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Speaker 1: You're listening to Part Time Genius, the production of Kaleidoscope

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Speaker 1: and iHeartRadio. Guess what Will?

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Speaker 2: What's that Mango?

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Speaker 1: Did you know that Ellie the Elephant, who is the

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Speaker 1: mascot of the WNBA team here at the New York Liberty,

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Speaker 1: Did you know she has two stylists?

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Speaker 2: Two stylists.

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Speaker 3: I'm definitely familiar with Ellie the Elephant, and it has

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Speaker 3: been so much fun to see how much buzz she's.

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Speaker 2: Gotten over the past year or so.

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Speaker 3: But I did not think about a mascot needing a stylist.

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Speaker 1: Well, you know, Ellie isn't just any old mascot. She twerks,

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Speaker 1: she goes to childish Gambino concerts, and she is a

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Speaker 1: fashion trendsetter. And in the twenty twenty four WNBA season,

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Speaker 1: she was spotted carrying a four hundred and twenty dollars

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Speaker 1: person She's even been featured in Vogue for her style.

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Speaker 3: I don't know, it makes me feel sort of sorry

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Speaker 3: for mister Mett. He just seems pretty pretty normcore at

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Speaker 3: this point. But I can't say that I were member

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Speaker 3: seeing Ellie like way back when, Like how long has

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Speaker 3: she actually been representing the Liberty?

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Speaker 1: Yeah, I was actually wondering about this too. Apparently she

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Speaker 1: only debuted in twenty twenty one, but she has obviously

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Speaker 1: made quite an impression, and it makes sense considering she's

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Speaker 1: kind of a tribute to so much New York history, Like, like,

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Speaker 1: what the fact that she's an elephant? For one, I'm

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Speaker 1: not sure if you remember this, but P. T. Barnum

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Speaker 1: brought twenty one elephants and seventeen camels over the Brooklyn

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Speaker 1: Bridge in eighteen eighty four, and that was to help

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Speaker 1: prove it was really sturdy. And then there's her name, Ellie,

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Speaker 1: which is an obvious name for an elephant, but also

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Speaker 1: a nod to Ellis Island. And of course she wears

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Speaker 1: a crown that looks just like the Statue of Liberties.

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Speaker 1: But watching Ellie's rise to fame and the Liberty becoming

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Speaker 1: WNBA champions this year, it had me thinking more about

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Speaker 1: the Statue of Liberty itself. And you know, it's kind

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Speaker 1: of easy to take it for granted as this ever

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Speaker 1: present symbol of freedom and immigration, but it got me

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Speaker 1: to wondering, why did the French give this thing to us?

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Speaker 1: And how do we get it here? So why don't

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Speaker 1: we dive in.

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Speaker 3: Hey their podcast listeners, Welcome to Part Time Genius. I'm

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Speaker 3: Will Pearson and as always, I'm here with my good

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Speaker 3: friend Mangesh hot Ticketter and sitting somewhere behind that big booth,

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Speaker 3: that's our pal and producer Dylan.

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Speaker 2: Now he looks like he's.

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Speaker 3: Getting warm from carrying that big torch over his head,

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Speaker 3: don't you think, Mango.

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Speaker 1: I don't know why he's got a torch in there.

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Speaker 1: He's always complaining that we're lighting scented candles and birthday

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Speaker 1: aches around his equipment, and this.

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Speaker 3: Doesn't really seem fair, It really doesn't. But I hope

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Speaker 3: that he finds a big bucket of water or fire exting.

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Speaker 3: We're sure to put that out because we've got an

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Speaker 3: episode record here, but let's get to it. So, Mango,

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Speaker 3: you obviously live in New York City, and I'm curious

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Speaker 3: how many times have you actually visited the Statue of Liberty.

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Speaker 1: I mean so many times. I ended up going so

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Speaker 1: many times that I decided to create like a different

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Speaker 1: tour of weird things to take people to just so

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Speaker 1: I didn't have to go to the Statue of Liberty.

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Speaker 1: So there was a nap room in the Empire State

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Speaker 1: building for a while, there was a secret museum and

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Speaker 1: an elevator shaft. There's a jewelry store that sells bond

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Speaker 1: me in the back, like that type of thing. But weirdly,

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Speaker 1: after working on this episode, I kind of want to

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Speaker 1: make another trip to the Statue of Liberty because I'm

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Speaker 1: really in awe of this thing and I kind of

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Speaker 1: want to see it up close.

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Speaker 2: Yeah, I get that.

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Speaker 3: It's definitely one of those things that I think you

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Speaker 3: appreciate it more with time and the more you just

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Speaker 3: think about the fact that this giant statue exists.

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Speaker 2: There, like right in the middle of the water.

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Speaker 3: I noticed it every time I fly in, Like every time,

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Speaker 3: for whatever reason, I always want to try to catch

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Speaker 3: a quick glimpse of it, just because it's such a

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Speaker 3: remarkable thing. But all right, well, why don't you kick

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Speaker 3: off the story for us, So tell us, let's let's

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Speaker 3: go back to the beginning. Tell us who came up

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Speaker 3: with the idea of putting up a giant statue in

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Speaker 3: the New York Harbor?

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Speaker 1: Right? So the whole thing began in eighteen sixty five

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Speaker 1: at a dinner party at the house of Eduard de

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Speaker 1: la Boulie, and he had a bunch of politicians and

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Speaker 1: intellectuals over they were chatting about politics and current events,

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Speaker 1: and the discussion kind of moved into the topic of

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Speaker 1: the United States. And to be clear, this probably wasn't

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Speaker 1: totally random, considering that la Boulie was the author of

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Speaker 1: a three volume history of the US right. So he's

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Speaker 1: bringing people onto his home turf. And this party also

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Speaker 1: came pretty soon about after the Confederates had surrendered to

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Speaker 1: the Union and after Abraham Lincoln was assassinated. Apparently the

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Speaker 1: French and actually the rest of the world had been

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Speaker 1: watching the US Civil War closely seeing if this Republic

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Speaker 1: could hold, and the people at this party were definitely

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Speaker 1: courage when it did. But the news of Lincoln's assassination

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Speaker 1: really hit them hard. In fact, according to a peace

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Speaker 1: by our pal Linda Rodriguez Mcrabbie, frenchmen across the country

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Speaker 1: were heartbroken by this news, and so much so that

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Speaker 1: more than forty thousand French citizens contributed to a fund

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Speaker 1: to award Mary Todd Lincoln a gold medal as a

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Speaker 1: gesture of gratitude to her husband.

