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A blog on race, diversity, education, and children's books.
Guest Blogger Post, The Diversity Gap
Where's the Diversity, Hollywood? 85 Years of the Academy Awards
February 20, 2014 jasontlow	87 Comments
Note: This infographic was updated to reflect winners through 2015.
The Academy Awards will soon unveil the very best in filmmaking in 2014. As the prediction chatter ricochets around the web, our curiosity about the level of racial and gender representation of the Academy Awards is the focus of our next Diversity Gap study. We reviewed the Academy's entire 85-year history and the results were staggeringly disappointing, if not surprising in light of our past Diversity Gap studies of The Tony Awards, The Emmy Awards, the children's book industry, The New York Times Top 10 Bestseller List, Sci-Fi and Fantasy Films, US politics, and Silicon Valley where we analyzed yearly/multi-year samplings and found a disturbingly consistent lack of diversity.
Academy Award infographic, updated 2015 (click for larger image)
Since the Academy Awards was founded 85-years ago:
Only one woman of color (1%) has ever won the Academy Award for Best Actress
Only seven men of color (9%) have ever won the Academy Award for Best Actor
Only one woman (1%) has ever won the Academy Award for Best Director
An interview with independent filmmakers helps give a glimpse of the current climate of Hollywood today.
Gina Prince-Bythewood is a writer/director for television and film. Her credits include Love and Basketball, The Secret Life of Bees, and the upcoming film Beyond the Lights, which will be released November 14, 2014.
Iyin Landre is an American actress/filmmaker currently living in Río de Janeiro, Brazil. Her first feature film, Me + You, is now in pre-production.
Jason Chan is an Australian actor/writer/director and one of the founding partners of BananaMana Films, a creative production company based in Singapore. BananaMana recently completed its first thirteen-episode TV drama, What Do Men Want?, and is gearing up to start season two and a film in 2014.
Kelvin Yu is a Taiwanese American writer currently working on the Fox animated series Bob's Burgers. A Los Angeles native, Yu studied theater and communications at UCLA. His acting credits include Milk, Star Trek, Studio 60 On the Sunset Strip, and The Shield. He also has a small white dog named Yuki that used to live in New York. Neither of them is fixed.
Jason Low: Gina, since writing and directing your independent film Love and Basketball, how has the climate of filmmaking changed? Is it easier or more difficult to get a film made that captures your ideals AND that is more accurately representative from a gender and minority perspective?
Gina Prince-Bythewood: Unfortunately it has gotten considerably harder to get a film made that has non-white leads, or a female lead.
JL: Iyin, in our initial conversation, when I asked you if you felt you had a shot at roles that were ethnically ambivalent, you mentioned that black actresses had a better shot at these types of roles because they are seen as American, especially to international audiences, whereas Asians are not seen as Americans. I found this really interesting. Perhaps you could expound on your response while including your observations about the international marketplace and African American actresses.
Iyin Landre: Man, this is such a complex and at times mind-boggling subject, the issues of race and identity. I've actually been thinking about it a lot since I got to Brazil, probably because I've had to deal with it more. I think to an international audience, Asian Americans are not perceived as being American. We are perceived as being Asian, from the motherland, speaking Japanese (or so I've encountered).
I don't know that an African American actress would have to defend her nationality as much as I do, but I mean, hopefully all this changes when people meet me and they begin to wrap their minds around how I can look Asian but be American. (Of course, the grand irony in all of this is that I'm having these discourses about my "origin" in perfect English!)
JL: Gina, when you look at the Diversity Gap in the Academy Award infographic, do the numbers surprise you? If not, what are some of the mitigating factors that explain why the statistics look as they do?
GPB: The numbers do not surprise me because very few Academy Award level films with non-white leads are being greenlit. Until this changes, the abysmal numbers will not change. The box office drives which films get greenlit. The hope is that with this year's success of a variety of films with African American leads, Hollywood will be more open to taking chances.
JL: Jason, you have a number of war stories to share about running up against race related obstacles during your acting career.
Jason Chan: After I completed medical school and worked in the hospital system for about four years, I got into drama school at NIDA (National Institute of Dramatic Arts). NIDA was made famous by many of its graduates: Mel Gibson, Judy Davis, Cate Blanchet, Baz Lurhman. We noticed even in drama school that ethnic actors were not only a minority, it was also rare that they were given lead roles. I fought for my chance at a lead in my final year and was successful. My own Australian agent, ICS, recounted to me a story about a meeting with casting directors. At the meeting, actors' agents were told that if a role was described as "31 year old, Lawyer," it meant "31 year old, Caucasian." The default is always Caucasian unless something else is specifically asked for. Another friend of mine, of Indian descent, had been cast by the director of a new Australian TV drama. The network apparently had problems with his role and asked why they couldn't cast "someone white" in his place, since the role wasn't specifically Indian. This is the problem.
It is pretty clear that certain countries remain extremely Anglo-centric, and certainly in Australia that was a problem for me. That's why I moved to Asia—Singapore specifically. At first I didn't like the move. It felt like I had somehow given up or failed, but there was more to it. This short helps to explain part of it.
I've heard many Asian Australian actors say "I can't stand it when they ask me to speak in broken English in a bad Asian accent." My answer to them is, "Don't do it then. You're just perpetuating a false stereotype." Every actor has a right to say no. I've said no many times, sometimes at the cost of a job.
When I played the green power ranger in Power Rangers Ninja Storm, I spoke at length to the head writer/ producer and the costume department to subvert the stereotype. I played the geeky, computer genius that was going to become the final power ranger of the team. I told them I'd only do this if I could subvert the stereotype by being a cutting, sarcastic, charming geek who then becomes the most powerful of the group. They were very responsive to my concerns about stereotype and worked with me to develop the character. The green ranger ended up single handedly saving the team from near destruction during the series. I now have many ethnic fans who see me (or my character) as a role model.
When I first started auditioning in Singapore I was amazed by my own reaction to getting lead roles. I would think, Wait, I can't have the lead role—I'm Asian!! I was used to auditioning for minor roles or ethnically specific roles in Australia. Among my Asian actor friends almost all of them will say, "I'm sick of being asked to speak in broken English." Singapore was obviously different and it has allowed me to grow as an actor and to develop my own language and stories.
***Other Ways to Get Film and Media Projects Made Outside of Hollywood***
JL: Iyin, how did the independent film Me + You come to be?
IL: I was thinking about this the other day as I turned in quarter steps in my mini shower here in Brazil, tracing the experiences that have led me here.
I've always known that I wanted to be more than an actor. I've always wanted to create, tell my own stories. After acting in LA for several years, I realized that there was a ceiling to the opportunities that were coming my way, especially being an Asian American actress. So I took things into my own hands and learned how to write, produce, and direct. This way I could make my own movies and not have to wait for someone else to cast me in one.
During a screenwriting class, I came up with the premise for this feature for which I'm currently in pre-production. The story is about an American girl who travels to Brazil and falls in love with a drug dealer from the favelas. It's gritty, thrilling, exciting—everything that I love about independent cinema.
After I finished the screenplay, I brainstormed the best way to raise money to shoot the feature. Since I had some airline miles that I'd been saving, I decided to fly down to Brazil by myself and shoot a trailer for the movie. I felt that if I could show what the movie would look like, feel like, I would be able to raise the funding for it.
JL: Iyin, did Kickstarter play a major role in helping raise funds to finance your independent film?
IL: Kickstarter was a whirlwind. Originally I didn't want to do Kickstarter because I knew how tedious it would be, and how awkward it is to ask friends for money. But a few other factors came into play, and in mid-August, I launched my Kickstarter campaign. I set the goal at $75K and it did indeed become a full time job, emailing, reaching out, Facebooking, Tweeting. I raised close to $15K through my social network the first three weeks or so, but with not many days left, I had to re-strategize. I dug to the core of why I was making this movie, what was spurring me on, and decided to shoot a new video. We emailed the new video out to several websites with big followings and Upworthy.com picked it up with forty-three hours left in the campaign. It was a true miracle how we met our goal, raising a whopping $62K in the last two days.
JL: Jason, tell us about your new production company, BananaMana Films.
JC: I have decided to take up the fight from this part of the world. The best I can do is to produce, write, and direct content that puts Asian faces on the screen. People need to see faces of all color on TV and in film so they become the norm. We've established a production company, BananaMana Films, which has just completed it's first thirteen-episode TV drama. My business partner, Christian Lee, and I wrote, directed, and produced the series and it will air on local TV next year. Hopefully it will be successful and we'll get the opportunity to keep producing. So far the feedback has been tremendous.
With our production company we can now produce content that puts Asian faces on TV and hopefully soon the bigger screen. We do it without question or apology. Asians are not the minority and they don't speak in a "funny" way. They speak English perfectly like everyone else and they can play any role. The key is to cast color blind, never to look at race as a deciding factor. In our TV show we have Indian, Malay, and Chinese actors, basically anyone who can act the part.
JL: Kelvin, Gina have you seen any working models of production companies that are (a) doing something to move the needle on promoting more diverse projects, and (b) commercially successful?
GPB: I think the independent world is still the best incubator of diverse projects with diverse casts. However, with continued success, studios will follow the trend.
Kelvin Yu: Maybe the best current example of how the market and diversity can dovetail is Tyler Perry. I sometimes describe Tyler Perry as the Karl Rove of Hollywood. It's a joke, of course, but what I mean is that both guys, in a sense, took advantage of a previously untapped well. In Rove's case, first in the early 1980s with Lee Atwater and then eventually with George Bush in 2000, he took the Republican Party and essentially said to them, "Listen, there is this small, but extremely fanatical group of people way out on the outskirts. Come with me and I will take you to the promised land." We all know what happened next. The party bet the house on a fringe demographic that was passionate and easily galvanized. And it worked. Those people turned out to be all they needed to obtain a slim majority of the vote.
In an analogous way, I think Tyler Perry emerged about ten or fifteen years ago by introducing Hollywood to a market that it never even realized existed. Prior to Tyler Perry, the African American movie going profile catered to urban interests (read Hip Hop and gang-related). Studios assumed black movies were New Jack City, Friday, House Party and Juice. By the time Perry comes around, he's educating the studios that there is a black middle/upper class. They are family oriented, socially conservative, and often religious. They love comedy, sometimes they like cross-dressing grandmas, and most important, they go to the movies. A lot.
Perry was right. And it paid off. He can make a movie for less than ten million dollars that will gross twenty million opening weekend, and he caters to an audience that was previously undiscovered. It's like he's pulling dollars out of the air.
