WEBVTT - The Taliesin Massacre

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<v Speaker 1>Welcome to Stuff You Should Know, a production of I

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<v Speaker 1>Heart Radio. Hey, and welcome to the podcast. I'm Josh Clark,

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<v Speaker 1>and there's Charles w Chuck Bryant, Jerry's here. Uh and

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<v Speaker 1>this is Stuff you should Know. Um, the long awaited

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<v Speaker 1>Frank Lloyd Wright edition sort of yeah, kind of. I mean,

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<v Speaker 1>you know, it's not a full biography, but it is

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<v Speaker 1>definitely covers some of his very dark period of his life.

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<v Speaker 1>Oh yeah, one of the darker periods that any artiste

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<v Speaker 1>could have. And make no mistake, Frank Lloyd Wright wasn't artiste.

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<v Speaker 1>He was an artiste of architecture. Yeah. Have you ever

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<v Speaker 1>how many houses of his? Have you seen? Our buildings?

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<v Speaker 1>I've seen a bunch. Um. I've been to Holly Hawk

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<v Speaker 1>in Los Angeles, have been to uh Youth Sony and

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<v Speaker 1>I can't remember which one in Wa Washington by the

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<v Speaker 1>one of the I can't remember what other historic house

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<v Speaker 1>it's by. They moved it. Um. I've been to there's

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<v Speaker 1>a Usonian in Alabama. Chuck in Florence, Alabama, which is

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<v Speaker 1>really neat. Been to Falling Water, Um, been to Talius

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<v Speaker 1>in West I think that's it. Yeah. I've been to

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<v Speaker 1>a handful of myself. I've been to one in Tulsa

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<v Speaker 1>and a couple in l A. Of course, the Googgenheim.

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<v Speaker 1>I think we've both been there, and I have not.

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<v Speaker 1>I have not. Really. Yeah, all the times you've been

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<v Speaker 1>to New York and all the museums that you never

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<v Speaker 1>stepped footing the Guggenheim, It's true. I've never been in

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<v Speaker 1>the Googenheims. Sadly enough, I saw a movie where there's

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<v Speaker 1>a shootout in the Googgenheim. I highly recommend going to

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<v Speaker 1>the Guggenheim. It's great. Okay, I thought it was George

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<v Speaker 1>Costanza bit designed the googen him, not franklind Right. M

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<v Speaker 1>that's right. He always wanted to be an architect. That's right.

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<v Speaker 1>He's had. My favorite line for that episode is when

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<v Speaker 1>he talks about the redesign plans at the Guggenheim and

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<v Speaker 1>they go really, he goes, yeah, really didn't even take

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<v Speaker 1>that long. That's right. Yeah, he's saying that he was

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<v Speaker 1>the one who redesigned it, like it's impressive that it

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<v Speaker 1>was just a really quick job. Yeah, that's a classic. Um.

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<v Speaker 1>But we're not talking about the Googgenheim to day, Chuck,

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<v Speaker 1>We're not even talking about Hollyhock House. We're talking about

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<v Speaker 1>specifically tally Essen, which is widely regarded as um Frank

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<v Speaker 1>Lloyd writes genuine bona fide masterpiece, like his greatest work ever. Um.

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<v Speaker 1>I think it was it said that it's his um

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<v Speaker 1>autobiography written in wood and stone, that it's just him

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<v Speaker 1>and not just him in a specific time and place.

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<v Speaker 1>But for like decades were the work, his earliest work

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<v Speaker 1>to his latest work all showed up and appeared over

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<v Speaker 1>time at tally Essen. Yeah, I mean there's a lot there. Um.

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<v Speaker 1>It was his home at times, it was his studio

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<v Speaker 1>of school. Um, an eight hundred acre estate. This was

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<v Speaker 1>family land, it was it was his favorite hill in

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<v Speaker 1>Wisconsin and the river valley there where his Welsh grandparents

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<v Speaker 1>originally homesteaded, and so it was very personal to him.

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<v Speaker 1>So he did things like make the roof so it

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<v Speaker 1>doesn't leak water into the offices below like some of

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<v Speaker 1>his other properties. Exactly. Yeah, he wasn't oneing to just

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<v Speaker 1>move his desk, right. So, UM, this this particular house

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<v Speaker 1>and it was a and it still is. It's a huge,

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<v Speaker 1>enormous house. I think it's twenty one square feet. Um,

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<v Speaker 1>it's a classic example of what's called the Prairie style,

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<v Speaker 1>which is a style of architecture considered to be the

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<v Speaker 1>first genuine American style of architecture UM that Frank Lloyd

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<v Speaker 1>Right founded back in they think the eighteen nineties, maybe

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<v Speaker 1>the late eighteen nineties, and it has it takes its

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<v Speaker 1>inspiration from the surrounding environment. It's been to blend in

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<v Speaker 1>with the environment, work with the environment, rather than to

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<v Speaker 1>dominate it. So there's a lot of horizontal lines, a

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<v Speaker 1>lot of natural materials, a lot of woodworking, and um

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<v Speaker 1>tally Esen is very much in that style. UM. I

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<v Speaker 1>think it has five and twenty four windows, which is

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<v Speaker 1>a lot of windows, and um it also has no gutters.

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<v Speaker 1>There's a lot of cannilivered roofs which kind of overhang

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<v Speaker 1>pretty far. Um, so there wasn't necessarily need for gutters.

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<v Speaker 1>But I read that franklod Right specifically didn't want gutters

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<v Speaker 1>because he wanted icicles to form on the eaves of

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<v Speaker 1>the roof so he could look out of those five

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<v Speaker 1>windows in the Wisconsin winter and see all the icicles hanging.

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<v Speaker 1>Do you like the prairie homes? Yeah, yeah, yeah, I do.

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<v Speaker 1>My problem with Frankloyd Rice work is that it's so

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<v Speaker 1>dated an old timey that it almost like it almost

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<v Speaker 1>makes me um a combination of scared and nauseous. You

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<v Speaker 1>know what I'm talking about. Have you ever looked at

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<v Speaker 1>a wicker wheelchair from like the turn of the last century,

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<v Speaker 1>You just kind of get the creeps from it for

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<v Speaker 1>some reason? Okay, you get that same. I mean this.

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<v Speaker 1>You know, he did the bulk of his work a

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<v Speaker 1>hundred years ago, you know, somewhere in that range. But

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<v Speaker 1>it was also like it was also very technologically um advanced,

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<v Speaker 1>and like he was just doing some really interesting stuff.

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<v Speaker 1>So the way that a very dated, once technologically advanced

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<v Speaker 1>piece of work can kind of call that weird feeling

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<v Speaker 1>out of you. But at the same time, I'm like

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<v Speaker 1>in genuine awe of this stuff you did. Like Falling

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<v Speaker 1>Water is one of my favorite houses in the entire world.

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<v Speaker 1>I mean, it's just amazing. What about you? I like them,

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<v Speaker 1>all right, They're they're fine, um some of them. And

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<v Speaker 1>you know, I have some here in the neighborhood that

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<v Speaker 1>pop up every now and then. Some newer builds are

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<v Speaker 1>in the prairie style, and I like them more than

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<v Speaker 1>some other kinds and less than some other kinds. Let's

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<v Speaker 1>just say that you you like craftsmen, Well, sure, I

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<v Speaker 1>live in a craftsman That's that's my favorite. But I

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<v Speaker 1>like craftsman too. I think they're good. I appreach. I mean,

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<v Speaker 1>I love a highly slick modern home. I don't want

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<v Speaker 1>to live in one, but I love them. I would

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<v Speaker 1>not want to live in one. Either those are hit

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<v Speaker 1>or miss with me, Like, some of them are just

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<v Speaker 1>too just god awful. Some of them are just when

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<v Speaker 1>they hit the nail on the head, you're like, wow,

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<v Speaker 1>that's one of the best houses anyone's ever designed and built.

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<v Speaker 1>But they miss. It's almost like documentaries and horror movies.

