1 00:00:00,040 --> 00:00:04,400 Speaker 1: Fellow ridiculous historians. We are returning with a dope beat 2 00:00:04,440 --> 00:00:09,120 Speaker 1: for you to step two, Step two, step two. Yeah, 3 00:00:09,200 --> 00:00:14,280 Speaker 1: for sure, we are returning with part two of History's 4 00:00:14,520 --> 00:00:18,040 Speaker 1: Weirdest Flexes. And guys, we had such a great time 5 00:00:18,079 --> 00:00:20,680 Speaker 1: on this one with our pals Jack and Miles from 6 00:00:20,680 --> 00:00:21,759 Speaker 1: the Daily Zeitgeist. 7 00:00:22,720 --> 00:00:25,480 Speaker 2: You're certainly familiar with the phrase weird flex But okay, 8 00:00:26,079 --> 00:00:29,240 Speaker 2: and we go deep down the historical rabbit hole of 9 00:00:29,320 --> 00:00:33,479 Speaker 2: weird flexes. You enjoyed part one, Now dive right on 10 00:00:33,640 --> 00:00:34,400 Speaker 2: end to Part two. 11 00:00:37,680 --> 00:00:41,760 Speaker 1: Ridiculous History is a production of iHeart Radio. Ridiculous History 12 00:00:41,840 --> 00:01:09,279 Speaker 1: is a production of iHeart Radio. And we're back. Thanks 13 00:01:09,280 --> 00:01:14,000 Speaker 1: for tuning in. Welcome to Part two of Weird Historical Flexes, or, 14 00:01:14,160 --> 00:01:17,839 Speaker 1: as we have come to find, perhaps a cruel historical Flexes. 15 00:01:18,080 --> 00:01:21,399 Speaker 1: I'm Ben, I am Noel, and that's our super producer 16 00:01:21,520 --> 00:01:26,360 Speaker 1: Casey Pegram, who, to our knowledge, has never eaten twenty tortoises. 17 00:01:26,840 --> 00:01:29,800 Speaker 1: We are not venturing into this alone, listeners. You recall 18 00:01:29,840 --> 00:01:33,400 Speaker 1: from our previous episode we had two of our favorite 19 00:01:33,400 --> 00:01:37,760 Speaker 1: fellow podcasters on and they decided to be kind enough 20 00:01:37,760 --> 00:01:40,520 Speaker 1: to return for the second part of this show. Let's 21 00:01:40,560 --> 00:01:44,000 Speaker 1: welcome the Daily Zeitgeist. Miles and Jack back on the air. 22 00:01:44,280 --> 00:01:46,800 Speaker 3: WHOA, thanks for having us. 23 00:01:46,680 --> 00:01:47,560 Speaker 4: Truth be told. 24 00:01:47,680 --> 00:01:50,120 Speaker 2: They didn't really return so much as just stayed in 25 00:01:50,160 --> 00:01:53,760 Speaker 2: the same place, and we you know, through the Magical podcast, 26 00:01:53,840 --> 00:01:54,280 Speaker 2: we didn't have. 27 00:01:54,280 --> 00:01:57,160 Speaker 5: To go in for a whole week. I'm so thirsty. 28 00:01:57,240 --> 00:01:59,320 Speaker 3: Yeah, we just sat in our seats on pause. 29 00:01:59,480 --> 00:02:00,280 Speaker 4: Doesn't it doesn't. 30 00:02:00,320 --> 00:02:02,240 Speaker 2: Robert Evans have some like mountain dew that you guys 31 00:02:02,240 --> 00:02:03,360 Speaker 2: could have. 32 00:02:03,840 --> 00:02:06,080 Speaker 3: Oh no, if we touch his mountain dew, we are 33 00:02:06,120 --> 00:02:08,639 Speaker 3: in like, we will actually be in harm's way. 34 00:02:08,760 --> 00:02:10,160 Speaker 4: Okay, sometimes don't touch. 35 00:02:10,240 --> 00:02:11,679 Speaker 3: We don't touch Evans's do. 36 00:02:12,280 --> 00:02:16,320 Speaker 1: Yeah, sometimes sends me out of context text about that 37 00:02:16,720 --> 00:02:18,880 Speaker 1: and he's like, don't touch my lot and do And 38 00:02:19,040 --> 00:02:21,640 Speaker 1: I didn't know. I didn't know the number at first, 39 00:02:21,639 --> 00:02:22,680 Speaker 1: so I was very confused. 40 00:02:22,800 --> 00:02:22,880 Speaker 5: No. 41 00:02:23,120 --> 00:02:25,640 Speaker 3: One time I was driving with him and we saw 42 00:02:25,720 --> 00:02:27,840 Speaker 3: a person at a bus stop drinking a mountain dew 43 00:02:27,919 --> 00:02:29,919 Speaker 3: and he's like, rolled down your window, roll down your window, 44 00:02:30,040 --> 00:02:32,320 Speaker 3: and he stuck his head on, goes that's mine, and 45 00:02:32,840 --> 00:02:35,120 Speaker 3: that person was so confused and took it from him 46 00:02:35,120 --> 00:02:37,200 Speaker 3: and drove off. So that's what we're talking about. When 47 00:02:37,240 --> 00:02:39,480 Speaker 3: we talked to talk about Robert Evans. 48 00:02:39,560 --> 00:02:40,600 Speaker 4: Uh what do you call that? 49 00:02:40,639 --> 00:02:45,880 Speaker 3: His do privilege? Yeah yeah, do mania, do mania, whatever 50 00:02:45,880 --> 00:02:47,520 Speaker 3: you want, right he uh yeah. 51 00:02:47,520 --> 00:02:49,960 Speaker 5: Whenever you're driving him somewhere, he never tells you when 52 00:02:50,000 --> 00:02:51,560 Speaker 5: to stop. He just rolls out of the. 53 00:02:51,520 --> 00:02:55,680 Speaker 4: Car and like that, he's gone. It's it's it's crazy. 54 00:02:55,680 --> 00:02:56,280 Speaker 4: It's funny that. 55 00:02:56,200 --> 00:02:58,880 Speaker 5: We're talking about over and there's an open flapping door. 56 00:02:59,080 --> 00:03:02,040 Speaker 2: That's that's really dangerous for you and very disrespectful to 57 00:03:02,120 --> 00:03:05,200 Speaker 2: your vehicle. But you know, Robert is an interesting character. 58 00:03:05,360 --> 00:03:07,800 Speaker 2: I was speaking of sugary beverages. I'm going to do 59 00:03:08,800 --> 00:03:10,000 Speaker 2: sugary weird flex. 60 00:03:10,040 --> 00:03:10,440 Speaker 1: Okay. 61 00:03:10,639 --> 00:03:13,360 Speaker 2: So when Ben first hipped me to this one, it 62 00:03:13,400 --> 00:03:15,480 Speaker 2: was described in the article that I read in a 63 00:03:15,520 --> 00:03:19,680 Speaker 2: list on I nine as displays of opulence in the 64 00:03:19,760 --> 00:03:24,560 Speaker 2: UK during the seventeen hundreds, being. 65 00:03:25,960 --> 00:03:27,799 Speaker 4: Piles of sugar just. 66 00:03:27,880 --> 00:03:32,080 Speaker 2: Laying around the house like Tony like like scarface style, 67 00:03:32,200 --> 00:03:34,800 Speaker 2: just like say, hey, check out my sugar. This is 68 00:03:34,840 --> 00:03:37,320 Speaker 2: how much money I have because I'm showing you because 69 00:03:37,320 --> 00:03:39,920 Speaker 2: I have piles of sugar all over the house. And 70 00:03:39,960 --> 00:03:41,400 Speaker 2: you know, we think of that in terms of today 71 00:03:41,440 --> 00:03:43,480 Speaker 2: that just means you're keeping a very messy kitchen. 