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Speaker 3: Yeah, I mean, it is a touching tribute. And I

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Speaker 3: actually had not heard that story before but it's also

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Speaker 3: a little bit weird, right, like, we're sorry your husband

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Speaker 3: was assassinated, but you know what, here's a gold medal

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Speaker 3: from our country.

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Speaker 1: Yeah, I mean, I guess it's better than a silver

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Speaker 1: or bronze. But back to this dinner party, this group

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Speaker 1: of intellectuals was talking about how impressed they were that

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Speaker 1: the US had persevered through these events, right, and it

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Speaker 1: was obviously linked to current events there. France too, at

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Speaker 1: the time, was dealing with issues of abolition, and many

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Speaker 1: of these partygoers were part of the efforts to abolish

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Speaker 1: slavery in France's African colonies. And also France had fairly

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Speaker 1: recently had a whop of their own.

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Speaker 3: You know, honestly, it's so hard for me to keep

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Speaker 3: track of French revolts, Like I did not realize that

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Speaker 3: one happened in the eighteen sixties.

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Speaker 1: Yeah, so this one actually happened in eighteen fifty one.

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Speaker 1: But Napoleon the Third, who was Napoleon Bonaparte's nephew, refused

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Speaker 1: to leave the office of the president when he was

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Speaker 1: supposed to, and he declared himself Emperor France. So at

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Speaker 1: this dinner party, the group was like, how is this

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Speaker 1: baby country keeping it together while we're still struggling.

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Speaker 3: Mm hmm. I can imagine, you know, like lots of

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Speaker 3: French dinner parties in the eighteen sixties where this was

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Speaker 3: being discussed, and just trying to picture all of this discussion.

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Speaker 3: But how is it that this one led to the

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Speaker 3: building of a massive statue. That's what's still so strange

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Speaker 3: to me.

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Speaker 1: Yeah. So there was also a sculptor in attendance there.

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Speaker 1: His name was Frederic Auguste Bartoldi, and Bartoldi became famous

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Speaker 1: in the eighteen fifties for a statue of a French

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Speaker 1: general named gene Rapp and La Boulie was kind of

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Speaker 1: spitballing at his party, and so he said, well, France

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Speaker 1: and the US are great friends, we supported the American

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Speaker 1: Revolution and everything. What if there was a statue for that?

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Speaker 3: And then they actually did it. I mean, that's what's

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Speaker 3: so amazing about this whole thing. They built the statue,

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Speaker 3: We've covered it, so it's time for the fact off, right.

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Speaker 1: Not exactly so, after the party ended, Bartoldi started working

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Speaker 1: on plans for a different idea he had. He had

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Speaker 1: this vision of a statue slash lighthouse for Egypt. It

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Speaker 1: was going to sit at the entrance of the Suez Canal.

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Speaker 1: He titled it Egypt carrying the Light to Asia. And

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Speaker 1: if you squint at his painting of what this would

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Speaker 1: look like, you could kind of mistake it for Lady Liberty.

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Speaker 1: It's a woman on a pedestal holding a torch. She's

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Speaker 1: dressed in different garb, and she's raising her other hand.

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Speaker 1: But the Egyptian government turned him down and the idea

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Speaker 1: was scrapped, you know, for the time being.

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Speaker 3: Yeah, I mean it's tough when your whole thing is

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Speaker 3: making massive statues and putting them in very prominent places,

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Speaker 3: you do have to get used to some rejection in

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Speaker 3: the process.

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Speaker 1: Yeah, And that might be especially true for Bartoldi, who

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Speaker 1: actually should be noted that he had the most supportive

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Speaker 1: mom any artist could dream of. After his dad died

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Speaker 1: when Bartoldi was a young child, his mom moved him

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Speaker 1: and his brother from the city of Colmar, which is

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Speaker 1: closer to that i'll says, Lorraine region, to Paris, and

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Speaker 1: as he got more and more into drawing and sculpture,

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Speaker 1: his mom totally supported his art career, not just by

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Speaker 1: buying him chisels and stuff. She actually used to reach

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Speaker 1: out to journalists to get them to write about her son.

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Speaker 1: She also paid for his art studio where he made

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Speaker 1: these massive creations. Apparently that statue of General Rapp which

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Speaker 1: I mentioned earlier, it almost hit the studio ceiling he

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Speaker 1: was in, but the statue ends up winning him twenty

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Speaker 1: thousand francs in an art contest. It was actually too

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Speaker 1: big to fit into the doors of the expo building

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Speaker 1: where all the other contest pieces were, so it had

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Speaker 1: to be placed in front of the building. And the

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Speaker 1: whole thing that Bartoldi takes away from this experience is

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Speaker 1: that big art gets big attention.

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Speaker 3: Yeah, I mean that makes a lot of sense. So

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Speaker 3: after the Egyptian government rejects Bartoldi, does he start thinking

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Speaker 3: about the United States again or what?

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Speaker 1: Well, first he goes off and fights in the Franco

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Speaker 1: Prussian War, and then in eighteen seventy one, after that

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Speaker 1: war ends, le Boulier and Bartoldi meet back up and

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Speaker 1: get refocused on this statue idea. The problem was they

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Speaker 1: still don't have any idea who would pay for it,

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Speaker 1: which is something I know you looked into. But before

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Speaker 1: we talk about that, let's take a quick break.

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Speaker 3: Welcome back, to Part Time Genius, where we're talking about

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Speaker 3: the Statue of Liberty, and it's becoming clear that this

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Speaker 3: thing isn't quite as simple as just a gift from

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Speaker 3: the French government to the United States.

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Speaker 1: No, it's more like a couple of French civilians thought

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Speaker 1: it would be a cool idea because they liked history

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Speaker 1: and art and saw the US from across the bar

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Speaker 1: and liked its five. I then decide to send it

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Speaker 1: a statue. But uh, let's talk fundraising.

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Speaker 2: All right.

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Speaker 3: So Leabulia and BARTHOLDI needed to figure out if there

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Speaker 3: were statue fundraising opportunities in the US. Plus Lbulier thought

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Speaker 3: it would be a good idea for BARTOLDI to spend

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Speaker 3: some time there for the statue brainstorming, because they still

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Speaker 3: hadn't finished what this statue could look like. So Bartoldi

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Speaker 3: takes a small clay model he's made and he crosses

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Speaker 3: the Atlantic. Now this was June of eighteen seventy one.

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Speaker 3: When he arrives in New York City. He wrote Laboulia

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Speaker 3: a letter describing the city wide eyed like he wrote, quote,

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Speaker 3: everything is big here, even the green peas.

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Speaker 2: I love that.

