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Pedigree and provenance discussion thread (post'em if you got'em)11383
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|This thread is devoted specifically to pedigrees, both recognized & unrecognized, and discussions of ongoing issues such as the prospect of a published guide, label colors and the provenance of comics, especially high grade books.
BTW, I don't have access to a current list of all the recognized pedigrees of both CBCS and CGC grading services. I'm assuming they're similar if not exactly the same. If anyone can provide a complete list of pedigrees noting years collected it would be very useful for these discussions.
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Purchased by Jim Payette and Stephen Fishler in 1987, the Allentowns only numbered 135 comics, but contained some of the highest graded copies of several key issues such as Detective Comics #27, Marvel Comics #1, Captain America #1 and Batman #1. The original owner had discovered his mother had saved his small collection when he found them in her closet. His acquaintance, a local antique dealer contacted six comic book dealers to place bids, with Payette and Fishler bidding the highest. Even though the comics do not exhibit any distinctive markings, nearly every copy has retained its provenance.
In the fall of 1996 in Aurora, Colorado, a young man carrying a bag of comic books walked into Castaway Comics, owned by Dennis Grimm. It was the first of several bags that eventually accumulated into a large collection of over 2,000 comics – now known as the Aurora Collection. The collection came from the man's grandfather and covered many genres from the late '40s to the early '50s, with horror, western, crime, good-girl and science fiction being the most prominent genres. Most copies exhibit a distributor code written in grease pencil on the front cover.
This massive collection of 18,000 comic books was assembled by Stanley Pachon in Bethlehem, PA, and stretched from 1950 into the Silver Age. It contained many popular 50's runs and a score of Marvel and DC keys. After Pachon passed away, the collection was sold to Joe Rainone and Phil Weiss in 1990. The Bethlehems were one of the first pedigreed collections to contain Silver Age, and many are easily identifiable by a store stamp found on the back covers.
The Big Apple collection is unique in a few ways. It was assembled by a man named James Hilton and its span is huge, beginning in 1939 and continuing 30 years to the end of the Silver Age. Even though Hilton passed away in 1968, it wasn't until 1993 that his nephew Ron discovered the collection in the family home. A part of the collection was ultimately sold through Christie's Auction House between 1994 and 2000. The Golden Age portion of the collection has whiter paper, particularly from 1944, and they exhibit a distinctive pencil mark on the front covers.
One of the most recent Golden Age pedigrees recognized by CGC, it covers the 1936-1941 period numbering approximately 340 comics that included 67 #1 issues, an Action Comics #1 among them. Wright was nine years old when he started to amass his collection, passing away in 1994. His books were discovered in the basement after his wife also passed in 2011. Heritage auctioned the collection that same year, which sold for $3.4 million. Even though his name is written on a few covers, the collection does not have any distinctive markings.
Named for the city from which Bechara Maalouf hails, he unveiled a box of very high grade Silver Age books at a New York show in the '90s. An older couple began coming to the same show with similar boxes, who dealers realized was the source of Bechara's find. Mainly consisting of comics from 1964 to 1975, the Boston collection contained many duplicates, but did not exhibit any identifiable markings on the covers. Of note, the Fantastic Four #55 graded CGC 9.9, one of the few 9.9 grades assigned to a Silver Age comic book.
This collection originated from Bowling Green, Kentucky, and first surfaced for sale in the 1999 Sotheby's comic auction. It consisted of Marvel and DC issues spanning 1960-1980. Although some of the earlier issues were lower in grade, the condition improved considerably after 1964. Most copies exhibit a date stamp on the front cover.
One of four Golden Age pedigrees to contain all #1 issues, the Carson City collection was amassed by a man who hoarded periodicals from his tobacco and candy store during the '40s and '50s, storing them between newspapers inside two storage sheds. After his passing, his wife sold the contents of the sheds to Mark Wilson and Ernie Gerber in the early '90s. The collection yielded impressive key issues such as Marvel Comics #1, All Select #1, Mystery Men #1, and 1939 New York World's Fair. Some copies exhibit a "#1" written on the front cover in pencil.
The origin of the Central Valley collection is unknown. A trucker bought the books in an estate sale in Northern California and flipped them to Brian Peets in 1993, who decided to keep the collection intact for 13 years. Containing nearly 400 comic books, the Central Valley collection exhibits fresh, white copies from the late '30s to the early '50s, including many high grade Superman and Batman titles. Once Peets decided to sell the collection, he had most of them CGC graded. Although some copies exhibit a date stamp, a store stamp or a penciled letter on the cover, the markings are not consistent.
One of the oldest recognized pedigrees, the Chicago collection was purchased by Joe Sarno from the original owner in 1974. The most famous part of the collection includes near full runs of early Timely issues in high grade, which ultimately ended up in the hands of George Olshevsky, a well-known Timely historian. Olshevsy eventually sold his collection in 1988; prior to that he had meticulously penned a code number, date, and the condition of the book in the margin of an interior page of every issue, one way to identify a Timely Chicago copy. Many of these copies also have his initials penned on the last page.
In 1992 this massive collection of 100,000 comics was discovered in a barn in Tuscon, Arizona by Greg Buls and Howard Harris. It was assembled through a used bookstore between 1955 and 1972 who discounted unsold comic books by writing a grease pencil "8" inside a circle, indicating a discount of 2 cents off the original 10 cent cover price. This practice continued as cover prices increased to 12 cents (with a grease pencil "10" written as the discount), 15 cents, and 20 cents, with an estimated 50% of the collection exhibiting the written discount. Of note, many of the highest graded horror and science fiction Atlas comics from the '50s hail from this pedigree.
Named for its point of origin (Cookeville, Tennessee), the collection was assembled by Leroy Mackie and his brother, and acquired in 1992 by Steve Geppi after his passing. It contained many superhero titles, totaling nearly 5,000 comics from the late '30s to the early '50s. In 2019 CGC officially recognized its pedigree status. Cookeville copies are easy to identify because of an "SN" mark written by Mackie's sisters who worked at the store from which he and his brother purchased comics. Occasionally the name "Leroy Mackie" was also written on the cover.
The second earliest recognized pedigree, this collection is famous for its distinct markings on interior pages. The collection was amassed by an art teacher during the '40s and '50s who used them for demonstrative purposes for students, applying numerous checkmarks and notations in pencil to the margins of interior pages. It was sold to David Faggiola, owner of the Cosmic Aeroplane Bookstore in Salt Lake City, Utah in 1972, and possibly numbered between 2,000 and 3,000 issues, containing many keys such as Adventure #40, Flash #1 and Showcase #4.
Publisher William Crowley saved two copies of nearly every Fawcett comic book he produced during his tenure as editor throughout the '40s. In addition to runs of Captain Marvel, Whiz, Master and Wow, the collection also contained several western and romance titles, as well as comics from other publishers. Purchased and sold by Bechara Maalouf in the early 2000s, many Crowleys were CGC graded, and several can also be identified by a publisher stamp on the front cover.
Considered one of the best Silver Age collections ever discovered, the Curator boasts an Avengers #1 in 9.4, an Amazing Spider-Man #1 in 9.6, an X-men #1 in 9.8 and a Tales of Suspense #47 in 9.9, among many others. The collection began in the late '50s and continued into the '80s, its condition peaking in 1962. They were amassed by an employee of a museum (hence the name), who stored the comics in tight packs on the museum's premises. John Hauser acquired most of them in the '90s but sold many without a pedigree identification. As a result some copies have lost their pedigree as the books do not have any distinctive markings.
This Golden Age collection was second in size only to the extraordinary Edgar Church/Mile High accumulation, numbering roughly 13,000 issues and containing near complete titles from every company and genre between 1940 and 1955. It also has a distinctive history of discovery. About 2000 books were initially stolen from the Crippen house in 1991 and assimilated into the market as the "D" copies, named for the distinctive penciled code written at the top of the first page of each comic. Once Crippen passed away and the remainder of the collection was sold in 2006, the theft came to light and the origin of the pedigree was revealed.
The Denver collection was assembled by a woman who ran a newsstand and carefully stored away 153 issues between 1938 and 1944. Even though it is one of the smallest pedigreed collections, every copy was a #1 issue, and included valuable keys like Batman #1, Captain America #1, Flash Comics #1, Green Lantern #1, Marvel Comics #1 and Sensation #1. The collection was purchased at an estate sale by local antique dealers, who in turn sold it to Joe Verenault. Many of the Denver copies are the highest graded on CGC's census. They do not exhibit any distinctive markings.
A writer and illustrator for Disney that carried on the tradition of Carl Barks' famous works on Donald Duck, Rosa also assembled complete runs of every comic book published between 1966 and the late '80s, purchasing his books from local newsstands in Louisville, Kentucky. He decided to part with the 1970-present portion of his collection in 1995, sold through Steve Wyatt at San Diego Comic-Con that year. Rosa's remaining collection also contains a large, high grade accumulation of comics from the '50s, purchased complete by Rosa, which possibly represents a "pedigree within a pedigree." His collection has no identifying markings.
The Thompsons were responsible for several publications and writings during the '60s that helped bring together comic book fandom as we know it today. Already adults when Fantastic Four #1 was released in 1961, the Thompsons carefully stored away copies of most Marvel and DC comics throughout the '60s and '70s. Don passed away in 1994, and in 2013 Maggie decided to sell the collection through Heritage, resulting in nearly $1 million in sales, thanks to the pristine condition of their comics, which included an Avengers #1 and Tales of Suspense #39 in 9.4, a Journey into Mystery #83 in 9.2 and a Hulk #1 in 8.5.
