WEBVTT - Outdated Tech Terms We Still Use

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<v Speaker 1>Welcome to Tech Stuff, a production of I Heart Radios

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<v Speaker 1>How Stuff Works. Hey there, and welcome to tech Stuff.

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<v Speaker 1>I'm your host, Jonathan Strickland. I'm an executive producer with

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<v Speaker 1>How Stuff Works in iHeart Radio and a love of

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<v Speaker 1>all things tech and over on Twitter, I posted a

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<v Speaker 1>simple question not too long ago, which was, what are

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<v Speaker 1>some tech phrases or terms we still use even though

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<v Speaker 1>the tech that those words referred to is out of

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<v Speaker 1>date or maybe even obsolete. And I got a lot

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<v Speaker 1>of responses. So on today's episode, I'm going to go

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<v Speaker 1>through those phrases, where they came from and what they

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<v Speaker 1>refer to, and we'll all chuckle about how we as

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<v Speaker 1>humans are slow to change in our ways, which can

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<v Speaker 1>be a really bad thing in many ways, but I

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<v Speaker 1>think for most of these examples it's largely harmless or

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<v Speaker 1>even silly. And you're probably thinking, huh, Jonathan's really phoning

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<v Speaker 1>it in on this one, and you're right, because I'm

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<v Speaker 1>recording this on July three, two nineteen, and our office

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<v Speaker 1>is closed the rest of the week, and I still

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<v Speaker 1>have to record another episode after this one before I

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<v Speaker 1>can go home. So when I have to do five

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<v Speaker 1>days of work in three days get a bit desperate

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<v Speaker 1>for easy topics, al Z. Now, there are a lot

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<v Speaker 1>of phrases in terms will be going through on here,

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<v Speaker 1>so I've decided to group them according to subject matter.

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<v Speaker 1>So let's start off with phrases we still use regarding

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<v Speaker 1>phones and phone behavior. Now, first of all, some of

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<v Speaker 1>the phrases I'll say might be dying out simply because

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<v Speaker 1>millennials and and the younger generations don't tend to make

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<v Speaker 1>very many phone calls. Heck I don't either, and I'm

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<v Speaker 1>a gen xer, so a lot of us are spending

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<v Speaker 1>time on our phones. In fact, the average amount of

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<v Speaker 1>time spent on a phone in the United States is

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<v Speaker 1>a hundred seventy one minutes per day. That's just under

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<v Speaker 1>three hours of your day spent on your phone, not

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<v Speaker 1>all at once, obviously, but throughout the day. Brazilians, by

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<v Speaker 1>the way, spend even more time on their mobile devices.

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<v Speaker 1>So I don't want to give you guys the impression

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<v Speaker 1>that we Americans are the most addicted. But who boy,

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<v Speaker 1>we're up there anyway. We might not use some of

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<v Speaker 1>these phrases as much as old fogies do. By old fogies,

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<v Speaker 1>I also mean me there as we ride off into

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<v Speaker 1>the sunset. We might see these terms fade away, but

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<v Speaker 1>for the time being, let's talk about making an ending calls,

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<v Speaker 1>which brings us to the phrase dialing a number. Dialing

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<v Speaker 1>refers back to rotary phones, which featured an actual dial

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<v Speaker 1>on them. And yes, I know a lot of you

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<v Speaker 1>listeners out there are old enough to remember rotary phones,

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<v Speaker 1>but some of you might not be, and so this

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<v Speaker 1>episode is going to end up bridging some gaps. So

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<v Speaker 1>the earliest reference I could find of a rotary phone

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<v Speaker 1>in actual use dated to eighteen ninety two, but there

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<v Speaker 1>were a lot of inventors who filed for patents as

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<v Speaker 1>early as the mid eighteen seventies. Before the rotary phone,

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<v Speaker 1>you'd simply pick up a phone which would light up

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<v Speaker 1>a bulb on a phone operator's desk at a telephone exchange.

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<v Speaker 1>The operator would connect to your line and ask you

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<v Speaker 1>about whom you wished to call, and you would give

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<v Speaker 1>the call signal to the operator, who would then use

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<v Speaker 1>a patch cable to connect your line with the appropriate

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<v Speaker 1>phone line to complete the call. And coincidentally, one of

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<v Speaker 1>the other suggestions I got when I asked about outdated

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<v Speaker 1>tech phrases was what happens if you ask an operator

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<v Speaker 1>to connect a call, though I don't know how frequently

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<v Speaker 1>that happens these days, but it was a suggestion I got.

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<v Speaker 1>But as you can imagine, this system of having a

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<v Speaker 1>human operator manually connect calls together wasn't terribly efficient, and

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<v Speaker 1>you could quickly overwhelm the telephone exchange once you've got

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<v Speaker 1>a good number of phones on the service, even if

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<v Speaker 1>you had multiple operators working at the exchange, eventually you

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<v Speaker 1>get to a size where it's not sustainable with that approach.

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<v Speaker 1>Rotary phones would remove the need to have an operator

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<v Speaker 1>make that patch connection. Once the system was upgraded to

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<v Speaker 1>allow for these types of phones, it wasn't like it

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<v Speaker 1>just magically worked. It all had to be upgraded together.

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<v Speaker 1>The dial had a disc that measured about three inches

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<v Speaker 1>across that's about seven point six centimeters, and the disc

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<v Speaker 1>had ten holes in it along the outer edge, And

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<v Speaker 1>there were several different numbering systems in place until it

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<v Speaker 1>was finally standardized so that the numbers under the dial

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<v Speaker 1>would go from one to nine with a zero at

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<v Speaker 1>the very end. Other systems would have the zero come first,

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<v Speaker 1>or the numbers were listed in descending order, but that

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<v Speaker 1>would mean that phones using one numbering system could only

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<v Speaker 1>work on a telephone exchange designed for that numbering system.

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<v Speaker 1>So as these telephone exchanges grew, As these systems grew,

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<v Speaker 1>there was a need for standardization because otherwise you couldn't

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<v Speaker 1>actually interconnect the systems. Because if I dial a one,

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<v Speaker 1>but it sends the same signal as a nine would

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<v Speaker 1>on a different system, then that other system is never

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<v Speaker 1>gonna know what number I'm calling. It's going to it's

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<v Speaker 1>going to interpret the wrong numbers as I dial the number.

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<v Speaker 1>That's because dialing a number would actually cause a series

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<v Speaker 1>of pulses to go out over the exchange from the

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<v Speaker 1>original telephone. So each space on the dial was a

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<v Speaker 1>pulse or another pulse. So if you dial to one,

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<v Speaker 1>it would send one pulse out, if you dial to two,

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<v Speaker 1>then you would get two pulses, and if you dial

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<v Speaker 1>to zero, it would send out ten pulses to represent

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<v Speaker 1>that particular character. And you have to wait for that

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<v Speaker 1>dial to rotate all the way back into the starting

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<v Speaker 1>position before you could dial the next number. So I

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<v Speaker 1>can tell you from experience, you're really hated it if

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<v Speaker 1>the person you were calling had a lot of eights, nines,

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<v Speaker 1>and zeros in their phone number. After you dialed a

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<v Speaker 1>full telephone number, which for a local call in the

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<v Speaker 1>United States for a long time was seven digits, the

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<v Speaker 1>pulses would tell the system which lines to engage, in

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<v Speaker 1>other words, which telephone line corresponds with that telephone number.

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<v Speaker 1>The rotary phone saw wide adoption, and it became common

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<v Speaker 1>parlance to talk about dialing a phone number. Bell Telephone

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<v Speaker 1>would introduce the first commercial push button phone on November

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<v Speaker 1>nineteen sixty three, but we would keep using the word

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<v Speaker 1>dial even with push button phones. Now. Part of that

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<v Speaker 1>was because the rotary phones remained in service for a

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<v Speaker 1>really long time. It wasn't really until the nineteen eighties

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<v Speaker 1>that they started to truly fade away. Another part was

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<v Speaker 1>that customers were actually a little leery of switching to

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<v Speaker 1>push button phones. They used a totally different system called

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<v Speaker 1>touch tone dialing, even though there were no die else again,

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<v Speaker 1>but touch tone was how these operated as opposed to

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<v Speaker 1>the pulsing that the rotary phones used. By the nineteen eighties,

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<v Speaker 1>those rotary phones, like I said, we're largely phased out,

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<v Speaker 1>and in some some cases you actually had to opt

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<v Speaker 1>in for an added service to have rotary dialing supported

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<v Speaker 1>on your phone line. Oh and here's another fun one.

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<v Speaker 1>One person said, it's only sort of related to tech,

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<v Speaker 1>but she wondered why she still bothered to say hello

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<v Speaker 1>on the phone since with caller I D, she already

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<v Speaker 1>knows who is calling her. And this is an excellent

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<v Speaker 1>point as it does relate to tech from a social

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<v Speaker 1>and cultural point of view. And now we get to

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<v Speaker 1>talk about the origin of the word Hello. Isn't mean

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<v Speaker 1>you're looking for so the word hello is actually older

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<v Speaker 1>than telephones. But you frequently will hear that the word

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<v Speaker 1>was quote unquote invented, possibly by Thomas Edison for use

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<v Speaker 1>over the phone. Edison certainly popularized using it for the phone,

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<v Speaker 1>and she ange the meaning if you if you really

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<v Speaker 1>want to think about it. But the earliest written example,

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<v Speaker 1>the published example that the Oxford English Dictionary editors found,

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<v Speaker 1>dates from eighteen twenty seven. Alexander Graham Bell, whom we

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<v Speaker 1>often credit as the inventor of the telephone, wouldn't file

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<v Speaker 1>a patent for that invention until the eighteen seventies. But

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<v Speaker 1>even if you were to argue that the real inventor

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<v Speaker 1>was someone like Antonio Meucci, who many point to as

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<v Speaker 1>the first person to create what was essentially a telephone.

