By Lowell (66.32.112.44 - 66.32.112.44) on Saturday, October 20, 2001 - 06:17 am:

In the middle of the Terra Shirma complex, I notice this half covered art deco style bank[?]. Is this part of the studio area? What was it and when was it covered? Just curious.

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Saturday, October 20, 2001 - 10:16 pm:

Actually Lowell, the building did not look like this in front when it was Tera Shirma.
The building was originally a bank and had large plate glass windows in front creating a entry way to double front doors.
At the beginning of studio constucton the glass was removed ( and would be used for the control room glass ) and then the front of the building was cinderblocked straight across.So now what was once an entry became the very large waitin room. Two large wooden stained doors were placed for the entry.The original bank entry became the entry to the studio proper.It would be some years later, and after it was no longer TS that the bricks were added as your picture shows. Yes the buildng you see in the picture was the studio itself.Directly above the bricks in front is the control room.The main body of this building was the studio itself. Directly across the studio from the control room were some offices and A vocal booth.From the control room a walkway was constructed so the offices and vocal booth were accesable without having to go down to the ground floor and up the back stairway.During the walkway construction, Neica Lee Rompollo,My secretary was terrified to walk across it before the railings were built, even though it was as wide as a small road.She would hug the wall and make whmpering noises as she crossed over.At any rate,the outside looked much better then, than it does today.

By acooolcat (211.72.121.66 - 211.72.121.66) on Sunday, October 21, 2001 - 01:36 am:

Ralph, What about the nearby Rainbow studio, which I believe Ernie Stratton owned? Why didn't you simply buy that building and remodel it?
Best wishes, Graham

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Sunday, October 21, 2001 - 03:10 am:

Actually Grahm,we did do some re-construction to Studio A ( Rainbow )
Besides cosmetic changes we built an additional room within the studio proper to allow for sepparation during larger sessions i.e.horns and strings together.That sort of thing.The building had never been air conditioned and during sessions it tended to get quite warm in the studio.We had the place air conditioned.It was during this time that Milan Bogdan,my chief engineer was in the process of designing a new recording console.Studio A's console was rather archaic.Milan's design was years ahead of it's time and certainly more sophisticated than anything in Detroit at the time. We had every intention of re-doing A's control room and putting the new console in there.Studio A was actually an incredibly good studio sound wise.It was just by chance that I walked by the old bank building one day and noticed a " for lease " sign. I had always thought that building would make a great studio.It was huge.I talked to mylawyer and we decided it was time to really expand operations. Meetings were held wth Milan and my other engineers about this possibility.Everyone was enthused to do it.
However it all nearly ended before it began.A large paint company had put a bid on the building.Fortunately the owner of the buildng was also the owner of the bulding Studio A was in,so he gave me first consideration and the deal was done.
The bank would become Studio B after some major inner construction.I still find it
hard to believe the changes that occured in that building.

By cl (207.75.182.226 - 207.75.182.226) on Sunday, October 21, 2001 - 06:51 pm:

Mr.Terrana, what were some of the records that influenced your recording style or technique?Who were you trying to emulate if anyone?Lately I have been involved in recording an album; as in vinyl!.For it's obvious sonic superiority, as well as being warmer.So I am very interested in how you did things.Thanks.

By RalphTerrana (209.240.222.130 - 209.240.222.130) on Sunday, October 21, 2001 - 08:15 pm:

This is a very good question.I am in the studio all day today, but will answer at legth when time permits.

By John Lester (213.122.191.170 - 213.122.191.170) on Sunday, October 21, 2001 - 08:47 pm:

Some old soul books issued in the UK years ago suggest that the Terra Shirma studios were used for the songs issued on the Hot Wax label- sister label to Invictus. The 45's on the later Music Merchant had a similar sound too and I would GUESS that they used the same studio. Any comments?

By acooolcat (211.72.121.66 - 211.72.121.66) on Tuesday, October 23, 2001 - 11:56 am:

I see Fred Saxon's name as the producer on Patti Young's "Head And Shoulders Above The Rest" 45. Fred being one of The Sunliners with Raplph and Russ: I wonder if Ralph can you remember this song?