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<v Speaker 1>There's a lot of them, but only very very few,

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<v Speaker 1>like are truly great. That's my that's my impression of

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<v Speaker 1>modern homes. Yeah, i'man. We're in architecture though, as a

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<v Speaker 1>as a couple, Emily nine, we watch a couple of

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<v Speaker 1>you might hear me, great, well that's two. It's a triad. Well,

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<v Speaker 1>I guess they're uni in there, and I guess, but uh,

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<v Speaker 1>we we have a couple of shows that we love

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<v Speaker 1>to watch that are this one called Grand Designs on

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<v Speaker 1>Netflix that I highly come in. Uh and oh man,

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<v Speaker 1>what's the other one? There's this cup not a married couple,

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<v Speaker 1>but a pair that travels the world. The British architecture

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<v Speaker 1>bake off. No, that's not it. I can't remember what

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<v Speaker 1>it's called. But Grand Designs is really good. I mean,

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<v Speaker 1>and they follow these, you know, sort of impossibly built

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<v Speaker 1>houses designed and built by these incredible lunatic dreamers who

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<v Speaker 1>are obsessed with sort of a thing. It seems to

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<v Speaker 1>be the common thread as these obsessives, and it leads

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<v Speaker 1>to something beautiful and great, you know, usually for sure. Yeah, so, um,

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<v Speaker 1>what are the things about Frank Lloyd Wright is that

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<v Speaker 1>he is including during his lifetime he's considered one of

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<v Speaker 1>the greatest architects ever lived, certainly the most popular, popularly

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<v Speaker 1>well known, maybe, I guess you'd put it like anybody

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<v Speaker 1>who's ever heard of any kind of architecture, even vaguely,

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<v Speaker 1>is probably familiar with Frank Lloyd Wright agreed. So when

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<v Speaker 1>he when he um put all of himself into Tallys

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<v Speaker 1>and he was building a home for himself, and I

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<v Speaker 1>think it was completed in nineteen eleven, and like it's

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<v Speaker 1>worth pointing out, he was returning to his childhood home

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<v Speaker 1>to the valley where his his clan like settled, Like

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<v Speaker 1>if you if you look around spring Green, Wisconsin, everybody's

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<v Speaker 1>got the name Lloyd in there somewhere, like his maternal

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<v Speaker 1>ancestors settled the area. And he was literally building on

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<v Speaker 1>this hill, his favorite hill when he was a child,

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<v Speaker 1>like you were saying, but he was doing this in

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<v Speaker 1>the midst of one of the biggest scandals like any

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<v Speaker 1>architect's ever gone through. Yeah, so uh, as you'll see

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<v Speaker 1>through this show. And if you know anything about the man,

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<v Speaker 1>Frank Lloyd Wright had a bit of a wandering eye

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<v Speaker 1>and a bit of a philandering habit, and he had

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<v Speaker 1>a an extramarital affair with a woman name m A

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<v Speaker 1>m a h Mama, mama four huh. I don't know,

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<v Speaker 1>I've I've been testing it out too, I said, Mama, Mama,

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<v Speaker 1>sure bourth Wick and she was, um, you know. They

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<v Speaker 1>met in nineteen oh three, right, was in his mid

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<v Speaker 1>thirties at the time. He was already really famous as

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<v Speaker 1>an architect, and he was commissioned to design a house

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<v Speaker 1>for her and her husband, Edwin Cheney, and they were

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<v Speaker 1>it was going to be built there in Wisconsin pretty

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<v Speaker 1>close to Chicago, where Frank Lloyd Right was at the time.

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<v Speaker 1>She was pregnant in her mid thirties at the time

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<v Speaker 1>with her second child, and got really involved in in

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<v Speaker 1>sort of working with Frank Lloyd Right very closely, and

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<v Speaker 1>that sort of you know, the the classic story. At first,

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<v Speaker 1>it starts out platonic. One thing leads to another, and

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<v Speaker 1>before you know it, they're bumping uglies. That's right, smashing,

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<v Speaker 1>as the younger kids say, from what I just heard

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<v Speaker 1>that for the first time the other day, I didn't

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<v Speaker 1>know that was a thing. So it's a thing though.

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<v Speaker 1>Um So, frankloud Right by this time had six kids

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<v Speaker 1>of his own, and he had made a name for

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<v Speaker 1>himself like around Chicago building homes, designing homes for um

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<v Speaker 1>the well to do, especially in the Oak Park neighborhood.

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<v Speaker 1>Apparently just between nineteen hundred and nineteen he designed fifty

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<v Speaker 1>prairie houses. So he'd made a name for himself. But

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<v Speaker 1>apparently by the time I think nineteen o eight was

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<v Speaker 1>when he no. Nineteen o seven when they started their affair.

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<v Speaker 1>By the time nineteen o seven rolled around, he was

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<v Speaker 1>getting kind of tired of doing the same thing. It's

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<v Speaker 1>kind of like he was cursed like this. This school

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<v Speaker 1>of architecture that he developed was so popular that he

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<v Speaker 1>that's all anybody wanted, and he had gotten bored with

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<v Speaker 1>it by that time. So he seems to have been

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<v Speaker 1>unfulfilled professionally and kind of took it out on his family.

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<v Speaker 1>And about the worst way you could possibly take things

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<v Speaker 1>out on your family, short of cutting them up with

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<v Speaker 1>the machete. Yeah. By nineteen o eight, it was a

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<v Speaker 1>pretty much well known open secret in Chicago and that

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<v Speaker 1>high society in Chicago that this affair was going on,

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<v Speaker 1>and he was sort of looked down on from his

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<v Speaker 1>friends and his neighbors and his peers, different colleagues. His

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<v Speaker 1>poor wife, Kitty was a long suffering because she kind

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<v Speaker 1>of stood by a side anyway. Uh. And he'd realized

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<v Speaker 1>that he really wanted to leave his family, and he

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<v Speaker 1>did so. He said, I did not know what I wanted.

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<v Speaker 1>I wanted to go away, and he did in September

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<v Speaker 1>of nineteen o nine. Uh, Frank left with her, went

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<v Speaker 1>to Europe, left his wife and his six kids behind. Uh.

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<v Speaker 1>And here's one of the more selfish quotes I've ever

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<v Speaker 1>seen from a husband and father. Uh. And this was

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<v Speaker 1>in his autobiography. So when family life in Oak Park

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<v Speaker 1>in that spring of nineteen o nine conspired against the

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<v Speaker 1>freedom to which I had come to feel every soul entitled,

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<v Speaker 1>I had no choice. Would I keep my self respect

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<v Speaker 1>but to go out of voluntary exile. So he really

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<v Speaker 1>felt um and you know, those were his words in

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<v Speaker 1>his autobiography. So he wasn't he had no illusions about himself,

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<v Speaker 1>but he very much felt that. You know what, Um,

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<v Speaker 1>Frank Lloyd right, and I'm a man, and I deserve

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<v Speaker 1>this by my right. Yeah, So those are two key points.

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<v Speaker 1>He's a man, so he deserved it. But more than anything,

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<v Speaker 1>he was a legend in his own mind, which was

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<v Speaker 1>sustained and verified by the public at large. But he

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<v Speaker 1>was Frank Lloyd right, So more than anybody, he deserved

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<v Speaker 1>that to to go do whatever he wanted, and you know,

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<v Speaker 1>whatever the consequences were for other people emotionally, to hell

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<v Speaker 1>with that. Um. One other thing that I think is

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<v Speaker 1>worth pointing out is that he had money problems basically

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<v Speaker 1>his entire life, despite the fact that I mean, this

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<v Speaker 1>man designed the Google him. He designed some of the

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<v Speaker 1>most iconic UM buildings and houses in the United States

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<v Speaker 1>and he had money just coming in by the truckload,

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<v Speaker 1>but he would spend it as fast as he could

0:13:04.800 --> 0:13:07.760
<v Speaker 1>get it and then some. So at this point in

0:13:07.840 --> 0:13:11.240
<v Speaker 1>time when he was um, when he left his family,

0:13:11.559 --> 0:13:15.520
<v Speaker 1>he apparently left them in financial straits as well. There

0:13:15.640 --> 0:13:22.000
<v Speaker 1>there was there's a biographer named um Paul hendricks and, uh,

0:13:22.040 --> 0:13:24.640
<v Speaker 1>Paul Hendrickson, I'm sorry, and he points out that there

0:13:24.679 --> 0:13:28.000
<v Speaker 1>was a nine grocery bill that was laying on the

0:13:28.040 --> 0:13:30.880
<v Speaker 1>kitchen counter when when Frank Lloyd Wright walked out on

0:13:30.960 --> 0:13:33.760
<v Speaker 1>his family, which I mean, at least pay the grocery bill,

0:13:34.520 --> 0:13:36.760
<v Speaker 1>so the family that you're leaving an alert can eat,

0:13:36.880 --> 0:13:40.679
<v Speaker 1>you know. Yeah. So his his mistress left her two

0:13:40.760 --> 0:13:44.360
<v Speaker 1>kids with her husband. Uh, she went on a train

0:13:44.400 --> 0:13:46.720
<v Speaker 1>to New York City, met Frank at the Plaza Hotel.

0:13:47.160 --> 0:13:50.960
<v Speaker 1>They had a few days there of I guess smashing,

0:13:51.640 --> 0:13:55.560
<v Speaker 1>and then went to Europe and uh, you know, he

0:13:55.600 --> 0:13:57.320
<v Speaker 1>was famous the world over, so it's not like he

0:13:57.360 --> 0:14:01.160
<v Speaker 1>could lay low, very famous face, very a dresser of

0:14:01.600 --> 0:14:04.480
<v Speaker 1>fine clothing and those hats, so he didn't exactly blend

0:14:04.520 --> 0:14:08.320
<v Speaker 1>in anywhere he went. So he was found out in Berlin. Uh,

0:14:08.480 --> 0:14:13.240
<v Speaker 1>Chicago Tribune had a headline that said, leave families, semi colon,

0:14:14.360 --> 0:14:18.760
<v Speaker 1>nice little switch there, Elope to Europe and this whole time,

0:14:18.760 --> 0:14:22.480
<v Speaker 1>poor kitty, She says, it appears like any other ordinary,

0:14:22.560 --> 0:14:25.000
<v Speaker 1>mundane affair with the trappings of what is low and vulgar.

0:14:25.360 --> 0:14:27.320
<v Speaker 1>But there's nothing of that sort about Frank. Right, He

0:14:27.400 --> 0:14:29.720
<v Speaker 1>is honest and sincere I know him, my heart is

0:14:29.760 --> 0:14:31.720
<v Speaker 1>with him now. I feel certain that he will come back.

