Houston Librarian, YouTube
Houston Librarian, YouTube

What Ever Happened To Waterbeds?

Houston Librarian, YouTube
Houston Librarian, YouTube

For kids and adults alike, waterbeds used to be the coolest—until suddenly they weren’t. After a heyday in the late 1980s in which nearly one out of every four mattresses sold was a waterbed mattress, the industry dried up in the 1990s, leaving behind a sense of unfilled promise and thousands upon thousands of unsold vinyl shells. Today, waterbeds make up only a very small fraction of overall bed and mattress sales. Many home furnishing retailers won’t sell them, and some that do say it’s been years since they last closed a deal.

So what happened? Although they were most popular in that decade of boomboxes and acid-washed jeans, waterbeds had been gaining steam since the late 1960s, and in retrospect seem to have more substance to them than other notorious fads. How did our enthusiasm for sleeping atop gallons and gallons of all-natural H2O drain away so quickly?

By some accounts, waterbeds date all the way back to 3600 BCE, when Persians filled goat-skin mattresses with water warmed by the sun. In the early 1800s, Dr. Neil Arnott, a Scottish physician, created a “hydrostatic bed” for hospital patients with bedsores. This was essentially a warm bath covered with a thin layer of rubber and then sealed up with varnish. In 1853, Dr. William Hooper of Portsmouth, England patented a therapeutic rubber mattress that could be filled with water. It, too, was for hospital patients suffering from poor circulation and bedsores. In the mid 20th century, science fiction writer Robert Heinlein—inspired by the months he spent bedridden with tuberculosis in the 1930s—described waterbeds in great detail in three of his novels. The beds he envisioned had a sturdy frame, were temperature-controlled, and contained pumps that allowed patients to control the water level inside the mattress. There were also compartments for drinks and snacks, which sounds really convenient. It was, according to Heinlein, “an attempt to design the perfect hospital bed by one who had spent too damn much time in hospital beds.”

TheClassicSports, YouTube

The inventor of the modern day waterbed was an industrial design student named Charles Hall, who in 1968 submitted a waterbed prototype (made with a vinyl mattress rather than a rubber one) for his masters thesis project. Hall wanted to rethink furniture design, and was taken with the idea of fluid-filled interiors. Before settling on the waterbed, he had tried filling a chair with 300 pounds of cornstarch gel, which quickly rotted. He also tried using JELL-O as a filling, with similarly disastrous results. The introduction of water fulfilled his vision without the ick factor. During the graduating class’s thesis workshop, Hall told The Atlantic, students ignored other projects and ended up hanging out on his waterbed.

Hall established his own company, Innerspace Environments, and began manufacturing waterbeds for sale throughout California. Early customers included the band Jefferson Airplane, as well as the Smothers Brothers. Eventually Hall’s bed, which he named “The Pleasure Pit,” made its way into 32 retail locations throughout the state. Success was short-lived, however, as cheap imitators quickly flooded the market. By the early 1970s, dozens of different companies were manufacturing waterbeds, feeding the growing demand for a groovy new way to … sleep.

Although many associate waterbeds with strait-laced suburban living, back in the ‘70s they were a symbol of the free-flowing counterculture movement—more likely to be sold with incense and Doors albums than with fluffy pillows and high thread count sheets. “That fluid fixture of 1970s crash pads” was how a New York Times story from 1986 described them. The names of manufacturers and distributors reflected this: Wet Dream, Joyapeutic Aqua Beds, and Aquarius Products were a few that rolled with the times.

Sex, of course, was a big selling point. “Two things are better on a waterbed,” an Aquarius ad stated. “One of them is sleep.” Another ad proclaimed, “She’ll admire you for your car, she’ll respect you for your position, and she’ll love you for your waterbed.” Hippies and hip bachelors alike were the target market for the bed that promised the motion of the ocean. Hall even got in on the act, offering a $2800 “Pleasure Island” setup, complete with contour pillows, color television, directional lighting, and a bar. Hugh Hefner loved the craze, of course—Hall made him one covered in green velvet, and Hef had another that he outfitted in Tasmanian possum hair.

