Update radio-philips-philetta.md

_objects/radio-philips-philetta.md

@@ -39,7 +39,7 @@ Fig. 4 Inspiration or copy? The Grundig 85 modeled after the successful Philetta
 To me, I am clearly the model that emerged to be the classic and the centerpiece of the series. I mean, have you looked at me? My design is unmistakable and unique. A true classic. Other brands thought so too, so they continued to copy the Philetta, like the Grundig 85, the AEG 3054WU, or the Telefunken Gevotte 55. Honestly, have you seen these impostors? (include QR to image of Grundig 85).
 Anyway, where was I? Ah yes, me being the most famous Philetta-style. Although I was a little pricier than my predecessors, costing 219 DM (which are 100 euros today), that did not really constitute any issues considering the economic boom of the 50s and 60s allowed more people to afford a radio like me. I mean, I was great for everyone. I was built compactly thanks to high-quality small band filters (“Miniaturbandfilter”) specifically manufactured for me. Next to a bigger and more expensive main radio in the living room, this made me the perfect second radio for any home. I was known to be a beginner-level radio and was not only bought by young families, such as my owners, but also as a gift for confirmations for instance. I was even very common in hospitals and hotels. Oh yes, many sick people were cheered up by us. Like this little 6-year-old girl, Molly who, during the 60s, spent several weeks in a hospital in Luxembourg. Poor thing, she always felt so alone. And so scared. The smell of cleaners and antiseptics. The ever-lasting, scary sounds, be it patients screaming, nurses running, doors sliding. But every time she turned on her Philetta radio a little smile would appear. It was like an escape for her. She adored listening to the German program “Kinderstunde” led by Ilse Obrig, a great program whose intentional slowness calmed children down and specifically prepared them for bedtime. The Philetta transported Molly out of her cold hospital room. I loved to enchant people with my sounds, high-quality technology, and pretty lights. My receivers are so sensitive and selective that I could receive anything. Since I could also run in different networks, I was also liked by sailors and nicknamed “Seemannsradio”.[3] Have you ever seen a radio as practical and versatile as me? I doubt it.
 
-Enough of my predecessors. After all, this is about me, the iconic Philetta 213. As I’ve said I was the perfect second radio, be it for travel or to be placed in the kitchen. After buying me after a day trip to Trier back in 1961, my lovely owners also put me in the kitchen. This is where I spent my best years. I loved this place. It is where all the interaction happened, where everybody would gather throughout the day. I was in the middle of the action and really felt like a part of this family. How I loved this little kitchen and its key-lime-green-coloured walls they painted in the 70s… You know what? I even loved the ugly PVC flooring. Listening to Pit and Lotty’s stories from work but also of little Hubert’s school day was the best. Pit and Lotty worked in a floor-tile factory, making them the typical Philetta owner. Their days were long and hard, so they appreciated it when the three of them could finally sit at their small kitchen table, eat potato soup with bacon (Pit’s favorite), and listen to Hubert’s mischievous stories from school. And so did I. Hubert was a little troublemaker, but his stories sure were entertaining. But what I loved more than listening was playing. It is what I knew best, and it made everything better. Even the soup tasted better when I captivated the room with my nice tunes. Being designed with the utmost care and genius, I use 5 tubes, and 4 bands, namely UKW, SW (shortwave), MW (standard broadcast), and LW (longwave). You can even connect external FM and AM antennas, an external speaker, or a phonograph turntable on my back. I also have an AC/DC set that can be used with 220-volt as well as 127-volt AC. I can receive many different programs from all over Europe and the world. My owners loved that about me. Pit preferred to listen to their march music (“Marschmusik”) or popular music (“Volkstümliche Musik”) such as Big-Band type of songs from Max Greger for instance. And when she was all alone, Lotty treated herself to songs from Adriano Celentano such as his hit song Azzuro. Once Hubert got a little older, he grew tired of his father’s march music, so he made use of my extensive range and listened to these British guys, that he could receive from European and international broadcasts on short wave. You know? The boys with the terrible haircuts. Next to the chart shows of France Inter or RIAS he also listened a lot to Radio-Luxemburg, the program on MW I played the most. Here Hubert especially fancied their program “Die grossen Acht”, by Camillo Felgen and later Frank Elstner in which the weekly top hits would be played. (Insert QR code to audio file of “Die grossen Acht” Intro) This was all a bit too funky for his parents, so when they were together, they agreed upon music they all liked. They found common ground in “Schlager” music with artists like Udo Jürgens or Peter Alexander.
+Enough of my predecessors. After all, this is about me, the iconic Philetta 213. As I’ve said I was the perfect second radio, be it for travel or to be placed in the kitchen. After buying me after a day trip to Trier back in 1961, my lovely owners also put me in the kitchen. This is where I spent my best years. I loved this place. It is where all the interaction happened, where everybody would gather throughout the day. I was in the middle of the action and really felt like a part of this family. How I loved this little kitchen and its key-lime-green-coloured walls they painted in the 70s… You know what? I even loved the ugly PVC flooring. Listening to Pit and Lotty’s stories from work but also of little Hubert’s school day was the best. Pit and Lotty worked in a floor-tile factory, making them the typical Philetta owner. Their days were long and hard, so they appreciated it when the three of them could finally sit at their small kitchen table, eat potato soup with bacon (Pit’s favorite), and listen to Hubert’s mischievous stories from school. And so did I. Hubert was a little troublemaker, but his stories sure were entertaining. But what I loved more than listening was playing. It is what I knew best, and it made everything better. Even the soup tasted better when I captivated the room with my nice tunes. Being designed with the utmost care and genius, I use 5 tubes, and 4 bands, namely UKW, SW (shortwave), MW (standard broadcast), and LW (longwave). You can even connect external FM and AM antennas, an external speaker, or a phonograph turntable on my back. I also have an AC/DC set that can be used with 220-volt as well as 127-volt AC. I can receive many different programs from all over Europe and the world. My owners loved that about me. Pit preferred to listen to their march music (“Marschmusik”) or popular music (“Volkstümliche Musik”) such as Big-Band type of songs from Max Greger for instance. And when she was all alone, Lotty treated herself to songs from Adriano Celentano such as his hit song Azzuro. Once Hubert got a little older, he grew tired of his father’s march music, so he made use of my extensive range and listened to these British guys, that he could receive from European and international broadcasts on short wave. You know? The boys with the terrible haircuts. (Insert QR code to Youtube video of “Twist and Shout” by The Beatles) Next to the chart shows of France Inter or RIAS he also listened a lot to Radio-Luxemburg, the program on MW I played the most. Here Hubert especially fancied their program “Die grossen Acht”, by Camillo Felgen and later Frank Elstner in which the weekly top hits would be played. (Insert QR code to audio file of “Die grossen Acht” Intro) This was all a bit too funky for his parents, so when they were together, they agreed upon music they all liked. They found common ground in “Schlager” music with artists like Udo Jürgens or Peter Alexander.
 
