Chakka-Chhh: The Hidden History of View-Master

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Had it not been for the FBI informant working at Chase Bank, William Gruber might have been able to enjoy his success.

It was 1939, and the German immigrant’s chance meeting with an employee of Sawyer’s postcard company in Portland, Oregon had recently netted an important business deal: Sawyer’s was interested in mass-producing Gruber’s View-Master, a portable stereo photography viewer that used a separate image for each eye to create a 3D effect. Held up to a light source, the reels created an immersive still picture.

There was just one stumbling block: The lenses for the viewer were proving hard to source. Eager to help, Gruber recommended Sawyer’s use a German optical firm, which could produce the number needed at a reasonable 7.5 cents per lens. But by the time the deal was completed, trade embargoes had made doing business with Germany impossible. The firm refunded payment directly to Gruber, who then cut a check to Sawyer’s.

A German-born citizen being sent funds from Nazi-occupied Germany raised a flag at Chase; the FBI was notified by their informant at the branch, and Gruber was cornered for an explanation.

He had one. It was legitimate. But there was also no denying that Gruber was a Nazi sympathizer who had voiced his support of Hitler ever since he had arrived in Portland in 1924. Shortly after the View-Master debuted at the 1939 New York World’s Fair, Gruber was remanded to Idaho, where his assets were frozen and he faced charges of espionage. It was not a pretty picture.

Jack Pearce via Flickr // CC BY-SA 2.0

Stereoscopes, using pictures cards known as stereographs, had been a popular parlor entertainment since the 19th century, when the 3D viewers were set up in common rooms. Growing up in Munich in the early 1900s, Gruber was fascinated with the devices and with photography in general.

It was a nice hobby, but hardly a proper career; Gruber’s family expected him to follow in his father’s trade as a blacksmith.

The food rationing that came as a result of the first World War dampened those plans. Malnourished, Gruber didn’t possess the physical strength to perform that kind of manual labor. Instead, he became a piano tuner, and moved to Oregon in 1924 to pursue American citizenship and explore his photography in a more scenic environment.

The relocation didn’t dilute his feelings about the Nazi party. Having joined in 1921, Gruber continued to believe Adolf Hitler could unite a divided Germany. Pro-German groups in Portland counted him among their members; he espoused pro-Hitler views to customers while tuning their pianos. It’s unlikely Gruber had any idea how his vocal support put him on the FBI’s radar.

In 1938, Gruber married a Portland native, Norma, and the two went on a honeymoon to a lodge near the Oregon Caves. While toting around his dual-camera tripod to snap stereoscopic images, Gruber ran into another photographer, Harold Graves, who had been dispatched to take photos of deer for Sawyer’s.

Graves was intrigued by the curious set-up; Gruber explained how he planned on a viewer that could display 3D images in color, preferably for educational purposes. In addition to national parks and famous cities, the slides could provide identification of plants and animals; a wheel of images could be rotated with a manual lever.

Intrigued, Graves believed the images could act as a postcard alternative, sold in photo and gift shops as souvenirs. Gruber, who had long wished to strike gold with one business idea or another—he once wanted to grow mushrooms for a living—agreed to license the idea to Sawyer’s. The plan was to have the View-Master ready for a 1939 debut at the World’s Fair.

Gruber’s suggestion to source the lenses from Germany would have unintended consequences. With a money trail seemingly incriminating him and witnesses who could testify about his opinion of Hitler, he was a prime target for J. Edgar Hoover's crackdown on subversives. While awaiting trial, the government banished Gruber to Idaho, where he kept up a written correspondence with Sawyer’s employees in an attempt to oversee the development of the viewer—and, occasionally, was granted permission to return to Oregon to solve production problems.

While it seems odd the government would want to indulge a self-admitted Nazi during wartime, they had good reason. In a roundabout way, Gruber was working for them.

