1 00:00:00,240 --> 00:00:15,400 Speaker 1: Ridiculous History is a production of I Heart Radio. Ye 2 00:00:26,840 --> 00:00:29,880 Speaker 1: welcome to the show, Ridiculous Historians. Thank you, as always 3 00:00:29,920 --> 00:00:32,600 Speaker 1: so much for tuning in, coming in hot with a 4 00:00:32,640 --> 00:00:34,600 Speaker 1: lot of coffee, and, of course, as we'd like to 5 00:00:34,640 --> 00:00:37,040 Speaker 1: do at the top of big thanks to our super producer, 6 00:00:37,880 --> 00:00:45,840 Speaker 1: the Madman of Michigan, Mr Max Williams. Uh they called 7 00:00:45,840 --> 00:00:49,120 Speaker 1: me ben uh No, this is a part two. We 8 00:00:49,240 --> 00:00:51,360 Speaker 1: wanted to make this one partner, but we just we 9 00:00:51,440 --> 00:00:54,600 Speaker 1: just couldn't help ourselves. Man, No, we just love the 10 00:00:54,680 --> 00:00:57,560 Speaker 1: pic just too much. We had to. We had to. 11 00:00:57,680 --> 00:01:01,440 Speaker 1: We had to wax philosophical and poet in nostalgic all 12 00:01:01,480 --> 00:01:04,679 Speaker 1: those things about them for quite some time. I have 13 00:01:04,720 --> 00:01:08,640 Speaker 1: a question to guess what happens if something happens to 14 00:01:08,680 --> 00:01:10,840 Speaker 1: this part. So people are always gonna be sitting around 15 00:01:10,840 --> 00:01:12,920 Speaker 1: like they they're gonna hear the end of part one. 16 00:01:13,319 --> 00:01:16,600 Speaker 1: I feel like you're intentionally gonna cut this? What w 17 00:01:16,600 --> 00:01:18,120 Speaker 1: why wout I cut this? I know this is gonna 18 00:01:18,120 --> 00:01:21,000 Speaker 1: stay here forever, stay here for People can listen to 19 00:01:21,080 --> 00:01:23,160 Speaker 1: part one and here like oh yeah, I'm so excited 20 00:01:23,200 --> 00:01:25,160 Speaker 1: for part two, and then it just never appears. It's 21 00:01:25,200 --> 00:01:29,039 Speaker 1: just lost forever let's uh, well, we're working with live 22 00:01:29,160 --> 00:01:32,319 Speaker 1: fire in that case, hopefully not as dangerous as studio fire. 23 00:01:32,440 --> 00:01:34,200 Speaker 1: What do you say, I want to get into it, 24 00:01:34,760 --> 00:01:40,240 Speaker 1: Let us do it. Sometimes circumstances were just against people, 25 00:01:40,600 --> 00:01:43,960 Speaker 1: like the we talked about fires. This is interesting. I 26 00:01:44,000 --> 00:01:48,400 Speaker 1: have a personal experience with lost media on my father's side. 27 00:01:48,760 --> 00:01:51,840 Speaker 1: No one knows how old my grandfather was because the 28 00:01:51,880 --> 00:01:56,080 Speaker 1: courthouse that held his birth certificate burned down. And if 29 00:01:56,120 --> 00:01:58,760 Speaker 1: I could be candid when you asked him about his age, 30 00:01:59,000 --> 00:02:02,320 Speaker 1: his answer would change depending on whether or not he thought, uh, 31 00:02:02,360 --> 00:02:06,000 Speaker 1: a woman in the room was attractive. That's just it's 32 00:02:06,000 --> 00:02:08,480 Speaker 1: a true story. He wasn't a creep he was. He 33 00:02:08,520 --> 00:02:12,320 Speaker 1: was just a weird dude. And so big film companies 34 00:02:12,600 --> 00:02:16,520 Speaker 1: and studios are fighting fires all the time. There was 35 00:02:16,560 --> 00:02:21,399 Speaker 1: an unexplained explosion in a film vault in nineteen twenty 36 00:02:21,639 --> 00:02:25,520 Speaker 1: at the Famous Players and Metro Film Exchange building in 37 00:02:25,600 --> 00:02:31,239 Speaker 1: Kansas City. This explosion caused a fire that went through 38 00:02:31,240 --> 00:02:34,280 Speaker 1: the entirety of the twelfth floor and then the eleventh 39 00:02:34,320 --> 00:02:40,520 Speaker 1: floor of the Metro. One million dollars worth of films 40 00:02:40,880 --> 00:02:44,560 Speaker 1: were destroyed. Luckily, there were no injuries. None of the 41 00:02:44,560 --> 00:02:48,880 Speaker 1: employees were injured, but one million dollars worth of film 42 00:02:49,280 --> 00:02:52,280 Speaker 1: was destroyed. And just to drive that impact home, I 43 00:02:52,320 --> 00:03:00,440 Speaker 1: think it's time for an inflation calculator and inflame you shouldn't. 44 00:03:00,480 --> 00:03:05,760 Speaker 1: Calculator is the place to be. And our results are 45 00:03:05,800 --> 00:03:11,560 Speaker 1: in one million dollars in nineteen twenty is equal to backs. 46 00:03:11,760 --> 00:03:15,799 Speaker 1: You gotta hit it this time. What do you want 47 00:03:15,800 --> 00:03:17,440 Speaker 1: a drum roll? So I'm giving you one right now, 48 00:03:18,120 --> 00:03:22,600 Speaker 1: booth booth. Oh yeah, it's a four million, eight hundred 49 00:03:22,680 --> 00:03:27,280 Speaker 1: forty thousands, four dollars. Is that what you're looking for? Yeah, 50 00:03:27,800 --> 00:03:29,920 Speaker 1: that's a ton of money. Right, that's the kind of 51 00:03:29,960 --> 00:03:33,679 Speaker 1: stuff that will sink your ship. Unbelievable. Yeah, and it's 52 00:03:33,680 --> 00:03:37,000 Speaker 1: not the only fire, No, it's not. Another fire started 53 00:03:37,040 --> 00:03:42,720 Speaker 1: in Universal City on May nineteen twenty two when an 54 00:03:42,760 --> 00:03:48,240 Speaker 1: electrical snaff who essentially caused like a live wire kind 55 00:03:48,240 --> 00:03:52,440 Speaker 1: of like in the movies, flailing around on the film 56 00:03:52,520 --> 00:03:58,320 Speaker 1: set in the cutting room full of that flammable stuff. Um. 57 00:03:58,360 --> 00:04:02,080 Speaker 1: It created heat that then caused boxes of film stock 58 00:04:02,160 --> 00:04:07,760 Speaker 1: to explode, including you know, like shrapnel, like metal shars 59 00:04:07,760 --> 00:04:11,080 Speaker 1: flying around. I mean, people, really, you know we're in 60 00:04:11,240 --> 00:04:14,560 Speaker 1: serious danger. Not to mention the the you know the films. 61 00:04:14,920 --> 00:04:18,479 Speaker 1: An actor by the name of Priscilla Dean actually was 62 00:04:18,600 --> 00:04:23,760 Speaker 1: wearing wearing her costumes still and desperately was trying to 63 00:04:23,760 --> 00:04:28,080 Speaker 1: to rescue one of her films called Under Two Flags. 