Apocalylpse of Music: Boom Box vs Walkman

Before the Apple iPod there was the walkman, the first portable cassette player that had been introduced before the iPod was even a thought. It came out 1980’s selling around 200 million units all together. While it is not hard to imagine how this small technological advance changed how individuals experienced music it also formed a different kind of racism which hadn’t been seen till then. The cassette was created because the co-founder of Sony, Masaru Ibuka, travelled extensively and found it taxing to carry around a bulky cassette recorder in order to have the joy of experiencing music on the go. It was from here that the walkman was created not only giving you portable music but also giving you privacy to listen to music of your choice. The walkman not only gave individuals the right to enjoy music on their own it also created competition for the boombox which had been introduced mid-1970’s. Not only was this competition which destroyed the popularity of the boombox it also created discrimination among the users of both products. Society considered those that used the boombox as primarily being used by the Hispanic and African American urban youth while the walkman was used only by those that could afford it. Not only is there a racial aspect when talking about the walkman there is also a societal issue in which many believed it contributed to individual users becoming antisocial and isolated from other individuals. In my paper I will be explaining the history of the walkman which includes the history of the boombox. I will also be explaining that while it is believed that those that used the walkman developed antisocial characteristics it is not completely fact because the individuals made every attempt to make for the antisocial behavior and united society in their own personal experience of music.

In order to fully understand the walkman we must first understand the technology that came before it, the boombox. We must first understand what the boombox actually started out as which was “a large portable radio and often tape deck or CD player with two attached speakers” . The boombox had been originally created by a Philips company in the Netherlands and was first introduced to the American market in mid-1970’s. It is when the boombox first hit the American market that more than 60% of all households had at least one which is astounding considering the fact that it was a tool meant purely for entertainment. The main reason for the creation of the boombox was so that music could be recorded from the radio on a cassette without the need of a microphone. Also they were created because buyers wanted to be able to listen to music louder and that had more to offer than radios. Not only did it give individuals the opportunity to record music straight off the radio it also gave them the opportunity to edit that music by messing around with the bass, treble, and midrange. The boombox had the advantage of having high fidelity while also being cheap and having the capability of producing sound at “120 db at close range, which is equal to the deafening roar of a jet engine” . It was the editing and recording capability that caused the boombox to be as big as it was originally was because it required big speakers, a cassette deck, the radio receiver, and it needed up to 10 D-sized batteries to work. This technological made it easy to share music between each other and it also made it easier for individuals to get their hands on the music they wanted. It became a symbol for sharing music and mixing the latest sounds. It was as the popularity of the boombox grew so did the want for louder and heavier bass grew. This is the reason that boomboxes kept getting bigger and bigger even to the size of a suitcase and became known as a Brixton briefcase. From the time of its creation to the ending of its reign as hip-hop king the boombox was created to include detachable speakers, a keyboard synethizer, and even a motion detector they would sound when it was moved on some of the most expensive boomboxes.

The boombox not only changed the capabilities of recording and editing music it also created a culture of public music sharing whether the individual wanted to or not. It was “the portability and low cost of the boom box” that made it difficult to avoid. They shared music in one of two ways making copies of cassettes for other people or individuals who had to listen to the music in public that didn’t necessarily want to. It also gave you the choice to publically share your music or to plug your headphones in and enjoy your music in private. But along with all the technological advances that came with the boombox the heavier and larger it became. When looking back the boombox became more than a symbol for music but also a symbol of status among the young urban community. The bigger, louder, and flashier the boombox the more attention and respect someone would have earned. It was because of how cheap and easy it was to get a boombox that it became closely linked to “inner-city African American youth” .
It is no coincidence that as the popularity of the boombox grew so did the popularity of hip-hop and rap. Rap was founded on the concept of taking someone’s original musical work and superimposing other sounds and or noises on to it . The way this was done was by the
“use of their turntables as musical instruments: they slowed down and speeded up the disc, they rubbed their fingers on the surface to produce tremolo, and they scratched the surface of the disc with the needle, not randomly but rhythmically – making it part of the music” .
It was from here that the music was recorded onto cassettes because of the wide availability of the boom box and because it was easier to record to because everyone understood how. It is with the growing popularity of hip-hop that the sales of the boombox grew and was adopted by many hip-hop celebrities as their signature item such as the Beastie Boys and LL Cool J. The reason the boombox became popular in the hip-hop industry was because it represented something that could instantly start a party and because it was accessible to anybody. Another reason to the popularity was the fact that it wasn’t merely just something to listen to music on it was

