WEBVTT - 9 ✈️  ✈️  ✈️  High-Flying Facts ✈️  ✈️  ✈️  About Skywriting! 

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<v Speaker 1>You're listening to Part Time Genius, the production of Kaleidoscope

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<v Speaker 1>and iHeartRadio.

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<v Speaker 2>Guess what mango was that gave.

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<v Speaker 3>So you probably had this marked in your calendar already,

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<v Speaker 3>but last week was actually the one hundred and second

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<v Speaker 3>birthday of commercial skywriting in America. I did not have

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<v Speaker 3>that on my calendar for some odd reason. But I

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<v Speaker 3>really am surprised we can pin down an exact start

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<v Speaker 3>date for such an old medium, Like I know, there

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<v Speaker 3>are so many candidates for like the first newspaper ad

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<v Speaker 3>or the first billboard, and there's a lot of confusion there,

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<v Speaker 3>that's true, but it's a little different when the ad

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<v Speaker 3>appears out of thin air ten thousand feet above times square,

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<v Speaker 3>somebody's going to keep track of that. And that's exactly

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<v Speaker 3>what happened on November twenty eighth, nineteen twenty two, when

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<v Speaker 3>British pilot Captain Cyril Turner took to the skies above

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<v Speaker 3>New York City using a specially designed exhaust system spelled

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<v Speaker 3>out Hello USA, Carl Vanderbilt seventy two hundred. It was

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<v Speaker 3>the first time skywriting had been used to promote something

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<v Speaker 3>in the US, and even though it wasn't clear what

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<v Speaker 3>was being promoted, the ad still worked like a charm.

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<v Speaker 3>Within a couple hours, roughly forty seven thousand people had

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<v Speaker 3>called that not in the mystery behind the message had

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<v Speaker 3>pequed people's interest, proving the effectiveness of skywriting and securing

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<v Speaker 3>its place as a new, eye catching way to promote

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<v Speaker 3>a product.

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<v Speaker 1>That is such a bizarre slogan like Hello USA called

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<v Speaker 1>Vanderbilts and in two hundred like what is that even advertising?

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<v Speaker 3>Yeah, well that's the thing. It was actually an ad

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<v Speaker 3>for skywriting itself. While Captain Turner was painstakingly writing the

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<v Speaker 3>message overhead, his partner, Major John Jack Savage was watching

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<v Speaker 3>from the ground with a very special guest, George Hill,

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<v Speaker 3>the then president of the American Tobacco Company. So the

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<v Speaker 3>real purpose of the stunt was to persuade Hill to

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<v Speaker 3>advertise his cigarettes via skywriting, but Hill was skeptical since

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<v Speaker 3>the average message only lingered for about ten minutes in

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<v Speaker 3>a light wind, which didn't give people much time to

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<v Speaker 3>see it.

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<v Speaker 1>I mean, it certainly gave enough people at the time

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<v Speaker 1>to like call that phone number, But I guess that's

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<v Speaker 1>where the phone number idea came in here.

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<v Speaker 2>Yeah, that's right.

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<v Speaker 3>It was the number of the hotel where George Hill

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<v Speaker 3>was staying, Hotel Vanderbilt, and the resulting flood of phone

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<v Speaker 3>calls convinced Hill to take a chance on skywriting. So

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<v Speaker 3>the following year, the American Tobacco Company used skywriting in

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<v Speaker 3>a successful campaign for Lucky Strike cigarettes, and in the

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<v Speaker 3>decades that followed, skywriting became a popular form of advertising.

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<v Speaker 1>I mean, it is pretty fitting that the first client

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<v Speaker 1>of smoke based advertising would be a cigarette company, right,

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<v Speaker 1>That's pretty perfect. But that is just the first of

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<v Speaker 1>nine high flying facts we've got about skywriting. We've got

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<v Speaker 1>so much more to cover, so let's strap in and

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<v Speaker 1>take off. Hey, their podcast listeners, welcome to part time Genius.

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<v Speaker 1>I'm Monga's tritiguler and on the other side of that

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<v Speaker 1>soundproof glass arranging cotton balls on his desk to spell

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<v Speaker 1>out PTG, which is a very sweet tribute. That is

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<v Speaker 1>our friend and producer, Dylan Fagan. It's probably not as

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<v Speaker 1>effective as real skywriting, but we will take what we

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<v Speaker 1>can get.

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<v Speaker 2>Thank you so much. Dylan.

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<v Speaker 1>Also, Will is not here today. He's off on a

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<v Speaker 1>business trip doing business. But joining me today is our

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<v Speaker 1>old research pal Gabe and our friend and super producer

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<v Speaker 1>Mary Philip Sandy Gabe, you came up with idea for

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<v Speaker 1>this Nine Things?

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<v Speaker 2>Why skywriting?

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<v Speaker 3>Well, I think it's probably the most whimsical form of

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<v Speaker 3>advertising that we have, and I've heard a lot about

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<v Speaker 3>how it's kind of a dying art form and that

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<v Speaker 3>was really interesting to me. And I also don't think

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<v Speaker 3>I've ever seen it in person myself, so I'm really

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<v Speaker 3>hoping to get the chance before it kind of, you know,

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<v Speaker 3>goes by the wayside. Wait, you've never seen skywriting? No,

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<v Speaker 3>not really. I've been to air shows, so I've seen

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<v Speaker 3>like streaks of smoke behind jet planes or something like that.

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<v Speaker 3>But for the most part, I feel like I've only

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<v Speaker 3>seen like the budget form of skywriting, which is like

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<v Speaker 3>those long banners that trail behind planes, like at the

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<v Speaker 3>beach or something telling me to go to a pizza place.

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<v Speaker 4>Yeah, I've never seen skywriting of you.

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<v Speaker 2>Yeah, definitely. Where are you going.

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<v Speaker 4>Where there's skywriting?

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<v Speaker 1>I don't know if I've seen it a few times

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<v Speaker 1>at the beach. What beach, I don't know, Provincetown they

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<v Speaker 1>had Okay, well.

