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  • davidwills 7:35 pm on February 14, 2012 Permalink | Reply  

    Hmm. Does any body ken when Fulcher was in Australia? I wonder would it have been in 1982?

    I ask because that’s when I was there too. Considering it’s import, him dying and all, It would be a wry thing if so.

    While I was there in New South Wales I got to commune with (read about) a local cultural hero, Wyndradine of the Wirrajuri (sp?) who was a charismatic Australian original who attracted a large following of cross-cultural supporters with his astute oratory. He talked back against the Pommie (British) settlers and cleverly defended his land with deft tactics.

    I became interested in Wyndradine because of similar doings in the 1880’s I knew about in northern California Pit River Indian country. Pit River was so named by the European invaders but the Amerindians there are more properly known as Payute. But Payute is not their own name for themselves either, it is nearby Shumash(?) language for ‘people to the south.’ The Pit River name was derived from the fact that the Amerindians thereabouts buried their food in holes in the ground.

    It was from these people that the ethnologist Lord Pitt Rivers took his name (I think it may have been his wife who asked for the added ‘T’). My first job, when I was 15 or so was writing captions for his collection of African masks, Amerindian canoes and the like in the obscure but incredibly exotic ethnological museum in Dorset England. The collection is now dispersed to the Met in New York and in the Pitt Rivers Museum in Oxford. It my belief that the Pitt Rivers Museum is the world’s best museum. No dainty cabinet of curiosities this, it is an enormous warehouse of the stuff of life all higgledepigledy strewn about with none of that moderne museum elegant space that ruined the British Museum for me.

    Like the Australians, the Payute successfully defended their land. They hid in the tunnels of the of volcanic pumice. These Modoc crags were defended under the leadership of ‘Captain Jack.’ The Payute were the last Amerindians to successfully fight off the (mostly British) Yankee farmer/ prospector/ invaders’ – who were once more enclosing the commons.

    In the 1880’s, Captain Jack in Modoc Co. California and the the Australian Wyndradine in NSW both battled back. Both killed at least two settlers with bent, unrifled guns, (this is all from memory, I could be wrong). But Wyndradine was also able to talk up a storm, He talked of how his legacy would live on, That those to come after him would shew the world what’s what – with death their ultimate ‘graphic’ ‘that being Barney’s interpretation at least. Barney was fascinated that we had both independently discovered this guy (but oddly he didn’t say when he were there, or more probably I didn’t hear). But he said he had handled a killing stone and what did I think? Then the phone rang, it was with news that Sex Pistol, McClaren was coming by, and he crouched off through the files and boxes in his basement alongside a hissing water heater.

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  • davidwills 4:48 am on April 13, 2011 Permalink | Reply  

    Barney Bubbles and Edie Sedgewick in Forgotten Old Tape Mystery Drama 

    The NY Times had a recent review of a new release of an old film, Mystery X, from 1971 in New York by the recluse , Chamberlain, a TV show movie made at the Warhol Factory, with Edie Sedgewick and the Candy Darling crew.

    It reminds me of the sound only tapes that Colin Fulcher/Barney Bubbles and I, as the A1GGz, made in the years ’64 through 67.  The tapes were begun in the idle evenings and perhaps influenced by our Make a Noise event of 1964.

    We’d record at odd moments our radio show read from scripts or impromtu conversation with a Grundig reel-to-reel my dad bought. A whole show – complete with wry car ads and fluffy fashion reviews, cut-up stories of mayhem in Barnstable and news of Croydon pyrotecnics.

    “Hullo, and welcome to Radio-Active with around-up of A1 Good Guyz in town tonight. And with a roar the mighty town of London sqeaks to a halt.” and so forth. Late Goons, early TW3. I do a pretty good Wiltshire lane-crawler, or BBC announcers voice when needed, and Fulcher, as he still was, was a manic Flintstone or cheerful cockney to order.

    It’s possible our recording influenced the making of the Chamberlain flick. Ms. Harrington of New York would have been the courier, she had a copy.

    The A1GGz’s station calls influenced the Radio London call signs.

    While I’m on the thought, I seem to recall that Barney advised in some way, probably through Jon Goodchild, the Rolling Stones on the choice of the cheap pecussion drums and toy guitar used on Beggars Banquet, that is mentioned in his bio, Life, by Keith Richards, which is the best Rock and Roll book ever.