It was once the walkman was introduced that the popularity of the boombox dissipated. This technology not only created competition for the boombox but it also destroyed any future it would have had. The walkman was mass produced so individuals not only had the right to portable music but also giving them the option of listening to music of your own choice in private. The walkman was first introduced in 1980 to the American market and when it was first introduced Sony marketed it as the walkman being fashionable and culturally definitive. By marketing it as such it states that the owner was up to date and is financially stable enough to afford the commodity before it became cheaper.

Ham Radio at the 2014 Maker Faire

maker faire 2014

Recently I visited the 2014 Bay Area Maker Faire in San Mateo, California. If you haven’t been to a Maker Faire yet I highly advise you try it out. The event is a gigantic convention of hobbyists, craftsmen, artists, professionals, and tinkerers. The festival is an exhibition of extreme variety. From the fire-spewing art cars of the Burning Man crowd to the latest in 3d printing technology, the Maker Faire is sure to have something that will float your boat.

Official website

 

Amateur Radio at the Maker Faire:

There was a good showing of amateur radio groups, exhibits, and projects at this year’s Maker Faire. Continue reading

The Early Career of Bill King

Having to describe the actions on the field of play during a sporting event can be a daunting task. To pull tougher the words to describe something that has never happened before during a game can be sometimes impossible. It is even harder to capture the magnitude of the moment and the reaction from the crowd. This is what is expect from sports broadcasters on a daily basis. They are expected to tell their listeners what is happening on the field and place them in the action. The best of the best can even capture the emotion of the plays and the crowd. This ability can be lost on many in the sports broadcasting. However the legends do is effortlessly. One of the biggest legend in Bay Area sports broadcasting is easily Bill King. Continue reading

Spotify Bibliography and 3 pg Excerpt

Bibliography

Breen, Christopher. “Spotify Reaches U.S. Shores.” Macworld 28, no. 10 (October 2011): 68-69. Academic Search Complete, EBSCOhost (accessed May 15, 2014).

Dvorak, John C. “Spotify: A Revolution in Music.” PC Magazine (March 2012): 1. Academic Search Complete, EBSCOhost (accessed May 15, 2014).

Edward C., Baig. “Spotify hits the music-streaming spot.” USA Today, n.d., Academic Search Complete, EBSCOhost (accessed May 15, 2014).

Gaylord, Chris. “Spotify, iTunes, Pandora: How music-streaming services compare.” Christian Science Monitor, March 2014., N.PAG, Academic Search Complete, EBSCOhost (accessed May 15, 2014).

Haupt, Jon, and Anne Shelley. “Spotify.” Notes 69, no. 1 (September 2012): 132-138. Academic Search Complete, EBSCOhost (accessed May 15, 2014).

Knopper, Steve. “Coming to America: European Streaming Sensation Spotify.” Rolling Stone no. 1087 (September 17, 2009): 20. Academic Search Complete, EBSCOhost (accessed May 15, 2014).

Newman, Jared. “The Biggest Problem with Spotify Is Being Fixed Now.” Time.Com (April 4, 2014): 1. Academic Search Complete, EBSCOhost (accessed May 15, 2014).

Pham, Alex. “Spotify Snaps Up The Echo Nest As Multibillion IPO Talk Heats Up.” Billboard 126, no. 10 (March 22, 2014): 6-7. Academic Search Complete, EBSCOhost (accessed May 15, 2014).

Rich, Mari. “Daniel Ek.” Current Biography 73, no. 3 (March 2012): 15-21. Academic Search Complete, EBSCOhost (accessed May 15, 2014).

Spotify:  The New Radio?

