care. Michael has extensive industry experience as past technical manager of leading herbal medicine companies in Australia.
He is the author of the popular Phytotherapy Desk Reference now in its fifth edition having sold 10,000 copies worldwide. www.phytotherapydeskreference.com
Introduced to Australian practitioners of Western Herbal Medicine in the mid-90s, Withania rapidly became a much-loved herb and is now one of the top selling herb in Australia and even in the UK. Ashwagandha (Withania somnifera) is used in Ayurvedic medicine to promote youthful vigour, enhance muscle strength and endurance, and improve overall health. Ashwagandha's popularity is no doubt related to its use as a relaxing or non-stimulating adaptogen and tonic and because it is considered safe for use in children.
Withania Review
Tandon et al. (2020) published a review of withania, which included studies published up to early 2019 [1]. No meta-analysis was performed presumably due to a paucity of studies for each condition.
A systematic search both for indexed and non-indexed literature was made for W. somnifera using various search engines and databases and the details of research articles pertaining to all clinical trials/human studies, animal studies addressing safety issues of CNS, CVS, general toxicity, mutagenicity, genotoxicity, re-productive safety and herb-drug interactions were reviewed and compiled comprehensively from full texts.
A total of 69 (39 pre-clinical and 30 clinical) studies documenting efficacy and safety aspects were identified and the desired information of these studies is comprehensively presented in this review.
Retrieved thirty (30) human studies demonstrated reasonable efficacy of root preparations in:
subclinical hypothyroidism (1)
chronic stress (2)
memory and cognitive improvement (2)
obsessive-compulsive disorder (1)
type-2 diabetes (2)
male infertility (6)
fertility promotion activity in females (1)
adaptogenic (3)
growth promoter in children (3)
chemotherapy adjuvant (1)
Reasonable safety of root preparations of Aswagandha has been established by these retrieved 30 human trials.
No serious adverse events or any changes in haematological, biochemical or vital parameters were re-ported in these human studies.
Only mild and mainly transient type adverse events of somnolence, epigastric pain/discomfort and loose stools were reported as most common (> 5%); and giddiness, drowsiness, hallucinogenic, vertigo, nasal congestion (rhinitis), cough, cold, decreased appetite, nausea, constipation, dry mouth, hyperactivity, nocturnal cramps, blurring of vision, hyperacidity, skin rash and weight gain were reported as less common adverse events.
Pre-clinical chronic toxicity studies conducted up to 8 months also found root extracts to be safe.
No mutagenicity or genotoxicity was reported for the root; only mild CNS depression and increase in thyroxine (T4) levels were reported with root by some studies. Further, there was no in-vitro and in-vivo inhibition seen forCYP3A4 and CYP2D6, the two major hepatic drug metabolizing enzymes.
Root of the Ayurvedic drug W. somnifera (Aswagandha) appears a promising safe and effective traditional medicine for management of schizophrenia, chronic stress, insomnia, anxiety, memory/cognitive enhancement, obsessive-compulsive disorder, rheumatoid arthritis, type-2 diabetes and male infertility, and bears fertility promotion activity in females, adaptogenic, growth promoter activity in children, and as adjuvant for reduction of fatigue and improvement in quality of life among cancer patients undergoing chemotherapy. Properly designed, randomized-controlled, large-size, prospective trials with standardized preparations are needed to ascertain efficacy of Aswagandha root in previously studied and other new indications.[1]
A recent 16-week, randomized, double-blind, placebo-controlled, crossover study (n=50) found that a Withania extract known as Shoden beads for 8 weeks was associated with an 18% greater increase in DHEA-S (p = 0.005) and 14.7% greater increase in testosterone ( p = 0.010) compared to the placebo in overweight men (40-70 years) with symptoms of mild fatigue. The study found no significant improvement in cortisol, oestradiol, fatigue, vigour or sexual well-being.[2]
Shoden beads is manufactured by Arjuna Natural in Kerala, India from the roots and leaves of Withania. Shoden beads contain an extract standardised to eight withanolide glycosides with a reported high level of withanoside X (number 10). The total withanolide concentration 35% with each bead containing extract equivalent 10.5 mg withanolides. The dose was two tablets twice daily thus providing a total of 21 mg withanolides daily.
