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Speaker 1: Welcome to steph you missed in history Class from how

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Speaker 1: Stuff Works dot Com. Hello, and welcome to the podcast.

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Speaker 1: I'm Holly Fry and I'm Tracy Vie Wilson. But Hey,

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Speaker 1: this is part two of a two parter on Louis

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Speaker 1: and August Lumier, two brothers who contributed significantly to the

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Speaker 1: motion picture industry before there even was a motion picture industry.

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Speaker 1: That's what they're mostly famous for. But they went on

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Speaker 1: to do some other things, which is largely what we're

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Speaker 1: talking about today. But if you have not listened to

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Speaker 1: part one, we highly recommend you do so, otherwise you're

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Speaker 1: probably going to be lost. Yeah, we have two parters

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Speaker 1: sometimes that each part can stand on their own, but

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Speaker 1: this that would be harder with this one. Yeah, this

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Speaker 1: is definitely a continuation of right where we left off.

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Speaker 1: So last time we ended at the point where the

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Speaker 1: loom Years had developed a camera that could capture, process

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Speaker 1: and project motion pictures, and they had trained a group

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Speaker 1: of employees to use the new technolog so they could

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Speaker 1: travel around Europe showing off this marvel of innovation and

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Speaker 1: taking new movies. Right. So it wasn't long before the

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Speaker 1: brothers were sending their trained cameraman farther and farther afield

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Speaker 1: going outside of Europe. Because the cinematograph was relatively compact

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Speaker 1: in light, it was pretty easy to expand their filming

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Speaker 1: and demonstration presence all across the globe. They sent teams

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Speaker 1: to India, Great Britain, Canada, and Argentina. And these were

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Speaker 1: not small numbers of cameramen. In the United States alone,

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Speaker 1: the Loomiers had almost two dozen of their men doing

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Speaker 1: what they had been doing in Europe by the late

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Speaker 1: eighteen nineties. Yeah, so they were just taking these movies

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Speaker 1: showing them to people. Uh. And some of these staff

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Speaker 1: members were actually sent abroad as part of deals with

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Speaker 1: businessmen in foreign countries. So as part of these contracts,

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Speaker 1: the Loomiers would basically loan out their camera, but the

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Speaker 1: partner business would have to pay a Loomier company staff

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Speaker 1: member as a contractor to actually use the camera. So

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Speaker 1: it's like you can have it come to where you

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Speaker 1: are and take films, but you can't use it. Only

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Speaker 1: our trained cameraman can use it. And then the partner

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Speaker 1: business could then stage their own screenings of these films

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Speaker 1: that were taken, and the revenue from those screenings would

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Speaker 1: be split fifty fifty between the business that was renting

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Speaker 1: the camera and paying for the cameraman and the Loomier company. Eventually,

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Speaker 1: this whole partnership system became too unwieldy to manage, so

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Speaker 1: Loomiers finally started selling the cameras outright. Starting in May.

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Speaker 1: The cameras and film were sold first to businesses and

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Speaker 1: then to anyone who wanted them. Loomiers also began publishing

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Speaker 1: a catalog of all the films they had to offer

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Speaker 1: for purchase, so anyone could start their own entertainment business

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Speaker 1: by showing these short films. Yeah, you could basically say

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Speaker 1: you had a big space, I would like to get

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Speaker 1: a cinematograph and order the following ten films or whatever,

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Speaker 1: and then you can charge people admission and Vola, you

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Speaker 1: had your own movie theater running. In some demonstrations abroad

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Speaker 1: in the early days of this the company actually experimented

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Speaker 1: with presentation style, and so they hired speakers to stand

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Speaker 1: to the side of the screen and explained to audiences

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Speaker 1: what they were seeing. But it was immediately evident that

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Speaker 1: that was just silly and the explainer was extraneous. No

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Speaker 1: one really needed to be told, and a train is

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Speaker 1: coming at you, A baby is being fed here, especially

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Speaker 1: when you consider how basic they're titles. Are workers leaving

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Speaker 1: a factory. So here are the workers leaving the factory.

