Hi radio fans, welcome to Behind the Mic from otrpodcast.com. I'm your host, Austin Bach, and on this podcast we explore the history behind many of Oltime Radio's greatest performances. We jump around from series to series picking one episode each week and together we learn about the actors, producers, sponsors, and more before listening to that full episode as it was originally broadcast. If you have feedback for today's show or have a great idea for a future podcast, please send me an email at contact at otrpodcast.com. You can also send me a voice message by clicking the link in the show notes or if you're watching this on YouTube, just leave a comment down below. Today's episode will begin after a brief message from our sponsor. Casey Crime Photographer, known by a variety of titles on radio including Crime Photographer, Flash Gun Casey, and Casey Press Photographer, was a media franchise from the 1930s to the 1960s. The character was the creation of novelist George Harmon Cox and was featured in the Pulp magazine Black Mask as well as in novels, comic books, radio, film, television, and theater. The central character, Jack Flash Gun Casey, was a crime photographer for the newspaper The Morning Express and with the help of reporter Ann Williams solved crimes. He would later recount his stories to Ethelbert the bartender and other friends at the Blue Note Tavern and Jazz Club. Sponsors of the show included Anchor Hawking, Tony Home Permanence, Tony Shampoo, and Philip Morris. Today's episode was originally broadcast on August 29th, 1946. Please enjoy the Red Raincoat from Casey Crime Photographer. That's a tough one, Casey. Not for me, boys, not for me. Hi, Tony. My fellas, yes, sir, the word you're looking for is Hawking, H-O-C-K-I-N-G, the Hawking Valley. Hey, that's best. Hey, I get it. Anchor Hawking. Oh, you said it, Casey. Anchor Hawking, the world's largest makers of household glass. Crime Photographer, brought to you by Fire King Ovenglass. Anchor Glass Containers, Anchor Caps Inclusion, all products of Anchor Hawking, a great name in glass. Good evening, ladies and gentlemen. This is Tony Marvin. Every week at this time, the Anchor Hawking Glass Corporation brings you another adventure of Casey Crime Photographer, ace cameraman who covers the crime news of a great city. Created by Alonzo Dean Cole, our adventure for tonight, the Red Raincoats. Night, about 9.30. Rain, hard-telting rain that has driven people indoors unless the streets deserted. At the corner, a bus stops. A woman lights from it.  She turns into a side street lined with cheap walk-up apartment houses. Midway of the block, she's about to pass the entrance to an alley. When, from its darkness, there's a gunshot. Then another, another. A woman falls. On the street, brakes are hastily applied to a cruising taxi. As it comes to a skidding halt, the driver... Police! Police! Police! Where? From that alley, I think. I didn't see no one. Well, this stain got it in the back. Three bullet holes. Stay here, fellas. Don't let anybody touch her. I'm going to look in that alley.  Get back! This ain't a free show. There's been a murder here. Push him back, Valetti. I'll have room that you would have picked. I'm doing the best I can, Casey. Move, you fools! Move! That's better. There's one for page one. Well, that'll be all, Casey. Well, look who's finally got here. My old pal Logan. I'm hoping to have to tell you there's no press pictures that'll be taken at the scene of a homicide until after the police photographers get through. I've got a rotten memory, haven't I, Charlie? All right, Sion. I'll take that camera away from you. Oh, no. You wouldn't do that to me, not with all these people looking on? What? Oh, no. You cops! Push this mob back! Bear the blocks so everyone can move around! Sergeant! Yes, Captain? Tell me what happened to you. Oh, I can tell you that, Logan. A cab driver, that little guy over there, heard three shots fired from the alley here and saw this gal in the red raincoat pulled up on the sidewalk. Huh? A uniformed cop, this guy right here, heard the shots, too, searched the alley and found nothing. Well, all the rest is up to you. What is Dr. Portio, Sergeant? He said the woman was killed instantly, Captain. One of those bullet holes is in line with the heart. Of course, you can't be sure it followed that line through a body until she's turned over. Now, don't do that when I take men get through. No, sir. Anyone find out who the woman is? Not yet, sir. One week we can go through her pockets. We'll probably find something that... Anne Williams is circulating through that crowd, Logan, trying to locate someone who might know...  Hello, Captain. Hello, Miss Williams. Uh, Casey, this lady thinks she recognizes the dead woman. Well, that's well, Annie. If you can identify her, lady, your picture will be in the paper. Say, I happen to be in charge here. Oh, excuse us, Logan. Who do you think the dead woman is, lady? Well, as I was just telling this young newspaper woman, officer, I can't be sure because the poor thing is lying on her face. Well, I'm almost positive that's the body of Nora Gellhorn because she had a red raincoat exactly like that. She's the only woman in this neighborhood who'd wear anything so flashy. And I've got a notion that a certain person wanted her out of the way. What do you mean by that? Well, her husband, officer, has been carrying on something disgraceful with another woman. Mrs. Gellhorn told me that herself. And she wasn't a sort of letterman divorce just because he happened to fall in love with somebody else. So I think... That her husband shot her? No, I know it's an awful thing to say, Mr. But from the going on, I've heard about it. I think he's been planning to put her out of the way for a long time. As I was saying to my eldest daughter, Eloise, only last night... Oh, where did these Gellhorns live? Oh, uh, over there in the corner building on this side of the street. That's number 371, apartment 4C. I live in the apartment house next door. I'm Mrs. Patch. Mrs. Ida Patch. I said to my eldest daughter only last night... Excuse me, Mrs. Patch. Who's the other woman in this case, the one you say Gellhorn's been carrying on with? Oh, her name's Randall, Emma Randall. She and her husband live in the same building as the Gellhorns. There are apartments directly across from mine. Hey, wait a minute. This Emma Randall has a husband? Yeah, poor man. Hey, you know, he stands in the way of Ferris Gellhorn's plans, too. So if you policemen don't act fast and put that murderer behind bars, you'll... Real act fast, Mrs. Patch. If a checkup shows that your story is okay. Oh, you'll find it's true, all right. I'm not the only person in this block who's been expecting a thing like this to happen. Captain Logan. Yes, Sergeant? The checkmen are finished. You can examine the body now. Hello, Mrs. Patch. I want you to make your identification positive. Oh, I hate to look at the poor thing. What happened? I know my duty. So we're going to turn the body over, doctors, so we can see the face. Well, thanks. Hmm, she wasn't a bad-looking gal, then. Nope, kind of pretty. Oh! Hello, what's the matter, Mrs. Patch? Wait, that isn't Nora Gellhorn. It isn't. No, that's Emma Randall. The woman you said Gellhorn was in love with? Yeah, but that's Nora Gellhorn's raincoat. I'm sure, but now that I see it closed...  I guess you don't think Gellhorn would shoot the woman he's in love with. No, no, he was crazy about Mrs. Randall. He wouldn't shoot her. Too bad, Logan, for a few minutes it looked as though you had a sweet suspect in a case that was half-soda. Well, it may still be that way. Mrs. Patch, what kind of a guy is Randall, this dead woman's husband? Well, he's a nice, quiet kind of man. Quiet kind, huh? Yeah. Did he know about his wife from Gellhorn? Of course he must have. Everybody knew. Yeah, he sounds like the answer, Casey. This guy Randall stood all he could, then waited for his wife tonight and paid her off. James Randall wouldn't do that. He couldn't have done it. I'm afraid that's something you can't be sure of, ladies. But I am sure. Mr. Randall hasn't been outside of his apartment since early this evening. He was inside it when I heard shooting down here on the street. How do you know he was inside? Well, his living room window was just across the court for mine. One of his shades was up a few inches, and I saw him over there lying on the couch. You saw him? Well, just by accident, of course. I never spy on my neighbors. Well, that's that, Logan. Yeah. But there's another possible angle. What? That red raincoat. Mistaken identity. Gellhorn may have thought he was shooting his wife. That's it, Annie. Yeah. Now, wait a minute. Mrs. Patch, you're sure this is Mrs. Gellhorn's raincoat? Oh, I'm positive. I recognize it by those peculiar buttons on that little mended place on the right shoulder. Well, have you any idea why Mrs. Randall should have been wearing it? Well, I suppose Nora or Gellhorn led it to her. What, they're enemies? Well, not outwardly. Like most jealous women, they may believe they were friends. What made things kind of difficult, if they didn't see it, is they not only lived in the same house, but worked in the same restaurant. Worked in the same restaurant? Yeah, Harley's Grill. They both waitresses there. You know if this is Gellhorn or her husband or her home now? No, I don't. Their windows aren't on my side of the house. That's too bad. Let's find out for ourselves, love them. We will, Casey. Sergeant, take charge here. Yes. Have Martin take Mrs. Patch down to headquarters and get a complete deposition from her. Oh, I'd much rather go with you, Captain.  