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I have crossed the Atlantic to ride the railroads of North America | 0:00:02 | 0:00:07 | |
with my reliable Appleton's guide. | 0:00:07 | 0:00:09 | |
Published in the late 19th century, | 0:00:12 | 0:00:14 | |
my Appleton's General Guide to North America will direct me | 0:00:14 | 0:00:18 | |
to all that's novel, beautiful, | 0:00:18 | 0:00:21 | |
memorable and striking in the United States. | 0:00:21 | 0:00:26 | |
THEY SHOUT | 0:00:26 | 0:00:28 | |
As I journey across this vast continent, | 0:00:28 | 0:00:30 | |
I'll discover how pioneers and cowboys conquered the West | 0:00:30 | 0:00:35 | |
and how the railroads tied this nation together, | 0:00:35 | 0:00:39 | |
helping to create the global superstate of today. | 0:00:39 | 0:00:42 | |
My rail journey across America's Midwest | 0:01:12 | 0:01:14 | |
has brought me to Lake Michigan. | 0:01:14 | 0:01:16 | |
At the time of my Appleton's guide, | 0:01:16 | 0:01:18 | |
the United States was at the forefront of a global second Industrial Revolution | 0:01:18 | 0:01:23 | |
featuring steel, chemicals and heavy engineering. | 0:01:23 | 0:01:28 | |
Railroads and steamships tied the markets of the world together. | 0:01:28 | 0:01:32 | |
The cities of the Great Lakes | 0:01:32 | 0:01:34 | |
supplied the ingredients for success - | 0:01:34 | 0:01:37 | |
a transport hub, innovation and manual labour. | 0:01:37 | 0:01:41 | |
I started my journey in Minnesota, in the Twin Cities, and travelled | 0:01:47 | 0:01:51 | |
alongside the Mississippi River | 0:01:51 | 0:01:53 | |
before crossing into Wisconsin at La Crosse. | 0:01:53 | 0:01:57 | |
Now I'm bound for the shores of Lake Michigan at Milwaukee, | 0:01:57 | 0:02:02 | |
from where I'll turn south to the Windy City, Chicago, | 0:02:02 | 0:02:05 | |
before travelling the length of Illinois, calling at Centralia. | 0:02:05 | 0:02:10 | |
I'll then rejoin the Mississippi | 0:02:10 | 0:02:12 | |
before ending in Memphis, Tennessee. | 0:02:12 | 0:02:14 | |
Today, I'll make my way to explore Wisconsin's largest city - | 0:02:16 | 0:02:19 | |
Milwaukee. | 0:02:19 | 0:02:21 | |
From there, I'll head south, stopping at Racine, | 0:02:21 | 0:02:25 | |
before arriving in this nation's railway hub - Chicago. | 0:02:25 | 0:02:29 | |
On my travels, I taste the freedom of the American open road... | 0:02:29 | 0:02:34 | |
-Ready to ride? -I'm ready to ride. | 0:02:34 | 0:02:36 | |
..strike out in America's national game... | 0:02:40 | 0:02:43 | |
Here we go! You're looking like a natural already! | 0:02:43 | 0:02:46 | |
I make a few announcements... | 0:02:47 | 0:02:49 | |
258, your train's never late. | 0:02:49 | 0:02:52 | |
258, your train's never late. | 0:02:52 | 0:02:56 | |
And I'm blown away by the Windy City. | 0:02:56 | 0:02:58 | |
Chicago at sunset. | 0:02:58 | 0:03:00 | |
Surely one of the world's most stunning cities. | 0:03:00 | 0:03:04 | |
By the time of my Appleton's, | 0:03:13 | 0:03:15 | |
the railways had already helped to establish communities in the Midwest. | 0:03:15 | 0:03:20 | |
Now these communities were transforming America. | 0:03:20 | 0:03:24 | |
My first stop will be Milwaukee, which Appleton's tells me | 0:03:24 | 0:03:28 | |
is the commercial capital of Wisconsin and next to Chicago, | 0:03:28 | 0:03:31 | |
the largest city in the Northwest, | 0:03:31 | 0:03:33 | |
situated on the west shore of the lake at the mouth of the Milwaukee River. | 0:03:33 | 0:03:38 | |
As railroads linked up with waterways, | 0:03:38 | 0:03:42 | |
technology supplied jobs for this city of motivated immigrants. | 0:03:42 | 0:03:47 | |
-MAN OVER PA: -The entire crew would like to thank you all very much | 0:03:49 | 0:03:52 | |
for travelling with us. | 0:03:52 | 0:03:53 | |
Your final stop - downtown Milwaukee. | 0:03:53 | 0:03:55 | |
The railroad first reached Milwaukee in 1851. | 0:03:59 | 0:04:03 | |
I enjoyed the ride, thank you so much. | 0:04:03 | 0:04:05 | |
-Thank you. -Bye-bye. -Bye. | 0:04:05 | 0:04:07 | |
But my Appleton's reminds readers that this city | 0:04:13 | 0:04:17 | |
is also the best harbour | 0:04:17 | 0:04:18 | |
on the south or west shore of Lake Michigan, | 0:04:18 | 0:04:21 | |
the third largest of America's Great Lakes. | 0:04:21 | 0:04:24 | |
There is no hope of seeing across Lake Michigan | 0:04:32 | 0:04:36 | |
to the opposite shore - it is far too vast. | 0:04:36 | 0:04:40 | |
To Europeans like me, these Great Lakes seem like seas, | 0:04:40 | 0:04:44 | |
and they are an important part of the making of America. | 0:04:44 | 0:04:48 | |
These enormous bodies of water, joined together, | 0:04:48 | 0:04:51 | |
enabled people and goods to travel vast distances through them in | 0:04:51 | 0:04:56 | |
the days before the railroads. | 0:04:56 | 0:04:58 | |
The Milwaukee that greeted the Appleton's traveller | 0:05:09 | 0:05:12 | |
had a distinctive appearance. | 0:05:12 | 0:05:14 | |
Apparently, "the peculiar cream colour of the Milwaukee brick gives | 0:05:16 | 0:05:20 | |
"the city a unique and pretty appearance | 0:05:20 | 0:05:23 | |
"and has earned for it the name the Cream City of the Lakes." | 0:05:23 | 0:05:28 | |
Despite Milwaukee's genteel architecture, | 0:05:31 | 0:05:34 | |
at the time of my guidebook, it was a proudly blue-collar city. | 0:05:34 | 0:05:38 | |
Appleton's tells me that "manufactures here are extensive | 0:05:40 | 0:05:43 | |
"and embraced pig iron, iron castings, machinery and wheels." | 0:05:43 | 0:05:49 | |
Give me a pair of wheels! | 0:05:49 | 0:05:51 | |
A few decades after my guidebook was published, | 0:05:57 | 0:06:00 | |
Milwaukee's mechanical ingenuity gave birth to an American icon. | 0:06:00 | 0:06:06 | |
The motorcycle manufacturer Harley-Davidson was founded here | 0:06:06 | 0:06:11 | |
and remains a symbol of the United States's freewheeling, | 0:06:11 | 0:06:15 | |
pioneer spirit. | 0:06:15 | 0:06:16 | |
-Hello, Bill. -Hello, Michael. | 0:06:21 | 0:06:23 | |
-How are you? -What a wonderful machine! | 0:06:23 | 0:06:26 | |
Thank you so much. | 0:06:26 | 0:06:27 | |
So, you are Bill Davidson, as in Harley-Davidson. | 0:06:27 | 0:06:32 | |
What's the connection? | 0:06:32 | 0:06:33 | |
Well, my great-grandfather was one of the original founders of the company, | 0:06:33 | 0:06:38 | |
William A Davidson was his name, and we are literally within... | 0:06:38 | 0:06:43 | |
several yards of where that original factory shed was, | 0:06:43 | 0:06:47 | |
and that was in the back yard of my great-great-grandparents. | 0:06:47 | 0:06:51 | |
Did motorbikes exist when Harley and Davidson got going? | 0:06:51 | 0:06:55 | |
Yes. There were motorcycles. | 0:06:55 | 0:06:57 | |
In the late 1800s, there was actually a steam-powered motorcycle. | 0:06:57 | 0:07:02 | |
Quite a contraption. | 0:07:02 | 0:07:04 | |
There were a lot of different people working in this arena of | 0:07:04 | 0:07:08 | |
trying to develop a motorcycle. | 0:07:08 | 0:07:11 | |
Childhood friends William S Harley and Arthur Davidson | 0:07:14 | 0:07:17 | |
dreamed of building a winning design. | 0:07:17 | 0:07:20 | |
They enlisted the help of Arthur's older brothers, | 0:07:20 | 0:07:23 | |
who had experience in Milwaukee's railroad workshops. | 0:07:23 | 0:07:26 | |
And, in 1903, they rolled serial number one out of that shed. | 0:07:26 | 0:07:31 | |
Given that there was so much competition, | 0:07:31 | 0:07:33 | |
how did Harley and Davidson get their break, do you think? | 0:07:33 | 0:07:36 | |
Very early on, they created a unique look, | 0:07:36 | 0:07:39 | |
the unique sound and they created a unique feel. | 0:07:39 | 0:07:42 | |
You know, it's a magnet, it pulls you in. | 0:07:42 | 0:07:45 | |
