1 00:00:03,080 --> 00:00:05,400 Speaker 1: Welcome to Stuff to Blow Your Mind, production of My 2 00:00:05,480 --> 00:00:14,920 Speaker 1: Heart Radio. Hey, welcome to Stuff to Blow Your Mind. 3 00:00:15,120 --> 00:00:19,040 Speaker 1: My name is Robert Lamb and I'm Joe McCormick. And 4 00:00:19,120 --> 00:00:22,360 Speaker 1: this is gonna be our last core, our last new 5 00:00:22,400 --> 00:00:25,360 Speaker 1: core episode of the year. And what do we have 6 00:00:25,400 --> 00:00:28,080 Speaker 1: for you here? Another holiday episode. And we really didn't 7 00:00:28,120 --> 00:00:31,280 Speaker 1: know until just a few days ago exactly what the 8 00:00:31,320 --> 00:00:34,280 Speaker 1: holiday episode would be. We were talking about doing an 9 00:00:34,320 --> 00:00:37,320 Speaker 1: episode on reindeer related stuff and maybe we'll do that 10 00:00:37,400 --> 00:00:39,559 Speaker 1: next year. We and then we were talking about, well, 11 00:00:39,640 --> 00:00:42,040 Speaker 1: let's let's we've done previous episode where we talked about 12 00:00:42,040 --> 00:00:46,040 Speaker 1: holiday inventions, Christmas inventions and so forth, maybe we could 13 00:00:46,200 --> 00:00:49,320 Speaker 1: do another one of those, and um uh, you know, 14 00:00:49,360 --> 00:00:53,240 Speaker 1: we started looking into some topics and we wound up 15 00:00:53,760 --> 00:00:58,720 Speaker 1: focusing entirely upon the holiday film A Christmas Story, well 16 00:00:58,720 --> 00:01:00,960 Speaker 1: not just on the movie, on the movie's most sacred 17 00:01:01,000 --> 00:01:03,360 Speaker 1: prop that's right. And I mean for a little bit 18 00:01:03,360 --> 00:01:05,160 Speaker 1: they we were thinking, well, look at all the things 19 00:01:05,160 --> 00:01:06,920 Speaker 1: that are to talk about in a Christmas Story. We 20 00:01:06,959 --> 00:01:11,120 Speaker 1: could talk about soap poisoning, freezing your tongue to a flagpole, 21 00:01:11,200 --> 00:01:15,840 Speaker 1: the dangerous posed by BB guns, how furnaces work, I 22 00:01:15,840 --> 00:01:18,720 Speaker 1: gotta say I, having looked into the medical literature on 23 00:01:18,760 --> 00:01:21,759 Speaker 1: soap poisoning, first of all, it is a real thing. Second, 24 00:01:22,200 --> 00:01:24,760 Speaker 1: that's some pretty dark territory. Not not not the most 25 00:01:24,840 --> 00:01:27,160 Speaker 1: fun way to head into the holidays. Well, I mean 26 00:01:27,160 --> 00:01:29,280 Speaker 1: it's pretty dark in the Christmas story. You know there 27 00:01:29,319 --> 00:01:31,360 Speaker 1: he is, he's a he's a child, and he's blind 28 00:01:31,400 --> 00:01:33,880 Speaker 1: and his parents feel such remorse for having him put 29 00:01:33,920 --> 00:01:35,720 Speaker 1: that bar of soap in his mouth. Now, from what 30 00:01:35,760 --> 00:01:37,880 Speaker 1: I could tell in my brief investigation, I don't think 31 00:01:37,920 --> 00:01:40,160 Speaker 1: it's dangerous to put a bar of soap in your 32 00:01:40,160 --> 00:01:42,440 Speaker 1: mouth for a few minutes, but you definitely don't want 33 00:01:42,440 --> 00:01:45,480 Speaker 1: to like eat a significant amount of it, right, So, 34 00:01:45,480 --> 00:01:50,200 Speaker 1: so so poisoning is a thing. Yes, don't don't swallow soap. 35 00:01:50,880 --> 00:01:52,400 Speaker 1: But like I said, we're not We're not focusing on 36 00:01:52,480 --> 00:01:56,040 Speaker 1: the soap here. We're talking. We're gonna be talking about um, 37 00:01:56,120 --> 00:01:59,240 Speaker 1: the Old Man's Major Award. We're gonna be talking about 38 00:01:59,280 --> 00:02:01,680 Speaker 1: that leg amp now, Rob, I don't know if you've 39 00:02:01,680 --> 00:02:05,040 Speaker 1: had this experience, but I can say most of my 40 00:02:05,120 --> 00:02:09,240 Speaker 1: exposure to to a Christmas story the movie comes in 41 00:02:09,320 --> 00:02:14,320 Speaker 1: the form of a sort of running, droning background noise 42 00:02:14,440 --> 00:02:16,120 Speaker 1: that's going on at a at a some kind of 43 00:02:16,120 --> 00:02:20,119 Speaker 1: family house around Christmas, while it's just playing on an 44 00:02:20,120 --> 00:02:23,280 Speaker 1: infinite loop on some cable TV station that that is 45 00:02:23,320 --> 00:02:25,280 Speaker 1: turned on in a room I might not even be 46 00:02:25,400 --> 00:02:30,120 Speaker 1: in very much, But when this happens, I noticed that 47 00:02:30,960 --> 00:02:33,480 Speaker 1: this must have something to do with like the patterns 48 00:02:33,520 --> 00:02:35,880 Speaker 1: with which I come and go into certain rooms in 49 00:02:35,919 --> 00:02:37,760 Speaker 1: the house, so that that would be an interesting thing 50 00:02:37,800 --> 00:02:40,000 Speaker 1: to study on its own. But I will pretty frequently 51 00:02:40,000 --> 00:02:43,240 Speaker 1: have the experience of seeing one scene in the movie 52 00:02:43,520 --> 00:02:46,600 Speaker 1: like five times in the same day, and it's always 53 00:02:46,600 --> 00:02:49,680 Speaker 1: the same scene. And for me, it has definitely been 54 00:02:49,760 --> 00:02:53,160 Speaker 1: the scene where the old man is in the house 55 00:02:53,240 --> 00:02:55,680 Speaker 1: and and a big crate arrives, and it was we 56 00:02:55,720 --> 00:02:58,960 Speaker 1: get the lines about it being FREGGI lay and he 57 00:02:59,040 --> 00:03:02,160 Speaker 1: digs through the story and then pulls out this glorious 58 00:03:02,240 --> 00:03:05,240 Speaker 1: leg lamp. Yeah, I have I have a similar experience 59 00:03:05,280 --> 00:03:08,920 Speaker 1: with a Christmas story. Um, it would there were so 60 00:03:08,960 --> 00:03:11,120 Speaker 1: there are. There have been some dedicated viewings of it, 61 00:03:11,320 --> 00:03:14,480 Speaker 1: uh you know, throughout the years. Um, but most of 62 00:03:14,480 --> 00:03:17,480 Speaker 1: it it's just it's on TV during Christmas, and therefore 63 00:03:17,520 --> 00:03:19,600 Speaker 1: you watch it or you watch part of it, And 64 00:03:19,680 --> 00:03:21,560 Speaker 1: so when you actually sat down and watch it in 65 00:03:21,600 --> 00:03:24,200 Speaker 1: its entirety. There will be these scenes that you remember 66 00:03:24,240 --> 00:03:26,919 Speaker 1: really vividly, and then there are scenes that you didn't 67 00:03:26,919 --> 00:03:28,679 Speaker 1: realize we're part of the movie at all. That sort 68 00:03:28,680 --> 00:03:32,440 Speaker 1: of thing. I should probably inform everyone what this movie has. 69 00:03:33,400 --> 00:03:35,000 Speaker 1: A number of you are probably familiar with it's some 70 00:03:35,040 --> 00:03:38,360 Speaker 1: of you were not. Uh. This was a Nintree holiday 71 00:03:38,400 --> 00:03:41,600 Speaker 1: film that was based on the writings of GANE Shepherd, 72 00:03:41,680 --> 00:03:44,400 Speaker 1: particularly on the book In God We Trust All Others 73 00:03:44,440 --> 00:03:48,880 Speaker 1: Pay Cash. It's one boy's account of childhood holiday dreams, 74 00:03:48,960 --> 00:03:52,320 Speaker 1: desires and fears. It's a fun movie with with some 75 00:03:52,400 --> 00:03:54,920 Speaker 1: solid laughs in it, some some some good heart, but 76 00:03:54,960 --> 00:03:57,960 Speaker 1: not to a sappy degree, especially for a holiday film. 77 00:03:58,000 --> 00:04:00,400 Speaker 1: And in some ways you could almost think of it 78 00:04:00,440 --> 00:04:03,240 Speaker 1: as kind of like a a proto Simpsons, you know, 79 00:04:03,360 --> 00:04:07,040 Speaker 1: like it's it's some of the gags that they get 80 00:04:07,120 --> 00:04:09,400 Speaker 1: up to in a Christmas story are the sorts of 81 00:04:09,400 --> 00:04:11,600 Speaker 1: things that would happen on The Simpsons later on. But 82 00:04:11,640 --> 00:04:14,480 Speaker 1: of course the Simpsons leans more into more into the 83 00:04:14,480 --> 00:04:18,640 Speaker 1: satire and more into like pop cultural references, you know 84 00:04:18,680 --> 00:04:20,360 Speaker 1: what I'm talking about, Like, you can't you imagine an 85 00:04:20,360 --> 00:04:23,640 Speaker 1: episode where Homer gets some sort of obnoxious award that 86 00:04:23,640 --> 00:04:25,360 Speaker 1: he wants to display at the front of the house. 