#a 1953 Telecaster

[coolthingsguyslike]

[deebeeus]

1953 Fender Telecaster and 1950s Mason amp, owned by Chris Stringer, Toronto, Canada, and photographed for the Official Guitar Logs 2022 calendar.

[kulturrgroupie]

Discover Jimmy Page

A complete list of his most famous electric guitars - pt. 2

from pageysartgallery

1953 Fender Telecaster

Finish: Brown

Years used: 1970s and 1980s, it’s still in his collection

Jimmy bought this Telecaster in November 1975 and first used it with Zeppelin for “Hot Dog” and “Ten Years Gone”. Later on, in the 80s, he used it as one of his main guitars with The Firm.

Apparently, he got the guitar from Robb Lawerence, who at one point left a comment on a Led Zeppelin fansite, explaining the story. According to Robb, the Telecaster was acquired with the intent to install the B-Bender system on it immediately.

The Telecaster originally came with a maple neck, which stayed on it up until late 1979. At that point, Jimmy replaced it with the rosewood neck from his 1959 Telecaster from the Yardbirds era.

“I still have it (referring to the Dragon Tele), but it’s a tragic story. I went on tour with the '59 Les Paul that I bought from Joe Walsh, and when I got back, a friend of mine had kindly painted over my paint job. He said, ‘I’ve got a present for you.’ He thought he had done me a real favor. As you can guess, I wasn’t really happy about that. His paint job totally screwed up the sound and the wiring, so only the neck pickup worked.

I salvaged the neck and put it on my brown Tele string bender that I used in The Firm. As for the body… it will never be seen again! [laughs]”

— Jimmy Page

1967 Vox Phantom XII

Finish: Black with a large white pickguard

Years used: Late 1960s to now

Jimmy acquired this guitar while he was working as a studio musician. He first used it in the studio with the Yardbirds, on their album “Little Games”, on the songs “Tinker, Tailor, Soldier, Sailor” and “Glimpses”. Later on, he would use it with Zeppelin, on “Livin’ Lovin’ Maid” and “Thank You” from Led Zeppelin II, and “Stairway to Heaven” from Led Zeppelin IV.

“I used a Fender 12-string in the studio. And before the Fender, I used a Vox 12-string. You can hear the Vox on things like “Thank You”, and “Living Loving Maid”. On “Stairway” I used both my Vox Phantom that I used on “Thank You” and my Fender Electric XII.

They both sort’ve sounded the same. It was more about how they played. They felt different. On “The Song Remains The Same”, it’s just the Fender.”

— Jimmy Page (x)

1952 Gibson Les Paul Standard - ‘Second Number Three’ - Used exclusively on the 1977 tour as a backup guitar. Used on “Achilles Last Stand” and possibly “Heartbreaker”, but mainly on “Over the Hills and Far Away”

This guitar was always assumed to be his '69 No3. As more photos/videos became available online in the early 2000's, people noticed slight differences between his '77 red Les Paul and his No3 Les Paul. The main differences are:

- its 50s era Goldtop - re-finished as well, the colour is more cherry red as opposed to the more purple/red of the original No3

- it's a non-pancake body

- slightly smaller headstock

- different binding

This might be the 1952 Les Paul that Jimmy bought in December 1974 from Mike Corby, guitarist of the band “The Babys”. They deduced that this was the guitar that would become his second red No3. This would also fit in with the time frame as Page would have needed time to refinish and customise it, hence not seen until the '77 tour (acquired too late to be used on the '75 tour, they didn’t tour in '76).

Gibson Les Paul TransPerformance - used on “Kashmir” from the 1994 album “No Quarter” and occasionally for live gigs and in the studio

Finish: Metallic gold

Years used: Early 1990s to now

For better or for worse, Gibson did a lot of experimentation over the decades. Things really became interesting in the late 1980s and the 1990s. With the rise of the company’s Les Paul TransPerformance guitar, Jimmy Page quickly became its endorser. However, reactions to this particular model were very mixed. The TransPerformance guitar has basic features that you’d find on most Gibson Les Paul models. There’s the mahogany body with a maple top, mahogany neck, rosewood fretboard, as well as pretty-looking aesthetic additions, like the metallic golden finish, binding, and trapezoid pearl inlays on the fretboard.

But what was really groundbreaking at the time, was that it features a self-tuning system. This includes special Grover tuning machines and a TransPerformance bridge and tailpiece system. The system also includes controls on the body’s front side tied to the bridge and tailpiece that can tune-up automatically according to the set parameters.