0:14:32.720 --> 0:14:35.360
<v Speaker 1>And that's that's one of the saddest parts about all

0:14:35.360 --> 0:14:38.040
<v Speaker 1>this is she was sort of like, he's just flandering

0:14:38.080 --> 0:14:40.280
<v Speaker 1>a bit and he'll come back to us. Yeah, it

0:14:40.440 --> 0:14:42.680
<v Speaker 1>is sad, but also, you know whatever his kids were

0:14:42.720 --> 0:14:45.520
<v Speaker 1>thinking too, like, well, I guess dad didn't love us

0:14:45.600 --> 0:14:49.160
<v Speaker 1>enough to stick around. Um another I think kind of

0:14:49.200 --> 0:14:53.680
<v Speaker 1>telling clue about Frank, Lloyd writes, enormous arrogance. Was he

0:14:53.800 --> 0:14:59.040
<v Speaker 1>called um his and um uh, what are we going

0:14:59.080 --> 0:15:05.760
<v Speaker 1>to call her, chuck mama, I'm calling her mamma his

0:15:05.920 --> 0:15:11.240
<v Speaker 1>and mamma's um flight to Europe to after a banding

0:15:11.320 --> 0:15:16.360
<v Speaker 1>their their families. He called it a spiritual hegaraga, and

0:15:16.480 --> 0:15:18.480
<v Speaker 1>I had not seen that word before. And it turns

0:15:18.480 --> 0:15:20.960
<v Speaker 1>out hegira or hegora h g g i r a

0:15:21.960 --> 0:15:27.120
<v Speaker 1>is what um Mohammed's exodus from persecution in Mecca was called,

0:15:27.600 --> 0:15:30.320
<v Speaker 1>and he left Mecca to go to Medina where he

0:15:30.360 --> 0:15:33.400
<v Speaker 1>founded Islam. And to Frank Lloyd, right, this is what

0:15:33.480 --> 0:15:35.560
<v Speaker 1>he and his mistress were doing when they abandoned their

0:15:35.560 --> 0:15:38.760
<v Speaker 1>families and fled to Europe. Yeah, he thought a lot

0:15:38.800 --> 0:15:41.640
<v Speaker 1>of himself. He was an s ob man, plain and simple.

0:15:41.760 --> 0:15:46.120
<v Speaker 1>I don't like he's a classic example of like having

0:15:46.120 --> 0:15:49.440
<v Speaker 1>to compartmentalize the genius of the work and just to

0:15:49.600 --> 0:15:54.200
<v Speaker 1>complete horrible nous of the person. You know, But it

0:15:54.240 --> 0:15:57.280
<v Speaker 1>can be done. It can be done. I I disagree

0:15:57.320 --> 0:16:01.440
<v Speaker 1>with anybody who who says, you know, there's certain exceptions,

0:16:01.480 --> 0:16:04.200
<v Speaker 1>I'm sure, But anybody who says, well, this person held

0:16:04.240 --> 0:16:08.160
<v Speaker 1>some pretty pretty terrible views, so we shouldn't pay any

0:16:08.160 --> 0:16:10.480
<v Speaker 1>attention to their work from that point on, I disagree

0:16:10.520 --> 0:16:13.600
<v Speaker 1>with that. I think that there are tons of exceptions

0:16:13.640 --> 0:16:15.640
<v Speaker 1>to that rule. Although there are tons of exceptions to

0:16:15.720 --> 0:16:19.840
<v Speaker 1>the exception to that rule too. If that's not confusing enough, well,

0:16:19.880 --> 0:16:22.120
<v Speaker 1>I think it's a personal decision. If someone wants to

0:16:22.360 --> 0:16:25.960
<v Speaker 1>never gaze upon falling waters again, then that's their choice totally.

0:16:25.960 --> 0:16:28.520
<v Speaker 1>It's not like I'm gonna you know, grab them by

0:16:28.560 --> 0:16:32.760
<v Speaker 1>their hair and like making them look but I would

0:16:32.840 --> 0:16:35.800
<v Speaker 1>disagree with them and in in a lot of cases, yeah,

0:16:35.880 --> 0:16:40.520
<v Speaker 1>like Manson's music fantastic, just beautiful, stuck, really good stuff.

0:16:41.800 --> 0:16:47.480
<v Speaker 1>So uh, Frank Boyd Wright Um returns to Chicago nineteen ten. Uh,

0:16:47.720 --> 0:16:53.400
<v Speaker 1>Mimall stayed behind. She stayed there in Europe for another

0:16:53.520 --> 0:16:57.160
<v Speaker 1>year because she was getting a divorce from Dwin Cheney. Uh.

0:16:57.200 --> 0:17:00.240
<v Speaker 1>And so she stayed there wrapping that up for Rank

0:17:00.400 --> 0:17:04.640
<v Speaker 1>moved back with Kitty. He had no intention of staying. Uh.

0:17:04.640 --> 0:17:07.359
<v Speaker 1>And I think it was pretty clear to Kitty at

0:17:07.359 --> 0:17:10.199
<v Speaker 1>this point because she said Mr Wright. I wonder if

0:17:10.200 --> 0:17:13.080
<v Speaker 1>he made her caller in that Mr Wright reached here

0:17:13.119 --> 0:17:16.040
<v Speaker 1>Saturday evening October eight and he has brought many beautiful things,

0:17:16.080 --> 0:17:18.520
<v Speaker 1>everything but his heart, I guess, And that he has

0:17:18.600 --> 0:17:21.399
<v Speaker 1>left in Germany, but he came back a bit of

0:17:21.400 --> 0:17:25.000
<v Speaker 1>a pariah. Oh, just to Tad, they were. They were

0:17:25.040 --> 0:17:28.440
<v Speaker 1>pariah's before. There was a woman who grew up living

0:17:28.520 --> 0:17:32.240
<v Speaker 1>next door to Mamma and her children, and she Um,

0:17:32.320 --> 0:17:34.600
<v Speaker 1>years later, in her diary, recounted a time when her

0:17:34.640 --> 0:17:37.959
<v Speaker 1>mom refused to give Frank Lloyd right cream when he

0:17:38.000 --> 0:17:40.320
<v Speaker 1>came over next door from next door to borrow some

0:17:40.920 --> 0:17:42.960
<v Speaker 1>and said that they were sinners and she wasn't going

0:17:43.000 --> 0:17:45.880
<v Speaker 1>to help them out at all. Um. So when they

0:17:46.119 --> 0:17:49.600
<v Speaker 1>left for Europe, made headline news for leaving their families.

0:17:49.800 --> 0:17:52.520
<v Speaker 1>And then he returns moves back in with his family

0:17:52.880 --> 0:17:56.960
<v Speaker 1>just long enough to plan his next home for him

0:17:56.960 --> 0:18:01.600
<v Speaker 1>and mamma um like. Yeah. The people in his social

0:18:01.880 --> 0:18:06.680
<v Speaker 1>orbit did not take very kindly to that. Professionals, neighbors, friends,

0:18:07.240 --> 0:18:11.320
<v Speaker 1>gossip colonists, basically everybody in the Midwest who had anything

0:18:11.400 --> 0:18:15.560
<v Speaker 1>to do with anything like we're rejected him in mamma yeah,

0:18:15.600 --> 0:18:18.520
<v Speaker 1>and to boot when he gets back because he needed

0:18:18.520 --> 0:18:22.880
<v Speaker 1>seed money for uh for his new home. He had

0:18:22.880 --> 0:18:25.679
<v Speaker 1>a benefactor named Darwin Martin, and he said, hey, listen,

0:18:26.080 --> 0:18:29.440
<v Speaker 1>I want to build this great cottage, uh, and this

0:18:29.480 --> 0:18:32.280
<v Speaker 1>affair is long over and this is going to be

0:18:32.320 --> 0:18:34.960
<v Speaker 1>a cottage for my mom, and I promise it's not

0:18:35.000 --> 0:18:38.560
<v Speaker 1>going to be our little smash shack, and so give

0:18:38.600 --> 0:18:42.080
<v Speaker 1>me twenty dollars to get this project going. He got it.

0:18:42.640 --> 0:18:46.560
<v Speaker 1>He moved into the home with his mistress and I

0:18:46.560 --> 0:18:51.439
<v Speaker 1>think by Christmas nineteen eleven they were officially living together

0:18:51.480 --> 0:18:54.280
<v Speaker 1>there in Green Spring. Yeah, he said thanks chump, thanks

0:18:54.320 --> 0:18:58.120
<v Speaker 1>for the money. And because just trashing Frank Lloyd Wright

0:18:58.200 --> 0:18:59.760
<v Speaker 1>as a person is a lot of fun, I want

0:18:59.760 --> 0:19:04.080
<v Speaker 1>to add this detail too, um Darwin Barton, his benefactor,

0:19:04.119 --> 0:19:07.960
<v Speaker 1>over the course of Frank Lood Wright's career, lent Frank

0:19:08.040 --> 0:19:12.879
<v Speaker 1>Lood right grand total and when the stock market crashed

0:19:12.920 --> 0:19:19.439
<v Speaker 1>in Darwin Martin lost everything like he was flatbrook was

0:19:19.560 --> 0:19:24.320
<v Speaker 1>went from an extraordinary, extraordinarily wealthy man to just flat

0:19:24.320 --> 0:19:27.000
<v Speaker 1>broke for the rest of his life. Frank Lloyd Wright

0:19:27.080 --> 0:19:30.520
<v Speaker 1>never repaid any of that money, but he made sure

0:19:30.560 --> 0:19:33.680
<v Speaker 1>that when his autobiography came out that Darwin Martin got

0:19:33.680 --> 0:19:37.800
<v Speaker 1>a free copy. Oh that's nice. Yeah, he really, he

0:19:37.880 --> 0:19:39.840
<v Speaker 1>really pulled that out at the last minute, didn't he.

