WEBVTT - Dark Rides 101

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<v Speaker 1>Welcome to tech Stuff, a production from iHeartRadio. Hey there,

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<v Speaker 1>and welcome to tech Stuff. I'm your host, Jonathan Strickland.

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<v Speaker 1>I'm an executive producer with iHeartRadio and how the tech

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<v Speaker 1>are you? So recently, I've been watching a lot of

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<v Speaker 1>videos on YouTube of theme park and amusement park rides. Man,

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<v Speaker 1>there's so many on YouTube, and they're so good, like

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<v Speaker 1>ultra high resolution ride throughs of various rides at parks

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<v Speaker 1>that I'll probably never get a chance to visit myself.

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<v Speaker 1>And that includes everything from thrill rides, of course, which

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<v Speaker 1>I do love, though I'm now of an age where

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<v Speaker 1>I can only do a couple per day or else

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<v Speaker 1>I risk having motion sickness all day long. It's very

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<v Speaker 1>frustrating because I used to be the kid who would

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<v Speaker 1>just jump on a throw ride over and over and

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<v Speaker 1>over again. Can't do that anymore. But one of my

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<v Speaker 1>favorite types of ride actually is the thrill ride. It's

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<v Speaker 1>the dark ride. Now, the definition of dark ride kind

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<v Speaker 1>of depends upon the person who is defining it, so

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<v Speaker 1>I'll give you my definition. To me, a dark ride

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<v Speaker 1>is an indoor attraction in which you board some sort

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<v Speaker 1>of vehicle. It could be a boat. It could actually

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<v Speaker 1>float on a channel of water that winds its way

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<v Speaker 1>through the attraction. It might be one of a series

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<v Speaker 1>of vehicles mounted on a moving belt way, like the

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<v Speaker 1>Omnimover system that you would find and say the Doom

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<v Speaker 1>Buggies of Disney's Haunted Mansion attraction. It could be a

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<v Speaker 1>suspended vehicle where the rail is actually above you, like

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<v Speaker 1>Disney's Peter Pan attraction. In fact, I think I'll probably

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<v Speaker 1>be referencing Disney a bit in this episode because a

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<v Speaker 1>lot of my own personal experience on dark rides relates

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<v Speaker 1>to Disney World. And you ride through the experience and

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<v Speaker 1>along the way you see stuff that is interesting. That's

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<v Speaker 1>like your basic dark ride, right. These rides have served

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<v Speaker 1>different purposes throughout the years. Some of the early early

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<v Speaker 1>dark rides gave young couples a chance to court one

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<v Speaker 1>another during a time when public displays of affection were

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<v Speaker 1>strictly taboo. We'll talk more about that in a moment,

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<v Speaker 1>but generally speaking, they are all intended to tell some

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<v Speaker 1>sort of story. Now, sometimes it's not a full narrative,

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<v Speaker 1>you know. There are plenty of dark rides that are

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<v Speaker 1>in the haunted house genre that have no discernible, coherent

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<v Speaker 1>story to speak about instead that just consist of a

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<v Speaker 1>series of disconnected scenes of sometimes dubious terror inducing abilities,

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<v Speaker 1>you know, like a skeleton leaning out at you or something.

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<v Speaker 1>But sometimes you do get a full, although condensed story.

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<v Speaker 1>And this should come as no surprise, because we humans,

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<v Speaker 1>we love our stories. This podcast is, when you boil

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<v Speaker 1>it down, just a way for me to tell stories

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<v Speaker 1>to you. The story could be about how college drop

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<v Speaker 1>out launched a company that served as a very efficient

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<v Speaker 1>way of parting wealthy fools with their money allow you know, paronos.

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<v Speaker 1>Or it might be about the most interesting products that

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<v Speaker 1>never actually materialized. We framed things in terms of story,

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<v Speaker 1>and dark rides are a physical manifestation of that, or

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<v Speaker 1>at least they can be. And of course we make

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<v Speaker 1>our own stories when we experience these rides. So I

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<v Speaker 1>thought it might be fun to look back at the

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<v Speaker 1>history of dark rides. Where did they come from? And

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<v Speaker 1>how did they evolve over time? Well, let's start with

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<v Speaker 1>the first question of where did they come from? And

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<v Speaker 1>there's a simple answer for this, and then there's the

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<v Speaker 1>more interesting, thorough and Jonathan style answer. At least it's

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<v Speaker 1>interesting to me. But the simple answers. You could say

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<v Speaker 1>they come from Kennyworth, Pennsylvania in the late nineteenth century,

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<v Speaker 1>really the early twentieth century. But to really understand this,

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<v Speaker 1>we have to go back a little bit further, all right,

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<v Speaker 1>So way back in eighteen twenty five, the Stockton and

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<v Speaker 1>Darlington Railway Company ordered a locomotive, a steam powered locomotive,

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<v Speaker 1>from Robert Stevenson and Company. So Robert Stevenson, in turn

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<v Speaker 1>was son of George Stevenson, sometimes known as the father

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<v Speaker 1>of railways. These guys were in England where steam technology

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<v Speaker 1>was really at the cornerstone of the Industrial Revolution. The

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<v Speaker 1>purpose of this particular locomotive, called the Locomotion Number one,

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<v Speaker 1>was to serve as a passenger train, which would be

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<v Speaker 1>the first of its kind on a public railway. You know,

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<v Speaker 1>they had had steam engines pulling carts that had people

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<v Speaker 1>in them before, but this was the first time it

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<v Speaker 1>was actually going to be on a public railway to

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<v Speaker 1>become a conveyance of transportation. And this particular public railway

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<v Speaker 1>was the Stockton and Darlington Railway. So the Locomotion Number

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<v Speaker 1>one had its first official run on September twenty seventh,

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<v Speaker 1>eighteen twenty five. It reportedly took about two hours to

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<v Speaker 1>travel a grand total of eight point seven miles. That's

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<v Speaker 1>not exactly burning up the track, but it's faster than walking. Now,

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<v Speaker 1>the locomotive would become a utilitarian way of transporting people

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<v Speaker 1>from one place to another, but it also could be

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<v Speaker 1>a way to take in the sites of the surrounding countryside.

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<v Speaker 1>It was a method of transport that could be both

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<v Speaker 1>practical and leisurely, and eventually that thought would evolve into

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<v Speaker 1>the philosophy behind various amusement rides. Some were more geared

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<v Speaker 1>toward thrills, you know, having a locomotive pull you up

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<v Speaker 1>a hill and then coast down the hill afterward, and

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<v Speaker 1>some were meant to take riders past tableau of one

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<v Speaker 1>sort or another. There were railways pleasure railways where they

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<v Speaker 1>the people who operated the rail would even set up

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<v Speaker 1>sort of a tableau for people to look at as

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<v Speaker 1>they passed through different areas and you know, just give

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<v Speaker 1>them something to look at. That kind of thing. That

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<v Speaker 1>actually became an attraction at various places, particularly in the UK.

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<v Speaker 1>All right, so there was that that was part of

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<v Speaker 1>what was going on in the nineteenth century that would

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<v Speaker 1>lead to the development of dark rides, but there was

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<v Speaker 1>something else that would also be important that was happening

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<v Speaker 1>across the pond. Here in the United States, let's talk

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<v Speaker 1>about water powered saw mills. Now, maybe you've seen one

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<v Speaker 1>of these in person, maybe you've seen, you know, footage

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<v Speaker 1>of one, but if you haven't, just imagined. There's a

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<v Speaker 1>wooden structure. Typically it's built alongside or even over a

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<v Speaker 1>river or a significant stream. Often you're talking about a

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<v Speaker 1>dammed waterway, so that there is a higher level of

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<v Speaker 1>elevation where the water is being held back, and then

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<v Speaker 1>you know the lower elevation beyond the dam, where water

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<v Speaker 1>is at a much lower level. And then you have

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<v Speaker 1>this wooden structure that's built right there that has a

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<v Speaker 1>large water wheel on one side of it, and usually

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<v Speaker 1>you have a trough that carries water from the elevated

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<v Speaker 1>part of the water area and allows it to drop

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<v Speaker 1>down over the top of the water wheel. You could

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<v Speaker 1>have a water wheel that's just has the bottom making

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<v Speaker 1>contact with the water itself, but the trough version was

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<v Speaker 1>little more reliable, and so the water goes through the trough,

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<v Speaker 1>it hits this water wheel, and you know, the water's

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<v Speaker 1>just driven by gravity. You're not using like pumps or anything,

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<v Speaker 1>and the water starts to turn this water wheel. It

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<v Speaker 1>begins to rotate the water wheel. The water wheel is

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<v Speaker 1>connected to an axle that connects via gears and cogs

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<v Speaker 1>and a piston to power the up and down reciprocating

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<v Speaker 1>motion of a large saw. So think of like a

