WEBVTT 00:00:00.000 --> 00:00:03.060 Welcome to the deep dive. If you're joining us 00:00:03.060 --> 00:00:05.400 today, you're probably the kind of person who, 00:00:05.459 --> 00:00:08.339 well, who loves to learn. Right, exactly. You 00:00:08.339 --> 00:00:11.300 want the substance without the fluff, and you 00:00:11.300 --> 00:00:13.539 genuinely enjoy having those little light bulb 00:00:13.539 --> 00:00:15.240 moments. We're really glad you're here. Yeah, 00:00:15.240 --> 00:00:17.339 we are. And we have a really fascinating mission 00:00:17.339 --> 00:00:20.120 for today's discussion. We are looking at a single 00:00:20.120 --> 00:00:22.679 Wikipedia article. Just one. Just one, yeah. 00:00:22.839 --> 00:00:25.300 A relatively short entry, actually, about a piece 00:00:25.300 --> 00:00:28.980 of artwork painted back in 1939. The painting 00:00:28.980 --> 00:00:31.730 is... titled One Third of a Nation by the American 00:00:31.730 --> 00:00:35.750 artist O. Louis Guglielmi. And our goal today 00:00:35.750 --> 00:00:40.329 is to extract the incredible layers of history, 00:00:40.530 --> 00:00:43.189 culture, and human experience embedded within 00:00:43.189 --> 00:00:45.890 this one specific piece of source material. Because 00:00:45.890 --> 00:00:48.030 it really does hold so much. It does. We're going 00:00:48.030 --> 00:00:49.770 to see how a single painting can essentially 00:00:49.770 --> 00:00:53.289 function as a mirror for an entire era. Okay, 00:00:53.369 --> 00:00:55.710 let's unpack this. Because to truly appreciate 00:00:55.710 --> 00:00:57.969 what this painting is doing, we have to understand 00:00:57.969 --> 00:01:00.950 the world it was born into. That's exactly right. 00:01:01.070 --> 00:01:03.869 And it's wonderful to be here exploring this 00:01:03.869 --> 00:01:06.569 with you. When we look at this painting, we aren't 00:01:06.569 --> 00:01:08.870 just looking at a static object on a wall. Right. 00:01:09.010 --> 00:01:11.769 We're looking at a literal snapshot of the Great 00:01:11.769 --> 00:01:15.390 Depression. The context here is absolutely vital. 00:01:15.750 --> 00:01:18.670 The late 1930s was a period where artists were 00:01:18.670 --> 00:01:22.840 doing, well, much more. than just creating aesthetically 00:01:22.840 --> 00:01:26.000 pleasing objects. They had a purpose. Exactly. 00:01:26.120 --> 00:01:29.120 They were actively documenting a severe nationwide 00:01:29.120 --> 00:01:32.659 decline in the quality of life. The source material 00:01:32.659 --> 00:01:35.159 we're working from makes it very clear that Guglielmi's 00:01:35.159 --> 00:01:38.000 work is filled with imagery detailing exactly 00:01:38.000 --> 00:01:41.180 that, the sheer difficulty of everyday existence 00:01:41.180 --> 00:01:43.859 during the Great Depression. Today's deep dive 00:01:43.859 --> 00:01:46.260 is really about understanding how a single image, 00:01:46.459 --> 00:01:49.840 crafted in 1939, can completely encapsulate the 00:01:49.840 --> 00:01:52.519 complex, deeply rooted struggles of an entire 00:01:52.519 --> 00:01:55.599 generation. It's about how art serves as a primary 00:01:55.599 --> 00:01:57.900 historical record, sometimes capturing things 00:01:57.900 --> 00:01:59.980 that pure data simply can't. I really appreciate 00:01:59.980 --> 00:02:01.739 that framing. Let's start with the physical reality 00:02:01.739 --> 00:02:04.019 of the object itself because, you know, the physical 00:02:04.019 --> 00:02:05.859 details give us a baseline. They do. According 00:02:05.859 --> 00:02:08.139 to our source, one -third of a nation measures 00:02:08.139 --> 00:02:11.860 30 by 24 inches. Right. So for