1 00:00:01,280 --> 00:00:04,000 Speaker 1: Welcome to Stuff You Missed in History Class, a production 2 00:00:04,120 --> 00:00:12,760 Speaker 1: of I Heart Radios How Stuff Works. Hello, and welcome 3 00:00:12,760 --> 00:00:16,160 Speaker 1: to the podcast. I'm Honey Fry, I'm Tracy Wilson, and 4 00:00:16,480 --> 00:00:19,479 Speaker 1: this is our second installment of our little shorties that 5 00:00:19,520 --> 00:00:22,480 Speaker 1: we do where we talk about what has been published 6 00:00:22,480 --> 00:00:24,720 Speaker 1: on the show. This week kind of a little bit 7 00:00:24,720 --> 00:00:27,960 Speaker 1: more of a relaxed, behind the scenes discussion of the topic. 8 00:00:29,200 --> 00:00:33,520 Speaker 1: So we're talking about Francis Benjamin Johnston, known more colloquially 9 00:00:33,560 --> 00:00:38,839 Speaker 1: as Fanny, and her astonishing photography career. It is astonishing. 10 00:00:39,520 --> 00:00:41,199 Speaker 1: One of the things that that came up in the 11 00:00:41,240 --> 00:00:45,920 Speaker 1: episode that I thought was maybe worth exploration, but we 12 00:00:46,120 --> 00:00:49,519 Speaker 1: are working purely off speculation is the fact that she 13 00:00:50,200 --> 00:00:54,120 Speaker 1: was clearly in terms of behavior, very feminist and very 14 00:00:54,200 --> 00:00:57,560 Speaker 1: much about moving women forward in terms of having careers. 15 00:00:57,560 --> 00:01:00,880 Speaker 1: And she wrote really deep tailed like a how to 16 00:01:01,080 --> 00:01:04,399 Speaker 1: essentially of how to start a photography career. She did 17 00:01:04,480 --> 00:01:07,840 Speaker 1: not identify as a suffragist or as any part of 18 00:01:07,840 --> 00:01:10,840 Speaker 1: the women's rights movement as it was happening in the 19 00:01:10,880 --> 00:01:14,199 Speaker 1: late Victorian and early Edwardian eras did you have any 20 00:01:14,680 --> 00:01:18,039 Speaker 1: speculation into why that might be? This is all guesswork 21 00:01:18,200 --> 00:01:20,959 Speaker 1: and I. My only thought is that because she was 22 00:01:20,959 --> 00:01:25,640 Speaker 1: working in Washington, d c. And was working with a 23 00:01:25,640 --> 00:01:28,160 Speaker 1: lot of prominent politicians, and was from a family that 24 00:01:28,240 --> 00:01:30,920 Speaker 1: was very connected to a lot of politicians. Her father, 25 00:01:31,000 --> 00:01:32,800 Speaker 1: for example, we talked about in the episode works for 26 00:01:32,800 --> 00:01:35,760 Speaker 1: the Treasury Department. My only thought is that she was 27 00:01:35,840 --> 00:01:38,399 Speaker 1: willing to do like the work on the ground, but 28 00:01:38,480 --> 00:01:42,720 Speaker 1: she didn't want to make a big statement or stance 29 00:01:42,840 --> 00:01:45,520 Speaker 1: and potentially ruffle feathers or mess up any of those 30 00:01:45,560 --> 00:01:49,360 Speaker 1: connections which were so vital to her career and really 31 00:01:49,400 --> 00:01:53,280 Speaker 1: her family's well being. That's my only guess. But I 32 00:01:53,320 --> 00:01:57,360 Speaker 1: love her so much because herself portraits are some of 33 00:01:57,360 --> 00:01:59,640 Speaker 1: my favorite photographs I have ever seen in my life. 34 00:01:59,800 --> 00:02:02,640 Speaker 1: They are so fun because it really is like, on 35 00:02:02,680 --> 00:02:04,800 Speaker 1: the one hand, there's such a wide spectrum of them, 36 00:02:04,800 --> 00:02:07,400 Speaker 1: which we described some of them on the show, that 37 00:02:07,560 --> 00:02:09,920 Speaker 1: it almost feels like a kid playing dress up, like 38 00:02:09,960 --> 00:02:14,120 Speaker 1: it is so many different images of herself as almost 39 00:02:14,240 --> 00:02:17,239 Speaker 1: entirely different people. But it also is one of those 40 00:02:17,240 --> 00:02:20,200 Speaker 1: things that reminds you that people are myriad, and none 41 00:02:20,200 --> 00:02:24,560 