WEBVTT - The Birth of RCA

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<v Speaker 1>Get in touch with technology with tech Stuff from how

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<v Speaker 1>stuff Works dot com. Hey there, and welcome to tech Stuff.

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<v Speaker 1>I'm your host, Jonathan Strickland. I'm an executive producer with

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<v Speaker 1>How Stuff Works, and I heart radio and I love

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<v Speaker 1>all things tech. And while I was preparing for c

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<v Speaker 1>e S, which I am getting ready to travel to,

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<v Speaker 1>as I'm recording this, I'm recording this the Friday before

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<v Speaker 1>I jump on a plane and head out to Las Vegas, Nevada. Well,

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<v Speaker 1>I read a lot of emails from a lot of

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<v Speaker 1>different companies, and they're all attempting to entice me to

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<v Speaker 1>go to a particular part of ce S to see

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<v Speaker 1>their booth or their presentation, or maybe even to a

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<v Speaker 1>hotel suite off the exhibition floor, because you know, some

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<v Speaker 1>companies will rent out a suite of rooms rather than

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<v Speaker 1>secure exhibition space for lots of reasons. That's neither here

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<v Speaker 1>nor there anyway. One of these companies, the ones that

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<v Speaker 1>sent me these emails, was our ci A. And the

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<v Speaker 1>thing that really caught my eye is that in twenty nineteen,

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<v Speaker 1>our CIA is celebrating it's one anniversary. Our c A

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<v Speaker 1>has been a really important company in technology for lots

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<v Speaker 1>of different reasons, not just consumer tech, and our c

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<v Speaker 1>A is responsible directly for two of the big broadcast

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<v Speaker 1>networks in the United States, and indirectly it's responsible for

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<v Speaker 1>the third. I thought I would explore the history of

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<v Speaker 1>this company and what it's been through during the century

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<v Speaker 1>of its existence. So this is the first episode where

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<v Speaker 1>we're going to talk about the formation of our CIA.

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<v Speaker 1>But of course this also means that I'm going to

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<v Speaker 1>be doing a lot of backtracking because while our c A,

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<v Speaker 1>which was an initialism originally for Radio Corporation of America,

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<v Speaker 1>it would become an established company in nineteen nineteen, the

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<v Speaker 1>history actually dates further back. So we've got to talk

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<v Speaker 1>about some other companies and some politics and some other

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<v Speaker 1>big issues that would lead to the formation the founding

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<v Speaker 1>of our c A. So let's go back to the

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<v Speaker 1>eighteen hundreds. In the late nineteenth century, invention and innovation

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<v Speaker 1>were rapidly changing the world. You had the Industrial Revolution,

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<v Speaker 1>and it had altered the way we do work. It

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<v Speaker 1>had impacted the price of goods. Things became cheaper because

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<v Speaker 1>it was easier to make a heck a lot more

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<v Speaker 1>of just about everything. People had more time on their hands,

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<v Speaker 1>and at the same time, you had engineers and inventors

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<v Speaker 1>who were experimenting with stuff like electricity and magnetism and

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<v Speaker 1>radio waves. Entrepreneurs from around the world, some of them inventors,

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<v Speaker 1>other just business not just but others of the business

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<v Speaker 1>minded people who saw opportunity through the invention of others,

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<v Speaker 1>began to form corporations that could exploit these discoveries for profit,

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<v Speaker 1>and they included companies like the American Telephone and Telegraph

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<v Speaker 1>Company also known as A T and T. Also General

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<v Speaker 1>Electric which grew out of several companies, one of which

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<v Speaker 1>was founded by Thomas Edison himself, and many more. The

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<v Speaker 1>discovery of radio waves and the technology that would allow

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<v Speaker 1>humans to produce, transmit, and receive radio waves in a

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<v Speaker 1>meaningful way is beyond the scope of these episodes. Besides,

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<v Speaker 1>I've talked about that a lot in earlier episodes of

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<v Speaker 1>Tech Stuff. You can search the archives. There tons of

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<v Speaker 1>episodes where I talk about radio waves and the history

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<v Speaker 1>of radio. But by the early nineteen hundreds, there were

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<v Speaker 1>a dozen or so radio operating stations in the United States.

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<v Speaker 1>Several of these stations were owned by foreign companies, and

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<v Speaker 1>almost all of them were dedicated to transmitting signals using

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<v Speaker 1>Morse code. So this wasn't about radio stations playing the

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<v Speaker 1>top forty or anything like that. At this stage, these

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<v Speaker 1>were communication and stations. They were meant to transmit signals

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<v Speaker 1>from one place to another, to send communications across the nation.

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<v Speaker 1>It was sort of analogous to the telephone infrastructure, so

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<v Speaker 1>not meant as a entertainment or news source. The telephone

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<v Speaker 1>companies had not yet entered into this business at this point.

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<v Speaker 1>These were all individual enterprises, some of which were getting

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<v Speaker 1>pretty large, and the biggest of all of them was

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<v Speaker 1>the American Marconi Company, named after Marconi, the guy who

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<v Speaker 1>gets the credit for inventing radio, that is, the transmission

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<v Speaker 1>technology of radio, though that is of course a matter

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<v Speaker 1>of great dispute in certain academic circles. Nicola Tesla would

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<v Speaker 1>be the other name that gets thrown around in that

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<v Speaker 1>and for good reason. Tesla was awarded a patent early on,

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<v Speaker 1>and that patent would eventually get overturned in favor of

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<v Speaker 1>Marconi's under somewhat shady circumstan answers. Anyway, in the summer

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<v Speaker 1>of nineteen fourteen, war broke out in Europe. Somewhat optimistically,

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<v Speaker 1>people were calling it the War to end all wars,

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<v Speaker 1>but now we call it World War One. Thus optimism

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<v Speaker 1>did not win out. Now, while the United States initially

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<v Speaker 1>maintained a neutral status during the war, the US government

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<v Speaker 1>was already making preparations in the event that the nation

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<v Speaker 1>would be pulled into the conflict, and part of that

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<v Speaker 1>was an executive order that was signed by Woodrow Wilson

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<v Speaker 1>on August five, nineteen fourteen. That executive order authorized the

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<v Speaker 1>United States Navy Department to censor international telegraph messages that

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<v Speaker 1>were sent by radio firms, the largest of which was

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<v Speaker 1>the Marconi Company. Now, Marconi Company challenged the legality of

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<v Speaker 1>this executive order, saying this censorship, you can't do it.

