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Speaker 1: Welcome to Stuff you should Know from house stuff Works

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Speaker 1: dot com. Hey, and welcome to the podcast. I'm Josh

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Speaker 1: Clark with Charles w Emily Dickinson Bryant and Jerry Longfellow

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Speaker 1: Roll and me. Uh, like I said, I'm just Josh Clark.

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Speaker 1: I'm not a poet. And if I am, I don't

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Speaker 1: know it. Why don't you come over and help me

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Speaker 1: straighten up? My longfellow? Oh? Yeah, the great Rodney Dangerfield

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Speaker 1: was it? And back to school? Yeah? But I think

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Speaker 1: we should start off by saying that, you know, Jerry

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Speaker 1: likes to deliver confidence builders right before we hit record. Yeah,

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Speaker 1: she goes, she said, Hey, something I've noticed when you

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Speaker 1: guys record too, if there's one that you think stinks,

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Speaker 1: record that one first, this one recording first. I like

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Speaker 1: this one though, I do too. Jerry apparently is not

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Speaker 1: down with poetry though she's like it's stupid. She's base

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Speaker 1: hate poetry like regular sentences. Uh right, she's a fan

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Speaker 1: of prose. Yeah. What this episode did for me was

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Speaker 1: reminded me that I like poetry. Yeah. Yeah, I remember

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Speaker 1: now as an English major really getting into it for

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Speaker 1: a little while. I'll bet you had to read a

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Speaker 1: lot of poetry. For that I did, and some of

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Speaker 1: it I didn't like it at all, But a lot

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Speaker 1: of it I really really liked. And I just realized

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Speaker 1: I don't read a lot of poetry anymore, and I

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Speaker 1: really kind of dug it. There's plenty of good poetry

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Speaker 1: out there, for sure. I've never been wanting to be like, uh,

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Speaker 1: I'm going to sit here and read poetry all day. Well,

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Speaker 1: it does carry a certain like thing. Although I have

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Speaker 1: smoked pipe before, some of my uh, longsleeve shirts have

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Speaker 1: swayed patses on the elbows. But I guess I'm just

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Speaker 1: a poser because I don't sit around reading poetry. But

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Speaker 1: I do appreciate a good poem. Well, I think that

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Speaker 1: was That's my deal? Is uh, Like, a really good

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Speaker 1: poem just impresses me to no end? Sure? Yeah, oh man,

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Speaker 1: try try writing a poem yourself. I did once. Uh,

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Speaker 1: I post college wrote a poem that I liked so

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Speaker 1: much I sent it to the New Yorker. Oh you

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Speaker 1: like it that much? Huh? I liked it enough to

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Speaker 1: you know, realize rejection. Did it turn out that Ziggy

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Speaker 1: had already done the same poem? No? You know the reference? Oh,

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Speaker 1: there's a Signfeld where Elaine sent in a comic to

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Speaker 1: the New Yorker, but it turns out she had ripped

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Speaker 1: off a ziggy. I don't remember that it's good anyway.

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Speaker 1: I have a copy of this somewhere, a hard copy, only,

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Speaker 1: I think some in some box. You didn't bring it today.

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Speaker 1: Well no, I mean it's got to be my addict,

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Speaker 1: but I need to get it. And because I remember

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Speaker 1: thinking like it's pretty good. Well, yeah, I mean, if

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Speaker 1: you sent it to the New Yorker, I would guess

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Speaker 1: you thought very highly of it. But I was also

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Speaker 1: twenty three, and you know I thought, you know, I

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Speaker 1: wrote my first poem. I'm gonna send it to the

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Speaker 1: New Yorker. Yeah, so it was your first first and

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Speaker 1: only first. You're like, it's going to the New York

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Speaker 1: or first first shot. Yeah, that's funny. That's like a

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Speaker 1: kin to like just writing your first script and being like,

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Speaker 1: I should get this in Scorsese's hands. This, I might

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Speaker 1: as well prepare my Oscar speech. Anyway, I did get

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Speaker 1: a rejection letter, but it was nice to, you know,

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Speaker 1: get that even. Yeah, you should have it framed next

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Speaker 1: to your poem. Yeah, I'd like to see this poem

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Speaker 1: or hear it. Uh, it was sort of longish and

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Speaker 1: it was about a kid jumping in a pile of

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Speaker 1: leaves in the fall. But as you'll we will see,

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Speaker 1: it had you know, symbolism and uh and metaphor. You know,

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Speaker 1: I didn't, you know, I never said leaves or pile

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Speaker 1: of leaves or you never anything like that. You know,

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Speaker 1: it was all like very I thought, skillfully sort of crafted. Yeah,

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Speaker 1: like you just put me on my head, Like I

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Speaker 1: thought that the poem was about jumping into leaves and

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Speaker 1: the leaves are metaphor for something else, but it's about

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Speaker 1: doing something else that's a metaphor for jumping in a

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Speaker 1: pile of leaves. No, it was about a kid jumping

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Speaker 1: in a pile of leaves. I just never explicitly said that.

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Speaker 1: I see. You know, he like became a locomotive like

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Speaker 1: a steam train. Oh, I got you that kind of thing. Oh,

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Speaker 1: but that was good. I thought it was pretty good.

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Speaker 1: I think everyone wants to hear this poem. Now you're

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Speaker 1: gonna have to post it. Well, if I dig it up,

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Speaker 1: I will definitely read it in a very special stuff

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Speaker 1: you should know episode. It's a deal called how to

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Speaker 1: Get our listeners to jump into a ravine. So uh.

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Speaker 1: One of the things, chuck that when I was researching this,

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Speaker 1: I went, I looked all over for you know, learning

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Speaker 1: to appreciate poetry or you know what it takes, just

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Speaker 1: for some advice, because it's always been a tough nut

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Speaker 1: to crack for me, which I think makes me like

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Speaker 1: just about everybody. And I came across this, uh, this

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Speaker 1: essay um poets dot org um, and it's called how

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Speaker 1: to Read a Poem, and it is it's that's exactly

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Speaker 1: what it's about. It's written in prose form, thankfully, so

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Speaker 1: you can understand it like right off the bat, and

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Speaker 1: um the author may this uh this point, he said

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Speaker 1: that readers make three false assumptions when addressing an unfamiliar

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Speaker 1: poem right. The first is that they assumed they should

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Speaker 1: understand the poem right out of the gate first time

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Speaker 1: they read it, and that if they don't, there's something

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Speaker 1: wrong with them, or probably less frequently, there's something wrong

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Speaker 1: with the poem. This poem doesn't work, get it. The

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Speaker 1: second is that they they that there's in any given

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Speaker 1: poem there's a code, and that if you can crack

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Speaker 1: the code, you get the whole poem. Poems only about

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Speaker 1: one certain thing, and it's all encoded in one way,

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Speaker 1: and that's that like you just crack it, bam, you're done,

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Speaker 1: poem has been read. And then the third one is

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Speaker 1: assuming that the poem can mean anything the reader wanted

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Speaker 1: to mean. That's not true. The poem means what the

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Speaker 1: author intended it to mean. It's open to interpretation, certainly,

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Speaker 1: but the poems still from what I'm gathering here, there's

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Speaker 1: no poet whoever wrote something it was like, I have

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Speaker 1: no idea what that means. Yeah, but I have heard

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Speaker 1: poets and songwriters say like, you know, I meant it

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Speaker 1: to be this way, but it's whatever you take it. Yeah,

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Speaker 1: And I think there's a lot of meaning imbuted, and

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Speaker 1: not just poetry, but any kind of writing, any kind

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Speaker 1: of art, um by the viewer, by the listener, by

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Speaker 1: the here by whoever right um. But the point is

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Speaker 1: a poem is so meticulously crafted that you can bet

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Speaker 1: every word, every literally every syllable in every single line

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Speaker 1: was hand picked and almost sculpted. And it all comes

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Speaker 1: together to point out that the best way to approach

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Speaker 1: poetry is as a a typewritten object of art. Agreed,

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Speaker 1: and that that once you come at it like that

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Speaker 1: and that it's gonna be hard, it's gonna give you trouble,

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Speaker 1: But the more trouble it gives you, the more rewarding

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Speaker 1: it's going to be when you understand it. If you

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Speaker 1: come at a poem like that and that you're not

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Speaker 1: going to get it the first time out, that you're

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Speaker 1: supposed to spend some time and effort on it, you

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Speaker 1: can start to appreciate poems. Yeah, that's what I got

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Speaker 1: from this in prose. I wonder if one of your

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Speaker 1: issues with poetry is uh, has something to do with

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Speaker 1: how concise poetry is and you're you as a writer, Like,

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Speaker 1: why you haven't written a two thousand page novel is

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Speaker 1: surprising to me still, you know infinite just the sequel,

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Speaker 1: like I always imagine your book would be like uh

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Speaker 1: in Wonder Boys, you know that scene where he gets

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Speaker 1: to sit down and he types out like I can't

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Speaker 1: remember the first three digits, but you think, oh, it's

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Speaker 1: three hundred words, and then he types like in a

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Speaker 1: four at the end it's like three thousand pages long. Yeah,

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Speaker 1: And Katie Holmes is like, yeah, once you started getting

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Speaker 1: into the different lineages of the horses that were you

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Speaker 1: stop you stopped making choices? Such a good movie. Um,

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Speaker 1: you what do you think? Do you think that's accurate?

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Speaker 1: What like why you might, oh that it's too concise. No,

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Speaker 1: I can appreciate things that are different. I think for me,

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Speaker 1: it's I I ran into the same thing that this

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Speaker 1: the author of How to Read a Poem Um kind

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Speaker 1: of called out, which is, Um, you expect to get

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Speaker 1: it the first time and if you don't, you just

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Speaker 1: get kind of frustrated and you give up. I'm a quitter.

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Speaker 1: I'm a quitter reader. That's not true. Oh, I take

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Speaker 1: it back. Then, should we talk about history? Well, one

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Speaker 1: thing I thought was kind of really neat is that

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Speaker 1: poetry predates literacy by hundreds of years, if not thousands. Yeah. Um,

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Speaker 1: I think when you know when kind of every site

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Speaker 1: that I looked at talking about the history of poetry

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Speaker 1: all pointed to Epic of Gilgamesh. Such a good story. Um,

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Speaker 1: and just you know the kind of the earliest poetry

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Speaker 1: period where these epic poems. And a lot of people

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Speaker 1: think that one reason they turned to poetry was so

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Speaker 1: they could memorize stories. Right, Yeah, because if you were

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Speaker 1: a storyteller in your group. You were in a story

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Speaker 1: and that was your role. Yeah, and you needed to

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Speaker 1: remember actual like facts, events, that kind of thing. So

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Speaker 1: it was a way to help record and memorize history

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Speaker 1: in a way, right, Which is kind of a revealing

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Speaker 1: thing about poetry, because a lot of people think of

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Speaker 1: poetry is written or typed, when really poetry is actually

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Speaker 1: usually intended to be read aloud. Yeah, and once you

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Speaker 1: start reading poems aloud, then I think you'll you'll be like, oh,

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Speaker 1: I see, I hate my voice. I don't go to

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Speaker 1: poetry readings. But um, there is a dude in fact,

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Speaker 1: I'm going to read one of his poems later. Um,

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Speaker 1: there's a modern poet named Derek Brown. Derek. I thought

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Speaker 1: you might have met him somehow. He he tours. He's

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Speaker 1: a touring poet and opens up a lot of times

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Speaker 1: for music bands and like comedians. He opened for Eugene Merman.

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Speaker 1: So how I met him once and um, I got

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Speaker 1: to know him a little bit and he's just great.

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Speaker 1: That's pretty cool, Like his poems are awesome. Well, yeah,

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Speaker 1: I'm sure if you're a touring poet, yeah, you're not

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Speaker 1: gonna suck. But he's trying to sort of and they're

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Speaker 1: you know, all kinds of It's not like he's the

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Speaker 1: only person out they're writing poetry. But you know, you

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Speaker 1: see articles about poetry being dead every now and then,

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Speaker 1: and it's just not the case. Yeah, the article either

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Speaker 1: says poetry is dead or poetry is alive and well,

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Speaker 1: but everybody calls it rap and then somebody else writes

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Speaker 1: another Yeah, and there's this huge i'mgoing debate over whether

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Speaker 1: rap qualifies his poetry and it's just all written by

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Speaker 1: like middle aged white men pretty much. Ye oh goodness. Um. So,

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Speaker 1: speaking of epics, the Greeks and the Romans, historically, between

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Speaker 1: and a d was when they were really cranking stuff out,

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Speaker 1: and everyone always points to the two big eas. Uh.

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Speaker 1: Homer wrote the Iliad or I'm sorry, Iliad, not the

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Speaker 1: Iliad and Odyssey. He didn't write the Iliot. I don't

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Speaker 1: think the official title is the Illiot is Illiot and Odyssey. Um.

