1 00:00:14,560 --> 00:00:17,920 Speaker 1: You're listening to Part Time Genius, the production of Kaleidoscope 2 00:00:18,120 --> 00:00:24,160 Speaker 1: and iHeartRadio. Guess what? Well? 3 00:00:24,200 --> 00:00:24,840 Speaker 2: What's that mango? 4 00:00:25,239 --> 00:00:28,200 Speaker 1: So I have a riddle for you. What do h 5 00:00:28,280 --> 00:00:31,720 Speaker 1: g Wells? Were the Worlds? The Carry Grant movie, His 6 00:00:31,760 --> 00:00:35,560 Speaker 1: Girl Friday, and the Mona Lisa all have in common? 7 00:00:36,120 --> 00:00:36,360 Speaker 2: Man? 8 00:00:36,520 --> 00:00:38,400 Speaker 3: Starting this one out with a with a tough one, 9 00:00:40,320 --> 00:00:41,320 Speaker 3: I'm gonna go. 10 00:00:42,440 --> 00:00:43,000 Speaker 2: I've got a guess. 11 00:00:43,000 --> 00:00:46,600 Speaker 3: I'm gonna go with things that inspired the musical artist Prince. 12 00:00:48,560 --> 00:00:51,960 Speaker 1: Maybe. But the answer I was looking for was that 13 00:00:52,000 --> 00:00:54,480 Speaker 1: they're all works that are in the public domain. 14 00:00:54,920 --> 00:00:56,960 Speaker 3: All right, Okay, yeah, that makes sense, which means I 15 00:00:57,000 --> 00:00:58,760 Speaker 3: can set up a Mona Lisa stand in my front 16 00:00:58,800 --> 00:01:01,680 Speaker 3: yard and sell Prince with out getting sued now right. 17 00:01:02,320 --> 00:01:05,320 Speaker 1: Yeah, finally a second career option for you. That what 18 00:01:05,360 --> 00:01:08,720 Speaker 1: I've been waiting for. But creative works in the public 19 00:01:08,760 --> 00:01:12,759 Speaker 1: domain aren't protected by intellectual property law, So that means 20 00:01:12,760 --> 00:01:14,520 Speaker 1: you can take it, you can use it, you can 21 00:01:14,560 --> 00:01:17,120 Speaker 1: remix it, you can sell it in your front yard 22 00:01:17,120 --> 00:01:19,479 Speaker 1: to all your neighbors, and you don't have to worry 23 00:01:19,480 --> 00:01:21,959 Speaker 1: about copyright. So if you want to make a movie 24 00:01:22,000 --> 00:01:26,199 Speaker 1: adaptation of War the World's starring the Mona Lisa. It 25 00:01:26,319 --> 00:01:29,880 Speaker 1: might be difficult creatively, but you know you can do 26 00:01:29,959 --> 00:01:32,959 Speaker 1: it now without getting into any sort of legal trouble. 27 00:01:33,080 --> 00:01:34,480 Speaker 3: Well, when you look at it, the World of the 28 00:01:34,520 --> 00:01:37,319 Speaker 3: World's version that had ice Cube, but that got something 29 00:01:37,400 --> 00:01:39,759 Speaker 3: like I think it was like four percent on rotten tomatoes, 30 00:01:39,760 --> 00:01:41,400 Speaker 3: so it's probably due for a remake. 31 00:01:42,680 --> 00:01:45,280 Speaker 1: Yeah, And I know these are kind of silly examples, 32 00:01:45,280 --> 00:01:48,320 Speaker 1: but public domain is really important for art and culture 33 00:01:48,440 --> 00:01:51,760 Speaker 1: because without it we wouldn't have masterpieces like Westside Story, 34 00:01:51,960 --> 00:01:55,040 Speaker 1: which was based on Romeo and Juliet, or The Little Mermaid, 35 00:01:55,120 --> 00:01:58,680 Speaker 1: which was based on Hans Christian Anderson's fairy tale. And 36 00:01:58,920 --> 00:02:02,400 Speaker 1: public domain also helps is archive important cultural works and 37 00:02:02,640 --> 00:02:06,160 Speaker 1: make them more accessible so anyone can enjoy them. And 38 00:02:06,360 --> 00:02:09,520 Speaker 1: since it is officially twenty twenty six, that means a 39 00:02:09,560 --> 00:02:11,840 Speaker 1: whole new crop of works has entered the public domain. 40 00:02:11,919 --> 00:02:14,359 Speaker 1: And today we're going to tell you about nine of 41 00:02:14,440 --> 00:02:18,960 Speaker 1: our favorites, from an iconic abstract painting to a hard 42 00:02:18,960 --> 00:02:23,320 Speaker 1: boiled detective novel to a voluptuous cartoon who began life 43 00:02:23,600 --> 00:02:25,360 Speaker 1: as a dog. So let's dive in. 44 00:02:46,320 --> 00:02:48,960 Speaker 3: Hey, their podcast listeners, welcome to Part time Genius. I'm 45 00:02:49,000 --> 00:02:51,320 Speaker 3: Will Pearson and as always, I'm here with my good 46 00:02:51,320 --> 00:02:53,880 Speaker 3: friend Mangesh hot ticketter and over there in the booth 47 00:02:53,880 --> 00:02:57,720 Speaker 3: as our PALIN producer Dylan Fagan. Now I'm gonna be honest, Mengo. 48 00:02:58,040 --> 00:03:00,800 Speaker 3: At first, I was very confused by his outfit today 49 00:03:00,840 --> 00:03:03,960 Speaker 3: because he's wearing a plain white T shirt and what 50 00:03:04,120 --> 00:03:07,920 Speaker 3: looks like two capital l's on it, and I have 51 00:03:07,960 --> 00:03:10,880 Speaker 3: to be honest, it's a little bit boring for Dylan's standards. 52 00:03:10,919 --> 00:03:13,960 Speaker 3: But then I remembered something he said this before the holidays. 53 00:03:13,960 --> 00:03:16,720 Speaker 3: He said, guys, in the new year, I'm coming at 54 00:03:16,720 --> 00:03:19,520 Speaker 3: you with more riddles, and I didn't really know what 55 00:03:19,520 --> 00:03:22,639 Speaker 3: it meant. So I've been thinking about this one. I'm 56 00:03:22,639 --> 00:03:24,720 Speaker 3: glad we had a few minutes before to just sort 57 00:03:24,760 --> 00:03:27,880 Speaker 3: of stare and think about this. Those aren't l's. This 58 00:03:27,880 --> 00:03:30,799 Speaker 3: this is my theory, Mango. I think they are right angles. 59 00:03:31,200 --> 00:03:34,600 Speaker 3: So there's a right angle and then a copy of 60 00:03:34,639 --> 00:03:37,040 Speaker 3: a right angle, which would mean can. 61 00:03:36,920 --> 00:03:37,400 Speaker 2: You guess it? 62 00:03:39,480 --> 00:03:39,960 Speaker 1: Ll cool? 63 00:03:40,040 --> 00:03:45,480 Speaker 3: Joe, so close, so close, Mango, But I think it 64 00:03:45,560 --> 00:03:47,160 Speaker 3: means copyright, get it. 65 00:03:47,200 --> 00:03:50,400 Speaker 2: There's it, there's a right angle copyright. So well done. 66 00:03:50,480 --> 00:03:52,040 Speaker 2: Dylan really started to be off. 67 00:03:52,440 --> 00:03:55,120 Speaker 1: H I love that he started the new year with 68 00:03:55,160 --> 00:03:58,119 Speaker 1: a T shirt. Pun I feel like that's an old 69 00:03:58,200 --> 00:03:59,240 Speaker 1: Romanian folk tradition. 70 00:03:59,440 --> 00:04:03,640 Speaker 3: Definitely, definitely that Dylan always observes. All right, So Mango, 71 00:04:03,680 --> 00:04:06,480 Speaker 3: before we get into this, remind me when exactly do 72 00:04:06,600 --> 00:04:08,160 Speaker 3: works enter the public domain? 