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<v Speaker 1>Legal battles would follow, and the Navy would have ultimately

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<v Speaker 1>shut down on Mark Cony radio transmission station for three

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<v Speaker 1>months until the company agreed to follow regulations in January

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<v Speaker 1>nineteen fifteen. Eventually, even this was thought to be too risky,

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<v Speaker 1>and the United States government effectively took over the American

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<v Speaker 1>Marconi Company. And the American Marconi Company was technically it

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<v Speaker 1>was a subsidiary. It was a subsidiary of a company

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<v Speaker 1>that had its headquarters in England. So the U. S

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<v Speaker 1>Government says, we want to maintain neutrality. We cannot have

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<v Speaker 1>stations that are located in the United States sending messages

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<v Speaker 1>on behalf of one or another of the parties that

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<v Speaker 1>are at war in Europe, because that would seem to

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<v Speaker 1>suggest that we are on a particular side and we

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<v Speaker 1>want to stay out of this. So the US says,

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<v Speaker 1>in order to do this, we're going to take over

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<v Speaker 1>your assets. They're not yours anymore. There ares Boo who

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<v Speaker 1>Now at the end of the war, the United States

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<v Speaker 1>still had those assets of the American Marconi Company, and

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<v Speaker 1>the government needed a way to offload them. They didn't

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<v Speaker 1>want to keep them. They also wanted to ensure that

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<v Speaker 1>those assets would remain under American control. They didn't want

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<v Speaker 1>foreign nations to have access to critical communications technologies with

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<v Speaker 1>you on US soil. So the government approached a group

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<v Speaker 1>of companies that included General Electric, which would become the

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<v Speaker 1>dominant partner in this group, Westinghouse, A T and T,

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<v Speaker 1>Western Electric, and the United Fruit Company. And if you're

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<v Speaker 1>like me, your reaction to that last partner was probably

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<v Speaker 1>hang on, did he say United Fruit Company? And indeed

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<v Speaker 1>I did. That company has a complex and controversial history.

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<v Speaker 1>It was involved in various levels of government in many

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<v Speaker 1>regions across the world, and particularly in Central and South

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<v Speaker 1>America and the Caribbean, and and it was operating as

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<v Speaker 1>an effective monopoly in a lot of places. Has a

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<v Speaker 1>lot of uh, a lot of tie INDs with colonization,

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<v Speaker 1>so there are a lot of negative things that kind

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<v Speaker 1>of tie into this company's history. But in nineteen thirteen,

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<v Speaker 1>the United Fruit Company had established the Tropical Radio and

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<v Speaker 1>Telegraph Company, which is kind of what brought it up

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<v Speaker 1>as a potential partner for this enterprise. So anyway, these

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<v Speaker 1>partners all got together and they formed the Radio Corporation

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<v Speaker 1>of America or r c A in nineteen nine. It

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<v Speaker 1>was essentially a government sanctioned monopoly in the radio industry

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<v Speaker 1>in the United States. The companies all pooled their patents

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<v Speaker 1>together in a series of cross licensing agreements to avoid

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<v Speaker 1>any conflicts of having one company attempt to leverage its

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<v Speaker 1>essential patents over the other partners in the operation of

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<v Speaker 1>r C as business. So essentially they were all saying,

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<v Speaker 1>here are all the patented technologies that we have our

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<v Speaker 1>disposal that relate to radio transmission technologies. We want to

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<v Speaker 1>make sure that we're not creating impediments for our c

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<v Speaker 1>A to do business. To head up this company, the

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<v Speaker 1>partners chose a guy named David Sarnoff. Sarnov himself had

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<v Speaker 1>a really interesting history. He was born in Russia in

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<v Speaker 1>eighteen ninety one, but his family immigrated to America in

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<v Speaker 1>nineteen hundred. He had started working as a messenger boy

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<v Speaker 1>for a telegraph company in nineteen o six, and he

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<v Speaker 1>became a telegraph operator for the American Marconi Company a

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<v Speaker 1>couple of years later. Legend has it that he picked

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<v Speaker 1>up the distress calls from the Titanic in nineteen twelve

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<v Speaker 1>while working in the radio station that was owned by

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<v Speaker 1>John Wannamaker, but the truth appears to be that Sarnov

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<v Speaker 1>had instead picked up signals of rescue ships that were

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<v Speaker 1>responding to the Titanics distress call, and then he relayed

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<v Speaker 1>that information to the local press in New York. He

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<v Speaker 1>was promoted to chief inspector of American Marconi a few

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<v Speaker 1>years later, and he wrote a memo in nineteen sixteen

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<v Speaker 1>in which he proposed building radios for home consumers and

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<v Speaker 1>he called it a radio music box. So this is

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<v Speaker 1>before the days of commercial radio, but he had thought

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<v Speaker 1>this technology has the potential to bring culture, entertainment, news,

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<v Speaker 1>all sorts of stuff into the American home through transmission,

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<v Speaker 1>if we want to pursue that. This was in the

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<v Speaker 1>days when only amateur radio enthusiasts had any access to

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<v Speaker 1>radio equipment outside of the professional industry. Otherwise the only

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<v Speaker 1>places you would find it are in these radio stations

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<v Speaker 1>where they were acting almost like telegraph operators. So he

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<v Speaker 1>would then become the commercial manager for our c A

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<v Speaker 1>and eventually become the general manager, and then further down

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<v Speaker 1>the line the CEO. Sarnov was a really ambitious man.

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<v Speaker 1>He was also really good at self promotion and who

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<v Speaker 1>is also really good at sensing the potential impact of

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<v Speaker 1>radio broadcast technology as well as related technologies like television broadcasts,

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<v Speaker 1>which I'll talk more about in the next episode. Well,

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<v Speaker 1>in the early days of our CIA's history, it mainly

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<v Speaker 1>did two things. It operated the various radio stations which

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<v Speaker 1>were still almost exclusively transmitting messages in morse code, and

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<v Speaker 1>it sold radio equipment manufactured by the various companies that

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<v Speaker 1>had formed our CI. A. While this was intended to

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<v Speaker 1>build out a communications infrastructure similar to the telephone system,

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<v Speaker 1>something else was happening at the same time that changed

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<v Speaker 1>the course of the industry, and that something was the

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<v Speaker 1>rise of amateur radio operators. The United States had banned

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<v Speaker 1>amateur radio during World War One, saying that they needed

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<v Speaker 1>to have those radio waves free for communications, but the

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<v Speaker 1>the government lifted that ban on October first, and more

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<v Speaker 1>people were interested in radio communication and setting up our

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<v Speaker 1>own radio receivers at home. The rise in amateur radio

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<v Speaker 1>encouraged Sarnoff and gave credence to that idea he had

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<v Speaker 1>proposed a few years earlier about his radio music box. Well.

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<v Speaker 1>During World War One, there were some hints at what

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<v Speaker 1>would become the standard for commercial radio in use by

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<v Speaker 1>the military. In a publication called The Wireless Age featured

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<v Speaker 1>a short range system that could broadcast news and music

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<v Speaker 1>to hospitals to entertain convalescing soldiers. For example, on the

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<v Speaker 1>technology front, companies were exploring ways to make radio receivers

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<v Speaker 1>more compact and less expensive. To make radio signals loud

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<v Speaker 1>enough for commercial radio to be practical, those radios would

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<v Speaker 1>have to have amplification, and so companies began investing in

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<v Speaker 1>research and development to improve vacuum to manufacturing processes to

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<v Speaker 1>make radio as a practical consumer item. Before the transistor,

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<v Speaker 1>the vacuum tube was your primary way of taking in

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<v Speaker 1>an incoming week signal and boosting it to a stronger

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<v Speaker 1>outgoing signal and amplifier. In other words, I have more

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<v Speaker 1>to say about the early days of our CIA, but

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<v Speaker 1>first let's take a quick break to thank our sponsor.

