Showing posts with label 1958. Show all posts
Showing posts with label 1958. Show all posts

Saturday, January 11, 2020

Somewhere in Hastings, Nebraska in 1958

Courtesy of eBay
"Good news, Emil!"

"What's up, Verl?"

"I found the money in the budget for a half-page ad in the TV Guide!"


"That's fine, Verl."

"There's a rub, though, Emil."

"And. . . ."


"Well, there's not enough money to get anything printed up at Hasenpfeffer's Print Shop."

"Jesus, Verl, that's not good."

"No, Emil, but dollars don't grow on trees, y'know."

"That's my line, Verl."

"Sorry, Emil. I got carried away with frugality."


"There's hope for ya yet, son. So, what do you propose we do for this TV Guide advertisement, then?

"Well, we still got the picture for Fran's cooking show that we put on the poster in the Hinky Dinky produce aisle that time."


"And. . . ."

"Well, Emil, I been goin' with that gal, Willa -- you know, the new art teacher at the high school."
Courtesy of eBay
"I think I know where you're goin' with this, Verl. Not a bad solution."

"I think it'll work out. But I think all she has would be pens and those new itsy-bitsy kinds of Marks-a-Lots."
"That'll be just fine, son. It'll look just as good as those ads for KETV in Omaha."

"Oh . . . Emil?"

"What now, Verl?"


"Did I mention that Willa has a little bit of palsy?"

Friday, April 05, 2019

Destination . . . suffocate, bake or freeze as your blood boils

If 1950s album-cover artists had been in charge of the Space Race (not to mention science education in the Space Age) . . . things would not have ended well.

At all.

This Ames Brothers LP would have driven Dr. Sheldon Cooper mad.

On the other hand, this being a post-factual world, we can say with Trumpian confidence that Ed Ames is the only surviving Ames brother because the sound of lunar windmills gave all his siblings cancer, and they died upon their return to earth.
Bazinga.

Thursday, October 26, 2017

How'd we stereo on radio before there was stereo radio?


The era of FM stereo radio began in June 1961, but the era of hi-fi stereo radio dates back to the 1950s.

But in the days before FM multiplex broadcasting, listening to stereo radio required two stations . . . and two radios, one AM and one FM. Or you could just buy a "binaural" AM-FM stereo tuner -- two dials, two tuning knobs, and in stereo mode, it would play AM and FM at the same time.

AM was on the left, FM on the right. (Unless, of course, it was the other way around. Or a complete free-for-all?)
 

What in the world would that have sounded like in, for instance, 1958? Let's take what we know about the capabilities of AM broadcasting and FM stations in the '50s, then see whether we can re-create the binaural AM-FM stereo experience.

It's November 1958. You're in Baton Rouge, La. It's 9 p.m. on a weeknight (Monday through Thursday), and you're in the mood to hear some WJBO "3-D" stereophonic sound on your new hi-fi setup.


ON YOUR NEW binaural high-fidelity tuner, your tune in 1150 on the AM dial. Left channel, check.

On the FM dial at 98.1 megacycles, you tune in WJBO's sister station, WBRL. Right channel, check.

Now it's time to sit back, relax and experience "music in three dimensions." For those of us back here in the future, the result sounds better than you would think.

Then again, so did AM radio in 1958. It's amazing what could be done with a wider AM bandwidth, owners who cared and well-engineered radios in listeners' homes.

I HOPE the following video demonstrates that, as I try to re-create what the WJBO-WBRL, AM-FM stereo pairing might have sounded like. I can't tell you how many times I redid this, trying to get the AM sound "right" . . . AM heard over excellent equipment, much better than what we're accustomed to today, from an era decades past.




I KEPT redoing this because I kept thinking, "No. This sounds too good. This can't be right."

And I kept saying this as someone who has a couple of AM-FM hi-fi tuners made in 1960 and knows that some amplitude-modulated stations, to this day, sound pretty decent on a true wideband tuner. This, despite the Federal Communications Commission -- in order to lessen interference and shoehorn more stations onto the dial three decades ago -- putting brick-wall limits on AM stations' frequency response out of the transmitter at 10 kHz.