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<v Speaker 1>That still puts the earliest date for the telephone at

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<v Speaker 1>eighteen forty nine. That's still decades after that first published

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<v Speaker 1>instance of Hello that we know about. And now the

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<v Speaker 1>plot thickens because the word hello didn't initially indicate a greeting.

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<v Speaker 1>It was more like saying, take a look at this

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<v Speaker 1>thing here, earle as an hello, what's this now? In

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<v Speaker 1>that instance, which you could just imagine was spoken by

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<v Speaker 1>someone who was very, very English, the speaker is clearly

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<v Speaker 1>not greeting anyone. Rather, they are drawing focus towards something

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<v Speaker 1>in particular, and that was the use for Hello for

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<v Speaker 1>quite some time, just sort of a get a load

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<v Speaker 1>of this thing over here, Hello, this is curious. Now

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<v Speaker 1>skip ahead to Alexander Graham Bell, who might not have

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<v Speaker 1>strictly invented the technology of the telephone, but certainly was

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<v Speaker 1>able to realize it as a business and patent it.

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<v Speaker 1>He saw the challenge behind identifying someone on the other

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<v Speaker 1>end of the line, so if you got a call,

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<v Speaker 1>you had no way of knowing who it was that

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<v Speaker 1>was calling you. I mean, at first, there weren't that

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<v Speaker 1>many telephones, so the odds of you guessing who it

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<v Speaker 1>was that was calling you were actually pretty good. But

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<v Speaker 1>obviously that would change over time. So how do you

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<v Speaker 1>ask for the identity of the person who is calling you?

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<v Speaker 1>Presumably they know who you are because they called you,

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<v Speaker 1>but how do you know who they are? There's no caller.

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<v Speaker 1>I d well, you could ask who are you? Who

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<v Speaker 1>sent you? But then every phone call would be like

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<v Speaker 1>one of those Liam Neeson taken films. Alexander Graham Bell

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<v Speaker 1>thought a more civilized approach would be that you would

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<v Speaker 1>pick up the phone and you would say ahoy. That

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<v Speaker 1>was a tried and true method of hailing someone from

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<v Speaker 1>a distance, often used by sailors, as the old ahoy

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<v Speaker 1>there has been used, or ahoy there. Maybe if you

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<v Speaker 1>really want to get piratical with it, you could even

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<v Speaker 1>spice it up on the telephone a bit with ahoy hoy. Now.

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<v Speaker 1>Thomas Edison wasn't putting up with any of that. He

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<v Speaker 1>preferred the word hello, using that to mean I am

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<v Speaker 1>greeting you, and I would very much appreciate it if

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<v Speaker 1>you would identify yourself over the phone. That didn't please

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<v Speaker 1>Alexander Graham Bell. In fact, a T and T which

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<v Speaker 1>grew out of Bell's telephone company tried to suppress the

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<v Speaker 1>use of the word Hello on the telephone, stating that

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<v Speaker 1>the word itself was vulgar, but vulgarity one out and

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<v Speaker 1>A T and T decided to up the game where

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<v Speaker 1>vulgarity is concerned, eventually referring to the company's phone operators

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<v Speaker 1>as Hello girls. Yuck. Anyway, the whole purpose of Hello

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<v Speaker 1>wasn't just to greet someone, but to initiate the process

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<v Speaker 1>to find out who the hell they were, and so yes,

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<v Speaker 1>it doesn't make much sense for us to use it anymore.

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<v Speaker 1>But then we also use hello outside the realm of

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<v Speaker 1>the phone call these days, so it's grown beyond its

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<v Speaker 1>initial purpose. Another Twitter followers suggested the phrase to ring

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<v Speaker 1>someone up, also meaning to call them on the phone.

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<v Speaker 1>And it's true that most folks don't have phones that

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<v Speaker 1>really ring anymore, though I guess we still call stuff

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<v Speaker 1>ring tones, even if that description isn't totally apt. But

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<v Speaker 1>let me tell you what answering the phone was like

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<v Speaker 1>in the old days. For you young uns out there,

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<v Speaker 1>way back when when you only have the telephone, maybe

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<v Speaker 1>you had an answering machine, but many of us didn't

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<v Speaker 1>have those. They were rare for a very long time.

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<v Speaker 1>I remember it was a big day when my family

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<v Speaker 1>got our first answering machine when I was a kid. Well, anyway,

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<v Speaker 1>back then, answering the phone was important. When someone called you,

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<v Speaker 1>you had no way of knowing who they were because

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<v Speaker 1>there was no color idea, there was no Star sixty nine.

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<v Speaker 1>There was no way of knowing who it was. So

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<v Speaker 1>if you missed a call, you missed it. It was gone.

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<v Speaker 1>And telephones had very loud rings, like their bells would

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<v Speaker 1>ring quite loudly so that you could hear it from

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<v Speaker 1>pretty much anywhere in the house, and calls were important.

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<v Speaker 1>It could be anything. It could be an old friend reconnecting.

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<v Speaker 1>It could be a message from work. It could be

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<v Speaker 1>an emergency. Maybe it's a wrong number. But once that

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<v Speaker 1>phone started ringing, you would rush to the phone to

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<v Speaker 1>pick it up and answer it for no other reason

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<v Speaker 1>than to stop the darn ringing noise. These days, I

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<v Speaker 1>answer maybe one out of every twenty calls I get,

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<v Speaker 1>since most calls I get tend to be marked as

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<v Speaker 1>spam or are from an unrecognized number that's popping up

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<v Speaker 1>on my smartphone, So I just swiped to decline the call,

0:13:10.760 --> 0:13:14.959
<v Speaker 1>and that brings me to the next phone topic. Ending

0:13:15.080 --> 0:13:18.760
<v Speaker 1>a phone call is called hanging up, and that also

0:13:18.840 --> 0:13:21.520
<v Speaker 1>dates to the time when people were using rotary or

0:13:21.640 --> 0:13:25.360
<v Speaker 1>push button phones, because those would sit in a cradle

0:13:25.480 --> 0:13:28.319
<v Speaker 1>when they weren't in use. The rotary phone sort of

0:13:28.520 --> 0:13:31.679
<v Speaker 1>acted like a pedestal with a little cradle that the

0:13:31.760 --> 0:13:35.360
<v Speaker 1>handset would rest in, and push buttons usually had a

0:13:35.400 --> 0:13:39.000
<v Speaker 1>cradle that could either sit flat, horizontally on a table

0:13:39.280 --> 0:13:41.640
<v Speaker 1>or be mounted vertically on a wall. There'd be a

0:13:41.679 --> 0:13:45.840
<v Speaker 1>switch on these cradles, and that switch would close the line,

0:13:46.360 --> 0:13:49.120
<v Speaker 1>ending a call and making your phone line available for

0:13:49.200 --> 0:13:52.520
<v Speaker 1>future calls to you. You physically have to hang the

0:13:52.559 --> 0:13:55.600
<v Speaker 1>phone on the cradle or place it in the cradle

0:13:55.679 --> 0:13:58.520
<v Speaker 1>for those push button models. And yeah, that phrase is

0:13:58.559 --> 0:14:01.319
<v Speaker 1>stuck around two for those of us who still talk

0:14:01.440 --> 0:14:04.040
<v Speaker 1>on the phone now and again, we have been known

0:14:04.080 --> 0:14:07.240
<v Speaker 1>to hang up on people even though you're not really

0:14:07.280 --> 0:14:12.240
<v Speaker 1>hanging anything on anything else for most of those situations. Okay,

0:14:12.920 --> 0:14:16.600
<v Speaker 1>we're done with phones. When we come back, I'll cover

0:14:16.679 --> 0:14:20.520
<v Speaker 1>a few other shenanigans, but first, let's take a quick break.

0:14:28.160 --> 0:14:30.640
<v Speaker 1>All right. Now that we're back, let's talk about the

0:14:30.680 --> 0:14:34.840
<v Speaker 1>world of the written word and correspondence, and we'll start

0:14:34.920 --> 0:14:38.680
<v Speaker 1>with the word writing itself. I had one Twitter followers

0:14:38.680 --> 0:14:42.440
<v Speaker 1>suggest I add in writing simply because all the writing

0:14:42.560 --> 0:14:46.120
<v Speaker 1>she does these days involves a keyboard. The actual physical

0:14:46.200 --> 0:14:49.400
<v Speaker 1>process of writing, in the sense of holding a pen

0:14:49.560 --> 0:14:52.520
<v Speaker 1>or pencil and writing on a piece of paper, has

0:14:52.560 --> 0:14:55.160
<v Speaker 1>all but disappeared for her, and I can dig it.

