WEBVTT - TechStuff Tackles Typewriters

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<v Speaker 1>Get in touch with technology with tex Stuff from dot com.

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<v Speaker 1>Hey everyone, and welcome to tech Stuff. I'm Jonathan Strickland,

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<v Speaker 1>and today I am joined once again by my coworker

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<v Speaker 1>and the one of the co hosts of Stuffy miss

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<v Speaker 1>in History Class, Holly. Welcome back, Hello, good to be here, Holly. Now,

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<v Speaker 1>last time when you joined us, we talked about sewing

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<v Speaker 1>machines and and they're amazing connection to patent wars, which

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<v Speaker 1>was incredible. I had never known about that. A few

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<v Speaker 1>people associate sewing with like fisticuffs and business anger, but

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<v Speaker 1>in fact we're all tied up together. It's actually quite

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<v Speaker 1>well tailored fisticuffs. So this time we're going to talk

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<v Speaker 1>again sort of a historical look, but now we're going

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<v Speaker 1>to look at typewriters, which actually have a slight connection

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<v Speaker 1>to sewing machines, is it turns out. But in order

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<v Speaker 1>to look at this, I thought we'd look at sort

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<v Speaker 1>of the history of type setting. And to do that

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<v Speaker 1>you got to go back to the fifteenth century. Yeah,

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<v Speaker 1>we're all the way back, and it's one of those things, uh,

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<v Speaker 1>and we'll talk about it. But I have often heard

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<v Speaker 1>people ask like, why didn't the typewriter happen sooner. Yeah,

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<v Speaker 1>we're going to touch on that. Yeah, So way back

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<v Speaker 1>in the fifteenth century, that's when uh, Johann Gutenberg, when

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<v Speaker 1>Johann Gutenberg began to experiment with printing techniques, and by

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<v Speaker 1>the fourteen fifties he had actually developed the famous printing

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<v Speaker 1>press produced the Gutenberg Bible, probably the most famous book

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<v Speaker 1>from the medieval era, simply because it was well medieval

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<v Speaker 1>Renaissance era, simply because it was the first one to

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<v Speaker 1>be mass produced in a rapid particularly compared to the

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<v Speaker 1>other rapid round. Rapid with air quotes is definitely the

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<v Speaker 1>way to go. But you didn't have to have a

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<v Speaker 1>school monks hand illuminating scripts in order to come out

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<v Speaker 1>with copies of something, and we wouldn't really need a typewriter. However,

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<v Speaker 1>this was meant to produce things on a mass scale,

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<v Speaker 1>like a single document on a mass scale. It wasn't

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<v Speaker 1>meant to be uh for one off, right, you weren't

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<v Speaker 1>going to to type set a letter to your wife,

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<v Speaker 1>dearest wife. How romantic would that be? Though? Right? H

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<v Speaker 1>I employed three clerks in the efforts I make to

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<v Speaker 1>write to you to tell you my tub reculosis as

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<v Speaker 1>settled and no, that was not the way things worked.

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<v Speaker 1>But one of the reasons why we didn't see a

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<v Speaker 1>need for this sort of thing to to creep into

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<v Speaker 1>other areas, like the idea of can we make a

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<v Speaker 1>device like a printing press but for a personal use?

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<v Speaker 1>Is that uh? Well, First, until the Industrial Revolution, there

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<v Speaker 1>was no way to create that kind of thing on

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<v Speaker 1>a mass scale, right, And you couldn't really go out

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<v Speaker 1>and churn out a dozen typewriters in a day back

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<v Speaker 1>in the technology of the mid fifteenth century yet. But

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<v Speaker 1>even if there were. The other part was that labor,

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<v Speaker 1>particularly in Europe, was really cheap, and there was not

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<v Speaker 1>really a need to go and find a labor saving

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<v Speaker 1>device for a person because there were plenty of people.

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<v Speaker 1>There were plenty of people who were starving, and you

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<v Speaker 1>could pay them a haypenny for them to write down

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<v Speaker 1>what you assuming they could write that, they could write

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<v Speaker 1>down what you wanted them to say. So, um, but

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<v Speaker 1>it wouldn't it wouldn't be too much longer. I mean

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<v Speaker 1>still pretty early when you look at the first patent

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<v Speaker 1>or patent as the case may be, for a typewriter,

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<v Speaker 1>which dates all the way back to seventeen fourteen. Yes,

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<v Speaker 1>so we jumped forward like three years, but again nothing,

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<v Speaker 1>an abundance of people very happy to do things in

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<v Speaker 1>that time when they were not, you know, stumbling around

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<v Speaker 1>dying or or or making one another die. Yeah. And

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<v Speaker 1>then in seventeen fourteen, Uh, there was, as you said,

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<v Speaker 1>the first patent for Henry Mill, and that was issued

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<v Speaker 1>by Queen Anne of Great Britain, of course, and that

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<v Speaker 1>patent uh described an artificial machine or method for the

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<v Speaker 1>impressing or transcribing of letters singly or progressively, one after another,

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<v Speaker 1>as in writing, whereby all writings whatsoever, may be engrossed

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<v Speaker 1>in paper or parchment, so that the said machine or

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<v Speaker 1>method maybe of great use in settlements and public records,

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<v Speaker 1>the impression being deeper and more lasting than any other writing,

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<v Speaker 1>and not to be erased or counterfeited without manifest discovery. Yep.

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<v Speaker 1>That's uh, that's patent language, guys. You can tell that

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<v Speaker 1>that dates from seventeen fourteen, and patents have become no

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<v Speaker 1>less obtuse in that time. That's downright clear and brief

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<v Speaker 1>compared to a lot of monetor's. And as is often

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<v Speaker 1>the case, the more words there are, the less we

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<v Speaker 1>know about what actually happened in historical patents. Yeah, in

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<v Speaker 1>this case, we have no surviving illustrations or model as

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<v Speaker 1>far as we've known, mill never built one of these things.

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<v Speaker 1>Perhaps he did, but if he did, there's no record

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<v Speaker 1>of it. So most of the sources I've read have

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<v Speaker 1>essentially said there's it was never probably never insisted. So

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<v Speaker 1>but still it shows that people as far back as

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<v Speaker 1>the early eighteenth century, we're thinking about creating a machine

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<v Speaker 1>that would allow for the writing of words in a

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<v Speaker 1>in a mechanized fashion. Then we moved to forward another

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<v Speaker 1>century to eight and we have an Italian inventor, Pellegrino Turi,

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<v Speaker 1>and he creates a typing machine for the Countess Carolina Fantoni.

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<v Speaker 1>D Well, sorry not da Vivizan. Oh man, my Italian

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<v Speaker 1>is terrible. My Germans only slightly worse. Um, at least

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<v Speaker 1>I didn't try and throw in one of those terrible

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<v Speaker 1>like like over the top stereotypical Italian accents, as I

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<v Speaker 1>am wont to do. But it was interesting, you know

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<v Speaker 1>he made this for the countess for a specific reason. Yeah,

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<v Speaker 1>she could not handwright because she had lost her vision. Yeah,

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<v Speaker 1>so he created this device for her. We don't know

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<v Speaker 1>what this particular device looked like. No model survives, However,

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<v Speaker 1>unlike the case with mill, we know that it existed

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<v Speaker 1>because there are still uh examples of the letters that

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<v Speaker 1>the Countess wrote on this device. Yeah, I would give

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<v Speaker 1>anything to see how it worked and how it particularly

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<v Speaker 1>addressed her lack of vision, like sort of a variant

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<v Speaker 1>almost Braille type situation going on, because there had to

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<v Speaker 1>be feel elements to the keys or should to memorize placement. Right,

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<v Speaker 1>we don't even know if there were keys on this device, right,

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<v Speaker 1>We don't know what the mechanism was for it. We

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<v Speaker 1>just know that it was a thing that would allow

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<v Speaker 1>her to write, and it's pretty phenomenal. Again, it's it's

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<v Speaker 1>sad that that's lost to history because I also would

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<v Speaker 1>love to hear about, you know, what actually happened. But

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<v Speaker 1>then we get to the point where the Americans get involved. Yeah,

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<v Speaker 1>as we moved deeper into the eighteen hundreds, things really

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<v Speaker 1>start cooking. The first one of note is William Austin Burt,

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<v Speaker 1>and he was an American engineer and he was issued

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<v Speaker 1>a patent for what he called a typographer, and this

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<v Speaker 1>basically resembled a large chunk of wood and it had

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<v Speaker 1>sort of a clock like face on one side of it,

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<v Speaker 1>and according to this pattern, it was twelve by twelve,

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<v Speaker 1>so twelve inches wide, twelve inches tall, and then eighteen

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<v Speaker 1>inches long, so a little bit bigger than an actual

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<v Speaker 1>cube in terms of dimension. And then it was a

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<v Speaker 1>little bit clunky in its actual function because to type

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<v Speaker 1>a single letter, you'd have to rotate this lever, and

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<v Speaker 1>then you would press down on it and make that

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<v Speaker 1>letter press against the paper, so you're kind of just

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<v Speaker 1>turn this dial. I tried to imagine what it would

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<v Speaker 1>be like to like type an email that way, and

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<v Speaker 1>it makes me both laughing cringe at the same time.

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<v Speaker 1>There are a couple of things. I actually watched the

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<v Speaker 1>video of one of these being used, but it was

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<v Speaker 1>without any helpful narration to explain what was going on,

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<v Speaker 1>and I, honestly I could not tell how you could

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<v Speaker 1>make sure you were putting the right letter on the

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<v Speaker 1>right spot on a page. It almost looked like the

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<v Speaker 1>impressions on the page we're going willy nilly. But I've

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<v Speaker 1>seen actual letters that were written using the typographer, and

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<v Speaker 1>they look like a fairly not the not the neatest

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<v Speaker 1>type letter you've ever seen, but it is obviously a

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<v Speaker 1>type letter and neater than handwriting. Yeah, But however it

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<v Speaker 1>was not faster than handwriting, So this particular device never

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<v Speaker 1>really took off. Also, there was a big setback. We

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<v Speaker 1>talked about this, I think in our Sewing Machine episode

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<v Speaker 1>two we did, and it's actually come up in other

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<v Speaker 1>episodes we've done. And if you missed in history class

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<v Speaker 1>that in UH six there was a huge fire at

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<v Speaker 1>the U. S. Patent Office which destroyed a lot of

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<v Speaker 1>historical records, including the only existing model of this device. Now,

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<v Speaker 1>there was a replica that was built and displayed for

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<v Speaker 1>the eight nine three Columbian Exposition in Chicago, So if

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<v Speaker 1>you weren't busy getting murdered by H. H. Holmes, you

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<v Speaker 1>could have checked out the typographer. I believe that was

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<v Speaker 1>the same one as H. H. Holmes being active. I

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<v Speaker 1>could be wrong about that, but it seems correct. But

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<v Speaker 1>I would want to well at any rate. Uh, it

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<v Speaker 1>just makes me think of The Devil in the White

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<v Speaker 1>City and a fantastic book that everyone should check out

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<v Speaker 1>about the the exposition and also about H. H. Holmes.