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Tuesday, October 23, 2001 - 02:36 pm:

John,
When Holland, Dozier and Holand left Motown they came to me for a meeting. They wanted to do all their recording at Tera Shirma.From what I remember,the meeting had something to do with a consideration for a lower studio rate in return for the high number of hours they would be booking in the studio.Also, they would put " recorded at Tera Shirma " on all their releases. It was a good deal for both sides.Let me just say here that, historically, HDH will always be the top production team of all time. What a group of talented guys.Not only talented, but three of the nicest guys you would ever want to meet.So the deal was done.
Because their contractual dispute with Motown was, as of yet, unsettled everything would be booked under the name Stagecoach Productions. There must NEVER be any mention of HDH.
Obviously Motown was interested in what was going on.The first day sessions commenced with HDH, Motown had hired private detectives or something of that nature to try and get in the studio. There was two or three of them if I remember correctly. They asked to be let in the studio. I just smiled and said " what for?" There was actually a lot of humor on both sides wth these security guys.We all knew what the game was, so we were just playing our parts. I think this went on for a couple of days before it ended. They never did get into the studio.

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Tuesday, October 23, 2001 - 02:45 pm:

Yes,I remember the song Head and Shoulders.When I first bought Ernie Stratton's partner out at Rainbow,the song was being completed. I would take Patti to various TV shows to help promote the song.
Ernie even talked to whatever company it is that makes Head and Shoulders shampoo to see if some sort of deal could be made. They were interested if the song became a hit. Unfortunately it didn't happen.It was a good song very well produced by Fred Saxon and a great performance by Patti. It just didn't happen.

By John Lester (213.122.195.242 - 213.122.195.242) on Tuesday, October 23, 2001 - 10:20 pm:

Am I being stupid in asking how the name of the studio came to be? Should I know this but don't?

I suspect it has a history like Jo-be-te!!

By RalphTerrana (209.240.222.130 - 209.240.222.130) on Wednesday, October 24, 2001 - 02:16 am:

John,
The name Tera Shirma was an alteration of my last name and Al Sherman's last name.Al Sherman was a silent money partner in TS.So I dropped an R off my name and changed the E in Sherman to an I and dropped the N. All makes perfect sense Right? Well I thought it sounded good I guess.I sure have seen it spelled some interesting ways over the years.
Some of the producers in town would just refer to it as Tera......

By acooolcat (211.72.121.66 - 211.72.121.66) on Wednesday, October 24, 2001 - 04:15 am:

Hi Ralph,
Thanks for takin the time to contibute to these discussions, I appreciate you answering our esoteric and recondite questions. Here's another!
Did you have a record label or company too?
BTW, I spoke to Major Reynolds a few years ago; he had a studio/rehearsal room on Hamilton. He told me that HDH also used to hang out there once they departed Motown.
Graham

By John Lester (213.1.128.86 - 213.1.128.86) on Wednesday, October 24, 2001 - 05:51 am:

Thank you Ralph......I just KNEW it was going to be like that. And there was me thinking your MA was called SHIRley!!!!! Ha-ha

So were you involved in the Hot Wax, Invictus and Music Merchant set ups from a recording point of view?

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Wednesday, October 24, 2001 - 06:02 am:

Wow Grahm,
I haven't heard Major Reynolds name in years.This guy is what you call a class act. I had a lot of respect for him.
I had a couple of labels for the company.
One being..Tera Shirma...I think one was MFH...at any rate other than a couple of releases on Tera Shirma,they were basically inactive.My main focus at the time was to improve and promote the studios. My production company today is Powerhouse Productions.I have a small 24 track studio in my house and only use the studio exclusively for Powerhouse projects.
Grahm,I've enjoyed answering everyones questions,and those I haven't gotten to I will.I am absolutely amazed that
Tera Shirma is so well known there ( and very flattered) and also my old band The Sunliners.Life always has a way of surprising me.At any rate,I enjoy and will do my best to answer any and all questions to the best of my ability.I feel very fortunate to have been in the Detroit music scene. It was like nothing one could imagine, and I'm sure something that good will never be seen quite like that again.
So any information I can share I am happy to. Thank you Grahm,
Ralph

By acooolcat (211.72.121.66 - 211.72.121.66) on Wednesday, October 24, 2001 - 11:55 am:

Hi Ralph,
Major Reynolds is still in Detroit, I spoke to him on the phone about 2 months ago. Yes, he's a fantastic guy.
How did you get to know him - did he use T-S?
For those who don't know Major ....He had a couple of record labels during the 1960s - Tri Sound and Amazing. He seemed to be a focal point for a lot of young talent in Detroit and managed to build and run a studio - against all the odds! He started out as a talent-scout for Mr. Ed Wingate (Golden World Studio) and I know Michael Grace & Clay McMurray both used to go Major's place in their earlier days.
Graham

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Wednesday, October 24, 2001 - 01:44 pm:

Hi Grahm,
Yes, Major used to come into TS. Don't quite remember if he was recording or just with someone who was. Somewhere along the line we struck up a friendship of sorts.
I seem to remember Major,Neica Lee Rompollo and me sitting in Neica's office having these great philosophical conversations on life etc. I was always impressed with him.Such a soft spoken,intelligent, genuinly nice man

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Wednesday, October 24, 2001 - 02:15 pm:

I am finaly going to respond to the question of what influenced my recording style.I suppose this is a dscussion that could go on for days. There are so many facets to consider here. I do know that three earlier people had a profound effect on what I liked to hear and where I wanted to go. Little Richard...because he was,and still is so outrageous...in the 50's his band was so far ahead of anything else.That sax section playing bass lines used to just knock me out.
Jerry Lee Lewis....what more can I say....The Killer...true embodiment of what Rock and Roll should represent....bold...cocky....and the best left hand in the piano playing business.
Ray Charles... The consumate man of pure unadulterated SOUL.
It was a chance hearing for the first time of" What'd I Say" with it's classic opening piano riffs that first got my attention. It was the first time I had ever heard a Wurlitzer electric piano.It blew me away.I saved my hard earned money and bought one.And there I would be...this Italian kid from the streets of Detroit sitting at this piano for hours trying to cop Ray Charles licks.Well the truth is no one but Brother Ray can play a Ray Charles lick, but I always credited him for making me whatever piano player I was to become.
So I guess if I put these three together
the resulting blend was basically where I wanted to be.

By acooolcat (211.72.121.66 - 211.72.121.66) on Wednesday, October 24, 2001 - 02:35 pm:

Ralph, forgive my ignorance; Who is Neica Lee Rampollo?
Best wishes, Graham

By RaLPH tERRANA (209.240.222.130 - 209.240.222.130) on Wednesday, October 24, 2001 - 03:41 pm:

Neica Lee Rompollo was my secretary. She came into Tera Shirma early on.She was outrageously beautiful and extremely intelligent.She was made to be at TS. She would play an intregral part in the success of the studios.We remain to this day, very warm,dear friends.

By cl (207.75.176.28 - 207.75.176.28) on Wednesday, October 24, 2001 - 10:14 pm:

Mr.Terrana,thanks for answering my questions.I had the opportunity to be involved in a jerry lee lewis show (opening band) at the 2nd chance in ann arbor way back in about 85 or 86.He was one of the best performers I have ever seen.Not many people know how good a piano player he is.The same thing could apply to little richard.All his histrionics and flamboyance draw attention away from his incredible singing and piano playing.And he can still sing.And Ray Charles, wow! I can think of Dinah Washington and maybe Patsy Cline along with Ray Charles as singers who could do it all, country, soul, ballads etc.Do you still have any of the old microphones and machines, etc? Thanks again.

By Fury13 (12.2.196.14 - 12.2.196.14) on Wednesday, October 24, 2001 - 11:04 pm:

I have another question for you, Mr. Terrana, if you don't mind. I've read a little about recording techniques in the '50s and '60s. I know that many of the studios in use back then were makeshift, in that they were put into buildings that were never originally designed for recording purposes. I read that if two parallel walls in a studio are less than, say, 40 feet apart, an undesirable effect... I believe it's called a "soundwave"... can appear on the recording. I read that treble aspects of the "soundwave" can be minimized by putting sound-deadening material on the walls, but the bass end of the "soundwave" is hard to control. What was recommended was to put up internal walls or barriers so that sound-reflective surfaces (walls) don't run parallel to each other. It was mentioned that this could and did result in some weird room geometry. Can you comment?

