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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 | |
Appleton's General Guide To North America will direct me to all that's | 0:00:14 | 0:00:19 | |
novel, beautiful, memorable - and striking - | 0:00:19 | 0:00:24 | |
in the United States. | 0:00:24 | 0:00:26 | |
THEY SPEAK OWN LANGUAGE | 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 | 0:00:36 | |
and how the railroads tied this nation together, | 0:00:36 | 0:00:39 | |
helping to create the global superstate of today. | 0:00:39 | 0:00:43 | |
I'm embarking on a new American rail journey that begins and finishes on | 0:01:05 | 0:01:10 | |
the Mississippi River. | 0:01:10 | 0:01:12 | |
It'll take me 1,000 miles from Minnesota's Twin Cities in the north | 0:01:12 | 0:01:16 | |
to Memphis, Tennessee, in the south. | 0:01:16 | 0:01:19 | |
-I enjoyed the ride, thank you so much. -Thank you! | 0:01:19 | 0:01:21 | |
Along the way, I'll step up to the plate with the Slammers... | 0:01:21 | 0:01:25 | |
Oh! | 0:01:25 | 0:01:26 | |
..wade into the cranberry harvest | 0:01:26 | 0:01:29 | |
and become an easy rider on a Harley. | 0:01:29 | 0:01:32 | |
I'll herd ducks in Memphis... | 0:01:32 | 0:01:34 | |
-Don't let them get away! -Oh. ..serve burgers in Chicago... | 0:01:34 | 0:01:37 | |
2.58, your train's never late. | 0:01:37 | 0:01:40 | |
..and watch bald eagles on the mighty Mississippi. | 0:01:40 | 0:01:43 | |
Divine. | 0:01:44 | 0:01:45 | |
At the time of my Appleton's Guide, | 0:01:53 | 0:01:55 | |
that father of the water spurred a rapid Industrial Revolution that | 0:01:55 | 0:02:00 | |
attracted migrants from back east and from Europe. | 0:02:00 | 0:02:03 | |
But the paddle steamers were giving way to the locomotives as the | 0:02:03 | 0:02:07 | |
railroads entered a golden age with their unrivalled hub at Chicago. | 0:02:07 | 0:02:13 | |
I want to discover who were the winners and losers in that period of | 0:02:13 | 0:02:16 | |
seismic change and how their struggles gave birth | 0:02:16 | 0:02:21 | |
to the modern Midwest. | 0:02:21 | 0:02:22 | |
My journey begins in Minnesota's Twin Cities | 0:02:25 | 0:02:29 | |
and follows the Mississippi River | 0:02:29 | 0:02:31 | |
south before crossing into Wisconsin at La Crosse. | 0:02:31 | 0:02:35 | |
I'll head east towards the shore of Lake Michigan at Milwaukee, | 0:02:35 | 0:02:39 | |
then turn south to the Windy City. | 0:02:39 | 0:02:42 | |
I'll travel the length of Illinois, through Centralia, to rejoin the | 0:02:42 | 0:02:45 | |
Mississippi and end in Memphis, Tennessee. | 0:02:45 | 0:02:49 | |
Today, I'll explore Minneapolis and Saint Paul. | 0:02:49 | 0:02:52 | |
I'm making my first visit to the so-called Twin Cities of Minneapolis | 0:03:08 | 0:03:12 | |
and Saint Paul and, in my ignorance, | 0:03:12 | 0:03:15 | |
I learnt from Appleton's that they both sit on the Mississippi River | 0:03:15 | 0:03:18 | |
even though it still has 1,800 miles | 0:03:18 | 0:03:21 | |
to meander down to the Gulf of Mexico. | 0:03:21 | 0:03:24 | |
Minnesota is known as the Land of 10,000 Lakes | 0:03:26 | 0:03:30 | |
and the Mississippi threads between them. | 0:03:30 | 0:03:33 | |
Flowing south, the river passes through Minneapolis, | 0:03:34 | 0:03:38 | |
which is the most populous city in Minnesota. | 0:03:38 | 0:03:40 | |
And 14 miles downstream, it reaches the state capital, Saint Paul. | 0:03:44 | 0:03:49 | |
I'm taking the Metro to Saint Paul, | 0:03:55 | 0:03:57 | |
which Appleton's tells me is the capital of Minnesota. | 0:03:57 | 0:04:01 | |
"A beautiful city, situated on both banks of the Mississippi. | 0:04:01 | 0:04:06 | |
"It has the State Capitol, an opera house, | 0:04:06 | 0:04:09 | |
"40 churches of various denominations, | 0:04:09 | 0:04:12 | |
"four libraries, three free hospitals." | 0:04:12 | 0:04:15 | |
-TANNOY BEEPS -Union Depot station. | 0:04:22 | 0:04:27 | |
Once the main station for the Twin Cities, | 0:04:27 | 0:04:29 | |
Union Depot closed in 1971 when the newly formed national rail carrier | 0:04:29 | 0:04:34 | |
Amtrak based its services in Minneapolis. | 0:04:34 | 0:04:37 | |
But following a restoration project, | 0:04:38 | 0:04:41 | |