0:14:55.480 --> 0:14:58.920
<v Speaker 1>I rarely write anymore unless it's in a greeting card

0:14:58.960 --> 0:15:02.160
<v Speaker 1>of some sort. I do want to get into writing,

0:15:02.440 --> 0:15:06.480
<v Speaker 1>actually writing letters, like actually taking a pen and writing

0:15:06.480 --> 0:15:09.680
<v Speaker 1>it out, because I feel the mindfulness it inspires might

0:15:09.760 --> 0:15:12.720
<v Speaker 1>make the messages I create more special both for me

0:15:12.880 --> 0:15:15.840
<v Speaker 1>and the recipient. Or maybe no one will be able

0:15:15.880 --> 0:15:19.680
<v Speaker 1>to read it because my handwriting was already atrocious, and

0:15:19.720 --> 0:15:23.640
<v Speaker 1>on top of that now I'm out of practice. Alright, fine,

0:15:24.000 --> 0:15:28.560
<v Speaker 1>so we tend to use electronic devices to write stuff

0:15:28.760 --> 0:15:32.480
<v Speaker 1>these days. There are some other outdated phrases we tend

0:15:32.480 --> 0:15:35.960
<v Speaker 1>to rely upon in that world too, For example, the

0:15:36.000 --> 0:15:39.160
<v Speaker 1>good old copy and paste function that you'll find in

0:15:39.240 --> 0:15:44.440
<v Speaker 1>everything from word processing programs to smartphone user interfaces. That

0:15:44.600 --> 0:15:47.080
<v Speaker 1>term dates back to the days when people would do

0:15:47.280 --> 0:15:51.760
<v Speaker 1>manuscripts and page layouts with physical pieces of paper and

0:15:51.840 --> 0:15:55.840
<v Speaker 1>with words that have been cut out, phrases, pictures. The

0:15:55.920 --> 0:16:00.000
<v Speaker 1>process of making a manuscript or a layout was laborious.

0:16:00.880 --> 0:16:04.400
<v Speaker 1>Designers would have to determine how big a layout would

0:16:04.400 --> 0:16:07.240
<v Speaker 1>need to be. For example, so let's say you're in

0:16:07.320 --> 0:16:12.160
<v Speaker 1>charge of making a layout for a magazine advertisement. You've

0:16:12.200 --> 0:16:15.040
<v Speaker 1>got a full page ad in a magazine, and you

0:16:15.080 --> 0:16:18.480
<v Speaker 1>are a graphic designer and you're an ad executive type,

0:16:18.520 --> 0:16:21.560
<v Speaker 1>you know, a madman, kind of dude or a woman,

0:16:22.240 --> 0:16:25.680
<v Speaker 1>and you want to work this out. Well, first you

0:16:25.680 --> 0:16:27.960
<v Speaker 1>would get an oversight sheet of paper. It would be

0:16:28.040 --> 0:16:31.480
<v Speaker 1>larger than whatever you were planning on actually creating, but

0:16:31.560 --> 0:16:35.440
<v Speaker 1>that's the the canvas you would be using. And then

0:16:35.840 --> 0:16:39.320
<v Speaker 1>you would draw the borders of that piece of paper

0:16:39.360 --> 0:16:42.360
<v Speaker 1>to mark out how large the final piece of of

0:16:42.760 --> 0:16:45.880
<v Speaker 1>advertisement was going to be, because i'd be very important.

0:16:46.240 --> 0:16:49.200
<v Speaker 1>So you would use tools like a T square and

0:16:49.280 --> 0:16:53.080
<v Speaker 1>a quick square or speed square. Those are those little

0:16:53.440 --> 0:16:56.080
<v Speaker 1>right triangles that are made out a flat piece of

0:16:56.120 --> 0:17:00.120
<v Speaker 1>metal that you use too for drafting purposes, and you

0:17:00.120 --> 0:17:03.560
<v Speaker 1>would use those to carefully measure out and mark the

0:17:03.600 --> 0:17:09.040
<v Speaker 1>boundaries for your layout. Then to place copy or images

0:17:09.080 --> 0:17:13.480
<v Speaker 1>on the paper, you would physically paste those elements in

0:17:13.520 --> 0:17:18.000
<v Speaker 1>the right position on your little boundary. So typically you'd

0:17:18.040 --> 0:17:21.120
<v Speaker 1>use something like rubber cement, which would dry slowly enough

0:17:21.280 --> 0:17:24.360
<v Speaker 1>to let designers move elements around a bit without having

0:17:24.400 --> 0:17:27.119
<v Speaker 1>to scrap everything and start over if they decided they

0:17:27.119 --> 0:17:29.800
<v Speaker 1>didn't like the placement of an element. So you might

0:17:29.840 --> 0:17:32.840
<v Speaker 1>put a headline, for example, and you might think, no,

0:17:33.000 --> 0:17:35.520
<v Speaker 1>I want a little more white space between the top

0:17:35.560 --> 0:17:38.000
<v Speaker 1>of the page and the headline, so you would actually

0:17:38.000 --> 0:17:39.720
<v Speaker 1>be able to move it down a little bit before

0:17:39.760 --> 0:17:43.240
<v Speaker 1>that rubber cement would dry enough so that such a

0:17:43.280 --> 0:17:46.280
<v Speaker 1>thing would not be practical anymore. So in the old days,

0:17:46.600 --> 0:17:49.240
<v Speaker 1>you would physically have to make a copy of something

0:17:49.320 --> 0:17:52.280
<v Speaker 1>and you physically have to paste it on the paper

0:17:52.320 --> 0:17:55.600
<v Speaker 1>to create your layout. The manuscript process was similar, though

0:17:55.600 --> 0:17:58.240
<v Speaker 1>it would typically involve cutting words out of a page

0:17:58.359 --> 0:18:00.480
<v Speaker 1>and pasting them into a new one. You were laying

0:18:00.520 --> 0:18:03.600
<v Speaker 1>out a new page of manuscript, so you had cut

0:18:03.800 --> 0:18:07.359
<v Speaker 1>and copy and paste all in the physical world. You

0:18:07.400 --> 0:18:10.639
<v Speaker 1>were physically doing these actions. When did those make the

0:18:10.720 --> 0:18:13.439
<v Speaker 1>move over to the computer age. Well, that was in

0:18:13.480 --> 0:18:16.719
<v Speaker 1>the early to mid nineteen seventies and a couple of

0:18:16.720 --> 0:18:20.040
<v Speaker 1>guys named Larry Tesler and Tim Mott, both of whom

0:18:20.080 --> 0:18:24.200
<v Speaker 1>worked at Xerox's Park facility. That was that's xerox is

0:18:24.400 --> 0:18:27.879
<v Speaker 1>research and development facility, also known for creating or at

0:18:27.920 --> 0:18:31.359
<v Speaker 1>least popularizing things like the computer mouse. Anyway, they created

0:18:31.400 --> 0:18:35.640
<v Speaker 1>the first cut copy and paste functions for computers as

0:18:35.680 --> 0:18:39.760
<v Speaker 1>part of a document preparation system, which had the unfortunate

0:18:39.920 --> 0:18:42.840
<v Speaker 1>name gypsy. Now, I say unfortunate because that term is

0:18:42.880 --> 0:18:46.280
<v Speaker 1>considered by many to be a slur today. I doubt

0:18:46.400 --> 0:18:48.640
<v Speaker 1>those working on the system at the time had any

0:18:48.680 --> 0:18:51.760
<v Speaker 1>awareness of that. I would like to think that they

0:18:51.760 --> 0:18:55.560
<v Speaker 1>were just ignorant that that term could be offensive to people,

0:18:56.000 --> 0:18:59.720
<v Speaker 1>so they were just picking it, uh, for whatever other reason.

0:19:00.040 --> 0:19:02.240
<v Speaker 1>At least I'd like to think that, I honestly don't know.

0:19:03.080 --> 0:19:06.040
<v Speaker 1>The function proved to be quite useful and found its

0:19:06.040 --> 0:19:10.119
<v Speaker 1>way into word processing programs like word Star and word

0:19:10.200 --> 0:19:14.480
<v Speaker 1>Perfect and all of those kinds of word processing programs

0:19:14.520 --> 0:19:16.879
<v Speaker 1>in the nineteen seventies and beyond, and it's become a

0:19:16.960 --> 0:19:20.800
<v Speaker 1>key feature in numerous programs since. So we're all familiar

0:19:20.840 --> 0:19:23.800
<v Speaker 1>with copy and paste, even though now it's all digital.

0:19:23.800 --> 0:19:27.840
<v Speaker 1>We're not physically copying and pasting stuff anymore, at least

0:19:27.840 --> 0:19:31.480
<v Speaker 1>not most of us. Now, while we're talking about terms

0:19:31.480 --> 0:19:35.439
<v Speaker 1>related to writing, how about we talk about something that

0:19:35.520 --> 0:19:38.280
<v Speaker 1>a lot of people get persnickety over, and that's the

0:19:38.320 --> 0:19:42.720
<v Speaker 1>difference between typeface and fonts. Now, this is one that

0:19:42.800 --> 0:19:46.240
<v Speaker 1>drives some folks crazy because we typically use the words

0:19:46.320 --> 0:19:50.240
<v Speaker 1>interchangeably these days, but once upon a time, they meant

0:19:50.760 --> 0:19:54.960
<v Speaker 1>separate things, or at least, you know, things that that

0:19:55.119 --> 0:19:59.040
<v Speaker 1>had a definitive meaning, and we're not interchangeable. And the

0:19:59.040 --> 0:20:01.520
<v Speaker 1>pedantic folks out there who may have worked in a

0:20:01.560 --> 0:20:04.840
<v Speaker 1>printer's office might still get their proverbial danders up about it.

0:20:05.359 --> 0:20:08.119
<v Speaker 1>And I'm not being dismissive. I am a pedantic individual,

0:20:08.200 --> 0:20:11.560
<v Speaker 1>so goodness knows if I had that background, I would

0:20:11.560 --> 0:20:13.560
<v Speaker 1>be one of these people. I have to do a

0:20:13.560 --> 0:20:16.720
<v Speaker 1>full episode about the history of typography one day because

0:20:16.760 --> 0:20:19.920
<v Speaker 1>it is fascinating and it's a complicated story. But today

0:20:19.920 --> 0:20:22.760
<v Speaker 1>we're going to focus on type face versus fonts for

0:20:22.840 --> 0:20:25.920
<v Speaker 1>this part of the episode. So back in the very

0:20:26.040 --> 0:20:29.720
<v Speaker 1>old printing press days, to print on a piece of paper,

0:20:30.040 --> 0:20:32.720
<v Speaker 1>you first would have to arrange metal blocks on the

0:20:32.760 --> 0:20:36.760
<v Speaker 1>press with the letters set out in relief on one

0:20:36.880 --> 0:20:41.040
<v Speaker 1>face of the blocks. The type face each block was

0:20:41.080 --> 0:20:45.040
<v Speaker 1>a single letter in a particular style. Size and weight.

