Every woman seems to search for that timeless black dress that looks fabulous and helps them feel fabulous, that they can wear for years and will never go out of style. Fortunately for Donna Weinrebe of Minot, she had no problem finding that elusive dress. In 1936, when Donna was a student at the University of North Dakota in Grand Forks, she wore this lovely gown to a college dance. While it was the height of fashion in 1936, this dress is still fashionable today.

Worn to a University of North Dakota dance, this timeless black velvet gown was donated to the museum collection by Donna Weinrebe in1990. SHSND 1990.253.7

This dress was made for drama. The floor-length, Grecian-inspired gown was created from a luscious black velvet fabric that one of my co-workers described as a “black hole of gorgeousness.” It is sleeveless with a scoop neck and a peekaboo slit down the back. Blousy and loose at the top, the dress is fitted at the waist and hips. A matching belt helps to accentuate the narrow waist. To not distract from the dress, the belt buckle and button at the back are covered in the same velvet fabric.

The matching bolero jacket is the one piece that dates the outfit. In the 1930s, puffed sleeves on dresses were in fashion to exaggerate the shoulder and make the waist appear smaller. These puffed sleeves were made with five rows of corded pleats to provide more volume.

Although not on exhibit in our upcoming fashion exhibit, Donna also wore this gorgeous coat made of the same black velvet and lined in white silk with the dress. The stylish, loose hood would help to keep the wearer warm and her hair in place on cold North Dakota nights. There is only one button at the neckline of the coat. The coat is held closed by ties and an interior loop at the waist.

Matching coat. SHSND 1990.253.276

The women of the Weinrebe family were quite fashionable in their day, and this dress is no exception. Few clothing pieces stand the test of time, but by leaving the bolero jacket off, a woman could still attend an elegant event wearing this dress today. No one would know her fashion dates from the 1930s. What classic pieces are in your closet?

The black velvet fabric that makes this dress so lovely also makes it nearly impossible to photograph and capture the details. It is a dress you need to see in person to really appreciate. So, visit Fashion & Function: North Dakota Style when it opens soon to see this timeless dress!

The Weinrebe women of Minot displayed an elegant sense of fashion. Here Ethel is receiving the Minot Sertoma Club’s Service to Mankind award in 1974 with daughters Nita (left) and Donna (right). SHSND 10560.0002.00

The Weinrebe women were stylish at an early age. Daughters Nita and Donna pose for a portrait with their mother, Ethel, circa 1920. SHSND 10560.0002.00026

Julius Weinrebe, Donna’s father (seated), and his friends were also sporting national trends in men’s fashion. Notice their sack suits featuring a boxy cut with a higher neck and shorter lapels. Julius’s bowler hat was also the style choice of the day. Circa 1907. SHSND 10560.0002.00016

It is not uncommon for film directors and video game designers to put Easter eggs into their movies and games. No, I am not talking about literal Easter eggs, but rather hidden references to other films or aspects of pop culture—for instance, the alien from “E.T. the Extra-Terrestrial” appeared in “Star Wars: Episode I-The Phantom Menace.” Some people actively hunt these hidden treasures. You can often find videos on YouTube with a clickbait image that claims to reveal all the Easter eggs in a given movie. These videos usually have a screenshot from the film with a red circle around some aspect of the background and a title that reads “25 things you missed.” Historical photos can also have Easter eggs, although these are not intentional. These details can change how we view the image and give us a better context for telling these stories. Here are some I found while working on interpretive panels for Chimney Park at the Chateau de Morès State Historic Site in Medora.

Here I have inserted my own clickbait thumbnail like you might find on YouTube. There really is more to this photo than meets the eye. For instance, the Marquis de Morès was photoshopped out of the image. Look closely and you can still see the toe of his boot and shadow. The horse is even missing an ear. Since the photo was altered, the image was removed from our digital collections.

One of the interpretive themes at the Chateau is the Marquis de Morès’ dream of creating a cattle empire. Staff at the historic site talk about his desire to change the system for transporting beef from shipping live cattle to slaughterhouses in Chicago to shipping dressed beeves (the flesh of a cow or bull) to East Coast markets using refrigeration. While his was not the first enterprise to use refrigerated rail cars to transport dressed beeves, the scale of the Marquis’ plans were unprecedented.

