1 00:00:01,280 --> 00:00:04,320 Speaker 1: Welcome to Stuff You Missed in History Class, A production 2 00:00:04,400 --> 00:00:13,360 Speaker 1: of I Heart Radio. Hello, and welcome to the podcast. 3 00:00:13,400 --> 00:00:16,680 Speaker 1: I'm Tracy Vie Wilson and I'm Holly Fry. I feel 4 00:00:16,720 --> 00:00:19,560 Speaker 1: like we just start saying hello and Happy Friday. I 5 00:00:19,560 --> 00:00:22,360 Speaker 1: don't remember how we kick off these episodes now anymore, 6 00:00:22,400 --> 00:00:25,320 Speaker 1: even though we've been recording them for a million years. 7 00:00:26,160 --> 00:00:30,760 Speaker 1: Sometimes you know, one's brain dips a little. It's like 8 00:00:30,800 --> 00:00:32,440 Speaker 1: how they're doing the thing at the end of the 9 00:00:32,440 --> 00:00:35,879 Speaker 1: episode about where to find us. Sometimes I will just go, 10 00:00:36,000 --> 00:00:40,159 Speaker 1: what is our email address? I don't even know? Uh 11 00:00:40,280 --> 00:00:42,600 Speaker 1: So this week we had this accidental two part around 12 00:00:42,600 --> 00:00:45,720 Speaker 1: Irving Berlin, who I had kind of thought about as 13 00:00:45,800 --> 00:00:49,800 Speaker 1: like sort of a like a low key Christmas e 14 00:00:49,800 --> 00:00:54,440 Speaker 1: episode for December because of the song White Christmas and 15 00:00:54,640 --> 00:01:00,000 Speaker 1: the movie White Christmas. And then it blossomed into two 16 00:01:00,080 --> 00:01:04,440 Speaker 1: parts that could no longer happen before Christmas, happened after Christmas, 17 00:01:04,480 --> 00:01:11,160 Speaker 1: but not really about Christmas much at all. And I 18 00:01:11,240 --> 00:01:15,880 Speaker 1: do they'll want to talk about the movie White Christmas because, 19 00:01:15,920 --> 00:01:19,800 Speaker 1: as we said in the episode, uh it has it's 20 00:01:19,840 --> 00:01:22,520 Speaker 1: a movie that has aged beautifully and terribly at the 21 00:01:22,560 --> 00:01:26,720 Speaker 1: same time. Um, Like there's just there are so many 22 00:01:26,760 --> 00:01:30,200 Speaker 1: performances in it that are delightful, in songs that are delightful, 23 00:01:30,440 --> 00:01:35,480 Speaker 1: and also the whole movie it is really about a 24 00:01:35,959 --> 00:01:39,840 Speaker 1: man who feels old and sad and useless, and everyone 25 00:01:40,000 --> 00:01:42,880 Speaker 1: stops what they are doing to try to make him 26 00:01:42,959 --> 00:01:47,520 Speaker 1: feel better. Um, there's some age differences in the couples 27 00:01:47,600 --> 00:01:50,600 Speaker 1: that people find a little jarring today. And then there's 28 00:01:50,640 --> 00:01:52,840 Speaker 1: also that song that sort of celebrates how much they 29 00:01:52,840 --> 00:01:59,720 Speaker 1: love minstrel shows. I really don't know how much influence 30 00:02:00,000 --> 00:02:03,840 Speaker 1: Irving Berlin had over the plot of the movie. Um, 31 00:02:03,880 --> 00:02:07,760 Speaker 1: I did not go look into that, but realizing how 32 00:02:07,840 --> 00:02:13,040 Speaker 1: soon that was to like his career winding down and 33 00:02:13,160 --> 00:02:17,920 Speaker 1: how he felt about it, I now kind of see 34 00:02:17,919 --> 00:02:22,919 Speaker 1: it in the light of that of like, how how 35 00:02:23,000 --> 00:02:25,960 Speaker 1: much of this character was like sort of a reflection 36 00:02:26,080 --> 00:02:29,800 Speaker 1: of Irving Berlin wondering how many how many years as 37 00:02:29,840 --> 00:02:35,520 Speaker 1: an entertainer and a songwriter he had left. Yeah, it's interesting. 