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Speaker 1: I was surprised that he see it was called out

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Speaker 1: instead of like Virgil. I would I guess Virgil would

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Speaker 1: have been name checked sooner than he see it right

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Speaker 1: as number two behind Homer, Homer number one for sure.

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Speaker 1: Ancient Greek epic poets. Yeah, I think so, but he

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Speaker 1: see it. Come on, I don't know. Works in days

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Speaker 1: not bad as far as epic poems go, which I'm

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Speaker 1: not into. I struggled with with both Illiot and Odyssey.

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Speaker 1: Oh you read them both? Oh yeah? In English class.

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Speaker 1: I mean I can't. I can't absolutely look back and

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Speaker 1: say I read them both all the way through for class.

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Speaker 1: I might have been a little lazy about it, but

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Speaker 1: we studied them in great detail. I I read enough

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Speaker 1: of I guess the Odyssey that I started to confuse

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Speaker 1: it with the Odyssey. Harry Hamlin, Um Clash of the Titan,

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Speaker 1: class of the Titans, yep together. Um, he started to

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Speaker 1: confuse it with Making Love his eighties movie. I never

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Speaker 1: saw that one. Yeah, it was a movie about like

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Speaker 1: a gay man that was married and had like a

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Speaker 1: secret affair. Harry Hamlin was him? Well, no, I think

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Speaker 1: the husband was Michael and Keene remember that guy. And

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Speaker 1: I think he had the affair with Harry Hamlin because

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Speaker 1: who wouldn't. Well, yeah, you know I mean that guy

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Speaker 1: speaking of I want to say something and it has

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Speaker 1: nothing to do with anything he just reminded me with

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Speaker 1: eighties movie. Um, I've been watching a lot of riff

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Speaker 1: tracks lately, and they kill it. I want to specifically recommend,

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Speaker 1: and if you have an Amazon Prime membership, it's streaming

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Speaker 1: on Prime. A lot of riff tracks is um nightmare

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Speaker 1: at noon, I think is what it's called. So had

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Speaker 1: you not watched a lot of riff tracks, I'd seen

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Speaker 1: a few, but I just kind of caught the bug,

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Speaker 1: and I've been like like crying, laughing at some parts

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Speaker 1: or like I'm just wiping my eyes like I don't

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Speaker 1: listen to me, man, I don't laugh like that, and

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Speaker 1: it's making me laugh like that. Yeah, Kevin and John,

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Speaker 1: uh listen to stuff you should know. Supposedly, Yeah, I've

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Speaker 1: heard that. At least they were nice enough to say

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Speaker 1: that to my face. I don't know either that or

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Speaker 1: they're just super nice guys. I didn't want to make

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Speaker 1: me feel bad. I can kind of see that They're like, yeah,

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Speaker 1: I listen to stuff, it knows. Uh. So moving on

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Speaker 1: to medieval times, um, things started to get a little

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Speaker 1: more well, not creative, but they started to expand the

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Speaker 1: poetic horizons a bit um with the language they used

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Speaker 1: and the subject matter they wrote about. Chaucer In particularly

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Speaker 1: started doing something really unusual was writing in the common

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Speaker 1: everyday language, which kind of didn't happen a lot before him. No,

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Speaker 1: had been Latin up till in. Yeah, and he's like

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Speaker 1: talking about you know, common people in the common language.

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Speaker 1: You're all common for then, But Chaucer is tough, impenetrable. Yeah.

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Speaker 1: For me, it's like, what's this guy talking about? Yeah,

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Speaker 1: you need a good teacher for that stuff, like a

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Speaker 1: really good English teacher that can walk you through that. Yeah,

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Speaker 1: supposedly Canterbury Tales are really interesting and like there's a

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Speaker 1: lot of wit and humor to him. But yeah, you

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Speaker 1: it's it's just really difficult language. Yeah, I had to

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Speaker 1: get somebody who knows it. I had a good teacher

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Speaker 1: in college, and I had an idea to make Canterbury

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Speaker 1: Tales into a modern movie but but on a Greyhound butts,

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Speaker 1: And uh I thought that was great. I thought all

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Speaker 1: my ideas were good when I was like twenty one. Yeah,

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Speaker 1: you know, it's not a bad idea. Sorry, it's no Sharknado.

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Speaker 1: You need royalties for that one. Uh So, moving on

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Speaker 1: to the Renaissance period, thing's gotta the more creative. And

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Speaker 1: this is when we saw new forms of meter young

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Speaker 1: man named William Shakespeare Thomas Marlowe. They started the verse

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Speaker 1: drama movement, right, and so initially you've got poetry is um,

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Speaker 1: it's just oral history basically, and then the Greeks come along,

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Speaker 1: and then the Romans um and codify it and and

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Speaker 1: make formal structures out of it, and then everybody starts

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Speaker 1: to undo those, and it's getting further and further away

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Speaker 1: from the Greeks and the Romans until we hit the

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Speaker 1: Enlightenment period from about the mid seventeenth century until almost

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Speaker 1: the eighteenth century, almost the nineteenth century, I should say, um,

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Speaker 1: and they went back and basically venerated the Greek and

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Speaker 1: Roman traditions, which seems weird to me because some somebody,

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Speaker 1: somebody was struck and said, these guys knew what they

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Speaker 1: were doing. Yeah, I'm kind of surprised to would have

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Speaker 1: thought the Enlightenment would have taken things in an even

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Speaker 1: further like a way from that, But I guess not.

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Speaker 1: I guess not. I think the Romantics did, though, uh

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Speaker 1: seventeen yeah, about eighteen thirty, Um, that's when they kind

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Speaker 1: of poopooed and poopoo But they'd straight a bit from

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Speaker 1: what the Enlightenment was doing well. Rebelled for sure. It

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Speaker 1: seems like there were like periods of strict structure and

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Speaker 1: then rebellion away from that over the decades, in centuries

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Speaker 1: in the history of poetry, which is literally what we're

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Speaker 1: talking about right now, and probably a cultural movement as well.

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Speaker 1: I'm sure it was kind of all tied together, right, uh,

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Speaker 1: certainly with the Transcendentalist movement in the United States. And

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Speaker 1: I used to be all about those cats. Yeah, I

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Speaker 1: loved them, And then I started really learning about Thorow

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Speaker 1: and I was kind of like it was a bit

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Speaker 1: of a weirdo, you know, like in real life odd dude. Yeah,

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Speaker 1: and not like in all great ways. You know, I

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Speaker 1: could just go off and like poop in the corner

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Speaker 1: at a party. He just go off and lived deliberately

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Speaker 1: like opirto uh, poop in the corner party. All right, Um,

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Speaker 1: but they did, you know, the transcendentness in the Romantics

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Speaker 1: did focus a lot on create a nature and stuff

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Speaker 1: like that. Certainly, throw it was all about it. I

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Speaker 1: liked let me, I'm just saying I liked Emerson more

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Speaker 1: than the Row. As I got older, I used to

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Speaker 1: think the Row was great then I came to like

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Speaker 1: Emerson more well throws that's a young man's game. Uh,

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Speaker 1: I'm wondering how people are just like one of these

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Speaker 1: guys talking about welcome to our new subscribers, Victorian period

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Speaker 1: nine one, and this is further breaking away from the establishment.

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Speaker 1: And this is when you get like the great granddaddy

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Speaker 1: of them all, Mr Whitman. Yeah, he's like structure meter

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Speaker 1: for them. You can take it and shove it. I

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Speaker 1: say nuts to that and things kind of like that

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Speaker 1: was it from kind of then on, like you had

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Speaker 1: your traditionalists still and even today you still do. But um,

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Speaker 1: that's when basically all the rules were out the window

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Speaker 1: and you could do whatever you wanted yea, and call

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Speaker 1: it poetry thanks to Walt Whitman. Leaves of Grass Baby,

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Speaker 1: I think that was the original title. Yeah, a couple

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Speaker 1: of wise on the end. Um, should we move into

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Speaker 1: the twentieth century to Well, you kind of have to,

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Speaker 1: because it's not like poetry just ended with Whitman. The

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Speaker 1: twentieth century definitely saw its share of movements. Um. Apparently

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Speaker 1: in the very early twentieth century there was a modernist

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Speaker 1: movement that sought to go even further away from the norms,

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Speaker 1: and they even rebelled against poor Walt Whitman, who may

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Speaker 1: or may not have still been alive to see this.

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Speaker 1: But they said, you know what, we're sick of your

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Speaker 1: flowery language and your fancy calligraphy and all that. We

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Speaker 1: are gonna make short, concise, interesting poems. And that was

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Speaker 1: the Modernist movement. This is where it really started to

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Speaker 1: get interesting for me. The Modernists. Yeah, like I was,

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Speaker 1: I was way into e. Cummings and Yates and Gertrude

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Speaker 1: Stein and Sylvia Plath. What about Robert Frost. Yeah he

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Speaker 1: was good. I mean, listen to me. He was good.

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Speaker 1: He was all right, No, he was amazing. Aden, which

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Speaker 1: one was the one who like made pitthy rhyming short rhymes?

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Speaker 1: Like there was a this is so sad. I got

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Speaker 1: my poetry from King of the Hill. But there was

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Speaker 1: this one King of the Hill where Peggy Hill is

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Speaker 1: um reciting a poem. She said, the cow is of

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Speaker 1: the bovine ilk one and gives mu the other milk.

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Speaker 1: Who was that? It wasn't Ezra Pound? Was that Ezra

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Speaker 1: Pound would have written something like that. It sounds like

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Speaker 1: something like Oscar Wild would have done. It was a Texan,

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Speaker 1: I believe because they were observing the guy's house no

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Speaker 1: idea definitely was an Oscar wild then. Um. Anyway, that's

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Speaker 1: when I really they got into poetry, like it was

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Speaker 1: way more accessible to me, and like I could read E.

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Speaker 1: Cummings and and sort of get it. I think part

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Speaker 1: of it also, though, Chuck, is your experience was a

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Speaker 1: lot closer in resemblance to the experience of people in

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Speaker 1: the early twentieth century than it was to a Puritan

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Speaker 1: writing in New England, And like the seventeenth century, you

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Speaker 1: know about how much I love God and my neighbors.

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Speaker 1: You know, like your experience is different, so of course

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Speaker 1: you can identify with it. So of course the poetry

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Speaker 1: that's created from that experience is going to speak to you,

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Speaker 1: or at least be more accessible to you. I think

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Speaker 1: that's why a lot of people get turned off from

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Speaker 1: poetry to Here's another reason is because you're indoctrinated into

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Speaker 1: this history of poetry and it should go backwards. Did

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Speaker 1: you go counter chronologically? Like you should be inculcated in

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Speaker 1: poetry roughly in at least the same century, within the

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Speaker 1: last act, And then once you start to get that,

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Speaker 1: you can take on older and older stuff. But it's like,

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Speaker 1: not only do you have to get the poem, you

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Speaker 1: have to get the poem and also understand like a

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Speaker 1: completely different social outlook from somebody who lived a couple

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Speaker 1: of hundred years ago. Yeah, it's like, what are they

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Speaker 1: even talking about? Well, I was about to give advice

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Speaker 1: to English teachers, but then I realized we just did

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Speaker 1: the same thing. It's like, if you start your class

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Speaker 1: with all right, let's talk about the epic of Gilgamesh,

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Speaker 1: it's like, that's how you can lose a student. But

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Speaker 1: we just did the same thing. Jerry, can you publish

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Speaker 1: this thing backwards? Uh, there's a way. Well, I have

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Speaker 1: to admit to my dead poets society had, you know,

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Speaker 1: pretty big impact on me too. I never saw it.

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Speaker 1: Shut up, I never saw it. You're kidding, I've never

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Speaker 1: seen it. Just so I could say this moment, have

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Speaker 1: you really? Yeah, I've never seen it. We should start

382
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Speaker 1: a movie podcast where we each just our like, no, yeah,

383
00:22:00,760 --> 00:22:04,840
Speaker 1: called you've never seen it? Right? So um, I was

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Speaker 1: inculcated into the work of Robin Williams in the wrong

385
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Speaker 1: way and much that. No. No, Patch Adams, Oh, once

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Speaker 1: I saw Patch Adams I was like, I can't see

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Speaker 1: any more Robin Williams movies. You should see that? Posts

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Speaker 1: I'm sure I should. It was really good. I think

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Speaker 1: I've got another ten fifteen years of Patch Adams to

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Speaker 1: wear off. First, is that the only Robin Wayams movie

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Speaker 1: you've ever That's the last one I saw that? Really? Man? No,

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Speaker 1: that's not true. Father of the Year I saw. Have

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Speaker 1: you seen it? You're picking the wrong movies, have you

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Speaker 1: seen it? No? That was good in a weird indie way.

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Speaker 1: It's a weird little movie he did. He did good.