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<v Speaker 1>And so is our CI A oversaw radio stations transmitting

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<v Speaker 1>communications across vast distances, and various companies began to work

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<v Speaker 1>toward a goal of building consumer radios. The race was

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<v Speaker 1>on for the first true commercial radio station, and it

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<v Speaker 1>wouldn't be our CIA to launch it. Instead, Westinghouse applied

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<v Speaker 1>for a license to operate such a transmission station. They

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<v Speaker 1>applied to the US government and received permission in nineteen twenty.

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<v Speaker 1>Westinghouse was in the business of manufacturing radios, but demand

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<v Speaker 1>for radios was lagging behind, and so leaders at the

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<v Speaker 1>company reasoned that one way to increase demand would be

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<v Speaker 1>to create programming. Now today that seems pretty clear that

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<v Speaker 1>if you want to sell a technology to someone, a

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<v Speaker 1>technology that allows people to access content, you need to

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<v Speaker 1>create content for people to access. Otherwise they just have

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<v Speaker 1>a useless tool. But this was a big step in

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<v Speaker 1>nineteen twenty. Radio had mainly been used as point to

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<v Speaker 1>point communication at that At that stage, it's just that

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<v Speaker 1>the points were undefined because there were no wires, So

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<v Speaker 1>you know, you had a receiver that could pick up

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<v Speaker 1>a signal that would be a point. So this would

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<v Speaker 1>open up the possible uses for radio and allow them

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<v Speaker 1>to become entertainment devices. It was precisely the stuff Sarnoff

0:14:38.680 --> 0:14:41.280
<v Speaker 1>had been saying in his memo back in nineteen sixteen.

0:14:41.560 --> 0:14:46.000
<v Speaker 1>Westinghouse approached a ham radio operator named Dr Frank Conrad,

0:14:46.240 --> 0:14:49.440
<v Speaker 1>who had already been playing records over the radio for

0:14:49.520 --> 0:14:53.400
<v Speaker 1>some of his other amateur radio operator friends, and on

0:14:53.480 --> 0:14:58.080
<v Speaker 1>November two, nineteen twenty, Westinghouse launched k d k A

0:14:58.520 --> 0:15:02.000
<v Speaker 1>out of Pittsburgh, Pennsylvania. Yeah, it was the first commercial

0:15:02.160 --> 0:15:05.520
<v Speaker 1>radio station. Saranov had been working on his own approach,

0:15:05.800 --> 0:15:09.200
<v Speaker 1>receiving the blessing of the companies that founded our ci

0:15:09.240 --> 0:15:11.720
<v Speaker 1>A to do so. They gave him some funds so

0:15:11.760 --> 0:15:14.400
<v Speaker 1>that he could pursue this, and on July two, nine

0:15:15.600 --> 0:15:19.200
<v Speaker 1>Sarnof showed off the market potential for radio by broadcasting

0:15:19.280 --> 0:15:24.400
<v Speaker 1>a boxing match between Jack Dempsey and George Carpentier. Dempsey

0:15:24.560 --> 0:15:29.160
<v Speaker 1>was a celebrated US champion. Carpentier was a boxing hero

0:15:29.600 --> 0:15:32.080
<v Speaker 1>in France and he had a reputation for knocking out

0:15:32.120 --> 0:15:36.200
<v Speaker 1>British champions, so this was a super hyped event back

0:15:36.240 --> 0:15:40.160
<v Speaker 1>in n Dempsey would win by knockout in the fourth

0:15:40.240 --> 0:15:44.320
<v Speaker 1>round and the broadcast was a sensational hit. Our CIA

0:15:44.440 --> 0:15:47.440
<v Speaker 1>began to sell more radio receivers to customers, and radio

0:15:47.480 --> 0:15:50.960
<v Speaker 1>stations began popping up all over the United States. The

0:15:51.000 --> 0:15:55.840
<v Speaker 1>first radio commercial on record happened in August nineteen twenty two,

0:15:55.840 --> 0:15:58.960
<v Speaker 1>and a New York real estate developer aired an ad

0:15:59.000 --> 0:16:02.600
<v Speaker 1>in New York City. Two years later, in nineteen there

0:16:02.600 --> 0:16:05.760
<v Speaker 1>were more than six hundred commercial radio stations in the

0:16:05.800 --> 0:16:09.680
<v Speaker 1>United States. These were mostly independent stations, and that's when

0:16:09.800 --> 0:16:13.880
<v Speaker 1>r c A made a really big move in the industry.

0:16:14.080 --> 0:16:17.200
<v Speaker 1>Partnering with Westinghouse and A T and T, r ci

0:16:17.320 --> 0:16:21.040
<v Speaker 1>A formed a new company called the National Broadcasting Company,

0:16:21.200 --> 0:16:26.440
<v Speaker 1>or INBC, which had its first broadcast on November nineteen

0:16:26.520 --> 0:16:31.280
<v Speaker 1>twenty six. The concept was that NBC would produce material

0:16:31.360 --> 0:16:34.320
<v Speaker 1>for broadcast, which would then be sent out over different

0:16:34.440 --> 0:16:38.000
<v Speaker 1>radio stations in different regions, with the stations being part

0:16:38.040 --> 0:16:40.440
<v Speaker 1>of the overall network. Which was a new idea at

0:16:40.440 --> 0:16:43.640
<v Speaker 1>the time. You know, creates your your content in a

0:16:43.720 --> 0:16:47.840
<v Speaker 1>central location and then distribute it using these various radio stations.

0:16:48.440 --> 0:16:53.960
<v Speaker 1>That was revolutionary. NBC had two semi independent networks under

0:16:54.000 --> 0:16:57.280
<v Speaker 1>its governance shortly after it was formed, so it split

0:16:57.440 --> 0:17:01.360
<v Speaker 1>off its its operations into two networks. One was called

0:17:01.400 --> 0:17:04.480
<v Speaker 1>the Blue Network and one was called the Red Network,

0:17:04.520 --> 0:17:07.600
<v Speaker 1>So you had NBC Blue and NBC Red. The center

0:17:07.680 --> 0:17:10.560
<v Speaker 1>of the Blue Network was a radio station called w

0:17:10.840 --> 0:17:14.080
<v Speaker 1>jay Z, which had been founded by Westinghouse in nineteen

0:17:14.160 --> 0:17:17.520
<v Speaker 1>twenty one. The center for the Red Network was a

0:17:17.560 --> 0:17:20.879
<v Speaker 1>station called w e a F, which was founded by A.

0:17:21.000 --> 0:17:24.199
<v Speaker 1>T and T in nineteen twenty three. While all this

0:17:24.320 --> 0:17:27.760
<v Speaker 1>was going on, Sarnov was already looking at the potential

0:17:27.880 --> 0:17:31.680
<v Speaker 1>future of television. In nineteen twenty four, r C A

0:17:31.800 --> 0:17:36.560
<v Speaker 1>transmitted the first transatlantic radio photo from New York to London.

