text:
Main Content
The Penn State University Eberly College of Science is committed to accessibility and has made every effort to ensure that this site is fully accessible. We have worked to understand the ways in which different people access the Internet and to develop a web site that is clear and simple for everybody to use.
Software and Validation
This site uses the Open Source Content Management System (CMS) Plone and has been designed with special attention to Web Standards and in accordance with the Web Content Accessibility Guidelines (WCAG v2.0).
We have used XHTML 1.0 and CSS that conforms to specification, as laid out by the W3C. The site has been tested with both web standards and accessibility validators. If there is anything on this site — accessibility or validation related — that is not according to the standard, please contact the Site Administration.
Accessibility Customizations and Enhancements
While this content management system facilitates good usability and accessibility, we have tried to go beyond that. Following are some of the enhancements that we've implemented for this site and others across the college.
Headings - Understanding the importance of headings as a navigation aid for assisstive technologies, we have carefully constructed headings and a document outline that makes the site easy to navigate. The headings are consistent across this site and we are implementing a similar (if not identical) outline for departmental sites in the College of Science. There may be slight variation in the order of the headings depending on site layout.
The headings are:
- Title of the Page
- Main content
- Content headings as dictated by the page content
- Navigation in this section
- Document Actions - print, etc.
- Footer
- Personal Tools - login
Links - Much like headings, links are often viewed in a list and used as a navigation aid. Because of this, we have attempted to create links that are descriptive of their destination and useful when viewed in the context of a page or in a list of links.
Re-sizable text - Users can easily adjust the size of the text on the pages within this site. The links below will resize the text or users can use a combination of keystrokes to accomplish that while on any page in the site. If you are using Windows, press the plus (+) key while holding down the control key. On Mac, press the plus (+) key while holding down the command key.
Text alternatives - Most — if not all — of the video content on this site is close-captioned. Alternative text has been provided for photographs and graphics where appropriate.
Contrast - We have attempted to create an appropriate level of contrast to enhance readability.
Colors - We have avoided using color combinations that often cause problems form users who have difficulty distinguishing between colors.
Testing with screen readers - Much of the site has been tested with a screen reader.
We realize that accessibility and usability require on-going attention and improvement can always be made. We welcome your comments or suggestions. Please send them to the Site Administrator.


text:
Bruno silent as jury awaits
Closing arguments on Thursday; case closes without his testimony
The retrial of former Senate Majority Leader Joseph L. Bruno on bribery-related charges is expected to go to the jury Thursday afternoon.
Attorneys on both sides of the political corruption case will deliver closing arguments — each of which are expected to last more than an hour — starting at 9 a.m. The panel of nine women and three men will receive instructions from U.S. District Court Chief Judge Gary L. Sharpe and then begin deliberations.
Lawyers rested their respective cases Wednesday, as the trial reached its eighth day. Prosecutors called some 20 witnesses, the defense around five. Bruno did not take the stand.
Bruno, 85, is charged with two counts of "honest services" mail fraud — the same charges he was convicted of committing in his 2009 trial before Sharpe.
The allegation is that Bruno, a Brunswick Republican, engaged in a scheme to defraud New York citizens of his "honest services" through his lucrative side employment from Loudonville businessman Jared E. Abbruzzese, 59, who had business before the state.
Abbruzzese paid Bruno $20,000 a month to work as a consultant for four different companies starting in February 2004. Abbruzzese said Bruno never provided written work and he never asked for it.
Federal prosecutors for U.S. Attorney Richard Hartunian contend the payments were bribes and kickbacks intended to buy Bruno's official action or influence. By February 2004, Abbruzzese had been waiting more than a year for the Senate leader to release a $250,000 state grant to Evident Technologies, a Troy nanotechnology company in which Abbruzzese held a stake.
Once he agreed to start paying Bruno, Bruno ordered the money to be moved within five days. Abbruzzese vehemently denied allegations of bribery. Bruno's attorneys say the leader was convinced to release the grant after speaking to then-Senate Finance Secretary Mary Louise Mallick.
Abbruzzese testified that Bruno, as his consultant, gave him credibility and stature on business trips and dinners — and that Bruno introduced him to Donald Trump.
The final prosecution witness, FBI Special Agent Brian Jacob, said he compiled a calendar of Bruno's activity between 2003 and 2006. He specifically logged trips taken with Abbruzzese.
Jacob's list, which was shown to jurors, showed the only trip with Trump was in 2006 — after Bruno's employment for Abbruzzese had ended.
Last week, under questioning from Assistant U.S. Attorney William Pericak, Abbruzzese defiantly defended his arrangement with Bruno.
"I'm asking you if hanging around with him gave you stature," he said to Abbruzzese.
In brief
Federal prosecutors say they expect their summation to be 75 to 90 minutes long. Bruno's defense team says its summation will be between 60 to 75 minutes. The government will deliver its closing argument first. The defense follows. The government is allowed rebuttal time.
One of the last witnesses, Heather Mowat, an accountant and former Senate finance staffer under Bruno, said the senator was growing concerned over the New York Racing Association's finances in late 2005. She said she sent Bruno several NYRA-related memos, but when confronted on the witness stand could only produce one NYRA-related memo from her staff file. Mowat said: This is not all of my memos!"
The defense called Mowat to contradict the allegation by prosecutors that Bruno wanted to oust two NYRA board members to stay in step with Jared E. Abbruzzese, the businessman paying him $20,000 a year as a consultant. Abbruzzese was with a group hoping to take over racetracks from NYRA.
Mowat mentioned the failed proposal to build a New York Jets football stadium on Manhattan's West Side. She said: "I was tasked in making sure they needed the money.." It was a referral to hundreds of millions in state funding that was vetoed by representatives of Bruno and Assembly Speaker Sheldon Silver on the state's Public Authorities Review Board.
Albany lobbyist James Featherstonhaugh, testifying on behalf of Bruno, was asked if some lobbyists who formerly worked for state leaders tout their connections to clients. He said they would probably present such a view "whether it was true or not."
"I didn't just hang around with him. I took him to D.C., did things with him," Abbruzzese responded. He said he introduced Bruno to Kenneth Mehlman, the chairman of the Republican National Committee at the time.
"You introduced the Senate majority leader in New York state to the Republican national leader in D.C.?" Pericak asked incredulously.
"I did," he responded.
"He didn't know him?
"Ken Mehlman was rather new," Abbruzzese said.
Abbruzzese testified that some of his consultants "may make one phone call in a year" — and said he employed members of the House of Lords in England to work at TerreStar, one of the telecommunications where Bruno worked.
"All aboveboard, all approved," Abbruzzese testified, "but these were members, sitting members of the House of Lords, who would do phone calls or all they would do is walk on the floor of the House of Lords and ask a question that would impact something that was going on that would affect our satellite industry. You know, they never submitted a time card or anything, they just did a call when we asked them to, and other than that, they didn't do anything."
Bruno's defense team called upon James Featherstonhaugh, a major lobbyist and longtime friend of Bruno who said in his experience, written work is not required of consultants.

subset: commoncrawl


text:
New show announcement – The Saint, Asbury Park, NJ
We're headed back to the legendary Saint in Asbury Park. This lineup promises to be killer. We're playing with our friends in New Theory, Beyond Visible, Gathering After Ashes and Reach (formerly Boy Meets Machine)
The evening will be hosted by the lovely Lindsay Klein of 105.5 WDHA FM.


text:
I'm looking for some advice on gluing and stapling together new wood frames.
Last winter we bought 10000+- new deep wood frames that were pre-assembled (with the plastic foundation) from both Mann lake and Dadant. It is my contention that the machinery used to put them together does not apply either enough glue and/or the stapling techniques are inadequate for the stress these frames go though while in our hives or during extraction. I have spoken at length with people all the way up the chain at Mann Lake and the only response I seem to be getting is that I am the only beek having an issue with them coming apart. Since I haven't been happy with the way they are building them I thought we'd assemble them ourselves. It's been 20 years since we personally assembled the last massive quantity of wood frames. I want them to last long enough for my son to throw them on the burn pile 30 years from now.
We have been testing different glues and staple angles the past week. Thought I ought to ask you experts out there what you find in frame assembly that works where the top bars dont come loose during hive inspections. Not sure about where your at but the propolis around here can get pretty "thick".
Not looking for answers on Jigs....etc. Just glue and staple info.
What are your frame building recommendations based on experience?
1. What glue do you find holds the best?
a. Elmers
b. Tightbond types 1,2,or 3
c. Gorilla glue vs Gorilla wood glue
d. Others?
2. What size staples do you use?
3. Where do you shoot the staples?
a. Only through the top and bottom bars into the side bars?
b. Any through the end bars into the top bar?
1. If so where and at what angles?
4. Anything else I need to think about or consider?