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Speaker 1: I think that might be his last one. I think

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Speaker 1: I'm thinking of something else. Yeah, this is a little

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Speaker 1: weird into movie. Yeah, I'm thinking something different. I think

399
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Speaker 1: Bob Goldwaet directed it. Oh well, then it's good. Um,

400
00:22:57,520 --> 00:23:03,280
Speaker 1: and then we move on. We're getting into the nineteen No,

401
00:23:03,359 --> 00:23:05,200
Speaker 1: we're getting into the mid forties. And I got into

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Speaker 1: this stuff to the beat poets. Um. I think every

403
00:23:07,920 --> 00:23:10,360
Speaker 1: every college student probably went through a little phase where

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Speaker 1: they listen or well and listen to Gainsburg, but red

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Speaker 1: Ginsburg and Carouac and you know those those that generation

406
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Speaker 1: definitely uh sort of embraced to do what you want

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Speaker 1: with the style and bongo. Yeah, I liked it. I

408
00:23:25,640 --> 00:23:27,600
Speaker 1: thought it was cool. Oh the beats were awesome. Man.

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Speaker 1: Yeah yeah, Carouac in particular. I never got into any

410
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Speaker 1: of the other guys, but I liked him a lot.

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Speaker 1: Everyone should read Howl by Ginsburg. Yeah yeah, I mean

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Speaker 1: that's his most famous poem. And and I'm sure Ginsburg

413
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Speaker 1: big Ginsburg fans will say, of course you can recommend

414
00:23:44,440 --> 00:23:49,439
Speaker 1: how yeah, but Troit you should be how sure and

415
00:23:49,520 --> 00:24:15,840
Speaker 1: we should take a break. Yes. Oh so, Chuck, we

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Speaker 1: are back and we are done talking about the history

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Speaker 1: of poetry. Let's talk about poetry itself. Okay, okay. So

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Speaker 1: a poem has uh four lines and they all rhyme yep,

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Speaker 1: they all rhyme a a A, they're all in iambic pentameter,

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Speaker 1: which will describe later. And um, they're each made up

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Speaker 1: of four stanzas. That's a poem. Anything else is just

422
00:24:41,359 --> 00:24:48,840
Speaker 1: COMI propaganda, right, Yeah, boy, we're silly today. Uh. I

423
00:24:48,880 --> 00:24:52,879
Speaker 1: guess we should talk about the genres um. And you know,

424
00:24:53,920 --> 00:24:57,159
Speaker 1: this is one of those topics where we're gonna do

425
00:24:57,280 --> 00:25:00,320
Speaker 1: fifty minutes on poetry when there are we could do

426
00:25:00,680 --> 00:25:06,520
Speaker 1: fifteen podcasts about poetry. So forgive the the overviewness of this.

427
00:25:07,160 --> 00:25:13,359
Speaker 1: That's what we do. Uh. You have narrative poetry, which

428
00:25:13,400 --> 00:25:16,399
Speaker 1: is a poem that tells a story. Yeah, which doesn't

429
00:25:16,440 --> 00:25:18,399
Speaker 1: have to be an epic poem. It doesn't have to

430
00:25:18,400 --> 00:25:20,879
Speaker 1: be you know, book link that can it can be

431
00:25:20,920 --> 00:25:23,240
Speaker 1: a very short poem that tells the story. But it's

432
00:25:23,240 --> 00:25:26,880
Speaker 1: got like basically a plot in action and characters. Yeah,

433
00:25:27,040 --> 00:25:32,399
Speaker 1: car Chase right at least one. Um. But epic poetry

434
00:25:32,440 --> 00:25:36,119
Speaker 1: does fall under that banner though. You have dramatic poetry,

435
00:25:36,119 --> 00:25:39,320
Speaker 1: which we talked about with Shakespeare. A lot of people

436
00:25:39,520 --> 00:25:42,280
Speaker 1: maybe don't even realize that Shakespeare was writing poetry for

437
00:25:42,280 --> 00:25:47,320
Speaker 1: the stage. Yeah, you know, I guess maybe they don't

438
00:25:47,320 --> 00:25:49,760
Speaker 1: think about it that way. I thought everybody thought that's

439
00:25:49,800 --> 00:25:53,199
Speaker 1: what it was, was poetry. We talk about dense and

440
00:25:53,240 --> 00:25:57,600
Speaker 1: impenetrable too. Yeah, it's tough, can be again, need a

441
00:25:57,600 --> 00:26:00,720
Speaker 1: good teacher, good teacher, su um. I wish I could

442
00:26:00,720 --> 00:26:03,159
Speaker 1: remember my teacher's names to shout them out. My college

443
00:26:03,160 --> 00:26:06,040
Speaker 1: teachers that really like, we're so great at that. But

444
00:26:06,119 --> 00:26:07,560
Speaker 1: I think I've talked about him before. I had a

445
00:26:07,560 --> 00:26:10,000
Speaker 1: great Shakespeare teacher. He would just we just read it

446
00:26:10,040 --> 00:26:12,800
Speaker 1: out loud. In class, and he would say, well, this

447
00:26:12,840 --> 00:26:15,919
Speaker 1: is what's going on after after each like you know,

448
00:26:16,480 --> 00:26:19,199
Speaker 1: couple of stanzas, so you do. Yeah, it's like an

449
00:26:19,240 --> 00:26:24,119
Speaker 1: annotated live, annotated virsion of Shakespeare. And his theory was,

450
00:26:24,160 --> 00:26:25,760
Speaker 1: you know, this is what you gotta do to make

451
00:26:25,760 --> 00:26:27,840
Speaker 1: these kids get it. But once they get it, they

452
00:26:27,880 --> 00:26:32,280
Speaker 1: realize that these are modern stories, just you know, told

453
00:26:32,320 --> 00:26:37,119
Speaker 1: in a way that none can understand timeless stories. Yes, exactly.

454
00:26:38,119 --> 00:26:42,879
Speaker 1: Lyric poetry, it's probably if what a lot of people

455
00:26:42,920 --> 00:26:46,960
Speaker 1: think of as a poem, right, you know, it might

456
00:26:47,040 --> 00:26:49,560
Speaker 1: rhyme doesn't have to tell a story, it doesn't have

457
00:26:49,600 --> 00:26:52,840
Speaker 1: to have a plot. Um, it's like rhyme and rhythm,

458
00:26:53,000 --> 00:26:56,400
Speaker 1: and it creates just like this. It's it's for effect

459
00:26:56,600 --> 00:27:00,679
Speaker 1: of a feeling. Maybe it uses a lot of imagery,

460
00:27:00,840 --> 00:27:05,560
Speaker 1: usually of different types, um, to get you to visualize

461
00:27:05,600 --> 00:27:08,840
Speaker 1: something or hear something, or imagine what the poet's trying

462
00:27:08,840 --> 00:27:11,920
Speaker 1: to get across. There's lots of different meanings. It's like, yeah,

463
00:27:11,920 --> 00:27:13,960
Speaker 1: it's like what people think of when they think of poems.

464
00:27:15,200 --> 00:27:18,440
Speaker 1: Lyric poetry, remember that one, uh, and there are many

465
00:27:18,440 --> 00:27:21,000
Speaker 1: other kinds and genres, but um, I think those are

466
00:27:21,040 --> 00:27:24,480
Speaker 1: kind of the main the main ones that a lot

467
00:27:24,480 --> 00:27:28,840
Speaker 1: of people consider the three main genres. Is that fair?

468
00:27:29,080 --> 00:27:32,480
Speaker 1: I think so? All right, So, when you we already

469
00:27:32,520 --> 00:27:35,320
Speaker 1: kind of said it, when you're reading poetry, most of

470
00:27:35,359 --> 00:27:38,320
Speaker 1: the time you're reading it silently to yourself, and that

471
00:27:38,440 --> 00:27:41,200
Speaker 1: is not what you're supposed to do. Most poems are

472
00:27:41,240 --> 00:27:44,640
Speaker 1: written to be read out loud, even if to your

473
00:27:44,680 --> 00:27:49,399
Speaker 1: just to yourself. Yeah, yeah, and um, apparently, what what

474
00:27:49,640 --> 00:27:51,639
Speaker 1: like the first time from this how to Read a

475
00:27:51,640 --> 00:27:53,960
Speaker 1: Poem essay, The first time you go to read a poem,

476
00:27:54,200 --> 00:27:56,760
Speaker 1: just read it out loud, and the author points out

477
00:27:56,760 --> 00:27:59,560
Speaker 1: that you will notice a lot of stuff about the

478
00:27:59,600 --> 00:28:02,240
Speaker 1: poem and you don't have to get the meaning right away,

479
00:28:02,240 --> 00:28:04,920
Speaker 1: but you want to just basically read it out loud

480
00:28:04,960 --> 00:28:08,119
Speaker 1: at least once, and that alone is going to raise

481
00:28:08,160 --> 00:28:12,720
Speaker 1: a lot of different flags and markers about the poem

482
00:28:12,800 --> 00:28:15,520
Speaker 1: to you, because when you read it out loud, the

483
00:28:15,800 --> 00:28:19,000
Speaker 1: sounds that the words make start to really come out.

484
00:28:19,600 --> 00:28:24,320
Speaker 1: And that's really what starts to differentiate poetry from prose,

485
00:28:24,640 --> 00:28:28,600
Speaker 1: the fact that basically sound effects are used in this

486
00:28:29,280 --> 00:28:34,680
Speaker 1: written art, like a laser pu p. Right, that's how

487
00:28:34,720 --> 00:28:38,760
Speaker 1: you read a poem. Uh rhyme Obviously, is the most

488
00:28:38,800 --> 00:28:42,959
Speaker 1: common um, or maybe at least most recognizable sound effect.

489
00:28:45,840 --> 00:28:48,800
Speaker 1: That might be alliteration. Yeah, in fact, I think it is.

490
00:28:48,920 --> 00:28:57,320
Speaker 1: No that's on amonopia amonopia right, snap english major. Um,

491
00:28:57,400 --> 00:28:59,600
Speaker 1: we all know what rhymes are, so we're not gonna

492
00:28:59,800 --> 00:29:01,840
Speaker 1: in saught you with the definition. But there are also

493
00:29:01,920 --> 00:29:07,000
Speaker 1: things like near rhymes or slant rhymes, which are when, uh,

494
00:29:07,040 --> 00:29:08,840
Speaker 1: well kind of when you can't think of a word

495
00:29:08,880 --> 00:29:10,920
Speaker 1: that really rhymes, but you can get one that's close.

496
00:29:11,120 --> 00:29:15,640
Speaker 1: So Emily Dickinson apparently was a master of the slant rhymes. Yes,

497
00:29:15,800 --> 00:29:20,480
Speaker 1: how about bear and far Yeah, I mean it's close.

498
00:29:21,080 --> 00:29:23,200
Speaker 1: You're not going to be like that stupid and like

499
00:29:24,360 --> 00:29:26,440
Speaker 1: swap the book off of your desk. It's not like

500
00:29:26,520 --> 00:29:30,240
Speaker 1: bear and orange. Well, nothing rhymes with orange, right, That's

501
00:29:30,240 --> 00:29:33,640
Speaker 1: why I said it supposedly right, I've never heard anything

502
00:29:33,680 --> 00:29:36,840
Speaker 1: that rhymes with orange. I'm sure there are some emails

503
00:29:36,840 --> 00:29:41,040
Speaker 1: coming on that one. Orange. Uh. There are a couple

504
00:29:41,120 --> 00:29:44,040
Speaker 1: of other things, um, we can talk about, like a

505
00:29:44,080 --> 00:29:48,400
Speaker 1: literation and consonants with an A N C E and

506
00:29:48,640 --> 00:29:53,720
Speaker 1: consonants is a good example. Um, Mommy's mommy was no

507
00:29:53,840 --> 00:29:57,200
Speaker 1: common dummy. Yeah you got that sound. Yeah, but it's

508
00:29:57,240 --> 00:30:01,120
Speaker 1: not necessarily at the beginning of the the word. They

509
00:30:01,120 --> 00:30:03,120
Speaker 1: were at the beginning of a bunch of different words

510
00:30:03,200 --> 00:30:05,920
Speaker 1: close together. That would be alliteration, right, but they are

511
00:30:06,000 --> 00:30:11,080
Speaker 1: specifically consonants. H alliteration. You're right, that is, you know,

512
00:30:11,200 --> 00:30:18,280
Speaker 1: the big brown bear bit Benny's but poor Benny. Yeah,

513
00:30:18,320 --> 00:30:21,920
Speaker 1: what about assonance. That's one of my favorites. That one's tough.

514
00:30:22,000 --> 00:30:24,840
Speaker 1: That's where, um, it can be tough to pick up on.

515
00:30:25,080 --> 00:30:28,360
Speaker 1: That's where a vowel is repeated, or a vowel sound

516
00:30:28,440 --> 00:30:32,680
Speaker 1: is repeated in a number of words close together. Um,

517
00:30:32,800 --> 00:30:36,600
Speaker 1: somewhere in the word, like the rain in Spain falls

518
00:30:36,640 --> 00:30:39,959
Speaker 1: gently on the plane, I think mainly on the plane whatever.

