#rca voice and photo recorder

[xoverit]

Seattle and SeaTac, Washington. (February 2023)

[hooked-on-elvis]

[📸PHOTO STORY⚡] A couple of "first-times" — Elvis and Alfred Wertheimer, 1956

On the next two pictures, on March 17, 1956, Elvis seeing in his "argyle socks, shantung pants and jacket, black shirt, freshly combed slick brown hair and a sneer" at CBS Television Studio 50. This was the moment Alfred was first introduced to EP (photo taken by him). By Alfred Wertheimer's accounts, to him, Elvis "didn't look much like a star, more like just another backstage guy'.

At the moment this picture was taken, Mr. Wertheimer said "a balding jewelry salesman (seen sitting beside Elvis) was handing him a diamond ring that could have been seen from the back row of Carnegie Hall. Elvis pulled his feet off the table, leaned on the back of another chair, and in a soft low voice with a mild Southern accent, said simply, 'Hi.' He returned his examination of the ring, a diamond-studded horseshoe around a gold horse's head. I took my place behind the camera. The salesman closed the deal."

Excerpt from "Elvis '56 In The Beginning" by Alfred Wertheimer.

This was a 14k gold ring that belonged to Elvis Presley early in his career. Designed in the shape of a horseshoe with fourteen single-cut diamonds around the surface while a horse head adorns the middle, this ring was worn pretty frequently by the King for a number of years.

Those March 1956 pictures show the purchase of one of Elvis' first most easily relatable diamond jewelry pieces and Alfred Wertheimer's first, of what would become exclusive, unique and legendary, shots of the King of Rock and Roll.

ADDITIONAL INFO On Elvis' horseshoe rings:

EP is known for giving away his own things as quick as the thought, so he gave some of his own horseshoe rings away and ordered new ones. As the years passed and EP's love for horses grew, more rings would be made on the same theme, even by his private jeweler Lowell Hays - and by the way Elvis and Priscilla owned matching horseshoe rings in the 60s.This picture below shows EP and Priscilla wearing matching horseshoe diamond rings - Elvis' is not the same ring bought in 1956, it's a different one. Elvis and Priscilla were wearing those horseshoe matching rings on their wedding day in May 1, 1967.

If Elvis liked the “Good-Luck” idea behind this famous symbol, possibly... specially by the beginning of his career when it would come to great use. EP's jewelry contained themes and selected precious stones, full of meaning and grace. As he grew older he came to study astrology and numerology, and would even know the meaning of 'birth stones' and he would use this to chose and gift his loved ones with beautiful exclusively-made jewelry pieces with their own birth stones on it at times; besides Elvis was a believer... in God above anything else, but even tho he was a Christian man, he didn't deny anything was possible, so harmless mysticism was welcomed in his mind as well. With this said, it's not hard to believe Elvis indeed chose the horseshoe ring for a reason. But either the case, the man didn't need any help from lady luck.🍀

------------------------------------------------------------------------------------------------

On Alfred Wertheimer's background story:

In March 1956, Alfred Wertheimer was hired by Anne Fulchino, publicist for the Pop Record Division of RCA Victor, to photograph Elvis. Here's Anne with EP:

Elvis, RCA Victor' Pop Records Division publicist, Anne Fulchino, and a William Morris' agent [name unknown] on March 17, 1956 at NBC's Studio 50, New York City. © Photo by Alfred Wertheimer.

[thebrikbox]

The Golden Age of Radio, ep. 01

Tesla did invent the wireless radio that he held a public demonstration in 1893, but an Italian inventor named Guglielmo Marconi believed communication could happen through radio waves using what he called “telegraphy without wires” and he proved it in 1865 by sending and receiving a radio signal by Morse code. His intention was to use wireless communication to contact ships and he wanted to broaden his reach by transmitting waves across the Atlantic on December 12, 1901. There are historians that say Marconi stole the radio from Tesla, but regardless, he did invent radio waves and he was the first to send communication which he is credited as the father of radio.

After much work to perfect wireless communication, ships were outfitted with radios that proved beneficial when sailing the seas. The Titanic used radio to send distress signals to nearby vessels for aid, and though too many passengers lost their lives, many were indeed saved.

Marconi revolutionized radio communications. The first recorded radio broadcast happened in 1906 on Christmas Eve. Canadian Reginald Fessenden, also named father of radio, worked with Edison in New Jersey for years to improve radio waves by transmitting sound like human voices and he proved it accomplishable with the first audible broadcast on Christmas Eve. Fessenden introduced the small ensemble playing Christmas tunes and he would end the show, “Goodnight to all.”

January 13, 1910 was the first live public broadcast from the Metropolitan Opera House in New York. Radio communication proved effective in World War I, but a decade later in 1920 marked a historical event when Pittsburgh station KDKA aired the first commercial broadcast in America on Election Day, November 2, to announce the results of the Harding and Cox. The success of the broadcast inspired other stations to start their own broadcast programs, and thus, this paved the road for the Golden Age of Radio in America.

In the 1920’s, From 1930 through to the 1940’s commercial radio programs aired with programs that entertained families in the privacy of their homes. The function of radios wasn’t limited to homes, but also on battlefields, in the air, and on the seas in both World Wars I and II.

Radio programs allowed its audiences to visualize performances and favorites brought families together to enjoy their favorites: The Jack Benny Program, Amos ‘n’ Andy, Dick Tracy, Burns and Allen… a few of so many. RCA - later became NBC, CBS, and ABC were the biggest networks that contracted celebrities and their sponsors that were recorded in New York City or Hollywood. During the birth of television, shows would move from NYC to Hollywood as programs started to converge over from sound to sight.

If ever you get an opportunity to listen to a radio program, do so with an open mind. You’ll be amazed between the difference. Until next time… aloha oe.

Photos: *BBC, Britannica, The Canadian Encyclopedia, Wikipedia, Getty Images

[lastchancevillagegreen]

Thursday, 29 February 2024:

The Unsustainable Library Library Project Part 6:

The Ultimate Collection The Guess Who (RCA) (released in 1997)

I will admit that I have been bringing home some very dubious music from my sojourns at the library sales room, sorting room and now the storage room. Things like Bob Marley, Sting and The Crash Test Dummies didn't even survive being played, I've already pulled them from my library stack and put them in the closet, ready to take to Chicago the next time I cat sit. No more of that nonsense.

