Donald Gabor and his parents around 1930.

Don Gabor during World War Two and....

....after the war.

Donald and his wife Valerie.

The earliest Remington Records catalog when the company was still located at 263 West 54th St., the first address of the offices. On the cover a photograph of conductor Fritz Busch and his testimony:
I record for Remington Records because it offers me the possibility to reach the widest audiences on high fidelity quality recordings at prices everyone is able to pay...
Fritz Busch conductor.

George Curtiss around the time he studied at A.B. Davis College, Mount Vernon, NY.

George Curtiss, Donald Gabor's cousin, photographed in 1942 when he was Assistant to the Recording Manager of the Standard Phono Company. He joined Continental Records in 1945 after the war and continued working for Remington Records in the nineteen fifties.

An office on Fifth Avenue in the shadow of the Empire State Building.

The only quality record at a low price.

Don Gabor at home in a reflective moment... contemplating a new project?

See: Copyright

Over the years there has been considerable speculation about the man whose name figured on many a Remington cover, first in an oval emblem and later written in Alex Steinweiss's scrawl, in a simple but clever line: "A Don Gabor Production".

No other record label has been so personalized by its owner and creator as Remington Records by Donald H. Gabor. It gave every buyer the subliminal notion that each and every record bought had been personally handled and approved by producer Don Gabor himself , as if he guaranteed the authenticity of it: the record you have in your hand is special, it is no imitation, it is original.
Whether this idea was the result of a gradual development over the years, or if it was the outcome of a brainstorm, or not, it most likely originated in the creative mind of a marketing genius like Don Gabor as so many other ideas did: shaping a catalog, targeting different groups, choosing typical label names and additional logos, advertising a return guarantee and a saving system with stamps as an incentive to buy more records.

Donald Gabor was born on November 20th, 1912 in Hungary. His mother was Freida Halmos (research suggests that she was related to the Halmos family which had migrated to the USA in 1924 and had settled in Chicago). He spent his entire youth and his early adulthood in Hungary were he was raised by his mother's sister Regina and her husband Samuel Gabor, until 1938, the year in which he came to the US, just before full scale war broke out in Europe. He had studied at the Budapest Electrical Conservatory to become a radio and mechanical engineer. At age 26 he was one of those lucky few who succeeded in reaching the US to build a new existence. And that is what he did.

Frank Yankovic was one of the most popular Continental artists. The yellow label is of the Dutch release of the Ensemble "Accordeana". The record is Made in Holland. The label states: Manufactured under license from Continental records Inc. New York NY. USA

It is documented that "beginning in 1938 as a shipping clerk for RCA-Victor at $12 a week, he was head of Victor's foreign records department within two years, producing song discs in 14 languages."

He may have founded Continental Records when he was still employed at RCA's, or just may have made a few recordings then and there, but Continental Records Inc. became really active from 1942 when he recorded (together with conductor László Halász), Hungarian composer Béla Bartók in his home in New York, the maestro playing his own compositions at the piano.(These recordings were released on Continental 78 RPM, the format of the day. The recordings were later transferred to Lp: Continental CLP-101 and were listed in the Schwann Long Playing record Guide of September 1950. By the end of 1952 they were reissued on Remington R-199-94.)
Other Continental 78 RPM discs followed with classical music, played by various migrated musicians, popular music, and jazz, played by young artists who would play the clubs of New York.

Having been raised and educated in Hungary, Gabor dwelled in two worlds and understood only too well the feelings of the immigrant who, while appreciating the modern lifestyle and the possibilities America offered, still remembered the homeland. Alongside goulash and fruit brandy, there certainly remained a taste for records with folk music played by immigrant musicians. And not only for Hungarians as Gabor ensured himself of a high turnover by issuing recordings aimed at Poles, Slovenians, and Czechs as well, released on the Continental, Czardas and White Eagle 78 RPM labels, and later on Lp and 45 Extended Play. In some cases he even bought masters from artists and other labels, including the copyright (as in the case of Frank Yankovic, the Polka King).
That was how he started and that is how he collected the necessary capital for expanding his business in the second half of the nineteen forties. And he most certainly did encounter people who wanted to invest in a small, but growing record company. Donald was doing well.