519
00:30:41,120 --> 00:30:42,760
Speaker 1: Or I like the example of the'se in here. I

520
00:30:42,840 --> 00:30:45,400
Speaker 1: might like to fight nine pirates at a time. Yeah,

521
00:30:45,440 --> 00:30:47,280
Speaker 1: that's a good one. I don't know all this stuff

522
00:30:47,320 --> 00:30:49,719
Speaker 1: I love Like this is poetry is kind of playful

523
00:30:49,800 --> 00:30:53,120
Speaker 1: quality to me. Or when a poet sits down and

524
00:30:54,040 --> 00:30:55,760
Speaker 1: you can put a lot of thought into if you're

525
00:30:55,760 --> 00:30:57,880
Speaker 1: trying to pull off something like that, you know, yeah,

526
00:30:58,200 --> 00:31:02,040
Speaker 1: as you're trying to also tell a story. Oh yeah, no.

527
00:31:02,200 --> 00:31:06,160
Speaker 1: Like to be a genuine poet is to be probably

528
00:31:06,200 --> 00:31:11,800
Speaker 1: one of the most creative and technically proficient artists around.

529
00:31:12,360 --> 00:31:14,680
Speaker 1: It's got to be one of the most difficult things

530
00:31:14,800 --> 00:31:17,760
Speaker 1: to to do. Well. I think you know, because think

531
00:31:17,800 --> 00:31:20,040
Speaker 1: about it. You're a great director. Well, you've got a

532
00:31:20,080 --> 00:31:22,760
Speaker 1: camera to assist you and really get your vision across,

533
00:31:22,840 --> 00:31:27,600
Speaker 1: and you've got this technology. You're author of prose. Well,

534
00:31:27,680 --> 00:31:29,760
Speaker 1: how many pages did it take you to get your

535
00:31:29,800 --> 00:31:36,320
Speaker 1: point across? You are a musician, that's great. You gotta violin, bravo,

536
00:31:37,040 --> 00:31:41,479
Speaker 1: a poet, you got a quill and Inkwell some paper,

537
00:31:42,440 --> 00:31:50,640
Speaker 1: better get it right. It's tough. You're wearing your breeches. Yeah, exactly. Uh,

538
00:31:50,640 --> 00:31:53,240
Speaker 1: well what I say earlier literation, But you said it

539
00:31:53,280 --> 00:31:56,280
Speaker 1: was on a monopeia. Yeah, that's that's the one where

540
00:31:56,280 --> 00:32:02,000
Speaker 1: it's the word sounds like the word it describes, like bang, beep, snap, crackle,

541
00:32:02,080 --> 00:32:08,160
Speaker 1: pop buzz snap and crackle crackle, don't forget per and

542
00:32:08,320 --> 00:32:12,880
Speaker 1: pop clash. I like like those words. I would love

543
00:32:12,920 --> 00:32:15,920
Speaker 1: to see this episode animated. Do you remember the dude

544
00:32:15,920 --> 00:32:18,720
Speaker 1: who used to animate They were great? Oh man, they

545
00:32:18,720 --> 00:32:23,280
Speaker 1: were better than the actual episodes, right, and uh, this

546
00:32:23,360 --> 00:32:27,040
Speaker 1: one I think would be virtually impossible to animate. I

547
00:32:27,120 --> 00:32:30,560
Speaker 1: think you're right, um, And these, of course are just

548
00:32:30,840 --> 00:32:32,880
Speaker 1: sort of some of the most common sound effects. Are

549
00:32:33,000 --> 00:32:35,680
Speaker 1: many tools that the poet can pull out of the

550
00:32:35,720 --> 00:32:40,320
Speaker 1: old toolbox and use at their disposal. So um. Sometimes

551
00:32:40,360 --> 00:32:43,080
Speaker 1: I found that when you are forced to work within

552
00:32:43,120 --> 00:32:47,920
Speaker 1: a structure, a very highly structured environment, you're able to

553
00:32:48,040 --> 00:32:51,760
Speaker 1: be more creative than you might be if it's just

554
00:32:51,840 --> 00:32:55,400
Speaker 1: like here go crazy, no rules, because then you have

555
00:32:55,480 --> 00:32:58,560
Speaker 1: to like you're just thinking about the edges, the boundaries,

556
00:32:58,600 --> 00:33:00,760
Speaker 1: and then you have to think about how get creative.

557
00:33:01,360 --> 00:33:04,800
Speaker 1: People need structure, So if the structure is given to you,

558
00:33:05,200 --> 00:33:08,440
Speaker 1: it's it's easy sometimes to kind of play within that

559
00:33:08,480 --> 00:33:11,560
Speaker 1: structure and to really let your wings spread, which I

560
00:33:11,560 --> 00:33:15,680
Speaker 1: think is one reason why poems have certain structures, even

561
00:33:15,680 --> 00:33:17,959
Speaker 1: though really it's a free for all. You can basically

562
00:33:18,000 --> 00:33:21,000
Speaker 1: do whatever you want and call it a poem. Um,

563
00:33:21,040 --> 00:33:24,160
Speaker 1: But there are plenty of structures, and there's certain parts

564
00:33:24,400 --> 00:33:28,000
Speaker 1: of a poems structure that you can find in almost

565
00:33:28,040 --> 00:33:31,160
Speaker 1: any poem. Well. Yeah, and these structures are just things

566
00:33:31,200 --> 00:33:34,320
Speaker 1: that were repeated enough by enough people because someone did

567
00:33:34,320 --> 00:33:36,920
Speaker 1: it first and someone else thought, hey, that's pretty clever,

568
00:33:37,720 --> 00:33:39,920
Speaker 1: and enough people did it to where it became you

569
00:33:39,960 --> 00:33:46,479
Speaker 1: know canon canon all right, canon structure. Yeah. Uh. Like,

570
00:33:46,560 --> 00:33:49,520
Speaker 1: for instance, I said, stands is and pros have paragraphs

571
00:33:49,560 --> 00:33:53,360
Speaker 1: and and poems you have standsass. It's like a poem, yeah,

572
00:33:53,400 --> 00:33:56,680
Speaker 1: and what you know, how you actually type that on

573
00:33:56,760 --> 00:34:00,360
Speaker 1: the page is very much thought out, as in where

574
00:34:00,440 --> 00:34:02,719
Speaker 1: you take the line, breaks to the next line, and

575
00:34:02,760 --> 00:34:06,240
Speaker 1: where you might put that period. Uh, if you if

576
00:34:06,240 --> 00:34:09,719
Speaker 1: you break a sentence up, or you can have one

577
00:34:09,719 --> 00:34:12,759
Speaker 1: sentence that's super long on one line and then three

578
00:34:12,800 --> 00:34:14,839
Speaker 1: words of a sentence on another line, and then one

579
00:34:14,880 --> 00:34:17,680
Speaker 1: word one word, one word on each line, everybody's gonna

580
00:34:17,680 --> 00:34:20,719
Speaker 1: hate your poem. But no, not necessarily could do that.

581
00:34:21,560 --> 00:34:23,279
Speaker 1: Or if you choose to break a sentence in the

582
00:34:23,280 --> 00:34:25,160
Speaker 1: middle of a line, that actually is a name. It's

583
00:34:25,160 --> 00:34:28,800
Speaker 1: called enjambment. And it's all part of like this wacky,

584
00:34:29,000 --> 00:34:31,960
Speaker 1: crazy poetic structure world. But that's the thing. And there

585
00:34:32,000 --> 00:34:35,000
Speaker 1: actually is a type of poetry called concrete poetry, where

586
00:34:35,040 --> 00:34:39,640
Speaker 1: the shape that the poem takes on the page um

587
00:34:39,880 --> 00:34:44,600
Speaker 1: is meant to to visualize something or to be uh

588
00:34:45,160 --> 00:34:48,160
Speaker 1: depiction of like a picture. Basically I'm not into that.

589
00:34:48,440 --> 00:34:52,280
Speaker 1: I'm not either. I think most poets aren't. Um. Yeah,

590
00:34:52,800 --> 00:34:54,440
Speaker 1: I think the ones that do. It's like it's like

591
00:34:54,480 --> 00:34:56,520
Speaker 1: a poem of a windy river is like typed in

592
00:34:56,560 --> 00:34:58,000
Speaker 1: such a way that if you blow your eyes it

593
00:34:58,000 --> 00:35:00,680
Speaker 1: looks like a windy river. Right. So that's called a

594
00:35:00,719 --> 00:35:03,279
Speaker 1: concrete poem, I believe. I think on the nose is

595
00:35:03,280 --> 00:35:07,239
Speaker 1: another word for it. Right. Yeah, So most poems, most

596
00:35:07,280 --> 00:35:12,759
Speaker 1: poets aren't breaking lines. They're not doing enjambment um to

597
00:35:12,880 --> 00:35:16,319
Speaker 1: make a picture. It's too too. It's meant to have

598
00:35:16,760 --> 00:35:20,120
Speaker 1: to either point out a word, to play with a

599
00:35:20,160 --> 00:35:25,400
Speaker 1: series of words um, or just to um create a

600
00:35:25,480 --> 00:35:28,239
Speaker 1: rhythm that otherwise they wouldn't be able to if they

601
00:35:28,360 --> 00:35:31,600
Speaker 1: just did sentence by sentence on a line. Yeah. And

602
00:35:31,680 --> 00:35:34,040
Speaker 1: you know, even when I wrote as a novice that

603
00:35:34,440 --> 00:35:38,600
Speaker 1: poem that I submitted, I found myself doing that just instinctively,

604
00:35:39,120 --> 00:35:42,400
Speaker 1: after studying poetry and stuff like, Oh this word, I'm

605
00:35:42,400 --> 00:35:44,359
Speaker 1: gonna capitalize it, and it's gonna go on a line

606
00:35:44,360 --> 00:35:47,120
Speaker 1: by itself, right exactly. Oh they'll love this and New

607
00:35:47,160 --> 00:35:49,560
Speaker 1: York is gonna go crazy, That's what I thought. So

608
00:35:49,640 --> 00:35:51,800
Speaker 1: I ran across the guy named Robert Creeley, who is

609
00:35:51,800 --> 00:35:56,719
Speaker 1: apparently very well known for his enjamment. Uh so you

610
00:35:56,840 --> 00:36:01,719
Speaker 1: can here seriously. So here's a poem from the language

611
00:36:01,719 --> 00:36:04,359
Speaker 1: You're part of. Some lines from his poem the language

612
00:36:05,040 --> 00:36:08,560
Speaker 1: locate I love you somewhere in teeth and eyes bite it.

613
00:36:08,680 --> 00:36:13,240
Speaker 1: But so if you just read it like that, it's whatever.

614
00:36:13,560 --> 00:36:15,840
Speaker 1: It's a poem. But this is how he has the

615
00:36:15,880 --> 00:36:18,600
Speaker 1: line breaks. And apparently he's well known for reading his

616
00:36:18,640 --> 00:36:21,720
Speaker 1: poems out loud and and like leaving a beat after

617
00:36:21,800 --> 00:36:26,800
Speaker 1: just about every line locid I love you some where

618
00:36:26,840 --> 00:36:33,959
Speaker 1: in teeth and eyes bite it. But right now, can't

619
00:36:33,960 --> 00:36:36,160
Speaker 1: you just see everybody in a cafe going like this.

620
00:36:36,920 --> 00:36:40,200
Speaker 1: That's happen after that? But this guy is like a

621
00:36:40,280 --> 00:36:42,360
Speaker 1: master and Jamin because if you take it and you

622
00:36:42,440 --> 00:36:45,640
Speaker 1: look at it, especially when you look at it, it

623
00:36:45,800 --> 00:36:49,640
Speaker 1: just really changes the meaning of the words. You know,

624
00:36:49,920 --> 00:36:51,719
Speaker 1: I think master of m Jam it should be your

625
00:36:51,800 --> 00:36:58,719
Speaker 1: rap name for sure. Oh apparently you take your um. Yeah,

626
00:36:58,840 --> 00:37:01,799
Speaker 1: you take your last the last meal you ate and

627
00:37:01,880 --> 00:37:05,560
Speaker 1: put little in front of it. I'm a little ramen. Yeah,

628
00:37:05,880 --> 00:37:09,080
Speaker 1: I'm a little fried chicken and collards. Really that's what

629
00:37:09,120 --> 00:37:13,640
Speaker 1: you had? Where'd you get it? Hopston? Oh downstairs? Good? Yeah,

630
00:37:14,120 --> 00:37:17,640
Speaker 1: I've had the chicken, I have had the greens. They're perfect.

631
00:37:17,680 --> 00:37:21,399
Speaker 1: They're like not mushy, they're not undercooked, they're just they're great.