0:17:37.000 --> 0:17:40.439
<v Speaker 1>This was before the invention of electronic television's, when the

0:17:40.480 --> 0:17:44.199
<v Speaker 1>early prototype TVs were largely mechanical in nature, and I

0:17:44.200 --> 0:17:46.520
<v Speaker 1>talked about that in the History of Television episodes on

0:17:46.560 --> 0:17:50.640
<v Speaker 1>Tech Stuff. So there was a limited market for mechanical television's.

0:17:51.119 --> 0:17:54.359
<v Speaker 1>They really didn't make a lot of progress in the

0:17:54.359 --> 0:17:57.200
<v Speaker 1>consumer market. They were very expensive, they were very complicated,

0:17:57.240 --> 0:18:01.720
<v Speaker 1>and they had limited success full results, let's say. But

0:18:01.760 --> 0:18:04.080
<v Speaker 1>the real boon would come when inventors began to create

0:18:04.119 --> 0:18:09.800
<v Speaker 1>electronic televisions, and that wouldn't begin until the late nineteen twenties.

0:18:09.840 --> 0:18:13.639
<v Speaker 1>And when we talk about commercial TVs, you're talking about

0:18:13.680 --> 0:18:16.760
<v Speaker 1>two more decades on top of that. Now, this is

0:18:16.800 --> 0:18:22.600
<v Speaker 1>not entirely a happy story. In nineteen twenty nine, Sarnoff

0:18:22.760 --> 0:18:27.000
<v Speaker 1>met with an engineer at Westinghouse named Vladimir Zwarakin. And

0:18:27.040 --> 0:18:30.080
<v Speaker 1>if you've listened to my episodes about the origins of television,

0:18:30.119 --> 0:18:33.200
<v Speaker 1>you know Zarakin is one of two inventors who typically

0:18:33.240 --> 0:18:36.760
<v Speaker 1>get the title of inventor of television. The other would

0:18:36.760 --> 0:18:42.359
<v Speaker 1>be Philo Farnsworth. Saranoff convinced Westinghouse to fund Zarakin's work,

0:18:42.560 --> 0:18:45.440
<v Speaker 1>and in nineteen thirty r c A would take over

0:18:45.480 --> 0:18:48.320
<v Speaker 1>the research as Warakin would actually go over to our

0:18:48.400 --> 0:18:51.879
<v Speaker 1>CIA as well and become an r c A employee. Sarnoff,

0:18:52.280 --> 0:18:55.720
<v Speaker 1>seeing the power of patents, wanted to run out of

0:18:55.760 --> 0:18:59.199
<v Speaker 1>business any person or a company he felt was horning

0:18:59.200 --> 0:19:03.080
<v Speaker 1>in on his action, and so in ninety two our

0:19:03.119 --> 0:19:06.879
<v Speaker 1>CI A would file a patent suit against Philo Farnsworth.

0:19:07.480 --> 0:19:12.360
<v Speaker 1>The case would last seven years. Ultimately Farnsworth would win

0:19:12.720 --> 0:19:15.280
<v Speaker 1>that case and our c would have to pay fines

0:19:15.320 --> 0:19:18.200
<v Speaker 1>and royalties to him. But by that time his health

0:19:18.280 --> 0:19:21.400
<v Speaker 1>was in shambles. He had had a nervous breakdown from

0:19:21.440 --> 0:19:24.320
<v Speaker 1>all the stress. And I'm going to get back to

0:19:24.320 --> 0:19:29.760
<v Speaker 1>Starnoff's lutitious ways throughout these episodes, but bouncing back to

0:19:31.040 --> 0:19:33.320
<v Speaker 1>for a moment. So this is before all of the

0:19:33.480 --> 0:19:37.199
<v Speaker 1>legality issues with Farnsworth, I need to talk about another

0:19:37.240 --> 0:19:39.800
<v Speaker 1>company that would play a very important part in our

0:19:39.880 --> 0:19:43.200
<v Speaker 1>Cier's early history. Now, if you've heard my episodes about

0:19:43.200 --> 0:19:46.520
<v Speaker 1>the history of turntables, you'll remember the early days of

0:19:46.560 --> 0:19:50.320
<v Speaker 1>the phonograph and the graphophone and the gramophone. I covered

0:19:50.359 --> 0:19:53.119
<v Speaker 1>a little bit of the turbulent patent battles and the

0:19:53.200 --> 0:19:55.879
<v Speaker 1>cutthroat business strategies that were all part of the early

0:19:56.000 --> 0:19:58.480
<v Speaker 1>days of home audio, and I'll have to do a

0:19:58.520 --> 0:20:00.800
<v Speaker 1>more in depth series in the few sure to really

0:20:00.800 --> 0:20:04.359
<v Speaker 1>focus on it, because it gets nasty, y'all. But the

0:20:04.560 --> 0:20:08.840
<v Speaker 1>Victor Talking Machine Company was born directly out of all

0:20:08.920 --> 0:20:13.160
<v Speaker 1>that strife. Now, since this is not an episode about Victor,

0:20:13.200 --> 0:20:16.399
<v Speaker 1>I'm just going to give you the super short version, which,

0:20:16.560 --> 0:20:20.040
<v Speaker 1>let's face it, I'm Jonathan Strickland of tech Stuff. Super

0:20:20.119 --> 0:20:22.840
<v Speaker 1>short for me is a lecture for anybody else, but

0:20:22.960 --> 0:20:27.320
<v Speaker 1>let's go with it. The Berliner Gramophone Company of Philadelphia,

0:20:27.520 --> 0:20:32.240
<v Speaker 1>founded by Emil Berliner, was the company that really was

0:20:32.280 --> 0:20:35.879
<v Speaker 1>the focus of this this strife. Berlinard gets the credit

0:20:35.920 --> 0:20:39.880
<v Speaker 1>for inventing the first flat disc record. Before his invention,

0:20:40.200 --> 0:20:44.399
<v Speaker 1>engineers would press recordings onto cylinders. So you had these

0:20:44.640 --> 0:20:47.119
<v Speaker 1>cylinders that you would put on a spool essentially that

0:20:47.160 --> 0:20:49.359
<v Speaker 1>would then rotate and you could play it back on

0:20:50.000 --> 0:20:53.600
<v Speaker 1>various devices. The discs were much easier to store, right,

0:20:53.680 --> 0:20:56.520
<v Speaker 1>you didn't have as much space and as much bulk

0:20:56.920 --> 0:20:59.760
<v Speaker 1>as a cylinder did. They were easier to ship, and

0:21:00.000 --> 0:21:03.600
<v Speaker 1>once the manufacturing process was refined, they lasted a lot

0:21:03.680 --> 0:21:06.400
<v Speaker 1>longer than cylinders did as well. It took a while

0:21:06.480 --> 0:21:09.840
<v Speaker 1>to get the right materials, but once they did, those

