Shellac

The Raw Committee

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Varnish is a general term.

Shellac is a varnish.

Polyurethane is a varnish.

Lacquer is a varnish.

also gel.

Shellac.

Just gel and there's no acrylic.

Shellac.

There's no acrylic though, yes? Oh no, there's no acrylic.

It's all your nail.

Early records were made in shellac, which comes from the lac bug.

When combined with wax and other binders, it creates a playable surface.

Shellac was the industry standard, but the records were prone to shattering.

To make more records, durable vinyl, which is made mostly from polyvinyl chloride, became popular and proved to withstand playbacks without worry of decline in sound quality.

You're listening to a reading of articles from USA Today and the Niagara Frontier Radio Reading Service.

Question number one.

Shellac nail polish is also known as what?

Shellac nail polish, also known as what?

I didn't know this.

Why would I though? No.

Powder?

Yeah.

Shellac.

Interesting.

What were 78 RPM records made from? What material were they made from? Is it shellac? Is it bakelite? Or is it celluloid? What were 78 RPM records made from? Shellac? Bakelite? Or cellulite? Celluloid.

Not cellulite.

Celluloid.

from?

Bakelite.

No. Shellac.

Shellac.

There it is.

Shellac.

It's on here.

Yep.

But the shellac-based paint is a, um, it's, like, the best bridge between your oil-based paint and a latex-based, because latex won't stick to oil-based paint, um, without a shellac-based primer.

Um, I think there might be other kinds of primer too, but I can't be positive.

Shellac is the best one.

Yeah.

It is pretty runny, as a heads up.

Recording technology of that era amplified Tailgate's impact.

The early Shellac 78s captured the slide's raw timbre, but also imposed a limitation.

any high register had to be clipped, which forced players to focus on low-end color and rhythmic feel rather than melodic flourish.

From a cultural standpoint, Tailgate became an emblem of African American resilience.

Thus, the very infrastructure that kept people alive became the crucible for a new musical language.

When recording technology hit the scene in the 1920s, these clubs had already been rehearsing the syncopated feel.

Shellac 78s captured the raw slide of a trombone and the subtle swing of a drum kit, even if the medium imposed harsh limitations.

Listeners at home could hear the space between beats, what we later call between the cracks, and that sense of breathing in the music.