{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/g44hm5321z/manifest","type":"Manifest","label":{"en":["Enveloped: The History of Record Sleeves, Part Two"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Michael Biel (Presenter)","Cary Ginell (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2018-05-11 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eAn illustrated history of the printed record sleeve—or envelope, as they are called in the industry—picking up from the introduction of sleeves by the major American record labels upon the beginning of the two-sided disc in late 1908. In Part One it was discussed that discs were originally shipped from the manufacturers without any protective covering. This is also how they were displayed and sold retail. With the continued active resistance from Victor and Columbia—with three rare exceptions—several jobbers took it upon themselves to encase the records in envelopes. It thus came as a surprise when Columbia announced that all Double-Disc records would be delivered from the factory in envelopes. These early sleeves from both Columbia and Victor will be shown, and the evolution of different designs will be detailed. It soon became the industry standard that records would be shipped and sold in printed sleeves supplied by the manufacturer, and that with very few exceptions all labels had printed sleeves. Over a hundred of these so-called “generic label” sleeves will be shown as well as pioneering examples of sleeves for specific records or performers.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Nathan Georgitis"]}}],"summary":{"en":["\u003cp\u003eAn illustrated history of the printed record sleeve\u0026mdash;or envelope, as they are called in the industry\u0026mdash;picking up from the introduction of sleeves by the major American record labels upon the beginning of the two-sided disc in late 1908. In Part One it was discussed that discs were originally shipped from the manufacturers without any protective covering. This is also how they were displayed and sold retail. With the continued active resistance from Victor and Columbia\u0026mdash;with three rare exceptions\u0026mdash;several jobbers took it upon themselves to encase the records in envelopes. It thus came as a surprise when Columbia announced that all Double-Disc records would be delivered from the factory in envelopes. These early sleeves from both Columbia and Victor will be shown, and the evolution of different designs will be detailed. It soon became the industry standard that records would be shipped and sold in printed sleeves supplied by the manufacturer, and that with very few exceptions all labels had printed sleeves. Over a hundred of these so-called \u0026ldquo;generic label\u0026rdquo; sleeves will be shown as well as pioneering examples of sleeves for specific records or performers.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/533/small/open-uri20200922-6764-il0jw9_1600816230.jpg?1600801858","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-il0jw9.mp4"]},"duration":1859.84,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/533/small/open-uri20200922-6764-il0jw9_1600816230.jpg?1600801858","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/533/original/open-uri20200922-6764-il0jw9.mp4?1600801807","type":"Video","format":"video/mp4","duration":1859.84,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/transcript/19120","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Enveloped: The History of Record Sleeves, Part Two [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/transcript/19120/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Member of Ask since 1971, back in the Dark Ages, and has attended every national conference since then except two, he has been an ask president, contributing editor of the Journal, originator of the Ask newsletter. And in two terms as second vice president was program chair for five conferences. A retired professor of broadcasting, Dr. Beale's dissertation and research was an early broadcast recordings and has made numerous conference presentations. He assisted today by his daughter Leah, who is likewise a collector and works in quality control at NBC Universal. And now the long awaited Part two of the the envelope controversy and history of record sleeves. OK, I'll start ball. They're getting set up here. Three years ago in 2015, I presented the first part of my history of record sleeves and barely got to 1910. This was an outgrowth of a presentation on the history of album covers that I did to prove that Alex Steinweiss did not invent the illustrated cover or even the concept of albums there of the creators of that myth had also misinterpreted his observations about album pockets and claimed that before Saint Alex came along, all records were housed in plain Brown or Greensleeves. It by now seem that way. Considering that most collections are housed in aftermarket sleeves. But at least after 1910, over 75 percent of records were sold in printed sleeves as detailed last time. Originally, discs were delivered by the manufacturers naked. This probably goes back to Berliner in the 80s 90s, as there is only this one example so far of a printed sleeve which may or may not have housed a record. Several items similar to each other have come from separate sources, but most of these seem to have European origin. It might be significant that they have a top flap because one discovery we made was that the industry did not call these sleeves but envelopes.