Jimmy has three guitars with the Transperformance system built-in – one orange, one gold, and one purple. His favorite among them seems to be the gold one, at least based on how frequently he used it compared to the others.

Gretsch 6122 Country Gentleman

Jimmy used this guitar in the very early 60s, around the time he played with Neil Christian & the Crusaders.

“I went to see Jimmy with Neil Christian in 1961-1962, it was a lunchtime gig at The Boathouse in Kew Bridge. All I saw was this human beanpole with a Gretsch. It was four times bigger than he was…”

— An acquaintance of Page’s, ‘No Quarter: The Three Lives of Jimmy Page’

1959 Fender Telecaster - before the dragon design was painted

When Jimmy first got the Telecaster, it featured just a regular white finish. At some point in 1967, he glued eight circular mirrors on the body – four of them behind the bridge, three below the pickups, and one on top of the body. He was possibly inspired to do this by Syd Barrett of Pink Floyd, who was famous for playing a Fender Esquire with the exact same mirror setup.

That's all - if you made it this far, thank you so much & I hope you enjoyed this!

[blendergallery]

⚡️Happy Birthday to photographer extraordinaire Dominique Tarlé who took some of the of the most famous photographs in music history, including this one during the legendary Rolling Stones Exile on Main St. recordings in the South of France in 1971. 🇫🇷 You can see Dominique reflected in the mirror in this amazing shot.. 😉 Joyeux anniversaire Dominique! 🎉 @tarledominique Keith Richards reclines on the parquet floor of the luxurious Villa Nellcôte in the South of France during the legendary Exile on Main St. recordings. ✨ Seated with what appears to be his legendary 1953 Fender Telecaster - nicknamed "Micawber" - in his lap, Keith is surrounded by Anita Pallenberg, looking as stylish as ever with her legs slung over an armchair, Gram Parsons, and Parsons' girlfriend at the time, Gretchen Burrell. The guitar was supposedly gifted to him on his 27th birthday about 6 months earlier by Eric Clapton, and it remains one of his very favorite instruments to this day. ❤️ This image is the most iconic and sought-after photograph from that legedary Summer of 1971. The scene perfectly captures the long warm nights spent working out riffs and the endless mix of family and friends that streamed in and out of that estate. ☀️ This photograph is extremely rare and limited - please contact us for more information via email info@blendergallery.com or DM us here. Blender Gallery is the the exclusive representative in Australia for Dominique Tarlé's photographs. ✌️❤️🎶 @tarledominique @officialkeef #keithrichards #exileonmainstreet #villanellcote #dominiquetarle #southoffrance #gramparsons #anitapallenberg #therollingstones #rockandroll #musichistory #legendsneverdie #rockroyalty #telecaster #ericclapton #soulsurvivor #sweetvirginia #rocksoff #exile #muse #icon #fashionista #style #seventies #iconic #rockicon #musicphotography #rocknroll #blendergallery https://www.instagram.com/p/CrxcvkmvfIQ/?igshid=NGJjMDIxMWI=

[retrofret]

Just arrived…a hot 1953 Fender “Blackguard” Telecaster! 🔥 - Link in our profile. - This guitar carries serial number 2209 stamped into the bridgeplate, with a neck marked TG 6-15-53 in pencil on the heel by renowned Fender craftsman Taddeo Gomez. The body has 6-5-53 penciled in the neck pocket, with "Eddie" written beside it (Eddie made a lot of blackguard bodies). The masking tape strip in the control cavity indicates the electronics were installed by Mary on June 15 of '53. These dates are closer than many; the 10-day-old body was being wired up the same day the neck was made. Perhaps Fender sales had a spate of orders in summer '53 the factory was pushing to complete! The die-stamped date code on the tone pot reads 304-221 designating the 22nd week of 1952, the volume pot has a partially covered ink stamp of 140-233 from the 33rd week of the same year. (at Retrofret Vintage Guitars) https://www.instagram.com/p/ClJ9zgHup4X/?igshid=NGJjMDIxMWI=

[guitarplanet-fender-gibson]

フェンダー編第431回：「~Winter 2022 CS Event Limited #043~ LIMITED EDITION 1953 Telecaster N.O.S. -Nocaster Blonde-ってこんなこと」

2022年9月に行われた、「Winter 2022 Online Custom Shop Event」オンライン選定会にて限定受注された逸品!! 現在では受注生産扱いとなり、お探しの方も多い流通稀少な「NOSフィニッシュ」を採用した、 カタログ外モデルの特別な1953テレキャスターが入荷しました!!