text:
webpage capture
|Saved from
|Redirected from
|All snapshots
|from host archive.org
from host faq.web.archive.org
|Linked from
wiki.fibis.org » Miscellaneous tips
bs.wikipedia.org » Wayback Machine
en.wikipedia.org » Wayback Machine
fi.wikipedia.org » Wayback Machine
it.wikipedia.org » Utente:LoStrangolatore/Lista di tool
it.wikipedia.org » Wayback Machine
it.wikipedia.org » Wayback machine
ja.wikipedia.org » ウェイバックマシン
lv.wikipedia.org » Wayback Machine
nn.wikipedia.org » Wayback Machine
pl.wikipedia.org » Wayback Machine
uk.wikipedia.org » Wayback Machine
|sharedownload .zipreport error or abuse
The Internet Archive
No; although we promote the development of other Internet libraries through online discussion, colloquia, and other means, the Archive is not a grant-making organization.
Yes, please do. Our BitCoin address is: 1Archive1n2C579dMsAu3iC6tWzuQJz8dN . Every bit helps.
The Internet Archive is a 501(c)(3) nonprofit organization. It receives in-kind and financial donations from a variety of sources as well as you.
The Internet Archive focuses on preservation and providing access to digital cultural artifacts. For assistance with research or appraisal, you are bound to find the information you seek elsewhere on the internet. You may wish to inquire about reference services provided by your local public library. Your area's college library may also support specialized reference librarian services. We encourage your support of your local library, and the essential services your library's professional staff can provide in person. Local libraries are still an irreplaceable resource!
What user stats do you keep and share?
The only users stats we track are the "views" of items on the site.
Where are they?
For collections they are viewable in a chart form in the "About" tab on a collection page. These numbers represent views in all the items in that collection. These are updated daily. For items they are shown on the right side of the details page. These are updated daily. Search results pages also show the "views" to the left of the page title. These numbers may differ from those on item and collection pages because they are updated monthly rather than daily.
What is a "view"?
A "view" used to be called a "download" on archive.org. How are "views" counted?
archive.org calculates a view as: one action (read a book, download a file, watch a movie, etc.), per day, per IP Address. So, for each item page, using multiple files or accessing from multiple accounts in a single day will only count as one view.
How often are they counted?
For item and collection pages they are updated daily. For search results pages they are updated monthly.
Other Internet Archive stats links
Aggregated operational stats are viewable at https://archive.org/stats/
Societies have always placed importance on preserving their culture and heritage. But much early 20th-century media -- television and radio, for example -- was not saved. The Library of Alexandria -- an ancient center of learning containing a copy of every book in the world -- disappeared when it was burned to the ground.
Search Tips
On archive.org there is an "Advanced Search" link just below the search input field. For searches done in the search field in the top black nav bar the "Advanced Search" link will be present on the search results page just below the search input field.
The "SORT BY" bar has options to allow you to control which results are displayed, in what order and what "view":
On a collection page there will be a "Search this Collection" input field on the right side of the page. Enter a term there and hit your return/enter key. The results will be of items in that collection.
For advanced boolean search you can use "AND collection:[IDENTIFIER]" in your query.
For most search results pages you can choose the view in the "Sort by" bar; Tile view (the icon with three rectangles) or List view (the icon with multiple lines.) Tile view is the default view.
Only the metadata in an item page is indexed. So the search engine does not have the text of books, individual file metadata or embedded metadata.
Yes, you can. But it's a little complicated.
Here's how to break it down. See the license types at creative commons. When you want to find all of the items assigned a certain license by an uploading party, you'll plug their abbreviation for it into this search query:
So if you're looking for Attribution Non-commercial No Derivatives (by-nc-nd), you'd put this in the search box: /metadata/licenseurl:http*by-nc-nd/*.
If you want to use this in combination with other queries, like "I want by-nc-nd items about dogs" you'd do this: /metadata/licenseurl:http*by-nc-nd/* AND dog. The AND tells the search engine all the items returned should have that license AND they should contain the word dog. AND has to be in all caps.
Just to make it easier, here are the basic searches:
• Public Domain
• Attribution Non-commercial No Derivatives (by-nc-nd)
• Attribution Non-commercial Share Alike (by-nc-sa)
• Attribution Non-commercial (by-nc)
• Attribution No Derivatives (by-nd)
• Attribution Share Alike (by-sa)
• Attribution (by)
Prelinger Movies
The Prelinger Archives films are held in original film form (35mm, 16mm, 8mm, Super 8mm, and various obsolete formats like 28mm and 9.5mm). Films were first transferred to Betacam SP videotape, a widely used analog broadcast video standard, on telecine machines manufactured by Rank Cintel or Bosch. The film-to-tape transfer process is not a real-time process: It requires inspection of the film, repair of any physical damage, and supervision by a skilled operator who manipulates color, contrast, speed, and video controls.
The videotape masters created in the film-to-tape transfer suite were digitized in 2001-2003 at Prelinger Archives in New York City using an encoding workstation built by Rod Hewitt. The workstation is a 550 MHz PC with a FutureTel NS320 MPEG encoder card. Custom software, also written by Rod Hewitt, drove the Betacam SP playback deck and managed the encoding process. The files were uploaded to hard disk through the courtesy of Flycode, Inc.
More recently, Prelinger films have been digitized and uploaded by Skip Elsheimer at AV Geeks. We are also digitizing home movies and other materials on Internet Archive's ScanStation scanner.
The files were encoded at constant bitrates ranging from 2.75 Mbps to 3.5 Mbps. Most were encoded at 480 x 480 pixels (2/3 D1) or 368 x 480 (roughly 1/2 D1). The encoder drops horizontal pixels during the digitizing process, which during decoding are interpolated by the decoder to produce a 720 x 480 picture. (Rod Hewitt's site Coolstf shows examples of an image before and after this process.) Picture quality is equal to or better than most direct broadcast satellite television. Audio was encoded at MPEG-1 Level 2, generally at 112 kbps. Both the MPEG-2 and MPEG-4 movies have mono audio tracks.
To convert the MPEG-2 video to MPEG-4, we used a program called FlasK MPEG. This is an MPEG-1/2 to AVI conversion tool that reads the source MPEG-2 and outputs an AVI file containing the video in MPEG-4 format and audio in uncompressed PCM format. We then use a program called Virtual Dub that recompresses the audio using the MPEG-1 Level 3 (MP3) format. This process is automated by the software that runs the system.
No. However, we would very much like to know how you have used this material, and we'd be thrilled to see what you've made with it. This may well help us improve this site. Please consider sending us a copy of your production (postal mail only), and let us know whether we can call attention to it on the site. Our address is:
Rick Prelinger
PO Box 590622
San Francisco, CA 94159
United States
Access to the movies stored on this site in videotape or film form is available to commercial users through Getty Images, representing Prelinger Archives for stock footage sales. Please contact Getty Images directly:
Please visit us at www.prelinger.com/prelarch.html for more information on access to these and similar films. Prelinger Archives regrets that it cannot generally provide access to movies stored on this Web site in other ways than through the site itself. We recognize that circumstances may arise when such access should be granted, and we welcome email requests. Please address them to Rick Prelinger.
The Internet Archive does not provide access to these films other than through this site.
We ask that you credit us as a source of archival material, in order to help make others aware of this site. We suggest the following forms of credit:
Archival footage supplied by Internet Archive (at archive.org) in association with Prelinger Archives
Archival footage supplied by Internet Archive (at archive.org)
"Archival footage supplied by archive.org"
Rod Hewitt posted some very useful information here
The films are available for reuse according to the Creative Commons licenses, if any, that appear with on each film's detail page. Pursuant to the Creative Commons license, you are warmly encouraged to download, use and reproduce these films in whole or in part, in any medium or market throughout the world. You are also warmly encouraged to share, exchange, redistribute, transfer and copy these films, and especially encouraged to do so for free.
Any derivative works that you produce using these films are yours to perform, publish, reproduce, sell, or distribute in any way you wish without any limitations.
Descriptions, synopses, shotlists and other metadata provided by Prelinger Archives to this site are copyrighted jointly by Prelinger Archives and Getty Images. They may be quoted, excerpted or reproduced for educational, scholarly, nonprofit or archival purposes, but may not be reproduced for commercial purposes of any kind without permission.
If you require a written license agreement or need access to stock footage in a physical format (such as videotape or a higher-quality digital file), please contact Getty Images. The Internet Archive does not furnish written license agreements, nor does it comment on the rights status of a given film above and beyond the Creative Commons license.
We would appreciate attribution or credit whenever possible, but do not require it.
See the bibliography and links to other resources at www.prelinger.com/ephemeral.html.
Largely because of copyright law. While a high percentage of ephemeral films were never originally copyrighted or (if initially copyrighted) never had their copyrights properly renewed, copyright laws still protect most moving image works produced in the United States from 1964 to the present. Since the Prelinger collection on this site exists to supply material to users without most rights restrictions, every title has been checked for copyright status. Those titles that either are copyrighted or whose status is in question have not been made available. For information on recent changes in copyright law, see the circular Duration of Copyright (in PDF format) published by the Library of Congress
Check out our Prelinger Archives Forum
How can I get a copy of the pages on my Web site? If my site got hacked or damaged, could I get a backup from the Archive?'
How did I end up on the live version of a site? or I clicked on X date, but now I am on Y date, how is that possible?
The Wayback Machine
Yes! The Wayback Machine is built so that it can be used and referenced. If you find an archived page that you would like to reference on your Web page or in an article, you can copy the URL. You can even use fuzzy URL matching and date specification... but that's a bit more advanced.
"The original idea for the Internet Archive Wayback Machine began in 1996, when the Internet Archive first began archiving the web. Now, five years later, with over 100 terabytes and a dozen web crawls completed, the Internet Archive has made the Internet Archive Wayback Machine available to the public. The Internet Archive has relied on donations of web crawls, technology, and expertise from Alexa Internet and others. The Internet Archive Wayback Machine is owned and operated by the Internet Archive."
Alexa Internet, in cooperation with the Internet Archive, has designed a three dimensional index that allows browsing of web documents over multiple time periods, and turned this unique feature into the Wayback Machine.
Using the Internet Archive Wayback Machine, it is possible to search for the names of sites contained in the Archive (URLs) and to specify date ranges for your search. We hope to implement a full text search engine at some point in the future.
You can exclude your site from display in the Wayback Machine by placing a robots.txt file on your web server that is set to disallow User-Agent: ia_archiver. You can also send an email request for us to review to email@example.com with the URL (web address) in the text of your message.
No, the Archive collects web pages that are publicly available. We do not archive pages that require a password to access, pages that are only accessible when a person types into and sends a form, or pages on secure servers. Pages may not be archived due to robots exclusions and some sites are excluded by direct site owner request.
Some sites may not be included because the automated crawlers were unaware of their existence at the time of the crawl. It's also possible that some sites were not archived because they were password protected, blocked by robots.txt, or otherwise inaccessible to our automated systems. Site owners might have also requested that their sites be excluded from the Wayback Machine.
Most societies place importance on preserving artifacts of their culture and heritage. Without such artifacts, civilization has no memory and no mechanism to learn from its successes and failures. Our culture now produces more and more artifacts in digital form. The Archive's mission is to help preserve those artifacts and create an Internet library for researchers, historians, and scholars. The Archive collaborates with institutions including the Library of Congress and the Smithsonian.
No, we do not collect or archive chat systems or personal email messages that have not been posted to Usenet bulletin boards or publicly accessible online message boards.
How can I get a copy of the pages on my Web site? If my site got hacked or damaged, could I get a backup from the Archive?'
Our terms of use do not cover backups for the general public. However, you may use the Internet Archive Wayback Machine to locate and access archived versions of a site to which you own the rights. We can't guarantee that your site has been or will be archived. We can no longer offer the service to pack up sites that have been lost.
We collect Web pages that are publicly accessible. These may include pages with personal information.
On https://archive.org/web you can use the "Save Page Now" feature to save a specific page one time. This does not currently add the URL to any future crawls nor does it save more than that one page. It does not save multiple pages, directories or entire sites.
All questions about the Wayback Machine, or other Internet Archive projects, should be addressed to email@example.com.
Broken images occur when the images are not available on our servers. Usually this means that we did not archive them.
You can tell if the image or link you are looking for is in the Wayback Machine by entering the image or link's URL into the Wayback Machine search box. Whatever archives we have are viewable in the Wayback Machine.
The best way to see all the files we have archived of the site is: http://web.archive.org/*/www.yoursite.com/*
There is a 3-10 hour lag time between the time a site is crawled and when it appears in the Wayback Machine.
If you look at our collection of archived sites, you will find some broken pages, missing graphics, and some sites that aren't archived at all. Some of the things that may cause this are:
The Archive collects Web pages that are publicly available, the same ones that you might find as you surfed around the Web. We do not archive pages that require a password to access, pages that are only accessible when a person types into and sends a form, or pages on secure servers. Pages tagged for robots.txt exclusion (for User-Agent: ia_archiver) by their owners are excluded from the Wayback Machine. We also provide information on removing a site from the collections. Those who use the collections must agree to certain terms of use.
Like a public library, the Archive provides free and open access to its collections to researchers, historians, and scholars. Our cultural norms have long promoted access to documents that were, but no longer are, publicly accessible.
Given the rate at which the Internet is changing the average life of a Web page is only 77 days if no effort is made to preserve it, it will be entirely and irretrievably lost. Rather than let this moment slip by, we are proceeding with documenting the growth and content of the Internet, using libraries as our model.
If you are interested in these issues, please join and contribute to our announcement and discussion lists.
The Internet Archive Wayback Machine is a service that allows people to visit archived versions of Web sites. Visitors to the Wayback Machine can type in a URL, select a date range, and then begin surfing on an archived version of the Web. Imagine surfing circa 1999 and looking at all the Y2K hype, or revisiting an older version of your favorite Web site. The Internet Archive Wayback Machine can make all of this possible.
How can I get my site included in the Wayback Machine?
Much of our archived web data comes from our own crawls or from Alexa Internet's crawls. Neither organization has a "crawl my site now!" submission process. Internet Archive's crawls tend to find sites that are well linked from other sites. The best way to ensure that we find your web site is to make sure it is included in online directories and that similar/related sites link to you.
Alexa Internet uses its own methods to discover sites to crawl. It may be helpful to install the free Alexa toolbar and visit the site you want crawled to make sure they know about it.
Regardless of who is crawling the site, you should ensure that your site's 'robots.txt' rules and in-page META robots directives do not tell crawlers to avoid your site.
If you have Javascript turned off, images and links will be from the live web, not from our archive of old Web files.
How did I end up on the live version of a site? or I clicked on X date, but now I am on Y date, how is that possible?
Not every date for every site archived is 100% complete. When you are surfing an incomplete archived site the Wayback Machine will grab the closest available date to the one you are in for the links that are missing. In the event that we do not have the link archived at all, the Wayback Machine will look for the link on the live web and grab it if available. Pay attention to the date code embedded in the archived url. This is the list of numbers in the middle; it translates as yyyymmddhhmmss. For example in this url http://web.archive.org/web/20000229123340/http://www.yahoo.com/ the date the site was crawled was Feb 29, 2000 at 12:33 and 40 seconds.
You can see a listing of the dates of the specific URL by replacing the date code with an asterisk (*), ie: http://web.archive.org/*/www.yoursite.com
The Wayback Machine is named in reference to the famous Mr. Peabody's WABAC (pronounced way-back) machine from the Rocky and Bullwinkle cartoon show.
This question is a newer one. We asked MLA to help us with how to cite an archived URL in correct format. They did say that there is no established format for resources like the Wayback Machine, but it's best to err on the side of more information. You should cite the webpage as you would normally, and then give the Wayback Machine information. They provided the following example: McDonald, R. C. "Basic Canary Care." _Robirda Online_. 12 Sept. 2004. 18 Dec. 2006 [http://www.robirda.com/cancare.html]. _Internet Archive_. [ http://web.archive.org/web/20041009202820/http://www.robirda.com/cancare.html]. They added that if the date that the information was updated is missing, one can use the closest date in the Wayback Machine. Then comes the date when the page is retrieved and the original URL. Neither URL should be underlined in the bibliography itself. Thanks MLA!
For information on the Archive-It subscription service that allows institutions to build and preserve collections of born digital content, see https://www.archive.org/about/faqs.php#Archive-It
The Internet Archive actively seeks donations of digital materials for preservation. If you have digital materials that may be of interest to future generations, please let us know by sending an email to info at archive dot org. The Internet Archive is also seeking additional funding to continue this important mission. You can click the donate tab above or click here. Thank you for considering us in your charitable giving.
Anyone can access our collections through our website archive.org. The web archive can be searched using the Wayback Machine.
The Archive makes the collections available at no cost to researchers, historians, and scholars. At present, it takes someone with a certain level of technical knowledge to access collections in a way other than our website, but there is no requirement that a user be affiliated with any particular organization.
The Wayback Machine tool was not designed for legal use. We do have a legal request policy found at our legal page. Please read through the entire policy before contacting us with your questions. We do have a standard affidavit as well as a FAQ section for lawyers. We would prefer that before you contact us for such services, you see if the other side will stipulate instead. We do not have an in-house legal staff, so this service takes away from our normal duties. Once you have read through our policy, if you still have questions, please contact us for more information.
Such sites may have been excluded from the Wayback Machine due to a robots.txt file on the site or at a site owner's direct request.
The Internet Archive strives to follow the Oakland Archive Policy for Managing Removal Requests And Preserving Archival Integrity
The Internet Archive respects the intellectual property rights and other proprietary rights of others. The Internet Archive may, in appropriate circumstances and at its discretion, remove certain content or disable access to content that appears to infringe the copyright or other intellectual property rights of others. If you believe that your copyright has been violated by material available through the Internet Archive, please provide the Internet Archive Copyright Agent with the following information:
The Internet Archive strives to follow the Oakland Archive Policy intended for use by both academic and non-academic digital repositories and archivists.