64 00:04:28,600 --> 00:04:31,200 Speaker 1: But then she fell, you know, in this kind of 65 00:04:31,240 --> 00:04:35,200 Speaker 1: like ensuing maree and and got pretty badly injured. I 66 00:04:35,240 --> 00:04:38,720 Speaker 1: think she had a pretty pretty nasty sprain. Irving Thalberg, 67 00:04:38,800 --> 00:04:41,279 Speaker 1: who you may have heard of. He's a very um 68 00:04:41,520 --> 00:04:44,160 Speaker 1: successful and uh, I think there's a I think this 69 00:04:44,240 --> 00:04:46,599 Speaker 1: is the visit. An award of the Oscar is named 70 00:04:46,600 --> 00:04:50,080 Speaker 1: after him, the Irving J. Thalberg Award for like achievement 71 00:04:50,200 --> 00:04:52,480 Speaker 1: or something like that. Um. He was then at this 72 00:04:52,520 --> 00:04:54,520 Speaker 1: point the general manager of the studio and this other 73 00:04:54,640 --> 00:04:59,000 Speaker 1: guy named Leo McCary or McCarry. They tried to put 74 00:04:59,040 --> 00:05:03,320 Speaker 1: out the fire single handedly, but they were actually turned 75 00:05:03,360 --> 00:05:05,680 Speaker 1: away by security. I think, man, what's the deal of 76 00:05:05,720 --> 00:05:10,520 Speaker 1: that was? I don't understand how they were turned away. Well, 77 00:05:10,640 --> 00:05:13,360 Speaker 1: at this point, the it becomes a matter of personal 78 00:05:13,400 --> 00:05:16,640 Speaker 1: safety right there trying to get into the fire and 79 00:05:16,680 --> 00:05:20,800 Speaker 1: they're being stopped and being told, look, you can't. It's 80 00:05:20,839 --> 00:05:24,480 Speaker 1: too late. Right that that ship has sailed, that film 81 00:05:24,520 --> 00:05:28,240 Speaker 1: has burned, and then just a year later, there's how 82 00:05:28,320 --> 00:05:31,600 Speaker 1: much of a problem this material was? This nitrate and 83 00:05:31,680 --> 00:05:34,960 Speaker 1: necessitate Just a year later, there's a fire in Culver 84 00:05:35,080 --> 00:05:38,839 Speaker 1: City at Goldwyn Studio which will later be a MGM LOTT. 85 00:05:39,240 --> 00:05:44,320 Speaker 1: And this occurs on June twenty. Films that were in 86 00:05:44,320 --> 00:05:49,200 Speaker 1: the processing lab plus parts of seven other films were 87 00:05:49,240 --> 00:05:53,400 Speaker 1: destroyed and the fire and everybody jumped into help. No 88 00:05:53,440 --> 00:05:59,360 Speaker 1: one was a diva here. Actors, directors, crew members, prop guys, 89 00:05:59,480 --> 00:06:02,640 Speaker 1: and fire her crews all cooperated together to put out 90 00:06:02,640 --> 00:06:05,160 Speaker 1: the fire. I picked her the old school trope of 91 00:06:05,480 --> 00:06:09,839 Speaker 1: people handing buckets to each other in a line, and 92 00:06:09,880 --> 00:06:11,920 Speaker 1: the guy at the end just like, we need bigger 93 00:06:11,920 --> 00:06:15,800 Speaker 1: buckets also to jump in here real quick. The Irving G. 94 00:06:16,120 --> 00:06:19,760 Speaker 1: Thalberg Memorial Award is like a special award they give 95 00:06:19,760 --> 00:06:23,919 Speaker 1: out only periodically at the Oscars the way scritte leasas 96 00:06:23,920 --> 00:06:27,000 Speaker 1: is from a computer right here. Is for creative producers 97 00:06:27,080 --> 00:06:30,279 Speaker 1: whose bodies of work reflect a consistently high quality of 98 00:06:30,360 --> 00:06:33,120 Speaker 1: motion picture production. So it's kind of like a lifetime 99 00:06:33,160 --> 00:06:36,400 Speaker 1: achievement award. Like some people like uh like who have 100 00:06:36,480 --> 00:06:40,800 Speaker 1: gotten yeah yeah, like hitcock and stuff like that. So 101 00:06:41,200 --> 00:06:45,680 Speaker 1: someone like uh, like Dean Zank or Richard Zanc you 102 00:06:45,680 --> 00:06:48,880 Speaker 1: know someone who's usually given sometimes given posthumously, I believe 103 00:06:48,880 --> 00:06:53,480 Speaker 1: as well. Yeah yeah, yeah yeah, Spielberg, Lucas, all these 104 00:06:53,800 --> 00:06:56,520 Speaker 1: funny story at corner Wikipedia right here. Katherine Heathburn The 105 00:06:56,560 --> 00:06:58,240 Speaker 1: only time she showed up at the Oscars was to 106 00:06:58,240 --> 00:07:00,160 Speaker 1: give one of these. She had always sent. Some want 107 00:07:00,200 --> 00:07:03,920 Speaker 1: to get her off, and I think that was the 108 00:07:04,040 --> 00:07:19,880 Speaker 1: Max with the facts right there. Oh boy, was it 109 00:07:20,040 --> 00:07:23,360 Speaker 1: factsy as they come. Thank you for that, Max, I 110 00:07:23,360 --> 00:07:27,160 Speaker 1: love us. Sound cue here are ridiculous history. We also 111 00:07:27,200 --> 00:07:30,600 Speaker 1: have more fires, just to list these out quickly because 112 00:07:30,640 --> 00:07:32,920 Speaker 1: this is a depressing part of the show. There's a 113 00:07:32,960 --> 00:07:40,520 Speaker 1: fire at Consolidated Film Industries on October. This unfortunately does 114 00:07:40,600 --> 00:07:45,239 Speaker 1: result in the fatality because a technician tries to save 115 00:07:45,360 --> 00:07:49,040 Speaker 1: the film and he's running out of this exploding, burning 116 00:07:49,160 --> 00:07:53,800 Speaker 1: building with canisters of film in his arms. Uh. Five 117 00:07:53,880 --> 00:07:57,320 Speaker 1: other people are injured, they're burned, but they're not some 118 00:07:57,400 --> 00:08:00,960 Speaker 1: of them grievously but they're not killed. And two million 119 00:08:01,000 --> 00:08:04,000 Speaker 1: dollars worth of film is lost. I think there were 120 00:08:04,080 --> 00:08:07,000 Speaker 1: fifty employees and the night shift they were able to escape. 121 00:08:07,720 --> 00:08:12,000 Speaker 1: Later they would say this machine that polishes developed film 122 00:08:12,040 --> 00:08:16,440 Speaker 1: caused the fire, and this fire spread to sound stages. 123 00:08:17,040 --> 00:08:20,680 Speaker 1: These were big deal films too at the time, and 124 00:08:20,960 --> 00:08:24,480 Speaker 1: quickly the industry started to say, hang on a tick, 125 00:08:25,120 --> 00:08:29,160 Speaker 1: are deadly fires becoming a normal like cost of doing business? 