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Thursday, October 25, 2001 - 02:54 am:

All studios were pretty much make-shift in those days. It would become necessary to play with the walls until you got what you were looking for. Mike Mclean, the famed engineer, through his efforts, the Motown Sound was molded. He played with that room for years. The important thing we would watch for primarily would be the walls. It was not a good idea to have parallel walls. Traps bass waves and such. A good engineer is much more qualified to answer this question than I am.However, no matter how good a studio,there is bound to be spots that don't work well for a particular thing you might be looking for. So it's good to know the studio. Hell, Tera Shirma Studio B was a bank. And we made that bank sound pretty good.

By david, glasgow, scotland (217.32.143.112 - 217.32.143.112) on Thursday, October 25, 2001 - 10:22 am:

brilliant stuff ralph.

thanks a million for sharing it with us.

david

By Ralph terrana (209.240.222.130 - 209.240.222.130) on Thursday, October 25, 2001 - 02:09 pm:

To answer your question regarding retained equipment: When I sold Tera Shirma I sold most of the equipment. I did, however keep several Neumann Microphones. I eventually sold them to Bob Ohllson. When he and his wife visted this past year, I asked if he still had them. He assured me he did. Today I could kick myself for at least not keeping a couple of them. they're worth a fortune today.

By maredda (209.195.139.164 - 209.195.139.164) on Thursday, October 25, 2001 - 07:22 pm:

Hi Mr. Terrana,

Thanks for the info on Terra Shirma. Here's an oddball question, but I'll shoot anyway.

With the sophistication of recording studios now, oftentimes you can produce an amazingly clean, pristine and precise recording. However working oftentimes with 1,2,4 or 8 tracks back in the 60s, it was probably a bit more crude but I've heard lots of artists from that period mentioning that the records had character. What are your thoughts on the pro's and cons regarding technological advancement in recording studios? Do you lose anything when you gain technological precision from a musical standpoint?

- Nish

By cl (204.38.7.42 - 204.38.7.42) on Thursday, October 25, 2001 - 10:29 pm:

Nish, the best way to answer your question is to play a record against a cd.Digitilization in music is done to cheapen the cost and simplify the process.When you hear a cd you are hearing intermittent sound waves;on vinyl the sound waves are continuous.Simple put records sound better.It may take some time for ears used to hearing cd's to adjust but eventually you will hear the warmth and natural sound of vinyl.

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Friday, October 26, 2001 - 02:50 am:

Nish,
That's an interesting question. I'll tell you my thoughts on technology as related to music. Basically, sometimes there's just to much of it. I think creatvity suffers because of it. Some producers or engineers begin to overdepend what something might do for them.
So much really good stuff was done on four tracks and sometimes less. The Beatles Sgt.Pepper sure comes to mind here. Between their talent and the genius of George Martin, a masterpiece was recorded. Any effect or unusual sound was manufactured by creative ingenuity. It had to be. there was no other way.
I remember walking in on a mxing session my brother Russ was doing at Tera Shirma.
Now Studio B's control room was quite large. On one end of the control room my brother had placed a microphone stand.Recording tape was looped around coming from an old 2 track recorder and returning in a loop. Russ was looking for a partcular repeat echo in a vocal track and by experimenting with various tape lenghts is this loop he was able to get just the effect he was striving for.
Sure, today there are machines that will do that for you. But just the way this was being done lended to the overall charater of the particular song. I guess what I'm trying to say here is at times the new super equipment kind of lends a sterile feel to things at times.Also I'm not implying that I don't use a lot of this stuff today at Powerhouse..i do. But from a prespective of " what can I MAKE this thing do for me? " and not " what CAN this thing do for me?' It's a subtle variation, but I think it preserves the character of the music you mentioned.
So I guess to answer your question...I think the character of the older songs was there because of the collective imaginative efforts of all involved in the song. A personality was born...the song.
No computer generated process could ever match that. Hope his makes sense.