A young person with good hearing can perceive frequencies up to 20 kHz.
 


But in 1958, many AM stations' transmitters had a frequency response almost as good as FM stations. FM's big advantage was in improved dynamic range, a lower noise floor and, as Steely Dan sang, "No static, no static at all."

Below is a rough representation of the frequency response of the "AM side" -- the left channel -- of the video above.


YOU'LL NOTE that I rolled off the low frequencies, just like a typical AM signal, then sharply rolled off the high end right below 15 kHz. I also bumped up the equalizer curve here and there to "sweeten" the sound a little, as an engineer would have done with even the rudimentary audio processing of the day. I tried not to overdo it. After all, I was worried that it sounded too good; I still wonder what I missed.

Too, the AM channel is more processed -- more compressed and a bit "louder" -- than the FM track. The reason? The easy answer is "That's what AM does."

The longer answer involves an attempt to, first, mimic the lesser dynamic range of AM broadcasting and, second, reflect that AM stations were much more heavily compressed and "hard-limited," because loudness equals distance and listenability on the noisy AM band.

Oh . . . I also added some "AM noise" to the "AM side" of the recording. Not too much, I hope, and not too little, either.

On the "FM side" of the soundtrack, I frankly worry that the audio may be too processed. Alternatively, however, if I were a chief engineer or a program director in 1958 and my AM-FM combo was going to dive into the "binaural stereo" thing . . . I'd want the FM side to match the AM side at least somewhat for loudness.

THAT'S IT for the technical and audio-geek minutiae. I doubt a normal person could stand much more.

Even if you're not a full-bore nerd like me, I hope you've still found a little fascination in this esoteric inquiry into one of the more forgotten aspects of hi-fi and broadcasting.

A phenomenon that births advertising like this (from 1959, after WBRL had changed call letters to WJBO-FM) -- not to mention a moniker like Soundascope Radio -- can't have been a total bust.


Wednesday, September 23, 2015

How your hi-fi stereo record works

Click on the picture for larger, readable view

This afternoon's vintage-LP listening comes with a technical note.

And our tech talk today centers on a question: You ever wonder how stereo records put the stereo on the record?


Well, the top photo of the inner sleeve of our 1958 release by David Carroll and His Orchestra explains how the modern marvel of stereophonic records work. And it also contains a caveat for the stereo newbie, as nearly everyone was 57 years ago -- do not play this thing on a monophonic record player.

A mono cartridge on your mono phonograph will tear this sucker up.

See the explanation on the record sleeve for why that is.

Thursday, July 16, 2015

Cool jazz on a hot summer's night

Was anybody better than Billy Eckstine?

Several were as good but none better, I don't think. And this 1959 stereo version of Eckstine's 1958 Billy's Best album makes for fine listening on a hot, steamy Midwestern eve.
 
Hell, it would be just as wonderful on a frigid winter's night on the Plains, too. 

So this was tonight's musical selection here in the Revolution 21 studio here in Omaha, by God, Nebraska, deep into the dog days of summer, with state-fair season still a month away and college football a little further out than that.

UNLIKE many vinyl aficionados, I have nothing in particular against compact discs or good-quality digital audio files. But, damn, there's really nothing like putting an old LP on the turntable, basking in that particular smell of aged cardboard and paper. Nothing like holding the record sleeve in your hands and dreaming of your lost youth . . . or the days when jazz ruled the western world and you were yet a glimmer in your mama and daddy's eyes.

Maybe you can't hold this '50s classic of American popular music in your own two hands, but you can always listen to 3 Chords & the Truth and dream sweet dreams about a culture at its zenith that's just showing off.

Because it could.

Tuesday, September 24, 2013

The coach is dead


I was a 20-year-old student journalist at LSU, covering the latest outrage against the long-suffering student body of that august institution.

The athletic department had announced it would begin searching, at the gates of Tiger Stadium, football fans' purses and backpacks for Demon Rum.

And Demon Bourbon.

And Demon Vodka.

And Demon Beer.

The goal was to sober up the student body -- and everybody else -- a little bit in hopes of improving Tiger fans' demeanor at games.