A closer look at this image reveals the Marquis’ big dreams for his shipping operation. SHSND SA 00042-00188

The 1883 photo above shows the construction of the Marquis’ abattoir (slaughterhouse). We can see the main structure, with its icehouse under construction. A spur line runs between the two structures, bearing four of the Marquis’ new refrigerated rail cars. It is easy to focus on the construction and miss what, in my opinion, is the most crucial part of the photo. I know I did.

If you zoom in on a high-resolution scan of the photo, as I have below, you can read the words on the side of the rail cars. They are still a bit difficult to make out, but the places they plan to deliver to are listed, from to Duluth, Minnesota, to the West Coast, as well as the products they plan to deliver, including beef, beer, and vegetables. (You can view the full list of items and places advertised on these rail cars at the detail page here.)

Fresh meat, butter, fish, and beer were among the perishable products the Marquis planned to ship on his refrigerated rail cars. SHSND SA 00042-00188

Why is this important?  It shows just how big the Marquis dreamed. He had not even finished building all the infrastructure his company needed and already was listing places he would deliver to and goods he would carry. It would be like listing all the stores that will carry your new product before finishing the factory. We know now that the Marquis would not actually accomplish most of this vision, but it does show his ambition, confidence, and the sheer size of his dream. It also shapes how we at the State Historical Society share that story with visitors.

During my research, I’ve also discovered that the public at the time was fascinated with the meatpacking industry. A dark, macabre sense of humor was often displayed by the workers and companies involved in these processes. Armour & Co. produced a postcard featuring a hog wheel (used to lift live hogs to the conveyor belt system) with the slogan: “Round goes the wheel to the music of the squeal.” The Marquis’ abattoir was not immune to this dark humor, and the Easter egg proves that point. Take a close look at this photo below. What do you see?

Another interesting tidbit in this image is the pistol hanging from the belt of one of the men. I will need to further investigate. SHSND SA 00042-00150

Most people will say they see a group of workers holding tools posed on the abattoir’s loading dock. But look closer, and you can spot one man resting his foot on the decapitated head of a butchered cow as if he was a big game hunter.

Finally, I want to share one of my favorite Chateau Easter eggs. The worst position for a servant at the Chateau was to be the chambermaid. The Marquis and Marquise had exclusive use of the one indoor bathroom at the Chateau. Servants and guests used chamber pots, and the chambermaid was responsible for cleaning these every day. It would be inefficient for her to carry each pot downstairs to dispose of the contents. Instead, the chambermaid would empty the contents into a bucket. The chambermaid would not want to keep a bucket of foul-smelling waste sitting where it could affect the guest quarters’ air quality while she finished cleaning the 10 upstairs bedrooms. So, she would place the bucket outside a window on the roof until she needed it for the next pot. Knowing that, take a look at this iconic photo below of the Marquis, the Marquise, and their hunting party ready to go out on a hunt.

Getting ready for a big hunt at the Chateau de Morès, circa mid-1880s. SHSND SA 00042-00191

Can you spot it?

I recommend taking some time to explore the images on Photobook. Who knows what Easter eggs you might find? Happy hunting.

This year, the State Historical Society of North Dakota is celebrating an anniversary—40 years since the North Dakota Heritage Center first opened its doors to the public.

This anniversary affects all of us who work here, but today I want to focus on the archival side of this story. Of course, as faithful readers know, the State Archives collections, which consist of two-dimensional objects such as photographs, papers, and books, document the history of the state, including our own history.

Much of this history is described in the first chapter of the “North Dakota Blue Book 2015-2017.” The State Historical Society got its start in the guise of a Ladies Historical Society, formed in 1889, which became our current organization soon thereafter. Initially, the State Historical Society resided in a single room in the basement of the North Dakota Capitol building. In 1919, the state Legislature authorized the construction of the Liberty Memorial Building honoring the veterans of World War I. When the memorial building was ready for occupants in 1924, the State Historical Society moved over, taking up multiple rooms. (Today the North Dakota State Library is located in the Liberty Memorial Building.)

More space was eventually needed, however, and in the 1970s, initial funding was provided for the State Historical Society’s new building, which broke ground in 1976.