0:20:45.880 --> 0:20:49.199
<v Speaker 1>Weight refers to the thickness of the line, and the

0:20:49.240 --> 0:20:52.960
<v Speaker 1>weights could be bold, light, or medium. The side of

0:20:52.960 --> 0:20:54.720
<v Speaker 1>the metal block with the letter on it that was

0:20:54.760 --> 0:20:57.480
<v Speaker 1>the type face, and that face of the block would

0:20:57.480 --> 0:20:59.879
<v Speaker 1>be inked and then pressed onto a sheet of paper

0:20:59.880 --> 0:21:02.280
<v Speaker 1>to create the print. So really you would have a

0:21:02.320 --> 0:21:06.160
<v Speaker 1>whole series of these blocks with the type face out,

0:21:06.520 --> 0:21:09.280
<v Speaker 1>you'd think all of them, and you would then press

0:21:09.320 --> 0:21:11.879
<v Speaker 1>it against a sheet of paper to get a printed sheet.

0:21:12.600 --> 0:21:16.240
<v Speaker 1>So a typeface came to mean the style of this lettering.

0:21:16.800 --> 0:21:21.879
<v Speaker 1>So Garamond, Helvetica, Times New Roman, and Ariel are all

0:21:22.359 --> 0:21:26.200
<v Speaker 1>type faces. Those are all type faces, and the word

0:21:26.200 --> 0:21:30.720
<v Speaker 1>typeface really refers to that actual stylistic design of each

0:21:30.760 --> 0:21:35.320
<v Speaker 1>collection of characters. It's what makes Garamond look different from

0:21:35.320 --> 0:21:38.680
<v Speaker 1>Times New Roman, which looks different from Helvetica, etcetera, etcetera.

0:21:39.080 --> 0:21:42.639
<v Speaker 1>But that just denotes which stylistic family each set of

0:21:42.720 --> 0:21:46.439
<v Speaker 1>characters belongs to. You can also describe those characters by

0:21:46.520 --> 0:21:50.280
<v Speaker 1>how large each character is. We measure characters by units

0:21:50.320 --> 0:21:53.600
<v Speaker 1>called points. Now, I would love to tell you that

0:21:53.720 --> 0:21:57.000
<v Speaker 1>the unit we call a point has had a specific

0:21:57.080 --> 0:22:00.399
<v Speaker 1>value since the dawn of typography. I would love to

0:22:00.400 --> 0:22:03.479
<v Speaker 1>tell you that, but it would be a lie. The

0:22:03.560 --> 0:22:06.520
<v Speaker 1>value of a point has changed many times over the

0:22:06.600 --> 0:22:09.680
<v Speaker 1>centuries since the invention of the printing press, but today

0:22:09.840 --> 0:22:15.240
<v Speaker 1>the standard is essentially a point equals one seventy second

0:22:15.480 --> 0:22:20.200
<v Speaker 1>of an inch. That's point three five millimeters or so.

0:22:20.200 --> 0:22:23.240
<v Speaker 1>So does that mean a character at seventy two points

0:22:23.800 --> 0:22:28.480
<v Speaker 1>is a full inch tall? No, But that's because there's

0:22:28.520 --> 0:22:31.960
<v Speaker 1>an invisible square around each character. It's a little bit

0:22:32.000 --> 0:22:35.200
<v Speaker 1>above and a little bit below the tallest and lowest

0:22:35.280 --> 0:22:39.600
<v Speaker 1>points on a or the ascension and decension if you prefer,

0:22:40.240 --> 0:22:44.720
<v Speaker 1>of the upper case largest character. So the seventy two

0:22:44.720 --> 0:22:48.040
<v Speaker 1>points really refers to the size of this invisible square,

0:22:48.640 --> 0:22:51.560
<v Speaker 1>not the actual character that's printed. So if you were

0:22:51.600 --> 0:22:53.320
<v Speaker 1>to think of it as the old printing days, you

0:22:53.320 --> 0:22:56.359
<v Speaker 1>could say it's a larger block the actual physical block

0:22:56.480 --> 0:22:59.440
<v Speaker 1>that has that letter out in relief on the type face.

0:23:00.080 --> 0:23:02.639
<v Speaker 1>Your characters would have to have larger blocks. You couldn't

0:23:02.640 --> 0:23:08.000
<v Speaker 1>fit a huge t uppercase t on a tiny little block.

0:23:08.040 --> 0:23:10.480
<v Speaker 1>You would have to have a bigger one anyway. That's

0:23:10.480 --> 0:23:13.400
<v Speaker 1>why we described those characters in terms of points, such

0:23:13.400 --> 0:23:17.280
<v Speaker 1>as twelve point Times New Roman. So each type face

0:23:17.480 --> 0:23:20.399
<v Speaker 1>would have its own huge collection of blocks with each

0:23:20.520 --> 0:23:23.679
<v Speaker 1>of the sizes and each of the weights in the

0:23:23.720 --> 0:23:29.080
<v Speaker 1>printing house. So these these weights and sizes were the fonts.

0:23:29.920 --> 0:23:31.960
<v Speaker 1>So let's say you're printing a page in Times New

0:23:32.080 --> 0:23:35.720
<v Speaker 1>Roman at twelve point size with a medium weight. The

0:23:35.760 --> 0:23:39.360
<v Speaker 1>type faces Times New Roman. The font is Times New

0:23:39.440 --> 0:23:42.760
<v Speaker 1>Roman at twelve point size and medium weight. So you

0:23:42.800 --> 0:23:47.600
<v Speaker 1>could argue that fonts are really specific instances of type faces.

0:23:47.640 --> 0:23:49.720
<v Speaker 1>But if you were to switch that up, maybe you

0:23:49.800 --> 0:23:54.720
<v Speaker 1>have a section that's italicized or at fourteen point or

0:23:54.800 --> 0:23:57.280
<v Speaker 1>at a heavy weight, but it's still Times New Roman,

0:23:57.760 --> 0:23:59.720
<v Speaker 1>then you would still have to change out the font

0:24:00.040 --> 0:24:02.680
<v Speaker 1>for that section. It would still be Times New Roman

0:24:02.800 --> 0:24:05.160
<v Speaker 1>all the way through the document, but now you're dealing

0:24:05.160 --> 0:24:08.200
<v Speaker 1>with a different font from the twelve point medium weight

0:24:08.280 --> 0:24:11.200
<v Speaker 1>font you used earlier. So you could have a page

0:24:11.280 --> 0:24:13.800
<v Speaker 1>with multiple fonts on it, but they're all the same

0:24:13.920 --> 0:24:16.600
<v Speaker 1>type face. You would have Times New Roman from top

0:24:16.640 --> 0:24:19.560
<v Speaker 1>to bottom, but the different sizes and the different weights

0:24:19.840 --> 0:24:24.080
<v Speaker 1>would denote specific fonts of that Times New Roman. Now

0:24:24.440 --> 0:24:28.040
<v Speaker 1>enter the era of desktop publishing, when any goof is

0:24:28.480 --> 0:24:31.720
<v Speaker 1>such as yours truly can create a virtual page in

0:24:31.760 --> 0:24:34.359
<v Speaker 1>the digital realm and then send it whisking off to

0:24:34.400 --> 0:24:39.480
<v Speaker 1>a printer. At this stage, fonts aren't physical blocks. Fonts

0:24:39.480 --> 0:24:42.800
<v Speaker 1>are really files that could scale to whatever requirement you

0:24:42.880 --> 0:24:46.720
<v Speaker 1>happen to have. So the Times New Roman font can

0:24:46.760 --> 0:24:49.439
<v Speaker 1>scale to whatever point size I need or wait, for

0:24:49.480 --> 0:24:53.359
<v Speaker 1>that matter, I'm technically choosing a font because I'm choosing

0:24:53.359 --> 0:24:57.600
<v Speaker 1>a specific instance of this type face style. But now

0:24:57.640 --> 0:25:00.439
<v Speaker 1>we typically use the word font to refer to type

0:25:00.440 --> 0:25:03.480
<v Speaker 1>face in general. We say the Times New Roman font

0:25:03.920 --> 0:25:06.880
<v Speaker 1>as opposed to the Times New Roman type face at

0:25:06.920 --> 0:25:11.959
<v Speaker 1>twelve point medium weight font. And while this is technically

0:25:12.000 --> 0:25:14.760
<v Speaker 1>incorrect to refer to them both as a font from

0:25:14.760 --> 0:25:19.280
<v Speaker 1>a typographical standpoint, anyway, the fluidity of language doesn't really

0:25:19.280 --> 0:25:22.399
<v Speaker 1>give a crap about that, because language means what people

0:25:22.440 --> 0:25:26.040
<v Speaker 1>say it means, and meanings change over time. This is

0:25:26.080 --> 0:25:29.000
<v Speaker 1>something I've had to come to terms with myself, because,

0:25:29.520 --> 0:25:32.800
<v Speaker 1>as anyone close to me can tell you, Pedantic might

0:25:32.880 --> 0:25:36.520
<v Speaker 1>as well be my middle name. But it's not because

0:25:36.520 --> 0:25:41.080
<v Speaker 1>I'm pedantic, but I'm not Jonathan Pedantic Strickland. Before I

0:25:41.080 --> 0:25:43.159
<v Speaker 1>get away from the written word, let's talk about c

0:25:43.440 --> 0:25:46.880
<v Speaker 1>C as into CC someone in an email the letter

0:25:47.000 --> 0:25:49.800
<v Speaker 1>C and the letter C. You probably know that c

0:25:50.000 --> 0:25:53.280
<v Speaker 1>C stands for carbon copy. And I'm sure more than

0:25:53.320 --> 0:25:55.960
<v Speaker 1>a few of you out there have created carbon copies,

0:25:56.040 --> 0:25:58.439
<v Speaker 1>actual real ones. But for the rest of us, what

0:25:58.600 --> 0:26:01.880
<v Speaker 1>the heck is a carbon copy? All right? So let's

0:26:02.040 --> 0:26:05.760
<v Speaker 1>turn the clocks back to the turn of the nineteenth century.

