title: Robert Mallary

abstract: Robert W. Mallary was an American abstract expressionist sculptor and pioneer in computer art. In the 1950s and 1960s, he was renowned for his Neo-Dada or "junk art" sculpture, created from found materials and urban detritus, pieced together with hardened liquid plastics and resins. Mallary's work is represented in permanent collections such as the Museum of Modern Art, the Whitney Museum of American Art, the National Gallery of Art in Washington, D.C., as well as the Victoria and Albert Museum and the Tate Modern in London. In 1968, Mallary created one of the first digitally modeled sculptures, Quad 1. This work was shown at the landmark "Cybernetic Serendipity" exhibit at the Institute of Contemporary Arts in London. A subsequent work, Quad 3, was displayed at the Whitney Museum's 1968 Annual Exhibition of Contemporary American Sculpture.

text:
# Robert Mallary

**Robert W. Mallary** (December 2, 1917  February 10, 1997) was an American abstract expressionist sculptor and pioneer in computer art. In the 1950s and 1960s, he was renowned for his Neo-Dada or "junk art" sculpture, created from found materials and urban detritus, pieced together with hardened liquid plastics and resins. Mallary's work is represented in permanent collections such as the Museum of Modern Art, the Whitney Museum of American Art, the National Gallery of Art in Washington, D.C., as well as the Victoria and Albert Museum and the Tate Modern in London.

In 1968, Mallary created one of the first (perhaps the first) digitally modeled sculptures, Quad 1. This work was shown at the landmark "Cybernetic Serendipity" exhibit at the Institute of Contemporary Arts in London. A subsequent work, Quad 3, was displayed at the Whitney Museum's 1968 Annual Exhibition of Contemporary American Sculpture.

## Biography

Mallary was born in Toledo, Ohio, and grew up in Berkeley, California. He was interested in art from his youth, and went to Mexico City to study at the Escuela de Las Artes Del Libro (now the Escuela Nacional de Artes Gráficas) in 1938–39, and then at the Academy of San Carlos in 1942–43, where he was inspired by José Clemente Orozco and David Alfaro Siqueiros. He also studied at the Painter's Workshop School in Boston, Massachusetts in 1941.

While continuing to pursue his fine arts career, Mallary worked as an advertising Art Director in Los Angeles from 1945 to 1948, and as a commercial artist until 1954. His paintings (made with liquid polyester) were shown at the Urban Gallery in New York City in 1954, where he had four other exhibits until 1959. His work was also shown at Gump's Gallery in San Francisco (1953) and the Santa Fe Museum in Arizona (1958).

Mallary taught at the California School of Art in Los Angeles in 1949–50, at the Hollywood Art Center from 1950 to 1954, and then became Professor of Art at the University of New Mexico in Albuquerque from 1955 to 1959. When he moved to New York City in 1959 to teach at Pratt Institute in Brooklyn, Mallary was part of the burgeoning New York art scene, along with his friends Willem and Elaine de Kooning, Wayne Thiebaud, Joan Mitchell and Helen Frankenthaler. (In the 1940s, Thiebaud and Mallary had been art directors at the Rexall Corporation in Los Angeles.) In 1967, Mallary became Professor of Art at the University of Massachusetts in Amherst, where he taught until his retirement in 1996. He was also a guest teacher at Pennsylvania State University (1962), University of Minnesota (1965), and the University of California at Davis (1963, 1967).

Mallary's abstract relief sculptures and assemblages, created from discarded cardboard, fabrics, sand and straw – held together with hardened polyester resin – were featured in Life Magazine (Nov. 24, 1961). Already known for technological innovation in art even before he became a computer artist in the late 1960s, Mallary's Luminous Mobile sculptures had been featured in Time magazine (March 10, 1952).

Mallary's monumental "Cliffhangers" sculpture was exhibited outside the New York State Pavilion at the 1964 World's Fair in Flushing, NY. His work was featured in the "Sculpture U.S.A and "Sixteen Americans" exhibits at the Museum of Modern Art in New York City in 1959, and then at its "Art of Assemblage" exhibition in 1961. Mallary was awarded a Guggenheim Fellowship in 1964.

The Allan Stone Gallery in New York City had four exhibits of Robert Mallary's work between 1961 and 1966. Mallary's sculpture, *Pythia* was purchased for The Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, NY in 1966. The State University of New York in Potsdam had a Robert Mallary Retrospective exhibit in 1968.

In 1993, Mallary's work was displayed at the Mitchell Algus Gallery in NYC in the exhibit, "Robert Mallary: Early Assemblage and Recent Computer Graphics His sculptures, assemblages, computer graphics, and stereoscopic 3D projection art were shown at the Herter Gallery at UMass in 1990, and at the Springfield Museum of Fine Art in Massachusetts in 1995. The Mayor Gallery in London presented the exhibit, "Robert Mallary: The New Mexico Reliefs 1957-58" at Frieze New York in May, 2017. Mitchell Algus displayed Mallary's earlier sculptures and drawings in his 2017 gallery exhibit, "Robert Mallary: The Human Condition (Work from 1936-1965)

The Mayor Gallery in London has exhibited Mallary's computer art, as well as the sculptures and assemblages created earlier in his career. In 2018, The Mayor Gallery displayed Mallary's computer-generated sculpture, Quad 3, along with his computer drawings in the exhibition, "Writing New Codes: 3 Pioneers in Computer Art 1969-1977 The Mayor Gallery sold Quad 3 to the Tate Gallery in 2019.

Mallary had liver problems in later life, probably due to the toxicity of the liquid polyesters he had used to create his abstract expressionist sculptures in the 1950s and '60s. He lived in Conway, Massachusetts, and died of complications due to leukemia at Cooley Dickinson Hospital in Northampton, Massachusetts in 1997, at age 79. He is survived by four children (Michelle, Michael, Martine and Martin), and four grandchildren.


title: Robert Mallet-Stevens

abstract: Robert Mallet-Stevens was a French architect and designer.

text:
# Robert Mallet-Stevens

**Robert Mallet-Stevens** (24 March 1886 – 8 February 1945) was a French architect and designer.

## Early life

Mallet-Stevens was born in Paris. His father and his grandfather were art collectors in Paris and Brussels. His great-uncles were the Belgian painters Joseph Stevens and Alfred Stevens. He received his formal training at the École spéciale d'Architecture in Paris, during which he wrote *Guerande* about relationships between the different forms of art.

## Career

In 1924, Mallet-Stevens published a magazine called *La Gazette Des 7 Arts* and at the same time with the help of Ricciotto Canudo founded the *Club des amis du 7ème art*. A Paris street in the 16th arrondissement, Rue Mallet-Stevens, was built by him in the 1920s and has on it six houses designed by him.

A portfolio of 32 of Mallet-Stevens' designs was published under the title *Une Cité Moderne* in 1922. In addition to designing shops, factories, a fire station in Paris, apartment buildings, private homes, and interiors, he was one of the first architects to show an interest in cinema. He designed film sets and his design for Marcel L'Herbier's silent film *L'Inhumaine* (1924) is considered a masterpiece.

In 1929, surrealist photographer and filmmaker Man Ray made a film inspired by his design for the buildings named "Villa Noailles" entitled *The Mysteries of the Château de Dé*.

During his career he assembled a team of artisans and craftspeople who worked with him: interior designers, sculptors, master glaziers, lighting specialists, and ironsmiths. An example of his collaborative nature is provided by the Union des Artistes Moderne (UAM), formed in 1929 by a group of 25 dissidents of the Société des Artistes-Décorateurs (SAD). Mallet-Stevens was the UAM's first president.

## Legacy

Mallet-Stevens ordered that his archives be destroyed upon his death. His wishes were honored and his memory fell into obscurity. A French exhibit of his drawings, models, and actual works at the Centre Pompidou in 2005 sparked public interest in his contributions.

## Buildings and projects

## InfoBox

| Robert Mallet-Stevens | |
| --- | --- |
| Villa Cavrois | |
| Born | 24 March 1886
Paris, France |
| Died | 8 February 1945 (1945-02-09) (aged 58)
Paris, France |
| Occupation | Architect |
|  | |
| Buildings | Villa Cavrois
Villa Noailles |
|  | |


abstract: Robert Williams was Professor of History at St David's College, Lampeter. He was born in Penycefn, Tregaron, Ceredigion. He was a history teacher in Saint David's College, Lampeter. He was also vicar of Llandeilo Fawr and Archdeacon of Carmarthen.

text:
# Robert Williams (archdeacon of Carmarthen)

**Robert Williams** (1863 – 13 October 1938) was Professor of History at St David's College, Lampeter.

He was born in Penycefn, Tregaron, Ceredigion. He was a history teacher in Saint David's College, Lampeter. He was also vicar of Llandeilo Fawr and Archdeacon of Carmarthen.

## Works

* *Y Mabinogion'* (Everyman's library). Gol. gan R. Williams. Dent, h.d.
* *The Attack on the Church in Wales. "Evidence and Facts Collected and Sifted"*, 1912

### Contributions to the DNB

This author wrote articles for the *Dictionary of National Biography* (signing as "R. W."), and the list on this page is complete to 1901.

## Works about Williams

* Ben Davies, *Robert Williams* DYSG (1955) t. 206-9.
* Ayron Jenkins, *Yr Hybarch Robert Williams* (1939) t. 8-12.
* D. S. Jones, *Er cof am yr Hyrbarch Robert Williams* (1939) t. 13-14.
* *Williams, Robert*, in *Alumni Oxonienses: the Members of the University of Oxford, 1715-1886* by Foster, Joseph, Oxford: Parker and Co., 1888-1892.
* Obituary *Archdeacon Robert Williams* in The Times


title: Robinsonecio

abstract:
Robinsonecio is a genus of flowering plants belonging to the family Asteraceae. It is native to Mexico and Guatemala. The genus name of Robinsonecio is in honour of Harold E. Robinson (1932–2020), an American botanist and an entomologist. It was first described and published in Sida Vol.17 on page 79 in 1996. Known species, according to Kew;
  - Robinsonecio gerberifolius T.M.Barkley & Janovec
  - Robinsonecio porphyresthes (T.M.Barkley) T.M.Barkley & Janovec

text:
# Robinsonecio

***Robinsonecio*** is a genus of flowering plants belonging to the family Asteraceae.

It is native to Mexico and Guatemala.

The genus name of *Robinsonecio* is in honour of Harold E. Robinson (1932–2020), an American botanist and an entomologist. It was first described and published in Sida Vol.17 on page 79 in 1996.

Known species, according to Kew;

## InfoBox

| *Robinsonecio* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Asterids |
| Order: | Asterales |
| Family: | Asteraceae |
| Subfamily: | Asteroideae |
| Tribe: | Senecioneae |
| Genus: | *Robinsonecio*<br>T.M.Barkley & Janovec |
|


abstract: Field Marshal Robert Cornelis Napier, 1st Baron Napier of Magdala was a British Indian Army officer. He fought in the First Anglo-Sikh War and the Second Anglo-Sikh War before seeing action as chief engineer during the second relief of Lucknow in March 1858 during the Indian Rebellion of 1857. He also served in the Second Opium War as commander of the 2nd division of the expeditionary force which took part in the Battle of Taku Forts, the surrender of Peking's Anting Gate and the entry to Peking in 1860. He subsequently led the punitive expedition to Abyssinia in July 1867, defeating the Emperor Tewodros II of Ethiopia with minimal loss of life among his own forces and rescuing the hostages of Tewodros.

text:
# Robert Napier, 1st Baron Napier of Magdala

Field Marshal **Robert Cornelis Napier, 1st Baron Napier of Magdala** GCB GCSI FRS (6 December 1810 – 14 January 1890) was a British Indian Army officer. He fought in the First Anglo-Sikh War and the Second Anglo-Sikh War before seeing action as chief engineer during the second relief of Lucknow in March 1858 during the Indian Rebellion of 1857. He also served in the Second Opium War as commander of the 2nd division of the expeditionary force which took part in the Battle of Taku Forts, the surrender of Peking's Anting Gate and the entry to Peking in 1860. He subsequently led the punitive expedition to Abyssinia in July 1867, defeating the Emperor Tewodros II of Ethiopia with minimal loss of life among his own forces and rescuing the hostages of Tewodros.

## Military career

### Early career

Born the son of Major Charles Frederick Napier, who was wounded at the storming of Meester Cornelis (now Jatinegara) in Java on (26 August 1810) and died some months later, and Catherine Napier (née Carrington), Napier was educated at Addiscombe Military Seminary before being commissioned into the Bengal Engineers on 15 December 1826. He attended the Royal Engineer Establishment at Chatham with the rank of ensign from 7 June 1827 before being promoted to lieutenant on 28 September 1827 and being sent to India in November 1828. After commanding a company at Delhi, he was employed in the irrigation works of the Public Works Department until 1836 when he returned to England for leave on account of his poor health. Promoted to captain on 25 January 1841, he was appointed garrison engineer at Sirhind in 1842.

### First Anglo-Sikh War

Napier served under Sir Hugh Gough during the First Anglo-Sikh War and commanded the Bengal Engineers at the Battle of Mudki in December 1845. He was severely wounded at the Battle of Ferozeshah in December 1845 while storming the Sikh camp and was also present at the Battle of Sobraon in February 1846. Promoted to brevet major on 3 April 1846, he was chief engineer at the siege of the fortress of Kote Kangra in the Punjab by Brigadier-General Wheeler in May 1846.