By acooolcat (211.72.121.66 - 211.72.121.66) on Monday, October 29, 2001 - 02:21 pm:

Ralph,
I've recently been listening to a Barbara Lewis 45 I have called "Just The Way You Are Today" that's from her album; The Many Grooves Of Barabra Lewis.
A friend who has the album tells me that the sleeve notes credit Terra Shirma, and a studio in Chicago. Your brother Russ was the engineer!
My guess is that the track was recorded in Detroit and Barbara did the vocals in Chicago. It was arr/prod' by Mike Terry, and the song was writtten by the late Tony Hester. What a couple of tremendously tallented people!
Do you remember anything about this recording/album for Ollie?
All the best, Graham
PS; I've emailed Dennis Coffey and asked him to drop into the forum. I guess you remember him well? He's still involved in music and has been in the studio with Bob Babbit and Mike Theodore just recently.

By maredda (130.49.149.41 - 130.49.149.41) on Monday, October 29, 2001 - 03:11 pm:

CL, I totally concur with you. Vinyl sounds infinitely better, but of course at 21, I was born into a cd age, and oftentimes for the rare soul sides I want, it costs less to purchase a CD with 20 other songs in addition to that rare song I wanted rather than buying the 45. But, you just wait until I graduate law school... I'm going to work like crazy to support my doo-wop and soul record collecting habit.

Anyway, one thing I hate about CDs is how much instrumentation is left off. The most glaring example I can think of is "A Fork In the Road" by the Miracles... on CD, the wonderful strings are totally obliterated. But then, you play that platter, and you get the strings, the great harmonies, all in full effect. In other words, you get the song as the Miracles and the engineers, etc. meant for you to hear it.

Thanks, Mr. Terrana. That's what I thought. Things are definitely so sterile, and I hate how instrumentalists are kind of set apart from the recording process. At a jazz seminar here at my school, the great jazz drummer Winard Harper was asked which work he preferred, live or studio, and of course he said live. But in his answer, he mentioned that oftentimes, he will do the drumming in an isolated chamber, without any of the other instrumentalists. I think the intangible chemistry between studio bands who actually see one another's faces when they are working and have an idea of how the other plays is one of the key elements to a recording full of soul, invention and creativity. That's why if I ever achieve one of my dreams of having some soulful voice sing my songs, I want to record them in the "old" way.

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Monday, October 29, 2001 - 10:00 pm:

Cool cat,
I would guess that it might be the other way around and the track to the Barbara Lewis song was recorded at TS. Mike Terry always worked locally.Being the arranger he would have wanted to use Detroit musicians.My best guess anyway.
I know Dennis Coffey well. I just spoke with Mike Theodore on the phone the other day and he is involved in some sessions in Detroit with Dennis and Bob Babbit and some of the other guys from the old days. I wish I could be there.

By PHILLYSOULMAN (152.163.195.203 - 152.163.195.203) on Monday, December 17, 2001 - 09:09 pm:

RALPH,
I AM AND HAVE BEEN A GUITARIST, PRODUCER ARRANGER AND SONGWRITER IN PHILADELPHIA SINCE THE EARLY SEVENTIES AND I HAVE HAD THE PLEASURE OF WORKING WITH BOB BABBIT , ANDREW SMITH AND SOME OTHER DETROIT MUSICIANS IN PHILLY AND SEATTLE.
ALSO WHEN I WAS JUST STARTING OUT, I MET MIKE TERRY IN DETROIT AND HE HIRED ME TO PLAY ON SOME SESSIONS WITH HIM.BOB BABBIT,GEORGE MC GREGOR AND EDDIE WILLIS WERE ON THE SESSIONS.I BELIEVE THE PROJECT WAS FOR A MIKE TERRY INSTRUMENTAL ALBUM AND I HAVE VIVID RECOLLECTIONS OF WORKING AT TERA SHIRMA. I REMEMBER THE UPSTARS CONTROL ROOM AND THE CATWALK.
ANYWAY, I HAVE ALWAYS BEEN A "DETROITOPHILE" AND I FIND THIS SITE QUITE INTERSTING.
BOBBY ELI PHILADELPHIA,PA 12/17/01

By david, glasgow, scotland (62.252.128.4 - 62.252.128.4) on Monday, December 17, 2001 - 09:39 pm:

can i just jump in and say it's a pleasure to hear from you mr eli. you are well known on this forum.

we will be featuring a number of internal shots of tera shirma in the next few weeks and hope they re-kindle more memories for you.

the tera shirma story should begin wednesday latest.