But this. Here's where I have to reveal a deep, dark secret. I love this band . I owned one album by them: 1971's The Best of The Guess Who and I pine for it endlessly. I won't buy a used copy of it because they are usually in such crappy condition and they rarely include the black light poster the album originally came with. Sealed copies are ridiculous and I'd feel like a chump paying 50 bucks for a sealed copy, so I just sit and think about this band...often. We get in a surprising amount of Guess Who hits CDs but I have a strict stipulation about a Guess Who hits package. First it has to have everything that was on The Best of The Guess Who and it absolutely must have Rain Dance on it. That's not my favorite song by them, but it would be in third place (right behind No Sugar Tonight/ New Mother Nature and American Woman) and it is never on a compilation. And I've never owned it but I can sing it in my head completely through with ease. I know because it is on permanent rotation in my head.

When I was digging through the hidden boxes of CDs in the storage room and I discovered this three disc set (?!) I thought I struck oil! Granted, 57 songs is a hell of a lot of Guess Who and I really only know their hits, but I think Burton Cummings has a great voice, I like the odd things the band does (this has the acoustic beginning of American Woman which is the only way to hear the song) and I can play these hits endlessly. Weird, I know, but what can I say? (I've already heard Disc 1 four times in the past three days...and played Rain Dance, which opens Disc 2, a dozen times.) I can no longer be ashamed of my love for The Guess Who!

Above you see the front and the back of the triple CD set which is in a classic fatty case! Below take a look at the inside of the set. The first photo is of the first hinge opened up revealing the CD and then the booklet on the opposite side.

Here it the same shot without the CD in place.

The next shot reveals the other side of the hinge opened up showing off the other two CDs.

Here's the shot with the white CD removed.

The booklet is weird. It does not reveal where any of the tracks come from. In an all encompassing compilation that seems a must, but this is RCA who are one of the most clueless record companies of all time. Here's a look at what they do for each song.

They don't even bother to put the song titles! The titles are on another page, but why would you put the credits on a completely other page?

Here are three photos of each CD up close.

I was bummed to discover when researching this release that it comes with a slipcover. Mine didn't have one and a quick perusal of those on sale at discogs, that seems common. Here's a shot of the slipcover's front (the back looks just like the second shot at the top of this entry). I took this from discogs.

[biglisbonnews]

Nipper, the Listening Dog in Bristol, England There are many famous and infamous historical figures associated with the maritime city of Bristol. From Archibald Leach, better known as the Hollywood film star Gary Grant, to the mysterious and elusive Banksy. But there is one who walks on all fours and has a small statue dedicated in their honor. No, not Gromit from Wallace and Gromit fame, but rather, Nipper, a mixed-breed terrier, who would go on to be recognized as the mascot of HMV (His Master's Voice). Nipper belonged to the Barraud family, whose children christened him with the unusual name because of his unruly habit of nipping at the ankles of their guests. The father, Mark worked for the Prince's Theatre, which was located on Park Row, and is known as the Merchant Ventures Building, now a part of Bristol University. Mark had two brothers: Francis, a painter, and Phillip, a photographer. After Mark passed away, Nipper was left in Francis's care. At some point, Phillip captured the canine in a photo, as he tilted his head at a playing Edison brand gramophone. A few years later, Francis used the image to paint a portrait that he titled, His Master's Voice. Initially, Francis tried to sell his painting to the Edison company, but was told that "dogs don't listen to phonographs." He then retouched the portrait, etching out the Edison name, and approached a competing business: the Berliner Gramophone Company. In 1899, they bought the painting and rights to the copyrighted image for £150.00. The company then changed its name to HMV and the rest, they would say, is history. The image of Nipper, who was buried under a Mulberry bush in London at the age of 11 in 1895, became the company's logo, and the logo of its successors, including RCA Records in America. It was used to sell everything from life-sized piggy banks to coffee mugs. Larger-than-life depictions of Nipper can be found as an oversized statue in Baltimore, Maryland, to a gigantic effigy in Menands, New York. Not bad for a little mutt who used to terrorize visitors in Bristol.  https://www.atlasobscura.com/places/nipper-the-listening-dog-statue

[yes-sassy-stuff]

Check out this listing I just added to my Poshmark closet: The Voices Of Christmas Walter Schumann Vinyl Lp Record RCA Victor LPM 1141.

[softgont]

Digital prism 3 in 1 photo converter directions

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[vintage-tech]

So I bought a stack of product promo cookbooks yesterday.

Was in an antique store out in the middle of nowhere and there was an open zipper bag with like 14 thin paper cookbooks in it. (Dylan... call me.) The label said “8 cookbooks, $9.50″ so maybe somebody put something into this that wasn’t supposed to be there. With that in mind, I removed four or five that I didn’t like, zipped it back up, and paid the woman for the batch.

Two pamphlets put out by Church & Dwight, makers of Arm & Hammer (and Cow) products, both 1933, on what to do with all that sodium carbonate and sodium bicarbonate that you’ve been hoarding.

You’re damn skippy that I will be sharing a lot more of this 1935 cookbook in the near future.

“Hello, Martha? Was I supposed to do something with the oranges? I just put them whole into the aspic.” Which is the surprising difference. Not sure what the surprising difference really is but this 1966 cookbook was put out by Carnation condensed milk, and the photo above is a panorama that shows on the back cover she also made orange cupcakes.

If you’ve ever read recipes from certain sources, you’ve noticed that there will be a note on cooking temperature or time for higher altitudes, since (word has it) folks in Colorado were not getting the same results. No, really, look it up. So the fine folks at Fisher Mills of Seattle -- still the makers of must-have scones at fairs around Puget Sound -- are telling you what they’d tell you anyway in this 1958 tome. The cover is another panorama of the Washington or Oregon seacoast, with the beach on the back. One bonus note about this one: The previous owner glued recipes from newspapers and the backs of boxes on some pages that presumably are blank, one of which is a Betty Crocker cake mix recipe for banana nut bread that ends with “High Altitude: not recommended.”

And now, a friendly competition between Jell-O (1928) and Knox (1958). There is a higher likelihood that there are real strawberries in the Knox desserts, because their product is unflavored and you damned welll put them there, than in Jell-O, which coyly pictures a strawberry plant on the cover.

Two exceptions to the rule, because “The Magic Of Spices” (1964) was made by the American Spice Trade Association and not a specific retail brand, and “Meals for Two” (1971) is a store checkout number by the Culinary Arts Institute and published by Consolidated Book Publishers.

You bought four pressure cookers... what all can you make at the same time? I’m pretty sure this undated 72-page booklet came packed with a Presto pressure cooker but the first page says “price twenty-five cents” anyhow. And so you know, that timer on the stove is also a Presto product: “Price is $3.38 east of the Rocky Mountains and $3.6, West of the Rocky Mountains.”

