215: The “jukebox” – ubiquitous between 1939 and early ’60s
One of the early forerunners to the modern Jukebox was the Nickel-in-the-Slot machine. In 1889, Louis Glass and William S. Arnold, placed a coin-operated Edison cylinder phonograph in the Palais Royale Saloon in San Francisco. The machine had no amplification and patrons had to listen to the music using one of four listening tubes.
The jukebox remained something of a novelty arcade item until the invention of the electric amplifier. When Automated Musical Instruments Inc. developed an amplifier in 1927, the popularity of the jukebox surged. It was especially popular in the illegal speakeasies of the Prohibition Era because it provided a cheap form of entertainment. AMI sold 50,000 of its amplified machines in one year, bringing to life the age of the jukebox.
During the Depression, record sales plummeted from $75 million in 1929 to $5 million in 1933. The growing popularity of the jukebox and the purchases by store owners that went along with it resurrected the waning music business, and by 1938, the industry had resurfaced at $25 million in sales. By 1940, there were 400,000 jukeboxes in use in the United States.
Three names were made during the 1940s and they remain synonymous with the juke-box industry. Seeburg, Rock-Ola, and Wurlitzer all manufactured jukeboxes at this time. Each company began by creating juke-boxes in the likeness of the radio, but in the 1940s, jukebox design came into its own with the help of a few great designers employed by the companies. Perhaps the best known is Paul Fuller, the designer behind the Wurlitzer models that pushed Wurlitzer to the top of the industry in the late-1940s and 1950s.