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20 Behind-the-Scenes Secrets of 9-1-1 Dispatchers

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Every day, the U.S. 9-1-1 system receives more than 500,000 calls, and emergency dispatchers are the very first responders. They translate a caller’s situation into actionable instructions so police, fire, or medical teams can respond as quickly as possible. It’s an incredibly demanding job, with some shifts lasting up to 16 hours. That’s a lot of time spent listening to terrified callers in their most desperate moments, and it takes a certain kind of person to survive the stress. Hopefully you never have to dial 9-1-1, but if you do, here are a few things you should know about the person answering your call:

1. MOST CALLS AREN’T EMERGENCIES.

On busy days, 9-1-1 dispatchers may get somewhere between 300 and 500 calls, and they have to answer every single one of them. However, many of them aren’t true emergencies. “Ninety-five percent are nothing calls,” says Amanda, a dispatcher of eight years in British Columbia. “They’re not people who need help. They’re people who have low coping skills. The fact you don’t know how to change the batteries in your fire alarm is not a 9-1-1 call. The fact you don’t know where you parked your car at the mall is not a 9-1-1 call. But you’ll have days where it seems that’s all you get.”

The irrelevant calls can be about anything from barking dogs to parking disputes, and in some states there are penalties for abusing the system. Earlier this year a woman in Ohio was arrested and charged with a misdemeanor after calling 9-1-1 to report bad Chinese food. A man in Illinois was arrested and charged with disorderly conduct for using the emergency line to request an ambulance ride to a doctor’s appointment.

“The level of distress somebody is displaying is in no way correlated to how serious their problem is,” Amanda says. “The people who are screaming the most generally have overflowing toilets. But the calmest guy will call up and say, ‘I don’t really wanna bother anybody, but my wife isn’t breathing.’”

2. THERE’S A CALL HIERARCHY.

Emergency calls don’t just get responded to in the order in which they’re received. “Calls get triaged based on the level of immediate public danger,” Amanda says. So calls involving things like weapons, kids, or domestic violence get prioritized. If you just woke up and realized your car or house was broken into, unless the invader is still there, the police are told to respond when they have a free moment. 

Bill Blume, a dispatcher in Virginia since 2001, says call severity also dictates whether emergency vehicles respond with or without sirens. Life-threatening events get lights and sirens. For events that are less severe but happening now, officers go quickly but without lights or sirens. And for low-priority calls, an officer might take their time. “A low code call tells officers, ‘if you need to go get some coffee or grab lunch, it’s a good time to do it on the way to this call. No matter what time officers arrive, it won’t affect the outcome,” Blume says.

3. BUTT-DIALS ARE A BIG PROBLEM.

All over the country, cell phone owners are unwittingly dialing 9-1-1 and clogging up the lines with the muffled sounds of their pants or purse pockets. The Federal Communications Commission estimates that roughly half of all 9-1-1 calls made by cell phones in New York City are accidental, which translates into about 84 million calls per year. “This is a huge waste of resources, raises the cost of providing 9-1-1 services, depletes PSAP morale, and increases the risk that legitimate 9-1-1 calls—and first responders—will be delayed,” FCC Commissioner Michael O’Rielly declared in a memo. 

These accidental calls may be a waste of resources, but that doesn’t mean they’re not entertaining. “We’ve had people call with the phone under their pillow while they’re having sex, or people singing while they’re driving down the road,” says Nikki, a dispatcher for nine years in Michigan.

And not all butt-dials are useless. “We once had a police chase going on and the people being pursued accidentally dialed into 9-1-1 so we could hear their conversation and let the officers know their plan,” Nikki says. One accidental 9-1-1 call in Deltona, Florida, led officers to a meth house.

4. YOU CAN GET A BUSY SIGNAL …

Sometimes there are more calls than dispatchers can handle, especially during emergencies that a lot of people witness, like a fire or car crash. “When you have a very public incident going on, sometimes you’ll get busy signals because there are instantly 1000 calls,” says Amanda. “The problem is that within those busy signals are some set of people calling for things that are not the public incident.”

5. … BUT THERE’S A WAY AROUND IT.

