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In Gratitude
I wish to express my appreciation to those kind friends who
supported and helped with the research that made this hook
possible. These includ e the hundreds of students in my classes
over the past six years, the thousands of interested and pa-
tient people in lecture audiences across the nation, and the
many who have written, called, or spoken to me about their
reactions to my research into American media.
Though the publication of Subliminal Seduction plunged
my wife and me into a verita ble caldron of often painful
controversy, we have been steadily encouraged with the
realization we are not alone in our anxious concern over what
appears to be happening to the people of North America.
Ruthless avaricious self-interes t, indifference toward human
suffering, repressed blindness toward realities, and endless
sensory indulgences are the modern four horsemen of the
Apocalypse. It is at least co mforting to know they are so
widely recognized.
Many, many students contributed to the manuscript
research, far too many to ever individually thank. A handful,
however, worked closely over many months on areas critical
to the book's factual structure. These included James
Johnston, R. Lee Palser, and Peter Stemp—who also con-
tributed heavily to my earlier book—and Carol Applegate,
Darlene Bourdon, Rosemary Broemling, Grace Ciappa, Peter
Clare, Steven Collins, Mark Hammon, Ron Ludlow, and Dan
Peterson.
I was also grateful for the exchange of information on The
Exorcist with feature writer Joe Campbell of The Delaware
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M EDIA S EXPLOITATION
State News & Daily Eagle. John W. T. Judson, Canadian so-
licitor and good friend, helped hold the Philistines at bay un-
til the manuscript could be completed.
Special and affectionate appr eciation should be expressed
for both their friendship and their encouragement to a very
long list of colleagues which included Marshall, Corrine, and
Eric McLuhan, Orrin and Evelyn Klapp, Jean Veevers, and
Douglas Cousineau. Dr. Murray Ho over's humanistic orienta-
tion toward the complex world of addictive behavior was
much more important than he will ever realize. Artists Henk
Vervoets and York Wilson helped importantly by sharing
their unique perceptions of reality. Ian Connerty, Canadian
political scientist, supplied pragmatic insights into the com-
plex politics of the communication industry.
And, finally, once again Jean Stone should receive a medal
for valor in return for her patience with my overly creative
grammar and original spelling.
This author was fortunate to know and honored to work
with people such as these.
W. B. K.
Costa Mesa, California
VIll

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The perverse are hard
to be corrected, and the number
of fools is infinite.
Ecclesiastes 2:16
MaMa Media: An Introduction
Marshall McLuhan started his introduction to Professor
Key's earlier book, Subliminal Seduction, with a joke: A
customer in an antique shop asked "What's new?" It has
taken me a full year and a caref ul reading of this new book
to appreciate the depth and seriousness of what I had initially
perceived (and forgotten) as a cute little joke. What's new is
old and has a lot of meaning if we expend the time and effort
to perceive that what is new is what is old. Advertising is old,
but its technology is new. The theories of human behavior
upon which effective advertising is based are old, but the
techniques used are new. The audience, in one way or an-
other, is forever new: new becau se of age, or new because of
innocence.
This is what Professor Key's book on Media Sexploitation.
is all about. It is a comprehensive and integrated work, which
demonstrates how theories of human behavior are surrepti-
tiously being used by some advertisers to manipulate, control,
and direct our buying behavior. Where his earlier book dealt
primarily with visual deceit, this book continues not only with
more examples of visual deceit, but also extensions into audi-
tory and olfactory deception techniques.
In his chapter on The Exorcist, Key reveals the remarkable
way both audio and visual tech nologies were integrated and
mutually reinforced to produce the film's frightening effect.
Brief flashes of light on the screen projected consciously im-
perceptible death-mask appariti ons. Strange and frightening
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M EDIA S EXPLOITATION
sounds, in what might be called an audio collage, wove in
and out of scenes to height en the sensation of fear.
A variety of similar techniques are also discussed, which
attest to the overwhelming ability of media to manipulate
man—to produce uncontrollable fear and deep visceral re-
sponses. In his chapter on odors, you will gain new insights
regarding Mr. Clean and the sperm whale. You may be
shocked when you read about the drug culture and rock
music.
Modern technology has provided new ways to manipulate
sight, sound, and smell in multis ensory approaches to human
deception, which are designed to bypass our conscious de-
fenses and enter our subconscious.
Professor Key's concern is not so much that we are ex-
ploited, as that we do not know that we are exploited. He has
no quarrel with mutually agreed-upon seduction, but is vio-
lently opposed to deceitful seduction—and so against sexploi-
tation.
Even when we are given overwhelming knowledge of this
sexploitation, as Key has provided, we are somewhat reluc-
tant to believe it. Even if we get to the point of believability,
we feel helpless in combatting it. But combat it we must, be-
cause unless we do, it can become a malignant, psychologi-
cally terminal disease.
So what's new? Better yet, what's old? One thing that's old
is sayings like "Don't let them pull the wool over your eyes."
It's so old and so familiar that we have put it in the dead-
storage compartment of our me mory, where it has gathered
dust and rust. We have heard it enough, we know what it
means, we have in a way labelled it, so now we can forget
about it.
So what's new? Well, perhaps we should recycle the old
saying, "Don't let them pull the wool over your eyes" and re-
vitalize it to distill its truth for 1976 and the years beyond.
Old sayings, like works of art, persisted throughout the his-
tory of mankind because thei r message, sometimes hidden,
transcends time and place.
Key's reference to ads based on the classical sculpture The
Three Graces is a case in point. Since we have advanced
from an agricultural to a highly technical society, let us ac-
cept the fact that there are not as many wool merchants
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MaMa Media: An Introduction
around. There are, however, many merchants around mer-
chandizing products which are not much different from one
another.
Ads are designed for emotional, not intellectual impact; in
educational terms, for affective rather than cognitive appeal.
Ad men do not rely on thinking, but rather feeling.
Also, read about how advertising people rely on demo-
graphic and psychographic studies of the population to design
advertising to our individual images of ourselves. The demo-
graphic information tells them about such things as our age,
sex, finances, and the like. The psychographic data tells them
about our fantasies and intimate personal habits. Such data
provide a personal profile that the advertising conglomerate
uses so that their ad fits our profile. When this happens, they
have got us and can manipulate our buying behavior. We've
been had!
So Buyer Beware! Beware first of advertising designed to
project you into a Dizzyworld of Fantasy. This is the message
of Media Sexploitation. So what's new? "Don't let them pull
the ads over your eyes." Beware also that they don't pull the
ads over your ears, nose, or any other sensory input.
Regarding Theory
The theories Dr. Key uses to support his analysis of ads are
not new. What is new—is his perceptual insight that has
strongly related psychological theories to the practices of ad-
vertising. Freud's psychoanalvtical theories, such as the oral,
anal, and Oedipal stages of human development, provide the
rationale behind the themes of many ads. Freud believed that
children grow through a series of dynamically differentiated
stages during the first five years of life. Frustration and anx-
iety accompany each new step in the child's development.
Throughout his book. Key speculates on how certain ads and
media are psycbographically tuned to play on a person's fix-
ations experienced during his personality development as a
child.
The importance of cueing-in information retrieval can be
easily demonstrated by having people look at a picture or an
ad for a few minutes and then asking them to tell you what
they saw. Initially, they will tell you quite a bit, and then less
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M EDIA S EXPLOITATION
and less. When they get to the point of "I can't remember
anything else," provide some ve rbal cues like "remember the
vase next to the books? Tell me about its shape." You will
find that verbal cues trigger information that had been stored
in memory, in such a way that it was not readily retrievable.
Dr. Ralph Norman Haber has written extensively on in-
formation retrieval and picture memory.
According to Key, there is no way to defend ourselvea
from subliminal stimuli, since they circumvent our normal
defense mechanisms—mechanisms outlined by Freud as
repression, projection, reaction formation, fixation, and re-
gression. These are ways that help us deny, falsify, or distort
reality, so—some theorists suggest—we can avoid anxiety and
survive conflicts with socialization demands.
Much of what Freud said about art is relevant to advertis-
ing. Freud saw in art an opportunity to use fantasy for the
fulfillment of wishes that ar e thwarted and frustrated in
ordinary life, either by external obstacles or internal moral
inhibitions. In the following 1913 quote from Freud, try
substituting the word 'ad' for 'art':
... Art is a conventionally accepted reality in which,
thanks to artistic illusion, symbols and substitutes are able
to provoke real emotions. Thus art constitutes a region
half-way between a reality which frustrates wishes and the
wishfulfilling world of the imagination—a region in which,
as it were, primitive man's strivings for omnipotence are
still in full force.
Regarding Research
Roughly speaking, there are two broad categories of
research: experimental and descriptive. Experimental
research consists of a tightly controlled situation, usually oc-
curring in a laboratory, with statistical design, randomized
groupings, etc. Professor Key's work is not experimental, but
rather descriptive, as was Freud's. It occurs in the so-called
"real world" and consists of careful gathering of data through
observations, surveys, interviews, and so forth. Both methods
can be valid or invalid depending upon how rigorously they
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MaMa Media: An Introduction
are conducted. Both hope to extend our field of knowledge by
testing existing theories and hypothesizing new ones.
One interesting thing about Dr. Key's research is that it is
based firmly on actual observable situations in media and ad-
vertising that are not experimentally contrived. He uses mul-
tidisciplinary theories to relate these observations to theory.
Our beneficient ad and media men are spending billions of
dollars each year to provide Dr. Key with interesting research
stimuli he can use to test the validity of existing theories of
human behavior. More researchers should take advantage of
this resource. Marketing researchers have, but their studies on
the effect of advertising and media are highly secret and
made for quite a different reason.
Key's studies are highly innovative, as were Vance Pack-
ard's back in the early sixties. It is heuristic research, which
helps us discover and learn and encourages further investiga-
tions. Testable hypotheses based on his work should find their
way into the galaxy of social scientists who are doing experi-
mental research in the univers ities. This could provide con-
verging independent data, useful in supporting or questioning
his position.
Theories in Key's thinking are only tools which provide a
structure for inquiry. They need only be useful to justify their
existence. Some may consider his research too speculative
and not supportable. Time will have to decide this. In the
meantime, while the scientific community studies human be-
havior in laboratory situations. Key studies it in the world of
media and advertising, gathering evidence on how human be-
havior theory is being used by some to manipulate our buy-
ing, regardless of the cost to the human psyche.
Regarding Technique
One of the major techniques used to teasingly bide or dis-
guise information—that of embedding—is not new. A few
years ago, I visited the New York Metropolitan Museum to
see a special display of fine old tapestries from France. They
were, of course, beautiful, breathtaking, colorful, and highly
tactile. Some were unbelievably large, covering huge walls. A
few were unbelievable because of the peculiar shapes and
sizes of phallic symbols embedded in the foliage. Perhaps the
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M EDIA S EXPLOITATION
crew of artisans were at odds with the nobility who commis-
sioned the work and decided to make a nonverbal state-
ment—to broadcast their grievances to the world.
A recent exhibit at Xerox Square, prepared by Lillian Sil-
ver, entitled "Curious Decepti ons in Art and Play" further
demonstrated how far back this technique reaches. Hidden
portrait-type pictures were a favorite of eighteenth-century
artists, who would use the technique for satirical comment on
current events. Likenesses of royalty, politicians, and military
men would be hidden by the artists in foliage, flowers, urns,
architecture, and landscapes. Tw o centuries later, this phe-
nomenon was discovered and experimented with by the Dan-
ish psychologist Edgar Rubin, who was studying the role of
figure-ground relationships in visual perceptions. His famous
reversible figure-ground profile s and vase, first published in*
1915, have been used over and over to illustrate countless
psychology and other textbooks- Highly illustrated informa-
tion on this can be found in my Perception and Photography
(Prentice-Hall, 1975), which presents a Gestalt approach to
how we process visual information by simplifying it.
Embedding of figure-ground is used extensively in prepar-
ing some advertising copy. What you see when you look at
an ad is called figure and it is always against some ground.
Black letters on this page, fo r example, are figure. You do
not attend to the white shapes around the letters that serve as
ground. Old sayings such as "Be sure to read between the
lines" and "What is not said is more important than what is
said" have a common origin with embedded information. The
art of embedding involves the application of skills, technol-
ogy, and understanding of human perception and behavior to
arrange information, so that what is obvious is seen as figure.
This serves as a decoy for the real message, which can be
hidden within the ground (folia ge, flowers, landscapes, reflec-
tions in bottles, ice cubes, symbols, and so forth). Although it
is not consciously obvious, it may very well be obvious to our
subconscious and recorded there. If the medium is the
message, as McLuhan suggests, then perhaps the medium is
ground. Ground is message, figure is decoy—so Buyer Be-
ware!
Contemporary artists who have used ground to deliver
their messages include such notables as Salvador Dali, in the
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MaMa Media: An Introduction
"Slave Market with Apparition of the Invisible Bust of Vot-
taire" and Maurits Escher, who began using figure-ground
designs as early as 1921. These works were discussed in
Scientific American articles by Fred Attneave and Marianne
L. Teuber.
Another interesting technique used to embed is the use of
anamorphic images—what you see yourself as when you look
into a funny mirror at an amusement park or into a shiny
coffee pot at home. The image is highly distorted, often gro-
tesque, consciously distinguishable at times, but at other times
not. Again, the technique is not new. As early as 1533, Hans
Holbein painted The Ambassadors, two dignitaries with el-
bows resting on a mantelpiece and an eerie, slanted anamor-
phic painting of a consciously unrecognizable (except when
viewed from a certain angle) human skull, seemingly floating
in the air—perhaps a subconscious death message.
Surprisingly few people, including artists, are familiar with
anamorphic art—except, of course, those in advertising. Pho-
tointerpreters and optical engineers are very familiar with
anamorphic problems, but from a different point of view.
Anamorphic images are sometim es planned, sometimes acci-
dental. Professor Key refers to an article written by Gay
Talese, in which a young boy reveals a true account of his
twenty-year obsession with a nude photograph. My curiosity
aroused, I located the article in the August 1975 issue of
Esquire. When I looked at the photograph, it puzzled me why
such a benign-looking picture should have such holding
power on a man. A careful study will reveal a mysterious and
awesome shadow alongside the nude woman—an anamorphic
projection of her own shadow, which would look quite nor-
mal if it had fallen on a flat surface. It is rather eerie and
compelling, as is the anamorphic skull from which she turns
her face. The picture is much more than a nude lying on the
sand, and there is much more th at can be said about it. For
more information about anamorphic art, try the January
1975 issue of Scientific American.
Regarding Believability
When you finish reading Media Sexploitation, you should be-
come a believer in the potential power of media and advertis-
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M EDIA S EXPLOITATION
ing to influence, control, and direct our behavior. You should
also become a thinker and look at media and advertising in a
more critical fashion- Stop, Lo ok, Listen, and Question. Talk
back to the ads that you see and hear, question their intent,
analyze the techniques being used to persuade you. Consider
your personal needs and possible shortcomings and decide
whether or not the ads are not , in fact, exploiting your
weaknesses, fears, and anxieties. Not all advertising exploits,
but the ads that do constitute advertising malpractice.
The purpose of advertising is to persuade, to sell products.
For some advertising agencies, this may mean selling re-
gardless of the human consequences. Advertising is very big
business and, at times, under th e archaic illusion that what is
good for advertising is good for the country. Advertising is
part of a much larger conglomerate, which includes Market-
ing and Media. All are interdependent, but are dependent
upon the consumer for survival. And there, dear friends, is
where our collective strength lies.
Richard D. Zakia
Director/Instructional Development
Rochester Institute of Technology
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Contents
"MaMa Media: An Introduction," by Richard D.
Zakia xix

The Commercial A

riation of the Unconscious 1
2
The Gay Playboy's Penthouse 16
3
The Fashion Massage 36
4
Children of the Tit Culture 52
5
The American Clean 64
6
That Clean, Odorless Smell 79
7
The Exorcist Massage Parlor 98
8
Subliminal Rock 117
9
Cultural Conditioning for Addiction
146
10
The Filter Tip Medicine Show 163
11
All the News That Sells 180
12
Even the Killings Are Funny 206
Epilogue 217
Appendices
A—Bridge Over Troubled Water 218
B—The Canons of Journalism 219
Bibliography 222
Index 225

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People who want a sane, static,
measurable world take the first
aspect of an event or person and
stick to it, with an almost
self-protective obstinacy, or by a
natural limitation of their
imaginations. They do not
indulge in either deepening or
magnifying.
ANAIS NIN
D. H. Lawrence: An Unprofessional Study
Can democracy survive
the mass media?
ROBERT CIRINO
Don't Blame the People
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... one of the chief sources of
cultural paranoia is the ever-
widening rift between the
beliefs of a people and their
actual behavior, and the tacit
assumption among these same
people that this practice—this
contradiction between idealism
and practice—is a normal state
of affairs.
LIONEL RUBINOFF
The Pornography of Power
The Subliminal Sell
This book probes the individual and social effects of mass
communication media, their use of subliminal techniques, and
what these media are doing to American society.
The American culture was founded upon the basic concept
of free will—the belief that all individuals can in their own
interest consciously determine for themselves their moral
values, political and economic interests, and social environ-
ment. Indeed, free will is the foundation of all Western dem-
ocratic and republican philosophical thought. Therefore, it is
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M EDIA S EXPLOITATION
especially difficult for Americans to believe this treasured
concept of free will has been subverted and appropriated in
the interest of an efficient merchandising-consumer oriented
economic system.
It may also be difficult to believe that a secret technology
has existed and been in widespread use for years which modi-
fies behavior invisibly, channels basic value systems, and
manages human motives in the interest of special power
structures. This all reads much too much like the past half
century of science fiction.
In spite of the evidence presented in this book, most Amer-
icans will still find it difficult to believe that their trusted,
high-credibility information sources long ago betrayed them
into the hands of profit-hungry marketing executives who
have quietly researched, developed, and exhaustively applied
a subliminal technology of communication that now appears
to be driving larger and larger segments of the population
into pathological behaviors.
"Subliminal," of course, is merely another word for the
unconscious, subconscious, deep mind, third brain—there are
a dozen labels which have attempted to describe the portion
of the human brain which retains information and operates
without our conscious awareness. Today, subliminal stimuli
assaults the psyches of everyone in North America through-
out each day of their lives—from infancy into old age. The
effects of this bombar dment are cumulative.
Subliminal stimuli in art often involve humor. Many theo-
ries of humor, in fact, involve the invisible functions of the
unconscious. To some extent, we all enjoy being tricked—
being made victims of our own illusions and fantasies. Amer-
ica's popular literature is rich in archetypal fables about the
con artist or magician who d eceives someone by manipulating
their greed and selfishness. We become angry only when we
discover the deceiver has taken ad vantage of us individually
instead of the other guy. And, of course, we are usually un-
willing to concede we have been tricked, or unwilling to con-
sciously admit to our greed and selfishness which made us
vulnerable.
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The Commercial Appropriation of the Unconscious
Jantzen Looks for You?
To briefly illustrate subliminal stimuli, study the rather innoc-
uous advertisement for Jantzen swimsuits that appeared in
the Canadian edition of the April 1972 Reader's Digest (see
Figure 1).
The ad portrays two suntanned models posed crotch-deep
in boiling surf, wearing red and blue swimsuits designed on a
Union Jack motif, still a stirring patriotic symbol for many
Canadians. The fabric designs also incorporate portions of
the red maple leaf, now the national emblem of Canada.
The ad's headline reads, "J antzen looks for you." The
question of at what or where Jantzen looks for you is not
explained. But as the ad copy af lirms, "the All-Canadian state-
ment at better stores everywhere." What could be more
reasonable than urging readers to buy a swimsuit and "capture
a piece of beach where you can watch the sun go by?" His
and hers making "a joint statement in patriotic red, white,
and blue." Who could be so unfeeling as to question the
motives of a company so deeply concerned with good health,
patriotism and togetherness?
Before reading further, I urge the reader to relax and study
the Jantzen ad. How do es it make you feel?
There appear to be several details in the photograph which
do not make sense. First, the female model's trunks do not
fit. Notice the wrinkles and sagging front. Considering the
high cost of commercial art, the least the art director might
have done was find a correctly sized suit for the female
model.
But look again. The female model's trunks also have a zip-
per fly—a highly functional device in men's clothing, but not
really necessary in women's.
On the other hand, the male model's trunks fit quite
snugly. And in addition, bis suit design matches the female's
brassiere. In short, she is wearing his and he is wearing hers.
The art director has utilized a subliminal sex-role reversal
strategy. This dissonant idea of men wearing women's
clothes, highly taboo in our culture, will not be perceived
consciously. But it will be instantly perceived at the uncon-
scious level.
For reasons we will probe later, the unconscious portion of
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M EDIA S EXPLOITATION
the brain is highly sensitive to dissonant elements of a pic-
ture, event, or scene which do not add up logically or which
violate cultural taboos. This sensitivity is easily demonstrated
in hypnosis. Unconscious perceptual sensitivity appears most
acute when the stimuli involves a cultural taboo in subject ar-
eas of reproductive behavior (sex) and death.
Another somewhat disconcerting question involves the fe-
male hand, gently resting upon the female model's hip. With
the wrist at that angle, there is no way it can belong to the
female model—unless her arm is six feet long. The hand,
resting on this erogenous zone, suggests subliminally the pos-
sibility of a menage a trois relationship—two women and a
man. There is a third model standing beside the two models.
Feeling Is Also Believing
Shortly after encountering the Jantzen advertisement, I was
having lunch with a young woman sociology professor and
several other faculty friends. The group was vaguely familiar
with my field of research, but none had seen or discussed the
Jantzen ad.
After she had studied the ad for a minute or so, I asked
the young woman how it made her feel.
"It makes me feel cool, I think," she replied.
"Cold?" I asked.
"No. Cool, fresh, re freshing, pleasant."
"Where does it make you feel cool?" I probed. "Where on
your body?"
"On my thighs," she replied thoughtfully.
"Where on your thighs?"
"Up high, near my—" She broke into a laugh.
Her response to the ad was the kind of response you be-
come familiar with after dealing with subliminal stimuli for
several years. People often respond with quite specific
feelings without conscious knowledge of what is guiding their
response.
Looking at the ad, you might easily justify the "cool"
feeling in the upper thighs as a projection into the cool surf
in which the two—or three—models are standing. But there
was something included in the Jantzen advertisement the pro-
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The Commercial Appropriation of the Unconscious
lessor had not consciously perceived. She was quite surprised
when it was pointed out.
If you hold the ad upside down (see Figure 2), a face ap-
pears in the surf. The face is re miniscent of the old Farmer's
Almanac drawing of the weatherman, cheeks distended, his
puckered mouth blowing the cold north winds down across
the nation. The old weatherman in the surf is—perhaps we
should look the other way—blowing on a delicate portion of
the model's anatomy.
This is a subliminal embed, or at least one form of embed-
ding used to invade the reader's unconscious. There are many
such techniques in use today and they do many things to
people—things besides simply selling products.
The Still Undiscovered Brain
Subliminal stimuli's subtle effects upon human behavior are
most difficult to specify in si mple cause-and-effect terminol-
ogy. At least the symptoms of what "subs" do to people, can
be demonstrated with mechanical devices that register the op-
eration of unconscious processes inside the brain and body—
the electroencephalograph (EEG) galvanic skin response
measurements (GSR); retinasc opes, which measure the com-
pulsive expansion and contraction of the eye's retina; the
Mackworth camera, which tracks the lightning-fast movements
of the eye's fovea across any vi sual scene; the polygraph or
so-called lie detector; and a score of similar devices. The
inked graphs produced by these machines tell us, indeed, that
something is going on. But the precise nature of the complex
process remains largely unknown. One neurophysiologist
friend delights in reminding his more abstract-theory-oriented
colleagues that we do not really understand how a human is
able to lift and lower his 0nger. The interrelated factors in-
volved in even this simplest of all gestures are awesomely
complicated.
Some students of the brain believe we may never know
how the processes work. In the meantime, we can deal with
what goes on inside the brain only through the help of vari-
ous theories. And, there is no co mpletely validated theory of
language or behavior. For example, I have no idea whether
Sigmund Freud, Alfred Adler, Carl Jung, or for that matter,
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M EDIA S EXPLOITATION
J. B. Watson were right or wrong about human behavior.
Perhaps they were all producers on ly of elaborate, self-flatter-
ing illusions. On the other hand, perhaps all hit truth right on
the mark. These great theorists and the many others who
followed them, however, gave us a way of viewing human
behavior that over the past half century has often proven
useful.
One relatively simple, though useful, theory involves a
hypothetical model of the brain as containing two major
systems or levels of operation that respond to perceptual
(sensory) inputs. For the moment, limit your consideration to
these two systems—conscious, or cognitive, and unconscious.
Though they are highly integrated at some unknown level,
each system has the capability of operating independently of
the other. Instead of the simplistic five senses of Aristotle—
sight, hearing, taste, touch, and smell—which are still anach-
ronistically taught in many universities today, there are at
least thirty-seven known, differentiated sensory inputs into the
brain.
These so far definable thirty-seven senses appear to operate
simultaneously and constantly, with a dominant bias shifting
from one sense to another. An enormous quantity of per-
ceived information is thus fed into, we believe, the brain's
outer layer or cerebral cortex. In the cortex small quantities
of data are somehow edited into consciousness. Another por-
tion is directed into unconscious storage. And, much irrele-
vant data is probably dumped.
There is no simple, single dividing line in the brain be-
tween the conscious and unconscious systems. The threshold
between the two constantly shif ts and fluctuates. Perceptual
defenses are believed to involve a rerouting process whereby
threatening or taboo percepts are shunted into the uncon-
scious. Though repression is generally considered the major
perceptual defense, others incl ude isolation, regression, fan-
tasy formation, sublimation, de nial, projection, and introjec-
tion.
What is vaguely called consciousness is a very limited state
of awareness, considering all that is available. The uncon-
scious, on the other hand, includes a vast memory storage
system which includes repressed data that we would find diffi-
cult to cope with at the conscious level.
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The Commercial Appropriation of the Unconscious
"Subliminal" Means Unconscious
Under the term subliminal stimuli, my primary concern here
is with only that group of consciously unperceived words and
picture symbols purposely designed into media with the motive
of soliciting, manipulating, modifying, or managing human
behavior. Most of what we perceive, we have no conscious
awareness of having perceived. Subliminal stimuli probably
account for much of the vaguely defined entities often
explained as "culture" or "aesthetics."
One of the enigmatic aspects of subliminal perception phe-
nomena recently involved a most excellent and comprehen-
sive study published in England by Dr. N. F. Dixon. His
book views perception from the perspective of an experimen-
tal, behaviorist psychologist, and details exhaustive laboratory
research on subliminal phenomena.
But Dr. Dixon's most carefully researched book never once
suggests the author's awareness of what is going on around
him in the real world with great intensity through television,
magazines, motion pictures, newspapers, radio, and bill-
boards. The paradox is eloquent testimony to the power of
human perceptual defenses—those techniques we can use to
hide or disguise from ourselves what is going on around us.
Strangely, these unconscious defenses appear exceptionally
powerful among the so-called "trained observers": scientists,
physicians, engineers, and other specialists.
Most of the available publishe d research on subliminal
phenomena in North America si nce the mid-fifties has been
conducted by eight scholars—G. S. Klein and R. R. Holt at
New York University, L. Luborsky and H. Shevrin at the
Menninger Foundation, C. Fischer at Mt. Sinai Hospital, E.
R. Hilgard at Stanford University, N. F. Dixon in London,
and G. J. W. Smith, who has worked both in the United
States and in Sweden. Though interesting and often revealing,
none of their studies—and I believe most would agree—even
scratched the surface.
SEX in Politics
The word SEX is frequently hidden in political propaganda,
advertisements, and television and motion-picture frames. The
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M EDIA S EXPLOITATION
simple three-letter symbol, usually invisible to consciousness,
appears instantly perceivable at the unconscious level.
In a recent U.S. congressi onal election campaign in Vir-
ginia's 10th District, SEX "embeds" were discovered in the
campaign literature of all candidates except one who could
not afford to hire an advertising agency. In Figure 3, one ex-
ample of embedded campaign literature is shown. If you relax
under a good light, the very lightly etched letters are easily
apparent. Check the marked inset detail. There are in addi-
tion dozens of SEX embeds in this photograph of the candi-
date.
This election was fascinating. When a charge was made
against the use of subliminal devices in campaign literature,
the press around the Washington area generally rallied to the
support of the candidates who had used the advertising agen-
cies. Everyone was aghast at the audacious charge one news-
paper referred to as a "sex hoax" campaign gimmick. Though
many Virginia journalists privately admitted they could
clearly perceive the embeds, they still claimed in print the
whole idea of subliminal perception being used in an election
campaign far too bizarre to be plausible. Yet these embed-
ding techniques have been used in every political campaign
of any magnitude in the United States and Canada for at
least twenty-five years—if not much, much longer, SEX
embeds can even be designed into campaign buttons.
A formal complaint was initiated by one candidate with
the Virginia Election Commission, charging the use of sub-
liminal techniques in the candidates' literature. The commis-
sion refused to accept the complaint, ev en though SEX
embeds are quite easy for most people to perceive if they
merely look for them. The Virginia election proved quite
clearly that most Americans—at least at this point in their
history—do not want to deal with the issue of subliminal
manipulation. The press was also understandably reluctant to
get into the issue, of course, because most newspapers, like
other media in America, are careful not to compromise the
ad agencies.
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The Commercial Appropriation of the Unconscious
A Subliminal Trigger
My research has encountered three specific techniques by
which the word SEX is embedded, for unconscious percep-
tion, in print media. SEX is often painted on a photoengrav-
ing plate with asphaltum and the plate briefly immersed in
acid. The word, usually in a mosaic (an interwoven series of
SEXes), is lightly etched on the plate's surface. The etching
technique is often utilized in photographs that must be pub-
lished with little apparent retouching. Many magazines and
newspapers use the technique on news pictures which help
sell the publication.
A second frequently applied technique involves airbrushing
SEX into a drawing or a photograph very lightly or painting
it into hair, creases in clothing, facial lines, or rough back-
ground surfaces.
A third is to write numerous SEXes (mosaic) on a
transparent overlay for a photograph or drawing. The overlay
is photographed alone at high speed, say 1/2,000 of a sec-
ond, and the overlay is double-exposed over an art layout at,
say, 1/100 of a second. By varying speed and light, the SEX
mosaics can be superimposed into any photograph at any in-
tensity level desired.
In reviewing several thousand magazine covers, advertise-
ments, news photographs, etc., eight embedded words have
been discovered. Admittedly, this eight-word vocabulary of
taboo words, such as SEX (by far, the most frequently uti-
lized), CUNT, and FUCK, is not the most articulate form of
verbal communication ever developed. Nevertheless, the tech-
nique does affect behavior. A surprisingly large amount of
subliminal death symbolism is also utilized—skulls hidden in
ice cubes, clouds, etc., the word DEATH or DETH often
hidden in backgrounds.
During the evolutionary development of humans, sublimi-
nal perceptions were certainly involved with survival and ad-
justment. Creative innovators such as artists, poets, writers,
and composers have utilized man's subliminal potentialities
for many centuries. In at leas t one Rembrandt painting, for
example, a hidden SEX appears. The seventeenth century
Dutch word for SEX was SEKS, SEKSUAL, SEXES. The
simplified SEX would have, in the popular idiom, meant
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M EDIA S EXPLOITATION
pretty much what it means today—sans Freud, Masters &
Johnson, Kinsey, etc.
The use of subliminal techniques in print communication
media has been going on in the United States at least since
the World War I period. Norman Rockwell's first cover on
The Saturday Evening Post during 1917 incorporated
embedded SEXes. Furthermore, up to now, no one outside
the trade even suspected what was going on. Whenever an
embedded word or picture accide ntally became consciously
visible, the readers would pass it off as a joke, an accident, or
a product of their imaginations.
Human perception of reality, at least in our society, de-
pends heavily upon what our peers admit they perceive. And
who would ever openly admit to perceiving such nonsense?
What is "real," therefore, is often the product of consensus
rather than of an individual's critical, autonomous perceptual
evaluation. This may turn out to be man's most vulnerable
Achilles' heel.
SEX Can Also Be Crunchy
Ritz crackers, which are baked and distributed under li-
censing agreements with Nabisco in a dozen nations, offer
purchasers much more than merely a crunchy eating experi-
ence.
Take half a dozen crackers out of the box and line them
up on the table, face upward. Now relax, and let your eyes
linger on each cracker—one at a time. Do not strain to see
the surface, however. Usually in about ten seconds, you will
perceive the message. Embedded on both sides of each
cracker is a mosaic of SEXes (see Figure 4).
The number and precise location of each SEX embed ap-
pear to depend upon the temperature and time during which
each cracker was baked. The SEXes are apparently
embedded in the molds pressing out the dough. When baked,
the SEX patterns vary slightly from cracker to cracker.
There is probably nothing uniquely evil about using
embedded SEX mosaics on soda crackers. In all fairness, em-
bedding really makes the damned things taste better. Visual
stimuli, it should be clear by now, are an aspect of taste or
flavor sensation. No single sense can be isolated in any per-
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The Commercial Appropriation of the Unconscious
ceptual situation. Multisensory media response is not a new
concept in communication theory, nor is synesthesia, stimu-
lating one sensory response via another sense in a crossover
effect.
The idea of SEX-embedded R itz crackers, however, does
produce a rather uncomfortable situation when you consider
the multitude of men and women all of us have known who
seriously argued the quality of crackers, a preferred beer or
cigarette brand, an automobile, etc.
SEX embeds, which at first appear to be crude jokes, have
quite profound behavioral implications. The effects upon soci-
ety of intense, long-term bombardment of subliminal stimuli
have been completely ignored by social and behavioral scien-
tists. This is strange, especially as a large body of philosophi-
cal and experimental evidence de monstrates that subliminal
devices have powerful effects upon human memory. The
memory can be theoretically modeled with at least two
(many would be more likely) levels—one servicing the con-
scious or cognitive mechanisms, the other servicing the sub-
liminal or unconscious.
Hypnosis has frequently been a productive technique of in-
vestigating subliminal phenomena and the level of awareness
variously described as the unconscious. Narco-synthesis—so-
dium amytal and other drugs—has also been utilized with
varying degrees of success. A wide range of studies, from
those done with hypnosis to work such as that of Canadian
neurosurgeon Dr. Wilder Penfie ld, indicates that the uncon-
scious memory is prodigious. Hypnotic regressions have re-
trieved minute data on events consciously forgotten—events,
Bay, from early childhood. Hypnotic experiments clearly sug-
gest that at this unconscious level, each individual has an ei-
detic (photographic) memory potential.
Emotionally loaded or taboo words like SEX, perceived
subliminally appear to firmly fix themselves and their related
content in this unconscious memory system.
The retentive capacity of such a drive and emotion-related
subliminal perception is astounding. Such embedded stimuli
can be retained in the unconscious memory for very extended
periods—possibly throughout life.
The relationship between subliminal stimuli and posthyp-
notic suggestions was recognized as early as 1917 by Dr. Otto
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M EDIA S EXPLOITATION
Poetzle, a Viennese physician. The Poetzle, or Alarm Clock,
Effect demonstrates the power of a "sub" to evoke behavioral
response when certain conscious relationships occur, long af-
ter the initial percept of the subembedded stimuli. For exam-
ple, a subembedded ad for a specific gin brand might never
be consciously recalled. But several weeks after having per-
ceived the ad, the reader might opt for that particular brand
without ever consciously realizing the basis for his decision.
Further, when the sub is consciously perceived, a conscious
memory fix appears to be established—quite possibly for a
lifetime.
Memory Fixing
When this author and his students began collecting examples
of media (advertising, etc.) c ontaining subembeds, each ex-
ample was carefully recorded in card files. After several
months, however, it was discovered that once the subembed-
ded ad was consciously perceived, the example was never for-
gotten. Our collection of subliminally embedded media on
slides now numbers well over a thousand. The original re-
searchers, while reviewing materi al collected as long as five
years ago, immediately recall the subembeds and precise cir-
cumstances that led to their or iginal discovery. Many of these
examples required weeks of anal ysis before their subliminal
embeds were discovered. The Jantzen ad (Fig. 1) required
several weeks of study before all the subliminal details
emerged. But once subs are consciously apparent, they appear
to become a permanent part of the conscious memory system.
Though data is still limited to seventeen verifiable cases, a
startling long-term subliminal stimuli effect upon conscious
memory was uncovered. During the mid-1930s, Life maga-
zine published a black-and-white photograph of a then popu-
lar young movie starlette. The photo depicted the young
woman posed in a strapless evening gown. A subliminal
embed had been airbrushed into skin wrinkles and shadows
under her armpit in the portrait. By blocking off the area of
her bent arm, and turning the picture on its side, a picture of
a female genital area and two shapely legs appeared. The hid-
den detail was publicly discussed at the time—probably
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The Commercial Appropriation of the Unconscious
leaked by the Life publicity offices. Officially, Life rational-
ized the embed as a product of the readers' dirty minds.
This author has encountered seventeen individuals in vari-
ous places throughout North America who clearly re-
membered the picture. Most could identify the year it was
published and the name of the actress. The conscious recall of
one page out of Life—a seemingly innocuous page at that—
after some thirty-five years is remarkable to say the least.
The significance of subliminal stimuli in human behavior
has been exhaustively tested in eight different experimental
contexts. Subliminals have been demonstrated to affect
dreams, memory, adaptation levels, conscious perception, ver-
bal behavior, emotional responses, drive-related behavior, and
perceptual thresholds.
This unconscious provides attitudinal frames or basic per-
spectives or a cultural bias through which our consciously
perceived data is evaluated. If you wish to modify behavior,
tor example, you must somehow penetrate and manipulate
this unconscious structure—such is the work of psychoanaly-
sis, advertising, literature, art, and music. Advertising's
significance, for example, has very little to do with conscious
perception. The last thing most manufacturers would want a
consumer to do is evaluate their products consciously and ob-
jectively.
In individual terms, however, the technology sells—pro-
grams into the brain—much, much more such as ideas,
concepts, fantasies, the basic attitudinal frames for both hu-
man personality and relationships. American media, utilizing
subliminal techniques, has evolved into a massive behavior
modification system. It is curious that psychologist B.F. Skin-
ner never realized that his behavior conditioning system of
stimulus-response-rew ard was a working reality of American
life in the mass communication media. However, the system
that he thought theoretically capable of producing a Utopian
millennium for mankind has some manipulative twists to it
he never anticipated. The magnitude and creative ingenuity
of this behavior modification system—which has been going
on around us for years—was completely missed by Skinner
and by so many others who neglected to look critically into
the "real" world.
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M EDIA S EXPLOITATION
Adaptation-Level Value Systems
In terms of behavior modification, perhaps the most signifi-
cant of the demonstrable effects of subliminal stimuli involves
adaptation-level theory, which can be briefly illustrated by tak-
ing two polarized verbal values such as light and heavy on,
say, a nine-point scale. A pictorial stimuli is then shown any
group and they are asked to evaluate the weight of the object
shown—say, a loaf of bread. The "adaptation level" or "an-
chor point" would be the position on the scale a particular
group (occupational, demographic, psychographic, etc.)
would tend to select as their most common evaluation. For
example, watchmakers likely have a somewhat different per-
ceptual agreement on weight (anchor point) in relation to
heavy and light than would a heavy construction crane opera-
tor.
In a long series of experiments, the ability of subliminal
stimuli to change anchor points was established in relation to
sound, weight, electric shocks, a nd visual size. Most of these
experiments utilized tachistoscopic displays—a high-speed still
projector (1/3,000 per second) that flashes invisibly over,
say, a motion picture being pr ojected. No evidence suggests
significant differences between tachistoscopically induced sub-
liminal stimuli and that induced via other visual or auditory
illusions or embedding techniques. The high speed subliminal
tachistoscope and several other subliminal induction devices
were patented in 1962 and 1966 by Dr. Hal Becker of the
Tulane Medical School.
It is not at all improbable that under intensive, repetitive,
and long-term subliminal bomb ardment, entire value systems
could be rearranged. Moving from adaptation-level anchor
points for loud vs. soft, heavy vs. light, weak shock vs. heavy
shock, and large vs. small to anchor points for good vs. bad,
moral vs. immoral, beautiful vs. ugly, and sane vs. insane is
an unsettling though quite reasonable extension of easily
demonstrated laboratory technology. Marshall McLuhan
commented that, "1984 happened about 1930, only we just
never noticed."
In the Ritz cracker example, the hidden SEX would be
unconsciously perceived, thus adding emotional significance
to the cracker's value. It coul d also connect this symbolic
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The Commercial Appropriation of the Unconscious
value to an individual's unconscious sex drive—one of the
strongest of human drive systems. The sexualization of per-
sons, drinks, food, money, and other objects should be very
carefully studied as it would ultimately change human behav-
ior on a vast scale.
Since American media, through the use of subliminial em-
bedding, has sexualized virtually everything that is advertised
or presented in media, the sexualization of food is perhaps
the ultimate triumph. According to the U.S. National Council
on Health, roughly sixty percent of U.S. citizens are presently
overweight.
As students of subliminal phenomena began to grasp the
wide extent of the phenomena in American life, they have of-
ten asked if there is anything within the culture that does not
ultimately relate to SEX. Even death and violence are heavily
associate with SEX.
Consider the values consciously ascribed to human rela-
tionships, which are often evaluated in terms of sex and death,
often involving various forms of self destruction. The prob-
lem is easily apparent—and fri ghtening—especially as our
perceptual defenses hide much of the phenomenon's signifi-
cance from conscious awareness.
Economist John Kenneth Galbraith, among others, has
pointed out that large corporations cannot afford to compete
with one another. Their survival is predicated upon cooper-
ation and market segmentation. In a truly competitive system
someone stands to lose. If General Motors, for example, were
to lose, Ford would also. American big business has finally
learned that everybody has to protect everybody else's invest-
ment. This is even more ominous when you consider that by
1980, seventy percent of the productive capacity in the non-
Communist world will be controlled by 200 corporations.
These giant corporations, with their huge yearly media expen-
ditures, are literally in control of American culture and its
value systems. In 1974, U.S. ad expenditures totaled $26.7
billion, in 1975 $28.3 billion, and 1976 volume might top $31
billion. Most of this advertising utilized subliminal techniques.
These are not merely a few a dvertisements, but a mind-bend-
ing media saturation of the society.
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Since man lies to himself even
more than to others, the
psychologists should draw
conclusions from what people
really mean, rather than from
what they say or do.
FRIEDRICH NIETZSCHE
Thus Spoke Zarathustra
Nobody Is Doing It
American media publishes and broadcasts endlessly about
sexual permissiveness. The sad reality, however, seems to be
that this hypersexuality is at best only a fantasy, merely an-
other flimflam illusion of merchandising technology.
Current data available on American family life—an aca-
demic euphemism for sex life—portray the United States as a
sexual wasteland. W. H. Masters and Virginia Johnson esti-
mated conservatively that half of North American families
are sexually dysfunctional. Theodore Lidz, head of psychiatry
at the Yale Medical School, estimated that sexual dysfunction
afflicts up to 75 percent of Amer ican families. In a society in-
terminably preoccupied with sex in everything it touches, no
one appears to be getting very much.
Psychologist Rollo May commen ted recently that when Dr.
Alfred Kinsey published his famo us study of male sexuality
in 1948, about 3 percent of adult males appeared to have
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The Gay Playboy's Penthouse
some problem with impotence. Current studies, Dr. May ex-
plained, reveal that over 30 percent of adult males now may
have problems with impotence.
In a survey, several hundred young people were asked who
they privately considered the most sexually permissive group
in American society—the over-th irties or the under-thirties?
Almost unanimously they replied the over-thirties. Older
adults were similarly questioned. Unanimously they replied
the under-thirties.
Simply put, almost everyone in America appears to believe
someone else is getting it all. Many attempts to study the sex-
ual behavior of young Americans have resulted in the same
general conclusions—only a minority can be described as per-
missive or promiscuous. Repeated studies in college co-ed
dormitories, where young men and women freely mixed,
showed that usually less than 5 percent were sexually indul-
gent. Those who paired off, lived together, or sexually played
the field usually left the co-ed dormitories very soon. Many
were actually forced to leave. After their initial fantasy ex-
pectations diminished, most of these so-called "swinging"
dorm residents assumed what could be described as a
brother-sister relationship.
Sexuality is threatening to the American young because of
the restraints on individual freedom that are ultimately de-
manded by the sexual partner, and because of the intimacy
that is eventually required. Ironically, intimacy is highly
threatening to the lonely and alienated—a fearsome prospect
today unless safely projected into the fantasy world of media.
The young Playboy-oriented male attempts to substitute sex
or physical intimacy for deeper involvements and commit-
ments. His search for meaning and satisfaction in human
relationships often involves only images of persons—not per-
sons themselves.
Like most heavily repressed cultures, Americans have
strong sexual vulnerabilities. Sexual interpretations are made
of virtually all human interrelationship phenomena we do not
understand or wish to openly deal with. Almost any subject
can be totally dismissed by simply labeling it—Oedipal, oral,
perverse, deviant, etc. One problem in talking so much about
sex is that talking, like labeling, is an avoidance technique. In
past epochs, a father might have taken his son to a local bor-
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M EDIA S EXPLOITATION
dello where he could be introduced to the so-called mysteries
of life by a skilled (and hopefully patient) prostitute. Today,
American fathers are far more likely to purchase a Playboy
subscription for their sons as an introduction to life's mys-
teries. They cannot be infected with venereal disease by a
magazine, but they will learn little about human sexual reali-
ties from masturbating with embedded pictures of nude mod-
els.
Americans are drenched in symbolic sexualization from
their media virtually from birth. Many young readers,
trapped in the infantile Playboy syndrome, elevate these pic-
torial illusions into icons with near religious significance.
Much like Konrad Lorenz's ducks, imprinted with a human
figure they took for their moth er—American men are imprint-
ed with sex object fantasies—the illusion often becoming fan
more real than the real thing. Masters and Johnson discov-
ered that American men an d women who achieved orgasm
by masturbation from fantasy or pictorial stimuli experienced
much more intense and fulfilli ng climaxes than through ac-
tual heterosexual coitus. There is strong reason to suspect that
the intensity of American's fantasy-provoked orgasm is
unique and a product of media conditioning.
After his thorough training to view women as sex objects,
the media-oriented young American male finds it most diffi-
cult to relate or interact with women as human beings. If the
only real function in a man's or woman's life is to serve as a,
useful sex object, then a man's and woman's value, useful-'
ness, and significance to each other will be short-lived. The
vernacular terms used m America to describe sexual com-
munication, the most beautiful, sensitive, and intimate
relationship experienced throughout life, are crude, hard,
male-aggressive verbs—"to fuck ," "to knock up," "to screw,"
"to lay," "to make," etc. They are more like those words
directed toward conquered and enslaved enemies than toward,
those with whom loving relationships are shared.
Casualty Rates Increase
Best-selling author Gay Tatese, in a July 1975 Esquire article,
documented a Chicago man's sixteen-year masturbatory affair
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The Gay Playboy's Penthouse
with a nude photo portrait from a 1957 photography maga-
zine. The photograph included subliminal techniques.
Interviews with a dozen clinical psychologists and psychia-
trists quickly revealed the Chicago man's experience was not
at all unique. Many American males appear to obtain more
intense gratification from subliminally embedded photographs
of women than with the "real" thing. Sometimes the fixation
focuses upon a single photograph, often several photographs,
which may endure for years, but most often the addiction in-
volves an endless succession of fantasy sex partners collected
and discarded from month to month in what was described as
an "American's harem." Cheesecake art, considered as
harmless entertainment, has addictive potentialities when
embedded with subliminal devices. Indeed, Playboy and its
ilk have changed American sexual mores in far more bizarre
ways than their profit-obsessed editors ever guessed.
Male sexuality superiority may be one of the basic mythol-
ogies of Western civilization. Co nsider that virtually any av-
erage female is physically capa ble of at least a dozen orgasms
every twenty-four ho urs. She can repeat this performance
three or four times weekly w ithout ill effects. To bury the
myth even deeper, each woman is easily capable, phsyiologi-
cally and emotionally, of servicing the sexual tensions of at
least half a dozen men. So why has the mythology of male
sexual superiority been sustained by the economic, political,
social, and religious institutions of Western societies? And
what of the American woman who depends upon the media
for her orientation toward life?
Her life as a sex object is predicated upon her body's abil-
ity to compare favorably with that of an immature child.
Women are carefully trained by media to view themselves as
inadequate. They are taught that other women—through the
purchases of clothes, cosmetics, food, vocations, avocations,
education, etc.—are more desirable and feminine than them-
selves. Her need to constantly reverify her sexual adequacy
through the purchase of mercha ndise becomes an overwhelm-
ing preoccupation, profitable for the merchandisers, but po-
tentially disastrous for the individual.
A woman's usefulness as a mere fantasy fulfillment of male
sexual expectations is necessarily limited. Under these rules,
sexual fulfillment rapidly diminishes. Female obsolescence is
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M EDIA S EXPLOITATION
a very prevalent event in Amer ican family life. The moment
a woman's body and skin matures, she is headed socially
downhill—and sometimes very rapidly. North American sta-
tistics show that divorce around the age of forty is a highly
predictable event. Usually the male remarries a younger
woman, while the aging female is most often headed for lone-
liness and sexual ostracism through the remaining half of her
life.
The Normal Neurosis
North American society has a ve sted interest in reinforcing
an individual's failure to achieve sexual maturity. By exploit-
ing unconscious fears, forcing them to repress sexual taboos,
the media guarantees blind repressed seeking for value substi-
tutes through commercial products and consumption. Sexual
repression, as reinforced by medi a, is a most viable marketing
technology.
One of the most important findings on both major studies
on human sexuality by Masters and Johnson was a reaffirma-
tion that the sexual attitudes that influence and condition us
through life are subliminally—not consciously—induced from
the environment, most especially from the family and home.
This finding would certainly include advertising media as an
integrated part of the American family and home environ-
ment. For example, it doesn't really make much difference
how a parent, school system, or government may attempt to
instruct, or avoid instructing, young people about sex. They
unconsciously learn from the world around them, and such
subliminal "learning" is far more persuasive than any con-
sciously-perceived sermon or brochure.
In other words, those things going on around us that we
take for granted and consciously ignore form the basis for
most value systems and human interrelationships. The most
significant of these subliminal perceptions are derived from
high-credibility sources, of which the public communication
media are among the most virulent and far-reaching.
Advertising creates a massive subliminal environment
where men and women appear most frequently in fantasy
relationships designed to enhance or optimize the mass audi-
ence's consuming orientation. We have, of course, made the
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The Gay Playboy's Penthouse
illusionary media world the real or natural world, permitting
the actual material environment to become quite pale, insipid,
and ordinary by comparison.
Sexually insecure males would probably have great diffi-
culty in admitting that a woman's breasts symbolized mater-
Dal security and comfort. Most men would more comfortably
rxpress themselves as, "Breasts turn me on, excite me." This
statement would appear to their self-image as masculine, vir-
ile, and safe.
One of the earlier, ingenious appeals to doubts over sexual
identity and to latent matern al conflicts appeared on the
April 1967 Playboy cover (see Figure 5). The cover model is
attractive but, strangely, lacks overt sexual appeal. The back-
ground figure appears—at fi rst glance—to be masculine,
while the foreground model appears to be a young woman in
a masculine costume sitting at th e feet of her master, presum-
ably the playboy. It is, of course, this first glance that sold the
magazine on the newsstands. Now, let's look more carefully
at it with much the same care that must have been used by
the photographer for this important illustration.
Several details involving sexuality appear not quite as they
should be—the kind of incongruity to which unconscious per-
ception is peculiarly sensitive. The model's face is curious—
not one line, shadow, dimple, or wrinkle is shown. The out-
lines of the face are sharp—on each side and under the chin.
The face seems flat and one-dimensional,
The cover was tested with ha lf a dozen individuals in a
deep trance level of hypnosis. Each identified the face as a
mask. Several mentioned that the eyes appeared detached
from the face, as though they were peering through from
behind.
The straight, coarse hair is obviously a wig. This was again
strange, since Playboy cover models, considering the cover's
merchandising significance, are most precisely cosmetized and
the final photograph is carefully retouched. There is never a
hair out of place, and even the most subtle expression or
complexion details are finely engineered. The model's mascu-
line cap brim further shadows her eyes. When eyes are in
shadow, the artist is often suggesting that the subject has a
secret.
An examination of the white shirt shows that the female
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M EDIA S EXPLOITATION
breast line is missing. The creases are merely folds—a strange
inconsistency in a magazine famed for its exaggerated por-
trayal of the female bosom. The ubiquitous Playboy rabbit
logo is embedded in the sleeve with the rabbit's nose just be-
low and to the right of the model's right elbow. One rabbit
ear goes up the sleeve while the other appears in the fold di-
agonally across the shirt front
The masculine polka-dot necktie, a phallic symbol, is held
very gently, caressingly, in the model's right hand. If you
look at the wrist and little finger positions, the left hand is
pressing with considerable force against the background
model's leg. A list of possible emotions being felt by the
blond model was given a group of test subjects unfamiliar
with subliminal techniques. Over a third of "the responses cen-
tered around "slight fear" and "apprehension." The remain-
ing responses were scattered widely across a dozen possible
reactions.
Behind the Mask and Under the Wig
Who is hiding behind the mask and under the blond wig?
There are only two possibilities—a boy or a girl. There would
be no apparent reason for a girl to disguise herself as a girl
which leaves open the other possibility of a boy hiding in a
girl's costume.
However, if the model is a boy disguised as a girl, it is
doubtful he would seek protection by running to his father.
American fathers take a dim view of their sons dashing about
in women's clothing. This brings into question the back-
ground figure, which at first glance appeared to be the trimly
masculine figure of the playboy.
Three large men's clothing store chains were checked for
horizontally striped men's pants. None were available, nor
had the stores' buyers ever heard of horizontally striped
men's pants. Even the so-called unisex clothing stores had
never stocked, in the memory of their oldest employees
men's slacks with horizontal stripes.
At least up to 1974, men's slacks had never utilized hori-
zontal stripes—women's slacks, yes, but never men's. The
problem of the belt buckles was also curiously discrepant on a
magazine cover famous for precise symbolic details. Men's
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The Gay Playboy's Penthouse
belt buckles are usually square, women's usually round. This
clue suggested, again, the cove r figure's sexuality had been
symbolically reversed.
The male in the picture is, therefore, hiding in a girl's cos-
tume. The female is standing in the background. Who, then,
might be this background female? Small male children often
assume this position with their mothers when threatened by
their fathers. Many writers on child behavior have comment-
ed that children achieve solace and security with their heads
near their mother's genital area. Children find their mother's
genital odors tranquilizing and pacifying.
The genital area in this cover, however, is carefully
guarded by the Playboy logo in the belt buckle. Our young
frightened playboy is literally surrounded by the logo—one in
back on the belt buckle and one in front on the shut.
Boy children, when frightened, also frequently hold on to
their penises—symbolized in the illustration as a phallic neck-
tie.
The detailed analysis of this logo as a symbol of paternal
castration fear, with its scissor like ears, was included in my
earlier book Subliminal Seduction. This earlier work also
probed in greater detail, Playboy's use of symbolic mothers
and small infants in their cover designs. Out of roughly thirty
Playboy covers analyzed, over 70 percent had some symbolic
maternal representation included. The mother was always in
some form of close relationship with a symbolic, often a
nursing, infant.
On the cover we've just been discussing, the colors black
and white reflect a clear-cut ma le and female gender differen-
tiation. Only the golden belt buckles, the blond hair, and the
flesh-colored skin are unnaturally colored. All these human
details (hair and skin) turned out to be fake. The hands, in-
cidentally, appeared to be male. A short fingernail appears on
the right forefinger holding the tie. The long fingernails on
the left hand, however, had been retouched. A careful exam-
ination of the finger outlines reveals they are quite irregu-
lar—obviously another retouch job.
The Playboy reader's unresolved Oedipal conflicts have
simply been put to the service of circulation-building and ad-
vertising-selling. What the read er sees subliminally, but cer-
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M EDIA . S EXPLOITATION
tainly not at the conscious level, is what he gets. But we will
never know for certain whether this is really what he wants.
Role Consistency
American men unconsciously place rigid restrictions upon
touching each other. When it happens, it must be made to ap-
pear an accident. Virtually any male American can be made
intensely uncomfortable if touched or patted during a convert
sation. In Tanzania and other African cultures, it is a common
practice for men to hold hands while talking. In Latin or Ar-
abic cultures, close physical proximity between men is still
considered quite normal—even so cially desirable. But it is
amusing to simply move close, without any actual physical
contact, to an American at a cocktail party. Perceiving the
threat of physical contact, most American men will move
away. They can literally be steered all over a room by simply
edging closer to them during a conversation. Usually, they
soon crack under the strain and make some excuse to termi-
nate the conversation and leave for less threatening compan-
ionship.
It is certainly not my intention here to laugh at any indi-
vidual's weaknesses, sensitivities, or fears, but to examine
deeply those things that surround us each moment of each
day and unquestionably condition and manipulate us.
The Silver Queen
The January 1973 edition of Out magazine, published by the
Playboy organization, displayed a beautiful blond model
dressed in a silver brassiere and miniskirt. Considering the
blatant pornography regularly published in the so-called
men's magazines, there was nothing remarkable on the sur-
face about this Out cover (see Figure 6).
However, several researchers studying the cover became
quite uncomfortable, though they could not at first clearly ar-
ticulate their feelings. Before reading further, you should
study this Oui cover and attempt to assess your own feelings.
What appears to be going on in the illustration?
A recent study by The New York Times disclosed that
cover designs could affect newsstand sales of a publication as
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The Gay Playboy's Penthouse
much as 35 percent. Playboy, fo r example, sells about 75 per-
cent of its over 6 million copies monthly on newsstands and
about 25 percent by subscription. As Oui had been on the
market for only four months at the time of the Silver Queen
issue, virtually 100 percent of its circulation—claimed by the
magazine in excess of a million copies—was newsstand-origi-
nated. The cover is by far the most important page in this
publication. And the subliminal cover story should tell us
something highly significant about the motives of the young
readers being editorially engineered to purchase the publica-
tion.
The Silver Queen cover portrai t was compared with male
and female physiology text descriptions in a medical school
library. Five specific anatomical details supported the hy-
pothesis that their blond model was actually a man in drag.
The model's wrists, shoulders, neck, fingernails, and breasts
are strongly and clearly male. In addition, the blond hair is a
wig. Some curious changes were airbrushed into the photo-
graph, suggesting that the artists and editors knew precisely
what they were doing. Male nave ls, for example, appear to be
horizontal and the female appear vertical due to a layer of
fatty tissue women usually carry just below their navel. Mi-
croscopic examination of the photoengraving revealed the
navel had been carefully airbrushed into a vertical appear-
ance.
Nearly fifty male college students who had purchased at
least one copy of Oui were then interviewed. The question-
naire began, "Would you like to date the blond model on this
cover? Where would you take her? What would you order for
dinner? What would you talk about? Would you dance with
her? Would you park on the way home? Would she invite
you up to her apartment?" etc., etc., etc. Had these inter-
viewed students even suspected what was going on, the inter-
viewers would have been in serious trouble.
Where a Man's a ...(?)
All the questions, nevertheless, were answered m detail by
each respondent as they fantasized themselves on an exciting
date with the silver blond. Surprisingly, not one of the young
men even suspected there might be something queer, if you
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M EDIA S EXPLOITATION
will pardon the expression, about the Out cover. These young
men appeared so entranced by the high-credibility image of
Out that they repressed their perceptual ability to differentiate
sexual gender.
It does not appear reasonable to assume that so important
a page in a prestigious national men's magazine would be
used as simply a crude joke, ridiculing its readers' masculin-
ity. If the joke were discovered, the magazine would obvi-
ously be in trouble. Nor did it appear reasonable that the
magazine was trying to build circulation among male ho-
mosexuals, who are estimated at roughly 3 percent of the
American adult male population. Besides, few advertisers
would want their products identified with homosexuality, at
least not at the conscious level. The transvestite cover was
clearly designed to appeal to the latent homosexuality pre-
sumably inherent in all males at the unconscious level. In
several other world cultures, homosexuality is not considered
a taboo subject, but latent homosexuality has a substantial
potentiality for subliminal manipulation in American culture,
which consciously demands a st rict adherence to clear-cut
heterosexual divisions.
Note, however, that the face of the model is not animated
or enticing. "She" actually appears to be waiting somewhat ill
at ease, looking into the middle distance. The miniskirt ap-
pears to be a cage of wire netting over the genital area, and
the hands rest on it uncomfortably, as if "she" would prefer
to be rid of it. The anxiety of repressed homosexual feelings
is effectively dramatized.
Of course, the Out silver queen was not the only example
of media utilizing repressed sexual identity reversals as a
marketing technique. Playboy has utilized the approach many
times over the years, but only infrequently on covers and as a
subliminal trigger in ads and illustrations. Latent homosexual-
ity has become a frequently utilized subliminal management
device in advertising.
One intriguing aftermath of the experiment was a small
survey conducted among fifteen female college students. They
were asked a series of simple questions about what kind of
personality they thought the cover model would have. Very
quickly, about half of the young women consciously iden-
tified the model's male sexuality.
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The Gay Playboy's Penthouse
"Playboy" Meets "Playgirl"
In February 1973 Douglas Lambert—a Los Angeles pub-
lisher—-launched a new marke ting concept for advertisers
with Playgirl. The first press run included an ambitious 600,-
000 copies. By mid-1974 the publication was selling in excess
of 2 million copies monthly—one of the most successful of
the crotch publications. The magazine was widely publicized
as aimed at the "new American woman," By November 1974
Playgirl bragged of being the fifth largest women's magazine
in America.
So, faced with this overwhelming success in both circula-
tion and advertising sales, we asked the simple question,
"What kind of girls read Playgirl?"
It is widely known in the trade that out of the 25 to 30
million readers of Playboy magazine, about 20 percent are
women—but usually the wives or girl friends of the male
Playboy purchasers. By themselves, very few women purchase
Playboy or any of the other men's magazines.
After interviewing proprietors in roughly forty magazine
retail stores throughout the Midw est, only three could recall
ever selling a copy of Playgirl to a girl or woman. Boys and
men were apparently purchasing the magazine with ferocious
intensity, but the very few women purchasers anyone could
recall appeared to have purch ased out of casual curiosity.
Many stores knew their regular male purchasers; none
could recall a regular female purchaser of Playgirl. The phe-
nomenon was unprecedented in American publishing. A ma-
jor national magazine was—with heavy fanfares—announcing
itself as a women's magazine, but was apparently purchased
only by men.
Playgirl's unique contribution was the nude male photo-
graphs and centerfolds. In every issue featured photographs
were nude, young American males romping gleefully through
some form of healthful outdoor activity with their exposed
genitalia flapping impressively in the wind. And, these male
genitalia were impressive. Dr. R. L. Dickinson's Atlas of Hu-
man Sex Anatomy, a standard work used in medical schools,
reports the normal range of flaccid penis length varies be-
tween roughly 3 3/8 and 4 1/8 inches, with the general aver-
age in roughly the 3 3/4-inch range. In research conducted
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M EDIA S EXPLOITATION
by Masters and Johnson, full erection usually doubled the or-
gan's length over its flaccid state size. There appeared some
variation, however, as larger flaccid organs increase some-
what less in the erect state.
Genitals portrayed in Playgirl were, at the time of the
study, pictured only in flaccid state. The models used by the
publication, however, must have been carefully screened. In
examining several issues, the flaccid exposed penises consis-
tently appeared to exceed six inches in length. It was not dif-
ficult to imagine the modeling agencies listing on their male
clients' application forms "flacid penis size," much as they list
the sizes of female models' mammary glands.
When you consider the detailed scientific statistics that
have been compiled on male penis size for whites (and
blacks, though it may surprise you that there is no differ-
ence), Playgirl must maintain a rigorous recruiting effort to
find male models with abnormally long, flaccid penis dimen-
sions. They appear to be using models who represent about 3
to 5 percent of the male adult population. Assuming male
models are statistically representative of the total male popu-
lation, this means that out of every one hundred models
interviewed, ninety-five to ninety-eight must be rejected for
undersized endowments.
Kinsey Perceived Something Else
According to Playgirl's promotional logic, women—at least
the "new women"—find these photographs appealing and
presumably a source of sexual stimulation. But Dr. Kinsey
and his associates at Indiana Un iversity made some interesting
discoveries in their famous 1953 study, Sexual Behavior in
the Human Female. The late Dr. Kinsey wrote, "Photographs
of female nudes and magazines exhibiting nude or near-nude
females are produced primarily for the consumption of males.
There are, however, photographs and magazines portraying
nude and near-nude males, but th ese are also produced for the
consumption of males. There are almost no male or female
nudes ... produced for the consumption of females.
"The failure," Dr. Kinsey continued, "of nearly all females
to find erotic arousal in such portrayals is so well known to
the distributors of nude photographs and nude magazines that
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The Gay Playboy's Penthouse
they have considered that it would not be financially
profitable to produce such material for a primarily female au-
dience."
The centerfold in the June 1974 issue of Playgirl displayed
the former pro-football player Lou Zivkovich in the buff. The
issue sold well over 2 million copies. Most of the crotch pub-
lications have roughly 3.5 readers per copy, so the total read-
ership of this issue would be roughly 7 million, most of
whom Playgirl claims are women. America's leading adver-
tisers at first appeared shy about the "new woman" concept,
but have lately been surging forward to climb upon the sex-
game bandwagon.
Viva, published by famed Penthouse publisher Robert Guc-
cione, launched a counterattack in September 1973 to the
Playgirl invasion. Guccione described his magazine, Viva, as
"edited by men who truly love women . . . for women who
truly love men." Like Playgirl, the most notable quality of
Viva is its displays of male genitalia.
By mid-1974 Viva had reached a most respectable 700,000
circulation which provided their advertisers with a pool of
roughly 2.5 million readers. Even though his circulation was
smaller, Guccione appeared to have outdone Playgirl in
seeking out male models with large flaccid penises. Guccione
explained how this made advertisers approach Viva with cau-
tion. "They're pretty uptight about its pictures of nude men,"
he admitted almost compassionat ely. Apparently referring to
the jealousy that Viva must elicit from less well hung males
whose girl friends are regular Viva readers, Guccione played
the game all the way through. "Guys," he said, "naturally
like their women to believe that they're well built," as though
this were something guys could keep secret from gals.
In a survey of magazine store proprietors, similar to that
done on Playgirl, investigators were unable to find any dealer
who recalled ever selling a copy of Viva to a female. Copies
of both Playgirl and Viva were shown to a sample of young
women on a midwestern university campus. Interviewers were
female students, carefully selected and trained to present the
two magazines during the interviews as women's publications.
They were specifically trained to display enthusiasm toward
the magazines during all interviews and to solicit as much fe-
male support for the publications as was possible. They were
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M EDIA S EXPLOITATION
even offered small rewards for each verifiable supporter of
the publication's concept they could produce. In other words,
a favorable bias toward the magazine was built into both the
questionnaire and the interviewers.
In over a hundred interviews with female university
students, the female interviewers could persuade less than 5
percent into a positive attitude toward the two publications.
A few respondents, roughly 10 percent, appeared extremely
annoyed at the "sexist," "degradi ng," "insulting" portrayal of
women as "malleable," "inert," pieces of "disposable furni-
ture," in the pictorial art of both publications.
Male Fantasies Differ From Female Fantasies
Most female respondents, roughly 85 percent, saw the pub-
lications as some kind of a joke. They appeared more
indifferent than anything else. In answer to whether they
would purchase the magazines, over 95 percent said most
emphatically no. Of those who said they might purchase one
issue, none would commit to two or more. In answer to the
final question, "What kind of girl reads Playgirl?" most re-
spondents said they did not know or could not be certain.
Roughly 15 percent replied with answers such as "a weirdo,"
"a prostitute," "a pervert," "a freak," etc. The magazine's
image projection was so strangely negative to the female re-
spondents that even those who thought they might purchase a
copy commented in negative terms.
In one of the Kinsey researchers' case studies, the showing
of nude male figures to 4,191 men disclosed that 54 percent
were erotically aroused by photographs, drawings, and
paintings of nude males. By comparison, from a sample of 5a
678 females, only 12 percent were aroused as a result of
viewing male or female nudes.
In a further Kinsey study of 617 females who had ob-
served photographs of male genitalia, 21 percent reported
definite and/or frequent erotic response and 27 percent some
response; 52 percent reported they had never been aroused by
viewing male genitals. This final study was done with sexually
mature women.
It would be a serious mistake to view Playgirl and Viva as
publications designed for homose xuals. Again, the appeal is
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The Gay Playboy's Penthouse
to latent homosexuality, which, to some degree, involves ev-
ery male.
There appears to be a latent, deeply repressed, homosexual
potentiality in all males, some more than others, of course.
The Kinsey data can be considered conservative, since male
respondents had to admit openly their arousal by photo-
graphs, drawings, and paintings of nude males.
While Playboy occasionally dabbled in the playground of
sexual role anxieties, Playgirl and Viva must be given credit
for having turned Kinsey's interesting little observation into
multimillion-dollar publishing empires. Virtually every issue
of Playgirl and Viva carried at least one article strongly ra-
tionalizing male homosexuality.
The Rationalization of Homosexuality
A review of specific Playgirl content is even more revealing.
In the February-March 1973 issue, television's Hee Haw
stars, the Hager brothers, a ppeared in the centerfold. One
Hager stands behind a guitar which coyly hides his genitals.
The other brother sat beside him, his genitals also hidden
from the camera. The Hager brothers appeared to be hairless,
probably the result of airbrushing the photograph. Their pos-
tures were clearly effeminate. Their jewelry also appeared
quite inappropriate for males, and their smiles hardly rein-
forced any concept of masculinity. This was the magazine's
more restrained first issue. By June, genitalia were in full dis-
play.
In the first issue an article titled "Don't Get Driven into
Marriage" contains curious comments. The author, Miriam
Gilbert (feminine first name, masculine second) emphasized,
"There's no reason for you to be ashamed of being single,"
and that "Being single won't make you worry-free, but at
least your problems won't be doubled and possibly tripled [a
reference to pregnancy?]." Homosexuality, of course, offers a
simple solution to all these vexing problems. Another state-
ment by the author, "Marriage can tie you into knots," has
similar implications. At the very least, married intimacy was
presented as more trouble than it's worth; an escape into sex-
object status is shown as the way out This is a far cry from
the primary theme of every other women's publication in
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M EDIA S EXPLOITATION
North America. Dr. Kinsey's st udy of the American male re-
vealed, perhaps curiously in this context, that half the men
who remained unmarried by the age of thirty-five were overt-
ly homosexual.
In two other articles in this issue titled, "What a Woman
Looks for in a Man (and What She Settled For)" and "How
to Make a Play for a Playgirl," an appeal to male readers as
well as clear rationalizations for male homosexuality are evi-
dent. Once again, females were portrayed as dumb and their
expectations of what a man should be appeared absurd and
ridiculous. The female is portrayed as a starry-eyed, roman-
tic, naive fool. The article even advised the woman, "The
cardinal rule, the backbone of the chase is: Be an idiot!"
Why Can't a Woman Be More Like a Man?
The underlying statement in all these articles advised male
readers to avoid troublesome, silly females and richly enjoy
the companionship of men. Fun is liberally poked at the
"normal" male who is still vulnerable to females.
A justification for male homosexuality appeared in an in-
terview with Jacqueline Susann in the October 1973 issue.
"Where is the law that says men must marry women if they
don't want to? Where is it written?" Susann asked. She also
expressed her position loud and clear in behalf of homosex-
uality: "I'm all for it! I think it's highly civilized," citing an-
cient Greece, where it is alleged to have been "women for
babies, men for love." Virtually any practicing homosexual
will confirm with proselytizing enthusiasm the myth that
Greece was the gayest of all countries. (Modern Greek men
have been known to take a very dim view of such nonsense.)
Ptaygirl's cartoons invariably demean women, emphasizing
their disloyalty, their undependability as sex objects (citing ir-
regularities caused by menstruation and birth control pills)
stupidity, selfishness, dominating tendencies; and supersti-
tiousness. Ads in Playgirl and Viva are also predominantly
aimed at men. The ads that do appear to involve female prod-
ucts are displayed as gifts for dumb women who respond to
bribes purchased by men.
Playgirl also printed a color portrait of a young woman
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The Gay Playboy's Penthouse
posed with sunglasses, dressed in a sleeveless blouse and
simple skirt (see Figure 7). The caption reads simply, "What
kind of girl reads Playgirl?' Though attractive, she did not
appear as sexually provocative as other females portrayed in
the magazine. Her dress was quite commonplace, hardly an
nppropriate, exotic, sexually provocative costume for the
erotic fantasies of a young American male. The reader, how-
ever, cannot see what she is thinking as her eyes remain ob-
scured behind the sunglasses, suggesting she may have had a
secret. As your eye drifts casually across the photographic
surface, focus for thirty seco nds upon the model's genital
area. Embedded lightly on the model's blue skirt is a very
large, erect penis (see Figure 8).
What kind of girl, indeed, reads Playgirl?
And—After Long-term Conditioning?
Playing around with the very insecure sexual identities of
North American young males may have serious conse-
quences. Someone should look carefully into the possible
media imprinting, reinforcement, and legitimatization of ho-
mosexual perspectives. Even though libido-imprinting involves
every male in the world to one degree or another, a search of
scientific literature revealed the subject had rarely been
researched. Since magazines like Playgirl and Viva are widely
used as stimuli for early masturbatory practices by young
men, it might be useful to consider the possible long-term ef-
fects of an alienation toward women subliminally induced
and reinforced by these and similar media.
At this moment, the possible imprinting effects of homosex-
ual influences through masturbatory stimuli can only be
speculated upon. Much like the specific cause-and-effect link
between smoking and lung cancer, they may be difficult to
isolate concretely and demonstrate to everyone's total satis-
faction, especially because the culture has a vested interest in
not perceiving such a relationship.
This does not mean, however, the relationship does not ex-
ist. It simply means that we do not as yet have sensitive
enough instruments capable of isolating the precise number
of homosexual stimuli that will produce a full-fledged queen.
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M EDIA S EXPLOITATION
Much of North American so-called social science—often an-
tisocial and quite unscientific in its methods and illusions—is
devoted to proving that things do not exist, Quite often these
things proven not to exist have been subjects the society has a
vested interest in avoiding.
Masters and Johnson, after their extensive research into
Human Sexual Inadequacy, blamed the lack of strong, posi-
tive self-images as the basic cause of sexual dysfunction in
both men and women. Writers such as Abraham Maslow,
Sigmund Freud, Karl Menninger, Orrin Klapp, and dozens of
others have dealt in great depth with the lifelong signifi-
cance to every individual of sel f-image concepts. All agree in
one measure or another that a fundamental aspect of self-
image is sexual gender identity—how individuals perceive
themselves both alone and in comparison with others. Models,
such as parental figures—or perhaps more importantly today
in North America, communication media-induced models—
form the base from which self-image is developed, especially
with the young. The process of self-image construction, how-
ever, appears to be a dyna mic process which continues
throughout life.
In his book The Collective Search for Identity, sociologist
Orrin Klapp referred to the American's problem of "identity
despair," which has led some into suicide and other such
self-destructive acts. Identity despair, however, is more likely
to lead most people into what Thoreau called "quiet desper-
ation," to which media offers heavy product consumption as
an answer. Consumption as part of a search for psychological
fulfillment is as lacking in hope as are brand-loyal cigarette
smokers just after their diagnosis as lung-cancer victims.
After three years of matching male genitalia against Play-
girl magazine, Viva finally decided to give up the game and
go straight. Beginning with its March 1976 issue, Viva editor,
Kathy Keeton announced publicly what most people in the
business had known for years, as well as most women—
"Women get turned on by personality, not physique. Viva
will no longer use male frontal nudity in its pages."
At Play girl, however, the profitable reader manipulation
continues. When queried on the Viva editorial policy change,
editor Marin Scott reported "Playgirl will add more pages to
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M EDIA S EXPLOITATION
its centerfold, featuring full-color foldouts of naked men.
Women," she added, "want to see more male nudes. They
love it"
What kind of girls reads Playgirl, indeed?
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______________________________________________

The best way to get someone
to be what one wants them
to be is not to tell them what
to be, but to tell them what
they are.
R. D. LAING
Politics of the Family
Planned Psychological Obsolescence
The new synthetic fabrics simply do not wear out fast
enough: it often requires months, even years, of continuous
wear before synthetics even begin to show deterioration. With
the growth of synthetic fabrics, it became almost a matter of
survival for the textile industry to intensify fashion's signifi-
cance.
The primary function of fashion is simply to sell clothing.
The secondary function is to make obsolete all older, out-of-
fashion clothing. Both the men's and the women's fashion in-
dustries are efficient—and highly profitable—systems of
planned obsolescence for the multi-billion-dollar textile indus-
try.
In 1968 you might have been one of millions of Americana
to purchase a new tailored suit. Many new fabrics, including
Italian silk, were popular. Linings that year were cheerfully
designed and expensive—often made of silk satin. You could
still obtain superb handcraftmanship if you could afford it.
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The Fashion Massage
Many men even foolishly let themselves be talked into taking
an extra pair of pants with their suits.
By 1970 even the most expensive 1968 suit was obsolete,
most not yet beginning to show wear. Any man would have
been quite uncomfortable wearing the two-year-old suit even
on a quick trip to the corner store. In just two years lapels
had inched out about a half inch per year, the pants had
slowly become more tightly fitted around the seat and legs—
at the rate of about a half inch per year—and those obnox-
ious bell-bottomed flares were also inching out at about the
same rate.
While these carefully programm ed suit-design changes were
being engineered, closets full of white shirts were also being
obsoleted throughout America by the changeover to colored
shirts. By 1971 a white shirt worn to a business conference
would have made an executive feel like Calvin Coolidge at a
Yippie convention. One Salvation Army officer even discour-
aged his contributors from donating white shirts during used-
clothing drives: they were difficult even to give away to the
poor. Meanwhile, across America, neckties became wider—a
half inch per year—and belts also became wider, a quarter
inch per year.
Any readers doubting the success of planned sartorial obso-
lescence can simply check their own closets for clothes, ties,
shirts, belts, and whatever else they cannot bring themselves
to throw out, even if they do not wear them anymore. If the
cost of this waste was totaled each year for North America
alone, it would easily finance a gourmet's diet for every starv-
ing famine victim on the earth's surface. And so far, we have
only considered men's fashions.
The textile industry has been manipulating women along
these same lines for many decades—often much more ruth-
lessly.
A Positive Self-image Is Vital
Consider the American woman's self-image in relation to her
bodily endowments—biologically derived proportions over
which most individuals have little power to change or modify.
Young women with small breas ts, for example, are quite
likely to perceive themselves as deficient in personal value.
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M EDIA S EXPLOITATION
American media establish and su stain the cultural models of
desirable human configurations, Women with heavy legs in
America are also programmed almost automatically for a
lifelong inferiority complex, as are generally larger, heavier
women.
The techniques are perhaps more easily visible when other
cultures are compared with No rth America. For example,
many Latin American cultures idealize heavy women with
heavy legs. Unfortunately, thin Latin American women when
might win beauty prizes in North America are condemned to
a lifelong sense of inferiority among their own people.
These phenomena apply more or less in all cultures. North
American culture, however, can hammer artificial cultural
norms deeply into the population's collective unconscious via
media saturation.
Diets and other reducing techniques are a regular staple
for every women's page or magazine in America. Every issue
of Cosmopolitan features an article such as "Get Thin and
Stay Thin." Vogue features an endless succession of articles
such as "Underweight? A Fresh Look at the Problem" (as
though a "fresh" look were really necessary). Had any of
these fantasy schemes actually worked, the problem would
have been solved and forgotten long ago. That, however
would not have sold advertised products.
Advertisers of rich cake mixes, desserts, and other calories
packed indulgences actually fight to place their colorful
mouth-watering ads, loaded with subliminal triggers, in close
proximity to articles on dieting and weight reduction.
Advertisers spend annual fortunes rinding out which tech-
niques sell best. The various cont radictions and inconsisten-
cies add up to profitable merchandising strategies. Intense
guilt feelings, communicated to both men and women about
their body structures, produce heavy product consumers who
attempt to compensate for their imagined biological deficien-
cies via the never-ending river of new products. The guaran-
teed failure of fantasy schemes for remaking the human body
also guarantees further inferiority feelings, which often results
in further depression, self-rejection, frust ration—and, almost
inevitably, increased consumption of high-caloried foods,
clothing that promises to make one look slimmer, and a veri-
table potpourri of look-thin merchandise.
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The Fashion Massage
Women, perhaps even more than men, have been painstak-
ingly programmed to feel inferior unless they are dressed ap-
propriately. Costuming, of course , is essentially a matter of
money. If you can afford exclusively designed clothes, you
will be one of the best-dressed clothes horses in town. Social
ascendancy in America is most often a prerogative of what
you are wearing and how much it costs—in terms, however,
of other people's abilities to assess that cost. Simply being ex-
pensive is not enough; the apparel and its design must appear
expensive.
The Ins and the Outs
Training in fashion dependence must begin young to assure
lifelong servitude or dependence upon the industry that rales
on what is in and what is out. Teen-agers and their high level
of discretionary income (they can spend it for whatever they
want) are primary targerts of subliminal fashion media which
include articles, so-called news, motion pictures and TV cos-
tuming, etc.
Young people look for models as they always have, but to-
day they search for self-acceptance or identities among their
peers rather than from within themselves. Psychopathological
casebooks are loaded with evid ence that this form of iden-
tity-seeking courts disaster.
Several years ago, fashion conditioning was also initiated
among the pre-teen market. These young people are ex-
tremely vulnerable to the societ y around them as they grow
through chemical and biological changes at puberty. They
seek out confirmation when they ask, "How do I look?" or
"What am I like?" Of course, friends usually accom-
modate—if they are interested in remaining friends. All
media—newspapers, magazines, te levision, film, records—flat-
ter our young relentlessly, paying court to their uncertain
egos.
Narrow, tight-legged "pegged" trousers of several years ago
are "camp," out of it, archaic throwbacks from an out-of-step
past. During 1971 it was already almost impossible to pur-
chase trousers with straight legs. For a short while, tailors did
a brisk business of cutting off the flare for men who were an-
noyed at the teen-aged fashions creeping up to dominate the
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M EDIA S EXPLOITATION
adult world. Within a year, however, most surrendered—the
extra tailoring was too expensive and time-consuming. Obedi-
ent, though often begrudgingly , men replaced their wardrobes
with bell-bottomed pants and wide-lapeled coats.
Most American teen-agers today would not wear out-of-
fashion clothing to cut their parents' lawns. But they are con-
sciously unaware they have been carefully trained to fear a
loss of image among their peer group. Teen-agers view them-
selves in a mirror with their bell-bottomed trousers as being
in close step with the modern world. They have been trained
to view themselves as socia lly acceptable because they dress
appropriately. I consume, therefore 1 exist has become the
basic maxim of the American young as they respond predict-
ably to the subliminal value manipulations of the textile in-
dustry.
Bell-bottomed trousers are merely a designer's technique of
obsoleting tens of millions of do llars in wearing apparel. The
intensity and rapidity of these change cycles have been in-
creased during the seventies. Seve ral years from now, as sales
volumes begin to decrease in response to the durability of
synthetic fabrics, pants designs will move slowly back to nar-
row bottoms with more loose-fitting legs and seats.
In the Jungles of Manhattan
There is a great deal of technique in fashion design carefully
planned to provoke the unconscious. In a highly competitive
industry, costume and accessory designers utilize every sub-
liminal trick in the book to move their merchandise.
For example, a most curious parallel appears between the
intricate designs on modern jewelry and textiles and man's
tribal instinct for the expre ssion of repressed cravings or
needs. Among primitive peoples, facial and body painting
confer upon the individual great dignity and value as a hu-
man being, aid them to cross the frontiers between nature
and culture, differentiate the mindless animal from civilized
man, and define men and women's social status. Body and
facial painting motifs in primitive societies often parallel—in
both meaning and psychological significance—the symbolic
representations of modern merchandisers in the fashion in-
dustry.
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The Fashion Massage
One intricate and expensive jeweled costume necklace ad-
vertised in Vogue utilized a design strikingly similar to that
recorded by anthropologist Claude Levi-Strauss nearly fifty
years ago in a Stone Age Caduveo Indian village in the Bra-
zilian Amazon River basin (see Figures 9 and 10). The
body-painting design motifs of the Caduveos are shown in the
inset drawings taken from Dr. Levi-Strauss's book Tristes
Tropiques (Sad Tropics).* These designs had been carefully
painted on the bodies and faces of Caduveo tribal royalty
with fine bamboo spatulas dipped in genipapo juice, produc-
ing a color that turns blue-black after oxidation. The two-op-
pnsed spiral designs were ofte n used on the face and neck.
The Caduveo designs appear very consistent in style, tech-
nique, and inspiration. Recorded in drawings by two anthro-
pologists—Boggiani and Levi-Strauss—who visited the tribes
forty years apart, the tribal designs remained unchanged. The
chain design on the left was recorded by Guido Boggiani in
1895, and the design on the right by Levi-Strauss in 1935
(see Figure 11).
The primitive Caduveo appear to repress the meanings of
these designs. Though they had names (labels) for each
design, they could not clearly explain the meanings. At the
time, Levi-Strauss thought they were being secretive, though
he wrote that the designs appeared motivated by some form
of eroticism.
Another anthropologists, Jesuit missionary Father Sanchez-
Labrador, detected the presence of the demon in these chain
designs. Much like their modern North American counter-
parts, Caduveo women openly and systematically exploited
the erotic effects of makeup. Caduveo women of high birth
even plucked out their facial hairs.
Specific design meanings remained ambiguous and obscure
within the tribes. Reminiscent of modern Americans, the Ca-
duveos did not wish to talk about meanings. Necklace and
wrist decorations in the form of tattooed linked chains were
* From Tristes Tropiques by Claude Levi-Strauss. Copyright ©
1955 by Librairie Plon. English translation by John and Doreen
Weightman, copyright © 1973 by Jonathan Cape Limited. Re-
printed by permission of Atheneum Publishers, New York.
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M EDIA S EXPLOITATION
common among high ranking Caduveo women, but chains
were also used by women of lower social status.
Body-painting designs in prim itive societies are directly—
though subliminally—involved with political, social, and
economic status. Painted or tattooed on the face, neck, and
body of Caduveo noblewomen, the intricate designs symbol-
ized virility and fertility and established the wearer as the
property of a man of wealth and power. The interlocking
design chain links testified to everyone in the tribe that this
woman was chained to a husband of importance, with the im-
plied admonition of "Hands off!"
These designs include symbolic representations related to
religious, reproductive, and fer tility rites. The meanings and
significance of the ornate, jeweled Vogue-advertised neck-
laces—similar to the primitive vegetable-dyed, body-painting
designs—are also subliminal to the North American woman,
The Monet jewelry designs were shown to several dozen
North American women of affluence who were asked to
briefly interpret the design's meaning. Their verbal rationali-
zations were consistently vague and obscure. Apparently, at
least at any conscious level, they simply did not know what
the designs meant.
Yet many of these women admired the jewelry, and several
expressed a desire to own the pieces.
Conscious Rationalizations
Not unlike the Caduveo women of status, overt meanings of
the body decorations were repressed behind conscious ration-
alizations such as, "It's a good investment"; "It brings out the
real me"; "It will go well with such and such new gown";
"It's pretty." The high price of this costume jewelry requires
a strong purchase motivation—much stronger than such con-
scious rationalizations would support. Several investigators
have commented upon how extraordinary it is that American
women have no conscious idea of the symbolic meanings of
even such simple decorative devices as the ribbon pinned
snugly around their necks—a symbolic bondage collar whose
significance must date back millenniums in human evolution.
It is also curious that many men can sense sexual excitement
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The Fashion Massage
from such symbols without consciously understanding the
reasons behind the stimulation.
Modern counterparts to these chain designs can be found
in virtually any women's magazine or jewelry store. The
bondage suggested by these symbols is far more comfortable,
however, then the version symbolized with vegetable dyes on
the necks and wrists of Caduveo women. Nevertheless, a
heavy chain-linked neckpiece definitely symbolizes female
bondage to the male—both sexual and psychological.
The important fact is that the jewelry designs are commer-
cially successful, purchased at substantial expense by enough
women to justify mass production, distribution, and advertis-
ing. The designs are, therefore, significant symbolic represen-
tations in their purchasers' lives. Most designs are said to
originate in nature, yet there are so many millions of possible
combinations and variations that it is most unlikely the
Monet and Caduveo design similarities could be purely ran-
dom chance. Monet jewelers could easily have adapted their
designs from the aboriginal culture. Or reacting to subcon-
scious archetypes, the designers might well have come up
with the similar design motifs entirely on their own.
The frequent occurrence of symbolism with similar mean-
ings among peoples who appear unrelated geographically,
technically, or culturally is much too frequent to be dismissed
as mere coincidence. St. Augus tine pondered ar chetypal reli-
gious symbolism during the Fourth Century A.D. Carl Jung's
and Claude Levi-Strauss's theories of archetypal symbolism
are two more contemporary ways of trying to explain the
phenomena. Jung theorized that these symbolic archetypal
meanings have been with humans "since the beginning," sug-
gesting a genetically inherited form of symbolic information.
Levi-Strauss, on the other hand, theorized that humans have
biological-based predisposition to interpret myths and symbols
in highly consistent and similar ways.
Whatever the ultimate explan ation, archetypal symbols
dearly involve—especially in modern technological man—
unconscious more than conscious significance.
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M EDIA S EXPLOITATION
Color as an Archetype
Archetypal symbols cover an enormous range of sensory phe-
nomena, both visual and auditory. Color also has archetypal
characteristics. The entire range of color meaning operates at
subliminal levels.
One of the difficulties in color research is that contextual
variations in meaning are, for practical purposes, infinite.
There is also an infinite ra nge of possible shades for each
basic color. All have meanings which are quite difficult, if not
impossible, to express consciously. Yet everyone knows that a
dark shade of red produces a vastly different feeling when
painted on an automobile than when designed into a cigarette
package. International research firms, such as Louis Cheskin's
Color Research Institute in Chicago, have reaped fortunes out
of testing colors on package designs.
If there is a single generalization possible about color, it
would attest to the impossibility of generalizing on color
meanings. Precisely the same color can change meaning dras-
tically from one application to another. Further, color is a
non-verbal medium of communication—not unlike design,
music, and touching. Whatever words are used to describe
color's effect upon behavior, the words will always be inade-
quate approximations of actual meaning.
Whatever color may be all about is extremely complex
when the neuro-mechanisms of the eye are considered. It is
presently an enigma as to how color information passes from
the eye to the brain. Successful color testing on packages, for
example, has developed nonverbal tests of feeling or emotion
in order to probe color meanings. Some experimenters have
successfully used electroencephalographs, galvanic skin re-
sponse measurements, polygraphs, pupil dilation measures
ments, and retinascopes to access the unconsciously motivated
automatic response of humans to color stimuli.
Reality vs. Dream
One curious aspect of color's archetypal significance can be
observed in publications such as Vogue. Thumb through any
copy and compare meanings between black-and-white and
colored illustrations. With the high budgets usually available
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The Fashion Massage
to this important mass merchandiser of fashion, the whole
magazine could be published in four-color reproduction if it
could sell or communicate more effectively. If a $20,000 ad-
vertisement or illustration (the two are often the same in
Vogue) sells effectively, the adve rtiser will easily sell more
than twenty times th e price of the ad.
In Vogue the black-and-white illustrations consistently ap-
pear to represent what the reader would perceive as her
world of reality. Black-and-white fashion series in Vogue—
most photographed by world-famous photographers of
women such as Richard Avedon, William Penn, and Helmut
Newton—display their slim, small-breasted models in moody,
lonely, contemplative, and usually serious though sensuous

The color illustrations, on the other hand, most often re-
flect what the reader would perceive as a dream or fantasy
world—action or festive situations involving other women or
men, and dreams or fantasies involving aspirations, This can
be demonstrated on the four pages of a Peck & Peck adver-
tisement in Vogue (see Figures 14, 15, 16, and 17).
In Figure 14, the black-and-white model has returned to
her room from the beach. She is alone, looking down. The
caption above the photo states , "I am on vacation indefi-
nitely. Do not disturb my plans or do anything to upset me."
On the opposite page's color layout, Figure 16, the same
woman appears in an aspirational dream fantasy. She is part
of the beach-resort vacation crow d and is looking at the pho-
tographer, her presumed comp anion. The captions, however,
reflect black-and-white reality: "I feel I've spent my whole
life alone." "Have you ever met a man you couldn't find?"
"I'm in silver water, I'm coming up fast."
The following evening gown illustrations, Figures 15 and
17, carry the model's dream fantasies of solitude a step fur-
ther. In the black-and-white layout she walks toward her
dream on the opposite page, wearing a simple polka-dotted
evening gown. In the dream fantasy she attends a gay, inti-
mate terrace sunset party. The captions, however, make real-
ity statements: "I remember it the way it should have been."
"Motion. It's the outside of emotion." "How do you photo-
graph a feeling?"
These advettisements were pub lished in the December 1972
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M EDIA . S EXPLOITATION
Issue of Vogue, picturing the model—with whom the reader
will identify—on a lonely Christmas pilgrimage to the
Bahamas. Every fashion design on the four pages subtly in-
corporates ancient religious symbolism.
A Rose Is a Rose Is a Rose ...
On the black-and-white illustration (Figure 12) the swim-
ming suit and skirt pattern is strikingly similar to a design
discovered in ancient water markings. Religious scholar
Harold Bayley described the symbolic design as originating
from the Paradise of Brahmin— a high-caste Hindu sect. The
Hindu prophet said, "The Almighty has his home in the heart
of a white rose." In Christian legends the white rose was of-
ten a symbol of Jesus and was also identified with the Greek
virgin Sophie.
The red rose in its wild state has five roundish petals. Com-
pare the Peck & Peck pattern with Bayley's drawings of the
ancient water marking (Figure 13). It is, of course, possible
that the designer copied the design from drawings or from
the actual watermark, but this would hardly explain the sym-
bolic design's commercial success among wealthy (high
status) American women.
In the illustration (Figure 18) the swimsuit is designed
with a fish and dolphin symbolic pattern. In the ancient
shield symbol (Figure 19) the shield on which the symbol
appeared even resembled the silhouette of a modern swimsuit.
These drawings of the rose watermark and the dolphin shield
were taken from Harold Bayley's book The Lost Language of
Symbolism published in 1912.
Both the fish and the dolphin are ancient symbolic
representations of Christ the Savior. The fish symbol was fre-
quently used by early Christians in the catacombs, and its
popularity was at least partially explained by the word for
fish in Greek which yielded the initials of the sentence "Jesus
Christ, Son of Man, Savior." Even today, the fish is often
used as a symbol of Christ.
The fish, as a symbol for the Deity, often took the specific
form of a dolphin, which was anciently regarded as a friend
of man. The Greeks venerated the dolphin as the savior of
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The Fashion Massage
the shipwrecked, and later Christians often used the dolphin
to symbolize their Christ.
The Peck & Peck bathing suit design pattern utilized both
the fish and the dolphin symbolism on a shield formed by the
bathing suit which covers the woman's reproductive anatomy
from breasts to genital area.
The evening gown displayed in the color illustration, Fig-
ure 17, was also based upon ancient Christian symbology.
The pattern on the blue evening gown is a series of circular
designs that are almost exact reproductions of the legendary
Catherine wheel. The teeth on some of the design's wheels
are shown turned inward (see Figure 20).
St. Catherine, so the story goes, was a virgin from Alexan-
dria, Egypt, who openly confessed her loyalty to Christian
gospel in A.D. 307. She was sentenced to death on toothed
wheels—a popular, though painful, form of execution and
torture reserved for important heretics and other deviants of
the time. Fifty pagan philosophers were sent to pervert and
corrupt St. Catherine while she was in prison awaiting execu-
tion. Through winning and irresistible eloquence, she convert-
ed the philosophers to Christianity. Thereafter, St. Catherine
was regarded as the patroness of philosophers and learned
scholars.
St. Catherine rejected all offers of marriage and reward. In
a vision she visited Heaven a nd became the spouse of Christ.
Christ plighted their troth with a ring in the design of the tor-
ture wheel.
The story of St. Catherine mi ght be considered an ar-
chetypal Christian version of a much more ancient legend.
Catherine (the word is from the Greek Catharos, or pure)
was also the all-pure, immaculate, and undefiled Bride in the
Song of Solomon. The toothed wheel in this earlier legend
with which she is identified is the four- or six-rayed solar
wheel. Cinderella, from the German legend, was sometimes
called La Bella Catarina. Even today, a firework design used
in Fourth of July celebrations bears the name Catherine
wheel.
The Catherine wheel design appears also on another eve-
ning gown on the Peck & Peck advertisement (Figure 17) in
the smaller photograph of our tourist dancing in an orange
gown. She is surrounded, we might reasonably assume, by pa-
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M EDIA S EXPLOITATION
gan philosophers attempting to corrupt her. Another version
or adaptation of the Catherine wheel theme appeared in an
earlier Vogue advertisement for Best & Company, an exclu-
sive Fifth Avenue clothier. The hostess robe and turban are
decorated with large toothed wheels—the teeth either covered
or turned inward (Figure 21).
Keepers of the Secret
Women's unconscious taboos are massaged just as often as
men's. Thumb through any women's magazine and study the
ads, illustrations, and copy for symbolism that would stimu-
late unconscious taboo mechanisms. Observe carefully such
details as body contacts; where eyes are looking; fingers, feet,
arm, and leg lines and where they point; model relationship
dominance and subordinance; and, of course, background
and embeds.
With this in mind, one illustration was selected from a
Sears catalog (Spring and Summer 1971) as typical of the
unconscious story line and hidden taboos manipulation (see
Figure 22).
Each photograph in a catalog of this kind involves many
thousands of dollars in merchandise inventory. The Sears
Catalog art department people must know precisely what they
are doing. Where women's fashions are concerned, a blunder
in an illustration or a passive design that could not motivate
sales could easily result in a major disaster. Carefully exam-
ine this—at first glance—innocuous fashion photograph. Try
to find out how it sells the product.
These models, appear to have been photographed separately
and their pictures pasted upon the background in interlocking
poses. The composite layout was then rephotographed. Out-
lines are sharp and even. The grass around the models' shoes
appears retouched.
The foreground brunette in the light blue slacksuit is feign-
ing sleep. She appears relaxed. Though probably listening
carefully to what is going on behind her between the other
two models, she is—at the moment—detached. Her left arm
hangs limply at her side: her right arm and hand effortlessly
prop up her chin and head. The forefinger of her right hand
is interesting, as it is pointed toward her left breast.