In another study by the same group, 240 mg daily of the Shoden beads was shown to reduce symptoms of anxiety as measured by the Hamilton Anxiety Rating Scale (HAM-A) in a 60 day RCT of adults with self-reported high stress levels.[3] Now that would be equivalent to 84 mg withanolides daily, a much greater dose than the previous study (four-fold higher). Interestingly, they also measured the response with another scale, the Stress Scale -21 (DASS-21), but the improvement was not statistically significant.
There are 28 clinical trials with Withania published on PubMed examining various conditions including osteoarthritis, hyperglycaemia, dyslipidaemia, sleep, anxiety, stress, degenerative disease, semen quality, infertility, immune modulation, ADHD in children, schizophrenia, cognitive dysfunction in bipolar disorder, memory and cognition, OCD, maintenance of body weight during stress, hypothyroidism, strength training and depression in schizophrenia. These are single, generally small studies and while some may have suffered bias and poor methodology, several used standardised extracts and seems of good quality. Together, the studies provide an indication for how you may use Withania in clinical practice.
A few of the studies used a standardised extract. Two, as mentioned, used Shoden beads. Another study used the Sensoril product (Natreon).
Sensoril is an aqueous extract standardised to contain 8% withanolides comprising of 2% withaferin A; and 32% oligosaccharides. The dose was 250 mg extract daily, which is equivalent to 20 mg withanolides. The study examined the effects of cognitive function in people with bipolar disorder.[4] A second study based on Sensoril examined the effects on stress in people with schizophrenia.[5]. A third study examined adaptation and recovery associated with strength training.[6]
KSM-66
Another study used 300 mg of a standardized (containing 5% withanolides) Ashwagandha root extract KSM-66 Ashwagandha from Indian company, Ixoreal Biomed. This is of course equivalent to 15 mg total withanolides. This RCT examined the anxiolytic effects of Withania.[7] KSM-66 is based on the root only (as it should be). Some of the other extracts are based on root and leaves. The primary use of leaves traditionally was for topical treatments on the skin for conditions like burns or carbuncles, not internal consumption.
KSM-66 was recently found to normalise thyroid hormone levels in an RCT of people with subclinical hypothyroidism.[8] The authors suggest caution in the use of Withania in hyperthyroidism. This is speculative although there has been one published case report with a possibility of thyrotoxicosis induced by Withania.[9] The case report is in Dutch and I have not read it, but I know from the examination of many other such case reports that a causal connection is rarely reported.
A second case report of potential thyrotoxicosis was recently published: A 62-year-old female, in otherwise good health, was diagnosed with thyrotoxicosis after self-medication with Withania somnifera (Ashwagandha). She began supplementing with Ashwagandha root extract for stress and anxiety relief. After about two months of consistent daily dosing at 1950 mg, she experienced worsened anxiety, hysteric behaviours, extreme physical fatigue, unintentional weight loss, lack of concentration, poor memory, and increased resting heart rate. A physical examination determined her thyroid was uniformly enlarged, with tenderness to palpation and odynophagia. Laboratory results revealed low thyroid-stimulating hormone and elevated thyroxine, confirming hyperthyroidism, and borderline anaemia evidenced by low haematocrit and red blood cell distribution width. After discontinuation of Ashwagandha, the patient's symptoms resolved, weight normalized, and subsequent laboratory values displayed normal thyroid functioning.[10]
Withania somnifera products and standardised extracts
Much of the pharmacological activity has been attributed to the two main withanolides, withaferin A and withanolide D. Unfortunately, these are not specifically referenced by the branded extracts. This renders it difficult to be confident on the therapeutic reproducibility of these products*.
Branded extracts
KSM-66 Ashwagandha
Ixoreal Biomed Private Ltd, Hyderabad, India
Described as a broad-spectrum phyto-pharmaceutical extract
Standardised to contain 5% withanolides by HPLC.