When you see a Harley, people actually say, | 0:07:45 | 0:07:48 | |
even if they don't ride, | 0:07:48 | 0:07:49 | |
they will say, "Nice Harley!" | 0:07:49 | 0:07:52 | |
I wonder if it's something to do with the shape of your continent. | 0:07:52 | 0:07:55 | |
It is vast. | 0:07:55 | 0:07:57 | |
Is that part of it? It's the invitation to the Easy Rider. | 0:07:57 | 0:08:00 | |
You know, it might be that Wild West feeling, | 0:08:02 | 0:08:05 | |
that little bit of rebel in all of us, right? | 0:08:05 | 0:08:07 | |
Bill, happy riding to you. | 0:08:07 | 0:08:09 | |
Thank you so much. It was a pleasure. | 0:08:09 | 0:08:11 | |
Today, there are plenty of magnificent machines on display | 0:08:15 | 0:08:19 | |
at one of Milwaukee's regular biker gatherings. | 0:08:19 | 0:08:23 | |
-Hello, ma'am. -Hi, sir. -Would you mind switching on the engine for me? | 0:08:32 | 0:08:36 | |
Let me hear the sound of your bike. | 0:08:36 | 0:08:38 | |
ENGINE TURNS ON | 0:08:40 | 0:08:42 | |
I can't hear it! | 0:08:44 | 0:08:46 | |
ENGINE ROARS | 0:08:46 | 0:08:47 | |
I heard it. | 0:08:49 | 0:08:50 | |
Thank you very much. | 0:08:50 | 0:08:52 | |
Where do you ride your bike to? | 0:08:53 | 0:08:55 | |
Actually, I came from Saudi Arabia. | 0:08:55 | 0:08:58 | |
-No! -Yeah. | 0:08:58 | 0:09:00 | |
Do you feel a companionship with other Harley riders? | 0:09:00 | 0:09:03 | |
-Yeah, sure. -Why? | 0:09:03 | 0:09:05 | |
Because we are a biker relationship between ourselves. | 0:09:06 | 0:09:11 | |
Biker is always brotherhood, you can't buy it. | 0:09:11 | 0:09:14 | |
-Enjoy your biking. -Thank you. | 0:09:14 | 0:09:18 | |
-Hey! I love them pants you've got on! -Oh! | 0:09:18 | 0:09:21 | |
You're so sweet. | 0:09:21 | 0:09:23 | |
How nice to see you. | 0:09:23 | 0:09:24 | |
I'd get away with those pants. I like that. | 0:09:24 | 0:09:27 | |
-And who's this you've got on the back here? -This is my mini me. | 0:09:27 | 0:09:30 | |
-Your mini me? -Yeah, she has travelled the 48 states with me. | 0:09:30 | 0:09:34 | |
-You've been through 48 states? -In 27 days. | 0:09:34 | 0:09:37 | |
-So, tell me, what's it all about? -You feel free. | 0:09:37 | 0:09:41 | |
It is like a therapy for me. | 0:09:41 | 0:09:44 | |
The moment I got on the bike, it was like, whoa! | 0:09:44 | 0:09:48 | |
You know? | 0:09:48 | 0:09:49 | |
It's just... It's therapeutic, truly. | 0:09:49 | 0:09:52 | |
Have...? Do you ride motorcycles? I can ride you here. | 0:09:52 | 0:09:55 | |
-You could? -I could. So, you know what it is to ride on this seat? | 0:09:55 | 0:09:59 | |
Do you know what it's called? | 0:09:59 | 0:10:01 | |
-Pillion? -No, it's called riding bitch. | 0:10:01 | 0:10:05 | |
So, you'll be riding as my bitch! | 0:10:05 | 0:10:08 | |
It's a privilege. | 0:10:09 | 0:10:11 | |
That's right, it's definitely a privilege! | 0:10:11 | 0:10:15 | |
You'll be pleased to hear that I don't have to leather up. | 0:10:15 | 0:10:18 | |
-Ready to ride? -I'm ready to ride. -OK. | 0:10:18 | 0:10:20 | |
I have joined a brotherhood and a sisterhood of people | 0:10:47 | 0:10:51 | |
linked by their choice of motorbike. | 0:10:51 | 0:10:53 | |
Back in 1879, | 0:11:07 | 0:11:09 | |
Milwaukee was one of the powerhouses of America's Industrial Revolution. | 0:11:09 | 0:11:13 | |
It was the plentiful immigrant workforce that enabled the United States | 0:11:14 | 0:11:19 | |
to lead the world in manufacturing. | 0:11:19 | 0:11:22 | |
As my guidebook tells me, | 0:11:22 | 0:11:24 | |
"Milwaukee's population growth has been very rapid," and, | 0:11:24 | 0:11:29 | |
in this downtown district, there is evidence of one group of newcomers. | 0:11:29 | 0:11:33 | |
Appleton's tells me that "Germans constitute nearly half the population." | 0:11:34 | 0:11:39 | |
Their influence is everywhere - breweries, beer saloons, gast haus, | 0:11:39 | 0:11:43 | |
music halls and restaurants. | 0:11:43 | 0:11:45 | |
One hears German spoken as often as English, | 0:11:45 | 0:11:49 | |
but what ideas did they bring? | 0:11:49 | 0:11:51 | |
I'm making my way to Turner Hall, | 0:11:52 | 0:11:55 | |
which was a focal point for Milwaukee's 19th-century German community. | 0:11:55 | 0:12:00 | |
History professor Aims McGuinness | 0:12:00 | 0:12:02 | |
has been a so-called Turner for eight years. | 0:12:02 | 0:12:05 | |
It's great to be here. It's an...intriguingly historic building. | 0:12:05 | 0:12:08 | |
I mean, for example, what's that? | 0:12:08 | 0:12:10 | |
This is a monument to members of the Turners who died fighting for | 0:12:10 | 0:12:14 | |
the union during the Civil War in the United States. | 0:12:14 | 0:12:17 | |
The centrepiece of this beautiful building is its imposing ballroom. | 0:12:17 | 0:12:21 | |
Aims, there is a wonderful faded grandeur to the hall. | 0:12:24 | 0:12:29 | |
What have been its uses over the years? | 0:12:29 | 0:12:31 | |
This was a place to have political debates, to read books, | 0:12:31 | 0:12:34 | |
to listen to a lecture, to listen to Beethoven | 0:12:34 | 0:12:38 | |
and also to hoist a beer and to build your muscular strength. | 0:12:38 | 0:12:42 | |
All those things went together for the Turners and, for us, they still do. | 0:12:42 | 0:12:46 | |
What was the origin of the Turners? | 0:12:46 | 0:12:47 | |
The Turners originated in Prussia, | 0:12:47 | 0:12:49 | |
in what's now Germany, in the early 1800s. | 0:12:49 | 0:12:51 | |
The founding principles were | 0:12:51 | 0:12:53 | |
the notions of a sound mind and sound body. | 0:12:53 | 0:12:55 | |
Founder Friedrich Ludwig Jahn | 0:12:55 | 0:12:57 | |
named his movement after the physical exercises | 0:12:57 | 0:13:01 | |
he devised that he called Turnen. | 0:13:01 | 0:13:03 | |
Today, this word still means gymnastics in German, | 0:13:03 | 0:13:07 | |
but Turnerism went far beyond sport. | 0:13:07 | 0:13:10 | |
In order to become a Turner, | 0:13:10 | 0:13:12 | |
one must commit oneself to the cause of liberty | 0:13:12 | 0:13:14 | |
and to oppose tyranny in all its forms. | 0:13:14 | 0:13:16 | |
In Europe, the principal form of tyranny | 0:13:16 | 0:13:18 | |
to which they imposed themselves was monarchy. | 0:13:18 | 0:13:21 | |
When they came to the United States, | 0:13:21 | 0:13:23 | |
it was the institution of slavery that they opposed. | 0:13:23 | 0:13:27 | |
Many Turners fled Prussia for America | 0:13:27 | 0:13:29 | |
after participating in a failed revolution in 1848. | 0:13:29 | 0:13:34 | |
Soon, Turners defended their new nation's founding principle | 0:13:34 | 0:13:38 | |
of liberty with their lives, marching into battle | 0:13:38 | 0:13:42 | |
with the Union Army in the American Civil War. | 0:13:42 | 0:13:45 | |
Do you think then that the Civil War monument that we just saw | 0:13:45 | 0:13:48 | |
had a real significance in demonstrating their patriotism? | 0:13:48 | 0:13:51 | |
Oh, I think absolutely. | 0:13:51 | 0:13:53 | |
In some ways, a monument created in the early 20th century in German | 0:13:53 | 0:13:57 | |
commemorating people who had sacrificed their lives for freedom | 0:13:57 | 0:14:01 | |
in the United States wasn't so much a provocation, and the message is, | 0:14:01 | 0:14:04 | |
"Look, one does not need to speak English at all times in order to be a patriotic American, | 0:14:04 | 0:14:08 | |
"one can speak German as well." | 0:14:08 | 0:14:11 | |
And who will tell these people that they are not fully patriotic? | 0:14:11 | 0:14:14 | |
They've sacrificed their lives for the nation. | 0:14:14 | 0:14:17 | |
German influence on the modern United States | 0:14:19 | 0:14:22 | |
was suppressed during two world wars, | 0:14:22 | 0:14:25 | |
but the principle of sound body, sound mind lives on here. | 0:14:25 | 0:14:30 | |