Donald's mother Freida and her husband could have come to America with Donald in 1938, but they were reluctant to leave Europe, because they were receiving a large pension, they loved their country and they thought that in time life would improve. So they stayed. After World War II broke out the fascist Arrow Cross movement had free play and Miklós Horthy de Nagybánya's government deteriorated the political-humanitarian situation in Hungary more and more, notwithstanding the fact that Horthy tried to save the political situation, but was arrested by the Gestapo, he later testified in Nuremberg.
It was several years after the war that Donald met someone who had been with his mother and father. He told Donald, that when the Germans had invaded Hungary in 1944, and the so called Death Marches were organized. Donald's parents were forced to leave Budapest and literally walk into Germany. They were in one of those prisoner groups that were being marched from one concentration camp to another and they had died.

The development by Columbia of the 33 RPM Long Playing record (in the fall of 1947 a 17 minute per side Lp was ready), and the official launch in 1948, promised new possibilities, not only for the big record companies, but for newcomers too, and of course for eager entrepreneurs like Donald Gabor.
By 1950 the Lp was quickly becoming the accepted medium and as the proliferation of the appropriate playback equipment was increasing, it was time to enter the Lp record business on a large scale and as early as possible.
In 1950 Remington Records Inc., was founded, producing both 78 RPM and 33 RPM records. Many Continental recordings were transferred to Lp and later rereleased on the Remington label. And when the 45 RPM format (introduced in 1949 by RCA) was generally adopted, recordings on the the new 7 inch discs were issued.
Recordings were made in the USA, but most riginated in Vienna, the musical capital of Europe with its abundance of singers, instrumentalists, orchestras and ensembles.

Although the black/silver label (which is the third label) mentioned "A Don Gabor Production", the rights of most of the performances recorded in Vienna were the propriety of lawyer/impresario/dramaturge Marcel Prawy. Gabor paid for the rights to issue the performances on Remington, but he also released the material (while often omitting the names of the soloists and of the conductors) on the other labels he created - labels with such remarkable names as Masterseal, Plymouth, Masque, Merit, and Etude, later adding more labels to the list: Palace, Pontiac, Paris, Webster, and Buckingham. Each and every name bore a hidden persuasion to which a specific buyer could connect.

To give his product mass appeal, Gabor priced his Remington records at about one third of the prices asked by the big labels. A ten inch disc in the 149-series was $ 1.49, and a twelve inch record in the 199- series was priced at $1.99. These prices were maintained for a very short time only. Already 6 months later prices had gone up to $1.69 and $2.19 respectively, but were still about two fifth of RCA's high priced 10 inch and 12 inch records which sold at $4.67 and $5.72 respectively. And even if in 1954 the prices of Remington discs were raised to $ 1.99 and $ 2.99, prices were significantly lower compared to those of the other labels. Then, all of a sudden prices, were lowered in the course of 1955 to $ 1.45 and $ 1.95.
By 1955 the quality of records had improved significantly and the question is whether Remington could keep up with the quality of the competition and attract buyers.

In order to be able to guarantee these prices, Donald Gabor makes no contracts with top-price artists, he uses a cheap substitute for vinylite, and he employs no network of salesmen and district managers to distribute his records. While the cheap vinyl substitute kept the cost of production low, it also resulted in poorer sound quality. This fact should have deterred many consumers from buying a Remington record or a release on other labels of Gabor's. At the same time one should not forget that most record buyers were playing their records on portable gramophones or simple turntables, all equipped with crystal or ceramic pick ups, connected to a small amplifier or radio which had of course variable tone controls, so bass could be enhanced and treble could be adjusted to minimize hiss. Only much later the criterion of quality was gaining in significance. The serious music lover and audiophile would pay more attention to the quality of the performance and the technical quality of the discs.

Gabor's policy was to make all sorts of music affordable. And he surely must have turned many people into record collectors, irrespective of the label's name, as Gabor entered the game at the right time and with mainstream repertoire.

