Editing Phonograph record (section)

== 78 rpm disc developments ==
<!--Note: Multiple articles link directly to this section by name, including the redirect pages [78&nbsp;rpm], [78&nbsp;rpm] and [78 record]. Please be cautious in changing the section title. -->

===Early speeds===
[[File:Pathé Schallplatte.jpg|thumb|upright|Hungarian [[Pathé]] record, 90 to 100&nbsp;rpm]]
Early disc recordings were produced in a variety of speeds ranging from 60 to 130&nbsp;rpm, and a variety of sizes. As early as 1894, [[Emile Berliner]]'s [[United States Gramophone Company]] was selling single-sided 7-inch discs with an advertised standard speed of "about 70&nbsp;rpm".<ref>Ober, Norman (1973). "You Can Thank Emil Berliner for the Shape Your Record Collection Is In". ''Music Educators Journal'', Vol. 60, No. 4 (December 1973), pp. 38–40.</ref>

One standard audio recording handbook describes speed regulators, or [[governor (device)|governor]]s, as being part of a wave of improvement introduced rapidly after 1897. A picture of a hand-cranked 1898 Berliner Gramophone shows a governor and says that spring drives had replaced hand drives. It notes that:

<blockquote>The speed regulator was furnished with an indicator that showed the speed when the machine was running so that the records, on reproduction, could be revolved at exactly the same speed...The literature does not disclose why 78&nbsp;rpm was chosen for the phonograph industry, apparently this just happened to be the speed created by one of the early machines and, for no other reason continued to be used.<ref>{{Cite book|title=The Recording and Reproduction of Sound|edition=revised and enlarged 2nd|first=Oliver |last = Read|publisher=Howard W. Sams|location=Indianapolis|year=1952|chapter = History of Acoustical Recording|pages= 12, 14, 15}}</ref></blockquote>

[[File:Schellackplatte 1908.jpg|thumb|upright|A multinational product: an operatic duet sung by [[Enrico Caruso]] and [[Antonio Scotti]], recorded in the US in 1906 by the [[Victor Talking Machine Company]], manufactured {{circa|1908}} in Hanover, Germany, for the [[Gramophone Company]], Victor's affiliate in England]]
In 1912, the Gramophone Company set 78&nbsp;rpm as their recording standard, based on the average of recordings they had been releasing at the time, and started selling players whose governors had a [[Real versus nominal value|nominal]] speed of 78&nbsp;rpm.<ref name=copeland /> By 1925, 78&nbsp;rpm was becoming standardized across the industry. However, the exact speed differed between places with [[alternating current]] electricity supply at 60 [[hertz]] (cycles per second, Hz) and those at 50&nbsp;Hz. Where the mains supply was 60&nbsp;Hz, the actual speed was 78.26&nbsp;rpm:<ref>{{cite web |url=https://aes2.org/publications/par/num/ |title=Pro Audio Reference |at=78 rpm record |access-date=2024-08-08}}</ref> that of a 60&nbsp;Hz [[stroboscope]] illuminating 92-bar calibration markings. Where it was 50&nbsp;Hz, it was 77.92&nbsp;rpm: that of a 50&nbsp;Hz stroboscope illuminating 77-bar calibration markings.<ref name=copeland>{{cite book|last1=Copeland|first1=Peter|title=Manual of Analogue Audio Restoration Techniques|date=2008|publisher=British Library|location=London|pages=89–90|url=http://www.bl.uk/britishlibrary/~/media/subjects%20images/sound/analoguesoundrestoration.pdf|access-date=16 December 2015|url-status=dead|archive-url=https://web.archive.org/web/20151222091532/http://www.bl.uk/britishlibrary/~/media/subjects%20images/sound/analoguesoundrestoration.pdf|archive-date=22 December 2015}}</ref>

[[File:EdisonDiscLabelBunk.jpg|thumb|left|upright|Edison Records Diamond Disc label, early 1920s. [[Edison Disc Record]]s always ran at 80&nbsp;rpm.]]
At least one attempt to lengthen playing time was made in the early 1920s. World Records produced records that played at a [[constant linear velocity]], controlled by [[Noel Pemberton Billing]]'s patented add-on speed governor.<ref>{{Cite book |title=World Records, Vocalion "W" Fetherflex and Penny Phono Recordings: A listing |author1=Frank Andrews |author2=Arthur Badrock |author3=Edward S. Walker |publisher=The Authors |location=Spalding, Lincolnshire |date=1992}}</ref>