For the paper, Mr. Cable? The best paper in town. Oh, goodness, I look just as bright in his old coat. On the count of rain, I didn't get to... Fine clothes on you would only gild the lily. Oh, Mr. Casey. And I'll just stand just as you are, hold that bewitching smile. That does it. You want to take another? If he does, he's staying here without me. Come on, Miss William. I'll take more shots of you later, Mrs. Patch. Coming, Lover. With prices mounting everywhere, here's the fact that's worth noting. Right now, on the shelves and counters of your favorite chain, variety, hardware, and department stores, you will find a wide variety of pale blue Fire King Oven Glass dishes. At prices far lower than you would have paid for any baking dish a few years ago. And each piece of Fire King Oven Glass, regardless of price, is guaranteed for two years against oven breakage. Now is a good time to replace your worn out kitchen utensils with new and beautiful, easy to clean and easy to keep clean Fire King Oven Glass. Remember that Fire King Oven Glass is not only a sturdy, dependable friend in the kitchen, it is also an adornment to your table. Fire King Oven Glass is a product of anchor hocking. A great name in glass. Try to put yourself together, Mr. Randall.  And my wife... dead. It's tough, fella. Please let me go to where I got to see her. Not now. Later, pal. She's lying down in the street, you say, in the rain. They'll have taken her away by now, Mr. Randall. You can go to her when you get a little more used to the idea of what you'll have to see. Well, maybe... maybe that'll be better. Who killed her, Captain? Who shot my wife? Well, we hope you may be able to help us find that out. I don't know. I can't help you. Before we came to you, we stopped at the Galhorn's apartment. Nobody was home. Why'd you stop there? We want to meet Mr. Galhorn, especially. Are you a friend of yours? He's a neighbor. I see. You, uh... you've been talking to people, Captain. Someone's been telling you things. Oh, frankly, yes. Randall, do you think...  That wasn't the question I meant to ask you.  I... I don't know. When you let us in here, Mr. Randall, you said you'd been asleep. Yeah, I... I was tired, and I came home from work, and I lay down on the couch there. What time was that? It was around half past six, Mr. Casey. I slept until your knock at the door woke me up. Huh. It was plenty of daylight when you fell asleep around half past six, Mr. Randall. Why'd you turn the electric lights on then? The lights? Yeah. We saw a crack of light under the door before we knocked and woke you up. Well, you see, when my wife is... was working late, Mr. Casey, or if I was going out or going to sleep, you see, she... she headed to come home to dark a partner.  It was a question we wanted to answer, wasn't it? Well, I'd have asked the question, and I'll check on the answer. Now, you attend to your job, and let me attend to mine. Okay, I'll take some pictures. Well, no. Yeah. Morning Express readers will want to know what the dead woman's apartment looks like. That'll be a good shot of this living room. Now I'll get one with a bedroom. Yeah. Mr. Randall, you must try to pull yourself together. You just must. Yeah, all right. I'll do my best, Miss Williams. Well, how long have you been married, Randall? Eight years. When did you and your wife meet the Gellhorns? About two years ago, Captain. What sort of a fellow is Gellhorns?  He's a lousy wolf in a double closet. But if you suspect him of her murder, I know you're wrong. He wanted her to live. He didn't want her dead. This man sounds like a square shooter, Captain. Yeah, he does, Miss Williams. Check me down on that, too. So you're back again, Captain? Mm-hmm. I didn't want to miss anything. Who's there? Well, I think, Captain. Come in. We found Mrs. Gellhorns. Oh, is this... I'm Nora Gellhorn, Captain. This officer came to the restaurant for me. He told me why. Sit down, Mrs. Gellhorn. I've got to ask you some questions. Just a minute, please. Him? Yeah, Nora. You know I didn't like your wife. I have plenty of reason not to, but... I'm very sorry for you. Thank you. Now, Captain, what did you want to know? Well, first, Mrs. Gellhorn, did you land Mrs. Randall the raincoat she wore tonight? Yes, I did. It was pouring when she got to work, and she didn't even have an umbrella with it. I was working late tonight in another girl's place, and I figured the rain had stopped by the time I finished, so I said, take my coat. And you remained at the restaurant after Mrs. Randall left there, Mrs. Gellhorn? Yes, I did. I checked, and Mrs. Gellhorn was in the restaurant when Mrs. Randall was shot, Captain. Oh, capability. Mrs. Gellhorn? Yes. You said you worked late tonight in another girl's place? That's right. And do you usually come home at the same time as Mrs. Randall? Usually. Did your husband expect you at the usual time tonight? I guess so. I didn't bother to tell him. He doesn't care when I come home or if I come home. That looks like the payoff, Casey. Yeah. You know where your husband is tonight, Mrs. Gellhorn? He told me he was going to the movies. What theater? I don't know. He might find him at any of the neighborhoods he did, except the Fourth Avenue. He went there last night to see Lord Colody. We'll pick him up tonight. Sergeant Flanagan's posted guys at all the theaters around here, Captain. And that Mrs. Patch gave us the first class description of Gellhorn.  He told us nothing that you and Mr. Randall haven't verified, Mrs. Gellhorn. Oh, all right, then. My husband has been two-timing both me and Jim Randall here. But if you've got an idea that he killed him, you're wrong. I've told him that, Noy. Well, Mrs. Gellhorn, you think he'd have liked you out of the way and Randall here. So he and Mrs. Randall would be free to get married? Well... Well, sure he'd have liked that, but I know that he wouldn't. Come in. We've got Gellhorn, sir. I'm already for him, Sergeant. He's downstairs. You want to round up here? Oh, wait a minute. He hasn't been told anything. Oh, not a word, sir. Where'd you get him? Coming out of the Fourth Avenue Theater. Fourth Avenue? He said he'd seen the show there, Mrs. Gellhorn. I thought he had. Last night. I can't understand. I can. Go into that bedroom, Mrs. Gellhorn. Into the bedroom? We're just a few minutes.  Then come out quick. All right, I'll do it, but I don't... Okay, Sergeant. Have Gellhorn brought up. Yes, sir. The captain will see him up here, Pete. Come on. The old surprise treatment for Gellhorn, Logan. Yeah. His reaction when he sees his wife alive is all I need now. Certainly looks as though... Everything fits. Even the theater, where they picked him up. He'd seen the pictures there, so he could describe every part of it that was shown while he was waiting in that alley. He went there after the shooting to establish an alibi. Sure, Mr.... Sure he is, Captain. Bring him in. You don't have to, John. I'm Captain Logan, Gellhorn. You're the force of these monkeys who've been putting a muscle on me. What's a big idea? We're simply doing an investigating, Mr. Gellhorn. Investigating what? And why here? Randall, what's your part in this? Why have I been brought to his apartment? I'll explain, Gellhorn, if you need an explanation after... Lady, come out of that bedroom. You in that bedroom, come out. Nora. I think you're looking at a ghost, Gellhorn. But... What's my wife doing here? She's the last person you expected to see, isn't she? You thought she was dead. Well, I... I also wiped that phony look of innocence off your face. The woman who wore your wife's red raincoat tonight was Emma Randall. Huh? She's dead. Yes, Gellhorn, with three bullets in her back that you put there. I... I get it now, Captain. He mistook her for me in my raincoat. He killed my wife. Let me out of my town. Get out of my town, Gellhorn. He's taking a beating, boy. I've got him, Captain. Not before I get a picture. What's this all about? You know, Gellhorn, I'm arresting you on a charge of murder. Me? Murder?  