### Second Anglo-Sikh War

Having been appointed as consulting engineer to the Punjab resident and to the Council of Regency of the Punjab, Napier was called to direct the siege of Multan in September 1848 at the outset of the Second Anglo-Sikh War. He was wounded during the siege but managed to recover sufficiently to be present at the successful storming of Multan in January 1849 and at the surrender of the fortress of Chiniot shortly thereafter. He took part in the Battle of Gujrat in February 1849 and accompanied Sir Walter Gilbert as he pursued the Sikhs all the way to Rawalpindi and was present at the surrender ceremony of the Sikh Army. He was promoted to brevet lieutenant-colonel on 7 June 1849 and became chief engineer to the Board of Administration of Punjab Province at the end of the War.

### North-West Frontier

In December 1852 Napier took command of a column in the first Hazara expedition, and in November 1853 against the Afridis on the North-West frontier. He crushed the Afridi Pashtun rebellion in the North-West Frontier Province and was promoted to the brevet rank of colonel on 28 November 1854 and the substantive rank of lieutenant colonel on 15 April 1856.

### Indian Rebellion of 1857

Napier was appointed military secretary and adjutant general to Sir James Outram, whose forces took part in the actions leading to the first relief of Lucknow in September 1857. He remained as chief engineer until the second relief in November 1857, when he was badly wounded while crossing an exposed space with Outram and Sir Henry Havelock to meet with Sir Colin Campbell. He recovered sufficiently to be present at the capture of Lucknow in March 1858.

Napier then joined Sir Hugh Rose as second-in-command for the march on Gwalior and commanded the 2nd Brigade at the Battle of Morar in June 1858. After Gwalior was captured by the British, Napier and his 700 men pursued, caught and defeated Tatya Tope's force of 12,000 men on the plains of Jaora Alipur. After Sir Hugh Rose's departure, Napier assumed command of the Gwalior division and helped capture Paori in August 1858, routed Prince Ferozepore at Ranode in December 1858 and secured the surrender of Man Singh and Tatya Tope, ending the war, in January 1859.

## China

In January 1860, during the Second Opium War, Napier assumed command of the 2nd Division of the expeditionary force under Sir James Hope Grant. In the Battle of Taku Forts he led the assault on the main northern fort on 21 August 1860 where he counted six bullet holes in his clothing and equipment. The Anting Gate in Peking was surrendered to Napier on 13 October 1860 and he was responsible for protecting Lord Elgin's line of march into Peking on 24 October 1860. He was promoted to brevet major-general on 15 February 1861 and to the substantive rank of colonel on 18 February 1861.

Napier became the military member of the Council of the Governor-General of India in 1861, acting for a short while as Governor-General after the sudden death of Lord Elgin. He assumed command of the Bombay Army with the local rank of lieutenant general on 7 February 1865 and received promotion to the substantive rank of lieutenant-general on 1 March 1867 before taking command of the punitive expedition to Abyssinia July 1867.

## Abyssinia

Napier achieved his greatest fame as an army officer when he led the expedition of 1868 against Emperor Tewodros II of Ethiopia. The Ethiopian ruler was holding a number of Protestant missionaries hostage, in his mountain capital of Magdala, as well as two British diplomats who had attempted to negotiate their freedom (Tewodros had unwisely taken them hostage as well). After months of planning and other preparations, the advance guard of engineers landed at Zula on the Red Sea to construct a port on 30 October 1867; Napier himself arrived in Zula on 2 January 1868, and on 25 January 1868 led his troops south into the Ethiopian Highlands.

The expedition involved crossing 400 miles (644 km) of mountainous terrain lacking roads or bridges occupied by local people with a known history of hostility towards outsiders. The expedition overcame the first obstacle, the terrain, by thorough logistical planning and engineering ability. Shrewd diplomacy dealt with the second obstacle, local opposition. On the one hand, Napier made it clear to the Ethiopians that the sole intent of the British force was to rescue the imprisoned Europeans—not conquest; on the other, Napier met with local potentates such as Ras Kassa (the future Emperor Yohannes IV) and arranged to purchase needed supplies with the 4.35 million Maria Theresa thalers (the preferred currency of the area) the British had purchased from the mint in Vienna. What helped Napier was the general disaffection with, if not hostility to, Tewodros, and a desire to replace him, held by several native leaders, as well as a general sense that his hostage-taking was bound to lead to trouble.

Napier's troops reached the foot of Magdala on 9 April 1868. The next day, Good Friday, he defeated the 9,000 troops still loyal to Tewodros at the Battle of Magdala for the loss of only 2 British lives. Although Emperor Tewodros surrendered his hostages and made repeated efforts for a negotiated surrender, the distrustful Napier pressed on and ordered an assault on the mountain redoubt on 13 April 1868. The British captured Magdala, and Emperor Tewodros killed himself, leaving a grandiose statement that he preferred to "fall into the hands of God, rather than man." Napier then ordered the destruction of Tewodros' artillery and the burning of Magdala as revenge for Tewodros's hostage taking; his palace was sacked by members of the expedition.

After the Ethiopian campaign, Napier was made a Fellow of the Royal Society and a Freeman of the City of London. He was also elevated to the peerage as Baron Napier of Magdala on 11 July 1868 and granted an annuity for life.

## Later career

Napier became Commander-in-Chief, India, with the local rank of full general in April 1870, and having been promoted to the substantive rank of full general on 1 April 1874, he became Governor of Gibraltar in June 1876. In February 1878, however, he was recalled to London and appointed to command an expeditionary force which was being prepared in anticipation of a war with Russia. When war did not break out he returned to his duties in Gibraltar. In November 1879 he represented Queen Victoria at Madrid as ambassador extraordinary upon the occasion of Alfonso XII of Spain's second marriage and in December 1879 he became a member of the Royal Commission on the organization of the army. Standing down as Governor of Gibraltar, he was promoted to field marshal on 1 January 1883.

Napier was also honorary colonel of the 3rd London Rifle Volunteer Corps and colonel-commandant of the Royal Engineers. In January 1887 he was appointed Constable of the Tower of London.

Napier died of influenza at his residence in London on 14 January 1890. He was given a state funeral and buried in St Paul's Cathedral on 21 January 1890.

## Legacy

In 1883 the British government installed one Armstrong 100 ton gun in a battery in Gibraltar that they named the Napier of Magdala Battery and in 1891 a statue of Napier on horseback by Sir Joseph Boehm was unveiled in front of Carlton House Gardens in London: it was moved to Queen's Gate, Kensington in 1920.

The descendants of the Third City of London Rifle Volunteer Corps are located within Napier House Army Reserve Centre, Grove Park, London; the building is named in his honour.

## Honours

Napier's honours included:

Coat of arms of Robert Napier, 1st Baron Napier of Magdala
|  | CrestOn a mount Vert a lion passant Or gorged with a collar Gules and a broken chain reflexed over the back Gold supporting with the dexter forepaw a flagstaff in bend sinister Proper therefrom flowing a banner Argent charged with a cross couped Gules. EscutcheonGules on a saltire between two mural crowns in pale and as many lions passant in fess Or a rose of the field. SupportersDexter a soldier of the royal engineers; sinister a Sikh sirdar; both habited and each holding in his exterior hand a musket; all Proper. MottoTu Vincula Frange |
| --- | --- |

## Family

In June 1840 Napier married Anne Pearse; they had three sons and three daughters before his wife died in childbirth in 1849. In April 1861 he married Maria Cecilia Smythe Scott: they had six sons and three daughters.

1. "Napier, Robert Cornelis, first Baron Napier of Magdala". *Oxford Dictionary of National Biography* (online ed.). Oxford University Press. 2004. doi:10.1093/ref:odnb/19770. Retrieved 24 November 2013. (Subscription or UK public library membership required.)
2. "No. 18373". *The London Gazette*. 26 June 1827. p. 1371.
3. Heathcote, p. 233
4. "No. 20591". *The London Gazette*. 3 April 1846. p. 1236.
5. "No. 20986". *The London Gazette*. 7 June 1849. p. 1865.
6. Heathcote 1999, p. 224.
7. Wolseley 1862, p. 273.
8. Wolseley 1862, p. 292.
9. "No. 22480". *The London Gazette*. 15 February 1861. p. 655.
10. "No. 22621". *The London Gazette*. 29 April 1862. p. 2238.
11. "No. 22937". *The London Gazette*. 7 February 1865. p. 591.
12. "No. 23250". *The London Gazette*. 14 May 1867. p. 2759.
13. "Robert Napier, 1st Baron Napier". *Encyclopædia Britannica*. 25 January 2016. Retrieved 12 January 2017.
14. Stanley 1874, p. 285.
15. Vibart 1894, p. 410.
16. Rubenson 2003, pp. 256–263.
17. Pankhurst 1968, p. 469.
18. Stanley 1874, p. 402.
19. Rubenson 2003, p. 268.
20. Eshete, Andreas; Pankhurst, Richard. "Memorandum on the Loot from Magdala (Ethiopia) addressed to the Culture, Media and Sport Committee of the United Kingdom Parliament, by the Association for the Return of the Ethiopian Magdala Treasures". Archived from the original on 9 February 2012. Retrieved 24 November 2013.
21. Maasho, Aaron (4 March 2019). "British museum to return royal hair seized in Ethiopia 150 years ago". *Reuters*.
22. "Fellowship of Royal Society". The Royal Society. Retrieved 24 November 2013.
23. "No. 23400". *The London Gazette*. 14 July 1868. p. 3937.
24. "No. 23409". *The London Gazette*. 4 August 1868. p. 4325.
25. "No. 23585". *The London Gazette*. 8 February 1870. p. 755.
26. "No. 24082". *The London Gazette*. 31 March 1874. p. 1924.
27. "No. 24342". *The London Gazette*. 4 July 1876. p. 3820.
28. "No. 25175". *The London Gazette*. 8 December 1882. p. 6250.
29. "No. 25183". *The London Gazette*. 29 December 1882. p. 6650.
30. "No. 23403". *The London Gazette*. 24 July 1868. p. 4118.
31. "No. 24082". *The London Gazette*. 31 March 1874. p. 1923.
32. "No. 25662". *The London Gazette*. 7 January 1887. p. 100.
33. "Memorials of St Paul's Cathedral" Sinclair, W. p. 461: London; Chapman & Hall, Ltd; 1909
34. Fa & Finlayson 2006, p. 64.
35. "Statue of Robert Cornelis Napier, Baron Napier of Magdala". Pastscape. Retrieved 24 November 2013.
36. Digby, Planck (1946). *The Shiny Seventh: History of the 7th (City of London) Battalion London Regiment*. ISBN 1-84342-366-9.
37. "No. 23374". *The London Gazette*. 28 April 1868. p. 2431.
38. "No. 22166". *The London Gazette*. 27 July 1858. p. 3475.
39. "No. 23302". *The London Gazette*. 17 September 1867. p. 5109.
40. *Debrett's Peerage*. 1891.

## Sources

## InfoBox

| Field Marshal The Right Honourable
The Lord Napier of Magdala
GCB GCSI FRS | |
| --- | --- |
|  | |
| Birth name | Robert Cornelis Napier |
| Born | (1810-12-06)6 December 1810
Colombo, British Ceylon |
| Died | 14 January 1890(1890-01-14) (aged 79)
London, England, UK |
| Allegiance | United Kingdom |
| Branch | British Indian Army |
| Service years | 1828–1890 |
| Rank | Field marshal |
| Commands | Bombay Army |
| Wars |  |
| Alma mater | Addiscombe Military Seminary |


title: Robert Trask Mann

abstract: Robert Trask Mann was an American judge and politician. He served as a Democratic member for the 60th district of the Florida House of Representatives.

text:
# Robert Trask Mann

**Robert Trask Mann** (June 5, 1924 – February 26, 2002) was an American judge and politician. He served as a Democratic member for the 60th district of the Florida House of Representatives.

## Life and career

Mann was born in Tarpon Springs, Florida. He attended Tarpon Springs High School, the University of Florida, George Washington University, Harvard University, Yale University and Stetson University.

In 1957, Mann was elected to the Florida House of Representatives. In 1967, he was elected as the first representative of the newly-established 60th district. Mann resigned in 1968 and was succeeded by R. Ed Blackburn Jr. In the same year, he was elected to serve as a judge for the Florida Second District Court of Appeal, serving until 1974.

Mann died in February 2002, at the age of 77.

