VTG LUCITE MID CENTURY MODERN MCM RECORD STORAGE BIN DISPLAY STAND VINYL ALBUMS

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VINTAGE / MID CENTURY MODERN / MCM

LUCITE ACRYLIC CUBE

PERFECT FOR VINYL RECORD STORAGE

MEASURING ABOUT 14" X 12" X 14"

SHOWS SOME SURFACE WEAR

OTHERWISE VERY GOOD FOR DISPLAY

BIN CAN ALSO DOUBLE AS A RECORD PLAYER STAND

C.1960 - 1970

UNKNOWN MAKER

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FYI

Kitsch (/ˈkɪtʃ/; loanword from German) is a low-brow style of mass-produced art or design using popular or cultural icons. Kitsch generally includes unsubstantial or gaudy works or decoration, or works that are calculated to have popular appeal.

The concept of kitsch is applied to artwork that was a response to the 19th-century art with aesthetics that convey exaggerated sentimentality and melodrama. Hence, kitsch art is closely associated with sentimental art. Kitsch is also related to the concept of camp, because of its humorous, ironic nature.

Kitsch is usually used to reference decoration; for example "the living room was decorated in cheap 1950s style monster movie kitsch."

Origin and background

As a descriptive term, kitsch originated in the art markets of Munich in the 1860s and the 1870s, describing cheap, popular, and marketable pictures and sketches. In Das Buch vom Kitsch (The Book of Kitsch), Hans Reimann defines it as a professional expression “born in a painter's studio”.

Characteristics

Hermann Broch argues that the essence of kitsch is imitation: kitsch mimics its immediate predecessor with no regard to ethics—it aims to copy the beautiful, not the good. According to Walter Benjamin, kitsch is, unlike art, a utilitarian object lacking all critical distance between object and observer; it "offers instantaneous emotional gratification without intellectual effort, without the requirement of distance, without sublimation".

Study and background

The study of kitsch was done almost exclusively in German until the 1970s, with Walter Benjamin being an important scholar in the field.

The Kitsch Movement

The Kitsch Movement is an international movement of classical painters, founded in 1998 upon a philosophy proposed by Odd Nerdrum and later clarified in his book On Kitsch in cooperation with Jan-Ove Tuv and others, incorporating the techniques of the Old Masters with narrative, romanticism, and emotionally charged imagery.

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A Tchotchke (CHOCH-ka) is a small bauble or miscellaneous item. The word has long been used by Jewish-Americans and in the regional speech of New York City and elsewhere. Tchotchkes are often given at Chanukkah as part of a game.

The word may also refer to free promotional items dispensed at trade shows, conventions, and similar large events. They can also be sold as cheap souvenirs in tourist areas, which are sometimes called "tchotchke shops".

Spelling

A wide variety of spellings exist for the English usage of the term, e.g. tshotshke, tshatshke, tchachke, tchotchka, tchatchka, chachke, tsotchke, chotski, or chochke; the standard Yiddish transliteration is tsatske or tshatshke. In Israeli Hebrew it is often spelled צאצקע, [ˈtsats.ke], with a tsade instead of teth-shin, as in Yiddish.

Alternate meanings and context

Depending on context, the term has a connotation of worthlessness or disposability as well as tackiness.

A common confusion is between the terms tchotchke and tsatske or rather tsatskele, with the diminutive ending -le. Both terms have the same Slavic root, but the tch- version stems from Russian, while the ts- originates in Polish. Tchotchke usually references trinkets, while tsatskele is more likely to mean a young girl or woman who uses her charms in order to reach her goals. Being Yiddish, the meaning can change by the use of gestures and a change in tone, so that tsatskele can become the favorite child.

Leo Rosten, author of The Joys of Yiddish, combines the two main meanings and gives an alternate sense of tchotchke as meaning a desirable young girl, a "pretty young thing". Less flatteringly, the term could be construed as a more dismissive synonym for "bimbo", or "slut".

Etymology

The word "tchotchke" derives from a Slavic word for "a trinket" (Ukrainian: цяцька, tsiats'ka, [ˈtsjɑts.kɑ]; Polish: Sg. cacko /Pl.cacka, [ˈtsats.ka]; Slovak: čačka, [ˈtʃatʃ.ka] CHACH-ka, Russian: цацки, tsatski, [ˈt͡sat͡s.ki])—adapted to Yiddish Sg. טשאַטשקע, tshatshke, "trinket".