(Patrick Stewart voice) The RCA Estate oven. 1955 edition of the 1952 cookbook made by a company you probably weren’t aware ever made kitchen appliances: “Famous for TV, radio, recorded music, ranges, and air conditioners.”

Bananas and Bacon -- Guaranteed to start conversation. Or something. This is the back cover of “The New Banana” from United Fruit Company, 1951. Yes, for once a banana cookbook that’s not by Dole or Chiquita.

And finally, the front and back of Sun-Maid Raisins’ “Take one bright morning...” (year unknown) to show how many products they offered at one time -- including blue boxes of “puffed’ and unpuffed muscat raisins, alongside the red boxes you’re familiar with. Ad copy inside says of the red boxes, “the Sun-Maid Seedless is the same raisin as the Nectars but without the special process which makes seedless raisins into Nectars; there is a flavor difference between Nectars and Seedless and the flavor-fans are divided about 75% for Nectars and 25% for Seedless.” Okily, sure, I guess. But hmm, despite the Nectars being more popular Sun-Maid doesn’t make them anymore? And has replaced brownish muscat raisins for golden raisins in a yellow package? Save me, Mr. Hooper!

[xoverit]

Seattle, Washington. (February 2023)

[rapturerecords]

Song: Slave to the Blues / Oh My Babe Blues

Artist: Ma Rainey and her Georgia Band

Record Label: Paramount 12332

Recorded: ca. December 1925

Location: Project V13 teaser

A rare song from a rare label. Here’s “Slave to the Blues” presented by the infamous Paramount Records label. Regrettably due to both its age and the somewhat non-standard practices of recording and pressing at the label, the audio quality leaves something to be desired, but I have tried to clear up some of the noise.

This year is rather auspicious as it is the 10 year anniversary of the 2010 teaser for Project V13 on the Fallout website and also the recent release of a new film Ma Rainey’s Black Bottom on Netflix. This record happens to have been made two years before the recording session depicted in the film.

When logging into the now-defunct Fallout Online website, players were greeted with a series of Polaroid photographs being tossed onto the table offering shots of buildings and concept art while this song emanates from the glowing record player and radio combination console on the right.

Recorded in late 1925 in the winter, this song is one of the few songs from the 1920s used in Fallout and would have been the oldest recording used in the series.

A period Chicago Defender print ad for Ma Rainey’s “Bessemer Bound Blues”, recorded during the same session. Also listed are other Paramount Record titles.

Born Gertrude Pridgett, though otherwise known as Ma Rainey, she lived a fairly colorful life rife with intrigue and rumor. Even her birthplace is uncertain with various sources giving credit to Alabama or Georgia.

As her named suggests, she is dubbed the “Mother of the Blues”, combining elements of vaudeville and early “jass” (later spelled as jazz). She and her husband William “Pa” Rainey toured extensively throughout the South in the 1900s and 1910s with live performances in minstrel shows and vaudeville. It’s around this time she coined the term “blues” to describe her music as well as developing a relationship with Bessie Smith, also up and coming.

Though demand for recordings by black musicians was high, the color barrier meant that Rainey was not able to be shellacked until 1923 by signing with Paramount.

While she recorded with many jazz stars of the day and made over one hundred recordings with Paramount, the film focuses on her last years with the label which would also go bankrupt by the 1930s.

Regrettably, there are comparatively few photos of Ma Rainey, but her voice still echoes from the grooves.

Left: A still of the 1984 Broadway cast, Center: A Playbill for “Ma Rainey’s Black Bottom”, Right: A reverse shot of the same scene from inside the recording room from the 2020 film

Strictly speaking, Ma Rainey’s Black Bottom is not an biographical film, but rather a restaging of the 1984 August Wilson play of the same name which dramatizes a 1927 recording session in Chicago. Many of the scenes take place outside of the recording room and focuses on conversations between the band members. With the exception of Ma Rainey herself, while the roles of the musicians, the recording engineer and so on undoubtedly existed, the characters are largely fictional.

The title refers to a song and dance of the same name, and of course Ma Rainey’s version of it as yet to be recorded until near the end of the story. The above record label represents the central MacGuffin which is never directly seen in the film, but drives the plot forward. While much has been said about the characters portrayed in the film including the last film role of Chadwick Boseman, here’s a closer look at one of the more muted mechanical stars of the 1920s recording process documented in the film.

Triptych of a heat wave: an electric fan, an ice-cold 5¢ bottle of Coca-Cola, and a box of discarded lacquer discs.

A slight change to the script of the play is the changing of the setting from winter to summer as foreheads glisten with perspiration. While dialing up the oppressive heat brings more prominence to the electric fan and Coca-Cola scenes (the character Levee also attempts to repeatedly open a door for ventilation), the original recording session for “Ma Rainey’s Black Bottom” was in the winter of 1927. Perhaps the winter release of the Netflix film was meant to be a reminder.

This also has an impact on the recording session itself. The film depicts the recording session using smooth black lacquer discs (sometimes called acetate discs though they do not contain that material). As the recording engineer tosses the bad takes into the bin, it shows they are thin metal discs covered with a thin layer of nitrocellulose lacquer.

Industry films showing wax blanks used to make the initial recording before heading to the plating process. Note how the wax is polished to a shine, the disc is thicker, and of a lighter color than lacquer. The text intertitles indicate silent film footage. The first three rows date to the 1920s with the third for a Columbia Records pressing plant. The last row is a film from the 1940s showing RCA Victor still using wax recording blanks. All are for shellac 78 rpm records as the vinyl LP would be introduced in 1948.

Industry films showing lacquer covered blanks used to make the initial recording before heading to the plating process. Note how the blanks are glossy black and much thinner. The first row is from the late 1930s showing lacquer discs being used to eventually cut shellac 78s for Variety Records. 1948 would bring the invention of the vinyl LP and more common color footage. The second row shows updated footage from RCA Victor in the 1950s now using lacquer discs to press newly invented vinyl LPs. The last row also shows lacquer blanks for Capitol Records. If you don’t recognize Mel Blanc’s face, you may recognize his voice from innumerable Looney Tunes cartoons. 

Contemporary film footage from record pressing plants during the 1920s more commonly show thicker one-inch discs made of wax being used in the record lathe. Lacquer discs were more commonly used in the decades following.