## InfoBox

| Robert Trask Mann | |
| --- | --- |
| Mann in 1965 | |
|  | |
| Member of the
Florida House of Representatives
from Hillsborough County | |
| **In office**
1957–1967 | |
| Member of the Florida House of Representatives from the 60th district | |
| **In office**
1967–1968 | |
| Preceded by | *District established* |
| Succeeded by | R. Ed Blackburn Jr. |
| Judge of the Florida Second District Court of Appeal | |
| **In office**
1968–1974 | |
|  | |
| Personal details | |
| Born | (1924-06-05)June 5, 1924
Tarpon Springs, Florida, U.S. |
| Died | February 26, 2002(2002-02-26) (aged 77) |
| Political party | Democratic |
| Alma mater | University of Florida
George Washington University
Harvard University
Yale University
Stetson University |
| Occupation | Judge |
|  | |


title: Robert Traill Spence Lowell

abstract: Robert Traill Spence Lowell was an Episcopal clergyman and educator.

text:
# Robert Traill Spence Lowell

**Robert Traill Spence Lowell** (October 8, 1816 – September 12, 1891) was an Episcopal clergyman and educator.

## Biography

Lowell was born in Boston, Massachusetts, a son of Charles Russell Lowell, Sr. and Harriet Traill Spence. He studied at Round Hill School, under Joseph Cogswell and George Bancroft, and graduated from Harvard in 1833. He then took a full course at Harvard Medical School, and engaged in mercantile pursuits for a time.

In 1839, he began the study of theology under advice of Alonzo Potter (afterward bishop of Pennsylvania), and prepared for orders. He was invited by Bishop Spencer, of Newfoundland, to go to Bermuda, where he was made deacon in December 1842, and priest in March 1843, and was also appointed domestic chaplain to the bishop and inspector of schools in the colony.

He went to Newfoundland in 1843, and was appointed to the charge of Bay Roberts ("Peterport" in his novel *The New Priest*). While he was occupied in duty here, fishery failure and potato blight brought a severe famine upon the people (1846), during which Lowell's medical training proved to be especially useful. He was chairman of the relief committee of the district, and earned the thanks and gratitude of the government and people. His health and strength gave way, and he found it necessary to return to the United States in 1847.

He next began mission work among the poorer people in Newark, New Jersey, gathered a congregation called Christ Church, and built a stone church in 1849–50, which was open and free to all, with daily services. In 1859 he accepted a call to Christ Church, Duanesburg, New York, which post he held for ten years. Thence he went to Southborough, Massachusetts, where for four years he was headmaster of St. Mark's School. In 1873 he became professor of the Latin language and literature in Union College, Schenectady, New York, and discharged the duties of that department for six years.

He died in Schenectady on September 12, 1891.

## Works

Lowell's publications are *The New Priest in Conception Bay* (Boston, 1858; new ed., illustrated by F. O. C. Darley, 1863), *Fresh Hearts That Failed Three Thousand Years Ago, and Other Poems* (1860), *Antony Brade, a Story of School-Boy Life* (1874), *Burgoyne's March*, the poem at the Saratoga county centennial celebration at Bemis Heights (1877), and *A Story or Two from a Dutch Town* (1878). He has also been during a large part of his life a frequent contributor in both verse and prose to reviews, magazines, and literary journals. One of his most striking productions, "A Raft That No Man Made", is an imaginative story, which a year or two after its publication was almost exactly paralleled by the actual experience of a portion of the crew of the *Polaris*.

Attribution

## InfoBox

| Robert Traill Spence Lowell | |
| --- | --- |
|  | |
| Born | (1816-10-08)October 8, 1816
Boston, Massachusetts |
| Died | September 12, 1891(1891-09-12) (aged 74)
Schenectady, New York |
| Education |  |
| Occupation(s) | Clergyman, educator |
| Parents |  |
| Signature | |
|  | |


title: Robin Hood's Bay Marine Laboratory

abstract: The Robin Hood's Bay Marine Laboratory was a marine scientific research and education unit in North Yorkshire, England, from 1912 to 1982. Purchased in 1998 by the National Trust, the previous structure was demolished, and the present building constructed to the style of the old coastguard station and opened as a visitor and interpretation centre.

text:
# Robin Hood's Bay Marine Laboratory

**The Robin Hood's Bay Marine Laboratory** was a marine scientific research and education unit in North Yorkshire, England, from 1912 to 1982. Purchased in 1998 by the National Trust, the previous structure was demolished, and the present building constructed to the style of the old coastguard station and opened as a visitor and interpretation centre.

## Site

The village of Robin Hood's Bay (known locally as Baytown) is situated on the north side of a wide sweeping bay about 6 miles (9.7 km) south of Whitby on the North Yorkshire coast of England. Baytown rests on mud banks that cover layers of limestone and blue shale. At low tide long rocky scaurs can be seen and there is an abundance of fossils to be found. Originating in the early 16th century, the village rapidly became one of the most important fishing centres on the Yorkshire coast, reaching its zenith in the mid-19th century, before its rapid decline following the introduction of steam power. The coming of the railway in 1885 and the consequent influx of tourists and visitors, compensated for the decline of the local fishing industry. The village is a mixture of four storey town houses and split-level cottages, on a very steep three-in-one hill leading down to an area known as the Dock and the Wayfoot on the edge of the sea.

## History

In 1907 Walter Garstang was appointed professor of zoology at the University of Leeds. Recognised as one of the country's leading marine scientists, Garstang had been assistant director of the Plymouth Laboratory of the Marine Biological Association of the United Kingdom, and in charge of the association's Lowestoft Laboratory while directing Great Britain's part in the International Fishery Investigations of the North Sea.

Walter Garstang first visited Robin Hood's Bay at Easter in 1909, with T.H. Taylor, his assistant lecturer and demonstrator in zoology, and Ll. Lloyd, his first advanced student (and later to be his reader in entomology and protozoology). Ll. Lloyd, who had known the area since boyhood, later recalled that they stayed at the Bay Hotel "and its verandha, the sea washing its wall at high tide, was our Laboratory" where they sorted and examined the great variety of animals collected from the shore and rock pools. In 1912, in cooperation with Alfred Denny, professor of zoology at Sheffield University, Walter Garstang established a marine research facility in Baytown, in an old building at the Wayfoot previously used as the coastguard cottage, and owned by Mrs. Martha Storm, a member of the long-established local fishing family. Jointly funded by Leeds and Sheffield Universities, the facility was known as Yorkshire Universities Marine Laboratory, and was used as a summer base for fieldwork, teaching and research by the Departments of Zoology and Botany. Initially for a two-year trial period, the two universities agreed to the annual outlay of £4 each for rent and up to £10 each for upkeep.

The minutes of the Faculty of Pure Science of the University of Sheffield on 12 March 1912 record the following resolution that was carried unanimously: *That the Faculty approves of the proposal to extend the work of the Department of Zoology by co-operating with the University of Leeds in establishing a small marine Zoological Laboratory at Robin Hood's Bay.*

The *Report of the Faculty of Pure Science*, for 1912–1913 stated that:

> The Faculty notes with satisfaction that the Marine Zoological Station at Robin Hood's Bay continues to be a source of strength to the Department of Zoology. Advanced students and members of the staff of the University have worked there during the past session for periods amounting in all to about four months, and the work done has included investigations incorporated in a thesis for the M.Sc. Degree, and the collection of marine animals for the Zoological Museum.

In 1914 they agreed to continue the arrangement and to rent for a further £3 annually the adjoining large room, previously occupied by an auctioneer, and formerly being the coastguards' rocket apparatus room. In agreeing to the expansion, the Leeds University Finance Committee suggested that any funds required for additional equipment should be raised by private subscription. Walter Garstang was confident that he could acquire the necessary funds. Martha Storm had been willing to sell the premises in 1914, but it was not until 1922 that the buildings were jointly purchased by Leeds and Sheffield for the sum of £220. There were very few permanent facilities at the laboratory, so when the classes travelled over from Leeds and Sheffield they had to bring all the equipment they needed with them and carry it down from the top of Bay Bank.

In 1912 the young Lionel (Leo) Walmsley, son of the local artist J. Ulric Walmsley, and later to become a well-known novelist, secured the post of curator-caretaker of the lab at five shillings a week. There were no specified hours attached to the post and this allowed him to continue working as an uncertified assistant teacher at the local school.

## Literary references

In his autobiography *So many loves* (1944) dedicated "To Sam", Leo Walmsley describes the laboratory, shore collecting and life with the students and researchers. In the autumn of 1912 S.E. Wilson B.Sc. arrived at the laboratory. A University of Sheffield post-graduate researcher who had recently been appointed Assistant Curator of the Zoological Museum, Sam Wilson was studying a parasitic crustacean (listed by Walmsley as "Spanknotrophus") and its nudibranch host *Doto coronata*. He became Walmsley's mentor and lifelong friend, encouraging him to study and to write.

In Walmsley's words:

> They had bought the old Coastguard Station, which forms one of the village ramparts against the sea by the Slipway. They were equipping it with benches and tanks for keeping live marine animals, and wanted someone to act as a sort of curator-caretaker, preferably someone who knew the beaches and would be able to assist in the collection of specimens. I got the job. They could only pay five shillings a week, but ... there were no specified hours... the Leeds professor Walter Garstang ... certainly looked like a real scientist. He was untidy and always wore rough tweeds and heavy boots. He didn't mind wading into pools.

And:

> When the weather was bad and the sea rough, it was like being in a lighthouse. The big waves thundered on the outer wall making the whole building tremble, and we'd see the spray swishing up over the windows and hear it splashing on the roof, and rushing down again. At high tide in such weather it wasn't safe to leave the laboratory to go into the cottage, for everything would be awash outside, and even the fishing cobles had to be hauled from the Dock far up the main street, and the cottages here had to have their ground-floor windows barred to stop flooding.

Alfred Denny retired in 1925 and Sheffield's interest in the laboratory lapsed. The University of Sheffield withdrew their support in 1928, the minutes of the 25 May 1928 meeting of the Faculty of Pure Science recording:

> That the University withdraw from the arrangement to co-operate with the University of Leeds in the maintenance of the Marine Zoological Laboratory at Robin Hood's Bay, which was entered into in pursuance of the resolution adopted by the Faculty on March 5th 1912 (Vol. II, p.8) but had proved to be of no benefit to the Zoological Department and was a drain on its funds.

However, generations of Leeds students and researchers, and visiting marine scientists, benefited from working in Robin Hood's Bay. Walter Garstang retired in 1933, but the laboratory continued to operate along the lines established. In Garstang's obituary notice in 1949 in *Nature*, Professor L. Eastham, a former pupil, wrote:

> Few who go from us will leave behind so much affection and such a sense of gratitude. It is inevitable that his students will remember Garstang for his perpetual youth and his genial kindness. They will think of their visits with him to the marine station which he established at Robin Hood's Bay; of teas in the laboratory at which he and Mrs Garstang were generous hosts and at which the week's problems were discussed; and of their open house at Meanwood where all students were welcome.

He was succeeded by E.A. Spaul, who was professor of zoology from 1933 to 1960, though during this period marine research was not a Leeds priority. The building was gradually improved with much "do it yourself" work; more benches were added, together with electric points, and better domestic facilities in the living area. At the start of World War II the building was taken over by the army and the seaward end of the building, suitably armed, formed part of the country's anti-invasion defences for the next five years.

## 1950s

By 1955 the living accommodation had been largely taken over for laboratory space and it was possible to squeeze up to 40 or 50 students into the various rooms. The laboratory continued to serve mainly as a base for undergraduate field courses, and local cottages were rented and shared by students (segregated into same-sex groups). The laboratory was also rented out to parties from other educational institutions and was in constant use for much of each summer.

The 1960s saw the beginning of a period of expansion in marine scientific and environmental research, and J. M. Dodd, Eric Spaul's successor at Leeds, obtained financial support from the Wellcome Trust. Dodd was formerly director of the Gatty Marine Laboratory of the University of St. Andrews and his interests in elasmobranch endocrinology formed a basis for his approach to the Wellcome Trust. The original plan was that the existing buildings would be modernised, but on examination by the builders it was declared that the old buildings would not stand up to the work, and so they were razed to the ground.

Fiercely opposed by local residents, including, ironically, Leo Walmsley the now successful novelist, the university won in the name of science. The Wellcome Marine Laboratory was built on the site and although the architects claimed (as architects do) that their design would blend in with nearby buildings, the outcome was an architectural mistake. The new laboratory was formally opened in April 1967 by Sir John Orr, of the Wellcome Trust at a ceremony attended by a number of local dignitaries and the vice-chancellor of Leeds University. Dr J. R. (Jack) Lewis took up post as senior lecturer-in-charge. The building subsequently received an award for its design from the Royal Institute of British Architects (RIBA).

The facilities at the new laboratory were far superior to its predecessor and it had an underfloor reservoir of seawater that was pumped to all parts of the building. It was soon found, however, that the laboratory could not provide sufficient accommodation for the increasing numbers of staff, students and visiting scientists. Fortunately a local bequest made it possible to buy and convert the Old School House at the top of Fisherhead into a hostel for visiting scientists. The hostel also housed the laboratory's library for some time, and was renamed Wright House, after its benefactor.

The laboratory subscribed to a number of specialised journals not taken by the main university library, and older books from that library were transferred to the library in Baytown. As there were only about twelve staff at any one time, the library was run on trust and staff signed out any items borrowed. Later Leeds University purchased a house adjacent to the Laboratory and the library was moved to this new location.

Despite the controversy over the design of the building, the staff at the laboratory enjoyed friendly relations with the residents of Baytown. Some staff purchased property in the village and their wives taught in the local Fylingdales School. A local fisherman was recruited to look after the laboratory's boat that was based in Whitby. The boat was a modern version of a coble. When not required for sea excursions, the fisherman was usefully employed as an odd job man around the laboratory. A local lady was employed as a caretaker for the hostel, and another as a cleaner at the laboratory. The only conflict came about with a neighbour living behind the laboratory who ran a guest house, and who periodically complained about the noise. This problem was resolved when the lady moved to another property in the village.