     
  • davidwills 8:55 pm on January 8, 2011 Permalink | Reply
    Tags: , , , , Maise P, Margaret Minay,   

    Barney Bubbles snaps Maisie P 

    Colin Fulcher snaps Margaret Minay. The top pic shows the invitation by postcard, the bottom pics show the results.

    Margaret Minay writes: “I’m not sure what pictures you are going to use… The ones in Colin’s bedroom, or the ones in Syon Lodge. Or both?

    Either way, you can be sure that on both occasions I was terrified.
    I was very unsure of myself, and couldn’t really think why anybody would want to photograph me… But I was also very attracted to Colin, and as I said before, in awe of him.
    When he was taking the photographs in his bedroom, I felt slightly more confident than when he took the pictures later in Syon Lodge, because we were alone and he was quiet and thoughtful, unlike when he was in college with his mates.
    We listened to music, Leadbelly, I think it was, and, we spoke about a lot of the things I was interested in… namely jazz and politics… Because of my father’s influence I was brought up to be very left wing and we spoke about CND and my close friendship with another student, whom Colin had dubbed ‘Ban-the-bomb’ because of her involvement with the CND marches.
    He also knew I was going to a concert to see Thelonius Monk and I think he was quite impressed… It was later that he sent me another postcard with a beautiful little painting of who he thought was Monk, but in fact it was Stevie Wonder. He’d just found a picture in a magazine and copied it without realising who it was… He cracked up when I told him.
    The session in Syon Lodge was more difficult, because I was so self-conscious. He was cracking jokes all the time just to make me laugh. Nothing ever came of the photo-shoot, I don’t know why he thought anything would.

    Now I just feel melancholy, thinking of that long time ago… “

     
    • davidwills 1:33 am on January 10, 2011 Permalink | Reply

      I think the year is 1962, in May, please correct me should you know better.

      “Jenny’ referred to in the post card is Twick’art student Jennifer, she can be seen elsewhere is this train, she is the tall girl (wrongly caprioned by another name) with Roy ‘Bumps’ Burge in the photograph of the A1GGz painting their version of Kesey’s bus ‘Furher.”

    • David Wills 8:17 pm on January 26, 2011 Permalink | Reply

      I realize now that I saw this post card before Colin (Barney) sent it, was impressed by his use of thick rules, but was shocked by the use of the ‘w’ word and seriously thought that Maisie wold be horrified too. Didn’t mention it at the time, but expected she’d never speak to him again because she was, unlike most other arters of our aquaintance then, a sophisticated and politicaly aware person whom I very much admired,

    • davidwills 4:25 pm on February 1, 2011 Permalink | Reply

      I’m doing a recall, Misty fade, 1963, Colin is still at school, shows me the prints when we went to look at the new pad, at Leigh Court in West Ken. I had worked as a pro printer, used Picture Post’s photography printers for my prints, and was working at Town magazine, so I had David Bailey and Donald McCullen prints with which to compare Fulcher’s efforts. Thinking of a layout I say they need trimming vertically with the sides cropped off, The way I thought that he’d do it was by cutting a paper mask and gumming it to the print, as we did at work on Town magazine. But Colin actually cut the prints with a Stanley knife, and a few days later shows me, I think to myself he shouldn’t have used the one on the right, maybe just the ones on the left and in the middle. but say it looks cool anyway. I mentioned the cutting of the prints, how it makes it difficult to reproduce. He said it didn’t matter ‘cos he was going to make new prints anyway. Still at this time he thought he had got an entry to some fancy magazine who would use his pictures, maybe through Mr. Gould, although I have no rason for presuming that. Could have been his imagination. Someone must have further said something to him about his snaps ‘cos he threw everything away.

      People enjoy intimate details: I was at that time hugely jealous of Fulcher’s way with women and Maggie in particular. And Barney may also have been envious of me at other times. On a positive note over the years he certainly tried to hook me up with variously very creative women, notably Allison and Pamela Poland.

      Barney and my disagreements were worked out on the battlefield of lfe and kept track of with a loosely accounted points system. Ah, miss spent youth. Fade to sunrise.

  • davidwills 11:59 pm on September 25, 2010 Permalink | Reply
    Tags: ,   

    Mystery man? Not so mystery now… 

    Mystery man?