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Poly(methyl methacrylate) (PMMA) is a transparent thermoplastic, often used as a lightweight or shatter-resistant alternative to glass. Although it is not technically a type of glass, the substance has sometimes historically been called acrylic glass. Chemically, it is the synthetic polymer of methyl methacrylate. The material was developed in 1928 in various laboratories by many chemists such as William Chalmers, Otto Röhm and Walter Bauer and was first brought to market in 1933 by the Rohm and Haas Company, under the trademark Plexiglas. It has since been sold under many different names, including ACRYLITE®, Lucite and Perspex.

PMMA is an economical alternative to polycarbonate (PC) when extreme strength is not necessary. Additionally, PMMA does not contain the potentially harmful bisphenol-A subunits found in polycarbonate. It is often preferred because of its moderate properties, easy handling and processing, and low cost. The non-modified PMMA behaves in a brittle manner when loaded, especially under an impact force, and is more prone to scratching than conventional inorganic glass. However, the modified PMMA achieves very high scratch and impact resistance.

The often-seen[citation needed] spelling poly(methyl 2-methylpropanoate)—that is, spelled with an instead of en—is a misspelling of poly(methyl 2-methylpropenoate).

History

The first acrylic acid was created in 1843. Methacrylic acid, derived from acrylic acid, was formulated in 1865. The reaction between methacrylic acid and methanol results in the ester methyl methacrylate. The German chemists Wilhelm Rudolph Fittig and _____ Paul discovered in 1877 the polymerization process that turns methyl methacrylate into polymethyl methacrylate. In 1933 another German chemist, Otto Röhm, patented and registered the brand name PLEXIGLAS. In 1936 the first commercially viable production of acrylic safety glass began by ICI Acrylics (now Lucite International). During World War II acrylic glass was used for submarine periscopes, windshields, canopies, and gun turrets for airplanes.

Names

PMMA has been sold under a variety of brand names and generic names. It is often generically called acrylic glass, although it is chemically unrelated to glass. It is sometimes called simply acrylic, although acrylic can also refer to other polymers or copolymers containing polyacrylonitrile. Other notable trade names include:

ACRYLITE®

Lucite

Plexiglas

Optix (Plaskolite)

Perspex

Oroglas

Altuglas

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A gramophone record (phonograph record in American English) or vinyl record, commonly known as a "record", is an analogue sound storage medium in the form of a flat polyvinyl chloride (previously shellac) disc with an inscribed, modulated spiral groove. The groove usually starts near the periphery and ends near the center of the disc. Phonograph records are generally described by their diameter in inches (12", 10", 7"), the rotational speed in rpm at which they are played (16 2⁄3, 33 1⁄3, 45, 78), and their time capacity resulting from a combination of those parameters (LP – long playing 33 1⁄3 rpm, SP – 78 rpm single, EP – 12-inch single or extended play, 33 or 45 rpm); their reproductive quality or level of fidelity (high-fidelity, orthophonic, full-range, etc.), and the number of audio channels provided (mono, stereo, quad, etc.).

The phonograph disc record was the primary medium used for music reproduction until late in the 20th century, replacing the phonograph cylinder record–with which it had co-existed from the late 1880s through to the 1920s–by the late 1920s. Records retained the largest market share even when new formats such as compact cassette were mass-marketed. By the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. From the 1990s to the 2010s, records continued to be manufactured and sold on a much smaller scale, and were especially used by disc jockeys (DJ)s, released by artists in some genres, and listened to by a niche market of audiophiles. The phonograph record has made a niche resurgence in the early 21st century – 9.2 million records were sold in the U.S. in 2014, a 260% increase since 2009. Likewise, in the UK sales have increased five-fold from 2009 to 2014.

The phonautograph, patented by Léon Scott in 1857, used a vibrating diaphragm and stylus to graphically record sound waves as tracings on sheets of paper, purely for visual analysis and without any intent of playing them back. In the 2000s, these tracings were first scanned by audio engineers and digitally converted into audible sound. Phonautograms of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008. Along with a tuning fork tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound.