In the Schwann catalog of December 1950 there were only three recordings listed of Dvorak's New World Symphony: Eugene Ormandy on Columbia, Leopold Stokowski on Victor and there was the Remington disc with George Singer, a recording made in the beginning of that year and issued on R-199-4.
The same goes for Brahms's First Symphony. There were three recordings listed in the June 1951 Schwann catalog. One of Arthur Rodzinski on Columbia and another again by Leopold Stokowsky on Victor. Number three was the Remington recording of H. Arthur Brown ( R-199-5) conducting the Austrian Symphony Orchestra - also called Niederösterreichisches Sinfonie-Orchester (Symphony Orchestra of Lower Austria), Viennese Symphonic Orchestra, Orchestra of the Viennese Symphonic Society, Niederösterreichisches Tonkünstler Orchestra, Linz Symphony Orchestra, and Austrian State Symphony Orchestra, and who knows what more.
That same June 1951 Schwann edition mentions that of Beethoven's Sonata Pathétique there were just three recordings: Arthur Rubinstein (Victor), Rudolf Serkin (Columbia) and Alfred Kitchin (Remington), and Beethoven's Moonlight was available by Horowitz, Serkin and on Remington R-199-10 by Alexander Jenner.
Paganini's Violin Concerto in D had three recordings listed: Zino Francescati on Columbia, Rugiero Ricci on Vox and Ivry Gitlis on Remington R-199-20 (though it was the one movement as orchestrated by Fritz Kreisler).
Since its release, Edward Kilenyi's recording of Debussy's Preludes Book 1 on R-199-50, was the only Lp available for quite some time. Only in July 1952 one of Walter Gieseking's reference recordings was listed.
When in the course of 1951 Alexander Jenner's Etudes Op.25 (R-199-28) and in the fall of 1951 Edward Kilenyi's recording of Op. 10 (R-199-57)came out, the only alternative on LP was the set of Alexander Brailowsky on Victor LM-6000.
And there were of course the recordings of Michèle Auclair playing the Tchaikovsky Violin Concerto (R-199-20), the recording of Rimsky- Korsakov's Scheherazade conducted by H. Arthur Brown (R-199-11).
Beethoven's Fifth Concerto (Emperor) with pianist Felicitas Karreron RLP-199-1 was the first Remington releaase, listed in December 1950. There were only three competitors: Cassadesus (Columbia), Curzon (London), Schioler (mercury) and Serkin (Columbia). Grieg's Piano Concerto (R-199-3) was a December 1950 listing. Karrer's Rachmaninoff Second (R-199-32) was released in the fall of 1951.
When in the summer of 1951 Beethoven's Pastoral Symphony with Kurt Wöss on R-199-7 was released, the only competition was from Columbia with the Bruno Walter recording (ML 4010).

As in the years 1950-1952 the catalog only contained those recordings which could be obtained through Marcel Prawy, there was never a Beethoven Ninth, orchestral music of Richard Strauss, or a Gustav Mahler Symphony. Strangely enough these gaps in the catalog were not filled in when Laszlo Halasz had become Recording Director and Berlin had become the main recording venue. However, there apparently was a recording made for Remington of a performance of Mahler's Fourth Symphony with Bruno Walter conducting the Vienna Philharmonic and soprano Irmgard Seefried at the 1950 Salzburg Festival as Robert McColley reported. (There were of course recordings made in Salzburg with Joseph Messner conducting works by Mozart, Handel, Haydn and Rossini.) Although the orchestra did permit to record the work, it was not released by Don Gabor. The most likely reason would be that Bruno Walter was under contract of Columbia Records and the release was not permitted or very expensive. As the taped performance was among the tapes Don Gabor gave to producer Tom Null, it was issued in the Remington Series on the Varèse Sarabande label around 1980, although a listing could not be traced by me.

Gabor's records were priceless alternatives. Remingtons were the cheapest in the catalog, even cheaper than Eli Oberstein's Allegro/Royale records with bootlegged material released under fake names for instrumentalists, conductors and orchestras, and sometimes omitting a movement of a symphony or a number of bars.
A few suspicious collectors may have assumed that the names of the artists on Remington records were often also pseudonyms. They were definitely not! Felicitas Karrer, Kurt Wöss, H. Arthur Brown, George Singer, Walter Schneiderhan and Ivry Gitlis - and the names of numerous other artists printed on the covers and listed in the Schwann were all genuine names of musicians who had studied with important teachers and professors, privately or at the famous conservatories of Paris and Vienna.
Low prices meant a big turnover. No wonder that the big companies tried to boycott Remington right from those early days (when it still had a red label and the records were already sold by the thousand), and even more so when Remington was achieving a higher cosmetic profile through distinguished art work and outstanding design by Alex Steinweiss and the artists he recruited.
The sale of each Remington disc meant less income for the giants who were used to dividing the bulk of the market between them.
There were a few recordings from Vienna which were issued on the more expensive, early Masterseal label, like Fritz Busch's Memorial Album and the recording of Volkmar Andrae conducting Bruckner's Symphony No. 1.These wetere poresented as "A Marcel Prawy Production", obviously to please Prawy.