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<v Speaker 2>It be a fancy beach.

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<v Speaker 4>Yeah, not the kind of beach I go to.

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<v Speaker 1>Well, I go to not fancy teaches too. I'm just

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<v Speaker 1>saying I've seen it at the beach. I know that

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<v Speaker 1>is where I've seen to play in skywriting.

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<v Speaker 3>We'll take your word for it.

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<v Speaker 4>Ye know. Every just everyone go to a fancy beach

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<v Speaker 4>and you might see some skywriting.

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<v Speaker 3>Cross your fingers.

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<v Speaker 2>But I don't know.

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<v Speaker 1>I've lived like more than forty years. I feel like

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<v Speaker 1>I supposed I have seen something like that.

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<v Speaker 2>He feels really attacked right now.

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<v Speaker 4>It's okay, we're not shouting.

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<v Speaker 2>You for skywriting jealous.

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<v Speaker 3>I'm happy for you.

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<v Speaker 2>Okay.

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<v Speaker 1>So Mary Gabe got it started with the intro. Why

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<v Speaker 1>don't we throw to you for the first five Okay.

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<v Speaker 4>As someone who has never seen skywriting, I had to

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<v Speaker 4>do some research. But one thing I learned this week

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<v Speaker 4>is that part of the reason we've had so few

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<v Speaker 4>encounters with skywriting is because the medium really took a

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<v Speaker 4>nose dive after its heyday in the early twentieth century.

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<v Speaker 4>And that's partially because of the popularity of television and

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<v Speaker 4>then eventually the Internet, which are much easier mediums for

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<v Speaker 4>getting the word out, but concerns about public safety also

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<v Speaker 4>played a big role. After nine to eleven, the airspace

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<v Speaker 4>around major cities became much more tightly restricted, and the

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<v Speaker 4>kind of erratic movements that are involved with skywriting began

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<v Speaker 4>to make people nervous. So while skywriting remains a draw

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<v Speaker 4>at air shows and sports events and music festivals, it's

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<v Speaker 4>just become a lot less common in everyday life.

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<v Speaker 2>It's also, I imagine, like pretty expensive, right.

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<v Speaker 4>Yes, most skywriters charge a few thousand dollars for just

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<v Speaker 4>ten letters, and if you want a longer message, or

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<v Speaker 4>you want it repeated multiple times, then it could set

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<v Speaker 4>you back more than ten thousand dollars easily. And that's

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<v Speaker 4>not even counting the transportation costs, because in most cases,

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<v Speaker 4>the pilot's plane has to be shipped to the location

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<v Speaker 4>where they actually want the skywriting to appear.

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<v Speaker 2>Ye, the plane. That's crazy.

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<v Speaker 1>It also sounds like a pretty big hidden cost, right.

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<v Speaker 4>Yeah. I don't know how much it costs to ship

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<v Speaker 4>a plane, but I would imagine it's not cheap.

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<v Speaker 2>Yeah, that is interesting.

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<v Speaker 1>Well, one thing I learned this week is that skywriting

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<v Speaker 1>was actually invented for military use. The practice was developed

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<v Speaker 1>at the beginning of World War One, and this was

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<v Speaker 1>back when British pilots in the Royal Air Force discovered

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<v Speaker 1>that they could create white smoke that hung in the

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<v Speaker 1>air by running paraffin oil through the plane's exhaust pipes. Right,

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<v Speaker 1>And at first they just used the smoke to play

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<v Speaker 1>around during air drills, but pilots quickly realized that it

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<v Speaker 1>could actually be used to create smoke screens to obscure

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<v Speaker 1>the movements and confuse enemy pilots. It's a really fascinating use.

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<v Speaker 1>And it wasn't until after the war that those British

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<v Speaker 1>officers started working on a way to use skywriting in advertising.

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<v Speaker 4>This was England that gave us the idea of commercial skywriting.

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<v Speaker 1>That's right, And so in nineteen twenty one, Major Savage

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<v Speaker 1>developed a more sophisticated method for generating smoke and controlling

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<v Speaker 1>its release, and in May of the following year, Captain

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<v Speaker 1>Turner tested the device in England by skywriting the word castrol,

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<v Speaker 1>which you've probably heard of as a kind of engine

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<v Speaker 1>lubricant used in both cars, and playing sure castro yeah,

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<v Speaker 1>or if you've seen Cars movie, that's in it. Now

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<v Speaker 1>you're speaking my language, now, okay, yeah, skywriting Cars movie.

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<v Speaker 1>I've seen everything, but the pair's first attempt at aerial

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<v Speaker 1>advertising didn't draw much notice. They actually decided to try

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<v Speaker 1>one week later, and for that flight they found a

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<v Speaker 1>paying customer. So the men were contracted by the Daily Mail,

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<v Speaker 1>you know, the newspaper, to spell out the paper's name

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<v Speaker 1>over Epsom Downs during the Derby Steaks horse race.

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<v Speaker 4>So people did they pay attention then?

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<v Speaker 2>Yeah?

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<v Speaker 1>Of course, I mean, and it wasn't just Derby fans.

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<v Speaker 1>The message could actually be seen for miles in all directions,

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<v Speaker 1>including by people who did not know it had been

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<v Speaker 1>written by a plane, which is crazy, right, Like if

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<v Speaker 1>you think about the phenomena, there were kids at a

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<v Speaker 1>nearby school who saw the message outside the classroom window

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<v Speaker 1>and they assumed it had been written in the clouds

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<v Speaker 1>by an angel.

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<v Speaker 2>I mean, that's so.

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<v Speaker 1>Incredible, like it's this message from heaven and that it's

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<v Speaker 1>just an ad telling you to get a newspaper.

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<v Speaker 4>Yeah, especially the Daily Mail. I don't know that the

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<v Speaker 4>angels read the Daily Mail.

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<v Speaker 1>Which right, Heaven's paper is the tagline.