All right, boys. Let's get him back to headquarters. Well, you can't do this. Let me know what you're doing. Well, come on, Casey. This case is all sewed up. Let's get our stuff to the paper. Okay, Annie. Uh... But I wonder... What? If this case is sewed up right. After what you and Miss Williams have told me, Casey, I can't see any doubt of that fellow Gellhorn's guiltiness. There isn't any doubt, Ethelbert, except in Casey's much too active imagination. Oh, Annie, you've closed your mind, like Logan. Oh. You two had so completely sold yourselves on Gellhorn's guilt before you saw him that nothing could unsettle him. It didn't mean a thing to you, for instance, when Logan's big surprise act laid an egg. Oh, that. Gellhorn didn't act as if he was looking at a ghost. When his wife stepped out of that bedroom. Well, so what? He probably got a flash of Amarando's face after he shuddered. Realized the big mistake he made was all prepared. It was possible, yeah. You know, Mrs. Gellhorn took longer than she should have to come out of that bedroom. And then she looked more nervous than her husband. I'd like to know why. Oh, Casey, you're trying to make something out of such little things. The parts of the case fit too smoothly, Annie, as though they'd been oiled by somebody. Well, I can't figure that. Oh, nuts. You know, this Gellhorn business is a lot like another murder I've read about. And over in England. And that's the Haslington murder, yeah. Haslington was the name of the gal who got shot. You know about it, huh? Yeah, I have about it. Oh, that's a famous old-time recipe. It happened before any one of us were born. It was all news to me when I read it a couple of months ago in a detective magazine. They called it the case of the Sable Cloak. Case of the Sable. Yeah, detective magazine would. Hmm? Say, you know, I promised to show you those pictures I took last night that the paper didn't have space for. Yeah, I'd like to see them. Here. Here's a print of the Randall living room. This is the bedroom, and here's Mrs. Patch. And will she be sore because the picture didn't make the paper? Oh, she's the woman who gave us the lead on Gellhorn. Ain't she a funny-looking old dame? Look at the... Yes. She's a dangerous old dame. Say, wait a minute. Give me that picture I took in the bedroom. Huh? I noticed it before, but it didn't register. Look at the pillows on the bed. Well, they're just pillows. Yeah, but they're on top of the bedspread uncovered. I don't think... Randall's alibi at it. What? And now, wait a minute. Look at this picture of the living room. The window shades are pulled to within a few inches at the bottom. Now, that narrow space is all Mrs. Patch had to look through when she saw Randall lying on the couch. God had pillows in the bedroom. Got to do with it. That's what I'd like to know. Airphobard, you say you read about the Haslington murder in a recent magazine. Was the magazine True Murder Chronicles? Yeah, but it would cause the case of the sable closed. What does it mean? You've been a great help to me tonight, pal. And to Ferris Gellhorn. I? Come on, Annie. We're going to pay another call on Emma Randall's husband. Well, okay, Casey, but I'd still like to know. So would I. But what was the... Oh, they always do that to me. Casey, Mr. Randall and Mrs. Williams. May we come in? It's important. Just a minute. Casey, how are you going? You'll soon know, Annie. A door just closed inside there. Oh, what? I don't know why you haven't told me all you think. I've been too busy thinking to tell you anything. Come in. Thanks, Randall. Sit down, Mrs. Williams. Thank you. Casey. I'll rest on my feet. Thanks. What, dear? What have you come to see me about? New evidence in your wife's murder. New evidence? Yeah. Gellhorn didn't kill her. What do you mean? Hey, it's awful stuffy in here. You mind if I lift this shade and raise the window a little since you're already doing it? Thanks. Randall, you ever read a story called The Case of a Sable Cloak? I...no. It's funny. It was published only a few months ago in True Murder Chronicles. And I noticed several issues of that magazine here last evening. Well, I... Those magazines belonged to my wife. I never read them. I see. Well, this particular story told about a rich Englishman who fell hard for a gal named Haslington. He wanted to marry her, but he had a wife. His wife owned a sable coat. And one night he shot and killed a woman who was wearing that coat, but the woman had borrowed it from his wife. And the woman was Miss Haslington. Well, that... That's like Gellhorn and Emma. Uh-huh, yeah. The cops were pretty sure to remember the famous Haslington case if a similar murder occurred and had jumped to a conclusion based upon it. See? If everything was previously arranged to point that way. Don't you think so? I don't...I don't know. Oh, sure you do. I tell you how I got it. The guy who really murdered your wife was fairly smart. He started to point suspicion toward where he wanted to fall soon after that magazine story gave him his big idea. And he forget a pretty fair alibi. He even had an excuse for a light to burn when it shouldn't have, so he could be seen in a place where he wasn't... What are you driving at? After the murder, he continued to play smart. He denied his belief in Gellhorn's guilt while constantly pointing the finger at him. Then he got rid of the clothes he'd worn out in the rain.  You're accusing me?  Miss Kim, wait for that door. Come out of that room, Mrs. Gellhorn. Come out. Here I am. You shouldn't have let your murder partner come here to talk things over, Randall.  He knows, nor he knows everything. Stop, Jim. He wouldn't have known anything if he hadn't said that. It doesn't matter now, does it? Yes, it does. Don't make a move.   If it is, you'll never prove it. Nor. What are you going to do? The only thing to do, Jim, kill these people.  They can send us to the chair. You'll never get away with it. We'll tell the police you broke in here and I shot you in self-defense. Just a second, Mrs. Gellhorn. I want to go on living and I've arranged things so I will. How do you mean? You've forgotten. I opened that window. Window? Mrs. Patch? She's been getting an eye full and an ear full. Have you known, Mr. Casey, that I only happen to be at this window by accident? I believe you, Mrs. Patch. Give me that gun, Mrs. Gellhorn. Thank you. Now you two smart killers sit down and wait for the cops. Go on, Randall. Phone headquarters, Annie. Okay, Casey. After I phone City Desk. Oh, but wait a minute. You still haven't told me why those pillows on the top of the bed made me sick. We'll go over to the blue note, Annie and I'll tell you all about it. All right. Oh, Mrs. Patch. Yeah? I guarantee that your picture will be in the Express tomorrow. Oh, Mr. Casey. Food supplies still present a picture of confusion. Many of the old established brand names are scarce. Many new names appear on your grosser shelves. Under the circumstances, how can you be sure of getting the quality you want? May I make this suggestion? First, look for a name you know. And second, and especially when in doubt, buy glass-packed foods. For the glass container in itself is a guarantee of quality. Being transparent, only the best can be packed in glass. Only the best is packed in glass. Anchor glass containers and tamper-proof anchor caps so widely used for the packaging of better foods are products of anchor hawking. A great name in glass. Now, back to Casey and Anne at the Blue Note Cafe. This randall and Mrs. Gellhorn plan to kill them so they could be free to tie up with one another, huh, Casey? That's right, Edward. You still haven't told me what you had on randall when you went to its place, Casey. I didn't have anything. Except the Hazlington case you would mention. You mean the case of the Sable Cloak. Okay, pal, the case of the Sable Cloak. I think that's a nice title. I only had that. A hunch about those bed fillers and a hope that randall would crack up and make an admission. Yeah, what was your hunch about them bed fillers? I figured randall might have rigged up a dummy, the fool, Mrs. Patch. That all she really saw were his pants and shirt, stuffed with fillers. And that was all she saw, too, Ethelberg. When randall came back after the shooting, he got out of his wet clothes, put on the dry ones that had covered the dummy and tossed the pillows back onto the bed. But a little too carelessly. What'd he do with the clothes he'd worn out in the rain? Put them in Gellhorn's apartment. They belonged to Gellhorn. Randall had even worn his things. Say, he and that Mrs. Gellhorn thought of almost everything. Yes, Ethelberg. Almost everything. You know, Casey, it's like my sister, Edna, says, quote, anything that's not worth doing is not worth doing well. You, unquote. Crime Photographer is directed by John Deets and stars Stotscott's Worth as Casey. It is written by Alonso Dean Cole and is based on the fictional character of Casey, created by George Harmon Cox. It's lighter, more compact. It requires no deposit, no return to the store. We're talking about that famous Anchor Glass beer and ale bottle pioneered by Anchor Hocking. It will shortly be released for civilian use. Watch for it. The new Anchor Glass One Way No Deposit Bottle, our product of Anchor Hocking. Our great name in glass. Our cast included Miss Leslie Woods as Ann Williams and John Gibson as Ethelberg. The Blue Note Pianist was Herman Juddison and the original music was by Archie Blyre. Crime Photographer is brought to you each Thursday at this time by the Anchor Hocking Glass Corporation of Lancaster, Ohio, and its more than 10,000 employees. Anchor Hocking. Our great name in glass. Any more than speaking, this is CBS The Columbia Broadcasting Special. Thank you for listening to that episode. If you'd like to listen to more Casey Crime Photographer, please visit OTR Podcasts. That's OTR for old time radio and podcasts with an S. OTRPodcast.com On the website you can register for my mailing list and as a thank you I will send you the links to more than 14 podcasts each featuring every available episode of a popular radio program. In addition, I'll send out an email each week as I release a new episode of this podcast so you never miss a single one. 