0:21:09.840 --> 0:21:14.199
<v Speaker 1>discs just seemed more practical. Berliner made a deal with

0:21:14.280 --> 0:21:19.560
<v Speaker 1>an enterprising manufacturer and machinist named Eldredge R. Johnson. Johnson

0:21:19.600 --> 0:21:23.600
<v Speaker 1>developed a wind up spring motor for Berliner's gramophones. Now

0:21:23.640 --> 0:21:27.879
<v Speaker 1>previously those gramophones had relied on hand cranks, so you

0:21:27.920 --> 0:21:31.560
<v Speaker 1>would literally turn a crank which would then turn the

0:21:31.600 --> 0:21:35.080
<v Speaker 1>gears inside the device and turn the platter so that

0:21:35.160 --> 0:21:38.360
<v Speaker 1>you could listen to the disc being played back on

0:21:38.680 --> 0:21:42.720
<v Speaker 1>the gramophone. Johnson did good work. He created a spring

0:21:42.720 --> 0:21:46.359
<v Speaker 1>motor that worked reliably, but Berliner would enter into a

0:21:46.400 --> 0:21:50.239
<v Speaker 1>sales agreement with a man named frank Cman, and this

0:21:50.280 --> 0:21:55.359
<v Speaker 1>would lead to massive trouble. Frankie wanted more money for

0:21:55.480 --> 0:21:59.399
<v Speaker 1>himself and eventually began to sell knockoffs of Berliner's works

0:21:59.760 --> 0:22:04.320
<v Speaker 1>while simultaneously bringing legal action, much of its spurious in nature,

0:22:04.680 --> 0:22:09.120
<v Speaker 1>against both Berliner and Johnson. The process eventually prevented Berliner

0:22:09.359 --> 0:22:13.560
<v Speaker 1>from selling gramophones in the United States and nearly bankrupted

0:22:13.720 --> 0:22:17.240
<v Speaker 1>both Berliner and Johnson in the process. And this was

0:22:17.440 --> 0:22:19.520
<v Speaker 1>infuriating to them. I mean, they were the ones who

0:22:19.560 --> 0:22:22.960
<v Speaker 1>had created this technology, and now this salesman Day had

0:22:23.000 --> 0:22:27.040
<v Speaker 1>worked with was claiming that they were the ones infringing

0:22:27.080 --> 0:22:30.840
<v Speaker 1>on his patents, his ideas, and his trade secrets. But

0:22:30.920 --> 0:22:34.920
<v Speaker 1>in nineteen o one, Johnson, Berliner, and some other entrepreneurs

0:22:34.960 --> 0:22:38.880
<v Speaker 1>got together and founded a new consolidated company that took

0:22:38.920 --> 0:22:43.760
<v Speaker 1>Berliner's facilities and Johnson's manufacturing plants as the basis for

0:22:43.840 --> 0:22:47.840
<v Speaker 1>the new organization. And this was the Victor Talking Machine Company,

0:22:47.880 --> 0:22:51.840
<v Speaker 1>which incorporated on October third, nineteen o one. So the

0:22:51.920 --> 0:22:55.880
<v Speaker 1>Victor Talking Machine Company was older than the Radio Corporation

0:22:55.880 --> 0:23:00.600
<v Speaker 1>of America that would not be born until nine But

0:23:00.680 --> 0:23:03.399
<v Speaker 1>Saranov looked at the Victor Talking Machine Company and thought,

0:23:03.520 --> 0:23:06.600
<v Speaker 1>this is a way I could sell more radios. I

0:23:06.640 --> 0:23:13.000
<v Speaker 1>could take this company and take their product, the the

0:23:13.040 --> 0:23:15.280
<v Speaker 1>gramophones essentially, although they didn't call it that in the

0:23:15.359 --> 0:23:18.840
<v Speaker 1>United States, they couldn't. They started calling it things like

0:23:18.880 --> 0:23:22.800
<v Speaker 1>the Victrola that was one that the Victor Company made.

0:23:23.119 --> 0:23:25.879
<v Speaker 1>I can take that. I can incorporate a radio into

0:23:25.960 --> 0:23:31.000
<v Speaker 1>the design of those machines, sell it as a new product,

0:23:31.359 --> 0:23:34.639
<v Speaker 1>and sell more radios this way. Also, just as a

0:23:34.720 --> 0:23:37.040
<v Speaker 1>quick aside, the Victor trademark is one of the more

0:23:37.119 --> 0:23:40.680
<v Speaker 1>famous ones in business history. It shows a dog, specifically

0:23:40.680 --> 0:23:44.000
<v Speaker 1>a fox terrier, sitting in front of a gramophone horn

0:23:44.400 --> 0:23:47.320
<v Speaker 1>and the dog's head is tilted slightly. It's from a

0:23:47.400 --> 0:23:51.520
<v Speaker 1>painting titled His Master's Voice, and the artist was Francis

0:23:51.560 --> 0:23:56.400
<v Speaker 1>Borrowed and it was made in The dog was named

0:23:56.480 --> 0:24:00.159
<v Speaker 1>Nipper and once belonged to Burrowed's nephew Mark mark Ark

0:24:00.200 --> 0:24:04.040
<v Speaker 1>had tragically passed away. And then Francis saw a Nipper

0:24:04.080 --> 0:24:06.560
<v Speaker 1>one day sitting near a gramophone with his head cocked,

0:24:06.560 --> 0:24:09.480
<v Speaker 1>and that led Francis to wonder what the dog's reaction

0:24:09.520 --> 0:24:12.439
<v Speaker 1>would be if they had happened to be playing a

0:24:12.560 --> 0:24:16.879
<v Speaker 1>recording of his old master Mark speaking. That was the

0:24:16.920 --> 0:24:19.560
<v Speaker 1>inspiration for the painting. He tried selling the painting as

0:24:19.560 --> 0:24:22.359
<v Speaker 1>a magazine illustration to no avail, and ultimately sold it

0:24:22.400 --> 0:24:25.640
<v Speaker 1>to the Gramophone Company for the princely sum of one

0:24:25.680 --> 0:24:30.960
<v Speaker 1>hundred pounds. Sterling Johnson got permission from the Gramophone Company

0:24:31.000 --> 0:24:34.399
<v Speaker 1>to use it for his products under the Victor Company,

0:24:34.440 --> 0:24:37.040
<v Speaker 1>and berlinerd had trademarked the design and at some point

0:24:37.040 --> 0:24:40.360
<v Speaker 1>transferred that trademark over to the Victor Company. The whole

0:24:40.359 --> 0:24:42.440
<v Speaker 1>story is super fascinating, and I'm sure I'll devote a

0:24:42.480 --> 0:24:46.040
<v Speaker 1>future episode to the Victor Talking Machine Company, but for now,

0:24:46.200 --> 0:24:50.600
<v Speaker 1>let's remember that it started in nineteen one, and even

0:24:50.600 --> 0:24:52.479
<v Speaker 1>though it grew out of an older company and then

0:24:52.520 --> 0:24:57.320
<v Speaker 1>would eventually get incorporated into our c A. I'll explain