Union Depot has opened its doors once more. | 0:04:41 | 0:04:43 | |
There's been a Union Depot station since 1881 | 0:04:48 | 0:04:52 | |
but this one is less than a century old. | 0:04:52 | 0:04:55 | |
Like many American railroad stations, | 0:04:55 | 0:04:57 | |
it has a somewhat ghostly feel, | 0:04:57 | 0:04:59 | |
but what ghosts! | 0:04:59 | 0:05:01 | |
At one time, 280 trains a day left here from 21 tracks, | 0:05:01 | 0:05:06 | |
and at the height of steam technology, | 0:05:06 | 0:05:08 | |
monstrous locomotives screeched between here and Chicago | 0:05:08 | 0:05:13 | |
in seven hours flat. | 0:05:13 | 0:05:15 | |
The station is built on flat land by the river, | 0:05:19 | 0:05:22 | |
where Saint Paul ranges over several hills | 0:05:22 | 0:05:25 | |
and its cathedral stands on top of the highest. | 0:05:25 | 0:05:28 | |
The city bears the name of Saint Paul, | 0:05:35 | 0:05:38 | |
named after a log chapel first consecrated in 1851, | 0:05:38 | 0:05:43 | |
but this is something completely different - | 0:05:43 | 0:05:46 | |
this is early 20th century, | 0:05:46 | 0:05:49 | |
modelled supposedly on French cathedrals, | 0:05:49 | 0:05:52 | |
but with modern technology so that this enormous dome | 0:05:52 | 0:05:57 | |
floats above us over a great, open space. | 0:05:57 | 0:06:02 | |
'This cathedral, one of the finest in the United States, | 0:06:06 | 0:06:10 | |
'provides an idea of Saint Paul's wealth and importance | 0:06:10 | 0:06:14 | |
'before it was rivalled by Minneapolis.' | 0:06:14 | 0:06:16 | |
Well, I must say, | 0:06:20 | 0:06:22 | |
that is one of the most challenging church climbs I've done | 0:06:22 | 0:06:26 | |
but I'm rewarded with a wonderful view over the city of Saint Paul | 0:06:26 | 0:06:31 | |
and it strikes me straight away that this wonderful domed building | 0:06:31 | 0:06:36 | |
is built on a hill high above another wonderful domed building, | 0:06:36 | 0:06:41 | |
that is the State Capitol. | 0:06:41 | 0:06:43 | |
You don't need to be a genius to work out the code - | 0:06:43 | 0:06:46 | |
the church lords it above the state. | 0:06:46 | 0:06:50 | |
The Roman Catholic cathedral was paid for by donations from the great | 0:06:52 | 0:06:56 | |
and the good of Saint Paul, who located it on their doorstep. | 0:06:56 | 0:07:00 | |
Summit Avenue, Saint Paul, is remarkable for the scale | 0:07:11 | 0:07:15 | |
and quantity of its 19th-century mansions. | 0:07:15 | 0:07:19 | |
The fragrant street trees and gardens | 0:07:19 | 0:07:22 | |
cannot mask the smell of money, | 0:07:22 | 0:07:25 | |
which, in the United States, | 0:07:25 | 0:07:27 | |
was often borne on clouds of smoke and steam from the railroads. | 0:07:27 | 0:07:33 | |
One of the most imposing residences belonged to James J Hill, | 0:07:37 | 0:07:41 | |
the child of Irish immigrants, who became one of the mightiest railroad | 0:07:41 | 0:07:45 | |
tycoons in America - the man they called the Empire Builder. | 0:07:45 | 0:07:50 | |
Hello, Craig. I'm Michael. | 0:07:51 | 0:07:53 | |
Welcome to the Hill House. | 0:07:53 | 0:07:54 | |
Thank you very much indeed - what an amazing mansion it is. | 0:07:54 | 0:07:58 | |
Craig Johnson is an expert on JJ Hill. | 0:07:58 | 0:08:01 | |
Was there already railroad development in this area before Hill | 0:08:02 | 0:08:05 | |
-stepped in? -Yes, there certainly was. | 0:08:05 | 0:08:08 | |
In fact, Hill purchased a bankrupt railway in 1878 with a number of | 0:08:08 | 0:08:12 | |
other investors, so he had seen rail lines come and go and rise | 0:08:12 | 0:08:18 | |
and fall in this area. | 0:08:18 | 0:08:19 | |
I think one of his great geniuses was his expansive vision that | 0:08:19 | 0:08:24 | |
he had and his great ambition to understand every minute detail | 0:08:24 | 0:08:29 | |
of the operation of the railway. | 0:08:29 | 0:08:31 | |
As Hill's empire grew so did his reputation for ruthlessness. | 0:08:32 | 0:08:37 | |
He earned his moniker the Empire Builder through hard work and the | 0:08:37 | 0:08:41 | |
highest standards. | 0:08:41 | 0:08:43 | |
Talking of metaphors, Hill's house is built on a mount. | 0:08:43 | 0:08:47 | |