38 00:02:35,639 --> 00:02:40,760 Speaker 1: I had not known before this the context of Christmas 39 00:02:40,840 --> 00:02:44,880 Speaker 1: being a difficult time for him. But I have always 40 00:02:44,880 --> 00:02:47,360 Speaker 1: been the person who was like the song White Christmas 41 00:02:48,120 --> 00:02:52,000 Speaker 1: is not a happy song. It Yeah, like there are 42 00:02:52,120 --> 00:02:55,040 Speaker 1: arrangements of it that are really peppy, but like it 43 00:02:55,280 --> 00:03:02,239 Speaker 1: can sound wistful and nostalgic and just sad, like heartbreaking. 44 00:03:02,560 --> 00:03:05,520 Speaker 1: It's always sounded sad to me since I was a kid. 45 00:03:06,600 --> 00:03:09,600 Speaker 1: It I always conjured this image of somebody like trapped 46 00:03:09,600 --> 00:03:13,200 Speaker 1: somewhere where they couldn't get to anyone they wanted to see. 47 00:03:13,960 --> 00:03:17,880 Speaker 1: And so now I'm like, oh, maybe maybe that's actually 48 00:03:17,960 --> 00:03:19,919 Speaker 1: kind of how the song is. It's not just your 49 00:03:19,960 --> 00:03:27,480 Speaker 1: weird little gothic child read of it. Yeah. I um 50 00:03:27,760 --> 00:03:30,680 Speaker 1: had a very funny moment when we were talking in 51 00:03:30,760 --> 00:03:36,080 Speaker 1: the first part of this one about wax cylinders and 52 00:03:36,160 --> 00:03:39,640 Speaker 1: the idea of a performer having to perform it over 53 00:03:39,680 --> 00:03:43,840 Speaker 1: and over as they recorded one offs, and how much 54 00:03:44,480 --> 00:03:48,559 Speaker 1: like today and for a long time, right since mass 55 00:03:48,560 --> 00:03:52,200 Speaker 1: production has been a thing, like part of what people 56 00:03:52,560 --> 00:03:59,360 Speaker 1: know in learning of songs are like the unique breaths 57 00:03:59,360 --> 00:04:02,320 Speaker 1: and phrases is of a given performer, like when they 58 00:04:02,400 --> 00:04:04,440 Speaker 1: sing it or whatever, And how that's one of the 59 00:04:04,480 --> 00:04:06,240 Speaker 1: things you noticed when you go to a live show 60 00:04:06,320 --> 00:04:09,400 Speaker 1: that they do it slightly differently. And imagine if everybody 61 00:04:09,480 --> 00:04:12,600 Speaker 1: had a different sound memory in their head of what 62 00:04:12,720 --> 00:04:15,120 Speaker 1: it was supposed to sound like. And it's just a 63 00:04:15,160 --> 00:04:17,320 Speaker 1: fascinating thing to me that there would never be one 64 00:04:17,360 --> 00:04:21,479 Speaker 1: definitive version of any given song, so any changes within 65 00:04:21,839 --> 00:04:26,360 Speaker 1: performances would have completely shifted it. The Internet would lose 66 00:04:26,360 --> 00:04:28,040 Speaker 1: its mind if that were the case. It would be like, 67 00:04:28,120 --> 00:04:31,719 Speaker 1: well mine, he breathes before the uh, Like I just can't. 68 00:04:31,880 --> 00:04:36,279 Speaker 1: It's so fascinating. Yeah. I didn't realize until working on this, 69 00:04:37,080 --> 00:04:41,040 Speaker 1: like what sheet music. Like I took piano lessons as 70 00:04:41,080 --> 00:04:43,680 Speaker 1: a kid, I had sheet music for things, but like, 71 00:04:43,800 --> 00:04:46,240 Speaker 1: to me, the sheet music for whatever was the thing 72 00:04:46,520 --> 00:04:50,320 Speaker 1: purchased to learn to play the song for my piano 73 00:04:50,360 --> 00:04:55,040 Speaker 1: recital or whatever. The idea that like there would be 74 00:04:55,080 --> 00:04:58,000 Speaker 1: effort put into like a very nicely illustrated cover that 75 00:04:58,120 --> 00:05:01,119 Speaker 1: was also like a marketing effort for other sheet music, 76 00:05:01,200 --> 00:05:03,719 Speaker 1: and then in addition to people buying the sheet music, 77 00:05:03,800 --> 00:05:05,200 Speaker 1: they could learn to play a thing on the piano 78 00:05:05,240 --> 00:05:08,920 Speaker 1: that they would sort of be collecting sheet music as 79 00:05:08,960 --> 00:05:11,880 Speaker 1: these attractive things to have in their home. Like that 80 00:05:11,960 --> 00:05:15,480 Speaker 1: was not really a thing that had ever entered into 81 00:05:15,600 --> 00:05:20,640 Speaker 1: my mind until working all on this. I kind of 82 00:05:20,720 --> 00:05:24,280 Speaker 1: had a sense of that because I remember um when 83 00:05:24,320 --> 00:05:26,560 Speaker 1: I was younger, when I was in my teens and 84 00:05:26,680 --> 00:05:28,800 Speaker 1: early twenties. I did more of this than I have 85 00:05:29,120 --> 00:05:30,960 Speaker 1: in later years. But I used to often go to 86 00:05:31,000 --> 00:05:34,920 Speaker 1: flea markets and just like, and there were instances where 87 00:05:34,920 --> 00:05:39,000 Speaker 1: I would see sheet music's grouped together in collections, and like, 88 00:05:39,040 --> 00:05:42,120 Speaker 1: I remember talking to a couple of vendors who specifically 89 00:05:42,200 --> 00:05:44,080 Speaker 1: did have a lot of sheet music. Remember this is 90 00:05:44,960 --> 00:05:49,080 Speaker 1: late eighties, early nineties, um where they were. They were 91 00:05:49,120 --> 00:05:51,800 Speaker 1: talking about how, oh, some people like to collect, you know, 92 00:05:51,880 --> 00:05:54,040 Speaker 1: all of the pieces from this publisher from this year 93 00:05:54,040 --> 00:05:55,880 Speaker 1: to this year. And so I had a little bit 94 00:05:55,880 --> 00:05:58,040 Speaker 1: more of a sense of it, but I didn't think 95 00:05:58,080 --> 00:06:00,880 Speaker 1: about it being marketed four well to collect, if you 96 00:06:00,880 --> 00:06:03,320 Speaker 1: know what I mean. People often collect things that are 97 00:06:03,320 --> 00:06:06,440 Speaker 1: not intended to be collector's items, but these kind of 98 00:06:06,440 --> 00:06:10,600 Speaker 1: were actually designed that way from the top. Yeah. One 99 00:06:10,640 --> 00:06:12,360 Speaker 1: of the things I knew I wanted to include in 100 00:06:12,400 --> 00:06:17,080 Speaker 1: these episodes from the beginning was the argument not really argument, 101 00:06:17,200 --> 00:06:21,479 Speaker 1: was Woody Guthrie's response to God Bless America. Like, as 102 00:06:21,520 --> 00:06:24,120 Speaker 1: I was taking my very first notes, before I had 103 00:06:24,240 --> 00:06:28,560 Speaker 1: even gone and gotten any research about this particular aspect 104 00:06:28,560 --> 00:06:31,240 Speaker 1: of it, I just had in written in there like 105 00:06:31,600 --> 00:06:37,520 Speaker 1: and the Woody gutthree dispute Um because man's first of all, 106 00:06:37,560 --> 00:06:43,440 Speaker 1: I just the general having a dispute between two songwriters 107 00:06:43,560 --> 00:06:45,880 Speaker 1: over music like that in general is like okay, I 108 00:06:45,920 --> 00:06:50,240 Speaker 1: um into that idea. But also the fact that so 109 00:06:50,279 --> 00:06:53,040 Speaker 1: many of Woody Guthrie's criticisms of the song like just 110 00:06:53,160 --> 00:06:59,040 Speaker 1: don't hold up to