But for the purposes of our discussion, this is a good example of the intersection of profit and diversity.
JL: Jason, What are some things that people can do to support non-Hollywood projects and encourage diversity in their viewing habits and choices?
JC: We need more people of minority races creating content that is rich in diversity and culture.
We need to watch films of other countries and support films from countries that don't own the distribution network. Some of the best films in the world are from Japan and Korea, and yet they have limited distribution because Hollywood controls most of the world's cinemas. This is changing with the internet. I would encourage everyone to watch and share films from all countries to get a more balanced view of the world, and to see that there is a thriving film and TV industry outside of Hollywood. In fact, it's more than thriving. In my opinion, films from Asia are shaping many of the films coming out of Hollywood. Korea in particular is redefining storytelling all the time. The Koreans have the most refreshing TV dramas I've seen in a decade.
We need to support minorities going into the arts. This can only benefit the depth and breadth of content that gets made.
Finally, don't support films with stereotypes. If you see stereotypes in a film, talk about them and don't stand for such depictions of people of color. Stereotypes are the seeds of racism.
Read our 2015 follow up post with updated numbers.
This is not an isolated incident, but a wide reaching societal problem.
Read more Diversity Gap studies on:
The Emmy Awards
The children's book industry
The New York Times Top 10 Bestseller List
Sci-Fi and Fantasy Films
Further resources on how to teach content and visual literacy using Lee & Low Books' infographics series on the Diversity Gap:
Using Infographics In The Classroom To Teach Visual Literacy
For press inquiries or permission to reprint, please contact Hannah Ehrlich at hehrlich[at]leeandlow[dot]com.
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87 thoughts on "Where's the Diversity, Hollywood? 85 Years of the Academy Awards"
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One thing to note: we counted Yul Brynner as a person of color when categorizing. Brynner was Russian but identified as part Mongolian (his full ancestry included Swiss, Russian, Buryat, Romani, Jewish, and Mongolian roots). It's so difficult to put people in categories for the sake of studies like this that ultimately we defer to how people self-identify. That being said, if you choose not to count Brynner as a person of color, the lack of diversity is even more pronounced.
Also, to underscore the stats above, UCLA's Center for African American Studies just issued their 'Hollywood Diversity Report' which confirms similar statistics: http://www.latimes.com/entertainment/movies/la-et-st-diversity-film-tv-20140212,0,5147488.story#ixzz2ttw0Unh6
The lead author of the report, Darnell Hunt, says it best: "The motion picture and TV academies are overwhelmingly white and male and they've been setting the standards for what they feel is successful or funny or good. But the demographics are changing and those standards are not as solid now. Increasing diversity should happen not just for the social good, but because it makes perfect business sense."
keilinh says:
Another thing to note in this study is the lack of gender equality. Kathryn Bigelow is the only woman to have ever won Best Director, despite the fact that there are several directors who are women making excellent films. In an interview with the NY Times, "Boys Don't Cry" director, Kimberly Peirce, mentions the intense double standards that female directors face: "If female directors are driven and single-minded and want to protect their actors as Kim does, they're problematic. If it's a man, he's passionate." http://www.nytimes.com/2013/09/29/magazine/carrie-is-back-so-is-kimberly-peirce.html?_r=1&
In 2002, Halle Berry became the first woman of color to win an Oscar for Best Actress, but what happened after that? She starred in several movies that did OK at the box office and people occasionally saw her in the
tabloids and on magazine covers. In an article in Forbes, there's mention of the fact that because Halle Berry is a middle-aged African American woman, no one has roles for her. http://www.forbes.com/sites/dorothypomerantz/2013/03/14/why-cant-halle-berry-catch-a-break/ The writer of this article, Dorothy Pomerantz, asks if women in Hollywood struggle because of racism and sexism, and she admits that she doesn't have a solid answer. After looking at this infographic though, it definitely seems like a possibility.
Additionally, the chances of a person of color winning an Academy Award this year isn't much better than previous years. In fact, there isn't even a non-white nominee in the Best Actress category (shocking, really).
Out of 20 nominees, there are three PoC nominated:
SUPPORTING ACTRESS
On a brighter note, two of the five nominees for Best Director are people of color:
Alfonso Cuarón, "Gravity"
Here's hoping that the 2015 Academy Awards has one person of color in each category, at the very least.
Yul Brynner was a white Russian (in every sense of the word). He claimed some Mongol or other Asiatic ancestry, like many Russians do, but I would see this as the equivalent of a white American who claims a Cherokee great-grandmother.
Oddly, you missed Best Actor winners Jose Ferrer (1950), a Puerto Rican, and F. Murray Abraham (1984), who is half Assyrian.
Hilary Swank's maternal grandmother was of Mexican descent.
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Jason Low says:
Thanks, Bee. We have updated the infographic with some of the additions we were able to verify. We have been on the fence for a while as to whether or not to include Yul Brynner as a POC since he did self-identify as someone with Asian heritage, but we recognize that this is not a perfect solution. Equally so for Hilary Swank, who we did not add to the infographic – though there are mentions of her Mexican and Native heritage on her grandmother's side, it was not something we could confirm, and she does not self-identify with either of those groups (as far as we could tell). So we decided to leave her off. The truth is that the person of color/Caucasian dichotomy is not a clear distinction but rather a spectrum, and any attempts we make such as this one to label people are going to be inherently imperfect. We hope this infographic still achieves the goal of illustrating Hollywood's consistent problem with diversity.
Anre G. says:
Reblogged this on Life is…. and commented:
Significant illustration of where we are today with great discussion and commentary on why….
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Mario J. Novoa says:
Reblogged this on Film Bliss Studios.
Since you posted a link to this infographic on CCBC-net I've been pondering this and all the issues this month's discussion has raised. The biggest takeaway for me has been that I need to pay more attention. While I certainly do this when recommending books to my students (preservice teachers), I don't always look at the larger culture around me. However, I've been so focused on these "multicultural" issues (a word I really dislike, but one I don't have a substitute for, as non-white seems most appropriate but may be too crass) that I'm finally starting to "see" more of these inequities. Take for example the Today show early this week celebrating the new host of Late Night, Seth Meyers. In looking at the hosts of the Tonight Show, Late Show, Late Night, and others, you'll find a wealth of white males. I suspect that like the makers of movies, most of the producers and writers are white as well. While some of them have supporting casts (musicians) that are POC, these are not the folks that are center stage. Why is that?
Thank you for sharing this information and for making me think and rethink the world around me.
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Tricia, thanks for writing and I am glad you are taking our studies to heart. Inequality is a problem ingrained in our society at almost every level. Media representation is only the tip of the iceberg.
Here's a link to another post we wrote about how to use infographics to promote critical thinking in the classroom: http://wp.me/py0i0-25G
Stacy Whitman says:
Tricia, you have a great point about the late-night hosts, and the way that they get written about in the press is the perfect example of the kind of thing we're talking about–it's not just Hollywood with the problem, but the whole system that supports this Hollywood system. Chelsea Handler, who is the only woman to host a late-night show competing with The Tonight Show and those others, just wrote in the HuffPo about how the New York Times referred to her in parentheses, and what that meant (the centering of the white male experience).
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Cato says:
3 out of 20 actors (or 85%0 nominated being people of color isn't as outlandish as you seem to believe. More than 72% of Americans identify as white. And if you go back further in U.S. history, the percentage of whites was much greater. So, looking at diversity over an 85-year span of U.S., you must take into account the changing demographics over that same period.
I'm curious, however, as to how diverse Asian and Indian cinema are. I would wager that there is a smaller percentage of whites in movies made in Asia and India that there are the converse in America. U.S. cinema is probably the most diverse in the world. And if certain ethnicities don't play well overseas, you can't exactly blame Americans for that. Why don't you look at racism on other continents, where it is far more rampant?
So, 17 of 20 actor nominees (or 85%) in this year's Oscars are white? Being that more than 72% of Americans identify as white, that isn't terribly off-kilter.
It's also disingenuous to tally the percentages over the 86-year history of the Oscars by today's standards. Whites used to be an even higher percentage of the American population in the past. Any industry is going to target the vast-majority population of its potential audience.
If you don't agree, perhaps then you should take a look at Asian or Indian cinema. How many whites or Africans appear in their movies? I would wager that it's a far smaller percentage than do people of color in American cinema.
The truth is, American cinema is the most diverse in the world. Why don't you take a look at the far more rampant racism in Asian cinema before you criticize America's more diverse movie industry?
Studies into Asian and Southeast Asian cinema would be an interesting study to see, but having visited these countries in the past, my hunch is this would not be an apples to apples comparison because of the lack of ethnic diversity in Asia.
When we started this study, we did not know anything about the movie business, so a key part of the study was the interviews with people who actually work in the industry. These conversations were opportunities to compare notes with people who could give us an insider's view of how it all works.
Their experiences mirrored our own experience as publishers of diverse books for children. Our own study of the children's books industry showed the amount of diverse books has not exceeded 10% in over eighteen years, despite the US population consisting of 37% people of color. You can read the study here:
http://wp.me/py0i0-1Jk
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Interesting article, but one part of the infographic appears to be wrong. It says that no people of latino descent have won acting Oscars in the past 10 years. However, Javier Bardem and Penelope Cruz won Oscars in 2007 & 2008, respectively. The article should be abridged to acknowledge this fact.
Javier Bardem and Penelope Cruz are both from Spain, so they are not considered of Latino or Hispanic decent.
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A partial summary of the results for the 86th Academy Awards can be seen here: http://blog.leeandlow.com/2014/03/05/the-86th-annual-academy-awards-wins-for-diversity/
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POP!GoesAlicia says:
Reblogged this on pop!goesalicia and commented:
I wonder if my students ever get tired of hearing "Yeah, it's all white dudes." #ms_swiz #oscars #media #popculture
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PaperbackDiva says:
Reblogged this on speculative diversity and commented:
Really thought-provoking post.
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Swank's maternal grandmother was Frances Martha Dominguez, whose parents were Frank Ray Dominguez and Martha Beatrice Rodriguez, both of Mexican descent.
Whether being 1/4 Mexican makes one "non-White" is another question.
Recent study backing up the the lack of gender representation in Hollywood: http://www.courant.com/entertainment/la-et-mn-women-hollywood-usc-study-20140724,0,6340951.story
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Ann Doria says:
Here's a great video about why it's important for Asian Americans to become actors, writers, and producers. http://youtu.be/qOwBGPkY0ZU
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redpajama_set_name: RedPajamaCommonCrawl


