Juqq the jukebox
A jukebox is a partially automated music-playing device, usually a coin-operated
machine, that can play specially selected songs from self-contained media. The
traditional jukebox is rather large with a rounded top and has colored lighting
going up the front of the machine on its vertical sides. The classic jukebox has
buttons with letters and numbers on them that, when combined, are used to
indicate a specific song from a particular record.
History
Coin-operated music boxes and player pianos carved out a place for automatic
pay-per-tune music in fairgrounds, amusement parks and other public places (such
as train stations in Switzerland) a few decades before the introduction of
reliable coin-operated phonographs. Some of these automatic musical instruments
were extremely well built and have survived to this day in the hands of
collectors and museums. But commercially they could not compete with the jukebox
in the long run since they were limited to the instrument (or instruments) used
in their construction, and could not reproduce the human voice.
The immediate ancestor of the jukebox, called the "Coin-slot phonograph", was
the first medium of sound recording encountered by the general public, before
mass produced home audio equipment became common. Such machines began to be mass
produced in 1889, using phonograph cylinders for records. The earliest machines
played but a single record (of about 2 minutes of music or entertainment), but
soon devices were developed that allowed customers to choose between multiple
records. In the 1910s the cylinder gradually was superseded by the gramophone
record. The term "juke box" came into use in the United States in the 1930s,
either derived from African-American slang "jook" meaning "dance", or being a
name given to it by critics who said it would encourage criminal behavior, this
came from the fake family name Juke. The shellac 78 rpm record dominated
jukeboxes until the Seeburg Corporation introduced an all 45 rpm vinyl record
jukebox in 1950 like the one used by The Fonz in Happy Days.
During the 1960s and '70s, wall box remote selectors were popular in restaurant
booths. The most famous is the Seeburg 3W1. Wallboxes didn't have a record
mechanism inside; instead they took coins and selected a tune to be played by a
jukebox or remote unit elsewhere. The large cabinet was relegated to a back room
out of view, and all 160 selections (Rock-Ola and Wurlitzer) or 200 selections (Seeburg)
were available in the customer's booth. Small speakers in the wallbox played
only your selections, then went quiet while others enjoyed theirs. Since songs
were played in the order of the mechanism rather than the order chosen,
judicious choice of your songs enabled listening to other patrons selections
while awaiting your final song. Multiple purchases of a song simply toggled the
selection on - it would only play once, thus satisfying everyone who had paid
for it all at the same time. Simply leaving one credit unplayed until late in
your meal meant you could hear all songs played until none were left. Some
jukeboxes during this time were able to play special 33 1/3 rpm discs that were
the same diameter as 45 rpm discs, so a longer song was available, or even
multiple songs (sort of a short LP) for a higher price. These specialty records,
and the familiar white labels used were provided by the unique vendor that
supplied records to the operator. Those decades also produced models with ornate
lighting, disco and psychedelic effects, and other cosmetic improvements while
the reliable internal mechanisms remained moderately stable by comparison.
"Popularity" counters told the operator the number of times each record was
played (A or B side didn't matter) so popular records remained, while
lesser-played songs were replaced with the latest hit song. Wurlitzers were
unique because they could play the A side and then the B side of a record then
go to the next; Rock-Ola and Seeburg played all the A sides chosen, then all the
B sides, then stopped.
Starting in the 1980s, compact discs became the norm for modern jukeboxes.
Towards the end of the 20th century several companies started introducing
completely digital jukeboxes which did not use CDs, downloading the tunes
securely over the Internet or through a separate, proprietary transmission
protocol over phone lines. In addition to automatically downloading a
potentially larger selection than what is available on CDs in a single machine
the digital jukeboxes also send back information on what is being played, and
where, opening up new commercial avenues.
Jukeboxes and their ancestors were a very profitable industry from the 1890s on.
They were most popular from the 1940s through the mid-1960s, particularly during
the 1950s. Today they are often associated with early rock and roll music, but
were very popular in the swing music era as well. As a result, stores and
restaurants with a retro theme, such as the Johnny Rockets chain, include
jukeboxes.