If you can’t get through to 9-1-1, you can try calling your local police or fire department directly through their seven-digit phone number, which you can find online. “You should have that number programmed into your phone,” says Rachael Herron, a dispatcher in California for 15 years who is also an author. This trick lets you bypass the 9-1-1 traffic jam, but should only be used if you know your exact location, because the 9-1-1 dispatchers have better tools for locating you.

6. WHATEVER YOU DO, DON’T HANG UP.

The worst thing you can do to a 9-1-1 dispatcher is end the call before they answer. Every time someone calls and hangs up, dispatchers are required to call that number back. Even if you called by mistake, the best thing to do is stay on the line and explain, rather than hanging up and initiating a game of phone tag.

“I understand how frustrating and how long it can seem when you’re sitting there waiting and it feels like nothing’s happening quickly,” says Blume, “but at same time people just don’t appreciate how much a hang-up can slow the process down.”

7. A LOT OF CALLERS DON’T KNOW THEIR OWN LOCATION. 

The most important piece of information for an emergency operator to acquire is a caller’s exact location. After all, they can’t send help if they don’t know where you are. But because not all emergencies happen at home or near a clearly-labeled street sign, many callers simply don’t know where they are when disaster strikes. “Maybe you’re stuck in a store and you didn’t pay attention to the address,” explains Amanda. “Or on the highway people are very fuzzy about where they are. In hotels people don’t know their room number.”

This requires some investigative work on behalf of the dispatcher, and everything becomes a clue. “Any descriptors are really useful, like if it’s really close to a landmark or store,” says Amanda. If the caller spots a license plate, the dispatcher can run the number and cross-reference it with the owner’s home address. If all else fails, dispatchers can send police cars to where they think the caller is and guide the officers using the sounds of the sirens over the phone. 

Experience has taught dispatchers to be extra-aware of their surroundings at all times. “I used to say ‘left’ or ‘right’ but now I say ‘north, south, east, west,’” says Nikki. “I pay attention all the time now to where I am and what’s going on around me.”

8. THEY WISH YOU’D CALL FROM A LANDLINE.

The prevalence of cell phones means the number of 9-1-1 calls made from landlines has decreased through the years: according to the FCC, 70 percent of emergency calls now come from wireless phones. But this poses a challenge for dispatchers, because unlike a landline, cell phones are not attached to a specific address.

“The absolute number one thing if there’s an emergency, please call from a landline,” says Amanda. “If you’re in an apartment building with 35 floors, it will give us an apartment number. Your cell phone will only give us an approximate.” 

But this information varies by location and carrier. “We’ve discovered that Sprint and Verizon have the most accurate locations,” says Nikki. “We were once trying to locate a man with a gun, and he had Sprint, and the map showed him on one side of a pine tree and that’s exactly where he was.”

According to USA Today, more than 60 percent of cell phone calls to 9-1-1 in California last year didn’t transmit a location. The problem stems from the fact that the 9-1-1 system was built for landlines and doesn’t always work with a phone’s built-in GPS. Dispatchers have to request data on a cell phone’s coordinates from the cell phone network and use nearby towers to estimate a location. This can happen quickly or slowly, or not at all. 

9. YOU DON’T HAVE TO SAY ANYTHING.

In some dire emergency situations, a 9-1-1 caller may be unable to speak. For example, if an intruder is in their home, or they’re choking or having a heart attack. Dispatchers are trained to ask yes-or-no questions a caller can answer with the push of a button. “We’ll tell them to press a button if they’re in the city,” explains Martha, a dispatcher in Georgia. “If they don’t press a button we’ll know they’re in a county. Or if there’s a domestic situation, we’ll ask, ‘Is he still in the room? Does he have a weapon? Has he been drinking?’”

10. THEY DON’T KNOW WHAT HAPPENS TO CALLERS.

One of the hardest things about being a dispatcher is the lack of closure that comes with the job. Once the first responders are on the scene, dispatchers have to hang up and move to the next call. They will probably never find out what happens to their callers. “It is the worst part,” says Jill, a 14-year veteran dispatcher in Florida. “You have this intense moment with this person, it could be the most horrible moment of their life and you’re the first one to help them, and you never find out what happens.”