126 00:08:29,160 --> 00:08:31,920 Speaker 1: Now do we need to do the studio need to 127 00:08:31,960 --> 00:08:35,080 Speaker 1: have its own fire department? What what are we gonna do? 128 00:08:35,400 --> 00:08:40,880 Speaker 1: And they were already thinking of this when seven hit 129 00:08:41,080 --> 00:08:45,680 Speaker 1: July nine. There's another fire and this is one of 130 00:08:45,679 --> 00:08:56,560 Speaker 1: the worst ones yet. That's right. We had a fire, specifically, 131 00:08:56,640 --> 00:08:59,640 Speaker 1: not in l A this time. It occurred in little 132 00:09:00,040 --> 00:09:05,199 Speaker 1: very New Jersey at a twentieth century Fox film storage facility. 133 00:09:05,440 --> 00:09:09,199 Speaker 1: This was on July nine, nine seven, and and once again, 134 00:09:09,240 --> 00:09:10,560 Speaker 1: I mean, it was kind of one of these set 135 00:09:10,559 --> 00:09:12,400 Speaker 1: it and forget it things, you know that the things 136 00:09:12,400 --> 00:09:14,840 Speaker 1: that the cans would just be, you know, put in 137 00:09:14,880 --> 00:09:17,240 Speaker 1: their cataloged. And then you know, probably the place was 138 00:09:17,320 --> 00:09:20,800 Speaker 1: operated by a relatively small crew, so there was some 139 00:09:20,960 --> 00:09:25,560 Speaker 1: neglect and uh, you know, very specific conditions that led 140 00:09:25,640 --> 00:09:29,520 Speaker 1: to a a fire being united. Nitrate film again, much 141 00:09:29,559 --> 00:09:34,520 Speaker 1: like it's I guess cousin Nitrokee listening could become unstable 142 00:09:34,800 --> 00:09:39,600 Speaker 1: and could actually spontaneously combust. Uh. You know, when the 143 00:09:39,640 --> 00:09:43,720 Speaker 1: heat conditions got just so, it was exposed to direct heat. 144 00:09:44,160 --> 00:09:47,400 Speaker 1: So since these storage vaults were made of concrete and 145 00:09:47,400 --> 00:09:52,200 Speaker 1: the ventilation was bad, Uh, it caused these gases for 146 00:09:52,280 --> 00:09:54,600 Speaker 1: that we're kind of generated coming off of this nitrate 147 00:09:54,720 --> 00:09:58,760 Speaker 1: film to just catch fire and explode. And then what 148 00:09:58,800 --> 00:10:00,760 Speaker 1: do you have there. It's like a bunch of matches 149 00:10:00,840 --> 00:10:02,960 Speaker 1: lined up next to one another. You end up with 150 00:10:03,000 --> 00:10:06,360 Speaker 1: like a domino effect of mayhem. Uh. There was actually 151 00:10:06,400 --> 00:10:09,880 Speaker 1: a young a young person that was killed who lived 152 00:10:09,880 --> 00:10:13,160 Speaker 1: in the neighborhood nearby, and two others were injured from 153 00:10:13,240 --> 00:10:18,280 Speaker 1: from various results of the fire. Yeah, it's an incredible 154 00:10:18,320 --> 00:10:23,200 Speaker 1: tragedy and the cost was more than human lives as well, 155 00:10:23,280 --> 00:10:26,160 Speaker 1: not to diminish those at all, but just due to 156 00:10:26,200 --> 00:10:30,400 Speaker 1: this incident, this outbreak, most of the majority of silent 157 00:10:30,440 --> 00:10:34,640 Speaker 1: films from the Fox Film Corporation were lost. Right now, 158 00:10:34,800 --> 00:10:39,560 Speaker 1: seventy five of Fox films before nine are just gone 159 00:10:39,840 --> 00:10:44,400 Speaker 1: literally up in smoke. And it's due to this one event. 160 00:10:45,600 --> 00:10:49,640 Speaker 1: These fires continued nine. There's a fire at the MGM 161 00:10:49,800 --> 00:10:53,240 Speaker 1: film vault. These vaults were made out a concrete, they 162 00:10:53,240 --> 00:10:56,400 Speaker 1: were separated from each other, they were far from any buildings. 163 00:10:56,760 --> 00:10:59,080 Speaker 1: They were built in the nineteen thirties, during the time 164 00:10:59,120 --> 00:11:02,000 Speaker 1: in which studios all ready We're well aware of the 165 00:11:02,080 --> 00:11:06,080 Speaker 1: danger of this spontaneous combustion and the threat of fires. 166 00:11:06,080 --> 00:11:09,880 Speaker 1: But still an electrical spark was all It took. One 167 00:11:10,160 --> 00:11:13,840 Speaker 1: errant spark caused a fire and film storage vault number seven, 168 00:11:14,280 --> 00:11:18,560 Speaker 1: and it caused an explosion. It killed someone. Uh, these 169 00:11:18,920 --> 00:11:22,000 Speaker 1: films that were in this vault, we're all lost. This 170 00:11:22,080 --> 00:11:25,880 Speaker 1: is stuff like Greta Garbos, The Divine Woman, and the 171 00:11:25,880 --> 00:11:28,160 Speaker 1: film I just think about in the beginning London After 172 00:11:28,240 --> 00:11:32,320 Speaker 1: Midnight lawn Cheney. I've looked forever for it. You can 173 00:11:32,360 --> 00:11:35,719 Speaker 1: see pictures of the guy's costume as the monster and 174 00:11:35,800 --> 00:11:40,080 Speaker 1: lawn Cheney of course old school special effects genius. But 175 00:11:40,320 --> 00:11:44,240 Speaker 1: you cannot see this film. And if I am incorrect 176 00:11:44,280 --> 00:11:47,360 Speaker 1: about that, please find me. Find me on social media, 177 00:11:47,440 --> 00:11:49,720 Speaker 1: right to us or something. I want to see the film. 178 00:11:49,760 --> 00:11:53,480 Speaker 1: If you know a way to see it, I think, yeah, 179 00:11:53,559 --> 00:11:57,920 Speaker 1: I'm at me woke, mob, We'll see I want to 180 00:11:57,920 --> 00:12:01,600 Speaker 1: see the film. Oh, and as you should, and just 181 00:12:01,679 --> 00:12:04,520 Speaker 1: jump in one more time. I'll say, from like you 182 00:12:04,559 --> 00:12:06,880 Speaker 1: know us working on the show Ephemeral, We've done a 183 00:12:06,920 --> 00:12:09,360 Speaker 1: number of episodes about like lost movies, and the whole 184 00:12:09,440 --> 00:12:13,160 Speaker 1: the whole purpose of the show is lost stuff. And uh, 185 00:12:13,320 --> 00:12:15,480 Speaker 1: we talked to someone about like lost movies. The one 186 00:12:15,520 --> 00:12:17,800 Speaker 1: they talk about the most is that Fox Fire. Like 187 00:12:17,840 --> 00:12:19,640 Speaker 1: that's the one they always bring up, like, yeah, that 188 00:12:19,720 --> 00:12:21,640 Speaker 1: the Fox Fire, which is just like so much was 189 00:12:21,679 --> 00:12:25,199 Speaker 1: lost on that thing. It's like, that's like the unfortunate 190 