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533#t=12.05,162.03"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/transcript/19120/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In fact, the first company known to have taken their naked victor shipments and protected them in an envelope actually sealed them. This was the Talking Machine Company of Chicago run by author Dick Reisler. At the industry conventions, companies, especially Victor, actually told their jobbers and dealers that they were not going to individually package to their desks and that it would be up to the jobber's and dealers to do it. It is difficult to definitely state that these are examples made between 1986 and 1988, but these are likely candidates and note that they do not have ceiling flaps. This is one of the actual sleeves that I think comes from that period of time. There's a 12 inch version of it as well. The only known company provided sleeves were these hard cardboard sleeves for the very expensive. Victor Desk's of Nellie Melba and Francisco Shimano in 1984, which exposed a portrait of the singer when the record was removed. And in 1987, the soft, flexible plastic marcone of Helford Tong pressings were delivered by Colombia in a stiff sleeve which not only protected the soft surface, but made it possible to attach a special gold plated needle that they used to play them. But despite these precedents, the companies persisted in sending out their desks. Still single sided without any individual covering. This was even discussed once more at their convention on August 16th, nineteen oh eight. But less than a month later, on September 10th, 1948, Colombia announced that from that point on, all their records would be double sided. And to top that off, each record would be enclosed in an envelope, ensuring protection from scratch and dust versus that envelope. Since March 19 away, Colombia had been the American manufacturer of the Italian follow TPA operatic records.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533#t=163.68,324.44"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/transcript/19120/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In fact, it was pressure from that Italian company that forced Colombia into the double disc business because TOPIA had expected two sided pressings like they had been producing in Europe. Many British and European companies had been producing double sided discs and sleeves since late nineteen oh six. This grand opera envelope was also introduced on September 10th nineteen oh eight, when the former TPA and the Colombia Symphony's series also became double discs. There had been some speculation that the grand opera envelope might have really been issued on the occasion of the famous Grand Opera series of nineteen or three. Like this owner would like to imagine. But it should be pointed out that this envelope is most often seen as a twelve incher and the 19 or three series was strictly 10 inches. The printing is the same size on both the Ten and Twelve's. Look at the distance to the edges. We know that these are we know that these are what were being used. Midnighter you Teno nine because the Colombia Record reprinted the guarantee in the magazine Talking Machine World to remind their dealers. We printed on every Colombian double disc envelope feature and it will sell Columbia Records to new customers and it will hold your regular customers. Now, Colombia had forced Victor's hand on the Double-Sided desk and competitively they had to respond now, whereas Colombia had enthusiastically announced a list of 700 double disks. Victor very reluctantly announced a small list of one hundred and twenty five records to their dealers on October 30. The 21st. Nineteen away. But there was no matching announcement that they would provide envelopes by Colombia. To the contrary, they announced that to replace the Patent and Conditions sticker, there had been a square label on the back, a blank reverse side.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533#t=325.7,457.94"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/transcript/19120/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"They had a new label format which reduced the information to five lines of very small type at the bottom of the label, later reduced to three lines. It is likely that victory did not feel it necessary to use the sleeve for patent and license information. Thus, it appears to me that these are the sleeves that were used during these years. Well, all of the examples that I have seen, some of them list records that are from 1910. This is not to say that they were not providing sleeves as early as the first two sided vector discs. No wait for it does seem that the complaints that the jobber's conventions had ended. But what really gets me about these first Victor and Colombia designs is the contrast with the undecorated labels. Colombia had a naked Satmar playing the panpipes to a maiden in flowing robes. Here, Viktor has an open horn machine wafting its airy music upwards to a maiden in a flowing robe. Playing a harp on the backs of Colombia's first sleeves were blank. Viktor put theirs to good use, showing lists of records and attractive ways to use their records, showing people and photographs. When the arge or Batwing label was introduced in 1913, the patent and license text was reduced to one line on the label and directed the user to refer to an envelope for more complete information. These leaves seemed to fit this description. Some of them have an August 1st, 1913 date. Some of them have January 1st, 1915. There may be some other dates as well. Over in Columbia, the envelopes already shown continued to be used for four years until the announcement was made in December of 1912 in the Columbia record. The deal is magazine. Columbia dealers will be glad to learn that we are adopting a uniform style of hemp heavy envelopes for all records, regardless of price, except for the small quantity left in stock.