Spec. Body : Selected Light-Weight Ash Off-Center 2PC Body Finish : Nitrocellulose Lacquer , New Old Stock Neck : AA Flame QTR-Sawn Maple 1PC , 54 U-Shape Neck Finish : Nitrocellulose Lacquer , New Old Stock Fingerboard: 7.25" to 9.5" Vintage Compound Radius , 6105 Narrow Tall Frets , 21F Pickups : Custom Shop Hand-Wound Twisted TELE Neck & Original Blackguard Bridge PU Controls : Fat 50s TELE Wiring -Vol, Tone, Modern 3way-SW- Weight : 3.44kg Case : Custom Shop Logo Tweed Tolex Hard Case

サウンドの要となるピックアップには、カスタムショップ製ハンドワウンドの「Twisted TELE Neck & Original Blackguard Bridge PU」を搭載し、 テレキャスターらしい軽快なクリーン・トーンから力強くファットなドライブ・サウンドまで幅広くアウトプットしてくれます。 アッシュ＆メイプルの軽快な響きを存分にご堪能頂ける王道の「ブラックガード」、 プラス・ネジ仕様＆上品なフレイム・ネックが "あの" 御仁の愛機を彷彿とさせるナイスなテリーに仕上がっています!! 選定会イベントの為に企画された特別な逸品を、ぜひこの機会にご検討下さい!!

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GUITAR PLANET 2023

吉岡　哲志

https://www.guitarplanet.co.jp/

[wutbju]

The cruelty is the point, friends. Never forget that.

A colleague at Furman said to me yesterday, "It's so obvious that this whole thing at BJU is being cooked up in Bob Jones III's living room."

I couldn't agree more.

This is no different, my dear friends, than what happened in 1957. Do you know the story?

Billy Graham attended Bob Jones College in Tennessee. He hated it. Too many rules.

He left and attended Florida Bible Institute. When he left Bob Jones, Sr. yelled at him and said that he'd never amount to anything.

But eventually, BJU claimed him and bragged on him as their own. They were all cozy.

Until 1953.

In 1953 at his Chattanooga Crusade, Billy Graham personally and physically pulled down the ropes racially segregating his audience. He told two ushers, “either these ropes stay down or you can go on and have the revival without me.” The head usher resigned in protest, and the Chattanooga papers were silent on the matter.

Throughout the following weeks, Graham downplayed the move, but the ropes never returned for that Crusade. Within three years, President Eisenhower would ask Graham to convince Southern clergy to soften their ecclesiastical segregationism.

In February 1956, Graham was the leading story on the front page of the fundamentalist Sword of the Lord, with a passionate defense of him from editor John R. Rice. Graham sat on the Sword “cooperating board” with a Who’s-Who list of fundamentalist power players: Richard Clearwaters, M. R. Dehaan, Bob and Jack Shuler, Pat and Bernie Zondervan, and both Joneses. Only 20% of the twenty board members were from South of the Mason-Dixon line.

But by July 1956, Graham was off the Sword, condemned for being too “worldly” and too “inoffensive” and was starting his own publication with Carl F. H. Henry, Christianity Today. A year later, Graham had Martin Luther King, Jr. open a New York City crusade event in prayer.

And it was all over at that point. That's when BJU, inc. "separated" from Billy Graham. BJU alone coded "segregation" as "separation." Do you get what that means?

We were sold a bill of goods by the Bob Jones family. When we were told to "separate" from evangelicals, underlying that story was racial segregation. It's a white supremacist story we were told, all cloaked in religious language. It was never religious. It was never about separation. It was always about miscegenation.

And the vitriol Bob Jones, Sr. and Bob Jones, Jr. spewed at Billy Graham in this time is astonishing. I have 209 documents from just 1957 related to BJU and Billy Graham, and I don't know where to start for this brief overview. Look at what a current BJU student said in March 1957 -- right after Bible Conference:

Dear Fellow Students:

You and I know that the situation here in Bob Jones University is unbelievable. Our parents do not know it or they would not have sent us here.

Instead of a Christian institution where we are taught to love God, His Word and His people, we are being fed on hate and misrepresentation day after day. We are being brainwashed and you know it. We cannot think our own thoughts or make our own decisions. We cannot even pray fora a Christian leader like Billy Graham whom God is using so much.

The so-called "Bible Conference" was mostly one prolonged smear campaign against Billy Graham. Some of the speakers said things they knew were untrue and we knew it too.

The student attached an article from Bob Jones, Jr. about Billy Graham. I've got the whole thing, of course, but just look how it starts:

A San Francisco Telecast of Liberal Opinion on the Forthcoming Graham Crusade

By Bob Jones, Jr.

