WEBVTT 00:00:08.140 --> 00:00:10.140 Hi everybody. Good morning. It is so great to be here with you today 00:00:12.380 --> 00:00:18.046 talking about cartoon maps of canyon land. I learned so much yesterday 00:00:18.079 --> 00:00:22.127 listening to all of the wonderful different talks and one thing that I was 00:00:22.160 --> 00:00:25.916 reminded of. It's not that I learned it, but I was reminded of it. I am 00:00:25.949 --> 00:00:31.776 definitely not a scientist or a cartographer right. Um I'm I'm a graphic 00:00:31.809 --> 00:00:36.027 designer and graphic design historian and I stand in awe of all of the 00:00:36.060 --> 00:00:41.057 real cartographers and scientists out there and I hope that you will enjoy 00:00:41.090 --> 00:00:45.557 a little change of pace with me this morning as we get started because 00:00:45.590 --> 00:00:49.616 essentially I'm going to be telling you a story and there are lots and 00:00:49.649 --> 00:00:54.417 lots of pictures that we will be looking at as we tell this story as well. 00:00:54.450 --> 00:00:58.237 Um so once upon a time we're not going to talk about how many years ago 00:00:58.270 --> 00:01:02.457 because I got depressed when I counted them. Um I was a PhD student here 00:01:02.490 --> 00:01:06.816 at Arizona State and I was writing my dissertation about how professional 00:01:06.849 --> 00:01:11.266 graphic design and illustration practices had shaped popular cartography 00:01:11.299 --> 00:01:16.156 basically during the first half of the 20th century. And as I was doing 00:01:16.189 --> 00:01:19.906 this research, as you can see, I was kind of staying away from the Grand 00:01:19.939 --> 00:01:24.326 Canyon as much as possible because so many amazing scholars had already 00:01:24.359 --> 00:01:29.367 written so much about the Grand Canyon um that I was going to focus on 00:01:29.400 --> 00:01:33.376 other subjects instead. So I was looking at gold mines and spanish 00:01:33.409 --> 00:01:37.826 missions and the painted desert and um you get the idea if you want to 00:01:37.859 --> 00:01:44.647 read more about it. I wrote about it in the book. So anyhow really early 00:01:44.680 --> 00:01:51.066 in this process though, I discovered this image, this map. Um it's a 1935 00:01:51.099 --> 00:01:55.516 cartoon map of the state of Arizona. And it's by a commercial cartographic 00:01:55.549 --> 00:01:59.676 illustrator named Ruth Taylor. And the map has been published in a book 00:01:59.709 --> 00:02:03.926 called Our U. S. A. A. Gay geography. It was published by Little and Brown 00:02:03.959 --> 00:02:09.566 out of boston in 1935 and it was illustrated by Ruth and it was written by 00:02:09.599 --> 00:02:15.066 her brother frank and I just fell in love with it. Um I fell in love with 00:02:15.099 --> 00:02:19.906 the colors and with the stories and the way that every person in place was 00:02:19.939 --> 00:02:25.267 obviously so meticulously researched and yet at the same time so 00:02:25.300 --> 00:02:28.467 absolutely stereotypical. 00:02:28.500 --> 00:02:33.397 Um and in many ways we would now say um represented in a way that's 00:02:33.430 --> 00:02:37.606 culturally quite insensitive 00:02:37.639 --> 00:02:42.756 Yet at the same time I was just in awe of Ruth Taylor. Um and I found out 00:02:42.789 --> 00:02:46.626 a little bit more about her um discovered that she was a divorced woman 00:02:46.659 --> 00:02:52.066 who had a really successful um professional illustration practice in the 00:02:52.099 --> 00:02:58.807 1930s. You'll meet her again in a few minutes. Um So as it turned out, 00:02:58.840 --> 00:03:02.827 there were tons of cartoon maps of the Grand Canyon. And even though I 00:03:02.860 --> 00:03:06.867 wasn't starting out to write about them in my dissertation, I couldn't 00:03:06.900 --> 00:03:11.916 avoid them. Um So I ended up writing a little bit about them, but really 00:03:11.949 --> 00:03:16.196 putting together this talk has been a welcome opportunity to revisit some 00:03:16.229 --> 00:03:20.606 famous images and have an excuse to pull them all together and to focus on 00:03:20.639 --> 00:03:24.457 the Grand Canyon. Um even though nothing has changed, lots of other really 00:03:24.490 --> 00:03:29.027 famous people have said really intelligent things about the Grand Canyon, 00:03:29.060 --> 00:03:33.196 but I've enjoyed revisiting these maps um and thinking about the cultural 00:03:33.229 --> 00:03:38.626 context for these really, really specific images of the Grand Canyon. So 00:03:38.659 --> 00:03:43.397 why do they look the way they do um who made them and for what clients, 00:03:43.430 --> 00:03:48.406 for what audiences and then perhaps most importantly, what stories do 00:03:48.439 --> 00:03:52.837 these maps tell us about the Grand Canyon and what stories do they tell us 00:03:52.870 --> 00:03:57.767 about? The stories we like to tell ourselves about the Grand Canyon, um 00:03:57.800 --> 00:04:02.626 even today. So this is what we are going to be talking about this morning 00:04:02.659 --> 00:04:08.017 , cartoon maps of the Grand Canyon, their cultural context, the narratives 00:04:08.050 --> 00:04:12.277 that they communicate. Um I'm a teacher, I can't quite help myself. I 00:04:12.310 --> 00:04:18.327 decided I had to give you an outline of apologies, but this is where we're 00:04:18.360 --> 00:04:21.106 going today. 00:04:21.139 --> 00:04:25.346 So the first context, the first way of understanding these maps is to look 00:04:25.379 --> 00:04:29.717 at the visual formats that influenced them and their aesthetic, the way 00:04:29.750 --> 00:04:34.426 that they look. Um there's three really important aesthetic or visual 00:04:34.459 --> 00:04:40.796 contexts that are key to understanding cartoon maps as a visual genre and 00:04:40.829 --> 00:04:46.056 the first of these um as you probably have already guessed, um are the 00:04:46.089 --> 00:04:51.377 illustrated atlas images and we saw some of these yesterday. Um The 00:04:51.410 --> 00:04:55.647 illustrated atlas is a visual form with a really long cartographic history 00:04:55.680 --> 00:05:00.077 , but we're looking at three more recent examples that are really a lot 00:05:00.110 --> 00:05:05.106 closer to home for those of you who live here in Arizona or the southwest. 00:05:05.139 --> 00:05:09.257 And we have Clarence Dutton's 18 82 tertiary history of the Grand Canyon 00:05:09.290 --> 00:05:14.236 district, commissioned as you all know by the U. S. Geological Survey and 00:05:14.269 --> 00:05:18.656 illustrated by thomas Moran and William Henry Holmes. We're also seeing 00:05:18.689 --> 00:05:23.027 the Arizona plates from our buckles illustrated atlas of the United States 00:05:23.060 --> 00:05:27.906 of America and our buckles was a coffee company. Um and they commissioned 00:05:27.939 --> 00:05:34.707 these chroma lithographic or color printed images um as trade cards for 00:05:34.740 --> 00:05:37.656 inclusion in their coffee packaging. So they were sort of like the 00:05:37.689 --> 00:05:43.467 forerunner of our contemporary cereal box surprise fully in a way. Um they 00:05:43.500 --> 00:05:46.947 were designed to be collectible, you were supposed to want to keep them 00:05:46.980 --> 00:05:52.457 and possibly even hang them up as art in your home. Um and in 18 89 our 00:05:52.490 --> 00:05:56.906 buckles conveniently issued a commercially available atlas that included 00:05:56.939 --> 00:06:00.707 all of the maps and the set. And of course you can see how their 00:06:00.740 --> 00:06:06.846 surrounding Arizona with these really romanticized in a historical images 00:06:06.879 --> 00:06:13.517 of Indigenous residents of Arizona. And then finally we're seeing Antonio 00:06:13.550 --> 00:06:20.866 Garcia Cubas is 1887 geographical and statistical atlas of Mexico. Um kind 00:06:20.899 --> 00:06:25.236 of on the far right of your screen and you can see how the cartographic 00:06:25.269 --> 00:06:31.777 map is framed and surrounded. Bye more pictorial images. So formal or 00:06:31.810 --> 00:06:35.957 visual characteristics that I want you to notice before we move on from 00:06:35.990 --> 00:06:40.176 the illustrated atlas is um, they're combining cartographic maps and 00:06:40.209 --> 00:06:45.447 illustrations into a single image. Um, so it might be compartmentalized. 00:06:45.480 --> 00:06:49.726 They're also composed really holistically as images. They're designed 00:06:49.759 --> 00:06:54.397 very carefully. Um, the maps are often framed or surrounded by pictorial 00:06:54.430 --> 00:07:00.476 images. Um, and then both typography and lettering can play a really 00:07:00.509 --> 00:07:04.416 important role. So words and images are working together to craft this 00:07:04.449 --> 00:07:08.007 message and tell us a story. 