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<v Speaker 1>hand saw, but much much much bigger, and it's connected

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<v Speaker 1>to wooden structures that themselves are connected to these cogs

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<v Speaker 1>and gears, and so as the water wheel turns, it

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<v Speaker 1>makes the saw go up and down. You would place

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<v Speaker 1>lumber on a vice like platform that attached to a ratchet,

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<v Speaker 1>so it could only go in one direction while the

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<v Speaker 1>ratchet's engaged, and this platform, because it's also connected to

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<v Speaker 1>this this system of gears and cogs, would push the

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<v Speaker 1>lumber toward the saw, eventually making contact. The saw would

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<v Speaker 1>start to cut through the lumber and it would go

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<v Speaker 1>through most of the length of a log. It would usually,

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<v Speaker 1>you know, it would stop like a couple of inches away,

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<v Speaker 1>because otherwise your vice like platform would get sawn in

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<v Speaker 1>half too, and that wouldn't make it very useful. But

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<v Speaker 1>this ended up saving a lot of labor. You were

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<v Speaker 1>making clever use of the natural elements of your area,

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<v Speaker 1>and also things like gear ratios to create the right

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<v Speaker 1>amount of force, and you didn't have to do all

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<v Speaker 1>that backbreaking saw work yourself, just the last couple of

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<v Speaker 1>inches per you know, board that you were making, So

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<v Speaker 1>you're working smarter, not harder. You're letting the water take

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<v Speaker 1>on the hard stuff. Really really clever, Like I recommend

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<v Speaker 1>watching videos of it if you're interested in clever but

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<v Speaker 1>relatively simple mechanical systems. It's fascinating stuff. But water powered sawmills,

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<v Speaker 1>you know, they became really popular in the United States.

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<v Speaker 1>The state of Pennsylvania had a ton of them. But

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<v Speaker 1>then as steam engine technology reached a point where it

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<v Speaker 1>was fairly reliable and not entirely dangerous. Early steam engines

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<v Speaker 1>were known to be quite dangerous because the boilers had

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<v Speaker 1>a tendency to explode if too much steam pressure was

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<v Speaker 1>built up inside of them. While the steam powered sawmill

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<v Speaker 1>began to make the water powered kind obsolete, and the

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<v Speaker 1>steampowered versions could work even more efficiently than the water

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<v Speaker 1>powered Once well, this meant that those water powered lumber

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<v Speaker 1>mills became less useful, and many times they were just

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<v Speaker 1>outright abandoned because you weren't going to get any business

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<v Speaker 1>because of the steam powered lumber bills that were opening up.

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<v Speaker 1>In fact, entire towns would be abandoned because the towns

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<v Speaker 1>had grown up around the lumber industry, and without the

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<v Speaker 1>water mill of the neighborhood and operation, there really wasn't

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<v Speaker 1>enough industry to support the town, so folks would move away.

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<v Speaker 1>The water powered mills just became known as old mills

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<v Speaker 1>because you know, they were the steam mills were the

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<v Speaker 1>new ones. And this would bring us back to storytelling,

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<v Speaker 1>which I'll explain after we come back from this quick break. Okay,

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<v Speaker 1>you've got these old mills, these abandoned old saw mills. Well,

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<v Speaker 1>when we encounter a mystery, such as a town filled

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<v Speaker 1>with empty houses and shops that are just slowly going

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<v Speaker 1>to decay, our imaginations begin to fill in the gaps

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<v Speaker 1>of our knowledge and we start to ask ourselves questions

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<v Speaker 1>could have led to this, to create this abandoned town?

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<v Speaker 1>What stories are lingering in those empty buildings? And words

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<v Speaker 1>like ghost or haunted start to pop up. The undeniably

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<v Speaker 1>eerie environments inspire us to imagine specters and phantoms around

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<v Speaker 1>every corner. Now, the truth is probably far more mundane.

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<v Speaker 1>You know, people left because there was no more work

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<v Speaker 1>at the lumbermill. But when all we have are the

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<v Speaker 1>structures and whatever else was left behind, we start to

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<v Speaker 1>create spooky stories to explain stuff. Now, if you're the

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<v Speaker 1>entrepreneurial sort, you might think, huh, folks, sure are interested

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<v Speaker 1>in abandoned places, but it's usually not safe to explore

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<v Speaker 1>such abandoned spots on your own. What if we could

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<v Speaker 1>simulate those types of spaces and tap into that curiosity,

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<v Speaker 1>the stuff that makes imagine as run wild, and to

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<v Speaker 1>do so in a controlled and relatively safe environment. I

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<v Speaker 1>bet folks would hand over a nickel to experience that

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<v Speaker 1>world's turn on such thoughts. Now, I'm not really sure

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<v Speaker 1>when the very first Old Mill ride opened. I do

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<v Speaker 1>not know for sure which ride was first. I do

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<v Speaker 1>know that the one that is the oldest and is

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<v Speaker 1>still in operation is actually called the Old Mill, and

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<v Speaker 1>it opened all the way back in nineteen o one.

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<v Speaker 1>It may not be the very first one, but it's

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<v Speaker 1>the oldest one still in operation. It has had several

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<v Speaker 1>different names over its history, including one that deals with

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<v Speaker 1>a certain kitty cat who hates Mondays and loves lasagna.

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<v Speaker 1>Boy Howdy, did that ride get some terrible criticism, But

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<v Speaker 1>these days it's back to what it used to be.

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<v Speaker 1>It's known simply as the Old Mill's. Particular ride is

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<v Speaker 1>located in Kennywood, Pennsylvania, not too far from Pittsburgh. Kennywood

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<v Speaker 1>itself takes its name from a family who settled that

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<v Speaker 1>part of Pennsylvania, the Kenney family. Anthony Herron Kinney, who

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<v Speaker 1>was born in eighteen thirty five, made his money in

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<v Speaker 1>coal or possibly farming, or maybe both. Historical records aren't

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<v Speaker 1>in full agreement on this point. His family had what

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<v Speaker 1>I must imagine was some picturesque land that Anthony repurposed

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<v Speaker 1>into a picnic ground, So the area became associated with

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<v Speaker 1>leisure since shortly after the American Civil War. During the

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<v Speaker 1>Civil War it was associated with battle because one was

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<v Speaker 1>fought near there. But skip to the late eighteen hundreds.

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<v Speaker 1>Then this banker named Andrew Mellon, who came from a

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<v Speaker 1>family of wealthy bankers, leased the picnic land on the

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<v Speaker 1>Kenney estate to build what is called a trolley park.

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<v Speaker 1>By the way, this Melon was one of the fellows

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<v Speaker 1>who would eventually create what would become Carnegie Mellon University

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<v Speaker 1>or Carnegie Mellon if you prefer I always pronounced it

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<v Speaker 1>Carnegie because that's how Carnegie pronounced it. But Carnegie Melon.

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<v Speaker 1>So you might say, what the heck is a trolley park?

0:15:17.600 --> 0:15:20.760
<v Speaker 1>What is this thing this guy made? Well, Companies that

0:15:20.840 --> 0:15:26.080
<v Speaker 1>ran trolley lines would sometimes construct a destination at the

0:15:26.280 --> 0:15:29.560
<v Speaker 1>end of the lines themselves in order to entice folks

0:15:29.600 --> 0:15:31.800
<v Speaker 1>to come out and use the street cars, even on

0:15:31.920 --> 0:15:35.560
<v Speaker 1>days when people weren't heading into work. So this was

0:15:35.600 --> 0:15:41.440
<v Speaker 1>a way to maximize fairs sales of tickets. You know,

0:15:41.480 --> 0:15:43.480
<v Speaker 1>you build something interesting at the end of the line,

0:15:43.520 --> 0:15:45.560
<v Speaker 1>and sure enough families are going to go and check

0:15:45.600 --> 0:15:47.720
<v Speaker 1>it out, and you can still sell tickets even if

0:15:47.720 --> 0:15:51.360
<v Speaker 1>it ain't a workday. In some ways, the famous Coney

0:15:51.440 --> 0:15:55.000
<v Speaker 1>Island was a kind of trolley park, though Coney Island

0:15:55.040 --> 0:15:57.840
<v Speaker 1>was also a seaside destination in its own right before

0:15:57.840 --> 0:16:01.920
<v Speaker 1>all of that, but the amusements at Coney Island were

0:16:01.920 --> 0:16:06.240
<v Speaker 1>built as kind of a trolley park. So Andrew Mellon

0:16:06.760 --> 0:16:08.840
<v Speaker 1>was looking for a way to make even more money

0:16:08.960 --> 0:16:11.960
<v Speaker 1>from the local population of Pittsburgh, so he got the

0:16:12.000 --> 0:16:15.800
<v Speaker 1>idea to build a trolley park on Kenny's property. Before

0:16:15.800 --> 0:16:18.600
<v Speaker 1>the turn of the century, he had built a few

0:16:18.640 --> 0:16:23.480
<v Speaker 1>attractions there. There was a dance hall, there was a carousel,

0:16:23.600 --> 0:16:27.600
<v Speaker 1>a couple of other things. He used electricity there. Electricity

0:16:27.720 --> 0:16:30.240
<v Speaker 1>was a pretty new thing in the United States, and

0:16:30.280 --> 0:16:32.640
<v Speaker 1>so it was all lit up. It was a fancy

0:16:32.680 --> 0:16:37.120
<v Speaker 1>place to go. And the trolley park's name became kenney Wood.