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Speaker 3: But despite the inspiring size of the peas Bartholdi still

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Speaker 3: had some concerns. So he thought the biggest barrier to

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Speaker 3: his statue project would be quote, the American character, which

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Speaker 3: is hardly open.

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Speaker 2: To things of the imagination. It's pretty big dig there.

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Speaker 3: But also the English wasn't great, so this whole thing

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Speaker 3: was going to be a challenge from the very beginning.

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Speaker 1: Yeah, that sounds particularly hard if you don't speak the language.

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Speaker 1: So how did Bartoldi adapt to our would you say,

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Speaker 1: unimaginative way?

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Speaker 2: Exactly?

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Speaker 3: Well, he quickly learned that he couldn't pitch the statue

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Speaker 3: to people as a joint project between France and the US.

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Speaker 3: He wasn't going to get much traction if he did that.

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Speaker 3: So he did some quick thinking and he rebranded it

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Speaker 3: as a quote, commemorative monument for eighteen seventy six, acting

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Speaker 3: like France was already on board to pay for this piece,

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Speaker 3: and that all the Americans had to do was sit

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Speaker 3: back and you know, maybe chip in a little for

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Speaker 3: the pedestal or something.

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Speaker 1: Which is obviously stretching the truth a little bit there.

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Speaker 2: It definitely was.

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Speaker 3: I mean, in reality, it was just a few men

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Speaker 3: who even knew about the statue. No money had been

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Speaker 3: set aside for it, and BARTOLDI had been expecting that

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Speaker 3: Americans would pay for half the thing. In the end,

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Speaker 3: he spends four months in the US. He makes his

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Speaker 3: way through New England, then crosses the country to California

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Speaker 3: and returns all the way back to the East Coast.

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Speaker 1: I mean, that's kind of a lot of travel for

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Speaker 1: that time, right, like going coast to coast.

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Speaker 3: I thought the same thing. But it's also crazy to

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Speaker 3: see who he meets along the way, Like he sits

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Speaker 3: down with some really heavy hitters, including President Ulysses S.

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Speaker 2: Grant in New Jersey.

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Speaker 3: In Salt Lake City, he meets Brigham Young and in

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Speaker 3: all his meeting people in fact finding, that's how he

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Speaker 3: lands on the theme of his statue, which is, drum roll,

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Speaker 3: please liberty.

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Speaker 1: I'm not like a famous sculptor or anything, but I

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Speaker 1: feel like I could have gotten there without a four

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Speaker 1: month brainstorming vacation through the US.

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Speaker 3: I don't know, Mango, sometimes you got to do all

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Speaker 3: those things to come up with that. But it wasn't

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Speaker 3: as anticlimactic as it might sound like. Liberty was actually

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Speaker 3: hot button term at the time. It didn't just mean

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Speaker 3: freedom to everyone. A lot of people associated the idea

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Speaker 3: with revolutions and violence, but Bartholdi and Laboulie decided to

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Speaker 3: show a different side of liberty. The statue would be

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Speaker 3: lighting the way to freedom in a peaceful, lawful way.

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Speaker 3: They named it Liberty and Lightning the World. Plus that

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Speaker 3: nugget of an idea bought Bartoldi and Libulier to the

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Speaker 3: Roman goddess of freedom Libertas. She was on the seal

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Speaker 3: of the Second French Republic and some American currency at

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Speaker 3: the time, which is why the Statue of Liberty wears

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Speaker 3: a Roman robe. And Libertas was an important figure to

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Speaker 3: formally enslaved people in ancient Rome, so that made the

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Speaker 3: choice especially fitting. But like you mentioned earlier, Bartoldi also

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Speaker 3: took a lot of inspiration from the Suez Canal idea.

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Speaker 1: So speaking of the connection between the Statue of Liberty

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Speaker 1: and slavery, I think people sometimes forget that she has

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Speaker 1: shackles at her feet, and it is interesting to read

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Speaker 1: about the different takes on the statue and how explicitly

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Speaker 1: anti slavery people believed it to be. So you know,

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Speaker 1: as we mentioned earlier, people at Libulia's party were abolitionists,

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Speaker 1: including Libulia himself. But Bartoldi he was actually aiming to

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Speaker 1: be more a political with this thing. So, according to

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Speaker 1: an author Kara Sutherland and her book The Statue of Liberty,

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Speaker 1: Bartoldi wasn't trying to comment on slavery specifically. To him,

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Speaker 1: those shackles represented political freedom in general, like America breaking

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Speaker 1: free from England and persevering through internal conflict. And weirdly,

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Speaker 1: those chains were even more prominent in his early sketches.

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Speaker 1: Originally Lady Liberty was supposed to hold chains in her

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Speaker 1: left hand where there's now a tablet. So, regardless of

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Speaker 1: Bartoldi's intent or his claimed intent, abolition and slavery were

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Speaker 1: certainly part of the conversation and actually just one more

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Speaker 1: thing on political views of the time. In eighteen seventy one,

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Speaker 1: the working in middle classes attempted in uprising in Paris,

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Speaker 1: which you know, the government ruthlessly ends up squashing. But

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Speaker 1: Lubouliet actually supports the government in this situation because he

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Speaker 1: was against the uprisings violent strategy. He did want friends

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Speaker 1: to be a democracy, but he didn't think this was

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Speaker 1: the right way to get there, which doesn't sit well

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Speaker 1: with his friends and colleagues. So in a sort of

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Speaker 1: self branding way personal for him, it was like a

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Speaker 1: good time to come out and announce that he was

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Speaker 1: working on a statue about the beauty of liberty and democracy.

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Speaker 3: Oh that's funny, all right, Well let's just get back

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Speaker 3: to the fundraiser for just a second. Because you know,

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Speaker 3: as you know, art can't be rushed. So it took

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Speaker 3: a few years for Bartoldi to make a bigger model

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Speaker 3: out of Terra Cotta for quote liberty and lightning the world,

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Speaker 3: And finally in eighteen seventy five they were ready to

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Speaker 3: start fundraising. So Laboulia and his liberal friends began reaching

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Speaker 3: out to potential donors and holding these fundraiser concerts. They

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Speaker 3: were looking for donations big and small, so they tried

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Speaker 3: to connect people from all stations of life, and they

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Speaker 3: kind of thought the fundraising would go easier because of

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Speaker 3: what had happened with the gold medal for Mary Todd Lincoln.

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Speaker 1: I mean, I feel like if these people only knew

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Speaker 1: how historically significant their donations would be, Like the statue

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Speaker 1: of Liberty has a critical role in Cloverfield and Independence Day,

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Speaker 1: Batman Forever.