The Internet Archive Copyright Agent can be reached as follows:
Internet Archive Copyright Agent
Internet Archive
300 Funston Ave.
San Francisco, CA 94118
Phone: 415-561-6767
Email: info at archive dot org
Once you've uploaded it to the item follow this clickpath: Edit > change the information > scroll down to Files, formats and derivations > in dropdown menu next to the image file choose "Item Image" > click the "Submit" button.
You would need the URL of the file to link to it. To get that click "SHOW ALL" link in the DOWNLOAD OPTIONS section of an item's details page. There you can control/right-click on the link to the file and copy the URL.
An uploaded image file will automatically be displayed to the left of the audio player. Ideally the image would be at minimum 750p wide. Images should be jpg, png or gif format.
These files are important for the display/setup/research of items.
Columbia Peaks-.afpk are audio fingerprint files created by running the audfprint package by Prof Daniel Ellis from Columbia University. These can be bulk downloaded and then loaded into a database that allows matching clips and whole songs. We have not tried this at scale. if you are interested, please let us know-- we want this to happen.
esslow/esshigh-These are a series of analyses of the nature of the music.
spectrogram-a file derived from audio data the is a visual representation of the audio. it can be used by researchers and others to analyze audio data.
waveform-a derived image file that is a visual representation of the volume of the audio track.
_rules.conf-If you selected to not have lossy files derived this file will appear in the item directory.
The order of the playlist is determined by the alphanumeric order of the file names, not the titles. To force a desired order you can add number prefixes to the file names. Always use the same amount of digits for the prefix so if there are more than 10 start with 01, more than 100 start with 001. As an example: 01trackone.flac 02tracktwo.flac 03trackthree.flac etc.
The is a spectrogram representation of the volume of the audio track. It can be helpful to spot silences between sound or particularly loud or quite sections. This can help you locate sections you might want to find without having to listen to the entire track. It is not scrubbable. Move the play bar to move to another section of the track
At this time the volume is an on/off toggle. To control the volume use the volume adjust on your computer or device.
Click the "Share" icon near the player. A popup window will offer URLs for embedding. For more advance options click the "Advanced embedding details, examples, and help!" link at the bottom of the popup.
There are many players available for these formats. Some are free, some are devices. Search online for ogg player or flac player to get started.
Follow this clickpath:
Edit > change the information > scroll down to the "Files, Formats & Derivatives" section > enter a title in the "Title" field adjacent to the file name > click the "Submit" button
For audio item files in compressed formats (zip, tar, etc.) will neither be derive to other formats nor be used by the audio player. You should upload the files as separate files.
The html5 audio player is the default player. Some browsers may prefer to use Flash. Clicking the "lightning bolt" icon on the right side of the player will with it to a Flash based player.
There are many players available. Many come standard on devices such as Quicktime (Mac) or Windows Media Player (PC). You can search for others online. VLC is a nice and flexible free player for audio and video.
VBR MP3 and ogg files that are derived from other formats are typically in the 150-200mbps bitrate range.
The archive is all about free access to information, so you should submit file formats that are easily downloadable and/or streamable for other site patrons.
We prefer that you submit the highest quality file that you have available. We will attempt to create smaller file sizes and formats automatically with our deriver program. We recommend that you do not attempt to do any special encoding of your files - the more settings you mess around with, the less likely our deriver code will be able to process the file.
If you are submitting a Live Music Archive item, please only submit lossless formats such as flac, wav, aiff or shn files. Even for non-LMA items, these are the best formats to use.
Whatever format you choose, please upload each file to your item individually (you can submit multiple files per item), in a non-compressed format. Uploading content in a .zip or .rar file makes your item unstreamable and significantly less accessible to others. If you upload .zip, .rar, non-audio formats (like .exe), or password-protected files, they may be removed by our moderators.
This page lists the file formats we will attempt to derive depending on what type of file you submit.
MS-DOS Emulation
Some of the programs running in EM-DOSBOX relied on timing loops and CPU types that the emulator is not showing. We're working on a solution where we can pre-repair the speed before running, but until then, there is a fix: While the program is running, press CTRL-F11 to slow the program down. Pressing CTRL-F11 repeatedly will slow it down further, until the speed is more reasonable. (Pressing CTRL-F12 repeatedly will attempt to speed things up.)
Currently, there is no way to save your game, although we are trying to work out if this is technologically possible.
In the programs where a mouse cursor is provided, your mouse will generally work. However, to prevent both mouse cursors (the DOS cursor and your computer's cursor) from being on the screen at the same time, select the full screen option.
The MS-DOS emulation is part of the Software Library of the Internet Archive, which is overseen by curator Jason Scott Please mail him at firstname.lastname@example.com with any questions, suggestions or discussions.
As it is experimental and very new technology, there are a number of places that the MS-DOS Em-DOSBOX emulator can fail to work.
There are multiple reasons the MS-DOS section might not have a game or application in its library. They include:
Archive BitTorrents
For existing items use this clickpath from the item's details page:
Edit > change the information > modify/add metadata as desired > click the "Submit" button at the bottom of the page.
You can only modify items that you created.
You can search and browse all our Torrents on the Torrents collection homepage (or one of the media-specific subcollections).
To narrow your own Search or Advanced Search query, add format:"Archive BitTorrent" to your search terms, e.g. https://archive.org/search.php?query='scifi AND mediatype:audio AND format:"Archive BitTorrent"'.
The most popular and recent Torrents are available on each tracker's hotlists, e.g. bt1.archive.org Hot List.
Yes, almost all contemporary BitTorrent clients allow you to select which files included in the Torrent are downloaded. And even when you download only one or some files, you get the speed advantages of using the format.
Many show a list of the files contained in the Torrent, and both folders and individual files can be selected or deselected both before, and during, download.
It is recommend, in fact, that you deselect the top-level directory within the Torrent named ._____padding_file if there is one, as this contains unnecessary (empty) Internet Archive padding files.
Most likely, you have an out-of-date Torrent for the Item you are trying to download. The first thing to try is re-downloading the Items' Torrent, and trying again.
Torrents for Items on the Internet Archive can become obsolete when the Item the Torrent is for changes. In that case, some or (more rarely) all of the files within the Torrent will fail to download completely.
This is because our Torrents rely heavily on webseeding (download directly from our servers, when no peers have the files you are seeking). When files on our servers have changed since the Torrent was made, they will not match expected 'piece hashes'; some BitTorrent clients (e.g. Transmission) will attempt to re-download file pieces from changed files over and over, forever, assuming there was an error in transmission, when in fact the file has changed.
Torrents that never download at all most likely are the result of a different problem, lack of client support for Getright-style webseeding.
It's worth mentioning that some BitTorrent clients take a very long time to begin downloading when relying on webseeding (a common requirement when using Archive BitTorrents). At times downloads can take upwards of several minutes to start.
We're not sure exactly why; we suspect those clients exhaust all other options, such as DHT, before falling back on webseeds. (We have observed this behavior with Transmission.)
If you download an up-to-date (current) Torrent from the Archive, and it loads into your BitTorrent client, but download never begins, the most likely cause is that you are using a BitTorrent client that does not support Getright-style webseeding.
Our Torrents rely heavily on webseeding (download directly from our servers, when no peers have the files you are seeking). Some BitTorrent clients (e.g. rTorrent) do not support Getright-style webseeding, and will not be able to download un-seeded Internet Archive Torrents.
At the moment, the only solution to this problem is to use a different client.
Another possibility is that your Torrent file is out of date, because the Item has moved to a new server, and your client does not support redirection of our canonical webseeding URL (and no tracked or discoverable peers are seeding the Torrent).
In this case, the problem can be solved by re-downloading the Torrent file.
Current seed and leech counts are displayed for each Archive Torrent on the relevant Item details pages, in parenthesis next to the Torrent link. These values are cached for five minutes or so, and because clients do not always update our trackers regularly, they may be somewhat out of date.
The number of seeders is shown first, and the number of leechers (downloaders without the complete Torrent) second. The seeder number includes 'webseeds,' however, which are only usable by BitTorrent clients that support Getright-style webseeding.
Yes, Internet Archive torrents are tracked by bt1.archive.org and bt2.archive.org.
We are using opentracker, which has proven to be highly scalable.
Our trackers are closed (they track our only own torrents).
Retrieval of Torrents is not the best solution for uploading unless you already have an existing mechanism for creating and seeding Torrents.
This capability is not intended as an alternative to our uploader. It merely enables the Archive to capture material already being distributed via BitTorrent.
Torrent retrieval by the Archive works like this:
If a valid .torrent file is uploaded (e.g. through our Uploader) into an item, when that item is derived, we will instantiate a BitTorrent client (Transmission) and attempt to retrieve the Torrent. If the Torrent is successfully retrieved, its contents will be added to the item. 'Valid' in this case means, well-formed and seeded.
Our client will attempt to scrape any listed trackers to find seeding peers, but will also attempt to find peers via DHT and can fall back on Getright-style webseeding when possible.
The Torrent file itself is leeched only long enough to retrieve the file; we do not seed the Torrent after retrieval.
However, all items contents, including those retrieved through this method, are made available via the item's own Archive Torrent. (Because it contains additional contents, this Archive Torrent will, alas, have a different infohash from the original Torrent. So uploading a Torrent to the Archive does not make us a seeder of it.)
Bonus feature: if you have only a magnet link, and not a Torrent file, you can create a dummy .torrent file by pasting that magnet link into a text file and naming it foo.torrent.
If you upload this dummy Torrent file, we'll detect that you gave us a magnet link and take care of the rest.
Downloading Internet Archive Content
As of summer 2012, the Internet Archive is beta-testing the distribution of our public collections via the BitTorrent protocol (as a supplement to traditional HTTP download).
Currently over 1.4 million Archive Items are available via the BitTorrent protocol, comprising almost a petabyte of public domain materials.
As testing continues, more and more content will be made available through Torrents. For the details, see the related FAQ, Details of Archive-made Torrents.
BitTorrent download requires an up-to-date BitTorrent client.
For general information on the BitTorrent protocol, see Wikipedia or BitTorrent.com.
Uploading BitTorrents to the Internet Archive
Starting in 2011, the Internet Archive began automatically retrieving BitTorrent files uploaded into most Community collections.
Uploading a Torrent provides a convenient way to upload many files or large contents, provided seeds (including webseeds) are available for the Torrent.
Internet Archive BitTorrents are automatically made for community-contributed items in many collections, and automatically updated when item contents or metadata change.
If you prefer that your item not have an Archive Torrent made for it; or that items within a collection you maintain do not, you can prevent Torrents from being made by including the following metadata tag in your item:
Note: adding this tag does not remove existing Torrents, those must be removed using the Item Manager item file management tool.
For instructions on how to edit an item or collection's metadata, see the FAQ Uploading Content.
While an Item is being updated, its Torrent link is temporarily disabled and shown as
Changes to an item usually render any existing Archive BitTorrent for it obsolete. Attempts to download obsolete Archive Torrents will usually fail, as described here: My Torrent download never completes?. (Technically, the problem is that when files within an Item change, they can no longer download correctly via webseeding because the piece hashes for updated files change).
The Torrent link will return to normal when the Item finishes updating and the torrent is updated. The Torrent link may be unavailable for a few minutes or a few hours depending on the size of the Item and how busy the Archive processing cluster is (in very rare cases, it might be disabled for a day or more).
Note: obsolete torrents will continue to be tracked by Archive trackers for some time, but will only be retrievable when seeded by peers who have downloaded the referenced version of the item.
BitTorrent is a peer-to-peer file-sharing protocol facilitated by centralized trackers. The Internet Archive runs several BitTorrent trackers to allow for peer discovery.
Archive trackers track (but do not log or otherwise record) which peers have pieces of which Torrents; real-time statistics are summarized on tracker hotlists for each of our Trackers.
Internet Archive tracker statistics of interest include:
Note: Internet Archive seeder and peer counts include webseeds; these seeds are available only when using clients that support Getright-style webseeding.
Accounts Information
Bookmarks are now referred to as "Favorites". To Favorite an item click the star icon that is in the top right area of an item details page to the right of the player.
You can create a new account at the Create An Account page. Once you create an account you should receive a verification email (please check you spam/trash filed if you do not see it in your inbox). If responding to the verification email fails to activate your account please let us know by emailing to firstname.lastname@example.com.
On the login page you can click the "Forgot password?" link or go directly to
Follow this clickpath:
Click your screen name in the top black navigation bar > click "My Library" in the drop down menu > click "Settings" in the upper right.
Follow this clickpath:
Click your screen name in the top black navigation bar > click "My Library" in the drop down menu > click "Settings" in the upper right > under "Account Settings" enter your password and click "Change Account Settings".
Follow this clickpath:
Click your screen name in the top black navigation bar > click "My Library" in the drop down menu > click "Settings" in the upper right > under "Account Settings" enter your password and click "Change Account Settings" > click the "Delete Account" button.
This cannot be reversed.
Note: deleting your account will NOT remove any pages you created on the site. To do that you would need to send a request to email@example.com.
No. Deleting your account will NOT remove any pages you created on the site. To do that you would need to send a request to email@example.com. Please send it from the account email address if possible. Otherwise, please offer an explanation as to how we might verify that this is/was your account.
To have existing items associated with a new account email address please email us at firstname.lastname@example.com. Please include your previous email and the new email addresses.
Simply drag an image over or mouseover the icon on your "My Library" page > click "Submit > wait for tasks to run and then refresh the page
Follow this clickpath:
Click your screen name in the top black navigation bar > click "My Favorites"
Simply drag an image over or mouseover the icon on your "My Favorites" page > click "Submit > wait for tasks to run and then refresh the page
The identifier of your account page is permanently established when you create your account. It will not change even if you change your screen name.
No. They will retain the screen name you had when you wrote the reviews and/or posts.
Accounts may be locked for a variety of reasons including violating the Terms of Use.
If your login in fails please be sure:
1. You are using the email address of the account rather than your screen name.
2. You keyed in the email exactly as originally used to create the account. The login is case sensitive. Check to be sure your Caps Lock is not engaged.
3. If you believe you may not have the correct password you may click the "Forget password?" link to have email sent to you with instructions to create a new password.
Use this clickpath: Click the "My Favorites" link in the black bar at the top of the site > click "Remove items" in the upper right of the page > use the red "X" on each item to remove it > Click "Remove items" again to turn off the functionality.
The upload icon (the up arrow) is located in black top navigation bar on the right side.
Follow this clickpath: Clicking your "Screen Name" in the top black navigation bar > click "My Library" > click "Settings".
Bookmarks are now called favorites. To find them use this clickpath: click your screen name in the black top navigation bar > select "My Favorites"
Use these clickpaths:
• On a collection page click the "Forum" tab (example:archive.org/details/americana&tab=about)
• The 50 most recent forum post on the entire site: archive.org/iathreads/posts-display-new.php?limit=50
• A list of all forums is at archive.org/iathreads/forums.php
On a collection page either click "More" at the bottom of the description summary or, click the "About" tab
This feature is limited to the top media types. Use this clickpath:
Click a mediatype (texts, audio, movies, software) icon in the black top navigation bar > click the "This Just In" link under "Featured" (Example)
At this time that feature is not part of archive.org
A recording I uploaded and marked 'no lossy formats' had them created (mp3, ogg, m3u, etc...) . How can I remove them?
There's no set list for this show, or, The set list does not match up with the number of files. Should I submit an error report?
The progress of my upload says 'File metadata XML invalid. Waiting for user to correct.' How can I fix this?
Regarding removing the lossy files ... I edited my show, checked the box to remove them and clicked update. Now when I click update again, the box is still not checked. Why?
Live Music Archive
At this point in time, Archive.org cannot host recordings that were broadcast over either of these services. Subscribers have informed us that they were required to sign a "Terms of Use" document that forbids the recording/hosting/rebroadcasting of any material received from these services. Until we hear otherwise, these recordings cannot be hosted here.
A recording I uploaded and marked 'no lossy formats' had them created (mp3, ogg, m3u, etc...) . How can I remove them?
If you come across this situation and you are the uploader, click [edit], select the derivation option you prefer, and then 'Update'. You should see the message "Format Options Updated Successfully". Within 10 minutes the system will create a "_rules.conf" file in the recording's folder. Then, the next time the system performs an automatic sweep looking for changes, it will notice the new rules file and remove the lossy files automatically. The sweep occurs approximately twice a day, so you should see the files removed within 12-24 hours.
If you are not the uploader, send us an email (etree at archive dot org) and an admin will remove them.
As an example I'll search for Del McCoury: start at https://archive.org/details/etree type "Del McCoury in the "Search this Collection" text field on the right side and hit return. I prefer list view so I click the icon (the four stacked horizontal lines) all the way on the right side of the "SORT BY" bar. And, I check the "SHOW DETAILS" box to show more information. Now I've got results for Del McCoury in the Live Music Archive at https://archive.org/details/etree?&and[]=Del%20McCoury Now click the "DATE PUBLISHED" link in the "SORT BY" bar above the results. Now I've got them sorted by concert date from newest to oldest at https://archive.org/details/etree?and[]=Del+McCoury&sort=-date To reverse the order click the Up/Down arrows just to the left of the words "SORT BY in the "SORT BY" bar. Now they concert dates are from oldest to newest at https://archive.org/details/etree?and[]=Del+McCoury&sort=date
The .txt file is used by the LMA collection to populate metadata in the item, especially the titles of tracks in the playlist. Please be sure it is a .txt file and not another text format.
We no longer require nor desire checksum or fingerprint files. Often they cause problems when files are changed in the item. Systems have improved to the point where we no longer see checksums as necessary to verify accurate upload/download.
At this time, video uploads are not being accepted, namely because most of the bands archived prohibit the video taping of their shows. Moreover, unlike audio, where we actually have a shot at archiving the vast majority of any given band's live concerts (in very high quality format), video is scarce and, unless made by the artist (in which case, it's typically for commercial purposes), is not of particularly good quality.