Jim Davis, former head of reference services in the State Archives, often shared stories of this history with me. He was first hired to help move Archives collections into the new building, as well as to sort items. He stuck around, and by July 1981 became a full-time employee. So, I invited Jim to share some of his memories in a brief interview, which I have transcribed, edited, and condensed below. He recalls:

I was hired on October 14 [of 1980] to move books and sort. There were stacks and stacks of boxes up in the Archives. … We were still working on all that when we opened up. We were still putting out the microfilm, which was all behind the desk. There was no self-serve for anything but county history books. As we were opening, they were still putting the finishing touches on the Archives. I had to move my typewriter as they finished putting the glass up [around the desk]. … It was February 2 of 1981 that we opened the Archives. I opened the doors [of the Orin G. Libby Memorial Reading Room] to the public—May was the actual grand opening. … It took some getting used to. The building was so much bigger. We had a lot of space to deal with. The meeting rooms, the auditorium. We were really scrambling to get the auditorium ready before the big opening.

The grand opening of the North Dakota Heritage Center in 1981 drew large crowds to see the new building and exhibits.

Front cover, above, and interior view, below, of the program from the grand opening of the North Dakota Heritage Center in 1981. It details a range of celebratory events held to mark the occasion. SHSND SA 32435

In the summer 1981 issue of Plains Talk, our agency newsletter, we wrote of the successful opening of the North Dakota Heritage Center. SHSND SA 1605600

Now, 40 years later, we have worked through two additional expansions. In 2007, the Archives storage areas and offices were expanded, and in 2014, 97,000 square feet were added to the Heritage Center building, which became known as the North Dakota Heritage Center & State Museum. And we are still going strong! These photos, stored and accessible in the State Archives, show how the Historical Society’s exhibits have changed over time.

Here is the Historical Society’s first exhibit space in the basement of the North Dakota Capitol building. SHSND SA A5113-00001

This Red River cart and ox was on exhibit in the 1950s when the Historical Society was housed in the Liberty Memorial Building. SHSND SA 00239-00101

Here, two men take in an exhibit at the new North Dakota Heritage Center in 1980s.
SHSND SA 2012-P-061-00008

This photo was taken in the Adaptation Gallery: Geologic Time, one of the new galleries created in the North Dakota Heritage Center & State Museum as part of the 2014 expansion. SHSND SA 32141

For more information on the agency’s history and state record series holdings, check out the Archives website. And don’t forget to glance through our photo collections on Digital Horizons and SHSND Photobook for Historical Society (and other) images!

Our registration staff at the State Historical Society of North Dakota is tasked with completing the paperwork for and transportation of incoming exhibit loans. We ask individuals, museums, and companies for loans of objects to fill gaps in our collection for the purpose of creating a more complete exhibit. For the upcoming Fashion & Function: North Dakota Style exhibit at the State Museum, created by our own staff, we requested and received 11 loans ranging from a pair of jeans to Cara Mund’s Miss America gown.

Our collection does not have much Native American powwow clothing that is sturdy enough to be on exhibit for the two-year duration of Fashion & Function. As a result, we turned to other museums in neighboring states to fulfill our need.

Discussions with the Minnesota Historical Society began in January 2020. First, we identified the pieces we wanted to borrow for the exhibit by searching their online database. We came across a woman’s jingle dress and a child’s grass dance outfit in their collection that would be perfect additions to our exhibit. They then required us to fill out a General Facility Report about the North Dakota Heritage Center & State Museum. The report asked everything from what material the walls were made of to how far the building is located from the closest fire station. It took us a few months to complete the report, and then COVID-19 struck. We pivoted to telecommuting from home, while the staff from Minnesota was also sent home for a time. Due to the pandemic, it was November before Head of Curatorial Services Melissa Thompson and Jenny Yearous, curator of collections management, drove to St. Paul to pick up the loaned dress and child’s outfit. Our internal loan policy states that loans in transit must be accompanied by a curator at all times. So during the drive back to Bismarck, either Jenny or Melissa stayed with the boxed loan in the vehicle. They took turns using restrooms and relied on drive-thrus for meals.

The loans from the Minnesota Historical Society were transported in a box made of coroplast, which is a corrugated archival material.

One of the loans from the Minnesota Historical Society was a jingle dress completed by Orvilla Longfox (1956-2020) of Cloquet, Minnesota, in 2016. Longfox was an artist who revitalized the ancient art of quillwork learned from her mother. She was renowned worldwide for her traditional artwork with dyed quills and buckskin. Her work is featured in museums and businesses, as well as in private collections.