Bible-believing Christians who condone Billy Graham's unscriptural modernistic sponsorship should have their eyes opened as to the true facts in regard to the Billy Graham can1paigns by an article which appeared in the OAKLAND TRIBUNE on Tuesday, December 17, 1957.

These same gullible Bible-believing fundamental Christians, strangely enough, seem to have been as deaf to Dr. Graham's innuendos and jibes at Fundamentalists as they have been blind to his fawning attitude toward modernists, infidels, and Unitarians. Slowly but surely these folks are becoming less gullible and the scales have fallen from the eyes of many. This article should increase that number.

Bob Jones, Jr. is petulant and ugly in just these first paragraphs -- cruel to his fellow Christians. He's name-calling. He's angry.

Let's be blunt. He's acting like a malignant narcissist. And the family business lets him rule the roost just like it did with Senior. It's a family trait.

III is acting exactly the same right now. All you Boomer and Gen-X BJU graduates, you remember how Third would have tantrums. Lots of us in the Fine Arts department, at least, have been the recipient of those tantrums. Remember them? Remember how you'd sweat and break out into hives? Remember how small you felt? Remember how you were numb for days after (a sign of trauma, my friends)?

You've probably blocked it. But you need to remember it.

That rage is documented as part of a personality disorder. History proves that Senior did it. Junior did it. You see it up above. And many of us were the target when III did it. You know that.

The entire organization of Bob Jones University for the last century is built on this rage. This irrational, frightening, brutal rage is what fuels Bob Jones University. You cannot detach BJU from this megalomania. You can't.

So if Pettit has been the recipient of that rage from Bob Jones III and his toady John Lewis, why are you surprised? You were too. Why are you defending Pettit now when he has profited off this rage for his entire public career?

I know why. Fundamentalism loves powerful men, and we were taught to defer to those powerful men. So when an affable Pettit says, "THEY ARE RAGING AT ME!" (and no doubt they are), we good little fundies all run to his defense because he's a powerful man too.

But when a sexual assault victim says, "Chuck Phelps put me up for church discipline!" what do we do? When a 300-page document says, "Jim Berg did not follow the law for mandatory reporting," what do we do? When Bob Jones III rages at us, what do we do?

Stop doing that. Wake up.

The cruelty is the point at Bob Jones University. It always has been. Face it, friends.

[webionaire]

by 1953, said to have been in use in radio broadcast jargon since early 1940s, American English, possibly from Yiddish glitsh "a slip," from glitshn "to slip," from German glitschen, and related gleiten "to glide" (see glide (v.)). Perhaps directly from German. Apparently it began as technical jargon among radio and television engineers, but was popularized and given a broader meaning c. 1962 by the U.S. space program.

No more a-c power line "glitches" (horizontal-bar interference)—because camera filaments are operated from a separate d-c source. [RCA ad for the TK-11A studio television camera in Broadcasting Telecasting magazine, Jan. 12, 1953]

All you get today is "glitch" wherever splicing occurs. "Glitch" is slang for the "momentary jiggle" that occurs at the editing point if the sync pulses don't match exactly in the splice. [Sponsor, Volume 13, June 20, 1959]

[indiejones]

FURTHER EVIDENCE ON BRITISH DOMINION RAJ IN POST-1947 (SUPPOSEDLY INDEPENDENT) INDIA, VIA ‘MANAGEMENT & ULTIMATE CONTROL’ OVER INDIA’S & THE SUBCONTINENT’S POPULAR COMMUNICATION IE RADIO! ..........................................................................................................................................................THE ‘REAL REASON’ FOR THE RISE TO UNPARALLELED FAME, OF SRI LANKA’S ‘RADIO CEYLON’, OVER INDIA’S ‘ALL INDIA RADIO’!

A strange dichotomy in press or media workings from 50’s India, came to our attention at Indies, making us investigate it’s roots, & the revelations from it & deeper emerging links to the Indian panorama of then, is what’s presented in form of this blog.