There's no set list for this show, or, The set list does not match up with the number of files. Should I submit an error report?
There has been an increasing number of shows uploaded to the Live Music collection without set list information, or the set list was not properly matched to the files. When you notice a recording like this, please email us (etree at this domain) only if you have an updated set list, or you are able to match the files up correctly.
We would prefer that you do not submit error reports letting us know that there is no set list - tracking down set lists for every concert and matching them up to the recordings is a monumental task that has grown beyond the capabilities of the small group of Archive.org admins. We would like fans that are familiar with each artist's material to help us with this project - in your email, please give us specific instructions on what changes to make and we will do so.
We'd love to have you! Just write to us at etree at archive dot org in English giving some kind of permission for us to archive your shows for public download and noncommercial, royalty-free circulation. It does not need to be a formally worded declaration, and can come from anyone you feel has the "say-so." We just need to be clear on how you feel about the project. We will put relevant quotes onto a new "collection" page (examples) for your performances, along with a link to your official website.
It is necessary for you to email us at etree at archive dot org in order to create a new section. We want to be sure that the go-ahead really is coming from you. Please do not attempt to create your own collection, or to upload any of the band's shows, in advance of receiving an emailed confirmation message from curators; such attempts may significantly complicate or delay the curators' setup process.
You can give as much or as little scope for archiving as you like. Some bands place limits on what can be hosted, and we can accommodate those. Archive Curators, volunteer fans who have proven to be in line with the spirit of this archive, will attempt to screen contributions for OK'ed material only.
At the same time you give the go-ahead, feel free to pass along any notes or policy links on your general taping/trading stance as well. You don't need to have a formal written or posted policy before inclusion, but we'd like to know how you feel about the topic.
Besides fans sending their copies of your shows, you can also prepare and upload your own live recordings to the Archive, if you like. In fact, if you'd like to limit your material to selected contributions from you only, please just let us know.
If you have any questions about the project, please ask us anytime at etree at archive dot org.
Yes! In keeping with the nature of this Archive, it is appropriate for multiple sources of the same show to be available for download. When you upload the new source, be sure to name the source in the show's top level folder to avoid confusion. Some bands do place limits on the types of sources allowed (such as soundboard recordings), so please check the policy for any given band.
The progress of my upload says 'File metadata XML invalid. Waiting for user to correct.' How can I fix this?
This is typically caused by illegal symbols being used somewhere in the information that was put into one of the forms submitted with the show (either the import form or "File Options"). Double check that the only characters used are those visible on a standard English-language 104 key keyboard. More information and a few examples are here.
If you have trouble finding the cause, please post to the forum for help. An admin will have to resubmit the recording for another try, so please send an email including a link to the recording to etree AT archive DOT org if you believe you have cleared the issue.
More information on what XML files are and how they are created can be read here.
Yes. Each band can tailor the extent of their permission to the Archive. We quote the band's wishes in the Rights section of the band's Collection page. Here are some examples of special restrictions bands have requested. We point out different cases in a band's policy information using a shorthand "Limited Flag" tag.
We have a contribution system set up to accommodate individual bands' requirements. During the upload process, contributors are urged to double check the band's policy notes at different stages. Archive Curators, volunteer fans who have proven to be in line with the spirit of this archive, will attempt to screen contributions for approved material only. In addition, access to a particular item can be removed if it becomes restricted later (for example, a date newly chosen for commercial release must be removed under some band's policies).
Bands, please contact us at etree at archive dot org anytime to let us know how we can work with you to make things happen.
Indeed! The URL of the feed is http://www.archive.org/services/collection-rss.php?mediatype=etree&collection=etree You can plug this into a front end like AmphetaDesk (available at: http://www.amphetadesk.com)
This field indicates the person who did the original DAT/MD/Cassette to WAV conversion. Also, note that in the case of recordings made directly to laptops there is no transfer.
Regarding removing the lossy files ... I edited my show, checked the box to remove them and clicked update. Now when I click update again, the box is still not checked. Why?
It takes 2-10 minutes for your checking of that box to 'stick' ... see this discussion board post: http://www.archive.org/iathreads/post-view.php?id=22816 for an explanation of why.
If the artist is OK with Internet trading, you may be able to find downloadable recordings through http://bt.etree.org. Also, check http://db.etree.org to find people who have copies of shows and who may be willing to trade. Etree.org has additional trading forums at http://forums.etree.org Lastly, you can check out a band's own fan forums and mailing lists. Good luck!
In contrast, the Live Music Archive forum at the Internet Archive is not a good place to post about trades, or to ask for shows that are not yet archived here, whether or not the band presently has a section here. Moderators may delete these posts. More posting etiquette tips for that forum are here.
Hi-Fi: An MP3 playlist, readable by most players, that has the addresses of MP3 files encoded with a variable bit rate.
Lo-Fi: An MP3 playlist, readable by most players, that has the addresses of MP3 files encoded with at a constant bit rate of 64 kilobits per second. These files are ideal for users with slower Internet connections.
Currently, the Live Music Archive will only accept lossless audio files in these formats: flac, aiff, wav or shn.
Do not upload the lossy files (MP3 or OGG) next to your lossless format files. The derive task creates those automatically, provided that the contributor agrees to having them available. This ensures that all the files here have uniform quality options selected.
Please follow etree.org's Seeding Guidelines when preparing your contributions for addition to the collection. Pay particular attention to the Naming Standards section. A well-named identifier helps patrons find your show in our large collection. A well-named set of files allows files to be listed in the proper order at the site, and allows patrons to listen to them in playlists and burn them to CD in the proper order, too.
Yes, here are some guidelines that will help us maintain good records for each concert.
To view the entire Live Music Archive (everything in the "etree collection") sorted by 'Most Downloaded Items' go to this link: http://www.archive.org/search.php?query=collection%3Aetree&sort=-%2Fmetadata%2Fdownloads
And here's one that lists everything but the Grateful Dead (like the one on the LMA front page):
Feel free to email email@example.com with any questions, and we'll do our best to post the answers here as soon as possible. Also, the message board is a great resource; with so many helpful, knowledgeable folks out there, you can often get a speedy answer to your question.
Yes. Follow this clickpath: drag and image over the existing one next tot he band name > click the submit button > wiat for the tasks to complete > refresh the page.
These image formats will work: jpg, png or gif
The image you upload should be named identifier (where identifier is your item's identifier name) followed by the format. So, identifier.jpg, identifier.png or identifier.gif will work.
Uploading instructions for the etree collections can be found at https://archive.org/download/lmaupload/lmaupload.html
Before uploading any show<, read the band's policy notes for this site. Many artists place limitations on their material here, and info is often updated. Please do not upload shows for any band that does not yet have a curator-created collection page here, even if you know the band has recently emailed their permission. Advance attempts may significantly complicate or delay the curators' setup process for the band.
Next, be sure that you are logged in as an Internet Archive member. Have the fileset on your computer already, correctly prepared and correctly named. Files must be in lossless format (.flac or .shn), from lossless parent source material; we will optionally create the extra "lossy derivative" copies (.mp3, .ogg) onsite.
Views (formerly known as downloads) are calculated per item page, per IP address, per day. If you stream a show today, that's one download. If you view the txt file tomorrow, that's another download. If you download every file from a show's page the next day, that counts as one more download. If you download the same file a thousand times the day after that, that still only counts as one more download.
This audio archive is an online public library of live recordings available for royalty-free, no-cost public downloads. We only host material by trade-friendly artists: those who like the idea of noncommercial distribution of some or all of their live material. Live recordings are a part of our culture and might be lost in 100 years if they're not archived. We think music matters and want to preserve it for future generations.
The LMA draws strength from the members of etree.org and other online communities of music fans devoted to providing public access to high-quality digital recordings of tradable performances. Typically, recordings are made by the fans. Recordings are preserved in "Lossless" archival compression formats such as Shorten or FLAC (MP3 is not Lossless) for highest quality preservation.
Patrons may download from the LMA with the understanding that the artists still hold their copyrights. All material is strictly noncommercial, both for access here and for any further distribution.
Lossless: A ZIP file containing Shorten files or Flac files. Unlike formats like MP3, lossless formats are true to the original - there is no degradation in quality.
Hi-Fi: A ZIP file containing MP3 files encoded with a variable bit rate to deliver high quality at roughly 160kilobits per second.
Lo-Fi: A ZIP file containing MP3 files encoded at a constant bit rate of 64 kilobits per second. These files are ideal for users with slower Internet connections.
Other Web Options: All files are displayed as individual links on any item's details page. Web-based download managers can be set up to download all the files you want from the page, as a group. For Firefox, the extension DownThemAll is a popular option.
BitTorrent: Some Items that are downloadable via HTTP are also downloadable via a BitTorrent client; these items show a 'Torrent' link next to the 'HTTP' download link. (To trigger creation of a BitTorrent file for an item in the LMA that does not yet have one, write a review for it, e.g. "Make me a Torrent!"). Note: only items downloadable via HTTP can be downloaded via BitTorrent.
If you know of a trade-friendly live-performing band that is a good candidate for the Archive, you can initiate contact. Some tips and letter templates can be found here. When you write, make it clear you are asking about the Live Music Archive at archive.org. Don't just ask about their general taping/trading stance. We want bands to know what's up.
Next, follow up with a message to etree at archive dot org. Mention when you tried to contact the band and what contact point you used. These are important in order to update our contact records. Admins will update the contact status in an announcement forum about Pending Bands based on the message you send us.
If you receive a reply from the band, positive or negative, send a complete copy of the email, complete with its sender's address/brief header info, to etree at archive dot org. It's a good idea to send a copy of what you asked them as well (if not quoted in the reply), since it will give context to the answer. We need to have full info in hand in order to set up the band appropriately in the Archive, and we may need to contact them for follow up questions.
If you are hesitant to make contact yourself, you can mention the band to Archive admins (send email to etree at archive dot org) and they can try a contact as time permits. To help out, supply any contact or policy info you may already know about the band.
Sometimes people make typos or other mistakes on uploads, or leave gaps in info that can be filled in later. You can help supply good information for archived items. Here is the current best method to submit corrections:
If you uploaded the show, you can make the changes to the details page yourself. Make sure you are logged in as the user who uploaded the show and go to the details page of the show you are trying edit. Click on the "edit" link next to the band name at the top of the details page and you will be able to edit the show details including venue, location, source, set list, etc. Be aware that editing these fields will only change the show details, not the files themselves.
If you uploaded the item and would like to replace or add to files within your item, under the current system this can be done without reuploading the entire fileset. More description may follow; meanwhile there is a walkthrough as a Word document with screenshots.
If you did not upload the show, please email the admins (etree at archive dot org), and state precisely what the problem with that particular show is. If the problem is a missing set list, please see this FAQ). If there are one or more missing or broken files that you can provide, please re-upload and re-import the entire show under a new directory name, and then email us a link to the old, broken show, asking for that show to be removed.
At this time we do not derive HD files. HD files need to be derived by our system for the HD button to appear in the player.
Click the "Share" icon near the player. A popup window will offer URLs for embedding. For more advance options click the "Advanced embedding details, examples, and help!" link at the bottom of the popup.
The html5 audio player is the default player. Some browsers may prefer to use Flash. Clicking the "lightning bolt" icon on the right side of the player will with it to a Flash based player.
To set a start time add ?start=XXX (where XXX is the start time calculated in seconds) to the end of the URL. At this time there is not a way to specify the end time.
If a hi-res source file was uploaded it will be available in the DOWNLOAD OPTIONS section or by clicking SEE ALL.
An editable file is a file which can be downloaded and used in an editing program. The MPEG-4 are the highest bitrate versions we could do with the linux mpeg-2 to mpeg-4 conversion tools we use. These files can be read directly into FinalCut-Pro from Apple, and can be converted to mov using Quicktime-pro and read directly into iMovie from Apple.
There are several programs you can use to stream movies in the Archive. Because we allow users to upload video files in any format, the same player will not always work for every single file, so it's a good idea to have a couple of programs available that you can try. Also, some files simply can't be streamed. Usually, this happens when the program that created the video file uses a codec that our software doesn't understand. So if you click on a stream link and get an "unsupported media" sort of error, use the download links instead.
Here are some free players that might come in handy:
If you have Quicktime installed, many mp4 streaming movies will play right in your browser window just by clicking a stream (or download) link. Make sure you have the latest version so that you can play the widest array of files.
VLC Media Player
Open your VLC Media Player and go to File > Open Network Stream. Click the File tab and enter the download link of the file you want to watch. Yes, this seems backward, but it works!
So, if you were trying to stream the movie Duck and Cover found at http://www.archive.org/details/DuckandC1951 you would:
Use this URL:
VLC will stream mp4, avi, mpg and other file formats, so it is quite useful for viewing the majority of the files in the archive.
Real Player
You can use Real Player to stream Real Media files.
We support two bitrates: 32Kbps-192Kbps for modem and ISDN users plus 256Kbps-450Kbps for DSL and cable-modem users.
The in browser player typically uses an mp4 file. Most encoding (codecs) that are used do not add a "fast start atom" to the file to get it to start without the file having to load. If you are uploading an mp4 it is best to use .mpeg4 rather than .mp4 as the extension in the file name. That way our system will create an mp4 with the fast start atom.
Try downloading the movie to your computer and watching it locally. Sometimes choppiness occurs when we can't stream it to you quickly enough (because your connection is slow or our servers are overloaded).
If you're watching an MPEG-4 that we derived from an original MPEG-2, we first reduce its size to 320 x 240 - a quarter of the resolution of NTSC video. We then translate it at 350 kbps, which is really borderline for that resolution. You see errors occasionally because there simply isn't enough bandwidth available, so the MPEG-4 encoder either drops frames - resulting in jerky or choppy motion - or drops macro blocks - resulting in blurred or pixelated video. That is the price we pay for the small file size - 80 MB for a 1/2-hour clip is really very small in the digital video world. If this is the case, download the original MPEG-2 to solve the problem.
The best all-around, free player is VLC Media Player - it handles most of the movie files you will find on this site. If you're seeing errors when you try to play movies, please try downloading VLC and using that instead. This clears up many people's problems.
Here are some other possible problems:
If you still have trouble, post your question to the moving images forum.
This will vary from movie to movie.
Many of the movies and collections are licensed with Creative Commons Licenses. Uploaders may designate whether or not an item has a CC License. If they do so, the Creative Commons logo will appear on the left hand side of the movie's detail page. Click on this logo to see details about the specific type of license that the uploader has assigned to the movie. Archive.org cannot guarantee the accuracy of uploader-provided information.
Some films may have the contact information listed for the filmmaker. If the information is provided, feel free to contact the filmmaker or organization the film comes from.
You may upload movies that you own the copyright to, or that are in the public domain.
We are not copyright lawyers, and copyright is a tricky business, so you may want to consult a copyright researcher to clear material before you use it. You may also want to check this list of movies that one of our volunteers has already researched.
Here is some general information on the subject that may help you decide if your movie is okay to upload. The information below applies to films produced in the United States only.
1) Is there a copyright notice visible in the film? It is usually visible with the title or at the end of the film.
If the work was made in 1923 or earlier, it is probably public domain and can be uploaded. NOTE! Restored versions of the film or new soundtracks for silent films can have more recent copyrights that are still valid - usually a copyright notice for a new soundtrack or restoration will appear in the film.
For works made from 1923 to 1949, post a question to the movie forum on this site before you upload. The copyright could have been renewed and there isn't a way online to check a film's copyright status.
For works made from 1950 to 1963, you can check the title at the Library of Congress Copyright Database for copyright renewals: http://www.copyright.gov/records/cohm.html . This will list copyright renewals for most films.
If the copyright notice is 1964 or later, the copyright is probably still valid and the film should not be uploaded unless you are the copyright holder.
2) Is the copyright notice in the correct format? It needs to state three things - the word 'copyright' or the copyright symbol or '(c)', the year and who owns the copyright? If it is missing one of those elements or if there is no notice, it could be public domain. If you aren't sure, please post a question to the movie forum on this site.
3) Is the film foreign (not from the U.S.)? Foreign titles might not have a copyright notice, but still may be copyrighted in their country of origin. Traditionally the U.S. wouldn't recognize the copyright of a foreign film unless it was registered in the U.S. That has recently changed with the GATT treaty. Many foreign works had their copyrights restored. Please post a question to the movie forum on this site about these films before you upload.
The archive is all about free access to information, so you should submit file formats that are easily downloadable and/or streamable for other site patrons.
We prefer that you submit the highest quality format that you have available, and then we will attempt to create smaller file sizes and formats automatically with our deriver program. MPEG2 files are the easiest file type for us to deal with. We recommend that you do not attempt to do any special encoding of your files - the more settings you mess around with, the less likely our deriver code will be able to process the file.
Whatever format you choose, please upload each file to your item individually, in a non-compressed format. Uploading content in a .zip or .rar file makes your item unstreamable and significantly less accessible to others. If you upload .zip, .rar, non-video formats (like .exe), or password-protected files, they may be removed by our moderators.
The table on the Derivative Formats page shown below describes what file formats we will attempt to derive depending on what type of file you submit.