===Acoustic recording===
Early recordings were made entirely acoustically, the sound was collected by a horn and piped to a [[Diaphragm (acoustics)|diaphragm]], which vibrated the cutting stylus. Sensitivity and frequency range were poor, and frequency response was irregular, giving acoustic recordings an instantly recognizable tonal quality. A singer almost had to put their face in the recording horn. A way of reducing resonance was to wrap the recording horn with tape.<ref>Scholes, plate 73.</ref>

Even drums, if planned and placed properly, could be effectively recorded and heard on even the earliest jazz and military band recordings. The loudest instruments such as the drums and trumpets were positioned the farthest away from the collecting horn. [[Lillian Hardin Armstrong]], a member of [[King Oliver's Creole Jazz Band]], which recorded at [[Gennett Records]] in 1923, remembered that at first Oliver and his young second trumpet, [[Louis Armstrong]], stood next to each other and Oliver's horn could not be heard. "They put Louis about fifteen feet over in the corner, looking all sad."<ref>Rick Kennedy, ''Jelly Roll, Bix, and Hoagy: Gennett Studios and the Birth of Recorded Jazz'', Bloomington and Indianapolis: Indiana University Press, 1994, pp. 63–64.</ref><ref>A photograph of the [[Gennett Records]] studio is available. {{cite web |url=http://www.nicklucas.com/Image/nick_lucas_playing%20_with_bailey's_lucky_seven_at_gennett_studios.jpg |title=nick lucas playing with bailey's lucky seven at gennett studios |website=Nick Lucas |access-date=9 April 2008 |url-status=live |archive-url=https://web.archive.org/web/20080529082244/http://www.nicklucas.com/Image/nick_lucas_playing%20_with_bailey's_lucky_seven_at_gennett_studios.jpg |archive-date=29 May 2008 }}</ref>

===Electrical recording===
[[File:Gloria G.O. 13078b.jpg|thumb|left|upright|An electronically recorded disc from [[Carl Lindström Company|Carl Lindström]] AG, Germany, {{circa|1930}}]]

During the first half of the 1920s, engineers at [[Western Electric]], as well as independent inventors such as [[Orlando Marsh]], developed technology for capturing sound with a [[microphone]], amplifying it with [[vacuum tube]]s<ref name=40KYearsMusic>[[Jacques Chailley]] – ''40,000 Years of Music: Man in Search of Music – 1964 p. 144'', "On March 21st, 1925, Alfred Cortot made for the Victor Talking Machine Co., in Camden, New Jersey, the first classical recording to employ a new technique, thanks to which the gramophone was to play an important part in musical life: electric ..."</ref> (known as ''valves'' in the UK<ref>{{cite web|url=https://edisontechcenter.org/VacuumTubes.html|last1=Whelan|first1=M.|last2=Kornrumpf|first2=W.|title=Vacuum Tubes (Valves)|publisher=[[Edison Tech Center]]|language=en-US|url-status=live|date=2014|access-date=23 March 2023|archive-date=2 February 2015|archive-url=https://web.archive.org/web/20150202005355/https://edisontechcenter.org/VacuumTubes.html}}</ref>), and then using the amplified signal to drive an electromechanical recording head. Western Electric's innovations resulted in a broader and smoother frequency response, which produced a dramatically fuller, clearer and more natural-sounding recording. Soft or distant sounds that were previously impossible to record could now be captured. Volume was now limited only by the groove spacing on the record and the amplification of the playback device. Victor and Columbia licensed the new [[electrical]] system from Western Electric and recorded the first electrical discs during the spring of 1925. The first electrically recorded Victor [[RCA Red Seal|Red Seal]] record was [[Chopin]]'s "Impromptus" and [[Schubert]]'s "Litanei" performed by pianist [[Alfred Cortot]] at Victor's studios in [[Camden, New Jersey]].<ref name=40KYearsMusic/>