73 00:04:08,680 --> 00:04:12,080 Speaker 1: So that is a tricky question because the timeline isn't 74 00:04:12,120 --> 00:04:16,200 Speaker 1: consistent throughout the world. Copyright duration varies from country to country, 75 00:04:16,240 --> 00:04:18,200 Speaker 1: and it can depend on the type of work as 76 00:04:18,600 --> 00:04:21,640 Speaker 1: well as whether the work was published or unpublished, or 77 00:04:21,800 --> 00:04:25,400 Speaker 1: if at some point the copyright laps. Now people actually 78 00:04:25,440 --> 00:04:28,680 Speaker 1: have flow charts to figure this stuff out. They also 79 00:04:28,720 --> 00:04:31,280 Speaker 1: have copyright lawyers. It's probably a better use of time 80 00:04:31,360 --> 00:04:35,240 Speaker 1: and money. But for longtime fans, we did an episode 81 00:04:35,240 --> 00:04:38,120 Speaker 1: all about copyright, and this was back in twenty nineteen 82 00:04:38,279 --> 00:04:40,240 Speaker 1: and it covers some of this in more detail. But 83 00:04:40,640 --> 00:04:43,280 Speaker 1: for our purposes today, we're just going to focus on 84 00:04:43,320 --> 00:04:46,320 Speaker 1: the fact that in the United States many works enter 85 00:04:46,400 --> 00:04:50,719 Speaker 1: the public domain ninety five years after their publication or 86 00:04:50,760 --> 00:04:54,120 Speaker 1: their release date. So this year that includes books, movies, 87 00:04:54,160 --> 00:04:57,880 Speaker 1: and music compositions that came out in nineteen thirty plus 88 00:04:57,920 --> 00:05:00,840 Speaker 1: sound recordings from nineteen twenty five. And like I said, 89 00:05:00,839 --> 00:05:02,800 Speaker 1: different types of works have different timelines. 90 00:05:02,920 --> 00:05:04,120 Speaker 2: Okay, that's interesting. 91 00:05:04,240 --> 00:05:06,359 Speaker 3: It's always interesting when they come up with, you know, 92 00:05:06,480 --> 00:05:10,240 Speaker 3: numbers like ninety five. But anyway, I'm gonna kick things 93 00:05:10,240 --> 00:05:13,560 Speaker 3: off for this episode with a legendary cartoon character, and 94 00:05:13,600 --> 00:05:16,400 Speaker 3: that is Betty Boop. Of course, the big eyed, high 95 00:05:16,440 --> 00:05:19,560 Speaker 3: voice temptress was introduced to the world in a nineteen 96 00:05:19,720 --> 00:05:23,159 Speaker 3: thirty animated short. This was by Fleischer Studios and was 97 00:05:23,200 --> 00:05:26,240 Speaker 3: called Dizzy Dishes, which is now in the public domain, 98 00:05:26,600 --> 00:05:29,840 Speaker 3: but of course later versions of Betty are still under copyright. 99 00:05:30,120 --> 00:05:32,720 Speaker 3: And that's important to note because then its first appearance, 100 00:05:32,800 --> 00:05:35,520 Speaker 3: Betty was actually originally a dog. 101 00:05:36,040 --> 00:05:37,800 Speaker 1: That's so weird, like a dog with a tail. 102 00:05:37,920 --> 00:05:40,600 Speaker 3: Well, she's on two legs and she's quite human, and 103 00:05:40,640 --> 00:05:44,240 Speaker 3: she has that short, curly haircut of black dress and garters, 104 00:05:44,760 --> 00:05:46,840 Speaker 3: but for some reason her ears are floppy and kind 105 00:05:46,839 --> 00:05:48,040 Speaker 3: of spaniel like, so. 106 00:05:48,680 --> 00:05:52,080 Speaker 1: That is interesting. What happens in this short film. 107 00:05:51,920 --> 00:05:55,360 Speaker 3: Well, it centers on another character named Bembo, who's also 108 00:05:55,400 --> 00:05:57,880 Speaker 3: a dog, and he's a waiter at a busy jazz 109 00:05:57,880 --> 00:06:01,440 Speaker 3: club full of these anthropomorphized and animals, and Betty only 110 00:06:01,480 --> 00:06:04,760 Speaker 3: appears briefly, so she's a singer on stage who distracts 111 00:06:04,800 --> 00:06:05,840 Speaker 3: Bimbo from his work. 112 00:06:05,920 --> 00:06:07,680 Speaker 2: So, actually you should watch this quick clip. 113 00:06:08,480 --> 00:06:11,600 Speaker 4: Here we come mister right on the way. 114 00:06:12,880 --> 00:06:16,679 Speaker 2: I have roasted up with a greatly year. 115 00:06:16,720 --> 00:06:28,440 Speaker 4: Doosional, I have my. 116 00:06:30,839 --> 00:06:48,200 Speaker 5: I have my mom. 117 00:06:48,320 --> 00:06:50,800 Speaker 1: Oh that's funny. So so even as a dog, she 118 00:06:50,920 --> 00:06:52,760 Speaker 1: was doing the boo boop a dupe line. 119 00:06:52,880 --> 00:06:54,359 Speaker 2: Yeah, you nailed at with that. You did it. 120 00:06:54,400 --> 00:06:56,719 Speaker 3: You did it so well then, And that was there 121 00:06:56,760 --> 00:06:59,320 Speaker 3: from the very beginning because Betty was based on a 122 00:06:59,400 --> 00:07:03,000 Speaker 3: real life anger name Helen Kane, and Helen was famous 123 00:07:03,000 --> 00:07:05,520 Speaker 3: for that kind of baby voice scat singing like that. 124 00:07:05,800 --> 00:07:08,839 Speaker 3: But you know, soon after Dizzy Dishes came out, the 125 00:07:08,920 --> 00:07:11,840 Speaker 3: animators realized that Betty had more potential as a human. 126 00:07:12,240 --> 00:07:15,400 Speaker 3: So in nineteen thirty two, she lost those spaniel ears. 127 00:07:15,440 --> 00:07:19,320 Speaker 3: They replaced them with her signature hoop earrings, and interestingly, 128 00:07:19,360 --> 00:07:22,160 Speaker 3: Bembo remained a dog. So there was this weird moment 129 00:07:22,280 --> 00:07:26,160 Speaker 3: where they were in this interspecies relationship, which didn't sit 130 00:07:26,200 --> 00:07:28,600 Speaker 3: well with the censor board at the time. So as 131 00:07:28,600 --> 00:07:31,840 Speaker 3: a result, Bembo got removed from the franchise and Betty, well, 132 00:07:32,040 --> 00:07:33,040 Speaker 3: Betty became a star. 133 00:07:33,400 --> 00:07:36,480 Speaker 1: That is hilarious. But you know, if you look at 134 00:07:36,920 --> 00:07:39,240 Speaker 1: like kind of another way. It could be the plot 135 00:07:39,440 --> 00:07:42,080 Speaker 1: of I don't know, like a horror movie, right, like 136 00:07:42,120 --> 00:07:44,920 Speaker 1: this woman turns into a dog, turns back into a 137 00:07:45,000 --> 00:07:47,680 Speaker 1: human and realizes she was dating a dog between. 138 00:07:47,840 --> 00:07:49,440 Speaker 2: It's true, it's true. 139 00:07:49,480 --> 00:07:51,680 Speaker 3: It's actually funny that you mentioned horror because if you 140 00:07:51,760 --> 00:07:54,680 Speaker 3: heard of this trend of movie studios turning public domain 141 00:07:54,840 --> 00:07:58,600 Speaker 3: characters into these slasher movies like Winnie the Boo, Blood 142 00:07:58,640 --> 00:08:00,120 Speaker 3: and Honey, you've seen these before? 