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<v Speaker 3>But well, to be fair to those kids, there is

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<v Speaker 3>something vaguely supernatural about floating letters in the sky, and

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<v Speaker 3>while expert skyriders can make the job look easy, it's

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<v Speaker 3>actually an extremely demanding profession, like pilots have to map

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<v Speaker 3>out there every move before takeoff, every turn, roll dive,

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<v Speaker 3>and every flip of that smoke switch, and then they

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<v Speaker 3>have to execute those maneuvers from memory while going one

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<v Speaker 3>hundred and fifty miles per hour at ten thousand feet

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<v Speaker 3>in the air. It's kind of like performing a choreographed

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<v Speaker 3>dance while also painting a mairal is insane.

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<v Speaker 4>I actually would have assumed that there's like, you know,

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<v Speaker 4>a digital technological assistance here right, like a flight path,

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<v Speaker 4>you know, like when they're actually using the plane to

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<v Speaker 4>fly places. But it sounds like you're saying they just have.

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<v Speaker 2>To know what to do.

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<v Speaker 3>Yeah, they have to just be like dead on precise,

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<v Speaker 3>and there's not much room for error either, Like the

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<v Speaker 3>smallest slip up could ruin the look of the entire message.

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<v Speaker 3>For instance, if a pilot doesn't open or close the

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<v Speaker 3>flow of smoke it's just the right moment, then two

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<v Speaker 3>letters might bleed together, or one letter might end up

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<v Speaker 3>taller or shorter than the rest. Plus all the letters

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<v Speaker 3>have to run along the same straight line to spell

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<v Speaker 3>out the word, and they have to be spaced apart evenly.

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<v Speaker 3>It is so much to keep track of But probably

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<v Speaker 3>the hardest part is that the message has to be

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<v Speaker 3>written backwards and upside down, like it's something I never

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<v Speaker 3>thought of before. But because the pilots are writing parallel

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<v Speaker 3>to the ground, they have to spell out the letters

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<v Speaker 3>in reverse so that the message appears correctly when viewed

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<v Speaker 3>from below. And some letters are particularly hard like skywriters

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<v Speaker 3>often say, oh is the hardest because you have to

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<v Speaker 3>maintain a constant angle of bank during the turn. But

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<v Speaker 3>the straight parts of a letter are a different kind

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<v Speaker 3>of challenge, and that's because you have to keep them

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<v Speaker 3>roughly the same height, and pilots have all kinds of

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<v Speaker 3>tricks for getting the timing just right. Some count Mississippis,

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<v Speaker 3>and at least one of them, a pilot named Nathan Hammond,

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<v Speaker 3>sings the Scooby Doo scene song to help him stay

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<v Speaker 3>in the right rhythm. Whatever works right, whatever works.

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<v Speaker 4>But speaking of music, one of the most famous instances

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<v Speaker 4>of skywriting was a holiday message that John Lennon and

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<v Speaker 4>Yoko Ono commissioned over the city of Toronto in December

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<v Speaker 4>of nineteen sixty nine. They hired the legendary skywriter Wayne

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<v Speaker 4>Mansfield to spell out the message quote war is over

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<v Speaker 4>if you want it. Happy ex miss from John and Yoko.

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<v Speaker 1>I love that there's a legendary sky writer, ye Mansfield.

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<v Speaker 3>Oh you haven't heard Wayne Mansfield.

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<v Speaker 2>Look, I've only seen skywriting.

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<v Speaker 1>I don't know who it could have been him, but

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<v Speaker 1>obviously that message is so much longer than ten letters.

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<v Speaker 4>It's actually forty four letters to be exact, which makes

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<v Speaker 4>it one of the longest skywritten messages of all time.

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<v Speaker 4>It was so long, in fact, that Mansfield had to

0:11:52.480 --> 0:11:56.080
<v Speaker 4>make special preparations ahead of the flight. So for reference,

0:11:56.160 --> 0:11:59.120
<v Speaker 4>a pilot will typically take up about thirty gallons of

0:11:59.240 --> 0:12:02.000
<v Speaker 4>skywriting flu which is enough to write about a dozen letters,

0:12:02.400 --> 0:12:05.320
<v Speaker 4>but for John and Yoko's message, Mansfield had to haul

0:12:05.400 --> 0:12:08.280
<v Speaker 4>four times that amount. But all that extra effort earned

0:12:08.320 --> 0:12:11.040
<v Speaker 4>him some repeat business from the couple, because eleven years later,

0:12:11.320 --> 0:12:14.960
<v Speaker 4>Yoko hired Mansfield again, this time to deliver a birthday

0:12:15.000 --> 0:12:18.080
<v Speaker 4>greeting to her husband and their son Sean. The second

0:12:18.080 --> 0:12:20.920
<v Speaker 4>message was written over the skies of Manhattan, and although

0:12:20.920 --> 0:12:22.559
<v Speaker 4>it was a little bit shorter than the last one,

0:12:22.600 --> 0:12:25.080
<v Speaker 4>it just said happy Birthday, John and Sean Love Yoko.

0:12:25.520 --> 0:12:28.440
<v Speaker 4>Mansfield still had to bring plenty of fluid. Yoko wanted

0:12:28.520 --> 0:12:31.080
<v Speaker 4>him to write it out nine times.

0:12:31.640 --> 0:12:33.800
<v Speaker 2>Nine times feels successful by nine.

0:12:34.000 --> 0:12:36.680
<v Speaker 4>Both John and Sean were born on October ninth, so

0:12:36.800 --> 0:12:39.199
<v Speaker 4>I don't know, maybe that's why. But the number also

0:12:39.480 --> 0:12:42.560
<v Speaker 4>held some special significance for Lenin throughout his life. The

0:12:42.800 --> 0:12:44.960
<v Speaker 4>numbers on the school bus that he wrote as a

0:12:45.040 --> 0:12:47.839
<v Speaker 4>child added up to nine. The first house he lived

0:12:47.840 --> 0:12:51.280
<v Speaker 4>in was at nine Newcastle Road, and the Beatles' first

0:12:51.320 --> 0:12:53.560
<v Speaker 4>appearance at the Cavern Club was on the ninth of

0:12:53.600 --> 0:12:56.720
<v Speaker 4>February in nineteen sixty one. And as John Lennon himself

0:12:56.760 --> 0:12:59.120
<v Speaker 4>once said, it's just a number that follows me around.