11. SPORTS FANS PROCRASTINATE IN MEDICAL EMERGENCIES.

One guaranteed slow time for 9-1-1 dispatchers is during a major sporting event, particularly the Super Bowl. “You get no calls when the game is on,” says Amanda. “None. It’s bizarre.” But dispatchers don’t have to follow the game to know when it’s over. When the buzzer goes off, the phones start ringing. “As soon as the game is over, you’ll have 20 guys having a heart attack because they weren’t willing to call during the game,” says Herron. “It’s true every single year.”

12. THEY’RE VERY SUPERSTITIOUS.

One word you’ll never hear a dispatcher mumble is “quiet.” Acknowledging a shift has been particularly sedate is a quick way to get an onslaught of calls, Amanda says. Acceptable alternatives include “tranquil” and “serene.”

13. THEY DON’T CARE WHY IT HAPPENED.

Dispatchers want to know the what and where of your emergency, but never the why. “'Why' is the one question we never ask,” says Blume. “Everyone is dying to tell us why, and the thing is that has nothing to do with determining the level of safety for our officers.”

14. THEY’RE TRAUMATIZED. 

One recent study found 9-1-1 dispatchers are at risk for post-traumatic stress disorder due to the high volume of distressing calls they receive. "This is a population of people who are routinely exposed to events that should be considered traumatic," says Michelle Lilly, a psychology professor at Northern Illinois University.

“I heard a gentleman take his last breath after being stabbed,” Jill admits. “That one bothers me today and it happened seven years ago. I have a thick skin but not around my heart.”

Insomnia, paranoia, and grief can haunt dispatchers when they’re not manning the phone lines. Herron says she can’t drive around her town without remembering the bad things that happened at particular addresses. “I know the geography of grief,” she says. “I know which woman hanged herself in that window and which mother found her son dead in that bedroom.”

Some dispatchers survive by emotionally detaching, others by approaching their job from a mindset of positivity. “A lot of people I work with live with a lot of fear and assumptions that terrible things will happen in the world because that’s what they hear,” says Amanda. “But my frame that keeps me ok is I know that this person is having a terrible day whether I’m there or not, and anything I do might make things better. And most people never have to call us. The majority of people go through their days and nothing bad happens to them and that’s very powerful also. We have to remember the things we hear are rare.”

15. KID CALLS ARE THE WORST.

Most experienced 9-1-1 operators develop pretty thick skins over the years and can walk away from even the most disturbing calls unfazed. But emergencies involving children are the exception.

“Everyone hates a baby call,” says Herron. “If you get a call that a baby isn’t breathing, the whole room gets really, really quiet and all the dispatchers pull for the person giving CPR instructions. I’ve had a couple that have gone badly and those are hard to let go.”

16. THEY HAVE REGULARS.

If you’re lucky, you’ll never have to call 9-1-1, but some people call the number so often the dispatchers recognize them immediately and know them by name.

“We call them frequent flyers,” Blume says. “You kind of develop a relationship with them. You remember them and know how that conversation is gonna go. It may be someone prone to alcoholism or who has a history of mental illness and you know certain things that work on other calls just aren’t gonna work there.” 

17. DISPATCH IS FULL OF CREATIVES.

A lot of dispatchers enter into the career through the side door, as writers or musicians looking for steady income while they pursue their art on the side. “You rarely see someone come into a job as a dispatcher where that is their career goal,” says Blume, who is an author of several books himself.

“I work with five or six people who have written and published books because that’s what they want to do but they can’t make any money doing it so they do this four days a week,” says Amanda, who took the job to supplement her magazine writing.

According to the Bureau of Labor Statistics, police, fire, and ambulance dispatchers make an average annual salary of $36,300, a pretty decent supplemental income. But finding the right kind of person for the job is difficult considering the high stress levels and long hours, and a lot of new dispatchers quit. “Our survival rate is one-third,” Blume estimates. “In my academy we had nine people in the beginning and by the time we were done, there were three of us left.”

18. YOUR DISPATCHER MIGHT BE KNITTING WHEN YOU CALL.

Dispatchers are multi-taskers who thrive on adrenaline, and that’s what makes them good at their job. They can talk a caller through CPR while simultaneously typing instructions for first responders at record speeds. But between calls and on slower days, they get bored like the rest of us, and resort to browsing social media or even knitting to occupy the time. 