0:19:40.359 --> 0:19:42.520
<v Speaker 1>All Right, So let's take a break and we'll come

0:19:42.520 --> 0:19:45.520
<v Speaker 1>back and talk about things taking a turn for the

0:19:45.560 --> 0:20:00.000
<v Speaker 1>worst a few years later in August of laws stuff

0:20:00.000 --> 0:20:13.680
<v Speaker 1>you should know, okay, Chuck. So let's just go ahead

0:20:13.760 --> 0:20:15.439
<v Speaker 1>and get in the way back Well I don't want

0:20:15.480 --> 0:20:17.399
<v Speaker 1>to see this. We'll just talk about it. We'll leave

0:20:17.440 --> 0:20:19.840
<v Speaker 1>the way back machine out of this one, okay. So

0:20:20.000 --> 0:20:26.760
<v Speaker 1>on on Saturday, August fifteen, around lunchtime, actually exactly at

0:20:26.840 --> 0:20:31.600
<v Speaker 1>lunch time. Um, Mama Borthwick. Uh, Frank Lloyd writes, Mistress,

0:20:31.640 --> 0:20:34.879
<v Speaker 1>longtime mistress, Um was sitting down for lunch on a

0:20:35.000 --> 0:20:38.879
<v Speaker 1>terrace at tally es In with her two kids. Uh.

0:20:38.920 --> 0:20:42.160
<v Speaker 1>To his great credit, Edwin Cheney, her ex husband by

0:20:42.160 --> 0:20:45.720
<v Speaker 1>this time, was not interested in keeping Mamma from seeing

0:20:45.760 --> 0:20:49.520
<v Speaker 1>her children as punishment, so they went to visit Um

0:20:49.560 --> 0:20:52.399
<v Speaker 1>pretty frequently. Uh. And this was a time when they

0:20:52.440 --> 0:20:54.920
<v Speaker 1>were visiting. So the three of them were sitting down

0:20:54.960 --> 0:20:57.000
<v Speaker 1>to lunch. John I think he was ten, and her

0:20:57.080 --> 0:21:01.400
<v Speaker 1>daughter Martha, who was eight, and Mama, Mama, We're sitting

0:21:01.440 --> 0:21:04.199
<v Speaker 1>down to lunch on the terrace. Okay, just put that

0:21:04.240 --> 0:21:06.600
<v Speaker 1>in your your pin, put that p in your hat

0:21:06.640 --> 0:21:12.280
<v Speaker 1>and smoke it. So that wow, really mixing metaphors. So, uh,

0:21:12.480 --> 0:21:15.560
<v Speaker 1>they're out on the terraces. Inside in the dining room

0:21:15.640 --> 0:21:19.360
<v Speaker 1>there are five of Franklin Dwright's employees, h Emil Burdell,

0:21:19.480 --> 0:21:25.439
<v Speaker 1>Thomas Brunker, David Lyndblom, Herbert Fritz, and William Weston and

0:21:25.480 --> 0:21:28.520
<v Speaker 1>then Weston's son Ernst. So they were all sitting down

0:21:28.520 --> 0:21:30.920
<v Speaker 1>to eat. Um. I think put a pin and maybe

0:21:30.920 --> 0:21:33.400
<v Speaker 1>both of these scenes and we'll tell you a little

0:21:33.440 --> 0:21:36.840
<v Speaker 1>bit about the handyman of the property named Julian Carlton,

0:21:37.600 --> 0:21:41.119
<v Speaker 1>who in the weeks and months leading up to this

0:21:41.240 --> 0:21:45.280
<v Speaker 1>date had been acting really weird. Uh. He was aggressive,

0:21:45.840 --> 0:21:49.160
<v Speaker 1>he was getting in arguments with other people. Um, he

0:21:49.240 --> 0:21:52.360
<v Speaker 1>was acting very strangely. He started sleeping with a hatchet

0:21:52.359 --> 0:21:55.600
<v Speaker 1>and a sack beside his bed. He was married, and

0:21:55.640 --> 0:21:58.240
<v Speaker 1>his wife, you know, verified this stuff. Um. He was

0:21:58.280 --> 0:22:02.080
<v Speaker 1>talking about killing people. And there was rumor that he

0:22:02.160 --> 0:22:04.399
<v Speaker 1>was being let go, and that there was that he

0:22:04.440 --> 0:22:07.080
<v Speaker 1>and his wife were already had a basically a trained

0:22:07.080 --> 0:22:09.880
<v Speaker 1>book to Chicago to look for other jobs. So this

0:22:09.920 --> 0:22:13.199
<v Speaker 1>is sort of the mindset of what's going on with

0:22:13.280 --> 0:22:17.520
<v Speaker 1>Julian Carlton at the time of this lunch, right. Um,

0:22:17.640 --> 0:22:21.040
<v Speaker 1>so Uh, Julian was actually so he was a handyman,

0:22:21.080 --> 0:22:23.639
<v Speaker 1>but at this point he he also helped out, helped

0:22:23.640 --> 0:22:26.080
<v Speaker 1>his wife Gertrude when she was cooking. He would serve.

0:22:26.640 --> 0:22:28.680
<v Speaker 1>So he served lunch to Mamma, and then he served

0:22:28.720 --> 0:22:31.159
<v Speaker 1>lunch to the five employees in the dining room. And

0:22:31.200 --> 0:22:34.080
<v Speaker 1>then as they were they started to eat, he approached

0:22:34.280 --> 0:22:38.000
<v Speaker 1>Um William Weston, the foreman of the whole jam William

0:22:38.000 --> 0:22:40.760
<v Speaker 1>Weston was a pretty important guy around tally Essen and

0:22:41.000 --> 0:22:43.840
<v Speaker 1>asked if he could go get some gasoline out of

0:22:43.880 --> 0:22:46.280
<v Speaker 1>the shed. I guess because he was going to clean

0:22:46.359 --> 0:22:51.520
<v Speaker 1>some rugs with it with gasoline. It was with gasolene y, then,

0:22:51.840 --> 0:22:54.640
<v Speaker 1>sure that's some old timey rug clinging if I've ever

0:22:54.640 --> 0:22:57.920
<v Speaker 1>heard of it. But UM, so so western. Sure, sure

0:22:57.920 --> 0:23:01.680
<v Speaker 1>of course, go ahead, and um things went really things

0:23:01.680 --> 0:23:05.520
<v Speaker 1>went downhill really quickly from from that moment on. Yeah,

0:23:05.640 --> 0:23:08.200
<v Speaker 1>so I appreciate you leaving this part to me. Um

0:23:08.280 --> 0:23:11.200
<v Speaker 1>Carlton comes back, Oh, I'll fill in. Don't worry. He's

0:23:11.240 --> 0:23:14.359
<v Speaker 1>got the gasoline and he also has an ax. And

0:23:14.640 --> 0:23:17.399
<v Speaker 1>the sequence is a little bit unclear. I've seen both

0:23:17.400 --> 0:23:22.639
<v Speaker 1>ways of which happened first. But he slaughtered uh Mama

0:23:22.680 --> 0:23:26.840
<v Speaker 1>Borthwick Borthwick and her kids on the porch and then

0:23:26.880 --> 0:23:31.399
<v Speaker 1>poured gasoline under the dining room doors and uh trapped

0:23:31.440 --> 0:23:34.080
<v Speaker 1>them in the room and set the dining room and

0:23:34.119 --> 0:23:37.679
<v Speaker 1>therefore the house on fire with everyone trapped inside. It

0:23:37.720 --> 0:23:41.800
<v Speaker 1>gets even worse than that, though. Um. After he had

0:23:41.840 --> 0:23:44.560
<v Speaker 1>slaughtered Mama and her kids with the axe and um

0:23:44.640 --> 0:23:49.400
<v Speaker 1>set the house on fire, he went around two window,

0:23:49.520 --> 0:23:52.119
<v Speaker 1>a dining room window where the people who are in

0:23:52.200 --> 0:23:53.920
<v Speaker 1>trapped in the dining room that had just been set

0:23:53.960 --> 0:23:57.600
<v Speaker 1>on fire. We're jumping to safety from and as they

0:23:57.680 --> 0:24:01.120
<v Speaker 1>jumped to safety, he ran after him and killed them

0:24:01.160 --> 0:24:03.440
<v Speaker 1>with the axe. He would finish them off there. Sometimes

0:24:03.480 --> 0:24:05.280
<v Speaker 1>they were on fire and he would hit them in

0:24:05.320 --> 0:24:08.000
<v Speaker 1>the head with the axe and killed them. And there

0:24:08.000 --> 0:24:11.600
<v Speaker 1>were nine people who were dining that day, and he

0:24:11.680 --> 0:24:15.679
<v Speaker 1>managed to kill seven of the nine. Um three people

0:24:16.119 --> 0:24:20.720
<v Speaker 1>survived the initial assault, the fire, and then the picking

0:24:20.760 --> 0:24:23.200
<v Speaker 1>off of the axe. The first guy who got away

0:24:23.680 --> 0:24:26.640
<v Speaker 1>was named Herb Fritz. He was a draftsman, a younger guy.