Now all regular readers of Indie blogs, would’ve taken notice of the Indie revelation from month back, of the pre-1977 Indian Film Censors rule, of not allowing film shootings within the land, till every 3 reels of each film were made to pass thru & be certified by censors before proceeding ahead. In light of this, emerged another unrelated claim stating how twas the Indian Information & Broadcasting Min of 1950’s India, B.V. Keskar, I & B Minister from 1952-1962, that outright banned the broadcast of all Hindi songs in 1952, for supposedly being too crass & uncultured, thus paving way for the emergence & prosperity of India’s rival business, Sri Lanka’s state radio broadcast service ‘Radio Ceylon’ (most famous to audiences of today, for hosting Ameen Sayani’s ‘Binaca Geetmala’, a weekly Top 10/20 Hindi Film Songs rating & broadcast show) that became immensely popular on account of such ‘folly’ by Mr. Keskar. And this theory was bought by the nation enmasse, for Mr. Keskar being a known proponent of the classical arts, & who In an article in The Hindu (19 July 1953), had argued that “The country’s appreciation for classical music has fallen and was on the point of extinction, particularly in North India, & the onus of making his countrymen intimate with (classical music) that therefore was bestowed on AIR.” “We must make (ourselves) familiar with our traditional music," was what he’d declared. Now further research on the matter gives us no other direct quotes or even second-hand convos from Keskar on the matter of Hindi Film Songs being degenerative or a bad influence on Indian society, ever, anywhere! .. All such talk, attributing such motives to him, only appearing in independent (?) columns of journalists, assuming his self-asserted appreciation for Indian classical music as a direct potential assault on Hindi film Music, in some zero sum game, that being the decided motive for the AIR Film Music ban, no further questions thence to be asked! This theory may even have worked in unknowing & gullible 1950’s India, but to us 75 yrs later, armed with Google baba & other means of info, the knowledge of real facts, that smelt of something far more sinister or atleast shady to begin with- HOW WAS IT EVER POSSIBLE, THAT THE SAME I & B MINISTRY THAT OVERSAW, CERTAINLY SINCE INDEPENDENCE & ALSO BEFORE, WHAT SONGS WERE FIT TO BE TELECAST OR SCREENCAST (IE WITH VISUALS, MOREOVER) IN HINDI MOVIES OF THEN, WITH A METICULOUS MICROSCOPE, WOULD FIND THE SAME SONGS OBJECTIONABLE IN THEIR MERE PODCAST OR TRANSMISSION (W/O VISUALS), OVER A PUBLIC CARRIER ‘ALL INDIA RADIO (AIR)’ ALSO RUN ENTIRELY BY THE I & B MINISTRY??!! Further, we are told that AIR’s situation improved after Keskar was removed & AIR’s new ‘Vividh Bharati service” division was started, now allowing the playing of Hindi songs, thus gaining popularity, & finally beginning to bring in rewards to Indian public entrepreneurship. Only to learn upon some more research that: 1. Mr. B.V. Keskar was the I & B minister continuously for 10 yrs from 1952 – 1962, while ‘Vividh Bharati’ began services in October 1957! Ie. Keskar also oversaw the emergence of Vividh Bharati in AIR during his leadership. 2. It is learnt that parent body AIR still didn’t allow of advertising slots on this new ‘Vividh Bharati’ channel, even then, thus refusing the chance of generating revenue & sprucing up it’s programming & presentation. This infact reportedly continuing into early 1970’s.

All this while rival state broadcaster, Sri Lanka’s ‘Radio Ceylon’, was reportedly earning millions upon millions of rupees, via the biggest & hottest commodity of the nation since independence, in Sri Lanka or India – Radio! Far far more monopolistic in attracting the maximum audience & ad revenue & trade then, as one would imagine, on account of there being no rival modes of entertainment or mass enjoyment then! RADIO WAS UPTO TEN TIMES MORE PROFITABLE AND ATTRACTIVE & PRESTIGIOUS A VENTURE & A DOMINATING (& CONTROLLING) PUBLIC INFLUENCE, THAN EVEN THE TELEVISION OF TODAY!

Which brings one to the obvious question, as to why would the Indian Govt, allow the clearly most potentially impactful & most public interfacing & public controlling Ministry, take a string of the stupidest upon stupidest of decisions, one after the other, for upto years to decades on end, that too, & need it be said, with a rival & unimaginably successful & profitable & national coffer-bourgeoning business model, in just the neighbouring nation, using the Indians’ own intellectual property to increase their own nation’s wealth, all to India’s detriment!???? Ofcourse also to how the same supposedly Hindi Film music-phobic I & B Minister Keskar, had such a change of heart, to first unilaterally declare such a vastly unpopular & need I say, electorally impactful decision in 1952, & then do a 180 degree turn in just 5 yrs, & undo the same decision unilaterally in 1957, unquestioned or un-investigated upon further, forever thereafter! Btw. B. V. Keskar continues to be the longest serving I & B Min in Indian democratic history, having served on this post for a full 10 yrs, that’s 5 times more than the average term duration of 2 yrs for Ministers holding this post in India thereafter! Does anyone even remotely believe that Nehru of all people, SO hands-on in all his affairs, that his own 1950’s Finance Minister of all people, John Matthai, one of Indies Top 136 Greatest Personalities in the Known History of India incidentally, & one of the most important Cabinet posts in the Govt, resigned, writing an open letter of resignation to Nehru in 1950, alleging how Nehru’s Planning Commission headed by Nehru himself, had become a parallel Cabinet that’d turned the entire real Cabinet into mere petty registering authorities…could allow some unheard of & certainly nationally unknown Minister called B. V. Keskar to run riot with the dynamic national sentiment, not once but twice, & continue on with no say in the matter at all!?

https://indiafacts.org/complete-truth-jawaharlal-nehru-forced-john-mathai-resign/

This was not stupidity of the highest order, but certainly something far more sinister.

