The WM-35 was built around one defining idea: it could float. Its large, air-filled shell provided buoyancy, but it made the player feel light and bulky compared to earlier Sports models. The mechanism was intentionally simple, with single-direction playback and no Dolby noise reduction. It was not a daily workhorse so much as a statement that Sony was willing to reshape the Walkman for new environments.
The WM-F75 added a full AM/FM radio to the WM-75 platform, and you can see the changes in the body. A rear bulge housed the AM ferrite antenna, and the internals were rearranged to make room for the tuner. The tuning scale ran along the edge of the cassette door, linked to a rear tuning wheel, and the indicators expanded beyond basic battery status. To keep the radio controls sealed, Sony dropped the second headphone jack.
The WM-75 refined the original Sports Walkman idea into a more compact, everyday package. It kept a serious mechanism and feature set, with Dolby B, metal tape support, switchable auto-reverse, and dual headphone outputs. Sealing dictated the layout, pushing the battery and secondary switches inside the cassette bay. Even the porthole window was functional, with a raised rim and studs that protected the face when set down.
This guide covers every yellow Sony Sports Walkman released from 1983 to 2001, from the WM-F5 to the WM-FS221. If you’re trying to identify a model, confirm where it sits in the lineup, or understand how the Sports series evolved over time, this page keeps the whole yellow lineup in one place.
It is also a follow-up to The Walkman: A Visual History (1979–2004), which highlighted the most important cassette Walkman models year by year, focusing on the releases that shaped the line’s design, technology, and culture.
The yellow Sports Walkman is the opposite kind of story. In a lineup that began in 1979, it is one identity held for nearly two decades, repeated until it stopped feeling like a product decision and became a visual rule.
What began as a practical color choice turned into a symbol. Long before most owners ever took one near water or sport, yellow became shorthand for confidence, optimism, and visibility in an era when portable electronics were allowed to stand out.
The WM-F5 kicked off Sony’s Sports Walkman line and introduced the bright yellow look that would become its signature. Designed for rain, splashes, and rough handling, it used a sealed shell and covered ports to keep water out. It also included an FM radio, giving it the feel of a true outdoor Walkman.
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Visual Guide to Sony’s MiniDisc (1992–2006)
From First Machines to Final Form
ep. 22
The RH1 was the most complete MiniDisc Walkman ever made. Supporting PCM recording, Hi-MD, USB connectivity, and uploads from legacy MD, it represented the format’s final, fully realized form.
MiniDisc did not disappear because Sony stopped refining it. The machines kept getting better, smaller, clearer, more complete. Recording became lossless. Interfaces became sharper. Uploads became possible. But the assumptions that shaped MiniDisc belonged to a moment when ownership mattered, when interaction lived in buttons and discs, and when progress could still be felt in the hand. Sony solved the problem it had set for itself. By the time it did, the world had stopped asking that question.
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Visual Guide to Sony’s MiniDisc (1992–2006)
From First Machines to Final Form
ep. 21
The RH10 shows Sony still caring about display quality, interface clarity, and the feeling that a MiniDisc machine could still look modern even if the world was moving elsewhere.
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Visual Guide to Sony’s MiniDisc (1992–2006)
From First Machines to Final Form
ep. 20
Combining a Hi-MD Walkman with a built-in camera, the DH10P reflected Sony’s mid-2000s interest in multifunction devices. It stood apart from the core MiniDisc evolution.
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Visual Guide to Sony’s MiniDisc (1992–2006)
From First Machines to Final Form
ep. 19
The EH1 brought Hi-MD benefits to listeners who did not need recording, maintaining the playback lineage into the format’s final era.
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Visual Guide to Sony’s MiniDisc (1992–2006)
From First Machines to Final Form
ep. 18
The NH3D emphasized data storage alongside audio, reinforcing Hi-MD’s dual identity as both music format and portable drive.