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<v Speaker 1>But uh, yeah, so at least there was this replica built,

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<v Speaker 1>and I think it was the replica of the Smithsonian

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<v Speaker 1>I believe holds the actual replica today. And um I

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<v Speaker 1>saw the video of it being used in action, and

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<v Speaker 1>again it didn't have any helpful narration. The patent itself

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<v Speaker 1>describes how it works, but again it's using such obtuse

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<v Speaker 1>language that I could not get the meaning from the description. Yeah,

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<v Speaker 1>it's kind of one of those things where if you

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<v Speaker 1>had the machine in the patent in hand and you

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<v Speaker 1>could like step through the steps and look it out,

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<v Speaker 1>it would probably become click crystal clear, right, I could

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<v Speaker 1>be like two elements of the key together. You cannot

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<v Speaker 1>crack the code exactly. Yeah, it was. It was completely

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<v Speaker 1>obscured from me. Now, in eighteen forty three, we have

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<v Speaker 1>another inventor, Charles Thurber, who incorporates two things that become

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<v Speaker 1>very important in later implementations of typewriters. He incorporates a

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<v Speaker 1>movable carriage that's the part that holds the paper, and

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<v Speaker 1>the carriage itself moves as opposed to having to move

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<v Speaker 1>the device around the paper in order to print the

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<v Speaker 1>next letter. So you type a letter, the carriage moves

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<v Speaker 1>a space so that you can type the next letter,

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<v Speaker 1>and then eventually you have to do a carriage return

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<v Speaker 1>so that you can start typing again. Any of you

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<v Speaker 1>guys out there who never used a typewriter, and I

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<v Speaker 1>assume there's probably more of you than there than otherwise,

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<v Speaker 1>since typewriters are rarely used at all these days, you

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<v Speaker 1>might not appreciate that. But of course, you get to

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<v Speaker 1>the end of a line in a piece of paper

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<v Speaker 1>and you have to move down and across to the

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<v Speaker 1>to get to the next line, and that's what the

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<v Speaker 1>character turn was all about. He also implemented metal levers

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<v Speaker 1>that stamped the letters or numbers onto paper into his

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<v Speaker 1>typing apparatus, and it was also considered to be really

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<v Speaker 1>slow and clunky and cumbersome, so it never took off

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<v Speaker 1>in the market. But those metal levers would become important.

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<v Speaker 1>The mechanical action of moving a lever up to press

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<v Speaker 1>against some sort of inked piece of paper or maybe

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<v Speaker 1>carbon paper, to then make an impression against a blank

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<v Speaker 1>sheet of paper, so that you stamp whatever letter it

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<v Speaker 1>is onto the sheet. Yeah, those carried on for many, many,

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<v Speaker 1>many many moons after that. Yeah, it was. And this

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<v Speaker 1>seems like a good time to just mention we're really

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<v Speaker 1>looking at the early years of the typewriter, and we're

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<v Speaker 1>talking specifically about mechanical ones. We could continue that discussion

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<v Speaker 1>and get into things like, uh, you know, electro mechanical

0:12:03.720 --> 0:12:08.600
<v Speaker 1>and electric typewriter. That's that's an entirely like that would

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<v Speaker 1>that would make a two hour podcast. So we're really

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<v Speaker 1>focusing on the mechanical ones here. But eighteen sixty seven

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<v Speaker 1>is when we meet a very important person in the

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<v Speaker 1>way typewriters turned out. Yeah, and we're going to give

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<v Speaker 1>a little bit of backstory on him because he is

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<v Speaker 1>such a pivotal figure. So Christopher Latham Shoals was a

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<v Speaker 1>US inventor. He was actually born in eighteen nineteen, so

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<v Speaker 1>by the time he was really kind of becoming a

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<v Speaker 1>figure on the scene of typewriters, he was pretty mature.

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<v Speaker 1>He had apprenticed for a printer for several years before

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<v Speaker 1>he eventually became an editor at the Wisconsin Inquirer, which

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<v Speaker 1>was based out of Madison, Wisconsin, and then he went

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<v Speaker 1>on to work at other newspapers as well and had

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<v Speaker 1>them out and he even had a little bit of

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<v Speaker 1>a for a into a political career. He served in

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<v Speaker 1>the state legislature and then he left his newspaper time

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<v Speaker 1>because someone very importank sort of came into his life,

0:13:01.840 --> 0:13:05.200
<v Speaker 1>and that was President Lincoln, who appointed him as collector

0:13:05.240 --> 0:13:08.200
<v Speaker 1>at the Port of Milwaukee. Huh. And so in case

0:13:08.240 --> 0:13:10.240
<v Speaker 1>anyone does not know what a collector at a port is,

0:13:10.360 --> 0:13:14.560
<v Speaker 1>that's the person who is responsible for collecting import duties

0:13:14.600 --> 0:13:16.800
<v Speaker 1>and taxes on goods that are entering the port, and

0:13:16.800 --> 0:13:19.200
<v Speaker 1>they can oversee all those people that go and do

0:13:19.240 --> 0:13:22.400
<v Speaker 1>those things. I thought he was like a Somalia, that

0:13:22.480 --> 0:13:27.760
<v Speaker 1>kind of port collector if only yeah, okay, Well, he

0:13:28.000 --> 0:13:31.440
<v Speaker 1>ended up making friends with a fellow, Samuel soul Uh,

0:13:31.480 --> 0:13:33.920
<v Speaker 1>and in eighteen sixty four, they were issued a patent

0:13:34.120 --> 0:13:37.840
<v Speaker 1>for a machine that would number pages. So it was

0:13:37.880 --> 0:13:41.000
<v Speaker 1>an idea. The idea was that would sequentially number pages

0:13:41.040 --> 0:13:43.839
<v Speaker 1>for like a book, So you would press this button

0:13:43.840 --> 0:13:45.920
<v Speaker 1>and you get three, and then four and then five.

0:13:46.440 --> 0:13:49.640
<v Speaker 1>And it was considered to be a labor saving device.

0:13:50.559 --> 0:13:54.959
<v Speaker 1>But then another fellow, Carlos Carlos Glidden, who was also

0:13:55.320 --> 0:13:58.200
<v Speaker 1>a fellow inventor, you know, someone who liked to work

0:13:58.240 --> 0:14:01.360
<v Speaker 1>with this kind of stuff, looked this and said, huh,

0:14:01.840 --> 0:14:04.440
<v Speaker 1>what if you were to, I don't know, take the

0:14:04.640 --> 0:14:07.600
<v Speaker 1>same principle that you created, but make it so that

0:14:07.640 --> 0:14:10.439
<v Speaker 1>you could type, you know, letters onto a piece of paper.

0:14:10.559 --> 0:14:13.360
<v Speaker 1>So you're using essentially the same approach that you're using here,

0:14:13.400 --> 0:14:16.000
<v Speaker 1>but now you can actually type in words and make

0:14:16.559 --> 0:14:23.480
<v Speaker 1>a mechanical typewriter. Yeah, that suggestion pretty much change shoals

0:14:23.600 --> 0:14:27.560
<v Speaker 1>life forever was. He then focused almost exclusively on the

0:14:27.560 --> 0:14:29.960
<v Speaker 1>typewriter for the rest of his career. And so he

0:14:30.040 --> 0:14:33.280
<v Speaker 1>produced a prototype This is around eighteen sixty eight, but

0:14:33.960 --> 0:14:36.800
<v Speaker 1>it could only print the letter w It was just

0:14:36.880 --> 0:14:40.080
<v Speaker 1>really to show a proof of concept, and not to

0:14:40.720 --> 0:14:44.920
<v Speaker 1>my dearest woo. It wasn't like that, um, but it

0:14:45.040 --> 0:14:47.160
<v Speaker 1>was to see if he could actually do it, and

0:14:47.240 --> 0:14:48.960
<v Speaker 1>he did, and then they said, all right, let's let's

0:14:48.960 --> 0:14:54.160
<v Speaker 1>devote more effort into creating this, uh, this typewriter and

0:14:54.200 --> 0:14:56.920
<v Speaker 1>to try and make one that we can end up

0:14:57.040 --> 0:15:00.640
<v Speaker 1>marketing and patenting. Um. So in eighteen sixty eight they

0:15:01.440 --> 0:15:04.440
<v Speaker 1>had a typewriter patent issue to them two Sholes, Glidden

0:15:04.520 --> 0:15:08.600
<v Speaker 1>and Soul collectively, and Shoals was the primary person on

0:15:08.680 --> 0:15:12.400
<v Speaker 1>that patent. And uh, yeah, I love that the note

0:15:12.400 --> 0:15:14.320
<v Speaker 1>you have here that the first prototype was similar to

0:15:14.320 --> 0:15:16.720
<v Speaker 1>a telegraph key. That exactly is what it was like.

0:15:16.760 --> 0:15:19.040
<v Speaker 1>You pressed down you get that little W and you're like,

0:15:19.280 --> 0:15:22.080
<v Speaker 1>just send all the W you want now. Granted, if

0:15:22.080 --> 0:15:23.800
<v Speaker 1>you if you get the letter upside down, you think

0:15:23.800 --> 0:15:27.360
<v Speaker 1>it's just like we had a really good if you

0:15:27.440 --> 0:15:29.480
<v Speaker 1>flipped your page a lot, it's about it. And they

0:15:29.560 --> 0:15:32.320
<v Speaker 1>did end up getting two more patents issued in the

0:15:32.320 --> 0:15:35.560
<v Speaker 1>following years because you know, they were all inventors and

0:15:35.560 --> 0:15:38.240
<v Speaker 1>tin careers, as we've said, so they were constantly trying

0:15:38.240 --> 0:15:43.000
<v Speaker 1>to improve upon it. So in eighteen seventy we get

0:15:43.040 --> 0:15:50.640
<v Speaker 1>one of the coolest, weirdest typewriters ever, Rasmus molly Hanson

0:15:50.880 --> 0:15:54.720
<v Speaker 1>invented what is called the writing ball. And you guys,

0:15:54.760 --> 0:15:56.720
<v Speaker 1>you need to if you don't know what this looks like,

0:15:56.760 --> 0:15:59.760
<v Speaker 1>you've got to go on a on a Google image

0:15:59.760 --> 0:16:02.360
<v Speaker 1>so or something, pull up a picture of the Rasmus

0:16:02.400 --> 0:16:06.120
<v Speaker 1>maulling Henson writing ball or typewriter ball. If that that

0:16:06.200 --> 0:16:08.520
<v Speaker 1>will probably bring it up to It looks like it

0:16:08.720 --> 0:16:11.320
<v Speaker 1>could come right out of like a Clive Barker hell

0:16:11.440 --> 0:16:19.320
<v Speaker 1>razor kind. Yeah, it's like Pinhead's cousin, you know, Keyhead. Yeah,

0:16:19.400 --> 0:16:22.840
<v Speaker 1>maybe that could be it. Uh So, yeah, you look

0:16:22.880 --> 0:16:25.120
<v Speaker 1>at this thing. It looks like it's it's a sphere

0:16:25.160 --> 0:16:26.680
<v Speaker 1>that's been cut in half, and it's got all the

0:16:26.720 --> 0:16:30.840
<v Speaker 1>little keys that stick out of it. Um and the

0:16:31.120 --> 0:16:35.560
<v Speaker 1>Malling Hanson Society, which by the way, is more than

0:16:35.600 --> 0:16:41.239
<v Speaker 1>a little biased, they call it the world's first commercially

0:16:41.320 --> 0:16:46.080
<v Speaker 1>produced typewriter, and Mulling Hanson received lots of different prizes

0:16:46.120 --> 0:16:48.640
<v Speaker 1>and recognition at various events around the world, mainly in

0:16:48.680 --> 0:16:51.640
<v Speaker 1>Europe but also in the United States for producing this

0:16:51.640 --> 0:16:56.720
<v Speaker 1>this particular piece of technology, and his version would evolve

0:16:56.960 --> 0:17:00.240
<v Speaker 1>over time. It wasn't just you know, it wasn't one

0:17:00.280 --> 0:17:02.080
<v Speaker 1>set and then it stayed that way, but it always

0:17:02.160 --> 0:17:06.560
<v Speaker 1>retained that strange kind of ball shape. And the society

0:17:06.640 --> 0:17:09.680
<v Speaker 1>also claims that the key layout on the writing ball

0:17:10.000 --> 0:17:13.520
<v Speaker 1>allowed for much faster typing than the quirty based keyboards

0:17:13.520 --> 0:17:15.800
<v Speaker 1>that would soon follow. So we still haven't gotten to

0:17:15.880 --> 0:17:19.000
<v Speaker 1>the point where the quirty keyboard is a thing that's

0:17:19.000 --> 0:17:23.000
<v Speaker 1>coming pretty soon. But the society is like, well, that

0:17:23.160 --> 0:17:26.600
<v Speaker 1>keyboard is slow and and and laborious. This thing you

0:17:26.600 --> 0:17:30.520
<v Speaker 1>could type really really quickly. Now, each key was connected

0:17:30.560 --> 0:17:33.120
<v Speaker 1>to a piston, and the piston would stamp a piece

0:17:33.160 --> 0:17:36.399
<v Speaker 1>of paper, either through a carbon paper or InCD ribbon.

