What para-social roles are acceptable to the spectator and what benefits their enactment has for him would seem to be related to the systems of patterned roles and social situations in which he is involved in his everyday life. The values of a para-social role may be related, for example, to the demands being made upon the spectator for achievement in certain statuses. Such demands, to pursue this instance further, may be manifested in the expectations of others, or they may be self-demands, with the concomitant emergence of more or less satisfactory self-conceptions. The enactment of a para-social role may therefore constitute an exploration and development of new role possibilities, as in the experimental phases of actual, or aspired to, social mobility. It may offer a recapitulation of roles no longer played-roles which, perhaps, are no longer possible. The audience is diversified in terms of life-stages, as well as by other social and cultural characteristics; thus, what for youth may be the anticipatory enactment of roles to be assumed in the future may be, for older persons, a reliving and re-evaluation of the actual or imagined past.
The enacted role may be an idealized version of an everyday performance-a 'successful' para-social approximation of an ideal pattern, not often, perhaps never, achieved in real life. Here the contribution of the persona may be to hold up a magic mirror to his followers, playing his reciprocal part more skillfully and ideally than do the partners of the real world. So Liberace, for example, outdoes the ordinary husband in gentle understanding, or Nancy Berg outdoes the ordinary wife in amorous complaisance. Thus, the spectator may be enabled to play his part suavely and completely in imagination as he is unable to do in actuality.
If we have emphasized the opportunities offered for playing a vicarious or actual role, it is because we regard this as the key operation in the spectator's activity, and the chief avenue of the program's meaning for him. This is not to overlook the fact that every social role is reciprocal to the social roles of others, and that it is as important to learn to understand, to decipher, and to anticipate their conduct as it is to manage one's own. The function of the mass media, and of the programs we have been discussing, is also the exemplification of the patterns of conduct one needs to understand and cope with in others as well as of those patterns which one must apply to one's self. Thus the spectator is instructed variously in the behaviors of the opposite sex, of people of higher and lower status, of people in particular occupations and professions. In a quantitative sense, by reason of the sheer volume of such instruction, this may be the most important aspect of the para-social experience, if only because each person's roles are relatively few, while those of the others in his social worlds are very numerous. In this culture, it is evident that to be prepared to meet all the exigencies of a changing social situation, no matter how limited it may be, could-and often does-require a great stream of plays and stories, advice columns and social how-to-do-it books. What, after all, is soap opera but an interminable exploration of the contingencies to be met with in "home life?"
In addition to the possibilities we have already mentioned, the media present opportunities for the playing of roles to which the spectator has-or feels he has-a legitimate claim, but for which he finds no opportunity in his social environment. This function of the para-social then can properly be called compensatory, inasmuch as it provides the socially and psychologically isolated with a chance to enjoy the elixir of sociability. The "personality" program-in contrast to the drama-is especially designed to provide occasion for good-natured joking and teasing, praising and admiring, gossiping and telling anecdotes, in which the values of friendship and intimacy are stressed.
It is typical of the "personality" programs that ordinary people are shown being treated, for the moment, as persons of consequence. In the interviews of nonprofessional contestants, the subject may be praised for having children-whether few or many does not matter; he may be flattered on his youthful appearance; and he is likely to be honored the more-with applause from the studio audience-the longer he has been "successfully" married. There is even applause, and a consequent heightening of ceremony and importance for the person being interviewed, at mention of the town he lives in. In all this, the values realized for the subject are those of a harmonious, successful participation in one's appointed place in the social order. The subject is represented as someone secure in the affections and respect of others, and he probably senses the experience as a gratifying reassurance of social solidarity and self-confidence. For the audience, in the studio and at home, it is a model of appropriate role performance-as husband, wife, mother, as "attractive" middle age, "remarkably youthful" old age, and the like. It is, furthermore, a demonstration of the fundamental generosity and good will of all concerned, including, of course, the commercial sponsor. But unlike a similar exemplification of happy sociability in a play or a novel, the television or radio program is real; that is to say, it is enveloped in the continuing reassurances and gratifications of objective responses. For instance there may be telephone calls to "outside" contestants, the receipt and acknowledgement of requests from the home….[the rest of this paragraph is illegible because of damage to the book.]