The most remarkable collection of vintage comic books ever discovered. The Mile High's immense size and extraordinary condition caused a major shift in both price structures and grading standards, and was the genesis of the pedigree concept in the comic book industry. It is the benchmark against which all other collections are compared.
Edgar Church, a commercial illustrator by trade, assembled the collection in his basement in Denver, Colorado between 1937 and 1957. He ultimately amassed nearly 15,000 comic books that included virtually every key issue from the Golden Age, and near complete runs of every title. After his passing in 1977 the family sold the contents to Chuck Rozanski, owner of Mile High Comics. Chuck slowly sold the books over the next several years, much of it to only a handful of people; most of the Mile Highs remained in private collections until the 2000s. There are several different styles of penciled arrival dates on the front covers that are used to identify Mile High copies, but the most consistent and recognizable are present on the issues between 1938 and 1945.
Even though it appears the Eldon collection surfaced in the late '80s, CGC did not officially recognize it as a pedigree until recently. The size of the collection is unknown, but many comics from the '40s have surfaced over the years with the name "Eldon" written on the cover in pen, either printed or in cursive. Subsequent research has revealed that his last name was Hamman, born in 1934 in Iowa, and he served in the Army during the Korean War. He passed away in 1987, likely leading to the sale of his collection. Many rare and key issues were present, including a Captain America Comics #1.
This pedigree is quite unique because it was amassed by Bill Gaines, the actual creator of the comics themselves. Gaines was the son of Max Gaines, a pioneer of the modern comic book, and rebranded his father's line of EC comics in the '50s, which reached a zenith in comic book art and storytelling that helped establish the collecting community in the '60s. He stored away 12 copies of every EC comic book he published between 1950 and 1955, placing them in brown paper wrappers. The collection was ceremoniously brought to market in 1992, only one year before his death. The comics have no distinctive markings, but each was sold with a certificate and they are easily identifiable by their pristine condition.
Assembled by the most notorious collector of all the pedigrees, William J. Stevens II, who at one time was considered the prime suspect in the Green River serial killings. His father ran a drugstore in Spokane, Washington, from where Stevens and his brother took home comic books. Even though the actual serial killer was identified in 2001 using DNA tests, Stevens was a professional con man nonetheless, and after his death in 1991, his comic collection was sold to John Hauser to pay for legal fees. The collection consisted of nearly 1,700 Silver Age Marvel and DC, beginning around 1962, with most featuring a red date stamp on the front cover.
The only underground comic book pedigree, this collection totals about 500 issues between 1967 and 1982, stored away by an individual in San Francisco as the comics were published. In 2012, the owner sold the entire collection to Howard Greber, who subsequently had the collection pedigreed by CGC. Greber ultimately sold the collection through Heritage in 2015. It features some of the highest graded copies from a notoriously scarce genre in comic book history.
One of the few collections to be almost completely CGC graded and sold at once, the Harold Curtis collection numbered exactly 519 books and spanned over a decade, starting in 1940 and peaking during the years 1941-1946. The focus was predominantly DC superhero. Strangely enough, the collection is void of any titles beginning with the letters E through O, as well as any Superman issues. Over 65% of the collection exhibits identifying marks, usually Harold Curtis's name written on the front covers in pen. Other markings include arrival dates and distributor letters. The entire collection was auctioned through Heritage in 2006.
Lacking any identifying markings, the Hawkeyes are distinguished by their very high grades, white pages, freshness similar to Mile High copies, and a noticeable mothball smell. The collection was sold piecemeal to Leroy Harper in Mason City, Iowa starting in 1984, who in turn sold a significant portion to Joe Smejkal, a collector from Texas. Every Saturday for one year a new group was sold to Harper, eventually totaling around 1,500 comic books that contained key issues such as Superboy #1, All-Star #3, More Fun #101, and Captain Marvel Adventures #1.
Fantucchio was a well-known artist in '60s fandom, drawing covers for RBCC and the Comic Buyers Guide (including the #1 cover), and even worked as an illustrator for the CIA from 1963 to 1988. During this time he amassed full runs of Marvel, DC, Gold Key, Charlton, ACG and Dell, among others, keeping them locked away and untouched, which resulted in uniformly high grades and near perfect cover inks. After his passing in 2016, the family auctioned the collection through Comiclink. Even though the books have no distinctive markings, many were CGC graded.
The earliest pedigreed collection ever found, it turned up in Kansas City in the late '60s and featured a large accumulation of nearly 250 high grade #1 issues that ran from 1937 through the '40s. The people who purchased it sold only a handful of issues each year, but because the accumulation was not considered a pedigree until the '80s, and because they have no distinct markings, many copies have anonymously vanished into collections. Besides copies of Batman #1, Flash #1, Green Lantern #1, Planet #1, Jumbo #1, and Superman #1, the collection also contained one of only four pedigreed copies of Action Comics #1. That copy, graded CGC 8.0, was the first comic book to sell for $1 million in 2011.
One of the earliest and most famous pedigrees, the Larson collection represented the rarest era of the Golden Age, 1936 to 1940. What makes Larson copies so recognizable is the name written on the cover of most copies. For years collectors wondered who Lamont Larson was, until the mystery was solved in the late '90s when the man himself emerged to tell his story. Besides depth of rarity, the Larson collection also contained many of the most valuable key issues, such as Action Comics #1, Marvel Mystery #1, All-American Comics #16 and Superman #1. The collection stopped abruptly in November 1941, but still numbered over 1,000 copies.
Amassed by a young man who was a cryptographer in the Army Air Corps during WW II, the Lost Valley collection is one of a very few pedigrees to contain a significant number of comics from the rare '30s period, including Detective #1-27, and many early issues of More Fun, Adventure, Famous Funnies and Funny Pages. After the man passed away, the family ultimately sold the collection to Al Stoltz and Jeff Weaver in 2003. It was one of the first pedigreed collections to surface after CGC opened, and many copies were subsequently CGC graded.
Marnin Rosenberg discovered this collection after responding to an ad in the Comic Buyers Guide in 1993. It contained approximately 4,000 comic books from the '60s to the '80s, including near complete runs of Marvel, DC, Gold Key, Charlton and ACG titles. Because The owner had stored the books in neat one-foot high stacks, making the preservation exceptional. The books do not exhibit any consistent markings, and much of the collection was assimilated without certificates.
This collection primarily consisted of runs of DC from the 1950 through the '60s, and was first offered through Sotheby's in 1995. Even though the cover tanning and lower page quality was pointed out, structurally the books are among the highest graded from the scarce period of DC in the mid to late '50s. Originating from the Mohawk Valley area in New York, the collection contained nearly all of the key issues produced by DC during the Silver Age, including an 8.5 copy of Showcase #4. Each copy from the collection included a certificate issued from Sotheby's, although the books do not exhibit any distinctive marks.
The newest pedigree recognized by CGC in 2019, and amassed by industry giant Murphy Anderson, one of the pre-eminent artists and inkers of the Silver Age. In addition to a large collection of original art, Anderson saved copies of many of the DC comic books published during his tenure from the '50s through the '70s. After his passing in 2015 the entire collection was auctioned through Heritage in 2019, many CGC graded.
Assembled by a young man who was born around 1929, The New Hampshire pedigree contained approximately 1,400 books mainly representing the western genre of the late '40s and '50s, more western comics than almost any other pedigreed collection. In 1989 the man sold his collection through an agent to Jim Payette, who in turn offered the books in his catalog, named the New Hampshire collection after the city in which they surfaced. Many were subsequently purchased by Bob Overstreet. They are easily identified because of a distinct penciled date on each cover. Long considered a pedigree by collectors, CGC finally recognized the collection's status in 2019.
Containing predominantly '50s horror comic books, this collection was found in a chest of drawers sold to an antique dealer after the collector passed away in the early '70s. The dealer kept them until 1999, when he sold them to Metropolis Comics. It contained the most complete run of pre-code horror comic books out of all the pedigreed collections, and the copies are easily identified by a small stamp of an "x" within a circle found on the back covers.
Considered one of the best Silver Age pedigree collections to ever surface, it included runs of primarily Marvel and DC, as well as Gold Key, Dell, ACG, and Charlton, among others. Michael Goldman purchased the collection in 1996, where it debuted for sale at the Chicago convention that same year. He continued to sell copies through his catalog over the next several years. The Northland collection is known for its exceptional paper quality and particularly high grades during the scarcer period of Marvel between 1961 and 1964. Although the books do not have any identifying marks, a certificate was included with each copy.
Similar to the Big Apple pedigree, this collection consisted of two parts; a small run of Golden Age DC's from the late '30s to early '40s, and another group of nearly 2,000 comics from the early '50s to the late '60s. The collection was part of an estate sale in 1994 which ultimately went to Jim Payette, who paid $85,000 after engaging in a bidding war with a Canadian dealer from Brunswick. Even though the early Golden Age portion was small, it contained high grade copies of Batman #1, Detective #31, #33, #35 and #38, and Superman #1-#3. These copies exhibit a small "m" written on the front covers in pencil.
The Oakland collection came to be in 1998 after the original owner brought samples to the Wondercon Convention and struck a deal with Vincent Zurzolo and Mike Carbonaro, who proceeded to drive the collection from California to New York. In it were over 4,000 comic books, primarily between the years of 1966 and 1974, accumulated as the owner was paid in comics by a liquor store in return for stacking shelves. He was very meticulous when handling his books, evident by the very high grades and page quality assigned to the collection over time. The books were sold as Oakland copies, although none of the copies have identifying marks on their covers.