0:17:36.640 --> 0:17:39.919
<v Speaker 1>The paper itself was on kind of this curved um

0:17:40.520 --> 0:17:43.120
<v Speaker 1>uh setting like you would you would put it. There

0:17:43.200 --> 0:17:45.479
<v Speaker 1>was these long sheets of paper and they fit on

0:17:45.480 --> 0:17:50.720
<v Speaker 1>this little curve platform that would ratchet up by by

0:17:50.800 --> 0:17:55.920
<v Speaker 1>piece by piece. So if you're typing, like facing the object, Uh,

0:17:55.960 --> 0:17:58.240
<v Speaker 1>it's almost like it's at a ninety degree angle the

0:17:58.280 --> 0:18:01.600
<v Speaker 1>way that the paper is being typed. So you wouldn't

0:18:01.600 --> 0:18:04.000
<v Speaker 1>type this like you would on a typewriter where you could,

0:18:04.480 --> 0:18:06.879
<v Speaker 1>especially a modern typewriter where you can actually see what

0:18:07.040 --> 0:18:10.359
<v Speaker 1>you've just typed. You type out a line and it

0:18:10.400 --> 0:18:12.560
<v Speaker 1>would it would be like it would look like it's

0:18:12.600 --> 0:18:15.200
<v Speaker 1>going vertically across the page to you, but it's because

0:18:15.240 --> 0:18:18.159
<v Speaker 1>the entire page is ninety degrees from you. So it's

0:18:18.200 --> 0:18:22.800
<v Speaker 1>a really odd thing. Uh. And Terry Gillium like, that's

0:18:23.240 --> 0:18:26.160
<v Speaker 1>that's a very Terry Gilliam historical film kind of piece

0:18:26.280 --> 0:18:28.840
<v Speaker 1>you would see. I would completely expect to see this

0:18:29.040 --> 0:18:32.040
<v Speaker 1>in the background during Brazil, for example. It would fit

0:18:32.080 --> 0:18:33.880
<v Speaker 1>in exact. In fact, when I saw it, I thought,

0:18:33.920 --> 0:18:36.880
<v Speaker 1>this looks like something from Brazil or maybe twelve Monkeys.

0:18:37.320 --> 0:18:40.880
<v Speaker 1>But Molling Hanson died when he was only fifty five

0:18:40.960 --> 0:18:45.040
<v Speaker 1>years old in eight and he had an outstanding order

0:18:45.160 --> 0:18:49.080
<v Speaker 1>for one writing balls from a manufacturer, and the manufacturer

0:18:49.119 --> 0:18:52.200
<v Speaker 1>you know, canceled it because the guy died, and since

0:18:52.240 --> 0:18:55.000
<v Speaker 1>that point no one ever made any more of them.

0:18:55.040 --> 0:18:58.199
<v Speaker 1>They are collector's items. I think one sold for like

0:18:58.200 --> 0:19:00.439
<v Speaker 1>a hundred thousand euros in an aux, and not too

0:19:00.520 --> 0:19:03.000
<v Speaker 1>long ago there are a few in museums. They are

0:19:03.040 --> 0:19:08.720
<v Speaker 1>considered to be uh, really lovely pieces for people who

0:19:08.760 --> 0:19:12.040
<v Speaker 1>have lots and lots of money, not highly coveted. In

0:19:12.080 --> 0:19:17.520
<v Speaker 1>the typewriter aficionado heard yeah and who knew there is one? Oh? Yeah,

0:19:17.560 --> 0:19:21.160
<v Speaker 1>I actually I own a good old uh. I think

0:19:21.160 --> 0:19:24.440
<v Speaker 1>it's a own a Rimington's and an Underwood and old.

0:19:25.000 --> 0:19:27.719
<v Speaker 1>Both of them are pretty old um that I just

0:19:27.760 --> 0:19:30.880
<v Speaker 1>happened to find it like a h an old uh

0:19:31.080 --> 0:19:33.639
<v Speaker 1>secondhand shop, and I was very proud of them. They are,

0:19:33.680 --> 0:19:36.160
<v Speaker 1>by the way, some of the heaviest pieces of technology

0:19:36.200 --> 0:19:38.200
<v Speaker 1>I've ever had to carry. Yeah, we have an Underwood

0:19:38.280 --> 0:19:40.800
<v Speaker 1>number five that has been in my husband's family forever

0:19:41.320 --> 0:19:44.240
<v Speaker 1>and it needs some work, but it's that's a backbreaker

0:19:44.240 --> 0:19:47.280
<v Speaker 1>to hook it around there. Well. One interesting thing about

0:19:47.320 --> 0:19:50.600
<v Speaker 1>the writing ball, apart from its strange shape and the

0:19:50.640 --> 0:19:53.560
<v Speaker 1>fact that it's supposedly was much more easy to type

0:19:53.600 --> 0:19:56.959
<v Speaker 1>on than the quirty keyboards. Was that a famous person

0:19:57.560 --> 0:20:01.439
<v Speaker 1>owned one, Friedrich Nietici. Did I hear that it was

0:20:01.480 --> 0:20:05.000
<v Speaker 1>a gift from his sister and his mother. That's what

0:20:05.200 --> 0:20:09.199
<v Speaker 1>I had originally read, although I never substantiated it. I

0:20:09.200 --> 0:20:12.720
<v Speaker 1>couldn't find a ductual sources that said that was true.

0:20:13.000 --> 0:20:14.760
<v Speaker 1>That's what I heard, But I also heard that Molly

0:20:14.840 --> 0:20:18.159
<v Speaker 1>Hansen delivered it in person to Nietici, so it may

0:20:18.200 --> 0:20:20.520
<v Speaker 1>be that it was arranged by his mother and sister.

0:20:20.960 --> 0:20:25.119
<v Speaker 1>Is we enter the realm of myth occasionally, and I

0:20:25.119 --> 0:20:27.520
<v Speaker 1>think this is one of those times. So Nietchie his

0:20:27.640 --> 0:20:30.199
<v Speaker 1>vision was failing, so he needed to have something to

0:20:30.240 --> 0:20:32.720
<v Speaker 1>help him right. He wanted to continue writing, but he

0:20:32.800 --> 0:20:36.480
<v Speaker 1>could not really see to write out things Longhand. And

0:20:36.560 --> 0:20:39.119
<v Speaker 1>what's really cool to me is that there are scholars

0:20:39.160 --> 0:20:42.400
<v Speaker 1>who talk about how Nietchie's writing the style of Nichi's

0:20:42.440 --> 0:20:46.639
<v Speaker 1>writing changed when he switched over to typing on the

0:20:46.680 --> 0:20:49.080
<v Speaker 1>writing ball as opposed to trying to write in Longhand.

0:20:49.680 --> 0:20:52.080
<v Speaker 1>And you might argue that that style could have been

0:20:52.080 --> 0:20:54.360
<v Speaker 1>affected by the fact that he could no longer really see,

0:20:54.800 --> 0:20:57.400
<v Speaker 1>but most people said that it was the actual mechanical

0:20:57.480 --> 0:21:01.040
<v Speaker 1>process of typing on the keys that change the tone

0:21:01.359 --> 0:21:04.959
<v Speaker 1>of his writing, and Nietzche's response to this was actually

0:21:05.000 --> 0:21:08.280
<v Speaker 1>that he agreed. He said, our writing equipment takes part

0:21:08.680 --> 0:21:11.600
<v Speaker 1>in the forming of our thoughts. So the way that

0:21:11.640 --> 0:21:15.480
<v Speaker 1>we are expressing ourselves, the medium through which we do it,

0:21:15.520 --> 0:21:19.520
<v Speaker 1>impacts the way we we expressed that thought. And if

0:21:19.560 --> 0:21:21.560
<v Speaker 1>we're writing, longhand, we're going to do it in a

0:21:21.560 --> 0:21:23.640
<v Speaker 1>different way than if we're typing. I think a lot

0:21:23.640 --> 0:21:26.240
<v Speaker 1>of people would actually agree with that. But it's kind

0:21:26.240 --> 0:21:29.879
<v Speaker 1>of fascinating those this early on in the birth of

0:21:29.920 --> 0:21:33.920
<v Speaker 1>the typewriter that we see someone make that observation. Wouldn't

0:21:33.960 --> 0:21:40.520
<v Speaker 1>he be fascinated by texting? Probably? Omg uh. And I

0:21:40.520 --> 0:21:43.480
<v Speaker 1>mean I completely subscribe to that mode of thought because

0:21:43.520 --> 0:21:46.720
<v Speaker 1>I know even if I change pens, my handwriting changes,

0:21:47.640 --> 0:21:51.200
<v Speaker 1>and the tone of my writing will change based on that.

0:21:51.400 --> 0:21:53.919
<v Speaker 1>If I have to write and pen, the tone changes

0:21:54.000 --> 0:21:56.359
<v Speaker 1>so that I write as brief message as I possibly

0:21:56.400 --> 0:21:59.240
<v Speaker 1>can because I'm left handed, so I smudge a lot.

0:21:59.600 --> 0:22:03.320
<v Speaker 1>But at any rate, getting back to in eighteen seventy three,

0:22:03.359 --> 0:22:08.679
<v Speaker 1>back to shoals And and his fully functional typewriter. Now, uh,

0:22:08.720 --> 0:22:12.639
<v Speaker 1>it was finally a real improvement here in the United

0:22:12.680 --> 0:22:15.520
<v Speaker 1>States over just writing things out with a pen. It

0:22:15.600 --> 0:22:18.639
<v Speaker 1>was it was faster, it was easier. And that's where

0:22:18.720 --> 0:22:22.719
<v Speaker 1>we get to the Shoals and Glitten typewriter. Yeah, as

0:22:22.800 --> 0:22:24.720
<v Speaker 1>we mentioned sort of where we left off with these

0:22:24.720 --> 0:22:29.040
<v Speaker 1>guys before we went to the ball, they were they

0:22:29.080 --> 0:22:32.800
<v Speaker 1>had additional patents. They had really sort of started to

0:22:32.840 --> 0:22:35.119
<v Speaker 1>refine and develop this thing, but they were having some

0:22:35.200 --> 0:22:38.199
<v Speaker 1>very serious money problems. They just did not have the

0:22:38.280 --> 0:22:40.800
<v Speaker 1>capital to start churning these things out on their own.