632
00:37:21,520 --> 00:37:24,600
Speaker 1: I had the ramen from downstairs, just my most common

633
00:37:24,640 --> 00:37:28,480
Speaker 1: meal here, little ramen. Or I had the don the

634
00:37:28,560 --> 00:37:32,400
Speaker 1: don don Maybe little don don would be better, or

635
00:37:32,480 --> 00:37:37,480
Speaker 1: little don don ramen little don Don is good. I

636
00:37:37,600 --> 00:37:40,960
Speaker 1: was a little nachos for a little while. Yeah, and

637
00:37:41,000 --> 00:37:44,040
Speaker 1: I ate something ethan. You had another meal that was

638
00:37:44,040 --> 00:37:50,200
Speaker 1: at nachos for about eight hours, all right. So there's

639
00:37:50,200 --> 00:37:55,680
Speaker 1: something else called the cis sura c a e s

640
00:37:55,800 --> 00:37:58,160
Speaker 1: u r a And that's a pause in the middle

641
00:37:58,200 --> 00:38:00,799
Speaker 1: of a line. And again, and these are all just

642
00:38:01,520 --> 00:38:04,640
Speaker 1: that's usually where there's a period in the middle of

643
00:38:04,640 --> 00:38:07,799
Speaker 1: the line. Well, that's an enjayment. No, and enjayment is

644
00:38:08,160 --> 00:38:10,360
Speaker 1: like a break, oh, break in a sentence. Yeah. The

645
00:38:10,440 --> 00:38:14,319
Speaker 1: say sirah is where there's punctuation, typically a period in

646
00:38:14,320 --> 00:38:16,160
Speaker 1: the middle of a line. Yeah. I had those backwards.

647
00:38:16,719 --> 00:38:18,279
Speaker 1: And these are all just, you know, ways to play

648
00:38:18,320 --> 00:38:22,000
Speaker 1: with the structural effect of your poem. Basically you can

649
00:38:22,080 --> 00:38:24,920
Speaker 1: you know, rhyme scheme is a if you've taken any

650
00:38:25,000 --> 00:38:27,759
Speaker 1: kind of English class, you definitely they would hammer home

651
00:38:27,840 --> 00:38:31,560
Speaker 1: the rhyme scheme of it's a test question, you know,

652
00:38:31,680 --> 00:38:34,440
Speaker 1: like what is the rhyme scheme of this poem? Uh?

653
00:38:34,600 --> 00:38:38,480
Speaker 1: And that's the pattern and the rhyming pattern and in

654
00:38:38,520 --> 00:38:41,759
Speaker 1: the lines basically, and you know it's A B, A

655
00:38:42,000 --> 00:38:44,799
Speaker 1: or a BB depending on what rhymes with what right,

656
00:38:44,880 --> 00:38:48,959
Speaker 1: And the rhyme scheme is always described by like that.

657
00:38:49,120 --> 00:38:51,480
Speaker 1: So you depending on how many lines, let's say you

658
00:38:51,520 --> 00:38:55,239
Speaker 1: have four lines, you've got A B, C and D

659
00:38:55,840 --> 00:38:58,959
Speaker 1: well the ryan the lines that rhyme say, your first

660
00:38:59,000 --> 00:39:02,040
Speaker 1: and third and second fourth rhyme, they're going to share

661
00:39:02,080 --> 00:39:06,480
Speaker 1: the same letter. So A B, A B is how

662
00:39:06,560 --> 00:39:09,520
Speaker 1: your rhyme scheme would be written out. And anybody who

663
00:39:09,520 --> 00:39:11,439
Speaker 1: knows poetry would be able to look at that and

664
00:39:11,920 --> 00:39:15,759
Speaker 1: understand what what lines of the poem rhyme. It's pretty simple. Yeah,

665
00:39:15,840 --> 00:39:18,120
Speaker 1: I think I just made it way harder than it

666
00:39:18,160 --> 00:39:21,640
Speaker 1: actually is. No, I don't think so. Uh. Meter You've

667
00:39:21,680 --> 00:39:24,600
Speaker 1: probably heard um your teacher talk about meter two, and

668
00:39:24,640 --> 00:39:30,440
Speaker 1: that's the actual rhythmic structure and UM there you're mainly

669
00:39:30,440 --> 00:39:35,040
Speaker 1: talking about the stresses on the syllables. UM. And this,

670
00:39:35,120 --> 00:39:37,280
Speaker 1: to me is one of the really neat things about

671
00:39:37,320 --> 00:39:39,960
Speaker 1: poetry is the sort of uh and the sentence I

672
00:39:40,080 --> 00:39:41,840
Speaker 1: use in here is actually good one. He'd like to

673
00:39:41,880 --> 00:39:45,520
Speaker 1: have some pumpkin pie. You know, the way that that's

674
00:39:45,560 --> 00:39:49,440
Speaker 1: stressed is very just very sing songy and sort of playful.

675
00:39:49,880 --> 00:39:53,800
Speaker 1: You know, it's almost like a dance in your mouth.

676
00:39:54,040 --> 00:39:56,479
Speaker 1: I always dance around when I'm asking for pumpkin pie.

677
00:39:56,600 --> 00:39:59,879
Speaker 1: I'd like to have some pumpkin pie. Yeah, And that's

678
00:40:00,160 --> 00:40:04,000
Speaker 1: you just a jazz hand um. And again that's just

679
00:40:04,040 --> 00:40:06,440
Speaker 1: how you know you're stressing the words and how you're

680
00:40:06,440 --> 00:40:10,000
Speaker 1: playing with the words, And that's the meter. It creates

681
00:40:10,000 --> 00:40:13,879
Speaker 1: that rhythm. Right, So in a meter, the basic unit

682
00:40:13,920 --> 00:40:16,200
Speaker 1: of a meter is a foot, and it's a a

683
00:40:16,320 --> 00:40:19,600
Speaker 1: foot is it can be any number of stressed and

684
00:40:19,719 --> 00:40:24,200
Speaker 1: unstressed syllables. Usually it's up to four, right, And there's

685
00:40:24,239 --> 00:40:28,680
Speaker 1: different names for different types of feet. So everyone's sort

686
00:40:28,719 --> 00:40:33,080
Speaker 1: of iambic pentameter. Up until yesterday, I had no idea

687
00:40:33,160 --> 00:40:36,800
Speaker 1: what I ambic pentameter really was. Just New Shakespeare rode

688
00:40:36,800 --> 00:40:39,120
Speaker 1: in it a lot, right, Well, and I am is

689
00:40:39,160 --> 00:40:41,880
Speaker 1: actually it's a foot. It's a it's a type of

690
00:40:42,560 --> 00:40:47,320
Speaker 1: stressed and unstressed syllable pairing that is used to create

691
00:40:47,760 --> 00:40:50,680
Speaker 1: the meter of a poem. So when I am is

692
00:40:50,719 --> 00:40:54,759
Speaker 1: a an unstressed syllable followed by a stressed syllable, And

693
00:40:54,840 --> 00:40:56,799
Speaker 1: the example of this article gives us the word part

694
00:40:56,840 --> 00:41:01,040
Speaker 1: take right, so par is unstressed. Take has a little

695
00:41:01,080 --> 00:41:03,400
Speaker 1: more of a stress to it, right. And if you

696
00:41:03,440 --> 00:41:09,440
Speaker 1: put five i ams together, so partake, partake, partake, partake,

697
00:41:09,640 --> 00:41:14,239
Speaker 1: part take very creative. One line of a poem, what

698
00:41:14,400 --> 00:41:18,000
Speaker 1: you have there is iambic pentameter penta, meaning five and

699
00:41:18,440 --> 00:41:22,200
Speaker 1: five five i ams on a line making up the

700
00:41:22,239 --> 00:41:26,280
Speaker 1: meter i ambic pentameter. But there's plenty of different kinds

701
00:41:26,400 --> 00:41:30,880
Speaker 1: of meters that a poem can have based on the

702
00:41:30,960 --> 00:41:34,480
Speaker 1: type of stressed and unstressed syllable pairing, and then the

703
00:41:34,600 --> 00:41:38,239
Speaker 1: number of times that type of pairing appears on a

704
00:41:38,320 --> 00:41:41,760
Speaker 1: given line. Yeah. Uh so if you had four i ams,

705
00:41:41,840 --> 00:41:46,080
Speaker 1: it would be iambic tetrameter, and so on and so on. Um,

706
00:41:46,120 --> 00:41:48,960
Speaker 1: there's another one. If like the word banjo is a

707
00:41:49,000 --> 00:41:54,280
Speaker 1: stress syllable followed by an unstressed syllable, that's a trokey, Yeah,

708
00:41:54,719 --> 00:41:58,560
Speaker 1: and you could have a trochaic pentameter, and that's five

709
00:41:58,600 --> 00:42:01,080
Speaker 1: trokeys in a line. Yeah, which sounds I mean, all

710
00:42:01,160 --> 00:42:04,359
Speaker 1: this sounds very dense, but it's actually pretty straightforward. Yeah,

711
00:42:04,360 --> 00:42:06,360
Speaker 1: once you kind of know what the words mean behind it.

712
00:42:07,239 --> 00:42:09,480
Speaker 1: What else is there? There's a dactyl, which is a

713
00:42:09,680 --> 00:42:15,359
Speaker 1: stressed syllable followed by two unstressed syllables like capital capital. Yeah,

714
00:42:15,520 --> 00:42:17,960
Speaker 1: not a fan of those. Now what about the antipest

715
00:42:18,760 --> 00:42:22,200
Speaker 1: not bad, that's too unstressed, followed by a stressed um.

716
00:42:22,320 --> 00:42:25,480
Speaker 1: The example they give a seventeen kip Winger was a

717
00:42:25,520 --> 00:42:31,440
Speaker 1: big fan of the antipest uh, And anfa brock is

718
00:42:31,480 --> 00:42:34,480
Speaker 1: an unstressed syllable followed by stress syllable and then another

719
00:42:34,560 --> 00:42:38,839
Speaker 1: unstressed syllable um like archaic. Yeah. And then lastly there's

720
00:42:38,880 --> 00:42:43,240
Speaker 1: the critic. That's my favorite. So it's stressed, unstressed, stressed

721
00:42:43,280 --> 00:42:49,000
Speaker 1: like trampoline. Yes, we're trampoline. I'm a big fan of

722
00:42:49,040 --> 00:42:52,200
Speaker 1: the critic. Are you critic for life? But think about

723
00:42:52,360 --> 00:42:55,319
Speaker 1: think about this though, Like this is again when now

724
00:42:55,360 --> 00:42:57,520
Speaker 1: we're starting to kind of like pull back the curtain,

725
00:42:57,719 --> 00:43:00,600
Speaker 1: and this is what poets are dealing with. This is

726
00:43:00,840 --> 00:43:06,319
Speaker 1: this kind of stuff describes a line. A line will

727
00:43:06,360 --> 00:43:11,960
Speaker 1: have different types of these types of meters, these different

728
00:43:11,960 --> 00:43:14,359
Speaker 1: feet that make up these different types of meter. Well, yeah,

729
00:43:14,360 --> 00:43:16,279
Speaker 1: and my hope with this episode is that if you

730
00:43:16,360 --> 00:43:20,959
Speaker 1: slept through this in English class, you might listen now

731
00:43:21,040 --> 00:43:23,880
Speaker 1: and say, oh, hey, that's actually kind of neat when

732
00:43:23,920 --> 00:43:25,840
Speaker 1: you think about it in those terms. Yeah, at the

733
00:43:25,960 --> 00:43:28,560
Speaker 1: very least, I hope you realize how hard poets are

734
00:43:28,560 --> 00:43:32,520
Speaker 1: working sure to go unappreciated by most people. They're earning

735
00:43:32,960 --> 00:43:36,600
Speaker 1: the lack of money that they don't make. All right, well,

736
00:43:36,640 --> 00:43:39,720
Speaker 1: let's take another break, poor one out for the poets.

737
00:43:40,200 --> 00:44:07,279
Speaker 1: We'll be right back. Stuff. No, so chuck um. There's

738
00:44:07,320 --> 00:44:11,040
Speaker 1: different types of poet poetry to based on you take. Yeah,

739
00:44:11,280 --> 00:44:14,800
Speaker 1: you take all these this structure or these different effects,

740
00:44:14,800 --> 00:44:18,879
Speaker 1: and you will have different types of poem and putting together. Right. So,

741
00:44:18,920 --> 00:44:22,960
Speaker 1: a son it has specific rhyme scheme. It's got to

742
00:44:23,000 --> 00:44:25,440
Speaker 1: be fourteen lines along or else you can just take

743
00:44:25,480 --> 00:44:29,960
Speaker 1: your poem and go home because it's not a sonnet. Um.

744
00:44:30,000 --> 00:44:34,040
Speaker 1: A ballad is one that's um written and stands as

745
00:44:34,080 --> 00:44:38,960
Speaker 1: of four lines. Each has a specific meter of iambic tetrameter,

746
00:44:39,400 --> 00:44:42,879
Speaker 1: which is four four i am per line, and then

747
00:44:42,920 --> 00:44:48,280
Speaker 1: it alternates with iambic trimeter three i am s per line. Um.