00:12:25,320 --> 00:12:31,880 Speaker 1: pinnacle of these fires. Yeah, and then we see that 191 00:12:32,280 --> 00:12:37,400 Speaker 1: twelve point six million feet of historical newsreel footage that 192 00:12:37,440 --> 00:12:42,320 Speaker 1: have been donated by Universal Pictures is destroyed in night 193 00:12:42,400 --> 00:12:46,160 Speaker 1: on December seven. And this was a fire at a 194 00:12:46,280 --> 00:12:49,800 Speaker 1: federal complex at the National Archives and Record Service. So 195 00:12:49,920 --> 00:12:53,800 Speaker 1: even even Uncle Sam is having problems keeping this stuff 196 00:12:54,400 --> 00:12:58,720 Speaker 1: from sparking. And I know this sounds like a litany 197 00:12:58,800 --> 00:13:04,079 Speaker 1: of taraf fing fire related catastrophes because spoiler alert it is. 198 00:13:04,280 --> 00:13:08,360 Speaker 1: And further spoiler alert, these fires keep going. We're actually 199 00:13:08,360 --> 00:13:10,280 Speaker 1: not going to get two in the weeds. What you 200 00:13:10,320 --> 00:13:13,080 Speaker 1: need to know is the Fox film fire was the 201 00:13:13,559 --> 00:13:17,800 Speaker 1: by far the most disastrous in terms of all the 202 00:13:17,840 --> 00:13:22,320 Speaker 1: footage media that was lost. But of course fires are 203 00:13:22,440 --> 00:13:26,240 Speaker 1: dangerous to any kind of physical media, not just film. Yeah, 204 00:13:26,320 --> 00:13:29,960 Speaker 1: and they're also this is not entirely a phenomenon that 205 00:13:30,040 --> 00:13:32,400 Speaker 1: went away like in the in the nineties, you know, 206 00:13:32,720 --> 00:13:36,320 Speaker 1: thirties and forties. Back in two thousand eight, there was 207 00:13:36,400 --> 00:13:42,600 Speaker 1: a massive fire in the studio backlot of Universal Studios building, 208 00:13:44,559 --> 00:13:49,800 Speaker 1: which was Universal Music Group's main West Coast storehouse of masters. 209 00:13:50,120 --> 00:13:53,199 Speaker 1: And when we think of music, the masters are essentially 210 00:13:53,240 --> 00:13:58,000 Speaker 1: like the original you know, multi track tapes of a 211 00:13:58,080 --> 00:14:01,679 Speaker 1: very iconic records where store wants to own, that's what 212 00:14:01,760 --> 00:14:03,840 Speaker 1: the studio owns. And and you know a lot of 213 00:14:03,920 --> 00:14:07,040 Speaker 1: artists will negotiate for themselves that they own their own masters. 214 00:14:07,040 --> 00:14:11,280 Speaker 1: That is incredibly difficult to do and uh usually you 215 00:14:11,280 --> 00:14:13,360 Speaker 1: know it's it's a it's a deal breaker, but they 216 00:14:13,440 --> 00:14:15,960 Speaker 1: gotta go somewhere. So whether it's like you know, the 217 00:14:16,000 --> 00:14:18,160 Speaker 1: final kind of mixed downs, because if you have the 218 00:14:18,240 --> 00:14:21,800 Speaker 1: multi track tapes, that's actually just the original recordings and 219 00:14:21,840 --> 00:14:23,960 Speaker 1: then all of that stuff gets filtered through you know, 220 00:14:24,320 --> 00:14:27,840 Speaker 1: studio equipment to create you know, reverbs and whatever it 221 00:14:27,920 --> 00:14:30,040 Speaker 1: might be in effects and all of that. So in 222 00:14:30,120 --> 00:14:33,080 Speaker 1: order to actually you can actually take those and remix them. 223 00:14:33,400 --> 00:14:35,760 Speaker 1: That's what when you you get reissued, you'll actually have 224 00:14:35,880 --> 00:14:39,640 Speaker 1: somebody remixing older records and like remastering them and they'll 225 00:14:39,640 --> 00:14:41,920 Speaker 1: put them through maybe more modern equipment or whatever it 226 00:14:42,000 --> 00:14:45,440 Speaker 1: might be. But this building which stored all of this stuff, 227 00:14:45,520 --> 00:14:48,360 Speaker 1: things dating back as far as the nineteen forties, including 228 00:14:48,360 --> 00:14:52,400 Speaker 1: digital masters of of more recent stuff, burned and they 229 00:14:52,520 --> 00:14:57,920 Speaker 1: kept it under wraps for years, like unless you lived there. 230 00:14:58,320 --> 00:15:01,400 Speaker 1: This happened in two thousand eight, and it didn't really 231 00:15:01,440 --> 00:15:04,600 Speaker 1: make the news, uh nationally or you know, in a 232 00:15:04,640 --> 00:15:09,680 Speaker 1: mainstream way until two thousand nineteen. And um, this was 233 00:15:09,760 --> 00:15:13,360 Speaker 1: literally near what used to be the King Kong encounter 234 00:15:13,720 --> 00:15:16,640 Speaker 1: because Universal Studios, where the amusement park is is is 235 00:15:16,680 --> 00:15:20,280 Speaker 1: an active studio and you know, iconic films have been 236 00:15:20,320 --> 00:15:24,360 Speaker 1: shot there. But this archive contained things from the likes 237 00:15:24,400 --> 00:15:29,360 Speaker 1: of Buddy Holly, Uh, Duke Ellington, count Basie, Dizzy Gillespie, 238 00:15:29,480 --> 00:15:34,040 Speaker 1: Max Roach, Art Blakey Sun Raw, Albert ailor Charles Mingus 239 00:15:34,040 --> 00:15:36,480 Speaker 1: And that's like just the jazz stuff. It had, you know, 240 00:15:36,600 --> 00:15:42,600 Speaker 1: stuff from Neil Diamond, Study and Share, Quincy Jones, Sister Rosetta, Tharpe, Ray, 241 00:15:42,720 --> 00:15:45,880 Speaker 1: Charles R. E. M. Steve Earl, George Straight so like 242 00:15:46,000 --> 00:15:48,840 Speaker 1: just aggy pop all over the place. So you know, 243 00:15:49,160 --> 00:15:52,640 Speaker 1: I think, thankfully most of that stuff digitally, you know 244 00:15:52,720 --> 00:15:54,320 Speaker 1: what had been are A lot of the more recent 245 00:15:54,360 --> 00:15:58,240 Speaker 1: stuff have been digitally backed up elsewhere. But you know, 246 00:15:58,680 --> 00:16:02,200 Speaker 1: it's a big deal. M m yeah, and it could 247 00:16:02,200 --> 00:16:04,800 Speaker 1: happen in the you know. Another thing we have to 248 00:16:04,800 --> 00:16:10,320 Speaker 1: remember is that the cloud as it exists is tremendously clever. 