72 00:03:43,760 --> 00:03:45,560 Speaker 4: But this was on display, but. 73 00:03:45,600 --> 00:03:48,840 Speaker 2: As it turns out, it wasn't just piles of sugar, 74 00:03:48,960 --> 00:03:51,960 Speaker 2: or it may have been at first, but it actually 75 00:03:52,360 --> 00:03:58,680 Speaker 2: evolved into these really ostentatious sugar sculptures. 76 00:03:58,800 --> 00:04:01,760 Speaker 4: Sweet get it, I do, Ben, I do get it? 77 00:04:02,000 --> 00:04:04,040 Speaker 2: Uh? And I said seven six seventeen hundreds, and I 78 00:04:04,040 --> 00:04:06,120 Speaker 2: actually meant sixteen hundreds. But what's one hundred? You know, 79 00:04:06,160 --> 00:04:10,720 Speaker 2: what's what's what's what's that between fresh drops in the bucket? 80 00:04:10,760 --> 00:04:15,000 Speaker 2: So here's the thing. A decorative sugar was achieved by 81 00:04:15,080 --> 00:04:18,039 Speaker 2: using things like gum arabic and then it was mixed 82 00:04:18,040 --> 00:04:21,039 Speaker 2: into this kind of paste that you could sculpt into 83 00:04:21,120 --> 00:04:25,240 Speaker 2: these figures. And whether they were large sculptures that would 84 00:04:25,279 --> 00:04:28,040 Speaker 2: be on display constantly, or whether they were these kind 85 00:04:28,080 --> 00:04:32,760 Speaker 2: of small, little hardened sugary baked confections that that could 86 00:04:32,760 --> 00:04:35,320 Speaker 2: then be eaten. And the most bizarre part of this 87 00:04:35,400 --> 00:04:38,760 Speaker 2: to me is the fact that they were called subtleties 88 00:04:40,000 --> 00:04:42,000 Speaker 2: and they're not. They're not subtle at all. Right, that 89 00:04:42,400 --> 00:04:44,240 Speaker 2: a flex isn't meant to be subtle. The flex is 90 00:04:44,279 --> 00:04:45,920 Speaker 2: a flex is it's in your face, and like, check 91 00:04:45,920 --> 00:04:48,760 Speaker 2: out this weird thing that I'm doing, remark upon my wealth. 92 00:04:48,960 --> 00:04:52,359 Speaker 2: But they were called subtleties, and the smaller forms of 93 00:04:52,360 --> 00:04:54,600 Speaker 2: them that were these little creatures would be formed into 94 00:04:54,600 --> 00:04:58,000 Speaker 2: things like buildings or animals, and they were meant to 95 00:04:58,040 --> 00:05:01,839 Speaker 2: be admired before they were eaten. So they were eaten. 96 00:05:02,120 --> 00:05:04,719 Speaker 2: They were eaten. But here's the thing. It was all 97 00:05:05,160 --> 00:05:10,080 Speaker 2: in the king class, the nobles, knights, and clergy, and 98 00:05:10,360 --> 00:05:13,239 Speaker 2: you had to have a whole lot of expendable sugar 99 00:05:13,640 --> 00:05:16,000 Speaker 2: to make these things, to be able to spare enough 100 00:05:16,000 --> 00:05:18,720 Speaker 2: to actually kind of like sacrifice them for these kind 101 00:05:18,760 --> 00:05:22,000 Speaker 2: of weird little flexes or giant flexes the case might be. 102 00:05:22,960 --> 00:05:27,600 Speaker 2: And it was kind of this display of craftsmanship and 103 00:05:27,839 --> 00:05:31,680 Speaker 2: also culinary skills. But a lot of them actually were 104 00:05:31,720 --> 00:05:35,960 Speaker 2: satirical symbols or they had messages that were conveyed to 105 00:05:36,000 --> 00:05:40,640 Speaker 2: the guests. And Henry the Fifth when he was when 106 00:05:40,680 --> 00:05:45,120 Speaker 2: he received his coronation ceremony, he did that very thing. 107 00:05:46,320 --> 00:05:48,000 Speaker 4: They were symbols that. 108 00:05:48,000 --> 00:05:52,840 Speaker 2: Kind of confirmed his privilege as the basically a godlike 109 00:05:53,600 --> 00:05:57,520 Speaker 2: power as the king and also knights rites, and it 110 00:05:57,640 --> 00:06:02,839 Speaker 2: also highlighted the this whole concept that you could it 111 00:06:02,839 --> 00:06:05,359 Speaker 2: was almost this nihilistic idea that you could take something 112 00:06:05,600 --> 00:06:08,400 Speaker 2: that was artisanally created and that was meant to be 113 00:06:08,400 --> 00:06:11,320 Speaker 2: beautiful and you could remark on it and then you know, 114 00:06:11,760 --> 00:06:15,680 Speaker 2: admire it, but then devour it. As very similar to 115 00:06:15,720 --> 00:06:19,240 Speaker 2: your turtle story, Jack, where it's like, Okay, we're gonna 116 00:06:19,320 --> 00:06:22,080 Speaker 2: like note, you know, Darwin's gonna make notes about how 117 00:06:22,240 --> 00:06:24,680 Speaker 2: rare and beautiful these creatures are and we should, you know, 118 00:06:24,720 --> 00:06:26,560 Speaker 2: take care of them. And then I'm going to eat 119 00:06:26,600 --> 00:06:28,880 Speaker 2: it just to show that I am the master of 120 00:06:28,880 --> 00:06:31,359 Speaker 2: my own destiny and that no one is above me. 121 00:06:32,080 --> 00:06:35,240 Speaker 2: So that is totally what happened here. And then here's 122 00:06:35,279 --> 00:06:41,920 Speaker 2: the thing. Over time, it became less of a completely 123 00:06:42,000 --> 00:06:46,000 Speaker 2: upper class thing because sugar became less expensive and it 124 00:06:46,160 --> 00:06:50,280 Speaker 2: was something that you know, lower class people could afford too. 125 00:06:50,640 --> 00:06:53,279 Speaker 4: But have you guys ever heard of the artist Carol Walker. 126 00:06:53,920 --> 00:06:56,360 Speaker 1: Yes, actually, but I'm the worst person asked. 127 00:06:56,279 --> 00:06:57,720 Speaker 4: You are the worst person. Now you're the best person, 128 00:06:57,760 --> 00:06:57,960 Speaker 4: ask me. 129 00:06:58,040 --> 00:06:58,120 Speaker 1: So. 130 00:06:58,200 --> 00:07:01,160 Speaker 2: Cara Walker is a New York City artist who does 131 00:07:01,200 --> 00:07:03,240 Speaker 2: You may have seen some of her work. They are 132 00:07:03,520 --> 00:07:07,040 Speaker 2: silhouette stuff, the silhouette stuff exactly, and they're depicting ante 133 00:07:07,040 --> 00:07:11,240 Speaker 2: bellum culture and just the brutal, the brutality of racism. 