"78rpm" update - shooting is done, now comes editing

An update on "78rpm". . .

Shooting is now complete. Has been quite an adventure making the project so far:

• Twenty-four HD interviews with collectors, historians, experts, and enthusiasts.

• Visits to London and Norwich UK, Los Angeles CA, Austin TX, Rochester and Albany NY, Burlington and St Johnsbury VT, Philadelphia PA, West Orange and Camden NJ, and elsewhere.

• And several thousand feet of images shot on 16mm film, now in the process of being digitized and formatted.

Now comes the task of taking all this material and weaving it into a film. Expect to have a cut in the early part of next year. A lot of work to get there, but looking forward to it. Will keep you informed on progress, as the film makes its way out of the editing room, and begins the phase of getting out into the world.

MANY THANKS to all of the project's supporters and participants!

Dancers and a Gramophone

A scene for the film, with dancers (the wonderful Momojiri Girls, and a friend) and a gramophone, shot at the charming Jalopy Theater, in Brooklyn.

A droll demonstration of the physical nature of the record -- the drowsy gramophone operator drifts off to sleep, the the spring winds down, the music slows, the dancers slow down too, until the music stops completely, and the dancers are frozen in place.  The gramophonist awakes, and then, with a change in record, some cine-magic occurs (thanks to an inadvertent selection of some hot jazz).

* * *

But I do wonder about how a younger generation, growing up in a digital world, relate to the references to the workings of archaic analog technology?  Just think of the sound heard over the telephone receiver of the clicks of dialing a rotary phone.  For one generation, a familiar memory of a commonplace occurrence, for another it's something only experienced as a sound effect in a period movie.  Even among the record collectors I've interviewed there are those who were young enough at the time remember the last days of the 78 -- just as 45s and LPs where being introduced.  And others, who came along later, growing up in the age of the LP record and the cassette tape.  To listen to the 78 record was not to re-encounter a form of technology from early childhood, but instead an act of discovering something unfamiliar, in the same way that the clicks of the rotary phone must be unfamiliar to a younger generation.  Of course, there will probably be some time in the future when films of people moving their fingers on tablet screens will seem like some strange, archaic practice, leaving one thinking, "how odd and old-fashioned."

"That's all."

Austin Texas and Amelia Foxtrot

More traveling, more shooting, in search of 78 culture.  This time arriving in Austin Texas to shoot some film with Amelia Foxtrot of the Austin Phonograph Company.  Collected some footage of her DJing at the East Side Showroom.  With the symphony in red -- red phonograph horns, red lipstick, red dress, red velvet curtains -- it felt a little bit of a shame to be shooting in black and white.

A very good interview with Amelia as well, touching on both 78s and vintage culture.

* * *

Austin is a charming place for a visitor to meander, to sample the many food trucks; although it gets pretty hot out in the sun, and so dashing from one bit of shade to the next seems to be the most efficient way to travel by foot.  Didn't see much of downtown, but stuck with the more eclectic neighborhoods to the east and south of town.

Screened some work at Experimental Response Cinema while I was there.  Nice turnout and nice reaction to the films.  Included the short piece "Victrola Cinema" with a portable phonograph supplying the soundtrack "live" for the event.

* * *

A visit to Los Angeles to interview Rani Singh, director of the Harry Smith Archives.  Harry Smith was a fascinating person; an experimental filmmaker and animator, a collector of many interesting and neglected things, including 78 records of American music of the late 20s and early 30s; hillbilly music, Cajun music, old-time country music, blues singers, folk music.  Harry curated selections from his collection into a set of LP records in the early 50s, the "Anthology of American Folk Music," released by Folkways Records, and introducing old, lost music to a new and appreciative audience.

Next came a visit to Excavated Shellac for a fascinating discussion on collecting music from different cultures around the world - Eastern Europe, North Africa, the Middle East.

Very little left to gather with the camera to be done with shooting.  But saving one of the more unusual things for last, so stay tuned. . .

"That's all."

The allure of hand-processed b&w film

Back when I was shooting at the Edison laboratory someone asked me about the 16mm Bolex camera I was using.  And in answering why I was shooting on film, I thought aloud to myself: "Just imagine a film where you interview all these people who are talking about analog sound and the beauty of the analog medium, and the whole thing was shot on digital video?  Perhaps a bit unintentionally ironic?"