## Construction

There were some problems experienced with the building itself over the years. The sandstone from which it was built was not sufficiently durable to withstand the local elements. At high tide the whole building vibrated and the sea came right up the slipway so that the front door could not be used. One remedial measure taken was to coat the sandstone in silicone. In 1971, during a very severe winter, high and rough seas scoured away the slipway and the foundations of the marine laboratory. In between tides emergency repairs were attempted by filling up the hole with sandbags and rocks, which the following tide demolished with contempt. It was only when the weather improved that diggers and earth movers could be used to build up a permanent base and allow the relaying of the cobbles.

Originally it had been anticipated that staff and research students based in Leeds would make regular use of the facilities, but partly because of the laboratory's ability to supply live animals to seawater tanks in Leeds, use declined. In effect what had been regarded as an extension of the Zoology Department on the coast acquired its own identity with distinctive research interests. In 1972 the laboratory became a separate unit of the Faculty of Science, independent of the Zoology Department, with Jack Lewis as director. At that time it had a permanent staff of two zoologists, three research assistants and two technicians, with a small library, and a boatman with a 32-foot (9.8 m) coble, *Njord*. Living and preserved specimens were supplied, and additional laboratory space and facilities were available for students, with living accommodation for up to four visiting workers. The creation by the university of the post-doctoral Garstang Research Fellowship added to the resident scientific staff. In 1973 the possibilities were examined of developing the nearby site formerly occupied by the gasworks, notable as being the smallest gasworks in Yorkshire, but no further action was taken.

The director, with a succession of gifted research students, research assistants, and visiting workers, made intensive and continuous studies of rocky shore and marine benthic ecology, including some baseline environmental and pollution studies under contract. Work by the lecturer and later deputy director, John Gray who was at the laboratory from 1965 to 1976 and was to become a major figure in international marine scientific research, is an example. From 1978 a much-expanded programme of research was funded by the Natural Environment Research Council. The work was concerned with the natural recruitment variability of selected common species around the British Isles, and it led in 1979 to a major European project (COST 47) as part of the EEC Environment Programme.

Despite the high reputation of the Robin Hood's Bay Laboratory in terms of the quality and quantity of its research output and teaching programme, Leeds University reluctantly terminated its existence in December 1982 as part of the policy of general cutbacks forced upon British science by the government. Jack Lewis took early retirement after arranging for most of the research team to move up the coast to Cullercoats, to continue their work in Newcastle University's Dove Marine Laboratory.

## Current structure

For a while the building remained empty, and then it was sold at a drastically reduced price. The university was pleased with the sale because the new owners proposed to use the building as a natural history educational establishment, and so it would remain in the education sector. It was described as a marine activity centre and was mainly used by parties of canoeists and scuba divers. In 1998 the building was bought by the National Trust and rebuilt in the style of the earlier coastguard station, becoming a visitor centre operated jointly by the National Trust and the North York Moors National Park Authority, and with holiday accommodation on the second floor.

Notes Bibliography * Baker, R. A.; Bayliss, R. A. (1984). "Walter Garstang (1868–1949) zoological pioneer and poet". *The Naturalist*. **109**: 41–53.
* Hardy, A. C. (February 1951). "Walter Garstang, 1868–1949". *Journal of the Marine Biological Association of the United Kingdom*. **29** (3): 561–566. doi:10.1017/S0025315400052772.
* Moore, P. G. and Seed, R. (editors). 1985. *The ecology of rocky coasts: essays presented to J. R. Lewis*. London: Hodder and Stoughton.
* Royal Society. 1968. *Marine science in the United Kingdom, 1967: a directory of scientists, establishments and facilities*. London: Royal Society.
* University of Leeds. *Annual Report*, Sessions 1913–1922.
* University of Leeds. Archives: Eight letters between Walter Garstang and the University Secretary 1913–1916; Regulations for management \[of the marine laboratory\] 1912; The Wellcome Marine Laboratory. Undated typescript (197-?)
* Webb, J. E. (Compiler). 1974. *Guide to the marine stations of the North Atlantic and European waters: Part 1. Northern Europe and the East Atlantic coast*. London: Royal Society.
* Woods, P. J. 1991. *The honey-gatherers: Leo Walmsley and the autobiographical novel – II*. Wellingborough: Arestos.

## InfoBox

Robin Hood's Bay Marine Laboratory
| Old Coastguard Station Visitor Centre | |
| --- | --- |
| Established | 1912 (1912) |
| Research type | Marine scientific research and education unit |
| Location | Robin Hood's Bay, England<br>54°25′48.6″N 0°31′55.9″W / 54.430167°N 0.532194°W / 54.430167; -0.532194 |
| Operating agency | National Trust |
| Map | |
| Location in North Yorkshire | |


title: Robin Hood's Bay railway station

abstract: Robin Hood's Bay railway station was a railway station on the Scarborough & Whitby Railway situated 15 miles (24 km) from Scarborough and 6 miles (9.7 km) from Whitby It opened on 16 July 1885, and served the fishing village of Robin Hood's Bay, and to a lesser extent the village of Fylingthorpe. On the north-bound journey trains had to climb a mile and a half at 1-in-43 out of the station.

text:
# Robin Hood's Bay railway station

**Robin Hood's Bay railway station** was a railway station on the Scarborough & Whitby Railway situated 15 miles (24 km) from Scarborough and 6 miles (9.7 km) from Whitby It opened on 16 July 1885, and served the fishing village of Robin Hood's Bay, and to a lesser extent the village of Fylingthorpe. On the north-bound journey trains had to climb a mile and a half at 1-in-43 out of the station.

## History

The railway between Scarborough and Whitby opened in July 1885, with most stations on the line, including Robin Hood's Bay, opening on the 16th of the month. Robin Hood's Bay had two platforms which worked as a passing loop, with the station buildings, mostly made of stone, on the south side (Scarborough bound direction) of the station. The signal box was also located on the Scarborough-bound direction (the *Up* line).

The goods yard had a 1.5 tonnes (1.7 tons) crane and could handle all kinds of freight. With five sidings, cattle dock, coal yard, goods shed, and weighbridge, it was the largest intermediate station on the line.

Incoming freight largely consisted of coal, with Robin Hood's Bay being the second busiest on the line with that commodity after Cloughton station. Outward freight consisted of seafood and gravel; 151 tonnes (166 tons) was recorded as having left the station in 1913. The station sent crabs to London and winkles to King's Lynn.

By 1928, when the LNER were in charge, the station had a platelayers trolley fitted with life-saving apparatus in case of an accident at sea near the coast. The trolley would be sent out with at least one member of station staff onto the headland north of the station in an attempt to help stricken shipping. The station was host to a LNER camping coach in 1935, possibly one for some of 1934 and three coaches from 1936 to 1939. Three coaches were positioned here by North Eastern Region of British Railways from 1954 and five from 1957 to 1964. After closure of the Whitby to Loftus route, most camping coaches were located on the Scarborough to Whitby line, with the greater number at Robin Hood's Bay possibly being due to the availability of electricity.

Freight services were officially withdrawn on 10 August 1964, however, the last freight train to Robin Hood's Bay ran on 16 August 1964, as some of the final freight to be forwarded to the station arrived late at Scarborough Gallows Close. The last passenger service was on 6 March 1965, but there was no service at that time of year on Sundays, so the station closed on 8 March.

The station building survives, it and the former stationmaster's house are used as holiday accommodation. Only a small part of the down platform remains. The former trackbed forms part of the Scarborough to Whitby Railway Path. The goods shed was adapted into a village hall, the new-build northern part of which straddles the trackbed.

## Services

The station was 15 miles 22 chains (24.6 km) north of Scarborough Central railway station, and 6 miles 53 chains (10.7 km) south of Whitby West Cliff. Some services reversed at West Cliff and descended the branch into Whitby Town, which was a further 1 mile 63 chains (2.9 km).

Between 1902 and 1922 when the North Eastern Railway were running the trains, an average of five services ran each way, along the whole length of the line calling at all stations between Scarborough and Whitby Town, with a reversal at Whitby West Cliff. By the spring timetable of 1939, the basic pattern was still five trains per day, with an extra seven by the end of June for the start of the summer season. In 1946, the services were down to four a day, with an extra four during the summer season. Robin Hood's Bay was the only station on the line that enjoyed the provision of all services calling there. The other stations on the line, barring the two end stations, were served sporadically.

In the summer of 1962, nine services ran the length of the line, but the winter season amounted to three trips each way. DMUs had been introduced in 1958, which sped up the reversals at Whitby and Scarborough.

## Incidents

As the Up line left the station westwards, the points led to the main running line and a short siding which ran over the road between Fylingthorpe and Robin Hood's Bay, before ending in a siding. This siding was the scene of two accidents;

* July 1939 – a Scarborough-bound train departed the station against the signals and derailed on the siding.
* October 1961 – a ballast train descending the 1-in-43 bank from Hawsker ran out of control, and the signaller diverted the train onto the siding, which resulted in the buffer-stop being pushed 40 yards (37 m) from the end of the line.

### Sources

* Bairstow, Martin (2008). *Railways around Whitby : Scarborough – Whitby – Saltburn, Malton – Goathland – Whitby, Esk Valley, Forge Valley and Gilling lines*. Leeds: Martin Bairstow. ISBN 978-1-871944-34-1.
* Chapman, Stephen (2008). *York to Scarborough, Whitby & Ryedale*. Todmorden: Bellcode Books. ISBN 9781871233193.
* Hoole, K. (1983). *Railways of the North York Moors : a pictorial history*. Clapham: Dalesman Books. ISBN 0-85206-731-3.
* Hoole, Ken (1985). *Railway stations of the North East*. Newton Abbot: David & Charles. ISBN 0-7153-8527-5.
* Lidster, J. Robin (2010). *Scarborough and Whitby railway through time*. Stroud: Amberley. ISBN 978-1-84868-668-7.

## Further reading

* Butt, R.V.J. (1995). *The Directory Of Railway Stations*. Patrick Stephens Limited. ISBN 1-85260-508-1.
* Chapman, Stephen (2008). *York to Scarborough Whitby & Ryedale*. Bellcode Books. ISBN 978-1-871233-19-3.

| Preceding station |  | Disused railways |  | Following station |
| --- | --- | --- | --- | --- |
| Fyling Hall
Line and station closed |  | North Eastern Railway
Scarborough & Whitby Railway |  | Hawsker
Line and station closed |

## InfoBox

| Robin Hood's Bay | |
| --- | --- |
| The former station buildings at Robin Hood's Bay (2005) | |
| General information | |
| Location | Robin Hood's Bay, Scarborough
England |
| Coordinates | 54°26′07″N 0°32′20″W / 54.435200°N 0.539000°W / 54.435200; -0.539000 |
| Grid reference | NZ949054 |
| Platforms | 2 |
| Other information | |
| Status | Disused |
| History | |
| Original company | Scarborough & Whitby Railway |
| Pre-grouping | North Eastern Railway |
| Post-grouping | London and North Eastern Railway |
| Key dates | |
| 16 July 1885 | Opened |
| 8 March 1965 | Closed |
|  | |
|  | |
|  | |
| Location | |


title: Robinsonia polyplagia

abstract: Robinsonia polyplagia is a moth in the family Erebidae. It was described by William Schaus in 1901. It is found in Venezuela and Costa Rica.

text:
# Robinsonia polyplagia

***Robinsonia polyplagia*** is a moth in the family Erebidae. It was described by William Schaus in 1901. It is found in Venezuela and Costa Rica.

## Subspecies

* *Robinsonia polyplagia polyplagia* (Venezuela)
* *Robinsonia polyplagia transducens* Seitz, 1921 (Costa Rica)

## InfoBox

| *Robinsonia polyplagia* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Erebidae |
| Subfamily: | Arctiinae |
| Genus: | *Robinsonia* |
| Species: | ***R. polyplagia*** |
| Binomial name | |
| ***Robinsonia polyplagia***<br>Schaus, 1901 | |
|
| Synonyms | |
| * *Robinsonia transducens* Seitz, 1921 | |


title: Robinsonia praphoea

abstract: Robinsonia praphoea is a moth in the family Erebidae. It was described by Paul Dognin in 1906. It is found in French Guiana, Amazonas, Venezuela and Peru.

text:
# Robinsonia praphoea

***Robinsonia praphoea*** is a moth in the family Erebidae. It was described by Paul Dognin in 1906. It is found in French Guiana, Amazonas, Venezuela and Peru.