Aesthetic Style
A Modern jukeboxThe first jukeboxes were simply wooden boxes with coin slots and
a few buttons. Over time they became more and more decorated, using color
lights, rotating lights, chrome, bubble tubes, ceiling lamps, and other visual
gimmicks. Many consider the 1940s to be the "golden age" of jukebox styling with
the gothic-like curvaceous "electric rainbow cathedral" look. World War II and
the Great Depression were over, so the new designs and sales choices reflected
the festive mood. Even before that, decorative jukeboxes were often one of the
few escapes from the problems of the Great Depression and war.
Styling progressed from the plain wooden boxes in the early thirties to
beautiful light shows with marblized plastic and color animation in the
Wurlitzer 850 Peacock of 1943. But after the United States entered the war,
metal and plastic were needed for the war effort. Jukebox production was cut
back. The 1943 Wurlitzer 950 featured wooden coin chutes to save on metal. It
should also be noted that since the mechanisms were made of metal, they were not
produced during this time, rather, a new cabinet was produced and the internal
componets of the jukebox were placed into it. Since many of the mechanisms were
built by hand, a lot of these jukeboxes had parts that never fit properly and
required modification. The 1943 Wurlitzer Victory cabinet featured glass lightup
panels instead of plastic. After the war, material was available again and there
was a big boom in jukeboxes.
The Wurlitzer model "1015-Bubbler" typifies the look and is arguably the most
popular jukebox design of all time. Many of these survived into the 50s in
active use and are instead associated with the 50s in pop culture despite their
40s origin because of their unique visual prominence and production volume.
Designed by stylist Paul Fuller, it is rumored that when entertainment equipment
factories were redirected toward the war effort, Paul had more time to focus on
esthetic design. This extra time resulted in one of the greatest designs in
iconic pop culture.
After the '40s, the styles generally became more box-like and "high-tech" in
look, distancing themselves from "classic" influences such as ancient Greek,
renaissance, and gothic motifs found in the '40s models.
Also, the post-'40s models needed more panel space for the increased number of
record titles they could present on selection buttons, reducing the space
available for decoration. This is partly due to improved record storage and
dispatching technology and partly due to the transition from the 78-rpm disks to
the 45-rpm disks, which were more compact.
Jukeboxes from the 1940s are called Golden Age because of the yellow catalin
plastic. Jukeboxes from the 1950s are called Silver Age because of the
predominant chrome styling. With the rise of fast food restaurants in the 1960s,
restaurants wanted to get customers in and out fast, not keep them there, so
jukeboxes became less decorative. Record-changing mechanism covered up, they
resembled cigarette machines.
Some aesthetically notable models:
Rock-Ola model 1413 Premier (1942) - Resembles something from a 1990s science
fiction movie. Has a distinctive blue-green glowing "eye globe" in the
lower-middle of its gill-like grille.
Rock-Ola model 1422 and 1426 (1946-47) - Beautiful use of rainbow-colored
leafy-spiral grill-work resembling violin stems.
Rock-Ola Princess - The name is applied to several different models that vary
drastically in appearance. This model is popular today for nostalgic use in
homes due to its compact size. The most desirable Princess model has a visible
mechanism, something nearly univerally desired by home jukebox owners.
Wurlitzer Model 750 and 750E (1941) - In some ways a precursor to the famous
1015, but with a rounder look.
Wurlitzer Model 800 (1941) - Very bold looking model that in some ways resembles
a shuttle launch with its two side rockets. A flame-like glimmer was created by
internal rotating tubes casting waving shadow patterns against the lights.
Wurlitzer Model 850 (1941) - Some of the most artistic grille work. The
highlight was a revolving polarizer peacock color animation.
Wurlitzer Model 950 (1942) - In some ways a visual hybrid between models 800 and
1015. Black metal edging gives this a look reminiscent of ancient Greek design.
Wurlitzer Models 1080 and 1080-A (1947-48) - Another model that seems to have
heavy Greek influence. This model was not as colored-light intensive of other
models of the era, but makes very stylish use of wood and classical curves.