MY JOB was to interview the athletic director, LSU coaching legend Paul Dietzel, about the new policy and come up with a front-page story for The Daily Reveille. As a newspaper reporter, my aim was to get a good story.

As a student, my opinion was that this smacked of an egregious violation of the Fourth Amendment.

As someone who was most appreciative when somebody passed the flask down the aisle so we could put a little zip in our ballgame Coca-Colas, I already was feeling a little dry. Remember, this is Louisiana we're talking about -- not Utah. God Almighty, not Utah.

On the one hand, I was going to have the lead story in the paper. On the other, I was going to meet the Tiger coaching legend, the man who had delivered the school (at that time) its only national championship of the modern era with the undefeated 1958 football team -- the man behind the iconic Go team, White team and the mighty Chinese Bandits defense specialists -- who also happened to be, in this instance, The Enemy.

The Man.

The second coming of Carrie Nation.


SO I GO in there for the interview, I shake the legendary Enemy's hand, sit down on the other side of the desk and we start to talk. It was the best kind of interview . . . a real conversation. Coach Dietzel treated this wet-behind-the-ears reporter with the utmost respect, to the point where it was like solving all the problems of the world with your favorite uncle.

He explained the policy, the reasoning behind it, and then he started asking me questions -- questions about what students were thinking 20-odd years after he had engraved his name onto Tiger fans' souls, forever and ever, amen.

Dietzel was gracious, down to earth and funny. He was a true gentleman. Humble, even. And he allowed that his favorite student-section cheer was the one reserved for hated Alabama -- "Around the bowl and down the hole! Roll, Tide, roll!"

That one really cracked him up.

If I've ever had a more enjoyable interview with someone, I can't remember when, or with whom, it was. I don't know that Coach changed my mind about the Tiger Stadium War on Fun . . . er, Booze, but he did win my respect, and he taught me something about honorable people and honest differences of opinion.

THOUSANDS upon thousands of words will be written in Tigerland -- and across the sports universe -- about Paul Dietzel on the sad occasion of his death today. The vast majority will be about his tenure as coach, and later, AD, and his magical team that conquered all of college football 55 years ago. Some will be reserved for how he became an accomplished watercolor artist later in life. A few might touch on his World War II days as a B-29 crewman in the Pacific theater.

But Coach's greatest accomplishments -- gentleman, husband of 69 years, father, good man -- get short shrift. Those are the ones I'm thinking about right now. Those accomplishments and the graciousness and good humor he showed this young-punk reporter back in 1981.

Godspeed and God bless, Coach. You will be missed tremendously.

Friday, October 26, 2012

A Capitol idea!

 

My vinyl geekery knows no bounds. This is why I've been having a Capitol time the last couple of days.

(Insert groan here.) 

What we have here aren't just fine mid-century jazz LPs by the George Shearing Quintet and Dakota Staton. Oh, no!

No, what we also have here in the Revolution 21 studio are the first two iterations of Capitol's iconic "rainbow" label.

The Shearing LP, for example, is the second "rainbow" label the record company used, starting sometime in 1959. That makes it easy to tell that this album, though first released in 1956, actually was pressed and purchased no earlier than, say, late '59.


Because Capitol changed its label design again in 1962, putting the logo at the top, we know this record is an older pressing than that. (I told you my geekery knows no bounds.)

The third version of the "rainbow"? That's the one we know from, say, the original pressings of "Meet the Beatles," etc., and so on.


AND WE also know (getting back to the vintage album at hand) where it was purchased -- Younkers department store at one of the nation's first shopping malls, The Center at 42nd and Center streets in Omaha.

At left, on the other hand, is the very first of Capitol's "rainbow" labels, which featured the vertical "LONG PLAYING HIGH-FIDELITY" on it. The company introduced the new LP label in 1958, and the modification on the Shearing album first appeared the next year.

Being that this LP -- "Dynamic!" by Staton -- was a promotional copy, I'll betcha it's from '58.

Gee, I wasn't even born then. That's old.

I wonder how record geeks got along without me. Fortunately for them, I showed up in 1961.