0:16:37.440 --> 0:16:39.880
<v Speaker 1>And in nineteen oh one we would get the dark

0:16:40.000 --> 0:16:43.080
<v Speaker 1>Ride that is now the oldest one still in operation today.

0:16:43.680 --> 0:16:49.800
<v Speaker 1>So the Old Mill Ride recreated those forbidden abandoned locations

0:16:49.840 --> 0:16:53.240
<v Speaker 1>I was talking about earlier. The folks around Pittsburgh really

0:16:53.280 --> 0:16:57.800
<v Speaker 1>familiar with sawmills. There were lots of abandoned ones in Pennsylvania.

0:16:58.000 --> 0:17:01.480
<v Speaker 1>According to Graham Stanley Baker, who a research paper about

0:17:01.720 --> 0:17:05.720
<v Speaker 1>dark rides, there was an average of one sawmill every

0:17:05.840 --> 0:17:11.000
<v Speaker 1>eighteen square kilometers in Pennsylvania. They were littering up the

0:17:11.000 --> 0:17:14.560
<v Speaker 1>place and yet still mysterious. And so this ride would

0:17:14.600 --> 0:17:16.959
<v Speaker 1>let folks get a taste of what it might be

0:17:17.000 --> 0:17:20.639
<v Speaker 1>like to explore the ruins of an abandoned lumber town.

0:17:21.119 --> 0:17:24.440
<v Speaker 1>This particular ride was a boat ride, one in which

0:17:24.520 --> 0:17:27.399
<v Speaker 1>guests would take a seat on a small boat that

0:17:27.440 --> 0:17:30.159
<v Speaker 1>would meander its way through a canal that took the

0:17:30.280 --> 0:17:34.320
<v Speaker 1>riders past various scenes. By being clever with light sources,

0:17:34.359 --> 0:17:37.280
<v Speaker 1>the ride creators could direct attention to specific sites and

0:17:37.359 --> 0:17:40.080
<v Speaker 1>keep other things in the dark. This gave the ride

0:17:40.080 --> 0:17:42.320
<v Speaker 1>builders the chance to construct the story they wanted to

0:17:42.359 --> 0:17:45.040
<v Speaker 1>tell and make sure that riders are directing their attention

0:17:45.080 --> 0:17:49.399
<v Speaker 1>to specific elements. Now, the Old Mill style of ride

0:17:49.800 --> 0:17:57.040
<v Speaker 1>proved popular, and it also was relatively easy to maintain. Right,

0:17:57.080 --> 0:17:59.879
<v Speaker 1>you didn't have that many moving parts. You didn't have

0:17:59.920 --> 0:18:02.840
<v Speaker 1>to worry about water quality and changing that out and

0:18:02.880 --> 0:18:06.200
<v Speaker 1>filtering it out and cleaning it occasionally because otherwise, man

0:18:06.359 --> 0:18:10.359
<v Speaker 1>could that get nasty. But typically the mechanical parts consisted

0:18:10.400 --> 0:18:13.879
<v Speaker 1>of a paddle wheel that would create the gentle current

0:18:14.240 --> 0:18:16.480
<v Speaker 1>that would carry boats through the pathway. So you didn't

0:18:16.520 --> 0:18:18.600
<v Speaker 1>have to have motors on any of the boats or anything.

0:18:19.119 --> 0:18:21.919
<v Speaker 1>The water itself just had a current to it that

0:18:22.000 --> 0:18:25.840
<v Speaker 1>would naturally push the boats through the path And so

0:18:26.480 --> 0:18:29.960
<v Speaker 1>other trolley parks and later amusement parks began to make

0:18:30.000 --> 0:18:33.359
<v Speaker 1>their own version of the Old Mill ride, themed to

0:18:34.080 --> 0:18:36.480
<v Speaker 1>various things. A lot of them were themed to the

0:18:36.520 --> 0:18:41.560
<v Speaker 1>Old West. I've seen a ton of Old Mill ride footage,

0:18:42.040 --> 0:18:46.600
<v Speaker 1>and it's a lot of stuff about drifting through like

0:18:46.640 --> 0:18:49.800
<v Speaker 1>a Western landscape, like saloons and all that kind of stuff.

0:18:50.400 --> 0:18:54.000
<v Speaker 1>Something else that would kind of merge with dark rides

0:18:54.119 --> 0:18:58.200
<v Speaker 1>much much later on was called phantom rides. This one's

0:18:58.240 --> 0:19:02.720
<v Speaker 1>interesting because the riders don't actually go anywhere. They're stationary.

0:19:03.520 --> 0:19:07.000
<v Speaker 1>This type of attraction leveraged a new kind of art form,

0:19:07.640 --> 0:19:11.240
<v Speaker 1>that of cinema. See back when folks were still experimenting

0:19:11.240 --> 0:19:14.800
<v Speaker 1>with film, before we would get stuff like an actual story,

0:19:15.440 --> 0:19:19.080
<v Speaker 1>we got footage of all kinds of things you've probably

0:19:19.080 --> 0:19:22.600
<v Speaker 1>seen cliche examples of early snippets of film, like a

0:19:22.680 --> 0:19:26.640
<v Speaker 1>train going into a tunnel, for example, or coming toward

0:19:27.119 --> 0:19:30.560
<v Speaker 1>the screen, and reportedly people in the theater panicked and

0:19:30.640 --> 0:19:33.119
<v Speaker 1>ran because they felt the train was going to burst

0:19:33.160 --> 0:19:36.359
<v Speaker 1>through and crush them. Well, one thing that some early

0:19:36.440 --> 0:19:40.520
<v Speaker 1>experimenters slash filmmakers did was they would strap a camera

0:19:40.560 --> 0:19:43.840
<v Speaker 1>operator to the front of a vehicle like a train,

0:19:44.560 --> 0:19:47.639
<v Speaker 1>and the camera operator would shoot footage as the vehicle

0:19:47.760 --> 0:19:50.000
<v Speaker 1>moved through a landscape, so you kind of get this

0:19:50.080 --> 0:19:55.080
<v Speaker 1>first person view of passing through an area. And it

0:19:55.240 --> 0:19:58.240
<v Speaker 1>was a way to virtually visit places that you might

0:19:58.400 --> 0:20:00.840
<v Speaker 1>not ever get to go and real life kind of

0:20:00.880 --> 0:20:04.720
<v Speaker 1>like me watching these YouTube videos so you could watch

0:20:04.720 --> 0:20:08.240
<v Speaker 1>as the vista of say Switzerland, passed around you, and

0:20:08.320 --> 0:20:12.760
<v Speaker 1>crowds really liked it. And one feller had this idea

0:20:12.800 --> 0:20:15.520
<v Speaker 1>of how to take this basic concept and make it

0:20:15.600 --> 0:20:20.639
<v Speaker 1>even more immersive. That feller was William Keefe, who thought,

0:20:20.800 --> 0:20:25.000
<v Speaker 1>if you built a fake railway car and you outfitted

0:20:25.040 --> 0:20:28.680
<v Speaker 1>it with windows that looked out onto screens on all sides,

0:20:29.320 --> 0:20:33.400
<v Speaker 1>you could project a panorama of images on those screens,

0:20:33.720 --> 0:20:36.280
<v Speaker 1>they may look like the car was actually traveling through

0:20:36.760 --> 0:20:40.120
<v Speaker 1>these landscapes. And if you know, you hired some folks

0:20:40.359 --> 0:20:42.880
<v Speaker 1>who would stand on either side of the railway car

0:20:42.960 --> 0:20:46.000
<v Speaker 1>out of sight, and then you rock the car a

0:20:46.040 --> 0:20:48.520
<v Speaker 1>little bit, or maybe used a wind machine to blow

0:20:48.560 --> 0:20:51.600
<v Speaker 1>air at the passengers. It would really boost the illusion

0:20:51.640 --> 0:20:56.640
<v Speaker 1>that they were actually traveling through those locations. But Keith

0:20:56.720 --> 0:21:01.080
<v Speaker 1>didn't have the cash to build his idea himself. Then

0:21:01.119 --> 0:21:05.560
<v Speaker 1>he met an influential man in Kansas City, Missouri, named