## InfoBox

| *Robinsonia praphoea* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Erebidae |
| Subfamily: | Arctiinae |
| Genus: | *Robinsonia* |
| Species: | ***R. praphoea*** |
| Binomial name | |
| ***Robinsonia praphoea***<br>Dognin, 1906 | |
|


title: Bill Laswell discography

text:
# Bill Laswell discography

This article presents the complete oeuvre of American bassist, composer and music producer Bill Laswell, including his work as a band member and collaborating artist. Laswell has an expansive and eclectic discography and has been involved in hundreds of recordings with many artists from across the world. Laswell's music is influenced by a plethora of musical genres, such as funk, world music, jazz, drum and bass, dub and ambient music. Starting in 1978, Laswell has built a reputation as an accomplished bass player and composer. He has also had a prolific career as a music producer and sound engineer, overseeing the recording process of diverse musical acts such as Sly and Robbie, Afrika Bambaataa, Bernie Worrell, Blind Idiot God, Henry Threadgill and Buckethead.

## As a solo artist

### Studio albums

| Released | | Title |
| --- | --- | --- |
| Year | Month | |
| 1983 | Jun | *Baselines* |
| 1988 | Mar | *Hear No Evil* |
| 1994 | Dec | *Outer Dark* |
| 1995 | Sep | *Silent Recoil: Dub System One* |
| 1996 | Sep | *Oscillations* |
| 1997 | Jul | *City of Light* |
| 1998 | Jun | *Oscillations 2* |
| 1999 | Mar | *Invisible Design* |
| | Sep | *Imaginary Cuba* |
| | Nov | *Permutation* |
| 2000 | Apr | *Dub Chamber 3* |
| | Oct | *Lo. Def Pressure* |
| 2001 | Sep | *Filmtracks 2000* |
| | Oct | *Points of Order* |
| 2004 | Sep | *Version 2 Version: A Dub Transmission* |
| 2009 | Mar | *Invisible Design II* |
| 2012 | Oct | *Means of Deliverance* |
| | Nov | *Túwaqachi (The Fourth World)* |

### Under a pseudonym

| Released | | Name | Title |
| --- | --- | --- | --- |
| Year | Month | | |
| 1993 | Oct | Divination | *Ambient Dub Volume I* |
| |  | | *Ambient Dub Volume II: Dead Slow* |
| 1994 | Jul | Chaos Face | *Doom Ride* |
| | Aug | Automaton | *Dub Terror Exhaust* |
| | | Oct | *Jihad (Points of Order)* |
| 1995 | Mar | Divination | *Akasha* |
| 1996 | Jan | Possession<br>\+ African Dub | *Off World One* |
| | Feb | Divination | *Distill* |
| | May | Sacred System | *Chapter One: Book of Entrance* |
| 1997 | | Sep | *Chapter Two* |
| 1998 | | Aug | *Nagual Site* |
| | Oct | Divination | *Sacrifice* |
| 1999 | May | Hashisheen | *The End of Law* |
| | Jul | Rasa | *Serene Timeless Joy* |
| 2000 | May | Operazone | *The Redesign* |
| 2002 | Oct | Sacred System | *Book of Exit: Dub Chamber 4* |
|

### Collaborative albums

| Released | | Title | Notes |
| --- | --- | --- | --- |
| Year | Month | | |
| 1987 | May | *Low Life* |  |
| 1993 | | *Asian Games* |  |
| 1994 | Feb | *Outland* |  |
| | Apr | *Psychonavigation* |  |
| | Jul | *Cymatic Scan* |  |
| | Aug | *Visitation* |  |
| 1995 | Jan | *Web* |  |
| | Mar | *Somnific Flux* |  |
| | *Subsonic 2: Bass Terror* |  |
| | May | *Psychonavigation 2* |  |
| 1996 | Feb | *Interpieces Organization* |  |
| | Apr | *Outland 2* |  |
| 1997 | Feb | *Psychonavigation 3* |  |
| | Aug | *Dub Meltdown* |  |
| 1998 | Apr | *Outland 3* |  |
| 1999 | | *Psychonavigation 4* |  |
| | Jun | *Charged* |  |
| 2000 | Feb | *Outland IV* |  |
| 2001 | Apr | *Life Space Death* |  |
| | Sep | *Radioaxiom: A Dub Transmission* |  |
| 2002 | Apr | *Psychonavigation 5* |  |
| 2003 | Nov | *Buck Jam Tonic* |  |
| | Dec | *AFTERMATHematics* |  |
| | *Soup* |  |
| 2004 | May | *A Navel City/No One Is There* |  |
| | Jun | *Brutal Calling* |  |
| | Sep | *Soup Live* |  |
| 2006 | Apr | *Episome* |  |
| 2007 | Mar | *Outland 5* |  |
| | Sep | *Live at the Bowery Poetry Project* |  |
| 2008 | Mar | *Lodge* |  |
| | Aug | *No Matter* |  |
| 2011 | Mar | *Bass & Drums* |  |
| | | *Konton* | * With Manabu Murata, Yoshi Otani and Munenori Senju |
| | Aug | *Near Nadir* |  |
| | Oct | *BLIXT* |  |
| 2014 | Sep | *The Dream Membrane* |  |
| | Nov | *The Process* |  |
| 2016 | Oct | *Dubopera* |  |
| 2021 | May | *Sacred Ceremonies* |  |
| 2022 | Jan | *The Cleansing* | * With John Zorn |
| | May | *Nammu* | * With Ulf Ivarsson |
|
| 2023 | May | *Memoria* | * With John Zorn |
| | Aug | *Breath Versus Beats* |  |
|

### Remix albums

| Year | Artist | Album |
| --- | --- | --- |
| 1991 | Toshinori Kondo & IMA | *In the '90s* |
| 1995 | Boris Feoktistov | *Russian Chants «Parastas»* |
| 1997 | Bob Marley | *Dreams of Freedom: Ambient Translations in Dub* |
| | Bill Laswell | *Oscillations Remixes* |
| 1998 | Miles Davis | *Panthalassa: The Music of Miles Davis 1969–1974* |
| 2000 | Various Artists | *Emerald Aether: Shape Shifting* |
| 2002 | Sussan Deyhim | *Shy Angels* |
| 2003 | Gigi | *Illuminated Audio* |
| 2004 | Lili Boniche | *Boniche Dub II* |
| 2005 | Bill Laswell | *Trojan Dub Massive: Chapter One* |
| | | *Trojan Dub Massive: Chapter Two* |
| 2006 | Matisyahu | *Youth Dub* |
| 2011 | David Gould | *Dub of the Passover* |
|

### Cover albums

| Year | Title |
| --- | --- |
| 1998 | *Jazzonia* |
|

### Compilation albums

| Year | Title |
| --- | --- |
| 1993 | *Deconstruction: The Celluloid Recordings* |
| 1994 | *Light in Extension* |
| 1996 | *Ambient Compendium* |
| | *Altered Beats - Assassin Knowledges of the Remanipulated* |
| 2003 | *Final Oscillations* |
| | *ROIR Dub Sessions* |
| 2011 | *Aspiration* |
|

### Soundtracks

| Year | Title | Notes |
| --- | --- | --- |
| 1999 | *Broken Vessels* | Official soundtrack to the film, *Broken Vessels* |
|

### Singles

| Year | Title | Album |
| --- | --- | --- |
| 1984 | "Work Song" | *Baselines* |
| 1998 | "Moody's Mood for Love" | Non-album singles |
| 2003 | "Photo Op Before a Long Hard Fuck" | |
| 2005 | *Todd Bridges on Lockdown/Summary Execution* | |

### Axiom series

| Title | Album details |
| --- | --- |
| *Axiom Ambient: Lost in the Translation* | * Released: November 8, 1994 (US) * Label: Axiom * Formats: CD |
| *Axiom Funk: Funkcronomicon* | * Released: July 18, 1995 (US) * Label: Axiom * Formats: CD |
| *Axiom Dub: Mysteries of Creation* | * Released: October 22, 1996 (US) * Label: Axiom * Formats: CD |
|