While View-Master got a welcome reception from the general public in 1940, the rationing of film and paper made it an expendable product. Sawyer’s feared that it would never regain that momentum. But in a reversal of fortune, the U.S. military saw an opportunity: The View-Master was a perfect vehicle to show soldiers slides of aircraft and ammunition for easy identification. At virtually the same time Gruber was in potato-country exile, the armed forces purchased more than 10,000 View-Masters and 6 million reels. (Amid the educational slides, a few risqué pin-up images of Bettie Page found their way into circulation.)

It was word-of-mouth advertising Sawyer’s could never have dreamed of buying. All the GIs who were impressed by View-Master while deployed came home and told their families about it. Instead of packing the household in a car for a trip, they could spend $1 for a viewer with seven slides that transported them anywhere they wanted to go. View-Master was an album of vacation photos that didn’t require a vacation.

By this point, Gruber had returned to Portland and to his normal life. Despite his Nazi advocacy, a federal judge had found that he was not a spy or working for German forces and ordered that his case be dropped.

It was a dark chapter in the device’s history, but it wouldn’t be the worst.

 
Gruber, who returned to his photography work by training his lens on mushrooms and other eclectic science subjects, never intended View-Master to be a toy. To him, it was like a pair of binoculars that could peer deeply into images with amazing clarity and detail. Coin and stamp collectors could keep a library of samples; rare birds could be photographed and studied for distinctive traits.

But Sawyer’s also took note of how much appeal View-Master held for children. Beginning in 1944, the company hired a sculptor, Florence Thomas, to craft customized scenes from fairy tales and children’s stories that could be placed in a diorama and photographed. Thomas produced a series of images from A Christmas Carol, Alice in Wonderland, and the Bible. The reels were popular sellers and essentially doubled View-Master’s demographic.

A Florence Thomas diorama of Snow White. Image credit: Internet Archive

 
In 1951, Sawyer’s purchased Tru-Vue, a competing stereoscopic viewer. While it was nice to eliminate the competition, Tru-Vue offered something even more valuable: a transferable license to Walt Disney’s character library.

Almost overnight, View-Master had access to images of Disney television series like Davy Crockett and movies like Bambi. At a time when color television was scarce and there was no such thing as a home video market, a child being able to revisit familiar characters—in Kodachrome color—was a big deal. The adventures of Donald Duck quickly eclipsed mushroom catalogs, though there was always an appetite for human subjects: the 1953 coronation of Queen Elizabeth II sold 1.5 million reels in just nine months.

Enokson via Flickr // CC BY 2.0

 
While View-Master wound up changing hands several times over the years—Sawyer’s was acquired by General Aniline Film Corporation in 1966 before eventually winding up in the hands of Tyco in 1989—Gruber never had much to do with corporate maneuverings. His passion remained photography. Following his encounter with the government, he embarked on the most ambitious project of his life.

After returning to Portland, Gruber struck up a friendship with Dr. David Bassett, who was then teaching at the University of Washington before moving on to Stanford. With Bassett’s assistance, Gruber wanted to use the potent visual stimulus of the View-Master to record the human anatomy in exacting detail.

The project, A Stereoscopic Atlas of the Human Anatomy, used dissected cadaver tissue to highlight intricate maps of nerves, muscle, and tendons. Bassett and Gruber sliced open brains and spinal cords, logging an unprecedented tour of the body.

It was probably best Gruber was busy elsewhere. It would take decades, but the View-Master plant in Beaverton that had opened in 1951 was found to have concentrations of the degreaser trichloroethylene (TCE) more than 320 times the legal limit, much of it seeping into the well water that employees drank. Several fell ill; many self-reported diagnoses of cancer. It was closed permanently in 2001.

Of View-Master’s lesser scandal, Gruber made a fair pass at redeeming himself. When the extent of Hitler’s homicidal tendencies were revealed, Gruber realized he had been mistaken about the Führer’s leadership qualities and he no longer made his politics public business. Work on the Atlas consumed the remaining 14 years of his life until his death in 1965.