his response to his response in 111 00:06:59,120 --> 00:07:02,040 Speaker 1: terms of writing the land as your land, especially today, 112 00:07:02,320 --> 00:07:06,000 Speaker 1: especially in the like having today's context of things like 113 00:07:06,440 --> 00:07:10,920 Speaker 1: the land back movement, Uh, you know, like like that 114 00:07:11,000 --> 00:07:16,680 Speaker 1: adds a whole new layer to what already even without 115 00:07:16,720 --> 00:07:21,120 Speaker 1: that movement that's existing now today, Like already words like 116 00:07:21,120 --> 00:07:23,920 Speaker 1: like I said in the episode talking about a white 117 00:07:23,920 --> 00:07:28,960 Speaker 1: man from Oklahoma writing about this land is my lands, Like, 118 00:07:30,080 --> 00:07:34,960 Speaker 1: it's just a little, a little weird choice to have 119 00:07:35,080 --> 00:07:46,600 Speaker 1: that be your song response. There's a whole lot of 120 00:07:46,640 --> 00:07:51,360 Speaker 1: irving Berlin's like work and career and impact that I 121 00:07:51,440 --> 00:07:56,160 Speaker 1: just feel like it's just such a mess um and 122 00:07:56,240 --> 00:07:58,440 Speaker 1: like so many things at the same time, like he 123 00:07:58,600 --> 00:08:03,480 Speaker 1: really does seem to you have understood and valued the 124 00:08:03,560 --> 00:08:08,720 Speaker 1: musical contributions of black performers and tried to like fight 125 00:08:08,800 --> 00:08:12,320 Speaker 1: for black performers he was working with to be respected 126 00:08:12,440 --> 00:08:15,400 Speaker 1: and that kind of But then like also we gotta 127 00:08:15,440 --> 00:08:19,120 Speaker 1: do black face. We got that whole argument. I was like, 128 00:08:19,600 --> 00:08:22,240 Speaker 1: as I the I found an article that was just 129 00:08:22,320 --> 00:08:24,640 Speaker 1: about that, and I was like, yikes, Like this is 130 00:08:24,680 --> 00:08:28,640 Speaker 1: full of yikes, so much yikes. But then just also 131 00:08:28,920 --> 00:08:34,960 Speaker 1: you know, casually including stuff that was stereotypical or bigoted 132 00:08:35,040 --> 00:08:36,599 Speaker 1: or whatever in songs that he was trying to like, 133 00:08:36,760 --> 00:08:42,839 Speaker 1: there's just a lot of it, uh and it um 134 00:08:42,880 --> 00:08:46,880 Speaker 1: even songs that like, I like putting on the Rits 135 00:08:46,920 --> 00:08:51,880 Speaker 1: to me is a brilliant song, Like it's got just 136 00:08:52,920 --> 00:08:57,120 Speaker 1: wonderful lyrics in my opinion, But also like that is 137 00:08:57,160 --> 00:09:01,200 Speaker 1: a song that he wrote about, uh, like poor black 138 00:09:01,240 --> 00:09:05,600 Speaker 1: people in Harlem getting dressed up to like go out 139 00:09:05,640 --> 00:09:09,199 Speaker 1: on the town in a way that like isn't necessarily 140 00:09:09,240 --> 00:09:12,160 Speaker 1: read in a flattering way when you read the lyrics, 141 00:09:12,240 --> 00:09:16,640 Speaker 1: but the lyrics themselves are incredible in my opinion. And 142 00:09:16,679 --> 00:09:22,600 Speaker 1: also anytime I watch uh Young Frankenstein, That's exactly what 143 00:09:22,640 --> 00:09:27,760 Speaker 1: I was thinking. Yeah yeah, um, that was another thing. 144 00:09:27,800 --> 00:09:31,080 Speaker 1: I stopped what I was doing to watch. I was 145 00:09:31,280 --> 00:09:34,440 Speaker 1: trying to write this, how many YouTube videos My whole 146 00:09:34,480 --> 00:09:37,640 Speaker 1: YouTube Boggerythm is like now just all skewed because it's 147 00:09:37,679 --> 00:09:42,160 Speaker 1: full of all kinds of renditions of Herving Berlin songs. 