00:07:08.040 --> 00:07:13.717 The second really important um formal influence for cartoon maps is of 00:07:13.750 --> 00:07:18.426 course the bird's eye view map. Um so the map maker most associated with 00:07:18.459 --> 00:07:23.337 Arizona is CJ dire and we're seeing his map of phoenix here. He was 00:07:23.370 --> 00:07:28.067 working throughout Arizona um in the 18 eighties and the early 18 nineties 00:07:28.100 --> 00:07:33.476 and this is his 18 85 ish map of phoenix. So bird's eye views were drawn 00:07:33.509 --> 00:07:39.166 primarily by itinerant map makers. They would travel around during the 00:07:39.199 --> 00:07:44.087 second half of the 19th century. Um, and they would make drawings for 00:07:44.120 --> 00:07:48.476 these maps from live observation. So CJ dire visited phoenix. He went to 00:07:48.509 --> 00:07:52.887 all of these places, he sketched them from live observation and then they 00:07:52.920 --> 00:07:58.147 would take all of these images back to a big city lithographer or printer 00:07:58.180 --> 00:08:02.937 have the map printed and finally, folks who had subscribed to the map 00:08:02.970 --> 00:08:07.786 while the map maker was in town would receive their finished map. Um, 00:08:07.819 --> 00:08:12.217 accuracy was a really important consideration in making and selling these 00:08:12.250 --> 00:08:16.317 maps. So they're actually pretty decent historical records and a lot of 00:08:16.350 --> 00:08:23.306 cases. Um, this 1862 news item from the Delphi times um sums it up really 00:08:23.339 --> 00:08:29.096 , really nicely. Um, so that article describes a map that will show the 00:08:29.129 --> 00:08:34.976 roads, streams, durable springs, mills, schoolhouses, etcetera. It will 00:08:35.009 --> 00:08:39.197 contain such statistical matter as well, make it useful to the citizens of 00:08:39.230 --> 00:08:45.106 the county and great care will be taken to ensure the accuracy of the math. 00:08:45.139 --> 00:08:50.157 So homes and businesses, um, gets depicted in really high detail. You can 00:08:50.190 --> 00:08:53.866 find yourself on the map. You can find important buildings that are 00:08:53.899 --> 00:08:58.797 numbered and labeled and the map is appealing because of civic pride and 00:08:58.830 --> 00:09:02.346 frankly because of personal vanity. So you can see things that you're 00:09:02.379 --> 00:09:06.307 familiar with that you really love possibly that belong to you. And so it 00:09:06.340 --> 00:09:11.236 was a profitable venture and a lot of cases. One last description from a 00:09:11.269 --> 00:09:17.057 period newspaper um, describes the process really nicely. A Ruger. An 00:09:17.090 --> 00:09:21.547 artist for the Chicago lithographic company has sketched a very pretty 00:09:21.580 --> 00:09:25.856 bird's eye view of Centralia showing all the streets and buildings. It is 00:09:25.889 --> 00:09:30.096 to be lithograph and printed in colors and will make a useful as well as a 00:09:30.129 --> 00:09:33.636 beautiful picture. Every citizen of Centralia should possess one for its 00:09:33.669 --> 00:09:37.687 beauty and use as a map of the city and also to encourage your work that 00:09:37.720 --> 00:09:43.226 will add to the already well earned character and fame of our growing city. 00:09:43.259 --> 00:09:46.817 So of course Centralia is so famous. I'm sure you've all been there and 00:09:46.850 --> 00:09:53.386 had lovely tourist experiences of the place um before we move on from the 00:09:53.419 --> 00:09:57.417 bird's eye view map, just pointing out a few formal characteristics that 00:09:57.450 --> 00:10:01.467 we're going to see again when we get to our cartoon maps. Um an Ortho 00:10:01.500 --> 00:10:05.266 graphic or three quarter aerial view, which is really popular with a lot 00:10:05.299 --> 00:10:10.506 of cartoon maps and almost all birds eye view maps because you can get 00:10:10.539 --> 00:10:14.907 both the landscape and the human characters in that landscape and a pretty 00:10:14.940 --> 00:10:19.516 high level of detail. Um, there's lots of labeling going on here. 00:10:19.549 --> 00:10:24.276 Buildings are named streets are named and there's this real emphasis on 00:10:24.309 --> 00:10:28.187 color and aesthetics. These are beautiful and useful. They're supposed to 00:10:28.220 --> 00:10:32.006 seduce you into buying them. 00:10:32.039 --> 00:10:35.307 And then of course we can't talk about cartoon maps without talking about 00:10:35.340 --> 00:10:40.837 cartoons. Um so Richard out called wildly successful yellow kid who you're 00:10:40.870 --> 00:10:44.266 seeing in the top left hand corner of your screen and he's called the 00:10:44.299 --> 00:10:48.207 Yellow kid because he's wearing a yellow nightshirt. It took me a while to 00:10:48.240 --> 00:10:50.886 figure that out. So I'll just share it with you. He's wearing a yellow 00:10:50.919 --> 00:10:56.327 nightshirt. Um, and this comic introduced a lot of the things that we 00:10:56.360 --> 00:11:02.827 think of as so typical of comics today for the first time. Um so all the 00:11:02.860 --> 00:11:07.026 staples, speech bubbles, sequential panels are recurring cast of 00:11:07.059 --> 00:11:11.626 characters. And we're also looking at some other really early examples of 00:11:11.659 --> 00:11:14.967 cartoon strips And again, the way that they look is going to be very 00:11:15.000 --> 00:11:20.317 familiar to you when we advance to the cartoon maps of Arizona. Um because 00:11:20.350 --> 00:11:26.616 the Kenton Jammer kids starting up in 1897, bringing up father, which got 00:11:26.649 --> 00:11:33.657 underway in 1913. Grace Drayton Dimples, which ran between 1914 and 1918. 00:11:33.690 --> 00:11:37.626 Grace Drayton is a lot more famous for the Campbell's Soup kids if you 00:11:37.659 --> 00:11:42.876 happen to know those. Um and then finally on the far right, we're looking 00:11:42.909 --> 00:11:47.096 at James Winterton kiddies of the Canyon country which ran in good 00:11:47.129 --> 00:11:53.146 housekeeping from 1922 to 1941. So it had a really long run and as you're 00:11:53.179 --> 00:11:59.407 going to see these um round and chubby and happy little cartoon characters 00:11:59.440 --> 00:12:04.307 are going to turn up again as well, speech bubbles. Um and a recurring 00:12:04.340 --> 00:12:09.246 cast of characters. So the characters themselves really tend to be types 00:12:09.279 --> 00:12:14.197 or tropes, they're familiar. They're stereotypical, they're cartoons. Um 00:12:14.230 --> 00:12:18.626 and though they're detailed, they aren't particularly specifically 00:12:18.659 --> 00:12:23.327 individualized. And again, um this is going to be familiar when we get to 00:12:23.360 --> 00:12:28.146 our cartoon maps of Arizona. So these three influences came together in 00:12:28.179 --> 00:12:33.396 America in the 1920s to form a popular new genre, the cartoon map. And 00:12:33.429 --> 00:12:37.207 there's this argument that the cartoon map was a British import, an 00:12:37.240 --> 00:12:42.636 American artists were first exposed to it through this image, which is by 00:12:42.669 --> 00:12:49.596 the British artist MacDonald Gill um from 1914 and that image was re 00:12:49.629 --> 00:12:55.297 printed on the front cover of a trade magazine in America in 1926. And 00:12:55.330 --> 00:12:58.707 there's again this theory that the cartoon map was imported into America 00:12:58.740 --> 00:13:04.776 at that time. However, this is an early American example of the form. Um 00:13:04.809 --> 00:13:11.106 it was drawn by Joe Squirrel in 1925 and published by the ST paul, great 00:13:11.139 --> 00:13:16.787 Northern Railway Company um a year earlier than Mcdonald's Gil's image was 00:13:16.820 --> 00:13:21.386 imported into America. So scarily may indeed have seen the gill image. I 00:13:21.419 --> 00:13:24.587 can't tell you that he didn't, but he definitely didn't see it for the 00:13:24.620 --> 00:13:29.287 first time when it was printed in America because his map here is earlier 00:13:29.320 --> 00:13:34.657 than that. So regardless of their origin story where they came from, what 00:13:34.690 --> 00:13:39.447 was influencing them. These cartoon maps were really, really warmly 00:13:39.480 --> 00:13:43.776 received by public audiences of all different kinds. Um, since they were 00:13:43.809 --> 00:13:48.116 both cartoons and maps, they were generally described as education and 00:13:48.149 --> 00:13:52.986 amusement rolled into one or much to see and much to learn or as the new 00:13:53.019 --> 00:13:57.096 york times put it when they described ruth tailors are us a quote. These 00:13:57.129 --> 00:14:01.516 maps convey a great deal of accurate information, Question mark um with 00:14:01.549 --> 00:14:05.807 the gusto of the funny papers. 