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533#t=459.41,614.93"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/transcript/19120/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We have abandoned the lightweight manila envelopes which had been used up to the present time on the lower priced records. I'm not sure the difference. The new envelope is made of specially prepared heavy green paper, appropriately printed with advertising matter and carrying an artistic design. Apart from the fact that it will give us a permanent advertising advantage, we look for a substantial increase in record sales as a result of the new container. These envelopes will also take the place of our present grand opera envelopes. When that supply is exhausted, under no circumstances is it our intention to supply these envelopes free except for one with the purchase of each record. Dealers who want an extra supply. These envelopes, however, can obtain them from their distributors at a nominal cost. I believe that this is the replacement sleeve, but this time the reverse was not black. Perhaps following the lead of Victor, they continually changed the information on the reverse side while maintaining a uniform front, although there are people and masks on the front. We don't see either people or machines on the back. Only a list of records. It is on one of these sleeves that we come across the first example of a sleeve for a specific issue following up on the success of the 1911 double disc demonstration, double disc demonstration, a record which was free with a 10 cent handle in charge of December in December of 1913. Columbia issued the famous 25 cent sample, double disc or record to every owner of a talking machine in the United States. Here is the first chance you have ever had to buy a double disc record for 25 cents. One side of this sample record is a tenor solo by Henry Burr.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533#t=615.35,750.55"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/transcript/19120/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Good night, little girl. Good night. A record which is typical of the quality of all of the regular standard 10 inch Columbia Records. The other side of this sample record carries a short message and a little music, which you will find entertaining and instructive. When you get this record on the turntable of your machine, you will know all about it. It speaks for itself. This one record is a sample, not our own. All demonstration record. The only reason why the prices set at 25 cents 30 in Canada is because we want you to know firsthand something about the superior and guaranteed quality of Colombia double disc records and that they will play on your machine disk. Records are interchangeable during the middle teens. They use this less gaudy sleeve and most of the times I've seen it. There is a rubber stamp on the guarantee saying cancel. You can see this one lightly on the left side. By the late teens, Colombia started picturing and promoting their machines on the front of the sleeves. During that time, Victor did not follow suit with an inexpensive demonstration or sample record. And indeed, Colombia waited 10 years until 1923 to issue another 25 cent record. This time, the record contain uninterrupted music and instead let the informative sleeve do the talking. Modern collectors thus learn that the new process was not electric or recording, but was an improved lamination manufacturing process for the disc itself. This austere death sleeve, with no illustrations, just tape, introduced the buyer to the most attractive label design. Columbia had ever attempted. While we collectors have called the flag label, it was a break in a pattern which has always intrigued me. The record label formats that Victor and Columbia used during these years were rather austere and straightforward, with no nonsense, frills and designs.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533#t=750.97,902.77"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/transcript/19120/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"On the other hand, the early sleeves of some of the most contrastingly decorative decorations, Colombia's first two designs could be seen as ludicrous. We showed you this before. As time went on in the 20s, Colombia did not picture people on the front of their sleeves. In the teens and 20s, we saw the machines they produced. But Colombia did not even illustrate people happily using these machines on the back of the new process sleeve. They showed some people, but soon they got replaced by machines and not even showing the people and the machines together. Victor also showed machines, but they preferred to show people, usually real and identifiable people. But until the mid 20s, these were on the back of the sleeves. The first notable ones were actually not heard on their records, but were claimed to have great influence on them. They were the famous dancing couple, Vernon and Irene Castle. Victor issued a series of four sleeves illustrating several different dances and listing the records, which featured the tempo and style for the named dance. These were generic company sleeves, which meant they were used on all records by all performers. Classical popular spoken comedy, not just the specific dance being shown. Victor then had at least three different series illustrating their classical music performers, opera singers like McCormack, Gluck, Schumann, Hank Caruso, Homer Gallacher, Achee, violinist like Elliman Zimbalist and Kreisler. They could collect and save all of them. Their need to travel the roads. I'll trade you a look at a zimbalist for Caruso. You got to go hard, drive a hard bargain. I learned from the best. That these are not always set up for the single sided sleeves as legal as these four red seals, but also double sided sleeves.