0:24:26.640 --> 0:24:29.199
<v Speaker 1>I think he's still a teenager who went on to

0:24:29.280 --> 0:24:32.119
<v Speaker 1>become an architect, I believe. But he he was the

0:24:32.119 --> 0:24:34.199
<v Speaker 1>first one to jump through the window, and so he

0:24:34.240 --> 0:24:37.280
<v Speaker 1>was able to get pretty far away from Julian Carlton

0:24:37.320 --> 0:24:39.760
<v Speaker 1>before Carlton noticed that people were jumping through the window

0:24:39.800 --> 0:24:41.719
<v Speaker 1>and came around to pick him off with the axe.

0:24:42.560 --> 0:24:47.120
<v Speaker 1>That's right, William Weston got out of the window. Carlton

0:24:47.240 --> 0:24:50.119
<v Speaker 1>hit him with the axe, thought he was dead, but

0:24:50.160 --> 0:24:53.600
<v Speaker 1>he wasn't dead. In the meantime, Fritz, like you said,

0:24:53.840 --> 0:24:56.280
<v Speaker 1>he didn't even Carlton didn't know he was gone. So

0:24:56.359 --> 0:24:59.200
<v Speaker 1>he actually managed to get to the neighbors and contact authorities,

0:24:59.520 --> 0:25:01.520
<v Speaker 1>which in a up being you know, ended up sort

0:25:01.520 --> 0:25:03.960
<v Speaker 1>of saving a lot of the house because they helped

0:25:03.960 --> 0:25:06.200
<v Speaker 1>put it out. And the other guy who managed to

0:25:06.240 --> 0:25:09.800
<v Speaker 1>at least get out the window was David Lindblom. Uh.

0:25:09.880 --> 0:25:13.400
<v Speaker 1>He escaped with Fritz, So Fritz and Limblom. Like when

0:25:13.400 --> 0:25:14.800
<v Speaker 1>they ran into that house, it was like a half

0:25:14.800 --> 0:25:18.199
<v Speaker 1>a mile away, which was really significant that Limblom was

0:25:18.240 --> 0:25:20.240
<v Speaker 1>able to do it, because he was burned so badly

0:25:20.480 --> 0:25:22.639
<v Speaker 1>that he died from his burns, and yet one of

0:25:22.640 --> 0:25:24.400
<v Speaker 1>the last things he did on Earth was to run

0:25:24.440 --> 0:25:26.879
<v Speaker 1>a half a mile to to get help at the house,

0:25:27.040 --> 0:25:30.600
<v Speaker 1>the nearest house with a phone. Yeah, so, uh, you know,

0:25:30.920 --> 0:25:33.760
<v Speaker 1>people get there, they put out the fire. Um hours later,

0:25:34.600 --> 0:25:38.560
<v Speaker 1>Uh they Carlton was discovered in the basement of the

0:25:38.600 --> 0:25:42.000
<v Speaker 1>house in an asbestos lined boiler room. Uh. He went

0:25:42.080 --> 0:25:44.919
<v Speaker 1>down there to to die in the fire, but also

0:25:45.440 --> 0:25:50.280
<v Speaker 1>doubled up by drinking a bottle of hydrochloric acid to

0:25:50.400 --> 0:25:52.919
<v Speaker 1>make sure he did the job. And neither one of

0:25:52.960 --> 0:25:56.439
<v Speaker 1>them work. He actually survived both of those things. I

0:25:56.480 --> 0:25:59.760
<v Speaker 1>actually saw that he was in the furnace because he

0:25:59.840 --> 0:26:02.880
<v Speaker 1>was trying to survive the fire, and he didn't drink

0:26:02.920 --> 0:26:05.640
<v Speaker 1>the acid until he knew he was discovered. Oh see,

0:26:05.640 --> 0:26:07.199
<v Speaker 1>I saw the opposite that he went down to the

0:26:07.200 --> 0:26:11.399
<v Speaker 1>furnace because he wanted to die in the home. Huh. Yeah,

0:26:11.480 --> 0:26:13.440
<v Speaker 1>the reason the furnace made sense to me, or that

0:26:13.480 --> 0:26:15.960
<v Speaker 1>he was trying to survive in the furnaces that if

0:26:16.000 --> 0:26:17.840
<v Speaker 1>he couldn't escape from the house, that would be the

0:26:17.880 --> 0:26:19.960
<v Speaker 1>safest place because it was the middle of August and

0:26:20.000 --> 0:26:23.840
<v Speaker 1>the furnace wasn't on, so it would have conceivably protected him,

0:26:23.920 --> 0:26:26.440
<v Speaker 1>or else they would have turned into that that bronze

0:26:26.440 --> 0:26:29.399
<v Speaker 1>bowl torture thing, you know, the bronze bowl that you

0:26:29.440 --> 0:26:31.280
<v Speaker 1>put a human being in then light a fire under

0:26:31.320 --> 0:26:33.960
<v Speaker 1>the bull the bowl. Remember that sounds like a pretty

0:26:34.000 --> 0:26:37.199
<v Speaker 1>horrible way to die either way. Yes, it should be

0:26:37.240 --> 0:26:41.359
<v Speaker 1>restated that Julian Carlton drank what he thought was a

0:26:41.480 --> 0:26:44.440
<v Speaker 1>lethal dose of hydrochloric acid, Like that's how he chose

0:26:44.520 --> 0:26:47.680
<v Speaker 1>to try to end his life. Yeah, so there was

0:26:47.720 --> 0:26:52.399
<v Speaker 1>never any motive really rooted out. Um Uh. Clearly, looking

0:26:52.440 --> 0:26:55.120
<v Speaker 1>back now, he suffered from some kind of mental illness.

0:26:56.080 --> 0:26:58.000
<v Speaker 1>I don't think you can just all chalk it up

0:26:58.000 --> 0:27:01.920
<v Speaker 1>to a grudge over being fired because of his behavior

0:27:01.960 --> 0:27:05.560
<v Speaker 1>of their previous weeks and months. Um. And you know,

0:27:05.560 --> 0:27:07.160
<v Speaker 1>it's just one of those things. It was a time

0:27:07.200 --> 0:27:10.520
<v Speaker 1>where they weren't diagnosing things like that. So he clearly

0:27:10.560 --> 0:27:13.840
<v Speaker 1>had some form of mental illness, I think. And uh,

0:27:13.880 --> 0:27:17.320
<v Speaker 1>they never conclusively determined a motive. But like I said,

0:27:17.359 --> 0:27:20.400
<v Speaker 1>his wife Um testified that said, you know, we were

0:27:20.520 --> 0:27:23.680
<v Speaker 1>headed to Chicago, we were going to get work Um

0:27:23.680 --> 0:27:26.800
<v Speaker 1>and he ended up dying. Uh. But he couldn't eat

0:27:26.840 --> 0:27:29.199
<v Speaker 1>basically because he had torn up his stomach, lining in

0:27:29.240 --> 0:27:32.280
<v Speaker 1>his throat so badly with that hydrochloric acid. He died

0:27:32.320 --> 0:27:36.520
<v Speaker 1>seven weeks later in jail from starvation. Yeah. And another

0:27:36.560 --> 0:27:40.199
<v Speaker 1>interpretation I saw is that he Um had purposefully starved

0:27:40.240 --> 0:27:42.320
<v Speaker 1>himself because the acid didn't work. That it wasn't just

0:27:42.359 --> 0:27:44.159
<v Speaker 1>that he couldn't eat, but that he wouldn't eat, and

0:27:44.160 --> 0:27:48.000
<v Speaker 1>that he he died from self imposed starvation. Either. One's

0:27:48.040 --> 0:27:51.840
<v Speaker 1>pretty pretty terrible stuff. Just a brutal, brutal crime. Yeah,

0:27:51.880 --> 0:27:53.480
<v Speaker 1>And I mean, I agree with you. I think he

0:27:53.520 --> 0:27:57.359
<v Speaker 1>clearly Um was mentally ill, not just from the act

0:27:57.440 --> 0:28:00.639
<v Speaker 1>that he carried out, but also the the fact that

0:28:00.680 --> 0:28:02.960
<v Speaker 1>he'd been ranting and sleeping with an ax for weeks

0:28:03.040 --> 0:28:06.520
<v Speaker 1>leading up to it. But I think his perceived treatment

0:28:06.640 --> 0:28:10.800
<v Speaker 1>or outright treatment around tally Essen coupled with the idea

0:28:10.880 --> 0:28:12.800
<v Speaker 1>that they had been dismissed and that was going to

0:28:12.920 --> 0:28:16.280
<v Speaker 1>be their last day. Um, is I guess what drove

0:28:16.359 --> 0:28:20.760
<v Speaker 1>him over the edge. Yeah, so Frank you mentioned where

0:28:20.760 --> 0:28:23.200
<v Speaker 1>You've noticed we haven't mentioned him. He was in Chicago

0:28:23.240 --> 0:28:26.560
<v Speaker 1>at the time. He was working, uh, kind of finalizing

0:28:26.600 --> 0:28:29.400
<v Speaker 1>everything on the construction of Midway Gardens there in Chicago,

0:28:30.200 --> 0:28:33.480
<v Speaker 1>working with his son, John Lloyd Wright, who is his

0:28:33.520 --> 0:28:38.000
<v Speaker 1>second oldest and in the autobiography of John Wright called

0:28:38.040 --> 0:28:41.080
<v Speaker 1>my father who was on earth, uh said he remembered

0:28:41.080 --> 0:28:44.640
<v Speaker 1>an unnatural silence when the phone call came in, except

0:28:44.720 --> 0:28:47.400
<v Speaker 1>for his father's labored breathing, and then he came back

0:28:47.400 --> 0:28:49.600
<v Speaker 1>in the room and said, he said, what's happened? Dad?