0:24:57.359 --> 0:24:59.399
<v Speaker 1>more in just a moment, but first let's take another

0:24:59.480 --> 0:25:09.960
<v Speaker 1>quick break to thank our sponsor. The acquisition of the

0:25:10.040 --> 0:25:12.760
<v Speaker 1>Victor Talking Machine Company meant that our C A was

0:25:12.800 --> 0:25:16.240
<v Speaker 1>now getting into the consumer electronics business. Keep in mind,

0:25:16.280 --> 0:25:19.480
<v Speaker 1>up until nine nine, r c A was primarily in

0:25:19.520 --> 0:25:23.080
<v Speaker 1>the business of operating radio broadcast stations and selling what

0:25:23.160 --> 0:25:27.240
<v Speaker 1>was effectively industrial equipment. But now our c A owned

0:25:27.320 --> 0:25:31.200
<v Speaker 1>the company that had created the iconic Victrola machine, and

0:25:31.359 --> 0:25:34.600
<v Speaker 1>they created a subsidiary company called r c A Victor.

0:25:35.040 --> 0:25:38.160
<v Speaker 1>That company also took a majority ownership in the Japan

0:25:38.480 --> 0:25:42.040
<v Speaker 1>Victor Company, which is also known as j v C.

0:25:43.320 --> 0:25:47.080
<v Speaker 1>Also in ninety nine, r k O Radio Pictures released

0:25:47.119 --> 0:25:50.000
<v Speaker 1>a film called Synco Patient, which relied upon a new

0:25:50.040 --> 0:25:53.679
<v Speaker 1>technique called r c A photophone, which is not to

0:25:53.720 --> 0:25:56.880
<v Speaker 1>be confused with the technology developed by Alexander Graham Bell

0:25:57.280 --> 0:26:00.880
<v Speaker 1>that was also called photophone. Now, this was a technique

0:26:00.880 --> 0:26:05.000
<v Speaker 1>of recording audio onto film for the purposes of synchronized

0:26:05.080 --> 0:26:07.800
<v Speaker 1>visuals and audio, in other words, a way of making

0:26:07.840 --> 0:26:11.080
<v Speaker 1>talking pictures. And the formation of r k O Pictures

0:26:11.119 --> 0:26:14.120
<v Speaker 1>itself is a great story that ties directly into our

0:26:14.200 --> 0:26:17.720
<v Speaker 1>history of our CI A. So the development of the

0:26:17.880 --> 0:26:20.560
<v Speaker 1>r C A photophone technology would date back to the

0:26:20.600 --> 0:26:23.919
<v Speaker 1>early nineteen twenties, there was a man named Charles A.

0:26:24.160 --> 0:26:28.080
<v Speaker 1>Haxie who was working on recording audio to photographic film

0:26:28.119 --> 0:26:31.040
<v Speaker 1>as a project for General Electric, which you'll remember was

0:26:31.080 --> 0:26:33.840
<v Speaker 1>one of the founding partners that created our c A. Now.

0:26:33.880 --> 0:26:36.959
<v Speaker 1>Hawxy's work at that time was more about preserving audio

0:26:37.000 --> 0:26:41.080
<v Speaker 1>recordings for playback, not necessarily as a way of creating

0:26:41.119 --> 0:26:45.159
<v Speaker 1>talking pictures, but just recording audio in itself. But by

0:26:45.200 --> 0:26:49.600
<v Speaker 1>the mid twenties, General Electric was thinking about applying Hawxy's

0:26:49.640 --> 0:26:53.280
<v Speaker 1>work in the direction of talking pictures. Now, the desire

0:26:53.359 --> 0:26:56.679
<v Speaker 1>to match sound to moving images dated back to the

0:26:56.800 --> 0:27:01.760
<v Speaker 1>earliest moving pictures. Edison himself worked on this challenge, and

0:27:01.880 --> 0:27:04.919
<v Speaker 1>a lot of different companies were taking various approaches to

0:27:05.000 --> 0:27:08.320
<v Speaker 1>this problem. So, for example, Warner Brothers had created a

0:27:08.400 --> 0:27:13.840
<v Speaker 1>system called Vitaphone. Vitaphone, you would record a soundtrack onto

0:27:14.200 --> 0:27:17.600
<v Speaker 1>a disk similar to an LP record, and when you

0:27:17.680 --> 0:27:20.320
<v Speaker 1>were ready to play the film, you would synchronize the

0:27:20.359 --> 0:27:23.879
<v Speaker 1>film playback with the audio from the disk. So that

0:27:24.160 --> 0:27:27.000
<v Speaker 1>was a pretty primitive approach, but it was how some

0:27:27.240 --> 0:27:30.159
<v Speaker 1>early talking pictures were made, including the first one, The

0:27:30.240 --> 0:27:35.199
<v Speaker 1>Jazz Singer, which debuted in ninete r C. A photophone

0:27:35.560 --> 0:27:39.520
<v Speaker 1>used a totally different approach. The sound was recorded in

0:27:39.600 --> 0:27:42.680
<v Speaker 1>a narrow band on the side of the frame of

0:27:42.840 --> 0:27:48.000
<v Speaker 1>film some actual photoreactive film. Uh, the band would be

0:27:48.119 --> 0:27:50.560
<v Speaker 1>out of you when the film was put through a projector.

0:27:50.640 --> 0:27:53.399
<v Speaker 1>There was a frame on a projector that covers up

0:27:53.480 --> 0:27:56.560
<v Speaker 1>the edges of the film, and the audio track is

0:27:56.640 --> 0:27:59.800
<v Speaker 1>on one of those edges. The width of this strip

0:28:00.640 --> 0:28:03.160
<v Speaker 1>on the side of the film varies with the frequency

0:28:03.240 --> 0:28:07.679
<v Speaker 1>of the sound that was recorded onto the film. So essentially,

0:28:07.720 --> 0:28:11.040
<v Speaker 1>you have sound that's transmitted into a microphone. It is

0:28:11.119 --> 0:28:15.440
<v Speaker 1>turned into an electric signal, which in turn is used

0:28:15.520 --> 0:28:19.879
<v Speaker 1>to treat this this photoreactive film, so that it has

0:28:20.040 --> 0:28:23.680
<v Speaker 1>this record of the frequency. It's almost like a wave form.

