As we get older we get wiser. It’s just part of the deal. We have all heard the expression that knowledge is power, but power can also be corrupting. Sometimes, it’s good to get a reminder that as smart or as knowledgeable as we think we might be there is always something new to learn.
I had one of those moments recently when I looked closely at a computer called the “Super Brain” that has been sitting out at a computer museum. I had never really spent much time with this machine but when I did I found out that it had a “Here Is” key. It’s enough to make you do a double-take. At first I thought it was a joke.
The most common keyboard joke in existence is the one about the “Any” key. Back in the days when computers ran text only operating environments (like DOS) it was common practice to put a message such as “Press Any Key To Continue” while waiting for the user to finish reading. The joke is that some people would literally spend time looking on their keyboard for a key marked “Any” rather than just literally pressing any key on the keyboard.
I had to do research on this key and discover what it is used for. It turns out that it is used for radio teletype identification. The key transmits a code 22 characters long that identifies to another teletype machine just which machine is sending a message. In other words, this old computer has a key that means only something in the context of a technology that is even older than itself.
Speaking of bizarre keyboards- what do you think of the layout on this vintage example of Orange Computers Inc keyboard? Makes me sort of hungry for starburst candy. A teletype (or more accurately a teleprinter) in case you don’t know or don’t remember is an electromechanical typewriter that can be used to send messages from point to point. They were used at the beginning of the twentieth century for many purposes ranging from spreading news to stock information and more. Variants were (and still are) used as telecommunications for the deaf and the aviation industry still have them around in small numbers.
The joy for me was that the day I discovered the “Here Is” key was a great reminder of how wonderful it is to learn something new. It’s almost self proclaiming (if only it were a “Here It Is!” key) and now, most likely, you too have learned something new today. For the Silo, Syd Bolton.
Come on, you have to admit. It’s a lot of fun to stumble around YouTube with that old pre-internet habit of television channel surfing surprising you with random discoveries.
When I do, I particularly enjoy reading comments left by others who have somehow found their way to whatever it is I happen to be watching. This comforts me because I know that this method of purposeful and accidental consumption of media is not exclusive to me [many comments start with: “Not sure how I ended up at this video but….” or ” __________led me here.”] but perhaps I’m alone in the belief that spontaneous discoveries help connect me better to the production. I think what I’m talking about is called “verisimilitude” and no doubt as I type this out there’s someone trying to figure out how they’ve discovered the same excellent BBC synth documentary that I discovered by chance: Synth Britannia.
Donna Summer’s synth programmer in 1977 brought the sounds of the future to disco with I Feel Love
Not one to beat around the bush, Will wanted to know what had happened to the future? Specifically the future suggested if not promised in comic book ads to the then pre-adolescent Will Ferrell. He asked, where were the Jet packs, autopilot-flying cars and robot butlers? It occurred to me that if Will was an electronic musician he would have come to the same conclusion that the producers of Synth Britannia did while they drew up the plans to make their excellent documentary: The future did come, it just wasn’t so literal.
1970’s Northern Britain looking like a scene from Blade Runner, one of the birthplaces of future synth music.
To compound matters this future somehow passed by all of us, unless perhaps you were a student of history or an existentialistic, free-radical electronic acolyte or computer programmer back in the golden age of dystopia vision. I call this era the ‘other’ 1970’s.
I have added the qualifier: ‘other’ 1970’s, because today’s media mistakenly focuses on reinforcing the bell-bottom, disco driven qualities of the 1970’s but there was a much more robust, artistic movement running against the grain in the same way that meaningful art has always done. This movement bridged fashion, art, cinema, sound design and of course music and if you want to learn more while being thoroughly engaged, then spend some time paying attention while you watch Synth Britannia.
You might even find yourself considering an impulse purchase of a mini Korg 700S. I know I did.
Supplemental- While I polished this article, one thing became apparent. New music or to be specific, those new artists that are being profiled on national television as new music agents are all lacking the one thing that characterizes the heroes of this column. Simply put, today’s music heroes are not a unity of ideas and expression. They are not bands. They are performers representing wish fulfillment with no sense of genuine attitude or social commentary and perhaps even worse, no sense of daring inventiveness. So far, most (but not all-there are exceptions) of today’s star performers are ‘safe’, predictable and lacking in terms of communicating their alienation. They have become game show contestants. This is because media business (in other words the television networks) has formulated and created what is palatable to an audience. The home video game market further suggests and reinforces created fantasies with interactive games that essentially boil down to a form of karaoke or twister. Simply put, new consumer habits are being engineered and I’m sure they always will be.
So, as listeners, is it fair to say that we no longer think for ourselves and we no longer question what is ‘good’ or ‘impactful’? With today’s de rigueur promise of dream and wish fulfillment (in terms of television shows that empower an audience with voting privileges to create the next pop star) that most crucial artistic ingredient: “individualized commentary” has been eradicated. Even more alarming is that consumers’ freedom of choice is being challenged.
That’s likely because the major media corporations feel wholly threatened by what the internet promises: a vast sea of content that is discoverable and searchable by desire or by chance.
Vince Clarke- Depeche Mode’s keyboard player and future visionary.
So-is it fair to say that we have become woefully inadequate in identity and informed choice? If there is art, angst and message, where can we find it? Try channel surfing around YouTube and follow what catches your interest. For the Silo, Jarrod Barker.