For some veteran dispatchers, the job has become so routine they can nearly do it with their eyes closed. Nikki admits that sometimes while she’s instructing a caller on how to administer CPR, she’s simultaneously browsing Pinterest. “I’m like holy crap I just saved somebody’s life without realizing what I was doing.”

19. TASKS KEEP PEOPLE CALM. 

A dispatcher’s job is to get as much pertinent information as possible from a caller, and that’s hard to do when the caller is hysterical. But there are tricks that dispatchers use to calm people, even in the most terrifying situations. “I slow my language and bring my tone way down,” says Herron. “If they’re shouting, I don’t shout back because it’s human nature, if someone else talks quietly, you listen.” 

One quick way to get a panicked caller to concentrate, Jill says, is to give them something to do. “If they don’t know where they’re at, I tell them to look for a piece of mail. If you give them a small task it seems to make them focus a little more and that can de-escalate their stress a little bit.”

The most important thing is to just keep talking, Blume says, because silence can make a caller feel alone, which breeds panic. Skilled dispatchers will explain exactly what they’re doing on their end of the line and why, even if it’s boring. “I’ll say ‘standby just a moment, I’m going to enter this,’ or ‘hold on I’m going to update the units, don’t hang up.’ A lot of times those little touches can completely change the tone of a conversation. It’s all about communicating.” 

20. THEY’RE HUMAN LIE-DETECTORS.

From the second they answer your call, dispatchers are listening for signs the situation is not as you say. Callers lie to them all the time for various reasons. For example, someone might exaggerate the seriousness of their situation (perhaps by reporting that gunshots have been fired when they haven’t) to get a faster police response. In a domestic abuse situation, a victim might place the call but be unable to communicate, or the abuser could somehow end up with the phone and lie on their behalf, or hang up. The dispatcher’s job is to use strategic questions to gather any revealing information they can.

“Usually you can read into tone,” says Blume. “A red flag is if, when I call back, they say the call was a mistake, that’s a big difference than if they say it was an accident. If they say it was a mistake that gives me the impression they were trying to call on purpose and clearly there was a reason why they did it. You have to be suspicious.” 

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15 Fascinating Facts About Candyman
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Helen Lyle (Virginia Madsen) is a Chicago graduate student with a deep fascination with urban legends, which she and her friend Bernadette (Kasi Lemmons) are using as the basis for a thesis project. After they stumble across the local legend of Candyman, a well-to-do black artist who fell in love with a white woman in the late 1800s and was murdered for it, Helen wants to learn more. When she’s told that Candyman still haunts Chicago's Cabrini-Green housing project, and that his spirit can be summoned by repeating his name into a mirror five times, Helen does just that … and all hell breaks loose.

What began as a low-budget indie film has morphed into a contemporary classic of the horror genre, and essential Halloween viewing. In 1992, English filmmaker Bernard Rose—who got his start working as a gopher on The Muppet Show—turned Clive Barker’s short story “The Forbidden” into Candyman, which was released in theaters 25 years ago today. In honor of the film’s anniversary, here are 15 things you might not have known about Candyman.

1. EDDIE MURPHY WAS CONSIDERED FOR THE LEAD.

Though the role of Candyman turned Tony Todd into a horror icon, he wasn’t the only actor in consideration for the film’s title role: Eddie Murphy was also reportedly a contender for the part. Though it’s unclear exactly why he wasn’t cast, sources have reported that it had to do with everything from his height (at 5 feet 9 inches, he wouldn’t seem nearly as intimidating as the 6-foot-5 Todd) to his salary demands.

2. AN UNEXPECTED PREGNANCY LANDED VIRGINIA MADSEN THE LEAD.

Virginia Madsen stars in 'Candyman'
PolyGram Filmed Entertainment

When asked by HorrorNewsNetwork about how she got the role of Helen in Candyman, Virginia Madsen shared that it was almost by accident: She was supposed to play Bernie, Helen’s friend and classmate, the role that eventually went to Kasi Lemmons.