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Ond yna'r profesio, mae'n gweithio'r fawr Pushf? Mae'n gweithio'n gweithio. Felly dw i ddweud i'r gyflog? Gwyddo. Efallai o ddweud. Ond wedi'i ddechrau i fynd i'r masdor cart. Mae'n amser o'u cyffredin. Felly, fawr 2010. Felly, edrych. Edych chi'n mynd i'r cael. Roi'n ddweud i'r golfa ac y pro ddweud i'r golfa, ond Lewis i yn y cwmwyllt, ond mae'n ddweud i'r golfa. Ac wedi weld yn cyfnodd gyda'r ystyried gyda'r Rhawis-Davidd Golf Club, mae'n dweud o'n rhaid i'ch gyfnodd golfau. Efallai mae'n go iawn i'n gwybod. Gwydda'r lle o'n gyfnodd ar gyfer iawn. Mae'n ddigonol i Ylwys i gyda, ac mae'n gweithio i'ch gydig i'ch gwybod, mae'n gweithio. Ond yna'r gyfnodd golf club yw... Mae'r gyferwethaf amser. Mae'n gyferwethaf amser. Mae'r llyfr oedd yn llyfr o'r cyflwyster. Can we?! Can we talk like a Sim? What I think is interesting is the fact that how many non-contracted players have chose to play him? Go on straight away. When you're a non-contract played you can go to it any time can't you? And baffled by that actually because surely the benefit of being a non-contract player is you get used to something and you don't have to change and you don't contract and you are blind to your services... Ychwanegau ar ddiesen, mae wedi этиch yn ymorth cyflasen, Ond yma'r unig syniadau yw, mae'n safnog. Mae'n creu i'r ffordd gyda Ynysw Grunafog. Ac mae gynnwysau yn ffordd. Mae'n arlŵi i'r ffordd. Mae'n gefn o'n fest befenni i'r mres bobl yn ffordd. A'r hyllith ar ddi'u gweld yn ffordd. Mae hynna'n gwneud yn gweithio. Mae wedy chi'n gwneud yn ffordd yn ffordd. Mae'n gwneud i'r ffordd. Mae'n gwneud yn ffordd. Mae'r ffordd. that's the world? done mate done how would you describe the your hat game? not strong not strong but the words you just used to me is what I was after yeah I look like I've got a condom on don't I? on my head comments down below Louis hat game I dunno why I'm tall, I've had the same head for 3 months tattooed to my head Felly oedd eich siardd, rydyn ni'n wneud! Well, Llu, rydyn ni'n gael ei bod'r 3W Maverick Mack's yn agir. Fe wnaethwch yn fynd yn fawr, rydyn ni'n gael. Mae'n rhaid i'n meddwl, rydyn ni'n meddwl, a rydyn ni'n gael beth mae'n arddangos o'r cyfwiliadau ond mae'r sydd yn dryf. Mae'r sian yn fawr, i'r rhaid i'r ymddi, ac rydyn ni'n гair i ôl 3W meddwl. Mae'n byth ychydig o'n eich mfagorolgol. ac yn ôl dosodd bydd yn rhoi arnyn yn gweithio ffyrdd, rwy'n ffordd 15 o'r ffordd, ac mae hyn yn ddweud ymwneud yn ddweud. Yn ymwneud, rwy'n gweithio, rwy'n gweld yr ymddiadau 9, ac mae'n rwy'n gweithio i'r ffordd o'r ymddian yn y cwrs, mae'n gweithio bod yn ymddian nhw'n cynnig i gyd yn ffair. Yn ymddian yma, mae'n ffair lle ac mae'n gweithio ymddian yn ymddian yn gweithio'r gweithio. Mae'n gweithio'r ffordd! Dwi'n gweld y gallwch i chi ddyn nhw. Mae gael i. Mae erioedd yn ymddangos. Can oes o'r cyfnod o'r gweithl. Mae'n gweithl. Ac yn rywbeth, mae'n gweithio'r cyfrannu i gyd yn y bwrdd, mae'n gweithio'r gweithl. Mae'n ddiwylliant yn ei ddod, mae'n ddiwylliant yn ei ddod. Mae'n ddiwylliant yn parw 3 oherwydd. 1, 60 oes yn y ddwylliant. Mae'n ddwylliant. Mae'n ddwylliant. Mae'n ddwylliant i'r gweithl. Oodd ychydig. Oodd o'r cyfnod o'r ymddangos. Fe oed yn y cyfnod a'r cyfnod o'r cyfrannu. Mae'n cyflug. Lings golf wedi cael ei chyflig o'r gyfnod. Na yna dweud yn y lle ddim yn y clywed. Mae'n cael ei gweithio i fynd o'r cyfnod. Felly mae'r cyfrannu o'r cyfrannu, mae'r cyfrannu o'r cyfrannu ymddangos. Mae'n cael ei gweithio i'r cyfrannu. Mae'n cael ei gweithio i fath o'r cyfrannu. sy'n gwybod y cwymbr o'r rai pethau ac mae'n chweithio, mae eich ffonteid. Dwi'n cael ddim o'r dda. Felly cael ddim o'r dda o'r dda o'r dda i'r ffostig, dwi'n cael. Cymru. Dwi'n cael ei ddweud o'r ddweud i'r profi yn y gofbag, i'r prif, yn y ddweud i'r profi. Rydyn ni'n hoffi'n hoffi! Rydyn ni'n hoffi'n hoffi, a mae'n hoffi fel y ffaith yn oed. Yna dwi'n wych peth gwaith o'n gyflau'n gwybod. Ie, mae'r ddweud o'r oedd yn gobiod rhai oedd. Felly dyma'r ddelfrwych er mwyn o'i cysylltu. Dyma'r ddelfrwych arall. Yma'n rhaid gwneud tu feddwl am y dyfyniad. Llywodraeth eich pod i. Ydych chi'n gweld ymi'n cael rhai o'r lladdysol? Ye, dyma'r stoc i'r mwynolaeth. The thing was stoke, was this one? Yes, there it was. I don't feel it was. It's not the most inviting t-shirt. No, not at all, it's is into the breeze. I think this is the prevailing. It's always into isn't it? I think that's what prevailing means. You know what is going to happen to a smart ars sony? This is going... Oh dear! I'd your finger, mate? Why do you keep up shuffling me here? Almost sense where this is going. Did I see any bounce? Didn't bounce. Just bounce into that. It just stayed and didn't cut at all. Yeah, yeah. I was just going to say no one in the... It's a great little par three. As you say in terms of ace cam. It doesn't look a lot does it? And I've just changed clubs so... I don't know where I've gone. Yeah, not too bad. Tugged it a little bit down on the left but it's kicked on off the left hand side. Great par three. Right that way. Right that way. Oh, that could be ace cam. I'll tell you what, it is close. The question is, we don't know how close. What I want to know Lou is... Let me just hold this. If you've got it if I had it. I want to know your opinion. The next call I want to know about is the CBX. This is two isn't it? CBX two. I want your opinion as an elite golfer of CBX wedges from Cleveland. Wouldn't it be nice? That shadow put you off at all. The one that was literally my body running the length and breadth of the hole. It's a shadow from that CBX wedge. Oh mate, tell me that microphone's on. Oh, class. That's what we need. I'm going to be a bit of advice in and I don't know whether this will be relative to any other golfer but I've been trying to play a chip shot where keeping me sort of around the body keeping me arms fell. On that previous hole you just tried that one didn't you? Just get your hands a little bit lower that's all I'd say. You see a little bit lower again? There you go, that's better. That's the shot I've been trying to play. To be honest with you, it's been okay. A bit more of a better contact but hands lower. What about the face? Is the face stay square or? Yeah, yeah, you don't want to be, you do the pat on the inside that's fine. Keep it nice and square. There you go, good. See how it grabs as well. I've got a bit of control there wasn't I? Yeah, very good. So hands a bit lower for that type of shot? Yeah, definitely. But what reason though if I'm, because I'm a bit more upright normally maybe a bit more straight. It'd be more specific to you. A couple, there's just a little bit, here though the club was sitting a little bit high off the ground there. Which for that type of shot you're trying to play, your contact wasn't as clean as what we'd like. That was just specific to you. Hands a little bit lower if you're going to put it on the inside. Keep that club face nice and square. You're going to notice it a little bit lower on the blade but you're going to get it low to spin. Whilst we're on the subject, what are your thoughts on CBX wedges? From a professional, you know, whatever you call it. I think give them a go. I think give them a go.  That's the first thing. When you put it down you're not going to, I'm not saying it's not inviting because it is because it's massive. But for the better player you're going to go, nah, don't like it. You're going to go straight to Vokey or Mataril or whatever. Do you think even other people, I'll tell everybody a story, just you. I did the review of the CBX version 1 whatever you called. Never knew anything about the product to be honest. You picked it up in the bay, I thought, you know what, that wide sole, that bounce, took it out on the course really good. And I came back into the four golf and I said, you know what, these wedges are brilliant. And that was a typical response. I swear to God this is true, right? Two weeks ago, I'm filming down at Conway. And one of the pros was on the opposite fairway. And I went over and we had a chat. I played the final few holes with him. I would guess what wedges he had in his back. CBX. CBX too. Reason being? He just said you can't go wrong with him. That's a pro by the way, that's a pro. Cos I understand and I think I fully understand the logic. Cos since he had CBX too honestly we can ask him. I'm not going to shout him out on that. I think it's a, you know, I like seeing people come for lessons or fittings and stuff like that. Who have got pitching wedge, gap wedge, sand wedge in the same set. They've got game improvement club, bigger head. Carry on with them. Carry on with them. It's basically what the CBX is. It's carrying on from a normal game improvement iron. They're just taking that into wedges. It's a game improvement wedge. Yeah, yeah, exactly. Cos you've got to be so precise with a normal wedge. The strike point's got to be as low on the face. It's sensitive to bladed club. What we mentioned earlier on, I think this very brief now about the CBX. But earlier on, I hit a shot and if I'm honest with you, you'd have probably dug in with a traditional laid type wedge. That little bit of bounce. It certainly wouldn't have got to where it got. The result was far better. We commented on it, yeah. But anyway, interesting. Interesting. No one can forego that, you know, miss hitting it close. No, no. No one. No, I'll take that any time. It's on you. There is a match going on, but I'm getting beat so it's not. I'm not getting, he's two up on what we own, 16. Good old list one, isn't it? Yeah. Talking of like, I mean, when I'm two down, talking of old timers. We've just had a chat, haven't we, about Westwood winning yesterday? Yeah. And what people think of Westwood winning yesterday? You know, someone in the late 40s winning? Yeah. How old is he? He's 46, so he's mid four, really. Yeah, but to be honest with me, he's, you know, he's, I only else champion's tour or whatever it's called.  