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Speaker 3: And Batman forever, Like that alone, you think people would

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Speaker 3: understand but also things like Mad magazine covers. Anyway, they

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Speaker 3: start working on the statue and Bartoldi gets in touch

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Speaker 3: with Alexander Gustav Eiffel, who of course would go on

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Speaker 3: to design the Eiffel Tower later in his career, but

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Speaker 3: at this point he's more famous for designing bridges. They

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Speaker 3: also team up with another important artist and engineer, Eugene

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Speaker 3: Violette LeDuc to create the statue skeleton, which is made

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Speaker 3: of iron pylon.

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Speaker 1: I kind of love how this story is like a

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Speaker 1: who's who of the eighteen hundreds. We have presidents, religious leaders,

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Speaker 1: and now the creator of the Eiffel Tower. Yes, it's amazing.

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Speaker 3: It's pretty wild seeing it all come together, and their

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Speaker 3: contributions are pretty significant, which we'll talk about a little

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Speaker 3: bit later. But even with all of these famous friends,

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Speaker 3: Bartoldi and Laboulie still needed more money. They knew they

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Speaker 3: needed Americans to pay for the statue's granite pedestal. It

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Speaker 3: would cost two hundred and fifty thousand dollars, which is

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Speaker 3: over six million dollars in today's terms, and they hadn't

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Speaker 3: gotten much money or interest in this just yet. So

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Speaker 3: in eighteen seventy six, Bartoldi heads back to the United States,

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Speaker 3: and this time he goes straight to Philadelphia for the

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Speaker 3: centennial exposition. Now, right now, they basically only have enough

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Speaker 3: money for the arm, so they ship that to the

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Speaker 3: United States to put it on display in Philly.

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Speaker 1: And any idea why they start with the arm, like

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Speaker 1: instead of the face.

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Speaker 3: Well, they had some rationale behind it, like if they

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Speaker 3: couldn't raise enough money, it simply would have been a

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Speaker 3: standalone piece.

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Speaker 1: I mean, I guess that makes sense. But did this

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Speaker 1: publicity start work?

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Speaker 3: Actually, it got a lot of people excited, and when

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Speaker 3: you hear about it, the World's Fair of that time

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Speaker 3: is kind of amazing. So over the course of that

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Speaker 3: summer in eighteen seventy six, ten million people from over

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Speaker 3: thirty countries visited the exhibits, and Linda wrote about this

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Speaker 3: for mental flaws.

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Speaker 2: As you mentioned.

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Speaker 3: Before, the exhibits featured quote, working elevators, electric lights, and

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Speaker 3: even a live walrus, a live walrus maybe, And apparently

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Speaker 3: the programming changed daily, and of course this giant arm

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Speaker 3: with a torch that we talked about. But you know,

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Speaker 3: the funny thing is that most people there didn't realize

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Speaker 3: this was a fundraising gimmick or even a celebration of

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Speaker 3: liberty or whatever it was. They just thought it was

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Speaker 3: a way to get a view of surrounding counties, so

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Speaker 3: they stood in line. They paid fifty cents to climb

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Speaker 3: up the arm and stand on the torch's balcony. And meanwhile,

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Speaker 3: Bartholdy kind of stood under it, hustling photos for extra

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Speaker 3: cash whatever he could do.

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Speaker 1: Which sounds a little desperate, but I guess that's because

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Speaker 1: he was right.

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Speaker 2: Absolutely.

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Speaker 3: And the press commented on this, and a September eighteen

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Speaker 3: seventy six article The New York Times wrote quote, had

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Speaker 3: the French sculptor honestly intended to complete the Statue of Liberty,

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Speaker 3: he would have begun at its foundation. From present appearances,

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Speaker 3: we have now all of the statue that we have,

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Speaker 3: unless we are willing to pay the cost of finishing it.

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Speaker 3: And it is more than doubtful if the American public

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Speaker 3: is ready to undertake such a task. Now that said,

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Speaker 3: they were all so kind of impressed by the size

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Speaker 3: of the thing, And the same article it reads quote

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Speaker 3: our eyes were gladdened by the actual receipt of a

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Speaker 3: section of liberty consisting of one arm with its accompanying hand.

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Speaker 3: Of such enormous proportion that the thumbnail afforded an easy

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Speaker 3: seat for the largest woman now in existence.

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Speaker 1: That's kind of a weird way, very weird way to

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Speaker 1: get back to your first point. It sounds like the

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Speaker 1: New York Times didn't really believe we were going to

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Speaker 1: get much more of a statue.

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Speaker 2: Yeah, that's true.

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Speaker 3: But Bartoldi was determined, so he put out a statement

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Speaker 3: that he was thinking about letting Philadelphia have the statue

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Speaker 3: instead of New York City, which definitely got New York's attention,

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Speaker 3: and the city quickly responded was like, no, no, no,

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Speaker 3: we'll take it. And they announced that the hand and

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Speaker 3: torch would go on display in Madison Square until the

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Speaker 3: whole statue was ready to be put up in New

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Speaker 3: York Harbor.

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Speaker 1: And how long are we talking about here?

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Speaker 2: It took a while.

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Speaker 3: I mean this took years. The torch was on display

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Speaker 3: in Madison Square until eighteen eighty two, and as you

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Speaker 3: can imagine, it had quite the presence, was as tall

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Speaker 3: as the trees and buildings, and you could see it

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Speaker 3: from blocks away. They sold souvenir photos to raise money,

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Speaker 3: and tours could still climb into the arm for that

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Speaker 3: same price of fifty cents. It was pretty exciting at first,

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Speaker 3: but as the years went on, it just kind of

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Speaker 3: became like any other structure in the city and people

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Speaker 3: got used to seeing it.

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Speaker 1: Actually, and so what happens here, like the fundraising just

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Speaker 1: keeps going.

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Speaker 3: I mean, basically, so Laboulia and Bartoldi had put on

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Speaker 3: an opera performance in Paris other high profile fundraising events.

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Speaker 3: So in eighteen seventy nine he had received two hundred

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Speaker 3: and fifty thousand francs from the French public, which were

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Speaker 3: enough to pay for the statue itself, but the Americans

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Speaker 3: still had to pay for the pedestal.

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Speaker 2: I love how that just keeps coming up as you

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Speaker 2: read about this.

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Speaker 3: Is like the Americans got to get it together for

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Speaker 3: the pedestal, and there were some real roadblocks, like Grover

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Speaker 3: Cleveland was the governor of New York at the time.

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Speaker 3: He wouldn't allow for the use of city funds for

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Speaker 3: the pedestal. Congress didn't help out. President Grant tried to

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Speaker 3: ask Tiffany and Company to put up five thousand dollars

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Speaker 3: for the project. It's unclear whether Tiffany's helped, but they

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Speaker 3: did design and engrave the invitations for the statues dedication

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Speaker 3: in eighteen eighty six.