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Speaker 1: Just as their fame had spread in Europe, in the

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Speaker 1: United States, Bloomiers were heralded as geniuses. The slates of

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Speaker 1: films that were shown at any given screening were a

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Speaker 1: combination of movies featuring local and international scenes, and that

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Speaker 1: menu proved to be the perfect balance to delight and

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Speaker 1: excite viewers. But as you can also imagine, a French

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Speaker 1: firm stealing the thunder of someone like Edison in his

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Speaker 1: kinetoscope in Edison's own home country was problematic, and there

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Speaker 1: was also this growing sentiment in the United States that

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Speaker 1: American innovation should be prioritized. As we know from the

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Speaker 1: War of the Currents, Edison was not timid in going

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Speaker 1: after his rivals. He started a campaign to discredit the

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Speaker 1: work of the Loomiers while promoting his own motion picture technology.

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Speaker 1: Edison had bought the rights to the fantascope projectors from

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Speaker 1: Francis Jenkins and Thomas Armatt and was working on his

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Speaker 1: own film screenings. Was actually a whole patent story between

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Speaker 1: Jenkins who invented the pantoscope and Armatt, who financed it.

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Speaker 1: But that is really a tale for another day, as

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Speaker 1: is the entire War of the Currents, which has been

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Speaker 1: touched on before. Yeah, there's a two parter in it.

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Speaker 1: I think it's two parter. Yeah, But the bottom line

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Speaker 1: here is that the Loomier's agents in the United States

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Speaker 1: started to experience one problem after another as they attempted

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Speaker 1: to continue touring because Edison's sort of smearcamp pain was

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Speaker 1: really quite successful. So eventually customs officials started claiming that

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Speaker 1: the French cameras had been brought into the country without

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Speaker 1: proper documentation, and at one point one of the Lumier's

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Speaker 1: cameraman was actually jailed on a charge of filming without

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Speaker 1: a permit. As the climate of the United States grew

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Speaker 1: increasingly unwelcoming for the Loonier's cameraman, the company finally decided

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Speaker 1: to halt all efforts in North America in late eighteen seven,

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Speaker 1: and it was to some degree beginning of the end

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Speaker 1: of the Loonier's work in film. They didn't make a

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Speaker 1: few more movies in they actually had more than fourteen

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Speaker 1: hundred different movies in their catalog, most of which had

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Speaker 1: been shot by those traveling cameraman that they had trained,

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Speaker 1: and for the next two years they did continue to

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Speaker 1: work on developing and refining film technology, but that part

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Speaker 1: of their business was no longer really growing, and in

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Speaker 1: fact was kind of shrinking. They were shooting fewer and

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Speaker 1: fewer films each year. The last big demonstration the Lomiers

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Speaker 1: made in motion pictures was at the nineteen hundred Expositio

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Speaker 1: and Universal in Paris. Let's come up pretty frequently on

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Speaker 1: the podcast. Lumiers were featured as part of the expo,

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Speaker 1: and they had a screening there as part of their screening,

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Speaker 1: which fictured a mix of footage shot there at the

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Speaker 1: expo and films their team had made traveling through Mexico.

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Speaker 1: They also debuted a new large scale screen. The Library

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Speaker 1: of Congress is digitized master edit of much of this

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Speaker 1: footage online, and we'll link to it in our show notes.

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Speaker 1: Heads up, there are some movies in this group that

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Speaker 1: feature activities that could definitely be considered animal cruelty. Yeah. Uh,

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Speaker 1: there's some cock fighting in there, and there are some

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Speaker 1: horses being treated sort of poorly. So if that is

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Speaker 1: stuff that is not for you. Maybe don't look at

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Speaker 1: these ones, but you can look at their other earlier films,

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Speaker 1: and which also include blasts of spanking. As a writer,

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Speaker 1: that also yeah, which and I will say though, is

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Speaker 1: some of the least least aggressive spanking I've ever seen.

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Speaker 1: So if you're worried about seeing someone get hit, it's

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Speaker 1: definitely very much on the mild side. Um. After that

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Speaker 1: Paris Expo, both Louis and August turned back to photography

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Speaker 1: to some degree. So throughout their foray into motion pictures,

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Speaker 1: their family business had continued to run and to thrive.