0:26:05.960 --> 0:26:09.680
<v Speaker 1>The early eight hundreds, A couple of different people, such

0:26:09.680 --> 0:26:14.000
<v Speaker 1>as Pellegreen not Toury in Italy and Ralph Wedgewood in England,

0:26:14.400 --> 0:26:18.000
<v Speaker 1>invented what we would call carbon paper. Both Torry and

0:26:18.040 --> 0:26:20.399
<v Speaker 1>Wedgwood were trying to create a way for blind people

0:26:20.440 --> 0:26:24.119
<v Speaker 1>to more easily right. Torrey was working on an early

0:26:24.240 --> 0:26:28.160
<v Speaker 1>typewriter device, and his carbon paper invention would be used

0:26:28.200 --> 0:26:31.520
<v Speaker 1>sort of like a typewriter ribbon. Wedgewood created what he

0:26:31.560 --> 0:26:37.280
<v Speaker 1>called a stylographic manifold writer. The carbon paper, or carbonated paper,

0:26:37.320 --> 0:26:40.560
<v Speaker 1>as Wedgewood called it, was paper that had been soaked

0:26:40.640 --> 0:26:44.280
<v Speaker 1>in pigment and oil and then allowed to dry. To

0:26:44.440 --> 0:26:46.639
<v Speaker 1>use the paper, you would make a little bit of

0:26:46.640 --> 0:26:49.760
<v Speaker 1>a sandwich. On the bottom layer would be a fresh

0:26:49.840 --> 0:26:53.480
<v Speaker 1>piece of clean paper. Then you would lay a piece

0:26:53.480 --> 0:26:56.840
<v Speaker 1>of carbon paper on top of that. Then on top

0:26:56.880 --> 0:26:59.720
<v Speaker 1>of the carbon paper, you would lay a transparent sheet

0:26:59.760 --> 0:27:03.360
<v Speaker 1>of paper, something that was thin but fairly strong. With

0:27:03.400 --> 0:27:07.080
<v Speaker 1>Wedgewood's device, you'd use a stylus. They had no ink

0:27:07.240 --> 0:27:10.840
<v Speaker 1>or graphit or anything. Essentially just a pointed stick, you know,

0:27:10.880 --> 0:27:14.640
<v Speaker 1>there's no inked tip or anything like that. You would

0:27:14.680 --> 0:27:17.639
<v Speaker 1>put pressure on the top sheet as you would go

0:27:17.720 --> 0:27:20.639
<v Speaker 1>through the motions of writing. The ink on the middle

0:27:20.720 --> 0:27:24.840
<v Speaker 1>layer would actually transfer to the back of the translucent

0:27:25.040 --> 0:27:28.879
<v Speaker 1>sheet and also on top of the clean sheet underneath,

0:27:29.119 --> 0:27:32.600
<v Speaker 1>so you would get sort of a negative on the

0:27:32.600 --> 0:27:36.160
<v Speaker 1>top sheet. But since the paper was translucent, you could

0:27:36.320 --> 0:27:39.280
<v Speaker 1>read the ink through the paper and you would get

0:27:39.720 --> 0:27:45.520
<v Speaker 1>a just a regular copy on the sheet underneath. The

0:27:45.640 --> 0:27:47.960
<v Speaker 1>ink on the paper in the middle layer would transfer,

0:27:48.520 --> 0:27:52.199
<v Speaker 1>and it made it really easy to make copies. So

0:27:52.280 --> 0:27:56.000
<v Speaker 1>Wedgewood's manifold writer had these metal wires that were meant

0:27:56.040 --> 0:27:58.640
<v Speaker 1>to help guide blind people as they wrote across the page.

0:27:58.720 --> 0:28:01.200
<v Speaker 1>But later people began to adopt this method to make

0:28:01.320 --> 0:28:06.520
<v Speaker 1>copies of documents, seeing its application beyond a writing tool

0:28:06.760 --> 0:28:11.000
<v Speaker 1>for people who had visual impairment. Thomas Jefferson was known

0:28:11.040 --> 0:28:14.119
<v Speaker 1>to have used such an approach to make copies of

0:28:14.119 --> 0:28:17.800
<v Speaker 1>some of his works, but the adoption wasn't exactly lightning fast.

0:28:18.080 --> 0:28:20.800
<v Speaker 1>For one thing, the mixture of oil and pigment was

0:28:20.840 --> 0:28:25.920
<v Speaker 1>said to be a bit odoriferous. It stunk like the blazes,

0:28:25.960 --> 0:28:28.680
<v Speaker 1>in other words. So it wasn't until the eighteen seventies,

0:28:28.680 --> 0:28:31.600
<v Speaker 1>when people began to introduce typewriter inc. That was less

0:28:31.640 --> 0:28:34.760
<v Speaker 1>offensive to the old factory system, that we started seeing

0:28:34.760 --> 0:28:38.040
<v Speaker 1>a more widespread use of carbon paper for making copies.

0:28:38.760 --> 0:28:41.120
<v Speaker 1>And it was a quick, portable and easy way to

0:28:41.240 --> 0:28:44.440
<v Speaker 1>produce a copy, much faster than going to a printing house.

0:28:44.760 --> 0:28:48.800
<v Speaker 1>And you could conceivably produce more than one copy if

0:28:48.840 --> 0:28:52.800
<v Speaker 1>you're using enough pressure to sandwich multiple layers together. So

0:28:53.160 --> 0:28:57.479
<v Speaker 1>you have transparent paper, you have carbon paper, you've got

0:28:57.520 --> 0:29:00.360
<v Speaker 1>a solid piece of paper. You've got maybe a another

0:29:00.960 --> 0:29:03.840
<v Speaker 1>barrier there, another piece of carbon paper, another solid piece

0:29:03.880 --> 0:29:07.200
<v Speaker 1>of paper, etcetera. If you did enough pressure, you could

0:29:07.240 --> 0:29:10.080
<v Speaker 1>make multiple copies, but you would run the risk of

0:29:10.120 --> 0:29:14.640
<v Speaker 1>having lower copies be extremely light and faded and possibly

0:29:14.960 --> 0:29:17.840
<v Speaker 1>tearing through the top page because you're using so much pressure.

0:29:18.120 --> 0:29:20.640
<v Speaker 1>So it wasn't exactly a reliable way to make lots

0:29:20.640 --> 0:29:23.880
<v Speaker 1>of different copies at once. Carbon copies were used and

0:29:23.920 --> 0:29:26.800
<v Speaker 1>in some cases still are used for lots of stuff,

0:29:27.160 --> 0:29:31.080
<v Speaker 1>like taking credit card transactions quickly before the digital transaction

0:29:31.160 --> 0:29:34.960
<v Speaker 1>process days, you'd have that that machine where you'd lay

0:29:35.040 --> 0:29:38.959
<v Speaker 1>the the card down, you have some carbon paper on it,

0:29:39.480 --> 0:29:43.760
<v Speaker 1>you run this, uh, this roller across really quickly and

0:29:43.840 --> 0:29:47.640
<v Speaker 1>it ends up capturing the credit card information through this

0:29:47.720 --> 0:29:51.960
<v Speaker 1>carbon copy process. But you might have seen it also

0:29:52.040 --> 0:29:54.560
<v Speaker 1>from someone taking orders at a restaurant or in any

0:29:54.600 --> 0:29:57.040
<v Speaker 1>other number of applications. And it became a way to

0:29:57.080 --> 0:29:58.880
<v Speaker 1>produce a copy of a letter if you wanted to

0:29:58.920 --> 0:30:01.320
<v Speaker 1>send it to more than one person. And so the

0:30:01.440 --> 0:30:04.400
<v Speaker 1>term transferred over to the desktop publishing world in the

0:30:04.400 --> 0:30:07.960
<v Speaker 1>form of c C. While no carbon or carbonated paper

0:30:08.360 --> 0:30:11.600
<v Speaker 1>is used in that process, everybody already knew that it

0:30:11.680 --> 0:30:14.200
<v Speaker 1>meant the letter was being sent out and it was

0:30:14.280 --> 0:30:17.720
<v Speaker 1>going to people besides just the primary recipient. It was

0:30:17.720 --> 0:30:20.080
<v Speaker 1>going to other people as well, and so we still

0:30:20.200 --> 0:30:23.240
<v Speaker 1>use that phrase today. Now, when we come back, I'll

0:30:23.240 --> 0:30:25.840
<v Speaker 1>switch over to the world of entertainment, which also relies

0:30:25.840 --> 0:30:29.440
<v Speaker 1>heavily on some antiquated terminology. But before we do that,