And it was just this sort of thought guiding the decision to shoot the project on black and white ORWO 16mm film with HD interviews in between.  The confluence of analog image and analog sound.  The stock itself has the lush look of classic black and white film, with high silver content and a robustness of the image that results from this.  And as far as the HD interview sequences were concerned, rather than try to meld together digital and analog media, there seemed to be an aesthetic purpose to highlight contrast between the ultra-perfect, antiseptic beauty of HD with the more earthy, material beauty of analog film.

* * *

Of course, there's also a certain charm in being able to say, "I made a feature-length project and hand-developed the whole thing."  To that extent it's also something of a dare.  The Morse tanks hold only 100 feet of film, and cranking the reels through the chemistry takes time, but I realized using two tanks at the same time doubled the speed of processing.

Hand-developing isn't really a replacement for the film lab.  The results can be pretty grungy and inconsistent, with every roll coming out a little bit different the others, with all sorts of water stains, developing inconsistencies, and maybe a little random solarization on the ends of the roll too.  But the point of hand-processing is to embrace these hand-hewn qualities as the expression of the film as tactile media.  This acceptance of the imperfect as part of the experience is not too different than the sonic experience of the murmur of surface noise from an old 78 record.

* * *

DIY

Hand-processing film has a distinct look to it -- a "patina" might be the appropriate term -- but it also connotes an aesthetic philosophy of filmmaking, the  do-it-yourself school of production, as practiced by artists like Helen Hill, whose book "Recipes for Disaster" chronicles a myriad of techniques used by artists hand-crafting their films.  Sometimes it's a question of affordability in a medium often unforgiving to the independent filmmaker.  And at other times the necessity is more than simply monetary considerations:  Filmmaker Greta Snider made a hand-processed film as an act of artistic protest over a film lab refusing to print images it deemed too erotic.

In the 1960s the London Film-Makers' Co-op built their own hand-made processing machine, motivated by a desire to provide artists with the whole means of production, independent of the commercial film industry: "...Malcolm LeGrice and his students from St. Martin's School of Art began in 1967 to build the Co-op's first film developing and printing machinery, and only later thought to acquire film equipment...(the Rube Goldbergian wooden film developer leaked light and threatened to dissolve in its own chemical baths)..."*

And this desire is flourishing today in a number of artist-run film labs across the world, many of which can be found at filmlabs.org

* * *

The act of hand-developing film also has a poetic resonance to it; as if the transmutation sought by the alchemists is to be found in the blank emulsion of silver halides transforming into images.  There's something magical about seeing these little pictures emerge by your own effort.  And if a developing tank isn't accessible, all you need is a bucket!

"That's all."

______
*David Curtis, "A Tale of Two Co-ops" To Free the Cinema, David E. James ed. Princeton University Press, 1992. p 258-9

London and Norwich

Some more photos from the UK visit.  A meeting of The City of London Phonograph and Gramophone Society for a commemoration of the 100th anniversary of the Blue Amberol cylinder's introduction to the UK.  DJ MAC from WFMU's "Antique Phonograph Music Program" was traveling with me and made a recording of the presentation -- you can listen to it here.

* * *

Shot some film making the trip out to Kingston upon Thames to the site of the grave of Nipper, the "His Master's Voice" dog.  Or rather, the place where the grave once was, before a bank was built there. In the lobby of the bank is the plaque: "At the rear of Lloyds Bank is the last known resting place of Nipper the famous HMV dog.  This commemorative plaque was unveiled by Mr D. F. Johnson, Chairman of HMV Shops Limited on the 15th August 1984."

Every bit as underwhelming as I anticipated. The plaque might as well say "Nipper is not here."

* * *

A visit to Norwich to interview DJ78.  The shoot was terribly delayed by a guy in Ipswich who decided to climb onto the roof of the train station.  Ended up taking a little over ten hours to make the two hour journey from London to Norwich: waiting for hours at the station since the overhead lines that power the trains had been shut off, waiting in a long queue for a bus to drive all the passengers around the problem area, boarding a diesel train they brought in only to disembark before it even left the station when the police decided not to let any trains through, taking a bus to another train station where there was service, and then having to take two different trains to finally make it to Norwich.  Was such a welcoming sight for MAC and I to see DJ78 after so many hours of transportation limbo.