text:
Travel medical insurance
1. Travel medical insurance – Schengen visa applications
Applicants for Schengen visas must prove that they are in possession of travel medical insurance to cover any expenses which might arise in connection with repatriation for medical reasons, urgent medical attention and/or emergency hospital treatment or death, during their stay(s) on the territory of the Member States. The insurance must be valid throughout the territory of the Member States and cover the entire period of the person´s intended stay or transit. The minimum coverage is EUR 30 000.
Applicants for a uniform visa for multiple entries must prove that they are in possession of adequate and valid travel medical insurance covering the period of their first intended visit. In addition, such applicants must sign the statement, set out in the application form, declaring that they are aware of the need to be in possession of travel medical insurance for subsequent stays.
Holders of diplomatic passports are exempt from the requirement to hold travel medical insurance.
2. Travel medical insurance – long-stay visa applications lodged at embassies and consulates
The applicant must provide proof of holding travel medical insurance before the visa is affixed to his travel document. The insurance must cover the entire period of the applicant´s stay in the Czech Republic as determined by the validity of the visa.
What is an adequate travel medical insurance?
Travel medical insurance must cover the cost of emergency medical care, including medical evacuation or, in the event of death, repatriation of remains to the country that has issued the applicant´s travel document or to the applicant´s country of residence. The insurance policy must not exclude coverage for injuries and damage caused by the applicant´s intentional acts, injuries and damage caused by fault or contributory fault on the part of the applicant, and injuries and damage caused by the consumption of alcohol, narcotic and psychotropic substances by the applicant. The minimum coverage is EUR 60 000 per one insured event without any coinsurance or copayment.
Travel medical insurance may be purchased from:
A) An insurance company licensed to sell such insurance in the Czech Republic;
B) An insurance company licensed to sell such insurance in any other Member State of the European Union or in any Contracting Party to the Agreement on the European Economic Area;
C) An insurance company licensed to sell such insurance in the country that has issued the applicant´s travel document or in the applicant´s country of residence.
Translations into Czech
The proof of travel medical insurance must be accompanied by a certified Czech translation of the insurance policy and general insurance terms and conditions, proving the existence of travel medical insurance, the scope of coverage, the amount of coverage (at least EUR 60 000), and proving that there is no coinsurance or copayment. The applicant may be requested to present proof of insurance covering the entire period of stay in the Czech Republic.
Who is exempt from presenting proof of travel medical insurance?
A) Applicants covered by medical insurance in terms of special legislation – Act No. 48/1997 concerning public medical insurance and amending certain related acts as amended;
B) Applicants whose medical costs are covered on the basis of an international treaty;
C) Applicants who present a written undertaking from a government authority proving that their medical costs will be covered under another arrangement, in cases where the applicant´s stay in the Czech Republic will benefit the development of spiritual values, protection of human rights and/or other humanitarian values, protection of the environment, cultural monuments and traditions, or the development of science, education, physical education and sports;
D) Applicants who present a Letter of Invitation certified by the Aliens Police of the Czech Republic containing the undertakings referred to in Section 15 of Act No. 326/1999 concerning the residence of aliens in the territory of the Czech Republic as amended.
3. Travel medical insurance – visa applications and visa extension applications lodged in the Czech Republic
Applicants for long-stay visas and for extension of visas who lodge their applications in the Czech Republic may purchase their travel medical insurance only from insurance companies licensed to sell such insurance in the Czech Republic (Insurance Companies Act No. 363/1999). The insurance policy must cover comprehensive medical care (defined as medical care provided to the policy holder at medical institutions contracted by the insurance company, with no costs charged to directly to the policy holder; the care is designed to help the policy holder sustain the state of health he enjoyed before taking out the policy). The insurance must cover preventive and dispensary care and medical care related to pregnancy and birth.