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Speaker 1: It was still funding all of these little expenditures to

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Speaker 1: train people and send them abroad and also for them

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Speaker 1: to experiment and try new things. And as you recall,

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Speaker 1: the motion picture work that they did was really intended

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Speaker 1: as a way to sell new cameras and film. That

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Speaker 1: then turned into this temporary foray into movie production. They

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Speaker 1: never intended to be a film studio, but they were

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Speaker 1: for a brief period of time, and competition in the

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Speaker 1: motion picture space was only getting more intense, and the

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Speaker 1: brothers just wanted to move on to other things. The

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Speaker 1: Loomis soon began to work on other projects outside of

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Speaker 1: motion pictures, and that is what we'll talk about in

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Speaker 1: a moment, but first we're gonna pause for a quick

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Speaker 1: sponsor break. So the same year of the r sex FO,

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Speaker 1: but at the end of the year, on December, Louis

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Speaker 1: filed another patent. This time it was for a device

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Speaker 1: called a photo rama and this was a method for

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Speaker 1: taking full three sixty degrees still panoramic photos in one

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Speaker 1: long exposure. And these panoramic images were intended to be projected,

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Speaker 1: but again to be static. Meanwhile, there was a long

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Speaker 1: desired achievement in still photography that the brothers had yet

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Speaker 1: to crack. So while the Loomiers had made millions thanks

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Speaker 1: to their blue label plates and they had captured incredible

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Speaker 1: film of real life in motion pictures, one goal that

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Speaker 1: had been kind of on their minds for quite a

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Speaker 1: while had remained elusive, and that was creating a photographic

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Speaker 1: process that could reproduce images of the world as they're

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Speaker 1: truly seen with the human eye in full color, just

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Speaker 1: as was true with motion pictures. They were not the

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Speaker 1: only people working on this idea, and indeed other innovators

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Speaker 1: were trying their hand at color photography. Some were actually

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Speaker 1: successful at creating color images, but the processes were really

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Speaker 1: labor intensive and cumbersome, so they weren't really viable. Photographers

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Speaker 1: would either have to take three different exposures or use

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Speaker 1: three different cameras and then composite the resulting images. But

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Speaker 1: on December seventeenth of nineteen o three, the Lumiers applied

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Speaker 1: for a patent on a color photography system that they

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Speaker 1: called Autochrome. On May nineteen o four, they debuted at

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Speaker 1: the Academy de Siance, and for the next several years

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Speaker 1: the brothers worked on refining their process before they finally

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Speaker 1: presented it before the Paris Photo Club in nineteen o

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Speaker 1: seven to introduce it commercially. Incidentally, seven was also the

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Speaker 1: last year that the Loomier's published their catalog of films,

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Speaker 1: so surprisingly, perhaps the key to the Lumier's color photosystem

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Speaker 1: was potato starch. They died fine grains of starch in

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Speaker 1: three color ways, a red, orange, a green, and a violet,

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Speaker 1: and then these fine grains were combined and then applied

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Speaker 1: in a fine layer to a glass plate. And I

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Speaker 1: keep saying the word fine, but they were very, very fine.

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Speaker 1: So there were seven thousand grains per square millimeter in

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Speaker 1: their plate application, and then a sticky varnish of lamp

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Speaker 1: black was used to fill in any spaces between the grains.

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Speaker 1: This plate was compressed with seven tons of pressure per

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Speaker 1: square centimeter. The plate was treated with a silver bromide emulsion,

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Speaker 1: so when a photo was taken the potato starts grains

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Speaker 1: filtered out all the light but that which corresponded to

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Speaker 1: the color it was dyed. This is ingenious. The light

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Speaker 1: then passed through the grains onto the light sensitive emulsion

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Speaker 1: and created a glass transparency from which princes could be made.