These days, it is quite arguable that Radio is a dying art form. Entertainment has changed drastically in the last century; TV programs like The Tonight Show with Johnny Carson diminished the entertainment value of radio programs, and now, contraptions like the Roku or Chrome Cast are taking over our living room TV sets. Radio had to evolve, and so it did, switching to its primary function now as a music broadcasting entity. However, now that technology has evolved even further, radio’s function has been almost rendered obsolete by the internet and the availability of music it provides. You no longer need to wait for a single to come out on the radio to hear it – many artists will release it on YouTube first and then as a single on Spotify shortly after, much like Lana Del Rey did when she released her new single “West Coast” at the beginning of April of this year.  Streaming services like Pandora or Spotify provide thousands of songs at the push of button, and these services tailor-make these selections for users. Spotify is of particular interest, as it is still a private company with no shareholders. Despite this, the app has millions of users who not only use the app to create playlists, but also use it to connect to Facebook and share what they are listening to with their Facebook friends – all for free. This streaming service has seems to have evolved from simply streaming to its own mini social media app of sorts, all revolving around music. It is arguably changing the way that we listen to music.  While these services are convenient and are definitively pushing radio aside, it begs the question: is this radio? Furthermore, will streaming services like Spotify kill radio for good?

Daniel Ek and Martin Lorentzon of Sweden came up with the idea for Spotify in 2006 to provide an alternative to music piracy and to give users the ability to listen to “…whatever they want, whenever they want, where ever they want.” Ek, coming from a music-oriented family, decided to go into technology, eventually combining both interests to come up with Spotify. It officially launched in 2008 to much acclaim. Spotify became extremely popular all over Europe, namely Sweden, France, the UK, etc, making its way to different countries until finally, after long deliberations with record companies all over the U.S.,  it was introduced to the American market in July of 2011.

Spotify is essentially a music streaming client application that you download onto your computer to gain access to a library of millions of songs. Users can either use the app for free, with restrictions on stream time and ad use, or subscribe to the service as either an Unlimited or Premium member with benefits such as no ads, unlimited stream time, ability to download songs straight from the client, and high quality bit rates for songs. Users can create multiple playlists of their favorite songs to take anywhere with them, and even discover new music and “star” those songs as a way to bookmark them. You can also listen to other people’s playlists and share them directly from the app, or even add a playlist to a blog or website using an html plug in. The way Spotify works has changed over the years, however. At its inception, Spotify users were required to have a Facebook account to create their Spotify account, with the ability to decide how linked you wanted your accounts to be. You could limit what your friends see you listening to and what you shared. Fortunately this is no longer the case, though you can still link your Spotify account to other social media apps like Twitter. Furthermore, to use Spotify as a free user, you had to be invited to use the app through another user, otherwise you would have to pay for a subscription from the get go. The ability to make a general library entitled “My music” was also previously unavailable, only allowing for the creation of playlists and starring songs. Users can also create “radios” based on an artist or genre, much like the way Pandora or iTunes Radio works. The app’s mobile counterpart has also undergone quite a few changes as well. Continue reading

Wild Wild Wireless: anarchy on the air

At the dawn of radio communication nobody believed the technology would be used for anything besides point to point communication such as ships relaying positions to each other or sending a nice telegraph to your grandmother on the other side of the country. The idea of broadcasting ideas, music, culture and opinions to a large audience of people who would listen was unheard of. Thanks to the unorthodox ideas of men like “Doc” Harrold, Reginald Fessenden, Lee de Forest, and the passion and curiosity of amateur radio operators, broadcasting became a widespread, and unique medium. The rise of broadcasting also brought along the question of regulation. Who would control the air? What rights did commercial wireless services have to their trade? What rights did the amateurs or “hams” have to explore their passion? Who owned the ether? Could anyone even claim to own the air through which electromagnetic waves traveled? These questions became more and more complex and numerous as time went on and technology advanced. The United States government in cahoots with corporate interests decided what they wanted to do with broadcasting, creating laws and regulations to squeeze independent thought and expression off of the airwaves, but that did not stop the rebellious from pursuing the dream of civil anarchy in the air, the free use of radio broadcasting for discourse, opinion, music, culture, or really whatever the heck they wanted to do. Ever since the inception of broadcasting a battle has been fought between those entities who think they have power over the airwaves and those who know that despite whatever claims to power there are, nobody can truly own something as communal as the air.

https://www.youtube.com/watch?v=H0kJLW2EwMg

In a series of posts on this blog I will be examining the early beginnings, development, and current state of conflict between government and commercial entities and those who battled them to broadcast. I will cover a brief history of the laws and regulations that restricted broadcasting, creating the radio rebels, as well as the history and importance of some of the significant broadcasters who operated despite the government’s efforts. I will also shortly cover some of the equipment and setup of rebel broadcaster, as well as the struggles they face.