0:28:49.920 --> 0:28:54.040
<v Speaker 1>And his father said, John, a taxi tali Essen is

0:28:54.080 --> 0:28:57.120
<v Speaker 1>on fire, right, And if you're not too big on

0:28:57.200 --> 0:29:00.320
<v Speaker 1>Frank Lloyd, right, you, um, you might be well, what

0:29:00.360 --> 0:29:03.360
<v Speaker 1>about the people who were murdered in his defense? He

0:29:03.400 --> 0:29:05.960
<v Speaker 1>apparently hadn't learned about that yet, and he learned that

0:29:06.000 --> 0:29:09.120
<v Speaker 1>there were some gruesome grizzly murders of a lot of

0:29:09.120 --> 0:29:12.600
<v Speaker 1>people he cared about, Um, but from reporters who were

0:29:12.600 --> 0:29:14.560
<v Speaker 1>shouting questions to him as he was going to the

0:29:14.600 --> 0:29:17.960
<v Speaker 1>train station to take the train from Chicago over to

0:29:18.280 --> 0:29:22.960
<v Speaker 1>uh Spring Green. Yeah. So Chicago newspaper headline reads the

0:29:23.080 --> 0:29:28.400
<v Speaker 1>end of lawless loves Um, you know, sort of a

0:29:28.560 --> 0:29:31.040
<v Speaker 1>sort of a sensational and cold way to treat these murders,

0:29:31.080 --> 0:29:33.680
<v Speaker 1>I think, Um, but they had been you know, they

0:29:33.720 --> 0:29:36.880
<v Speaker 1>had been all over their affair for years now. And

0:29:36.880 --> 0:29:39.400
<v Speaker 1>then chuck one other thing about Julian Carlton. Have you

0:29:39.440 --> 0:29:43.800
<v Speaker 1>ever been on that site find a grave dot com? Yeah, okay,

0:29:43.840 --> 0:29:45.520
<v Speaker 1>so I was on fine grave dot com. Part of

0:29:45.560 --> 0:29:47.320
<v Speaker 1>part of the purpose, for those who don't know, is

0:29:47.360 --> 0:29:50.000
<v Speaker 1>like to kind of memorialize, like leave a tribute or

0:29:50.040 --> 0:29:52.680
<v Speaker 1>something to to the person, the dead person. Um. And

0:29:52.720 --> 0:29:55.160
<v Speaker 1>sometimes it's very sweet, but other times it's very awkward.

0:29:55.200 --> 0:29:57.520
<v Speaker 1>And this was an awkward case because there was like

0:29:58.160 --> 0:30:01.160
<v Speaker 1>a little icon clearly shows up on every page on

0:30:01.240 --> 0:30:05.719
<v Speaker 1>Finding Grave, but it said, what's one thing you'll always

0:30:05.720 --> 0:30:10.560
<v Speaker 1>remember when you think of Julian? I'm like, probably the

0:30:10.920 --> 0:30:16.960
<v Speaker 1>ax murder slash arson killing of seven people always remember

0:30:17.360 --> 0:30:19.520
<v Speaker 1>he could really get a stain out of a rug

0:30:20.200 --> 0:30:24.120
<v Speaker 1>right with gasoline. Yeah, very very good at that. You

0:30:24.120 --> 0:30:26.480
<v Speaker 1>want to take a break, Yeah, let's take a break

0:30:26.480 --> 0:30:29.640
<v Speaker 1>and we'll talk a little bit about Frank's later years.

0:30:29.720 --> 0:30:42.320
<v Speaker 1>Right after this stuff you should know, h stuff you

0:30:42.320 --> 0:30:56.880
<v Speaker 1>should know. So this murder really uh and of course

0:30:56.920 --> 0:30:59.800
<v Speaker 1>the fire really really took a toll on Frank Lloyd right,

0:31:00.440 --> 0:31:04.200
<v Speaker 1>Um for the next you know, twenty years, he really

0:31:04.200 --> 0:31:09.479
<v Speaker 1>struggled with his work. Um, he struggled for uh, for

0:31:09.640 --> 0:31:12.960
<v Speaker 1>his freedom from the press obviously, I mean, he was

0:31:13.000 --> 0:31:15.000
<v Speaker 1>always in the press, but this it was worse now

0:31:15.040 --> 0:31:19.920
<v Speaker 1>than ever. And he did not suffer long. Romantically though,

0:31:19.960 --> 0:31:23.120
<v Speaker 1>he took up very quickly, uh with a woman named

0:31:23.120 --> 0:31:27.880
<v Speaker 1>maud Miriam Hicks Noel. She went by Miriam, and she

0:31:28.000 --> 0:31:31.440
<v Speaker 1>was an artist. She was a morphine addict. Um, she

0:31:31.560 --> 0:31:36.560
<v Speaker 1>was a fan girl. She they had a terrible, terrible,

0:31:36.960 --> 0:31:40.680
<v Speaker 1>abusive relationship. It seems like kind of both ways, like

0:31:41.200 --> 0:31:43.240
<v Speaker 1>a bit of a Sid Nancy type thing, going from

0:31:43.240 --> 0:31:48.400
<v Speaker 1>everything I could read. There were terrible people on both sides. Yeah.

0:31:48.440 --> 0:31:51.800
<v Speaker 1>So they he met when she was very young. She

0:31:51.960 --> 0:31:54.560
<v Speaker 1>said he hadn't been with me ten minutes before. He

0:31:54.600 --> 0:31:57.640
<v Speaker 1>said your mine. And they had a tenure courtship that

0:31:57.680 --> 0:32:01.920
<v Speaker 1>was very very dysfunctional, very mis bull And when he

0:32:01.960 --> 0:32:05.200
<v Speaker 1>got divorced in nineteen twenty two from Kitty, uh, he

0:32:05.360 --> 0:32:07.960
<v Speaker 1>decided at some point to marry I think about a

0:32:08.000 --> 0:32:12.280
<v Speaker 1>year later, to marry Miriam with that old mistake, thinking

0:32:12.320 --> 0:32:15.200
<v Speaker 1>things would be different once they get married. And that's

0:32:15.200 --> 0:32:17.280
<v Speaker 1>not at all how it went. They ended up splitting

0:32:17.320 --> 0:32:20.640
<v Speaker 1>up I think six months later, something like that. Um.

0:32:20.640 --> 0:32:22.920
<v Speaker 1>He said that to oppose her now in the slightest

0:32:22.960 --> 0:32:28.640
<v Speaker 1>degree meant violence. That's how how bad the relationship had become. Um.

0:32:28.680 --> 0:32:32.880
<v Speaker 1>So it was. I get the impression from this. Uh

0:32:32.960 --> 0:32:36.080
<v Speaker 1>this biographer Paul Hendrickson. The book he wrote, by the way,

0:32:36.160 --> 0:32:39.960
<v Speaker 1>is called Dreams and Furies of Frank Lloyd Wright. UM.

0:32:40.240 --> 0:32:44.280
<v Speaker 1>And it's like six hundred pages. I believe, um. But

0:32:44.480 --> 0:32:46.840
<v Speaker 1>he he does not paint a very flattering picture of

0:32:46.880 --> 0:32:51.480
<v Speaker 1>Miriam at all. No, no, not at all. Um. And

0:32:51.520 --> 0:32:53.520
<v Speaker 1>like I said, they were not good for each other.

0:32:53.560 --> 0:32:58.400
<v Speaker 1>It seems like uh Nino, after his divorce from Miriam,

0:32:58.440 --> 0:33:02.240
<v Speaker 1>he gets married a third time, him to uh old Ivanna.

0:33:02.800 --> 0:33:07.960
<v Speaker 1>Her name was Olga Lazovic Hinzenburg. She was married, She

0:33:08.120 --> 0:33:10.440
<v Speaker 1>was a dancer. They met at a ballet where she

0:33:10.480 --> 0:33:15.520
<v Speaker 1>was performing, and they actually had another kid. Frank had

0:33:15.560 --> 0:33:18.760
<v Speaker 1>a seventh child with her, um, a little girl in

0:33:18.920 --> 0:33:22.400
<v Speaker 1>n And Miriam comes back there and kind of tries

0:33:22.440 --> 0:33:25.760
<v Speaker 1>to wreck their marriage too. Yeah. She like when they

0:33:25.800 --> 0:33:28.200
<v Speaker 1>had their baby, she showed up at the hospital and

0:33:28.240 --> 0:33:32.480
<v Speaker 1>made a scene, which is a pretty nasty move. Um.