143 00:08:00,240 --> 00:08:01,200 Speaker 1: What? Yeah? 144 00:08:01,280 --> 00:08:03,880 Speaker 3: Yeah, it's a real movie. And it came out in 145 00:08:03,960 --> 00:08:06,880 Speaker 3: twenty twenty three. And last year a company called vm 146 00:08:06,920 --> 00:08:10,320 Speaker 3: I Worldwide, which brought us Popeye the Slayer Man, they 147 00:08:10,360 --> 00:08:12,880 Speaker 3: announced plans to make a Betty Boop slasher now that 148 00:08:12,920 --> 00:08:15,480 Speaker 3: she's in a public domain. It's about a group of 149 00:08:15,520 --> 00:08:19,160 Speaker 3: horror podcast investigators who break into an abandoned theater and 150 00:08:19,200 --> 00:08:22,760 Speaker 3: find themselves face to face with a homicidal Betty Boop. 151 00:08:23,040 --> 00:08:26,320 Speaker 1: You know, it reminds me of pride and prejudices and zombies, right, 152 00:08:26,360 --> 00:08:30,720 Speaker 1: Like that idea of taking the old material and reinventing 153 00:08:30,760 --> 00:08:31,400 Speaker 1: it in a new way. 154 00:08:31,440 --> 00:08:32,240 Speaker 2: That's exactly right. 155 00:08:32,400 --> 00:08:36,320 Speaker 1: I know we are not horror podcasters, but I kind 156 00:08:36,320 --> 00:08:38,400 Speaker 1: of want to tell you, like, how do we make 157 00:08:38,440 --> 00:08:38,920 Speaker 1: that happen? 158 00:08:39,160 --> 00:08:40,920 Speaker 2: I have no idea, but I'm with you if we 159 00:08:40,960 --> 00:08:41,560 Speaker 2: figure it out. 160 00:08:42,840 --> 00:08:46,200 Speaker 1: Well, from one boop to another. Our next public domain 161 00:08:46,320 --> 00:08:49,559 Speaker 1: entrant is a comic strip character named Blondie, whose maiden 162 00:08:49,640 --> 00:08:53,319 Speaker 1: name was Boop a Doope. Now you don't meet many 163 00:08:53,360 --> 00:08:56,000 Speaker 1: Boopa dupes these days, but Blondie, if you're a fan 164 00:08:56,120 --> 00:08:59,360 Speaker 1: of the old comic strip, became a bumstead when she 165 00:08:59,559 --> 00:09:02,439 Speaker 1: married Dagwood. Now did you ever see the comic strip 166 00:09:02,760 --> 00:09:04,160 Speaker 1: growing up in Alabama? 167 00:09:04,280 --> 00:09:05,839 Speaker 2: Not really, to be honest, No. 168 00:09:06,440 --> 00:09:10,160 Speaker 1: Yeah, it was definitely in ours growing up both in 169 00:09:10,240 --> 00:09:12,920 Speaker 1: New Jersey and then North Carolina and then Delaware too, 170 00:09:13,000 --> 00:09:14,840 Speaker 1: so like it was a standard in our house. But 171 00:09:15,000 --> 00:09:19,360 Speaker 1: the strip, created by Chick Young, debuted in September nineteen thirty, 172 00:09:19,400 --> 00:09:22,160 Speaker 1: and these earliest versions of the characters are the ones 173 00:09:22,280 --> 00:09:24,800 Speaker 1: now in the public domain. And you might be surprised 174 00:09:24,800 --> 00:09:27,240 Speaker 1: to learn that Blondie was a fun loving flapper, not 175 00:09:27,360 --> 00:09:30,600 Speaker 1: a housewife, and Dagwood was the son of an uptight 176 00:09:30,840 --> 00:09:35,960 Speaker 1: railroad tycoon. Dagwood is well dressed with sleek black hair 177 00:09:35,960 --> 00:09:38,880 Speaker 1: in these early strips, and Blondie is downright glamorous and 178 00:09:39,400 --> 00:09:44,200 Speaker 1: It's interesting that as the strip evolved, Dagwood's appearance gets scruffier, 179 00:09:44,360 --> 00:09:47,240 Speaker 1: but Blondie always remains youthful and pretty. 180 00:09:47,679 --> 00:09:47,880 Speaker 2: Now. 181 00:09:48,080 --> 00:09:50,199 Speaker 1: Unfortunately, the strip wasn't a hit at first. This was 182 00:09:50,280 --> 00:09:53,120 Speaker 1: during the Great Depression and readers were not interested in 183 00:09:53,200 --> 00:09:55,280 Speaker 1: the adventures of like a trust fund kid and his 184 00:09:55,400 --> 00:09:59,840 Speaker 1: gorgeous girlfriend. So Chick Young actually pivoted his comic strip. 185 00:10:00,040 --> 00:10:03,719 Speaker 1: He had Dagwood and Blondie get married, and crucially, Dagwood's 186 00:10:03,760 --> 00:10:06,920 Speaker 1: parents didn't approve their son marrying a lower class woman, 187 00:10:07,120 --> 00:10:11,160 Speaker 1: so they disinherited him, and that kind of left the 188 00:10:11,160 --> 00:10:12,960 Speaker 1: Bumpsteads on their own to make a living. 189 00:10:13,679 --> 00:10:15,959 Speaker 3: You know, when I think of Dagwood Bumpstead, I actually 190 00:10:16,040 --> 00:10:19,079 Speaker 3: don't think about class mobility. I think about sandwiches. 191 00:10:19,520 --> 00:10:22,520 Speaker 1: Yeah, that's right, and those came later too. So once 192 00:10:22,600 --> 00:10:26,920 Speaker 1: Dagwood's character became a clumsy, hungry office worker, Chick Young 193 00:10:26,960 --> 00:10:30,760 Speaker 1: explained piling up fridge leftovers between two slices of bread 194 00:10:30,960 --> 00:10:33,560 Speaker 1: was the only meal that Dagwood knew how to make, 195 00:10:34,120 --> 00:10:37,160 Speaker 1: and the association between the character and the sandwich is 196 00:10:37,200 --> 00:10:41,679 Speaker 1: actually so strong that Merriam Webster defines a Dagwood as 197 00:10:41,720 --> 00:10:45,679 Speaker 1: a many layered sandwich. That said. Producer Mary told us 198 00:10:45,679 --> 00:10:48,720 Speaker 1: that in Maine, her hometown state, a Dagwood is served 199 00:10:48,720 --> 00:10:51,720 Speaker 1: in a pitapocket, and I guess that's because you can 200 00:10:51,720 --> 00:10:54,200 Speaker 1: stuff a lot of fillings in there. Either way, here's 201 00:10:54,240 --> 00:10:56,120 Speaker 1: a bonus back for you. In the mid aus Chick 202 00:10:56,160 --> 00:10:59,640 Speaker 1: Young's son actually tried to get a Dagwood restaurant chain 203 00:10:59,679 --> 00:11:02,440 Speaker 1: off the gun that was supposed to feature a menu 204 00:11:02,720 --> 00:11:05,840 Speaker 1: that had pound and a half sandwiches, but unfortunately that 205 00:11:05,880 --> 00:11:09,640 Speaker 1: never happens. So, yeah, its own horror story. 206 00:11:10,160 --> 00:11:13,040 Speaker 3: That's exactly right. All right, Well, here's something I was 207 00:11:13,080 --> 00:11:17,439 Speaker 3: surprised to see. So Piet Mandrion's painting composition with red, 208 00:11:17,480 --> 00:11:20,280 Speaker 3: blue and yellow. It's now in the public domain. Now, 209 00:11:20,320 --> 00:11:22,280 Speaker 3: I'm sure you've seen this before. It's the one with 210 00:11:22,360 --> 00:11:25,520 Speaker 3: the large red square in the top right corner, blue 211 00:11:25,520 --> 00:11:28,200 Speaker 3: and yellow in the two other corners, and some white 212 00:11:28,200 --> 00:11:30,920 Speaker 3: in between there. Now, it's easy to focus on those 213 00:11:30,960 --> 00:11:33,840 Speaker 3: rectangles of color, but what really makes it pop is 214 00:11:33,880 --> 00:11:38,120 Speaker 3: the black horizontal and vertical lines that outline these. So 215 00:11:38,240 --> 00:11:41,920 Speaker 3: it turns out that Mandrion took his straight lines very seriously. 