87 00:04:25,920 --> 00:04:29,240 Speaker 1: Marge doesn't like it, and uh and maybe something terrible 88 00:04:29,320 --> 00:04:32,640 Speaker 1: ends up happening to the award and he he blames her. Yeah, 89 00:04:32,640 --> 00:04:34,279 Speaker 1: and now that you say that, I can't imagine that 90 00:04:34,320 --> 00:04:37,240 Speaker 1: being a plotline, Okay, Yeah, I mean Ralphie is essentially 91 00:04:37,320 --> 00:04:40,720 Speaker 1: a good boy, uh, whereas Bart is a bad boy. 92 00:04:40,839 --> 00:04:42,720 Speaker 1: So uh, you know we have to take that into 93 00:04:42,720 --> 00:04:45,839 Speaker 1: account as well. Yeah, Bart would not dream of getting 94 00:04:45,839 --> 00:04:47,960 Speaker 1: a BB gun for Christmas. He would just go and 95 00:04:48,000 --> 00:04:51,120 Speaker 1: I don't know, shoplift to be begun or something. Yeah, 96 00:04:51,160 --> 00:04:52,920 Speaker 1: oh well, I mean I hope he learned his lesson 97 00:04:53,000 --> 00:04:56,520 Speaker 1: from that Christmas episodes of The Simpsons where he did shoplift. Remember, 98 00:04:56,800 --> 00:04:59,159 Speaker 1: Oh that's right, Oh I remember that. One's actually very 99 00:04:59,200 --> 00:05:04,560 Speaker 1: sad because his mother is very disappointed in him. And yeah, strings, Yeah, 100 00:05:04,640 --> 00:05:06,960 Speaker 1: it's it's a solid episode like that sort of Simpsons 101 00:05:06,960 --> 00:05:10,320 Speaker 1: episode reminds me a lot of of of this, though 102 00:05:10,320 --> 00:05:12,760 Speaker 1: in a weird way. That Simpsons episode is more serious 103 00:05:13,640 --> 00:05:16,800 Speaker 1: than Christmas story is. Yeah, what is it he steals? 104 00:05:16,839 --> 00:05:19,240 Speaker 1: It's like a video game. It's like the bone Storm 105 00:05:19,360 --> 00:05:22,919 Speaker 1: for whatever. Yeah, it's like essentially like a Mortal Kombat 106 00:05:23,000 --> 00:05:25,600 Speaker 1: type game that just seems like the greatest thing ever. 107 00:05:25,680 --> 00:05:29,560 Speaker 1: And they have like the muscled Santa Claus and the commercial. Yeah, 108 00:05:29,760 --> 00:05:32,599 Speaker 1: so we're not gonna give a Christmas story the full 109 00:05:32,600 --> 00:05:35,279 Speaker 1: weird how Cinema treatment or anything here today, but I 110 00:05:35,279 --> 00:05:37,520 Speaker 1: do want to just point out real quickly a few 111 00:05:37,520 --> 00:05:39,719 Speaker 1: of the people involved in it, because it's kind of fun. 112 00:05:40,279 --> 00:05:42,480 Speaker 1: First of all, I was directed by Bob Clark, who 113 00:05:42,560 --> 00:05:46,840 Speaker 1: also directed the notorious holiday proto slasher Black Christmas in 114 00:05:46,920 --> 00:05:50,480 Speaker 1: nine four, which I have never seen, but it had 115 00:05:50,520 --> 00:05:54,240 Speaker 1: a It had a great cast, including Olivia Hussey, Margot Kidder, 116 00:05:54,839 --> 00:05:57,599 Speaker 1: Kira Dulia from two thousand and one of Space Odyssey, 117 00:05:57,680 --> 00:06:01,480 Speaker 1: and of course weird How Cinema favorite John Saxon. Everybody 118 00:06:01,520 --> 00:06:03,680 Speaker 1: at home do a push up for John Saxon right now. 119 00:06:05,279 --> 00:06:09,000 Speaker 1: He also directed Death Dream Murder by Decree, which is 120 00:06:09,000 --> 00:06:12,880 Speaker 1: a Sherlock Holmes versus Jack the Rippers story, two Porky's movies, 121 00:06:13,360 --> 00:06:19,479 Speaker 1: two Baby Geniuses movies, Porky's and Baby Geniuses. Yeah, yeah, 122 00:06:20,480 --> 00:06:22,440 Speaker 1: but still there's some good stuff in there. He he 123 00:06:22,480 --> 00:06:24,840 Speaker 1: passed away in two thousand seven, but I think a 124 00:06:24,920 --> 00:06:28,120 Speaker 1: Christmas story is likely to remain his his legacy, Like 125 00:06:28,160 --> 00:06:29,919 Speaker 1: this is the one that's gonna really stick. So I 126 00:06:29,960 --> 00:06:33,159 Speaker 1: guess Black Christmas also has its place in film history 127 00:06:33,200 --> 00:06:35,880 Speaker 1: as well. Sure, and uh, as far as the cast 128 00:06:36,040 --> 00:06:39,680 Speaker 1: has has a wonderful cast Christmas story, but the two 129 00:06:39,720 --> 00:06:42,680 Speaker 1: main characters worth pointing out for our purposes. The old 130 00:06:42,720 --> 00:06:45,960 Speaker 1: Man has played played by the always terrific Darren McGavin. 131 00:06:46,480 --> 00:06:48,479 Speaker 1: This is the guy who played Coleshack, the night Stalker 132 00:06:48,520 --> 00:06:50,680 Speaker 1: I think, who was also in the Arnold Schwartzenegger film 133 00:06:50,760 --> 00:06:56,040 Speaker 1: Raw Deal Okay. And the mom is played by Melinda Dillon, 134 00:06:56,160 --> 00:06:58,960 Speaker 1: who was in Harry and the Henderson's as well as 135 00:06:59,000 --> 00:07:02,760 Speaker 1: Spontaneous Come Austin, which is one of the films that 136 00:07:02,800 --> 00:07:05,000 Speaker 1: we covered on Weird House Cinema this year. Did she 137 00:07:05,040 --> 00:07:09,040 Speaker 1: play like the creepy scientist? She am? I right about that. 138 00:07:09,480 --> 00:07:11,760 Speaker 1: It's really hard to remember. Everybody else just kind of 139 00:07:11,880 --> 00:07:17,440 Speaker 1: uh grows dim against the burning fire. That is uh, 140 00:07:17,480 --> 00:07:20,960 Speaker 1: that is a Dora's performance in that. Brad Dorriff is 141 00:07:21,000 --> 00:07:23,320 Speaker 1: just so good. Yeah, I just double checked she she's 142 00:07:23,360 --> 00:07:26,120 Speaker 1: the German scientist. I think at some point Brad Doroff 143 00:07:26,120 --> 00:07:28,760 Speaker 1: goes to her house and maybe she catches on fire. 144 00:07:28,840 --> 00:07:31,640 Speaker 1: And I don't know, probably that's probably's generally how it goes. Um. 145 00:07:31,920 --> 00:07:33,720 Speaker 1: But I don't want to sell her short, because Melinda 146 00:07:33,760 --> 00:07:36,960 Speaker 1: Dillon is a great actor as well. She was she 147 00:07:37,040 --> 00:07:39,600 Speaker 1: was in Close Encounters of the Third Kind and Absence 148 00:07:39,640 --> 00:07:42,600 Speaker 1: of Malice in that she was nominated for two Academy 149 00:07:42,640 --> 00:07:45,640 Speaker 1: Awards and one Tony Award. Okay, but we don't want 150 00:07:45,640 --> 00:07:47,440 Speaker 1: to leave anybody out for the like eight people in 151 00:07:47,440 --> 00:07:50,600 Speaker 1: the audience who have never seen this movie or even 152 00:07:50,640 --> 00:07:53,680 Speaker 1: just seen this sequence in the movie on five times 153 00:07:53,680 --> 00:07:56,960 Speaker 1: in the same day on Christmas. But what's the deal 154 00:07:57,040 --> 00:07:59,480 Speaker 1: with the major award? Well, it is, as we've been saying, 155 00:07:59,480 --> 00:08:02,080 Speaker 1: a major award. It is something he has won for 156 00:08:02,240 --> 00:08:06,640 Speaker 1: his achievements, Uh, in a game. And what is the game, Joe, Well, 157 00:08:06,680 --> 00:08:10,280 Speaker 1: I think it's like it's like a trivia contest, maybe 158 00:08:10,320 --> 00:08:13,960 Speaker 1: done through the mail from a newspaper. H though I 159 00:08:13,960 --> 00:08:17,120 Speaker 1: think it's worth saying that, Uh, he actually does not 160 00:08:17,200 --> 00:08:19,760 Speaker 1: supply most of the answers on the contest. He has 161 00:08:19,840 --> 00:08:23,080 Speaker 1: to ask Melinda Dillon and she actually knows the answers. 