This large collection surfaced in Akron, Ohio and spanned a 30 year period, beginning in the early '40s with a wide variety of publishers and genres. In 1994 the original owner, who wanted to remain anonymous, began selling the collection piecemeal through an intermediary. Nelson Dodds bought most of it over the next 18 months, who sold them to other dealers at the same time to keep up cash flow. He did not market them as a pedigree because he did not realize the enormity of the collection until the end. Totaling nearly 6,000 books, the Ohios are known for their freshness and high page quality and are identifiable by penciled distributor codes written on the front covers.
Admired for its unique backstory, the Okajima collection was assembled by a young Japanese-American girl from California who was interned by the U.S. government during World War II. She managed to save her comic books through that period, and continued collecting until the mid'50s. The collection was ultimately sold in 1995, broken into three groups during an estate sale, but because of their unique markings on the front and back covers many copies have been identified since their initial disbursement. The collection is known for having very high page quality and containing a large number of jungle and good-girl comics.
Considered the greatest Silver Age collection to ever surface, the Pacific Coast collection was brought to market by Robert Roter after he discovered portions of it for sale on eBay in 1999. The books were marketed through PCE over the next several years and contained over 7,000 comics and magazines that included Marvel, DC, and Gold Key among others, covering a time span between 1961 and 1977. Many of the highest graded Marvel and DC issues from the early '60s hail from this collection with exceptional page quality. The books do not exhibit any distinguishing markings.
Assembled by a man in the military during the Korean War, the collection numbered around 450 books covering the period between 1950 and 1954. He stored his collection in an airtight footlocker during this time and held onto the books until the '70s. Financial issues caused him to sell the collection to a younger soldier he knew. The books were subsequently stored in bags and retained until 1998 when they were sold to Lee Hester in Palo Alto, California. Containing many rare issues from a diverse time period in comic books, it was the first newly pedigreed collection by CGC shortly after their debut in 2000. The books do not have any distinguishing markings.
In 1981, Steve Geppi was told about a collection near Lancaster, Pennsylvania by a broker named Birney. Birney took him to an elderly woman's home where stacks of Golden Age comics were piled throughout a room. There were about 1,000 comics in the collection, primarily from the 1941-1944 period, and contained mostly superhero comics from numerous publishers. The bulk of the books resided in personal collections for over a decade before they began appearing on the market. Their grades are among the highest of the pedigree collections and the books are easily identifiable by a cursive "P" penciled on the front covers.
Similar to the Larson collection, these books have the name "Recil Macon" written on the covers (and sometimes interior pages) of each comic. Like the Crippen collection, a small portion of them were stolen from Macon's home around 1990. Macon himself sold the remainder of the collection through Darren Wilson in Abilene, Texas a while later, but it was Greg Buls who ultimately advertised the books as a pedigree. The collection was estimated to have contained less than 1,000 issues, including many Timely books. Many have yet to resurface in the market due to being sold in small batches.
A collection of primarily '50s comics that mainly represented the horror and sci-fi genres, it is rumored to have contained as many as 4,000 books. It' impossible to confirm the exact number because the collection was sold to many different people and were not initially identified as a pedigree. Brian Peets purchased a large portion and unveiled them at the 1998 Wondercon convention. Stored in a shed in California, most copies bear a grease pencil distributor mark on the cover, making it possible to locate orphaned River City issues in the marketplace.
One of the most significant Golden Age collections to surface during the '90's, the Rockford pedigree contained large superhero runs from the '40s and included many valuable key issues, some of which rival the Mile High copies in grade. The original owner offered the collection to several dealers, with Mark Wilson emerging as the highest bidder. Wilson subsequently sold or auctioned the collection through several of his catalogs. The collection's breadth and depth led to its quick acceptance as a pedigree, and most copies are easily identifiable, exhibiting a small letter stamp of "R" or "W" on the front covers.
This pedigree was assigned to a large Marvel and DC Silver Age collection originally auctioned by Comiclink in 2008. The Spider-Man, Fantastic Four and X-men runs were first auctioned without pedigree, but due to high collector interest the decision was made by CGC to classify the collection as a pedigree. Subsequently those three runs were retroactively given the Rocky Mountain notation. Hailing from Colorado, the collection numbered around 5,000 books, initially stored in a basement in similar conditions to the Mile High collection. None of the books exhibit identifying marks, but are easily traceable back to Comiclink.
Frank Blankis assembled this collection primarily between the mid '40s and mid '50s. He was unable to join the military during WW II due to a handicap but managed to hang onto his books over the ensuing decades, eventually selling them to Bruce Ellsworth in 1994. Hailing from the pedigree friendly climate of Salida, Colorado, the collection is mainly noted for its exceptionally white pages (nearly all CGC graded copies have been assigned this page quality designation) and focused on DC and Atlas war titles, as well as Disney comics. Most of the copies have stamps on the back or front cover that read "Fred's News Stand", "Nor-Colo.", or a Blankis subscription stamp.
One of the earliest pedigree to surface, one of the highest graded, and one of the most enigmatic backstories all make the San Francisco collection irresistible to collectors. It is rumored that Tom Reilly began collecting comic books in the late '30s, but after he was drafted into the military, he asked his parents to continue buying comic books for him while he was gone. He was reportedly killed in a kamikaze attack near the end of the war, at which point the collection stops.
The collection surfaced in Northern California in the early '70s and was broken up among several dealers with no original list made. Being scattered long before the concept of pedigrees took hold, these books are only known because of a distinct (and indecipherable) name stamp present on the back covers. It has proven impossible to tell how big the original collection was, but the quality is considered second only to the Mile High pedigree, exhibiting white pages and an unmatched structural superiority.
Numbering around 40,000 makes this one of the largest collections ever pedigreed. It was assembled by a man born around World War I who began setting aside comic books in the '50s. He eventually befriended a local distributor who supplied him with comics each week, which he carefully stacked on shelves and in bins. He continued buying until his death at 95 in 2010; Shelton Drum was contacted to sell the collection, which was ultimately auctioned through Heritage in 2011. While it contained comics from every company, the Savannahs are best known for their DC comics, particularly the more esoteric genres like war, romance and western, which are not usually present in pedigree collections. The books have no identifying marks.
Among the pedigree collections containing '50s comics, the Spokane ranks at the top in terms of whiteness and grade. It numbered about 1,000 books and largely contained horror and science fiction titles, as well as a large run of Batman and World's Finest. It originated in Spokane, Washington, but first surfaced for sale in New Orleans, Louisiana in 1998. Mark Haspel initially purchased 20% of the collection, and the rest were bought by Stephen Fishler and Vincent Zurzolo, who promoted them through the Comic Buyers Guide and Comic Book Marketplace magazines. Because the collection was sold as a pedigree, and most copies exhibit a date stamp on their covers, nearly all of the Spokane issues have retained their identity.
The Suscha News pedigree offers a detailed insight into the mind of a collector during the '60s and '70s, chronicled by the original owner himself when his collection was sold to Metropolis in 2010. Born in 1949, he grew up in Wisconsin with a casual interest in comics until a friend introduced him to superheroes in 1963. His meticulous nature ultimately led him to strike a deal with his local distributor in the early '70s, named Suscha News, who allowed him to cherry pick his comics at half price. The deal ended in 1976, and his collecting soon after. The collection's most famous attribute are multiple copies of late '60s and '70s issues in pristine condition; the books are void of any identifying marks.
One of only a handful of pedigrees named after the store that brought them to market, this collection turned up near Twilight Books and Emporium in Syracuse, NY in the summer of 1995. The owner Bob Gray appraised the childhood collection of a customer that consisted of 600 Golden Age comics, including near complete runs of Batman #1-#59, Detective #27-#161, World's Finest #1-#30, Marvel Comics #1, and a handful of other Timelys. Gray realized he could not afford such a collection, and contacted numerous dealers in the Overstreet Price Guide to place bids. Metropolis and Four Color Comics split the collection with a winning bid of $274,000 and marketed the books through their catalogs. There are no identifying marks, but a certificate of authenticity accompanied all books.
Gary Dahlberg spent his life carefully buying, reading and storing comic books away throughout the '60s and '70s, with aspirations to become a cartoonist one day. Sadly, he died in a fire in 2010, but to the astonishment of his family his collection was appraised at more than $1 million by Heritage, who auctioned the books in 2011. Consisting of mainly Marvel and DC, this accumulation has no identifying marks but yielded some of the highest grades of the early Marvel period with considerably high page quality. The collection ultimately brought over $2.4 million at auction.
One of the highest graded among all pedigrees with the whitest page quality, the Vancouver collection ran the gamut of genres from the '40s and '50s, containing a large number of single issues from different titles. The entire collection surfaced on eBay in 2003, but failed to sell, only to be purchased afterwards as a whole by one individual. The collection was eventually broken up and sold piecemeal. Vancouver copies do not exhibit any distinctive markings, but the collection's relatively small size and later discovery has allowed most to retain their origin.
Surfacing in the '90s, much of this collection's history is shrouded in mystery. We know that both a father and his son accumulated the collection from the '60s to '80s, and there was allegedly a cache of Golden Age comics as well that may have been sold earlier (to date only a handful of Tarzans prior to 1961 have been CGC graded). Stuart Friedlander brought the collection to market, and several Silver Age publishers were represented, although Marvel was the predominant company. Known for very high grades and exceptional page quality starting in 1961, the Western Penn copies have been well documented, but do not exhibit any identifying marks.