    Not so mystery now, my musings below are but as the dust of history, For up-to-the-minute facts see Wickipedia. However, here is what I did write, some truths…

    Who did Barney Bubbles, the demon designer mod, fresh out of college in 1963 work for? He chose to work for the fabled “Swiss Typographer” who helped popularize the sizes of paper now in use in the UK, and the acceptance of 6pt over a 6-em column measure that we’ve all read. His name was…  Michael Tucker, and his tale is longer than we know. (true)

    As far as I can see, all evidence to his existence seems to have been cleverly eradicated, there are no references to him whatsoever that I can find. (Not so true)

    Tucker always was secretive, but he was one of maybe ten well known designers at the time. His studio was on Manette Street just off Charring Cross Road. Well situated on the second creaky wood floor of the old ‘Bleak House’ in which Dickens wrote the novel. A big three storey, white Georgian with a basement and grills, central fancy stairs, a boot mud-scraper, torch-stand wrought in half-by-a-quarter-inch iron, and a big black doorway. Spooky of a night with mustard puddled streetlight in the fog. Opposite was Foyles book store, at a time when they’d still buy yer books if you needed quick cash.Visiting Barney I had to wait outside, Tucker’s studio was off limits to me, instant confusion that I am. He was very tidy. And his windows always had the curtains drawn (Very true)

    Now, trying to find out more than what I know already I find it difficult. Barney once told me, and I checked with someone who said they had contacts at the Post Office, and they both suggested he went undercover, designing for Special Ops. Working on graphics, so they said, for a proposed new regime in Uruguay or maybe Ecuador, in the late 1970’s. The whole works, currency, stamps, oil appropriation forms, and all. (based on truth and rumors)

    But that doesn’t quite jibe with what I had presumed to be his pacifism expressed in his honest, clean work for the Post Office, on flyers and wall-posted instructions to mail-sorters. I know this work was entered in D&AD at that time, 1963.(true) But here again all mention has been eradicated from the files of D&AD as far as can see. This clever erasure is measure of Tuckers’ control.  (Not really)
    And it was this skilled, wit driven precision that contributed to Bubbles’ ability to likewise change your views. That, as Barney would say, “You are what you want to be.” (True)

     
    • John 6:53 am on October 10, 2010 Permalink | Reply

      When you opened the door, there was this guy, I’d never seen him before, he said he’d lost his money. Blarney began crying uncontrollably. What a moronic act! And you, David, went along with that, falsely accusing me of theft, even although I did not have a key to the house. I was shattered by your dishonesty. I was destitute and homeless, but Iam not a thief. Absolutely not. Now your past is catching up with you, false shaman, shame on you, damn you.

      • davidwills 9:13 pm on October 12, 2010 Permalink | Reply

        Anybody got a clue what this is all about? It seems to be written by somebody who knows their way around words but has difficulty here in making any sense. Maybe the author could help us understand with a little more detail?

  • davidwills 11:36 pm on June 16, 2010 Permalink | Reply  

    Wills sings: Well well well 

    … later, next century, here we see the Wills, 50 years after the last post, engaged in amateur theatrics, actually singing a song for his departed friend, Waterfall, at the opening of the 33rd Haight Ashbury Street Fair, 2010. I am dressed in faux Tibetan Shaman’s garb improbably emoting a song involving Noah and his Ark. The Haight Street Fair is a Barney Bubbles construct in some ways. When we started our colab after college, in 1964, working to invent ways to promote bands with Barney’s (and my) graphic ingenuity and inventing music videos in the process, one of our intense desires was to create public scenarios for multimedia (it was two words back then and spellcheck not yet invented) and street art events were top of the list. Inspired by the Grateful Dead who famously blocked off Haight Street to perform, we imagined such delights as masked artists painting in public, projecting movies on buildings, and always thinking up ways to involve the audience as part of the show. The germination of that excitement led directly to me (and others for their own reasons) frequently suggesting in 1977  to James von Emon, manager of the Shady Grove club on Haight Street that we should org up a Street fair. That we did. And 33 years later Barney’s influence continues to crowd Haight street with the smoke of braziers cooking dogs and corn and whathaveyou, two stages, 24 bands, and about 170,000 colorful people of varied backgrounds enjoying the scene. A central attraction of the fair is a two booth space, donated by the Fair, that artists Cat Bell, Richard Ivanhoe and I use to stage a street version of our Garden Parties, the contemporary expression of the A1GoodGuys Sounds Good Evening concept of having a good time in public.