Other constituents are listed as alkaloids, short and long-chain amino acids (threonine, valine, methionine, isoleucine, lysine, aspartic acid, and arginine), complex carbohydrates including oligosaccharides/fructo-oligosaccharides, vitamin A, calcium and iron.
Dose used in clinical studies:
Oligospermia study: 225 mg thrice daily for 12 weeks.[11] = 34 mg withanolides
Female sexual dysfunction: 300 mg twice daily for 8 weeks[12] = 30 mg withanolides
Cardio endurance: 300 mg twice daily 12 weeks.[13] = 30 mg withanolides
Sub-thyroidism: 300 mg twice daily 12 weeks [8] = 30 mg withanolides
Swiss Natural - Canada (formerly Swiss Herbal)
Extract ratio: 5:1
Standardisation: 1.5 % withanolides
Dose: 300 mg twice daily = 9 mg
Ashwagandha was more efficacious against anxiety than psychotherapy (n = 40) when tested over 8 weeks. No serious adverse events were observed, and the distribution and frequency of mild adverse events was identical in both groups – and therefore most likely not causally related to the treatment.[14]
Practitioner products in Australia containing KSM-66
Bioceuticals - AdrenoPS
KSM-66 Ashwagandha with Relora (magnolia and philodendron)
Withania somnifera (winter cherry) 1.88g equiv. to withanolides 7.5mg
Four tablets correspond to the dose* used in the clinical trials.
Bioceuticals - Adrenoplex
Contains 150 mg KSM-66.
Four tablets would provide the equivalent dosage* used in the clinical trials.
Withania 2:1 root extract quantified to contain not-less-than 4.0 mg/mL of withanolides. 8 ml of this extract would provide 32 mg withanolide which is equivalent to the dosage* used in the clinical trials. The weekly dose would be about 55 ml.
Withania root, 1.5:1, quantified to contain not-less-than 4.5 mg/mL withanolides.
7 ml of this extract would provide 32 mg withanolide which is equivalent to the dosage* used in the clinical trials. The weekly dose would be about 49 ml.
Retail products in Australia containing KSM-66
Caruso's - Ashwagandha
Each tablet contains: 600 mg Withania somnifera (KSM-66® Ashwagandha) extract equiv. to 7.5 g dried root (7500mg) Standardised to 30 mg withanolides.
One tablet corresponds to the dose* used in the clinical trials.
Each tablet contains: Withania Somnifera (KSM-66) 300mg
Equivalent to Withania Somnifera Root Dry 3750mg
Equivalent to withanolides 15mg
Two tablets correspond to the dose* used in the clinical trials.
Health Thru Nutrition- Ashwagandha
500mg Pure KSM-66 5%
1 tablet is close to the dose* used in the clinical trials.
Equivalent to 25 mg withanolides
Herbs of Gold - Mind Ease
600 mg KSM-66 per tablet
Number of tablets: 60
1 tablet is equivalent to the dosage* used in the clinical trials.
There may be others including many KSM-66 containing products from the US on Australian websites.
Two studies used the Shoden product which is highly concentrated at 34% withanolides. The other studies were based on extracts containing 5% withanolides (KSM-66, Ixoreal Biomed) or 8% withanolides (Sensoril).
KSM-66 is used in Adrenoplex (150 mg, need 4 tablets for clinically effective dosage*) from Bioceuticals and in a range of retail products.
Sensoril is used in Nature's Own EQ Control.
Neither of the two case reports provide evidence of a causal relationship between Withania and the development of thyrotoxicosis. That Withania was shown to normalise thyroid hormone levels in patients with subclinical hypothyroidism in the clinical trial does not mean that Withania can cause thyrotoxicosis or that it is necessarily contraindicated in hyperthyroidism. Nevertheless, we should use Withania with caution in patients with Graves' disease.