But despite these transportation woes, did get to film a lovely sequence punting on the river with portable gramophones.  What a splendid experience to be punting with the gramophone playing!  Indeed, listening to 78s on a boat seems to nicely illustrate one of the benefits of these acoustic and spring-driven devices free from the constraints of some form of power supply.

* * *

A sad event just prior to the UK visit; the passing of DJ El Nino, who I'd been in touch with in order to interview and film at a wonderful London vintage event called The Black Cotton Club.  Did shoot some footage of The Black Cotton Club.  Did get to briefly meet DJ Lady Kamikaze, the co-host of The Black Cotton Club and widow of El Nino.  Throughout the trip got to experience how greatly El Nino is missed by the many people who knew him.  He had been one of the central facilitators in energizing the vintage scene with the events he helped create, and through his participation as a 78 record spinner.  He was far too young, but cancer is a cruel and unforgiving thing.

"That's all."

London!

The end of June marked the moving past half-way point in the shooting of "78rpm."  Took a visit up to Victrola Repair Service in Vermont.  Was very nice to see the place after years of sending motors up there to be worked on and springs to be replaced.  Some other enjoyable shoots included bellydancing and music on 78 record with Kaoru and MAC at Bizarre in Bushwick; an interview with Denny Daniel of the Museum of Interesting Things; roving with the camera amid the shelves of 78s at the Rogers and Hammerstein Archives of Recorded Sound; and a fun time creating a Georges Melies inspired sequence with Professor Adam Smasher!

A good feeling to be more than half done with the shooting on the film.  Several more shoots planned out for August and September in the New York area, but July is mostly devoted to doing interviews and gathering footage in the UK.

* * *

A fascinating vintage culture scene here in London and elsewhere in the UK.  On Sunday was doing some shooting of the Shellac Sisters at the Henley Festival, spinning 78s on portable gramophones.

Picked up some records at the flea market, and also at the Tony Tunes record shop.  Was looking for examples of the "local flavor" of the place -- English music hall examples and such (found a few nice ones) -- but also interesting to see how much the American cultural influence spread itself to the rest of the world: with stacks and stacks of Bing Crosby and the like.  Passed on those.  But did pick up a little Mickey Katz, and British pressings of the California Ramblers, and Louis Armstrong, just because I couldn't resist.

Visited The City of London Phonograph and Gramophone Society, where a presentation on the Blue Amberol cylinder took place.

Coming up, shooting some film at The Black Cotton Club and a visit to DJ78 in Norwich.  You can read this very nice interview with him here.

"That's all."

At the Edison Museum

Shooting film with DJ MAC at the Thomas Edison National Historical Park.  We shot a little footage of MAC using a demonstration copy of the tin foil phonograph, and I'm excited to see what comes of the double exposure shot walking through the Music Room as a transparent ghostly figure.

Rumor has it, due to his deafness there's a Diamond Disc phonograph with Edison's bite marks on the edge of the wooden cabinet.  He could listen better using the transmission of vibrations through his teeth.  If there is such a phonograph that exists, with the Edison teeth marks, it doesn't seem to be there at the Edison Museum.  But the story seems too particular to have just been invented, so maybe this machine does exist somewhere?

* * *

Returned to the Thomas Edison National Historical Park on June 1st for Edison Day and the Wax Cylinder recording sessions with Sound Recording Curator Jerry Fabris and performances by many wonderful musicians: John Ehlis Ensemble, Sherita, Garden State Saxophone Quartet, Scott Robinson and Julian Thayer, Oliver and Gene Lake.

An interesting process to witness -- with no meters or mixing board an elaborate set of steps took place: positioning the instruments different distances from the horn based on loudness (string instruments close to the horn, brass instruments further back), recording a short test, listening back to see how it sounded, and then repositioning the performers closer or further from the horn to adjust the mix.

While the recording was being cut (literally being cut into the cylinder) Jerry used a small blower to blow away the loose shavings to prevent them from interfering with the blade mounted to the recording diaphragm.  The maximum time on a blank cylinder was two-and-a-half minutes, and in some cases (when the piece was more improvisatory) the musicians would have to keep and eye out for a hand signal to let them know when it was getting close to the end.

* * *

Five or six more shoots scheduled in June, which should put me over the hump towards being halfway done with shooting by the beginning of July!

"That's all."