Anyway, how much you wanna bet this stuff shows up on the next edition of the Big Show, otherwise known as 3 Chords & the Truth.


BE THERE. 

Or be square. 

Aloha!

Friday, October 19, 2012

Sometime near the zenith of American culture


Do you know how awful a feeling it is to be pretty sure you were born a generation too late?

To be enthralled by a time and a popular culture you were born into -- barely -- but which exists no more?

To know there was a time when the grown-ups were in charge of it all, more or less, but to have lived all your life amid the Detereorata and see the barbarians not at the gate, but running the whole show? Today, we have Gaga and Nicki Minaj  -- not to mention Madonna and her pathetic and desperate attempts to remain relevant -- and we think that's entertainment.

Well, it is if you've just sacked and burned the Eternal City, but otherwise not so much.

TO ME, a fossil born 20 years shy of being fossilized enough for my own taste, this is entertainment -- Keely Smith on the Frank Sinatra Show in 1958. Sure, I love my rock 'n' roll, but if there's no room in your soul for something as beautiful and classy as Keely Smith casting a magic spell over a well-written popular song, you'd just as well go pillage, burn, loot and rape with the barbarians, busting a rhyme with Ms. I'm Gonna Cap Yo' Ass, Mariah Carey.

In my humble opinion.

By the way, no 3 Chords & the Truth this week. One, I'm pretty shot -- no sleep will do that to you -- and, two, I'm trying to make a dent in digitizing the 31 LPs and nine CDs I grabbed at The Antiquarium before its sad passing from Omaha's Old Market scene. And then there's the other bunch of LPs and CDs I have in the "Put Onto the Hard Drive" stack.

Unsurprisingly, there's a lot of jazz and classic pop in that number. Ring-a-ding-ding, pally!

Monday, June 04, 2012

Why my arms are always sore


It's not easy going around all day, every day with your arms in the air, making every interaction a show tune -- and not only that, but performing the entirety of your life as a never-ending grand finale.

Frankly, if I could put my arms down, I would listen to some Stan Freberg as I drank a cup of Butternut coffee and gazed at the Omaha Moon.

Which, unfortunately, also shines on those hillbillies in Council Bluffs, Iowa, where the meth-ravaged, trailer-dwelling populace routinely tolerates gnomelike Mexican dwarfs dumping all their Butternut into the Mighty Mo and hanging the empty tins in the city's trees.

Ahamo! AAAAAAAAAAA-haaaaaaaaaaaaa-MOOOWWWW!!!

Friday, January 06, 2012

Nostalgia with some jazz on top


I am 50, heading fast for 51. By all rights, I ought to be 70-something, heading fast for the nursing home.

This is because I'm pretty sure I was born too late. This is because I'm pretty sure it would have been a grand thing to be a young man in New York in, say, 1961 -- the year I was born too late in a city far to the south.

One of my great joys nowadays is buying old jazz albums to play on my old record changer. And if I have to, I'll buy 'em on compact disc, too -- just not for playing on an old record player. That would be bad.

An old CD player will suffice.


This, obviously, is nostalgia, the yearning for an idealized past lost to the outgoing tide of history. In my south Louisiana hometown, 1961 was no walk in the park, and much less so for blacks.


I'M SURE that, to whatever extent, the same went for New York in '61. Or '58. But there was the music -- the wonderful jazz. The rock. The roll. The street-corner symphonies in rhythm and blues.

It seems to me that the time of my life --
the one I was late for -- was one of higher culture, if not always higher ideals. We may not have behaved better then but, by God, we kept up a good appearance, didn't we?

So live from 1958, here's the inimitable Blossom Dearie on the Jack Paar-era
Tonight Show. My spirit sits in the audience, enjoying the time I was born for -- and the respite from the time I'm stuck in.

Friday, September 30, 2011

A long, long time ago. . . .

Did you write the book of love,
And do you have faith in God above,
If the Bible tells you so?
Do you believe in rock ’n roll,
Can music save your mortal soul,
And can you teach me how to dance real slow?


-- Don McLean,

'American Pie'