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533#t=904.42,1060.89"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/transcript/19120/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the records on some of these lists are popular music, not classical. Over the years, Victor had some interesting layouts for single sided sleeves on the back. My favorites being patriotic songs and children's list with scenes in the nursery. There were also instructions on caring for your machine and the use of the needles, like for the touchstones. And about record albums, all sorts of interesting information on these things. Ten popular. And here's again the scene of the dancing party. In the mid 20s, Victor launched what was probably the most common sleeves of the era, which housed the best selling records of the era. Waiting to play feed you on your author Phonic Credenza. We're going to hear one later on. We're Leopold's Didkovsky. Paul Whiteman, Petroskey and various opera singers. This was followed by another series of various performers this time and saw what one showed opera singers in costume. Another showed instrumentalists. A third seems to show bandleader Paul Whiteman. They were trying to make nice with him and you'll see why. And some instrumentalists. Now, the fourth shows a marching band. Most definitely not being led by John Philip Sousa. As the decade drew to a close and record sales started to decrease. Victor Sleeze became imaginative and scares some collectors. Have you ever seen these? Victor did three of these sleeves. Picturing specific performers are numbered records. I have the blue and the red pictured here. I swear to you that there is a yellow printed sleeve. And it proved so hard to read that they may have discontinued it. I swear I had one in my hands a month ago and I'm looking at the back and I could barely read it. I can't find it now. Somewhere near the computer, I can tell you that everything is there.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533#t=1061.58,1232.63"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/transcript/19120/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But I got piles of books, boxes of records like this tall, and I'm sitting here sitting around them. As the decade ended and corporate changes were made, the Victor Division of Radio Victor Corporation of America tried to sell their victor radio electrolyte combinations to people trying to get by with selling pencils or apples and street corners. These are some very rare. Again, some people have never seen some of these some of these sleeves. Here's one of these there somewhere. Colombia's lives had remained austere during the 1920s, promoting their new process and also then electrical fire. The Togo recording then suddenly came what many people think is the most outstanding slave in history. Although some have the mistaken opinion that this was issue to accompany what many feel is the most outstanding label in recorded history, the poor wiper, potential head. This sleeve is generic. Yes, there is a dance band on the upper right. But they're not specifically Whiteman's. There are partygoers on the lower right. On the lower left. There's a pianist accompanying a female singer in a rather daring backwards and Seidler's gown. And on the upper left is a rather angry looking male quartet. And an equally angry female singer and the two Black Crowes. So maybe this is a too Black Crowes sleeve. Now, there was a special sleeve for the huge selling to Black Crowes. But you've never seen it because this was only for Australia and New Zealand here in America. Colombia honored Ted Lewis with a special silver label, which is rarely found untarnished. Also rare is this sleeve, which does seem to be specifically designed for his records because the label design repeats in the sleeve and it looks even more striking in person. And Lee and I were just commenting on the color design of the sleeve that really this is like two strip Technicolor.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533#t=1232.93,1412.44"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/transcript/19120/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Now, likewise, Colombia's subsidiary label, okay, gave Sieger Ellis a silver label in sleeve sleeves so rare that a noted collector and dealer who was a personal friend of Ellis has never come across the sleeve. Neither have I. Carrie says he has one. I should have gotten the picture from you then. Heart he eat it. Somebody posted this picture about three or four years ago and I still need the picture of the rear. Colombia's next step was royal blue with the sleeve. But earlier in the acoustical era, Colombia did have several operatic star performers, specific sleeves possibly aimed at the Latin American audience. I'd never seen either of these. I understand there are a few other. Now, this sleeve with her holding the label seems to Prisco, this famous AHTO sleeve from the early 1920s. Now, this was going to lead to a study of the newly established independent labels. But time is up and this will have to wait for next year. All right, some tantalizing leaves from the Beale archive. We have time for a few questions before the break. Yes. Coming up with Mike. Thank you. Many of the early Columbia's leaves had a side opening round top, right comment on that, please. It's very unusual, actually. You didn't know whether you should have an opening on the top with or the side, you know, when you're doing something had never been done before. How do you how do you do that? The thing is that there may have also been the side opening because of the way they had designed the shell things for for something in the last time I showed pictures of of record stores and record distributors before and after and as well as people's home shelving units that before they were designed and you saw the Unst sleeved records and afterwards you would see on those same types of, you know, holders the sleeved records that might have something to do with the fact that they're on the side, the British Columbia sleeves, all that I've noticed got to the top.