And a little further deep-dive, made matters far clearer indeed!

THIS WAS NOT ABOUT INDIAN BUSINESS OR SRI LANKAN BUSINESS, BUT BRITISH & AMERICAN BUSINESS ALL ALONG!

You see some research on ‘Radio Ceylon’ will tell you, how it took the shape of it’s most famous avatar, from the erstwhile ‘Colombo Radio’ that began transmission in 1925, only after the nation of Ceylon (now Sri Lanka) was officially granted Dominion Status by the British in 1948 just a year after the same as unofficially granted to India in 1947 (read earlier Indie blogs on India’s Dominion Status till atleast the late 1960’s, on Indies sm), that meaning all controlling authority, if not day-to-day operations, & certainly lotsa the decided revenues or rewards, from the nation’s activity, were to stay with the British Crown.

Further, how ‘Radio Ceylon’ acquired it’s operational strength thanks to the short-wave transmitters that were donated to Radio Ceylon, at the time of it’s dominion-independence, by the officers of the then Indian Gov General Louis Mountbatten’s earlier command, namely his position as Supreme Commander of the South- East Asia Command that Mountbatten held till 1946, & one officer in particular, Major Frank Courtney. During WW II, Frank Courtney was posted in India and assigned to the British Garrison at Bombay as the Signals Officer. The Allied Forces were spread far & wide, from the Middle East to the Far East and the Indian Peninsula in the centre, formed a very strategic location. Real time communications with the Allied Forces became paramount and an urgent need was felt to set up a Medium Frequency/High Frequency (MF/HF) transmitting station. FC was tasked with identifying a suitable location and equipment and setting up the same. After a thorough study he concluded that Colombo would be the ideal location and he proceeded with the project as directed. Just as the equipment arrived at Colombo the War ended and the equipment continued to lie in some warehouse in the port premises.

Frank Courtney, who was totally in the picture of the details & position of the MF/HF Transmitters, approached the new Government in Ceylon and proposed the setting up of a powerful radio station for their country. The Ceylon Government accepted his proposal and commissioned him to complete the project on a turn-key basis. That meaning, the Govt of Sri Lanka basically appointed Major Frank Courtney, Signals Officer of Mountbatten’s South-East Asia Command, as a large stakeholder & large part owner of Sri Lanka’s national radio service, that was also soon re-positioned as a full-fledged separate department of the Ceylon (Sri Lankan) Natl Govt.

Now given how Sri Lanka was legally a Dominion of Britain then (& continued to be till 1972 when officially became a Republic), & Mountbatten very much in control of India as Governor General in 1948, fair to say, this was in effect the British Crown acquiring rival legal ownership to the then illegal Indian radio-service ownership! .. In modern biz talk, many would call this, a potential way to convert black into white!

And that is how Radio Ceylon came into being. The most powerful transmitting station in this part of the world!

1. https://en.wikipedia.org/wiki/Radio_Ceylon

2. https://pediahut.com/radio-ceylon/

3. https://www.historyforpeace.pw/post/the-strange-and-amusing-history-of-indian-commercial-radio

4. https://www.telegraph.co.uk/news/obituaries/1579447/Major-Frank-Courtney.html 5. https://www.mail-archive.com/goanet@lists.goanet.org/msg140357.html 6. https://www.imdb.com/title/tt0268740/plotsummary/

What happened thereafter, as mentioned in first half of the blog, & why moreover, would now be almost clear to everyone reading! The entire facade of the Hindi Film Song ban by All Indian Radio & Keskar in 1952, would’ve been, as we can almost certainly now say, an exercise in subterfuge, in transferring all Indian listenership & consequent ad revenue from AIR to the Crown‘s near-official Radio Ceylon, under directions of the Crown, dutifully followed & implemented on by the self-confessed last British PM of India. Btw, do you know when ‘Vividh Bharati’ actually started accepting advertising revenue? In early 1970’s, just as Sri Lanka became a Republic!   Another aspect that also comes to mind, as an interesting aside, is how Major Frank Courtney, official part-owner of or substantial stakeholder in ‘Radio Ceylon’, also roped in 2 more people as official partners – First, an enterprising American Daniel Molina, who sensing a great business opportunity in India then, founded (or was made to found) a company called Radio Advertising Services in Bombay in 1951 to recruit sponsors for Radio Ceylon’s programmes.

