·     No glyphs given in K&H, K&L, TOK, BMM9, 25EMC.

o K&L has it on its list of undeciphered glyphs but without an infixed IK’.

o This could be because they don’t distinguish TZ’AM and PUM (see below).

·     For a long time, it was thought that the HAAB was the representation of a drum, but this is the logogram for “drum”.

·     The two examples by Grube were given at the Seminario Internacional de Epigrafía Maya, Guatemala, 2019, where he proposed the reading pum (perhaps an onomatopoeia).

·     MHD:

o A search on “blcodes contains ATF” gives 7 hits.

o MHD does not give PUM as even a tentative reading, glossing it with “??”.

·     Do not confuse this with the visually similar TZ’AM. Both TZ’AM “throne” and PUM “drum” have a jaguar pelt across the top half of a boulder-shaped glyph – the difference is that:

o TZ’AM:

§ Has a “depression” in the middle of the bottom half.

§ The whole then represents a cushion with jaguar skin covering.

§ Such a special cushion indicates a throne.

o PUM:

§ Has an IK’ element in the middle of the bottom half.

§ This represents the noise that the drum makes (all musical instruments can be marked with an IK’ = “wind” element to show that they make a sound).

§ It doesn’t mean that jaguar skin was used as the (stretched) surface of the drum (to produce the sound). That would normally be much thinner animal skin, without any fur. Instead, the jaguar skin would probably be part of the “decoration” of the drum, as animal skins (with fur) were/are used on drums in many other cultures in other parts of the world.

·     The examples from CRN Panel 3 E4 and NAR Stela 46 D14 have a “ICH’AAK” above it. This is probably not meant to be read separately, but is used iconographically to represent a jaguar paw, which may have been used as a drumstick.

·     The na and la don’t make sense as an end phonetic complement for PUM, but perhaps they are used in those cases in a verbal sense, so ‑naj or ‑najal or ‑laj, as some sort of verb inflection (with underspelling).