0:12:59.120 --> 0:13:02.520
<v Speaker 4>But numerological apparently I'm a number six or three or something.

0:13:02.640 --> 0:13:04.440
<v Speaker 4>But it's all part of nine.

0:13:04.920 --> 0:13:06.600
<v Speaker 2>That is just math there. That's math.

0:13:08.000 --> 0:13:10.480
<v Speaker 1>But you know, as long as we're talking pop culture,

0:13:10.640 --> 0:13:12.800
<v Speaker 1>I do want to share the inside scoop on what's

0:13:12.840 --> 0:13:16.480
<v Speaker 1>probably the most well known skywriting scene in movie history,

0:13:16.559 --> 0:13:20.560
<v Speaker 1>and that is, of course, the surrender Dorothy sequence from

0:13:20.600 --> 0:13:24.520
<v Speaker 1>the nineteen thirty nine film The Wizard of Oz. Does

0:13:24.559 --> 0:13:26.720
<v Speaker 1>the Wizard of Oz hold a special place in either

0:13:26.720 --> 0:13:27.360
<v Speaker 1>of your lives?

0:13:27.480 --> 0:13:28.280
<v Speaker 3>I've never heard of it.

0:13:30.240 --> 0:13:32.880
<v Speaker 4>I had a Scottish Terrier because of that movie. Really

0:13:33.000 --> 0:13:36.319
<v Speaker 4>her name was Toto's Tama Shanter. In fact, Oh wow, yeah,

0:13:36.400 --> 0:13:37.520
<v Speaker 4>perfectly called her Danny.

0:13:37.679 --> 0:13:43.000
<v Speaker 1>Yeah, that's very very So you are definitely familiar with

0:13:43.040 --> 0:13:45.680
<v Speaker 1>this scene, and it is a scene that takes a

0:13:45.720 --> 0:13:48.680
<v Speaker 1>place a little over halfway through the movie, shortly after

0:13:48.760 --> 0:13:53.880
<v Speaker 1>Dorothy and her entourage arrive at the Emerald City. They're

0:13:53.920 --> 0:13:55.679
<v Speaker 1>on their way to meet the Wizard when all of

0:13:55.720 --> 0:13:57.960
<v Speaker 1>a sudden, the Wicked Witch of the West appears in

0:13:58.080 --> 0:14:02.720
<v Speaker 1>the sky. On her broomstick, skywrites the words surrender Dorothy.

0:14:03.200 --> 0:14:05.400
<v Speaker 3>Okay, so I was kidding. I have seen The Wizard

0:14:05.440 --> 0:14:08.000
<v Speaker 3>of Oz and that part you're talking about. It always

0:14:08.080 --> 0:14:10.320
<v Speaker 3>baffled me as a kid, Like I knew she wasn't

0:14:10.360 --> 0:14:13.240
<v Speaker 3>really flying, but I could not figure out how they

0:14:13.240 --> 0:14:14.400
<v Speaker 3>made it look so convinced.

0:14:14.559 --> 0:14:17.240
<v Speaker 4>Well, this would have been like way before digital effects

0:14:17.240 --> 0:14:19.200
<v Speaker 4>were a thing, Right, So I'm guessing if I had

0:14:19.200 --> 0:14:20.680
<v Speaker 4>to guess, I would say they took footage of a

0:14:20.720 --> 0:14:23.120
<v Speaker 4>real skywriter and then they just superposed like a little

0:14:23.160 --> 0:14:24.440
<v Speaker 4>broomstick over the plane part.

0:14:24.520 --> 0:14:26.600
<v Speaker 1>Right, Yeah, I mean that's what I thought too. But

0:14:26.720 --> 0:14:29.840
<v Speaker 1>according to the special effects artists who actually handle the sequence,

0:14:29.920 --> 0:14:33.720
<v Speaker 1>and this is a genius named Jack McMaster. There's actually

0:14:33.760 --> 0:14:36.880
<v Speaker 1>no skywriting in the movie. In fact, the sky that

0:14:36.920 --> 0:14:39.040
<v Speaker 1>we see is just the bottom of a glass tank

0:14:39.200 --> 0:14:43.520
<v Speaker 1>filled with tinted water. And as for the witch's broomstick, well,

0:14:44.080 --> 0:14:47.560
<v Speaker 1>let me tell you how McMaster explained it. Quote, the

0:14:47.560 --> 0:14:49.720
<v Speaker 1>bottom of the tank was covered with an inch and

0:14:49.720 --> 0:14:53.080
<v Speaker 1>a half of water mixed with cala oil, and that

0:14:53.160 --> 0:14:55.960
<v Speaker 1>was supposed to be the sky. The camera was beneath

0:14:56.000 --> 0:14:59.600
<v Speaker 1>the tank shooting up. The miniature which who did the skywriting,

0:14:59.680 --> 0:15:01.960
<v Speaker 1>was three three eighths of an inch high, and the

0:15:01.960 --> 0:15:05.600
<v Speaker 1>broom she was writing was a hypodermic needle filled with

0:15:05.640 --> 0:15:08.840
<v Speaker 1>a combination of canned milk and black dye. I wrote

0:15:08.840 --> 0:15:11.760
<v Speaker 1>the message upside down and backwards in the fluid in

0:15:11.880 --> 0:15:14.360
<v Speaker 1>the tank, using the needle in place of a pen.

0:15:14.800 --> 0:15:18.120
<v Speaker 1>I practiced for two months before I did it. Isn't

0:15:18.120 --> 0:15:18.800
<v Speaker 1>that incredible?