those of you visualizing 00:02:11.860 --> 00:02:15.919 this, that's exactly 76 .2 centimeters by 61 00:02:15.919 --> 00:02:19.139 centimeters. It's basically the size of a medium 00:02:19.139 --> 00:02:21.000 -sized framed picture you might have hanging 00:02:21.000 --> 00:02:23.129 in your living room. Quite modest. And it was 00:02:23.129 --> 00:02:26.469 created using oil and tempera on wood. Today, 00:02:26.610 --> 00:02:28.810 this piece resides in the Metropolitan Museum 00:02:28.810 --> 00:02:31.050 of Art in New York City. Actually, if you look 00:02:31.050 --> 00:02:36.330 it up, the accession number is 43 .47 .0. When 00:02:36.330 --> 00:02:39.330 you think about it, a 30 by 24 inch piece of 00:02:39.330 --> 00:02:42.909 wood is relatively small, yet it holds massive 00:02:42.909 --> 00:02:45.210 historical weight, enough to secure a permanent 00:02:45.210 --> 00:02:47.830 place in a world -renowned institution like the 00:02:47.830 --> 00:02:49.789 Met. What's fascinating here is the specific 00:02:49.789 --> 00:02:52.550 choice of medium the artist used. The source 00:02:52.550 --> 00:02:54.909 notes that it's oil and tempera on wood. Right, 00:02:55.050 --> 00:02:57.050 tempera. Yeah. If you aren't familiar with tempera, 00:02:57.050 --> 00:02:58.669 it's essentially a mix of pigment and a water 00:02:58.669 --> 00:03:01.590 -soluble binder, usually egg yolk. It dries incredibly 00:03:01.590 --> 00:03:04.710 fast and leaves a very matte, stark finish. It's 00:03:04.710 --> 00:03:07.830 not like oil on canvas. Not at all. It doesn't 00:03:07.830 --> 00:03:10.389 allow for the soft, endlessly blendable edges 00:03:10.389 --> 00:03:13.370 you get with pure oil paint on a flexible canvas. 00:03:13.650 --> 00:03:16.629 So when you combine that fast -drying stark tempera 00:03:16.629 --> 00:03:19.490 with a rigid, uncompromising wooden board... 00:03:19.490 --> 00:03:21.169 You get something totally different. Exactly. 00:03:21.169 --> 00:03:24.110 You get a physical object that structurally mirrors 00:03:24.110 --> 00:03:27.469 the gritty reality of the 1930s. The artists 00:03:27.469 --> 00:03:29.849 didn't choose a delicate canvas to capture this 00:03:29.849 --> 00:03:33.509 subject. They chose a hard, flat piece of wood. 00:03:34.089 --> 00:03:36.689 It's a deliberate alignment of the medium with 00:03:36.689 --> 00:03:38.250 the subject matter. That makes a lot of sense. 00:03:38.310 --> 00:03:40.729 The harshness of the era is literally baked into 00:03:40.729 --> 00:03:43.349 the materials he's using. It is. And that harshness 00:03:43.349 --> 00:03:45.509 is immediately obvious the second you look at 00:03:45.509 --> 00:03:47.909 what's actually depicted on that board. Our source 00:03:47.909 --> 00:03:50.310 text gives us a very clear visual description. 00:03:50.550 --> 00:03:53.090 It does. The painting portrays an impoverished 00:03:53.090 --> 00:03:56.349 apartment block. The buildings we see are distinctly 00:03:56.349 --> 00:03:58.569 run down and they sit on a completely deserted 00:03:58.569 --> 00:04:01.590 street. But here's where it gets really interesting. 00:04:01.770 --> 00:04:03.830 Yeah, this is the turning point. The source explicitly 00:04:03.830 --> 00:04:06.650 mentions that there are coffin -like shapes strewn 00:04:06.650 --> 00:04:09.110 in the deserted street. Just take a second to 00:04:09.110 --> 00:04:11.550 visualize that. It's a jarring image. It really 00:04:11.550 --> 00:04:13.849 is. You're looking at a painting of a residential 00:04:13.849 --> 00:04:16.009 neighborhood, a place where people are supposed 00:04:16.009 --> 00:04:18.730 to live and gather. And instead of people, you 00:04:18.730 --> 00:04:21.110 have these coffin shapes scattered across an 00:04:21.110 --> 00:04:24.220 empty road. Yes. And the inclusion of those shapes 00:04:24.220 --> 00:04:26.680 is where the painting shifts from mere architectural 00:04:26.680 --> 00:04:29.920 documentation to profound social commentary. 