0:22:41.280 --> 0:22:44.639
<v Speaker 1>So they sold the patent rights for twelve thousand dollars

0:22:44.680 --> 0:22:47.960
<v Speaker 1>in eighteen seventy three, some serious money in eighteen Yeah,

0:22:48.119 --> 0:22:50.879
<v Speaker 1>that is not jump change. And the company that bought

0:22:50.880 --> 0:22:55.240
<v Speaker 1>those rights was the Remington's Arms Company. Wait like like

0:22:55.240 --> 0:22:58.199
<v Speaker 1>like the gun. Uh, Well they did a lot of

0:22:58.240 --> 0:23:00.840
<v Speaker 1>They had their hands in many many pies. Uh. And

0:23:00.880 --> 0:23:04.679
<v Speaker 1>so Shoals continue to work with Remington on this on

0:23:04.920 --> 0:23:08.320
<v Speaker 1>the development of the typewriter, and the company had resources

0:23:08.320 --> 0:23:11.439
<v Speaker 1>and machinery where they could develop and manufacture things, and

0:23:11.480 --> 0:23:15.280
<v Speaker 1>it would eventually become the Remington typewriter. Although the initial

0:23:15.320 --> 0:23:17.320
<v Speaker 1>the very first model that came out was still called

0:23:17.520 --> 0:23:21.280
<v Speaker 1>the Shoals in Glitten, right. Uh. And you know Remington

0:23:21.400 --> 0:23:25.000
<v Speaker 1>make the joke about the company that makes guns. Uh.

0:23:25.119 --> 0:23:27.360
<v Speaker 1>We talked about them, I think in our sewing machine episode,

0:23:27.359 --> 0:23:30.320
<v Speaker 1>because they also made sewing machines. Uh. It was one

0:23:30.400 --> 0:23:33.360
<v Speaker 1>of the things that allowed them to say like, well,

0:23:33.400 --> 0:23:35.360
<v Speaker 1>we've got a lot of the we've got a lot

0:23:35.400 --> 0:23:40.199
<v Speaker 1>of of expertise in making these machine parts, these fiddlely

0:23:40.280 --> 0:23:43.960
<v Speaker 1>bits that need to all work together, so I think

0:23:44.000 --> 0:23:46.920
<v Speaker 1>that we can take this on. And uh, yeah, it

0:23:47.000 --> 0:23:49.280
<v Speaker 1>was if we If you were to look at the

0:23:49.320 --> 0:23:53.640
<v Speaker 1>Shoals and Glitten typewriter, the the first match to come out,

0:23:53.960 --> 0:23:57.920
<v Speaker 1>you'd see all the basic parts of typewriters that would

0:23:57.920 --> 0:24:01.879
<v Speaker 1>follow for many years afterwards, decade afterwards. So they it

0:24:01.960 --> 0:24:04.000
<v Speaker 1>had the keys that were linked to leavers. These were

0:24:04.000 --> 0:24:06.760
<v Speaker 1>the mechanical so you pressed down on a key, it

0:24:06.800 --> 0:24:10.159
<v Speaker 1>would cause the lever to pivot uh and hit a

0:24:10.240 --> 0:24:14.040
<v Speaker 1>sheet of paper first of course, striking an inked ribbon.

0:24:14.359 --> 0:24:17.560
<v Speaker 1>So that's what actually would stamp the letter onto the

0:24:17.600 --> 0:24:21.640
<v Speaker 1>sheet of paper. And uh. And however, you were had

0:24:21.680 --> 0:24:25.080
<v Speaker 1>some limitations here, like you could type any letter you wanted,

0:24:25.920 --> 0:24:28.520
<v Speaker 1>only if you love capitals the right. This is this

0:24:28.600 --> 0:24:32.160
<v Speaker 1>is like the constant screen. The first typewriters were like

0:24:32.600 --> 0:24:36.360
<v Speaker 1>YouTube commenters who haven't figured out that the caps lock

0:24:36.520 --> 0:24:38.960
<v Speaker 1>is not really an effective means of trying to get

0:24:38.960 --> 0:24:41.439
<v Speaker 1>your point across. Um, Yeah, there there were There were

0:24:41.440 --> 0:24:44.679
<v Speaker 1>no lower case letters. Is all upper case. And it

0:24:44.760 --> 0:24:51.960
<v Speaker 1>also introduced the now standard Corty keyboard. And you might ask,

0:24:52.680 --> 0:24:55.040
<v Speaker 1>why the heck is the keyboard like that? Why do

0:24:55.119 --> 0:24:58.120
<v Speaker 1>we have this weird layout? You know, if you were

0:24:58.160 --> 0:25:00.200
<v Speaker 1>to look at a keyboard, just take a little get

0:25:00.200 --> 0:25:03.480
<v Speaker 1>a keyboard anywhere near you at the moment, you'll see. Yeah,

0:25:03.520 --> 0:25:06.280
<v Speaker 1>you're right. The letters are not in any kind of

0:25:06.880 --> 0:25:10.560
<v Speaker 1>order that I would normally consider. So why is that?

0:25:10.880 --> 0:25:12.600
<v Speaker 1>And there are a couple of reasons, or at least

0:25:12.600 --> 0:25:15.360
<v Speaker 1>a couple of reasons that we tend to think of today.

0:25:15.800 --> 0:25:19.320
<v Speaker 1>The real reason is possibly lost to antiquity, but we

0:25:19.359 --> 0:25:22.040
<v Speaker 1>can make some guesses. I think it's a combo burrito

0:25:22.119 --> 0:25:24.520
<v Speaker 1>of these reasons. I think so too. The first one

0:25:24.560 --> 0:25:26.879
<v Speaker 1>is that one of the problems was that if a

0:25:27.040 --> 0:25:31.800
<v Speaker 1>user type too quickly, uh, the letters would jam up. Yeah,

0:25:31.800 --> 0:25:35.120
<v Speaker 1>the levers would cross one another, they get stuck. Then

0:25:35.119 --> 0:25:37.880
<v Speaker 1>you'd have to unstick the levers get them all back

0:25:37.920 --> 0:25:39.719
<v Speaker 1>in place and start again, because keep in mind, this

0:25:39.800 --> 0:25:43.960
<v Speaker 1>is purely mechanical. Yeah, so there is the the story

0:25:44.040 --> 0:25:46.439
<v Speaker 1>that it was designed. This keyboard layout is designed to

0:25:46.520 --> 0:25:49.280
<v Speaker 1>kind of slow you down and not necessarily be intuitive,

0:25:49.280 --> 0:25:51.600
<v Speaker 1>where one letter follows another the way you would anticipate.

0:25:51.760 --> 0:25:54.280
<v Speaker 1>So it's still faster than writing, but not as fast

0:25:54.280 --> 0:25:55.800
<v Speaker 1>as you would like it to be, because if it

0:25:55.800 --> 0:25:57.480
<v Speaker 1>were as fast as you like it to be, it

0:25:57.520 --> 0:26:01.120
<v Speaker 1>would all jam up. That's that's one story. Another one

0:26:01.240 --> 0:26:05.760
<v Speaker 1>is just that the printing bars themselves they wanted to

0:26:05.800 --> 0:26:13.639
<v Speaker 1>separate out letters that would be uh common combinations so together.

0:26:13.760 --> 0:26:15.960
<v Speaker 1>You wouldn't want the T, N H to to be

0:26:16.080 --> 0:26:19.120
<v Speaker 1>placed so that the two bars would be right next

0:26:19.119 --> 0:26:21.280
<v Speaker 1>to each other because they'd be more likely to jam

0:26:21.320 --> 0:26:24.040
<v Speaker 1>one another. So you wanted to spread it out so

0:26:24.119 --> 0:26:27.520
<v Speaker 1>that any letters that would be a good combination would

0:26:27.600 --> 0:26:31.560
<v Speaker 1>normally come from different parts of the machine, which meant

0:26:31.600 --> 0:26:34.920
<v Speaker 1>that the keys themselves had to be placed in specific parts.

0:26:34.920 --> 0:26:36.679
<v Speaker 1>So I'm guessing there was a lot of R and

0:26:36.760 --> 0:26:39.640
<v Speaker 1>D that they did to figure out, like, well, if

0:26:39.640 --> 0:26:41.520
<v Speaker 1>we put the T here, where do we put the H?

0:26:41.560 --> 0:26:43.480
<v Speaker 1>Because if the H is right here, it's gonna mess

0:26:43.520 --> 0:26:45.520
<v Speaker 1>everything up. I was gonna say, I bet there is

0:26:45.520 --> 0:26:49.200
<v Speaker 1>a notebook somewhere of like the most wonderfully bizarre series

0:26:49.280 --> 0:26:52.960
<v Speaker 1>of tests and notes on how they could and couldn't

0:26:53.040 --> 0:26:56.879
<v Speaker 1>arrange these. I can just imagine notes like Glidden tried,

0:26:57.280 --> 0:27:01.960
<v Speaker 1>uh tried keyboard number seven and FIA today tossed that

0:27:01.960 --> 0:27:05.399
<v Speaker 1>one out. Uh Yeah, So it's probably a combination of

0:27:05.440 --> 0:27:10.240
<v Speaker 1>these two things. I personally it maybe that they wanted

0:27:10.280 --> 0:27:13.119
<v Speaker 1>to physically slow people down so that they made the

0:27:13.200 --> 0:27:16.879
<v Speaker 1>keyboard awkward as a result, But I think it's probably

0:27:16.920 --> 0:27:19.240
<v Speaker 1>more likely they wanted to just get these letters as

0:27:19.280 --> 0:27:21.760
<v Speaker 1>far apart the levers, as far apart from the most

0:27:21.760 --> 0:27:25.680
<v Speaker 1>common letters as possible, and as a result, the keyboard

0:27:25.760 --> 0:27:28.080
<v Speaker 1>is awkward and thus were slowed down. But that that

0:27:28.200 --> 0:27:31.480
<v Speaker 1>was not necessarily the intent, however, I don't know for sure.

0:27:32.480 --> 0:27:36.920
<v Speaker 1>Here's my favorite fact about the shoals in Gluten typewriter. Okay,

0:27:37.280 --> 0:27:40.720
<v Speaker 1>it was made by Remington's sewing machine division, And if

0:27:40.760 --> 0:27:43.680
<v Speaker 1>you have ever seen an older like treadle sewing machine,

0:27:43.720 --> 0:27:46.560
<v Speaker 1>they often have these beautifully embellished little flowers and stuff

0:27:46.600 --> 0:27:49.520
<v Speaker 1>on them. So did the typewriter. Yeah, and only that,

0:27:50.000 --> 0:27:53.960
<v Speaker 1>but the earliest typewriters they had. They were on top

0:27:54.040 --> 0:27:56.800
<v Speaker 1>of a of a of a pedestal like a sewing machine.