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The Fashion Massage
Of the two background models, the one in blue-white ap-
pears dominant. Blue and white are much more masculine
and dominant colors than th e pale green and yellow.
The designs are curious. The blue and white pantsuit
blouse carries a design often used on men's ties and shirts—
symbolic of tadpolelike, wiggling spermatozoon. The brunette
model's right foot is placed fi rmly upon the ground; her right
hand, held in a loose fist, forcefully pressed against her hip.
The brunette model's hair is short and bound in a white
ribbon, again masculine and dominant. The most provocative
detail in the photograph, however, is the brunette's eye con-
tact line directed at the blonde 's right breast. Her gaze i3
quite intent. Her mouth is open in an expectant expression,
suggesting an oral caress.
Her left hand is behind the blonde's back, though as might
be logically expected the hand does not appear at the
blonde's waist. The missing hand, following the brunette's left
shoulder line, would likely be on the blonde's buttocks.
Applied Body Language
There seems little doubt that the brunette is making a rather
specific sexual overture to the blonde. The blonde, however,
appears passive—at least so far. Her pale green and yellow
slack suit is covered with flowers, symbolic of virginity, fertil-
ity, passion, freshness, and sexuality. The flower of course, is
the plant's reproductive organ.
The blonde's right foot and knee are positioned ag-
gressively between the brunette's legs. Right hands and arms
denote symbolically, a course of action. Left hands, as sym-
bols, are usually passive or supportive. The blonde's right
hand rests lightly against the inside of her thigh. The hand's
thumb and forefinger provide a vaginal symbol halfway be-
tween the genital areas of the two models. Tracing a line
from the blonde's forefinger upward to the left, the line inter-
sects the blue and white flower in the border design located
precisely over the brunette's genital area.
In terms of story line, the two brunette models in blue ap-
pear to be a couple—the light blue with the passive or femi-
nine role, the blue-white with the dominant, masculine role.
The passive partner is pretending sleep, unaware of all the in-
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M EDIA S EXPLOITATION
teresting things going on behind her back. The pale green and
yellow model appears to be an outsider, a newcomer. Her
slack suit really is not compatible with the other two. The
blonde, her eyes on a distant horizon, appears to be weighing
the possibility of joining the pair.
The Sears fashion artist did not leave his audience dan-
gling, so to speak. To consciously discover what happened to
the three-way relationship—which bears a remarkable resem-
blance to the Dionysian Greek statue The Three Graces and
the countless adaptations of the idea in European Renais-
sance art—all the astute Sears catalog reader need do is look
at the small photographic inset at the left. All three models
have removed their pants and presumably their inhibitions.
The blonde had to completely ta ke off her one-piece slack suit.
She is now wearing a short flowered dress.
The light blue brunette has reassumed her role as lady of
the house. She proudly, if not arrogantly, displays her body
to the others, her right arm inactive and the thumb and fore-
finger in the vaginal symbol with the knuckle and forefinger
pointing toward the blue and white model's genital area.
Blue-white, on the other hand, appears to be still on the make,
her right hand on the blonde's shoulder, her eyes now peering
down at the blonde's left breast.
Blue-white's left hand now appears behind light blue. Her
attention is divided between the other two women. The
blonde, however, is still the outsider. But she now appears
more relaxed and at ease. Her arms are relaxed at her sides,
though her right thumb and forefinger still symbolize her
vagina.
The Best in the Business
Remember, this single illustration is not the work of amateurs.
Sears is widely known to employ some of the best technicians
in the business. Their catalog art department can obtain,
from year to year, the most direct and simple feedback verifi-
cation available in modern mass communication media. Sears
could tell you, through a simple computer run, how many of
each of the three slack suits pict ured in this single illustration
were sold. Should these communication techniques not work
effectively, it would be rapidly discovered.
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The Fashion Massage
The Sears, as well as other retail merchandising catalogs,
are loaded with similar salacious implications. As these phe-
nomena are very widely and repetitively used, they simply
cannot be dismissed as accidental. Most of the techniques
described in this chapter have been used by artists for cen-
turies. None are even remotely what anyone could call new.
What appears new is our inability to recognize the manipula-
tive objective of these illustrations and designs and the profit-
seeking industry they sustain.
Modern consumers seem to be lieve they are deciding pur-
chase preferences all on their own, much like the man who
smokes the "thinking man's cigarette." The significance of art
and design—most of which involves the unconscious—has
been almost completely det ached from the study of human
behavior in American universiti es' mechanistic-oriented psy-
chology, sociology, and anthropology departments, suggesting
that somehow this is a subject our so-called modern civiliza-
tion simply does not wish to deal with. It is quite possible
that societies—much like indivi duals—collectively repress in-
formation, concepts, and ideas which would produce high
anxiety levels if dealt with consciously.
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______________________________________________

You want to know, Little Man,
how you are? You listen on the
radio to the announcements of
laxatives, dental creams and
deodorants. But you fail to hear
the music of propaganda. You
fail to perceive the bottomless
stupidity and the disgusting
bad taste of things which are
designed to catch your ear.
Have you ever paid close
attention to the jokes which a
master of ceremonies makes
about your whole small
miserable world? Listen to your
laxative's propaganda and you
learn who and how you are.
WILHELM REICH
Listen Little Man
With Lifetime Consequences
Substantial evidence supports th e view that America's media-
oriented economy has actually changed human life patterns
from infancy through old age, at both conscious and—more
importantly—unconscious levels.
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Children of the Tit Culture
During the approximate first two years of a child's life, ev-
ery infant grows through clearly observable stages. Sigmund
Freud proposed only two major stages of psychosexual de-
velopment during this early period—the oral, roughly the first
year; and the anal, roughly from one to three years. Other
theorists such as Jean Piaget and Erik Erikson have described
these early stages in much greater detail—Piaget identifying
six stages during the first two year s of an infant's life. For the
moment, Freud's theoretical structure will be useful to con-
sider in relation to media, even though the theory is diffuse in
many respects. (The reader is urged to examine a much more
detailed synthesis of insights into early growth patterns in Dr.
Theodore Lidz's excellent book The Person.)
Freud's oral phase roughly divides into two parts. During
the first six months of an infant's life, food is of primary im-
portance. The infant's life centers upon the taking of food
through sucking. The first and most vital of all human rela-
tionships involves receiving nourishment from the mother,
upon whom the infant is totally dependent. During this early
process, the infant orients for the first time toward feeding,
an affectionate need for others, and varied mouth-centered ac-
tivities. Infant sucking behavior produces erotic (sexual)
stimulation and, of course, is hi ghly pleasurable. This is easily
apparent as infants tranquilly suck away at their mother's
nipple, a nursing bottle, or when there is nothing else handy
their thumbs.
During the following six to eight months, the infant's
concern with food expands to in clude socialization, which
also centers upon the mother. Tactile or touching
experiences
appear to reinforce the child's sense of security. Touching—
hand, mouth, genital, body, the whole range of tactile experi-
ence—is vital social learning during this early oral growth
stage. No portion of an individual's life experience will be as
thoroughly incorporated into their personality or become so
much a basic part of lifelong character as infancy or roughly
the first two years of life.
Children eventually mature, but an indelible lifelong cul-
tural imprint has been made upon their individual personali-
ties. Keep in mind that these early sensory experiences that
focus upon oral and tactile gr atification are fundamental to
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M EDIA S EXPLOITATION
virtually everyone's personality. The need for such experi-
ences will endure in one form or another, in one degree or
another, throughout life.
Most individuals periodically regress throughout their lives
to oral dependency when confronted with tensions, anxieties,
or fears of rejection—a psychic or symbolic return to the
maternal breast. In adults the r eal nature of these oral sen-
sual stimulations is usually camouflaged while they suck away
at cigarettes, cigars, pipes, food, and drinks. Sucking contin-
ues as a primary, normal, healthy, and emotionally fulfilling
activity for both sexes at all ages.
Nursing and touching practices are largely culture-adap-
tive. Some cultures, for exam ple, encourage breast-feeding
the infant for two years or more. Other cultures, such as that
of North America, have virtuall y eliminated breast-feeding of
have shortened the period to only a few weeks.
Unlike their counterparts in most Darts of the world, North
American women consider breast-feeding undignified, an an-
noyance, and inferior to mech anical systems of infant
feeding. Some cultures encourage extensive handling,
touching, or caressing experiences between the infant, broth-
ers, sisters, and parents, as well as other adults. Other cul-
tures, like ours, reduce touching and handling experiences to
a minimum.
American mothers are not permitted by their cultural taboos
to consciously admit, even to themselves, that they obtain
sexual stimulation while nursing their infants. Such distortions
of the life process by both conscious and unconscious tradi-
tions provide insights into cultural forces invisibly at work
in modifying human behavior.
Strong Traditional Taboos
At least two definable reasons appear behind the Anglo-
American mother's aversions to touching and nursing her
child. This culture has a strong incest taboo and a homosex-
ual fear tradition whose roots go far back into its history.
American mothers stop touching their sons, and fathers
stop touching their daughters much earlier in America than
in most parts of Asia, Latin Am erica, or Africa. But in all
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Children of the Tit Culture
cultures, touching between parents and children of the op-
posite sex eventually stops. The incest taboo appears univer-
sal.
One insight into America's strong incest taboo tradition re-
cently turned up in research on legal sanctions. Over the past
century, one midwestern state had enacted nineteen laws that
attempted to define acceptable and unacceptable marital rela-
tionships. These laws prohibited marriages between various
specific distant relatives. Even considering the current genetic
theories of recessive gene inhe ritance and its effect upon in-
tra-family marriages—theories far from universally accepted
by geneticists—only three of these laws would have been jus-
tified. But their very existen ce betrays their society's high
level of underlying incest fear. In many nations and states,
not even a trace of such prohibition can be found in legal
statutes, implying a much lower level of concern.
Touching fills a healthy need in many cultures for the ex-
pression of affection and for reassuring tactile stimulation. In
America, very possibly the world's most advanced no-touch
culture, touching threatens to invite intimacy. Training chil-
dren to avoid touching experiences with parents, other adults,
or even with other children is a solidly established though
usually unnoticed (repressed) norm in North America.
In other cultures where this taboo is not so highly de-
veloped, it is a common sight to view children communicat-
ing nonverbally through physical contact well up into the late
teen or even adult years. Bu t because, Americans have been
taught to both consciously and unconsciously sexualize all
forms of touching, the physical caress or desire for body con-
tact from a member of one's own sex becomes a highly
threatening gesture, even though in reality there may be no
more sexuality involved th an in stroking a kitten.
Between people of the same sex, touching also implies ho-
mosexuality—possibly the most feared and terrifying betrayal
of the inner self possible in America. Should an American
child openly display physical touching behavior with other
children, most parents either overtly or covertly punish the
child for doing something "dirty" or "bad." The parents'
unconscious fears are projected on their children's behavior.
Children so conditioned, of c ourse, will condition their chil-
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M EDIA S EXPLOITATION
dren, who in turn when they become parents, will condi-
tion . ..
Repressed sexual fear, much like all types of repression,
makes humans highly vulnerable to subliminal management
and control technology. Through subliminal appeals and rein-
forcements of these fears, so me consumers can be induced
into buying almost anything.
Lolita Is Alive, Well, and Living in Media
American culture has strong taboos concerning older men
and young women relationships—a major American taboo
sometimes called the dirty-old-man syndrome. Today, we
even hear of his counterpart, the dirty old woman. These syn-
dromes are derivative of incest fear—father and mother sym-
bols identified with the young.
The exploitation of sex guilt between parents and children,
or adults and children, is frequently apparent—if you look
carefully—in marketing products. As one example, the child
in the Bell Telephone bill insert is probably about twelve
years old (see Figure 23). Th ese messages were mailed with
monthly statements to subscribers all over North America in
a money-saving (for the phone company) attempt to induce
subscribers to use directories instead of calling information.
At the surface level, a twelve -year-old girl appears posed
on a phone book. She stands on tiptoe, stretching upward, ap-
parently reaching for something. She might be reaching for a
telephone number, but somehow that just doesn't make logi-
cal sense.
The insert provoked the anger of a group of women
attorneys in Toronto who strongly objected to the use of
pedophilia—the utilization of children as sex objects—in ad-
vertising. The twelve-year-old is obviously posed in a sexually
provocative posture, her dress stretched above her exposed
fanny.
Lightly embedded in the child's leg—to be perceived sub-
liminally—are several SEXes. In the top of her white stock-
ing appears an embedded word FUCK lightly shadowed into
the stocking folds (see Figure 24). These subliminal stimuli
would be most effective in a culture such as North Ameri-
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Children of the Tit Culture

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M EDIA S EXPLOITATION
publication which used to be a staunch defender of middle-
class morality), asks the familiar question. The illustration
portrays two models in the role of mother and daughter—the
daughter portrayed by a model eight or nine years old. The
model portraying the mother holds the child's skirt up with
her right hand. The mother's left hand appears to be under
the skirt. "The "Does she or doesn't she?" question is an-
swered in the copy head with the statement, "She Still Does!"
Simply put, those taboos held most strongly by any culture
intensify that culture's vulnerability to subliminal manipula-
tion. Pedophilia—the sexualization of children—is unques-
tionably the most feared taboo within the American culture,
Therefore, it makes a superb subliminal advertising theme.
The Thoroughly Integrated Culture
The American mother is exhaustively trained throughout life
to fear that damage to her breast contours may occur from
child nursing, resulting in rejection, a loss of sexual attrac-
tiveness, and loss of life. The rapid disappearance of infant
breast-feeding in America has a great deal to do with the
American breast fetish.
Male preoccupation with the large, virgin-contoured mam-
mary glands—denied them in infancy—as reflected by Holly-
wood, television, and Playboy magazine—is also largely the
result of media conditioning. Media exploits the American
male breast fetish which, in tu rn, reinforces the female aver-
sion to breast-feeding infants. The highly integrated, mutually
reinforcing elements of culture function like a fine watch
mechanism.
Americans are frequently astoni shed to discover that the
breast is not a primary erogenous stimulus in many of the
world's cultures, including several where female breasts even
remain uncovered in public. In the Far East, for example,
small feet are every bit as se xually provocative as large
breasts are in America. In both cultures the "natural" look of
the female body was dropped in favor of highly artificial
symbolic representations—the Chinese tightly bound women's
feet with bandages while Americans bind women's breasts
with uplift brassieres . Somewhere in both cultures there was a
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Children of the Tit Culture
payoff. In the Far East bound feet imprisoned the woman
and made her into an economic and sexual asset that simply
could not run away. In America the uplift brassiere has made
fortunes for clothing manufacturers and imprisoned the
woman psychologically as a conical-breasted sex object.
A Media Hold-up
The brassiere industry is a multimillion-dollar annual eco-
nomic event within the American economy, a vital and basic
sector to the whole garment and textile industry. Puerto
Rico manufactures over three fo urths of America's brassieres
and is known in the trade as the bra capital of the world.
One economist sardonically co mmented that the famed Oper-
ation Bootstrap Economic Development Program was held up
by a padded bra.
In America, possibly more so than in any other national
culture, the idealized shape and contour of large virgin
breasts have developed as a cultural focal point largely
through the effects of commercial media—newspapers, maga-
zines, and television providing visual emphasis upon the
mythical breasts of the idea lized American woman (i.e.
Mother).
This cultural ideal is a blatant fiction. Breasts, like the
women equipped with them, come in all shapes and sizes
which change continually throughout life. Biologically speak-
ing, there is no such thing as a meaningful norm as far as
natural breast contours are concerned. In fantasies, however,
there is a virtual absolute Amer ican standard breast configu-
ration.
In one composite image study assembled by a national
marketing organization, dozens of men's publications were re-
viewed. From advertising and illu strations directed at male
readers, the breast pictures were collected and cut out. In iso-
lation from the ad copy, trademarks, etc., they were shown to
several dozen women who were requested to describe the
woman who belonged to the pictured breasts—age, occupa-
tion, height, weight, physical condition, etc.
A substantial majority of the female respondents described
the breasts as those of young pregnant or nursing mothers,
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M EDIA S EXPLOITATION
The cut-out breasts were then given to several artists, who
were requested to synthesize the individual variations in con-
tour, size, nipple, etc., into a composite drawing. There was
no question the final composite breasts were the large, full,
bulging mammary glands of a young, lactating mother.
A panel of brassiere design ers estimated the composite
image was a size 38D cup. This large, full bra size was then
compared with the annual national bra sales by size of a
large North American department store chain. Only 8.9 per-
cent of women wear a size 42 or larger bra; over half, 56.5
percent, wear a size 34 or 36; only 34.7 percent of all North
American woman (roughly one third) wear a C cup or larger
in any size, and only 13.6 percent wear a D cup or larger.
The media fantasy—a size 38D—represented a very small
percentage of North American women—only 1.6 percent
wear 38D or 38DD bras. But the heavy use of this fantasy
standard by media conveys an unconscious ideal that can only
place the vast majority of real women on the defensive.
Young women with small breasts, literally most young
women in North America, are th us educated to feel them-
selves inferior misfits. They are thusly transformed into
ardent consumers of tit decoration techniques—padded bras-
sieres, foam injections, or even plastic surgery. But no real-life
woman could ever match the symbolic maternal perfection of
the centerfold Playboy magazine and its competitors do not
touch breasts, they retouch them.
Retouching Beats Touching
Our Playboy reader is often doomed to a lifelong search for
someone to mother him—a role no mature woman in her
right mind would accept. A woman who fails to qualify as
this fantasy ideal—and no woman is ever likely to qualify
completely—must resign herself to become merely a sex ob-
ject for the playboy to manipulate and use. The playboy may
wander the earth for a lifetime without ever forming a mean-
ingful relationship with a woman. Of course, as is uncon-
sciously implied in the playboy concept, he may eventually
give up his search and opt out with another man.
An even more dismal fate befalls the young woman who
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Children of the Tit Culture
does not conform to the fantasy expectations of acceptable
feminine beauty. The big-breasted magazine, newspaper, and
television models are not offset by the homosexual or narcis-
sistic image norms communicated by the small-breasted mod-
els for the specialized female audiences of Cosmopolitan, and
Vogue magazines. Every large American city has tens of
thousands of working women—many highly talented, sensi-
tive, and interesting women—wh o are unlikely to establish
permanent mates because they physically do not fit into the
current media-induced fantasy of what an attractive woman
should look like.
The cartoon character Linus, in Peanuts, symbolizes the
American male's search for secur ity, if only in the form of a
satin-edged blanket. It is significant that prolonged thumb-
sucking is virtually unknown in cultures where infants are
breast-fed. Thumb-sucking, later in life, is transposed into a
search for oral gratification through symbolic breasts, ciga-
rettes, alcohol, foods, and drugs. The search for comfort,
security, and love through oral gratification is another funda-
mental cultural theme of Am erican commercial media.
Merely sit for an evening in front of network television and
make notes on how many commercials you view per hour
that are involved with mouths or the putting of things into
mouths.
Literally everyone has some oral characteristics. Some indi-
viduals appear more orally centered in their behavior than
others, but oral characteristics tend to surface when any indi-
vidual experiences intense anxiety or insecurity, often when
consciously-perceived stimuli tr igger memory traces repressed
within the unconscious during early childhood or infancy.
The oral character is often consistent, however, in his
techniques of passively seeking to obtain needed fulfillment
from others. Oral personalities are likely to fear abandon-
ment. Unless there is someone to feed and care for them,
they generally lack self-confidence. Some of the more ag-
gressive oral types doubt they can fulfill their needs without
controlling and managing other people. They may drive
themselves mercilessly while exploiting others in their never-
fulfilled search for security.
If indulged excessively as children, "oral" adults can de-
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M EDIA S EXPLOITATION
velop an unshakable optimism that interferes with their abil-
ity to care for themselves, assuming others will somehow look
out for them. Those who were orally deprived and frustrated
as infants tend to deep-rooted pessimism and are easily hos-
tile or resentful when their needs are not met. They tend to
easily give up when frustrated. Many famous literary figures
and orators have been dominantly oral in their personalities,
openly displaying (for example) love for both words and
food. The interrelated oral problems of love, food, insecurity,
and dependency are also visible in the histories of many psy-
chosomatic diseases such as ulcers and asthma.
Both media information content and advertising—pushing
food, drinks, security, insuranc e, affection, maternal domi-
nance, and upset stomachs—testify eloquently to widespread
unconscious oral preoccupations.
The Crest Cavity
The Crest advertisement from the September 10, 1971, issue
of Life is another illustration of an advertiser's appropriation
of a nation's collective unconscious in merchandising its
products (see Figure 26). This ad is a superb example of a
subliminal oral-regression persuasion technique.
The one-toothed baby in white is, of course, a boy—a pink
dress would have meant a girl. When dealt with at the
conscious level, the overt genital symbolism is obvious and
annoying; the mother's phallic forefinger holding down the
bottom lip of the child's open, female-genital symbolic mouth,
provides the photograph's primary focal point. For most
readers, the fovea in the eye's retina saccades from the open
mouth and finger up to the fath er's face (the curve lines re-
touched into his cheek), then directly left to the mother's
eyes, diagonally down from her nose across the baby's face,
down to his arm and hand, then a quick jump to the left and
you see the Crest toothpaste tube.
Now, let's go back and look at what was perceived on the
periphery of the retina's fovea, during the lightning-quick
conscious perceptual experience.
On the back of the child's hand appears a series of
embedded SEXes (see Figure 27). SEXes are also embedded
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Children of the Tit Culture
on the faces of both parents, in their hair, on the mother's
hand and fingers, and mosaiced across the child's dress.
Just think about all that Crest has to offer in addition to
"No Cavities."
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Civilization has progressed
toward cleanliness, as a result
of the repression of anality.
SIGMUND FREUD
Letters
The Hard Sell of Clean
Supporting an industry that merchandises a vast array of prod-
ucts dedicated to making us clean, Americans have been ex-
haustively taught (programmed, if you prefer) to be clean,
think clean, and buy only clean. Clean, however, is far from
a universally agreed-upon concept. The meanings attributed
to the word "clean" vary substantially from culture to culture
and from time to time. What is clean in one country may be
dirty in another; what was cl ean twenty years ago may be
dirty today or vice versa. Clean depends almost entirely upon
where you happen to be standi ng and when. The meaning of
words, however, is far more related to the ways people react
to them than to what the dictionary says about them—
especially words like clean. What someone says and what
someone does about conceptual words often provides dis-
tinctly different definitions of meaning.
The concepts of clean and di rty in American media are
based primarily upon what we have been educated (pro-
grammed) to believe exist—germs, bacteria, dirt, as well as
other microscopic or submicroscopic threats to our emotional
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The American Clean
well-being. The emotional implications of "dirty" are far
more threatening in media fantasies than are the physical,
such as disease or infection.
Dirt with its related fantasies is vastly profitable. "Not
clean" in advertising, means bad breath (halitosis), obesity,
dandruff, greasy hair, psoriasis, unbright teeth, unwhite cloth-
ing, and constipation. Clean is often used to describe virtually
anything of significance in American life—including, not
least of all, concepts of morality and sin. People and clothes
are clean-cut, we breathe (or we used to breathe) clean, fresh
air, our political, athletic, and military victories are described
as clean sweeps. The incessant claims of the Clean corpora-
tions is often couched in the language of patriotism and
national loyalties: "Look at what we are doing for you!
America is the cleanest nation on earth."
Unilever, Procter & Gamble, Colgate-Palmolive, and their
smaller competitors annually pump via the public informa-
tion media over $10 billion in soaps and detergents of a
hundred varieties which promise to deodorize, sanitize,
antibacterialize, whiten, bright en, bleach, blue, sterilize, hy-
gienize, and—as an important, though unspoken psychogenic
byproduct—dehumanize.
Clean, as a viable selling technique, is rooted in each indi-
vidual's psychosexual development. Roughly between the first
and third birthdays, children's primary concern shifts from
the oral to the anal areas of their bodies. Infants experience
erogenous pleasure from passing or withholding bowel move-
ments. Children value their anal product and find enjoyment
in both its odor and its feel. The child holds back the stool
until its accumulation brines about violent muscular contrac-
tions. As the stool finally passes through the anus, the mucous
membranes are powerfully stimulated. The experience,
though sometimes painful, is also highly pleasurable.
This is probably the only time in their lives that most
Americans consciously enjoy th eir bowel movements. Many
children's later conflicts with authority figures have roots in
this early anal period where then* need to conform and com-
ply focused upon bowel training. A clear relationship exists
between the erotic gratification, conflict over bowel training,
and various adult personality traits.
Bowel training is not biologically necessary during the sec-
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M EDIA S EXPLOITATION
ond year of a child's life. It serves only as a convenience for
the parent. Many cultures permit children to bowel-train
strictly on their own with no parental coercion. Most children
appear to develop control over their bowel movements at
about the same time—during the third year—whether or not
their parents have trained them. However, America's advertis-
ing-managed culture demands that bowel training be intro-
duced as early as possible, during the second year or even
earlier.
Mothers have been taught over many generations to fear
and reject dirt, a symbolic concept which basically implies
feces or feces particles. With the American mother's preoccu-
pation with bacteria, germs, and other microbes, her disgust
with dirty toilets and kitchens, her anxiety whenever her floor
or laundry is less than white or clean, there is no way she can
possibly tolerate a child who pumps out odorous, contami-
nated excrement several times each day.
The media perpetuated heritage teaches that if they are to
avoid guilt, American mothers must train their children in
cleanliness at the earliest possible moment
American Regularity
Furthermore, if children can be programmed to respond with
mechanical predictability in their bowel movements, mothers
can enjoy a much greater degr ee of personal freedom and
convenience. Like adults, children are carefully educated to
fear constipation, one of clean America's most pernicious
foes. The mechanical enema, or its chemical counterpart the
laxative, is standard procedure in many, if not most, Ameri-
can homes. Many Americans train themselves and their in-
fant children to de fecate on time, much as they condition
themselves to eat on time. Deviations from regularity produce
extreme anxiety.
It does not take most infants long to discover they can con-
trol maternal reactions to a large degree by letting go or
holding in their excrement, coun ter to Mother's expectations
and coercive demands. Eventually, of course, the child loses
the game, but the training course may leave scars far deeper
than even those experienced in a Marine boot-training camp.
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The American Clean
Later, as an anally compulsive adult, the individual may see
excretion as symbolic of enormous power.
The ominipresent barrage of advertising that harps upon
"regularity" will in itself subliminally program certain indi-
viduals to feel themselves freaks if they are irregular, often
imposing guilt over the body's inability to comply with the
pharmaceutical houses' admonishments. The industry creates
its own market by inducing constipation through guilt and
anxiety, then providing a simp le and profitable solution for it
As children grow to adulthood, their anal eroticism is
repressed more deeply into the unconscious by the daily bar-
rage of anal-oriented media content. Children between two
and six perceive an average of fifty-five hours weekly of
television in North America—much of it jammed with anal-
oriented Clean Product advertising, virtually all of which is
subliminally reinforced by hidden SEXes and other techniques.
The prevalence of widespread anal fixation is sharply ap-
parent when the American culture is compared with primitive
cultures, or those of less industrialized nations, where time-
oriented anal and oral preoccupations are either nonapparent
or much less emphasized. A number of anthropologists have
referred to the American culture , however, as strongly anal-
oriented—much more so than any national culture on earth
at the moment. If we were to rank national anality, the
British would likely be second.
Psychiatrists have pointed out that adult anal erotics often
unconsciously enjoy their bowel movements and their perspir-
atory and salivary mechanisms (bodily secretions). The anal-
erotic typically overemphasizes body functions, however, and
may consciously repress these as pleasurable feelings. Chroni-
cally constipated individuals tend to stubbornness, showing
covert hostility by withholding affection from others in a
silent and determined way—as they probably did during their
early bowel training. They also display varying degrees of
miserliness, pettiness about details, meticulousness, and pe-
danticism.
This so-called anal personality has problems over holding
or letting loose, about keeping or sharing both possessions
and information about themselves. They tend to ambivalence
on love and hate, both of which they have learned to conceal.
Ironically, individuals overtly concerned with cleanliness and
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M EDIA S EXPLOITATION
neatness are very often covertly quite dirty and messy. The
apparent manifestations of these fixations often turn out to be
merely superficial camouflage displayed for the benefit of oth-
ers.
Overcontrolled children, especi ally at the critical anal
phase, are quite likely to become individuals who need to
hide hostilities and aggressions, who unconsciously feel they
will be rejected, hated, or endangered if their real feelings are
discovered. The anal character often believes others are al-
ways trying to get something from them, or that they will be
shamed, embarrassed, or exposed if they communicate
natural feelings or needs.
Anal Syndromes
Media bombardment, reinforced with subliminal technique
over many years after starting in infancy, could result in an
unreasonable fear of dirt, germs, or contamination—in its ex-
treme manifestation—mysophobia, the so-called housewife's
neurosis. In this pathological example of anal preoccupation,
some men and many women develop phobias about dirt.
They become obsessed with scrubbing, washing, and steriliz-
ing their bodies, homes, and possessions. Many mysophobes
surround themselves with as much white as possible upon
which they can detect the slightest suspicion of dirt—white
rugs, clothes, even automobile upholstery. Ritualistic hand-
washing is usually performed dozens of times daily, until
quite frequently their hands become chapped and inflamed
with pathological dermatitis.
This phobic reaction to fear of dirt (i.e., feces) is wide-
spread in America and extremel y difficult to treat. With great
ingenuity, sufferers will go to virtually any extreme necessary
to maintain their phobia, often sacrificing mates, children,
and friends.
An opposite process appears in a symptom labeled cop-
rophilia, another form of conditioning also believed the
result of childhood anal trauma. Tbe coprophilia-oriented
adult consciously desires involvement in excrement, sublimi-
nally recalling the power once derived from free-flowing bow-
els. Humiliation and discipline through the use of strong ene-
mas often become a technique of sexual gratification. There
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The American Clean
even exists a national "swingers" organization dedicated to
coprophilia.
Most Americans would like to convince themselves that
such "perversions" exist only within corrupt deviants who are
so few they are not even worth comment. But telephone calls
to eleven practicing psychiatri sts in a midwestern city re-
vealed that each was treating between one and nine patients
monthly who could be described as mysophobic or cop-
rophilic. These conditions appear to be far more prevalent
than anyone inside or outside of medicine apparently sus-
pects. Phobic compulsions appear very closely related to ad-
dictive behavior. Literally, American culture as expressed in
the mass media does not include bowel movements. Even
toilet bowls are omitted from bathroom scenes in television
and movies. BM's are forbidden in public, hidden from both
sight and smell. Bodily functi ons are first suppressed, then
later consciously repressed.
Foreign visitors to America comment frequently upon the
ingenious ways in which Americans disguise any reference to
excrement. Euphemisms for bowel or urinary movements are
elaborate, though apparently u nnoticed at the conscious level.
Like so many other cultural entities that involve various
forms of perceptual defense, the techniques used to avoid
dealing with body elimination processes (a euphemism, of
course) become invisible to people within the culture.
One of the most elaborately disguised excretory industries
in America sits upon a low, car efully landscaped bluff which
overlooks the Los Angeles b each area. Perched upon the
summit is a magnificent, modern, green tiled temple. When
the smog is not too heavy, the building appears from a dis-
tance as a lovely architectural expression of man's dedication
to higher inspirations and ideals. The lovely, almost poetic,
name popularly applied to this noble structure is Hyperion
Outfall, suggesting it may be a monument to America's most
treasured dream for a better, more beautiful world.
But alas, Hyperion Outfall is the central sewage disposal
plant for the City of Los Angeles. Inside the graceful struc-
ture are powerful, though invisible, pumps which transport
via huge aqueduct pipes the collected excrement of three mil-
lion people, depositing the liquid sewage five miles out in the
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M EDIA S EXPLOITATION
blue Pacific and the solid sewa ge seven miles out into the
mouth of the very deep Santa Monica Canyon.
The number of words that describe various natural phe-
nomena are often displays of what a particular culture con-
siders significant. The Eskimo, for example, has roughly
twenty words in his vocabulary that describe different types
of snow, while in English there is only one.
Other languages, especially the Latin, are rich in popular
words for shit, feces, caca, or what have you. In Spanish, for
example, there are at least two dozen popular—mostly quite
humorous—words that seek to describe excrement of various
consistencies. Yet in modern English there are only two pop-
ular words for excrement—shit and crap—both vulgar,
abrupt, hard four-letter words of profane rejection. Of
course, one can always use th e Latin medical euphemism for
excrement and call it feces, or revert to baby talk and call it
caca.
Though human excrement is often the subject of gut-level
humor in Spanish, Portuguese, and French folklore, Ameri-
cans take their shit most seriously, hiding and camouflaging
this simplest of all human functions as though some repulsive
form of criminal behavior might be involved.
Soft Is Best
Even toilet paper is sold on the basis of how the soft roll
squeezes, rather than how well the paper wipes. There is
never the slightest suggestion in these ads as to the real use of
toilet paper. A viewer might justifiably conclude that toilet
paper is used for some other function than merely cleansing
one's anus.
Delsey or Scott commercials even seem to propose some
new form of predigested food carefully wrapped and sealed
in plastic. Few foods are packed so hygienically. Sublimi-
nally, the ads are selling soft, clean bowel movements—im-
planting a symbolic projection where good, soft toilet paper
substitutes for good, soft feces. Mr. Whipple, the supermarket
manager who protects the Charmin tissue from being
squeezed, is an anal stereotype. The TV audience will know
he uses laxatives along with Charmin to maintain regularity.
Even a cursory review of national magazine and television
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The American Clean
details dearly how clean products are huckstered via the
anal-erotic tendencies and fixations of the American con-
sumer. The messages are devastatingly simple: Get rid of all
that dirty, unsightly shit, both inside and outside—even if you
can't actually see it. Remember that dirt, germs, bacteria,
stains are always there waiting to get at you! Don't let it
touch you or your loved ones. Scrub, spray, mop, wax, pol-
ish, disinfect, etc. Be safe, be Clean! A plethora of products
compete dynamically for the pr ivilege of guarding Americans
from this filthy, unsightly, contaminated pollution.
Once the Clean Syndrome is well established in a culture it
will persist generation after generation if reinforced by
media. Passed on from parent to children, it is inherited al-
most like a genetic mutation and capable of similar long-term
effects upon life. This is apparent in market research where
large numbers of women as well as men continue to purchase
brands of cleaning products preferred by their mothers or
fathers.
Some writers have compared the American preoccupation
with clean to a religious movement whose parish priests in-
clude Mr. Clean, the head-shaved symbol of dominant sexual-
ity; an armor-clad, ghostlike apparition described as the
White Knight, who charges about the neighborhood with bis
lance straight and erect; and the omniscient, muscled giant
who materializes from walls or ceiling with a dome-topped,
cylindrical spray can in his hand, introducing himself to the
awed housewife as Big Wally. New priests of Clean are intro-
duced every year or so by corporations who have built vast
empires through ads for air fresheners, toilet bowl cleaners,
toilet paper, laxatives, and acid-indigestion remedies.
Clogged Sexuality
The Liquid-Plumr TV production is a thirty-second fantasy
trip into the world of symbolic open bowels and nnclogged
sexuality, finally leading to the ultimate state of Clean. An
opening scene portrays the ev er-searching American house-
wife beneath her sink, exploring for germs and contami-
nation. As her eyes gaze fondly and longingly at the stiff, up-
right drain pipe, an expression of euphoric affection and ad-
miration spreads across her face (see figure 28). But the
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M EDIA S EXPLOITATION
background music strikes an ominous chord: all is not well
back up in the sink. With the bowl (or bowel?) half full of
dirty, foamv. repulsive water, the drain is clogged.
Liquid-Plumr, in the lone cylindrical phallic container with
the domed top, is caressingly held in the housewife's delicate
fingers as she confidently pours the life-giving fluid into the
wastes and impurities that float disgustingly in her sacred
sink. LP eoes to work instantly.
The ad's final scene is a triumph, an epic, a heroic master-
piece, as all impure thoughts toge ther with unclean sources of
contamination are sucked deeply down the drain, out of the
sink and out of sight, leaving behind a sparkling pure
kitchen—the housewife's throne room.
The four-second sink draining segment of the thirty-second
commercial was videotaped and replayed a frame at a time.
There are 72 frames per second in videotape compared with
24 in film. As the contamination began to swirl slowly
around the drain, almost as if God had willed it, a large let-
ter "S" appeared in the water (see Figure 29).
Then, as the drain further uncloged and the water rapidly
bubbled down through the pipe, an "E" (the letter is brown)
appeared floating agitatedly upon the bubbling filth (Figure
30). Finally, as the last of the ugly mess sucked its way down |
the drain, the letter "X" appeared over the drain opening
(Figure 31). The entire subliminal sequence happened in
roughly four seconds and is completely invisible to the con-
scious eye. The SEX, nevertheless, was recorded in the
unconscious perceptual systems of millions of viewers in-
stantly.
As an added subliminal feature, a face appeared on the
bubble just above the final "X." Though the eyes are slighly
offset, the nose and tooth-filled smiling mouth was readily ap-
parent. The bubble face, above the "X," formed the ancient
skull-and-crossbones symbol of death.
In the commercial's final scene, (Figure 32) the phallic LP
container rested triumphantly in a bouquet of flowers (sym-
bolic of the reproductive organs) and sparkling clean plumb-
ing (symbolic of clean bowels). In this final placid, relaxed
scene, Liquid-Plumr posed victoriously on the sink. To the
left of the "L" in Liquid, above and left of the red band on
the bottle, is the letter "E," which forms the center of a SEX
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The American Clean
mosaic The letter "S" appears to the left of the "E." The let-
ter "X" appears on the white bottle to the left of the blue seal
and just above the red band. Another "X" appears in the
shadows below the "E."
The LP commercial was played at full speed for over a
hundred test subjects. Even though they knew the SEX was
embedded in the film, only about one third could consciously
perceive the "S" after the second or third viewing. The other
letters were completely invisible to conscious perception.
The next time you view a floor, window, or table wiped or
mopped on television, or something being poured, watch the
filmy surfaces carefully. You are probably being subed. Also
watch the strained body-language positions from which the
housewife models mop their floors. Appliances, brooms and
mop handles usually point toward genital areas. Often the
model has twisted her posture into an absurd contortion to
achieve an appropriate genital relationship with her kitchen
equipment.
Free-Flowing Media
The sound track was recorded from a recent TV Drano
commercial. In the story line, two sinks and two struggling
housewives are heard. One woman, of course, clears her
stopped-up sink with Drano; her voice is bright, sparkling,
happy, triumphant. The hapless woman using the "other"
brand, however, could not free her stopped-up sink. She spoke
in a low, strained, guttural, almost painful voice. When the
audio portion of the commercial was replayed several times
without video, the second woman's voice unquestionably por-
trayed a woman straining unsuccessfully to evacuate (an
admitted euphemism).
In a clever application of subl iminal anality to food adver-
tising, one ten-second radio commercial for a dairy associa-
tion was classic. The announcer's smooth, low, sexual voice
instructed the listener to "take a minute, have a beautiful ex-
perience, pour yourself a cool, pure, fresh glass of milk...."
As the deep voice droned sensuously on with the soft, warm
sell, liquid was heard swirling in the background while the
voice described the appearance of milk and how it makes
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M EDIA S EXPLOITATION
your life more meaningful (i.e., sex life). When isolated and
magnified, the pleasant, swirling sound of liquid presumably
being poured appeared to be the recorded sound of a toilet
being flushed. The subliminal logic—if it can be called
logic—of the commercial is that milk will loosen up those
tight bowels.
Be Clean With Vaseline
Vaseline, today in America, has an almost archetypal sym-
bolic significance as a vaginal a nd anal lubricant. The product
has been a part of American fo lklore for over half a century
in the form of several hundred obscene jokes.
Vaseline Intensive Care Cream, an intensively advertised
product, reaches into millions of American homes. The
concept of "Intensive Care," however, is never really ex-
plained on the label or in the advertising.
Except for certain dermatological situations that involve
very minute portions of the population, human skin does not
really require intensive care, nor would it benefit even if such
care were available. The phrase was purloined from hospital
parlance and describes care for critically ill patients. The
phrase means to be taken care of, naturally, but also implies
placing oneself under intensive management and control.
Vaseline Cream is a multisensory product: visual, olfac-
tory, and tactile. From the label and advertising (see Figure
33), the cream's visual and conscious image involves protec-
tion against "chapped, irritated, rough, dry skin."
The cream is, the claim implies, so protective that water or
other solutions will not rinse the substance off. The hands are
symbolically sealed off from th e threat of contamination and
damage. But the source of all this danger is left unclear. At-
tempting to explain the motivating power behind the prod-
uct's merchandising technique just does not make sense in
terms of any factual reality.
The subliminal implications in Vaseline Cream go much,
much deeper than merely chapped hands. Visually, VC ap-
pears to have a viscosity, texture, and color similar to that of
seminal fluid.
Readers can visually examine the cream in the palms of
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The American Clean
their hands. The symbolic parallel is instantly obvious. The
tactile experience of VC communicates a feeling of smooth-
ness, again not unlike the texture of seminal fluid. But after
rubbing several seconds, the oily feeling disappears and the
lotion develops a dry, moderately sticky sensation before
it disappears. Rubbing seminal fluid into the skin produces a
very similar feeling and experience.
The tactile illusion presented, of course, is that the cream
was absorbed by the skin—an illusion that is pure nonsense
since the cream merely evaporates. Nevertheless, in terms of
the visual and tactile illusion, Vaseline Cream appears to
have vanished into the skin, forming a protective fantasy bar-
rier against contamination.
The aromatics of Vaseline Cream are also revealing. The
smell is sweet, light, with a subtle touch of lemon. The con-
tainer's light yellowish color visually reinforces the aromatic
experience of lemon. The multisensory appeal of the symbolic
product is thoroughly integrated. In consumer aromatic tests,
the flat, acid smell of temon is often identified with seminal
fluid. When you recall the enormous variety of viscous,
lemon-smelling cosmetic and soap products merchandised to-
day, it appears that seminal fluid has become as symbolically
important to our modern economy as it used to be for human
reproduction. Olfactory symbols may be even more powerful
at the subliminal level than the visual.
The Seminal Cosmetic
Discovery of reproductive sperm in seminal fluid was a quite
recent event in human history—perhaps two centuries ago at
the most. The history of man's symbolic relationship with
seminal fluid, however, is packed with incredible confusion,
awe, wonder, superstition, and fantasy. Even in some societies
today, the fluid is believed to have magical, supernatural
powers to prolong youth, fer tility, beauty, and sexual desir-
ability. Wealthy medieval and Renaissance women employed
alchemists to collect the fluid for use as a cosmetic. Seminal
fluid, sometimes scented, was once applied lavishly to
women's bodies and faces as a fertility ritual.
The sperm whale was hunted for centuries primarily for
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M EDIA S EXPLOITATION
what appeared to be its seminal secretions which were used in
expensive cosmetics and perfumed products. It is curious
how, when the whaling industry is discussed, this tradition is
today repressed—certainly not a suitable subject for conver-
sation among polite, educated people. The most valued por-
tion of the whale was traditionally spermaceti, not blubber.
This seminal tradition, though thoroughly repressed from
consciousness, is very much alive today in modern cosmetic
products such as Vaseline Cream, tubed and bottled shampoos
and soaps, liquid cleaners, fa ce creams, treatments, etc.
In Herman Melville's Moby Dick—perhaps the greatest of
all whaling stories and literary probes of the American
psyche—the author played with the archetypal meanings of
sperm or seminal fluid when he wrote in Ishmael's final vision
of love:
As I bathed my hands among the soft, gentle globules of
infiltrated tissue . . . as they richly broke to my fingers
. . . as I snuffed up that uncontaminated aroma . . . I
forgot all about our horrible oath; in that inexpressible
sperm, I washed my hands and heart of it ... I felt
divinely free from all ill will or petulance, or malice of
any sort whatever....
In symbolic sperm, therefore, Ishmael cleansed himself of
the contaminations of evil. He calls upon the entire world to
unite in love:
.. . nay, let us all squeeze ourselves into each other; let
us squeeze ourselves universally into the very milk and
sperm of kindness.
Melville's humor was not at its most subtle when he al-
luded to "the angels of paradise , each with his hands in a jar
of spermaceti."
Subliminal Pets Are Different
In the Ladies' Home Journal, read by upper-middle-class,
middle-aged housewives, an ad portrait of a jar of VC is held
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The American Clean
suspended between a woman's thumbs and middle fingers—
highly significant parts of the female hand in many ad illus-
trations (Figure 33). Every woman who has ever lived
knows, at both conscious and unconscious levels, how these
fingers are used in masturbation or in caressing the vulva and
clitoris. The symbolism would ce rtainly qualify as a universal
archetype.
To assure the message does not become confused or re-
main ambiguous within the reader's unconscious, the hands,
jar, and blue background are covered with mosaics of
embedded SEXes. A large, obvious SEX is embedded hori-
zontally at the top and to the left of the stream of water
directly above the right middle finger when the more or less
than thin straight line of water crosses the wider splash. The
"E" is, perhaps, the most obvious letter. The "X" is within
and at the top of the water stream. The "S"—a large capital
letter—is to the left of the "E ." There are at least a dozen
SEXes hidden in the water-splashed blue area above the
hands.
The concept, often experienced in dreams, of "saved from
the waters" (as it is designed into the Vaseline ad) symbol-
izes fertility and is a metaphorical image of childbirth. Water,
remember, washes away original sin in baptismal rituals as
well as in shower, soap, or Vaseline advertising. Water, when
portrayed as drops, splashes, or running streaks, can also be
symbolic of ejaculation. The closed jar is also an important
symbol, representing the woman, the womb, and when the jar
is full, virginity.
The Vaseline ad's basic symbolism—fingers, water, jar, and
embedded SEXes—should easily sell thousands of gallons of
cream. But there is more, much more (see Figure 34).
Hidden in the water, just below the top margin, to the left
of center, is the rather large head of a cocker spaniel. Just to
the left and below the cocker's right ear is the head of a
cow—something like the cow's profile on the Pet canned milk
label (a canned milk brand, incidentally, used primarily in in-
fant's formulas). Below the cow's profile is another dog's
head—possibly a fox terrior or beagle. The head is tilted, the
eyes looking at the reader with love and longing. A wild dog
is symbolic of a dreaded father, a domesticated dog a beloved
father. The cow, of course, is an obvious symbol for mother.
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M EDIA S EXPLOITATION
A careful study of the blue area above the jar reveals
several faces embedded in the flowing water. The faces could
be human, even though the representations are as grotesque
as something out of a nightmar e. These faces may appeal to
some bizarre sodomistic sexual fantasy believed common, by
the advertiser, to women.
In the spray on top of the jar—directly above the "S" in
"Vaseline" on the label—is a white bird with wings out-
stretched, as though frolicking in a subliminal bird bath.
Birds have often symbolized the female genitals or vagina. A
white bird, of course, would specifically represent purity or
cleanliness. The 1960s euphemism "bird," meaning a young
girl, is symbolically quite meaningful. The white bird—per-
haps a pigeon or dove—is also symbolic of the soul, spiritual-
ity and, according to Carl Jung, the power of sublimation.
The flying bird symbolizes release from sexual fear or inhibi-
tion.
Animals, generally, appear to play important roles in the
human unconscious. The anthropomorphism (giving human
attributes to animals) of animated cartoons, children's fairy
and folk stories, and in such things as Halloween costumes
and masks is highly meaningful.
Nothing appears to have been overlooked by this most
profitable industry which is dedicated to making America the
cleanest nation on earth.
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Olfactory [odor] sensations
awake vague and half-
understood perceptions, which
are accompanied by very strong
emotions.
P. FRIEDMAN
Observations on the Sense of Smell
Smelling Is Big Business
International Flavors and Fragrances, Inc., a mammoth New
York-based international corporat ion, is in the business of
managing sensory experience for millions of individuals
throughout the world. In their laboratories are roughly 60,-
000 fragrances (smells) and 20,000 flavors. IFF candidly
brags that its business is sex and hunger—the two drives most
basic to human survival over the past million years or so of
human evolution. Many of their smells and flavors would be
classifiable as subliminal as th ey are undectable at conscious
levels.
IFF (perhaps the largest, but only one of many companies
in the business) has annual sales in excess of $112 million.
Their 1971 profit was $17 million. Sixty-eight percent of IFF
products are sold outside the United States to customers that
include the so-called French perfume industry. The corpora-
tion manufactures in fourteen countries and sells to over one
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M EDIA S EXPLOITATION
hundred. IFF President Henry G. Walter, Jr., expects to be
selling over $500 million worth of smells and tastes annually
before 1980. Thirty percent of their current business is in fla-
vor, while seventy percent involves aromatic chemicals.
Spending $11 million on behavior research in 1971, IFF
had sponsored research at Masters and Johnson's Reproduc-
tive Biology Research Foundatio n where several years of in-
tense study was devoted to the relationship between odors
and sexual behavior. In the summer of 1972, IFF announced
the discovery of a subliminal odor exuded by women during
their monthly ovulation which they planned to synthesize and
sell. The discovery itself was not startling. Most female mam-
mals exude such odors though they are usually undetectable
by other specie. The announcement originated through the
IFF corporate offices and appeared in Newsweek and other
publications. The subliminal chemical is by now probably al-
ready a part of food, food packaging, cosmetics, clothing,
and what have you—invisible odor stimuli supplying pur-
chase motivations for millions.
If aromatic and flavor enhancement resulted in an in-
creased capacity for intimate human relationships, IFF might
be considered one of mankind's great benefactors. This possi-
bility, however, does not appear to be the case.
Nature's Way?
One of the current cosmetic clai ms is fascinating when looked
at critically—the natural look, with its accompanying natural
smell. It requires more cosmetics for a woman to achieve
the natural look than it does to achieve the made-up look.
In order to become natural, you must become more un-
natural.
In one national TV commercial, Mother Nature is shown
walking through a fruit market. She ignores, even snubs, the
fresh piles of oranges, apples, gr apefruits, cherries, pears, etc.,
selecting a can of Del Monte fruit cocktail as "the real thing"
or as "nature's own flavor." Coca-Cola's recent product
self-image makes the drink appear as a life necessity.
Caramel-sugared soda water as "The Real Thing" might even
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That Clean, Odorless Smell
be hilariously funny except that millions of consumers ap-
parently respond to the nonsense.
To be natural in America, one must carefully avoid natural
states of existence. In fact, part of the conditioned concept of
Clean implies that natural odors are inherently evil, morally
objectionable, and unhealthy. Natural odors, that is, not syn-
thetic-natural odors. American advertising demands virtually
everything in nature be deodorized—then reodorized by syn-
thetic aromatics: pine for bathrooms and kitchens, leather for
plastic upholstery, charcoal for steaks, etc. With the human
body, the basis for "good" smells is either a synthetic chemi-
cal odor or a total absence of odor—produced by plugging
the bodies' sweat glands with gl uelike deodorants or by anes-
thetizing the nose's olfactory bulbs with sprays or volatile
chemicals.
Aroma as Data
A brief review of animal experiments provides some insight
into the significance of smelling to various species. Mammals
living in water generally have poorly developed senses of
smell. Fish, however, appear to both smell and taste with ex-
traordinary sensitivity. Minnows and salmon, for example,
distinguish by smell between males and females of their own
species.
Canadian naturalist A. D. Hasler discovered that streams
retain their own specific odors for years. Minnows retain these
odors in their memories for several weeks after birth. Salmon
and sea trout memories for odors related to reproduction are
even more remarkable. High proportions of salmon return to
stream locations where they ha tched from distances of even
thousands of miles after up to five years. In tests, roughly 2.5
percent (11,000 out of 470,000) of salmon survive their
spawning migration, laying and fertilizing their eggs in ex-
actly the same location in which they were hatched years ear-
lier and then, of course, dying.
Salmon hatched in an inland stream were flown out to a
connecting river from which they migrated to the sea. They
returned to the exact stream in which they had been reared
years later when they were read y to spawn, traveling a route
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M EDIA S EXPLOITATION
they had never traveled before. The experiment suggested
that olfactory memory traces may even be inherited genetical-
ly. These remarkable, though quite natural, memory feats
appeared based entirely upon the fish's highly developed
ability to remember specific odors.
Rats, as well, have highly developed abilities to differenti-
ate odor. Guinea pigs have been shown to possess an olfac-
tory acuity a thousand times or more greater than man's.
Dogs communicate with each other through smell stimuli, pri-
marily emanating from their months, noses, and genital areas.
They have been demonstrated to have olfactory acuity (smell
sensitivity) 1 million to 100 million times greater than man.
Whereas man distinguishes only a few thousand smells, dogs
can distinguish about half a million, easily distinguishing one
individual human scent out of thousands. Experiments with
tracking dogs suggest that each individual human has a com-
pletely unique body odor. Dogs can identify a stick touched
by a specific human finger for only two seconds. Further,
odorous liquids such as alcohol and strong-smelling oils ap-
plied to the hand or stick do not prevent dogs from correctly
selecting the one individual scent for which they are search-
ing.
Evolutionary theory suggests th at the olfactory bulbs,
which are believed to collect aromatic molecules from air as
it is breathed, appear to have been the evolutionary origin of
what—in the highest developed specie of life—we call the hu-
man brain.
The two halves of the brain appear to have originally been
buds that evolved from the olfactory stalks. In the human
foetus of six months and in adult lower animals, there are
three pair of rhinencephalic nerve complexes (the smell por-
tion of the brain). The relatively undeveloped human olfac-
tory bulbs replace the foetus's highly developed bulbs and
rhinencephalon (or smell brain). These highly developed
bulbs and nerve structures completely disappear before birth.
They exist only in the foetus as vestiges of our evolutionary
predecessor's highly developed organs of smell.
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That Clean, Odorless Smell
Putting Smell in Its Sensory Perspective
Aristotle first defined the five senses of man over three
hundred years before Christ. During the twentieth century,
the list of senses was slowly extended to include nearly eight
times Aristotle's original list and the discovery of additional
human sensory inputs into the brain continues. These senses
are all interrelated and interconnected. No portion of the
brain appears isolated from other portions. The way food
"tastes," for example, is partially determined by how it looks,
smells, feels, etc., at both c onscious and unconscious levels.
At the conscious level, the multiple senses appear to operate
with a fluctuating bias thatcontinuously shifts from one sense
to another while we taste, hear, feel, etc. This bias does not,
however, shut off the momentarily unfavored senses, which
still convey information to the brain.
Of all senses, smell appears to have the best memory. Vir-
tually anyone perceiving an odor he had not perceived for
ten years might very likely reco gnize the perception instantly,
bringing to conscious awarene ss an avalanche of memories
and emotional associations.
Studies of both primitive peoples and unsighted individuals
suggest that their olfactory sensitivities are very highly de-
veloped. When individuals are forced to depend upon alterna-
tive senses, many develop astonishing powers. The sense of
smell, of course, cannot be turned off in the way we close our
eyes, rinse our mouths, or remove our fingers from an
uncomforatble surface. In a way, smell turns itself off or
down. Odor intensities diminish after prolonged exposure.
This diminishing effect is often referred to as "olfactory fa-
tigue." Virtually any human could comfortably live adjacent
to a garbage dump or an open septic tank. Within a few days
(or only hours for some individuals), the stench would not
be considered objectionable and would soon pass unnoticed.
Smells just do not lend themselv es to neat, clear, analytical
measurements such as we have constructed for sound and
light, though several classification systems are useful in per-
fumery or other olfactory production areas. A perfumer, for
example, must have an intimate working knowledge of be-
tween six and eight thousand ar omatic substances. Perhaps
three thousand odors intermix to form a virtually endless
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M EDIA S EXPLOITATION
number of possibilities. Futh er, each mixture may vary—in
the way it is perceived—in relation to sex, age, and physical
condition. Heavy or light aroma tic concentrations vary per-
ceptual response, as well as such factors as temperature and
humidity. Odor intensity increas es, for example, as humidity
decreases.
Large dung hills from a distance often smell strongly of
musk—a pleasant, sexually stim ulating aromatic. But at close
range, the excremental stink is unbearable. Skunk aroma, for
another example, is also a pleasant scent for many people if
experienced at a distance.
Several general conclusions appear to emanate from the
large collection of animal studie s. The sense of smell is vital
in food selection and in the avoidance of danger and ene-
mies. And, perhaps most signifi cantly, virtually all species—
even those whose sense of smell does not appear highly de-
veloped—utilize odors as a basis for social and reproductive
behavior.
Origins of Human Odor
There are two known types of sweat glands in the human
body: eccrine glands, which emit an odorless fluid 99 percent
water and 1 percent salt; and the apocrine glands, distributed
over the body but concentrated in areas such as armpits, gen-
itals, feet, hair, etc., which secrete a sticky, milky fluid that
rapidly decomposes, becoming odorous.
Perspiration does not serve to rid the body of wastes. The
some 3 million eccrine glands in each human appear to have
one major function—the regulation of body temperature. Ec-
crine sweating, however, can also occur from emotional
arousal when the body is not actually overheated.
The infinitesimally smaller number of apocrine glands, on
the other hand, are activated only by emotion. Men and
women produce about the same quantity of apocrine secre-
tion and odor, though there are subtle differences (sometimes
not so subtle) in the odor produced by each individual. The
apocrine glands in different parts of the body also produce
different odors.
Experimenters have demonstrated that tracking dogs follow
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That Clean, Odorless Smell
human scents that diffuse through footwear. Man, like many
mammals, has heavy concentrations of apocrine scent glands
on the feet In a tracking situation, of course, persons under
emotional strain perspire more than they would normally.
Apocrine-gland-produced solutions serve to communicate
emotional states from individual to individual. And through-
out evolution this system of odor communication appears to
have had considerable survival value for man.
Sexually mature humans have body odors quite distinct
from the immature. Odors are basic to the relationship be-
tween child and mother. Heavy concentration of apocrine
glands in the mother's nipples strongly stimulates the child in
sucking and attachment behavior. Infants can identify their
mother's breast and genital odors during their first few weeks
of life. Naturalist Charles Darwin collected evidence that
odors sensed by infants are capable of producing changes in
heart rate and respiration. Three groups of individuals will
place any object within reach into their mout hs in response to
smell stimuli—lobectomized monkeys, healthy infants, and
schizophrenics regressed to early childhood.
When a small child thumbsucks while holding on to a baby
blanket, the blanket must smelt of human odors. Children
carefully examine their blankets for a portion with a tranquil-
izing human smell. Most small children will reject a newly
cleaned blanket.
Male silkworms can scent a mate as far as seven miles
away. Females of the species, however, are odor-blind to
their own powerful aromatic. Females of virtually all species,
including humans, appear unaware that their bodies produce
powerful, natural, olfactory sexual stimulants.
Physicians often utilize body odor as a basis for medical
diagnosis. Many verified cases have been recorded where doc-
tors detected the approach of death through odors, even when
pulse, temperature, and patient feelings were not unfavorable.
Patients with acidosis and uremia have quite distinctive
odors. The odor of leukemia patients has been described as
similar to that of "a freshly opened corpse." Chronic schizo-
phrenic patients emit a sweetish odor.
One most curious phenomenon, observed by many scien-
tists, is that sensitivity to smell is often much greater or much
less in the United States than in other areas of the world.
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M EDIA S EXPLOITATION
Odors appear much more extreme in the U.S. Again, the spe-
cific causes are unknown, though they do not appear to in-
volve such things as temperature and humidity.
Odor Sensitivity
In adult human females, apocrine glands concentrate around
the breast nipples and genitals, and secrete butyric acid—an
odorant also found in butter and feces. Freud was not the
first to recognize that aromatics from hair, feces, and blood
have sexually exciting effects upon both male and female
children and adults. Recall th e Playboy cover (Figure 5)
where the disguised little bov sits with bis head near his.
mother's genital area, a pose frequently observable with male
children.
Conscious sensitivity to smells increases with age until
roughly the sixth year, and appears stronger among girls than
boys. Odor sensitivity greatly diminishes in old age (seventy-
five and above), but females remain more sensitive than
males in old age as in childhood. Usually, however, by the
fourth or fifth year, initiation of the Oedipal conflict produces
repression of body and other odors associated with the
mother. It is an almost universal experience to repress
memories of odors related to parental intercourse. Odors
heavily charged with sexual implications appear the most
completely repressed at each level of psychosexual develop-
ment
Asthmatics are usually hypersensitive to smells. One major
theory of asthma suggests such attacks are defenses against
odors that reactivate conflicts that originated in the anal
phase of childhood—b etween the first and third years.
Odors are also known to play a potent emotional role in
fetishism. The fetish is often selected because of its odor, usu-
ally anal or genital in origin. All this may suggest a theory to
explain at least part of the Am erican preoccupation with sup-
pressing and repressing body odors.
Breast worship via such manipulative media as Playboy—
and the media induced control or abolition of female body
and genital odors—appear as attempts to erase, avoid, or
camouflage conscious memories from the early maternal rela-
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That Clean, Odorless Smell
tionship in the interest of commercial product merchandising.
Among the thousands of odors recognized and described
by man, perhaps the single most powerful odor known is that
of musk. Musk odor, which both consciously and sublimi-
nally affects humans, was originally found in the anal glands
of the civet cat and musk deer. The odor is detectable by
man in quantities as small as .000,000,000,000,032 of an
ounce and appears to have aphrodisiac effects upon both ani-
mals and humans. Musk odor was later discovered in many
plants, more than twenty animal species, birds, mammals,
molluscs, reptiles, at least one insect, and is encountered in
synthetic chemicals from six or more classes. Musk, of
course, is used in many food and cosmetic preparations.
Natural musk odor extracts can be detected only by humans
who have the animal hormone estrogen in their blood, exclud-
ing children and older adults. Perceptual defenses against sex-
ually oriented pleasure through smelling are media encour-
aged to continue throughout life as a corollary of consumer
conditioning. These defenses may take the form of repression
as in the conscious unawarene ss of certain odors, by denial
through the use of deodorants, antiperspirants, smell deaden-
ers (anesthesias), or by camouflage—masking with perfumes,
colognes, etc.
Cultures Smell Differently
People's personal odors also vary in relation to their culture.
Diet may have something to do with the observable differ-
ences, but causes are still uncertain.
A Japanese writer, Adachi, observed that Europeans ap-
peared unaware of their characteristic pungent and rancid
odors. European children and old people, be observed, were
almost free of the repulsive odor, but he found it especially
strong in women. Asiatics seldom have this strong, pungent
body odor which originates prim arily in the armpits. Japanese
young men found to have armpit odor were once exempted
from military service. Over the past several centuries, many
French writers have alluded to the "odor of the English,"
which some describe as "most persistent and long-lasting."
Of course, much of human perception, what we take for
reality from our sensory inputs, is culture-bound. As the
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M EDIA S EXPLOITATION
senses and brain appear to perceive the totality of what is go-
ing on around an individual, culture will determine what ia
consciously perceived and, likewise, excluded from conscious-
ness—what is designated significant and irrelevant.
Most humans seem to prefer floral and fruity odors and
dislike odors of putrefaction, though agreement is by no
means universal. Many individuals thoroughly enjoy odors of
decay in meat and cheese. Bu t what smells "good" among
one people may be considered "bad" among another.
It is doubtful that modern, synthetically reprogrammed
man could ever completely comprehend the aromatic prefer-
ences of primitive man. Anthropologist Claude Levi-Strauss
recorded that Amazonian Indians are particularly susceptible
to the natural smells of the human body which civilized man
suppresses or camouflages.
In one Urubu tribal myth, Levi-Strauss recorded that God
created woman after smelling a rotten fruit full of worms. In
the Tacana tribe, a mythological jaguar decided not to rape a
woman after perceiving the smell of her vulva which seemed
to him to reek of worm-ridden meat—which is, incidentally,
an Urubu delicacy. A Mundurucu tribal myth explained that
after animals had made vaginas for the first women, the ar-
madillo rubbed each organ with a piece of rotten nut, an-
other dietary delicacy.
These Brazilian Indians appeared to find female odors a
source of what could be called affectionate humor. And these
putrefaction odors were considered sexually stimulating and
not at all "bad." It is even doubtful these primitive peoples
(who have survived centuries in environments that would
destroy civilized man within days) would find a woman desir-
able whose vulva was odorless.
The entire rich spectrum of human odor has long been a
cherished and meaningful human experience. In the Song of
Solomon (7:8) the poet wrote, "Oh, may the scent of your
breath be like apples." The scent of natural apples would to-
day most likely be found objectionable, and it would be
masked by Binaca, Listerine, Dentine, or Wrigley's. Psalm
115:6 explains why one God is supreme while the many idols
are fraudulent: the idols "have ears, but do not hear; noses,
but do not smell."
In one of history's most famous love letters, Napoleon
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That Clean, Odorless Smell
wrote his beautiful Empress Josephine, "See you next Thurs-
day. Please don't bathe in the meantime!"
Prior to World War II, deodorants were strictly women's
products. There was only one major brand in the limited
market—Mum, a symbolically significant brand name. Mum
(Mother, of course) was the one who trained her children in
infancy to handle their body excretions. In the finest tradition
of anal management and control, Mum could now be with
the American woman throughout life—always available to
protect her from the evils of perspiration.
During World War II, I recall two soldiers, bunking at one
end of an Army Air Force ba rracks, who were discovered
using Mum. These soldiers were, because of their concealed
jars of Mum, seriously suspected of being homosexuals. At
the time, no one knew that a new world of odor fantasy had
been initiated. All that was needed for the chemical compa-
nies to change our lives was time and heavy advertising bud-
gets.
The Education in Cleanliness
Pupilometer and Mackworth are two-camera devices which
photograph the eye track across a picture or scene as well as
the increase or decrease in the size of the pupil in response to
what the eye perceives. Studies with them have shown pri-
mary focal points in a TV scen e are invariably mouths, noses,
and eyes (in that order).
As a child (or anyone else) follows the slick continuity of
a 30-second commercial, their emotional involvement appears
far more intense as they view reaction shots (facial ex-
pressions which respond to the action portrayed) than when
they are viewing the actual objects or actions portrayed. In
other words, Kitty's reaction to something said or done by
Matt Dillon creates a much stronger level of emotional in-
volvement within the viewer than does Matt's action itself.
(For comparison, note that most cartoons show not merely
"funny" behavior, but a charact er reacting to these events.
An on-stage observer somehow is needed to make the joke
amusing to an audience.)
In a commercial, an actor's facial reaction to a bad smell
projects the smell into the viewer's living room with great
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M EDIA S EXPLOITATION
emotional intensity rarely perceived at the conscious level by
the audience. When an actor's facial expression in a reaction
shot portrays annoyance, disgust, rejection, or pity toward
someone with—horror of horrors—body odor, the instantane-
ous subliminal effect upon view ers is to program their uncon-
scious with a virtual post-hypnotic suggestion for them to
react similarly in similar situat ions. A similar real-life reac-
tion effect, of course, occurs as mothers change diapers or at-
tend the child's needs during infancy.
Likewise, when we are incessantly told by ads, "Don't take
chances with body odor!" the conscious fear of body odor is
being emphasized as some mysterious danger which threatens
our social survival. Constant repetition of the theme will act
upon the unconscious much in the same way as would a post-
hypnotic suggestion. We will soon, under such a symbolic
barrage, become sensitive to others who take chances with
body odor. And, though we cannot consciously smell our own
bodies (a frustrating problem of body image well understood
by the chemical companies), the mere thought of taking such
a chance will strike terror deep into the staunchest American
heart.
In effect, smell advertising has actually created a wide-
spread sensitivity to body odor . As far as "objectionable"
body odors are concerned, apocrine secretions require twelve
or more hours to produce heavy decomposition odors—de-
pending upon the body's emotional experience during the
period.
Media reinforcement or conditioning is not insignificant for
American children between two and six who receive an aver-
age of fifty-five hours weekly of television—much of it satu-
rated with advertising for cleanliness or hygiene products
aimed at their mothers. It is estimated that an average North
American child spends about 11,000 hours in classrooms
through grammar, junior high, and senior high schools. Dur-
ing this same period, however, the child will receive over
25,000 hours of TV loaded with subliminal sell techniques.
"Ban takes the worry out of being close," announces their
advertising. The statement also initiates or reinforces worry
about being close. It might never have occurred to us that we
had anything to worry about in being close until several mil-
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That Clean, Odorless Smell
lion dollars' worth of subliminally loaded advertising has
hammered the fear into our unconsciouses.
Deodorants that kill or inhibit bacteria can prevent this
odor by not permitting the apocrine fluid to decompose. Anti-
perspirants, which seal off both types of sweat glands, simply
remove the warm moist skin su rface where bacteria can mul-
tiply. Antiperspirants are merely gluelike chemicals that paste
up the sweat gland pores. Odorous perspiration is thus con-
tained in the body. In physiological terms the chemical sealer
is probably harmless to most people—though a persistent mi-
nority react with allergic reacti ons or recurrent irritations and
infections. Roughly 85 percent of American adults use some
form of chemical odor suppressant
Deodorants as Necessities
According to most medical authorities, a shower once, or pos-
sibly twice daily will be entirely adequate to control body
odors in a healthy human without recourse to chemical sup-
pressants. But any reader who doubts that deodorants are a
necessity to the American life-st yle is challenged to conduct a
simple experiment. Spend a week of your life without deo-
dorants of any type.
A group of volunteer students agreed to stop using deo-
dorants for a week and record th eir daily reactions. Over half
dropped out of the experiment by the third day. They simply
couldn't take it. The students admitted to fears of getting
close to anyone. All felt very conscious of a sensitivity
toward other people's body odors. Throughout their experi-
ence, they were "up-tight," "anxious," "apprehensive," "wor-
ried," "afraid," "self-conscious," etc., over being rejected by
others because of their body odor.
This was, indeed, strange, for each member of the experi-
ment bathed carefully twice daily, in the morning and in the
evening. In reality, their bodie s were quite clean—soap-and-
water clean, that is, but not psychological-fantasy clean. Bris-
tol-Myers, makers of Ban, have actually referred to human
perspiration as "obscene," pointing out that people become
upset over the sight of a wet armpit—either their own or
someone else's. Once you have had it explained by a high
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M EDIA S EXPLOITATION
credibility source, the thought of a wet armpit is, in itself,
provocation for many to break into a cold sweat.
More than mere perspiration is hidden by deodorants or
antiperspirants: the elimination of body odor actually hides
our emotional responses from the perception of others, a sure
way to avoid letting others know how we feel.
God's Most Grievous Error
The battle of body odor and unwanted hair, fought diligently
these past forty years by chemic al and razor-blade companies,
has been won in America. Amer ican women, with the enthu-
siastic support of their men, today react nauseously, or
uncomfortably at least, even to a discussion of armpit or leg
hair.
It is not unreasonable to assume that body hair, like all bi-
ological entitites, serves some useful function. Evolution has
been quite severe in elimina ting unnecessary appendages both
inside and outside the human body. Neuron endings, within
the skin, are unique in areas covered by hair. Haired skin has
high concentrations of Krause genital and Iggo corpuscle
nerve receptors. The latter, located between hairs, are so sen-
sitive they respond to pressures less than one thousandth of
an ounce—about the we ight of a mosquito.
Hair, especially underarm hair, persisted throughout evolu-
tion as a device for retaining body aromatics related to social
and reproductive communication. Hair provides a retention
device to hold the aromatics produced by apocrine glands.
This may also be the function of leg hair.
Most of the world's women do not shave or use chemical
hair removers. Even if they could afford expensive hair-re-
moval products, most women would have a difficult time con-
vincing their men to accept their hairless bodies.
Several years ago, a major razor-blade company probed
Latin American women's resist ance to body shaving or hair
removal. The enormity of ad budgets, the intensity of media
saturation, and the creative insights of the most talented
writers and artists—after years of trying—had been generally
unsuccessful in converting Latin American women into body
hair neurotics willing to regularly endure the cuts and burns
necessary in order to become "clean." This situation, of
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That Clean, Odorless Smell
course, seriously limited the company's sales and profits.
Several thousand consumer interviews began to produce data
with unsuspected implications. Hair, in Latin America, has
much to do with ethnic identity.
Indians, as is true of many Asiatic peoples, have very little
body hair. Indian men usually have light beards. And Indian
women's bodies are quite lightly haired.
Many Latin Americans still c onsider the Indian inferior.
One's degree of sangre espanol (Spanish blood)—the degree
of white ancestry any individual possesses genetically—is an
important cultural consideration in mating games, social ac-
ceptance, and economic opportunities. Many Latin American
women displayed their sangre espanol via the hair on their
legs. In ranking ethnic or racial physical determinants among
Latin Americans, hair was most important, facial features
secondary, and skin color of much less significance.
At last contact, marketing specialists were hard at work on
a way to convince Latin Americans that body hair removal
was the "natural" way to determine white ancestry or sangre
espanol. It is only a matter of time and advertising media
pressure until Latin Americans become culture-trained to per-
form daily hair-removal rituals in the service of corporate
profits.
It might be easy to conclude that maybe all this sexual
manipulation is a good thing, considering the already danger-
ous overpopulation of the world. Sexual behavior, however,
involves human emotional health as well as biological repro-
duction. No one, however, least of all the corporations that
have milked millions out of managing America's odors (the
United States deodorant market exceeded $3 billion in 1974)
has ever considered the conseque nces of long-term changes in
social and reproductive behavior.
Odorlessness—the Real Thing?
Air or space deodorants are another technique of culturally
managing America's ability to perceive odor. Most of the
spray or evaporative air deodorants contain a chemical pre-
servative such as phenol or formaldehyde, volatile chemicals
that do not in any way remove odors from the air. They
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M EDIA S EXPLOITATION
simply anesthetize human olf actory bulbs. Lysot's curious
advertising claims provide an insight into the sterile aromatic
environment modern Americans have built for themselves:
"Destroys household germs and odor-causing bacteria. Pre-
vents mildew and mold. Deodorizes and disinfects garbage
cans, diaper pails, toilet areas, under sinks, nurseries, sick-
rooms, basements, musty corners, and other places where
odor-causing germs are a problem.
"To eliminate cooking, smoke , tobacco, bathroom, and
other unpleasant household odors ... Leaves a clean, fresh
scent. Antigerm actions lasts for days."
Even in an antiseptic operating room environment, germs
are reduced, perhaps, but not en tirely eliminated. Nor, in the
interest of health and resistance to infections, is it desirable to
eliminate germs, bacteria, mold s, mildew, and other microor-
ganisms that permeate our atmo sphere. These organisms are
very necessary to human survival.
Uncomfortable though the thought may be, the human di-
gestive tract is loaded with bacteria, germs, and the like—ex-
tremely necessary to human health and digestive processes.
The assortment of odors that Lysol advertising claims to
destroy or eliminate might include some which are vital to
emotional as well as physiological health.
Lysol, of course, does not eliminate odors, only an individ-
ual's ability to perceive them. Lysol contains phenol, a cell
preservative. Enough Lysol in the air will kill or anesthetize
cells in the olfactory bulbs and prevent anyone from smelling
anything.
Smell dullers or anesthesias involve a large assortment of
chemicals—including gasoline, et her, camphor, oil of cloves,
and ammonia. Ether and oil of cloves are common scents
used in colognes, aftershave lotions, and other cosmetics. The
effect of the highly advertised Old Spice cologne aromatic is
a reduction in smell sensitivity or olfactory acuity—so that all
odors but its own are blotted out for the user.
Ammonia, presently in wide use as an ingredient of house-
hold soap, is also claimed to have extraordinary cleansing
powers. Nonsense! Ammonia is a deadly poison and in the,
very minute quantities used in household cleansers, ammo-
nia's primary purpose is to ma ke the product smell clean by
anesthetizing the consumer's olf actory bulbs. Just one whiff of
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That Clean, Odorless Smell
ammonia reduces olfactory acuity by 50 percent for as long
as twenty-four hours.
Another antismell product goes even further. Nilodor
claims that "if you can smell it, you've used too much." A
strong olfactory anesthetic, N ilodor doesn't even include a
strong antiseptic smell to camouflage odor molecules that leak
through the partially anesthetized olfactory bulbs, as with Ly-
sol. Nilodor extends its advertising claims to include the odor
control of such objects of aromatic horrors as "kitty toilet
boxes."
These smell-dullers, or so-called space deodorants, have
been banned by the Federal Aviation Agency from the flight
decks of commercial aircraft as they inhibit the pilot's ability
to perceive the plane's odors, which can often warn him of
developing danger. Applying an anesthetic to the human
smell machinery will, of course, influence all the other senses
and their ability to perceive the world around an individual.
Flavor, an obvious example, is inextricably connected with
smells, as are the other senses. Foods or drinks taste much
differently in a room sprayed with formaldehyde.
As a large portion of North America's population has lived
in a chemically induced state of bulbectomization or olfac-
tory anesthesia for several generations, it is somewhat unnerv-
ing to review the behavior of laboratory animals after their
sense of smell was removed through an operation called ol-
factory bulbectomy—removal of the two smell bulbs.
Bulbectomized gerbils, for example, became docile and re-
fused to fraternize, copulate, or display any kind of ag-
gression, even when attacked by other gerbils. The gerbils*
territorial exploration and mating behavior were completely
eliminated. Rats, after bulbect omies, sharply reduced their
copulatory behavior. Learning behavior also virtually ceased,
and female rats became highly emotional.
Some rats kill mice on sight; others do not. After bulbecto-
mizing both killer and nonkiller rats, nonkillers became kill-
ers.
In both nursing and virgin female mice, maternal behavior
was eliminated. In fact, all ei ghteen of the nursing female
mice studied ate their young af ter bulbectomies. Sexual be-
havior in both male mice and golden hamsters was totally
eliminated after bulbectomies.
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M EDIA S EXPLOITATION
Many qualifications were placed upon the findings from
the bulbectomy experiments. Results appeared consistent in
one species, but reversed themselves in another.
Nevertheless, one specific conclusion was most abundantly
clear—social and reproductive behavior in all the test animals
were severely upset by removing their sense of smell. Readers'
should carefully weigh the obvious conclusion: By reducing
the American aromatic environment to a flat level of barely
perceptible or imperceptible smells, the full, natural range of
human sensory experience and the subtle—though impor-
tant—nuances of olfactory communication are severely inhib-
ited.
Unless further research proves otherwise, it seems likely
that bulbectomy or olfactory anesthesia will induce (or may
have already induced) major changes in human social and
reproductive (sexual) behavior. The Federal Food and Drug
Administration, Federal Trade Commission, Federal Commu-
nications Commission, and the other agencies of government,
charged with protecting the public health have their hands
full simply trying to keep profit-hungry corporations from
chemically poisoning the population. As yet, no one has even
remotely considered psychogenic damage.
Early No-Smell Conditioning
It would not he at all unreasonable to conclude that many
millions of North Americans have little, if any, knowledge of
what they or the natural enviro nment smells like. In our soci-
:
ety, babies are usually born into sterile, disinfected, deodor-
ized hospitals. The baby's first breath in the delivery room is
air well synthesized with artificial aromatics and smell-dullers.
Even their mothers are carefully shaved, washed, and deodor-
ized with hexachlorophene and other chemical antiseptics and;
deodorizers.
Once the baby is at home, the acculturation process begins
in earnest. The baby is immersed in an environment of syn-
thetic aromatics and smell-anes thetizers. Advertising-trained
mothers, whose own mothers were advertising-trained must
reject their child's natural smells. The advertising culture will
not permit a mother to accept the natural scents of the child
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That Clean, Odorless Smell
to which she gave birth. Fathers, of course, have been simi-
larly brainwashed.
Under the adult's flow of baby talk and verbal adulation, a
child will easily sense parental anger, frustration, or disap-
proval. Should a parent even slightly express disappointment,
the child is quite likely to perceive the negative reaction.
And, it is impossible for such odor-trained adults to avoid
negative reactions.
Many observers have pointed out that children under five
in America find sweat, fecal, and urinary aromas quite
pleasant and appealing. After five years, however, they ap-
pear to succumb to cultural conditioning and react negatively
to aromas, which they have been conditioned to fear as un-
clean.
Negative Self-Images
Body image is something each i ndividual devel ops from birth.
Children raised in the American Clean are indelibly imprint-
ed with a negative view of themselves as producers of un-
pleasant odors. By capitalizing upon the created fear of what
we cannot perceive with our unaided senses—germs, viruses,
and bacteria, those invisible, omnipresent enemies always out
there somewhere waiting for a ch ance to spring at us when
we least expect an attack—a form of olfactory paranoia has
been nourished.
This one giant step toward the dehumanization of mankind
was taken years ago with everybody congratulating them-
selves upon how good their world smelled once it was rid of
odor.
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Necrophilia, the attraction to
what is dead, decaying, lifeless,
and purely mechanical, is
increasing throughout our
cybernetic industrial society.
The Falangist motto, "Long live
death," threatens to become
the secret principle of a society
in which the conquest of nature
by the machine constitutes the
very meaning of progress, and
where the living person
becomes an appendix to the
machine.
ERICH FROMM
The Anatomy of Human Destructiveness
Audience Priming
The Exorcist dramatically proved—if this needed proving—
that the motion picture industry was not averse to making a
fast buck with subliminal technology. Director William
Friedkin maximized the return on the film's capital invest-
ment, reportedly in the neighborhood of $14 million, through
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The Exorcist Massage Parlor
a brilliant repertoire of visual and auditory subliminal inno-
vations.
The Exorcist was not the first motion picture to use sublim-
inal techniques. In 1957, the Precon Process and Equipment
Corporation of New Orleans produced two experimental films
heavily saturated with subliminal devices—My World Dies
Screaming and A Date with Death. Neither film was ever
publicly released. Friedkin must have used these films as a
textbook.
The Exorcist audience was first primed or preconditioned
for the subliminally induced emotional trip by the film's pub-
licity: "The Exorcist is more than just a novel. A nightmare
novel of demonic possession. See the movie! It's the most
shocking thing that will ever happen to you!" warned Warner
Brothers' promotional materials.
Preconditioning was apparent while audiences waited for
the show to begin. Virtually everyone was on the edge of
their seats. Conversations appeared nervous, laughter forced,
nnd talk was often quite loud. Interviews indicated almost ev-
eryone had the same apprehensive thought, wondering how
they would be affected by the film. When the lights finally
dimmed and the curtain parted, the audience seemed to be
holding their breaths in anticination.
In technical terms, this priming experience is important to
produce the most ideal perceptual conditions for subliminal
stimuli. Yet, most of the priming publicity was absurd, the
usual contrived nonsense—in this case overtly appealing to
childlike fantasies of witches and evil forces. However, the
public's reaction—as the film ope ned in major cities across
the nation—was genuine. People really did faint in large
numbers, many more became nauseous in varying degrees, a
great many more had very disturbing nightmares. Several the-
ater employees—in the theaters where interviews were
taken—were actually placed under the care of physicians,
and a few quit their jobs. Empl oyees frequently had to clean
up floors and rugs when nauseous patrons (mostly male, for
some reason) did not quite make it to the rest rooms. In the
several cities that were checked after the film had run several
weeks, every major hospital receiving department had dealt
with dozens of fainting, nausea, and hysteria cases. Hospital
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M EDIA S EXPLOITATION
emergency room physicians reported patients who appeared
to be both hallucinating and extremely distraught.
Nine psychiatrists in a midwestern city, who agreed to be
interviewed, reported they ha d all counseled disturbed pa-
tients who displayed "hysteria" as a result of the movie, rang-
ing from one to eighteen patients for each psychiatrist.
There is virtually no way cognitive or consciously per-
ceived stimuli could have produced this intensity of emotional
disturbance. Human perceptual defenses are very well or-
ganized and will protect individuals from most potentially
disturbing experiences. Even the dramatic illusions of
Cinerama, when first introduced some years ago, produced
only mild nausea or dizziness among a small handful of the-
ater patrons.
The Poetzle Effect
Out of fifty individuals in a test group who saw the movie,
only three could recall subsequent dreams that in any way
appeared related over several weeks after the screening. Dr.
O. Poetzle, one of Freud's contemporaries, postulated in his
Law of Exclusion that dream content was comprised of sub-
liminal or unconsciously perceived experiences. He demon-
strated that dream data was often transformed or disguised
within a familiar setting, but the dream's "real" content was
derived from subliminal rather than cognitive or conscious
perceptions.
Around 1917, Poetzle developed his subliminal stimuli the-
ones from studies utilizing tachistoscopic displays and hypno-
sis. He was the first scientist to demonstrate the apparently
close relationship between subliminal stimuli and posthyp-
notic suggestion. The Poetzle Eff ect involves a delayed action,
or as he called it, a "time clock" phenomenon. His studies re-
vealed that subliminal perceptions could evoke dreams and
actions days, even weeks, af ter the original percept.
When individuals perceive a subliminal stimuli in print or
in television advertising, they are consciously unaware of the
percept. These hidden devices usually involve taboo sex or
death content which program some individuals for the
delayed reaction. Several weeks later, these sensitive individu-
als will notice the brand label in a supermarket. This second
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The Exorcist Massage Parlor
conscious percept serves as a cue for action. Applying the
Poetzle theorizations, a statisti cally significant proportion of
consumers will purchase the product or dream about it after
the second percept.
Several weeks after our test group had seen The Exorcist,
photographic slides taken of the screen during the movie were
shown.
Scenes included the actors' faces, staircases inside and out-
side the house, and the exorcism. The slide show lasted an
hour, during which time several people left the room, report-
ing they had become nauseous. Almost the entire group re-
ported severe depression afte r the showing. Many were
openly annoyed at having to experience the slides. Comments
included feelings of "agitati on," "anger," "rage," "persecu-
tion," "fear," "extreme annoyance," "upset stomach," etc.
During the following week, well over half the group re-
ported nightmares—unusual an d vivid horror dreams clearly
related to the movie. Many dreamed they were tortured and
persecuted by the devil in one way or another. Several young
women reported dreaming of sexual experiences involving the
devil.
These effects were remarkable because this entire group
had been involved with studies on subliminal phenomena for
nearly two years. They generally knew how to discover and
assess subliminal embeds and, at least from theory, under-
stood the process and how it operated. Even so, it appeared
they could not defend themselv es from subliminal stimuli ef-
fects.
Media Psychopathology
The Toronto Medical Post reported, after The Exorcist had
been shown for several weeks in that city, at least four young
women had been confined for varying periods in a psychiatric
hospital as a result of viewing the film. Subliminal induction
techniques are capable of inducing various levels of de-
pression and hysteria among some individuals. A majority of
the film's audience would probably experience only momen-
tary emotional unpleasantness. It might appear to some as
even exciting. For a small minority, nevertheless, The Exor-
cist could indeed be threatening or even dangerous.
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M EDIA S EXPLOITATION
There is little psychological threat to an individual from
anything consciously perceived. At the conscious level,
humans can decide alternatives and rationalize their involve-
ments in terms of morality, self interest, or conscious motives.
The whole pornography issue, for example, is totally absurd.
As long as an individual can decide consciously whether he
will accept, refect, or consider , there is really no such thing
as "harmful" information content
Subliminal stimuli, on the other hand, are far more insidi-
ous and believed responsible for attitudinal frames of refer-
ence, moods, emotional predispositions, and residual value
systems. There is no possibility of rational decision making or
defense, since consciousness is bypassed completely.
One of the most dramatic visual subliminal stimulation
techniques in The Exorcist feat ured full-screen tachistoscopic
displays. Numerous times during the movie there was a sud-
den flash of light and the face of Father Karras momentarily
appeared as a large, full-screen death mask apparition—the
skin greasy white, the mouth a blood-red gash, the face sur-
rounded by a white cowl or shroud.
Muriel Schwartz, owner of the Capitol Theatre in Dover,
Delaware, refused to permit a public examination of the film,
but "out of curiosity" agreed to check it out herself. She bad
a projectionist unwind the reels to Father Karras's dream se-
quence and discovered a subliminal cut. "The face was a
ghostly white," she explained, "with red outlines around the
eyes and mouth." One of her employees saw the cut as "the
face of the devil." She said th e subliminal cut consisted of
two frames spliced into the film.
Warner Brothers, who produced the film, refused to com-
ment about the subliminal cuts but admitted their existence,
claiming, "We thought evervone knew." One of Director
Friedkin's assistants, Albert Shapiro, conceded, "It's not com-
mon knowledge that the film contains subliminal cuts." He
denied their use in The Exorcist was a secret, however.
Despite their claim that they had nothing to hide, I was re-
fused permission to reproduce six photographs for this book,
taken in the theater during the movie. Warner's Chief Legal
Counsel responded, "You are hereby notified that no license
or permission is given for the use of any . . . photographs
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The Exorcist Massage Parlor
taken of or from our motion picture 'The Exorcist.' You are
further notified that Warner Bros. will take all legal steps
necessary to prevent any such use of materials from 'The Ex-
orcist,' whether such use is made by you or others."
The death mask was most ofte n consciously perceived in
two specific scenes. It appeared in the dream sequence, when
Father Karras's mother came out of the subway entrance as
he watched from across the street, and near the end of the
exorcism after the older priest died and Karras attempted to
murder Regan. The display flashed at 1/48 of a second.
Many viewers believed the death mask flashes occurred at
least four additional times, but there was disagreement over
precisely in which scenes the fl ashes had been inserted. At the
movie's climax, when Father Karras was finally possessed by
the devil, his face turned white—closely resembling the
tachistoscoped death mask.
After interviewing nearly a hundred individuals who had
just viewed The Exorcist, it a ppeared that roughly one third
consciously did not perceive the flashing death mask. One
third were strangely uncertain whether they had seen it, and
one third consciously recalled the display. Two thirds of the
audience did not perceive the death mask. Many who con-
sciously perceived the death mask, commented about forcing
themselves to deal with their memory of the experience. Per-
haps strangely, the movie's strongest emotional impact was
among the one third who repressed the perception and con-
sciously believed they saw nothing.
Tachistoscopic technique is long established and frequently
used in television commercials. In a recent case, presently un-
der investigation by the FCC and FTC, half a dozen single
frames in a sixty-second commercial for a child's toy called
"Husker Du?" were inserted with the command "Get it!" The
commercial was nationally broadcast during children's pro-
grams before Christmas in 1973.
Two patents on subliminal induction equipment—including
the tachistoscope—are owned by Dr. Hal Becker of Tulane
University's Medical School. Dr. Becker, a biological commu-
nication engineer, has used these induction techniques to treat
psychoneurosis. He claims to have lowered diastolic blood
pressure (hypertension) with subliminal tachistoscopic dis-
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M EDIA S EXPLOITATION
plays. Slow-speed consciousl y perceivable tachistoscopes,
ranging from 1/10 to 1/150 of a second, are regularly used
in language training programs. High-speed tachistoscopes,
however, flash images or commands at 1/1,000 to 1/4,000 of
a second, repeating the flash every so many seconds. Cur-
rently, these machines are employed in universities, research
corporations, and advertising agencies, but are generally con-
sidered obsolete as a practical tool of market manipulation.
Subliminal messages can be induced into an audience in
much simpler, cheaper, and far less detectable ways.
Perceptual Threshold Management
Director Friedkin and his behavior experts would have found
it dangerous to their $ 14 million investment if they had
brought a tachistoscope anywhere near an American theater.
They arrived at a much better solution.
Buried within the experimental literature of psychology are
experiments dealing with what is called perceptual threshold,
an imaginary line that divides a percept into either conscious
or unconscious awareness in the brain. This line appears to
move about continuously. As we have already considered, hu-
mans perceive much information about which they have no
conscious awareness.
Theorists speculate that as little as 1/1,000 of a total,
single percept registers at the c onscious level. The division of
information into conscious and unconsciously perceived in-
formation is separated by what we can call the perceptual
threshold. Substantial experimental data suggests physiologi-
cal tension, anxiety, fear, and apprehension control percep-
tual thresholds. As tension within a person increases, he
perceives less and less at the conscious level and becomes more
and more susceptible to sublimin al stimuli. As these tensions
decrease, individuals perceive a wider range of information at
conscious levels, and appear less susceptible to subliminals.
The harder you strain to perceive subliminals, for example,
the less likely you are to perceive them.
The tension phenomenon is easily demonstrated. When
ready for bed, adjust the radio volume to a comfortable
level—neither too soft nor too loud. Lie down and turn off
the light. During the next half hour you will readjust the vol-
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The Exorcist Massage Parlor
ume lower and lower every few minutes to maintain a com-
fortable volume level. As you relax, the radio volume appears
to increase, but it is actually yo ur conscious perceptual ability
that changes, becoming more sensitive, not the radio. Should
you turn on the light, get up, and walk about the room, you
would discover the radio will have become barely audible.
The subliminal death mask cut in The Exorcist passes
through the projector at 1/48 of a second, a speed quite visi-
ble at the conscious level to most people who are relaxed.
However, the audience's tension or anxiety level was intensi-
fied just before the display was used. As mentioned earlier,
two thirds of The Exorcist audience did not consciously
perceive the death masks. Furt her, what is not consciously
perceived appears far more significant to emotional and at-
titudinal predispositions than what is consciously evaluated.
Symbolism's Subliminal Induction
Another embedding technique used frequently in The Exor-
cist was demonstrated in the scene where the old priest is
sitting on the bed in the cold bedroom. As his breath
condensed, a ghostly face appear ed momentarily in the cloud.
The face, apparently drawn on several frames, was also con-
sciously invisible to the audience.
There was much more in Th e Exorcist, however, than
merely tachistoscopic and embedded death masks.
In a society where science and technology had become gen-
erally accepted as the new religion, it was astonishing how
easily the writers and director discredited science and es-
tablished the devil as an almost preferable alternative. Many
viewers described the fantasy destruction of neurological
medicine in the clinic scenes as the most "horrifying" portion
of the movie. Count was made in several theaters of patrons,
leaving for the bathroom or the street during this scene, and
in packed theaters, it was never fewer than fifty.
The white, sterile operating rooms, the spinal tap, the injec-
tion of radioactive iodine in Regan's neck artery, and the
overamplified and quite overdramatized clanking of the X-ray
machines helped portray Regan as a pale, trembling, weak,
and helpless child in the clutch es of impersonal, mechanical
contrivances. After the clinic scene, the audience was
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M EDIA S EXPLOITATION
prepared to accept the devil by comparison as a kindly, even
though a somewhat dirty, old man.
The scene that supplied the coup de grace for science in-
volved the various physicians with their stilted, insincere jar-
gon, lightly camouflaging their ignorance and pedanticism.
Unfortunately, there was enough truth in the caricature of
modern commercial medicine to make the scene plausible.
The Wipe-out of Reason
One strong factor supporting th e movie's success involved an
almost primal urge in modern man to believe in the forces of
mercy, goodness, and God—even though faith in these
concepts has become increasingly difficult to maintain. Many
viewers responded to criticisms of the film's fantasy devil
being childish nonsense as though their belief in God had
been attacked. Though most churches in North America pub-
licly took a strong, antagonistic position toward the movie,
many viewers strangely perceive d The Exorcist as a denoue-
ment of material values and a return to religious faith.
The Exorcist writers establis hed greater credibility for the
devil by representing the story's lead characters as agnostic
Had Regan or her mother, Chris MacNeil, been Catholic, for
example, many Protestants, the primary North American au-
dience, might easily have avoided accepting the story. On the
other hand, had these two characters been Protestant, it
would have put them in the position of being saved from the
devil by Catholics—hardly an acceptable idea for most
American Protestants.
Further establishing the mother as a credible image in the
audience fantasies, the writers made her a glamorous movie
and television star who had dined at the White House. Her
home was compulsively clean and neat. Though objects were
heavily scattered throughout the house on shelves and tables,
they were always neat, precise , and never handled or dis-
turbed. In contrast, the urinatio n scene was even more upset-
ting in this overly neat, tastefully decorated home where
toilets never appeared—even in the several bathroom scenes.
The urine, of course , was heavily soaped out of the rug by a
cleaning woman immediately after the party.
The downstairs was always orderly and clean, and events
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The Exorcist Massage Parlor
that occurred downstairs appeared reasonable and logical.
Upstairs, however, wa s another story. Regan, in her solitary
confinement with the devil, was in chaotic surroundings
where vomit and drooling spit played upon audience disgust
and revulsion toward bodily secretions. This was truly
the North American fantasy of what the devil's world would
be like. Some, at the unconscious level, however, might have
found the disord er attractive.
Between Heaven and Hell
Stairs were important props in The Exorcist, symbolic of
limbo—the connection between the lower and upper worlds
of hell and heaven. Stairs appeared in Father Karras's dream
sequence where his mother emer ged from a subway station
(symbolically hell), behind the house where the motion pic-
ture director and Father Karras fell to their deaths, and as
the link between the troubled upstairs world invaded by the
devil and the downstairs world of reason and sanity. The attic
stairs leading up to a dark room cluttered with half-forgotten
junk carried Chris to her first contact with the devil.
The outside death stairs were inspected by the detective
who climbed from the dark sha dowy bottom, where the direc-
tor perished, to the top which is portrayed in sunlight and
openness (symbolically heaven). The priest finally committed
suicide by throwing himself out the window, falling at the
foot of these stairs. Suicide, of course, is a mortal sin for
which the Church must deny the sacraments. Father Karras
had, indeed, surrendered himself to the devil.
The staircase in the house, however, was the symbolic ful-
crum around which the story evolved. The ascendant devil
was living, temporarily, upstairs in Regan's body. The priests
had to climb up to do combat with him. And they had to
wait on the stairs until the devil was ready.
Various sexual perversions, strongly taboo in the American
culture, were cleverly incor porated into the film. Pedophilia,
for example (the use of children for sexual stimulation), was
a paramount subliminal theme car efully arranged so the audi-
ence would not consciously deal with the forbidden subject.
Unconscious perception, as pointed out earlier, is peculiarly
sensitive to both sex and death taboos.
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M EDIA S EXPLOITATION
In the movie, Regan was twelve years old. Her language
and actions—genital exposure, ma sturbation, etc.—were sex-
ually provocative. Throughout much of the movie, she was
posed spread-eagled and tied to the bedposts in bondage. Her
movements were often quite purposely sensual. As the
wounds opened on her arms and legs, they appeared as lash
cuts inflicted with a whip. There was even the sound of a
whiplash as these wounds appeared. The cut on her leg, how-
ever, was also reminiscent of a vagina—the slang terms
"gash" and "slit" suggest that the unconscious may associate
wounds with the female genitals.
Sadomasochistic themes were quite obvious and shocking,
though most viewers repressed the highly taboo real meanings
of these scenes. The use of strong taboo sexual symbolism
throughout The Exorcist was striking. In the attic scene
Regan's mother held a candle that ejaculated a burst of flame
when the caretaker surprised her. The bedposts in Regan's
room cast phallic shadows on the walls.
Other subs simply emphasized supernatural themes. Some
bedroom shadows appeared as dark silhouettes of hooded fig-
ures like the statues in the Iraq archaeological museum. Many
ancient beliefs persist that creatur es of hell, such as vampires
and demons, cast no reflection. The house was full of mir-
rors. They appeared in ever y room, yet Regan's reflection
never appeared as she walked in front of the mirrors.
While Father Karras prays in church, a skull-shaped
shadow appeared on the white wall behind him. In the hospi-
tal scenes Regan's skull appeared repeatedly in the X rays
forming the scene's background. During the exorcism scene,
Regan rises from the bed with her arms outstretched in the
symbol of the cross.
The Devil in Pursuit
Director Friedkin confronts the audience with figure-ground
actions that keep them in constant uncertainty and tension.
Many viewers approached hyp notic states because of the
concentration required to follow the ambiguity. In many
scenes it was impossible to be completely certain as to which
action was intended as figure and which was intended as
ground.
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The Exorcist Massage Parlor
For example, Father Karras walked through the streets to
his mother's apartment. Children were playing in the road
and in wrecked cars, symbolizing the end of technology. As
these scenes cut back and forth, the viewer became quite dis-
tracted and more intensely vuln erable to the specific mother-
and-son scene that followed. In this scene, introducing Father
Karras's guilt over his treatment of Ms mother, appeared the
final justification for the devil's pursuit of Father Karras
through the child Regan.
The quick-cut transitions in and out of seemingly unrelated
scenes formed a mosaic of visual impression that in the
advertising business are called the McLuhan Effect or percep-
tual overload. Familiar examples of the technique are
Coca-Cola TV commercials where as many as four scenes are
shown in a single frame, different actions continuing in each
element of the frame. It is impossible to consciously make
sense out of what is going on. The audience's consciousness
has been overloaded in order to bypass it into the uncon-
scious, which easily processes very large quantities of data,
storing it for later feedback into consciousness.
Director Friedkin heavily utilized subliminal continuity
devices that tied the entire fi lm together, in the audience
psyche, into a tight, integrated package. For example, the old
woman in the carriage that almost ran down the old priest,
Father Merrin, had a quickly exposed face similar to Regan's
during the exorcism. Father Merrin took a pill after the in-
cident with the carriage, presumably for a cardiac condition,
just as he did later in the Georgetown bathroom before the
exorcism.
When the old priest moved toward the stopped clock in the
Iraq museum, a single pink rose appeared in a white teapot
on a table. In the apartment of Father Karras's mother, the
wallpaper was covered with pink roses, as was the wallpaper
in the bedroom of Regan's mother. There was a single pink
rose in the sugar bowl in the apartment of the priest's
mother. When Regan urinated on the rug, her mother, Chris,
was holding a pink rose. The downstairs of the Georgetown
house was full of flowers, suggesting a funeral was taking
place. Flowers, of course, ar e the plant's reproductive organ
and symbolize both death and resurrection. In Renaissance
art, flowers often represented the soul.
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M EDIA S EXPLOITATION
Auditory Archetypes
The Exorcist was remarkable in the way both audio and
visual were integrated and mutually reinforced. The sound
track, for which the movie w on an Academy Award, was a
brilliant example of creative subliminal sound engineering.
Similar techniques have been used for years in other movies
and by the popular music recording industry.
In several dozen interviews with theater employees—re-
freshment stand attendants, ushers, and ticket takers who had
only heard the movie's sound track for several days before
actually viewing the film, all reported extreme discomfort
from the sound. The discomfort could not be verbally ex-
plained, but all agreed it was directly related to the sound
track. Each of the theater sta ffs interviewed reported employ-
ees who became ill after finally seeing the film in its en-
tirety—from mild to extreme nausea and hysteria.
Friedkin openly admitted he had used several natural
sound effects in the movie's auditory background. One of
these, he explained, was the sound of angry, agitated bees.
After provoking a jar of bees into excited anger, he recorded
their buzzing, then rerecorded the buzzing at sixteen different
frequencies. He finally mixed the sixteen frequencies of buzz-
ing together in what might be consciously heard as a single
sound—a super buzzing of infuriated bees virtually unrecog-
nizable at conscious levels. This sound of angry bees wove in
and out of scenes throughout the film.
Virtually all humans (some much more strongly than oth-
ers) respond with hysteria, fear, and intense anxiety to the
sound of angry, buzzing bees, even if they have never in their
lives experienced the actual sound. Many animals respond
similarly. Perhaps the strongest verbally definable emotion
triggered by the bee buzzing is fear or fright—a near panic-
filled desire to run, flee, and escape from the threat. Carl
Jung's theory of archetypes su ggests that this sound—as the
emotional reaction appears to cross cultures—could qualify
as an archetypal symbol.
In many cultures the bee has b een symbolically associated
With death and immortality. In several ancient civilizations,
dead bodies were smeared with honey as food for the soul.
Indeed, honey was often used as an embalming fluid. Over
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The Exorcist Massage Parlor
many centuries in Europe, bees were prohibited from use in
barter for fear they might take offense and destroy crops and
flocks in retribution. Bees appeared as symbols of death, fear,
and power in ancient Egypt, Germany, China, Greece, Italy,
and Japan, in early Christian art, in both Hebrew and Mos-
lem traditions, and in Norse mythology. The Hindu god
Krishna was often described as hovering in the form of a bee.
Souls have often been thought to swarm as bees migrating
from hives.
There is never any conscious awareness, of course, within
The Exorcist audience of angry bees buzzing. However, there
are easily observable levels of anxiety produced by the sound
as it weaves in and out of various scenes. The bee sound ap-
peared, for example, in the s cene where Father Merrin first
visits Regan's bedroom while he removed various objects
from a pouch, symbolically letting the invisible bees out of
the bag.
Symbols of Evil
Another auditory archetype mixed subtly into the sound track
was the terrified squealing of pigs while they were being
slaughtered. Few sounds strike terror so deeply into the heart
of man. This sound will affect virtually all humans even
though they may never have experienced the squealing or
sight of an actual pig. The expression "squealing like a stuck
pig" has even gone into the language.
Pigs have been portrayed in various symbolic relationships
with man for at least half a million years. Even today, the
pig is considered one of the most intelligent of domestic ani-
mals—by human standards, of course. The pig, at least for
modern man, was cursed by bad table manners that em-
phasize the pig's filth, greed, gluttony, and lethargy. Never-
theless, in many ancient cultures, pigs were often substituted
for human victims during religious sacrifices. A black pig has
often been symbolic in Christian art of the devil and Satan.
In many civilizations the pig was thought to be a demon that
injured fertility heroes in the gr oin, rendering them sterile. In
Celtic mythology pigs were even portrayed as returning to
life after being eaten. And, of course, in one of the New
Testament's most celebrated exorcisms, Christ drove a legion
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M EDIA S EXPLOITATION
of devils into a herd of swine which, maddened, threw them-
selves into a lake much as Father Karras flung his possessed
body out the window.
In addition to the pigs' squealing hidden in The Exorcist
sound track, Regan's grotesque , filthy face during the exor-
cism scene often resembled that of a pig. Further, subliminal
reinforcement for the pig symbol is obtained by the word
PIG written as graffiti on a ledge at the left side of the stairs
looking down behind the house where the deaths occurred.
This staircase, and the consciously unnoticed word PIG, ap-
peared many times throughout the movie. Friedkin explained
how the sound track often mixed the angry bee buzz with the
pig squeals. The two sounds wove in and out of the film, co-
ordinating with the visual.
Embedded in the sound, under the voices and surface
sounds apparent in the exorcism scene, was what seemed to
be the roaring of lions or large cats. A third of the audience
surveyed described a feeling of being devoured or struggling
against being devoured. There were also orgasmic sexual
sounds in the exorcism scene that appeared to involve both
males and females.
Sound is extremely important in the management and con-
trol of any group of individuals, certainly for those in a the-
ater. Famed movie director Alfred Hitchcock ranked sound
as more vital to the success of his famous suspense movies
than his visual illusions.
In a recent Muzak Corporation advertisement, the com-
pany actually presented its services, background music for
stores and offices, as an "environmental management" tech-
nique.
In Western society surprisingly little is publicly known
about sound and its effect upon behavior. The consciously
available portion of sound frequency ranges from 20 to 20,-
000 cycles per second—or so advertise the high-fidelity appli-
ance manufacturers. Most th eaters have sound equipment
that will produce audible sound in this range. As a practical
matter, however, few individuals can consciously hear over
17,000 cps or under 200 cps, especially young people whose
hearing has been permanently dampened by high-volume
electronic amplification.
Sound, nevertheless, can be perceived at each end of the

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The Exorcist Massage Parlor
spectrum beyond the consciously perceived frequencies.
Resonance and other sound qualities also play parts in the
subliminal perception of sound. To illustrate, some Moog
synthesizers are capable of producing sound at 20,000 cps or
higher and under 20 cps. You can consciously hear nothing
at these high or low frequencies, but if volume or resonance
is increased, most people become extermely agitated. If in-
formation is included in these subliminal frequencies, it will
instantly be perceived at the unconscious level.
Hypnotic Inductions
When normal voice volume levels in The Exorcist were
reduced, the audience was required to strain or increase at-
tention or concentration upon the dialogue. This is almost a
standard hypnotic induction technique, compelling the subject
to concentrate upon one sensory data source. The audience
uniformly leaned forward in their seats to hear, for example,
the charming conversation between mother and daughter in
the bedroom scene at the film's beginning. Similarly, many
scenes throughout the movie were momentarily out of focus.
Again, the audience—like puppets being manipulated with
strings—leaned forward, concentr ating on the visual images
as they tried to correct for the blurred focus. Much of the di-
alogue between shock scenes was muted or whispered, so as
to regain audience involvement.
When humans are led toward hypnosis, they become highly
suggestible. Their emotions become more easily manipulated,
managed, and controlled the further they proceed along the
induction path.
Friedkin utilized little music in the sound track, though he
credited works by Hans Werner Henzle, George Crumb,
Anton Webern, and five other composers. Like all good back-
ground music, the themes were purposely designed for sub-
liminal consumption. The consumption of music and sound
generally followed two patterns. One pattern built slowly
from plateau to plateau, always intensifying the audience's
emotional response. Indeed, in a sample of roughly fifty
women who had seen the movie, over half candidly admitted
The Exorcist excited them se xually. Most cited the sound
track as the apparent source of this excitement.
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M EDIA . S EXPLOITATION
The other general sound pattern abruptly jarred the audi-
ence into a tension state. Loud, sharp noises—bells ringing,
doors slamming, dogs barki ng—preceded and followed by
extended periods of electronic silence. The sound would
gradually increase to a crescendo, then abruptly trail off to
nothingness, or cut off sharply. This technique is primarily an
attention-holding-tension-build ing device. Physiological ten-
sion was also increased by silences. For example, the early
scene in the attic—which was abruptly broken by a loud,
sharp noise.
Jumping the sound from one scene to the next—as a conti-
nuity and tension-building device, quite similar to the pink
roses used visually—was done throughout the film. An impor-
tant sound jump occurred during Father Karras's first visit to
the house. During the preceding scene, in the dream sequence
where Karras's mother climbs the subway stairs, the street
sound was unrecognizable as a rather high frequency, moder-
ately loud-volume sound. In the next scene where Karras vis-
ited the house, the sound was the same except a truck gear
shift was heard and the sound increased in frequency. The
gear shift identified the backgr ound noise, reducing audience
tension for the priest's first visit with Regan, where the ten-
sion again built toward a tense climax.
Loud Silences
The Exorcist silences were not completely silent. They were
electronic silences, with low-fr equency background hums. The
silences were only silent in contrast to high and increasing
volume sequences. These silences also formed a series of
plateaus which gradually increased in volume and decreased
in time interval as the story moved toward various climactic
situations. Silences, like the sounds, were used to produce
within the audience a series of emotional plateaus. These
silences became louder and louder and more and more rapid
as each segment progressed. The tension and release, tension
and release, tension and release, always building higher and
higher and higher, induced—by itself—exhaustion and even
nausea for many in the audience.
Another manifestation of tension management in the audi-
ence was coughing. The audience coughed heavily at predict-
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The Exorcist Massage Parlor
able intervals throughout the movie. Audience coughing was
recorded at several theaters and always appeared at roughly
the same points in the story. This was compared with cough
reactions in several other action-type films, The Sting, Execu-
tive Decision, and Papillon. The Exorcist, in comparison, pro-
duced notably stronger and more predictable cough patterns.
There were, apparently, subliminal cues in the visual or audi-
tory stimuli that motivated the coughing.
Coughing is a tension release and appeared to occur
roughly within thirty seconds after the auditory tension peaks
were released. The first sounds of the evil force in the attic
sounded like coughing, followed by a rasping bronchial
sound. Coughing, of course, can lead to an upset stomach.
The changes of Regan's voice—from that of a twelve-
year-old girl to that of the devil—were carefully synthesized
with the visual changes in he r appearance. At some point
during this transition, the girl's voice was replaced by the
voice of Mercedes McCambridge, an actress with a deep
husky voice. Friedkin admitted to putting the actress's voice
through a filter to produce a voice unidentifiable as either
male or female.
In other words, the devil's voice was consciously perceived
as androgenous, or hermaphroditic. This voice quality would
not be meaningful at the conscious level, but would be
subliminally apparent. No matter how natural voices are
disguised, hypnotized humans are able to identify male or
female voice characteristics. It would not be an exaggeration
to state that The Exorcist visual effects were only props for the
sound. A large proportion of the audience recalled the sound
with great discomfort week s after leaving the theater.
Stranger Than Fiction
These pages have included only a handful of the behavioral
engineering techniques utilized in The Exorcist. Many of the
techniques described in this chapter go far beyond merely
playing yo-yo with an audience's emotions, during an after-
noon or evening's entertainment. They endure far beyond the
commercial lifetime of a single movie. What was done to The
Exorcist audience could endure in some memory systems
throughout a lifetime.
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M EDIA S EXPLOITATION
On December 8, 1972, a two-paragraph note appeared in
The New York Times business section, announcing that
In-FIight Motion Pictures, Inc. would initiate the sale of
subliminal advertising commercials embedded in the film they
distribute. In-Flight is a monopoly corporation that distributes
movies to every major airline operating in and out of North
America.
Considering the exponential growth patterns of Western be-
havioral science and technology, we can reasonably assume
this is still only the beginning. As a society, we prefer to think
of 1984, Brave New World, A Clockwork Orange, and
Soylent Green as science ficti on and fantasy. But as The Ex-
orcist abundantly demonstrated, modern media-induced truths
and realities may have already become far stranger than any
fiction ever written.
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_____________________________________________