text:
This item is temporarily out of stock. However, we can notify you as soon as this product becomes available.
Thank you
We have received your request and you will be notified as soon as this product becomes available.
In order to keep our prices as low as possible, all CreateForLess order subtotals must be at least $10. This helps us save on labor costs when packing your order so we can extend the savings to you!
Description: Pellon Knit Elastic is great for waistbands, undergarments, headwear, straps, and more. Knit elastic does not narrow when stretched and is not affected by sewing needle piercing. Machine washable and dryable. 50% Polyester. 50% Rubber. 2 1/2 inch x 50 yard. White.
Review this product and Enter
to Win a $100 shopping spree!


text: Ubud, together with its surrounding villages, is Bali's cultural hub; home to the island's most accomplished painters, dancers, musicians, wood carvers, stone sculptors and silversmiths. Ever since the German painter, Walter Spies, settled here in the 1930s, the town has been a haven for both local and foreign artists and writers, and is now a magnet for people involved in art, anthropology, music, dance, architecture, environmentalism, mysticism, and alternative healing. Ubud offers wonderful shopping, together with pampering spas and enchanting restaurants nestled in breathtakingly beautiful locations. The town is surrounded by terraced rice fields and dramatic river gorges. In fact, some of Bali's best-known and most expensive boutique hotels and private villas are located just outside the town on the Sayan Ridge overlooking the picturesque Ayung River valley.