249 00:16:10,920 --> 00:16:14,480 Speaker 1: But if the right amount of servers go down or 250 00:16:14,760 --> 00:16:18,040 Speaker 1: encounter some sort of physical danger, then things that are 251 00:16:18,040 --> 00:16:22,160 Speaker 1: stored digitally can also be lost. So it's a fight 252 00:16:22,280 --> 00:16:24,640 Speaker 1: that continues, and it's part of the reason why we've 253 00:16:24,640 --> 00:16:30,400 Speaker 1: decided to make Lost Media a series. Uh. Before we 254 00:16:30,680 --> 00:16:32,800 Speaker 1: end this two part series, there are a couple of 255 00:16:32,960 --> 00:16:36,160 Speaker 1: a couple of shoutouts that we wanted to do and 256 00:16:36,200 --> 00:16:39,960 Speaker 1: a couple I personally need to get off of my chest. 257 00:16:40,400 --> 00:16:43,600 Speaker 1: This is another call out. If you heard my plea 258 00:16:43,720 --> 00:16:49,400 Speaker 1: to see London after midnight and you said, Ben, you fool, 259 00:16:49,480 --> 00:16:53,760 Speaker 1: you're nutty, Professor, you London after midnight really doesn't exist. 260 00:16:54,200 --> 00:16:56,200 Speaker 1: I wish I could help you. Well, here's another way 261 00:16:56,200 --> 00:16:58,400 Speaker 1: you might be able to help me. For years, I've 262 00:16:58,400 --> 00:17:02,400 Speaker 1: been looking for the director's cut of Event Horizon. This 263 00:17:02,520 --> 00:17:08,320 Speaker 1: is one of the most legendary recent lost films. No 264 00:17:08,359 --> 00:17:12,320 Speaker 1: one knows, uh well, the official word is that there 265 00:17:12,600 --> 00:17:18,840 Speaker 1: is no director's cut around today, but I hope that's untrue, 266 00:17:18,920 --> 00:17:22,399 Speaker 1: because that movie slaps. The original cut was a hundred 267 00:17:22,400 --> 00:17:25,320 Speaker 1: and thirty minutes, so half an hour's missing from it, 268 00:17:25,840 --> 00:17:29,439 Speaker 1: and uh, it's very good. I love because I think 269 00:17:29,440 --> 00:17:31,040 Speaker 1: we've talked about all of the times. It's a movie 270 00:17:31,040 --> 00:17:33,480 Speaker 1: where the marketing campaign did not line up with what 271 00:17:33,520 --> 00:17:35,760 Speaker 1: the actual movie was, and it just it wrecked my 272 00:17:36,080 --> 00:17:38,480 Speaker 1: teenage brain. But I'm kind of glad it did, because 273 00:17:38,640 --> 00:17:42,119 Speaker 1: you know, got me and honestly pushing me headlong into deeper, weirder, 274 00:17:42,720 --> 00:17:45,800 Speaker 1: more love crafty and horror. But another example of that band, 275 00:17:46,040 --> 00:17:48,840 Speaker 1: and it's not even a director's cut, it's, uh, you know, 276 00:17:48,920 --> 00:17:53,160 Speaker 1: a film. Actually, there's two films by very prominent director 277 00:17:53,240 --> 00:17:57,480 Speaker 1: Kathryn bigelow Um, who is known for her excellent films 278 00:17:57,840 --> 00:18:02,120 Speaker 1: including Zero, Dark, thirty, and um, what's the other one? 279 00:18:02,720 --> 00:18:05,320 Speaker 1: The hurt Locker, which I believe she want an Academy 280 00:18:05,359 --> 00:18:08,520 Speaker 1: Award for. But some of her early films are kind 281 00:18:08,520 --> 00:18:12,159 Speaker 1: of more on the schlocky, weirdo sci fi and horror side. 282 00:18:12,160 --> 00:18:16,080 Speaker 1: Like there's a movie called Near Dark starring Bill Paxton. 283 00:18:16,760 --> 00:18:19,919 Speaker 1: That up until very recently when it was put out 284 00:18:19,920 --> 00:18:21,800 Speaker 1: by the Criterion Channel, it was really hard to get 285 00:18:21,800 --> 00:18:23,639 Speaker 1: a hold of. And I watched it on on the 286 00:18:23,640 --> 00:18:27,440 Speaker 1: Criterion Channel's recent eighties Horror collection. They do these great 287 00:18:27,440 --> 00:18:30,760 Speaker 1: little curated collections and highly recommend get the Free Trial. 288 00:18:30,920 --> 00:18:33,080 Speaker 1: It's such a great if you're into film, that is 289 00:18:33,080 --> 00:18:35,040 Speaker 1: a fun one. You can just browse and you'll find 290 00:18:35,080 --> 00:18:37,480 Speaker 1: things you've never thought to even look for, and the 291 00:18:37,480 --> 00:18:40,639 Speaker 1: way they're curated again, back to the curation there in 292 00:18:40,680 --> 00:18:43,280 Speaker 1: these clever little kind of you know collections, and so 293 00:18:43,359 --> 00:18:47,160 Speaker 1: it'll be like around you know, women, the filmmakers working 294 00:18:47,200 --> 00:18:50,399 Speaker 1: in Iran, like in the nineteen, you know, seventies or 295 00:18:50,400 --> 00:18:52,560 Speaker 1: whatever it might be. I'm kind of spitballing there. But 296 00:18:52,920 --> 00:18:55,960 Speaker 1: the other one is is impossible to find. It's called 297 00:18:56,240 --> 00:19:00,960 Speaker 1: Strange Days. Do you remember Strange Days? Ben? Yeah, It's 298 00:19:01,000 --> 00:19:04,520 Speaker 1: a Catherine Bigelow movie starring Raye Findes. I believe about 299 00:19:04,600 --> 00:19:09,000 Speaker 1: like a future dystopian future where you could relive people's 300 00:19:09,119 --> 00:19:11,560 Speaker 1: you know, sex encounters and stuff in a VR kind 301 00:19:11,560 --> 00:19:14,400 Speaker 1: of situation. And then there's a serial killer who's using 302 00:19:14,840 --> 00:19:18,040 Speaker 1: you know, who's murdering people and recording their their experience 303 00:19:18,080 --> 00:19:20,879 Speaker 1: of it on these weird little mini disc things. But 304 00:19:21,080 --> 00:19:24,119 Speaker 1: that is not streaming anywhere, and I can't find a 305 00:19:24,160 --> 00:19:25,760 Speaker 1: physical copy of it to save my life. And you've 306 00:19:25,760 --> 00:19:28,520 Speaker 1: gotta wonder, is this at the behest of the filmmaker, 307 00:19:28,560 --> 00:19:31,080 Speaker 1: who's like, I'm not so stoked on that one anymore, 308 00:19:31,840 --> 00:19:34,280 Speaker 1: Because the filmmaker of her caliber, you'd think would uh 309 00:19:34,680 --> 00:19:39,280 Speaker 1: have her whole you know, uber kind of digitized in 310 00:19:39,359 --> 00:19:49,040 Speaker 1: some way, shape or form. Yeah, even Orson Wells is 311 00:19:49,040 --> 00:19:51,639 Speaker 1: not immune to this. One thing is often called the 312 00:19:51,640 --> 00:19:56,159 Speaker 1: holy grail of lost films is the magnificent Amberson's director cut. 313 00:19:56,520 --> 00:19:59,280 Speaker 1: This is what he made right after Citizen Kane. The 314 00:19:59,400 --> 00:20:02,640 Speaker 1: studio didn't like it. They took forty minutes of footage 315 00:20:02,680 --> 00:20:05,800 Speaker 1: out and they made up a new ending, because that's 316 00:20:05,800 --> 00:20:08,360 Speaker 1: back when studios would just do that, So they put 317 00:20:08,359 --> 00:20:12,920 Speaker 1: in a new, happier, more family friendly ending. Orson himself 318 00:20:12,960 --> 00:20:16,320 Speaker 1: had nothing to do with it. He wasn't around. He 319 00:20:16,359 --> 00:20:18,840 Speaker 1: actually high tailed it off to Brazil to work on 320 00:20:18,880 --> 00:20:22,520 Speaker 1: another film, and then the original version of his film 321 00:20:22,960 --> 00:20:26,960 Speaker 1: was destroyed by the studio. As we record now, this 322 00:20:27,040 --> 00:20:31,080 Speaker 1: is the one that may have some prince still in existence. 