A wax disc would have melted in the sultry summer of Chicago which gets as hot as it does cold in the winter. While it was easy to keep a wax disc warm, cooling technology had not progressed so far during that period. Many of Ma Rainey’s recording sessions appear to have been made in the winter or at least the cooler months in Chicago and New York. A humorous anecdote about a 1930s Bob Wills recording session details packing the wax master recordings on couple hundred pounds of ice to beat the Texas heat.

Though phonograph cylinders were made of wax a few decades prior, these wax discs made during the recording process was the origin of the term “spinning wax” popularized by disc-jockeys.

Regardless of wax or lacquer, this recording is extremely fragile and unable to be played very much. Similar to today, the process still continues to metal plating where multiple more durable metal copies are mirrored before eventually stamping out the right side up grooves into a vinyl slab, or more appropriate for the era depicted in this film, a shellac record.

Production designer Mark Ricker called the record lathe the “fifth star of the movie”. There are scant details about where they obtained the record lathe except it was from a recreator in the Los Angeles area. It is possibly related to the work of Nicholas Bergh who had restored a working 1920s record lathe which was featured in the documentary film series American Epic. The series explores this period of early recorded music and the people in front of and behind the microphone including Ma Rainey. In addition, contemporary artists attempt to adapt their music to the rigors, quirks, and restrictions of a 1920s recording studio. Jack White also produced on the film as well as producing the extensive Rise and Fall of Paramount Records box sets. Admittedly, the two machines aren’t a perfect match, but there is a very similar brass weight driving the entire mechanism which spectacularly snaps and crashes to the floor in a recording session.

With lacquer discs being used to preserve radio broadcasts by the late 1930s, it is likely the record lathe was adapted to work with lacquer discs since they are still in use today and more common to come by than wax discs.

Also notable during the session is that all the instruments and the vocalist share one microphone. The request for a second microphone was likely for dramatic effect. Similar to the acoustic era, the early electric microphone era were still experimenting with proper placement. It is a testament to the power of Ma Rainey’s voice that it can be picked out amongst the surface noise as the instruments and vocals move in and out of focus.

These were the days before the invention of magnetic tape and a substantially reduced recording booth without hulking amplifiers, control boards, and tape machines reflects that. Multi-track recording, overdubbing, or even audio editing was very difficult to accomplish in the pre-tape era. One microphone, one take, and direct to disc, otherwise the recording had to be done over.

While wax could be remelted or perhaps shaved, a flubbed take on a lacquer disc could not. Despite what some of the characters say, 6, 7, 8, 9 takes for the first song of a set-list would be expensive. Paramount would go bankrupt in the following years.

Paramount Records had a storied history nearly rivaling Ma Rainey herself though the record itself largely serves as the MacGuffin in the story. While the name of the record label was never directly mentioned in the film, there are some loose references. The advertising placards around the door mention offerings from a chair factory which Paramount originated. The Wisconsin Chair Company added making phonograph cabinets to its list of operations before delving into making their own phonographs and a record label in 1918.

Like Ma Rainey’s manager, the roles of the recording engineer and the record producer were likely combined into one character, Sturdyvant of Hot Rhythm Recordings, as the sign outside says.

Due to the popularity of the “race records”, Paramount had actually rented or owned recording studios in New York, Chicago, and in Wisconsin. Jay Mayo Williams or “Ink” Williams served as an unofficial liaison between Paramount and the African-American community, even convincing Ma Rainey to record for the label.

However, the label was plagued by low-quality pressings and inconsistent recording practices. Some records even have other songs heard in neighboring rooms. Williams would leave to produce his own record label Black Patti and later was head of the race records department at Decca.

The coming of the 1930s and the Great Depression spelled the end for Paramount Records. Employees were let go or reportedly paid in the metal record masters. Though many were sold for scrap metal, local rumor has the disgruntled employees throwing the masters into the Milwaukee River.

As a result, much of the Paramount Records catalog has become exceedingly rare or outright lost to the ages.

As a coda, a final scene was added to the film which was not present in the original play. A white orchestra plays a restrained version of a composition heard earlier by the Levee character. The bandleader is not named, but strongly resembles Paul Whiteman, one of the most recorded of the dance bands of the day. His trademark mustache and oval head were frequently caricatured even on his own record labels. Though he never recorded for Paramount, he was at the Victor and Columbia labels at the time, in addition to the circumstances of the recording session in the film there is an added layer referring to the background of his controversial self-styled moniker “The King of Jazz”.

Listen to the flip side “Oh My Babe Blues” here.

[whereisten]

The Wedding Singer - Part 3

The Wedding Singer (feat. Taeyong and Yuta)

Summary: You are an up-and-coming singer and songwriter who is thriving in the wedding singer business. When you find yourself singing for your former best friend Samantha Perez and not-so-former crush Yuta Nakamoto, shit really hits the fan. 

Genre: fluff, drama, romance

Multi-part Series: Part 1 | Part 2 | Part 3 | Part 4

Part 3

Word Count: 3.9k

It was nearing Christmas, which meant there was one week left until the wedding of the century. Samantha finalized the song selections with you. Johnny would be on guitar while Jungwoo would be on piano alongside the rest of the wedding band. Johnny was pretty jazzed because he would see Stella again, rise to the occasion, and ask her out. They met the night you performed at Holy Hell. It was all over for Johnny when Stella genuinely laughed at one of his dad jokes.

Everything seemed to be falling into place these days. Your career was on the rise. Record labels from all over the county wanted to sign you. You were a breakout YouTube star after Jungwoo uploaded your performance of Bad Boy. You were booked for even more weddings that you had to start turning people away.

And best of all, you had the most incredible man in your corner. In the span of months, Taeyong was your best friend and your biggest fan. He showered you with affection in every way that he could. And it seemed like he would never stop.

If only you could find a way to return the favor.

Taeyong was adamant that you did not have to give him anything. He told you that your presence was the present and you had to walk out of his office when he said that to you last week. He’d been spending too much time with Johnny.

You were babysitting Taeyong and Samantha’s little half-sister Sonya while they were away. Her mother was on a yoga treat with her friends. Samantha was doing a photo shoot in New York. She was doing a cover story for Elle Magazine for her success as a fitness model and a celebrity chef. Taeyong was in New York with his father. They were in negotiations to acquire a a very popular restaurant chain that they hoped to bring to Miami.

Yuta picked Sonya up to take her to school before you headed to RCA Records.

“y/n, is there anything you want for Christmas?” Sonya asked you as you tied her hair. She was about to leave for her last day of classes before Christmas break.

You thought about it. As cheesy as it sounded, you had everything you could ever need.

You checked your phone to see if you had any messages and smiled at your lock screen of Taeyong scrunching his nose.