Speaker 1: of us is anyone given identity, right right, So, Holly, 42 00:02:24,639 --> 00:02:27,000 Speaker 1: you did the research and the writing for this episode, 43 00:02:27,280 --> 00:02:30,840 Speaker 1: and the way our process normally works is that Holly 44 00:02:31,000 --> 00:02:34,160 Speaker 1: sends me the script and I get the artwork to 45 00:02:34,240 --> 00:02:36,280 Speaker 1: go with it on our website. That's sort of one 46 00:02:36,320 --> 00:02:39,320 Speaker 1: of our division of labor things on a show. And 47 00:02:39,400 --> 00:02:43,720 Speaker 1: so I had only read like the introduction, and I 48 00:02:43,760 --> 00:02:46,400 Speaker 1: started a quick search for a photograph to go with it, 49 00:02:46,440 --> 00:02:48,440 Speaker 1: because a lot of times it's kind of a big 50 00:02:48,520 --> 00:02:50,480 Speaker 1: nebulous thing of is there going to be a picture 51 00:02:50,560 --> 00:02:52,680 Speaker 1: for this or not? And the answer is there are 52 00:02:52,680 --> 00:02:55,520 Speaker 1: thousands of pictures. They're all over there's a lot of 53 00:02:55,560 --> 00:02:58,200 Speaker 1: them that are digitized and available on the web. But 54 00:02:58,320 --> 00:03:00,680 Speaker 1: then I replied back to you, having just read that 55 00:03:00,720 --> 00:03:04,320 Speaker 1: introduction with the link, saying is this the self portrait 56 00:03:04,360 --> 00:03:06,960 Speaker 1: you're talking about in this intro? And you were like yes. 57 00:03:07,000 --> 00:03:08,880 Speaker 1: And then, of course I, once I had read through 58 00:03:08,919 --> 00:03:11,920 Speaker 1: the whole thing, you described the actual photo and I 59 00:03:11,960 --> 00:03:13,240 Speaker 1: was like, well, if I had just hung on for 60 00:03:13,280 --> 00:03:15,960 Speaker 1: a minute, I would have known the answer to this question. 61 00:03:16,200 --> 00:03:20,880 Speaker 1: No worries at all. Uh. Yeah, I really really love 62 00:03:20,960 --> 00:03:23,080 Speaker 1: the fact that Fammi is one of those rare and 63 00:03:23,200 --> 00:03:27,680 Speaker 1: unique situations where a lot of her most famous work 64 00:03:27,760 --> 00:03:29,880 Speaker 1: is at this point more than a hundred and twenty 65 00:03:29,960 --> 00:03:34,279 Speaker 1: years old, but it is still readily available to see online. 66 00:03:34,320 --> 00:03:36,960 Speaker 1: Anyone can see her work if they have an Internet connection. 67 00:03:37,800 --> 00:03:40,960 Speaker 1: The Library of Congress has the vast majority of her work. 68 00:03:40,960 --> 00:03:43,720 Speaker 1: There other libraries and museums that also have some of 69 00:03:43,720 --> 00:03:46,240 Speaker 1: her work, but like in terms of the scope of 70 00:03:46,280 --> 00:03:48,560 Speaker 1: her work and the amount of it that is digitized, 71 00:03:49,920 --> 00:03:54,520 Speaker 1: it is better represented online and in terms of accessibility 72 00:03:54,520 --> 00:03:58,960 Speaker 1: than any other photographer from her era I can think of, 73 00:04:00,080 --> 00:04:03,640 Speaker 1: and certainly even better than many artists in terms of 74 00:04:04,080 --> 00:04:07,160 Speaker 1: things being able to be seen. Uh So, if you 75 00:04:07,240 --> 00:04:10,080 Speaker 1: are curious, especially because she did make that really interesting 76 00:04:10,120 --> 00:04:14,800 Speaker 1: transition from portraits to architecture and gardens, which is to 77 00:04:14,920 --> 00:04:18,040 Speaker 1: me a fascinating gear shift to make kind of midway 78 00:04:18,040 --> 00:04:21,440 Speaker 1: through a very lucrative career, it's interesting to look at 79 00:04:21,480 --> 00:04:25,560 Speaker 1: how her composition shifts. Uh There is one particular photograph 80 00:04:25,600 --> 00:04:27,599 Speaker 1: that she took in the State dining room in the 81 00:04:27,640 --> 00:04:30,920 Speaker 1: White House that is so beautiful to me in terms 82 00:04:30,920 --> 00:04:33,600 Speaker 1: of light and composition that it reminds me of some 83 00:04:33,680 --> 00:04:36,320 Speaker 1: of like my favorite Dutch Golden Age painters in terms 84 00:04:36,320 --> 00:04:39,360 Speaker 1: of how they how they use light to focus the eye. 85 00:04:39,480 --> 00:04:42,679 Speaker 1: It's really really pretty. Um and a lot of her pictures. 