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The Morse of Barr-Morse Typewriters

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This is a 1923 US passport photograph of Frank Lincoln Morse, the Morse Chain president who was behind the Barr-Morse Typewriter Corporation of Ithaca, New York. Frank Morse and John Henry Barr, as president and vice-president respectively, remained in charge of Barr-Morse for 12 years, until Morse's death from bronchial pneumonia in Orlando, Florida, on March 25, 1935. Barr died in Ithaca two years and two days later.
Morse Chain had been taken over in 1929 and was a subsidiary of Chicago car parts maker Borg-Warner, but Barr-Morse remained a separate entity, a corporation in its own right and not a division of Morse Chain, still based in Ithaca.
Richard Koret
With Morse's death, however, whatever influence Barr exercised at Barr-Morse began to evaporate. For the first time in its then 55-year history, Morse Chain was beyond the control of a member of the Morse family, with chain design engineer David Barnes Perry taking over the presidency.
And after his own death, Barr's typewriter patents, and the clock patents he had obtained in 1934 from the estate of his late friend Arthur French Poole, along with Barr-Morse's manufacturing rights and machinery, were sold.
The new owners were Manhattan handbag maker Richard Samuel Koret (born Odessa, Russia, May 26, 1901; died Riverside, California, November 14, 1965) and his long-time friend, RKO theatre division president Malcolm Kingsberg (born Springfield, Massachusetts, October 10, 1900; died New York, October 1970).
Within a month of Barr's passing, Koret and Kingsberg had moved Bar-Morse to Weedsport, New York. They declared the corporation bankrupt in August 1937 and immediately formed a new organisation, the Barr Typewriter Corporation. In November they named Abbott Kimball Company Incorporated as their advertising agency. (My own Barr portable, given to me many years ago by Richard Polt, was made by this latter corporation in Weedsport).
Koret had established his handbag corporation in 1929. After he died in a plane crash while flying from Palm Springs to Burbank, California, in 1965, Kingsberg, executor of his estate, took over the running of the handbag business until 1968, when Michael Gordon purchased the company.
But getting back to Barr-Morse ...
Frank Morse was the younger brother of Everett Fleet Morse, one of the founders of the Morse Equalizing Springs Company in Trumansburg, New York, established in 1880 to make horse-drawn carts and buggy springs. Everett Morse was born in Ithaca on June 28, 1857.
A much younger Frank L. Morse
Morse Equalizing Springs had developed a rocker joint and in 1892 the company became Morse Manufacturing, making bicycle chains using the joint. In 1898 it was incorporated as the Morse Chain Company in Trumansburg, 12 miles north of Ithaca. Morse Chain built a new 80,000 square foot factory in Ithaca in 1906, making an automobile chain.
Everett Morse died on November 11, 1913, and his position at the head of the company was taken by his younger brother Frank Lincoln Morse. Frank Morse was born in Ithaca on September 14, 1864.
Thomas aeroplane works in Ithaca
Under Frank Morse's leadership, the Ithaca factory was quadrupled in size between 1914-16. A Thomas-Morse Airplane division was added in 1917, to make the Thomas-Morse S-4 Scout. The plane was designed by Englishman Benjamin Douglas Thomas (1891-), but he was no relation to the Welsh-born Thomas brothers who joined Morse in making the "Tommy" single-seater fighter trainer. Morse's merger had been with the Thomas Brothers Aeroplane Company, founded by Oliver Wolcott Thomas (1882-) and William Thomas Thomas (1887-) at Hammondsport, New York, in 1910.
Heber Cushing Peters (1867-1953)
At the end of 1919, the Peters Morse Manufacturing Corporation was formed in Ithaca to make Heber Cushing Peters'adding machine. The board consisted of Peters, John Henry Barr, Frank Lincoln Morse and Henry Herman Westinghouse (1853-1933), the brother of George Westinghouse and from 1914 George's successor as chairman of the Westinghouse Air Brake Company, which in 1908 had been licensed to make Morse products in England and Germany. Peters, Barr and Westinghouse were all Cornell University graduates. The links between the Morse and Westinghouse organisations remained close right through to at least the 1920s.
Henry Herman Westinghouse
At the time of the Peters Morse company being formed, Barr was still chief engineer at Remington. He had designed the Remington portable typewriter, which went on to the market in October 1920. 
John Henry Barr (1861-1937)
After designing adding machines for Burroughs in 1904 and 1909, Peters then patented in his own name an enormously complicated calculator, which he designed in 1914 and improved in 1915. He assigned a 1916 adding machine design to Peters Morse in 1921. In 1929, Morse's adding machine division was sold to Allen-Wales, which in 1943 became a division of the National Cash Register Company.
Arthur French Poole
Meanwhile, Arthur French Poole (1872-), who had worked with Barr at Remington and from 1899 had developed an electric clock, also joined forces with the Morse company, and in 1920 a Poole Clock division was formed to make battery-operated clocks. Poole was also keen to develop calculating machines, typewriters and “algebraic totalizers” (gadgets attached to typewriters that enabled users to solve intricate accounting equations).
From 1912 Poole was an engineer for the Wahl company and in 1920 assigned a clock patent to Westinghouse Electric and Manufacturing. In 1924, Poole moved to Westport, Connecticut, to start Poole Manufacturing, which was owned by Morse. When Poole died in 1934, his patents were sold to Barr. From 1937-43, Koret and Kingsberg continued to make Poole electric clocks under the Barr trademark.
The Barr-Morse Corporation was founded in 1921 to make Barr's portable typewriters and in 1923 Barr severed ties with Remington to concentrate his efforts on his own machine.
When, on May 2, 1929, Morse Chain was taken over by the Borg-Warner Corporation (formed in 1928 as a merger of Borg & Beck, Marvel-Schebler, Warner Gear and Mechanics Universal Joint), it created a $90 million joint corporation, including Morse Chain's assets of more than $8 million. But the Barr typewriter and Thomas aeroplane branches remained as separate Morse corporations, while the Poole clock and Peters adding machines divisions remained in Ithaca.
By 1931, the Barr-Morse corporation was describing itself in the Ithaca directory as "manufacturers of computing machines". The factory manager was Walter Nathan Bland (1881-1947).
Walter Bland
Barr had certainly begun to involve himself in designing calculating machines by that stage, assigning one to Remington as late as 1922 (he had designed a joint typewriter-computing machine for Remington in 1914, when he was a member of the New York State Voting Machine Commission). This type of work was carried on for Remington by Frederick Arthur Hart (who has also designed such machines for Underwood) in the late 1920s.
Typewriter production continued at Weedsport for three years, until September 1940, after which the Barr factory was used in the war effort. The association of Koret and Kingsberg with the Barr company ended in 1943, when they sold out to seven local stockholders led by Charles B. Hughes. In 1944 the Barr company (now called Barr Manufacturing, and under the presidency of Hughes) did resume operations, but not to make typewriters, and in February 1947 it filed for bankruptcy. On July 15, 1948, the factory was auctioned off.
Between 1952-57, Hughes and his fellow office bearers and principal stockholders, Walter T. Smith and Albert James, faced tax evasion charges from returns dating back to 1944-46.