162 00:08:23,280 --> 00:08:25,280 Speaker 1: Then he fills them in and it sends it off 163 00:08:25,400 --> 00:08:29,360 Speaker 1: or something, and apparently wins this trivia contest by answering 164 00:08:29,440 --> 00:08:31,679 Speaker 1: questions like what is the name of the Lone Rangers 165 00:08:31,680 --> 00:08:35,560 Speaker 1: and nephews Horse. But later in the film, after he 166 00:08:35,600 --> 00:08:38,520 Speaker 1: receives his major award, when people ask him how what 167 00:08:38,559 --> 00:08:44,120 Speaker 1: it was for, he says, it's for mind power. Yeah, 168 00:08:44,320 --> 00:08:48,200 Speaker 1: so it's it's this wonderful design. It is a lamp 169 00:08:48,320 --> 00:08:51,720 Speaker 1: that is shaped like a woman's leg wearing a fishnet stocking, 170 00:08:52,320 --> 00:08:55,000 Speaker 1: with the shade resembling a kind of mini skirt or 171 00:08:55,080 --> 00:08:59,160 Speaker 1: short hoop drafts or something. And um, as we as 172 00:08:59,200 --> 00:09:01,120 Speaker 1: we learned in the it's it's an item of much 173 00:09:01,160 --> 00:09:05,040 Speaker 1: controversy in the household. And um, and it's clear that 174 00:09:05,200 --> 00:09:07,520 Speaker 1: Mom does not like this lamp and certainly does not 175 00:09:07,559 --> 00:09:10,800 Speaker 1: think it belongs at the front of the house where 176 00:09:10,840 --> 00:09:13,559 Speaker 1: neighbors can see it. Uh, you know, it's already. Uh, 177 00:09:13,760 --> 00:09:16,840 Speaker 1: it's it's becoming a topic of discussion in the neighborhood. 178 00:09:17,200 --> 00:09:21,360 Speaker 1: And then what happens there is an accident somebody is 179 00:09:21,400 --> 00:09:26,240 Speaker 1: cleaning too close to the lamp and it is accidentally destroyed. Now, 180 00:09:26,280 --> 00:09:28,040 Speaker 1: I think one of the great points of humor in 181 00:09:28,080 --> 00:09:31,359 Speaker 1: the movie is that it is never made clear why 182 00:09:31,400 --> 00:09:35,840 Speaker 1: a lamp shaped like a sexy leg is the prize 183 00:09:35,920 --> 00:09:39,600 Speaker 1: for winning this newspaper contest. Like that, there's no connection there, 184 00:09:39,640 --> 00:09:42,080 Speaker 1: like why would this be what you get? Uh? And 185 00:09:42,200 --> 00:09:45,720 Speaker 1: it's just not explained. Yeah, I mean it doesn't even 186 00:09:45,760 --> 00:09:48,280 Speaker 1: say anything, um, you know on the lamp. It's not 187 00:09:48,320 --> 00:09:50,560 Speaker 1: like the award is shaped like a lamp. No, this 188 00:09:50,640 --> 00:09:53,559 Speaker 1: is just a lamp that shaped like a leg. Um. 189 00:09:53,679 --> 00:09:55,560 Speaker 1: But but he is, he is fond of it. He 190 00:09:55,600 --> 00:09:58,920 Speaker 1: thinks it is wonderful. She does not. It becomes a uh, 191 00:09:59,280 --> 00:10:01,720 Speaker 1: it becomes an a visual issue between the two of them. 192 00:10:01,760 --> 00:10:04,960 Speaker 1: It is destroyed. An attempt to rebuild the leg lamp 193 00:10:05,120 --> 00:10:07,800 Speaker 1: seems possible, but we'll never know if it was successful. 194 00:10:07,840 --> 00:10:10,680 Speaker 1: We we we we we suspect that it was not. 195 00:10:11,000 --> 00:10:14,600 Speaker 1: That this is something that, once broken, can never be repaired. Well. 196 00:10:14,640 --> 00:10:16,840 Speaker 1: I think also there's a little bit of subtlety there, 197 00:10:16,840 --> 00:10:19,040 Speaker 1: because when the old man is trying to repair it 198 00:10:19,080 --> 00:10:21,760 Speaker 1: with glue and failing, you sense in him a kind 199 00:10:21,800 --> 00:10:26,480 Speaker 1: of a kind of waning enthusiasm where it may be, 200 00:10:26,760 --> 00:10:30,480 Speaker 1: in fact, that he is realizing that his wife was 201 00:10:30,559 --> 00:10:36,280 Speaker 1: correct in thinking that this lamp is rather tacky. Yeah. Yeah, 202 00:10:36,400 --> 00:10:40,920 Speaker 1: but he didn't want to admit it earlier, right, So 203 00:10:41,080 --> 00:10:43,560 Speaker 1: this is this lamp. This is a a hilarious part 204 00:10:43,559 --> 00:10:46,120 Speaker 1: of the film. This is based on the chapter My 205 00:10:46,240 --> 00:10:49,200 Speaker 1: Old Man and the Sithest Special Award that heralded the 206 00:10:49,200 --> 00:10:52,760 Speaker 1: birth of pop art from the novel in God We 207 00:10:52,800 --> 00:10:56,000 Speaker 1: Trust all Others pay cash. But it's really taken on 208 00:10:56,040 --> 00:10:59,520 Speaker 1: a life of its own. Since then, Um, you can 209 00:10:59,600 --> 00:11:03,760 Speaker 1: now buy uh, like replicas of the lamp, reproductions of 210 00:11:03,760 --> 00:11:06,720 Speaker 1: the rent lamp in various sizes. You can get Christmas 211 00:11:06,760 --> 00:11:09,160 Speaker 1: tree ornaments where the Christmas I mean, you can basically 212 00:11:09,200 --> 00:11:12,360 Speaker 1: get Christmas tree ornaments of it, or even Christmas lights 213 00:11:12,400 --> 00:11:16,200 Speaker 1: all the lamp like, the lamp has become like this, um, 214 00:11:16,240 --> 00:11:19,640 Speaker 1: this weird symbol all its own. I was. I was 215 00:11:19,679 --> 00:11:25,240 Speaker 1: reading about it on read Craiger's blog Inventor's Digest, and 216 00:11:25,280 --> 00:11:29,080 Speaker 1: apparently Shepherd was inspired to create this fictional lamp based 217 00:11:29,160 --> 00:11:33,480 Speaker 1: on knee high soda ads that he remembered seeing in 218 00:11:33,559 --> 00:11:36,640 Speaker 1: magazine showing two shapely legs up to the knee. Uh. 219 00:11:36,679 --> 00:11:38,840 Speaker 1: He remembered these from from being from when he was 220 00:11:38,840 --> 00:11:41,920 Speaker 1: a boy, and then for the film production designer Ruben 221 00:11:42,000 --> 00:11:44,640 Speaker 1: freed Uh he did the rest and the lamp is 222 00:11:44,679 --> 00:11:48,400 Speaker 1: apparently protected by two different trademarks. Uh, they've been mass 223 00:11:48,440 --> 00:11:50,719 Speaker 1: produced over the years, and yes you can buy them 224 00:11:50,720 --> 00:11:54,000 Speaker 1: today as functional lamps. When this movie came out, you 225 00:11:54,000 --> 00:11:55,520 Speaker 1: can only dream of such a thing. I think they 226 00:11:55,559 --> 00:11:58,360 Speaker 1: made like just a handful of these for the film, 227 00:11:58,400 --> 00:12:02,040 Speaker 1: But now it is a achievable by anyone. Now, correct 228 00:12:02,080 --> 00:12:03,840 Speaker 1: me if I'm wrong, But I believe I read somewhere 229 00:12:03,880 --> 00:12:06,760 Speaker 1: that the original lamp prop made for the film no 230 00:12:06,840 --> 00:12:10,600 Speaker 1: longer exists. That is what I was reading as well. Yeah, 231 00:12:10,960 --> 00:12:13,600 Speaker 1: lost to history, like so many great works, like many 232 00:12:13,640 --> 00:12:17,079 Speaker 1: of the artworks of the Parthenon, or just think the 233 00:12:17,559 --> 00:12:22,000 Speaker 1: great antiquities, They just fade to time. Well, speaking of antiquities, 234 00:12:22,160 --> 00:12:26,199 Speaker 1: obviously this this can't be where the story begins and ends, right. 235 00:12:26,320 --> 00:12:28,120 Speaker 1: There has to be more of it. There has to 236 00:12:28,160 --> 00:12:31,520 Speaker 1: be more to the lamp that is a leg and 237 00:12:31,559 --> 00:12:33,960 Speaker 1: the leg that is a lamp. By god, if there's 238 00:12:34,000 --> 00:12:39,120 Speaker 1: not more to it, will make more to it. Absolutely Well, 239 00:12:39,200 --> 00:12:41,200 Speaker 1: let's go to the obvious place to discuss all of 240 00:12:41,200 --> 00:12:42,680 Speaker 1: this is to go way back and just talk about 241 00:12:42,720 --> 00:12:45,360 Speaker 1: lamps in general. The lamp in the movie is, of 242 00:12:45,360 --> 00:12:48,679 Speaker 1: course an electric lamp with origins in the early nineteenth century, 243 00:12:48,720 --> 00:12:52,199 Speaker 1: but the history of illumination technology goes way back. Obviously 244 00:12:52,520 --> 00:12:55,760 Speaker 1: you can think to our invention episodes on fire technology. 