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Speaker 1: So there's a statue that's ready and money for invitations,

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Speaker 1: but no pedestal.

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Speaker 3: That's exactly right. And by this point other cities are

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Speaker 3: begging for this thing. You've got Boston, San Francisco, Philadelphia,

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Speaker 3: they all reach out and they say, we will pay

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Speaker 3: for this, and New York is really at risk of

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Speaker 3: losing the statue.

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Speaker 2: Now.

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Speaker 3: That's when Joseph Pulitzer swoops in to save the day.

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Speaker 3: In eighteen eighty three, he starts a fundraising campaign in

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Speaker 3: his newspaper Than New York World, and they're constantly publishing

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Speaker 3: updates on the project in every donation they're collecting, and

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Speaker 3: Pulletzer starts incentivizing people too, like he gave gold coins

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Speaker 3: to the biggest donors and was trying to think of

438
00:21:52,720 --> 00:21:53,720
Speaker 3: anything he could do.

439
00:21:54,280 --> 00:21:56,320
Speaker 1: It's so weird that we keep running into gold coins

440
00:21:56,320 --> 00:21:59,639
Speaker 1: in this episode. Very Scrooge McDuck. But I guess this

441
00:21:59,720 --> 00:22:01,160
Speaker 1: whole scheme works for them.

442
00:22:01,240 --> 00:22:05,399
Speaker 3: It's actually unbelievable how well it works. Kids are donating,

443
00:22:05,480 --> 00:22:08,520
Speaker 3: so our business people, street cleaners, people.

444
00:22:08,280 --> 00:22:09,600
Speaker 2: From all walks of life.

445
00:22:09,960 --> 00:22:12,760
Speaker 3: The mayor of Buffalo donated his entire two hundred and

446
00:22:12,800 --> 00:22:16,920
Speaker 3: thirty dollars annual salary, and over forty New Yorkers gave

447
00:22:16,960 --> 00:22:20,560
Speaker 3: two hundred and fifty bucks. Now, thanks to this Pulleitzer push,

448
00:22:20,880 --> 00:22:23,520
Speaker 3: it only took them five months to finish raising all

449
00:22:23,560 --> 00:22:26,440
Speaker 3: the money they had needed. They ended up with over

450
00:22:26,560 --> 00:22:30,560
Speaker 3: one hundred and sixty thousand donors and more than seventy

451
00:22:30,600 --> 00:22:33,159
Speaker 3: five percent of the donations being less than a dollar.

452
00:22:33,240 --> 00:22:36,359
Speaker 3: So all these people were chipping in what they could.

453
00:22:36,400 --> 00:22:40,199
Speaker 3: And so it's finally time to install the thing. But

454
00:22:40,280 --> 00:22:45,000
Speaker 3: before we get to that, let's take one more quick break.

455
00:22:58,680 --> 00:23:00,840
Speaker 3: Welcome back to Part Time Genius. We're talking about the

456
00:23:00,880 --> 00:23:02,040
Speaker 3: Statue of Liberty.

457
00:23:02,400 --> 00:23:02,840
Speaker 2: So mego.

458
00:23:02,920 --> 00:23:05,600
Speaker 3: We've covered the origins of the statue or at the

459
00:23:05,600 --> 00:23:09,520
Speaker 3: point where the pedestal and the statue are finally finally

460
00:23:09,600 --> 00:23:12,800
Speaker 3: paid for. But one thing I've always wondered is how

461
00:23:12,840 --> 00:23:15,960
Speaker 3: does this thing get to New York? Like it's designed

462
00:23:16,000 --> 00:23:19,199
Speaker 3: in Paris and built in the US, and how do

463
00:23:19,280 --> 00:23:22,280
Speaker 3: you build this statue of this size? Like it's definitely

464
00:23:22,359 --> 00:23:24,920
Speaker 3: still such a mind boggling thing to think about.

465
00:23:25,640 --> 00:23:28,120
Speaker 1: Yeah, it's astounding, Like when you live in New York,

466
00:23:28,160 --> 00:23:30,560
Speaker 1: it's honestly so much just a part of the scenery. Yeah,

467
00:23:30,680 --> 00:23:33,520
Speaker 1: but the more I read about the construction, the more

468
00:23:33,520 --> 00:23:36,879
Speaker 1: insane it feels. So I guess Bartoldi started out with

469
00:23:37,160 --> 00:23:40,080
Speaker 1: a four foot model of Lady Liberty, right, and it's

470
00:23:40,160 --> 00:23:43,560
Speaker 1: like pocket size or whatever. But then they kept building

471
00:23:43,560 --> 00:23:46,600
Speaker 1: more and more replicas and increasing the dimensions. So they

472
00:23:46,680 --> 00:23:48,879
Speaker 1: start with this four foot thing, and then they double

473
00:23:48,920 --> 00:23:51,240
Speaker 1: it so it's about eight feet tall, and then they

474
00:23:51,359 --> 00:23:54,200
Speaker 1: quadruple it into a plaster model that's a little over

475
00:23:54,320 --> 00:23:58,200
Speaker 1: thirty six feet tall. And then Bartoldi and his men

476
00:23:58,440 --> 00:24:02,280
Speaker 1: they break down this structure into three hundred little sections

477
00:24:02,880 --> 00:24:05,720
Speaker 1: and they enlarge every one of those pieces to four

478
00:24:05,840 --> 00:24:08,959
Speaker 1: times its size, which means now they've got this whole

479
00:24:09,080 --> 00:24:12,040
Speaker 1: jigsaw puzzle of the full size statue.

480
00:24:12,200 --> 00:24:14,240
Speaker 3: And so what happens after that, like they just put

481
00:24:14,240 --> 00:24:15,000
Speaker 3: all those together.

482
00:24:15,640 --> 00:24:17,439
Speaker 1: No, so they still have to figure out how to

483
00:24:17,440 --> 00:24:19,680
Speaker 1: make a copper version of this. So they take those

484
00:24:19,720 --> 00:24:22,719
Speaker 1: three hundred sections and create molds for the copper, and

485
00:24:22,760 --> 00:24:25,680
Speaker 1: then they hammer it against all the molds to create

486
00:24:25,720 --> 00:24:28,480
Speaker 1: the shape. And they can do this because apparently the

487
00:24:28,480 --> 00:24:31,960
Speaker 1: statue of Liberty is pretty thin skinned, like the copper

488
00:24:32,040 --> 00:24:34,920
Speaker 1: that's being used is only the thickness of two pennies

489
00:24:35,000 --> 00:24:36,720
Speaker 1: or three thirty seconds of an inch.