See the Beautiful Margaret Benedict Owen, World's Fastest Typist, in Action

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From the Wim van Rompuy Collection
Although Margaret Benedict Owen is not identified in this Frank Bunker Gilbreth time-and-motion film, it is very clearly her. We do know that Owen took part in a Gilbreth typing demonstration in 1916. However, two claims made about that demonstration (see the inaccurate The New York Times article) remain highly questionable.
A still of Frank Bunker Gilbreth from one of his films
First, that Gilbreth had "trained"Owen to be a champion typist. Could it be that Gilbreth told some "porky pies" in order to push his pioneering motion study and ergonomics work?* At the very least he was being quite deceitful about Owen's already well-established and well-known capabilities. Owen had won the world professional championship three times by the end of 1916 (the first in 1913), and had set a world record of 137 words a minute under strict championship conditions in 1916 (she reached an average of 143 words a minute over an hour in 1917).
Second, that Owen used a RemingtonOwen was a member of the Underwood Speed Typing"Dream Team", and as such she had been well coached by Canadian-born typing instructor Charles E. Smith, not by Gilbreth. I suppose it is conceivable, however, that Gilbreth did improve her performances.
(* Is Gilbreth really suggesting at the end of the film that he changed the keyboard configuration to get Owen typing faster? If so, he really must have been joking.)
The Underwood way: From Charles E. Smith's
Typists' Guide: From Sight to Touch (1912)

It's almost 100 years since dozens of Australian newspapers, from Bundaberg to the back of Bourke and beyond, ran this same story:
Some Typosherians think speed typing champions to be a little abnormal, and Owen herself described her typing as "mechanical".  But it turns out Owen was not just a very attractive young woman, but a pretty normal one, too (though dancing, tennis, swimming and late hours were not allowed).
Margaret Owen's 1919 passport photo
Owen was born the daughter of a Canadian-born printer, William Benedict Owen, in New York City on February 8, 1893. She rose to typewriting prominence in 1910, aged 17, when he won the world novice speed typing championship from Bessie Friedman and Parker Claire Woodson, scoring 83 words a minute. In 1911 Owen was second behind Gustav Robert Trefzger in the amateur world title, both reaching 98 words a minute. Owen (114) was fourth behind Florence Wilson (117) and Emil Anton Trefzger (116) in the 1912 professional championship, but had earlier won the amateur world title with 116 words a minute.
Owen decisively won the 1913 world professional championship with 125 words a minute, beating the Trefzger brothers Emil (120) and Gus (117), with the legendary Rose Louisa Fritz fourth (115). Owen finished second to Emil Trefzger in 1914 (129 to 127) but regained the title in 1915 by beating Fritz 136 to 129. She won again in 1916, beating William Friedrich Oswald (137 to 136) and the Trefzger brothers (134, 133).  In 1917, Owen matched Fritz's 1906-09 feat of winning four world championships. She beat Hortense Sandi Stollnitz, Friedman and Oswald 143 to 142 (for the three runners-up). 
Owen's successor: Gorgeous George Hossfeld
Owen was beaten by George Leonard Hossfeld 143 to 142 in 1918, with Friedman third and Stollnitz fourth. Owen was again pipped at the post in 1919, this time by Oswald, 132 to 131, with Stollinitz also finishing on 131. Owen was still able to push her Underwood teammate, the great Hossfeld, in the 1920 championships, finishing runner-up to him with 128 words a minute to Hossfeld's 131. The difference was that Owen made 68 errors to Hossfeld's 54, and those extra 14 mistakes cost her 140 points.
Husband of the world's fastest female typist,
and father of Margaret Owen's two children,
US Navy Lieutenant-Commander Raymond Farrington Tyler
The following year, 1921, Margaret Owen married US Navy Lieutenant-Commander Raymond Farrington TylerTyler, a dirigible and airship naval aviator, was born in Middlebury, Connecticut, on March 8, 1894.  He and his wife, along with their children, were mostly based at Naval Air Station Lakehurst, New Jersey, where Tyler was a non-rigid airship pilot and instructor. Tyler flew to Europe as an observer on the Hindenburg in 1936 and took part in the Gorden Bennett Balloon Races in Warsaw. He was mooring officer at Lakehurst when the Hindenburg crashed on May 6, 1937. He was promoted to captain in 1943 and was in command of Airship Wing One when World War II ended. He retired in 1947. 
Margaret Benedict Owen Tyler died in Los Altos, California, on June 1, 1952, and her husband on April 22, 1965. They are buried at the Golden Gate National Cemetery at San Bruno,California.
The Tylers had two children, the arrival of the first, a son, Owen Farrington Tyler, being duly announced in Typewriter Topics in 1922:
Owen Tyler would have turned 92 last Sunday if he is still alive. At one time, I believe, he (or perhaps a son of the same name) lived in Ted Munk's neck of the woods, in Mesa.
Owen Tyler's younger sister, Louise Tyler Rixey (above),died aged 86 in Tallahassee, Florida, on August 10, 2011, after a long illness. She was born on December 22, 1924, in Passaic, New Jersey, and grew up in Lakehurst, Long Beach, California, and the Panama Canal Zone. Married to a marine, she lived in North Carolina, Virginia, New Jersey, California, Japan and Florida. In addition to secretarial jobs, she was a real estate agent and later worked in textbook editing.