By the '80s, waterbeds had moved from the hazy fringe to the commercial mainstream. “It has followed the path of granola and Jane Fonda,” the Times noted. Indeed, waterbeds were available in a variety of styles, from four-post Colonials to Victorian beds with carved headboards to simple, sturdy box frames. Allergy sufferers liked having a dust-free mattress, while back pain sufferers were drawn to the beds’ free-floating quality. Advertisements by sellers like Big Sur Waterbeds played up the health benefits with shirtless, beefy dudes like this one:

People were also eager to try a new spin on something as boring as a bed. Kids, especially, loved the squishy, gurgling weirdness of a waterbed. If you were a child of the '80s, it arguably was as close to a status symbol as you could get. Manufacturers, meanwhile, fed the demand with novelty frames, bunk beds, circular love nest beds, and even waterbeds for dogs. They also improved the experience with innovations like “baffles” that cut down on the wave motion many beds created, thereby addressing the one-of-a-kind problem of people getting seasick in their own bedrooms. As waterbed mania swept the nation, specialty outlets like Waterbed Plaza, Waterbed Emporium, and the Waterbed Store opened up shop, and wave after wave of cheesy local television ads followed.

By 1984, waterbeds were a $2 billion business. At the height of their popularity, in 1987, 22 percent of all mattress sales in the U.S. were waterbed mattresses.

Ranger232, YouTube

Here’s the thing about waterbeds, though: They were high maintenance. Installing one meant running a hose into your bedroom and filling the mattress up with hundreds of gallons of H2O—a precarious process that held the potential for a water-soaked bedroom. Waterbeds were also really, really heavy. In addition to the filled mattress, the frame—which had to support all that water weight—could be a back-breaker. When the mattress needed to be drained, an electric pump or some other nifty siphoning tricks were required. Waterbeds could also spring leaks (as Edward Scissorhands showed), which could be patched but, again, added to the cost and hassle.

In the '90s, it became clear that the novelty of waterbeds couldn’t overcome the additional work they required. By that time, competitors like Tempur-Pedic and Select Comfort were also coming out with mattress innovations that offered softness and flexibility without making customers run a garden hose through their second-floor bedroom window.

These days, the waterbed market is still going, albeit on a much, much smaller scale. Mattress models are lighter than the models of decades past, and come with nifty accessories like foam padding and interior fibers that further cut down on the wave effect. They’re also outfitted with tubes or “bladders” that take in water rather than the entire mattress, making the experience less like filling an enormous water balloon. Most models are quite sophisticated, in fact. The Boyd Comfort Supreme mattress has all the technical specs of a household gadget: three-layer lumbar support, four-layer reinforced corners, “thermavinyl” heat resistant bottom layer, five-layer wave reduction system. That’s a lot of layers! There are also airframe waterbeds that stand firm on their own, and sophisticated temperature-control devices that keep sleepers warm. Marty Pojar, owner of The Waterbed Doctor (which takes mainly online and phone orders), told The Orange County Register that most of his orders come from customers in the Midwest and Northeast, where customers want to hop into a warm bed on cold winter nights.

Like those who still play Sega Genesis or prefer a flip phone to an iPhone, waterbed customers are fiercely loyal to their retro trend. But their enthusiasm alone won’t likely bring waterbeds back to the mainstream. Indeed, even the name “waterbed” carries negative connotations, retailers note. Pojar prefers to call them “flotation” beds. A Washington D.C. furniture salesman interviewed by The Atlantic said he oftentimes doesn’t tell customers when they’re lying on a waterbed. "Everybody who tries the ones we have on our floor is very happy with the feel, but some people won't get it just because it's a waterbed," he said. These days, the most promising market for soft, squishy waterbeds may, oddly enough, be cows.

nextArticle.image_alt|e
John MacDougall, Getty Images
Stolpersteine: One Artist's International Memorial to the Holocaust
John MacDougall, Getty Images
John MacDougall, Getty Images

The most startling memorial to victims of the Holocaust may also be the easiest to miss. Embedded in the sidewalks of more than 20 countries, more than 60,000 Stolpersteine—German for “stumbling stones”—mark the spots where victims last resided before they were forced to leave their homes. The modest, nearly 4-by-4-inch brass blocks, each the size of a single cobblestone, are planted outside the doorways of row houses, bakeries, and coffee houses. Each tells a simple yet chilling story: A person lived here. This is what happened to them.