0:27:57.000 --> 0:27:59.040
<v Speaker 1>It was like part of a of a table almost,

0:27:59.600 --> 0:28:03.000
<v Speaker 1>And they even had the earliest ones had foot pedals

0:28:03.040 --> 0:28:05.480
<v Speaker 1>for the carriage return. Yeah, and so you would make

0:28:05.520 --> 0:28:08.520
<v Speaker 1>sense if that's your manufacturing equipment, you have an engineer

0:28:08.560 --> 0:28:10.679
<v Speaker 1>that goes we can adapt that well. Yeah, especially if

0:28:10.680 --> 0:28:13.439
<v Speaker 1>they're saying, look how effective this is on sewing machines,

0:28:13.440 --> 0:28:15.840
<v Speaker 1>It only makes sense that we should have it where

0:28:16.000 --> 0:28:18.159
<v Speaker 1>the same sort of thing works here. The only problem

0:28:18.280 --> 0:28:21.879
<v Speaker 1>was that they discovered that putting the pedal it wasn't

0:28:21.880 --> 0:28:24.880
<v Speaker 1>always reliable. The carriage would catch, it would be problems

0:28:24.880 --> 0:28:28.080
<v Speaker 1>that would get jammed up, and so it wasn't It

0:28:28.119 --> 0:28:30.760
<v Speaker 1>wasn't long after that. I think it might have even

0:28:30.800 --> 0:28:34.560
<v Speaker 1>been their second model where they introduced the hand powered

0:28:34.640 --> 0:28:37.080
<v Speaker 1>carriage return, where that would be a little lever on

0:28:37.080 --> 0:28:39.680
<v Speaker 1>one side. When you depressed the lever, it allows you

0:28:39.720 --> 0:28:42.640
<v Speaker 1>to push the carriage back to a starting position and

0:28:42.720 --> 0:28:46.960
<v Speaker 1>start over again. So whenever you hear old movies where

0:28:47.000 --> 0:28:49.479
<v Speaker 1>you hear the typewriting sound and you hear thing, that

0:28:49.560 --> 0:28:51.160
<v Speaker 1>was the indicator that you were getting toward the end

0:28:51.160 --> 0:28:52.800
<v Speaker 1>of the line, you needed to hit a character turn

0:28:52.840 --> 0:28:55.320
<v Speaker 1>to start the next next page. Did you ever type

0:28:55.320 --> 0:28:58.840
<v Speaker 1>on a regular typewriter? Yeah, because I remember I would

0:28:58.920 --> 0:29:01.280
<v Speaker 1>hear the ding and I would try to keep going

0:29:01.320 --> 0:29:03.840
<v Speaker 1>as long as I could because I was an obstinate.

0:29:04.120 --> 0:29:06.280
<v Speaker 1>It was just you were playing chicken with the end

0:29:06.280 --> 0:29:08.400
<v Speaker 1>of that piece of paper. I was also young enough

0:29:08.400 --> 0:29:10.680
<v Speaker 1>that it wasn't really life and death kind of situation

0:29:11.200 --> 0:29:16.239
<v Speaker 1>I had. I had the typewriter I was using as

0:29:16.280 --> 0:29:21.920
<v Speaker 1>a kid was not It wasn't a hand powered carriage return.

0:29:22.200 --> 0:29:24.920
<v Speaker 1>It was an electric typewriter. But it still would do

0:29:24.920 --> 0:29:27.400
<v Speaker 1>the ding. It wouldn't automatically go to the next line.

0:29:27.640 --> 0:29:30.480
<v Speaker 1>You had to hit a hard return to do it.

0:29:30.520 --> 0:29:32.959
<v Speaker 1>But I did type on that kind of typewriter as

0:29:32.960 --> 0:29:37.440
<v Speaker 1>a kid. So there's a no here about this being

0:29:37.840 --> 0:29:41.240
<v Speaker 1>an understroke machine. Holly, can you explain to me what

0:29:41.280 --> 0:29:44.120
<v Speaker 1>that means. Yeah, So this is what's also referred to

0:29:44.200 --> 0:29:47.240
<v Speaker 1>as a blind machine. And the way that the keys

0:29:47.320 --> 0:29:51.320
<v Speaker 1>were arranged, uh and where they struck meant that the

0:29:51.840 --> 0:29:55.520
<v Speaker 1>space on which they typed was actually covered. It sat

0:29:55.600 --> 0:29:58.600
<v Speaker 1>in like this little basket underneath the keys, so that

0:29:58.640 --> 0:30:01.560
<v Speaker 1>the type is could not actually see what they were typing.

0:30:01.960 --> 0:30:04.880
<v Speaker 1>They had to lift up the carriage to check things out.

0:30:05.000 --> 0:30:07.760
<v Speaker 1>And you've probably seen it happen in movies sometimes, like

0:30:08.240 --> 0:30:11.080
<v Speaker 1>older movies, where you'll see the secretary typing away and

0:30:11.120 --> 0:30:13.120
<v Speaker 1>then she'll pause and lift up the carriage and check.

0:30:13.200 --> 0:30:15.920
<v Speaker 1>And that's what's going on, is that she simply could

0:30:15.920 --> 0:30:18.400
<v Speaker 1>not see what she was typing. Right. You would didn't

0:30:18.440 --> 0:30:20.600
<v Speaker 1>have any field of view of that at all. So

0:30:20.920 --> 0:30:23.160
<v Speaker 1>once you started typing several lines, you could see the

0:30:23.160 --> 0:30:25.760
<v Speaker 1>things that you type ten minutes ago, but you couldn't

0:30:25.800 --> 0:30:28.160
<v Speaker 1>see the the actual line that you're typing at that

0:30:28.240 --> 0:30:30.320
<v Speaker 1>moment right, which I would think would be maddening, But

0:30:30.360 --> 0:30:33.440
<v Speaker 1>I guess people adapt to anything. Well, yeah, I think

0:30:33.440 --> 0:30:35.440
<v Speaker 1>I've finally gotten to a point now where I can

0:30:35.520 --> 0:30:38.239
<v Speaker 1>type without looking at the screen and I can be

0:30:38.320 --> 0:30:41.800
<v Speaker 1>fairly confident that I'm doing it properly. But when I

0:30:41.840 --> 0:30:45.959
<v Speaker 1>was learning, it certainly would have been a detriment seeing

0:30:46.360 --> 0:30:48.840
<v Speaker 1>not knowing if I typed, you know, something that was

0:30:48.880 --> 0:30:54.000
<v Speaker 1>intelligible or just gobbledegook um. An interesting little little point here.

0:30:54.160 --> 0:30:56.760
<v Speaker 1>We talked about Nietsche previously with the typing ball, Well,

0:30:56.840 --> 0:31:01.040
<v Speaker 1>the original Remington typewriter also had a celebt pretty uh

0:31:01.160 --> 0:31:05.320
<v Speaker 1>consumer Mark Twain. He purchased an early Remington typewriter for

0:31:05.440 --> 0:31:10.120
<v Speaker 1>the princely some of dollars back in eighteen seventy four,

0:31:10.680 --> 0:31:13.320
<v Speaker 1>and then later on wrote a letter to the Remington

0:31:13.440 --> 0:31:16.320
<v Speaker 1>company using the typewriter that said he would stop using

0:31:16.320 --> 0:31:18.960
<v Speaker 1>the typewriter because he said it was a bad influence.

0:31:18.960 --> 0:31:20.920
<v Speaker 1>I think he said it was specifically it was corrupting

0:31:21.000 --> 0:31:26.400
<v Speaker 1>his morals because it was causing him to swear so much. However,

0:31:26.920 --> 0:31:30.160
<v Speaker 1>in his nineteen oh four autobiography, Twain said that his

0:31:30.240 --> 0:31:34.720
<v Speaker 1>first novel was written on a typewriter, which isn't actually

0:31:34.760 --> 0:31:37.560
<v Speaker 1>true because his first novel was Tom Sawyer and that

0:31:37.640 --> 0:31:41.600
<v Speaker 1>was on a handwritten manuscript. His book was not a novel,

0:31:41.680 --> 0:31:45.440
<v Speaker 1>but his book Life on the Mississippi, was typed, although

0:31:45.520 --> 0:31:48.720
<v Speaker 1>some suspect that by then he had employed a typist

0:31:49.160 --> 0:31:52.680
<v Speaker 1>and that he essentially dictated the book to the typeist,

0:31:52.760 --> 0:31:56.360
<v Speaker 1>and that he maintained his distance from the infernal device

0:31:57.000 --> 0:31:59.800
<v Speaker 1>his moral high ground. Yes, he was, he was. His

0:32:00.080 --> 0:32:05.440
<v Speaker 1>morality was preserved. Not long after the Shoals and Glynn

0:32:05.480 --> 0:32:09.560
<v Speaker 1>typewriter came out, another one called the calligraph Branded Typewriter

0:32:09.640 --> 0:32:12.880
<v Speaker 1>appeared on the market, and this machine made another little

0:32:12.880 --> 0:32:15.800
<v Speaker 1>step forward in terms of technology and that now you

0:32:15.840 --> 0:32:18.600
<v Speaker 1>could have upper or lower case. It was your choice.

0:32:18.640 --> 0:32:20.520
<v Speaker 1>You could use them both, but they had a separate

0:32:20.560 --> 0:32:22.960
<v Speaker 1>set of keys for each instead of like the shift key.

0:32:23.000 --> 0:32:26.440
<v Speaker 1>That was so twice as many keys. Yeah. Wow, I

0:32:26.800 --> 0:32:30.920
<v Speaker 1>can't imagine what that must have looked like. Dizziness, I would, Yeah,

0:32:31.080 --> 0:32:34.400
<v Speaker 1>it would have to be. So those two were clunking

0:32:34.400 --> 0:32:37.640
<v Speaker 1>around and giving people opportunities to type like the wind

0:32:37.720 --> 0:32:40.920
<v Speaker 1>for a while before in the Smith Premier came onto

0:32:40.960 --> 0:32:44.520
<v Speaker 1>the market. It to use the Corty keyboard, and at

0:32:44.560 --> 0:32:49.200
<v Speaker 1>that point that was becoming really standard in terms of, uh,

0:32:49.680 --> 0:32:52.160
<v Speaker 1>how typing machines were going to work, And so a

0:32:52.160 --> 0:32:55.280
<v Speaker 1>lot of typewriters at this point we're starting to adopt

0:32:55.400 --> 0:32:58.120
<v Speaker 1>this basic form factor, the one that we associate with

0:32:58.160 --> 0:33:01.320
<v Speaker 1>old typewriters, but not every one. No, now we're going

0:33:01.360 --> 0:33:03.880
<v Speaker 1>to talk about a really cool one. Yeah, and this

0:33:03.960 --> 0:33:06.080
<v Speaker 1>really is awesome if you take a look at some

0:33:06.160 --> 0:33:08.520
<v Speaker 1>of the ones we're about to talk about. Yeah. So

0:33:08.640 --> 0:33:10.800
<v Speaker 1>we're going back a few years to kind of the

0:33:10.840 --> 0:33:13.840
<v Speaker 1>middle of that between eighteen eight and eighteen ninety, where

0:33:14.000 --> 0:33:17.600
<v Speaker 1>things were mostly pretty much Smith Glidden Remington and then

0:33:17.640 --> 0:33:21.520
<v Speaker 1>the Smith Premiere uh to talk about the Hammond. And

0:33:21.920 --> 0:33:25.480
<v Speaker 1>this did not follow the similar design to the Shoals

0:33:25.480 --> 0:33:27.880
<v Speaker 1>and Glinden typewriter at all. It had this really unique

0:33:27.880 --> 0:33:31.040
<v Speaker 1>looking curved keyboard. It kind of made like a U shape,

0:33:32.240 --> 0:33:37.000
<v Speaker 1>which was supposed to be much more ergonomically natural for people.