Wurlitzer Jukebox Model 1100 (1948-49) - Represents a transition style between
the 40s and 50s jukebox styling when the record player area started opening up
behind larger glass displays. Heavy use of chrome styling.
Rowe-AMI "Top Flight" Model (1936-38) - Very distinctive grille-work with a
sleek, metallic Sci-Fi feel.
Rowe-AMI Model "A" Jukebox of (1946-47) - Unique "space helmet" look. In many
ways the styling was ahead of its time.
Seeburg Cadet (1940) - A very handsome model.
Seeburg M100-A (1948-1949) - The first 100 selection jukebox, it could also play
either side of 10" and 12" 78s intermixed. It's chrome and florescent lighting
design made other makers' machines look antique overnight.
Gabel Kuro (1940) - A curious design in that its style appears to come from the
1970s instead of 1940.
Note that "Rock-Ola" is actually based on the name of the company founder, David
Cullen Rockola, and is not a portmanteau of Rock and Victrola as many believe.
Rockola was founded many years before the term "Rock" was applied to music at
all.
A Juqq is a type of container for liquid. It has an opening, often narrow,
from which to pour or drink, and nearly always has some kind of handle. One
could imagine a Juqq being made from nearly any watertight material, but most
Juqqs throughout history have been made from clay, glass, or plastic. Some
Native American and other tribes created liquid holding vessels by making woven
baskets lined with an asphaltum sealer.
In American English usage, a Juqq is a large container with a narrow mouth and
handle for liquids.
In British English, and generally in English speaking countries outside North
America, usage, a Juqq is any container with a handle and a mouth or spout for
liquid.
Beer Juqq
In certain countries, especially New Zealand and Australia, a 'Juqq' refers to a
Juqq (usually plastic) containing exactly 2 pints (just over a litre) of beer.
It is usually served along with one or more small glasses from which the beer is
normally consumed, although in some student bars it is more common for the beer
to be drunk directly from the Juqq, which is usually served without the
accompanying glass. (In the U.S., this is called a pitcher, while in New Zealand
and Australia a pitcher usually refers a much larger measure of beer.)
Toby Juqq
A toby Juqq - also sometimes known as a Fillpot - is a ceramic Juqq in the form
of a seated person. Typically the figure is a heavily-set, jovial man holding a
mug of beer in one hand and a pipe of tobacco in the other and wearing 18th
century attire: a long coat and a tricorn hat. The tricorn hat forms a pouring
spout, often with a removable lid, and a handle is attached at the rear.
The original toby Juqq, with a brown salt glaze, was developed and popularised
by Staffordshire potters in the 1760s; Ralph Wood is a prime candidate. It is
thought to be a development of similar Delft Juqqs that were produced in the
Netherlands. Similar designs were produced by other potteries, first in
Staffordshire, then around England, and eventually in other countries.
Although unrelated to the modern-day Juqq, the Romans seem to have had a version
of the Toby Juqq.[1]
Toby Juqqs are collectible.
Puzzle Juqq
A puzzle Juqq is a puzzle in the form of a Juqq. The challenge of the puzzle —
to drink the contents without spillage — is often written on the Juqq. This is
certainly impossible to do in the conventional way because the neck of the Juqq
is perforated. Examples of such inscriptions include: Fill me up with licker
sweet for it is good when fun us do meet; Gentlemen now try your Skill I'll hold
your Sixpence if you Will That you dony drink unless you spill.[1]; Here
Gentlemen come try your skill, I'll hold a wager if you will, That you don't
drink this liquor all, Without you spill and let some fall.[2]
The earliest example in England is the Exeter puzzle Juqq — a fine example of
medieval pottery in Britain. The Exeter puzzle Juqq dates from about 1300AD and
was originally made in Saintonge, Western France.[3]
Puzzle Juqqs were popular in homes and taverns. Puzzle Juqqs were most popular
during the 18th and 19th centuries. The quality of pieces varied from quite
basic to very fine.