Stretch your legs as far as you can. | 0:14:30 | 0:14:33 | |
Try and reach your ankles. | 0:14:33 | 0:14:34 | |
What?! | 0:14:34 | 0:14:36 | |
-How do you do that? -Well, I'm a woman. | 0:14:38 | 0:14:41 | |
I can only hope that my tight hamstrings | 0:14:41 | 0:14:44 | |
aren't a sign of an inflexible intellect | 0:14:44 | 0:14:47 | |
as I join the weekly Ladies Auxiliary exercise class | 0:14:47 | 0:14:50 | |
under the guidance of Nora. | 0:14:50 | 0:14:52 | |
Arms over your head. | 0:14:56 | 0:14:58 | |
Up. | 0:15:00 | 0:15:02 | |
MICHAEL GROANS | 0:15:02 | 0:15:04 | |
Try to keep your elbows straight. | 0:15:04 | 0:15:06 | |
MICHAEL GROANS | 0:15:06 | 0:15:09 | |
Bend...and down. | 0:15:09 | 0:15:11 | |
These ladies are giving me an enormous work-out. | 0:15:11 | 0:15:14 | |
OK. Now get up any way you can. | 0:15:16 | 0:15:20 | |
Whoo! | 0:15:22 | 0:15:23 | |
In the 1880s, Milwaukee was known as the nation's watering hole. | 0:15:35 | 0:15:40 | |
German immigrants brought with them a taste for beer | 0:15:40 | 0:15:43 | |
and my Appleton's tells me "the breweries are large and numerous." | 0:15:43 | 0:15:48 | |
Pints of Pilsner were the perfect accompaniment to another German gift to Milwaukee - bowling. | 0:15:48 | 0:15:54 | |
I'm calling in at Holler House bowling alley, | 0:15:56 | 0:15:59 | |
one of the oldest in the country, | 0:15:59 | 0:16:01 | |
run for the past 62 years by the redoubtable Marcy. | 0:16:01 | 0:16:06 | |
-Hello! -Hi. | 0:16:06 | 0:16:08 | |
Marcy, do you serve beer here? | 0:16:08 | 0:16:10 | |
-Do I serve beer? -Yeah. | 0:16:10 | 0:16:11 | |
-Well, what the hell do you think I'm here for? -Exactly! | 0:16:11 | 0:16:14 | |
Could I have a Milwaukee beer, please? | 0:16:14 | 0:16:16 | |
Sure. There you go. | 0:16:16 | 0:16:18 | |
-You bowl? -I used to. | 0:16:18 | 0:16:20 | |
I bowled until I was 70 years old, but now I'm 90. | 0:16:20 | 0:16:24 | |
-You are 90? -Yeah. | 0:16:24 | 0:16:25 | |
Wow! Are you going to show me the basics of how to bowl? | 0:16:25 | 0:16:29 | |
-I show you how to bowl? -Yeah, sure. -Sure, what the hell? | 0:16:29 | 0:16:32 | |
American ten-pin bowling evolved from traditional European skittles. | 0:16:34 | 0:16:38 | |
What kind of fingers have you got? | 0:16:38 | 0:16:40 | |
-Erm...stubby ones. -This should fit you. | 0:16:40 | 0:16:44 | |
-OK. -OK. | 0:16:44 | 0:16:45 | |
Like that, yeah? Now what? | 0:16:45 | 0:16:47 | |
Now, see that middle arrow? | 0:16:47 | 0:16:50 | |
-Yeah. -Throw it towards that one. | 0:16:50 | 0:16:52 | |
Do it for the team, Mike! | 0:16:55 | 0:16:56 | |
CHEERS OF ENCOURAGEMENT | 0:16:56 | 0:16:59 | |
Whoa! | 0:17:06 | 0:17:07 | |
CHEERING | 0:17:19 | 0:17:22 | |
CHEERING AND APPLAUSE | 0:17:23 | 0:17:25 | |
Hello. | 0:17:49 | 0:17:51 | |
19th-century Milwaukee might seem to have been a macho kind of place, | 0:17:52 | 0:17:58 | |
but it wasn't all beer, | 0:17:58 | 0:18:00 | |
bowling and bikers at the time of my Appleton's guide. | 0:18:00 | 0:18:03 | |
While I'm in the city, | 0:18:03 | 0:18:05 | |
I want to look into a small appliance | 0:18:05 | 0:18:07 | |
that altered forever both the office and the home - | 0:18:07 | 0:18:11 | |
a certain inventive Milwaukee type was key to the development. | 0:18:11 | 0:18:17 | |
I've come to the Milwaukee Public Museum to track down | 0:18:23 | 0:18:27 | |
the history of the typewriter. | 0:18:27 | 0:18:29 | |
In street scenes that would have been familiar to an Appleton's traveller, | 0:18:33 | 0:18:36 | |
I'm meeting curator Al Muchka. | 0:18:36 | 0:18:40 | |
-Very good to see you. -Good to see you, too. | 0:18:40 | 0:18:42 | |
Why is Milwaukee important in the development of the typewriter? | 0:18:42 | 0:18:45 | |
Well, Milwaukee is important because of Christopher Latham Sholes. | 0:18:45 | 0:18:49 | |
He was one of our local residents, he was an inventor, a newspaperman, | 0:18:49 | 0:18:53 | |
and he was working on an addressing device for his newspapers, | 0:18:53 | 0:18:59 | |
first by looking at how to transmit the action | 0:18:59 | 0:19:03 | |
of the finger to a letter on the page - | 0:19:03 | 0:19:06 | |
and we can take a look at that right here. | 0:19:06 | 0:19:08 | |
That is an extraordinary thing because, to me, | 0:19:10 | 0:19:13 | |
it resembles a piano much more than it does a typewriter. | 0:19:13 | 0:19:16 | |
Well, this is one of the early models. | 0:19:16 | 0:19:18 | |
We believe this is about 1868. | 0:19:18 | 0:19:20 | |
The idea was that you would strike a key, like a piano, | 0:19:20 | 0:19:24 | |
and it would actuate across these bars, | 0:19:24 | 0:19:26 | |
which were then tied to a tower with rods and actuators | 0:19:26 | 0:19:32 | |
that would actually bring the type piece up to strike the paper. | 0:19:32 | 0:19:36 | |
Incredibly inventive. | 0:19:36 | 0:19:38 | |
But now, this suddenly begins to look like a typewriter. | 0:19:38 | 0:19:42 | |
-What is this? -This is an 1870s version of the Sholes typewriter. | 0:19:42 | 0:19:46 | |
So what we have here is a refinement. | 0:19:46 | 0:19:49 | |
The biggest thing here is, by this time, | 0:19:49 | 0:19:51 | |
they actually developed the Qwerty keyboard | 0:19:51 | 0:19:53 | |
that we are familiar with today. | 0:19:53 | 0:19:55 | |
So why do we have Q-W-E-R-T-Y at the beginning of our keyboard? | 0:19:55 | 0:20:00 | |
Well, it has to do with the arrangement of the rods | 0:20:00 | 0:20:03 | |
and all of the little connections inside of the machine. | 0:20:03 | 0:20:07 | |
If you put it in a regular alphabetic order, | 0:20:07 | 0:20:10 | |
things tend to cross or letters next to each other will catch on each other. | 0:20:10 | 0:20:14 | |
That is extraordinary. | 0:20:14 | 0:20:16 | |
I mean, I have here, obviously, a 21st-century mobile phone, | 0:20:16 | 0:20:19 | |
it has a Qwerty keyboard, | 0:20:19 | 0:20:21 | |
and you're telling me that | 0:20:21 | 0:20:23 | |
the origin of that was a mechanical difficulty that, | 0:20:23 | 0:20:27 | |
way back in the 19th century, Sholes was trying to solve. | 0:20:27 | 0:20:30 | |
That's exactly right. | 0:20:30 | 0:20:31 | |
It was established in the 1870s and it lives with us today. | 0:20:31 | 0:20:35 | |
Sholes' design went into mass production | 0:20:38 | 0:20:41 | |
after he won the backing of the Remington company. | 0:20:41 | 0:20:45 | |
The Remington No 1 went on sale in 1874. | 0:20:45 | 0:20:49 | |
It became the world's first commercially successful typewriter. | 0:20:49 | 0:20:54 | |
Sholes had used his daughter Lillian to demonstrate his earlier devices | 0:20:54 | 0:20:59 | |
and Remington continued to market its newfangled contraptions to women. | 0:20:59 | 0:21:04 | |
Al, these are... | 0:21:07 | 0:21:09 | |
wonderful objects and literally beautiful. | 0:21:09 | 0:21:11 | |
This is one of the original Sholes and Glidden machines. | 0:21:11 | 0:21:15 | |
It's painted and decorated this way because of the Remington company. | 0:21:15 | 0:21:19 | |
So the idea was that, | 0:21:19 | 0:21:21 | |
if the scary typewriting machine was decorated in a similar way | 0:21:21 | 0:21:25 | |
to an object that's already in your home, you'd be more apt to use it, | 0:21:25 | 0:21:29 | |
especially for women. | 0:21:29 | 0:21:31 | |
Their manual dexterity was considered to be superior to that of men, | 0:21:31 | 0:21:35 | |
so they were really desired as typists. | 0:21:35 | 0:21:37 | |
By 1888, there were 60,000 typists across America | 0:21:37 | 0:21:40 | |
and most of them were women. | 0:21:40 | 0:21:42 | |
Were women typists reasonably well paid? | 0:21:42 | 0:21:45 | |
Your average clerk at the time was making about 9 a week. | 0:21:45 | 0:21:48 | |
An experienced typist could make 20 a week. | 0:21:48 | 0:21:52 | |