00:14:05.840 --> 00:14:09.996 So those are the formal or visual sources for these cartoon maps of 00:14:10.029 --> 00:14:14.766 Arizona. Um but it's really important also to think about who made these 00:14:14.799 --> 00:14:19.266 images and cartoons maps of the Grand Canyon were drawn by a small group 00:14:19.299 --> 00:14:23.606 of cartographic illustrators. Some of them were local to Arizona or the 00:14:23.639 --> 00:14:28.037 southwest. Some of them were working on a national scale um and they 00:14:28.070 --> 00:14:31.876 brought their own style and their own set of priorities to the images that 00:14:31.909 --> 00:14:36.187 they were making. So it's important to get to know them just a little bit 00:14:36.220 --> 00:14:40.376 and I'm going to introduce you to a cast of characters and their maps, um 00:14:40.409 --> 00:14:44.037 some of which you might already be familiar with, but some of what you 00:14:44.070 --> 00:14:49.197 might be seeing for the first time. So Jo Mora of course you probably know 00:14:49.230 --> 00:14:53.817 his name perhaps um 1876-1947, 00:14:53.850 --> 00:14:57.386 attended art school and then established a commercial illustration 00:14:57.419 --> 00:15:02.167 practice in Boston as a young man. And then as an adult he relocated with 00:15:02.200 --> 00:15:06.116 his family to the southwest and he just fell in love with the landscape of 00:15:06.149 --> 00:15:10.506 the southwest. So as a painter and a sculptor and a cartographic 00:15:10.539 --> 00:15:14.976 illustrator, he had quite a successful career. He called his cartoon maps 00:15:15.009 --> 00:15:20.476 , Cartas, which is French for maps and most of his cartographic work was 00:15:20.509 --> 00:15:24.726 really centered here in the southwest. This is his 1931 Carter of the 00:15:24.759 --> 00:15:30.807 Grand Canyon with color added for a 1959 reprinting and his son joe Jr 00:15:30.840 --> 00:15:34.557 actually traveled around the southwest, drumming up subscriptions for 00:15:34.590 --> 00:15:41.567 these maps, just like the itinerant um cartographers of the previous 00:15:41.600 --> 00:15:46.526 century. So you can see how he was really inspired by for instance, 00:15:46.559 --> 00:15:50.996 something like the atlas of Mexico. Um he's framing this image, you can 00:15:51.029 --> 00:15:54.996 see a bit of that in the upper left hand corner, where he frames the more 00:15:55.029 --> 00:16:00.106 cartographic map of the Grand Canyon. The pictorial images, Ernest Doubly 00:16:00.139 --> 00:16:05.187 Chase was born in Lowell massachusetts. And so his, his Grand Canyon isn't 00:16:05.220 --> 00:16:11.437 quite as detailed or um Lovely in terms of all the stories that it's 00:16:11.470 --> 00:16:14.807 telling, but it's a beautiful map. You can see how he's really in love 00:16:14.840 --> 00:16:19.337 with this idea of labeling everything. A little bit like the Eric Gill 00:16:19.370 --> 00:16:25.177 image um that we saw earlier. This is his 1940 America, the Wonderland 00:16:25.210 --> 00:16:30.057 Pictorial Map of the United States, all of the maps that he made, no 00:16:30.090 --> 00:16:34.167 matter what the location have these really bountiful labels that we're 00:16:34.200 --> 00:16:37.797 looking at. And again, because this is a map of the United States were not 00:16:37.830 --> 00:16:41.996 tightly focused on the Grand Canyon. We're just getting kind of an aerial 00:16:42.029 --> 00:16:49.606 view of it as an iconic tourist destination. 00:16:49.639 --> 00:16:54.646 Another cartographer slash illustrator who really loved the Grand Canyon 00:16:54.679 --> 00:16:58.116 was Jolly 00:16:58.149 --> 00:17:03.506 Lindgren 1895-1952. And he was born Elmer um to his parents in Wisconsin 00:17:03.539 --> 00:17:07.187 and then his family moved to Spokane Washington later on where he and his 00:17:07.220 --> 00:17:11.556 brother Oscar established the lindgren Brothers decal printing company in 00:17:11.589 --> 00:17:16.276 1928 and they made these what they called hysterical maps. And so the 00:17:16.309 --> 00:17:20.667 point of was to tell jokes about the landscapes that they were depicting. 00:17:20.700 --> 00:17:25.697 Um these were quite famous in their day, Maybe some of you have some at 00:17:25.730 --> 00:17:32.576 home. Um They're really lovely. The land grants were also known for their 00:17:32.609 --> 00:17:37.226 souvenir decals of tourism destinations. So the stickers that you can buy 00:17:37.259 --> 00:17:41.157 and stick onto your stuff when you visit someplace like the Grand Canyon. 00:17:41.190 --> 00:17:45.326 Um they got in on that action very early in 1948 and they were very 00:17:45.359 --> 00:17:49.836 successful. So this is his 1940 hysterical map of Grand Canyon National 00:17:49.869 --> 00:17:53.687 Park. And as you can see he's really fond of speech bubbles. So he's 00:17:53.720 --> 00:17:58.276 taking that from the cartoons that he may have encountered um and 00:17:58.309 --> 00:18:02.607 newspaper strips drawing on that visual tradition. We're going to come 00:18:02.640 --> 00:18:06.097 back to all of these maps and talk about the stories that they tell. We're 00:18:06.130 --> 00:18:10.127 just speeding through them as we get to know their illustrators. So this 00:18:10.160 --> 00:18:12.996 is Catherine Cahill 00:18:13.029 --> 00:18:16.857 1884-1962. Um I've never been able to locate an image of Catherine Cahill 00:18:16.890 --> 00:18:20.816 , but this is an artist who she depicts on her map standing in for her. 00:18:20.849 --> 00:18:24.897 She studied in Los Angeles at the school of illustration and painting with 00:18:24.930 --> 00:18:30.256 William Cahill, whom she later married. Um and she mostly painted figures 00:18:30.289 --> 00:18:35.566 and landscapes. This is her only map. It's a 1933 map um called Arizona 00:18:35.599 --> 00:18:40.147 translated Little Springs and we're zoomed in on the canyon in the upper 00:18:40.180 --> 00:18:45.746 left hand corner of your screen. Her husband eventually moved to New York 00:18:45.779 --> 00:18:49.046 and she decided that Arizona was a better place to be. I'm not sure I can 00:18:49.079 --> 00:18:53.246 blame her. So she relocated to Phoenix. Um she lived with her family and 00:18:53.279 --> 00:18:57.476 globe before that. So she had some roots here in Arizona. Um had a solo 00:18:57.509 --> 00:19:01.447 show at the Phoenix Art Center in January 1941. and again, this is her 00:19:01.480 --> 00:19:06.857 only map. It was published in 19 33 and it predates anything done by 00:19:06.890 --> 00:19:11.427 George A. V for Arizona highways. Um we're going to meet him in two more 00:19:11.460 --> 00:19:14.506 slides except I'm sure you already know him and are familiar with his 00:19:14.539 --> 00:19:18.647 beautiful images. So possibly he had seen this and was kind of thinking 00:19:18.680 --> 00:19:24.107 about it as he got his pictorial cartography of Arizona underway. 00:19:24.140 --> 00:19:28.967 We can't skip our friend ruth taylor. Um She lived most of her life in san 00:19:29.000 --> 00:19:33.036 Francisco where she was a successful practicing commercial artist. She had 00:19:33.069 --> 00:19:36.847 attended stanford for a while as an english major, but then decided really 00:19:36.880 --> 00:19:41.617 she was an artist. Um she went to new york to study at the Institute of 00:19:41.650 --> 00:19:46.347 Art and Design. Um and she married Leonard White in 1919 and they moved to 00:19:46.380 --> 00:19:50.786 Phoenix. So she had some local roots here in Arizona as well. Um 00:19:50.819 --> 00:19:54.657 eventually she divorced Leonard and moved back to northern California 00:19:54.690 --> 00:19:58.707 where she continued to have an active career as a commercial illustrator. 00:19:58.740 --> 00:20:02.467 She called her maps cartographic, I really like that word, I think it 00:20:02.500 --> 00:20:06.556 works well. Um and she had significant success with them. Um but when I 00:20:06.589 --> 00:20:09.597 was finally able to visit the archives at stanford and look at her papers 00:20:09.630 --> 00:20:14.756 , evidently her brother frank reported that she got tired of doing maps 00:20:14.789 --> 00:20:17.726 all the time, which I found a little bit heartbreaking, but I was able to 00:20:17.759 --> 00:20:22.347 move on from that disappointment. Um here we're seeing a detail from her. 00:20:22.380 --> 00:20:26.687 Arizona map from our usa, which as you already know, was published in 00:20:26.720 --> 00:20:32.387 1935 and she's done her research right. Um She pictures a male weaver in 00:20:32.420 --> 00:20:36.657 Hopi land for instance, which is historically accurate, but at the same 00:20:36.690 --> 00:20:43.026 time, all of her characters are undeniably caricatures. Um so they're 00:20:43.059 --> 00:20:46.967 playing familiar roles in expected ways and there's a real tension between 00:20:47.000 --> 00:20:51.056 those caricatures and the obvious level of research that she poured into 00:20:51.089 --> 00:20:58.687 what she was doing. Um You know, George A B I would imagine. Um But this 00:20:58.720 --> 00:21:05.826 is his um map of Arizona 80 was the art director for Arizona Highways. His 00:21:05.859 --> 00:21:09.976 mother was an art teacher and he studied art in high school. Um He studied 00:21:10.009 --> 00:21:13.756 architecture at university for a while, but then had to return home as the 00:21:13.789 --> 00:21:19.826 great depression started to have a really deep economic impact By 1933, he 00:21:19.859 --> 00:21:24.207 was in the drafting office at the Arizona Highways Department and he moved 00:21:24.240 --> 00:21:28.246 from there to take on art direction for Arizona Highways, the magazine 00:21:28.279 --> 00:21:31.407 from 1938 to 1972. 00:21:31.440 --> 00:21:36.056 And so we're seeing here his 1942 map. Arizona welcomes you and 80s are 00:21:36.089 --> 00:21:40.016 probably the most famous cartoon maps of Arizona. I'm pretty sure most of 00:21:40.049 --> 00:21:44.937 you have seen this image or one very much like it before. Um there are 00:21:44.970 --> 00:21:48.637 definite parallels with Catherine Cahill's site specific narratives and 00:21:48.670 --> 00:21:52.046 with Ruth Taylor's visual style. All of these illustrators are 00:21:52.079 --> 00:21:55.506 participating in a broader visual culture that they're sharing with each 00:21:55.539 --> 00:22:00.276 other. And like artists always do, they're quoting each other. Um and I'm 00:22:00.309 --> 00:22:03.207 echoing one another. 