The Corona 3 Portable Typewriter: Gentle to a Child's Touch, but Tougher than the Toughest Marine, Tougher than a Banderillero

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Three-year-old Alberta Cardinal types on her Corona 3 portable typewriter in 1922. Alberta was the daughter of Queens, New York, factory machinist, printer and painter Albert Cardinal and his wife Helen. The Corona 3 was bought from the Queens Typewriter Company at 430 Jackson Avenue, Long Island City. According to Typewriter Topics, little Alberta could type "really well". All I know of what became of Alberta is that she was still living with her parents in Queens in 1940, and was a sales clerk for a jewelry retailer. 
In October 1922, just eight months after the death of its president and founder Benn Conger, the Corona Typewriter Company of Groton, New York, launched a "new" improved Corona 3. This revamp was no doubt in response to the arrival on the market in October 1920 of the Remington portable and to renewed, heavy marketing of the Underwood 3, which had been launched in 1919. Four-bank Corona and Underwood portables were still four years away.
The arrival of the improved Corona 3 was accompanied by a vigorous marketing campaign, which included all sorts of stunts by agents across the world. As well, notable among full-page advertisements taken out by Corona in Typewriter Topics were stories from Corona 3 users which emphasised the toughness and durability of the little machine. (Bearing mind this was a year before Firpo knocked Jack Dempsey on to a Corona 3 at the Polo Grounds, covered elsewhere on this blog.) Some of these adverts have been posted earlier, but this one particularly took my fancy:
Thad Talmadge Taylor,  born at Taylor Ridge, Rock Island, Illinois, on September 15, 1892, was one tough tottin' Great Dane-lovin' US Marine - he was known as "Tough Tommy Taylor". And for him to describe the Corona 3 as "dependable" was really saying something:
1944
Major Taylor once took delight in telling a San Francisco police luncheon (yes, people were eating at the time) about how he was able to identify a friend by his teeth after the Marines captain "was blown to pieces in an explosion". That same year, 1936, Taylor told incoming marine Charles Hanson, 20, that he wasn't acceptable because he had a naked lady tattooed on his right arm. Hanson had to go back to the tattooist and have an ankle-length dress drawn on the offending young lady.
Tough Tommy drove home drunk one night in the summer of 1940 and caused a car crash on the Carson Highway in Reno which almost killed him and five other unfortunate road users, including a 12-year-old boy. Not so tough, eh? All he got was a 30-day suspension of his license. Anyway, Taylor, who had enlisted in 1912, survived a fractured skull in the collision he caused and then a bush fire at his ranch in 1941 to be recalled to the Marines in 1942, after three years' retirement. Taylor died on July 11, 1945.
 
Other stories about the sturdiness of the Corona 3 appeared in Typewriter Topics in 1922: 

Another favourite for me was the tale of the Corona 3 and the banderillero. I think the line is, "Only the Corona knows the secret behind the triumph of Sánchez Mejías":
This advertising card featuring Ignacio Sánchez Mejías was produced by F.Armida & Co, agents in Mexico for the Corona 3.
Ignacio Sánchez Mejías (June 6, 1891, Seville-August 13, 1934, Madrid) was a famous Spanish bullfighter. He was also a writer - obviously getting good use out of his Corona 3.
When he died after a goring in the Plaza of Manzanares, he was memorialised by Miguel Hernández, Rafael Alberti and other famous poets, but probably the best of these works is Federico García Lorca's "Llanto por la muerte de Ignacio Sánchez Mejías" ("Weeping for the Death of Ignacio Sánchez Mejías"), for many the best Spanish elegy since the Coplas of Jorge Manrique. 
In this famous photo by José Vázquez DemariaSánchez Mejías mourns his friend Joselito in the infirmary of the bullring in Talavera de la Reina (Toledo) on May 16, 1920.
Sánchez Mejías' childhood friend was José Gómez, later called Joselito, the greatest bullfighter of all time. At 17 Sánchez Mejías stowed away to New York, where he mistaken for an anarchist. His brother Aurelio got him to Mexico, where he made his debut in the ring as a banderillero in Morelia in 1910. He later returned to Spain
As a writer Sánchez Mejías produced several theatre works, including Sinrazón. He was also a movie actor, a polo player, an auto-racer, a novelist and a poet.
Another Corona 3 news item in 1922 came with the Trans-Atlantic flight from Portugal to Brazil of Portuguese aviators Artur de Sacadura Freire Cabral and Carlos Viegas Gago Coutinho. The pilots were presented with Corona 3s (seen in the window display above) to mark their achievement.
Any room for a couple of Corona 3s, Artur? (Artur is left in this shot.)
How about this neat trick to pull in Corona 3 customers in Manchester, England:
I've always fancied a pure white Corona 3:
Darryl Rehr Collection
Peter Bernard Kyne (1880-1957) was a San Francisco novelist. Many of his works were adapted into screenplays,  starting in the silent era, particularly his first novel, The Three Godfathers. He was credited in 110 films between 1914 and 1952. The Typewriter Topics heading here, and the reference to a vase, is in connection with Kyne's most famous work, The Go-Getter: A Story That Tells You How to Be Onefirst published by William Randolph Hearst in 1921. The story centres around disabled World War I veteran Bill Peck, a worker who must overcome many obstacles in order to build a successful life for himself. At every turn he is thwarted by life's circumstances and must rely on his own tenacity and wits to see him through. Bill is given a final test, to "deliver the blue vase." Bill shows his resourcefulness and refusal to quit in fulfilling this quest.
I hate to spoil a good yard, but despite Corona's tribute, Kyne was actually nailed solid to Remington portables:
But here's another clever Corona 3 stunt, this time from Milan, Italy:
The insert shows the "Crown Prince of Italy" (Umberto II?) and his staff visiting the exhibit. Appropriate, I suppose, for a crown prince to want a Corona.
Denmark, where there are still crown princes (one is married to a Tasmanian), also got a mention:
Finally, back home for Christmas in the good old' US of A:

Just For Fun: Making a Nakajima Hermes

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A Nakajima "Hermes"?
Georg Sommeregger's Nakajima Hermes
A Nakajima ALL 550
Richard Amery's Nakajima ALL
As a Pinnock, sold by Currie Furniture Manufacturing in Australia.
As a KMart
After I posted on the Nakajima Hermes 305 a week ago, Georg Sommeregger let me know he was also in possession of a Nakajima Hermes. First Georg sent me a link to an image, and I could see straightaway that the model was almost identical to one with which we in Australia are very familiar - usually as a Litton Royal or an Imperial 202.
Later Georg sent me his own image, second from top here, of his Nakajima Hermes,  serial number 80756152. The machine at the top of this post is #41207113, which if nothing else will give you some idea of the volume of typewriters which went through the Nakajima factory in Sakaki, Nagano, in the mid to late 1970s.
At the time of posting on the Hermes 305, a sister of the Olympia B12, I grabbed the closest Nakajima to hand and took it apart to compare the mechanism. To my surprise, this earlier machine was completely different to the 305.
Yes, I printed out my own Hermes name badge, and stuck in on the front. I imagined as I did so the guy in Sakaki printing and sticking on tens of thousands upon tens of thousands of name badges that said "Royal", "Imperial", "Olympia", "ALL", "Pinnock", "KMart", "Hermes" - you name it, he made it!  And all the same machines. What a great job!?
By the way, this Nakajima, which temporarily has the name badge "Hermes" on it, was made for Royal-Imperial International. Given the state of the Royal name badge I took off the case, I might just leave it as a Hermes. What's the difference? It's kind of like making a statement about the ease with which Litton and Nakajima fooled the market into thinking that Sakaki-made Royals, Imperial et al were different typewriters.
As an additional aside, I noticed in the link Georg sent me (which is where the typewriters from the collection of the late Tilman Elster are being sold) that there was another Hermes, a Junior, again with just a bit of a thin sticker on it. It's not a Nakajima, but a Bulgarian Maritsa 30 - a very crappy machine sold in this country as a Pacific 30 and Lemair 30:

Spare a Thought for Little Eugenie Rispaud

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Much has been written on this blog about those superhuman women and men who won world speed typing championships between 1888-1945. But where there were winners, so were there losers. Some more lost than others.
Spare a thought for poor little Eugenie Elizabeth Rispaud, the 15-year-old lass from Saratoga, California, who finished 55th and stone motherless last in the world schools novice event at the world speed typing championships in Sacramento, California, on September 29, 1928.
Eugenie, still two months shy of her 16th birthday, must have been struck by a massive attack of the nerves, a shattering sensation beyond belief!
In the 15-minute test, Eugenie managed to type 1015 words (5073 keystrokes, almost 68 words a minute), but made 68 mistakes. So her score had 680 points deducted, leaving her with a meagre 335. That gave her an average of just 22 words a minute, 10 behind the second-last competitor, Doris West from Herman Price's neck of the West Virginian woods.
Whirling Wilma, the callous Canadian, showed Eugenie no mercy whatsoever!
Eugenie finished a staggering 65 words a minute behind the schools novice event winner, Canadian Wilma McBride, and 60 behind the US winner, Anna Sager from Florida. Albert Tangora won the professional title with 132 words (110 ahead of Eugenie) and Canadian Irma Wright the amateur title with 116. 
The world's school novice event was restricted to students who had not used a typewriter in any way before August 1, 1927, and who had been trained solely by their schools.
But fret not for Eugenie. Thirty-one months after her humiliation at Sacramento, Eugenie was named Miss Saratoga at the San José Fiesta de las Rosas, on April 29, 1931. The following year she became a stenographer for L.H. Walker (obviously her typing had improved somewhat) and the next year a secretary for H.H. Buchanan Co. Then she married quarry worker Clarence Bailey and raised a family. Eugenie, born on November 13, 1912, died in Santa Cruz two days after her 82nd birthday. 
Soon after becoming a widow, in September 1921 Eugenie's French-educated mother, Renee Adrienne Reynaud Rispaud, bought the Lone Bridge recreational resort along the shaded banks of Saratoga Creek (above) and managed it for 34 years. Mrs Rispaud was the daughter of a prominent French-born businessman Louis Reynaud, who had opened the Eldorado Bakery and Winery in San José. The latter part of his business career was in partnership with his son-in-law, Henry Francis Rispaud, who was born at Long Bridge.  Mrs Rispaud managed the Long Bridge property with her brother, also Louis Reynaud.

Trapped By Typewriters

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This is what it feels like to be hemmed in at every turn by typewriters. Typewriters everywhere, with nary a drop of ink in the house. I am trying desperately hard to burst free, with more than 20 typewriters lined up waiting to be shipped off, another 40 odd on the stairwell waiting to be picked up and taken away this week, and half a dozen in the working area waiting to be fixed. And, yes, there is an Olympia portable (or three) on my mind ...
Well, I don't know why I came here tonight
I got the feeling that something ain't right
I'm so scared in case I fall off my chair
And I'm wondering how I'll get down those stairs
Adlers to left of me
Parvas to the right
Here I am, stuck in the middle with you
Yes, I'm stuck in the middle with you
And I'm wondering what it is I should do
It's so hard to keep this smile from my face
Losing control, yeah I'm all over the place
Tippas to left of me
Gromas to the right
Here I am, stuck in the middle with you
Trying to make some sense of it all
But I can see it makes no sense at all
Is it cool to go to sleep on the floor?
'Cuz I don't think that I can take any more
Letteras to left of me
Skyriters to the right
Here I am, stuck in the middle with you
- With apologies to Stealer's Wheel

Order of Accurate Typists

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In late October 1915, James Nelson Kimball (1855-1943), for 25 years the organiser of the world speed typing championships, founded the Order of Accurate Typists. For what exact purpose the order was established is not entirely clear, other than to further the cause of the Underwood Typewriter Company.
James Nelson Kimball (1855-1943)
The New York Times, July 23, 1943
Anyway, perhaps the approaching centenary gives us yet another excuse to spread the cause of typewriting in general. First, here is a mock-up of a certificate the reader can print out and fill in her or himself.
Below are sheets of text from the Remington, Royal, Underwood and L.C.Smith & Corona companies which enable typists to test the number of keystrokes they can achieve in any given time. Generally speaking, keystrokes (including use of the spacebar) were divided by five in these tests to give an accurate number of words typed. I have only included here one page of text, the first page of tests from each of the four major US companies - most go up to four pages. And I have many more of the tests in full, issued by these companies on a monthly basis, if anyone is interested in extra texts. Please don't hesitate to ask.
Below is a gauge which can be printed out and used to count keystrokes across an A4 sheet of paper. Copy the image, then turn the image vertically and format it to the correct length (width between the margins on an A4 sheet) when placing it on a Word Doc to print out.
Below are a couple of sample one-minute tests. The first was set in 1922 for "novice class" (first-year) typists, although it goes up to 182 words. For most of us, typing the first five lines (70 words) accurately in one minute would be considered pretty good going. The reader will see that the original owner of this booklet had tested her or himself by pencilling a word count into the margins.
The second test was set for world professional champion George Hossfeld for a typing sprint held at the end of the professional championship event in 1922, which he won over an hour's typing by averaging 144 words a minute. In the celebratory one-minute sprint, he typed 160 words:
HINTS FOR TYPING TESTS
Don't be ginger about testing your typing speed
(and awarding yourself a certificate)
Adopt a proper posture
Keep a straight back
Irma Wright
Albert Tangora, standing right, 1926
And don't slouch forward
Try to use at least two fingers!
Don't cross your legs or smoke a pipe
And avoid typing on top of an elephant
Instead, find a good writing surface
(the ones shown below are not recommended)
And don't get distracted
 Even by the cat
Or the boss
Or a camera
 Or by what's going on outside
Even if an A-bomb goes off
Or your typewriter bursts into flames
And in the absence of an exploding typewriter, make sure you have some decent light

Directions for Operating the Gorin Billing and Tabulating Attachment on Remington Typewriters Pre-1907