To ignore your environment
is to eventually find yourself
a slave to it.
WYNDHAM LEWIS
The Art of Being Ruled
A Subliminal Hook
This chapter probes those subliminal techniques engineered
into popular records that almo st anyone can find. The sub-
liminal messages are hidden in relatively simple verbal or
musical illusions. Subliminal technology sells records by the
tens of millions each year in North America. No one
apparently knows or understands as yet, however, the con-
sequences of this sensory bombardment upon human value
systems.
Buried within the April 1974 list of top-thirty record sellers
was a song called "Hooked on a Feeling" recorded by a rock
group billed as Blue Swede. Like so many hundreds of other
such rock ballads, relentlessl y merchandised each year across
North America, "Hooked" was a passed-over item a few
months later. But during its brief glory peak, the record sold
several million copies, producing a small fortune for its pro-
moters. Most of the singles were purchased by gum-chewing,
long-haired teen-age girls who first heard it being plugged by
disc jockeys on the AM baud wasteland.
Not one of the rock biggies, "Hooked" did well. Though
few fans could consciously decipher the banality in the song's
lyrics, the melody was whistled and hummed by both teen-
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M EDIA S EXPLOITATION
agers and even by some of their parents who picked it up
unconsciously.
"Hooked on a Feeling" has a curious chant, sung by the
chorus, which is sustained behind the lyric. The repititious
background phrase sounds like "ooh-ga-shook-ah." Consider-
ing the lyric and chant hi a figure-ground relationship, the au-
dience consciously listened to the lyric's meaningless banality,
not the background chant. Roughly a hundred teen-agers who
owned the record, both male an d female, were asked what
the background phrase "ooh-ga-shook-ah" meant. No one had
any idea. They also had no conscious idea what the lyric was
about, even though all had heard the song dozens—if not
many, many dozens—of times.
At several points in the continuity of the background
chant—consciously ignored because attention was focused
upon the foreground lyric—the chanted phrase "Ooh-ga-
shook-ah" smoothly and very distinctly converted into "Who
got sucked off?" The technique has been called metacontrast
or backward masking, much like the magician who tricks you
into watching his right hand while he picks your pocket with
his left.
Several weeks later, many in the group interviewed stated
all they could hear now in the song was this embedded ob-
scenity. Most appeared disgusted and disillusioned with both
the record and the recording artists. Several pointed out,
"We've been had!"
North America is a visually oriented culture. Americans
are more consciously concerned with visual form, experience,
color, movement or the lack of movement, depth illusions,
and other visual experiences than are many other cultures,
Russians, for example, appear strongly biased toward audi-
tory experience, putting far more trust in what they hear than
in what they see. Because Amer icans tend to consciously ig-
nore or consider auditory experience insignificant, there ap-
pears little indication that we are aware of either music's
power or its pervasiveness.
Two thousand years ago, Plat o demanded strict censorship
over popular music in his Utopian Republic. He feared cit-
izens "would be tempted and corrupted by weak and voluptu-
ous airs and led to indulge in demoralizing emotions." Fears
of music's power to corrupt have been expressed by many
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Subliminal Rock
philosophers and scientists. In m odern America, even with all
the media criticism published, very little mention has been
made of the behavioral effects of music or lyrics. Popular
music, in all its happiness and horror, is an invisible dimen-
sion of today's environment
Divide the Market and Conquer
Popular music is skillfully marketed to specific groups and
subgroups within the society with an intensity that would
make an underarm deodorant salesman blush with envy. A
record may be produced and marketed for several young
markets, but producers usually aim at specific targets: the
preteen, eight to twelve; early teen, thirteen to fourteen;
midteen, fifteen to sixteen; late teen, seventeen to nineteen;
and postteen, over twenty. Rarely will a single recording art-
ist or group hit across the board, selling to all the markets.
The Beatles were, in their later years, one of the few groups
who appeared to cross virtually all demographic groups. As
some successful music groups ag ed, however, their audiences
sustained their enthusiasm as they, too, grew older. This is
rare. Most of the groups hit hard, saturate their markets, and
disappear.
The teen-age rock market has been studied for years by
commercial researchers, much like any marketing target:
purchasing patterns, life-styles, psychosexual development,
mating customs, aggressions, costuming, drive systems, pa-
ternal-maternal relationships, the whole range of complex
needs within individuals and the groups to which they belong.
These music consumers are highly discriminating in what
they purchase, and usually buy strictly within their market
segments. The soul sounds of James Brown will not likely
reach the same market segment supporting Bobby Sherman.
Rock music, for example, breaks down into "rock 'n' roll,"
"jazz rock," "bubble gum," "commercial rock," "acid (or
psychedelic) rock," "heavy rock," etcetera ad infinitum. The
category list constantly change s, divides, and subdivides.
Teen-agers generally listen to top-forty music stations an
average of six hours daily. They purchase an average of four
new records weekly. They buy 60 percent of all 45-rpm
singles, while the under-twenty-five age group buys 80 per-
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M EDIA S EXPLOITATION
cent. The music merchandising business is aimed at the
young, especially those in the upper-middle income group
with high discretionary incomes supplied by indulgent
parents.
Marketing technicians have b een extraordinarily successful
in managing teen-age music markets. More millionaires are
believed to have emerged from the popular music industry
during the past two decades than in any other segment of the
American economy.
Paul's Early Death
One very profitable use of subliminal manipulation technique
involved the Beatles' multimillion-dollar publicity stunt over
the supposed death of Paul McCartney. For never-explained
reasons, McCartney avoided public appearances over an ex-
tended period. Rumors swept the world, "Paul is dead!"
Headlines questioning the fate of Paul appeared in every ma-
jor world capital.
Had they really wished to resolve the question, the rumor
could quickly have been turned off by simply permitting a
wire service to interview the musician. This, of course, was
never done. When you can make more money by staying
home than appearing in public, you stay home. The Beatles
milked the rumor for all it was worth—and it was worth mil-
lions. They embedded material on Paul's death in their
recordings. One of these was in the Magical Mystery Tour al-
bum in the last few grooves of a song titled "Strawberry
Fields," A voice inexplicably appeared at low volume and
said, "I buried Paul." In the hysteria of the time, similar
sound embedding appeared in many other recordings. These
embeds would not be consciously perceived, but would sub-
liminally—because of their strong emotional impact—rein-
force the album's value and emotional significance far more
powerfully than could a million dollars' worth of network tel-
evision commercials.
The death rumor was also reinforced on the covers of al-
bums such as Sergeant Pepper, where on the cover the four
Beatles were pictured with Paul McCartney's back turned to
the reader. The Abbey Road al bum cover even showed Paul
in a burial costume. The cover layout on an album titled The
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Subliminal Rock
Beatles in the Beginning also included a four-candled cande-
labrum with one of the candle's flame extinguished.
The success of these strategies is attested to by virtually
any parent who has witnessed the glassy-eyed hypnotic stupor
in which they find their youngsters absorbing highly amplified
stroking via the latest hit reco rd. The highly visible effects
of these promotions are a compulsive purchasing of singles
and albums and endless hours of repetitive listening.
Music as Sex Substitute
Very strong subliminal sexual stimulation is at least part of
what is being massaged into the young psyches. In one survey
of about fifty male high school students, almost a third openly
admitted masturbating while listening to rock music. Most
young Americans are highly secretive about their sexual be-
havior. This implies that the actual percentage of those who
obtain vicarious sexual stimula tion from, auditory stimuli is
much higher.
Most clearly, neither record addicts nor their parents who
support the addiction have any conscious idea of what they
are so deeply involved with. In a survey of over four hundred
students in metropolitan Detroit and Grand Rapids, Michigan,
psychologists John Robinson and Paul Hirsch found that only
about 20 percent of these teen-agers—from the eighth and
eleventh grades and varied in social class, race, and reli-
gion—could reasonably explain the meaning of lyrics from
such super-hits as "Ode to Billy Joe," "Incense and Pepper-
mit," "Heavy Music," and "Lucy in the Sky With
Diamonds." A third to one half of these students had no con-
scious idea whatsoever as to the meaning of th ese lyrics. And
the rest had only vague or partial explanations of the various
songs' verbal meanings.
The teen-agers surveyed uniformly tried to avoid any dis-
cussion of meaning, many maintaining there was no real
meaning—"just a good sound!" Seventy percent emphasized
they liked a record more for its beat or sound than for its
message. None appeared certain just what "beat" or "sound"
meant, nor could they even specify what they meant by
"message."
In the above Michigan study, as well as many others, what
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M EDIA S EXPLOITATION
appeared was a consumer repression from consciousness of
lyric meaning. If the mind-massagers who produce the music
were as vague and uncertain about what was going on in
their markets as are the consumers, widespread bankruptcy
would be in store for every major record producer in Amer-
ica. Consider the king's ransom these companies have had to
pay writers such as Paul Simon. Yet few of their fans appear
to either understand or consider significant what these writers
produce. This is, to put it mildly, a strange paradox—unless
the song's lack of conscious meaning becomes highly mean-
ingful at the unconscious leve l, and song lyrics, like poetry
and other art forms, are purposely produced for unconscious
perception.
Tommy's Invisible Sell
The Who's Tommy, a so-called rock opera, was released dur-
ing 1975 as a feature motion picture, starring Ann-Margret,
Oliver Reed, Roger Daltrey, and Elton John. Based upon a
record album first distributed in 1969, the movie provided all
diences with a visual bath in sensation.
Every visual trick in the book was thrown into the film by
director Ken Russell—sacrilegious spectacles such as a rock
communion procession escorting a fifteen-foot plaster statue
of Marilyn Monroe with her skirt blown high and a commu-
nion offering to the faithful of booze and amphetamine
(speed) capsules rather than the more traditionally symbolic
wafers and wine. In one powerful scene Tommy's sensual
mother (played by Ann-Margret) hurled a champagne bottle
into a TV picture tube wher e soap and bean commercials
were appearing. A flood of soapsuds shot into the room from
the damaged tube, followed by a torrential outpouring of
beans, and finally a surging river of excrement in which the
actress erotically rolls and bathes.
The film, however, had very little to do with the record al-
bum. Marshall McLuhan's notion of "hot and cool media"
well illustrates the point "Cool is involving, hot is not." The
film version was "hot." Audiences could consciously perceive
virtually everything the director and actors tried to express.
The involvement was, for the most part, conscious.
The Who's original album of Tommy was another story.
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Subliminal Rock
Mostly designed for subliminal interpretation and involve-
ment, the album was, in McLuhan's terms, "cool," deeply in-
volving subconscious levels. The album, of course, initially
programmed the audien ce for the film at least five years in
advance. The album of Tommy sold roughly 2 million copies
during the first year of its distribution.
An event like Tommy is usually dismissed as meaningless
by adults, especially parents who usually finance the album's
purchase. If they were consciously aware of the event at all,
it was only in terms of a background-noise distraction in their
living rooms.
In late 1969, a group of fifty adults in a university adult
education class, many of them parents of teen-agers, were re-
quested to write out briefly what they believed was meant by
the story of Tommy. The record was played for them in its
entirety. After hearing the record, the group sat with univer-
sally bewildered expressions. Some liked it, some disliked it,
but most were uncertain how they felt. No individual in the
group was able to even vaguely answer simple questions such
as, "What is Tommy all about?" "What does the story
mean?"
Tommy was played for the group a second time with the
lyrics displayed on a projection screen so the group could
read what they were hearing. But end results were identi-
cal—no one was able to specify anything about the story.
However, feelings toward the al bum appeared to intensify af-
ter the second playing. More people strongly liked or disliked
the album, and fewer were un certain about their feelings.
Nevertheless, even then no one in the group could describe
what was going on.
Analysis of the lyrics was now undertaken by the group on
a line-to-line basis, much as on e might attempt to analyze an
Elizabethan sonnet. Meanings for each phrase, line, and
stanza were accepted only if a ma jority of the group agreed
the meaning was a valid possibility. When the group dis-
agreed significantly, alternative explanations were included as
possibly valid.
The results of this experiment were, to put it mildly, shock-
ing—especially as the primary market appeared to be teen-
age boys and girls in the thirteen to nineteen age group. The
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M EDIA S EXPLOITATION
following is a synopsis of what the group felt Tommy was all
about:
A Romantic Fantasy
Tommy's mother was a prostitute whose husband died in
World War I. After Tommy was born, she continued with her
clients and eventually married a man who became her pimp,
As an infant, Tommy had witnessed the sexual relationships
between his mother and her lovers. He was told repeatedly by
his mother and father to wipe these "absurd" memories from
his mind. "To know the truth" by forgetting what had hap-
pened. The Oedipal implications of a young man and his
step-father were, of course, basic to Shakespeare's play Ham-'
let. Now, complicate the situation by making the step-father a
pimp. Tommy became autistic—blind, deaf, and dumb, unre-
sponsive and unaware of everything. He "sits silently, picks
his nose and smiles, and pokes his tongue at everything."
Cousin Kevin taught Tommy a bout life. Kevin described
himself as "the school bully, the classroom cheat, the nastiest
playfriend you could ever meet." He put glass in Tommy's
food, spikes in his seat, pins in his fingers, treads on his feet,
tied him in a chair, called him a freak, held his head under
water and laughed, shut him outside in the rain to catch cold
and die, burned his arm with a cigarette, dragged him around
by the hair, and pushed him down the stairs.
Uncle Ernie baby-sat with Tommy. A homosexual, he be-
came drunk and sexually assaulted the autistic child. Autistic
Tommy was, then, left by his mother with the Acid Queen-
a friend of the family—who introduced him to both drugs
and sex. "Watch his body writh e," she screamed excitedly.
Tommy, described as a deaf, dumb, and blind freak, even-
tually developed great skill with pinball machines. He "be-
comes part of the machine." A wizard at the game, he was
not distracted by buzzers, balls, and flashing lights. He played
by "sense of smell."
Tommy was finally taken to a doctor who discovered he
could see, speak, and hear, but had become a machine that
did not feel. The doctor's prescription was, "Go to the mir-
ror, boy!" The mirror was the mirror of Narcissus which re-
flected only idealized illusions. When Tommy attempted to
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Subliminal Rock
probe beneath his superficial image, his mother attacked him
for peering into his inner self. In desperation, she smashed
the mirror. His cure was miraculous.
From that moment, Tommy became a popular sensation.
He left a devastating trail of people hypnotized by his
messianic power. Everyone marveled at Tommy's seemingly
supernatural ability to make his own images, to define his own
illusions and realities, and to make his inner hidden reality
match in appearance the exposed outer illusion.
Tommy became a gospel singer and preacher surrounded
by disc jockeys, guards, and his loyal fans. A girl, Sally, was
infatuated with Tommy and tried to touch him during one of
his sermons. She was thrown from the stage by guards and
her face was cut, requiring sixt een stitches. She, in the end,
married a rock musician. Tommy was finally free—a messiah
followed by many disciples. He founded Tommy's Holiday
Camp, run by Uncle Ernie, wher e "the holiday is forever."
But this manipulation of society's illusions made everyone
turn against Tommy in the end. "We forsake you," the crowd
yelled. "Let's forget you—bette r still." Tommy's fate seemed
typical of that in store for anyone who steps through the bro-
ken mirror of mass illusion to probe the inner world—from
Socrates through Freud to McLuhan.
The Repression Mechanism
The complete line-by-line analysis of Tommy required several
hours' work by the group. As the meanings developed, several
women, who in the earlier test of their feelings had indicated
strong aversion to the recording, became nauseous. Many re-
ported agitation, anger, a sense of outrage and frustration.
One mother reported she had refused to permit her thirteen-
year-old daughter to purchase the album. At the time, she
had not been certain as to why she felt so strongly against
Tommy. The woman described her daughter's reaction to the
denial as "near hysteria." Wh en the idea of a drug-deprived
addictive response was suggeste d, the mother reluctantly
agreed to the similarity. This mother could not believe her
daughter consciously understood what the album was all
about—even though the young girl had heard it several times
all the way through.
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M EDIA S EXPLOITATION
Since the album Tommy was much discussed among teen-
agers at the time, interviews with roughly fifty were
undertaken by college students several months after the
record appeared in stores. Less than 2 percent of the teen-
agers were able to give a cohere nt, even partial explanation of
the lyrics' meaning. Yet 20 percent owned the record, anotber
40 percent planned to buy it, and 98 percent had heard the
album at least once. All the t een-agers interviewed reported
Tommy was one of the most significant album productions of
the year.
Two years later, another survey of a hundred teen-agers
was again made. Teen-agers were asked to explain what
Tommy was all about. Roughly 25 percent of those who had
heard the record gave a reasonably detailed account of
Tommy's tragic and bizarre life. Their interpretations were
remarkably close to the one developed a year earlier by the
adult group. It appeared that wh en these teen-agers first pur-
chased or heard the album, they were consciously uncertain
as to what the story involved. The learning process, ap-
parently, took several months. Once they were more or less
consciously aware of what was going on in Tommy, they gen-
erally lost interest in the album.
All the students interviewed agreed they would never, un-
der any circumstances, discuss what they knew of Tommy's
adventures with their parents or any other adult. These young
people identified with Tommy quite strongly—an autistic,
ravaged child forced not to feel, hear, see, or speak the truth.
Parents might well give these identification structures some
careful thought.
What appeared to be occurring in Tommy, and in many
similar rock music albums and singles, was planned am-
biguity. Lyrics, orchestration, recording effects, the whole
production—most of which required hundreds of hours of
skilled labor—was designed to communicate meaningfully
only at symbolic subliminal levels.
Teen-agers seem to "buy" the feelings produced by sublim-
inal stimuli without any cons cious awareness of specific
meanings. A few eventually do discover what is going on, but
the cognitive process appears to take weeks, even months, as
the message slowly rises to consciousness. At the point where
the market, or a substantial portion of it, can consciously
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Subliminal Rock
deal with the message, the record is commercially dead. But
there are always new singles and albums being born to re-
place the fallen. As many as fi ve hundred new recordings a
week hit the promotion fan.
Who Tells the Story?
The question of who is saying what to whom in rock music is
one of the most intriguing aspects of lyric symbology. Osten-
sibly, boy vocalists dominate the industry and often appear to
be singing to girls—possibly the ones who might reasonably
be the marketing targets. But this would seem to leave the
boy audience out in the cold. In fact, both girls and boys
identify with the vocalist, however, suggesting something far
more complex and devious is involved.
The boy singer does not aim his lyrics directly at the gum-
chewing, vacant-eyed teeny-boppers. This would invite dis-
aster at the record shops. The singers and their lyric writers
often project their sentimentality at the singer's mother—a
symbolic subliminal identification. The girl record buyers can
then unconsciously identify with their hero's mother, whom
their hero worships and loves. The boy record buyers support
the records as they unconsciously perceive the singer suffering
the same maternal rejections they believe themselves to have
suffered. They have no reason, therefore, for jealousy or envy
when girl friends boost the record.
The technique appears often on million-seller recordings,
Elvis Presley's 1957 hit pleads with a subliminal mother to
"Let Me Be Your Teddy Bear."*
... Put a chain around my neck
And lead me anywhere,
Oh let me be your teddy bear.
Baby let me be around you any night,
Run your fingers through my hair,
And cuddle me real tight.
Oh let me be your teddy bear,
* Copyright © 1957 by Gladys Music, Inc. Used by permission.
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M EDIA S EXPLOITATION
This hardly describes a popular teen-age mating ritual,.
Even in America's maternally dominated society, few boys
would submit to such a relationship with a girl friend. Hu-
mans often describe loved ones in verbalisms they project
upon themselves—idealized realities, wishes, or fantasy ful-
fillments. Presley's "baby," then, became an unconscious
synonym for mother while the highest paid star in the history
of motion pictures assumed the role of a small infant.
The designation "baby," as used in popular music, is often
a direct maternal reference. The euphemism for mother, sung
by a quivering, immature male voice—pleading an unre-
solved Oedipal conflict intimately familiar to millions of
young Americans—is frequently at the bottom of a song's fi-
nancial success. These are the plaintive puberty pleadings of
a maternally starved generation. The girl consumer identifies
with the singer's love object—his mother. The boy consumer
identifies with the singer and his sufferings. The formula is
well proven and successful. Dad, of course, is totally ignored
in this matriarchal game.
Bobby Curtola, another rock superstar, sang bis way into
early retirement by skillfully manipulating young America's
Oedipal conflicts. "Call Me Baby" was one of his early best-
selling records.
Call me baby, honey baby
Put your loving arms about me honey baby
Say it tender when we meet
Say it soft and say it sweet
Call me baby, baby, honey baby.
Is it conceivable a young man would want his sweetheart,
girl friend, or lover, to call him "baby" and deal with him as
though he were an infant child? Hardly! The song is aimed at
Mommy, providing subliminal identification for the market.
Mommy's Many Pseudonyms
Paul Anka's first recording, "Diana," sold in excess of 8 1/2 mil-
lion copies—the third largest-selling single record of all time.
A national publicity campaign was launched over the enigma
of Diana's identity. Several girl vocalists and actresses of the
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Subliminal Rock
early 1960s were considered as fantasy possibilities in public-
ity releases. Like most publicity department fantasies, how-
ever, these were simply nonsense—designed only to milk that
high discretionary income from the pockets of teen-ager's
parents.
Paul Anka, serving the Oedipal conflicts of North Ameri-
can teen-agers, serenaded his symbolic mother:
I'm so young and you're so old
This my darling I've been told
I don't care just what they say
'Cause forever I will pray
You and I will be as free
As the birds up in the trees
Oh please stay by me, Diana*
A handful of the hundreds of lyrics which utilize maternal
identifications include Elvis Pr esley's "(You're So Square)
Baby I Don't Care," Joe South & the Believers' "Walk a Mile
in My Shoes," Bobby Vee's "Rubber Ball" and "Sharing
You," and Frankie Avalon's "Welcome Home." Only once In
a while does Mother get into a song at the conscious level as
in Jo-Anne Campbell's "Mother, Pleasel" and Roy Orbison's
"Mama."
Father, as a symbol of dominance, authority, respect, and
love, plays a limited role in mainstream popular American
music. When he appears it is most frequently in the country
and western field. One record ing superstar, Jimmy Dean,
made a fortune out of an ideal ized father projection in his
"Big Bad John," followed by "Little Bitty Big John," and fi-
nally "P. T. 109," which dealt with John F. Kennedy's war-
time experience. When the trilogy was completed, Jimmy
Dean could have retired for three lifetimes to the French
Riviera. All of which seems to prove that there is money to
be made out of paternal, as well as maternal fantasies in the
American dream.
* "Diana" words and music by Paul Ania © copyright 1957 by
Pamco Music, Inc. © copyright assigned 1963 to Spanka Music
Corp., 445 Park Avenue, New York, N.Y., for USA & Canada
only. Used by permission, all rights reserved.
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M EDIA S EXPLOITATION
For many years, American culture has been discussed as a
matriarchy. Women—both real and symbolic mothers—have
long dominated the society, especially the children. Long-
haired teen-age boys are precis ely what mothers would have
endorsed thirty years ago if their husbands had permitted
them to get away with it. Long hair on male children used to
be cut when the boy finished the Oedipal stage, rarely later
than the fifth year.
Beatles Followed Bobbies
No discussion of popular music in America would be com-
plete without mentioning the Beatles. The Beatles emerged
from an evolution of musicians and composers that between
1956 and 1958, culminated in Elvis Presley. During a military
service eclipse in Presley's career, a small army of Bobbies
were hatched by the industry—Bobby Curtola, Bobby Vee,
Bobby Darin, Bobby Rydell, Bobby Freeman, ad infinitum.
The Bobby phenomenon died slowly during the early 1960s,
when a brief, though intense, dance-fad period developed
with Chubby Checker's 'Twist." Dee Dee Sharp, Bobby Ry-
dell, Little Eva, The Orlons, and the Dovells promoted dance
songs such as "The Fly," "The Pony," "The Hully Gully,"
"The Mashed Potato," "The Locomotion," "The Bristol
Stomp," "The Hitchhiker," "The Limbo Rock" and "The
Wah-Watusi."
These dance fads came into vogue after large investments
and heavy promotion expenses, but few stayed alive long
enough to yield either high or sustaining profits. Market seg-
mentation and segment isolation began to evolve as a more
dependable music merchandising strategy.
Teeny-boppers are young teens, thirteen to fourteen and
preteens, eleven to twelve. Their music is called bubblegum,
designed for fans still young or innocent enough to chew gum
rather than smoke tobacco or pot. Toward the end of 1963,
no bubblegum music appeared on national U.S. hit surveys.
The market was wide open.
Already a phenomenal success in England, the Beatles'
skilled marketing technicians invaded America. By January
1964, songs such as "I Saw Her Standing There," "I Want to
Hold Your Hand," "From Me to You," "She Loves You,"
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Subliminal Rock
"Please Mr. Postman," "All My Lovin'," and "Hold Me
Tight" appeared in the top ten. During February, Ed Sullivan
captured 94 percent of the Class A time Sunday night televi-
sion audience when he featured the Beatles for only fifteen
minutes on his national variety show.
The craze was on. Teeny-bopper s drove their parents into
distraction over the purchase of Beatles dolls, records, T-
shirts, etc. The Beatles sold everything that could be attached
to their name and image.
It is impossible to determine how much of the Beatles fad
was actually created (in the sense of adding something new)
and how much was merely a reflection of psychosocial dy-
namics already operating in Western society. Very likely, the
Beatles both innovated as well as attached themselves to the
undercurrents of the past.
Though the four Beatles were the only visible portion of
the empire, there were severa l hundred skilled—though invisi-
ble -- technicians behind the scenes who created and manipu-
lated the illusions. No one will likely ever know for certain
which portions of what the public perceived as the Beatles
was actually produced by the four young men or their staff.
For example, the Beatles often recorded separately, and their
four (or more) recordings were mixed electronically for the
final album. The technique gave their engineers complete
control over what finally appeared.
Plaintive Puberty Pleadings
An entire book could be devoted to a study of the lyrics writ-
ten for the early Beatles music. It would probably make dull
reading, however, as the puberty agonies portrayed become
highly repitious. These songs did, nevertheless, tell the teeny-
boppers what they most wanted to hear. And many parents
probably felt a sense of relief when their kids dropped the
ass-bumping sexuality of pre-Beatles groups.
Once established, the Beatles became one of the few
groups engineered to transcend market segmentation and
achieve almost universal appeal. According to Beatles biogra-
pher Hunter Davies, every Beatles album, even before 1968,
sold in excess of one million copies. The retail price became
higher and higher as they milked the market for all it was
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M EDIA S EXPLOITATION
worth. One multimillion-seller album, Abbey Road, sold for
ten dollars. A publicity release from the Beatles' management
had the temerity to state that fans should be grateful they
could obtain the record even at that price.
In 1968 the industry's most successful album was released
by Capitol Records—Sergeant Pepper's Lonely Hearts Club
Band. As a monument to electronic gimmickry, Sergeant
Pepper was a work of art. The album—by the producer's
own admission—required over four hundred hours to record.
Perhaps strangely, the album re flected despair, hopelessness,
and the futility and hypocrisy of modern life's illusions. To
the uninitiated parent, however, th e record appeared gay, light,
and even humorous. Minor portions were perceived by the
teen-age audience consciously, but the largest portion was
heard only at subliminal levels.
Side One concerned illusion and means by which people
hide truth from themselves. The side began with the business
of show business, the greatest ill usion of them all. Drugs were
dealt with in the songs "Fixing a Hole" and "Lucy in the Sky
with Diamonds"—a not so hidden reference to LSD.
Lush verbal imagery and musical phrase distortions con-
veyed the hallucinations from an acid trip:
"With tangerine trees and marmalade skies .. ."
Refusals by parents to face the truth or deal with realities
were caustically dealt with in "Getting Better," the parental
illusion of their idealized relationship with their children in
"She's Leaving Home," which pictured parents after their
daughter had run away from home:
We gave her most of our lives . . .
We gave her everything money can buy...
The song's narrator sings in counterpoint to the lyrics:
She's leaving home after living alone
For so many years*
* "She's Leaving Home" by Lennon/McCartney © 1967 Northern
Songs, Ltd.
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Side One concluded with a return from disturbed family rela-
tionships to the illusions of show business.
Side Two opened with a song by George Harrison, "Within
You Without You," which summarized the meaning of Side
One.
The space between us all, and the people who
Hide themselves behind a wall of illusion.*
The next three compositions considered life without drugs
or hypocrisy—the sterile, ritualized roles people play. The
first "When I'm Sixty-four," ridiculed the life of an elderly
couple; the second, "Lovely Rita," made fun of romantic
love, extolling the tribulations of a Liverpool whore who pro-
cured through her respectable job as a meter maid. The third,
deceptively titled, "Good Morning, Good Morning," deso-
lately described the futility and banality of life.
The reprise of Sergeant Peppe r's theme changed dramati-
cally. Sergeant Pepper was no longer the outrageously funny
character who promised smiles and entertainment. Repeating
the line four times, the Bea tles sang "Sergeant Pepper's
lonely." In summary, the final song, "A Day in the Life,"
questioned whether man could live without his illusions.
A Literature for the Young
Heady stuff for teen-agers? Jon Eisen in The Age of Rock
compared Sergeant Pepper with T. S. Eliot's Wasteland in its
near desperate reflections upon contemporary life. Dealing—
for most of the fans—at subliminal levels, the Beatles became
spokesmen for their generation who resisted the status quo.
Their record company simply at tached their resistance, quite
normal resistance among the young at least since the times of
Socrates, to the mass merchandising of music. The Beatles
even, at one point, exposed themselves as illusions or put-ons
created by their early manager Br ian Epstein. They declared
publicly that from Sergeant Pepper onward, they planned to
be themselves both off stag e and on. Their fans believed
* "Within You Without You" by George Harrison © 1967 North-
ern Songs, Ltd.
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M EDIA . S EXPLOITATION
them, to the tune of tens of millions of dollars in record pur-
chases.
At the subliminal level, Sergeant Pepper was heavily inte-
grated with sex, drugs, and revo lutionary politics. It is diffi-
cult to determine where the line or threshold lies between
conscious and subliminal perception for any stimuli as com-
plex as Sergeant Pepper. One thing is certain, however
Parents never got the message, though most of them strongly
rejected Sergeant Pepper wit hout consciously realizing why
Of course, this parental rejection plaved right into the
marketing technique, virtually assuring the record's success.
"Jude" Hits Jackpot
One of the most popular recordings of 1968 was the Beatles
single "Hey Jude"* and "Revolution." "Revolution" deals
with politics and was sung by John Lennon—the symbolic fa-
ther of the Beatles' archetypal family. Paul McCartney, who
consistently portrayed a maternal role in the family, sang
"Hey Jude," providing spiritual advice in the form of drugs
as an escape route for pain.
Two meanings for "Jude" appeared as likelv svmbology is
the song. "Jude" could have re ferred to Judas who betrayed
Christ under the guise of friendship. Heroin, of course, at
first seems to be a friend before it betrays the user into addic-
tion. The second possibility involved the Apostle Jude who
warned against those who call themselves Christians while liv-
ing hypocritically in a morally loose society.
The haunting voice of McCartney sang, "Let her into your
heart," "Her" meaning the drug and "heart" the pump that
circulates drug-laden blood through the body—so "you can
start to make it better."
During the lonely opening verse, the drug injection oc-
curred. In the second verse, musicians joined to make the
sound (life) more full and complete. The lyrics tell us,
"Don't be afraid." "The moment you let her under your skin,
you begin to make it better."
*"Hey Jude" by Lennon/McCartney © 1967 Northern Songs,
Ltd.
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The third verse said, ". . anytime you feel the pain, Hey
Jude-refrain."
"Refrain" means, in one sense, leave it alone. But, the in-
verse symbology means repeat the chorus or repeat the injeo-
tion at the end of each good period when the pain returns.
The verse explained that only a fool pretends there is nothing
wrong with empty feelings and avoids being helped by the
heroin. The reference to "cool" and *'a little colder" is curi-
ous. A common symptom of the deprived addict is being con-
tinuously cold. The message here is why be cold when "she"
or "her" is available.
The narrator, or drug pusher, repeats his plea in the fourth
verse, asking "don't let me down." All you need do is "go
and get her" and "let her into your heart."
The fifth verse advised, "Let it out and let it in." Let out
inhibited emotions and feelings, let the drag or syringe into
your body. "You're waiting for someone to perform
[synonym for trip] with." "Don't you know it's just you."
You are all that is necessary. "The movement you need is on
your shoulder," suggesting either the arm used for the injec-
tion or the monkey on your back or shoulder.
The final verse counseled, "don't take it bad"—a bad trip
should be avoided. "Make it bette r," by releasing inhibitions
and fears. Toward the end of the song, a scream is heard for
"Mamma!"—a cry for help, a plea for rescue from the drug
addiction.
As the song progressed, a screaming, maniacal chant is
heard in the background—providing a contrapuntal theme to
the lyric. The chorus chanted, "you gotta break it"—an ap-
parent reference to the habit—"you know you can make it,"
"don't go back," or in other words, Stay clean!
Jude's future at the conclusion is uncertain. The audience
never found out whether Jude had kicked the habit or gone
on to another fix. The probability that the addiction contin-
ued, however, appeared far more likely. "Hey Jude" could, to
put it conservatively, reinforce a tendency toward addiction,
makig it appear a logical solution to a young person's normal
conflicts with authority, society, and the maturation process.
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M EDIA S EXPLOITATION
Immortality May Be Forever
Any hope the Beatles would eventually run their course and
disappear into limbo is purely wishful thinking. Their perva-
sive influence upon young people all over the world persists.
In 1973 two anthologies were released: Beatles 1962-1966
and Beatles 1967-1970. Both albums were million sellers with-
in three weeks. A year later, both albums were still among
the top hundred in Current LP Sales, according to Billboard.
George Harrison's Living in the Material World and Paul
McCartney's Red Rose Speedway were also released in 1973
and were instantly successful.
In interviews with young record purchasers in 1974, many
admitted that in spite of the high cost of new Beatles records,
they purchased them usually without hearing the music. None
could explain why. Their behavior resembled that of either
robots or Pavlov's dogs responding to bell stimuli.
Keeping the Beatles myth alive with manufactured rumors
or pseudo-news about an eternally promised Beatles reunion,
the news media helped perpet uate the mythological image.
For example, a well-engineered publicity release in Newsweek
of March 26, 1973, commented upon the new record releases
of the folk heroes of the American dream-marketing indus-
try:
It was, as producer Richard Perry noted, the first time the
three have played together since the Beatles. But any
future reunion is pure conjecture. An awful lot of impure
conjecturing was going on including the possibility,
encouraged by business manager Allen Klein, that the
three Beatles would remain in L.A. to record a real John,
George, and Ringo album.
The above logic is much like the old question "Will she or
won't she?" As long as no one is certain, she will be courted,
pursued, indulged, and kept alive in our fantasies.
No one today questions the Beatles' impact upon Western
society. They were successful in many languages, even
reaching into the collective unco nscious of such tradition-ori-
ented cultures as the Russian and Japanese. The mythology
follows each of the four young multimillionaires as they grow
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older and journey from wife to wife and from one misadven-
ture to another. They are view ed as the initiators of an im-
portant epoch of history, the founders of popular culture, and
the beginning of an entire army of popular music heroes who
exploited their tradition.
However, when anyone asks direct questions as to the
Beatles' contribution to Wester n society, the answers are al-
ways vague, unspecific, and usually involve some aspect of
the mystique. During several hundred interviews with both
children and adults, no one appeared to have any exact idea
about the specific differences in their lives that might be
directly attributed to the Beatles. Every answer given by these
respondents could have been said of other musical groups
going back into the 1920s, 30s, or 40s.
A Value System Changed
The answer was amazingly simple and so shocking that no
one had apparently put it together. The Beatles popularized
and culturally legitimatized hallucinatory drug usage among
teen-agers throughout the world.
Hallucinatory and addictive drugs had never before been a
part of any society's main cultural value system. Even in
places like Indochina, where the French legalized opium as a
technique of population manageme nt and control, drugs were
confined to a minority of users—usually the economically or
politically disenfranchised. Certainly, drug usage had never
before in the world's history been advertised heavily—as a
record promotion technique—by popular music directed at
adolescents.
An examination of best-selling music lyrics during the five
years preceding the Beatles failed to turn up many song lyrics
that could even remotely be interpreted as drug ballads. Pre-
Beatles lyrics were crammed with overt and covert sexual
symbolism. Death was not an infrequent symbolic entity
celebrated subliminally in popular song. But drugs were sim-
ply not being pushed, even though drug usage was, as it had
always been, apparent among Am erican society's disenfran-
chised fringes. The Beatles became the super drug culture
prophets and pushers of all time. Drugs, of course, ultimately
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M EDIA S EXPLOITATION
involve self destruction, and death, or withdrawal from real-
ity.
Western society, especially England and North America
had been well primed for expanded drug usage through years
of conditioning by pharmaceutical, alcohol, and tobacco ad-
vertising. Media long ago esta blished a culturally accepted le-
gitimacy for the use of chemical solutions for problems of
emotional adjustment. For the music industry to expand one
step beyond household psychogenic products to hallucinatory
drug utilization by teen-agers was so simple that even a child
should have been able to figure it out. Children did figure it
out, of course. No one outside the industry got wise to what
was going on, nor did they even suspect how the marketing
plan worked.
The Bridge to Happiness
According to Billboard, "Bridge over Troubled Water" sold
over 5 million copies during 1969 as a single recording. The
album sold over 4 million copies—the second highest seller
during a single year in the history of record sales. (The
Beatles' Sergeant Pepper was the first.) "Bridge," however, as
single and album, received a total of five of the recording in-
dustry's Oscar equivalents—the Grammy Awards—in 1969.
Paul Simon and Art Garfunkel won best-selling single
best-selling album, best-engineered single, best-engineered al-
bum, and best composer.
Paul Simon, the composer, claimed he took a month to
write "Bridge" and another month to record the composition.
The rather simple, unassuming final recording lasted four
minutes and fifty-two seconds—rather long for the average
single. For Simon, this was a major project. His other hit
records were composed, so he claimed, in only a day or two.
As Simon explained in an interview with Jazz and Pop
Magazine, "I wanted to create a feeling of comfort. The
words are relaxing, warm, almost euphoric. My music has al-
ways been different from what's normally on the top ten. I've
been quite successful. I hadn't recorded for about a year and
a half. The listening public w ondered where I was. I knew
the song would be successful. I don't buy the American
Bandstand success formula. I've always done my own musical
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Subliminal Rock
thing. The secret to me has been a genial fusion of music and
lyrics."
Whether the above statement was written by Simon or one
of his many publicity writers is irrelevant. The usual vague,
meaningless euphemisms for reality—relaxing, warm, eu-
phoric, musical thing, genial fusion—says nothing really
about what the composer was doing in "Bridge."
As a very skilled merchant of symbolic values in both
words and music, Simon knows better. Illusions are a tough
business. In order to reap the millions of dollars he has taken
from teen-age record buyers, in the most competitive business
in the world, Simon must be a skilled professional. He, his
financial backers, musicians, arrangers, and electronic techni-
cians must know precisely what they are doing—or they sim-
ply won't succeed. The hundred or so invisible specialists who
surround them put everything they had into the song, along
with the quarter of a million dollars of capital investment re-
quired to launch a new record nationally.
Bridge," at first hearing, is crude—almost amateurish. The
beat is weak and undanceable, even phlegmatic. Neither
cracking drums, electric guitars, nor a hard-driving bass were
utilized. At the beginning, a weak, psalm-playing piano ap-
peared. After the initial verse, faraway violins, vibraharp,
softened bass, and echoing drums formed the background.
Indeed, at the time "Bridge" was released, it seemed to have
done everything wrong—just the opposite of current trade
practices. There is simply no way to explain the success in
terms of what was cognitively perceived by music fans. (See
Appendix A.)
A Feeling Massage
"Bridge" dealt primarily with feelings in its target audience,
massaging these feelings with subliminal stimuli. When trying
so probe the subliminal level of the lyric, the first question
was simply, Who is talking to whom about what, and why?
Specifically, who was "I"—the person singing? A list of
people representing both persona l and occupational relation-
ships for teen-agers was prepared. All those included were in-
dividuals with whom teen-agers were likely to have a close,
familiar, intimate, and trusting relationship—the kind and
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M EDIA S EXPLOITATION
quality of relationship suggeste d by Art Garfunkel's voice on
the recording. Included were twenty-two possible designations
for "I"—mother, father, motel owner, brother, sister, drug
pusher, hairdresser, boyfriend, girl friend, sweetheart,
mechanic, minister or priest, gas station attendant, teacher,
etc. The list was presented to roughly fifty teen-agers who
were asked to check off the single most likely candidate for
the "I" in "Bridge."
After they learned what they were supposed to do, roughly
30 percent of the teen-agers refused to play the game. Many
rationalized that they could not make up their minds. Others
in this group simply refused to try. Avoidance behavior was
clearly apparent.
Roughly another 55 percent provided varied answers -
mother, father, etc. These appeared random and spread out
across the entire list.
Roughly 15 percent of the students cited drug pusher as
the "I" in "Bridge."
The reader may consider this possible interpretation as ab-
surd. For a moment, however, consider the hypothetical pos-
sibilities.
If the "I" or the singer is a drug pusher, what he is
describing in the song is a drug trip. His customer—or ad-
dict—is the young audience bewildered by the fast-paced,
automated, depersonalized, lonely, complex, and powerful
society.
When you're weary, feeling small,
When tears are in your eyes . . .*
"Bridge," therefore, becomes symbolically a drug user's
guide to withdrawal into a syri nge-injected hallucinatory drug
experience—most probably heroin—but this could be also in-
terpreted as speed or amphetamines. The lyric extols the
promise of drug relief from depression, loneliness, and uncer-
tainty. The music symbolically forms the trip itself. The
verses are sung in two-part harmony, indicating to the audi-
ence subliminally that two people are on the trip—the listener
and their drug-peddler guide.
*© 1969 Paul Simon. Used with the permission of the publisher.
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Subliminal Rock
The pusher is talking, much like a physician on a television
pharmaceutical advertisement, to weary and alienated young
people whom the world forces into tears. He is "on your
side" when "times get rough" and when "friends can't be

The pitchman drug pusher claims he acts as "a bridge over
troubled water"—a support to help the audience over the tur-
bulent rapids of day-to-day life. The first verse provides a
come-on, an opening pitch, much like the warmup used by
insurance or encyclopedia sale smen. The second verse is a
stronger focus upon the product through symbolic archetypes
and imagery. The third verse really gets down to business,
presenting a hard sell, deep in meaning and subliminal signifi-
cance.
The musical arrangement during the first and second verses
suggested a feeling of agitation, discomfort, imbalance, and
insecurity. As the music moved into the third verse, parallel
with the lyric story line, it conveys a feeling of euphoria, se-
curity, and relaxation as the drug takes effect.
A Search for Security
In the first verse the music begins with a lone piano chording,
as Simon specified in the published arrangement, "moderato
...like a spiritual." The spiritual piano is sustained through-
out the arrangement, alternately dominant and passive in the
background. The piano symbolizes unconscious remnants of
childhood feelings such as love and protection derived from
Mother or the Sunday School sense of security in being
watched over by Jesus.
As Art Garfunkel's voice begins in the first verse, he sings
of "being weary, small, of tears, of being down and out." In
the published arrangement the piano is directed to play
"rubato"—a rhythmic give and take, a lingering or hurrying
over notes. Time (meter) is bent. The piano reflects the audi-
ence's unstable state of mind or emotion.
In the second verse the listener is still "down and out," but
now "on the street." The street of life is where the troubled
water swirls, the place where society rushes frantically to
nowhere. The street is loud, impersonal, and cold. The pusher
promises. "when evening falls so hard, I will comfort you."
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M EDIA S EXPLOITATION
Evening is symbolic of death and darkness, perhaps the color-
lessness of American society.
The pusher declares his willin gness to "take your part"-
become the audience, suffer for them while they escape
through drugs. "When darkness comes and pain is all
around," the pusher will provide "a bridge over troubled
water." The line, as sung, includes a brief pause before and
afterward.
"And pain is all around." Pain in the young audience's
minds must be avoided at all costs. Harsh realities and dark
images of death must be somehow put aside. As the second
verse is sung, the orchestration produced a vague discomfort
and feeling of uneasiness.
The rhythmically unstable piano joins a low-key, quiet vi-
braharp at the beginning of the second verse. The discord
literally jars audience attention, as the chord is in a different
key from the song. At this point, the electronic bass plays a
series of dominant notes which slide from a low E-natural up
two octaves to an A-flat. The sliding notes move from an ex-
treme low to an extreme high, unconsciously elevating the au-
dience to a higher plane in the arrangement's subliminal
background.
And Finally the Needle
The third verse involves the actual syringe injection and the
comforting assurance that—if needed again—the pusher will
be available with more. A long pause appears between the
second and third verses, suggesting the time it takes to
prepare for a drug injection.
To "sail on" is to be free of fear and inhibition, to achieve
the escape sought in the seco nd verse. "Sail" conveys a
feeling of light, liveliness, grace, and freedom—as opposed to
the second verse's death imagery. "Sail" even suggests the
flight of a bird—the release from reality and its pain, free of
the social gravity that forces individuals into the dirt of the
second verse's "street," energy—not weariness; feeling big,
tall, significant—not "feeling small." "Sail on by" is opposed
to the second verse's "Lay me down."
"Silvergirl," in the first line of the third verse, is one of the
teen-age euphemisms used to describe a hypodermic syringe.
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Subliminal Rock
In "Bridge" the pusher speaks to the syringe as he injects the
drug. "Sail on silvergirl." "Silver" refers generally to the
shiny needle and "girl," of course, to youth, fertility, rebirth
through drugs, and the narcotic itself.
"Sail on by" carries the drug from body into mind. "Your
times has come to shine," the pusher says to both the audi-
ence and the syringe—time to work or "shine."
"All your dreams are on their way" is a separate sentence,
yet on the record sounds like a subordinate clause, part of
"Your time has come to shine." Simon, apparently, handles
the phrasing like this to ca tch the audience off guard and
more easily reach into their unconscious.
The pusher vocalist speaks to his audience after the injec-
tion. "All your dreams are on their way." He is heavily
pitching the drug, emphasizing its miraculous results. "See
how they shine" described the audience's fantasies and
dreams as these illusions come alive and true.
"If you need a friend, I'm sailing right behind." The
pusher and his drug-loaded syringe are right there with you,
audience, so don't feel alone.
The last sentence of the third verse differs from the last
sentence of the first and seco nd verses. The drug pusher
pitches, "I will ease your mind." This might be called the
punch line of the drug pitch.
After the users (audience) have tried the drug, after their
fantasies have become realities , after they have escaped from
the harsh brutalities of life, and after the drug trip is over,
the pusher will ease their minds by relaxing their anxieties
about drug usage, coming dow.n off the trip, and assure a
drug source for the next trip to ease the "troubled water."
After the electric bass's low to high slide in the second
verse, the bass works throughout the rest of the song, serving
as mbdued background. At the start of the third verse, the
drums are consciously apparent at the beginning of the drug
trip. The drums produced a muddy and unreal tempo, quite
different from straight timekeeping. The drums, however,
usually remained buried deeply in the background under the
other instruments.
Only the snare drum intruded upon consciousness with any
clarity, but it also remained an unclear, though steady, back-
ground echo. The snare copied the heartbeat at seventy-two
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M EDIA S EXPLOITATION
beats per minute (4/4 time) during the first two verses. The
snare tempo induces a state of prehypnotic suggestibility as
the listener perceives the snare only subliminally.
Bass and drums work similarly during the third verse—a
thumping seventy-two pulses per minute, carried into the fan-
tasy of "the shining dream" during the third verse.
Violins entered the third verse, adding another fantasy di-
mension to the music. By increasing the volume of musical
background, the subliminal dimensions of the drug trip ex-
panded. The faint piano, however, presented a constant nag-
ging reminder of the audience's once stable and secure past.
The at first subdued, then dominant bass, drums, violins, and
vibraharps carried the audience along on their trip where
"all your dreams are on their way."
Loneliest Scene in Town
In response to subliminal meanings for words and music, one
of America's most repressed forms of sexual communication
appears in teen-age dancing. On e of the readily observable ef-
fects of highly amplified sound or music is isolation. People
in a crowded room can be totally isolated from one another
by simply increasing the music amplifier's volume level. No
one communicates even through eye contact. Speech is not
attempted. There is very rarely physical touching. Each in-
dividual sits staring into an empty space—usually a very
small, unoccupied space. Comm unication disappears. Each
appears carried away by his or her very own, very personal,
and very secret fantasies.
When couples dance to highly amplified rock, a similar iso-
lation occurs. Many of the dance movements—pelvic actions,
self-touching, and leg and body movements—are frankly sex-
ual. Everyone appears not to no tice, however, and the secret
is well kept. No touching is permitted, not even with eyes.
The partners skillfully avoid looking at or physically
touching their companion. Each appears entirely alone. This
isolation is often described by the phrase "doing your own
thing." Any overt gesture that involved touching, intimacy, or
gentle caressing during these dances would be considered
crude, uncouth, and annoying—a violation of both privacy
and protocol.
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Subliminal Rock
There is a strong resemblance to these teen-age dances and
the relationships observable at a drug party. Anyone who be-
lieves marijuana is a party turn-on makes a serious error.
Hallucinatory drugs are more accurately described as turn-
ins. One of the most effective ways to wreck a party is to in-
troduce pot or hash. Individuals rapidly end up doing their
own thing alone. The party fragments quickly from group in-
teraction to individual trips deep inside each person's head.
The participants sit on the floor giggling nonsense to them-
selves. The inside fantasy deludes individuals into believing
they are eloquent and sensitively communicative, but it is
only another fantasy.
Even today, Americans' unwilli ngness to deal with the real-
ities of drug usage is astonishing. Should the reader still be-
lieve the power of a popular reco rd is insignificant, consider
how much advertising media would have to be purchased by
an advertiser to reach the a udience for any of the records
cited in this chapter. Then compare the selling power of the
most creative, subliminally load ed, powerful, and most expen-
sive ad possible to create. The selling power would still not
even begin to approximate the high-credibility source impact
of a single release by an established music group.
Why these drug fantasies, designed to appeal only to the
unconscious, sell records is not entirely clear nor is it logical
or reasonable unless you are willing to accept Freud's notion
of the human "death wish" or "death instinct." Nevertheless,
death and self destruction are clearly successful subliminal
merchandising techniques in alcohol, tobacco, drugs, and
other products. Why shouldn't they sell records?
Just think—it all began with the Beatles.
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The subject was no more trying
to learn something from
television than she would be
trying to learn something from
a landscape while resting on a
park bench. Yet television is
communication. What shall we
say of it, a communication
medium that effortlessly
transmits huge quantities of
information not thought about
at the time of exposure, but
much of it capable of being
stored for later activation?
HERBERT E. KRUGMAN
Electroencephalographic
Aspects of Low Involvement
Addiction as a Marketing Objective
Among the small army of public health specialists who
concern themselves with addictive behavior, a new perspec-
tive has begun to emerge. Narcotics has turned out to be only
the tip of the addiction iceberg. The pathetic heroin user is
the obvious, extreme end of the spectrum, involving a usually
atypical deviant group within the general society. Narcotics
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Cultural Conditioning for Addiction
addicts are apparent only becau se eventually they must in-
volve themselves in criminal activities to support their habits.
Much less obvious, the twentieth century has spawned a
whole range of behavioral re sponses that can only be
described as addictive. On an enormous scale, involving bil-
tions of invested dollars annually, Americans are induced into
a value system that applauds addictive behavior almost as a
patriotic duty. This wide spectrum of addictive behavior is so-
cially acceptable and invisible for the most part. The Ameri-
can addict behaves precisely as he has been instructed since
birth to behave.
America's most honored, celebrated, and profitable forms
of addiction involve alcohol, tobacco, and drugs—the three
highest-profit products manufactured and marketed in mod-
ern society. The list extends to a whole range of other
products. The cost of selling th ese three products, of which
advertising is only a portion, is also the highest for any manu-
factured product in America. As addictive substances, these
three products are mutually reinforcing—heavy drinkers are
invariably heavy smokers, and almost always heavy con-
sumers of psychogenic drugs such as analgesics, tranquilizers,
antidepressants, etc. These three products all propose chemi-
cal solutions for problems of emotional adjustment.
According to Morris Chafetz, former Director of HEW's Na-
tional Institute of Alcohol Ab use and Alcoholism (NIAAA),
"Alcoholism among both youths and adults has at last been
recognized as a modern plague ." NIAAA statistics revealed
that roughly 10 percent of the over 100 million Americans
who drink are already either "problem drinkers" or full-
fledged alcoholics. "Problem dr inker" is merely a polite way
to describe an incipient alcoholic or anyone compulsively
involved in alcohol consumption. A teen-ager can develop an
alcohol addiction in as short a period as eighteen months. An
adult might take ten years or more.
The Payoff Outside the Corporation
In a July 1974 study of alcoholism, HEW made some star-
tling disclosures about drinking. The annual subsidy paid by
all Americans to support the di stilling industry is roughly $25
billion - $9.5 billion lost in absenteeism, $8.5 billion lost in
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M EDIA S EXPLOITATION
health care directly attributable to alcoholism, $6.5 billion in
motor accidents, and $.5 billion in research. And these are
not just cold financial statistics. During 1973, nineteen thou-
sand Americans were killed in alcohol-related accidents.
There is overwhelming evidence that alcohol contributes to
heart disease, brain damage, homicide (in 50 percent of U.S.
murders, either the victim or the killer had been drinking),
and suicide (25 percent of suicides in the United States have
high alcoholic content in their blood). In one Ontario study
of 22,600 deaths of persons between twenty and seventy, al-
cohol was responsible for 38 percent of cirrhosis deaths, 22
percent of peptic ulcers, 18 percent of suicides, 15 percent of
pneumonia, 16 percent of deaths from cancer of the upper
digestive and respiratory tracts, and over 5 percent of heart
and artery disease deaths. Alco hol was also involved in 45
percent of deaths by poisoning, 43 percent by accidental fire,
and nearly 25 percent of falls and other physical trauma
deaths.
Of total deaths in Ontario for the year of the study, 11
percent were clearly alcoholic-related. The alcoholic, it was
discovered, had twice the chance of premature death than the
nonalcoholic. The average alcoho lic's life-span is shortened
by ten to twelve years.
Heavy drinkers are seven times more prone to marital sep-
arations or divorce than the general U.S. population, and
nearly half the annual 55,000 automobile deaths and the 1
million major injuries involve alcohol.
About 13,000 people die each year from liver cirrhosis.
The HEW study revealed a close correlation between heavy
drinking and cancer of the liver, mouth, and throat. Heavy
drinkers have a fifteen times greater probability of cancer
than do nonsmoking teetotalers. The nondrinking smoker has
only a four times greater probability of cancer than the non-
smoker.
Teen-Aged Drinkers
Lowering of the drinking age to eighteen, occurring In vari-
ous states with the strong though subtle support of the dis-
tilling industry, has had disastro us effects. The HEW study
revealed that one out of four American teen-agers now classi-
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Cultural Conditioning for Addiction
fies at "alcoholic" or "problem drinker." Michigan reported a
141 percent increase in arrests for drunken driving the first
year after its legal drinking age was reduced to eighteen.
Parents, strangely, are leading the pressure groups now de-
manding a lowering of the drinking age in every state. Many
are often relieved to find their children involved with drink-
ing rather than drugs—though the two are consumed in com-
bination by most teen-agers today.
In San Mateo County, California, only a few miles south
of Sun Francisco, school officials discovered in 1970 that 11
percent of ninth-grade boys (thirteen- to fourteen-year-olds)
admitted drinking alcoholic beverages fifty or more times
during the year. By 1973, when the county repeated the sur-
vey, the figure had jumped to 23 percent. Among seventeen-
and eighteen-year-old seniors, frequent drinkers rose from 27
percent to an astonishing 40 percent. Fewer seventeen- to
eighteen-year-old girls drank, the study reported, but were
catching up fast—29 percent in 1973, compared with 14
percent in 1970. It would be obscene to translate this suffer-
ing and degradation merely into dollars—the usual criterion
of value in North America. But if you did, the cost would be
far in excess of the $25 billion price for alcohol consumption.
Addicts Are Just Like Everyone
In the past, middle-aged men appeared the most prone to al-
coholism. The pattern is rapidly reversing. During the early
1970s, there appeared a sharp increase in alcoholism among
the twenty to thirty age group and among women. During the
1960s, roughly 20 percent of alcoholics treated were women,
but by 1974 over 25 percent were women. In certain locali-
ties such as Miami, Florida, the ratio reached 50-50.
Skid row derelicts account for less than 5 percent of U.S.
alcoholics today. The other 95 percent include everyone—
most of whom pass unnoticed until they become involved in
sickness, accidents, suicides, or marital and employment prob-
lems. Perpetuated by the alcohol industry and society in gen-
eral is the age-old myth that alcoholics are special people
with some basic defect in personality or character. If so, no
research over the past fifty years has been able to substantiate
the mythology. So far, no one has discovered any common
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M EDIA S EXPLOITATION
denominator of personality, char acter, biology, education or
income among alcoholics.
To provide even a conservative measure of the power and
affluence of the alcohol industry, the U.S. Commerce Depart-
ment listed total alcohol industry revenues (after federal,
state, and local taxes) at nearly $18.5 billion in 1973. This is
far below the amount paid by Americans to subsidize the in-
dustry.
Alcohol, tobacco, and drug advertising are presently the
heaviest in print media—so heavy, in fact, that if alcohol, to-
bacco, and drug ads were sudd enly banned, very possibly
about half the advertising dependent publications in the coun-
try would go out of business. America's economically hard-
pressed newspapers would suffer severely if they lost their ad
lineage for any of these three products. Many would simply
collapse into bankruptcy.
The Consumption Addict
The media know their drinkers well and have studied them in
great detail for many years. Though they rarely admit it, the
knowledge that the media, distillers, brewers, and winemakers
have about their consumers is vastly beyond anything avail-
able at NIAAA or in any university library. Perhaps the best
description of heavy users—the so-called market within a
market—was supplied by the Brand Rating Index (BRI), one
of the fanciest and most expensive of media's national
research organizations:
"Purely and simply, heavy users are the most important
customers you have. They are the men who consume well be-
yond the average ... the men who account for a markedly
disproportionate share of product purchases and usage. As a
rule, these heavy users represent an unusually small percent-
age of the total population. In other words, this active buying
minority is the vital purchasing core of the prime market for
luxury products and quality merchandise."
BRI, as well as many other commercial research organiza-
tions, can supply incredibly detailed information on heavy
consumers for virtually every major product sold in America.
These heavy consumers can be easily correlated and an-
alyzed into complex psychographic and demographic profiles.
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Cultural Conditioning for Addiction
The statistical data goes on and on and on—boring facts for
most of us, but they form a sales-strategy bible for anyone in
mass merchandising.
Over 85 percent of all adults in the United States use alco-
hol. But that's not specific enough. Media—in behalf of ad-
vertisers—aim at highly specialized groups. For example, if
you are se lling only vodka, you are not interested in how
many rum drinkers might read a particular magazine or
newspaper where your ad appears.
The modern advertisers' needs are highly specific. He must
seek out the medium that offers him the best deal: minimum
cost per thousand reader/vodka drinkers. Media's prime con-
tent function is to deliver a suitable number and quality of
readers or audience at a competitive price, And the advertiser
is not interested only in just plain everyday vodka drinkers.
The advertiser knows, for example, that 8.1 percent of the
total United States adult male population accounts for 83.3
percent of all male vodka consumption. Further, the vodka
advertiser knows—and can check the data validity from
several sources—that only 2.8 percent of adult males in the
United States are heavy vodka drinkers, consuming four or
more vodka drinks weekly on the average. U.S. vodka drink-
ers combine vodka with other beverages. But this 2.8 percent
of U.S. male, heavy vodka drinkers accounts for 63.3 percent
of all vodka consumed by men.
Heavy product users are the most desirable readership or
audience for any medium. These heavies often perform an in-
terpersonal leadership function, especially in alcoholic bever-
ages. If you wish to know of a good Scotch, just ask someone
who drinks a lot of Scotch.
BRI defines "heavy alcoholic beverage user" as one who
drinks "fifteen or more distille d spirit drinks per week," or
roughly two drinks (3 ounces) per day. The "problem drink-
er" and "alcoholic" are in the upper end of the heavy-user
spectrum, accounting for the heaviest alcohol consumption of
all.
One very elaborate and expensive study commissioned by
Enquire magazine gave a detailed picture of how publishers
deliver to the advertiser the heavy consumers for an enor-
mous range of products. The cost per thousand for heavy
consumer readers was compared for most major publications
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M EDIA S EXPLOITATION
in America. For example, 4.7 percent of Esquire's readers
during 1969—something just under 1 million total circula-
tion—were heavy vodka drinkers. Esquire sells them to vodka
advertisers on a cost-per-thousand basis for a full black-and
white page at $42.91. Not bad for a thousand heavy vodka
drinkers, especially when compared with their competition
They would have cost $58.92 per thousand in Look maga-
zine.
HEAVY VODKA USERS (4 or more drinks per week)
Cost per
Thousand Readers
(for full-page
Publication % of Total Readers black and white)
Life 4.2 $57.20
Look 3.9 58.92
Newsweek 4.9 36.45
New Yorker 4.4 56.58
Playboy 5.2 41.75
Sports Illustrated 4.4 42.55
Time 4.6 48.35
U.S. News & World
Report 5.7 39.19
Esquire 4.7 42.91
Source: BRI Study, The Market Within a Market
The value of the deal, of course, must take into consider-
ation other elements in the size and quality of their various
readerships. The main reason the general circulation publica-
tions such as Life and Look ceased publication was their in-
ability to compete in these specialized readership consumer
categories. They had the two highest costs per thousand read-
ers in most major product categories of any publication in the
country. Television is a much more efficient and cheaper
medium for advertisers who pursue general rather than
specialized consumers.
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Cultural Conditioning for Addiction
Addicts Are Cheaper by the Thousand
BRI provided similar information and prices per thousand
readers for heavy drinkers of Scotch, bourbon, rye or blended
whiskey, gin, rum, wine, brandy, cognac, cordials or
liqueurs,
beer and ale, and ready-to-serve and prepared-mix cocktails. It
might be helpful to review the cost-per-thousand ratios for
heavy drinkers of all alcoholic beverages—many of whom
would be included among the 10 million alcoholics and prob-
lem drinkers in the United States today.
ALCOHOLIC BEVERAGE HEAVY USERS (15 or
more drinks weekly):
Cost per
Thousand Readers
(for full-page
Mention % of Total Readers black and white)

Life 9.7 $24.82
Look 8.9 25.39

15.94
New Yorker 15.3 16.29
Playboy 11.4 19.21
Sports Illustrated 11.5 16.21
Time 10.6 21.03
U.S. News & World
Report 12.5 17.89
Esquire 13.6 14.74
The above information is only a small porportion of the to-
tal data available to editors and publishers on U.S. drinking
and drinkers. Esquire paid a very large research fee in order
to brag to its potential advertisers about the high proportion
of heavy drinkers among their readership and their low cost-
per-thousand delivery rate.
Subliminally Massaged Addicts

Virtually all alcohol advertising employs subliminal stimuli.

One reason, certainly, is th at heavy consumers of any
prod-
uct-whom most media content is directed—are likely to
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M EDIA S EXPLOITATION
be highly susceptible to subliminal stimuli used in relation to
that product.
One of the booze industry's more cynical attacks upon the
vulnerable young (toward whom they are strongly discour-
aged from directing their advertising by several government
agencies and national media associations) appeared recently
in an alcohol industry public relations poster distributed
widely throughout the world. Portrayed were two eighteen-
year-olds—clean-cut, clear-cut, neat, forthright, and mature
youngsters who peered challengingly from the poster. The
caption reads, "You're old enough to drink. Are you mature
enough?" What teen-ager could resist replying, "Of course
I'm mature enough. My parents think I'm only an irresponsi-
ble immature child. I'll show them by drinking..."
That the alcohol industry should disguise their advertising
to the young consumer behind a facade of concern for alco-
hol abuse should not surprise anyone. It is not illegal and it is
most profitable.
Most of the early life conditioning to accept alcohol is
media-induced. Part of the American culture, used cleverly
by the alcoholic beverage industry, involves the identifica-
tion of masculinity with drinking. Virtually all American
young men are taught to believe that being able to "hold
your liquor" is a sign of manhood. This is believed by many
parents, as well as their children. It costs the alcohol industry
very little to sustain widely accepted cultural myths.
The Myth of Moderate Drinking
Very infrequently, on television (which still competes heavily
for beer and wine advertising) a news special or dramatiza-
tion deals—sometimes eloquently—with alcoholism. Gener-
ally, though, as a residual background to the nation's illusion
about itself, media keep the drunk well out of sight. In a
drunken society, drunks are almost completely invisible.
Media ia deeply indebted to the alcohol industry for mil-
lions in advertising support. These figures are extremely con-
servative estimates by the U.S. Commerce Department. In
1970 newspapers alone received well over $121 million in ad-
vertising from the alcohol indus try; magazines received $98
million; and television—just for beer and wine advertising-
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Cultural Conditioning for Addiction
$67 million. These amounts have vastly increased over the
past five years, now totaling over $600 million annually, a
massive media environment.
The allegation by publishers and broadcasters that media
content is unaffected by advertising is sheer nonsense. In be-
half of their advertisers, American news media often soft-
pedal or rationalize such problems as pollution, alcohol and
drug abuse, and cigarette smoking. Audiences are conditioned
to accept these calam ities as "The price of progress," "You
can't change human nature," or "We must maintain a reason-
able position." During 1972, when cigarette advertising was
banned from television and heavy ad budgets were up for
grabs, many "respectable" newspapers across America ran ed-
itorials defending the right to publish cigarette advertising as
"freedom of the press" in a most cynical disregard for the
public interest.
Alcoholism has all but disappeared from media content.
back in the 1930—40 era, al coholism was of a much lesser
magnitude, and the alcoholic was visible and very obvious—
even joked about. Drunks as objects of humor frequently ap-
peared in print, films, radio programs, and in the theater.
There are vastly more drunks around today than thirty
years ago—both in total number and as a proportion of our
population. Yet they have become the invisible men and
women of American society. Wh en they infrequently surface,
they are perceived as pathetic aberrations to be avoided or
dealt with only through professional or institutional interme-
diaries. In the media fantasies that presume to show Ameri-
can life, alcoholism appears an insignificant problem.
A curious example of media's concern for its heavy adver-
tisers appeared when the HE W 1974 study was announced.
In every mention of the research on radio-TV newscasts or
publication in magazines or newspapers, a clause or phrase
was inserted into the story to make it clear that the pathologi-
cal alcohol consumption was unrelated to "normal," "social,"
or "light" drinkers—implying that excessive drinkers were a
special type of people.
According to a recent public health survey, media condi-
tioning leads most Americans to conclude that alcohol is
much less harmful today than it was before. In America, at
least, just the opposite is true.
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M EDIA S EXPLOITATION
Another oft-repeated media myth often reminds us, "Euro-
peans know how to drink." Europeans do, indeed! In France,
where you rarely see a drunk on the street because of the
tolerance levels developed from the world's heaviest alcohol
consumption, 42 percent of total health expenditures involve
alcohol-related diseases, 50 percent of total hospital beds are
occupied by patients with alcohol-related sicknesses, and
nearly 10 percent of France's adult population is chronically
impaired due to alcohol.
Saturation Life-Styles
The United States appears rapi dly headed toward the satu-
ration levels of France, where increases in consumption long
ago leveled off. France's national alcohol disaster has been
exhaustively studied. And yet, in the name of making a buck
the media continue to lead Am erican consumers down this
misery-drenched path.
In stories widely publicized by news media, the U.S. Coop-
erative Commission on the Study of Alcoholism (an industry
public relations front) recommended, "... the convivial use
of beverage alcohol and drinking with meals should be en-
couraged, the so-called 'beverage of moderation' [beer]
should be stressed, and drinking should become an incidental
part of routine activities."
The above statement was the typical rationalized garbage
published by Nixon-appointed commissions investigating the
public welfare. Such recommendations, often heavily publi-
cized by news media, totally ignored the epidemiological evi-
dence on alcoholic consumption levels. Numerous studies
have unequivocally established that neither beer nor wine is a
a drink of "moderation" (whatever that may mean). In alco-
holism, the type of beverage is irrelevant. Domestic wine is
the cheapest source of alcohol in American society, beer-
quite possibly—the most expensive. Most U.S. hospitals have
patients waiting to die from terminal liver disease who have
never drunk any alcoholic beve rage except beer and wine.
The United States Government gains an annual king's ran-
som in taxes from consumer taxes on alcohol. But the Nixon
Administration appropriated a miserly $138 million in tax-
payer dollars to HEW's National Institute of Alcohol Abuse
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Cultural Conditioning for Addiction
and Alcoholism for 1974 to be applied in research, training,
community healthservices, and public education—not even a
good-sized drop in the bucket.
This $138 million is less than a quarter of what the indus-
try spent on advertising during 1974 (over $600 million) to
create and sustain an extraordinarily successful marketing
system. The nearly 10 percent of the North American adult
population who are now alcoholics or problem drinkers con-
stitutes a calculated (and apparently acceptable) casualty
rate that sustains corporation profits for such organizations as
Schneley's, Seagram's, and United Distillers.
To further illustrate the cynical involvment of media in al-
cohol merchandising, the April 22, 1974, issue of Time de-
voted a cover story to "Alcoholism: New Victims, New
Treatments."
The story, like so many major ed itorial efforts by the afflu-
ent and powerful national magazine, was well written and
factual as far as it went. The story emphasized the distilling
industry's concern over alcoholism, especially am ong the
young. The theme that drinking in moderation is good for the
society was clearly apparent.
The story emphasized the $250,000 spent annually by the
liquor industry to combat excessive drinking and that the in-
dustry had "awakened to the problems caused by excessive
use of its products." No mention was made of the over $600
million spent in advertising that year to increase both alcohol
consumers and the quantities they consume. The article was a
public relations piece for the distilling industry.
As with the food advertiser s who fight to place their ads
adjacent to articles on dieting and weight reduction, Time
had no trouble selling liquor advertising in its alcoholism is-
sue. That particular issue was jam-packed with full-page,
four-color advertisements for alcoholic beverages—easily ap-
proaching a half-million dollars' worth.
The most skillfully executed—and expensive—advertising
artwork is utilized in these ads. With their high profits and
heavy proportion (6 percent) of sales invested back in adver-
tising, the liquor industry can a fford the most creative artists
available in America. A single page of advertising art can
easily cost $10,000 or much more, not counting display
space. But if that ad sells several million dollars' worth of
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M EDIA S EXPLOITATION
product or brand, it is well wort h the price. Several excellent
examples of subliminal artwork in alcohol advertising were
included in my earlier book, Subliminal Seduction.
Merry Christmas From Beefeater
The subliminal themes of love and death still slyly decorate
alcohol advertising in magazi nes, newspapers, and on bill-
boards. One four-color, full-page Beefeater gin ad that ap-
peared in The New Yorker, Newsweek, Time, and many
other publications just before Christmas 1972 displayed the
dignified, foil-capped carton just unwrapped—the white gift-
wrapping paper crumpled in the background (see Figure 35).
The stalwart Beefeater stands at ease on the label, firmly
grasping his ornamental phallic lance. Embedded mosaics of
SEX were lightly etched into the surface of the ad in numer-
ous places. These faint embeds may not be completely visible
in the reproduction, but there is much more to perceive that
will be visible. By the way, the reader might give some
thought to how the word Beefeater relates subliminally to
American culture. At the cons cious, ego-flattering level, the
suggestion is a hearty, robust, virile man who eats beef(?).
We can see from the BRI study (which defined heavy gin
drinkers as those who take four or more drinks a week) that
only 2.6 percent of adult male heavy gin drinkers account for
52.5 percent of all gin consumed by men. These heavy drink-
ers constitute 5.8 percent of Time readers, which has 4.4
readers per copy, or over 26 m illion total readers who are 55
percent male (14.5 million). Th e space cost of the ad would
have been in the neighborhood of $60,000. According to
BRI, Time magazine merchandised their heavy gin drinking
readers at a cost per thousand of $38.46. This figure is based
partially on 1969 costs. Heavy gin consumers are unquestion-
ably more expensive on a cost-per-thousand basis today.
Just looking at the Beefeater ad, it is difficult to tell how
this very heavy transaction could be triggered by a layout so

simple, ordinary, and undistinguished. These banal qualities

in the ad are precisely guaranteed to elicit complete conscious
indifference.
But look! Tn the paper wrapping beside the bottle—if you
follow the line of the label's BEEFEATER to the right, just a
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Cultural Conditioning for Addiction
fraction of an inch to the left of where the line would inter-
sect the right edge of the white wrapping paper, is the tip of
a faintly etched nose. Following the nose upward and to the
left, there is an eye socket—a dark, faint shadow. The eye
socket shadow appears in a straight line from the top gold
border of the label within the white wrapper. From the eye
socket downward to the right, it is quite easy to locate the
nose, mouth, and jaw of a skull or death mask. The Beefeater
death mask appears to be under a shroud formed by the
white wrapping paper. Merry Christmas anyone?
Skulls, as well as a wide variety of other death symbols,
have been discovered in the a dvertising of most major alco-
holic beverage brands sold in North America. Some readers
may find this fact disturbing or unsettling, especially if they
have been brand-loyal boozers. But it is time they discovered
that distilling corporations know far more about their real
motives for drinking than they do themselves.
The Self-Destruct Syndrome
It is difficult to rationalize death symbols' ability to sell
booze. One theory might be that drinkers sufficiently satu-
rated with gin may not care if th ey live or die. Another the-
ory might arise from the Freudian concept of death wish or
death instinct. Then again, perhaps defying death—even sub-
liminally—may enhance a drinker's self-image of masculinity
and virility. No one knows why for certain, but death sells
extremely well.
Responding to the Poetzle Effect (discussed in the Exorcist
chapter) the consumer never even suspects how his uncon-
scious motives or drives were tapped by media manipulators.
Worse, the death appeal is likely to be much more intense an
unconscious purchase motivation among the young, especially
those experiencing puberty.
After several years of dealing with skulls, genitals, and ta-
boo sex embedded in advertising, the simple themes become
highly repetitious and rather dull. After all, love and death
have been a basic part of human existence for over a million
years. Every once in a whil e, however, a Madison Avenue
artist outdoes himself and develops a new twist to the sublim-
inal flimflam.
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M EDIA S EXPLOITATION
One curious subliminal slip of the copywriter's Freudian
tongue appeared in national a dvertising for Canadian Mist
whisky. For years, these ads have been published regularly in
such periodicals as Playboy and The New Yorker. The ad
series is titled simply, "Canada at its best." The art usually
portrays a wilderness scene, a lake or forest, often remi-
niscent of the Canadian image, which, of course, is different
in the United States than it is in Canada. The copy head's
play on words is interesting when you simply move the space
from between at and its to between the a and t in at. The
subliminal line then reads, "Canada a tits best."
Again, in a tit culture, there is no greater security or
source of oral gratification than, a tit (symbolic or otherwise),
preferably mother's but most an y tit will do. The subliminal
identification between whiskey and milk must also be a
source of financial security for the distilling corporations. The
connection is reinforced at Ch ristmas with eggnog ads, and
throughout the year with other "milky" drinks such as an
Alexander or pink lady—not "pink girl," mind you, but
"pink lady." (Ladies are mothers, girls are not.)
Where Is Johnnie Walker Walking?
One of the more famous (or infamous) Johnnie Walker
Scotch advertisements placed in The New Yorker, Time,
Playboy, etc., portrayed the bottle two-thirds empty with ice
cubes immersed in a golden brown liquid. Obviously, the ice
cubes have been painted on a photograph of a bottle—a com-
mon technique that most ad executives publicly deny (see
Figure 36).
The label is partially hidden. But reading up along the
edge of the label on the left, the word DED appears. If you
consciously thought about it at all—and no one but the
agency execs apparently did—you would have rationalized
that the letters BON were merely on the hidden side of the
label. Perhaps a million dolla rs was spent buying space for
this layout in national and local publications. Is it conceivable
some photographer could have accidentally permitted such a
critical and frightening word to appear in the ad? Hardly!
The ice cubes painted in the bottle are also curious. If you
turn the ad on its left side, a very distinct face—complete
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Cultural Conditioning for Addiction
with moustache and goatee—appears cleverly hidden away in
the ice cube. The ad was shown to several hundred people
without one discovering the hidden face, even though many
of them were experienced in analyzing subliminal media di-
mensions (see Figure 37).
Above the face is a strange-looking hat or cap—perhaps a
turban, somehow reminiscent of the hats worn popularly at
the time of the French Revolution. Once you have had them
pointed out, the head and hat are so obvious that it is difficult
to believe you repressed the embed when you first saw the ad.
The face appears to be bravely smiling. Can you figure out
what is so funny? Do not read further until you have figured
out the humor of what is going on in the ice cube.
Just below the head, in the area where the neck should be,
there is a large ax with its blade buried deeply within the
neck of the turbaned head. The ad's subliminally perceived
trigger mechanism is, simply, a beheading.
Beheadings are pretty much out of date today except as
symbolically motivating devices. A picture of a man with his
head cut off is a symbolic cas tration—the symbolic promise,
indeed, of Johnnie Walker Scotch. Could this conceivably be
a reason for the heavy Scoth drinker's self-indulgence, provid-
ing a reinforcement, justification, and rationalization for im-
potence fear? Having drunk too much is always a justification
for avoiding sex.
A vertiable mountain of data on alcoholism is available.
Curiously, however, none of this data focuses upon the highly
obvious relationship between mass media and drinking. It is a
proven fact that the more drinkers in a society and the more
they drink, the higher the proportion of alcoholics. Commer-
cial media are almost singly re sponsible for increases both in
drinkers and quantities drunk in North America over the past
several decades.
If media advertising reinforcements for alcoholic consump-
tion were suddenly stopped—in the unlikely case any political
administration would brave attacks from both the liquor in-
dustry and the press (this would probably be presented to the
public as interfering with freedom of the press) there would
still be alcoholism. The long-term effects of subliminal pro-
gramming for consumption may endure in some unconscious
memory systems throughout life. The high rate of increase in
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M EDIA S EXPLOITATION
consumption should almost immediately decrease. But a dec-
ade or more might pass before significant decreases in con-
sumption and alcholism would occur.
Media advertising—like all advertising and sales promotion
efforts—has two specific objec tives: increase the number of
consumers and increase the quantity of consumption. In alco-
holic beverages, this also m eans an increase in alcoholics
(very heavy consumers). It is quite clear and extremely
simple. So simple, in fact, it is hard to believe—considering
the millions in public funds spent annually on alcoholism
research—that no one has put it together before this.
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________________________________________
10
The Filter Tip
Medicine Show
Because men are in a group,
and therefore weakened,
receptive, and in a state of
psychological regression, they
pretend all the more to be
"strong individuals." The mass
man is clearly sub-human, but
pretends to be superhuman. He
is more suggestible, but insists
he is more forceful; he is more
unstable, but thinks he is firm
in his convictions ...
Democracy is based on the
concept that man is rational and
capable of seeing clearly what
is in his own interest, but the
study of public opinion suggests
this is a highly doubtful proposition.
JACQUES ELLUL
Propaganda
Puffing Their Way to Oblivion
There are an estimated 55 million smokers in the United
States. In spite of intensive antismoking media campaigns
over the past five years, American Cancer Society studies re-
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M EDIA S EXPLOITATION
vealed more people are smoking more cigarettes today than
ever before. The tobacco industry spends well over $250 mil-
lion annually on advertising, most of which is focused upon
young people under twenty.
Like the distilling industry, tobacco marketers plow about
6 percent of their total income back into advertising. But
each year some smokers die off. A small percentage (very
small) quit, and a few switch to pipe or cigars in the vain
hope this may improve their su rvival chances. The smoker
withdrawal rate is carefully calculated and studied by all
major tobacco corporations. S hould this rate suddenly begin
to increase sharply, their investments would be in serious
jeopardy. But they have nothing to worry about as long as
they can advertise.
There are only two ways fo r a tobacco manufacturer to
obtain new smokers for his brand. He can pirate smokers
from competing brands, or he can go after new smokers, con-
ditioning them to consumption long before they have taken
their first puff.
Pirating is usually attempted by give-aways, contests, re-
wards, etc., but in the industry, pirating is generally looked
upon as an ineffective and very expensive marketing tech-
nique. Pirated smokers are highly prone to change brands
once again in response to new promotions by competing
brands.
Were you to build a mathematical model of the American
tobacco consumer market (whi ch was actually done by most
major tobacco manufacturers year s ago), you would classify
brand-changing smokers by such correlations as their time as
smokers, quantities smoked daily, age smoking began, brand
changing characteristics and freque ncies, and include data on
smoking practices, sexual and social behavior, etc.
Normal consumer brand changing usually cancels itself out
over several years. One brand may lose, say, 8 percent of its
consumers to one competitor, but pick up roughly the same
amount from other brands. It is difficult for an individual
brand to hold its own in this game of musical cigarette
brands. So, new brand names constantly appear; old ones dis-
appear.
Several years ago, a major cigarette manufacturer es-
tablished in a series of research interviews that their market
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The Filter Tip Medicine Show
had distinct basic brand-changing patterns for males and fe-
males. Variations for males and females were calculated by
age group, geographical location, psychological predisposi-
tions toward change, and other demographic and psychograph-
ic criteria. From the basic da ta, it was easy for a computer
to grind out an enormous variety of correlated information.
For example, they could accu rately measure present brand
preferences and compare them in an algebraic matrix with
time smoking the present brand and brands formerly smoked.
The system produced highly accurate predictions for future
brand changing patterns, predictions which gave the manu-
facturer virtual control of his market at least until his com-
petitors built their own system. Like cattle being herded to
market, smokers behaved predictably in response to media in-
structions.
An enormous variety of information can be quite inexpen-
sively developed which tells a marketing strategist just how to
sell his product, much as if he was playing a highly sophisti-
cated game of multidimensional chess. Specifically, the above
survey discovered that around half the market's cigarette con-
sumers had never changed brands: 41 percent of males and
50 percent of females. This dramatically demonstrated
the
value of forming solid brand loyalties among young smokers.
Many in this market stayed with their initial brand for life, or
at least for a very long time.
The Musical Chairs of Brand Changing
Of the 59 percent of males and 50 percent of females who
had changed brands, change frequencies correlated by demo-
graphic and psychographic criteria provided   a   functional
basis for market control and management:
TIME WITH PRESENT BRAND    MALE    FEMALE
3 years or more 58% 64%
1-2 years 18% 13%
9-12 months    19% 17%
6-9 months    2% 1%
3-6 months    3% 4%
0-3 months    1% 1%
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M EDIA S EXPLOITATION
Each of these percentages was individually correlated by
forty-three separate categories such as age, education, in-
come, and geographic location. One brand may obtain a mo-
mentary profitable advantage, but heavy and sustained
market movements are relatively stable for most major com-
parties. This is the major role of high-volume competitive
advertising—to keep any one brand from gaining a quick as-
cendancy.
Occasionally, as happened with Winston, a brand is able
through skillful market management (a euphemism for
people manipulation) to capture and hold a large market seg-
ment, at least for a while. But this doesn't happen very often.
Most successful cigarette marketing is a long, tedious effort.
Today the game is played with high-speed computing equip-
ment which can handle the staggering arrays of consumer
variables.
In repeated studies of smoking behavior, virtually no statis-
tically significant group of U.S. smokers has ever been able to
distinguish one brand from anot her from the tobacco flavor.
In one "flavor" study—actually an image study—nearly 20
percent of the smokers tested could not even tell if the test
cigarettes were lit. These te sts were made on major brands
sold in U.S. markets. There would be obvious differences be-
tween "Virginia" and "Black" and menthol and plain tobac-
cos.
Image advertising, labeling, and peer-group conditioning
toward a brand determines flavor, aroma, satisfaction, and
taste. In cigarette marketing, the most important and com-
peted for segment of the consumer market is the input—the
new smoker who if managed properly will consume thou-
Bands of dollars' worth of tobacco products during his life,
even though his life expectation is substantially reduced be-
cause of his addictive consumption.
The New Addicts
The tobacco industry carefully st udies the new cigarette con-
suraers who usually increase national sales between 8 and 16
percent annually.
Most of these new smokers are young, under eighteen. The
average age of the new U.S. smoker is fourteen with a
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The Filter Tip Medicine Show
measurable group between ten and twelve and a decreasing
proportion going down as low as five and six. Boys begin
smoking younger than girls, but—as in alcohol consump-
tion-girls are catching up fast.
Properly conditioning young smokers to cigarette consump-
tion ideally begins several years before they purchase their
first pack. To firmly establish the addiction—from first puff
to inhalation—usually requires about six months.
In one specific example several years ago, the FTC began
making loud noises about the industry's use in ads of young
people and athletic heroes idealized by the young. The to-
bacco industry, dedicated as usual to the nation's welfare, im-
mediately removed from its ads any obvious appeal to the
young.
At the time, an independent market research group was
contracted to study audience reactions in a test market to a
series of Liggett and Myers Chesterfield radio commercials.
The client was J. Walter Thompson, the world's largest adver-
tising agency ($120 million annual billing). JWT later came
to prominence during the Watergate scandal as the former
employer of H. R. Haldeman and a half-dozen implicated
Nixon White House aides. (Incidentally, it is remarkable how
American newspapers and magazines played down the impli-
cations of so many JWT employees being involved in the
Watergate scandal. If mentioned at all, the fact was deem-
phasized as totally insignificant.)
The Chesterfield radio ad series utilized a very bouncy
melody and lyric accompanied by finger snapping. Research-
ers were assigned to penetrate very low income public
housing (so-called ghetto areas) with an in-depth question-
naire.
The Chesterfield questionnaire was a complex and devious
device that collected information from interviews with entire
families. After initiating field in terviews, the staff slowly be-
gan-as the completed intervie ws came in—to realize that
the radio commericals being test ed had no conscious signifi-
cance whatsoever for adults. A dults could not remember the
brand, the jingle made little sense to them, and most ap-
peared completely disinterested in Chesterfields. Strangely,
Chesterfield was not a widely preferred brand among the
low-income workers JWT wanted interviewed. At first, it ap-
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M EDIA S EXPLOITATION
peared as though something had gone wrong with the market-
ing strategy.
Then the tabulations on interviews with children between
eight and fifteen began to appear. The ingenious marketing
plan became apparent. Both boys and girls were memorizing
the bouncy commercial. Many could recite it word for word.
They frequently whistled the melody while snapping their fin-
gers. Only about 20 percent of these youngers smoked at the
time of the research, but it would have been interesting to in-
terview them a year later.
The BRI study cited earlier defined "very heavy smokers"
as using one pack or more a day. When the BRI report was
published in 1969, only 16.7 percent of adult men smoked
two packs or more a day. These heavy smokers, howeve, ac-
counted for 57.4 percent of all cigarettes smoked by men.
This figure for heavy smokers is much, much higher today.
On a cost per thousand for very heavy smokers, national
publications were merchandising their tobacco addicts a the
following prices:
CIGARETTES: VERY HEAVY SMOKERS (2 Packs or
More Daily)
Cost per
Thousand Readers
(for full-page
Publication % of Total Readers black and white)
Esquire 20.3 $ 9.87
Life 18.7 12.86
Look 17.8 12.77
Newsweek 16.8 10.65
New Yorker 19.8 12.61
Playboy 20.8 10.48
Sports Illustrated 19.1 9.74
Time 17.6 12.62
U.S. News & World
Report 16.1 13.84
In addition to very heavy cigarette smokers, the BRI study
also classified cigar and pipe smokers on a cost per thousand
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The Filter Tip Medicine Show
basis for the above publications. For example, 10.9 percent
of adult men accounted for 97.5 percent of all cigar smoking.
Further, only 11.8 percent of adult men accounted for 99.1
percent of all pipe tobacco consumed by men.
That Very Special Moment
In the February 1974 issue of Penthouse was published what
must be one of the truly great subliminal advertisements of
all time. "This ... is the L&M moment" (see Figure 38).
Two attractive mature models appeared against a dark
backround, suggesting night, privacy, and isolation. The
man's hand holds a gold cigarette lighter, the flame lighting
her cigarette before his, his cigarette held closely and inti-
mately near hers while the flame ignites her tip. She cups his
hand gently in hers. The moment is one of great tenderness,
affection, and warmth.
The female model is dressed in a metallic cocktail or din-
ner gown. Her earrings and hair suggest they are out on the
town. Her wedding band appears on the hand holding his—a
married couple sharing an evening of togetherness. Roman-
tic?
Though numerous SEX embeds appear on the model's
face, there doesn't appear to be anything really exciting in the
ad that would send anyone raci ng down to the corner store
for a carton of L&M cigarettes. Pretty dull stuff for Pent-
house with its emphasis upon so-called mature sex—mainly
the whip and boots variety.
The L&M ad appeared on page 56 of the magazine. The
preceding page is somewhat more interesting—a portrait of a
model's genital area (see Figure 39). The sadomasochistic
suggestion in the portrait is hardly subtle. A pink rose is por-
trayed with its flower (the rose's reproductive organ) ad-
jacent to the model's pubic hair. The rose stem is bound by a
white (virginal?) garter, one thorn having pricked the inside
of the model's thigh. The blood, of course, was merely paint-
ed the leg to supply another fantasy for the reader's ever-
frustrated sexuality. But as the page is turned, and light
penetrates through both the L&M ad and the rose-with-vagina,
a curious scene appears (see Figure 40).
Had the layout artist wanted the reader to perceive the il-
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M EDIA S EXPLOITATION
lusion consciously, it would have been quite easy to arrange.
But consider the rather shocking idea of connecting—at the
subliminal level—darkness and light with the womb and oral
gratification (cigarettes in the mouth often substitute symboli-
cally in ads for vaginal and phallic symbols). See-through
subliminal illusions have added a completely new dimension
to the merchandising of addiction.
At first glance the "L&M moment" is outrageously funny.
But consider the 55 million addicted cigarette smokers in the
United States and the 300,000 to bacco-related deaths annu-
ally—roughly six times more casualties than were produced
by the entire Korean War.
A Victory on the Ice
Hockey attracts male spectators who breathlessly watch other
men display brutal masculinity. Like so many similar sports,
hockey is a male struggle for dominance with clearly sexual
motives and implications—homosexual rather than heterosex-
ual, however.
Hockey was the subject for one of the Benson & Hedges
advertisements. The broken, extra-large-king-size cigarette is a
playoff on the theme of probl ems created by a large erect
penis. The campaign, modestly titled "America's Favorite
Cigarette Break," has included dozens of humorous insights
into America's preoccupation with large penises.
A two-page four-color B&H advertisement, which appeared
in the January 14, 1972, issue of Life, in Look, and a score
of other national publications, portrayed spectators presum-
ably watching a fight while two players crush a referee
against the railing (see Figure 41).
This ad must have been perceived by at least 50 million in-
dividuals in numerous national and local magazines and
newspapers. Most readers would have perceived the ad for
only two or three seconds. Whatever was in the complex dis-
play that sold Benson & Hedges cigarettes had to get into the
reader's head within seconds, or the ad was useless.
Few, if any, viewers would study the ad. Had they looked
more carefully, however, they would have noticed several
rather remarkable inconsistencies.
First, the eight "spectators"—models who work for $75 to

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The Filter Tip Medicine Show
$150 per hour—do not really appear to be acting like a
hockey audience watching a fight on the ice. They are kid-
ding, funning, acting with mock concern. The spectator on
the top left only pretends to be covering his eyes. The one on
the lop right feigns a startled, surprised expression. The man.
with the broken cigarette actually appears to be smiling.
The two struggling players' expressions are also curious.
Their eyes appear laughing and humorous. They are grasping
and hitting in jest, certainly not in anger. They could almost
be celebrating a victory. The ey es of the referee, who will de-
cide the issue, cannot be seen. We do not know what he is
thinking. The meaning of shadowed or concealed eyes varies
from culture to culture, but in America when eyes are hid-
den, so are thoughts. The referee's whistle is at arm's length.
He is not yet ready to blow it.
The two players, from different teams, appear boisterously
celebrating some mutual accomplishment. The ad was studied
with a pupilometer—a camera machine that tracks fovea (a
pinpoint-sized area in the eye's retina) saccades (rapid move-
ments from focal point to focal point). The focal point
concentration was in the central triangle formed by the top
player's elbow and the coach's and bottom player's heads.
The fovea did not dwell for any significant period on the
spectators or on the bottom portion where the hand protrudes
from the pile of bodies.
If you were uncritical and only casually perceived it, the
protruding right hand would seem to belong to the referee,
But look again!
The Right Hand's Left-Handed Glove
There is no possible way in which the right hand could be-
long to any of the three bodies, unless the referee's arm was
severed and the hand pulled th rough the bodies. The effect
was created by the artist gluing a hand on the photograph
and then rephotographing after he had retouched the layout
Someone went to a lot of trouble over this hand. Why?
From evidence developed during hypnosis experiments, the
unconscious brain appears very sensitive to dissonance of any
sort. Conscious perception often overlooks these anxiety-pro-
ducing inconsistencies, repressing the dissonance and
smooth-
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M EDIA S EXPLOITATION
ing over the perceptual rough ed ges. This is the process that
enables us often to hide from ourselves almost anything we
desire, if we desire strongly enough. However, the dissonance
caused by the disembodied hand would register uncon-
sciously. The hand would direct unconscious perception to
the empty glove lying on the ice.
An empty left-hand glove or gauntlet is rich in archetypal
symbolism: a right-hand glove cast down is a challenge to a
superior, a left-hand glove, to an inferior. This left-hand
glove apparently belongs to the hockey player in the red and
blue costume on top.
Before reading further, look quickly at the name on the
back of the hockey glove. Take the first idea that pops into
your head. Please do not read further until you try to deci-
pher the name.
On the top hockey player's padding appears the word
COOPER, a widely known manufacturer of hockey equip-
ment. On the glove, however, the letters have been carefully
manipulated to form, quite distinctly, the word CANCER (see
Figure 42). During tests on the ad, about half the test subjects
who smoked either could not make out the word or saw the
word COOPER on the glove. When invited to look more
closely, most finally perceived CANCER. All the test subcts
who did not smoke had no trouble perceiving CANCER.
Very likely the ad was displayed in many national publica-
tions on at least half a million dollars' worth of pages, and
carefully pretested before such a large investment was ap-
proved.
How it sells cigarettes or why can only be answered at
present in terms of theory. Perhaps one reason people
smoke—especially the young experiencing puberty—is in-
volved with some kind of self -destruct mechanism each of us
carries around inside our heads. On the other hand, perhaps
the ad is subliminally saying that Benson & Hedges is a chal-
lenge to cancer or the B&H has conquered or defeated
cancer—the idea of a victory ove r something is certainly im-
plied.
Anyway you look at it, the manipulative potentialities in
the ad are alarming. Much worse, however—if this subliminal
logic is reasonable—then the Surgeon General's warning"...
That Cigarette Smoking Is Dangerous to Your Health" is one
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The Filter Tip Medicine Show
of the most insidious marketing gimmicks ever developed by
the tobacco industry, conning well-meaning government offi-
cials into believing they have protected the public.
Our Very Own Medicine Show
The North American "medicine show" has been part of the
culture for nearly two centuries. But today, the shows are ex-
pensively produced in national media where audiences often
number in the tens of millions. One thing hasn't changed,
however: the manipulative patent-medicine pitch and the gul-
lible, always hopeful audiences seeking panaceas to their
aches and pains along with eternal virility, fertility, and
youth. Most patent medicines are psychogenics, designed to
reduce essentially self-induced symptoms. They cure nothing.
On television newscasts, the worse the bad news on any given
night, the more patent medicines (good news) will be sold.
What could be more reasonable—even thoughtful—than
the newscast sponsor offering a cheap quick remedy for your
headaches, upset stomachs, plugged-up bowels, etc.? Marshall
McLuhan wrote, "It takes an awful lot of bad news to sell all
that advertising good news." Indeed, but it also serves to
compete for a multibilli on-dollar annual market.
At least a billion dollars is spent annually in the United
States on drug marketing. It is impossible to know the exact
amount. Intense pressure is exerted upon every citizen to
resolve his emotional (psychogenic) problems with various
medicinals, pharmaceuticals, remedies, drugs, or any of the
other labels used to describe these extremely profitable prod-
ucts. These drugs still closely compare with the magic potions
of medieval magic described by what today are children's
fables.
Americans are taught from infancy that any discomfort,
anxiety, or systemic irregularity can be handled, for a small
price, by some chemical or another. The perpetuation of the
mechanical-man mythology conditions the culture for a broad
series of self-perspectives. A child grows up to distrust and
detest the inconsistencies in his bodily functions. Both con-
sciously and unconsciously, he is taught to view his body as a
mechanism of plumbing, wiring, valves, solenoids, gears, and
cams. Irregularities cannot be tolerated from machines.
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M EDIA S EXPLOITATION
Who Sells Science?
One fascinating question North American medicine should
carefully probe is whether the drug commercials were de-
veloped from our so-called science or vice versa. The endless,
often destructive, search for si mplistic cause-and-effect rela-
tionships in medicine makes the physician an excellent
consumer and distributor of pharmaceutical products. The
pharmaceutical industry gives U.S. physicians a most careful
and expensive lifelong training in product consumption.
The patent-medicine mass consumer drugs, the most visible
form of drug merchandising, use essentially the same sublimi-
nal media technology as the al cohol and tobacco industries.
However, the most expensive and complex merchandising
in America is applied to so-called ethical drug products,
which can be purchased only by prescription. The 322,228
physicians in the United States constitute a rich and exclusive
market whom the drug companies tenaciously and skillfully
pursue. One physician, if properly courted, may write
hundreds of prescriptions weekly for a single expensive drug.
As a specialized market, physic ians are so valuable that
Time magazine has a special ed ition that reaches only physi-
cians. Time sold its 110,000 physician readers at $2,825 for
one four-color advertising page in their 1970 rate book. Ads
aimed exclusively at physicians will not appear in other circu-
lations. Time openly advertises their selective advertising to
physicians as well as schoolteacher s, students, and many other
occupational groups. (It would be interesting to study these
specialized editions to see if ne ws content had been added or
deleted in support of the adve rtisements. Much of Time's
news material originates in corporate public relations offices.)
It is not generally known that several large consumer
research corporations offer—at a price—prescription as well
as consumer drug audits. It is boring, but most profitable
research. Consumer audits are also done for food and other
commodities by such as the giant international A.C. Neilson
Co. and Audits and Surveys, In c. They periodically audit the
sale of competitive products in samples of supermarkets and
drugstores throughout America. Ad executives can then
match brand and product movement against media expendi-
tures. Many pharmaceutical houses operate their own market
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The Filter Tip Medicine Show
research and retail audit surveys despite the high cost. This
type of information is vital to an efficient advertising and
marketing operation.
The ethical drug products market, however, is more diffi-
cult and expensive to monitor. Specialized market research
corporations audit prescriptions in drugstores. Field inter-
viewers periodically visit drugstores and collect data from
prescription forms. Almost anywhere in the United States, ev-
ery prescription written by a physician is available to any
pharmaceutical company able to pay the price. Virtually all
are subscribers. Drugstore owners receive small fees for mak-
ing the prescription forms available.
The High-Priced Pitchmen
Doctors are sold drugs directly by detail men: very highly
paid, well-educated, and articulate salesmen who periodically
visit every physician in the nation. Many detail men have had
university medical training. A few physicians refuse to even
see these soft-sell hucksters. But most have been educated to
view their detail men as a serv ice—a source of quick, effort-
less, often useful information on what is new and available.
These detail men provide physicians with stacks of free
samples that are usually passed out to less affluent patients.
There are also occasional small gifts or gratuities made by
detail men to their marketing targets at Christmas or on
birthdays, but care is always taken that physicians will never
feel they are being bribed. One of these detail men used to
complain about how difficult it was to buy birthday presents
for doctors, as the present had to be expensive yet appear
inexpensive.
Many physicians openly admit they depend very much
upon their detail men. Several described close friendly rela-
tionships with detail men of over twenty-five years' duration.
These salesmen were often considered family friends.
Friendships are perhaps important between physicians and
the men who service their information needs, but in the case
of drug merchandising the detail men receive a periodic re-
port on just how profitable the friendship has been for their
companies. Prescription audits are a remarkably effective
feedback device to assess the human relationship.

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M EDIA S EXPLOITATION
All this is usually invisible to the individual physician
who—like all marketing targets—must be managed with the
Illusion that he is a man who decides for himself. In addition
to their management of physicians' information, drug compa-
nies bombard physicians through a whole spectrum of trade
publications published under the pretense of being profes-
sioBal information.
Every physician throws out at least twenty-five pounds of
monthly periodical literature es pecially designed to manipu-
late his decisions about drug preparations. These include
medical association magazines (county, state, and national
versions), elaborate graphic art productions, and a deluge of
medical-related publications.
Most, including the AMA journals, are supported primarily
by pharmaceutical advertising. Some medical publications ob-
tain varying percentages of their costs from subscriptions, an-
nual fees, etc., but for their survival, most depend largely
upon drug advertising. Once again, this does not necessarily
mean that these publications' editors permit the drug industry
to make individual decisions for them. Nevertheless, whether
the editor works for the AMA Journal or The New York
Times, he is likely to think most carefully before jeopardizing
a profitable relationship with an advertiser and certainly
would be careful about offending an industry.
The Subliminal Ethic
To sell ethical drugs to physicians via advertising in these
journals, all the subliminal techniques discussed in this book
are used—sex and death symbolism, embeds, and the like.
One of the more intriguing examples appeared in a Cana-
dian Medical Association publication. Manufactured by the
Wampole Pharmaceutical Company, Magnolax is not a
prescription laxative even though it is marketed as an ethical
drug among physicians (see Figure 43).
Physicians are invariably hard-pressed for time and del-
uged with far more reading material than they can possibly
assimilate. Reviewing journals, they generally thumb through
and perhaps check the index, but more often just casually
survey the illustrations. The abundant drug advertisement pic-
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The Filter Tip Medicine Show
tures are, of course, the most interesting illustrations. This is
another case of intentional perceptual overload.
The Magnolax advertisement was shown to fifteen physi-
cians along with a half dozen other similar ethical-product
advertisements. Each physician looked at each ad for at least
thirty seconds and was afterward asked to comment upon
anything he had perceived that elicited an emotional re-
sponse. Most made the usual comments about a nude young
girl in one ad. Several commented upon patients they were
treating with some of the advertised products. But no one
made any comment about the Magnolax ad.
Look carefully at this ad before reading further.
When queried specifically, no physician seemed to have
any negative or particularly positive feeling about the ad.
None considered it either humorous or sad. Apparently all
they perceived was a happy family, older parents with a
young child off on a cruise, most likely heading for the trop-
ics during the winter. The physic ians were clearly missing—at
least at the conscious level—what the ad agency's artist and
photographer had struggled to incorporate into the illustra-
tion.
If you had read the copy and headline, you were advised
at the conscious level that the child, Paul, and his grand-
parents have the same problem. The precise nature of the
problem might seem to be constipation, though this fact is
never stated in the copy. Magnolax is a laxative. None of the
physicians seemed to make a story or logic out of the ad at
the conscious level. If they per ceived the artist's concept at
all, it had to be subliminally. The ad includes embedded
SEXes lightly etched into the su rface. The subliminal sexuali-
zation of a laxative has intriguing implications. But there is
more.