323 00:20:31,480 --> 00:20:34,040 Speaker 1: So without too much of a pun here, if you 324 00:20:34,200 --> 00:20:36,320 Speaker 1: hand this to us, if you can be the person 325 00:20:36,440 --> 00:20:38,600 Speaker 1: who brings us any of these films, then you are 326 00:20:38,760 --> 00:20:44,119 Speaker 1: ridiculous history Royalty, and we eagerly await your correspondence saying 327 00:20:44,240 --> 00:20:47,439 Speaker 1: one day our prince will come get it. I walked 328 00:20:47,480 --> 00:20:51,639 Speaker 1: up to that punt, Prince, and then also print you 329 00:20:51,720 --> 00:20:54,679 Speaker 1: walked up to that pun and you you tapped it 330 00:20:54,760 --> 00:20:57,560 Speaker 1: right into that hole for a birdie. My man, that's 331 00:20:57,560 --> 00:21:01,000 Speaker 1: what you did there, Thanks bro uh And luckily you 332 00:21:01,000 --> 00:21:03,359 Speaker 1: know to your excellent point about the Criterion collection, when 333 00:21:03,400 --> 00:21:06,160 Speaker 1: you try that free trial, even if you don't consider 334 00:21:06,240 --> 00:21:12,480 Speaker 1: yourself a film buff, Criteria may may well transform you 335 00:21:12,640 --> 00:21:15,080 Speaker 1: into one. And it's all for the better. We always 336 00:21:15,080 --> 00:21:18,520 Speaker 1: have room for one more without sounding to sinister, I 337 00:21:18,560 --> 00:21:21,560 Speaker 1: guess maybe we can end it here, or we can 338 00:21:21,600 --> 00:21:24,520 Speaker 1: talk a little bit about just how whacky do and 339 00:21:24,640 --> 00:21:29,359 Speaker 1: dangerous nitrate prints are in the modern day, because you know, 340 00:21:29,440 --> 00:21:31,400 Speaker 1: this is something we talked about off air a little bit. 341 00:21:31,800 --> 00:21:35,200 Speaker 1: Uh So we established this stuff is so flammable. If 342 00:21:35,200 --> 00:21:39,240 Speaker 1: the temperature is wrong, then it will spontaneously can bust. 343 00:21:39,840 --> 00:21:42,959 Speaker 1: But what do you need to watch film you need 344 00:21:43,000 --> 00:21:49,880 Speaker 1: a film projector was a film projector due? Yeah. And 345 00:21:49,960 --> 00:21:51,480 Speaker 1: you know if you if you, if you spend any 346 00:21:51,520 --> 00:21:54,480 Speaker 1: time in l A. Uh, you know theaters like the 347 00:21:54,520 --> 00:21:58,920 Speaker 1: Egyptian of you know, from the American Cinematografique Society. I 348 00:21:58,960 --> 00:22:01,119 Speaker 1: think I was saying that right, Um, there's one of 349 00:22:01,119 --> 00:22:04,920 Speaker 1: these revival houses that are like play you know, original prints, 350 00:22:05,000 --> 00:22:07,880 Speaker 1: or like Quentin Tarantino's New Beverly Theater. You know they're 351 00:22:07,920 --> 00:22:10,920 Speaker 1: they're in l A. Also, we'll do that. Tarantino has 352 00:22:11,000 --> 00:22:15,159 Speaker 1: one of the largest collections of original nitrate prints I 353 00:22:15,200 --> 00:22:19,040 Speaker 1: think of any personal private collector in the world. Uh. 354 00:22:19,040 --> 00:22:22,359 Speaker 1: And he donates or you know, allows his his prints, 355 00:22:22,359 --> 00:22:24,840 Speaker 1: his personal prints to be shown in that theater to 356 00:22:24,960 --> 00:22:28,359 Speaker 1: the public. So if you're in l A, man, good 357 00:22:28,359 --> 00:22:30,760 Speaker 1: on you. You've got access to a lot of amazing, 358 00:22:30,920 --> 00:22:34,720 Speaker 1: you know, film opportunities to see these original prints. The 359 00:22:34,800 --> 00:22:36,960 Speaker 1: same in New York, you know, you've got places like 360 00:22:37,359 --> 00:22:39,800 Speaker 1: the Nighthawk. You know, it's just a theater where they'll 361 00:22:39,800 --> 00:22:42,320 Speaker 1: show you know, old Prince like I saw a bad 362 00:22:42,359 --> 00:22:45,879 Speaker 1: Lieutenant there the the able for for our movie with 363 00:22:45,920 --> 00:22:48,280 Speaker 1: Harvey Kitel And you could tell, man, it looked like 364 00:22:48,320 --> 00:22:50,600 Speaker 1: I was watching something from the seventies, like in an 365 00:22:50,880 --> 00:22:53,480 Speaker 1: old weird porn theater or something, because like it had 366 00:22:53,520 --> 00:22:56,080 Speaker 1: you know, the cigarette burns, which are literally the little 367 00:22:56,119 --> 00:22:58,560 Speaker 1: dots that are used to show the projectionist to switch 368 00:22:58,640 --> 00:23:00,960 Speaker 1: reels because the film, you know, comes in multiple reels 369 00:23:00,960 --> 00:23:03,280 Speaker 1: and the projections has to thread each one of them 370 00:23:03,280 --> 00:23:05,560 Speaker 1: in and then that's the queue to like switch a 371 00:23:05,640 --> 00:23:08,840 Speaker 1: switch and flip it over to the next reel. So, um, 372 00:23:08,880 --> 00:23:10,800 Speaker 1: you know, if you have access to that stuff, definitely 373 00:23:10,840 --> 00:23:13,800 Speaker 1: check it out. But also know to your point Ben that, yeah, 374 00:23:14,200 --> 00:23:17,320 Speaker 1: if they're using nitrate prints, which I imagine there are 375 00:23:17,359 --> 00:23:20,960 Speaker 1: some very bespoke you know houses that that that definitely 376 00:23:21,000 --> 00:23:23,679 Speaker 1: do that, maybe play original ones, I don't know, we 