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Speaker 1: This made the autochrome system the first commercially successful color

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Speaker 1: photography process. This was a massive shift in the world

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Speaker 1: the photography. For one, obviously it made color work achievable,

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Speaker 1: but for another, it completely changed the way photographers approached

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Speaker 1: their work. The exposure that was needed for an autochrome

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Speaker 1: image was a bit longer than a black and white

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Speaker 1: image would require. It was longer than a second I

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Speaker 1: think um so most photographers primarily worked with still subjects initially,

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Speaker 1: and also sometimes a yellow filter had to be used

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Speaker 1: on the camera's lens when they were shooting outside in daylight,

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Speaker 1: because otherwise the blue sky was overwhelming and so they

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Speaker 1: had to balance that out with a little bit of yellow.

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Speaker 1: The new level of depth offered by auto chrome also

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Speaker 1: meant that photographers had to relearn their craft. Part of

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Speaker 1: this learning curve was understanding and predicting what colored would

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Speaker 1: actually be captured in the photographic process, because this really

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Speaker 1: wasn't a system that faithfully captured true to life color.

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Speaker 1: If you look at autochrome images, they have a pretty

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Speaker 1: distinctive and recognizable color palette. But the images that resulted

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Speaker 1: from photographer is experimenting with this new medium were so

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Speaker 1: uniquely beautiful that they caused concerns that painting would soon

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Speaker 1: fall out of favor. Yeah, we um include one as

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Speaker 1: part of our show art, but if you go looking

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Speaker 1: around for autochrome images online, they are spectacularly beautiful, and

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Speaker 1: you can see why there might have been a little

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Speaker 1: bit of concern in the art world that their jobs

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Speaker 1: were in jeopardy. But part of that concern for painters

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Speaker 1: in their job security, uh, it's interesting, actually came from

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Speaker 1: the way that errors looked on autochrome photographs. So in

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Speaker 1: instances where the subjects moved slightly during that slightly prolonged

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Speaker 1: exposure period, it actually produced this really lush looking Painter

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Speaker 1: Lee effect. Autochrome became the standard in photography, and it

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Speaker 1: remains so for more than two decades. In nineteen fourteen,

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Speaker 1: National Geographic printed its first color photo of a garden

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Speaker 1: of blooming flowers, taken in Belgium, and it was made

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Speaker 1: using autochrome. And it actually was not until the nine

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Speaker 1: teen thirties that other processes such as Codex code of

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Speaker 1: chrome supplanted autochrome. So just as the loomiyear's motion picture

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Speaker 1: cameras had offered a more portable option for creating films,

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Speaker 1: code of chrome was able to offer a more portable

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Speaker 1: way for color photos to be made. So with autochrome,

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Speaker 1: even though it had been a huge advancement, photographers still

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Speaker 1: had to carry cases of glass plates, which could be

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Speaker 1: a little bit cumbersome. But all the photographer needed to

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Speaker 1: shoot code of chrome was a small camera in their films,

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Speaker 1: so it really was again another big step towards portability.

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Speaker 1: In the nineteen thirties, is new color photography options were

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Speaker 1: hitting the market, Louis once again turned to the cinema,

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Speaker 1: this time to try to find a way to marry

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Speaker 1: color with motion pictures. He exhibited this work at the

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Speaker 1: Paris Exposition of ninety seven, but it was never developed

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Speaker 1: into a commercial product. While the exact reason Lumier's color

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Speaker 1: motion picture process never went into production is not entirely known,

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Speaker 1: world War Two probably played a part. Yeah, There is

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Speaker 1: some speculation that had he been able to put this

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Speaker 1: in production and take it around the globe as they

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Speaker 1: had with their cinematograph, that he probably could have given

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Speaker 1: Technicolor a run for its money. Um but uh In nine,

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Speaker 1: Louis was tapped to participate in what would have been

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Speaker 1: the first Con Film Festival as its president, but once again,

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Speaker 1: world War Two was a problem. In late August, as

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Speaker 1: the festival September one date approached, Europe was in the

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Speaker 1: grip of conflict. People had already begun arriving in Con

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Speaker 1: on August three when the German Soviet Non Aggression Pact

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Speaker 1: was signed, and that made it immediately clear that things