If you observe carefully, the three models have strained

gestures and appearances. (It might help to block off the

other figures so you can study one at a time. By taking each

out of context, the message becomes more consciously ap-

parent.) The gray-haired, rather handsome man in the

sweater is bending slightly as he holds the boy. As he looks

ou at the horizon, even though he is smiling, he is straining

hard. The smiling grandmother, as evidenced by her clenched
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M EDIA S EXPLOITATION
hands, is trying even harder. She is more bent over than her
husband. But their smiles are brave.
Paul's expression is perhaps the most revealing. Though he
is pointing at something, no one is looking. The grandmother
and grandfather are looking in opposite directions, preoccu-
pied by their individual efforts. Perhaps Paul knows the an-
swer, but his grandparents are not paying attention. Paul's
tight fist on the railing and hi s sitting, hunched-over posture
clearly reveal how very, very hard he is trying. Apparently,
none of the three are making the grade—pathetic victims of
constipation, America's most feared affliction.
The ship's light, to the woman's right, is turned on, but
none of the three have as yet "seen the light." The vertical
post in the railing under the light leads the reader's eye down
to the solution in the bottle—Magnolax.
The brand's only advertising had been in journals and by
direct mail to physicians. Virtually all the plethora of non-
prescription laxatives are very similar, differing mainly in
price. Magnolax was quite expensive—and according to an
Ontario drug consumer survey, the laxative most often
recommended by Ontario physic ians at the time. The ads
must have worked.
If these techniques were limited to only nonprescription
laxatives, the problem could perhaps be ignored. But virtually
all drugs marketed through physicians include these tech-
niques, as is easily confirmed by even a casual glance at ads
of the medical periodicals.
The Ideal Consumer
Some evidence suggests that physicians could be more suscep-
tible to subliminal manipulation than those in other occupa-
tions. Our medical people have been exhaustively trained in
linear, compartmentalized, cause-and-effect types of reason-
ing. Individuals with highly creative, artistic, or innovative
abilities have great difficulty even getting into medical
schools. Defining a desirable physician in the way we do, we
eliminate almost entirely from the medical profession person-
alities or intelligence types who do not fit the model. Typical
American physicians tend to be entrepreneurial, highly com-
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The Filter Tip Medicine Show
petitive, verbally dependent in their reality orientations, quite
similar to engineers.
This is no accident. Their rigorous training, or brainwash-
ing, produces people for whom two plus two must always
equal four. Psychologist George Gordon at the University of
London, England, discovered there were marked individual
differences in susceptibility to subliminal stimuli. Test subjects
drawn from the university's Fine Arts Department appeared
far more sensitive (able to consciously perceive stimuli in-
tended to be only subliminally perceived) than subjects from
the science and engineering departments.
The phenomenon has been documented by numerous re-
searchers. At least in terms of those rigid qualities frequently
labeled as "scientific" in Am erica, physicans as a group
would easily classify as "super -rigids," highly susceptible to
subliminal manipulation.
Again, it is most unsettling to find that the so-called "scien-
tific" perceptual abilities of physicians can be so easily appro-
priated. And many physicians—one of the most prestigious of
all high-credibility information sources—unknowingly trans-
mit their subliminally programme d views on drugs to every-
one they meet.
Which cigarette brand does your doctor smoke?
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____________________________________________
11

The way back to reality is to
destroy our perception of it, to
do violence to our conventional
habits of thinking, and, by an act
of imagination and heart,
reverse the ordinary workings
of the intellect.
HENRI BERGSON
An Introduction to Metaphysics
The Voice of Freedom
The Eight Canons of Journalism adopted many years ago by
the American Society of News paper Editors (see Appendix
B) outline an idealistic code of professional conduct for the
nation's editorial desks. The code is a noble and inspiring
document, which elaborately defines the journalist's role as
teacher and interpreter in the people's interest
Social Responsibility, expressed in its most inspiring meta-
phor, is cited as, the fundamental obligation of the press. Re-
sponsibility, Freedom of the Press, Independence, Sincerity
(Truthfulness and Accuracy), Impartiality, Fair Play, and
Decency—these seven canons of American journalism consti-
tute, perhaps, the most eloquent collection of inspirational
verbiage since the Sermon on the Mount. In the various eth-
ical codes used by the press or its related entities—the Ameri-
can Public Relations Association. Marketing Association,
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All the News That Sells
Advertising Association, and co untless smaller trade and pro-
fessional organizations—no mention is made about the
profit-
and-loss criteria upon which so many editorial and broadcast
decisions are actually based.
One might well wonder why it was necessary for newspa-
pers and other media to so strongly emphasize ethical codes
of behavior. So many ethical codes in one industry might
even suggest a widespr ead sense of guilt.
The code, nevertheless, is a superb testimony to what could
be or, perhaps, once was. All the industry really need do is
simply follow it
A great to-do is made about how editors work in the pub-
lic interest, making careful decisions on what goes into print
or into the wastebasket. Attempts to study this "gatekeeping"
function have generally failed. Editors make their decisions
on highly subjective, mostly unconscious criteria. Attempts to
explain the process have usually ended as pious rationaliza-
tions about how editors serve their readers, but the ways they
serve their advertisers are never mentioned. American jour-
nals loudly proclaim their belief in "freedom of the press."
But in the interest of advertising profit, they are quite shy
about examining the actual use of that freedom.
For example, the recent shameless behavior of newspapers
scrambling for fat cigarette a dvertising accounts—up for
grabs after the Surgeon General forced tobacco off TV chan-
nels—should reasonably have brought publishers' motives into
question by their writers as well as their readers. This, de-
cidedly, was not the case. Any suggestion that the govern-
ment extend its cigarette advertising ban to the press was
countered with passionate denunciations via both editorial
and news columns.
This rationale was presumably quite popular with the ciga-
rette companies, who now purchase much larger quantities of
newspaper advertising space, as well as with the newspaper
stockholders whose dividends fa ttened due to heavy feeding
from the tobacco industry whom they have proven themselves
worthy to represent. This endorsement of cigarette advertising
was advocated by an embarrassing majority of newspapers in
North America. Surprisingly, few letters to the editor ap-
peared in rebuttal to the absurdity that cigarette advertising
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M EDIA S EXPLOITATION
had anything to do with press freedom. Readers apparently
accepted the argument
Perceptual Defenses in News
Many individual journalists appear to believe—and their per-
ceptual defense may have led them to believe—that advertis-
ing really does not sell anything and is a losing proposition
for advertisers, most of whom are buying ads out of habit
Ask most any journalist about the profit structure under
which his publication operates. He will attempt to convince
you—often with deeply felt sincerity—that his paper barely
survives from day to day through the generosity of wealthy
patrons, or through the kindness of grateful readers.
Circulation income, the amount paid for a newspaper
copy, is usually a loss to publishers—at best, a break-even
overhead proposition. In the words of The New York Times
marketing director, C. C. Guthrie, "circulation income barely
covers the cost of paper and ink."
But mass media are one of the most profitable investments
in American society. As memb ers of the FCC have publicly
observed many times, issuing a television or radio license is
like giving a broadcaster his very own high-speed money
machine. Newspapers or magazines can be even more
profitable. Sam Newhouse, who owns a very successful news-
paper chain, once said, "Anybody who loses money on a
daily newspaper has to be crazy." Well-operated newspapers,
especially those in monopoly situations, return well over 20
percent in profits before taxes. Few businesses reach even 18
percent, and 10 to 13 percent is considered successful.
In 1970 daily newspapers produced roughly $7 billion in
business, twice the television figure. Newspapers were the
tenth largest employer in the Un ited States, with 350,000 sal-
aried employees, and the fifth largest United States industry
in gross income. Projected growth during the 1970s was 6.2
percent per year.
An average daily in a monopoly situation in a 200,000
population city, with a 55,000 circulation producing a $5 mil-
lion annual income in 1968, earned a profit of 28.6 percent
before taxes—nearly 14 percent after taxes. (During 1968
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All the News That Sells
the average profit margin for American industry was 5.8 per-
cent.)
When the Canadian chain publisher Roy Thompson bought
twelve papers in 1967, he paid roughly $200 per reader.
Readers, like viewers, are bought and sold like cattle. Local
advertising expenditures are increasing more rapidly than na-
tional, and daily newspapers derive the greatest advantage
from this increase. In 1970 local and classified ads produced
82 percent of average ad revenues, compared with 18 percent
from national advertisers in daily newspapers.
In North America it is virtually impossible for any publica-
tion to survive without advertisers. Reader subscriptions and
per-copy payments simply cannot support any substantial
publishing effort. The only way a publication can survive is
through advertising or by selling a sponsor's products, which
results in an integration between editorial decisions and
marketing strategies.
Advertising predicates its effectiveness upon the high-credi-
bility source with which readers will associate the ad.
Remember the old saying, if you want to con someone you
must first gain his confidence and respect. Newspapers are the
highest credibility source among all media. In a recent na-
tional survey, over three quarters of American adults believed
newspapers were the most truthful of all media. Since adver-
tising effectiveness directly relates to this credibility factor,
newspapers can still claim—in spite of high costs per thou-
sand exposures compared with television or national maga-
zines—a very high level of sales effectiveness.
Newspapers are administrative ly divided into advertising
and editorial departments—if possible, housed on separate
floors. To maintain itself as a high-credibility source, the
image any newspaper must project demands that advertising
and editorial functions are separate aspects of publishing.
Every newspaper has its hallowed myths of how various
editors fought to maintain integrity against advertiser at-
tempts to influence editorial policy. Indeed, these anecdotes
are often quite true. If the editor did not defend himself
against advertisers' overt attempts to influence editorial
material, the publication might lose its public image of integ-
rity. As far as advertisers are concerned, this high-credibility
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M EDIA S EXPLOITATION
source image is the most vital illusion within the mass com-
munication industry.
High-Credibility Paper
Newspapers, much like television, are low-definition medi-
urns. Illustrations are photographed through coarse engraving
screens. It might appear strange why newspapers have contin-
ued to use rough newsprint when a smoother, finished paper
could easily be substituted at a negligible increase in cost.
Rough newsprint texture, however, communicates with the
reader's unconscious every bit as much as do printed words
and pictures. The coarse, h eavy texture communicates an
image of integrity, a rugged tactility, even an unsophisticated
simplicity.
Appearances aside, newsprint is not utilized as a low-cost
form of communication, though this is certainly the meaning
communicated to readers. According to the image communi-
cated, the publisher is saving the reader money by using
cheap paper. This is, of course, unsupportable logic. If the
advertisers could be better served by higher-grade paper, the
publication would have to supply it.
IBM recently experimented with newsprint as a substitute
for the more expensively finished paper used in computer
output printing. Substantial savings could have been realized
by thousands of IBM computer customers around the world
if the less costly paper were substituted. IBM customers, how-
ever, simply couldn't believe what they read printed on news-
print For computer printouts, newsprint was a low-credibility
medium.
Credibility is the name of the game, not price. Ad effec-
tiveness is substantially higher on rough newsprint than it
would be if higher-quality, sm oother-surfaced finishes were
used. Newspapers, hoping to increase advertising lineage,
continually experiment with other paper surfaces, always re-
turning to the familiar, rough, cheap, and bonest-appearing
newsprint.
The modern North American newspaper is comprised of
roughly 70 percent advertising and 30 percent editorial con-
tent. The ratio might vary plus or minus 10 percent, but a
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All the News That Sells
newspaper with less than 60 percent of its total column
inches in advertising is probably losing money.
Of the 30 percent of total newspaper editorial space,
roughly one third (10 percent) is usually devoted to feature
material—astrology tables, advice columns, funny pages, syn-
dicated features, cartoons, editorials, letters to the editor,
cheesecake, feature photos, and the like.
Another 10 percent appears to be news, but is in reality m-
formation with highly specific motives. Usually originating in
publc relations or publicity offices, this information can usu-
ally be identified by careful read ing, as it represents a specific
point of view. Public relations or publicity material originates
in government, industry, commercial organizations, book
publishers, play and motion-picture producers, publicity of-
fices of a thousand varieties—anyone who has an idea, per-
son or product to sell. Publicity-oriented copy has become a
mainstay of American journalism. This so-called news is free
to editors, publishers, or broadcasters. Written by skilled, pro-
fessional journalists—often exclusively for a particular publi-
cation-this promotional copy is a boon for the publishers
and editors with their constantly rising overhead, but a boon-
doggle for the reader.
As an example, a book publisher who can obtain a review
in Time magazine alone—read by over 25 million individu-
als-will likely sell thousands of co pies even if the review is
negative. If it is a good review, the book could sell tens of
thousands and it will probably also be reviewed by
Newsweek, The New York Times, U.S. News & World Re-
port, and dozens of other ne wspapers and magazines.
The Value of a Plant
Some years ago, a "planter" wa s employed by a major air-
craft manufacturer to obtain national magazine publicity for
an airplane then being sold to the air force. After eight
months of work, a four-page story appeared in Look maga-
zine featuring the airplane. The week following publication of
the story, the company's common stock increased fifteen dol-
lars per share. This type of planting is, of course, done con-
tinuously by government agencies and large corporations.
To illustrate image manipulation, some years ago Northrop
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M EDIA S EXPLOITATION
Aircraft Corporation commissioned an accomplished artist to
execute an oil portrait of their Snark self-guided missile for
newspaper and magazine publicity. There was even a discus-
sion of using the portrait the following year on a company
calendar that would be sent to congressmen, government offi-
cials, and stockholders.
After several dozen hours of work, the artist came up with
a large, magnificent portrait of the graceful Snark speeding
high above the earth at dusk. Only minutes away on the hori-
zon, barely visible, were the faint, flickering lights of a
city—apparently the missile's target.
The Snark's only real function, of course, was to deliver
the warhead on a one-megaton H-bomb. Yet several
Northrop vice-presidents were horrified by the painting.
Meetings were quietly but immediately scheduled in Northrop
executive offices. The public relations director was ordered to
diplomatically talk the artist into painting out the city. The
Snark had to be publicly perceived as purely a technical and
engineering problem with its phallic thrust symbolically
related to flight and man's pursuit of freedom. The Snark was
a mythological animal described in the book Alice In Won-
derland. Publications which printed the picture took their
readers on a fantasy trip not at all unlike that taken by Alice.
Newspapers survive as advertising media through their
ability to saturate a local community. They aim at a general-
ized audience, usually biased toward the upper-middle class
who primarily support department store, supermarket, and
the preponderance of retail merchandising efforts. These
readers would have little patience for an overly negative local
perspective. Unless then- ego needs are massaged, advertis-
ments will not have a maximal sales effectiveness. This
paradox of American media, ignoring legitimate though un-
pleasant news information, has been well documented by
writers like Robert Cirino in Don't Blame the People, Edith
Efron in The News Twisters, and Mark Lane's Citizen's Dis-
sent about which several major media executives commented
publicly, "We will bury that book with silence." Cirino and
Efron's books also receive d the silent treatment.
Mark Lane's first book, Rush to Judgment, a bestseller, re-
ceived 450 reviews. His second, Citizen's Dissent, which
strongly criticized newspapers' money-milking the
assassina-
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All the News That Sells
tion of President John Kennedy for all it was worth (and
then some), received four reviews. Somehow, the book disap-
peared after publication and is difficult to find even in public
libraries. Numerous other books critical of the news media
have received similar treatment. These books would have
caused the news media financial discomfort and dented their
high-credibility-source images.
Who Reads What-and Why?
One curious aspect of newspaper readers—long known, but
usually ignored with a few easy rationalizations—is who
reads what in a newspaper. Tests on news content, given a
short time after reading in the normal reading environment
when subjects were not aware they were to be tested, revealed
that only a small proportion of readers or viewers consciously
recall any substantial amount of news information that had
just perceived—quite often with great inaccuracy on factual
details. Hundreds of people, none of whom knew they were
going to be tested, viewed a newscast on TV. Over 80 percent
could not recall anything of factual substance they had
viewed. These individuals were regular or chronic TV news
watchers, ritualistically viewing one or more newscasts at
least three times each week.
Millions and millions of people view television news, read
newspapers and magazines, and yet appear to know very little
about what was reported. Perceptual overload is purposely
designed into news media. The assumption has always been
that people read in order to learn about the world. But if few
readers consciously recall even the general outlines of what
they have read, what, then, is the news consumer receiving
from the product?
Prejudice Reinforced
Newspaper readership studies reveal that very few readers
read everything in a newspaper. They may linger momentar-
ly on a headline, story lead, picture, or advertisement. Even
if readers do consciously read specific content, few are able
to recall the items when they finally put the paper aside.
What is most often recalled is information supporting readers'
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M EDIA . S EXPLOITATION
established images, predispositions , or prejudices about them-
selves and their world.
The distinction between editorial and advertising content
made by readers is not at all clearly divided. According to
popular myth, readers presumably close their minds to adver-
tising. The industry would have us believe that editorial con-
tent, on the other hand, is true and can be believed without
qualification. Studies revealed that believable or not, advertis-
ing content is the most widely and frequently read and re-
called content in news publications. Advertisements, though
possibly not news in the purist definition of the term, do in-
form us on many aspects of our lives.
Advertising's 70 percent of a newspaper's total space is all
good news. Advertising, together with at least 28 percent of
editorial material—or 98 percen t of most North American
newspapers—tells the readers at the unconscious, attitude-
formation level what they want to bear. From readership
studies, this information appears far more engrossing to the
average American than do the complexities of the EEC, the
Vietnam War, or starvation in remote places like Biafra or
Bangladesh. Advertisements, say what one will about their
preposterous lies, exaggerations, and flatteries, are all good
news which educates us to the world about us—not, perhaps,
as it actually is, but as we wish it could be.
Some years ago, a group of concerned citizens descended
upon Denver's tabloid Rocky Mountain News to persuade the
managing editor to print more information about interna-
tional affairs. The editor then showed the group his latest
Schwerin Report, an analysis that evaluated the percentages
of readers who read each ad and each story.
At the time, the Rocky Mountain News was running a
boxed, two-column section on an inside page called "Interna-
tional Roundup" where brief one-paragraph capsules of ma-
jor world events were reviewed. "Look," he explained, "when
we include an international affa irs piece, readership drops for
the entire page and the facing page—not merely for the
single story."
On the average day, newspapers publish much less than 5
percent of total available inform ation from wire services, syn-
dicates, special writers, reporters, public relations handouts,
etc. The editor's job is primarily selection, an endless sorting
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All the News That Sells
of copy to find items to entertain and hold advertisers'
desired markets. What has been edited out or discarded in a
newspaper often comprises a significant insight into what was
really happening in the world.
Subliminal News in Ads
It would be a waste of time to review the endless pages of re-
tail ads published daily in newspapers. Most of the subliminal
embeds shown in this and my earlier book appeared in news-
papers. For those readers who still doubt the main preoccupa-
tion of the press, one typical newspaper ad should suffice.
Towers Department Stores are a nationwide Canadian re-
tailing operation concentrated in suburban shopping centers,
Towers' advertising concentrates, as most retail stores do, in
the daily papers. Ads were designed in a Montreal art depart-
ment and distributed on reproduction marts to store managers
throughout the nation. These particular ads appeared in the
Wednesday, February 9, 1972, edition of the London, On-
tario Free Press (see Figure 44) and in newspapers across
Canada.
The artist-photographer who made up the ads posed a
wholesome-appearing young model in comparatively inexpen-
sive clothing. Not much here at first glance to become excited
about. The three figures in the ad were posed by the same
model and pasted together into a single layout. The sublimi-
nal illusion suggests the "Three Graces" or, possibly, three
identities available to any woman who purchased the clothes.
But did you notice the genital symbolism? An erect penis
was subtly drawn on the end of the purse (see Figure 45).
And the seated model's right thumb and forefinger curve to-
gether symbolizing the female genitals. The retouch artist
purposely permitted the model's right hand to include six fin-
gers, creating subliminal dissonance which draws unconscious
attention to the genital symbolism.
Posed before archetypal heart symbols, which for many
centuries have symbolized both love and the female genitals,
the model's body language is one of display, of which her
erogenous zones are the main points. The standing model's
hands are posed so the fingers point at her genital area. In
addition, a mosaic of SEXes has been embedded throughout
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M EDIA S EXPLOITATION
the display. Notice the patterns, especially on the standing
model in the foreground. A brace of four subliminal SEXes
covers the fly on her slacks.
Nor has the editorial content of newspapers and news
magazines excluded subliminal stimuli. It is remarkable how
journalists, with their claimed pr eoccupations over social re-
sponsibility, kept themselves fr om consciously perceiving what
has been going on around them for years. In discussing sub-
liminal perception with individuals from a wide range of
occupations, the strongest disbelief has come from journalists
—irrespective of the evidence presented.
Of course, there is no single individual to blame. Long-
term use of subliminal devices is invisible to us largely be-
cause we do not want to believe our trusted institutions
capable of such practices.
A. J. Liebling, an American journalist and humorist, once
remarked, "The New York Times began as the staunch de-
fender of the working man and ended up as the rich woman's
shopping guide." Indeed, the Times—with its massive Sunday
edition—publishes more advertising lineage per issue than
any other newspaper in the nation. To the Times slogan of
"All the News That's Fit to Print" might reasonably be
added, "Which Supplies Our Advertisers With Their Primary
Markets."
It Pays to Know Your Reader
Typical of most major United States publications. The New
York Times has studied and dissected their readership in a
thousand ways through large-capacity computers, comparing
it with their competition—the New York Daily News and
New York Post. For example, 35 percent of Times readers
own their own homes compared with 36 percent for the
News and only 16 percent for the Post; 41 percent of Times
reader families make over $15,000 per year compared with
17 percent for the News and 36 percent for the Post; 53 per-
cent of Times readers are colleg e-educated compared with 16
percent for the News and 38 percent for the Post; 45 percent
of Times readers are professionally or managerially employed
compared with 23 percent for the News and 36 percent for
the Post.
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Like the magazines, The New York Times knows precisely
the cost per thousand for heavy gin drinkers, mutual fund
purchasers, and the hundreds of other merchandising catego-
ries upon which any mass media must base its existence if it
intends to compete for advertising lineage.
The Times' research department can provide detailed in-
formation on their own and then: competitors' audiences in
terms of geographic areas, ch ildren's ages, household size,
family member occupations and employment, income, home
ownership, membership in company boards of directors (a
surprising 7.7 percent of employed readers), amounts spent
weekly on food and groceries, car year, purchased new or
used, air conditioning data, car rental experience, credit
cards, life insurance, personal and household product pur-
chases, securities owned, TV sets, vacations, and travel.
The Marketing of Information
The front page of the Sunday, April 30, 1972, New York
Times can be viewed as an advertisement for the newspaper.
A number of elements contribute to the publication's image
and what it promises the prospective reader as a rationaliza-
tion for selling the advertisements (see Figure 46). If the top
half of this page were selling cigarettes, fashions, or automo-
biles, it is doubtful if it could have been more effectively
designed.
The classic type face on the ma sthead is small and simple,
nothing ostentatious—as is the entire group of headline types
used by the Times. With an image established over many
years, the Times could not sustain this image if the type faces
appeared lush or sensational. A comparison with the Daily
News—a very noisy tabloid designed for advertisers attempt-
ing to reach the lower socioeco nomic reader—quickly reveals
these two publications are essentially noncompetitive. There is
a small overlap of circulation who read both, but the major-
ity of readers are exclusive to each paper.
TheTimes is read by upper-middle-class, generally well-
educated families. Of a total 1.6 million Sunday Times circu-
lation, roughly one third is distributed within New York City,
one third outside the city but within one hundred miles, and
one third throughout the nation. According to their own
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M EDIA S EXPLOITATION
marketing data, the Times was read in 11,333 cities and
towns in the United States—the closest thing to a national
newspaper in America. In California the Times sold 12,600
copies each Sunday." Weekday ci rculation averaged slightly
over 1 million copies.
This front page offered a mosaic of verbally symbolic ex-
citement to readers. The excitement, however, was respect-
able and restrained, a proper upper-middle-class view of the
world.
The page's focal point was, of course, the United Press In-
ternational photo of a helicopter leaving a battle area in Viet-
nam. The helicopter was American, suggesting dominance
(possibly phallic) over the pathetic Vietnamese soldiers cling-
ing desperately to the landing skids. The ARVN soldiers ap-
peared frantic and terrified as th ey tried to escape the combat
zone.
Strangely, this combat photo also appeared during the
same week in the Soviet Union's Pravda, telling the Soviet
reader how cruelly the American imperialists treated their
hapless Vietnamese allies who were often left to die while the
Americans fled. Either meaning could be true—entirely de-
pending upon which frame of reference readers were predis-
posed to follow. The photo told the Times reader, at least at
the unconscious level, what he wanted to hear about himself.
His self-image as an American would have been reinforced
whether he favored or opposed the Vietnamese conflict.
To make certain the photo's sales value was increased to
maximum, a mosaic of subliminal SEXes had been either
double-exposed into the negative or drawn into the engrav-
ing plates (see Figure 47). The technique does, indeed, sell
the news—which sells the adve rtising which sells the pro-
ducts.
The Times merchandising of news is successful. Net in-
come during 1971 was $9.5 million, even though down from
$13.7 million the preceding year. This was from a total 1971
revenue of $291 million, up from $283 million during 1970.
This is very big business by any standard, involving twenty-
five corporate subsidiaries and affiliates including book and
magazine publishing, newspapers in Elorida and Paris, broad-
casting stations—AM, FM, an d TV—paper companies, mi-
crofilm, news services, and educational materials publishing.
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The time has certainly arrived, however, when someone
should ask the Times what all this merchandising does to the
quality of information, facts, an d descriptions of reality. Even
though these pages and the pictures are viewed for only sec-
onds, they will be perceived and registered in the readers'
unconsciouses, forming an attitudinal frame through which
they perceive both themselves and the world about them. The
sexualization of war is hardly a worthy activity, even if the
end result is increased ad lineage.
American society has always been taught to assume
through its educational system that a proliferation of media
also means freedom of the pre ss. Anyone is free to publish
any kind of periodical they wi sh—if they can afford the fi-
nancial costs of publishing, that is. But unless what is pub-
lished sells, publication overhead does a job of censorship far
more effective than any totalitarian government could im-
pose.
It once appeared possible that many diverse views could
coexist and compete for attention. But as greater numbers of
publications appeared, there was actually a decrease in varied
perspectives.
There exist today thousands of periodicals, but all they
compete for are their readers* money, advertising, and
agency-preferred reader demogr aphic strata. Magazines sell
FIRST themselves, second their advertised products. And most
are not at all inhibited about how they go about it. Slanting
of news is simply a patronizing technique of reader massage
that makes for effortless reading. Editors keep it sexy, brief,
and chatty. They leave the bigger issues alone or handle them
with gentle caution.
The reality is that United States commercial media are
rarely utilized by anyone whose prejudices are likely to be
mistreated or bruised. Individuals trained in self-indulgence,
as Americans have been, will simply not attend to a medium
that fails to tell them what they want to hear. "Mirror, mirror
on the wall, who is the fairest. . ." Fortune magazine, for ex-
ample, is rarely looked at by readers of Ramparts—and vice
versa. Berkeley Barb subscribers would find themselves most
uncomfortable even in the co mpany of someone who reads
the Wall Street Journal.
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M EDIA S EXPLOITATION
The Real Sonny and Cher
Television's Sonny and Cher were modestly talented entertain-
ers propped up by ingenious television production, direction,
and publicity machinery to represent the "ideal" American
couple—if only they had not blown the whole fantasy with a
messy divorce.
In late 1972 and early 1973 it was difficult to pick up a
magazine anywhere in America without confronting Sonny
and Cher. If all those pages had been sold as advertising, it
would have cost the television networks who sponsored the
promotion easily $10 million. In a nation of 220 million
people—some of them quite remarkable, some even
newsworthy—what could explain the coincidence whereby
dozens of highly paid editors suddenly decided to feature
Sonny and Cher in lead articles?
This is known as the treatment. Pushed by a small army of
network and sponsor publicity specialists, the couple were
carefully engineered into the top United States print media.
Publicity work today rarely invo lves direct payoffs to writers,
editors, and publishers, but it does involve expensive planning
and strategies, lavish luncheons, and invariably a long list of
personal favors done by whoever has a product to publi-
cize—in this case, Sonny and Cher—and the media who are
buying for resale to their readers.
Over a five-month period (December 1972 through April
1973), three of the many publications who took part in the
Sonny and Cher promotion we re Vogue (December 1972),
Redbook (February 1973), and TV Star Parade (April
1973). Each treated their Sonny and Cher feature as a cover
story.
Find Your Very Own Fantasy
Vogue readers are married (80 percent), average thirty to
forty years old, rich (average annual income over $25,000),
and mostly college-educated. Vo gue features advertised prod-
ucts with expensive price tags, jet set amusements, and a
fantasy world of wealthy, indulged, pseudo-sophisticated
pretty people who wear sexy clothes from exclusive stores
such as Bonwit Teller and Peck & Peck.
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Redbook, on the other hand, is slated toward the young
married homemakers with young children and modest
middle-class incomes, some college or vocational school, and
great insecurity over their identities, sexuality, and future.
Ads feature prepared foods, book clubs, household appli-
ances, furnishings, and children's merchandise.
TV Star Parade is designed for the grass-roots young
American woman, both married and single, with up to high
school education, a lower-middle income, and erotic fantasies
about life among the celebrated. This reader thrives on celeb-
rity romances with a touch of scandal, such as "The Night
Elvis Waited for Ann-Margret." Ads involve self-improve-
ment and bust development schemes, weight reducing, in-
expensive wigs, and provocative attire from Fredericks of
Hollywood. It is difficult to imagine readers of any one of
these magazines encroaching upon the illusions of the other
two.
This commercial fantasy manipulation of reality is clearly
demonstrated in a comparison of the three treatments of what
the respective readerships wanted to believe about Sonny and
Cher.
Vogue's five-page picture series was titled "The Sexy Beat
O f Sonny and Cher." Photography was by Richard Avedon,
one of the most celebrated and expensive fashion photogra-
phers in America. The brief artic le was written by Phyllis Lee
Levin.
Tailoring to Vogue readers' emotional need in believe in
upper-class fantasies, the first paragraph is worth repeating:
This year's love story is upb eat all the way. Its leads are
two recruits from rockdom to establishment television.
They compose ringing folk-rock songs, sing them and every
other variety of song to the rafters, toss insults more often
than bouquets at one anothe r, and succeed in looking
buoyant and loving every moment they are together. Sonny
and Cher Bono—elegant clowns with appetites for the
better extravagances of life such as a private plane with a
French-speaking and cooking stew ard, such as a forty-room
mansion piled onto five acres in Holmby Hills, California
—have a philosophy about their work and a theory about
their success. "There's an awfu l lot of cynicism everywhere

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M EDIA S EXPLOITATION

about marriage, so much thafs negative. Well, we like to

think we make being married a positive thing. There's this
myth in America about romance ending the minute marriage
begins. I think we're showing people something different.
We're married, we're in love, we kid each other a lot, but
we're still in love."
The young middle-class Redbook housewife's fantasies of
Sonny and Cher were much different. The entertainers'
images were changed and adapted to the publication's read-
ers. In an article by Claire Safran titled "Sonny and Cher:
Even When We Fight We Love," staunch middle-class values
and sentimentalities prevailed:
The lady of the antique-f illed, chandelier-festooned,
45-room house runs around it in blue jeans. When she
wants to talk to her husband she bypasses the 17-century
French drawing room, and they flop together in a string
hammock stretched between two trees on the vast expanse
of back lawn. When they dine with friends at Hollywood's
chic Bistro restaurant she neither smokes nor drinks, but
she beckons the maitre d' again and again for extra helpings
of dessert—strawberries dipped in brown sugar. Her host
explodes in laughter, "For heaven's sake," he says, "what
we've saved on booze with you, we've spent on strawberries."
The piece is reader-oriented dow n to the last sentence. The
lush description of "strawberries dipped in brown sugar" is
fascinating when you consider the nine pages of food and
dessert advertising in this issue of Redbook, also including an
article and many ads on weight reducing.
And, Finally...
TV Star Parade deeply probed the successful entertainers
marriage in a cover story titled "Cher Tells Sonny About the
Baby That Can Never Be His!" The story begins:
Sonny and Cher had been married five years when their
daughter, Chastity, was born. They had almost given up
hope of having children when Cher discovered she was
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All the News That Sells
pregnant, and they were both delirious with joy over the
prospect of becoming parents.
Throughout the entire nine months Sonny went out of
his way to pamper and protect Cher. He even lied to her
about their financial situation. Sonny had invested more
than a million dollars of their money in a film starring
Cher entitled Chastity, and the results had been a disaster.
They were broke. Cher was riding around in a Rolls-Royce
while Sonny was borrowing money anywhere he could get
a loan.
"I was really frightened," he admits now. "We were
wiped out. I didn't know what we were going to do. But I
couldn't tell Cher. It was Christmas. She was pregnant,
I couldn't bear to worry her."
In the best tradition of TVSP and similar publications,
anyone who makes it big must first have been a loser with
whom the reader can identify. Notice how even the sentence
length, syntax, and vocabularly of each article has been adapt-
ed to the reader's educational level. The sad and possibly
tragic part of all this trite, reader-patronizing nonsense is that
readers have been trained to uncritically seek out identifica-
tion with their group's respective illusions and cling desper-
ately to them. Knowledge of these hidden publishing motives
and manipulative adaptations are either unknown or
repressed by readers. These publications thus constitute a sub-
liminal background to the value systems and culture of their
readers.
Who, then, is the real Sonny and Cher?
Psychological Inventions in Print
Time magazine is a complicated psychological invention diffi-
cult to analyze by itself, but by comparison with its major
competitor, Newsweek, at least some of the intracacies of
Time's emotional appeal become apparent.
Time presents a dominant, aggressive view of the world. It
is action-oriented, and its readers like to believe they are too.
Upward mobility, as rapidly as possible, is one underlying,
constantly repeated basic theme.
Newsweek, on the other hand, is far more passive.
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M EDIA S EXPLOITATION
Newsweek readers have much less emotional need to see
themselves in a dominant-aggressive role. They have other
hang-ups—avoidance of conflict, passivity toward power is
the belief that man's rational nature will always prevail and
that there are answers (if we could only discover them) to all
our problems. Both Time and Newsweek must reflect a strong
national point of view, but Newsweek tends to present a
more reflective version of world events.
Demographically—age, sex, income, education, etc.—it is
extremely difficult to differentiate between the two magazines'
readerships. In terms of psychographics, or psychological pre-
dispositions or attitudes, however, each puhlication has staked
out an almost exclusive circulation, each of which perceives
itself in a distinctive way.
Saving "Time"
In a media study some years ago, it was discovered that Time
readers saved the publication—behavior that could be
described as highly anal. Throughout North America, Time
readers' basements and closets are stacked to the ceiling with
old issues. If you have subscribed for three years, very likely
you will have over 150 copies stored about the house.
When asked why they kept these old issues, Time readers
almost unanimously responded that they wanted to be able to
look up events, people, and situations. But almost no one had
ever actually located a refe rence in the old copies.
Many, nevertheless, had tried. You can spend an absorbing
afternoon, day, week, or even month going through old issues
of Time—ostensibly looking for an item you believe you have
read. One hardly ever finds his specific item. But many read-
ers, in the study, found deep satisfaction in a nostalgic Time
review as they went over a lot of other things.
Of course, should readers really want to look up an event
in Time, a periodical index, available in any library, would
direct them to the specific issue. None of these Time readers,
however, had a periodical index in their homes. Few had
used such an index, even in libraries.
Curiously, Newsweek readers did not accumulate such
large quantities of back issues. Could Time readers have a
special need to save time? Could the publication preserve, is
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M EDIA S EXPLOITATION
Organization, gently excludes reference to those countries
that are not members or who oppose the organization. AEC
dissolves the Atomic Energy Commission inconspicuously
into the anonymity of hundreds of alphabetically abbreviated
government agencies. These abbreviated meanings are, of
course, static, fixed concepts and very often inaccurate and
simplistic.
The language of images forms a barrier to the development
of concepts by identifying things and people with functions,
rather than distinguishing things and people from conceptual-
izations. In the image simplifications used by Time and other
news publications, thinking is unnecessary—critical thinking
circumvented entirely by stereotyped stimuli, stereotyped
thought and stereotyped reaction. Knowledge and an under-
standing of dynamic conceptual transition in realities and
meanings have been sabotaged, transforming falsehood into
truth.
The hyphenated compounding of images is another aspect
of the famed Time style—"brush-browed" Edward Teller, the
"father of the H-bomb," "bull-shouldered missileman von
Braun," "science-military dinner ," and the "nuclear-powered,
ballistic-missile-firing" submarine.
These integrated images project a complete absence of con-
tradiction, disharmony, or alternate point of view. It's no
accident that this syntax frequently appears in metaphors unit-
ing technology, politics, and the military into an impregnable
holy trinity.
The technique is also strength ened through the use of per-
sonalized familiarity. The reader 's kitchen table, living room,
friends, jobs, etc., are intimately related to the reader as is
"your president," "your schools," "your favorite restaurant,"
"your rights," etc. The world is presented patronizingly es-
pecially for you.
Worth a Thousand Words?
Time has learned much from its sister publications which
more heavily depend upon picture stories to sustain their
massive circulations. Aside from the linguistic techniques of
verbal style and typography affecting the unconscious, the
photographic essays utilize every possible subliminal trick.

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All the News That Sells
The Vietnam battle montage is typical (see Figure 48).
The five pictures included were selected from several hundred
posibilities, possibly several th ousand, considering the exten-
sive resources of Time-Life. Life photographers are famous
for shooting hundreds of pictures in order to obtain a half
dozen for actual publication. The caption reads:
(Clockwise) Gear-laden young ARVN smokes on
rubble-strewn street; tank rolls up for defense of Dong Ha;
bodies of Viet Cong soldiers lie on roadside; worried
civilians head south for safety in jam-packed bus; ARVN
artillerymen fire 155-mm howit zer at advancing units of
North Vietnamese army.
Other minor interpretation variations were possible, of
course, but—at the consciously perceived level, in logical,
reasonable terms—this would seem to be what the photo page
was overtly all about.
The Time caption pointed out the obvious. Reader tests on
the pages containing the caption and photograph suggested
that fewer than one reader in ten would scan the caption. But
Time editors certainly understand how a picture page is read.
Experiments with the McNaughten and pnpilometer cameras
have shown that the fovea moves in a saccade from point to
point in response to symbolic content. Symbols involving the
two polarities of love and death will pull the eye irresistibly
toward a specific point in a scene or picture. Design ele-
ments - lines of movement or attention within a photo-
graph—also play a part in directing the fovea.
The first object on the Vietnam montage to attract the eye
is the picture of death in the upper right-hand corner. If you
close your eyes for a moment, then open them suddenly, as
they momentarily focus you will probably find yourself look-
ing at the dead body. Roughly 60 percent of a test audience
perceived the body as a primary focal point. About 40 per-
cent began with the mother's face, then moved upward to the
body. A photograph of a nude Playboy bunny might strongly
compete for primary focal point with the dead North Viet-
namese, but it is doubtful that sex could win. Death appears to
have a much stronger symbolic hold on the human psyche.
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M EDIA S EXPLOITATION
Focal point s accade paths—though unconsciously mo-
tivated—are highly predictable within a culture.
From the body, the eye saccades along the bloodstained
earth to the second focal point—the tank and pigs. The pig
facing right will saccade the fovea into the photograph of
mother and child.
From the mother and child, the test subjects divided.
About half followed the line of the mothers' eyes diagonally
down into the soldier's photo at the bottom left, then to the
right from the breech of the how itzer to the second man with
his fingers in his ears, then back up to the dead body again,
and the sequence was repeated.
The other half of the test subjects moved from the
mother's hand on the panel down into the howitzer picture,
then to the soldier at the botto m left, and then upward at an
angle set by the slung carbi ne—again reaching the body,
where the sequence was repeated.
The picture editor's objective was to keep the reader's eye
moving about the montage as long as possible so a mosaic of
picture concepts would be unconsciously perceived. Instead of
the linear meaning in the caption sequence provided by Time,
consider what the actual meani ng of this montage involves.
Meaning is derived from the sequence of microsecond
stops compulsively made by th e fovea in its saccades—the to-
tality has been described as a "mosaic" or "montage" or "ag-
gregate of visual stimuli." The sequence of the mosaic is all
important. Change the sequence of fovea saccades, and the
meaning changes, even though the individual picture content
remains the same.
The Good Guys or the Bad?
The primary focal point on th e Time montage is the upper
right photograph of two dead soldiers, presumably North Vi-
etnamese, though it is impossible to tell from the uniforms.
However, the bodies have been on the ground for some
time—the blood has soaked into the earth. If the dead sol-
diers were South Vietnamese (our side), the bodies would
have been removed and the mess cleaned up as soon as pos-
sible. The torn paper and debris suggest the bodies have been
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All the News That Sells
searched or looted—certainly not a pleasant set of alterna-
tives for the secure Time reader.
The box behind the body in the foreground has archetypal
symbolic significance. A box has traditionally symbolized a
maternal influence, possibly establishing a relationship be-
tween the bodies and the mother in the picture below. The
box also symbolizes unexpected destructive potentialities, as
in Pandora's box.
The tank, the second picture perceived by most readers,
shows the tank commander giving orders as he p
the powerful machine— the turret cannon   appearing as a
phallic extension of his genital area. From the subliminal fan-
tasy projected by the layout, it is entirely possible the deaths
to the right were a direct result of the tank's destructive
power.
The editor's inclusion of the two pigs is intriguing, as they
could easily have been cropped from the photograph. The pig
is an ancient symbol of impure desires and of the amoral
plunge into corruption. (Recall the discussion of pig symbol-
ogy in The Exorcist chapter.)
At the time of this issue's publication, Time was undergo-
ing an antiwar swing in its editorial policy—one that changed
frequently, but remained consistently parallel to the fluctuat-
ing currents of reader opinion.
The third focal point in the montage is the mother and
child—possibly a modern-day Vietnamese   version   of   the
Madonna. Specifically, the reader 's fovea will move from the
mother's nose to her right ear, then across to the child's face
before taking one of two different paths.
The mother's facial expression would have many levels of
meaning in both the reader's conscious and unconscious. Her
face is old, more than just merely old as calculated by years.
Her expression includes fear, but not as a dominant emotion.
One detail likely to remain repressed in the reader's uncon-
scious is the discrepancy between the lines in her face, the
very young child, and the absence of gray in her hair. She is,
apparently,   a young woman—prematurely   aged by war,
clinging in silent desperation to her bewildered child. Both
she and her child are attempting to comfort and support one
another, but the mother's face expresses the ageless plight of
the refugee.
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M EDIA S EXPLOITATION
Few of the 25 million readers made conscious interpreta-
tions of these five photographs as their eyes quickly scanned
the montage. Nevertheless, considering the delicate sensitivity
to even the smallest detail in human perceptual equipment,
these interpretations, or something reasonably close to them,
did occur within the unconscious of almost everyone who
perceived this page for even an instant.
Conscious meanings appear to only reinforce and confirm
underlying subliminal predispositions. Whether or not you
were opposed to the Vietnam War, most probably you would
interpret the page of photographs in support of your predis-
positions. If you were neutral, however, the display might
move you into opposition. Conscious perceptions are often
merely accommodations to the unconscious basic program.
The Vietnamese soldier, standing with his phallic carbine
pointing at the ground, symbolizes defeat. The soldier ap-
pears to be a very young boy. The open-mouthed expression,
as he carries his heavy load th rough the garbage-strewn road-
way, suggests someone not terribly bright—certainly not a
strong, shrewd, battle-hardened combat soldier. Several dozen
test subjects, reviewing the montage, were asked whether the
soldier was going toward or away from battle. Almost unani-
mously they responded "away," many adding, "and in a
hurry."
The two artillerymen tending their howitzer, the final pic-
ture in the fovea saccade, portrays the soldiers as relaxed,
casual, and almost indifferent as they observe an explosion,
presumably caused by their weapon, which has been re-
touched into the photograph's horizon. The Vietnamese sol-
diers do not appear threatened or even involved in the war-
in spite of their helmets (whose chin straps are not in place)
and flack jackets. The gun placement, exposed on a hilltop,
with its inept camouflage and casual gun crew, subliminally
communicates incompetence or indifference.
Test subjects were given three alternatives as to what was
going on in the howitzer photograph—attack, retreat, or sis-
taining position. Again, unanimously, they responded with
sustaining position. In other words, the war is going nowhere.
The soldier with fingers in his ears is certainly symbolic of un-
involvement—or as the archetypal concept is often expressed,
"He hears no evil!"
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All the News That Sells
At the time of publication this view wasconsistent with the
opinion of large segments of United States public opinion.
The media, especially the big, national, at-full media, follow
public opinion. They rarely, if ever, lead, nor could they
without jeopardizing their high- credibility positions. To make
certain the five pictures have maximum impact upon the 25
million readers (especially at the unconscious level, where
Time would establish itself as the ultimate authority on the
war), their retouch artists have covered the Vietnam photo
montage with embedded subliminal SEX triggers to deeply
relate the content into the r eader's psyche (see Figure 49).
Some of the SEXes have been left unmarked so the reader
can experiment with discovering Time's real opinion of "The
Big Test—Vietnamization: A Po licy Under the Gun," as the
cover story was called.
These visual representations of war unquestionably sell
Time, which sells ads, which sell merchandise. But, what is
the effect of this symbolic s ubliminal enrichment? What are
the effects of sexualizing war and death? Were reader per-
spectives toward the entire Vietnam affair conditioned,
manipulated, and managed by these techniques as a side ef-
fect of merchandising the news?
Various autocratic governments have schemed relentlessly
to control the power of th e press. Hitler's Nazi party
succeeded in total thought cont rol in less than a decade
through careful direction of mass media. It has taken Ameri-
can advertising agencies a little longer. American society
may, indeed, be approaching a point where freedom from the
press will become as vital an issue as freedom of the press.
Free access to information may be central to the survival
of democratic institutions. An unrestrained, responsive, and
reponsible information media is an absolute necessity for this
type of society—media which, incidentally, appear to be rap-
idly vanishing. Information medi a must serve - as forthrightly
as possible—the citizen's interests, not merely those of adver-
tisers and corporate investors. As recent events have eloquent-
ly demonstrated, what is good for investors is not necessarily
good for the nation.
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____________________________________________ 12

It is just as important to the
capitalist mass producer as to
the Soviet functionary to
condition people into uniform,
unresisting subjects. . . . We
ostensibly free, Western,
civilized people are no longer
conscious of the extent to
which we are being
manipulated by the commercial
decisions of the mass
producers.
KONRAD LORENZ
Civilized Man's Eight Deadly Sins
Culture Is Not Accidental
One of the most significant disc overies in the studies that led
to this book was that culture—especially the dynamic Ameri-
can culture—is today a manufactured product. And, media
are the factories. By creating a vast materialistic technology,
humans created the illusion they could control their environ-
ments. This illusion made them even more vulnerable to
forces and influences involving the unconscious.
Knowledge of man's ability to deceive himself through per-
ceptual illusions would, to say the least, be highly embarrass-
ing when focused upon treasured concepts of free will
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Even the Killings are Funny
omniscience, national or cultural superiority, God-given pre-
rogatives, etc.—all those fantasies that reinforce Western
civilization's ego needs. Perhaps the reason why no culture in
history has ever been continuous lies in our ego-driven inabil-
ity to believe that we cannot be influenced by what we cannot
consciously perceive. It is not difficult to conclude that man
has done a superb job of conspiring unconsciously against
finding out about himself.
It would be quite simple if the good and bad guys were
clearly defined in this issue of mass manipulation. Our solu-
tion would be simple if we could legislate the advertising
agencies out of business or, pe rhaps, execute or imprison
their executives as societies have often done to those who em-
barrass their own systems. Sacrificial scapegoats would be a
simple answer. But the problem is just not that simple.
Skilled media technicians, including those in advertising,
are doing precisely what they have been trained to do by
their society, according to the society's own rules of business
and commerce. Further, they ar e doing it extremely well. All
of us have benefitted from incredible levels of self-indulgence
in comparison with most of the world's peoples. Many of
these "benefits" are directly a ttributable to mass merchandis-
ing. We have, in a very real sense, sold out our individualism
and freedom in return for a handful of baubles while we
play-acted at bei ng free individuals.
There is one basic and very unsettling aspect to the percep-
tual illusions presented in this book. The artists, writers, and
composers really hid nothing from us. The obscene and taboo
embeds were always clearly there for us to consciously per-
ceive had we wanted to. Indeed, we did perceive all of them
unconsciously. Whenever I have shown these apparently hid-
den details to lecture or reading audiences, most (over 95
percent) have consciously perceived them instantly. We had
hidden the obscene details from ourselves.
Many labels attempt to describe the phenomena of hiding
perceptions from oneself—repression, denial, or some of the
other perceptual defenses. But the fact remains that all of us
prevent ourselves from consciously dealing with what is going
on around us. We are, simply, party to the manipulation—
and a willing party. We benefit, of course, from the decep-
tions. This is the hardest pill of all to swallow.

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M EDIA S EXPLOITATION
One simple fact about human behavior—known for many
centuries—is that no one can possibly con, manipulate, or lie
to anyone unless that person is willing to go along with the
game. As a nation and culture, America is every bit as re-
sponsible for these deceits as are the advertising and media
executives who deceive us.
The Media-Dependent Society
The British Broadcasting Corporation recently made a study
of television viewers' ability to live without television for an
entire year. One hundred eighty-four families were paid
roughly thirteen dollars weekly not to use their sets. This was
a fairly good sum of money at the time in England—cer-
tainly a worthwhile bonus for any working-class family.
Families began dropping out of the study almost immedi-
ately. No one lasted beyond five months. The researchers
unanimously agreed their volunteers had "suffered withdrawal
symptoms similar to those of drug addicts and alcoholics."
There was total agreement among a professional panel select-
ed to evaluate the study that in the future there would be
"increased dependence upon television among the general
population, and that television minimized self-reliance, social
contacts, and creative pursuits among its audiences."
The BBC study was a replication of similar research per-
formed a year earlier in Germany. In the German study the
first volunteer dropped out after three weeks. Similarly, no
one lasted beyond the fifth month.
We can now discuss media dependence as a valid psycho-
neurotic syndrome, perhaps even a meaningful personality
characteristic. Americans, not to mention other technologi-
cally advanced peoples, should no longer ignore and take for
granted their media-managed environment if they hope to
survive as human beings.
Obesity, for one example, is dramatically apparent in
America. Visitors from less well fed areas of the world are
often astonished at the large numbers of fat individuals
within the United States. The National Council on Health re-
cently announced that 60 percent of the United States popu-
lation was overweight. North America has more per capita
obesity than any nation in the world. Obesity, of course, leads

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Even the Killings are Funny
to a great many serious systemic diseases and disorders, but
the relationship between media and obesity has never been
publicly examined. Advertisers discovered long ago that TV
sports programs, for example, were superb platforms upon
which to merchandise food and beverages. The oral gratifica-
tion compulsion within each human is quite easy to stimulate
in a context of action, suspense, and uncertainty. TV sports
provides an illusion of participation by the viewer that, of
course, is only a fantasy. A well- trained TV sports addict will
consume several thousand calories during an afternoon or
evening of baseball, football, and hockey. Even the reruns,
and the reruns of the reruns, appear to sell nearly as well as
the originals though audiences become progressively smaller.
Consider also the game shows, soap operas, and dramatic
programs where food and beverage sponsorship is heavy, and
how the program content integr ates with the commercials.
The roughly two hundred hours average viewing endured
monthly by the some 50 million American families is per-
meated with strong subliminal stimuli which hypnotically pro-
gram individuals for compulsive acts. Virtually no one is
exempt, though some are more responsive to the stimuli than
others. TV ads are reinforced by radio, newspapers, maga-
zines, and billboards—the so-called media mix or integration
now worked out for large advertisers by highly sophisticated
computers which can assemble a strategy for the most effi-
cient expenditure of marketing money.
Earlier in history, national and regional cultures were the
painful evolutionary product of centuries. Changes were slow
and uncertain until advanced media technology entered the
picture. Now consumers in one culture are pretty much the
same as those in others, though illusions of uniqueness may
persist Brand names may be different, but the programmed
response and value system are identical. Changes in self-
image, hero myth, death orientation, etc., occur most rapidly
In the service of commercial ob jectives. When a newly intro-
duced cultural entity no longer se rves an objective, it is
quickly scrapped or modified into another form.
All this, of course, may be doing great and shattering
destruction to individual psyches whose basic value systems
are remanipulated every few years and sometimes every few
months. One fourteen-year-old boy hung himself in Calgary,

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M EDIA S EXPLOITATION
Canada, during 1974 while attempting to imitate a mock
hanging performed on television by rock music star Alice
Cooper. A coroner's jury investigating the death called once
again for "definite and immediate steps to ban these pro-
grams of violence." Predictably, however, nothing changed.
Strangely, Americans appear consciously convinced they
are the world's most peaceful, nonviolent society. This is a
superb example of the repression mechanism operating on a
societal level. Dr. McLuhan would call it narcissus narcosis.
No one has, as yet, done anything to reduce violence—ex-
cept, perhaps, to hire more po lice, which often has the effect
of creating more violence. Further, no one is likely to do
anything about violence except to sponsor more of the
endless investigations or studies that only serve either to ap-
pease the public conscience or confuse the issue.
The answer to violence in Amer ica is really quite simple:
Americans have developed violence into one of the world's
most profitable enterprises—from war (defense) to athletics
(spectator sports). Violence is a merchandising staple for ev-
ery mass communication media in America—every bit as vir-
ulent as sex, perhaps even more so. Sex and violence, in fact,
go well together in movies, television, music, etc.
Big Money in Death
Attitudes toward death and killing in America are intriguing,
and over the past decade or so have changed substantially.
The fantasy of death portrayed in movies and television is
now often described as "humorous" or "funny," especially by
young people. The bloody, sadistic slaughter, without which
few movie or TV producers could obtain financing, is a for-
midable fantasy which keeps audiences buying tickets and
tuning in. The next time you witness a movie death, execu-
tion, or massacre, listen carefully. You will hear portions of
the audience laugh and giggle as the blood spurts, heads roll,
or bodies contort.
Hero myths, very important as part of the maturation
process, have changed drastically over the past few decades.
Traditional hero figures from Beowulf to El Cid to Galahad
to the Lone Ranger to Davy Crockett to John Wayne—the
archetypal heroes who challe nged and inspired the young

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Even the Killings are Funny
with noble and ideal values—w ould be perceived by today's
young as camp, fake, unreal, and ridiculous. Contemporary
hero myths among the young feature such characters as Alice
Cooper and David Bowie—perverse, degenerate caricatures
of the ancient heros, who profitably glory in their contempt
for traditional values.
Through their media, societies perpetuate the mythologies
that serve their basic goals. Nietzsche once described history
as the lie through which nations survive. He may have been
correct, in that certain kinds of lies or illusions are necessary
to individual and national survival. It is doubtful that anyone
ever really believed John Wayne was as brave as his endless
accession of roles portrayed him. In any respect, the hero-
image projected for the young in search of an ideal - even
though pure fantasy—reflected individuality, honor, integrity,
and manhood.
It may be important to remember that media does not ever
present reality. The fantasy-entertainment death or violence on
film has no relationship at all to real-life death or violence
Real death is very complicated. It even has its own very dis-
tinctive odor. Where the realities of death are carefully
concealed, deodorized, romanticized, and hygienized, media's
fantasy of death becomes the symbolic reality at the uncon-
scious level.
In a recent NBC-TV news pr ogram about juvenile crime,
John Chancellor interviewed several teen-aged murderers.
Ono, about to be released from a New York City juvenile de-
tenton center, casually admitted to fifteen or sixteen mur-
ders—most of which occurred during muggings.
The boy was asked, "What did you feel during and after
the killings?"
"Nothing," he replied in a matter-of-fact tone.
"Nothing? Even when they lay on the ground bleeding and
gasping," the interviewer questioned.
"No, nothing. Nothing, really! It was like watching a TV
play or a movie. It wasn't real."
At present North Americans want to deal only with the su-
perficial symptoms of their social cancer, not with the actual
disease and the sources of infection. Probing too deeply into
the commercially motivated and controlled madnesses of our
time might be a devastating experience for the national ego.
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M EDIA S EXPLOITATION
It would be folly to suggest that government control and
operation of media could ever be a simple, practical answer.
Noncommercial information systems operated by dictator-
ships appear quite as capable of transporting the world's
peoples into the Brave New World or 1984 as effectively as
commercially motivated systems.
Laws Can Tranquilize
The Canadian Radio Television Commission, similar to the
FCC in the United States, recently amended their regulations
to forbid the use of "any advertising material that makes use
of any subliminal device." Like the FCC, the CRTC is pa-
thetically ineffectual in its attempts to manage the broad-
casting industry in the public interest. North American media
are controlled by a handful of powerful advertising agencies
whose single dedication, preoccupation, and obsession is sell-
ing. Executives courageous enou gh to advocate changes that
interfere with short-term profit goals are few and far be-
tween.
Similar attempts to ban sublim inal stimuli were made by
the British in their Broadcast Code, by Belgium in a 1972
law, and by the United Nations Commission on Human
Rights in a report to their Secretary-General on October 7,
1974. A United Nations task force discovered it was techni-
cally possible to broadcast subliminal content internationally
via satellite. It is even technica lly feasible for anyone with the
equipment to infiltrate a satellite broadcast signal with sub-
liminal stimuli. Their report stated it was possible to modify
or even eliminate cultures through subliminal reprogramming
of the unconscious, and strongly recommended that all mem-
ber nations pass rigorous laws prohibiting such techniques, es-
pecially when the media crossed national or cultural frontiers.
Attempts to legislate the unconscious perceptual system
could serve a good purpose by bringing the issue into public
awareness. However, North American news media ignored
the significance of the CRTC regulation, the various laws,
and the United Nations study. Jf the subject was discussed at
all, it was done superficially with tongue in cheek, or twisted
into a nonsense story usually quoting some behaviorist psy-
chologist that there was no such thing as the "unconscious."
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Even the Killings are Funny
The UN study failed to mention that subliminal techniques
are already in wide internationa l use by American advertising
agencies.
Print and broadcast media, of course, have a vital interest
in pretending the subliminal issue is a farce. Business institu-
tions in general have a similar investment to protect. Should
North American audiences begin to carefully examine adver-
tising and news manipulation, it would be like opening Pan-
dora's box.
If there is an answer, it will not be in a simplistic attempt
at legislation, though drug, alcohol, and tobacco mechandis-
ing might be legislatively banned from public communication
media due to the epidemic proportions of the problem they
create and sustain. The control of public information by com-
mercial interests must cease. But this is much easier said than
done. If changes in media are to occur, they will probably
emanate from far more basic cha nges in the society. A cor-
rupt media merely reflects a corrupt society.
Education for Consumption
Analytical media studies in both universities and high schools
are currently considered subversive by many school admin-
istrators who patronize business and media. Business and
advertising groups have successfully pressured educational in-
stitutions into offering only an endless succession of vocation-
al media courses that only describe the obvious and sustain
what society wishes to believe is going on. Moral and intellec-
tual cowardice is difficult to rationlize when encountered
among University officials. Much like The Who's Tommy,
students are told not to perceive consciously meanings that
might upset their parents and the society.
Perceptual education has never been attempted on a large
scale in America. Most educational efforts appear to have a
primary objective in conformity, uniformity, and intellectual
predictability. So much of the incredible potential in life that
should be available to young Americans remains hidden from
view, ignored, suppressed or, more damagingly, repressed.
The manipulative culture teaches Americans to pretend or
play at nonconformity while they conform like mass-pro-
duced robots—most of whom find their places in consumer
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M EDIA S EXPLOITATION
demographic or psychographic categorization, moving from
work to stores to television to bed with occasional interrup-
tions for food and beverage consumption, infrequently inter-
rupted by sex.
The Con Man and the Conned
So much of the social and political nightmare that has contin-
ued in America this past decade had its roots deep in the
widespread acceptance of lying, manipulating, and misrepre-
senting reality as a preferred an d rewarded mode of behavior.
For many decades, American media have venerated the con
man and his endless games—games that all require the sucker
to trust before he is taken.
Jonathan Schell, in his chilling book, The Time of Illusion,
documented the tragic record of lies, misrepresentations,
image manipulations, and covert strategies which continued
throughout the Nixon and earlier presidential administrations.
With exhaustive factual docum entation, Schell probed the
near destruction of democratic government by the now dis-
graced President's small army of advertising-public relations
experts who—with the help of media—flim-flammed America
with self-flattering illusions of reality.
Nixon and his staff simply used communication technology
that is a normal everyday tool of both business and govern-
ment in the United States. The technology of deceit has been
developed more highly in America than ever before in
Western civilization.
The con man is one of the most cherished of our cultural
stereotypes—Sergeant Bilko, Man in the Gray Flannel Suit,
Man at the Top, The Hucksters, The Flim Flam Man,
O'Henry heroes, W. C. Fields characterizations, etc. Ameri-
can literature is loaded with sly heroes who trick the unsus-
pecting mark, usually someone of power and wealth. The;
tradition goes back even to Herm an Melville's The Confidence
Man. But modern Robin Hoods, when examined carefully,
usually turn out to be stealing from the poor and giving to
the rich—instead of the other way around.
At this point in history, however, it appears useless to
blame any individual for what has occurred in American
media. Driven by relentless pressures for continually increas-
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Even the Killings are Funny

In Closing

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M EDIA S EXPLOITATION
and governmental institutions, the promise of utilizing sub-
liminal techniques in the public interest is substantial. For ex-
ample, both theory and experi mental evidence suggest that
some forms of addictive behavior may yield to subliminal
therapies. If subs can channel some individuals into addic-
tion—as appears to be the case—they should also work in the
opposite direction. We will never know until someone tries.
The educational potential in utilizing subliminal stimuli are
enormous, even though students would have to be clearly in-
formed of the techniques before they were applied. If entire
populations can be subliminally taught the complex behavior,
decision making, and value systems which support high-level
consumption, they can unquestionably be subliminally edu-
rated in other areas of life.
Indeed, it would appear the techniques of production and
communication now in use (even though perhaps often for
the wrong ends) could make of our world virtually anything
we desire—a place of happines s, fulfillment, and meaningful
relationships. On the other hand, we can just as easily turn
our world into an island of despair, which we may have al-
ready done, where fear, alienation, distrust, avarice, and
senseless indulgences dominate our existence and waste our
life spans.
Both these alternatives are cl ear and immediately available.
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The vital question today is not
whether there will be life after
death, but whether there was
life before death.
MARSHALL MCLUHAN
Understanding Media
217

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M EDIA S EXPLOITATION
Appendix A
BRIDGE OVER TROUBLED WATER*
When you're weary, feeling small,
When tears are in your eyes, I will dry them all;
I'm on your side. When times get rough
And friends just can't be found,
hike a bridge over troubled water
I wilt lay me down.
Like a bridge over troubled water
I will lay me down.
When you're down and out,
When you're on the street,
When evening falls so hard
I will comfort you.
I'll take your part.
When darkness comes
And pain is all around,
Like a bridge over troubled water
I will lay me down.
Like a bridge over troubled water
I will lay me down.
Sail on silvergirl,
Sail on by.
Your time has come to shine.
AH your dreams are on their way.
See how they shine.
If you need a friend
I'm sailing right behind.
Like a bridge over troubled water
I will ease your mind.
Like a bridge over troubled water
I will ease your mind.
* © 1969 Paul Simon. Used with the permission of the publisher.
218

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Appendix B
THE CANONS
OF JOURNALISM
This widely known and importa nt code, the Canons of Jour-
nalism, was adopted by the Am erican Society of Newspaper
Editors.
The primary function of newspapers is to communicate to the
human race what its members do, feel, and think. Journalism,
therefore, demands of its practitioners the widest range of in-
telligence, of knowledge, and of experience, as well as natural
and trained powers of observation and reasoning. To its op-
portunities as a chronicle are indissolubly linked its obliga-
tions as teacher and interpreter.
To the end of finding some means of codifying sound prac-
tice and just aspirations of American journalism, these canons
are set forth:
I
Responsibility. The right of a newspaper to attract and hold
readers is restricted by noth ing but consideration of public
welfare. The use a newspaper makes of the share of public
attention it gains serves to determine its sense of responsibil-
ity, which it shares with every member of its staff. A journal-
ist who uses his power for any selfish or otherwise unworthy
purpose is faithless to a high trust.
II
Freedom of the Press. Freedom of the press is to be guarded
us a vital right of mankind. It is the unquestionable right to
219

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M EDIA S EXPLOITATION
discuss whatever is not explicitly forbidden by law, including
the wisdom of any restrictive statute.
III
Independence. Freedom from all obligations except that of fi-
delity to the public interest is vital.
1. Promotion of any private interest contrary to the general
welfare, for whatever reason, is not compatible with honest
journalism. So-called news communications from private
sources should not be published without public notice of their
source or else substantiation of their claims to value as news,
both in form and substance.
2. Partisanship in editorial comment which knowingly de-
parts from the truth does violence to the best spirit of Ameri-
can journalism; in the news columns it is subversive of a
fundamental principle of the profession.
IV
Sincerity, Truthfulness, Accuracy. Good faith with the reader
is the foundation of all journalism worthy of the name.
1. By every consideration of good faith a newspaper is con-
strained to be truthful. It is not to be excused for lack of
thoroughness or accuracy within it s control or failure to ob-
tain command of these essential qualities.
2. Headlines should be fully warranted by the contents of the
articles which they surmount.
V
Impartiality. Sound practice makes clear distinction between
news reports and expressions or opinions. News reports
should be free from opinion or bias of any kind.
1. This rule does not apply to so-called special articles unmis-
220

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Appendix B
takably devoted to advocacy or characterized by a signature
authorizing the writer's own conclusions and interpretation.
VI
Fair Play. A newspaper should not publish unofficial charges
contesting reputation or moral character without opportunity
given to the accused to be heard: right practice demands the
giving of such opportunity in such cases of serious accusation
outside judicial proceedings.
1. A newspaper should not invade private rights or feelings
without sure warrant of public right as distinguished from
public curiosity.
2. It is the privilege, as it is the duty, of a newspaper to
make prompt and complete correction of its own serious mis-
takes of fact or opinion, whatever their origin.
VII
Decency. A newspaper cannot escape conviction of insincer-
ity if, while professing high moral purposes, it supplies incen-
tives to base conduct such as are to be found in details of
crime and vice, publication of which is not demonstrably for
the general good. Lacking authority to enforce its canons, the
journalism here represented can but express the hope that de-
liberate pandering to vicious instincts will encounter effective
public disapproval or yield to the influence of a preponderant
professional condemnation.
221

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M EDIA S EXPLOITATION
Bibliography
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biguity in the Prints of Maurits C. Escher"; December 1971,
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Becker, Hal C. U.S.   Patents   3,060,795,   Oct.   30,   1962,   and
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M EDIA S EXPLOITATION
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224

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About the Author
Wilson Bryan Key received his Ph.D.
at the University of Denver and has
since served as Professor of Journalism
at four different universities. The au-
thor of the widely-hailed Subliminal
Seduction, Dr. Key is currently presi-
dent of Media-probe: Center for the
Study of Media, Inc. He lives in South-
ern California.

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		}
		BaseScaleFactor = BaseScaleFactor / zoomCorr;
		ZoomTo(BaseScaleFactor * 100);
	}
	function LayoutPages() {
		var _local2 = xmargin;
		var _local3 = ymargin;
		var _local4 = 0;
		ScaleFactor = (ScaleSlider.GetValue() / 100) * zoomCorr;
		DocArea.content._xscale = (DocArea.content._yscale = ScaleFactor * 100);
		var _local1 = 0;
		while (_local1 < Pages.length) {
			page = Pages[_local1];
			pageMovie = page.movie;
			if (((_local2 + (pageMovie._width * ScaleFactor)) + xmargin) > AreaWidth) {
				CenterPages(_local1, _local3, _local2);
				_local3 = _local3 + ((_local4 * ScaleFactor) + yinterstice);
				_local2 = xmargin;
				_local4 = 0;
			}
			page.y = _local3;
			pageMovie._x = _local2 / ScaleFactor;
			pageMovie._y = _local3 / ScaleFactor;
			pageMovie._rotation = Rotation;
			switch (Rotation) {
				case 90 : 
					pageMovie._x = pageMovie._x + pageMovie._width;
					break;
				case 180 : 
					pageMovie._x = pageMovie._x + pageMovie._width;
					pageMovie._y = pageMovie._y + pageMovie._height;
					break;
				case 270 : 
					pageMovie._y = pageMovie._y + pageMovie._height;
			}
			_local2 = _local2 + ((pageMovie._width * ScaleFactor) + xinterstice);
			if (pageMovie._height > _local4) {
				_local4 = pageMovie._height;
			}
			_local1++;
		}
		CenterPages(Pages.length, _local3, _local2);
		BottomArea._x = xmargin;
		BottomArea._y = ((_local3 + yinterstice) + (_local4 * ScaleFactor)) / ScaleFactor;
		BottomArea._height = ymargin;
		DocArea.invalidate();
	}
	function CenterPages(i, y, x) {
		dx = ((ClientWidth - ((x - xmargin) - xinterstice)) / 2) / ScaleFactor;
		if (dx > 0) {
			var _local1 = i - 1;
			while ((_local1 >= 0) && (Pages[_local1].y == y)) {
				Pages[_local1].movie._x = Pages[_local1].movie._x + dx;
				_local1--;
			}
		}
	}
	function RotateTo(angle) {
		Rotation = angle;
		LayoutPages();
		UpdatePageNo();
	}
	function Rotate() {
		RotateTo((Rotation + 90) % 360);
		SetZoomState("none");
	}
	function Print() {
		if (!NoPrinting) {
			var _local4 = new PrintJob();
			if (_local4.start()) {
				cont = true;
				depth = 1000;
				i = 0;
				while ((i < _root.Pages.length) && (cont)) {
					var _local3 = "Page" + (i + 1);
					var _local2 = _root.attachMovie(_local3, _local3, depth);
					scaleObj = {xMin:0, xMax:_local2._width, yMin:0, yMax:_local2._height};
					_local2._xscale = (_local2._yscale = (_local4.pageWidth / _local2._width) * 100);
					cont = _local4.addPage(_local2, scaleObj);
					_local2.removeMovieClip();
					i++;
				}
				_local4.send();
			}
		}
	}
	function GetTextSnapshot(pageno) {
		var _local1 = Pages[pageno].ts;
		if (_local1 == undefined) {
			_local1 = (Pages[pageno].ts = Pages[pageno].movie.getTextSnapshot());
			_local1.setSelectColor(textSelectColor);
		}
		return(_local1);
	}
	function GetPageText(pageno) {
		var _local1 = Pages[pageno].text;
		if (_local1 == undefined) {
			ts = GetTextSnapshot(pageno);
			_local1 = ts.getText(0, ts.getCount(), false);
			Pages[pageno].text = _local1;
		}
		return(_local1);
	}
	function ResetTextSearch() {
		lastSearchTSNo = undefined;
	}
	function SearchText(text) {
		if (text != lastSearchText) {
			ResetTextSearch();
			lastSearchText = text;
		}
		if (lastSearchTSNo == undefined) {
			lastSearchTSNo = 0;
			lastSearchTS = GetTextSnapshot(lastSearchTSNo);
			lastSearchPos = -1;
		}
		do {
			lastSearchPos = lastSearchTS.findText(lastSearchPos + 1, text, false);
			if (lastSearchPos == -1) {
				if ((++lastSearchTSNo) >= Pages.length) {
					ResetTextSearch();
					break;
				}
				lastSearchTS = GetTextSnapshot(lastSearchTSNo);
			}
		} while  (lastSearchPos == -1);
		return(lastSearchPos);
	}
	function SearchAndHighlightText(text) {
		if (lastSearchTS != undefined) {
			lastSearchTS.setSelected(0, lastSearchTS.getCount(), false);
		}
		SearchText(text);
		if (lastSearchPos != -1) {
			lastSearchTS.setSelected(lastSearchPos, lastSearchPos + text.length, true);
			var _local1 = lastSearchTS.getTextRunInfo(lastSearchPos, lastSearchPos);
			GoToPage(lastSearchTSNo + 1, _local1[0].corner3x, _local1[0].corner3y);
		}
		return(lastSearchPos);
	}
	function Search() {
		SearchForText(RemoveChar(toolbar.searchPatternmc.searchPattern.text, "\r"));
	}
	function SearchForText(text) {
		return((toolbar.notfoundtip._visible = _root.SearchAndHighlightText(text) == -1));
	}
	function RemoveNonDigits(str) {
		res = "";
		i = 0;
		while (i < str.length) {
			c = str.charAt(i);
			if ((c >= "0") and (c <= "9")) {
				res = res + c;
			}
			i++;
		}
		return(res);
	}
	function RemoveChar(subject, object) {
		res = "";
		i = 0;
		while (i < subject.length) {
			c = subject.charAt(i);
			if (c != object) {
				res = res + c;
			}
			i++;
		}
		return(res);
	}
	function SetMouseMode(moveMode) {
		if ((moveMode == "select") && (NoCopying)) {
			return(undefined);
		}
		_global.mousemode = moveMode;
		if (moveMode != "select") {
			Unselect();
		}
		Print2FlashEvents.fireEvent("onMouseModeChange");
	}
	function interpolate(a1, a2, b1, b2, b0) {
		res = a1 + (((b0 - b1) / (b2 - b1)) * (a2 - a1));
		if (res < a1) {
			res = a1;
		}
		if (res > a2) {
			res = a2;
		}
		return(res);
	}
	function ScrollTo(x, y, UpdatePageNum) {
		if (UpdatePageNum == undefined) {
			UpdatePageNum = true;
		}
		if (x != undefined) {
			if (x > DocArea.maxHPosition) {
				x = DocArea.maxHPosition;
			} else if (x < 0) {
				x = 0;
			}
			DocArea.hPosition = x;
		}
		if (y != undefined) {
			if (y > DocArea.maxVPosition) {
				y = DocArea.maxVPosition;
			} else if (y < 0) {
				y = 0;
			}
			DocArea.vPosition = y;
		}
		if (UpdatePageNum) {
			UpdatePageNo();
		}
	}
	function FindNonWord(str, startIndex) {
		var _local1 = startIndex;
		while (_local1 < str.length) {
			if (!IsWordSym(str.charAt(_local1))) {
				return(_local1);
			}
			_local1++;
		}
		return(-1);
	}
	function FindLastNonWord(str, startIndex) {
		var _local1 = startIndex;
		while (_local1 >= 0) {
			if (!IsWordSym(str.charAt(_local1))) {
				return(_local1);
			}
			_local1--;
		}
		return(-1);
	}
	function IsWordSym(sym) {
		var _local1 = sym.charCodeAt(0);
		return(((((sym >= "A") && (sym <= "Z")) || ((sym >= "a") && (sym <= "z"))) || ((sym >= "0") && (sym <= "9"))) || ((((_local1 >= 128) && (!((_local1 >= 8192) && (_local1 <= 8303)))) && (!((_local1 >= 160) && (_local1 <= 191)))) && (!((_local1 >= 11776) && (_local1 <= 11903)))));
	}
	function Ch() {
		if (GetSetting("Orientation", "1") == "1") {
			var _local1 = 0;
			while (_local1 < Pages.length) {
				DocArea.visible = GetSetting("CR" + (_local1 + 1), "").indexOf("print2flash.com") != -1;
				if (!NoPrinting) {
					NoPrinting = !DocArea.visible;
				}
				if (!DocArea.visible) {
					break;
				}
				_local1++;
			}
		}
	}
	function FindMatchingPos(text, pos) {
		words = text.split(newline);
		var _local1 = 0;
		var _local2 = 0;
		while (_local1 < words.length) {
			_local2 = _local2 + words[_local1].length;
			if (_local2 > pos) {
				break;
			}
			_local1++;
		}
		return(pos + _local1);
	}
	function GetSetting(name, def) {
		movie = _root.attachMovie(name, name, getNextHighestDepth());
		movie._visible = false;
		val = movie.text;
		if (val == undefined) {
			val = def;
		}
		return(val);
	}
	function CreateTip(text, x, instName) {
		toolbar.createTextField(instName, toolbar.getNextHighestDepth(), 0, toppanelheight, 0, 0);
		var tip = eval ("toolbar." + instName);
		tip._visible = false;
		tip.border = true;
		tip.borderColor = 0;
		tip.background = true;
		tip.backgroundColor = 16777185 /* 0xFFFFE1 */;
		tip.selectable = false;
		tip.setNewTextFormat(new TextFormat("Tahoma", 12, 0, false));
		tip.text = text;
		tip._x = x - (tip._width / 2);
		tip.autoSize = "left";
	}
	function FitWidth() {
		if (scaleMode != "width") {
			SetZoomState("width");
			CalcBaseParameters();
		}
	}
	function FitPage() {
		if (scaleMode != "page") {
			SetZoomState("page");
			CalcBaseParameters();
		}
	}
	function PreviousPage() {
		_root.GoToPage(_root.GetCurrentPageNo() - 1);
	}
	function NextPage() {
		_root.GoToPage(_root.GetCurrentPageNo() + 1);
	}
	function SearchTextExt(text) {
		return(!SearchForText(text));
	}
	function OpenInNewWindow() {
		getURL (_root._url, "_blank");
	}
	function OpenHelpPage() {
		getURL ("http://print2flash.com/help", "_blank");
	}
	_lockroot = true;
	_root._visible = false;
	_root.invalidate();
	_quality  = "best";
	_root.Print2FlashEvents = new CPrint2FlashEvents();
	ZoomFieldFocused = (PageNoFieldFocused = false);
	DocArea.useHandCursor = true;
	DocArea.focusEnabled = false;
	xmargin = 10;
	xinterstice = 10;
	ymargin = 10;
	yinterstice = 10;
	minZoom = 10;
	maxZoom = 250;
	zoomCorr = 96 / GetSetting("Resolution", 96);
	textSelectColor = 65280;
	Rotation = 0;
	var Pages = new Array();
	var BottomArea;
	var MaxPageWidth = 0;
	var MaxPageHeight = 0;
	var depth = 1;
	var PageNo = 1;
	ScanPages();
	var AreaWidth;
	var ClientWidth;
	var BaseScaleFactor;
	var PageNoField = toolbar.PageNoMovie.PageNoFieldMC.PageNoField;
	PageNoField.restrict = "0-9";
	ScaleTextField = toolbar.ScaleTextMovie.ScaleTextField;
	ScaleTextField.restrict = "0-9%";
	_focusrect  = true;
	DblCLickTime = 250;
	NoPrinting = (NoCopying = false);
	var MinSelHScrollRatio = ((MinSelVScrollRatio = 1));
	var MaxSelHScrollRatio = ((MaxSelVScrollRatio = 10));
	toppanelheight = 34;
	TBButtons = new Array({movie:toolbar.logo, nohide:true, flag:1}, {movie:toolbar.moveMode, tip:"Drag", flag:2}, {movie:toolbar.selMode, tip:"Select Text", flag:4}, {movie:toolbar.ZoomSlider, nodropdown:true, flag:8}, {movie:toolbar.ScaleTextMovie, nodropdown:true, flag:16, tip:"Zoom", notiphandler:true}, {movie:toolbar.scaleWidth, tip:"Fit Width", flag:32}, {movie:toolbar.scalePage, tip:"Fit Page", flag:64}, {movie:toolbar.prevpage, tip:"Previous Page", flag:128}, {movie:toolbar.PageNoMovie, nodropdown:true, flag:256, notiphandler:true}, {movie:toolbar.nextpage, tip:"Next Page", flag:512}, {movie:toolbar.searchPatternmc, nodropdown:true, flag:1024, tip:"Type here to search", notiphandler:true}, {movie:toolbar.searchbut, nodropdown:true, flag:2048, tip:"Search"}, {movie:toolbar.rotate, tip:"Rotate", flag:4096}, {movie:toolbar.print, tip:"Print", flag:8192}, {movie:toolbar.newwindow, tip:"Open In New Window", flag:16384}, {movie:toolbar.help, tip:"Help", flag:32768});
	var MoreButWidth = toolbar.more._width;
	TBMargin = 1;
	Stage.scaleMode = "noScale";
	Stage.showMenu = false;
	Stage.align = "TL";
	DocArea._y = toppanelheight;
	StageListener = new Object();
	StageListener.onResize = function () {
		bgr._width = Stage.width;
		bgr._height = Stage.height;
		toolbar.toolbarbgr._width = Stage.width;
		toolbar.DropDownToolbar._visible = false;
		DocArea.setSize(Stage.width, Stage.height - toppanelheight);
		DocArea.vLineScrollSize = DocArea.height / 20;
		DocArea.vPageScrollSize = DocArea.height - DocArea.vLineScrollSize;
		DocArea.hLineScrollSize = DocArea.width / 20;
		DocArea.hPageScrollSize = DocArea.width - DocArea.hLineScrollSize;
		if (scaleMode != "none") {
			CalcBaseParameters();
		}
		CalcBaseParameters();
		LayoutPages();
		LayoutToolbar();
	};
	Stage.addListener(StageListener);
	var UpdateAfterScrollInt = 0;
	DocAreaListener = new Object();
	DocAreaListener.scroll = function (eventObj) {
		UpdatePageNo();
		if ((!UpdateAfterScrollInt) && (eventObj.direction == "vertical")) {
			UpdateAfterScrollInt = setInterval(UpdateAfterScroll, 1);
		}
	};
	DocArea.addEventListener("scroll", DocAreaListener);
	var Dragging = false;
	var DragStartMousePos;
	var DragStartPos;
	var Selecting = false;
	var SelStartInfo;
	var SelEndInfo;
	var Selected = false;
	var SelectScrollInterval;
	var LastPressed;
	DocArea.content.onPress = function () {
		if (mousemode == "move") {
			DragStartMousePos = {x:_root._xmouse, y:_root._ymouse};
			globalPos = DragStartMousePos;
			_root.localToGlobal(globalPos);
			Dragging = this.hitTest(globalPos.x, globalPos.y, true);
			if (Dragging) {
				DragStartPos = {x:DocArea.hPosition, y:DocArea.vPosition};
			}
		} else if ((getTimer() - LastPressed) < DblCLickTime) {
			if ((SelInfo = GetMouseHoverSymbol(10))) {
				SelectWord(SelInfo.page, SelInfo.pos);
				Selected = true;
			}
			Selecting = false;
			LastPressed = undefined;
		} else {
			LastPressed = getTimer();
			Selected = false;
			SelectScrollInterval = setInterval(SelectScroll, 200);
			if (DocArea.hitTest(_root._xmouse, _root._ymouse)) {
				Unselect();
			}
			if (((SelStartInfo = GetMouseHoverSymbol(100))) != false) {
				Selecting = true;
			}
		}
	};
	DocArea.content.onRelease = (DocArea.content.onReleaseOutside = function () {
		if (((mousemode == "select") && (!Selecting)) && (!Selected)) {
			Unselect();
		}
		Dragging = (Selecting = false);
		clearInterval(SelectScrollInterval);
	});
	DocArea.content.onMouseMove = function () {
		if (Dragging) {
			var _local3 = _root._ymouse;
			var _local4 = _root._xmouse;
			if (this.width > this._parent.width) {
				ScrollTo(DragStartPos.x - (_local4 - DragStartMousePos.x));
			}
			if (this.height > this._parent.height) {
				ScrollTo(undefined, DragStartPos.y - (_local3 - DragStartMousePos.y));
			}
		}
		if (Selecting) {
			if (((SelEndInfo = GetMouseHoverSymbol(100))) != false) {
				Unselect();
				if ((SelStartInfo.page < SelEndInfo.page) || ((SelStartInfo.page == SelEndInfo.page) && (SelStartInfo.pos <= SelEndInfo.pos))) {
					FromInfo = SelStartInfo;
					ToInfo = SelEndInfo;
				} else {
					FromInfo = SelEndInfo;
					ToInfo = SelStartInfo;
				}
				i = FromInfo.page;
				while (i <= ToInfo.page) {
					ts = GetTextSnapshot(i);
					if (i == FromInfo.page) {
						start = FromInfo.pos;
					} else {
						start = 0;
					}
					if (i == ToInfo.page) {
						end = ToInfo.pos + 1;
					} else {
						end = ts.getCount();
					}
					ts.setSelected(start, end, true);
					i++;
				}
			}
		}
	};
	var ScaleSlider = new Slider(toolbar.ZoomSlider, minZoom, maxZoom);
	ScaleSlider.onChange = function () {
		ZoomTo(ScaleSlider.GetValue());
		SetZoomState("none");
	};
	var keyListener = new Object();
	keyListener.onKeyDown = function () {
		var _local3 = Selection.getFocus();
		var _local2 = ((_local3 != "_root.toolbar.ScaleTextMovie.ScaleTextField") && (_local3 != "_root.toolbar.PageNoMovie.PageNoFieldMC.PageNoField")) && (_local3 != "_root.toolbar.searchPatternmc.searchPattern");
		switch (Key.getCode()) {
			case 38 : 
				if (_local2) {
					ScrollTo(undefined, DocArea.vPosition - DocArea.vLineScrollSize);
				}
				break;
			case 40 : 
				if (_local2) {
					ScrollTo(undefined, DocArea.vPosition + DocArea.vLineScrollSize);
				}
				break;
			case 37 : 
				if (_local2) {
					ScrollTo(DocArea.hPosition - DocArea.hLineScrollSize, undefined);
				}
				break;
			case 39 : 
				if (_local2) {
					ScrollTo(DocArea.hPosition + DocArea.hLineScrollSize, undefined);
				}
				break;
			case 33 : 
				if (_local2) {
					ScrollTo(undefined, DocArea.vPosition - DocArea.vPageScrollSize);
				}
				break;
			case 34 : 
				if (_local2) {
					ScrollTo(undefined, DocArea.vPosition + DocArea.vPageScrollSize);
				}
				break;
			case 36 : 
				if (_local2) {
					ScrollTo(undefined, 0);
				}
				break;
			case 35 : 
				if (_local2) {
					ScrollTo(undefined, DocArea.maxVPosition);
				}
				break;
			case 80 : 
				if (_local2 && (Key.isDown(17))) {
					_root.Print();
				}
				break;
			case 85 : 
				if (_local2 && (Key.isDown(17))) {
					NextPage();
				}
				break;
			case 89 : 
				if (_local2 && (Key.isDown(17))) {
					PreviousPage();
				}
				break;
			case 107 : 
				if (Key.isDown(17)) {
					ZoomTo(ScaleSlider.GetValue() + 10);
				}
				break;
			case 109 : 
				if (!Key.isDown(17)) { 
					break;
				}
				ZoomTo(ScaleSlider.GetValue() - 10);
		}
		if (Key.getCode() != 13) {
			toolbar.notfoundtip._visible = false;
		}
	};
	keyListener.onKeyUp = function () {
		if (((!NoCopying) && (Key.isDown(17))) && ((Key.getCode() == 67) || (Key.getCode() == 45))) {
			var _local1 = GetSelectedText();
			if (_local1 != "") {
				System.setClipboard(_local1);
			}
		}
	};
	Key.addListener(keyListener);
	var mouseListener = new Object();
	mouseListener.onMouseWheel = function (delta) {
		if (Key.isDown(17)) {
			ZoomTo(ScaleSlider.GetValue() + (delta * 10));
		} else {
			ScrollTo(undefined, DocArea.vPosition - (delta * DocArea.vLineScrollSize));
		}
	};
	Mouse.addListener(mouseListener);
	DocArea.setFocus();
	_root._visible = true;
	ScaleTextField.onKillFocus = function () {
		ProcessZoomEntry();
	};
	PageNoField.onKillFocus = function () {
		ProcessPageNo();
	};
	var TotalPagesField = toolbar.PageNoMovie.TotalPagesMC.TotalPages;
	TotalPagesField.text = "of " + new String(Pages.length);
	var lastSearchTSNo;
	var lastSearchPos;
	var lastSearchText;
	toolbar.searchPatternmc.searchPattern.onChanged = function () {
		toolbar.searchPatternmc.searchPattern.text = RemoveChar(toolbar.searchPatternmc.searchPattern.text, "\r");
	};
	CreateTips();
	Ch();
	onLoad();
	stop();
Instance of Symbol 131 MovieClip [ScrollPane] "DocArea" in Frame 1
//component parameters
onClipEvent (construct) {
	contentPath = "ScrollArea";
	hLineScrollSize = 5;
	hPageScrollSize = 20;
	hScrollPolicy = "auto";
	scrollDrag = false;
	vLineScrollSize = 5;
	vPageScrollSize = 20;
	vScrollPolicy = "auto";
	enabled = true;
	visible = true;
	minHeight = 0;
	minWidth = 0;
}
Instance of Symbol 193 MovieClip "toolbar" in Frame 1
onClipEvent (load) {
	prevpagetip._visible = (nextpagetip._visible = (searchtip._visible = (notfoundtip._visible = (rotatetip._visible = (printtip._visible = (newwindtip._visible = (helptip._visible = (zoomtip._visible = (searchpattip._visible = (pagenotip._visible = (totalpagestip._visible = false)))))))))));
	_root.onMouseDown = function () {
		notfoundtip._visible = false;
	};
}
Symbol 8 MovieClip [#DropDownToolbar] Frame 1
	stop();
	this.onMouseDown = function () {
		i = 0;
		while (i < Buttons.length) {
			Buttons[i].onRollOut();
			i++;
		}
		if ((!hitTest(_root._xmouse, _root._ymouse)) && (!_level0.toolbar.more.hitTest(_root._xmouse, _root._ymouse))) {
			this._visible = false;
		}
	};
Symbol 14 MovieClip [#nextpage] Frame 1
	_but.tabIndex = 8;

	this.onPress = function (keyboard) {
		if (!keyboard) {
			_but.gotoAndStop(3);
		}
		_root.NextPage();
		if (!keyboard) {
			_focusrect  = false;
			Selection.setFocus(this);
			_focusrect  = true;
		}
		_root.toolbar.DropDownToolbar._visible = false;
	};
	this._but.onKeyDown = function () {
		if ((Key.getCode() == 13) || (Key.getCode() == 32)) {
			this._parent.onPress(true);
		}
	};
	this.onRelease = function () {
		_but.gotoAndStop(2);
	};
	this.onReleaseOutside = function () {
		_but.gotoAndStop(1);
	};
	oldonRollOver = this.onRollOver;
	this.onRollOver = function () {
		oldonRollOver();
		_but.gotoAndStop(2);
	};
	oldonRollOut = this.onRollOut;
	this.onRollOut = function () {
		oldonRollOut();
		_but.gotoAndStop(1);
	};
	_but.stop();
Symbol 15 Button
on (press) {
	_root.toolbar.DropDownToolbar._visible = !_root.toolbar.DropDownToolbar._visible;
}
Symbol 19 MovieClip [#selMode] Frame 1
	_but.tabIndex = 2;

	this.onPress = function () {
		if (_global.mousemode == "move") {
			_root.SetMouseMode("select");
		}
		_but.gotoAndStop(3);
		_root.toolbar.DropDownToolbar._visible = false;
	};
	this._but.onKeyDown = function () {
		if ((Key.getCode() == 13) || (Key.getCode() == 32)) {
			this._parent.onPress();
		}
	};
	this.onRelease = (this.onReleaseOutside = function () {
		_but.gotoAndStop(2);
	});
	oldonRollOver = this.onRollOver;
	this.onRollOver = function () {
		oldonRollOver();
		_but.gotoAndStop(2);
	};
	oldonRollOut = this.onRollOut;
	this.onRollOut = function () {
		oldonRollOut();
		if (_global.mousemode == "move") {
			_but.gotoAndStop(1);
		}
	};
	listenerObject = new Object();
	listenerObject.onMouseModeChange = function () {
		if (_global.mousemode == "select") {
			_but.gotoAndStop(2);
		} else {
			_but.gotoAndStop(1);
		}
	};
	listenerObject.onMouseModeChange();
	_root.Print2FlashEvents.addListener(listenerObject);
	_but.stop();
Symbol 21 MovieClip [#newwindow] Frame 1
	_but.tabIndex = 13;

	this.onPress = function () {
		_but.gotoAndStop(3);
		this.onRollOut();
		_root.OpenInNewWindow();
		_root.toolbar.DropDownToolbar._visible = false;
	};
	this._but.onKeyDown = function () {
		if ((Key.getCode() == 13) || (Key.getCode() == 32)) {
			this._parent.onPress();
		}
	};
	this.onRelease = (this.onReleaseOutside = function () {
		_but.gotoAndStop(1);
	});
	oldonRollOver = this.onRollOver;
	this.onRollOver = function () {
		oldonRollOver();
		_but.gotoAndStop(2);
	};
	oldonRollOut = this.onRollOut;
	this.onRollOut = function () {
		oldonRollOut();
		_but.gotoAndStop(1);
	};
	_but.stop();
Symbol 23 MovieClip [#help] Frame 1
	_but.tabIndex = 14;

	this.onPress = function () {
		_but.gotoAndStop(3);
		this.onRollOut();
		_root.OpenHelpPage();
		_root.toolbar.DropDownToolbar._visible = false;
	};
	this._but.onKeyDown = function () {
		if ((Key.getCode() == 13) || (Key.getCode() == 32)) {
			this._parent.onPress();
		}
	};
	this.onRelease = (this.onReleaseOutside = function () {
		_but.gotoAndStop(1);
	});
	oldonRollOver = this.onRollOver;
	this.onRollOver = function () {
		oldonRollOver();
		_but.gotoAndStop(2);
	};
	oldonRollOut = this.onRollOut;
	this.onRollOut = function () {
		oldonRollOut();
		_but.gotoAndStop(1);
	};
	_but.stop();
Symbol 25 MovieClip [#rotate] Frame 1
	_but.tabIndex = 11;

	this.onPress = function (keyboard) {
		if (!keyboard) {
			_but.gotoAndStop(3);
		}
		_root.Rotate();
		if (!keyboard) {
			_focusrect  = false;
			Selection.setFocus(this);
			_focusrect  = true;
		}
		_root.toolbar.DropDownToolbar._visible = false;
	};
	this._but.onKeyDown = function () {
		if ((Key.getCode() == 13) || (Key.getCode() == 32)) {
			this._parent.onPress(true);
		}
	};
	this.onRelease = function () {
		_but.gotoAndStop(2);
	};
	this.onReleaseOutside = function () {
		_but.gotoAndStop(1);
	};
	oldonRollOver = this.onRollOver;
	this.onRollOver = function () {
		oldonRollOver();
		_but.gotoAndStop(2);
	};
	oldonRollOut = this.onRollOut;
	this.onRollOut = function () {
		oldonRollOut();
		_but.gotoAndStop(1);
	};
	_but.stop();
Symbol 27 MovieClip [#prevpage] Frame 1
	_but.tabIndex = 6;

	this.onPress = function (keyboard) {
		if (!keyboard) {
			_but.gotoAndStop(3);
		}
		_root.PreviousPage();
		if (!keyboard) {
			_focusrect  = false;
			Selection.setFocus(this);
			_focusrect  = true;
		}
		_root.toolbar.DropDownToolbar._visible = false;
	};
	this._but.onKeyDown = function () {
		if ((Key.getCode() == 13) || (Key.getCode() == 32)) {
			this._parent.onPress(true);
		}
	};
	this.onRelease = function () {
		_but.gotoAndStop(2);
	};
	this.onReleaseOutside = function () {
		_but.gotoAndStop(1);
	};
	oldonRollOver = this.onRollOver;
	this.onRollOver = function () {
		oldonRollOver();
		_but.gotoAndStop(2);
	};
	oldonRollOut = this.onRollOut;
	this.onRollOut = function () {
		oldonRollOut();
		_but.gotoAndStop(1);
	};
	_but.stop();
Symbol 29 MovieClip [#scalePage] Frame 1
	_but.tabIndex = 5;

	this.onPress = function () {
		_root.FitPage();
		_but.gotoAndStop(3);
		_root.toolbar.DropDownToolbar._visible = false;
	};
	this._but.onKeyDown = function () {
		if ((Key.getCode() == 13) || (Key.getCode() == 32)) {
			this._parent.onPress();
		}
	};
	this.onRelease = (this.onReleaseOutside = function () {
		_but.gotoAndStop(2);
	});
	oldonRollOver = this.onRollOver;
	this.onRollOver = function () {
		oldonRollOver();
		_but.gotoAndStop(2);
	};
	oldonRollOut = this.onRollOut;
	this.onRollOut = function () {
		oldonRollOut();
		trace(_global.scaleMode);
		if (_global.scaleMode != "page") {
			_but.gotoAndStop(1);
		}
	};
	listenerObject = new Object();
	listenerObject.onZoomModeChange = function () {
		if (_global.scaleMode == "page") {
			_but.gotoAndStop(2);
		} else {
			_but.gotoAndStop(1);
		}
	};
	listenerObject.onZoomModeChange();
	_root.Print2FlashEvents.addListener(listenerObject);
	_but.stop();
Symbol 31 MovieClip [#scaleWidth] Frame 1
	_but.tabIndex = 4;

	this.onPress = function () {
		_root.FitWidth();
		_but.gotoAndStop(3);
		_root.toolbar.DropDownToolbar._visible = false;
	};
	this._but.onKeyDown = function () {
		if ((Key.getCode() == 13) || (Key.getCode() == 32)) {
			this._parent.onPress();
		}
	};
	this.onRelease = (this.onReleaseOutside = function () {
		_but.gotoAndStop(2);
	});
	oldonRollOver = this.onRollOver;
	this.onRollOver = function () {
		oldonRollOver();
		_but.gotoAndStop(2);
	};
	oldonRollOut = this.onRollOut;
	this.onRollOut = function () {
		oldonRollOut();
		if (_global.scaleMode != "width") {
			_but.gotoAndStop(1);
		}
	};
	listenerObject = new Object();
	listenerObject.onZoomModeChange = function () {
		if (_global.scaleMode == "width") {
			_but.gotoAndStop(2);
		} else {
			_but.gotoAndStop(1);
		}
	};
	listenerObject.onZoomModeChange();
	_root.Print2FlashEvents.addListener(listenerObject);
	_but.stop();
Symbol 33 MovieClip [#moveMode] Frame 1
	_but.tabIndex = 1;

	this.onPress = function () {
		if (_global.mousemode == "select") {
			_root.SetMouseMode("move");
		}
		_but.gotoAndStop(3);
		_root.toolbar.DropDownToolbar._visible = false;
	};
	this._but.onKeyDown = function () {
		if ((Key.getCode() == 13) || (Key.getCode() == 32)) {
			this._parent.onPress();
		}
	};
	this.onRelease = (this.onReleaseOutside = function () {
		_but.gotoAndStop(2);
	});
	oldonRollOver = this.onRollOver;
	this.onRollOver = function () {
		oldonRollOver();
		_but.gotoAndStop(2);
	};
	oldonRollOut = this.onRollOut;
	this.onRollOut = function () {
		oldonRollOut();
		if (_global.mousemode == "select") {
			_but.gotoAndStop(1);
		}
	};
	listenerObject = new Object();
	listenerObject.onMouseModeChange = function () {
		if (_global.mousemode == "move") {
			_but.gotoAndStop(2);
		} else {
			_but.gotoAndStop(1);
		}
	};
	listenerObject.onMouseModeChange();
	_root.Print2FlashEvents.addListener(listenerObject);
	_but.stop();
Symbol 35 MovieClip [#print] Frame 1
	_but.tabIndex = 12;

	this.onPress = function () {
		this.onRollOut();
		if (!_root.NoPrinting) {
			_root.Print();
		}
		_root.toolbar.DropDownToolbar._visible = false;
	};
	this._but.onKeyDown = function () {
		if ((Key.getCode() == 13) || (Key.getCode() == 32)) {
			this._parent.onPress();
		}
	};
	this.onRelease = (this.onReleaseOutside = function () {
		_but.gotoAndStop(1);
	});
	oldonRollOver = this.onRollOver;
	this.onRollOver = function () {
		oldonRollOver();
		_but.gotoAndStop(2);
	};
	oldonRollOut = this.onRollOut;
	this.onRollOut = function () {
		oldonRollOut();
		_but.gotoAndStop(1);
	};
	_but.stop();
Symbol 44 MovieClip [BrdrShdw] Frame 1
	mx.skins.ColoredSkinElement.setColorStyle(this, "shadowColor");
Symbol 46 MovieClip [BrdrFace] Frame 1
	mx.skins.ColoredSkinElement.setColorStyle(this, "buttonColor");
Symbol 49 MovieClip [BrdrBlk] Frame 1
	mx.skins.ColoredSkinElement.setColorStyle(this, "borderColor");
Symbol 51 MovieClip [BrdrHilght] Frame 1
	mx.skins.ColoredSkinElement.setColorStyle(this, "highlightColor");
Symbol 54 MovieClip [Defaults] Frame 1
	#initclip 36
	Object.registerClass("Defaults", mx.skins.halo.Defaults);
	#endinitclip
Symbol 55 MovieClip [UIObjectExtensions] Frame 1
	#initclip 37
	Object.registerClass("UIObjectExtensions", mx.core.ext.UIObjectExtensions);
	#endinitclip
Symbol 56 MovieClip [UIObject] Frame 1
	#initclip 38
	Object.registerClass("UIObject", mx.core.UIObject);
	#endinitclip

	stop();
Symbol 59 Button
on (keyPress "<Tab>") {
	this.tabHandler();
}
Symbol 60 MovieClip [FocusRect] Frame 1
	#initclip 39
	Object.registerClass("FocusRect", mx.skins.halo.FocusRect);
	#endinitclip
Symbol 61 MovieClip [FocusManager] Frame 1
	#initclip 40
	Object.registerClass("FocusManager", mx.managers.FocusManager);
	#endinitclip

	stop();
Symbol 62 MovieClip [UIComponentExtensions] Frame 1
	#initclip 41
	Object.registerClass("UIComponentExtensions", mx.core.ext.UIComponentExtensions);
	#endinitclip
Symbol 63 MovieClip [UIComponent] Frame 1
	#initclip 42
	Object.registerClass("UIComponent", mx.core.UIComponent);
	#endinitclip

	stop();
Symbol 64 MovieClip [SimpleButton] Frame 1
	#initclip 43
	Object.registerClass("SimpleButton", mx.controls.SimpleButton);
	#endinitclip

	stop();
Symbol 65 MovieClip [Border] Frame 1
	#initclip 44
	Object.registerClass("Border", mx.skins.Border);
	#endinitclip

	stop();
Symbol 66 MovieClip [RectBorder] Frame 1
	#initclip 45
	mx.skins.SkinElement.registerElement(mx.skins.RectBorder.symbolName, Object(mx.skins.RectBorder));
	Object.registerClass("RectBorder", mx.skins.halo.RectBorder);
	#endinitclip

	stop();
Symbol 67 MovieClip [ButtonSkin] Frame 1
	#initclip 46
	Object.registerClass("ButtonSkin", mx.skins.halo.ButtonSkin);
	#endinitclip
Symbol 68 MovieClip [Button] Frame 1
	#initclip 47
	Object.registerClass("Button", mx.controls.Button);
	#endinitclip

	stop();
Instance of Symbol 64 MovieClip [SimpleButton] in Symbol 68 MovieClip [Button] Frame 2
//component parameters
onClipEvent (initialize) {
	selected = false;
	toggle = false;
	enabled = true;
	visible = true;
	minHeight = 0;
	minWidth = 0;
}
Symbol 69 MovieClip [CustomBorder] Frame 1
	#initclip 48
	Object.registerClass("CustomBorder", mx.skins.CustomBorder);
	mx.skins.SkinElement.registerElement("CustomBorder", mx.skins.CustomBorder);
	#endinitclip
Symbol 81 MovieClip [ScrollThemeColor1] Frame 1
	mx.skins.ColoredSkinElement.setColorStyle(this, "themeColor");
Symbol 83 MovieClip [ScrollThemeColor2] Frame 1
	mx.skins.ColoredSkinElement.setColorStyle(this, "themeColor");
Symbol 94 MovieClip [ThumbThemeColor1] Frame 1
	mx.skins.ColoredSkinElement.setColorStyle(this, "themeColor");
Symbol 96 MovieClip [ThumbThemeColor3] Frame 1
	mx.skins.ColoredSkinElement.setColorStyle(this, "themeColor");
Symbol 103 MovieClip [ThumbThemeColor2] Frame 1
	mx.skins.ColoredSkinElement.setColorStyle(this, "themeColor");
Symbol 124 MovieClip [BtnDownArrow] Frame 1
	#initclip 49
	Object.registerClass("BtnDownArrow", mx.controls.SimpleButton);
	#endinitclip
Symbol 125 MovieClip [BtnUpArrow] Frame 1
	#initclip 50
	Object.registerClass("BtnUpArrow", mx.controls.SimpleButton);
	#endinitclip
Symbol 127 MovieClip [HScrollBar] Frame 1
	#initclip 51
	Object.registerClass("HScrollBar", mx.controls.HScrollBar);
	#endinitclip

	stop();
Instance of Symbol 68 MovieClip [Button] in Symbol 127 MovieClip [HScrollBar] Frame 2
//component parameters
onClipEvent (initialize) {
	icon = "";
	label = "Button";
	labelPlacement = "right";
	selected = false;
	toggle = false;
	enabled = true;
	visible = true;
	minHeight = 0;
	minWidth = 0;
}
Instance of Symbol 64 MovieClip [SimpleButton] in Symbol 127 MovieClip [HScrollBar] Frame 2
//component parameters
onClipEvent (initialize) {
	selected = false;
	toggle = false;
	enabled = true;
	visible = true;
	minHeight = 0;
	minWidth = 0;
}
Symbol 128 MovieClip [VScrollBar] Frame 1
	#initclip 52
	Object.registerClass("VScrollBar", mx.controls.VScrollBar);
	#endinitclip

	stop();
Instance of Symbol 68 MovieClip [Button] in Symbol 128 MovieClip [VScrollBar] Frame 2
//component parameters
onClipEvent (initialize) {
	icon = "";
	label = "Button";
	labelPlacement = "right";
	selected = false;
	toggle = false;
	enabled = true;
	visible = true;
	minHeight = 0;
	minWidth = 0;
}
Instance of Symbol 64 MovieClip [SimpleButton] in Symbol 128 MovieClip [VScrollBar] Frame 2
//component parameters
onClipEvent (initialize) {
	selected = false;
	toggle = false;
	enabled = true;
	visible = true;
	minHeight = 0;
	minWidth = 0;
}
Symbol 129 MovieClip [View] Frame 1
	#initclip 53
	Object.registerClass("View", mx.core.View);
	#endinitclip

	stop();
Symbol 130 MovieClip [ScrollView] Frame 1
	#initclip 54
	Object.registerClass("ScrollView", mx.core.ScrollView);
	#endinitclip

	stop();
Instance of Symbol 127 MovieClip [HScrollBar] in Symbol 130 MovieClip [ScrollView] Frame 2
//component parameters
onClipEvent (initialize) {
	enabled = true;
	visible = true;
	minHeight = 0;
	minWidth = 0;
}
Instance of Symbol 128 MovieClip [VScrollBar] in Symbol 130 MovieClip [ScrollView] Frame 2
//component parameters
onClipEvent (initialize) {
	enabled = true;
	visible = true;
	minHeight = 0;
	minWidth = 0;
}
Symbol 131 MovieClip [ScrollPane] Frame 1
	#initclip 55
	Object.registerClass("ScrollPane", mx.containers.ScrollPane);
	#endinitclip

	stop();
Symbol 176 MovieClip Frame 1
	SliderHandleBtn._accProps = new Object();
	SliderHandleBtn._accProps.silent = true;
Symbol 177 MovieClip Frame 1
	SliderHandle._accProps = new Object();
	SliderHandle._accProps.silent = true;
Symbol 181 MovieClip Frame 1
	ScaleTextField._accProps = new Object();
	ScaleTextField._accProps.name = "Zoom";