216 00:11:42,320 --> 00:11:45,240 Speaker 3: In nineteen seventeen, he actually found that a magazine with 217 00:11:45,320 --> 00:11:48,800 Speaker 3: fellow artist Teo von Dusburg. It was called The Style, 218 00:11:48,960 --> 00:11:53,200 Speaker 3: which just means you might guess Style and Dutch. It 219 00:11:53,320 --> 00:11:56,080 Speaker 3: was a place where they and other like minded artists 220 00:11:56,120 --> 00:11:59,920 Speaker 3: could share their ideas about art. But in nineteen twenty three, 221 00:12:00,120 --> 00:12:04,439 Speaker 3: after von Dusberg started incorporating these diagonal lines into his art, 222 00:12:04,760 --> 00:12:07,560 Speaker 3: Mandrion formally left it in protest of this. 223 00:12:07,920 --> 00:12:11,400 Speaker 1: I love the idea that like two fellow artists could 224 00:12:11,400 --> 00:12:15,839 Speaker 1: be so upset over the idea of incorporating something like diagonal. 225 00:12:15,440 --> 00:12:18,840 Speaker 3: Lines, so offensive, so offensive to some people. 226 00:12:18,920 --> 00:12:21,120 Speaker 1: Why did Mondrion hate diagonal so much? 227 00:12:21,200 --> 00:12:23,640 Speaker 3: You know, he just felt really strongly that horizontal and 228 00:12:23,760 --> 00:12:28,400 Speaker 3: vertical lines were aesthetically better And it's funny, I mean, 229 00:12:28,400 --> 00:12:30,960 Speaker 3: like the thing is though he wasn't wrong. Research has 230 00:12:31,000 --> 00:12:34,920 Speaker 3: actually shown that people tend to perceive horizontal and vertical 231 00:12:34,960 --> 00:12:38,520 Speaker 3: lines more easily than diagonal ones. It's a phenomenon known 232 00:12:38,559 --> 00:12:42,200 Speaker 3: as the oblique effect. And in two thousand, psychologists from 233 00:12:42,200 --> 00:12:45,680 Speaker 3: the University of Liverpool actually published a study in which 234 00:12:45,720 --> 00:12:49,000 Speaker 3: they put Mandrion's lines to the test. So they showed 235 00:12:49,040 --> 00:12:53,480 Speaker 3: subject slides of eight different paintings by Mondrian. They also 236 00:12:53,600 --> 00:12:57,560 Speaker 3: showed each painting in eight different orientations, so a bunch 237 00:12:57,600 --> 00:13:01,520 Speaker 3: of different angles for a total of sixty images. Then 238 00:13:01,559 --> 00:13:04,640 Speaker 3: the researchers found that participants preferred paintings where they were 239 00:13:04,679 --> 00:13:08,520 Speaker 3: shown in an orientation with horizontal and vertical lines rather 240 00:13:08,600 --> 00:13:11,720 Speaker 3: than the diagonal ones. They also preferred the paintings when 241 00:13:11,760 --> 00:13:14,000 Speaker 3: they were shown in the way Mandrion intended them to 242 00:13:14,040 --> 00:13:16,760 Speaker 3: be oriented. So apparently the guy actually knew what he 243 00:13:16,800 --> 00:13:17,400 Speaker 3: was talking about. 244 00:13:17,679 --> 00:13:19,920 Speaker 1: That's incredible that it's like backed by science, but also 245 00:13:20,040 --> 00:13:22,559 Speaker 1: like the idea that like you could put a crapozoid 246 00:13:22,559 --> 00:13:24,120 Speaker 1: in front of him and you just be furious. 247 00:13:26,000 --> 00:13:27,840 Speaker 2: It's true. It's true. Yeah, it's offensive. 248 00:13:27,960 --> 00:13:29,880 Speaker 1: I do love that, like now that his most famous 249 00:13:29,880 --> 00:13:33,320 Speaker 1: work is in the public domain, that it'll be interesting 250 00:13:33,320 --> 00:13:36,520 Speaker 1: to see how people play with it, right, you re imagine, Yeah, 251 00:13:36,600 --> 00:13:40,040 Speaker 1: so will This next work that's entering the public domain 252 00:13:40,160 --> 00:13:42,440 Speaker 1: is both a great book and a great movie. It's 253 00:13:42,440 --> 00:13:45,920 Speaker 1: called The Maltese Falcon. It's by Dashal Hammett. Have you 254 00:13:46,000 --> 00:13:46,800 Speaker 1: read it or seen it? 255 00:13:46,880 --> 00:13:49,520 Speaker 3: I'm gonna have to confess it's on the list, but 256 00:13:49,559 --> 00:13:51,920 Speaker 3: I have neither read nor seen it before. 257 00:13:51,960 --> 00:13:52,480 Speaker 2: How about you? 258 00:13:53,360 --> 00:13:56,480 Speaker 1: Yeah, I've both read it and seen it. But this 259 00:13:56,559 --> 00:14:00,520 Speaker 1: is Hammett's third novel. It's a master work, and it 260 00:14:00,559 --> 00:14:05,160 Speaker 1: actually started as a serialized story in Black Mask Magazine. 261 00:14:05,320 --> 00:14:08,559 Speaker 1: It's the story of a tough detective, Sam Spade, who 262 00:14:08,640 --> 00:14:11,800 Speaker 1: gets hired by the mysterious Miss Wonderley to help find 263 00:14:11,840 --> 00:14:14,520 Speaker 1: her sister. And as with any great noir, has got 264 00:14:14,640 --> 00:14:17,400 Speaker 1: lots of twists and turns, and that's how it ended 265 00:14:17,480 --> 00:14:20,080 Speaker 1: up being turned into a hit movie starring Humphrey Bogart 266 00:14:20,080 --> 00:14:21,080 Speaker 1: in nineteen forty. 267 00:14:21,320 --> 00:14:22,960 Speaker 2: That's not in the public domain yet. 268 00:14:23,160 --> 00:14:25,680 Speaker 1: No this year is just the novel. But in addition 269 00:14:25,720 --> 00:14:30,160 Speaker 1: to being a great story, it totally revolutionized the detective genre. 270 00:14:30,560 --> 00:14:31,160 Speaker 2: And how's that? 271 00:14:31,520 --> 00:14:33,920 Speaker 1: I mean, this is incredible to think about. So before 272 00:14:34,080 --> 00:14:37,440 Speaker 1: the Maltese Falcon, it was the British detective story that 273 00:14:37,760 --> 00:14:41,000 Speaker 1: sort of ruled mystery stories. Right, Like mystery writers tend 274 00:14:41,000 --> 00:14:44,760 Speaker 1: to follow rules set forth by people like Edgar Allan Poe, 275 00:14:44,920 --> 00:14:48,920 Speaker 1: Arthur Conan Doyle and Agatha Christine and the basic ingredients 276 00:14:48,960 --> 00:14:52,840 Speaker 1: where you've got this genius, eccentric detective and often they 277 00:14:52,840 --> 00:14:57,280 Speaker 1: have a steadfast partner and together they solve an unusual crime, right, 278 00:14:57,360 --> 00:14:59,880 Speaker 1: and the clues are complicated and they're kind of sub 279 00:15:00,320 --> 00:15:04,520 Speaker 1: dropped in through a slow moving plot for the most part. 280 00:15:05,080 --> 00:15:08,600 Speaker 1: But Dashel Hammitt, who is an American, gives a detective 281 00:15:08,600 --> 00:15:11,360 Speaker 1: who is more of an anti hero. Right. Spade is 282 00:15:11,560 --> 00:15:15,200 Speaker 1: hard boiled, he's violent, he follows his own code of ethics. 