86 00:04:42,680 --> 00:04:44,440 Speaker 1: We talked about it in the episode. She was trained 87 00:04:44,440 --> 00:04:48,520 Speaker 1: as an artist, so her visual eye is really from 88 00:04:48,520 --> 00:04:52,040 Speaker 1: that that ideology and with that education behind it, so 89 00:04:52,080 --> 00:04:55,640 Speaker 1: she does tend to create images that look similar in 90 00:04:55,720 --> 00:04:58,560 Speaker 1: terms of how light is used and how they're framed 91 00:04:59,000 --> 00:05:01,440 Speaker 1: to the way a painter. My and I love that 92 00:05:01,480 --> 00:05:03,360 Speaker 1: about them. So one of the things that we talked 93 00:05:03,360 --> 00:05:06,440 Speaker 1: about in the episode um was the the pictures that 94 00:05:06,520 --> 00:05:10,000 Speaker 1: she took of the Hampton Normal and Agricultural Institute and 95 00:05:10,040 --> 00:05:14,960 Speaker 1: sort of the evolution of how those have been curated 96 00:05:15,000 --> 00:05:16,839 Speaker 1: and explored in terms of our content, because they were 97 00:05:16,880 --> 00:05:19,400 Speaker 1: made sort of as a pr move in a way 98 00:05:19,400 --> 00:05:23,440 Speaker 1: that was inherently racist, because it was about looking at 99 00:05:23,440 --> 00:05:25,320 Speaker 1: this through a very white lens when they were photos 100 00:05:25,440 --> 00:05:29,480 Speaker 1: of black and Native American students. And it really reminded 101 00:05:29,520 --> 00:05:31,440 Speaker 1: me of a few years ago when you and I 102 00:05:31,480 --> 00:05:34,760 Speaker 1: were in Chicago. I walked over to the Field Museum 103 00:05:34,800 --> 00:05:37,520 Speaker 1: and they had this exhibit going on that was about 104 00:05:37,560 --> 00:05:41,159 Speaker 1: the work of Malvina Hoffman, who had been commissioned to 105 00:05:41,279 --> 00:05:44,760 Speaker 1: travel the world and make these sculptures of the people 106 00:05:44,880 --> 00:05:48,120 Speaker 1: she found living in all these places, and the sculptures 107 00:05:48,120 --> 00:05:52,640 Speaker 1: are beautiful. She took enormous care to try to capture 108 00:05:52,720 --> 00:05:56,360 Speaker 1: the humanity and the worth of everybody that she was sculpting. 109 00:05:56,960 --> 00:05:59,480 Speaker 1: But the reason she had been commissioned to do it 110 00:05:59,520 --> 00:06:02,839 Speaker 1: was for the inherently racist idea of creating a racial 111 00:06:02,920 --> 00:06:05,640 Speaker 1: hierarchy at which white people were at the top and 112 00:06:05,640 --> 00:06:09,160 Speaker 1: then curating them that way in the museum. And so 113 00:06:09,520 --> 00:06:12,599 Speaker 1: this exhibition that I saw in more recent years was 114 00:06:12,640 --> 00:06:16,400 Speaker 1: sort of looking back, like how was the field perpetuating 115 00:06:16,880 --> 00:06:20,640 Speaker 1: racism with these sculptures? Like how do we look at 116 00:06:20,640 --> 00:06:22,520 Speaker 1: the sculptures? How do we look at what the field 117 00:06:22,600 --> 00:06:24,760 Speaker 1: was doing with these sculptures? And it really reminded me 118 00:06:24,800 --> 00:06:27,919 Speaker 1: of the process that those photos sort of went through 119 00:06:28,400 --> 00:06:32,200 Speaker 1: as people have re examined how to look at them 120 00:06:32,200 --> 00:06:34,520 Speaker 1: and how to think about them in their context. Yeah, 121 00:06:34,560 --> 00:06:37,960 Speaker 1: that's uh. I mentioned in the episode an article that 122 00:06:38,080 --> 00:06:41,240 Speaker 1: really breaks down like the