Tag: nostalgia

Categories
Aging Illinois Memories Tracy Loftesness

Little Donuts

Midwestern State Fair Midway

Every August, when the Illinois State Fair came to Springfield, we took the kids.

We lived in Springfield in the late 1970s, and the fair belonged to summer the way certain things do — you didn’t plan for it, you just went.

The first thing I remember is the smell. Frying dough, grilled onions, hot dogs, popcorn, livestock, hay, dust, something sweet running underneath all of it. That combination doesn’t exist anywhere else. It’s the smell of summer vacation with a little livestock mixed in. The classic Midwestern state fair.

Then the sounds — the clatter of the rides, bells and whistles, barkers working the games, country music drifting in from somewhere, kids squealing, the low hum of a few thousand people wandering from one attraction to the next.

Continue reading “Little Donuts”
Categories
Music Radio San Francisco/California

Remembering San Francisco’s KKSF

KKSF FM on the radio overlooking San Francisco

At midnight on July 31, 1987, KKSF came alive at 103.7 FM.

The first thing anyone heard was Steve Winwood, “Back in the High Life Again,” which is either a coincidence or the most on-the-nose piece of programming in the history of San Francisco radio. Because that is more or less what the station promised everybody who found it in the weeks after: a higher life, a smoother one, arriving at 103.7 on your dial like a room you didn’t know you’d been missing.

I found it not long after, in my kitchen, which is where I found most things back then. The radio sat on the counter, tuned low enough that it lived beneath the sound of dishes and the refrigerator door and whatever else was happening in a life that was in the middle of being built.

This was after 8-tracks and before anyone had figured out you could carry a hundred thousand songs in your pocket, which meant the radio still had a kind of authority it doesn’t have now. You didn’t choose the next song. Somebody chose it for you, and you trusted them, the way you trust a bartender who’s been reading a room for twenty years.

On KKSF, the person doing the choosing had impeccable taste and a voice like a hand on your shoulder telling you it was going to be fine.

I think about how strange that arrangement sounds now, handing your afternoon over to a stranger’s judgment, and how completely I didn’t question it then. Roger Coryell had the mornings, or near enough to them, and he had that particular gift — rarer than people think — of sounding as though he was talking to exactly one person, and that the person happened to be you, standing at your own counter in your own kitchen a hundred miles from the studio.

Miranda Wilson took the middle of the day and kept it there for years, eventually becoming the last live voice on a station that had long since become an institution.

I didn’t know, listening in 1988 or 1991 or whenever it was, that I was living inside something that had an expiration date.

You never do.

You think the kitchen and the counter and the voice on the radio are just Tuesday, just the texture of an ordinary life. It takes twenty years and a different city outside the window before you understand that you were actually inside an era, capital E, and that eras, unlike Tuesdays, do not come back.

There was a name for what KKSF was doing: New Adult Contemporary, or NAC. But nobody listening in the kitchen cared about the name. The idea was simple enough — give the Bay Area something between the rock stations shouting at it and the classical stations lecturing it, light jazz easing into soft rock easing into something with a saxophone in it that nobody could quite name. Holding it together, day after day, song after song, was a program director named Steve Feinstein, chasing down lesser-known imports and out-of-print oddities that gave the station its particular ear, until he died in September of 1996, still on the job.

What they created was a kind of ambient permission.

You didn’t have to hurry.

You didn’t have to shout.

You didn’t even have to know what you were listening to.

The music simply arrived, and you let it stay.

There was a version of San Francisco in those years that felt, at least to me, as though it had room for that kind of unhurried, unbranded taste. This wasn’t necessarily a gentler city in any objective sense. San Francisco had plenty of its own troubles then, as it always has. But it was the city I was living in, and KKSF somehow belonged to its frequency.

Real estate hadn’t yet eaten everything. The tech money was already there, but it hadn’t yet rearranged the furniture of the entire region around itself. There were still corners of the Bay Area where nobody seemed to be optimizing anything.

KKSF didn’t optimize.

It curated.

And there is a difference.