00:04:30.000 --> 00:04:33.360 Right. The source text actually categorizes this 00:04:33.360 --> 00:04:36.800 artwork under a very specific academic heading, 00:04:37.060 --> 00:04:42.089 death in art. Wow. That categorization is carceral 00:04:42.089 --> 00:04:44.310 for you to understand why this painting matters 00:04:44.310 --> 00:04:47.490 so much to historians. Guglielmo isn't just showing 00:04:47.490 --> 00:04:49.930 us that people are poor. He isn't just painting 00:04:49.930 --> 00:04:51.949 run -down tenements to show a struggling economy. 00:04:52.370 --> 00:04:55.079 He's going further. Much further. He's heavily 00:04:55.079 --> 00:04:57.560 utilizing surrealist symbolism to make a much 00:04:57.560 --> 00:05:00.600 sharper point. By placing literal coffin -like 00:05:00.600 --> 00:05:03.160 shapes in the middle of the street, he's visually 00:05:03.160 --> 00:05:06.060 equating the extreme poverty and the deteriorating 00:05:06.060 --> 00:05:08.100 quality of life during the Great Depression with 00:05:08.100 --> 00:05:11.199 death itself. He's telling the viewer that this 00:05:11.199 --> 00:05:13.740 level of societal neglect is quite literally 00:05:13.740 --> 00:05:16.360 a moral threat. It strips away the cold economic 00:05:16.360 --> 00:05:19.149 data of the Depression. Google Yomi isn't giving 00:05:19.149 --> 00:05:21.730 us a chart of unemployment rates or GDP decline. 00:05:22.009 --> 00:05:24.649 He's giving us a street littered with coffins. 00:05:24.949 --> 00:05:27.870 It forces the viewer to confront the human toll 00:05:27.870 --> 00:05:30.589 directly. It's impossible to ignore. When you 00:05:30.589 --> 00:05:33.170 just hear a phrase like economic downturn, it 00:05:33.170 --> 00:05:36.550 can sound so distant and academic. But this image 00:05:36.550 --> 00:05:39.670 bridges that gap. It ensures that you, the viewer, 00:05:39.810 --> 00:05:43.529 looking at it decades later, can grasp the emotional 00:05:43.529 --> 00:05:46.350 and existential reality of that era without getting 00:05:46.350 --> 00:05:49.079 bogged down in the jargon. It's a very visceral 00:05:49.079 --> 00:05:51.800 way to communicate despair. It really is. And 00:05:51.800 --> 00:05:54.240 that visceral feeling of despair wasn't just 00:05:54.240 --> 00:05:56.279 isolated to visual artists in their studios. 00:05:56.459 --> 00:05:59.120 It was permeating the entire American culture 00:05:59.120 --> 00:06:01.500 at the time, which brings us to the most fascinating 00:06:01.500 --> 00:06:04.399 connection in our source material. Exactly. And 00:06:04.399 --> 00:06:06.519 that brings us to the title of the piece itself, 00:06:07.220 --> 00:06:10.019 One Third of a Nation. So what does this all 00:06:10.019 --> 00:06:11.839 mean? Yeah, where does it come from? Where does 00:06:11.839 --> 00:06:14.829 that specific phrase come from? Our source reveals 00:06:14.829 --> 00:06:17.430 something incredible. Guglielmi didn't just invent 00:06:17.430 --> 00:06:19.990 this title out of thin air to sound poetic. That 00:06:19.990 --> 00:06:21.990 title was already echoing across the country. 