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This device, outlawed in 1907, was also used on a New Century typewriter. The full handbook for this New Century model can be seen here.
Frederick Proctor Gorin
Born November 7, 1864, in Louisiana, Pike, Missouri
Died September 27, 1933, in Seattle, Washington
The following is from Charles Vonley Oden's Evolution of the Typewriter (1917).
Oden worked for Underwood.
TABULATORS
The typewriter, for typewriting in its simplest form, having been thoroughly established, inventors were making every effort possible to improve the machine and develop its practicability. For example: The earlier typewriters were not practical for doing statement or form work; it was necessary to strike the space bar for each intervening space between various positions of writing on the same line, then lift the carriage and compare scales. This was very necessary, and work of this character could not be done with any degree of facility and accuracy.
Many attempts of various kinds and classes were made to produce a tabulating device that would be practical, but among the many only two are entitled to recognition, all others embodying practically the same principle. These are the Gathright and Gorin, the latter being an infringement on the former.
GATHRIGHT— On January 15, 1889, Joseph B. Gathright*, of Louisville, Kentucky, filed application and secured patent (No. 436916), September 23, 1890, for a tabulating device. The use of this invention permitted the carriage to move forward from one position to any other desired position, skipping the regular spacing controlled by the rack, and indicated by the scale on the machine. This device made it possible to do billing and other statement or form work easily and accurately by mechanically skipping spaces desired to be left blank. This was accomplished by touching a key that released the dogs
from the rack and permitted the carriage to pass to a fixed position, where its course was arrested by a stop. The number of columns was limited only by the number of engaging stops.
For reasons unknown, this patent was not used by any of the typewriters manufactured at that time. Its value, however, was immediately appreciated by those responsible for the development of the Underwood, who secured control of the Gathright patents and embodied them in the construction of the earliest Underwood machines. This invention increased the value of the typewriter inestimably as it was the initial step to the many uses in which the typewriter has been employed in the various forms of billing, bookkeeping, statement work, etc.
*This man was not Joseph B., as Oden claimed, but Josiah Baker Gathright (1838-1919):
GORIN — On January 3, 1895, F. P. Gorin, of Chicago, Illinois, filed application for a patent on a tabulating device, which was awarded him May 5, 1896 (No 559449). This patent was assigned to the Remington Typewriter Company and the device sold as an attachment to their machine at a price of twenty dollars each above the list price of the machine.
The Underwood typewriter, which was first produced in practical form about the year 1896, entered suit for infringement upon the Gathright patents, and after several years of litigation, established through the courts their claim of priority as sole owners of this device. It will therefore be understood that all mechanical spacing devices that permit the carriage to move forward any number of spaces in excess of the single regular scale space, used by all machines, whether they be called tabulators, column selectors, self-starters, or any other name, embody the principle contained in the Gathright patents, which belonged to, and was a part of, the first Underwood. 
Los Angeles Herald, January 27, 1907

Reprise: Tom Waits and his Underwood

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This photograph of Tom Waits in his den in Sonoma, California, has yet again appeared in an Uncut publication, this time an edition devoted entirely to Waits and his music. I first published it on this blog almost three years ago now. It's had a lot of airplay since then.
From
KT = Katherine Turman
From

Remstar 2001-Facit 9401 Electronic Typewriter

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This Remstar 2001-Facit 9401 electronic typewriter (serial number 6146436) was owned by leading Australian public servant Alan Salisbury (1917-2004), who on May 7, 1987, paid Australian-owned company Remington (incorporated in New South Wales) a staggering $1525 for it. With the purchase, he traded in a Remington 713 electric for $350 (see below). 
These font sheets show the various "printwheels" available for the Remstar.
Here is an example of the Remington 713 electric, the model traded in for the Remstar in 1987:
Alan George Salisbury played a key role in helping to progress Australia’s war effort in World War ll and was involved on the financial side in developing some of the early post-war defence policies as well as negotiations for the re-equipment of the services. He was the last survivor of five remarkable men who made up the working side of the War Cabinet Secretariat, set up in 1941 to record and process the proceedings of the War Cabinet and the Advisory War Council. It was disbanded in early 1946.
Towards the end of the war and immediately after, Salisbury was involved in processing recommendations for bravery awards, including sorting out the problem of more than 100 American decorations for Australian servicemen. 
After the war, Salisbury worked on reconstruction, the reorganisation of the defence forces from a wartime to a peacetime footing, major initiatives in defence policy and re-equipment of the services. 
The Defence Department, for which he began work in April 1934, moved from Melbourne to Canberra in 1959.
When Britain approached Australia about establishing a rocket testing range, Salisbury was involved in the negotiations. This resulted in the Long Range Weapons Establishment being sited at Woomera. Salisbury was also heavily involved in the establishment of the US communications base at North-West Cape, Western Australia. This also entailed negotiations with landowners and WA Government over the transfer of land to the US so as to ensure Australia had retention rights over the land. One of the major re-equipment projects that Salisbury had a hand in was the acquisition of the F111 swing-wing fighter-bomber. He made two trips to America for discussions over what Australia was to pay for the aircraft and logistical support. His first visit was to work out the basis for what became the Co-operative Logistical Agreement between Australia and the US. Another US negotiation in which he had a part on the financial side was for Australia’s purchase of the DDG destroyers for the Royal Australian Navy. He also made several trips to Malaysia, Singapore and Vietnam in connection with logistical arrangements and support for Australian forces fighting in the Malayan Emergency campaign and the Vietnam War. 
Salisbury retired in 1972. He was a highly regarded philatelist, who collected for 48 years and wrote a regular column, 'Commonwealth Corner', from 1972 to 1986 in Stamp News, which in 1980 named him Collector of the Year. He was made a member of the Australian Philatelic Order in September 1995. He was also a foundation member of the Canberra Railway Historical Society, of which he was made a life member. 
Salisbury was born in Prahran, Melbourne, on March 14, 1917, and educated at University High School and Melbourne University. He died in Canberra on June 28, 2004.