134 00:07:11,520 --> 00:07:16,040 Speaker 2: They're simultaneously kind of grotesque and they're beautiful, and they're 135 00:07:16,080 --> 00:07:19,440 Speaker 2: also kind of darkly comic, where there are these kind 136 00:07:19,480 --> 00:07:23,560 Speaker 2: of shadow figures in profile doing all these various things 137 00:07:23,600 --> 00:07:26,800 Speaker 2: that would have happened during those times. She did an 138 00:07:26,960 --> 00:07:31,040 Speaker 2: art installation in New York City in Brooklyn actually at 139 00:07:31,080 --> 00:07:34,920 Speaker 2: the former site of the Domino Sugar factory, and it 140 00:07:35,040 --> 00:07:39,760 Speaker 2: was called a Subtlety, and it was a giant sphynx 141 00:07:40,160 --> 00:07:43,720 Speaker 2: that was thirty five feet tall and was created with 142 00:07:43,960 --> 00:07:47,880 Speaker 2: just tons of this sugar paste and was molded into 143 00:07:48,320 --> 00:07:52,960 Speaker 2: a massive sphynx like sculpture with the face akin to 144 00:07:53,720 --> 00:07:59,400 Speaker 2: kind of the really really stereotypical image of like Jemima 145 00:07:59,560 --> 00:08:03,880 Speaker 2: or like the Mammy kind of trope. Yeah, yes, utterly racist, 146 00:08:04,240 --> 00:08:07,200 Speaker 2: and with kind of like a bandana on. And then 147 00:08:07,240 --> 00:08:10,000 Speaker 2: throughout the factory or all of these like kind of 148 00:08:10,040 --> 00:08:14,400 Speaker 2: like hidden messages talking about how you know, black people 149 00:08:14,480 --> 00:08:17,640 Speaker 2: were sort of commodified and to cut cane and to 150 00:08:17,760 --> 00:08:20,000 Speaker 2: participate in the sugar trade and all of that. 151 00:08:20,240 --> 00:08:21,680 Speaker 4: So it's sort of taking this like. 152 00:08:21,760 --> 00:08:27,440 Speaker 2: Old, kind of forgotten, weird flex the Subtleties, which, again, 153 00:08:27,520 --> 00:08:30,160 Speaker 2: since sugar was so rare, it was saying like, hey, 154 00:08:30,240 --> 00:08:32,000 Speaker 2: I've got so much money that I can take my 155 00:08:32,080 --> 00:08:34,599 Speaker 2: expense of sugar and make it into these like frivolous 156 00:08:34,600 --> 00:08:36,679 Speaker 2: things that are then devoured by my guests. 157 00:08:36,760 --> 00:08:38,800 Speaker 1: And this was twenty fourteen when she did this. 158 00:08:38,800 --> 00:08:41,720 Speaker 2: This was twenty fourteen exactly, and I think it's not 159 00:08:41,920 --> 00:08:46,240 Speaker 2: there anymore. But it attracted about four thousand viewers when 160 00:08:46,240 --> 00:08:48,240 Speaker 2: it first went on display, and it was a very 161 00:08:48,240 --> 00:08:52,720 Speaker 2: popular exhibition for quite some time. But yeah, what do 162 00:08:52,720 --> 00:08:54,520 Speaker 2: you guys think about that? There's a lot to unpacked there. 163 00:08:55,240 --> 00:08:58,839 Speaker 3: Yeah, just piles of sugar just make me nervous as 164 00:08:58,840 --> 00:09:01,679 Speaker 3: someone who grew up in California, where ants appear out 165 00:09:01,679 --> 00:09:05,480 Speaker 3: of nowhere, and I was always raised to like even 166 00:09:05,559 --> 00:09:08,880 Speaker 3: rinse out cans or juice boxes because ants would show 167 00:09:08,960 --> 00:09:12,520 Speaker 3: up and always caused a lot of anxiety. But also, 168 00:09:12,679 --> 00:09:15,240 Speaker 3: but also hearing about the Kara Walker piece is good too, 169 00:09:15,320 --> 00:09:17,400 Speaker 3: you know, because reminding people that yes, you may have 170 00:09:17,480 --> 00:09:19,920 Speaker 3: these opulent displays in your homes, but at what cost? 171 00:09:20,280 --> 00:09:22,680 Speaker 3: Who were the people whose blood was spilled to even 172 00:09:22,720 --> 00:09:26,240 Speaker 3: get these things to your house? But yeah, I think 173 00:09:26,679 --> 00:09:29,760 Speaker 3: just like you know, piling stuff up is I've got 174 00:09:29,880 --> 00:09:32,240 Speaker 3: to say I'm not as impressed, you know, just a 175 00:09:32,280 --> 00:09:34,920 Speaker 3: pile of a thing, you know, like gold statues or 176 00:09:34,960 --> 00:09:38,719 Speaker 3: like gold piles, sugar piles, sugar statues. I mean, I 177 00:09:38,720 --> 00:09:40,280 Speaker 3: think we could go a little bit further than that, 178 00:09:40,360 --> 00:09:43,200 Speaker 3: but you know it's I'll rate that. I'll give it 179 00:09:43,200 --> 00:09:45,920 Speaker 3: a solid five on the flex chart. 180 00:09:46,080 --> 00:09:46,640 Speaker 1: Ten. Yeah. 181 00:09:46,720 --> 00:09:47,839 Speaker 3: Yeah, that's a five out of ten. 182 00:09:48,280 --> 00:09:51,480 Speaker 5: That's a five out of ten for me, dude. Yeah. 183 00:09:51,559 --> 00:09:54,440 Speaker 5: Do we think that they called them like, was this 184 00:09:55,080 --> 00:09:59,000 Speaker 5: around the time that sarcasm was invented? Because the calling 185 00:09:59,000 --> 00:10:02,400 Speaker 5: them subtle these is like, so that sounds like the 186 00:10:02,440 --> 00:10:06,040 Speaker 5: sort of thing that would be invented when someone was like, wow, 187 00:10:06,080 --> 00:10:06,760 Speaker 5: that's subtle. 188 00:10:06,960 --> 00:10:09,560 Speaker 3: Yeah, I think almost even naming it a subtlety, that's 189 00:10:09,600 --> 00:10:10,160 Speaker 3: actually the. 190 00:10:10,120 --> 00:10:11,199 Speaker 1: Flex, that's flex. 191 00:10:11,360 --> 00:10:14,679 Speaker 3: Yeah, that's a really good point. You really go, oh 192 00:10:14,760 --> 00:10:16,960 Speaker 3: that that that bit of subtlety there. 193 00:10:17,120 --> 00:10:20,120 Speaker 2: I also, I also love, I love the notion of 194 00:10:20,160 --> 00:10:23,280 Speaker 2: this idea of the invention of sarcasm. I think that's 195 00:10:23,320 --> 00:10:25,160 Speaker 2: just like that all of a sudden, it just you know, 196 00:10:25,240 --> 00:10:28,400 Speaker 2: poofed into existence. People were like smart asses just overnight. 197 00:10:29,040 --> 00:10:32,439 Speaker 2: I think it's fantastic. But no, yeah, I completely agree. 