0:15:18.840 --> 0:15:22.840
<v Speaker 4>That is so elaborate. I've seen that movie dozens of times.

0:15:22.880 --> 0:15:24.480
<v Speaker 4>I never would have guessed that's how they did it.

0:15:24.520 --> 0:15:26.840
<v Speaker 4>But I do like that even though it wasn't real skywriting,

0:15:26.880 --> 0:15:28.960
<v Speaker 4>he still had to master the art of writing upside

0:15:28.960 --> 0:15:30.000
<v Speaker 4>down and backwards.

0:15:30.320 --> 0:15:33.560
<v Speaker 1>Yeah, I guess that dificultly carried over. But Apparently the

0:15:33.600 --> 0:15:35.960
<v Speaker 1>message he wrote was even a little longer. In the

0:15:36.000 --> 0:15:39.480
<v Speaker 1>original cut of the movie, it actually read surrendered Dorothy

0:15:39.960 --> 0:15:45.600
<v Speaker 1>or die, and it was signed with the Witch's initials WWW,

0:15:45.720 --> 0:15:46.720
<v Speaker 1>which is the faz thing.

0:15:47.080 --> 0:15:50.360
<v Speaker 3>She's like not claying around. So why they shorten it?

0:15:50.560 --> 0:15:52.800
<v Speaker 1>Well, according to The New York Post, it was because

0:15:52.840 --> 0:15:55.960
<v Speaker 1>the Wicked Witch was deemed too scary by test audiences,

0:15:56.080 --> 0:15:58.560
<v Speaker 1>so the producers went back and they toned her down

0:15:58.600 --> 0:16:01.760
<v Speaker 1>a little bit, including by cutting out the death threat.

0:16:02.160 --> 0:16:05.040
<v Speaker 3>It's probably a good call, is She's still plenty scary

0:16:05.080 --> 0:16:07.720
<v Speaker 3>if you ask me. But it is interesting that they

0:16:07.760 --> 0:16:10.400
<v Speaker 3>went with black smoke for the scene. You know, it's

0:16:10.440 --> 0:16:13.760
<v Speaker 3>suitably witchy and stands out against the blue backdrop. But

0:16:14.200 --> 0:16:16.960
<v Speaker 3>you'd be hard pressed to find anything but white smoke

0:16:17.080 --> 0:16:18.160
<v Speaker 3>in real skyriding.

0:16:18.280 --> 0:16:19.160
<v Speaker 2>Yeah, why is that?

0:16:19.240 --> 0:16:21.960
<v Speaker 4>Actually I've seen colored smoke, like you know, at air shows,

0:16:21.960 --> 0:16:23.720
<v Speaker 4>and the technology.

0:16:23.200 --> 0:16:27.040
<v Speaker 3>Exists, no, absolutely, but white smoke is the default because

0:16:27.080 --> 0:16:30.680
<v Speaker 3>that's the natural color produced when paraffine oil is vaporized.

0:16:31.040 --> 0:16:33.080
<v Speaker 3>And in the case of black smoke, I mean, if

0:16:33.120 --> 0:16:34.800
<v Speaker 3>you saw that pouring out of the back of a plane,

0:16:34.800 --> 0:16:36.960
<v Speaker 3>you'd probably assume something was wrong with the engine and

0:16:37.120 --> 0:16:40.920
<v Speaker 3>maybe take cover. But as for the multicolored smoke trails

0:16:40.920 --> 0:16:43.040
<v Speaker 3>that you often see at an air show, those are

0:16:43.200 --> 0:16:46.280
<v Speaker 3>possible because the planes are flying at much lower altitudes.

0:16:46.640 --> 0:16:49.360
<v Speaker 3>Skyriders tend to work much higher up, and it's hard

0:16:49.360 --> 0:16:52.800
<v Speaker 3>to produce a consistent, legible colored smoke at that height

0:16:53.000 --> 0:16:56.240
<v Speaker 3>because of atmospheric conditions. And that doesn't mean it can't

0:16:56.280 --> 0:16:58.520
<v Speaker 3>be done, but the main reason it's never caught on

0:16:58.680 --> 0:17:02.200
<v Speaker 3>is that colored smoke requires some heavy duty dies to achieve,

0:17:02.280 --> 0:17:04.640
<v Speaker 3>you know, the different hues, and they tend to stain

0:17:04.840 --> 0:17:07.639
<v Speaker 3>everything they touch. That's not a huge deal when the

0:17:07.680 --> 0:17:10.359
<v Speaker 3>smoke is just trailing behind you in a straight line,

0:17:10.600 --> 0:17:13.719
<v Speaker 3>but a skywriter has to swoop and dive and curl

0:17:13.800 --> 0:17:16.159
<v Speaker 3>to spell out a message, so there's bound to be

0:17:16.200 --> 0:17:19.720
<v Speaker 3>some blowback. And for most skywriters, colored smoke just isn't

0:17:19.760 --> 0:17:22.040
<v Speaker 3>worth the extra effort of, you know, scrubbing it off

0:17:22.040 --> 0:17:24.080
<v Speaker 3>the plane's exterior after every job.

0:17:24.960 --> 0:17:27.320
<v Speaker 1>That's interesting that it just causes such a mess that

0:17:27.320 --> 0:17:28.080
<v Speaker 1>they don't want to.

0:17:28.000 --> 0:17:28.800
<v Speaker 2>Deal with it.

0:17:30.480 --> 0:17:32.399
<v Speaker 1>Well, I know, we've got a couple more facts to

0:17:32.400 --> 0:17:35.280
<v Speaker 1>go before we crown a winner here, but first let's

0:17:35.280 --> 0:17:51.960
<v Speaker 1>take a quick ad break. Welcome back to part time

0:17:52.000 --> 0:17:56.040
<v Speaker 1>genius where we're talking all things skywriting. So Mary, I think,

0:17:56.119 --> 0:17:58.280
<v Speaker 1>as far as the order goes, you are up next.