There was another man who was instrumental in turning Remington Records into a success. His name was George Curtiss. George Curtiss was a little younger than Donald Gabor. George was actually from the Kertesz family, but the name was Americanized and changed into Curtiss. George's father, Gyula Kertesz, who played for soccer for the MTK Budapest and also did the coaching for other soccer clubs, was Don Gabor's uncle. Gyala Kertesz supervised the Continental enterprise during the war, when his son George had enlisted in the US Army and Donald had joined the US Navy. Donald enlisted on June 8th, 1943; the document states that his civil occupation is a motion picture sound editor and sound recorder. (Note: On Donald H. Gabor's recruitment document, the name was probably written in under cast and later typed. That could be the reason why the official document says: Donald B. Gabor - the 'h' was mistaken for a 'b'.) George Curtiss, born as George Kertesz on April 19, 1921, in Metz, France, lived his first 12 years mainly in Germany and later in many different European countries (Sweden, Norway, England, and Switzerland). He was an only child and like Donald Gabor came to America in 1938. He graduated from A.B. Davis High School, Mount Vernon, NY, and started as 'Assistant to Recording Manager' for the Standard Phono Corporation at 163 W. 23rd St. in NYC, and was employed from September 1938 to December 1942. He also attended City College of New York until he was drafted in 1941, and in 1943 he became a US citizen while he was stationed in Spartensberg, South Carolina. Shortly afterwards he was shipped overseas. He was one of the soldiers of the 102nd Infantry Division of the US Ninth Army who reached the town of Gardelegen on April 15, 1945, and were horrified when they discovered the atrocities of the massacring of concentration camp prisoners which had taken place only two days earlier. George spoke French, German, Hungarian, English and Spanish, all fluently, without an accent. He also mastered reading and writing these languages. He later learned some Russian and Albanian too and could converse in Italian. Remarkable, and at the same time unusual, is that he also had a brilliant mathematical mind. He was able to multiply five numbers by five numbers faster than could be calculated when using a calculator. He was a gifted, handsome man, was artistic and had a sarcastic sense of humor. But mostly he was a man of great character, honest and forthright in business. His passive and active knowledge of so many languages made him a perfect broadcaster (as a side job) for the Voice of America in the nineteen fifties, the early, turbulent years of the cold war. Relations and family ties are always important in business, especially in small emigrant groups. Gabor asked his cousin George to join Continental Records in 1945. He first became Manager of the Foreign Production Department of Continental Records from 1945 on and than switched to Remington Records, when the label was founded in 1950, working closely with Don Gabor. The cooperation lasted until 1962. In that year George Curtiss started Eurotone, his own business, dealing with ethnic labels named Eurotone, Tikva and Anthology (which was his favorite). And he was the importer in the USA of the Unesco sound recordings. Gabor spoke American English and of course Hungarian, but for international contacts he needed a man who was fluent in many languages and also had the necessary social skills to successfully engage in business negotiations and conferences. George Curtiss perfectly complemented Gabor's ideas. Through good management he helped turn many a project into a commercial success. He was head of the Webster plant where the Remingtons, Masterseals and other labels, were pressed. He was responsible for the manufactoring of the vinyl, for the production of matrixes and plates, and the pressings. He constantly tried to improve the quality of the final product, difficult as it was, given the limited budgets. On many an occasion heated discussions took place between Don Gabor, George Curtiss and Gabor's cousin Steve, about the recordings, the quality, and what could be done to make improvements. And George definitely had different views. As his responsibility was the final product that left the plant, he often picked out several pressings to listen to and to check the quality. While using a red "china marker" he would pick out imperfections in the pressings and improvements or corrections could be made. George Curtiss was also the man who wrote the liner notes for the early recordings before a host of professional writers, critics and musicologists was hired to fill the backsides of the covers with notes and biographical details, if available. After setting up a pressing plant for Don Gabor in Puerto Rico in 1961, George Curtiss finally quit the company the following year, as views on how to continue in the new era of the stereo record were diverging. To make things easy in the beginning, Sam Goody offered George a work space to set up his Eurotone Record Company. The photograph of George Curtiss conferring was taken around 1960 during a recording session. George Curtiss died in May 2003. (A page about the Webster pressing plant will be added later.)