0:21:05.760 --> 0:21:09.480
<v Speaker 1>George C. Hale. Hale had served as the fire chief

0:21:09.520 --> 0:21:13.960
<v Speaker 1>for Kansas City. He had even participated in international competitions

0:21:14.000 --> 0:21:17.320
<v Speaker 1>between different firefighting companies that had traveled in Europe. As

0:21:17.359 --> 0:21:20.679
<v Speaker 1>a result of that, and he had accumulated a decent

0:21:20.720 --> 0:21:24.479
<v Speaker 1>amount of pocket change. So Keith tells Hale his idea

0:21:24.640 --> 0:21:27.760
<v Speaker 1>and Hale agrees to back it, and they patented the

0:21:27.760 --> 0:21:30.639
<v Speaker 1>idea in nineteen o four, and then a little bit

0:21:30.760 --> 0:21:34.240
<v Speaker 1>later Hale would buy out Keith, and at the nineteen

0:21:34.240 --> 0:21:38.840
<v Speaker 1>oh four Louisiana Purchase Exhibition or the Saint Louis Exhibition,

0:21:39.440 --> 0:21:42.240
<v Speaker 1>Hale brought his idea and set it up and he

0:21:42.280 --> 0:21:46.679
<v Speaker 1>called it Hale's Tours and Scenes of the World. A

0:21:46.680 --> 0:21:50.560
<v Speaker 1>little subtitle on the poster informed you that trains would

0:21:50.640 --> 0:21:54.560
<v Speaker 1>leave every ten minutes. Of course, these trains didn't go

0:21:54.720 --> 0:21:57.600
<v Speaker 1>anywhere themselves. They were stationary. They would just appear to

0:21:57.640 --> 0:22:01.760
<v Speaker 1>go because of the screens. It was a simulation and

0:22:02.160 --> 0:22:05.240
<v Speaker 1>really a dressed up film of trains traveling through different places.

0:22:05.280 --> 0:22:07.280
<v Speaker 1>But it was a big hit. It was big enough

0:22:07.280 --> 0:22:09.919
<v Speaker 1>for Hailed to make a whole bunch of these, like

0:22:10.080 --> 0:22:13.000
<v Speaker 1>hundreds of them, for the United States and beyond. Like

0:22:13.080 --> 0:22:16.120
<v Speaker 1>they became a popular attraction, not just in the US

0:22:16.200 --> 0:22:19.400
<v Speaker 1>but also in Europe. They were something of a novelty

0:22:19.560 --> 0:22:22.120
<v Speaker 1>because after you experienced at once, you didn't have much

0:22:22.160 --> 0:22:25.280
<v Speaker 1>reason to do it again. But you know, they generated

0:22:25.280 --> 0:22:28.680
<v Speaker 1>a lot of first time foot traffic, virtually speaking early on,

0:22:29.119 --> 0:22:32.280
<v Speaker 1>and elements of the experience would find their way into

0:22:32.359 --> 0:22:38.400
<v Speaker 1>future dark rides. So while this particular example was short lived,

0:22:39.359 --> 0:22:42.879
<v Speaker 1>elements of it would have ultimately come back and be

0:22:43.000 --> 0:22:47.159
<v Speaker 1>reincorporated into the dark ride experience. Now around here is

0:22:47.200 --> 0:22:50.120
<v Speaker 1>also when we got a variation of the old Mill

0:22:50.240 --> 0:22:54.920
<v Speaker 1>ride known as the Tunnel of Love. It's actually pretty

0:22:54.960 --> 0:22:58.840
<v Speaker 1>remarkable how this particular concept has outlived the real thing.

0:22:59.760 --> 0:23:02.359
<v Speaker 1>I mean, I'm sure there may be a few Tunnel

0:23:02.440 --> 0:23:06.080
<v Speaker 1>of Love themed attractions out there, but I've never seen

0:23:06.119 --> 0:23:08.960
<v Speaker 1>one in person, and I think it's a fairly safe

0:23:08.960 --> 0:23:12.000
<v Speaker 1>bet that most of y'all I've never seen one either,

0:23:12.560 --> 0:23:15.040
<v Speaker 1>let alone been on one. I'm not saying none of

0:23:15.080 --> 0:23:18.720
<v Speaker 1>you have, so don't at me about this, but I

0:23:18.760 --> 0:23:21.359
<v Speaker 1>bet most of you have not. And yet the Tunnel

0:23:21.400 --> 0:23:24.160
<v Speaker 1>of Love is iconic, right, I mean, if I say

0:23:24.200 --> 0:23:27.080
<v Speaker 1>Tunnel of Love, people immediately have an image of what

0:23:27.200 --> 0:23:31.640
<v Speaker 1>that means. It's something that's found its way into countless films,

0:23:32.119 --> 0:23:35.280
<v Speaker 1>TV shows, cartoons, lots more. In fact, I think, let's see,

0:23:35.280 --> 0:23:37.800
<v Speaker 1>the most recent version I saw was in season one

0:23:37.840 --> 0:23:41.600
<v Speaker 1>of Schmigadoon. There's a tunnel of love in that season,

0:23:42.200 --> 0:23:45.800
<v Speaker 1>and the reason why it's iconic gets back to stories,

0:23:46.320 --> 0:23:50.800
<v Speaker 1>all right. So what the heck was a Tunnel of Love? Generally,

0:23:50.920 --> 0:23:53.720
<v Speaker 1>it was another boat ride, and it was one where

0:23:54.320 --> 0:23:57.480
<v Speaker 1>boats had these little narrow benches, which meant that a

0:23:57.480 --> 0:24:00.800
<v Speaker 1>pair of riders would need to be pretty snug with

0:24:00.880 --> 0:24:03.600
<v Speaker 1>each other in order to fit. Moreover, it had lots

0:24:03.600 --> 0:24:06.960
<v Speaker 1>of dark sections in the ride. In some cases, the

0:24:07.040 --> 0:24:10.040
<v Speaker 1>ride was intended to play up to the more romantical

0:24:10.600 --> 0:24:14.919
<v Speaker 1>of motivations, with pleasant scenes that you would pass by.

0:24:15.520 --> 0:24:18.399
<v Speaker 1>Other versions of the ride were designed to be spooky,

0:24:18.560 --> 0:24:23.080
<v Speaker 1>haunted experiences and thus encourage couples to huddle closer for safety,

0:24:23.760 --> 0:24:27.040
<v Speaker 1>and they served an important social purpose. They gave couples

0:24:27.080 --> 0:24:29.840
<v Speaker 1>a bit of privacy where they could express some physical

0:24:29.960 --> 0:24:33.439
<v Speaker 1>affection to one another out of sight of all the

0:24:33.520 --> 0:24:38.600
<v Speaker 1>lucky loose. In fact, this is a big deal. A

0:24:38.720 --> 0:24:41.760
<v Speaker 1>guide on etiquette in America that was published in nineteen

0:24:41.840 --> 0:24:46.639
<v Speaker 1>hundred declared that kissing in public was quote a reprehensible

0:24:46.760 --> 0:24:51.320
<v Speaker 1>custom and should not be tolerated in good society end quote.

0:24:51.880 --> 0:24:55.439
<v Speaker 1>And that would be the prevailing opinion in America for

0:24:55.480 --> 0:24:58.840
<v Speaker 1>a few decades. So the Tunnel of love represented a

0:24:58.880 --> 0:25:03.240
<v Speaker 1>safe space to avoid scandal and ignominy, and I'll still

0:25:03.240 --> 0:25:07.160
<v Speaker 1>allow couples to mockingmit their smooch chums as it were,

0:25:07.800 --> 0:25:11.560
<v Speaker 1>that is, to smooch up a storm. Of course, couples

0:25:11.560 --> 0:25:15.080
<v Speaker 1>would sometimes seek opportunities to steal a kiss or three

0:25:15.240 --> 0:25:18.120
<v Speaker 1>on other types of dark rides. The Tunnel of Love

0:25:18.200 --> 0:25:22.000
<v Speaker 1>might have been the most overt version for this activity,

0:25:22.040 --> 0:25:25.840
<v Speaker 1>but really, when opportunity comes a knock in your lips,

0:25:25.960 --> 0:25:29.560
<v Speaker 1>best be a lock in. And importantly, these rides also

0:25:29.600 --> 0:25:33.160
<v Speaker 1>gave opportunity to people who didn't conform to society's concepts

0:25:33.200 --> 0:25:36.960
<v Speaker 1>of gender and gender rules and allow them to express

0:25:37.040 --> 0:25:40.720
<v Speaker 1>affection without fear of putting themselves in harm's way. I'm

0:25:40.760 --> 0:25:43.600
<v Speaker 1>sure their entire research papers about the role of dark

0:25:43.720 --> 0:25:48.199
<v Speaker 1>rides with regard to the LGBTQ plus community. The Tunnel