Pitman's Cincinnati Defence of Mary Surratt

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In terms of things giving impetus to the advance of the typewriter, such events of immense national interest as the Military Commission trial of alleged conspirators in the April 14, 1865, assassination of President Abraham Lincolnshould not be underestimated. Although early work on the typewriter was still two years away, from 1860 the rapid spread across America of new settlements, small town newspapers and mail and telegraph services can be seen in hindsight as making a machine such as the typewriter an absolute imperative. All of this, of course, was followed by the immediate post-Civil War growth of US Government bureaucracy. But for the general public, an insatiable demand for almost instant news about important events, as shown by widespread interest in the conspiracy trial, would in time come to push into prominence the pioneering work of men such as Benjamin Pitman and Christopher Latham Sholes. 
Pitman was the official recorder (that is, stenographer) of the Lincoln assassination conspiracy trial, which opened on May 11, 1865, less than a month after Lincoln's death. 
Typewriter Topics, 1911
The New York Times, December 30, 1910
Upon the advent of the typewriter in 1874, Pitman's leading Cincinnati disciples, Elias and Margaret Longley, were soon able to capitalise. By 1882 they had established the Cincinnati Shorthand and Type-Writing Institute. Pitman's shorthand had been developed and promoted by Eli Longley, who covered for Cincinnati newspapers major trials and political events. (E.N Miner published Longley's Shorthand and Type-Writing Dictation Exercises in 1890, along with other works.) More importantly, perhaps, the typing skills Margaret Longley had acquired, on first the Remington and then the Caligraph, and passed on through her classes and books, enabled the quick transcription of shorthand on a typewriter. Her part in the growing demand for this machine was quite significant.
Benn Pitman
The Typewriter World devoted the lead article of its April 1912 issue to a tribute to Benn Pitman (1822-1910) and his groundbreaking coverage of the 1865 Lincoln assassination conspiracy trial.
The story, written by Typewriter World editor Enoch Newton Miner (1854-1923), contained reference to Pitman, just before his death in Cincinnati on December 28, 1910, writing a statement declaring Mary Surratt"innocent of the crime for which she was executed".
According to Miner, Pitman's claim was reported in a dispatch from Cincinnati which appeared in "the New York dailies" in February 1912. The story said Pitman's statement had appeared in a "local [Cincinnati] magazine".
Miner's interest in Pitman's coverage of the trial was aroused on February 12, 1912, by the 103rd anniversary of Lincoln's 1809 birth. Miner"spent nearly all day at home in [my] library. (It is well known to the fraternity that we have one of the largest shorthand libraries in this country.) Remembering the day, we took down from its shelf one of our largest and most treasured volumes ... and soon were buried in its contents."
The 421-page volume, 6 1/2 by 9 1/2 inches, "handsomely bound in half calf", was Pitman's book of the conspiracy trial.
Pitman had been appointed "official recorder" of the trial and 10 days before the Military Commission passed sentences (on June 30, 1865), Pitman wrote to Judge Advocate General Brigadier General Jospeh Holt, telling him Cincinnati publishers Moore, Willstach and Baldwin were willing to produce in "respectable book shape" a record of the proceedings. Pitman pointed to his earlier work, The Indianapolis Treason Trials, and sought Holt's permission to go ahead with the Lincoln assassination conspiracy trial book. This appeared later in 1865.
Pitman opened his letter with reference to a need "To satisfy the present public desire". His application was approved and endorsed by 11 of the highest-ranking officers in the US Army.
Unfortunately, I can't find online any reference to the 1910 Cincinnati magazine article about Pitman's statement on Surratt's innocence. It is not in The New York Times digital library. There is an interesting post on a site called "Digging Cincinnati History" which contains an obituary for Pitman from the Cincinnati Enquirer of December 29, 1910. But the post is primarily about Pitman's spectacular and heritage-listed house at 1852 Columbia Parkway, East Walnut Hills (above). It does not mention Pitman's "deathbed" defence of Surratt
However, The War Was You and Me: Civilians in the American Civil War (Princeton University Press, 2002), edited by Joan E. Cashin, mentions just such a Pitman defence, saying it was made soon after Surratt was hanged (on July 7, 1865). I cannot find the cross reference to this quotation:
In a review of Kate Clifford Larson's 2009 book The Assassin's Accomplice: Mary Surratt and the Plot to Kill Abraham Lincoln, Elizabeth D. Leopold began, "The degree of Mary Surratt's complicity in the plot to kill President Abraham Lincoln has been a matter of considerable debate since April 14, 1865."
Leopold's review, in The Journal of Military History,  said that in Larson's "estimation Surratt was, unequivocally, 'guilty', for she was the woman who 'nurtured and helped cultivate the conspiracy to kill' Lincoln".
Leopold wrote, " ... with regard to primary sources, I would argue that Larson has relied much too heavily (and without any explicit interrogation of their value) on too few items ... In terms of the actual trial testimony, Larson has depended on recorder Benn Pitman's version, which is indeed useful but not without significant flaws Larson should consider and mention: Pitman, for example, summarized, paraphrased, and reorganized much of what he heard in court, rather than writing out the testimony verbatim in chronological question and answer form. In addition, Pitman's version amounted to the Federal government's 'official' account, and thus inevitably reflected the prosecution's biases."
These comments seem to be at complete odds with Pitman's subsequent defence of Surratt, which is not mentioned.

Try to Remember a Kind of September: The Imperial 70 Standard Typewriter

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This is one of a series of display advertisements for the Imperial 70 standard typewriter which appeared in the Australian Women's Weekly in September 1963. Seriously, it's hard to believe that is more than half a century ago now. Still, it's almost embarrassing to think of ponchos as ever being "chic". Ponchos conjure a completely different memory for me, far removed from typewriters, but that's another story for another time (and perhaps another audience?). I don't recall boaters ever being chic, or oysters for that matter. Maybe a red Ferrari ...
A brandy crusta is a Cognac cocktail. Like petticoats (and shillings), they've faded into a warm but distant mental fuzziness.
 
Ahh, the MGb ... now you're talking!!!