0:17:58.440 --> 0:17:58.680
<v Speaker 3>Yes.

0:17:58.840 --> 0:18:02.119
<v Speaker 4>So one thing I was curious about is why skywriting

0:18:02.119 --> 0:18:04.400
<v Speaker 4>smoke is necessary in the first place. I mean, we've

0:18:04.400 --> 0:18:07.679
<v Speaker 4>all seen the white streaks or contrails that jet planes produce,

0:18:07.720 --> 0:18:10.679
<v Speaker 4>and those aren't the results of purposely adding something to

0:18:10.720 --> 0:18:13.000
<v Speaker 4>the exhaust like with skywriting. I mean, it's just the

0:18:13.040 --> 0:18:15.520
<v Speaker 4>results of jet fuel combustion at high altitudes. It just

0:18:15.560 --> 0:18:18.760
<v Speaker 4>happens when the fuel is burned, carbon dioxide and water

0:18:18.880 --> 0:18:21.520
<v Speaker 4>vapor are expelled from the jet's exhaust pipe, and when

0:18:21.560 --> 0:18:24.200
<v Speaker 4>that hits the cold air of the upper atmosphere, the

0:18:24.240 --> 0:18:26.520
<v Speaker 4>water vapor condenses and then it freezes along with the

0:18:26.520 --> 0:18:28.960
<v Speaker 4>other particles, and it creates that visible cloud that you

0:18:28.960 --> 0:18:29.760
<v Speaker 4>can see from the ground.

0:18:30.400 --> 0:18:33.520
<v Speaker 1>So why do skywriders actually bother with smoke? Then if

0:18:33.560 --> 0:18:35.280
<v Speaker 1>they could just use the contrails, well.

0:18:35.200 --> 0:18:37.640
<v Speaker 4>Actually they can't. It turns out they cannot use the contrails,

0:18:37.640 --> 0:18:43.480
<v Speaker 4>so that's why it's not possible. Skywriters have to fly

0:18:43.520 --> 0:18:45.760
<v Speaker 4>at a much lower altitude for their messages to be

0:18:45.800 --> 0:18:48.399
<v Speaker 4>visible from the ground, so the air is not consistently

0:18:48.520 --> 0:18:51.199
<v Speaker 4>cold enough to produce those contrails. And not only that,

0:18:51.640 --> 0:18:54.840
<v Speaker 4>most skywriters are using smaller propeller driven planes. A jet

0:18:54.880 --> 0:18:57.560
<v Speaker 4>is not maneuverable enough to make those tight turns that

0:18:57.600 --> 0:18:59.640
<v Speaker 4>you need to do to form letters, and so without

0:18:59.680 --> 0:19:03.200
<v Speaker 4>the water vapor from jet fuel combustion, contrails wouldn't form

0:19:03.200 --> 0:19:05.480
<v Speaker 4>even if the air was cold enough. But that said,

0:19:05.520 --> 0:19:08.040
<v Speaker 4>there is one way for skywriters to produce clouds, and

0:19:08.080 --> 0:19:09.960
<v Speaker 4>that is to draw them using smoke.

0:19:10.640 --> 0:19:13.679
<v Speaker 3>That's a real thing, Like people say, skyriders thousands of

0:19:13.680 --> 0:19:15.240
<v Speaker 3>dollars to just draw a fake cloud.

0:19:15.880 --> 0:19:18.320
<v Speaker 4>I wouldn't say it's a regular occurrence, but it has

0:19:18.359 --> 0:19:20.320
<v Speaker 4>happened on at least one occasion, and this was back

0:19:20.359 --> 0:19:22.240
<v Speaker 4>in two thousand and one. It was part of a

0:19:22.359 --> 0:19:26.520
<v Speaker 4>public exhibit by Brazilian artist Vik Munis. He's a photographer

0:19:26.600 --> 0:19:28.879
<v Speaker 4>first and foremost, and a lot of his work deals

0:19:28.920 --> 0:19:32.239
<v Speaker 4>with the relationship between illusion and perception. But for his

0:19:32.240 --> 0:19:35.600
<v Speaker 4>first large scale project, he decided to explore that theme

0:19:35.680 --> 0:19:38.560
<v Speaker 4>through a different medium, skywriting. But to be clear, he

0:19:38.640 --> 0:19:40.480
<v Speaker 4>was not the one actually doing the flying. He just

0:19:40.560 --> 0:19:43.160
<v Speaker 4>designed a series of cloud shapes and then he hired

0:19:43.160 --> 0:19:45.680
<v Speaker 4>a pilot to draw them in smoke. All over the

0:19:45.720 --> 0:19:48.640
<v Speaker 4>Manhattan skyline, and they did this about four times over

0:19:48.640 --> 0:19:51.320
<v Speaker 4>the course of one week in February. And although the

0:19:51.359 --> 0:19:54.520
<v Speaker 4>cloud outlines only lasted a short time before being blown away,

0:19:54.880 --> 0:19:57.080
<v Speaker 4>there were still all these reports of people on the

0:19:57.119 --> 0:20:00.439
<v Speaker 4>streets and in office buildings just being completely trans fixed,

0:20:00.520 --> 0:20:02.439
<v Speaker 4>you know, standing there waiting to see what the plane

0:20:02.440 --> 0:20:02.879
<v Speaker 4>was drawing.

0:20:04.119 --> 0:20:07.480
<v Speaker 3>So there was like no message or anything being advertised.

0:20:07.960 --> 0:20:08.359
<v Speaker 2>It was art.

