How to Wreck a Nice Beach
Page 28
8.8 Courtesy Forrest J. Ackerman
8.9 Copyright 1978, Deep Sea Records
8.10 Copyright 1978, Tom N Jerry Records
8.11 Courtesy Siemens Corporate Archives, Munich
8.12 Courtesy Federal Screw Works
8.13 Copyright 1976, EMI-Electrola
8.14 Copyright 1983, Open Library
8.15 Photography by Michael Waring
8.16 Copyright 1966, Fontana Records (Courtesy Allen Goodman)
8.17 Courtesy Siemens Corporate Archives, Munich
8.18 Reprinted with permission of Fritz Sennheiser
8.19 Courtesy Klaus Kopacz
8.20 Akademie der Künste, Berlin, Werner Meyer-Eppler Archive, no. 277
8.21 Courtesy Florian Schneider and Sebastian Niessen
8.22 Courtesy EMS-Germany
8.23 Courtesy EMS-Germany
8.24 Copyright 1981, EMI-Electrola (Courtesy Gabriele Caroti)
THINK HE SAID HER NAME WAS VOODOO-ON-A-STICK
9.1 Copyright 1982, Jive/ Zomba
9.2 Copyright 1983, Cutting Records
9.3 Copyright 1971, Dimension 5 Records (Courtesy Edan)
9.4 Courtesy of author
9.5 Copyright 1986, Sound Makers; Copyright 1982, Tommy Boy Records (bootleg, Courtesy Freddy Fresh)
9.6 Copyright 1982, Importe/ Sugarscoop Recordings; Copyright 1971, Embryo Recordings
9.7 Reprinted with permission of Korg USA
9.8 Photograph by Ian Allen
9.9 Photograph by Ian Allen
9.10 Courtesy William Stacey Moore III
9.11 Copyright 1983, Sugar Hill Records;
9.13 Courtesy Dynamite (Furious Five); Courtesy Romelia and Tad Adams
9.14 Copyright 1984, Elektra Records
9.15 Copyright, 1983, Specific Records
9.16 Photograph by Michael Waring (Courtesy Phil “Most Chill” Stroman)
9.17 Photograph by Gabriele Caroti (orange mummy provided by author’s grandmother)
9.18 Watercolor by Bo Tompkins
9.19 Jean-Michel Basquiat and Rammellzee entering Disneyland in 1982, photographed by Stephen Torton © ADAGP, Paris.
COOL, AS LONG AS NOBODY HEARS IT
10.1 Photograph by Brian Cross
10.2 Photography by Brian Cross
10.3 Copyright 1983, Saturn Records; Copyright 1985, JDC
10.4 Photograph by Brian Cross
10.5 Courtesy Egyptian Lover; Copyright 1985, Kru Kut Records Copyright 1988, Techno Kut/Macola Records
10.7 Photograph by Brian Cross
10.8 Reprinted with permission of Sennheiser
10.9 Reprinted with permission of Sennheiser
10.10 Copyright 1977, Columbia Records (Courtesy Amanda Sullivan)
10.11 Copyright 1977, Casablanca Records; Copyright 1979, Casablanca Records
10.12 Copyright 1978, Columbia Records
10.13 Copyright 1982, Celluloid Records
10.14 Copyright 1983, Celluloid Records
10.15 Courtesy Roger Trilling
10.16 Photograph by Claude Shade
10.17 Copyright 1981, Warner Brothers
10.18 Photograph by Michael Waring
10.19 American International Pictures/Photofest ©American International Pictures
EAT A PLANET AND GO ON TO THE NEXT ONE
11.1 Courtesy Rammellzee
11.2 Photograph by Michael Waring
11.3 Photography by Michael Waring
11.6 Courtesy FH-Kenner
11.7 Photography by Michael Waring
11.8 Courtesy Rammellzee
11.9 Copyright 1959, Bantam Books
11.10 Photography by Michael Waring
11.13 Copyright 1988, Island Records
11.14 Photograph by Michael Waring (Tasmanian Devil alarm clock and Creature from the Black Lagoon light set provided by author)
11.15 Courtesy Rammellzee
11.16 Copyright 1971, Avon Books
11.17 Photograph by Michael Waring
DECOMPRESSION
12.1 Courtesy Ralph Miller
12.2 Photography by David Black
12.3 Photography by David Black
12.4 Photograph by David Black