148 00:09:42,640 --> 00:09:48,720 Speaker 1: I mean, Peter Boyle forever um so funny. I once 149 00:09:48,760 --> 00:09:51,880 Speaker 1: again we'll say, boy I sure wish I could get 150 00:09:51,920 --> 00:09:53,720 Speaker 1: up at noon and go to bed at five. That 151 00:09:53,760 --> 00:09:57,000 Speaker 1: would be just about right for me. Yeah, I uh. 152 00:09:58,080 --> 00:10:01,520 Speaker 1: And in many recent years, rs, I have been to 153 00:10:01,600 --> 00:10:08,480 Speaker 1: go to sleep fairly early, wake up sometime between six 154 00:10:08,559 --> 00:10:11,120 Speaker 1: and seven, like, not even on purpose. That's just like 155 00:10:11,200 --> 00:10:13,640 Speaker 1: what my body is doing. Now when you say go 156 00:10:13,760 --> 00:10:15,520 Speaker 1: to bed early, what does that mean for you? Because 157 00:10:15,559 --> 00:10:18,040 Speaker 1: that means very different things for different people. Means ten. 158 00:10:18,600 --> 00:10:22,040 Speaker 1: I'm usually in bed by ten, maybe ten thirty. D 159 00:10:22,120 --> 00:10:24,199 Speaker 1: and D night. It has to be ten thirty because 160 00:10:24,200 --> 00:10:26,880 Speaker 1: that's when D and D ends, And sometimes the last 161 00:10:26,920 --> 00:10:29,360 Speaker 1: thirty minutes of D and D are very hard for me. 162 00:10:30,280 --> 00:10:33,080 Speaker 1: But when I was younger, for a while I was 163 00:10:33,200 --> 00:10:35,920 Speaker 1: working in a spot, and I was working a shift 164 00:10:35,960 --> 00:10:39,400 Speaker 1: that went from two pm to nine pm, and I gradually, 165 00:10:39,720 --> 00:10:44,880 Speaker 1: like gradually got into this rhythm where um, like I 166 00:10:44,920 --> 00:10:47,240 Speaker 1: would get off of work and treat the rest of 167 00:10:47,320 --> 00:10:50,000 Speaker 1: my day as it had been if I had gotten 168 00:10:50,000 --> 00:10:52,560 Speaker 1: off of work at five, like my evening was starting 169 00:10:52,559 --> 00:10:54,800 Speaker 1: at nine, and then I would sleep really late, and 170 00:10:54,800 --> 00:10:56,240 Speaker 1: then I would get up and go to start my 171 00:10:56,280 --> 00:11:00,560 Speaker 1: two pm shift again. Um, and so yeah, I like 172 00:11:01,000 --> 00:11:06,720 Speaker 1: that his like five am perfect. Like that is a 173 00:11:06,800 --> 00:11:09,680 Speaker 1: little too far for me, but I can. I can. 174 00:11:09,840 --> 00:11:11,920 Speaker 1: I've had periods of my life when I've been a 175 00:11:11,960 --> 00:11:14,160 Speaker 1: little bit more of a nighttime person, and I can, 176 00:11:14,200 --> 00:11:19,920 Speaker 1: like at least somewhat see it working away. Even I 177 00:11:19,960 --> 00:11:25,280 Speaker 1: know it's a terrible habit, but even like if we 178 00:11:25,360 --> 00:11:27,439 Speaker 1: have like a chunk of time off, like around the 179 00:11:27,480 --> 00:11:30,320 Speaker 1: holidays or whatever, where there's no obligations for several days 180 00:11:30,480 --> 00:11:32,840 Speaker 1: within three days, Brian and I are on that schedule. 181 00:11:32,920 --> 00:11:35,480 Speaker 1: Like we both just tend to want to like wake 182 00:11:35,559 --> 00:11:39,160 Speaker 1: up at eleven or twelve, have the afternoon in nighttime, 183 00:11:39,280 --> 00:11:41,160 Speaker 1: and then go to bed as the sun is coming up. 184 00:11:41,600 --> 00:11:44,640 Speaker 1: I don't know why we divert automatically to vampire hours, 185 00:11:44,679 --> 00:11:47,120 Speaker 1: but we both do, thankfully. I feel like I should 186 00:11:47,160 --> 00:11:49,640 Speaker 1: confess that the mere mention of Ethel Merman's name made 187 00:11:49,679 --> 00:11:53,360 Speaker 1: me cry in this episode. Yeah. I wasn't expecting that either. Really. 