For the great majority of the audience the para-social is complementary to normal social life. It provides a social milieu in which the everyday assumptions and understandings of primary group interaction and sociability are demonstrated and reaffirmed. The "personality" program, however, is peculiarly favorable to the formation of compensatory attachments by the socially isolated, the socially inept, the aged and invalid, the timid and rejected. The persona himself is readily available as an object of love-especially when he succeeds in cultivating the recommended quality of "heart." Nothing could be more reasonable or natural than that people who are isolated and lonely should seek sociability and love wherever they think they can find it. It is only when the para-social relationship becomes a substitute for autonomous social participation, when it proceeds in absolute defiance of objective reality, that it can be regarded as pathological.
The existence of a marginal segment of the lonely in American society has been recognized by the mass media themselves, and from time to time specially designed offerings have been addressed to this minority. In these programs, the maximum illusion of a personal, intimate relationship has been attempted. They represent the extreme development of the….[a portion of this paragraph is illegible because of damage to the book]….of their unhappy audience by the most blatant reassurances. Evidently on the presumption that the maximum of loneliness is the lack of a sexual partner, these programs tend to be addressed to one sex or the other, and to endow the persona with an erotic suggestiveness.
Such seems to have been the purpose and import of The Lonesome Gal, a short radio program which achieved such popularity in 1951 that it was broadcast in ninety different cities. Within a relatively short time, the program spread from Hollywood, where it had originated, across the country to New York, where it was heard each evening at 11:15.
The outline of the program was simplicity itself. After a preliminary flourish of music, and an identifying announcement, the main and only character was ushered into the presence of the audience. She was exactly as represented, apparently a lonesome girl, but without a name or a history. Her entire performance consisted of an unbroken monologue unembarrassed by plot, climax, or denouement. On the continuum of para-social action, this is the very opposite of self-contained drama; it is, in fact, nothing but the reciprocal of the spectator's own para-social role. The Lonesome Gal simply spoke in a throaty, unctuous voice whose suggestive sexiness belied the seeming modesty of her words.
From the first, the Lonesome Gal took a strongly intimate line, almost as if she were addressing a lover in the utter privacy of some hidden rendezvous:
Darling, you look so tired, and a little put out about something this evening….You are worried, I feel it. Lover, you need rest….rest and someone who understands you. Come, lie down on the couch, relax, I want to stroke your hair gently….I am with you now, always with you. You are never alone, you must never forget that you mean everything to me, that I live only for you, your Lonesome Gal.
At some time in the course of each program, the Lonesome Gal specifically assured her listeners that these endearments were not being addressed to the hale and handsome, the clever and the well-poised, but to the shy, the withdrawn-the lonely men who had always dreamed, in their inmost reveries, of finding a lonesome girl to comfort them.
The world is literally full of such lonesome girls, she urged; like herself, they were all seeking love and companionship. Fate was unkind, however, and they were disappointed and left in unrequited loneliness, with no one to console them. On the radio, the voice was everybody's Lonesome Gal:
Don't you see, darling, that I am only one of millions of lonely girls. I belong to him who spends his Sundays in museums, who strolls in Central Park looking sadly at the lovers there. But I am more fortunate than any of these lovers, because I have you. Do you know that I am always thinking about you?…You need someone to worry about you, who will look after your health, you need me. I share your hopes and your disappointments. I, your Lonesome Gal, your girl, to whom you so often feel drawn in the big city where so many are lonely….
The Lonesome Gal was inundated with thousands of letters tendering proposals of marriage, the writers respectfully assuring her that she was indeed the woman for whom they had been vainly searching all their lives.
As a character in a radio program, the Lonesome Gal had certain advantages in the cultivation of para-social attachments over television offerings of a similar tenor. She was literally an unseen presence, and each of her listeners could, in his mind's eye, picture her as his fancy dictated. She could, by an act of the imagination, be almost any age or any size, have any background.