In 1877, Thomas Edison invented the phonograph. Unlike the phonautograph, it was capable of both recording and reproducing sound. Despite the similarity of name, there is no documentary evidence that Edison's phonograph was based on Scott's phonautograph. Edison first tried recording sound on a wax-impregnated paper tape, with the idea of creating a "telephone repeater" analogous to the telegraph repeater he had been working on. Although the visible results made him confident that sound could be physically recorded and reproduced, his notes do not indicate that he actually reproduced sound before his first experiment in which he used tinfoil as a recording medium several months later. The tinfoil was wrapped around a grooved metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately. The Scientific American article that introduced the tinfoil phonograph to the public mentioned Marey, Rosapelly and Barlow as well as Scott as creators of devices for recording but, importantly, not reproducing sound. Edison also invented variations of the phonograph that used tape and disc formats. Numerous applications for the phonograph were envisioned, but although it enjoyed a brief vogue as a startling novelty at public demonstrations, the tinfoil phonograph proved too crude to be put to any practical use. A decade later, Edison developed a greatly improved phonograph that used a hollow wax cylinder instead of a foil sheet. This proved to be both a better-sounding and far more useful and durable device. The wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century.

Lateral-cut disc records were developed in the United States by Emile Berliner, who named his system the "gramophone", distinguishing it from Edison's wax cylinder "phonograph" and Columbia's wax cylinder "graphophone". Berliner's earliest discs, first marketed in 1889, but only in Europe, were 5 inches (13 cm) in diameter, and were played with a small hand-propelled machine. Both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality. In the United States in 1894, under the Berliner Gramophone trademark, Berliner started marketing records with somewhat more substantial entertainment value, along with somewhat more substantial gramophones to play them. Berliner's records had poor sound quality compared to wax cylinders, but his manufacturing associate Eldridge R. Johnson eventually improved the sound quality. Abandoning Berliner's "Gramophone" trademark for legal reasons, in 1901 Johnson's and Berliner's separate companies reorganized to form the Victor Talking Machine Company, whose products would come to dominate the market for many years. Emile Berliner moved his company to Montreal in 1900. The factory which became RCA Victor stills exists. There is a dedicated museum in Montreal for Berliner.

In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes respectively, while contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a maximum playing time of 4½ minutes (at 160 rpm), which in turn were superseded by Blue Amberol Records, which had a playing surface made of celluloid, a plastic, which was far less fragile. Despite these improvements, during the 1910s discs decisively won this early format war, although Edison continued to produce new Blue Amberol cylinders for an ever-dwindling customer base until late in 1929. By 1919 the basic patents for the manufacture of lateral-cut disc records had expired, opening the field for countless companies to produce them. Analog disc records would dominate the home entertainment market until they were outsold by the digital compact disc in the late 1980s (which was in turn supplanted by digital audio recordings distributed via online music stores and Internet file sharing).

78 rpm disc developments

Early speeds

Early disc recordings were produced in a variety of speeds ranging from 60 to 130 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 rpm".

By 1925, the speed of the record was becoming standardized at a nominal value of 78 rpm. However, the standard differed between places with alternating current electricity supply at 60 Hertz (cycles per second, Hz) and those at 50 Hz. Where the mains supply was 60 Hz, the actual speed was 78.26 rpm: that of a 60 Hz stroboscope illuminating 92-bar calibration markings. Where it was 50 Hz, it was 77.92 rpm: that of a 50 Hz stroboscope illuminating 77-bar calibration markings.

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 tubes, then using the amplified signal to drive an electromagnetic recording head. Western Electric's innovations resulted in a greatly expanded and more even frequency response, creating a dramatically fuller, clearer and more natural-sounding recording. Distant or less strong sounds that were impossible to record by the old methods could now be captured. Volume was now limited only by the groove spacing on the record and the limitations of the intended playback device. Victor and Columbia licensed the new electrical system from Western Electric and began issuing electrically recorded discs in 1925. The first classical recording was of Chopin impromptus and Schubert's Litanei by Alfred Cortot for Victor.

For collectable or nostalgia purposes, or for the benefit of higher-quality audio playback provided by the 78 rpm speed with newer vinyl records and their lightweight stylus pickups, a small number of 78 rpm records have been released since the major labels ceased production. One of the first attempts at this was in the 1950s, when inventor Ewing Dunbar Nunn founded the label Audiophile Records, which released, in addition to standard 33 1/3 rpm LPs, 78 rpm-mastered albums that were microgroove and pressed on vinyl (as opposed to traditional 78s, with their shellac composition and wider 3-mil sized grooves). This was done by the label mainly to take advantage of the wider audio frequency response that faster speeds like 78 rpm can provide for vinyl microgroove records, hence the label's name (obviously catering to the audiophiles of the 1950s "hi-fi" era, when stereo gear could provide a much wider range of audio than before). Also in the late 1950s, Bell Records released a few budget-priced 7" microgrooved records at 78 rpm.