A 1926 [[Wanamaker's]] ad in ''[[The New York Times]]'' offers records "by the latest Victor process of electrical recording".<ref>Wanamaker (16 January 1926). Wanamaker's ad in ''The New York Times'', 16 January 1926, p. 16.</ref> It was recognized as a breakthrough; in 1930, a ''Times'' music critic stated:
<blockquote>...&nbsp;the time has come for serious musical criticism to take account of performances of great music reproduced by means of the records. To claim that the records have succeeded in exact and complete reproduction of all details of symphonic or operatic performances&nbsp;... would be extravagant&nbsp;... [but] the article of today is so far in advance of the old machines as hardly to admit classification under the same name. Electrical recording and reproduction have combined to retain vitality and color in recitals by proxy.<ref>Pakenham, Compton (1930), "Recorded Music: A Wide Range". ''The New York Times'', February 23, 1930, p. 118</ref></blockquote>

[[File:78 rpm.jpg|thumb|Examples of Congolese 78&nbsp;rpm records]]
[[File:Gramophone Record Decelith II.jpg|thumb|right|A 10-inch blank for making an individually cut one-off recording made from Decelith, a proprietary PVC-based material produced by a German Company ECW that was used to make commercial flexible blanks prior to World War II<ref>{{cite web|url=https://www.x-rayaudio.com/x-rayaudioblog/2020/7/19/nazi-lathe-cut-discs|publisher=Bone Music|title=Nazi Era Flexi Discs|language=en-US|url-status=live|date=19 July 2020|access-date=6 February 2023|archive-date=6 February 2023|archive-url=https://web.archive.org/web/20230206171259/https://www.x-rayaudio.com/x-rayaudioblog/2020/7/19/nazi-lathe-cut-discs}}</ref>]]
The [[Orthophonic Victrola]] had an interior folded exponential horn, a sophisticated design informed by impedance-matching and [[Loudspeaker enclosure#Transmission line|transmission-line]] theory, and designed to provide a relatively flat frequency response. Victor's first public demonstration of the Orthophonic Victrola on 6 October 1925, at the [[Waldorf-Astoria (1893–1929)|Waldorf-Astoria Hotel]] was front-page news in ''The New York Times'', which reported:
<blockquote>The audience broke into applause&nbsp;... [[John Philip Sousa]] [said]: '[Gentlemen], that is a band. This is the first time I have ever heard music with any soul to it produced by a mechanical talking machine'&nbsp;... The new instrument is a feat of mathematics and physics. It is not the result of innumerable experiments, but was worked out on paper in advance of being built in the laboratory&nbsp;... The new machine has a range of from 100 to 5,000 [cycles per second], or five and a half octaves&nbsp;... The 'phonograph tone' is eliminated by the new recording and reproducing process.<ref>''The New York Times'' (1925-10-07). [https://www.nytimes.com/1925/10/07/archives/new-music-machine-thrills-all-hearers-at-first-test-here-researches.html "New Music Machine Thrills All Hearers At First Test Here".] {{webarchive|url=https://web.archive.org/web/20130510154138/http://select.nytimes.com/gst/abstract.html?res=F00D17FA3F5D13738DDDAE0894D8415B858EF1D3 |date=2013-05-10 }} Front page.</ref></blockquote>

Sales of records plummeted precipitously during the early years of the [[Great Depression]] of the 1930s, and the entire record industry in America nearly foundered. In 1932, RCA Victor  introduced a basic, inexpensive turntable called the Duo Jr., which was designed to be connected to their radio receivers.  According to Edward Wallerstein (the general manager of the RCA Victor Division), this device was "instrumental in revitalizing the industry".<ref>{{cite web |url=http://www.musicinthemail.com/audiohistoryLP.html |title=LPs historic |website=Musicinthemail.com |access-date=10 April 2016 |url-status=live |archive-url=https://web.archive.org/web/20160426151404/http://www.musicinthemail.com/audiohistoryLP.html |archive-date=26 April 2016 }}</ref>

===78 rpm materials===
The production of shellac records continued throughout the 78&nbsp;rpm era, which lasted until 1948 in industrialized nations.<ref>Read, Oliver; Welch, Walter L., ''From Tin Foil to Stereo'', U.S., 1959</ref>