Don Gabor was a demanding entrepreneur. Total personal commitment is the trademark of many men who have a vision and start a business of their own. Gabor's vision was of building a record emporium, producing 'music for millions' and challenging the big companies. Gabor not only gave all his time and energy himself, he also expected total commitment from his workers in the office as well as in the factory.
When he had a new idea he immediately would call a producer, even in the middle of the night or in the early hours of the morning, and 'ask' him to come over and talk about what needed to be done to realize the idea or to implement a new strategy. In this way many series may have been originated, the series of the Young Violinists, the series of recordings done with the American Composers Association, and the Music Plus Series with Dr. Sigmund Speath.
It was inevitable that valuable managers, assistants, producers and even workers would quit sooner or later, as often enough an individual's ideas about how to get the job properly done, had to be put aside. And also in many cases payment was not always on time. This suggests that capital was not always sufficiently available. Reaching a goal was often more important than the remuneration. The means justified the ends.

This flaw did not prevent Gabor acquiring the collaboration of famous musicians, pedagogues, writers and artists. On the contrary. Many well known figures did cooperate. Violinists Georges Enesco and Albert Spalding, pianists Edward Kilenyi and Ernst von Dohnanyi, and conductor Thor Johnson, they all performed in front of the Remington microphones. Yehudi Menuhin and Jacques Thibaud endorsed the series of violin pedagogues Theodore and Alice Pashkus.
Musicologists Dr. Sigmund Spaeth, John W. Freeman and Irving Kolodin (to name just three) wrote liner notes.
Alexander Steinweiss designed a house style for the Remington company, a new cover and label, and Curt John Witt, Otto Rado, Slonevski and H.Kaebitz and many other artists (and often Alex Steinweiss himself) delivered the art work to fill in the basic grid.

'A Don Gabor Production', the crown, the vertical row of boxes which spelled REMINGTON, the Musirama label, plus the heading on the stationary (and other documents) with the slogan 'music for millions', the capital R on the catalog with the Remington logo, and the black/gold sticker with the important text 'factory sealed', they were the elements defining the corporate image of Remington Records Inc.

It made Don Gabor an important figure in the record business, starting in a small office on Broadway, and later on 263 West 54th St. in the nineteen forties. In the early nineteen fifties the office's address was a Suite on Fifth Avenue (first at No. 500 and later at No. 551). He became a well-to-do business man in the industry, with a rich social life, together with his wife Valery, known to everyone as Wally (and she was not a singer as many opera buffs want us to believe), and with his daughters Edna and Geraldine, living in a luxurious 20-room mansion on Delafield Avenue in the Riverdale area (Bronx), and spending holidays in their Cape Cod summer residence.

Gabor had wit, and he was a serious and social man too, but only then when he chose to be, as is so often the case with rulers of an emporium. He supported Béla Bartók by paying him a generous allowance, far more than the actual profit of the sales of the master's Continental records. When in 1956 Hungary fought for a 'socialism with a human face' and the revolution failed, Gabor supported his relatives. Donald's cousin Steve fled Hungary with his 8 month pregnant wife and his son Peter and daughter Kathleen. Steve became a manager of the Webster plant, which was supervised by George Curtiss. There must have been numerous other occasions when Gabor helped out, for example by arranging a loan for buying a house. And when news from the hospital said that George's wife had given birth to a little baby-girl, Donald wrote a letter on the Remington stationary, to be delivered to George Curtiss at the Webster plant announcing the birth. Gabor wrote: 'Dear Mr. Curtiss, This is to inform you that today I have shipped to your hospital one baby girl. For further details, please call the hospital. Very truly yours, THE STORK.'.

On the last page of this catalog from 1953 the MUSIRAMA productions are being announced.

Issuing many labels with much of the same material, which was clever marketing, is being seen by many as Gabor's main trait. That can be true. But his geniality was in creating the Remington label, right from the start, and especially when it evolved into a better quality label with the introduction of the MUSIRAMA '3 Dimensional Sound' recordings with the multiple microphone placement.
That was when Robert Blake was the recording technician, and conductor Laszlo Halasz teamed up with Don Gabor and George Curtiss and became Remington's recording director, mainly for the recordings made in Germany (with the RIAS Symphony) and in Italy (with the Orchestra of the Teatro la Fenice) and at home (with the Cincinnati Symphony Orchestra).