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Speaker 1: were getting very unstable and that the event really could

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Speaker 1: not proceed as planned. And by the time the festival

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Speaker 1: was officially canceled on August, pretty much everyone that had

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Speaker 1: come into Con anticipating the festival had already left. During

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Speaker 1: the occupation of France by German troops. Louis Lumier moved

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Speaker 1: from Leon to Bendel under Philipp Patent, who was Marshal

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Speaker 1: of France at the time. Louis served as the science

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Speaker 1: representative on Patan's Advisory Council. He did not stay in

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Speaker 1: this council for very long, though, he resigned and returned

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Speaker 1: to Bendal and In his later years, Louis was given

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Speaker 1: a multitude of honors for his contributions to photography and

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Speaker 1: motion pictures. He was a member of the Institute of Optics,

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Speaker 1: the National Office of Inventions, and the National Conservatory of

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Speaker 1: Arts and Trades. He was made the honorary president of

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Speaker 1: the French Chamber of Cinema and the president of the

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Speaker 1: French Society of Physics. Louis Lumier died in Bendel on

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Speaker 1: June six. Next up, we will talk about what Louise

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Speaker 1: brother August worked on after the brothers transitioned away from

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Speaker 1: the cinematograph. But not so we have one more quick

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Speaker 1: word from a sponsor. So, while Louis had stayed in

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Speaker 1: the family business a goose, Lumier made a rather dressed

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Speaker 1: a career change in the early nineteen hundreds. He had

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Speaker 1: always been interested in chemistry, and he was undoubtedly incredibly

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Speaker 1: influential in the family business in that regard. Figuring out

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Speaker 1: color photography almost certainly involved a lot of work on

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Speaker 1: his part as well as his brothers. But what he

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Speaker 1: was truly interested in was actually biochemistry, so he started

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Speaker 1: to study medicine. One of his efforts in the medical

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Speaker 1: field that brought him a claim was his interest in

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Speaker 1: the healing process and developing new ways to treat wounds.

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Speaker 1: During World War One, he examined the wounds of hundreds

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Speaker 1: of injured men, and he also studied scarring and healing

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Speaker 1: in dogs to further his research. We don't personally know

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Speaker 1: the details of how these dogs were wounded, and I

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Speaker 1: do not want to know well, and medical experiments involving

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Speaker 1: dogs were not uncommon at the time m hmm. But

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Speaker 1: he did use that that research to really get a

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Speaker 1: lot of information about out how tissues would heal themselves,

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Speaker 1: and in nineteen fifteen he applied his wound research to

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Speaker 1: the development of a bandage called a too gras, which

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00:17:09,760 --> 00:17:13,960
Speaker 1: translates to oily gauze, and this sterile bandage was impregnated

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Speaker 1: with vassiline and balsam of Peru, so it wouldn't stick

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Speaker 1: to wounds, though it was of course not absorbent, so

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Speaker 1: if you also needed an absorbent bandage you needed to

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Speaker 1: have too. But tool grow dressings are actually still used today.

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Speaker 1: Uh and August also devoted a great deal of his

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Speaker 1: time in medical research to colloidal solutions to disinfect wounds,

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Speaker 1: so he really actually did have quite an impact on

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Speaker 1: wound management. From nineteen fourteen to nineteen fifty three, August

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Speaker 1: Lumier wrote more than a dozen books based on his

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Speaker 1: medical research, covering not only wounds and how to treat them,

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Speaker 1: but also tuberculosis and cancer, among others. August Lumier died

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Speaker 1: six years after his younger brother, on April tenth, nineteen

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Speaker 1: fifty four, at his home in Leon. You'll often see

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Speaker 1: a lot of common in biographies or um articles about

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Speaker 1: the two of them that by the end of his

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Speaker 1: life people knew August Lumier for his medical work, and

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Speaker 1: they had often not made the connection that he was

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Speaker 1: one of the Lumiers that had worked in film, because

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Speaker 1: he was so completely ensconced in the medical community by

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Speaker 1: that point, and even though the Lumier's abandoned motion pictures,