198 00:10:32,520 --> 00:10:36,080 Speaker 2: It is utterly a snark to call these things subtlety 199 00:10:36,160 --> 00:10:39,640 Speaker 2: and even more leaning in to that opulent display. It's like, oh, 200 00:10:39,640 --> 00:10:41,720 Speaker 2: it's not it's no big deal, it's nothing, you know, 201 00:10:41,800 --> 00:10:45,839 Speaker 2: it's just you know, my opulence and absurd, obscene wealth. 202 00:10:45,679 --> 00:10:48,880 Speaker 1: And terribly cruel. Because we have to also remember to 203 00:10:48,920 --> 00:10:52,319 Speaker 1: your point, Miles, especially at that time, in the age 204 00:10:52,320 --> 00:10:57,760 Speaker 1: of the subtleties, this was highly likely to be a 205 00:10:57,800 --> 00:11:01,839 Speaker 1: slave created sugar, you know what I mean. So that's 206 00:11:02,160 --> 00:11:04,160 Speaker 1: I would say, that's even less weird. Fle's more of 207 00:11:04,160 --> 00:11:05,000 Speaker 1: a brutal one. 208 00:11:09,520 --> 00:11:11,319 Speaker 2: I will say this, there's something I wanted to add 209 00:11:11,360 --> 00:11:14,520 Speaker 2: a little later in the sixteen hundreds, there's actually a 210 00:11:14,600 --> 00:11:17,240 Speaker 2: cookbook from a royal cook in the in the court 211 00:11:17,679 --> 00:11:21,160 Speaker 2: named Robert May and he describes even taking this to 212 00:11:21,200 --> 00:11:24,200 Speaker 2: the next level, where there would be, for example, a 213 00:11:24,320 --> 00:11:28,760 Speaker 2: stag made of sugar, full size that bleeds wine when 214 00:11:28,800 --> 00:11:30,360 Speaker 2: an arrow is removed from it. 215 00:11:30,520 --> 00:11:31,760 Speaker 4: That's like sticking in there. 216 00:11:32,600 --> 00:11:37,439 Speaker 2: Or you've got like a castle that actually fires live 217 00:11:37,679 --> 00:11:41,880 Speaker 2: artillery rounds made of sugar, or you have something like 218 00:11:41,880 --> 00:11:45,240 Speaker 2: like a giant pie made of sugar that's filled with 219 00:11:45,360 --> 00:11:48,280 Speaker 2: live birds that then fly out when they crack open 220 00:11:48,320 --> 00:11:49,360 Speaker 2: the sugary crust. 221 00:11:49,520 --> 00:11:51,680 Speaker 1: So does that take it? Does that take it up 222 00:11:51,720 --> 00:11:52,720 Speaker 1: to six or seven. 223 00:11:52,840 --> 00:11:55,200 Speaker 4: Can I have a point back, please, gentlemen? Thank you? 224 00:11:55,320 --> 00:11:59,800 Speaker 3: Oh yeah, no, no, no, that the cannon firing sugar. That's 225 00:11:59,840 --> 00:12:03,880 Speaker 3: an eight. That's an eight for sure. Yes, lest we. 226 00:12:04,160 --> 00:12:08,600 Speaker 5: Start to think we're too superior to history again, guys, 227 00:12:08,920 --> 00:12:10,920 Speaker 5: I did this in the last episode. I have to 228 00:12:10,960 --> 00:12:13,520 Speaker 5: take it back to the two and three year old 229 00:12:13,559 --> 00:12:18,200 Speaker 5: birthday parties. Yeah, I frequent for just my own personal 230 00:12:18,880 --> 00:12:22,319 Speaker 5: fun on the weekends, but no, I have a three 231 00:12:22,400 --> 00:12:23,120 Speaker 5: year old son. 232 00:12:23,200 --> 00:12:25,240 Speaker 3: You do have to dunk on your son, right, Like, 233 00:12:25,480 --> 00:12:27,440 Speaker 3: I went to so many parties this weekend. Did you 234 00:12:27,440 --> 00:12:27,840 Speaker 3: go to. 235 00:12:28,640 --> 00:12:33,440 Speaker 5: He's not invited. But I was at a birthday party 236 00:12:33,600 --> 00:12:38,520 Speaker 5: very recently where they had a probably you know, it 237 00:12:38,640 --> 00:12:42,880 Speaker 5: was probably the size of it was bigger than any 238 00:12:42,920 --> 00:12:47,080 Speaker 5: dollhouse I've ever seen. It was a cake that was, 239 00:12:48,280 --> 00:12:51,880 Speaker 5: you know, taller than two people standing on each other's shoulders. 240 00:12:52,880 --> 00:12:55,439 Speaker 5: That was in the shape of like a castle. Also, 241 00:12:55,559 --> 00:13:00,280 Speaker 5: it was a Disney castle, obviously, And I overheard one 242 00:13:00,320 --> 00:13:03,959 Speaker 5: of the moms say, oh, get my daughter out of here. 243 00:13:04,000 --> 00:13:06,640 Speaker 5: I don't want her to see that cake because she 244 00:13:06,720 --> 00:13:09,760 Speaker 5: didn't want the competition for like her daughter's birthday. 245 00:13:10,120 --> 00:13:12,880 Speaker 3: I was like, oh, that's so funny where something is 246 00:13:12,960 --> 00:13:16,040 Speaker 3: such a flex that you have to shield people's eyes. 247 00:13:16,080 --> 00:13:19,720 Speaker 4: Yeah, right, because it could forever ruin them. Exactly. 248 00:13:19,880 --> 00:13:21,319 Speaker 3: I can't let them think this is normal. I can't 249 00:13:21,360 --> 00:13:22,280 Speaker 3: let them think this is normal. 250 00:13:23,040 --> 00:13:28,160 Speaker 5: So we're still creating subtleties. They're just a giant rich 251 00:13:28,280 --> 00:13:29,600 Speaker 5: kid birthday party cakes. 252 00:13:29,600 --> 00:13:32,280 Speaker 1: I guess that's the new one. That's the new subtlety 253 00:13:32,720 --> 00:13:35,720 Speaker 1: and this. Okay, So so we we've got we've got 254 00:13:35,720 --> 00:13:40,000 Speaker 1: a pretty good track record of strange flexes now, but 255 00:13:40,120 --> 00:13:44,720 Speaker 1: we've been building up to an especially and especially weird 256 00:13:44,800 --> 00:13:48,800 Speaker 1: flex that's gonna come from you, Miles. So everybody listening, 257 00:13:49,080 --> 00:13:54,040 Speaker 1: if this was a somewhat uninteresting or lackluster show for 258 00:13:54,040 --> 00:13:55,920 Speaker 1: for so far, then. 259 00:13:56,520 --> 00:13:57,480 Speaker 4: Why are you listening? 260 00:13:57,520 --> 00:14:00,480 Speaker 1: First because you believe in us, then you believe Miles 261 00:14:00,840 --> 00:14:04,160 Speaker 1: and more importantly, Myles, no pressure, but literally everything is 262 00:14:04,200 --> 00:14:05,319 Speaker 1: writing on you, my friend. 