WEBVTT - Attack of the Night People 

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<v Speaker 1>Pushkin. This episode will discuss death by suicide. If you're

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<v Speaker 1>suffering emotional distress or you're having suicidal thoughts, support is available,

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<v Speaker 1>for example, from the nine to eight to eight Suicide

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<v Speaker 1>and Crisis Lifeline in the US or from the Samaritans

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<v Speaker 1>in the UK. New York City, nineteen fifty six, a

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<v Speaker 1>young man goes into a bookstore and asks for a book,

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<v Speaker 1>I Libertine by Frederick R. Ewing. The bookstore clerk checks

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<v Speaker 1>their stock. It seems that they don't have a copyright now,

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<v Speaker 1>but let's see if he can order one. He thumbs

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<v Speaker 1>through the list of books available from the stores wholesalers. Strange,

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<v Speaker 1>he can't see it anywhere. What's it called? I Libertine?

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<v Speaker 1>The young man says, And who did you say was

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<v Speaker 1>the author? Frederick R. Ewing. The clerk still can't find it.

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<v Speaker 1>Do you happen to know the publisher? Sure, says the customer.

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<v Speaker 1>Excels your Press. The clerk keeps looking through his lists.

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<v Speaker 1>He can't see any mention of excels your Press. Are

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<v Speaker 1>you sure that's the right name? The young man says

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<v Speaker 1>he's sure. The bookstore clerk can only shrug in confusion.

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<v Speaker 1>I'm sorry, he says, the book doesn't seem to exist.

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<v Speaker 1>The young man thanks him and walks away, looking disappointed

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<v Speaker 1>but also strangely amused. Later, another young customer approaches the clerk.

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<v Speaker 1>I'm looking for a book, he says. It's called I

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<v Speaker 1>Libertine by Frederick R. Ewing. Oh, says the clerk. Someone

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<v Speaker 1>else asked about this. I looked for it and it

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<v Speaker 1>doesn't exist. Sure it does, the customer insists, Freddie Ewing,

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<v Speaker 1>you know, the noted expert on eighteenth century erotica. Haven't

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<v Speaker 1>you heard his radio series on the BBC. The clerk

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<v Speaker 1>decides to call his wholesaler. It's very odd, says the wholesaler.

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<v Speaker 1>We've been getting lots of calls asking for I Libertine,

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<v Speaker 1>but we never heard of it, or Frederick are Ewing

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<v Speaker 1>or Excelsior Press. What on earth is going on? I'm

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<v Speaker 1>Tim Harfer, and you're listening to cautionary tales. In the

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<v Speaker 1>middle of the night, in a building in Carteret, New Jersey,

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<v Speaker 1>a man in his mid thirties is talking into a

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<v Speaker 1>microphone wearing nothing but fruit of the loom jockey shorts.

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<v Speaker 1>It's stiflingly hot because also in this building is a

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<v Speaker 1>fifty thousand watt radio transmitter and there's no ventilation. This

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<v Speaker 1>is not what Jeene Shepherd had in mind when he

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<v Speaker 1>moved to New York with his young family in tow

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<v Speaker 1>to try to crack the big time. He'd been jobbing

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<v Speaker 1>around various provincial radio stations, starting in his Indiana hometown.

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<v Speaker 2>Next HG. Grubbage and the news.

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<v Speaker 1>There's no HG. Grubbage. It's Shepherd playing the character of

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<v Speaker 1>a self important newsreader and reading out odd little snippets

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<v Speaker 1>he's seen in the newspaper, like the zookeeper whose paycheck

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<v Speaker 1>was eaten by an elephant, or the man in the

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<v Speaker 1>Canary Islands who tried to cross the Atlantic in a barrel.

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<v Speaker 2>He sailed two yards and turned over twice.

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<v Speaker 3>Two bystanders rescued him, then two medical attendants took him

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<v Speaker 3>to the local psychiatric hospital.

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<v Speaker 1>Shepherd collects these stories, not quite garbage, he calls them,

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<v Speaker 1>but grubbage mostly though he doesn't read stuff out. He

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<v Speaker 1>just talks and talks, no script, no notes. At WKRC

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<v Speaker 1>in Cincinnati, he's fired for too much talking. It just

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<v Speaker 1>wants someone to read out the ads from sponsors and

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<v Speaker 1>tee up the records. He promises to play more music

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<v Speaker 1>on his show, so they give him his job back,

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<v Speaker 1>but he just keeps talking and talking, so they fire

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<v Speaker 1>him again. He moves to Philadelphia.

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<v Speaker 2>The purpose of my program is not to please, but

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<v Speaker 2>to begin trains of thought. I realize that many things

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<v Speaker 2>that I do might not be good listening.

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<v Speaker 1>Shepherd's unusual approach piques the interest of a New York

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<v Speaker 1>radio station, who try him out on a Saturday afternoon.

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<v Speaker 1>In just a few months, he sheds so many listeners

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<v Speaker 1>that they shunned him into the graveyard shift from one

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<v Speaker 1>am to five thirty every weeknight, and because the New

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<v Speaker 1>York studio closed overnight, he has to broadcast from the

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<v Speaker 1>sweltering transmitter room in New Jersey wearing only his underpants.

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<v Speaker 1>Shepherd doesn't mind. He's got four and a half hours

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<v Speaker 1>to fill every night, a prospect that might be daunting

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<v Speaker 1>for some broadcasters, but not for Shepherd. Finally, his thoughts

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<v Speaker 1>have room to breathe for the.

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<v Speaker 3>Guy hits a on the piano and I went Merigs, Schmedrigs,

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<v Speaker 3>double Beat, Nicks, Papkins all agree a pin.