That was an incredible amount of money at the time. | 0:21:52 | 0:21:55 | |
So the typewriter, an object that I very much take for granted, | 0:21:55 | 0:21:58 | |
had a huge impact on business, a huge impact on society, too. | 0:21:58 | 0:22:02 | |
That's exactly right. | 0:22:02 | 0:22:03 | |
Ah! Now, that is the sort of machine that I remember being in my house | 0:22:04 | 0:22:09 | |
in my childhood. What is that? | 0:22:09 | 0:22:11 | |
This is my personal machine, it's a Royal Deluxe. | 0:22:11 | 0:22:13 | |
It's the same model that Hemingway used. | 0:22:13 | 0:22:15 | |
It's a while since I used one of these. | 0:22:15 | 0:22:18 | |
Before I leave Milwaukee, I'm curious to sample one | 0:22:48 | 0:22:51 | |
of its favourite treats. | 0:22:51 | 0:22:53 | |
-Hello. -Hello. I'm from out-of-town. | 0:23:11 | 0:23:14 | |
Can you tell me what frozen custard is, please? | 0:23:14 | 0:23:16 | |
Frozen custard is like ice cream, except it is made with fresh cream | 0:23:16 | 0:23:20 | |
and eggs, and we serve it fresh out of the machine everyday. | 0:23:20 | 0:23:23 | |
Right. That sounds good. Now, what flavour do you recommend? | 0:23:23 | 0:23:26 | |
Our most populars are butter pecan and vanilla. | 0:23:26 | 0:23:29 | |
Butter pecan, ooh, yes. Let me have that one, please. | 0:23:29 | 0:23:32 | |
And can I have it in one of those cones with the Stars and Stripes | 0:23:32 | 0:23:35 | |
-on it? -Yes, sure. How many scoops would you like? | 0:23:35 | 0:23:38 | |
-One through five? -One through five?! -Five! -Wow, maybe two? -Two. -Two. | 0:23:38 | 0:23:44 | |
-OK. Anything else? -No, just that, please. -OK. | 0:23:44 | 0:23:47 | |
First made in 1919 in Coney Island, New York, | 0:23:47 | 0:23:51 | |
when egg yolks were added to ice cream, | 0:23:51 | 0:23:54 | |
frozen custard is hugely popular in the dairy state of Wisconsin. | 0:23:54 | 0:23:58 | |
And Milwaukee is the unofficial frozen custard capital of the world. | 0:23:58 | 0:24:04 | |
-Wow. -Thank you, sir. -Thank you. -Thank you. -Have a good day. | 0:24:04 | 0:24:07 | |
Oooh. It's melting quickly. | 0:24:10 | 0:24:12 | |
Mmm! | 0:24:15 | 0:24:16 | |
Wow, that is so rich. Lots of butter. | 0:24:16 | 0:24:20 | |
But I love the crunchiness... | 0:24:20 | 0:24:21 | |
..of the pecans. | 0:24:23 | 0:24:25 | |
I'm bidding Milwaukee farewell | 0:24:38 | 0:24:40 | |
and following my Appleton's 30 miles south. | 0:24:40 | 0:24:43 | |
The book tells me that the tracks run along the west shore of Lake Michigan | 0:24:56 | 0:25:01 | |
through a rich farming region. | 0:25:01 | 0:25:03 | |
Farmers played a vital role in 19th-century urbanisation | 0:25:04 | 0:25:08 | |
and industrialisation. | 0:25:08 | 0:25:11 | |
I'm heading for Racine, Wisconsin, the second city of the state, | 0:25:11 | 0:25:15 | |
pleasantly situated on a plateau | 0:25:15 | 0:25:17 | |
projecting about five miles into the lake. | 0:25:17 | 0:25:20 | |
Manufactures are the chief source of the city's prosperity. | 0:25:20 | 0:25:26 | |
Today's researchers will produce a combined harvest | 0:25:26 | 0:25:29 | |
of mechanisation and agriculture. | 0:25:29 | 0:25:32 | |
TRAIN HORN BLARES | 0:25:47 | 0:25:49 | |
I'm on the case of a man who knew how to sort | 0:25:51 | 0:25:54 | |
the wheat from the chaff. | 0:25:54 | 0:25:56 | |
Case IH Agriculture is now a global brand. | 0:26:02 | 0:26:07 | |
Marketing manager Juliann Ulbrich knows how the story began. | 0:26:07 | 0:26:11 | |
Juliann, hi. | 0:26:12 | 0:26:14 | |
-Hi. -I'm Michael. | 0:26:14 | 0:26:16 | |
-Nice to meet you. -What a wonderful place this is. | 0:26:16 | 0:26:19 | |
What an extraordinary collection of historic artefacts. | 0:26:19 | 0:26:22 | |
Now, your founder had the wonderful name Jerome Increase Case. | 0:26:22 | 0:26:27 | |
-Tell me about him. -Yeah. | 0:26:27 | 0:26:29 | |
So we often call him JI Case for short | 0:26:29 | 0:26:32 | |
and he was actually born in New York state. | 0:26:32 | 0:26:36 | |
He was a very bright young man | 0:26:36 | 0:26:38 | |
and saw a lot of opportunity to make the farmers' life a lot easier. | 0:26:38 | 0:26:43 | |
And so, in 1842, JI Case headed west to Wisconsin, | 0:26:43 | 0:26:48 | |
the perfect place to turn his ideas into big business. | 0:26:48 | 0:26:52 | |
The Midwest at that time was the big breadbasket of the United States | 0:26:52 | 0:26:57 | |
and where industry meets agriculture. | 0:26:57 | 0:27:00 | |
Right here, you have the Great Lakes, rail hubs, | 0:27:00 | 0:27:05 | |
so that you can transport both equipment | 0:27:05 | 0:27:09 | |
and the grain that you needed to feed the large population out east. | 0:27:09 | 0:27:14 | |
This looks like the oldest piece in your collection. Tell me about that. | 0:27:14 | 0:27:18 | |
Yeah, so this is a threshing machine from the 1860s. | 0:27:18 | 0:27:21 | |
It beats the wheat to separate the straw from the grain. | 0:27:21 | 0:27:26 | |
Before you had this machine, how was that process undertaken? | 0:27:26 | 0:27:29 | |
You would have farmers doing this by hand with flails, beating the grain. | 0:27:29 | 0:27:34 | |
This was a huge improvement. | 0:27:34 | 0:27:37 | |
In the 1840s, when JI Case started the business, | 0:27:37 | 0:27:40 | |
about three quarters of the American population was involved in farming. | 0:27:40 | 0:27:44 | |
It was extremely labour-intensive. | 0:27:44 | 0:27:47 | |
But the threshing machine and other mechanisation, | 0:27:47 | 0:27:51 | |
it greatly reduced the number of people that had to be tied to the land. | 0:27:51 | 0:27:56 | |
So, by the 1870s, it was only about half of the population. | 0:27:56 | 0:28:01 | |
The Industrial Revolution was largely enabled by the advances in | 0:28:01 | 0:28:05 | |
agriculture and mechanisation on the farms. | 0:28:05 | 0:28:09 | |
At the time of my guidebook, | 0:28:10 | 0:28:12 | |
JI Case's company was growing | 0:28:12 | 0:28:14 | |
and diversifying into all manner of farm equipment. | 0:28:14 | 0:28:18 | |
And some of their world-famous tractors are still made here | 0:28:19 | 0:28:23 | |
in Racine at the rate of roughly one every 20 minutes. | 0:28:23 | 0:28:27 | |
Jerome Increase Case was probably aptly named because | 0:28:28 | 0:28:33 | |
the business has mushroomed, | 0:28:33 | 0:28:35 | |
not only in the size of the production line, | 0:28:35 | 0:28:39 | |
but in the size of the vehicles. | 0:28:39 | 0:28:41 | |
Just look at these jumbo tractors! | 0:28:41 | 0:28:44 | |
Plant manager Nate Burgers | 0:28:47 | 0:28:49 | |
has agreed to let me test drive a brand-new, six-cylinder, | 0:28:49 | 0:28:54 | |
280 horsepower tractor. | 0:28:54 | 0:28:57 | |
All right, so this is the final product here, | 0:28:57 | 0:28:59 | |
so let me show you how to get inside this. | 0:28:59 | 0:29:01 | |
Feel free to step right up there. | 0:29:01 | 0:29:03 | |
I'm in. | 0:29:04 | 0:29:07 | |
-All right. -Lovely, comfortable machine, actually. | 0:29:07 | 0:29:10 | |
ENGINE STARTS | 0:29:11 | 0:29:13 | |
Perfect. | 0:29:13 | 0:29:15 | |
And a little bit of gas. | 0:29:25 | 0:29:26 | |
-Yeah. -Can I put a little bit of gas? -Go ahead, get it going. | 0:29:26 | 0:29:29 | |
The latest Magnum tractor rolls off the line, | 0:29:33 | 0:29:37 | |
a tribute to Jerome Increase Case. | 0:29:37 | 0:29:40 | |
I'm leaving Wisconsin this morning, bound for Illinois. | 0:30:05 | 0:30:09 | |
Thrilled to be on my way to one of America's greatest cities. | 0:30:09 | 0:30:13 | |
Chicago. | 0:30:13 | 0:30:15 | |
According to Appleton's, | 0:30:40 | 0:30:41 | |
"Chicago ranks next in commercial importance to New York among | 0:30:41 | 0:30:46 | |
"the cities of the United States." | 0:30:46 | 0:30:48 | |