245 00:12:55,920 --> 00:12:59,319 Speaker 1: And indeed the most basic form of illumination technology is 246 00:12:59,360 --> 00:13:02,760 Speaker 1: of course a mere torch or a burning brand of 247 00:13:02,800 --> 00:13:07,320 Speaker 1: some sword, or even a very primitive you know, burning stick. Uh. 248 00:13:07,720 --> 00:13:11,280 Speaker 1: You know these wall get it done. But according to 249 00:13:11,360 --> 00:13:14,880 Speaker 1: Brian M. Fagan and Garrett G. Fagan um in the 250 00:13:15,720 --> 00:13:18,560 Speaker 1: UH in the seventy grade inventions of the ancient world, 251 00:13:19,160 --> 00:13:22,679 Speaker 1: um wick burning lamps go back at least as far 252 00:13:22,720 --> 00:13:26,160 Speaker 1: as the late Paleolithic period. It's thirty thousands through ten 253 00:13:26,200 --> 00:13:29,200 Speaker 1: thousand years ago. All you need is a reservoir of 254 00:13:29,240 --> 00:13:32,240 Speaker 1: fuel and a wick made from plant fiber or even 255 00:13:32,280 --> 00:13:35,360 Speaker 1: something like human hair. And the fuel itself can be 256 00:13:35,600 --> 00:13:38,280 Speaker 1: any number of things. That can be oil, it can 257 00:13:38,320 --> 00:13:41,640 Speaker 1: be fat, and sometimes salt was added to oil to 258 00:13:41,720 --> 00:13:45,600 Speaker 1: keep it from overheating. Uh. Tons of lamps survived from 259 00:13:45,600 --> 00:13:48,560 Speaker 1: the ancient world as these were, of course widespread and 260 00:13:48,600 --> 00:13:53,079 Speaker 1: extremely useful pieces of technology. Uh. They illuminate your environment. 261 00:13:53,200 --> 00:13:56,120 Speaker 1: They turn uh night time or not. It doesn't turn 262 00:13:56,240 --> 00:13:58,240 Speaker 1: nighttime into day, but you know, it provides some of 263 00:13:58,280 --> 00:14:00,400 Speaker 1: the illumination that you would have in the day time. 264 00:14:00,880 --> 00:14:04,120 Speaker 1: In a nice concentrated form. Yeah. And I think one 265 00:14:04,160 --> 00:14:06,760 Speaker 1: of the things that's useful about a lamp or like 266 00:14:06,800 --> 00:14:09,959 Speaker 1: a candle. We've talked about this on the core episodes 267 00:14:10,000 --> 00:14:14,280 Speaker 1: of the show before, is that they they provide moderate 268 00:14:14,480 --> 00:14:17,880 Speaker 1: light for a long period of time. They're constructed so 269 00:14:17,920 --> 00:14:22,120 Speaker 1: as to gradually slowly feed the fuel into the flame, 270 00:14:22,680 --> 00:14:25,400 Speaker 1: rather than have the fire just burned through the fuel 271 00:14:25,440 --> 00:14:27,840 Speaker 1: source as fast as it possibly can, like it would 272 00:14:27,840 --> 00:14:29,400 Speaker 1: with you know, many other things like a you know, 273 00:14:29,400 --> 00:14:32,480 Speaker 1: a lit stick or something. Yeah. So the technology here, 274 00:14:32,960 --> 00:14:35,880 Speaker 1: the the device itself allows you to make the most 275 00:14:35,960 --> 00:14:38,480 Speaker 1: out of your limited fuel. Now real quick, I want 276 00:14:38,480 --> 00:14:42,320 Speaker 1: to want to just mention the Fagans quickly. Um Brian Fagan, 277 00:14:42,360 --> 00:14:44,960 Speaker 1: of course, Brian and Fagan is is is someone I 278 00:14:45,000 --> 00:14:48,800 Speaker 1: sade a lot on the show. Um Starters. That Great 279 00:14:48,800 --> 00:14:51,200 Speaker 1: Inventions book is super useful. But he's written a number 280 00:14:51,240 --> 00:14:54,160 Speaker 1: of volumes and still has books coming out, including a 281 00:14:54,200 --> 00:14:58,640 Speaker 1: new book with Nadia Durrani titled Climate Chaos Lessons on 282 00:14:58,760 --> 00:15:02,400 Speaker 1: Survival from Our Aunts. Ester's now the other Fagan, though 283 00:15:02,400 --> 00:15:06,080 Speaker 1: Garrett ge Fagan was an Irish American ancient historian best 284 00:15:06,080 --> 00:15:09,600 Speaker 1: known for his social histories of Roman bathing and the 285 00:15:09,600 --> 00:15:12,720 Speaker 1: spectacles of the Roman arena. And I could be wrong 286 00:15:12,720 --> 00:15:14,800 Speaker 1: on this, but I do not believe these two fagans 287 00:15:14,800 --> 00:15:17,400 Speaker 1: are related at all. They just happened to work together 288 00:15:17,440 --> 00:15:20,840 Speaker 1: in this one chapter, uh, in the seventy grade Inventions 289 00:15:20,840 --> 00:15:25,400 Speaker 1: of the Ancient World that deals with illumination technology. Okay, 290 00:15:25,400 --> 00:15:30,840 Speaker 1: So lamps go very far back, for into the Paleolithic period, right, 291 00:15:30,880 --> 00:15:34,120 Speaker 1: and lamp technology of this basic sword can be found 292 00:15:34,120 --> 00:15:37,840 Speaker 1: from throughout Mesopotamia. And the shape of the reservoir varies, 293 00:15:38,440 --> 00:15:41,320 Speaker 1: so you can you can use basically found objects as 294 00:15:41,360 --> 00:15:44,160 Speaker 1: your reservoir. So seashells were often used because these were 295 00:15:44,240 --> 00:15:48,160 Speaker 1: naturally occurring shallow bowls with ridges to accommodate a wick 296 00:15:48,240 --> 00:15:51,320 Speaker 1: at one end. But then once you start making artificial 297 00:15:51,400 --> 00:15:55,680 Speaker 1: reservoirs for your oil or your fat, whatever you're burning 298 00:15:55,680 --> 00:15:59,200 Speaker 1: your fuel. Um, then you're making them out of pottery 299 00:15:59,360 --> 00:16:02,080 Speaker 1: or even metal. And this allows for all manner of 300 00:16:02,200 --> 00:16:06,040 Speaker 1: simple and ornate lamp designs. And you know where we're 301 00:16:06,040 --> 00:16:10,520 Speaker 1: going with that, right of course. Yeah. The obvious question 302 00:16:10,640 --> 00:16:15,120 Speaker 1: is how many of these lamps were shaped like legs? Well, 303 00:16:15,160 --> 00:16:17,600 Speaker 1: are you going to tell me? Well, this is a 304 00:16:17,640 --> 00:16:21,560 Speaker 1: difficult question to answer Joe. Humans have, of course always 305 00:16:21,640 --> 00:16:24,400 Speaker 1: love to craft things in the likeness of animals and 306 00:16:24,600 --> 00:16:28,120 Speaker 1: or themselves, and animal legs and feet have always been 307 00:16:28,160 --> 00:16:31,760 Speaker 1: a favorite motif. In fact, uh Fagan includes an image 308 00:16:31,800 --> 00:16:34,720 Speaker 1: of one in the book. It's a first century CE 309 00:16:34,720 --> 00:16:39,240 Speaker 1: brazier from Pompeii with beautiful like animal feet supporting it. 310 00:16:39,560 --> 00:16:41,440 Speaker 1: And of course we still see this today with you know, 311 00:16:41,880 --> 00:16:45,320 Speaker 1: tubs anything. It's like, it's like the human artistan can't 312 00:16:45,360 --> 00:16:48,600 Speaker 1: help it. It's like, why have put feet upon this 313 00:16:49,200 --> 00:16:52,960 Speaker 1: device or this prop or this piece of furniture? Uh? 314 00:16:53,000 --> 00:16:56,040 Speaker 1: Could I not make those feet like actual feet? Uh? 315 00:16:56,040 --> 00:16:57,720 Speaker 1: And I guess you can even say there's a bit 316 00:16:57,720 --> 00:16:59,560 Speaker 1: of biomimicry there as well, Like if you're going to 317 00:16:59,640 --> 00:17:03,880 Speaker 1: support an object with these like stumpy pods, uh, well, 318 00:17:04,000 --> 00:17:06,600 Speaker 1: maybe make them look like a foot. That's true. In fact, 319 00:17:06,960 --> 00:17:09,840 Speaker 1: you've got me thinking about how often the legs of 320 00:17:10,520 --> 00:17:14,680 Speaker 1: you know, fancier pieces of furniture are kind of shaped 321 00:17:14,800 --> 00:17:18,000 Speaker 1: to be organic or flush like in a way, they 322 00:17:18,080 --> 00:17:20,399 Speaker 1: might have kind of curves on them, similar to a 323 00:17:20,480 --> 00:17:23,800 Speaker 1: human leg or to an animal leg, even if they're 324 00:17:23,840 --> 00:17:26,560 Speaker 1: not explicitly trying to depict a human or animal leg. 325 00:17:26,680 --> 00:17:29,199 Speaker 1: Like with toes and stuff, right, though of course, there 326 00:17:29,200 --> 00:17:31,919 Speaker 1: are plenty of explicit depictions out there where it's like 327 00:17:32,000 --> 00:17:33,920 Speaker 1: it's straight up looks like the foot of a lion 328 00:17:34,080 --> 00:17:42,520 Speaker 1: or a goat or what have you. So looking around 329 00:17:42,520 --> 00:17:45,119 Speaker 1: in the history of lamp designs, um, you know, I'm 330 00:17:45,160 --> 00:17:48,720 Speaker 1: sure I missed something interesting, But I've come across two 331 00:17:48,760 --> 00:17:53,400 Speaker 1: different examples of uh from from from Greek and Roman 332 00:17:53,440 --> 00:17:57,280 Speaker 1: traditions that are that are pretty interesting, particularly when dealing 333 00:17:57,280 --> 00:18:02,719 Speaker 1: with the Greek ascos and the Greek alabastron. So. An 334 00:18:02,720 --> 00:18:06,480 Speaker 1: ascos is an ancient Greek pottery vessel used to pour 335 00:18:06,600 --> 00:18:09,919 Speaker 1: liquids such as oils, so it is not quite a lamp, 336 00:18:10,280 --> 00:18:12,760 Speaker 1: though it could have been used to store lamp oil 337 00:18:12,920 --> 00:18:15,880 Speaker 1: and could have been used to refill lamps, and many 338 00:18:15,920 --> 00:18:19,520 Speaker 1: of these were decorated and decorational, sometimes in the form 339 00:18:19,720 --> 00:18:24,199 Speaker 1: of animals. And then an alabastron is similar. It's a 340 00:18:24,320 --> 00:18:28,719 Speaker 1: pottery vessel often used for holding oils or perfumes, named 341 00:18:28,760 --> 00:18:32,560 Speaker 1: for the carved alabaster containers from Egypt that started the design. 