12.5 Photography by David Black
EPILOGUE: I WAS LIKE
epl.1 Photograph by David Black
APPENDIX
app.1 Tommy Boy Records (provided by author)
app.2 Copyright 1982, Velvetone Records
app.3 Courtesy AT&T Archives and History Center
ACKNOWLEDGEMENTS
Been Real
This book would not have been possible without the contributions and inspiration of the following individuals who passed away before it was completed: John Hughes (for the vocoder mixes and “Pack Jam” support); Forrest J. Ackerman (Gill Man appreciation and letting me photograph the Cylon in his house), William Bennett, Jr. (for sharing anecdotes about his father and Homer Dudley), Malcolm Clarke of the BBC Radiophonic Workshop (Bradburp), Mr. Magic (super-super blast-blast), Rich Cason (“Street Freaks”), Madeleine L’ Engel (Tesser).
LCT, aka Gmumbo Jumbo (“Dave, that program is on—the one about the planets crashing into each other and plants living underground on methane gas with the universe and all that stuff you wanted for your book, right?”); CVT (thanks for always coming through and for the Egyptian Lover cassette, Christmas ’85); Aiken “See you in seven flips of the puppet’s face” Tompkins; Bo; BLT; John Crutchfield (for German translations); Uncle Dick Crutchfield (for eavesdropping on Russian tank commanders cursing their mothers); Lillian Crutchfield; Charles “Pee Wee” Crutchfield (for spying on Soviet jamming stations and swallowing the film in a plane over Moscow); Jacqueline “Pee Wee” Crutchfield (“All you have is your teeth”); the Extra T’s; Sommers-Tompkins posse.
James Hughes, for always being a friend and editor, and for hearing out my schemes while this thing mutated like Blatherard Osmo’s giant adenoid.
Tina Ibañez, Brett Kilroe and Tracy Boychuk, the incredibly patient design wizards at Runner Collective.
JC Gabel and Sybil Perez for getting the word out and support.
Kevin Christy (illustrations), Michael Waring and David Black (photography), Brian Cross (Egyptian Lover photos—looking forward to Keep In Time: The 808).
I am grateful to super codebreaker David Kahn for his generosity in sharing his archives. Thank you for saying I was no flibbertigibbet.
Melville House and Kelly Burdick.
Wax Poetics, for originally publishing the Roger Troutman story (Issue 35); Ed Park and The Believer for publishing “The Actual History of Synthetic Larynges” (Issue 45).
Stacey “Nate McMillan” Moore for introducing me to “Scorpio.”
Pete Relic, for the idea (from the squirrel with the swamp-faced gas mask to the grave of the astro chimp); Hua Hsu, for always being so close to the edit and listening to seven years of vocoder-related freakouts; the filmmaker Betty M. Park; the graphic novelist June Kim; Joseph Patel; Chairman Mao; Jeff Chang (for the Fab Five Freddy interview and portions of the Egyptian Lover interview with Mike Nardone—and support from the beginning); Jon Caramanica (loves “Nasty Rock”); Sasha Frere-Jones and his advocacy for Maurice Starr’s “Electric Funky Drummer”; Gabriele “PhG” Caroti; Lily M. Kane (“What’s the traps on the halved mouse course?”); Donald Mehl; the O-Dub; Frog; Jessica Wang (broken Transformers, mad support); Piotr Orlov; Kate Glicksberg; Jay Babcock (visit to the Ackermansion); Commander AYS (whatever Just-Ice says at the end of “Cold Getting Dumb”); Henry Paul Hughes; Tony Frewin; George Hodak.