Yes, it is. It's one of the many bluffs surrounding downtown | 0:08:47 | 0:08:50 | |
Saint Paul and it was chosen specifically by Hill - that way, | 0:08:50 | 0:08:53 | |
everyone who was in the downtown area could look up | 0:08:53 | 0:08:57 | |
and see who was living on top of the hill. | 0:08:57 | 0:08:59 | |
May we continue the tour? | 0:08:59 | 0:09:01 | |
-Certainly. -Thank you. | 0:09:01 | 0:09:02 | |
'Hill renamed his company the Great Northern Railway | 0:09:02 | 0:09:05 | |
'and embarked on what he regarded as the great adventure of his life - | 0:09:05 | 0:09:10 | |
'a rail line that would reach across the continent and serve as the | 0:09:10 | 0:09:14 | |
artery for American settlement in the West. | 0:09:14 | 0:09:17 | |
The railway empire started here in St Paul and Minneapolis, | 0:09:17 | 0:09:21 | |
then went across Minnesota, northward up to Canada... | 0:09:21 | 0:09:25 | |
and then westward, across the United States | 0:09:25 | 0:09:28 | |
and eventually connecting with Seattle, | 0:09:28 | 0:09:30 | |
which opened up the possibility of trade with Asia across the Pacific | 0:09:30 | 0:09:34 | |
-Ocean. -Now, most railroads were financed with the aid of the federal | 0:09:34 | 0:09:38 | |
government, who allowed a strip of land to be sold off for the benefit | 0:09:38 | 0:09:42 | |
of the railway. Is that how Hill progressed? | 0:09:42 | 0:09:45 | |
The first stretch did have land grants, | 0:09:45 | 0:09:47 | |
but Hill was someone who liked control, | 0:09:47 | 0:09:49 | |
so he didn't want to do that any longer - | 0:09:49 | 0:09:51 | |
he wanted to purchase that land outright and then he could make full | 0:09:51 | 0:09:55 | |
decisions on that whole area and that's exactly what he did. | 0:09:55 | 0:09:58 | |
Hill's agents advertised in northern Europe for settler families to buy | 0:09:59 | 0:10:04 | |
and develop land along his route. | 0:10:04 | 0:10:07 | |
He offered farming opportunities in the Midwest, | 0:10:07 | 0:10:09 | |
copper mining in the Rockies and logging in the Pacific states. | 0:10:09 | 0:10:14 | |
There were many railway tycoons - what's special about Hill? | 0:10:14 | 0:10:18 | |
Well, I think it's his ability to take a look not only at the area, | 0:10:18 | 0:10:22 | |
to build something that would work for that particular region | 0:10:22 | 0:10:26 | |
and then to get people to populate that area right alongside it. | 0:10:26 | 0:10:30 | |
As he said at the end of his life, | 0:10:30 | 0:10:32 | |
"I've made my mark on the surface of the earth | 0:10:32 | 0:10:34 | |
"and they can't wipe it out." | 0:10:34 | 0:10:36 | |
The streets of Saint Paul retain their genteel Victorian character, | 0:10:39 | 0:10:44 | |
but in the early 20th century, | 0:10:44 | 0:10:46 | |
the age of the Empire Builder gave way to something | 0:10:46 | 0:10:50 | |
altogether more louche. | 0:10:50 | 0:10:51 | |
One of the United States' most popular novelists gave a name | 0:10:54 | 0:10:58 | |
to that era in the 1920s | 0:10:58 | 0:11:00 | |
of prohibition, gangsters, flappers and tycoons - | 0:11:00 | 0:11:05 | |
the Jazz Age. | 0:11:05 | 0:11:07 | |
Some of his works are narrated by an outsider looking in to a coveted | 0:11:07 | 0:11:12 | |
world and that feeling of being from the wrong side of the tracks | 0:11:12 | 0:11:16 | |
may have begun when F Scott Fitzgerald | 0:11:16 | 0:11:20 | |
was born here in Saint Paul. | 0:11:20 | 0:11:22 | |
The son of an unsuccessful aristocrat | 0:11:26 | 0:11:30 | |
and an Irish Catholic mother, | 0:11:30 | 0:11:32 | |
Fitzgerald wrote about a generation of rich, | 0:11:32 | 0:11:34 | |
disenchanted youth and its pursuit of an American dream. | 0:11:34 | 0:11:39 | |
The decadence and disappointed ideals of the Roaring Twenties | 0:11:39 | 0:11:44 | |
inhabit his novel The Great Gatsby. | 0:11:44 | 0:11:46 | |
Hello, Joel. | 0:11:50 | 0:11:51 | |
Hi, Michael. Welcome! | 0:11:51 | 0:11:53 | |
'I'm meeting Dr Joel Pace, English professor and Jazz Age aficionado.' | 0:11:53 | 0:11:59 | |
-Good to see you. -Good to see you, too. | 0:11:59 | 0:12:01 | |
And I'm very thrilled to be at the birthplace of F Scott Fitzgerald. | 0:12:01 | 0:12:05 | |