During the Second World War, the United States Armed Forces produced thousands of 12-inch vinyl 78&nbsp;rpm [[V-Disc]]s for use by the troops overseas.<ref>''V-Disc and Armed Forces Radio Catalogue'', Blue Goose Publishers, St Louis</ref> After the war, the use of vinyl became more practical as new record players with lightweight crystal pickups and precision-ground styli made of [[sapphire]] or an exotic [[osmium]] alloy proliferated. In late 1945, RCA Victor began offering "De Luxe" transparent red vinylite pressings of some [[RCA Red Seal Records|Red Seal]] classical 78s, at a ''de luxe'' price. Later, [[Decca Records]] introduced vinyl Deccalite 78s, while other record companies used various vinyl formulations trademarked as Metrolite, Merco Plastic, and Sav-o-flex, but these were mainly used to produce "unbreakable" children's records and special thin vinyl DJ pressings for shipment to radio stations.<ref>''The Amazing Phonograph'', Morgan Wright, 2002 Hoy Hoy Publishers, Saratoga Springs, NY p. 65</ref>

===78 rpm recording time===
The playing time of a phonograph record is directly proportional to the available groove length divided by the turntable speed. Total groove length in turn depends on how closely the grooves are spaced, in addition to the record diameter. At the beginning of the 20th century, the early discs played for two minutes, the same as cylinder records.<ref name=Millard>{{cite book|last = Millard|first = Andre|url =  https://archive.org/details/americaonrecordh0000mill |url-access = registration|page = [https://archive.org/details/americaonrecordh0000mill/page/353 353]|quote = record playing time.|title = America on Record: A History of Recorded Sound|publisher= [[Cambridge University Press]]|date= 1995|isbn = 0-521-47556-2|via =[[Internet Archive]]}}</ref> The 12-inch disc, introduced by Victor in 1903, increased the playing time to three and a half minutes.<ref name=Welch>{{cite book|last1=Welch|first1= Walter L. |last2= Burt|first2= Leah|title =From Tinfoil to Stereo: The Acoustic Years of the Recording Industry, 1877–1929 |publisher= University Press of Florida|date= 1994|isbn = 0-8130-1317-8}}</ref> Because the standard 10-inch 78&nbsp;rpm record could hold about three minutes of sound per side, most popular recordings were limited to that duration.<ref name="WRD-20140711">{{cite magazine |last=Allain |first=Rhett |title=Why Are Songs on the Radio About the Same Length? |url=https://www.wired.com/2014/07/why-are-songs-on-the-radio-about-the-same-length/|date=11 July 2014 |magazine=[[Wired (magazine)|Wired]] |access-date=11 July 2014 |url-status=live |archive-url= https://web.archive.org/web/20140711190729/http://www.wired.com/2014/07/why-are-songs-on-the-radio-about-the-same-length/ |archive-date=11 July 2014 }}</ref> For example, when [[King Oliver]]'s Creole Jazz Band, including [[Louis Armstrong]] on his first recordings, recorded 13 sides at [[Gennett Records]] in Richmond, Indiana, in 1923, one side was 2:09 and four sides were 2:52–2:59.<ref>"Louis Armstrong and King Oliver", Heritage Jazz, cassette, 1993</ref>

In January 1938, [[Milt Gabler]] started recording for [[Commodore Records]], and to allow for longer continuous performances, he recorded some 12-inch discs. [[Eddie Condon]] explained: "Gabler realized that a jam session needs room for development." The first two 12-inch recordings did not take advantage of their capability: "Carnegie Drag" was 3m&nbsp;15s; "Carnegie Jump", 2m&nbsp;41s. But at the second session, on 30 April, the two 12-inch recordings were longer: "Embraceable You" was 4m&nbsp;05s; "Serenade to a Shylock", 4m&nbsp;32s.<ref>Eddie Condon, "We Called It Music", Da Capo Press, New York, 1992, p. 263–264. (Originally published 1947)</ref><ref>Back cover notes, "Jammin' at Commodore with Eddie Condon and His Windy City Seven...", Commodore Jazz Classics (CD), CCD 7007, 1988</ref> Another way to overcome the time limitation was to issue a selection extending to both sides of a single record. Vaudeville stars [[Gallagher and Shean]] recorded "Mr. Gallagher and Mr. Shean", written by themselves or, allegedly, by Bryan Foy, as two sides of a 10-inch 78 in 1922 for [[Victor Records|Victor]].<ref>{{cite web|url=http://www.naxos.com/catalogue/item.asp?item_code=8.120841|title=Hits of the 1920s, Vol. 2 (1921–1923)|website=Naxos.com|access-date=10 April 2016|url-status=live|archive-url=https://web.archive.org/web/20160125145307/http://www.naxos.com/catalogue/item.asp?item_code=8.120841|archive-date=25 January 2016}}</ref> Longer musical pieces were released as a set of records. In 1903 [[The Gramophone Company]] in England made the first complete recording of an opera, [[Verdi]]'s ''[[Ernani]]'', on 40 single-sided discs.<ref name="sandiego1">{{cite web |url=http://history.sandiego.edu/gen/recording/notes.html#cylinder |title=Recording Technology History |website=[[University of San Diego]] |access-date=27 September 2012 |url-status=dead |archive-url=https://web.archive.org/web/20070329065002/http://history.sandiego.edu/gen/recording/notes.html#cylinder |archive-date=29 March 2007 }}</ref> 