00:06:22.189 --> 00:06:24.629 It was everywhere. According to the text, the 00:06:24.629 --> 00:06:27.129 painting shares its title with two other major 00:06:27.129 --> 00:06:29.810 cultural touchstones of that exact same era. 00:06:30.529 --> 00:06:34.209 First, there was a 1938 play literally called 00:06:34.209 --> 00:06:37.370 One Third of a Nation, which was specifically 00:06:37.370 --> 00:06:39.689 intended to draw attention to poor Americans 00:06:39.689 --> 00:06:41.810 during the Great Depression. Right. And second, 00:06:42.240 --> 00:06:44.680 That phrase was prominently used in President 00:06:44.680 --> 00:06:47.079 Franklin D. Roosevelt's inaugural address at 00:06:47.079 --> 00:06:50.600 the start of his second term in 1937. If we connect 00:06:50.600 --> 00:06:52.879 this to the bigger picture, the sheer scale of 00:06:52.879 --> 00:06:55.819 this cross -pollination is staggering. Think 00:06:55.819 --> 00:06:57.740 about the different spheres of society involved 00:06:57.740 --> 00:07:00.480 here. It's huge. You have the political leadership 00:07:00.480 --> 00:07:02.740 of the country, represented by the president's 00:07:02.740 --> 00:07:05.500 inaugural address, where FDR famously stated, 00:07:05.699 --> 00:07:08.579 I see one -third of a nation ill -housed, ill 00:07:08.579 --> 00:07:10.779 -clad, ill -nourished. You have the performing 00:07:10.779 --> 00:07:14.389 arts. represented by the 1938 theatrical play, 00:07:14.490 --> 00:07:16.170 which was part of the Federal Theater Project. 00:07:16.449 --> 00:07:18.569 And then you have the visual arts, represented 00:07:18.569 --> 00:07:22.029 by Guglielmi's 1939 painting. Three totally different 00:07:22.029 --> 00:07:24.889 worlds. All three completely distinct disciplines, 00:07:25.089 --> 00:07:28.410 all converging on the exact same phrase within 00:07:28.410 --> 00:07:32.470 a two -year window. This phrase became a multidisciplinary 00:07:32.470 --> 00:07:36.730 rallying cry. It was a concerted, society -wide 00:07:36.730 --> 00:07:39.889 effort to force the country to stop looking away 00:07:39.889 --> 00:07:42.470 and to look directly at the plight of the poor. 00:07:42.649 --> 00:07:44.910 It's the 1930s equivalent of something going 00:07:44.910 --> 00:07:47.910 viral. That's a great way to put it. The president 00:07:47.910 --> 00:07:50.370 drops the quote in a major speech and suddenly 00:07:50.370 --> 00:07:53.089 it's trending in Broadway theaters and art galleries. 00:07:53.839 --> 00:07:55.620 And just to be completely clear for everyone 00:07:55.620 --> 00:07:58.319 listening, we're looking at this purely through 00:07:58.319 --> 00:08:00.720 the lens of historical fact. Right. Absolutely. 00:08:00.959 --> 00:08:03.040 We aren't here to endorse the political messaging 00:08:03.040 --> 00:08:05.699 or take a side on the policies of the 1930s. 00:08:05.779 --> 00:08:08.060 Whether left -leaning or right -leaning, we aren't 00:08:08.060 --> 00:08:10.220 picking a side. No, we're just analyzing the 00:08:10.220 --> 00:08:12.759 history. What we're doing is observing this fascinating 00:08:12.759 --> 00:08:15.420 historical phenomenon where the highest office 00:08:15.420 --> 00:08:17.300 in the country and the working artists of the 00:08:17.300 --> 00:08:20.319 era were utilizing the exact same rhetoric to 00:08:20.319 --> 00:08:22.600 describe the crisis they were witnessing. It's 00:08:22.600 --> 00:08:24.560 an incredible moment of cultural synchronization. 