00:22:03.240 --> 00:22:09.187 Done blood good, 18 96 to 1989 lived in Sedona from the 19 sixties inward 00:22:09.220 --> 00:22:13.897 and like Gilmore, he fell in love with the landscape of the southwest. He 00:22:13.930 --> 00:22:17.457 was a really active commercial cartographic illustrator with big name 00:22:17.490 --> 00:22:21.957 clients like Shell oil. Um we're looking here at his pick tour guide map 00:22:21.990 --> 00:22:27.736 of Arizona and like Ernest doubly Chase. He's really, really fond of these 00:22:27.769 --> 00:22:34.246 textual labels, um drawing on the tradition of bird's eye view maps and 00:22:34.279 --> 00:22:39.617 every so often he'll use a speech bubble as well often to tell a joke and 00:22:39.650 --> 00:22:46.056 then last but not least reg manning another Arizona native 1905 to 1986. 00:22:46.089 --> 00:22:50.006 It was a Pulitzer prize winning editorial cartoonist for the Arizona 00:22:50.039 --> 00:22:54.957 Republic where he hired on in 1926 and remained until the end of his 00:22:54.990 --> 00:22:57.986 career. His family moved to phoenix when he was a teenager and he took 00:22:58.019 --> 00:23:02.847 part in high school and this was his only formal artistic training. Um but 00:23:02.880 --> 00:23:08.117 in 1938 he wrote the cartoon guide to Arizona and it included this 00:23:08.150 --> 00:23:12.207 beautiful map that we're seeing in detail of here. He's indebted to 00:23:12.240 --> 00:23:15.467 cartoons for all of his speech bubbles and he makes really good use of 00:23:15.500 --> 00:23:20.707 these to tell lots of stories and jokes that are local to Arizona. 00:23:20.740 --> 00:23:23.976 So in addition to being influenced by visual forms and by the people who 00:23:24.009 --> 00:23:28.687 made them, these maps were also influenced by their corporate sponsors. Um 00:23:28.720 --> 00:23:31.486 We're going to start off with the National Park Service, which of course 00:23:31.519 --> 00:23:35.917 is not corporate, but we can't skip over the national park service because 00:23:35.950 --> 00:23:41.296 they commissioned so many amazing maps of the Grand Canyon um like other 00:23:41.329 --> 00:23:45.607 truly corporate interests, they did this to stimulate interest in tourism. 00:23:45.640 --> 00:23:49.526 Um so they played a large sponsorship role and a lot of national parks 00:23:49.559 --> 00:23:54.907 maps like the 1957 1 on the left are useful, right? They get us around and 00:23:54.940 --> 00:23:57.707 hopefully we don't have to have rangers come and fetch us because we got 00:23:57.740 --> 00:24:00.717 lost in the Grand Canyon, but some of them were commissioned to be 00:24:00.750 --> 00:24:05.367 decorative or collectible or just playing fun. Our good friend ruth taylor 00:24:05.400 --> 00:24:10.387 had some family connections with the National parks service. Her sister 00:24:10.420 --> 00:24:15.066 was married to an NPS official, Her brother frank did a lot of freelancing 00:24:15.099 --> 00:24:19.066 writing work with them. And she illustrated this book ranger, a book about 00:24:19.099 --> 00:24:22.707 the national parks, which of course features the Grand Canyon is one of 00:24:22.740 --> 00:24:30.740 the iconic sites that you need to visit when you come to America. Um, 00:24:30.839 --> 00:24:34.566 of course you can't escape fred harvey at the Grand Canyon. You knew I was 00:24:34.599 --> 00:24:38.486 going to talk about fred harvey, I'm sure his tourist services for the 00:24:38.519 --> 00:24:42.986 santa fe railway are famous. We're looking at a 1928 map of the indian 00:24:43.019 --> 00:24:48.427 detours on the right in the 1946 illustrated map of the Great Southwest on 00:24:48.460 --> 00:24:53.127 the left. We're going to come back to all of these maps when we talk about 00:24:53.160 --> 00:24:56.127 the stories that they're telling, so I'm not going to paul's and describe 00:24:56.160 --> 00:24:59.927 them in detail even though it's so tempting. Um, the Atchison Topeka and 00:24:59.960 --> 00:25:03.486 santa fe railway released illustrated maps as well that weren't 00:25:03.519 --> 00:25:07.597 necessarily connected to harvey at the very top level of their visual 00:25:07.630 --> 00:25:12.546 communication strategy. Um, the map on the left is from 1956 and when you 00:25:12.579 --> 00:25:16.256 read the small print, it encourages tourists to visit the Grand Canyon, 00:25:16.289 --> 00:25:21.637 quote the largest natural Cannon Canyon in the world. I'm not sure that's 00:25:21.670 --> 00:25:24.627 what I would say about the Grand Canyon if that's the only phrase I were 00:25:24.660 --> 00:25:29.187 using to describe it. It's, it's the biggest in the world. Um, but that's 00:25:29.220 --> 00:25:33.236 the first they used and then the 1950 map on the right emphasizes the 00:25:33.269 --> 00:25:37.437 quote enormous transportation system and tremendous network represented by 00:25:37.470 --> 00:25:42.187 santa fes lines. And this is a recurring theme for a lot of the corporate 00:25:42.220 --> 00:25:45.806 sponsors. You can get where you need to go. You can arrive at the Grand 00:25:45.839 --> 00:25:49.667 Canyon because of our amazing transit networks that we can build for you 00:25:49.700 --> 00:25:55.526 and our offering to you at a wonderful low price. Um so while the santa fe 00:25:55.559 --> 00:25:59.957 emphasized, the Grand Canyon is part of the southwest, the Union pacific 00:25:59.990 --> 00:26:05.516 included the canyon as part of a menu of Great Northwestern sites because 00:26:05.549 --> 00:26:10.786 of course, um they want you to stay at their tourist large lodgings which 00:26:10.819 --> 00:26:15.697 are on the north rim. Um, so the canyon is both the largest and the most 00:26:15.730 --> 00:26:22.026 southerly site available for Union pacific and they feature it on many of 00:26:22.059 --> 00:26:25.816 the maps that encourage you to travel throughout the west on the Union 00:26:25.849 --> 00:26:28.006 pacific 00:26:28.039 --> 00:26:33.147 Airlines in addition to just flying over Arizona in general, often 00:26:33.180 --> 00:26:37.937 sponsored cartoon maps to encourage tourism. So this is a 1945 map for 00:26:37.970 --> 00:26:42.236 American airlines and its emphasizing Americans routes of course, and 00:26:42.269 --> 00:26:45.536 shows how the route of the flagships connects you with other perhaps 00:26:45.569 --> 00:26:50.306 lesser carriers and their routes and it's really functional. It, it tells 00:26:50.339 --> 00:26:55.967 you where to go, it tells you time zone scale is marked, which is unusual 00:26:56.000 --> 00:27:00.927 for a cartoon math and we have a ranger at Grand Canyon National Park. Um 00:27:00.960 --> 00:27:04.086 , it's not really more important than any other sites on the map, but you 00:27:04.119 --> 00:27:11.907 can definitely get their traveling on americans flagships. 00:27:11.940 --> 00:27:17.316 This is Ruth Taylor White's 1939 map for United Airlines and it is a 00:27:17.349 --> 00:27:25.349 little bit more focused on um, the Grand Canyon as part of this larger um 00:27:26.220 --> 00:27:30.717 network of sites that you should absolutely see as you travel the United 00:27:30.750 --> 00:27:36.697 States as a tourist. This is a detail from a 1936 map drawn at Rand 00:27:36.730 --> 00:27:42.296 McNally for T. W. A. And it's clearly calling on with Taylor's language of 00:27:42.329 --> 00:27:46.367 gay geography here. I haven't been able to track down exactly who at Rand 00:27:46.400 --> 00:27:51.496 McNally illustrated this map. Um, but it's definitely cheerful with these 00:27:51.529 --> 00:27:55.276 chubby little cartoon characters and lots of labels and speech bubbles. 00:27:55.309 --> 00:28:00.607 It's calling on a lot of the formal features that we've already seen. 00:28:00.640 --> 00:28:05.246 You can get to the Grand Canyon by bus. Um, so this is greyhounds, good 00:28:05.279 --> 00:28:10.637 natured map of the colorful southwest from 1939 and its small print tells 00:28:10.670 --> 00:28:15.127 us Arizona holds much in store for you. You will not want to miss the side 00:28:15.160 --> 00:28:20.097 trip from Flagstaff to the Grand Canyon side trip to the Grand Canyon. It 00:28:20.130 --> 00:28:22.816 is impossible to convey in words the vastness, the beauty, the 00:28:22.849 --> 00:28:27.006 magnificence of this world famous wonder. 