    Don French has great pictures of the fair at  http://www.flickr.com/photos/39108059@N00/sets/72157624153901737/

    This is what Don has to say: I created a gallery of images from yesterday’s annual Haight Ashbury Street Fair here:  http://www.donfrenchphotography.com/Events/2010HaightAshburyStreetFair/img_8597c.htm.  I tried to capture the color and flavor of this unique fair in these photos.  I hope you enjoy them.  I strongly suggest that you view the photographs full-size rather than in the index.  Use the Next link above each image to page forward through the images.  If they are too large to fit on your screen without scrolling, try pressing F11 to get more screen real estate (press it again to get the screen back the way it was).  If they are still too large, here is a site that has smaller images:  http://www.donfrenchphotography.com/Events/2010HaightAshburyStreetFair/Smaller/img_8597c.htm.  But they really do look their best at the larger size and you can see more detail.  For those of you who live in the Haight, if you see someone you recognize and know their email address, please send it to me, as many people asked if I would contact them once I had the photos ready to view.  Thanks!

    •••
    David W adds, if you see someone you know in the Don’s photographs, but don’t know their email, no matter, please add their name and whatever detail you know as a comment.
     
  • davidwills 9:54 pm on May 28, 2010 Permalink | Reply  

    Highly strung. 

    Photograph of David Wills by Chedgy Copyright 1962.

    I retain the right to remain silent.

     
  • davidwills 10:30 pm on May 22, 2010 Permalink | Reply
    Tags:   

    Tears of a clown 

    Photograph David Wills copyright 1967.

    Photograph by me of Barney Bubbles in full hippie regalia preparing for the Alexandra Palace all weekend gig in 1967. Friends of the blog who have seen this picture commented that, “There appears to be a great sadness in this photo don’t you think? Tears of a clown… ”

    I agree, guess it really does capture the moment in time when, as my earlier log said, Britain changed forever when Barney dropped acid. This is him overcoming his home town of Whitton’s straight-lace with a vengeance. As a suburbanite he was being very physically brave to valiantly overcome his short-back-and-sides to do the flower power thing seen here.   I said to him, “I have to get a picture of this.”

    Barney could change the style-of-the-day with ease. Weeks (or years) in advance of other like minded motion sensors. Barney took on each new mode he felt worthy of his committed intensity. He was using each successive ‘gang’ affiliation as fresh take on media to explore his ideas. Moving effortlessly from rocker (an early film with Roy Burge) on through Mod that took, like, three weeks in early ’62. Moving on to to Hippie (as seen here) in one day, becoming head, punk, new wave and on. All the while translating ideas gleaned from his extensive reading and seeing, from Warhol to Burroughs, Blake, and Buddha, into the arcana of his commercial work.

    Looking at the expression on Barney I see amongst other elements, “I think I can stay still for a moment. Stay balanced. I know something you don’t. Acid. I’m buzzing. Focus on the lens. The world is a big place. You don’t know what is going down do you Mr Jones? Half smile. Maybe you’ll never know. Big change going on here, life will never be the same, it’s shame you won’t join me.” The face reminds me that he was an awesomely deep thinker and able to enforce his ideas on others with a witheringly deep glance, combined with his gleefully encouraging grin – an effective combo that made others feel stupid to disagree.

    This photograph is also remarkable in that it is one of the few full frontal, up close face shots of his nibs – I guess another must have been his passport pix.

    For those looking for deeper meaning it is worth noting that he has a mask painted on his face and another to overlay it, a riddle under a conundrum. He is also wearing my dad’s leather, US issued (it had cups for earphones) aviator’s helmet. He was flying.

    For the history minded, the town of Whitton is named for the place where a Saxon local government ‘Hundred’ met.

     
  • davidwills 2:00 am on May 6, 2010 Permalink | Reply
    Tags: ,   

    The Artist Lorry as reincar of an Egyptian Goddess of Change 

    The etheral form of  the artist Lorry Sartorio, who was sometimes worshiped as the reincarnation of a supposed Egyptian deity of change, Atenaken, hovering afore us here in ghostly phlogistan. Lorry was one of Graphic Whiz Colin Fulcher’s most long lasting inspirations.

    I’m unsure of who took what here, but given a guess, I’d say as how the snaps on the left and right are mine and that the centre blur is a Colin Fulcher photo.

     
  • davidwills 4:54 am on May 2, 2010 Permalink | Reply  

    Faces from a pivotal time, but then, aren’t they all? 