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<v Speaker 1>In the words of his biographer Eugene Bergmann, these late

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<v Speaker 1>night shows are a slow, casual free floating association of ideas, philosophy,

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<v Speaker 1>and amused commentary. He tells long, meandering stories about his

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<v Speaker 1>childhood and his time in the army. That is anyone

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<v Speaker 1>actually listening. His bosses suspect not. They worry that Shepherd's

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<v Speaker 1>not commercial. He hates playing music or reading out ads

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<v Speaker 1>from sponsors. They threaten to fire him. Shepherd decides to

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<v Speaker 1>fight back.

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<v Speaker 2>All right, gang, let's show them that there are a

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<v Speaker 2>few klutzes out there to listen to this drivel all night.

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<v Speaker 2>All of you go to your grocery star tomorrow and

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<v Speaker 2>ask for Sweetheart soap.

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<v Speaker 1>The next day, stores in New York shift a surprising

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<v Speaker 1>amount of Sweetheart soap. There's any one problem. Sweetheart Soap

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<v Speaker 1>isn't actually a sponsor of the radio station. Shepherd chose

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<v Speaker 1>it at random, just to make a point. He does

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<v Speaker 1>have listeners, a lot of listeners, and they're devoted. In

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<v Speaker 1>the dead of the New York night, Shepherd has found

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<v Speaker 1>his audience. He starts to ruminate on who they are,

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<v Speaker 1>these night people.

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<v Speaker 4>I'm talking about people with that while tossing in the

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<v Speaker 4>soul that somehow makes them stay up till three o'clock

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<v Speaker 4>in the morning and brood. They might get up at

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<v Speaker 4>seven the next morning and go to work, but that

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<v Speaker 4>ain't That isn't what their life is about, not a

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<v Speaker 4>bit of it.

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<v Speaker 1>Shepherd also starts to philosophize about the day people. Their

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<v Speaker 1>life is about work. They believe in the world of

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<v Speaker 1>the office. He says, they believe in file cabinets. They're

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<v Speaker 1>the people in sales meetings with the light of ecclesiastical

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<v Speaker 1>fervor in their eyes. They believe in what they're selling.

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<v Speaker 1>Shepherd diagnoses that the day people are suffering from a

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<v Speaker 1>malaise he.

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<v Speaker 2>Calls creeping meatballism.

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<v Speaker 1>By which he means conformity.

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<v Speaker 2>The average person the day thinks in certain prescribed patterns.

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<v Speaker 2>People that they have a genuine fear of stepping out

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<v Speaker 2>and thinking, and they're own.

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<v Speaker 1>Take the latest model of refrigerator that has a clever

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<v Speaker 1>design of door that enables it to open from either side.

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<v Speaker 1>The day people think this kind of progress is great.

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<v Speaker 2>By George, we really are getting ahead.

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<v Speaker 1>The night people couldn't care less about which side their

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<v Speaker 1>fridge door opens. All they want to know is.

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<v Speaker 2>Does it keep the stuff cold?

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<v Speaker 1>This is the nineteen fifties. Remember Shepherd was ahead of

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<v Speaker 1>his time. What would he have thought of fridges that

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<v Speaker 1>connect to the internet.

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<v Speaker 5>He needs cheese.

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<v Speaker 1>One day, Shepherd's in a New York bookstore trying to

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<v Speaker 1>get a copy of a book he saw at a

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<v Speaker 1>friend's house. The bookstore clerk looks through the lists of

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<v Speaker 1>books he can get from wholesalers and inform Shepherd that

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<v Speaker 1>the book doesn't exist. But Shepherd knows the book exists,

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<v Speaker 1>He's seen it.

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<v Speaker 4>I suddenly became aware that New York is almost entirely

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<v Speaker 4>a city that really does run on lists.

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<v Speaker 1>The day people believe in lists. If a book's on

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<v Speaker 1>a bestseller list, it must be good. If it's not

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<v Speaker 1>on any list at all, it not only can't be good,

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<v Speaker 1>it can't exist. Shepherd wants to mess with the belief

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<v Speaker 1>in lists.

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<v Speaker 2>What do you say tomorrow morning, each one of us

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<v Speaker 2>walk into a bookstore and ask for a book that

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<v Speaker 2>we know does not exist.

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<v Speaker 1>Shepherd asks his listeners to suggest a title. He chooses

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<v Speaker 1>I Libertine and makes up the author's bio on the fly.

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<v Speaker 1>Frederick R. Ewing, an expert in eighteenth century erotica who's

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<v Speaker 1>retired from the Royal Navy and broadcasts on the BB

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<v Speaker 1>see I Libertine is going to be an explicit account

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<v Speaker 1>of the salacious sex lives of eighteenth century London aristocrats.

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<v Speaker 2>And by the way, mister Ewing is quite surprised at

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<v Speaker 2>the success his book is enjoying, since it was written

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<v Speaker 2>primarily for scholars people who want misunderstand that Satain chapters

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<v Speaker 2>are there for the purpose of scholarly research.

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<v Speaker 1>Listeners write in to tell Shepherd what happened when they

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<v Speaker 1>went into stores to ask for the book. One reports

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<v Speaker 1>a deliciously satisfying encounter with the puffed up clerk at

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<v Speaker 1>his local bookstore who always has an opinion on every book.

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<v Speaker 1>When the listener mentions I Libertine, the clerk knowingly strokes

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<v Speaker 1>his beard. Ah, yes, Freddie Ewing, It's about time the

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<v Speaker 1>public discovered him. A student tells Shepherd that he turned

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<v Speaker 1>in an essay on I Libertine augmented with quotes from

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<v Speaker 1>Ewing's BBC broadcasts. He got a B plus superb research.

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<v Speaker 1>Another listener says he flagged I Libertine to the Archdiocese

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<v Speaker 1>of Boston and got them to ban it. It seems

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<v Speaker 1>like a perfectly judged prank, funny and harmless, but there's

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<v Speaker 1>another angle on the story of I Libertine, which shows

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<v Speaker 1>it in a different light, will pick up Gene Shepherd's story,

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<v Speaker 1>but first let's meet his modern heirs after the break.