342 00:18:32,760 --> 00:18:35,720 Speaker 1: Key and the key thing here is that these are 343 00:18:35,760 --> 00:18:40,160 Speaker 1: generally elongated. So um, they are just by their very 344 00:18:40,240 --> 00:18:43,639 Speaker 1: nature and their sort of generic form kind of leg shaped. 345 00:18:44,080 --> 00:18:47,119 Speaker 1: So you'll find both the of these in various shapes 346 00:18:47,160 --> 00:18:50,560 Speaker 1: and forms, and and they're littered throughout museums and collections 347 00:18:50,560 --> 00:18:53,720 Speaker 1: around the world. But I was able to find some 348 00:18:53,800 --> 00:18:59,439 Speaker 1: images of for starters, there's a leg shaped ascos or 349 00:18:59,520 --> 00:19:02,800 Speaker 1: alabasa strown that is or was in the collection of 350 00:19:02,840 --> 00:19:06,760 Speaker 1: the Royal Ontario Museum in Toronto, though I've had trouble 351 00:19:06,800 --> 00:19:09,679 Speaker 1: finding out any additional information about it. I might have 352 00:19:09,720 --> 00:19:12,720 Speaker 1: to ask anyone out there who has has visited the 353 00:19:12,800 --> 00:19:16,320 Speaker 1: Royal Ontario Museum or or can visit it now, to 354 00:19:16,400 --> 00:19:18,240 Speaker 1: go in and try and get me more answers on this. 355 00:19:18,359 --> 00:19:22,320 Speaker 1: But the image I found is indeed uh an alabastron, 356 00:19:22,720 --> 00:19:24,320 Speaker 1: or it appears to be an alabaster. It's hard to 357 00:19:24,320 --> 00:19:26,520 Speaker 1: figure out what the scale is here. It is shaped 358 00:19:26,600 --> 00:19:31,520 Speaker 1: like a essentially like a naked human leg, and it's 359 00:19:31,560 --> 00:19:34,000 Speaker 1: free standing. It looks like it had it maybe has 360 00:19:34,040 --> 00:19:37,280 Speaker 1: sandals drawn on it uh and it was yeah, used 361 00:19:37,320 --> 00:19:40,119 Speaker 1: to hold oil or something. This gives new meaning to 362 00:19:40,200 --> 00:19:42,960 Speaker 1: the the expression that someone who can hold their liquor 363 00:19:43,040 --> 00:19:47,160 Speaker 1: has a quote hollow leg. Yes, this is indeed hollow leg. 364 00:19:47,240 --> 00:19:50,160 Speaker 1: I wonder if that. Yeah, I didn't even think about 365 00:19:50,200 --> 00:19:53,399 Speaker 1: that that that phrase. Um. Now I was able to 366 00:19:53,400 --> 00:19:56,200 Speaker 1: find more information on another one. There is a Greek 367 00:19:56,240 --> 00:19:59,800 Speaker 1: pottery alabastron in the shape of aggrieved or armored leg 368 00:20:00,240 --> 00:20:04,240 Speaker 1: from Corinth or Rhodes circus sixth century b c E. 369 00:20:04,400 --> 00:20:07,040 Speaker 1: And it's part or was part I'm not sure of. 370 00:20:07,119 --> 00:20:11,040 Speaker 1: The Callos Collection in London included an image of this, 371 00:20:11,240 --> 00:20:14,360 Speaker 1: uh for you to look at as well, Joe. So, 372 00:20:14,440 --> 00:20:18,320 Speaker 1: so this is less decorative um and but also is 373 00:20:18,320 --> 00:20:22,120 Speaker 1: not a naked leg. It has you know, armor on it. Yeah, 374 00:20:22,119 --> 00:20:25,879 Speaker 1: this is more like an ancient RoboCop leg. Yeah. And 375 00:20:25,920 --> 00:20:29,520 Speaker 1: the Callos Collection website shares the following quote. The Callos 376 00:20:29,520 --> 00:20:32,520 Speaker 1: example above is a very rare and fine alabasterone that 377 00:20:32,560 --> 00:20:34,879 Speaker 1: takes the shape of a leg protected by a grieve, 378 00:20:35,320 --> 00:20:38,359 Speaker 1: dating to the sixth century b c E. It is 379 00:20:38,400 --> 00:20:41,880 Speaker 1: an interesting example of a plastic vase from this period. 380 00:20:42,200 --> 00:20:45,119 Speaker 1: And note the use of the term plastic here. Uh, 381 00:20:45,119 --> 00:20:48,280 Speaker 1: it's not modern plastic obviously. This just means that it's molded, 382 00:20:48,320 --> 00:20:51,560 Speaker 1: and this is derived from the Greek verb plastine, meaning 383 00:20:51,600 --> 00:20:56,120 Speaker 1: to mold. Quote. The grief is outlined in black slip 384 00:20:56,720 --> 00:21:00,000 Speaker 1: and tapers towards the ankle area. The foot emerges beneath, 385 00:21:00,359 --> 00:21:04,800 Speaker 1: with carefully insize details for the sandal and toes. Although 386 00:21:04,840 --> 00:21:08,800 Speaker 1: primarily used as a container, the form of this alabastron 387 00:21:08,880 --> 00:21:11,840 Speaker 1: as a grieved leg implies that it may also have 388 00:21:11,880 --> 00:21:16,399 Speaker 1: been used um at or dedicated to a sanctuary as 389 00:21:16,440 --> 00:21:19,520 Speaker 1: a votive offering. There is a very similar example of 390 00:21:19,560 --> 00:21:24,440 Speaker 1: this rare type in the Museum of Pharmacia in Portugal, 391 00:21:24,560 --> 00:21:26,920 Speaker 1: and they include an inventory number, and I was able 392 00:21:26,960 --> 00:21:31,320 Speaker 1: to look it up. Its number uh ten two, and 393 00:21:31,560 --> 00:21:34,000 Speaker 1: you get kind of a delightful rear view of this 394 00:21:34,080 --> 00:21:37,840 Speaker 1: free standing hollow leg. Okay, so it seems like a 395 00:21:37,840 --> 00:21:42,240 Speaker 1: bunch of ancient Greeks really, uh, pouring stuff out of legs. Yeah. Now, again, 396 00:21:42,320 --> 00:21:45,359 Speaker 1: these are not lamps. They're merely containers that may have 397 00:21:45,440 --> 00:21:48,640 Speaker 1: contained lamp oil and may have been used to refill lamps. 398 00:21:48,680 --> 00:21:51,240 Speaker 1: But we're not done yet. So, as the Pagan's point out, 399 00:21:51,320 --> 00:21:54,240 Speaker 1: the Roman period was a time of of pottery lamp 400 00:21:54,400 --> 00:21:57,520 Speaker 1: mass production, and lamps of every design were used for 401 00:21:57,560 --> 00:22:01,320 Speaker 1: not only practical reasons you know, provide illumination when you 402 00:22:01,359 --> 00:22:04,200 Speaker 1: need it, but also purely esthetic reasons and even religious 403 00:22:04,200 --> 00:22:07,320 Speaker 1: and occult reasons, and that brings us to the next example, 404 00:22:07,800 --> 00:22:12,399 Speaker 1: the Roman foot lamp. I initially found these on the 405 00:22:12,480 --> 00:22:16,520 Speaker 1: Ferraby Keeper blog by Wayne Ferraby, a Brooklyn based writer, 406 00:22:16,960 --> 00:22:18,480 Speaker 1: and I have to say this is quite a good, 407 00:22:18,640 --> 00:22:20,679 Speaker 1: good looking blog. Looks like a lot of interesting content 408 00:22:20,720 --> 00:22:23,120 Speaker 1: on here. Anyone wants to check it out, it's uh 409 00:22:23,240 --> 00:22:28,320 Speaker 1: Ferraby Keeper dot WordPress dot com. And uh. The great 410 00:22:28,359 --> 00:22:30,879 Speaker 1: thing here is that we're not just talking about one lamp. 411 00:22:30,920 --> 00:22:32,920 Speaker 1: We're not talking about oh well, here's the Roman foot 412 00:22:33,160 --> 00:22:34,840 Speaker 1: lamp and we we don't we have no idea why 413 00:22:34,880 --> 00:22:38,800 Speaker 1: they made this. Instead, we have several different surviving lamps, 414 00:22:39,440 --> 00:22:41,720 Speaker 1: and uh, I've include images for you to look at. Joe. 415 00:22:41,720 --> 00:22:44,480 Speaker 1: I invite anyone out there to either visit that Ferraby 