In 1968, 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 self-titled debut album (with The Beehive State on the flipside). 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. Guitarist & vocalist Leon Redbone released a promotional 78 rpm record in 1978 featuring two songs (Alabama Jubilee and Please Don't Talk About Me When I'm Gone) from his Champagne Charlie album. In 1980 Stiff Records in the United Kingdom issued a 78 by Joe "King" Carrasco containing the songs Buena (Spanish for "good," with the alternate spelling "Bueno" on the label) and Tuff Enuff. Underground comic cartoonist and 78 rpm record collector Robert Crumb released three discs with his Cheap Suit Serenaders in the 1980s.

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 jukeboxes. This was a disaster because Rhino did not warn customers that their records were made of vinyl, and that the vintage 78 RPM juke boxes were designed with heavy tone arms and steel needles to play the hard shellac records of their time. This failure to warn customers gave the Rhino 78 records a bad reputation, as they were destroyed by old juke boxes and old record players but played very well on newer 78-capable turntables with modern lightweight tone arms and jewel needles.

As a special release for Record Store Day 2011, Capitol re-released The Beach Boys single Good Vibrations in the form of a 10" 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 78 rpm. Both are accompanied with a link to a digital download of the music, acknowledging the probability that purchasers may be unable to play the vinyl recording.

New sizes and materials

Both the microgroove LP 33 1⁄3 rpm record and the 45 rpm single records are made from vinyl plastic that is flexible and unbreakable in normal use, even when they are sent through the mail with care from one place to another. The vinyl records, however, are easier to scratch or gouge, and much more prone to warping compared to most 78 rpm records, which were made of shellac.

In 1931, RCA Victor launched the first commercially available vinyl long-playing record, marketed as program-transcription discs. These revolutionary discs were designed for playback at 33 1⁄3 rpm and pressed on a 30 cm diameter flexible plastic disc, with a duration of about ten minutes playing time per side. RCA Victor's early introduction of a long-play disc was a commercial failure for several reasons including the lack of affordable, reliable consumer playback equipment and consumer wariness during the Great Depression. Because of financial hardships that plagued the recording industry during that period (and RCA's own parched revenues), Victor's long-playing records were discontinued by early 1933.

There was also a small batch of longer-playing records issued in the very early 1930s: Columbia introduced 10-inch longer-playing records (18000-D series), as well as a series of double-grooved or longer-playing 10-inch records on their Harmony, Clarion & Velvet Tone "budget" labels. There were also a couple of longer-playing records issued on ARC (for release on their Banner, Perfect, and Oriole labels) and on the Crown label. All of these were phased out in mid-1932.

Vinyl's lower surface noise level than shellac was not forgotten, nor was its durability. In the late 1930s, radio commercials and pre-recorded radio programs being sent to disc jockeys started being stamped in vinyl, so they would not break in the mail. In the mid-1940s, special DJ copies of records started being made of vinyl also, for the same reason. These were all 78 rpm. During and after World War II, when shellac supplies were extremely limited, some 78 rpm records were pressed in vinyl instead of shellac, particularly the six-minute 12-inch (30 cm) 78 rpm records produced by V-Disc for distribution to United States troops in World War II. In the 1940s, radio transcriptions, which were usually on 16-inch records, but sometimes 12-inch, were always made of vinyl, but cut at 33 1⁄3 rpm. Shorter transcriptions were often cut at 78 rpm.

Beginning in 1939, Dr. Peter Goldmark and his staff at Columbia Records and at CBS Laboratories undertook efforts to address problems of recording and playing back narrow grooves and developing an inexpensive, reliable consumer playback system. It took about eight years of study, except when it was suspended because of World War II. Finally, the 12-inch (30 cm) Long Play (LP) 33 1⁄3 rpm microgroove record album was introduced by the Columbia Record Company at a New York press conference on June 18, 1948.

Unwilling to accept and license Columbia's system, in February 1949 RCA Victor, in cooperation of its parent, the Radio Corporation of America, released the first 45 rpm single, 7 inches in diameter with a large center hole. The 45 rpm player included a changing mechanism that allowed multiple disks to be stacked, much as a conventional changer handled 78s. The short playing time of a single 45 rpm side meant that long works, such as symphonies, had to be released on multiple 45s instead of a single LP, but RCA claimed that the new high-speed changer rendered side breaks so brief as to be inaudible or inconsequential. Early 45 rpm records were made from either vinyl or polystyrene. They had a playing time of eight minutes.