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Visual Guide to Sony’s MiniDisc (1992–2006)
From First Machines to Final Form
ep. 17
The NH1 introduced 1GB discs, lossless PCM recording, and full USB integration. It repositioned MiniDisc as a serious recording tool at a time when flash players dominated casual listening.
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Visual Guide to Sony’s MiniDisc (1992–2006)
From First Machines to Final Form
ep. 16
Lightweight and dependable, the NE810 represented MiniDisc at its most approachable. For many users, it was the format’s most practical expression.
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Sony’s final reinvention of MiniDisc aimed to modernize it completely. Hi-MD increased capacity, enabled PCM recording, and allowed discs to function as USB storage. Technically, MiniDisc had never been stronger. Culturally, it had already fallen behind.
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Visual Guide to Sony’s MiniDisc (1992–2006)
From First Machines to Final Form
ep. 15
The E720 refined thin playback design without sacrificing durability, avoiding the fragility of earlier ultra-slim models.
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Visual Guide to Sony’s MiniDisc (1992–2006)
From First Machines to Final Form
ep. 14
Built around a sub-10-millimeter design goal, the magnesium MZ-E10 celebrated MiniDisc’s tenth anniversary through extreme miniaturization. It was a design statement more than a functional leap.
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Visual Guide to Sony’s MiniDisc (1992–2006)
From First Machines to Final Form
ep. 13
The MZ-N1 connected MiniDisc directly to the PC. Faster-than-real-time transfers transformed the user experience, even as one-way restrictions reflected industry fears about piracy. For the first time, software became a core part of the product.
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Visual Guide to Sony’s MiniDisc (1992–2006)
From First Machines to Final Form
ep. 12
MDLP doubled or quadrupled recording time using ATRAC3 compression. The MZ-R900 embodied this change, trading absolute sound quality for practicality and capacity.
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Visual Guide to Sony’s MiniDisc (1992–2006)
From First Machines to Final Form
ep. 11
Integrating AM/FM and television audio reception, the MZ-F40 explored a hybrid role for MiniDisc. It remained a unique branch in the lineup, showing Sony’s willingness to experiment even as the format stabilized.
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As digital music shifted toward computers, MiniDisc adapted rather than resisted. Longer recording modes and USB connectivity extended the format’s relevance, but also introduced new constraints. Software, copy protection, and workflow became inseparable from the hardware itself.
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Visual Guide to Sony’s MiniDisc (1992–2006)
From First Machines to Final Form
ep. 10
Often seen as the point where MiniDisc fully matured, the MZ-R50 combined stable mechanics, refined ATRAC processing, and a durable metal shell. It defined the late-1990s MiniDisc recorder experience.
à volta de Genesis P-Orridge
D-GENERATION
Issue #2
PLUS: Exclusive Bonus CD
| Ultra-Mail Prod. Para saber mais pormenores sobre o CD, ver aqui: https://www.discogs.com/release/35301343-Various-D-Generation-II-CD-2-August-2025 |
papel brilhante e a cores, pesado, de luxo, pois.
Conteúdo
Artigo Assunto Autor Página
Confessions It began in the Autumn of 1976 Dorothy Max Prior 4
Controlled Bleeding Paul Lemos interview John Wisniewski 14
Val Denham Interview Carl Abrahamsson 18
The Final Academy A report Matthew Levi Stevens 36
A Short Friendship & Collaboration Genesis P-Orridge & Mark Perry Mark Perry 48
Butler's Wharf Photos of the event Kevin Thorne 56
Einstürzende Neubauten On film in the 80's Gary Parsons 58
Invocation TOPY Chicago Mikel Boyd 66
The Story Of... Third Mind Records (part 1) Gary Levermore 76
In Conversation With... Sinan Revell Chandra Shukla 84
Farmacia Working with Monte & Val Translated by Carolina Quiroga 90
CD Credits Information Various 94
D-GENERATION | VOLUME 1 | ISSUE 2
96 PÁGINAS
Agosto de 2025
ver abaixo imagem de contracapa da sleeve do sleeve CD de oferta
mas ok, eu digito mais qualquer coisa:
ALTERNATIVE TV - Terrified of Dogs (1979). All instruments/tapes by Dave George & Mark Perry. Previously included on the 'Back To Sing For Free Again Soon' cassette compilation, released by Fuck Off Records in 1979.