£5 for a Monarch! The Sales War of Australian Typewriter Traders

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On May 22, 1936, the Australian Government introduced drastic measures designed to correct Australia's adverse trade balance with foreign countries, including the United States. The US was described as a "poor customer" and an "indifferent buyer" of Australian goods. (In fairness to the US, there wasn't a lot to buy. Australia had little or no industry apart from agriculture.)
The importation of fully assembled US-made typewriters into Australia was reduced by 75 per cent, effective immediately. A total ban on US vehicle chassis was also introduced. Because of these set figures, typewriters and chassis were excluded from a licensing system, adopted to limit imports of other items. Licences for these items were refused unless they became a national necessity, or where employment in Australia was involved.
Thus it was still possible to import US-made typewriter parts, to be assembled in Australia by Australian labour. However, the restrictions meant it was only feasible to import parts for portable typewriters.
This display advertisement continued to appear in the Australian Women's Weekly until December 1936, seven months after the import restrictions came into force.
Apart from typewriter and motor vehicle parts, items on the controlled schedule included vegetables, asparagus tips, cotton piece goods and artificial silks piece goods, corsets, men's and boys' felt hats, iron and steel plates, lawn mowers, toilet preparations, including face and talcum powders, boots and shoes and women's dresses (suddenly a small sewing machine industry emerged, with Government aid) and diesel engines.
During 1934-35, the total value of Australian imports, including typewriters, had been a crippling £17.3 million. The Government firmly stated "The object of [the restrictions] is not to permit any of these goods to come into Australia from the United States and other non-buyers of Australian goods."
As far as typewriter sales in Australia were concerned, the immediate consequence for this country's two leading dealers, Chartres and Stott, was the necessity to appeal across the country for second-hand machines to "rebuild" or "recondition". The writing was on the wall for them: the severe import restrictions would mean the supply of new typewriters would fall way short of demand. And in order to survive, Chartres and Stotthad to keep selling typewriters. To add to their woes, the Ottawa Conference in 1932 had doubled the import duty on new typewriters from 10 per cent to 20 per cent.
Chartres was the Remington agent, Stott was in partnership with Underwood. But it suddenly didn't matter which brands they bought or accepted as trade-ins on generous terms. They just needed typewriters, any typewriters, to rebuild.
And so it was that in mid-1936, a second-hand standard typewriter sales war broke out. The prices were ridiculous.
The Australian typewriter sales war lasted four years, and then a real war broke out. And during the World War II years, the onlytypewriter-related display advertisement which appeared in Australian publications (repeatedly from 1940-45) was this one:
Yes, that's right, Australians could not replacetypewriters with new ones!

The Semagraph Typewriter

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Buford Leonard Green, of Charlotte, North Carolina, is seen here in March 1932, feeding coded typewritten copy over an "electric eye" device attached to a Model 8 Linotype.
The Semagraph typewriter's typebar
The Semagraph typewriter on which this coded copy was typed was patented as a separate entity of the Semagraph system of remote typesetting.
Blue Streak Model 8 Linotype
In 1928, an experienced Charlotte, North Carolina, newspaper Linotype operator, Buford Leonard Green (born January 1, 1893, Cleveland, NC; died July 12, 1947, Charlotte, NC), invented an electric typewriter-based remote typesetting system called Semagraph.
Green successfully demonstrated his invention in March 1932 (image at top of post) after it had been embraced by his employer at the Charlotte ObserverCurtis Boyd Johnson (born November 10, 1875, Knoxville, Tennessee; died October  6, 1950, Charlotte, NC), who established in February 1933 an incorporated company to make the Semagraph.
Curtis Boyd Johnson
The Semagraph set type automatically by means of the photo-electric cell, sometimes known as the "electric eye". The keys of the Linotype machine were controlled by a beam of light passing through sheets of typewritten copy, and resting upon the photo-electric cell, which converted the light impulses into electric impulses operating the mechanism.
Copy prepared on the special typewriter was fed into the machine, guided by sprocket holes on each side of the sheets. The photo-electric cell unit scanned the copy, reading coded characters which were printed under the typewritten words. The Semagraph deciphered these codes, to operate the Linotype.
Green and Johnson demonstrated a perfected Semagraph for wire service transmission in the Manhattan offices of the Associated Press in June, 1938. A man sitting in the New York offices of AP operated a Linotype in Charlotte. He punched the keys of a typewriter and feed his copy into a metal transmitting device. The result was type set in column width at the Charlotte Observer, 611 miles away. A full page of typewritten matter was automatically reduced to type in this way.

The Semagraph Company had been incorporated in Delaware in February 1933, its entire stock worth $50,000 wholly owned by Johnson, publisher and principal owner of the Observer. Johnson was also sole stockholder of the Curtis B. Johnson Corporation, a personal holding company. Johnson persuaded Green to resign from the Observer and join Johnson's personal company, which funded the Semagraph company. The two companies merged on March 31, 1935, and in 1937 the Charlotte Engraving Company was added. 
The last model of the Semagraph was put to a 15-month test in connection with the publication of the Observer, starting in May 1940, and in August, 1941 was proved to be a practical success. 
Green, a 26-year member of the International Typographical Union until leaving the Observer, preferred not to think about the effect of his labor-saving machine on employment in his craft. Johnson claimed it would lead to bigger papers, thus even more jobs. The ITU assumed jurisdiction over all workers operating the Semagraph
The Semagraph led in 1951 to this invention for IBM, which produced coded strips of paper with data which could, among many other things, be fed into a Linotype:

No Longer Silent

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I bought this burgundy Corona Silent from Derrick Brown in Brisbane some years ago. It was going begging on eBay and I couldn't resist it - there was a time when I could resist very few of Derrick's beautifully presented typewriters. Derrick always packs his machines extremely well, but unfortunately in the case of this one, Australia Post yet again succeeded, as it so often does with valuable cargo, in damaging it. 
The mainspring was broken in transit. Derrick asked me to take the spring drum off the Corona and post it to him so he could fix it. He did that and returned the part to me post-haste. However, in the meantime I had moved on to other typewriter projects, and I put the little cardboard package containing the mainspring to one side. It soon got lost. Which, of course, meant this Silent has been sitting silently, unused, for a very long time.
My shed downstairs has been turned upside down five or six times in the past two months, as close to 200 typewriters have marched out of here demanding to be returned to their cases before they go. On the most recent case dig, this week, I came across Derrick's little cardboard box. And today I bit the bullet, re-attached the mainspring and brought the Silent back to life - clacking away merrily at the top of its lungs.
Sadly, it seems that somewhere along the line I took more than the mainspring off this Corona. The left-hand platen knob is also missing, and I have no idea why I took it off or where I put it. My great fear now is that it is in one of the many boxes of spare parts I have given away this year. Oh dear, I do hope I can find it, otherwise this gorgeous looking machine it pretty much worthless. It's just too beautiful for such a cruel fate.