While View-Master is probably best known for its licensed entertainment properties in the 1970s and 1980s, its most lasting contribution may have come from a rehabilitated Nazi sympathizer. To this day, the Atlas and its 1500 images are considered to be one of the finest dissection projects ever captured on film.

Additional Sources:
View Master: The Biography of William Gruber

Sequoyah: The Man Who Saved the Cherokee Language

Henry Inman, Wikimedia Commons // Public domain
Henry Inman, Wikimedia Commons // Public domain

Sequoyah was fascinated by books and letters, enchanted by the way people could divine meaning from ink-stained scribbles on a written page. Born in the 1760s in what is now Tennessee and trained as a silversmith and blacksmith, the Cherokee man never learned how to read or write in English, but he always knew that literacy and power were intertwined.

During most of Sequoyah's lifetime, the Cherokee language was entirely oral. According to the Manataka American Indian Council, a written language may have existed centuries earlier, but the script was supposedly lost as the tribe journeyed east across the continent. Sometime around 1809, Sequoyah began working on a new system to put the Cherokee language back on the page. He believed that, by inventing an alphabet, the Cherokee could share and save the stories that made their way of life unique.

At first, some Cherokee disliked Sequoyah’s idea. White people were encroaching further on their land and culture, and they were resistant to anything that resembled assimilation. Some skeptics saw Sequoyah’s attempts to create a written language as just another example of the tribe becoming more like the oncoming white settlers—in other words, another example of the tribe losing a grip on its culture and autonomy.

Sequoyah, however, saw it differently: Rather than destroy his culture, he saw the written word as a way to save it. According to Britannica, he became convinced that the secret of white people's growing power was directly tied to their use of written language, which he believed was far more effective than collective memories or word-of-mouth. In the words of Sequoyah, "The white man is no magician." If they could do it, so could he.

Sequoyah became further convinced of this in 1813, after he helped the U.S Army fight the Creek War in Georgia. For months, he watched soldiers send letters to their families and saw war officers deliver important commands in written form. He found the capability to communicate across space and time profoundly important.

Sequoyah's first attempt to develop a written language, however, was relatively crude by comparison. He tried to invent a logographic system, designing a unique character for every word, but quickly realized he was creating too much unnecessary work for himself. (According to historian April Summit's book, Sequoyah and the Invention of the Cherokee Alphabet, his wife may have attempted to burn an early version of his alphabet, calling it witchcraft.) So Sequoyah started anew, this time constructing his language from letters he found in the Latin, Greek, and Cyrillic alphabets, as well as with some Arabic numerals.

Sequoyah became more reclusive and obsessive, spending hour upon hour working on his alphabet. According to the official website of the Cherokee Nation, people outside his family began whispering that he was meddling with sorcery. By 1821, Sequoyah was too busy to pay the gossip any mind: He was teaching his six-year-old daughter, Ayokeh, how to use the system.

As one story goes, Sequoyah was eventually charged with witchcraft and brought to trial before a town chief, who tested Sequoyah’s claims by separating him and his daughter and asking them to communicate through their so-called writing system. By the trial’s end, everybody involved was convinced that Sequoyah was telling the truth—the symbols truly were a distillation of Cherokee speech. Rather than punish Sequoyah, the officials asked him a question: Can you teach us how to read?

Once accepted by the Cherokee, Sequoyah’s 86 character alphabet—which is technically called a syllabary—was widely studied. Within just a few years, thousands of people would learn how to read and write, with many Cherokee communities becoming more literate than the surrounding white populations. It wasn’t long before the Cherokee language began appearing in books and newspapers: First published in 1828, The Cherokee Phoenix was the first Native American newspaper printed in the United States.