The station lasted twenty-two years, which sounds like nothing until you try to think of anything else in your life that lasted twenty-two years without you noticing it was a relationship.

Then, in May 2009, it stopped being itself.

By then Clear Channel owned the station, and economics won. The format disappeared, the music changed, and Miranda’s voice — which had been finding its way into kitchens across the Bay Area for years — went quiet on that frequency for good.

I didn’t hear it happen.

I was somewhere else by then, doing something else, the way you are when the things that shaped you quietly stop existing without asking your permission first.

I only found out later, the way you find out most things now: long after the fact, scrolling, discovering that a piece of your own furniture had been sold at auction while you weren’t looking.

What I keep coming back to isn’t the music, exactly, though I could still hum half of it.

It’s the kitchen.

And the particular quality of trust required to let somebody else choose what you’d hear next — to be doing stuff and suddenly hear a song you’d never have chosen on your own, and follow it somewhere you wouldn’t have gone. I miss the feeling that the world could still surprise me without first asking what I wanted. Old world radio curation.

Sometimes I think about the city outside that kitchen window, too. It doesn’t sound like that anymore. It doesn’t have quite the same room, at least to my ears, for anything that isn’t trying to be the loudest thing in the room.

Sometimes when music is playing in the background and my mind is wandering I think of KKSF and how a radio station is just a number until somebody fills it with twenty-two years of somebody else’s kindness and wonderful taste.

Categories
Food and Drink Living

The Toast

The bread came out dark, most days — darker than it needed to be. I never said anything. She’s gone now, and the sandwich has become a kind of monument, and you don’t deface a monument.

It was Wonder Bread, always — the wrapper with the balloons, bought on the same trip as the milk. My father’s favorite bread was Roman Meal, for his sandwiches with cold cuts, ham and bologna. Not with this one, though. The BLT got Wonder Bread. No special reason for it. Just the reason a family has for anything: once, and then always.

Kraft mayonnaise, from the jar. The same jar for everything else. Mom did not experiment. She had the regular things she made, and made them the same way every time.

Dad was picky about most food. This one he ate. I don’t know why. Maybe nothing beats bacon fat and tomato juice. Maybe it got in early, before he’d built his defenses, and stayed in by seniority.

No pickles in her BLTs. I didn’t miss them then. We use Claussen slices now, cut flat for this exact purpose, and good farmers’ market tomatoes when the season allows it.

Lunch, mostly. Rarely dinner.

Past a certain point, toast stops helping the tomato and starts blocking it. Hers had crossed that point, most days. I ate it anyway. Said nothing.

We make our own now, on sourdough, and it has never once tasted like hers. Not technique. You don’t get the sandwich back — any more than the kitchen, or the summer, or a mother at the counter making lunch for a picky man and a son who never once told her.

Note: inspired by the article “The Secret to a Perfect BLT Isn’t What You Think” by J.J. Goode in the New York Times.

Categories
Memories Music

The Engineering of Feeling

You’re always captive when it happens. A stoplight in the rain. A straightaway with nothing to look at but the white lines. Eight lanes of brake lights and nowhere to be but exactly where you are. The riff starts, and you’re not driving anymore so much as being driven — pinned by something that arrived four decades before you got in the car.

It happened once near Havana. You were there with a camera, working the old cars — fat-fendered Chevys and Buicks, kept running past the embargo by Cuban mechanics who became, out of necessity, a nation of engineers, scavenging parts and refusing to let something good die just because the factory that made it no longer existed. You didn’t think about Tom Scholz once, photographing a ’57 Bel Air held together by stubbornness. But the two belong in the same sentence. A man in a basement in Watertown, Massachusetts, kept a song alive the same way — building the tools himself when the tools that existed weren’t good enough.

Scholz had a master’s from MIT and a day job at Polaroid, designing the instant camera that would eventually lose to the VCR. He was an engineer — the kind who solves problems by taking them apart. What he did nights and weekends for five years instead was build a recording studio in his basement and use it to construct a song about a girl he’d loved in school, inspired by an old Left Banke single that used to ambush him with longing every time it came on. He played almost every instrument himself, layering twelve-string acoustic over electric over more electric, take after take, through amplifiers he’d built because the ones on the market couldn’t get the sound in his head. By the time Epic signed the band, the label assumed the demo was already a finished master. It was — just not one made anywhere near a studio.