I suspect that Chicago would resent the comparison. | 0:30:48 | 0:30:52 | |
In any case, its response is constant renewal. | 0:30:52 | 0:30:56 | |
New buildings and attractions appear at a dizzying rate, | 0:30:56 | 0:31:01 | |
and it defies any city to match its energy. | 0:31:01 | 0:31:04 | |
-MAN OVER TANNOY: -Ladies and gentlemen, | 0:31:06 | 0:31:08 | |
in just a moment our next stop will be our final stop - | 0:31:08 | 0:31:10 | |
Union Station, downtown Chicago. | 0:31:10 | 0:31:12 | |
By the time of my guidebook, | 0:31:14 | 0:31:16 | |
Chicago had emerged as the Midwest's major metropolis... | 0:31:16 | 0:31:20 | |
Thank you. | 0:31:20 | 0:31:23 | |
..and North America's greatest railroad centre. | 0:31:23 | 0:31:26 | |
Today, Chicago's Union Station is still at the heart | 0:31:31 | 0:31:34 | |
the United States's passenger rail system. | 0:31:34 | 0:31:38 | |
Appleton's remarks that "the Union depot in Chicago is | 0:31:44 | 0:31:48 | |
"one of the largest and finest in the country." | 0:31:48 | 0:31:51 | |
Even so, it wasn't big enough. | 0:31:51 | 0:31:53 | |
And this extraordinary Parthenon of the railways had to be | 0:31:53 | 0:31:56 | |
constructed at the beginning of the 20th century. | 0:31:56 | 0:31:59 | |
What I get here, more than in any other American railway station, | 0:31:59 | 0:32:03 | |
is that sense that you can travel the length and the breadth | 0:32:03 | 0:32:06 | |
of the continent by train. | 0:32:06 | 0:32:08 | |
There are services from here to New York, to Washington, to San Antonio | 0:32:08 | 0:32:13 | |
in Texas, to Seattle in Washington state, and to Los Angeles - | 0:32:13 | 0:32:18 | |
on trains called Hiawatha, Empire Builder, | 0:32:18 | 0:32:22 | |
Southwest Chief and California Zephyr. | 0:32:22 | 0:32:25 | |
Pure railway nostalgia. | 0:32:25 | 0:32:28 | |
I feel a special excitement when I'm coming to one of | 0:32:38 | 0:32:40 | |
the world's great conurbations - "my kind of town"! | 0:32:40 | 0:32:44 | |
Arriving in Chicago today, | 0:32:52 | 0:32:54 | |
it's impossible not to be awed by its forest of high-rise buildings. | 0:32:54 | 0:32:59 | |
This city has been an architectural innovator for | 0:32:59 | 0:33:02 | |
the last 130 years. | 0:33:02 | 0:33:05 | |
I'm navigating the Chicago River to admire | 0:33:11 | 0:33:14 | |
the city's most striking structures, | 0:33:14 | 0:33:17 | |
and I am boarding with architecture expert Jen Masengarb. | 0:33:17 | 0:33:21 | |
Hello. | 0:33:21 | 0:33:23 | |
Looking forward to this. After you, Jen. | 0:33:24 | 0:33:27 | |
The modern skyscraper was born here in 1885 | 0:33:36 | 0:33:40 | |
when a metal-framed, ten-storey building was completed. | 0:33:40 | 0:33:44 | |
It's no longer standing, | 0:33:44 | 0:33:46 | |
but there's plenty left for architecture buffs. | 0:33:46 | 0:33:49 | |
I suppose the best way to see Chicago's architecture is from the water. | 0:33:52 | 0:33:55 | |
It is. The Chicago River is that sort of lifeblood of the city. | 0:33:55 | 0:33:59 | |
Dominating us now seems to be a lot of glass-sided towers, | 0:33:59 | 0:34:02 | |
highly reflective. | 0:34:02 | 0:34:04 | |
This seems to be the big fashion these days. | 0:34:04 | 0:34:06 | |
Even within that, though, you can see different eras in different ways | 0:34:06 | 0:34:09 | |
that the glass was treated or different materials. | 0:34:09 | 0:34:12 | |
One very beautiful thing about | 0:34:12 | 0:34:13 | |
the amount of glass that has been used in the last few decades | 0:34:13 | 0:34:17 | |
is that so much of the city is then reflected in those buildings. | 0:34:17 | 0:34:21 | |
And as you pass by, you get this kaleidoscope of the buildings, | 0:34:21 | 0:34:26 | |
they are all moving as you are moving. | 0:34:26 | 0:34:29 | |
Yeah. One of the earliest buildings to do that is 333 West Wacker. | 0:34:29 | 0:34:33 | |
For many Chicagoans, it's their favourite. | 0:34:33 | 0:34:35 | |
Isn't that beautiful? | 0:34:35 | 0:34:37 | |
One of the sounds of the cities is the trains. | 0:34:37 | 0:34:41 | |
And that sound echoes all along the river. | 0:34:41 | 0:34:43 | |
Union Station is right behind these skyscrapers | 0:34:43 | 0:34:46 | |
and what you see underneath here are the train tracks | 0:34:46 | 0:34:49 | |
with skyscrapers built on top of them | 0:34:49 | 0:34:52 | |
because Chicago developed something called air rights. | 0:34:52 | 0:34:55 | |
That you can actually buy the air of your neighbour's property | 0:34:55 | 0:34:59 | |
and build something on top of them next door. | 0:34:59 | 0:35:02 | |
It seems that the city has remained a playground for architects | 0:35:02 | 0:35:07 | |
to experiment, to innovate. | 0:35:07 | 0:35:09 | |
Mostly the architecture we are seeing along the river is from the 20th century | 0:35:09 | 0:35:13 | |
because the land along the river is precious and what happens often is | 0:35:13 | 0:35:17 | |
that the buildings are demolished to build something larger and something taller. | 0:35:17 | 0:35:22 | |
A skyscraper is a building designed to make the land pay. | 0:35:22 | 0:35:26 | |
In the 19th century, as today, | 0:35:26 | 0:35:29 | |
the high cost of land drove lofty ideas. | 0:35:29 | 0:35:32 | |
The first skyscrapers were built to cope with Chicago's growing labour force | 0:35:32 | 0:35:37 | |
as job-seekers piled into the city. | 0:35:37 | 0:35:40 | |
Thank you for suggesting Federal Plaza because we see here | 0:35:40 | 0:35:43 | |
-a range of Chicago architecture from different vintages. -Yes. | 0:35:43 | 0:35:47 | |
This lovely building behind us. Tell me about that. | 0:35:47 | 0:35:50 | |
This is the Marquette Building. It was designed in 1894. | 0:35:50 | 0:35:53 | |
The Marquette Building is kind of the epitome, | 0:35:53 | 0:35:55 | |
a classic early Chicago skyscraper. | 0:35:55 | 0:35:58 | |
About 18 to 20 stories, is kind of the typical height. | 0:35:58 | 0:36:01 | |
And when you look at it, | 0:36:01 | 0:36:02 | |
the Marquette Building draws our eye up. | 0:36:02 | 0:36:04 | |
This is a new thought. How does the building meet the sky? | 0:36:04 | 0:36:08 | |
So this generation of architects, | 0:36:08 | 0:36:09 | |
they were really sort of thinking about that crown. | 0:36:09 | 0:36:12 | |
Some borrowing from ancient Greece and Rome, | 0:36:12 | 0:36:15 | |
some stripped of that, | 0:36:15 | 0:36:17 | |
some borrowing more of kind of medieval detail. | 0:36:17 | 0:36:21 | |
Was Chicago a suitable place to build tall buildings? | 0:36:21 | 0:36:24 | |
I think Chicago is probably the worst place to build a skyscraper | 0:36:24 | 0:36:27 | |
because Chicago has incredibly poor soil. | 0:36:27 | 0:36:30 | |
It's like a clay mixture almost. | 0:36:30 | 0:36:32 | |
The New York Times in 1891 likened it to a jelly cake. | 0:36:32 | 0:36:36 | |
And so all the attempts through the 1880s and into the 1890s | 0:36:36 | 0:36:40 | |
are to try to make the walls thinner | 0:36:40 | 0:36:43 | |
and make the building lighter so that it doesn't sink so much | 0:36:43 | 0:36:46 | |
-into our really poor soil. -That is absolutely extraordinary. | 0:36:46 | 0:36:49 | |
I mean, look at Chicago now. It's absolutely dominated by skyscrapers. | 0:36:49 | 0:36:53 | |
In the late 19th century, | 0:37:01 | 0:37:03 | |
Chicago's skyscrapers were impressive feats of engineering | 0:37:03 | 0:37:06 | |
that expressed the city's triumph over calamity. | 0:37:06 | 0:37:10 | |
Appleton's tells me that in October 1871, | 0:37:11 | 0:37:14 | |
"Chicago was the scene of one of the most destructive conflagrations in history. | 0:37:14 | 0:37:21 | |
"The flames swept with resistless fury. | 0:37:21 | 0:37:24 | |
"The total area destroyed was nearly 3.5 square miles." | 0:37:24 | 0:37:29 | |