00:08:24.740 --> 00:08:27.620 You have the speech in 37, the play in 38, the 00:08:27.620 --> 00:08:31.139 painting in Saline. You're watching an idea ripple 00:08:31.139 --> 00:08:34.080 through the American consciousness in real time. 00:08:34.179 --> 00:08:36.679 The ripple effect. That's a perfect way to describe 00:08:36.679 --> 00:08:39.220 it. The phrase starts as political rhetoric, 00:08:39.440 --> 00:08:42.399 transforms into a dramatized narrative on stage 00:08:42.399 --> 00:08:45.840 to build public awareness, and finally distills 00:08:45.840 --> 00:08:49.879 down into a singular, haunting visual image on 00:08:49.879 --> 00:08:53.019 a piece of wood. It's powerful. And that distillation 00:08:53.019 --> 00:08:55.440 is precisely why this artwork is still studied 00:08:55.440 --> 00:08:58.039 today. It acts as an anchor point for historians 00:08:58.039 --> 00:09:00.620 trying to understand the mindset of the 1930s. 00:09:00.940 --> 00:09:03.159 Which leads us to the academic references cited 00:09:03.159 --> 00:09:05.559 in our source text. Right, the scholarly work. 00:09:05.779 --> 00:09:07.779 The Wikipedia article specifically points to 00:09:07.779 --> 00:09:09.720 a couple of scholarly works that analyze this 00:09:09.720 --> 00:09:13.019 painting. One is by Doris E. Brown, titled Art 00:09:13.019 --> 00:09:15.679 Canvas's 30s Lifestyle. Okay. The other is a 00:09:15.679 --> 00:09:18.960 book by Erica Doss titled Looking at Labor, Images 00:09:18.960 --> 00:09:21.440 of Work in 1930s American Art. Okay, this is 00:09:21.440 --> 00:09:23.139 the part that really gave me pause when I was 00:09:23.139 --> 00:09:24.759 reviewing the notes. We just spent all this time 00:09:24.759 --> 00:09:26.779 talking about how this painting shows a completely 00:09:26.779 --> 00:09:29.549 deserted street. We talked about the rundown 00:09:29.549 --> 00:09:32.129 tenement buildings and the surreal coffin -like 00:09:32.129 --> 00:09:34.330 shapes. We even talked about it being explicitly 00:09:34.330 --> 00:09:37.090 categorized under death and art. Exactly. And 00:09:37.090 --> 00:09:39.509 yet it's being heavily studied by scholars in 00:09:39.509 --> 00:09:43.409 the context of images of work and 1930s lifestyle. 00:09:43.950 --> 00:09:47.230 At first glance, that feels like a massive contradiction. 00:09:47.909 --> 00:09:49.870 This raises an important question, doesn't it? 00:09:49.929 --> 00:09:52.470 It really does. I encourage you to really think 00:09:52.470 --> 00:09:54.850 critically about this for a moment. If a painting 00:09:54.850 --> 00:09:58.289 is defined by absolute emptiness, by a deserted 00:09:58.289 --> 00:10:01.629 street, and by the stark imagery of death. Why 00:10:01.629 --> 00:10:04.070 is it about work? Right. Why on earth is it being 00:10:04.070 --> 00:10:06.950 analyzed in an academic paper about looking at 00:10:06.950 --> 00:10:09.919 labor? The answer lies in the profound, tragic 00:10:09.919 --> 00:10:12.720 irony of the era. During the Great Depression, 00:10:12.820 --> 00:10:14.919 for millions of people, the defining feature 00:10:14.919 --> 00:10:17.600 of labor was the stark, devastating absence of 00:10:17.600 --> 00:10:20.539 it. Work wasn't designed by the physical actions 00:10:20.539 --> 00:10:22.460 you were performing in a factory or an office. 00:10:22.679 --> 00:10:25.659 It was defined by not having any. Exactly. It 00:10:25.659 --> 00:10:27.379 was defined by the fact that there was simply 00:10:27.379 --> 00:10:31.120 no work to be had. Therefore, an image of an 00:10:31.120 --> 00:10:34.690 empty street. An image of absolute economic paralysis 00:10:34.690 --> 00:10:38.750 becomes the most accurate possible image of labor 00:10:38.750 --> 00:10:41.330 for that specific moment in time. That's a fascinating 00:10:41.330 --> 00:10:44.370 irony. By categorizing an empty street under 00:10:44.370 --> 00:10:46.889 labor, these academics are highlighting that 00:10:46.889 --> 00:10:49.289 the lack of work was actually the defining full 00:10:49.289 --> 