Encyclopedia of Greater Philadelphia

Chelsea Clarke Reed

Artifact: Atwater Kent Radio

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Radio manufactured in 1923 by A. Atwater Manufacturing Company. (Philadelphia History Museum at the Atwater Kent, Gift of Roy Shapiro Family, 2014, Photograph by Sara Hawken)

With all the necessary components mounted and displayed on a wooden board, this 1923 Atwater Kent breadboard radio appealed to the curious consumer fascinated by new technology. A harbinger of both technological and social advancements, the advent of the radio drastically changed Philadelphians’ means of communication and connection to communities beyond their front stoop. Founded by A. Atwater Kent (1873-1949), the Atwater Kent Manufacturing Company operated in Philadelphia from 1902 to 1936. In order to keep up with ever-evolving machinery, Atwater Kent introduced seven different “breadboard” radio models in 1923 alone. This radio, Model 4052, was the fourth installment.

A breadboard radio, so named for its wooden cutting board-like base, lacks any form of external casing. All of the hardware required to power the radio, receive radio signals, and amplify those signals is installed on top of the wooden board. The tuning dial sits at the far left with the Radio Frequency (RF) Amplifier directly next to it. To operate this radio, a user would need to connect an antenna to the tuner to attract the radio signals, which would filter through the RF Amplifier to be converted to a higher power signal. The potentiometer and transformer sitting to the right of the RF Amplifier fine-tuned the radio signal to make it suitable for home use. These elements were all wired together underneath the board, so they were very easy to assemble. Designed to be simple and utilitarian, the breadboard radio layout kept prices low and parts easily replaceable.

Unlike most other modern appliances, this breadboard radio could not simply be plugged into the wall (the first 110-volt electric radio was not invented until 1926). All of the early Atwater Kent models ran on batteries that connected to the wiring beneath the board. These batteries were large, heavy, and messy—they often leaked acid right on to the living room floor. In addition to leaking acid, the batteries did not hold a charge for very long, so families would keep two sets to swap out a freshly charged pair when necessary.

Once thoroughly charged, the Model 4052 radio had enough battery power to drive a horn or cone speaker. It connected directly to the amplifier, the piece on the right end of the board with the three tubes on top. Earlier models could only connect to headphones for one person to listen at a time, but with the horn and cone speakers, whole families could listen to radio programs, news broadcasts, or music at the same time. In fact, the acclaimed Atwater Kent Hour, a music program broadcast by the company featuring popular orchestral music, had one of the biggest audiences of the 1920s.

[caption id="attachment_20513" align="alignright" width="300"]Black and white photograph of two Atwater Kent buildings. In 1924, Atwater Kent Manufacturing moved to a new plant at 4745 Wissahickon Avenue in Northwest Philadelphia and eventually expanded to thirty-two acres there. (Library of Congress)[/caption]

In the early 1920s, breadboard radios were marketed to hobbyists looking to experiment with new technology. They were sold in inexpensive kits and meant to be assembled at home. By 1925, Atwater Kent radio sets ranged in price anywhere from $14 to $5,000. While the wealthier classes of Philadelphia owned enclosed and ornate radio sets by the mid-1920s, radio parts and wiring remained relatively inexpensive for working class families who wanted to build their own. Factory workers of Fishtown could listen to the same news and music as the socialites of Rittenhouse Square.

[caption id="attachment_2307" align="alignright" width="300"]Skilled workers assemble radios at the Atwater Kent factory. (Library of Congress) Skilled workers assemble radios at the Atwater Kent factory. (Library of Congress)[/caption]

By 1925, the Atwater Kent Manufacturing Company was the largest maker of radios in America, employing 12,000 people in its Germantown factory. The company began to market enclosed sets, and in 1927, it offered AC-powered radios that ran on in-home electricity. Atwater Kent began manufacturing bigger and more elaborate receivers to keep up with consumer trends, until the stock market crashed in 1929. The Great Depression took its toll on Atwater Kent, and after six long years of declining sales, the company finally ceased operations in 1936.

Although A. Atwater Kent relocated to Los Angeles, Calif., after the company’s dismantling, his legacy lived on in his commitment to the history of Philadelphia. In 1938, Kent purchased the former headquarters building of the Franklin Institute near Seventh and Market Streets for the purpose of creating a museum of Philadelphia’s history. Renamed the Philadelphia History Museum at the Atwater Kent in 2012, the museum amassed more than 100,000 objects related to Philadelphia’s social history, including this breadboard radio designed by its founder.