An engineer built the least mechanical-sounding record of 1976. Every track is stacked with the precision of someone who understood signal paths better than he understood how to be a rock star. None of it sounds calculated when it hits you. The quiet drifts a few bars, then the chorus arrives like a held breath let go — the same structural trick Kurt Cobain would later borrow, half-consciously, for “Smells Like Teen Spirit.” Scholz built the explosion out of engineering. What you feel is the girl, the ache, the years.

The song is about the way music smuggles you back into a memory without asking permission. Scholz built that experience the way memory actually works — not in one clean take, but in fragments, layered over years, until the whole thing cohered into something that felt, impossibly, spontaneous. The method is the meaning. He didn’t just write a song about the past ambushing you. He built the ambush, piece by piece, until it was good enough to catch strangers in cars forty years later who never loved the same girl and never will.

Another song does this to you too, and it got there by the opposite road. “Listen to the Music” arrived almost the way lightning does. Tom Johnston wrote it in his bedroom on 12th Street in San Jose, brought it to his producer half-finished, and the band recorded it without changing a thing — no five years, no basement, no solitary engineer stacking takes until three in the morning. Its density comes from somewhere else: Patrick Simmons’ loose fingerpicking threading against Johnston’s percussive strumming, two drummers locking into a groove that shouldn’t work this easily, and one bold studio choice — a phasing effect, that underwater jet-swirl, laid over the vocals as well as the guitars, which almost nobody does. It sounds less like a song someone assembled than a room full of people who fell into the same current at once, then got bent sideways by one effect and printed.

Two songs, same seat, same stretch of road, opposite methods — one built alone across five years by a man who wouldn’t let go of a track until it was right, the other built in days by musicians whose parts happened to interlock, finished by a single flourish nobody else was doing quite that way. There’s more than one route to the kind of complexity that outlasts you. Refuse to stop. Or know exactly when to.

Categories
Living New York City Serendipity

The Grammar of Looking Up

The apartment was across from Penn Station, which meant that for one stretch of months in the mid-1970s, the architecture of my days was decided by trains I never took. I walked east instead, every morning, toward the United Nations, where a man named Frank Smith ran a personal development course that IBM SRI had decided its young people should sit through. I don’t remember most of what Frank said in that room. I remember one thing he said about the street outside it.

He told us we should start looking up. Literally — on our walks back and forth across midtown, Penn Station to the East Side and back, twice a day, rain or not. Not all the way, usually. Mostly it was a floor or three: the window line just above the awnings, the cornice on a building you’d never once registered had a second story, let alone a sixth. The full climb to the rooflines — gargoyles, setbacks, terra cotta lions — was the occasional reward. Almost no one looks up in New York, he said, not even a little. The city trains you out of it. Too much at eye level demands your attention — the cabs, the steam, the man asking for change, the woman walking too slowly in front of you — so everything above your own eyeline disappears by consensus, not just the tops. Habits can be replaced. Look up enough times, even just a floor or three, and you’ll see a different city than the one everyone else is seeing.

I tried it. Walking up past the Pierpont Morgan stretch, or wherever the route took me, chin lifted some small number of degrees, feeling slightly foolish. Most days that was the whole of it — a window line, a row of air conditioners, a sign painted directly onto brick decades before anyone called that vintage. Every so often the chin would tip back further, and there’d be something up there worth the extra degrees. A gargoyle with its mouth open mid-roar, forty years before air conditioning made gargoyles decorative rather than necessary. But that was the rare find. The habit was the floor or three. Nobody else on the sidewalk was seeing any of it, because nobody else on the sidewalk was looking at all.

