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.

7 Ways Victorian Fashion Could Kill You

An 1862 engraving showing a skeleton gentleman at a ball asking a skeleton lady to dance, meant to represent the effect of arsenic dyes and pigments in clothing and accessories.
An 1862 engraving showing a skeleton gentleman at a ball asking a skeleton lady to dance, meant to represent the effect of arsenic dyes and pigments in clothing and accessories.

While getting dressed in the morning can seem like a hassle (pajamas are so much more comfortable), few of us worry about our clothes leading to our death. That wasn’t the case during the Victorian era, when fashionable fabrics and accessories sometimes came at great price for both makers and wearers. In Fashion Victims: The Dangers of Dress Past and Present, Alison Matthews David, a professor in the School of Fashion at Ryerson University in Toronto, outlines the many toxic, flammable, and otherwise highly hazardous components of high style during the 19th century. Here are a few of the worst offenders.

1. Poisonous Dyes

A drawing of Victorian fashions likely made with arsenic dyes
A drawing of Victorian fashions likely made with arsenic dyes
Bloomsbury Visual Arts

Before the 1780s, green was a tricky color to create on clothes, and dressmakers depended on a combination of yellow and blue dyes to produce the hue. But in the late 1770s a Swedish/German chemist named Carl Wilhelm Scheele invented a new green pigment by mixing potassium and white arsenic on a solution of copper vitriol. The pigment was dubbed Scheele’s Green, and later Paris Green, among other names, and it became a huge sensation, used to color walls, paintings, and fabrics as well as candles, candies, food wrappers, and even children’s toys. Not surprisingly, it also caused sores, scabs, and damaged tissue, as well as nausea, colic, diarrhea, and constant headaches.

Although fashionable women wore arsenic-dyed fabrics—even Queen Victoria was depicted in one—its health effects were worst among the textile and other workers who created the clothes and often labored in warm, arsenic-impregnated rooms day after day. (Some scholars have even theorized that Napoleon might have been poisoned by the arsenic-laced wallpaper hung in his St. Helena home.)

Arsenical dyes were also a popular addition to artificial flowers and leaves, which meant they were frequently pinned to clothes or fastened on heads. In the 1860s, a report commissioned by the Ladies’ Sanitary Association found that the average headdress contained enough arsenic to poison 20 people. The British Medical Journal wrote of the green-clad Victorian woman: “She actually carries in her skirts poison enough to slay the whole of the admirers she may meet with in half a dozen ball-rooms.” Despite repeated warnings in the press, and from doctors and scientists, the Victorians seemed in love with emerald green arsenic dyes; ironically, they acted like a reminder of the nature then swiftly being lost to industrialization, David says.

2. Pestilential Fabrics

Soldiers of the Victorian era (and earlier) were plagued by lice and other body parasites that carried deadly diseases such as typhus and trench fever. But soldiers weren’t the only victims of disease carried via fabric—even the wealthy sometimes wore clothing that was made or cleaned by the sick in sweatshops or tenements, and which spread disease as a result. According to David, the daughter of Victorian Prime Minister Sir Robert Peel died after her riding habit, given to her by her father as a gift, was finished in the house of a poor seamstress who had used it to cover her sick husband as he lay shivering with typhus-induced chills. Peel’s daughter contracted typhus after wearing the garment, and died on the eve of her wedding.

Women also worried about their skirts sweeping through the muck and excrement of city streets, where bacteria was rife, and some wore special skirt-fasteners to keep them up from the gunk. The poor, who often wore secondhand clothes, suffered from smallpox and other diseases spread by fabric that was recycled without being properly washed.

3. Flowing Skirts

Giant, ruffled, crinoline-supported skirts may have been fine for ladies of leisure, but they weren’t a great combination with industrial machinery. According to David, one mill in Lancashire posted a sign in 1860 forbidding the “present ugly fashion of HOOPS, or CRINOLINE, as it is called” as being “quite unfitted for the work of our Factories.” The warning was a wise one: In at least one printing office, a girl was caught by her crinoline and dragged under the mechanical printing press. The girl was reportedly “very slim” and escaped unharmed, but the foreman banned the skirts anyway. Long, large, or draped skirts were also an unfortunate combination with carriages and animals.

4. Flammable Fabrics

A woman with her crinoline on fire
Bloomsbury Visual Arts

The flowing white cotton so popular in the late 18th and 19th centuries had dangers to both maker and wearer: It was produced with often-brutal slave labor on plantations, and it was also more flammable than the heavy silks and wool favored by the wealthy in the previous centuries. One type of cotton lace was particularly problematic: In 1809 John Heathcoat patented a machine that made the first machine-woven silk and cotton pillow “lace” or bobbinet, now better known as tulle, which could catch fire in an instant. The tulle was frequently layered, to add volume and compensate for its sheerness, and stiffened with highly combustible starch. Ballerinas were particularly at risk: British ballerina Clara Webster died in 1844 when her dress caught fire at London’s Drury Lane theatre after her skirt came too close to sunken lights onstage.