263 00:14:05,679 --> 00:14:08,200 Speaker 3: Yeah. Well, I mean I when we were when we 264 00:14:08,200 --> 00:14:10,480 Speaker 3: were discussing doing this, I had a few ideas, but 265 00:14:10,520 --> 00:14:12,960 Speaker 3: I wanted to really bring it into the history thing 266 00:14:13,000 --> 00:14:16,839 Speaker 3: because recently, when I was in England, I went to 267 00:14:16,880 --> 00:14:19,640 Speaker 3: the you know, the the history museum there and saw 268 00:14:19,720 --> 00:14:23,160 Speaker 3: all the stolen history that is in there, and my 269 00:14:23,240 --> 00:14:25,880 Speaker 3: first idea was like, man, the English really know how 270 00:14:25,880 --> 00:14:27,440 Speaker 3: to flex on the rest of the world, because they 271 00:14:27,480 --> 00:14:30,280 Speaker 3: were like, I'll take your history and I'll keep it 272 00:14:30,320 --> 00:14:33,000 Speaker 3: here haha, and you can ask for it back, but 273 00:14:33,040 --> 00:14:34,200 Speaker 3: it doesn't mean I'm giving it back. 274 00:14:35,080 --> 00:14:35,680 Speaker 4: And then as I. 275 00:14:35,600 --> 00:14:37,560 Speaker 3: Looked into it more, I was like, Okay, so this 276 00:14:37,720 --> 00:14:40,960 Speaker 3: obviously it's a theme with how gigantic the British Empire 277 00:14:41,080 --> 00:14:45,080 Speaker 3: was at one time. But then I found out that 278 00:14:45,240 --> 00:14:48,440 Speaker 3: in Victorian England, one of the great flexes if you 279 00:14:48,440 --> 00:14:54,080 Speaker 3: were a person of means, was to obviously Egyptomania was 280 00:14:54,080 --> 00:14:58,000 Speaker 3: was huge in England, especially after the Napoleonic Wars and 281 00:14:58,040 --> 00:15:01,160 Speaker 3: things like that, but then it turned into a thing 282 00:15:01,400 --> 00:15:07,040 Speaker 3: where going to watch somebody just fully desecrate a mummy's body. 283 00:15:08,040 --> 00:15:11,800 Speaker 3: Mummy unwrappings were a huge flex if you had the 284 00:15:11,840 --> 00:15:14,920 Speaker 3: money to go to a live mummy unwrapping. Now, what 285 00:15:15,040 --> 00:15:17,120 Speaker 3: is a mummy unwrapping? Well, let me tell you that 286 00:15:17,360 --> 00:15:21,000 Speaker 3: was my question. Yes, Thomas Pettigrew, he was, you know, 287 00:15:21,120 --> 00:15:24,040 Speaker 3: he was like this surgeon and a man of science. 288 00:15:24,280 --> 00:15:26,960 Speaker 3: But then eventually the Egyptian bug. He got bit by 289 00:15:27,000 --> 00:15:29,400 Speaker 3: the egypt bug and started thinking like man you know, 290 00:15:29,520 --> 00:15:32,760 Speaker 3: like what's like, what's really going on under all those wraps? 291 00:15:33,120 --> 00:15:35,680 Speaker 3: And he decided, yes, here we go. This is something 292 00:15:35,760 --> 00:15:38,600 Speaker 3: I can do. I can combine many things science, I 293 00:15:38,600 --> 00:15:43,080 Speaker 3: can combine people's just obsession with the darkness of Egypt 294 00:15:43,240 --> 00:15:45,760 Speaker 3: or just the sort of otherness of Egypt and get 295 00:15:45,760 --> 00:15:48,360 Speaker 3: them and sell some tickets at the same time. So 296 00:15:48,760 --> 00:15:52,000 Speaker 3: he wasn't the first person to unroll a mummy in 297 00:15:52,040 --> 00:15:55,280 Speaker 3: front of an audience, but he was. He was the 298 00:15:55,360 --> 00:15:57,320 Speaker 3: guy who kind of mainstreamed it as being like a 299 00:15:57,400 --> 00:16:00,680 Speaker 3: performance where people would buy tickets to go and just 300 00:16:00,760 --> 00:16:02,960 Speaker 3: watch this thing happen live and in person. 301 00:16:03,560 --> 00:16:04,840 Speaker 4: And can I stop you real quick? 302 00:16:04,960 --> 00:16:06,480 Speaker 2: Did he do it like where he just like on 303 00:16:06,520 --> 00:16:08,760 Speaker 2: Scooby Doo where he just pulls the one string and 304 00:16:08,760 --> 00:16:10,800 Speaker 2: then the mummy just spins out like a car with 305 00:16:10,800 --> 00:16:12,680 Speaker 2: cartoon sound effects, and there's. 306 00:16:12,480 --> 00:16:16,560 Speaker 3: Actually almost well, what's funny is there was someone in 307 00:16:16,680 --> 00:16:19,160 Speaker 3: France who was doing something similar to which is a 308 00:16:19,200 --> 00:16:22,160 Speaker 3: little more performative than just you know, sort of taking 309 00:16:22,160 --> 00:16:25,280 Speaker 3: the bandages off. In France, there were moments where they 310 00:16:25,280 --> 00:16:29,720 Speaker 3: would take a mummy that was going to be demummified 311 00:16:30,080 --> 00:16:33,640 Speaker 3: and put it like on this you know machine essentially 312 00:16:33,720 --> 00:16:37,360 Speaker 3: that made it look like the corpse was dancing as 313 00:16:37,400 --> 00:16:42,120 Speaker 3: the bandages were just ripped off the body, and people 314 00:16:42,120 --> 00:16:46,560 Speaker 3: were like, yo, that's cool, making it a real kind 315 00:16:46,600 --> 00:16:49,640 Speaker 3: of freaky performance. But in England, you know, England is 316 00:16:49,680 --> 00:16:53,480 Speaker 3: more about, as we said, the subtleties, so they they 317 00:16:53,520 --> 00:16:56,360 Speaker 3: took it a little more seriously, a little more dramatic 318 00:16:56,440 --> 00:16:59,400 Speaker 3: by you know, saying really, you know, just over the 319 00:16:59,480 --> 00:17:03,440 Speaker 3: elaborate monologues while then you know, cutting off all of 320 00:17:03,480 --> 00:17:07,960 Speaker 3: the bandages to demummify it when these mummy I guess 321 00:17:08,000 --> 00:17:11,360 Speaker 3: de rappings as they called him, were happening. The man 322 00:17:11,400 --> 00:17:14,639 Speaker 3: behind it, Thomas Pettigrew, had a few kind of dark 323 00:17:15,600 --> 00:17:19,040 Speaker 3: aims with doing this. One of the theories that people 324 00:17:19,119 --> 00:17:22,080 Speaker 3: have suggested that he was really also like, through de 325 00:17:22,240 --> 00:17:25,959 Speaker 3: mummifying these people, was trying to prove that ancient Egyptians 326 00:17:25,960 --> 00:17:31,320 Speaker 3: were actually Caucasian and not African origin, using like physiognomy 327 00:17:31,400 --> 00:17:34,800 Speaker 3: to like measure the cranium and things like that of 328 00:17:34,920 --> 00:17:38,879 Speaker 3: prenologists yeah, oh yeah, sorry, phrenology, right, or just to 329 00:17:38,960 --> 00:17:41,640 Speaker 3: basically be like, yeah, this is this is my fake 330 00:17:41,720 --> 00:17:45,800 Speaker 3: science to prove that the this old ancient empire was 331 00:17:45,840 --> 00:17:50,080 Speaker 3: actually in fact a Caucasian one, but again found this 332 00:17:50,160 --> 00:17:52,920 Speaker 3: way of everybody would come by watch the mummy get 333 00:17:52,920 --> 00:17:55,480 Speaker 3: de wrapped, and it was just like the biggest thing, 334 00:17:55,640 --> 00:17:59,119 Speaker 3: and it got so big that even there's even a 335 00:17:59,200 --> 00:18:02,639 Speaker 3: secondary flex to the d rappings. There was the Duke 336 00:18:02,680 --> 00:18:06,440 Speaker 3: of Hamilton at the time in eighteen fifty two when 337 00:18:06,600 --> 00:18:09,960 Speaker 3: one of his dying wishes was to have Pettigrew actually 338 00:18:10,040 --> 00:18:14,920 Speaker 3: mammify him and put him in an ancient Egyptian sarcophagus, 339 00:18:15,480 --> 00:18:17,879 Speaker 3: and he got his wish in eighteen fifty two. So 340 00:18:17,920 --> 00:18:19,760 Speaker 3: now we actually we've gone from people just being like, 341 00:18:20,000 --> 00:18:23,639 Speaker 3: let's just disrespect this ancient body to now let me 342 00:18:23,760 --> 00:18:26,400 Speaker 3: kick this ancient body out of the sarcophagus. Now let 343 00:18:26,400 --> 00:18:29,960 Speaker 3: me appropriate Mama fi me and put me in this sarcophagus. 344 00:18:30,040 --> 00:18:31,040 Speaker 3: And that's what happened. 345 00:18:31,119 --> 00:18:33,760 Speaker 5: And then he did a mummy unwrapping and scared everybody. 346 00:18:33,920 --> 00:18:37,879 Speaker 3: It was like that, no, I'm good, I'm good anyway, 347 00:18:38,600 --> 00:18:39,639 Speaker 3: coming to my birthday. 348 00:18:40,960 --> 00:18:47,040 Speaker 1: That's like Bonnaru costume level appropriation. It's beyond bon Oh yeah, 349 00:18:47,119 --> 00:18:48,680 Speaker 1: oh wait, Coachella, that's the one. 350 00:18:48,800 --> 00:18:51,640 Speaker 3: Yeah, yeah, yeah. He'd be like, I mean he acquired 351 00:18:51,760 --> 00:18:55,720 Speaker 3: a like an actual legitimate ancient sarcophagus and of like 352 00:18:55,760 --> 00:18:58,760 Speaker 3: a princess who wasn't named, but was like, that's that 353 00:18:58,800 --> 00:19:00,800 Speaker 3: will be my final sold to rest in. 354 00:19:00,880 --> 00:19:03,439 Speaker 4: I say, more power to him. Go ahead and mummify yourself. 355 00:19:03,440 --> 00:19:05,080 Speaker 2: That's sort of like a like a different version of 356 00:19:05,119 --> 00:19:08,000 Speaker 2: like go after yourself. Yeah, but get your own vehicle, right, absolutely? 357 00:19:08,080 --> 00:19:09,960 Speaker 2: Do you make build your own SARCOPHA guy? 358 00:19:10,200 --> 00:19:12,160 Speaker 4: Guy just do? Oh yeah, and yeah. 359 00:19:12,200 --> 00:19:15,760 Speaker 3: What's so funny is like he's actually because he's mummified 360 00:19:15,800 --> 00:19:18,760 Speaker 3: in a sarcophagus, he actually made it into the Encyclopedia 361 00:19:18,800 --> 00:19:21,600 Speaker 3: of Mummies. Oh yeah, which to me feels like a 362 00:19:21,640 --> 00:19:24,000 Speaker 3: little bit of a you know, sort of back door 363 00:19:24,160 --> 00:19:27,480 Speaker 3: entry to getting into college. Reminds me of Operations Varsity 364 00:19:27,480 --> 00:19:29,639 Speaker 3: Blues a little bit like did you earn it really? 365 00:19:29,960 --> 00:19:32,200 Speaker 3: Run a person of means who is able to buy 366 00:19:32,240 --> 00:19:34,400 Speaker 3: their own sarcophagus and then flex on people like that. 367 00:19:34,600 --> 00:19:36,480 Speaker 5: People are always trying to buy their way into the 368 00:19:36,640 --> 00:19:37,880 Speaker 5: Encyclopedia Mummies. 369 00:19:38,040 --> 00:19:40,439 Speaker 3: Yeah exactly. I mean it was a big problem, especially 370 00:19:40,440 --> 00:19:40,919 Speaker 3: in the eighties. 371 00:19:41,000 --> 00:19:44,240 Speaker 1: I'm going to give that one. At first, I was like, man, 372 00:19:44,280 --> 00:19:49,880 Speaker 1: this is clearly eight or nine, but making appropriating someone 373 00:19:50,200 --> 00:19:53,480 Speaker 1: in death for your own death that knocks it to 374 00:19:53,520 --> 00:19:55,960 Speaker 1: attend to me the hubris alone. 375 00:19:55,560 --> 00:19:59,159 Speaker 4: Not to mention that it is tickets are being sold. 376 00:19:59,440 --> 00:20:05,480 Speaker 2: It's it's completely commodifying and appropriating some very sacred ritual 377 00:20:05,560 --> 00:20:08,439 Speaker 2: in someone's culture that you clearly do not understand or 378 00:20:08,480 --> 00:20:11,919 Speaker 2: care to understand. You're just using it for the amusement 379 00:20:12,080 --> 00:20:15,520 Speaker 2: of the public, and so then you're also playing into stereotypes. 380 00:20:15,880 --> 00:20:18,000 Speaker 2: Everything bad about this. So I think we should have 381 00:20:18,040 --> 00:20:19,920 Speaker 2: two scales. I think we should have the weird flex 382 00:20:19,960 --> 00:20:21,320 Speaker 2: scale and the cruelty scale. 383 00:20:21,680 --> 00:20:28,800 Speaker 1: We have been going back and forth. Well, I will say, 384 00:20:28,800 --> 00:20:33,320 Speaker 1: on the upside, one good thing about this horrifically tragic 385 00:20:33,359 --> 00:20:37,639 Speaker 1: story is that in comparison, it makes the four of 386 00:20:37,720 --> 00:20:40,560 Speaker 1: us look pretty good because we haven't done that. It's 387 00:20:40,600 --> 00:20:41,160 Speaker 1: true yet. 388 00:20:41,240 --> 00:20:44,239 Speaker 3: Oh yeah, right, no, nothing, I mean, but I mean, 389 00:20:44,280 --> 00:20:47,480 Speaker 3: I'm not gonna lie. I'm every night when I when 390 00:20:47,520 --> 00:20:50,919 Speaker 3: I envision my future, it's having so much wealth that 391 00:20:51,000 --> 00:20:53,160 Speaker 3: I could also buy a mummy just on rapid right. 