PRAISE FOR HOW TO WRECK A NICE BEACH
Selected by the Village Voice as one of the 10 Best Books of 2010
Chosen by Amazon as the Entertainment Book of 2010
Dave Tompkins How to Wreck a Nice Beach is the best work of social history Ive read in years. He manages to braid together threads from a hundred directionsespionage, medical research, science fiction, hip-hopso that the story is constantly swooping around unexpected corners. About a third of the way in, it begins to feel like a secret history of our time.
Luc Sante
Its unquestionably brilliant, not only one of the best music books of the year, but also one of the best music books ever written.
Los Angeles Times
How to Wreck a Nice Beach is much more than a labor of love: Its an intergalactic vision quest fueled by several thousand gallons of high-octane spiritual-intellectual lust. [Tompkins] biggest and most perilous adventure in How to Wreck a Nice Beach is the plunge deep into the throbbing radioactive heart of his own prosea hallucinatory stew of Rimbaud, Tom Wolfe, Lester Bangs, and Bootsy Collins.
Sam Anderson, New York Magazine
We should be thankful that Tompkins sacrificed a decade to this unique and beautifully wrought book, in tribute to the brief cultural moment when a tool of militarism, secrets and destruction found itself transformed by music-makers into a zap-gun of heroic space-age liberation.
Andrew Male, Mojo
Work[s] the military-entertainment-complex angle with admirable energy, piling up flash-frozen anecdotes of pilots and DJs in voice-critical moments; showing, in its drooling over antique military-signaling equipment, a musicians gear-lust; and striving incessantly to invoke sound: It could sound like an articulate bag of dead leaves. Despite its dense payload of raw fact-bombs, the book remains, like the sound of the vocoder itself, suggestively ghostly.
The Guardian
From the atomic bomb to the band Zapp, from The Gulag Archipelago to Detroits ghettos, Tompkins rewires the connections between war, science, and art to give us a glimpse of evolved man, an analog crooner seductively and jarringly alien.
Oxford American
With verve and humor, Dave Tompkins tells the remarkable story of the vocoder and its secret WWII offspring, which protected the very words of Roosevelt and Churchill as they flashed across the Atlantic. Nobody has ever related this before, and to have a technological tale related this well is a great gift to science and to history.
David Kahn, author of The Codebreakers and Hitlers Spies
How to Wreck a Nice Beach
The Vocoder from World War II to Hip-Hop
The Machine Speaks
2010, 2011 Dave Tompkins
Stop Smiling Media
1371 N. Milwaukee Avenue
Chicago, IL 60622
Melville House Publishing
145 Plymouth Street
Brooklyn, NY 11201
www.stopsmilingbooks.com
www.mhpbooks.com
Editor: James Hughes
Cover Photograph by Michael Waring
Illustrations by Kevin Christy
The Library of Congress has cataloged the original hardcover edition as follows:
Tompkins, Dave.
How to wreck a nice beach :
the vocoder from World War II to hip-hop :
the machine speaks / Dave Tompkins.
p. cm.
eISBN: 978-1-61219-093-8
1. Electronic musicHistory and criticism. 2. Vocoder. I. Title.
ML1380.T66 2010
621.38224 dc22
v3.1
TABLE OF CONTENTS
ONE
Nearly Enough like That which Gave Them Birth
TWO
Indestructible Speech
THREE
Vocoder Kommissar
FOUR
As It Is, on Mars
FIVE
Color Out of Space
SIX
The Sacred Thunder Croak
SEVEN
Interdiction
EIGHT
Vietnam, Verbot and Clear
NINE
Think He Said Her Name Was Voodoo-on-a-Stick
TEN
Cool, As Long As Nobody Hears It
ELEVEN
Eat a Planet and Go On to the Next One
TWELVE
Decompression
Great care was taken in the preparation of this book to secure the right to reproduce all of the images used from the photographer, artist or publisher. In a few cases, however, we simply could not locate the right person or company from who to seek permission. In those cases, we have done our best to provide proper attribution to the original artist or photographer (where known) and only used what we believe is necessary to complete this project.
IN MEMORY OF
Bo Toad Lasers Tompkins
THE KORG VC-10 VOCODER came with its own ensemble switch and accent bender. It was used by the author for How to Wreck a Nice Beach, as well as anyone who wanted a leaf blower to sing the chorus.
IN ONE WORD, MILITARISM WAS FUNK.
H.G. WELLS
The SIGSALY Guam Terminal, codename NEPTUNE, with vocoder walls and turntables (left), photographed in 1945. Logistics concerning the atomic bomb missions and plans for the invasion of Japan were discussed over this secret radiotelephone link. (Courtesy National Archives/ NSAz/ Mahlon Doyle)/
AXIS OF EAVESDROPPERS
I have been bugged all my life.
Vyacheslav Iron Arse Molotov, Soviet Minister of Foreign Affairs, 1955
Theoretical security was not absolute like the records.
Ralph Miller, Bell Labs
We are clear.
Its quiet inside the Black National Theater, just above 125th Street in Harlem. Afrika Bambaataa is sitting on a defeated couch, flipping through a brochure published by the National Security Agency. He wears black sweats and fluorescent green running shoes, and theres a trainers towel around his neck. The Thunderdome spikes, leather cape, and Martian sun dimmers have been left at home. He seems to be giving his myth the day off, looking more like a gym coach with allergies than the retired gang warlord who once borrowed his moms records, stuck a speaker in the window and blew out the neighborhood.
Our conversation arrived at the NSA through the normal discursive channels: an old record Bam made that doesnt exist, an admiration for a British vampire soap opera, a childhood memory of sneaking to the front row to watch Sly Stone make his instruments talk. Yet when discussing the NSA, he drops his voice into a cautious strep basso. If anything can modulate the way we speak, its the notion of some federal protuberance listening in.