490
00:24:37,040 --> 00:24:39,720
Speaker 2: God, that is crazy. And so what's holding it all together?

491
00:24:39,960 --> 00:24:43,359
Speaker 1: I mean, that's really where Eifel comes in. So there's

492
00:24:43,359 --> 00:24:46,680
Speaker 1: a flexible iron skeleton that's the scaffolding of the statue.

493
00:24:46,680 --> 00:24:50,160
Speaker 1: And because Eifel was a genius with bridges, he knows

494
00:24:50,200 --> 00:24:53,080
Speaker 1: all about how structures expand in the heat or need

495
00:24:53,119 --> 00:24:55,520
Speaker 1: to bend to withstand the wind. Like if you think

496
00:24:55,520 --> 00:24:58,359
Speaker 1: about it, all that sun could actually crack Liberty's face

497
00:24:58,400 --> 00:25:01,560
Speaker 1: if it wasn't constructed in this very flexible way. And

498
00:25:01,640 --> 00:25:04,280
Speaker 1: so they build a statue in France in eighteen eighty four,

499
00:25:04,760 --> 00:25:07,560
Speaker 1: and it basically sits there waiting to get shipped over

500
00:25:07,600 --> 00:25:10,920
Speaker 1: to the US until you know, this pedestal money comes through,

501
00:25:11,480 --> 00:25:15,360
Speaker 1: and then when it's already the statue of Liberty gets disassembled,

502
00:25:15,600 --> 00:25:18,920
Speaker 1: packed up into two hundred and fourteen boxes, and then

503
00:25:19,040 --> 00:25:22,360
Speaker 1: sent to America to get reassembled. But even then it's

504
00:25:22,400 --> 00:25:24,439
Speaker 1: kind of a pain, Like apparently the pedestal was so

505
00:25:24,640 --> 00:25:27,560
Speaker 1: small that they couldn't put up a rig around her,

506
00:25:27,800 --> 00:25:31,480
Speaker 1: so the workers while they were working were actually dangling

507
00:25:31,520 --> 00:25:35,640
Speaker 1: from ropes latched to the framework of this structure, all

508
00:25:35,720 --> 00:25:38,360
Speaker 1: while the wind and elements are kicking up around them.

509
00:25:38,440 --> 00:25:42,920
Speaker 1: I mean, it is insane to think about. And finally,

510
00:25:43,320 --> 00:25:47,639
Speaker 1: on October twenty eighth, eighteen eighty six, the statue is complete.

511
00:25:47,680 --> 00:25:49,960
Speaker 1: So you know, it's just twelve years and a couple

512
00:25:50,000 --> 00:25:53,280
Speaker 1: months past the original deadline that they set for themselves

513
00:25:53,280 --> 00:25:56,639
Speaker 1: of the American Centennial, and that's what France had had

514
00:25:56,680 --> 00:25:59,200
Speaker 1: been aiming for. But you know, like you said, great

515
00:25:59,280 --> 00:26:00,199
Speaker 1: art takes great time.

516
00:26:00,320 --> 00:26:03,160
Speaker 3: Yeah, I mean, it's obviously just a huge, huge feat

517
00:26:03,200 --> 00:26:05,959
Speaker 3: to finish this thing, and there's a ticker tape parade

518
00:26:05,960 --> 00:26:08,960
Speaker 3: and people in Manhattan cheer for it. But what's interesting

519
00:26:09,040 --> 00:26:12,560
Speaker 3: is that the statue wasn't immediately embraced by everyone. In fact,

520
00:26:12,600 --> 00:26:16,760
Speaker 3: it became a lightning rod of protests. Really yeah, I mean,

521
00:26:16,800 --> 00:26:19,040
Speaker 3: first of all, only two women were invited to the

522
00:26:19,160 --> 00:26:22,800
Speaker 3: unveiling on Bedloe's Island, which is now Liberty Island. So

523
00:26:22,880 --> 00:26:25,959
Speaker 3: members of the New York State Women Suffrage Association chartered

524
00:26:26,000 --> 00:26:28,680
Speaker 3: a boat, got in a front row right up there

525
00:26:28,680 --> 00:26:31,520
Speaker 3: in the center on the water, and after the unveiling,

526
00:26:31,600 --> 00:26:35,040
Speaker 3: Lily Devereux Blake gave a speech and in it she said,

527
00:26:35,160 --> 00:26:38,439
Speaker 3: quote in erecting a statue of liberty embodied as a

528
00:26:38,480 --> 00:26:41,600
Speaker 3: woman in a land where no woman has political liberty.

529
00:26:42,040 --> 00:26:45,760
Speaker 3: Men have shown a delightful inconsistency which excites the wonder

530
00:26:45,800 --> 00:26:48,000
Speaker 3: and admiration of the opposite sex.

531
00:26:48,400 --> 00:26:51,280
Speaker 1: That's, you know, a really fair point. And it's so

532
00:26:51,359 --> 00:26:53,879
Speaker 1: crazy to me, Like, I just assume once they finally

533
00:26:53,920 --> 00:26:56,000
Speaker 1: get this thing up, everyone's just going to appreciate it.

534
00:26:56,080 --> 00:26:58,480
Speaker 3: Yeah, I mean, and actually they weren't the only ones

535
00:26:58,520 --> 00:27:01,960
Speaker 3: with something to say so. In November of that same year,

536
00:27:02,000 --> 00:27:05,760
Speaker 3: the Cleveland Gazette published an editorial that read, shoved the

537
00:27:05,760 --> 00:27:09,439
Speaker 3: Bartoldi statue, torch and all into the ocean until the

538
00:27:09,640 --> 00:27:12,359
Speaker 3: liberty of this country is such as to make it

539
00:27:12,480 --> 00:27:16,320
Speaker 3: possible for an inoffensive and industrious colored man in the

540
00:27:16,359 --> 00:27:20,120
Speaker 3: South to earn a respectable living for himself and family

541
00:27:20,520 --> 00:27:24,600
Speaker 3: without being ku Klux murdered, his wife and his daughter outraged,

542
00:27:24,840 --> 00:27:29,240
Speaker 3: and his property destroyed. Also undermining the idea of liberty

543
00:27:29,280 --> 00:27:31,560
Speaker 3: was the fact that the federal government had only just

544
00:27:31,760 --> 00:27:35,280
Speaker 3: passed the Chinese Exclusion Act. These were the ones restricting

545
00:27:35,320 --> 00:27:38,440
Speaker 3: immigrants based on race. This was in eighteen eighty two.