No reproductive toxicity found in animal studies Sharma 1986 [15]
*Warning. As there are a number of therapeutically active components in Withania somnifera and a lack of transparency over the source to benefit controls between batches and the finished product specifications, a direct extrapolation of "dosage" between products is not reliable but is provided for readers with this warning.
1. Tandon, N. and S.S. Yadav, Safety and clinical effectiveness of Withania Somnifera (Linn.) Dunal root in human ailments. J Ethnopharmacol, 2020. 255: p. 112768.
2. Lopresti, A.L., P.D. Drummond, and S.J. Smith, A Randomized, Double-Blind, Placebo-Controlled, Crossover Study Examining the Hormonal and Vitality Effects of Ashwagandha ( Withania somnifera) in Aging, Overweight Males. Am J Mens Health, 2019. 13(2): p. 1557988319835985.
3. Lopresti, A.L., et al., An investigation into the stress-relieving and pharmacological actions of an ashwagandha (Withania somnifera) extract: A randomized, double-blind, placebo-controlled study. Medicine (Baltimore), 2019. 98(37): p. e17186.
4. Chengappa, K.N., et al., Randomized placebo-controlled adjunctive study of an extract of withania somnifera for cognitive dysfunction in bipolar disorder. J Clin Psychiatry, 2013. 74(11): p. 1076-83.
5. Chengappa, K.N.R., et al., Adjunctive Use of a Standardized Extract of Withania somnifera (Ashwagandha) to Treat Symptom Exacerbation in Schizophrenia: A Randomized, Double-Blind, Placebo-Controlled Study. J Clin Psychiatry, 2018. 79(5).
6. Ziegenfuss, T.N., et al., Effects of an Aqueous Extract of Withania somnifera on Strength Training Adaptations and Recovery: The STAR Trial. Nutrients, 2018. 10(11).
7. Choudhary, D., S. Bhattacharyya, and K. Joshi, Body Weight Management in Adults Under Chronic Stress Through Treatment With Ashwagandha Root Extract: A Double-Blind, Randomized, Placebo-Controlled Trial. J Evid Based Complementary Altern Med, 2017. 22(1): p. 96-106.
8. Sharma, A.K., I. Basu, and S. Singh, Efficacy and Safety of Ashwagandha Root Extract in Subclinical Hypothyroid Patients: A Double-Blind, Randomized Placebo-Controlled Trial. J Altern Complement Med, 2018. 24(3): p. 243-248.
9. van der Hooft, C.S., et al., [Thyrotoxicosis following the use of ashwagandha]. Ned Tijdschr Geneeskd, 2005. 149(47): p. 2637-8.
10. Curry, K.M., et al., Thyrotoxicosis with Ashwagandha: A Case Report. SSRN, 2019.
11. Ambiye, V.R., et al., Clinical Evaluation of the Spermatogenic Activity of the Root Extract of Ashwagandha (Withania somnifera) in Oligospermic Males: A Pilot Study. Evid Based Complement Alternat Med, 2013. 2013: p. 571420.
12. Dongre, S., D. Langade, and S. Bhattacharyya, Efficacy and Safety of Ashwagandha (Withania somnifera) Root Extract in Improving Sexual Function in Women: A Pilot Study. Biomed Res Int, 2015. 2015: p. 284154.
13. Choudhary, B., A. Shetty, and D.G. Langade, Efficacy of Ashwagandha (Withania somnifera [L.] Dunal) in improving cardiorespiratory endurance in healthy athletic adults. Ayu, 2015. 36(1): p. 63-8.
14. Cooley, K., et al., Naturopathic care for anxiety: a randomized controlled trial ISRCTN78958974. PLoS One, 2009. 4(8): p. e6628.
15. Sharma, S. and S.M. Dahanukar, Effects of long-term administration of the roots of Aswagandha (Withania somnifera) and Shartavari (Aspararus racemosus) in rats. . Indian Drugs, 1986. 23.
withania
Grand Rounds with Ian Breakspear and Ruth Trickey
Withania - Australia's most popular herb
Friday, 26 November 2021 Hepatic Oestrogen Receptors and Weight Gain In Menopause
Herbal Medicine Week


Home / Legal Questions / What is the O'Byrne Letter?