188 00:11:53,480 --> 00:11:56,200 Speaker 1: I read it was like, oh, I love Ethelm, and 189 00:11:56,240 --> 00:11:58,560 Speaker 1: then we talked about it and I just started bawling. 190 00:11:58,640 --> 00:12:02,320 Speaker 1: I don't know what that's about. Yeah, Irving Berlin clearly 191 00:12:02,559 --> 00:12:05,079 Speaker 1: love to write songs for. But if you've never seen 192 00:12:05,160 --> 00:12:09,920 Speaker 1: Ethel Merman sing Everything's coming up roses, it's very easy 193 00:12:09,960 --> 00:12:13,760 Speaker 1: to do. Just check out YouTube and she's amazing. I 194 00:12:13,800 --> 00:12:16,800 Speaker 1: also highly recommend that Gene stapleton appearance on The Muppet 195 00:12:16,800 --> 00:12:19,400 Speaker 1: Show is also very easy to find online, and it 196 00:12:19,520 --> 00:12:27,040 Speaker 1: is lovely. It's so sweet, so sweet, Ethel, Ethel and Ethel. 197 00:12:27,080 --> 00:12:31,280 Speaker 1: And you know, clearly I like the very brash singers 198 00:12:31,320 --> 00:12:35,360 Speaker 1: of that era. Yeah, yeah, I'm like none of the lilting, 199 00:12:35,720 --> 00:12:40,280 Speaker 1: sweet voiced singers I want, Like I want Ethel Merman forever. 200 00:12:41,120 --> 00:12:45,280 Speaker 1: Arthur not mentioned in this episode. It's like my dream episode. Yeah. 201 00:12:45,440 --> 00:12:47,400 Speaker 1: The list of people like that was not even a 202 00:12:47,760 --> 00:12:50,040 Speaker 1: complete list of all the people that performed in the 203 00:12:51,000 --> 00:12:54,960 Speaker 1: and the hundredth Birthday tribute concert. But at like I 204 00:12:55,040 --> 00:12:57,160 Speaker 1: kept finding I was like, gotta put this person in there, 205 00:12:57,559 --> 00:13:01,080 Speaker 1: Gotta put Jerry Orbach in there, Gotta put Yeah, so many. 206 00:13:01,280 --> 00:13:03,160 Speaker 1: I know. I definitely had a sad as he read 207 00:13:03,200 --> 00:13:05,160 Speaker 1: that list because so many of them are gone. Yeah, 208 00:13:05,400 --> 00:13:09,280 Speaker 1: with only a few exceptions. I yeah, well, and that's 209 00:13:09,320 --> 00:13:11,520 Speaker 1: like one of the like living to be a hundred 210 00:13:11,520 --> 00:13:15,040 Speaker 1: and one years old. Like at that point, pretty much 211 00:13:15,080 --> 00:13:19,640 Speaker 1: everybody that he had, you know, a long working relationship 212 00:13:19,760 --> 00:13:23,640 Speaker 1: with had died before he did. He he by the 213 00:13:23,679 --> 00:13:26,679 Speaker 1: time he died, he had this reputation for being just 214 00:13:26,920 --> 00:13:32,920 Speaker 1: kind of reclusive and cantankerous isn't quite the right word, like, 215 00:13:33,640 --> 00:13:37,960 Speaker 1: not very personable in his last years. And after his death, 216 00:13:38,000 --> 00:13:40,520 Speaker 1: one of his daughters like got really frustrated with what 217 00:13:40,640 --> 00:13:45,000 Speaker 1: people's perceptions of her father had become and wrote a 218 00:13:45,120 --> 00:13:48,400 Speaker 1: really I have not read it, but it's described as 219 00:13:48,440 --> 00:13:52,400 Speaker 1: like a very lovely and tender um memoir about how 220 00:13:52,520 --> 00:13:56,840 Speaker 1: like totally acknowledging