283 00:15:15,240 --> 00:15:17,880 Speaker 1: His world is gritty, and this isn't a place where 284 00:15:17,920 --> 00:15:22,000 Speaker 1: like crime is an outlier. Right, criminals are everywhere. They're 285 00:15:22,080 --> 00:15:25,280 Speaker 1: kind of par for the course now. Hammitt also infused 286 00:15:25,280 --> 00:15:28,560 Speaker 1: his story with more action and also a colloquial dialogue 287 00:15:28,560 --> 00:15:32,200 Speaker 1: than readers had ever seen before, and in doing so, 288 00:15:32,240 --> 00:15:35,480 Speaker 1: he created a new template for detective novels, and since 289 00:15:35,520 --> 00:15:37,680 Speaker 1: then it's inspired thousands of imitators. 290 00:15:37,920 --> 00:15:39,640 Speaker 2: I love that. All Right, Well, we have to take 291 00:15:39,640 --> 00:15:40,280 Speaker 2: a quick break. 292 00:15:40,280 --> 00:15:43,040 Speaker 3: But when we come back, a song that changed blues 293 00:15:43,080 --> 00:15:46,320 Speaker 3: forever and the inside scoop on the three Stooges, So 294 00:15:46,440 --> 00:15:57,760 Speaker 3: don't go anywhere. 295 00:16:02,440 --> 00:16:04,880 Speaker 1: Welcome back to Part Time Genius. We're talking about nine 296 00:16:04,880 --> 00:16:07,440 Speaker 1: works of art that are in the public domain as 297 00:16:07,480 --> 00:16:10,960 Speaker 1: of January first, and now that we're in twenty twenty six, 298 00:16:11,440 --> 00:16:13,960 Speaker 1: I can tell you that we are planning a big 299 00:16:14,040 --> 00:16:16,600 Speaker 1: year here on the show. So be sure to subscribe 300 00:16:16,600 --> 00:16:19,640 Speaker 1: on your favorite podcast app. We also love hearing from you, 301 00:16:19,760 --> 00:16:21,640 Speaker 1: so let us know if you have a question or 302 00:16:21,680 --> 00:16:24,360 Speaker 1: idea we should explore, or if you'd like one of 303 00:16:24,400 --> 00:16:27,760 Speaker 1: our official membership cards. We do have a few left, 304 00:16:27,840 --> 00:16:30,880 Speaker 1: so give us a call at three oh two, four 305 00:16:30,920 --> 00:16:33,720 Speaker 1: oh five five nine two five. You can also email 306 00:16:33,840 --> 00:16:37,480 Speaker 1: us at high Geniuses at gmail dot com. That's Hi 307 00:16:37,800 --> 00:16:40,360 Speaker 1: Geniuses at gmail dot com, or you can find us 308 00:16:40,400 --> 00:16:44,240 Speaker 1: on blue Sky and Instagram at part time Genius. Okay, well, 309 00:16:44,280 --> 00:16:47,040 Speaker 1: so what is our next public domain work? 310 00:16:47,080 --> 00:16:49,080 Speaker 3: All right, Well, before the break, you've talked about how 311 00:16:49,120 --> 00:16:52,080 Speaker 3: the novel The Maltese Falcon is now in the public domain, 312 00:16:52,400 --> 00:16:54,600 Speaker 3: but we have to wait another decade for the film 313 00:16:54,640 --> 00:16:58,280 Speaker 3: to join it there. But last year Eric Maria remarks, 314 00:16:58,320 --> 00:17:00,760 Speaker 3: novel All Quiet on the Western Front On entered the 315 00:17:00,800 --> 00:17:04,320 Speaker 3: public domain, and this year it's now joined by the film. 316 00:17:04,640 --> 00:17:07,000 Speaker 1: This is one of those films that I've actually never 317 00:17:07,040 --> 00:17:09,200 Speaker 1: seen as much as I've heard about it, just because 318 00:17:09,359 --> 00:17:11,720 Speaker 1: I'm not as into war films. But tell me a 319 00:17:11,720 --> 00:17:12,480 Speaker 1: little bit about it. 320 00:17:12,520 --> 00:17:15,240 Speaker 3: Well, if you're not into war films, this one actually 321 00:17:15,320 --> 00:17:19,320 Speaker 3: became an instant classic because of its realistic depiction of war. 322 00:17:19,440 --> 00:17:23,320 Speaker 3: So it is pretty intense it stunned American audiences, who 323 00:17:23,440 --> 00:17:26,560 Speaker 3: often had to collect themselves for a moment before quietly 324 00:17:26,680 --> 00:17:29,840 Speaker 3: leaving the theater. Critics gave the World War I film 325 00:17:29,960 --> 00:17:33,359 Speaker 3: glowing reviews, and All Quiet won the Academy Award for 326 00:17:33,480 --> 00:17:37,119 Speaker 3: Outstanding Production, which was the early name for Best Picture. 327 00:17:37,680 --> 00:17:41,520 Speaker 3: Director Lewis Milestone also won Best Director. But when it 328 00:17:41,560 --> 00:17:44,840 Speaker 3: was released in Germany and December of nineteen thirty, about 329 00:17:44,920 --> 00:17:48,159 Speaker 3: seven months after the US premiere, the reaction gave the 330 00:17:48,200 --> 00:17:52,120 Speaker 3: world a sense of things to come. Nazi protests broke out, 331 00:17:52,240 --> 00:17:54,920 Speaker 3: including one incident in which they released mice and set 332 00:17:54,920 --> 00:17:58,320 Speaker 3: off stink bombs during a screening of the film. Yeah 333 00:17:58,320 --> 00:18:00,679 Speaker 3: for Real, And they wanted the film banned for what 334 00:18:00,720 --> 00:18:03,600 Speaker 3: they claim was slander of German war heroes, and they 335 00:18:03,600 --> 00:18:06,560 Speaker 3: felt it was created by a filmmaking industry dominated by 336 00:18:06,640 --> 00:18:11,080 Speaker 3: Jewish Americans. So the Variety headline read quote Berlin riot 337 00:18:11,080 --> 00:18:14,679 Speaker 3: over all Quiet, as much anti Semitic as anything else, 338 00:18:15,280 --> 00:18:17,119 Speaker 3: and the Nazis got what they wanted. The film was 339 00:18:17,200 --> 00:18:21,400 Speaker 3: banned in Germany for quote damaging the country's reputation. Two 340 00:18:21,480 --> 00:18:24,440 Speaker 3: years later, Hitler became Chancellor and the film wouldn't screen 341 00:18:24,480 --> 00:18:27,080 Speaker 3: in Germany again. Until nineteen fifty two. 342 00:18:27,640 --> 00:18:30,280 Speaker 1: That's crazy. I had no idea, but you know, I 343 00:18:30,320 --> 00:18:33,119 Speaker 1: do remember hearing about a German remake that came out. 344 00:18:33,359 --> 00:18:34,560 Speaker 1: I don't know, just like a few. 345 00:18:34,440 --> 00:18:36,159 Speaker 2: Years ago, right, Yeah, it was not long ago at all. 346 00:18:36,160 --> 00:18:38,040 Speaker 3: It was in twenty twenty two, and it won a 347 00:18:38,080 --> 00:18:42,920 Speaker 3: ton of awards, including Oscars for Best Cinematography, Best International 348 00:18:43,000 --> 00:18:47,399 Speaker 3: Feature Film, and the critical response was overwhelmingly positive, although 349 00:18:47,400 --> 00:18:50,160 Speaker 3: some people said basically that nothing could top the nineteen 350 00:18:50,240 --> 00:18:53,199 Speaker 3: thirty film or the original novel. They're sort of in 351 00:18:53,240 --> 00:18:54,000 Speaker 3: a league of their own. 352 00:18:54,359 --> 00:18:57,400 Speaker 1: Okay, so I already told you about one great detective 353 00:18:57,440 --> 00:19:00,600 Speaker 1: who's now in the public domain, Sam Spain. But here 354 00:19:00,800 --> 00:19:04,400 Speaker 1: is another, the iconic Nancy Drew. Now. The first novels 355 00:19:04,440 --> 00:19:07,560 Speaker 1: featuring the teen detective were published in nineteen thirty, The 356 00:19:07,600 --> 00:19:11,680 Speaker 1: Secret of the Old Clock, The Hidden Staircase, The Bungalow Mystery, 357 00:19:11,960 --> 00:19:15,479 Speaker 1: and the Mystery at Lilac Inn. And there's actually a 358 00:19:15,480 --> 00:19:16,960 Speaker 1: bit of mystery behind. 