0:33:32.600 --> 0:33:35.400
<v Speaker 1>She refused to give him a divorce. She like would

0:33:35.400 --> 0:33:39.600
<v Speaker 1>talk to the papers about him. Um. She she uh

0:33:40.000 --> 0:33:43.760
<v Speaker 1>teamed up with Olga's ex husband or soon to be

0:33:43.840 --> 0:33:47.440
<v Speaker 1>ex husband. Um. She she definitely worked against him, but

0:33:47.520 --> 0:33:50.920
<v Speaker 1>I guess eventually either got bored or was bought off,

0:33:51.000 --> 0:33:53.360
<v Speaker 1>or just kind of went away, because from what I

0:33:53.400 --> 0:33:57.600
<v Speaker 1>can tell, Olga and Frank managed to carve out a

0:33:57.640 --> 0:34:03.480
<v Speaker 1>happy married life for themselves. Um. From the nineteen twenties, Yeah,

0:34:03.560 --> 0:34:06.560
<v Speaker 1>ninety four when they got married onward. I guess by

0:34:06.560 --> 0:34:09.439
<v Speaker 1>the time once Miriam left the picture, they were able

0:34:09.480 --> 0:34:12.240
<v Speaker 1>to kind of settle in until Frank's death in nineteen

0:34:12.280 --> 0:34:15.239
<v Speaker 1>fifty nine. Yeah, and Miriam actually got him arrested at

0:34:15.239 --> 0:34:19.000
<v Speaker 1>one point under the Man Act m A n N.

0:34:19.080 --> 0:34:22.120
<v Speaker 1>Which was a law federal law that prohibits transport of

0:34:22.160 --> 0:34:25.000
<v Speaker 1>women and children across state lines for the purposes of

0:34:25.120 --> 0:34:30.680
<v Speaker 1>debauchery or prostitution. And I'm not really sure how that happened. Um,

0:34:30.719 --> 0:34:32.719
<v Speaker 1>it did not stick, obviously. He spent a couple of

0:34:32.800 --> 0:34:35.400
<v Speaker 1>nights in jail and then his the charges were dropped,

0:34:36.040 --> 0:34:39.720
<v Speaker 1>but he went into a long dry spell work wise.

0:34:40.360 --> 0:34:43.400
<v Speaker 1>Um did not get hired a ton over a certain

0:34:43.440 --> 0:34:47.840
<v Speaker 1>period of time, and then from the thirties to fifty

0:34:47.920 --> 0:34:51.319
<v Speaker 1>nine when he died, he did some of his best work,

0:34:51.400 --> 0:34:55.640
<v Speaker 1>maybe perhaps of his career. Absolutely, Um. He it was

0:34:55.719 --> 0:34:57.640
<v Speaker 1>during that time he did tali Us in West, which,

0:34:57.719 --> 0:34:59.160
<v Speaker 1>like I said, you mean and I went to we

0:34:59.239 --> 0:35:03.759
<v Speaker 1>went out to s Dotsdale, Um, and uh visited with

0:35:03.800 --> 0:35:07.200
<v Speaker 1>our friends Blair and Aaron out there, who are Scottsdale peeps.

0:35:07.280 --> 0:35:11.120
<v Speaker 1>And we went to tally Esen and it was just Chuck, dude,

0:35:11.120 --> 0:35:13.960
<v Speaker 1>have you been to that one? Haven't been to Taliessen West? Now.

0:35:14.239 --> 0:35:18.200
<v Speaker 1>It's it's really really cool, just the little just so

0:35:18.200 --> 0:35:21.000
<v Speaker 1>many details about it and there's a lot of fountains,

0:35:21.040 --> 0:35:24.160
<v Speaker 1>which is really refreshing in the desert. Um. It's just

0:35:24.200 --> 0:35:27.319
<v Speaker 1>a really great, neat little place for sure, and a

0:35:27.360 --> 0:35:30.239
<v Speaker 1>little I used that in the absolute wrong way. It's a.

0:35:30.320 --> 0:35:32.560
<v Speaker 1>It's pretty big, it's a it's a very it's a

0:35:32.640 --> 0:35:35.480
<v Speaker 1>charming place for sure. Yeah. And of course he did

0:35:35.480 --> 0:35:40.880
<v Speaker 1>the Google him after that. Um. Yeah, so it was

0:35:41.680 --> 0:35:45.520
<v Speaker 1>very productive period of his life. Um. Maybe should we

0:35:45.560 --> 0:35:47.080
<v Speaker 1>do more in Frank Loord Right in the future as

0:35:47.120 --> 0:35:50.080
<v Speaker 1>this it No, no, we'll we'll do the in true

0:35:50.120 --> 0:35:52.839
<v Speaker 1>stuff you should know style and just chip away at

0:35:52.880 --> 0:35:54.879
<v Speaker 1>different parts about his life and then do a full

0:35:54.880 --> 0:35:58.200
<v Speaker 1>biography on him years down the road. Sounds good. I

0:35:58.200 --> 0:36:00.000
<v Speaker 1>thought of another place I went a Frank Lord Ripe.

0:36:00.160 --> 0:36:04.160
<v Speaker 1>There's a Florida Southern College or university I'm sorry, is

0:36:04.360 --> 0:36:09.040
<v Speaker 1>um Frankloyd Right Design campus. It's amazing. You have to

0:36:09.120 --> 0:36:11.000
<v Speaker 1>check that out too. You should check it out. There's

0:36:11.040 --> 0:36:14.960
<v Speaker 1>like this really great covered walkway that you walk around everywhere,

0:36:14.960 --> 0:36:17.280
<v Speaker 1>and it's just it's it's really neat. You just feel

0:36:17.320 --> 0:36:20.000
<v Speaker 1>immersed in Frankloyd Right. It's not just you know, one

0:36:20.000 --> 0:36:22.680
<v Speaker 1>building or one house, it's a whole whole campus. I

0:36:22.760 --> 0:36:25.440
<v Speaker 1>love it. If you want to know more about franklod

0:36:25.560 --> 0:36:28.360
<v Speaker 1>Right and just go out after the pandemic ends and

0:36:28.400 --> 0:36:30.919
<v Speaker 1>start visiting some of his houses. And since I said

0:36:30.960 --> 0:36:34.960
<v Speaker 1>after the pandemic ends, uh, let's optimistically go on too.

0:36:35.080 --> 0:36:41.719
<v Speaker 1>Listener mail. No, no, sir, no listener mail today. I

0:36:41.719 --> 0:36:44.120
<v Speaker 1>think today we should take a little bit of an

0:36:44.160 --> 0:36:47.040
<v Speaker 1>opportunity to talk for a few minutes about our book.

0:36:47.680 --> 0:36:51.080
<v Speaker 1>Everyone's been really patient while we've plugged the pre sale

0:36:51.120 --> 0:36:54.200
<v Speaker 1>of this book. I think by the time this comes out,

0:36:54.680 --> 0:37:00.600
<v Speaker 1>the book will be out. Is that right? Uh? Afterbably? Yeah,

0:37:00.719 --> 0:37:03.560
<v Speaker 1>Jerry can make it so, I think it is. But

0:37:03.640 --> 0:37:06.920
<v Speaker 1>if not, it's it's just before And uh, I finally

0:37:06.920 --> 0:37:10.720
<v Speaker 1>got the books delivered to my house in hardcover edition

0:37:11.280 --> 0:37:13.239
<v Speaker 1>and I got to hold it in my hand as

0:37:13.320 --> 0:37:17.160
<v Speaker 1>have you, and dude, it's great. I'm really I'm really

0:37:17.200 --> 0:37:19.720
<v Speaker 1>proud of the work that we did, along with Flat

0:37:19.760 --> 0:37:23.239
<v Speaker 1>Iron or co writer Nils, who's just an amazing dude. Yes,

0:37:23.280 --> 0:37:26.879
<v Speaker 1>our in our illustrator Carle Monardo, who did just an

0:37:26.880 --> 0:37:30.080
<v Speaker 1>amazing job throughout the book of bringing like just passages

0:37:30.120 --> 0:37:31.799
<v Speaker 1>that you didn't even think of just suddenly kind of

0:37:31.800 --> 0:37:34.919
<v Speaker 1>came to life through our illustrations. Yeah, I mean, there's

0:37:34.960 --> 0:37:37.759
<v Speaker 1>an illustration of Momo, there's an illustration of my daughter.

0:37:38.760 --> 0:37:41.400
<v Speaker 1>They're nice little easter eggs in there. Uh. You know,

0:37:41.440 --> 0:37:43.320
<v Speaker 1>we haven't talked a lot about the contents of the book.

0:37:44.000 --> 0:37:47.080
<v Speaker 1>There are, um, we had a lot of fun with

0:37:47.120 --> 0:37:50.919
<v Speaker 1>the with the notes at the bottom, the footnotes. It's

0:37:51.040 --> 0:37:53.720
<v Speaker 1>really became kind of a fun part of the book.