Looks like an enormous house. | 0:12:05 | 0:12:06 | |
Yes, and in fact Fitzgerald was in only one sixth of this house. | 0:12:06 | 0:12:10 | |
His family was in dire straits. His father's wicker furniture | 0:12:10 | 0:12:14 | |
business was soon to go out of business, forcing them to move. | 0:12:14 | 0:12:18 | |
What sort of a neighbourhood is this, that he was born in to? | 0:12:18 | 0:12:21 | |
This neighbourhood is really occupying the space in between | 0:12:21 | 0:12:24 | |
the beauty and the grand mansions of Summit Avenue and also Rondo, | 0:12:24 | 0:12:28 | |
the historical African-American neighbourhoods. | 0:12:28 | 0:12:30 | |
Fitzgerald is poised right between Summit and Selby Avenue. | 0:12:30 | 0:12:34 | |
And what do you think was the effect on him of being in such a position, | 0:12:34 | 0:12:38 | |
-geographically? -A lot of his friends were of the set who had their own | 0:12:38 | 0:12:42 | |
family mansions on Summit Avenue | 0:12:42 | 0:12:44 | |
but Fitzgerald was never quite accepted as one of them. | 0:12:44 | 0:12:47 | |
He maintained the smouldering contempt of the peasant for the rich | 0:12:47 | 0:12:51 | |
throughout his life. | 0:12:51 | 0:12:52 | |
And what was the influence of the African-American | 0:12:52 | 0:12:55 | |
-neighbourhood? -The influence of jazz. | 0:12:55 | 0:12:57 | |
The jazz that characterised the age flourished in the Rondo, | 0:13:00 | 0:13:05 | |
a few blocks from the favourite haunt of Saint Paul's social elite. | 0:13:05 | 0:13:09 | |
What kind of a place then was the Commodore Hotel? | 0:13:13 | 0:13:16 | |
The Commodore Hotel, when it opened in 1920, was the talk of the town. | 0:13:16 | 0:13:20 | |
Underneath the Commodore was a speakeasy. With the right knock on | 0:13:20 | 0:13:22 | |
the door, you would be ushered into the basement | 0:13:22 | 0:13:25 | |
where there was live jazz, | 0:13:25 | 0:13:26 | |
bathtub gin and, perhaps, if you were just lucky enough, | 0:13:26 | 0:13:30 | |
a little bit of moonshine. | 0:13:30 | 0:13:32 | |
Now, speakeasies, they were the sort of places that attracted gangsters - | 0:13:32 | 0:13:36 | |
-were there gangsters here? -Absolutely right. | 0:13:36 | 0:13:38 | |
The gangsters were on the second floor. | 0:13:38 | 0:13:40 | |
Scott Fitzgerald and his wife Zelda lived in the luxurious Commodore. | 0:13:41 | 0:13:47 | |
The ill-gotten gains of the gangsters who feature | 0:13:47 | 0:13:49 | |
in Fitzgerald's novel | 0:13:49 | 0:13:51 | |
almost certainly funded the glamorous lifestyle | 0:13:51 | 0:13:54 | |
of the stylish hero Jay Gatsby. | 0:13:54 | 0:13:56 | |
-Hello, ladies - may we join you? -Hi, guys. -My name's Michael. -Hello. | 0:14:02 | 0:14:06 | |
Great band. | 0:14:09 | 0:14:11 | |
The bar of the Commodore has been | 0:14:13 | 0:14:15 | |
renovated and is once again the place to be and to be seen | 0:14:15 | 0:14:19 | |
in Saint Paul. APPLAUSE | 0:14:19 | 0:14:21 | |
Well, ladies - what a pleasure. Cheers. | 0:14:21 | 0:14:24 | |
-Cheers! -The pleasure is ours. -Cheers. | 0:14:24 | 0:14:26 | |
May I compliment you on your dress? That is wonderful. | 0:14:26 | 0:14:29 | |
-Tell me about that. -Thank you. | 0:14:29 | 0:14:31 | |
This was my grandmother's dress. | 0:14:31 | 0:14:33 | |
Do you think she was what we would call a flapper? | 0:14:33 | 0:14:35 | |
Was she one of these, you know, It-girls in the 1920s? | 0:14:35 | 0:14:39 | |
I would have guessed so, yes. | 0:14:39 | 0:14:41 | |
She was definitely someone who liked a good time! | 0:14:41 | 0:14:43 | |
She liked to have fun. | 0:14:43 | 0:14:45 | |
-Hello, guys. -Hi. | 0:14:45 | 0:14:47 | |
Do you mind if I pop between you for a moment with my martini? | 0:14:47 | 0:14:49 | |
-Not at all. -Tell me, are you... | 0:14:49 | 0:14:52 | |
You're very young, but are you Fitzgerald fans? | 0:14:52 | 0:14:54 | |
-Big-time Fitzgerald fans. -No! | 0:14:54 | 0:14:56 | |
-Yeah. -What's that? What is that? | 0:14:56 | 0:14:58 | |
-A tattoo. -What is it? | 0:14:58 | 0:15:00 | |
The state of Minnesota with The Great Gatsby cover inside of it. | 0:15:00 | 0:15:04 | |
-That is a pretty extreme way to show your appreciation... -Yeah. | 0:15:05 | 0:15:08 | |