One of our top-selling products here at American Crane, Columbus McKinnon (CM) Corp.'s Series 653 Lever Operated Hoist provides unmatched durability and strength for close-quarter pulling, stretching, and hoisting. Rugged and versatile, this steel hoist features a characteristic short handle, which requires minimal lever pull effort, making this tool well-suited for a wide range of applications.
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text:
.. _#2127: https://github.com/bazelbuild/rules_go/issues/2127

coverage functionality
======================

coverage_test
-------------

Checks that ``bazel coverage`` on a ``go_test`` produces reasonable output.
Libraries referenced by the test that pass ``--instrumentation_filter`` should
have coverage data. Library excluded with ``--instrumentatiuon_filter`` should
not have coverage data.

binary_coverage_test
--------------------

Checks that ``bazel build --collect_code_coverage`` can instrument a
``go_binary``. ``bazel coverage`` should also work, though it should fail
with status 4 since the binary is not a test.

This functionality isn't really complete. The generate test main package
gathers and writes coverage data, and that's not present. This is just
a regression test for a link error (`#2127`_).

redpajama_set_name: RedPajamaGithub


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How much does it cost to move from Lakewood to Battle Ground?
How much does it cost to move from Lakewood, Washington to Battle Ground, Washington? The distance is 111 miles, so most of the moving expense will be in the labor to load and unload your belongings.


text:
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Life Check
Produced by SPAN Single Parent Action Network
Work & Volunteering
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Support Groups Local Organisations
3VYP (3 Villages Youth Project) - Penzance
3VYP works in Mousehole, Newlyn and Paul to empower children and young people and improve their self-esteem, confidence and well-being through a range of creative activities. The aim is to give young people opportunities they would not otherwise have.
42nd Street - Manchester, Salford, Trafford
This project works with young people 13 - 25 living in Manchester, Salford and Trafford providing a range of services including counselling, individual support, group work and volunteering opportunities. 42nd Street provides a range of services to young people including:
Acacia Family Support - Birmingham
Acacia provides telephone support and a weekly befriending service for mothers and their families affected by pre or post natal depression across North Birmingham. Acacia Dads is a free support service for dads and other family members who feel they may need some extra help and support after the birth of a child or help in finding ways to support their partner who may be experiencing Postnatal depression. Services also include creche facilities, pamper service for mums attending post natal support sessions, baby massage classes, resource library and family fun sessions.
ADD Norfolk
ADD Norfolk is a support network for anyone affected by ADHD /ADD in Norfolk (including grandparents, adults, teachers). ADHD stands for Attention Deficit and Hyperactivity Disorder and ADD stands for Attention Deficit Disorder. They run a drop in session too. For more information please visit the website below.
Advice and Community Resource Centre - Manchester
Advice and casework on welfare benefits, housing, debt and money problems. Initial advice on other rights issues like employment rights, consumer advice etc. Services for anyone who approaches the advice centre for help and lives or works in the catchment area: Moss Side, Hulme, Whalley Range, Chorlton, Rusholme, Fallowfield. Also provides advice to clients outside the catchment area but any casework is signposted to the client's nearest service provider.
African Community Advice North East (ACANE) - Newcastle upon Tyne
Provides support to African refugees and asylum seekers living in the North East of England. Provides advocacy, information and advice, operates a drop in service and runs occasional activities and training courses at the weekend.
African Community Support Group - Sheffield
A voluntary support group for African people which provides information, support and advice on topics such as housing, benefits, jobs, training and helping them to settle and make contact with others from similar countries.
African Cultural Association - Barnet (North West London)
Services offered to the African & African Caribbean communities, including refugees and asylum seekers. Advice can be given on health matters, housing, welfare, education, employment, death, and harassment. Support ids also availlable as is a women's group. social and cultural events are organised.
African Women's Welfare Association (AWWA) - London
The aim of the organisation is to work with African families, especially women and children in order to give advice, information and support on a range of issues including education, health, domestic violence, immigration, housing, employment etc.
Afro Caribbean Millennium Centre (ACMC) - Birmingham
The Afro Caribbean Millennium Centre (ACMC) is a multi-faceted organisation based in Birmingham. It operates a community radio station New Style Radio, a Social Welfare section, a Design service and the Three Continents One History research project that examines the role that Birmingham played in the Transatlantic Slave Trade.
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text:
Home > News > General News > eSports Officially Launched at Kick-Off Event
eSports Officially Launched at Kick-Off Event
Bethany made its entry into the world of competitive computer gaming official on Tuesday evening April 23, 2019, with an exciting kick off for its new varsity eSports team.
Bethany is taking its new eSports program to the highest level possible by joining the premier collegiate sanctioning organization – the National Association of Collegiate eSports (NACE).
The College is currently recruiting new students interested in becoming part of the eSports team. The director of the program is Lucas Fricke, who also teaches in the languages (German, Spanish) department, and the team's head coach is Seth Grabow, Production Studio Specialist at Bethany.
Participation scholarships are available for eSports team members with the value similar to other activity scholarships already being awarded in areas such as art, journalism, and music. The scholarships are part of the student's overall financial award package.
At the kickoff event, Vice President for Student Affairs, Dr. Ted Manthe, explained that the team will share the same structure as other varsity team sports at the College.
"Just like any student athlete, [eSport competitors] will be mindful of their academic success…and Bethany as a liberal arts college has a number of employees who are poised and ready to make this happen."
Bethany President Gene Pfeifer participated in the event and noted that the addition of eSports might prove to be a catalyst to broaden Bethany's already successful media and broadcast programs.
Pfeifer explained, "In launching an eSports program [our intent] is to link Bethany's unique niche in media arts broadcasting such as our Maverick hockey broadcasts with eSports. And I'm pleased to note that a Bethany graduate is one of the most visible world-wide figures in eSports gaming. I had the pleasure of visiting with Bethany alumnus Erik (DOA) Lonnquist in Los Angeles, and experienced first-hand the competitive and collaborative environment of professional gaming."
Lonnquist is a 2006 Bethany graduate, and is a professional commentator for the internationally popular Overwatch League. He participated in the event via a pre-recorded video, also noting that Bethany's history of producing well-qualified graduates in communication and broadcast will be a distinctive aspect of the eSports program.
Lonnquist commented, "Bethany is uniquely positioned to become a leader in training future eSports broadcasting talent and crew because of their ability to let students get 'hands on' with sports production through their live broadcast capabilities and their excellent facilities. Honsey Hall is also a great place to host aspiring eSports pros, and I wouldn't be surprised to see some great players emerge from the student ranks over time!"
Program Director Fricke also spoke about the notable academic component to eSports participation.
He explained, "eSports create and promote marketable skills. I've heard it said, nobody cares how hard you can throw a ball or if you can kick it through a goal, but if you can compete in a team environment at the highest level while using technology, that is marketable."
Students interested in learning more about Bethany eSports are encouraged to speak with Director Lucas Fricke by calling him at 800-944-3066 or by sending him an email message.
View photos on Flickr >
Draw, play, score!
Bethany Studios to produce for Fox Sports North
Gratz to lead Advancement Office
High school musicians gather on the BLC Campus
Bethany Campus chosen as site for Monument
Psych Club Donuts 'N Discussion: Using your 168 hours to reach goals
RA Info Meeting
Women's Basketball at Crown [Away] Jan 22
Men's Track & Field at Jim Emmerich Invitational [Away] Jan 24
January 24 at 12:00 am - 3:00 am
Women's Track & Field at Jim Emmerich Invitational [Away] Jan 24