The one big thing was there was about eight people in the field, wasn't there, that weren't born when he won his first event. Really? That's impressive, isn't it? Well, he's won in four decades. Yeah. First player to do something. Although I have. Muddly medal. Oh, what a ball. So one of the things I read, that's a super drive. It looks always to the end of the match. That was the thing that was most interesting for me is about his, he's working with Robert Rock. Yeah. On his technique. Yeah. And, you know, it's probably something that most people could work on. Which is what? He kind of touched on it. He's just going back to basics. Just getting more width in his backswing. He's got a little bit more width at the top. A little bit more width in his downswing to the ball. And how many golfers does that apply to? Is that an issue with a lot? I mean, you know, I'd love to, if any other coaches are watching, I'm going to say 95% of how many golfers could do with more. I'll tell you what I'd like to ask initially. We've done this video a bit different this week. So you've got elements of what I'm trying to do is develop something over a half hour. You get to see a bit of a golf course. Not necessarily me versus playing against it in a competitive element, but a little bit of a chat on different pieces. That, there's another potential sort of on course lesson that we could perhaps look at Lewis giving. Comments down below. What are your thoughts of today's video in that sort of, in the structure of it? But I'd also like to hear how many would like to see some more coaching elements from Lewis within this kind of structure. I'm fine because I've got no issues though. I think, apart from the fact, I think it suits us in the less competitive the better. Yeah, we just get a bit. We don't concentrate. That's another good one with that. I've got, as far as I say it again, probably not your best swing, but you're in the middle of the fair again. Yeah, that's where it's performed really well, but I'm to be fair, I was a bit for some points there, because I've had 30 yards behind you. A bit more like the pitch as well, if you feel as though it's just, there's a handle though, if you can just drop it on the inside a little bit. Keep that club on the inside with the same amount of there you go, with the same amount of rotation. Oh, Lou. That's the one, isn't it? That's beautiful. Straight down it. I thought, look at the pose I'm holding here. Does that stop? That's a rip of that, mate. If you hold it any longer, we'll have to call them through. Oh, it's anyone as young as I used to be, you know. Oh, it doesn't get any ideas. I'm just, my back's killing me. Yes, it's been a gorgeous day. In fact, it's got more, it's nicer now than it was when we started off at it. It's got this clear blue skies, course down here, definition wise, this is as good as I've seen Royal St. David's. And it's, I don't know what, it's January or something, 20th or something. But it's seriously, it's been in superb condition. Dry? Dry. The greens have surprised me a lot. But it's that definition element that's been good. We've had it easy, because the wind can be as with any links, a killer. And we've had it easy in that sense, but it's been enjoyable. It's a brute in the wind, but it's been such an enjoyable day, hasn't it? Yeah, no, hats off to Royal St. David's. Doing a great job, the greens team here. Yeah, massive shout out to them. But in terms of the video itself, something a little bit different. Always try and mix it up on a channel, but I like the idea of Lewis. We sort of, I had an issue with a little bit of, with my swing of which I was asking Lewis to give me some advice on. And I thought, well, why don't we throw in that into the video itself? And it's something that we could do perhaps a little bit more of. So like I said on the previous clip, comments down below on what you thought of the structure of the video. And if you enjoyed seeing the golf course, a little bit of instruction. What you'd like instruction on? What you're struggling with? Yeah, yeah. Especially this time of year, if you're working on something, be good to... Gives us the content. Absolutely. Anyway, I'm going to sit here and just, we're going to play 18 and it's 200 yard par 3. It's a great closing hole. And we'll see who comes out on top, because I managed to claw me way back to one down going up 18, would you believe? I don't mind. Anyway, thanks for watching and thank you to Royal St. David's Golf Club, or Harlech as I like to call it. And we'll see you soon. Selfie game strong there, mate. See this? Can you smile? Moody me. This is moody. Like here we go. There was half a pout in there. Which half? Are you recording this? I wasn't walking. I'm waiting for the pout.


Question is from Dave Colquitt. How do you work on keeping your feet knees straight during a squat or deadlift? I've tried keeping them that way, but it's a lot more comfortable to point my toes slightly out. You don't have to. You don't have to point them. I remember when I first learned that and I thought, oh, everybody has to be, but when you look at anatomy and the different variances from individual to individual, you find that there are some things, there's a lot of things you can change. Your tissue, pliability, extensibility, how it extends, how tight it is, how strong it is or stable it is, but there's some things you can't change, like your bone. Like you have a hip bone structure and the femur that fits in the hip and your joint and that structure.  And if your joint is a particular way, it may actually be better for you to have your feet pointed out a little bit when you squat or when you deadlift. And for some people, it may be straight. You have to identify if it's a tissue issue or if it's a bone or joint issue. And sometimes it's a bone or joint issue. I'm glad you went that direction because I'm gonna go the other direction. The reason why I don't completely like that advice even though it's true is that people hear that and then they just meant it now. Yeah, well, not only that, but then they justify this extreme external rotation in their feet because they're so tight, they can't get their feet straight.  If I were to squat, if you looked at my squat just two years ago, maybe three now, I had to have a really wide stance. My feet were pretty externally rotated and it was just because I was extremely tight everywhere. And when I started to work on the 90-90, it really started to mobilize my hips, which the ability to mobilize the hips allowed me to rotate my feet in even more. So I think that, yeah, if you have a slight external rotation, that's okay. But I also wanna be careful of telling people that because then what ends up happening is you have these people that stand really wide open and it's not because that's their anatomy. Because if you're gate, okay, it shouldn't be that far off from your gate.  You're not walking properly if that's what your gate looks like. So we should be able to squat in the same position with our feet that we walk in our gate. And so, and if it's that wide open, I guarantee if you looked at that person's gate, they would be completely externally rotated or what do they call a duck feet out like that. And that is something that a lot of people can address and work towards. And a lot of that has to do with hip mobility.  You have a sort of strength and comfort zone within the way that your feet are set up there. However, I personally tend to lean on the fact that we should be able to squat with multiple angles of your foot position. And I should have them in a narrow stance and I should have them wide and I should have them external rotated, internal rotated. And so, to limit yourself to, you know, like justifying it based off of limb length or like a lack of mobility there, I think is not really doing yourself like full justice. I think that maybe that's just because we need work, you know, in that direction we need to actually mobilize hips or ankles more effectively. So that would be more of like a revealing thing to me that like you have restriction versus like, maybe this is an anatomy issue. Yeah, well, it also, I mean, it depends on how much they're pointing out. He says toes slightly pointed out. I'd like to see what the squat looks like. Yeah, toes slightly pointed out, sounds to me pretty normal, but he may be thinking it slightly pointed out and he may be doing like what you're saying.  And then I'll do a big wide sumo. Sometimes I will let my feet to come out. And so I think that's an excellent point.  You're just trying to perfect the skill or run over again of the same.  You wanna take the stance you're gonna take every time you get under the bar for the lights to go, right? Like that's what you care about. It's performance-based, totally different for the average person who's listening, who cares about just overall health, strength, and building muscle.   But I guess at the end of the day, work on practicing your squatting and work on your mobility. This is why it's a skill, because over time, you'll find as you improve on your mobility, your squat may start to look a little bit different and it may start to feel more comfortable over time. But ideally, I think that's great advice. Work on different stances unless you're a competitor.