377 00:23:23,680 --> 00:23:26,400 Speaker 1: know that there were a lot of reproductions. You gotta 378 00:23:26,440 --> 00:23:28,800 Speaker 1: be really careful. You gotta keep your eye on on 379 00:23:28,880 --> 00:23:33,639 Speaker 1: the conditions, right. Oh yeah, So this stuff is fragile, 380 00:23:34,200 --> 00:23:37,920 Speaker 1: and you know film, if it's not spliced correctly, if 381 00:23:37,960 --> 00:23:42,679 Speaker 1: it's not smooth when it runs, it can derail things 382 00:23:42,760 --> 00:23:47,040 Speaker 1: can things can go wrong very quickly. These bulbs are 383 00:23:47,280 --> 00:23:52,040 Speaker 1: six thousand watch bulbs. According to Jared Case, the curator 384 00:23:52,280 --> 00:23:55,959 Speaker 1: of Film exhibitions over at the Eastman Museum. You have 385 00:23:56,080 --> 00:23:58,639 Speaker 1: to treat this stuff not like a regular film, but 386 00:23:58,680 --> 00:24:02,240 Speaker 1: like a museum artifact. The projectors have to be obsessively 387 00:24:02,359 --> 00:24:08,520 Speaker 1: maintained and cleaned after, after, and before write every single exhibition, 388 00:24:08,600 --> 00:24:11,120 Speaker 1: because at this point it's a matter of safety, not 389 00:24:11,240 --> 00:24:15,480 Speaker 1: just preserving the material. He mentions how their chief projectionists 390 00:24:15,920 --> 00:24:21,440 Speaker 1: is so rightly paranoid about this that he makes sure 391 00:24:21,480 --> 00:24:24,560 Speaker 1: there are no physical rough edges on the film. He 392 00:24:24,680 --> 00:24:28,560 Speaker 1: double checks every splice, uh, and everything as a result 393 00:24:28,920 --> 00:24:32,840 Speaker 1: takes more time, uh and they but they still they 394 00:24:32,880 --> 00:24:36,160 Speaker 1: want to see them because there's no mistaking it. The 395 00:24:36,240 --> 00:24:39,960 Speaker 1: nature of this material means that those originals will degrade. 396 00:24:40,240 --> 00:24:43,200 Speaker 1: It's kind of their destiny to be seen while they 397 00:24:43,200 --> 00:24:46,480 Speaker 1: can still be seen. I think it's a really great, 398 00:24:46,960 --> 00:24:50,080 Speaker 1: great sentiment, great way to wrap it up, and would 399 00:24:50,080 --> 00:24:52,960 Speaker 1: definitely recommend if you're in the Rochester, New York area, 400 00:24:53,040 --> 00:24:56,920 Speaker 1: to check out the George Eastman Museum to see some 401 00:24:56,960 --> 00:25:00,480 Speaker 1: of their collections. There lots of incredible examples of the 402 00:25:00,520 --> 00:25:03,560 Speaker 1: kinds of things we're talking about, and history of the 403 00:25:03,600 --> 00:25:07,800 Speaker 1: photographic arts also mentioned. The Egyptian i'm I pronounced totally 404 00:25:07,800 --> 00:25:12,040 Speaker 1: wrongways the American cinema tech. Uh not cinema tofique. I 405 00:25:12,080 --> 00:25:14,159 Speaker 1: did not need to go quite as sponge with that, 406 00:25:14,560 --> 00:25:17,680 Speaker 1: but uh yeah. They actually did a collaboration with Martin 407 00:25:17,680 --> 00:25:21,280 Speaker 1: Scorcedes Film Foundation in the Hollywood Form Press Association and 408 00:25:21,680 --> 00:25:27,960 Speaker 1: Turner Classic Movies which allows them to project these nitrate 409 00:25:28,000 --> 00:25:29,720 Speaker 1: prints that we're talking about, and that required them to 410 00:25:30,040 --> 00:25:35,720 Speaker 1: retrofit the theater with extra fireproofing material, including like a 411 00:25:35,840 --> 00:25:39,720 Speaker 1: giant steel fire door to to prevent you know, these 412 00:25:39,760 --> 00:25:43,760 Speaker 1: things from from being you know, from fire spreading. And also, um, 413 00:25:43,840 --> 00:25:47,600 Speaker 1: the projectionists. They're one of the chief projectionists, a guy 414 00:25:47,680 --> 00:25:51,120 Speaker 1: named Ben Tucker is interviewed pretty extensively in a book 415 00:25:51,160 --> 00:25:53,639 Speaker 1: that we recommend called The Art of Film Projection, A 416 00:25:53,680 --> 00:25:57,800 Speaker 1: Beginner's Guide, So check that one out too. And if 417 00:25:57,800 --> 00:26:02,119 Speaker 1: you can't make it travel wise Rochester, why not go 418 00:26:02,280 --> 00:26:06,520 Speaker 1: to your podcast app of choice and tune into Aphemeral, 419 00:26:06,800 --> 00:26:09,639 Speaker 1: a show that is all about lots of types of 420 00:26:09,720 --> 00:26:12,680 Speaker 1: lost media. Max What What? What's an episode or two 421 00:26:12,720 --> 00:26:16,040 Speaker 1: that you think would be particularly appealing to folks who 422 00:26:16,119 --> 00:26:19,000 Speaker 1: enjoyed this series this week? Well, actually I got four 423 00:26:19,119 --> 00:26:21,040 Speaker 1: right off top of my head. There is many episodes 424 00:26:21,040 --> 00:26:23,680 Speaker 1: we talked about but four recently, one of them should 425 00:26:23,720 --> 00:26:26,520 Speaker 1: be movie Theaters came out in August because remember how 426 00:26:26,600 --> 00:26:29,080 Speaker 1: nol was talking about the new Beeft theater Quin Tarantino, 427 00:26:29,200 --> 00:26:32,520 Speaker 1: we have an interview with Joe's McClain, who is the 428 00:26:32,560 --> 00:26:36,359 Speaker 1: director of operations for the theater. Wonderful producer Trevor Young 429 00:26:36,480 --> 00:26:39,760 Speaker 1: walks through there the two of the plays. That's great 430 00:26:39,840 --> 00:26:43,000 Speaker 1: loss of information, but there's also a recurring series we've 431 00:26:43,040 --> 00:26:45,200 Speaker 1: done called video Stores, and this kind of brings into 432 00:26:45,240 --> 00:26:48,920 Speaker 1: context that's whole You know, we've talked about this episode 433 00:26:48,920 --> 00:26:53,280 Speaker 1: like the movies being lost, and that's unfortunately not something 434 00:26:53,359 --> 00:26:57,600 Speaker 1: we've gotten past even now. So with stuff moving to streaming, 435 00:26:59,000 --> 00:27:03,200 Speaker 1: we're kind of up to popularity being what decides whether 436 00:27:03,280 --> 00:27:05,240 Speaker 1: or not films survives. So like stuff like I was 437 00:27:05,280 --> 00:27:08,439 Speaker 1: looking to stuff like Netflix has not that many titles. 