text:
Bironium ornatum est une espèce de coléoptères de la famille des Staphylinidae et de la sous-famille des Scaphidiinae.

Répartition et habitat
Cette espèce est décrite de la province de Papouasie occidentale, en Indonésie.

Systématique
Le nom valide complet (avec auteur) de ce taxon est Bironium ornatum Löbl, 2021.

Étymologie
Son épithète spécifique, dérivé du latin , «préparer, orner », fait référence aux taches présentes sur ses élytres.

Publication originale

Liens externes

Notes et références

Scaphidiinae
Faune endémique d'Indonésie

redpajama_set_name: RedPajamaWikipedia


As I was browsing through the jazz section at my local record shop, I ran across this pictured copy of the self titled Blue Note LP Art Blakey and the Jazz Messengers, also known as Moanin'.
It's nicknamed this due to pianist Bobby Timmons, and his composition of the same name.
The price tag that was affixed to the plastic cover sleeve was $29.99. I thought, probably a Liberty Records pressing? So I took the vinyl out from the sleeve to inspect, I glanced at the label, it read 47 west 63rd NYC.
I can see the deep groove in the labels, it's a mono copy. I inspect the Blue Note logo, no trademark R under the E in Blue Note, and the RVG and the Plastylite cursive P are in the dead wax run off area.
Blue Note 4003 Available Now.
The vinyl condition is stupendous, not mint, but a strong VG+ with light marks and scuffs. The vinyl still has quite a bit of luster and the labels have very light spindle marks, This copy probably would easily bring $300-$500, maybe more.
The cover is not bad either, no splits, strong intact spine, but certainly no better than the very good (VG) grade, but over all a nice playable copy.
I eventually sold this to an overseas buyer for $400.00. In hindsight, I probably let it go a little too cheaply, as he nabbed it up within a few days of the listing being posted. Considering how well it played, I am sure he was more than happy with it.
Even with it being a mid level condition record, I bet the one who bought it from me will turn it around and make a nice little profit, if they haven't already.
To find this record in this type of playing shape for 30 dollars is just incredible to me, every Blue Note collector strives to find an original first press copy of classics like this.
Trying to get the best possible sound, and as close to the original source as possible is the key.
Hearing a record like this for a true Jazz nut, can be almost a religious experience, it was for me.
It's not really the sound quality so much, but rather the feel of the vinyl and jacket card board, you just don't get that from a CD or download.
The music quality of original vinyl might be tad oversold, especially when I have a new 45 rpm double LP that to my ear sound just as good. But If I had the cash, I would very much dig deep into the original vinyl.
I couldn't help but wonder why this usually high priced shop would have $30 on this record?
My only guess is, they tend to specialize in rock music and new independent vinyl issues, and it just slipped through the cracks. Maybe next time I will run into an original Hank Mobley Soul Station LP. You never know what might be in those crates?
What are Blue Note 4003 and others selling for at the moment?
A copy of Moanin' back in November 2012 sold for $1,125 on eBay reportedly in Mint Minus condition, the cover was much cleaner too than my pictured find. My find is definitely not a top copy, but still a solid play copy.
My copy was not close to mint, but it was VG+ and played with very light surface noise and sounded so present and full of life.
I have a collection of well over 300 Blue Notes, but only 30 are original first pressings, and this was by far the best condition vinyl of those.
Most are in the VG- to VG condition. You must remember you are dealing with prices that most can barely dream of, with originals fetching between $2,000 and $5,000 all the time on eBay. I've been fortunate to find an original first press of Horace Silver's Horace-Scope in VG condition, played very well, I paid a lousy dollar for that at a thrift store.
I also found a Freddie Redd Connection with Jackie McLean first press for 2 dollars at a yard sale, that record had a few deep marks and heavy scuffs, but also played surprisingly well. The point is, you can get lucky if you dig.
"Along Came Betty", "Are You Real", & "Blues March" were tenor saxophonist Benny Golson's compositions, and he is the real star on this Jazz Messengers classic.
Golson was responsible for 4 of the 6 compositions, with "Are You Real" "Along Came Betty", and "Blues March", all becoming standards.
Benny also provides an extremely tasty tenor sax solo on the Bobby Timmons track Moanin'. Golson is one of the unsung heroes of jazz, even with his recent notoriety.
His body of work speaks for its self, the number of standards and his arranging skills have influenced countless jazz musicians.
Benny has composed televisions scores for shows like M*A*S*H and Mission Impossible, he also lead the Jazztet from 1959 to 1962, and then again in the 80's.
It would be hard to argue that Moanin' isn't the greatest Jazz Messengers album, perhaps A Night in Tunisia or Free For All come close? When you run down the list, there are a lot of great albums to choose from.
Very unusual to find a Blue Note LP period in a thrift store bin, but to find 4 of the same artist.
With all being New York USA or earlier pressings, all a strong VG vinyl wise, with the House Party being Near Mint, it's simply astounding for .99 cents a piece.
This type of find is rare to say the least, I began to think maybe this was the mother load I have been dreaming of for the better part of 10 years.
Unfortunately the Smith's were it, I even asked 2 different people if more records were waiting in the back to be put out, one of these days I will strike the vinyl record lottery.
What is Dead Wax, and What's in the Dead Wax?
Dead Wax simply refers to the run off area between the grooves and the label. This area will have various marks and or numbers that you can look for to find what pressing it is.
RVG in the Dead Wax: Rudy Van Gelder was the engineer on most of the Blue Note sessions of the 50's and 60's, his sessions are desirable. He also did hundreds of other records for the Impulse and Prestige label. RVG in the dead wax, hand etched or stamped, means it was mastered by Van Gelder, his sessions on vinyl are considered by many to be high quality. SEE PHOTOS.
VANGELDER stamped in the dead wax is a later pressing. Sometimes, after 1960 STEREO is seen after the VANGELDER or RVG.
The Ear in the dead wax, "or cursive P" refers to the hand etched ear shaped cursive P in the dead wax. Plastylite was the pressing company Blue Note used up to the Liberty buy out of 1966/1967. No liberty issues will have this Ear. Typically, records with the P mean a higher quality "heavier" pressing.
Here is a photo of the EAR/Plastylite P as it rests in the dead wax run of area.
This Ear/Plastylite P is what collectors look for on a New York USA label, to guarantee it is not a Liberty label masquerading as a New York USA. With excess NY USA labels being used AFTER the Liberty buyout of Blue Note, the EAR is your own assurance it's a heavier vinyl New York USA Plastylite pressing.
Note: linked Photos on this post are courtesy of LondonJazzCollector.com. The absolute best site anywhere in my opinion for a jazz vinyl aficionado. I highly suggest you check that site out if you're serious about vintage vinyl jazz, almost every label of note is discussed.
Are you struggling to pick up on all of this Blue Note record label minutia?
Believe me, I know how tough it is at the start of your journey trying to track this record label stuff down.
Understanding what original and reissue really means was a daunting task.
I have been a Blue Note jazz aficionado for nearly 20 years, I didn't catch the Blue Note vinyl collecting bug for better than 10 years into that journey.
With auction prices reaching lofty heights, you better know what you're doing, both buying and selling, or you could lose your shirt.
Below I will show you photos of labels from my collection, these will highlight the labels that serve as a guide for pressing identification. I had to learn this stuff or else risk getting burned buying and selling on eBay.
I will also go over what terms like RVG in the dead wax mean, what the trademark R's importance is; also what the abbreviation (DG) means, and why it so overused on eBay listings. We can't forget that all important EAR in the dead wax either.
Notice below labels had subtle changes throughout the early years, then drastic changes after Blue Note was Sold to Liberty. Pay attention to the addresses for the pre 1967 records, then it's more fuzzy as you go forward through the 1970's where the non traditional colors become the identifying feature.
This is where it all starts, at least 12 inch LP Blue Note collecting anyway. Every single record released with the Lexington address is a mono copy, Blue Note did not release a stereo issue until 1959. Horace Silver's "Stylings of Silver" has the honor of being the first. These are generally all deep groove.
Also I would like to make the point that these original Lexington Blue Notes in VG+ to Near Mint Condition are commanding insanely high $1,000 plus prices.
Jutta Hipp, Hank Mobley, and Lee Morgan vinyl are fetching well over $3,000. Don't be discouraged, I find lesser condition copies of these at thrift stores and record shops all the time, with multiple marks per side some times.
The record is VG minus at best, but people will still pay 10% of Mint value if the cover is VG. Surface noise, ticks and pops can be lived with, but skips can not, a skipper might bring you 5% of Near Mint.
You can't forget though, that it's all about supply and demand, and both of those factors fluctuate so much, you can see some wild price fluctuations. Sometimes when selling a lesser grade copy, it's just happenstance, someone stumbles by and sees a record that sells for $3,000 Near Mint, but can't resist the idea of having a Good to VG minus condition copy for $150.
I sold this pictured copy for that much, I bet the buyer was thrilled. I didn't hear anything negative, they were probably so happy that they received a record that played better than the visual grade.
That's the thing about the Lexington's, they hold up well to moderate marks and scuffs. I distinctly remember that deep bass sound, or at least the bottom end on these being very impressive.
Surprisingly, these hold up well to moderate marks and scuffs. in fact, the photo of the Johnny Griffin label above is one such record I found that plays very well.
I paid 5 dollars for it. All of the Lexington addressed Blue Notes are mono, and they do sound good, this particular label usually boasts very robust and detailed sound. With these thick Lexington LP's, they always seem to have a deep, well recorded bass, and everything seems closer to the microphone.
Sometimes though, you run into a hiss sound, not the normal surface noise, a moderate distortion? I'm thinking this is groove wear. After so many spins the vinyl will degrade, I am sure that 50's era equipment was not as delicate as it became... So I can see why mint copies bring such extravagant prices.
Note: Thanks to a kind gentleman for straightening me out about the"767" and not "161" on the Lexington Label.
This particular Label has stereo and mono "microgroove" recordings, sometimes you will find these with the "Inc." after Blue Note Records up near the address.
later on, the New York 23 was dropped and only the 47 West 63rd is left. The pictured record is a perfect example of the type of original Blue Note that won't destroy your budget.
I picked this Jimmy Smith record up for 5 bucks at a local record shop, the vinyl playing surface was graded liberally at VG, a few marks that I could feel. The record still sounds way above average, I am truly amazed at quality of these, even in less than average condition.
They are always worth a gamble, even if typically the condition makes you cringe a bit. Some staunch collectors are not huge fans of organ jazz, but I like it, and will not apologize for it. Here's another Jimmy Smith find, a trio of Blue Note's found at the local Goodwill thrift store.
This particular label used from 1958 to 1962 also began the stereo era at Blue Note. This was the label where the trademark circled "R" started being used under the E in NOTE, any records that saw their original issue prior to 4018 with the R are not original.
This Blakey LP pictured does not have the "R", therefore it is an original first press Blue Note. If one has the trade mark R before 4018, then it is not an original.
The address reads Blue Note Records, if it reads Blue Note Records Inc. It would not be an original unless that record's first issue had the Inc.
The New York USA label is the end of an era really, the end of this address marked the end of Plastylite pressed records. Alfred Lion's association with the label ended, and unfortunately after the 1966 Liberty buyout, the quality of the record cover art suffered as well.
I have several 2nd press New York USA label Stereo's that match or surpass the original 47 West mono copies for what it's worth. The Jackie McLean Bluesnik, and even the Blakey Moanin' LP, I don't know what to make of this really?
These will not have the Ear/P in the dead wax, so ask questions if you need a true NY USA copy, that Ear must be in the dead wax.
This is where things get confused and really tricky, 1966 is where Alfred Lyon sold Blue Note to Liberty Records. This is also where Plastylite was dumped as the pressing company, and soon Reid Miles was no longer designing covers anymore.
One of the confusing things, and I learned the hard way: Liberty at this point was still using NY USA Labels on their records which were not stamped by Plastylite, and the vinyl quality seems inferior to me as well on those if you compare.
But please understand this quality I speak of, can be splitting hairs. I have learned during my 4o plus years, one mans trash is another man's treasure, so check for yourself.
The quality difference is not nearly enough in my opinion to keep you from saving massive cash on Liberty issues.
I ran across a few of The 3 Sounds LP's several years ago, they were NY USA Labels, but there was no Plastylite P/Ear in the dead wax.
I had no idea about this Liberty using old NY USA labels stuff. Months later, after more research and comparisons, it was obvious the quality was inferior.