This hide, hoof, and quill jingle dress on loan from the Minnesota Historical Society features floral-and-butterfly quillwork designs and deer toes for jingles. The dress took Orvilla Longfox one and a half years to create, partly due to collecting and cleaning the deer hooves and quills.

Meanwhile, the boy’s grass dance outfit, below, was made by Kirstie Davis Deyhle of the Mille Lacs Band of Ojibwe for her son Loyn Deyhle during the winter of 2001-2002 and altered as Loyn grew. It was worn at the Mille Lacs Indian Museum Memorial Day powwows in 2002, 2003, and 2004.

Ojibwe boy’s grass dance outfit from the Minnesota Historical Society.

Jocelyn Lamoureux-Davidson (born July 3, 1989), a North Dakota native from Grand Forks, played for the now-defunct University of North Dakota women’s hockey team. Her skills earned her a place on the U.S. Women’s National Team. She won six gold medals and one silver medal at the women’s world hockey championships. She was also a member of the U.S. Olympic Women’s Ice Hockey teams at the Winter Olympics in Vancouver, Canada, in 2010, and Sochi, Russia, in 2014. At the 2018 Winter Olympics in South Korea, Jocelyn scored the game-winning goal to win the gold for Team USA.

When we heard that Jocelyn and her twin sister Monique Lamoureux-Morando were going to be inducted into the Theodore Roosevelt Rough Rider Hall of Fame at the North Dakota State Capitol last summer, the agency got in touch with the governor’s office and was able to get Jocelyn’s contact information. Jocelyn kindly offered one of her USA hockey jerseys and her 2009 IIHF World Women’s Championship gold medal to the Fashion & Function exhibit. Ideally, she would have travelled to Bismarck to drop off the items or Melissa would have travelled to Grand Forks to pick up the items. Due to the pandemic, however, we put our trust in the U.S. Postal Service to transport these items. They arrived safe and sound and will be on display in the exhibit’s sports section.

Front view of Jocelyn Lamoureux-Davidson’s jersey from the 2009 world women’s hockey championships.

The back view of the same jersey with its J. Lamoureux nameplate.

Check out the bling. Here is Lamoureux-Davidson’s 2009 International Ice Hockey Federation World Women's Championship gold medal.

Born in Jamestown, Peggy Lee (1920-2002) was an acclaimed musician and actress. Elise Dukart, assistant registrar, knows her best as the voice of Peg from Disney’s “Lady and the Tramp.” The State Historical Society did not have any artifacts in the museum collection to showcase the famous singer’s life and fashion style, so we reached out to Peggy Lee Associates LLC in California for assistance in February 2020. The exhibit team decided to borrow a beautiful dress worn by Lee in the early 1940s.

Like Lamoreaux-Davidson’s items, Lee’s dress also needed to be shipped from its location.

Holly Foster Wells, Lee’s granddaughter and president of Peggy Lee Associates LLC, had intended to bring it in person in July 2020 during a Peggy Lee centennial year celebration scheduled in Jamestown and Wimbledon. But the pandemic prevented her from travelling, and the celebration was postponed. The dress was shipped to the Historical Society in July.

Peggy Lee’s dress for the exhibit arrived in this bruised and battered box.

Unfortunately, the box containing the dress arrived damaged. The registration team took photos of the box and contacted the Lee organization to alert them of the situation. The dress was then removed from the box, and its condition was assessed. Additional photos were sent to Peggy Lee Associates LLC. Thankfully, the dress was not damaged during shipment. It currently happily resides on a mannequin amid the other dressed forms waiting to go on exhibit.

A dress worn by the singer and actress in the 1940s was borrowed from Peggy Lee Associates LLC.

We are grateful to all those who worked with us to obtain loans for Fashion & Function during these trying times of the pandemic. This exhibit, opening in February, will be more complete because of these items.

This blog was co-written by Elise Dukart.

Projectile points are attached to spears, arrows, and darts and have been used for hunting and warfare. They vary in size, shape, as well as workmanship and are made of a variety of materials, including stone, bone, antler, and metal. Most projectile points were attached to shafts. Spear shafts were thrown by hand or with a spear-thrower (atlatl). Projectile points are time-diagnostic artifacts. Their style or type is useful in estimating the age of a particular site and assigning a regional cultural tradition.