that her father worked all the time, 221 00:13:57,880 --> 00:14:03,440 Speaker 1: but that also the like late years reclusiveness. UM, like 222 00:14:03,520 --> 00:14:06,160 Speaker 1: that just what that wasn't his whole personality and that 223 00:14:06,240 --> 00:14:09,479 Speaker 1: wasn't how people who knew and worked with him necessarily 224 00:14:09,480 --> 00:14:12,840 Speaker 1: would have remembered him. So yeah, that's out there too 225 00:14:12,880 --> 00:14:15,560 Speaker 1: if folks want to, I want to read it. UM. 226 00:14:15,760 --> 00:14:19,200 Speaker 1: One of the many there's a long source list for 227 00:14:19,200 --> 00:14:24,080 Speaker 1: this episode, UM, And one of the many sources in 228 00:14:24,120 --> 00:14:28,640 Speaker 1: that source list is the book UM that I mentioned. 229 00:14:29,080 --> 00:14:31,000 Speaker 1: I think we quoted from it briefly in the episode, 230 00:14:31,000 --> 00:14:33,440 Speaker 1: and that was by James Caplan called Earning Berlin, New 231 00:14:33,520 --> 00:14:37,080 Speaker 1: York genius. Um. That is from Yale University Press. But 232 00:14:37,320 --> 00:14:40,000 Speaker 1: in my opinion it is really accessible to like non 233 00:14:40,040 --> 00:14:42,920 Speaker 1: academic readers. I know, sometimes stuff that comes out from 234 00:14:43,040 --> 00:14:45,520 Speaker 1: university presses can be a little dense. I did not 235 00:14:45,640 --> 00:14:48,840 Speaker 1: find it to be so at all. There were sometimes 236 00:14:48,840 --> 00:14:51,160 Speaker 1: where I sort of felt like if I were Jewish, 237 00:14:51,240 --> 00:14:53,720 Speaker 1: I would have gotten some nuance that I was not 238 00:14:55,040 --> 00:14:59,080 Speaker 1: bringing the way something was described. Um. But other than that, like, 239 00:14:59,120 --> 00:15:02,840 Speaker 1: I found it to be a really lovely, inaccessible work 240 00:15:02,880 --> 00:15:08,400 Speaker 1: on him. Um. If folks are interested in more, Yeah, 241 00:15:08,880 --> 00:15:13,400 Speaker 1: Happy Friday. Based on when this is coming out, Tomorrow 242 00:15:14,000 --> 00:15:17,040 Speaker 1: is gonna be New Year's Eve, and so you will 243 00:15:17,080 --> 00:15:20,760 Speaker 1: have Saturday Classic tomorrow, and I hope whatever is going 244 00:15:20,800 --> 00:15:23,000 Speaker 1: on for folks's New Year's Eve, I hope it's great. 245 00:15:23,040 --> 00:15:26,920 Speaker 1: I've been in jobs where I had to work with 246 00:15:27,040 --> 00:15:30,920 Speaker 1: the public on New Year's Eve, and I remember that 247 00:15:31,320 --> 00:15:34,640 Speaker 1: often being a challenging thing. So whatever is up with 248 00:15:34,680 --> 00:15:36,360 Speaker 1: you tomorrow, I hope it's great. If you're going to 249 00:15:36,320 --> 00:15:38,080 Speaker 1: a party, hope it's great. If you're staying home, hope 250 00:15:38,080 --> 00:15:39,880 Speaker 1: it's great. If you have to work tomorrow, I hope 251 00:15:39,960 --> 00:15:43,920 Speaker 1: that's great. Whatever is happening, We'll be back with Saturday 252 00:15:43,920 --> 00:15:53,120 Speaker 1: Classic tomorrow with something brand new on Monday. Stuff you 253 00:15:53,160 --> 00:15:55,840 Speaker 1: Missed in History Class is a production of I heart Radio. 254 00:15:56,200 --> 00:15:58,760 Speaker 1: For more podcasts from my heart Radio, visit the i 255 00:15:58,840 --> 00:16:02,040 Speaker 1: heart Radio app, app podcasts, or wherever you listen to 256 00:16:02,080 --> 00:16:07,320 Speaker 1: your favorite shows. H m hm