What is the O'Byrne Letter?
Whereas personal injury claims in Ireland which involve multiple defendants would call for the O'Byrne letter to be sent to the various respective defendants, an individual who wishes to make a personal injury claim against only one defendant would send to them a standard "letter of claim". The plaintiff would have a two month period or "as soon as practicable thereafter" from the date of the "cause of action" in which to inform the alleged negligent party that a claim is being made against them. In general, a client will instruct their solicitor to perform this action, and its function is to inform the defendant that they will be contacted by the Injuries Board with a "Formal Notice" – which advises the defendant that the Injuries Board has received a personal injury assessment application.
A "letter of claim" will usually give brief details of the plaintiff's cause of action and would ask for the defendant's suggestions of compensation for the plaintiff. The letter of claim specifies that the plaintiff holds the defendant to blame for the accident; that it was caused by defendant's negligence and he or she is therefore liable. The defendant would be warned that should they fail to compensate the plaintiff in full for the injuries they sustained, litigation will begin against the defendant.
Letters of Claim will suffice when it is undoubtedly clear that the plaintiff has suffered an injury due to the actions of one other party; however if there are a number of potential defendants, a letter of claim will become the O'Byrne letter. This letter will be sent out to each of the parties involved and seeks to decide to what extent each defendant are each respectively liable – assuming that they all did indeed contribute to the plaintiff's injuries.
A common example of this occurrence would be a multiple car crash. If one driver is to blame for the initial crash, the plaintiff would usually have a strong claim against that negligent party for the injuries suffered. However, it may be the case that another driver – or many more drivers – crashed into the plaintiff's car following the initial accident, causing further damage to the plaintiff's vehicle or perhaps even further injury to the plaintiff. For example, if the other drivers had been driving too fast or too close to the initial vehicles when the accident occurred, a claim could be made against them.
When multiple potential defendants are involved in an accident, it is the O'Byrne letter's function to address the issue of liability as between the defendants. After that, it is for the individual defendant – or their legal representative – to decide that another defending party (or parties) were to blame or "more" to blame – therefore liable or "more" liable.
The O'Byrne letter should include the same general details that would also appear in a standard letter of claim; the name and address of the plaintiff and brief details of the accident in question. It does however, differ from the letter of claim by asserting that the accident occurred due the negligence of the recipient and/or another, or a number of other potential defendants but that the plaintiff cannot say who is to blame.
The O'Byrne letter requests that the recipient admit liability within an allocated time period and to suggest how to compensate the plaintiff. A warning will follow that without an admission of liability or suggestions of compensation, an application will be made to the Injuries Board, who will subsequently allow the defendant ninety days to answer their Formal Notice. Should no response be given at that time, the defendant in question will be considered liable by default.
Another warning will be included, that if court proceedings against each one of the defendants become necessary, the O'Byrne letter itself will be used to support the action, in order to fix the unsuccessful defendant(s) with expenses in favour of the defendants who are acknowledged as not being liable.
Guarantees from the recipient will be necessitated which would relate to expenses for any unnecessary court proceedings against potential defendants who will not take part in the Injuries Board assessment or who reject the amount assessed by the Injuries Board. The recipient is further warned that without this guarantee, the plaintiff will look to recover these expenses in more court proceedings and that the O'Byrne letter will be used in evidence to fix the negligent party with those payments.
In a relevant situation, a plaintiff may ask for a written undertaking that property involved in the accident will not be modified, improved or altered by the recipient until it has been examined by a skilled witness. When this appeal is applicable, it usually comes along with the advice that if this undertaking is ignored, the plaintiff will apply to court under the Personal Injuries Assessment Board Act 2003 for the required interlocutory order as may be necessary and for the reimbursement of the expenses of such an application.