Molina also established Radio Ceylon’s production arm, Radio Enterprises Pvt. Ltd. (REPL), and hired an AIR broadcaster named Hamid Sayani to head it. Who was also a theatre actor & a executive in 2 big British advertising agencies J. Walter Thompson and Stronachs.

Did you know that 'Radio Ceylon' ran it's outrageously profitable venture, in the name of the Sri Lankan Govt's official department, right from Colaba in South Bombay, from Cecil Court & nearby locations!

Incidentally, the 2 other people that were hired & became famous, in this radio jockey role, were Hamid’s younger brother Ameen Sayani, who was to radio compere inarguably Radio Ceylon’s biggest money-spinner ever (thanks to Indian & British Govt’s calculated Hindi song ban), ‘Binaca Geetmala’, & the other, a guy called Balraj, who first hosted & became famous with a show called ‘Lipton Ki Mehfil’ & subsequently a show by the name ‘Lux Ke Sitaray’, that during course of his 2nd show, would land up at Dilip Kumar’s ‘Shikast’ film set for an interview in 1953, & per online info, impress the Director Ramesh Saigal enough to bag a lead role for his next film, titled ‘Railway Platform’, releasing nationwide in 1955, the man now rechristened as Sunil Dutt!

The Radio service, now having acquired unparalleled & loyal fan base, would, despite being an official Sri Lankan Govt enterprise, also then go on to begin a segment on  ‘unbiased Indian news’ pertaining to India, & begin a Christian missionary ad-purchased Christian religious programming to India, slot, too. Just saying.

Now we mentioned earlier how Major Frank Courtney had roped in 2 partners for his advertising agency arm of Radio Ceylon, the 2nd of them being a guy going as S. Hariharan, that from the only available literature on him, was also the ‘overseer’ of 1972’s Malayalam film ‘Vayanadan Thampan’, the plotline for which, as an amusing aside, we surely hope has no real-life connections whatsoever! For below is what the Imdb plotline as on July 2023 of the film reads (As I said, have a fun read): “Vayanadan Thamban is nearing his death, he starts to worship devils and comes across a devil Karimuthey. Vayanadan Thamban requests him to grant everlasting youth to which Karimuthey agrees on a request that he should sacrifice 10 virgin girls as an offering to him, on specific intervals. Upon offering him a sacrifice of every virgin girl, Karimuthey grants Vayanadan Thamba a boon to become younger on every interval. But warns him that if he fails to offer the sacrifice, his body shall go rotten.”

Sounds very much like few dark occult underground community terms & conditions & rituals, we’ve now heard aplenty from experts & activists alike, isn’t it?! .. But as I said, let’s hope just restricted to cinematic entt (even if at it’s very worst!).

Btw, we’ve blogged on before, using Dr. Samuel Stevens’ expert works, how the British Empire was essentially a Freemasonic Empire. With most people forming a relationship with them as part of their prestigious ring, having to vow to the dark cult’s terms & conditions, in some direct & indirect way (per Dr. Stevens & other experts). That if being the case here at all, or if so to what extent, is as good a guess of your’s as of mine!

Frank Courtney, who incidentally lived all his 1940’s time in Bombay, would continue to live & operate from the same Bombay for the rest of his life, his British wife from before independence incidentally also owning a fashion boutique at Colaba’s Taj Mahal Hotel for many decades, from before him, that being the place of their first meeting too btw. Frank would go on owning a home in London, yet staying in Bombay, till he died in the 2000’s, spending most of the evenings of his retired life as President of the Royal Bombay Yacht Club, winning yacht races well into his 80’s & overseeing the club’s activities, even at one point of time, receiving an official letter from the Queen, for his efforts in resisting the movement to change the name of the Bombay in The Royal Bombay Yacht Club to Mumbai. Frank Courtney was also conferred the OBE (Order of The British Empire) in 1980, ‘for public service outside the (official) civil service’.