“You’re pink,” Sonya giggled. She watched your reflection.

You shook your head. “Is the AC even on?”

The doorbell downstairs bellowed throughout the Lee estate.

“It must be your future brother-in-law,” you said to her.

Sonya ran out of her room and down the grand staircase of the mansion. She ran past the maid that was about to answer the door.

“YUTA!” Sonya squealed when she saw him at the door.

Yuta gave her a big bear hug.

He was in dark wash jeans and a white tee, looking well-rested. He looked better than you’d last seen him. He’d been up and down about the upcoming nuptials. As much as you wanted to tell him to not go through with the wedding, it wasn’t your place.

“Hey, Yuta,” you said, “How’s it going?”

“It’s going. How are you? Have you decided who you’re signing with yet?” He threw his car keys up and caught them quickly.

“Yuta, what time is it?” You asked.

He frowned as he looked at his Apple Watch. “7:35.”

“Right? I don’t talk about anything serious until after 9:30 so I won’t answer that.”

He laughed as he grabbed Sonya’s Elena of Avalor backpack. “Right. But you’re doing okay right?”

You couldn’t help the smile on your face. “Yeah, everything’s great.”

Yuta mustered his most winning smile as he tried to ignore his truth.

Taeyong and Samantha would be back in time for their friend Sooyoung’s wedding tonight. Because mega pop star Luna had scheduling conflicts and at Taeyong’s high recommendation, Sooyoung hired you a month back. Johnny would join you as a band member and as your singing partner.

;;

After you discussed the set list with Johnny for tonight, you walked back to your car and were surprised when a red tulip was propped on your windshield.

As a woman, you felt joy, confusion, and mostly, fear. This anonymous gift was not to be trusted.

You debated grabbing the tulip because it could’ve been laced with poison. Who would try to do such a thing to you?

Well, Samantha could be above murder.

But was she?

You decided to leave the tulip be so you can get home, grab some gloves, put the tulip in a ziploc bag, and take it to the police station.

It would be awkward to send Samantha to jail a week before her wedding.

You grabbed your keys from your handbag and got into your car.

Your phone rang. You relaxed once you saw who called.

“Hey,” you said, exhaling in relief.

“I guess you don’t like tulips?” Taeyong said, a lace of hurt in his voice.

“That was you?! I thought you were some creep trying to kill me.” Leave out the part where you were 98% sure it was stepsister.

“How would a tulip kill-You need to lay off the Lifetime movies, babe.”

You laughed as you got out of the car and took the tulip in your hands. “If it makes you feel better, it’s the most beautiful flower I’ve ever seen. You took in its fresh scent and hummed. “It smells amazing.”

Taeyong was silent over the line.

“Taeyong?” You asked.

Nothing.

And he hung up when you checked.

You turned back to the driver’s seat and saw him before you with a huge bouquet of red tulips. His big brown eyes were warm and welcoming. You imagined he was beaming behind the bouquet.

You couldn’t wait to kiss him so you pressed yourself against him and the flowers. You pecked him on the lips and almost lost your balance. He steadied you. “Hi,” you said, flustered at being such a dork in front of him.

He wrapped his arms around you for a moment and pulled back. “Mind if I set these aside first?” He didn’t want your flowers to get ruined.

You pulled away from him so he could put the flowers on the driver’s seat.

“Hey, songbird,” he said as he opened his arms wide.

You jumped into his arms and squeezed him tightly.

He’d been gone for a week but you were very clingy.

“I missed you,” you said as you nuzzled into his neck. He smelled of lavender and fabric softener. You wanted to lie in bed with him and snuggle him like a pillow. You were sickening.

“I missed you more,” he said as he kissed the top of your head. “Are you free?”

“I’m free until the ceremony,” you said as you played with the buttons of his baby blue button-down.

“Great because I want to take you somewhere,” he said as he lifted your chin and kissed your lips.

;;

Taeyong took you a pottery painting place. It was called Stella’s. It was located a few blocks from Holy Hell Nightclub. He wanted to bring you here for a while now so you two could be alone in a quiet space and maybe get into a paint fight.

“It’s quiet. Must be a slow day,” you noted, in marvel of the shop. It was filled to the brim with all kinds of figurines to choose from. The paint selection almost brought you to tears.

Taeyong cleared his throat. “Actually, the place is ours for the afternoon.”

You put down a ceramic owl that was too cute for words. “What do you mean?”

“Stella’s parents own this spot and I asked her for a favor.”

You raised an eyebrow.

“Are you mad?” Taeyong asked, worried.

You shook your head. “No...It’s just...You are...Too good to me sometimes.”

Taeyong’s eyebrows furrowed in confusion.

Taeyong was the poster child for the ideal boyfriend. It was amazing but sometimes you felt a little out of your league.

And the way that he endlessly spoiled you. You loved every bit of it but you wondered if you were too greedy. If you weren’t doing enough for him.

You worried that at some point, he would get bored with you.

And you knew you were wrong to think that.

Taeyong almost cried when you gave him a homemade minion sweater for him to take to New York.

He appreciated you for you. It wasn’t his fault that he was disgustingly wealthy.

You two had fun together. Most of the time, you two dated like a healthy functioning couple.

Movies. Supermarket trips. Playing with your two cats Kai and Jax at your place. Late night trips to the beach.

The best nights you had together were when you went to the movies and indulged on popcorn.

But then Taeyong would catch you by surprise. Like today.

You admitted to him, “Sometimes...I feel like I’m never going to be able to make you happy the way you do me. I don’t want to let you down.”

Taeyong moved closer to you. “You could never let me down, y/n.”

You held his hands. “I want to make you happy.”

He wrapped his arms around you. “You have no idea just how much better my life is with you in it.”

You nuzzled into his chest and felt the steady beat of his heart. You loved him.

Soon, you would tell him.

You two settled down and started painting. Taeyong picked out a horse figuring to paint all shades of pink for Sonya. You picked a slice of cake figurine for Taeyong for his sweet tooth.

“So when I got up on the stage, I almost fell on my face,” you said, remembering your junior year of high school. The first time you sang in public was at your school’s annual talent show.

“You were nervous,” Taeyong noted.

“I wanted the earth to swallow me whole,” you said, “If it weren’t for Johnny being beside me of the stage, I never would’ve given myself the chance.” Johnny was one of the reasons why you became a singer. He believed in you. He was your truest friend.

Taeyong added, “He’s a great friend to you. I’m happy you have such good people around you.”