In essence these were just Liberty Pressings Masquerading as NY USA copies. Now please understand that the sound difference wasn't so wide that I wanted to throw the record away, but the point is, I paid a premium for that record and it was not a real NY USA. The seller perhaps didn't know that the EAR's meaning meant such a difference.
I would highly suggest if you're eBay shopping, and someone says "NY USA", ask about the Plastylight P, and make sure that RVG or VAN GELDER is somewhere in the dead wax. Then you know it's a real NY USA.
Remember if they say its original, or say there's an EAR, and there isn't one, that's out right fraud. Unknowingly or knowingly, who knows? If they don't mention the details that make it what you want, don't assume, in the end you have to be the one to find out.
This black label Liberty U.A. pressing might be the rarest of all Blue Note Labels, only used briefly after the year 1970, these usually sound pretty good too.
I like these sound wise over the blue and white Liberty pressings, usually these will have the VAN GELDER stamp in the dead wax. At least two first pressings I know of with this label, McCoy Tyner's Expansions and Ornette Coleman's Love Call.
I did do a cross comparison on Brother Jack McDuff's Moon Rappin', Tyrone Washington's Natural Essence, and Lee Morgan's Live at the Lighthouse: I could not tell any discernible difference in the sound between the Blue and White label pressing and this black label press.
I recently tested a Lee Morgan Candy, and a John Coltrane Blue Train, I though the records sounded fantastic, with a crisp clarity. I didn't weigh these, but it seems these are heavier than some of the blue and while label Division of Liberty, perhaps they are?
These United Artist's pressings seem to be much lesser quality material wise, the vinyl is thinner and they don't hold up well to surface marks.
There are other variations of these Blue and White label ones too: Sometimes 1972 will be under the the Produced by note: Also, blue track and production notes instead of the black ink pictured above. Just know that this United Artist blue and white label is dated 1971-1975.
The one perceivable thing that does stick out when testing the 70's as opposed to the 50's and early 60's presses is the depth of sound.
I mentioned before, the full sound, the ability of the early labels to sound good even in VG or less condition. It's absolutely there, the oomph is missing in the overall clarity. Sometimes new "2000's" reissues sound better to me than these 70's issues.
The black b pressings though sound better, and the vinyl thickness seems better, but it is common knowledge now that the weight of the vinyl doesn't necessarily equal great sound. The composition of the vinyl, its purity is what counts.
The "black b" Blue Note pressing is known as the poor man's deep groove Blue Note. It is a decent sounding record, PLUS the 70's era covers are still thick and have that vintage look and feel. This seems to be mainly a re-issue label, with the white b being new titles.
These are rising fast in price now that the other pressings have shot beyond expensive prices. Most U.A. black b's can be had from $10-40 dollars, some titles though like Sam Rivers, Grachan Moncur III, and Jackie McLean can approach $100. Generally all releases are stereo, and VAN GELDER is stamped in the dead wax, these do offer underrated quality sound in my opinion.
Many times I have compared these Mid 70's pressings to earlier pressings, while nothing beats the early 1951-1957 pressings for sound, these black b pressings are very good, and very reasonably priced. Perhaps the sound gap isn't as wide as many audiophiles say?
This label was primarily used for the mid 70's 2-fer LP's, that featured many of the significant Blue Note artists and many unreleased sessions, out of print, or newly discovered sessions.
These particular sets can be found at bargain prices, and quite honestly are a hell of steel, I don't think they sound terrible, though many aren't thrilled with them, I guess the best way to state it, they are a bit of a mixed bag.
Producer Michael Cuscuna of Mosaic Records fame, compiled many of these double albums for release. Artists like Cecil Taylor, Booker Ervin, Jackie McLean, and Freddie Hubbard are featured prominently.
Much of the music on these re-issues have also been remastered for a CD release, most times complete with brand new art work. Since a CD's running time 80 Minutes, many time most of the music can fit on one disc.
I do believe in the case of the Andrew Hill 2 fer One For One, they squeezed out a CD re-issues Pax. and 6 track appear on The Mosaic Box #16. Hill's Change, came from the Sam Rivers Re-issue series release Involution as well.
This label was used as new titles label for blue note from 75' to 79'. I also believe those 79-80 vault releases have this same white b, "you know the ones with the redesigned and ugly covers", that look nothing like the classic Reid Miles style covers?
The original vinyl was housed in generic uniform design with an even more generic, often times completely unrelated photo on the cover. Who ever came up with the idea to jettison the original classic Blue Note style cover art should have been slapped silly.
Some of the best of this reissue series were: Larry Young's Mother Ship, Andrew Hill's Dance With Death, and Bobby Hutcherson's Medina.
These are also very reasonably priced, except the Andrew Hill Dance With Death, which can be a bit pricey due to Andrew Hill's popularity, and it being one of his best records period.
These DMM or Direct Metal Mastering LP's from the mid 80's are widely considered to be the worst sounding Blue Note vinyl pressings. I don't think they are all that bad, but some I have, do seem to have a thinner sound than I like. This Dexter Gordon Go LP wasn't bad at all, better than the CD at least.
Some, like the record pictured, sound pretty good. Usually you can find these dirt cheap, if your patient, these 80's pressing can be had for less than 10 bucks many times.
If I see a DMM in a bargain bin under 10 dollars, I will always grab it up, these will probably be rising in price as well as the Lexington's thru NY USA are year by year becoming luxury items.
The mere mortal collector like me has to settle for these lesser priced bargains, and if you don't have a completely ridiculous audiophile ear you can still enjoy records like these. You can find this same label without the DMM though, and I have heard that many people like these, I don't think I have heard any of the non DMM of this label type.
The Scorpio label is a current reissue label that I can not find much info about, the weight of the vinyl is decent but I think under 180 gram. I have a few dozen of these, I picked up a bunch when an online store was going out of business, 5 bucks a piece was hard to pass up.
The mastering quality is average at best, I had a copy of Wayne Shorter's Speak No Evil that sounded very good and seemed to have a little more punch on the bottom end. I now have a Liberty issue that does not sound better.
These were pressed at a plant called Scorpio, but reading further, knowing the plant name, I was able to find that there have been complaints from audiophiles about the sound quality. Apparently these are nothing more than digital copies pressed to vinyl, like listening to a CD for the most part.
As I mentioned above, for the price, as a filler copy, I wouldn't have a problem with it... but if you are a real sticker, I would pass on these.
It would be a wiser decision to pay twice as much for a better quality reissue. King Japanese reissues. The 45 RPM Music Matters double vinyl I hear great reviews about, and I know the mid-90's Capitol EMI Connoisseur's series sound good to my ears. I do think these are pricey, but they will be in mint condition and should be free of surface noise.
*Affiliate Disclosure: Any link or photo you click could take you to another site, if you buy a product on that site, I could earn a commission. I also may place links direct to my own eBay store.
I am amazed how many sellers are just plain ignorant on what they are selling, sometimes that can be to your advantage of course.
I cringe though, when I see a Blue Note record billed as an original or having a deep groove when it obviously does not.
Check out what originals are selling for right now. If you have the financial ability to pay that kind of cash, you'd better know what you're doing.
I'm concerned with out right misstatements, like saying a Liberty issue is deep groove, or saying a Blue Note 4003 with the trademark R is a first press, when only pressings without the R are true originals.
Would one sound better than the other? I doubt it, unless you have some super-human hearing, but no R is rarer, and pressed earlier than the trademark R copy; and consequently brings higher prices... you don't want to pay non trademark R prices for a trademark R copy do you?
That could be a few thousand dollars difference in price.
Things like that, you have to watch out for. It's your money, be careful out there. Read on for more detailed tips compiled from my own experience.
Remember: It is up to you to know what DG means, and what RVG and Ear means. These are ways to identify the year and authenticity of the pressing.
Items that are obviously non deep groove records, are being touted as just that, deep groove. For the most part Blue Notes vinyl pressed after 1962 will not have the deep groove. Sometimes a second or third pressing might show up being pressed by the early stampers, and thus have a deep groove on one side and sometimes both.
Many eBay sellers are listing New York USA and Division of Liberty label addressed Blue Notes as a deep groove or "DG" abbreviated, even when the photo clearly shows it is not a deep groove pressing. I have even seen new reissues with that DG abbreviation on the listing.
I nearly smashed my fist through the screen when I ran across a Compact Disc Blue note listing with the DG, huh?. Bad enough when they clog up the search results using "mini LP" as a keyword as it is, but deep groove used for a CD is beyond ridiculous.
Kenny Drew's Undercurrent (4059) was the last original deep groove Blue Note, and usually only found with one side deep groove.
This deep groove error on an eBay listing could mean hundreds of dollars difference in price, if not thousands to a novice with money burning a hole in their pocket.
I have seen auctions go to extreme heights, when 2 newbies start bidding on a Liberty Blue Note with the deep groove description.
Perhaps those buyers thought that it was a first press or something? I just don't see any other logical explanation outside of shill bidding.
I see this happen a lot, where a 40 dollar record gets bid up to $200. I wonder how many people end up not paying at all on those?
Almost every first press Blue Note Record pressed after 4059 was pressed by the new stampers, most records pressed before 4060 have a deep groove pressed into the label.
This deep groove identifying feature has nothing to do with the vinyl playing surface its self, except that deep groove pressings are heavier vinyl and do normally sound better. To what degree, you really need to judge for yourself. If you have the coin, my complements.
One time I noticed a late 60's Liberty pressing of Jackie McLean's Bout' Soul, it was listed as DG, this might not sound like much, but it is unbelievably inaccurate.
Unfortunately this abbreviation has become a catch-all Blue Note phrase, many novice sellers don't even understand its meaning.
The novice buyer just believes DG is good, some just think it means vintage, and so that means better sound. Just be careful out there.
What Really is Deep Groove on Blue Note Vinyl?
Which Blue Note records do have a deep groove?
Original pressings on this label are not deep groove, some times you will find a second or third press with the deep groove, some times with just one label pressed by the original stamper.
Sometimes, you can find a double deep groove NY USA copy. These NY USA that happen to have deep grooves, are usually reissues of earlier sessions. This where the minutia turns to manure in my opinion, I am a collector, but I began lose interest with this type of heavy lifting.
To my knowledge, every record Blue Note made after Blue Note sold out to Liberty Records is not deep groove, and they quit using the pressing company Plastylite all together.
Remember: If you run into a deep groove NY USA, it is typically not an original press of that title, yet still on the rare side, and might have some extra value to a completest collector.
You're scanning the latest auctions, and you see a listing saying Blue Note LP NY USA.
The unscrupulous, or more likely the ignorant sellers are banking on you not knowing that after Liberty Records bought out Blue Note around the year 1966, they quit using Plastylite as the stamping company.
The new stampers just did not stamp the Ear, and this also seems to be the time a lesser quality vinyl started being used.
If you pick up a 50's era Lexington addressed label LP, and compare it with a 1967 copy of Ornette Coleman's The Empty Foxhole for instance, you'll feel the difference in weight.
You see, Liberty was still using old NY USA labels that were piled up probably all over the place, and placing them on the Liberty pressed vinyl. Who knows how long this went on, perhaps as late as 1969?
NY USA copies were supposed to have been pressed from 1962-1966. Imagine paying top dollar for a copy of Tony Williams Spring, billed as a NY USA first pressing, and then finding out that it was a Liberty stamped record circa 1968 with no EAR?
This is the stuff you need to know about, you should have asked about the EAR in the dead wax, don't pay top dollar for it unless they say it there, or offer photographic evidence.
Basically these are just fake NY USA copies. If you don't know any better you might pay a premium for that fake NY USA instead of a fraction for it. Some people don't mind though, just as long as that label reads NY USA.
Understand this though, without that cursive p, it's not an authentic NY USA Pressing.
Honestly, try as I might, sometimes I can't tell any difference in the pressings sound wise... but you should get what you pay for, it's up to you to know what to look for.
I just want to hear good quality music without too much snap crackle pop, but if you're selling and or buying, you want to know this stuff.
Hopefully my journey as a collector can help you learn enough of the basics to make sure you're armed with the knowledge to make informed decisions as a buyer and seller.
Remember: It's buyer beware out there, you have to accept the responsibility to know what to watch out for.
*Photos are my own.* or used with permission via Amazon.com.