392 00:20:53,200 --> 00:20:53,920 Speaker 3: I'm gonna be honest. 393 00:20:53,920 --> 00:20:56,720 Speaker 5: I was gonna say, Okay, so, yes, this is what 394 00:20:56,760 --> 00:20:59,960 Speaker 5: we had instead of horror movies back then. But also 395 00:21:00,080 --> 00:21:03,560 Speaker 5: so this is something I could totally see working as 396 00:21:03,600 --> 00:21:05,320 Speaker 5: a flex in the modern world, Like if I was 397 00:21:05,359 --> 00:21:07,359 Speaker 5: at a party and someone was doing that, I'd be like, 398 00:21:07,440 --> 00:21:09,560 Speaker 5: that makes sense, and I'm impressed. 399 00:21:10,280 --> 00:21:11,080 Speaker 3: If they were like. 400 00:21:11,600 --> 00:21:15,119 Speaker 5: Defiling the historic object, it's like, I don't know, it's 401 00:21:15,160 --> 00:21:20,440 Speaker 5: still it's still just wildly insane and well it's weird. 402 00:21:20,480 --> 00:21:22,080 Speaker 5: We also have unboxing videos. 403 00:21:22,200 --> 00:21:27,160 Speaker 3: Yeah, but I guess back then, right, they didn't have 404 00:21:27,240 --> 00:21:29,560 Speaker 3: the same sort of values where like we should actually 405 00:21:29,560 --> 00:21:31,879 Speaker 3: preserve history. They're like, oh, y'all got to see what 406 00:21:31,920 --> 00:21:34,280 Speaker 3: I just stole from Egypt real quick, let's watch we 407 00:21:34,359 --> 00:21:37,359 Speaker 3: unwrap this mummy, Whereas now it would be like, because 408 00:21:37,400 --> 00:21:39,840 Speaker 3: you're just merely destroying something of such value, it's like 409 00:21:39,880 --> 00:21:42,080 Speaker 3: it's like, look at this vase from the Ming Dynasty. 410 00:21:42,240 --> 00:21:44,560 Speaker 3: I'm about to just toss off the freeway off ramp. 411 00:21:45,000 --> 00:21:46,000 Speaker 3: That would be pretty cool. 412 00:21:46,160 --> 00:21:48,960 Speaker 5: I could see it at a like Hollywood party of 413 00:21:49,040 --> 00:21:52,320 Speaker 5: some like caa agent or something like that, like somebody 414 00:21:52,320 --> 00:21:54,320 Speaker 5: who's cartoonishly a terrible person. 415 00:21:54,359 --> 00:21:57,040 Speaker 3: I'm pretty sure, something like when they wanted to open 416 00:21:57,119 --> 00:22:00,639 Speaker 3: that mummy, that sarcophagus like last year, and you're like, 417 00:22:00,680 --> 00:22:03,440 Speaker 3: what's the mummy? What's the water in that? Sarcastic people 418 00:22:03,480 --> 00:22:04,680 Speaker 3: like I want to drink the mummy water. 419 00:22:04,920 --> 00:22:05,800 Speaker 5: Yeah, mummy water. 420 00:22:05,880 --> 00:22:06,320 Speaker 1: Remember that. 421 00:22:06,359 --> 00:22:09,080 Speaker 2: I'm pretty sure Nick Cage had a mummy at one point, 422 00:22:09,200 --> 00:22:11,640 Speaker 2: so that's probably available because I think he I think 423 00:22:11,640 --> 00:22:14,320 Speaker 2: there's like a serious Nick Cage garage sale going on. 424 00:22:14,440 --> 00:22:17,639 Speaker 4: He had a t rex skull, so surely he had 425 00:22:17,680 --> 00:22:18,440 Speaker 4: a mummy as well. 426 00:22:18,440 --> 00:22:20,760 Speaker 2: I'm just conjecturing here, but I'd like to believe that 427 00:22:20,880 --> 00:22:21,200 Speaker 2: he did. 428 00:22:21,240 --> 00:22:21,520 Speaker 1: Snap. 429 00:22:23,080 --> 00:22:24,560 Speaker 4: He's a he's a He's an odd character. 430 00:22:25,600 --> 00:22:28,720 Speaker 2: Geez, guys, this was a lot less fun than I 431 00:22:28,720 --> 00:22:29,439 Speaker 2: thought it was gonna be. 432 00:22:29,440 --> 00:22:31,000 Speaker 4: And that is not on you. That is just on 433 00:22:31,200 --> 00:22:36,439 Speaker 4: history itself. Uh, come on history, Yeah, I think, I 434 00:22:36,440 --> 00:22:38,800 Speaker 4: mean yeah, yeah, no, No, I had a great time. 435 00:22:38,920 --> 00:22:41,040 Speaker 4: I had a great time. But these stories were most 436 00:22:41,119 --> 00:22:42,520 Speaker 4: of them were kind of bummers. 437 00:22:42,760 --> 00:22:45,440 Speaker 2: I would say the the least bummery one was Ben's 438 00:22:45,800 --> 00:22:50,160 Speaker 2: uh decorative hobo story, and even that was pretty hermits. 439 00:22:50,320 --> 00:22:55,880 Speaker 2: I'm sorry, sorry decorative Hobo to appropriate what happened? Hey, 440 00:22:56,040 --> 00:22:59,440 Speaker 2: don't you accuse me of appropriation, sir? I would never, 441 00:22:59,520 --> 00:22:59,800 Speaker 2: I would. 442 00:23:00,480 --> 00:23:02,560 Speaker 3: It all depends on what your flavor is A flex 443 00:23:02,600 --> 00:23:05,000 Speaker 3: I mean Jack's was about animal. 444 00:23:04,680 --> 00:23:07,760 Speaker 5: Cruelty, Yeah, flexing on the animals. 445 00:23:07,320 --> 00:23:12,800 Speaker 3: Yeah, subtleties was about slavery. Uh, the mind was about colonialism, 446 00:23:12,880 --> 00:23:15,680 Speaker 3: empire and the desecration of people's cultures. 447 00:23:15,840 --> 00:23:15,959 Speaker 1: Yea. 448 00:23:16,680 --> 00:23:18,840 Speaker 3: And then the other one was about taking advantage of 449 00:23:18,840 --> 00:23:19,440 Speaker 3: the destitute. 450 00:23:19,760 --> 00:23:22,200 Speaker 5: Sure you know your bum son. 451 00:23:22,640 --> 00:23:25,520 Speaker 3: Yeah, And I guess now, I guess nowadays the flexes 452 00:23:25,520 --> 00:23:27,639 Speaker 3: are better because now we're just saying, like, yeah, I 453 00:23:27,640 --> 00:23:31,640 Speaker 3: actually like I went to high school with Chris Rocks 454 00:23:31,720 --> 00:23:34,240 Speaker 3: kid and I beat him in basketball. So there's that, 455 00:23:34,400 --> 00:23:38,040 Speaker 3: all right, But okay. 456 00:23:37,800 --> 00:23:40,119 Speaker 1: I'm gonna tell people that's a true story about you. 457 00:23:40,240 --> 00:23:40,440 Speaker 4: Now. 458 00:23:40,760 --> 00:23:41,399 Speaker 1: Are you cool with that? 459 00:23:41,560 --> 00:23:41,760 Speaker 4: Yeah? 460 00:23:41,880 --> 00:23:43,639 Speaker 1: Back me up if it comes up in conversation. 461 00:23:44,440 --> 00:23:46,119 Speaker 3: Oh yeah, it's one of the many lies I do, 462 00:23:46,240 --> 00:23:46,760 Speaker 3: so don't worry. 