You rolled your eyes to avoid blushing. “You are so...Sweet that I’m about to get a cavity. I saw a dentist around the corner. I gotta bounce and get that filling.”

Taeyong chuckled. “I’m stating facts, y/n. Most of my friends are in LA so seeing you two makes me miss that...”

What about Yuta, you wondered. But something inside you made you decide not to mention it.

“I’m sorry,” you replied, “Maybe we spend too much time together?”

Taeyong froze. “What?”

“Taeyong, your life is basically work, me, and accumulating the best plush Pokémon collection.”

Taeyong gaped. “I resent that. Your life is basically work, me, and accumulating the best Pokémon card collection.”

“To conclude, we’re both nerds that need to get out more,” you said.

“But I love spending time with you. You’re my best friend,” Taeyong admitted.

You grabbed your paintbrush full of dandelion yellow paint and painted his arm. “Shut up.”

Taeyong grabbed his brush full of rose pink paint and painted your nose. “Cringe brings out cringe, babe.”

You painted each other and tried to restrict the mess to your table so Stella wouldn’t blacklisted either of you.

Taeyong traced magenta onto your side bang. You laughed as you finished painting your cake slice.

He just watched you for a moment. The sparkle of mischief in your eye when you stared at each other. The wondrous song that was your laugh. The matching Spongebob friendship rings you bought.

“y/n,” he said slowly. The sound of your name on his mouth sounded so lovely.

“Yeah?” You asked, focused on painting a corner carefully but peeking at his soft expression.

“I-“ Taeyong began.

And then his phone rang. He glared at his phone. He sighed.

He answered his phone, “Can it wait?”

The person on the other line replied.

Taeyong’s eyes grew. “I see. We’ll discuss it on Monday, Doyoung. Okay, thanks.” He hung up.

“What’s up?” You asked. Taeyong’s demeanor was unreadable.

He debated telling you about his latest job opportunity but he wanted to make sure he had all of the details before he brought it up with you.

“Remember how I told you it’s been a dream of mine to start up my own cinema chain?”

He told you on your first “date”. “Yeah.”

“Well, Doyoung and I are planning to lay the groundwork for our own movie theater. We just spoke to our last investor and we got the green light.”

“Your own movie theater?” You gasped. “Tae, that’s incredible!” You squeezed his hand.

He smiled softly and it quickly faded. “The thing is...”

“It’s not in Miami,” you finished, already having a feeling with the way he reacted over the phone.

He shook his head. “It’s in LA.”

“Oh,” you said.

He watched you carefully. “I’m sorry, y/n. I didn’t anticipate our plans developing so quickly. I wasn’t sure if it would happen. I’m so happy here with you. I would never want you to think-“

“Honey, it’s your dream,” you started, “I want this for you.”

“But...would it be too much for me to ask you to come with me? If not, could you handle long distance?” He worried about stressing you out. He thought he had more time.

You thought about it. You had a lot of doors opened for you that you had to consider. “I’m not sure. It all depends on who I sign with.”

Taeyong nodded.

You continued, “Can you wait for me to join you?”

Taeyong was surprised. “What?”

“I want to go with you. I just need some time to get my affairs in order. End things with the agency. Move out of my apartment. Say goodbye.”

Taeyong broke out into a smile, his soulful brown eyes squinting from cheesing so hard. “Really?”

You giggled. “You looking for a roommate?”

Taeyong reached over and kissed you. It almost felt like he said “I love you”.

Honestly, he didn’t even have to say it. You just knew.

;;

Choi Sooyoung’s wedding was in Miami Beach at the Grand SeasideHotel. The ceremony took place at the beach and the festivities were in the hotel ballroom. You began your set with a father and daughter dance. Then, you continued with love songs for the couple and the standard party ones for the whole group in attendance to get on the dance floor. Your rendition of Cha Cha Slide was one no one would forget.

You looked radiant. You wore a silver dress that went down to your heels. The beads gave a subtle rainbow effect that you glowed onstage. You sang Adele’s “One and Only”. A lot of couples slow danced.

Taeyong danced with Sonya.

“Better than Adele, right Taeyong?!” She asked.

Taeyong laughed. “I believed you when you said it the first time.”

He remembered Sonya mentioned the wedding singer Samantha and Yuta hired. Yuta wasn’t the only one who raved. The minute Samantha found your YouTube channel, she started spamming Taeyong with your videos.

Your cover videos were of just your voice. You hid in the shadows to give some mystery.

Taeyong began falling in love right then and there.

And then when he saw you for the first time, it was really over for him.

Sonya ran off to find her sister and Yuta joined Taeyong to watch you belt it out.

“Hey, she’s unreal, isn’t she?” Yuta asked.

Taeyong replied. “She’s...There are no words.”

“I’m surprised she hasn’t signed with a label yet,” Yuta replied.

“Y/n is thinking of joining Epic,” Taeyong adds, “It’s funny, you know. I didn’t even think to invite someone from epic.”

Yuta blurted, “I’m guilty.”

“What?” Taeyong eyed him carefully.

“I invited the Epic Records exec.”

“Oh.” Taeyong is silent. How did Yuta think to invite your dream label and he didn’t?

It turned out that Yuta snuck a peak into your lyric journal that night at Starbucks when you excused yourself to go to the bathroom. He was curious to see what you’ve written. He did find a song about himself dated back 6 years ago. It was your catharsis for letting him go. But Yuta took a photo of the page and has read it over many times. He also found a page of your goals, which included possibly joining Epic Records one day. But Yuta would never admit that to Taeyong.

He wanted you to chase your dreams and achieve them. A phone call to his friends at Epic wasn’t a big deal to him. He wanted you two to be happy. He would simply hold onto the fact that at one point in time, you liked him.

“I have a friend at the label. You remember Kyla?” Yuta asked smoothly.

And with that, they resumed enjoying the party.

You performed “You’re The One That I Want” with Johnny, who went the extra mile and brought a leather jacket just for that song.

As you performed song after song, the buzz about you grew stronger and stronger, much to Samantha’s annoyance.

When you got a break, Taeyong led you to his table. He went to grab you some water and wedding cake. People passed you at the table, praising you and giving you their contact information because they wanted you at their next event.

When that was over, you took a deep breath and relaxed.

“You must be so happy.”

You froze at the sound of her serpentine voice. Samantha sat beside you.

You knew this wouldn’t go well.

“You have my half-brother wrapped around your little finger. It’s because of him, you’re on the verge of commercial success. You could have everything you want. Because of him.” She was very pointed when she said “because of him”. She wore a dark red party dress and her long nails matched. It was like she was out for blood. Yours, probably.