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533#t=1422.41,1588.75"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/transcript/19120/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's only the American ones that go to the side. Thank you. I was really fascinated by the reference of the pertinent couple. The drawings included in his. You mind elaborate a little bit more on that. So particularly words the years in which these drawings are appearing. So I would assume it is. It kind of correlates to that and crisis of the 1913 1914. And both the verdict and Irene Castle Sleeves have a letter on them that is dated in 1914. So I believe that that would be like 1914 and 1915. Vernon Castle was soon I'd forget Bob, but maybe 1916 or so was in mustard into the army and he was killed during World War One. So that would be where the where the slaves work. One thing I didn't have a chance to do was to correlate which labels should go into into which leaves other than, you know, in a few cases, everything before the one with the on the victor, with the information printed on that would be the earlier styles of labels that the Batwing only came in in 1913. But of course, that continued until 1926. The Columbia, the ones that showed the machines on the front were aware of you would have the gold band style of label. The magic notes would be the ones that would have preceded the ones where they're showing where they're showing the machines. There was always some overlap, of course, because some of the labels continued on for years after label changes were made and without I guess we should seal this discussion one more one more prevalent. And in addition to being a record collector, I'm also a book collector, and one of the things that they're parallel to what you're talking about is the issue in terms of dust jackets on books, which are very generic, very early on the 1920s, you see a lot of similarities and parallel in terms of starting to use more than one color in terms of ink.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533#t=1589.23,1730.58"},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/transcript/19120/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So book collectors have been dealing with this issue in terms of what are the earliest slaves, but also with the 20s is when you start to see using multiple colors, just as you did, deal with some of the record label with the record sleeves as well. Interesting point for books is that Multi-color two or three colored done? It really is primarily for fiction, not for nonfiction books in the 1920s. But I find some nonfiction books have striking gold or silver art deco designs on their dust jackets. Of course, now with books, dust jackets are worth more than the books are. It's not so much. It's not so much that with records, although some of these coated sleeves are starting to be worthy of the Tetlow was one cost me five with just five or six dollars. But the other one I missed out on a few weeks ago was it was it was ten dollars. But there are some of these things showing up on eBay, 40, 50, 60 dollars, which I think is ridiculous because these people don't. Are these are people that have not come across the sleeves when they have been buying records of themselves over the years. They still they still show up that way. Multicolored sleeves. More than this, you will not find, you know, the like the seven color lithograph designs. Only a few record companies had those on their label. For example, the lyric, the two vertical lyric labels before the growth for the lateral. Those are beautiful designs. Their sleeves are very plain, though. But, you know, that's an interesting dichotomy and we'll probably get more into that next year. All right. Thank you very much, everyone, for attending. Have a great lunch. Great afternoon.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533#t=1730.85,1844.55"}]},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/transcript/19120","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/97533/transcript/19120/annotation/13","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/120/original/open-uri20200924-1389-6ef5rz?1600960338","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/019/120/original/open-uri20200924-1389-6ef5rz?1600960338"}]}]},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/256035","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2018_Biel_audio.mp3"]},"duration":1943.25406,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/256035/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/256035/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/256/035/original/ARSC_conf_2018_Biel_audio.mp3?1730826132","type":"Audio","format":"audio/mpeg","duration":1943.25406,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29703/file/256035","metadata":[]}]}],"annotations":[]}]}