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<v Speaker 1>In two thousand and seven, a post on the anonymous

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<v Speaker 1>online message board four chan suggested that users send an

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<v Speaker 1>email to the principle of their local high school. Yesterday afternoon,

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<v Speaker 1>I came home early to find my son and his

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<v Speaker 1>friends getting high on something they called jencom. They urinate

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<v Speaker 1>and defecate in plastic bottles and leave them to ferment

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<v Speaker 1>in the sun, then inhale the resulting gas. Surely not,

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<v Speaker 1>but the email continues. I looked it up on the

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<v Speaker 1>Internet and apparently this was something invented by African children.

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<v Speaker 1>That's actually true. Kind of years earlier, in the nineteen nineties,

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<v Speaker 1>a press agency in Zambia had reported on how how

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<v Speaker 1>tough life was for impoverished street children. Some were seeking

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<v Speaker 1>a temporary escape by getting high on gases from human

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<v Speaker 1>waste that had fermented in sewer ponds. The New York

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<v Speaker 1>Times and BBC picked up the report and included the

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<v Speaker 1>local term for that fermented sewer water, jencom. So if

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<v Speaker 1>an unsuspecting high school principle went to Google and typed

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<v Speaker 1>in jencom, they would find the top results did indeed

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<v Speaker 1>mention African children, and they came from respected news organizations

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<v Speaker 1>that made the emails seem superficially plausible, though what it

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<v Speaker 1>said next about jencom wasn't true at all. Now kids

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<v Speaker 1>all over the world are doing it. My son says

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<v Speaker 1>most of his friends at school have tried it. You

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<v Speaker 1>would hope that most high school principals who received this

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<v Speaker 1>email will have engaged their brains, done a bit of digging,

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<v Speaker 1>and concluded that it was clearly a hoax. Most of

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<v Speaker 1>their students were not fermenting their own excrement in plastic bottles.

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<v Speaker 1>But there are always people who are ready to panic

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<v Speaker 1>about what the kids are up to. A sheriff's office

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<v Speaker 1>in Florida sent out a warning, complete with photos they'd

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<v Speaker 1>found on the Internet of a teen inhaling from a

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<v Speaker 1>plastic bottle. Someone had made jencom as a joke from

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<v Speaker 1>flower Water and Natella. Local news stations picked up the story.

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<v Speaker 6>Cops are calling it jenkam or the human waste drug,

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<v Speaker 6>but parents need to be aware that kids are calling

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<v Speaker 6>it by the more popular slang term butt hash.

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<v Speaker 1>How could concerned parents tell if their teenager is inhaling

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<v Speaker 1>butt hash. One news reporter earnestly advised parents to smell

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<v Speaker 1>their children's breath at bedtime. Another asked for action from

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<v Speaker 1>the US Drugs Enforcement Agency. An amused agent explained that

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<v Speaker 1>it was hard for the government to regulate people's urine

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<v Speaker 1>and feces. This all caused much hilarity for the anonymous

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<v Speaker 1>users of four chan. As Around this time, the academic

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<v Speaker 1>Whitney Phillips found out about four chan from her eighteen

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<v Speaker 1>year old brother. Check it out. He told her, you'll

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<v Speaker 1>like it. Phillips checked it out and was horrified.

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<v Speaker 5>She recalls there was so much porn and gore, so

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<v Speaker 5>much offensive, antagonistic humor, and general foulness.

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<v Speaker 1>It was also confusing with its own lang language and

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<v Speaker 1>evident in jokes. Why were people saying a hero, for example,

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<v Speaker 1>I'll come back to that. Phillips sense that whatever was

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<v Speaker 1>happening on four chan was interesting enough to study. She

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<v Speaker 1>did a PhD on trolling subculture. The anonymous posters on

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<v Speaker 1>four chan self identified as trolls, but what did the

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<v Speaker 1>word even mean? Phillips soon discovered that there were two etymologies.

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<v Speaker 1>For some The troll comes from Norse mythology, trolls are ugly,

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<v Speaker 1>malevolent and stupid. They live under bridges and threatened to

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<v Speaker 1>eat the billy goat's gruff that others insisted that trolling

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<v Speaker 1>is a fishing term. It means dangling bait behind a

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<v Speaker 1>fishing boat. In this sense, trolling is a skilled suit.

0:18:10.730 --> 0:18:15.010
<v Speaker 1>The metaphor of dangling bait certainly seems like a better

0:18:15.170 --> 0:18:20.250
<v Speaker 1>fit for the jencum email, which got several satisfying bites

0:18:21.090 --> 0:18:27.210
<v Speaker 1>from school principles and local news reports. When Phillips asked

0:18:27.250 --> 0:18:31.010
<v Speaker 1>the four Chan trolls what makes a troll, they told

0:18:31.050 --> 0:18:37.650
<v Speaker 1>her trolls believe that nothing should be taken seriously. When

0:18:37.650 --> 0:18:40.170
<v Speaker 1>she asked them what they got out of trolling, they

0:18:40.210 --> 0:18:47.530
<v Speaker 1>said lolls. Lolls, says Phillips, is an extremely slippery term.

0:18:47.810 --> 0:18:50.610
<v Speaker 1>Trolls themselves struggle to explain it.

0:18:51.890 --> 0:18:54.410
<v Speaker 5>You know it when you see it was the most

0:18:54.410 --> 0:18:57.250
<v Speaker 5>common definition I heard when conducting interviews.

0:18:58.490 --> 0:19:01.930
<v Speaker 1>But Phillips has a go at defining lolls.

0:19:02.970 --> 0:19:06.490
<v Speaker 5>A kind of ambiguous, unsympathetic laughter.

0:19:08.370 --> 0:19:12.370
<v Speaker 1>Pant. More and more time getting to know the kind

0:19:12.410 --> 0:19:16.090
<v Speaker 1>of people who post on four chan. What she found

0:19:16.170 --> 0:19:19.130
<v Speaker 1>reflected the split between these two etymologies.