0:25:48.280 --> 0:25:52.159
<v Speaker 1>of Love type rides, the ones that were implicitly or

0:25:52.359 --> 0:25:57.080
<v Speaker 1>explicitly for making out only enjoyed a brief moment in

0:25:57.119 --> 0:26:02.120
<v Speaker 1>the sun or the dark attitudes in America about displays

0:26:02.160 --> 0:26:08.600
<v Speaker 1>of public affection, at least between heterosexual couples with people

0:26:08.640 --> 0:26:14.399
<v Speaker 1>who identified as male and female. They would slowly change

0:26:14.400 --> 0:26:16.439
<v Speaker 1>over time, and they were helped in large part by

0:26:16.480 --> 0:26:20.119
<v Speaker 1>the burgeoning film industry, which turned out romance films at

0:26:20.160 --> 0:26:23.640
<v Speaker 1>an alarming pace, and suddenly a behavior that was once

0:26:23.640 --> 0:26:27.480
<v Speaker 1>seen as something that must absolutely never happen in front

0:26:27.520 --> 0:26:32.159
<v Speaker 1>of other people under any circumstances was now being displayed

0:26:32.280 --> 0:26:37.120
<v Speaker 1>on enormous screens across the United States. Plus folks did

0:26:37.160 --> 0:26:39.800
<v Speaker 1>all sorts of wacky things in the process, like the

0:26:39.960 --> 0:26:42.760
<v Speaker 1>dainty lifting of a leg in mid smooch. Like the

0:26:44.000 --> 0:26:49.600
<v Speaker 1>glamorization of kissing was a byproduct of this era as well,

0:26:50.119 --> 0:26:52.879
<v Speaker 1>and so Hollywood really helped usher in an era in

0:26:52.920 --> 0:26:56.720
<v Speaker 1>which folks could occasionally get away with giving a peck

0:26:56.800 --> 0:26:59.199
<v Speaker 1>or two in public without immediately being labeled as the

0:26:59.280 --> 0:27:03.000
<v Speaker 1>shame of the entire town, which was very progressive, but

0:27:03.160 --> 0:27:07.040
<v Speaker 1>it did lead to the end of the tunnel of love,

0:27:07.520 --> 0:27:09.479
<v Speaker 1>because if you didn't need a space to do this,

0:27:09.600 --> 0:27:12.320
<v Speaker 1>and you could do it anywhere, why would you pay

0:27:12.359 --> 0:27:17.720
<v Speaker 1>money to go in a rinky boat in a dark tunnel. Okay,

0:27:18.000 --> 0:27:20.600
<v Speaker 1>we got more to talk about with dark rides in

0:27:20.640 --> 0:27:33.760
<v Speaker 1>just a moment, but first, let's take another quick break. Okay,

0:27:33.840 --> 0:27:38.400
<v Speaker 1>let's get back to dark rides. In nineteen twenty nine,

0:27:38.800 --> 0:27:42.320
<v Speaker 1>Leon S. Cassidy, who got involved in the entertainment biz

0:27:42.640 --> 0:27:45.000
<v Speaker 1>when he first took a job as a piano player

0:27:45.040 --> 0:27:49.000
<v Speaker 1>for movie houses that were showing silent films. Ended up

0:27:49.119 --> 0:27:54.240
<v Speaker 1>saving up his money and formed a partnership with Marvin Rempfer,

0:27:54.600 --> 0:27:57.720
<v Speaker 1>and together they filed a patent for an invention called

0:27:57.800 --> 0:28:03.640
<v Speaker 1>an amusement railway. This was a single rail system that

0:28:03.680 --> 0:28:06.320
<v Speaker 1>many dark rides would use in the decades ahead and

0:28:06.680 --> 0:28:09.440
<v Speaker 1>still in use today for a lot of dark rides.

0:28:09.960 --> 0:28:14.400
<v Speaker 1>The patents summary includes the description quote The front portion

0:28:14.560 --> 0:28:18.439
<v Speaker 1>of each car is guided by a wheel engaging a track,

0:28:18.920 --> 0:28:21.600
<v Speaker 1>while the rear portion of said car is supported by

0:28:21.640 --> 0:28:25.800
<v Speaker 1>wheels which run upon a floor which supports the track.

0:28:26.320 --> 0:28:29.199
<v Speaker 1>The rear wheels being spaced from the track so that

0:28:29.240 --> 0:28:31.960
<v Speaker 1>the rear end of the car may lash or otherwise

0:28:32.040 --> 0:28:37.719
<v Speaker 1>move transversely of the track end quote. So one wheel

0:28:37.760 --> 0:28:40.480
<v Speaker 1>in front, which would be on a rail, so it's

0:28:40.480 --> 0:28:43.400
<v Speaker 1>almost like a train wheel. It's got the indentation, so

0:28:43.480 --> 0:28:47.480
<v Speaker 1>it is snug to the rail, and then two wheels

0:28:47.480 --> 0:28:50.000
<v Speaker 1>in the back that would run along the floor on

0:28:50.040 --> 0:28:54.000
<v Speaker 1>either side of the rail. One of those rear wheels

0:28:54.080 --> 0:28:56.800
<v Speaker 1>would be free to move of the axle so that

0:28:56.800 --> 0:28:59.840
<v Speaker 1>it can make really sharp turns, and the other one

0:29:00.240 --> 0:29:03.040
<v Speaker 1>would be connected to the axle so that it just

0:29:03.120 --> 0:29:07.480
<v Speaker 1>moved in time with the axle itself. The amusement railway

0:29:08.120 --> 0:29:12.120
<v Speaker 1>would conduct electricity, and this would provide the energy needed

0:29:12.160 --> 0:29:15.960
<v Speaker 1>for an electric motor in the cars themselves to propel

0:29:16.240 --> 0:29:19.840
<v Speaker 1>guests through the amusement. So rather than the old mill

0:29:19.960 --> 0:29:23.600
<v Speaker 1>rides which used a current of water to push people through,

0:29:24.040 --> 0:29:27.320
<v Speaker 1>and this one, the cars themselves would have a motor

0:29:27.600 --> 0:29:31.880
<v Speaker 1>that would move them through the attraction. The motor would

0:29:31.960 --> 0:29:35.200
<v Speaker 1>drive the rear wheel of the vehicle. The front wheel

0:29:35.280 --> 0:29:37.640
<v Speaker 1>again is connected to the rail itself. And further, the

0:29:37.680 --> 0:29:40.280
<v Speaker 1>inventors intended such a track to be used within a

0:29:40.520 --> 0:29:46.200
<v Speaker 1>dark ride, in particular because the patent says, quote preferably

0:29:46.560 --> 0:29:49.200
<v Speaker 1>the pleasure ride portion of the track is within a

0:29:49.280 --> 0:29:52.680
<v Speaker 1>darkened building, and a further object of the invention is

0:29:52.720 --> 0:29:56.800
<v Speaker 1>to provide entrances and exit vestibules for said building through

0:29:56.800 --> 0:30:01.280
<v Speaker 1>which the track passes. Said vestibules being divided with car

0:30:01.320 --> 0:30:06.280
<v Speaker 1>opened self closing doors so arranged that light is excluded

0:30:06.440 --> 0:30:09.480
<v Speaker 1>from the building when a car is either entering or

0:30:10.000 --> 0:30:14.680
<v Speaker 1>leaving end quote. So the dark ride part is important,

0:30:14.760 --> 0:30:17.640
<v Speaker 1>so much so that. The patent even says the doors

0:30:17.680 --> 0:30:19.480
<v Speaker 1>going in and now the building need to be self

0:30:19.520 --> 0:30:23.200
<v Speaker 1>closing so that you don't let light into the dark room.

0:30:24.080 --> 0:30:27.520
<v Speaker 1>The illustrations on this patent include a simple layout for

0:30:27.600 --> 0:30:32.040
<v Speaker 1>such a ride, with the rail following a circuitous curving

0:30:32.160 --> 0:30:35.240
<v Speaker 1>path through the inside of a building, and it will

0:30:35.280 --> 0:30:39.160
<v Speaker 1>take the riders through various scenes. The type of ride

0:30:39.160 --> 0:30:42.600
<v Speaker 1>became known as a pretzel ride because like a pretzel,

0:30:42.760 --> 0:30:46.160
<v Speaker 1>the rail would appear to twist back on itself, though

0:30:46.200 --> 0:30:49.880
<v Speaker 1>never crossing over itself because then you could have collisions

0:30:49.880 --> 0:30:55.000
<v Speaker 1>and stuff, and Cassidy and Renfer created the Pretzel Amusement

0:30:55.120 --> 0:30:58.360
<v Speaker 1>Ride Company, which would manufacture such rides for parks and

0:30:58.480 --> 0:31:03.200
<v Speaker 1>traveling carnivals. This kind of ride had some obvious advantages

0:31:03.240 --> 0:31:06.560
<v Speaker 1>over old mill style dark rides. Namely, it was much

0:31:06.560 --> 0:31:08.880
<v Speaker 1>easier to put them together because you didn't have to

0:31:08.960 --> 0:31:13.600
<v Speaker 1>dig out canals or put together water tight troughs to

0:31:13.640 --> 0:31:16.680
<v Speaker 1>hold a boat, or manage thousands of gallons of water.

