Coin Slot

Coin Slot Magazine - #088 - 1982 - June[International Arcade Museum]
jukebox producers of what to expect after World War 11.
plate cast as was the grill, a three piece base plate,
Wurlitzer engineers gave the bubble-tubes more prom
inence, which later made the 1015 famous. Even
three light bulbs in the top, one light behind the
Wurlitzer logo, green color in the back mural, and
though the model is desired today, the used 950s in
sturdy soldered color cylinder cages Various explan
Billboard magazine during World War II were not
ations are used as to why the reduction in numbers, but
bringing as much as some earlier models. There must
I like mine best: they had to cut costs on the 1015 and
have been numerous problems with the model, and
those parts that were lost would not be noticed.
replacement parts for a radically new type of jukebox
Some owners of a 1015 may have found their bubble
just were not that easy to find. This may explain the
tubes replaced with some blue and white "twistiea"
curious scarcity of the model. Many 950s are being
found from outside the U nited States, since the appar
ent supply left within the country is diminishing.
They were a spiraling blue and white peppermint stick
Model 1015
Everybody knows the model 1015, built during the
post-World War II years 1946-47. It is the most recog
nized jukebox built and a production figure of at least
56,246 units makes it the most common Wurlitzer
model. So common was the 1015 that many were
junked because they had bad plastics. Their plastics
shriveled up and fell out like the 950's plastics. It was
not until I heard about Tom Kunkel of Richardson,
Texas in the early 1970s making reproduction plastics
that I would even consider buying a "mutilated" 1015.
These reproduction plastics opened up the hobby
through small newsletters and grapevine chatter. It
was among these early pioneers that a large number of
jukeboxes were passed around the country. Today
virtually all the replaceable parts on a 1015 are being
reproduced. The 1970s have been a remarkable
decade for jukeboxes.
The 1015 may appear the same through time, but
close inspection shows small changes. Early models
possessed aluminum top castings, aluminum cast grill,
a five-piece aluminum base plate, five light bulbs in the
top, two lights behind the Wurlitzer logo, blue color in
the back mural, and a spiral wire supporting the color
cylinder cages. By 1947 the top castings were nickel-
Model 1080
Model 1100
to replace those"dangerous" bubble tubes Old opera
tors in Wyoming explained to me that the fire depart
ments had the bubbling liquid tubes removed, believing
the liquid was boiling at 100° Centigrade. I know from
experience that the old tubes, when broken, certainly
smell, but boiling temperature for the liquid within the
tube is probably just above your body temperature.
The heating resistors just provide a little extra heat
output. Whatever the reason for the "twisties," they
can be easily replaced by the real thing. Maybe that
explains the lack of graffiti on many 1015s, they were a
scare tactic.
Model 1080/1080 A/1080 AC
Take all of the jewelry off a queen and you have the
princess of jukeboxes — the 1080. With the success of
the 1015, sales of 7,604 units broke no records. In fact,
the 1080 was one of the poorest sellers of the 24-select
models (not counting the 950). Why were sales so
bad? The 1080 was well built, very dependable, eye
appealing, perfectly sized and had everything going
for it. Unemployment was under 6%, and the economy
was strong. Maybe the market was saturated with
jukeboxes, since Rockola and Seeburg had expanded
their markets. Orcould the introduction of the Seeburg
100A in 1948 and 45 rpm records by RCA be an
answer? Seeburg had assurances from RCA that any
song recording that was available on 78 rpm would be
made available on the smaller 45 rpm disc. Seeburg's
100A hedged by playing either 78s or 45a Seeburg's
100Bin 1949 played only 45 rpm. Wurlitzer made the
1080A in 1949 that used the light-weight cobra tone
arm and cartridge and an improved sound system. This
time Seeburg was not in the position like in 1938 when
Wurlitzer introduced the 24-select mechanism against
Seeburg's 20-select. The 1080A playing 24-45 rpm
records was dead. So was the 1080AC with the new
grill and color cylinder light show. Seeburg took ten
years to break the Wurlitzer hold on the top operating
routes Paul Fuller's time had ended after ten big,
profitable years. Wurlitzer's lean years were beginning.
Model 1100
How can someone get excited over the 1100 after
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the over-dressed predecessors? It was the most ad
vanced Wurlitzer in sound, but costs were being
reduced. Many hardliners hoped that the 1100 was an
answer to the Seeburg 100B and 24-selections were
adequate. They were accepted by the Wurlitzer opera
tor and from 1948 to 1949 possibly as many as 25,000
were sold. Current estimates are over7,000 units built,
but buying experiences for many disprove this figure.
The 1100 was the best Wurlitzer had to offer at the
time and today they are more common than the 1080,
with the production number of 7,604 units.
Continued on page 42
June, 1982
© The International Arcade Museum
THE COIN SLOT —41
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