438 00:27:08,480 --> 00:27:11,000 Speaker 1: Amazon Prime I think is considered like the largest like 439 00:27:11,040 --> 00:27:15,320 Speaker 1: selection of titles, and it's like twenty thousand, yeah, which 440 00:27:15,400 --> 00:27:18,359 Speaker 1: which is a pretty small percentage. Right when I was 441 00:27:18,440 --> 00:27:20,560 Speaker 1: up at Movie Madness in Portland, I think they said 442 00:27:20,640 --> 00:27:24,320 Speaker 1: ninety thousand, which is massive. Videots, which we have an 443 00:27:24,359 --> 00:27:27,520 Speaker 1: episode about solely which is reopening I think pretty soon. 444 00:27:27,520 --> 00:27:30,719 Speaker 1: In the l A area, they I think have seventy 445 00:27:30,720 --> 00:27:33,919 Speaker 1: five thousand. Here in Atlanta, Video Drome has about fifty thousand. 446 00:27:34,000 --> 00:27:36,440 Speaker 1: But also when I was up at movie Maddis was 447 00:27:36,480 --> 00:27:38,600 Speaker 1: talking to the guy and he had the book. He 448 00:27:38,640 --> 00:27:41,439 Speaker 1: had the book of like all the remaining video stores. 449 00:27:41,800 --> 00:27:44,600 Speaker 1: It's not a very big book, and there's some pages 450 00:27:44,800 --> 00:27:46,919 Speaker 1: xed out because they're not out there anymore. Like I 451 00:27:47,000 --> 00:27:49,560 Speaker 1: forget this. There's there was one in Athens that went 452 00:27:49,560 --> 00:27:51,199 Speaker 1: out of business not that long ago. I mean, it's 453 00:27:51,240 --> 00:27:53,600 Speaker 1: hard to keep these things alive. So if you have 454 00:27:53,600 --> 00:27:57,240 Speaker 1: a video store in your area, support them because there's 455 00:27:57,240 --> 00:27:58,680 Speaker 1: a lot of stuff. I remember when we were doing 456 00:27:58,680 --> 00:28:00,600 Speaker 1: a tour of Video Droma number years ago, we were 457 00:28:00,600 --> 00:28:03,560 Speaker 1: talking to a guy and he was like, oh, Paul Straighter. 458 00:28:03,560 --> 00:28:05,159 Speaker 1: I think I'm getting his name right. And that's the 459 00:28:05,200 --> 00:28:08,000 Speaker 1: first time I've ever heard of Mishiva, who we literally 460 00:28:08,040 --> 00:28:10,919 Speaker 1: just talked about. And like all these things that you have, 461 00:28:10,960 --> 00:28:13,520 Speaker 1: all these directors again, it comes it comes back to curation. 462 00:28:13,560 --> 00:28:16,640 Speaker 1: I mean, Videodrome is a wonderful place. I rent from 463 00:28:16,640 --> 00:28:19,160 Speaker 1: there as much as I possibly can, end up keeping 464 00:28:19,200 --> 00:28:22,080 Speaker 1: the movies way too long, and so I you know, oh, 465 00:28:22,320 --> 00:28:24,680 Speaker 1: tons of late fees, which I'm hoping is keeping them 466 00:28:24,680 --> 00:28:28,440 Speaker 1: alive single handedly. I'm I'm joking, but not about the 467 00:28:28,480 --> 00:28:30,480 Speaker 1: late things there are. You know, it was a nice 468 00:28:30,520 --> 00:28:33,199 Speaker 1: community in Atlanta that really does support that place. But 469 00:28:33,560 --> 00:28:36,119 Speaker 1: I do worry that the places like that are you know, 470 00:28:36,240 --> 00:28:38,040 Speaker 1: I know they're struggling, and I just would really be 471 00:28:38,080 --> 00:28:40,960 Speaker 1: sad if if that place that vanished, Because in the 472 00:28:41,040 --> 00:28:44,120 Speaker 1: city is Metro e and big as Atlanta, it's really 473 00:28:44,120 --> 00:28:46,080 Speaker 1: only that one, and I think in l A there's 474 00:28:46,120 --> 00:28:50,720 Speaker 1: really only like two maybe you know, just a handful. Yeah. 475 00:28:50,720 --> 00:28:52,520 Speaker 1: Like look, I think of a place like Vidiots, which 476 00:28:52,560 --> 00:28:54,800 Speaker 1: is reopening. They were on Santa Monica for a very 477 00:28:54,840 --> 00:28:58,680 Speaker 1: long time and they closed down. They never thought they 478 00:28:58,720 --> 00:29:01,360 Speaker 1: never got closed down permanently. They closed down to kind 479 00:29:01,360 --> 00:29:03,120 Speaker 1: of figure things out and probably stuff in an archive, 480 00:29:03,160 --> 00:29:08,640 Speaker 1: and they're reopening as a museum, theater hybrid. I can't 481 00:29:08,640 --> 00:29:10,400 Speaker 1: tell you exactly what they're doing off top of my head, 482 00:29:10,440 --> 00:29:13,360 Speaker 1: but it's it's really hard for these places, and I 483 00:29:13,440 --> 00:29:17,480 Speaker 1: mean support them and also, you know, push for more 484 00:29:17,560 --> 00:29:20,680 Speaker 1: arts funding. It's not easy for these places get nonprofit standards. 485 00:29:20,720 --> 00:29:22,920 Speaker 1: So if you can help push for stuff like that, 486 00:29:22,960 --> 00:29:25,200 Speaker 1: I would suggest that because keeping this stuff keep this 487 00:29:25,240 --> 00:29:28,080 Speaker 1: is art, and I think it's important for as a culture, 488 00:29:28,120 --> 00:29:31,800 Speaker 1: for art to stay alive. So support your local video 489 00:29:32,040 --> 00:29:36,640 Speaker 1: store and uh support your local podcasters. Uh not for 490 00:29:36,680 --> 00:29:39,280 Speaker 1: nothing do we shout out ephemeral. As we know, we 491 00:29:39,400 --> 00:29:41,120 Speaker 1: listened to a lot of shows, and we don't say 492 00:29:41,160 --> 00:29:44,080 Speaker 1: this kind of stuff about all of them. So thank 493 00:29:44,120 --> 00:29:47,160 Speaker 1: you to super producer Mr Max Williams for both this 494 00:29:47,240 --> 00:29:51,320 Speaker 1: show and for uh ephemeral. Thanks to Alex Williams who 495 00:29:51,360 --> 00:29:55,600 Speaker 1: composed this track, Thanks to our research associate Dr Zach, 496 00:29:56,600 --> 00:29:58,960 Speaker 1: and thanks to that Cadillac in the background since I'm 497 00:29:58,960 --> 00:30:02,480 Speaker 1: accidentally freestyle Doctor Zach in that Cadillac in the back. 498 00:30:03,160 --> 00:30:12,920 Speaker 1: We'll see you next time, folks. For more podcasts from 499 00:30:12,920 --> 00:30:15,600 Speaker 1: my Heart Radio, visit the I Heart Radio app, Apple Podcast, 500 00:30:15,760 --> 00:30:17,880 Speaker 1: or wherever you listen to your favorite shows.