359 00:19:16,640 --> 00:19:18,640 Speaker 2: Them, a case fit for Nancy Drew. 360 00:19:18,640 --> 00:19:22,560 Speaker 1: Maybe, so for many years the public didn't know who 361 00:19:22,800 --> 00:19:25,639 Speaker 1: wrote Nancy Drew. The series was created by a company 362 00:19:25,720 --> 00:19:30,080 Speaker 1: called Stratmeier Syndicate, which released the books under pseudonym Carolyn Keene. 363 00:19:30,760 --> 00:19:33,479 Speaker 1: Authors who wrote Nancy Drew books had to sign a 364 00:19:33,560 --> 00:19:36,199 Speaker 1: contract waiving any rights to talk about their work. But 365 00:19:36,440 --> 00:19:40,360 Speaker 1: in nineteen eighty, Stratameier got caught up in a lawsuit 366 00:19:40,400 --> 00:19:42,960 Speaker 1: after signing a deal that allowed Simon and Schuster to 367 00:19:43,000 --> 00:19:47,640 Speaker 1: publish new Nancy Drew books. The book's hardcover publisher, Grossen Dunlap, 368 00:19:47,720 --> 00:19:51,680 Speaker 1: suit to try to prevent this quote unfair competition, and 369 00:19:51,800 --> 00:19:55,400 Speaker 1: as a result of that lawsuit, the original author had 370 00:19:55,440 --> 00:19:57,760 Speaker 1: to take the stand. So that's how the world learned 371 00:19:57,760 --> 00:20:01,760 Speaker 1: that Mildred wert Benson wrote twenty three of the first 372 00:20:01,880 --> 00:20:05,760 Speaker 1: thirty Nancy Drew novels. The shame of it is that 373 00:20:05,800 --> 00:20:08,400 Speaker 1: she earned just one hundred and twenty five dollars per book, 374 00:20:08,440 --> 00:20:11,760 Speaker 1: which is about twenty three hundred dollars in today's term. 375 00:20:12,000 --> 00:20:14,240 Speaker 2: Wow. Knowing how many of those have sold, that is 376 00:20:14,680 --> 00:20:15,520 Speaker 2: that's crazy. 377 00:20:15,840 --> 00:20:18,280 Speaker 1: Yeah, there were fifty six novels in the original Nancy 378 00:20:18,359 --> 00:20:20,919 Speaker 1: Drew series, and it's believed they were the work of 379 00:20:20,960 --> 00:20:24,679 Speaker 1: several ghostwriters. But Simon and Schuster emerged from that nineteen 380 00:20:24,680 --> 00:20:27,479 Speaker 1: eighty lawsuit with the ability to publish Nancy Drew books, 381 00:20:27,560 --> 00:20:30,480 Speaker 1: and they're still doing that today all still under the 382 00:20:30,560 --> 00:20:33,360 Speaker 1: name Carolyn Keene, of course, but now the first four 383 00:20:33,440 --> 00:20:35,479 Speaker 1: novels they actually belong to everyone. 384 00:20:35,560 --> 00:20:35,919 Speaker 2: Wow. 385 00:20:36,240 --> 00:20:38,520 Speaker 3: Well, there are probably as many Nancy Drew books as 386 00:20:38,520 --> 00:20:41,720 Speaker 3: there are covers of the popular song Saint Louis Blues, 387 00:20:41,800 --> 00:20:43,920 Speaker 3: which was originally composed by W. C. 388 00:20:44,080 --> 00:20:46,640 Speaker 2: Handy. This was back in nineteen fourteen. 389 00:20:47,119 --> 00:20:49,600 Speaker 1: Yeah, and one of those covers was by my fourth 390 00:20:49,600 --> 00:20:53,080 Speaker 1: grade middle school band HB. Du Pont in Delaware. I'm 391 00:20:53,080 --> 00:20:55,399 Speaker 1: sure that's the recording that everyone is cleimbed. 392 00:20:55,440 --> 00:20:57,280 Speaker 3: I think it's the first one that comes up when 393 00:20:57,320 --> 00:20:58,840 Speaker 3: you look it up online. 394 00:20:58,960 --> 00:21:00,879 Speaker 2: So well, maybe not. 395 00:21:01,000 --> 00:21:03,639 Speaker 3: But there is one that stands out from the rest, 396 00:21:03,680 --> 00:21:07,160 Speaker 3: and this is, of course Bessie Smith's nineteen twenty five rendition, 397 00:21:07,600 --> 00:21:10,560 Speaker 3: which is now in the public domain. It was inducted 398 00:21:10,600 --> 00:21:13,280 Speaker 3: into the Grammy Hall of Fame. It was on Time 399 00:21:13,320 --> 00:21:17,199 Speaker 3: Magazine's All Time one hundred Songs, plus NPR's list of 400 00:21:17,240 --> 00:21:20,680 Speaker 3: the most important American musical works of the twentieth century. 401 00:21:21,000 --> 00:21:23,320 Speaker 3: If you're not familiar with it, or just need a 402 00:21:23,320 --> 00:21:25,520 Speaker 3: reminder of what this is, give it a quick listen. 403 00:21:25,320 --> 00:21:46,439 Speaker 2: Here make me. 404 00:21:50,240 --> 00:21:53,639 Speaker 4: A for. 405 00:22:00,000 --> 00:22:02,879 Speaker 3: By the way, that's twenty four year old Louis Armstrong 406 00:22:02,960 --> 00:22:06,679 Speaker 3: playing the coronet. There By the time Smith recorded it, 407 00:22:06,720 --> 00:22:09,760 Speaker 3: the song was already famous, maybe even the most famous 408 00:22:09,760 --> 00:22:12,159 Speaker 3: blues song in the world at the time. It had 409 00:22:12,160 --> 00:22:15,439 Speaker 3: been performed by dance bands vaudevillians. The sheet music had 410 00:22:15,480 --> 00:22:18,760 Speaker 3: sold tens of thousands of copies, and one thing that 411 00:22:18,800 --> 00:22:21,320 Speaker 3: really set it apart was the use of the minor key. 412 00:22:21,720 --> 00:22:25,200 Speaker 3: So other blues pieces had these minor inflections, or blue 413 00:22:25,200 --> 00:22:27,560 Speaker 3: notes as they call them, but this was the first 414 00:22:27,600 --> 00:22:30,479 Speaker 3: published piece of music with an entire section and a 415 00:22:30,480 --> 00:22:33,680 Speaker 3: minor key. It was an innovation that changed blues music 416 00:22:33,760 --> 00:22:37,600 Speaker 3: forever and earn Handy the title of Father of the Blues. 417 00:22:38,119 --> 00:22:42,080 Speaker 3: But Bessie Smith's version has proved legendary. In nineteen twenty nine, 418 00:22:42,160 --> 00:22:45,240 Speaker 3: she made her first and only film appearance, singing the 419 00:22:45,280 --> 00:22:49,200 Speaker 3: song in a sixteen minute movie called Appropriate Enough Saint 420 00:22:49,280 --> 00:22:52,560 Speaker 3: Louis Blues, and the movie entered the public domain last year, 421 00:22:52,600 --> 00:22:54,439 Speaker 3: and if you're curious, you can actually watch it on 422 00:22:54,480 --> 00:22:56,320 Speaker 3: the Library of Congress website. 