	ScaleTextField.tabIndex = 3;
Symbol 186 MovieClip Frame 1
	PageNoField._accProps = new Object();
	PageNoField._accProps.name = "Go to page";

	PageNoField.tabIndex = 7;
Symbol 187 MovieClip Frame 1
	PageNoFieldMC._accProps = new Object();
	PageNoFieldMC._accProps.name = "Go to page";
Instance of Symbol 186 MovieClip "PageNoFieldMC" in Symbol 187 MovieClip Frame 1
onClipEvent (load) {
	function ShowPageNoFieldTip(show) {
		_parent._parent.pagenotip._visible = ((!Accessibility.isActive()) && (_parent._visible)) && (show);
	}
	PageNoField.onSetFocus = function () {
		ShowPageNoFieldTip(false);
		_root.PageNoFieldFocused = true;
	};
	PageNoField.onKillFocus = function () {
		_root.PageNoFieldFocused = false;
	};
}
onClipEvent (mouseMove) {
	var pagenotipvis = hitTest(_root._xmouse, _root._ymouse, false);
	ShowPageNoFieldTip((!_root.PageNoFieldFocused) && (pagenotipvis));
	var totpagtipvis = ((!Accessibility.isActive()) && (_parent.TotalPagesMC.hitTest(_root._xmouse, _root._ymouse, false)));
	_parent._parent.totalpagestip._visible = (_parent._visible && (totpagtipvis)) && (!pagenotipvis);
}
onClipEvent (keyDown) {
	if (_root.PageNoFieldFocused && (Key.getCode() == 13)) {
		_root.ProcessPageNo();
	}
}
Symbol 190 MovieClip Frame 1
	searchPattern._accProps = new Object();
	searchPattern._accProps.name = "Search";

	searchPattern.tabIndex = 9;
Symbol 192 MovieClip Frame 1
	_but.tabIndex = 10;

	this.onPress = function (keyboard) {
		if (!keyboard) {
			_but.gotoAndStop(3);
		}
		_root.Search();
		if (!keyboard) {
			_focusrect  = false;
			Selection.setFocus(this);
			_focusrect  = true;
		}
		_root.toolbar.DropDownToolbar._visible = false;
	};
	this._but.onKeyDown = function () {
		if ((Key.getCode() == 13) || (Key.getCode() == 32)) {
			this._parent.onPress(true);
		}
	};
	this.onRelease = function () {
		_but.gotoAndStop(2);
	};
	this.onReleaseOutside = function () {
		_but.gotoAndStop(1);
	};
	oldonRollOver = this.onRollOver;
	this.onRollOver = function () {
		oldonRollOver();
		_but.gotoAndStop(2);
	};
	oldonRollOut = this.onRollOut;
	this.onRollOut = function () {
		oldonRollOut();
		_but.gotoAndStop(1);
	};
	_but.stop();
Symbol 193 MovieClip Frame 1
	logo._accProps = new Object();
	logo._accProps.silent = true;

	print._accProps = new Object();
	print._accProps.name = "Print";
	print._accProps.shortcut = "Control+P";
	print._accProps.forceSimple = true;

	ZoomSlider._accProps = new Object();
	ZoomSlider._accProps.silent = true;

	ScaleTextMovie._accProps = new Object();
	ScaleTextMovie._accProps.name = "Zoom";

	moveMode._accProps = new Object();
	moveMode._accProps.name = "Drag";
	moveMode._accProps.forceSimple = true;

	scaleWidth._accProps = new Object();
	scaleWidth._accProps.name = "Fit width";
	scaleWidth._accProps.forceSimple = true;

	scalePage._accProps = new Object();
	scalePage._accProps.name = "Fit page";
	scalePage._accProps.forceSimple = true;

	prevpage._accProps = new Object();
	prevpage._accProps.name = "Previous page";
	prevpage._accProps.shortcut = "Control+Y";
	prevpage._accProps.forceSimple = true;

	rotate._accProps = new Object();
	rotate._accProps.name = "Rotate";
	rotate._accProps.forceSimple = true;

	help._accProps = new Object();
	help._accProps.name = "Help";
	help._accProps.forceSimple = true;

	newwindow._accProps = new Object();
	newwindow._accProps.name = "Open in New Window";
	newwindow._accProps.forceSimple = true;

	selMode._accProps = new Object();
	selMode._accProps.name = "Select Text";
	selMode._accProps.forceSimple = true;

	more._accProps = new Object();
	more._accProps.silent = true;

	nextpage._accProps = new Object();
	nextpage._accProps.name = "Next page";
	nextpage._accProps.shortcut = "Control+U";
	nextpage._accProps.forceSimple = true;

	searchPatternmc._accProps = new Object();
	searchPatternmc._accProps.name = "Search";

	searchbut._accProps = new Object();
	searchbut._accProps.name = "Search";
	searchbut._accProps.forceSimple = true;
Instance of Symbol 171 MovieClip "logo" in Symbol 193 MovieClip Frame 1
onClipEvent (enterFrame) {
	this.onPress = function () {
		getURL ("http://print2flash.com", "_blank");
	};
}
Instance of Symbol 181 MovieClip "ScaleTextMovie" in Symbol 193 MovieClip Frame 1
onClipEvent (load) {
	function ShowZoomTip(show) {
		_parent.ScaleTextMovietip._visible = ((!Accessibility.isActive()) && (_parent.ScaleTextMovie._visible)) && (show);
	}
	ScaleTextField.onSetFocus = function () {
		ShowZoomTip(false);
		_root.ZoomFieldFocused = true;
	};
	ScaleTextField.onKillFocus = function () {
		_root.ZoomFieldFocused = false;
	};
}
onClipEvent (mouseMove) {
	ShowZoomTip((!_root.ZoomFieldFocused) && (hitTest(_root._xmouse, _root._ymouse, false)));
}
onClipEvent (keyDown) {
	if (_root.ZoomFieldFocused && (Key.getCode() == 13)) {
		_root.ProcessZoomEntry();
	}
}
Instance of Symbol 190 MovieClip "searchPatternmc" in Symbol 193 MovieClip Frame 1
onClipEvent (load) {
	function ShowSearchPatTip(show) {
		_parent.searchPatternmctip._visible = ((!Accessibility.isActive()) && (_parent.searchPatternmc._visible)) && (show);
	}
	searchPattern.onSetFocus = function () {
		ShowSearchPatTip(false);
		_root.SearchFieldFocused = true;
	};
	searchPattern.onKillFocus = function () {
		_root.SearchFieldFocused = false;
	};
}
onClipEvent (mouseMove) {
	ShowSearchPatTip((!_root.SearchFieldFocused) && (hitTest(_root._xmouse, _root._ymouse, false)));
}
onClipEvent (keyDown) {
	if (_root.SearchFieldFocused && (Key.getCode() == 13)) {
		_root.Search();
	}
}
Symbol 198 MovieClip [__Packages.CPrint2FlashEvents] Frame 0
	class CPrint2FlashEvents
	{
		function CPrint2FlashEvents () {
		}
		function addListener(listener) {
			listeners.push(listener);
		}
		function fireEvent(event) {
			var i = 0;
			while (i < listeners.length) {
				var listener = listeners[i];
				var func = eval ("listener." + event);
				func.call(listener);
				i++;
			}
		}
		var listeners = Array();
	}
Symbol 199 MovieClip [__Packages.Slider] Frame 0
	class Slider
	{
		var SliderControl, Min, Max, Width, SliderHandleMC, SliderHandle, Slider;
		function Slider (SliderControl, Min, Max) {
			this.SliderControl = SliderControl;
			this.Min = Min;
			this.Max = Max;
			Width = Math.floor(SliderControl._width - SliderControl.SliderHandle._width);
			SliderHandleMC = SliderControl.SliderHandle;
			SliderHandle = SliderHandleMC.SliderHandleBtn;
			SliderHandle.onPress = onHandlePress;
			SliderHandle.Slider = this;
			SliderControl.Slider = this;
			SliderHandle.onRelease = (SliderHandle.onReleaseOutside = onHandleRelease);
			SliderControl.onMouseDown = onMouseDown;
		}
		function GetValue() {
			return(Math.round(Min + ((SliderControl.SliderHandle._x / Width) * (Max - Min))));
		}
		function SetValue(val) {
			if (val > Max) {
				val = Max;
			} else if (val < Min) {
				val = Min;
			}
			SliderControl.SliderHandle._x = ((val - Min) / (Max - Min)) * Width;
		}
		function onHandlePress() {
			startDrag (Slider.SliderControl.SliderHandle, false, 0, 0, Slider.Width, 0);
		}
		function onHandleRelease() {
			stopDrag();
			Slider.onChange();
		}
		function onMouseDown() {
			if ((Slider.SliderControl._visible && (Slider.SliderControl.hitTest(_root._xmouse, _root._ymouse))) && (!Slider.SliderHandleMC.hitTest(_root._xmouse, _root._ymouse))) {
				Slider.SetValue(Math.round(Slider.Min + ((Slider.SliderControl._xmouse / Slider.Width) * (Slider.Max - Slider.Min))));
				Slider.onChange();
			}
		}
	}
Symbol 36 MovieClip [__Packages.mx.core.UIObject] Frame 0
	class mx.core.UIObject extends MovieClip
	{
		var _width, _height, _x, _y, _parent, _minHeight, _minWidth, _visible, dispatchEvent, _xscale, _yscale, methodTable, onEnterFrame, tfList, __width, __height, moveTo, lineTo, createTextField, attachMovie, buildDepthTable, findNextAvailableDepth, idNames, childrenCreated, _name, createAccessibilityImplementation, _endInit, validateNow, hasOwnProperty, initProperties, stylecache, className, ignoreClassStyleDeclaration, _tf, fontFamily, fontSize, color, marginLeft, marginRight, fontStyle, fontWeight, textAlign, textIndent, textDecoration, embedFonts, styleName, enabled;
		function UIObject () {
			super();
			constructObject();
		}
		function get width() {
			return(_width);
		}
		function get height() {
			return(_height);
		}
		function get left() {
			return(_x);
		}
		function get x() {
			return(_x);
		}
		function get top() {
			return(_y);
		}
		function get y() {
			return(_y);
		}
		function get right() {
			return(_parent.width - (_x + width));
		}
		function get bottom() {
			return(_parent.height - (_y + height));
		}
		function getMinHeight(Void) {
			return(_minHeight);
		}
		function setMinHeight(h) {
			_minHeight = h;
		}
		function get minHeight() {
			return(getMinHeight());
		}
		function set minHeight(h) {
			setMinHeight(h);
			//return(minHeight);
		}
		function getMinWidth(Void) {
			return(_minWidth);
		}
		function setMinWidth(w) {
			_minWidth = w;
		}
		function get minWidth() {
			return(getMinWidth());
		}
		function set minWidth(w) {
			setMinWidth(w);
			//return(minWidth);
		}
		function setVisible(x, noEvent) {
			if (x != _visible) {
				_visible = x;
				if (noEvent != true) {
					dispatchEvent({type:(x ? "reveal" : "hide")});
				}
			}
		}
		function get visible() {
			return(_visible);
		}
		function set visible(x) {
			setVisible(x, false);
			//return(visible);
		}
		function get scaleX() {
			return(_xscale);
		}
		function set scaleX(x) {
			_xscale = x;
			//return(scaleX);
		}
		function get scaleY() {
			return(_yscale);
		}
		function set scaleY(y) {
			_yscale = y;
			//return(scaleY);
		}
		function doLater(obj, fn) {
			if (methodTable == undefined) {
				methodTable = new Array();
			}
			methodTable.push({obj:obj, fn:fn});
			onEnterFrame = doLaterDispatcher;
		}
		function doLaterDispatcher(Void) {
			delete onEnterFrame;
			if (invalidateFlag) {
				redraw();
			}
			var _local3 = methodTable;
			methodTable = new Array();
			if (_local3.length > 0) {
				var _local2;
				while (_local2 = _local3.shift() , _local2 != undefined) {
					_local2.obj[_local2.fn]();
				}
			}
		}
		function cancelAllDoLaters(Void) {
			delete onEnterFrame;
			methodTable = new Array();
		}
		function invalidate(Void) {
			invalidateFlag = true;
			onEnterFrame = doLaterDispatcher;
		}
		function invalidateStyle(Void) {
			invalidate();
		}
		function redraw(bAlways) {
			if (invalidateFlag || (bAlways)) {
				invalidateFlag = false;
				var _local2;
				for (_local2 in tfList) {
					tfList[_local2].draw();
				}
				draw();
				dispatchEvent({type:"draw"});
			}
		}
		function draw(Void) {
		}
		function move(x, y, noEvent) {
			var _local3 = _x;
			var _local2 = _y;
			_x = x;
			_y = y;
			if (noEvent != true) {
				dispatchEvent({type:"move", oldX:_local3, oldY:_local2});
			}
		}
		function setSize(w, h, noEvent) {
			var _local2 = __width;
			var _local3 = __height;
			__width = w;
			__height = h;
			size();
			if (noEvent != true) {
				dispatchEvent({type:"resize", oldWidth:_local2, oldHeight:_local3});
			}
		}
		function size(Void) {
			_width = __width;
			_height = __height;
		}
		function drawRect(x1, y1, x2, y2) {
			moveTo(x1, y1);
			lineTo(x2, y1);
			lineTo(x2, y2);
			lineTo(x1, y2);
			lineTo(x1, y1);
		}
		function createLabel(name, depth, text) {
			createTextField(name, depth, 0, 0, 0, 0);
			var _local2 = this[name];
			_local2._color = textColorList;
			_local2._visible = false;
			_local2.__text = text;
			if (tfList == undefined) {
				tfList = new Object();
			}
			tfList[name] = _local2;
			_local2.invalidateStyle();
			invalidate();
			_local2.styleName = this;
			return(_local2);
		}
		function createObject(linkageName, id, depth, initobj) {
			return(attachMovie(linkageName, id, depth, initobj));
		}
		function createClassObject(className, id, depth, initobj) {
			var _local3 = className.symbolName == undefined;
			if (_local3) {
				Object.registerClass(className.symbolOwner.symbolName, className);
			}
			var _local4 = createObject(className.symbolOwner.symbolName, id, depth, initobj);
			if (_local3) {
				Object.registerClass(className.symbolOwner.symbolName, className.symbolOwner);
			}
			return(_local4);
		}
		function createEmptyObject(id, depth) {
			return(createClassObject(mx.core.UIObject, id, depth));
		}
		function destroyObject(id) {
			var _local2 = this[id];
			if (_local2.getDepth() < 0) {
				var _local4 = buildDepthTable();
				var _local5 = findNextAvailableDepth(0, _local4, "up");
				var _local3 = _local5;
				_local2.swapDepths(_local3);
			}
			_local2.removeMovieClip();
			delete this[id];
		}
		function getSkinIDName(tag) {
			return(idNames[tag]);
		}
		function setSkin(tag, linkageName, initObj) {
			if (_global.skinRegistry[linkageName] == undefined) {
				mx.skins.SkinElement.registerElement(linkageName, mx.skins.SkinElement);
			}
			return(createObject(linkageName, getSkinIDName(tag), tag, initObj));
		}
		function createSkin(tag) {
			var _local2 = getSkinIDName(tag);
			createEmptyObject(_local2, tag);
			return(this[_local2]);
		}
		function createChildren(Void) {
		}
		function _createChildren(Void) {
			createChildren();
			childrenCreated = true;
		}
		function constructObject(Void) {
			if (_name == undefined) {
				return(undefined);
			}
			init();
			_createChildren();
			createAccessibilityImplementation();
			_endInit();
			if (validateNow) {
				redraw(true);
			} else {
				invalidate();
			}
		}
		function initFromClipParameters(Void) {
			var _local4 = false;
			var _local2;
			for (_local2 in clipParameters) {
				if (hasOwnProperty(_local2)) {
					_local4 = true;
					this["def_" + _local2] = this[_local2];
					delete this[_local2];
				}
			}
			if (_local4) {
				for (_local2 in clipParameters) {
					var _local3 = this["def_" + _local2];
					if (_local3 != undefined) {
						this[_local2] = _local3;
					}
				}
			}
		}
		function init(Void) {
			__width = _width;
			__height = _height;
			if (initProperties == undefined) {
				initFromClipParameters();
			} else {
				initProperties();
			}
			if (_global.cascadingStyles == true) {
				stylecache = new Object();
			}
		}
		function getClassStyleDeclaration(Void) {
			var _local4 = this;
			var _local3 = className;
			while (_local3 != undefined) {
				if (ignoreClassStyleDeclaration[_local3] == undefined) {
					if (_global.styles[_local3] != undefined) {
						return(_global.styles[_local3]);
					}
				}
				_local4 = _local4.__proto__;
				_local3 = _local4.className;
			}
		}
		function setColor(color) {
		}
		function __getTextFormat(tf, bAll) {
			var _local8 = stylecache.tf;
			if (_local8 != undefined) {
				var _local3;
				for (_local3 in mx.styles.StyleManager.TextFormatStyleProps) {
					if (bAll || (mx.styles.StyleManager.TextFormatStyleProps[_local3])) {
						if (tf[_local3] == undefined) {
							tf[_local3] = _local8[_local3];
						}
					}
				}
				return(false);
			}
			var _local6 = false;
			for (var _local3 in mx.styles.StyleManager.TextFormatStyleProps) {
				if (bAll || (mx.styles.StyleManager.TextFormatStyleProps[_local3])) {
					if (tf[_local3] == undefined) {
						var _local5 = _tf[_local3];
						if (_local5 != undefined) {
							tf[_local3] = _local5;
						} else if ((_local3 == "font") && (fontFamily != undefined)) {
							tf[_local3] = fontFamily;
						} else if ((_local3 == "size") && (fontSize != undefined)) {
							tf[_local3] = fontSize;
						} else if ((_local3 == "color") && (color != undefined)) {
							tf[_local3] = color;
						} else if ((_local3 == "leftMargin") && (marginLeft != undefined)) {
							tf[_local3] = marginLeft;
						} else if ((_local3 == "rightMargin") && (marginRight != undefined)) {
							tf[_local3] = marginRight;
						} else if ((_local3 == "italic") && (fontStyle != undefined)) {
							tf[_local3] = fontStyle == _local3;
						} else if ((_local3 == "bold") && (fontWeight != undefined)) {
							tf[_local3] = fontWeight == _local3;
						} else if ((_local3 == "align") && (textAlign != undefined)) {
							tf[_local3] = textAlign;
						} else if ((_local3 == "indent") && (textIndent != undefined)) {
							tf[_local3] = textIndent;
						} else if ((_local3 == "underline") && (textDecoration != undefined)) {
							tf[_local3] = textDecoration == _local3;
						} else if ((_local3 == "embedFonts") && (embedFonts != undefined)) {
							tf[_local3] = embedFonts;
						} else {
							_local6 = true;
						}
					}
				}
			}
			if (_local6) {
				var _local9 = styleName;
				if (_local9 != undefined) {
					if (typeof(_local9) != "string") {
						_local6 = _local9.__getTextFormat(tf, true, this);
					} else if (_global.styles[_local9] != undefined) {
						_local6 = _global.styles[_local9].__getTextFormat(tf, true, this);
					}
				}
			}
			if (_local6) {
				var _local10 = getClassStyleDeclaration();
				if (_local10 != undefined) {
					_local6 = _local10.__getTextFormat(tf, true, this);
				}
			}
			if (_local6) {
				if (_global.cascadingStyles) {
					if (_parent != undefined) {
						_local6 = _parent.__getTextFormat(tf, false);
					}
				}
			}
			if (_local6) {
				_local6 = _global.style.__getTextFormat(tf, true, this);
			}
			return(_local6);
		}
		function _getTextFormat(Void) {
			var _local2 = stylecache.tf;
			if (_local2 != undefined) {
				return(_local2);
			}
			_local2 = new TextFormat();
			__getTextFormat(_local2, true);
			stylecache.tf = _local2;
			if (enabled == false) {
				var _local3 = getStyle("disabledColor");
				_local2.color = _local3;
			}
			return(_local2);
		}
		function getStyleName(Void) {
			var _local2 = styleName;
			if (_local2 != undefined) {
				if (typeof(_local2) != "string") {
					return(_local2.getStyleName());
				}
				return(_local2);
			}
			if (_parent != undefined) {
				return(_parent.getStyleName());
			}
			return(undefined);
		}
		function getStyle(styleProp) {
			var _local3;
			_global.getStyleCounter++;
			if (this[styleProp] != undefined) {
				return(this[styleProp]);
			}
			var _local6 = styleName;
			if (_local6 != undefined) {
				if (typeof(_local6) != "string") {
					_local3 = _local6.getStyle(styleProp);
				} else {
					var _local7 = _global.styles[_local6];
					_local3 = _local7.getStyle(styleProp);
				}
			}
			if (_local3 != undefined) {
				return(_local3);
			}
			var _local7 = getClassStyleDeclaration();
			if (_local7 != undefined) {
				_local3 = _local7[styleProp];
			}
			if (_local3 != undefined) {
				return(_local3);
			}
			if (_global.cascadingStyles) {
				if (mx.styles.StyleManager.isInheritingStyle(styleProp) || (mx.styles.StyleManager.isColorStyle(styleProp))) {
					var _local5 = stylecache;
					if (_local5 != undefined) {
						if (_local5[styleProp] != undefined) {
							return(_local5[styleProp]);
						}
					}
					if (_parent != undefined) {
						_local3 = _parent.getStyle(styleProp);
					} else {
						_local3 = _global.style[styleProp];
					}
					if (_local5 != undefined) {
						_local5[styleProp] = _local3;
					}
					return(_local3);
				}
			}
			if (_local3 == undefined) {
				_local3 = _global.style[styleProp];
			}
			return(_local3);
		}
		static function mergeClipParameters(o, p) {
			for (var _local3 in p) {
				o[_local3] = p[_local3];
			}
			return(true);
		}
		static var symbolName = "UIObject";
		static var symbolOwner = mx.core.UIObject;
		static var version = "2.0.0.360";
		static var textColorList = {color:1, disabledColor:1};
		var invalidateFlag = false;
		var lineWidth = 1;
		var lineColor = 0;
		var tabEnabled = false;
		var clipParameters = {visible:1, minHeight:1, minWidth:1, maxHeight:1, maxWidth:1, preferredHeight:1, preferredWidth:1};
	}
Symbol 37 MovieClip [__Packages.mx.core.UIComponent] Frame 0
	class mx.core.UIComponent extends mx.core.UIObject
	{
		var __width, __height, invalidate, stylecache, removeEventListener, dispatchEvent, drawFocus, addEventListener, _xscale, _yscale, _focusrect, watch, enabled;
		function UIComponent () {
			super();
		}
		function get width() {
			return(__width);
		}
		function get height() {
			return(__height);
		}
		function setVisible(x, noEvent) {
			super.setVisible(x, noEvent);
		}
		function enabledChanged(id, oldValue, newValue) {
			setEnabled(newValue);
			invalidate();
			delete stylecache.tf;
			return(newValue);
		}
		function setEnabled(enabled) {
			invalidate();
		}
		function getFocus() {
			var selFocus = Selection.getFocus();
			return(((selFocus === null) ? null : (eval (selFocus))));
		}
		function setFocus() {
			Selection.setFocus(this);
		}
		function getFocusManager() {
			var _local2 = this;
			while (_local2 != undefined) {
				if (_local2.focusManager != undefined) {
					return(_local2.focusManager);
				}
				_local2 = _local2._parent;
			}
			return(undefined);
		}
		function onKillFocus(newFocus) {
			removeEventListener("keyDown", this);
			removeEventListener("keyUp", this);
			dispatchEvent({type:"focusOut"});
			drawFocus(false);
		}
		function onSetFocus(oldFocus) {
			addEventListener("keyDown", this);
			addEventListener("keyUp", this);
			dispatchEvent({type:"focusIn"});
			if (getFocusManager().bDrawFocus != false) {
				drawFocus(true);
			}
		}
		function findFocusInChildren(o) {
			if (o.focusTextField != undefined) {
				return(o.focusTextField);
			}
			if (o.tabEnabled == true) {
				return(o);
			}
			return(undefined);
		}
		function findFocusFromObject(o) {
			if (o.tabEnabled != true) {
				if (o._parent == undefined) {
					return(undefined);
				}
				if (o._parent.tabEnabled == true) {
					o = o._parent;
				} else if (o._parent.tabChildren) {
					o = findFocusInChildren(o._parent);
				} else {
					o = findFocusFromObject(o._parent);
				}
			}
			return(o);
		}
		function pressFocus() {
			var _local3 = findFocusFromObject(this);
			var _local2 = getFocus();
			if (_local3 != _local2) {
				_local2.drawFocus(false);
				if (getFocusManager().bDrawFocus != false) {
					_local3.drawFocus(true);
				}
			}
		}
		function releaseFocus() {
			var _local2 = findFocusFromObject(this);
			if (_local2 != getFocus()) {
				_local2.setFocus();
			}
		}
		function isParent(o) {
			while (o != undefined) {
				if (o == this) {
					return(true);
				}
				o = o._parent;
			}
			return(false);
		}
		function size() {
		}
		function init() {
			super.init();
			_xscale = 100;
			_yscale = 100;
			_focusrect = _global.useFocusRect == false;
			watch("enabled", enabledChanged);
			if (enabled == false) {
				setEnabled(false);
			}
		}
		function dispatchValueChangedEvent(value) {
			dispatchEvent({type:"valueChanged", value:value});
		}
		static var symbolName = "UIComponent";
		static var symbolOwner = mx.core.UIComponent;
		static var version = "2.0.0.360";
		static var kStretch = 5000;
		var focusEnabled = true;
		var tabEnabled = true;
		var origBorderStyles = {themeColor:16711680};
		var clipParameters = {};
		static var mergedClipParameters = mx.core.UIObject.mergeClipParameters(mx.core.UIComponent.prototype.clipParameters, mx.core.UIObject.prototype.clipParameters);
	}
Symbol 38 MovieClip [__Packages.mx.core.View] Frame 0
	class mx.core.View extends mx.core.UIComponent
	{
		var tabChildren, tabEnabled, boundingBox_mc, border_mc, __get__width, __get__height, __tabIndex, depth, createObject, createClassObject, loadExternal, destroyObject, createClassChildAtDepth, doLater;
		function View () {
			super();
		}
		function init() {
			super.init();
			tabChildren = true;
			tabEnabled = false;
			boundingBox_mc._visible = false;
			boundingBox_mc._width = (boundingBox_mc._height = 0);
		}
		function size() {
			border_mc.move(0, 0);
			border_mc.setSize(__get__width(), __get__height());
			doLayout();
		}
		function draw() {
			size();
		}
		function get numChildren() {
			var _local3 = childNameBase;
			var _local2 = 0;
			while (true) {
				if (this[_local3 + _local2] == undefined) {
					return(_local2);
				}
				_local2++;
			}
		}
		function get tabIndex() {
			return((tabEnabled ? (__tabIndex) : undefined));
		}
		function set tabIndex(n) {
			__tabIndex = n;
			//return(tabIndex);
		}
		function addLayoutObject(object) {
		}
		function createChild(className, instanceName, initProps) {
			if (depth == undefined) {
				depth = 1;
			}
			var _local2;
			if (typeof(className) == "string") {
				_local2 = createObject(className, instanceName, depth++, initProps);
			} else {
				_local2 = createClassObject(className, instanceName, depth++, initProps);
			}
			if (_local2 == undefined) {
				_local2 = loadExternal(className, _loadExternalClass, instanceName, depth++, initProps);
			} else {
				this[childNameBase + numChildren] = _local2;
				_local2._complete = true;
				childLoaded(_local2);
			}
			addLayoutObject(_local2);
			return(_local2);
		}
		function getChildAt(childIndex) {
			return(this[childNameBase + childIndex]);
		}
		function destroyChildAt(childIndex) {
			if (!((childIndex >= 0) && (childIndex < numChildren))) {
				return(undefined);
			}
			var _local4 = childNameBase + childIndex;
			var _local6 = numChildren;
			var _local3;
			for (_local3 in this) {
				if (_local3 == _local4) {
					_local4 = "";
					destroyObject(_local3);
					break;
				}
			}
			var _local2 = Number(childIndex);
			while (_local2 < (_local6 - 1)) {
				this[childNameBase + _local2] = this[childNameBase + (_local2 + 1)];
				_local2++;
			}
			delete this[childNameBase + (_local6 - 1)];
			depth--;
		}
		function initLayout() {
			if (!hasBeenLayedOut) {
				doLayout();
			}
		}
		function doLayout() {
			hasBeenLayedOut = true;
		}
		function createChildren() {
			if (border_mc == undefined) {
				border_mc = createClassChildAtDepth(_global.styles.rectBorderClass, mx.managers.DepthManager.kBottom, {styleName:this});
			}
			doLater(this, "initLayout");
		}
		function convertToUIObject(obj) {
		}
		function childLoaded(obj) {
			convertToUIObject(obj);
		}
		static function extension() {
			mx.core.ExternalContent.enableExternalContent();
		}
		static var symbolName = "View";
		static var symbolOwner = mx.core.View;
		static var version = "2.0.0.360";
		var className = "View";
		static var childNameBase = "_child";
		var hasBeenLayedOut = false;
		var _loadExternalClass = "UIComponent";
	}
Symbol 39 MovieClip [__Packages.mx.core.ScrollView] Frame 0
	class mx.core.ScrollView extends mx.core.View
	{
		var __width, hScroller, vScroller, __maxHPosition, propsInited, scrollAreaChanged, specialHScrollCase, createObject, viewableColumns, __height, oldRndUp, viewableRows, __viewMetrics, owner, enabled, border_mc, __get__width, __get__height, invLayout, mask_mc, _parent, dispatchEvent;
		function ScrollView () {
			super();
		}
		function getHScrollPolicy(Void) {
			return(__hScrollPolicy);
		}
		function setHScrollPolicy(policy) {
			__hScrollPolicy = policy.toLowerCase();
			if (__width == undefined) {
				return(undefined);
			}
			setScrollProperties(numberOfCols, columnWidth, rowC, rowH, heightPadding, widthPadding);
		}
		function get hScrollPolicy() {
			return(getHScrollPolicy());
		}
		function set hScrollPolicy(policy) {
			setHScrollPolicy(policy);
			//return(hScrollPolicy);
		}
		function getVScrollPolicy(Void) {
			return(__vScrollPolicy);
		}
		function setVScrollPolicy(policy) {
			__vScrollPolicy = policy.toLowerCase();
			if (__width == undefined) {
				return(undefined);
			}
			setScrollProperties(numberOfCols, columnWidth, rowC, rowH, heightPadding, widthPadding);
		}
		function get vScrollPolicy() {
			return(getVScrollPolicy());
		}
		function set vScrollPolicy(policy) {
			setVScrollPolicy(policy);
			//return(vScrollPolicy);
		}
		function get hPosition() {
			return(getHPosition());
		}
		function set hPosition(pos) {
			setHPosition(pos);
			//return(hPosition);
		}
		function getHPosition(Void) {
			return(__hPosition);
		}
		function setHPosition(pos) {
			hScroller.__set__scrollPosition(pos);
			__hPosition = pos;
		}
		function get vPosition() {
			return(getVPosition());
		}
		function set vPosition(pos) {
			setVPosition(pos);
			//return(vPosition);
		}
		function getVPosition(Void) {
			return(__vPosition);
		}
		function setVPosition(pos) {
			vScroller.__set__scrollPosition(pos);
			__vPosition = pos;
		}
		function get maxVPosition() {
			var _local2 = vScroller.maxPos;
			return(((_local2 == undefined) ? 0 : (_local2)));
		}
		function get maxHPosition() {
			return(getMaxHPosition());
		}
		function set maxHPosition(pos) {
			setMaxHPosition(pos);
			//return(maxHPosition);
		}
		function getMaxHPosition(Void) {
			if (__maxHPosition != undefined) {
				return(__maxHPosition);
			}
			var _local2 = hScroller.maxPos;
			return(((_local2 == undefined) ? 0 : (_local2)));
		}
		function setMaxHPosition(pos) {
			__maxHPosition = pos;
		}
		function setScrollProperties(colCount, colWidth, rwCount, rwHeight, hPadding, wPadding) {
			var _local3 = getViewMetrics();
			if (hPadding == undefined) {
				hPadding = 0;
			}
			if (wPadding == undefined) {
				wPadding = 0;
			}
			propsInited = true;
			delete scrollAreaChanged;
			heightPadding = hPadding;
			widthPadding = wPadding;
			if (colWidth == 0) {
				colWidth = 1;
			}
			if (rwHeight == 0) {
				rwHeight = 1;
			}
			var _local5 = Math.ceil((((__width - _local3.left) - _local3.right) - widthPadding) / colWidth);
			if ((__hScrollPolicy == "on") || ((_local5 < colCount) && (__hScrollPolicy == "auto"))) {
				if ((hScroller == undefined) || (specialHScrollCase)) {
					delete specialHScrollCase;
					hScroller = createObject("HScrollBar", "hSB", 1001);
					hScroller.__set__lineScrollSize(20);
					hScroller.scrollHandler = scrollProxy;
					hScroller.__set__scrollPosition(__hPosition);
					scrollAreaChanged = true;
				}
				if ((((numberOfCols != colCount) || (columnWidth != colWidth)) || (viewableColumns != _local5)) || (scrollAreaChanged)) {
					hScroller.setScrollProperties(_local5, 0, colCount - _local5);
					viewableColumns = _local5;
					numberOfCols = colCount;
					columnWidth = colWidth;
				}
			} else if (((__hScrollPolicy == "auto") || (__hScrollPolicy == "off")) && (hScroller != undefined)) {
				hScroller.removeMovieClip();
				delete hScroller;
				scrollAreaChanged = true;
			}
			if (heightPadding == undefined) {
				heightPadding = 0;
			}
			var _local4 = Math.ceil((((__height - _local3.top) - _local3.bottom) - heightPadding) / rwHeight);
			var _local8 = (((__height - _local3.top) - _local3.bottom) % rwHeight) != 0;
			if ((__vScrollPolicy == "on") || ((_local4 < (rwCount + _local8)) && (__vScrollPolicy == "auto"))) {
				if (vScroller == undefined) {
					vScroller = createObject("VScrollBar", "vSB", 1002);
					vScroller.scrollHandler = scrollProxy;
					vScroller.__set__scrollPosition(__vPosition);
					scrollAreaChanged = true;
					rowH = 0;
				}
				if ((((rowC != rwCount) || (rowH != rwHeight)) || ((viewableRows + _local8) != (_local4 + oldRndUp))) || (scrollAreaChanged)) {
					vScroller.setScrollProperties(_local4, 0, (rwCount - _local4) + _local8);
					viewableRows = _local4;
					rowC = rwCount;
					rowH = rwHeight;
					oldRndUp = _local8;
				}
			} else if (((__vScrollPolicy == "auto") || (__vScrollPolicy == "off")) && (vScroller != undefined)) {
				vScroller.removeMovieClip();
				delete vScroller;
				scrollAreaChanged = true;
			}
			numberOfCols = colCount;
			columnWidth = colWidth;
			if (scrollAreaChanged) {
				doLayout();
				var _local2 = __viewMetrics;
				var _local12 = ((owner != undefined) ? (owner) : this);
				_local12.layoutContent(_local2.left, _local2.top, ((columnWidth * numberOfCols) - _local2.left) - _local2.right, rowC * rowH, (__width - _local2.left) - _local2.right, (__height - _local2.top) - _local2.bottom);
			}
			if (!enabled) {
				setEnabled(false);
			}
		}
		function getViewMetrics(Void) {
			var _local2 = __viewMetrics;
			var _local3 = border_mc.__get__borderMetrics();
			_local2.left = _local3.left;
			_local2.right = _local3.right;
			if (vScroller != undefined) {
				_local2.right = _local2.right + vScroller.minWidth;
			}
			_local2.top = _local3.top;
			if ((hScroller == undefined) && ((__hScrollPolicy == "on") || (__hScrollPolicy == true))) {
				hScroller = createObject("FHScrollBar", "hSB", 1001);
				specialHScrollCase = true;
			}
			_local2.bottom = _local3.bottom;
			if (hScroller != undefined) {
				_local2.bottom = _local2.bottom + hScroller.minHeight;
			}
			return(_local2);
		}
		function doLayout(Void) {
			var _local10 = __get__width();
			var _local8 = __get__height();
			delete invLayout;
			var _local3 = (__viewMetrics = getViewMetrics());
			var _local2 = _local3.left;
			var _local9 = _local3.right;
			var _local5 = _local3.top;
			var _local11 = _local3.bottom;
			var _local7 = hScroller;
			var _local6 = vScroller;
			_local7.setSize((_local10 - _local2) - _local9, _local7.minHeight + 0);
			_local7.move(_local2, _local8 - _local11);
			_local6.setSize(_local6.minWidth + 0, (_local8 - _local5) - _local11);
			_local6.move(_local10 - _local9, _local5);
			var _local4 = mask_mc;
			_local4._width = (_local10 - _local2) - _local9;
			_local4._height = (_local8 - _local5) - _local11;
			_local4._x = _local2;
			_local4._y = _local5;
		}
		function createChild(id, name, props) {
			var _local2 = super.createChild(id, name, props);
			return(_local2);
		}
		function init(Void) {
			super.init();
			__viewMetrics = new Object();
			if (_global.__SVMouseWheelManager == undefined) {
				var _local4 = (_global.__SVMouseWheelManager = new Object());
				_local4.onMouseWheel = __onMouseWheel;
				Mouse.addListener(_local4);
			}
		}
		function __onMouseWheel(delta, scrollTarget) {
			var _local3 = scrollTarget;
			var _local1;
			while (_local3 != undefined) {
				if (_local3 instanceof mx.core.ScrollView) {
					_local1 = _local3;
				}
				_local3 = _local3._parent;
			}
			if (_local1 != undefined) {
				_local3 = ((delta <= 0) ? 1 : -1);
				var _local2 = _local1.vScroller.lineScrollSize;
				if (_local2 == undefined) {
					_local2 = 0;
				}
				_local2 = Math.max(Math.abs(delta), _local2);
				_local1.vPosition = _local1.vPosition + (_local2 * _local3);
				_local1.dispatchEvent({type:"scroll", direction:"vertical", position:_local1.vPosition});
			}
		}
		function createChildren(Void) {
			super.createChildren();
			if (mask_mc == undefined) {
				mask_mc = createObject("BoundingBox", "mask_mc", MASK_DEPTH);
			}
			mask_mc._visible = false;
		}
		function invalidate(Void) {
			super.invalidate();
		}
		function draw(Void) {
			size();
		}
		function size(Void) {
			super.size();
		}
		function scrollProxy(docObj) {
			_parent.onScroll(docObj);
		}
		function onScroll(docObj) {
			var _local3 = docObj.target;
			var _local2 = _local3.scrollPosition;
			if (_local3 == vScroller) {
				var _local4 = "vertical";
				var _local5 = "__vPosition";
			} else {
				var _local4 = "horizontal";
				var _local5 = "__hPosition";
			}
			dispatchEvent({type:"scroll", direction:_local4, position:_local2});
			this[_local5] = _local2;
		}
		function setEnabled(v) {
			vScroller.enabled = (hScroller.enabled = v);
		}
		function childLoaded(obj) {
			super.childLoaded(obj);
			obj.setMask(mask_mc);
		}
		static var symbolName = "ScrollView";
		static var symbolOwner = mx.core.ScrollView;
		static var version = "2.0.0.360";
		var className = "ScrollView";
		var __vScrollPolicy = "auto";
		var __hScrollPolicy = "off";
		var __vPosition = 0;
		var __hPosition = 0;
		var numberOfCols = 0;
		var rowC = 0;
		var columnWidth = 1;
		var rowH = 0;
		var heightPadding = 0;
		var widthPadding = 0;
		var MASK_DEPTH = 10000;
	}
Symbol 40 MovieClip [__Packages.mx.containers.ScrollPane] Frame 0
	class mx.containers.ScrollPane extends mx.core.ScrollView
	{
		var _total, _loaded, destroyChildAt, createChild, __scrollContent, spContentHolder, hScroller, vScroller, __get__hScrollPolicy, __vScrollPolicy, __get__vScrollPolicy, tabEnabled, keyDown, mask_mc, hPosition, __get__maxHPosition, vPosition, __get__maxVPosition, __hPosition, __vPosition, invalidate;
		function ScrollPane () {
			super();
		}
		function getBytesTotal() {
			return(_total);
		}
		function getBytesLoaded() {
			return(_loaded);
		}
		function set contentPath(scrollableContent) {
			if (!initializing) {
				if (scrollableContent == undefined) {
					destroyChildAt(0);
				} else {
					if (this[mx.core.View.childNameBase + 0] != undefined) {
						destroyChildAt(0);
					}
					createChild(scrollableContent, "spContentHolder");
				}
			}
			__scrollContent = scrollableContent;
			//return(contentPath);
		}
		function get contentPath() {
			return(__scrollContent);
		}
		function get content() {
			return(spContentHolder);
		}
		function setHPosition(position) {
			if ((position <= hScroller.maxPos) && (position >= hScroller.minPos)) {
				super.setHPosition(position);
				spContentHolder._x = -position;
			}
		}
		function setVPosition(position) {
			if ((position <= vScroller.maxPos) && (position >= vScroller.minPos)) {
				super.setVPosition(position);
				spContentHolder._y = -position;
			}
		}
		function get vLineScrollSize() {
			return(__vLineScrollSize);
		}
		function set vLineScrollSize(vLineSize) {
			__vLineScrollSize = vLineSize;
			vScroller.__set__lineScrollSize(vLineSize);
			//return(vLineScrollSize);
		}
		function get hLineScrollSize() {
			return(__hLineScrollSize);
		}
		function set hLineScrollSize(hLineSize) {
			__hLineScrollSize = hLineSize;
			hScroller.__set__lineScrollSize(hLineSize);
			//return(hLineScrollSize);
		}
		function get vPageScrollSize() {
			return(__vPageScrollSize);
		}
		function set vPageScrollSize(vPageSize) {
			__vPageScrollSize = vPageSize;
			vScroller.__set__pageScrollSize(vPageSize);
			//return(vPageScrollSize);
		}
		function get hPageScrollSize() {
			return(__hPageScrollSize);
		}
		function set hPageScrollSize(hPageSize) {
			__hPageScrollSize = hPageSize;
			hScroller.__set__pageScrollSize(hPageSize);
			//return(hPageScrollSize);
		}
		function set hScrollPolicy(policy) {
			__hScrollPolicy = policy.toLowerCase();
			setScrollProperties(spContentHolder._width, 1, spContentHolder._height, 1);
			//return(__get__hScrollPolicy());
		}
		function set vScrollPolicy(policy) {
			__vScrollPolicy = policy.toLowerCase();
			setScrollProperties(spContentHolder._width, 1, spContentHolder._height, 1);
			//return(__get__vScrollPolicy());
		}
		function get scrollDrag() {
			return(__scrollDrag);
		}
		function set scrollDrag(s) {
			__scrollDrag = s;
			if (__scrollDrag) {
				spContentHolder.useHandCursor = true;
				spContentHolder.onPress = function () {
					this._parent.startDragLoop();
				};
				spContentHolder.tabEnabled = false;
				spContentHolder.onRelease = (spContentHolder.onReleaseOutside = function () {
					delete this.onMouseMove;
				});
				__scrollDrag = true;
			} else {
				delete spContentHolder.onPress;
				spContentHolder.tabEnabled = false;
				spContentHolder.tabChildren = true;
				spContentHolder.useHandCursor = false;
				__scrollDrag = false;
			}
			//return(scrollDrag);
		}
		function init(Void) {
			super.init();
			tabEnabled = true;
			keyDown = _onKeyDown;
		}
		function createChildren(Void) {
			super.createChildren();
			mask_mc._visible = false;
			initializing = false;
			if ((__scrollContent != undefined) && (__scrollContent != "")) {
				contentPath = (__scrollContent);
			}
		}
		function size(Void) {
			super.size();
			setScrollProperties(spContentHolder._width, 1, spContentHolder._height, 1);
			hPosition = Math.min(hPosition, __get__maxHPosition());
			vPosition = Math.min(vPosition, __get__maxVPosition());
		}
		function setScrollProperties(columnCount, columnWidth, rowCount, rowHeight) {
			super.setScrollProperties(columnCount, columnWidth, rowCount, rowHeight);
			hScroller.__set__lineScrollSize(__hLineScrollSize);
			hScroller.__set__pageScrollSize(__hPageScrollSize);
			vScroller.__set__lineScrollSize(__vLineScrollSize);
			vScroller.__set__pageScrollSize(__vPageScrollSize);
		}
		function onScroll(scrollEvent) {
			super.onScroll(scrollEvent);
			spContentHolder._x = -__hPosition;
			spContentHolder._y = -__vPosition;
		}
		function childLoaded(obj) {
			super.childLoaded(obj);
			onComplete();
		}
		function onComplete(Void) {
			setScrollProperties(spContentHolder._width, 1, spContentHolder._height, 1);
			hPosition = 0;
			vPosition = 0;
			scrollDrag = (__scrollDrag);
			invalidate();
		}
		function startDragLoop(Void) {
			spContentHolder.lastX = spContentHolder._xmouse;
			spContentHolder.lastY = spContentHolder._ymouse;
			spContentHolder.onMouseMove = function () {
				var _local4 = this.lastX - this._xmouse;
				var _local3 = this.lastY - this._ymouse;
				_local4 = _local4 + this._parent.hPosition;
				_local3 = _local3 + this._parent.vPosition;
				this._parent.hPosition = _local4;
				this._parent.vPosition = _local3;
				if ((this._parent.hPosition < this._parent.hScroller.maxPos) && (this._parent.hPosition > this._parent.hScroller.minPos)) {
					this.lastX = this._xmouse;
				} else if (this._parent.hPosition > this._parent.hScroller.maxPos) {
					this._parent.hPosition = this._parent.hScroller.maxPos;
				} else if (this._parent.hPosition < this._parent.hScroller.minPos) {
					this._parent.hPosition = this._parent.hScroller.minPos;
				}
				if ((this._parent.vPosition < this._parent.vScroller.maxPos) && (this._parent.vPosition > this._parent.vScroller.minPos)) {
					this.lastY = this._ymouse;
				} else if (this._parent.vPosition > this._parent.vScroller.maxPos) {
					this._parent.vPosition = this._parent.vScroller.maxPos;
				} else if (this._parent.vPosition < this._parent.vScroller.minPos) {
					this._parent.vPosition = this._parent.vScroller.minPos;
				}
				super.dispatchEvent({type:"scroll"});
			};
		}
		function dispatchEvent(o) {
			o.target = this;
			_total = o.total;
			_loaded = o.current;
			super.dispatchEvent(o);
		}
		function refreshPane(Void) {
			contentPath = (__scrollContent);
		}
		function _onKeyDown(e) {
			if (e.code == 40) {
				vPosition = vPosition + vLineScrollSize;
			} else if (e.code == 38) {
				vPosition = vPosition - vLineScrollSize;
			} else if (e.code == 37) {
				hPosition = hPosition - hLineScrollSize;
			} else if (e.code == 39) {
				hPosition = hPosition + hLineScrollSize;
			} else if (e.code == 33) {
				vPosition = vPosition - vPageScrollSize;
			} else if (e.code == 34) {
				vPosition = vPosition + vPageScrollSize;
			} else if (e.code == 36) {
				vPosition = vScroller.minPos;
			} else if (e.code == 35) {
				vPosition = vScroller.maxPos;
			}
		}
		static var symbolName = "ScrollPane";
		static var symbolOwner = mx.containers.ScrollPane;
		var className = "ScrollPane";
		static var version = "2.0.0.360";
		var __hScrollPolicy = "auto";
		var __scrollDrag = false;
		var __vLineScrollSize = 5;
		var __hLineScrollSize = 5;
		var __vPageScrollSize = 20;
		var __hPageScrollSize = 20;
		var clipParameters = {contentPath:1, scrollDrag:1, hScrollPolicy:1, vScrollPolicy:1, vLineScrollSize:1, hLineScrollSize:1, vPageScrollSize:1, hPageScrollSize:1};
		static var mergedClipParameters = mx.core.UIObject.mergeClipParameters(mx.containers.ScrollPane.prototype.clipParameters, mx.core.ScrollView.prototype.clipParameters);
		var initializing = true;
	}
Symbol 132 MovieClip [__Packages.mx.skins.SkinElement] Frame 0
	class mx.skins.SkinElement extends MovieClip
	{
		var _visible, _x, _y, _width, _height;
		function SkinElement () {
			super();
		}
		static function registerElement(name, className) {
			Object.registerClass(name, ((className == undefined) ? (mx.skins.SkinElement) : (className)));
			_global.skinRegistry[name] = true;
		}
		function __set__visible(visible) {
			_visible = visible;
		}
		function move(x, y) {
			_x = x;
			_y = y;
		}
		function setSize(w, h) {
			_width = w;
			_height = h;
		}
	}
Symbol 133 MovieClip [__Packages.mx.styles.CSSTextStyles] Frame 0
	class mx.styles.CSSTextStyles
	{
		function CSSTextStyles () {
		}
		static function addTextStyles(o, bColor) {
			o.addProperty("textAlign", function () {
				return(this._tf.align);
			}, function (x) {
				if (this._tf == undefined) {
					this._tf = new TextFormat();
				}
				this._tf.align = x;
			});
			o.addProperty("fontWeight", function () {
				return(((this._tf.bold != undefined) ? ((this._tf.bold ? "bold" : "none")) : undefined));
			}, function (x) {
				if (this._tf == undefined) {
					this._tf = new TextFormat();
				}
				this._tf.bold = x == "bold";
			});
			if (bColor) {
				o.addProperty("color", function () {
					return(this._tf.color);
				}, function (x) {
					if (this._tf == undefined) {
						this._tf = new TextFormat();
					}
					this._tf.color = x;
				});
			}
			o.addProperty("fontFamily", function () {
				return(this._tf.font);
			}, function (x) {
				if (this._tf == undefined) {
					this._tf = new TextFormat();
				}
				this._tf.font = x;
			});
			o.addProperty("textIndent", function () {
				return(this._tf.indent);
			}, function (x) {
				if (this._tf == undefined) {
					this._tf = new TextFormat();
				}
				this._tf.indent = x;
			});
			o.addProperty("fontStyle", function () {
				return(((this._tf.italic != undefined) ? ((this._tf.italic ? "italic" : "none")) : undefined));
			}, function (x) {
				if (this._tf == undefined) {
					this._tf = new TextFormat();
				}
				this._tf.italic = x == "italic";
			});
			o.addProperty("marginLeft", function () {
				return(this._tf.leftMargin);
			}, function (x) {
				if (this._tf == undefined) {
					this._tf = new TextFormat();
				}
				this._tf.leftMargin = x;
			});
			o.addProperty("marginRight", function () {
				return(this._tf.rightMargin);
			}, function (x) {
				if (this._tf == undefined) {
					this._tf = new TextFormat();
				}
				this._tf.rightMargin = x;
			});
			o.addProperty("fontSize", function () {
				return(this._tf.size);
			}, function (x) {
				if (this._tf == undefined) {
					this._tf = new TextFormat();
				}
				this._tf.size = x;
			});
			o.addProperty("textDecoration", function () {
				return(((this._tf.underline != undefined) ? ((this._tf.underline ? "underline" : "none")) : undefined));
			}, function (x) {
				if (this._tf == undefined) {
					this._tf = new TextFormat();
				}
				this._tf.underline = x == "underline";
			});
			o.addProperty("embedFonts", function () {
				return(this._tf.embedFonts);
			}, function (x) {
				if (this._tf == undefined) {
					this._tf = new TextFormat();
				}
				this._tf.embedFonts = x;
			});
		}
	}
Symbol 134 MovieClip [__Packages.mx.styles.StyleManager] Frame 0
	class mx.styles.StyleManager
	{
		function StyleManager () {
		}
		static function registerInheritingStyle(styleName) {
			inheritingStyles[styleName] = true;
		}
		static function isInheritingStyle(styleName) {
			return(inheritingStyles[styleName] == true);
		}
		static function registerColorStyle(styleName) {
			colorStyles[styleName] = true;
		}
		static function isColorStyle(styleName) {
			return(colorStyles[styleName] == true);
		}
		static function registerColorName(colorName, colorValue) {
			colorNames[colorName] = colorValue;
		}
		static function isColorName(colorName) {
			return(colorNames[colorName] != undefined);
		}
		static function getColorName(colorName) {
			return(colorNames[colorName]);
		}
		static var inheritingStyles = {color:true, direction:true, fontFamily:true, fontSize:true, fontStyle:true, fontWeight:true, textAlign:true, textIndent:true};
		static var colorStyles = {barColor:true, trackColor:true, borderColor:true, buttonColor:true, color:true, dateHeaderColor:true, dateRollOverColor:true, disabledColor:true, fillColor:true, highlightColor:true, scrollTrackColor:true, selectedDateColor:true, shadowColor:true, strokeColor:true, symbolBackgroundColor:true, symbolBackgroundDisabledColor:true, symbolBackgroundPressedColor:true, symbolColor:true, symbolDisabledColor:true, themeColor:true, todayIndicatorColor:true, shadowCapColor:true, borderCapColor:true, focusColor:true};
		static var colorNames = {black:0, white:16777215, red:16711680, green:65280, blue:255, magenta:16711935, yellow:16776960, cyan:65535, haloGreen:8453965, haloBlue:2881013, haloOrange:16761344};
		static var TextFormatStyleProps = {font:true, size:true, color:true, leftMargin:false, rightMargin:false, italic:true, bold:true, align:true, indent:true, underline:false, embedFonts:false};
		static var TextStyleMap = {textAlign:true, fontWeight:true, color:true, fontFamily:true, textIndent:true, fontStyle:true, lineHeight:true, marginLeft:true, marginRight:true, fontSize:true, textDecoration:true, embedFonts:true};
	}
Symbol 135 MovieClip [__Packages.mx.styles.CSSStyleDeclaration] Frame 0
	class mx.styles.CSSStyleDeclaration
	{
		var _tf;
		function CSSStyleDeclaration () {
		}
		function __getTextFormat(tf, bAll) {
			var _local5 = false;
			if (_tf != undefined) {
				var _local2;
				for (_local2 in mx.styles.StyleManager.TextFormatStyleProps) {
					if (bAll || (mx.styles.StyleManager.TextFormatStyleProps[_local2])) {
						if (tf[_local2] == undefined) {
							var _local3 = _tf[_local2];
							if (_local3 != undefined) {
								tf[_local2] = _local3;
							} else {
								_local5 = true;
							}
						}
					}
				}
			} else {
				_local5 = true;
			}
			return(_local5);
		}
		function getStyle(styleProp) {
			var _local2 = this[styleProp];
			var _local3 = mx.styles.StyleManager.getColorName(_local2);
			return(((_local3 == undefined) ? (_local2) : (_local3)));
		}
		static function classConstruct() {
			mx.styles.CSSTextStyles.addTextStyles(mx.styles.CSSStyleDeclaration.prototype, true);
			return(true);
		}
		static var classConstructed = classConstruct();
		static var CSSTextStylesDependency = mx.styles.CSSTextStyles;
	}
Symbol 136 MovieClip [__Packages.mx.skins.Border] Frame 0
	class mx.skins.Border extends mx.core.UIObject
	{
		function Border () {
			super();
		}
		function init(Void) {
			super.init();
		}
		static var symbolName = "Border";
		static var symbolOwner = mx.skins.Border;
		var className = "Border";
		var tagBorder = 0;
		var idNames = new Array("border_mc");
	}
Symbol 137 MovieClip [__Packages.mx.skins.RectBorder] Frame 0
	class mx.skins.RectBorder extends mx.skins.Border
	{
		var __width, __height, offset, __borderMetrics;
		function RectBorder () {
			super();
		}
		function get width() {
			return(__width);
		}
		function get height() {
			return(__height);
		}
		function init(Void) {
			super.init();
		}
		function draw(Void) {
			size();
		}
		function getBorderMetrics(Void) {
			var _local2 = offset;
			if (__borderMetrics == undefined) {
				__borderMetrics = {left:_local2, top:_local2, right:_local2, bottom:_local2};
			} else {
				__borderMetrics.left = _local2;
				__borderMetrics.top = _local2;
				__borderMetrics.right = _local2;
				__borderMetrics.bottom = _local2;
			}
			return(__borderMetrics);
		}
		function get borderMetrics() {
			return(getBorderMetrics());
		}
		function drawBorder(Void) {
		}
		function size(Void) {
			drawBorder();
		}
		function setColor(Void) {
			drawBorder();
		}
		static var symbolName = "RectBorder";
		static var symbolOwner = mx.skins.RectBorder;
		static var version = "2.0.0.360";
		var className = "RectBorder";
		var borderStyleName = "borderStyle";
		var borderColorName = "borderColor";
		var shadowColorName = "shadowColor";
		var highlightColorName = "highlightColor";
		var buttonColorName = "buttonColor";
		var backgroundColorName = "backgroundColor";
	}
Symbol 138 MovieClip [__Packages.mx.managers.DepthManager] Frame 0
	class mx.managers.DepthManager
	{
		var _childCounter, createClassObject, createObject, _parent, swapDepths, _topmost, getDepth;
		function DepthManager () {
			MovieClip.prototype.createClassChildAtDepth = createClassChildAtDepth;
			MovieClip.prototype.createChildAtDepth = createChildAtDepth;
			MovieClip.prototype.setDepthTo = setDepthTo;
			MovieClip.prototype.setDepthAbove = setDepthAbove;
			MovieClip.prototype.setDepthBelow = setDepthBelow;
			MovieClip.prototype.findNextAvailableDepth = findNextAvailableDepth;
			MovieClip.prototype.shuffleDepths = shuffleDepths;
			MovieClip.prototype.getDepthByFlag = getDepthByFlag;
			MovieClip.prototype.buildDepthTable = buildDepthTable;
		}
		static function sortFunction(a, b) {
			if (a.getDepth() > b.getDepth()) {
				return(1);
			}
			return(-1);
		}
		static function test(depth) {
			if (depth == reservedDepth) {
				return(false);
			}
			return(true);
		}
		static function createClassObjectAtDepth(className, depthSpace, initObj) {
			var _local1;
			switch (depthSpace) {
				case kCursor : 
					_local1 = holder.createClassChildAtDepth(className, kTopmost, initObj);
					break;
				case kTooltip : 
					_local1 = holder.createClassChildAtDepth(className, kTop, initObj);
					break;
			}
			return(_local1);
		}
		static function createObjectAtDepth(linkageName, depthSpace, initObj) {
			var _local1;
			switch (depthSpace) {
				case kCursor : 
					_local1 = holder.createChildAtDepth(linkageName, kTopmost, initObj);
					break;
				case kTooltip : 
					_local1 = holder.createChildAtDepth(linkageName, kTop, initObj);
					break;
			}
			return(_local1);
		}
		function createClassChildAtDepth(className, depthFlag, initObj) {
			if (_childCounter == undefined) {
				_childCounter = 0;
			}
			var _local3 = buildDepthTable();
			var _local2 = getDepthByFlag(depthFlag, _local3);
			var _local6 = "down";
			if (depthFlag == kBottom) {
				_local6 = "up";
			}
			var _local5;
			if (_local3[_local2] != undefined) {
				_local5 = _local2;
				_local2 = findNextAvailableDepth(_local2, _local3, _local6);
			}
			var _local4 = createClassObject(className, "depthChild" + (_childCounter++), _local2, initObj);
			if (_local5 != undefined) {
				_local3[_local2] = _local4;
				shuffleDepths(_local4, _local5, _local3, _local6);
			}
			if (depthFlag == kTopmost) {
				_local4._topmost = true;
			}
			return(_local4);
		}
		function createChildAtDepth(linkageName, depthFlag, initObj) {
			if (_childCounter == undefined) {
				_childCounter = 0;
			}
			var _local3 = buildDepthTable();
			var _local2 = getDepthByFlag(depthFlag, _local3);
			var _local6 = "down";
			if (depthFlag == kBottom) {
				_local6 = "up";
			}
			var _local5;
			if (_local3[_local2] != undefined) {
				_local5 = _local2;
				_local2 = findNextAvailableDepth(_local2, _local3, _local6);
			}
			var _local4 = createObject(linkageName, "depthChild" + (_childCounter++), _local2, initObj);
			if (_local5 != undefined) {
				_local3[_local2] = _local4;
				shuffleDepths(_local4, _local5, _local3, _local6);
			}
			if (depthFlag == kTopmost) {
				_local4._topmost = true;
			}
			return(_local4);
		}
		function setDepthTo(depthFlag) {
			var _local2 = _parent.buildDepthTable();
			var _local3 = _parent.getDepthByFlag(depthFlag, _local2);
			if (_local2[_local3] != undefined) {
				shuffleDepths(this, _local3, _local2, undefined);
			} else {
				swapDepths(_local3);
			}
			if (depthFlag == kTopmost) {
				_topmost = true;
			} else {
				delete _topmost;
			}
		}
		function setDepthAbove(targetInstance) {
			if (targetInstance._parent != _parent) {
				return(undefined);
			}
			var _local2 = targetInstance.getDepth() + 1;
			var _local3 = _parent.buildDepthTable();
			if ((_local3[_local2] != undefined) && (getDepth() < _local2)) {
				_local2 = _local2 - 1;
			}
			if (_local2 > highestDepth) {
				_local2 = highestDepth;
			}
			if (_local2 == highestDepth) {
				_parent.shuffleDepths(this, _local2, _local3, "down");
			} else if (_local3[_local2] != undefined) {
				_parent.shuffleDepths(this, _local2, _local3, undefined);
			} else {
				swapDepths(_local2);
			}
		}
		function setDepthBelow(targetInstance) {
			if (targetInstance._parent != _parent) {
				return(undefined);
			}
			var _local6 = targetInstance.getDepth() - 1;
			var _local3 = _parent.buildDepthTable();
			if ((_local3[_local6] != undefined) && (getDepth() > _local6)) {
				_local6 = _local6 + 1;
			}
			var _local4 = lowestDepth + numberOfAuthortimeLayers;
			var _local5;
			for (_local5 in _local3) {
				var _local2 = _local3[_local5];
				if (_local2._parent != undefined) {
					_local4 = Math.min(_local4, _local2.getDepth());
				}
			}
			if (_local6 < _local4) {
				_local6 = _local4;
			}
			if (_local6 == _local4) {
				_parent.shuffleDepths(this, _local6, _local3, "up");
			} else if (_local3[_local6] != undefined) {
				_parent.shuffleDepths(this, _local6, _local3, undefined);
			} else {
				swapDepths(_local6);
			}
		}
		function findNextAvailableDepth(targetDepth, depthTable, direction) {
			var _local5 = lowestDepth + numberOfAuthortimeLayers;
			if (targetDepth < _local5) {
				targetDepth = _local5;
			}
			if (depthTable[targetDepth] == undefined) {
				return(targetDepth);
			}
			var _local2 = targetDepth;
			var _local1 = targetDepth;
			if (direction == "down") {
				while (depthTable[_local1] != undefined) {
					_local1--;
				}
				return(_local1);
			}
			while (depthTable[_local2] != undefined) {
				_local2++;
			}
			return(_local2);
		}
		function shuffleDepths(subject, targetDepth, depthTable, direction) {
			var _local9 = lowestDepth + numberOfAuthortimeLayers;
			var _local8 = _local9;
			var _local5;
			for (_local5 in depthTable) {
				var _local7 = depthTable[_local5];
				if (_local7._parent != undefined) {
					_local9 = Math.min(_local9, _local7.getDepth());
				}
			}
			if (direction == undefined) {
				if (subject.getDepth() > targetDepth) {
					direction = "up";
				} else {
					direction = "down";
				}
			}
			var _local1 = new Array();
			for (_local5 in depthTable) {
				var _local7 = depthTable[_local5];
				if (_local7._parent != undefined) {
					_local1.push(_local7);
				}
			}
			_local1.sort(sortFunction);
			if (direction == "up") {
				var _local3;
				var _local11;
				do {
					if (_local1.length <= 0) { 
						break;
					}
					_local3 = _local1.pop();
				} while  (_local3 != subject);
				do {
					if (_local1.length <= 0) { 
						break;
					}
					_local11 = subject.getDepth();
					_local3 = _local1.pop();
					var _local4 = _local3.getDepth();
					if (_local11 > (_local4 + 1)) {
						if (_local4 >= 0) {
							subject.swapDepths(_local4 + 1);
						} else if ((_local11 > _local8) && (_local4 < _local8)) {
							subject.swapDepths(_local8);
						}
					}
					subject.swapDepths(_local3);
				} while  (_local4 != targetDepth);
			} else if (direction == "down") {
				var _local3;
				do {
					if (_local1.length <= 0) { 
						break;
					}
					_local3 = _local1.shift();
				} while  (_local3 != subject);
				do {
					if (_local1.length <= 0) { 
						break;
					}
					var _local11 = _local3.getDepth();
					_local3 = _local1.shift();
					var _local4 = _local3.getDepth();
					if ((_local11 < (_local4 - 1)) && (_local4 > 0)) {
						subject.swapDepths(_local4 - 1);
					}
					subject.swapDepths(_local3);
				} while  (_local4 != targetDepth);
			}
		}
		function getDepthByFlag(depthFlag, depthTable) {
			var _local2 = 0;
			if ((depthFlag == kTop) || (depthFlag == kNotopmost)) {
				var _local5 = 0;
				var _local7 = false;
				var _local8;
				for (_local8 in depthTable) {
					var _local9 = depthTable[_local8];
					var _local3 = typeof(_local9);
					if ((_local3 == "movieclip") || ((_local3 == "object") && (_local9.__getTextFormat != undefined))) {
						if (_local9.getDepth() <= highestDepth) {
							if (!_local9._topmost) {
								_local2 = Math.max(_local2, _local9.getDepth());
							} else if (!_local7) {
								_local5 = _local9.getDepth();
								_local7 = true;
							} else {
								_local5 = Math.min(_local5, _local9.getDepth());
							}
						}
					}
				}
				_local2 = _local2 + 20;
				if (_local7) {
					if (_local2 >= _local5) {
						_local2 = _local5 - 1;
					}
				}
			} else if (depthFlag == kBottom) {
				for (var _local8 in depthTable) {
					var _local9 = depthTable[_local8];
					var _local3 = typeof(_local9);
					if ((_local3 == "movieclip") || ((_local3 == "object") && (_local9.__getTextFormat != undefined))) {
						if (_local9.getDepth() <= highestDepth) {
							_local2 = Math.min(_local2, _local9.getDepth());
						}
					}
				}
				_local2 = _local2 - 20;
			} else if (depthFlag == kTopmost) {
				for (var _local8 in depthTable) {
					var _local9 = depthTable[_local8];
					var _local3 = typeof(_local9);
					if ((_local3 == "movieclip") || ((_local3 == "object") && (_local9.__getTextFormat != undefined))) {
						if (_local9.getDepth() <= highestDepth) {
							_local2 = Math.max(_local2, _local9.getDepth());
						}
					}
				}
				_local2 = _local2 + 100;
			}
			if (_local2 >= highestDepth) {
				_local2 = highestDepth;
			}
			var _local6 = lowestDepth + numberOfAuthortimeLayers;
			for (var _local9 in depthTable) {
				var _local4 = depthTable[_local9];
				if (_local4._parent != undefined) {
					_local6 = Math.min(_local6, _local4.getDepth());
				}
			}
			if (_local2 <= _local6) {
				_local2 = _local6;
			}
			return(_local2);
		}
		function buildDepthTable(Void) {
			var _local5 = new Array();
			var _local4;
			for (_local4 in this) {
				var _local2 = this[_local4];
				var _local3 = typeof(_local2);
				if ((_local3 == "movieclip") || ((_local3 == "object") && (_local2.__getTextFormat != undefined))) {
					if (_local2._parent == this) {
						_local5[_local2.getDepth()] = _local2;
					}
				}
			}
			return(_local5);
		}
		static var reservedDepth = 1048575;
		static var highestDepth = 1048574;
		static var lowestDepth = -16383;
		static var numberOfAuthortimeLayers = 383;
		static var kCursor = 101;
		static var kTooltip = 102;
		static var kTop = 201;
		static var kBottom = 202;
		static var kTopmost = 203;
		static var kNotopmost = 204;
		static var holder = _root.createEmptyMovieClip("reserved", reservedDepth);
		static var __depthManager = new mx.managers.DepthManager();
	}
Symbol 139 MovieClip [__Packages.mx.events.EventDispatcher] Frame 0
	class mx.events.EventDispatcher
	{
		function EventDispatcher () {
		}
		static function _removeEventListener(queue, event, handler) {
			if (queue != undefined) {
				var _local4 = queue.length;
				var _local1;
				_local1 = 0;
				while (_local1 < _local4) {
					var _local2 = queue[_local1];
					if (_local2 == handler) {
						queue.splice(_local1, 1);
						return(undefined);
					}
					_local1++;
				}
			}
		}
		static function initialize(object) {
			if (_fEventDispatcher == undefined) {
				_fEventDispatcher = new mx.events.EventDispatcher();
			}
			object.addEventListener = _fEventDispatcher.addEventListener;
			object.removeEventListener = _fEventDispatcher.removeEventListener;
			object.dispatchEvent = _fEventDispatcher.dispatchEvent;
			object.dispatchQueue = _fEventDispatcher.dispatchQueue;
		}
		function dispatchQueue(queueObj, eventObj) {
			var _local7 = "__q_" + eventObj.type;
			var _local4 = queueObj[_local7];
			if (_local4 != undefined) {
				var _local5;
				for (_local5 in _local4) {
					var _local1 = _local4[_local5];
					var _local3 = typeof(_local1);
					if ((_local3 == "object") || (_local3 == "movieclip")) {
						if (_local1.handleEvent == undefined) {
							_local1[eventObj.type](eventObj);
						} else {
							_local1.handleEvent(eventObj);
						}
					} else {
						_local1.apply(queueObj, [eventObj]);
					}
				}
			}
		}
		function dispatchEvent(eventObj) {
			if (eventObj.target == undefined) {
				eventObj.target = this;
			}
			this[eventObj.type + "Handler"](eventObj);
			dispatchQueue(this, eventObj);
		}
		function addEventListener(event, handler) {
			var _local3 = "__q_" + event;
			if (this[_local3] == undefined) {
				this[_local3] = new Array();
			}
			_global.ASSetPropFlags(this, _local3, 1);
			_removeEventListener(this[_local3], event, handler);
			this[_local3].push(handler);
		}
		function removeEventListener(event, handler) {
			var _local2 = "__q_" + event;
			_removeEventListener(this[_local2], event, handler);
		}
		static var _fEventDispatcher = undefined;
	}
Symbol 140 MovieClip [__Packages.mx.events.UIEventDispatcher] Frame 0
	class mx.events.UIEventDispatcher extends mx.events.EventDispatcher
	{
		var dispatchQueue, owner, __sentLoadEvent, __origAddEventListener;
		function UIEventDispatcher () {
			super();
		}
		static function addKeyEvents(obj) {
			if (obj.keyHandler == undefined) {
				var _local1 = (obj.keyHandler = new Object());
				_local1.owner = obj;
				_local1.onKeyDown = _fEventDispatcher.onKeyDown;
				_local1.onKeyUp = _fEventDispatcher.onKeyUp;
			}
			Key.addListener(obj.keyHandler);
		}
		static function removeKeyEvents(obj) {
			Key.removeListener(obj.keyHandler);
		}
		static function addLoadEvents(obj) {
			if (obj.onLoad == undefined) {
				obj.onLoad = _fEventDispatcher.onLoad;
				obj.onUnload = _fEventDispatcher.onUnload;
				if (obj.getBytesTotal() == obj.getBytesLoaded()) {
					obj.doLater(obj, "onLoad");
				}
			}
		}
		static function removeLoadEvents(obj) {
			delete obj.onLoad;
			delete obj.onUnload;
		}
		static function initialize(obj) {
			if (_fEventDispatcher == undefined) {
				_fEventDispatcher = new mx.events.UIEventDispatcher();
			}
			obj.addEventListener = _fEventDispatcher.__addEventListener;
			obj.__origAddEventListener = _fEventDispatcher.addEventListener;
			obj.removeEventListener = _fEventDispatcher.removeEventListener;
			obj.dispatchEvent = _fEventDispatcher.dispatchEvent;
			obj.dispatchQueue = _fEventDispatcher.dispatchQueue;
		}
		function dispatchEvent(eventObj) {
			if (eventObj.target == undefined) {
				eventObj.target = this;
			}
			this[eventObj.type + "Handler"](eventObj);
			dispatchQueue(mx.events.EventDispatcher, eventObj);
			dispatchQueue(this, eventObj);
		}
		function onKeyDown(Void) {
			owner.dispatchEvent({type:"keyDown", code:Key.getCode(), ascii:Key.getAscii(), shiftKey:Key.isDown(16), ctrlKey:Key.isDown(17)});
		}
		function onKeyUp(Void) {
			owner.dispatchEvent({type:"keyUp", code:Key.getCode(), ascii:Key.getAscii(), shiftKey:Key.isDown(16), ctrlKey:Key.isDown(17)});
		}
		function onLoad(Void) {
			if (__sentLoadEvent != true) {
				dispatchEvent({type:"load"});
			}
			__sentLoadEvent = true;
		}
		function onUnload(Void) {
			dispatchEvent({type:"unload"});
		}
		function __addEventListener(event, handler) {
			__origAddEventListener(event, handler);
			var _local3 = lowLevelEvents;
			for (var _local5 in _local3) {
				if (mx.events.UIEventDispatcher[_local5][event] != undefined) {
					var _local2 = _local3[_local5][0];
					mx.events.UIEventDispatcher[_local2](this);
				}
			}
		}
		function removeEventListener(event, handler) {
			var _local6 = "__q_" + event;
			mx.events.EventDispatcher._removeEventListener(this[_local6], event, handler);
			if (this[_local6].length == 0) {
				var _local2 = lowLevelEvents;
				for (var _local5 in _local2) {
					if (mx.events.UIEventDispatcher[_local5][event] != undefined) {
						var _local3 = _local2[_local5][1];
						mx.events.UIEventDispatcher[_local2[_local5][1]](this);
					}
				}
			}
		}
		static var keyEvents = {keyDown:1, keyUp:1};
		static var loadEvents = {load:1, unload:1};
		static var lowLevelEvents = {keyEvents:["addKeyEvents", "removeKeyEvents"], loadEvents:["addLoadEvents", "removeLoadEvents"]};
		static var _fEventDispatcher = undefined;
	}
Symbol 141 MovieClip [__Packages.mx.core.ExternalContent] Frame 0
	class mx.core.ExternalContent
	{
		var createObject, numChildren, prepList, doLater, loadList, dispatchEvent, loadedList, childLoaded;
		function ExternalContent () {
		}
		function loadExternal(url, placeholderClassName, instanceName, depth, initProps) {
			var _local2;
			_local2 = createObject(placeholderClassName, instanceName, depth, initProps);
			this[mx.core.View.childNameBase + numChildren] = _local2;
			if (prepList == undefined) {
				prepList = new Object();
			}
			prepList[instanceName] = {obj:_local2, url:url, complete:false, initProps:initProps};
			prepareToLoadMovie(_local2);
			return(_local2);
		}
		function prepareToLoadMovie(obj) {
			obj.unloadMovie();
			doLater(this, "waitForUnload");
		}
		function waitForUnload() {
			var _local3;
			for (_local3 in prepList) {
				var _local2 = prepList[_local3];
				if (_local2.obj.getBytesTotal() == 0) {
					if (loadList == undefined) {
						loadList = new Object();
					}
					loadList[_local3] = _local2;
					_local2.obj.loadMovie(_local2.url);
					delete prepList[_local3];
					doLater(this, "checkLoadProgress");
				} else {
					doLater(this, "waitForUnload");
				}
			}
		}
		function checkLoadProgress() {
			var _local3;
			for (_local3 in loadList) {
				var _local2 = loadList[_local3];
				_local2.loaded = _local2.obj.getBytesLoaded();
				_local2.total = _local2.obj.getBytesTotal();
				if (_local2.total > 0) {
					_local2.obj._visible = false;
					dispatchEvent({type:"progress", target:_local2.obj, current:_local2.loaded, total:_local2.total});
					if (_local2.loaded == _local2.total) {
						if (loadedList == undefined) {
							loadedList = new Object();
						}
						loadedList[_local3] = _local2;
						delete loadList[_local3];
						doLater(this, "contentLoaded");
					}
				} else if (_local2.total == -1) {
					if (_local2.failedOnce != undefined) {
						_local2.failedOnce++;
						if (_local2.failedOnce > 3) {
							dispatchEvent({type:"complete", target:_local2.obj, current:_local2.loaded, total:_local2.total});
							delete loadList[_local3];
						}
					} else {
						_local2.failedOnce = 0;
					}
				}
				doLater(this, "checkLoadProgress");
			}
		}
		function contentLoaded() {
			var _local4;
			for (_local4 in loadedList) {
				var _local2 = loadedList[_local4];
				_local2.obj._visible = true;
				_local2.obj._complete = true;
				var _local3;
				for (_local3 in _local2.initProps) {
					_local2.obj[_local3] = _local2.initProps[_local3];
				}
				childLoaded(_local2.obj);
				dispatchEvent({type:"complete", target:_local2.obj, current:_local2.loaded, total:_local2.total});
				delete loadedList[_local4];
			}
		}
		function convertToUIObject(obj) {
			if (obj.setSize == undefined) {
				var _local2 = mx.core.UIObject.prototype;
				obj.addProperty("width", _local2.__get__width, null);
				obj.addProperty("height", _local2.__get__height, null);
				obj.addProperty("left", _local2.__get__left, null);
				obj.addProperty("x", _local2.__get__x, null);
				obj.addProperty("top", _local2.__get__top, null);
				obj.addProperty("y", _local2.__get__y, null);
				obj.addProperty("right", _local2.__get__right, null);
				obj.addProperty("bottom", _local2.__get__bottom, null);
				obj.addProperty("visible", _local2.__get__visible, _local2.__set__visible);
				obj.move = mx.core.UIObject.prototype.move;
				obj.setSize = mx.core.UIObject.prototype.setSize;
				obj.size = mx.core.UIObject.prototype.size;
				mx.events.UIEventDispatcher.initialize(obj);
			}
		}
		static function enableExternalContent() {
		}
		static function classConstruct() {
			var _local1 = mx.core.View.prototype;
			var _local2 = mx.core.ExternalContent.prototype;
			_local1.loadExternal = _local2.loadExternal;
			_local1.prepareToLoadMovie = _local2.prepareToLoadMovie;
			_local1.waitForUnload = _local2.waitForUnload;
			_local1.checkLoadProgress = _local2.checkLoadProgress;
			_local1.contentLoaded = _local2.contentLoaded;
			_local1.convertToUIObject = _local2.convertToUIObject;
			return(true);
		}
		static var classConstructed = classConstruct();
		static var ViewDependency = mx.core.View;
	}
Symbol 142 MovieClip [__Packages.mx.skins.CustomBorder] Frame 0
	class mx.skins.CustomBorder extends mx.skins.Border
	{
		var __width, __height, l_mc, setSkin, minHeight, minWidth, m_mc, r_mc;
		function CustomBorder () {
			super();
		}
		function get width() {
			return(__width);
		}
		function get height() {
			return(__height);
		}
		function init(Void) {
			super.init();
		}
		function createChildren(Void) {
		}
		function draw(Void) {
			if (l_mc == undefined) {
				var _local2 = setSkin(tagL, leftSkin);
				if (horizontal) {
					minHeight = l_mc._height;
					minWidth = l_mc._width;
				} else {
					minHeight = l_mc._height;
					minWidth = l_mc._width;
				}
			}
			if (m_mc == undefined) {
				setSkin(tagM, middleSkin);
				if (horizontal) {
					minHeight = m_mc._height;
					minWidth = minWidth + m_mc._width;
				} else {
					minHeight = minHeight + m_mc._height;
					minWidth = m_mc._width;
				}
			}
			if (r_mc == undefined) {
				setSkin(tagR, rightSkin);
				if (horizontal) {
					minHeight = r_mc._height;
					minWidth = minWidth + r_mc._width;
				} else {
					minHeight = minHeight + r_mc._height;
					minWidth = r_mc._width;
				}
			}
			size();
		}
		function size(Void) {
			l_mc.move(0, 0);
			if (horizontal) {
				r_mc.move(width - r_mc.width, 0);
				m_mc.move(l_mc.width, 0);
				m_mc.setSize(r_mc.x - m_mc.x, m_mc.height);
			} else {
				r_mc.move(0, height - r_mc.height, 0);
				m_mc.move(0, l_mc.height);
				m_mc.setSize(m_mc.width, r_mc.y - m_mc.y);
			}
		}
		static var symbolName = "CustomBorder";
		static var symbolOwner = mx.skins.CustomBorder;
		static var version = "2.0.0.360";
		var className = "CustomBorder";
		static var tagL = 0;
		static var tagM = 1;
		static var tagR = 2;
		var idNames = new Array("l_mc", "m_mc", "r_mc");
		var leftSkin = "F3PieceLeft";
		var middleSkin = "F3PieceMiddle";
		var rightSkin = "F3PieceRight";
		var horizontal = true;
	}
Symbol 143 MovieClip [__Packages.mx.controls.scrollClasses.ScrollThumb] Frame 0
	class mx.controls.scrollClasses.ScrollThumb extends mx.skins.CustomBorder
	{
		var useHandCursor, ymin, ymax, datamin, datamax, scrollMove, lastY, _ymouse, _y, _parent, onMouseMove, grip_mc, setSkin, gripSkin, __get__width, __get__height;
		function ScrollThumb () {
			super();
		}
		function createChildren(Void) {
			super.createChildren();
			useHandCursor = false;
		}
		function setRange(_ymin, _ymax, _datamin, _datamax) {
			ymin = _ymin;
			ymax = _ymax;
			datamin = _datamin;
			datamax = _datamax;
		}
		function dragThumb(Void) {
			scrollMove = _ymouse - lastY;
			scrollMove = scrollMove + _y;
			if (scrollMove < ymin) {
				scrollMove = ymin;
			} else if (scrollMove > ymax) {
				scrollMove = ymax;
			}
			_parent.isScrolling = true;
			_y = scrollMove;
			var _local2 = Math.round(((datamax - datamin) * (_y - ymin)) / (ymax - ymin)) + datamin;
			_parent.scrollPosition = _local2;
			_parent.dispatchScrollEvent("ThumbTrack");
			updateAfterEvent();
		}
		function stopDragThumb(Void) {
			_parent.isScrolling = false;
			_parent.dispatchScrollEvent("ThumbPosition");
			_parent.dispatchScrollChangedEvent();
			delete onMouseMove;
		}
		function onPress(Void) {
			_parent.pressFocus();
			lastY = _ymouse;
			onMouseMove = dragThumb;
			super.onPress();
		}
		function onRelease(Void) {
			_parent.releaseFocus();
			stopDragThumb();
			super.onRelease();
		}
		function onReleaseOutside(Void) {
			_parent.releaseFocus();
			stopDragThumb();
			super.onReleaseOutside();
		}
		function draw() {
			super.draw();
			if (grip_mc == undefined) {
				setSkin(3, gripSkin);
			}
		}
		function size() {
			super.size();
			grip_mc.move((__get__width() - grip_mc.width) / 2, (__get__height() - grip_mc.height) / 2);
		}
		static var symbolOwner = mx.skins.CustomBorder.symbolOwner;
		var className = "ScrollThumb";
		var btnOffset = 0;
		var horizontal = false;
		var idNames = new Array("l_mc", "m_mc", "r_mc", "grip_mc");
	}
Symbol 144 MovieClip [__Packages.mx.controls.SimpleButton] Frame 0
	class mx.controls.SimpleButton extends mx.core.UIComponent
	{
		static var emphasizedStyleDeclaration;
		var preset, boundingBox_mc, useHandCursor, skinName, linkLength, iconName, destroyObject, __width, _width, __height, _height, __emphaticStyleName, styleName, enabled, invalidate, pressFocus, dispatchEvent, autoRepeat, interval, getStyle, releaseFocus, createLabel, invalidateStyle;
		function SimpleButton () {
			super();
		}
		function init(Void) {
			super.init();
			if (preset == undefined) {
				boundingBox_mc._visible = false;
				boundingBox_mc._width = (boundingBox_mc._height = 0);
			}
			useHandCursor = false;
		}
		function createChildren(Void) {
			if (preset != undefined) {
				var _local2 = this[idNames[preset]];
				this[refNames[preset]] = _local2;
				skinName = _local2;
				if (falseOverSkin.length == 0) {
					rolloverSkin = fus;
				}
				if (falseOverIcon.length == 0) {
					rolloverIcon = fui;
				}
				initializing = false;
			} else if (__state == true) {
				setStateVar(true);
			} else {
				if (falseOverSkin.length == 0) {
					rolloverSkin = fus;
				}
				if (falseOverIcon.length == 0) {
					rolloverIcon = fui;
				}
			}
		}
		function setIcon(tag, linkageName) {
			return(setSkin(tag + 8, linkageName));
		}
		function changeIcon(tag, linkageName) {
			linkLength = linkageName.length;
			var _local2 = stateNames[tag] + "Icon";
			this[_local2] = linkageName;
			this[idNames[tag + 8]] = _local2;
			setStateVar(getState());
		}
		function changeSkin(tag, linkageName) {
			var _local2 = stateNames[tag] + "Skin";
			this[_local2] = linkageName;
			this[idNames[tag]] = _local2;
			setStateVar(getState());
		}
		function viewIcon(varName) {
			var _local4 = varName + "Icon";
			var _local3 = this[_local4];
			if (typeof(_local3) == "string") {
				var _local5 = _local3;
				if (__emphasized) {
					if (this[_local3 + "Emphasized"].length > 0) {
						_local3 = _local3 + "Emphasized";
					}
				}
				if (this[_local3].length == 0) {
					return(undefined);
				}
				_local3 = setIcon(tagMap[_local5], this[_local3]);
				if ((_local3 == undefined) && (_global.isLivePreview)) {
					_local3 = setIcon(0, "ButtonIcon");
				}
				this[_local4] = _local3;
			}
			iconName._visible = false;
			iconName = _local3;
			iconName._visible = true;
		}
		function removeIcons() {
			var _local3 = 0;
			while (_local3 < 2) {
				var _local2 = 8;
				while (_local2 < 16) {
					destroyObject(idNames[_local2]);
					this[stateNames[_local2 - 8] + "Icon"] = "";
					_local2++;
				}
				_local3++;
			}
			refresh();
		}
		function setSkin(tag, linkageName, initobj) {
			var _local3 = super.setSkin(tag, linkageName, ((initobj != undefined) ? (initobj) : ({styleName:this})));
			calcSize(tag, _local3);
			return(_local3);
		}
		function calcSize(Void) {
			__width = _width;
			__height = _height;
		}
		function viewSkin(varName, initObj) {
			var _local3 = varName + "Skin";
			var _local2 = this[_local3];
			if (typeof(_local2) == "string") {
				var _local4 = _local2;
				if (__emphasized) {
					if (this[_local2 + "Emphasized"].length > 0) {
						_local2 = _local2 + "Emphasized";
					}
				}
				if (this[_local2].length == 0) {
					return(undefined);
				}
				_local2 = setSkin(tagMap[_local4], this[_local2], ((initObj != undefined) ? (initObj) : ({styleName:this})));
				this[_local3] = _local2;
			}
			skinName._visible = false;
			skinName = _local2;
			skinName._visible = true;
		}
		function showEmphasized(e) {
			if (e && (!__emphatic)) {
				if (emphasizedStyleDeclaration != undefined) {
					__emphaticStyleName = styleName;
					styleName = emphasizedStyleDeclaration;
				}
				__emphatic = true;
			} else {
				if (__emphatic) {
					styleName = __emphaticStyleName;
				}
				__emphatic = false;
			}
		}
		function refresh(Void) {
			var _local2 = getState();
			if (enabled == false) {
				viewIcon("disabled");
				viewSkin("disabled");
			} else {
				viewSkin(phase);
				viewIcon(phase);
			}
			setView(phase == "down");
			iconName.enabled = enabled;
		}
		function setView(offset) {
			if (iconName == undefined) {
				return(undefined);
			}
			var _local2 = (offset ? (btnOffset) : 0);
			iconName._x = ((__width - iconName._width) / 2) + _local2;
			iconName._y = ((__height - iconName._height) / 2) + _local2;
		}
		function setStateVar(state) {
			if (state) {
				if (trueOverSkin.length == 0) {
					rolloverSkin = tus;
				} else {
					rolloverSkin = trs;
				}
				if (trueOverIcon.length == 0) {
					rolloverIcon = tui;
				} else {
					rolloverIcon = tri;
				}
				upSkin = tus;
				downSkin = tds;
				disabledSkin = dts;
				upIcon = tui;
				downIcon = tdi;
				disabledIcon = dti;
			} else {
				if (falseOverSkin.length == 0) {
					rolloverSkin = fus;
				} else {
					rolloverSkin = frs;
				}
				if (falseOverIcon.length == 0) {
					rolloverIcon = fui;
				} else {
					rolloverIcon = fri;
				}
				upSkin = fus;
				downSkin = fds;
				disabledSkin = dfs;
				upIcon = fui;
				downIcon = fdi;
				disabledIcon = dfi;
			}
			__state = state;
		}
		function setState(state) {
			if (state != __state) {
				setStateVar(state);
				invalidate();
			}
		}
		function size(Void) {
			refresh();
		}
		function draw(Void) {
			if (initializing) {
				initializing = false;
				skinName.visible = true;
				iconName.visible = true;
			}
			size();
		}
		function getState(Void) {
			return(__state);
		}
		function setToggle(val) {
			__toggle = val;
			if (__toggle == false) {
				setState(false);
			}
		}
		function getToggle(Void) {
			return(__toggle);
		}
		function set toggle(val) {
			setToggle(val);
			//return(toggle);
		}
		function get toggle() {
			return(getToggle());
		}
		function set value(val) {
			setSelected(val);
			//return(value);
		}
		function get value() {
			return(getSelected());
		}
		function set selected(val) {
			setSelected(val);
			//return(selected);
		}
		function get selected() {
			return(getSelected());
		}
		function setSelected(val) {
			if (__toggle) {
				setState(val);
			} else {
				setState(__state);
			}
		}
		function getSelected() {
			return(__state);
		}
		function setEnabled(val) {
			if (enabled != val) {
				super.setEnabled(val);
				invalidate();
			}
		}
		function onPress(Void) {
			pressFocus();
			phase = "down";
			refresh();
			dispatchEvent({type:"buttonDown"});
			if (autoRepeat) {
				interval = setInterval(this, "onPressDelay", getStyle("repeatDelay"));
			}
		}
		function onPressDelay(Void) {
			dispatchEvent({type:"buttonDown"});
			if (autoRepeat) {
				clearInterval(interval);
				interval = setInterval(this, "onPressRepeat", getStyle("repeatInterval"));
			}
		}
		function onPressRepeat(Void) {
			dispatchEvent({type:"buttonDown"});
			updateAfterEvent();
		}
		function onRelease(Void) {
			releaseFocus();
			phase = "rollover";
			if (interval != undefined) {
				clearInterval(interval);
				delete interval;
			}
			if (getToggle()) {
				setState(!getState());
			} else {
				refresh();
			}
			dispatchEvent({type:"click"});
		}
		function onDragOut(Void) {
			phase = "up";
			refresh();
			dispatchEvent({type:"buttonDragOut"});
		}
		function onDragOver(Void) {
			if (phase != "up") {
				onPress();
				return(undefined);
			}
			phase = "down";
			refresh();
		}
		function onReleaseOutside(Void) {
			releaseFocus();
			phase = "up";
			if (interval != undefined) {
				clearInterval(interval);
				delete interval;
			}
		}
		function onRollOver(Void) {
			phase = "rollover";
			refresh();
		}
		function onRollOut(Void) {
			phase = "up";
			refresh();
		}
		function getLabel(Void) {
			return(fui.text);
		}
		function setLabel(val) {
			if (typeof(fui) == "string") {
				createLabel("fui", 8, val);
				fui.styleName = this;
			} else {
				fui.text = val;
			}
			var _local4 = fui._getTextFormat();
			var _local2 = _local4.getTextExtent2(val);
			fui._width = _local2.width + 5;
			fui._height = _local2.height + 5;
			iconName = fui;
			setView(__state);
		}
		function get emphasized() {
			return(__emphasized);
		}
		function set emphasized(val) {
			__emphasized = val;
			var _local2 = 0;
			while (_local2 < 8) {
				this[idNames[_local2]] = stateNames[_local2] + "Skin";
				if (typeof(this[idNames[_local2 + 8]]) == "movieclip") {
					this[idNames[_local2 + 8]] = stateNames[_local2] + "Icon";
				}
				_local2++;
			}
			showEmphasized(__emphasized);
			setStateVar(__state);
			invalidateStyle();
			//return(emphasized);
		}
		function keyDown(e) {
			if (e.code == 32) {
				onPress();
			}
		}
		function keyUp(e) {
			if (e.code == 32) {
				onRelease();
			}
		}
		function onKillFocus(newFocus) {
			super.onKillFocus();
			if (phase != "up") {
				phase = "up";
				refresh();
			}
		}
		static var symbolName = "SimpleButton";
		static var symbolOwner = mx.controls.SimpleButton;
		static var version = "2.0.0.360";
		var className = "SimpleButton";
		var style3dInset = 4;
		var btnOffset = 1;
		var __toggle = false;
		var __state = false;
		var __emphasized = false;