416 00:22:44,600 --> 00:22:47,200 Speaker 1: website or to to do Google image searches so you 417 00:22:47,240 --> 00:22:50,920 Speaker 1: can pull this up for yourself, because these are These 418 00:22:50,920 --> 00:22:54,040 Speaker 1: are wondrous and and really strange to look at. They 419 00:22:54,040 --> 00:22:57,320 Speaker 1: are lamps in the shape of of a human foot, 420 00:22:57,920 --> 00:23:02,200 Speaker 1: as the name implies, with them with with with essentially 421 00:23:03,119 --> 00:23:07,000 Speaker 1: a stopper or lid um at the aperture where the 422 00:23:07,040 --> 00:23:10,359 Speaker 1: stump of the disembodied foot would be. And then there's 423 00:23:10,359 --> 00:23:13,359 Speaker 1: another aperture at the big toe, and it is from 424 00:23:13,440 --> 00:23:17,240 Speaker 1: this that the wick and therefore the flame would emerge. Right, 425 00:23:17,280 --> 00:23:19,479 Speaker 1: So I guess you would hold this by the handle 426 00:23:19,600 --> 00:23:21,320 Speaker 1: at the back of the foot, so you're holding it 427 00:23:21,400 --> 00:23:23,679 Speaker 1: like behind the heel, and then you would have the 428 00:23:23,720 --> 00:23:27,680 Speaker 1: flame sticking out of the big toe at the front. Yes, 429 00:23:28,000 --> 00:23:29,960 Speaker 1: if you were holding it. But then, as we'll discuss, 430 00:23:30,280 --> 00:23:33,480 Speaker 1: there are some questions regarding exactly what one does with 431 00:23:33,760 --> 00:23:37,439 Speaker 1: a foot lamp um. But but I'm looking at it too. 432 00:23:37,520 --> 00:23:39,600 Speaker 1: It also reminds me a bit of depictions of the 433 00:23:40,080 --> 00:23:42,639 Speaker 1: hand of Glory, the you know, the occult item that 434 00:23:42,680 --> 00:23:46,399 Speaker 1: is supposed to be like the the the disembodied hand 435 00:23:46,560 --> 00:23:50,240 Speaker 1: of a like a criminals corpse that is then transformed 436 00:23:50,240 --> 00:23:53,520 Speaker 1: in this into this magical item that burns candle light 437 00:23:53,640 --> 00:23:56,880 Speaker 1: from the fingertips and you know, has strange energies and effects. 438 00:23:57,960 --> 00:23:59,840 Speaker 1: Except this is not a hand. This is a foot. 439 00:24:00,480 --> 00:24:04,239 Speaker 1: It's not a real glory. It's a ceramic foot and uh, 440 00:24:04,680 --> 00:24:07,760 Speaker 1: you know it's it's a it's a foot of pottery 441 00:24:07,800 --> 00:24:10,240 Speaker 1: and uh and yeah, there's this flame that is emitting 442 00:24:10,320 --> 00:24:13,159 Speaker 1: from either in front of the toe or from the 443 00:24:13,200 --> 00:24:16,880 Speaker 1: toe itself. It depends on exactly how how the sculptor 444 00:24:17,119 --> 00:24:21,000 Speaker 1: or has has has arranged it. You know. Now, what 445 00:24:21,080 --> 00:24:24,840 Speaker 1: I would wonder is is this just like because somebody 446 00:24:24,880 --> 00:24:27,640 Speaker 1: wanted an interesting lamp and they made lamps that look 447 00:24:27,760 --> 00:24:30,080 Speaker 1: like looked like all kinds of things. Or would a 448 00:24:30,200 --> 00:24:34,600 Speaker 1: foot lamp have a particular significance in say a religious 449 00:24:34,720 --> 00:24:38,280 Speaker 1: or political context or something. Yeah, and that is that 450 00:24:38,400 --> 00:24:40,959 Speaker 1: is the riddle that that that the rest of us 451 00:24:40,960 --> 00:24:44,880 Speaker 1: are left having to solve. So Farraby points out that 452 00:24:45,000 --> 00:24:47,399 Speaker 1: the symbols and motifs of the ancient Romans don't always 453 00:24:47,400 --> 00:24:49,040 Speaker 1: make sense to us today, which I think is a 454 00:24:49,119 --> 00:24:51,800 Speaker 1: very fair point. And uh and he he says that 455 00:24:51,880 --> 00:24:54,840 Speaker 1: the best explanation that he could find where that these 456 00:24:54,880 --> 00:24:59,360 Speaker 1: were sort of literal footlights placed on the floor or ground, 457 00:24:59,480 --> 00:25:03,159 Speaker 1: especially at the base of murals, which which is inter 458 00:25:03,480 --> 00:25:06,160 Speaker 1: It's still hard to figure out exactly like what that means. 459 00:25:06,160 --> 00:25:08,400 Speaker 1: It just you know, pure novelty. It's like, well, it's 460 00:25:08,880 --> 00:25:10,400 Speaker 1: it's a foot lamp, or it's a it's a lamp 461 00:25:10,440 --> 00:25:12,640 Speaker 1: that goes on the ground where our feet are. Let's 462 00:25:12,680 --> 00:25:14,800 Speaker 1: make it in the shape of a foot as well. Well. 463 00:25:14,840 --> 00:25:17,000 Speaker 1: To call back to the Simpsons, that kind of reminds 464 00:25:17,000 --> 00:25:19,639 Speaker 1: me of why is their corn on the curtains in 465 00:25:19,640 --> 00:25:23,800 Speaker 1: the kitchen? I don't know, kitchen food corn? Yeah? Or 466 00:25:24,320 --> 00:25:27,760 Speaker 1: imagine um time travel or visiting our current agent finding 467 00:25:28,080 --> 00:25:32,280 Speaker 1: solar powered outdoor lights that look like mushrooms? Why do 468 00:25:32,400 --> 00:25:34,480 Speaker 1: they look like mushrooms? Well, I mean it basically comes 469 00:25:34,560 --> 00:25:38,080 Speaker 1: down to there on the ground where mushrooms are. Um, 470 00:25:38,160 --> 00:25:41,040 Speaker 1: so why not make them look like mushrooms? It amuses us, 471 00:25:41,400 --> 00:25:45,520 Speaker 1: It just makes sense, yes, But I decided to look 472 00:25:45,520 --> 00:25:47,720 Speaker 1: into this a little bit deep deeper, and I looked 473 00:25:47,720 --> 00:25:50,439 Speaker 1: in a book titled Light and Darkness and Ancient Greek 474 00:25:50,480 --> 00:25:53,480 Speaker 1: myth and Religion from two thousand ten. Uh. This is 475 00:25:53,600 --> 00:25:58,080 Speaker 1: numerous authors on it, but is edited by Christophilis and Levaniuk. 476 00:25:58,520 --> 00:26:01,399 Speaker 1: And they mentioned that Roman foot lamps were used in 477 00:26:01,400 --> 00:26:05,239 Speaker 1: incubation rituals, citing a couple of sources as well that 478 00:26:05,359 --> 00:26:07,959 Speaker 1: I tried to follow, but I don't think they actually 479 00:26:08,000 --> 00:26:13,040 Speaker 1: have English translations. So incubation rituals or dream incubation rituals 480 00:26:13,080 --> 00:26:17,400 Speaker 1: involved involved sleeping in sacred places in order to receive 481 00:26:17,600 --> 00:26:21,280 Speaker 1: dreams or visions, and it seems that copious amounts of 482 00:26:21,359 --> 00:26:25,320 Speaker 1: lamps were often associated with many of the sites where 483 00:26:25,320 --> 00:26:29,520 Speaker 1: you would engage in incubation rituals, as described in a 484 00:26:29,640 --> 00:26:34,520 Speaker 1: book by Sandra Blakely titled God's Objects and Ritual Practice. 485 00:26:35,040 --> 00:26:37,119 Speaker 1: I don't remember what episode it was in the past, 486 00:26:37,160 --> 00:26:39,040 Speaker 1: but somehow this came up, but I think we were 487 00:26:39,040 --> 00:26:43,119 Speaker 1: talking about ancient rituals for dream incubation, specifically with regard 488 00:26:43,160 --> 00:26:46,440 Speaker 1: to the Greek god of healing and medicine, a Sclepius, 489 00:26:46,440 --> 00:26:50,960 Speaker 1: where people who were sick and wanted healing would come 490 00:26:51,000 --> 00:26:53,600 Speaker 1: to the temple of Asclepius and actually sleep in the 491 00:26:53,640 --> 00:26:56,399 Speaker 1: temple in order to like they'd make an offering or 492 00:26:56,440 --> 00:26:58,800 Speaker 1: do a ritual and they'd sleep in the temple in 493 00:26:58,920 --> 00:27:02,480 Speaker 1: order to receive a dream from the god as a 494 00:27:02,560 --> 00:27:05,399 Speaker 1: form of cure for their illness. Yeah, there you go. 495 00:27:05,480 --> 00:27:07,679 Speaker 1: That would be That would be dreaming incubation. That's what 496 00:27:07,680 --> 00:27:11,239 Speaker 1: we're talking about here. But how do these lamps come 497 00:27:11,280 --> 00:27:15,720 Speaker 1: into play? I found another source that had some wonderful 498 00:27:15,760 --> 00:27:21,320 Speaker 1: inside here. Uh, And this was a NIX paper