Here lived Hugo Lippers
Born 1878
Arrested 11/9/1938 — Altstrelitzer prison
Deported 1942 Auschwitz
Murdered

The project is the brainchild of the German artist Gunter Demnig, who first had the idea in the early 1990s as he studied the Nazis' deportation of Sinti and Roma people. His first installations were guerrilla artwork: According to Reuters, Demnig laid his first 41 blocks in Berlin without official approval. The city, however, soon endorsed the idea and granted him permission to install more. Today, Berlin has more than 5000.

Demnig lays a Stolpersteine.
Artist Gunter Demnig lays a Stolpersteine outside a residence in Hamburg, Germany in 2012.
Patrick Lux, Getty Images

The Stolpersteine are unique in their individuality. Too often, the millions of Holocaust victims are spoken of as a nameless mass. And while the powerful memorials and museums in places such as Berlin and Washington, D.C. are an antidote to that, the Stolpersteine are special—they are decentralized, integrated into everyday life. You can walk down a sidewalk, look down, and suddenly find yourself standing where a person's life changed. History becomes unavoidably present.

That's because, unlike gravestones, the stumbling stones mark an important date between a person’s birth and death: the day that person was forced to abandon his or her home. As a result, not every stumbling stone is dedicated to a person who was murdered. Some plaques commemorate people who fled Europe and survived. Others honor people who were deported but managed to escape. The plaques aim to memorialize the moment a person’s life was irrevocably changed—no matter how it ended.

The ordinariness of the surrounding landscape—a buzzing cafe, a quaint bookstore, a tree-lined street—only heightens that effect. As David Crew writes for Not Even Past, “[Demnig] thought the stones would encourage ordinary citizens to realize that Nazi persecution and terror had begun on their very doorsteps."

A man in a shop holding a hammer making a Stolpersteine.
Artisan Michael Friedrichs-Friedlaender hammers inscriptions into the brass plaques at the Stolpersteine manufacturing studio in Berlin.
Sean Gallup, Getty Images

While Demnig installs every single Stolpersteine himself, he does not work alone. His project, which stretches from Germany to Brazil, relies on the research of hundreds of outside volunteers. Their efforts have not only helped Demnig create a striking memorial, but have also helped historians better document the lives of individuals who will never be forgotten.

nextArticle.image_alt|e
Henry Guttmann, Getty Images
14 Facts About Mathew Brady
Henry Guttmann, Getty Images
Henry Guttmann, Getty Images

When you think of the Civil War, the images you think of are most likely the work of Mathew Brady and his associates. One of the most successful early photographers in American history, Brady was responsible for bringing images of the Civil War to a nation split in two—a project that would ultimately be his undoing. Here are some camera-ready facts about Mathew Brady.

1. HIS EARLY LIFE MIGHT BE AN INTENTIONAL MYSTERY.

Most details of Brady’s early life are unknown. He was born in either 1822 or 1823 to Andrew and Julia Brady, who were Irish. On pre-war census records and 1863 draft forms Brady stated that he was born in Ireland, but some historians speculate he changed his birthplace to Johnsburg, New York, after he became famous due to anti-Irish sentiment.

Brady had no children, and though he is believed to have married a woman named Julia Handy in 1851, there is no official record of the marriage.

2. HE TOOK PHOTOGRAPHY CLASSES FROM THE INVENTOR OF MORSE CODE.

When he was 16 or 17, Brady followed artist William Page to New York City after Page had given him some drawing lessons. But that potential career was derailed when he got work as a clerk in the A.T. Stewart department store [PDF] and began manufacturing leather (and sometimes paper) cases for local photographers, including Samuel F.B. Morse, the inventor of Morse Code.

Morse, who had learned the early photographic method of creating Daguerreotypes from Parisian inventor Louis Daguerre in 1839, brought the method back to the United States and opened a studio in 1840. Brady was one of his early students.