		var __emphatic = false;
		static var falseUp = 0;
		static var falseDown = 1;
		static var falseOver = 2;
		static var falseDisabled = 3;
		static var trueUp = 4;
		static var trueDown = 5;
		static var trueOver = 6;
		static var trueDisabled = 7;
		var falseUpSkin = "SimpleButtonUp";
		var falseDownSkin = "SimpleButtonIn";
		var falseOverSkin = "";
		var falseDisabledSkin = "SimpleButtonUp";
		var trueUpSkin = "SimpleButtonIn";
		var trueDownSkin = "";
		var trueOverSkin = "";
		var trueDisabledSkin = "SimpleButtonIn";
		var falseUpIcon = "";
		var falseDownIcon = "";
		var falseOverIcon = "";
		var falseDisabledIcon = "";
		var trueUpIcon = "";
		var trueDownIcon = "";
		var trueOverIcon = "";
		var trueDisabledIcon = "";
		var phase = "up";
		var fui = "falseUpIcon";
		var fus = "falseUpSkin";
		var fdi = "falseDownIcon";
		var fds = "falseDownSkin";
		var frs = "falseOverSkin";
		var fri = "falseOverIcon";
		var dfi = "falseDisabledIcon";
		var dfs = "falseDisabledSkin";
		var tui = "trueUpIcon";
		var tus = "trueUpSkin";
		var tdi = "trueDownIcon";
		var tds = "trueDownSkin";
		var trs = "trueOverSkin";
		var tri = "trueOverIcon";
		var dts = "trueDisabledSkin";
		var dti = "trueDisabledIcon";
		var rolloverSkin = mx.controls.SimpleButton.prototype.frs;
		var rolloverIcon = mx.controls.SimpleButton.prototype.fri;
		var upSkin = mx.controls.SimpleButton.prototype.fus;
		var downSkin = mx.controls.SimpleButton.prototype.fds;
		var disabledSkin = mx.controls.SimpleButton.prototype.dfs;
		var upIcon = mx.controls.SimpleButton.prototype.fui;
		var downIcon = mx.controls.SimpleButton.prototype.fdi;
		var disabledIcon = mx.controls.SimpleButton.prototype.dfi;
		var initializing = true;
		var idNames = ["fus", "fds", "frs", "dfs", "tus", "tds", "trs", "dts", "fui", "fdi", "fri", "dfi", "tui", "tdi", "tri", "dti"];
		var stateNames = ["falseUp", "falseDown", "falseOver", "falseDisabled", "trueUp", "trueDown", "trueOver", "trueDisabled"];
		var refNames = ["upSkin", "downSkin", "rolloverSkin", "disabledSkin"];
		var tagMap = {falseUpSkin:0, falseDownSkin:1, falseOverSkin:2, falseDisabledSkin:3, trueUpSkin:4, trueDownSkin:5, trueOverSkin:6, trueDisabledSkin:7, falseUpIcon:0, falseDownIcon:1, falseOverIcon:2, falseDisabledIcon:3, trueUpIcon:4, trueDownIcon:5, trueOverIcon:6, trueDisabledIcon:7};
	}
Symbol 145 MovieClip [__Packages.mx.controls.scrollClasses.ScrollBar] Frame 0
	class mx.controls.scrollClasses.ScrollBar extends mx.core.UIComponent
	{
		var isScrolling, scrollTrack_mc, scrollThumb_mc, __height, tabEnabled, focusEnabled, boundingBox_mc, setSkin, upArrow_mc, _minHeight, _minWidth, downArrow_mc, createObject, createClassObject, enabled, _height, dispatchEvent, minMode, maxMode, plusMode, minusMode, _parent, getStyle, scrolling, _ymouse;
		function ScrollBar () {
			super();
		}
		function get scrollPosition() {
			return(_scrollPosition);
		}
		function set scrollPosition(pos) {
			_scrollPosition = pos;
			if (isScrolling != true) {
				pos = Math.min(pos, maxPos);
				pos = Math.max(pos, minPos);
				var _local3 = (((pos - minPos) * (scrollTrack_mc.height - scrollThumb_mc._height)) / (maxPos - minPos)) + scrollTrack_mc.top;
				scrollThumb_mc.move(0, _local3);
			}
			//return(scrollPosition);
		}
		function get pageScrollSize() {
			return(largeScroll);
		}
		function set pageScrollSize(lScroll) {
			largeScroll = lScroll;
			//return(pageScrollSize);
		}
		function set lineScrollSize(sScroll) {
			smallScroll = sScroll;
			//return(lineScrollSize);
		}
		function get lineScrollSize() {
			return(smallScroll);
		}
		function get virtualHeight() {
			return(__height);
		}
		function init(Void) {
			super.init();
			_scrollPosition = 0;
			tabEnabled = false;
			focusEnabled = false;
			boundingBox_mc._visible = false;
			boundingBox_mc._width = (boundingBox_mc._height = 0);
		}
		function createChildren(Void) {
			if (scrollTrack_mc == undefined) {
				setSkin(skinIDTrack, scrollTrackName);
			}
			scrollTrack_mc.visible = false;
			var _local3 = new Object();
			_local3.enabled = false;
			_local3.preset = mx.controls.SimpleButton.falseDisabled;
			_local3.initProperties = 0;
			_local3.autoRepeat = true;
			_local3.tabEnabled = false;
			var _local2;
			if (upArrow_mc == undefined) {
				_local2 = createButton(upArrowName, "upArrow_mc", skinIDUpArrow, _local3);
			}
			_local2.buttonDownHandler = onUpArrow;
			_local2.clickHandler = onScrollChanged;
			_minHeight = _local2.height;
			_minWidth = _local2.width;
			if (downArrow_mc == undefined) {
				_local2 = createButton(downArrowName, "downArrow_mc", skinIDDownArrow, _local3);
			}
			_local2.buttonDownHandler = onDownArrow;
			_local2.clickHandler = onScrollChanged;
			_minHeight = _minHeight + _local2.height;
		}
		function createButton(linkageName, id, skinID, o) {
			if (skinID == skinIDUpArrow) {
				o.falseUpSkin = upArrowUpName;
				o.falseDownSkin = upArrowDownName;
				o.falseOverSkin = upArrowOverName;
			} else {
				o.falseUpSkin = downArrowUpName;
				o.falseDownSkin = downArrowDownName;
				o.falseOverSkin = downArrowOverName;
			}
			var _local3 = createObject(linkageName, id, skinID, o);
			this[id].visible = false;
			this[id].useHandCursor = false;
			return(_local3);
		}
		function createThumb(Void) {
			var _local2 = new Object();
			_local2.validateNow = true;
			_local2.tabEnabled = false;
			_local2.leftSkin = thumbTopName;
			_local2.middleSkin = thumbMiddleName;
			_local2.rightSkin = thumbBottomName;
			_local2.gripSkin = thumbGripName;
			createClassObject(mx.controls.scrollClasses.ScrollThumb, "scrollThumb_mc", skinIDThumb, _local2);
		}
		function setScrollProperties(pSize, mnPos, mxPos, ls) {
			var _local4;
			var _local2 = scrollTrack_mc;
			pageSize = pSize;
			largeScroll = (((ls != undefined) && (ls > 0)) ? (ls) : (pSize));
			minPos = Math.max(mnPos, 0);
			maxPos = Math.max(mxPos, 0);
			_scrollPosition = Math.max(minPos, _scrollPosition);
			_scrollPosition = Math.min(maxPos, _scrollPosition);
			if (((maxPos - minPos) > 0) && (enabled)) {
				var _local5 = _scrollPosition;
				if (!initializing) {
					upArrow_mc.enabled = true;
					downArrow_mc.enabled = true;
				}
				_local2.onPress = (_local2.onDragOver = startTrackScroller);
				_local2.onRelease = releaseScrolling;
				_local2.onDragOut = (_local2.stopScrolling = stopScrolling);
				_local2.onReleaseOutside = releaseScrolling;
				_local2.useHandCursor = false;
				if (scrollThumb_mc == undefined) {
					createThumb();
				}
				var _local3 = scrollThumb_mc;
				if (scrollTrackOverName.length > 0) {
					_local2.onRollOver = trackOver;
					_local2.onRollOut = trackOut;
				}
				_local4 = (pageSize / ((maxPos - minPos) + pageSize)) * _local2.height;
				if (_local4 < _local3.minHeight) {
					if (_local2.height < _local3.minHeight) {
						_local3.__set__visible(false);
					} else {
						_local4 = _local3.minHeight;
						_local3.__set__visible(true);
						_local3.setSize(_minWidth, _local3.minHeight + 0);
					}
				} else {
					_local3.__set__visible(true);
					_local3.setSize(_minWidth, _local4);
				}
				_local3.setRange(upArrow_mc.__get__height() + 0, (virtualHeight - downArrow_mc.__get__height()) - _local3.__get__height(), minPos, maxPos);
				_local5 = Math.min(_local5, maxPos);
				scrollPosition = (Math.max(_local5, minPos));
			} else {
				scrollThumb_mc.__set__visible(false);
				if (!initializing) {
					upArrow_mc.enabled = false;
					downArrow_mc.enabled = false;
				}
				delete _local2.onPress;
				delete _local2.onDragOver;
				delete _local2.onRelease;
				delete _local2.onDragOut;
				delete _local2.onRollOver;
				delete _local2.onRollOut;
				delete _local2.onReleaseOutside;
			}
			if (initializing) {
				scrollThumb_mc.__set__visible(false);
			}
		}
		function setEnabled(enabledFlag) {
			super.setEnabled(enabledFlag);
			setScrollProperties(pageSize, minPos, maxPos, largeScroll);
		}
		function draw(Void) {
			if (initializing) {
				initializing = false;
				scrollTrack_mc.visible = true;
				upArrow_mc.__set__visible(true);
				downArrow_mc.__set__visible(true);
			}
			size();
		}
		function size(Void) {
			if (_height == 1) {
				return(undefined);
			}
			if (upArrow_mc == undefined) {
				return(undefined);
			}
			var _local3 = upArrow_mc.__get__height();
			var _local2 = downArrow_mc.__get__height();
			upArrow_mc.move(0, 0);
			var _local4 = scrollTrack_mc;
			_local4._y = _local3;
			_local4._height = (virtualHeight - _local3) - _local2;
			downArrow_mc.move(0, virtualHeight - _local2);
			setScrollProperties(pageSize, minPos, maxPos, largeScroll);
		}
		function dispatchScrollEvent(detail) {
			dispatchEvent({type:"scroll", detail:detail});
		}
		function isScrollBarKey(k) {
			if (k == 36) {
				if (scrollPosition != 0) {
					scrollPosition = (0);
					dispatchScrollEvent(minMode);
				}
				return(true);
			}
			if (k == 35) {
				if (scrollPosition < maxPos) {
					scrollPosition = (maxPos);
					dispatchScrollEvent(maxMode);
				}
				return(true);
			}
			return(false);
		}
		function scrollIt(inc, mode) {
			var _local3 = smallScroll;
			if (inc != "Line") {
				_local3 = ((largeScroll == 0) ? (pageSize) : (largeScroll));
			}
			var _local2 = _scrollPosition + (mode * _local3);
			if (_local2 > maxPos) {
				_local2 = maxPos;
			} else if (_local2 < minPos) {
				_local2 = minPos;
			}
			if (scrollPosition != _local2) {
				scrollPosition = (_local2);
				var _local4 = ((mode < 0) ? (minusMode) : (plusMode));
				dispatchScrollEvent(inc + _local4);
			}
		}
		function startTrackScroller(Void) {
			_parent.pressFocus();
			if (_parent.scrollTrackDownName.length > 0) {
				if (_parent.scrollTrackDown_mc == undefined) {
					_parent.setSkin(skinIDTrackDown, scrollTrackDownName);
				} else {
					_parent.scrollTrackDown_mc.visible = true;
				}
			}
			_parent.trackScroller();
			_parent.scrolling = setInterval(_parent, "scrollInterval", getStyle("repeatDelay"), "Page", -1);
		}
		function scrollInterval(inc, mode) {
			clearInterval(scrolling);
			if (inc == "Page") {
				trackScroller();
			} else {
				scrollIt(inc, mode);
			}
			scrolling = setInterval(this, "scrollInterval", getStyle("repeatInterval"), inc, mode);
		}
		function trackScroller(Void) {
			if ((scrollThumb_mc._y + scrollThumb_mc.__get__height()) < _ymouse) {
				scrollIt("Page", 1);
			} else if (scrollThumb_mc._y > _ymouse) {
				scrollIt("Page", -1);
			}
		}
		function dispatchScrollChangedEvent(Void) {
			dispatchEvent({type:"scrollChanged"});
		}
		function stopScrolling(Void) {
			clearInterval(_parent.scrolling);
			_parent.scrollTrackDown_mc.visible = false;
		}
		function releaseScrolling(Void) {
			_parent.releaseFocus();
			stopScrolling();
			_parent.dispatchScrollChangedEvent();
		}
		function trackOver(Void) {
			if (_parent.scrollTrackOverName.length > 0) {
				if (_parent.scrollTrackOver_mc == undefined) {
					_parent.setSkin(skinIDTrackOver, scrollTrackOverName);
				} else {
					_parent.scrollTrackOver_mc.visible = true;
				}
			}
		}
		function trackOut(Void) {
			_parent.scrollTrackOver_mc.visible = false;
		}
		function onUpArrow(Void) {
			_parent.scrollIt("Line", -1);
		}
		function onDownArrow(Void) {
			_parent.scrollIt("Line", 1);
		}
		function onScrollChanged(Void) {
			_parent.dispatchScrollChangedEvent();
		}
		static var symbolOwner = mx.core.UIComponent;
		var className = "ScrollBar";
		var minPos = 0;
		var maxPos = 0;
		var pageSize = 0;
		var largeScroll = 0;
		var smallScroll = 1;
		var _scrollPosition = 0;
		var scrollTrackName = "ScrollTrack";
		var scrollTrackOverName = "";
		var scrollTrackDownName = "";
		var upArrowName = "BtnUpArrow";
		var upArrowUpName = "ScrollUpArrowUp";
		var upArrowOverName = "ScrollUpArrowOver";
		var upArrowDownName = "ScrollUpArrowDown";
		var downArrowName = "BtnDownArrow";
		var downArrowUpName = "ScrollDownArrowUp";
		var downArrowOverName = "ScrollDownArrowOver";
		var downArrowDownName = "ScrollDownArrowDown";
		var thumbTopName = "ScrollThumbTopUp";
		var thumbMiddleName = "ScrollThumbMiddleUp";
		var thumbBottomName = "ScrollThumbBottomUp";
		var thumbGripName = "ScrollThumbGripUp";
		static var skinIDTrack = 0;
		static var skinIDTrackOver = 1;
		static var skinIDTrackDown = 2;
		static var skinIDUpArrow = 3;
		static var skinIDDownArrow = 4;
		static var skinIDThumb = 5;
		var idNames = new Array("scrollTrack_mc", "scrollTrackOver_mc", "scrollTrackDown_mc", "upArrow_mc", "downArrow_mc");
		var clipParameters = {minPos:1, maxPos:1, pageSize:1, scrollPosition:1, lineScrollSize:1, pageScrollSize:1, visible:1, enabled:1};
		static var mergedClipParameters = mx.core.UIObject.mergeClipParameters(mx.controls.scrollClasses.ScrollBar.prototype.clipParameters, mx.core.UIComponent.prototype.clipParameters);
		var initializing = true;
	}
Symbol 146 MovieClip [__Packages.mx.controls.HScrollBar] Frame 0
	class mx.controls.HScrollBar extends mx.controls.scrollClasses.ScrollBar
	{
		var _minHeight, _minWidth, _xscale, _rotation, __width, scrollIt;
		function HScrollBar () {
			super();
		}
		function getMinWidth(Void) {
			return(_minHeight);
		}
		function getMinHeight(Void) {
			return(_minWidth);
		}
		function init(Void) {
			super.init();
			_xscale = -100;
			_rotation = -90;
		}
		function get virtualHeight() {
			return(__width);
		}
		function isScrollBarKey(k) {
			if (k == 37) {
				scrollIt("Line", -1);
				return(true);
			}
			if (k == 39) {
				scrollIt("Line", 1);
				return(true);
			}
			return(super.isScrollBarKey(k));
		}
		static var symbolName = "HScrollBar";
		static var symbolOwner = mx.core.UIComponent;
		static var version = "2.0.0.360";
		var className = "HScrollBar";
		var minusMode = "Left";
		var plusMode = "Right";
		var minMode = "AtLeft";
		var maxMode = "AtRight";
	}
Symbol 147 MovieClip [__Packages.mx.controls.Button] Frame 0
	class mx.controls.Button extends mx.controls.SimpleButton
	{
		var initIcon, getState, enabled, phase, labelPath, idNames, __width, __height, setState, invalidate, iconName, refresh, createLabel, _iconLinkageName, initializing, removeIcons, hitArea_mc, createEmptyObject;
		function Button () {
			super();
		}
		function init(Void) {
			super.init();
		}
		function draw() {
			super.draw();
			if (initIcon != undefined) {
				_setIcon(initIcon);
			}
			delete initIcon;
		}
		function onRelease(Void) {
			super.onRelease();
		}
		function createChildren(Void) {
			super.createChildren();
		}
		function setSkin(tag, linkageName, initobj) {
			return(super.setSkin(tag, linkageName, initobj));
		}
		function viewSkin(varName) {
			var _local3 = (getState() ? "true" : "false");
			_local3 = _local3 + (enabled ? (phase) : "disabled");
			super.viewSkin(varName, {styleName:this, borderStyle:_local3});
		}
		function invalidateStyle(c) {
			labelPath.invalidateStyle(c);
			super.invalidateStyle(c);
		}
		function setColor(c) {
			var _local2 = 0;
			while (_local2 < 8) {
				this[idNames[_local2]].redraw(true);
				_local2++;
			}
		}
		function setEnabled(enable) {
			labelPath.enabled = enable;
			super.setEnabled(enable);
		}
		function calcSize(tag, ref) {
			if ((__width == undefined) || (__height == undefined)) {
				return(undefined);
			}
			if (tag < 7) {
				ref.setSize(__width, __height, true);
			}
		}
		function size(Void) {
			setState(getState());
			setHitArea(__width, __height);
			var _local3 = 0;
			while (_local3 < 8) {
				var _local4 = idNames[_local3];
				if (typeof(this[_local4]) == "movieclip") {
					this[_local4].setSize(__width, __height, true);
				}
				_local3++;
			}
			super.size();
		}
		function set labelPlacement(val) {
			__labelPlacement = val;
			invalidate();
			//return(labelPlacement);
		}
		function get labelPlacement() {
			return(__labelPlacement);
		}
		function getLabelPlacement(Void) {
			return(__labelPlacement);
		}
		function setLabelPlacement(val) {
			__labelPlacement = val;
			invalidate();
		}
		function getBtnOffset(Void) {
			if (getState()) {
				var _local2 = btnOffset;
			} else if (phase == "down") {
				var _local2 = btnOffset;
			} else {
				var _local2 = 0;
			}
			return(_local2);
		}
		function setView(offset) {
			var _local16 = (offset ? (btnOffset) : 0);
			var _local12 = getLabelPlacement();
			var _local7 = 0;
			var _local6 = 0;
			var _local9 = 0;
			var _local8 = 0;
			var _local5 = 0;
			var _local4 = 0;
			var _local3 = labelPath;
			var _local2 = iconName;
			var _local15 = _local3.textWidth;
			var _local14 = _local3.textHeight;
			var _local10 = (__width - borderW) - borderW;
			var _local11 = (__height - borderW) - borderW;
			_local3._visible = true;
			if (_local2 != undefined) {
				_local7 = _local2._width;
				_local6 = _local2._height;
			}
			if ((_local12 == "left") || (_local12 == "right")) {
				if (_local3 != undefined) {
					_local9 = Math.min(_local10 - _local7, _local15 + 5);
					_local3._width = _local9;
					_local8 = Math.min(_local11, _local14 + 5);
					_local3._height = _local8;
				}
				if (_local12 == "right") {
					_local5 = _local7;
					if (centerContent) {
						_local5 = _local5 + (((_local10 - _local9) - _local7) / 2);
					}
					_local2._x = _local5 - _local7;
				} else {
					_local5 = (_local10 - _local9) - _local7;
					if (centerContent) {
						_local5 = _local5 / 2;
					}
					_local2._x = _local5 + _local9;
				}
				_local4 = 0;
				_local2._y = _local4;
				if (centerContent) {
					_local2._y = (_local11 - _local6) / 2;
					_local4 = (_local11 - _local8) / 2;
				}
				if (!centerContent) {
					_local2._y = _local2._y + Math.max(0, (_local8 - _local6) / 2);
				}
			} else {
				if (_local3 != undefined) {
					_local9 = Math.min(_local10, _local15 + 5);
					_local3._width = _local9;
					_local8 = Math.min(_local11 - _local6, _local14 + 5);
					_local3._height = _local8;
				}
				_local5 = (_local10 - _local9) / 2;
				_local2._x = (_local10 - _local7) / 2;
				if (_local12 == "top") {
					_local4 = (_local11 - _local8) - _local6;
					if (centerContent) {
						_local4 = _local4 / 2;
					}
					_local2._y = _local4 + _local8;
				} else {
					_local4 = _local6;
					if (centerContent) {
						_local4 = _local4 + (((_local11 - _local8) - _local6) / 2);
					}
					_local2._y = _local4 - _local6;
				}
			}
			var _local13 = borderW + _local16;
			_local3._x = _local5 + _local13;
			_local3._y = _local4 + _local13;
			_local2._x = _local2._x + _local13;
			_local2._y = _local2._y + _local13;
		}
		function set label(lbl) {
			setLabel(lbl);
			//return(label);
		}
		function setLabel(label) {
			if (label == "") {
				labelPath.removeTextField();
				refresh();
				return(undefined);
			}
			if (labelPath == undefined) {
				var _local2 = createLabel("labelPath", 200, label);
				_local2._width = _local2.textWidth + 5;
				_local2._height = _local2.textHeight + 5;
				_local2.visible = false;
			} else {
				labelPath.text = label;
				refresh();
			}
		}
		function getLabel(Void) {
			return(labelPath.text);
		}
		function get label() {
			return(labelPath.text);
		}
		function _getIcon(Void) {
			return(_iconLinkageName);
		}
		function get icon() {
			if (initializing) {
				return(initIcon);
			}
			return(_iconLinkageName);
		}
		function _setIcon(linkage) {
			if (initializing) {
				if (linkage == "") {
					return(undefined);
				}
				initIcon = linkage;
			} else {
				if (linkage == "") {
					removeIcons();
					return(undefined);
				}
				super.changeIcon(0, linkage);
				super.changeIcon(1, linkage);
				super.changeIcon(4, linkage);
				super.changeIcon(5, linkage);
				_iconLinkageName = linkage;
				refresh();
			}
		}
		function set icon(linkage) {
			_setIcon(linkage);
			//return(icon);
		}
		function setHitArea(w, h) {
			if (hitArea_mc == undefined) {
				createEmptyObject("hitArea_mc", 100);
			}
			var _local2 = hitArea_mc;
			_local2.clear();
			_local2.beginFill(16711680);
			_local2.drawRect(0, 0, w, h);
			_local2.endFill();
			_local2.setVisible(false);
		}
		static var symbolName = "Button";
		static var symbolOwner = mx.controls.Button;
		var className = "Button";
		static var version = "2.0.0.360";
		var btnOffset = 0;
		var _color = "buttonColor";
		var __label = "default value";
		var __labelPlacement = "right";
		var falseUpSkin = "ButtonSkin";
		var falseDownSkin = "ButtonSkin";
		var falseOverSkin = "ButtonSkin";
		var falseDisabledSkin = "ButtonSkin";
		var trueUpSkin = "ButtonSkin";
		var trueDownSkin = "ButtonSkin";
		var trueOverSkin = "ButtonSkin";
		var trueDisabledSkin = "ButtonSkin";
		var falseUpIcon = "";
		var falseDownIcon = "";
		var falseOverIcon = "";
		var falseDisabledIcon = "";
		var trueUpIcon = "";
		var trueDownIcon = "";
		var trueOverIcon = "";
		var trueDisabledIcon = "";
		var clipParameters = {labelPlacement:1, icon:1, toggle:1, selected:1, label:1};
		static var mergedClipParameters = mx.core.UIObject.mergeClipParameters(mx.controls.Button.prototype.clipParameters, mx.controls.SimpleButton.prototype.clipParameters);
		var centerContent = true;
		var borderW = 1;
	}
Symbol 148 MovieClip [__Packages.mx.skins.ColoredSkinElement] Frame 0
	class mx.skins.ColoredSkinElement
	{
		var getStyle, _color, onEnterFrame;
		function ColoredSkinElement () {
		}
		function setColor(c) {
			if (c != undefined) {
				var _local2 = new Color(this);
				_local2.setRGB(c);
			}
		}
		function draw(Void) {
			setColor(getStyle(_color));
			onEnterFrame = undefined;
		}
		function invalidateStyle(Void) {
			onEnterFrame = draw;
		}
		static function setColorStyle(p, colorStyle) {
			if (p._color == undefined) {
				p._color = colorStyle;
			}
			p.setColor = mixins.setColor;
			p.invalidateStyle = mixins.invalidateStyle;
			p.draw = mixins.draw;
			p.setColor(p.getStyle(colorStyle));
		}
		static var mixins = new mx.skins.ColoredSkinElement();
	}
Symbol 149 MovieClip [__Packages.mx.core.ext.UIObjectExtensions] Frame 0
	class mx.core.ext.UIObjectExtensions
	{
		function UIObjectExtensions () {
		}
		static function addGeometry(tf, ui) {
			tf.addProperty("width", ui.__get__width, null);
			tf.addProperty("height", ui.__get__height, null);
			tf.addProperty("left", ui.__get__left, null);
			tf.addProperty("x", ui.__get__x, null);
			tf.addProperty("top", ui.__get__top, null);
			tf.addProperty("y", ui.__get__y, null);
			tf.addProperty("right", ui.__get__right, null);
			tf.addProperty("bottom", ui.__get__bottom, null);
			tf.addProperty("visible", ui.__get__visible, ui.__set__visible);
		}
		static function Extensions() {
			if (bExtended == true) {
				return(true);
			}
			bExtended = true;
			var _local4 = mx.core.UIObject.prototype;
			var _local8 = mx.skins.SkinElement.prototype;
			addGeometry(_local8, _local4);
			mx.events.UIEventDispatcher.initialize(_local4);
			var _local12 = mx.skins.ColoredSkinElement;
			mx.styles.CSSTextStyles.addTextStyles(_local4);
			var _local5 = MovieClip.prototype;
			_local5.getTopLevel = _local4.getTopLevel;
			_local5.createLabel = _local4.createLabel;
			_local5.createObject = _local4.createObject;
			_local5.createClassObject = _local4.createClassObject;
			_local5.createEmptyObject = _local4.createEmptyObject;
			_local5.destroyObject = _local4.destroyObject;
			_local5.__getTextFormat = _local4.__getTextFormat;
			_local5._getTextFormat = _local4._getTextFormat;
			_local5.getStyleName = _local4.getStyleName;
			_local5.getStyle = _local4.getStyle;
			var _local6 = TextField.prototype;
			addGeometry(_local6, _local4);
			_local6.addProperty("enabled", function () {
				return(this.__enabled);
			}, function (x) {
				this.__enabled = x;
				this.invalidateStyle();
			});
			_local6.move = _local8.move;
			_local6.setSize = _local8.setSize;
			_local6.invalidateStyle = function () {
				this.invalidateFlag = true;
			};
			_local6.draw = function () {
				if (this.invalidateFlag) {
					this.invalidateFlag = false;
					var _local2 = this._getTextFormat();
					this.setTextFormat(_local2);
					this.setNewTextFormat(_local2);
					this.embedFonts = _local2.embedFonts == true;
					if (this.__text != undefined) {
						if (this.text == "") {
							this.text = this.__text;
						}
						delete this.__text;
					}
					this._visible = true;
				}
			};
			_local6.setColor = function (color) {
				this.textColor = color;
			};
			_local6.getStyle = _local5.getStyle;
			_local6.__getTextFormat = _local4.__getTextFormat;
			_local6.setValue = function (v) {
				this.text = v;
			};
			_local6.getValue = function () {
				return(this.text);
			};
			_local6.addProperty("value", function () {
				return(this.getValue());
			}, function (v) {
				this.setValue(v);
			});
			_local6._getTextFormat = function () {
				var _local2 = this.stylecache.tf;
				if (_local2 != undefined) {
					return(_local2);
				}
				_local2 = new TextFormat();
				this.__getTextFormat(_local2);
				this.stylecache.tf = _local2;
				if (this.__enabled == false) {
					if (this.enabledColor == undefined) {
						var _local4 = this.getTextFormat();
						this.enabledColor = _local4.color;
					}
					var _local3 = this.getStyle("disabledColor");
					_local2.color = _local3;
				} else if (this.enabledColor != undefined) {
					if (_local2.color == undefined) {
						_local2.color = this.enabledColor;
					}
				}
				return(_local2);
			};
			_local6.getPreferredWidth = function () {
				this.draw();
				return(this.textWidth + 4);
			};
			_local6.getPreferredHeight = function () {
				this.draw();
				return(this.textHeight + 4);
			};
			TextFormat.prototype.getTextExtent2 = function (s) {
				var _local3 = _root._getTextExtent;
				if (_local3 == undefined) {
					_root.createTextField("_getTextExtent", -2, 0, 0, 1000, 100);
					_local3 = _root._getTextExtent;
					_local3._visible = false;
				}
				_root._getTextExtent.text = s;
				var _local4 = this.align;
				this.align = "left";
				_root._getTextExtent.setTextFormat(this);
				this.align = _local4;
				return({width:_local3.textWidth, height:_local3.textHeight});
			};
			if (_global.style == undefined) {
				_global.style = new mx.styles.CSSStyleDeclaration();
				_global.cascadingStyles = true;
				_global.styles = new Object();
				_global.skinRegistry = new Object();
				_global.origWidth = Stage.width;
				_global.origHeight = Stage.height;
			}
			_root.addProperty("width", function () {
				return(Stage.width);
			}, null);
			_root.addProperty("height", function () {
				return(Stage.height);
			}, null);
			return(true);
		}
		static var bExtended = false;
		static var UIObjectExtended = Extensions();
		static var UIObjectDependency = mx.core.UIObject;
		static var SkinElementDependency = mx.skins.SkinElement;
		static var CSSTextStylesDependency = mx.styles.CSSTextStyles;
		static var UIEventDispatcherDependency = mx.events.UIEventDispatcher;
	}
Symbol 150 MovieClip [__Packages.mx.skins.halo.Defaults] Frame 0
	class mx.skins.halo.Defaults
	{
		var beginGradientFill, beginFill, moveTo, lineTo, curveTo, endFill;
		function Defaults () {
		}
		static function setThemeDefaults() {
			var _local2 = _global.style;
			_local2.themeColor = 8453965 /* 0x80FF4D */;
			_local2.disabledColor = 8684164 /* 0x848284 */;
			_local2.modalTransparency = 0;
			_local2.filled = true;
			_local2.stroked = true;
			_local2.strokeWidth = 1;
			_local2.strokeColor = 0;
			_local2.fillColor = 16777215 /* 0xFFFFFF */;
			_local2.repeatInterval = 35;
			_local2.repeatDelay = 500;
			_local2.fontFamily = "_sans";
			_local2.fontSize = 12;
			_local2.selectionColor = 13500353 /* 0xCDFFC1 */;
			_local2.rollOverColor = 14942166 /* 0xE3FFD6 */;
			_local2.useRollOver = true;
			_local2.backgroundDisabledColor = 14540253 /* 0xDDDDDD */;
			_local2.selectionDisabledColor = 14540253 /* 0xDDDDDD */;
			_local2.selectionDuration = 200;
			_local2.openDuration = 250;
			_local2.borderStyle = "inset";
			_local2.color = 734012 /* 0x0B333C */;
			_local2.textSelectedColor = 24371;
			_local2.textRollOverColor = 2831164 /* 0x2B333C */;
			_local2.textDisabledColor = 16777215 /* 0xFFFFFF */;
			_local2.vGridLines = true;
			_local2.hGridLines = false;
			_local2.vGridLineColor = 6710886 /* 0x666666 */;
			_local2.hGridLineColor = 6710886 /* 0x666666 */;
			_local2.headerColor = 15395562 /* 0xEAEAEA */;
			_local2.indentation = 17;
			_local2.folderOpenIcon = "TreeFolderOpen";
			_local2.folderClosedIcon = "TreeFolderClosed";
			_local2.defaultLeafIcon = "TreeNodeIcon";
			_local2.disclosureOpenIcon = "TreeDisclosureOpen";
			_local2.disclosureClosedIcon = "TreeDisclosureClosed";
			_local2.popupDuration = 150;
			_local2.todayColor = 6710886 /* 0x666666 */;
			_local2 = (_global.styles.ScrollSelectList = new mx.styles.CSSStyleDeclaration());
			_local2.backgroundColor = 16777215 /* 0xFFFFFF */;
			_local2.borderColor = 13290186 /* 0xCACACA */;
			_local2.borderStyle = "inset";
			_local2 = (_global.styles.ComboBox = new mx.styles.CSSStyleDeclaration());
			_local2.borderStyle = "inset";
			_local2 = (_global.styles.NumericStepper = new mx.styles.CSSStyleDeclaration());
			_local2.textAlign = "center";
			_local2 = (_global.styles.RectBorder = new mx.styles.CSSStyleDeclaration());
			_local2.borderColor = 14015965 /* 0xD5DDDD */;
			_local2.buttonColor = 7305079 /* 0x6F7777 */;
			_local2.shadowColor = 15658734 /* 0xEEEEEE */;
			_local2.highlightColor = 12897484 /* 0xC4CCCC */;
			_local2.shadowCapColor = 14015965 /* 0xD5DDDD */;
			_local2.borderCapColor = 9542041 /* 0x919999 */;
			var _local4 = new Object();
			_local4.borderColor = 16711680 /* 0xFF0000 */;
			_local4.buttonColor = 16711680 /* 0xFF0000 */;
			_local4.shadowColor = 16711680 /* 0xFF0000 */;
			_local4.highlightColor = 16711680 /* 0xFF0000 */;
			_local4.shadowCapColor = 16711680 /* 0xFF0000 */;
			_local4.borderCapColor = 16711680 /* 0xFF0000 */;
			mx.core.UIComponent.prototype.origBorderStyles = _local4;
			var _local3;
			_local3 = (_global.styles.TextInput = new mx.styles.CSSStyleDeclaration());
			_local3.backgroundColor = 16777215 /* 0xFFFFFF */;
			_local3.borderStyle = "inset";
			_global.styles.TextArea = _global.styles.TextInput;
			_local3 = (_global.styles.Window = new mx.styles.CSSStyleDeclaration());
			_local3.borderStyle = "default";
			_local3 = (_global.styles.windowStyles = new mx.styles.CSSStyleDeclaration());
			_local3.fontWeight = "bold";
			_local3 = (_global.styles.dataGridStyles = new mx.styles.CSSStyleDeclaration());
			_local3.fontWeight = "bold";
			_local3 = (_global.styles.Alert = new mx.styles.CSSStyleDeclaration());
			_local3.borderStyle = "alert";
			_local3 = (_global.styles.ScrollView = new mx.styles.CSSStyleDeclaration());
			_local3.borderStyle = "inset";
			_local3 = (_global.styles.View = new mx.styles.CSSStyleDeclaration());
			_local3.borderStyle = "none";
			_local3 = (_global.styles.ProgressBar = new mx.styles.CSSStyleDeclaration());
			_local3.color = 11187123 /* 0xAAB3B3 */;
			_local3.fontWeight = "bold";
			_local3 = (_global.styles.AccordionHeader = new mx.styles.CSSStyleDeclaration());
			_local3.fontWeight = "bold";
			_local3.fontSize = "11";
			_local3 = (_global.styles.Accordion = new mx.styles.CSSStyleDeclaration());
			_local3.borderStyle = "solid";
			_local3.backgroundColor = 16777215 /* 0xFFFFFF */;
			_local3.borderColor = 9081738 /* 0x8A938A */;
			_local3.headerHeight = 22;
			_local3.marginLeft = (_local3.marginRight = (_local3.marginTop = (_local3.marginBottom = -1)));
			_local3.verticalGap = -1;
			_local3 = (_global.styles.DateChooser = new mx.styles.CSSStyleDeclaration());
			_local3.borderColor = 9542041 /* 0x919999 */;
			_local3.headerColor = 16777215 /* 0xFFFFFF */;
			_local3 = (_global.styles.CalendarLayout = new mx.styles.CSSStyleDeclaration());
			_local3.fontSize = 10;
			_local3.textAlign = "right";
			_local3.color = 2831164 /* 0x2B333C */;
			_local3 = (_global.styles.WeekDayStyle = new mx.styles.CSSStyleDeclaration());
			_local3.fontWeight = "bold";
			_local3.fontSize = 11;
			_local3.textAlign = "center";
			_local3.color = 2831164 /* 0x2B333C */;
			_local3 = (_global.styles.TodayStyle = new mx.styles.CSSStyleDeclaration());
			_local3.color = 16777215 /* 0xFFFFFF */;
			_local3 = (_global.styles.HeaderDateText = new mx.styles.CSSStyleDeclaration());
			_local3.fontSize = 12;
			_local3.fontWeight = "bold";
			_local3.textAlign = "center";
		}
		function drawRoundRect(x, y, w, h, r, c, alpha, rot, gradient, ratios) {
			if (typeof(r) == "object") {
				var _local18 = r.br;
				var _local16 = r.bl;
				var _local15 = r.tl;
				var _local10 = r.tr;
			} else {
				var _local10 = r;
				var _local15 = _local10;
				var _local16 = _local15;
				var _local18 = _local16;
			}
			if (typeof(c) == "object") {
				if (typeof(alpha) != "object") {
					var _local9 = [alpha, alpha];
				} else {
					var _local9 = alpha;
				}
				if (ratios == undefined) {
					ratios = [0, 255];
				}
				var _local14 = h * 0.7;
				if (typeof(rot) != "object") {
					var _local11 = {matrixType:"box", x:-_local14, y:_local14, w:w * 2, h:h * 4, r:rot * 0.0174532925199433 /* Math.PI/180 */};
				} else {
					var _local11 = rot;
				}
				if (gradient == "radial") {
					beginGradientFill("radial", c, _local9, ratios, _local11);
				} else {
					beginGradientFill("linear", c, _local9, ratios, _local11);
				}
			} else if (c != undefined) {
				beginFill(c, alpha);
			}
			r = _local18;
			var _local13 = r - (r * 0.707106781186547);
			var _local12 = r - (r * 0.414213562373095);
			moveTo(x + w, (y + h) - r);
			lineTo(x + w, (y + h) - r);
			curveTo(x + w, (y + h) - _local12, (x + w) - _local13, (y + h) - _local13);
			curveTo((x + w) - _local12, y + h, (x + w) - r, y + h);
			r = _local16;
			_local13 = r - (r * 0.707106781186547);
			_local12 = r - (r * 0.414213562373095);
			lineTo(x + r, y + h);
			curveTo(x + _local12, y + h, x + _local13, (y + h) - _local13);
			curveTo(x, (y + h) - _local12, x, (y + h) - r);
			r = _local15;
			_local13 = r - (r * 0.707106781186547);
			_local12 = r - (r * 0.414213562373095);
			lineTo(x, y + r);
			curveTo(x, y + _local12, x + _local13, y + _local13);
			curveTo(x + _local12, y, x + r, y);
			r = _local10;
			_local13 = r - (r * 0.707106781186547);
			_local12 = r - (r * 0.414213562373095);
			lineTo((x + w) - r, y);
			curveTo((x + w) - _local12, y, (x + w) - _local13, y + _local13);
			curveTo(x + w, y + _local12, x + w, y + r);
			lineTo(x + w, (y + h) - r);
			if (c != undefined) {
				endFill();
			}
		}
		static function classConstruct() {
			mx.core.ext.UIObjectExtensions.Extensions();
			setThemeDefaults();
			mx.core.UIObject.prototype.drawRoundRect = mx.skins.halo.Defaults.prototype.drawRoundRect;
			return(true);
		}
		static var classConstructed = classConstruct();
		static var CSSStyleDeclarationDependency = mx.styles.CSSStyleDeclaration;
		static var UIObjectExtensionsDependency = mx.core.ext.UIObjectExtensions;
		static var UIObjectDependency = mx.core.UIObject;
	}
Symbol 151 MovieClip [__Packages.mx.managers.SystemManager] Frame 0
	class mx.managers.SystemManager
	{
		static var _xAddEventListener, addEventListener, __addEventListener, _xRemoveEventListener, removeEventListener, __removeEventListener, form, __screen, dispatchEvent;
		function SystemManager () {
		}
		static function init(Void) {
			if (_initialized == false) {
				_initialized = true;
				mx.events.EventDispatcher.initialize(mx.managers.SystemManager);
				Mouse.addListener(mx.managers.SystemManager);
				Stage.addListener(mx.managers.SystemManager);
				_xAddEventListener = addEventListener;
				addEventListener = __addEventListener;
				_xRemoveEventListener = removeEventListener;
				removeEventListener = __removeEventListener;
			}
		}
		static function addFocusManager(f) {
			form = f;
			f.focusManager.activate();
		}
		static function removeFocusManager(f) {
		}
		static function onMouseDown(Void) {
			var _local1 = form;
			_local1.focusManager._onMouseDown();
		}
		static function onResize(Void) {
			var _local7 = Stage.width;
			var _local6 = Stage.height;
			var _local9 = _global.origWidth;
			var _local8 = _global.origHeight;
			var _local3 = Stage.align;
			var _local5 = (_local9 - _local7) / 2;
			var _local4 = (_local8 - _local6) / 2;
			if (_local3 == "T") {
				_local4 = 0;
			} else if (_local3 == "B") {
				_local4 = _local8 - _local6;
			} else if (_local3 == "L") {
				_local5 = 0;
			} else if (_local3 == "R") {
				_local5 = _local9 - _local7;
			} else if (_local3 == "LT") {
				_local4 = 0;
				_local5 = 0;
			} else if (_local3 == "TR") {
				_local4 = 0;
				_local5 = _local9 - _local7;
			} else if (_local3 == "LB") {
				_local4 = _local8 - _local6;
				_local5 = 0;
			} else if (_local3 == "RB") {
				_local4 = _local8 - _local6;
				_local5 = _local9 - _local7;
			}
			if (__screen == undefined) {
				__screen = new Object();
			}
			__screen.x = _local5;
			__screen.y = _local4;
			__screen.width = _local7;
			__screen.height = _local6;
			_root.focusManager.relocate();
			dispatchEvent({type:"resize"});
		}
		static function get screen() {
			init();
			if (__screen == undefined) {
				onResize();
			}
			return(__screen);
		}
		static var _initialized = false;
		static var idleFrames = 0;
		static var isMouseDown = false;
		static var forms = new Array();
	}
Symbol 152 MovieClip [__Packages.mx.managers.FocusManager] Frame 0
	class mx.managers.FocusManager extends mx.core.UIComponent
	{
		var __defaultPushButton, defPushButton, form, move, tabEnabled, _width, _height, _x, _y, _alpha, _parent, tabCapture, watch, _visible, lastFocus, doLater, lastSelFocus, cancelAllDoLaters, _searchKey, _lastTarget, _firstNode, _nextIsNext, _nextNode, _lastx, _prevNode, _needPrev, _foundList, _prevObj, _nextObj, _firstObj, _lastObj, _lastNode, lastTabFocus, lastXMouse, lastYMouse, findFocusFromObject;
		function FocusManager () {
			super();
		}
		function get defaultPushButton() {
			return(__defaultPushButton);
		}
		function set defaultPushButton(x) {
			if (x != __defaultPushButton) {
				__defaultPushButton.__set__emphasized(false);
				__defaultPushButton = x;
				defPushButton = x;
				x.__set__emphasized(true);
			}
			//return(defaultPushButton);
		}
		function getMaxTabIndex(o) {
			var _local3 = 0;
			var _local6;
			for (_local6 in o) {
				var _local2 = o[_local6];
				if (_local2._parent == o) {
					if (_local2.tabIndex != undefined) {
						if (_local2.tabIndex > _local3) {
							_local3 = _local2.tabIndex;
						}
					}
					if (_local2.tabChildren == true) {
						var _local4 = getMaxTabIndex(_local2);
						if (_local4 > _local3) {
							_local3 = _local4;
						}
					}
				}
			}
			return(_local3);
		}
		function getNextTabIndex(Void) {
			return(getMaxTabIndex(form) + 1);
		}
		function get nextTabIndex() {
			return(getNextTabIndex());
		}
		function relocate(Void) {
			var _local2 = mx.managers.SystemManager.__get__screen();
			move(_local2.x - 1, _local2.y - 1);
		}
		function init(Void) {
			super.init();
			tabEnabled = false;
			_width = (_height = 1);
			_x = (_y = -1);
			_alpha = 0;
			_parent.focusManager = this;
			_parent.tabChildren = true;
			_parent.tabEnabled = false;
			form = _parent;
			_parent.addEventListener("hide", this);
			_parent.addEventListener("reveal", this);
			mx.managers.SystemManager.init();
			mx.managers.SystemManager.addFocusManager(form);
			tabCapture.tabIndex = 0;
			watch("enabled", enabledChanged);
			Selection.addListener(this);
		}
		function enabledChanged(id, oldValue, newValue) {
			_visible = newValue;
			return(newValue);
		}
		function activate(Void) {
			Key.addListener(this);
			activated = (_visible = true);
			if (lastFocus != undefined) {
				bNeedFocus = true;
				if (!mx.managers.SystemManager.isMouseDown) {
					doLater(this, "restoreFocus");
				}
			}
		}
		function deactivate(Void) {
			Key.removeListener(this);
			activated = (_visible = false);
			var _local2 = getSelectionFocus();
			var _local3 = getActualFocus(_local2);
			if (isOurFocus(_local3)) {
				lastSelFocus = _local2;
				lastFocus = _local3;
			}
			cancelAllDoLaters();
		}
		function isOurFocus(o) {
			if (o.focusManager == this) {
				return(true);
			}
			while (o != undefined) {
				if (o.focusManager != undefined) {
					return(false);
				}
				if (o._parent == _parent) {
					return(true);
				}
				o = o._parent;
			}
			return(false);
		}
		function onSetFocus(o, n) {
			if (n == null) {
				if (activated) {
					bNeedFocus = true;
				}
			} else {
				var _local2 = getFocus();
				if (isOurFocus(_local2)) {
					bNeedFocus = false;
					lastFocus = _local2;
					lastSelFocus = n;
				}
			}
		}
		function restoreFocus(Void) {
			var _local2 = lastSelFocus.hscroll;
			if (_local2 != undefined) {
				var _local5 = lastSelFocus.scroll;
				var _local4 = lastSelFocus.background;
			}
			lastFocus.setFocus();
			var _local3 = Selection;
			Selection.setSelection(_local3.lastBeginIndex, _local3.lastEndIndex);
			if (_local2 != undefined) {
				lastSelFocus.scroll = _local5;
				lastSelFocus.hscroll = _local2;
				lastSelFocus.background = _local4;
			}
		}
		function onUnload(Void) {
			mx.managers.SystemManager.removeFocusManager(form);
		}
		function setFocus(o) {
			if (o == null) {
				Selection.setFocus(null);
			} else if (o.setFocus == undefined) {
				Selection.setFocus(o);
			} else {
				o.setFocus();
			}
		}
		function getActualFocus(o) {
			var _local1 = o._parent;
			while (_local1 != undefined) {
				if (_local1.focusTextField != undefined) {
					while (_local1.focusTextField != undefined) {
						o = _local1;
						_local1 = _local1._parent;
						if (_local1 == undefined) {
							return(undefined);
						}
						if (_local1.focusTextField == undefined) {
							return(o);
						}
					}
				}
				if (_local1.tabEnabled != true) {
					return(o);
				}
				o = _local1;
				_local1 = o._parent;
			}
			return(undefined);
		}
		function getSelectionFocus() {
			var m = Selection.getFocus();
			var o = eval (m);
			return(o);
		}
		function getFocus(Void) {
			var _local2 = getSelectionFocus();
			return(getActualFocus(_local2));
		}
		function walkTree(p, index, groupName, dir, lookup, firstChild) {
			var _local5 = true;
			var _local11;
			for (_local11 in p) {
				var _local2 = p[_local11];
				if ((((_local2._parent == p) && (_local2.enabled != false)) && (_local2._visible != false)) && ((_local2.tabEnabled == true) || ((_local2.tabEnabled != false) && ((((((((_local2.onPress != undefined) || (_local2.onRelease != undefined)) || (_local2.onReleaseOutside != undefined)) || (_local2.onDragOut != undefined)) || (_local2.onDragOver != undefined)) || (_local2.onRollOver != undefined)) || (_local2.onRollOut != undefined)) || (_local2 instanceof TextField))))) {
					if (_local2._searchKey == _searchKey) {
						continue;
					}
					_local2._searchKey = _searchKey;
					if (_local2 != _lastTarget) {
						if (((_local2.groupName != undefined) || (groupName != undefined)) && (_local2.groupName == groupName)) {
							continue;
						}
						if ((_local2 instanceof TextField) && (_local2.selectable == false)) {
							continue;
						}
						if (_local5 || (((_local2.groupName != undefined) && (_local2.groupName == _firstNode.groupName)) && (_local2.selected == true))) {
							if (firstChild) {
								_firstNode = _local2;
								firstChild = false;
							}
						}
						if (_nextIsNext == true) {
							if ((((_local2.groupName != undefined) && (_local2.groupName == _nextNode.groupName)) && (_local2.selected == true)) || ((_nextNode == undefined) && ((_local2.groupName == undefined) || ((_local2.groupName != undefined) && (_local2.groupName != groupName))))) {
								_nextNode = _local2;
							}
						}
						if ((_local2.groupName == undefined) || (groupName != _local2.groupName)) {
							if (((_lastx.groupName != undefined) && (_local2.groupName == _lastx.groupName)) && (_lastx.selected == true)) {
							} else {
								_lastx = _local2;
							}
						}
					} else {
						_prevNode = _lastx;
						_needPrev = false;
						_nextIsNext = true;
					}
					if (_local2.tabIndex != undefined) {
						if (_local2.tabIndex == index) {
							if (_foundList[_local2._name] == undefined) {
								if (_needPrev) {
									_prevObj = _local2;
									_needPrev = false;
								}
								_nextObj = _local2;
							}
						}
						if (dir && (_local2.tabIndex > index)) {
							if (((_nextObj == undefined) || ((_nextObj.tabIndex > _local2.tabIndex) && (((_local2.groupName == undefined) || (_nextObj.groupName == undefined)) || (_local2.groupName != _nextObj.groupName)))) || ((((_nextObj.groupName != undefined) && (_nextObj.groupName == _local2.groupName)) && (_nextObj.selected != true)) && ((_local2.selected == true) || (_nextObj.tabIndex > _local2.tabIndex)))) {
								_nextObj = _local2;
							}
						} else if ((!dir) && (_local2.tabIndex < index)) {
							if (((_prevObj == undefined) || ((_prevObj.tabIndex < _local2.tabIndex) && (((_local2.groupName == undefined) || (_prevObj.groupName == undefined)) || (_local2.groupName != _prevObj.groupName)))) || ((((_prevObj.groupName != undefined) && (_prevObj.groupName == _local2.groupName)) && (_prevObj.selected != true)) && ((_local2.selected == true) || (_prevObj.tabIndex < _local2.tabIndex)))) {
								_prevObj = _local2;
							}
						}
						if (((_firstObj == undefined) || ((_local2.tabIndex < _firstObj.tabIndex) && (((_local2.groupName == undefined) || (_firstObj.groupName == undefined)) || (_local2.groupName != _firstObj.groupName)))) || ((((_firstObj.groupName != undefined) && (_firstObj.groupName == _local2.groupName)) && (_firstObj.selected != true)) && ((_local2.selected == true) || (_local2.tabIndex < _firstObj.tabIndex)))) {
							_firstObj = _local2;
						}
						if (((_lastObj == undefined) || ((_local2.tabIndex > _lastObj.tabIndex) && (((_local2.groupName == undefined) || (_lastObj.groupName == undefined)) || (_local2.groupName != _lastObj.groupName)))) || ((((_lastObj.groupName != undefined) && (_lastObj.groupName == _local2.groupName)) && (_lastObj.selected != true)) && ((_local2.selected == true) || (_local2.tabIndex > _lastObj.tabIndex)))) {
							_lastObj = _local2;
						}
					}
					if (_local2.tabChildren) {
						getTabCandidateFromChildren(_local2, index, groupName, dir, _local5 && (firstChild));
					}
					_local5 = false;
				} else if (((_local2._parent == p) && (_local2.tabChildren == true)) && (_local2._visible != false)) {
					if (_local2 == _lastTarget) {
						if (_local2._searchKey == _searchKey) {
							continue;
						}
						_local2._searchKey = _searchKey;
						if (_prevNode == undefined) {
							var _local3 = _lastx;
							var _local7 = false;
							while (_local3 != undefined) {
								if (_local3 == _local2) {
									_local7 = true;
									break;
								}
								_local3 = _local3._parent;
							}
							if (_local7 == false) {
								_prevNode = _lastx;
							}
						}
						_needPrev = false;
						if (_nextNode == undefined) {
							_nextIsNext = true;
						}
					} else if (!((_local2.focusManager != undefined) && (_local2.focusManager._parent == _local2))) {
						if (_local2._searchKey == _searchKey) {
							continue;
						}
						_local2._searchKey = _searchKey;
						getTabCandidateFromChildren(_local2, index, groupName, dir, _local5 && (firstChild));
					}
					_local5 = false;
				}
			}
			_lastNode = _lastx;
			if (lookup) {
				if (p._parent != undefined) {
					if (p != _parent) {
						if ((_prevNode == undefined) && (dir)) {
							_needPrev = true;
						} else if ((_nextNode == undefined) && (!dir)) {
							_nextIsNext = false;
						}
						_lastTarget = _lastTarget._parent;
						getTabCandidate(p._parent, index, groupName, dir, true);
					}
				}
			}
		}
		function getTabCandidate(o, index, groupName, dir, firstChild) {
			var _local2;
			var _local3 = true;
			if (o == _parent) {
				_local2 = o;
				_local3 = false;
			} else {
				_local2 = o._parent;
				if (_local2 == undefined) {
					_local2 = o;
					_local3 = false;
				}
			}
			walkTree(_local2, index, groupName, dir, _local3, firstChild);
		}
		function getTabCandidateFromChildren(o, index, groupName, dir, firstChild) {
			walkTree(o, index, groupName, dir, false, firstChild);
		}
		function getFocusManagerFromObject(o) {
			while (o != undefined) {
				if (o.focusManager != undefined) {
					return(o.focusManager);
				}
				o = o._parent;
			}
			return(undefined);
		}
		function tabHandler(Void) {
			bDrawFocus = true;
			var _local5 = getSelectionFocus();
			var _local4 = getActualFocus(_local5);
			if (_local4 != _local5) {
				_local5 = _local4;
			}
			if (getFocusManagerFromObject(_local5) != this) {
				_local5 == undefined;
			}
			if (_local5 == undefined) {
				_local5 = form;
			} else if (_local5.tabIndex != undefined) {
				if ((_foundList != undefined) || (_foundList.tabIndex != _local5.tabIndex)) {
					_foundList = new Object();
					_foundList.tabIndex = _local5.tabIndex;
				}
				_foundList[_local5._name] = _local5;
			}
			var _local3 = Key.isDown(16) != true;
			_searchKey = getTimer();
			_needPrev = true;
			_nextIsNext = false;
			_lastx = undefined;
			_firstNode = undefined;
			_lastNode = undefined;
			_nextNode = undefined;
			_prevNode = undefined;
			_firstObj = undefined;
			_lastObj = undefined;
			_nextObj = undefined;
			_prevObj = undefined;
			_lastTarget = _local5;
			var _local6 = _local5;
			getTabCandidate(_local6, ((_local5.tabIndex == undefined) ? 0 : (_local5.tabIndex)), _local5.groupName, _local3, true);
			var _local2;
			if (_local3) {
				if (_nextObj != undefined) {
					_local2 = _nextObj;
				} else {
					_local2 = _firstObj;
				}
			} else if (_prevObj != undefined) {
				_local2 = _prevObj;
			} else {
				_local2 = _lastObj;
			}
			if (_local2.tabIndex != _local5.tabIndex) {
				_foundList = new Object();
				_foundList.tabIndex = _local2.tabIndex;
				_foundList[_local2._name] = _local2;
			} else {
				if (_foundList == undefined) {
					_foundList = new Object();
					_foundList.tabIndex = _local2.tabIndex;
				}
				_foundList[_local2._name] = _local2;
			}
			if (_local2 == undefined) {
				if (_local3 == false) {
					if (_nextNode != undefined) {
						_local2 = _nextNode;
					} else {
						_local2 = _firstNode;
					}
				} else if ((_prevNode == undefined) || (_local5 == form)) {
					_local2 = _lastNode;
				} else {
					_local2 = _prevNode;
				}
			}
			if (_local2 == undefined) {
				return(undefined);
			}
			lastTabFocus = _local2;
			setFocus(_local2);
			if (_local2.emphasized != undefined) {
				if (defPushButton != undefined) {
					_local5 = defPushButton;
					defPushButton = _local2;
					_local5.emphasized = false;
					_local2.emphasized = true;
				}
			} else if ((defPushButton != undefined) && (defPushButton != __defaultPushButton)) {
				_local5 = defPushButton;
				defPushButton = __defaultPushButton;
				_local5.emphasized = false;
				__defaultPushButton.__set__emphasized(true);
			}
		}
		function onKeyDown(Void) {
			mx.managers.SystemManager.idleFrames = 0;
			if (defaultPushButtonEnabled) {
				if (Key.getCode() == 13) {
					if (defaultPushButton != undefined) {
						doLater(this, "sendDefaultPushButtonEvent");
					}
				}
			}
		}
		function sendDefaultPushButtonEvent(Void) {
			defPushButton.dispatchEvent({type:"click"});
		}
		function getMousedComponentFromChildren(x, y, o) {
			for (var _local7 in o) {
				var _local2 = o[_local7];
				if (((_local2._visible && (_local2.enabled)) && (_local2._parent == o)) && (_local2._searchKey != _searchKey)) {
					_local2._searchKey = _searchKey;
					if (_local2.hitTest(x, y, true)) {
						if ((_local2.onPress != undefined) || (_local2.onRelease != undefined)) {
							return(_local2);
						}
						var _local3 = getMousedComponentFromChildren(x, y, _local2);
						if (_local3 != undefined) {
							return(_local3);
						}
						return(_local2);
					}
				}
			}
			return(undefined);
		}
		function mouseActivate(Void) {
			if (!bNeedFocus) {
				return(undefined);
			}
			_searchKey = getTimer();
			var _local2 = getMousedComponentFromChildren(lastXMouse, lastYMouse, form);
			if (_local2 instanceof mx.core.UIComponent) {
				return(undefined);
			}
			_local2 = findFocusFromObject(_local2);
			if (_local2 == lastFocus) {
				return(undefined);
			}
			if (_local2 == undefined) {
				doLater(this, "restoreFocus");
				return(undefined);
			}
			var _local3 = _local2.hscroll;
			if (_local3 != undefined) {
				var _local6 = _local2.scroll;
				var _local5 = _local2.background;
			}
			setFocus(_local2);
			var _local4 = Selection;
			Selection.setSelection(_local4.lastBeginIndex, _local4.lastEndIndex);
			if (_local3 != undefined) {
				_local2.scroll = _local6;
				_local2.hscroll = _local3;
				_local2.background = _local5;
			}
		}
		function _onMouseDown(Void) {
			bDrawFocus = false;
			if (lastFocus != undefined) {
				lastFocus.drawFocus(false);
			}
			mx.managers.SystemManager.idleFrames = 0;
			var _local3 = Selection;
			_local3.lastBeginIndex = Selection.getBeginIndex();
			_local3.lastEndIndex = Selection.getEndIndex();
			lastXMouse = _root._xmouse;
			lastYMouse = _root._ymouse;
		}
		function onMouseUp(Void) {
			if (_visible) {
				doLater(this, "mouseActivate");
			}
		}
		function handleEvent(e) {
			if (e.type == "reveal") {
				mx.managers.SystemManager.activate(form);
			} else {
				mx.managers.SystemManager.deactivate(form);
			}
		}
		static function enableFocusManagement() {
			if (!initialized) {
				initialized = true;
				Object.registerClass("FocusManager", mx.managers.FocusManager);
				if (_root.focusManager == undefined) {
					_root.createClassObject(mx.managers.FocusManager, "focusManager", mx.managers.DepthManager.highestDepth--);
				}
			}
		}
		static var symbolName = "FocusManager";
		static var symbolOwner = mx.managers.FocusManager;
		static var version = "2.0.0.360";
		var className = "FocusManager";
		var bNeedFocus = false;
		var bDrawFocus = false;
		var defaultPushButtonEnabled = true;
		var activated = true;
		static var initialized = false;
		static var UIObjectExtensionsDependency = mx.core.ext.UIObjectExtensions;
	}
Symbol 153 MovieClip [__Packages.mx.skins.halo.FocusRect] Frame 0
	class mx.skins.halo.FocusRect extends mx.skins.SkinElement
	{
		var boundingBox_mc, _xscale, _yscale, clear, beginFill, drawRoundRect, endFill, _visible;
		function FocusRect () {
			super();
			boundingBox_mc._visible = false;
			boundingBox_mc._width = (boundingBox_mc._height = 0);
		}
		function draw(o) {
			o.adjustFocusRect();
		}
		function setSize(w, h, r, a, rectCol) {
			_xscale = (_yscale = 100);
			clear();
			if (typeof(r) == "object") {
				r.br = ((r.br > 2) ? (r.br - 2) : 0);
				r.bl = ((r.bl > 2) ? (r.bl - 2) : 0);
				r.tr = ((r.tr > 2) ? (r.tr - 2) : 0);
				r.tl = ((r.tl > 2) ? (r.tl - 2) : 0);
				beginFill(rectCol, a * 0.3);
				drawRoundRect(0, 0, w, h, r);
				drawRoundRect(2, 2, w - 4, h - 4, r);
				endFill();
				r.br = ((r.br > 1) ? (r.br + 1) : 0);
				r.bl = ((r.bl > 1) ? (r.bl + 1) : 0);
				r.tr = ((r.tr > 1) ? (r.tr + 1) : 0);
				r.tl = ((r.tl > 1) ? (r.tl + 1) : 0);
				beginFill(rectCol, a * 0.3);
				drawRoundRect(1, 1, w - 2, h - 2, r);
				r.br = ((r.br > 1) ? (r.br - 1) : 0);
				r.bl = ((r.bl > 1) ? (r.bl - 1) : 0);
				r.tr = ((r.tr > 1) ? (r.tr - 1) : 0);
				r.tl = ((r.tl > 1) ? (r.tl - 1) : 0);
				drawRoundRect(2, 2, w - 4, h - 4, r);
				endFill();
			} else {
				var _local5;
				if (r != 0) {
					_local5 = r - 2;
				} else {
					_local5 = 0;
				}
				beginFill(rectCol, a * 0.3);
				drawRoundRect(0, 0, w, h, r);
				drawRoundRect(2, 2, w - 4, h - 4, _local5);
				endFill();
				beginFill(rectCol, a * 0.3);
				if (r != 0) {
					_local5 = r - 2;
					r = r - 1;
				} else {
					_local5 = 0;
					r = 0;
				}
				drawRoundRect(1, 1, w - 2, h - 2, r);
				drawRoundRect(2, 2, w - 4, h - 4, _local5);
				endFill();
			}
		}
		function handleEvent(e) {
			if (e.type == "unload") {
				_visible = true;
			} else if (e.type == "resize") {
				e.target.adjustFocusRect();
			} else if (e.type == "move") {
				e.target.adjustFocusRect();
			}
		}
		static function classConstruct() {
			mx.core.UIComponent.prototype.drawFocus = function (focused) {
				var _local2 = this._parent.focus_mc;
				if (!focused) {
					_local2._visible = false;
					this.removeEventListener("unload", _local2);
					this.removeEventListener("move", _local2);
					this.removeEventListener("resize", _local2);
				} else {
					if (_local2 == undefined) {
						_local2 = this._parent.createChildAtDepth("FocusRect", mx.managers.DepthManager.kTop);
						_local2.tabEnabled = false;
						this._parent.focus_mc = _local2;
					} else {
						_local2._visible = true;
					}
					_local2.draw(this);
					if (_local2.getDepth() < this.getDepth()) {
						_local2.setDepthAbove(this);
					}
					this.addEventListener("unload", _local2);
					this.addEventListener("move", _local2);
					this.addEventListener("resize", _local2);
				}
			};
			mx.core.UIComponent.prototype.adjustFocusRect = function () {
				var _local2 = this.getStyle("themeColor");
				if (_local2 == undefined) {
					_local2 = 8453965 /* 0x80FF4D */;
				}
				var _local3 = this._parent.focus_mc;
				_local3.setSize(this.width + 4, this.height + 4, 0, 100, _local2);
				_local3.move(this.x - 2, this.y - 2);
			};
			TextField.prototype.drawFocus = mx.core.UIComponent.prototype.drawFocus;
			TextField.prototype.adjustFocusRect = mx.core.UIComponent.prototype.adjustFocusRect;
			mx.skins.halo.FocusRect.prototype.drawRoundRect = mx.skins.halo.Defaults.prototype.drawRoundRect;
			return(true);
		}
		static var classConstructed = classConstruct();
		static var DefaultsDependency = mx.skins.halo.Defaults;
		static var UIComponentDependency = mx.core.UIComponent;
	}
Symbol 154 MovieClip [__Packages.mx.managers.OverlappedWindows] Frame 0
	class mx.managers.OverlappedWindows
	{
		function OverlappedWindows () {
		}
		static function checkIdle(Void) {
			if (mx.managers.SystemManager.idleFrames > 10) {
				mx.managers.SystemManager.dispatchEvent({type:"idle"});
			} else {
				mx.managers.SystemManager.idleFrames++;
			}
		}
		static function __addEventListener(e, o, l) {
			if (e == "idle") {
				if (mx.managers.SystemManager.interval == undefined) {
					mx.managers.SystemManager.interval = setInterval(mx.managers.SystemManager.checkIdle, 100);
				}
			}
			mx.managers.SystemManager._xAddEventListener(e, o, l);
		}
		static function __removeEventListener(e, o, l) {
			if (e == "idle") {
				if (mx.managers.SystemManager._xRemoveEventListener(e, o, l) == 0) {
					clearInterval(mx.managers.SystemManager.interval);
				}
			} else {
				mx.managers.SystemManager._xRemoveEventListener(e, o, l);
			}
		}
		static function onMouseDown(Void) {
			mx.managers.SystemManager.idleFrames = 0;
			mx.managers.SystemManager.isMouseDown = true;
			var _local5 = _root;
			var _local3;
			var _local8 = _root._xmouse;
			var _local7 = _root._ymouse;
			if (mx.managers.SystemManager.form.modalWindow == undefined) {
				if (mx.managers.SystemManager.forms.length > 1) {
					var _local6 = mx.managers.SystemManager.forms.length;
					var _local4;
					_local4 = 0;
					while (_local4 < _local6) {
						var _local2 = mx.managers.SystemManager.forms[_local4];
						if (_local2._visible) {
							if (_local2.hitTest(_local8, _local7)) {
								if (_local3 == undefined) {
									_local3 = _local2.getDepth();
									_local5 = _local2;
								} else if (_local3 < _local2.getDepth()) {
									_local3 = _local2.getDepth();
									_local5 = _local2;
								}
							}
						}
						_local4++;
					}
					if (_local5 != mx.managers.SystemManager.form) {
						mx.managers.SystemManager.activate(_local5);
					}
				}
			}
			var _local9 = mx.managers.SystemManager.form;
			_local9.focusManager._onMouseDown();
		}
		static function onMouseMove(Void) {
			mx.managers.SystemManager.idleFrames = 0;
		}
		static function onMouseUp(Void) {
			mx.managers.SystemManager.isMouseDown = false;
			mx.managers.SystemManager.idleFrames = 0;
		}
		static function activate(f) {
			if (mx.managers.SystemManager.form != undefined) {
				if ((mx.managers.SystemManager.form != f) && (mx.managers.SystemManager.forms.length > 1)) {
					var _local1 = mx.managers.SystemManager.form;
					_local1.focusManager.deactivate();
				}
			}
			mx.managers.SystemManager.form = f;
			f.focusManager.activate();
		}
		static function deactivate(f) {
			if (mx.managers.SystemManager.form != undefined) {
				if ((mx.managers.SystemManager.form == f) && (mx.managers.SystemManager.forms.length > 1)) {
					var _local5 = mx.managers.SystemManager.form;
					_local5.focusManager.deactivate();
					var _local3 = mx.managers.SystemManager.forms.length;
					var _local1;
					var _local2;
					_local1 = 0;
					while (_local1 < _local3) {
						if (mx.managers.SystemManager.forms[_local1] == f) {
							_local1 = _local1 + 1;
							while (_local1 < _local3) {
								if (mx.managers.SystemManager.forms[_local1]._visible == true) {
									_local2 = mx.managers.SystemManager.forms[_local1];
								}
								_local1++;
							}
							mx.managers.SystemManager.form = _local2;
							break;
						}
						if (mx.managers.SystemManager.forms[_local1]._visible == true) {
							_local2 = mx.managers.SystemManager.forms[_local1];
						}
						_local1++;
					}
					_local5 = mx.managers.SystemManager.form;
					_local5.focusManager.activate();
				}
			}
		}
		static function addFocusManager(f) {
			mx.managers.SystemManager.forms.push(f);
			mx.managers.SystemManager.activate(f);
		}
		static function removeFocusManager(f) {
			var _local3 = mx.managers.SystemManager.forms.length;
			var _local1;
			_local1 = 0;
			while (_local1 < _local3) {
				if (mx.managers.SystemManager.forms[_local1] == f) {
					if (mx.managers.SystemManager.form == f) {
						mx.managers.SystemManager.deactivate(f);
					}
					mx.managers.SystemManager.forms.splice(_local1, 1);
					return(undefined);
				}
				_local1++;
			}
		}
		static function enableOverlappedWindows() {
			if (!initialized) {
				initialized = true;
				mx.managers.SystemManager.checkIdle = checkIdle;
				mx.managers.SystemManager.__addEventListener = __addEventListener;
				mx.managers.SystemManager.__removeEventListener = __removeEventListener;
				mx.managers.SystemManager.onMouseDown = onMouseDown;
				mx.managers.SystemManager.onMouseMove = onMouseMove;
				mx.managers.SystemManager.onMouseUp = onMouseUp;
				mx.managers.SystemManager.activate = activate;
				mx.managers.SystemManager.deactivate = deactivate;
				mx.managers.SystemManager.addFocusManager = addFocusManager;
				mx.managers.SystemManager.removeFocusManager = removeFocusManager;
			}
		}
		static var initialized = false;
		static var SystemManagerDependency = mx.managers.SystemManager;
	}
Symbol 155 MovieClip [__Packages.mx.styles.CSSSetStyle] Frame 0
	class mx.styles.CSSSetStyle
	{
		var styleName, stylecache, _color, setColor, invalidateStyle;
		function CSSSetStyle () {
		}
		function _setStyle(styleProp, newValue) {
			this[styleProp] = newValue;
			if (mx.styles.StyleManager.TextStyleMap[styleProp] != undefined) {
				if (styleProp == "color") {
					if (isNaN(newValue)) {
						newValue = mx.styles.StyleManager.getColorName(newValue);
						this[styleProp] = newValue;
						if (newValue == undefined) {
							return(undefined);
						}
					}
				}
				_level0.changeTextStyleInChildren(styleProp);
				return(undefined);
			}
			if (mx.styles.StyleManager.isColorStyle(styleProp)) {
				if (isNaN(newValue)) {
					newValue = mx.styles.StyleManager.getColorName(newValue);
					this[styleProp] = newValue;
					if (newValue == undefined) {
						return(undefined);
					}
				}
				if (styleProp == "themeColor") {
					var _local7 = mx.styles.StyleManager.colorNames.haloBlue;
					var _local6 = mx.styles.StyleManager.colorNames.haloGreen;
					var _local8 = mx.styles.StyleManager.colorNames.haloOrange;
					var _local4 = {};
					_local4[_local7] = 12188666 /* 0xB9FBFA */;
					_local4[_local6] = 13500353 /* 0xCDFFC1 */;
					_local4[_local8] = 16766319 /* 0xFFD56F */;
					var _local5 = {};
					_local5[_local7] = 13958653 /* 0xD4FDFD */;
					_local5[_local6] = 14942166 /* 0xE3FFD6 */;
					_local5[_local8] = 16772787 /* 0xFFEEB3 */;
					var _local9 = _local4[newValue];
					var _local10 = _local5[newValue];
					if (_local9 == undefined) {
						_local9 = newValue;
					}
					if (_local10 == undefined) {
						_local10 = newValue;
					}
					setStyle("selectionColor", _local9);
					setStyle("rollOverColor", _local10);
				}
				_level0.changeColorStyleInChildren(styleName, styleProp, newValue);
			} else {
				if ((styleProp == "backgroundColor") && (isNaN(newValue))) {
					newValue = mx.styles.StyleManager.getColorName(newValue);
					this[styleProp] = newValue;
					if (newValue == undefined) {
						return(undefined);
					}
				}
				_level0.notifyStyleChangeInChildren(styleName, styleProp, newValue);
			}
		}
		function changeTextStyleInChildren(styleProp) {
			var _local4 = getTimer();
			var _local5;
			for (_local5 in this) {
				var _local2 = this[_local5];
				if (_local2._parent == this) {
					if (_local2.searchKey != _local4) {
						if (_local2.stylecache != undefined) {
							delete _local2.stylecache.tf;
							delete _local2.stylecache[styleProp];
						}
						_local2.invalidateStyle(styleProp);
						_local2.changeTextStyleInChildren(styleProp);
						_local2.searchKey = _local4;
					}
				}
			}
		}
		function changeColorStyleInChildren(sheetName, colorStyle, newValue) {
			var _local6 = getTimer();
			var _local7;
			for (_local7 in this) {
				var _local2 = this[_local7];
				if (_local2._parent == this) {
					if (_local2.searchKey != _local6) {
						if (((_local2.getStyleName() == sheetName) || (sheetName == undefined)) || (sheetName == "_global")) {
							if (_local2.stylecache != undefined) {
								delete _local2.stylecache[colorStyle];
							}
							if (typeof(_local2._color) == "string") {
								if (_local2._color == colorStyle) {
									var _local4 = _local2.getStyle(colorStyle);
									if (colorStyle == "color") {
										if (stylecache.tf.color != undefined) {
											stylecache.tf.color = _local4;
										}
									}
									_local2.setColor(_local4);
								}
							} else if (_local2._color[colorStyle] != undefined) {
								if (typeof(_local2) != "movieclip") {
									_local2._parent.invalidateStyle();
								} else {
									_local2.invalidateStyle(colorStyle);
								}
							}
						}
						_local2.changeColorStyleInChildren(sheetName, colorStyle, newValue);
						_local2.searchKey = _local6;
					}
				}
			}
		}
		function notifyStyleChangeInChildren(sheetName, styleProp, newValue) {
			var _local5 = getTimer();
			var _local6;
			for (_local6 in this) {
				var _local2 = this[_local6];
				if (_local2._parent == this) {
					if (_local2.searchKey != _local5) {
						if (((_local2.styleName == sheetName) || ((_local2.styleName != undefined) && (typeof(_local2.styleName) == "movieclip"))) || (sheetName == undefined)) {
							if (_local2.stylecache != undefined) {
								delete _local2.stylecache[styleProp];
								delete _local2.stylecache.tf;
							}
							delete _local2.enabledColor;
							_local2.invalidateStyle(styleProp);
						}
						_local2.notifyStyleChangeInChildren(sheetName, styleProp, newValue);
						_local2.searchKey = _local5;
					}
				}
			}
		}
		function setStyle(styleProp, newValue) {
			if (stylecache != undefined) {
				delete stylecache[styleProp];
				delete stylecache.tf;
			}
			this[styleProp] = newValue;
			if (mx.styles.StyleManager.isColorStyle(styleProp)) {
				if (isNaN(newValue)) {
					newValue = mx.styles.StyleManager.getColorName(newValue);
					this[styleProp] = newValue;
					if (newValue == undefined) {
						return(undefined);
					}
				}
				if (styleProp == "themeColor") {
					var _local10 = mx.styles.StyleManager.colorNames.haloBlue;
					var _local9 = mx.styles.StyleManager.colorNames.haloGreen;
					var _local11 = mx.styles.StyleManager.colorNames.haloOrange;
					var _local6 = {};
					_local6[_local10] = 12188666 /* 0xB9FBFA */;
					_local6[_local9] = 13500353 /* 0xCDFFC1 */;
					_local6[_local11] = 16766319 /* 0xFFD56F */;
					var _local7 = {};
					_local7[_local10] = 13958653 /* 0xD4FDFD */;
					_local7[_local9] = 14942166 /* 0xE3FFD6 */;
					_local7[_local11] = 16772787 /* 0xFFEEB3 */;
					var _local12 = _local6[newValue];
					var _local13 = _local7[newValue];
					if (_local12 == undefined) {
						_local12 = newValue;
					}
					if (_local13 == undefined) {
						_local13 = newValue;
					}
					setStyle("selectionColor", _local12);
					setStyle("rollOverColor", _local13);
				}
				if (typeof(_color) == "string") {
					if (_color == styleProp) {
						if (styleProp == "color") {
							if (stylecache.tf.color != undefined) {
								stylecache.tf.color = newValue;
							}
						}
						setColor(newValue);
					}
				} else if (_color[styleProp] != undefined) {
					invalidateStyle(styleProp);
				}
				changeColorStyleInChildren(undefined, styleProp, newValue);
			} else {
				if ((styleProp == "backgroundColor") && (isNaN(newValue))) {
					newValue = mx.styles.StyleManager.getColorName(newValue);
					this[styleProp] = newValue;
					if (newValue == undefined) {
						return(undefined);
					}
				}
				invalidateStyle(styleProp);
			}
			if (mx.styles.StyleManager.isInheritingStyle(styleProp) || (styleProp == "styleName")) {
				var _local8;
				var _local5 = newValue;
				if (styleProp == "styleName") {
					_local8 = ((typeof(newValue) == "string") ? (_global.styles[newValue]) : (_local5));
					_local5 = _local8.themeColor;
					if (_local5 != undefined) {
						_local8.rollOverColor = (_local8.selectionColor = _local5);
					}
				}
				notifyStyleChangeInChildren(undefined, styleProp, newValue);
			}
		}
		static function enableRunTimeCSS() {
		}
		static function classConstruct() {
			var _local2 = MovieClip.prototype;
			var _local1 = mx.styles.CSSSetStyle.prototype;
			mx.styles.CSSStyleDeclaration.prototype.setStyle = _local1._setStyle;
			_local2.changeTextStyleInChildren = _local1.changeTextStyleInChildren;
			_local2.changeColorStyleInChildren = _local1.changeColorStyleInChildren;
			_local2.notifyStyleChangeInChildren = _local1.notifyStyleChangeInChildren;
			_local2.setStyle = _local1.setStyle;
			var _local3 = TextField.prototype;
			_local3.setStyle = _local2.setStyle;
			_local3.changeTextStyleInChildren = _local1.changeTextStyleInChildren;
			return(true);
		}
		static var classConstructed = classConstruct();
		static var CSSStyleDeclarationDependency = mx.styles.CSSStyleDeclaration;
	}
Symbol 156 MovieClip [__Packages.mx.core.ext.UIComponentExtensions] Frame 0
	class mx.core.ext.UIComponentExtensions
	{
		function UIComponentExtensions () {
		}
		static function Extensions() {
			if (bExtended == true) {
				return(true);
			}
			bExtended = true;
			TextField.prototype.setFocus = function () {
				Selection.setFocus(this);
			};
			TextField.prototype.onSetFocus = function (oldFocus) {
				if (this.tabEnabled != false) {
					if (this.getFocusManager().bDrawFocus) {
						this.drawFocus(true);
					}
				}
			};
			TextField.prototype.onKillFocus = function (oldFocus) {
				if (this.tabEnabled != false) {
					this.drawFocus(false);
				}
			};
			TextField.prototype.drawFocus = mx.core.UIComponent.prototype.drawFocus;
			TextField.prototype.getFocusManager = mx.core.UIComponent.prototype.getFocusManager;
			mx.managers.OverlappedWindows.enableOverlappedWindows();
			mx.styles.CSSSetStyle.enableRunTimeCSS();
			mx.managers.FocusManager.enableFocusManagement();
		}
		static var bExtended = false;
		static var UIComponentExtended = Extensions();
		static var UIComponentDependency = mx.core.UIComponent;
		static var FocusManagerDependency = mx.managers.FocusManager;
		static var OverlappedWindowsDependency = mx.managers.OverlappedWindows;
	}
Symbol 157 MovieClip [__Packages.mx.skins.halo.RectBorder] Frame 0
	class mx.skins.halo.RectBorder extends mx.skins.RectBorder
	{
		var offset, getStyle, borderStyleName, __borderMetrics, className, borderColorName, backgroundColorName, shadowColorName, highlightColorName, buttonColorName, __get__width, __get__height, clear, _color, drawRoundRect, beginFill, drawRect, endFill;
		function RectBorder () {
			super();
		}
		function init(Void) {
			borderWidths.default = 3;
			super.init();
		}
		function getBorderMetrics(Void) {
			if (offset == undefined) {
				var _local3 = getStyle(borderStyleName);
				offset = borderWidths[_local3];
			}
			if ((getStyle(borderStyleName) == "default") || (getStyle(borderStyleName) == "alert")) {
				__borderMetrics = {left:3, top:1, right:3, bottom:3};
				return(__borderMetrics);
			}
			return(super.getBorderMetrics());
		}
		function drawBorder(Void) {
			var _local6 = _global.styles[className];
			if (_local6 == undefined) {
				_local6 = _global.styles.RectBorder;
			}
			var _local5 = getStyle(borderStyleName);
			var _local7 = getStyle(borderColorName);
			if (_local7 == undefined) {
				_local7 = _local6[borderColorName];
			}
			var _local8 = getStyle(backgroundColorName);
			if (_local8 == undefined) {
				_local8 = _local6[backgroundColorName];
			}
			var _local16 = getStyle("backgroundImage");
			if (_local5 != "none") {
				var _local14 = getStyle(shadowColorName);
				if (_local14 == undefined) {
					_local14 = _local6[shadowColorName];
				}
				var _local13 = getStyle(highlightColorName);
				if (_local13 == undefined) {
					_local13 = _local6[highlightColorName];
				}
				var _local12 = getStyle(buttonColorName);
				if (_local12 == undefined) {
					_local12 = _local6[buttonColorName];
				}
				var _local11 = getStyle(borderCapColorName);
				if (_local11 == undefined) {
					_local11 = _local6[borderCapColorName];
				}
				var _local10 = getStyle(shadowCapColorName);
				if (_local10 == undefined) {
					_local10 = _local6[shadowCapColorName];
				}
			}
			offset = borderWidths[_local5];
			var _local9 = offset;
			var _local3 = __get__width();
			var _local4 = __get__height();
			clear();
			_color = undefined;
			if (_local5 == "none") {
			} else if (_local5 == "inset") {
				_color = colorList;
				draw3dBorder(_local11, _local12, _local7, _local13, _local14, _local10);
			} else if (_local5 == "outset") {
				_color = colorList;
				draw3dBorder(_local11, _local7, _local12, _local14, _local13, _local10);
			} else if (_local5 == "alert") {
				var _local15 = getStyle("themeColor");
				drawRoundRect(0, 5, _local3, _local4 - 5, 5, 6184542, 10);
				drawRoundRect(1, 4, _local3 - 2, _local4 - 5, 4, [6184542, 6184542], 10, 0, "radial");
				drawRoundRect(2, 0, _local3 - 4, _local4 - 2, 3, [0, 14342874], 100, 0, "radial");
				drawRoundRect(2, 0, _local3 - 4, _local4 - 2, 3, _local15, 50);
				drawRoundRect(3, 1, _local3 - 6, _local4 - 4, 2, 16777215, 100);
			} else if (_local5 == "default") {
				drawRoundRect(0, 5, _local3, _local4 - 5, {tl:5, tr:5, br:0, bl:0}, 6184542, 10);
				drawRoundRect(1, 4, _local3 - 2, _local4 - 5, {tl:4, tr:4, br:0, bl:0}, [6184542, 6184542], 10, 0, "radial");
				drawRoundRect(2, 0, _local3 - 4, _local4 - 2, {tl:3, tr:3, br:0, bl:0}, [12897484, 11844796], 100, 0, "radial");
				drawRoundRect(3, 1, _local3 - 6, _local4 - 4, {tl:2, tr:2, br:0, bl:0}, 16777215, 100);
			} else if (_local5 == "dropDown") {
				drawRoundRect(0, 0, _local3 + 1, _local4, {tl:4, tr:0, br:0, bl:4}, [13290186, 7895160], 100, -10, "linear");
				drawRoundRect(1, 1, _local3 - 1, _local4 - 2, {tl:3, tr:0, br:0, bl:3}, 16777215, 100);
			} else if (_local5 == "menuBorder") {
				var _local15 = getStyle("themeColor");
				drawRoundRect(4, 4, _local3 - 2, _local4 - 3, 0, [6184542, 6184542], 10, 0, "radial");
				drawRoundRect(4, 4, _local3 - 1, _local4 - 2, 0, 6184542, 10);
				drawRoundRect(0, 0, _local3 + 1, _local4, 0, [0, 14342874], 100, 250, "linear");
				drawRoundRect(0, 0, _local3 + 1, _local4, 0, _local15, 50);
				drawRoundRect(2, 2, _local3 - 3, _local4 - 4, 0, 16777215, 100);
			} else if (_local5 == "comboNonEdit") {
			} else {
				beginFill(_local7);
				drawRect(0, 0, _local3, _local4);
				drawRect(1, 1, _local3 - 1, _local4 - 1);
				endFill();
				_color = borderColorName;
			}
			if (_local8 != undefined) {
				beginFill(_local8);
				drawRect(_local9, _local9, __get__width() - _local9, __get__height() - _local9);
				endFill();
			}
		}
		function draw3dBorder(c1, c2, c3, c4, c5, c6) {
			var _local3 = __get__width();
			var _local2 = __get__height();
			beginFill(c1);
			drawRect(0, 0, _local3, _local2);
			drawRect(1, 0, _local3 - 1, _local2);
			endFill();
			beginFill(c2);
			drawRect(1, 0, _local3 - 1, 1);
			endFill();
			beginFill(c3);
			drawRect(1, _local2 - 1, _local3 - 1, _local2);
			endFill();
			beginFill(c4);
			drawRect(1, 1, _local3 - 1, 2);
			endFill();
			beginFill(c5);
			drawRect(1, _local2 - 2, _local3 - 1, _local2 - 1);
			endFill();
			beginFill(c6);
			drawRect(1, 2, _local3 - 1, _local2 - 2);
			drawRect(2, 2, _local3 - 2, _local2 - 2);
			endFill();
		}
		static function classConstruct() {
			mx.core.ext.UIObjectExtensions.Extensions();
			_global.styles.rectBorderClass = mx.skins.halo.RectBorder;
			_global.skinRegistry.RectBorder = true;
			return(true);
		}
		static var symbolName = "RectBorder";
		static var symbolOwner = mx.skins.halo.RectBorder;
		static var version = "2.0.0.360";
		var borderCapColorName = "borderCapColor";
		var shadowCapColorName = "shadowCapColor";
		var colorList = {highlightColor:0, borderColor:0, buttonColor:0, shadowColor:0, borderCapColor:0, shadowCapColor:0};
		var borderWidths = {none:0, solid:1, inset:2, outset:2, alert:3, dropDown:2, menuBorder:2, comboNonEdit:2};
		static var classConstructed = classConstruct();
		static var UIObjectExtensionsDependency = mx.core.ext.UIObjectExtensions;
	}
Symbol 158 MovieClip [__Packages.mx.skins.halo.ButtonSkin] Frame 0
	class mx.skins.halo.ButtonSkin extends mx.skins.RectBorder
	{
		var __get__width, __get__height, getStyle, _parent, clear, drawRoundRect, __get__x, __get__y;
		function ButtonSkin () {
			super();
		}
		function init() {
			super.init();
		}
		function size() {
			drawHaloRect(__get__width(), __get__height());
		}
		function drawHaloRect(w, h) {
			var _local6 = getStyle("borderStyle");
			var _local4 = getStyle("themeColor");
			var _local5 = _parent.emphasized;
			clear();
			switch (_local6) {
				case "falseup" : 
					if (_local5) {
						drawRoundRect(__get__x(), __get__y(), w, h, 5, 9542041, 100);
						drawRoundRect(__get__x(), __get__y(), w, h, 5, _local4, 75);
						drawRoundRect(__get__x() + 1, __get__y() + 1, w - 2, h - 2, 4, [3355443, 16777215], 85, 0, "radial");
						drawRoundRect(__get__x() + 2, __get__y() + 2, w - 4, h - 4, 3, [0, 14342874], 100, 0, "radial");
						drawRoundRect(__get__x() + 2, __get__y() + 2, w - 4, h - 4, 3, _local4, 75);
						drawRoundRect(__get__x() + 3, __get__y() + 3, w - 6, h - 6, 2, 16777215, 100);
						drawRoundRect(__get__x() + 3, __get__y() + 4, w - 6, h - 7, 2, 16316664, 100);
					} else {
						drawRoundRect(0, 0, w, h, 5, 9542041, 100);
						drawRoundRect(1, 1, w - 2, h - 2, 4, [13291985, 16250871], 100, 0, "radial");
						drawRoundRect(2, 2, w - 4, h - 4, 3, [9542041, 13818586], 100, 0, "radial");
						drawRoundRect(3, 3, w - 6, h - 6, 2, 16777215, 100);
						drawRoundRect(3, 4, w - 6, h - 7, 2, 16316664, 100);
					}
					break;
				case "falsedown" : 
					drawRoundRect(__get__x(), __get__y(), w, h, 5, 9542041, 100);
					drawRoundRect(__get__x() + 1, __get__y() + 1, w - 2, h - 2, 4, [3355443, 16579836], 100, 0, "radial");
					drawRoundRect(__get__x() + 1, __get__y() + 1, w - 2, h - 2, 4, _local4, 50);
					drawRoundRect(__get__x() + 2, __get__y() + 2, w - 4, h - 4, 3, [0, 14342874], 100, 0, "radial");
					drawRoundRect(__get__x(), __get__y(), w, h, 5, _local4, 40);
					drawRoundRect(__get__x() + 3, __get__y() + 3, w - 6, h - 6, 2, 16777215, 100);
					drawRoundRect(__get__x() + 3, __get__y() + 4, w - 6, h - 7, 2, _local4, 20);
					break;
				case "falserollover" : 
					drawRoundRect(__get__x(), __get__y(), w, h, 5, 9542041, 100);
					drawRoundRect(__get__x(), __get__y(), w, h, 5, _local4, 50);
					drawRoundRect(__get__x() + 1, __get__y() + 1, w - 2, h - 2, 4, [3355443, 16777215], 100, 0, "radial");
					drawRoundRect(__get__x() + 2, __get__y() + 2, w - 4, h - 4, 3, [0, 14342874], 100, 0, "radial");
					drawRoundRect(__get__x() + 2, __get__y() + 2, w - 4, h - 4, 3, _local4, 50);
					drawRoundRect(__get__x() + 3, __get__y() + 3, w - 6, h - 6, 2, 16777215, 100);
					drawRoundRect(__get__x() + 3, __get__y() + 4, w - 6, h - 7, 2, 16316664, 100);
					break;
				case "falsedisabled" : 
					drawRoundRect(0, 0, w, h, 5, 13159628, 100);
					drawRoundRect(1, 1, w - 2, h - 2, 4, 15921906, 100);
					drawRoundRect(2, 2, w - 4, h - 4, 3, 13949401, 100);
					drawRoundRect(3, 3, w - 6, h - 6, 2, 15921906, 100);
					break;
				case "trueup" : 
					drawRoundRect(__get__x(), __get__y(), w, h, 5, 10066329, 100);
					drawRoundRect(__get__x() + 1, __get__y() + 1, w - 2, h - 2, 4, [3355443, 16579836], 100, 0, "radial");
					drawRoundRect(__get__x() + 1, __get__y() + 1, w - 2, h - 2, 4, _local4, 50);
					drawRoundRect(__get__x() + 2, __get__y() + 2, w - 4, h - 4, 3, [0, 14342874], 100, 0, "radial");
					drawRoundRect(__get__x(), __get__y(), w, h, 5, _local4, 40);
					drawRoundRect(__get__x() + 3, __get__y() + 3, w - 6, h - 6, 2, 16777215, 100);
					drawRoundRect(__get__x() + 3, __get__y() + 4, w - 6, h - 7, 2, 16250871, 100);
					break;
				case "truedown" : 
					drawRoundRect(__get__x(), __get__y(), w, h, 5, 10066329, 100);
					drawRoundRect(__get__x() + 1, __get__y() + 1, w - 2, h - 2, 4, [3355443, 16579836], 100, 0, "radial");
					drawRoundRect(__get__x() + 1, __get__y() + 1, w - 2, h - 2, 4, _local4, 50);
					drawRoundRect(__get__x() + 2, __get__y() + 2, w - 4, h - 4, 3, [0, 14342874], 100, 0, "radial");
					drawRoundRect(__get__x(), __get__y(), w, h, 5, _local4, 40);
					drawRoundRect(__get__x() + 3, __get__y() + 3, w - 6, h - 6, 2, 16777215, 100);
					drawRoundRect(__get__x() + 3, __get__y() + 4, w - 6, h - 7, 2, _local4, 20);
					break;
				case "truerollover" : 
					drawRoundRect(__get__x(), __get__y(), w, h, 5, 9542041, 100);
					drawRoundRect(__get__x(), __get__y(), w, h, 5, _local4, 50);
					drawRoundRect(__get__x() + 1, __get__y() + 1, w - 2, h - 2, 4, [3355443, 16777215], 100, 0, "radial");
					drawRoundRect(__get__x() + 1, __get__y() + 1, w - 2, h - 2, 4, _local4, 40);
					drawRoundRect(__get__x() + 2, __get__y() + 2, w - 4, h - 4, 3, [0, 14342874], 100, 0, "radial");
					drawRoundRect(__get__x() + 2, __get__y() + 2, w - 4, h - 4, 3, _local4, 40);
					drawRoundRect(__get__x() + 3, __get__y() + 3, w - 6, h - 6, 2, 16777215, 100);
					drawRoundRect(__get__x() + 3, __get__y() + 4, w - 6, h - 7, 2, 16316664, 100);
					break;
				case "truedisabled" : 
					drawRoundRect(0, 0, w, h, 5, 13159628, 100);
					drawRoundRect(1, 1, w - 2, h - 2, 4, 15921906, 100);
					drawRoundRect(2, 2, w - 4, h - 4, 3, 13949401, 100);
					drawRoundRect(3, 3, w - 6, h - 6, 2, 15921906, 100);
			}
		}
		static function classConstruct() {
			mx.core.ext.UIObjectExtensions.Extensions();
			_global.skinRegistry.ButtonSkin = true;
			return(true);
		}
		static var symbolName = "ButtonSkin";
		static var symbolOwner = mx.skins.halo.ButtonSkin;
		var className = "ButtonSkin";
		var backgroundColorName = "buttonColor";
		static var classConstructed = classConstruct();
		static var UIObjectExtensionsDependency = mx.core.ext.UIObjectExtensions;
	}
Symbol 159 MovieClip [__Packages.mx.controls.VScrollBar] Frame 0
	class mx.controls.VScrollBar extends mx.controls.scrollClasses.ScrollBar
	{
		var scrollIt;
		function VScrollBar () {
			super();
		}
		function init(Void) {
			super.init();
		}
		function isScrollBarKey(k) {
			if (k == 38) {
				scrollIt("Line", -1);
				return(true);
			}
			if (k == 40) {
				scrollIt("Line", 1);
				return(true);
			}
			if (k == 33) {
				scrollIt("Page", -1);
				return(true);
			}
			if (k == 34) {
				scrollIt("Page", 1);
				return(true);
			}
			return(super.isScrollBarKey(k));
		}
		static var symbolName = "VScrollBar";
		static var symbolOwner = mx.core.UIComponent;
		static var version = "2.0.0.360";
		var className = "VScrollBar";
		var minusMode = "Up";
		var plusMode = "Down";
		var minMode = "AtTop";
		var maxMode = "AtBottom";
	}