0:37:54.280 --> 0:37:56.360
<v Speaker 1>We mentioned I don't even have a lost count how

0:37:56.400 --> 0:38:01.560
<v Speaker 1>many podcasts we mentioned, but we've notaate those in the end. Yeah,

0:38:01.560 --> 0:38:04.719
<v Speaker 1>and there were plenty that we we missed, Like I

0:38:04.800 --> 0:38:07.120
<v Speaker 1>did another like I shouldn't have done this, but I

0:38:07.160 --> 0:38:11.759
<v Speaker 1>did another like um like fine tooth comb, like just

0:38:11.800 --> 0:38:14.359
<v Speaker 1>scrape through of every word in the book. Of course

0:38:14.400 --> 0:38:17.840
<v Speaker 1>you did um to see you know what what podcasts

0:38:17.880 --> 0:38:19.600
<v Speaker 1>we needed to link to. And I was like, oh man,

0:38:19.760 --> 0:38:22.160
<v Speaker 1>I found like fifty of these so far. And I

0:38:22.239 --> 0:38:24.200
<v Speaker 1>emailed and was like, is it too late to add

0:38:24.360 --> 0:38:27.560
<v Speaker 1>footnotes or podcast footnotes? And nearly kiss that time has

0:38:27.600 --> 0:38:32.560
<v Speaker 1>come so edition, Yeah, yeah, exactly can we get these reprinted?

0:38:32.640 --> 0:38:36.520
<v Speaker 1>But I have the number here. Actually we have listed

0:38:36.520 --> 0:38:38.400
<v Speaker 1>in the book. We are referenced in the book. We

0:38:38.440 --> 0:38:43.400
<v Speaker 1>have two d seventy four references to other podcasts. But

0:38:43.719 --> 0:38:45.680
<v Speaker 1>here's a few of the chapters. We did. One on

0:38:45.760 --> 0:38:51.440
<v Speaker 1>Murphy Beds, one on back masking, one on aging um,

0:38:51.440 --> 0:38:54.520
<v Speaker 1>one on donuts. That's a great chapter. I love that chapter,

0:38:55.080 --> 0:38:58.239
<v Speaker 1>what else, Kama Kaze, Demolition, Derby's it's like stuff you

0:38:58.280 --> 0:39:02.239
<v Speaker 1>should know in book form. Is definitely And as we've said,

0:39:02.280 --> 0:39:05.040
<v Speaker 1>like none of these are just like an entire podcast.

0:39:05.120 --> 0:39:08.280
<v Speaker 1>It's more like, you know, we took maybe the history

0:39:08.280 --> 0:39:11.239
<v Speaker 1>of something or you know, one just one aspect of

0:39:11.280 --> 0:39:13.960
<v Speaker 1>one of the things and kind of dove into it

0:39:14.000 --> 0:39:16.880
<v Speaker 1>and flesh it out like that. So hopefully we'll be

0:39:16.920 --> 0:39:20.320
<v Speaker 1>able to turn these into full size, like podcast episodes

0:39:20.360 --> 0:39:22.600
<v Speaker 1>one day. That's kind of our intent. But even if

0:39:22.600 --> 0:39:24.640
<v Speaker 1>we don't, I think the book like really covers them

0:39:24.760 --> 0:39:28.560
<v Speaker 1>in an enjoyable way. Totally. Jack Caborcian, that was a

0:39:28.560 --> 0:39:30.799
<v Speaker 1>good one too, Keeping up with the Joneses. That's one

0:39:30.840 --> 0:39:34.360
<v Speaker 1>of my favorite ones. Yeah. Yeah, there's like twenty seven

0:39:34.600 --> 0:39:37.359
<v Speaker 1>just amazing chapters in there. Each one is better than

0:39:37.400 --> 0:39:41.040
<v Speaker 1>the last, and then astoundingly it starts back over and

0:39:41.080 --> 0:39:45.840
<v Speaker 1>somehow chapter one is better than chapter twenty seven. But

0:39:45.960 --> 0:39:47.480
<v Speaker 1>you know, if you haven't bought it yet, I highly

0:39:47.560 --> 0:39:50.200
<v Speaker 1>encourage you to. It makes a great gift. Um, even

0:39:50.239 --> 0:39:53.239
<v Speaker 1>if the person doesn't even know who we are. It's

0:39:53.320 --> 0:39:55.520
<v Speaker 1>it's in the great tradition, I think of the great

0:39:55.560 --> 0:39:58.040
<v Speaker 1>bathroom readers. You can pick it up at any point

0:39:58.080 --> 0:40:00.400
<v Speaker 1>in the book and read any chapter and it's and

0:40:00.440 --> 0:40:02.279
<v Speaker 1>it's just a lot of fun. My daughter even likes

0:40:02.320 --> 0:40:05.040
<v Speaker 1>it because the pictures and she loves looking at the

0:40:05.040 --> 0:40:08.680
<v Speaker 1>back and going, there's you and Josh. I know, it's

0:40:08.800 --> 0:40:11.440
<v Speaker 1>very cute. It is cute. So one other thing I

0:40:11.480 --> 0:40:14.040
<v Speaker 1>want to say is like, we really appreciate you guys

0:40:14.360 --> 0:40:16.399
<v Speaker 1>who have already pre ordered the book or who will

0:40:16.440 --> 0:40:19.200
<v Speaker 1>buy the book, who bought the audio book, Um, that's

0:40:19.200 --> 0:40:22.960
<v Speaker 1>available to um. But if you can't, if you're like

0:40:23.000 --> 0:40:24.640
<v Speaker 1>I just don't have the money right now, or I

0:40:24.640 --> 0:40:26.640
<v Speaker 1>don't feel like spending the money, I just like the podcast,

0:40:26.719 --> 0:40:29.359
<v Speaker 1>that's fine too. Like we're not mad at you, UM,

0:40:29.400 --> 0:40:32.440
<v Speaker 1>but we appreciate the people who have supported us by

0:40:32.440 --> 0:40:34.799
<v Speaker 1>buying the book. UM. So thank you very much to

0:40:34.800 --> 0:40:37.719
<v Speaker 1>everybody who has or will buy our book, because that's

0:40:37.840 --> 0:40:39.480
<v Speaker 1>that's very kind of you and it means a lot

0:40:39.560 --> 0:40:41.879
<v Speaker 1>to us. And you can look forward to a kid's

0:40:42.000 --> 0:40:46.560
<v Speaker 1>version coming soon. Yes, right, yeah, eventually we're taking the

0:40:46.600 --> 0:40:50.959
<v Speaker 1>same twenty seven chapters and kidifying it but without being patronizing.

0:40:51.040 --> 0:40:55.360
<v Speaker 1>So that'll swear books right now. We're taking the swear

0:40:55.400 --> 0:40:58.719
<v Speaker 1>words out the chapter I'm ascal didn't make the cut

0:40:58.760 --> 0:41:01.399
<v Speaker 1>in the kid's book. And um, I think, I mean,

0:41:01.440 --> 0:41:04.319
<v Speaker 1>I think this book is appropriate for kids as young

0:41:04.360 --> 0:41:07.960
<v Speaker 1>as like probably twelve years old. It's not like it's

0:41:08.200 --> 0:41:10.560
<v Speaker 1>it's not like it's dirty or anything. It's um it

0:41:10.640 --> 0:41:12.440
<v Speaker 1>might just be a little advanced for younger kids, but

0:41:12.480 --> 0:41:14.640
<v Speaker 1>we're gonna we're gonna make sure that the younger kids

0:41:14.640 --> 0:41:17.279
<v Speaker 1>have their version too. Yes, it will make every twelve

0:41:17.360 --> 0:41:19.880
<v Speaker 1>year old who reads our our the adult book really

0:41:19.880 --> 0:41:23.319
<v Speaker 1>want mescal. So anyway, thanks to everyone who's bought. It's

0:41:23.320 --> 0:41:25.800
<v Speaker 1>called Stuff you Should Know, an incomplete compendium of mostly

0:41:25.840 --> 0:41:28.640
<v Speaker 1>interesting things. You can get it wherever books are sold.

0:41:28.640 --> 0:41:31.720
<v Speaker 1>Of course, we encourage you to buy from independent bookstores

0:41:31.760 --> 0:41:33.719
<v Speaker 1>if you can, to try and keep them in business. Yep,

0:41:33.880 --> 0:41:37.960
<v Speaker 1>for sure. Um I guess that's it. Huh, that's it. Okay, Well,

0:41:37.960 --> 0:41:41.400
<v Speaker 1>thanks everybody for hearing us out about our book spiel

0:41:41.600 --> 0:41:44.239
<v Speaker 1>and if you bought the book or the audiobook, thank you.

0:41:44.719 --> 0:41:47.680
<v Speaker 1>If you can't get we love you anyway. Um so

0:41:47.760 --> 0:41:49.600
<v Speaker 1>don't worry about it. And if you want to get

0:41:49.640 --> 0:41:51.760
<v Speaker 1>in touch with us, you can send us an email

0:41:51.800 --> 0:41:58.640
<v Speaker 1>to Stuff Podcast at iHeart radio dot com. Stuff You

0:41:58.680 --> 0:42:01.000
<v Speaker 1>should know. It is a production i art Radio. For

0:42:01.080 --> 0:42:03.719
<v Speaker 1>more podcasts for My Heart Radio, visit the iHeart Radio app,

0:42:03.800 --> 0:42:06.440
<v Speaker 1>Apple Podcasts, or wherever you listen to your favorite shows.

0:42:09.800 --> 0:42:13.839
<v Speaker 1>M hm hm