0:19:20.690 --> 0:19:25.730
<v Speaker 5>Some trolls are remarkably reflective and intelligent, and some are

0:19:26.650 --> 0:19:27.450
<v Speaker 5>remarkably not.

0:19:28.570 --> 0:19:34.610
<v Speaker 1>Phillips began to understand the language and the iconography. She realized, I.

0:19:34.690 --> 0:19:39.170
<v Speaker 5>Found certain forms of trolling funny, interesting, and in some

0:19:39.250 --> 0:19:40.650
<v Speaker 5>cases justifiable.

0:19:42.010 --> 0:19:46.530
<v Speaker 1>Rick rolling, for example, came from four chan, the practice

0:19:46.610 --> 0:19:51.010
<v Speaker 1>of disguising links so you end up unexpectedly. At the

0:19:51.090 --> 0:19:55.050
<v Speaker 1>YouTube video of Rick Astley singing never going to give

0:19:55.210 --> 0:19:59.890
<v Speaker 1>you up, Never going to let you down, a well

0:19:59.970 --> 0:20:04.290
<v Speaker 1>executed rick roll makes a point. We're tempted to click

0:20:04.290 --> 0:20:08.530
<v Speaker 1>on a link against our better judgment, and Astley is

0:20:08.570 --> 0:20:15.130
<v Speaker 1>our chain reward. Why Rick Astley, It's just one of

0:20:15.170 --> 0:20:21.410
<v Speaker 1>those random things that caught on Like over nine thousand,

0:20:22.490 --> 0:20:28.250
<v Speaker 1>originally from a melodramatically delivered and mistranslated English dub of

0:20:28.290 --> 0:20:31.250
<v Speaker 1>the Japanese anime Dragon Ball.

0:20:31.170 --> 0:20:33.330
<v Speaker 2>Z, It's over nine thousand.

0:20:35.090 --> 0:20:38.890
<v Speaker 1>Over nine thousand took on a life of its own

0:20:38.970 --> 0:20:43.090
<v Speaker 1>on four Chan as the default joke answer to any

0:20:43.210 --> 0:20:49.090
<v Speaker 1>numeric question. Anyone familiar with troll subculture would immediately recognize

0:20:49.610 --> 0:20:57.330
<v Speaker 1>over nine thousand. Oprah Winfrey was not familiar with troll subculture.

0:20:58.210 --> 0:21:01.890
<v Speaker 1>In two thousand and eight, she was discussing peterophilia on

0:21:01.930 --> 0:21:07.370
<v Speaker 1>her show, some people still weren't understanding the threat to children.

0:21:07.570 --> 0:21:10.490
<v Speaker 7>She said, let me do something that was posted on

0:21:10.530 --> 0:21:12.850
<v Speaker 7>our message boards from someone who claims to be a

0:21:12.850 --> 0:21:15.050
<v Speaker 7>member of a known pedophile network.

0:21:15.290 --> 0:21:17.170
<v Speaker 1>Are you sure about this, Oprah?

0:21:17.250 --> 0:21:20.570
<v Speaker 7>His group has over nine thousand penises and they're all

0:21:20.650 --> 0:21:25.130
<v Speaker 7>raping children. So I want you to know they're organized

0:21:25.170 --> 0:21:27.970
<v Speaker 7>and they have systematic ways of hurting children.

0:21:29.570 --> 0:21:35.490
<v Speaker 1>Over nine thousand penises became a four Chan classic, an

0:21:35.530 --> 0:21:41.410
<v Speaker 1>absurdist in joke, offensive subject matter, but it also made

0:21:41.410 --> 0:21:46.690
<v Speaker 1>a worthwhile point. It showed that Oprah could take some random,

0:21:46.890 --> 0:21:50.370
<v Speaker 1>anonymous post on her message board and imbue it with

0:21:50.570 --> 0:21:56.210
<v Speaker 1>authority as long as it fit her sensationless narrative. The

0:21:56.250 --> 0:22:00.890
<v Speaker 1>researcher Whitney Phillips concludes that this kind of trolling performs

0:22:00.930 --> 0:22:05.410
<v Speaker 1>a useful social function. As she writes in her book,

0:22:06.050 --> 0:22:08.570
<v Speaker 1>this is why we can't have nice things.

0:22:09.250 --> 0:22:14.370
<v Speaker 5>Trolls on earth the biases, hypocrisies, and deep inconsistencies that

0:22:14.490 --> 0:22:16.490
<v Speaker 5>compose mainstream culture.

0:22:17.290 --> 0:22:25.930
<v Speaker 1>Or put another way, trolls reveal it all sounds very

0:22:26.010 --> 0:22:30.810
<v Speaker 1>much like Gene Shepherd's Night. People asking bookstores for a

0:22:30.850 --> 0:22:36.450
<v Speaker 1>book they know doesn't exist. The prank revealed that some

0:22:37.010 --> 0:22:41.210
<v Speaker 1>archdioceses might ban a non existent book if the title

0:22:41.290 --> 0:22:46.010
<v Speaker 1>sounds a bit risque that some teachers will call research

0:22:46.450 --> 0:22:50.330
<v Speaker 1>superb if it reads plausibly like it might have been

0:22:50.370 --> 0:22:55.290
<v Speaker 1>superb if only the subject were real. The student who

0:22:55.330 --> 0:22:58.530
<v Speaker 1>got a B plus for his essay on Frederick R.

0:22:58.650 --> 0:23:04.010
<v Speaker 1>Ewing wrote to Shepherd, my whole education is probably phony.

0:23:05.050 --> 0:23:10.010
<v Speaker 1>Shepherd kept up the joke for weeksjournalist who was in

0:23:10.050 --> 0:23:13.730
<v Speaker 1>on it casually mentioned in his column had lunch with

0:23:13.890 --> 0:23:18.730
<v Speaker 1>Freddie Ewing. Today, a listener reported that three players at

0:23:18.730 --> 0:23:23.570
<v Speaker 1>a bridge party had earnestly discussed I Libertine and concluded

0:23:23.970 --> 0:23:28.890
<v Speaker 1>they didn't like it. The prank revealed when people were

0:23:28.930 --> 0:23:31.450
<v Speaker 1>willing to bluff an opinion about a book that was

0:23:31.490 --> 0:23:35.490
<v Speaker 1>getting bars, rather than admit that they didn't know a thing.