..of Scott Fitzgerald. | 0:15:08 | 0:15:10 | |
-Hello, sir. -Hi, how are you? -May I join you a second? -Please, yes. | 0:15:10 | 0:15:14 | |
Can I ask you, are you a Gatsby fan? | 0:15:14 | 0:15:17 | |
Or a Fitzgerald fan? | 0:15:17 | 0:15:19 | |
Well, yeah...I don't know if fan's the word. | 0:15:19 | 0:15:21 | |
We live in the neighbourhood and so he's a local boy, right? | 0:15:21 | 0:15:23 | |
I mean, he...he's one of us. | 0:15:23 | 0:15:26 | |
Do you think Fitzgerald gets the American relationship | 0:15:26 | 0:15:30 | |
-with money? -I absolutely do. | 0:15:30 | 0:15:32 | |
The thing about Fitzgerald is that he understands that we'll never... | 0:15:32 | 0:15:36 | |
We're so puritan, we'll never | 0:15:36 | 0:15:37 | |
quite be comfortable with the extent to which we are motivated by money. | 0:15:37 | 0:15:41 | |
I feel like in a lot of ways he's the quintessential American writer, | 0:15:41 | 0:15:44 | |
we will never be quite comfortable in our skin. | 0:15:44 | 0:15:47 | |
Alcohol and depression took their toll on Fitzgerald | 0:15:49 | 0:15:52 | |
and in 1940, at the age of 44, he died in Hollywood of a heart attack. | 0:15:52 | 0:15:57 | |
He believed himself a failure, yet today, | 0:15:58 | 0:16:01 | |
his work features on school reading lists the world over. | 0:16:01 | 0:16:06 | |
I think it's time for a little bit of ragtime. | 0:16:06 | 0:16:08 | |
-What are you going to do? -I think I'm going to go play with the band. | 0:16:08 | 0:16:11 | |
-Wow! -May as well. | 0:16:11 | 0:16:13 | |
The Jazz Age came to an abrupt end | 0:16:21 | 0:16:23 | |
with the great depression of the 1930s. | 0:16:23 | 0:16:26 | |
But here in the Commodore, | 0:16:26 | 0:16:28 | |
something of the spirit of Scott Fitzgerald lives on. | 0:16:28 | 0:16:32 | |
Wow, that was great! | 0:16:41 | 0:16:43 | |
Another day, another cultural experience. | 0:16:54 | 0:16:57 | |
-Hello. -Hello. | 0:16:59 | 0:17:00 | |
-What's your name? -Mary, what's yours? | 0:17:00 | 0:17:02 | |
Michael is mine. So, Mary - I'm an adventurous kind of guy... | 0:17:02 | 0:17:06 | |
-OK. -..and there's something here I've never heard of. | 0:17:06 | 0:17:08 | |
It's a root-beer float. | 0:17:08 | 0:17:09 | |
Oh, it sounds good to me. | 0:17:09 | 0:17:10 | |
-You want it? -Yeah, all right. | 0:17:10 | 0:17:12 | |
-OK, we'll get it. -All right. | 0:17:12 | 0:17:14 | |
I've no idea what I've ordered. | 0:17:14 | 0:17:16 | |
-Oh! -Here you go, Michael. | 0:17:18 | 0:17:19 | |
Thank you. What have I let myself in for? | 0:17:19 | 0:17:22 | |
Don't get it on that pretty white shirt! | 0:17:22 | 0:17:24 | |
In my experience, dining in the United States requires you to summon | 0:17:24 | 0:17:28 | |
up all your culinary courage - let's see what this is. | 0:17:28 | 0:17:31 | |
Mmm. This is a root beer. Broadly speaking, | 0:17:33 | 0:17:36 | |
it tastes like thinned-out cough mixture | 0:17:36 | 0:17:39 | |
and then it's got some vanilla ice cream with it and the two | 0:17:39 | 0:17:43 | |
just kind of blend together. | 0:17:43 | 0:17:45 | |
-Do you ever drink this stuff? -Not really, no. -No. | 0:17:45 | 0:17:48 | |
I'm not surprised. I'm not surprised! | 0:17:48 | 0:17:50 | |
I think you've made a good life choice! | 0:17:50 | 0:17:51 | |
I'm leaving Saint Paul, taking the Metro to Minneapolis. | 0:17:59 | 0:18:03 | |
-TANNOY: -..from Blue-Line train to downtown Minneapolis is arriving | 0:18:03 | 0:18:08 | |
on track number one. | 0:18:08 | 0:18:11 | |
This modern metropolis takes its name | 0:18:11 | 0:18:14 | |
from the Dakota Sioux word minne, | 0:18:14 | 0:18:16 | |
meaning water, of which there's a great abundance in lakes, | 0:18:16 | 0:18:20 | |
lagoons and the mighty Mississippi. | 0:18:20 | 0:18:22 | |
Minnesota experiences an extreme continental climate, which has led | 0:18:23 | 0:18:28 | |
the cities' inhabitants to devise an ingenious solution. | 0:18:28 | 0:18:33 | |
The weather in Minneapolis can be inclement. | 0:18:33 | 0:18:36 | |
In summer, it can be 40 degrees. | 0:18:36 | 0:18:39 | |
In winter, -18 is not unusual, but never fear, | 0:18:39 | 0:18:43 | |