0:28:23.960 --> 0:28:26.119
<v Speaker 1>If you were to think of that, uh, you know,

0:28:26.280 --> 0:28:27.879
<v Speaker 1>in a modern sense, if you were to look at

0:28:27.920 --> 0:28:31.680
<v Speaker 1>an audio file on a audio editing software. So then

0:28:31.720 --> 0:28:35.280
<v Speaker 1>when you're playing it back, you have a bright lamp

0:28:35.960 --> 0:28:39.480
<v Speaker 1>that shines light through this narrow strip, and you have

0:28:39.560 --> 0:28:42.520
<v Speaker 1>a photo cell that picks up the light that's coming through,

0:28:43.120 --> 0:28:45.760
<v Speaker 1>and it generates an electric current that matches the amount

0:28:45.800 --> 0:28:48.160
<v Speaker 1>of light that's hitting the photo cell, and that signal

0:28:48.280 --> 0:28:50.520
<v Speaker 1>goes to a pre amplifier, which can then boost the

0:28:50.560 --> 0:28:52.680
<v Speaker 1>signal strength so it can go to an amplifier and

0:28:52.760 --> 0:28:57.440
<v Speaker 1>then ultimately speakers. The lamp for reading this optical sound

0:28:57.680 --> 0:29:00.560
<v Speaker 1>and the photo cell are not in the same position

0:29:00.680 --> 0:29:03.240
<v Speaker 1>as the projection lamp that would just get in the way.

0:29:04.040 --> 0:29:08.480
<v Speaker 1>So this is actually it creates something of a challenge.

0:29:08.880 --> 0:29:12.240
<v Speaker 1>It means that the soundtrack is offset from the actual

0:29:12.400 --> 0:29:15.920
<v Speaker 1>frames of the film itself. The soundtrack is either running

0:29:16.320 --> 0:29:19.360
<v Speaker 1>a little ahead or a little behind the action of

0:29:19.440 --> 0:29:22.600
<v Speaker 1>the film, depending upon the method that was actually used.

0:29:23.080 --> 0:29:26.200
<v Speaker 1>So in playback it's all synchronized because if you as

0:29:26.240 --> 0:29:27.800
<v Speaker 1>long as you put the film through the right type

0:29:27.840 --> 0:29:32.400
<v Speaker 1>of projector, the audio track gets read through the audio

0:29:32.640 --> 0:29:36.040
<v Speaker 1>system at the same time as the video or the film.

0:29:36.160 --> 0:29:40.920
<v Speaker 1>Rather the images are being projected through the projection lamp

0:29:41.280 --> 0:29:44.400
<v Speaker 1>and it all gets synchronized together. So in playback gets synchronized.

0:29:44.440 --> 0:29:46.000
<v Speaker 1>But if you were to look at the film itself,

0:29:46.120 --> 0:29:47.920
<v Speaker 1>like if you took the film out of the projector

0:29:48.480 --> 0:29:50.560
<v Speaker 1>then you held it up to the light and you

0:29:50.680 --> 0:29:54.680
<v Speaker 1>saw where the audio track is, the audio you were

0:29:54.760 --> 0:29:59.000
<v Speaker 1>looking at would not be the audio that occurs in

0:29:59.080 --> 0:30:03.080
<v Speaker 1>synchronization with the image you're looking at the advantage of

0:30:03.160 --> 0:30:07.640
<v Speaker 1>that approach was that all the synchronization would be done beforehand.

0:30:07.960 --> 0:30:10.680
<v Speaker 1>You didn't have to set up a disc and a

0:30:10.800 --> 0:30:14.040
<v Speaker 1>film in separate chambers to try and match up to

0:30:14.120 --> 0:30:17.080
<v Speaker 1>each other. It was all in one piece of film.

0:30:17.480 --> 0:30:21.280
<v Speaker 1>But the format itself changed several times, sometimes with the

0:30:21.360 --> 0:30:24.600
<v Speaker 1>optical soundtrack running ahead of the action, sometimes behind the action.

0:30:25.120 --> 0:30:27.440
<v Speaker 1>This meant the movie theaters had to invest in different

0:30:27.480 --> 0:30:31.040
<v Speaker 1>equipment to play back those films properly, because if you

0:30:31.160 --> 0:30:34.960
<v Speaker 1>put in a film where the soundtrack ran a little

0:30:35.080 --> 0:30:37.080
<v Speaker 1>ahead of the action, but you put it in a

0:30:37.120 --> 0:30:40.240
<v Speaker 1>projector that was designed to run a film that had

0:30:40.320 --> 0:30:43.160
<v Speaker 1>the audio a little behind the action, you would have

0:30:44.320 --> 0:30:48.000
<v Speaker 1>terrible experiences because the audio would not be at all

0:30:48.160 --> 0:30:50.600
<v Speaker 1>synchronized with what was happening on screen. It would just

0:30:50.680 --> 0:30:54.040
<v Speaker 1>be a total mess. This ended up creating kind of

0:30:54.160 --> 0:30:58.360
<v Speaker 1>a format war that waged in the late twenties after

0:30:58.480 --> 0:31:01.640
<v Speaker 1>our CIA's approach debut. It is not the only audio

0:31:01.800 --> 0:31:05.000
<v Speaker 1>on film format, and it also did battle with the

0:31:05.120 --> 0:31:09.560
<v Speaker 1>vitaphone approach, where it was the recorded to disc version.

0:31:10.240 --> 0:31:13.120
<v Speaker 1>Now on the production side, if you were making films,

0:31:13.440 --> 0:31:16.640
<v Speaker 1>it also changed how movies were made because If you

0:31:16.720 --> 0:31:19.960
<v Speaker 1>watch some of the early films with sound, like some

0:31:20.040 --> 0:31:22.680
<v Speaker 1>of the first films that had sound in it, you

0:31:22.760 --> 0:31:27.600
<v Speaker 1>might notice people don't move very much. Shots are pretty static.

0:31:28.400 --> 0:31:31.920
<v Speaker 1>Actors tend to remain in place well. This was largely

0:31:32.000 --> 0:31:35.400
<v Speaker 1>because the limitations of the sound recording equipment at the time.

0:31:35.560 --> 0:31:41.240
<v Speaker 1>Microphones were large and bulky and typically omnidirectional. Actors needed

0:31:41.280 --> 0:31:44.040
<v Speaker 1>to be close to the microphones so that they could

0:31:44.080 --> 0:31:46.920
<v Speaker 1>be heard clearly, but they also couldn't move around very

0:31:47.000 --> 0:31:49.560
<v Speaker 1>much because the microphones would pick up everything, so you

0:31:49.760 --> 0:31:52.960
<v Speaker 1>just have a lot of noise. The cameras themselves, which

0:31:53.000 --> 0:31:55.760
<v Speaker 1>had been motorized in the late nineteen twenties to create

0:31:55.800 --> 0:31:58.040
<v Speaker 1>a standard frame rate of twenty four frames per second

0:31:58.120 --> 0:32:01.480
<v Speaker 1>that was necessary in order to have reliable sound playback,

0:32:02.280 --> 0:32:04.440
<v Speaker 1>those cameras made a lot of noise too in those

0:32:04.480 --> 0:32:07.120
<v Speaker 1>early days, and that could get picked up by the microphones.

0:32:07.280 --> 0:32:09.920
<v Speaker 1>So as a result, the common practice was to put

0:32:09.960 --> 0:32:15.959
<v Speaker 1>the cameras in enclosed, somewhat sound proved chambers. The cameraman

0:32:16.600 --> 0:32:20.160
<v Speaker 1>camera operator, if you prefer, would be inside that chamber

0:32:20.320 --> 0:32:23.480
<v Speaker 1>with the camera and they would be isolated from the

0:32:23.560 --> 0:32:26.280
<v Speaker 1>rest of the set, so that the sound wouldn't leak through.