0:30:29.520 --> 0:30:40.840
<v Speaker 1>let's take another quick break. All right, Let's pop on

0:30:41.040 --> 0:30:44.800
<v Speaker 1>over to television for a second. One of the derogatory

0:30:44.880 --> 0:30:48.960
<v Speaker 1>phrases to describe television, and more importantly, the content available

0:30:49.000 --> 0:30:53.000
<v Speaker 1>to watch on television is the boob tube. Now, in

0:30:53.000 --> 0:30:56.160
<v Speaker 1>this case, boob is meant to be a gullible person

0:30:56.400 --> 0:30:58.720
<v Speaker 1>or someone who is the brunt of a joke or

0:30:58.760 --> 0:31:02.240
<v Speaker 1>just a goofus in other words. But tube, well, that

0:31:02.280 --> 0:31:06.000
<v Speaker 1>comes from the old cathode ray tube style of television,

0:31:06.120 --> 0:31:09.360
<v Speaker 1>the big bulky TVs of yesteryear. Some of you may

0:31:09.400 --> 0:31:12.960
<v Speaker 1>have one. I certainly do have one that's sitting in

0:31:13.400 --> 0:31:16.000
<v Speaker 1>on a shelf in a garage. I need to actually

0:31:16.080 --> 0:31:18.040
<v Speaker 1>find a place where I can recycle it. But I've

0:31:18.040 --> 0:31:21.840
<v Speaker 1>talked a lot about CRT technology a few times. Here's

0:31:21.880 --> 0:31:26.640
<v Speaker 1>just a quick summary. Older televisions have a cathode ray

0:31:26.720 --> 0:31:29.640
<v Speaker 1>tube inside them, which looks a bit like a super

0:31:29.680 --> 0:31:34.040
<v Speaker 1>weird lightbulb. The cathode ray tube generates a stream of electrons,

0:31:34.320 --> 0:31:36.760
<v Speaker 1>and it does this by using electricity to heat up

0:31:36.800 --> 0:31:40.600
<v Speaker 1>a filament inside a vacuum tube, and the heat transfers

0:31:40.680 --> 0:31:44.720
<v Speaker 1>enough energy to electrons in that filament to have them

0:31:44.720 --> 0:31:47.760
<v Speaker 1>break free of their atomic orbits and fly out in

0:31:47.840 --> 0:31:50.760
<v Speaker 1>a stream. Those electron stream through what is called an

0:31:50.760 --> 0:31:54.280
<v Speaker 1>electron gun. And are shot towards the back side of

0:31:54.320 --> 0:31:57.840
<v Speaker 1>the television screen, which has a coding of phosphor. Foster's

0:31:57.840 --> 0:32:00.920
<v Speaker 1>an organic material that gives off light after being struck

0:32:00.960 --> 0:32:05.720
<v Speaker 1>by electrons. So the old televisions literally had tubes inside

0:32:05.720 --> 0:32:10.800
<v Speaker 1>of them. Now these days, that's not how modern television's work.

0:32:11.160 --> 0:32:13.520
<v Speaker 1>They might be L C D, L E ED or

0:32:13.520 --> 0:32:17.240
<v Speaker 1>maybe even a plasma based screen or an O led screen.

0:32:17.400 --> 0:32:20.440
<v Speaker 1>But calling the television the tube is still something that

0:32:20.480 --> 0:32:24.640
<v Speaker 1>occasionally happens, even though no tubes are involved. It's like

0:32:24.680 --> 0:32:27.480
<v Speaker 1>the Internet being a series of tubes that was never

0:32:27.600 --> 0:32:30.600
<v Speaker 1>right anyway. Now, pop over the film for a second.

0:32:31.640 --> 0:32:35.120
<v Speaker 1>So first of all, the word film is already nearly obsolete.

0:32:35.520 --> 0:32:39.000
<v Speaker 1>Now film is not completely done. There are some directors

0:32:39.000 --> 0:32:42.800
<v Speaker 1>who still insist on working with film. Quentin Tarantino is

0:32:42.840 --> 0:32:45.840
<v Speaker 1>one of those directors. He views film as in the

0:32:45.880 --> 0:32:50.080
<v Speaker 1>physical medium of film with reverence. The film is made

0:32:50.080 --> 0:32:53.040
<v Speaker 1>of plastic, as a plastic strip essentially coated with a

0:32:53.080 --> 0:32:57.400
<v Speaker 1>federal reactive chemical that could preserve images after that has

0:32:57.400 --> 0:33:01.200
<v Speaker 1>been exposed to light, and classic film is exposed at

0:33:01.200 --> 0:33:05.080
<v Speaker 1>a rate of twenty four frames or photographs if you like,

0:33:05.520 --> 0:33:08.760
<v Speaker 1>per second. So when we played that back at the

0:33:08.800 --> 0:33:11.640
<v Speaker 1>same speed of twenty four frames per second and a projector.

0:33:12.200 --> 0:33:15.479
<v Speaker 1>Then it creates the illusion of motion, even though if

0:33:15.480 --> 0:33:17.760
<v Speaker 1>you were to take the film out of the projector

0:33:17.800 --> 0:33:21.080
<v Speaker 1>and look at it as a scene by scene sort

0:33:21.080 --> 0:33:23.520
<v Speaker 1>of thing, you would just see a series of photographs,

0:33:23.560 --> 0:33:26.600
<v Speaker 1>one after the other. But of course, these days, most

0:33:26.640 --> 0:33:30.080
<v Speaker 1>movies are shot using digital cameras, which record not to

0:33:30.160 --> 0:33:34.440
<v Speaker 1>film but to digital files, digital video files that live

0:33:34.600 --> 0:33:38.760
<v Speaker 1>quote unquote on hard drives. Digital video gives filmmakers a

0:33:38.760 --> 0:33:42.080
<v Speaker 1>lot more access to the footage they shoot. It's easy

0:33:42.200 --> 0:33:45.480
<v Speaker 1>to review a shot even right after you've completed it,

0:33:45.520 --> 0:33:47.719
<v Speaker 1>so it gives directors more options. They can see if

0:33:47.760 --> 0:33:51.000
<v Speaker 1>they really captured what they wanted in a scene. And

0:33:51.080 --> 0:33:53.360
<v Speaker 1>you're not limited by the physical amount of film you

0:33:53.440 --> 0:33:56.520
<v Speaker 1>have available on hand. Like in the old days. Film

0:33:56.640 --> 0:33:59.080
<v Speaker 1>is a limited resource. You only have so much of

0:33:59.080 --> 0:34:01.040
<v Speaker 1>it on hand on an a given day, and it

0:34:01.040 --> 0:34:04.720
<v Speaker 1>gets expensive. And once you shoot on film, that's it.

0:34:04.920 --> 0:34:08.480
<v Speaker 1>You can't delete it and then shoot something else on it.

0:34:09.000 --> 0:34:11.760
<v Speaker 1>You have to live with whatever it was you shot.

0:34:11.960 --> 0:34:14.719
<v Speaker 1>You're stuck with it. That's why we call it footage.

0:34:14.760 --> 0:34:17.480
<v Speaker 1>It actually refers to the physical amount of film that

0:34:17.560 --> 0:34:21.279
<v Speaker 1>you've exposed to light during a film shoot. So how

0:34:21.280 --> 0:34:24.279
<v Speaker 1>many film feet of film did you shoot? How many

0:34:24.360 --> 0:34:27.000
<v Speaker 1>feet of film do you have left? If you're running out,

0:34:27.000 --> 0:34:29.080
<v Speaker 1>you got to go out and buy more, which adds

0:34:29.120 --> 0:34:32.320
<v Speaker 1>more to the production costs of a movie. Digital video

0:34:32.640 --> 0:34:34.440
<v Speaker 1>remove a lot of those barriers, so you wouldn't have

0:34:34.520 --> 0:34:38.280
<v Speaker 1>to worry about running up the production costs simply because

0:34:38.280 --> 0:34:41.799
<v Speaker 1>you want another take, because you weren't eating through more

0:34:41.920 --> 0:34:45.359
<v Speaker 1>physical film. For a while, there was a risk that

0:34:45.400 --> 0:34:48.920
<v Speaker 1>the move to digital cinema would actually kill the actual

0:34:49.120 --> 0:34:53.600
<v Speaker 1>film industry entirely, as in the physical medium of film,

0:34:53.640 --> 0:34:56.960
<v Speaker 1>because there wouldn't be enough demand for that physical stuff

0:34:57.200 --> 0:35:01.960
<v Speaker 1>to keep the businesses involved in producing and processing film afloat.