3. HE SET UP SHOP IN NEW YORK AND BECAME THE GO-TO PHOTOGRAPHER.

Brady eventually took what he learned from Morse and opened a daguerreotype portrait studio at the corner of Broadway and Fulton Street in New York in 1844, earning the nickname “Brady of Broadway.” His renown grew due to a mix of his knack for enticing celebrities to sit for his camera—James Knox Polk and a young Henry James (with his father, Henry James Sr.) both sat for him—as well as a flair for the dramatic: In 1856, he placed an ad in the New York Daily Tribune urging readers to sit for a portrait that warned, “You cannot tell how soon it may be too late.”

His rapidly-expanding operation forced him to open a branch of his studio at 625 Pennsylvania Avenue in Washington, D.C., in 1849, and then move his New York studio uptown to 785 Broadway in 1860.

4. HE ACHIEVED WORLDWIDE FAME.

In 1850, Brady published The Gallery of Illustrious Americans, a collection of lithographs based on his daguerreotypes of a dozen famous Americans (he had intended to do 24, but due to costs, that never happened). The volume, and a feature profile [PDF] in the inaugural 1851 issue of the Photographic Art-Journal that described Brady as the “fountain-head” of a new artistic movement, made him a celebrity even outside of America. “We are not aware that any man has devoted himself to [the Daguerreotype art] with so much earnestness, or expended upon its development so much time and expense," the profile opined. "He has merited the eminence he has acquired; for, from the time he first began to devote himself to it, he has adhered to his early purpose with the firmest resolution, and the most unyielding tenacity.” Later that year, at the Crystal Palace Exhibition in London, Brady was awarded one of three gold medals for his daguerreotypes.

5. HE PHOTOGRAPHED EVERY PRESIDENT FROM JOHN QUINCY ADAMS TO WILLIAM MCKINLEY ... WITH ONE EXCEPTION.

The one that got away was William Henry Harrison—he died only a month after his inauguration in 1841.

6. ONE OF HIS PORTRAITS INTRODUCED HONEST ABE TO THE COUNTRY.

When Abraham Lincoln campaigned for president in 1860, he was dismissed as an odd-looking country bumpkin. But Brady’s stately portrait of the candidate, snapped after he addressed a Republican audience at Cooper Union in New York, effectively solidified Lincoln as a legitimate candidate in the minds of the American populace. (After he was elected, Lincoln supposedly told a friend, “Brady and the Cooper Union speech made me president.”) It was one of the first times such widespread campaign photography was used to support a presidential candidate.

7. HIS STUDIO’S WORK ENDED UP ON TWO VERSIONS OF THE $5 BILL.

A researcher holding one of America's most priceless negatives, the glass plate made by famous civil war photographer Mathew Brady of Abraham Lincoln in 1865 just before he was assassinated.
Three Lions, Getty Images

On February 9, 1864, Lincoln sat for a portrait session with Anthony Berger, the manager of Brady’s Washington studio. The session yielded both images of Lincoln that would go on the modern iterations of the $5 bill.

The first, from a three-quarter length portrait featuring Lincoln seated and facing right, was used on the bill design from 1914 to 2000. When U.S. currency was redesigned that year, government officials chose another image Berger took at Brady’s studio of Lincoln. This time, the president is seen facing left with his head turned more to the left.

According to Lincoln historian Lloyd Ostendorf, when the president was sitting for portraits, “Whenever Lincoln posed, a dark melancholy settled over his features. He put on what Mrs. Lincoln called his ‘photographer’s face.’ There is no camera study which shows him laughing, for such an attitude, unfortunately, was impossible when long exposures were required.”

8. OTHER PEOPLE ARE RESPONSIBLE FOR SOME OF HIS BEST-KNOWN WORK.

At the outbreak of the Civil War in 1861, Brady decided to use his many employees and his own money to attempt to make a complete photographic record of the conflict, dispatching 20 photographers to capture images in different war zones. Alexander Gardner and Timothy H. O’Sullivan were both in the field for Brady. Both of them eventually quit because Brady didn’t give individual credit.

Brady likely did take photos himself on battlefields like Bull Run and Gettysburg (although not necessarily during the actual battle). The photographer later boasted, “I had men in all parts of the army, like a rich newspaper.”