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Speaker 1: they also inspired one of the first motion picture storytellers,

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Speaker 1: George Millier, and when the Lomiers had demonstrated their films

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Speaker 1: in Paris very early on, Millier, who was a magician

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Speaker 1: and a theater manager, had seen them We're talking like

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Speaker 1: in the period, and he was completely blown away by

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Speaker 1: the possibilities that this new technology offered. And while the

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Speaker 1: Lumier's films were pretty basic and generally more on the

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Speaker 1: documentary side, Milliers began to immediately dream of crafting fantastical

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Speaker 1: tales that could be projected on screens. He begged August

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Speaker 1: Lumier to sell him a cinematograph, but there was just

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Speaker 1: no convincing the man to do it. Lumier told Millier,

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Speaker 1: you should be grateful since although my invention is not

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Speaker 1: for sale, it would undoubtedly ruin you. It can be

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Speaker 1: exploited for a certain time as a scientific curiosity, but

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Speaker 1: apart from that, it has no commercial future whatsoever. Oh goose,

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Speaker 1: I want this is like that moment. You know how

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Speaker 1: often people will ask us, like if we do live

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Speaker 1: shows and we do Q and A, if you could

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Speaker 1: travel anywhere in time, where would you go? I think

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Speaker 1: going forward, my answer has to change and it is.

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Speaker 1: I would go and I would scoop a goose Lumier

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Speaker 1: rope and I would take him to and I would say,

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Speaker 1: rogue one made a billion dollars and then just watch

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Speaker 1: him go whoops. Um. Yeah. Of course this happened before

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Speaker 1: they had started offering the mass producinematograph for sale. But

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00:19:52,400 --> 00:19:54,720
Speaker 1: it is interesting that initially he was just like, no, no,

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Speaker 1: not go into film. It's a as a dead end. Uh.

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Speaker 1: It offers some insight this interaction to why the Loomiers

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Speaker 1: were not especially concerned with an ongoing business venture in

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Speaker 1: motion pictures. They really thought they were going to get in,

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Speaker 1: make a bunch of money and ticket sales while this

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Speaker 1: idea was still a novelty, and then get out, which

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Speaker 1: is what they did. But they abandoned a really lucrative business.

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Speaker 1: But of course Millier did get his hands on a camera,

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Speaker 1: though not on Loomi air camera. He started making films

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Speaker 1: that really broke open the world of fictional narratives. While

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Speaker 1: fictional stories had been told on film before through animated characters,

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Speaker 1: Millier was really the first one to tell fictional stories

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Speaker 1: by filming actors. He made his first film Playing Cards

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Speaker 1: in but It's Milliers nineteen o two film La Voyage

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Speaker 1: Laloon or A Trip to the Moon, that remains one

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Speaker 1: of the most famous pieces of early cinema. That's the

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Speaker 1: one where the spaceship crashes into the eye of the moon. Uh. Yeah,

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Speaker 1: that's one of those pieces. And sometimes you'll actually see

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Speaker 1: I know I have a couple of times seen um

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Speaker 1: a trip to the Moon uh ms accredited to the

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Speaker 1: Lumiers and not Millier. Um. Sometimes that that's been confused.

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Speaker 1: I think most people that know anything about cinema will

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Speaker 1: get it right. I have definitely seen it listed incorrectly before.

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Speaker 1: I don't think I've seen it listed incorrectly, but I

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Speaker 1: have heard I have heard people miss say it incorrectly. Yeah. Um.

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Speaker 1: And of course, even though filmmaking technology has evolved significantly

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Speaker 1: and the Loomier's inventions were replaced by others that improved

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Speaker 1: on their capabilities, I love that we still unconsciously pay

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Speaker 1: homage to the brothers and their father linguistically all the time.