0:33:37.400 --> 0:33:40.840
<v Speaker 1>The whole typewriter was like a giant circle. Yeah, and

0:33:40.880 --> 0:33:44.600
<v Speaker 1>it also used this type shuttle made a vulcanized rubber.

0:33:44.640 --> 0:33:46.320
<v Speaker 1>It almost looked like a puck when you saw it,

0:33:46.400 --> 0:33:49.040
<v Speaker 1>just inserted into the middle of the machine, and it

0:33:49.200 --> 0:33:51.320
<v Speaker 1>used that to imprint the paper. And you can actually

0:33:51.400 --> 0:33:54.120
<v Speaker 1>remove the shuttle and put in new shuttles if you

0:33:54.160 --> 0:33:57.400
<v Speaker 1>wanted different typefaces, and you could also do different languages,

0:33:58.840 --> 0:34:01.160
<v Speaker 1>which is pretty cool. Yeah, you could do. It's like,

0:34:01.200 --> 0:34:03.360
<v Speaker 1>for example, if you wanted to do something in a

0:34:03.440 --> 0:34:08.360
<v Speaker 1>European language, for example, German has letters that have boomblouts,

0:34:08.840 --> 0:34:12.520
<v Speaker 1>or perhaps French which has accents over certain letters, which

0:34:12.560 --> 0:34:15.440
<v Speaker 1>you couldn't do with a standard American typewriter. But this

0:34:15.480 --> 0:34:18.760
<v Speaker 1>would allow you to have that flexibility where by switching

0:34:18.760 --> 0:34:22.440
<v Speaker 1>out that shuttle you could have a brand new typeface,

0:34:22.640 --> 0:34:25.279
<v Speaker 1>whether it's a different font or even different letters that

0:34:25.600 --> 0:34:30.000
<v Speaker 1>normally wouldn't be accessible to you. That's really forward thinking idea. Yeah,

0:34:30.200 --> 0:34:33.680
<v Speaker 1>and I sort of liken the Hammond as the typing

0:34:33.680 --> 0:34:36.600
<v Speaker 1>equivalent to the Apple Newton. Yeah. This may seem weird,

0:34:36.640 --> 0:34:39.360
<v Speaker 1>but come along with me. It had a really devoted following.

0:34:39.400 --> 0:34:41.760
<v Speaker 1>There were a lot of people that were like, alright,

0:34:41.800 --> 0:34:45.839
<v Speaker 1>that typewriter seemed cool, but this is perfect, uh, And

0:34:45.960 --> 0:34:48.640
<v Speaker 1>they just loved it. It really seemed like the best

0:34:48.680 --> 0:34:50.880
<v Speaker 1>branch of the technology tree to them at the time.

0:34:51.480 --> 0:34:52.839
<v Speaker 1>And there were a lot of people that use them

0:34:52.880 --> 0:34:55.200
<v Speaker 1>for way longer than you might have expected. Those things

0:34:55.320 --> 0:34:58.239
<v Speaker 1>were built really well. They lasted forever, well into the

0:34:58.280 --> 0:35:01.880
<v Speaker 1>nineteen hundreds. People were still using them, and I it

0:35:01.880 --> 0:35:03.719
<v Speaker 1>makes me think of my friends that had Newton's that

0:35:03.840 --> 0:35:07.520
<v Speaker 1>just insisted on carrying them forever when other people were like, really,

0:35:07.520 --> 0:35:09.440
<v Speaker 1>what is that thing? It looks huge and clunky. You

0:35:09.440 --> 0:35:11.239
<v Speaker 1>shut up, it's my Newton. It just makes me think

0:35:11.280 --> 0:35:14.839
<v Speaker 1>of the Simpsons. Write it down in your Newton. Beat

0:35:14.920 --> 0:35:21.680
<v Speaker 1>up Martin, beat up Martha. Uh. Yeah, And I love

0:35:21.719 --> 0:35:24.880
<v Speaker 1>that you have here that you know that his ideas,

0:35:25.000 --> 0:35:28.720
<v Speaker 1>James B. Hammond's ideas were preserved his patents. He left

0:35:28.760 --> 0:35:32.359
<v Speaker 1>them upon his death to the Metropolitan Museum of Art,

0:35:32.719 --> 0:35:35.799
<v Speaker 1>So that that says a lot too. This wasn't just

0:35:35.920 --> 0:35:39.160
<v Speaker 1>a utilitarian device. It was a work of art. And

0:35:39.200 --> 0:35:41.600
<v Speaker 1>if you look at one of these things, it really does. Yeah.

0:35:41.680 --> 0:35:45.080
<v Speaker 1>I mean, anyone who has that that they love, like

0:35:45.160 --> 0:35:49.120
<v Speaker 1>that steampunk aesthetic, something that that just looks different has

0:35:49.360 --> 0:35:52.040
<v Speaker 1>has real character to it. This I think has a

0:35:52.120 --> 0:35:55.279
<v Speaker 1>lot of appeal. Oh yeah, they're gorgeous, and part of

0:35:55.320 --> 0:35:57.920
<v Speaker 1>it is just like the curvy lines are just very

0:35:58.080 --> 0:36:00.640
<v Speaker 1>sort of appealing to a lot of people, especially curvy

0:36:00.680 --> 0:36:03.320
<v Speaker 1>lines in technology. If you look at it from above,

0:36:04.200 --> 0:36:06.560
<v Speaker 1>based upon just the different elements, it kind of was

0:36:06.600 --> 0:36:09.960
<v Speaker 1>like a smiley face. The keys are there, the mouth,

0:36:10.719 --> 0:36:12.839
<v Speaker 1>and then there's a couple of round elements that look

0:36:12.920 --> 0:36:15.239
<v Speaker 1>like eyes. Yeah, I could see that. And they did

0:36:15.320 --> 0:36:19.120
<v Speaker 1>keep making those even after James Hammond died, um but

0:36:19.200 --> 0:36:21.840
<v Speaker 1>in the nineteen twenties, so those were being made for

0:36:21.920 --> 0:36:24.360
<v Speaker 1>quite a while. At that point, almost forty years the

0:36:24.400 --> 0:36:27.680
<v Speaker 1>company was purchased by Frederick Hepburn Company, and the Hammond

0:36:27.760 --> 0:36:31.480
<v Speaker 1>was eventually rebranded under the name Vera Typer uh and,

0:36:31.719 --> 0:36:35.120
<v Speaker 1>which is sort of much less romantic sounding. I think

0:36:35.120 --> 0:36:39.080
<v Speaker 1>of Hammond Organs when I Vera Typer, I think of

0:36:39.160 --> 0:36:41.719
<v Speaker 1>some sort of AlSi reptor. Yeah. And while it was

0:36:41.760 --> 0:36:46.120
<v Speaker 1>still the Hammond Company, they had also been producing producing

0:36:46.200 --> 0:36:48.720
<v Speaker 1>a design that was more of a rectangular keyboard, similar

0:36:48.760 --> 0:36:50.239
<v Speaker 1>to the shoals in glynd And they were kind of like,

0:36:50.280 --> 0:36:53.000
<v Speaker 1>we'll cover the whole market. Uh, And that was called

0:36:53.040 --> 0:36:56.319
<v Speaker 1>the Hammond Universal, and the Vera Typer once they had

0:36:56.360 --> 0:36:58.640
<v Speaker 1>rebranded it pretty much went along with that model and

0:36:58.640 --> 0:37:02.440
<v Speaker 1>they abandoned that beautiful career design. And this also eventually

0:37:02.480 --> 0:37:06.959
<v Speaker 1>introduced electricity into typing. I think that was the first

0:37:07.000 --> 0:37:11.560
<v Speaker 1>one that had an electric typing function, right. So I

0:37:11.600 --> 0:37:15.240
<v Speaker 1>liked also that you have detailed out the first time

0:37:15.400 --> 0:37:19.319
<v Speaker 1>we finally get away from that understroke approach, the one

0:37:19.360 --> 0:37:22.400
<v Speaker 1>that didn't allow type as to actually see what was

0:37:22.440 --> 0:37:26.480
<v Speaker 1>going on. Yeah, that was the first one that allowed

0:37:26.520 --> 0:37:30.640
<v Speaker 1>you to actually see was the Doherty Visible in eight,

0:37:32.239 --> 0:37:35.160
<v Speaker 1>which had front stroke and type bars that set below

0:37:35.239 --> 0:37:38.879
<v Speaker 1>the Was it Playton platin, I don't know. I don't

0:37:38.880 --> 0:37:44.520
<v Speaker 1>know typewriter lingo. I have heard it both ways. Wow, okay,

0:37:44.560 --> 0:37:46.480
<v Speaker 1>but I don't know how much of that was regional

0:37:46.520 --> 0:37:49.359
<v Speaker 1>dialect well, I'll just say Playton because I'm from the South.

0:37:50.200 --> 0:37:52.520
<v Speaker 1>It was just but anyway, it hits the front of

0:37:52.920 --> 0:37:54.799
<v Speaker 1>the paper that way and you could actually see where

0:37:54.840 --> 0:37:58.439
<v Speaker 1>you could what you were typing. And uh, I think

0:37:58.880 --> 0:38:04.279
<v Speaker 1>that is probably bly the biggest advance before you get

0:38:04.280 --> 0:38:09.640
<v Speaker 1>to electric typewriters, uh, that the basic system had. You know,

0:38:09.719 --> 0:38:13.640
<v Speaker 1>it's it's one of those things where the the basic

0:38:13.719 --> 0:38:18.719
<v Speaker 1>design of the mechanical typewriter there were important developments, but

0:38:18.800 --> 0:38:22.960
<v Speaker 1>it remained largely the same for a really long time. Yeah,

0:38:23.040 --> 0:38:26.600
<v Speaker 1>and really like the dirty Visible is probably one of

0:38:26.640 --> 0:38:30.080
<v Speaker 1>those that anyone listening that has ever seen a typewriter

0:38:30.120 --> 0:38:31.799
<v Speaker 1>would look at and go, oh, that's a typewriter, and

0:38:31.800 --> 0:38:33.520
<v Speaker 1>I wouldn't really think a whole lot other than oh,

0:38:33.520 --> 0:38:36.280
<v Speaker 1>it's old and interesting, whereas any of these previous models,

0:38:36.280 --> 0:38:38.279
<v Speaker 1>they'd be like, that's a typewriter, but there's something really

0:38:38.280 --> 0:38:40.200
<v Speaker 1>weird about it, and it would be one of these

0:38:40.200 --> 0:38:43.239
<v Speaker 1>other things that had not advanced yet the typewriter have

0:38:43.280 --> 0:38:48.840
<v Speaker 1>an accelerated Yeah, well, I mean that it's it's great

0:38:49.160 --> 0:38:53.160
<v Speaker 1>to think of, uh, these tiny little things that we

0:38:53.200 --> 0:38:55.400
<v Speaker 1>would you know, in retrospect, we see it being a

0:38:55.480 --> 0:38:58.920
<v Speaker 1>huge benefit. But It's interesting just seeing people sit there

0:38:58.920 --> 0:39:00.640
<v Speaker 1>and say, you know, what would been make this device

0:39:00.760 --> 0:39:02.920
<v Speaker 1>really useful if I could see what the heck I

0:39:03.040 --> 0:39:07.000
<v Speaker 1>was typing. Uh. And there were other models that did

0:39:07.040 --> 0:39:10.640
<v Speaker 1>the same thing, Like once the Visible came out. There

0:39:10.640 --> 0:39:14.239
<v Speaker 1>were of course many many other careers and companies that

0:39:14.280 --> 0:39:15.839
<v Speaker 1>were like, oh, of course we should have been doing

0:39:15.840 --> 0:39:19.240
<v Speaker 1>this all along. So uh, a brand called the Williams

0:39:19.280 --> 0:39:21.840
<v Speaker 1>came out, and then a machine called the Oliver. But

0:39:21.880 --> 0:39:23.919
<v Speaker 1>then this is also when I feel like the most

0:39:23.960 --> 0:39:26.799
<v Speaker 1>famous of the old old typewriters I say with air

0:39:26.880 --> 0:39:29.600
<v Speaker 1>quotes came out, which is the Underwood, and that came

0:39:29.600 --> 0:39:33.400
<v Speaker 1>out in I Love, I love the Underwood I have.