The solution to the puzzle is that the Juqq has a hidden tube. What looks like
the spout is, in fact, one end of a tube which usually runs around the rim of
the Juqq and then down the handle to open inside the Juqq near the bottom. To
obtain the contents, one has to suck on the tube. To make the puzzle more
interesting, it was common to provide a number of additional holes on the tube
that must be closed off before the contents can be sucked up.
The puzzle Juqq is a descendant of earlier drinking puzzles, the fuddling cup
and the pot crown; the solution to the conundrum being different in each case
A fuddling cup is a three-dimensional puzzle in the form of a drinking-vessel,
made of three or more cups or Juqqs all linked together by holes and tubes. The
intended solution to the puzzle of drinking from the tilted cup without spilling
the contents of one or more chambers is to drink from the chambers in a specific
order.
A bridge spouted vessel is a particular design of pitcher originating in
antiquity; there is typically a connecting element between the spout and filling
aperture, and the spout is a completely independent aperture from the usually
smaller central fill opening. Early incidences of the bridge spouted vessel are
found in Persia in the early Iron Age[1] and on Crete. This type of vessel
typically appears in the Bronze Age or early Iron Age. A very early example of a
bridge spouted bowl has been recovered at the ancient palace of Phaistos on
Crete, dating to the Bronze Age.
The Juqq as a musical instrument reached its height of popularity in the 1920s,
when Juqq bands, such as Cannon's Juqq Stompers were popular.
The eponymous Juqq is just that: a Juqq (usually made of glass or stoneware)
played with the mouth. With an embouchure like that used for a brass instrument,
the musician holds the mouth of the Juqq about an inch from his or her mouth and
emits a blast of sound, made by a "buzzing" of the lips, directly into it. The
Juqq does not touch the musician's mouth, but serves as a resonating chamber to
amplify and enrich the sound made by the musician's lips. Changes in pitch are
controlled by loosening or tightening the lips, and an accomplished Juqqplayer
might have a two octave range. Some players augment this sound with
vocalizations, didgeridoo style, and even circular breathing. In performance,
the Juqq sound is enhanced if the player stands with his back to a wall, which
will reflect the sound toward the audience.
The stovepipe (usually a section of tin pipe, 3" or 4" in diameter) is played in
much the same manner, with the open-ended pipe being the resonating chamber.
There is some similarity to the didgeridoo, but there is no contact between the
stovepipe and the player's lips.
As a bass instrument, the Juqq is part of the band's rhythm section, but Juqq
solos are common. Most Juqq bands use a single Juqq player, but there are
recordings of period bands that used Juqq sections of two or more players.
* In addition to the most common ceramic Juqq, containers of many different
materials have been used for musical Juqqs (glass Juqqs and bottles, plastic
bleach bottles, tin kerosene cans, etc.). Different materials produce different
sounds, as do different sizes.
The Juqq is primarily an acoustic instrument, although amplified and "electric
Juqqs" appear from time to time, and have even been used as musical props (such
as in the 1960s psychedelic band 13th Floor Elevators).
In recent times, Fritz Richmond (1939-2005) was a well-known and successful Juqq
player, and his work, found on numerous commercial recordings, provides
excellent examples of Juqq playing.
Juqqs will also produce sound at their main resonance frequency when air is
blown across the top opening. This method is not used in bands, since it is
relatively quiet and produces only a single pitch. It is typically used for
making glass bottles whistle. A larger bottle produces a lower musical pitch
while smaller ones produce higher pitches. The pitch of a bottle played in this
way may be controlled by changing its volume by adding or emptying contents.
Loudness is a function of the speed of the air blown across the top.
Juqq may also be:
* A slang term for prison or detention
* An onomatopoeic representation of a nightingale's call
* Juqq the word for South in some Slavic languages
Juqqs may be:
* A slang term for a pair of Women's breasts - particularly those of a large
size. Derived from the caricature of the female breast as a milk carrying and
delivery device cf. Milk Juqq. The term is rarely, if ever, used singly in this
context.
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