    All these photographs were taken and printed by David Wills (‘me’) around 1966 to 1967 in the dark room at Colin ‘Barney’ Fulcher’s parents house in Whitton Mddx. All (or many, or most, at least some) are reversed left to right, “It adds another layer” said the Master of the Depth Charge (Barney). Oddly in all but one of the photographs, the subject is facing right. Ah, yes, they were to be abutted, The Wilson mask was to face left, with a well overlapped collage crowd facing right. So. The reversals were printed thusly on purpose it seems Holmes. Ah, such glimpses. Fun to recall. Someone might do it, right?

    They were to be used in an as yet unfinished project that aimed to record the doings of the A1GoodGuyz in the same way we had experimented with the the ‘Image’ and the ‘Erections’ and planned a multi-media extravaganza box of tricks to do it. Consider this log a Box of Tricks.

    Top row, Who? 1 Roy ‘Bumps’ Burge, into video now, with an air-rifle from I bought at Churchill’s, just behind the National Gallery. This was taken on a trip to Aunt Rene, my ‘Aunt Whatsist’ of Ian Dury wallpaper fame, in Poole. This was not connected to the Twickers’ cowboy fixation, more a casual hooliganism, not that we did anything wrong, just an attitude. When the feeling about guns as totally uncool kicked in later, I gave the gun away to some guy on Basset Road, a friend of the Saviour of Venice, that divine student of architecture, the alluring Diney Bercel.

    2 Lance Simmons  was  a typographer who took my place at Town magazine in 1965, working with with Roy ‘Billy Apple’ Carruthers.

    3 Helen harrington the future wife of the well known misty-wriggly NY painter, Brice Marden, with whom I stayed in their NY loft on Grand Street in Aug ’67 in a studio full of his mesmerizing paintings of New York fog.

    4 Last on top row on right is the Master of the Intricate Trees, Mick Jackson, sometime room mate of way-cool illustrator cartoonist Chris Higson and myself. Mick was, probably still is, an illustrator, a Welsh dreaming linear craftsman who was rep’d by Saxon Artists when I knew  him, drew for the Radio Times, and married artist, Dianne Hillier.

    5 AD Chris ‘Took’ Terry was at Twickers Art school same year as Dave Palmer an’ me, from ’55 through to ’61, he had an apartment with AD Tommy Atkins above us on Avonmore Road. The previous tenant in what would be our place at A1Leigh Court had died in a fire, it was Terry who told me it was a available.

    6 Sandra Garnel was the beautiful raven haired daughter of the hairdresser in Hampton Wick. We got aquainted on an epic journey to Portland Bill. Abandoned the bus and we ended up at Aunt Rene’s. I lost her in Baden Baden or was it Hamburg, Germany, making bent wire jewelery.

    7 Mary Lexa jumping, the Bohemian dancer from the mid-west, choreographer – was a lively one – worked as a dance-diva in Denmark. Was  at the Bubbles’ random noise recording in New Malden, 1969, and had a tape of it.

    8 Last row, ‘Jacob’ in a Harold Wilson Mask at the Sounds Good Evening, with an as yet unnamed, mysterious student in the back.

    9 Dave Palmer, was in the same year at Twickers as Terry and myself. Dave was a bit of a lad, worked for JWT in Brumagem, worked for one of the train Robbers, too, so he said.

    10 The alluring Lexa leers from below her lid.

    11 Derek Wallbank and Susan Perfect getting married in 1966(?). RCA film-proff, Derek was editor of the Barney Fulcher short, the world’s first made for TV ‘music video.’ Susan cuts linoleums of classic Thamesian views.

    12 Chris Terry

     
  • davidwills 2:16 am on April 13, 2010 Permalink | Reply  

    An introduction to the Museum of the Haight Ashbury and a short dictionary of words useful to interpret the captions 

    Click on the image to see it enlarged.
    Above are designs for the proposed virtual Museum of the Haight Ashbury where you will, over the next measured period of time, begin to find many posters by Moscosco, Wes Wilson etc., comic art by Robert Crumb, Greg Irons, Spain Rodriguez etc., paintings by Mark Bode and Rail, photographs from the portfolios of Greg Gaar and others, plus artifacts from many other collections including The Dead, Janis Joplin, The Jefferson Airplane, Grace Slick, Paul Kantner and much else including the Barney Bubbles London and Haight Ashbury convergence work.

    This short dictionary below will be of particular use when reading the captions in the virtual museum, which may sometimes be written in a way that might need a bit of an explanation. Below is a helpful guide to interpreting the information – and for you to use in conversation and emails at your convenience.

    All words are Oxford English Dictionary certified.

    •••

    Acale cold “Acale as a witch’s gleek.”