Monk One; Toshio and the worm-controlled synthesizer; Max Mathews at Bell Labs, Peter Shapiro; Andre Torres and Brian DiGenti at Wax Poetics; Rik Davis and Rondo Hatton; Brian Coleman (the drive to see the OVC); Dante; Manfred Schroeder for the title; Ak-B; George Kupcziak at AT&T archives; Ralph LaRue Miller; Barbara Miller; Dodie Miller; David Allen; Rene Stein, grandmaster librarian of the NSA; Veronica at
Minimal Wave.
Steinski; Roger Troutman; Afrika Bambaataa; Siemens Archives; Kai Krause; Wendy Carlos; Jared JBX Boxx at Big City; Kathryn Frazier; Robert Price (IEEE); Sacha, Gabe and Brent at ego trip; Eliot Wilson; Russell Fernandez at Princeton Architectural Press; Dave Griffiths and Sara Roy; Kevin DeBernardi; Rammellzee; Grandmixer DXT; Makoto Nagatomo; Michael Jonzun; Silver Fox; Josh Davis; Matt Africa. Wendy Livingston and Trevor Schoonmaker at the Nasher Museum.
Jeremy Rendina; Jacob Smith; Eva Prinz; Holger Czukay; Jason Merenda (supplying the Korg); Kohji Maruyama; Jun Oki; Pat Spring; Dave Hogan (bomb provider); Tom Silverman; Lawrence Young; Paul “Thanks for the Horns and Ideas” C; Patty McKasty; P Brothers (Ivory and Paul S); Bill Sebastian and the OVC; George Mahood; Kym Shingaling Fuller; Torsten Schmidt; Uh-Young; A-1; Lost & Found; Alison Moore; JFK Library.
Noz and Cocaine Blunts; Kiwa Iyobe; Miami; Frank Gentges at Metavox; Urb; James Tai; Andy Beta; Edan; “Pack Jam”; Zentner; Doc Strange; Duane Harriot; Turntable Lab; Bekka; Maggotron; Speakerhead; Melville Klein (NSA); Jon Kirby; Jim Dier; Josh Dunn; The Wire; The Column; the guy who wrote into The Wire and said I was Vanilla Ice; “Being Boiled”; Steve K; Kevin Rafter; Ahmir Thompson; Alex Vaughn; Matt Anderson; Mooney; Tim Ross (Tuba Frenzy); Ray Bradbury; Travis Konkle; Marty Key; Tommy “Here on God’s Business” Wright; Elena Ungeheuer; Eric Deal; PCBs; CWP; Hunter “Uncle Wiggily” Alexander; Chris Corwin; Josh Brown; Bernie “Lasers” Nabors; P-Thugg; Howard Huang; Kelly McCraven; Man Parrish; Lester Troutman; Eothen Alopatt; “Planet Caravan”; Mike Nardone; April K; Nate Smith; Ken Hollings.
On the Go; Grand Royal; The Bomb; Rap Pages; Andrew Male; Richard Pleuger; The Hellstrom Chronicle; Reggie Dennis; Egyptian Lover and “Planet Rock” backwards; IEEE; Robin Wood; Roland; Christie Z. Pabon at Tools of War; Haskins Speech Laboratories; Sampo; Dan Seltzer; Jeremy Campbell; Matt Radune; Norbert Ryska at Heinz Nixdorf; Klaus Schmeh; Dr. Rudolph Staritz; Florian Schneider; Sebastian Niessen; Bell Telephone Laboratory; Department of Oscillations and Signals Generation at the Moscow Power Institute; the Dark Crystal bog burp; bronchitis; the dream about the talking dragon fireplace that used the vocoder from Cosmic Touch’s “Nothing Ever Changes” in a cabin in Brevard, NC, where I first played Telephone and lost my hatchet.