423 00:22:56,400 --> 00:22:59,479 Speaker 1: I'm definitely gonna do that. Speaking of film debuts, the 424 00:22:59,520 --> 00:23:02,560 Speaker 1: first three Stooges movie, Soup to Nuts, is now in 425 00:23:02,600 --> 00:23:05,800 Speaker 1: the public domain. The seventy minute film is the story 426 00:23:05,840 --> 00:23:08,800 Speaker 1: of Ted, who works at a struggling business called the 427 00:23:08,920 --> 00:23:13,800 Speaker 1: Schmidt Costume Shop. The Stooges played Ted's firefighter friends, whom 428 00:23:13,840 --> 00:23:17,480 Speaker 1: he often visits at work. Now to the Stooges, brothers 429 00:23:17,520 --> 00:23:19,919 Speaker 1: Moe and Shemp Howard had been working together in a 430 00:23:19,960 --> 00:23:23,240 Speaker 1: vaudeville act since nineteen twenty two. Their friend Ted Healey, 431 00:23:23,359 --> 00:23:26,399 Speaker 1: who plays Ted, joined them, as did a comedian slash 432 00:23:26,440 --> 00:23:30,280 Speaker 1: violinist Larry Fine, and at the time Ted was the 433 00:23:30,280 --> 00:23:34,879 Speaker 1: frontman while Moe, Shemp and Larry provided comedic interruptions. But 434 00:23:35,600 --> 00:23:38,400 Speaker 1: after the nineteen thirty film, Shemp quit the group due 435 00:23:38,440 --> 00:23:42,040 Speaker 1: to differences with Ted, and another brother, Jerry Howard, took 436 00:23:42,040 --> 00:23:46,679 Speaker 1: his place. Now, Jerry's childhood nickname was Curly it's obviously 437 00:23:46,720 --> 00:23:50,080 Speaker 1: a nickname that's stuck for the character, and he retired 438 00:23:50,119 --> 00:23:53,440 Speaker 1: in nineteen forty six, and then Shemp returned to the 439 00:23:53,440 --> 00:23:56,880 Speaker 1: Stooges after fifteen years away. He went on to make 440 00:23:57,040 --> 00:23:58,920 Speaker 1: seventy eight three Stooges films. 441 00:23:59,119 --> 00:24:02,320 Speaker 3: Seventy eight films. That's so many bunks on the head Mango. 442 00:24:02,640 --> 00:24:05,320 Speaker 1: Yeah, you know I am going to get in trouble 443 00:24:05,320 --> 00:24:08,880 Speaker 1: for saying this, but uh were you a three Stooges fan. 444 00:24:09,840 --> 00:24:12,960 Speaker 3: I was a three Stooges fan for like, let's call 445 00:24:13,000 --> 00:24:16,080 Speaker 3: it fifteen to twenty second set a time, like to 446 00:24:16,200 --> 00:24:18,480 Speaker 3: watch a quick clip of it and be like, Okay, 447 00:24:18,480 --> 00:24:21,639 Speaker 3: that's funny that that existed, But it wasn't something I 448 00:24:21,680 --> 00:24:24,200 Speaker 3: could really watch for any sort of extended period of time. 449 00:24:24,240 --> 00:24:24,679 Speaker 2: How about you? 450 00:24:25,280 --> 00:24:28,800 Speaker 1: Yeah, I mean I could appreciate what they're doing, I guess, 451 00:24:28,800 --> 00:24:31,640 Speaker 1: but like, I really wasn't a fan. When the students 452 00:24:31,680 --> 00:24:33,679 Speaker 1: came on TV. That was when I knew it was 453 00:24:33,680 --> 00:24:36,760 Speaker 1: time to turn off the television and go outside, like 454 00:24:37,440 --> 00:24:39,639 Speaker 1: which is what happened on like Saturday mornings or whatever. 455 00:24:39,760 --> 00:24:43,680 Speaker 1: But you know, obviously they're comedy legends and everyone now 456 00:24:43,760 --> 00:24:46,399 Speaker 1: can remake their own version of Soup to nuts. But 457 00:24:46,920 --> 00:24:48,600 Speaker 1: there's one more fact about the movie that I want 458 00:24:48,680 --> 00:24:51,720 Speaker 1: to mention. So remember how I said that the costume 459 00:24:51,760 --> 00:24:54,800 Speaker 1: shop where Ted works in the film isn't doing that well? Yeah, 460 00:24:54,840 --> 00:24:58,320 Speaker 1: and the reason is that the shop's owner, Auto is 461 00:24:58,400 --> 00:25:03,360 Speaker 1: distracted by building these ridiculously complicated inventions, like he makes 462 00:25:03,400 --> 00:25:06,840 Speaker 1: an automatic coffee sweetener, which requires putting a sugar cube 463 00:25:06,840 --> 00:25:09,600 Speaker 1: on a lever that's attached to a ramp. Then Auto 464 00:25:09,680 --> 00:25:12,200 Speaker 1: uses a pool cube to push a marble down the ramp, 465 00:25:12,280 --> 00:25:15,600 Speaker 1: which activates the lever to send the cube flying all 466 00:25:15,600 --> 00:25:18,040 Speaker 1: the way across the room into a mug of coffee. 467 00:25:18,200 --> 00:25:20,119 Speaker 1: And I'm kind of curious. Does that sound like a 468 00:25:20,240 --> 00:25:21,520 Speaker 1: familiar contraption to you? 469 00:25:21,760 --> 00:25:24,679 Speaker 3: Actually, as you were describing that, it does sort of 470 00:25:24,720 --> 00:25:26,560 Speaker 3: sound like a Rube Goldberg machine, right. 471 00:25:26,920 --> 00:25:30,520 Speaker 1: Yeah, So Rube Goldberg co wrote the film No Way, 472 00:25:30,640 --> 00:25:33,200 Speaker 1: Auto was apparently playing a version of himself, and Goldberg 473 00:25:33,280 --> 00:25:35,800 Speaker 1: even has a cameo in the movie, appearing as a 474 00:25:35,840 --> 00:25:37,040 Speaker 1: customer in a restaurant. 475 00:25:37,080 --> 00:25:37,560 Speaker 2: Isn't that cool? 476 00:25:37,600 --> 00:25:39,359 Speaker 3: That is such a great fact, and that's going to 477 00:25:39,440 --> 00:25:41,680 Speaker 3: be really hard to top. But we do have one 478 00:25:41,840 --> 00:25:45,200 Speaker 3: more to talk about, our ninth fact, So I'll finish 479 00:25:45,200 --> 00:25:48,280 Speaker 3: our list today with this song, and specifically, it's a 480 00:25:48,280 --> 00:25:52,520 Speaker 3: song that's been recorded by Nancy Sinatra, Ella Fitzgerald and 481 00:25:52,640 --> 00:25:54,680 Speaker 3: the Beatles, not all at the same time, though. 482 00:25:54,760 --> 00:25:55,840 Speaker 2: Can you guess what this is? 483 00:25:56,040 --> 00:25:58,520 Speaker 1: Yeah? I think I would have known it if they 484 00:25:58,520 --> 00:26:02,120 Speaker 1: sang it at the sime time. No, what is it? Yeah? 485 00:26:02,119 --> 00:26:04,719 Speaker 3: It's different versions here, and I'm talking, of course about 486 00:26:04,800 --> 00:26:07,720 Speaker 3: Sweet Georgia Brown and the version that's now in the 487 00:26:07,760 --> 00:26:10,480 Speaker 3: public domain, was recorded in nineteen twenty five by the 488 00:26:10,560 --> 00:26:14,760 Speaker 3: songwriter Ben Bernie and his Hotel Roosevelt Orchestra, and he 489 00:26:14,840 --> 00:26:17,240 Speaker 3: wrote the song earlier that same year, and it went 490 00:26:17,280 --> 00:26:20,320 Speaker 3: on to become a jazz standard, although these days most 491 00:26:20,320 --> 00:26:23,560 Speaker 3: people recognize it as the Harlem Globetrotter's theme song. 492 00:26:23,800 --> 00:26:26,840 Speaker 1: Which I love and also I have a sucker for 493 00:26:26,880 --> 00:26:28,080 Speaker 1: anything with whistling. 494 00:26:27,760 --> 00:26:28,640 Speaker 2: One hundred percent. 