titled 499 00:27:21,480 --> 00:27:25,520 Speaker 1: Material on the Cult of Sarapis by Dorothy Kent Hill. 500 00:27:26,280 --> 00:27:30,000 Speaker 1: And um, I'm gonna read a quote from it here, 501 00:27:30,040 --> 00:27:32,399 Speaker 1: but first I want to run through a couple of 502 00:27:32,400 --> 00:27:35,640 Speaker 1: things here so that everyone will will know what what's 503 00:27:35,680 --> 00:27:39,600 Speaker 1: being referred to. So, first of all, Ureus is a 504 00:27:39,640 --> 00:27:43,440 Speaker 1: curling snake motif probably best recognized as a symbol of 505 00:27:43,480 --> 00:27:47,120 Speaker 1: divine authority on the heads of of of of Egyptian 506 00:27:47,160 --> 00:27:50,320 Speaker 1: sarcophagus is. Uh So, I think everyone's probably seen one 507 00:27:50,359 --> 00:27:52,719 Speaker 1: of these before, you know, like a like a hooded 508 00:27:52,800 --> 00:27:55,840 Speaker 1: cobra or a snake that is emerging from a head 509 00:27:55,960 --> 00:27:59,320 Speaker 1: dress or from the head of one of these artistic depictions, 510 00:27:59,680 --> 00:28:03,640 Speaker 1: also known as a boss snake. Okay, Yeah. And then 511 00:28:03,680 --> 00:28:09,159 Speaker 1: Sarapis was a Greco Egyptian deity. He was introduced, but 512 00:28:09,240 --> 00:28:13,359 Speaker 1: not necessarily created by Greek pharaoh Ptolemy the First Soda 513 00:28:13,640 --> 00:28:17,560 Speaker 1: as an attempt to unify Greek and Egyptian culture, specifically 514 00:28:17,640 --> 00:28:20,320 Speaker 1: as a generaldine. Pinch points out, in Egyptian mythology a 515 00:28:20,400 --> 00:28:22,959 Speaker 1: di z he was meant to be a combination of 516 00:28:23,000 --> 00:28:27,639 Speaker 1: APIs and Osiris and Zeus and Dionysus. Now, Sarapus is 517 00:28:27,680 --> 00:28:31,719 Speaker 1: often depicted with something on his head that might be 518 00:28:31,760 --> 00:28:35,280 Speaker 1: confused by the casual viewer as maybe something that is 519 00:28:35,320 --> 00:28:38,440 Speaker 1: also involved in illumination, like it looks like you look 520 00:28:38,480 --> 00:28:40,000 Speaker 1: at images of him and it kind of looks like 521 00:28:40,040 --> 00:28:43,640 Speaker 1: you're supposed to put a candle on top of his head. Yeah. Yeah, 522 00:28:43,720 --> 00:28:46,120 Speaker 1: And it doesn't really look like a hat or anything. 523 00:28:46,200 --> 00:28:48,320 Speaker 1: It just looks like there's some kind of like container 524 00:28:48,440 --> 00:28:51,080 Speaker 1: or bucket or something attached to his head in in 525 00:28:51,120 --> 00:28:53,080 Speaker 1: the form that he's in now, as a as a 526 00:28:53,120 --> 00:28:55,960 Speaker 1: piece of statuary or something. Yeah. So at first I 527 00:28:56,000 --> 00:28:59,320 Speaker 1: was thinking, well, maybe it's illumination is involved in more 528 00:28:59,360 --> 00:29:02,120 Speaker 1: ways than one here, But as it turns out, Sarapus 529 00:29:02,160 --> 00:29:05,040 Speaker 1: is often depicted with this um with this thing on 530 00:29:05,080 --> 00:29:09,040 Speaker 1: his head called a modius, which is a basket grain measure, 531 00:29:09,080 --> 00:29:13,240 Speaker 1: a Greek symbol for the land of the dead. Now, 532 00:29:13,320 --> 00:29:17,600 Speaker 1: in this text by by Dorothy Kent hill Um, she 533 00:29:17,680 --> 00:29:22,200 Speaker 1: includes two images of bronze lamps in the form of 534 00:29:22,320 --> 00:29:25,520 Speaker 1: human feet and that they're very much like we've we've 535 00:29:25,520 --> 00:29:29,520 Speaker 1: described thus far, except there there's an extra interesting thing 536 00:29:29,520 --> 00:29:31,720 Speaker 1: about them. So, yes, you have the the big toe 537 00:29:32,080 --> 00:29:34,480 Speaker 1: or or something just beyond the big toe that is 538 00:29:34,720 --> 00:29:37,280 Speaker 1: clearly designed for the wick to go in for flame 539 00:29:37,360 --> 00:29:40,280 Speaker 1: to come out of. There is the uh, the larger 540 00:29:40,280 --> 00:29:44,240 Speaker 1: aperture at the stump of the disembodied foot. But in 541 00:29:44,280 --> 00:29:47,680 Speaker 1: both of these you also have a rod that's basically 542 00:29:47,760 --> 00:29:50,640 Speaker 1: going up from the base of the heel. And uh 543 00:29:50,680 --> 00:29:52,880 Speaker 1: and and this is something that that she ends up 544 00:29:52,880 --> 00:29:54,960 Speaker 1: reflecting on. I should also add at the top of 545 00:29:54,960 --> 00:29:58,320 Speaker 1: this this rod that's emerging from the base of the heel, 546 00:29:59,000 --> 00:30:03,640 Speaker 1: we see once once more this ureus symbol. We see 547 00:30:03,680 --> 00:30:06,800 Speaker 1: the curled snake. Oh yeah, there it is with the 548 00:30:06,840 --> 00:30:10,320 Speaker 1: hood flared. So this is what what she had to say. Quote. 549 00:30:10,720 --> 00:30:13,760 Speaker 1: Lamps modeled after parts of the body, especially the foot, 550 00:30:13,800 --> 00:30:16,880 Speaker 1: were very common in antiquity. Such a lamp might reflect 551 00:30:16,960 --> 00:30:20,080 Speaker 1: no more than a whimsical mood of a craftsman, But 552 00:30:20,120 --> 00:30:24,280 Speaker 1: the ureus immediately suggest a connection with the giant detached 553 00:30:24,360 --> 00:30:29,560 Speaker 1: surappus feed recently studied by dal and Upsen. On these monuments, 554 00:30:29,600 --> 00:30:32,560 Speaker 1: the ureus is usually curled somewhere in the neighborhood of 555 00:30:32,600 --> 00:30:35,560 Speaker 1: the ankle. Here it coils on a rod which rises 556 00:30:35,600 --> 00:30:38,120 Speaker 1: at the back of the foot. The space between the 557 00:30:38,160 --> 00:30:39,880 Speaker 1: top of the foot and the tail of the snake 558 00:30:40,000 --> 00:30:43,800 Speaker 1: is great enough to accommodate a small bust of sarapis, 559 00:30:44,280 --> 00:30:47,200 Speaker 1: which would correspond in position to the busts on some 560 00:30:47,280 --> 00:30:50,320 Speaker 1: of the stone feet. We have observed that something was 561 00:30:50,360 --> 00:30:53,360 Speaker 1: attached to the cover, and they now suggest a bust 562 00:30:53,400 --> 00:30:56,440 Speaker 1: of the god as the most plausible candidate. If the 563 00:30:56,480 --> 00:30:59,800 Speaker 1: bust were placed in this position, the ureus would appear 564 00:30:59,800 --> 00:31:03,080 Speaker 1: to loom over the head of the god. Wait a minute, 565 00:31:03,120 --> 00:31:05,640 Speaker 1: so I feel like I must be understanding this wrong. 566 00:31:05,680 --> 00:31:08,120 Speaker 1: But does this mean this would be a foot with 567 00:31:08,200 --> 00:31:10,960 Speaker 1: the head on the on the leg of the foot, 568 00:31:11,160 --> 00:31:14,400 Speaker 1: and then a snake over the head. Yeah. Yeah, that's 569 00:31:14,440 --> 00:31:16,880 Speaker 1: that's what I am. I am to understand here. It's 570 00:31:16,960 --> 00:31:19,720 Speaker 1: kind of like, here's a foot, let's put it. Or 571 00:31:19,880 --> 00:31:21,600 Speaker 1: or maybe we should think in reverse. I have a 572 00:31:21,600 --> 00:31:24,640 Speaker 1: bust of a of a god. I want to display. Um. 573 00:31:24,680 --> 00:31:26,760 Speaker 1: I want to display it. I don't want to just 574 00:31:26,840 --> 00:31:28,200 Speaker 1: lay it on the floor though. I need something to 575 00:31:28,240 --> 00:31:31,440 Speaker 1: hold it up, and also I need to illuminate it. Well, 576 00:31:31,480 --> 00:31:33,000 Speaker 1: I need a foot, and I need a foot that 577 00:31:33,080 --> 00:31:36,200 Speaker 1: emits fire. And and then you know they're able to 578 00:31:36,280 --> 00:31:39,480 Speaker 1: work the urus into it as the as the rod 579 00:31:39,520 --> 00:31:42,680 Speaker 1: that is holding the bust above the foot. And there's more, 580 00:31:42,880 --> 00:31:46,800 Speaker 1: because she writes quote the smoke rising before the God 581 00:31:46,960 --> 00:31:51,280 Speaker 1: from the lamp would create an eerie religious effect. Although 582 00:31:51,320 --> 00:31:54,320 Speaker 1: Sarapis was by no means the only deity honored on 583 00:31:54,480 --> 