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Speaker 1: So the words cinema and cinematography, for example, hearken back

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Speaker 1: to that first cinematograph created in Lyon. In two, the

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Speaker 1: Loomier family home in Leon became the Lumier Institute focused

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Speaker 1: on research and the study of film. The institute hosted

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Speaker 1: a massive celebration in commemorate the centennial of the Loomier's

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Speaker 1: first film. The first prototype of the cinematograph is kept

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Speaker 1: there and the second prototype was donated to the National

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Speaker 1: Conservatory of Arts and Crafts in ninety two by Louis Lumier. Incidentally,

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Speaker 1: UM the Lomier Institute is now on my list of

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Speaker 1: places I want to visit because they have amazing programming

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Speaker 1: all the time. Also in nine two, the same year

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Speaker 1: that that home was made into the Loomier Institute, the

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00:22:25,960 --> 00:22:28,679
Speaker 1: Loomier Company, which was still going at that point, was

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Speaker 1: purchased by the UK film manufacturer Ilford, and it was

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00:22:32,359 --> 00:22:35,439
Speaker 1: renamed Ilford France. Although you will sometimes still see it

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00:22:35,520 --> 00:22:40,160
Speaker 1: listed in Ilford's um business listings as UH the Loomier.

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Speaker 1: I forget how they referenced it, but the name Lumier

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Speaker 1: is still attached sometimes. A new theater named the Lumier

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00:22:48,600 --> 00:22:51,280
Speaker 1: in honor of the brothers, was built on the site

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00:22:51,280 --> 00:22:55,400
Speaker 1: of the original Loomier factory and today uh there are

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Speaker 1: Loomier archives of film and photographs all over the world,

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Speaker 1: but one of the most impressive belongs to National Geographic.

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Speaker 1: They have an archive that contains almost fifteen thousand glass

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Speaker 1: plates of autochrome images, but eleven thousand of those have

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00:23:11,359 --> 00:23:15,080
Speaker 1: never been published. So there's all this amazing photography that

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00:23:15,480 --> 00:23:17,680
Speaker 1: uh does not really get seen, but it is being

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00:23:17,680 --> 00:23:21,920
Speaker 1: carefully preserved because, as you can imagine, glass plate photography

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00:23:22,119 --> 00:23:27,000
Speaker 1: kind of delicate. Yeah, a lot of photograph glass plate

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Speaker 1: photography made with potato stars. Yeah, well, a lot of

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00:23:30,960 --> 00:23:35,000
Speaker 1: a lot of photographic media are incredibly delicate. Um. I

397
00:23:35,040 --> 00:23:38,359
Speaker 1: got to go on a tour of the Special Collections

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00:23:38,400 --> 00:23:42,840
Speaker 1: at Harvard Business Schools Library earlier this year, and they

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00:23:43,040 --> 00:23:48,480
Speaker 1: had acquired the entire collection of I think Polaroid, and

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00:23:48,520 --> 00:23:51,359
Speaker 1: they've got stuff that is just like, this is remaining

401
00:23:51,400 --> 00:23:55,359
Speaker 1: in this refrigerator forever, and if it is ever to

402
00:23:55,400 --> 00:23:57,800
Speaker 1: be removed and examined, we are going to remove it

403
00:23:57,840 --> 00:24:02,359
Speaker 1: and examine it and immediately put it back right or fine,

404
00:24:02,680 --> 00:24:06,639
Speaker 1: remove it to a refrigerated room where well they have

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00:24:06,760 --> 00:24:09,119
Speaker 1: all the things. Was like, this is the safe place

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00:24:09,160 --> 00:24:11,360
Speaker 1: that we can open this and look at this. So yeah,

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00:24:11,359 --> 00:24:13,840
Speaker 1: there's there's definitely stuff that's like if we don't preserve

408
00:24:13,920 --> 00:24:19,480
Speaker 1: this continually, it will just degrade and not be visible anymore. Yeah.

