David Sarnoff saw in radio not potential privacy threats but the possibility of new publics — a way to communicate a single message to what Peters calls “the great audience invisible.” In the 1930s, this fairly radical new means of one-to-many communication prompted early broadcasters to cultivate their version of networked listening, including a form of address that could speak to many yet still convey a sense of intimacy. They adopted a deeply personal tone and addressed listeners in ways that drew attention to their domestic spaces. This “compensatory dialogism,” to use Peters’s coinage, established a performative closeness with an unseen audience listening in their living rooms — part of what Jason Loviglio calls radio’s “authorized transgressions” between public and private domains. This permitted a form of civic participation and social mobility otherwise unknown to ethnic and racial minorities, homosexuals, and women — though the voices binding them together as an intimate public were uniformly those of straight white men.