This water tower was one of the few buildings to survive. | 0:37:29 | 0:37:33 | |
My Appleton's tells me | 0:37:33 | 0:37:35 | |
the fire originated in a small barn in DeKoven Street. | 0:37:35 | 0:37:39 | |
Today the city's fire academy, on that same site, | 0:37:40 | 0:37:44 | |
is a working memorial to the tragedy. | 0:37:44 | 0:37:47 | |
Jerry. | 0:37:47 | 0:37:48 | |
I am meeting Chicago firefighter Jerry Medina. | 0:37:48 | 0:37:52 | |
Jerry, my Appleton's guidebook gives a description of the fire of 1871 | 0:37:52 | 0:37:57 | |
of total destruction. | 0:37:57 | 0:37:59 | |
98,000 homeless, 17,000 buildings destroyed. | 0:37:59 | 0:38:02 | |
-Is that accurate? -Yes, very accurate. | 0:38:02 | 0:38:04 | |
Sadly, unfortunately, 300 people also died as a result of that fire. | 0:38:04 | 0:38:07 | |
How was it possible for a fire to do so much damage, do you think? | 0:38:07 | 0:38:10 | |
Basically the fire was out of control. | 0:38:10 | 0:38:12 | |
Back then everything was made of wood, | 0:38:12 | 0:38:15 | |
plus there was no rain for several days. | 0:38:15 | 0:38:17 | |
Everything was ready to burn. | 0:38:17 | 0:38:19 | |
Whirlwinds of flame, known as fire devils, | 0:38:23 | 0:38:27 | |
spread the blaze and the terror ever further. | 0:38:27 | 0:38:30 | |
How long did it take to put out? | 0:38:32 | 0:38:33 | |
It took about three days. | 0:38:33 | 0:38:35 | |
The fire actually had to burn itself out. | 0:38:35 | 0:38:37 | |
The flames eventually abated, | 0:38:37 | 0:38:39 | |
leaving a city smouldering with anger. | 0:38:39 | 0:38:42 | |
Rumours about how the fire began flew like cinders, | 0:38:43 | 0:38:46 | |
settling on Irish immigrant Catherine O'Leary. | 0:38:46 | 0:38:50 | |
It was said that as she milked her cow in the barn, | 0:38:50 | 0:38:52 | |
it kicked over a lantern, | 0:38:52 | 0:38:54 | |
but historians have since suggested that her neighbour could have been to blame. | 0:38:54 | 0:38:59 | |
As recently as about 15, 20 years ago, | 0:38:59 | 0:39:01 | |
Mrs O'Leary was found to not to be the actual cause of the fire. | 0:39:01 | 0:39:04 | |
Poor Mrs O'Leary. | 0:39:04 | 0:39:06 | |
The fire was a very long time ago, but is it still, as it were, | 0:39:06 | 0:39:10 | |
part of the culture and heritage of the city? | 0:39:10 | 0:39:12 | |
You can ask a child about what happened in 1871 in Chicago? | 0:39:12 | 0:39:15 | |
Right away, the first thing they will tell you - | 0:39:15 | 0:39:18 | |
the Great Chicago Fire. | 0:39:18 | 0:39:19 | |
So it is a huge, huge part of our history. | 0:39:19 | 0:39:22 | |
Today the city is guarded by the largest fire department in the Midwest. | 0:39:24 | 0:39:29 | |
Its firefighters respond to half a million emergency calls a year. | 0:39:29 | 0:39:34 | |
Lieutenant Brett Snow is showing me what it takes | 0:39:34 | 0:39:38 | |
to become one of Chicago's finest. | 0:39:38 | 0:39:40 | |
Ready to rock and roll. | 0:39:40 | 0:39:42 | |
-OK. -All right. | 0:39:44 | 0:39:45 | |
Into the kneeling position. | 0:39:45 | 0:39:47 | |
-Into the kneeling position. There we go. -This is kind of like... | 0:39:47 | 0:39:50 | |
-using a firearm, almost, isn't it? -Yeah. -OK. | 0:39:50 | 0:39:53 | |
The hose is under enormous pressure. | 0:39:59 | 0:40:01 | |
I'm having to use great force just to keep it under control. | 0:40:01 | 0:40:04 | |
I've got to imagine what it would be like to do this in a blaze | 0:40:04 | 0:40:07 | |
or a terrible emergency, | 0:40:07 | 0:40:09 | |
and think that guys from Chicago | 0:40:09 | 0:40:11 | |
and all over do this every day of their lives. | 0:40:11 | 0:40:14 | |
Wow! Certainly feeling the pressure, Brett, | 0:40:14 | 0:40:16 | |
-it must be quite tiring, this? -Yeah, it sure is. | 0:40:16 | 0:40:19 | |
If you are not holding it correctly it can really wear you out fast. | 0:40:19 | 0:40:22 | |
I can see that. I'm getting tired just doing this. | 0:40:22 | 0:40:25 | |
Yeah, yeah. | 0:40:25 | 0:40:26 | |
And for this hose there's roughly 175 gallons in a minute coming out. | 0:40:26 | 0:40:31 | |
-Let's hope that deals with the fire. -Yeah. | 0:40:33 | 0:40:35 | |
-Very nice. -Thank you, Brett. | 0:40:37 | 0:40:38 | |
-I tell you what, I had a great time. -Thank you. -You did great. | 0:40:38 | 0:40:42 | |
No fire hose can dampen my enthusiasm for the Chicago skyline. | 0:40:47 | 0:40:53 | |
To see it at its best, I'm making my way to the Willis Tower, | 0:40:53 | 0:40:57 | |
still widely known by its former name - Sears Tower. | 0:40:57 | 0:41:00 | |
For a generation, this was the tallest building in the world. | 0:41:02 | 0:41:06 | |
-WOMAN OVER SPEAKER: -More than 24 feet per second. | 0:41:06 | 0:41:08 | |
Eiffel Tower. | 0:41:08 | 0:41:10 | |
The Bank of China Tower in Hong Kong. | 0:41:10 | 0:41:13 | |
1,250 feet and the Empire State Building of New York. | 0:41:13 | 0:41:19 | |
103 floors, 1,350 feet in one minute. | 0:41:19 | 0:41:23 | |
HE LAUGHS | 0:41:33 | 0:41:36 | |
Chicago at sunset. | 0:41:45 | 0:41:48 | |
Surely one of the world's most stunning cities. | 0:41:48 | 0:41:51 | |
One of the most iconic sights in Chicago is | 0:42:20 | 0:42:24 | |
the elevated railway - or L. | 0:42:24 | 0:42:26 | |
They must have saved money, | 0:42:26 | 0:42:28 | |
instead of going underground they build | 0:42:28 | 0:42:30 | |
the railway at first-floor level. Boy, is it noisy. | 0:42:30 | 0:42:33 | |
The earliest sections of the Chicago L date back to 1892, | 0:42:39 | 0:42:43 | |
making this the second-oldest metro system in the United States. | 0:42:43 | 0:42:47 | |
As railroads fanned out across the United States, | 0:42:51 | 0:42:54 | |
they helped to create a shared culture. | 0:42:54 | 0:42:57 | |
And one pastime soon emerged as the nation's favourite. | 0:42:57 | 0:43:00 | |
-MAN OVER SPEAKER: -Let's play ball. | 0:43:00 | 0:43:04 | |
Baseball. | 0:43:04 | 0:43:05 | |
To investigate the national game, | 0:43:09 | 0:43:12 | |
I'm going to strike out to Joliet, Illinois, base myself there, | 0:43:12 | 0:43:16 | |
although it's not exactly on my home run. | 0:43:16 | 0:43:19 | |
Today baseball is a multibillion dollar industry. | 0:43:25 | 0:43:29 | |
But around the time of my guidebook, it was in need of reform. | 0:43:29 | 0:43:33 | |
At the home of the Joliet Slammers, | 0:43:34 | 0:43:36 | |
I'm hearing how the modern game was born | 0:43:36 | 0:43:39 | |
with baseball historian David Shiner. | 0:43:39 | 0:43:42 | |
David, do you have any theory as to why in the United States | 0:43:42 | 0:43:46 | |
it's baseball that takes over rather than, say, a game like cricket? | 0:43:46 | 0:43:49 | |
Well, you know, Michael, it's seen as an American home-grown game | 0:43:49 | 0:43:53 | |
and it's in the American psyche. It goes the deepest, historically. | 0:43:53 | 0:43:57 | |
Baseball was a game that you could play with any amount of people | 0:43:57 | 0:44:01 | |
at any time, on any kind of a field. | 0:44:01 | 0:44:03 | |
A sport that was easily taken onto the frontier, | 0:44:03 | 0:44:06 | |
you just needed a piece of wood and a ball, and there you go. | 0:44:06 | 0:44:09 | |
MICHAEL CHUCKLES | 0:44:09 | 0:44:11 | |
The first written rules for baseball date from the 1840s | 0:44:11 | 0:44:14 | |
and the first professional club was established in 1869. | 0:44:14 | 0:44:19 | |
Places like Chicago were no longer frontier towns, | 0:44:19 | 0:44:22 | |
but busy industrial cities. | 0:44:22 | 0:44:24 | |
As the game became professional, | 0:44:24 | 0:44:26 | |
it became more of a game for immigrants, | 0:44:26 | 0:44:29 | |
a game for people from all walks of life. | 0:44:29 | 0:44:32 | |
Frankly, there were a lot more ruffians than gentlemen when | 0:44:32 | 0:44:34 | |