00:28:27.039 --> 00:28:32.197 Um, This is the National Trailways bus system map from 1949. It's a little 00:28:32.230 --> 00:28:36.756 bit unusual because it's not showing us any roads. Um, but occasionally we 00:28:36.789 --> 00:28:41.347 see a bus. So I guess we can travel by bus on roads to the Grand Canyon 00:28:41.380 --> 00:28:46.506 and emphasis here is really on human interaction with the site. So we're 00:28:46.539 --> 00:28:51.526 looking at all of these maps because they show us how these systems that 00:28:51.559 --> 00:28:55.707 were commissioning. The maps are part of larger networks stretching across 00:28:55.740 --> 00:28:59.826 the country encouraging americans to see America first. And if we think 00:28:59.859 --> 00:29:03.266 about our historical timeline, these maps are published in an era 00:29:03.299 --> 00:29:07.986 characterized by patriotism after World War One and then my thrift during 00:29:08.019 --> 00:29:11.556 the depression years. So you're not going to hop a jet to europe. Um, 00:29:11.589 --> 00:29:15.217 you're going to see America first and tour your own country as an 00:29:15.250 --> 00:29:19.407 expression of national pride and as a money saving strategy for a cheaper 00:29:19.440 --> 00:29:24.016 vacation because americans are practical. Right? So as the interstate and 00:29:24.049 --> 00:29:28.066 highway systems developed, an automobile ownership rose. Turning around in 00:29:28.099 --> 00:29:31.756 your own car. Was also encouraged those kind of towards the end of the 00:29:31.789 --> 00:29:35.107 period that we're looking at here. And oil companies of course 00:29:35.140 --> 00:29:39.687 commissioned maps, possibly you have some of these at home. My, my mom was 00:29:39.720 --> 00:29:43.417 telling me she had some when she was a kid and then she threw them all out 00:29:43.450 --> 00:29:47.786 when she was cleaning her room at some point. Mom, she has many other 00:29:47.819 --> 00:29:52.986 great qualities. Um, so the oil companies commissioned maps to boost 00:29:53.019 --> 00:29:57.326 travel to establish themselves as a household name. I found this one in a 00:29:57.359 --> 00:30:00.697 thrift shop. Um, my mom's great, she didn't ruin my life by throwing out 00:30:00.730 --> 00:30:05.197 her maps. Um, and it's, it's a pretty typical oil company map, right? It 00:30:05.230 --> 00:30:09.697 shows what we can see when we travel around at the Grand Canyon. Of course 00:30:09.730 --> 00:30:15.217 we see the canyon, we see surrounding narratives. Um, and that's what 00:30:15.250 --> 00:30:19.437 we're going to talk about with the rest of our time that I'm trying to 00:30:19.470 --> 00:30:25.566 keep track of closely here. Um, so these stories um frame the Grand Canyon 00:30:25.599 --> 00:30:29.357 for us and as it turns out the, the stories that they tell us about the 00:30:29.390 --> 00:30:33.496 Grand Canyon are pretty similar. So visually we've seen a wide variety of 00:30:33.529 --> 00:30:38.306 images. The narratives that they craft Horace. The stories that they tell 00:30:38.339 --> 00:30:43.197 are pretty consistent across all of these visually um diverse maps. And 00:30:43.230 --> 00:30:48.697 the first of these stories is easy access. So historically, of course, um 00:30:48.730 --> 00:30:55.006 you get to the rim by horse. Um These are santa fe, advertising images 00:30:55.039 --> 00:30:58.726 from earlier in the century, but by the time cartoon maps emerged in the 00:30:58.759 --> 00:31:03.326 twenties and the thirties, um transportation at the canyon is no longer 00:31:03.359 --> 00:31:07.326 horse drawn. The santa fe railway had opened its branch railroad line in 00:31:07.359 --> 00:31:12.647 1901. El Tovar opened in 1905. So by the time the cartoon maps come along 00:31:12.680 --> 00:31:16.627 , you jaunt over to the Grand Canyon by train or by bus on a network that 00:31:16.660 --> 00:31:22.066 spreads throughout Arizona and across the United States, travel to and 00:31:22.099 --> 00:31:25.826 through the canyon is now as we can see on the maps themselves, 00:31:25.859 --> 00:31:29.927 accomplished by train or bus or car, no matter where you are in America, 00:31:29.960 --> 00:31:33.276 you can hop a ride that takes you to the Grand Canyon. And once you're 00:31:33.309 --> 00:31:37.637 there, transportation networks are really clearly marked again. As you now 00:31:37.670 --> 00:31:40.857 know often because of corporate sponsorship. Right. The commissioner of 00:31:40.890 --> 00:31:45.167 the map has a lot to do with how transportation of the canyon is pictorial. 00:31:45.200 --> 00:31:48.407 Ized. 00:31:48.440 --> 00:31:55.256 Um, you're going to see some famous sights while you're there. You can 00:31:55.289 --> 00:31:59.316 take your own personal car, you can take an airplane ride over the Grand 00:31:59.349 --> 00:32:03.986 Canyon. Um, as with helicopter rides today, taking a biplane flight over 00:32:04.019 --> 00:32:07.066 the canyon on some of these maps is offered as a really great way to 00:32:07.099 --> 00:32:12.387 access views that are unreachable by wheeled vehicle or on foot. The Grand 00:32:12.420 --> 00:32:17.336 Canyon Airport opened to commercial flights in 1925. Um, as we can see on 00:32:17.369 --> 00:32:21.877 the blood goods map towards the right hand side of your screen. Um, and 00:32:21.910 --> 00:32:26.326 not all of these maps include flight as a transit option, but quite a lot 00:32:26.359 --> 00:32:30.226 of them do and they're definitely about access to the scenery once you're 00:32:30.259 --> 00:32:34.597 there at the Canyon. Um, for those of you who prefer to stay on the ground 00:32:34.630 --> 00:32:39.076 and not ride around on top of a biplane. No worries. Um, there's this 00:32:39.109 --> 00:32:43.306 really great. According to the maps network of roads within the park. The 00:32:43.339 --> 00:32:47.367 often show tourists enjoying the view from their car and the upper left 00:32:47.400 --> 00:32:51.776 hand corner. We're seeing hater and haters 1932 map that emphasizes the 00:32:51.809 --> 00:32:55.476 business of the Canyon and the crowds who flock there by depicting a 00:32:55.509 --> 00:32:59.217 traffic jam headed into the park. So this map was an illustration for a 00:32:59.250 --> 00:33:03.107 cartoon atlas of the United States, a little bit like ruth taylor's. Um, 00:33:03.140 --> 00:33:07.486 as you can probably imagine maps that were explicitly distributed often by 00:33:07.519 --> 00:33:11.627 transit companies to encourage tourism did not picture traffic jams. They 00:33:11.660 --> 00:33:16.157 just left that out of the narrative entirely. Once you're there, once 00:33:16.190 --> 00:33:19.516 you've escaped the traffic jam and you're tooling around with the Canyon, 00:33:19.549 --> 00:33:23.187 how should you organize your travels and what are you supposed to do while 00:33:23.220 --> 00:33:29.367 task number one is to enjoy the sublime views. John Wesley Powell had 00:33:29.400 --> 00:33:34.117 wrote, had written about this in his 1895 edition of Exploration of the 00:33:34.150 --> 00:33:37.957 Colorado River and its canyons. It's a famous quote, I'm sure you've heard 00:33:37.990 --> 00:33:41.467 it. The wonders of the Grand Canyon cannot be adequately represented in 00:33:41.500 --> 00:33:45.677 symbols of speech nor by speech itself. The resources of the graphic arts 00:33:45.710 --> 00:33:49.427 are taxed beyond their powers and attempting to portray its features. 00:33:49.460 --> 00:33:55.056 Language and illustration combined must fail. And yet it's the USgs that 00:33:55.089 --> 00:34:00.187 gives us what's probably the foundational image of white tourists enjoying 00:34:00.220 --> 00:34:04.296 the views at the Grand Canyon. Um, this is Clarence Dutton's panorama from 00:34:04.329 --> 00:34:09.606 point sublime published in 18 82 and I'm really hard pressed to think of a 00:34:09.639 --> 00:34:14.336 cartoon map that doesn't essentially quote this image to us just in a very 00:34:14.369 --> 00:34:17.907 different visual language. 00:34:17.940 --> 00:34:22.206 Tiny humans perch on the edge at the canyon right, and they look at the 00:34:22.239 --> 00:34:27.936 awesome views and they need to record their experience visually. Um so 00:34:27.969 --> 00:34:33.776 very, very early on in the Canyons life as a tourist destination. Railway 00:34:33.809 --> 00:34:38.597 adds situated the activity of looking in a commercial context. The canyon 00:34:38.630 --> 00:34:43.467 is a living piece of art on Union Pacific's Ad and the left um drinking it 00:34:43.500 --> 00:34:47.586 in as the primary activity that tourists are responsible for. And cartoon 00:34:47.619 --> 00:34:53.017 maps definitely adopt this visual language and they play on this familiar 00:34:53.050 --> 00:34:57.756 trope in most of the images that we're seeing. So a lot of the maps will 00:34:57.789 --> 00:35:02.617 picture as we're seeing here, tools for looking. We don't just look, we 00:35:02.650 --> 00:35:05.896 have special tools that help us to look at the Grand Canyon. Um We have 00:35:05.929 --> 00:35:11.037 cameras, we have easels, we have palette. These artists are using art as a 00:35:11.070 --> 00:35:15.577 lens to frame a really specific way of encountering the Grand Canyon. Um, 00:35:15.610 --> 00:35:19.637 so Don Bloodgood gives us photographers, jo mora shows us painters. 00:35:19.670 --> 00:35:23.847 Katharine. Cahill includes an observer with a telescope pointed at the 00:35:23.880 --> 00:35:30.066 canyon. We are not looking here. Um in the bottom left hand corner at her 00:35:30.099 --> 00:35:34.186 Lowell Observatory image. We're looking at her Grand Canyon image and the 00:35:34.219 --> 00:35:39.606 person here is using a telescope to zoom in. Um a lot of the maps show 00:35:39.639 --> 00:35:42.936 characters who are acting sort of like tour guides with their fellow 00:35:42.969 --> 00:35:48.997 tourists. Um This seems to be the case in the humble oil map on the top 00:35:49.030 --> 00:35:55.706 right, we're pointing out the beautiful views in the distance. 