00:10:51.870 -time reality for millions of people. It was 00:10:51.870 --> 00:10:54.470 their entire focus. It completely recontextualizes 00:10:54.470 --> 00:10:56.610 what the word labor even means in this historical 00:10:56.610 --> 00:10:59.309 context. You don't paint a guy swearing a hammer 00:10:59.309 --> 00:11:02.190 to show 1930s labor. You paint a street where 00:11:02.190 --> 00:11:03.990 no one is swinging a hammer. That's beautifully 00:11:03.990 --> 00:11:06.009 put. And it's the exact same thing with the other 00:11:06.009 --> 00:11:09.659 paper, Art Canvas's 30s Lifestyle. The lifestyle 00:11:09.659 --> 00:11:12.179 wasn't about consumerism or how people decorated 00:11:12.179 --> 00:11:15.000 their homes. The lifestyle was survival in the 00:11:15.000 --> 00:11:18.360 face of absolute scarcity. Precisely. It requires 00:11:18.360 --> 00:11:20.720 a complete shift in perspective. Knowledge is 00:11:20.720 --> 00:11:23.700 most valuable when we can synthesize these seemingly 00:11:23.700 --> 00:11:26.340 contradictory pieces of information and apply 00:11:26.340 --> 00:11:28.580 them to a broader understanding of history. When 00:11:28.580 --> 00:11:31.309 we look at Guglielmi's painting, We aren't just 00:11:31.309 --> 00:11:33.490 looking at a representation of a dilapidated 00:11:33.490 --> 00:11:36.289 building. We're looking at a deeply complex intersection 00:11:36.289 --> 00:11:39.870 of economics, politics, theater, and visual art. 00:11:40.029 --> 00:11:42.490 It's all connected. The academic framing demands 00:11:42.490 --> 00:11:44.970 that we question our assumptions about how society 00:11:44.970 --> 00:11:48.389 documents its own failures and struggles. It 00:11:48.389 --> 00:11:50.669 asks us to look closely at the language we use, 00:11:50.769 --> 00:11:52.929 whether it's a spoken phrase like one -third 00:11:52.929 --> 00:11:56.250 of a nation or a visual phrase like coffins on 00:11:56.250 --> 00:11:59.389 an empty street, and recognize the profound weight 00:11:59.389 --> 00:12:02.309 those expressions carry. It's heavy stuff. The 00:12:02.309 --> 00:12:04.850 painting becomes a masterclass in how the absence 00:12:04.850 --> 00:12:08.590 of people, the absence of work, the absence of 00:12:08.590 --> 00:12:11.330 vitality can be the most powerful presence in 00:12:11.330 --> 00:12:13.570 a piece of art. It's amazing how much you can 00:12:13.570 --> 00:12:15.789 pull from what initially seems like a straightforward 00:12:15.789 --> 00:12:18.529 image. Truly. The deserted street isn't just 00:12:18.529 --> 00:12:21.009 an architectural choice. It's a devastating labor 00:12:21.009 --> 00:12:24.730 statistic rendered in oil and tempera. The rundown 00:12:24.730 --> 00:12:27.289 buildings are the literal lifestyle. It completely 00:12:27.289 --> 00:12:29.350 flips the way you might traditionally think about 00:12:29.350 --> 00:12:31.649 those words. It does. And I think it's time to 00:12:31.649 --> 00:12:34.210 take a step back and really appreciate the journey 00:12:34.210 --> 00:12:36.950 we've just been on together. We started with 00:12:36.950 --> 00:12:40.269 a few basic facts from a source text. A 30 by 00:12:40.269 --> 00:12:43.970 24 inch piece of wood painted in 1939 sitting 00:12:43.970 --> 00:12:46.830 in the Metropolitan Museum of Art. Very basic 00:12:46.830 --> 00:12:49.289 facts. But by unpacking those facts, we've uncovered 00:12:49.289 --> 00:12:52.129 an incredible historical bridge. We really have. 00:12:52.190 --> 00:12:55.210 We've seen how this single painting connects 00:12:55.210 --> 00:12:58.669 a haunting... Visceral vision of poverty with 00:12:58.669 --> 00:13:01.950 a 1938 theatrical production and a presidential 00:13:01.950 --> 00:13:04.830 inaugural address. It's quite a span. All of 00:13:04.830 --> 00:13:06.710 these different voices, from the highest office 00:13:06.710 --> 00:13:09.629 in the land to a solitary artist in his studio 00:13:09.629 --> 00:13:12.950 mixing tempera, united under that one powerful 00:13:12.950 --> 00:13:16.269 banner. One third of a nation. And it shows that 00:13:16.269 --> 00:13:18.129 history isn't just a series of isolated events. 