The chin came back down on its own a couple of times a week, somewhere around a street corner with a slice joint on it, because New York seems to put one on every corner whether you need it or not. You smelled it before you saw it — that specific combination of tomato, oregano, and hot grease that has no name I’ve ever found. Looking up was Frank’s discipline.

The pizza smell required none. It just reached out and took your head by the chin and turned it level again, toward the window with the steam on the glass and the guy folding a slice in half before he handed it over.

It is a small thing Frank Smith said in a room near the UN fifty years ago, and I have carried it around since the way you carry around a key to a house you no longer own. I don’t know what happened to the course, or to IBM SRI’s faith in such courses, or to Frank himself. I know what happened to the habit. It outlived the year, outlived the apartment across from Penn Station, outlived several cities I’ve lived in since that didn’t have the same vertical drama to reward the looking. I still do it. I did it last week on a walk that had nothing to do with midtown at all, tilting my head back on a street in California to find whatever was up there worth finding, and catching myself mid-gesture, thinking: that’s Frank’s, that one, still running fifty years later on the program he installed.

Most of what we’re taught to notice, we’re taught by people who wanted something from us — a sale, a vote, a grade. Frank wanted nothing, as far as I could tell, except that we see more of the city than we’d been seeing. It’s such a small ambition for a teacher to have. Look up. That’s the whole curriculum. And it’s the only thing from that course, the only thing from that whole strange year of being instructed in personal development by a man whose face I can no longer quite reconstruct, that I still do, unbidden, on every street I’ve walked since.

Categories
Dayton Ohio History Memories

The Weight of What Arrived

The first thing you noticed was the smell. Hot metal and oil and something older underneath — not unpleasant, exactly, more like the smell of a thing that knew what it was doing. Dayton Typographic Service on a Saturday morning. Dad already at his machine, pencil tucked over his ear, fingers moving. I was four or five. I had no idea what I was looking at. That was most of the point.

A Linotype machine is the size of a small car and louder than you expect. It sets type by casting individual lines in molten lead — hence the name, line o’ type — and the whole apparatus runs hot, always, a controlled furnace at the center of the work. The operators moved around it with the casual authority of men who understood something dangerous well enough not to fear it. Dad was one of those men. He knew what he was doing with his hands, and watching him work was the first time I understood that intelligence could live in the body, not just the mind. The pencil over the ear was the tell. He was always thinking ahead of his hands.

We lived on Burleigh Avenue in a two-bedroom ranch so small the rooms felt like suggestions. There was a garage out back on the alleyway. The basement held more than you’d expect. The furnace, coal-fed, which Dad stoked every morning before the rest of us were awake — that heat, the warmth that was simply there when I came downstairs, was something he had made. He tended it the same way he tended the Linotype: with patience, with knowledge, with hands that knew the work.

But there was also the kiln. My folks did ceramics, and in a corner of that basement sat the kiln they fired their pieces in. To check the temperature you pulled out a cone — a small pyramidal piece of clay engineered to droop at a specific heat — and peered in at it through the door. I remember doing this, leaning in toward that rectangle of orange light, the blast of heat against my face, checking whether the cone had begun to bend. It was one of my earliest understandings that transformation was not instantaneous. You watched for it. You waited for the material to tell you.

There are men like that in every generation and then one generation there aren’t. They knew how things worked because they had no choice but to know. The furnace would not stoke itself. The type would not set itself. The knowledge was not academic. It lived in the hands or it didn’t live at all.

Union Station was only a few miles from Burleigh Avenue but it existed at a different scale entirely. You went through the main doors and there was a model railroad in the lobby — an elaborate layout, HO scale or maybe O scale, I was too young to know the difference — and sometimes they had it running, the little locomotives making their rounds through their little landscape, and I would stand there watching it with the focused attention that children bring to things they love. I did not know then that I was watching a miniature version of what was waiting upstairs.

The aunts and uncles came from New Jersey on the Pennsylvania Railroad. The Spirit of St. Louis, which ran between New York and St. Louis and stopped at Dayton’s Union Station, was a name that meant something to me before I fully understood what a railroad was. What I understood was this: when they came, they brought TastyKakes.