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00:24:19,480 --> 00:24:21,600
Speaker 1: I mean that's a case with a lot of Millieri's

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00:24:21,640 --> 00:24:23,959
Speaker 1: films as well. He made more than four hundred films,

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00:24:24,000 --> 00:24:27,399
Speaker 1: but a lot of those are completely gone, never to

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Speaker 1: be seen again. Thankfully, some of them have been preserved,

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00:24:30,520 --> 00:24:32,280
Speaker 1: which is why we all know about the Trip to

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Speaker 1: the Moon, because that is one that made it through

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Speaker 1: the ravages of time. I have some listener mail that

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Speaker 1: I almost feel guilty in taking pleasure in. Okay, it's

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Speaker 1: from our listener John. It's about our Carl Tandler episode. Uh,

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Speaker 1: he writes, Dear Tracy and Holly. First off, I'm a

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Speaker 1: huge fan of your program, and I listened to it

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Speaker 1: during most of my longer jogs. I am currently training

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Speaker 1: for my first marathon. Congratulations, John, amazing Uh, and I'm

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00:25:01,640 --> 00:25:04,040
Speaker 1: slowly increasing my miles, which means I get to listen

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Speaker 1: to more of your histories as I run. I did

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Speaker 1: hit a snag though, thanks to the Carl Tandler's Corpse

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Speaker 1: Bright episode. I remember being very cavalier during your warning

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Speaker 1: that there was going to be some very gross material

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00:25:15,640 --> 00:25:19,480
Speaker 1: coming and listener discretion should be advised, thinking that I'm

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Speaker 1: pretty desensitized to hearing gory details, I continued listening. Huge mistake.

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Speaker 1: The overall awful actions by Carl Tandler made me angry,

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Speaker 1: which forced me to run faster than I probably should have,

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Speaker 1: and this caused me to be more exhausted than normal.

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Speaker 1: By the time you were describing Mr Tandler's process of

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Speaker 1: removing mold from poor Maria, I was nearing the end

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Speaker 1: of my run. Hearing the gruesome details coupled with my

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Speaker 1: exhaustion made it almost too much to bear. Not wanting

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Speaker 1: to stop, I tried to focus on my run, but

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Speaker 1: that super focusing mint I was also super focused on

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Speaker 1: the horrible nature of Tandler's deeds. Miraculously, I managed to

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Speaker 1: keep my stomach in check and I did finish the

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Speaker 1: run successfully, but I'm sure I free out a few

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Speaker 1: other runners with my occasional shiver and the increasingly pained

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Speaker 1: and disgusted look on my face. From here on, I

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Speaker 1: will pay attention to any warnings that come with future podcasts,

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Speaker 1: and may hold off on listening to them for less

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Speaker 1: success less stressful times. Thank you again, Oh John, I'm

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Speaker 1: so sorry, but that didn't make me laugh, Mostly because

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Speaker 1: you're a good Storyteller's not got sick. Um. Yeah, the

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Speaker 1: tanselar one is super gross, but I also just wanted

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Speaker 1: to say yea John. Training for a marathon is so

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Speaker 1: much work, and I applaud anyone that does it. I

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Speaker 1: have gotten progressively more lazier with my own running, barely

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Speaker 1: do it anymore. Um, work, work in life are just

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Speaker 1: a little too busy right now to put in long

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Speaker 1: term training time. But if you would like to write

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Speaker 1: to us about any episode that made you sick to

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Speaker 1: your stomach or anything else, you don't have to have

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00:26:48,359 --> 00:26:50,240
Speaker 1: been sick to your stomach to write us, just say hi.

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Speaker 1: You could do so at History Podcast at how Stuff

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Speaker 1: Works dot com. You can also find us on social

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00:26:55,480 --> 00:26:58,679
Speaker 1: media pretty much everywhere as Missed in History, and you

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00:26:58,720 --> 00:27:01,080
Speaker 1: can also come to our website, which is missed in

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00:27:01,160 --> 00:27:03,679
Speaker 1: History dot com, where you can find every episode of

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Speaker 1: the show that has ever existed, and for the ones

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Speaker 1: that Tracy and I have worked on, we include our

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00:27:07,520 --> 00:27:10,240
Speaker 1: sources and some show notes on occasion. You can also

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Speaker 1: find all kinds of other goodies at our website. So

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00:27:12,320 --> 00:27:15,000
Speaker 1: come and do that at missed in History dot com

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00:27:15,040 --> 00:27:22,080
Speaker 1: and we'll see you there for more on this and

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Speaker 1: thousands of other topics. Visit hostof works dot com