Here is a tentative map of the posts, each main section 1-5 being an individual blog post. I think splitting the information into these separate sections will better organize the topic, making it digestible, as well as providing quick reference for specific subsections of the topic.

Wild Wild Wireless

Pirate Radio in the United States

Sections:

  1. Beginnings of radio:

    1. Pre-broadcasting

    2. Hassle with the Hams

    3. Broadcasting

  2. The Laws:

    1. The Radio Act of 1912

    2. Radio Act of 1927

    3. General Order 40

    4. Bandwidth Battles

  3. Tools of the Trade:

    1. Spark Gaps and Early Transmitters

    2. AM transmitters

    3. FM transmitters

    4. Power Requirements

    5. Antennas

  4. Notable Outlaws:

    1. George Fellowes

    2. RKXR

    3. Falling Star Network

    4. WCPR & WFAT

    5. 87X

    6. Radio Free Berkeley

  5. Contemporary Pirates

    1. Radio Free Berkeley

    2. Freak Radio Santa Cruz

    3. Cat and Mouse: Avoiding the FCC

Please note: sections may change or be edited for content and organization as I decide.
https://www.youtube.com/watch?v=HPF2S2KD5Tw

Term Paper Bibliography – Oliver Pinnell

I will be doing my term paper on the resurgence of vinyl records in recent years. My thesis so far is that this resurgence is due to several factors: record collectors, audiophiles, DIY artists, and the fetishism of vinyl as a nostalgic format. Here is my bibliography as of today; lots of books, but I’m hoping to add more and more articles and journals as time goes on.

Bibliography

 

Meditations on the Death of Vinyl by Bernardo Alexander Attias (article)

Record Store Days: From Vinyl to Digital and Back Again by Gary Calamar (book)

Record Store Day: Just How Big is the Big Vinyl Resurgence by Ed Christman (article)

Record Store Day Surfs in on a Wave of Vinyl Mania by Dan Deluca (article)

Vinyl Record Sales Have Hit Their Highest Point Since 1997 by Caitlin Dewey (article)

The Vinyl Countdown: The Album from LP  to Ipod and Back Again by Travis Elborough (book)

Record Store Day: Vinyl is Making a Comeback by Jim Harrington (article)

Weaned on CDs, They’re Reaching for Vinyl by Allan Kozinn (article)

Vinyl Junkies: Adventures in Record Collecting by Brett Milano (book)

Wax Trash and Vinyl Treasures: Record Collecting as Social Practice by Roy Shuker (book)

The Baffling Revival of the Vinyl LP by Peter Weber (article)

 

Bill King and His Impact on Bay Area Sports: Bibliography

Bill King was the voice of Bay Area sports for a generation. He announced games for the Oakland Raiders, Oakland A’s, Golden State Warriors as well University of California Golden Bears football and basketball games.

What was his impact on Bay Area sports and broadcasting? To answer this I will be referring to the following sources:

Holy Toledo: Lessons From Bill King, Renaissance Man of the Mic

Remembering Bill King

Holy Toledo Book Press Article

San Francisco Chronicle Announcement

Bill King denied the Frick Award again

Fan Tributes to Bill King

Bay Area Radio Museum Interview with Bill King

These are just a few of the articles and books I plan on using.  My goal is to email current Bay Area broadcasters about this project and ask them how Bill King influenced their work.  Hopefully their insights will provide more clues to the impact of Bill King.  I know personally his call of the 20th game walk off home run in “The Streak” will live with me forever.  I was in Middle School in 2002 and remember his call of that play to this day.  Hopefully this project and its contributors will shine light on his impact he had on every sports fan in The Bay.

Our favorite musical covers

Here are some of History 117a’s favorite music covers!

All Along the Watch Tower, Jimi Hendrix covering the original by Bob Dylan

Hurt by Nine Inch Nails, covered by Johnny Cash

My Favorite Things, Rogers and Hammerstein, performed by Me First and the Gimme Gimmes.

Filler by Minor Threat, covered by Slayer.

I Can’t Explain, by The Who, covered by David Bowie.