So today, welcome to the October 23rd History Bites Noontime Lecture sponsored by the Amherst History Society. And today, we are fortunate to have Mr. Russell Powell to talk to us about apples. It's especially timely because we're in the apple harvest season. And I am one of those people who loves fresh apple cider and I go to pick your own apple places and there's nothing quite like an apple that's fresh off the tree. So Mr. Powell is going to talk to us about the history and the biology and the culture of apples. We think it started with even the apple and continued on from there. But Mr. Russell Steven Powell has written about and photographed New England's apple orchards for the past 25 years. He's the author of America's Apple and Apples of New England. And his popular Apple blog now in its 11th year is published weekly for mid August through November. Apple harvest season. It can be found at newenglandapples.org. He currently serves as the executive director of the nonprofit New England Apple Association. He's a multimedia artist. His paintings have been exhibited widely in Western Massachusetts and on Cape Cod, including the Paradise City Arts Festival. His documentary Shack Time about the artist Shacks in the Dunes of the Cape Cod National Seashore was chosen for the 2001 New England Film and Video Festival and was aired regionally on PBS affiliate WGBH in Boston. And that sounds just fascinating. I've often wondered about those Shacks in the Dunes on Cape Cod. Mr. Powell's magazine, New England Watershed, a Journal of Art, Culture, and Ideas was named the best publication of 2006 by Utmay Reader. He's authored six books, including Molly's 17 Rules for Living, Words to Live By from a Canine Bodhisattva. My interview with James Baldwin and Living Without Long, Rethinking the Front Yard. He's a New England native and he's lived in Amherst for nearly 20 years before moving to Hatfield in 2001. So let's welcome Mr. Powell and take it away. Thank you. I love to talk about apples and what I'd like to do today is walk you through the history of apple growing here in New England. I have some varieties with me that I will hold up to the screen and say a little something about. And then I'm eager to hear your questions and comments. The field of apples is so broad that I could go in any direction and I like to hear from the audience to see what people are most interested in. It was only a few years after the European settlers arrived in the early 1600s before we have our first record of apples in the New World. It's actually 1623, just three years after the Mayflower. We did not have apple trees here. We had crab apples, but not the eating apple that we think of today. But apples were very important to the early settlers for a number of reasons. Food value is obvious, but apples were also a source of sweetness. They could be stored year round or dried. They could be baked, pressed into juice from there made into vinegar or distilled into liquor. They could be fed to livestock. And in addition to all of those very practical uses, the four or five apple trees that people might have in their backyard was a familiar reminder of where they came from. They were arriving in this strange new world, new geography, new everything. And those apple trees were a symbol of continuity from their European roots. Very soon after the Mayflower, as early as 1635, we had our first name variety, which was the Roxbury Russet. I'll be talking about that a little bit later. But for the first century or so, it was not important that you could eat an apple. If you found one that was flavorful, that was great. But the primary use for apples early on was for making cider, both fresh and hard. And everyone drank it young and old alike. It was considered safer than water in some communities. So even the most sour or bitter apple is transformed when you press its juice and make it into cider. And even an apple that was known as a spitter because it was inedible, was saved and valued for its use in cider. Some people don't know that you can't grow a Macintosh apple from a Macintosh seed. The apple is set up in such a way that a variety cannot fertilize itself. It needs a second variety in order to bear fruit. And as a result of that, the genetic material in the seeds and the apples from that have characteristics of both parents. It's like we humans. The offspring may resemble a parent, but it's not going to be an exact copy. For that reason, the way that we arrive at true varieties is by a centuries old process called grafting, where you take a small limb off of the desired variety and you graft it on to what's called a rootstock, which in today's world is a small apple tree that's only about 18 inches tall. And it's chosen for some horticultural characteristic. It might be that it is disease resistant. It might be cold, hardy. It might have to do with size, be a dwarf or semi dwarf tree. And that apple variety that you want is grafted on to that rootstock. And from that point on, that tree will produce that Macintosh or Cortland or Macown forever after. One of the things I love about this is it means that when you bite into an apple, some of these old apples that go back to the 1500s or 1600s, you are having a direct descendant of that original tree. And there's so many things from history that we can't hope to replicate. But you can know what Gravenstein tasted like three centuries ago when you bite into one today. So until the mid 1800s, apples were primarily for cider and cider was America's drink. At that time, because of the Industrial Revolution, we had people moving off the farms into cities. We had immigrants from places like Germany who were expert at making cheaper alternative beer. And hard cider found itself under attack from temperance movements, both in the early 1800s and again in the 1870s. So as a result, we saw a decline in hard cider beginning in the mid 1850s. And it's only recently that we see cider, particularly hard cider, making a tremendous comeback. And I'll get into that a little bit later. But during the 1800s, we also shipped a lot of apples to primarily England and the West Indies. They were packed into barrels in places like Portland, Maine or Boston and shipped across the ocean to those destinations. They were apples that stored particularly well, the russeted apples. And again, I'll talk a little bit about them later. But that was the beginning of America having large orchards. Before that, it tended to be smaller orchards for the family or for a neighborhood. I do want to interject here something about one of our most famous citizens and most misunderstood. And that's John Chapman, who most people better know as Johnny Appleseed. He grew up in, or who's born in Lemonster and most people know that, but fewer people know that he actually grew up in Western Massachusetts near the Connecticut River in Long Meadow. He was America's first great walker. He went all over the place in Pennsylvania, Ohio and Indiana. That's where he planted his orchards, just in those two states, Ohio and Indiana. And one of the many myths that have come up around him, there are more than 30 states that claim to have orchards planted by Johnny Appleseed and in fact it's just those two. He accelerated the process of natural selection by going to an area where he anticipated that the European settlers were headed. And he would find a place typically near a river or where an Indian settlement had been. And he would clear about three acres by hand and plant seeds, apple seeds, because again at that time, it wasn't important if you could eat the apples or not. They were primarily for cider. And then he would occasionally come back and tend those three acres and he would select the best ones, the ones that were the hardiest that grew the best in this new geography. And when the European settlers did arrive, he had a built-in market for those trees. In some cases, land grant companies required newcomers to have four or five apple trees on their property as a way to discourage speculators. So he had a built-in market and he was many other things besides an apple lover. Unfortunately, he didn't leave any written record of why he was so passionate about apples. For that, we have to turn to a neighbor of his, Henry David Thoreau. They lived at the same time. They probably never met each other. They were born within about 20 miles of each other. But in his essay Wild Apples, Thoreau gives voice to a lot of what we believe was true about John Chapman, that he preferred the seed-grown apple to the grafted one. And he was really this complicated figure because he was a Massachusetts guy who was literate and that made him a little unusual on the frontier. But at the same time for the Easterners, he was this wild man. He was anti-materialist. He didn't wear a lot in the way of clothing. He liked to sleep outdoors. He was kind of a rough human figure. So he didn't really fit into either world. But he loved nature and he was a great herbalist. He was a pacifist who got along with the Indians. And yet we've caricatured him over and over again, particularly with Disney and some others. And I just want to say one last thing before I move on, and there's no evidence that he ever wore a tin pot hat. And I think that's a way to kind of discredit him. And so I would urge you, if you're doing plays about John Chapman or talking about him, the tin pot hat is fiction. So by the end of the 1800s, with the downfall of hard cider and the rise of beer, the apple industry had to remake itself. And it happened most famously at the 1905 World's Fair in St. Louis when a gentleman J.T. Stinson adapted an old Welsh proverb to say that an apple a day keeps the doctor away, which we still know today. And that kind of reoriented the apple industry into more of an interest in freshening apples. And at the time, the three leading apples in the Northeast were all New England apples. They were northern spy, Rhode Island greening and Baldwin. And I have examples of those three today and I'll talk about them in a little more detail later on. But at that time, growers grew many varieties and gradually whittled it down as we moved into the century. The next big movement happened in the early 1930s. There was a brutal winter of 1933-34. And it killed more than a million Baldwin trees and many northern spies as well. And until then, Baldwin was the region's Macintosh. Baldwin was the New England apple and it had stayed that way for more than a century. But after this freeze with the rise of Macintosh, which had only been commercially available for a few decades, growers decided not to replant Baldwin trees but to plant Macintosh instead, which were cold, hardy and produced reliably. And from that point on, Macintosh has steadily become our most popular apple. At one point, it was about two thirds of the New England crop. Now it's still more than half of the crop. The next big change really occurred in the 1970s with the advent of Picuron. Both my grandfather's grew apples in Central Massachusetts and Brookfield. But when they were growing apples, there was no Picuron. There was no retail. My father drove his apples to Springfield mass. My grandfather drove his apples to Providence, Rhode Island, end of story. Growers could be just apple growers. They didn't have to be marketers. They didn't have to worry about dealing with the public. They could just focus on growing apples. That all began to change in the 1970s with Picuron. And to this day, it remains one of the reasons that New England is still a major player nationally. We only produce a little less than two percent of the national fresh apple crop these days. But because of our dense population and small orchards, we have a model here for, excuse me, for Picuron orchards that is the envy of other parts of the U.S. Growers can have people right there at the orchard and they can see how