Not so Miss Nancy Berg, who began to appear last year in a five-minute television spot called Count Sheep. She is seen at 1 A.M. each weekday. After an announcement card has flashed to warn the audience that she is about to appear, and a commercial has been read, the stage is entirely given over to Miss Berg. She emerges in a lavishly decorated bedroom clad in a peignoir, or negligee, minces around the room, stretches, yawns, jumps into bed, and then wriggles out again for a final romp with her French poodle. Then she crawls under the covers, cuddles up for the night, and composes herself for sleep. The camera pans down for an enormous close-up, and the microphones catch Miss Berg whispering a sleepy "Good-night." From out of the distance soft music fades in, and the last thing the viewers see is a cartoon of sheep jumping over a fence. The program is over.
There is a little more to the program than this. Each early morning, Miss Berg is provided with a special bit of dialogue or business which, brief though it is, delights her audience afresh:
Once, she put her finger through a pizza pie, put the pie on a record player and what came out was Dean Martin singing "That's Amore." She has read, with expression, from "Romeo and Juliet," "Of Time and the River," and her fan mail. She has eaten grapes off a toy ferris-wheel and held an imaginary telephone conversation with someone who, she revealed when it was all over, had the wrong number.
Sometimes she regales her viewers with a personal detail. For instance, she has explained that the dog which appears on the show is her own. Its name is "Phaedeaux," she disclosed coyly, pronounced "Fido."
It takes between twenty and twenty-six people, aside from Miss Berg herself, to put this show on the air; and all of them seem to be rather bemused by the success she is enjoying. Her manager, who professes himself happily baffled by the whole thing, tried to discover some of the reasons for this success in a recent interview when he was questioned about the purpose of the show:
Purpose? The purpose was, Number 1, to get a sponsor; Number 2, to give people a chance to look at a beautiful girl at 1 o'clock in the morning; Number 3, to do some off-beat stuff. I think this girl's going to be a big star, and this was a way to get attention for her. We sure got it. She's a showman, being slightly on the screwball side, but there's a hell of a brain there. She just doesn't touch things-she caresses things. Sometimes, she doesn't say anything out loud, maybe she's thinking what you're thinking.
The central fact in this explanation seems to be the one which touches on Miss Berg's ability to suggest to her audience that she is privy to, and might share, their inmost thoughts. This is precisely the impression that the Lonesome Gal attempted to create, more directly and more conversationally, in her monologue. Both programs were geared to fostering and maintaining the illusion of intimacy which we mentioned earlier in our discussion. The sexiness of both these programs must, we think, be read in this light. They are seductive in more than the ordinary sense. Sexual suggestiveness is used probably because it is one of the most obvious cues to a supposed intimacy-a catalytic for prompt sociability.
Such roles as Miss Berg and the Lonesome Gal portray require a strict adherence to a standardized portrayal of their "personalities." Their actual personalities, and the details of their backgrounds, are not allowed to become sharply focused and differentiated, for each specification of particular detail might alienate some part of the audience, or might interfere with rapport. Thus, Miss Berg, despite the apparent intimacy of her show-the audience is invited into her bedroom-refuses to disclose her "dimensions," although this is a piece of standard information freely available about movie beauties.
The Lonesome Gal was even more strict regarding personal details. Only once did she appear in a public performance away from her radio show. On that occasion she wore a black mask over her face, and was introduced to her "live" audience on the same mysteriously anonymous terms as she met her radio audience. Rumor, however, was not idle, and one may safely presume that these rumors ran current to provide her with a diffuse glamour of a kind which her audience would think appropriate. It was said that she lived in Hollywood, but that she originally came from Texas, a state which, in popular folklore, enjoys a lively reputation for improbabilities and extravagances. Whispers also had it that French and Indian blood coursed in her veins, a combination all too likely to suggest wildness and passion to the stereotypes of her listeners. For the rest, nothing was known of her, and no further details were apparently ever permitted.