0:23:37.250 --> 0:23:41.770
<v Speaker 1>Then a publisher who was in on the joke wrote

0:23:41.810 --> 0:23:48.730
<v Speaker 1>to Shepherd with a proposal, how about writing I Libertine

0:23:49.330 --> 0:23:54.770
<v Speaker 1>for real? Cautionary tales will be back in a moment.

0:24:02.850 --> 0:24:06.730
<v Speaker 1>When Whitney Phillips began to study four chan in two

0:24:06.770 --> 0:24:12.810
<v Speaker 1>thousand and seven, the commonly used phrase a hero was

0:24:12.850 --> 0:24:17.570
<v Speaker 1>one that confused her, as she discovered it traced back

0:24:17.650 --> 0:24:21.490
<v Speaker 1>to a teenager who'd killed himself in two thousand and six.

0:24:22.850 --> 0:24:25.850
<v Speaker 1>One of the boy's friends had posted on an online

0:24:25.930 --> 0:24:30.890
<v Speaker 1>memorial page a poem mourning his loss. The poem was

0:24:31.130 --> 0:24:37.170
<v Speaker 1>heartfelt but terribly written. He was such an hero to

0:24:37.250 --> 0:24:41.690
<v Speaker 1>take it all away. We miss him so that you

0:24:41.770 --> 0:24:47.810
<v Speaker 1>should know. It goes on with three more mentions of

0:24:48.650 --> 0:24:55.650
<v Speaker 1>an hero and loving him like an brother. Someone posted

0:24:55.690 --> 0:24:59.770
<v Speaker 1>the poem to four chan, where it became one of

0:24:59.810 --> 0:25:06.090
<v Speaker 1>those random things that caught on. That's comprehensible. It is,

0:25:06.130 --> 0:25:11.770
<v Speaker 1>after all, an terrible poem, But what happened next was

0:25:12.250 --> 0:25:17.290
<v Speaker 1>truly awful. Trolls on four Chan tracked down the address

0:25:17.370 --> 0:25:20.330
<v Speaker 1>of the boy who had killed himself and published his parents'

0:25:20.410 --> 0:25:26.130
<v Speaker 1>phone number. The parents got prank calls, kids turned up

0:25:26.130 --> 0:25:29.290
<v Speaker 1>at the boy's grave to take photos to post on

0:25:29.490 --> 0:25:34.490
<v Speaker 1>four Chan. There's no worthwhile point to redeem any of this,

0:25:35.730 --> 0:25:37.210
<v Speaker 1>As Whitney Phillips puts it.

0:25:37.610 --> 0:25:41.370
<v Speaker 5>The trolls were either disinterested in or outright blind to

0:25:41.570 --> 0:25:47.330
<v Speaker 5>the ways in which their mockery exacerbated an already traumatizing experience.

0:25:50.890 --> 0:25:54.370
<v Speaker 1>The trolls of four Chan had told Whitney Phillips that

0:25:54.410 --> 0:25:58.570
<v Speaker 1>they didn't take anything seriously. They were in it for

0:25:58.650 --> 0:26:03.930
<v Speaker 1>the lulls. Sometimes it's true they happened to make a

0:26:03.970 --> 0:26:10.090
<v Speaker 1>point while annoying or confusing or offending people, like showing

0:26:10.210 --> 0:26:12.970
<v Speaker 1>up the gullibility of media when it comes to raising

0:26:13.090 --> 0:26:18.930
<v Speaker 1>fears about drugs and pedophiles. But making a point wasn't

0:26:18.930 --> 0:26:23.850
<v Speaker 1>the point. The lulls was the point. Whatever they revealed

0:26:24.530 --> 0:26:30.050
<v Speaker 1>was just by accident. When a publisher approached Gene Shephard

0:26:30.050 --> 0:26:35.930
<v Speaker 1>to write I Libertine for real, he agreed that have

0:26:36.050 --> 0:26:38.650
<v Speaker 1>to rush it out while the buzz was still buzzing.

0:26:39.170 --> 0:26:42.850
<v Speaker 1>So Shepherd quickly sketched an outline, and they drafted in

0:26:42.890 --> 0:26:47.650
<v Speaker 1>the prolific sci fi writer Theodore Sturgeon to bash out

0:26:47.650 --> 0:26:53.730
<v Speaker 1>the prose against a tight deadline. When Sturgeon fell asleep

0:26:53.770 --> 0:26:57.650
<v Speaker 1>at his typewriter with only one chapter to go, the

0:26:57.690 --> 0:27:02.410
<v Speaker 1>publisher's wife stepped in to finish it off. None of

0:27:02.410 --> 0:27:14.170
<v Speaker 1>this sounds very promising, nor does the blurb turbulent, turgid, tempestuous.

0:27:14.930 --> 0:27:19.810
<v Speaker 1>I Libertine is long out of print. But I was curious,

0:27:20.530 --> 0:27:25.690
<v Speaker 1>and Oxford University's Bodily and Library has almost every book

0:27:25.970 --> 0:27:31.570
<v Speaker 1>ever published in English? Did it have I Libertine, but

0:27:31.690 --> 0:27:37.530
<v Speaker 1>of course in hardback and paperback editions. I requested it

0:27:37.770 --> 0:27:43.130
<v Speaker 1>for the purpose of scholarly research. On the paperback cover,

0:27:44.450 --> 0:27:49.490
<v Speaker 1>a dungeon, a swashbuckling hero in a tricorn hat, a

0:27:49.530 --> 0:27:57.090
<v Speaker 1>woman in chains dress, ripped eyes, closed lips, sensually parted.