Library Items

Symbol 300 EditableText [Resolution]
Symbol 301 EditableText [Orientation]
Symbol 302 Graphic	Used by:315
Symbol 303 Graphic	Used by:315
Symbol 304 Font	Used by:306
Symbol 305 Graphic	Used by:315
Symbol 306 EditableText [CR1]	Uses:304	Used by:315
Symbol 307 Bitmap	Used by:308
Symbol 308 Graphic	Uses:307	Used by:315
Symbol 309 Bitmap	Used by:310
Symbol 310 Graphic	Uses:309	Used by:315
Symbol 311 Bitmap	Used by:312
Symbol 312 Graphic	Uses:311	Used by:315
Symbol 313 Bitmap	Used by:314
Symbol 314 Graphic	Uses:313	Used by:315
Symbol 315 MovieClip [Page1]	Uses:302 303 305 306 308 310 312 314
Symbol 316 Graphic	Used by:324
Symbol 317 Graphic	Used by:324
Symbol 318 Font	Used by:320
Symbol 319 Graphic	Used by:324
Symbol 320 EditableText [CR2]	Uses:318	Used by:324
Symbol 321 Font	Used by:322 361 382 399 406 458 493 550 564 578 592 606 648 669 700 742 756 774 788 798 813 830 1024 1038 1117 1124 1152 1159 1189 1196 1238 1245 1273 1280 1287 1308 1316 1381 1388 1402 1739 1746 1795 1823 1858 1879 1900 1907 1914 1960 1982 1989 2052 2066 2090 2118 2140 2161 2178 2206 2213 2276 2290 2547 2561 2596 2648 2655 2817 2824 2845 2866
Symbol 323 Font	Used by:322 331 339 347 354 361 368 375 382 389 397 400 402 403 405 406 416 436 444 451 458 465 472 479 486 493 500 507 514 521 528 535 550 557 564 571 578 585 592 599 606 613 620 627 634 641 648 655 662 669 676 683 690 700 707 714 721 728 735 742 749 756 763 767 774 781 788 798 805 813 820 830 837 844 851 858 1024 1031 1038 1045 1052 1059 1075 1082 1089 1096 1103 1110 1117 1124 1131 1138 1145 1152 1159 1166 1173 1189 1196 1203 1210 1217 1224 1231 1238 1245 1252 1259 1266 1273 1280 1287 1294 1301 1308 1316 1332 1339 1346 1353 1360 1367 1374 1381 1388 1395 1402 1701 1708 1715 1722 1732 1739 1746 1753 1760 1767 1774 1781 1788 1795 1802 1809 1816 1823 1830 1837 1844 1851 1858 1865 1872 1879 1886 1893 1900 1907 1914 1921 1928 1935 1939 1946 1953 1960 1967 1982 1989 1996 2003 2010 2017 2024 2031 2035 2042 2044 2045 2052 2059 2066 2073 2080 2082 2083 2090 2097 2104 2111 2118 2126 2133 2140 2147 2154 2161 2168 2178 2185 2192 2199 2206 2213 2220 2222 2224 2225 2227 2229 2230 2232 2233 2240 2247 2254 2262 2269 2276 2283 2290 2297 2304 2312 2319 2326 2333 2340 2347 2357 2364 2374 2386 2387 2401 2547 2554 2561 2568 2575 2582 2589 2596 2603 2610 2617 2624 2634 2641 2648 2655 2799 2809 2817 2824 2831 2838 2852 2859
Symbol 322 Text	Uses:321 323	Used by:324
Symbol 324 MovieClip [Page2]	Uses:316 317 319 320 322
Symbol 325 Graphic	Used by:333
Symbol 326 Graphic	Used by:333
Symbol 327 Font	Used by:329
Symbol 328 Graphic	Used by:333
Symbol 329 EditableText [CR3]	Uses:327	Used by:333
Symbol 330 Font	Used by:331 347 354 361 368 375 382 389 436 444 451 465 472 479 486 493 500 507 514 521 528 535 550 557 571 578 585 592 599 613 620 627 634 641 648 655 662 669 676 683 700 707 714 721 735 742 749 756 763 781 798 805 813 830 837 844 858 865 878 924 1024 1031 1038 1045 1059 1075 1082 1089 1096 1110 1124 1131 1138 1145 1152 1159 1166 1173 1189 1196 1203 1217 1224 1231 1238 1245 1252 1259 1266 1273 1280 1287 1294 1301 1316 1332 1339 1346 1353 1367 1374 1381 1388 1395 1402 1701 1708 1715 1722 1732 1746 1753 1774 1781 1788 1795 1802 1809 1816 1823 1830 1837 1844 1851 1858 1865 1879 1886 1893 1900 1907 1914 1921 1935 1946 1953 1960 1967 1982 1989 1996 2003 2017 2031 2052 2059 2066 2073 2090 2097 2104 2111 2118 2133 2147 2154 2161 2168 2178 2185 2192 2199 2206 2213 2220 2240 2247 2262 2269 2283 2297 2312 2319 2326 2340 2364 2384 2394 2401 2547 2554 2561 2575 2582 2596 2603 2610 2617 2624 2634 2641 2648 2655 2662 2799 2809 2817 2824 2831 2838 2845 2852 2859
Symbol 332 Font	Used by:331 347 361 375 389 444 472 486 500 514 528 578 592 620 634 648 662 676 683 714 742 756 805 844 858 1024 1038 1089 1131 1145 1173 1196 1224 1238 1252 1266 1280 1294 1346 1374 1388 1402 1708 1722 1753 1774 1788 1802 1816 1830 1858 1886 1900 1914 1946 1960 1996 2052 2066 2097 2111 2154 2168 2185 2199 2213 2240 2319 2364 2384 2401 2547 2561 2575 2610 2624 2641 2655 2799 2817 2831 2845 2859
Symbol 331 Text	Uses:330 332 323	Used by:333
Symbol 333 MovieClip [Page3]	Uses:325 326 328 329 331
Symbol 334 Graphic	Used by:341
Symbol 335 Graphic	Used by:341
Symbol 336 Font	Used by:338
Symbol 337 Graphic	Used by:341
Symbol 338 EditableText [CR4]	Uses:336	Used by:341
Symbol 340 Font	Used by:339 354 368 436 444 451 465 479 500 514 528 606 613 627 634 655 662 721 749 844 1052 1075 1089 1103 1124 1138 1145 1203 1224 1252 1259 1332 1346 1395 1708 1715 1732 1767 1781 1788 1802 1816 1844 1865 1921 1939 1946 1996 2003 2010 2031 2042 2080 2097 2118 2133 2168 2192 2199 2240 2262 2312 2326 2340 2364 2387 2401 2610 2624 2641 2744 2852
Symbol 339 Text	Uses:323 340	Used by:341
Symbol 341 MovieClip [Page4]	Uses:334 335 337 338 339
Symbol 342 Graphic	Used by:348
Symbol 343 Graphic	Used by:348
Symbol 344 Font	Used by:346
Symbol 345 Graphic	Used by:348
Symbol 346 EditableText [CR5]	Uses:344	Used by:348
Symbol 347 Text	Uses:330 332 323	Used by:348
Symbol 348 MovieClip [Page5]	Uses:342 343 345 346 347
Symbol 349 Graphic	Used by:355
Symbol 350 Graphic	Used by:355
Symbol 351 Font	Used by:353
Symbol 352 Graphic	Used by:355
Symbol 353 EditableText [CR6]	Uses:351	Used by:355
Symbol 354 Text	Uses:330 323 340	Used by:355
Symbol 355 MovieClip [Page6]	Uses:349 350 352 353 354
Symbol 356 Graphic	Used by:362
Symbol 357 Graphic	Used by:362
Symbol 358 Font	Used by:360
Symbol 359 Graphic	Used by:362
Symbol 360 EditableText [CR7]	Uses:358	Used by:362
Symbol 361 Text	Uses:330 332 323 321	Used by:362
Symbol 362 MovieClip [Page7]	Uses:356 357 359 360 361
Symbol 363 Graphic	Used by:369
Symbol 364 Graphic	Used by:369
Symbol 365 Font	Used by:367
Symbol 366 Graphic	Used by:369
Symbol 367 EditableText [CR8]	Uses:365	Used by:369
Symbol 368 Text	Uses:330 323 340	Used by:369
Symbol 369 MovieClip [Page8]	Uses:363 364 366 367 368
Symbol 370 Graphic	Used by:376
Symbol 371 Graphic	Used by:376
Symbol 372 Font	Used by:374
Symbol 373 Graphic	Used by:376
Symbol 374 EditableText [CR9]	Uses:372	Used by:376
Symbol 375 Text	Uses:330 332 323	Used by:376
Symbol 376 MovieClip [Page9]	Uses:370 371 373 374 375
Symbol 377 Graphic	Used by:383
Symbol 378 Graphic	Used by:383
Symbol 379 Font	Used by:381
Symbol 380 Graphic	Used by:383
Symbol 381 EditableText [CR10]	Uses:379	Used by:383
Symbol 382 Text	Uses:330 323 321	Used by:383
Symbol 383 MovieClip [Page10]	Uses:377 378 380 381 382
Symbol 384 Graphic	Used by:390
Symbol 385 Graphic	Used by:390
Symbol 386 Font	Used by:388
Symbol 387 Graphic	Used by:390
Symbol 388 EditableText [CR11]	Uses:386	Used by:390
Symbol 389 Text	Uses:330 332 323	Used by:390
Symbol 390 MovieClip [Page11]	Uses:384 385 387 388 389
Symbol 391 Graphic	Used by:407
Symbol 392 Graphic	Used by:407
Symbol 393 Font	Used by:395
Symbol 394 Graphic	Used by:407
Symbol 395 EditableText [CR12]	Uses:393	Used by:407
Symbol 396 Font	Used by:397
Symbol 397 Text	Uses:396 323	Used by:407
Symbol 398 Graphic	Used by:407
Symbol 399 Text	Uses:321	Used by:407
Symbol 400 Text	Uses:323	Used by:407
Symbol 401 Graphic	Used by:407
Symbol 402 Text	Uses:323	Used by:407
Symbol 403 Text	Uses:323	Used by:407
Symbol 404 Graphic	Used by:407
Symbol 405 Text	Uses:323	Used by:407
Symbol 406 Text	Uses:323 321	Used by:407
Symbol 407 MovieClip [Page12]	Uses:391 392 394 395 397 398 399 400 401 402 403 404 405 406
Symbol 408 Graphic	Used by:419
Symbol 409 Graphic	Used by:419
Symbol 410 Font	Used by:412
Symbol 411 Graphic	Used by:419
Symbol 412 EditableText [CR13]	Uses:410	Used by:419
Symbol 413 Bitmap	Used by:415
Symbol 414 Graphic	Used by:419
Symbol 415 Graphic	Uses:413	Used by:419
Symbol 417 Font	Used by:416 458 564 606 728 774 788 1052 1103 1117 1159 1210 1308 1360 1739 1767 1844 1872 1928 2010 2024 2080 2126 2140 2276 2290 2304 2333 2347 2357 2374 2408 2845
Symbol 418 Font	Used by:416 578 676 1031 1217 1245 1353 1837 1960 2083 2333 2859
Symbol 416 Text	Uses:323 417 418	Used by:419
Symbol 419 MovieClip [Page13]	Uses:408 409 411 412 414 415 416
Symbol 420 Graphic	Used by:438
Symbol 421 Graphic	Used by:438
Symbol 422 Font	Used by:424
Symbol 423 Graphic	Used by:438
Symbol 424 EditableText [CR14]	Uses:422	Used by:438
Symbol 425 Font	Used by:426 2589
Symbol 426 Text	Uses:425	Used by:438
Symbol 427 Bitmap	Used by:429
Symbol 428 Graphic	Used by:438
Symbol 429 Graphic	Uses:427	Used by:438
Symbol 430 Bitmap	Used by:432
Symbol 431 Graphic	Used by:438
Symbol 432 Graphic	Uses:430	Used by:438
Symbol 433 Bitmap	Used by:435
Symbol 434 Graphic	Used by:438
Symbol 435 Graphic	Uses:433	Used by:438
Symbol 437 Font	Used by:436 728 858 2297 2394
Symbol 436 Text	Uses:323 330 340 437	Used by:438
Symbol 438 MovieClip [Page14]	Uses:420 421 423 424 426 428 429 431 432 434 435 436
Symbol 439 Graphic	Used by:445
Symbol 440 Graphic	Used by:445
Symbol 441 Font	Used by:443
Symbol 442 Graphic	Used by:445
Symbol 443 EditableText [CR15]	Uses:441	Used by:445
Symbol 444 Text	Uses:330 332 323 340	Used by:445
Symbol 445 MovieClip [Page15]	Uses:439 440 442 443 444
Symbol 446 Graphic	Used by:452
Symbol 447 Graphic	Used by:452
Symbol 448 Font	Used by:450
Symbol 449 Graphic	Used by:452
Symbol 450 EditableText [CR16]	Uses:448	Used by:452
Symbol 451 Text	Uses:330 340 323	Used by:452
Symbol 452 MovieClip [Page16]	Uses:446 447 449 450 451
Symbol 453 Graphic	Used by:459
Symbol 454 Graphic	Used by:459
Symbol 455 Font	Used by:457
Symbol 456 Graphic	Used by:459
Symbol 457 EditableText [CR17]	Uses:455	Used by:459
Symbol 458 Text	Uses:323 417 321	Used by:459
Symbol 459 MovieClip [Page17]	Uses:453 454 456 457 458
Symbol 460 Graphic	Used by:466
Symbol 461 Graphic	Used by:466
Symbol 462 Font	Used by:464
Symbol 463 Graphic	Used by:466
Symbol 464 EditableText [CR18]	Uses:462	Used by:466
Symbol 465 Text	Uses:330 323 340	Used by:466
Symbol 466 MovieClip [Page18]	Uses:460 461 463 464 465
Symbol 467 Graphic	Used by:473
Symbol 468 Graphic	Used by:473
Symbol 469 Font	Used by:471
Symbol 470 Graphic	Used by:473
Symbol 471 EditableText [CR19]	Uses:469	Used by:473
Symbol 472 Text	Uses:330 332 323	Used by:473
Symbol 473 MovieClip [Page19]	Uses:467 468 470 471 472
Symbol 474 Graphic	Used by:480
Symbol 475 Graphic	Used by:480
Symbol 476 Font	Used by:478
Symbol 477 Graphic	Used by:480
Symbol 478 EditableText [CR20]	Uses:476	Used by:480
Symbol 479 Text	Uses:330 340 323	Used by:480
Symbol 480 MovieClip [Page20]	Uses:474 475 477 478 479
Symbol 481 Graphic	Used by:487
Symbol 482 Graphic	Used by:487
Symbol 483 Font	Used by:485
Symbol 484 Graphic	Used by:487
Symbol 485 EditableText [CR21]	Uses:483	Used by:487
Symbol 486 Text	Uses:330 332 323	Used by:487
Symbol 487 MovieClip [Page21]	Uses:481 482 484 485 486
Symbol 488 Graphic	Used by:494
Symbol 489 Graphic	Used by:494
Symbol 490 Font	Used by:492
Symbol 491 Graphic	Used by:494
Symbol 492 EditableText [CR22]	Uses:490	Used by:494
Symbol 493 Text	Uses:330 321 323	Used by:494
Symbol 494 MovieClip [Page22]	Uses:488 489 491 492 493
Symbol 495 Graphic	Used by:501
Symbol 496 Graphic	Used by:501
Symbol 497 Font	Used by:499
Symbol 498 Graphic	Used by:501
Symbol 499 EditableText [CR23]	Uses:497	Used by:501
Symbol 500 Text	Uses:330 332 323 340	Used by:501
Symbol 501 MovieClip [Page23]	Uses:495 496 498 499 500
Symbol 502 Graphic	Used by:508
Symbol 503 Graphic	Used by:508
Symbol 504 Font	Used by:506
Symbol 505 Graphic	Used by:508
Symbol 506 EditableText [CR24]	Uses:504	Used by:508
Symbol 507 Text	Uses:330 323	Used by:508
Symbol 508 MovieClip [Page24]	Uses:502 503 505 506 507
Symbol 509 Graphic	Used by:515
Symbol 510 Graphic	Used by:515
Symbol 511 Font	Used by:513
Symbol 512 Graphic	Used by:515
Symbol 513 EditableText [CR25]	Uses:511	Used by:515
Symbol 514 Text	Uses:330 332 323 340	Used by:515
Symbol 515 MovieClip [Page25]	Uses:509 510 512 513 514
Symbol 516 Graphic	Used by:522
Symbol 517 Graphic	Used by:522
Symbol 518 Font	Used by:520
Symbol 519 Graphic	Used by:522
Symbol 520 EditableText [CR26]	Uses:518	Used by:522
Symbol 521 Text	Uses:330 323	Used by:522
Symbol 522 MovieClip [Page26]	Uses:516 517 519 520 521
Symbol 523 Graphic	Used by:529
Symbol 524 Graphic	Used by:529
Symbol 525 Font	Used by:527
Symbol 526 Graphic	Used by:529
Symbol 527 EditableText [CR27]	Uses:525	Used by:529
Symbol 528 Text	Uses:330 332 340 323	Used by:529
Symbol 529 MovieClip [Page27]	Uses:523 524 526 527 528
Symbol 530 Graphic	Used by:536
Symbol 531 Graphic	Used by:536
Symbol 532 Font	Used by:534
Symbol 533 Graphic	Used by:536
Symbol 534 EditableText [CR28]	Uses:532	Used by:536
Symbol 535 Text	Uses:330 323	Used by:536
Symbol 536 MovieClip [Page28]	Uses:530 531 533 534 535
Symbol 537 Graphic	Used by:551
Symbol 538 Graphic	Used by:551
Symbol 539 Font	Used by:541
Symbol 540 Graphic	Used by:551
Symbol 541 EditableText [CR29]	Uses:539	Used by:551
Symbol 542 Font	Used by:543 2118
Symbol 543 Text	Uses:542	Used by:551
Symbol 544 Bitmap	Used by:546
Symbol 545 Graphic	Used by:551
Symbol 546 Graphic	Uses:544	Used by:551
Symbol 547 Bitmap	Used by:549
Symbol 548 Graphic	Used by:551
Symbol 549 Graphic	Uses:547	Used by:551
Symbol 550 Text	Uses:323 330 321	Used by:551
Symbol 551 MovieClip [Page29]	Uses:537 538 540 541 543 545 546 548 549 550
Symbol 552 Graphic	Used by:558
Symbol 553 Graphic	Used by:558
Symbol 554 Font	Used by:556
Symbol 555 Graphic	Used by:558
Symbol 556 EditableText [CR30]	Uses:554	Used by:558
Symbol 557 Text	Uses:330 323	Used by:558
Symbol 558 MovieClip [Page30]	Uses:552 553 555 556 557
Symbol 559 Graphic	Used by:565
Symbol 560 Graphic	Used by:565
Symbol 561 Font	Used by:563
Symbol 562 Graphic	Used by:565
Symbol 563 EditableText [CR31]	Uses:561	Used by:565
Symbol 564 Text	Uses:323 417 321	Used by:565
Symbol 565 MovieClip [Page31]	Uses:559 560 562 563 564
Symbol 566 Graphic	Used by:572
Symbol 567 Graphic	Used by:572
Symbol 568 Font	Used by:570
Symbol 569 Graphic	Used by:572
Symbol 570 EditableText [CR32]	Uses:568	Used by:572
Symbol 571 Text	Uses:330 323	Used by:572
Symbol 572 MovieClip [Page32]	Uses:566 567 569 570 571
Symbol 573 Graphic	Used by:579
Symbol 574 Graphic	Used by:579
Symbol 575 Font	Used by:577
Symbol 576 Graphic	Used by:579
Symbol 577 EditableText [CR33]	Uses:575	Used by:579
Symbol 578 Text	Uses:330 332 323 321 418	Used by:579
Symbol 579 MovieClip [Page33]	Uses:573 574 576 577 578
Symbol 580 Graphic	Used by:586
Symbol 581 Graphic	Used by:586
Symbol 582 Font	Used by:584
Symbol 583 Graphic	Used by:586
Symbol 584 EditableText [CR34]	Uses:582	Used by:586
Symbol 585 Text	Uses:330 323	Used by:586
Symbol 586 MovieClip [Page34]	Uses:580 581 583 584 585
Symbol 587 Graphic	Used by:593
Symbol 588 Graphic	Used by:593
Symbol 589 Font	Used by:591
Symbol 590 Graphic	Used by:593
Symbol 591 EditableText [CR35]	Uses:589	Used by:593
Symbol 592 Text	Uses:330 332 323 321	Used by:593
Symbol 593 MovieClip [Page35]	Uses:587 588 590 591 592
Symbol 594 Graphic	Used by:600
Symbol 595 Graphic	Used by:600
Symbol 596 Font	Used by:598
Symbol 597 Graphic	Used by:600
Symbol 598 EditableText [CR36]	Uses:596	Used by:600
Symbol 599 Text	Uses:330 323	Used by:600
Symbol 600 MovieClip [Page36]	Uses:594 595 597 598 599
Symbol 601 Graphic	Used by:607
Symbol 602 Graphic	Used by:607
Symbol 603 Font	Used by:605
Symbol 604 Graphic	Used by:607
Symbol 605 EditableText [CR37]	Uses:603	Used by:607
Symbol 606 Text	Uses:323 417 321 340	Used by:607
Symbol 607 MovieClip [Page37]	Uses:601 602 604 605 606
Symbol 608 Graphic	Used by:614
Symbol 609 Graphic	Used by:614
Symbol 610 Font	Used by:612
Symbol 611 Graphic	Used by:614
Symbol 612 EditableText [CR38]	Uses:610	Used by:614
Symbol 613 Text	Uses:330 323 340	Used by:614
Symbol 614 MovieClip [Page38]	Uses:608 609 611 612 613
Symbol 615 Graphic	Used by:621
Symbol 616 Graphic	Used by:621
Symbol 617 Font	Used by:619
Symbol 618 Graphic	Used by:621
Symbol 619 EditableText [CR39]	Uses:617	Used by:621
Symbol 620 Text	Uses:330 332 323	Used by:621
Symbol 621 MovieClip [Page39]	Uses:615 616 618 619 620
Symbol 622 Graphic	Used by:628
Symbol 623 Graphic	Used by:628
Symbol 624 Font	Used by:626
Symbol 625 Graphic	Used by:628
Symbol 626 EditableText [CR40]	Uses:624	Used by:628
Symbol 627 Text	Uses:330 340 323	Used by:628
Symbol 628 MovieClip [Page40]	Uses:622 623 625 626 627
Symbol 629 Graphic	Used by:635
Symbol 630 Graphic	Used by:635
Symbol 631 Font	Used by:633
Symbol 632 Graphic	Used by:635
Symbol 633 EditableText [CR41]	Uses:631	Used by:635
Symbol 634 Text	Uses:330 332 323 340	Used by:635
Symbol 635 MovieClip [Page41]	Uses:629 630 632 633 634
Symbol 636 Graphic	Used by:642
Symbol 637 Graphic	Used by:642
Symbol 638 Font	Used by:640
Symbol 639 Graphic	Used by:642
Symbol 640 EditableText [CR42]	Uses:638	Used by:642
Symbol 641 Text	Uses:330 323	Used by:642
Symbol 642 MovieClip [Page42]	Uses:636 637 639 640 641
Symbol 643 Graphic	Used by:649
Symbol 644 Graphic	Used by:649
Symbol 645 Font	Used by:647
Symbol 646 Graphic	Used by:649
Symbol 647 EditableText [CR43]	Uses:645	Used by:649
Symbol 648 Text	Uses:330 332 323 321	Used by:649
Symbol 649 MovieClip [Page43]	Uses:643 644 646 647 648
Symbol 650 Graphic	Used by:656
Symbol 651 Graphic	Used by:656
Symbol 652 Font	Used by:654
Symbol 653 Graphic	Used by:656
Symbol 654 EditableText [CR44]	Uses:652	Used by:656
Symbol 655 Text	Uses:330 323 340	Used by:656
Symbol 656 MovieClip [Page44]	Uses:650 651 653 654 655
Symbol 657 Graphic	Used by:663
Symbol 658 Graphic	Used by:663
Symbol 659 Font	Used by:661
Symbol 660 Graphic	Used by:663
Symbol 661 EditableText [CR45]	Uses:659	Used by:663
Symbol 662 Text	Uses:330 332 323 340	Used by:663
Symbol 663 MovieClip [Page45]	Uses:657 658 660 661 662
Symbol 664 Graphic	Used by:670
Symbol 665 Graphic	Used by:670
Symbol 666 Font	Used by:668
Symbol 667 Graphic	Used by:670
Symbol 668 EditableText [CR46]	Uses:666	Used by:670
Symbol 669 Text	Uses:330 323 321	Used by:670
Symbol 670 MovieClip [Page46]	Uses:664 665 667 668 669
Symbol 671 Graphic	Used by:677
Symbol 672 Graphic	Used by:677
Symbol 673 Font	Used by:675
Symbol 674 Graphic	Used by:677
Symbol 675 EditableText [CR47]	Uses:673	Used by:677
Symbol 676 Text	Uses:330 332 323 418	Used by:677
Symbol 677 MovieClip [Page47]	Uses:671 672 674 675 676
Symbol 678 Graphic	Used by:684
Symbol 679 Graphic	Used by:684
Symbol 680 Font	Used by:682
Symbol 681 Graphic	Used by:684
Symbol 682 EditableText [CR48]	Uses:680	Used by:684
Symbol 683 Text	Uses:330 332 323	Used by:684
Symbol 684 MovieClip [Page48]	Uses:678 679 681 682 683
Symbol 685 Graphic	Used by:701
Symbol 686 Graphic	Used by:701
Symbol 687 Font	Used by:689
Symbol 688 Graphic	Used by:701
Symbol 689 EditableText [CR49]	Uses:687	Used by:701
Symbol 690 Text	Uses:323	Used by:701
Symbol 691 Bitmap	Used by:693
Symbol 692 Graphic	Used by:701
Symbol 693 Graphic	Uses:691	Used by:701
Symbol 694 Bitmap	Used by:696
Symbol 695 Graphic	Used by:701
Symbol 696 Graphic	Uses:694	Used by:701
Symbol 697 Bitmap	Used by:699
Symbol 698 Graphic	Used by:701
Symbol 699 Graphic	Uses:697	Used by:701
Symbol 700 Text	Uses:323 330 321	Used by:701
Symbol 701 MovieClip [Page49]	Uses:685 686 688 689 690 692 693 695 696 698 699 700
Symbol 702 Graphic	Used by:708
Symbol 703 Graphic	Used by:708
Symbol 704 Font	Used by:706
Symbol 705 Graphic	Used by:708
Symbol 706 EditableText [CR50]	Uses:704	Used by:708
Symbol 707 Text	Uses:330 323	Used by:708
Symbol 708 MovieClip [Page50]	Uses:702 703 705 706 707
Symbol 709 Graphic	Used by:715
Symbol 710 Graphic	Used by:715
Symbol 711 Font	Used by:713
Symbol 712 Graphic	Used by:715
Symbol 713 EditableText [CR51]	Uses:711	Used by:715
Symbol 714 Text	Uses:330 332 323	Used by:715
Symbol 715 MovieClip [Page51]	Uses:709 710 712 713 714
Symbol 716 Graphic	Used by:722
Symbol 717 Graphic	Used by:722
Symbol 718 Font	Used by:720
Symbol 719 Graphic	Used by:722
Symbol 720 EditableText [CR52]	Uses:718	Used by:722
Symbol 721 Text	Uses:330 323 340	Used by:722
Symbol 722 MovieClip [Page52]	Uses:716 717 719 720 721
Symbol 723 Graphic	Used by:729
Symbol 724 Graphic	Used by:729
Symbol 725 Font	Used by:727
Symbol 726 Graphic	Used by:729
Symbol 727 EditableText [CR53]	Uses:725	Used by:729
Symbol 728 Text	Uses:323 417 437	Used by:729
Symbol 729 MovieClip [Page53]	Uses:723 724 726 727 728
Symbol 730 Graphic	Used by:736
Symbol 731 Graphic	Used by:736
Symbol 732 Font	Used by:734
Symbol 733 Graphic	Used by:736
Symbol 734 EditableText [CR54]	Uses:732	Used by:736
Symbol 735 Text	Uses:330 323	Used by:736
Symbol 736 MovieClip [Page54]	Uses:730 731 733 734 735
Symbol 737 Graphic	Used by:743
Symbol 738 Graphic	Used by:743
Symbol 739 Font	Used by:741
Symbol 740 Graphic	Used by:743
Symbol 741 EditableText [CR55]	Uses:739	Used by:743
Symbol 742 Text	Uses:330 332 323 321	Used by:743
Symbol 743 MovieClip [Page55]	Uses:737 738 740 741 742
Symbol 744 Graphic	Used by:750
Symbol 745 Graphic	Used by:750
Symbol 746 Font	Used by:748
Symbol 747 Graphic	Used by:750
Symbol 748 EditableText [CR56]	Uses:746	Used by:750
Symbol 749 Text	Uses:330 323 340	Used by:750
Symbol 750 MovieClip [Page56]	Uses:744 745 747 748 749
Symbol 751 Graphic	Used by:757
Symbol 752 Graphic	Used by:757
Symbol 753 Font	Used by:755
Symbol 754 Graphic	Used by:757
Symbol 755 EditableText [CR57]	Uses:753	Used by:757
Symbol 756 Text	Uses:330 332 321 323	Used by:757
Symbol 757 MovieClip [Page57]	Uses:751 752 754 755 756
Symbol 758 Graphic	Used by:768
Symbol 759 Graphic	Used by:768
Symbol 760 Font	Used by:762
Symbol 761 Graphic	Used by:768
Symbol 762 EditableText [CR58]	Uses:760	Used by:768
Symbol 763 Text	Uses:330 323	Used by:768
Symbol 764 Bitmap	Used by:766
Symbol 765 Graphic	Used by:768
Symbol 766 Graphic	Uses:764	Used by:768
Symbol 767 Text	Uses:323	Used by:768
Symbol 768 MovieClip [Page58]	Uses:758 759 761 762 763 765 766 767
Symbol 769 Graphic	Used by:775
Symbol 770 Graphic	Used by:775
Symbol 771 Font	Used by:773
Symbol 772 Graphic	Used by:775
Symbol 773 EditableText [CR59]	Uses:771	Used by:775
Symbol 774 Text	Uses:323 417 321	Used by:775
Symbol 775 MovieClip [Page59]	Uses:769 770 772 773 774
Symbol 776 Graphic	Used by:782
Symbol 777 Graphic	Used by:782
Symbol 778 Font	Used by:780
Symbol 779 Graphic	Used by:782
Symbol 780 EditableText [CR60]	Uses:778	Used by:782
Symbol 781 Text	Uses:330 323	Used by:782
Symbol 782 MovieClip [Page60]	Uses:776 777 779 780 781
Symbol 783 Graphic	Used by:792
Symbol 784 Graphic	Used by:792
Symbol 785 Font	Used by:787
Symbol 786 Graphic	Used by:792
Symbol 787 EditableText [CR61]	Uses:785	Used by:792
Symbol 788 Text	Uses:323 417 321	Used by:792
Symbol 789 Bitmap	Used by:791
Symbol 790 Graphic	Used by:792
Symbol 791 Graphic	Uses:789	Used by:792
Symbol 792 MovieClip [Page61]	Uses:783 784 786 787 788 790 791
Symbol 793 Graphic	Used by:799
Symbol 794 Graphic	Used by:799
Symbol 795 Font	Used by:797
Symbol 796 Graphic	Used by:799
Symbol 797 EditableText [CR62]	Uses:795	Used by:799
Symbol 798 Text	Uses:330 323 321	Used by:799
Symbol 799 MovieClip [Page62]	Uses:793 794 796 797 798
Symbol 800 Graphic	Used by:807
Symbol 801 Graphic	Used by:807
Symbol 802 Font	Used by:804
Symbol 803 Graphic	Used by:807
Symbol 804 EditableText [CR63]	Uses:802	Used by:807
Symbol 806 Font	Used by:805 1886
Symbol 805 Text	Uses:330 332 323 806	Used by:807
Symbol 807 MovieClip [Page63]	Uses:800 801 803 804 805
Symbol 808 Graphic	Used by:814
Symbol 809 Graphic	Used by:814
Symbol 810 Font	Used by:812
Symbol 811 Graphic	Used by:814
Symbol 812 EditableText [CR64]	Uses:810	Used by:814
Symbol 813 Text	Uses:330 323 321	Used by:814
Symbol 814 MovieClip [Page64]	Uses:808 809 811 812 813
Symbol 815 Graphic	Used by:831
Symbol 816 Graphic	Used by:831
Symbol 817 Font	Used by:819
Symbol 818 Graphic	Used by:831
Symbol 819 EditableText [CR65]	Uses:817	Used by:831
Symbol 820 Text	Uses:323	Used by:831
Symbol 821 Bitmap	Used by:823
Symbol 822 Graphic	Used by:831
Symbol 823 Graphic	Uses:821	Used by:831
Symbol 824 Bitmap	Used by:826
Symbol 825 Graphic	Used by:831
Symbol 826 Graphic	Uses:824	Used by:831
Symbol 827 Bitmap	Used by:829
Symbol 828 Graphic	Used by:831
Symbol 829 Graphic	Uses:827	Used by:831
Symbol 830 Text	Uses:323 330 321	Used by:831
Symbol 831 MovieClip [Page65]	Uses:815 816 818 819 820 822 823 825 826 828 829 830
Symbol 832 Graphic	Used by:838
Symbol 833 Graphic	Used by:838
Symbol 834 Font	Used by:836
Symbol 835 Graphic	Used by:838
Symbol 836 EditableText [CR66]	Uses:834	Used by:838
Symbol 837 Text	Uses:330 323	Used by:838
Symbol 838 MovieClip [Page66]	Uses:832 833 835 836 837
Symbol 839 Graphic	Used by:845
Symbol 840 Graphic	Used by:845
Symbol 841 Font	Used by:843
Symbol 842 Graphic	Used by:845
Symbol 843 EditableText [CR67]	Uses:841	Used by:845
Symbol 844 Text	Uses:330 332 323 340	Used by:845
Symbol 845 MovieClip [Page67]	Uses:839 840 842 843 844
Symbol 846 Graphic	Used by:852
Symbol 847 Graphic	Used by:852
Symbol 848 Font	Used by:850
Symbol 849 Graphic	Used by:852
Symbol 850 EditableText [CR68]	Uses:848	Used by:852
Symbol 851 Text	Uses:323	Used by:852
Symbol 852 MovieClip [Page68]	Uses:846 847 849 850 851
Symbol 853 Graphic	Used by:859
Symbol 854 Graphic	Used by:859
Symbol 855 Font	Used by:857
Symbol 856 Graphic	Used by:859
Symbol 857 EditableText [CR69]	Uses:855	Used by:859
Symbol 858 Text	Uses:330 332 323 437	Used by:859
Symbol 859 MovieClip [Page69]	Uses:853 854 856 857 858
Symbol 860 Graphic	Used by:1018
Symbol 861 Graphic	Used by:1018
Symbol 862 Font	Used by:864
Symbol 863 Graphic	Used by:1018
Symbol 864 EditableText [CR70]	Uses:862	Used by:1018
Symbol 865 Text	Uses:330	Used by:1018
Symbol 866 Bitmap	Used by:868
Symbol 867 Graphic	Used by:1018
Symbol 868 Graphic	Uses:866	Used by:1018
Symbol 869 Bitmap	Used by:871
Symbol 870 Graphic	Used by:1018
Symbol 871 Graphic	Uses:869	Used by:1018
Symbol 872 Bitmap	Used by:874
Symbol 873 Graphic	Used by:1018
Symbol 874 Graphic	Uses:872	Used by:1018
Symbol 875 Bitmap	Used by:877
Symbol 876 Graphic	Used by:1018
Symbol 877 Graphic	Uses:875	Used by:1018
Symbol 878 Text	Uses:330	Used by:1018
Symbol 879 Bitmap	Used by:881
Symbol 880 Graphic	Used by:1018
Symbol 881 Graphic	Uses:879	Used by:1018
Symbol 882 Bitmap	Used by:884
Symbol 883 Graphic	Used by:1018
Symbol 884 Graphic	Uses:882	Used by:1018
Symbol 885 Bitmap	Used by:887
Symbol 886 Graphic	Used by:1018
Symbol 887 Graphic	Uses:885	Used by:1018
Symbol 888 Bitmap	Used by:890
Symbol 889 Graphic	Used by:1018
Symbol 890 Graphic	Uses:888	Used by:1018
Symbol 891 Bitmap	Used by:893
Symbol 892 Graphic	Used by:1018
Symbol 893 Graphic	Uses:891	Used by:1018
Symbol 894 Bitmap	Used by:896
Symbol 895 Graphic	Used by:1018
Symbol 896 Graphic	Uses:894	Used by:1018
Symbol 897 Bitmap	Used by:899
Symbol 898 Graphic	Used by:1018
Symbol 899 Graphic	Uses:897	Used by:1018
Symbol 900 Bitmap	Used by:902
Symbol 901 Graphic	Used by:1018
Symbol 902 Graphic	Uses:900	Used by:1018
Symbol 903 Bitmap	Used by:905
Symbol 904 Graphic	Used by:1018
Symbol 905 Graphic	Uses:903	Used by:1018
Symbol 906 Bitmap	Used by:908
Symbol 907 Graphic	Used by:1018
Symbol 908 Graphic	Uses:906	Used by:1018
Symbol 909 Bitmap	Used by:911
Symbol 910 Graphic	Used by:1018
Symbol 911 Graphic	Uses:909	Used by:1018
Symbol 912 Bitmap	Used by:914
Symbol 913 Graphic	Used by:1018
Symbol 914 Graphic	Uses:912	Used by:1018
Symbol 915 Bitmap	Used by:917
Symbol 916 Graphic	Used by:1018
Symbol 917 Graphic	Uses:915	Used by:1018
Symbol 918 Bitmap	Used by:920
Symbol 919 Graphic	Used by:1018
Symbol 920 Graphic	Uses:918	Used by:1018
Symbol 921 Bitmap	Used by:923
Symbol 922 Graphic	Used by:1018
Symbol 923 Graphic	Uses:921	Used by:1018
Symbol 924 Text	Uses:330	Used by:1018
Symbol 925 Bitmap	Used by:927
Symbol 926 Graphic	Used by:1018
Symbol 927 Graphic	Uses:925	Used by:1018
Symbol 928 Bitmap	Used by:930
Symbol 929 Graphic	Used by:1018
Symbol 930 Graphic	Uses:928	Used by:1018
Symbol 931 Bitmap	Used by:933
Symbol 932 Graphic	Used by:1018
Symbol 933 Graphic	Uses:931	Used by:1018
Symbol 934 Bitmap	Used by:936
Symbol 935 Graphic	Used by:1018
Symbol 936 Graphic	Uses:934	Used by:1018
Symbol 937 Bitmap	Used by:939
Symbol 938 Graphic	Used by:1018
Symbol 939 Graphic	Uses:937	Used by:1018
Symbol 940 Bitmap	Used by:942
Symbol 941 Graphic	Used by:1018
Symbol 942 Graphic	Uses:940	Used by:1018
Symbol 943 Bitmap	Used by:945
Symbol 944 Graphic	Used by:1018
Symbol 945 Graphic	Uses:943	Used by:1018
Symbol 946 Bitmap	Used by:948
Symbol 947 Graphic	Used by:1018
Symbol 948 Graphic	Uses:946	Used by:1018
Symbol 949 Bitmap	Used by:951
Symbol 950 Graphic	Used by:1018
Symbol 951 Graphic	Uses:949	Used by:1018
Symbol 952 Bitmap	Used by:954
Symbol 953 Graphic	Used by:1018
Symbol 954 Graphic	Uses:952	Used by:1018
Symbol 955 Bitmap	Used by:957
Symbol 956 Graphic	Used by:1018
Symbol 957 Graphic	Uses:955	Used by:1018
Symbol 958 Bitmap	Used by:960
Symbol 959 Graphic	Used by:1018
Symbol 960 Graphic	Uses:958	Used by:1018
Symbol 961 Bitmap	Used by:963
Symbol 962 Graphic	Used by:1018
Symbol 963 Graphic	Uses:961	Used by:1018
Symbol 964 Bitmap	Used by:966
Symbol 965 Graphic	Used by:1018
Symbol 966 Graphic	Uses:964	Used by:1018
Symbol 967 Bitmap	Used by:969
Symbol 968 Graphic	Used by:1018
Symbol 969 Graphic	Uses:967	Used by:1018
Symbol 970 Bitmap	Used by:972
Symbol 971 Graphic	Used by:1018
Symbol 972 Graphic	Uses:970	Used by:1018
Symbol 973 Bitmap	Used by:975
Symbol 974 Graphic	Used by:1018
Symbol 975 Graphic	Uses:973	Used by:1018
Symbol 976 Bitmap	Used by:978
Symbol 977 Graphic	Used by:1018
Symbol 978 Graphic	Uses:976	Used by:1018
Symbol 979 Bitmap	Used by:981
Symbol 980 Graphic	Used by:1018
Symbol 981 Graphic	Uses:979	Used by:1018
Symbol 982 Bitmap	Used by:984
Symbol 983 Graphic	Used by:1018
Symbol 984 Graphic	Uses:982	Used by:1018
Symbol 985 Bitmap	Used by:987
Symbol 986 Graphic	Used by:1018
Symbol 987 Graphic	Uses:985	Used by:1018
Symbol 988 Bitmap	Used by:990
Symbol 989 Graphic	Used by:1018
Symbol 990 Graphic	Uses:988	Used by:1018
Symbol 991 Bitmap	Used by:993
Symbol 992 Graphic	Used by:1018
Symbol 993 Graphic	Uses:991	Used by:1018
Symbol 994 Bitmap	Used by:996
Symbol 995 Graphic	Used by:1018
Symbol 996 Graphic	Uses:994	Used by:1018
Symbol 997 Bitmap	Used by:999
Symbol 998 Graphic	Used by:1018
Symbol 999 Graphic	Uses:997	Used by:1018
Symbol 1000 Bitmap	Used by:1002
Symbol 1001 Graphic	Used by:1018
Symbol 1002 Graphic	Uses:1000	Used by:1018
Symbol 1003 Bitmap	Used by:1005
Symbol 1004 Graphic	Used by:1018
Symbol 1005 Graphic	Uses:1003	Used by:1018
Symbol 1006 Bitmap	Used by:1008
Symbol 1007 Graphic	Used by:1018
Symbol 1008 Graphic	Uses:1006	Used by:1018
Symbol 1009 Bitmap	Used by:1011
Symbol 1010 Graphic	Used by:1018
Symbol 1011 Graphic	Uses:1009	Used by:1018
Symbol 1012 Bitmap	Used by:1014
Symbol 1013 Graphic	Used by:1018
Symbol 1014 Graphic	Uses:1012	Used by:1018
Symbol 1015 Bitmap	Used by:1017
Symbol 1016 Graphic	Used by:1018
Symbol 1017 Graphic	Uses:1015	Used by:1018
Symbol 1018 MovieClip [Page70]	Uses:860 861 863 864 865 867 868 870 871 873 874 876 877 878 880 881 883 884 886 887 889 890 892 893 895 896 898 899 901 902 904 905 907 908 910 911 913 914 916 917 919 920 922 923 924 926 927 929 930 932 933 935 936 938 939 941 942 944 945 947 948 950 951 953 954 956 957 959 960 962 963 965 966 968 969 971 972 974 975 977 978 980 981 983 984 986 987 989 990 992 993 995 996 998 999 1001 1002 1004 1005 1007 1008 1010 1011 1013 1014 1016 1017
Symbol 1019 Graphic	Used by:1025
Symbol 1020 Graphic	Used by:1025
Symbol 1021 Font	Used by:1023
Symbol 1022 Graphic	Used by:1025
Symbol 1023 EditableText [CR71]	Uses:1021	Used by:1025
Symbol 1024 Text	Uses:330 332 323 321	Used by:1025
Symbol 1025 MovieClip [Page71]	Uses:1019 1020 1022 1023 1024
Symbol 1026 Graphic	Used by:1032
Symbol 1027 Graphic	Used by:1032
Symbol 1028 Font	Used by:1030
Symbol 1029 Graphic	Used by:1032
Symbol 1030 EditableText [CR72]	Uses:1028	Used by:1032
Symbol 1031 Text	Uses:330 323 418	Used by:1032
Symbol 1032 MovieClip [Page72]	Uses:1026 1027 1029 1030 1031
Symbol 1033 Graphic	Used by:1039
Symbol 1034 Graphic	Used by:1039
Symbol 1035 Font	Used by:1037
Symbol 1036 Graphic	Used by:1039
Symbol 1037 EditableText [CR73]	Uses:1035	Used by:1039
Symbol 1038 Text	Uses:330 332 323 321	Used by:1039
Symbol 1039 MovieClip [Page73]	Uses:1033 1034 1036 1037 1038
Symbol 1040 Graphic	Used by:1046
Symbol 1041 Graphic	Used by:1046
Symbol 1042 Font	Used by:1044
Symbol 1043 Graphic	Used by:1046
Symbol 1044 EditableText [CR74]	Uses:1042	Used by:1046
Symbol 1045 Text	Uses:330 323	Used by:1046
Symbol 1046 MovieClip [Page74]	Uses:1040 1041 1043 1044 1045
Symbol 1047 Graphic	Used by:1053
Symbol 1048 Graphic	Used by:1053
Symbol 1049 Font	Used by:1051
Symbol 1050 Graphic	Used by:1053
Symbol 1051 EditableText [CR75]	Uses:1049	Used by:1053
Symbol 1052 Text	Uses:323 417 340	Used by:1053
Symbol 1053 MovieClip [Page75]	Uses:1047 1048 1050 1051 1052
Symbol 1054 Graphic	Used by:1060
Symbol 1055 Graphic	Used by:1060
Symbol 1056 Font	Used by:1058
Symbol 1057 Graphic	Used by:1060
Symbol 1058 EditableText [CR76]	Uses:1056	Used by:1060
Symbol 1059 Text	Uses:330 323	Used by:1060
Symbol 1060 MovieClip [Page76]	Uses:1054 1055 1057 1058 1059
Symbol 1061 Graphic	Used by:1076
Symbol 1062 Graphic	Used by:1076
Symbol 1063 Font	Used by:1065
Symbol 1064 Graphic	Used by:1076
Symbol 1065 EditableText [CR77]	Uses:1063	Used by:1076
Symbol 1066 Bitmap	Used by:1068
Symbol 1067 Graphic	Used by:1076
Symbol 1068 Graphic	Uses:1066	Used by:1076
Symbol 1069 Bitmap	Used by:1071
Symbol 1070 Graphic	Used by:1076
Symbol 1071 Graphic	Uses:1069	Used by:1076
Symbol 1072 Bitmap	Used by:1074
Symbol 1073 Graphic	Used by:1076
Symbol 1074 Graphic	Uses:1072	Used by:1076
Symbol 1075 Text	Uses:323 330 340	Used by:1076
Symbol 1076 MovieClip [Page77]	Uses:1061 1062 1064 1065 1067 1068 1070 1071 1073 1074 1075
Symbol 1077 Graphic	Used by:1083
Symbol 1078 Graphic	Used by:1083
Symbol 1079 Font	Used by:1081
Symbol 1080 Graphic	Used by:1083
Symbol 1081 EditableText [CR78]	Uses:1079	Used by:1083
Symbol 1082 Text	Uses:330 323	Used by:1083
Symbol 1083 MovieClip [Page78]	Uses:1077 1078 1080 1081 1082
Symbol 1084 Graphic	Used by:1090
Symbol 1085 Graphic	Used by:1090
Symbol 1086 Font	Used by:1088
Symbol 1087 Graphic	Used by:1090
Symbol 1088 EditableText [CR79]	Uses:1086	Used by:1090
Symbol 1089 Text	Uses:330 332 323 340	Used by:1090
Symbol 1090 MovieClip [Page79]	Uses:1084 1085 1087 1088 1089
Symbol 1091 Graphic	Used by:1097
Symbol 1092 Graphic	Used by:1097
Symbol 1093 Font	Used by:1095
Symbol 1094 Graphic	Used by:1097
Symbol 1095 EditableText [CR80]	Uses:1093	Used by:1097
Symbol 1096 Text	Uses:330 323	Used by:1097
Symbol 1097 MovieClip [Page80]	Uses:1091 1092 1094 1095 1096
Symbol 1098 Graphic	Used by:1104
Symbol 1099 Graphic	Used by:1104
Symbol 1100 Font	Used by:1102
Symbol 1101 Graphic	Used by:1104
Symbol 1102 EditableText [CR81]	Uses:1100	Used by:1104
Symbol 1103 Text	Uses:323 417 340	Used by:1104
Symbol 1104 MovieClip [Page81]	Uses:1098 1099 1101 1102 1103
Symbol 1105 Graphic	Used by:1111
Symbol 1106 Graphic	Used by:1111
Symbol 1107 Font	Used by:1109
Symbol 1108 Graphic	Used by:1111
Symbol 1109 EditableText [CR82]	Uses:1107	Used by:1111
Symbol 1110 Text	Uses:330 323	Used by:1111
Symbol 1111 MovieClip [Page82]	Uses:1105 1106 1108 1109 1110
Symbol 1112 Graphic	Used by:1118
Symbol 1113 Graphic	Used by:1118
Symbol 1114 Font	Used by:1116
Symbol 1115 Graphic	Used by:1118
Symbol 1116 EditableText [CR83]	Uses:1114	Used by:1118
Symbol 1117 Text	Uses:323 417 321	Used by:1118
Symbol 1118 MovieClip [Page83]	Uses:1112 1113 1115 1116 1117
Symbol 1119 Graphic	Used by:1125
Symbol 1120 Graphic	Used by:1125
Symbol 1121 Font	Used by:1123
Symbol 1122 Graphic	Used by:1125
Symbol 1123 EditableText [CR84]	Uses:1121	Used by:1125
Symbol 1124 Text	Uses:330 323 321 340	Used by:1125
Symbol 1125 MovieClip [Page84]	Uses:1119 1120 1122 1123 1124
Symbol 1126 Graphic	Used by:1132
Symbol 1127 Graphic	Used by:1132
Symbol 1128 Font	Used by:1130
Symbol 1129 Graphic	Used by:1132
Symbol 1130 EditableText [CR85]	Uses:1128	Used by:1132
Symbol 1131 Text	Uses:330 332 323	Used by:1132
Symbol 1132 MovieClip [Page85]	Uses:1126 1127 1129 1130 1131
Symbol 1133 Graphic	Used by:1139
Symbol 1134 Graphic	Used by:1139
Symbol 1135 Font	Used by:1137
Symbol 1136 Graphic	Used by:1139
Symbol 1137 EditableText [CR86]	Uses:1135	Used by:1139
Symbol 1138 Text	Uses:330 323 340	Used by:1139
Symbol 1139 MovieClip [Page86]	Uses:1133 1134 1136 1137 1138
Symbol 1140 Graphic	Used by:1146
Symbol 1141 Graphic	Used by:1146
Symbol 1142 Font	Used by:1144
Symbol 1143 Graphic	Used by:1146
Symbol 1144 EditableText [CR87]	Uses:1142	Used by:1146
Symbol 1145 Text	Uses:330 332 323 340	Used by:1146
Symbol 1146 MovieClip [Page87]	Uses:1140 1141 1143 1144 1145
Symbol 1147 Graphic	Used by:1153
Symbol 1148 Graphic	Used by:1153
Symbol 1149 Font	Used by:1151
Symbol 1150 Graphic	Used by:1153
Symbol 1151 EditableText [CR88]	Uses:1149	Used by:1153
Symbol 1152 Text	Uses:330 323 321	Used by:1153
Symbol 1153 MovieClip [Page88]	Uses:1147 1148 1150 1151 1152
Symbol 1154 Graphic	Used by:1160
Symbol 1155 Graphic	Used by:1160
Symbol 1156 Font	Used by:1158
Symbol 1157 Graphic	Used by:1160
Symbol 1158 EditableText [CR89]	Uses:1156	Used by:1160
Symbol 1159 Text	Uses:323 417 330 321	Used by:1160
Symbol 1160 MovieClip [Page89]	Uses:1154 1155 1157 1158 1159
Symbol 1161 Graphic	Used by:1167
Symbol 1162 Graphic	Used by:1167
Symbol 1163 Font	Used by:1165
Symbol 1164 Graphic	Used by:1167
Symbol 1165 EditableText [CR90]	Uses:1163	Used by:1167
Symbol 1166 Text	Uses:330 323	Used by:1167
Symbol 1167 MovieClip [Page90]	Uses:1161 1162 1164 1165 1166
Symbol 1168 Graphic	Used by:1174
Symbol 1169 Graphic	Used by:1174
Symbol 1170 Font	Used by:1172
Symbol 1171 Graphic	Used by:1174
Symbol 1172 EditableText [CR91]	Uses:1170	Used by:1174
Symbol 1173 Text	Uses:330 332 323	Used by:1174
Symbol 1174 MovieClip [Page91]	Uses:1168 1169 1171 1172 1173
Symbol 1175 Graphic	Used by:1190
Symbol 1176 Graphic	Used by:1190
Symbol 1177 Font	Used by:1179
Symbol 1178 Graphic	Used by:1190
Symbol 1179 EditableText [CR92]	Uses:1177	Used by:1190
Symbol 1180 Bitmap	Used by:1182
Symbol 1181 Graphic	Used by:1190
Symbol 1182 Graphic	Uses:1180	Used by:1190
Symbol 1183 Bitmap	Used by:1185
Symbol 1184 Graphic	Used by:1190
Symbol 1185 Graphic	Uses:1183	Used by:1190
Symbol 1186 Bitmap	Used by:1188
Symbol 1187 Graphic	Used by:1190
Symbol 1188 Graphic	Uses:1186	Used by:1190
Symbol 1189 Text	Uses:323 330 321	Used by:1190
Symbol 1190 MovieClip [Page92]	Uses:1175 1176 1178 1179 1181 1182 1184 1185 1187 1188 1189
Symbol 1191 Graphic	Used by:1197
Symbol 1192 Graphic	Used by:1197
Symbol 1193 Font	Used by:1195
Symbol 1194 Graphic	Used by:1197
Symbol 1195 EditableText [CR93]	Uses:1193	Used by:1197
Symbol 1196 Text	Uses:330 332 323 321	Used by:1197
Symbol 1197 MovieClip [Page93]	Uses:1191 1192 1194 1195 1196
Symbol 1198 Graphic	Used by:1204
Symbol 1199 Graphic	Used by:1204
Symbol 1200 Font	Used by:1202
Symbol 1201 Graphic	Used by:1204
Symbol 1202 EditableText [CR94]	Uses:1200	Used by:1204
Symbol 1203 Text	Uses:330 323 340	Used by:1204
Symbol 1204 MovieClip [Page94]	Uses:1198 1199 1201 1202 1203
Symbol 1205 Graphic	Used by:1211
Symbol 1206 Graphic	Used by:1211
Symbol 1207 Font	Used by:1209
Symbol 1208 Graphic	Used by:1211
Symbol 1209 EditableText [CR95]	Uses:1207	Used by:1211
Symbol 1210 Text	Uses:323 417	Used by:1211
Symbol 1211 MovieClip [Page95]	Uses:1205 1206 1208 1209 1210
Symbol 1212 Graphic	Used by:1218
Symbol 1213 Graphic	Used by:1218
Symbol 1214 Font	Used by:1216
Symbol 1215 Graphic	Used by:1218
Symbol 1216 EditableText [CR96]	Uses:1214	Used by:1218
Symbol 1217 Text	Uses:330 418 323	Used by:1218
Symbol 1218 MovieClip [Page96]	Uses:1212 1213 1215 1216 1217
Symbol 1219 Graphic	Used by:1225
Symbol 1220 Graphic	Used by:1225
Symbol 1221 Font	Used by:1223
Symbol 1222 Graphic	Used by:1225
Symbol 1223 EditableText [CR97]	Uses:1221	Used by:1225
Symbol 1224 Text	Uses:330 332 323 340	Used by:1225
Symbol 1225 MovieClip [Page97]	Uses:1219 1220 1222 1223 1224
Symbol 1226 Graphic	Used by:1232
Symbol 1227 Graphic	Used by:1232
Symbol 1228 Font	Used by:1230
Symbol 1229 Graphic	Used by:1232
Symbol 1230 EditableText [CR98]	Uses:1228	Used by:1232
Symbol 1231 Text	Uses:330 323	Used by:1232
Symbol 1232 MovieClip [Page98]	Uses:1226 1227 1229 1230 1231
Symbol 1233 Graphic	Used by:1239
Symbol 1234 Graphic	Used by:1239
Symbol 1235 Font	Used by:1237
Symbol 1236 Graphic	Used by:1239
Symbol 1237 EditableText [CR99]	Uses:1235	Used by:1239
Symbol 1238 Text	Uses:330 332 323 321	Used by:1239
Symbol 1239 MovieClip [Page99]	Uses:1233 1234 1236 1237 1238
Symbol 1240 Graphic	Used by:1246
Symbol 1241 Graphic	Used by:1246
Symbol 1242 Font	Used by:1244
Symbol 1243 Graphic	Used by:1246
Symbol 1244 EditableText [CR100]	Uses:1242	Used by:1246
Symbol 1245 Text	Uses:330 323 321 418	Used by:1246
Symbol 1246 MovieClip [Page100]	Uses:1240 1241 1243 1244 1245
Symbol 1247 Graphic	Used by:1253
Symbol 1248 Graphic	Used by:1253
Symbol 1249 Font	Used by:1251
Symbol 1250 Graphic	Used by:1253
Symbol 1251 EditableText [CR101]	Uses:1249	Used by:1253
Symbol 1252 Text	Uses:330 332 323 340	Used by:1253
Symbol 1253 MovieClip [Page101]	Uses:1247 1248 1250 1251 1252
Symbol 1254 Graphic	Used by:1260
Symbol 1255 Graphic	Used by:1260
Symbol 1256 Font	Used by:1258
Symbol 1257 Graphic	Used by:1260
Symbol 1258 EditableText [CR102]	Uses:1256	Used by:1260
Symbol 1259 Text	Uses:330 323 340	Used by:1260
Symbol 1260 MovieClip [Page102]	Uses:1254 1255 1257 1258 1259
Symbol 1261 Graphic	Used by:1267
Symbol 1262 Graphic	Used by:1267
Symbol 1263 Font	Used by:1265
Symbol 1264 Graphic	Used by:1267
Symbol 1265 EditableText [CR103]	Uses:1263	Used by:1267
Symbol 1266 Text	Uses:330 332 323	Used by:1267
Symbol 1267 MovieClip [Page103]	Uses:1261 1262 1264 1265 1266
Symbol 1268 Graphic	Used by:1274
Symbol 1269 Graphic	Used by:1274
Symbol 1270 Font	Used by:1272
Symbol 1271 Graphic	Used by:1274
Symbol 1272 EditableText [CR104]	Uses:1270	Used by:1274
Symbol 1273 Text	Uses:330 323 321	Used by:1274
Symbol 1274 MovieClip [Page104]	Uses:1268 1269 1271 1272 1273
Symbol 1275 Graphic	Used by:1281
Symbol 1276 Graphic	Used by:1281
Symbol 1277 Font	Used by:1279
Symbol 1278 Graphic	Used by:1281
Symbol 1279 EditableText [CR105]	Uses:1277	Used by:1281
Symbol 1280 Text	Uses:330 332 323 321	Used by:1281
Symbol 1281 MovieClip [Page105]	Uses:1275 1276 1278 1279 1280
Symbol 1282 Graphic	Used by:1288
Symbol 1283 Graphic	Used by:1288
Symbol 1284 Font	Used by:1286
Symbol 1285 Graphic	Used by:1288
Symbol 1286 EditableText [CR106]	Uses:1284	Used by:1288
Symbol 1287 Text	Uses:330 323 321	Used by:1288
Symbol 1288 MovieClip [Page106]	Uses:1282 1283 1285 1286 1287
Symbol 1289 Graphic	Used by:1295
Symbol 1290 Graphic	Used by:1295
Symbol 1291 Font	Used by:1293
Symbol 1292 Graphic	Used by:1295
Symbol 1293 EditableText [CR107]	Uses:1291	Used by:1295
Symbol 1294 Text	Uses:330 332 323	Used by:1295
Symbol 1295 MovieClip [Page107]	Uses:1289 1290 1292 1293 1294
Symbol 1296 Graphic	Used by:1302
Symbol 1297 Graphic	Used by:1302
Symbol 1298 Font	Used by:1300
Symbol 1299 Graphic	Used by:1302
Symbol 1300 EditableText [CR108]	Uses:1298	Used by:1302
Symbol 1301 Text	Uses:330 323	Used by:1302
Symbol 1302 MovieClip [Page108]	Uses:1296 1297 1299 1300 1301
Symbol 1303 Graphic	Used by:1310
Symbol 1304 Graphic	Used by:1310
Symbol 1305 Font	Used by:1307
Symbol 1306 Graphic	Used by:1310
Symbol 1307 EditableText [CR109]	Uses:1305	Used by:1310
Symbol 1309 Font	Used by:1308
Symbol 1308 Text	Uses:323 417 321 1309	Used by:1310
Symbol 1310 MovieClip [Page109]	Uses:1303 1304 1306 1307 1308
Symbol 1311 Graphic	Used by:1317
Symbol 1312 Graphic	Used by:1317
Symbol 1313 Font	Used by:1315
Symbol 1314 Graphic	Used by:1317
Symbol 1315 EditableText [CR110]	Uses:1313	Used by:1317
Symbol 1316 Text	Uses:330 323 321	Used by:1317
Symbol 1317 MovieClip [Page110]	Uses:1311 1312 1314 1315 1316
Symbol 1318 Graphic	Used by:1333
Symbol 1319 Graphic	Used by:1333
Symbol 1320 Font	Used by:1322
Symbol 1321 Graphic	Used by:1333
Symbol 1322 EditableText [CR111]	Uses:1320	Used by:1333
Symbol 1323 Bitmap	Used by:1325
Symbol 1324 Graphic	Used by:1333
Symbol 1325 Graphic	Uses:1323	Used by:1333
Symbol 1326 Bitmap	Used by:1328
Symbol 1327 Graphic	Used by:1333
Symbol 1328 Graphic	Uses:1326	Used by:1333
Symbol 1329 Bitmap	Used by:1331
Symbol 1330 Graphic	Used by:1333
Symbol 1331 Graphic	Uses:1329	Used by:1333
Symbol 1332 Text	Uses:323 330 340	Used by:1333
Symbol 1333 MovieClip [Page111]	Uses:1318 1319 1321 1322 1324 1325 1327 1328 1330 1331 1332
Symbol 1334 Graphic	Used by:1340
Symbol 1335 Graphic	Used by:1340
Symbol 1336 Font	Used by:1338
Symbol 1337 Graphic	Used by:1340
Symbol 1338 EditableText [CR112]	Uses:1336	Used by:1340
Symbol 1339 Text	Uses:330 323	Used by:1340
Symbol 1340 MovieClip [Page112]	Uses:1334 1335 1337 1338 1339
Symbol 1341 Graphic	Used by:1347
Symbol 1342 Graphic	Used by:1347
Symbol 1343 Font	Used by:1345
Symbol 1344 Graphic	Used by:1347
Symbol 1345 EditableText [CR113]	Uses:1343	Used by:1347
Symbol 1346 Text	Uses:330 332 323 340	Used by:1347
Symbol 1347 MovieClip [Page113]	Uses:1341 1342 1344 1345 1346
Symbol 1348 Graphic	Used by:1354
Symbol 1349 Graphic	Used by:1354
Symbol 1350 Font	Used by:1352
Symbol 1351 Graphic	Used by:1354
Symbol 1352 EditableText [CR114]	Uses:1350	Used by:1354
Symbol 1353 Text	Uses:330 323 418	Used by:1354
Symbol 1354 MovieClip [Page114]	Uses:1348 1349 1351 1352 1353
Symbol 1355 Graphic	Used by:1361
Symbol 1356 Graphic	Used by:1361
Symbol 1357 Font	Used by:1359
Symbol 1358 Graphic	Used by:1361
Symbol 1359 EditableText [CR115]	Uses:1357	Used by:1361
Symbol 1360 Text	Uses:323 417	Used by:1361
Symbol 1361 MovieClip [Page115]	Uses:1355 1356 1358 1359 1360
Symbol 1362 Graphic	Used by:1368
Symbol 1363 Graphic	Used by:1368
Symbol 1364 Font	Used by:1366
Symbol 1365 Graphic	Used by:1368
Symbol 1366 EditableText [CR116]	Uses:1364	Used by:1368
Symbol 1367 Text	Uses:330 323	Used by:1368
Symbol 1368 MovieClip [Page116]	Uses:1362 1363 1365 1366 1367
Symbol 1369 Graphic	Used by:1375
Symbol 1370 Graphic	Used by:1375
Symbol 1371 Font	Used by:1373
Symbol 1372 Graphic	Used by:1375
Symbol 1373 EditableText [CR117]	Uses:1371	Used by:1375
Symbol 1374 Text	Uses:330 332 323	Used by:1375
Symbol 1375 MovieClip [Page117]	Uses:1369 1370 1372 1373 1374
Symbol 1376 Graphic	Used by:1382
Symbol 1377 Graphic	Used by:1382
Symbol 1378 Font	Used by:1380
Symbol 1379 Graphic	Used by:1382
Symbol 1380 EditableText [CR118]	Uses:1378	Used by:1382
Symbol 1381 Text	Uses:330 323 321	Used by:1382
Symbol 1382 MovieClip [Page118]	Uses:1376 1377 1379 1380 1381
Symbol 1383 Graphic	Used by:1389
Symbol 1384 Graphic	Used by:1389
Symbol 1385 Font	Used by:1387
Symbol 1386 Graphic	Used by:1389
Symbol 1387 EditableText [CR119]	Uses:1385	Used by:1389
Symbol 1388 Text	Uses:330 332 323 321	Used by:1389
Symbol 1389 MovieClip [Page119]	Uses:1383 1384 1386 1387 1388
Symbol 1390 Graphic	Used by:1396
Symbol 1391 Graphic	Used by:1396
Symbol 1392 Font	Used by:1394
Symbol 1393 Graphic	Used by:1396
Symbol 1394 EditableText [CR120]	Uses:1392	Used by:1396
Symbol 1395 Text	Uses:330 323 340	Used by:1396
Symbol 1396 MovieClip [Page120]	Uses:1390 1391 1393 1394 1395
Symbol 1397 Graphic	Used by:1403
Symbol 1398 Graphic	Used by:1403
Symbol 1399 Font	Used by:1401
Symbol 1400 Graphic	Used by:1403
Symbol 1401 EditableText [CR121]	Uses:1399	Used by:1403
Symbol 1402 Text	Uses:330 332 323 321	Used by:1403
Symbol 1403 MovieClip [Page121]	Uses:1397 1398 1400 1401 1402
Symbol 1404 Graphic	Used by:1417
Symbol 1405 Graphic	Used by:1417
Symbol 1406 Font	Used by:1408
Symbol 1407 Graphic	Used by:1417
Symbol 1408 EditableText [CR122]	Uses:1406	Used by:1417
Symbol 1409 Bitmap	Used by:1410
Symbol 1410 Graphic	Uses:1409	Used by:1417
Symbol 1411 Bitmap	Used by:1412
Symbol 1412 Graphic	Uses:1411	Used by:1417
Symbol 1413 Bitmap	Used by:1414
Symbol 1414 Graphic	Uses:1413	Used by:1417
Symbol 1415 Bitmap	Used by:1416
Symbol 1416 Graphic	Uses:1415	Used by:1417
Symbol 1417 MovieClip [Page122]	Uses:1404 1405 1407 1408 1410 1412 1414 1416
Symbol 1418 Graphic	Used by:1427
Symbol 1419 Graphic	Used by:1427
Symbol 1420 Font	Used by:1422
Symbol 1421 Graphic	Used by:1427
Symbol 1422 EditableText [CR123]	Uses:1420	Used by:1427
Symbol 1423 Bitmap	Used by:1424
Symbol 1424 Graphic	Uses:1423	Used by:1427
Symbol 1425 Bitmap	Used by:1426
Symbol 1426 Graphic	Uses:1425	Used by:1427
Symbol 1427 MovieClip [Page123]	Uses:1418 1419 1421 1422 1424 1426
Symbol 1428 Graphic	Used by:1437
Symbol 1429 Graphic	Used by:1437
Symbol 1430 Font	Used by:1432
Symbol 1431 Graphic	Used by:1437
Symbol 1432 EditableText [CR124]	Uses:1430	Used by:1437
Symbol 1433 Bitmap	Used by:1434
Symbol 1434 Graphic	Uses:1433	Used by:1437
Symbol 1435 Bitmap	Used by:1436
Symbol 1436 Graphic	Uses:1435	Used by:1437
Symbol 1437 MovieClip [Page124]	Uses:1428 1429 1431 1432 1434 1436
Symbol 1438 Graphic	Used by:1447
Symbol 1439 Graphic	Used by:1447
Symbol 1440 Font	Used by:1442
Symbol 1441 Graphic	Used by:1447
Symbol 1442 EditableText [CR125]	Uses:1440	Used by:1447
Symbol 1443 Bitmap	Used by:1444
Symbol 1444 Graphic	Uses:1443	Used by:1447
Symbol 1445 Bitmap	Used by:1446
Symbol 1446 Graphic	Uses:1445	Used by:1447
Symbol 1447 MovieClip [Page125]	Uses:1438 1439 1441 1442 1444 1446
Symbol 1448 Graphic	Used by:1459
Symbol 1449 Graphic	Used by:1459
Symbol 1450 Font	Used by:1452
Symbol 1451 Graphic	Used by:1459
Symbol 1452 EditableText [CR126]	Uses:1450	Used by:1459
Symbol 1453 Bitmap	Used by:1454
Symbol 1454 Graphic	Uses:1453	Used by:1459
Symbol 1455 Bitmap	Used by:1456
Symbol 1456 Graphic	Uses:1455	Used by:1459
Symbol 1457 Bitmap	Used by:1458
Symbol 1458 Graphic	Uses:1457	Used by:1459
Symbol 1459 MovieClip [Page126]	Uses:1448 1449 1451 1452 1454 1456 1458
Symbol 1460 Graphic	Used by:1469
Symbol 1461 Graphic	Used by:1469
Symbol 1462 Font	Used by:1464
Symbol 1463 Graphic	Used by:1469
Symbol 1464 EditableText [CR127]	Uses:1462	Used by:1469
Symbol 1465 Bitmap	Used by:1466
Symbol 1466 Graphic	Uses:1465	Used by:1469
Symbol 1467 Bitmap	Used by:1468
Symbol 1468 Graphic	Uses:1467	Used by:1469
Symbol 1469 MovieClip [Page127]	Uses:1460 1461 1463 1464 1466 1468
Symbol 1470 Graphic	Used by:1479
Symbol 1471 Graphic	Used by:1479
Symbol 1472 Font	Used by:1474
Symbol 1473 Graphic	Used by:1479
Symbol 1474 EditableText [CR128]	Uses:1472	Used by:1479
Symbol 1475 Bitmap	Used by:1476
Symbol 1476 Graphic	Uses:1475	Used by:1479
Symbol 1477 Bitmap	Used by:1478
Symbol 1478 Graphic	Uses:1477	Used by:1479
Symbol 1479 MovieClip [Page128]	Uses:1470 1471 1473 1474 1476 1478
Symbol 1480 Graphic	Used by:1493
Symbol 1481 Graphic	Used by:1493
Symbol 1482 Font	Used by:1484
Symbol 1483 Graphic	Used by:1493
Symbol 1484 EditableText [CR129]	Uses:1482	Used by:1493
Symbol 1485 Bitmap	Used by:1486
Symbol 1486 Graphic	Uses:1485	Used by:1493
Symbol 1487 Bitmap	Used by:1488
Symbol 1488 Graphic	Uses:1487	Used by:1493
Symbol 1489 Bitmap	Used by:1490
Symbol 1490 Graphic	Uses:1489	Used by:1493
Symbol 1491 Bitmap	Used by:1492
Symbol 1492 Graphic	Uses:1491	Used by:1493
Symbol 1493 MovieClip [Page129]	Uses:1480 1481 1483 1484 1486 1488 1490 1492
Symbol 1494 Graphic	Used by:1507
Symbol 1495 Graphic	Used by:1507
Symbol 1496 Font	Used by:1498
Symbol 1497 Graphic	Used by:1507
Symbol 1498 EditableText [CR130]	Uses:1496	Used by:1507
Symbol 1499 Bitmap	Used by:1500
Symbol 1500 Graphic	Uses:1499	Used by:1507
Symbol 1501 Bitmap	Used by:1502
Symbol 1502 Graphic	Uses:1501	Used by:1507
Symbol 1503 Bitmap	Used by:1504
Symbol 1504 Graphic	Uses:1503	Used by:1507
Symbol 1505 Bitmap	Used by:1506
Symbol 1506 Graphic	Uses:1505	Used by:1507
Symbol 1507 MovieClip [Page130]	Uses:1494 1495 1497 1498 1500 1502 1504 1506
Symbol 1508 Graphic	Used by:1521
Symbol 1509 Graphic	Used by:1521
Symbol 1510 Font	Used by:1512
Symbol 1511 Graphic	Used by:1521
Symbol 1512 EditableText [CR131]	Uses:1510	Used by:1521
Symbol 1513 Bitmap	Used by:1514
Symbol 1514 Graphic	Uses:1513	Used by:1521
Symbol 1515 Bitmap	Used by:1516
Symbol 1516 Graphic	Uses:1515	Used by:1521
Symbol 1517 Bitmap	Used by:1518
Symbol 1518 Graphic	Uses:1517	Used by:1521
Symbol 1519 Bitmap	Used by:1520
Symbol 1520 Graphic	Uses:1519	Used by:1521
Symbol 1521 MovieClip [Page131]	Uses:1508 1509 1511 1512 1514 1516 1518 1520
Symbol 1522 Graphic	Used by:1535
Symbol 1523 Graphic	Used by:1535
Symbol 1524 Font	Used by:1526
Symbol 1525 Graphic	Used by:1535
Symbol 1526 EditableText [CR132]	Uses:1524	Used by:1535
Symbol 1527 Bitmap	Used by:1528
Symbol 1528 Graphic	Uses:1527	Used by:1535
Symbol 1529 Bitmap	Used by:1530
Symbol 1530 Graphic	Uses:1529	Used by:1535
Symbol 1531 Bitmap	Used by:1532
Symbol 1532 Graphic	Uses:1531	Used by:1535
Symbol 1533 Bitmap	Used by:1534
Symbol 1534 Graphic	Uses:1533	Used by:1535
Symbol 1535 MovieClip [Page132]	Uses:1522 1523 1525 1526 1528 1530 1532 1534
Symbol 1536 Graphic	Used by:1547
Symbol 1537 Graphic	Used by:1547
Symbol 1538 Font	Used by:1540
Symbol 1539 Graphic	Used by:1547
Symbol 1540 EditableText [CR133]	Uses:1538	Used by:1547
Symbol 1541 Bitmap	Used by:1542
Symbol 1542 Graphic	Uses:1541	Used by:1547
Symbol 1543 Bitmap	Used by:1544
Symbol 1544 Graphic	Uses:1543	Used by:1547
Symbol 1545 Bitmap	Used by:1546
Symbol 1546 Graphic	Uses:1545	Used by:1547
Symbol 1547 MovieClip [Page133]	Uses:1536 1537 1539 1540 1542 1544 1546
Symbol 1548 Graphic	Used by:1559
Symbol 1549 Graphic	Used by:1559
Symbol 1550 Font	Used by:1552
Symbol 1551 Graphic	Used by:1559
Symbol 1552 EditableText [CR134]	Uses:1550	Used by:1559
Symbol 1553 Bitmap	Used by:1554
Symbol 1554 Graphic	Uses:1553	Used by:1559
Symbol 1555 Bitmap	Used by:1556
Symbol 1556 Graphic	Uses:1555	Used by:1559
Symbol 1557 Bitmap	Used by:1558
Symbol 1558 Graphic	Uses:1557	Used by:1559
Symbol 1559 MovieClip [Page134]	Uses:1548 1549 1551 1552 1554 1556 1558
Symbol 1560 Graphic	Used by:1573
Symbol 1561 Graphic	Used by:1573
Symbol 1562 Font	Used by:1564
Symbol 1563 Graphic	Used by:1573
Symbol 1564 EditableText [CR135]	Uses:1562	Used by:1573
Symbol 1565 Bitmap	Used by:1566
Symbol 1566 Graphic	Uses:1565	Used by:1573
Symbol 1567 Bitmap	Used by:1568
Symbol 1568 Graphic	Uses:1567	Used by:1573
Symbol 1569 Bitmap	Used by:1570
Symbol 1570 Graphic	Uses:1569	Used by:1573
Symbol 1571 Bitmap	Used by:1572
Symbol 1572 Graphic	Uses:1571	Used by:1573
Symbol 1573 MovieClip [Page135]	Uses:1560 1561 1563 1564 1566 1568 1570 1572
Symbol 1574 Graphic	Used by:1587
Symbol 1575 Graphic	Used by:1587
Symbol 1576 Font	Used by:1578
Symbol 1577 Graphic	Used by:1587
Symbol 1578 EditableText [CR136]	Uses:1576	Used by:1587
Symbol 1579 Bitmap	Used by:1580
Symbol 1580 Graphic	Uses:1579	Used by:1587
Symbol 1581 Bitmap	Used by:1582
Symbol 1582 Graphic	Uses:1581	Used by:1587
Symbol 1583 Bitmap	Used by:1584
Symbol 1584 Graphic	Uses:1583	Used by:1587
Symbol 1585 Bitmap	Used by:1586
Symbol 1586 Graphic	Uses:1585	Used by:1587
Symbol 1587 MovieClip [Page136]	Uses:1574 1575 1577 1578 1580 1582 1584 1586
Symbol 1588 Graphic	Used by:1599
Symbol 1589 Graphic	Used by:1599
Symbol 1590 Font	Used by:1592
Symbol 1591 Graphic	Used by:1599
Symbol 1592 EditableText [CR137]	Uses:1590	Used by:1599
Symbol 1593 Bitmap	Used by:1594
Symbol 1594 Graphic	Uses:1593	Used by:1599
Symbol 1595 Bitmap	Used by:1596
Symbol 1596 Graphic	Uses:1595	Used by:1599
Symbol 1597 Bitmap	Used by:1598
Symbol 1598 Graphic	Uses:1597	Used by:1599
Symbol 1599 MovieClip [Page137]	Uses:1588 1589 1591 1592 1594 1596 1598
Symbol 1600 Graphic	Used by:1613
Symbol 1601 Graphic	Used by:1613
Symbol 1602 Font	Used by:1604
Symbol 1603 Graphic	Used by:1613
Symbol 1604 EditableText [CR138]	Uses:1602	Used by:1613
Symbol 1605 Bitmap	Used by:1606
Symbol 1606 Graphic	Uses:1605	Used by:1613
Symbol 1607 Bitmap	Used by:1608
Symbol 1608 Graphic	Uses:1607	Used by:1613
Symbol 1609 Bitmap	Used by:1610
Symbol 1610 Graphic	Uses:1609	Used by:1613
Symbol 1611 Bitmap	Used by:1612
Symbol 1612 Graphic	Uses:1611	Used by:1613
Symbol 1613 MovieClip [Page138]	Uses:1600 1601 1603 1604 1606 1608 1610 1612
Symbol 1614 Graphic	Used by:1627
Symbol 1615 Graphic	Used by:1627
Symbol 1616 Font	Used by:1618
Symbol 1617 Graphic	Used by:1627
Symbol 1618 EditableText [CR139]	Uses:1616	Used by:1627
Symbol 1619 Bitmap	Used by:1620
Symbol 1620 Graphic	Uses:1619	Used by:1627
Symbol 1621 Bitmap	Used by:1622
Symbol 1622 Graphic	Uses:1621	Used by:1627
Symbol 1623 Bitmap	Used by:1624
Symbol 1624 Graphic	Uses:1623	Used by:1627
Symbol 1625 Bitmap	Used by:1626
Symbol 1626 Graphic	Uses:1625	Used by:1627
Symbol 1627 MovieClip [Page139]	Uses:1614 1615 1617 1618 1620 1622 1624 1626
Symbol 1628 Graphic	Used by:1643
Symbol 1629 Graphic	Used by:1643
Symbol 1630 Font	Used by:1632
Symbol 1631 Graphic	Used by:1643
Symbol 1632 EditableText [CR140]	Uses:1630	Used by:1643
Symbol 1633 Bitmap	Used by:1634
Symbol 1634 Graphic	Uses:1633	Used by:1643
Symbol 1635 Bitmap	Used by:1636
Symbol 1636 Graphic	Uses:1635	Used by:1643
Symbol 1637 Bitmap	Used by:1638
Symbol 1638 Graphic	Uses:1637	Used by:1643
Symbol 1639 Bitmap	Used by:1640
Symbol 1640 Graphic	Uses:1639	Used by:1643
Symbol 1641 Bitmap	Used by:1642
Symbol 1642 Graphic	Uses:1641	Used by:1643
Symbol 1643 MovieClip [Page140]	Uses:1628 1629 1631 1632 1634 1636 1638 1640 1642
Symbol 1644 Graphic	Used by:1653
Symbol 1645 Graphic	Used by:1653
Symbol 1646 Font	Used by:1648
Symbol 1647 Graphic	Used by:1653
Symbol 1648 EditableText [CR141]	Uses:1646	Used by:1653
Symbol 1649 Bitmap	Used by:1650
Symbol 1650 Graphic	Uses:1649	Used by:1653
Symbol 1651 Bitmap	Used by:1652
Symbol 1652 Graphic	Uses:1651	Used by:1653
Symbol 1653 MovieClip [Page141]	Uses:1644 1645 1647 1648 1650 1652
Symbol 1654 Graphic	Used by:1663
Symbol 1655 Graphic	Used by:1663
Symbol 1656 Font	Used by:1658
Symbol 1657 Graphic	Used by:1663
Symbol 1658 EditableText [CR142]	Uses:1656	Used by:1663
Symbol 1659 Bitmap	Used by:1660
Symbol 1660 Graphic	Uses:1659	Used by:1663
Symbol 1661 Bitmap	Used by:1662
Symbol 1662 Graphic	Uses:1661	Used by:1663
Symbol 1663 MovieClip [Page142]	Uses:1654 1655 1657 1658 1660 1662
Symbol 1664 Graphic	Used by:1675
Symbol 1665 Graphic	Used by:1675
Symbol 1666 Font	Used by:1668
Symbol 1667 Graphic	Used by:1675
Symbol 1668 EditableText [CR143]	Uses:1666	Used by:1675
Symbol 1669 Bitmap	Used by:1670
Symbol 1670 Graphic	Uses:1669	Used by:1675
Symbol 1671 Bitmap	Used by:1672
Symbol 1672 Graphic	Uses:1671	Used by:1675
Symbol 1673 Bitmap	Used by:1674
Symbol 1674 Graphic	Uses:1673	Used by:1675
Symbol 1675 MovieClip [Page143]	Uses:1664 1665 1667 1668 1670 1672 1674
Symbol 1676 Graphic	Used by:1685
Symbol 1677 Graphic	Used by:1685
Symbol 1678 Font	Used by:1680
Symbol 1679 Graphic	Used by:1685
Symbol 1680 EditableText [CR144]	Uses:1678	Used by:1685
Symbol 1681 Bitmap	Used by:1682
Symbol 1682 Graphic	Uses:1681	Used by:1685
Symbol 1683 Bitmap	Used by:1684
Symbol 1684 Graphic	Uses:1683	Used by:1685
Symbol 1685 MovieClip [Page144]	Uses:1676 1677 1679 1680 1682 1684
Symbol 1686 Graphic	Used by:1695
Symbol 1687 Graphic	Used by:1695
Symbol 1688 Font	Used by:1690
Symbol 1689 Graphic	Used by:1695
Symbol 1690 EditableText [CR145]	Uses:1688	Used by:1695
Symbol 1691 Bitmap	Used by:1692
Symbol 1692 Graphic	Uses:1691	Used by:1695
Symbol 1693 Bitmap	Used by:1694
Symbol 1694 Graphic	Uses:1693	Used by:1695
Symbol 1695 MovieClip [Page145]	Uses:1686 1687 1689 1690 1692 1694
Symbol 1696 Graphic	Used by:1702
Symbol 1697 Graphic	Used by:1702
Symbol 1698 Font	Used by:1700
Symbol 1699 Graphic	Used by:1702
Symbol 1700 EditableText [CR146]	Uses:1698	Used by:1702
Symbol 1701 Text	Uses:330 323	Used by:1702
Symbol 1702 MovieClip [Page146]	Uses:1696 1697 1699 1700 1701
Symbol 1703 Graphic	Used by:1709
Symbol 1704 Graphic	Used by:1709
Symbol 1705 Font	Used by:1707
Symbol 1706 Graphic	Used by:1709
Symbol 1707 EditableText [CR147]	Uses:1705	Used by:1709
Symbol 1708 Text	Uses:330 332 340 323	Used by:1709
Symbol 1709 MovieClip [Page147]	Uses:1703 1704 1706 1707 1708
Symbol 1710 Graphic	Used by:1716
Symbol 1711 Graphic	Used by:1716
Symbol 1712 Font	Used by:1714
Symbol 1713 Graphic	Used by:1716
Symbol 1714 EditableText [CR148]	Uses:1712	Used by:1716
Symbol 1715 Text	Uses:330 323 340	Used by:1716
Symbol 1716 MovieClip [Page148]	Uses:1710 1711 1713 1714 1715
Symbol 1717 Graphic	Used by:1726
Symbol 1718 Graphic	Used by:1726
Symbol 1719 Font	Used by:1721
Symbol 1720 Graphic	Used by:1726
Symbol 1721 EditableText [CR149]	Uses:1719	Used by:1726
Symbol 1722 Text	Uses:330 332 323	Used by:1726
Symbol 1723 Bitmap	Used by:1725
Symbol 1724 Graphic	Used by:1726
Symbol 1725 Graphic	Uses:1723	Used by:1726
Symbol 1726 MovieClip [Page149]	Uses:1717 1718 1720 1721 1722 1724 1725
Symbol 1727 Graphic	Used by:1733
Symbol 1728 Graphic	Used by:1733
Symbol 1729 Font	Used by:1731
Symbol 1730 Graphic	Used by:1733
Symbol 1731 EditableText [CR150]	Uses:1729	Used by:1733
Symbol 1732 Text	Uses:330 323 340	Used by:1733
Symbol 1733 MovieClip [Page150]	Uses:1727 1728 1730 1731 1732
Symbol 1734 Graphic	Used by:1740
Symbol 1735 Graphic	Used by:1740
Symbol 1736 Font	Used by:1738
Symbol 1737 Graphic	Used by:1740
Symbol 1738 EditableText [CR151]	Uses:1736	Used by:1740
Symbol 1739 Text	Uses:323 417 321	Used by:1740
Symbol 1740 MovieClip [Page151]	Uses:1734 1735 1737 1738 1739
Symbol 1741 Graphic	Used by:1747
Symbol 1742 Graphic	Used by:1747
Symbol 1743 Font	Used by:1745
Symbol 1744 Graphic	Used by:1747
Symbol 1745 EditableText [CR152]	Uses:1743	Used by:1747
Symbol 1746 Text	Uses:330 323 321	Used by:1747
Symbol 1747 MovieClip [Page152]	Uses:1741 1742 1744 1745 1746
Symbol 1748 Graphic	Used by:1754
Symbol 1749 Graphic	Used by:1754
Symbol 1750 Font	Used by:1752
Symbol 1751 Graphic	Used by:1754
Symbol 1752 EditableText [CR153]	Uses:1750	Used by:1754
Symbol 1753 Text	Uses:330 332 323	Used by:1754
Symbol 1754 MovieClip [Page153]	Uses:1748 1749 1751 1752 1753
Symbol 1755 Graphic	Used by:1768
Symbol 1756 Graphic	Used by:1768
Symbol 1757 Font	Used by:1759
Symbol 1758 Graphic	Used by:1768
Symbol 1759 EditableText [CR154]	Uses:1757	Used by:1768
Symbol 1760 Text	Uses:323	Used by:1768
Symbol 1761 Bitmap	Used by:1763
Symbol 1762 Graphic	Used by:1768
Symbol 1763 Graphic	Uses:1761	Used by:1768
Symbol 1764 Bitmap	Used by:1766
Symbol 1765 Graphic	Used by:1768
Symbol 1766 Graphic	Uses:1764	Used by:1768
Symbol 1767 Text	Uses:323 417 340	Used by:1768
Symbol 1768 MovieClip [Page154]	Uses:1755 1756 1758 1759 1760 1762 1763 1765 1766 1767
Symbol 1769 Graphic	Used by:1775
Symbol 1770 Graphic	Used by:1775
Symbol 1771 Font	Used by:1773
Symbol 1772 Graphic	Used by:1775
Symbol 1773 EditableText [CR155]	Uses:1771	Used by:1775
Symbol 1774 Text	Uses:330 332 323	Used by:1775
Symbol 1775 MovieClip [Page155]	Uses:1769 1770 1772 1773 1774
Symbol 1776 Graphic	Used by:1782
Symbol 1777 Graphic	Used by:1782
Symbol 1778 Font	Used by:1780
Symbol 1779 Graphic	Used by:1782
Symbol 1780 EditableText [CR156]	Uses:1778	Used by:1782
Symbol 1781 Text	Uses:330 323 340	Used by:1782
Symbol 1782 MovieClip [Page156]	Uses:1776 1777 1779 1780 1781
Symbol 1783 Graphic	Used by:1789
Symbol 1784 Graphic	Used by:1789
Symbol 1785 Font	Used by:1787
Symbol 1786 Graphic	Used by:1789
Symbol 1787 EditableText [CR157]	Uses:1785	Used by:1789
Symbol 1788 Text	Uses:330 332 323 340	Used by:1789
Symbol 1789 MovieClip [Page157]	Uses:1783 1784 1786 1787 1788
Symbol 1790 Graphic	Used by:1796
Symbol 1791 Graphic	Used by:1796
Symbol 1792 Font	Used by:1794
Symbol 1793 Graphic	Used by:1796
Symbol 1794 EditableText [CR158]	Uses:1792	Used by:1796
Symbol 1795 Text	Uses:330 323 321	Used by:1796
Symbol 1796 MovieClip [Page158]	Uses:1790 1791 1793 1794 1795
Symbol 1797 Graphic	Used by:1803
Symbol 1798 Graphic	Used by:1803
Symbol 1799 Font	Used by:1801
Symbol 1800 Graphic	Used by:1803
Symbol 1801 EditableText [CR159]	Uses:1799	Used by:1803
Symbol 1802 Text	Uses:330 332 323 340	Used by:1803
Symbol 1803 MovieClip [Page159]	Uses:1797 1798 1800 1801 1802
Symbol 1804 Graphic	Used by:1810
Symbol 1805 Graphic	Used by:1810
Symbol 1806 Font	Used by:1808
Symbol 1807 Graphic	Used by:1810
Symbol 1808 EditableText [CR160]	Uses:1806	Used by:1810
Symbol 1809 Text	Uses:330 323	Used by:1810
Symbol 1810 MovieClip [Page160]	Uses:1804 1805 1807 1808 1809
Symbol 1811 Graphic	Used by:1817
Symbol 1812 Graphic	Used by:1817
Symbol 1813 Font	Used by:1815
Symbol 1814 Graphic	Used by:1817
Symbol 1815 EditableText [CR161]	Uses:1813	Used by:1817
Symbol 1816 Text	Uses:330 332 323 340	Used by:1817
Symbol 1817 MovieClip [Page161]	Uses:1811 1812 1814 1815 1816
Symbol 1818 Graphic	Used by:1824
Symbol 1819 Graphic	Used by:1824
Symbol 1820 Font	Used by:1822
Symbol 1821 Graphic	Used by:1824
Symbol 1822 EditableText [CR162]	Uses:1820	Used by:1824
Symbol 1823 Text	Uses:330 323 321	Used by:1824
Symbol 1824 MovieClip [Page162]	Uses:1818 1819 1821 1822 1823
Symbol 1825 Graphic	Used by:1831
Symbol 1826 Graphic	Used by:1831
Symbol 1827 Font	Used by:1829
Symbol 1828 Graphic	Used by:1831
Symbol 1829 EditableText [CR163]	Uses:1827	Used by:1831
Symbol 1830 Text	Uses:330 332 323	Used by:1831
Symbol 1831 MovieClip [Page163]	Uses:1825 1826 1828 1829 1830
Symbol 1832 Graphic	Used by:1838
Symbol 1833 Graphic	Used by:1838
Symbol 1834 Font	Used by:1836
Symbol 1835 Graphic	Used by:1838
Symbol 1836 EditableText [CR164]	Uses:1834	Used by:1838
Symbol 1837 Text	Uses:330 323 418	Used by:1838
Symbol 1838 MovieClip [Page164]	Uses:1832 1833 1835 1836 1837
Symbol 1839 Graphic	Used by:1845
Symbol 1840 Graphic	Used by:1845
Symbol 1841 Font	Used by:1843
Symbol 1842 Graphic	Used by:1845
Symbol 1843 EditableText [CR165]	Uses:1841	Used by:1845
Symbol 1844 Text	Uses:323 417 330 340	Used by:1845
Symbol 1845 MovieClip [Page165]	Uses:1839 1840 1842 1843 1844
Symbol 1846 Graphic	Used by:1852
Symbol 1847 Graphic	Used by:1852
Symbol 1848 Font	Used by:1850
Symbol 1849 Graphic	Used by:1852
Symbol 1850 EditableText [CR166]	Uses:1848	Used by:1852
Symbol 1851 Text	Uses:330 323	Used by:1852
Symbol 1852 MovieClip [Page166]	Uses:1846 1847 1849 1850 1851
Symbol 1853 Graphic	Used by:1859
Symbol 1854 Graphic	Used by:1859
Symbol 1855 Font	Used by:1857
Symbol 1856 Graphic	Used by:1859
Symbol 1857 EditableText [CR167]	Uses:1855	Used by:1859
Symbol 1858 Text	Uses:330 332 323 321	Used by:1859
Symbol 1859 MovieClip [Page167]	Uses:1853 1854 1856 1857 1858
Symbol 1860 Graphic	Used by:1866
Symbol 1861 Graphic	Used by:1866
Symbol 1862 Font	Used by:1864
Symbol 1863 Graphic	Used by:1866
Symbol 1864 EditableText [CR168]	Uses:1862	Used by:1866
Symbol 1865 Text	Uses:330 323 340	Used by:1866
Symbol 1866 MovieClip [Page168]	Uses:1860 1861 1863 1864 1865
Symbol 1867 Graphic	Used by:1873
Symbol 1868 Graphic	Used by:1873
Symbol 1869 Font	Used by:1871
Symbol 1870 Graphic	Used by:1873
Symbol 1871 EditableText [CR169]	Uses:1869	Used by:1873
Symbol 1872 Text	Uses:323 417	Used by:1873
Symbol 1873 MovieClip [Page169]	Uses:1867 1868 1870 1871 1872
Symbol 1874 Graphic	Used by:1880
Symbol 1875 Graphic	Used by:1880
Symbol 1876 Font	Used by:1878
Symbol 1877 Graphic	Used by:1880
Symbol 1878 EditableText [CR170]	Uses:1876	Used by:1880
Symbol 1879 Text	Uses:330 323 321	Used by:1880
Symbol 1880 MovieClip [Page170]	Uses:1874 1875 1877 1878 1879
Symbol 1881 Graphic	Used by:1887
Symbol 1882 Graphic	Used by:1887
Symbol 1883 Font	Used by:1885
Symbol 1884 Graphic	Used by:1887
Symbol 1885 EditableText [CR171]	Uses:1883	Used by:1887
Symbol 1886 Text	Uses:330 332 323 806	Used by:1887
Symbol 1887 MovieClip [Page171]	Uses:1881 1882 1884 1885 1886
Symbol 1888 Graphic	Used by:1894
Symbol 1889 Graphic	Used by:1894
Symbol 1890 Font	Used by:1892
Symbol 1891 Graphic	Used by:1894
Symbol 1892 EditableText [CR172]	Uses:1890	Used by:1894
Symbol 1893 Text	Uses:330 323	Used by:1894
Symbol 1894 MovieClip [Page172]	Uses:1888 1889 1891 1892 1893
Symbol 1895 Graphic	Used by:1901
Symbol 1896 Graphic	Used by:1901
Symbol 1897 Font	Used by:1899
Symbol 1898 Graphic	Used by:1901
Symbol 1899 EditableText [CR173]	Uses:1897	Used by:1901
Symbol 1900 Text	Uses:330 332 321 323	Used by:1901
Symbol 1901 MovieClip [Page173]	Uses:1895 1896 1898 1899 1900
Symbol 1902 Graphic	Used by:1908
Symbol 1903 Graphic	Used by:1908
Symbol 1904 Font	Used by:1906
Symbol 1905 Graphic	Used by:1908
Symbol 1906 EditableText [CR174]	Uses:1904	Used by:1908
Symbol 1907 Text	Uses:330 323 321	Used by:1908
Symbol 1908 MovieClip [Page174]	Uses:1902 1903 1905 1906 1907
Symbol 1909 Graphic	Used by:1915
Symbol 1910 Graphic	Used by:1915
Symbol 1911 Font	Used by:1913
Symbol 1912 Graphic	Used by:1915
Symbol 1913 EditableText [CR175]	Uses:1911	Used by:1915
Symbol 1914 Text	Uses:330 332 323 321	Used by:1915
Symbol 1915 MovieClip [Page175]	Uses:1909 1910 1912 1913 1914
Symbol 1916 Graphic	Used by:1922
Symbol 1917 Graphic	Used by:1922
Symbol 1918 Font	Used by:1920
Symbol 1919 Graphic	Used by:1922
Symbol 1920 EditableText [CR176]	Uses:1918	Used by:1922
Symbol 1921 Text	Uses:330 323 340	Used by:1922
Symbol 1922 MovieClip [Page176]	Uses:1916 1917 1919 1920 1921
Symbol 1923 Graphic	Used by:1929
Symbol 1924 Graphic	Used by:1929
Symbol 1925 Font	Used by:1927
Symbol 1926 Graphic	Used by:1929
Symbol 1927 EditableText [CR177]	Uses:1925	Used by:1929
Symbol 1928 Text	Uses:323 417	Used by:1929
Symbol 1929 MovieClip [Page177]	Uses:1923 1924 1926 1927 1928
Symbol 1930 Graphic	Used by:1940
Symbol 1931 Graphic	Used by:1940
Symbol 1932 Font	Used by:1934
Symbol 1933 Graphic	Used by:1940
Symbol 1934 EditableText [CR178]	Uses:1932	Used by:1940
Symbol 1935 Text	Uses:330 323	Used by:1940
Symbol 1936 Bitmap	Used by:1938
Symbol 1937 Graphic	Used by:1940
Symbol 1938 Graphic	Uses:1936	Used by:1940
Symbol 1939 Text	Uses:323 340	Used by:1940
Symbol 1940 MovieClip [Page178]	Uses:1930 1931 1933 1934 1935 1937 1938 1939
Symbol 1941 Graphic	Used by:1947
Symbol 1942 Graphic	Used by:1947
Symbol 1943 Font	Used by:1945
Symbol 1944 Graphic	Used by:1947
Symbol 1945 EditableText [CR179]	Uses:1943	Used by:1947
Symbol 1946 Text	Uses:330 332 323 340	Used by:1947
Symbol 1947 MovieClip [Page179]	Uses:1941 1942 1944 1945 1946
Symbol 1948 Graphic	Used by:1954
Symbol 1949 Graphic	Used by:1954
Symbol 1950 Font	Used by:1952
Symbol 1951 Graphic	Used by:1954
Symbol 1952 EditableText [CR180]	Uses:1950	Used by:1954
Symbol 1953 Text	Uses:330 323	Used by:1954
Symbol 1954 MovieClip [Page180]	Uses:1948 1949 1951 1952 1953
Symbol 1955 Graphic	Used by:1961
Symbol 1956 Graphic	Used by:1961
Symbol 1957 Font	Used by:1959
Symbol 1958 Graphic	Used by:1961
Symbol 1959 EditableText [CR181]	Uses:1957	Used by:1961
Symbol 1960 Text	Uses:330 332 323 321 418	Used by:1961
Symbol 1961 MovieClip [Page181]	Uses:1955 1956 1958 1959 1960
Symbol 1962 Graphic	Used by:1968
Symbol 1963 Graphic	Used by:1968
Symbol 1964 Font	Used by:1966
Symbol 1965 Graphic	Used by:1968
Symbol 1966 EditableText [CR182]	Uses:1964	Used by:1968
Symbol 1967 Text	Uses:330 323	Used by:1968
Symbol 1968 MovieClip [Page182]	Uses:1962 1963 1965 1966 1967
Symbol 1969 Graphic	Used by:1983
Symbol 1970 Graphic	Used by:1983
Symbol 1971 Font	Used by:1973
Symbol 1972 Graphic	Used by:1983
Symbol 1973 EditableText [CR183]	Uses:1971	Used by:1983
Symbol 1974 Font	Used by:1975
Symbol 1975 Text	Uses:1974	Used by:1983
Symbol 1976 Bitmap	Used by:1978
Symbol 1977 Graphic	Used by:1983
Symbol 1978 Graphic	Uses:1976	Used by:1983
Symbol 1979 Bitmap	Used by:1981
Symbol 1980 Graphic	Used by:1983
Symbol 1981 Graphic	Uses:1979	Used by:1983
Symbol 1982 Text	Uses:323 330 321	Used by:1983
Symbol 1983 MovieClip [Page183]	Uses:1969 1970 1972 1973 1975 1977 1978 1980 1981 1982
Symbol 1984 Graphic	Used by:1990
Symbol 1985 Graphic	Used by:1990
Symbol 1986 Font	Used by:1988
Symbol 1987 Graphic	Used by:1990
Symbol 1988 EditableText [CR184]	Uses:1986	Used by:1990
Symbol 1989 Text	Uses:330 323 321	Used by:1990
Symbol 1990 MovieClip [Page184]	Uses:1984 1985 1987 1988 1989
Symbol 1991 Graphic	Used by:1997
Symbol 1992 Graphic	Used by:1997
Symbol 1993 Font	Used by:1995
Symbol 1994 Graphic	Used by:1997
Symbol 1995 EditableText [CR185]	Uses:1993	Used by:1997
Symbol 1996 Text	Uses:330 332 323 340	Used by:1997
Symbol 1997 MovieClip [Page185]	Uses:1991 1992 1994 1995 1996
Symbol 1998 Graphic	Used by:2004
Symbol 1999 Graphic	Used by:2004
Symbol 2000 Font	Used by:2002
Symbol 2001 Graphic	Used by:2004
Symbol 2002 EditableText [CR186]	Uses:2000	Used by:2004
Symbol 2003 Text	Uses:330 323 340	Used by:2004
Symbol 2004 MovieClip [Page186]	Uses:1998 1999 2001 2002 2003
Symbol 2005 Graphic	Used by:2011
Symbol 2006 Graphic	Used by:2011
Symbol 2007 Font	Used by:2009
Symbol 2008 Graphic	Used by:2011
Symbol 2009 EditableText [CR187]	Uses:2007	Used by:2011
Symbol 2010 Text	Uses:323 417 340	Used by:2011
Symbol 2011 MovieClip [Page187]	Uses:2005 2006 2008 2009 2010
Symbol 2012 Graphic	Used by:2018
Symbol 2013 Graphic	Used by:2018
Symbol 2014 Font	Used by:2016
Symbol 2015 Graphic	Used by:2018
Symbol 2016 EditableText [CR188]	Uses:2014	Used by:2018
Symbol 2017 Text	Uses:330 323	Used by:2018
Symbol 2018 MovieClip [Page188]	Uses:2012 2013 2015 2016 2017
Symbol 2019 Graphic	Used by:2025
Symbol 2020 Graphic	Used by:2025
Symbol 2021 Font	Used by:2023
Symbol 2022 Graphic	Used by:2025
Symbol 2023 EditableText [CR189]	Uses:2021	Used by:2025
Symbol 2024 Text	Uses:323 417	Used by:2025
Symbol 2025 MovieClip [Page189]	Uses:2019 2020 2022 2023 2024
Symbol 2026 Graphic	Used by:2046
Symbol 2027 Graphic	Used by:2046
Symbol 2028 Font	Used by:2030
Symbol 2029 Graphic	Used by:2046
Symbol 2030 EditableText [CR190]	Uses:2028	Used by:2046
Symbol 2031 Text	Uses:330 340 323	Used by:2046
Symbol 2032 Bitmap	Used by:2034
Symbol 2033 Graphic	Used by:2046
Symbol 2034 Graphic	Uses:2032	Used by:2046
Symbol 2035 Text	Uses:323	Used by:2046
Symbol 2036 Bitmap	Used by:2038
Symbol 2037 Graphic	Used by:2046
Symbol 2038 Graphic	Uses:2036	Used by:2046
Symbol 2039 Bitmap	Used by:2041
Symbol 2040 Graphic	Used by:2046
Symbol 2041 Graphic	Uses:2039	Used by:2046
Symbol 2042 Text	Uses:323 340	Used by:2046
Symbol 2043 Graphic	Used by:2046
Symbol 2044 Text	Uses:323	Used by:2046
Symbol 2045 Text	Uses:323	Used by:2046
Symbol 2046 MovieClip [Page190]	Uses:2026 2027 2029 2030 2031 2033 2034 2035 2037 2038 2040 2041 2042 2043 2044 2045
Symbol 2047 Graphic	Used by:2053
Symbol 2048 Graphic	Used by:2053
Symbol 2049 Font	Used by:2051
Symbol 2050 Graphic	Used by:2053
Symbol 2051 EditableText [CR191]	Uses:2049	Used by:2053
Symbol 2052 Text	Uses:330 332 323 321	Used by:2053
Symbol 2053 MovieClip [Page191]	Uses:2047 2048 2050 2051 2052
Symbol 2054 Graphic	Used by:2060
Symbol 2055 Graphic	Used by:2060
Symbol 2056 Font	Used by:2058
Symbol 2057 Graphic	Used by:2060
Symbol 2058 EditableText [CR192]	Uses:2056	Used by:2060
Symbol 2059 Text	Uses:330 323	Used by:2060
Symbol 2060 MovieClip [Page192]	Uses:2054 2055 2057 2058 2059
Symbol 2061 Graphic	Used by:2067
Symbol 2062 Graphic	Used by:2067
Symbol 2063 Font	Used by:2065
Symbol 2064 Graphic	Used by:2067
Symbol 2065 EditableText [CR193]	Uses:2063	Used by:2067
Symbol 2066 Text	Uses:330 332 323 321	Used by:2067
Symbol 2067 MovieClip [Page193]	Uses:2061 2062 2064 2065 2066
Symbol 2068 Graphic	Used by:2074
Symbol 2069 Graphic	Used by:2074
Symbol 2070 Font	Used by:2072
Symbol 2071 Graphic	Used by:2074
Symbol 2072 EditableText [CR194]	Uses:2070	Used by:2074
Symbol 2073 Text	Uses:330 323	Used by:2074
Symbol 2074 MovieClip [Page194]	Uses:2068 2069 2071 2072 2073
Symbol 2075 Graphic	Used by:2084
Symbol 2076 Graphic	Used by:2084
Symbol 2077 Font	Used by:2079
Symbol 2078 Graphic	Used by:2084
Symbol 2079 EditableText [CR195]	Uses:2077	Used by:2084
Symbol 2080 Text	Uses:323 417 340	Used by:2084
Symbol 2081 Graphic	Used by:2084
Symbol 2082 Text	Uses:323	Used by:2084
Symbol 2083 Text	Uses:323 418	Used by:2084
Symbol 2084 MovieClip [Page195]	Uses:2075 2076 2078 2079 2080 2081 2082 2083
Symbol 2085 Graphic	Used by:2091
Symbol 2086 Graphic	Used by:2091
Symbol 2087 Font	Used by:2089
Symbol 2088 Graphic	Used by:2091
Symbol 2089 EditableText [CR196]	Uses:2087	Used by:2091
Symbol 2090 Text	Uses:330 323 321	Used by:2091
Symbol 2091 MovieClip [Page196]	Uses:2085 2086 2088 2089 2090
Symbol 2092 Graphic	Used by:2098
Symbol 2093 Graphic	Used by:2098
Symbol 2094 Font	Used by:2096
Symbol 2095 Graphic	Used by:2098
Symbol 2096 EditableText [CR197]	Uses:2094	Used by:2098
Symbol 2097 Text	Uses:330 332 323 340	Used by:2098
Symbol 2098 MovieClip [Page197]	Uses:2092 2093 2095 2096 2097
Symbol 2099 Graphic	Used by:2105
Symbol 2100 Graphic	Used by:2105
Symbol 2101 Font	Used by:2103
Symbol 2102 Graphic	Used by:2105
Symbol 2103 EditableText [CR198]	Uses:2101	Used by:2105
Symbol 2104 Text	Uses:330 323	Used by:2105
Symbol 2105 MovieClip [Page198]	Uses:2099 2100 2102 2103 2104
Symbol 2106 Graphic	Used by:2112
Symbol 2107 Graphic	Used by:2112
Symbol 2108 Font	Used by:2110
Symbol 2109 Graphic	Used by:2112
Symbol 2110 EditableText [CR199]	Uses:2108	Used by:2112
Symbol 2111 Text	Uses:330 332 323	Used by:2112
Symbol 2112 MovieClip [Page199]	Uses:2106 2107 2109 2110 2111
Symbol 2113 Graphic	Used by:2120
Symbol 2114 Graphic	Used by:2120
Symbol 2115 Font	Used by:2117
Symbol 2116 Graphic	Used by:2120
Symbol 2117 EditableText [CR200]	Uses:2115	Used by:2120
Symbol 2119 Font	Used by:2118
Symbol 2118 Text	Uses:323 2119 542 330 321 340	Used by:2120
Symbol 2120 MovieClip [Page200]	Uses:2113 2114 2116 2117 2118
Symbol 2121 Graphic	Used by:2127
Symbol 2122 Graphic	Used by:2127
Symbol 2123 Font	Used by:2125
Symbol 2124 Graphic	Used by:2127
Symbol 2125 EditableText [CR201]	Uses:2123	Used by:2127
Symbol 2126 Text	Uses:323 417	Used by:2127
Symbol 2127 MovieClip [Page201]	Uses:2121 2122 2124 2125 2126
Symbol 2128 Graphic	Used by:2134
Symbol 2129 Graphic	Used by:2134
Symbol 2130 Font	Used by:2132
Symbol 2131 Graphic	Used by:2134
Symbol 2132 EditableText [CR202]	Uses:2130	Used by:2134
Symbol 2133 Text	Uses:330 323 340	Used by:2134
Symbol 2134 MovieClip [Page202]	Uses:2128 2129 2131 2132 2133
Symbol 2135 Graphic	Used by:2141
Symbol 2136 Graphic	Used by:2141
Symbol 2137 Font	Used by:2139
Symbol 2138 Graphic	Used by:2141
Symbol 2139 EditableText [CR203]	Uses:2137	Used by:2141
Symbol 2140 Text	Uses:323 417 321	Used by:2141
Symbol 2141 MovieClip [Page203]	Uses:2135 2136 2138 2139 2140
Symbol 2142 Graphic	Used by:2148
Symbol 2143 Graphic	Used by:2148
Symbol 2144 Font	Used by:2146
Symbol 2145 Graphic	Used by:2148
Symbol 2146 EditableText [CR204]	Uses:2144	Used by:2148
Symbol 2147 Text	Uses:330 323	Used by:2148
Symbol 2148 MovieClip [Page204]	Uses:2142 2143 2145 2146 2147
Symbol 2149 Graphic	Used by:2155
Symbol 2150 Graphic	Used by:2155
Symbol 2151 Font	Used by:2153
Symbol 2152 Graphic	Used by:2155
Symbol 2153 EditableText [CR205]	Uses:2151	Used by:2155
Symbol 2154 Text	Uses:330 332 323	Used by:2155
Symbol 2155 MovieClip [Page205]	Uses:2149 2150 2152 2153 2154
Symbol 2156 Graphic	Used by:2162
Symbol 2157 Graphic	Used by:2162
Symbol 2158 Font	Used by:2160
Symbol 2159 Graphic	Used by:2162
Symbol 2160 EditableText [CR206]	Uses:2158	Used by:2162
Symbol 2161 Text	Uses:330 323 321	Used by:2162
Symbol 2162 MovieClip [Page206]	Uses:2156 2157 2159 2160 2161
Symbol 2163 Graphic	Used by:2172
Symbol 2164 Graphic	Used by:2172
Symbol 2165 Font	Used by:2167
Symbol 2166 Graphic	Used by:2172
Symbol 2167 EditableText [CR207]	Uses:2165	Used by:2172
Symbol 2168 Text	Uses:330 332 323 340	Used by:2172
Symbol 2169 Bitmap	Used by:2171
Symbol 2170 Graphic	Used by:2172
Symbol 2171 Graphic	Uses:2169	Used by:2172
Symbol 2172 MovieClip [Page207]	Uses:2163 2164 2166 2167 2168 2170 2171
Symbol 2173 Graphic	Used by:2179
Symbol 2174 Graphic	Used by:2179
Symbol 2175 Font	Used by:2177
Symbol 2176 Graphic	Used by:2179
Symbol 2177 EditableText [CR208]	Uses:2175	Used by:2179
Symbol 2178 Text	Uses:330 323 321	Used by:2179
Symbol 2179 MovieClip [Page208]	Uses:2173 2174 2176 2177 2178
Symbol 2180 Graphic	Used by:2186
Symbol 2181 Graphic	Used by:2186
Symbol 2182 Font	Used by:2184
Symbol 2183 Graphic	Used by:2186
Symbol 2184 EditableText [CR209]	Uses:2182	Used by:2186
Symbol 2185 Text	Uses:330 332 323	Used by:2186
Symbol 2186 MovieClip [Page209]	Uses:2180 2181 2183 2184 2185
Symbol 2187 Graphic	Used by:2193
Symbol 2188 Graphic	Used by:2193
Symbol 2189 Font	Used by:2191
Symbol 2190 Graphic	Used by:2193
Symbol 2191 EditableText [CR210]	Uses:2189	Used by:2193
Symbol 2192 Text	Uses:330 323 340	Used by:2193
Symbol 2193 MovieClip [Page210]	Uses:2187 2188 2190 2191 2192
Symbol 2194 Graphic	Used by:2200
Symbol 2195 Graphic	Used by:2200
Symbol 2196 Font	Used by:2198
Symbol 2197 Graphic	Used by:2200
Symbol 2198 EditableText [CR211]	Uses:2196	Used by:2200
Symbol 2199 Text	Uses:330 332 340 323	Used by:2200
Symbol 2200 MovieClip [Page211]	Uses:2194 2195 2197 2198 2199
Symbol 2201 Graphic	Used by:2207
Symbol 2202 Graphic	Used by:2207
Symbol 2203 Font	Used by:2205
Symbol 2204 Graphic	Used by:2207
Symbol 2205 EditableText [CR212]	Uses:2203	Used by:2207
Symbol 2206 Text	Uses:330 323 321	Used by:2207
Symbol 2207 MovieClip [Page212]	Uses:2201 2202 2204 2205 2206
Symbol 2208 Graphic	Used by:2214
Symbol 2209 Graphic	Used by:2214
Symbol 2210 Font	Used by:2212
Symbol 2211 Graphic	Used by:2214
Symbol 2212 EditableText [CR213]	Uses:2210	Used by:2214
Symbol 2213 Text	Uses:330 332 323 321	Used by:2214
Symbol 2214 MovieClip [Page213]	Uses:2208 2209 2211 2212 2213
Symbol 2215 Graphic	Used by:2234
Symbol 2216 Graphic	Used by:2234
Symbol 2217 Font	Used by:2219
Symbol 2218 Graphic	Used by:2234
Symbol 2219 EditableText [CR214]	Uses:2217	Used by:2234
Symbol 2220 Text	Uses:330 323	Used by:2234
Symbol 2221 Graphic	Used by:2234
Symbol 2222 Text	Uses:323	Used by:2234
Symbol 2223 Graphic	Used by:2234
Symbol 2224 Text	Uses:323	Used by:2234
Symbol 2225 Text	Uses:323	Used by:2234
Symbol 2226 Graphic	Used by:2234
Symbol 2227 Text	Uses:323	Used by:2234
Symbol 2228 Graphic	Used by:2234
Symbol 2229 Text	Uses:323	Used by:2234
Symbol 2230 Text	Uses:323	Used by:2234
Symbol 2231 Graphic	Used by:2234
Symbol 2232 Text	Uses:323	Used by:2234
Symbol 2233 Text	Uses:323	Used by:2234
Symbol 2234 MovieClip [Page214]	Uses:2215 2216 2218 2219 2220 2221 2222 2223 2224 2225 2226 2227 2228 2229 2230 2231 2232 2233
Symbol 2235 Graphic	Used by:2241
Symbol 2236 Graphic	Used by:2241
Symbol 2237 Font	Used by:2239
Symbol 2238 Graphic	Used by:2241
Symbol 2239 EditableText [CR215]	Uses:2237	Used by:2241
Symbol 2240 Text	Uses:330 332 323 340	Used by:2241
Symbol 2241 MovieClip [Page215]	Uses:2235 2236 2238 2239 2240
Symbol 2242 Graphic	Used by:2248
Symbol 2243 Graphic	Used by:2248
Symbol 2244 Font	Used by:2246
Symbol 2245 Graphic	Used by:2248
Symbol 2246 EditableText [CR216]	Uses:2244	Used by:2248
Symbol 2247 Text	Uses:330 323	Used by:2248
Symbol 2248 MovieClip [Page216]	Uses:2242 2243 2245 2246 2247
Symbol 2249 Graphic	Used by:2263
Symbol 2250 Graphic	Used by:2263
Symbol 2251 Font	Used by:2253
Symbol 2252 Graphic	Used by:2263
Symbol 2253 EditableText [CR217]	Uses:2251	Used by:2263
Symbol 2255 Font	Used by:2254
Symbol 2254 Text	Uses:323 2255	Used by:2263
Symbol 2256 Bitmap	Used by:2258
Symbol 2257 Graphic	Used by:2263
Symbol 2258 Graphic	Uses:2256	Used by:2263
Symbol 2259 Bitmap	Used by:2261
Symbol 2260 Graphic	Used by:2263
Symbol 2261 Graphic	Uses:2259	Used by:2263
Symbol 2262 Text	Uses:323 330 340	Used by:2263
Symbol 2263 MovieClip [Page217]	Uses:2249 2250 2252 2253 2254 2257 2258 2260 2261 2262
Symbol 2264 Graphic	Used by:2270
Symbol 2265 Graphic	Used by:2270
Symbol 2266 Font	Used by:2268
Symbol 2267 Graphic	Used by:2270
Symbol 2268 EditableText [CR218]	Uses:2266	Used by:2270
Symbol 2269 Text	Uses:330 323	Used by:2270
Symbol 2270 MovieClip [Page218]	Uses:2264 2265 2267 2268 2269
Symbol 2271 Graphic	Used by:2277
Symbol 2272 Graphic	Used by:2277
Symbol 2273 Font	Used by:2275
Symbol 2274 Graphic	Used by:2277
Symbol 2275 EditableText [CR219]	Uses:2273	Used by:2277
Symbol 2276 Text	Uses:323 417 321	Used by:2277
Symbol 2277 MovieClip [Page219]	Uses:2271 2272 2274 2275 2276
Symbol 2278 Graphic	Used by:2284
Symbol 2279 Graphic	Used by:2284
Symbol 2280 Font	Used by:2282
Symbol 2281 Graphic	Used by:2284
Symbol 2282 EditableText [CR220]	Uses:2280	Used by:2284
Symbol 2283 Text	Uses:330 323	Used by:2284
Symbol 2284 MovieClip [Page220]	Uses:2278 2279 2281 2282 2283
Symbol 2285 Graphic	Used by:2291
Symbol 2286 Graphic	Used by:2291
Symbol 2287 Font	Used by:2289
Symbol 2288 Graphic	Used by:2291
Symbol 2289 EditableText [CR221]	Uses:2287	Used by:2291
Symbol 2290 Text	Uses:323 417 321	Used by:2291
Symbol 2291 MovieClip [Page221]	Uses:2285 2286 2288 2289 2290
Symbol 2292 Graphic	Used by:2298
Symbol 2293 Graphic	Used by:2298
Symbol 2294 Font	Used by:2296
Symbol 2295 Graphic	Used by:2298
Symbol 2296 EditableText [CR222]	Uses:2294	Used by:2298
Symbol 2297 Text	Uses:330 323 437	Used by:2298
Symbol 2298 MovieClip [Page222]	Uses:2292 2293 2295 2296 2297
Symbol 2299 Graphic	Used by:2306
Symbol 2300 Graphic	Used by:2306
Symbol 2301 Font	Used by:2303
Symbol 2302 Graphic	Used by:2306
Symbol 2303 EditableText [CR223]	Uses:2301	Used by:2306
Symbol 2305 Font	Used by:2304
Symbol 2304 Text	Uses:323 417 2305	Used by:2306
Symbol 2306 MovieClip [Page223]	Uses:2299 2300 2302 2303 2304
Symbol 2307 Graphic	Used by:2313
Symbol 2308 Graphic	Used by:2313
Symbol 2309 Font	Used by:2311
Symbol 2310 Graphic	Used by:2313
Symbol 2311 EditableText [CR224]	Uses:2309	Used by:2313
Symbol 2312 Text	Uses:330 323 340	Used by:2313
Symbol 2313 MovieClip [Page224]	Uses:2307 2308 2310 2311 2312
Symbol 2314 Graphic	Used by:2320
Symbol 2315 Graphic	Used by:2320
Symbol 2316 Font	Used by:2318
Symbol 2317 Graphic	Used by:2320
Symbol 2318 EditableText [CR225]	Uses:2316	Used by:2320
Symbol 2319 Text	Uses:330 332 323	Used by:2320
Symbol 2320 MovieClip [Page225]	Uses:2314 2315 2317 2318 2319
Symbol 2321 Graphic	Used by:2327
Symbol 2322 Graphic	Used by:2327
Symbol 2323 Font	Used by:2325
Symbol 2324 Graphic	Used by:2327
Symbol 2325 EditableText [CR226]	Uses:2323	Used by:2327
Symbol 2326 Text	Uses:330 323 340	Used by:2327
Symbol 2327 MovieClip [Page226]	Uses:2321 2322 2324 2325 2326
Symbol 2328 Graphic	Used by:2334
Symbol 2329 Graphic	Used by:2334
Symbol 2330 Font	Used by:2332
Symbol 2331 Graphic	Used by:2334
Symbol 2332 EditableText [CR227]	Uses:2330	Used by:2334
Symbol 2333 Text	Uses:323 417 418	Used by:2334
Symbol 2334 MovieClip [Page227]	Uses:2328 2329 2331 2332 2333
Symbol 2335 Graphic	Used by:2341
Symbol 2336 Graphic	Used by:2341
Symbol 2337 Font	Used by:2339
Symbol 2338 Graphic	Used by:2341
Symbol 2339 EditableText [CR228]	Uses:2337	Used by:2341
Symbol 2340 Text	Uses:330 323 340	Used by:2341
Symbol 2341 MovieClip [Page228]	Uses:2335 2336 2338 2339 2340
Symbol 2342 Graphic	Used by:2348
Symbol 2343 Graphic	Used by:2348
Symbol 2344 Font	Used by:2346
Symbol 2345 Graphic	Used by:2348
Symbol 2346 EditableText [CR229]	Uses:2344	Used by:2348
Symbol 2347 Text	Uses:323 417	Used by:2348
Symbol 2348 MovieClip [Page229]	Uses:2342 2343 2345 2346 2347
Symbol 2349 Graphic	Used by:2358
Symbol 2350 Graphic	Used by:2358
Symbol 2351 Font	Used by:2353
Symbol 2352 Graphic	Used by:2358
Symbol 2353 EditableText [CR230]	Uses:2351	Used by:2358
Symbol 2354 Bitmap	Used by:2356
Symbol 2355 Graphic	Used by:2358
Symbol 2356 Graphic	Uses:2354	Used by:2358
Symbol 2357 Text	Uses:323 417	Used by:2358
Symbol 2358 MovieClip [Page230]	Uses:2349 2350 2352 2353 2355 2356 2357
Symbol 2359 Graphic	Used by:2365
Symbol 2360 Graphic	Used by:2365
Symbol 2361 Font	Used by:2363
Symbol 2362 Graphic	Used by:2365
Symbol 2363 EditableText [CR231]	Uses:2361	Used by:2365
Symbol 2364 Text	Uses:330 332 340 323	Used by:2365
Symbol 2365 MovieClip [Page231]	Uses:2359 2360 2362 2363 2364
Symbol 2366 Graphic	Used by:2378
Symbol 2367 Graphic	Used by:2378
Symbol 2368 Font	Used by:2370
Symbol 2369 Graphic	Used by:2378
Symbol 2370 EditableText [CR232]	Uses:2368	Used by:2378
Symbol 2371 Bitmap	Used by:2373
Symbol 2372 Graphic	Used by:2378
Symbol 2373 Graphic	Uses:2371	Used by:2378
Symbol 2374 Text	Uses:323 417	Used by:2378
Symbol 2375 Bitmap	Used by:2377
Symbol 2376 Graphic	Used by:2378
Symbol 2377 Graphic	Uses:2375	Used by:2378
Symbol 2378 MovieClip [Page232]	Uses:2366 2367 2369 2370 2372 2373 2374 2376 2377
Symbol 2379 Graphic	Used by:2388
Symbol 2380 Graphic	Used by:2388
Symbol 2381 Font	Used by:2383
Symbol 2382 Graphic	Used by:2388
Symbol 2383 EditableText [CR233]	Uses:2381	Used by:2388
Symbol 2384 Text	Uses:330 332	Used by:2388
Symbol 2385 Graphic	Used by:2388
Symbol 2386 Text	Uses:323	Used by:2388
Symbol 2387 Text	Uses:323 340	Used by:2388
Symbol 2388 MovieClip [Page233]	Uses:2379 2380 2382 2383 2384 2385 2386 2387
Symbol 2389 Graphic	Used by:2395
Symbol 2390 Graphic	Used by:2395
Symbol 2391 Font	Used by:2393
Symbol 2392 Graphic	Used by:2395
Symbol 2393 EditableText [CR234]	Uses:2391	Used by:2395
Symbol 2394 Text	Uses:330 437	Used by:2395
Symbol 2395 MovieClip [Page234]	Uses:2389 2390 2392 2393 2394
Symbol 2396 Graphic	Used by:2402
Symbol 2397 Graphic	Used by:2402
Symbol 2398 Font	Used by:2400
Symbol 2399 Graphic	Used by:2402
Symbol 2400 EditableText [CR235]	Uses:2398	Used by:2402
Symbol 2401 Text	Uses:330 332 323 340	Used by:2402
Symbol 2402 MovieClip [Page235]	Uses:2396 2397 2399 2400 2401
Symbol 2403 Graphic	Used by:2541
Symbol 2404 Graphic	Used by:2541
Symbol 2405 Font	Used by:2407
Symbol 2406 Graphic	Used by:2541
Symbol 2407 EditableText [CR236]	Uses:2405	Used by:2541
Symbol 2408 Text	Uses:417	Used by:2541
Symbol 2409 Bitmap	Used by:2411
Symbol 2410 Graphic	Used by:2541
Symbol 2411 Graphic	Uses:2409	Used by:2541
Symbol 2412 Bitmap	Used by:2414
Symbol 2413 Graphic	Used by:2541
Symbol 2414 Graphic	Uses:2412	Used by:2541
Symbol 2415 Bitmap	Used by:2417
Symbol 2416 Graphic	Used by:2541
Symbol 2417 Graphic	Uses:2415	Used by:2541
Symbol 2418 Bitmap	Used by:2420
Symbol 2419 Graphic	Used by:2541
Symbol 2420 Graphic	Uses:2418	Used by:2541
Symbol 2421 Bitmap	Used by:2423
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Symbol 2423 Graphic	Uses:2421	Used by:2541
Symbol 2424 Bitmap	Used by:2426
Symbol 2425 Graphic	Used by:2541
Symbol 2426 Graphic	Uses:2424	Used by:2541
Symbol 2427 Bitmap	Used by:2429
Symbol 2428 Graphic	Used by:2541
Symbol 2429 Graphic	Uses:2427	Used by:2541
Symbol 2430 Bitmap	Used by:2432
Symbol 2431 Graphic	Used by:2541
Symbol 2432 Graphic	Uses:2430	Used by:2541
Symbol 2433 Bitmap	Used by:2435
Symbol 2434 Graphic	Used by:2541
Symbol 2435 Graphic	Uses:2433	Used by:2541
Symbol 2436 Bitmap	Used by:2438
Symbol 2437 Graphic	Used by:2541
Symbol 2438 Graphic	Uses:2436	Used by:2541
Symbol 2439 Bitmap	Used by:2441
Symbol 2440 Graphic	Used by:2541
Symbol 2441 Graphic	Uses:2439	Used by:2541
Symbol 2442 Bitmap	Used by:2444
Symbol 2443 Graphic	Used by:2541
Symbol 2444 Graphic	Uses:2442	Used by:2541
Symbol 2445 Bitmap	Used by:2447
Symbol 2446 Graphic	Used by:2541
Symbol 2447 Graphic	Uses:2445	Used by:2541
Symbol 2448 Bitmap	Used by:2450
Symbol 2449 Graphic	Used by:2541
Symbol 2450 Graphic	Uses:2448	Used by:2541
Symbol 2451 Bitmap	Used by:2453
Symbol 2452 Graphic	Used by:2541
Symbol 2453 Graphic	Uses:2451	Used by:2541
Symbol 2454 Bitmap	Used by:2456
Symbol 2455 Graphic	Used by:2541
Symbol 2456 Graphic	Uses:2454	Used by:2541
Symbol 2457 Bitmap	Used by:2459
Symbol 2458 Graphic	Used by:2541
Symbol 2459 Graphic	Uses:2457	Used by:2541
Symbol 2460 Bitmap	Used by:2462
Symbol 2461 Graphic	Used by:2541
Symbol 2462 Graphic	Uses:2460	Used by:2541
Symbol 2463 Bitmap	Used by:2465
Symbol 2464 Graphic	Used by:2541
Symbol 2465 Graphic	Uses:2463	Used by:2541
Symbol 2466 Bitmap	Used by:2468
Symbol 2467 Graphic	Used by:2541
Symbol 2468 Graphic	Uses:2466	Used by:2541
Symbol 2469 Bitmap	Used by:2471
Symbol 2470 Graphic	Used by:2541
Symbol 2471 Graphic	Uses:2469	Used by:2541
Symbol 2472 Bitmap	Used by:2474
Symbol 2473 Graphic	Used by:2541
Symbol 2474 Graphic	Uses:2472	Used by:2541
Symbol 2475 Bitmap	Used by:2477
Symbol 2476 Graphic	Used by:2541
Symbol 2477 Graphic	Uses:2475	Used by:2541
Symbol 2478 Bitmap	Used by:2480
Symbol 2479 Graphic	Used by:2541
Symbol 2480 Graphic	Uses:2478	Used by:2541
Symbol 2481 Bitmap	Used by:2483
Symbol 2482 Graphic	Used by:2541
Symbol 2483 Graphic	Uses:2481	Used by:2541
Symbol 2484 Bitmap	Used by:2486
Symbol 2485 Graphic	Used by:2541
Symbol 2486 Graphic	Uses:2484	Used by:2541
Symbol 2487 Bitmap	Used by:2489
Symbol 2488 Graphic	Used by:2541
Symbol 2489 Graphic	Uses:2487	Used by:2541
Symbol 2490 Bitmap	Used by:2492
Symbol 2491 Graphic	Used by:2541
Symbol 2492 Graphic	Uses:2490	Used by:2541
Symbol 2493 Bitmap	Used by:2495
Symbol 2494 Graphic	Used by:2541
Symbol 2495 Graphic	Uses:2493	Used by:2541
Symbol 2496 Bitmap	Used by:2498
Symbol 2497 Graphic	Used by:2541
Symbol 2498 Graphic	Uses:2496	Used by:2541
Symbol 2499 Bitmap	Used by:2501
Symbol 2500 Graphic	Used by:2541
Symbol 2501 Graphic	Uses:2499	Used by:2541
Symbol 2502 Bitmap	Used by:2504
Symbol 2503 Graphic	Used by:2541
Symbol 2504 Graphic	Uses:2502	Used by:2541
Symbol 2505 Bitmap	Used by:2507
Symbol 2506 Graphic	Used by:2541
Symbol 2507 Graphic	Uses:2505	Used by:2541
Symbol 2508 Bitmap	Used by:2510
Symbol 2509 Graphic	Used by:2541
Symbol 2510 Graphic	Uses:2508	Used by:2541
Symbol 2511 Bitmap	Used by:2513
Symbol 2512 Graphic	Used by:2541
Symbol 2513 Graphic	Uses:2511	Used by:2541
Symbol 2514 Bitmap	Used by:2516
Symbol 2515 Graphic	Used by:2541
Symbol 2516 Graphic	Uses:2514	Used by:2541
Symbol 2517 Bitmap	Used by:2519
Symbol 2518 Graphic	Used by:2541
Symbol 2519 Graphic	Uses:2517	Used by:2541
Symbol 2520 Bitmap	Used by:2522
Symbol 2521 Graphic	Used by:2541
Symbol 2522 Graphic	Uses:2520	Used by:2541
Symbol 2523 Bitmap	Used by:2525
Symbol 2524 Graphic	Used by:2541
Symbol 2525 Graphic	Uses:2523	Used by:2541
Symbol 2526 Bitmap	Used by:2528
Symbol 2527 Graphic	Used by:2541
Symbol 2528 Graphic	Uses:2526	Used by:2541
Symbol 2529 Bitmap	Used by:2531
Symbol 2530 Graphic	Used by:2541
Symbol 2531 Graphic	Uses:2529	Used by:2541
Symbol 2532 Bitmap	Used by:2534
Symbol 2533 Graphic	Used by:2541
Symbol 2534 Graphic	Uses:2532	Used by:2541
Symbol 2535 Bitmap	Used by:2537
Symbol 2536 Graphic	Used by:2541
Symbol 2537 Graphic	Uses:2535	Used by:2541
Symbol 2538 Bitmap	Used by:2540
Symbol 2539 Graphic	Used by:2541
Symbol 2540 Graphic	Uses:2538	Used by:2541
Symbol 2541 MovieClip [Page236]	Uses:2403 2404 2406 2407 2408 2410 2411 2413 2414 2416 2417 2419 2420 2422 2423 2425 2426 2428 2429 2431 2432 2434 2435 2437 2438 2440 2441 2443 2444 2446 2447 2449 2450 2452 2453 2455 2456 2458 2459 2461 2462 2464 2465 2467 2468 2470 2471 2473 2474 2476 2477 2479 2480 2482 2483 2485 2486 2488 2489 2491 2492 2494 2495 2497 2498 2500 2501 2503 2504 2506 2507 2509 2510 2512 2513 2515 2516 2518 2519 2521 2522 2524 2525 2527 2528 2530 2531 2533 2534 2536 2537 2539 2540
Symbol 2542 Graphic	Used by:2548
Symbol 2543 Graphic	Used by:2548
Symbol 2544 Font	Used by:2546
Symbol 2545 Graphic	Used by:2548
Symbol 2546 EditableText [CR237]	Uses:2544	Used by:2548
Symbol 2547 Text	Uses:330 332 323 321	Used by:2548
Symbol 2548 MovieClip [Page237]	Uses:2542 2543 2545 2546 2547
Symbol 2549 Graphic	Used by:2555
Symbol 2550 Graphic	Used by:2555
Symbol 2551 Font	Used by:2553
Symbol 2552 Graphic	Used by:2555
Symbol 2553 EditableText [CR238]	Uses:2551	Used by:2555
Symbol 2554 Text	Uses:330 323	Used by:2555
Symbol 2555 MovieClip [Page238]	Uses:2549 2550 2552 2553 2554
Symbol 2556 Graphic	Used by:2562
Symbol 2557 Graphic	Used by:2562
Symbol 2558 Font	Used by:2560
Symbol 2559 Graphic	Used by:2562
Symbol 2560 EditableText [CR239]	Uses:2558	Used by:2562
Symbol 2561 Text	Uses:330 332 323 321	Used by:2562
Symbol 2562 MovieClip [Page239]	Uses:2556 2557 2559 2560 2561
Symbol 2563 Graphic	Used by:2569
Symbol 2564 Graphic	Used by:2569
Symbol 2565 Font	Used by:2567
Symbol 2566 Graphic	Used by:2569
Symbol 2567 EditableText [CR240]	Uses:2565	Used by:2569
Symbol 2568 Text	Uses:323	Used by:2569
Symbol 2569 MovieClip [Page240]	Uses:2563 2564 2566 2567 2568
Symbol 2570 Graphic	Used by:2576
Symbol 2571 Graphic	Used by:2576
Symbol 2572 Font	Used by:2574
Symbol 2573 Graphic	Used by:2576
Symbol 2574 EditableText [CR241]	Uses:2572	Used by:2576
Symbol 2575 Text	Uses:330 332 323	Used by:2576
Symbol 2576 MovieClip [Page241]	Uses:2570 2571 2573 2574 2575
Symbol 2577 Graphic	Used by:2583
Symbol 2578 Graphic	Used by:2583
Symbol 2579 Font	Used by:2581
Symbol 2580 Graphic	Used by:2583
Symbol 2581 EditableText [CR242]	Uses:2579	Used by:2583
Symbol 2582 Text	Uses:330 323	Used by:2583
Symbol 2583 MovieClip [Page242]	Uses:2577 2578 2580 2581 2582
Symbol 2584 Graphic	Used by:2597
Symbol 2585 Graphic	Used by:2597
Symbol 2586 Font	Used by:2588
Symbol 2587 Graphic	Used by:2597
Symbol 2588 EditableText [CR243]	Uses:2586	Used by:2597
Symbol 2589 Text	Uses:323 425	Used by:2597
Symbol 2590 Bitmap	Used by:2592
Symbol 2591 Graphic	Used by:2597
Symbol 2592 Graphic	Uses:2590	Used by:2597
Symbol 2593 Bitmap	Used by:2595
Symbol 2594 Graphic	Used by:2597
Symbol 2595 Graphic	Uses:2593	Used by:2597
Symbol 2596 Text	Uses:323 330 321	Used by:2597
Symbol 2597 MovieClip [Page243]	Uses:2584 2585 2587 2588 2589 2591 2592 2594 2595 2596
Symbol 2598 Graphic	Used by:2604
Symbol 2599 Graphic	Used by:2604
Symbol 2600 Font	Used by:2602
Symbol 2601 Graphic	Used by:2604
Symbol 2602 EditableText [CR244]	Uses:2600	Used by:2604
Symbol 2603 Text	Uses:330 323	Used by:2604
Symbol 2604 MovieClip [Page244]	Uses:2598 2599 2601 2602 2603
Symbol 2605 Graphic	Used by:2611
Symbol 2606 Graphic	Used by:2611
Symbol 2607 Font	Used by:2609
Symbol 2608 Graphic	Used by:2611
Symbol 2609 EditableText [CR245]	Uses:2607	Used by:2611
Symbol 2610 Text	Uses:330 332 323 340	Used by:2611
Symbol 2611 MovieClip [Page245]	Uses:2605 2606 2608 2609 2610
Symbol 2612 Graphic	Used by:2618
Symbol 2613 Graphic	Used by:2618
Symbol 2614 Font	Used by:2616
Symbol 2615 Graphic	Used by:2618
Symbol 2616 EditableText [CR246]	Uses:2614	Used by:2618
Symbol 2617 Text	Uses:330 323	Used by:2618
Symbol 2618 MovieClip [Page246]	Uses:2612 2613 2615 2616 2617
Symbol 2619 Graphic	Used by:2628
Symbol 2620 Graphic	Used by:2628
Symbol 2621 Font	Used by:2623
Symbol 2622 Graphic	Used by:2628
Symbol 2623 EditableText [CR247]	Uses:2621	Used by:2628
Symbol 2624 Text	Uses:330 332 323 340	Used by:2628
Symbol 2625 Bitmap	Used by:2627
Symbol 2626 Graphic	Used by:2628
Symbol 2627 Graphic	Uses:2625	Used by:2628
Symbol 2628 MovieClip [Page247]	Uses:2619 2620 2622 2623 2624 2626 2627
Symbol 2629 Graphic	Used by:2635
Symbol 2630 Graphic	Used by:2635
Symbol 2631 Font	Used by:2633
Symbol 2632 Graphic	Used by:2635
Symbol 2633 EditableText [CR248]	Uses:2631	Used by:2635
Symbol 2634 Text	Uses:330 323	Used by:2635
Symbol 2635 MovieClip [Page248]	Uses:2629 2630 2632 2633 2634
Symbol 2636 Graphic	Used by:2642
Symbol 2637 Graphic	Used by:2642
Symbol 2638 Font	Used by:2640
Symbol 2639 Graphic	Used by:2642
Symbol 2640 EditableText [CR249]	Uses:2638	Used by:2642
Symbol 2641 Text	Uses:330 332 323 340	Used by:2642
Symbol 2642 MovieClip [Page249]	Uses:2636 2637 2639 2640 2641
Symbol 2643 Graphic	Used by:2649
Symbol 2644 Graphic	Used by:2649
Symbol 2645 Font	Used by:2647
Symbol 2646 Graphic	Used by:2649
Symbol 2647 EditableText [CR250]	Uses:2645	Used by:2649
Symbol 2648 Text	Uses:330 323 321	Used by:2649
Symbol 2649 MovieClip [Page250]	Uses:2643 2644 2646 2647 2648
Symbol 2650 Graphic	Used by:2656
Symbol 2651 Graphic	Used by:2656
Symbol 2652 Font	Used by:2654
Symbol 2653 Graphic	Used by:2656
Symbol 2654 EditableText [CR251]	Uses:2652	Used by:2656
Symbol 2655 Text	Uses:330 332 323 321	Used by:2656
Symbol 2656 MovieClip [Page251]	Uses:2650 2651 2653 2654 2655
Symbol 2657 Graphic	Used by:2793
Symbol 2658 Graphic	Used by:2793
Symbol 2659 Font	Used by:2661
Symbol 2660 Graphic	Used by:2793
Symbol 2661 EditableText [CR252]	Uses:2659	Used by:2793
Symbol 2662 Text	Uses:330	Used by:2793
Symbol 2663 Bitmap	Used by:2665
Symbol 2664 Graphic	Used by:2793
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Symbol 2666 Bitmap	Used by:2668
Symbol 2667 Graphic	Used by:2793
Symbol 2668 Graphic	Uses:2666	Used by:2793
Symbol 2669 Bitmap	Used by:2671
Symbol 2670 Graphic	Used by:2793
Symbol 2671 Graphic	Uses:2669	Used by:2793
Symbol 2672 Bitmap	Used by:2674
Symbol 2673 Graphic	Used by:2793
Symbol 2674 Graphic	Uses:2672	Used by:2793
Symbol 2675 Bitmap	Used by:2677
Symbol 2676 Graphic	Used by:2793
Symbol 2677 Graphic	Uses:2675	Used by:2793
Symbol 2678 Bitmap	Used by:2680
Symbol 2679 Graphic	Used by:2793
Symbol 2680 Graphic	Uses:2678	Used by:2793
Symbol 2681 Bitmap	Used by:2683
Symbol 2682 Graphic	Used by:2793
Symbol 2683 Graphic	Uses:2681	Used by:2793
Symbol 2684 Bitmap	Used by:2686
Symbol 2685 Graphic	Used by:2793
Symbol 2686 Graphic	Uses:2684	Used by:2793
Symbol 2687 Bitmap	Used by:2689
Symbol 2688 Graphic	Used by:2793
Symbol 2689 Graphic	Uses:2687	Used by:2793
Symbol 2690 Bitmap	Used by:2692
Symbol 2691 Graphic	Used by:2793
Symbol 2692 Graphic	Uses:2690	Used by:2793
Symbol 2693 Bitmap	Used by:2695
Symbol 2694 Graphic	Used by:2793
Symbol 2695 Graphic	Uses:2693	Used by:2793
Symbol 2696 Bitmap	Used by:2698
Symbol 2697 Graphic	Used by:2793
Symbol 2698 Graphic	Uses:2696	Used by:2793
Symbol 2699 Bitmap	Used by:2701
Symbol 2700 Graphic	Used by:2793
Symbol 2701 Graphic	Uses:2699	Used by:2793
Symbol 2702 Bitmap	Used by:2704
Symbol 2703 Graphic	Used by:2793
Symbol 2704 Graphic	Uses:2702	Used by:2793
Symbol 2705 Bitmap	Used by:2707
Symbol 2706 Graphic	Used by:2793
Symbol 2707 Graphic	Uses:2705	Used by:2793
Symbol 2708 Bitmap	Used by:2710
Symbol 2709 Graphic	Used by:2793
Symbol 2710 Graphic	Uses:2708	Used by:2793
Symbol 2711 Bitmap	Used by:2713
Symbol 2712 Graphic	Used by:2793
Symbol 2713 Graphic	Uses:2711	Used by:2793
Symbol 2714 Bitmap	Used by:2716
Symbol 2715 Graphic	Used by:2793
Symbol 2716 Graphic	Uses:2714	Used by:2793
Symbol 2717 Bitmap	Used by:2719
Symbol 2718 Graphic	Used by:2793
Symbol 2719 Graphic	Uses:2717	Used by:2793
Symbol 2720 Bitmap	Used by:2722
Symbol 2721 Graphic	Used by:2793
Symbol 2722 Graphic	Uses:2720	Used by:2793
Symbol 2723 Bitmap	Used by:2725
Symbol 2724 Graphic	Used by:2793
Symbol 2725 Graphic	Uses:2723	Used by:2793
Symbol 2726 Bitmap	Used by:2728
Symbol 2727 Graphic	Used by:2793
Symbol 2728 Graphic	Uses:2726	Used by:2793
Symbol 2729 Bitmap	Used by:2731
Symbol 2730 Graphic	Used by:2793
Symbol 2731 Graphic	Uses:2729	Used by:2793
Symbol 2732 Bitmap	Used by:2734
Symbol 2733 Graphic	Used by:2793
Symbol 2734 Graphic	Uses:2732	Used by:2793
Symbol 2735 Bitmap	Used by:2737
Symbol 2736 Graphic	Used by:2793
Symbol 2737 Graphic	Uses:2735	Used by:2793
Symbol 2738 Bitmap	Used by:2740
Symbol 2739 Graphic	Used by:2793
Symbol 2740 Graphic	Uses:2738	Used by:2793
Symbol 2741 Bitmap	Used by:2743
Symbol 2742 Graphic	Used by:2793
Symbol 2743 Graphic	Uses:2741	Used by:2793
Symbol 2744 Text	Uses:340	Used by:2793
Symbol 2745 Bitmap	Used by:2747
Symbol 2746 Graphic	Used by:2793
Symbol 2747 Graphic	Uses:2745	Used by:2793
Symbol 2748 Bitmap	Used by:2750
Symbol 2749 Graphic	Used by:2793
Symbol 2750 Graphic	Uses:2748	Used by:2793
Symbol 2751 Bitmap	Used by:2753
Symbol 2752 Graphic	Used by:2793
Symbol 2753 Graphic	Uses:2751	Used by:2793
Symbol 2754 Bitmap	Used by:2756
Symbol 2755 Graphic	Used by:2793
Symbol 2756 Graphic	Uses:2754	Used by:2793
Symbol 2757 Bitmap	Used by:2759
Symbol 2758 Graphic	Used by:2793
Symbol 2759 Graphic	Uses:2757	Used by:2793
Symbol 2760 Bitmap	Used by:2762
Symbol 2761 Graphic	Used by:2793
Symbol 2762 Graphic	Uses:2760	Used by:2793
Symbol 2763 Bitmap	Used by:2765
Symbol 2764 Graphic	Used by:2793
Symbol 2765 Graphic	Uses:2763	Used by:2793
Symbol 2766 Bitmap	Used by:2768
Symbol 2767 Graphic	Used by:2793
Symbol 2768 Graphic	Uses:2766	Used by:2793
Symbol 2769 Bitmap	Used by:2771
Symbol 2770 Graphic	Used by:2793
Symbol 2771 Graphic	Uses:2769	Used by:2793
Symbol 2772 Bitmap	Used by:2774
Symbol 2773 Graphic	Used by:2793
Symbol 2774 Graphic	Uses:2772	Used by:2793
Symbol 2775 Bitmap	Used by:2777
Symbol 2776 Graphic	Used by:2793
Symbol 2777 Graphic	Uses:2775	Used by:2793
Symbol 2778 Bitmap	Used by:2780
Symbol 2779 Graphic	Used by:2793
Symbol 2780 Graphic	Uses:2778	Used by:2793
Symbol 2781 Bitmap	Used by:2783
Symbol 2782 Graphic	Used by:2793
Symbol 2783 Graphic	Uses:2781	Used by:2793
Symbol 2784 Bitmap	Used by:2786
Symbol 2785 Graphic	Used by:2793
Symbol 2786 Graphic	Uses:2784	Used by:2793
Symbol 2787 Bitmap	Used by:2789
Symbol 2788 Graphic	Used by:2793
Symbol 2789 Graphic	Uses:2787	Used by:2793
Symbol 2790 Bitmap	Used by:2792
Symbol 2791 Graphic	Used by:2793
Symbol 2792 Graphic	Uses:2790	Used by:2793
Symbol 2793 MovieClip [Page252]	Uses:2657 2658 2660 2661 2662 2664 2665 2667 2668 2670 2671 2673 2674 2676 2677 2679 2680 2682 2683 2685 2686 2688 2689 2691 2692 2694 2695 2697 2698 2700 2701 2703 2704 2706 2707 2709 2710 2712 2713 2715 2716 2718 2719 2721 2722 2724 2725 2727 2728 2730 2731 2733 2734 2736 2737 2739 2740 2742 2743 2744 2746 2747 2749 2750 2752 2753 2755 2756 2758 2759 2761 2762 2764 2765 2767 2768 2770 2771 2773 2774 2776 2777 2779 2780 2782 2783 2785 2786 2788 2789 2791 2792
Symbol 2794 Graphic	Used by:2800
Symbol 2795 Graphic	Used by:2800
Symbol 2796 Font	Used by:2798
Symbol 2797 Graphic	Used by:2800
Symbol 2798 EditableText [CR253]	Uses:2796	Used by:2800
Symbol 2799 Text	Uses:330 332 323	Used by:2800
Symbol 2800 MovieClip [Page253]	Uses:2794 2795 2797 2798 2799
Symbol 2801 Graphic	Used by:2811
Symbol 2802 Graphic	Used by:2811
Symbol 2803 Font	Used by:2805
Symbol 2804 Graphic	Used by:2811
Symbol 2805 EditableText [CR254]	Uses:2803	Used by:2811
Symbol 2806 Bitmap	Used by:2808
Symbol 2807 Graphic	Used by:2811
Symbol 2808 Graphic	Uses:2806	Used by:2811
Symbol 2809 Text	Uses:323 330	Used by:2811
Symbol 2810 Graphic	Used by:2811
Symbol 2811 MovieClip [Page254]	Uses:2801 2802 2804 2805 2807 2808 2809 2810
Symbol 2812 Graphic	Used by:2818
Symbol 2813 Graphic	Used by:2818
Symbol 2814 Font	Used by:2816
Symbol 2815 Graphic	Used by:2818
Symbol 2816 EditableText [CR255]	Uses:2814	Used by:2818
Symbol 2817 Text	Uses:330 332 321 323	Used by:2818
Symbol 2818 MovieClip [Page255]	Uses:2812 2813 2815 2816 2817
Symbol 2819 Graphic	Used by:2825
Symbol 2820 Graphic	Used by:2825
Symbol 2821 Font	Used by:2823
Symbol 2822 Graphic	Used by:2825
Symbol 2823 EditableText [CR256]	Uses:2821	Used by:2825
Symbol 2824 Text	Uses:321 323 330	Used by:2825
Symbol 2825 MovieClip [Page256]	Uses:2819 2820 2822 2823 2824
Symbol 2826 Graphic	Used by:2832
Symbol 2827 Graphic	Used by:2832
Symbol 2828 Font	Used by:2830
Symbol 2829 Graphic	Used by:2832
Symbol 2830 EditableText [CR257]	Uses:2828	Used by:2832
Symbol 2831 Text	Uses:330 332 323	Used by:2832
Symbol 2832 MovieClip [Page257]	Uses:2826 2827 2829 2830 2831
Symbol 2833 Graphic	Used by:2839
Symbol 2834 Graphic	Used by:2839
Symbol 2835 Font	Used by:2837
Symbol 2836 Graphic	Used by:2839
Symbol 2837 EditableText [CR258]	Uses:2835	Used by:2839
Symbol 2838 Text	Uses:330 323	Used by:2839
Symbol 2839 MovieClip [Page258]	Uses:2833 2834 2836 2837 2838
Symbol 2840 Graphic	Used by:2846
Symbol 2841 Graphic	Used by:2846
Symbol 2842 Font	Used by:2844
Symbol 2843 Graphic	Used by:2846
Symbol 2844 EditableText [CR259]	Uses:2842	Used by:2846
Symbol 2845 Text	Uses:330 332 321 417	Used by:2846
Symbol 2846 MovieClip [Page259]	Uses:2840 2841 2843 2844 2845
Symbol 2847 Graphic	Used by:2853
Symbol 2848 Graphic	Used by:2853
Symbol 2849 Font	Used by:2851
Symbol 2850 Graphic	Used by:2853
Symbol 2851 EditableText [CR260]	Uses:2849	Used by:2853
Symbol 2852 Text	Uses:330 323 340	Used by:2853
Symbol 2853 MovieClip [Page260]	Uses:2847 2848 2850 2851 2852
Symbol 2854 Graphic	Used by:2860
Symbol 2855 Graphic	Used by:2860
Symbol 2856 Font	Used by:2858
Symbol 2857 Graphic	Used by:2860
Symbol 2858 EditableText [CR261]	Uses:2856	Used by:2860
Symbol 2859 Text	Uses:330 332 323 418	Used by:2860
Symbol 2860 MovieClip [Page261]	Uses:2854 2855 2857 2858 2859
Symbol 2861 Graphic	Used by:2867
Symbol 2862 Graphic	Used by:2867
Symbol 2863 Font	Used by:2865
Symbol 2864 Graphic	Used by:2867
Symbol 2865 EditableText [CR262]	Uses:2863	Used by:2867
Symbol 2866 Text	Uses:321	Used by:2867
Symbol 2867 MovieClip [Page262]	Uses:2861 2862 2864 2865 2866
Symbol 1 Graphic	Used by:2 160
Symbol 2 MovieClip [BottomArea]	Uses:1
Symbol 3 MovieClip [ScrollArea]
Symbol 4 Graphic	Used by:5
Symbol 5 Button [#bgr]	Uses:4
Symbol 6 Graphic	Used by:7
Symbol 7 MovieClip	Uses:6	Used by:8
Symbol 8 MovieClip [#DropDownToolbar]	Uses:7
Symbol 9 Graphic	Used by:12 15
Symbol 10 Graphic	Used by:12 15
Symbol 11 Graphic	Used by:12 15
Symbol 12 MovieClip	Uses:9 10 11	Used by:14 19 21 23 25 27 29 31 33 35 192
Symbol 13 Graphic	Used by:14
Symbol 14 MovieClip [#nextpage]	Uses:12 13	Used by:193
Symbol 15 Button	Uses:9 10 11	Used by:17
Symbol 16 Graphic	Used by:17
Symbol 17 MovieClip [#more]	Uses:15 16	Used by:193
Symbol 18 Graphic	Used by:19
Symbol 19 MovieClip [#selMode]	Uses:12 18	Used by:193
Symbol 20 Graphic	Used by:21
Symbol 21 MovieClip [#newwindow]	Uses:12 20	Used by:193
Symbol 22 Graphic	Used by:23
Symbol 23 MovieClip [#help]	Uses:12 22	Used by:193
Symbol 24 Graphic	Used by:25
Symbol 25 MovieClip [#rotate]	Uses:12 24	Used by:193
Symbol 26 Graphic	Used by:27
Symbol 27 MovieClip [#prevpage]	Uses:12 26	Used by:193
Symbol 28 Graphic	Used by:29
Symbol 29 MovieClip [#scalePage]	Uses:12 28	Used by:193
Symbol 30 Graphic	Used by:31
Symbol 31 MovieClip [#scaleWidth]	Uses:12 30	Used by:193
Symbol 32 Graphic	Used by:33
Symbol 33 MovieClip [#moveMode]	Uses:12 32	Used by:193
Symbol 34 Graphic	Used by:35
Symbol 35 MovieClip [#print]	Uses:12 34	Used by:193
Symbol 41 Graphic	Used by:42
Symbol 42 MovieClip [BoundingBox]	Uses:41	Used by:60 64 68 127 128 129 130 131
Symbol 43 Graphic	Used by:44
Symbol 44 MovieClip [BrdrShdw]	Uses:43	Used by:47 52 53
Symbol 45 Graphic	Used by:46
Symbol 46 MovieClip [BrdrFace]	Uses:45	Used by:47 52 53
Symbol 47 MovieClip [SimpleButtonDown]	Uses:44 46	Used by:64
Symbol 48 Graphic	Used by:49
Symbol 49 MovieClip [BrdrBlk]	Uses:48	Used by:52 53
Symbol 50 Graphic	Used by:51
Symbol 51 MovieClip [BrdrHilght]	Uses:50	Used by:52 53
Symbol 52 MovieClip [SimpleButtonIn]	Uses:49 51 44 46	Used by:64
Symbol 53 MovieClip [SimpleButtonUp]	Uses:49 46 44 51	Used by:64
Symbol 54 MovieClip [Defaults]	Used by:56
Symbol 55 MovieClip [UIObjectExtensions]	Used by:56
Symbol 56 MovieClip [UIObject]	Uses:54 55	Used by:61 63 65
Symbol 57 Graphic	Used by:59
Symbol 58 Graphic	Used by:59
Symbol 59 Button	Uses:57 58	Used by:61
Symbol 60 MovieClip [FocusRect]	Uses:42	Used by:61
Symbol 61 MovieClip [FocusManager]	Uses:59 60 56	Used by:63
Symbol 62 MovieClip [UIComponentExtensions]	Used by:63
Symbol 63 MovieClip [UIComponent]	Uses:56 61 62	Used by:64 129
Symbol 64 MovieClip [SimpleButton]	Uses:42 47 52 53 63	Used by:68 127 128
Symbol 65 MovieClip [Border]	Uses:56	Used by:66 68
Symbol 66 MovieClip [RectBorder]	Uses:65	Used by:68 129
Symbol 67 MovieClip [ButtonSkin]	Used by:68
Symbol 68 MovieClip [Button]	Uses:42 64 65 66 67	Used by:127 128
Symbol 69 MovieClip [CustomBorder]	Used by:127 128
Symbol 70 Graphic	Used by:72 108 109 110 113 114 119
Symbol 71 Graphic	Used by:72 108 109 113 114 119
Symbol 72 MovieClip [ScrollTrack]	Uses:70 71	Used by:79 84 85 86 120 121 122 123 124 125
Symbol 73 Graphic	Used by:79 84 85 86 120 121 122 123
Symbol 74 Graphic	Used by:79 84 85 86 120 121 122 123
Symbol 75 Graphic	Used by:79 84 85 86 120 121 122 123
Symbol 76 Graphic	Used by:79 84 85 86 120 121 122 123
Symbol 77 Graphic	Used by:79 84 85 86 120 121 122 123
Symbol 78 Graphic	Used by:79 84 85 86
Symbol 79 MovieClip [ScrollDownArrowDisabled]	Uses:72 73 74 75 76 77 78	Used by:126
Symbol 80 Graphic	Used by:81
Symbol 81 MovieClip [ScrollThemeColor1]	Uses:80	Used by:84 85 121 122
Symbol 82 Graphic	Used by:83
Symbol 83 MovieClip [ScrollThemeColor2]	Uses:82	Used by:84 121
Symbol 84 MovieClip [ScrollDownArrowDown]	Uses:72 73 81 74 75 76 77 83 78	Used by:126
Symbol 85 MovieClip [ScrollDownArrowOver]	Uses:72 73 81 74 75 76 77 78	Used by:126
Symbol 86 MovieClip [ScrollDownArrowUp]	Uses:72 73 74 75 76 77 78	Used by:126
Symbol 87 Graphic	Used by:92 97 98 99 115 116 117 118
Symbol 88 Graphic	Used by:92 97 98 99 115 116 117 118
Symbol 89 Graphic	Used by:92 97 98 99 115 116 117 118
Symbol 90 Graphic	Used by:92 97 98 99 115 116 117 118
Symbol 91 Graphic	Used by:92 97 98 99 115 116 117 118
Symbol 92 MovieClip [ScrollThumbBottomDisabled]	Uses:87 88 89 90 91	Used by:126
Symbol 93 Graphic	Used by:94
Symbol 94 MovieClip [ThumbThemeColor1]	Uses:93	Used by:97 98 116 117
Symbol 95 Graphic	Used by:96
Symbol 96 MovieClip [ThumbThemeColor3]	Uses:95	Used by:97 116
Symbol 97 MovieClip [ScrollThumbBottomDown]	Uses:87 94 88 89 90 96 91	Used by:126
Symbol 98 MovieClip [ScrollThumbBottomOver]	Uses:87 94 88 89 90 91	Used by:126
Symbol 99 MovieClip [ScrollThumbBottomUp]	Uses:87 88 89 90 91	Used by:126
Symbol 100 Graphic	Used by:101 104 105 106
Symbol 101 MovieClip [ScrollThumbGripDisabled]	Uses:100	Used by:126
Symbol 102 Graphic	Used by:103
Symbol 103 MovieClip [ThumbThemeColor2]	Uses:102	Used by:104 105 108 109 113
Symbol 104 MovieClip [ScrollThumbGripDown]	Uses:103 100	Used by:126
Symbol 105 MovieClip [ScrollThumbGripOver]	Uses:103 100	Used by:126
Symbol 106 MovieClip [ScrollThumbGripUp]	Uses:100	Used by:126
Symbol 107 Graphic	Used by:108 109 113 114
Symbol 108 MovieClip [ScrollThumbMiddleDisabled]	Uses:70 107 103 71	Used by:126
Symbol 109 MovieClip [ScrollThumbMiddleDown]	Uses:70 103 107 71	Used by:126
Symbol 110 MovieClip	Uses:70	Used by:113
Symbol 111 Graphic	Used by:112 120 121 122 123
Symbol 112 MovieClip	Uses:111	Used by:113
Symbol 113 MovieClip [ScrollThumbMiddleOver]	Uses:70 103 107 110 112 71	Used by:126
Symbol 114 MovieClip [ScrollThumbMiddleUp]	Uses:70 107 71	Used by:126
Symbol 115 MovieClip [ScrollThumbTopDisabled]	Uses:87 88 89 90 91	Used by:126
Symbol 116 MovieClip [ScrollThumbTopDown]	Uses:87 94 88 89 90 96 91	Used by:126
Symbol 117 MovieClip [ScrollThumbTopOver]	Uses:87 94 88 89 90 91	Used by:126
Symbol 118 MovieClip [ScrollThumbTopUp]	Uses:87 88 89 90 91	Used by:126
Symbol 119 MovieClip [ScrollTrackDisabled]	Uses:70 71	Used by:126
Symbol 120 MovieClip [ScrollUpArrowDisabled]	Uses:72 73 74 75 76 77 111	Used by:126
Symbol 121 MovieClip [ScrollUpArrowDown]	Uses:72 73 81 74 75 76 77 83 111	Used by:126
Symbol 122 MovieClip [ScrollUpArrowOver]	Uses:72 73 81 74 75 111 76 77	Used by:126
Symbol 123 MovieClip [ScrollUpArrowUp]	Uses:72 73 74 75 76 77 111	Used by:126
Symbol 124 MovieClip [BtnDownArrow]	Uses:72	Used by:126
Symbol 125 MovieClip [BtnUpArrow]	Uses:72	Used by:126
Symbol 126 MovieClip [ScrollBarAssets]	Uses:79 84 85 86 92 97 98 99 101 104 105 106 108 109 113 114 115 116 117 118 119 120 121 122 123 124 125	Used by:127 128
Symbol 127 MovieClip [HScrollBar]	Uses:42 68 64 69 126	Used by:130
Symbol 128 MovieClip [VScrollBar]	Uses:42 68 64 69 126	Used by:130
Symbol 129 MovieClip [View]	Uses:42 63 66	Used by:130
Symbol 130 MovieClip [ScrollView]	Uses:42 127 128 129	Used by:131
Symbol 131 MovieClip [ScrollPane]	Uses:42 130	Used by:Timeline
Symbol 160 MovieClip	Uses:1	Used by:Timeline
Symbol 161 Graphic	Used by:162
Symbol 162 MovieClip	Uses:161	Used by:193
Symbol 163 Graphic	Used by:171
Symbol 164 Graphic	Used by:165
Symbol 165 MovieClip	Uses:164	Used by:168
Symbol 166 Font	Used by:167
Symbol 167 Text	Uses:166	Used by:168
Symbol 168 MovieClip	Uses:165 167	Used by:171
Symbol 169 Graphic	Used by:170
Symbol 170 MovieClip	Uses:169	Used by:171
Symbol 171 MovieClip	Uses:163 168 170	Used by:193
Symbol 172 Graphic	Used by:177
Symbol 173 Graphic	Used by:175
Symbol 174 Graphic	Used by:175
Symbol 175 Button	Uses:173 174	Used by:176
Symbol 176 MovieClip	Uses:175	Used by:177
Symbol 177 MovieClip	Uses:172 176	Used by:193
Symbol 178 Graphic	Used by:181
Symbol 179 Font	Used by:180 183 185 189
Symbol 180 EditableText	Uses:179	Used by:181
Symbol 181 MovieClip	Uses:178 180	Used by:193
Symbol 182 Graphic	Used by:187
Symbol 183 EditableText	Uses:179	Used by:184
Symbol 184 MovieClip	Uses:183	Used by:187
Symbol 185 EditableText	Uses:179	Used by:186
Symbol 186 MovieClip	Uses:185	Used by:187
Symbol 187 MovieClip	Uses:182 184 186	Used by:193
Symbol 188 Graphic	Used by:190
Symbol 189 EditableText	Uses:179	Used by:190
Symbol 190 MovieClip	Uses:188 189	Used by:193
Symbol 191 Graphic	Used by:192
Symbol 192 MovieClip	Uses:12 191	Used by:193
Symbol 193 MovieClip	Uses:162 171 35 177 181 187 33 31 29 27 25 23 21 19 17 14 190 192	Used by:Timeline
Symbol 194 Graphic	Used by:195
Symbol 195 MovieClip	Uses:194	Used by:Timeline
Symbol 196 Graphic	Used by:197
Symbol 197 MovieClip	Uses:196	Used by:Timeline
Symbol 198 MovieClip [__Packages.CPrint2FlashEvents]
Symbol 199 MovieClip [__Packages.Slider]
Symbol 36 MovieClip [__Packages.mx.core.UIObject]
Symbol 37 MovieClip [__Packages.mx.core.UIComponent]
Symbol 38 MovieClip [__Packages.mx.core.View]
Symbol 39 MovieClip [__Packages.mx.core.ScrollView]
Symbol 40 MovieClip [__Packages.mx.containers.ScrollPane]
Symbol 132 MovieClip [__Packages.mx.skins.SkinElement]
Symbol 133 MovieClip [__Packages.mx.styles.CSSTextStyles]
Symbol 134 MovieClip [__Packages.mx.styles.StyleManager]
Symbol 135 MovieClip [__Packages.mx.styles.CSSStyleDeclaration]
Symbol 136 MovieClip [__Packages.mx.skins.Border]
Symbol 137 MovieClip [__Packages.mx.skins.RectBorder]
Symbol 138 MovieClip [__Packages.mx.managers.DepthManager]
Symbol 139 MovieClip [__Packages.mx.events.EventDispatcher]
Symbol 140 MovieClip [__Packages.mx.events.UIEventDispatcher]
Symbol 141 MovieClip [__Packages.mx.core.ExternalContent]
Symbol 142 MovieClip [__Packages.mx.skins.CustomBorder]
Symbol 143 MovieClip [__Packages.mx.controls.scrollClasses.ScrollThumb]
Symbol 144 MovieClip [__Packages.mx.controls.SimpleButton]
Symbol 145 MovieClip [__Packages.mx.controls.scrollClasses.ScrollBar]
Symbol 146 MovieClip [__Packages.mx.controls.HScrollBar]
Symbol 147 MovieClip [__Packages.mx.controls.Button]
Symbol 148 MovieClip [__Packages.mx.skins.ColoredSkinElement]
Symbol 149 MovieClip [__Packages.mx.core.ext.UIObjectExtensions]
Symbol 150 MovieClip [__Packages.mx.skins.halo.Defaults]
Symbol 151 MovieClip [__Packages.mx.managers.SystemManager]
Symbol 152 MovieClip [__Packages.mx.managers.FocusManager]
Symbol 153 MovieClip [__Packages.mx.skins.halo.FocusRect]
Symbol 154 MovieClip [__Packages.mx.managers.OverlappedWindows]
Symbol 155 MovieClip [__Packages.mx.styles.CSSSetStyle]
Symbol 156 MovieClip [__Packages.mx.core.ext.UIComponentExtensions]
Symbol 157 MovieClip [__Packages.mx.skins.halo.RectBorder]
Symbol 158 MovieClip [__Packages.mx.skins.halo.ButtonSkin]
Symbol 159 MovieClip [__Packages.mx.controls.VScrollBar]