00:35:55.739 --> 00:36:00.867 Um other characters just stand around and kind of golf and wonder. Um So 00:36:00.900 --> 00:36:04.086 two of these maps, one by George, avian, one by bob Betley used the phrase 00:36:04.119 --> 00:36:07.606 golly what a goalie. Um That's not what I said the first time I saw the 00:36:07.639 --> 00:36:12.896 Grand Canyon, but the thought is probably similar. Right, wow! Um Even 00:36:12.929 --> 00:36:16.037 Ruth Taylor writes the Mule Deer. So if you look at the illustration in 00:36:16.070 --> 00:36:20.206 the bottom left hand corner, even the mule deer is gazing and wonder at 00:36:20.239 --> 00:36:26.146 the Canyon. Um and then the 1948 map on the top left signed Smith uses a 00:36:26.179 --> 00:36:30.427 speech bubble to emphasize again the smallness of humans and the grandness 00:36:30.460 --> 00:36:35.006 of the Grand Canyon. It's not as elegant as Dutton's panorama, but it 00:36:35.039 --> 00:36:40.467 really is expressing quite the same view. The message is the same, of 00:36:40.500 --> 00:36:44.387 course, how to look isn't the only story that we're being told by these 00:36:44.420 --> 00:36:49.166 maps. Yes, there's easy access to sublime views, but there's also this 00:36:49.199 --> 00:36:55.086 narrative of the untamed wilderness. So on the south rim mule trails 00:36:55.119 --> 00:36:59.646 dominate this untamed wilderness story. There are remote locations that 00:36:59.679 --> 00:37:03.626 are unreachable by car or other real vehicle and you have to access them 00:37:03.659 --> 00:37:08.787 by mule, so john hantz operated a hotel about 15 miles east of today's 00:37:08.820 --> 00:37:13.267 Grand Canyon village and he started advertising lodgings and mule rides in 00:37:13.300 --> 00:37:18.247 18 87. You know of course the Cold brothers in their souvenir photo studio 00:37:18.280 --> 00:37:22.666 at Bright Angel Trail. Um Taking snapshots of tourists on mule back, 00:37:22.699 --> 00:37:27.367 starting around 19 04. And then we have plucky tourists on all of these 00:37:27.400 --> 00:37:32.836 cartoon maps that are keeping this tradition alive for us. Um so we're 00:37:32.869 --> 00:37:37.197 seeing joe Maura, Don Bloodgood, reg manning, jolly lindgren and the 1930 00:37:37.230 --> 00:37:42.086 60 W A. Map here and all of them show tourists taking mule rides. 00:37:42.119 --> 00:37:46.747 Sometimes the trails are barely there and then like the jolly lindgren map 00:37:46.780 --> 00:37:49.447 in the bottom right hand corner of your screen. Sometimes they're really 00:37:49.480 --> 00:37:53.646 more like roads. I feel like even I can stay on a mule if we were riding 00:37:53.679 --> 00:37:56.697 on roads. 00:37:56.730 --> 00:38:01.736 Um at the north rim of course hunting camps represents this idea of wild 00:38:01.769 --> 00:38:06.117 spaces. So north rim tourists encounter wild animals and bed down in 00:38:06.150 --> 00:38:10.467 rustic lodgings, evidently they also get chased around by giant kaibab 00:38:10.500 --> 00:38:14.827 squirrels and angry buffalo. Um I, I got to just skip this experience when 00:38:14.860 --> 00:38:18.727 I went to the Grand Canyon as well. Not so sorry about that. And as in 00:38:18.760 --> 00:38:21.807 real life there are fewer visitors on the north room. It's a lot emptier, 00:38:21.840 --> 00:38:26.217 a lot more open. Um at least according to Don Bloodgood and Katharine 00:38:26.250 --> 00:38:31.267 cahill who we're looking at again here. Catherine cahill's angry buffalo 00:38:31.300 --> 00:38:35.717 really scares me every time I look at it very closely. Um and this leads 00:38:35.750 --> 00:38:41.867 us to the last Wilderness Trobe, which is that of empty space. So the 00:38:41.900 --> 00:38:46.256 enormity and the untouched beauty of the canyon is persistent Throughout 00:38:46.289 --> 00:38:49.586 all of these maps is a visual motif. And here we're seeing Catherine 00:38:49.619 --> 00:38:54.247 cahill, jolly lindgren fred harvey in the National Park Service, showing 00:38:54.280 --> 00:38:59.666 us that there are these vast swaths of untouched land, wild, completely 00:38:59.699 --> 00:39:05.456 void of human presence. But don't worry if a rustic hunting cabin isn't 00:39:05.489 --> 00:39:09.887 really your cup of tea, all of these maps also highlight the desirable 00:39:09.920 --> 00:39:13.947 amenities available at the Grand Canyon. So somehow empty wilderness and 00:39:13.980 --> 00:39:18.447 luxury hotels are not at all incompatible if you're not. When construction 00:39:18.480 --> 00:39:22.947 of Bright Angel Lodge was announced, for instance, a 1903 newspaper in 00:39:22.980 --> 00:39:27.907 Globe had a lot to say about that magnificent edifice that will be three 00:39:27.940 --> 00:39:35.186 stories high and will afford every modern convenience. 00:39:35.219 --> 00:39:39.106 So both the santa fe and the Union pacific railroads made sure that the 00:39:39.139 --> 00:39:43.606 cartoon map they commissioned. We're going to show us their luxury 00:39:43.639 --> 00:39:47.867 accommodations for the Union pacific emphasis, of course, was on the Grand 00:39:47.900 --> 00:39:52.717 Canyon Lodge on the North room, which had opened in 1928 burned down in 00:39:52.750 --> 00:39:57.756 1932 was rebuilt on the same site in 1937. And for the santa fe, of course 00:39:57.789 --> 00:40:03.506 , the iconic destination was Harvey's el Tovar on the south rim and we're 00:40:03.539 --> 00:40:07.927 seeing lots of details from joe moore's map of the Grand Canyon um which 00:40:07.960 --> 00:40:12.367 since moore was kind of an independent observer, shows both of these 00:40:12.400 --> 00:40:18.146 famous destinations without discriminating between the two of them. The 00:40:18.179 --> 00:40:22.057 famous hotels and deluxe cabins. The only kind of cabin I would like to 00:40:22.090 --> 00:40:26.867 stay in were featured on railway maps, like the to harvey maps um that are 00:40:26.900 --> 00:40:31.256 in this image, the blue one up top and then the Grand Canyon El Tovar 00:40:31.289 --> 00:40:36.017 detail below it. Um, but these same destinations made their way onto maps 00:40:36.050 --> 00:40:40.217 that weren't sponsored by the railways as well. So we're looking at 00:40:40.250 --> 00:40:44.876 details from other maps tailored Bloodgood that you've already seen and 00:40:44.909 --> 00:40:50.247 notice how all of these points out these famous hotels as tourist sites in 00:40:50.280 --> 00:40:54.316 and of themselves, tourists should see them because they are part of the 00:40:54.349 --> 00:40:58.927 experience of visiting the Grand Canyon, part of the experience of that 00:40:58.960 --> 00:41:04.217 place. So for harvey, you might even say that el Tovar really kind of 00:41:04.250 --> 00:41:08.456 equals the Grand Canyon typographic lee. That's certainly what's starting 00:41:08.489 --> 00:41:14.077 to happen here on this map. 00:41:14.110 --> 00:41:19.477 One of the most persistent stories that the maps tell is of course, that 00:41:19.510 --> 00:41:25.677 of the timeless, what they call natives. 00:41:25.710 --> 00:41:29.347 Um, so the indian detours map tells viewers that they will visit a land 00:41:29.380 --> 00:41:33.307 that is at once the last frontier and the home of an ageless antiquity. 00:41:33.340 --> 00:41:36.497 There's this idea that native americans will give presumably white 00:41:36.530 --> 00:41:42.756 tourist access to days gone by merely by their presence in the landscape. 00:41:42.789 --> 00:41:48.117 Um, and we have a historical indigenous neighbors on every side of the 00:41:48.150 --> 00:41:53.086 canyon landscape. Ruth taylor's 1929 card, A graph of the Grand Canyon 00:41:53.119 --> 00:41:56.396 populates the region with native american characters in traditional dress 00:41:56.429 --> 00:42:01.586 , um traditional architecture, craft and costume are always on display 00:42:01.619 --> 00:42:08.666 adjacent to the Grand Canyon. And then um the haters and Quinn in 1931 for 00:42:08.699 --> 00:42:12.367 their illustrated atlas is in the top right corner, make sure that we 00:42:12.400 --> 00:42:17.307 experience the landscape of the Canyon as an activity that's framed by and 00:42:17.340 --> 00:42:22.456 surrounded with indicators of authentic native American culture. This is a 00:42:22.489 --> 00:42:30.407 1927 Winslow Daily Mail newspaper item that's talking about a new curio 00:42:30.440 --> 00:42:35.986 store opened by Hopi chief joe Sakic or yellow feet. Um soon after the 00:42:36.019 --> 00:42:39.637 arrival of two truckloads of curios from the Hopi reservation, he would 00:42:39.670 --> 00:42:45.086 open his shop and he plans, says the newspaper to bring indian workers to 00:42:45.119 --> 00:42:49.206 his establishment there to do their native leaving and other works of art 00:42:49.239 --> 00:42:53.776 for the benefit of the visitors Later on, Hampton's also to produce indian 00:42:53.809 --> 00:43:00.117 dances and other tribal ceremonies. So this emphasis on authentic native 00:43:00.150 --> 00:43:03.967 residents is an established visual narrative. By the time the cartoon maps 00:43:04.000 --> 00:43:09.117 are introduced. Harvey of course had been marketing the idea of indians at 00:43:09.150 --> 00:43:13.637 the Grand Canyon for a really long time and indigenous culture is on 00:43:13.670 --> 00:43:18.137 display constantly throughout these maps, primarily as a way of providing 00:43:18.170 --> 00:43:22.807 um, and the images at least white tourists with access to native peoples 00:43:22.840 --> 00:43:28.137 and practices. So we have access to traditional craft visiting the Grand 00:43:28.170 --> 00:43:33.967 Canyon turns into a shopping trip as well as a way of learning about 00:43:34.000 --> 00:43:39.767 native american cultures, crafts are equivalent to souvenirs. Um and 00:43:39.800 --> 00:43:43.767 that's very apparent and a lot of the textual labels on a lot of these 00:43:43.800 --> 00:43:46.267 maps 00:43:46.300 --> 00:43:52.267 and then of course performance turns up on many, many of the maps as well 00:43:52.300 --> 00:43:56.287 more than simply being made. Traditional crafts are performed as we have 00:43:56.320 --> 00:44:00.887 seen by the people who make them. And then we can also see um indigenous 00:44:00.920 --> 00:44:04.697 americans performing identity through dance through song through 00:44:04.730 --> 00:44:08.847 culturally specific activities like weaving or pottery, even simply 00:44:08.880 --> 00:44:14.217 performing the idea of native America as an object of passive observation 00:44:14.250 --> 00:44:19.416 as in the smith image in the center here um just by standing there 00:44:19.449 --> 00:44:26.590 presumably for the white visitors to be able to gaze at their leisure. 00:44:27.289 --> 00:44:29.289 There's also this idea in the maps that native americans are living in the 00:44:30.690 --> 00:44:35.077 depths that their remote and unspoiled. Of course they are living there. 00:44:35.110 --> 00:44:38.106 Um the Havasupai are portrayed as simple farmers and keepers of 00:44:38.139 --> 00:44:43.836 traditional life ways on the maps. Um jolly lindgren reg manning, john 00:44:43.869 --> 00:44:50.666 Bloodgood Katharine cahill ruth taylor white all make um this trope 00:44:50.699 --> 00:44:57.977 apparent in their maps and Maura um shows us cliff dwellers. They feel a 00:44:58.010 --> 00:45:02.727 little bit more stone age than anything else in his cliff dwellers lament 00:45:02.760 --> 00:45:06.887 on the far right and it's complicated right? Because of course the 00:45:06.920 --> 00:45:11.267 Havasupai reservation is at the bottom of the Grand Canyon and the Hopi in 00:45:11.300 --> 00:45:14.977 the Navajo do have rich traditions of living in textile production and the 00:45:15.010 --> 00:45:18.526 Yavapai do have a strong and diverse heritage of dance and all of these 00:45:18.559 --> 00:45:23.146 things show up on the maps. Um so one of the complicated things about them 00:45:23.179 --> 00:45:26.077 is that they really are quite carefully researched in a lot of their 00:45:26.110 --> 00:45:30.356 details and they can be accurate in many ways, but at the same time, they 00:45:30.389 --> 00:45:34.287 can also really flatten these experiences and treat them in a very a 00:45:34.320 --> 00:45:37.967 historical way, removing them from specificity or from contemporary 00:45:38.000 --> 00:45:42.657 culture or even from a very specific historical moment in space and time. 00:45:42.690 --> 00:45:49.017 Um and simply having the past as kind of this endless, undifferentiated 00:45:49.050 --> 00:45:55.557 hazy um and yet beautifully illustrated moment. So one last example of 00:45:55.590 --> 00:46:00.597 course, is how um native americans keep watch in the cartoon maps often at 00:46:00.630 --> 00:46:06.706 desert view watchtower a. K. A. Indian watchtower. Um And a lot of the 00:46:06.739 --> 00:46:10.997 maps pick up on this motif probably you already know. The watch tower was 00:46:11.030 --> 00:46:15.836 designed by mary Colter, Finished in 1932, modeled on ancient pueblo 00:46:15.869 --> 00:46:23.447 peoples watchtowers, particularly the one at National Monument. 00:46:23.480 --> 00:46:27.336 I'm not sure that we really have time for our bonus story of not falling 00:46:27.369 --> 00:46:32.017 in. Um but we're not talking about suicide right? We're going to talk 00:46:32.050 --> 00:46:35.896 about that later. I want to talk about it, But this persistent motif of 00:46:35.929 --> 00:46:39.776 holding people back from the edge. Um I was kind of really surprised by 00:46:39.809 --> 00:46:43.376 this and I found it really, really funny as I went along. Um there's lots 00:46:43.409 --> 00:46:50.617 of holding back from the edge, not leaning too far, don't fall in. Um It 00:46:50.650 --> 00:46:54.787 takes me back to childhood tourism activities with my dad who was always 00:46:54.820 --> 00:46:58.497 afraid that one of us was going to fall over some ledge somewhere and a 00:46:58.530 --> 00:47:02.526 couple of inches was enough to spark anxiety. We never visited the Grand 00:47:02.559 --> 00:47:07.247 Canyon as a family. Um but when I did visit there, I had this moment of, 00:47:07.280 --> 00:47:11.256 oh gosh, I can't get too close to the edge. I will fall in. It really 00:47:11.289 --> 00:47:15.896 turns up on a lot of these maps, but of course the Canyon Kitties never 00:47:15.929 --> 00:47:20.436 fall in. It's really exhausting that all of the grown up white adults are 00:47:20.469 --> 00:47:24.186 about to just drop over the edge accidentally at any moment. But the 00:47:24.219 --> 00:47:28.197 Canyon kitties are up to all sorts of hijinks right on the edge and 00:47:28.230 --> 00:47:33.217 they're never scared and they never fall in. Um So as we wrap up, my 00:47:33.250 --> 00:47:38.177 question, looking at these maps is always why should we even care why 00:47:38.210 --> 00:47:42.436 bother. Um and my argument is that these maps have left us with a visual 00:47:42.469 --> 00:47:47.876 legacy. Right? Um so when we look at more contemporary maps, like The one 00:47:47.909 --> 00:47:53.436 on the left by boy dement from 1983. His touristed mileage map In 1991 map 00:47:53.469 --> 00:47:57.657 by Blaine Kaye Stevens on the top right, and then a vintage postcard 00:47:57.690 --> 00:48:02.336 reprint that you can still buy in gift shops. Um, we can see that we have 00:48:02.369 --> 00:48:07.497 inherited these visual vocabularies from the past and we keep on playing 00:48:07.530 --> 00:48:11.736 out these narratives and it might be time to pause and reflect and see if 00:48:11.769 --> 00:48:16.756 there are ways to broaden those narratives in any way, um, to be more 00:48:16.789 --> 00:48:21.606 inclusive or to ask ourselves difficult questions about contemporary 00:48:21.639 --> 00:48:26.057 issues of land use and resource management or tourism at the Grand Canyon. 00:48:26.090 --> 00:48:31.046 Um, not all of the persistent motifs are this serious. We can see on the 00:48:31.079 --> 00:48:34.986 left there, there's not a fence around the Grand Canyon to keep us from 00:48:35.019 --> 00:48:39.206 falling in, so it's safe to go there. You won't fall in. These visual 00:48:39.239 --> 00:48:47.017 tropes continue to persist. Um, you can find by be given maps that are 00:48:47.050 --> 00:48:50.936 still drawing on this visual language as you tour around Arizona, as I'm 00:48:50.969 --> 00:48:55.526 sure, you know, because you're in Arizona. Um, so you can pick up maps 00:48:55.559 --> 00:49:02.597 like these in many locations. Um, and this visual heritage continues to 00:49:02.630 --> 00:49:06.717 influence folks who are producing maps today. So explorer maps, we're 00:49:06.750 --> 00:49:10.026 looking at a detail of their beautiful map here, specifically draws 00:49:10.059 --> 00:49:13.787 attention to their images as hand drawn and historicism. They're not stock 00:49:13.820 --> 00:49:19.407 , they feel a little bit old timing and that's part of their appeal there. 00:49:19.440 --> 00:49:23.327 Clearly drawing on the formal visual language of the past that we've been 00:49:23.360 --> 00:49:27.157 looking at together and these maps are repeating the stories that we've 00:49:27.190 --> 00:49:30.927 been telling ourselves about the Grand Canyon since we first started 00:49:30.960 --> 00:49:35.227 touring it. Nostalgia can be a really powerful tool that prompts us to 00:49:35.260 --> 00:49:39.637 think fondly of the good old days, but I think we have to ask ourselves at 00:49:39.670 --> 00:49:44.347 some point exactly what we're nostalgic for. Are there parts of that story 00:49:44.380 --> 00:49:47.896 that we might need to reconsider or that we need to stop repeating as we 00:49:47.929 --> 00:49:51.597 move forward into the future? These are really big questions and I am not 00:49:51.630 --> 00:49:55.097 in any way suggesting that the cartoon maps we've seen today are going to 00:49:55.130 --> 00:50:00.146 answer them for us. Um those are complex questions and even more complex 00:50:00.179 --> 00:50:04.367 answers, but maybe these images can prompt us to start asking those 00:50:04.400 --> 00:50:08.006 questions. Um so thanks for hanging out with me and hearing this story 00:50:08.039 --> 00:50:11.907 about cartoon maps of the Grand Canyon. Um you can get in touch with me if 00:50:11.940 --> 00:50:19.940 you wanted to know more about any specific image. Thanks folks, thank 00:50:24.829 --> 00:50:29.916 you. Okay, so I did kind of a bad job of timing, but maybe we have time 00:50:29.949 --> 00:50:33.916 for questions. If anyone has them. Your bad job, I would say that's great 00:50:33.949 --> 00:50:38.046 job, that's ahead of schedule for the coordinator. That's great. So we 00:50:38.079 --> 00:50:41.537 have some time. Um that was a wonderful presentation. So if you guys have 00:50:41.570 --> 00:50:45.126 some questions, let's let's dive in 00:50:45.159 --> 00:50:48.046 or if you want to see a specific image again because I advanced too 00:50:48.079 --> 00:50:52.927 quickly for you to read it. Can you hear me 00:50:52.960 --> 00:50:58.396 specifically joe Morris um story is as a young artist. And this is a 00:50:58.429 --> 00:51:04.727 comment that I wonder if you, in your research knew that he painted and he 00:51:04.760 --> 00:51:10.977 lived among the Hopi and painted very detailed images of casino dancers. 