the apples are grown. They can interact directly with the farmer in many cases. And it allows the farmer to adapt much more quickly if a variety is not successful. They can change over to a new one. We've seen a change also toward more intensive planting, and that's particularly important in an area like New England where many of our orchards are in the middle of a town or near the middle of the town, and they really lack the opportunity to expand their acreage with more intensive planting on dwarf trees. They have the opportunity to get greater production out of the acreage they have. It's a little bit of a different aesthetic for older people like myself. We no longer see the big canopies of trees that are 30 or 40 feet apart. Some orchards still have them and will continue to have them, but more and more our orchards are looking more and more like vineyards, where the trees are 10 to 15 feet tall. They're on rows only 10 to 15 feet wide so that one does not shade the other. They're trellised or tied to stakes and heavily pruned so that more sunlight can reach the fruit, and it's a very different experience. It's very beautiful in its own way, but it's different from what we've seen over the last couple of centuries. So that's what we're looking at today. The New England apple industry is very strong in certain areas. Fresh and hard cider is one of those areas and it's experiencing a significant increase in recent years. And retail, where we do have the opportunity for people, especially during a year like this with the pandemic to get out to the orchard to be in a safe place in nature, where they can see bluebirds and smell the apples on the trees and come home with a bag of fruit in the process. So from there I'd like to talk about a few of these apples. I'm going to start with some of the oddballs, a cup of the oddballs. This one is, you see it's very small, fits in my hand. It's called Lady and it looks almost like a small Macintosh and it has a tart, citrusy taste, but you see it's tiny. It goes back to the 1600s. It's one of our oldest apples. This other name is Christmas apple because it's sometimes used in wreaths around the holidays. Some people pickle it. I've never had it that way, but that's another way that ladies are still enjoyed. You can find them at some of our orchards, but they're like a lot of our heirlooms.  You have a look for them. This one is called Nobby Russet and you can see it's a strange looking apple. It's still on the small side. It has this Russet on it, which is a naturally occurring feature that is harmless to eat. And the Russet apples in general are considered some of our most flavorful apples, but they lack that bright red or green or yellow color. And as a result, you're not likely to see them in grocery stores. They're also on the small side, which is another reason you don't see them. And one of their main virtues is that they store extremely well. And with the advent of refrigeration around 1900, the need for these Russet apples decreased. However, they have excellent flavor. They're excellent in cider, both fresh and hard. And this is, to me, the perfect example because why would you keep an apple like this? Why does it even exist? This goes back to 1819. It has to have something going for it. It has to have good flavor or you wouldn't know it today. This apple is called Calville Blanc de Vier. It's a French apple. It's also very old. It goes back to the 1500s. And you see it has these unusual ribs. It's a very odd shape. It's primarily a cooking apple and used in cider. And it was considered one of Thomas Jefferson's favorite apples. From there, we moved to New England. And we've had pretty good success developing varieties here. One of our oldest named apples is Rhode Island Greeny. Kind of the East Coast Granny Smith. But it's much older than Granny Smith. It goes to the 1600s. And it's an apple that's on the tart side. It's primarily good for baking. But a century ago, it was one of our three leading apples. And it's really a delicious apple, particularly if you like something with a little tartness. Moving to Connecticut. This apple is back to the 1700s. It's called Sheep's Nose. And you can see why when you turn it on its side. Some of these Sheep Nose have a very rich deep color. And it has another name called Black Gila Flower. But we primarily know it as Sheep's Nose. And some of them are even more conical than this. It's actually, in my opinion, it's not a great tasting apple. It's a little on the dry side, but it's said to be excellent in apple sauce in particular. One of our only apples from Maine is this beauty. It's called Black Oxford. And it's really the only major apple that's ever come out of Maine. It has a kind of greenish, greenish flesh. It's a little on the tart side. And it's also very good used in cider. This apple is one that many people will know about by name. It's Northern Spy. And the seeds for Northern Spy were grown in the state of Connecticut and Salisbury, Connecticut. The farmer who grew them took them with him to New York State. And that's where the first Northern Spy was harvested. But we still like to think of it as a New England apple. It's an excellent baking apple. My 97 year old mother to this day says this is her favorite pie apple. It's also a very delicious eating apple. And it has kind of a pink. It's not as red as some varieties. It has kind of a pinkish hue and tends to be a larger apple. From there we move to Massachusetts. And I mentioned earlier, Roxbury Russet. Now, Roxbury is a suburb of Boston, but in our agrarian past, this lovely apple was discovered there. And it is among the leading revival heirlooms that we have today because it is so good in both fresh and hard cider. It's a delicious eating apple as well. This is an apple that is from Hubbard's then it's called the Hubbard's the non such. And it was very popular in the 1800s. We can't really compare to England when it comes to apple names where we have pit mass and pineapple and ash meets kernel. But we do have a couple that were discovered in Massachusetts that are among my favorites and Hubbard's the non such is one of them. Another one that's very hard to find, but it's still grown in a few places is called Westfield seek no further, which was from Westfield mass. And like Hubbard's the non such was very popular in the 19th century. Part of the reason they're not grown today is because they're difficult to grow. They don't bear on a regular basis. And a commercial grower just can't afford to take a chance on an apple that may succumb to disease or bear every other year. And finally we end up with Baldwin. This is as I say this was our apple for more than a century. It is beautiful for baking. It's beautiful as a fresh eating apple. It's main vulnerability is to severe cold. But among the heirlooms, if you're hunting for some of these rare apples, you should have a better chance finding a Baldwin than a lot of other varieties. I'm going to end with three, three new varieties which are similar to each other to give you a sense of where the apple industry is moving today. The first one is called John a gold. And it was developed in New York state in 1968. And it is the product of a Jonathan apple, which is an heirloom from the Midwest and golden delicious. So they put the two words together, Jonathan, golden, John a gold. And it was in an era when marketing was not very important for apple growers. And I think in today's world of jazz and envy and some of the other names we have, it suffers in part because it has a fairly bland name. But this is a terrific apple. It is, has many of the features that have come to be associated with honey crisp, that light crisp, juicy crunch when you bite into it. And, and I think has even more apple flavor. I personally prefer it to honey crisp. But this is honey crisp. This is the biggest apple to hit the apple industry in 50 years. It was discovered in Minnesota in 1961 and released commercially 30 years later, 1991. And people can't seem to grow enough of them these days. It is a wonderful apple when grown well. If it doesn't have enough color, it can be on the blander side. But if you haven't had a honey crisp yet, it's worth trying. It's an exceptional apple. And I was a holdout for a long time. I'm a Macintosh guy and I resisted this upstart, but a good honey crisp is really a terrific apple. Because of that, everybody's trying to create the new honey crisp. And we haven't gotten there yet. There are a lot of new apples that you may find in the grocery store that I don't think we'll see in another generation. And many of these are patented apples are not just patented but trademarked, meaning that New England growers cannot grow them. So when you see an apple like jazz or Lady Alice in the grocery store, they have some good qualities. But if you're looking for an apple that is grown by a New England grower, you should check to see if it's trademarked. When an apple is trademarked, it forms a club. The creators of the apple or developers create a club and only certain orchards are allowed to grow those apples. And it's typically based on financial reasons. So our medium to small orchards rarely get an opportunity to grow some of these apples. An exception is this new one that was developed in Ohio of all places. Ohio has not really been a major apple player, but this is called evercrisp. And its parents are Honeycrisp and Fuji. So it has some of the characteristics of, that we associate with Honeycrisp, it has that light Christmas, but Fuji is a harder apple and it's a later season apple. So growers are very excited about evercrisp's ability to come in at the end of the harvest and, and keep well through the fall and winter. So those are just some of the examples in New England. We grow more than 30 varieties at a commercial basis and we have probably several hundred more that are grown like some of these in small quantities. And you have to hunt for them and the hunt is well worth it. So that's kind of where we are today. As I say, I'm happy to answer questions on any subject relating to apples. And I'll turn it back to George to figure out how to get questions. Well, I have a question right off the bat. What was the impact of prohibition on apple growing? I heard that they cut down a lot of the orchards because of the cider. Well, that's the thing that hard cider is, it has some alcohol in it about as much as beer, it's slightly carbonated. And like any alcoholic can be abused. And hard cider was the target of temperance movements, two temperance movements in the 1900s. By the time of prohibition, it was not targeted on the same scale as beer or hard liquor. But yes, it was definitely an issue for the prohibitionists and some orchards were affected. By that time, more and more orchards were being grown for fresh eating apples. So it didn't have the impact that the temperance movements in the 19th century had, but it did have an impact. Lisa, Lisa. Yeah, thanks. Not this year because of the COVID, but most years I go out to the UMass cold spring orchard. And look, and so I'm not totally sure what they had this year, but most years they have like 15 different kinds of apples at various times like Hudson and, you know, things like that. And that strikes me as a great public service for the apple. We're seeing more and more of that even the traditional orchards that in the 60s and 70s had whittled down their varieties to maybe six or seven. The Cortland and the Max and the Counts and now the Honeycrisp, even those orchards are planting heirlooms because they recognize that while the volume may be small, people are really interested in getting that full range of flavors and textures and colors from apples. Right. And the thing with heirlooms, they may have nine out of 10 properties that are excellent, but that one last property may keep them from being grown on a commercial