Text by Chelsea Clarke Reed, jazz vocalist in the Philadelphia area and public history graduate student at Temple University’s Center for Public History.

 

Artifact: Bicentennial Beer Can

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Bicentennial commemorative beer can. (Philadelphia History Museum at the Atwater Kent, Photograph by Sara Hawken)

This can makes no secret of its American pride. With red and blue stars flanking a bold sketch of the Liberty Bell, Philadelphia’s Henry F. Ortlieb’s Brewing Company appealed to the patriotic fervor of 1976. The company developed the “Collector’s Series,” releasing one can a month starting in September 1975. Every month, an image on the back of each commemorative can highlighted a different Revolutionary War scene or facet of eighteenth-century life to celebrate America’s Bicentennial, the two-hundred-year anniversary of the signing of the Declaration of Independence.

Looking to the back of the can, we see Paul Revere on horseback with Boston’s Old North Church in the background, presumably with two lanterns glowing in the window. The scene is titled, “Paul Revere’s Ride: Calling the Countryside to Arms.” Though Revere’s ride took place in Massachusetts, eight of the other twelve sketches had direct ties to the Philadelphia area. With depictions of Elfreth’s Alley and Independence Hall, Ortlieb’s capitalized on the city’s rich colonial history while simultaneously paying homage to the company’s roots.

The Henry F. Ortlieb’s Brewing Company was a family-owned business in the Philadelphia area for more than a century. Trupert Ortlieb (1839-1911), a German immigrant and Civil War veteran, began brewing beer in Philadelphia after being discharged from the army in July 1865. In 1879, he purchased his own brewery on Third and Poplar Streets in the Northern Liberties section of the city. Home to a large German population, Northern Liberties was the site of the first lager beer brewed in America. In 1840, a Bavarian immigrant named John Wagner brewed the first lager beer with yeast from his home country. By 1879, eighteen breweries operated in the neighborhood, predominantly owned by German immigrants. Philadelphia’s brewing industry expanded throughout the city with a heavy concentration in the neighborhoods of Brewerytown and Northern Liberties. Ortlieb’s was one of only seventeen Philadelphia breweries to survive Prohibition and continued to grow in the twentieth century.

By the 1960s and 70s, competition from large national breweries threatened Ortlieb’s loyal local following. Following national trends, Henry A. Ortlieb (1948-2004) developed the Bicentennial can series to prompt sales outside the region. From September 1975 to August 1976, patriotic consumers and can collectors from Philadelphia, the Midwest, and New England awaited the next installment of the “Collector’s Series.” Seeing the success of Ortlieb’s campaign, executives at Schmidt’s beer, another Northern Liberties brewery, decided to release their own series of collectible cans.

Philadelphia breweries were not the only companies seeking to profit from the 1976 celebrations. Throughout the country, American manufacturers packaged, sold, and commodified major historical figures and symbols for sale in nearly every possible form during the Bicentennial. Toilet paper, banjos, whiskey bottles, butter packets, and even caskets were marked with Liberty Bells, bald eagles, or any number of American images in order to commemorate the Bicentennial.

In 1977, hoping to continue the success of patriotic advertising, Ortlieb’s started another can series called the “Americana Collection.” However, in 1981, Joseph W. Ortlieb (b. 1929), grandson of the founder, sold the business in response to intense competition from large national brands. Although the brewery was torn down in 2013, the Ortlieb’s Brewpub, located just beside the old brewery, remained a staple of Philadelphia jazz history. From 1987 to 2006, the pub, renamed the Ortlieb’s Jazzhaus, was one of the best jazz venues in the city. With no cover at the door, musicians and jazz lovers came to Ortlieb’s to hear local legends like Shirley Scott (1934-2002) and Granville William “Mickey” Roker (b. 1932) or world famous out-of-towners like Cecil Payne (1922-2007) and Al Grey (1925-2000). After years as a renowned jazz club, the old brewpub switched owners in 2006, but Ortlieb’s remained a staple of the Northern Liberties’ beer-drinking public.

Ortlieb’s has been a mainstay of the Philadelphia community from its beginnings as a lager brewery to its current status as Ortlieb’s Lounge, a popular rock venue in the city. Whether featuring local beer, local history, or local music, the Ortlieb’s name signifies Philadelphia pride. During the Bicentennial, Ortlieb's capitalized on a surge of patriotism nationwide by highlighting Philadelphia's unique role within the history of the American Revolution.

Text by Chelsea Clarke Reed, jazz vocalist in the Philadelphia area and a graduate student at  Temple University’s Center for Public History.

 

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