For recordings of individual artists playing recitals, the Mastertone Studios in New York City were hired. It is probable that the recording of Sari Biro playing Bartok, Kabalevsky and Kodaly (released in December 1953), as well as the recitals of Jorge Bolet, of Ossy Renardy with Eugene List, of duo pianists Pierre Luboshutz and Genia Nemenoff, were recorded there for the Musirama Series, which meant a vast improvement over the early Remington recordings. Then Gabor was at the pinnacle of his achievements. (More information can be viewed when accessing The Remington Site, using the links at the end of this page.)
Remington was discontinued a year or so after the stereo record had been introduced (1958). Then Gabor (re-)issued cheap, low quality recordings, which were only available at gas stations and in super markets and were no longer listed in the official record catalogs, Schwann and The Longplayer.
The fact that Gabor did not follow the road for further improvement but overlooked the importance of sound quality, was an omission that kept him, regrettably, from establishing a quality laberl that withstood the passage of time. If he had done otherwise and had continued the cooperation with the Bertelsmann label, had expanded his international contacts and had released quality recordings in the stereo era, his top label ultimately could have evolved into the class of Vox, Turnabout, Dover, Kapp, Vanguard and Westminster.

In the beginning of the nineteen sixties Gabor revived Continental Record Co. Inc. for a short time. The office was located at 630, 9th Avenue. The company then also produced 8-track cartridges labeled 'Radiant' but without much success. He relocated the office once again, but now to his home in the Bronx. Several covers mention "Paris Sound Laboratories - 4645 Delafield Ave, Riverdale, New York".
In the nineteen seventies there was no specific activity of 'A Don Gabor production', in any case not advertized as such. Those were the years when several recordings were licensed to other labels. The most famous are the three records with violinist Georges Enesco performing Bach's Sonatas and Partitas, issued by Bert Whyte's Everest Records. Other taped recordings were reissued on Vox. Gabor's company is then named 'American Tape Corporation'.
Tom Null reissued several taped performances, of which the tapes were given to him by Donald Gabor himself. Null's label was Varèse-Sarabande. Issued were the 'Remington Series' with specific recordings like those of Albert Spalding playing Dohnanyi's Violin Sonata with Ernst von Dohnanyi at the piano, and Georges Enesco playing his Sonata No. 2 with Céliny Chailley-Richez. There is Simon Barere playing Liszt, Rachmaninoff, and formerly unissued Scriabin Etudes. Also on Varèse-Sarabande were released the first commercial stereo recordings, made in 1953 of the Cincinnati Symphony and the Helsinki University Chorus performing Sibelius (Origin of Fire, Pohjolah's Daughter, and Songs by Sibelius a/o.). These recordings made in November 1953 were the first commercial stereo recordings issued on Lp. (In February 1954 it was RCA who made their first commercial stereophonic recordings.) Also Dvorak's 4th (8th) Symphony, as well as some of the recordings made with the RIAS Symphony Orchestra - like Jussi Jalas conducting the 1st Symphony of Jean Sibelius and Anja Ignatius playing five of the Six Humoresques for violin and orchestra - were done in stereo.

Don Gabor died on his 68th birthday of a heart attack. An obituary was published in The New York Times. Gabor was called a colorful entrepreneur, a leader in making classical music available to many people by charging low prices, 99 CT. per record when he started to release the Remingtons. That is correct.
His undeniable importance lays, from the very beginning of his enterprises, in his decision to make the Long Playing record a medium for the masses and applying unusual means to achieve that goal. In doing so he showed many a record company the way to create new strategies in marketing.
On November 23rd an 'afternoon worship' was held in the Riverdale Presbyterian church. The words of French nobleman Stephen Grellet (the lines slightly altered, maybe written down from memory) were typed on the order of service:

I shall pass through this world but once.
Any good that I can do, or any
kindness that I can show to any human being,
let me do it now. Let me not defer or ne-
glect it. For I shall not pass this way again.

Rudolf A. Bruil, June 30th 2005.

>GO TO THE REMINGTON SITE WITH LINKS TO ARTISTS or
>>READ A PERSONAL INTRODUCTION or
>>>CONTINUE READING THE STORY 

I expect to pass through this world but once.
Any good things, therefore, that I can do,
any kindness that I can show a fellow being,
let me do it now. Let me not defer or neglect it,
for I shall not pass this way again.
- Stephen Grellet