The Johnson Victrola Museum & Emile Berliner

A visit to The Johnson Victrola Museum in Dover, Delaware, named for Elridge Johnson who collaborated with Emile Berliner to add a spring motor to the gramophone, and founded the Victor Talking Machine Company.

Some very nice displays of early sound technology.  But also a very impressive collection of Nippers, the famous canine from the trademark of the Victor Talking Machine Company.  Filmed a short montage of some very nice examples of Nipperania.  Although the Nipper here in this picture that's modeled after a taxidermy head mounted on a wooden plaque seemed a little disconcerting to me.

* * *

Interviewed the director of the museum and one of the resident experts.  And then an interview with Oliver Berliner, the grandson of Emile Berliner, inventor of the gramophone.  Some footage of the "Grammy" posthumously awarded to the gramophone's inventor.  Interesting that the "Grammy" is named for the gramophone and not the phonograph, but then again, would someone really want to win something called the "Phony" award?

More info on Emile Berliner here at the Library of Congress:
Emile Berliner and the Birth of the Recording Industry

"That's all."

At The Enrico Caruso Museum of America

Filming here in Brooklyn at The Enrico Caruso Museum of America. A wonderful micro-museum dedicated to the opera singer and recording star of the era of acoustically produced audio.

The museum displays a wealth of Caruso-related items, and quite a few phonographs, gramophones, music boxes, and an elaborate 1920s 78rpm jukebox, all in working order. Of course there are many Caruso recordings; and so visitors to the museum get to have the experience of hearing the records played on the technology for which these were made, and experience the sound of Caruso as he was heard back in his own time.

Interviewed the museum's founder and curator, Aldo Mancusi.  Among the interesting stories was how when Caruso was making records in Camden at the Victor Talking Machine Company's recording studio, he would sing into horn protruding from a curtain; behind the curtain was the recording apparatus, concealed from view, to keep the company's technological trade secrets from being revealed.

* * *

Five film shoots taking place for the project over the next three weeks, so more updates in the near future.

But for now (in the words of jazz-age singer, Annette Hanshaw) "That's all."

Dances of Vice

Shot some film at the Dance of Vice Secret Garden Spring Costume Ball, twirling around the dancers with the Bolex.  A very charming event.  A gathering of splendid people full of celebratory and exuberant spirit, with outfits to match.  Something quite uplifting about feeling the energy of a group of people who are all happy to see one another and welcoming to every new person dressed in fanciful, vintage clothes.  A few people asked if the 16mm camera was a real, working camera, or if it was just some vintage camera prop for the occasion (although, if I'd really wanted to bring a vintage camera as a prop, I think my old Bell & Howell D70 would have had a more appropriate look to it).

* * *

A visit to the Thomas Edison National Historical Park the other day, in anticipation of shooting some film there for the project.  A place full of wondrous things to see.  Here's just a small sampling...

"That's all."

Mechanical Music Extravaganza

Some shooting for "78rpm" this past weekend at the Mechanical Music Extravaganza in Wayne NJ.  An impressive array of phonographs, gramophones, cylinders, vintage radios, records, horns, needle tins, and everything else.

More than a few people were interested in the 16mm camera I was using. "Can you still get the film for it?" was a common question.  And an interesting question, in the context of being surrounded by 100 year old audio recordings and 100 year old players; all still producing music today in the same way it was 100 years ago.

Got to meet some experts and enthusiasts in early phonographic equipment and recorded music.  And when I was done shooting it was time to buy some 78s -- 1920s hot jazz and a smattering of opera.  The 78 collector in me just couldn't resist!

"That's all."

Kickstarter success!

The funds for the production of "78rpm" have been successfully raised on Kickstarter!

A big THANK YOU to all of the backers of this project.  And a thank you to Kickstarter too.  It's a fortunate thing to have this platform for fundraising as an alternative path to private and public grants and fellowships for cinematic artists, or the approach of finding financing through more profit-driven channels.  Sadly, there are too few opportunities for artists to fund their work.  And for those limited opportunities that do exist, the competition involved can be an unhealthy influence on the creative process.

I'm not suggesting that Kickstarter is easy.  But it does provide a very useful path for people who share a creative affinity to support projects which might otherwise have a more difficult path to the acquisition of funding.  And for you as a filmmaker, it is a tremendously encouraging and touching experience when people you respect turn around and support your project.  You can't put a dollar sign on what this means as an affirmation of the creative process.