0:35:02.480 --> 0:35:05.719
<v Speaker 1>And ever since the studio days of the movie industry,

0:35:06.280 --> 0:35:10.200
<v Speaker 1>those businesses had to be separate because the US government said,

0:35:10.239 --> 0:35:12.720
<v Speaker 1>you can't have a movie studio that owns the entire

0:35:12.760 --> 0:35:16.799
<v Speaker 1>process from beginning to end. That's anti competitive. But in

0:35:16.880 --> 0:35:21.640
<v Speaker 1>two thousand fifteen, Kodak secured agreements with several film studios

0:35:21.880 --> 0:35:25.840
<v Speaker 1>to stay in business in that industry. Each studio promised

0:35:25.840 --> 0:35:29.839
<v Speaker 1>to order an undisclosed amount of film at minimum for

0:35:29.880 --> 0:35:33.240
<v Speaker 1>several years and many prominent movies in the recent past

0:35:33.480 --> 0:35:35.759
<v Speaker 1>were in fact shot on film. It's not like it's

0:35:35.840 --> 0:35:39.520
<v Speaker 1>unheard of. Kodak, by the way, is essentially the only

0:35:39.560 --> 0:35:43.799
<v Speaker 1>game intenseiltown as far as film goes, because Fujifilm got

0:35:43.840 --> 0:35:48.200
<v Speaker 1>out of that business way back in. There are other

0:35:48.320 --> 0:35:51.440
<v Speaker 1>film related phrases and terms in the movie making business

0:35:51.480 --> 0:35:54.680
<v Speaker 1>that have stuck around, even for productions that use digital

0:35:54.800 --> 0:35:58.279
<v Speaker 1>video and not film cameras. For example, the phrase role

0:35:58.400 --> 0:36:02.280
<v Speaker 1>camera to describe a camera actively recording. It's still pretty common,

0:36:02.560 --> 0:36:05.600
<v Speaker 1>even though that originally referred to rolling film, and again

0:36:05.640 --> 0:36:09.440
<v Speaker 1>because the film represented money. Hearing a director's assistant call

0:36:09.480 --> 0:36:13.239
<v Speaker 1>out roll camera meant shut the heck up and let

0:36:13.239 --> 0:36:15.360
<v Speaker 1>the cast and crew do their thing, because any wasted

0:36:15.400 --> 0:36:18.560
<v Speaker 1>film was money down the drain. There's also roll sound,

0:36:18.640 --> 0:36:21.640
<v Speaker 1>which technically you would say before you would say roll camera.

0:36:22.160 --> 0:36:24.399
<v Speaker 1>It's a similar concept, except it's a signal to the

0:36:24.440 --> 0:36:27.920
<v Speaker 1>production sound mixer to start the sound recording equipment, and

0:36:28.000 --> 0:36:30.760
<v Speaker 1>both the camera operator and the sound mixer would respond

0:36:30.840 --> 0:36:34.760
<v Speaker 1>with speed, indicating that they are recording at the appropriate speed,

0:36:35.120 --> 0:36:39.719
<v Speaker 1>which also is a largely antiquated notion these days. On

0:36:39.760 --> 0:36:42.960
<v Speaker 1>the editing side, of filmmaking, you have the term splicing,

0:36:43.360 --> 0:36:47.520
<v Speaker 1>the definition for splices to unite. Usually it would refer

0:36:47.560 --> 0:36:51.319
<v Speaker 1>to something like splicing two ropes together by interweaving them.

0:36:51.360 --> 0:36:54.480
<v Speaker 1>So with film, traditionally, splicing would refer to taking two

0:36:54.520 --> 0:36:58.879
<v Speaker 1>different physical pieces of film and joining them together using

0:36:58.880 --> 0:37:02.800
<v Speaker 1>a splicer. Of that they become a sequence. You're essentially

0:37:02.800 --> 0:37:06.080
<v Speaker 1>gluing two pieces of film together. So imagine you're shooting

0:37:06.080 --> 0:37:09.759
<v Speaker 1>a conversation between two characters and you decide to do

0:37:09.880 --> 0:37:12.560
<v Speaker 1>three different camera angles for this scene. You've got a

0:37:12.600 --> 0:37:16.040
<v Speaker 1>wide shot has both characters in it. Then you do

0:37:16.080 --> 0:37:18.480
<v Speaker 1>a couple of over the shoulder shots so that you're

0:37:18.520 --> 0:37:22.759
<v Speaker 1>looking at both of the characters head on, with them

0:37:22.800 --> 0:37:26.200
<v Speaker 1>looking off as if they're looking at their scene partner.

0:37:26.600 --> 0:37:30.040
<v Speaker 1>So you've shot all three of these separately, because setting

0:37:30.080 --> 0:37:31.960
<v Speaker 1>up all three cameras to shoot them all at once

0:37:32.200 --> 0:37:35.080
<v Speaker 1>rarely works. You usually can't get the camera angles for it.

0:37:35.600 --> 0:37:37.799
<v Speaker 1>And you've set up each shot so it looks just right,

0:37:38.080 --> 0:37:40.160
<v Speaker 1>and in the editing room you want to take that

0:37:40.239 --> 0:37:42.400
<v Speaker 1>footage and you want to combine it to make a

0:37:42.440 --> 0:37:47.320
<v Speaker 1>compelling scene so that the conversation is actually interesting and dramatic.

0:37:47.880 --> 0:37:51.120
<v Speaker 1>You do that by physically cutting links of film and

0:37:51.239 --> 0:37:54.680
<v Speaker 1>using the splicer to join them together into a finished sequence.

0:37:55.200 --> 0:37:57.680
<v Speaker 1>Now with digital movies, you don't have to do all

0:37:57.719 --> 0:38:00.799
<v Speaker 1>that physical stuff, but the concept is still valid. So

0:38:00.960 --> 0:38:04.040
<v Speaker 1>now you can digitally splice together clips to get the

0:38:04.040 --> 0:38:07.120
<v Speaker 1>same effect you would with physical film. The term splicing

0:38:07.160 --> 0:38:10.320
<v Speaker 1>has also sometimes been used to describe a process that's

0:38:10.520 --> 0:38:15.520
<v Speaker 1>more appropriately called compositing. This is a different notion. It's

0:38:15.520 --> 0:38:18.799
<v Speaker 1>when you take images or visuals from separate sources and

0:38:18.880 --> 0:38:21.680
<v Speaker 1>you combine them together to make a new image. So

0:38:21.920 --> 0:38:25.319
<v Speaker 1>a very common example would be shooting actors against a

0:38:25.320 --> 0:38:29.080
<v Speaker 1>green screen, and then you would chromakey in a different

0:38:29.120 --> 0:38:33.040
<v Speaker 1>background behind them in the finished shot. Some people refer

0:38:33.120 --> 0:38:35.440
<v Speaker 1>to that process as splicing, referring to the fact that

0:38:35.440 --> 0:38:38.080
<v Speaker 1>you're actually combining these different elements together into a new,

0:38:38.200 --> 0:38:42.000
<v Speaker 1>unified hole, though again compositing is really the more appropriate

0:38:42.120 --> 0:38:45.960
<v Speaker 1>phrase for that. Now let's pop on over to audio entertainment.

0:38:46.360 --> 0:38:50.440
<v Speaker 1>A few people suggested I mentioned records or albums, but

0:38:50.520 --> 0:38:53.480
<v Speaker 1>I do so with a few caveats. First, the vinyl

0:38:53.560 --> 0:38:56.240
<v Speaker 1>record album has made a little bit of a comeback

0:38:56.320 --> 0:38:59.920
<v Speaker 1>in recent years, so it's not quite as antiquated as

0:39:00.040 --> 0:39:03.840
<v Speaker 1>it once was when it first went out of fashion. Second,

0:39:03.840 --> 0:39:06.759
<v Speaker 1>I think the word record, which many associate with a

0:39:06.800 --> 0:39:10.520
<v Speaker 1>physical vinyl disc like a forty five or thirty three

0:39:10.560 --> 0:39:13.200
<v Speaker 1>long playing album, the kind of thing you would put

0:39:13.200 --> 0:39:15.280
<v Speaker 1>on a turntable. You think of that as a record,

0:39:15.400 --> 0:39:17.799
<v Speaker 1>but I think it could easily refer to any recording,

0:39:18.000 --> 0:39:20.680
<v Speaker 1>as in it's a record of what has happened. But

0:39:20.800 --> 0:39:23.920
<v Speaker 1>let's talk about albums. Where did that name come from? Well,

0:39:23.960 --> 0:39:25.520
<v Speaker 1>I talked about this a little bit when I did

0:39:25.520 --> 0:39:29.160
<v Speaker 1>my series on turntables. But the word album comes from

0:39:29.200 --> 0:39:32.920
<v Speaker 1>the old days of seventy eight RPM records. These were

0:39:32.920 --> 0:39:36.800
<v Speaker 1>typically made of stuff like shellac back in the old days,

0:39:36.960 --> 0:39:40.840
<v Speaker 1>and they predated the vinyl era. The RPM means revolutions

0:39:40.840 --> 0:39:43.760
<v Speaker 1>per minute, so one of these discs would actually rotate

0:39:44.160 --> 0:39:48.800
<v Speaker 1>seventy eight times every sixty seconds, as assuming it's running

0:39:48.840 --> 0:39:51.920
<v Speaker 1>at the right speed on a turntable. And these discs

0:39:51.960 --> 0:39:54.480
<v Speaker 1>would come in a couple of different sizes. They usually

0:39:54.640 --> 0:39:57.600
<v Speaker 1>ranged between ten inches which is about twenty five centimeters

0:39:57.840 --> 0:40:01.160
<v Speaker 1>to twelve inches or thirty centimeters, and they could only

0:40:01.200 --> 0:40:04.839
<v Speaker 1>hold a few minutes of audio on each side. Now,

0:40:04.880 --> 0:40:08.600
<v Speaker 1>because of that limited capacity to record a longer piece

0:40:08.719 --> 0:40:13.440
<v Speaker 1>of music or audio would require several discs. Music publishers

0:40:13.440 --> 0:40:17.799
<v Speaker 1>would sell these collections in large bound books, with each

0:40:17.880 --> 0:40:21.160
<v Speaker 1>disc in slipped into a page of these books, and

0:40:21.200 --> 0:40:24.120
<v Speaker 1>they looked kind of like an old fashioned photo album.