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Boris Johnson is a greater threat to the Union than the SNP - Euan McColm
Covid Scotland: Ministers unlawfully kept second wave death and case predictions secret
NewsOpinionColumnists
Israel's indiscriminate shelling of densely populated Gaza Strip cannot be ignored by the West – Tommy Shepppard MP
We need to talk about the horror in Israel/Palestine. We cannot ignore this even if much of our media seems to be doing just that.
By Tommy Sheppard
Thursday, 20th May 2021, 4:45 pm
A Palestinian boy sits near buildings hit by Israeli airstrikes in the Jabaliya refugee camp, northern Gaza Strip, (Picture: Khalil Hamra/AP)
There is a tragic inevitability to the death and destruction happening on the shores of the Mediterranean. But it's also no accident it is happening now.
Two weeks ago, Israeli Prime Minister Benjamin Netanyahu felt power slipping away. His opponents were on the verge of forming a new coalition in the aftermath of the latest Israeli election.
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To distract them and build support for himself he has quite deliberately engineered an escalation in the conflict. In the powder keg that is the occupied Palestinian territories that's never hard to do. Sending 3,000 Israeli troops into the Al Aqsa mosque on the final day of Ramadan to attack and disperse worshippers more than did the job.
Palestinian protests erupted throughout occupied East Jerusalem in communities already tense as the result of the threat of forced evictions in Sheikh Jarrah. And Netanyahu gets to play the strong man by sending in the security forces to suppress them.
'It is misery here': Palestinian nurses tell of fear in Israeli hospitals, and s...
In a new dimension to a complex situation, inter-communal strife broke out in mixed Arab/Jewish Israeli cities such as Haifa and Lod.
It's been suggested this was deliberately stoked by the authorities. This week I heard first-hand from an opposition member of the Knesset in Lod, Sami Abou Shehadeh.
A ball of fire erupts from a building in Gaza City's Rimal residential district (Picture: Bashar Taleb/AFP via Getty Images)
He told how right-wing settlers came on buses from the West Bank to attack Arab neighbourhoods. How they went from door to door marking Arab homes with spray paint so they could be identified later. How they were supported by the city council who allowed them to use buildings and car parks. How the police protected them and arrested Palestinians who tried to fight back. And how none other than Bibi Netanyahu was there to support them in the full glare of TV cameras.
I also heard from Oxfam organisers in south Gaza who said the bombardments of the last two weeks have already caused more damage than the 50 days of air attacks in 2014.
Israel claims it's only defending itself from Hamas rocket attacks. Let me be clear. I condemn Hamas for launching unguided rockets into civilian areas. But the fifth most powerful military force in the world ought to behave better than a bunch of stateless paramilitaries. The attacks on Gaza are completely disproportionate, with deaths 20 times higher on the Palestinian side, and they can be nothing other than indiscriminate when focused on such a densely populated, small area.
Some will say this is nothing to do with us. But it is. The UK government, and most of the West, have ignored the plight of the Palestinians for decades. This has driven them to despair, undermined their democratic leadership, and created a vacuum which Hamas are filling.
German Foreign Minister Heiko Maas (right) listens to his Israeli counterpart Gabi Ashkenazi in a building in the Israeli city of Petah Tikva that was hit by a rocket fired by Palestinian militants (Picture: Gil Cohen-Magen/AFP via Getty Images)
I hope by the time you read this there is a ceasefire and people have stopped dying. But it will happen again and keep happening. Only when Israel ends the world's longest military occupation can we try to build a sustainable peace based on recognition of both Israeli and Palestinian rights. Until then the open wound that is Palestine will continue to fester. And the security that Israel seeks can't be achieved.
Tommy Sheppard is SNP MP for Edinburgh East
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If you haven't already, please consider supporting our trusted, fact-checked journalism by taking out a digital subscription.
Benjamin NetanyahuTommy ShepppardPalestineIsrael