0:27:59.210 --> 0:28:05.530
<v Speaker 1>Let's check out the pros, shall we? What happened? What happened?

0:28:05.970 --> 0:28:10.130
<v Speaker 1>It was a tease, a small thing and nothing, a passatiempe,

0:28:10.570 --> 0:28:13.010
<v Speaker 1>and she closing her eyes and her lips to show

0:28:13.090 --> 0:28:18.570
<v Speaker 1>him some childish something in this blaze, this confiscation, arms

0:28:18.610 --> 0:28:27.410
<v Speaker 1>full of mouthful of break, burst, spill, crash, silence. It's

0:28:27.450 --> 0:28:32.130
<v Speaker 1>no mystery why I Libertine is out of print. What

0:28:32.330 --> 0:28:35.610
<v Speaker 1>is a mystery is why Gene Shepherd thought this was

0:28:35.650 --> 0:28:39.490
<v Speaker 1>a good idea. Getting people to talk about a non

0:28:39.530 --> 0:28:46.090
<v Speaker 1>existent book was very funny and revealing. Actually, then to

0:28:46.290 --> 0:28:50.370
<v Speaker 1>publish a book that's just shlock doesn't seem that funny

0:28:50.810 --> 0:28:56.130
<v Speaker 1>or clever or revealing of anything, except perhaps that Gene

0:28:56.130 --> 0:29:02.010
<v Speaker 1>Shepherd hadn't really understood why his own joke worked. So

0:29:03.170 --> 0:29:07.170
<v Speaker 1>was I Libertine really as perfectly judged a prank as

0:29:07.210 --> 0:29:12.450
<v Speaker 1>it seemed. Let's look again from another angle.

0:29:14.050 --> 0:29:18.250
<v Speaker 3>Double Beatnicks, Pompkins, all agreed a pinch, and all these

0:29:18.290 --> 0:29:21.250
<v Speaker 3>guys were sitting and they're looking at me and Jean.

0:29:21.330 --> 0:29:26.450
<v Speaker 1>Shepherd's free floating late night shows won him some lifelong fans.

0:29:27.410 --> 0:29:31.770
<v Speaker 1>One likens him to a jazz musician with words. Another

0:29:31.850 --> 0:29:36.410
<v Speaker 1>recalls he made literature fresh, right in front of your eyes,

0:29:36.770 --> 0:29:39.930
<v Speaker 1>like a guy making pizza in the window of a restaurant.

0:29:40.290 --> 0:29:43.890
<v Speaker 1>While Shepherd wove his spell by night, he spent his

0:29:44.050 --> 0:29:47.810
<v Speaker 1>days with a mistress. He'd come home to his wife

0:29:47.930 --> 0:29:51.890
<v Speaker 1>now and then. His son recalls he'd talk his way

0:29:51.930 --> 0:29:53.730
<v Speaker 1>back in with a line how it was going to

0:29:53.730 --> 0:29:58.650
<v Speaker 1>be different from now on. It never was. All he

0:29:58.770 --> 0:30:01.210
<v Speaker 1>seemed to want was the wife to do his ironing.

0:30:04.970 --> 0:30:08.610
<v Speaker 1>Nearly half a century after Shepherd went off the airwaves,

0:30:09.450 --> 0:30:14.610
<v Speaker 1>some recordings of his shows remain. To be honest, it's

0:30:14.970 --> 0:30:21.050
<v Speaker 1>not always easy to reconstruct his appeal Like an hero

0:30:21.690 --> 0:30:27.010
<v Speaker 1>or over nine thousand. Shepherd's catchphrases seem to have taken

0:30:27.050 --> 0:30:30.130
<v Speaker 1>on such a life of their own that you probably

0:30:30.170 --> 0:30:37.410
<v Speaker 1>had to be there to get them, like this excelsior, Yes,

0:30:37.690 --> 0:30:40.970
<v Speaker 1>bad head. He was so fond of that one that

0:30:41.050 --> 0:30:46.130
<v Speaker 1>it became the title of his biography and Excelsior Press.

0:30:46.970 --> 0:30:50.730
<v Speaker 1>Any bookstore clerk who knew Shepherd would surely pick up

0:30:50.730 --> 0:30:56.730
<v Speaker 1>on the clue all this Flick Lives. Flick was a

0:30:56.850 --> 0:31:03.210
<v Speaker 1>character in Shepherd's meandering childhood stories. One night, Shepherd told

0:31:03.210 --> 0:31:05.690
<v Speaker 1>his fans, I'll.

0:31:05.490 --> 0:31:06.530
<v Speaker 2>Tell you what you want to do.

0:31:07.090 --> 0:31:10.370
<v Speaker 4>Just put wherever you can and the score John at

0:31:10.410 --> 0:31:14.530
<v Speaker 4>the bulletin board, and just one single line, just say

0:31:15.170 --> 0:31:16.370
<v Speaker 4>Flick lives.

0:31:16.730 --> 0:31:20.210
<v Speaker 8>That's all on those claire our heads on the subway,

0:31:20.250 --> 0:31:22.970
<v Speaker 8>you know, or it says holy her headdress, and those

0:31:23.570 --> 0:31:27.130
<v Speaker 8>you just right under there, Flick lives.

0:31:29.810 --> 0:31:32.610
<v Speaker 1>The point was simply to mess with the day people.

0:31:33.330 --> 0:31:37.890
<v Speaker 1>Shepherd's listeners would know why Flick Lives was suddenly everywhere.

0:31:38.810 --> 0:31:41.770
<v Speaker 1>The day people would be confused, and that would be

0:31:41.770 --> 0:31:47.850
<v Speaker 1>funny lulls. In his dead of night shows, Shepherd'd like

0:31:47.930 --> 0:31:52.970
<v Speaker 1>to do something he called hurling invective. He'd ask his

0:31:53.090 --> 0:31:57.210
<v Speaker 1>listeners to put their radio up against an open window

0:31:57.810 --> 0:32:02.250
<v Speaker 1>and whisper to them to turn the volume up up,

0:32:02.850 --> 0:32:08.010
<v Speaker 1>up all the way to maximum. Then he'd yell some

0:32:08.810 --> 0:32:11.330
<v Speaker 1>non sensical insult.

