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Throughout the nineteenth century, chemists and industrialists had searched for a cheap artificial substitute for a number of natural substances that were becoming increasingly rare. In particular, the rise of the middle class had led to a sharp increase in interest in the game of billiards and to a voracious demand for ivory to produce the balls. Because only a small portion of an elephant's tusk was suitable for making billiard balls, and because there was no way to determine if a given tusk had any suitable sections while still on the animal, entire herds of elephants were slaughtered to gain a few usable tusks. There was a very real concern that both African and Asian elephants might be driven extinct because of this relentless persecution.
As a result, there was strong pressure to produce an artificial substitute for ivory, and prizes were offered for the inventor who could produce a suitable substance. However, early work with various forms of nitrocellulose soaked in camphor produced only marginal results. In particular, such early plastics as collodion and celluloid retained the explosive characteristics of nitrocellulose, which had been originally developed as a smokeless substitute for gunpowder. One saloon owner who had been sent a sample of artificial billiard balls made of wood coated in celluloid complained that his patrons had a woeful tendency to draw their weapons when the balls struck together, since they produced a gunshot-like report rather than a soft click.
In addition, both collodion and celluloid were apt to lose their shape or even melt altogether if heated below their ignition point. Many owners of celluloid objects were quite disappointed to find a sticky mess under a sunlit window. The development of modern electrification created even further demand for a cheap substitute for natural substances, since shellac, the only good insulator for wiring, was in increasingly short supply.
When Leo Hendrik Baekeland discovered that a combination of phenol and formaldehyde, cooked at both high temperature and high pressure, would produce a resinous substance that cured into a hard, resilient solid impervious to both heat and solvents, his work was hailed as a miracle substance. It could be molded into just about any shape, although smooth curves with a slight angle, or draft, slid out of their molds more successfully than straight sides and sharp angles. It also readily took just about any color, which meant that it could be made to simulate the appearance of a variety of natural substances that were becoming difficult to obtain, including ivory, tortoiseshell, and rare tropical woods. Equally it could be made in forms that reveled in their artificial nature, including primary colors far too pure for any natural material.
The infant discipline of industrial design quickly embraced the possibility of Bakelite in creating new products for the new era. As domestic electrification moved from the very wealthy to a broad base of urban Americans in the 1920's, a whole range of appliances were created that frequently used Bakelite. The substance could be used to insulate against both heat and electricity or as an aesthetically pleasing case for a rat's nest of components. Because the molding process was most favorable to gently curved lines and because the Jazz Age had connected streamlining with not only speed but also modernity, many appliances such as radios were given sleek styling that would later be called the Art Deco look.
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