This collection came to prominence in the early '90s when a large portion of them sold through the first Sotheby's comic book auctions in 1991 and 1992, although the original owner had been selling books from it as early as 1984. Known for their whiteness and freshness, the collection covered much of the '50s and '60s, particularly horror and science fiction, and contained full runs of early Silver Age titles. It was one of the first major pedigrees to represent the Silver Age, laying the foundation for other prominent Silver Age pedigrees such as Pacific Coast, Curator, Western Penn, Northford and Mohawk Valley. Copies from the '50s contain a date stamp on the first page, while later issues exhibit a small two-digit year penned on the front cover.
Of the four pedigrees containing all #1 issues, this collection is by far the largest, numbering over 2,000 comics. It also covers one of the largest spans of time, running from the '30s through the '60s. Many of the most valuable key issues were present, including Marvel Comics #1, Captain America #1, Batman #1, Flash #1, Captain Marvel #1, All-Winners #1, Daring Mystery #1 and Whiz #1. The original owner Andy Wallace, an introverted postal worker who lived with his sister, wrote his name on nearly ¼ of the comics. Gary Colabuono purchased the collection piecemeal over eight years, but initially sold them without a pedigree status, although he did make a detailed original list.
This collection of Silver Age comic books was assembled in Winnipeg, Canada by two friends, Joe Krolic and Dennis Kjolso from the early '60s well into the '90s. In 1997 the collection was sold to Dan Greenhalgh, who in turn marketed them through his catalog. Consisting of full runs of every major Marvel title, nearly all issues prior to 1966 exhibit Kjolso's name written in blue ballpoint pen at the top of each cover. Many of the later issues were CGC graded and sold by Doug Schmell after CGC's opening in 2000. The collection is known for its high page quality and exceptional grades, particularly after 1964.
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|I have a few. I'll start with my Davis Crippen "D" Copy books...
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|CGC has a link on their site that gives info on the various pedigree collections. I am not sure if they give an exact list of the years collected in each case, but they do give a brief history of each collection. Here is my best pedigree book, from the Davis Crippen "D copy" collection:
As far as items of provenance go, I have a couple of books from the personal library of the late Alfred Harvey, which came by way of his son, Adam:
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|PEDIGREED... Again!
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|WOW!!! This is truly interesting only wish I had some to post.
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Originally Posted by martymann
You deserve your own pedigree designation, Marty.
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|I have a couple of late 70s/ early 80s justice league with the blue certificate stating they are from the Don Rosa collection.
Does that have any affect on their value? I just thought it was kind of cool myself.
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|Thank you sir. May I have another?
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Originally Posted by CatmanAmerica
Sure as F**K more than some anonymous trucker's 400 comic book collection "bought in an Estate Sale"!!
Reading the number of "Pedigrees" on that list is like reading off the number of College Bowl games.
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|Cosmic Aeroplane Super-Mysterys
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|I have owned a few Edgar Church books but they don't stay long as they tend to sell quickly.
Usually I manage to pick up another one each time I sell out of them.
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|Al Williamson File Copies
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text:
San Diego Legion signed New Zealand All Blacks Ma'a Nonu for the 2020 Major League Rugby season. The 37-year-old center is 6'0″ and 238lbs.
Ma'a is from Wellington, New Zealand and attended First Strathmore Park Primary School and then Rongotai College.
He played his amateur rugby for Oriental Rongotai, the Wellington Secondary Schools from 1999-2000, and Wellington U19s in 2001. He also played rugby league as a youth.
He played for Wellington from 2002-2015, Super Rugby for the Hurricanes from 2003-2015, the Ricoh Black Rams in 2011-12 in Japan, the Blues in 2012, Highlanders in 2013, Toulon in the Top 14 from 2015-2018, and the Blues in 2019.
New Zealand National Team
Ma'a represented the New Zealand Sevens team in two competitions from 2002-2004.
He played for the New Zealand All Blacks (#1031) making his debut against England on June 14, 2003, and playing through 2015. He was selected to the 2003 Rugby World Cup squad and played in Pool matches against Canada, Italy, and Tonga. He also won two Rugby World Cups in 2011 and in 2015.
While with the team, he won five Tri-Nations/Rugby Championships, eight Bledisloe Cups, and was capped 103 times. In 2005 he played against the British & Irish Lions.
After considering a code switch in December 2006 to the National Rugby League following the 2007 Rugby World Cup, he was dropped to the Junior All Blacks and not selected for the RWC squad, but returned to the All Blacks squad in 2008.
Ma'a also played for the Barbarians from 2007-2010.
Other Articles
DJCoil Rugby articles by Doug Coil are also available on Facebook. Other Social Media sites to follow or subscribe include Twitter, Instagram, and YouTube for interviews.

subset: commoncrawl


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Have you been wanting to make some changes in your life? Perhaps you have been contemplating beginning an exercise program, running a marathon, taking a university course, and/or needing more relaxation. Have you been feeling overwhelmed? feeling stuck? lacking energy? losing sleep? increasingly irritable? wanting more out of your life?
Goals of Life Skills consultation may include:
- Identifying what YOU really want to get out of YOUR life
- Learning how to accomplish goals that you have been putting off out of fear, not enough time, little emotional support
- Decreasing and managing your stress
- Seeing yourself as successful
- Improving your ability to communicate·
- Increasing your life satisfaction
- Feeling more in charge of your life
- Relaxing and concentrating on cue
- Increasing your self-confidence and self-esteem
- Learning how to create more time for you
- Living a more balanced life
Life Skills Coaching is about unsticking the stuck. It's about making changes – comfortably and at your own pace.
Consultations usually include an initial assessment. From there, we decide how it will be best to proceed. Life Skills Coaching is available by telephone, in-person, or through Skype.
M., Participant in Personal Performance Workshop
B., Participant in Interpersonal Psychology course
"Thank you for affecting my life in the positive way you have. You have left a footprint in my soul that I find myself looking for now - on my own. You have taught me many tools that I need to cope - but in the past - rather than look back for those tools on my own I would just make another appointment for YOU to remind me the tools again. It has finally clicked that I can find them by thinking back on the things you have helped me learn about myself. Don't get me wrong - I can still learn from you but I now realize I don't need to come as often. You are an inspiring - kick ass woman Barbara and I am glad you have helped me on my journey. If only I had had a sister like you - to provide that continual inspiration throughout my life - perhaps ... well it's just hard to imagine how my life would be different. But to have been able to learn what I have learned from you is the footprint you have left".


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Beyond the training and consulting business I am also part-time teacher for the Technology School Electronic Systems - Sofia and I do teach web technologies and WordPress. As the representer of the Web 2.0 world I took part in mentoring 2 teams for their diploma research assignments based on CodeIgniter.
One of the projects was a music web portal for artists, media, albums and more. Encyclopedia format for music addicts that could easily transform in a front-end manner using the same database structure. It was meant to start as a hard rock and metal project and later easily skinned and themed into other music categories as well. I really do hope to see it ready, as I already saw most pages and the database structure which extended the modeling structure that exists by default in CodeIgniter.
The other project is a social network for places. A mix of the foursquare listing of categories and places and the Golden Pages catalogue, but with better interaction for users, taking advantage of the localization browser services and latest HTML 5 fine tunes. It has a pretty neat design and more than 30 DB tables at the moment and is going to be ready soon. Users in the site could interact to each other and follow the new places being added with their comments. The basic idea is filling in a database of places with location (easy to find in a Google Map) with comments, ratings and more that is built on the CodeIgniter framework. This is a great profiler that helps the PR managers of a company or a restaurant to improve the quality and social skills and keeps the good rating online.
I'm glad to see the enthusiasm of the development process and the improving code quality and feature set. Both teams work hard and would probably take part in competitions with their projects.


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Aaron Cornelius's new haircut (updated December 2023)
Everything you need to know about his shocking new style.
First of all, how do you like his new look? Vote right here:
Submit your vote
Check out Aaron Cornelius's current and previous haircuts:
Aaron Cornelius has had various hairstyles in the past. He became famous as a world-class Australian-rules footballer. Nevertheless, the Australian rules footballer is particularly known for his special sense of fashion and his likable character. Rumors and gossip about the 33-year old's hairstyle are constantly a focus of attention of celebrity magazines and tabloids. Check out Aaron Cornelius's classic haircuts in the image gallery right here:
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On National Tap Dance Day, May the Critics Hail: "Tap Dance Is Dead Right for Everybody!"
By Constance Valis HillMay 20, 2016
ON OCTOBER 13, 1980, at the commencement of the historic festival "By Word of Foot I: Tap Masters Pass On their Tradition" at the Village Gate in New York City, Jane Goldberg, director of the Changing Times Tap Dance Company, welcomed the audience with these words:
We intend to prove this week, that contrary to widespread opinion, tap dancing is not just a novelty, it is not old fashioned or nostalgic, tap dancing is not dead, in fact we at Changing Times think that it is the liveliest of the lively arts.' She quoted the great rhythm tap master Honi Coles as saying, "Tap dancing is dead. It's dead right for everybody!"
Thirty-six years after this historic gathering, the tap community still struggles to convince the general public that tap is "dead right for everybody." In a recent appearance on the Late Night Show, tap dancer Savion Glover, choreographer of the newly-opened Broadway musical Shuffle Along — The Making of the Musical, was asked by host Seth Meyers, "Do you feel tap gets the respect it deserves as an art form? "We are, because of the history of tap dance, not yet at the pinnacle that we should be [...] but there's still hope for the dance," Glover answered.