If you didn’t grow up in the Mid-Atlantic corridor you may not know TastyKakes, which is a condition I regard with sympathy. They are small cakes, individually wrapped, and they came in a cardboard box, and my aunts and uncles carried them off the train the way travelers have always carried the irreplaceable things of home. The Pennsylvania Railroad as delivery mechanism for Butterscotch Krimpets. The whole industrial apparatus of American locomotion bent toward that purpose.

But first there was the platform, and the waiting, and then the thing you felt before you heard it and heard before you saw it. The locomotive did not arrive so much as it asserted itself. The platform shook. The air changed. There was a sound that was also a pressure, a physical fact you received in your chest and your feet simultaneously, and then the engine was there, enormous, indifferent to its own enormity, trailing steam. Nothing I have encountered since has prepared me for anything the way that prepared me for everything. The world, it turned out, contained forces at that scale. It was useful to know.

My aunts and uncles stepped down onto the platform and there were embraces and the good confusion of arrival, and eventually the box of TastyKakes changed hands, and we drove back to the small house on Burleigh Avenue where Dad had been up since before dawn making sure it was warm.

I think about scale a lot now. The furnace that heated two bedrooms. The kiln glowing orange in the basement corner. The Linotype casting its lines of lead. The locomotive making the platform tremble. They were all of a piece — a world in which the forces that ran your life were large and hot and loud and present, operated by people who understood them through their hands. You could go see them. You could stand close enough to feel the heat, smell it, watch it do its work on the material.

Dad is gone now. Union Station is gone — demolished in 1976, replaced by a parking structure. The Linotype machines are in museums, or they’re not anywhere. The coal furnace was replaced by something cleaner and quieter and invisible.

I don’t know what my children will remember. I hope it has weight.

Categories
Living

The Unpadded Saddle

The clatter of the wooden track arrives before the speed does. It starts as a gentle rumble beneath the floorboards, deceptive in its innocence. Then the trumpet fanfare blares, the recorded call of “And they’re off!” echoes across the platform, and suddenly you are caught in a centrifugal force violently pulling you toward the edge.

We are so accustomed to the padded corners of our routines that the Derby Racer at Rye Playland feels almost transgressive. Built in 1928, it is one of the world’s last surviving racing carousels. But the word “carousel” implies a gentle, music-box rotation—a docile circle meant for toddlers and waving parents. The Derby Racer, by contrast, spins at nearly twenty-five miles per hour. You sit astride a hand-carved wooden horse, one of fifty-six crafted by Marcus Illions, that leaps and pitches forward and backward with a startlingly realistic gait.

There are no lap bars. There are no padded shoulder restraints locking you into a prescribed posture of safety. There is no automated sensor to ensure you are seated correctly. There is only a metal hoop, your own grip, and gravity.

I remember taking a ride on the Derby Racer years ago. I climbed into the saddle, wedged my right foot onto the top peg and my left onto the bottom, exactly as the operator instructed. Lean in hard or you’ll fall off, the safety spiel went. As the speed built and the outward pull tried to peel me off the horse, my arms began to burn. My thighs locked against the painted wood. The wind whipped my face, and the track roared beneath us. It was exhilarating, yes, but it was also genuinely demanding.

When the ride finally slowed and I dismounted, my legs were wobbly. Beneath the lingering adrenaline was a profound, quiet relief: I had survived.

In 1928, the world was a less insulated place. The people who first rode those Marcus Illions horses understood that machinery required respect. They didn’t expect the ride to take care of them; they understood the unwritten contract of the saddle. Returning to it now feels like stepping through a portal into an era that trusted individuals to hold their own weight.

We spend so much of our time engineering physical risk out of our days. We build software to prevent errors, algorithms to smooth out our choices, and bumpers to keep us firmly in our designated lanes. We have traded the raw, unrefined thrill of hanging on for the predictable comfort of being strapped in. We assume that a frictionless experience is always a better experience.