0:31:17.200 --> 0:31:19.840
<v Speaker 1>So it served as an alternative ride model that was

0:31:19.880 --> 0:31:23.680
<v Speaker 1>more accessible to would be amusement park owners, and particularly

0:31:23.720 --> 0:31:29.320
<v Speaker 1>to traveling amusement parks or traveling carnivals. Another important invention

0:31:29.760 --> 0:31:33.720
<v Speaker 1>in the dark ride history was the black light, which

0:31:33.800 --> 0:31:36.400
<v Speaker 1>was not made specifically for dark rides, but it would

0:31:36.440 --> 0:31:40.480
<v Speaker 1>become heavily used by dark rides. So a black light

0:31:40.640 --> 0:31:45.160
<v Speaker 1>is a fluorescent bulb that emits ultraviolet light that when

0:31:45.160 --> 0:31:50.360
<v Speaker 1>it hits fluorescent materials, causes them to emit visible light. So,

0:31:50.440 --> 0:31:55.000
<v Speaker 1>in brief, a fluorescent lamp has a bulb that holds

0:31:55.040 --> 0:31:57.600
<v Speaker 1>a low pressure gas inside it, and it's typically a

0:31:57.640 --> 0:32:01.200
<v Speaker 1>mixture of one of the noble asses along with some

0:32:01.360 --> 0:32:06.959
<v Speaker 1>mercury vapor. When you run a current through the bulb,

0:32:07.400 --> 0:32:11.640
<v Speaker 1>you have these little emitters inside the bulb that heat up,

0:32:11.760 --> 0:32:14.760
<v Speaker 1>and when they get hot enough, they start to release

0:32:14.840 --> 0:32:19.640
<v Speaker 1>electrons into the gas inside the bulb and this ionizes

0:32:19.680 --> 0:32:24.720
<v Speaker 1>the gas. It becomes a plasma. Plasma is an ionized gas,

0:32:24.720 --> 0:32:29.280
<v Speaker 1>and the plasma begins to emit ultraviolet radiation, which we

0:32:29.320 --> 0:32:32.600
<v Speaker 1>can't see directly, but we can see when it hits

0:32:32.600 --> 0:32:36.960
<v Speaker 1>fluorescent material and makes it fluoresce light up. Now, you're

0:32:37.000 --> 0:32:40.400
<v Speaker 1>typical fluorescent bulb used in places like offices has a

0:32:40.480 --> 0:32:43.840
<v Speaker 1>coating along the inside of the bulb itself that actually

0:32:43.880 --> 0:32:47.600
<v Speaker 1>absorbs this ultra violet radiation and then emits visible light.

0:32:47.640 --> 0:32:50.960
<v Speaker 1>Because otherwise we would just have black lights in our offices,

0:32:51.120 --> 0:32:54.160
<v Speaker 1>and while that might make posters look real groovy and stuff,

0:32:54.160 --> 0:32:57.040
<v Speaker 1>it would not be conducive to getting stuff done. You

0:32:57.080 --> 0:32:59.320
<v Speaker 1>could also just use this approach to make a bulb

0:32:59.360 --> 0:33:02.800
<v Speaker 1>that just amidst UV radiation, which is really what a

0:33:02.840 --> 0:33:05.640
<v Speaker 1>black light is, although you might have black lights that

0:33:05.720 --> 0:33:09.440
<v Speaker 1>block specific bands of UV radiation because you know, if

0:33:09.440 --> 0:33:12.840
<v Speaker 1>you're exposed to UV long enough, you get sunburnt. Pairing

0:33:13.280 --> 0:33:17.760
<v Speaker 1>a black light with objects that are painted with fluorescent paint,

0:33:18.520 --> 0:33:22.200
<v Speaker 1>you can create an effect where you have objects that

0:33:22.240 --> 0:33:27.400
<v Speaker 1>are brightly lit in an otherwise pitch black environment. Because

0:33:27.440 --> 0:33:31.480
<v Speaker 1>we cannot see ultra violet light, we don't see that

0:33:31.520 --> 0:33:33.800
<v Speaker 1>the whole environment is lit up by that light, right,

0:33:33.800 --> 0:33:37.120
<v Speaker 1>we can't see that, but we can see the stuff

0:33:37.160 --> 0:33:39.920
<v Speaker 1>that is reacting to the ultra violet light. And so

0:33:40.040 --> 0:33:44.000
<v Speaker 1>black lights can illuminate vibrant, colorful objects in an otherwise

0:33:44.040 --> 0:33:48.640
<v Speaker 1>pitch black environment. It's perfect or spooky horror themed attractions.

0:33:48.640 --> 0:33:52.120
<v Speaker 1>A lot of horror themed dark rides use black lights

0:33:52.160 --> 0:33:55.600
<v Speaker 1>to illuminate the various scares that are along the way.

0:33:56.080 --> 0:33:58.240
<v Speaker 1>It's also used in less sinister stuff. Some of the

0:33:58.320 --> 0:34:02.240
<v Speaker 1>dark rides at Disney Parts still use this method. If

0:34:02.240 --> 0:34:04.160
<v Speaker 1>you go in, you might notice that your socks, or

0:34:04.200 --> 0:34:07.520
<v Speaker 1>your shirt, or your hat or whatever is glowing because

0:34:07.560 --> 0:34:11.120
<v Speaker 1>there are black lights at play. William H. Biler got

0:34:11.160 --> 0:34:13.840
<v Speaker 1>a patent for a black light invention back in nineteen

0:34:13.960 --> 0:34:18.960
<v Speaker 1>thirty five. I'm not exactly sure when the first amusement

0:34:19.000 --> 0:34:22.760
<v Speaker 1>parks started using black lights, but it's definitely a popular

0:34:22.800 --> 0:34:26.439
<v Speaker 1>technique in dark rights today. So I tried to find

0:34:26.440 --> 0:34:29.800
<v Speaker 1>out what was one of the earliest or perhaps first

0:34:29.880 --> 0:34:34.400
<v Speaker 1>dark right to use black lights, But turns out carneys

0:34:34.719 --> 0:34:38.400
<v Speaker 1>are not the best historians. Another invention that would affect

0:34:38.520 --> 0:34:43.479
<v Speaker 1>darkwright design was the chain lift. So Philip Hinkel gets

0:34:43.480 --> 0:34:45.840
<v Speaker 1>the credit for using a chain lift to pull a

0:34:45.920 --> 0:34:49.680
<v Speaker 1>roller coaster up the top of a lift hill, whereupon

0:34:49.719 --> 0:34:52.480
<v Speaker 1>the roller coaster would then depend upon gravity to propel

0:34:52.520 --> 0:34:55.479
<v Speaker 1>it to the end of its track. So a chain

0:34:55.560 --> 0:34:58.000
<v Speaker 1>lift is pretty much what it sounds like. It's a

0:34:58.120 --> 0:35:02.000
<v Speaker 1>chain belt, so it's a really, really really big loop

0:35:02.000 --> 0:35:05.680
<v Speaker 1>of heavy duty chain. It engages with a drive motor,

0:35:06.000 --> 0:35:10.319
<v Speaker 1>which will cause the chain to rotate around some otherwise

0:35:10.800 --> 0:35:17.440
<v Speaker 1>inert pulleys, and the chain will end up going the

0:35:17.640 --> 0:35:21.160
<v Speaker 1>length of the lift hill. The roller coaster cars have

0:35:21.400 --> 0:35:24.760
<v Speaker 1>a hook like latch on the underside of the car.

0:35:25.040 --> 0:35:28.000
<v Speaker 1>Thus latch is called a chain dog. So when the

0:35:28.080 --> 0:35:32.680
<v Speaker 1>roller coaster car is moved up against the base of

0:35:32.719 --> 0:35:38.040
<v Speaker 1>the lift hill, the chain dog catches on the chain itself,

0:35:38.440 --> 0:35:41.600
<v Speaker 1>so the chain then pulls the roller coaster up along

0:35:41.600 --> 0:35:43.319
<v Speaker 1>with it all the way to the top of the hill,

0:35:43.719 --> 0:35:48.680
<v Speaker 1>whereupon the chain dog disengages with the chain and once

0:35:48.719 --> 0:35:52.279
<v Speaker 1>the roller coaster is over the hill enough, then it

0:35:52.320 --> 0:35:55.239
<v Speaker 1>goes the rest of the way through gravity. These days,

0:35:55.280 --> 0:35:59.359
<v Speaker 1>also roller coasters have anti rollback devices. Essentially, these are

0:35:59.440 --> 0:36:02.719
<v Speaker 1>linear hatchets. They catch on to the track so that

0:36:02.760 --> 0:36:06.320
<v Speaker 1>if the chain were to fail, then the roller coaster

0:36:06.360 --> 0:36:09.040
<v Speaker 1>would not roll backward. It would just stop in place

0:36:09.120 --> 0:36:13.959
<v Speaker 1>because the ratchet would not allow for backwards motion. That's

0:36:13.960 --> 0:36:16.480
<v Speaker 1>what actually makes the clackety clack clack sound as you

0:36:16.560 --> 0:36:19.200
<v Speaker 1>are on a roller coaster that's going up a chain lift.