Built Fortissimo. Types Allegro. Sounds Pianissimo*. The Advertising Life of the Royal Safari Portable Typewriter

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*Strongly (?), swiftly, softly
As the hunt goes on for the Corona Silent platen knob, typewriters leave here by the score and the house yet again gets completely re-arranged (space is magically appearing all over), I have managed to reach the stock of Royal Safari portable typewriters, or like models (Imperial, Sabre, Caravan, Custom et al). Some time ago, when Nick Bodemer asked about my apparent prejudice against Royal Safaris (one wouldn't think so by the number I own!), I decided to type test the lot. But before I do that, here are some full-page advertisements for the Safari from LIFE magazine, November 1963 to December 1967:
Most references have the Safari as being launched in 1964 (Wikipedia, OMEF etc). In fact, it was launched in late November 1963 (above). Dylan used his Caravan at Woodstock in August 1964.
February 1964
May 1964
September 1964
November 1964
 December 1964 
 March 1965
 May 1965. Royal McBee is now owned by Litton. Sometime after this, Safaris are made by Messa in Portugal.
 September 1965
December 1965
September 1966 
 October 1966
December 1966
December 1967 

Swingin' Safaris - With Directions

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Corralled for type testing

Bert Kaempfert was the first person to record The Beatles,
but that's a story for a different safari.
1964 Safari manual















Custom






Sabre and Custom III manuals









House of the Falling Typewriter

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Last Wednesday's Blood Moon
The view of the Canberra night sky from my front porch 
On Wednesday evening we had a "Blood Moon" over Canberra. According to the Book of Joel, a "blood moon" is an omen of the coming of the end times - "the sun will turn into darkness, and the moon into blood, before the great and terrible day of the Lord comes".
Lord knows where that idea comes from. For me it was a good omen, a sign of better times.
And sure enough, the next day this house literally bled typewriters. Not that I said "bloody good riddance!" to any of them.
There are now just 287 left between these four walls (and three ceilings), down by 200 from a mere two months ago. By Christmas it'll be much closer to 200 than 300 left.
That's not counting 16 waiting in the departure lounge, marked for urgent attention. But it isincluding 87 which, prophecies aside, will remain here, hopefully for a very long time to come. It also includes quite a few which, I'm afraid to say, are destined for an undignified "Blood Moon" end - things like blood-coloured Monptis, anaemic Underwood 16s and Antares Compacts and purple Nakajimas. Ugh! 
"Out my front door"
No fewer than 53 departed Swinger Hill in one load on Thursday evening, including three Adler Model 7 thrust-action behemoths, a magnificent duo tone red Remington Model 2 portable, a pink-and-grey Galah Olympia SM7 (see the cover of Paul Auster's typewriter book, artwork by Sam Messer), a black-and-gold Royal Eldorado in near to new condition, a mustard Montana Luxe with bright blood red keytops, a lovely congealed blood burgundy Groma Model N and an Olivetti Studio 42 and Olympia SM1 in crinkle black.
Although this house had already hemorrhaged about 145 typewriters in the past month or so, it wasn't until after Thursday's raid that I really began to become aware of loads of empty spaces, in the lounge and in the upstairs rooms. Until Thursday, gaps that had appeared had been quickly filled and the absences went unnoticed. That made this downsizing process just a little less painful.
I am particularly thrilled that my collection of Depression Era and other cut-price 1930s typewriters has stayed intact and remains in Australia, and has now been put on display in the Canberra home of Ray and Alice Nickson. Ray and Alice already had a Remington 3B and want to complete a set of at least 10. I may even be prepared to part with my last Rem-Blick. The Nicksons have added these six, seen below before they left here, to a Bantam and a Monarch Pioneer, both with some blood red keytops (like the Rem 3B):
The one being at this address not feeling any perceivable pain is Charlie the Typewriter Guard Cat. At the start of the downsizing, Charlie took immediate delight in vacated shelf spots. Not so much because he had fewer typewriters to guard, but because he had new places to hide.
Contrary to the "Blood Moon prophecy", the sun here last week turned to a bright gold, not darkness, and Charlie was able to squeeze past typewriters and get outside to enjoy a roll in the grass I laid for him before the onset of winter.
OK, now for more serious matters. As much I too would like to be rolling about in the grass on sunny days, visits here to collect large loads of typewriters, up to 57 at a time, have meant this house, and most especially the shed downstairs full of typewriter cases, has been turned upside down five or six times. It's been time-consuming and disruptive, and with my fragile state of health, a huge drain on my very limited stores of energy. But while exhausting, this has been, admittedly, well worth it financially.
In an effort to make access to the cases easier, I dumped dozens of large cardboard boxes, which I'd been keeping, thinking one day I'd use them to pack typewriters for shipping. Now I have to match cases to typewriters and find boxes for the 16 machines which I urgently need to post (seen above).
On top of all this, I've restored typewriters for friends, serviced others, have had people come by to buy typewriters, and have made preparations for my No 3 son's wedding in three weeks' time. We celebrated his 26th birthday last week.
So, yes, I have neglected some things, and those 16 typewriters are very much at the top of that list. If any of the six people who had decided to buy those typewriters have grown tired of waiting for me to deliver and now want to pull out of the deal, I would fully understand and accept their decision. I'm sorry, and I don't want to give the impression that I'm making excuses. It's just that I've simply been overwhelmed by all these typewriter sales, that's all there is to it. And I am getting to the 16 as quickly as I can.
At least I have succeeded in satisfying three "customers" in the past month or so!

Urgent Need for Typewriter Insurgency in Hong Kong

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It's funny the way certain diverse events can somehow become linked in one's mind. When I came across this 2012 Hong Kong stamp yesterday, I immediately thought "Insurgency". And naturally, by extension, "Typewriter Insurgency". But I was, of course, primarily thinking about the Umbrella Revolution, the pro-democracy demonstrations which have been going on in Hong Kong for three weeks now. I'm not necessarily, as Gerard once jokingly suggested, a "bad-mouthing, China-smearing son of ... bourgeoisie", but I am quietly cheering for the mob! Go people power, go insurgency (all very easy for me to say, from the comfort on my own lounge!).
Activists seeking electoral reform want to take things back in time, at least in terms of freedom of choice, to before Britain returned sovereignty over Hong Kong to China in 1997. How far can they go in restoring the past? On my many visits to Hong Kong in the mid- to late-70s, I always used portable typewriters. It never crossed my mind back then that there'd ever be a call for a typewriter insurgency. Or a cry for democracy in Hong Kong, for that matter.
Well, in Hong Kong right now, there is a very real need for a Typewriter Insurgency, to go hand in glove with the Umbrella Revolution. "Parties unknown" have hacked pro-democracy websites, riddling them with nasty malware that attempts to take over the computers of demonstrators. For the full story, see here, here and here. The solution, of course, is quite obvious. It's time for typewriters to strike back! No "parties unknown" can hack into typewriters, and typewriters can facilitate safe communication between these groups. All they would then need is some real mail ... and a stamp.

Dinky Olivetti Lettera 22 Portable Typewriter Handbooks

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These dinky little Olivetti Lettera 22 portable typewriter handbooks came in true pocket-size editions. The first one, from 1955, with the black cover, measured 3 5/16 inches by 4 7/8 inches (8.4cm x 12.3cm). This is for the original Lettera 22, in taupe with an embossed brand name on the paper plate. The second handbook, from 1963, came in a red plastic binder, 3 1/8 inches by 4 3/4 inches (8cm x 12cm). It is for the latter model Olivetti Lettera 22s, in pistachio and glaucous.
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