they have invented this system of glass bridges, | 0:18:43 | 0:18:47 | |
heated and air-conditioned. | 0:18:47 | 0:18:49 | |
Known as the Skyway, the network extends seven miles around the city, | 0:18:49 | 0:18:55 | |
so you can go from your office to a restaurant to the shops without ever | 0:18:55 | 0:18:59 | |
experiencing either heat or cold. | 0:18:59 | 0:19:02 | |
While Saint Paul developed as a trading and commercial hub, | 0:19:11 | 0:19:15 | |
Minneapolis grew as an industrial centre, | 0:19:15 | 0:19:18 | |
due directly to its location. | 0:19:18 | 0:19:20 | |
Appleton's tells me that, "A large part of the city's business | 0:19:22 | 0:19:25 | |
"prosperity is owing to the Falls of Saint Anthony. | 0:19:25 | 0:19:29 | |
"which afford abundant water power for manufacturing. | 0:19:29 | 0:19:33 | |
"The best view is from the centre of the suspension bridge which spans | 0:19:33 | 0:19:37 | |
"the river." Actually, | 0:19:37 | 0:19:38 | |
this one used to carry the railroad and I can see here the immense power | 0:19:38 | 0:19:43 | |
of the river hemmed in by civil engineering and it's given rise to | 0:19:43 | 0:19:47 | |
this highly attractive cityscape of semi-derelict factories and mills. | 0:19:47 | 0:19:53 | |
A young entrepreneur named Franklin Steele dammed the east side of the | 0:19:55 | 0:20:00 | |
river and built the first sawmill in 1848. | 0:20:00 | 0:20:04 | |
For the second half of the 19th century, | 0:20:04 | 0:20:06 | |
Sawdust Town led the world in sawmilling, | 0:20:06 | 0:20:10 | |
and from 1880 until 1930, | 0:20:10 | 0:20:13 | |
Minneapolis, the Mill City, also led the nation in flour production. | 0:20:13 | 0:20:18 | |
John Anfinson is a National Park Service superintendent. | 0:20:18 | 0:20:22 | |
-Hello, John. -Hi, Michael. Great to meet you. | 0:20:22 | 0:20:25 | |
The falls really are in full spate. | 0:20:25 | 0:20:27 | |
They are spectacular, they've been spectacular all year. | 0:20:27 | 0:20:29 | |
What does it mean to Minneapolis to have had the Saint Anthony Falls? | 0:20:31 | 0:20:34 | |
There wouldn't be a Minneapolis without this falls. | 0:20:34 | 0:20:37 | |
It allowed the industry to build here that | 0:20:37 | 0:20:39 | |
you couldn't do anywhere else. | 0:20:39 | 0:20:41 | |
And what was that first industry? | 0:20:41 | 0:20:43 | |
The first industry was lumber. | 0:20:43 | 0:20:44 | |
It was this ancient crop, | 0:20:44 | 0:20:46 | |
just waiting to be harvested by the millers. | 0:20:46 | 0:20:48 | |
They didn't need to go grow it, | 0:20:48 | 0:20:49 | |
they didn't need people to come and plant it, | 0:20:49 | 0:20:51 | |
it was there already for the taking. | 0:20:51 | 0:20:53 | |
Flour milling gradually supplanted the sawmills, | 0:20:57 | 0:21:01 | |
but such intensive use coupled with poor engineering | 0:21:01 | 0:21:05 | |
caused the falls severe damage. | 0:21:05 | 0:21:08 | |
What was this magnificent river like before Europeans came here? | 0:21:12 | 0:21:16 | |
It's hard to imagine, looking at it today, what it was really like. | 0:21:16 | 0:21:19 | |
It was a series of jagged edges of limestone. | 0:21:19 | 0:21:22 | |
If you look over here, you can see some limestone slabs that have | 0:21:22 | 0:21:24 | |
fallen off on that island, | 0:21:24 | 0:21:26 | |
and the falls retreated up the Mississippi because | 0:21:26 | 0:21:28 | |
this limestone cap kept dropping off, | 0:21:28 | 0:21:31 | |
as the sandstone under it was undermined by the falls itself. | 0:21:31 | 0:21:34 | |
How bad did the damage to the river become? | 0:21:34 | 0:21:37 | |
It became so bad that the falls almost went away. | 0:21:38 | 0:21:43 | |
They almost eroded away completely in 1869. | 0:21:43 | 0:21:45 | |
A huge hole formed underneath the limestone riverbed | 0:21:45 | 0:21:49 | |
and collapsed into the river. | 0:21:49 | 0:21:51 | |
So Minneapolis has depended on Saint Anthony's Falls | 0:21:51 | 0:21:54 | |
and it's had to be saved? | 0:21:54 | 0:21:55 | |
It did, and so the Corps of Engineers looked at the falls, | 0:21:55 | 0:21:59 | |
they found out where the edge ended, | 0:21:59 | 0:22:01 | |
and so they said the only way to save it | 0:22:01 | 0:22:03 | |