0:20:08.400 --> 0:20:10.320
<v Speaker 4>It was art. It was just clouds. It was It

0:20:10.359 --> 0:20:13.000
<v Speaker 4>was more of a like an ephemeral exhibit, right, like

0:20:13.040 --> 0:20:15.080
<v Speaker 4>a sand sculpture. It's there and then it isn't. But

0:20:15.440 --> 0:20:18.600
<v Speaker 4>full disclosure, the cloud stunt was meant to coincide with

0:20:18.800 --> 0:20:21.080
<v Speaker 4>a show of his photography at the Whitney Museum, So

0:20:21.200 --> 0:20:22.639
<v Speaker 4>I guess in a way you could say it was

0:20:22.640 --> 0:20:27.000
<v Speaker 4>an advertisement or self promotion, but no one on the

0:20:27.000 --> 0:20:28.840
<v Speaker 4>ground would have known that or made that connection in

0:20:28.880 --> 0:20:30.720
<v Speaker 4>the moment, So for most people it was just this

0:20:30.840 --> 0:20:33.200
<v Speaker 4>like fun, weird thing that happened randomly in the middle

0:20:33.200 --> 0:20:33.760
<v Speaker 4>of org day.

0:20:34.560 --> 0:20:36.840
<v Speaker 1>I mean, it is interesting that like something that I

0:20:36.840 --> 0:20:40.560
<v Speaker 1>can command people's attention just because it's happening in the sky, right, Like,

0:20:41.160 --> 0:20:43.680
<v Speaker 1>think about how many sculptures and murals New Yorkers walk

0:20:43.800 --> 0:20:47.320
<v Speaker 1>past on a daily basis, and we don't even glance

0:20:47.359 --> 0:20:49.920
<v Speaker 1>at them, right, But if you draw a few clouds

0:20:49.920 --> 0:20:52.080
<v Speaker 1>in the sky, it's the type of thing that you

0:20:52.119 --> 0:20:53.040
<v Speaker 1>can look away from.

0:20:53.560 --> 0:20:55.760
<v Speaker 4>Yeah, And I think I think that's what makes sky

0:20:55.800 --> 0:20:58.200
<v Speaker 4>writing such a powerful tool, right, because it makes use

0:20:58.280 --> 0:21:00.359
<v Speaker 4>of a space that is visible to everyone, but that

0:21:00.400 --> 0:21:02.760
<v Speaker 4>most people don't have a way of interacting with.

0:21:02.920 --> 0:21:03.720
<v Speaker 2>And while a lot of.

0:21:03.760 --> 0:21:05.480
<v Speaker 4>Us have tried to draw a meaning from the sky

0:21:05.680 --> 0:21:08.080
<v Speaker 4>in one way or another, like using the stars navigate

0:21:08.160 --> 0:21:12.560
<v Speaker 4>or making a podcast about astrology or analyzing clouds to

0:21:12.600 --> 0:21:14.760
<v Speaker 4>predict the weather, you don't usually look up and just

0:21:14.880 --> 0:21:16.760
<v Speaker 4>find a clear cut message or a work of art.

0:21:16.880 --> 0:21:19.280
<v Speaker 4>So people tend to take notice when it happens.

0:21:19.720 --> 0:21:23.200
<v Speaker 1>Well, we are definitely giving skywriting our full attention today,

0:21:23.240 --> 0:21:25.920
<v Speaker 1>and we're not the only ones to reassess the concept.

0:21:26.000 --> 0:21:29.040
<v Speaker 1>In recent years, thanks to smartphones and social media, it

0:21:29.160 --> 0:21:32.640
<v Speaker 1>is easier than ever to capture and share a skywriting message,

0:21:32.680 --> 0:21:35.679
<v Speaker 1>which makes the medium's temporary nature much less of a

0:21:35.720 --> 0:21:38.640
<v Speaker 1>drawback than it used to be. It is worth noting, though,

0:21:38.800 --> 0:21:42.359
<v Speaker 1>that so far we've only talked about traditional skywriting, which

0:21:42.480 --> 0:21:45.600
<v Speaker 1>isn't the technique used for most modern skywriting messages.

0:21:46.040 --> 0:21:48.199
<v Speaker 3>What wait, you're going to spring that on us in

0:21:48.240 --> 0:21:51.840
<v Speaker 3>the night set That there's this whole other form of skywriting.

0:21:51.960 --> 0:21:53.200
<v Speaker 4>It's all been a lie.

0:21:54.840 --> 0:21:57.119
<v Speaker 1>Most of what you'll see in the skies or on

0:21:57.160 --> 0:22:00.840
<v Speaker 1>Instagram are examples of a more recent, more autumn techniques

0:22:00.920 --> 0:22:04.919
<v Speaker 1>called sky typing. Now, both methods use paraffine oil. They

0:22:04.960 --> 0:22:07.320
<v Speaker 1>send it through the plane's exhaust to create a trail

0:22:07.359 --> 0:22:10.600
<v Speaker 1>of white smoke, but only traditional skywriting requires the pilot

0:22:10.640 --> 0:22:13.360
<v Speaker 1>to control the release of the oil and by extension,

0:22:13.400 --> 0:22:17.320
<v Speaker 1>the smoke using controls in the cockpit. But for sky typing,

0:22:17.440 --> 0:22:20.000
<v Speaker 1>it's more like what Mary imagined earlier. Right, Like, the

0:22:20.600 --> 0:22:23.360
<v Speaker 1>release of the oil is controlled by an onboard computer.

0:22:23.600 --> 0:22:26.240
<v Speaker 1>The pilot enters the message they want to type, and

0:22:26.280 --> 0:22:29.359
<v Speaker 1>the computer kind of plots a course, pumping out dots

0:22:29.359 --> 0:22:31.720
<v Speaker 1>of smoke to form each letter along the way. Now,

0:22:31.760 --> 0:22:34.040
<v Speaker 1>this is actually the type of skywriting I saw over

0:22:34.040 --> 0:22:38.480
<v Speaker 1>the summer. But another difference is that sky typing pilots

0:22:38.560 --> 0:22:41.639
<v Speaker 1>don't fly their planes in the shape of each letter. Instead,

0:22:41.720 --> 0:22:45.359
<v Speaker 1>a series of pilots work in tandem, flying across the

0:22:45.400 --> 0:22:48.800
<v Speaker 1>same patch of sky in parallel lines. While releasing the

0:22:48.840 --> 0:22:53.040
<v Speaker 1>dots to form this message. That seems a little less fun.