text:
Bumblebees, Butterflies, and Bugs, Oh My! We've got a colorful selection of puzzles in this category that are sure to keep you buzzing over the pieces for hours. We've got your favorite insect puzzles, butterfly puzzles and all your other bug favorites along with colorful spring backgrounds filled with flowers.
Use the filters to the left or simply scroll down to begin viewing all pages.
Copyright © 2008-2020, Puzzle Warehouse, All rights reserved.
Puzzle Warehouse recycles everything it can to save the environment and to keep costs and prices low.
We are Hiring! Please fill out the employment form or send your resume to firstname.lastname@example.com.


text:
Flight WestJet WS1208
WestJet WS1208: info and flight status. The flight WS 1208 connects the airport Lester B. Pearson International of Toronto and the airport La Guardia of New York. The flight is operated by the airline WestJet (IATA code: WS, ICAO code: WJA). The distance between the two airports is about 574 Km and the flight time is about 1h 25m (the flight time is approximate, and may vary as a function of the air route and the type of aircraft used). For flights of some airlines (and to the main airports) you can also find real-time information on flight arrival or departure, info about delays or cancellations and the flight status.
Flight code:
Airline code:
Flight number:
Airport of departure:
Lester B. Pearson International (YYZ)
Departure city:
Airport of arrival:
La Guardia (LGA)
Arrival city:
New York
Flight status:
Not available
Distance between Toronto and New York:
574 Km
Flight time from Toronto to New York:
1h 25m
Flights that carry the same route (also operated by other airlines):
Air Canada AC700 (1h 33m)
Air Canada AC702 (1h 33m)
Air Canada AC704 (1h 33m)
Air Canada AC706 (1h 33m)
Air Canada AC710 (1h 33m)
Air Canada AC712 (1h 33m)
Air Canada AC714 (1h 33m)
Air Canada AC716 (1h 33m)
Air Canada AC718 (1h 33m)
Air Canada AC720 (1h 33m)
Air Canada AC722 (1h 33m)
Main links:
Non-stop flights from Toronto to New York
All flights departing from Toronto
All flights arriving at New York
Airport profile: Lester B. Pearson International (Toronto)
Airport profile: La Guardia (New York)
All flights departing from Toronto
All flights arriving at New York
Airport profile: Lester B. Pearson International (Toronto)
Airport profile: La Guardia (New York)
Airports connected by the flight WestJet WS1208