“I was actually very good friends with Bernard [Rose] and his wife Alexandra,” Madsen said. “She is a wonderful actress, who actually brought Clive Barker’s short story ‘The Forbidden’ to her husband. She thought this would be a great film, and he could direct her. She was supposed to be Helen. I was going to play [Kasi Lemmons'] part, until they made the character African American. Then I was out.

“Right before shooting, Alexandra found out she was pregnant. It was great for me, but it was so sad for her because this was her role; she found this story and really wanted it. So when I was asked to step in I felt like ‘I can’t take my friend’s role.’ She actually came over one day and said ‘It would just kill me to see someone else play this role, you have to be the one who plays it.’ So with her blessing I took on the role. I really tried to work my butt off just to honor her.”

3. IT COULD HAVE STARRED SANDRA BULLOCK.

On the film’s DVD commentary, producer Alan Poul said that had Madsen been unable to step into the role of Helen, the part would have likely been offered to Sandra Bullock, who was still a relative unknown actress at that point. Though she had played the role of Tess McGill in the television adaptation of Working Girl, she was still a couple of years away from Speed (1994), the role that launched her into stardom.

4. ITS OPENING SHOT WAS GROUNDBREAKING.

The film’s opening credits feature a great aerial view of Chicago, which was pretty revolutionary for its time. “We did that with an incredible new machine called the Skycam, which can shoot up to a 500mm lens with no vibration,” Rose told The Independent. “You've never seen that shot before, at least not done that smoothly.”

5. NOT ALL OF THE FILM’S CREEPY DETAILS SPRUNG FROM CLIVE BARKER’S IMAGINATION.

While investigating one of Candyman’s crime scenes, Helen and Bernie discover that the design of the apartment’s medicine cabinet made it a possible point of entry for an intruder. This was not a made-up piece of horror movie fiction. While researching the film, Rose learned that a series of murders had been committed in Chicago in this very way.

6. BERNARD ROSE SEES CANDYMAN AS A ROMANTIC FIGURE.

Tony Todd stars in 'Candyman'
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Viewers may think of Candyman as one of the horror genre’s most terrifying villains, but Rose said that “the idea always was that he was kind of a romantic figure. And again, romantic in sort of the Edgar Allan Poe sense—it's the romance of death. He's a ghost, and he's also the resurrection of something that is kind of unspoken or unspeakable in American history, which is slavery, as well. So he's kind of come back and he's haunting what is the new version of the racial segregation in Chicago.

“And I think there's also something very seductive and very sweet and very romantic about him, and that's what makes him interesting. In the same way there is about Dracula. In the end, the Bogeyman is someone you want to surrender to. You're not just afraid of. There's a certain kind of joy in his seduction. And Tony was always so romantic. Tony ties him in so elegantly and is such a gentleman. He was wonderful.”

7. THE BEES IN THE FILM WERE BRED SPECIFICALLY TO APPEAR ONSCREEN.

No, that is not CGI! The bees that play a key role in Candyman are indeed real. So that they looked appropriately terrifying, but were less dangerous to the cast and crew, the filmmakers used newborn bees—they were just 12 hours old—so that they looked fully grown, but had less powerful stingers.

8. TONY TODD WAS STUNG 23 TIMES, AND GOT A BONUS EACH TIME IT HAPPENED.

Photo of Tony Todd in 'Candyman'
PolyGram Filmed Entertainment

In addition to allowing the filmmakers to cover his face with bees, Todd actually agreed to film a scene in which he had a mouthful of bees—and that, too, was all real. He told TMZ that he wore a dental dam to prevent any bees from sliding into his throat—which doesn’t mean that he didn’t suffer a sting or two … or 23, to be exact, over the course of three Candyman movies. Though it might have been worth it. “I had a great lawyer,” he told TMZ. “A thousand dollars a pop.”

9. THE BEES WEREN’T GREAT NEWS FOR MADSEN, EITHER.

Madsen, too, had to get up close and personal with those bees—a fact that almost forced her to pass on the role. “When Bernie was first asking me to do the role I said, ‘Well, I can’t. I’m allergic to bees,’” she told HorrorNewsNetwork. “He said ‘No you’re not allergic to bees, you’re just afraid.’ So I had to go to UCLA and get tested because he didn’t believe [me]. I was tested for every kind of venom. I was far more allergic to wasps. So he said, ‘We’ll just [have] paramedics there, it will be fine!’ You know actors, we’ll do anything for a paycheck! So fine, I’ll be covered with bees.