## As a band member

## Bass guitar credits

| Year | Artist | Release | Song(s) |
| --- | --- | --- | --- |
| 1978 | Michael Blaise and Cheater | *Scoring Power* (7") | "Scoring Power" |
| 1981 | Brian Eno and David Byrne | *My Life in the Bush of Ghosts* | "America Is Waiting" |
| | Fred Frith | *Speechless* |  |
| | Kip Hanrahan | *Coup de tête* | "Whatever I Want", "This Night Comes Out of Both of Us", "India Song", "Shadow to Shadow" |
| | Elliott Sharp | *Moving Info* (CS) |  |
| | John Zorn | *Archery* |  |
| 1982 | PHASE 2 | *The Roxy* (12") |  |
| | Elliott Sharp | *Ism* | "Surdification", "Filter", "Just Like Here" |
| | Elliott Sharp | *Nots* | "TMI", "Obvious", "Surdification", "Just Like Here", "Filter" |
| | Brian Eno | *Ambient 4: On Land* | "Lizard Point" |
| | Daevid Allen | *Divided Alien Playbax 80* |  |
| | Love of Life Orchestra | *Casino* |  |
| | Jill Kroesen | *Stop Vicious Cycles* | "Wayne Hayes Blues", "I Am Not Seeing That You Are Here", "Ride Your Pony", "I'm Sorry I'm Such a Weenie" |
| | Fab Five Freddy | *Change the Beat* (12") |  |
| | Tribe 2 | *What I Like* (12") |  |
| 1983 | Daevid Allen | *Alien in New York* (12") | "Are You Ready", "Oo La La" |
| | D.St. | *Crazy Cuts* (12") |  |
| | Herbie Hancock | *Future Shock* |  |
| | Fred Frith | *Cheap at Half the Price* | "The Welcome" |
| | Nona Hendryx | *Nona* | "Run for Cover" |
| | Daniel Ponce | *New York Now!* |  |
| | Lenny White | *Attitude* |  |
| 1984 | Laurie Anderson | *Mister Heartbreak* | "Sharkey's Day", "Gravity's Angel", "Kokoku", "Excellent Birds", "Blue Lagoon", "Sharkey's Night" |
| | Herbie Hancock | *Sound-System* | "Hardrock", "Junku", "Sound-System" |
| | Herbie Hancock | *Hardrock* (12") | "Hardrock" (long ver.), "T.F.S." |
| | David Moss | *Full House* | "Tunes", "3-Way Switch" |
| | Genji Sawai | *Sowaka* |  |
| | Shango | *Shango Funk Theology* |  |
| | Time Zone | *World Destruction* |  |
| | Tom Verlaine | *Cover* | "Miss Emily" |
| | Yellowman | *King Yellowman* | "Strong Me Strong", "Disco Reggae" |
| | Yla-Mago | *TYO-Rock* (12") |  |
| 1985 | Afrika Bambaataa | *Kick Out the Jams* (7") |  |
| | B-Side | *Cairo Nights* | "Change the Beat", "What I Like (American Dreams)" |
| | Mick Jagger | *She's the Boss* | "Lonely at the Top", "Just Another Night" |
| | Toshinori Kondo & IMA | *China Boogie* (12") |  |
| 1986 | Public Image Ltd | *Album* | "F.F.F.", "Rise", "Fishing", "Round", "Bags", "Home" |
| | Laurie Anderson | *Home of the Brave* | "Credit Racket" |
| | Ginger Baker | *Horses & Trees* | "Interlock", "Dust to Dust", "Uncut" |
| | Peter Gabriel | *So* | "This Is the Picture (Excellent Birds)" |
| | Toshinori Kondo & IMA | *Konton* |  |
| | Meltable Snaps It | *Points Blank* | "Chigger Reel", "Crake", "Mike Me", "Points Blank" |
| | The Stalin | *Fish Inn* |  |
| 1987 | The Epidemics | *Do What U Do* |  |
| | Ryuichi Sakamoto | *Neo Geo* |  |
| | Sonny Sharrock | *Seize the Rainbow* | "Sheraserhead's High-Top Sneakers" |
| | James Blood Ulmer | *America – Do You Remember the Love?* |  |
| 1988 | Afrika Bambaataa | *The Light* | "Clean Up Your Act", "Zouk Your Body", "World Racial War" |
| | Gettovetts | *Missionaries Moving* |  |
| | James Blood Ulmer | *Wings* |  |
| 1989 | Menace | *Doghouse* |  |
| | Robert Musso | *Absolute Music* | "Surakarta" |
| | Nicky Skopelitis | *Next to Nothing* |  |
| | Swans | *The Burning World* |  |
| | Swans | *Saved* (12") |  |
| 1990 | Akira Sakata | *Mooko* |  |
| | Ginger Baker | *Middle Passage* |  |
| | Bootsy's Rubber Band | *Jungle Bass* |  |
| | Fred Frith | *Step Across the Border* |  |
| | Niels & The New York Street Percussionists | *Niels & The New York Street Percussionists* |  |
| | Mandingo | *New World Power* |  |
| | Minako Yoshida | *Gazer* | "Gazer", "Silencer" |
| 1991 | Valentina Ponomaryova | *Live in Japan* | "Gotanda U-Port Hall I" |
| | Akira Sakata | *Silent Plankton* |  |
| 1992 | Masabumi Kikuchi | *Dreamachine* |  |
| | Robert Musso | *Active Resonance* | "A Dream Supreme", "Alliance", "All Funked Up", "Tanar!", "To Cross the Rubicon", "Ancient Silk Road", "The Squidge", "A Late One" |
| | Hector Zazou | *Sahara Blue* | "I'll Strangle You", "Lettre au Directeur des Messageries Maritimes" |
| 1993 | Aisha Kandisha's Jarring Effects | *Shabeesation* | "A Muey a Muey", "Dunya", "Fin Roh", "Nbrik", "Nbrik" (dub version), "El Harb" |
| | Anton Fier | *Dreamspeed* |  |
| | Umar Bin Hassan | *Be Bop or Be Dead* |  |
| | Icehouse | *Big Wheel* (12") | "Big Wheel" (Bill Laswell mix) |
| | Icehouse | *Big Wheel* | "Melt Steel" (Parts 1-3) |
| | The Last Poets | *Black and Strong (Homesick)* (12") |  |
| | The Last Poets | *Holy Terror* |  |
| | F. Robert Lloyd | *Think About Brooklyn* | "Blind Willie", "Waltzing Kate", "Lullaby You", "Bloody Buddy Rumba", "Four Lives in a Day Suite", "Proverbs From Hell", "True Man Coyote", "La Femme Bachir" |
| | Nicky Skopelitis | *Ekstasis* | "Meet Your Maker", "Ghost of a Chance", "One Eye Open", "Telling Time" |
| | Hideo Yamaki | *Shadow Run* |  |
| | Yothu Yindi | *Freedom* |  |
| 1994 | The Beatniks | *Another High Exit* | "Mirrors" (Bill Laswell Alien Mind-Screen mix) |
| | Hakim Bey | *T.A.Z.* |  |
| | Buckethead | *Giant Robot* | "Doomride", "Want Some Slaw?", "Binge and Grab", "Robot Transmission", "Post Office Buddy", "Last Train to Bucketheadland" |
| | Death Cube K | *Dreamatorium* |  |
| | Masters of None | *Stained Glass Sky* | "Seven Headed Queen", "Forever Came Today", "Legends of America", "80 Worlds", "Preincarnation" |
| | Monday Michiru | *Groovement* | "Is This How It Feels" |
| | Transonic | *Downstream Illusion* |  |
| | Transonic | *Virtual Current* |  |
| | Vodû 155 | *Vodû 155* | "Zaka", "Tak This Tak That", "Feel No Evil" |
| | Zoopadelica feat. Menace | *The Life and Times of One Chocolate Baby* | "Secret" |
| 1995 | A.P.C. | *APC Tracks Vol. 1* |  |
| | Ahlam | *Acting Salam* | "Tkelemti", "Ash Men Hila", "Irfiq Rak 2", "Mashi" |
| | Cypher 7 | *Security* | "Message Important" |
| | Aïyb Dieng | *Rhythmagick* |  |
| | Emergency Broadcast Network | *Telecommunication Breakdown* | "Electronic Behavior Control System", "Electronic Behavior Control" (System Ver. 2.0) |
| | Haruomi Hosono | *N.D.E.* | "Navigations", "Edge of the End" |
| | Abiodun Oyewole | *25 Years* |  |
| | Julian Schnabel | *Every Silver Lining Has a Cloud* |  |
| | Transonic | *Future Primitive* |  |
| | John Zorn | *Filmworks III: 1990–1995* | "France", "USA" |
| 1996 | A.P.C. | *APC Tracks Vol. 2* |  |
| | Argan | *Berberism* | "Tibdit" |
| | Ashes | *Corpus* |  |
| | Buckethead | *The Day of the Robot* |  |
| | Niels Jensen & Jonas Hellborg | *Ordinary Day* |  |
| | Jali Kunda | *Griots of West Africa & Beyond* | "Lanmbasy Dub" |
| | Russell Mills | *Undark* |  |
| | The Dark Side of the Moog | *The Dark Side of the Moog 4* | "Part I", "Part II", "Part III", "Part V", "Part VIII" |
| | The Dark Side of the Moog | *The Dark Side of the Moog 5* | "Part III", "Part VII" |
| | Paul Schütze + Phantom City | *Site Anubis* | "Future Nights", "An Early Mutation", "Blue Like Petrol", "Ten Acre Ghost", "Eight Legs Out of Limbo" |
| | Stina Nordenstam | *The Photographer's Wife* |  |
| | Trawl | *Trawl* (12") |  |
| 1997 | Lori Carson | *Everything I Touch Runs Wild* | "Something's Got Me", "Something's Got Me" (Curse of the Voodoo Swamp extended mix), "Something's Got Me" (Homegrown Fantasy mix), "Something's Got Me" (Instant Drip Hop mix) |
| | Chakra | *Seven Centers* |  |
| | Death Cube K | *Disembodied* |  |
| | Elixir | *Hegalien Zone* | "Automation Required", "Voyage Orientis", "Humans Being Human", "Etherus Athirst C2 H50 CD H5" |
| | Chaba Fadela & Cheb Sahraoui | *Walli* |  |
| | The Last Poets | *Time Has Come* |  |
| | Paul Schütze + Phantom City | *Shiva Recoil: Live/Unlive* |  |
| | Bernie Worrell | *Free Agent: A Spaced Odyssey* | "AfroFuturism (Phazed One)", "In Pursuit" |
| 1998 | Almamegretta | *Lingo* | "47", "Black Athena", "Berberia" |
| | A.P.C. | *On Goes the Beat/Oriental Disco* (12") | "Oriental Disco" |
| | Lili Boniche | *Alger Alger* |  |
| | Lili Boniche | *Boniche Dub* |  |
| | Buckethead | *Colma* | "Machete" |
| | Cypher 7 | *Nothing Lasts* | "Message Important" |
| | Dubadelic | *Bass Invaders* |  |
| | Dub Syndicate | *Fear of a Green Planet* |  |
| | Enzo Gragnaniello | *Neapolis mantra* | "Il Viaggio del Sole" (remix) |
| | Jivamukti Yoga Center | *Basic Yoga Class* |  |
| | The Men Xperience | *La Mancha Negra: The Black Stain* | "End the Sin", "Backdoor" |
| | Meridiem | *Meridiem* |  |
| | Mœbius | *Creatore di Universi* |  |
| | Nia Monet | *Laissez Faire* | "Secrets of Life" |
| | Professor Shehab & Robert Musso | *Ataxia* |  |
| | Sapho | *Digital Sheikha* | "Sois Plus Radical", "Laouah", "Petit Demon", "Dabayji" |
| | Talvin Singh | *OK* | "Soni" |
| 1999 | Percy Howard | *Incidental Seductions* | "Succubus" |
| | Russell Mills | *Innermedium* |  |
| | O Rappa | *Lado B Lado A* |  |
| | DJ Cheb i Sabbah | *Shri Durga* | "Shri Durga", "Kese Kese", "Mere Kaku", "Gangta Dev" |
| | Jah Wobble | *Deep Space* | "Disks, Winds and Veiling Curtains" |
| | John Zorn | *Taboo & Exile* | "Sacrifist", "Thaalapalassi", "The Possessed" |
| 2000 | Sting | *Brand New Day: The Remixes* | "A Thousand Years" (Bill Laswell remix) |
| 2001 | Gigi | *Gigi* |  |
| | Herbie Hancock | *Future 2 Future* |  |
| | Robert Miles | *Organik* | "Release Me", "Improvisations" (Parts 1 & 2) |
| | Qaballah Steppers | *Imaginatrix* | "Automation", "Last Exit" |
| | Akira Sakata | *Fisherman's.com* |  |
| | James Blood Ulmer | *Blue Blood* |  |
| 2002 | Robert Musso | *Axiomatic* | "For the Sky to Clear" |
| | DJ Cheb i Sabbah | *Krishna Lila* | "Narajanma Bandage", "Maname Diname", "Raja Vedalu", "Lagi Lagan", "Rupa Tujhe Deva" |
| | Jah Wobble's Solaris | *Live in Concert* |  |
| | John Zorn | *IAO* |  |
| 2003 | Audio Leter | *Neti-Neti* | "Liberation from Samsara" |
| | Lili Haydn | *Light Blue Sun* | "Light Blue Sun (Prelude)", "Anything", "Wounded Dove", "The Longing", "The Chinese Song", "Seek", "Anything" (Radio edit) |
| | Karsh Kale | *Liberation* | "Milan" |
| | Lucky Peterson | *Black Midnight Sun* |  |
| | Pharoah Sanders/Graham Haynes | *With a Heartbeat* |  |
| 2004 | Azzddine | *Massafat* |  |
| | Gigi | *Gold & Wax* |  |
| | Meridiem | *A Pleasant Fiction* |  |
| | Kankawa 122 | *Greatfull Remixers* | "Limbic System" (Bill Laswell mix) |
| | Ustad Sultan Khan | *Rare Elements* |  |
| 2005 | Cheb i Sabbah | *La Kahena* |  |
| | Sound Tribe Sector 9 | *Artifact: Perspectives* | "Tokyo Shinjuku" (Flashback mix) |
| 2006 | Ashes | *Unisono* |  |
| | D. Rad | *Il Lato D* | "Estrazione" (Electric Heater mix) |
| | GOMA | *Soul of Rite* |  |
| | Akiko Grace | *Illume* |  |
| | Maghrebika | *Neftakhir* |  |
| | DJ Cheb i Sabbah | *La Ghibra* |  |
| | Samsara Sound System | *Tales of the Red Dawn* | "Dawn at the Devils Tower", "Round the Corner" |
| 2007 | Dorian Cheah | *ARA* |  |
| | Raiz | *Uno* |  |
| | Sigillum S | *23/20* |  |
| | Submerged | *Stars Lights the End* |  |
| 2008 | Sussan Deyhim | *Out of Faze* | "Maze" (remix), "Tell Me" (remix) |
| | HiM | *1110* | "Sikyi Rock" |
| | Kasbah Rockers | *Kasbah Rockers* | "Hikayati", "Bred Atay", "Al Rafel", "Bledstyle", "Mafi Tika", "Fikou", "Hellou Al Biban", "Hashouma", "Shems", "Rassoul Al Houda" |
| | Toy Killers | *The Unlistenable Years* | "Smokey Raindrops", "Green Dolphin Sweet", "Corrugated Gems of Woe", "Bleed for the Mind", "The Devil May Be Your Santa Claus" (studio version) |
| 2009 | Martin Bisi | *Son of a Gun* (EP) | "Mile High - Apple of My Eye" |
| | Death Cube K | *Torn From Black Space* |  |
| | Jai Uttal and The Pagan Love Orchestra | *Thunder Love* | "Adonai" |
| 2010 | Sussan Deyhim | *City of Leaves* | "Searching for You" |
| | Tomás Doncker | *Small World* | "Conscience of the World" (Bill Laswell mix) |
| | Garrison Hawk | *Livin' the Genocide* | "Gangsta Roll" (Bill Laswell mix) |
| 2011 | Tomás Doncker | *Power of the Trinity* | "Conscience of the World", "Peace Is Not Fiction" |
| | Lee "Scratch" Perry | *Rise Again* |  |
| 2012 | John Zorn | *Nosferatu* |  |
| 2015 | Samuel Claiborne | *Love, Lust, and Genocide* | "The Heart Is A Bomb" |
| | "—" denotes a credit for the entire release. | | | |