When the chief dance critic of The New York Times dismisses tap dance as mere nostalgia; a dance critic for The New Yorker pronounces "tap could die [...] go down in the history books as a marvelous thing that grew and died under certain historical conditions"; a critic for The New York Review of Books writes that "the sonic experience" in tap dance is "often more alluring than the optical one"; and a critic for Commentary Magazine writes about tap's "decline of a great American art," it is clear that tap dance continues to be under a state of siege by a Super PAC of elite New York writers bound to dismissing it as an artistic expression unworthy of serious attention.
Dancers in the tap community have long suffered the racist, sexist, and classist remarks of dance critics who rendered tap performance unworthy of the concert stage. But to a general public unaware of these longstanding biases, the tendency is to take at face value the views these writers expound; their authority goes unchallenged and the sonic voice of tap is virtually silenced.
On May 25, "National Tap Dance Day," it would behoove the naysaying critics of tap to straighten up and fly right — to humbly reconsider the flawed narrative of tap dance they have proliferated for decades.
Tap dance, our first American vernacular dance form, and arguably the most-cutting edge on the national and international stage, has long suffered a paucity of critical, analytical, and historical documentation. While there have been star-centered biographies of such tap dancers as Bill Robinson, Fred Astaire, and Savion Glover, there remains but a handful of histories exploring all aspects of the intricate musical exchange of Afro-Irish percussive step dances that produced the rhythmic complexities of jazz tap dancing — Marshall and Jean Stearns's Jazz Dance: The Story of American Vernacular Dance (1968), Jerry Ames's Book of Tap: Recovering America's Long Lost Dance (1977), and my book, Tap Dancing America, A Cultural History (2010) are but three.
And why is this? Why has tap dance as an art form suffered a mere flickering of critical and scholarly attention?
One bluntly sobering answer is that tap dance — which evolved from the rhythmic and social exchange of transplanted Irish indentured servants and enslaved Africans in the Caribbean in the 1500s, and which developed through jigging competitions on the plantation staged by white masters for their slaves, challenge dances in the walk-around finale of minstrel shows, and juried buck-and wing-contests on the vaudeville stage — has a long and contested legacy of racism and classism. Tap's artistic tradition was never, and never will be, separated from its long history of hardship — from slavery to blackface, to what some see as the continued favoring of European traditions over the improvisatory African-American forms. Considered mostly a popular entertainment on the vaudeville and variety stage and in the movies, tap, until very recently, has been placed in the category of "low" art, unworthy of the concert stage, and of scholarly attention.
Moreover, the absence of women in early accounts of jigging competitions forces a consideration of gender in the evolution of tap which, for most of the 20th century, was dominated by men. As Gene Kelly stated in a 1958 CBS television special, "Dancing is a man's game [...] and if he does it well, he does it better than a woman. I don't want this to sound as if I'm against women dancing, we must have to remember that each sex is capable of doing things the other can't." The men's claim to (tap) dancing as their exclusive province, which has been perpetuated by critics who foreground the masters — points to an "aristocracy of sex," an authority of the male in tap dancing that has discriminated against and been critical of women, particularly women soloists.
Tap dance has been "invisible" in the scholarly canon because it continues to be characterized as a constantly dying art form. Tap enjoyed nearly four decades of popularity on the American stage, from the turn of the 20th century to its heyday in the Swing-era of the 1940s. Then it "died out" in the 1950s, a period that was commonly referred to as "tap dance's decline," or what Honi Coles called "the lull," when tap waned in popularity as the sheer number of live performances diminished, tap dancers found themselves out of jobs, and venues for tap performances shifted from the live stage to the television screen. Tap was then "revived" in the 1970s during the so-called tap resurgence, or tap renaissance. By 1989, and with the award-winning Broadway musical Black and Blue, tap dance was again "resurrected," and its masters — most all in their '60s and '70s — inspired a young generation of dance artists who would "vivify" the form with yet unrealized rhythmic inventions. That tap was finally regarded as a national treasure was confirmed by the passage of the US Joint Resolution, on November 7, 1989, declaring May 25 "National Tap Dance Day."
With the 1971 revival of the 1925 musical No, No Nanette, directed by Busby Berkeley (who had been the musical director for the 1933 tap musical film Forty-second Street), and the casting of 62-year-old Ruby Keeler (who had starred in that film) as Nanette's star, tap's rise in popularity came on the wings of nostalgia. "What we love about the show, and what we have been missing so long is its playfulness," wrote Walter Kerr in The New York Times. "It's like a puppy without a purpose. It's free, and off and skipping [...] No, No Nanette is irresponsible. Like all musicals it grew up with, it just wants to be happy and to make you happy too." (The New York Times, 11 April 1971).
The 2015 Broadway revival of the 1966 musical Dames at Sea, choreographed by Randy Skinner as an homage to the tap-oriented movie musicals of the 1930s, similarly delivered huge doses of nostalgia, the musical called "a vintage valentine" that provided "lively diversions for those in search of yesteryear's delights." (Charles Isherwood, "Review: Dames at Sea Skips Onto Broadway," The New York Times, 22 October 2015).
The recent Broadway opening of Shuffle Along — Or The Making of the Musical Sensation of 1921 and All that Followed, directed by George C. Wolfe and choreographed by Savion Glover, offers one glimmer of anti-nostalgia. While critics swooned over the rhythms of tap that transformed "syncopated tap into a widely expressive force of giddy liberation and focused determination, of exaltation and anger," (Ben Brantley, "Review: 'Shuffle Along' Returns to Broadway's Embrace," The New York Times, April 28, 2016), the musical, based on the black Broadway musical of 1921 that was known for ushering in the Jazz Age, was deemed by the Broadway Tony Awards panel as not in the competitive category of Revival, but New Musical.
Tap nostalgia, nevertheless, is alive and thriving. Check out the vintage clips The New York Times dance critic Alastair Macaulay recently "discovered" and compiled as a truncated "history" of tap. The first is the 1894 Thomas Edison kinetoscope, "Pickaninny Dance," from The Passing Show, featuring Joe Rastus, Denny Tolliver, and Walter Wilkins dancing a jig and breakdown. Macaulay does not name these dancers, but instead describes them as conjuring "a whole world of marvelously informal flair" (this a subtle insult, as it insinuates that the improvisatory structure of this tap challenge presupposes their technical virtuosity). Next is a sound recording of Fred Astaire singing and tapping to George Gershwin's "The Half of It, Dearie, Blues," from the Broadway musical Lady Be Good (1926); and then Marilyn Miller in the musical film Sunny (1930); the 1932 sound film of Johnny Nitt in Steppin' Fast!, and the Vitaphone short Barber Shop Blues (1933), a comedy number that turns into a dance for the Four Step Brothers. That this selection of clips goes no farther than the 1930s substantiates the myth that tap dance "died" in the 1940s, after the death of Bill "Bojangles" Robinson. ("Dance This Week: Tap History" 1/13/2016).
Joan Acocella's condescension of tap dance has long been inscribed on the pages of The New Yorker. Reviewing Savion Glover's Improvography at the Joyce Theater in December 2003, Acocella wrote glowingly of Glover's solo performance in the first half of the show, but pronounced Glover's ensemble choreography, in the second half for his new company Ti Dii, "a failure." She opined that tap dance was "fundamentally a solo form, because at best it uses improvisation, and you can't make group patterns if everyone is doing his own thing." (The New Yorker, 12 January 2004). These remarks were taken by some in the tap community as patronizing, limiting, and dismissive of the tradition of tap choreography that had been established in the 1970s, especially by [white] women in tap. Tap dancer scholar Margaret Morrison took Acocella's comments as being "part of a myth in tap dance that considers ensemble choreography a 'new' or 'inauthentic' expression of tap dance, while solo, male performance is real tap."
Acocella's rhetoric of late has escalated into a Trumpian braggadocio that relies on insult and put down, rather than a substantive evaluation of materials. Writing in The New Yorker about why tap dance is little studied in a serious way, and why it has mostly gone unrecorded, Acocella reasoned that tap is "a peculiar form, in that it is both movement and music," which makes it "difficult for audiences to grasp." What the eye hears, she posits, is too challenging for audiences.
Then, she reasons, "there is tap's history — the fact that it was created by extremely poor people, Irish and West African" who came "not because they wanted to be there — that is, here — but because in their own lands either they were starving or they had been captured and converted into salable property." Acocella claims to know of no account of the origins of tap that does not include the story that, during the voyage from Africa, slaves were periodically brought up from the ship's hold and forced to dance on the deck. "Imagine what this meant," she writes:
Commanded to dance, they did routines that, maybe just a month or two earlier, had been part of the observance of their religion [...] Now the purpose of the dance was simply to put them through their paces, as if they were dogs or horses. They must have wanted, in some measure, to impress their captors, in order to be better treated. They must also have been ashamed of that wish, and wondered why they didn't throw themselves overboard.
"Anyone who hears this story will feel the burden of grief and humiliation that was built into tap at its birth," Acocella concludes, in her rationale of why tap has been largely unrecorded by historians because, after all, with "this tangle of emotions — who wants to take it on? And who wants to anger as many people as any book on tap will do, no matter what it says?"(The New Yorker, "Up From the Hold," 11/30/2015)
Acocella's rationale for the abjection of tap dance bares a harrowing resemblance to Arlene Croce's labeling of certain choreographies that inscribe social and political realities as "victim art." Croce was the reigning dean of American dance critics from 1973 to 1998 when she wrote for The New Yorker. In her 1994 piece, "Discussing the Undiscussable," she "non-reviewed" Bill T. Jones's Still/Here, which she confessed to never seeing, but nevertheless dismissed as being unworthy of critical attention. Jones, who is black, gay, and HIV–positive, had used as material video testimonials of people suffering from AIDS, mixing dancing with a visual score made from edited interviews with people who were facing life-threatening illnesses. By viewing the dying on videotape, Jones had crossed the line between reality and theater. "By working dying people into his act, Jones is putting himself beyond the reach of criticism. I think of him as literally undiscussable," wrote Croce. "I can't review someone I feel sorry for or hopeless about." (Arlene Croce, "Discussing the Undiscussable," The New Yorker, December 26, 1994-January 2, 1995). When Acocella bemoans the fate of dance historians who have to suffer when they "feel the burden of grief and humiliation that was built into tap at its birth," is she not also abjecting tap dance as victim art?