0:32:11.530 --> 0:32:14.210
<v Speaker 2>You balthy pregnantist, I'm gonna get you.

0:32:16.410 --> 0:32:20.210
<v Speaker 1>The point was simply to annoy the day people by

0:32:20.290 --> 0:32:26.810
<v Speaker 1>startling them awake lulls. Sometimes Shepherd would invite his listeners

0:32:26.850 --> 0:32:30.650
<v Speaker 1>to hold a mill, which meant turning up at a

0:32:30.650 --> 0:32:34.410
<v Speaker 1>certain place at a certain time and just milling around

0:32:34.450 --> 0:32:38.330
<v Speaker 1>for a while doing nothing. Hundreds turned up to these mills.

0:32:38.970 --> 0:32:42.370
<v Speaker 1>One venue Shepherd frequently chose for a mill was a

0:32:42.650 --> 0:32:47.690
<v Speaker 1>gallery cafe. The owner later said, I dreaded it. The

0:32:47.810 --> 0:32:52.130
<v Speaker 1>waitresses dreaded it. All these young people would come, they

0:32:52.170 --> 0:32:56.490
<v Speaker 1>never ordered, they never left a tip, The regular customers

0:32:56.530 --> 0:33:01.650
<v Speaker 1>would stay away. The evening was just ruined. It's not

0:33:01.770 --> 0:33:06.090
<v Speaker 1>in the same league of awfulness as harassing the parents

0:33:06.130 --> 0:33:09.610
<v Speaker 1>of a kid who took his own life, but still

0:33:10.610 --> 0:33:15.650
<v Speaker 1>it's inconsiderate. Not that Shepherd cared. He liked the lulls.

0:33:17.210 --> 0:33:19.770
<v Speaker 1>When you look at I Libertine in the light of

0:33:19.890 --> 0:33:23.850
<v Speaker 1>Gene Shepherd's other work, it seems hard to imagine he

0:33:23.930 --> 0:33:27.530
<v Speaker 1>thought far beyond the lulls. The point was simply to

0:33:27.570 --> 0:33:31.010
<v Speaker 1>annoy and confuse the day people, to waste the time

0:33:31.050 --> 0:33:35.290
<v Speaker 1>of the bookshop clerks. What it ended up revealing was

0:33:35.410 --> 0:33:38.770
<v Speaker 1>just by accident. There's a lot to be said for

0:33:38.890 --> 0:33:45.610
<v Speaker 1>pranks that reveal. Like jenkom Over nine thousand penises or

0:33:46.250 --> 0:33:50.890
<v Speaker 1>I Libertine. But maybe it's harder than we might hope

0:33:51.370 --> 0:33:55.370
<v Speaker 1>to create the conditions for those pranks to emerge. With

0:33:55.490 --> 0:33:59.010
<v Speaker 1>both Gene Shepherd and four Chan, they seem to have

0:33:59.170 --> 0:34:04.170
<v Speaker 1>popped up by happy accident from a wider culture that's

0:34:04.210 --> 0:34:12.330
<v Speaker 1>mean and self absorbed. Soon after Whitney Phillips began to

0:34:12.410 --> 0:34:18.530
<v Speaker 1>study trolling subculture, that culture began to splinter. The anonymous

0:34:18.570 --> 0:34:25.570
<v Speaker 1>posters on four Chan were also collectively Anonymous capital A.

0:34:25.570 --> 0:34:30.130
<v Speaker 1>As four Chan became more and more popular, new posters

0:34:30.170 --> 0:34:34.690
<v Speaker 1>wanted anonymous not just to chase the lulls, but to

0:34:34.690 --> 0:34:39.730
<v Speaker 1>make a point. They began a campaign against scientology, prank

0:34:39.810 --> 0:34:44.690
<v Speaker 1>phone calls, denial of service attacks, gathering in person outside

0:34:44.730 --> 0:34:49.490
<v Speaker 1>branches of the church, and playing Rick Astley very loudly

0:34:49.650 --> 0:34:56.370
<v Speaker 1>on a loop. They embraced activism, supporting WikiLeaks, the Occupy movement,

0:34:56.770 --> 0:35:01.850
<v Speaker 1>and the Arab Spring. The old Hands were appalled. One

0:35:01.890 --> 0:35:06.410
<v Speaker 1>complained to Whitney Phillips, Anonymous isn't supposed to represent anything.

0:35:06.610 --> 0:35:09.650
<v Speaker 1>We did stuff for lulls, not because we care what

0:35:09.730 --> 0:35:18.210
<v Speaker 1>happens in the world, but that Anon was disappearing, Phillips explained.

0:35:18.610 --> 0:35:24.370
<v Speaker 5>As actavist Anon grew lolls. Anon receded, suggesting that the

0:35:24.410 --> 0:35:28.610
<v Speaker 5>cultural landscape has room for only one anonymous at a time.

0:35:30.130 --> 0:35:35.010
<v Speaker 1>Whitney Phillips had found two types of troll, reflecting two

0:35:35.050 --> 0:35:40.810
<v Speaker 1>takes on etymology, the witless ogre and the bait dangling

0:35:40.890 --> 0:35:46.890
<v Speaker 1>technique that took subtlety and guile. As Anon ditched the

0:35:46.970 --> 0:35:52.890
<v Speaker 1>lulls for earnest political activism, the fishing variety understanding of

0:35:53.050 --> 0:35:59.330
<v Speaker 1>trolling began to fade away. One troll reflected wistfully, the

0:35:59.370 --> 0:36:04.770
<v Speaker 1>real trolls from way back when are done now. Trolling

0:36:04.890 --> 0:36:08.090
<v Speaker 1>is just an all encompassing term for being an ars

0:36:08.130 --> 0:36:16.810
<v Speaker 1>on the Internet. Jean Shepherd was onto something with his

0:36:17.130 --> 0:36:23.010
<v Speaker 1>Credo of the Night People. His critique of creeping meat ballism,

0:36:23.410 --> 0:36:29.570
<v Speaker 1>thoughtless conformity is just as relevant today, and irreverent humor

0:36:29.850 --> 0:36:31.810
<v Speaker 1>is still the only antidote.