* * *

Several film shoots will be taking place in April in the NYC area.  And out-of-town shoots beginning in May.  Please stop by this blog again to check out how things are going!

"That's all."

Kickstarter rewards!

Spending a little time now preparing the rewards for backers of this film.  Here are some details on the lovely rewards for people backing the making of "78rpm" on Kickstarter between now and March 27th.

* * *

Hand-made Thank You Postcards:  A big stack of postcards is ready, and before too long they'll be in the mail!

* * *

The CD of 1920s Foxtrots is ready too.  Here is the track list of vintage music that awaits those project backers -- all recorded from my own 78 collection.  Performers include the Club Royal Orchestra, Paul Whiteman and his Orchestra, the Joseph C. Smith Orchestra, the Benson Orchestra, Johnny Hamp and his Kentucky Serenaders, The International Novelty Orchestra, and others.

“Blue” The Virginians, 1922  Victor 18933-B
“Black Bottom” Johnny Hamp's Kentucky Serenaders, 1926  Victor 20101-B
“The Vamp” Joseph C. Smith's Orchestra, 1919  Victor 18594-B
“Croon a Little Lullaby” International Novelty Orchestra, 1925  Victor 19752-B
“O Katharina!” Lou Gold and His Orchestra, 1925  Cameo 1311
“Sugar Plum” George Olsen and his Music, 1925  Victor 19859-B
“Biminy” George Olsen and His Music, 1924  Victor 19429-B
“I Wonder What’s Become of Sally?” Lido Venice Dance Orchestra, 1924  Perfect 14295 B
“Tell Me” Joseph C. Smith's Orchestra, 1919  Victor 18594-A
“Titina” International Novelty Orchestra, 1925  Victor 19586-B
“Mazie” All Star Trio, Assisted by their Orchestra, 1921  Victor 18738-A
“Just Snap your Fingers at Care — Darling" Paul Whiteman and His Orchestra, 1920  Victor 35704-A
“Vamp Me” The Bar Harbor Society Orchestra, 1921  Vocalion B 24448
“Who’ll Take My Place When I’m Gone?” Club Royal Orchestra, 1922  Victor 18919-A
“Sweet Lady” Paul Whiteman and His Orchestra, 1921  Victor 18803-A
“Yellow Dog Blues” Joseph C. Smith's Orchestra (featuring Harry Redman and his Laughing Trombone), 1919  Victor 18618-B
“Dardanella” Selvin's Novelty Orchestra, 1919  Victor 18633-A
“Somebody Stole My Gal” Ted Weems and His Orchestra, 1923  Victor 19212-B

* * *

DVD of "Victrola Cinema."  This short piece was in some way a seed for the larger project: hand-developed black and white 16mm film paired with a 78 record as the soundtrack.  I've shown it with a "live" Victrola accompaniment, syncing the needle drop on screen with the live record player in the movie theater.  My little joke is that this short was produced with the old "Vitaphone" film sound system.  Well, not quite.

I should point out that the title "Victrola Cinema" is a bit of a misnomer.  The "Vic 1" in the film is a Victor Talking Machine and the term "Victrola" actually refers to the internal horn machines that came later.  But most people tend to use "Victrola" pretty generically for any sort of Victor machine, and even for gramophones made by other companies, the same way that one can blow one's nose with a "Kleenex" even if it's some other brand of facial tissue.  And the title "Gramophone Cinema" just doesn't have the same ring to it.

* * *

Signed Dame Darcy poster.  Here is the artist herself with the proof copy!

* * *

Listening Session.  This is actually one of my favorite things to offer on Kickstarter since it's a reward for me as well as for you!  You can listen to my guest appearance with DJ MAC's Antique Phonograph Program on WFMU to get a sense of the experience and what we might put on the Victrola to listen to together.

* * *

Artwork.  Taking some footage to the lab this week for a few new "camerapaintings."  You can see some examples on the Microscope Gallery site from the show of "Light Objects" that took place in September of 2012.

"That's all."