An important note to bear in mind is that where several negligent parties are involved, and it is uncertain who was "most" responsible or who was to blame for the greater damage or injury, the plaintiff should not attempt to prove or even debate over this particular issue. The plaintiff's solicitor will inform their client that this subject is only for the respective defendants to agree among themselves.


Laurie Kolp is an award-winning poet with numerous publications. Her varied style brings something for everyone, striving to touch on everyday life with compassion and thought-provoking prowess. She is part of the online communities dVerse Poets and Poetry Jam, and the vice-president of Texas Gulf Coast Writers. Laurie lives in Southeast Texas with her husband, three kids, and two dogs.
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Kumasi- A five-member Board of Directors has been inaugurated at a ceremony in Kumasi, to take charge of affairs at the newly-constructed Kumasi City Market.
The Board has Mr. Osei Assibey Antwi, the Metropolitan Chief Executive (MCE), as Chairman, and Nana Agyenim Boateng, representing the Manhyia Palace, as Vice-Chairman.
The rest include Mr. Samuel Donkor, Coordinating Director of the Kumasi Metropolitan Assembly (KMA), Mr. Edward Borteye, representing the Ministry of Finance, and Mr. Inusah Shirazu, representing the Ministry of Local Government and Rural Development.
Kumasi City Market constitutes the first phase of the multi-million-dollar Kejetia/Central Market Redevelopment Project.
The state-of-the-art edifice, provides room for various facilities such as police and fire installations, clinic and educational unit, waste management system, bus terminal and more than 8, 000 stores.
Constructed by Brazilian engineering and construction firm, Messrs Contracta Engineering Limited, the Market is expected to contribute significantly to efforts to decongest Kumasi's Central Business District (CBD).
Hajia Mahama said in view of the high cost of the project the onus lied on the Board members to be committed to duty to ensure value for money.
She gave assurance that her Ministry was focused on implementing policies and programmes likely to bring socio-economic transformation in the lives of the people.
Mr. Assibey-Antwi called on all stakeholders to come on board in helping them to achieve their goals.


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Acoustics/Archtops>
Acoustic Guitars>
Waterloo WL-JK Deluxe Spruce/Mahogany Jumbo Acoustic #WL838 From Collings
The deluxe version of Waterloo's new "Jumbo King"!
Our product photos are the actual, specific serial number for sale!
This specific item was photographed by us here in Durham, North Carolina. We are a very small team dedicated to providing you the most accurate photos possible, through our obsessive focus - individually photographing nearly everything that comes through the door. Questions about what you see? Want more information, photos, or just a friendly conversation with someone that cares and who has actually had their hands on this exact item? Contact us now!
Call us now to set up a free trial in your home or studio: 888-528-9703. Our specialists will help you select the best fit for your needs and hook up your free trial for the ultimate peace of mind. Experience the Sound Pure difference!
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Ships immediately after order processed!
Or, apply & pay as little as $70/mo.
Another delightful dive into yesteryear from Waterloo! It should come as no surprise that many of the hallmarks of modern acoustic guitar construction owe their origin to the resourceful luthiers of the early 19th century, whose constant pursuit of projection, resonance, and clarity in their designs led to what we today regard as classics. The ancestor of the WL-JK came about to provide performers of the day with an instrument that checks all three of those magic boxes. The original Jumbo Kings from Regal haven't caused quite the stir in the modern guitar scene as something like the L-00, but the folks at Waterloo have furnished us with a much needed lesson in that somewhat forgotten star of the early 1940s. Spend just a few minutes with the WL-JK and you'll wonder how you went so long without a guitar like this! 5" body depth and a full scale length? You better believe this thing is loud--like a burlier J-45! A bit of a cinch to the waist and overall extremely lightweight construction ensure the note-to-note articulation valued by both ragtime fingerpickers and Carter flatpicking enthusiasts alike. And as for the singer/songwriter act with a mind toward Americana of all colors, you just can't do much better in terms of presence and price. Whether you're leading the band into the first wide-open number of the night or bringing it home solo with a ballad that's sure to make 'em call for just one more, with this tower of tone in your hands, you'll never have to worry about giving your audience--and you!--something to remember!