0:22:53.080 --> 0:22:54.439
<v Speaker 1>But I mean, I guess it's kind of like an

0:22:54.480 --> 0:22:58.480
<v Speaker 1>old dot matrix printer, right, Yeah, especially up close, right,

0:22:58.840 --> 0:23:01.960
<v Speaker 1>it's just a bunch of broken dots, But when you

0:23:02.080 --> 0:23:04.240
<v Speaker 1>view it from far enough away, it looks.

0:23:03.960 --> 0:23:04.959
<v Speaker 2>Like solid letters.

0:23:05.040 --> 0:23:09.520
<v Speaker 1>And the process is faster, cheaper, It's easier than traditional skywriting,

0:23:09.600 --> 0:23:12.800
<v Speaker 1>but as old school skywriters will tell you, it is

0:23:12.920 --> 0:23:14.119
<v Speaker 1>also less artful.

0:23:14.280 --> 0:23:16.080
<v Speaker 4>Yeah, it sounds like it. I mean, you know, I

0:23:16.119 --> 0:23:18.520
<v Speaker 4>think Gabe was saying earlier, it's like skywriting is like

0:23:18.520 --> 0:23:20.560
<v Speaker 4>painting a mural, and this just sounds kind of more

0:23:20.600 --> 0:23:22.679
<v Speaker 4>like paint by numbers, right, Like you just kind of

0:23:22.960 --> 0:23:24.880
<v Speaker 4>follow the pattern. There's less skill involved.

0:23:25.040 --> 0:23:25.359
<v Speaker 2>Yeah.

0:23:25.400 --> 0:23:28.280
<v Speaker 1>Well, you don't have to warn for traditional skywriting just yet,

0:23:28.359 --> 0:23:31.040
<v Speaker 1>because while it is much rareer these days, there are

0:23:31.119 --> 0:23:34.040
<v Speaker 1>still a handful of pilots out there who fly the

0:23:34.040 --> 0:23:36.679
<v Speaker 1>old fashioned way, and they are teaching their skills to

0:23:36.720 --> 0:23:39.640
<v Speaker 1>the next generation. And since the old method doesn't require

0:23:39.680 --> 0:23:43.560
<v Speaker 1>all the equipment and manpower for skytyping, it's still the

0:23:43.600 --> 0:23:46.920
<v Speaker 1>most accessible way for solo flyers who you know, want

0:23:46.920 --> 0:23:48.600
<v Speaker 1>to paint on the world's biggest canvas.

0:23:49.880 --> 0:23:51.800
<v Speaker 3>Well, I don't know how you pulled it off, but

0:23:52.160 --> 0:23:55.320
<v Speaker 3>now you've got me feeling sentimental about what are essentially

0:23:55.400 --> 0:23:59.159
<v Speaker 3>big smoky billboards. So Mary, what do you say we

0:23:59.200 --> 0:24:02.360
<v Speaker 3>give them the trophy this week? Yeah?

0:24:02.480 --> 0:24:04.320
<v Speaker 4>Yeah, I liked his Wizard of Oz fact too, and

0:24:04.400 --> 0:24:07.119
<v Speaker 4>you know he's actually seen skywriting, so I think he's

0:24:07.160 --> 0:24:07.480
<v Speaker 4>earned it.

0:24:07.720 --> 0:24:10.960
<v Speaker 1>Yeah, you just pick on me for the first part,

0:24:11.640 --> 0:24:13.240
<v Speaker 1>you give me a trophy and send me off in

0:24:13.280 --> 0:24:13.640
<v Speaker 1>the end.

0:24:13.920 --> 0:24:17.879
<v Speaker 2>But I'm gonna take this trophy and you guys can

0:24:17.920 --> 0:24:22.640
<v Speaker 2>live with your decisions. We will.

0:24:24.040 --> 0:24:26.280
<v Speaker 1>Well, I'm afraid that's all the time we have for

0:24:26.320 --> 0:24:30.680
<v Speaker 1>today's Part Time Genius from Mary, Gabe, Dylan, Will and myself.

0:24:30.720 --> 0:24:33.000
<v Speaker 1>Thank you so much for listening. And while we have

0:24:33.080 --> 0:24:36.360
<v Speaker 1>the show, don't have enough money for skywriting, we do

0:24:36.480 --> 0:24:39.680
<v Speaker 1>have an Instagram account. Just drop us a line at

0:24:39.760 --> 0:24:43.040
<v Speaker 1>part Time Genius and we'll be back with more soon.

0:24:43.200 --> 0:24:58.240
<v Speaker 1>Thank you so much for listening. Part Time Genius is

0:24:58.280 --> 0:25:01.560
<v Speaker 1>a production of Kaleidoscope and I Heart Radio. This show

0:25:01.640 --> 0:25:05.560
<v Speaker 1>is hosted by Will Pearson and me Mongais Chatikler and

0:25:05.720 --> 0:25:08.439
<v Speaker 1>research by our goodpal Mary Philip Sandy.

0:25:09.040 --> 0:25:10.119
<v Speaker 2>Today's episode was.

0:25:10.119 --> 0:25:13.440
<v Speaker 1>Engineered and produced by the Wonderful Dylan Fagan, with support

0:25:13.440 --> 0:25:17.200
<v Speaker 1>from Tyler Klang. The show is executive produced for iHeart

0:25:17.240 --> 0:25:20.760
<v Speaker 1>by Katrina Norvel and Ali Perry, with social media support

0:25:20.760 --> 0:25:24.479
<v Speaker 1>from Sasha Gay, trustee Dara Potts and buy Any Shorey.

0:25:25.160 --> 0:25:29.639
<v Speaker 1>For more podcasts from Kaleidoscope and iHeartRadio, visit the iHeartRadio app,

0:25:29.840 --> 0:25:40.399
<v Speaker 1>Apple Podcasts, or wherever you listen to your favorite shows.