Book contents
- Frontmatter
- Contents
- Acknowledgments
- Introduction: Participative Public, Passive Private?
- 1 Colonial Theater, Privileged Audiences
- 2 Drama in Early Republic Audiences
- 3 The B'Hoys in Jacksonian Theaters
- 4 Knowledge and the Decline of Audience Sovereignty
- 5 Matinee Ladies: Re-gendering Theater Audiences
- 6 Blackface, Whiteface
- 7 Variety, Liquor, and Lust
- 8 Vaudeville, Incorporated
- 9 “Legitimate” and “Illegitimate” Theater around the Turn of the Century
- 10 The Celluloid Stage: Nickelodeon Audiences
- 11 Storefronts to Theaters: Seeking the Middle Class
- 12 Voices from the Ether: Early Radio Listening
- 13 Radio Cabinets and Network Chains
- 14 Rural Radio: “We Are Seldom Lonely Anymore”
- 15 Fears and Dreams: Public Discourses about Radio
- 16 The Electronic Cyclops: Fifties Television
- 17 A TV in Every Home: Television “Effects”
- 18 Home Video: Viewer Autonomy?
- 19 Conclusion: From Effects to Resistance and Beyond
- Appendix: Availability, Affordability, Admission Price
- Notes
- Selected Bibliography
- Index
- Plate section
13 - Radio Cabinets and Network Chains
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- Acknowledgments
- Introduction: Participative Public, Passive Private?
- 1 Colonial Theater, Privileged Audiences
- 2 Drama in Early Republic Audiences
- 3 The B'Hoys in Jacksonian Theaters
- 4 Knowledge and the Decline of Audience Sovereignty
- 5 Matinee Ladies: Re-gendering Theater Audiences
- 6 Blackface, Whiteface
- 7 Variety, Liquor, and Lust
- 8 Vaudeville, Incorporated
- 9 “Legitimate” and “Illegitimate” Theater around the Turn of the Century
- 10 The Celluloid Stage: Nickelodeon Audiences
- 11 Storefronts to Theaters: Seeking the Middle Class
- 12 Voices from the Ether: Early Radio Listening
- 13 Radio Cabinets and Network Chains
- 14 Rural Radio: “We Are Seldom Lonely Anymore”
- 15 Fears and Dreams: Public Discourses about Radio
- 16 The Electronic Cyclops: Fifties Television
- 17 A TV in Every Home: Television “Effects”
- 18 Home Video: Viewer Autonomy?
- 19 Conclusion: From Effects to Resistance and Beyond
- Appendix: Availability, Affordability, Admission Price
- Notes
- Selected Bibliography
- Index
- Plate section
Summary
In the early 1920s radios were purchased in pieces, not just by those ambitious to build their own set, but by everyone. People purchased tubes, dials, headphones, batteries, and aerials, and wired them together at home. The challenge for the middle-class homemaker was to make this mess of wires and parts invisible or at least presentable, and to prevent leaking batteries from ruining furniture and carpets. Christine Frederick, a popular home economist and magazine writer, provided extended interior decorating advice on the appropriate place in the home for a radio. She chronicled the change
…for the first couple years of radio [1922–23], no body seemed to think it strange to pile the library table with mechanical paraphernalia… Until this current year radio was the toy and the joy of men rather than women. It has been only since women have taken a practical homemaking interest in radio that … has resulted in demand for higher class, more beautiful and more artistically designed sets… She is thoroughly through with all the original radio messiness.
Frederick suggested putting the radio in a room where the family gathered, and hiding the “ungainly horns and instruments” in a cabinet or wall recess. More direct, an Atwater Kent ad in Ladies' Home Journal of December 1925 reassured middle-class housewives that “radio needn't disturb any room.”
- Type
- Chapter
- Information
- The Making of American AudiencesFrom Stage to Television, 1750–1990, pp. 193 - 207Publisher: Cambridge University PressPrint publication year: 2000