495 00:26:28,840 --> 00:26:32,080 Speaker 3: Well, that's actually a later version from nineteen forty nine 496 00:26:32,160 --> 00:26:36,120 Speaker 3: recorded by an Alabama musician named Brother Bones. The original 497 00:26:36,240 --> 00:26:38,600 Speaker 3: version that Bernie wrote doesn't have any whistling in it. 498 00:26:38,680 --> 00:27:17,320 Speaker 3: Here's what his nineteen twenty five rendition sounds like. So 499 00:27:17,400 --> 00:27:19,600 Speaker 3: the song also has lyrics to it, believe it or not, 500 00:27:19,640 --> 00:27:23,480 Speaker 3: written by a child actor turned songwriter named Kenneth Casey, 501 00:27:23,760 --> 00:27:26,720 Speaker 3: who incidentally appeared in an early Three Stooges film. 502 00:27:27,040 --> 00:27:29,720 Speaker 1: Oh it always comes back to the three students. 503 00:27:29,280 --> 00:27:30,640 Speaker 2: Exactly right, your heroes. 504 00:27:31,040 --> 00:27:33,920 Speaker 3: Anyway, The lyrics tell the story of sweet Georgia Brown, 505 00:27:33,960 --> 00:27:36,959 Speaker 3: who quote has two left feet, but she's neat and 506 00:27:37,000 --> 00:27:39,960 Speaker 3: she makes all the fellasigh and want to die. But 507 00:27:40,080 --> 00:27:42,440 Speaker 3: you shouldn't feel bad about not knowing all that because 508 00:27:42,440 --> 00:27:46,760 Speaker 3: the Globe Charter's popularity has definitely overshadowed Bernie's original work. 509 00:27:47,119 --> 00:27:51,040 Speaker 1: That Globe Tartter song is so good, but I've always 510 00:27:51,080 --> 00:27:52,960 Speaker 1: kind of wondered, like, why did they pick that song? 511 00:27:53,080 --> 00:27:56,520 Speaker 3: Yeah, you know, unfortunately that story has been lost to time. 512 00:27:56,600 --> 00:27:59,240 Speaker 3: I think we've been looking into this for years, even 513 00:27:59,280 --> 00:28:01,240 Speaker 3: back in our mental lost days. I mean, we know 514 00:28:01,359 --> 00:28:04,520 Speaker 3: they adopted it in nineteen fifty two, and apparently the 515 00:28:04,560 --> 00:28:06,600 Speaker 3: first time it was played it was a surprise to 516 00:28:06,640 --> 00:28:10,760 Speaker 3: the players. Former Globetrotter Bobby Milton once explained, quote, we 517 00:28:10,800 --> 00:28:13,240 Speaker 3: all started moving about and dancing with the music, and 518 00:28:13,280 --> 00:28:15,160 Speaker 3: now it's as much a part of us as the name. 519 00:28:15,760 --> 00:28:18,919 Speaker 3: So the song and the organization became so intertwined that 520 00:28:18,960 --> 00:28:21,840 Speaker 3: Brother Bones traveled with the Globetrotters for years, not to 521 00:28:21,840 --> 00:28:23,800 Speaker 3: play ball, but to sell copies of his record. 522 00:28:24,440 --> 00:28:26,280 Speaker 1: I really liked that, and I think it's kind of 523 00:28:26,320 --> 00:28:30,159 Speaker 1: a delightful note to end this episode on. So I 524 00:28:30,200 --> 00:28:35,040 Speaker 1: think you deserved today's trophy, but will Before we wrap up, 525 00:28:35,160 --> 00:28:37,360 Speaker 1: let's hear a recent call that came into the Part 526 00:28:37,359 --> 00:28:40,200 Speaker 1: Time Genius hotline. Because you know how much I love these. 527 00:28:40,320 --> 00:28:45,200 Speaker 6: Hi, I'm Samson, and I really enjoy your podcast. I've 528 00:28:45,240 --> 00:28:49,960 Speaker 6: been listening for about eight hours and it's really great 529 00:28:50,000 --> 00:28:53,120 Speaker 6: and I've learned a lot. Thank you so much, especially 530 00:28:53,320 --> 00:28:58,719 Speaker 6: for the episode about flutes. I found that hilarious. Can 531 00:28:58,760 --> 00:29:01,640 Speaker 6: you please keep going and it's amazing. Thank you. 532 00:29:02,400 --> 00:29:06,560 Speaker 2: Wow, eight hours, Mango, I know it's crazy. It's a 533 00:29:06,680 --> 00:29:09,280 Speaker 2: very long time to listen to anything. For that matter, 534 00:29:09,640 --> 00:29:10,560 Speaker 2: it really is. 535 00:29:10,640 --> 00:29:12,880 Speaker 1: Sam said, we are so glad you love the show, 536 00:29:12,920 --> 00:29:15,640 Speaker 1: but be careful. That is a lot of information to 537 00:29:15,680 --> 00:29:16,640 Speaker 1: consume all at once. 538 00:29:19,520 --> 00:29:21,280 Speaker 3: All right, Well, that does it for today's show, and 539 00:29:21,320 --> 00:29:22,640 Speaker 3: if you want to check out some of the works 540 00:29:22,640 --> 00:29:24,480 Speaker 3: we've just talked about, we'll put all the links in 541 00:29:24,480 --> 00:29:26,600 Speaker 3: the show notes. The episode was written by our good 542 00:29:26,600 --> 00:29:29,360 Speaker 3: pal Meredith Danko. Thank you so much, Meredith. We couldn't 543 00:29:29,400 --> 00:29:32,040 Speaker 3: have Booby Duped without you. We'll be back next week 544 00:29:32,040 --> 00:29:36,120 Speaker 3: with another brand new episode and in the meantime form Mango, Dylan, Gabe, 545 00:29:36,120 --> 00:29:36,720 Speaker 3: Mary and Me. 546 00:29:37,160 --> 00:29:38,160 Speaker 2: Thanks so much for listening. 547 00:29:51,600 --> 00:29:54,800 Speaker 1: Part Time Genius is a production of Kaleidoscope and iHeartRadio. 548 00:29:54,880 --> 00:29:57,800 Speaker 1: It is hosted by my good pal Will Pearson, who 549 00:29:57,840 --> 00:30:01,520 Speaker 1: I've known for almost three decades now. That is insane 550 00:30:01,520 --> 00:30:06,440 Speaker 1: to me. I'm the Utaco host Mangeshatikular aka Mango. Our 551 00:30:06,560 --> 00:30:10,280 Speaker 1: producer is Mary Phillips Sandy. She's actually a super producer. 552 00:30:10,320 --> 00:30:13,320 Speaker 1: I'm going to fix that in post. Our writer is 553 00:30:13,400 --> 00:30:16,760 Speaker 1: Gabe Lucier, who I've also known for like a decade 554 00:30:16,800 --> 00:30:20,040 Speaker 1: at this point, maybe more. Dylan Fagan is in the booth. 555 00:30:20,240 --> 00:30:23,320 Speaker 1: He is always dressed up, always cheering us on, and 556 00:30:23,440 --> 00:30:26,200 Speaker 1: always ready to hit record and then mix the show 557 00:30:26,360 --> 00:30:29,000 Speaker 1: after he does a great job. I also want to 558 00:30:29,040 --> 00:30:32,280 Speaker 1: shout out the executive producers from iHeart my good pals 559 00:30:32,320 --> 00:30:36,160 Speaker 1: Katrina and Norvel and Ali Perry. We have social media 560 00:30:36,160 --> 00:30:39,240 Speaker 1: support from Calypso Rallis. If you like our videos, that 561 00:30:39,440 --> 00:30:44,200 Speaker 1: is all Calypso's handiwork for more podcasts from Kaleidoscope and iHeartRadio. 562 00:30:44,360 --> 00:30:46,360 Speaker 1: Visit the iHeartRadio. 563 00:30:45,720 --> 00:30:47,840 Speaker 2: App, Apple Podcasts. 564 00:30:47,400 --> 00:30:50,400 Speaker 1: Or tune in wherever you listen to your favorite shows. 565 00:30:50,680 --> 00:30:53,400 Speaker 1: That's it from us here at Part Time Genius. Thank 566 00:30:53,440 --> 00:30:54,840 Speaker 1: you so much for listening.