## Production credits

| Year | Artist | Release | Role(s) | Song(s) |
| --- | --- | --- | --- | --- |
| 1984 | Laurie Anderson | *Mister Heartbreak* | Producer | "Sharkey's Day", "Kokoku", "Sharkey's Night" |
| | Jalal Mansur Nuriddin & D.St. | *Mean Machine* (12") | Producer |  |
| | Herbie Hancock | *Sound-System* | Producer |  |
| | Toshinori Kondo & IMA | *Taihen* | Mixing |  |
| | Fela Kuti | *Army Arrangement* | Producer, Remixing |  |
| | Gil Scott-Heron | *Re-Ron* (12") | Producer |  |
| 1985 | Afrika Bambaataa | *Kick Out the Jams* (7") | Producer | "Kick Out the Jams" |
| | Manu Dibango | *Electric Africa* | Producer |  |
| | Herbie Hancock and Foday Musa Suso | *Village Life* | Producer |  |
| | Ronald Shannon Jackson | *Decode Yourself* | Producer |  |
| | Mick Jagger | *She's the Boss* | Producer |  |
| | Toshinori Kondo & IMA | *China Boogie* (12") | Co-producer |  |
| | The Last Poets | *Oh My People* | Producer |  |
| | Touré Kunda | *Natalia* | Producer |  |
| | Sly and Robbie | *Language Barrier* | Producer |  |
| | Yoko Ono | *Starpeace* | Producer |  |
| 1986 | Public Image Ltd | *Album* | Producer |  |
| | Ginger Baker | *Horses & Trees* | Producer |  |
| | Manu Dibango | *Makossa '87 (Big Blow)* (12") | Producer |  |
| | Peter Gabriel | *In Your Eyes* (12") | Producer |  |
| | Toshinori Kondo & IMA | *Konton* | Producer |  |
| | Motörhead | *Orgasmatron* | Producer |  |
| | Sonny Sharrock | *Guitar* | Producer |  |
| | The Stalin | *Fish Inn* | Producer |  |
| 1987 | Mandingo feat. Foday Musa Suso | *Watto Sitta* | Producer |  |
| | Motörhead | *Rock 'n' Roll* | Producer, engineering | "Eat the Rich" |
| | Ryuichi Sakamoto | *Neo Geo* | Producer |  |
| | Sonny Sharrock | *Seize the Rainbow* | Producer |  |
| | Sly and Robbie | *Rhythm Killers* | Producer |  |
| | James Blood Ulmer | *America – Do You Remember the Love?* | Producer |  |
| 1988 | Afrika Bambaataa | *The Light* | Producer | "Clean Up Your Act", "Zouk Your Body", "World Racial War" |
| | Blind Idiot God | *Undertow* | Producer |  |
| | Bootsy Collins | *What's Bootsy Doin'?* | Producer | "Shock-It-To-Me" |
| | Gettovetts | *Missionaries Moving* | Producer |  |
| | Herbie Hancock | *Perfect Machine* | Producer |  |
| | Ronald Shannon Jackson | *Texas* | Producer, mixing |  |
| | Iggy Pop | *Instinct* | Producer |  |
| | Samulnori | *Record of Changes* | Producer |  |
| 1989 | Menace | *Doghouse* | Producer |  |
| | Ramones | *Brain Drain* | Producer |  |
| | Nicky Skopelitis | *Next to Nothing* | Producer |  |
| | Foday Musa Suso | *Julu Kemo* | Producer |  |
| | Swans | *The Burning World* | Producer |  |
| | Swans | *Saved* (12") | Producer | "Saved", "See No More" (acoustic ver.) |
| | White Zombie | *Make Them Die Slowly* | Producer |  |
| | Stevie Salas | *Colorcode* | Producer |  |
| 1990 | Akira Sakata | *Mooko* | Producer |  |
| | Ginger Baker | *Middle Passage* | Producer |  |
| | Bootsy's Rubber Band | *Jungle Bass* | Producer |  |
| | Gnawa Music of Marrakesh | *Night Spirit Masters* | Producer |  |
| | Ronald Shannon Jackson | *Taboo* | Producer |  |
| | Ronald Shannon Jackson | *Red Warrior* | Producer |  |
| | Limbomaniacs | *Stinky Grooves* | Producer |  |
| | Mandingo | *New World Power* | Producer |  |
| | Mandinka and Fulani Music of The Gambia | *Ancient Heart* | Producer |  |
| | Maceo Parker | *For All the King's Men* | Producer |  |
| | Simon Shaheen | *The Music of Mohamed Abdel Wahab* | Producer |  |
| | Shankar | *Soul Searcher* | Producer |  |
| | Foday Musa Suso | *The Dreamtime* | Producer |  |
| | Bernie Worrell | *Funk of Ages* | Producer | "Volunteered Slavery/Bern's Blues/Outer Spaceways", "At Mos'Spheres" |
| 1991 | Apollo Smile | *Apollo Smile* | Remixing | "Thunder Box" |
| | F.F.F. | *Blast Culture* | Producer |  |
| | Jonas Hellborg | *The Word* | Producer |  |
| | Akira Sakata | *Silent Plankton* | Producer |  |
| | Sonny Sharrock | *Ask the Ages* | Producer |  |
| | Nicky Skopelitis/Sonny Sharrock | *Faith Moves* | Producer |  |
| | X-Legged Sally | *Slow-Up* | Producer |  |
| 1992 | Bahia Black | *Ritual Beating System* | Producer |  |
| | Bachir Attar | *The Next Dream* | Producer |  |
| | Blind Idiot God | *Cyclotron* | Producer |  |
| | Bomb | *Hate Fed Love* | Producer |  |
| | Hardware | *Third Eye Open* | Producer |  |
| | Icehouse | *Masterfile* | Producer, mixing | "Love in Motion", "Byrralku Dhangudha" |
| | Masabumi Kikuchi | *Dreamachine* | Producer |  |
| | The Master Musicians of Jajouka | *Apocalypse Across the Sky* | Producer |  |
| | N-Factor | *Paradigmashift* | Mixing |  |
| | Talip Özkan | *The Dark Fire* | Producer |  |
| | Simon Shaheen | *Turath (Heritage)* | Producer |  |
| 1993 | Aisha Kandisha's Jarring Effects | *Shabeesation* | Producer | "A Muey a Muey", "Dunya", "Fin Roh", "Nbrik", "Nbrik" (dub version), "El Harb" |
| | William S. Burroughs | *Words of Advice for Young People* (12") | Remixing | "Interzone" (radio edit), "Mutatis Mutandis" (radio edit), "Interzone" (extended mix), "Mutatis Mutandis - Lemurs In the Mist" (Interzone mix), "Mutatis Mutandis" (mix) |
| | George Clinton | *Hey, Man, Smell My Finger* | Co-producer | "Maximumisness" |
| | Icehouse | *Spin One* (12") | Producer | "Byrralku Dhangudha" |
| | Icehouse | *Big Wheel* (12") | Producer | "Big Wheel" (Bill Laswell mix) |
| | Icehouse | *Big Wheel* | Producer | "Slow Motion", "The Great Southern Mix" |
| | The Last Poets | *Black and Strong (Homesick)* (12") | Producer |  |
| | The Last Poets | *Holy Terror* | Producer |  |
| | O.G. Funk | *Out of the Dark* | Producer |  |
| | Nicky Skopelitis | *Ekstasis* | Producer |  |
| | Soon E MC | *O.P.I.D.* (12") | Producer, remix |  |
| | Henry Threadgill | *Too Much Sugar for a Dime* | Producer |  |
| | Bernie Worrell | *Pieces of Woo: The Other Side* | Producer |  |
| | Bernie Worrell | *Blacktronic Science* | Producer |  |
| | X-Legged Sally | *Killed By Charity* | Producer |  |
| | Hideo Yamaki | *Shadow Run* | Producer |  |
| | Yothu Yindi | *Freedom* | Producer | "World of Innocence", "Baywara", "Mabo", "Yolngu Boy" |
| | Zillatron | *Lord of the Harvest* | Producer |  |
| 1994 | Azonic | *Halo* | Producer |  |
| | The Beatniks | *Another High Exit* | Producer, remix | "Mirrors" (Bill Laswell Alien Mind-Screen mix) |
| | Hakim Bey | *T.A.Z.* | Producer |  |
| | Buckethead | *Giant Robot* | Producer |  |
| | Cypher 7 | *Decoder* | Producer |  |
| | Death Cube K | *Dreamatorium* | Producer |  |
| | Mahmoud Guinia | *The Trance of the Seven Colors* | Producer |  |
| | King Cobb Steelie | *Project Twinkle* | Producer |  |
| | Mephiskapheles | *God Bless Satan* | Producer |  |
| | Buddy Miles Express | *Hell and Back* | Producer |  |
| | Slave Master | *Under the Six* | Producer |  |
| | Liu Sola | *Blues in the East* | Producer |  |
| | Vodû 155 | *Vodû 155* | Producer | "Vodu Funkadelic", "Zaka", "Tak This Tak That", "Feel No Evil" |
| | Jah Wobble | *The Sun Does Rise* | Co-producer, mixing | "Om Namah Shiva" (Transformation of the Heart mix) |
| 1995 | A.P.C. | *APC Tracks Vol. 1* | Producer |  |
| | Ahlam | *Acting Salam* | Producer | "Tkelemti", "Ash Men Hila", "Irfiq Rak 2", "Mashi" |
| | Paul Bowles | *Baptism of Solitude* | Producer |  |
| | Justin K. Broadrick/Azonic | *Subsonic 3: Skinner's Black Laboratories* | Producer | "River Blindness", "Nine Tails" |
| | Cypher 7 | *Security* | Producer |  |
| | Aïyb Dieng | *Rhythmagick* | Producer |  |
| | Emergency Broadcast Network | *Telecommunication Breakdown* | Co-producer, mixing | "Shoot the Mac 10" |
| | GOD | *Appeal to Human Greed* | Producer | "Bloodstream" (The Evening Redness in the West mix) |
| | Haruomi Hosono | *N.D.E.* | Producer | "Navigations", "Edge of the End" |
| | Mutiny | *Aftershock 2005* | Co-producer |  |
| | Nicklebag | *12 Hits and a Bump* | Co-producer |  |
| | Abiodun Oyewole | *25 Years* | Producer |  |
| | Julian Schnabel | *Every Silver Lining Has a Cloud* | Producer |  |
| | Scorn | *Ellipsis* | Remixing | "Night Ash Black" (Slow Black Underground River mix) |
| | Henry Threadgill | *Carry the Day* | Producer |  |
| | Henry Threadgill | *Makin' a Move* | Producer |  |
| | Jah Wobble | *Heaven and Earth* | Producer | "Gone to Croatan", "Hit Me" |
| 1996 | A.P.C. | *APC Tracks Vol. 2* | Producer |  |
| | Ashes | *Corpus* | Producer, mixing |  |
| | Buckethead | *The Day of the Robot* | Producer |  |
| | Anne Clark | *Letter of Thanks to a Friend* (12") | Remixing |  |
| | Kodo | *Ibuki* | Producer |  |
| | Jali Kunda | *Griots of West Africa & Beyond* | Producer |  |
| | Makyo | *Rasa Bhava* | Co-producer, mixing | "Devabandha" |
| | Nûs | *All The Vertical Angels* | Producer |  |
| | Stevie Salas | *Color Code* | Producer |  |
| | Pharoah Sanders | *Message from Home* | Producer |  |
| | Sonny Sharrock | *Into Another Light* | Producer |  |
| | Liu Sola/Wu Man | *China Collage* | Producer |  |
| | Trawl | *Trawl* (12") | Mixing | "Wireless" (Rupture mix) |
| 1997 | Chakra | *Seven Centers* | Producer |  |
| | George Clinton | *Get Yo Ass in the Water and Swim Like Me* (Single) | Producer |  |
| | Death Cube K | *Disembodied* | Producer |  |
| | Chaba Fadela & Cheb Sahraoui | *Walli* | Producer |  |
| | The Last Poets | *Time Has Come* | Producer |  |
| | Henry Threadgill & Make a Move | *Where's Your Cup?* | Producer |  |
| | Jai Uttal and The Pagan Love Orchestra | *Shiva Station* | Mixing |  |
| | Bernie Worrell | *Free Agent: A Spaced Odyssey* | Co-producer, mixing |  |
| 1998 | A.P.C. | *On Goes the Beat/Oriental Disco* (12") | Producer | "Oriental Disco" |
| | The Bogmen | *Closed Captioned Radio* | Producer |  |
| | Lili Boniche | *Alger Alger* | Producer |  |
| | Lili Boniche | *Boniche Dub* | Producer, mixing |  |
| | Buckethead | *Colma* | Producer | "Machete" |
| | Cypher 7 | *Nothing Lasts* | Producer |  |
| | Enzo Gragnaniello | *Neapolis mantra* | Remix | "Il Viaggio del Sole" (remix) |
| | Jivamukti Yoga Center | *Basic Yoga Class* | Recording, mixing |  |
| | The Men Xperience | *La Mancha Negra: The Black Stain* | Recording |  |
| | Mœbius | *Creatore di Universi* | Recording |  |
| | Naftule's Dream | *Smash, Clap!* | Mixing |  |
| | Nûs | *Inside Is the Only Way Out* | Producer |  |
| | Pharoah Sanders | *Save Our Children* | Producer |  |
| | Sapho | *Digital Sheikha* | Producer, mixing | "Sois Plus Radical", "Laouah", "Petit Demon", "Dabayji" |
| 1999 | A.P.C. | *Havana Mood/Rhum and Bass* | Producer |  |
| | Buckethead | *Monsters and Robots* | Producer | "Night of the Slunk" |
| | Laurel MacDonald | *Wingspan* | Remix | "A Wing & a Prayer" (Bill Laswell mix) |
| | Medeski Martin & Wood | *Combustication Remix EP* | Remix | "Satan's Church of Hypnotized Logic" (Bill Laswell remix) |
| | O Rappa | *Lado B Lado A* | Producer | "Lado B Lado A", "Na Palma Da Mão" |
| | DJ Cheb i Sabbah | *Shri Durga* | Recording |  |
| | Jah Wobble | *Deep Space* | Producer | "Disks, Winds and Veiling Curtains" |
| 2000 | The Damage Manual | *The Damage Manual* | Mixing | "King Mob", "Denial", "Broadcasting", "Blame and Demand", "Damage Addict" (Laswell mix), "Stateless" (Laswell mix) |
| | Enrico Macias | *Enrico Experience* | Remix | "L'oriental" (Laswell remix), "Le Violon de mon pére" (Laswell remix) |
| | Millennium Project | *Simulasticity* | Mixing |  |
| | Sting | *Brand New Day: The Remixes* | Remix | "A Thousand Years" (Bill Laswell remix) |
| 2001 | A.P.C. | *APC Dance: Ignore the Beat* | Producer |  |
| | Mari Boine | *Remixed* | Remix | "Maid Áiggot Muinna Eallin" (Bill Laswell remix) |
| | Freeform | *Audiotourism Reinterpretations: Vietnam and China* | Remix | "Lost World" |
| | Gonervill | *Gonervill* | Co-producer |  |
| | Herbie Hancock | *Future 2 Future* | Producer |  |
| | Nils Petter Molvær | *Recoloured* | Co-producer, mixing | "Merciful/Ligotage" (Incunabula mix) |
| | Naftule's Dream | *Job* | Mixing |  |
| | Akira Sakata | *Fisherman's.com* | Producer |  |
| | Carlos Santana | *Divine Light: Mix Translations* | Mixing |  |
| | Henry Threadgill | *Everybodys Mouth's a Book* | Mixing |  |
| | Henry Threadgill | *Up Popped the Two Lips* | Recording, mixing |  |
| | James Blood Ulmer | *Blue Blood* | Producer |  |
| 2002 | Karsh Kale | *Redesign: Realize Remixed* | Remix | "Empty Hands" (Bill Laswell mix) |
| | Angélique Kidjo | *Black Ivory Soul* | Producer |  |
| | Nils Petter Molvær | *Axis of Ignorance* (12") | Remix | "Frozen" (Northern Light mix) |
| | Rovo | *Tonic 2001* | Mixing |  |
| | DJ Cheb i Sabbah | *Krishna Lila* | Recording |  |
| | Vida Blue | *Most Events Aren't Planned* | Remix | "Most Events Aren't Planned" (Dreams of Tee Point mix) |
| | Satlah | *Children of Israel* | Producer, mixing |  |
| 2003 | Abyssinia Infinite | *Zion Roots* | Producer |  |
| | Audio Leter | *Neti-Neti* | Remix | "Liberation from Samsara" |
| | Lili Haydn | *Light Blue Sun* | Producer | "Light Blue Sun (Prelude)", "Come Here", "Wounded Dove", "Sweetness", "Seek", "Home", "The Promised Land" |
| | Jon Madof | *Rashanim* | Mixing |  |
| | Lucky Peterson | *Black Midnight Sun* | Producer |  |
| | Pharoah Sanders/Graham Haynes | *With a Heartbeat* | Producer |  |
| | Serj Tankian and Arto Tunçboyaciyan | *Narina* (12") | Remix | "Narina" (Bill Laswell mix) |
| 2004 | Oz Fritz | *All Around the World* | Co-producer |  |
| | Gigi | *Gold & Wax* | Producer |  |
| | Kankawa 122 | *Greatfull Remixers* | Remix | "Limbic System" (Bill Laswell mix) |
| | Ryukyu Underground | *Ryukyu Remixed* | Remix | "Koi No Michi Kusa" (Bill Laswell mix) |
| | Sly and Robbie | *Version Born* | Producer |  |
| | Yulduz | *Bilmadim* | Remix | "Kiss Me" (Bill Laswell mix) |
| 2005 | Buckethead | *Enter the Chicken* | Engineering | "Running from the Light" |
| | Nils Petter Molvær | *Remakes* | Co-producer, remix | "Frozen" |
| | Cheb i Sabbah | *La Kahena* | Recording |  |
| | Sound Tribe Sector 9 | *Artifact: Perspectives* | Remix | "Tokyo Shinjuku" (Flashback mix) |
| 2006 | Ashes | *Unisono* | Mixing |  |
| | D. Rad | *Il Lato D* | Remix | "Estrazione" (Electric Heater mix) |
| | Akiko Grace | *Illume* | Producer |  |
| | Matisyahu | *Youth* | Producer |  |
| | Matisyahu | *No Place to Be* | Remix | "Jerusalem (Out of Darkness Comes Light)", "Chop 'em Down", "Warrior", "Message in a Bottle", "Message in a Bottle" (dub version) |
| | Muddy World | *Finery of the Storm* | Mixing |  |
| | Roots Tonic | *Roots Tonic Meets Bill Laswell* | Producer, mixing |  |
| | DJ Cheb i Sabbah | *La Ghibra* | Recording |  |
| | John Zorn | *Moonchild: Songs Without Words* | Mixing |  |
| | John Zorn | *Astronome* | Mixing |  |
| 2007 | Dorian Cheah | *ARA* | Producer |  |
| | Nine Inch Nails | *Y34RZ3R0R3M1X3D* | Remix | "Vessel" (Bill Laswell mix) |
| | Raiz | *Uno* | Mixing |  |
| | John Zorn | *Six Litanies for Heliogabalus* | Recording, mixing |  |
| | John Zorn | *Asmodeus: Book of Angels Volume 7* | Recording, mixing |  |
| 2008 | Enzo Avitabile & Bottari | *Festa Farina E Forca* | Producer | "Mamm" |
| | Anthony Braxton/Milford Graves/William Parker | *Beyond Quantum* | Producer, mixing |  |
| | Sussan Deyhim | *Out of Faze* | Remix | "Bashad", "Maze" (remix) |
| | Hal and The Big Five | *Umoya* | Mixing |  |
| 2009 | Death Cube K | *Torn From Black Space* | Producer |  |
| | Dr. Israel | *Gangsta N Police* (12") | Producer, mixing |  |
| | The Project\_Pale | *Our Inventions and How They Fail Us* | Mixing |  |
| | Jai Uttal and The Pagan Love Orchestra | *Thunder Love* | Mixing |  |
| 2010 | Beatundercontrol | *Beatundercontrol in Dub* | Remix | "Secrets of Fascination" (Bill Laswell mix) |
| | Sussan Deyhim | *City of Leaves* | Producer | "Searching for You" |
| | Tomas Doncker | *Small World* | Co-producer, remix | "Conscience of the World" (Bill Laswell mix) |
| | Garrison Hawk | *Livin' the Genocide* | Remix | "Gangsta Roll" (Bill Laswell mix) |
| 2011 | Animation | *Agemo* | Producer, remix | "Pharoah's Dance" (Son of Panthalassa remix) |
| | Tomas Doncker | *Power of the Trinity* | Co-producer |  |
| | Loud Apartment | *Get Up Get Down* | Mixing |  |
| | Lee "Scratch" Perry | *Rise Again* | Producer |  |
| 2012 | Dr. Israel | *Ghetto Defendant* | Mixing |  |
| | Garrison Hawk | *Survive* | Producer |  |
| | Jano | *Ertale* | Producer |  |
| | Jano | *Ertale* | Mixing |  |
| | Naked Truth | *Ouroboros* | Mixing |  |
| | John Zorn | *Nosferatu* | Mixing |  |
| 2013 | Higgins Waterproof Black Magic Band | *Higgins Waterproof Black Magic Band* (12") | Mixing | "Mad Lifeline" |
| | Suphala | *Alien Ancestry* | Remix | "Vashikaran" |
| | Bernie Worrell | *Elevation: Upper Air* | Producer | "World of Innocence", "Baywara", "Mabo", "Yolngu Boy" |
| | Mumpbeak | *Mumpbeak* | Co-producer, mixing |  |
| 2014 | Abraxas | *Psychomagia* | Mixing |  |
| | Colin Edwin/Lorenzo Feliciati | *Twinscapes* | Mixing |  |
| | Helio Parallax | *Helio Parallax* | Mixing |  |
| 2015 | Blind Idiot God | *Before Ever After* | Producer |  |
| "—" denotes a credit for the entire release. | | | | |