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Monday, December 17, 2001 - 10:16 pm:

Bobby,
Good to hear from you. You were in the company of some great players. Come back when you can. We would all be thrilled to hear more from you. Ralph

By phillysoulman (64.12.102.159 - 64.12.102.159) on Tuesday, December 18, 2001 - 06:31 pm:

RALPH,

ON THE SEVERAL OCCASIONS THAT I RECORDED AT TERA SHIRMA, I REMEMBER GEORGE MC GREGOR IN THE DRUM BOOTH BEHIND ME TO THE LEFT, BABBIT JUST LEFT IN FRONT OF THE BOOTH AND EDDIE WILLIS TO MY RIGHT.
THE CONTROL ROOM WAS UPSTAIRS TO OUR RIGHT AND I REMEMBER THE WALKWAY.
I WAS QUITE A YOUNG GUY AND RELATIVELY NEW TO THE GAME SO I DID NOT DO MUCH ROAMING AROUND.
CAN YOU TELL ME WHAT KIND OF BOARD YOU HAD AND ALSO THE MONITORS?
AS I SAID, WERE DOING MOTOWN COVERS WITH MIKE TERRY AND "AINT NOTHING LIKE THE REAL THING" REALLY STANDS OUT IN MY MIND. IT WAS FOR COLUMBIA.
I WILL RETURN SOON.

BOBBY ELI

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Tuesday, December 18, 2001 - 07:55 pm:

Bobby,
I always thought the drum booth was pretty cool. It gave good separation without isolating the drummer.The board in Studio B was designed by Milan Bogdan, my chief engineer.The monitors were Altec Lansing 604 E's in specially designed cabinets. The Tera Shirma story that is about to start here will show pictures of all this. Stick around Bobby.

By bebopfred (166.90.236.208 - 166.90.236.208) on Tuesday, December 18, 2001 - 11:53 pm:

Ralph:

I have visited the site and have enjoyed all the dialog about the good days. Do you remember a guitarist in your studio by the name of "chicken charlie", Another one is Emanualle. Emanualle was very polished and was with a group called the "Counts" or "Fabulous Counts". Charlie went on to perform with the group "New Birth". He was a good friend of Charles Stokes, who like many during those days, pulled together a recording studio. His was on 12th street. It was never finished. In fact, if you were ever in there it looked as if it was always under construction. Charles's brother, Mike Stokes, went on to write and produce the Enchantment and others. Do you ever see or talk with these guys? I did some session work back then. I never took it seriously and after a brief period got a 9 to 5.

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Wednesday, December 19, 2001 - 03:14 am:

The only guy I really remember was Mike Stokes. I knew him very well. I haven't talked to him in years though.

By acooolcat (211.72.121.66 - 211.72.121.66) on Wednesday, December 19, 2001 - 04:20 am:

I think Mike is in California. Did he do some work for Motown?
Betty LaVette mentioned Emanuel's name when I interviewed her - he's in Canada now.
Graham

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Wednesday, December 19, 2001 - 02:28 pm:

Grahm,
I think Mike did do some things for Motown. I also seem to remember an old photo of Mike and my brother behind a recording console. I think Russ has the picture.I was hanging around with him at Motown Studio B after most of the company had re-located to L.A. I had put a new band together...Dragon...and Mike was going to get me a deal with A&M I think. The band broke up before anything developed however. Other than that, I'm not sure what Mike was doing. I think from there he did go to L.A.

By John Lester (213.122.200.58 - 213.122.200.58) on Wednesday, December 19, 2001 - 09:05 pm:

Ralph....when is your book coming out?

And I dont want none of this, I aint started it yet!!!

By Ralph Terrana (209.240.222.130 - 209.240.222.130) on Wednesday, December 19, 2001 - 09:50 pm:

It's funny John. My daughter always wanted me to write a book. She holds a masters degree in literature and offered to write it with me. Tell you what....stay tuned for the Tera Shirma story starting soon now. It actually started as a series of letters I had been writing to David.Once the introduction has taken place, David has decided to use my letters as text. So in a way I'm now writing the book. It is also still a work in progress. I think you are going to enjoy this John.