“So we a had a bee wrangler and he pretty much told us you can’t freak out around the bees, or be nervous, or swat at them, it would just aggravate them. They used baby bees on me. They can still sting you, but are less likely. When they put the bees on me it was crazy because they have fur. They felt like little Q-tips roaming around on me. Then you have pheromones on you, so they’re all in love with you and think you’re a giant queen. I really just had to go into this Zen sort of place and the takes were very short. What took the longest was getting the bees off of us. They had this tiny ‘bee vacuum,’ which wouldn’t harm the bees. After the scene where the bees were all over my face and my head, it took both Tony and I 45 minutes just to get the bees off. That’s when it became difficult to sit still. It was cool though, I felt like a total badass doing it.”

10. PHILIP GLASS COMPOSED THE SCORE, BUT WAS DISAPPOINTED IN THE MOVIE.

When Philip Glass signed on to compose the score for Candyman, he apparently envisioned the final film being something totally different. According to Rolling Stone, “What he'd presumed would be an artful version of Clive Barker's short story ‘The Forbidden’ had ended up, in his view, a low-budget slasher.” Glass was reportedly disappointed in the film, and felt that he had been manipulated. Still, the haunting music is considered a classic score—and Glass’s own view of it seems to have softened over time. “It has become a classic, so I still make money from that score, get checks every year,” he told Variety in 2014.

11. MANY OF THE FILM'S SCENES WERE SHOT AT CABRINI-GREEN.

In 2011, the last remaining high-rise in the Cabrini-Green housing project was demolished. Over the years, the property—which opened in 1942—gained a notorious reputation around the world for being a haven for violence, drugs, gangs, and other criminal activities. While the project’s real-life history weaves its way into the narrative of Candyman, it only makes sense that Rose would want to shoot there. Which he did. But in order to gain permission to shoot there, he had to agree to cast some of the residents as extras.

“I went to Chicago on a research trip to see where it could be done and I was shown around by some people from the Illinois Film Commission and they took me to Cabrini-Green,” Rose said. “And I spent some time there and I realized that this was an incredible arena for a horror movie because it was a place of such palpable fear. And rule number one when you're making a horror movie is set it somewhere frightening. And the fear of the urban housing project, it seemed to me, was actually totally irrational because you couldn't really be in that much danger. Yes, there was crime there, but people were actually afraid of driving past it. And there was such an aura of fear around the place and I thought that was really something interesting to look into because it's sort of a kind of fear that's at the heart of modern cities. And obviously, it's racially motivated, but more than that—it's poverty motivated.”

12. THE FILM’S PRODUCERS WERE WORRIED THAT THE FILM WOULD BE CONSIDERED RACIST.

During pre-production, Candyman’s producers began to worry that the film might draw criticism for being racist, given that its villain was black and it was largely set in an infamous housing project. “I had to go and have a whole set of meetings with the NAACP, because the producers were so worried,” Rose told The Independent. “And what they said to me when they'd read the script was 'Why are we even having this meeting? You know, this is just good fun.' Their argument was 'Why shouldn't a black actor be a ghost? Why shouldn't a black actor play Freddy Krueger or Hannibal Lecter? If you're saying that they can't be, it's really perverse. This is a horror movie.'”

13. STILL, SOME FILMMAKERS COMPLAINED THAT IT WAS RACIST.

In a 1992 story in the Chicago Tribune, some high-profile black filmmakers expressed their disappointment that the film seemed to perpetuate several racist stereotypes. “There’s no question that this film plays on white middle-class fears of black people,” director Carl Franklin (Out of Time, Devil in a Blue Dress) said. “It unabashedly uses racial stereotypes and destructive myths to create shock. I found it hokey and unsettling. It didn't work for me because I don’t share those fears, buy into those myths.”