0:36:19.560 --> 0:36:21.480
<v Speaker 1>If you're hearing like a clack clack, high clack clack,

0:36:21.600 --> 0:36:25.479
<v Speaker 1>that's that linear ratchet, the anti rollback device. That's that's

0:36:25.800 --> 0:36:30.360
<v Speaker 1>it's like a saw tooth and it's it's forward motion.

0:36:30.520 --> 0:36:36.279
<v Speaker 1>It allows to click against the track itself, but it

0:36:36.440 --> 0:36:38.920
<v Speaker 1>does not allow it to go backward. It's a basic

0:36:39.080 --> 0:36:46.040
<v Speaker 1>ratchet operation there. Anyway, about half a century after Hinkle

0:36:46.200 --> 0:36:50.319
<v Speaker 1>first used this for a roller coaster pretzel style ride,

0:36:50.360 --> 0:36:54.080
<v Speaker 1>manufacturers began to make use of chain lifts themselves, which

0:36:54.160 --> 0:36:58.200
<v Speaker 1>gave them the opportunity to make two story dark rides.

0:36:58.280 --> 0:37:02.479
<v Speaker 1>They could, you know, end up creating a longer ride

0:37:02.520 --> 0:37:07.480
<v Speaker 1>experience in a smaller footprint sized building, which was great

0:37:07.520 --> 0:37:10.439
<v Speaker 1>for traveling carnivals. Right. You just have a little chain

0:37:10.560 --> 0:37:15.239
<v Speaker 1>lift hill there that lifts the car up to the

0:37:15.400 --> 0:37:18.640
<v Speaker 1>second floor, and then you can let them navigate through that.

0:37:18.880 --> 0:37:21.360
<v Speaker 1>They eventually come down a hill, they navigate through the

0:37:21.400 --> 0:37:25.719
<v Speaker 1>first floor, and then they come to the offloading onloading

0:37:25.800 --> 0:37:30.040
<v Speaker 1>section of the ride. It became very popular with traveling carnivals.

0:37:30.320 --> 0:37:32.560
<v Speaker 1>A lot of the haunted dark ride attractions I have

0:37:32.719 --> 0:37:36.719
<v Speaker 1>seen at these carnivals are two story versions. Now, there's

0:37:36.760 --> 0:37:39.520
<v Speaker 1>a ton more to say about dark rides, but I

0:37:39.640 --> 0:37:43.160
<v Speaker 1>do want another piece to fall into place before I

0:37:43.280 --> 0:37:46.279
<v Speaker 1>wrap this particular episode up, because I feel like I

0:37:46.360 --> 0:37:49.680
<v Speaker 1>could do at least one more, probably a couple more

0:37:49.760 --> 0:37:52.279
<v Speaker 1>episodes about dark rides, so we can kind of think

0:37:52.280 --> 0:37:54.759
<v Speaker 1>of this as dark rides one on one. But the

0:37:54.840 --> 0:37:56.520
<v Speaker 1>other piece I want to talk about it is actually

0:37:56.520 --> 0:38:01.239
<v Speaker 1>not a technological piece. It's the story. So a lot

0:38:01.280 --> 0:38:04.360
<v Speaker 1>of dark rides had you stuff to look at, but

0:38:04.520 --> 0:38:07.040
<v Speaker 1>most of the time it was a fairly disjointed experience.

0:38:07.760 --> 0:38:10.200
<v Speaker 1>In haunted House style attractions, it was some sort of

0:38:10.320 --> 0:38:13.920
<v Speaker 1>monster or a ghost or gooley or a grizzly scene

0:38:14.600 --> 0:38:17.279
<v Speaker 1>that you would see briefly, and then you would turn

0:38:17.360 --> 0:38:19.120
<v Speaker 1>a corner and it would be a totally different one,

0:38:19.360 --> 0:38:22.719
<v Speaker 1>and it wouldn't really necessarily follow what you just saw, like,

0:38:22.800 --> 0:38:28.160
<v Speaker 1>it wouldn't be connected thematically necessarily other than generally gruesome

0:38:28.280 --> 0:38:31.720
<v Speaker 1>or scary thing. But rarely did you have a full narrative.

0:38:32.600 --> 0:38:36.840
<v Speaker 1>Walt Disney would change that with Disneyland. Now, some of

0:38:36.880 --> 0:38:40.600
<v Speaker 1>the rides in Disneyland definitely fall into the general dark

0:38:40.680 --> 0:38:44.400
<v Speaker 1>ride category, and unlike their counterparts, they would try to

0:38:44.480 --> 0:38:48.879
<v Speaker 1>tell a story. When Disneyland first opened in nineteen fifty five,

0:38:49.560 --> 0:38:51.920
<v Speaker 1>it did so with a few such rides that were

0:38:51.960 --> 0:38:56.759
<v Speaker 1>available to guests. Snow White's Enchanted Wish, Peter Pan's Flight,

0:38:57.200 --> 0:39:01.680
<v Speaker 1>and Mister Toad's Wild Ride were all verys of dark rides,

0:39:01.960 --> 0:39:06.640
<v Speaker 1>and all three told condensed stories, though I should add

0:39:06.680 --> 0:39:11.319
<v Speaker 1>the Mister Toad Ride included a pretty amazing deviation from

0:39:11.440 --> 0:39:13.880
<v Speaker 1>the story, not just of The Wind and the Willows,

0:39:14.440 --> 0:39:17.840
<v Speaker 1>but even the Disney version of The Wind and the Willows, because,

0:39:18.400 --> 0:39:21.080
<v Speaker 1>as I recall, you end up going to Hell in

0:39:21.239 --> 0:39:23.840
<v Speaker 1>that ride, and that was not in the movie, or

0:39:23.840 --> 0:39:26.000
<v Speaker 1>at least the Underworld. If not Hell, you go to

0:39:26.080 --> 0:39:28.399
<v Speaker 1>the underworld at the end of Mister Toad's wild ride.

0:39:28.960 --> 0:39:31.200
<v Speaker 1>That wasn't in the film, but it is in the ride,

0:39:31.239 --> 0:39:33.880
<v Speaker 1>which makes it truly amazing. So really, I guess I

0:39:33.880 --> 0:39:37.040
<v Speaker 1>should say Mister Toad was inspired by The Wind and

0:39:37.120 --> 0:39:40.320
<v Speaker 1>the Willows, but not a condensed version of the Disney

0:39:40.360 --> 0:39:45.040
<v Speaker 1>film adaptation, unlike Peter Pan and snow White. My point

0:39:45.120 --> 0:39:50.319
<v Speaker 1>here is that Disneyland emphasized narrative in Dark Rides more

0:39:50.440 --> 0:39:54.400
<v Speaker 1>than what had come before it. So Disney himself understood

0:39:54.960 --> 0:39:58.480
<v Speaker 1>the power of stories, and he used technology to bring

0:39:58.600 --> 0:40:02.160
<v Speaker 1>people into story in ways that they otherwise could never do.

0:40:02.760 --> 0:40:06.840
<v Speaker 1>It wasn't just about thrills or delighting the audience. It

0:40:07.000 --> 0:40:11.640
<v Speaker 1>was about enveloping people within the tale itself. It actually

0:40:11.680 --> 0:40:15.719
<v Speaker 1>reminds me of how classic Disney fairytale movies would begin

0:40:15.960 --> 0:40:19.480
<v Speaker 1>with a book that would open and then we the viewer,

0:40:19.680 --> 0:40:23.400
<v Speaker 1>would be brought into the story through the book. Disney

0:40:23.480 --> 0:40:25.360
<v Speaker 1>wanted to do the same thing with the park, but

0:40:25.520 --> 0:40:29.879
<v Speaker 1>for real zies to a point anyway, some theme parks

0:40:29.920 --> 0:40:32.760
<v Speaker 1>would attempt to mimic what Disney did, to varying degrees

0:40:32.800 --> 0:40:35.719
<v Speaker 1>of success, one of which I got to experience. So

0:40:35.880 --> 0:40:40.160
<v Speaker 1>here in Georgia at six Flags Over Georgia, once upon

0:40:40.200 --> 0:40:43.239
<v Speaker 1>a time we had a ride called Tales of the Okefinoki.