 Even when the television arrived in our household in 1964, I still had a foothold, because I had so much more content to offer. I did not only entertain them, but I also kept them informed of what was happening in the world. I truly was their key to the world. Especially because I transmitted live content. The concept of live is what really defines me as a radio. Liveness is therefore incredibly important and vital to me. After being employed as a professional notion referring to the technologies allowing to “be live”, liveness has become an academic concept central to media and television studies since the 1950s.[6] Liveness provided my owners with a sense of immediacy; a natural and direct link to any given event happening in their country or the big world is provided through live broadcasts played by me. My owners always talked about how magical it is to listen to something that is happening right now. It made them feel like they were there and like they were a part of it. Although I have to admit, not everything I transmitted was actually taking place in the moment. Some broadcasts were recorded in advance but labeled as live. But you know what? That did not really matter to them as long as they had the illusion that it is live. Broadcasters did a good job in managing sounds in order to create an effect of liveness. In that way “liveness is a construction, which producers work at to offer genuine experiences that viewers feel they are witnesses of”.[7] As scholar Paddy Scannell put it, liveness is thus about lived experience and being alive.[8] The sounds I transmitted were dynamic and fleeting. My owners needed to listen very carefully because what I played was transitory. So, while liveness provides immediate content it also provides something perishable. Hubert always loved to listen to bike races. When he listened to the Tour de France, he felt like he was there, like he rode with them. The broadcaster of course played an important role of making sure of that.[9] He not only needed to describe what was happening but also the surroundings and the atmosphere. A real closeness to the event was invoked when Hubert listened. In comparison to the television, he did not see, which is great because the orality encouraged his imagination. Moreover, knowing that this content is listened to by so many others, an aural “imagined community” was created through liveness.[10]
 
@@ -220,6 +220,10 @@ Sounds of ivory Philetta B2D13A: https://www.youtube.com/watch?v=eItyhwzZUyk
 
 “Swinging Creeper”, “Die Grossen Acht“ Intro sound. Mp3 file. 
 
+Twist And Shout (Remastered 2009) by The Beatles: https://www.youtube.com/watch?v=2RicaUqd9Hg
+
+<iframe width="560" height="315" src="https://www.youtube.com/embed/2RicaUqd9Hg?si=xAe31I6yLCOAGvuC" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>
+
 
 Oral history: interview with an owner of a Philetta. Mp3 file.
 Assets link: https://github.com/C2DH/maison-du-son/blob/master/assets/images/Interview%20Philetta%20JM%20Resch.m4a