Arlene Croce has returned of late to critical writing and has weighed in on tap dance. In a recent writing for The New York Review of Books, she wrote that "in live tap dance performances the sonic experience is [...] often more alluring than the optical one." Perhaps Ms. Croce forgets how she marveled over the full-bodied tap dancing of Fred Astaire and Ginger Rogers in her 1972 bestseller, The Fred Astaire & Ginger Rogers Book, a book that was clearly trapped in the tap nostalgia of the 1930s.
Joan Acocella has managed from on high at The New Yorker to influence her compatriots. In a recent commentary, she sounded the death knoll for tap dance, writing,
It could die [...] The classic dance forms of India [...] have almost no audience outside the festivals. The same could happen to tap. In that case, it will go down in the history books as a marvelous thing that grew and died under certain historical conditions, mostly in the twentieth century. (The New Yorker, "Up From the Hold," 11/30/2015).
Writing for Commentary Magazine, Terry Teachout lip-synchs Acocella, in his essay, "Tap, Look, and Listen: The Decline of a Great American Art": "Why has so delightful and exhilarating a dance style as tap been so resistant to revival?"
Part of the problem is that tap is probably best suited to the individual dancer or very small performing units. Large-chorus unison tapping is both visually and audibly spectacular — few dance techniques can clinch the climax of a stage show more effectively — but narrow in emotional scope. And as musicals moved away from the ramshackle plots of the '20s and '30s to emphasize story-based character development, tap lost its theatrical raison d'être. From then on, it could exist only as a solo art.(January 19, 2016):
Teachout cites The New York Times dance critic Brian Siebert, a self-proclaimed tap dancer who, in his recent history of tap dance, bemoans the language of tap as being expressively restrictive:
Sometimes I am disappointed or exasperated or bored by tap dancers. Why can't they use their bodies with fuller and more articulate expressiveness and coordination, as in other forms of dance? Why can't they be more poetically suggestive and structurally sophisticated, as in other forms of choreography?
Acocella, Croce, Teachout, and Siebert need to confer with tap dancer/choreographer Michelle Dorrance, who received the 2015 MacArther "genius" award for combining the musicality of tap with the choreographic intricacies of contemporary dance — layering rhythms in tap while choreographing ensemble works that engage the entire body, with dancers swooping, bending, leaping, and twisting in a dramatic expression that is at once musical and visual.
Tapographies such as Jason Samuel's Smith's Charlie's Angels, set to a suite of historical recordings by bebop saxophonist Charlie "Bird" Parker and performed (originally) by Chloe Arnold, Ayodele Casel, and Dormeshia Sumbry Edwards; Michelle Dorrance's The Blues Project with Toshi Reagon and her Big Lovely band; Joseph Webb's The Dancing Buddhas; Jared Grimes and Lil Buck in Winton Marsalis "animal ballet" Spaces; and the collaboration of tap dancers Dormeshia Sumbry Edwards Michelle Dorrance and East Indian Kathak mastresses Rachna Nivas and Rina Mehta in Speak, are also as sonically and corporeally masterful.
While Acocella is cynical and dismissive of the legacy of tap, she does point to one reason why tap dance has received little scholarly attention: "Dance itself, because it mostly went unrecorded, was little studied in a serious way, and there was no reason that tap should have been an exception."
My new donation of to the Library of Congress may help to solve that dilemma: Tap Dance in America: A Twentieth-Century Chronology of Tap Performance on Stage, Film, and Media, documents factually, and with minimal editorial flourish, 20th-century tap performance. The 3,000-record database is searchable by title, date, venue, dancer, choreographer, director, producer, and performance medium, and venue. In addition to the 2920 records of tap performance, there is a 20,000-word essay, "Tap Dance in America: A Short History," and 180 biographies of 20th-century tap dancers, from the eldest of dancers, Bill Robinson (1878-1949) and Fred Astaire (1899-1987) to contemporary young bloods who have become international touring artists, performed on Broadway, won Emmy and Tony awards, and received prestigious dance awards. While the Chronology is not in any way complete, it is the most exhaustive and detailed collection of tap documentation on record, donated for the express purpose of promoting and sustaining knowledge, research, and scholarship in tap dance.
"Tap Dance in America: A Chronology of Tap Performance on Stage, Film, and Media," sets the record straight and dismisses critical commentary that has rendered tap dance history virtually invisible. It will, hopefully, quell uninformed commentary by dance critics who now have the opportunity to reacquaint themselves with tap's long and brilliant performance history.
Constance Valis Hill is a dance historian and choreographer, and a Five College Professor of Dance (Hampshire College). She is the author of Tap Dancing America: A Cultural History (Oxford University Press, 2010), which won the de la Torre Bueno Prize for the best book in the of dance studies; and Brotherhood in Rhythm: The Jazz Tap Dancing of the Nicholas Brothers (Oxford University Press, 2000), winner of a 2001 ASCAP Deems-Taylor award. She has composed a chronology of tap dance for the Library of Congress in "Tap Dance in America: A Twentieth-Century Chronology of Tap Performance on Stage, Film, and Media by Constance Valis Hill," a 3,000 performance record database with 180 biographies of twentieth-century tap dancers.
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An example of the high efficiency of Openair® plasma activation is the manufacture of pre-coated sheet metal (coil coating). This material is needed in the industrial production of household appliances and in the automotive industry.
In the coil coating process, strip metal is provided with a surface coating or varnishing to achieve optimum protection against corrosion and to simplify subsequent production processes. For long-term layer and varnish adhesion, the aluminum strip must first be completely cleaned of rolling oils in an ultrafine cleaning process.
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Also, the time- and energy-intensive drying processes necessary in wet chemical treatment are no longer required.
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WERKSTOFFE in der Fertigung (Nr. 5/2017)
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https://citykidsdc.org/wp-content/uploads/2018/01/CampWire.jpg 400 400 City Kids https://citykidsdc.org/wp-content/uploads/2015/11/CityKids3.png City Kids2018-01-25 15:56:482020-02-19 14:40:24City Kids Receives Award of Excellence
City Kids Receives Award of Excellence
"In the sixth episode of CampWire, meet the five winners of the Eleanor P. Eells Award for Program Excellence. These award winners will be honored at ACA's National Conference next month in Orlando.
City Kids is honored to have received the Award for Program Excellence from the American Camp Association.


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Lets say you have any post categories that you don't want to showing up on your wordpress blog homepage together with all your other latest posts. There is the steps to do this on your wordpress blog that using thesis theme. If you are using wordpress 2.5 and above, you won't be able to see the entry IDs on admin pages. However you can install the Reveal IDs plugin and activate it.
1. Assume that you have installed Reveal IDs plugin and able to see your category IDs on WordPress Thesis theme. For example, we will use entry ID 161 and 159.
2. In Dashboard admin –> go to Appearance –> Editor –> Select custom_functions.php.
Note : Please make sure you have select theme to edit : thesis
Add below code at the bottom of custom_functions.php. Click update file to finish.
/* Exclude Posts categories on the homepage */ function home_filter_begin() { if(is_home()): global $wp_query; /* Exclude id 161 and 159 from homepage*/ $exclude = '-161,-159'; query_posts(array_merge(array('cat' => $exclude ),$wp_query->query)); endif; } add_action('thesis_hook_before_content','home_filter_begin'); function home_filter_end() { if(is_home()): wp_reset_query(); endif; } add_action('thesis_hook_after_content','home_filter_end');


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Lisa Drnec Kerr is an assistant professor of English at Western New England University. She has published poetry in a variety of journals including: Green Mountains Review, English, Cold Mountain Review, Oxford Magazine, Kalliope, and others. Her manuscript Sky Lake Crossing received honorable mention for the 2011 May Sarton Prize for poetry. Her poem WALKING HORSES was recently nominated for a Pushcart Prize. She lives in western Massachusetts. Lisa was recently interviewed by Cheryl Malandrinos.
Why did you become a writer?
Did I become a writer? I know I became a mother (I remember that very keenly). I know I became a teacher, a dairy goat farmer, and a knitter, but a writer? I think writing stole me like a thief when I was very young and most unaware, and like a wild child, I've been practicing my own thievery ever since. Of course, that doesn't mean that I write by accident. My work is (now) full of intentionality, and I write for many reasons. I love the fluid sense of self that gets played out in the writing process. Each new project takes me through the whole of human psycho-social development. I am neophyte, intern, attending physician, and specialist. Then I am neophyte all over again. I love being caught up in a rhetorical situation of my own making, and I love reading beautiful books. Beautiful books make me want to be a writer.
What is the most rewarding part of being a writer? The most frustrating?