546
00:27:38,960 --> 00:27:42,159
Speaker 1: I mean, it's funny or ironic because now the Statue

547
00:27:42,160 --> 00:27:45,240
Speaker 1: of Liberty feels like such an important symbol of immigration.

548
00:27:45,520 --> 00:27:47,560
Speaker 1: Like you think about the poem at the base, like

549
00:27:47,880 --> 00:27:51,639
Speaker 1: it's not quite the tired, poor huddle masses that we

550
00:27:51,800 --> 00:27:52,639
Speaker 1: so often reference.

551
00:27:52,880 --> 00:27:55,920
Speaker 3: That's exactly right. And actually only one person died during

552
00:27:55,960 --> 00:27:58,679
Speaker 3: their construction of the statue in New York, and that

553
00:27:58,760 --> 00:28:02,320
Speaker 3: was an immigrant. So in eighteen eighty three, Italian immigrant

554
00:28:02,359 --> 00:28:06,280
Speaker 3: Francis Longo was working on the statue's foundation when a

555
00:28:06,320 --> 00:28:09,800
Speaker 3: wall collapsed on him and he died tragically. So the

556
00:28:09,800 --> 00:28:13,560
Speaker 3: statue's history with immigrants had a bad start, but things

557
00:28:13,600 --> 00:28:16,439
Speaker 3: turned around in eighteen ninety two when nearby Ellis Island

558
00:28:16,520 --> 00:28:21,080
Speaker 3: opened as an immigration processing center and received its first immigrants.

559
00:28:21,480 --> 00:28:23,960
Speaker 3: So over the next sixty two years, more than twelve

560
00:28:24,040 --> 00:28:26,720
Speaker 3: million people went through Ellis Island on the way to

561
00:28:26,760 --> 00:28:29,679
Speaker 3: the United States. Now this helped cement the Statue of

562
00:28:29,720 --> 00:28:33,040
Speaker 3: Liberty as a symbol of immigration. It was all of

563
00:28:33,040 --> 00:28:35,800
Speaker 3: those immigrants who passed by the statue and saw it

564
00:28:35,840 --> 00:28:38,840
Speaker 3: as a welcome on their journey to America and really

565
00:28:38,880 --> 00:28:42,120
Speaker 3: gave it its meaning and significance. And as for that

566
00:28:42,160 --> 00:28:45,840
Speaker 3: famous poem he referenced, it's called the New Colossus. It

567
00:28:45,880 --> 00:28:48,640
Speaker 3: was written by Emma Lazarus. This was back in eighteen

568
00:28:48,720 --> 00:28:51,160
Speaker 3: eighty three. She actually wrote it for one of the

569
00:28:51,200 --> 00:28:54,760
Speaker 3: statue pedestal fundraisers. It was an art auction at the time,

570
00:28:55,200 --> 00:28:58,600
Speaker 3: and it wasn't added to the statue until nineteen oh three,

571
00:28:59,160 --> 00:29:01,800
Speaker 3: and that actually after a lot of lobbying by one

572
00:29:01,800 --> 00:29:06,240
Speaker 3: of Lazarus's friends, Georgina Schuyler, a descendant of famous immigrant

573
00:29:06,320 --> 00:29:07,560
Speaker 3: Alexander Hamilton.

574
00:29:08,800 --> 00:29:10,400
Speaker 1: I love it. You're always bringing it up that.

575
00:29:10,480 --> 00:29:12,320
Speaker 2: You can't you can't not do it. We watched it

576
00:29:12,320 --> 00:29:13,880
Speaker 2: again last week, so you have to.

577
00:29:15,280 --> 00:29:17,239
Speaker 1: Well, you know, like I said at the top, I

578
00:29:17,240 --> 00:29:19,160
Speaker 1: just feel like I have so much more admiration for

579
00:29:19,200 --> 00:29:21,000
Speaker 1: the statue. It always felt like this thing that was

580
00:29:21,080 --> 00:29:23,760
Speaker 1: just like gifted to America the way the history books

581
00:29:23,760 --> 00:29:26,480
Speaker 1: talk about it, and it is amazing to think how

582
00:29:26,560 --> 00:29:27,720
Speaker 1: much work went into that.

583
00:29:27,760 --> 00:29:28,440
Speaker 2: It really is.

584
00:29:28,480 --> 00:29:30,920
Speaker 3: But you know, BARTHOLDI didn't just pick up his spurs

585
00:29:30,920 --> 00:29:33,520
Speaker 3: and retire after that. He went on to keep crafting

586
00:29:33,560 --> 00:29:37,560
Speaker 3: other masterpieces, including the Lion of Belfort, which is this

587
00:29:37,680 --> 00:29:40,840
Speaker 3: incredible sandstone sculpture that you really should check out.

588
00:29:41,440 --> 00:29:43,560
Speaker 1: Oh that's really cool. I will definitely check that out.

589
00:29:43,560 --> 00:29:46,640
Speaker 1: But I guess, in honor of BARTOLDI, why don't we

590
00:29:46,880 --> 00:29:49,440
Speaker 1: push on just a little bit more after this masterpiece

591
00:29:49,560 --> 00:29:50,640
Speaker 1: with a little fact off?

592
00:29:57,800 --> 00:29:59,600
Speaker 2: All right, so I'll kick us off here.

593
00:30:00,080 --> 00:30:03,600
Speaker 3: You may remember that Bartholdi's original statue idea for Egypt

594
00:30:03,640 --> 00:30:06,840
Speaker 3: would have also been a lighthouse. Well, the Statue of

595
00:30:06,840 --> 00:30:10,480
Speaker 3: Liberty was almost a lighthouse too, but engineers in New

596
00:30:10,520 --> 00:30:13,320
Speaker 3: York couldn't figure out how to make lighthouse beacons work

597
00:30:13,400 --> 00:30:17,600
Speaker 3: properly inside it. Apparently BARTHOLDI was incredibly upset about this,

598
00:30:18,000 --> 00:30:21,320
Speaker 3: until everyone realized that Bedloe's Island wasn't a good spot

599
00:30:21,360 --> 00:30:22,120
Speaker 3: for a lighthouse.

600
00:30:22,200 --> 00:30:22,600
Speaker 2: Anyway.