0:40:43.400 --> 0:40:45.879
<v Speaker 1>It was sort of based on the work of Joel

0:40:46.000 --> 0:40:49.480
<v Speaker 1>Chandler Harris's the man who shared the Uncle Remus Stories,

0:40:49.560 --> 0:40:52.440
<v Speaker 1>which Disney would actually use as the basis for the

0:40:52.520 --> 0:40:56.160
<v Speaker 1>film Song of the South. But Six Flags Over Georgia

0:40:56.680 --> 0:40:59.719
<v Speaker 1>didn't exactly have the rights to this, so it was

0:40:59.760 --> 0:41:03.480
<v Speaker 1>all kind of a vague reference to the Uncle Remus

0:41:03.520 --> 0:41:08.640
<v Speaker 1>stories without it being too overtly Disney light because that

0:41:08.680 --> 0:41:12.640
<v Speaker 1>would have brought probably some pretty serious litigation against the company.

0:41:13.280 --> 0:41:16.000
<v Speaker 1>And again the setting was the Okefinoki Swamps, so it's

0:41:16.040 --> 0:41:18.800
<v Speaker 1>kind of a combo there. I have vague memories of

0:41:18.880 --> 0:41:21.080
<v Speaker 1>this ride because I'm actually old enough to have gone

0:41:21.160 --> 0:41:23.680
<v Speaker 1>on it when I was a kid, but it closed

0:41:23.719 --> 0:41:26.600
<v Speaker 1>in nineteen eighty for a few reasons, the big one

0:41:26.680 --> 0:41:29.640
<v Speaker 1>being that there was a fire that affected that attraction,

0:41:30.400 --> 0:41:35.840
<v Speaker 1>but also it was just generally not the best designed ride,

0:41:36.440 --> 0:41:39.200
<v Speaker 1>so they closed it down. They used the same track

0:41:39.280 --> 0:41:41.960
<v Speaker 1>in the same pathway. It's a boat ride, so use

0:41:42.000 --> 0:41:45.719
<v Speaker 1>the exact same thing to house a second ride, which

0:41:45.880 --> 0:41:50.080
<v Speaker 1>originally was called the Monster Plantation, but then after a

0:41:50.239 --> 0:41:54.680
<v Speaker 1>refurbishment and some careful thought about how the word plantation

0:41:54.800 --> 0:41:58.520
<v Speaker 1>has some pretty nasty connotations to it, it is now

0:41:58.640 --> 0:42:03.120
<v Speaker 1>called the Monster Mansion. I mean, I'm still of the

0:42:03.520 --> 0:42:07.000
<v Speaker 1>the rich opinion, so I still have issues with mansions,

0:42:07.200 --> 0:42:10.600
<v Speaker 1>but not nearly the same as plantations. Well, today, dark

0:42:10.719 --> 0:42:15.880
<v Speaker 1>rides can be augmented with more high tech features. For example,

0:42:16.000 --> 0:42:18.960
<v Speaker 1>the Amazing Adventures of Spider Man at Universal's Islands of

0:42:19.000 --> 0:42:23.520
<v Speaker 1>Adventure in Orlando uses motion simulation and three D projections

0:42:23.600 --> 0:42:26.359
<v Speaker 1>and three D glasses to create an immersive experience along

0:42:26.400 --> 0:42:29.520
<v Speaker 1>with practical effects that are happening in the actual environment,

0:42:29.600 --> 0:42:33.440
<v Speaker 1>including fire effects. It's pretty darn neat so I will

0:42:33.600 --> 0:42:36.480
<v Speaker 1>most likely revisit this particular topic and go more into

0:42:36.520 --> 0:42:39.440
<v Speaker 1>the history and evolution of the dark ride, because I

0:42:39.480 --> 0:42:42.040
<v Speaker 1>think there's so many cool stories like I think we

0:42:42.120 --> 0:42:46.120
<v Speaker 1>can do almost an entire episode about the Omnimover, for example,

0:42:46.600 --> 0:42:51.200
<v Speaker 1>technology that Disney developed that allows for a continuous operation

0:42:51.440 --> 0:42:57.279
<v Speaker 1>of vehicles and greatly increases the ride capacity of an attraction,

0:42:57.920 --> 0:42:59.719
<v Speaker 1>well at least if you really pack them in there,

0:42:59.800 --> 0:43:02.480
<v Speaker 1>like the doom Buggies of Haunted Mansion. For things like

0:43:02.600 --> 0:43:05.960
<v Speaker 1>Peter Pan's flight, you're looking at a really long wait

0:43:06.080 --> 0:43:09.200
<v Speaker 1>unless you get there early in the morning. Folks who

0:43:09.640 --> 0:43:13.080
<v Speaker 1>are familiar with Disney know that all too well. But yeah,

0:43:13.400 --> 0:43:15.359
<v Speaker 1>this is just a little hint of it. I'm sure

0:43:15.360 --> 0:43:19.160
<v Speaker 1>I could also talk about things like animatronics as well

0:43:19.239 --> 0:43:22.520
<v Speaker 1>as other effects. There's some great effects that have been

0:43:22.600 --> 0:43:25.480
<v Speaker 1>used to varying degrees of success in dark rides that

0:43:25.600 --> 0:43:30.120
<v Speaker 1>involve creating walls of mist that you can project on

0:43:30.400 --> 0:43:34.440
<v Speaker 1>and create almost like a holographic sort of experience, which

0:43:34.560 --> 0:43:39.200
<v Speaker 1>is incredibly impressive when it works and really disappointing when

0:43:39.239 --> 0:43:42.320
<v Speaker 1>it doesn't. So I will likely do more episodes in

0:43:42.440 --> 0:43:46.880
<v Speaker 1>this range because I do really really love these kinds

0:43:46.920 --> 0:43:49.480
<v Speaker 1>of rides. I love them for the technology, I love

0:43:49.560 --> 0:43:53.080
<v Speaker 1>them for the storytelling. I love being able to just

0:43:53.760 --> 0:43:58.239
<v Speaker 1>inhabit a different world for a short while I love

0:43:58.360 --> 0:44:02.120
<v Speaker 1>sharing that experience with loved ones. I have two nieces

0:44:02.719 --> 0:44:07.840
<v Speaker 1>who just their reactions to these things are priceless. So

0:44:08.200 --> 0:44:10.560
<v Speaker 1>to me, this is one of those technologies that, when

0:44:10.640 --> 0:44:16.840
<v Speaker 1>it's done well, really ends up being an incredibly fun time.

0:44:17.560 --> 0:44:19.920
<v Speaker 1>Even if you were to be the cynical type and

0:44:20.000 --> 0:44:24.239
<v Speaker 1>talk about how it's ultimately a way to sell tickets, Yes, sure,

0:44:24.560 --> 0:44:27.399
<v Speaker 1>I get it, you have to have capitalism in there,

0:44:27.480 --> 0:44:30.360
<v Speaker 1>otherwise who's going to pay for the upkeep of the

0:44:30.440 --> 0:44:34.040
<v Speaker 1>attraction itself. But it doesn't take away from the enjoyment

0:44:34.120 --> 0:44:37.080
<v Speaker 1>of the actual experience when you're in it, at least

0:44:37.120 --> 0:44:40.520
<v Speaker 1>not in my opinion. So we'll come back to this.

0:44:40.880 --> 0:44:44.160
<v Speaker 1>We'll do more episodes about dark rides in the future,

0:44:44.719 --> 0:44:48.560
<v Speaker 1>and we'll dive into some of the other technologies being used,

0:44:48.760 --> 0:44:54.320
<v Speaker 1>things like augmented reality, three D projection, the animatronics, like

0:44:54.400 --> 0:44:58.280
<v Speaker 1>I said, and even things like trackless ride systems, because

0:44:58.360 --> 0:45:01.200
<v Speaker 1>there are those as well being used in dark rides,

0:45:01.600 --> 0:45:04.280
<v Speaker 1>and all of them are fascinating, But they're all built

0:45:05.160 --> 0:45:10.080
<v Speaker 1>on top of this basic idea of having a controlled

0:45:10.200 --> 0:45:14.279
<v Speaker 1>environment where people can enter a world they otherwise could

0:45:14.400 --> 0:45:18.760
<v Speaker 1>not or should not go into, and how to really

0:45:19.320 --> 0:45:23.600
<v Speaker 1>make those imaginations pop. Okay, that's it for this episode.

0:45:23.680 --> 0:45:25.440
<v Speaker 1>Hope you enjoyed it. If you would like to reach

0:45:25.520 --> 0:45:28.960
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0:45:29.080 --> 0:45:31.759
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0:45:31.880 --> 0:45:36.320
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