When someone "gets it," when an email drops into my box from someone I don't know saying, "Hey, I read x and y and thought Z!" — that's a crazy payoff. Once a high school teacher contacted me about using some of my poetry in his Midwestern classroom. I was elated and humbled to have one such reader, much less his 120 young students. (For crying out loud, he had 120 students!) Still, the steady, everyday payoff comes from what writing does for me personally. Writing planes the day; it makes me into someone I might recognize in the window.
Frustration is almost always a function of loose perceptions on my part. Frequently (2 or more times per week), I lambast myself for slow progress on certain projects. It is frustrating to be constantly squirreling away writing or revision moments. I ask myself, why can't I do this "for real"? Why can't I quit the time drains and work full-time on my writing? But when I stop for a moment and think clearly, I realize that I am working on my writing full-time. The other major considerations in my life, those things that draw me away from the act of writing (family and students) actually provide the substrate for everything I write. It's at those moments that I realize I am always writing. I'm just not always working with computer screens or pencils.
Can you tell us about your latest release?
My latest "releases" are poems published in journals and magazines: Cold Mountain Review (forthcoming), Chronogram, and Naugatuck River Review. My manuscript, A Sky Lake Crossing, was named a finalist for the May Sarton Prize (Bauhan Press).
What inspired it?
A Sky Lake Crossing is a response to the geographies of childhood and the competing narratives that invariably grow out of a reminiscent perspective.
You're sitting on the Revision Panel at this year's WriteAngles Conference. Can you tell us a little bit about what you're planning?
I am planning to talk about the often forgotten aspects of revision! How's that for being intentionally vague!
What are you working on now?
I am working on a manuscript tentatively titled, Blue Sky Science. Plus, I am 75 % through a multi-genre text about Parkinson's disease.
Where can we find you online?
Facebook, Google+, Tumblr
Is there anything you would like to add?
I am very happy to participate in the WriteAngles conference!


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The DoubleTree by Hilton Bangkok Ploenchit (Forerly: Majestic Grande Hotel) is another one of my favorite places to stay in Sukhumvit, definitely a cut above the expected levels for the Nana area. The Location on Soi 2 is surprisingly quiet, considering it's only a 30 second walk across to Soi 4 and under 5 mins from Nana Plaza. Getting to Soi Cowboy and the greater Bangkok is also a breeze with both BTS/Skytain stations Ploenchit and Nana within easy walking distance. The rooms are well organized with big bed and shag carpet around it, excellent lighting and a wide selection of international channels offered on the large flat-screen TV, furniture include two comfortable office chair, study desk and table from where you can enjoy some great view over the Bangkok. Bathroom is ok but it could do with a little updating to be on par with the rest of the room, no issues or mold otherwise, there's a shower and bath tub with numerous toiletries that are replaced whenever they are used. The Majestic Grande also has a pool area is located on the 7th floor and usually gets sun until around midday, due to it's small size the pool is not really adequate for laps or swimming but good to have a refreshing dip after a day in the Bangkok heat. Have a look below for the pictures I have personally took during my stay of the room and hotel amenities.
The DoubleTree by Hilton Bangkok Ploenchit Guest Friendly Policy: Greeting from Majestic Grande Hotel, Regard to your inquiry about joiner policy, please be advised that the hotel allow a visitor sharing room without any additional charge, however, a visitor ID Card is required to keep at the security department.
The pictures and description below are for their Grand Superior Room


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What fine weed will enhance your dining experience? Ever thought about it? Well, you'll have to go to Colorado to experience it (for now) but Hapa Sushi is doing something revolutionary (at least in my eyes). They've come out with a menu that pairs the dishes they serve with marijuana. Like a fine wine, the marijuana is paired to compliment the dish. Isn't that dope? Come on Florida! Legalize it already. Think about what it's going to do for the economy and tourism down here. LOL. Indica…..Sativa…..Blend…….Sounds good to me.
Click here to view the embedded video.
The post A dining experience that includes fine weed? appeared first on 8&9 Clothing Co..


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right to safe environment
Climate change is one of the most burning issues in today's era. Climate change has affected the entire humanity. An initiative was taken on environmental protection in the Jorhat, Karbianglong and Lakhimpur districts where women leaders were given training on environmental justice and climate change.
Urban climate change resilience programme-PBET in collaboration with Gorakhpur Environment Action Group, Aaranyak, SSEAP and Assam Academic Centre developed an Urban Climate Change Resilience Strategy for Jorhat town.
Water and sanitation and hygiene (WaSH) Programme
Partners of Numi Foundation, Women's Earth Alliance (WEA) in partnership with PBET and Chamong Tea Company had launched an innovative partnership with the Residents of Tonganagaon in Eastern Assam, India to ensure clean, safe drinking water for all 6,500Tonganagaonresidents for generations to come.
The objective of the program is to ensure community-driven, sustainable water solutions for all Tonganagaon residents. Followings are the pictures of Demonstration of Community lead Total Sanitation (CLTS) under WASH programme,


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Saturday 20 January 1821
The master of a Shields collier was charged with an unnatural offence, but the testimony of the witness, a cabin boy, was so inconsistent, and the character of the prisoner so good, that the jury immediatley returned a verdict of not guilty. (Durham County Advertiser)
Monday, 5 February 1821
Saturday 20 January 1821
The master of a Shields collier was charged with an unnatural offence, but the testimony of the witness, a cabin boy, was so inconsistent, and the character of the prisoner so good, that the jury immediatley returned a verdict of not guilty. (Durham County Advertiser)
Monday, 5 February 1821
The unhappy culprits, with the exception of Tobin, were all convicted of street robberies, accompanied by circumstances of great creuelty and aggravation. The frequency of this species of offence within the last few months has excited much attention; and the necessity of an awful public example was very generally felt. But that these scenes are viewed with almost total indifference by those who attend them, was never more strikingly exemplified than on the awful occasion of this morning. The crowd, which was great, consisted chiefly of very young persons of both sexes, whose countenances exhibited a degree of hilarity more suitable to a scene of amusement. The youthful appearance of most of the prisoners appeared for a moment to excite a strong feeling of commiseration in the crowd; and there were some murmurs of indignation, but the feeling was but transient. When brought into the press-room this morning to have their irons displaced, they appeared quite resigned, and extremely penitent. Tobin was convicted, upon the most satisfatory testimony, of extorting money from a respectable tradesman in Thames-stereet, by threatening to charge him with an unnatural crime; and the audacity with which he several times repeated his extortions has seldom been equalled. He was a young man of genteel appearance and insinuating manners, and possessed talents, which, if well applied, would have rendered him an ornament of society. He displayed an uncommon degree of ingenuity upon his trial. His family, we understand, is respectable. He prayed very fervently both in the prison and on the scaffold, and conversed cheerfully and earnestly with his fellow sufferers upon religious subjects. Reeves, Johnson, and Davis were not more than 16 or 17 years of age, and did not evince so much fortitude as the others, but behaved with propriety. Davis was so much affected as to be scarcely able to stand when he came upon the scaffold. Martin was a Jew, and was attended in his last moments by a Priest of that persuasion. He conducted himself in a becoming manner. It was remarkable that he had lost a leg and an eye. He was a man well known about the metropolis, and stood daily for some years in Cheapside with a box of trinkets, by the sale of which he obtained a lifelihood. About eight o-clock the signal was given, and the unhappy criminals died almost without a struggle. We can state as an absolute fact, and it is a circumstance well worthy of remark, that the greater part of those spectators who were nearest the scaffold, were old and practised thieves; and some of them of the most desperate character. (Glasgow Herald)
Thursday 7 June 1821
Offences for which there have been Capital Executions in England, from 1814 to 1820 inclusive, arranged according to their number (from the official Summary at the Home Office):
Tuesday 3 July 1821
Of the nature of the CRIMES of which the persons were convicted, who had sentence of death passed upon them; and of the number who were EXECUTED in England and Wales, from the year 1805 to year 1820, both inclusive.
Friday 6 July 1821
Six wretched men were executed on Wednesday morning at the Old Bailey, amidst an immense concourse: their names were, Driscoll, Blakeney, Quested, Holding, Wade, adn Snape. Driscoll's offence was that of extorting money from a servant of the Duke of Norfolk, under a threat of charging him with unnatural propensities; . . . (Stamford Mercury)
Saturday, 7 July 1821
OLD BAILEY. Yesterday morning the following unfortunate malefactors were executed, pursuant to their several sentences, viz.: . . . Mathias Driscol, for extorting money under a threat of prosecution for an unnatural crime; . . . The unhappy men conducted themselves with becoming resignation. (Jackson's Oxford Journal)
Saturday 18 August 1821
JOHN RICHARDSON, aged 20, for an unnatural offence at Appleby, was sentenced to be imprisoned two years. The principal witnesses against the prisoner were Hayward, the Jack Ketch [i.e. hangman] of the County, and his brother. (Leicester Chronicle)
Saturday 1 September 1821
Saturday 15 September 1821
. . . Wm. Worthington, 34, for an unnatural crime, at Wigan. No bill. (Lancaster Gazette)
Friday 14 December 1821
Yesterday Samuel Ellington, schoolmaster, of Crowland, underwent a second examination before the magistrates of this borough, charged with an assault at a public-house in Stamford on Tuesday night, upon Jno. Jibb, with intent to perpetrate an unnatural crime. He was committed for trial. (Stamford Mercury)
SOURCE: Various newspapers, dates as given.
CITATION: If you cite this Web page, please use the following citation:
Return to Homosexuality in Nineteenth-Century England


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With billions at issue, trial begins to apportion fault for oil spill among BP, its subcontractors
A federal judge in New Orleans began hearing opening statements Monday in a trial to determine how to apportion blame between BP Plc and its subcontractors for the massive oil spill that began April 20, 2010 with a blowout of an undersea well after the Deepwater Horizon oil rig exploded in the Gulf of Mexico, killing 11 workers.