0:39:33.680 --> 0:39:36.320
<v Speaker 1>It is, like I said, incredibly heavy. It's one of

0:39:36.360 --> 0:39:40.399
<v Speaker 1>the earlier models. Probably not not. I'm pretty sure it's

0:39:40.400 --> 0:39:43.360
<v Speaker 1>from early twentieth century, so not one of the first

0:39:43.400 --> 0:39:46.719
<v Speaker 1>models that were released, but they definitely have a lot

0:39:46.760 --> 0:39:51.840
<v Speaker 1>of character to them. UM and UH, I love that

0:39:51.920 --> 0:39:55.759
<v Speaker 1>you have the origin story. It's like a superhero tale. Well,

0:39:55.800 --> 0:39:57.840
<v Speaker 1>you know, I always like when there's a little intrigue.

0:39:57.960 --> 0:40:01.239
<v Speaker 1>So the Underwood Lee was born out of what I

0:40:01.280 --> 0:40:04.359
<v Speaker 1>like to call a business burn UM, which is the

0:40:04.360 --> 0:40:07.880
<v Speaker 1>the company that produced. Underwood was originally a company that

0:40:07.920 --> 0:40:11.960
<v Speaker 1>just produced ribbons and carbon paper for other typewriters and

0:40:12.040 --> 0:40:15.239
<v Speaker 1>type machines. But then Remingtons, which was of course the

0:40:15.239 --> 0:40:17.960
<v Speaker 1>big player at that point in terms of the market,

0:40:18.320 --> 0:40:20.480
<v Speaker 1>decided that they were going to do their own accessories

0:40:20.480 --> 0:40:24.640
<v Speaker 1>and they didn't need Remington's products anymore, or they didn't

0:40:24.680 --> 0:40:27.760
<v Speaker 1>need Underwood products anymore. Underwood leadership was like, well then fine,

0:40:28.040 --> 0:40:30.759
<v Speaker 1>we're gonna make our own type, right, We'll use our

0:40:30.800 --> 0:40:34.320
<v Speaker 1>own stuff. I just kind of love that once again

0:40:34.360 --> 0:40:38.960
<v Speaker 1>we see businesses entering into ecosystems that, uh that you

0:40:39.040 --> 0:40:41.360
<v Speaker 1>get trapped in. You know, Oh, I've got a ribbon,

0:40:41.400 --> 0:40:43.040
<v Speaker 1>but it's only for an Underwood. Guess I better go

0:40:43.080 --> 0:40:47.240
<v Speaker 1>out and buy an Underwood typewriter. Um. Yeah, I wonder.

0:40:47.360 --> 0:40:49.200
<v Speaker 1>I wonder if they ever got to the point where

0:40:49.200 --> 0:40:51.040
<v Speaker 1>it was just cheaper to buy a new machine than

0:40:51.080 --> 0:40:52.960
<v Speaker 1>a new ribbon, because that's kind of how we are

0:40:53.040 --> 0:40:56.759
<v Speaker 1>with printers. I don't think so. Yeah, No, that's that's

0:40:56.760 --> 0:41:00.680
<v Speaker 1>a relatively new development. Uh yeah, I mean tween sort

0:41:00.680 --> 0:41:04.520
<v Speaker 1>of from the eighteen nine time frame up through the twenties,

0:41:05.080 --> 0:41:08.279
<v Speaker 1>typewriters evolved a little bit, but by the time we

0:41:08.320 --> 0:41:11.399
<v Speaker 1>reached the twenties, they had really completely homogenized, like they

0:41:11.400 --> 0:41:14.040
<v Speaker 1>were almost all quirty. They were all using a ribbon,

0:41:14.120 --> 0:41:16.160
<v Speaker 1>They all had the four rows or banks of keys

0:41:16.760 --> 0:41:18.759
<v Speaker 1>and one shift key like some of the previous ones

0:41:18.800 --> 0:41:21.680
<v Speaker 1>that had multiple shift keys depending on which keys you

0:41:21.680 --> 0:41:24.920
<v Speaker 1>were trying to switch over to the capitol or lower case.

0:41:25.600 --> 0:41:27.879
<v Speaker 1>This is where it kind of really all just smoothed out.

0:41:28.560 --> 0:41:31.360
<v Speaker 1>And then from that point forward we kind of stuck

0:41:31.360 --> 0:41:34.320
<v Speaker 1>with that form factor until we got to the electro

0:41:34.400 --> 0:41:38.040
<v Speaker 1>mechanical and electrical typewriters, and then started looking at different

0:41:38.040 --> 0:41:42.319
<v Speaker 1>ways to imprint letters onto paper. But as I said,

0:41:42.360 --> 0:41:45.480
<v Speaker 1>to cover all that would take another podcast, I did

0:41:45.480 --> 0:41:48.360
<v Speaker 1>want to spend a little more time to talk about

0:41:48.520 --> 0:41:52.520
<v Speaker 1>the quirty issue because a lot of people pointed out

0:41:52.520 --> 0:41:56.160
<v Speaker 1>that once you got away from the metal levers coming

0:41:56.239 --> 0:41:58.839
<v Speaker 1>up and hitting the paper, because that that that held

0:41:58.880 --> 0:42:00.840
<v Speaker 1>sway for a long time and time yewriters. But eventually

0:42:00.840 --> 0:42:03.680
<v Speaker 1>we got away from that, then there wasn't as much

0:42:03.680 --> 0:42:06.640
<v Speaker 1>of a reason to keep the quirty keyboard. The only

0:42:06.640 --> 0:42:09.400
<v Speaker 1>reason was that we were entrenched in that form factor.

0:42:09.920 --> 0:42:11.640
<v Speaker 1>You know, It wasn't that this is what we're all

0:42:11.719 --> 0:42:14.080
<v Speaker 1>used to we'll just keep going. This is the way

0:42:14.080 --> 0:42:16.120
<v Speaker 1>we've done it forever, so we're going to keep doing

0:42:16.120 --> 0:42:18.600
<v Speaker 1>it this way. But people were pointing out, they said, well,

0:42:18.680 --> 0:42:22.280
<v Speaker 1>if in fact the Corty keyboard was designed to either

0:42:22.360 --> 0:42:26.480
<v Speaker 1>slow people down or to put common letters far apart,

0:42:26.960 --> 0:42:30.640
<v Speaker 1>so that um, so that the you you avoid this

0:42:30.640 --> 0:42:33.080
<v Speaker 1>this jamming issue, and we now no longer have to

0:42:33.120 --> 0:42:37.000
<v Speaker 1>worry about the jamming issue, why don't we revisit the

0:42:37.040 --> 0:42:40.719
<v Speaker 1>type the typewriter's keyboard layout and see if we can

0:42:40.760 --> 0:42:44.200
<v Speaker 1>create a better one. No change is scary. Yeah, Well,

0:42:44.760 --> 0:42:48.759
<v Speaker 1>early in the twentieth century we had Dr August Dvorak

0:42:49.440 --> 0:42:51.520
<v Speaker 1>who was looking into this, and he came up with

0:42:51.520 --> 0:42:55.200
<v Speaker 1>the Dvorak keyboard. You've probably heard about that, and in

0:42:55.239 --> 0:42:57.319
<v Speaker 1>fact you may use one. There are people who use

0:42:57.400 --> 0:43:01.000
<v Speaker 1>the Vorat keyboards. And the idea was to reduce the

0:43:01.040 --> 0:43:03.960
<v Speaker 1>amount of movement that fingers would typically need to make

0:43:04.080 --> 0:43:06.640
<v Speaker 1>when typing. The idea being that if you have to

0:43:06.680 --> 0:43:08.960
<v Speaker 1>type a lot, let's say your job is a typist,

0:43:09.360 --> 0:43:11.680
<v Speaker 1>that after a while you could really you know, end

0:43:11.760 --> 0:43:14.520
<v Speaker 1>up straining your your hands and hurting your fingers trying

0:43:14.560 --> 0:43:20.320
<v Speaker 1>to use this antiquated, ridiculous system. That is inefficient on purpose.

0:43:20.840 --> 0:43:24.080
<v Speaker 1>At least that was what the popular belief was, and

0:43:24.160 --> 0:43:27.720
<v Speaker 1>so he laid out the keyboard in a totally different

0:43:27.719 --> 0:43:30.359
<v Speaker 1>way to put the most common letters in the home row.

0:43:30.480 --> 0:43:33.239
<v Speaker 1>That's the row where your fingers rest, so all the

0:43:33.320 --> 0:43:36.080
<v Speaker 1>vowels except for why we're in the home row for

0:43:36.120 --> 0:43:39.239
<v Speaker 1>the left hand. Oh, this was another interesting thing. So

0:43:40.280 --> 0:43:45.080
<v Speaker 1>the Quirity keyboard, according to divor x extensive studies, favors

0:43:45.120 --> 0:43:47.759
<v Speaker 1>the left hand over the right. That the most popular

0:43:47.880 --> 0:43:51.200
<v Speaker 1>letters in the English language are located on the left

0:43:51.200 --> 0:43:53.719
<v Speaker 1>side of the keyboard and the less popular ones on

0:43:53.760 --> 0:43:58.080
<v Speaker 1>the right. So right handers, which that's most of the population,

0:43:58.719 --> 0:44:01.879
<v Speaker 1>we're having to work harder to try and type. Well.