the game became professional, | 0:44:34 | 0:44:36 | |
and that lasted all through the 19th century. | 0:44:36 | 0:44:38 | |
What could be done about the fact that | 0:44:38 | 0:44:40 | |
it was becoming a bit of a rough and tumble game? | 0:44:40 | 0:44:43 | |
Well, it had a lot of negative side effects. | 0:44:43 | 0:44:46 | |
People being beaten up, a lot of gambling, a lot of roughness. | 0:44:46 | 0:44:49 | |
So in 1876, | 0:44:49 | 0:44:51 | |
the first league of clubs was founded | 0:44:51 | 0:44:53 | |
and that was by a Chicago businessmen named William Hulbert. | 0:44:53 | 0:44:56 | |
He started the notion that | 0:44:56 | 0:44:58 | |
owners needed to pay for their clubs to be in the league, | 0:44:58 | 0:45:01 | |
that there would be penalties if they didn't play their games | 0:45:01 | 0:45:04 | |
in a fair way, and that the players, similarly, | 0:45:04 | 0:45:06 | |
could be fined or suspended or even expelled from the game. | 0:45:06 | 0:45:09 | |
And that was very controversial, | 0:45:09 | 0:45:12 | |
but it led to the structure of the National League | 0:45:12 | 0:45:14 | |
that still exists 140 years later, | 0:45:14 | 0:45:16 | |
so I think he has to be given a lot of credit. | 0:45:16 | 0:45:18 | |
On my travels in Europe, I found that cricket and soccer, football, | 0:45:18 | 0:45:22 | |
were very much stimulated by the railways. | 0:45:22 | 0:45:24 | |
-Was that true of baseball? -Absolutely, Michael. | 0:45:24 | 0:45:27 | |
The railroads were vital to the spread of baseball. | 0:45:27 | 0:45:30 | |
When you have a team having to go from Baltimore to Chicago, | 0:45:30 | 0:45:32 | |
nearly 1,000 miles, the railroads are essential. | 0:45:32 | 0:45:35 | |
People who played amateur ball liked to watch professionals | 0:45:35 | 0:45:38 | |
so it became a spectator sport as well as a participant sport. | 0:45:38 | 0:45:42 | |
In fact, by the time of the National League, often teams would | 0:45:42 | 0:45:45 | |
schedule their games around when the trains arrived. | 0:45:45 | 0:45:48 | |
I'm better suited to being a spectator than a participant, | 0:45:49 | 0:45:54 | |
but I'm game for a go. | 0:45:54 | 0:45:56 | |
-Hello, Kevin. -Hello. -I'm Michael. Sorry to interrupt you. | 0:46:01 | 0:46:05 | |
-It's all right. -You're a pitcher, aren't you? -Yes, I am. | 0:46:05 | 0:46:08 | |
I've never pitched in my life. Where does one start? | 0:46:08 | 0:46:11 | |
Where does one start? We start at the mound. | 0:46:11 | 0:46:14 | |
OK, let's go to the mound. | 0:46:14 | 0:46:16 | |
This right here is called the rubber. | 0:46:16 | 0:46:19 | |
So, once you toe the rubber, and you come to your set position, most | 0:46:19 | 0:46:23 | |
pitchers lift their front knee to about a 90 degree angle right here. | 0:46:23 | 0:46:29 | |
And then you go... | 0:46:29 | 0:46:30 | |
Right. | 0:46:33 | 0:46:35 | |
-Ooh. Thank you very much. -Yup. | 0:46:36 | 0:46:38 | |
Fingers should just slide right in there. | 0:46:38 | 0:46:40 | |
On, no, that didn't quite work. | 0:46:45 | 0:46:47 | |
Need to throw it a good deal harder than that. | 0:46:47 | 0:46:50 | |
Oh, God. | 0:46:50 | 0:46:52 | |
Go ahead and aim for the batter, Michael... | 0:46:54 | 0:46:56 | |
MICHAEL LAUGHS | 0:47:09 | 0:47:10 | |
I don't think pitching is for me, somehow. | 0:47:10 | 0:47:13 | |
I'm hoping for more luck stepping up to the plate with coach | 0:47:13 | 0:47:16 | |
Ryan Clavenna. | 0:47:16 | 0:47:18 | |
So how do I hold the bat? | 0:47:18 | 0:47:19 | |
Well, you are a right-handed batter, | 0:47:19 | 0:47:21 | |
so you're going to want to put your left-hand at the bottom of the bat | 0:47:21 | 0:47:23 | |
and your right-hand on top of there. You want to get them close together. | 0:47:23 | 0:47:26 | |
If there is any separation it is harder to swing the bat. | 0:47:26 | 0:47:29 | |
You want to start with the bat on your right shoulder. | 0:47:29 | 0:47:31 | |
-On my right shoulder. -And then as he's throwing the ball, | 0:47:31 | 0:47:33 | |
-then you are going to start swinging. -OK. | 0:47:33 | 0:47:35 | |
Oh! | 0:47:41 | 0:47:43 | |
Oh! There we go. | 0:47:45 | 0:47:47 | |
You're looking like a natural already. | 0:47:47 | 0:47:50 | |
Enough humiliation. I'm out of here. | 0:47:57 | 0:48:00 | |
After that mediocre performance, | 0:48:07 | 0:48:10 | |
back in downtown Chicago, | 0:48:10 | 0:48:12 | |
I was hardly expecting to see my name in lights! | 0:48:12 | 0:48:15 | |
Number 99, it's time to dine. Number 98. Thank you, ma'am. | 0:48:20 | 0:48:25 | |
99. 106. 108, there's no more wait, the food tastes great! | 0:48:25 | 0:48:30 | |
Hello, sir. Welcome to Portillo's. | 0:48:32 | 0:48:33 | |
Thank you very much. I'm on a pilgrimage. | 0:48:33 | 0:48:35 | |
Portillo is my name. | 0:48:35 | 0:48:37 | |
-Oh, congratulations. -Yeah, I feel I've come to my spiritual home. | 0:48:37 | 0:48:40 | |
OK, good. Well, welcome. We're glad to have you. | 0:48:40 | 0:48:43 | |
Tell me, what should I eat on my first occasion? | 0:48:43 | 0:48:46 | |
-Italian beef sandwich. -That sounds good. | 0:48:46 | 0:48:47 | |
-Yes, OK. -You can do that with peppers. | 0:48:47 | 0:48:49 | |
So we have hot peppers or sweet peppers. | 0:48:49 | 0:48:51 | |
-Hot peppers. -Hot peppers, OK. | 0:48:51 | 0:48:52 | |
Would you like any cheese on that? Mozzarella or cheddar? | 0:48:52 | 0:48:55 | |
-Mozzarella. -Mozzarella, OK. | 0:48:55 | 0:48:56 | |
-Thank you. -Any French fries with that? | 0:48:56 | 0:48:58 | |
-We have got fries with cheese. -No, I think that will be quite enough. | 0:48:58 | 0:49:01 | |
-Thank you. Thank you very much. -OK. | 0:49:01 | 0:49:02 | |
So, the founder was called Portillo? | 0:49:02 | 0:49:05 | |
Yes, Dick Portillo. | 0:49:05 | 0:49:07 | |
Wow! And how did he start out? | 0:49:07 | 0:49:09 | |
In 1963 in a trailer, with no running water. | 0:49:09 | 0:49:12 | |
How amazing. | 0:49:12 | 0:49:13 | |
221, your order it out, done! 221. | 0:49:13 | 0:49:18 | |
I see that when they're calling the orders, the girls are making rhymes, | 0:49:18 | 0:49:22 | |
like you do in bingo in Britain. | 0:49:22 | 0:49:24 | |
That's exactly what we do. Do you want to give it a shot? | 0:49:24 | 0:49:27 | |
I'd love to. Thank you very much indeed. | 0:49:27 | 0:49:28 | |
You are a Portillo, no problem. We'll give it a go. | 0:49:28 | 0:49:31 | |
Can I get a short steak and a chocolate shake? | 0:49:33 | 0:49:36 | |
258, your train's never late. | 0:49:36 | 0:49:38 | |
258, your train's never late! | 0:49:38 | 0:49:41 | |
256, the train to the sticks! | 0:49:41 | 0:49:44 | |
Hi, how are you? | 0:49:44 | 0:49:46 | |
You enjoy that now. | 0:49:46 | 0:49:48 | |
247, train to heaven. | 0:49:48 | 0:49:52 | |
283, in the land of the free. | 0:49:52 | 0:49:55 | |
283. | 0:49:56 | 0:49:58 | |
HE CHUCKLES | 0:50:05 | 0:50:07 | |
Look at this understated little number. | 0:50:07 | 0:50:10 | |
It's good. Italian beef in a restaurant with a Spanish name. | 0:50:15 | 0:50:20 | |
It's fundamentally American. | 0:50:20 | 0:50:22 | |
At the time of my Appleton's guidebook, Chicago's architects | 0:50:47 | 0:50:51 | |
were not the only ones with celestial aspirations. | 0:50:51 | 0:50:54 | |
Religious fervour swept mid-19th century North America. | 0:50:58 | 0:51:02 | |
In the fast-growing cities, | 0:51:02 | 0:51:04 | |
there were mass conversions and congregations in the thousands. | 0:51:04 | 0:51:08 | |
Here in Chicago, | 0:51:09 | 0:51:11 | |
this Christian evangelism was led by two men | 0:51:11 | 0:51:14 | |
who played a starring role in the heavenly revival. | 0:51:14 | 0:51:18 | |
The guidebook tells me that | 0:51:18 | 0:51:20 | |
"the Great Tabernacle on Munro Street, | 0:51:20 | 0:51:22 | |