0:32:27.120 --> 0:32:30.400
<v Speaker 1>They were jokingly referred to as ice boxes. I say

0:32:30.480 --> 0:32:33.720
<v Speaker 1>jokingly because it would actually get scorchingly hot inside those

0:32:33.800 --> 0:32:36.640
<v Speaker 1>as the cameras were running, and it limited what you

0:32:36.720 --> 0:32:38.960
<v Speaker 1>could do with a camera. You could pan the camera

0:32:39.040 --> 0:32:41.520
<v Speaker 1>a little bit on its tripod. That that was about it.

0:32:42.080 --> 0:32:45.080
<v Speaker 1>And so early talkies typically don't have very much movement

0:32:45.400 --> 0:32:47.600
<v Speaker 1>or action in them, which was a big change from

0:32:47.640 --> 0:32:50.600
<v Speaker 1>the early days of silent films because in those days

0:32:50.800 --> 0:32:53.840
<v Speaker 1>actors would make these really big dramatic movements in an

0:32:53.880 --> 0:32:56.200
<v Speaker 1>effort to tell a story because they could not be heard.

0:32:56.920 --> 0:32:59.880
<v Speaker 1>Another thing that would change was that in the early days,

0:33:00.040 --> 0:33:03.520
<v Speaker 1>film crews captured audio and images on the same film

0:33:03.800 --> 0:33:07.120
<v Speaker 1>at the same time, so, in other words, the audio

0:33:07.160 --> 0:33:10.280
<v Speaker 1>and images were both being directly recorded to the same

0:33:10.400 --> 0:33:16.040
<v Speaker 1>strip of photographic film. This made editing really tricky because again,

0:33:16.120 --> 0:33:19.840
<v Speaker 1>the audio track wasn't in direct line with the images.

0:33:20.480 --> 0:33:22.440
<v Speaker 1>It was running a little ahead or a little behind,

0:33:23.400 --> 0:33:26.240
<v Speaker 1>so you couldn't just snip film to create a transition

0:33:26.520 --> 0:33:29.680
<v Speaker 1>or cut out a mistake because the audio wasn't lined

0:33:29.760 --> 0:33:33.160
<v Speaker 1>up directly with whatever was happening in the image. And

0:33:33.240 --> 0:33:35.800
<v Speaker 1>that would eventually change when the industry began to capture

0:33:35.920 --> 0:33:39.880
<v Speaker 1>images and audio separately and would only combine them after

0:33:40.000 --> 0:33:43.640
<v Speaker 1>the editing process to create a master print. The audio

0:33:43.720 --> 0:33:46.360
<v Speaker 1>track and the images were still offset, but you could

0:33:46.360 --> 0:33:48.760
<v Speaker 1>at least make edits to the film without messing up

0:33:48.760 --> 0:33:50.360
<v Speaker 1>the soundtrack, and you could do the same to the

0:33:50.400 --> 0:33:53.520
<v Speaker 1>audio track without messing up the film. R c A's

0:33:53.520 --> 0:33:56.560
<v Speaker 1>photophone would go up against not only the vitaphone system

0:33:56.720 --> 0:33:59.640
<v Speaker 1>from Warner Brothers, but another sound on film system called

0:33:59.720 --> 0:34:04.000
<v Speaker 1>movie Tone. Movie Tone came from a Western electric subsidiary

0:34:04.120 --> 0:34:08.600
<v Speaker 1>called Electrical Research Products Incorporated or e r p I.

0:34:09.520 --> 0:34:11.920
<v Speaker 1>That system was the dominant one when our c a

0:34:12.160 --> 0:34:16.239
<v Speaker 1>was ready to debut photophone. So again the company goes

0:34:16.280 --> 0:34:19.840
<v Speaker 1>out and says, what can we do to really compete

0:34:19.920 --> 0:34:25.200
<v Speaker 1>in this market? Ah, again, idea, let's make a new company.

0:34:25.880 --> 0:34:29.200
<v Speaker 1>So they go out. They purchased the Keith Albi or

0:34:29.280 --> 0:34:32.200
<v Speaker 1>Feum chain of theaters. That was a chain of theaters

0:34:32.239 --> 0:34:34.480
<v Speaker 1>that wasn't it wasn't just motion picture theaters but also

0:34:34.600 --> 0:34:37.880
<v Speaker 1>vaudeville theaters as well. So our CIO goes out and

0:34:38.000 --> 0:34:41.880
<v Speaker 1>buys this company that owns these multiple theaters, and then

0:34:41.960 --> 0:34:45.560
<v Speaker 1>they merged that company with another company they buy called

0:34:45.760 --> 0:34:50.400
<v Speaker 1>Film Booking Offices of America or FBO, and the merger

0:34:50.600 --> 0:34:54.680
<v Speaker 1>of these two acquisitions becomes the Radio Keith Orpheum or

0:34:54.920 --> 0:34:59.799
<v Speaker 1>RKO Pictures Company. So our CIA created an entirely new

0:35:00.040 --> 0:35:03.200
<v Speaker 1>corporation in order to put its motion picture audio format

0:35:03.480 --> 0:35:07.920
<v Speaker 1>onto the market, and it worked. Photophone would eventually evolve

0:35:08.160 --> 0:35:12.400
<v Speaker 1>into the industry standard. Pretty audacious move and not the

0:35:12.560 --> 0:35:15.759
<v Speaker 1>last one from our CIA. In our next episode, we

0:35:15.840 --> 0:35:18.640
<v Speaker 1>will continue this story to talk about how our ce

0:35:18.800 --> 0:35:22.000
<v Speaker 1>A weathered the Great Depression and what it was doing

0:35:22.160 --> 0:35:25.040
<v Speaker 1>during World War Two. If you guys have suggestions for

0:35:25.160 --> 0:35:27.920
<v Speaker 1>future episodes of tech Stuff, let me know. Send me

0:35:28.000 --> 0:35:31.440
<v Speaker 1>an email. The address is tech Stuff at how stuff

0:35:31.480 --> 0:35:34.879
<v Speaker 1>works dot com, or head over to our website that's

0:35:34.960 --> 0:35:39.320
<v Speaker 1>tech Stuff podcast dot com. You'll see the archive of

0:35:39.440 --> 0:35:42.080
<v Speaker 1>older episodes. There in different ways to contact us, including

0:35:42.120 --> 0:35:46.160
<v Speaker 1>on social media. Don't forget to visit our merchandise store

0:35:46.200 --> 0:35:49.560
<v Speaker 1>that's over at t public dot com slash tech Stuff. Remember,

0:35:49.719 --> 0:35:52.320
<v Speaker 1>every purchase you make goes to help the show, and

0:35:52.400 --> 0:35:54.960
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0:35:55.600 --> 0:36:03.920
<v Speaker 1>really soon for more on this and thousands of other topics.

0:36:04.200 --> 0:36:05.560
<v Speaker 1>Is that how stuff works dot com,