0:36:32.930 --> 0:36:37.170
<v Speaker 2>Once a guy starts thinking, once a guy starts laughing

0:36:37.490 --> 0:36:41.010
<v Speaker 2>at the things he once thought were very real, once

0:36:41.050 --> 0:36:45.490
<v Speaker 2>he starts laughing at TV commercials. Once a guy starts

0:36:45.570 --> 0:36:50.090
<v Speaker 2>doing that, he's making the transition from day people to

0:36:50.290 --> 0:36:55.090
<v Speaker 2>night people. And once this happens, he can never go back.

0:36:56.090 --> 0:37:00.770
<v Speaker 1>But if you take nothing seriously, you throw out some

0:37:00.930 --> 0:37:09.370
<v Speaker 1>things that are worth caring about, compassion, relationships. Shepherd himself

0:37:09.570 --> 0:37:13.010
<v Speaker 1>never took much interest in his children. His son recalls,

0:37:13.770 --> 0:37:19.050
<v Speaker 1>he was more interested in talking about himself. His daughter adds, my.

0:37:19.130 --> 0:37:20.930
<v Speaker 5>Father was an ahole as a father.

0:37:22.770 --> 0:37:28.210
<v Speaker 1>Shepherd left his wife and married an actress. That didn't

0:37:28.290 --> 0:37:32.810
<v Speaker 1>last because his new wife's career took off and Shepherd

0:37:32.810 --> 0:37:33.570
<v Speaker 1>couldn't cope.

0:37:34.410 --> 0:37:37.690
<v Speaker 4>Don't ever get yourself into a situation where a woman's

0:37:37.770 --> 0:37:39.330
<v Speaker 4>making more money than you are.

0:37:40.690 --> 0:37:46.090
<v Speaker 1>Shepherd was a tremendously insecure guy, says someone who worked

0:37:46.090 --> 0:37:52.770
<v Speaker 1>with him, very narcissistic. Even off Mike, he couldn't shut

0:37:52.890 --> 0:37:57.490
<v Speaker 1>up about himself. He was a monomaniac, says another colleague.

0:37:57.770 --> 0:38:03.130
<v Speaker 1>He was always on. Maybe Shepherd's problem was a lack

0:38:03.210 --> 0:38:07.210
<v Speaker 1>of self awareness when he mocked the day people and

0:38:07.370 --> 0:38:11.690
<v Speaker 1>the conventional way they viewed the world. An old boss

0:38:11.730 --> 0:38:16.650
<v Speaker 1>recalls he would rail against the establishment, and yet he

0:38:16.970 --> 0:38:23.170
<v Speaker 1>desperately wanted the acceptance of that establishment. Shepherd thought he

0:38:23.250 --> 0:38:27.610
<v Speaker 1>never got the credit his genius deserved. The boss says

0:38:29.050 --> 0:38:32.370
<v Speaker 1>many guys would have achieved his success and been really

0:38:32.410 --> 0:38:38.810
<v Speaker 1>happy with it. Shepherd, like modern trolls, was all about

0:38:38.850 --> 0:38:44.810
<v Speaker 1>the lulls, but his boss decided in the end that

0:38:44.890 --> 0:38:51.170
<v Speaker 1>Shepherd was a deeply unhappy guy. Perhaps the same is

0:38:51.250 --> 0:38:55.050
<v Speaker 1>true of people who choose to be an ass on

0:38:55.130 --> 0:39:13.690
<v Speaker 1>the Internet. Key sources for this episode were Excelsior, You

0:39:13.890 --> 0:39:18.410
<v Speaker 1>Fat Head by Eugene Berkman and This is Why We

0:39:18.490 --> 0:39:25.050
<v Speaker 1>Can't Have Nice Things by Whitney Phillips. Cautionary Tales is

0:39:25.090 --> 0:39:28.770
<v Speaker 1>written by me Tim Harford, with Andrew Wright, Alice Fines,

0:39:29.010 --> 0:39:34.650
<v Speaker 1>and Ryan Dilly. It's produced by Georgia Mills and Marilyn Rust.

0:39:34.690 --> 0:39:36.970
<v Speaker 1>The sound design and original music are the work of

0:39:37.130 --> 0:39:43.970
<v Speaker 1>Pascal Wise. Benderdaff Haffrey edited the scripts. Cautionary Tales features

0:39:44.010 --> 0:39:48.610
<v Speaker 1>the voice talents of Genevieve Gaunt, Melanie Guttridge, Ed Gohm,

0:39:49.090 --> 0:39:54.530
<v Speaker 1>Stella Harford, Jamal Westman, and Rufus Wright. The show also

0:39:54.610 --> 0:39:57.610
<v Speaker 1>wouldn't have been possible without the work of Jacob Weisberg,

0:39:57.730 --> 0:40:03.810
<v Speaker 1>Greta Cohne, Corin Gilliard, Fisher, benderdaff Haffrey, Eric Sandler, Christina Sullivan,

0:40:04.170 --> 0:40:08.530
<v Speaker 1>Kira Posey, and Owen Miller. Cautionary Tales is a production

0:40:08.610 --> 0:40:12.770
<v Speaker 1>of Push Industries. If you like the show, please remember

0:40:13.050 --> 0:40:16.250
<v Speaker 1>to share, rate, and review it. Really does make a

0:40:16.250 --> 0:40:19.450
<v Speaker 1>difference to us, and if you want to hear it,

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<v Speaker 1>Cautionary Club. To sign up, head to patreon dot com

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