00:51:11.010 --> 00:51:15.267 Not not cartoons but right. Yeah. 00:51:15.300 --> 00:51:19.836 Yeah. And they were um at some point too much detail. And they went into 00:51:19.869 --> 00:51:25.146 the archives at the Museum of Northern Arizona and elsewhere. And he made 00:51:25.179 --> 00:51:31.526 this transition in the 1920s to cartooning. And you mentioned his accurate 00:51:31.559 --> 00:51:35.736 portrayal, one of the things he and others portrayed with the snake dance 00:51:35.769 --> 00:51:40.157 which began to trivialize it to the point where the Hopis said no more 00:51:40.190 --> 00:51:45.666 visitors to the snake dance. And and I think um I saw you thought it was a 00:51:45.699 --> 00:51:52.867 Hopi male weaver. I double check that. Yeah. But it was also next to 00:51:52.900 --> 00:51:57.126 Navajo land. So I just love the detail and thank you so much. And it's 00:51:57.159 --> 00:52:01.916 yeah. Research process was just really really deep. So a lot of that came 00:52:01.949 --> 00:52:05.327 through in his maps. 00:52:05.360 --> 00:52:11.896 Hi Dory. It was wonderful. Um since this is sponsored by in part by the 00:52:11.929 --> 00:52:15.416 CSU library. I wanted to ask you, where did you find all of these 00:52:15.449 --> 00:52:19.396 wonderful images And when you talk a little bit about, you know the role 00:52:19.429 --> 00:52:25.617 of research libraries and archives and where you had to hunt to find these. 00:52:25.650 --> 00:52:30.546 So the the wonderful librarians at a. S. U. Both while I was writing my 00:52:30.579 --> 00:52:34.327 dissertation and while I was putting talk together very generously hooked 00:52:34.360 --> 00:52:38.477 me up with some wonderful high resolution scans of various items in the 00:52:38.510 --> 00:52:41.566 collection. And then the other thing that I would encourage for those of 00:52:41.599 --> 00:52:48.006 you who maybe want to look in more detail um is the David Rumsey are um S 00:52:48.039 --> 00:52:53.407 . E. Y. Map collection. Um Is that house at stanford now? Is that where it 00:52:53.440 --> 00:52:56.977 physically ended up? Yes so another university library but that one is 00:52:57.010 --> 00:53:00.956 open access online. They're all zoo mobile Youtube can go there and zoom 00:53:00.989 --> 00:53:07.416 in to look at the tiniest tiniest detail. And without librarians every 00:53:07.449 --> 00:53:11.977 time I go to a new city every time I move to a new university my first 00:53:12.010 --> 00:53:20.010 point of contact is my librarian because without them the work cannot 00:53:23.019 --> 00:53:28.416 um your distinction if there is any between cartoon maps and pictorials 00:53:28.449 --> 00:53:32.017 which you did not mention that term. 00:53:32.050 --> 00:53:35.436 That's a really tricky line to navigate. And I had a lot of philosophical 00:53:35.469 --> 00:53:39.017 arguments with myself as I put this presentation together and sort of 00:53:39.050 --> 00:53:42.626 decided to despair you all that that conversation I had with my cat about 00:53:42.659 --> 00:53:47.427 the difference between pictorial maps and cartoon maps. Um I tried to zoom 00:53:47.460 --> 00:53:51.666 in and concentrate on the ones that had you know speech bubbles labels, 00:53:51.699 --> 00:53:56.296 the rounded nous of cartoon characters. I think a lot of maps tread that 00:53:56.329 --> 00:54:01.816 really fine line. Um So I was trying to focus today on a very rough and 00:54:01.849 --> 00:54:07.606 non scholarly definition. That's basically maps that tell jokes, 00:54:07.639 --> 00:54:11.956 please don't quote me in print because that's not a very great scholarly 00:54:11.989 --> 00:54:15.706 definition, 00:54:15.739 --> 00:54:22.907 like. 00:54:22.940 --> 00:54:30.940 Mhm. 00:54:32.739 --> 00:54:40.739 Absolutely. Yeah, 00:54:41.940 --> 00:54:49.940 they do. 00:55:02.639 --> 00:55:07.787 So there are a lot of companies creating cartoon maps or pictorial maps in 00:55:07.820 --> 00:55:11.416 a contemporary context and they do the these tourist maps can be very very 00:55:11.449 --> 00:55:15.456 highly detailed, but unfortunately as you pointed out, so rightly a lot of 00:55:15.489 --> 00:55:19.287 times they're quoting the same narratives as their source material. So 00:55:19.320 --> 00:55:22.756 when I teach these maps, usually one of the first things we do is exactly 00:55:22.789 --> 00:55:27.006 what we did today. We pause to talk about what stories they are telling um 00:55:27.039 --> 00:55:32.217 what caricatures they are putting forward what tired old narratives 00:55:32.250 --> 00:55:37.077 they're asking us to still buy into. Um and and we approach them both in 00:55:37.110 --> 00:55:41.177 terms of appreciating them for their level of detail and research and then 00:55:41.210 --> 00:55:45.467 also to critique them for the stories that they continue to tell and to 00:55:45.500 --> 00:55:49.276 ask ourselves, you know, maybe in our classrooms there's the person who 00:55:49.309 --> 00:55:54.037 will be the next jo mora or the next ruth taylor. Um I live in hope at any 00:55:54.070 --> 00:56:02.070 rate. 00:56:02.929 --> 00:56:08.436 Uh Yeah, great presentation. Thanks again Dory. Um I noticed that on some 00:56:08.469 --> 00:56:13.026 of the maps there's a representation of what the surrounding landscape is 00:56:13.059 --> 00:56:20.097 for. And there was one map by a v I think was this last name maybe um 00:56:20.130 --> 00:56:28.130 which showed a lot of ranching, grazing, mining, hunting and if you can 00:56:28.969 --> 00:56:33.307 find it, there was a representation of a park ranger there and the park 00:56:33.340 --> 00:56:37.626 ranger had his arms folded and a stern look on his face. Don't come in 00:56:37.659 --> 00:56:41.597 here. He's policing that landscape 00:56:41.630 --> 00:56:48.447 contrast to the cartoon map you showed by manning. Which had that sort of 00:56:48.480 --> 00:56:55.597 super welcoming, friendly hand up in the air. Come on in park ranger. 00:56:55.630 --> 00:56:59.767 Yeah, none of the other ones had a park ranger like that. But yeah, all of 00:56:59.800 --> 00:57:03.787 the other rangers are really really cheerful fellows, but this one's a 00:57:03.820 --> 00:57:07.956 little bit scary. I I I noticed that and I didn't really know what to make 00:57:07.989 --> 00:57:12.706 of it. It was a little bit baffling. Um but maybe he's worried they were 00:57:12.739 --> 00:57:18.447 going to fall in. I don't know. Well I have, if you look at all the other 00:57:18.480 --> 00:57:23.756 people uh you know, there's an awful lot of resource users and there's a 00:57:23.789 --> 00:57:27.117 conflict, there's a long historical conflict between the resource 00:57:27.150 --> 00:57:30.436 industries and the people dependent on those resource industries and the 00:57:30.469 --> 00:57:34.517 park service which they think is locking up lands and keeping people out. 00:57:34.550 --> 00:57:38.287 And so that's what I see reflect. That's a really interesting observation 00:57:38.320 --> 00:57:42.057 and I will now go home and track down all sorts of other things that I 00:57:42.090 --> 00:57:47.427 could look at to think about that further. Yeah. 00:57:47.460 --> 00:57:55.137 One contemporary cartoon map producer is tom lamb okay, L. A. M. B. And 00:57:55.170 --> 00:58:01.026 he's done maps in basically the 2000s and contemporary so you can look 00:58:01.059 --> 00:58:07.967 them up. But um cataloged a map of the Los feliz area of Los Angeles and 00:58:08.000 --> 00:58:15.400 my colleague said, oh look there's my apartment. It even has the umbrellas. 00:58:16.329 --> 00:58:18.329 I will be headed back to my hotel room tonight. Silicon in as well. 00:58:26.130 --> 00:58:30.356 I didn't see anything by bob walled meyer. Did he do nothing of the Grand 00:58:30.389 --> 00:58:35.887 Canyon? He's the famous cartoon map maker that for Route 66. I have not 00:58:35.920 --> 00:58:43.920 found anything by walled Meyer yet. Um, but the search continues. Okay, 00:58:44.730 --> 00:58:49.900 thank you so much everybody. I had a great time. I hope you did too.