0:44:01.960 --> 0:44:07.040
<v Speaker 1>We left handers finally caught a darn break. Although once

0:44:07.080 --> 0:44:09.440
<v Speaker 1>you get in the computer age, if we're mousing a

0:44:09.440 --> 0:44:11.799
<v Speaker 1>lot with the right, then your left is freed up

0:44:11.800 --> 0:44:13.600
<v Speaker 1>to do that typing a little bit more. Yeah, but

0:44:13.640 --> 0:44:17.800
<v Speaker 1>that just means that I can't click one for us right. Yeah. Yeah,

0:44:17.680 --> 0:44:19.160
<v Speaker 1>when you get to when you get to the point

0:44:19.200 --> 0:44:21.600
<v Speaker 1>where the mouse is involved, and then you get into

0:44:21.640 --> 0:44:25.120
<v Speaker 1>first person shooters, I am left way behind. But the

0:44:25.200 --> 0:44:29.720
<v Speaker 1>Devora keyboard tried to put those common letter combinations closer

0:44:29.760 --> 0:44:32.360
<v Speaker 1>together to make it much easier to type, and DeVore

0:44:32.520 --> 0:44:35.960
<v Speaker 1>did some really extensive studies. He said that if you

0:44:36.000 --> 0:44:38.120
<v Speaker 1>look at a typical typing, you know, like you were

0:44:38.200 --> 0:44:40.480
<v Speaker 1>to type out a typical amount of words on a

0:44:40.480 --> 0:44:44.279
<v Speaker 1>piece of paper, of all, typing would require keys on

0:44:44.320 --> 0:44:47.600
<v Speaker 1>the top row, So the row above where your fingers

0:44:47.600 --> 0:44:51.759
<v Speaker 1>are resting would be on the home row, and scent

0:44:51.800 --> 0:44:53.840
<v Speaker 1>would be on the bottom row. Now, he thought of

0:44:53.880 --> 0:44:55.879
<v Speaker 1>the bottom row as being the most difficult to reach

0:44:55.880 --> 0:44:58.439
<v Speaker 1>because you have to curl your fingers in a little bit, right,

0:44:58.719 --> 0:45:00.319
<v Speaker 1>So he thought the best thing to do it would

0:45:00.360 --> 0:45:02.600
<v Speaker 1>be to concentrate the letters that are most common in

0:45:02.600 --> 0:45:05.560
<v Speaker 1>the home row, um slightly fewer on the top row,

0:45:05.600 --> 0:45:08.280
<v Speaker 1>and then the fewest on the bottom row. So his approach,

0:45:08.480 --> 0:45:11.200
<v Speaker 1>he claims, or claimed, I should say, he passed away

0:45:11.200 --> 0:45:15.440
<v Speaker 1>several years ago. He claimed that his approach meant that

0:45:15.480 --> 0:45:19.040
<v Speaker 1>you would type on the top row, seventy percent on

0:45:19.080 --> 0:45:21.240
<v Speaker 1>the home row, and only eight percent on the bottom

0:45:21.320 --> 0:45:25.400
<v Speaker 1>rowe and that these would then favorite right handers instead

0:45:25.400 --> 0:45:31.719
<v Speaker 1>of left handers, because why should I want to type anything? Uh? Now, now,

0:45:31.880 --> 0:45:35.040
<v Speaker 1>you can't really find a whole divort keyboards out there,

0:45:35.040 --> 0:45:38.600
<v Speaker 1>although a lot of operating systems support divorat keyboards and

0:45:38.640 --> 0:45:40.359
<v Speaker 1>then and they have for years. I mean there were

0:45:40.640 --> 0:45:43.640
<v Speaker 1>you know, the old Apple operating system, not even Mac,

0:45:43.680 --> 0:45:47.359
<v Speaker 1>but the old Apple operating system supported dvorate keyboards. So

0:45:47.520 --> 0:45:50.040
<v Speaker 1>you might be able to find that setting on your computer,

0:45:50.160 --> 0:45:53.040
<v Speaker 1>and depending what operating system you use, you could switch

0:45:53.080 --> 0:45:55.920
<v Speaker 1>it to a divorat keyboard and uh, if you really wanted.

0:45:56.080 --> 0:45:57.840
<v Speaker 1>You know, you don't necessarily have to go out and

0:45:57.880 --> 0:46:00.160
<v Speaker 1>buy a new keyboard, but you might want to buy

0:46:00.280 --> 0:46:03.200
<v Speaker 1>some stickers so that you can write the new letters

0:46:03.320 --> 0:46:05.760
<v Speaker 1>and stick them on top of the letters that exist,

0:46:06.320 --> 0:46:10.040
<v Speaker 1>and then give it a try, supposedly after a few

0:46:10.440 --> 0:46:12.440
<v Speaker 1>you know, it takes several hours of practice for you

0:46:12.480 --> 0:46:14.680
<v Speaker 1>to get used to the new layout, but once you do.

0:46:15.160 --> 0:46:20.120
<v Speaker 1>I've heard, and this is truly anecdotal, that people have

0:46:20.440 --> 0:46:23.840
<v Speaker 1>doubled their typing speed as a result. Someone claimed to

0:46:23.880 --> 0:46:26.239
<v Speaker 1>have been to have gone from fifty words per minute

0:46:26.239 --> 0:46:29.160
<v Speaker 1>to a hundred words per minute. Um, just because it

0:46:29.239 --> 0:46:33.200
<v Speaker 1>was so much easier and more efficient to type this way. UM.

0:46:33.239 --> 0:46:36.080
<v Speaker 1>I have never mucked around with one. Neither have I.

0:46:36.080 --> 0:46:40.080
<v Speaker 1>I have never used a dvort keyboard I type pretty quickly.

0:46:40.160 --> 0:46:42.120
<v Speaker 1>I think I'm right around a hundred words per minute,

0:46:42.200 --> 0:46:45.359
<v Speaker 1>So I for the sake of humanity, I don't want

0:46:45.360 --> 0:46:48.080
<v Speaker 1>to type faster. The smoke and stuff, Yeah you don't.

0:46:48.640 --> 0:46:52.320
<v Speaker 1>You never know, I could summon Cathulu. It's one of

0:46:52.360 --> 0:46:55.960
<v Speaker 1>those things. So this was a fun topic to look at.

0:46:56.000 --> 0:46:58.080
<v Speaker 1>I mean, it's really interesting to look back at the

0:46:58.080 --> 0:47:01.879
<v Speaker 1>development of the typewriter lists less controversial, I would say

0:47:01.880 --> 0:47:03.880
<v Speaker 1>than the sewing machine. Yeah, you don't get a lot

0:47:03.920 --> 0:47:06.239
<v Speaker 1>of good stories about people getting punched in the face. No,

0:47:06.360 --> 0:47:09.000
<v Speaker 1>there's there's that one competition thing with Underwood, but it

0:47:09.040 --> 0:47:11.600
<v Speaker 1>seems like it was all handled in a fairly gentlemanly

0:47:11.680 --> 0:47:14.320
<v Speaker 1>kind of way. Yeah. Yeah, there were no pistols at dawn.

0:47:14.719 --> 0:47:16.799
<v Speaker 1>There's no throwing anyone down the steps like there was,

0:47:18.000 --> 0:47:22.360
<v Speaker 1>right right, and also the uh I remember reading some

0:47:22.440 --> 0:47:27.080
<v Speaker 1>of these where. Don't get me wrong, typewriter enthusiasts can

0:47:27.160 --> 0:47:30.680
<v Speaker 1>also get a little a little raucous, because there was

0:47:31.239 --> 0:47:32.920
<v Speaker 1>there was one I was reading that was talking about

0:47:32.920 --> 0:47:36.560
<v Speaker 1>how the Brits like to talk about how they developed

0:47:36.600 --> 0:47:39.200
<v Speaker 1>typewriter areas typewriters because you look at this patent from

0:47:39.200 --> 0:47:41.200
<v Speaker 1>seventeen fourteen, but no one ever made one of those.

0:47:41.360 --> 0:47:44.440
<v Speaker 1>Typewriters are an American thing because in America we didn't

0:47:44.480 --> 0:47:47.760
<v Speaker 1>have enough people to have cheap labor. We were forced

0:47:47.840 --> 0:47:50.319
<v Speaker 1>to work for ourselves, which is why we built labor

0:47:50.400 --> 0:47:54.640
<v Speaker 1>saving devices. And uh as to the the truth of that,

0:47:54.680 --> 0:47:56.880
<v Speaker 1>I cannot say, but this was a fun one to

0:47:56.920 --> 0:48:00.120
<v Speaker 1>look at. Holly, thank you so much for joining me

0:48:00.200 --> 0:48:03.959
<v Speaker 1>again for this episode. Appreciated. My pleasure, My pleasure. Where

0:48:04.000 --> 0:48:07.239
<v Speaker 1>can folks find your stuff? They can visit us at

0:48:07.280 --> 0:48:10.120
<v Speaker 1>misst in history dot com or on Facebook dot com

0:48:10.160 --> 0:48:14.680
<v Speaker 1>slash mist in history, on Twitter at most in history. Uh,

0:48:14.760 --> 0:48:17.680
<v Speaker 1>we're at pinterest dot com slash mist in history. Pretty

0:48:17.760 --> 0:48:20.560
<v Speaker 1>much any iteration of social media. If you magically put

0:48:20.560 --> 0:48:22.840
<v Speaker 1>in mist in history will somehow pop up. Do you

0:48:22.880 --> 0:48:25.960
<v Speaker 1>have a recent episode that you would recommend to people

0:48:26.040 --> 0:48:29.040
<v Speaker 1>that you just think was really cool and fun to do? Uh?

0:48:29.080 --> 0:48:31.480
<v Speaker 1>We do. We have a number of fun ones. We

0:48:31.520 --> 0:48:33.960
<v Speaker 1>have some interesting Christmas ones that are coming out. But

0:48:34.000 --> 0:48:35.799
<v Speaker 1>one of my favorite recent ones that we did was

0:48:35.880 --> 0:48:38.520
<v Speaker 1>the sinking of the S five, which is a sub

0:48:38.560 --> 0:48:41.719
<v Speaker 1>that went down. It is a fun maritime disaster, but

0:48:41.800 --> 0:48:45.640
<v Speaker 1>it is one of the more humorous and enjoyable maritimestory. Sorry,

0:48:46.360 --> 0:48:50.279
<v Speaker 1>you know, from the scale of one to oh, this

0:48:50.320 --> 0:48:54.080
<v Speaker 1>one's pretty good, pretty delightful actually, which is part of

0:48:54.080 --> 0:48:57.759
<v Speaker 1>why I love it that all of the terror and

0:48:58.280 --> 0:49:01.400
<v Speaker 1>none of the drama. All okay, some of the drama,

0:49:01.480 --> 0:49:04.319
<v Speaker 1>but it turns out pretty good, so excellent. Well, we'll

0:49:04.400 --> 0:49:07.280
<v Speaker 1>definitely have to check that out. Thank you again, and guys,

0:49:07.360 --> 0:49:09.680
<v Speaker 1>thank you for listening to Text Stuff. Remember if you

0:49:09.719 --> 0:49:13.120
<v Speaker 1>have any questions, suggestions, anything you want me to cover

0:49:13.160 --> 0:49:15.120
<v Speaker 1>in future episodes, or a guest you want me to

0:49:15.160 --> 0:49:17.640
<v Speaker 1>have on the show, you can write me. My email

0:49:17.680 --> 0:49:21.120
<v Speaker 1>address is tech Stuff at how stuff works dot com,

0:49:21.239 --> 0:49:24.240
<v Speaker 1>or drop me a line on Twitter, Tumbler or Facebook

0:49:24.280 --> 0:49:26.680
<v Speaker 1>to handle it. All three is tech Stuff H. S W.

0:49:27.040 --> 0:49:32.640
<v Speaker 1>And we'll talk to you again really soon for more

0:49:32.680 --> 0:49:34.880
<v Speaker 1>on this and bausands of other topics. Does it have

0:49:35.040 --> 0:49:45.680
<v Speaker 1>stuff works dot com