[bandhyukoh]

CuriousCat: do you know the story behind the electric/bass guitars they use? A: I’m not sure what you mean by story since they have quite a few. But they prefer Fender’s guitars and basses. According to Oh Hyuk Fender fits HYUKOH’s sound the best. More specifically they use the instruments from the 50s and 60s because they produce a different sound and they find them much better than the newer instruments. For example: Oh Hyuk has Fender Telecasters from 1953 and 1960. Donggun has a 1958 Fender Precision Bass (plus a 1972-1974 Fender Precision Bass). Hyunjae has a Fender Stratocaster from 1968. Let me know if that’s not what you meant / if you wanted info on a specific instrument.

[stubobnumbers]

Television History - 1952

Television History - 1952

New Shows: The Today Show (NBC)(1952-Present). My Hero (NBC)(1952-1953). October 26 – Victory at Sea (1952–1953) on NBC, one of the first historic documentary series. January 6 – Claudia on NBC (moved to CBS on March 31, 1952) . Meet the Masters, a program about classical music, on NBC and WGN-TV. June 30 – the soap opera The Guiding Light (1952–2009) on CBS, which began on radio in 1937, becoming the longest-running regularly scheduled drama in television history I’ve Got A Secret (CBS)(1952-1967). Our Miss Brooks (CBS)(1952-1956). Biff Baker, USA (CBS)(1952-1953). The Adventures Of Ozzie And Harriet (ABC)(1952-1966). Life Is Worth Living with Bishop Fulton J. Sheen on DuMont (1952–1955), then on ABC (1955–1957). September – the religious drama This Is the Life on DuMont, and ran until the late 1980s. November 1 – Hockey Night in Canada on CBC (1952–present). September 19 – Adventures of Superman in syndication (1952–1958). American Bandstand, originally called Bandstand, as a local program in Philadelphia (1952–1989). December 1 – The Abbott and Costello Show in syndication (1952–1954). See It Now, hosted by Edward R. Murrow. My Little Margie (1952–1955), starring Gale Storm. This Is Your Life in the U.S. (1952–1961). Life with Elizabeth, a sitcom featuring Betty White (1952–1955). March 1 – Death Valley Days in syndication (1952–1975). Flower Pot Men (BBC).

Shows That Ended in 1952 – Stop The Music (1949), The Bill Goodwin Show (1951), Faye Emerson’s Wonderful Town (1951), the daytime version of "A Date With Judy" (1951), the NBC version of "Claudia" (1952), and "Picture Page" (a 1946 British program).

Events: July 7 – Turkey’s first television station was opened ITU TV. August 1 – First TV broadcast in the Dominican Republic by La Voz Dominicana, a TV station based on the radio station of the same name. September 6 – Television debuts in Canada with the initiation of CBFT in Montreal, Quebec. September 8 – CBLT in Toronto, Ontario begins broadcasting as Canada’s second TV station. September 20 – The first commercial Ultra High Frequency (UHF) television station in the world, KPTV (now a Fox company affiliate), begins broadcasting in Portland, Oregon on channel 27. The first political advertisements appear on US television. Democrats buy a 30-minute time segment for their candidate, Adlai Stevenson. Stevenson receives unfavorable mail for interfering with a broadcast of I Love Lucy. Dwight Eisenhower buys 20 second commercial segments and wins the election. The first telecast of an atomic bomb detonation (KTLA). The U.S. Federal Communications Commission reserved channels for non-commercial, public broadcasting. There were approximately 146,000 television sets in Canada and most antennas were pointed towards WBEN-TV (now WIVB) in Buffalo, New York.

[coolthingsguyslike]

[deebeeus]

Flashback to an outtake from last November's shoot for the @officialguitarlogs 2022 Calendar.

This 1953 #Fender#Telecaster and famous trapezoidal, made in Canada "The Mason" amp, belong to @chriswstringer8 .

#tele#blackguard#fendertelecaster#teletuesday#guitar#guitars#guitarra#chitarra#guitarre#electricguitar#vintageguitars#fenderguitars#vintagefender#guitarphotography#tone#guitargear#masonamp

[grinduniverse]

Reposted from @arkay_1953 #teletuesday 1953 Black guard🌖 #fender #fenderguitars #fenderguitar #fendertelecaster #telecaster #blackguard #vintageguitar #vintageguitars #1953 #wizardleather https://www.instagram.com/p/CPlTlWHsOxl/?utm_medium=tumblr

[spacebeach23]

1953 Fender Esquire

from http://www.emeraldcityguitars.com/product/1953-fender-esquire/

[retrofret]

Just arrived a 1953 “Blackguard” Fender Telecaster in its original brown hard shell case! (please click on the link in our profile for additional information). Thanks. (at Retrofret Vintage Guitars) https://www.instagram.com/p/CfhdWLjOoos/?igshid=NGJjMDIxMWI=