748
00:44:48,360 --> 00:44:52,040
Speaker 1: And that one I've always heard also is supposed to Basically,

749
00:44:52,400 --> 00:44:55,560
Speaker 1: it's supposed to be a narrative, right, aren't ballads at

750
00:44:55,640 --> 00:44:59,560
Speaker 1: least as far as music goes, a narrative song? Yeah,

751
00:44:59,560 --> 00:45:02,960
Speaker 1: but I'm not sure. It's probably the same thing in poetry,

752
00:45:03,040 --> 00:45:05,200
Speaker 1: right I would think so, I mean definitely know it

753
00:45:05,239 --> 00:45:08,640
Speaker 1: is in a song and like a murder ballad specifically,

754
00:45:08,719 --> 00:45:11,439
Speaker 1: which is uh the fact that I think I wanted

755
00:45:11,440 --> 00:45:14,320
Speaker 1: to put that down as one of our ideas to

756
00:45:14,400 --> 00:45:18,920
Speaker 1: do an entire show on ballots. Yeah, ballot cool rich tradition.

757
00:45:19,040 --> 00:45:22,120
Speaker 1: Is there such a thing? Oh? Yeah, it's like huge,

758
00:45:22,200 --> 00:45:28,040
Speaker 1: huge in Mexico, like singing basically ballads about these outlaws. Um,

759
00:45:28,080 --> 00:45:32,439
Speaker 1: there's a uh, Heisenberg got his own I'm breaking bad. Really,

760
00:45:33,200 --> 00:45:37,160
Speaker 1: it's called bad ombre. I can't remember what it was called. Um.

761
00:45:37,320 --> 00:45:40,279
Speaker 1: Haiku boy, oh boy. In the early days of stuff,

762
00:45:40,320 --> 00:45:42,439
Speaker 1: you should know, we put out a call for high

763
00:45:42,480 --> 00:45:49,520
Speaker 1: kus or haiku haiku and um. Traditionally, hiku is three

764
00:45:49,520 --> 00:45:52,840
Speaker 1: lines along, five syllables in the first line, seven syllables

765
00:45:52,840 --> 00:45:56,000
Speaker 1: in the second, and five and the third, and all

766
00:45:56,040 --> 00:45:59,520
Speaker 1: these years later, occasionally we will still get the random

767
00:45:59,600 --> 00:46:02,080
Speaker 1: hiku from a listener, but we got him a lot

768
00:46:02,120 --> 00:46:05,520
Speaker 1: for a while, and um, until we said stop. Remember

769
00:46:05,560 --> 00:46:07,600
Speaker 1: that guy who got us by sending in a haiku

770
00:46:07,719 --> 00:46:11,200
Speaker 1: and it was a well known T shirt. Oh yeah,

771
00:46:11,239 --> 00:46:12,520
Speaker 1: we read it on the air. I think that's when

772
00:46:12,520 --> 00:46:19,320
Speaker 1: we said stop us. Yeah, I remember that. Uh sistina

773
00:46:19,760 --> 00:46:24,160
Speaker 1: sc s t I n a um. This one's a

774
00:46:24,160 --> 00:46:27,200
Speaker 1: little different. Instead of a rhyme scheme, it repeats words,

775
00:46:27,280 --> 00:46:30,480
Speaker 1: so as it's broken into standsas, each with six lines

776
00:46:31,120 --> 00:46:34,960
Speaker 1: and the six words to end each line I'm sorry,

777
00:46:35,360 --> 00:46:37,080
Speaker 1: yeah in each line in the first stanza are then

778
00:46:37,120 --> 00:46:41,000
Speaker 1: repeated as in words and every other stanza. And I

779
00:46:41,040 --> 00:46:44,200
Speaker 1: think you have an example here the John Ashbury poem

780
00:46:44,239 --> 00:46:48,400
Speaker 1: farm Implements and rude Vegas and a landscape. Yeah, everybody

781
00:46:48,440 --> 00:46:51,040
Speaker 1: go look up that poem and read it out loud

782
00:46:51,080 --> 00:46:53,759
Speaker 1: to yourself. It's actually really kind of difficult the way

783
00:46:53,760 --> 00:46:55,560
Speaker 1: it's laid out. You should read the first couple of

784
00:46:55,800 --> 00:46:58,680
Speaker 1: stands us maybe okay, Uh, that's kind of long though

785
00:46:59,200 --> 00:47:01,600
Speaker 1: you ready, Yeah, it is a little long. The first

786
00:47:01,640 --> 00:47:06,759
Speaker 1: of the undercoded messages read Popeye sits in thunder unthought of,

787
00:47:07,200 --> 00:47:10,600
Speaker 1: from that shoe box of an apartment, from livid curtains,

788
00:47:10,680 --> 00:47:15,120
Speaker 1: hue A Tan Graham emerges a country Meanwhile, the sea

789
00:47:15,120 --> 00:47:19,560
Speaker 1: hag was relaxing on a green couch. How pleasant see

790
00:47:19,960 --> 00:47:22,759
Speaker 1: if you start reading it like William Shatner, which she

791
00:47:22,840 --> 00:47:27,480
Speaker 1: really comes out to spend one's vacation on lacasa de Popeye,

792
00:47:27,719 --> 00:47:32,480
Speaker 1: she scratched her cleft chins, solitary hair. She remembered spinach,

793
00:47:33,239 --> 00:47:38,720
Speaker 1: And so throughout this poem spinach, thunder, apartment and uh

794
00:47:38,840 --> 00:47:45,399
Speaker 1: well apparently three other um words come through and reused

795
00:47:45,400 --> 00:47:48,719
Speaker 1: throughout the whole um the whole poem, and it gets

796
00:47:48,840 --> 00:47:50,680
Speaker 1: really really dense, and then all of a sudden it

797
00:47:50,800 --> 00:47:54,000
Speaker 1: just zooms out onto Popeye, who finally makes an appearance

798
00:47:54,040 --> 00:47:58,000
Speaker 1: at the end, and it just becomes kinda and it

799
00:47:58,000 --> 00:48:01,920
Speaker 1: it's it's a neat poem. Actually, yeah, it's called um

800
00:48:01,960 --> 00:48:04,520
Speaker 1: what's it called again? Farm Implements and rude Bag? Isn't

801
00:48:04,520 --> 00:48:08,960
Speaker 1: a landscape by John Ashbury? Check it out? Yeah, and again.

802
00:48:09,080 --> 00:48:11,960
Speaker 1: To me, this is like the fun of poetry is

803
00:48:12,080 --> 00:48:15,880
Speaker 1: it's almost like a challenge to a writer to say, like,

804
00:48:15,920 --> 00:48:21,080
Speaker 1: all right, try to write a sistina like this weird structure,

805
00:48:22,120 --> 00:48:24,160
Speaker 1: and and not only do you have to meet the

806
00:48:24,160 --> 00:48:26,360
Speaker 1: needs of that structure, but it has to be good

807
00:48:26,400 --> 00:48:29,560
Speaker 1: and creative and interesting, just really neat to me. I

808
00:48:29,640 --> 00:48:33,040
Speaker 1: love the kind of word play. Um, I might start

809
00:48:33,080 --> 00:48:37,719
Speaker 1: writing poetry. I think you should. A villanelle. One of

810
00:48:37,719 --> 00:48:40,560
Speaker 1: the most famous poems of all time Dylan Thomas is

811
00:48:40,920 --> 00:48:44,040
Speaker 1: do not go Gentle into that good night is a villanelle.

812
00:48:44,160 --> 00:48:48,919
Speaker 1: And it's a nineteen line poem that um it only

813
00:48:49,040 --> 00:48:51,719
Speaker 1: it's made up of only two end rhyme sounds that

814
00:48:51,760 --> 00:48:55,560
Speaker 1: are repeated throughout the poem, which is tough on its own,

815
00:48:56,520 --> 00:48:59,720
Speaker 1: but then to make things even worse, or not worse,

816
00:48:59,760 --> 00:49:04,360
Speaker 1: but more trickier, tricky for the writer worse. The first

817
00:49:04,400 --> 00:49:07,239
Speaker 1: and third lines are repeated in a specific pattern all

818
00:49:07,280 --> 00:49:10,560
Speaker 1: through the poem. And um, I guess I'll read the

819
00:49:10,600 --> 00:49:15,239
Speaker 1: first couple of bits from this one. I won't read

820
00:49:15,280 --> 00:49:20,520
Speaker 1: the whole thing, though, Uh. Rage, Rage against the dying

821
00:49:20,520 --> 00:49:22,520
Speaker 1: of the light. The wise men at their end, no

822
00:49:22,760 --> 00:49:26,440
Speaker 1: dark is right, because their words had forked no lightning.

823
00:49:26,520 --> 00:49:29,640
Speaker 1: They do not go gentle into that good night, good

824
00:49:29,640 --> 00:49:33,360
Speaker 1: men the last wave by crying how bright their frail

825
00:49:33,440 --> 00:49:36,560
Speaker 1: deeds might have danced in a green bay. Rage, Rage

826
00:49:36,600 --> 00:49:39,880
Speaker 1: against the dying of the light. So um, that's probably

827
00:49:39,920 --> 00:49:43,760
Speaker 1: the most famous example of all time of the villainil,

828
00:49:43,800 --> 00:49:47,640
Speaker 1: don't you think, Oh yeah, for sure, it's a good

829
00:49:47,640 --> 00:49:51,040
Speaker 1: it's a good. I think one of the reasons why

830
00:49:51,080 --> 00:49:54,040
Speaker 1: that poem is so famous in universally loved is because

831
00:49:54,040 --> 00:49:58,160
Speaker 1: it's you understand what it means. It's pretty pretty superficial really,

832
00:49:58,160 --> 00:50:00,440
Speaker 1: as far as poems go. I'm sure there's way more

833
00:50:00,440 --> 00:50:03,560
Speaker 1: stuff going on right beneath the surface. You can also

834
00:50:03,600 --> 00:50:06,240
Speaker 1: appreciate it on its face as well, that it's about

835
00:50:06,239 --> 00:50:08,800
Speaker 1: a dying father or something, right, sure, but it's also

836
00:50:09,400 --> 00:50:12,040
Speaker 1: basically called arms to go live, like don't ever just

837
00:50:12,400 --> 00:50:17,120
Speaker 1: give in to death, and you're impending mortality like live live,

838
00:50:17,400 --> 00:50:20,080
Speaker 1: live until live so much that you rage against the

839
00:50:20,160 --> 00:50:23,040
Speaker 1: idea of of dying. Eventually you need to go home

840
00:50:23,080 --> 00:50:28,680
Speaker 1: and watch Deadpoet Society. You're basically just described the plot.

841
00:50:29,680 --> 00:50:36,760
Speaker 1: Oh really yeah, uh, an ode something? Um it usually

842
00:50:36,760 --> 00:50:40,799
Speaker 1: celebrates Walton. Ode celebrates a person or not even a

843
00:50:40,800 --> 00:50:44,360
Speaker 1: person that can just can celebrate anything. But it's an

844
00:50:44,400 --> 00:50:48,640
Speaker 1: ode to them. Yeah, um, yeah it is. It's to say, hey,

845
00:50:48,920 --> 00:50:50,920
Speaker 1: you did a great job. Here's a poem for you,

846
00:50:53,239 --> 00:50:55,160
Speaker 1: which is sort of like an elegy, but an elergy

847
00:50:55,239 --> 00:50:57,120
Speaker 1: is about someone who died. Yeah, did you read An

848
00:50:57,160 --> 00:51:00,480
Speaker 1: Allergy for Five Old Ladies by Thomas James Martin that this,

849
00:51:00,480 --> 00:51:03,920
Speaker 1: this article calls out. Yeah, it's it's unusual in that

850
00:51:03,960 --> 00:51:08,360
Speaker 1: it's about a UM, an actual real life event UM

851
00:51:08,400 --> 00:51:11,880
Speaker 1: where apparently at UH an assisted living home, maybe in

852
00:51:11,920 --> 00:51:15,480
Speaker 1: the sixties. I think, um, five older women were in

853
00:51:15,520 --> 00:51:19,560
Speaker 1: a car waiting for the driver, and I think them

854
00:51:20,000 --> 00:51:23,000
Speaker 1: the car the transmission came out of park and it

855
00:51:23,120 --> 00:51:25,960
Speaker 1: rolled into a lake and they all drowned. And Martin,

856
00:51:26,000 --> 00:51:27,760
Speaker 1: I guess read about it in the New York Times.

857
00:51:27,760 --> 00:51:31,680
Speaker 1: It was moved to write a poem about it, um,

858
00:51:31,760 --> 00:51:34,720
Speaker 1: which is the whole It's a bizarre poem all around,

859
00:51:35,120 --> 00:51:37,320
Speaker 1: especially the fact that it was based on a true story.