Instance Names

"bgr"	Frame 1	Symbol 160 MovieClip
"DocArea"	Frame 1	Symbol 131 MovieClip [ScrollPane]
"toolbar"	Frame 1	Symbol 193 MovieClip
"HandCursor"	Frame 1	Symbol 195 MovieClip
"TextCursor"	Frame 1	Symbol 197 MovieClip
"bgr"	Symbol 8 MovieClip [#DropDownToolbar] Frame 1	Symbol 7 MovieClip
"_but"	Symbol 14 MovieClip [#nextpage] Frame 1	Symbol 12 MovieClip
"_but"	Symbol 19 MovieClip [#selMode] Frame 1	Symbol 12 MovieClip
"_but"	Symbol 21 MovieClip [#newwindow] Frame 1	Symbol 12 MovieClip
"_but"	Symbol 23 MovieClip [#help] Frame 1	Symbol 12 MovieClip
"_but"	Symbol 25 MovieClip [#rotate] Frame 1	Symbol 12 MovieClip
"_but"	Symbol 27 MovieClip [#prevpage] Frame 1	Symbol 12 MovieClip
"_but"	Symbol 29 MovieClip [#scalePage] Frame 1	Symbol 12 MovieClip
"_but"	Symbol 31 MovieClip [#scaleWidth] Frame 1	Symbol 12 MovieClip
"_but"	Symbol 33 MovieClip [#moveMode] Frame 1	Symbol 12 MovieClip
"_but"	Symbol 35 MovieClip [#print] Frame 1	Symbol 12 MovieClip
"b"	Symbol 47 MovieClip [SimpleButtonDown] Frame 1	Symbol 44 MovieClip [BrdrShdw]
"face"	Symbol 47 MovieClip [SimpleButtonDown] Frame 1	Symbol 46 MovieClip [BrdrFace]
"b"	Symbol 52 MovieClip [SimpleButtonIn] Frame 1	Symbol 49 MovieClip [BrdrBlk]
"it"	Symbol 52 MovieClip [SimpleButtonIn] Frame 1	Symbol 51 MovieClip [BrdrHilght]
"g"	Symbol 52 MovieClip [SimpleButtonIn] Frame 1	Symbol 44 MovieClip [BrdrShdw]
"face"	Symbol 52 MovieClip [SimpleButtonIn] Frame 1	Symbol 46 MovieClip [BrdrFace]
"ob"	Symbol 53 MovieClip [SimpleButtonUp] Frame 1	Symbol 49 MovieClip [BrdrBlk]
"ol"	Symbol 53 MovieClip [SimpleButtonUp] Frame 1	Symbol 46 MovieClip [BrdrFace]
"ib"	Symbol 53 MovieClip [SimpleButtonUp] Frame 1	Symbol 44 MovieClip [BrdrShdw]
"il"	Symbol 53 MovieClip [SimpleButtonUp] Frame 1	Symbol 51 MovieClip [BrdrHilght]
"face"	Symbol 53 MovieClip [SimpleButtonUp] Frame 1	Symbol 46 MovieClip [BrdrFace]
"boundingBox_mc"	Symbol 60 MovieClip [FocusRect] Frame 1	Symbol 42 MovieClip [BoundingBox]
"tabCapture"	Symbol 61 MovieClip [FocusManager] Frame 1	Symbol 59 Button
"boundingBox_mc"	Symbol 64 MovieClip [SimpleButton] Frame 1	Symbol 42 MovieClip [BoundingBox]
"boundingBox_mc"	Symbol 68 MovieClip [Button] Frame 1	Symbol 42 MovieClip [BoundingBox]
"dfs"	Symbol 124 MovieClip [BtnDownArrow] Frame 1	Symbol 72 MovieClip [ScrollTrack]
"dfs"	Symbol 125 MovieClip [BtnUpArrow] Frame 1	Symbol 72 MovieClip [ScrollTrack]
"boundingBox_mc"	Symbol 127 MovieClip [HScrollBar] Frame 1	Symbol 42 MovieClip [BoundingBox]
"boundingBox_mc"	Symbol 128 MovieClip [VScrollBar] Frame 1	Symbol 42 MovieClip [BoundingBox]
"boundingBox_mc"	Symbol 129 MovieClip [View] Frame 1	Symbol 42 MovieClip [BoundingBox]
"boundingBox_mc"	Symbol 130 MovieClip [ScrollView] Frame 1	Symbol 42 MovieClip [BoundingBox]
"boundingBox_mc"	Symbol 131 MovieClip [ScrollPane] Frame 1	Symbol 42 MovieClip [BoundingBox]
"SliderHandleBtn"	Symbol 176 MovieClip Frame 1	Symbol 175 Button
"SliderHandle"	Symbol 177 MovieClip Frame 1	Symbol 176 MovieClip
"ScaleTextField"	Symbol 181 MovieClip Frame 1	Symbol 180 EditableText
"TotalPages"	Symbol 184 MovieClip Frame 1	Symbol 183 EditableText
"PageNoField"	Symbol 186 MovieClip Frame 1	Symbol 185 EditableText
"TotalPagesMC"	Symbol 187 MovieClip Frame 1	Symbol 184 MovieClip
"PageNoFieldMC"	Symbol 187 MovieClip Frame 1	Symbol 186 MovieClip
"searchPattern"	Symbol 190 MovieClip Frame 1	Symbol 189 EditableText
"_but"	Symbol 192 MovieClip Frame 1	Symbol 12 MovieClip
"toolbarbgr"	Symbol 193 MovieClip Frame 1	Symbol 162 MovieClip
"logo"	Symbol 193 MovieClip Frame 1	Symbol 171 MovieClip
"print"	Symbol 193 MovieClip Frame 1	Symbol 35 MovieClip [#print]
"ZoomSlider"	Symbol 193 MovieClip Frame 1	Symbol 177 MovieClip
"ScaleTextMovie"	Symbol 193 MovieClip Frame 1	Symbol 181 MovieClip
"PageNoMovie"	Symbol 193 MovieClip Frame 1	Symbol 187 MovieClip
"moveMode"	Symbol 193 MovieClip Frame 1	Symbol 33 MovieClip [#moveMode]
"scaleWidth"	Symbol 193 MovieClip Frame 1	Symbol 31 MovieClip [#scaleWidth]
"scalePage"	Symbol 193 MovieClip Frame 1	Symbol 29 MovieClip [#scalePage]
"prevpage"	Symbol 193 MovieClip Frame 1	Symbol 27 MovieClip [#prevpage]
"rotate"	Symbol 193 MovieClip Frame 1	Symbol 25 MovieClip [#rotate]
"help"	Symbol 193 MovieClip Frame 1	Symbol 23 MovieClip [#help]
"newwindow"	Symbol 193 MovieClip Frame 1	Symbol 21 MovieClip [#newwindow]
"selMode"	Symbol 193 MovieClip Frame 1	Symbol 19 MovieClip [#selMode]
"more"	Symbol 193 MovieClip Frame 1	Symbol 17 MovieClip [#more]
"nextpage"	Symbol 193 MovieClip Frame 1	Symbol 14 MovieClip [#nextpage]
"searchPatternmc"	Symbol 193 MovieClip Frame 1	Symbol 190 MovieClip
"searchbut"	Symbol 193 MovieClip Frame 1	Symbol 192 MovieClip

Special Tags

ExportAssets (56)	Timeline Frame 1	Symbol 300 as "Resolution"
ExportAssets (56)	Timeline Frame 1	Symbol 301 as "Orientation"
ExportAssets (56)	Timeline Frame 1	Symbol 306 as "CR1"
ExportAssets (56)	Timeline Frame 1	Symbol 315 as "Page1"
ExportAssets (56)	Timeline Frame 1	Symbol 320 as "CR2"
ExportAssets (56)	Timeline Frame 1	Symbol 324 as "Page2"
ExportAssets (56)	Timeline Frame 1	Symbol 329 as "CR3"
ExportAssets (56)	Timeline Frame 1	Symbol 333 as "Page3"
ExportAssets (56)	Timeline Frame 1	Symbol 338 as "CR4"
ExportAssets (56)	Timeline Frame 1	Symbol 341 as "Page4"
ExportAssets (56)	Timeline Frame 1	Symbol 346 as "CR5"
ExportAssets (56)	Timeline Frame 1	Symbol 348 as "Page5"
ExportAssets (56)	Timeline Frame 1	Symbol 353 as "CR6"
ExportAssets (56)	Timeline Frame 1	Symbol 355 as "Page6"
ExportAssets (56)	Timeline Frame 1	Symbol 360 as "CR7"
ExportAssets (56)	Timeline Frame 1	Symbol 362 as "Page7"
ExportAssets (56)	Timeline Frame 1	Symbol 367 as "CR8"
ExportAssets (56)	Timeline Frame 1	Symbol 369 as "Page8"
ExportAssets (56)	Timeline Frame 1	Symbol 374 as "CR9"
ExportAssets (56)	Timeline Frame 1	Symbol 376 as "Page9"
ExportAssets (56)	Timeline Frame 1	Symbol 381 as "CR10"
ExportAssets (56)	Timeline Frame 1	Symbol 383 as "Page10"
ExportAssets (56)	Timeline Frame 1	Symbol 388 as "CR11"
ExportAssets (56)	Timeline Frame 1	Symbol 390 as "Page11"
ExportAssets (56)	Timeline Frame 1	Symbol 395 as "CR12"
ExportAssets (56)	Timeline Frame 1	Symbol 407 as "Page12"
ExportAssets (56)	Timeline Frame 1	Symbol 412 as "CR13"
ExportAssets (56)	Timeline Frame 1	Symbol 419 as "Page13"
ExportAssets (56)	Timeline Frame 1	Symbol 424 as "CR14"
ExportAssets (56)	Timeline Frame 1	Symbol 438 as "Page14"
ExportAssets (56)	Timeline Frame 1	Symbol 443 as "CR15"
ExportAssets (56)	Timeline Frame 1	Symbol 445 as "Page15"
ExportAssets (56)	Timeline Frame 1	Symbol 450 as "CR16"
ExportAssets (56)	Timeline Frame 1	Symbol 452 as "Page16"
ExportAssets (56)	Timeline Frame 1	Symbol 457 as "CR17"
ExportAssets (56)	Timeline Frame 1	Symbol 459 as "Page17"
ExportAssets (56)	Timeline Frame 1	Symbol 464 as "CR18"
ExportAssets (56)	Timeline Frame 1	Symbol 466 as "Page18"
ExportAssets (56)	Timeline Frame 1	Symbol 471 as "CR19"
ExportAssets (56)	Timeline Frame 1	Symbol 473 as "Page19"
ExportAssets (56)	Timeline Frame 1	Symbol 478 as "CR20"
ExportAssets (56)	Timeline Frame 1	Symbol 480 as "Page20"
ExportAssets (56)	Timeline Frame 1	Symbol 485 as "CR21"
ExportAssets (56)	Timeline Frame 1	Symbol 487 as "Page21"
ExportAssets (56)	Timeline Frame 1	Symbol 492 as "CR22"
ExportAssets (56)	Timeline Frame 1	Symbol 494 as "Page22"
ExportAssets (56)	Timeline Frame 1	Symbol 499 as "CR23"
ExportAssets (56)	Timeline Frame 1	Symbol 501 as "Page23"
ExportAssets (56)	Timeline Frame 1	Symbol 506 as "CR24"
ExportAssets (56)	Timeline Frame 1	Symbol 508 as "Page24"
ExportAssets (56)	Timeline Frame 1	Symbol 513 as "CR25"
ExportAssets (56)	Timeline Frame 1	Symbol 515 as "Page25"
ExportAssets (56)	Timeline Frame 1	Symbol 520 as "CR26"
ExportAssets (56)	Timeline Frame 1	Symbol 522 as "Page26"
ExportAssets (56)	Timeline Frame 1	Symbol 527 as "CR27"
ExportAssets (56)	Timeline Frame 1	Symbol 529 as "Page27"
ExportAssets (56)	Timeline Frame 1	Symbol 534 as "CR28"
ExportAssets (56)	Timeline Frame 1	Symbol 536 as "Page28"
ExportAssets (56)	Timeline Frame 1	Symbol 541 as "CR29"
ExportAssets (56)	Timeline Frame 1	Symbol 551 as "Page29"
ExportAssets (56)	Timeline Frame 1	Symbol 556 as "CR30"
ExportAssets (56)	Timeline Frame 1	Symbol 558 as "Page30"
ExportAssets (56)	Timeline Frame 1	Symbol 563 as "CR31"
ExportAssets (56)	Timeline Frame 1	Symbol 565 as "Page31"
ExportAssets (56)	Timeline Frame 1	Symbol 570 as "CR32"
ExportAssets (56)	Timeline Frame 1	Symbol 572 as "Page32"
ExportAssets (56)	Timeline Frame 1	Symbol 577 as "CR33"
ExportAssets (56)	Timeline Frame 1	Symbol 579 as "Page33"
ExportAssets (56)	Timeline Frame 1	Symbol 584 as "CR34"
ExportAssets (56)	Timeline Frame 1	Symbol 586 as "Page34"
ExportAssets (56)	Timeline Frame 1	Symbol 591 as "CR35"
ExportAssets (56)	Timeline Frame 1	Symbol 593 as "Page35"
ExportAssets (56)	Timeline Frame 1	Symbol 598 as "CR36"
ExportAssets (56)	Timeline Frame 1	Symbol 600 as "Page36"
ExportAssets (56)	Timeline Frame 1	Symbol 605 as "CR37"
ExportAssets (56)	Timeline Frame 1	Symbol 607 as "Page37"
ExportAssets (56)	Timeline Frame 1	Symbol 612 as "CR38"
ExportAssets (56)	Timeline Frame 1	Symbol 614 as "Page38"
ExportAssets (56)	Timeline Frame 1	Symbol 619 as "CR39"
ExportAssets (56)	Timeline Frame 1	Symbol 621 as "Page39"
ExportAssets (56)	Timeline Frame 1	Symbol 626 as "CR40"
ExportAssets (56)	Timeline Frame 1	Symbol 628 as "Page40"
ExportAssets (56)	Timeline Frame 1	Symbol 633 as "CR41"
ExportAssets (56)	Timeline Frame 1	Symbol 635 as "Page41"
ExportAssets (56)	Timeline Frame 1	Symbol 640 as "CR42"
ExportAssets (56)	Timeline Frame 1	Symbol 642 as "Page42"
ExportAssets (56)	Timeline Frame 1	Symbol 647 as "CR43"
ExportAssets (56)	Timeline Frame 1	Symbol 649 as "Page43"
ExportAssets (56)	Timeline Frame 1	Symbol 654 as "CR44"
ExportAssets (56)	Timeline Frame 1	Symbol 656 as "Page44"
ExportAssets (56)	Timeline Frame 1	Symbol 661 as "CR45"
ExportAssets (56)	Timeline Frame 1	Symbol 663 as "Page45"
ExportAssets (56)	Timeline Frame 1	Symbol 668 as "CR46"
ExportAssets (56)	Timeline Frame 1	Symbol 670 as "Page46"
ExportAssets (56)	Timeline Frame 1	Symbol 675 as "CR47"
ExportAssets (56)	Timeline Frame 1	Symbol 677 as "Page47"
ExportAssets (56)	Timeline Frame 1	Symbol 682 as "CR48"
ExportAssets (56)	Timeline Frame 1	Symbol 684 as "Page48"
ExportAssets (56)	Timeline Frame 1	Symbol 689 as "CR49"
ExportAssets (56)	Timeline Frame 1	Symbol 701 as "Page49"
ExportAssets (56)	Timeline Frame 1	Symbol 706 as "CR50"
ExportAssets (56)	Timeline Frame 1	Symbol 708 as "Page50"
ExportAssets (56)	Timeline Frame 1	Symbol 713 as "CR51"
ExportAssets (56)	Timeline Frame 1	Symbol 715 as "Page51"
ExportAssets (56)	Timeline Frame 1	Symbol 720 as "CR52"
ExportAssets (56)	Timeline Frame 1	Symbol 722 as "Page52"
ExportAssets (56)	Timeline Frame 1	Symbol 727 as "CR53"
ExportAssets (56)	Timeline Frame 1	Symbol 729 as "Page53"
ExportAssets (56)	Timeline Frame 1	Symbol 734 as "CR54"
ExportAssets (56)	Timeline Frame 1	Symbol 736 as "Page54"
ExportAssets (56)	Timeline Frame 1	Symbol 741 as "CR55"
ExportAssets (56)	Timeline Frame 1	Symbol 743 as "Page55"
ExportAssets (56)	Timeline Frame 1	Symbol 748 as "CR56"
ExportAssets (56)	Timeline Frame 1	Symbol 750 as "Page56"
ExportAssets (56)	Timeline Frame 1	Symbol 755 as "CR57"
ExportAssets (56)	Timeline Frame 1	Symbol 757 as "Page57"
ExportAssets (56)	Timeline Frame 1	Symbol 762 as "CR58"
ExportAssets (56)	Timeline Frame 1	Symbol 768 as "Page58"
ExportAssets (56)	Timeline Frame 1	Symbol 773 as "CR59"
ExportAssets (56)	Timeline Frame 1	Symbol 775 as "Page59"
ExportAssets (56)	Timeline Frame 1	Symbol 780 as "CR60"
ExportAssets (56)	Timeline Frame 1	Symbol 782 as "Page60"
ExportAssets (56)	Timeline Frame 1	Symbol 787 as "CR61"
ExportAssets (56)	Timeline Frame 1	Symbol 792 as "Page61"
ExportAssets (56)	Timeline Frame 1	Symbol 797 as "CR62"
ExportAssets (56)	Timeline Frame 1	Symbol 799 as "Page62"
ExportAssets (56)	Timeline Frame 1	Symbol 804 as "CR63"
ExportAssets (56)	Timeline Frame 1	Symbol 807 as "Page63"
ExportAssets (56)	Timeline Frame 1	Symbol 812 as "CR64"
ExportAssets (56)	Timeline Frame 1	Symbol 814 as "Page64"
ExportAssets (56)	Timeline Frame 1	Symbol 819 as "CR65"
ExportAssets (56)	Timeline Frame 1	Symbol 831 as "Page65"
ExportAssets (56)	Timeline Frame 1	Symbol 836 as "CR66"
ExportAssets (56)	Timeline Frame 1	Symbol 838 as "Page66"
ExportAssets (56)	Timeline Frame 1	Symbol 843 as "CR67"
ExportAssets (56)	Timeline Frame 1	Symbol 845 as "Page67"
ExportAssets (56)	Timeline Frame 1	Symbol 850 as "CR68"
ExportAssets (56)	Timeline Frame 1	Symbol 852 as "Page68"
ExportAssets (56)	Timeline Frame 1	Symbol 857 as "CR69"
ExportAssets (56)	Timeline Frame 1	Symbol 859 as "Page69"
ExportAssets (56)	Timeline Frame 1	Symbol 864 as "CR70"
ExportAssets (56)	Timeline Frame 1	Symbol 1018 as "Page70"
ExportAssets (56)	Timeline Frame 1	Symbol 1023 as "CR71"
ExportAssets (56)	Timeline Frame 1	Symbol 1025 as "Page71"
ExportAssets (56)	Timeline Frame 1	Symbol 1030 as "CR72"
ExportAssets (56)	Timeline Frame 1	Symbol 1032 as "Page72"
ExportAssets (56)	Timeline Frame 1	Symbol 1037 as "CR73"
ExportAssets (56)	Timeline Frame 1	Symbol 1039 as "Page73"
ExportAssets (56)	Timeline Frame 1	Symbol 1044 as "CR74"
ExportAssets (56)	Timeline Frame 1	Symbol 1046 as "Page74"
ExportAssets (56)	Timeline Frame 1	Symbol 1051 as "CR75"
ExportAssets (56)	Timeline Frame 1	Symbol 1053 as "Page75"
ExportAssets (56)	Timeline Frame 1	Symbol 1058 as "CR76"
ExportAssets (56)	Timeline Frame 1	Symbol 1060 as "Page76"
ExportAssets (56)	Timeline Frame 1	Symbol 1065 as "CR77"
ExportAssets (56)	Timeline Frame 1	Symbol 1076 as "Page77"
ExportAssets (56)	Timeline Frame 1	Symbol 1081 as "CR78"
ExportAssets (56)	Timeline Frame 1	Symbol 1083 as "Page78"
ExportAssets (56)	Timeline Frame 1	Symbol 1088 as "CR79"
ExportAssets (56)	Timeline Frame 1	Symbol 1090 as "Page79"
ExportAssets (56)	Timeline Frame 1	Symbol 1095 as "CR80"
ExportAssets (56)	Timeline Frame 1	Symbol 1097 as "Page80"
ExportAssets (56)	Timeline Frame 1	Symbol 1102 as "CR81"
ExportAssets (56)	Timeline Frame 1	Symbol 1104 as "Page81"
ExportAssets (56)	Timeline Frame 1	Symbol 1109 as "CR82"
ExportAssets (56)	Timeline Frame 1	Symbol 1111 as "Page82"
ExportAssets (56)	Timeline Frame 1	Symbol 1116 as "CR83"
ExportAssets (56)	Timeline Frame 1	Symbol 1118 as "Page83"
ExportAssets (56)	Timeline Frame 1	Symbol 1123 as "CR84"
ExportAssets (56)	Timeline Frame 1	Symbol 1125 as "Page84"
ExportAssets (56)	Timeline Frame 1	Symbol 1130 as "CR85"
ExportAssets (56)	Timeline Frame 1	Symbol 1132 as "Page85"
ExportAssets (56)	Timeline Frame 1	Symbol 1137 as "CR86"
ExportAssets (56)	Timeline Frame 1	Symbol 1139 as "Page86"
ExportAssets (56)	Timeline Frame 1	Symbol 1144 as "CR87"
ExportAssets (56)	Timeline Frame 1	Symbol 1146 as "Page87"
ExportAssets (56)	Timeline Frame 1	Symbol 1151 as "CR88"
ExportAssets (56)	Timeline Frame 1	Symbol 1153 as "Page88"
ExportAssets (56)	Timeline Frame 1	Symbol 1158 as "CR89"
ExportAssets (56)	Timeline Frame 1	Symbol 1160 as "Page89"
ExportAssets (56)	Timeline Frame 1	Symbol 1165 as "CR90"
ExportAssets (56)	Timeline Frame 1	Symbol 1167 as "Page90"
ExportAssets (56)	Timeline Frame 1	Symbol 1172 as "CR91"
ExportAssets (56)	Timeline Frame 1	Symbol 1174 as "Page91"
ExportAssets (56)	Timeline Frame 1	Symbol 1179 as "CR92"
ExportAssets (56)	Timeline Frame 1	Symbol 1190 as "Page92"
ExportAssets (56)	Timeline Frame 1	Symbol 1195 as "CR93"
ExportAssets (56)	Timeline Frame 1	Symbol 1197 as "Page93"
ExportAssets (56)	Timeline Frame 1	Symbol 1202 as "CR94"
ExportAssets (56)	Timeline Frame 1	Symbol 1204 as "Page94"
ExportAssets (56)	Timeline Frame 1	Symbol 1209 as "CR95"
ExportAssets (56)	Timeline Frame 1	Symbol 1211 as "Page95"
ExportAssets (56)	Timeline Frame 1	Symbol 1216 as "CR96"
ExportAssets (56)	Timeline Frame 1	Symbol 1218 as "Page96"
ExportAssets (56)	Timeline Frame 1	Symbol 1223 as "CR97"
ExportAssets (56)	Timeline Frame 1	Symbol 1225 as "Page97"
ExportAssets (56)	Timeline Frame 1	Symbol 1230 as "CR98"
ExportAssets (56)	Timeline Frame 1	Symbol 1232 as "Page98"
ExportAssets (56)	Timeline Frame 1	Symbol 1237 as "CR99"
ExportAssets (56)	Timeline Frame 1	Symbol 1239 as "Page99"
ExportAssets (56)	Timeline Frame 1	Symbol 1244 as "CR100"
ExportAssets (56)	Timeline Frame 1	Symbol 1246 as "Page100"
ExportAssets (56)	Timeline Frame 1	Symbol 1251 as "CR101"
ExportAssets (56)	Timeline Frame 1	Symbol 1253 as "Page101"
ExportAssets (56)	Timeline Frame 1	Symbol 1258 as "CR102"
ExportAssets (56)	Timeline Frame 1	Symbol 1260 as "Page102"
ExportAssets (56)	Timeline Frame 1	Symbol 1265 as "CR103"
ExportAssets (56)	Timeline Frame 1	Symbol 1267 as "Page103"
ExportAssets (56)	Timeline Frame 1	Symbol 1272 as "CR104"
ExportAssets (56)	Timeline Frame 1	Symbol 1274 as "Page104"
ExportAssets (56)	Timeline Frame 1	Symbol 1279 as "CR105"
ExportAssets (56)	Timeline Frame 1	Symbol 1281 as "Page105"
ExportAssets (56)	Timeline Frame 1	Symbol 1286 as "CR106"
ExportAssets (56)	Timeline Frame 1	Symbol 1288 as "Page106"
ExportAssets (56)	Timeline Frame 1	Symbol 1293 as "CR107"
ExportAssets (56)	Timeline Frame 1	Symbol 1295 as "Page107"
ExportAssets (56)	Timeline Frame 1	Symbol 1300 as "CR108"
ExportAssets (56)	Timeline Frame 1	Symbol 1302 as "Page108"
ExportAssets (56)	Timeline Frame 1	Symbol 1307 as "CR109"
ExportAssets (56)	Timeline Frame 1	Symbol 1310 as "Page109"
ExportAssets (56)	Timeline Frame 1	Symbol 1315 as "CR110"
ExportAssets (56)	Timeline Frame 1	Symbol 1317 as "Page110"
ExportAssets (56)	Timeline Frame 1	Symbol 1322 as "CR111"
ExportAssets (56)	Timeline Frame 1	Symbol 1333 as "Page111"
ExportAssets (56)	Timeline Frame 1	Symbol 1338 as "CR112"
ExportAssets (56)	Timeline Frame 1	Symbol 1340 as "Page112"
ExportAssets (56)	Timeline Frame 1	Symbol 1345 as "CR113"
ExportAssets (56)	Timeline Frame 1	Symbol 1347 as "Page113"
ExportAssets (56)	Timeline Frame 1	Symbol 1352 as "CR114"
ExportAssets (56)	Timeline Frame 1	Symbol 1354 as "Page114"
ExportAssets (56)	Timeline Frame 1	Symbol 1359 as "CR115"
ExportAssets (56)	Timeline Frame 1	Symbol 1361 as "Page115"
ExportAssets (56)	Timeline Frame 1	Symbol 1366 as "CR116"
ExportAssets (56)	Timeline Frame 1	Symbol 1368 as "Page116"
ExportAssets (56)	Timeline Frame 1	Symbol 1373 as "CR117"
ExportAssets (56)	Timeline Frame 1	Symbol 1375 as "Page117"
ExportAssets (56)	Timeline Frame 1	Symbol 1380 as "CR118"
ExportAssets (56)	Timeline Frame 1	Symbol 1382 as "Page118"
ExportAssets (56)	Timeline Frame 1	Symbol 1387 as "CR119"
ExportAssets (56)	Timeline Frame 1	Symbol 1389 as "Page119"
ExportAssets (56)	Timeline Frame 1	Symbol 1394 as "CR120"
ExportAssets (56)	Timeline Frame 1	Symbol 1396 as "Page120"
ExportAssets (56)	Timeline Frame 1	Symbol 1401 as "CR121"
ExportAssets (56)	Timeline Frame 1	Symbol 1403 as "Page121"
ExportAssets (56)	Timeline Frame 1	Symbol 1408 as "CR122"
ExportAssets (56)	Timeline Frame 1	Symbol 1417 as "Page122"
ExportAssets (56)	Timeline Frame 1	Symbol 1422 as "CR123"
ExportAssets (56)	Timeline Frame 1	Symbol 1427 as "Page123"
ExportAssets (56)	Timeline Frame 1	Symbol 1432 as "CR124"
ExportAssets (56)	Timeline Frame 1	Symbol 1437 as "Page124"
ExportAssets (56)	Timeline Frame 1	Symbol 1442 as "CR125"
ExportAssets (56)	Timeline Frame 1	Symbol 1447 as "Page125"
ExportAssets (56)	Timeline Frame 1	Symbol 1452 as "CR126"
ExportAssets (56)	Timeline Frame 1	Symbol 1459 as "Page126"
ExportAssets (56)	Timeline Frame 1	Symbol 1464 as "CR127"
ExportAssets (56)	Timeline Frame 1	Symbol 1469 as "Page127"
ExportAssets (56)	Timeline Frame 1	Symbol 1474 as "CR128"
ExportAssets (56)	Timeline Frame 1	Symbol 1479 as "Page128"
ExportAssets (56)	Timeline Frame 1	Symbol 1484 as "CR129"
ExportAssets (56)	Timeline Frame 1	Symbol 1493 as "Page129"
ExportAssets (56)	Timeline Frame 1	Symbol 1498 as "CR130"
ExportAssets (56)	Timeline Frame 1	Symbol 1507 as "Page130"
ExportAssets (56)	Timeline Frame 1	Symbol 1512 as "CR131"
ExportAssets (56)	Timeline Frame 1	Symbol 1521 as "Page131"
ExportAssets (56)	Timeline Frame 1	Symbol 1526 as "CR132"
ExportAssets (56)	Timeline Frame 1	Symbol 1535 as "Page132"
ExportAssets (56)	Timeline Frame 1	Symbol 1540 as "CR133"
ExportAssets (56)	Timeline Frame 1	Symbol 1547 as "Page133"
ExportAssets (56)	Timeline Frame 1	Symbol 1552 as "CR134"
ExportAssets (56)	Timeline Frame 1	Symbol 1559 as "Page134"
ExportAssets (56)	Timeline Frame 1	Symbol 1564 as "CR135"
ExportAssets (56)	Timeline Frame 1	Symbol 1573 as "Page135"
ExportAssets (56)	Timeline Frame 1	Symbol 1578 as "CR136"
ExportAssets (56)	Timeline Frame 1	Symbol 1587 as "Page136"
ExportAssets (56)	Timeline Frame 1	Symbol 1592 as "CR137"
ExportAssets (56)	Timeline Frame 1	Symbol 1599 as "Page137"
ExportAssets (56)	Timeline Frame 1	Symbol 1604 as "CR138"
ExportAssets (56)	Timeline Frame 1	Symbol 1613 as "Page138"
ExportAssets (56)	Timeline Frame 1	Symbol 1618 as "CR139"
ExportAssets (56)	Timeline Frame 1	Symbol 1627 as "Page139"
ExportAssets (56)	Timeline Frame 1	Symbol 1632 as "CR140"
ExportAssets (56)	Timeline Frame 1	Symbol 1643 as "Page140"
ExportAssets (56)	Timeline Frame 1	Symbol 1648 as "CR141"
ExportAssets (56)	Timeline Frame 1	Symbol 1653 as "Page141"
ExportAssets (56)	Timeline Frame 1	Symbol 1658 as "CR142"
ExportAssets (56)	Timeline Frame 1	Symbol 1663 as "Page142"
ExportAssets (56)	Timeline Frame 1	Symbol 1668 as "CR143"
ExportAssets (56)	Timeline Frame 1	Symbol 1675 as "Page143"
ExportAssets (56)	Timeline Frame 1	Symbol 1680 as "CR144"
ExportAssets (56)	Timeline Frame 1	Symbol 1685 as "Page144"
ExportAssets (56)	Timeline Frame 1	Symbol 1690 as "CR145"
ExportAssets (56)	Timeline Frame 1	Symbol 1695 as "Page145"
ExportAssets (56)	Timeline Frame 1	Symbol 1700 as "CR146"
ExportAssets (56)	Timeline Frame 1	Symbol 1702 as "Page146"
ExportAssets (56)	Timeline Frame 1	Symbol 1707 as "CR147"
ExportAssets (56)	Timeline Frame 1	Symbol 1709 as "Page147"
ExportAssets (56)	Timeline Frame 1	Symbol 1714 as "CR148"
ExportAssets (56)	Timeline Frame 1	Symbol 1716 as "Page148"
ExportAssets (56)	Timeline Frame 1	Symbol 1721 as "CR149"
ExportAssets (56)	Timeline Frame 1	Symbol 1726 as "Page149"
ExportAssets (56)	Timeline Frame 1	Symbol 1731 as "CR150"
ExportAssets (56)	Timeline Frame 1	Symbol 1733 as "Page150"
ExportAssets (56)	Timeline Frame 1	Symbol 1738 as "CR151"
ExportAssets (56)	Timeline Frame 1	Symbol 1740 as "Page151"
ExportAssets (56)	Timeline Frame 1	Symbol 1745 as "CR152"
ExportAssets (56)	Timeline Frame 1	Symbol 1747 as "Page152"
ExportAssets (56)	Timeline Frame 1	Symbol 1752 as "CR153"
ExportAssets (56)	Timeline Frame 1	Symbol 1754 as "Page153"
ExportAssets (56)	Timeline Frame 1	Symbol 1759 as "CR154"
ExportAssets (56)	Timeline Frame 1	Symbol 1768 as "Page154"
ExportAssets (56)	Timeline Frame 1	Symbol 1773 as "CR155"
ExportAssets (56)	Timeline Frame 1	Symbol 1775 as "Page155"
ExportAssets (56)	Timeline Frame 1	Symbol 1780 as "CR156"
ExportAssets (56)	Timeline Frame 1	Symbol 1782 as "Page156"
ExportAssets (56)	Timeline Frame 1	Symbol 1787 as "CR157"
ExportAssets (56)	Timeline Frame 1	Symbol 1789 as "Page157"
ExportAssets (56)	Timeline Frame 1	Symbol 1794 as "CR158"
ExportAssets (56)	Timeline Frame 1	Symbol 1796 as "Page158"
ExportAssets (56)	Timeline Frame 1	Symbol 1801 as "CR159"
ExportAssets (56)	Timeline Frame 1	Symbol 1803 as "Page159"
ExportAssets (56)	Timeline Frame 1	Symbol 1808 as "CR160"
ExportAssets (56)	Timeline Frame 1	Symbol 1810 as "Page160"
ExportAssets (56)	Timeline Frame 1	Symbol 1815 as "CR161"
ExportAssets (56)	Timeline Frame 1	Symbol 1817 as "Page161"
ExportAssets (56)	Timeline Frame 1	Symbol 1822 as "CR162"
ExportAssets (56)	Timeline Frame 1	Symbol 1824 as "Page162"
ExportAssets (56)	Timeline Frame 1	Symbol 1829 as "CR163"
ExportAssets (56)	Timeline Frame 1	Symbol 1831 as "Page163"
ExportAssets (56)	Timeline Frame 1	Symbol 1836 as "CR164"
ExportAssets (56)	Timeline Frame 1	Symbol 1838 as "Page164"
ExportAssets (56)	Timeline Frame 1	Symbol 1843 as "CR165"
ExportAssets (56)	Timeline Frame 1	Symbol 1845 as "Page165"
ExportAssets (56)	Timeline Frame 1	Symbol 1850 as "CR166"
ExportAssets (56)	Timeline Frame 1	Symbol 1852 as "Page166"
ExportAssets (56)	Timeline Frame 1	Symbol 1857 as "CR167"
ExportAssets (56)	Timeline Frame 1	Symbol 1859 as "Page167"
ExportAssets (56)	Timeline Frame 1	Symbol 1864 as "CR168"
ExportAssets (56)	Timeline Frame 1	Symbol 1866 as "Page168"
ExportAssets (56)	Timeline Frame 1	Symbol 1871 as "CR169"
ExportAssets (56)	Timeline Frame 1	Symbol 1873 as "Page169"
ExportAssets (56)	Timeline Frame 1	Symbol 1878 as "CR170"
ExportAssets (56)	Timeline Frame 1	Symbol 1880 as "Page170"
ExportAssets (56)	Timeline Frame 1	Symbol 1885 as "CR171"
ExportAssets (56)	Timeline Frame 1	Symbol 1887 as "Page171"
ExportAssets (56)	Timeline Frame 1	Symbol 1892 as "CR172"
ExportAssets (56)	Timeline Frame 1	Symbol 1894 as "Page172"
ExportAssets (56)	Timeline Frame 1	Symbol 1899 as "CR173"
ExportAssets (56)	Timeline Frame 1	Symbol 1901 as "Page173"
ExportAssets (56)	Timeline Frame 1	Symbol 1906 as "CR174"
ExportAssets (56)	Timeline Frame 1	Symbol 1908 as "Page174"
ExportAssets (56)	Timeline Frame 1	Symbol 1913 as "CR175"
ExportAssets (56)	Timeline Frame 1	Symbol 1915 as "Page175"
ExportAssets (56)	Timeline Frame 1	Symbol 1920 as "CR176"
ExportAssets (56)	Timeline Frame 1	Symbol 1922 as "Page176"
ExportAssets (56)	Timeline Frame 1	Symbol 1927 as "CR177"
ExportAssets (56)	Timeline Frame 1	Symbol 1929 as "Page177"
ExportAssets (56)	Timeline Frame 1	Symbol 1934 as "CR178"
ExportAssets (56)	Timeline Frame 1	Symbol 1940 as "Page178"
ExportAssets (56)	Timeline Frame 1	Symbol 1945 as "CR179"
ExportAssets (56)	Timeline Frame 1	Symbol 1947 as "Page179"
ExportAssets (56)	Timeline Frame 1	Symbol 1952 as "CR180"
ExportAssets (56)	Timeline Frame 1	Symbol 1954 as "Page180"
ExportAssets (56)	Timeline Frame 1	Symbol 1959 as "CR181"
ExportAssets (56)	Timeline Frame 1	Symbol 1961 as "Page181"
ExportAssets (56)	Timeline Frame 1	Symbol 1966 as "CR182"
ExportAssets (56)	Timeline Frame 1	Symbol 1968 as "Page182"
ExportAssets (56)	Timeline Frame 1	Symbol 1973 as "CR183"
ExportAssets (56)	Timeline Frame 1	Symbol 1983 as "Page183"
ExportAssets (56)	Timeline Frame 1	Symbol 1988 as "CR184"
ExportAssets (56)	Timeline Frame 1	Symbol 1990 as "Page184"
ExportAssets (56)	Timeline Frame 1	Symbol 1995 as "CR185"
ExportAssets (56)	Timeline Frame 1	Symbol 1997 as "Page185"
ExportAssets (56)	Timeline Frame 1	Symbol 2002 as "CR186"
ExportAssets (56)	Timeline Frame 1	Symbol 2004 as "Page186"
ExportAssets (56)	Timeline Frame 1	Symbol 2009 as "CR187"
ExportAssets (56)	Timeline Frame 1	Symbol 2011 as "Page187"
ExportAssets (56)	Timeline Frame 1	Symbol 2016 as "CR188"
ExportAssets (56)	Timeline Frame 1	Symbol 2018 as "Page188"
ExportAssets (56)	Timeline Frame 1	Symbol 2023 as "CR189"
ExportAssets (56)	Timeline Frame 1	Symbol 2025 as "Page189"
ExportAssets (56)	Timeline Frame 1	Symbol 2030 as "CR190"
ExportAssets (56)	Timeline Frame 1	Symbol 2046 as "Page190"
ExportAssets (56)	Timeline Frame 1	Symbol 2051 as "CR191"
ExportAssets (56)	Timeline Frame 1	Symbol 2053 as "Page191"
ExportAssets (56)	Timeline Frame 1	Symbol 2058 as "CR192"
ExportAssets (56)	Timeline Frame 1	Symbol 2060 as "Page192"
ExportAssets (56)	Timeline Frame 1	Symbol 2065 as "CR193"
ExportAssets (56)	Timeline Frame 1	Symbol 2067 as "Page193"
ExportAssets (56)	Timeline Frame 1	Symbol 2072 as "CR194"
ExportAssets (56)	Timeline Frame 1	Symbol 2074 as "Page194"
ExportAssets (56)	Timeline Frame 1	Symbol 2079 as "CR195"
ExportAssets (56)	Timeline Frame 1	Symbol 2084 as "Page195"
ExportAssets (56)	Timeline Frame 1	Symbol 2089 as "CR196"
ExportAssets (56)	Timeline Frame 1	Symbol 2091 as "Page196"
ExportAssets (56)	Timeline Frame 1	Symbol 2096 as "CR197"
ExportAssets (56)	Timeline Frame 1	Symbol 2098 as "Page197"
ExportAssets (56)	Timeline Frame 1	Symbol 2103 as "CR198"
ExportAssets (56)	Timeline Frame 1	Symbol 2105 as "Page198"
ExportAssets (56)	Timeline Frame 1	Symbol 2110 as "CR199"
ExportAssets (56)	Timeline Frame 1	Symbol 2112 as "Page199"
ExportAssets (56)	Timeline Frame 1	Symbol 2117 as "CR200"
ExportAssets (56)	Timeline Frame 1	Symbol 2120 as "Page200"
ExportAssets (56)	Timeline Frame 1	Symbol 2125 as "CR201"
ExportAssets (56)	Timeline Frame 1	Symbol 2127 as "Page201"
ExportAssets (56)	Timeline Frame 1	Symbol 2132 as "CR202"
ExportAssets (56)	Timeline Frame 1	Symbol 2134 as "Page202"
ExportAssets (56)	Timeline Frame 1	Symbol 2139 as "CR203"
ExportAssets (56)	Timeline Frame 1	Symbol 2141 as "Page203"
ExportAssets (56)	Timeline Frame 1	Symbol 2146 as "CR204"
ExportAssets (56)	Timeline Frame 1	Symbol 2148 as "Page204"
ExportAssets (56)	Timeline Frame 1	Symbol 2153 as "CR205"
ExportAssets (56)	Timeline Frame 1	Symbol 2155 as "Page205"
ExportAssets (56)	Timeline Frame 1	Symbol 2160 as "CR206"
ExportAssets (56)	Timeline Frame 1	Symbol 2162 as "Page206"
ExportAssets (56)	Timeline Frame 1	Symbol 2167 as "CR207"
ExportAssets (56)	Timeline Frame 1	Symbol 2172 as "Page207"
ExportAssets (56)	Timeline Frame 1	Symbol 2177 as "CR208"
ExportAssets (56)	Timeline Frame 1	Symbol 2179 as "Page208"
ExportAssets (56)	Timeline Frame 1	Symbol 2184 as "CR209"
ExportAssets (56)	Timeline Frame 1	Symbol 2186 as "Page209"
ExportAssets (56)	Timeline Frame 1	Symbol 2191 as "CR210"
ExportAssets (56)	Timeline Frame 1	Symbol 2193 as "Page210"
ExportAssets (56)	Timeline Frame 1	Symbol 2198 as "CR211"
ExportAssets (56)	Timeline Frame 1	Symbol 2200 as "Page211"
ExportAssets (56)	Timeline Frame 1	Symbol 2205 as "CR212"
ExportAssets (56)	Timeline Frame 1	Symbol 2207 as "Page212"
ExportAssets (56)	Timeline Frame 1	Symbol 2212 as "CR213"
ExportAssets (56)	Timeline Frame 1	Symbol 2214 as "Page213"
ExportAssets (56)	Timeline Frame 1	Symbol 2219 as "CR214"
ExportAssets (56)	Timeline Frame 1	Symbol 2234 as "Page214"
ExportAssets (56)	Timeline Frame 1	Symbol 2239 as "CR215"
ExportAssets (56)	Timeline Frame 1	Symbol 2241 as "Page215"
ExportAssets (56)	Timeline Frame 1	Symbol 2246 as "CR216"
ExportAssets (56)	Timeline Frame 1	Symbol 2248 as "Page216"
ExportAssets (56)	Timeline Frame 1	Symbol 2253 as "CR217"
ExportAssets (56)	Timeline Frame 1	Symbol 2263 as "Page217"
ExportAssets (56)	Timeline Frame 1	Symbol 2268 as "CR218"
ExportAssets (56)	Timeline Frame 1	Symbol 2270 as "Page218"
ExportAssets (56)	Timeline Frame 1	Symbol 2275 as "CR219"
ExportAssets (56)	Timeline Frame 1	Symbol 2277 as "Page219"
ExportAssets (56)	Timeline Frame 1	Symbol 2282 as "CR220"
ExportAssets (56)	Timeline Frame 1	Symbol 2284 as "Page220"
ExportAssets (56)	Timeline Frame 1	Symbol 2289 as "CR221"
ExportAssets (56)	Timeline Frame 1	Symbol 2291 as "Page221"
ExportAssets (56)	Timeline Frame 1	Symbol 2296 as "CR222"
ExportAssets (56)	Timeline Frame 1	Symbol 2298 as "Page222"
ExportAssets (56)	Timeline Frame 1	Symbol 2303 as "CR223"
ExportAssets (56)	Timeline Frame 1	Symbol 2306 as "Page223"
ExportAssets (56)	Timeline Frame 1	Symbol 2311 as "CR224"
ExportAssets (56)	Timeline Frame 1	Symbol 2313 as "Page224"
ExportAssets (56)	Timeline Frame 1	Symbol 2318 as "CR225"
ExportAssets (56)	Timeline Frame 1	Symbol 2320 as "Page225"
ExportAssets (56)	Timeline Frame 1	Symbol 2325 as "CR226"
ExportAssets (56)	Timeline Frame 1	Symbol 2327 as "Page226"
ExportAssets (56)	Timeline Frame 1	Symbol 2332 as "CR227"
ExportAssets (56)	Timeline Frame 1	Symbol 2334 as "Page227"
ExportAssets (56)	Timeline Frame 1	Symbol 2339 as "CR228"
ExportAssets (56)	Timeline Frame 1	Symbol 2341 as "Page228"
ExportAssets (56)	Timeline Frame 1	Symbol 2346 as "CR229"
ExportAssets (56)	Timeline Frame 1	Symbol 2348 as "Page229"
ExportAssets (56)	Timeline Frame 1	Symbol 2353 as "CR230"
ExportAssets (56)	Timeline Frame 1	Symbol 2358 as "Page230"
ExportAssets (56)	Timeline Frame 1	Symbol 2363 as "CR231"
ExportAssets (56)	Timeline Frame 1	Symbol 2365 as "Page231"
ExportAssets (56)	Timeline Frame 1	Symbol 2370 as "CR232"
ExportAssets (56)	Timeline Frame 1	Symbol 2378 as "Page232"
ExportAssets (56)	Timeline Frame 1	Symbol 2383 as "CR233"
ExportAssets (56)	Timeline Frame 1	Symbol 2388 as "Page233"
ExportAssets (56)	Timeline Frame 1	Symbol 2393 as "CR234"
ExportAssets (56)	Timeline Frame 1	Symbol 2395 as "Page234"
ExportAssets (56)	Timeline Frame 1	Symbol 2400 as "CR235"
ExportAssets (56)	Timeline Frame 1	Symbol 2402 as "Page235"
ExportAssets (56)	Timeline Frame 1	Symbol 2407 as "CR236"
ExportAssets (56)	Timeline Frame 1	Symbol 2541 as "Page236"
ExportAssets (56)	Timeline Frame 1	Symbol 2546 as "CR237"
ExportAssets (56)	Timeline Frame 1	Symbol 2548 as "Page237"
ExportAssets (56)	Timeline Frame 1	Symbol 2553 as "CR238"
ExportAssets (56)	Timeline Frame 1	Symbol 2555 as "Page238"
ExportAssets (56)	Timeline Frame 1	Symbol 2560 as "CR239"
ExportAssets (56)	Timeline Frame 1	Symbol 2562 as "Page239"
ExportAssets (56)	Timeline Frame 1	Symbol 2567 as "CR240"
ExportAssets (56)	Timeline Frame 1	Symbol 2569 as "Page240"
ExportAssets (56)	Timeline Frame 1	Symbol 2574 as "CR241"
ExportAssets (56)	Timeline Frame 1	Symbol 2576 as "Page241"
ExportAssets (56)	Timeline Frame 1	Symbol 2581 as "CR242"
ExportAssets (56)	Timeline Frame 1	Symbol 2583 as "Page242"
ExportAssets (56)	Timeline Frame 1	Symbol 2588 as "CR243"
ExportAssets (56)	Timeline Frame 1	Symbol 2597 as "Page243"
ExportAssets (56)	Timeline Frame 1	Symbol 2602 as "CR244"
ExportAssets (56)	Timeline Frame 1	Symbol 2604 as "Page244"
ExportAssets (56)	Timeline Frame 1	Symbol 2609 as "CR245"
ExportAssets (56)	Timeline Frame 1	Symbol 2611 as "Page245"
ExportAssets (56)	Timeline Frame 1	Symbol 2616 as "CR246"
ExportAssets (56)	Timeline Frame 1	Symbol 2618 as "Page246"
ExportAssets (56)	Timeline Frame 1	Symbol 2623 as "CR247"
ExportAssets (56)	Timeline Frame 1	Symbol 2628 as "Page247"
ExportAssets (56)	Timeline Frame 1	Symbol 2633 as "CR248"
ExportAssets (56)	Timeline Frame 1	Symbol 2635 as "Page248"
ExportAssets (56)	Timeline Frame 1	Symbol 2640 as "CR249"
ExportAssets (56)	Timeline Frame 1	Symbol 2642 as "Page249"
ExportAssets (56)	Timeline Frame 1	Symbol 2647 as "CR250"
ExportAssets (56)	Timeline Frame 1	Symbol 2649 as "Page250"
ExportAssets (56)	Timeline Frame 1	Symbol 2654 as "CR251"
ExportAssets (56)	Timeline Frame 1	Symbol 2656 as "Page251"
ExportAssets (56)	Timeline Frame 1	Symbol 2661 as "CR252"
ExportAssets (56)	Timeline Frame 1	Symbol 2793 as "Page252"
ExportAssets (56)	Timeline Frame 1	Symbol 2798 as "CR253"
ExportAssets (56)	Timeline Frame 1	Symbol 2800 as "Page253"
ExportAssets (56)	Timeline Frame 1	Symbol 2805 as "CR254"
ExportAssets (56)	Timeline Frame 1	Symbol 2811 as "Page254"
ExportAssets (56)	Timeline Frame 1	Symbol 2816 as "CR255"
ExportAssets (56)	Timeline Frame 1	Symbol 2818 as "Page255"
ExportAssets (56)	Timeline Frame 1	Symbol 2823 as "CR256"
ExportAssets (56)	Timeline Frame 1	Symbol 2825 as "Page256"
ExportAssets (56)	Timeline Frame 1	Symbol 2830 as "CR257"
ExportAssets (56)	Timeline Frame 1	Symbol 2832 as "Page257"
ExportAssets (56)	Timeline Frame 1	Symbol 2837 as "CR258"
ExportAssets (56)	Timeline Frame 1	Symbol 2839 as "Page258"
ExportAssets (56)	Timeline Frame 1	Symbol 2844 as "CR259"
ExportAssets (56)	Timeline Frame 1	Symbol 2846 as "Page259"
ExportAssets (56)	Timeline Frame 1	Symbol 2851 as "CR260"
ExportAssets (56)	Timeline Frame 1	Symbol 2853 as "Page260"
ExportAssets (56)	Timeline Frame 1	Symbol 2858 as "CR261"
ExportAssets (56)	Timeline Frame 1	Symbol 2860 as "Page261"
ExportAssets (56)	Timeline Frame 1	Symbol 2865 as "CR262"
ExportAssets (56)	Timeline Frame 1	Symbol 2867 as "Page262"
FileAttributes (69)	Timeline Frame 1	Access local files only, Metadata not present, AS1/AS2.
ExportAssets (56)	Timeline Frame 1	Symbol 2 as "BottomArea"
ExportAssets (56)	Timeline Frame 1	Symbol 3 as "ScrollArea"
ExportAssets (56)	Timeline Frame 1	Symbol 5 as "#bgr"
ExportAssets (56)	Timeline Frame 1	Symbol 8 as "#DropDownToolbar"
ExportAssets (56)	Timeline Frame 1	Symbol 14 as "#nextpage"
ExportAssets (56)	Timeline Frame 1	Symbol 17 as "#more"
ExportAssets (56)	Timeline Frame 1	Symbol 19 as "#selMode"
ExportAssets (56)	Timeline Frame 1	Symbol 21 as "#newwindow"
ExportAssets (56)	Timeline Frame 1	Symbol 23 as "#help"
ExportAssets (56)	Timeline Frame 1	Symbol 25 as "#rotate"
ExportAssets (56)	Timeline Frame 1	Symbol 27 as "#prevpage"
ExportAssets (56)	Timeline Frame 1	Symbol 29 as "#scalePage"
ExportAssets (56)	Timeline Frame 1	Symbol 31 as "#scaleWidth"
ExportAssets (56)	Timeline Frame 1	Symbol 33 as "#moveMode"
ExportAssets (56)	Timeline Frame 1	Symbol 35 as "#print"
ExportAssets (56)	Timeline Frame 1	Symbol 42 as "BoundingBox"
ExportAssets (56)	Timeline Frame 1	Symbol 44 as "BrdrShdw"
ExportAssets (56)	Timeline Frame 1	Symbol 46 as "BrdrFace"
ExportAssets (56)	Timeline Frame 1	Symbol 47 as "SimpleButtonDown"
ExportAssets (56)	Timeline Frame 1	Symbol 49 as "BrdrBlk"
ExportAssets (56)	Timeline Frame 1	Symbol 51 as "BrdrHilght"
ExportAssets (56)	Timeline Frame 1	Symbol 52 as "SimpleButtonIn"
ExportAssets (56)	Timeline Frame 1	Symbol 53 as "SimpleButtonUp"
ExportAssets (56)	Timeline Frame 1	Symbol 54 as "Defaults"
ExportAssets (56)	Timeline Frame 1	Symbol 55 as "UIObjectExtensions"
ExportAssets (56)	Timeline Frame 1	Symbol 56 as "UIObject"
ExportAssets (56)	Timeline Frame 1	Symbol 60 as "FocusRect"
ExportAssets (56)	Timeline Frame 1	Symbol 61 as "FocusManager"
ExportAssets (56)	Timeline Frame 1	Symbol 62 as "UIComponentExtensions"
ExportAssets (56)	Timeline Frame 1	Symbol 63 as "UIComponent"
ExportAssets (56)	Timeline Frame 1	Symbol 64 as "SimpleButton"
ExportAssets (56)	Timeline Frame 1	Symbol 65 as "Border"
ExportAssets (56)	Timeline Frame 1	Symbol 66 as "RectBorder"
ExportAssets (56)	Timeline Frame 1	Symbol 67 as "ButtonSkin"
ExportAssets (56)	Timeline Frame 1	Symbol 68 as "Button"
ExportAssets (56)	Timeline Frame 1	Symbol 69 as "CustomBorder"
ExportAssets (56)	Timeline Frame 1	Symbol 72 as "ScrollTrack"
ExportAssets (56)	Timeline Frame 1	Symbol 79 as "ScrollDownArrowDisabled"
ExportAssets (56)	Timeline Frame 1	Symbol 81 as "ScrollThemeColor1"
ExportAssets (56)	Timeline Frame 1	Symbol 83 as "ScrollThemeColor2"
ExportAssets (56)	Timeline Frame 1	Symbol 84 as "ScrollDownArrowDown"
ExportAssets (56)	Timeline Frame 1	Symbol 85 as "ScrollDownArrowOver"
ExportAssets (56)	Timeline Frame 1	Symbol 86 as "ScrollDownArrowUp"
ExportAssets (56)	Timeline Frame 1	Symbol 92 as "ScrollThumbBottomDisabled"
ExportAssets (56)	Timeline Frame 1	Symbol 94 as "ThumbThemeColor1"
ExportAssets (56)	Timeline Frame 1	Symbol 96 as "ThumbThemeColor3"
ExportAssets (56)	Timeline Frame 1	Symbol 97 as "ScrollThumbBottomDown"
ExportAssets (56)	Timeline Frame 1	Symbol 98 as "ScrollThumbBottomOver"
ExportAssets (56)	Timeline Frame 1	Symbol 99 as "ScrollThumbBottomUp"
ExportAssets (56)	Timeline Frame 1	Symbol 101 as "ScrollThumbGripDisabled"
ExportAssets (56)	Timeline Frame 1	Symbol 103 as "ThumbThemeColor2"
ExportAssets (56)	Timeline Frame 1	Symbol 104 as "ScrollThumbGripDown"
ExportAssets (56)	Timeline Frame 1	Symbol 105 as "ScrollThumbGripOver"
ExportAssets (56)	Timeline Frame 1	Symbol 106 as "ScrollThumbGripUp"
ExportAssets (56)	Timeline Frame 1	Symbol 108 as "ScrollThumbMiddleDisabled"
ExportAssets (56)	Timeline Frame 1	Symbol 109 as "ScrollThumbMiddleDown"
ExportAssets (56)	Timeline Frame 1	Symbol 113 as "ScrollThumbMiddleOver"
ExportAssets (56)	Timeline Frame 1	Symbol 114 as "ScrollThumbMiddleUp"
ExportAssets (56)	Timeline Frame 1	Symbol 115 as "ScrollThumbTopDisabled"
ExportAssets (56)	Timeline Frame 1	Symbol 116 as "ScrollThumbTopDown"
ExportAssets (56)	Timeline Frame 1	Symbol 117 as "ScrollThumbTopOver"
ExportAssets (56)	Timeline Frame 1	Symbol 118 as "ScrollThumbTopUp"
ExportAssets (56)	Timeline Frame 1	Symbol 119 as "ScrollTrackDisabled"
ExportAssets (56)	Timeline Frame 1	Symbol 120 as "ScrollUpArrowDisabled"
ExportAssets (56)	Timeline Frame 1	Symbol 121 as "ScrollUpArrowDown"
ExportAssets (56)	Timeline Frame 1	Symbol 122 as "ScrollUpArrowOver"
ExportAssets (56)	Timeline Frame 1	Symbol 123 as "ScrollUpArrowUp"
ExportAssets (56)	Timeline Frame 1	Symbol 124 as "BtnDownArrow"
ExportAssets (56)	Timeline Frame 1	Symbol 125 as "BtnUpArrow"
ExportAssets (56)	Timeline Frame 1	Symbol 126 as "ScrollBarAssets"
ExportAssets (56)	Timeline Frame 1	Symbol 127 as "HScrollBar"
ExportAssets (56)	Timeline Frame 1	Symbol 128 as "VScrollBar"
ExportAssets (56)	Timeline Frame 1	Symbol 129 as "View"
ExportAssets (56)	Timeline Frame 1	Symbol 130 as "ScrollView"
ExportAssets (56)	Timeline Frame 1	Symbol 131 as "ScrollPane"
ExportAssets (56)	Timeline Frame 1	Symbol 198 as "__Packages.CPrint2FlashEvents"
ExportAssets (56)	Timeline Frame 1	Symbol 199 as "__Packages.Slider"
ExportAssets (56)	Timeline Frame 1	Symbol 36 as "__Packages.mx.core.UIObject"
ExportAssets (56)	Timeline Frame 1	Symbol 37 as "__Packages.mx.core.UIComponent"
ExportAssets (56)	Timeline Frame 1	Symbol 38 as "__Packages.mx.core.View"
ExportAssets (56)	Timeline Frame 1	Symbol 39 as "__Packages.mx.core.ScrollView"
ExportAssets (56)	Timeline Frame 1	Symbol 40 as "__Packages.mx.containers.ScrollPane"
ExportAssets (56)	Timeline Frame 1	Symbol 132 as "__Packages.mx.skins.SkinElement"
ExportAssets (56)	Timeline Frame 1	Symbol 133 as "__Packages.mx.styles.CSSTextStyles"
ExportAssets (56)	Timeline Frame 1	Symbol 134 as "__Packages.mx.styles.StyleManager"
ExportAssets (56)	Timeline Frame 1	Symbol 135 as "__Packages.mx.styles.CSSStyleDeclaration"
ExportAssets (56)	Timeline Frame 1	Symbol 136 as "__Packages.mx.skins.Border"
ExportAssets (56)	Timeline Frame 1	Symbol 137 as "__Packages.mx.skins.RectBorder"
ExportAssets (56)	Timeline Frame 1	Symbol 138 as "__Packages.mx.managers.DepthManager"
ExportAssets (56)	Timeline Frame 1	Symbol 139 as "__Packages.mx.events.EventDispatcher"
ExportAssets (56)	Timeline Frame 1	Symbol 140 as "__Packages.mx.events.UIEventDispatcher"
ExportAssets (56)	Timeline Frame 1	Symbol 141 as "__Packages.mx.core.ExternalContent"
ExportAssets (56)	Timeline Frame 1	Symbol 142 as "__Packages.mx.skins.CustomBorder"
ExportAssets (56)	Timeline Frame 1	Symbol 143 as "__Packages.mx.controls.scrollClasses.ScrollThumb"
ExportAssets (56)	Timeline Frame 1	Symbol 144 as "__Packages.mx.controls.SimpleButton"
ExportAssets (56)	Timeline Frame 1	Symbol 145 as "__Packages.mx.controls.scrollClasses.ScrollBar"
ExportAssets (56)	Timeline Frame 1	Symbol 146 as "__Packages.mx.controls.HScrollBar"
ExportAssets (56)	Timeline Frame 1	Symbol 147 as "__Packages.mx.controls.Button"
ExportAssets (56)	Timeline Frame 1	Symbol 148 as "__Packages.mx.skins.ColoredSkinElement"
ExportAssets (56)	Timeline Frame 1	Symbol 149 as "__Packages.mx.core.ext.UIObjectExtensions"
ExportAssets (56)	Timeline Frame 1	Symbol 150 as "__Packages.mx.skins.halo.Defaults"
ExportAssets (56)	Timeline Frame 1	Symbol 151 as "__Packages.mx.managers.SystemManager"
ExportAssets (56)	Timeline Frame 1	Symbol 152 as "__Packages.mx.managers.FocusManager"
ExportAssets (56)	Timeline Frame 1	Symbol 153 as "__Packages.mx.skins.halo.FocusRect"
ExportAssets (56)	Timeline Frame 1	Symbol 154 as "__Packages.mx.managers.OverlappedWindows"
ExportAssets (56)	Timeline Frame 1	Symbol 155 as "__Packages.mx.styles.CSSSetStyle"
ExportAssets (56)	Timeline Frame 1	Symbol 156 as "__Packages.mx.core.ext.UIComponentExtensions"
ExportAssets (56)	Timeline Frame 1	Symbol 157 as "__Packages.mx.skins.halo.RectBorder"
ExportAssets (56)	Timeline Frame 1	Symbol 158 as "__Packages.mx.skins.halo.ButtonSkin"
ExportAssets (56)	Timeline Frame 1	Symbol 159 as "__Packages.mx.controls.VScrollBar"