Another size and format was that of radio transcription discs beginning in the 1940s. These records were usually vinyl, 33 rpm, and 16 inches in diameter. No home record player could accommodate such large records, and they were used mainly by radio stations. They were on average 15 minutes per side and contained several songs or radio program material. These records became less common when tape recorders began being used for radio transcriptions around 1949.

On a few early phonograph systems and radio transcription discs, as well as some entire albums, the direction of the groove is reversed, beginning near the center of the disc and leading to the outside. A small number of records (such as The Monty Python Matching Tie and Handkerchief) were manufactured with multiple separate grooves to differentiate the tracks (usually called "NSC-X2").

The commercial rivalry between RCA Victor and Columbia Records led to RCA Victor's introduction of what it had intended to be a competing vinyl format, the 7-inch (175 mm) 45 rpm disc. For a two-year period from 1948 to 1950, record companies and consumers faced uncertainty over which of these formats would ultimately prevail in what was known as the "War of the Speeds". (See also format war.) In 1949 Capitol and Decca adopted the new LP format and RCA gave in and issued its first LP in January 1950. The 45 rpm size was gaining in popularity, too, and Columbia issued its first 45s in February 1951. By 1954, 200 million 45s had been sold.

Eventually the 12-inch (300 mm) 33 1⁄3 rpm LP prevailed as the predominant format for musical albums, and 10-inch LPs were no longer issued. The last Columbia Records reissue of any Frank Sinatra songs on a 10-inch LP record was an album called Hall of Fame, CL 2600, issued on October 26, 1956, containing six songs, one each by Tony Bennett, Rosemary Clooney, Johnnie Ray, Frank Sinatra, Doris Day, and Frankie Laine. The 10-inch LP however had a longer life in the United Kingdom, where important early British rock and roll albums such as Lonnie Donegan's Lonnie Donegan Showcase and Billy Fury's The Sound of Fury were released in that form. The 7-inch (175 mm) 45 rpm disc or "single" established a significant niche for shorter duration discs, typically containing one item on each side. The 45 rpm discs typically emulated the playing time of the former 78 rpm discs, while the 12-inch LP discs eventually provided up to one half-hour of recorded material per side.

The 45 rpm discs also came in a variety known as extended play (EP), which achieved up to 10–15 minutes play at the expense of attenuating (and possibly compressing) the sound to reduce the width required by the groove. EP discs were cheaper to produce, and were used in cases where unit sales were likely to be more limited or to reissue LP albums on the smaller format for those people who had only 45 rpm players. LP albums could be purchased 1 EP at a time, with four items per EP, or in a boxed set with 3 EPs or 12 items. The large center hole on 45s allows for easier handling by jukebox mechanisms. EPs were generally discontinued by the late 1950s in the U.S. as three- and four-speed record players replaced the individual 45 players. One indication of the decline of the 45 rpm EP is that the last Columbia Records reissue of Frank Sinatra songs on 45 rpm EP records, called Frank Sinatra (Columbia B-2641) was issued on December 7, 1959. The EP lasted considerably longer in Europe, and was a popular format during the 1960s for recordings by artists such as Serge Gainsbourg and the Beatles.

In the late 1940s and early 1950s, 45 rpm-only players that lacked speakers and plugged into a jack on the back of a radio were widely available. Eventually, they were replaced by the three–speed record player.

From the mid-1950s through the 1960s, in the U.S. the common home record player or "stereo" (after the introduction of stereo recording) would typically have had these features: a three- or four-speed player (78, 45, 33 1⁄3, and sometimes 16 2⁄3 rpm); with changer, a tall spindle that would hold several records and automatically drop a new record on top of the previous one when it had finished playing, a combination cartridge with both 78 and microgroove styli and a way to flip between the two; and some kind of adapter for playing the 45s with their larger center hole. The adapter could be a small solid circle that fit onto the bottom of the spindle (meaning only one 45 could be played at a time) or a larger adaptor that fit over the entire spindle, permitting a stack of 45s to be played.

RCA 45s were also adapted to the smaller spindle of an LP player with a plastic snap-in insert known as a "spider". These inserts, commissioned by RCA president David Sarnoff and invented by Thomas Hutchison, were prevalent starting in the 1960s, selling in the tens of millions per year during the 45 rpm heyday. In countries outside the U.S., 45s often had the smaller album-sized holes, e.g., Australia and New Zealand, or as in the United Kingdom, especially before the 1970s, the disc had a small hole within a circular central section held only by three or four lands so that it could be easily punched out if desired (typically for use in jukeboxes).

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