“In the corner of the bar there stands a jukebox,
With the best of country music, old and new.
You can hear your five selections for a quarter,
And somebody else’s songs when yours are through.”
“Please, Mr. Please” written by Bruce Welch and John Rostill.
Recorded in 1974 by Olivia Newton John.
“Have you seen these,” daughter Robin’s text asked last week? The subject of her inquiry was a photo of a plain black box the size of a small refrigerator. It was adorned with silver and blue accents sitting in what appeared to be a restaurant. My first thoughts were along the lines of a Star Wars reincarnated 1940s jukebox.
“No,” I responded. “What is it? Sort of reminds me of an old jukebox.”
Recorded music players offering entertainment in public locations debuted in 1890, soon after the arrival of Thomas Edison’s phonograph. Edison is said to have thought his invention was best suited for office dictation, but America’s love for music quickly capitalized on the recording phenomenon. By the early 1930s, personal record machines at home were common, and large wooden boxes with glowing lights, mesmerizing mechanisms and hungry coin slots called jukeboxes were common forms of entertainment in public venues. As World War II was escalating toward Pearl Harbor, jukeboxes made by Wurlitzer, AMI, Rock-Ola and others were everywhere from malt shop hangouts to renowned restaurants, as well seedy joints and brawling barrooms.
“Juke” was derived from their popularity in “jook joints,” a term applied to establishments featuring music, dancing, gambling, and drinking which were typically, shall we say, low-class establishments—also known as “dives.” An association with the growing popularity of swing and rock and roll music with teenagers, not well regarded in society by some parents, didn’t help. Neither did the government’s exposure of Mafia control over the coin operated machine industry at the time.
Every negative factor aside, jukeboxes not only survived, they flourished. Artistic use of plastics, glass, chrome and wood combined with eye-popping designs made them instant classics then and sought after collectibles today. Since the advent of digital music, they have ebbed and flowed in popularity with some new iteration popping up every few years. My daughter’s discovery last week was the newest.
“It’s a ‘new’ jukebox,” She replied, continuing our text conversation. “At my favorite real Mexican food place in Tyler! Takes credit and debit card payment!”
“Naturally,” I said with a smile. “Cash—it’s just so yesterday.” But, not so with America’s love for music. As one who has loved and appreciated music since childhood, my attraction to jukeboxes many years ago led me to acquire three working examples of 40s and 50s models. While I grew up with them in the 50s and 60s at places like the Dairy Queen, the bus stop cafe, and up the street at the Hillbilly Cafe in Mount Pleasant, Texas, my children grew up in the 80s with them in our home in Center, Texas.

Robin’s favorite, and the pinnacle of my small collection, was a Wurlitzer 1015. Arguably one of the most beautiful jukeboxes to ever cast a soft, amber glow across a well-worn dance floor, the 1015’s arched top with cascades of bubbles down both sides, changing hues of softly illuminated plastic pillars emanating from a furniture-quality wooden box, and 78 r.p.m. records spinning behind a brightly illuminated glass window provided hypnotizing visual entertainment. Tunes like Glenn Miller’s “In the Mood,” Big Joe Turner’s “Shake, Rattle and Roll,” or Hank Williams’ “Your Cheatin’ Heart,” were almost secondary entertainment.
No stranger to a jukebox, one of Robin’s favorite childhood delights was dropping a nickel in the coin slot to watch the elaborate mechanism swing into action selecting the 1958 hit record, “Rockin’ Robin,” by singer Bobby Day,

Thirty years later, the sole survivor of that collection is a 1955 Seeburg offering a selection of 100 songs on 45 r.p.m. records resting in a horizontal tray. Although real wood boxes and bubbling tubes were gone by the mid 50s, the shiny chrome Seeburg box with faux-wood side panels and subdued lighting still spotlights a mechanized record changer to entertain in a fashion that no jukebox since has ever matched.
“That’s interesting,” I told my daughter. “I’ll have to look for one.”
“My favorite Mexican food restaurant, or a digital jukebox,” she teased?
“Both, I guess,” was my reply.
“If you find yourself in Tyler, you better look for me,” she ordered. “I’ll take you to lunch and play the jukebox.”
“Wonderful,” I told her. “Guess there’s not much chance, though, that new one plays ‘Rockin’ Robin,’” I laughed. “Or that it will tap your plastic card just a quarter for five selections.”
—Leon Aldridge
It started innocently enough with the “prefab” dinner in the oven. The offering of frozen gourmet meals at supermarkets today is nothing short of amazing, especially when compared to the TV dinners in aluminum trays that was half of my college cuisine. That and cheeseburgers.
Like the East Texas newspaper headline on a story reporting that a Catholic School would be leasing a local building. Sure, the story explained it all, but after reading the headline, the reader’s mind has already gone down the road of thinking there’s a well-known and powerful new tenant in town.
No explanation needed in the central Texas newspaper headline utilizing a similar sounding, but unfortunately, incorrect verb.
Then there are those headlines that just should never have made it to press, like the coastal Texas newspaper headline that used an incorrect abbreviation. So many questions begging to be asked. I don’t know, maybe it resulted in a few more cookbook sales.
Sometimes, a headline can be perfect, but placed on the page in such a manner as to suggest something entirely different than was intended. Like the photo in an East Texas weekly some years ago of four people standing waste deep in water, obviously prepared for a baptism service—which is what the headline and story below the picture reported. Unfortunately, the story and headline positioned right above the photo reported on an altogether different event that coincidentally, involved the same number of people pictured.
Having suffered the anguish of misprint maladies myself, I can testify that no writer is immune. Adding insult to injury, these few samples serve as evidence that once published, some typos will live in infamy for many years. Once the ink is on the newsprint, it’s there for published posterity.



Supplementing this collection of working wonders are three Mac desktops that preceded the current workhorse, a five-year old MacBook Pro. My Mac museum includes a PowerMac G5 currently living on a desk just in case it’s ever needed, in the same spot in which it’s collected dust since the MacBook Pro was first powered up. Stored in their original boxes are a PowerMac G4 and a first-generation iMac G3. It’s two-tone silver and gray. I just couldn’t take the plunge for one of the bright candy-colored configurations in which the revolutionary tear-drop shaped computers daringly debuted in the early 90s.
So, what does a reformed “I’ll never need to know how to work a computer,” type do with all these devices? The easier answer is the same as it is for most of us today, “what would we do without them?”








“The crowning touch at KJC was the spring concert May 2, 1967. Read was friends with Tonight Show band leader ‘Doc’ Severinsen who started with NBC-TV’s Tonight Show in 1952 during Steve Allen’s tenure. Severinsen played trumpet in the band directed by Skitch Henderson, taking over as bandleader in 1967 for Johnny Carson, and continued until Carson and Severinsen’s band left the show in 1992. Under his direction, The Tonight Show NBC Orchestra became the most visible big band in America.”