But performers weren’t the only ones in peril: Even the average woman wearing the then-popular voluminous crinolines was at risk of setting herself ablaze. And the “flannelette” (plain cotton brushed to create a nap and resemble wool flannel) so popular for nightshirts and undergarments was particularly combustible if hit with a stray spark or the flame of a household candle. So many children burned in household accidents that one company came out with a specially treated flannelette called Non-Flam, advertised as being “strong’y recommended by Coroners.”

5. Arsenic-Ridden Taxidermy

Dead birds were a popular addition to ladies’ hats in the 19th century. According to David, “fashions in millinery killed millions of small songbirds and introduced dangers that may still make some historic women’s hats harmful to humans today.”

But it wasn’t the birds that were the problem—it was the arsenic used on them. Taxidermists of the day used arsenic-laced soaps and other products to preserve birds and other creatures. In some cases, entire birds—one or several—were mounted on hats. Some Victorian fashion commentators decried the practice, though not because of the arsenic involved. One Mrs. Haweis, a writer on dress and beauty, began an 1887 diatribe against “smashed birds” with the sentence: “A corpse is never a really pleasant ornament.”

6. Mercury

No upper-class man of the Victorian era was complete without his hat, but many of those hats were made with mercury. As David explains, “Although its noxious effects were known, it was the cheapest and most efficient way to turn stiff, low-grade fur from rabbits and hares into malleable felt.” Mercury gave animal fur its smooth, glossy, matted texture, but that velvety look came at a high cost—mercury is an extremely dangerous substance.

Mercury can rapidly enter the body through the skin or the air, and causes a range of horrible health effects. Hatters were known to suffer from convulsions, abdominal cramps, trembling, paralysis, reproductive problems, and more. (A chemistry professor studying toxic exposure at Dartmouth College, Karen Wetterhahn, died in 1996 after spilling just a few drops of a supertoxic type of mercury on her glove.) To make matters worse, hatters who drank while they worked (not an uncommon practice) only hastened mercury’s effects by hampering the liver’s ability to eliminate it. While scholars still debate whether Lewis Carroll’s “mad hatter” was meant to show the effects of mercury poisoning, his trembling limbs and wacky speech seem to fit the bill.

7. Lead

A Victorian facial cream containing lead
A Victorian facial cream containing lead
Bloomsbury Visual Arts

Pallor was definitely in during the Victorian era, and a face spackled with lead white paint was long favored by fashionable women. Lead had been a popular ingredient in cosmetics for centuries, David writes, because it “made colors even and opaque and created a desirable ‘whiteness’ that bespoke both freedom from hard outdoor labor and racial purity.” One of the most popular lead-laced cosmetic products was called Laird’s Bloom of Youth; in 1869, one of the founders of the American Medical Association treated three young women who had been using the product and temporarily lost full use of their hands and wrists as a result. (The doctor described the condition as “lead palsy,” although today we call it wrist drop or radial nerve palsy, which can be caused by lead poisoning.) One of the women’s hands was said to be “wasted to a skeleton.”

This article was republished in 2019.

Neil Armstrong’s Spacesuit Will Go Back on Display for Apollo 11's 50th Anniversary

Phil Plait, Wikimedia Commons // CC BY-SA 2.0
Phil Plait, Wikimedia Commons // CC BY-SA 2.0

Neil Armstrong made history when he became the first person to walk on the Moon 50 years ago. Space exploration has changed since then, but the white space suit with the American flag patch that Armstrong wore on that first walk is still what many people think of when they picture an astronaut. Now, after sitting in storage for a decade, that iconic suit is ready to go on display, according to Smithsonian.

NASA donated Neil Armstrong's suit to the Smithsonian shortly after the Apollo 11 mission. For about 30 years, it was displayed at the National Air and Space Museum in Washington, D.C. Then, in 2006, the museum moved the artifact to storage to minimize damage.

Even away from the exhibit halls, the suit was deteriorating, and the Smithsonian knew it would need to be better preserved if it was to be shown to the public again. In 2015, the institution launched its first-ever Kickstarter campaign and raised more than $700,000 for conservation efforts.

After a multi-year preservation project, the suit will finally return to the museum floor on July 16, 2019—the date that marks 50 years since Apollo 11 launched. This time around, the suit will be displayed on a structure that was custom built to support its interior, protecting it from the weight of gravity. Climate-controlled air will flow through the gear to recreate the stable environment of a storage unit.

Even if you can't make it to the National Air and Space Museum to see Armstrong's space suit in person, soon you'll be able to appreciate it from home in a whole new way. The museum used various scanning techniques to create an intricate 3D model of the artifact. Once the scans are reconfigured for home computers, the Smithsonian's digitization team plans to make an interactive version of the digital model freely available on its website.

[h/t Smithsonian]

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