860
00:51:37,480 --> 00:51:41,799
Speaker 1: I want to check that out. Um. There are epigrams

861
00:51:42,360 --> 00:51:44,480
Speaker 1: that one's good. Did you read that one? You go ahead?

862
00:51:44,520 --> 00:51:48,279
Speaker 1: So an epigram is a poem that's like satirical or funny. Yeah,

863
00:51:48,360 --> 00:51:51,120
Speaker 1: I don't know if this one's funny, but it's it's

864
00:51:51,480 --> 00:51:56,680
Speaker 1: maybe satirical. It's existentially satirical, all right. A man said

865
00:51:56,719 --> 00:52:01,640
Speaker 1: to the universe, Sir, I exist. However, replied the universe.

866
00:52:01,960 --> 00:52:05,160
Speaker 1: The fact has not created in me a sense of obligation.

867
00:52:05,960 --> 00:52:09,480
Speaker 1: Oh yeah, you gotta read it a few times. It

868
00:52:09,600 --> 00:52:14,240
Speaker 1: gets better. Then do you have a really really niche

869
00:52:14,560 --> 00:52:18,919
Speaker 1: type of poem? And obeyed A U B A D E.

870
00:52:19,000 --> 00:52:21,719
Speaker 1: I believe it's how it's pronounced, and it's about the

871
00:52:21,880 --> 00:52:25,560
Speaker 1: arrival of morning. If it's not about the arrival of morning,

872
00:52:25,719 --> 00:52:29,359
Speaker 1: it's not unobeyed. If it is, it's an obeyed. Yeah.

873
00:52:29,400 --> 00:52:32,680
Speaker 1: And a lot of times, um wink wink, arrival of

874
00:52:32,760 --> 00:52:38,000
Speaker 1: morning means hey, I just made some sweet love and

875
00:52:38,040 --> 00:52:40,719
Speaker 1: I'm really bummed that the sun's coming up because last

876
00:52:40,800 --> 00:52:44,560
Speaker 1: night was a gas. Right. I think you just wrote

877
00:52:44,560 --> 00:52:48,760
Speaker 1: and obeyed off the top of your head. I think so. Uh.

878
00:52:48,800 --> 00:52:52,600
Speaker 1: And then an epistle is a poem usually that's addressed

879
00:52:52,640 --> 00:52:57,200
Speaker 1: to someone very close to the poet, And you know

880
00:52:57,200 --> 00:53:00,759
Speaker 1: there's some overlap with these, for sure. Yeah, Like an

881
00:53:00,760 --> 00:53:05,000
Speaker 1: epistle can also be uh, well, it could be an epigram.

882
00:53:05,040 --> 00:53:09,640
Speaker 1: I guess sure this epistle that this article, this article

883
00:53:09,640 --> 00:53:11,520
Speaker 1: on how stuff works, did a really good job. I

884
00:53:11,680 --> 00:53:15,319
Speaker 1: suspect it was written by an English professor. Yeah, a

885
00:53:15,440 --> 00:53:18,920
Speaker 1: poetry expert clearly wrote this. Um, this is not just

886
00:53:19,000 --> 00:53:24,400
Speaker 1: from research. Right. So the author calls out a poem

887
00:53:24,520 --> 00:53:28,000
Speaker 1: called Dear Mr Finelli as an example of an epistle,

888
00:53:28,000 --> 00:53:31,200
Speaker 1: and I went and read it and it is really interesting.

889
00:53:31,360 --> 00:53:36,080
Speaker 1: It's about this guy who notices. So it's basically it's

890
00:53:36,080 --> 00:53:39,360
Speaker 1: like an open letter to Mr Finelli, but Mr Finelli

891
00:53:39,600 --> 00:53:43,759
Speaker 1: invited correspondence because he's the like the manager of a

892
00:53:43,920 --> 00:53:47,759
Speaker 1: subway station, the seventy nine Street subway station, and there's

893
00:53:47,800 --> 00:53:50,960
Speaker 1: a sign that says, notice any need of improvements or

894
00:53:50,960 --> 00:53:53,400
Speaker 1: anything wrong, get in touch with me, the manager and

895
00:53:53,520 --> 00:53:56,400
Speaker 1: Mr Finelli of the seventy ninth Street subway station. And

896
00:53:56,440 --> 00:53:59,480
Speaker 1: so the author's writing to him with suggestions and it

897
00:53:59,760 --> 00:54:03,520
Speaker 1: so he's just kind of devolved into like this existential

898
00:54:03,600 --> 00:54:05,759
Speaker 1: crisis that the guys going through, and he reveals that

899
00:54:05,800 --> 00:54:08,040
Speaker 1: he hasn't been sleeping very well because he's really worried

900
00:54:08,040 --> 00:54:11,360
Speaker 1: about the world, and it just really goes off the rails.

901
00:54:11,840 --> 00:54:15,719
Speaker 1: It's a pretty neat poem, Dear Mr Finelli by Charles Bernstein.

902
00:54:15,920 --> 00:54:19,080
Speaker 1: I have to check that out. Uh. And you know,

903
00:54:19,120 --> 00:54:23,360
Speaker 1: we talked unspecifically about what a lot of these poems

904
00:54:23,360 --> 00:54:27,480
Speaker 1: are using um literary effects and anything that you use

905
00:54:27,520 --> 00:54:31,560
Speaker 1: in your pros um, you know, symbolism and metaphor, and

906
00:54:31,640 --> 00:54:35,799
Speaker 1: similarly you also can use and in fact oftentimes do

907
00:54:35,800 --> 00:54:41,120
Speaker 1: you use in poems? Um. Similarly, obviously is something where

908
00:54:41,160 --> 00:54:45,799
Speaker 1: you have to use like or as. Um, that hillside

909
00:54:45,880 --> 00:54:52,160
Speaker 1: is is like a uh be a great poet. Hillside

910
00:54:52,239 --> 00:54:58,879
Speaker 1: is like a beer built there you go. I like that, yeah, Um,

911
00:54:59,000 --> 00:55:02,240
Speaker 1: whereas a metaphor or is saying something is something else

912
00:55:02,280 --> 00:55:07,440
Speaker 1: that that hillside is a beer belly. Um. And the

913
00:55:07,480 --> 00:55:10,720
Speaker 1: example they used is the wonderful poem The Road Not Taken.

914
00:55:11,600 --> 00:55:15,719
Speaker 1: When you're talking metaphor, it's, um, you know, maybe more

915
00:55:15,760 --> 00:55:19,279
Speaker 1: about your life choices than the actual road that's written about. Right,

916
00:55:19,320 --> 00:55:21,319
Speaker 1: But they point out that Frost in the Road Not

917
00:55:21,440 --> 00:55:25,840
Speaker 1: Taken doesn't even say and by the way, these roads

918
00:55:25,880 --> 00:55:29,719
Speaker 1: are really a metaphor for your life choices. Yeah, it's

919
00:55:29,760 --> 00:55:32,000
Speaker 1: just left to the reader to to make that guess

920
00:55:32,040 --> 00:55:34,680
Speaker 1: an assumption, which makes it a far better poem. Yeah,

921
00:55:35,160 --> 00:55:38,080
Speaker 1: he's like, and at the end he's like, and these

922
00:55:38,120 --> 00:55:40,640
Speaker 1: are really your life choices. I was talking about this

923
00:55:40,680 --> 00:55:43,400
Speaker 1: whole time. Yeah. I think, if I remember my poem correctly,

924
00:55:43,400 --> 00:55:45,880
Speaker 1: it wasn't about the pile of leaves, even that I

925
00:55:45,920 --> 00:55:49,200
Speaker 1: didn't reference. It might have been about the the boys

926
00:55:49,320 --> 00:55:54,200
Speaker 1: that the childlike qualities that ultimately fade away with age,

927
00:55:54,840 --> 00:55:56,839
Speaker 1: which I man, I was right in on that when

928
00:55:56,840 --> 00:55:58,680
Speaker 1: I was twenty two years old. It's great. You gotta

929
00:55:58,719 --> 00:56:01,799
Speaker 1: find that poem. Yeah, it's probably not as good as

930
00:56:01,800 --> 00:56:06,040
Speaker 1: I remember. You got a poem to read? Yeah, I

931
00:56:06,040 --> 00:56:11,400
Speaker 1: got too. Um and I was talking about um newer poets,

932
00:56:11,400 --> 00:56:17,799
Speaker 1: and I mentioned Derek Brown, who it's a good dude.

933
00:56:18,040 --> 00:56:19,919
Speaker 1: And you should go see Derek if you have a chance.

934
00:56:20,160 --> 00:56:22,920
Speaker 1: He's It's always a fun time because some of his

935
00:56:22,960 --> 00:56:25,840
Speaker 1: poems are very funny. Some of them are just beautiful

936
00:56:26,719 --> 00:56:28,800
Speaker 1: love poems that like, you know, you see the ladies

937
00:56:28,840 --> 00:56:31,279
Speaker 1: in the audience kind of squirming in their seat a

938
00:56:31,280 --> 00:56:34,680
Speaker 1: little bit like swooning. Yeah, they swoon. He does a

939
00:56:34,680 --> 00:56:37,960
Speaker 1: good job with that. But this one's called Ringlets, and um,

940
00:56:38,000 --> 00:56:39,440
Speaker 1: he has quite a few books out. I think one's

941
00:56:39,480 --> 00:56:43,520
Speaker 1: coming out soon. Um. Here we go, young prom ladies

942
00:56:43,560 --> 00:56:46,880
Speaker 1: and loud dresses and ringlets mingle outside the restaurant and

943
00:56:47,000 --> 00:56:52,240
Speaker 1: oversize men, suit jackets, their dates, smile, smoking, shivering, pretending

944
00:56:52,280 --> 00:56:54,920
Speaker 1: not to shiver. The thing you said was dead is

945
00:56:54,960 --> 00:56:58,160
Speaker 1: not dead. No virgin deserves a cigarette. We should head

946
00:56:58,160 --> 00:57:00,160
Speaker 1: to the emergency room and just pop our head in

947
00:57:00,239 --> 00:57:02,680
Speaker 1: and say hello. Tell them we are all right, so

948
00:57:02,680 --> 00:57:04,640
Speaker 1: they don't think we only visit when things are bad.

949
00:57:05,080 --> 00:57:08,600
Speaker 1: We're breathing without tubes today. They don't make pills yet.

950
00:57:08,640 --> 00:57:11,280
Speaker 1: For this feeling, it's like finding fruit in the snow.

951
00:57:11,760 --> 00:57:14,440
Speaker 1: I want to call down cocktails and black tire jacks

952
00:57:14,440 --> 00:57:17,280
Speaker 1: from the heavens. I want to break into something that

953
00:57:17,480 --> 00:57:19,800
Speaker 1: kind of good. Your eyes are the kind we have

954
00:57:19,840 --> 00:57:21,960
Speaker 1: all been waiting for. When I hear a single note

955
00:57:22,000 --> 00:57:24,720
Speaker 1: sustained in a room with bad lighting, I think of us,

956
00:57:25,080 --> 00:57:29,960
Speaker 1: both of our bodies shivering nice good stuff. And that's

957
00:57:30,000 --> 00:57:33,280
Speaker 1: an example of just you know, one of his I mean,

958
00:57:33,360 --> 00:57:35,920
Speaker 1: sort of playful, but some of them are really really funny,

959
00:57:36,000 --> 00:57:40,280
Speaker 1: like he's kind of part comedian up there sometimes, Derek Brown,

960
00:57:40,400 --> 00:57:45,280
Speaker 1: Derrick Brown, good stuff. We didn't even talk about poetry.

961
00:57:45,280 --> 00:57:48,240
Speaker 1: Slams do we need? Yeah, well, it's kind of like

962
00:57:48,560 --> 00:57:53,040
Speaker 1: a championship. Talk about poetry like a tournament. Yeah, or

963
00:57:53,120 --> 00:57:56,439
Speaker 1: you got your poetry and you move on. And I'm

964
00:57:56,440 --> 00:57:58,640
Speaker 1: assuming I've never seen one, but I don't think you

965
00:57:58,760 --> 00:58:03,600
Speaker 1: take the same poem for round around around. Hopefully you

966
00:58:03,640 --> 00:58:05,520
Speaker 1: have different poems so people don't have to hear the

967
00:58:05,560 --> 00:58:07,920
Speaker 1: same one like four or five times, and I think

968
00:58:07,920 --> 00:58:10,439
Speaker 1: at the end, if you end up tied, you like Wressell. Sure,

969
00:58:11,320 --> 00:58:16,720
Speaker 1: as is the tradition. Right, you got one? I do. Um.