three primary exhibitions of those 123 00:06:41,279 --> 00:06:44,400 Speaker 1: and how those ideas shifted. I cannot recommend highly enough 124 00:06:44,680 --> 00:06:46,360 Speaker 1: that people go check that out. I will make sure 125 00:06:46,400 --> 00:06:48,600 Speaker 1: in the sourceless that that is the top one so 126 00:06:48,640 --> 00:06:51,279 Speaker 1: it's easy to find um. So hopefully people will go 127 00:06:51,400 --> 00:06:53,520 Speaker 1: and explore and also just take a peek at her 128 00:06:54,080 --> 00:06:57,159 Speaker 1: her photos which are very fascinating, and like I said, 129 00:06:57,200 --> 00:06:59,120 Speaker 1: I mean, I'm clearly a very visual thinker. I don't 130 00:06:59,120 --> 00:07:01,080 Speaker 1: think that's a surprise to anyone who's ever listened to 131 00:07:01,080 --> 00:07:04,160 Speaker 1: the show for more than twelve minutes. So for me, 132 00:07:04,279 --> 00:07:08,039 Speaker 1: like that's such an incredible connection to be able to 133 00:07:08,120 --> 00:07:10,960 Speaker 1: have to history and how it has all played out 134 00:07:11,000 --> 00:07:14,240 Speaker 1: and to look at some of these problematic ideologies that 135 00:07:14,320 --> 00:07:18,760 Speaker 1: were being executed through art. It's something that's hard to 136 00:07:18,760 --> 00:07:22,120 Speaker 1: talk about in some ways because you want to consider 137 00:07:22,160 --> 00:07:25,200 Speaker 1: them as art and from the point of view of 138 00:07:25,200 --> 00:07:27,280 Speaker 1: an artist who is trying to make something beautiful, but 139 00:07:27,520 --> 00:07:30,280 Speaker 1: they have meaning and they have import and they have 140 00:07:30,440 --> 00:07:33,600 Speaker 1: the potential to be very damaging. So it's it's worthwhile 141 00:07:33,640 --> 00:07:36,160 Speaker 1: to kind of walk into that that discussion with an 142 00:07:36,160 --> 00:07:38,200 Speaker 1: open mind and really look at those images and think 143 00:07:38,240 --> 00:07:41,520 Speaker 1: about that right up and how it breaks them down. Uh. So, 144 00:07:41,560 --> 00:07:44,480 Speaker 1: our second episode this week was about the San Francisco 145 00:07:44,760 --> 00:07:48,520 Speaker 1: earthquake and fire of N six, which has kind of 146 00:07:48,560 --> 00:07:50,640 Speaker 1: been lurking on my list for a while, but then 147 00:07:50,680 --> 00:07:53,040 Speaker 1: because it kept coming up. As I mentioned in that episode, 148 00:07:53,960 --> 00:07:56,240 Speaker 1: on a recent trip to San Francisco, it felt like 149 00:07:56,280 --> 00:07:59,440 Speaker 1: the universe was telling me to just stop dithering about 150 00:07:59,480 --> 00:08:03,040 Speaker 1: and just do it. Yeah. Well, and it's I know, 151 00:08:03,200 --> 00:08:06,080 Speaker 1: for me, it's always tricky to decide whether to revisit 152 00:08:06,240 --> 00:08:09,480 Speaker 1: something that previous hosts did in a shorter treatment, because 153 00:08:09,560 --> 00:08:12,200 Speaker 1: like the list of things to talk about is so 154 00:08:12,320 --> 00:08:16,960 Speaker 1: incredibly long that sometimes it's like should we should we not? 155 00:08:17,320 --> 00:08:19,560 Speaker 1: Is there enough information beyond what they already said, Like 156 00:08:19,600 --> 00:08:23,040 Speaker 1: there's a whole thought process involved, Oh for sure. And 157 00:08:23,080 --> 00:08:26,240 Speaker 1: I went back and re listened to that one, and 158 00:08:26,280 --> 00:08:28,720 Speaker 1: I found myself several times this is kind of my 159 00:08:28,800 --> 00:08:32,320 Speaker 1: litmus test. I've had myself several times going yeah, yeah, 160 00:08:32,360 --> 00:08:35,680 Speaker 1: but you left out the part where sure, which is 161 00:08:35,720 --> 00:08:37,760 Speaker 1: probably if there are enough of those Like they mentioned 162 00:08:37,760 --> 00:08:39,720 Speaker 1: that they tried to use fire breaks and that it 163 00:08:39,720 --> 00:08:42,760 Speaker 1: didn't go well. They didn't really discuss why that was 164 00:08:42,800 --> 00:08:45,320 Speaker 1: a problem, or like, you know, the fact that there 165 00:08:45,360 --> 00:08:48,280 Speaker 1: was a pivotal figure in the fire department that that 166 00:08:48,480 --> 00:08:52,200 Speaker 1: was out of commission and did not live much longer. 