THE IMAGE AS ARTIFACT
The encouragement of, not to say demand for, a sense of intimacy with the persons and an appreciation of him as a "real" person is in contradiction to the fact that the image he presents is to some extent a construct-a façade-which bears little resemblance to his private character. The puritanical conventions of the contemporary media make this façade a decidedly namby-pamby one. With few exceptions, the popular figures of radio and television are, or give the appearance of being, paragons of middle-class virtue with decently modest intellectual capacities. Since some of them are really very intelligent and all of them are, like the rest of us, strong and weak, good and bad, the façade is maintained only by concealing discrepancies between the public image and the private life.
The standard technique is not to make the private life an absolute secret-for the interest of the audience cannot be ignored-but to create an acceptable façade of private life as well, a more or less contrived private image of the life behind the contrived public image. This is the work of the press agent, the publicity man, and the fan magazine. How successfully they have done their work is perhaps indicated by the current vogue of magazines devoted to the "dirt" behind the façade.
Public preoccupation with the private lives of stars and personae is not self-explanatory. Sheer appreciation and understanding of their performances as actors, singers, or entertainers does not depend upon information about them as persona. And undoubtedly many members of the audience do enjoy them without knowing or caring to know about their homes, children, sports cars, or favorite food, or keeping track of the ins and outs of their marriages and divorces. It has often been said that the Hollywood stars-and their slightly less glamorous colleagues of radio and television-are modern "heroes" in whom are embodied popular cultural values, and that the interest in them is a form of hero-worship and vicarious experience through identification. Both of these interpretations may be true; we would emphasize, however, a third motive-the confirmation and enrichment of the para-social relation with them. It may be precisely because this is basically an illusion that such an effort is required to confirm it. It seems likely that those to whom para-social relationships are important must constantly strive to overcome the inherent limitations of these relationships, either by elaborating the image of the other, or by attempting to transcend the illusion by making some kind of actual contact with him.
Given the prolonged intimacy of para-social relations with the persona, accompanied by the assurance that beyond the illusion there is a real person, it is not surprising that many members of the audience become dissatisfied and attempt to establish actual contact with him. Under exactly what conditions people are motivated to write to the performer, or to go further and attempt to meet him-to draw from him a personal response-we do not know. The fan phenomenon has been studied to some extent, but fan clubs and fan demonstrations are likely to be group affairs, motivated as much by the values of collective participation with others as by devotion to the persona himself. There are obvious social rewards for the trophies of contact with the famous or notorious-from autographs to handkerchiefs dipped in the dead bandit's blood-which invite toward their possessor some shadow of the attitude of awe or admiration originally directed to their source. One would suppose that contact with, and recognition by, the persona transfers some of his prestige and influence to the active fan. And most often such attempts to reach closer to the persona are limited to letters and to visits. But in the extreme case, the social rewards of mingling with the mighty are foregone for the satisfaction of some deeply private purpose. The follower is actually "in love" with the persona, and demands real reciprocity which the para-social relation cannot provide.
A case in point is provided in the "advice" column of a newspaper. The writer, Miss A, has "fallen in love" with a television star, and has begun to rearrange and reorder her life to conform to her devotion to this man whom she has never actually met. It is significant, incidentally, that the man is a local performer-the probability of actually meeting him must seem greater than would be the case if he were a New York or Hollywood figure. The border between Miss A's fantasies and reality is being steadily encroached upon by the important affective investment she has made in this relationship. Her letter speaks for itself:
It has taken me two weeks to get the nerve to write this letter. I have fallen head over heels in love with a local television star. We've never met and I've seen him only on the TV screen and in a play. This is not a 16-year-old infatuation, for I am 23, a college graduate and I know the score. For the last two months I have stopped dating because all men seem childish by comparison. Nothing interests me. I can't sleep and my modeling job bores me. Please give me some advice.
