In today's digital era, radios have become distant memories for most people. Looking back several decades, these devices—affectionately called "drama boxes" or "talk boxes"—not only dominated information dissemination and mass entertainment but also carry the life memories and cultural resonance of generations. At the "Sound Waves Entering Homes—Thirty Years of New China's Radio Industry" special exhibition held at the Communication Museum of Communication University of China, over 100 precious radios were displayed, attracting numerous enthusiasts and visitors.
In an age where digital audio is readily accessible, what practical functions do radios still serve? As a form of movable industrial heritage, what imaginative possibilities might radios unlock for cultural industries?
"Seeing this radio feels like stepping back into my childhood," said Zhang Yangyang, a visitor born in the 1980s. Surrounded by humming "old-timers" in the exhibition hall, she remarked, "It’s as if I can hear 'Little Trumpet is on the air' again, and I’m reminded of my grandfather listening to Liu Lanfang’s storytelling of 'The Legend of Yue Fei.'"
Retired stamp-collecting blogger "Dancing Days A" was even more excited. "Radios were our only source of news when we were young. Back then, due to limited circulation, we only knew local radio brands. This exhibition brings together so many brands from across the country—it’s truly rare," she said.
Curator Zhang Hanshuo explained that the exhibition focuses on the development of the radio industry from 1949 to the early 1980s, featuring 157 items, including 128 pieces provided by renowned radio collector Xu Shu. Recalling his motivation for collecting radios, Xu Shu shared his childhood memory of listening to a Shanghai "Kaili" five-tube radio with his sister. "Radios are not just childhood memories; they also sparked my passion for radio technology as a teenager and led to my 'crazy' collecting in adulthood," he noted.
As part of the iconic "Three Rotations and One Sound" of its era, radios have become central exhibits in nostalgia-themed museums across China, such as the Beijing Daqi Radio and Film Museum, the Shandong "Three Rotations and One Sound" Museum, and the Shenzhen Xiwu Museum. These displays invite visitors to travel back in time while reflecting on the "memory value" behind the devices.
Zhang Hanshuo recalled an elderly gentleman who lingered in the exhibition hall before stopping at a Red Lantern 711 radio. "When I asked why he was fixated on this particular model amid so many high-end radios, he told me that in 1976, he went to great lengths—almost spending all his savings—to buy a Red Lantern 711 for his wedding. That radio became the warm background sound of his newlywed life," she shared.
"Interacting with visitors has given me a vivid understanding of radios' 'memory value,'" Zhang added. "They serve as physical evidence of ordinary families' histories, with their purchase, usage, and even repair experiences deeply embedded in family narratives, becoming carriers of intergenerational emotions. Radios also shaped collective memories, from broadcasts of 'Who Are the Most Lovable People?' to programs like 'Little Trumpet,' creating shared cultural memories across generations. Visitors are not just sharing personal stories but resonating with an entire era."
The exhibition, held at the Communication Museum, integrates the history of broadcasting, interactive AM/FM transmission devices, and a wall of brand logos—details reflecting the inseparable relationship between Communication University of China and radio technology.
"'Small but refined' is a key feature," noted Qi Jiangang, director of the Beijing Daqi Radio and Film Museum. Compared to public museums, university museums like this one possess more specialized and comprehensive knowledge systems. He was particularly impressed by the display of 450 radio manufacturer logos. "They cover every era and region, demonstrating meticulous effort—a clear advantage of university-curated exhibitions," he said.
As a national comprehensive museum focused on media, the Communication Museum leverages academic depth and cutting-edge research. "University museum exhibitions are not mere displays; they are grounded in solid scholarly research. This exhibition draws on interdisciplinary studies of Chinese broadcasting history, radio industry development, and brand evolution," Zhang Hanshuo emphasized.
With young students as a core audience, many exhibitions involve student volunteers, who not only understand audience needs but also contribute to teaching and research. "We incorporate young people’s suggestions by designing learning sheets, interactive zones, and exploring radios in literature and New Year paintings—transforming knowledge into tangible, engaging resources," Zhang explained. She highlighted the exhibition’s largest interactive feature—an AM/FM transmitter donated by the School of Information and Communication Engineering. "Originally used for student experiments, it now serves as an educational tool for visitors," she said.
Blogger "Dancing Days A" praised the interactive and stamp-collecting activities. "By collecting stamps of radio brands, you can revisit memories later. The brand stories presented in newspaper format also deepened my understanding," she remarked.
Xu Shu mentioned that another part of his collection is currently displayed at Tsinghua University Science Museum’s "Era of Radio Waves—Early History of Radio Technology" exhibition. "As a top engineering university, Tsinghua’s museum excels in radio technology and history of science research," he said.
Radios have also ventured beyond museums through popular media. Props in hit TV series and films like "Latent," "Like a Flowing River," "Leap," "Lane Families," and "One Second" were provided by the Beijing Daqi Radio and Film Museum. "We strictly ensure historical accuracy, and high-quality props allow old items to regain relevance. This not only supports museum operations but also introduces radios to wider audiences through screen appearances," Qi Jiangang noted.
Wang Yuchen, associate professor at the University of Science and Technology Beijing’s Institute of History of Science and Cultural Heritage, pointed out that radios are a key category of electronic industrial heritage but face a common dilemma: due to their relative modernity and rapid technological obsolescence, society often views them as "outdated products" rather than heritage. "Many people discard them when upgrading, rarely preserving them as cultural artifacts," he said. Thus, museums, private collections, and exhibitions play a crucial role in safeguarding this heritage.
Xu Shu, who owns thousands of radios, believes that beyond nostalgia and memory, radios vividly reflect China’s industrial evolution—serving as "movable industrial heritage." For instance, the Red Star 501 five-tube radio displayed at the exhibition represents a pivotal moment in radio industry history.
"A radio encapsulates the industrial technology of its time. From the wooden casing and knobs to the circuitry and speakers, it combines materials, acoustics, and manufacturing techniques of the era. Radios were like today’s smartphones—a crystallization of technology," Zhang Hanshuo observed.
Bai Jie, deputy director of the Beijing Municipal Cultural Heritage Bureau, noted that China’s radio industry transitioned from self-reliance to diversification, nurturing renowned brands and building a complete industrial chain. "It epitomizes New China’s industrialization and modernization, embodying an ethos of independence and hard work that remains relevant today," he said.
While people often associate industrial heritage with repurposed sites like Beijing’s 798 Art Zone or Shanghai’s 1933 Old Millfun, radios, CRT TVs, vintage cameras, and retro gaming consoles represent a different category—"movable industrial heritage" deeply integrated into daily life. "These objects connect industrial production, technical standards, and consumer markets directly to individual lifestyles," Wang Yuchen explained.
In Shenzhen, a specialty shop showcases CCD cameras, highlighting how everyday items shape personal "life histories." Just as archaeology studies objects to understand people, electronic industrial heritage helps decode how generations accessed information, organized living spaces, and structured their emotional lives. "In this sense, radios are not just artifacts of technological history but also windows into public life and social memory," Wang said.
Unlike stationary factories or machinery, Zhang Hanshuo believes radios evoke a fluid, audible history—echoing in household sounds as personal memories. Xu Shu emphasized that movable heritage like radios can be easily collected, preserved, and exhibited, as demonstrated by their displays at Tsinghua and Communication University museums.
As for radios’ practical value today, Wang Yuchen argued they retain public utility and resilience. In an era dominated by mobile internet, radios represent a low-threshold, accessible, and reliable public communication infrastructure—especially in crises—transcending their status as mere "retro symbols."
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