The Irish Free State and the Radio Age

Official radio broadcasting in Ireland began on New Year’s Day 1926, when the Dublin station 2RN was launched, followed in April 1927 by the 6CK station in Cork to provide something closer to national coverage for what would become the national broadcaster Radio Éireann in later years.  The history of radio in Ireland is much older than that however.  Indeed Guglielmo Marconi himself had personal connections to Ireland, his mother having been a member of the Jameson family, and had done some of his initial testing of radio ranges from special stations set up in County Cork from 1902.  By the start of World War One, being a wireless operator for ship-to-shore communication (radio’s first purpose, before its broadcast possibilities were realised) had become a job possibility for some aspiring young men and there were businesses offering training courses for this new form of communication.  One such was the Irish School of Wireless on O’Connell Street, which holds the distinction of being the (probable) site of the first proper radio broadcast in Ireland when, during the 1916 Rising, the rebels took it over and used its equipment to broadcast James Connolly declaring ‘Irish Republic declared today in Dublin.  Irish troops have captured city and are in full possession.  Enemy cannot move in city’. 

Before this electrifying message could be sent however, Connolly’s troops in 1916 had to reconstruct the Wireless School’s decommissioned broadcasting equipment, because such apparatus was reserved for military use under special wartime regulations.  The end of World War One, far from ending official concerns about civilian possession of radio equipment in Ireland, only increased it as the country moved into the War of Independence and then the Civil War, although it seems inevitable that there were in fact many sets constructed from the fairly easily-available parts by the technology enthusiasts (ironically many of them deploying skills learned in the military during wartime) who drove the early development of radio in Ireland as elsewhere.  One of the reasons to believe that there were a significant number of ‘illegal’ radio sets in Ireland before the law was changed by 1924 was that as early as December 1923 Ireland’s first radio enthusiast’s magazine appeared.  Cheerfully undaunted by the longstanding  illegality of their readers’ hobby, the Irish Radio Journal: the Official Organ of the Radio Association of Ireland began appearing as a monthly publication full of articles about building, improving and using radio sets, evaluating the various parts needed to do so, and many advertisements for valves, fuses, and specialist wiring.  This magazine lasted only until January 1927, but by then it had been joined by the Irish Radio Review, the Irish Radio and Electric Journal, Irish Radio News and the Irish Radio Trader, as well as a variety of British radio enthusiast publications which were available in Ireland.  Most didn’t last very long, but Irish Radio News and the Irish Radio and Electrical Journal became well-established and both ran more or less until the television era.  A readership which could support these publications was obviously very keen on radio even while it had been technically illegal, a situation which was finally resolved (not without some turf wars between different government departments) ahead of the start of 2RN’s January 1926 broadcasts – thus avoiding a farcical situation in which the Irish state would have been broadcasting programmes which its citizens could theoretically have been prosecuted for listening to.

Just ahead of 2RN’s launch, a Wireless Exhibition was held at the Mansion House in Dublin in November 1925.  This was in part a trade fair for those in the new radio industry, but it was mainly intended to raise public interest in the new medium, encouraging new buyers to purchase radio sets in advance of Irish broadcasting beginning in the new year (the next post on this blog will be about radios sets themselves as expensive consumer items in the 1920s and 1930s).  Many retailers of component parts and complete sets took stands at the Exhibition, including the Marconi Company themselves, and there were also broadcasts by the BBC relayed into the Mansion House, as well as talks and lectures on the entertainment and educational value radio would bring to Ireland. 

Although the early days of radio in Ireland were relatively low-key in terms of the quantity (or, judging by some contemporary commentary, the quality) of programming, it is important to recognise what a watershed moment this was in Irish media history.  Radio broadcasting was at least as dramatic a change in mass media as the arrival of the internet some 70 years later – it was the first time that non-print media became available, it would rapidly come to offer programming formats unthinkable in print form (music, live sports coverage and breaking news), and it would offer it to a genuinely national audience, all listening to the same programme at the same time, in their homes.  You can sense even in ministerial speeches which refer to the opportunities radio will offer for enriching life in the Irish countryside where there are few other amusements, a shadow of the more robust excitement that must have been felt in those country homes as they tuned in their new radio set (usually powered by a rechargeable wet battery since most houses did not yet have mains electricity) and first heard broadcasts from Dublin, London and Hilversum, a world of broader horizons opening up directly in their homes.  