In 1940, Commodore released [[Eddie Condon]] and his Band's recording of "[[A Good Man Is Hard to Find (song)|A Good Man Is Hard to Find]]" in four parts, issued on both sides of two 12-inch 78s. The limited duration of recordings persisted from their advent until the introduction of the [[LP record]] in 1948. In popular music, the time limit of {{frac|3|1|2}} minutes on a 10-inch 78&nbsp;rpm record meant that singers seldom recorded long pieces. One exception is [[Frank Sinatra]]'s recording of [[Richard Rodgers|Rodgers]] and [[Oscar Hammerstein II|Hammerstein]]'s "[[Soliloquy (song)|Soliloquy]]", from ''[[Carousel (musical)|Carousel]]'', made on 28 May 1946. Because it ran 7m&nbsp;57s, longer than both sides of a standard 78&nbsp;rpm 10-inch record, it was released on [[Columbia Records|Columbia]]'s Masterwork label (the classical division) as two sides of a 12-inch record.<ref>{{cite web |title=On This Date... |website=Songs By Sinatra |url=http://www.songsbysinatra.com/dates/dates_main.html |archive-url=https://web.archive.org/web/20050403220049/http://www.songsbysinatra.com/dates/dates_main.html |archive-date=3 April 2005 |url-status=usurped |quote=Enter May 28 See bottom. }}</ref>

In the 78 era, classical-music and spoken-word items generally were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, on 10 June 1924, four months after the 12 February premier of ''[[Rhapsody in Blue]]'', [[George Gershwin]] recorded an abridged version of the seventeen-minute work with [[Paul Whiteman]] and His Orchestra. It was released on two sides of Victor 55225 and ran for 8m&nbsp;59s.<ref>{{cite web|url=http://www.redhotjazz.com/pwo.html|title=Paul Whiteman and his Orchestra|publisher=Redhotjazz.com|access-date=19 December 2011|url-status=dead|archive-url=https://web.archive.org/web/20120105004806/http://www.redhotjazz.com/pwo.html|archive-date=5 January 2012}}</ref>

===Record albums===
"Record albums" were originally booklets containing collections of multiple disc records of related material, the name being related to [[photograph album]]s or [[Scrapbooking|scrap album]]s.<ref>{{cite web | url=https://www.swingcityradio.com/2020/01/history-of-record-albums.html | title=History of Record Albums }}</ref>  German record company [[Odeon Records|Odeon]] pioneered the album in 1909 when it released the ''[[Nutcracker Suite]]'' by [[Tchaikovsky]] on four double-sided discs in a specially designed package.<ref name="sandiego1"/>  It was not until the LP era that an entire album of material could be included on a single record.