scale. They may be biennial bearers. Maybe the core is too big. Maybe they're misshapen. It's one thing that may keep them out of our supermarkets, but many of these are not only excellent apples, but really give us a sense of just the range of this amazing fruit that has anything from pineapple flavors in some cases to banana, to orange, to nuts. And to get all of that, you've got to try some of these non-traditional apples. Well, we're lucky we're not dependent on grocery stores for our apples. Yes. Although you should be able to find New England apples pretty much throughout the year in the grocery stores, our storage methods have improved so much that I've had some of the best Macintosh I've had as late as April and a Stamen. That's an old, it's a wonderful heirloom apple and it's one of the best apples I had last year was a Stamen and it was in the month of April. So we've gotten a lot better and we can expect a lot more from our supermarkets. And I think it's helpful when consumers appreciate the difference between a locally grown apple and some of these varieties that are trademarked that we are not even eligible to grow here. Cheryl Johnson. Yeah, I didn't hear you speak about Cortland apples, which are among the favorites of my in-laws and family. Cortland, to me, it's one of my all-time favorites. The Macintosh apple, in addition to being our most popular, has been apparent to some of our other popular apples and Cortland is one of them. So is Macown, so is Empire. But Cortland, its other parent is Ben Davis. And Ben Davis still exists as an heirloom in small quantities. It's not a highly regarded apple for its flavor. But when you combine that with the Macintosh to get a Cortland, it is just one of the best apples because it's reliable as a tree to grow. It has good size. It's excellent as a fresh eating apple because it's known for its flesh being slow to turn color. So it's really appreciated for salads. It tends to be used in Waldorf salads. And yet it's a great baker. People will sometimes ask me if they're planting trees in their backyard, what varieties they should use. And I almost always include Cortland in the answer because it's so versatile and so reliable. Thank you. Nancy Yeti. Thank you. My former next door neighbor. Nice to see you. And I'm sorry, I came in a little late. So if you've already talked about this apple, forgive me. My father's favorite apple was a Jonathan. And we found a Jonathan tree to plant for him for about, I don't know, probably his 70th birthday at his home. And I can never find Jonathan's in the stores or in the local farmer market at all. They are today primarily a Midwestern apple. And their fans are devoted. Some across people in New England who are searching for Jonathan's. I know a few orchards that grow them. Clark brothers up in Ashfield. Oh, okay. But there are several others. There's a lot of them. There's a lot of them. There's a stone mountain farm in. Belmont, New Hampshire. I was there recently and they have them. One thing you can do. It's not perfect. But if you go to our, the New England apple association website, which is new England apples.org. You can search for the variety. And it will tell you who grows it. Not every grower has kept up their listing. So if you go to, you can certainly call ahead and see if they have Jonathan's, but they are out there and they do have their fans. Yep. And they're also the parents of John, a goal. The apple I was referring to earlier, which I think. They must be. Yeah. Uh-huh. Nina Scott, did you have your hand up before? No, no, I did it on chat. I didn't know the procedure. I had another question, which are, uh, what are some of the oldest breeds of apples? You talked about some old breeds going back hundreds of years. And what are some of the oldest ones that are still around? Yeah. One of my favorites is an early season apple that, uh, probably is too late in the year, but you might find some as Gravenstein. And that typically comes out in late August. Uh, some people love it as a pie apple, but it's a really delicious fresh eating apple. I know Atkins has had them in the past. And, uh, that goes back to the 1500s. Lady, the apple I showed earlier, this goes back to the 1600s. If I can get it in the right place here. Um, so this is one of our very old apples and Calville Blanc is from the 1500s. So we do have a number of them that go back to the, um, 1700s and a few to the 1600s. Um, the apple itself goes back thousands of years, originally originating in, uh, forests in Kazakhstan. And some of those forest still have a range of, uh, genetic material for apples. Some of the trees look like oak trees and some have very misshapen and weird looking fruit. That's where the apple began. So, um, do people go back there and try to get more genetic material for apples? They do, but it's limited access. You have to have permission to be able to, to go there. I would love to go there, but. I don't know. Yes. I actually had a different question to ask beforehand. Um, Russell, do you bake pies yourself? Yes. Okay. Then my question is this, um, I know, um, I usually go to Atkins and they, they, excuse me, have a whole list of which apples are suitable for what? Now to make an apple pie, uh, you select among the baking apples. Now is it, is a mixture of several apples good for better for a pie or should you just stick to one variety? You know, there's no right answer to that. Uh, we've been, uh, judges, uh, a pie contest at metal or choose it for the last nine years. Uh, we've done an event in, uh, in Connecticut where, uh, pies were made by a baker using just single varieties. And, um, you know, it's hard to choose the basic rule when it comes to making a pie is that, uh, almost any apple that you love will work. Um, I tend to mix varieties in part because I love Macintosh for its flavor and its aroma. It is a softer apple and tends to cook down. So I will tend to mix Macintosh with maybe a couple of courtlands or something else to improve the texture, but there really is no, uh, wrong answer to that. The things that we emphasize when it comes to cooking with apples, one is to leave the skins on because much of the apple's nutrition is concentrated near beneath the skin. Um, it also adds some color and texture to whatever you're cooking and not to mention the fact that it takes a little less time if you don't have to peel all the apples. Um, and for a lot of recipes that we come through, this is, this is changing very slowly, but for many of the recipes that we find in cookbooks from the fifties and sixties and even seventies, they have far too much sugar. The apple is naturally sweet. And when I bite into a pie or a turnover or any baked apple good, I don't want to taste apple. I don't want to just taste it. So we will often cut the sugar back by as much as a half. And, uh, we never feel like we're not getting enough sweetness out of it and you get more apple flavor. Um, we also will sometimes substitute apple sauce for some of the fat or all of the fat. Um, that's another way to make it a little healthier. And this doesn't relate specifically to apples, but we also tend to use a mix of white and whole wheat flour. Uh, the exception being pies because whole wheat flour is very difficult to work with if you use it, uh, for rolling out pastry. Yeah. A lot of the dishes, dishes we make, we do about a 50 50 blend between regular and whole wheat flour. Thank you. So how did you become interested in apples at first? Well, it's a good question. As I said, both my grandfathers grew apples in central mass. And the farm that I grew up on was no longer, uh, producing apples when I grew up. We had a couple of blocks of trees on the property, but I still remember the other farm Elm Hill farm in Brookfield, which coincidentally was a home of the original LC, the cow. Um, they also had Morgan horses and they had, uh, an apples and I remember going to the apple barn and that smell of apples filling up the whole room. And, uh, and yet then I went on to a career. I began as a print journalist and I worked in public relations. I came to the area to work at Hampshire college for many years. I worked at Greenfield community college. And then just coincidentally, uh, uh, partnered with a woman who was, uh, working with the apple association in the nineties. And, um, we worked together for a couple of years. She had two young boys and dropped out and I was left as the, as the guy and I've been doing it ever since. Elisa, did you have your hand up? Yeah, I just, a couple of reminiscences. When I was a kid, our family made applesauce from grab and stains for bushels every August. So it's, you know, I was part of the group sitting on the porch, peeling and taking out cores. And our mother was the one in the kitchen with the steam and whatever. Um, the other apple that we really liked from Pennsylvania was wine sap, which is absolutely delicious, but really isn't grown in New England. I think it's not frost hardy or sufficiently. You can find it here. It's had an interesting history because it was discovered in New Jersey, but we think of it really as a Southern apple. It does need a longer growing season. Having said that, I have seen some wine saps this fall. Uh, it's a smaller apple has a beautiful red, almost cherry red color and great flavor. Great flavor. Yeah. So if you are lucky enough to find a wine sap, uh, by all means, you should try them. And when you're trying a new variety, we suggest that you buy three or four and you eat one right away. And you put the others in your refrigerator and you try another one in about 30 days and you notice the difference because some varieties improve in storage. And what you may find is an okay apple. When it's picked a month or two later is outstanding. Uh, sun, Chris, Eider, red, ribs and pit. And those are all examples of apples that are good when they're fresh picked, but, uh, really excel when they've had a couple of months in storage. Any other questions? Well, if not, then thank you for your time. Uh, very informative about apples and, um, I look forward to tasting some of these varieties you've talked about. Thank you very much. You are most welcome. I do, uh, before we sign off, I do publish my, uh, Apple web, weblog weekly from mid August through November. And if anybody would like to receive it through email, if you send me your email address to Russ, are you SS at New England apples.org, I will be happy to put you on that list. It comes out before the weekend so that if you're making plans on what to do, this will have some suggestions. We talk about the different varieties and have orchard photography and recipes. I'll be posting one later today. That's got a wonderful recipe for apple lemon cake. So if anybody's interested, just send me your email.


Alright, so I'm going to introduce a symbol, which everyone else uses, which is just s, the total distance travelled, and then I'm going to plug this velocity here into there. In fact it was particularly easy because we already had v-u, so we could just go straight in and plug in our at. And that's the second equation we use to describe how things move under constant acceleration. And so we can see this curve here is quadratic because it goes as time squared. There's a third equation that people use, which is really just a rearrangement of these two. What we're going to do is we're going to try and eliminate time. And so from this equation here, if we divide by acceleration instead of by time, we get and then we're going to plug that into here. So we just expand out the first bracket and then the second bracket and then we note that that term cancels with that term and we note that this term half cancels with that term and we've got two things left. And if we model by both sides by 2a, that's our final equation relating the initial and final velocities and how far you travel for constant acceleration.