The recognition of radio’s immediate and widespread power also seems to have driven official Ireland’s responses to the new medium as well, in tones of  both approval and deep concern.  Many of the concerns were well-rehearsed during the work of the Wireless Committee which discussed and eventually decided to establish radio broadcasting in Ireland during the very early years of Independence.  Not surprisingly in the aftermath of nine years of more or less continuous warfare between 1914 and 1923, and especially given the anxieties about propaganda that those wars had caused (it is not a coincidence that the first modern assessments of propaganda, such as Harold Lasswell’s work, were published in the decade after WWI ended), some of the concerns about allowing radio into Ireland were driven by a fear of the power which might be exercised by those voices issuing directly into living-rooms and kitchens all over the country – a view ultimately undermined by the fact that Irish listeners could, by 1926, listen to foreign radio broadcasts but not ones regulated by their own government.  The importance of maintaining control of the national airwaves and also a more enthusiastic recognition that 2RN would be understood as the ‘voice of a nation’ by those who heard it internationally also motivated the Irish government’s refusal of several offers to establish commercial stations based in the country by ‘businessmen’ of varying degrees of shadiness.  Given how limited the budget for 2RN was, these offers to bear all the costs of providing radio services might have been very tempting for the Free State government, but the fact that these entrepreneurs’ principal aim was to broadcast intensive advertising across the Irish Sea to the otherwise advertising-free British airwaves discouraged them, as they were acutely aware that this would have resulted in the ‘voice of the nation’ being dominated by advertisements for patent medicines and processed food.

Another concern about the potential power of radio was that the new medium would promote foreign cultural forms and damage ‘native Irish’ culture at just the moment that national sovereignty had been achieved.  This anxiety would be reflected in on-going conflicts during the 1920s and 1930s about broadcasting time given (or not) to the Irish language and Irish music, as well as particular campaigns against popular music in particular – the unintentionally-hilarious Anti-Jazz campaign of 1934 is well worth exploring for anyone unfamiliar with it.  The early years of radio in Ireland were often marked by this tension between official (or self-appointed) guardians’ anxieties about its impact on Irish culture, language, morals or politics, and the fairly enthusiastic response to 2RN and other stations which could be picked up in homes around the country.  As JJ Walsh, the first minister to preside over Irish radio put it, in his own burst of considerable enthusiasm in his speech at the Wireless Exhibition in 1925,

“Hearing is surely the most precious sense mankind possesses; through it he receives the most rousing appeals that can be made to his reason and to his imagination.  Powerful as the written word may be, how much more powerful is the living voice which adds to the matter of the discourse the impetus of that subtle quality, the personality of the speaker?”

References

Richard Pine, 2RN and the Origins of Irish Radio (Gill & MacMillan, 2002)

Maurice Gorham, Forty Years of Irish Broadcasting (Talbot Press, 1967)

Johannah Duffy ‘Jazz, Identity and Sexuality in Ireland During the Inter-War Years’, Irish Association for American Studies, No. 1 (2009)

Irish Broadcasting Hall of Fame Blog, at https://ibhof.blogspot.com/

The Media Landscape of the Irish Free State

The early years of Irish Independence (especially after the Civil War ended in 1923) coincided with one of the most significant moments in international media history – the arrival of broadcasting.  Radio broadcasts by enthusiastic amateurs rapidly developed into nascent stations all over the world, and by the mid-1920s many countries (Ireland included) regulated these by creating state-regulated stations such as 2RN, which began broadcasting in Ireland in January 1926.  The world’s newest nation-state was therefore partly formed by the structures of the broadcasting era, especially the sense that a country’s radio station was the ‘voice of the nation’ among the international community.

The arrival of radio changed Irish mass media dramatically, bringing it directly into people’s homes in real time, and offering all of the possibilities of sound rather than print.  Nevertheless, printed mass media remained the dominant form in very many respects, not least because of the sheer volume of print choices available to readers who might typically have access to just one Irish radio station (along with the uncertain reception of British and other European programming, depending upon geography and weather conditions).  In Ireland, the first decade or so of the Free State brought some very significant changes to the mass media landscape even aside from the arrival of radio.

The first major change was the demise of the Freeman’s Journal, in publication since 1763 and the dominant platform of mainstream Irish nationalism until the arrival of William Martin Murphy’s Irish Independent in 1905.  The Independent ruthlessly targeted the Freeman’s readers and advertisers over the coming years and this, along with the Independent’s embrace of modern journalism and advertising techniques, resulted in the older paper’s fairly rapid decline until, in 1924, it closed.  This left the Irish Independent in an undisputedly dominant position in the national newspaper market (the Irish Times being well-established but with a much smaller circulation and in any case a little uncertain of its footing in the new state) until the 1931 arrival of the Irish Press.  Established and owned by Eamon de Valera using money obtained under very controversial (and legally complex) circumstances, the Irish Press held very different party political views from those of the Irish Independent, but it was nevertheless competing directly for the Independent’s readers and advertisers, and the 1930s were marked by fierce competition between the two for market share.