Canadian producer prices rose by one per cent in May from April, the fifth consecutive increase, on higher prices for energy and petroleum products, Statistics Canada said on Friday.
According to Reuters, of the 21 major commodity groups, prices were up in 17, down in one, leaving three unchanged. The advance was the greatest since the 1.5 per cent jump seen in November 2017.
Energy and petroleum products prices posted a 4.0 per cent gain on higher prices and increased demand for crude oil. Prices for lumber climbed by 3.1 per cent on increased housing construction in the United States.
The three major metal commodity groups all posted gains, with fabricated metal products and construction materials rising by 1.9 per cent.
The raw materials price index rose by 3.8 per cent on higher prices for crude energy products.


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»MLB»Mets look to break through stormy skies in short series with Cincinnati
Mets look to break through stormy skies in short series with Cincinnati
Posted by Stacy Podelski on May 16, 2012 in MLB, New York Mets, New York Sports
Johan Santana. Photo by: Stacy Podelski
The New York Mets (20-16) will look to break through the stormy clouds with a two game set against the Cincinnati Reds (18-17) at Citi Field on Wednesday. The team will look to bounce back from an 8-0 shutout against the Milwaukee Brewers on Tuesday night.
It was only the second time that the Mets have been shutout this season, as only the red-hot Washington Nationals was the other team to have accomplished the feat on April 11 in the 4-0 loss at Citi Field.
There was a ton of stormy clouds surrounding that shutout as in the bottom of the seventh inning words were exchanged by Terry Collins and David Wright, as the manager took the All-Star out of the game. In the top of the inning reliever D.J. Carrasco had a ball get away from him, hitting Brewers-star Ryan Braun-and Collins did not want to expose Wright to retaliation.
"He is not mad at me, it wasn't about me," Collins said of the exchange. "He said, 'Look, if someone is going to get hit, let it be me.' And I said, 'First of all, that thing that's not going to happen.'"
At that point in time the Brewers already had the 8-0 lead, as starter Dillon Gee was hit hard by Milwaukee. Gee echoed one of the worst starts of his career, allowing seven earned runs for the second time in five outings.
"The mistakes that he makes are in the middle of the plate," Collins said of Gee. "When I took him out of the game Mike Nickeas said that 'Every mistake he made, they would drill it.'"
Now the Mets will have to turn their attention to Cincinnati, as ace Johan Santana (1-2, 2.92 ERA) will take the mound. Santana has been the 'stopper' thus far for the club, and will look to have the same results with the Reds tonight.
In Santana's last start against Cincinnati the lefty was able to pick up the 3-0 victory on July 6, 2010 at Citi Field. Johan was able to toss a complete game shutout on that day, allowing only three hits and three walks, sitting down five batters in the 113 pitch effort.
Looking to continue his red-hot streak at the dish will be Wright who extended his hitting-streak to nine games with his double in the first inning. Also red-hot with the stick is Daniel Murphy, who now has a career-high 11 game hitting streak.
Andres Torres: New York Mets center fielder Andres Torres was on hand to answer questions for the Spanish Language media on Tuesday. The star who suffers from ADHD, also answered a few in English and Examiner.com was on hand to capture it.
The game never came naturally to Torres, who didn't become serious about playing the sport until he was 18 years old. The Aguada, Puerto Rico-native was more of a Track and Field star during his time at the Miami-Dade Community College. Torres ran the 100 meters in 10.37 seconds, which is the second fasts recorded for all MLB players, behind Deion Sanders.
"When I started playing, I was only playing once a week," Torres said on his baseball experience. "It was in senior year a scout came to me and made me feel as if I could play baseball. I was fast but I still needed a ton of tools in order to play the game."
Torres continued by saying, "In this game you need coordination and you need the mechanics of hitting in order to play. I started to talk to some of the guys and learning what it takes to succeed, they really helped me to break out of the bad habits I had when I first started."
All-Star Announcement: It is expected that Commissioner Bud Selig will join Mets owner Fred Wilpon and New York City mayor Michael Bloomberg at New York's City Hall to make a major announcement about the Mets hosting the 2013 MLB All-Star game.
The official announcement will happen at 11:30am in a news conference seen live on MLB.com and Mets.com.
Also seen on Examiner.com below:
http://www.examiner.com/article/mets-look-to-break-through-stormy-skies-short-series-with-cincinnati
Tags: MLB, New York Mets, New York Sports Permalink
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New Zealand's coaching staff..
New Zealand's coaching staff describe the last minutes of their win over Australia as 'chaotic'!
14/10/2018 1:44 pm / 06:29
It was a magnificent performance from the New Zealand Kiwis last night at Auckland's Mount Smart Stadium with a thrilling 26-24 win over Australia.
Australia lead by 14 points with 5 just minutes on the clock before the Kiwis stormed back to secure their win against Mal Meninga's new look Kangaroos breaking the Aussie's 13 game winning streak.
Kiwis Assistant coach Ben Gardiner has told Clinton and Sam the last minutes of the game were crazy. Last night's win was the Kiwis first over Australia since the 2015 Anzac Test…
Download this podcast here