9. HE HAD BAD EYESIGHT.

Brady's eyes had plagued him since childhood—in his youth, he was reportedly nearly blind, and he wore thick, blue-tinted glasses as an adult. Brady's real reason for relying less and less on his own expertise might have been because of his failing eyesight, which had started to deteriorate in the 1850s.

10. HE HELPED REVOLUTIONIZE COMBAT PHOTOGRAPHY.

War photographer Mathew Brady's buggy was converted into a mobile darkroom and travelling studio, or, Whatizzit Wagon, during the American Civil War.
Mathew B Brady, Getty Images

The group of Brady photographers that scoured the American north and south to capture images of the Civil War traveled in what became known as “Whatizzit Wagons,” which were horse-drawn wagons filled with chemicals and mobile darkrooms so they could get close to battles and develop photographs as quickly as possible.

Brady’s 1862 New York gallery exhibit, "The Dead of Antietam,” featured then-unseen photographs of some of the 23,000 victims of the war’s bloodiest day, which shocked American society. “Brady has done something to bring home to us the terrible reality and earnestness of war," a New York Times reviewer wrote. "If he has not brought bodies and laid them in our door-yards and along the streets, he has done something very like it.”

11. HE USED A FREEBIE TO CONVINCE GENERALS TO LET HIM PHOTOGRAPH THE WAR.

Brady and his associates couldn't just wander out onto the battlefield with cameras—the photographer needed to obtain permission. So he set up a portrait session with Winfield Scott, the Union general in charge of the Army. The story goes that as he photographed the general—who was posed shirtless as a Roman warrior—Brady laid out his plan to send his fleet of photographers to tell the visual story of the war unlike any previous attempts in history. Then the photographer gifted the general some ducks. Scott was finally convinced, and he approved Brady’s plan in a letter to General Irvin McDowell. (Scott's Roman warrior portrait is, unfortunately, now lost.)

12. HE WAS BLAMED FOR UNION BATTLE LOSSES.

Brady’s first foray into documenting the Civil War was the First Battle of Bull Run. Though he had approved of Brady's plan, General McDowell did not appreciate the photographers' presence during the battle.

Brady himself was supposedly near the front lines when the fighting began, and quickly became separated from his companions. During the battle, he was forced to take shelter in nearby woods, and slept there overnight on a bag of oats. He eventually met back up with the Army and made his way to Washington, where rumors swelled that his equipment caused a panic that was responsible for the Union’s defeat at the battle. “Some pretend, indeed, that it was the mysterious and formidable-looking instrument that produced the panic!” one observer noted. “The runaways, it is said, mistook it for the great steam gun discharging 500 balls a minute, and took to their heels when they got within its focus!”

13. HE DIDN’T JUST PHOTOGRAPH THE UNION SIDE.

Before, after, and occasionally during the Civil War, Brady and Co. also photographed members of the Confederate side, such as Jefferson Davis, P. G. T. Beauregard, Stonewall Jackson, Albert Pike, James Longstreet, James Henry Hammond, and Robert E. Lee after he returned to Richmond following his surrender at Appomattox Court House. “It was supposed that after his defeat it would be preposterous to ask him to sit,” Brady said later. “I thought that to be the time for the historical picture.”

14. HIS CIVIL WAR PHOTOS ALSO MADE HIM POOR.

Union troops with a field gun during the American Civil War.
Mathew Brady, Hulton Archive/Getty Images

“My wife and my most conservative friends had looked unfavorably upon this departure from commercial business to pictorial war correspondence,” Brady told an interviewer in 1891. Their instincts were right.

Brady invested nearly $100,000 of his own money in the Civil War project in hopes that the government would buy his photo record of the war after it was all said and done. But once the Union prevailed, a public reeling from years of grueling conflict showed no interest in Brady's grim photos.

After the financial panic of 1873 he declared bankruptcy, and he lost his New York studio. The War Department eventually bought over 6000 negatives from Brady’s collection—which are now housed in the National Archives—for only $2840 total.

Despite being responsible for some of the most iconic images of the era, Brady never regained his financial footing, and he died alone in New York Presbyterian Hospital in 1896 after being hit by a streetcar.

SECTIONS

arrow
LIVE SMARTER