In December 2020 the State Historical Society’s Archaeology and Historic Preservation Department received a collection consisting of 47 projectile stone points and fragments and one flake tool from a donor. This collection is from the Max site (32ML1350) located in McLean County, North Dakota. Archaeologists assigned the Max site projectile points to the Cody cultural complex. (In archaeology, a complex is a grouping of related and/or associated traits, features, and artifacts, which comprise a complete process, activity, or cultural unit with known spatial and temporal dimensions.)

The Cody complex derives its name from Cody, Wyoming, where Eden and Scottsbluff projectile points were recovered in a good geological context. The co-occurrence of Eden and Scottsbluff points and Cody knives are the main markers of the complex. The points were made and used by early Holocene hunter-gatherers to hunt bison and other animals. In addition to the Eden and Scottsbluff points and Cody knives, the typical Cody site may consist of Alberta projectile points and other tools with dates generally ranging between 8,700 and 11,600 calibrated years before the present (Knell and Muñiz 2013, 13). This makes the Cody complex one of the longest Paleoindian cultural complexes in the prehistory of North America. The Cody material culture also covered a wide geographic region extending from Texas to the Canadian plains and from the Great Basin to the St. Lawrence River (Knell and Muñiz 2013, 3).

Examples of complete and refitted projectile points from the Max site include (from left) Scottsbluff, Alberta, and Eden points. While Knife River Flint is the raw material for the Scottsbluff and Eden points, the Alberta point is made from brown translucent chert. SHSND AHP 2020A.3.41, 2020A.3.42, and 2020.3.47. Photo by David Nix and Meagan Schoenfelder

The Alberta points are generally regarded as the earliest projectile point type in the Cody complex chronology and are commonly found in the prairies of Alberta and Saskatchewan and into the northern Plains of the United States. While the Eden points are named after the Eden Valley in southwestern Wyoming, the Scottsbluff points get their name from the Scottsbluff Bison Quarry in Nebraska (Frison and Todd 1987). In terms of style, Eden points are slender, have a marked medial ridge creating a diamond-shaped cross section, and often have a short, narrow stem. On the other hand, Scottsbluff points are thinner in cross section, have wider faces, and are more triangular than Eden points. Alberta points are broadly similar to the Scottsbluff point types, yet the Alberta types are often larger in total size and have a longer stem (Fogle-Hatch 2015).

Red porcellanite Eden projectile point from the Max site. The marked medial ridge is a typical feature of Eden points. SHSND AHP 2020A.3.46. Photo by David Nix and Meagan Schoenfelder

More than 95% of the Max projectile points (45 out of 47) are grouped in the Cody complex: 30 are Eden points, 12 are Scottsbluff, and three are Alberta. The presence of Alberta, Eden, and Scottsbluff points at the Max site make it one of the typical Cody sites in the northern Plains region. Yet, save for the two pictured above, all the Scottsbluff and Alberta points from the Max site are fragments.

In terms of raw material type, the majority of the Max site projectile points (25 points or 56%) are Knife River Flint (KRF), 14 (31%) are porcellanite, and three (7%) are silicified wood. The presence of projectile points and their breaks indicate the points were found at the kill site or butchery location. Although we do not have a direct archaeological date for the Max site points, they might be contemporaneous with the Benz site (32DU452) artifacts, another Cody complex site located in the KRF quarry area in western North Dakota. The Cody complex artifacts from the Benz site, in Dunn County to the southwest of the Max site, date from 9,500 to 11,000 calibrated years before the present (Knell and Muñiz 2013, 8; Root, Knell, and Taylor 2013, 127-128).

Eden projectile points from the Max site. While the points to the left and right are made from Knife River Flint, the one in the center is porcellanite. SHSND AHP 2020A.3.47, 2020A.3.44, and 2020A.3.45. Photo by David Nix and Meagan Schoenfelder

Examples of Eden projectile point fragments from the Max site. A is the base, stem, and midsection of a red porcellanite point; B is a midsection of a Knife River Flint point; and C is a tip or top portion of a Knife River Flint point. SHSND AHP 2020A.3.2, 2020A.3.12, 2020A.3.6. Photos by David Nix and Meagan Schoenfelder

References

Fogle-Hatch, Cheryl. 2015. “Explanations for Morphological Variability in Projectile Points: A Case Study From the Late Paleoindian Cody Complex." PhD. Diss., University of New Mexico.