is to build a wall under the river, about 36-feet high, | 0:22:03 | 0:22:06 | |
four-feet wide, the entire width of the river. | 0:22:06 | 0:22:09 | |
A dam under the Mississippi was what was needed. | 0:22:09 | 0:22:11 | |
And does that survive to this day? | 0:22:11 | 0:22:13 | |
It does. It holds back the last tick of the geologic clock | 0:22:13 | 0:22:16 | |
for Saint Anthony Falls. | 0:22:16 | 0:22:18 | |
In the heyday of flour milling, | 0:22:20 | 0:22:22 | |
20 mills stood along a covered canal | 0:22:22 | 0:22:25 | |
through which flowed water drawn from the river above the falls. | 0:22:25 | 0:22:30 | |
Enough flour was ground in one mill | 0:22:30 | 0:22:32 | |
to bake 12 million loaves of bread a day. | 0:22:32 | 0:22:36 | |
Industrial success came at a price, however. | 0:22:37 | 0:22:41 | |
The number of accidents grew rapidly | 0:22:41 | 0:22:43 | |
and that provided Minneapolis with another title - | 0:22:43 | 0:22:47 | |
the artificial limb capital of the world. | 0:22:47 | 0:22:50 | |
I've come to a suburb of the city to visit | 0:22:50 | 0:22:53 | |
a family-owned prosthetics company to hear how that began. | 0:22:53 | 0:22:58 | |
-Hello. -Hello, Michael. Welcome to Winkley. | 0:22:59 | 0:23:01 | |
'Greg S Gruman is president of the company | 0:23:01 | 0:23:05 | |
'founded by AA Winkley in 1888.' | 0:23:05 | 0:23:09 | |
Who was Mr Winkley? | 0:23:09 | 0:23:11 | |
Mr Winkley was a farmer from about 50 miles south of the Twin Cities | 0:23:11 | 0:23:17 | |
and was injured in an accident on his farm, | 0:23:17 | 0:23:22 | |
we believe by getting kicked by a horse, | 0:23:22 | 0:23:24 | |
broke a bone in his leg that never healed | 0:23:24 | 0:23:27 | |
and suffered an amputation as a result of that. | 0:23:27 | 0:23:29 | |
He received a prosthesis from a company where the representative | 0:23:29 | 0:23:32 | |
would travel up from Chicago, and he was never happy with that. | 0:23:32 | 0:23:36 | |
And there were no full-time prosthetists here in Minneapolis, | 0:23:36 | 0:23:39 | |
so he ended up tinkering and modifying | 0:23:39 | 0:23:43 | |
the prosthesis that he got, | 0:23:43 | 0:23:45 | |
made it more comfortable for himself | 0:23:45 | 0:23:46 | |
and basically got the idea, | 0:23:46 | 0:23:48 | |
"If it works for me, it'll work for other amputees as well." | 0:23:48 | 0:23:51 | |
In the mills and rail yards of Minneapolis, | 0:23:51 | 0:23:54 | |
due to poor working conditions and the rapid introduction of new machinery, | 0:23:54 | 0:23:59 | |
it wasn't uncommon for workers to lose limbs in industrial accidents. | 0:23:59 | 0:24:04 | |
We have some shots of amputees | 0:24:04 | 0:24:08 | |
in an old catalogue. | 0:24:08 | 0:24:12 | |
This photo shows a railroad conductor doing his job | 0:24:12 | 0:24:15 | |
with his pants leg rolled up, showing his prosthesis. | 0:24:15 | 0:24:19 | |
A foreman on a line crew, he was an engineer, | 0:24:19 | 0:24:22 | |
and they're all posing on-the-job, | 0:24:22 | 0:24:26 | |
and every one of them has a comment underneath. | 0:24:26 | 0:24:30 | |
He says, "I am now able to make my regular run just the same as before I lost my leg". | 0:24:30 | 0:24:35 | |
The priority for this man and for all these in the book | 0:24:35 | 0:24:39 | |
was keeping his job, performing his job, | 0:24:39 | 0:24:41 | |
being able to support himself and his family. | 0:24:41 | 0:24:44 | |
It's a remarkable publication. | 0:24:44 | 0:24:46 | |
And maybe just as remarkable, this thing here. | 0:24:46 | 0:24:48 | |
What kind of vintage is that? | 0:24:48 | 0:24:50 | |
This particular one is from the 1930s, | 0:24:50 | 0:24:53 | |
but it was the same as the original patent that Mr Winkley patented. | 0:24:53 | 0:24:59 | |
This one is for an amputation below the knee. | 0:24:59 | 0:25:02 | |
This was loaded with a spring mechanism | 0:25:02 | 0:25:04 | |
through these elastics so that the inner socket | 0:25:04 | 0:25:07 | |
would function independently and go up and down and absorb the shock | 0:25:07 | 0:25:12 | |
of you hitting the floor or the ground, | 0:25:12 | 0:25:14 | |
especially walking over furrowed fields | 0:25:14 | 0:25:17 | |