167 00:08:52,640 --> 00:08:54,800 Speaker 1: So those two me are kind of like the fascinating 168 00:08:54,880 --> 00:08:57,320 Speaker 1: parts of it, Like when you understand why something went 169 00:08:57,360 --> 00:09:00,959 Speaker 1: so poorly, it's a to me a little bit of 170 00:09:01,000 --> 00:09:03,000 Speaker 1: a richer experience. So that's why I kind of wanted 171 00:09:03,000 --> 00:09:04,880 Speaker 1: to delve into this because it's all of that, and 172 00:09:04,920 --> 00:09:08,440 Speaker 1: as well as the the third segment of of that 173 00:09:08,480 --> 00:09:12,559 Speaker 1: episode where we talk about Chinatown's population and how poorly 174 00:09:12,640 --> 00:09:19,040 Speaker 1: they were treated, but ultimately, with astonishing just tenaciousness, they 175 00:09:19,080 --> 00:09:21,920 Speaker 1: were able to reclaim their space in the city and 176 00:09:21,960 --> 00:09:23,520 Speaker 1: make it very clear that they lived there and it 177 00:09:23,559 --> 00:09:25,920 Speaker 1: was their home and they belonged as much as anyone, 178 00:09:25,960 --> 00:09:29,000 Speaker 1: which was It's a weird story because in some ways 179 00:09:29,000 --> 00:09:31,839 Speaker 1: it feels very uplifting, but like the it's not as 180 00:09:31,840 --> 00:09:34,840 Speaker 1: though they were suddenly not treated in ways that are 181 00:09:34,920 --> 00:09:38,880 Speaker 1: racist and gross. So it's a mixed bag, but also 182 00:09:38,960 --> 00:09:42,040 Speaker 1: just an important thing to think about and talk about 183 00:09:42,080 --> 00:09:44,640 Speaker 1: because unfortunately most history is like that, Like it's not 184 00:09:45,640 --> 00:09:49,360 Speaker 1: I always say history isn't clean, which is there's no 185 00:09:49,559 --> 00:09:51,840 Speaker 1: Even the good stories usually have something where you're like, 186 00:09:52,720 --> 00:09:56,040 Speaker 1: I wish that were not the way it is. Yeah. Well, 187 00:09:56,080 --> 00:09:59,079 Speaker 1: and and frequently when we have talked about some kind 188 00:09:59,080 --> 00:10:04,240 Speaker 1: of disaster that that displaced minority group, that has not 189 00:10:04,360 --> 00:10:07,560 Speaker 1: been how it worked out. It has been that and 190 00:10:07,600 --> 00:10:10,640 Speaker 1: then everyone was relocated to a different place, and that 191 00:10:10,760 --> 00:10:13,960 Speaker 1: lucrative land was taken up by white people. Like that's 192 00:10:13,960 --> 00:10:16,640 Speaker 1: more often how the story has gone on the show. Yeah, 193 00:10:16,640 --> 00:10:19,040 Speaker 1: this one definitely is an outlier, which is part of 194 00:10:19,080 --> 00:10:21,520 Speaker 1: what makes it so fascinating to me. And again, like 195 00:10:21,760 --> 00:10:25,280 Speaker 1: I was a brilliant about my love of Chinatown during 196 00:10:25,280 --> 00:10:27,839 Speaker 1: the episode, but I will say it again, I love 197 00:10:27,960 --> 00:10:30,360 Speaker 1: Chinatown is one of my favorite parts of San Francisco, 198 00:10:31,000 --> 00:10:33,240 Speaker 1: although I love the whole city. Um, I also love 199 00:10:33,320 --> 00:10:37,120 Speaker 1: japan Town a whole bunch. I love basically wander anywhere 200 00:10:37,120 --> 00:10:39,640 Speaker 1: in that city and I'm usually pretty happy. Well, and 201 00:10:39,679 --> 00:10:42,040 Speaker 1: I'll say for yet another time because I also said 202 00:10:42,040 --> 00:10:45,520 Speaker 1: it in the show that that that episode from Invisible 203 00:10:45,640 --> 00:10:49,680 Speaker 1: about the decisions that they made to try to preserve 204 00:10:49,960 --> 00:10:53,280 Speaker 1: their neighborhood. Uh, and that like the effects that those 205 00:10:53,320 --> 00:10:57,640 Speaker 1: decisions had both on Chinatown and San Francisco and other places, uh, 206 00:10:58,000 --> 00:11:01,719 Speaker 1: super interesting to me. Yeah, there's uh also a thing 207 00:11:01,720 --> 00:11:03,520 Speaker 1: I wanted to mention. It's in the show notes for 208 00:11:03,520 --> 00:11:06,520 Speaker 1: the episode, but uh, several years ago, there was an 209 00:11:06,600 --> 00:11:11,040 Speaker 1: artist who did a series of photographs that are juxtapositional 210 00:11:11,080 --> 00:11:17,600 Speaker 1: photographs where one half approximately of the image is from 211 00:11:17,880 --> 00:11:22,079 Speaker 1: this period of devastation when buildings were collapsing or they 212 00:11:22,080 --> 00:11:25,319 Speaker 1: were on fire, and they kind of blend into scenes 213 00:11:25,400 --> 00:11:28,080 Speaker 1: that are modern. So you will see someone happily walking 214 00:11:28,080 --> 00:11:30,960 Speaker 1: down the street with their dog or whatever, and you 215 00:11:31,000 --> 00:11:34,439 Speaker 1: see that that's the exact place where just a complete 216 00:11:35,040 --> 00:11:38,360 Speaker 1: devastation of the area had happened at one point. There's 217 00:11:38,360 --> 00:11:40,680 Speaker 1: one of those pictures that's very hard for me to 218 00:11:40,679 --> 00:11:43,160 Speaker 1: to look at because I'm a woss and it's there 219 00:11:43,160 --> 00:11:46,560 Speaker 1: are several horses that were hit by falling debris and 220 00:11:46,600 --> 00:11:48,959 Speaker 1: dine and that's a little bit difficult. So if that's 221 00:11:48,960 --> 00:11:51,520 Speaker 1: a problem for any of our listeners, maybe don't look 222 00:11:51,520 --> 00:11:54,480 Speaker 1: at those pictures. But they are really beautifully done. Uh 223 00:11:54,520 --> 00:11:57,360 Speaker 1: And it's it's just one of those sobering things where 224 00:11:57,400 --> 00:12:00,120 Speaker 1: I think it's easy for us to disconnect from the 225 00:12:00,200 --> 00:12:02,560 Speaker 1: history of our spaces and not think about what has 226 00:12:02,600 --> 00:12:04,559 Speaker 1: gone before in the places where we walk and buy 227 00:12:04,559 --> 00:12:09,199 Speaker 1: groceries and do everyday seemingly mundane things. But those are 228 00:12:09,200 --> 00:12:12,120 Speaker 1: places where really important stories have played out, whether there 229 00:12:12,200 --> 00:12:15,920 Speaker 1: is evidence of them there before us or not. Uh So, 230 00:12:16,040 --> 00:12:17,960 Speaker 1: to me, that's kind of what I what I really 231 00:12:18,000 --> 00:12:20,400 Speaker 1: love about those pictures, and I encourage anybody to go 232 00:12:20,440 --> 00:12:24,040 Speaker 1: take a peek at them. Cool. So that probably wraps 233 00:12:24,040 --> 00:12:26,320 Speaker 1: it up for this week, I would say so yes. 234 00:12:26,679 --> 00:12:28,920 Speaker 1: If people want to write to us, they can do 235 00:12:28,960 --> 00:12:31,480 Speaker 1: that at History podcast at house works dot com. You 236 00:12:31,480 --> 00:12:35,600 Speaker 1: can subscribe on the I heart Radio app, at Apple Podcasts, 237 00:12:35,640 --> 00:12:38,640 Speaker 1: anywhere else you get your podcasts, and you can always 238 00:12:38,720 --> 00:12:46,160 Speaker 1: visit us online at missed in History dot com. Stuff 239 00:12:46,160 --> 00:12:48,040 Speaker 1: You Missed in History Class is a production of I 240 00:12:48,160 --> 00:12:51,200 Speaker 1: Heart Radios How stuff Works. For more podcasts. For my 241 00:12:51,240 --> 00:12:54,480 Speaker 1: heart Radio, visit the iHeart Radio app, Apple Podcasts, or 242 00:12:54,520 --> 00:12:56,360 Speaker 1: wherever you listen to your favorite shows.