But there is something deeply necessary about a machine that demands your active participation just to stay aboard. The Derby Racer doesn’t care if you are distracted; it requires your attention in the present tense. It forces you out of the abstract anxieties of your mind and entirely into the burning muscles of your arms and legs. It reminds you that the physical world still has teeth, and that staying upright requires deliberate, conscious effort.

The padding of the modern world keeps us comfortable, but the raw grip of a 1928 wooden track reminds us we are alive.

Categories
Living Space

Apollo’s Ghosts and the Artemis Return

I watched the Artemis mission splash down yesterday, a modern silver capsule returning from the silent void around the moon. It was a beautiful, flawless return, but watching it, I felt an unexpected tug of melancholy. It transported me back.

I remembered being a kid, mesmerized by the grainy, ghostly black-and-white television broadcasts of the early American space program. I remember the static, the deliberate countdowns, the collective held breath of a nation when the first man walked on the lunar surface. Space felt like the ultimate frontier—an endless trajectory of human ambition.

This morning, with those images still knocking around in my head, I listened to a podcast discussing the long, quiet gap in manned lunar exploration. And then, one commentator dropped a detail that stopped me in my tracks: the spacecraft for Apollo 18 and 19 had already been built. They were fully assembled. Ready to fly. And then, the program was simply killed.

I’ve been sitting with that quiet, heavy fact for a few hours now.

Think about the sheer human effort locked inside those unflown machines. The engineering, the late nights, the calculus, the welding of titanium, and the dreams of astronauts who trained for a lunar surface they would never touch. Those spacecraft became monuments to an aborted future. They are the physical embodiment of a decision to stop.

We do this in our own lives, don’t we?

We spend months, sometimes years, building the architecture of a new idea. We assemble the parts. We do the research, we write the drafts, we lay the groundwork for a career pivot, a new business, or a creative project. We build our own Apollo 18. We get it to the launchpad, fully fueled by our initial enthusiasm.

And then—we just stop. We pull the funding. We let the gravity of daily life, or the friction of doubt, kill the mission before the countdown even begins.

The tragedy of Apollo 18 wasn’t that it failed; it was that it was never given the chance to experience the friction of the atmosphere. It never left the safety of the assembly building.

We are taught that patience is a virtue, but sometimes patience is just stubbornness in disguise—an excuse for not hitting the ignition switch. We convince ourselves that the conditions aren’t quite right, that the budget isn’t there, or that the timing is off. We leave our greatest capabilities sitting in the hangar, slowly gathering dust.

The return of Artemis yesterday was a reminder that we can always go back. We can dust off the launchpad. But the compound interest of abandoned projects is a heavy debt to carry.

The chaos of launch isn’t an obstacle to the mission; it is the environment in which the mission earns its meaning.

If you have built something—if you have put in the time, the sweat, and the architecture—don’t leave it in the hangar. Let it fly. Even if it burns up, it is so much better to have launched than to remain perfectly intact and perfectly grounded.

Categories
History Living Telephones

The Coiled Tether

Do you remember the physical weight of a conversation? It lived in the coiled, plastic spring of a landline telephone cord. We would stretch it across the kitchen, pacing over linoleum floors, the coil twisting around our fingers as we talked into the evening.

That cord was a literal tether. It confined us to a specific radius, but in doing so, it anchored us to the present moment. When you were on the phone, you were nowhere else. You were anchored to the wall, and by extension, to the person on the other end of the line.

There was also the sheer tactile satisfaction of the device itself—the heavy, contoured plastic of the receiver that fit perfectly between shoulder and ear, and the definitive, emphatic slam of hanging up on someone, a punctuation mark that the gentle tap of a touchscreen will never quite replicate.

Then came the subtle, sharp click on the line. Call waiting.

“We traded deep, uninterrupted connection for the anxiety of possibility.”

It was our first taste of modern conversational fragmentation.

Before call waiting, a busy signal was a polite “do not disturb” sign hung on the door of an ongoing dialogue. It meant you were occupied, engaged, entirely spoken for.