463 00:23:46,840 --> 00:23:48,080 Speaker 4: Yeah, it's well. 464 00:23:48,119 --> 00:23:51,440 Speaker 2: Despite despite being kind of depressed right now, I'm also 465 00:23:51,640 --> 00:23:53,480 Speaker 2: really happy we got to do this and I did, 466 00:23:53,800 --> 00:23:56,159 Speaker 2: all things considered, have a really good time having you 467 00:23:56,200 --> 00:23:58,040 Speaker 2: guys on this show, and maybe we can make this 468 00:23:58,119 --> 00:24:00,760 Speaker 2: a regular thing. I think there's obviously way more historical 469 00:24:00,840 --> 00:24:03,639 Speaker 2: weird flexes that we can dig into and do this again. 470 00:24:04,280 --> 00:24:05,600 Speaker 4: Thank you guys so much for coming on. 471 00:24:06,200 --> 00:24:07,240 Speaker 1: I'm gonna do I. 472 00:24:07,280 --> 00:24:08,840 Speaker 3: Got more in my back pocket right now. 473 00:24:08,800 --> 00:24:11,720 Speaker 1: Let's do it. Yeah, I'm gonna I'm gonna actually take 474 00:24:11,760 --> 00:24:13,800 Speaker 1: it a step further, and I'm gonna try to make 475 00:24:13,840 --> 00:24:17,200 Speaker 1: some new, weird, historical flexes for the future that will 476 00:24:17,240 --> 00:24:21,600 Speaker 1: hopefully not be as terrible as these four turned out 477 00:24:21,600 --> 00:24:26,000 Speaker 1: to be. But guys, I know everybody listening is saying, well, 478 00:24:27,000 --> 00:24:29,920 Speaker 1: we enjoyed the hell out of hanging out with Jack 479 00:24:29,960 --> 00:24:32,840 Speaker 1: and Miles. Where can they find you before you come 480 00:24:32,880 --> 00:24:33,639 Speaker 1: back on this show? 481 00:24:34,040 --> 00:24:37,200 Speaker 5: You guys can find us at The Daily Zeitgeist. It's 482 00:24:37,240 --> 00:24:40,560 Speaker 5: a podcast that we do, as the name would suggest, 483 00:24:40,720 --> 00:24:45,560 Speaker 5: daily every weekday, Monday through Friday. It's an hour rundown 484 00:24:45,760 --> 00:24:50,119 Speaker 5: of just everything that's happened in the zeitgeist, pop culture news. 485 00:24:50,760 --> 00:24:52,119 Speaker 5: Those are kind of the two big ones. 486 00:24:52,200 --> 00:24:56,679 Speaker 3: Politics, politics, po tricks, you know, all of all of it. 487 00:24:57,680 --> 00:24:59,440 Speaker 5: Yeah, and you can find me on Twitter at Jack 488 00:24:59,520 --> 00:25:00,840 Speaker 5: Underscore Obrien. 489 00:25:01,200 --> 00:25:03,520 Speaker 3: Oh, you can find me on Twitter and Instagram at 490 00:25:03,520 --> 00:25:04,880 Speaker 3: Miles of Gray g r A. 491 00:25:04,960 --> 00:25:06,960 Speaker 1: Y and I want to give you guys a shout 492 00:25:06,960 --> 00:25:10,159 Speaker 1: out to to make sure that all our listeners know this. 493 00:25:11,320 --> 00:25:16,600 Speaker 1: You heard correct, folks. That's a daily podcast. Casey Nol 494 00:25:16,640 --> 00:25:19,720 Speaker 1: and I do this about two times a week. So 495 00:25:19,880 --> 00:25:24,240 Speaker 1: I am beyond impressed that you guys not only did 496 00:25:24,280 --> 00:25:26,760 Speaker 1: your regular show but also came here to do a 497 00:25:26,800 --> 00:25:30,439 Speaker 1: show with us. So thank you. That's amazing our pleasure. 498 00:25:30,640 --> 00:25:32,480 Speaker 5: We're big fans. We're thrilled to do it. 499 00:25:32,560 --> 00:25:35,200 Speaker 3: Yeah, and it's you know, and our show isn't as 500 00:25:35,240 --> 00:25:37,560 Speaker 3: thorough as yours is. Again, we like to consider our 501 00:25:37,600 --> 00:25:40,280 Speaker 3: show a second rate podcastecond rate podcast. Just do it 502 00:25:40,320 --> 00:25:41,400 Speaker 3: a lot, that's all. 503 00:25:42,400 --> 00:25:46,840 Speaker 1: So so check out check out the guys on Instagram 504 00:25:46,880 --> 00:25:50,240 Speaker 1: and Twitter if you want a closer look at the 505 00:25:50,280 --> 00:25:55,240 Speaker 1: second best garden gnome collection in East Los Angeles. That 506 00:25:55,240 --> 00:25:57,760 Speaker 1: that's a good callback if you listen to both episodes, 507 00:25:57,800 --> 00:26:00,720 Speaker 1: which you should. In the meantime, we're calling in to day. 508 00:26:00,760 --> 00:26:03,000 Speaker 1: We want to give a very late thanks and shout 509 00:26:03,000 --> 00:26:05,920 Speaker 1: out to our super producer, Casey Pegram. 510 00:26:06,000 --> 00:26:08,720 Speaker 2: We'd like to thank Alex Williams who composed our theme, 511 00:26:09,000 --> 00:26:12,840 Speaker 2: Gabe Lucier who helps us out with research, and I'm 512 00:26:12,920 --> 00:26:15,879 Speaker 2: just miss Christopher. I'm gonna give him anotherhout out. Christopherciota's 513 00:26:16,000 --> 00:26:19,359 Speaker 2: Jonathan Strickland the quizz you Ben, I'd like to thank 514 00:26:19,400 --> 00:26:22,159 Speaker 2: you for being a friend and a confidante and all 515 00:26:22,200 --> 00:26:23,840 Speaker 2: the things that are in the Golden Girls theme. 516 00:26:23,920 --> 00:26:28,000 Speaker 1: Song, and of course thanks again to Miles and Jack. 517 00:26:28,320 --> 00:26:30,639 Speaker 1: Thanks to everyone for checking this out. Hey, you know 518 00:26:30,680 --> 00:26:35,040 Speaker 1: what folks tell us about your favorite weird historical flexes 519 00:26:35,160 --> 00:26:39,560 Speaker 1: or even just very very petty things committed by historical 520 00:26:39,800 --> 00:26:40,639 Speaker 1: people of note. 521 00:26:40,800 --> 00:26:42,760 Speaker 2: And who knows, maybe this will be a running thing 522 00:26:42,800 --> 00:26:45,600 Speaker 2: and we can include some of them in a future episode. 523 00:26:46,000 --> 00:26:47,800 Speaker 4: Until then, we'll see you next time. 524 00:26:56,640 --> 00:26:59,920 Speaker 2: For more podcasts from iHeartRadio, visit the iHeartRadio app, apple Pie, 525 00:27:00,520 --> 00:27:03,360 Speaker 2: or wherever you listen to your favorite shows. For more 526 00:27:03,400 --> 00:27:06,920 Speaker 2: podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or 527 00:27:06,920 --> 00:27:09,000 Speaker 2: wherever you listen to your favorite shows.