“Samantha,” you started.

“If I didn’t know any better, I’d say you’re taking advantage of my brother.” She tapped her nails against her glass of champagne.

“Hold on just a second-“

“I wouldn’t put it past you since you never did quite get over your crush on Yuta.” Her hazel eyes turned into daggers.

You stayed silent. Waiting for her to finish her tirade before you ended her.

“I see the way you make those little first day freshman year eyes at him. It was cute, at first. Since he’s a major NBA player and one of the most influential men in the city. You were starstruck. After all, we went to high school with him. But it’s been months now. You’re dating Taeyong. He’s done nothing but shower you with the best. And what do you do? Look at my fiancé when Taeyong’s isn’t looking.”

“Are you finished?” You asked.

Samantha smirked. “For now.”

“I don’t know what gave you the impression that I was sweet on Yuta. I’ll admit seeing you two after seven years brought out old feelings. But they died when I met Taeyong. Ever since I met him, my life has been wonderful and adventurous and I feel like I’m on top of the world. Record deal or not. I’m happy where I am. Taeyong has done a lot for me and I’ll never let that go unappreciated. Is he helping me make my dreams come true? He always has. Since the first time he asked me to play something for him. Look, I haven’t told anyone this but I’ll let you be the first to hear it. I’m turning all of the labels down. Not to prove anything to you. But to prove to myself that I can make it without anyone’s help. So for you to say that I’m taking advantage of Taeyong? Well...you’re lucky to be Taeyong’s family.” Or else you wouldn’t have been courteous.

You got up from the table because you didn’t want to see Samantha’s stuck up face for at least an hour.

“Hey,” Taeyong said as he touched your arm. “Are you okay?” He noticed you looked flushed.

You nodded as you took the glass of water from Taeyong. You gulped most of it down. “My throat was getting dry but I’m good now!”

Taeyong grinned. “I can’t get enough of you, you know that? That cover of Cha Cha Slide is one for the history books.”

You rolled your eyes. “Put the cake down and dance with me.”

You two danced to Miracles Happen by Myra. Sooyoung was a big Princess Diaries fan. Taeyong spun you around and you tickled him when he least expected it. It was one of his weaknesses.

;;

Samantha didn’t realize Yuta heard what she accused you of.

“What is your problem?” Yuta asked.

“What do you mean?” Samantha snapped. “That little wedding singer has infiltrated our lives and I was just putting her in her place.”

Yuta groaned in frustration. “Leave y/n alone Sam.”

“Why are you so concerned about her? I’m trying to save my brother from getting his heart broken by that-“

Yuta dared her to finish that sentence. “I’m gonna stop you right there.”

“Why are you getting so defensive over her? Don’t tell me you still have a thing for her.” But she already knew that.

Yuta remained silent.

“Oh?” She exclaimed, egging him on.

Yuta gave her a pointed look. “Don’t give me that. It was never a secret and you knew it.”

Samantha seethed. “It doesn’t matter, anyway. She told me she loves Taeyong. And, in case you forgot, you’re marrying me. If you know what’s good for you.”

Reality sunk in even deeper for Yuta. He stormed off and hit up the open bar. He was mad he had to marry someone he didn’t love. And for what? Fame and success? An obligation to the Lees and Samantha’s biological father?

A small part of him hurt that the only girl he ever really liked was in love with someone else. That someone else being his best friend.

;;

You finished your set. You were going to meet Taeyong at the photo booth set up for the reception.

You both sat in the photobooth.

“What do you think? Duck faces?” Taeyong asked.

You knew the only answer was yes.

“Wait! I saw some more props closer to the entrance. I’ll be right back,” he said as he kissed your cheek and squeezed your cheeks. “You are so adorable. I think I can die and go to Heaven now.” He was definitely buzzed.

You laughed and then waited.

A few second later someone opened the curtain. You were shocked to see who it was.

“Yuta?” You asked him.

He was drunk out of his wits. His long hair was disheveled and at the sight of you, he ran his hands through it again.

He looked at you in adoration. “Hey.”

“Yuta, are you okay? I-“

Yuta moved in and the flashes could be heard. He kissed you sloppily. You could feel the vodka from his lips. Alarms were going off in your head. You panicked and pushed him away hard.

“Get off of me.” You said as you pushed past him out of the photobooth.

“Y/n, come back! I’m sorry. I’m so sorry.” Yuta stayed in the photobooth, despondent.

;;

Neither you or Yuta realized that you left something very important behind at the photobooth.

But someone else did.

To Be Continued in Part 4

A/N: You thought I forgot. 😉 I had to revise one little detail in chapter 1. Y/N auditioned for Yuta and Samantha in September instead of April! Thanks for reading and especially thanks for waiting. 😭

[redcarpetview]

COUNTRY MUSIC LEGEND CHARLEY PRIDE DIES AT AGE 86

Charley Pride. Photo Credit: Joseph Llanes

   Charley Pride, whose rich baritone voice and impeccable song-sense altered American culture, died Saturday, December 12, 2020, in Dallas, Texas of complications from Covid-19 at age 86.

    Born a sharecropper’s son in Sledge, Mississippi, on March 18, 1934, Pride emerged from Southern cotton fields to become country music’s first Black superstar and the first Black member of the Country Music Hall of Fame.

    “No person of color had ever done what he has done,” said Darius Rucker in the PBS American Masters film Charley Pride: I’m Just Me.

   Pride was a gifted athlete who at first thought baseball would be his path from poverty, labor, and strife. But his musical acumen was more impressive than his pitching arm or his hitting skills, and he emerged as one of the most significant artists at RCA Records, with chart-topping hits including “Kiss An Angel Good Mornin’,” “Is Anybody Goin’ to San Antone,” and “Mountain of Love.” He won the Country Music Association’s Entertainer of the Year award in 1971, its top male vocalist prize in 1971 and 1972, and a Lifetime Achievement Award in 2020.

  His final performance came on November 11, 2020, when he sang “Kiss An Angel Good Mornin’” during the CMA Awards show at Nashville’s Music City Center with Jimmie Allen, a modern-day hitmaker who counts Pride among his heroes.

          Charley Frank Pride was not the first Black artist to make important contributions to country music — DeFord Bailey was a star of the Grand Ole Opry from 1927 through 1941 — but Pride was a trailblazer who emerged during a time of division and rancor.

    After a stint in the Army, time working at a Missouri smelting plant, and some unsuccessful attempts to break into big-league baseball, he moved to Nashville in 1963 and made demonstration recordings with help from manager Jack Johnson.