or an unpaved factory floor or a rail yard | 0:25:17 | 0:25:22 | |
where you're stepping on gravel. | 0:25:22 | 0:25:24 | |
But the technology, even though we view it as an antique, | 0:25:24 | 0:25:27 | |
was revolutionary for its time. | 0:25:27 | 0:25:30 | |
-Hello, Mike. -Hello. -Michael. | 0:25:34 | 0:25:36 | |
'Mike Hodges lost his leg in an electrical accident. | 0:25:37 | 0:25:41 | |
'He decided to retrain as an engineer specialising in prostheses.' | 0:25:41 | 0:25:46 | |
What are these items that you have here? | 0:25:47 | 0:25:49 | |
These look pretty advanced to me. | 0:25:49 | 0:25:51 | |
These are some of the microprocessor hands. | 0:25:51 | 0:25:53 | |
Go ahead and stick your hand in there and you can feel the contacts in there. | 0:25:53 | 0:25:57 | |
-And really just the very lightest touch on that contact. -Right. | 0:25:57 | 0:26:01 | |
Quite a minor impulse for the... | 0:26:01 | 0:26:03 | |
Right, so the movement in your arm from where your fingers move | 0:26:03 | 0:26:06 | |
is what is making the contact there. | 0:26:06 | 0:26:09 | |
That is brilliant. And is this leg similar to the one that you wear? | 0:26:09 | 0:26:12 | |
Mine has a few more bells and whistles. | 0:26:12 | 0:26:15 | |
The prosthetic I wear now has four microprocessors, | 0:26:15 | 0:26:18 | |
an accelerometer and a gyroscope, | 0:26:18 | 0:26:20 | |
so it's adjusting 100 times a second to if I want to | 0:26:20 | 0:26:22 | |
walk fast, walk slow, go uphill, go downhill - | 0:26:22 | 0:26:25 | |
it's constantly making adjustments, | 0:26:25 | 0:26:27 | |
almost before I can actually make the move. | 0:26:27 | 0:26:31 | |
And living in Minnesota, the big part of it is it's 100% waterproof. | 0:26:31 | 0:26:35 | |
So with a little over 10,000 lakes, you're around water quite a bit, | 0:26:35 | 0:26:38 | |
so it's nice to have that. | 0:26:38 | 0:26:40 | |
25 years ago, you'd have to take your leg off to be able to go in a lake or do something. | 0:26:40 | 0:26:43 | |
You are an inventive guy who, having lost your leg, | 0:26:43 | 0:26:47 | |
has come into the prosthetics business. | 0:26:47 | 0:26:49 | |
Your story is awfully like Mr Winkley's. | 0:26:49 | 0:26:51 | |
You know, I guess it is, when you think about it. | 0:26:53 | 0:26:54 | |
I knew I was going to have to have a prosthetic. | 0:26:54 | 0:26:56 | |
I wasn't going to go in a wheelchair or crutches, | 0:26:56 | 0:26:59 | |
I wanted to get up, get moving, | 0:26:59 | 0:27:02 | |
and I was one of those guys who, even in physical therapy, I was, | 0:27:02 | 0:27:06 | |
"Just give me my stuff, I'll figure it out", | 0:27:06 | 0:27:08 | |
which isn't always the best thing to do, but we do it anyway. | 0:27:08 | 0:27:11 | |
JJ Hill in railroads, | 0:27:18 | 0:27:20 | |
and other tycoons in sawing and milling, | 0:27:20 | 0:27:23 | |
created thousands of jobs for Americans and immigrants | 0:27:23 | 0:27:27 | |
moving to the Midwest and the upper Mississippi. | 0:27:27 | 0:27:31 | |
Some of those employees lost limbs to the massive machinery | 0:27:31 | 0:27:34 | |
of America's late Industrial Revolution. | 0:27:34 | 0:27:37 | |
F Scott Fitzgerald summarised the ambivalence of the nation | 0:27:37 | 0:27:42 | |
towards great wealth. | 0:27:42 | 0:27:44 | |
Americans were hypnotised by its glamour and its power to create | 0:27:44 | 0:27:49 | |
great cities like Minneapolis and Saint Paul. | 0:27:49 | 0:27:53 | |
But they were repelled by its excesses. | 0:27:53 | 0:27:56 | |
'Next time, I'll use my diplomatic skills | 0:27:58 | 0:28:01 | |
'at a Swedish-American lunch...' | 0:28:01 | 0:28:03 | |
What a very interesting texture! | 0:28:03 | 0:28:05 | |
'..feel the rhythm of a great American epic poem...' | 0:28:05 | 0:28:09 | |
So you get what sounds to us like a tom-tom beat - | 0:28:09 | 0:28:11 | |
boom-boom, boom-boom, boom-boom... | 0:28:11 | 0:28:13 | |
By the shores of Gitche Gumee... | 0:28:13 | 0:28:15 | |
'..and experience life as a turn-of-the-century tycoon.' | 0:28:15 | 0:28:18 | |
Oh, beautiful. | 0:28:18 | 0:28:20 | |
Let's bounce on the bed. | 0:28:20 | 0:28:21 | |
MICHAEL LAUGHS | 0:28:21 | 0:28:23 | |
Ah! These people knew how to live. | 0:28:23 | 0:28:25 |