The writer of this letter would seem to be not one of the lonely ones, but rather a victim of the 'magic mirror' in which she sees a man who plays the role reciprocal to hers so 'ideally' that all the men she actually knows "seem childish by comparison." Yet this is not the image of a fictional hero; it is a 'real' man. It is interesting that the newspaper columnist, in replying, chooses to attack on this point-not ridiculing the possibility of a meeting with the star, but denying the reality of the image:
I don't know what you learned in college, but you are flunking the course of common sense. You have fallen for a piece of celluloid as unreal as a picture on the wall. The personality you are goofy about on the TV screen is a hoked-up character, and any similarity between him and the real man is purely miraculous.
This case is revealing, however, not only because it attests to the vigor with which a para-social relationship may become endowed, but also because it demonstrates how narrow the line often is between the more ordinary forms of social interaction and those which characterize relations with the persona. In an extreme case, such as that of Miss A, her attachment to the persona has greatly invaded her everyday life-so much so that, without control, it will warp or destroy her relations with the opposite sex. But the extreme character of this response should not obscure the fact that ordinarily para-social relations do "play back," as it were, into the daily lives of many. The man who reports to his friend the wise thing that Godfrey said, who carefully plans not to make another engagement at the time his favorite is on, is responding similarly, albeit to a different and milder degree. Para-social interaction, as we have said, is analogous to and in many ways resembles social interaction in ordinary primary groups.
The new mass media are obviously distinguished by their ability to confront a member of the audience with an apparently intimate, face-to-face association with a performer. Nowhere does this feature of their technological resources seem more forcefully or more directly displayed than in the "personality" program. In these programs a new kind of performer, the persona, is featured whose main attribute seems to be his ability to cultivate and maintain this suggested intimacy. As he appears before his audience, in program after program, he carries on recurrent social transactions with his adherents; he sustains what we have called para-social interaction. These adherents, as members of his audience, play a psychologically active role which, under some conditions, but by no means invariably, passes over into the more formal, overt, and expressive activities of fan behavior.
As an implicit response to the performance of the persona, this para-social interaction is guided and to some extent controlled by him. The chief basis of this guidance and control, however, lies in the imputation to the spectator of a kind of role complementary to that of the persona himself. This imputed complementary role is social in character, and is some variant of the role or roles normally played in the spectator's primary social groups. It is defined, demonstrated, and inculcated by numerous devices of radio and television showmanship. When it has been learned, the persona is assured that the entire transaction between himself and the audience-of which his performance is only one phase-is being properly completed by the unseen audience.
Seen from this standpoint, it seems to follow that there is no such discontinuity between everyday and para-social experience as is suggested by the common practice, among observers of these media, of using the analogy of fantasy or dream in the interpretation of programs which are essentially dramatic in character. The relationship of the devotee to the persona is, we suggest, experienced as of the same order as, and related to, the network of actual social relations. This, we believe, is even more the case when the persona becomes a common object to the members of the primary groups which in which the spectator carries on his everyday life. As a matter of fact, it seems profitable to consider the interaction with the persona as a phase of the role-enactments of the spectator's daily life.
Our observations, in this paper, however, are intended to be no more than suggestions for further work. It seems to us that it would be a most rewarding approach to such phenomena if one could, from the viewpoint of an interactional social psychology, learn in detail how these para-social interactions are integrated into the matrix of usual social activity.
In this connection, it is relevant to remark that there is a tradition-now of relatively long standing-that spectators whether at sports events or television programs, are relatively passive. This assertion enjoys the status of an accredited hypothesis, but it is, after all, no more than a hypothesis. If it is taken literally and uncritically, it may divert the student's attention from what is actually transpiring in the audience. We believe that some such mode of analysis as we suggest here attunes the student of the mass media to hints within the program itself of cues to, and demands being made on, the audience for particular responses. From such an analytical vantage point the field of observation, so to speak, is widened and the observer is able to see more that is relevant to the exchange between performer and audience.
In essence, therefore, we would like to expand and capitalize on the truism that the persona and the "personality" programs are part of the lives of millions of people, by asking how both are assimilated, and by trying to discover what effects these responses have on the attitudes and actions of the audiences who are so devoted to and absorbed in this side of American culture.