    Those recordings languished for two years until Johnson met with producer Jack Clement, who offered songs for Pride to learn. On August 16, 1965, Clement produced Pride at RCA Studio B, and the results of that session impressed RCA’s Chet Atkins, who signed Pride to a recording contract.

    In 1967, Pride’s recording of Clement’s “Just Between You and Me” broke into country’s Top Ten, and Pride quit his job as a smelter. Iron ore was behind him, and platinum records lay ahead.

           Between 1967 and 1987, Pride delivered 52 Top 10 country hits, won Grammy® awards, and became RCA Records’ top-selling country artist. His musicality opened minds and superseded prejudice. “We’re not color blind yet, but we’ve advanced a few paces along the path and I like to think I’ve contributed something to that process,” Pride wrote in his memoir.

    Today, Black artists including Allen, Rucker, Mickey Guyton, Rissi Palmer, Rhiannon Giddens, Yola, and others add new chapters to country music’s story. Charley Pride’s impact is evident and important to all of them, and also to every other country performer who builds bridges with melody and sincerity.

   Charley Pride escaped the cotton fields, where labor hurt his hands, back, and knees. He transcended and ascended through connection. Through fortitude and artistry, he became a member of the Grand Ole Opry and a beloved American icon.          

                                                                                                                 # # #

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Country music legend Charlie Pride dies of COVID-19 complications in Dallas

Country music legend Charlie Braide has died at the age of 86 of complications from Covid-19 in Dallas, his representative announced on Saturday.

legend Charlie Pride dies of COVID-19

Pride has been recognized as a pioneer of black country artists.

From the late 1960s to the early 1970s he rose to prominence with singles such as "Kiss An Angel Good Mornin", "Is Anybody Goin" To San Antone "and" Id Rather Love You ".

From 1967 to 1987, Braid received 52 Top 10 Country Songs, multiple Grammy Awards, and became RCA Records' best-selling country artist.

Her last performance was "Kiss An Angel Good Mornin" at the CMA Awards on November 11, 2020, at the Nashville City Music Center.

“There's nobody in country music who isn't crying right now,” said Mark “Hook” Lewis of New Country 96.3 KSCS. "He was a pioneer. He did something that no one else had done, first of all, it was possible to do something that no one else had imagined."

“He was a real gentleman,” said Judy Dean of the Texas Radio Hall of Fame. “That's the word that comes to my mind when I think of Charlie. Respected person.

Pride grew up in Sledge, Mississippi, the son of a farmer. He had seven brothers and three sisters.

In 2008, while accepting a Lifetime Achievement Award as part of the Mississippi Governor's Awards for Excellence in the Arts, Braid said he never focused on race.

Braid said, “My older sister once said, 'Why does she sing her music? “But we all understand what the syndrome looked like to all of you. Look, I never accepted that as an individual, and I really think that's why I'm where I am today. ''

A young man before starting his singing career, he was an archer and defender in Major League Soccer Blacks with the Memphis Red Sox and in Major League Soccer in Montana.

After playing minor league baseball for two years, he found himself in Helena, MT, working in a zinc smelter by day and playing country music in nightclubs by night.

After experimenting with the New York Mets, he traveled to Nashville and dabbled in country music when Chet Atkins, president of RCA Records, heard two of his demo tapes and signed.

To ensure that Braid is judged by his music rather than his race, his first singles were sent to radio stations without publicity photos. After his identity became known, some country radio stations refused to play his music.

Despite this, Pride said it was generally well-received. Early in his career, he comforted white audiences when he joked about his "lasting color."

He declared in 1992: "Music is the greatest medium of communication on the planet". "Once people heard my voice correctly and heard my show and saw my childbirth, any fears or bad feelings they could have allayed."

Throughout his career, he sang positive songs instead of sad songs often associated with country music.

He told The Associated Press in 1985: "Music is a great way to express yourself, and I really think music shouldn't be seen as a protest." "You can go far with anything - sing, perform, whatever - and become so politicized that you stop being an artist."

In 1994, he wrote his autobiography, “Pride: The Charley Pride Story”, in which he revealed that he was suffering from moderate depression.

He underwent surgery in 1997 to remove a tumor from his right vocal cord.

Received the Living Legend Award from Nashville / Music City News, in recognition of his 30 years of achievement in 1997.

“He was a man who could break the ice with his heat,” Dean said. "Looking at when he started, what he went through, what he never talked about, what he wore anyway, the levels he rose to ... Country music, all the music, owes him gratitude. "

In lieu of flowers, the Pride Family is asking fans to donate to The Pride Scholarship at Jesuit College Prep, or St. Philips School and Community Center, Food Bank or other charities.

Pride was a minority on the Texas Rangers baseball team. The team released a statement regarding his death.

“It's with heavy hearts that we share that our friend Charley Pride has passed away at the age of 86. Charley played here at the World's Largest Honky Tonk many times over the years, cementing his mark on the club with his handprints in 1992. Our thoughts are with his loved ones, ”the venue said.

Country music legend Charlie Pride dies of COVID-19 complications in Dallas Charlie Pride, News via exercisesfatburnig.blogspot.com https://ift.tt/3qRw0YM

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Full HD 1920x1080p progressive 30fps 16 MP max image photo Slow motion, time lapse, date stamp and picture in video (PIV function) 20x Total zoom, 5x Optical + 4x Digital zoom 3″ inch TOUCH PANEL LCD Support HDTV HDMI and NTSC/PAL composite AV-out External DUAL card slot up to 32 GB SD/SDHC/SDXC & Micro SD

TECHNICAL DETAILS

Sensor : 5.0 mega pixels Operations Modes : Movie Record, Voice Record, Picture Record, Motion Detection

Resolution : 16M (4608 x 3456) interpolation 8M (3200 x 2400) interpolation 5M (2592 x 1944) 3M (2048 x 1536)

Movie Mode : FHD (1920 x 1080/ 30fps) HD (1280 x 720 / 30fps) WVGA (848 x 480 / 60fps) QVGA (320 x 240 / 30 fps)

File Format : JPEG, MOV / H.264 External Memory : SD/ Micro SD Card DUAL Slots (SDHC Supported Max 32 GB) LCD Display : 3.0Touch Panel Lens : F/3.5-3.7. f=5mm-25mm Focus Range : Macro. 10 cm Normal 100 cm Zoom : Optical Zoom: 5x, Digital Zoom: 4x(HD.720P) Asslated Light : On/Off Solf Timer : 10 sec / 2 sec / Off Battery : NP 60 Li-ion Battery