ATTRITION The Alibi. Words & music - Martin Bowes, Vocals - Martin Bowes, Yvette Winkler, Joanne Wolf, Elisa Day.
ATTRITION The Pillar. Muiasc - Martin Bowes, Vocals - Elisa Day. Subway train recorded at Ossington Station, Toronto.
CONTROLLED BLEEDING Live At Brooklyn Bazaar 9-28-2016. Paul Lemos - guitars, vocals / Chvad SB - synths, programming vocals / Michael Bazini - guitars, synths, programming vocals / Michael LaRocca - drums
DEAD VOICES ON AIR: DADU We Need Our Tyrants Whole, Skinned. Martin Harvey, Mark Spybey, Stephen Weatherall, Gary Widdowfield. Recorded 2024, North Yorkshire, EU.
VAL DENHAM The Body Rubicon. Val Denham & James Hardiman.
VAL DENHAM New York. Val Denham, Dr. Vanessa Sinclair & Pete Murphy.
FARMACIA ADN (with Monte Cazazza). Ariel Sima, music, additional keyboards / production; Diego Sima lyrics / vocals; Monte Cazazza, music, background. farmacia.bandcamp.com
POST DOOM ROMANCE Invocation. Seah and Mykel Boyd © 2024 post doom romance www.postdoomromance.com
TONE GENERATOR + THE BODY WITHOUT ORGANS Chemical Straightjacket. Tone Genrator & Scott Barnes
SINAN Dai Gah - sister, Don't Leave. Original music written and produced by Robert J. Revell. Lyrics & Vocals by Sinan Revell.
WE BE ECHO Out Of Time [fisrts mix]. Words & Music: Kevin Thorne
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Visual Guide to Sony’s MiniDisc (1992–2006)
From First Machines to Final Form
ep. 9
These models replaced the traditional front-loading door with a top-loading mechanism.
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Visual Guide to Sony’s MiniDisc (1992–2006)
From First Machines to Final Form
ep. 8
With a magnesium body and reduced thickness, the MZ-E50 marked a turning point for playback-only models. The remote became the primary interface, pushing MiniDisc toward true pocket portability.
By the late 1990s, MiniDisc had found its role. It was dependable, durable, and deeply practical. Recording culture flourished, remotes became extensions of the device itself, and Sony explored alternative form factors without changing the core experience. MiniDisc was no longer trying to replace cassette or CD. It had become its own category.
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Visual Guide to Sony’s MiniDisc (1992–2006)
From First Machines to Final Form
ep. 7
The MZ-R30 refined the Jog Dial into a central interface. Navigation, editing, and track management became faster and more intuitive, reinforcing MiniDisc’s reputation as an editable format.
Agora em Portugal - BUBOK - clique na imagem
Agora em Portugal - BUBOK - clique na imagem
Agora em Portugal - BUBOK - clique na imagem
Agora em Portugal - BUBOK - clique na imagem
Agora em Portugal - BUBOK - clique na imagem
Agora em Portugal - BUBOK - clique na imagem
Agora em Portugal - BUBOK - clique na imagem
Agora em Portugal - BUBOK - clique na imagem
Agora em Portugal - BUBOK - clique na imagem
Agora em Portugal - BUBOK - clique na imagem
Agora em Portugal - BUBOK - clique na imagem
Agora em Portugal - BUBOK - clique na imagem
Agora em Portugal - BUBOK - clique na imagem
Agora em Portugal - BUBOK - clique na imagem
Agora em Portugal - BUBOK - clique na imagem
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Agora em Portugal - BUBOK - clique na imagem
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