text: National Aquarium's Fresh Thoughts Sustainable Dining Event with Ryleigh's Oyster. The dinner, themed around oysters, will feature a cocktail reception, cooking demonstration by guest chef Patrick Morrow and a fine dining experience that includes a four-course menu created solely for the event. Guests are invited to come early to explore the exhibits, including the new Blacktip Reef exhibit, which opened in early August. Ryleigh's Oyster specializes in serving fresh, quality seafood, meat, poultry, and produce in a comfortable relaxed atmosphere. The restaurant has been recognized by the Restaurant Association of Maryland as one of the "Stars of the Industry" and received praise from The Baltimore Sun, Baltimore City Paper and WJZ. MENU First Course Maryland Rockfish Crudo watermelon, watermelon radish, sea bean pesto Second Course Hog Island Clams & Oysters new potatoes, pearl onions, fennel Third Course Poached Catfish BLT heirloom tomatoes, charred lettuce puree, crispy bacon Dessert Sweet Corn Custard roasted peanuts, caramel popcorn sauce TICKETS: $79 for National Aquarium members and $99 for non-members. Tickets can be purchased at www.aqua.org or by calling 410-576-3869. WHEN: September 24, 2013 6:30 p.m. WHERE: National Aquarium, Baltimore 501 E. Pratt Street Baltimore, MD 21202 National Aquarium is proud to partner with Classic Catering for the Fresh Thoughts Sustainable Seafood Dining Series. Categories:


text:
Articles › Foreign Language
Les sons des animaux (Animal Sounds) by Audrey Misiano
This multi-age global VoiceThread is an example of how you can create a project that can keep on growing with more and more participants from around the world. There are voices of children from pre-school all the way up to about 10 years of age involved in this project. It was very fun for the children to hear the voices of other children as they were added.
My friend, Sylvia Duckworth, created the powerpoint for a separate project. When I saw it, I was just learning about VoiceThread and thought it'd make a cute project with my children, whom I'm raising bilingual in French. I worked with my daughter, mainly, to create the audio. Then I shared the link on Twitter and Edmodo to get other classrooms involved. I also was able to get a classroom in my school involved in this project.
Goals and objectives
1. First and foremost, this project was created to have fun! I am teaching my children to speak French and this sort of project really helps keep them interested, especially when no one else in their world speaks French, but mommy.
2. To connect and share with classrooms globally so that my children can hear that other children are speaking French, too!
3. To learn about the animals in French and to compare the sounds they make in the two different languages.
Easiest Part
It was easy to get kids excited about this fun project! They find it so interesting and silly to hear that animals "say" different things in other languages!
Twitter and Edmodo PLNs
Twitter and Edmodo are awesome tools to connect globally for projects such as this one.
This sort of project would be very interesting in other languages and with other onomatopoeia.
The VoiceThread


text:
Ed Farmer and Darrin Jackson also had their agreements extended as the radio voices of the White Sox. Farmer enters his 20th full season on the White Sox Radio Network and sixth handling play-by-play duties, while Jackson, the one-time White Sox outfielder, enters his 12th season as a White Sox broadcaster. The 2011 campaign marks his third in the radio booth with Farmer.
Ken "Hawk" Harrelson and Steven Stone also return for their third year together on the television broadcasts. Harrelson marks his 21st consecutive season as the voice of the White Sox, while Stone begins his fourth.
and the Sox get a radio HD channel as part of their new radio agreement with WSCR:
The new multiyear broadcast agreement between the White Sox and WSCR 670 The Score, announced on Wednesday morning, comes with an option. … As part of this new agreement, the White Sox will launch a HD channel on 104.3-3. According to club vice president and chief marketing officer Brooks Boyer, the new channel will focus on White Sox programming and Bulls programming, factoring in chairman Jerry Reinsdorf's two teams, as well as the business of sports, with content created exclusively by the club. …


text:
Check out our Holden Commodore SV6 VZ photo gallery
with 64 HQ pics.
Last update in Commodore SV6 VZ gallery was at Monday, 05 Dec 2016 with 47 new photos.
The next year's Holden Captiva range has come. It brought minor specification changes across the range.
The Colorado Z71 ute gained a new friend in the SUV. This year's Holden Trailblazer Z71 will be shown in June.
CarAdvice has informed that this year's Holden Astra Sedan will be launched with 3 trim levels. Besides, it will feature 2 transmissions.
Theophilus Chin, a famous rendering artist, presented a theoretical 2018 Holden Ute's outlook.
Close of the plants of Australian Holden is planned for 2017, yet General Motors is eager to save the brandname.
We select only big size holden commodore sv6 vz photos
for our photogallery.


text:
Here's the homework I assigned in class:
See you on Friday morning!
If you enjoyed this article please consider sharing it!
This is the website for Prof. Gord Sellar. It back up and running, though it is supplemented by the proprietary Blackboard course management system used the university where he works.
Colorway Wordpress Theme by InkThemes.com


text: Dresden and Meissen porcelain are often confused. Porcelains were made in the town of Meissen, Germany, beginning about 1706. The town of Dresden, Germany, has been home to many decorating studios since the early 1700s. Blanks were obtained from Meissen and other porcelain factories. Some say porcelain was also made in Dresden in the early years. Decorations on Dresden are often similar to Meissen, and marks were copies. Some of the earlies books on marks confused Dresden and Meissen, and that has remained a problem ever since. The Meissen "AR" mark and crossed swords mark are among the most forge marks on porcelain. Meissen pieces are listed in this book under Meissen. German porcelain marked "Dresden" is listed here. Irish Dresdenand Dresden made in East Liverpool, Ohio, are not included in this book.


text:
All title transfers and exemption claims on motor vehicles and other equipment is regularly audited by the Ohio Department of Taxation in accordance with Ohio Revised Code (RC) 4505.09(B)(2)(c) and 5739.13 to verify if the sales tax liability has been satisfied.
Did you receive a letter from us? - This link will provide information and interactive notices on the different types of letters that are sent.
Downloads and Electronic Forms – Forms, questionnaires, and additional resources can be found on this page.
Casual Sales – These sales are defined as the transfer of a motor vehicle title between two individuals who are not affiliated with a licensed dealership. Learn about cash sales, trades, bartering and loan assumptions here.
Exemptions & Taxability – Ohio law allows certain vehicle transactions to be made without paying sales tax. Find out more here.
Leasing & Dealer Transactions – This link is for licensed dealerships to obtain more information on the application of sales tax to their transactions including leases.
Aircraft – The sale of an aircraft may be subject to sales tax. This page will provide additional resources regarding the taxability of aircraft.
Watercraft & Outboard Motors – The transfer of a watercraft or outboard motor is generally taxed in the same manner as motor vehicles. Get the information you need here.
Snowmobiles - With some exceptions, snowmobiles are to be registered and are subject to sales tax.
The Ohio Department of Taxation has compiled a list of frequently asked questions covering many different categories.
To view the questions, click on the "Select Category" bar and then click on the category in which you are interested. A list of questions will appear pertaining to that category. Then, click on the question in which you are inquiring and the answer will appear.