970
00:58:16,760 --> 00:58:20,680
Speaker 1: I'm going to say f but that's not what Philip

971
00:58:20,720 --> 00:58:25,200
Speaker 1: Larkin writes. Philip Blarkin, he's British. I think he's writing

972
00:58:25,240 --> 00:58:30,160
Speaker 1: in this fifties sixties. Maybe I think um, and he

973
00:58:30,320 --> 00:58:32,320
Speaker 1: is good. You may introduce me to him. This one's

974
00:58:32,360 --> 00:58:35,439
Speaker 1: called this be the verse. They f you up, your

975
00:58:35,600 --> 00:58:38,320
Speaker 1: mom and dad. They may not mean to, but they do.

976
00:58:38,920 --> 00:58:41,360
Speaker 1: They fill you with the faults they had and add

977
00:58:41,400 --> 00:58:44,440
Speaker 1: some extra just for you. But they were left up

978
00:58:44,440 --> 00:58:47,080
Speaker 1: in their turn by fools and old style hats and

979
00:58:47,120 --> 00:58:50,800
Speaker 1: coats who half the time were sappy, stern and half

980
00:58:50,800 --> 00:58:54,760
Speaker 1: at one another's throats. Man hands on misery to man,

981
00:58:55,040 --> 00:58:58,160
Speaker 1: it deepens like a coastal shelf. Get out as early

982
00:58:58,200 --> 00:59:02,560
Speaker 1: as you can, and don't have any kids yourself. Wow.

983
00:59:02,840 --> 00:59:07,120
Speaker 1: I love that guy's I love that poem. Just uh,

984
00:59:07,160 --> 00:59:11,160
Speaker 1: and I'm gonna finish with um. Probably my favorite new

985
00:59:12,160 --> 00:59:15,760
Speaker 1: poet and new meaning just around now is David Berman

986
00:59:16,320 --> 00:59:21,400
Speaker 1: of the band Silver Juice, who I got into them

987
00:59:21,440 --> 00:59:24,320
Speaker 1: because he did an now he's he's buddies with uh.

988
00:59:24,520 --> 00:59:28,280
Speaker 1: Steve Malcolmus and Bob Nistanovitch from Pavement, and THO wasn't

989
00:59:28,280 --> 00:59:30,400
Speaker 1: Malcolm us in Silver Juice he was for a couple

990
00:59:30,440 --> 00:59:34,840
Speaker 1: of albums, and so wasn't Astanovitch and uh Burman was

991
00:59:34,920 --> 00:59:38,200
Speaker 1: the songwriter and it was kind of mountainous of side

992
00:59:38,200 --> 00:59:40,840
Speaker 1: project and shout out to Nistanovitch. I kind of know

993
00:59:40,960 --> 00:59:46,800
Speaker 1: now because of this podcast, I'm getting to meet my heroes. Anyway, Burman,

994
00:59:46,960 --> 00:59:48,920
Speaker 1: he's putting on many books of poetry and what I'm

995
00:59:49,000 --> 00:59:51,920
Speaker 1: called Actual Air, which on the cover features the King

996
00:59:51,920 --> 00:59:56,200
Speaker 1: and Queen Building over in Dunwoodie, which is kind of funny. Anyway.

997
00:59:56,240 --> 00:59:59,720
Speaker 1: It's called Imagining Defeat by David Burman. She woke me

998
00:59:59,800 --> 01:00:03,120
Speaker 1: up dawn, her suitcase like a little brown dog at

999
01:00:03,120 --> 01:00:05,520
Speaker 1: her heels. I sat up and looked out the window

1000
01:00:05,600 --> 01:00:07,960
Speaker 1: at the snow falling in the stand of black Jack trees,

1001
01:00:08,520 --> 01:00:11,240
Speaker 1: a bus ticket in her hand. Then she brought something

1002
01:00:11,240 --> 01:00:13,800
Speaker 1: black up to her mouth, a plum, I thought, but

1003
01:00:13,880 --> 01:00:17,080
Speaker 1: it was an asthmat in hailer. I love that line.

1004
01:00:17,600 --> 01:00:19,480
Speaker 1: I reached under the bed from my men thols, and

1005
01:00:19,520 --> 01:00:22,160
Speaker 1: she asked if I ever thought of cancer, Yes, I said,

1006
01:00:22,160 --> 01:00:24,080
Speaker 1: but always as a tree way up ahead in the

1007
01:00:24,080 --> 01:00:26,960
Speaker 1: distance where it doesn't matter. And I suppose a dead

1008
01:00:26,960 --> 01:00:29,800
Speaker 1: soul must look back at that tree so far behind

1009
01:00:29,880 --> 01:00:33,040
Speaker 1: his wagon, where it also doesn't matter, except as a

1010
01:00:33,120 --> 01:00:36,640
Speaker 1: memory of rest or water. Though to believe any of that,

1011
01:00:36,720 --> 01:00:39,000
Speaker 1: I thought you have to accept the premise that she

1012
01:00:39,040 --> 01:00:43,240
Speaker 1: woke me up at all. Dave Berman, Wow, that was good,

1013
01:00:43,480 --> 01:00:45,880
Speaker 1: good one. That's why I want to like go back

1014
01:00:45,920 --> 01:00:50,920
Speaker 1: and read again. You can do that here, Okay, uh man,

1015
01:00:51,640 --> 01:00:55,160
Speaker 1: we did poetry, man, Yeah, we didn't mention illustrations. You know,

1016
01:00:55,240 --> 01:00:59,520
Speaker 1: you can have illustrations with your poetry. It's not like

1017
01:00:59,680 --> 01:01:03,200
Speaker 1: the Great Chill Silverstein article points out Um was very

1018
01:01:03,200 --> 01:01:06,840
Speaker 1: famous for using great illustrations to enrich the poetry. Yeah,

1019
01:01:06,840 --> 01:01:10,120
Speaker 1: and sometimes you wouldn't really get the poem without the illustration.

1020
01:01:10,200 --> 01:01:13,120
Speaker 1: Like Something's Missing is about a man who's sitting there

1021
01:01:13,160 --> 01:01:16,000
Speaker 1: like I dressed myself, and he lists off all this

1022
01:01:16,040 --> 01:01:19,200
Speaker 1: stuff that he put on, but he still feels like

1023
01:01:19,240 --> 01:01:21,840
Speaker 1: something's missing. And then in the illustration is not wearing pants,

1024
01:01:23,000 --> 01:01:25,280
Speaker 1: so you wouldn't quite get it, you know. Or my

1025
01:01:25,480 --> 01:01:29,760
Speaker 1: poem you might have a image of a kid crashing

1026
01:01:29,760 --> 01:01:31,560
Speaker 1: in a pile of leaves, right, but you would never

1027
01:01:31,600 --> 01:01:33,920
Speaker 1: say that that's what he was doing. It would just

1028
01:01:34,080 --> 01:01:36,680
Speaker 1: end and then have an arrow pointing to the picture,

1029
01:01:36,800 --> 01:01:41,880
Speaker 1: and underneath the arrow would say get it right. Question. Uh,

1030
01:01:41,920 --> 01:01:44,320
Speaker 1: if you want to know more about poetry, there are

1031
01:01:44,360 --> 01:01:46,800
Speaker 1: a lot of places that you could start, like go

1032
01:01:46,920 --> 01:01:50,280
Speaker 1: to the Poetry Foundation for example. That'd be a great

1033
01:01:50,360 --> 01:01:52,560
Speaker 1: resource for you to just find some poems to start

1034
01:01:52,600 --> 01:01:56,320
Speaker 1: reading out loud to yourself in your bedroom at night alone.

1035
01:01:56,560 --> 01:01:59,360
Speaker 1: You were starting to sound like Steve Rule. Oh the

1036
01:01:59,480 --> 01:02:05,040
Speaker 1: stupid library. Put that in your milk. Uh, since I

1037
01:02:05,080 --> 01:02:07,120
Speaker 1: said put that in your milk, it's time for a

1038
01:02:07,160 --> 01:02:15,760
Speaker 1: listener mail. Uh, this is about band names. Um, hey guys,

1039
01:02:15,960 --> 01:02:18,160
Speaker 1: I've been listening for a while now. I'm loving it. Also,

1040
01:02:18,400 --> 01:02:23,360
Speaker 1: really enjoy all of Josh's Simpsons references since I know,

1041
01:02:23,920 --> 01:02:26,280
Speaker 1: Hey Matt. By the way, we met Matt Graining once

1042
01:02:26,320 --> 01:02:29,520
Speaker 1: in person, and um, he was very kind to us

1043
01:02:29,560 --> 01:02:31,200
Speaker 1: and we said that we had a podcast where we

1044
01:02:31,720 --> 01:02:34,120
Speaker 1: mentioned the Simpsons quite a bit, and he actually asked

1045
01:02:34,160 --> 01:02:36,880
Speaker 1: for the name and wrote it down and then he

1046
01:02:37,160 --> 01:02:40,080
Speaker 1: looked at us bed the eye, crumpled the paper and

1047
01:02:40,120 --> 01:02:42,760
Speaker 1: threw it away right. Uh. He was very nice. So

1048
01:02:42,760 --> 01:02:46,640
Speaker 1: I wonder if he listened. Yeah, we have signed scripts scripts.

1049
01:02:47,200 --> 01:02:50,160
Speaker 1: Yeah it was awesome. Yeah, that was bucketless stuff. And

1050
01:02:50,440 --> 01:02:56,280
Speaker 1: big thanks to Jesse for the millionth time for that experience. Um, anyway,

1051
01:02:56,280 --> 01:02:58,120
Speaker 1: here we go. Since I know you two can appreciate

1052
01:02:58,120 --> 01:03:00,240
Speaker 1: solid band names, I want to tell you this worry.

1053
01:03:00,440 --> 01:03:01,760
Speaker 1: The other day. My wife was trying to tell me

1054
01:03:01,760 --> 01:03:03,760
Speaker 1: about the time she went to see a band. She said,

1055
01:03:03,760 --> 01:03:06,400
Speaker 1: I can't remember their name, and like a genius volt

1056
01:03:06,400 --> 01:03:08,920
Speaker 1: of lightning out of nowhere, I just blurted out Pig

1057
01:03:09,000 --> 01:03:12,120
Speaker 1: Chesterton in the knuckle Ducks. It as if my brain

1058
01:03:12,200 --> 01:03:15,680
Speaker 1: in the universe were one solid band name creating machine.

1059
01:03:16,200 --> 01:03:18,040
Speaker 1: I was super impressed with the odd combo of words

1060
01:03:18,120 --> 01:03:20,880
Speaker 1: my brain created and that split second of time. Also,

1061
01:03:20,920 --> 01:03:23,400
Speaker 1: to further the laughs and validity of this is a

1062
01:03:23,400 --> 01:03:25,520
Speaker 1: band name, my wife actually said I don't know who

1063
01:03:25,520 --> 01:03:30,040
Speaker 1: they are. Still makes me laugh. Anyway, Thanks guys for

1064
01:03:30,080 --> 01:03:33,120
Speaker 1: such a fascinating, informative and funny show. And that is

1065
01:03:33,600 --> 01:03:38,280
Speaker 1: Matt Burns from Gilroy, California. Nice. Thanks a lot, Matt.

1066
01:03:38,360 --> 01:03:41,320
Speaker 1: That was a that was a pretty good email. Yeah,

1067
01:03:41,400 --> 01:03:43,560
Speaker 1: just a channel. That band name not bad, He's a

1068
01:03:43,560 --> 01:03:46,200
Speaker 1: band name generator. Agreed. Oh, I've got one for you,

1069
01:03:46,400 --> 01:03:50,880
Speaker 1: the Benedict Comberbatch name Generator. It just comes up with

1070
01:03:50,920 --> 01:03:55,200
Speaker 1: all sorts of random stuff. My favorite is that's a website, yeah, Benman,

1071
01:03:55,320 --> 01:04:01,040
Speaker 1: snap comer button? What is it? Just rerange? Yeah, yeah,

1072
01:04:01,080 --> 01:04:04,360
Speaker 1: it's good stuff. Man. I love the Internet. Uh. If

1073
01:04:04,360 --> 01:04:06,040
Speaker 1: you want to get in touch of this, like Matt did,

1074
01:04:06,120 --> 01:04:08,200
Speaker 1: you can tweet to us. I'm at josh um Clark

1075
01:04:08,320 --> 01:04:10,960
Speaker 1: and at s Y s K podcast. Charles is at

1076
01:04:11,040 --> 01:04:14,840
Speaker 1: Charles W. Chuck Bryant on Facebook and at facebook dot com.

1077
01:04:14,880 --> 01:04:16,840
Speaker 1: Slash stuff you Should Know. You can send us an

1078
01:04:16,880 --> 01:04:19,560
Speaker 1: email to Stuff Podcast at how stuff Works dot com

1079
01:04:19,600 --> 01:04:21,320
Speaker 1: and has always joined us at our home on the web,

1080
01:04:21,600 --> 01:04:28,040
Speaker 1: Stuff you Should Know dot com For more on this

1081
01:04:28,240 --> 01:04:30,720
Speaker 1: and thousands of other topics. Is it how stuff Works

1082
01:04:30,760 --> 01:04:41,640
Speaker 1: dot com