00:13:18.210 --> 00:13:21.090 It's a web of reactions. Guglielmi didn't paint 00:13:21.090 --> 00:13:23.460 this in a vacuum. Never. He was reacting to the 00:13:23.460 --> 00:13:25.500 play, which was reacting to the president, who 00:13:25.500 --> 00:13:27.620 was reacting to the economic reality on the ground. 00:13:27.799 --> 00:13:29.419 And this brings us to why this deeply matters 00:13:29.419 --> 00:13:31.919 for you, our listener. Yes, exactly. Studying 00:13:31.919 --> 00:13:34.480 history through art isn't just about memorizing 00:13:34.480 --> 00:13:37.200 dates or dimensions or the binders used in paint. 00:13:37.399 --> 00:13:40.460 It's about recognizing patterns in human behavior. 00:13:40.700 --> 00:13:43.460 The patterns are key. When multiple facets of 00:13:43.460 --> 00:13:45.980 society, our art, our entertainment, and our 00:13:45.980 --> 00:13:48.480 political leadership, all start using the exact 00:13:48.480 --> 00:13:52.269 same language, to describe a problem it signifies 00:13:52.269 --> 00:13:55.450 a massive defining moment in history it shows 00:13:55.450 --> 00:13:57.889 us how a society processes collective trauma 00:13:57.889 --> 00:14:00.509 yeah you can look at the 1930s and see exactly 00:14:00.509 --> 00:14:03.629 how a single phrase became the lens through which 00:14:03.629 --> 00:14:06.169 millions of people understood their own suffering 00:14:06.169 --> 00:14:09.299 and their own reality Recognizing that pattern 00:14:09.299 --> 00:14:11.779 helps us become more critical, observant participants 00:14:11.779 --> 00:14:14.659 in our own culture today. It teaches us to listen 00:14:14.659 --> 00:14:16.860 for the echoes across different mediums. That's 00:14:16.860 --> 00:14:18.500 beautifully said, and it really hits the nail 00:14:18.500 --> 00:14:20.360 on the head. It's all about the patterns and 00:14:20.360 --> 00:14:23.360 learning how to spot them. So, as we wrap up 00:14:23.360 --> 00:14:25.080 today's deep dive, I want to leave you with a 00:14:25.080 --> 00:14:27.019 final thought, something to mull over on your 00:14:27.019 --> 00:14:30.299 own time. I love this part. If art, theater and 00:14:30.299 --> 00:14:33.019 political leaders all converged on the single 00:14:33.019 --> 00:14:36.120 phrase one third of a nation to highlight the 00:14:36.120 --> 00:14:39.539 defining crisis of the 1930s, what single phrase, 00:14:39.639 --> 00:14:42.000 image or title do you think future historians 00:14:42.000 --> 00:14:43.960 will say define the struggles of our current 00:14:43.960 --> 00:14:46.460 era? That is a great question. What is the language 00:14:46.460 --> 00:14:48.519 we're all unknowingly sharing right now across 00:14:48.519 --> 00:14:50.840 our politics and our pop culture that will end 00:14:50.840 --> 00:14:53.179 up on a piece of wood in a museum 80 years from 00:14:53.179 --> 00:14:56.320 today? Thank you so much for joining us and bringing 00:14:56.320 --> 00:14:58.700 your curiosity to this deep dive. Keep asking 00:14:58.700 --> 00:15:00.320 questions, keep looking for the connections, 00:15:00.399 --> 00:15:01.360 and we'll see you next time.