## Other credits

| Year | Artist | Release | Credit | Song(s) |
| --- | --- | --- | --- | --- |
| 1983 | Nona Hendryx | *Nona* | Musical arrangements |  |
| 1984 | Jalal Mansur Nuriddin & D.St. | *Mean Machine* (12") | Shortwave |  |
| | Nona Hendryx | *The Art of Defense* | Tapes | "I Sweat", "The Life", "Electricity" |
| | Toshinori Kondo & IMA | *Taihen* | Tapes |  |
| | Genji Sawai | *Sowaka* | Musical arrangements |  |
| | Gil Scott-Heron | *Re-Ron* (12") | DMX, radio |  |
| | Time Zone | *World Destruction* | DMX |  |
| | Yla-Mago | *TYO-Rock* (12") | Tapes |  |
| 1985 | Manu Dibango | *Electric Africa* | DMX | "Pata Piya", "Echos Beti" |
| | Ronald Shannon Jackson | *Decode Yourself* | drum programming | "Decoding" |
| | The Last Poets | *Oh My People* | DMX | "Get Movin'" |
| 1987 | Mandingo feat. Foday Musa Suso | *Watto Sitta* | DMX programming |  |
| 1990 | Bootsy's Rubber Band | *Jungle Bass* | Musical arrangements |  |
| 1993 | Aisha Kandisha's Jarring Effects | *Shabeesation* | Effects, loops | "A Muey a Muey", "Dunya", "Fin Roh", "Nbrik", "Nbrik" (dub version), "El Harb" |
| | Bernie Worrell | *Pieces of Woo: The Other Side* | Samples, loops, effects | "Gladiator Skull", "Moon Over Brixton", "Judie's Passion Purple", "Fields of Play" |
| | Bernie Worrell | *Blacktronic Science* | Loops | "Flex", "Won't Go Away" |
| | Yothu Yindi | *Freedom* | Musical arrangements | "World of Innocence", "Baywara", "Mabo", "Yolngu Boy" |
| | Zillatron | *Lord of the Harvest* | Ambient sounds |  |
| 1994 | Azonic | *Halo* | Musical arrangements |  |
| | Hakim Bey | *T.A.Z.* | Musical arrangements |  |
| | Death Cube K | *Dreamatorium* | Musical arrangements, effects |  |
| 1995 | A.P.C. | *APC Tracks Vol. 1* | Effects |  |
| | Ahlam | *Acting Salam* | Musical arrangements | "Tkelemti", "Ash Men Hila", "Irfiq Rak 2", "Mashi" |
| | Paul Bowles | *Baptism of Solitude* | Musical arrangements |  |
| | Emergency Broadcast Network | *Telecommunication Breakdown* | Effects | "Electronic Behavior Control System", "Electronic Behavior Control" (System Ver. 2.0) |
| | Spectre | *The Illness* | Intro voice | "9th Secret Rule of the Order" |
| 1996 | A.P.C. | *APC Tracks Vol. 2* | Effects |  |
| | Argan | *Berberism* | Intro voice | "Tibdit" |
| | Ashes | *Corpus* | Musical arrangements |  |
| | Buckethead | *The Day of the Robot* | drums |  |
| | Dubadelic | *2000: A Bass Odyssey* | Samples, loops, effects |  |
| | Jali Kunda | *Griots of West Africa & Beyond* | Samples | "Lanmbasy Dub" |
| | Russell Mills | *Undark* | Drones |  |
| | The Dark Side of the Moog | *The Dark Side of the Moog 4* | Sound collage | "Part I", "Part II", "Part III", "Part V", "Part VIII" |
| | The Dark Side of the Moog | *The Dark Side of the Moog 5* | Effects | "Part III", "Part VII" |
| | Satori | *Invisible Rhythm* | Effects | "Relocations" |
| 1997 | Chakra | *Seven Centers* | Effects |  |
| | Chaba Fadela & Cheb Sahraoui | *Walli* | Effects |  |
| | The Last Poets | *Time Has Come* | Loops, effects |  |
| | The Dark Side of the Moog | *The Dark Side of the Moog 6* | Effects | "Part IV" |
| | Sri Hari | *One But Different* | Effects |  |
| 1998 | A.P.C. | *On Goes the Beat/Oriental Disco* (12") | Effects | "Oriental Disco" |
| | Lili Boniche | *Alger Alger* | Synthesizers |  |
| | Lili Boniche | *Boniche Dub* | Synthesizers |  |
| | Enzo Gragnaniello | *Neapolis mantra* | Effects | "Il Viaggio del Sole" (remix) |
| | Jivamukti Yoga Center | *Basic Yoga Class* | Effects |  |
| | Mœbius | *Creatore di Universi* | Samples, effects |  |
| 1999 | A.P.C. | *Havana Mood/Rhum and Bass* | Musical arrangements |  |
| 2001 | Gigi | *Gigi* | Guitar, synthesizer |  |
| | Nils Petter Molvær | *Recoloured* | Effects | "Merciful/Ligotage" (Incunabula mix) |
| 2002 | Buckethead | *Funnel Weaver* | Samples |  |
| 2003 | Abyssinia Infinite | *Zion Roots* | Musical arrangements, acoustic guitar, keyboards |  |
| | Pharoah Sanders/Graham Haynes | *With a Heartbeat* | Musical arrangements, keyboards, flute |  |
| 2004 | Gigi | *Gold & Wax* | Guitar, synthesizer |  |
| | Sly and Robbie | *Version Born* | Musical arrangements, guitar, keyboards |  |
| 2006 | D. Rad | *Il Lato D* | Effects | "Estrazione" (Electric Heater mix) |
| | Akiko Grace | *Illume* | Electronics |  |
| 2008 | Sussan Deyhim | *Out of Faze* | Programming | "Maze" (remix), "Tell Me" (remix) |
| 2009 | Death Cube K | *Torn From Black Space* | Effects |  |
| 2011 | Lee "Scratch" Perry | *Rise Again* | Effects |  |
| 2012 | Garrison Hawk | *Survive* | Musical arrangements, effects |  |
| "—" denotes a credit for the entire release. | | | | |

**General**

* "Comprehensive Bill Laswell Discography and Reviews". silent-watcher.net. Retrieved 2014-10-28.

**Notes**

## InfoBox

| Bill Laswell discography | |
| --- | --- |
| Studio albums | 70 |
| Live albums | 4 |
| Compilation albums | 8 |
| Singles | 4 |
| Soundtrack albums | 5 |
| Remix albums | 5 |