The popular press, aside from newspapers, also changed a great deal during the Free State years.  There were of course many existing publications which continued, including for example dozens of local newspapers.  However, the 1920s saw the end of some long-running titles.  Story papers were beginning to fade from view as a significant form of popular media – their target market of young working-class or lower-middle class readers looking for cheap entertainment of romance, thrillers and comedy had been stolen wholesale by the movies, and those which survived at all into the 1920s generally didn’t last long.  The Shamrock and the Emerald (both giants of the late 19thC Irish popular press) merged for survival in 1914 but had folded completely by 1922.  Our Boys, a late arrival on the market in 1914, lasted until 1990, but this was clearly because it was not competing in an open market – published by the Christian Brothers, its financing was opaque but its access to a captive audience of boys attending the many Christian Brothers schools of 20thC Ireland was clear, and obviously helped it to survive.  The exception which proved this rule of failing story papers was of course Ireland’s Own, the story paper which still survives (and apparently thrives) today in the 21stC, although the secret of its success lies not, as it is often argued, in never changing, but in the fact that it did change a great deal.  During the decades after Independence, Ireland’s Own moved from targeting a younger readership with racy stories of excitement and adventure towards targeting an aging readership with cosier and nostalgic stories, a shift which proved very successful.

The other magazine format which faded from commercial success was that of ‘society papers’, which had flourished during the late 19th and early 20th centuries and catered to the small but wealthy segment of Irish society which revolved around Dublin Castle, country houses and debutante balls.  Their claim to be ‘popular’ was always doubtful given how small a percentage of the Irish population they catered to, but they had certainly been commercially successful based on how highly-coveted their wealthy readership was by many upmarket advertisers, and it’s likely they also had an aspirational readership among those fascinated by aristocracy and high society however excluded they were from it.  The founding of the Irish Free State and the ending of Dublin Castle’s political influence also meant the decline of its social power however, and as many of the Anglo-Irish retreated either to their country houses or to England, the press which had reported on their parties, marriages, and social engagements also retreated.  The simply-named Irish Society magazine ceased publication in 1924, for example, and Irish Life, which had always focused on hunting, shooting, fishing and more lately the newer interest of motoring, ended in 1926.  Some of these magazines’ typical stories were transferred to hobbyist publications such as the Irish Cyclist and Motor Cyclist, which had begun before independence and continued into the 1930s, as well as Irish Golf, which began publication in 1927 and was later absorbed by Social and Personal, one of the last attempts at ‘high society’ publishing in Ireland.

If ‘story papers’ were largely ended by the arrival of the movies, and ‘society papers’ were ended by the collapse of high society’s influence in independent Ireland, it was women’s magazines which saw something of a boom during the 1920s and 1930s.  The original Irish women’s magazine was Lady of the House, begun in 1890 and still in existence in the very early years of the Irish Free State.  Although it had been quite innovative in the early 20thC, and certainly in some of its views on ‘the woman question’ of that era, it was not a publication for the Jazz Age, and by 1924 the title ceased – although after it was bought and renamed a couple of times it eventually re-emerged as Irish Tatler, very much a modern version of a ‘society paper’.  Lady of the House had always tried to stay out of party or national politics, but it had primarily addressed the women likely to have been customers of the magazine’s original funders, Findlater’s grocers – urban, middle-class, and mainly if not entirely Protestant.  The founding of the Irish Free State shifted the balance of power not only in politics but in business, culture and everyday life towards the Catholic middle-classes, and this was as evident in publishing as it was in other aspects of Irish life.  Perhaps the most obvious example of this was in the appearance of Dublin Opinion in 1922, a satirical, knowingly humorous monthly magazine of Irish politics and metropolitan life in the new state, and very definitely published for the new elite of the Free State – the middle-class Catholic men of business, politics and the civil service.  Similar changes could be seen in publications for Irish women.  As Lady of the House faded away in the early years of the Free State, it was replaced by a series of new women’s magazines – such as Model Housekeeping, Modern Girl, Woman’s Life, and Irish Women’s Mirror, as well as a new type of ‘home and gardens’ magazine such as Ideal Irish Homes and Irish Home, which catered to the growing numbers of new homeowners in Ireland by adding DIY and decorating sections to the recipes, childcare and household hints of traditional women’s magazines.  As might be expected from the greater number of women’s magazines available during the 1920s and 1930s, they appealed to an increasingly stratified readership, with Modern Girl and Ideal Irish Home assuming their readers owned their own homes, held dinner parties and even travelled abroad, while Irish Women’s Mirror often suggested recipes that would make good use of leftovers, and published advice on how to makeover last season’s clothes to this season’s styles.

As these and other magazines appeared (some remaining for decades, others being replaced after just a few years), Irish radio programming also expanded.  The Dublin-based 2RN (and its Cork counterpart 6CK) became fully national during the 1930s and were eventually renamed Radio Éireann, and although the national broadcaster’s production budgets remained inadequate for the scale of their role as a public broadcaster, by the 1930s they were earning more advertising money and producing more programming – live broadcasts of GAA matches, music performances, plays, sketch shows and magazine shows.  Alongside these schedules, there also flourished a lively array of radio magazines, some aimed at real enthusiasts who built their own sets, some more focused on programming reviews for ordinary listeners.

Future posts will discuss many of the papers and magazines discussed here, as well as the development of radio shows, the selling of radio sets as expensive pieces of media equipment, the development of modern advertising as the financial underpinning of all commercial media, and eventually the arrival of television.