===78 rpm releases in the microgroove era===
In 1968, when the hit movie ''[[Thoroughly Modern Millie]]'' was inspiring revivals of [[Jazz Age]] music, [[Reprise Records|Reprise]] planned to release a series of 78-rpm singles from their artists on their label at the time, called the Reprise Speed Series. Only one disc actually saw release, [[Randy Newman]]'s "I Think It's Going to Rain Today", a track from his [[Randy Newman (album)|self-titled]] debut album (with "The Beehive State" on the flipside).<ref>{{cite web |url=https://books.google.com/books?id=rAoEAAAAMBAJ&q=reprise+speed+series+78&pg=PA3 |title=Billboard |page=3 |website=Books.google.com |date=25 May 1968 |access-date=10 April 2016 |url-status=live |archive-url=https://web.archive.org/web/20160509232443/https://books.google.com/books?id=rAoEAAAAMBAJ&pg=PA3&lpg=PA3&dq=reprise+speed+series+78&source=bl&ots=-ZCyJJRcW0&sig=cTwDi9bCIo1e4IdEUrHlUSMf1WI&hl=en&sa=X&ei=wje8ULfxE-Ke2AXnsIDACA&ved=0CD0Q6AEwAw#v=onepage&q=reprise%20speed%20series%2078&f=false |archive-date=9 May 2016 }}</ref> Reprise did not proceed further with the series due to a lack of sales for the single, and a lack of general interest in the concept.<ref>{{cite web |url=https://books.google.com/books?id=vQoEAAAAMBAJ&q=reprise+speed+series+78&pg=PA10 |title=Billboard |page=10 |website=Books.google.com |date=23 November 1968 |access-date=10 April 2016 |url-status=live |archive-url=https://web.archive.org/web/20160604013140/https://books.google.com/books?id=vQoEAAAAMBAJ&pg=PA10&lpg=PA10&dq=reprise+speed+series+78&source=bl&ots=6IxRYVYulN&sig=ZbAHOd_NZGev17vrEwzyUb4GuYs&hl=en&sa=X&ei=wje8ULfxE-Ke2AXnsIDACA&ved=0CDsQ6AEwAg#v=onepage&q=reprise%20speed%20series%2078&f=false |archive-date=4 June 2016 }}</ref>

In 1978, guitarist and vocalist [[Leon Redbone]] released a promotional 78-rpm [[single (music)|single]] featuring two songs ("Alabama Jubilee" and "Please Don't Talk About Me When I'm Gone") from his ''[[Champagne Charlie (album)|Champagne Charlie]]'' album.<ref>{{cite web |url=http://www.cool78s.com/Cool_200901.html |title=The Beatles at 78 RPM |website=Cool78s.com |access-date=10 April 2016 |url-status=live |archive-url=https://web.archive.org/web/20160304161608/http://www.cool78s.com/Cool_200901.html |archive-date=4 March 2016 }}</ref>

In the same vein of [[Tin Pan Alley]] revivals, [[R. Crumb & His Cheap Suit Serenaders]] issued a number of 78-rpm singles on their Blue Goose record label. The most familiar of these releases is probably ''R. Crumb & His Cheap Suit Serenaders' Party Record'' (1980, issued as a "Red Goose" record on a 12-inch single), with the double-entendre "[[My Girl's Pussy]]" on the "A" side and the X-rated "Christopher Columbus" on the "B" side.

In the 1990s [[Rhino Records]] issued a series of boxed sets of 78-rpm reissues of early rock and roll hits, intended for owners of vintage [[jukebox]]es. The records were made of vinyl, however, and some of the earlier vintage 78-rpm jukeboxes and record players (the ones that were pre-war) were designed with heavy tone arms to play the hard slate-impregnated shellac records of their time. These vinyl Rhino 78s were softer and would be destroyed by old juke boxes and old record players, but play well on newer 78-capable turntables with modern lightweight tone arms and jewel needles.<ref>{{cite web |url=http://eil.com/explore/guide/vinyl_invention.asp |title=The invention of vinyl records - where it began |access-date=3 April 2017 |url-status=live |archive-url=https://web.archive.org/web/20170404130419/http://eil.com/explore/guide/vinyl_invention.asp |archive-date=4 April 2017 }}</ref>

As a special release for [[Record Store Day]] 2011, Capitol re-released [[The Beach Boys]] single "[[Good Vibrations]]" in the form of a 10-inch 78-rpm record (b/w "Heroes and Villains"). More recently, [[The Reverend Peyton's Big Damn Band]] has released their tribute to blues guitarist [[Charley Patton]] ''Peyton on Patton'' on both 12-inch LP and 10-inch 78s.<ref>{{cite web |url=http://www.bigdamnband.com/peyton-on-patton |title=Peyton On Patton &#124; Rev. Peyton's Big Damn Band |website=Bigdamnband.com |date=5 May 2011 |access-date=10 April 2016 |url-status=live |archive-url=https://web.archive.org/web/20110507125658/http://www.bigdamnband.com/peyton-on-patton |archive-date=7 May 2011 }}</ref>