Also at issue in the portion of the case being decided by U.S. District Judge Carl Barbier is whether the conduct of BP or its subcontractors, Transocean Ltd., a Swiss-based company that owned the rig, and Halliburton Co., which provided the material used to cap the well, constituted gross negligence, Bloombergreports.
The BBC News, the New York Times (reg. req.) and Reuters also have stories.
If BP is determined to have engaged in willful or wanton misconduct or acted with reckless indifference, the company would be liable for additional damages both to the U.S., which potentially could be paid a record $17.6 billion under the Clean Water Act, and to claimants not included in the $8.5 billion settlement BP reached last year, who are parties to the case now being tried. (The company also agreed to pay over $4 billion to settle criminal charges.)
For the two subcontractors, which are indemnified by BP for ordinary compensatory damages, a gross negligence finding would expose them to liability for punitive damages to all plaintiffs.
Lead lawyer Jim Roy, representing private plaintiffs in the case, opened with a scathing attack on BP, contending that the oil company ignored multiple signs of safety and maintenance issues and operational problems on the rig before the Macondo well blowout, the Times reports.
"BP made a series of decisions to save time and money that substantially increased risk," Roy told a packed courtroom, saying that the company's decision-making characterized "a culture of profit and production over safety."
However, Roy also blamed Transocean for what he said was a failure to train employees adequately to handle emergencies and contended that Halliburton had failed to adequately mix and test its cement.
The U.S. Department of Justice and two Gulf states, Alabama and Lousiana, will also make presentations.
Even as the trial opens, state and federal regulators have offered a settlement plan worth $16 billion, the Times reports, relying on unidentified sources. The newspaper says the offer would limit BP's fine under the Clean Water Act to $6 billion, also reducing the company's tax liability. Another $9 billion in penalties would help cover the cost of restoring the damaged shoreline of affected states and $1 billion would be held in reserve to cover unanticipated damage that may still be discovered in the future.
Although only two states are participating in the trial, five would be covered by the settlement. They are Alabama, Florida, Louisiana, Mississippi and Texas. The newspaper says the expectation is that Louisiana, hardest-hit by the spill, would get a larger share than the other states.
Additional and related coverage:
ABA Journal: "Biloxi Blues: Legal-Cost Fears Have Victims of the Oil Spill Sliding out of the Middle Class"
ABAJournal.com: "Feds Blame BP Shortcuts for Gulf Oil Spill in New Report Released Today"
ABAJournal.com: "BP Says It Will Pay $4.5B to Resolve Federal Criminal and Securities Allegations"
ABAJournal.com: "Transocean to Pay $1.4B to Resolve DOJ Criminal Probe, Other Federal Claims re Gulf Oil Spill"


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Have you ever heard someone say that Sage ERP X3 is too complex for anyone in your company to understand properly? Yeah, we've heard that too—and it's a myth. We think that the reason you hear that tale a lot is because all the companies using Sage ERP X3 want to maintain the competitive advantage that X3 affords them. Learn the facts about Sage ERP X3 in today's post.
"Serious" Doesn't Have to Mean "Difficult"
Many people think that just because you use something for serious work, it has to be really, really hard to operate. Perhaps this idea comes from the fact that enterprise resource planning systems (ERPs) have been helping businesses succeed since the late '80s. If you remember computers from back then, you'll remember that they were… unwieldy. Luckily, ERPs have evolved since then. Early adopters of Sage ERP X3 version 7 (released less than a month ago) say that the program is so easy to use that temps can be brought up to speed within as little as two days.
Why Sage ERP X3 Is Easy to Use
Don't believe me? Here are a few things that make Sage ERP X3 version 7 really easy to learn and to use.
- The same look and feel—no matter the device: Want to take your Sage ERP X3 system with you? You can. And you don't have to learn about how your tricky mobile app differs from your desktop program. They both work the same.
- Step-by-step layout: If you're using Sage ERP X3, your company handles some pretty complex business processes. Some days you can remember everything that needs to happen, and in what order… but sometimes you can't. Sage ERP X3's simple, easy-to-read Visual Process Maps make it so that you always know what to do next.
- Simple searching: Want to search your ERP the way you search on Google? Go for it. If you're worried you'll have to memorize a crazy folder system just to do your job, you can stop worrying. Sage ERP X3 has a universal search function that allows you to look for—and find—whatever you need.
Photo licensed by Antoine Gady


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October 31, 2011
Working with peanuts and peanut farmers won't be anything new for Scott Monfort, the new South Carolina Peanut Specialist.
He grew up in Arlington, Ga., and has worked with cotton and peanuts most of his life.
Monfort, housed at Clemson University's Edisto Agricultural Research and Extension Center in Blackville, S.C., is replacing long-time Peanut Specialist Jay Chapin.
Montfort began his agriculture career in southwest Georgia, working for former Georgia cooperative giant Gold Kist. He cut his professional teeth in precision agriculture, and will bring some new insights on the use of precision technology to South Carolina peanut farmers.
The new South Carolina peanut specialist moved from Gold Kist to the Georgia Cooperative Extension System, working in Worth County in the heart of the state's peanut belt. At the time, he had an agricultural degree from the University of Georgia and says working with Extension specialists there inspired him to further his degree.
He subsequently got interested in peanut disease management and earned a masters degree, working with long-time University of Georgia Plant Pathologist Albert Culbreath.
"It was clear to me working with farmers in and around Sylvester, Ga., that precision agriculture would be an important part of the future of farming. Working with the Georgia Extension Service also helped me understand the importance of managing nematodes in peanuts and cotton," Monfort says.
Getting a masters degree, he adds, further inspired him to continue his education, but finding the right university to suit his interest wasn't easy.
He ended up at the University of Arkansas, working on precision agriculture and nematode management — critical issues he had faced as an Extension agent in Georgia.
After completing his degree, he worked for five years as a state plant pathologist in Arkansas. He worked on multiple crops, even some with peanuts, during his tenure in Arkansas.
Common throughout his academic studies has been a keen interest in plant diseases. "Historically diseases have been a limiting factor on peanut yield, so I'm looking forward to continuing to help growers manage disease problems," he says.
Precision agriculture in peanuts
"I hope we can move more into precision agriculture in peanuts. I'm interested in looking at the agronomic practices our growers are currently using and trying to come with some new ways to enhance some of things growers are already doing," he says.
Peanuts are likely to reach record prices in 2012, and the new South Carolina peanut specialist says it will be critical to be more efficient and manage problems that occur during the growing season in an efficient way, without over-spending.
"If we can make a good crop, year in and year out, we can achieve sustainability for peanuts in South Carolina. A small percentage of South Carolina peanuts are irrigated and drought management is a constant concern. We have to work with Mother Nature to achieve this sustainability," Monfort says.
"South Carolina peanut farmers already do a great job with GPS guided planting, spraying and digging, and there may be some ways to fine-tune those practices. We could also look at using some of the new precision technology to likewise fine-tune pesticide application," he adds.
"In situations in which we have nematode problems, we have proven we can improve yields and maximize the efficient use of chemicals used to manage nematodes in other crops.
"Even with some soilborne diseases, especially seedling-type diseases, we can potentially do some variable rate applications at or immediately after planting of fungicides.
"The sky is the limit with precision agriculture, but it has to make money for the grower. There are plenty of things we could do with technology to make production practices work, but many of them simply aren't practical for farmers," Monfort says.
The growth of the peanut industry in South Carolina is an agriculture industry success story that came at a critical time when the state was badly in need of economic successes.
Large acreage increase
When the Federal Peanut Program ended in the early 2000s, South Carolina had a scant few thousand acres of production. This year South Carolina peanut farmers will likely dig close to 70,000 acres.
A big part of the success of South Carolina peanuts has been attributed by growers to the leadership provided by Clemson Peanut Specialist Jay Chapin and his Research Assistant James Thomas.
Though Chapin shuns the spotlight and attributes the success of peanuts in the state to the diligence of peanut growers, there is little doubt he played a key role in the agriculture success story of peanuts in South Carolina.
Replacing a legend is never easy, but Monfort says working with Chapin this growing season (he took over as peanut specialist in June) has been a big plus. Chapin, though retired, will stay on for the 2012 season to finish projects and to help Monfort get more acclimated to his new role.
"Having Jay stay on next season allows me to take a look from the outside and determine how I can add to the outstanding program that he has going here at the Edisto Center.
"I think it's important to get a good understanding of what growers need and to have some time to figure out some ways to improve on the things they are already doing," Monfort says.
Branchville, S.C., peanut farmer and head of the South Carolina Peanut Board, Richard Rentz says Chapin will be missed.
"You just don't lose that kind of knowledge and dedication without feeling the loss, but we feel like we have a great scientist and a great person in Scott Monfort to continue the work Jay has started, and we are looking for great things from him in the future," Rentz says.
As a testament to Chapin's value to South Carolina peanut growers, several groups in the state banded together to buy him a John Deere four-wheel ATV, commonly called a 'gator'.
Despite nearly a year of fund-raising, the ATV was a total surprise for Chapin, when he was presented the gift at a recent field day at the Edisto Research Center.
"It's been a joy and a pleasure to work with farmers in South Carolina all these years — a real privilege. And, it's been a special time working with peanut growers and seeing the industry take off over the past few years. If I could do it all over again, I wouldn't change a thing," Chapin said in accepting the gift.
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