Reginald Hudlin, who directed House Party, Boomerang, and Marshall, described the film as “worrisome,” though he didn’t want to speak on the record about his specific issues with the film. “I've gotten calls about [the movie], but I think I'm going to reserve comment,” he said. “Some of my friends are in it and I may someday want to work for TriStar.”

For Rose, those assessments may have been hard to hear, as his goal in adapting Barker’s story and directing it was to upend the myths about inner cities. “[T]he tradition of oral storytelling is very much alive, especially when it's a scary story,” he told The Independent. “And the biggest urban legend of all for me was the idea that there are places in cities where you do not go, because if you go in them something dreadful will happen—not to say that there isn't danger in ghettos and inner city areas, but the exaggerated fear of them is an urban myth.”

14. IT’S STILL THE ROLE THAT MADSEN IS MOST RECOGNIZED FOR (ESPECIALLY AT AIRPORTS).

Kasi Lemmons and Virginia Madsen in 'Candyman'
PolyGram Filmed Entertainment

Though she earned a Best Supporting Actress nomination in 2005 for Alexander Payne’s Sideways, in 2012 Madsen said that Candyman is still the role she is most recognized for—especially at airports.

“More people recognize me from that movie than anything I’ve done,” she told HorrorNewsNetwork. “It means a lot to me. It was after years of struggling. As an actor, you always want a film that’s annual, like It’s a Wonderful Life or A Christmas Story. I just love that I have a Halloween movie. Now it’s kind of legend this story. People have watched it since they were kids, and every Halloween it’s on, and they watch it now with their kids. That means a lot to me. The place I get recognized the most is the airport security for some reason. Every person in airport security has seen Candyman. Maybe it makes them a little afraid of me.”

15. THERE WAS AN ACTUAL CANDYMAN KILLER.

Though the Chicago-based legend of Candyman is a work of fiction, there was an actual serial killer known as “Candyman” or “The Candy Man.” Between 1970 and 1973, Dean Corll kidnapped, tortured, and murdered at least 28 young boys in the Houston area. Corll earned his sweet nickname from the fact that his family owned a candy factory.

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10 Facts About Samuel Johnson’s Dictionary
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October 16 is World Dictionary Day, which each year celebrates the birthday of the American lexicographer Noah Webster, who was born in Connecticut in 1758. Last year, Mental Floss marked the occasion with a list of facts about Webster’s American Dictionary of the English Language—the enormous two-volume dictionary, published in 1828 when Webster was 70 years old, that established many of the differences that still divide American and British English to this day. But while Webster was America’s foremost lexicographer, on the other side of the Atlantic, Great Britain had Dr. Samuel Johnson.

Johnson—whose 308th birthday was marked with a Google Doodle in September—published the equally groundbreaking Dictionary of the English Language in 1755, three years before Webster was even born. Its influence was arguably just as great as that of Webster’s, and it remained the foremost dictionary of British English until the early 1900s when the very first installments of the Oxford English Dictionary began to appear.

So to mark this year’s Dictionary Day, here are 10 facts about Johnson’s monumental dictionary.

1. IT WASN’T THE FIRST DICTIONARY.

With more than 40,000 entries, Johnson’s Dictionary of the English Language was certainly the largest dictionary in the history of the English language at the time but, despite popular opinion, it wasn’t the first. Early vocabularies and glossaries were being compiled as far back as the Old English period, when lists of words and their equivalents in languages like Latin and French first began to be used by scribes and translators. These were followed by educational word lists and then early bilingual dictionaries that began to emerge in the 16th century, which all paved the way for what is now considered the very first English dictionary: Robert Cawdrey’s Table Alphabeticall—in 1604.

2. SAMUEL JOHNSON BORROWED FROM THE DICTIONARIES THAT CAME BEFORE HIS.

In compiling his dictionary, Johnson drew on Nathan Bailey’s Dictionarium Britanicum, which had been published in 1730. (Ironically, a sequel to Bailey’s dictionary, A New Universal Etymological English Dictionary, was published in the same year as Johnson’s, and borrowed heavily from his work; its author, Joseph Nicoll Scott, even gave Johnson some credit for its publication.)