601
00:30:23,240 --> 00:30:25,960
Speaker 1: That's funny, So here's one. There are a lot of

602
00:30:25,960 --> 00:30:30,000
Speaker 1: Statue of Liberty replicas around the world. BARTHOLDI himself actually

603
00:30:30,000 --> 00:30:32,920
Speaker 1: built another one into a fountain he made in Bordeaux

604
00:30:33,000 --> 00:30:36,320
Speaker 1: in eighteen eighty eight. Salvador Dhlly created a take on

605
00:30:36,360 --> 00:30:39,320
Speaker 1: the statue in nineteen seventy two. His statue has both

606
00:30:39,440 --> 00:30:42,920
Speaker 1: arms up and it's also in France. There's a thirty

607
00:30:43,040 --> 00:30:46,840
Speaker 1: nine foot tall Lady Liberty in Tokyo Bay. There's one

608
00:30:46,880 --> 00:30:50,240
Speaker 1: in Ukraine that's referred to as the Lazy Statue. This

609
00:30:50,280 --> 00:30:53,520
Speaker 1: one is sitting down next to two shirtless men, and

610
00:30:53,560 --> 00:30:56,480
Speaker 1: they are also replicas in Greece, Hungary and Peru. You

611
00:30:56,520 --> 00:30:58,440
Speaker 1: really kind of escape the Statue of Liberty no matter

612
00:30:58,520 --> 00:30:59,000
Speaker 1: where you go.

613
00:30:59,160 --> 00:31:00,880
Speaker 2: That's very true. All right.

614
00:31:00,920 --> 00:31:04,280
Speaker 3: Well, I found a twenty seventeen article from Popular Mechanics

615
00:31:04,320 --> 00:31:07,479
Speaker 3: that talks about a company that calculates the value of

616
00:31:07,520 --> 00:31:11,680
Speaker 3: some very famous statues. So if we turned the Statue

617
00:31:11,720 --> 00:31:15,000
Speaker 3: of Liberty into scrap metal, we get thirty one tons

618
00:31:15,000 --> 00:31:18,000
Speaker 3: of copper and one hundred and twenty five tons of steel,

619
00:31:18,440 --> 00:31:21,320
Speaker 3: this would all be worth two hundred and twenty eight

620
00:31:21,360 --> 00:31:24,040
Speaker 3: thousand dollars. Somehow, I doubt they're going to resort to

621
00:31:24,080 --> 00:31:24,880
Speaker 3: that at any point.

622
00:31:26,480 --> 00:31:27,360
Speaker 1: That is insane.

623
00:31:27,480 --> 00:31:30,320
Speaker 3: That's like, I definitely thought it would have been worth

624
00:31:30,320 --> 00:31:31,240
Speaker 3: a lot more than.

625
00:31:31,080 --> 00:31:36,840
Speaker 1: That, right, Yeah, it's a very small apartment in nearby.

626
00:31:38,800 --> 00:31:42,160
Speaker 1: Speaking of expense, you know what's funny. Originally Bartoldi wanted

627
00:31:42,200 --> 00:31:44,760
Speaker 1: the Statue of Liberty to be gold, but you know,

628
00:31:44,880 --> 00:31:46,720
Speaker 1: given how difficult it was for them to raise the

629
00:31:46,760 --> 00:31:49,560
Speaker 1: money to make her out of copper, that definitely feels

630
00:31:49,600 --> 00:31:50,480
Speaker 1: over ambitious.

631
00:31:50,640 --> 00:31:53,920
Speaker 3: Yeah, all right, well, speaking of over ambitious, Bartoldi also

632
00:31:54,040 --> 00:31:57,800
Speaker 3: wanted to build a sort of quote American pantheon on

633
00:31:57,880 --> 00:32:01,360
Speaker 3: Liberty Island. He thought the island should feature statues of

634
00:32:01,400 --> 00:32:05,160
Speaker 3: American heroes like George Washington and his generals, and he

635
00:32:05,240 --> 00:32:08,000
Speaker 3: wanted the US government to put more money aside every

636
00:32:08,080 --> 00:32:11,440
Speaker 3: year so they could continually add monuments to this pantheon.

637
00:32:12,040 --> 00:32:15,160
Speaker 1: I love that. Like after spending decades trying to get

638
00:32:15,160 --> 00:32:19,440
Speaker 1: a statue together, like BARTOLDI just couldn't stop. And he

639
00:32:19,600 --> 00:32:21,640
Speaker 1: wanted them to put out a statue every year.

640
00:32:22,120 --> 00:32:23,160
Speaker 2: It's insane.

641
00:32:23,480 --> 00:32:25,320
Speaker 1: I think that earns you this week's trophy.

642
00:32:25,320 --> 00:32:28,160
Speaker 3: You can go, oh wow, I did not see that coming. Okay, well,

643
00:32:28,200 --> 00:32:31,120
Speaker 3: thank you very much. And to the New Yorkers out there,

644
00:32:31,200 --> 00:32:33,200
Speaker 3: I hope now when your friends and family come to

645
00:32:33,320 --> 00:32:36,200
Speaker 3: visit and demand you do the touristy thing, you at

646
00:32:36,320 --> 00:32:39,280
Speaker 3: least have some interesting backstory to think about along the way.

647
00:32:39,720 --> 00:32:41,719
Speaker 3: And to all you listeners out there, thank you so

648
00:32:41,840 --> 00:32:44,960
Speaker 3: much for tuning in. That's it for today's part time Genius. Now,

649
00:32:44,960 --> 00:32:46,360
Speaker 3: if you want to talk abo with the Statue of

650
00:32:46,400 --> 00:32:49,440
Speaker 3: Liberty or anything else related to the show, just email

651
00:32:49,480 --> 00:32:53,120
Speaker 3: our mothers at ptgenius Moms at gmail dot com. They

652
00:32:53,200 --> 00:32:56,000
Speaker 3: always love hearing from you and Most of the time

653
00:32:56,040 --> 00:32:58,200
Speaker 3: they pass it on to us, but you can also

654
00:32:58,320 --> 00:33:00,720
Speaker 3: hit us up on our instant at Part Time I'm Genius.

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Speaker 3: For this week's episode, we had special help with research

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Speaker 3: and writing from Meredith Danko.

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Speaker 1: Part Time Genius is a production of Kaleidoscope and iHeartRadio.

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Speaker 1: This show is hosted by Will Pearson and me Mongaschatikler,

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Speaker 1: and research by our good pal Mary Philip Sandy. Today's

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Speaker 1: episode was engineered and produced by the wonderful Dylan Fagan

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Speaker 1: with support from Tyler Klang. The show is executive produced

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Speaker 1: for iHeart by Katrina Norvell and Ali Perry, with social

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Speaker 1: media support from Sasha Gay, trustee Dara Potts and Viney Shorey.

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Speaker 1: For more podcasts from Kaleidoscope and iHeartRadio, visit the iHeartRadio app,

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Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.

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Speaker 3: Oh