    Acopic removing fatigue, “She ate acopic weed – and ne’er looked aft.”

    Agglutinent sticky, used to describe compound words, “Her attractive lifestyle is sticktoitness.”

    Abada a Malayan rhino

    Aband to banish, ” ‘I aband dull care.’ she murmured.”

    Abassi a Persian coin (of great value?), “You’re worth more than Abassi.”

    B

    Bagge to look at, to oggle, “I’ll bagge gleg a tassle.” – Robbie Burns’ uncle.

    Bidigeon filler, “This blog is full of bidigeon.”

    Colory colored, good, ripe, “Yon colory dowsabelle dinks a dizen.””
    C

    Congee “Goodbye.”

    Congeon a term of contempt. ” ‘Pah. Y’ congeon.’ The sailor replied.”

    D

    Dwang “It was a loose connector between joists.– It were the ‘dwang,’ your Honor.”

    Druxy fat, or squat, “This month’s Paper cover-girl, boy, she’s one dirly-droxy.”

    Doxy a sweetheart

    Dowsabelle a beloved

    Dirdum a storm

    Dirl, excitement, dirly,excited

    Dit to stop, “I’ll dit now, and with dow esquise, refresh the mind.”

    Dizen to dress up

    Dow virtuous

    Dindle twinkle

    Dink to dress finely

    E

    Exust to burn up calories

    Esquise rough

    Eyer an observer

    F

    Fadge to succeed

    Fard to paint the face

    Felly many, cunning

    Fewtrills a trifle

    Fesse red

    Fike to flirt

    Feve a lover, a friend

    Fid a small piece of cake

    Fardel to brush lightly with the hand

    Fax the hair of the head

    Feck the greatest amount

    Frisco a safe fun harbor. (Sailors slang. Which is why the SanFrancisco matrons abhorred the term as being too coarse for polite discourse. Not in OED or in any slanguage dic I’ve seen.)

    G

    Gipser a bag on the belt

    Girdlestead the waist

    Gleg quick eyed, smart

    Gliff a glimpse

    Gleek to flirt

    Gnuff a lout

    Gremial of the bosom

    H

    Humect to become moist

    Humdugeon an imaginary illness

    Huggery hugging

    I

    Iwis to know

    Izar a long dress

    J

    Jink to elude a pursuer

    Jabbernowl a blockhead

    K

    Knapple to eat a lot of apples

    Kimcam crooked

    Knapple to bite an apple frequently

    L

    Laund a glade, lawn

    Liard a no value coin

    Libken a bedroom

    M

    Misbede to injure

    Mirable wonderful

    Misdepaert to shave (a coin) unfairly

    Mizzle to drizzle

    Mody modish

    Mohok a London punk

    Mohoohoo a white rhino

    Moither to talk incoherently

    Momus a capricious critic

    Moke a net

    Mome a dolt

    Monarcho an emperor of the world

    Movel dark brown

    Morne blunt

    Morsing priming a gun

    Mossback behind the times

    Mo more (Chaucer)

    Mobble to muffle ones head

    Moder yo’ mother

    Moil to toil, to get muddy

    Muzz to study

    Muckender a handkerchief

    Mormo a hideous she monster

    Mucoprurient bad spit

    Muchwhat pretty well

    N

    Nargilly a hookah

    Ne not

    Nis is not

    Nooning the rest at midday

    No mo no more

    Nothingarian no religious beliefs

    Novity novelty

    Nuddle to press with nose

    Nash gob bad talk

    Noway no way

    Nit is not

    O

    P

    Poss to wash the hand

    Poult a child

    Popple a bubble

    Q

    Quahog an animal

    Quetch to make

    Quiddle to waste time

    R

    Ragabash idle rabble

    S

    Swale timber planking

    Sweal to burn

    Shide a piece of wood split off

    Shirr an elastic web

    T

    Teer to color

    Tinct to color

    Tind to inspire

    U

    Uberty rich growth

    V

    Vail the setting sun

    W

    Wooer one who woos

    Woold to make something round

    X

    Xyst a mall

    Y

    Yahoo swift

    Yourn yours

    Yerk to jerk ones laces

    Yorak ready to work

    Yikes the noise of a woodpecker

    Yare ready quick

    Yawp like a crow

    Yo an exclamation !

    Yode went

    Yuffrouw a young woman

    Yug the age of the world

    Z

    Zho a Tibetan cow

    Zingara a gypsy

     
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