Frison, George C., and Lawrence C. Todd, eds. 1987. The Horner Site: The Type Site of the Cody Cultural Complex. Orlando: Academic Press.

Knell, Edward J., and Mark P. Muñiz, eds. 2013. Paleoindian Lifeways of the Cody Complex. Salt Lake City: University of Utah Press.

Root, Matthew, Edward J. Knell, and Jeb Taylor. 2013. “Cody Complex Land Use in Western North Dakota and Southern Saskatchewan.” In Paleoindian Lifeways of the Cody Complex, edited by Edward J. Knell and Mark P. Muñiz, 121-143. Salt Lake City: University of Utah Press.

We have a family poem—yes, you read that right. When I was itty-bitty, my dad would come in to wake me up, chiming a poem. (I just learned this poem was a somewhat altered version of Robert Louis Stevenson’s “Time to Rise.”) Dad’s take went like this:

Birdie with a yellow bill,
Hopped upon my window sill,
Cocked his shining little head,
“Get up you sleepy head!”

Over the years, my family added new and different verses to the poem, depending on the situation. For instance, during one winter cold snap, where many days fell below zero degrees, it went like this:

Birdie with a yellow bill,
Frozen to my window sill,
Can’t cock his shining little head,
Oh my gosh, I think he’s dead!

Thus rhyming, verse, and alliteration were very important methods of communication in my family—and the habit has stuck with me over the years. During the summer of 2018, while conducting the Pembina Gorge Fossil Dig, inspiration struck. We had been excavating a partial skeleton of a mosasaur (a type of marine reptile you can view on display at the North Dakota Heritage Center & State Museum) and were taking a dinner break. Sitting around the table with friends and colleagues, I began coming up with mosasaur rhymes. I struck on a fun rhythm—a couplet with 10 beats per measure.

Sit all around, and I’ll tell you a tale:
Meet our friend Mosasaur, big as a whale!

Well, that was a fun intro! I wondered how much I could write about mosasaurs before running out of ideas and giving up? The evening stretched on, and I bounced ideas off of Clint Boyd, senior paleontologist with the North Dakota Geological Survey, and fossil preparator Trissa Ford, who were also on the dig with me. By the end, we had figured out most of a book filled with an array of mosasaur facts. The mosasaur was not a dinosaur. It lived in the water. Some were big; some were small. They had different diets, had live births, and breathed air. The list kept going, and it was fun to read, so my bosses with the North Dakota Geological Survey decided I should make a children’s book, illustrate it in a fun way, make it relatable to kids, and include a few extra fact bubbles to fill in some of the complex ideas.

This is the start of my storyboard layout, where I played around with design and action.

These are more refined storyboard sketches, before inking and watercolors have been added.

Before the storyboard got too far, I needed to figure out the feel for the book. I took a page I knew I wanted to use, drew it up four times, and experimented with pencils, ink, shading, and color.

After sketching some test runs, I settled on an ink-and-watercolor style. Not too much detail, but not too little either. All were done with bright colors. The next few weeks were spent painting, painting, painting! My storyboard was printed and taped to my desk—as I finished one page, the storyboard would get a nice big X over the image. It was very satisfying to see the to-do list shrink and the ready-to-scan pile grow.

A fully painted page.

Once everything was painted and scanned, I had to put the images, text, and facts together in the computer. To be honest, this fiddling, placing, and tweaking probably took more time than the writing and painting. However, I am pleased with the result. Coming up with a title for the project was also fun. Since it’s a prehistoric setting about a mosasaur, and  “-storic” sounds pretty close to “story,” what if we made it a “PrehiStory”? But wait! What if we make up other stories in the future? Then it could be: “PrehiStories”!

And finally, here is the painted page with text overlay.

Thus was born, “PrehiStories: Mosasaur.” If you’d like to pick up your own copy, they’re available at the North Dakota Heritage Center & State Museum gift shop.

*  *  *

Here is a bonus bird verse from my childhood. My dad had gone boating, and while hopping out of the craft, injured his arm quite badly, which inspired the following rhyme:

Birdie with a yellow beak,
Caught his wing upon a cleat
Turned his head to take a peek,
“Oh my gosh I’ve sprung a leak!”