This wonderful piece of past design is made all the more memorable with the authentically appointed "deluxe" version! Peek the specs!
Waterloo WL-JK Spruce/Mahogany Jumbo Acoustic #WL892
Manufacturer's Description from Collings
Full-bodied in both tone and stature, the aptly nicknamed "Jumbo King" is the largest size offering in the Waterloo line and a modern day tribute to jumbo-sized guitars of the early 1940s. Originally manufactured by Regal for the mail-order enterprise Montgomery Ward, this slope-shoulder body size was designed to provide performers of the era with enough volume and power for professional radio work. The WL-JK accomplishes this and more by employing a full five-inch body depth and a slightly narrow waist to enhance both the bass and treble response.
The WL-JK is available in a minimally appointed "standard" version as well as a "deluxe" version featuring added bindings, true-to-era "valve cover" tuners, and a full-body sunburst finish. Both models utilize vintage inspired x-bracing and prominent v-shaped necks with fully adjustable truss rods.
Sound Pure is a proud dealer of Collings Acoustics, Electrics, and Mandolins, with a large inventory and new guitars arriving regularly. Each instrument in stock is professionally photographed, and we have video reviews with studio-quality sound and HD video quality.
Bill Collings has been inspiring generations of guitarists with his fine guitars and mandolins since the 1970s. After dropping out of medical school to pursue his interest in guitar building, he moved to Austin, Texas where he and his company, Collings Guitars, operate to this day. From his humble beginnings as a one-man operation in a two-bedroom apartment to his current 22,000 square-foot facility and approximately 70 employees, Collings has built a reputation for producing high quality instruments with care and precision.
Perhaps best known for flat-top acoustic guitars, Collings excels in a variety of classic-inspired designs and modern build concepts. Their D series guitars represent their take on the iconic 14-fret square-shouldered dreadnought and include the highly-favored D1 and D2H models with mahogany and rosewood back and sides respectively. These guitars are extremely well-balanced and have a strong reputation for reliability and consistently becoming stronger as the woods open up over time. The CW models in this series feature Adirondack tops, larger sound holes, and other specs especially coveted by bluegrass flat pickers for their volume and responsiveness. The Collings OM series guitars tend to be lively, balanced, and lyrical. These guitars are hugely popular amongst fingerstyle players for their dynamic sensitivity, size, and playability. One of the most versatile acoustic guitar designs, Collings OMs can also handle heavy strumming and flat picking easily when the player needs to dig in. The CJ is a fantastic slope-shouldered dreadnought, and the SJ is their incredible small jumbo design. Collings also makes astounding parlor-style 0, 00, 000, and Baby guitars, which are perfect for performance or travel and offered with the same variety of options as the larger lines for true customization of tone and appearance. Rounding out Collings' acoustic lines is the C10, which is modeled after a parlor guitar but with a design concept that makes it a favorite of electric players.
Collings is ahead of the pack in the acoustic guitar game, but it certainly does not end there. Their electric guitars are highly regarded amongst players across the entire spectrum of musical traditions. Designed and built with the same knowledge and attention to detail as the flat-tops, Collings electrics are quickly gaining recognition as contending with the best of the best of electric guitars. Hard rockers and country pickers and everyone in between can find a Collings electric to fit their style, from the Les Paul-inspired shapes of the 290, 360, and CL series to the semi-hollow I-35s and SoCo Deluxe models. Collings also offers A and T-style mandolins, as well as concert and tenor ukuleles.
Every Collings instrument has been built with the same standard of craftsmanship and quality that any discerning musician deserves to experience in the tools they select for their musical journey. At Sound Pure, we believe that the tools you equip yourself with can either enhance or hinder you on your journey, so we make it our job to research and choose what we find to be the very best instruments for our clients. We are confident that any Collings guitar that leaves the shop will meet their standards, as well as ours. If you find that we do not currently have the exact specs you need we are happy to make custom orders for our customers to build their own dream guitar.