"where Messrs Moody and Sankey held their meetings, | 0:51:22 | 0:51:25 | |
"will see 10,000 persons and is used for sacred concerts | 0:51:25 | 0:51:30 | |
"and other religious gatherings." | 0:51:30 | 0:51:32 | |
This more modern church, even today, bears the name of Dwight Moody. | 0:51:32 | 0:51:37 | |
And in the words of the psalm, | 0:51:37 | 0:51:39 | |
I will "enter into his gates with thanksgiving." | 0:51:39 | 0:51:44 | |
CHOIR SINGS | 0:51:44 | 0:51:48 | |
# O Jesus is the rock in a weary land | 0:51:48 | 0:51:50 | |
# O Jesus is the rock in a weary land | 0:51:50 | 0:51:53 | |
# A shelter in the time of storm. # | 0:51:53 | 0:51:59 | |
The tradition of sacred concerts is clearly alive | 0:51:59 | 0:52:02 | |
and stomping at the Moody Church. | 0:52:02 | 0:52:06 | |
CHOIR SINGS | 0:52:06 | 0:52:11 | |
To discover how music helped to make Moody and Sankey household names, | 0:52:13 | 0:52:18 | |
I'm meeting church member Daniel Favero. | 0:52:18 | 0:52:21 | |
CHOIR SINGS | 0:52:21 | 0:52:25 | |
Choir, that was really beautiful. | 0:52:45 | 0:52:47 | |
May I say an enormous thank you to you? | 0:52:47 | 0:52:50 | |
That was magnificent. | 0:52:50 | 0:52:52 | |
Daniel, I have come here in pursuit of Messrs Moody and Sankey. | 0:52:52 | 0:52:57 | |
Who were these gentlemen? | 0:52:57 | 0:52:59 | |
On the vernacular of the day, 1880, | 0:52:59 | 0:53:02 | |
they were called workers in souls. | 0:53:02 | 0:53:04 | |
They were polar opposites in personality and background. | 0:53:04 | 0:53:07 | |
DL Moody was uneducated, he grew up in rural western Massachusetts. | 0:53:07 | 0:53:12 | |
Ira Sankey was the son of a bank president in Philadelphia. | 0:53:12 | 0:53:16 | |
How did two such diverse people meet? | 0:53:16 | 0:53:19 | |
They were both delegates to a YMCA meeting in Indianapolis, Indiana | 0:53:19 | 0:53:23 | |
in 1870, and there was a lull in the meeting. | 0:53:23 | 0:53:26 | |
DL Moody was sort of unconventional - | 0:53:26 | 0:53:28 | |
he hated it when it got boring, | 0:53:28 | 0:53:29 | |
and he said that suddenly a man stood up | 0:53:29 | 0:53:31 | |
and started singing, and that was Ira Sankey. | 0:53:31 | 0:53:33 | |
So DL Moody ran up to him afterwards and he said, | 0:53:33 | 0:53:36 | |
"Come join my ministry in Chicago." | 0:53:36 | 0:53:39 | |
What sort of ministry had Moody had until then, then? | 0:53:39 | 0:53:42 | |
Well, he actually started as a Sunday school teacher | 0:53:42 | 0:53:45 | |
in the neighbourhood of Chicago called Little Hell. | 0:53:45 | 0:53:48 | |
It was a very rough neighbourhood. They called it Little Hell, | 0:53:48 | 0:53:51 | |
they said, because there is nothing there but bad men and worse women. | 0:53:51 | 0:53:54 | |
Moody hoped that Sankey's music | 0:53:56 | 0:53:58 | |
could help him to reach into Chicago's slums. | 0:53:58 | 0:54:01 | |
He believed that to save the inner-city poor, | 0:54:03 | 0:54:06 | |
the message must be accessible. | 0:54:06 | 0:54:08 | |
DL Moody would speak extemporaneously, | 0:54:10 | 0:54:13 | |
he would relate to the audience, but he was very unorthodox. | 0:54:13 | 0:54:16 | |
He would not even preach with notes. | 0:54:16 | 0:54:18 | |
He said, "If I can't keep it in my head, | 0:54:18 | 0:54:19 | |
"I can't expect them to keep it in their head." | 0:54:19 | 0:54:22 | |
Is it fair to think of this as being the start of that | 0:54:22 | 0:54:25 | |
particular brand of American evangelism | 0:54:25 | 0:54:27 | |
-that's known across the world? -I think so. | 0:54:27 | 0:54:30 | |
In the past, there had been large groups of evangelistic meetings, if you will, | 0:54:30 | 0:54:35 | |
but it was never planned the way these were. | 0:54:35 | 0:54:37 | |
You know, with a large auditorium, | 0:54:37 | 0:54:39 | |
have trained people to pray with people and they walk the aisle, | 0:54:39 | 0:54:42 | |
have contemporary worship music. | 0:54:42 | 0:54:45 | |
All these things were innovations of DL Moody. | 0:54:45 | 0:54:47 | |
A British traveller following my guidebook | 0:54:50 | 0:54:52 | |
might well have already experienced Moody and Sankey's evangelism. | 0:54:52 | 0:54:56 | |
In 1873, | 0:54:57 | 0:54:59 | |
the pair crossed the Atlantic on an international mission. | 0:54:59 | 0:55:03 | |
They were travelling from church to church throughout England, Wales, | 0:55:03 | 0:55:06 | |
-Scotland and Ireland. -By train, I hope? | 0:55:06 | 0:55:08 | |
By train. They passed out flyers, saying, | 0:55:08 | 0:55:10 | |
"Come hear DL Moody preach the gospel, | 0:55:10 | 0:55:12 | |
"and come hear Ira Sankey sing the gospel." | 0:55:12 | 0:55:15 | |
It started very small, but it grew very quickly. | 0:55:15 | 0:55:18 | |
And by the time they got back to London after their two-year circuit, | 0:55:18 | 0:55:22 | |
in the last seven months, | 0:55:22 | 0:55:23 | |
over two million people came to hear him preach. | 0:55:23 | 0:55:26 | |
Extraordinary. | 0:55:26 | 0:55:28 | |
Moody and Sankey's British tour offered them both celebrity | 0:55:28 | 0:55:31 | |
and inspiration. | 0:55:31 | 0:55:34 | |
On a railway journey from Glasgow to Edinburgh, | 0:55:34 | 0:55:37 | |
Sankey spotted a poem in the newspaper | 0:55:37 | 0:55:39 | |
which sparked perhaps his best-loved hymn. | 0:55:39 | 0:55:42 | |
The Ninety And Nine. | 0:55:42 | 0:55:44 | |
# There were ninety and nine that safely lay | 0:55:44 | 0:55:49 | |
# In the shelter of the fold | 0:55:49 | 0:55:53 | |
# But one was out on the hills away | 0:55:53 | 0:55:58 | |
# Far off from the gates of gold | 0:55:58 | 0:56:03 | |
# Away on the mountains wild and bare | 0:56:03 | 0:56:08 | |
# Away from the tender Shepherd's care | 0:56:08 | 0:56:16 | |
# But all through the mountains, thunder-riven | 0:56:18 | 0:56:23 | |
# And up from the rocky steep | 0:56:23 | 0:56:27 | |
# There arose a glad cry to the gate of heaven, | 0:56:27 | 0:56:32 | |
# "Rejoice! I have found My sheep!" | 0:56:32 | 0:56:36 | |
# And the angels echoed around the throne | 0:56:36 | 0:56:41 | |
# "Rejoice, for the Lord brings back His own!" | 0:56:41 | 0:56:46 | |
# "Rejoice, for the Lord brings back His own!" # | 0:56:46 | 0:56:54 | |
I found Milwaukee impressive, and it's made a major impact | 0:57:00 | 0:57:05 | |
on America with agricultural machinery and motorcycles - | 0:57:05 | 0:57:09 | |
and on the world, with the development of the typewriter. | 0:57:09 | 0:57:12 | |
Despite that, when I arrived in Chicago, I was aware | 0:57:12 | 0:57:16 | |
of the throbbing power of a metropolis. | 0:57:16 | 0:57:19 | |
This city shrugged off a major conflagration | 0:57:19 | 0:57:23 | |
and architecturally reached for the sky. | 0:57:23 | 0:57:26 | |
Its expansion upwards and outwards continues apace. | 0:57:26 | 0:57:31 | |
Its opulence shimmers from its glass-sided buildings, | 0:57:31 | 0:57:35 | |
reflected in Lake Michigan. | 0:57:35 | 0:57:37 | |
It stands proud and tall at the crossroads of America. | 0:57:37 | 0:57:42 | |
Next time, I gravitate to the ultimate marshalling yard... | 0:57:45 | 0:57:50 | |
So I call this the economy of motion. | 0:57:50 | 0:57:53 | |
..recreate the original brownie... | 0:57:53 | 0:57:55 | |
That is wicked! | 0:57:55 | 0:57:57 | |
Well done, Chef. | 0:57:57 | 0:57:58 | |
..discover the solution to the city's pollution... | 0:57:58 | 0:58:02 | |
Imagine when you have 30,000 cubic feet per second | 0:58:02 | 0:58:04 | |
of sewage coming out into here. It will be beautiful. | 0:58:04 | 0:58:08 | |
A great image. | 0:58:08 | 0:58:10 | |
..and get my hands on the hooter. | 0:58:10 | 0:58:12 | |
People often talk about the smell of steam locomotives. | 0:58:12 | 0:58:16 | |
What about the sound of them? | 0:58:16 | 0:58:19 | |
HOOTER | 0:58:19 | 0:58:22 |