Sam Houston, the eventual governor of Texas, admired Sequoyah's achievement and reportedly told him, “Your invention of the alphabet is worth more to your people than two bags full of gold in the hands of every Cherokee." Today, while the Cherokee language is now considered endangered by UNESCO, Sequoyah's system remains a landmark innovation—and a source of hope for the future.

You can visit Sequoyah’s one-room log cabin, which still stands in Sallisaw, Oklahoma. Not only listed on the National Register of Historic Places, it has also been designated a Literary Landmark.

Newly Uncovered Galileo Letter Details How He Tried to Avoid the Inquisition

Galileo Before The Papal Tribunal by Robert Henry. Hulton Archive, Getty Images
Galileo Before The Papal Tribunal by Robert Henry. Hulton Archive, Getty Images

Galileo Galilei was one of the Roman Catholic Inquisition’s most famous targets. As a result of his outspoken support for the theory that all the planets, Earth included, revolve around the Sun, the Catholic Church charged him with heresy and he spent the last years of his life under house arrest. Galileo was well aware that he was on the Church’s hit list, and a newly discovered letter shows that at one point, he tried to tone down his ideas to avoid persecution, according to Nature and Ars Technica.

The letter in question, written in 1613, solves a long-held mystery for Galileo scholars. It was found in the library of the Royal Society, where it has been for at least 250 years.

Galileo’s beef with the Catholic Church came about because of his support for heliocentrism—the idea that the solar system centers around the Sun—as advocated in Nicolaus Copernicus’s book De Revolutionibus. Galileo’s scientific writings clearly endorsed Copernicus’s theory of the world, including in personal correspondence that was widely disseminated, and in some cases, he directly questioned the scientific merit of Biblical passages.

In 1613, Galileo wrote to a friend and former student named Benedetto Castelli who was then teaching mathematics at the University of Pisa. The letter was a long treatise on Galileo’s thoughts on Copernicus’s ideas and religion, arguing that science and astronomy should not be overpowered by religious doctrin . (He would later expand this into his Letter to the Grand Duchess Christina.) As with many of Galileo’s writings at the time, the letter was copied and disseminated widely, and eventually, a friar named Niccolò Lorini forwarded it to the Inquisition in Rome in 1615.

This is where things get tricky. Galileo claimed that the version of the letter Lorini sent was doctored to be more inflammatory. He sent a less controversial version of the letter to a friend, saying that it was the original document and should be forwarded to the Vatican, essentially to clear his name. But scholars have never been able to be totally sure if he was telling the truth about the letter being doctored.

This newly discovered letter suggests that he was lying, and that he himself was looking to tone down his rhetoric to appease the Catholic Church and keep authorities from quashing the spread of heliocentric ideas. The original copy found in the Royal Society archives shows changes to the wording in what appears to be Galileo’s handwriting. The seven-page letter, signed “G.G.,” includes changes like swapping the word “false” for the more slippery “look different from the truth,” changing “concealing” to “veiling,” and other edits that seek to tone down the rhetoric that inflamed Church leaders. The wording and handwriting corresponds to similar writing by Galileo at the time. Based on this finding, it seems that Galileo did seek to make his ideas more palatable to the Catholic Church in the hopes of escaping persecution by the Inquisition.

Discovered on a research trip by science historian Salvatore Ricciardo of Italy's University of Bergamo, the letter may have been overlooked in the Royal Society archives because it was cataloged as being dated October 21, 1613 rather than the date it actually bears, December 21, 1613. However, it’s unclear how it came to the Royal Society in the first place. The document is the subject of a forthcoming article by Ricciardo and his colleagues in the Royal Society journal Notes and Records, according to Nature.

The minor changes Galileo made did not successfully hold off the Church’s crackdown on heliocentrism. In 1616, the Inquisition ordered Galileo to stop teaching or defending the theory, and several of his books were subsequently banned. He would stand trial again almost two decades later, in 1633, on suspicion of holding heretical thoughts. He was found guilty and sentenced to house arrest, where he remained until his death in 1642.

[h/t Ars Technica]

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