The click changed everything. It introduced a sudden, silent geometry to our relationships. When that secondary tone sounded, you were forced into a split-second hierarchy: do I stay with the person I am talking to, or do I chase the mystery of the unknown caller? The phrase, “Can you hold for a second?” became a small, culturally accepted betrayal of the present moment.

We traded deep, uninterrupted connection for the anxiety of possibility.

Eventually, the mystery of the ringing phone was solved altogether by a small, rectangular box with a glowing LCD screen: Caller ID.

For decades, a ringing phone was an invitation to a blind date. You picked up the receiver with a mix of anticipation and vulnerability. It could be a best friend, a wrong number, a telemarketer, or the person you’d been hoping would call all week. You answered with a universal greeting—a neutral, expectant “Hello?”—because you had no idea who was stepping into your home through the wire.

Caller ID gave us the power of the gatekeeper. It allowed us to screen, to prepare, to decide if we had the emotional bandwidth for the name flashing in digital text. We gained control, but we lost serendipity. We lost the unfiltered, genuine surprise of hearing a familiar voice when we least expected it. We stopped opening the door blindly and started looking through the peephole.

Today, we are entirely untethered. There are no coiled cords tying us to the kitchen wall. We carry our communication in our pockets, capable of ignoring texts, sending calls to voicemail, and managing our availability with unprecedented precision. Yet, for all this freedom and control, it often feels as though we are more disconnected than ever.

The good old days weren’t necessarily better because the technology was superior; they were beautiful because the limitations of the technology forced us to be human. The cord forced us to stay put. The lack of caller ID forced us to be open. The absence of call waiting forced us to finish the conversation we started.

Sometimes, looking back, I miss the simple, undeniable commitment of answering a ringing phone, twisting the cord around my index finger, and just listening.

Categories
Aging Citizens Band Radio History Living

The Static We Left Behind

There was a time when the airwaves crackled with a distinct, unpolished kind of magic. It wasn’t the curated broadcast of a corporate radio station, but the raw, spontaneous voices of strangers sharing the same lonely stretch of highway or suburban night. When I previously wrote about the rise and decline of CB radio, I didn’t fully anticipate how deeply the piece would resonate. The influx of emails, comments, and shared memories pointed to a singular, striking truth: we don’t just miss the hardware of the 1970s; we miss the serendipity of the connection it offered.

In the decades since the fiberglass whip antenna faded from the American automotive silhouette, our society has become infinitely more “connected.” We carry glass slabs in our pockets capable of reaching anyone, anywhere, in an instant. Yet, paradoxically, we often find ourselves feeling more profoundly isolated. The modern digital landscape is largely an algorithmic echo chamber, meticulously designed to feed us reflections of what we already know and who we already are.

CB radio, by contrast, was a geographic lottery. You turned the dial, adjusted the squelch, and were instantly thrust into a transient community composed entirely of whoever happened to be within your physical radius. It was messy, chaotic, occasionally absurd, and deeply human. It was a localized town square operating on a 27 MHz frequency.

“We traded the spontaneous for the scheduled. We swapped the local for the global… We traded the crackle of static for the endless, frictionless scroll of the feed.”

Reflecting on the quiet that eventually fell over Channel 19, it becomes clear that the decline of CB radio was more than just a technological shift—it was a cultural one. We traded the spontaneous for the scheduled. We swapped the local for the global, and the intimately anonymous for the hyper-public. We traded the crackle of static for the endless, frictionless scroll of the feed.

But the fundamental human impulse that fueled the CB craze never actually disappeared. The desire to reach out into the dark void and hear a human voice echo back—the spirit of “Breaker 1-9, is anyone out there?”—remains hardwired into our psychology. We see fragmented echoes of it today in late-night Reddit threads, in niche Discord servers, and in the fleeting, unscripted interactions of multiplayer gaming. We are all still, in our own ways, searching for a shared frequency.

Perhaps the true legacy of the CB radio isn’t a cautionary tale of obsolescence, but a gentle reminder. It reminds us that in our highly polished, curated digital world, there is still immense, undeniable value in the unscripted encounter. We haven’t lost the need to connect; we are simply navigating a world with too much noise and too few open channels.