0:40:24.200 --> 0:40:28.000
<v Speaker 1>There's another antiquated phrase for you. So you might purchase

0:40:28.120 --> 0:40:31.160
<v Speaker 1>a single performance of a classical music piece that would

0:40:31.160 --> 0:40:33.919
<v Speaker 1>span multiple discs, and thus you'd have to buy a

0:40:33.960 --> 0:40:38.560
<v Speaker 1>record album of that performance. Later on, when vinyl became

0:40:38.600 --> 0:40:42.400
<v Speaker 1>a practical alternative, and after micro grooves made it possible

0:40:42.440 --> 0:40:45.640
<v Speaker 1>to record more audio on a single side of a disc,

0:40:46.120 --> 0:40:49.600
<v Speaker 1>the word album stuck, and it was meant to describe

0:40:49.640 --> 0:40:54.960
<v Speaker 1>a collection of related music, like an artist's album of music.

0:40:55.160 --> 0:40:58.600
<v Speaker 1>It's several songs that are all related in some way,

0:40:59.440 --> 0:41:03.080
<v Speaker 1>or maybe it was thematically related. But there was no

0:41:03.160 --> 0:41:06.520
<v Speaker 1>physical album anymore. We just used the word to describe

0:41:06.560 --> 0:41:10.080
<v Speaker 1>a collection of songs or pieces, and we still use

0:41:10.160 --> 0:41:13.160
<v Speaker 1>that word today even to describe collections of digital music

0:41:13.200 --> 0:41:16.640
<v Speaker 1>files to get by an artist's new album, even though

0:41:16.680 --> 0:41:18.440
<v Speaker 1>it may just be a bunch of MP three's or

0:41:18.520 --> 0:41:21.759
<v Speaker 1>some other music file, or really, I guess I should

0:41:21.800 --> 0:41:24.719
<v Speaker 1>say compression file. Now. I know a lot of people

0:41:24.760 --> 0:41:28.160
<v Speaker 1>who still use the term mix tape to refer to

0:41:28.239 --> 0:41:30.920
<v Speaker 1>music playlists. And in the good old days, and I'm

0:41:30.960 --> 0:41:33.720
<v Speaker 1>being a bit facetious here, you would take a blank

0:41:33.800 --> 0:41:37.120
<v Speaker 1>audio cassette tape that is a medium for audio storage

0:41:37.200 --> 0:41:40.160
<v Speaker 1>that relied on a plastic film codd with a magnetic material,

0:41:40.600 --> 0:41:43.480
<v Speaker 1>and then you would transfer songs over to that mixtape.

0:41:44.000 --> 0:41:46.000
<v Speaker 1>Giving someone a mix tape was often seen as a

0:41:46.000 --> 0:41:49.080
<v Speaker 1>big power move as far as friendship is concerned. It's

0:41:49.080 --> 0:41:51.600
<v Speaker 1>saying I think I know what you're gonna dig, and

0:41:51.640 --> 0:41:53.960
<v Speaker 1>I curated this group of songs for you, and I

0:41:54.000 --> 0:41:56.879
<v Speaker 1>put them in this specific order, and that's the order

0:41:56.880 --> 0:41:59.040
<v Speaker 1>you would have to listen to the songs in because

0:41:59.040 --> 0:42:02.040
<v Speaker 1>they were all recorded onto a physical length of tape.

0:42:02.480 --> 0:42:05.520
<v Speaker 1>You could fast forward or rewind, but there was no

0:42:05.560 --> 0:42:08.720
<v Speaker 1>guarantee you would stop at the right spot to skip

0:42:08.760 --> 0:42:11.880
<v Speaker 1>over a song or go back to the very beginning

0:42:11.920 --> 0:42:13.759
<v Speaker 1>of a specific song, unless it was the very first

0:42:13.760 --> 0:42:16.640
<v Speaker 1>one on the tape. It's much easier today when you

0:42:16.680 --> 0:42:19.800
<v Speaker 1>can create a digital playlist on one of any number

0:42:19.920 --> 0:42:22.960
<v Speaker 1>of apps or services out there, and it's very easy

0:42:23.000 --> 0:42:25.080
<v Speaker 1>to share those with as many people as you like.

0:42:25.440 --> 0:42:27.520
<v Speaker 1>Although a lot of those services will allow people to

0:42:27.640 --> 0:42:30.319
<v Speaker 1>rearrange playlists, so maybe they won't have the experience you

0:42:30.360 --> 0:42:33.200
<v Speaker 1>intended for them to have. But yeah, some folks still

0:42:33.239 --> 0:42:35.319
<v Speaker 1>call it a mix tape, and I think stuff like

0:42:35.360 --> 0:42:39.000
<v Speaker 1>Guardians of the Galaxy really brought that back a little bit.

0:42:39.719 --> 0:42:43.000
<v Speaker 1>If anyone were actually giving a physical mixtape now, I

0:42:43.000 --> 0:42:45.719
<v Speaker 1>would be thrilled right up until the point where I

0:42:45.800 --> 0:42:48.080
<v Speaker 1>realized I had to go out and buy a tape

0:42:48.080 --> 0:42:50.840
<v Speaker 1>player because I don't have one anymore, and if I

0:42:50.880 --> 0:42:52.279
<v Speaker 1>wanted to listen to it, I would have to go

0:42:52.280 --> 0:42:55.640
<v Speaker 1>out and buy one. Oh and related to that is

0:42:55.680 --> 0:42:59.800
<v Speaker 1>the concept of rewinding, which literally just meant to rewind

0:42:59.840 --> 0:43:03.400
<v Speaker 1>the tape in an audio or video cassette, either so

0:43:03.440 --> 0:43:05.239
<v Speaker 1>that you could go back to the beginning of the

0:43:05.280 --> 0:43:07.600
<v Speaker 1>recorded media, or just to run it back a little

0:43:07.600 --> 0:43:10.680
<v Speaker 1>bit so you could experience a specific moment. Again, we

0:43:10.719 --> 0:43:13.799
<v Speaker 1>still use the word rewinding to describe this process, but

0:43:13.880 --> 0:43:18.359
<v Speaker 1>you're no longer actually winding anything around anything else. You're

0:43:18.400 --> 0:43:21.239
<v Speaker 1>just going back to an earlier moment in a timeline hack.

0:43:21.320 --> 0:43:24.239
<v Speaker 1>Lots of people still use the word taping to mean recording,

0:43:24.480 --> 0:43:26.960
<v Speaker 1>as in, did you watch Game of Thrones last night? No,

0:43:27.280 --> 0:43:29.839
<v Speaker 1>but I taped it, so I'll watch it soon. No

0:43:29.880 --> 0:43:33.520
<v Speaker 1>one really tapes anything anymore, or at the very least

0:43:33.560 --> 0:43:37.120
<v Speaker 1>very few people tape anything anymore. The companies that once

0:43:37.160 --> 0:43:40.359
<v Speaker 1>made VCRs all got out of that industry years ago.

0:43:40.680 --> 0:43:43.279
<v Speaker 1>So if you do still have a VCR a working one,

0:43:44.000 --> 0:43:46.440
<v Speaker 1>use it gently because it's not likely that you're going

0:43:46.480 --> 0:43:48.920
<v Speaker 1>to find a replacement out there if something goes wrong.

0:43:49.360 --> 0:43:52.239
<v Speaker 1>But most of us just record something, or rather we

0:43:52.400 --> 0:43:56.239
<v Speaker 1>copy it digitally, and no tape is actually involved. And

0:43:56.239 --> 0:43:59.279
<v Speaker 1>there are many other examples I could have included in

0:43:59.360 --> 0:44:02.040
<v Speaker 1>this episode. You guys really responded with a lot of

0:44:02.040 --> 0:44:04.399
<v Speaker 1>fun ones. But it's time for me to head out

0:44:04.760 --> 0:44:09.320
<v Speaker 1>and start my holiday after a record one more episode,

0:44:09.520 --> 0:44:11.719
<v Speaker 1>so I promise the next episode is going to be

0:44:11.800 --> 0:44:14.200
<v Speaker 1>more substantial, because I've got the notes ready to go.

0:44:14.840 --> 0:44:17.200
<v Speaker 1>To be honest, this episode involved a lot more research

0:44:17.280 --> 0:44:19.720
<v Speaker 1>than I had originally intended because it covered a fairly

0:44:19.760 --> 0:44:22.359
<v Speaker 1>wide range of topics, but it seemed like a good

0:44:22.360 --> 0:44:25.200
<v Speaker 1>idea at the time. If any of you have any

0:44:25.239 --> 0:44:28.320
<v Speaker 1>suggestions for future episodes of tech Stuff, send me a

0:44:28.480 --> 0:44:31.640
<v Speaker 1>message the email addresses tech Stuff at how stuff works

0:44:31.719 --> 0:44:34.600
<v Speaker 1>dot com, or draw me a line on Facebook or Twitter.

0:44:34.640 --> 0:44:37.759
<v Speaker 1>The handle, there is text stuff h s W. Head

0:44:37.800 --> 0:44:41.680
<v Speaker 1>on over to tech stuff podcast dot com for our

0:44:41.719 --> 0:44:44.160
<v Speaker 1>website that has an archive of all of our past episodes.

0:44:44.320 --> 0:44:47.279
<v Speaker 1>You'll also find a link to our online store, where

0:44:47.320 --> 0:44:49.799
<v Speaker 1>every purchase you make goes to help the show and

0:44:49.840 --> 0:44:52.440
<v Speaker 1>we greatly appreciate it, and I will talk to you

0:44:52.480 --> 0:45:00.400
<v Speaker 1>again really soon. Text Stuff is a action of I

0:45:00.480 --> 0:45:03.480
<v Speaker 1>heart Radio's How stuff Works. For more podcasts from I

0:45:03.560 --> 0:45:07.160
<v Speaker 1>heart Radio, visit the i heart Radio app, Apple Podcasts,

0:45:07.280 --> 0:45:09.280
<v Speaker 1>or wherever you listen to your favorite shows.