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Home>Travel inspiration>Food + Drink>Restaurants + Cafés
The Best Way to Experience the Dreaminess of West Sonoma County
By Danielle Walsh
Courtesy of Kosta Browne
The Russian River
Winemaker Nico Cueva of cult winery Kosta Browne dishes on the lesser-known side of Sonoma.
If you see a bottle of Kosta Browne pinot noir on a restaurant's wine list, you should probably order it—that may be the only way to get your hands on the coveted wine. The Sebastopol-based Kosta Browne doesn't have a tasting room and only doles out its vintages to consumers via a yearly allotment (and there's a year's-long waiting list). In northern California, you might see this wine on a list at a neighborhood restaurant (I recently found a bottle at Maybeck's, a delightfully unpretentious Italian restaurant in San Francisco); head east, and you may need to seek it out at pricier establishments, such as Eleven Madison Park and Per Se.
Behind the legendary, elusive wine, however, is winemaker Nico Cueva, a handsome, fun-loving guy who is anything but pretentious. At Kosta Browne's 20th anniversary bash at its winery—located at The Barlow, an outdoor market—he was behind a massive bar pouring library vintages; he sported a Hawaiian shirt and a gigantic smile. With this kind of demeanor, it's no wonder Cueva prefers the laid-back, unpolished nature of Sonoma's "West County," the towns and hamlets west of Highway 101, from Sebastopol north to Forestville.
So what makes the West County unique? "It's a throwback to yesteryear," Cueva says. "There are a lot of mom-and-pop businesses and people who are passionate about what they're doing. One of the most amazing things is the proximity of where your food came from to your plate. Cheese, milk, meat, fish, vegetable, wine—it's almost all from Sonoma County. The area feels provincial. I feel like I'm in France, sometimes."
Here's where you'll find Cueva—and maybe a bottle of his coveted wine—in the West County.
1. Stark's Steak & Seafood
"If you want one of the best steaks on the planet, you're gonna get it from Mark and Terry at Stark's. But they also do other things well. They have this crazy garlic bread soaked in butter that is absolutely mind-blowing and hedonistic—you can't stop eating it. Stark's is a restaurant we've been working with for a long time. In fact, that's where we have the harvest party for our interns after we've been working our butts off and not sleeping for months. We'll take a bunch of bottles into a back room and eat fantastic food."
2. Ramen Gaijin
"I just ate lunch there today! I had an amazing donburi bowl. It's not your average ramen-noodle place—it's phenomenal. I know some people from Japan and they say this ramen is on par. They also have a killer bar. Scott Beattie is the bartender, and he just is brilliant with a cocktail. You could go there and have your mind blown by the cocktails, the food, an eclectic beer list, and the local wines."
3. Pascaline
"Pascaline, a bakery and caterer, is right on the border between Sebastopol and Forestville. It's in a little old roadhouse. Diddier is the chef and he's Burgundian—from Dijon, I believe. He does a lot of the food and wine pairings for dinners at our winery. When I'm traveling between the vineyards and the winery, I stop and get your typical baguette with cheese and ham sandwich—simple and delicious. They have a kouign amann that's absolutely ridiculous, too."
4. Underwood Bar & Bistro
"This is the local watering hole for every winemaker in the area. It's an institution in the West County, as we call it. On Friday night, it's like Cheers. You'll love everybody there, it's fun, the food is amazing, the wine is amazing. You can go outside and play bocce. Their drinks are top-notch and their food is top-notch. It's quite a bit farther from the 101. Go there and get harissa fries and a pint of cold beer, and you'll be a happy person."
5. Casino Bar & Grill (no website)
"Southwest of Graton—and just west of Bodega Bay—is the town of Bodega, where Alfred Hitchcock filmed The Birds. The only restaurant there is a place called Casino. It's kind of a pop-up joint. It's really cool and funky. You want authentic West Sonoma County? You go there. You never know what you're going to get. This local amazing chef Mark Malicki runs it. He could be doing something Vietnamese inspired, or sometimes he'll make you feel like you're in Basque country. But you're not always gonna get Mark—there's a rotating door of chefs."
6. River's End
"River's End is located at the very spot where the Russian River meets the Pacific Ocean. The restaurant is incredible. You can watch people surf the river mouth—many winemakers in West County also surf. If there's no surf, some of the other winemakers ride in on their motorcycles and grab a bite to eat fresh California fare. There's no better place to watch a sunset. There are cabins there as well. Crab season, usually from around November to June, is one of their big things."
Great news: From now until December 30th, Hotel Healdsburg is partnering with Kosta Browne for their exclusive In Pursuit of Pinot experience, which will take guests on a trip to visit the closed-to-the-public Kosta Browne winery for a tour and reserve tasting, then back to the hotel's Dry Creek Kitchen, a Charlie Palmer restaurant, for a menu prepared by executive chef Scott Romano and paired with Kosta Browne's wines. The package starts at $1,149 and includes two nights at the hotel, breakfast, and valet parking. In my opinion, getting this rare access to Kosta Browne is worth every penny.
>>Next: How AFAR's Editors Do Wine Country


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De Scheuldergroeve I is een voormalige Limburgse mergelgroeve in Nederlands Zuid-Limburg in de gemeente Eijsden-Margraten. De groeve ligt in de westelijke dalwand van het droogdal de Duisteregrub/Duustergrub op het Plateau van Margraten. Ten zuidwesten van dit droogdal ligt Scheulder.

Naar het zuidwesten ligt de Scheuldergroeve I en naar het noordoosten ligt de Scheuldergroeve III.

Geschiedenis
De groeve werd door blokbrekers ontgonnen voor de winning van kalksteenblokken.

De groeve werd vroeger ook gebruikt als schuilplaats van vee.

Door de tijd is de groeve volledig volgestroomd met grond als gevolg van instortingen.

Groeve
De Scheuldergroeve II is een kleine groeve en bestaat uit een geknikte gang van ongeveer 30 meter lang.

Door het volstromen van de groeve met grond is de groeve niet meer toegankelijk.

Groeve in Limburg (Nederland)
Bouwwerk in Eijsden-Margraten


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GaDOE allocates funds to assist district with special education services
Recently, the Georgia Department of Education announced it will be allocating $6 million to school districts to help them serve students with disabilities during the COVID-19 pandemic. Of that amount, Glynn County Schools will be receiving $23,872 from the FY21 IDEA Supplemental Relief Allocation and another $23,872from the FY21 CARES Act Education Allocation for a total of $47,744.
Dr. Pam McKinnon, Director of Special Education Services and Supports, says this funding will be used to help her department continue offering appropriate services to students who need them.
"Since we are still in the midst of the pandemic, the negative impact it has had on our students, especially those with disabilities in Glynn County, is still being assessed," McKinnon said.
"We are grateful for the additional funds allocated to special education by the Georgia Department of Education. These additional funds will be extremely helpful in offsetting increased costs that we expect to incur as we make every effort to bring our students to a level they would be – had it not been for the pandemic – and to assist in ensuring they do not fall even further behind."
State School Superintendent Richard Woods recommended the funding allocations, which were approved by the State Board of Education. The allocation is a combination of federal funds from the CARES Act (the COVID-19 stimulus bill) and IDEA funds for supplemental relief.
"It is critical that we ensure students who receive special education services do not fall behind as a result of the pandemic," Superintendent Woods said. "These funds will be specifically directed, on a district-by-district level, toward safeguarding access and opportunity for students who require special education services."
The funds are a formula grant; the amount allocated to each school district was based on the amount of funding that districts received from the IDEA 611 grant – an annual federal grant all states receive to support special education and related services – in the current fiscal year.


Less than 4 percent of registered voters made their voice heard in Saturday's City Council election, a number even lower than the 5.77 percent average for Dallas County as a whole.
Highland Park's turnout — 7.49 percent — was downright prodigious compared to its neighbor to the north. In UP, 561 of the city's 15,033 registered voters headed to the polls or sent in absentee ballots.
Some people complain about the Community Leagues' power in municipal elections in the Park Cities. You know what else is powerful? Actually voting.
Check out the precinct maps on the Dallas County Elections site for more info.
What Will HPISD Do About Discrimination? Nothing?
Lack of comments echos the situation.
Here is one who does, often, complain about the League's power in UP (don't know about HP), and who does vote, but I will say that until people are willing to step up again and challenge the League's pre-ordained slate, it really doesn't matter if people vote or not. I can certainly understand if other "complainers" feel that the opportunity to unseat one of the five League puppets is not much of an opportunity, and end up playing with their kids on that Saturday.
Related to this is the fact that the League clearly knows it is to its advantage that people don't go out and vote. That's why they do almost zero publicity/advertising for their candidates unless, like in 2010, there is opposition. Another reason I wish more people would run. 2010 was the first time in nearly a decade that ANYONE had opposed the league. They have made sure that there has not been a council member east of Hillcrest since the 1950s, paving the way for this to become SMUniversity Park.
That said, I can't complain about people not running too much, as it's sure something I wouldn't be able to do.
UPDad – Don't have a dog in this hunt, but why would anyone spend money on "publicity/advertising for their candidates" if there is no opposition? Of course you are only going to see League signs when there's opposition.
we need an "occupy goar park" movement!!
of hillcrest and west of lomo alto.


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Katherine Liberovskaya (born 1961) is a Canadian video artist. Liberovskaya is known primarily for her experimental video works. She received her PhD from the Université du Québec à Montréal.

Her work is included in the collections of the National Gallery of Canada and Videographe, Montreal.

References

20th-century Canadian women artists
21st-century Canadian women artists
1961 births
Living people
20th-century Canadian artists
21st-century Canadian artists