But just as Johnson had borrowed from Bailey and Scott had borrowed from Johnson, Bailey, too had borrowed from an earlier work—namely John Kersey’s Dictionarium Anglo-Britannicum (1708)—which was based in part on a technical vocabulary, John Harris’s Universal English Dictionary of Arts and Sciences. Lexicographic plagiarism was nothing new.

3. THE DICTIONARY WASN’T THE ONLY THING JOHNSON WROTE.

Although he’s best remembered as a lexicographer today, Johnson was actually something of a literary multitasker. As a journalist, he wrote for an early periodical called The Gentlemen’s Magazine. As a biographer, he wrote the Life of Mr Richard Savage (1744), a memoir of a friend and fellow writer who had died the previous year. Johnson also wrote numerous poems (London, published anonymously in 1738, was his first major published work), a novel (Rasselas, 1759), a stage play (Irene, 1749), and countless essays and critiques. He also co-edited an edition of Shakespeare’s plays. And in between all of that, he even found time to investigate a supposed haunted house in central London.

4. IT WAS THE FIRST DICTIONARY TO USE QUOTATIONS.

Johnson’s dictionary defined some 42,773 words, each of which was given a uniquely scholarly definition, complete with a suggested etymology and an armory of literary quotations—no fewer than 114,000 of them, in fact.

Johnson lifted quotations from books dating back to the 16th century for the citations in his dictionary, and relied heavily on the works of authors he admired and who were popular at the time—Shakespeare, John Milton, Alexander Pope, and Edmund Spenser included. In doing so, he established a lexicographic trend that still survives in dictionaries to this day.

5. IT TOOK MORE THAN EIGHT YEARS TO WRITE.

Defining 42,000 words and finding 114,000 quotes to help you do so takes time: Working from his home off Fleet Street in central London, Johnson and six assistants worked solidly for over eight years to bring his dictionary to print. (Webster, on the other hand, worked all but single-handedly, and used the 22 years it took him to compile his American Dictionary to learn 26 different languages.)

6. JOHNSON WAS WELL PAID FOR HIS TROUBLES.

Johnson was commissioned to write his dictionary by a group of London publishers, who paid him a princely 1,500 guineas—equivalent to roughly $300,000 (£225,000) today.

7. HE LEFT OUT A LOT OF WORDS.

The dictionary’s 42,000-word vocabulary might sound impressive, but it’s believed that the English language probably had as many as five times that many words around the time the dictionary was published in 1755. A lot of that shortfall was simply due to oversight: Johnson included the word irritable in four of his definitions, for instance, but didn’t list it as a headword in his own dictionary. He also failed to include a great many words found in the works of the authors he so admired, and in several of the source dictionaries he utilized, and in some cases he even failed to include the root forms of words whose derivatives were listed elsewhere in the dictionary. Athlete, for instance, didn’t make the final cut, whereas athletic did.

Johnson’s imposition of his own tastes and interests on his dictionary didn't help matters either. His dislike of French, for example, led to familiar words like unique, champagne, and bourgeois being omitted, while those he did include were given a thorough dressing down: ruse is defined as “a French word neither elegant nor necessary,” while finesse is dismissed as “an unnecessary word that is creeping into the language."

8. HE LEFT OUT THE LETTER X.

    At the foot of page 2308 of Johnson’s Dictionary is a note merely reading, “X is a letter which, though found in Saxon words, begins no word in the English language."

    9. HIS DEFINITIONS WEREN’T ALWAYS SO SCHOLARLY.

      As well as imposing his own taste on his dictionary, Johnson also famously employed his own sense of humor on his work. Among the most memorable of all his definitions is his explanation of oats as “a grain, which in England is generally given to horses, but in Scotland supports the people.” But he also defined monsieur as “a term of reproach for a Frenchman,” excise as “a hateful tax levied upon commodities and adjudged not by the common judges of property but wretches hired by those to whom excise is paid,” and luggage as “anything of more weight than value.” As an example of how to use the word dull, he explained that “to make dictionaries is dull work.”

      10. HE POKED LOTS OF FUN AT HIS OWN OCCUPATION.

      Listed on page 1195 of his dictionary, Johnson’s definition of lexicographer was “a writer of dictionaries; a harmless drudge.”

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