People and Places

Some wonderful people and places to add to the list to film since the Kickstarter fundraising campaign began.  In Austin, Texas, there is Ms. Amelia Foxtrot, who spins 78s on gramophones "--from 1920s hot jazz to Texas Swing."  Here in Brooklyn is the Enrico Caruso Museum, a charming micro-museum devoted to the opera singer and superstar of the acoustic-era of sound recording, where I’ll also be doing some shooting for the project.  Up in Vermont there is Victrola Repair Service, where I’ve sent machines to get the spring replaced and the reproducer rebuilt and will go visit with camera in hand. Glenn Allen Howard’s American Musical Heritage Foundation is a lovely site with some cool musical offerings.  The Edison Museum in New Jersey will host a recording session on wax cylinder that I plan to be capturing on 16mm film a few months from now.  Down in Delaware is The Johnson Victrola Museum, named for Eldridge Reeves Johnson, who worked with Emile Berliner in founding the Victor Talking Machine Company.  Tom Recchion has recorded a modern-day 78 record, "The Incandescent Gramophone," which you can find at the Los Angeles Free Music Society -- very cool!  And the exploration of mechanical music with a spring-wound 16mm analog film camera will find its analogue in the mechanical marvels at the Steampunk World’s Fair in May!

So excited about the cinematic possibilities and filmic adventures this project will explore.  Here are links so you can do some exploring as well:

Amelia Foxtrot and the Austin Phonograph Company
http://austinphonographcompany.com

Enrico Caruso Museum
http://www.enricocarusomuseum.com

Victrola Repair Service
http://www.victrolarepairservice.com

Glenn Allen Howard’s American Musical Heritage Foundation
http://www.amusher.org

Thomas Edison National Historical Park
http://www.nps.gov/edis

The Johnson Victrola Museum
http://history.delaware.gov/museums/jvm/jvm_main.shtml

Tom Recchion - "The Incandescent Gramophone" at the Los Angeles Free Music Society
http://www.lafms.com/content/tom-recchion-incandescent-gramophone-10

Steampunk World’s Fair
http://steampunkworldsfair.com

“That’s all”

78rpm update

So many great things to report in such a short time since launching the Kickstarter campaign for "78rpm."  Contacted by many very cool people who found their way to this project.  Made a guest appearance on WFMU on the "Antique Phonograph Music Program with MAC." You can listen to it here:  http://wfmu.org/playlists/shows/49613

But the latest is that I've just picked up the proofs of the Dame Darcy poster, which looks wonderful.

And confirming more people and places to be included in the film!  Next update will introduce some of these.

"That's all."

A visit to WFMU

A short trip on the NJ Path train from NYC to pay a visit to WFMU and play some 78s as a guest on the Antique Phonograph Music Program with MAC.

Some photos here of the WFMU environs -- love those lockers that have become a glass-cased museum display of album art.

As you can see here, the records were played on a Victrola instead of a modern record turntable, with the acoustically produced sound being broadcast on the airwaves.  Chatted a bit with MAC about the nature of experiencing sound from a gramophone, how despite being somewhat low in fidelity it has an organic quality that is almost like hearing music produced from some type of instrument.

Perhaps it's not unlike what I experience in the world of cinema where there's a discreet yet critical difference in seeing an analog film projected on film or the projection of a digital video.  Digital projection can be very clean, sharp, precise.  But the tradeoff is a certain antiseptic coldness to the image.


 * * *

Brought a grab-bag of music with me.  Including "Listen to the Mocking Bird" with the singer Alma Gluck and bird imitations by Charles Kellogg.  The song was popular with whistlers -- I've got three other versions of it with just whistling throughout.  MAC suggested some future episode of the Antique Phonograph Music Program just with versions of "Listen to the Mocking Bird."  Be careful what you wish for, it's not out of the realm of possibility!

In the meantime, the Kickstarter funding endeavor has begun:  Pay a visit there to "78rpm" on Kickstarter and check out the video, including some footage of MAC and Michael W. Haar spinning records on MAC's gramophones.

But for the time being, in the words of songstress Annette Hanshaw, "That's all."

Kickstarer is up!

The Kickstarter campaign to fund this film has just launched!

Here is the link to see the trailer, the rewards for backers, and learn more about the film:

"78rpm" a film about the gramophone and vintage music.

A little bit of 16mm footage from the project is on view there as well.

* * *

Things are plugging along with the early stages of production.  The first 16mm film shoot took place not long ago at the East Village Follies with DJs MAC and Mike.  Here's a photo of them, all decked out in vintage attire.

Visiting WFMU on Tuesday night to play some 78s on the Antique Phonograph Music Program with MAC.

Cheers!