Serial Number: WL838
Model: WL-JK Deluxe
*Features added bindings, true-to-era "valve cover" tuners, and a full-body sunburst finish*
Top: Solid Spruce
Back/Sides: Solid Mahogany
Bracing: Vintage-inspired X-bracing
Color: Vintage-style Sunburst
Binding: Ivoroid Bound Top
Bridge: Ebony with 2 3/8" Spacing
Bridge Pins: Ebony
Saddle: Bone Drop-in
Pickguard: Tortoise Celluloid
Body Finish: Semi-gloss Nitrocellulose Lacquer finish
Neck: Solid Mahogany
Fingerboard: Indian Rosewood
Nut: 1 3/4" Ebony Nut
Neck Support: Adjustable Truss Rod
Fingerboard Inlays: 6mm Acrylic Dots
Neck Profile: Moderate "V" Shape
Logo: Stenciled Waterloo / Jumbo King
Scale Length: 25 1/2"
Fret Wire: Medium 18% Nickel-silver
Tuners: Golden Age Restoration w/ Ebony Buttons
Body Width: 15 3/4"
Body Length: 19 1/2"
Body Depth: 5"
Nut Width: 1 3/4"
Saddle Spacing: 2 3/8"
L.R. Baggs Anthem Acoustic Pickup
D'addario Planet Waves NS Micro Headstock Tuner


We are delighted to announce the return of the hugely popular Leyton Orient Golf Day on Wednesday 10 April 2019.
Taking place at Stapleford Abbotts Golf Club in Romford, you can enjoy 18 holes on The Abbotts championship course and also have a chance to play with the players.
Registration is at midday with a 1pm shotgun start. There will be a BBQ and presentation with the players on completion at 6pm.
Golfers can book a four-ball for £295 + VAT and there is an option to include a player or member of the management team too.
There will also be hole sponsorship opportunities available for just £100 + VAT per hole.
All proceeds raised from the golf day will go towards the Leyton Orient Academy.
To book your place or for further information on sponsorship opportunities, please contact josh.stephens@leytonorient.net.
For more details on Stapleford Abbotts Golf Club, please click here.


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Nanga-Eboko: CPDM hunter mistakenly shoots colleague dead 0
Ekouma Zephyrin told gendarmes he shot an animal late at night only to discover that it was a fellow hunter. Tragedy struck on June 10, 2016 at about 3 am in Mebolé Village, about 25 km from Nanga-Eboko, the headquarters of Upper Sanaga Division in the Centre Region. The town is located 160 km from Yaounde. A local hunter, Ekouma Zephyrin, 41, shot dead Essimi Paul Clément, 46, another hunter from the same village.
Senior Warrant Officer Djietcheu Raphael, Head of the Nanga-Eboko Gendarmerie Post, revealed on June 10, 2016 that Ekouma, who had gone on a hunting expedition alone at night, claimed he saw what he thought were the eyes of a wild animal. After firing on the target, he approached it only to discover to his horror that it was after all a human being – Essimi Paul Clément, a fellow hunter. Meanwhile, Ekouma had earlier bid farewell to Essimi Paul at about 5 pm in the village on June 9, 2016, before taking off for the forest.
Djietcheu Raphael said the victim died where he was shot. Following the accident, Ekouma Zephyrin, reported himself to gendarmes in Nanga-Eboko. Accompanied by his men and a nurse from the Nanga-Eboko District Hospital, Senior Warrant Officer Djietcheu and the team trekked to the site, located beyond River Sanaga. He told Cameroon Tribune that they found the body lying on the ground and facing upwards, with the impact of the bullets clearly visible on the side of the head.
The gendarmerie officer added that by the body of Essimi Paul Clément was his hunting rifle, sack and torch. Where the body lay appeared well arranged as if the victim was resting before he was shot, the officer suggested. Meanwhile, the corpse was moved to the Nanga-Eboko District Hospital Mortuary while investigations continue. In the meantime, Ekouma Zephyrin is in gendarmerie custody.
Cameroon Tribune