00:31:58,600 Speaker 1: lamps his frequent presence, there is evidence for the probability 584 00:31:58,680 --> 00:32:02,640 Speaker 1: of his guardianship over this bronze foot, referring to the 585 00:32:02,960 --> 00:32:05,959 Speaker 1: example that she's talking about in the article. Certainly, however, 586 00:32:06,120 --> 00:32:09,160 Speaker 1: there are not good grounds for connecting all foot shaped 587 00:32:09,240 --> 00:32:14,080 Speaker 1: lamps with the Sarapis cult. Interestingly enough, she also speculates 588 00:32:14,440 --> 00:32:18,480 Speaker 1: she she brings up Psalms one nineteen the world thy 589 00:32:18,520 --> 00:32:20,280 Speaker 1: word is a lamp into my feet and a light 590 00:32:20,320 --> 00:32:23,600 Speaker 1: into my path um, suggesting that you know, there are 591 00:32:23,680 --> 00:32:27,320 Speaker 1: various ways we could interpret a foot shaped lamp um 592 00:32:27,360 --> 00:32:29,800 Speaker 1: that in and and uh, and and again it comes 593 00:32:29,840 --> 00:32:31,680 Speaker 1: back to the basic question like how much of this 594 00:32:31,720 --> 00:32:34,640 Speaker 1: is novelty, how much of it is based in some 595 00:32:34,760 --> 00:32:38,400 Speaker 1: reference that just has not survived the ages. Or indeed, 596 00:32:38,440 --> 00:32:41,280 Speaker 1: I mean, I have to say this, this idea of 597 00:32:41,280 --> 00:32:44,800 Speaker 1: of the lamp being used to um to illuminate and 598 00:32:44,840 --> 00:32:48,120 Speaker 1: create like a smoky effect before the the image of 599 00:32:48,120 --> 00:32:51,479 Speaker 1: a god. Uh, there's something attractive about that. And and 600 00:32:51,520 --> 00:32:53,840 Speaker 1: perhaps this idea too, Yeah, that it's like if well, 601 00:32:53,840 --> 00:32:56,120 Speaker 1: if I'm gonna hold up the face of a god 602 00:32:57,160 --> 00:32:59,040 Speaker 1: on some sort of a stand, then I need it 603 00:32:59,080 --> 00:33:01,760 Speaker 1: to be in a foot as well, Like I there's 604 00:33:01,800 --> 00:33:05,400 Speaker 1: something about the compulsion there that is that's fascinating. Like, 605 00:33:05,440 --> 00:33:08,600 Speaker 1: it would it be wrong to to to to to 606 00:33:08,680 --> 00:33:11,440 Speaker 1: hold up that bust of Sarapis without a foot, without 607 00:33:11,440 --> 00:33:13,200 Speaker 1: a human foot at the bottom. Would there be something 608 00:33:13,240 --> 00:33:15,840 Speaker 1: kind of blasphemous about that? I wonder? Well, it's funny 609 00:33:15,840 --> 00:33:18,720 Speaker 1: how the idea of a pedestal is derived from pad 610 00:33:18,840 --> 00:33:22,840 Speaker 1: like foot, but in this case it's literally a foot. Yeah, 611 00:33:23,040 --> 00:33:24,920 Speaker 1: And this is this is interesting too to think of 612 00:33:25,080 --> 00:33:28,000 Speaker 1: in comparison to a Christmas story, because obviously with a 613 00:33:28,080 --> 00:33:30,480 Speaker 1: Christmas story, part of the whole deal with the lamp 614 00:33:30,640 --> 00:33:33,800 Speaker 1: is that it is objectification of the female form. It's 615 00:33:33,840 --> 00:33:35,680 Speaker 1: the idea of like, here is just the leg of 616 00:33:35,720 --> 00:33:39,200 Speaker 1: a woman that is sexy, um, you know, without taking 617 00:33:39,240 --> 00:33:42,360 Speaker 1: into account the rest of her as a physical whole 618 00:33:42,400 --> 00:33:45,360 Speaker 1: being and of course as a person um. In this 619 00:33:45,440 --> 00:33:47,440 Speaker 1: it almost seems like we have the reverse where it's like, well, 620 00:33:47,440 --> 00:33:49,880 Speaker 1: if we're going to have something else attached to this 621 00:33:50,360 --> 00:33:52,840 Speaker 1: piece of a god, we need it to also be 622 00:33:53,000 --> 00:33:56,840 Speaker 1: a physical piece of said God. Perhaps, Okay, I'm going 623 00:33:56,880 --> 00:33:59,520 Speaker 1: with you. Now, Realistically, I think that's about all the 624 00:33:59,560 --> 00:34:02,840 Speaker 1: connects this these ancient foot lamps with a Christmas story, 625 00:34:03,280 --> 00:34:06,080 Speaker 1: you know, probably no more than to say, making objects, 626 00:34:06,120 --> 00:34:08,120 Speaker 1: including lamps it look like feeder legs is just the 627 00:34:08,120 --> 00:34:12,080 Speaker 1: sort of thing that human artisans might do. But I 628 00:34:12,080 --> 00:34:14,480 Speaker 1: think if we were to be unrealistic about the connection, 629 00:34:14,560 --> 00:34:18,200 Speaker 1: we could we could wonder that perhaps what has happened 630 00:34:18,239 --> 00:34:20,799 Speaker 1: here is the old man has has entered into the 631 00:34:20,840 --> 00:34:24,719 Speaker 1: worship of an ancient Greco Egyptian god and wishes to 632 00:34:24,800 --> 00:34:29,400 Speaker 1: bring the city of Cleveland under his domain. His wife, however, 633 00:34:29,719 --> 00:34:33,480 Speaker 1: clearly she serves the god Osiris, who Sarapis, you know, 634 00:34:33,560 --> 00:34:37,319 Speaker 1: partially replaces whereas it is introduced to replace, and so 635 00:34:37,360 --> 00:34:40,200 Speaker 1: she brings about the lamps destruction in a campaign to 636 00:34:40,280 --> 00:34:43,839 Speaker 1: keep Cleveland under the sway of the green skin god. Yeah. 637 00:34:43,880 --> 00:34:46,480 Speaker 1: I think there's also some underworld stuff you can do 638 00:34:46,600 --> 00:34:49,080 Speaker 1: with him going into the basement to fight the furnace 639 00:34:49,400 --> 00:34:53,160 Speaker 1: that seems to connect maybe somehow. Oh, but you know, 640 00:34:53,200 --> 00:34:55,000 Speaker 1: we also have to think about the fact that, Okay, 641 00:34:55,040 --> 00:34:59,680 Speaker 1: if if the god Sarapis is also still Osiris into 642 00:34:59,680 --> 00:35:02,359 Speaker 1: some to some extent, I mean, part of the whole 643 00:35:02,400 --> 00:35:06,000 Speaker 1: myth of Osiris is that his body is dismembered. Uh. 644 00:35:06,280 --> 00:35:07,960 Speaker 1: You know that's part of the whole Uh. You know 645 00:35:08,000 --> 00:35:11,200 Speaker 1: osiris myth cycle. It's about his death and resurrection, and 646 00:35:11,239 --> 00:35:14,120 Speaker 1: of course we see the lamp broken into pieces as well, 647 00:35:14,160 --> 00:35:18,239 Speaker 1: and an attempt, a failed attempt to resurrect it. That 648 00:35:18,239 --> 00:35:21,400 Speaker 1: that's very good, kudo kudos to you. I'm I'm just 649 00:35:21,520 --> 00:35:24,279 Speaker 1: I'm just interpreting the work of the gods here, I'm 650 00:35:24,320 --> 00:35:34,400 Speaker 1: just a messenger. Yes. Now, on the subject of tenuous 651 00:35:34,400 --> 00:35:37,359 Speaker 1: connections to ancient art, I wanted to talk about leg 652 00:35:37,440 --> 00:35:40,319 Speaker 1: sculpture a little bit more broadly, and at the risk 653 00:35:40,400 --> 00:35:43,840 Speaker 1: of getting sappy, I also just have to say that 654 00:35:43,880 --> 00:35:47,360 Speaker 1: the idea of sculpture of the human form as a 655 00:35:47,560 --> 00:35:51,000 Speaker 1: lamp got me thinking about a line in one of 656 00:35:51,040 --> 00:35:53,439 Speaker 1: my favorite poems. I'm sure this is what I've brought 657 00:35:53,480 --> 00:35:55,560 Speaker 1: up on the show before. I don't remember when, but 658 00:35:55,680 --> 00:35:59,120 Speaker 1: it's the poem The Archaic Torso of Apollo by Rainer 659 00:35:59,160 --> 00:36:02,799 Speaker 1: Maria Rilka. I'm sure I've read this one at you before. Rob. 660 00:36:03,320 --> 00:36:05,360 Speaker 1: Let's see read a little bit and i'll see if 661 00:36:05,680 --> 00:36:07,680 Speaker 1: it rings a bell. Okay, well, so this is the 662 00:36:07,680 --> 00:36:10,760 Speaker 1: English translation by Stephen Mitchell. I can't read the whole poem. 663 00:36:10,800 --> 00:36:13,800 Speaker 1: But but it's worth looking up the archaic torso of Apollo. 664 00:36:13,840 --> 00:36:18,440 Speaker 1: It's an excellent poem. But Stephen Mitchell translation begins, we 665 00:36:18,520 --> 00:36:22,400 Speaker 1: cannot know his legendary head with eyes like ripening fruit, 666 00:36:22,960 --> 00:36:27,160 Speaker 1: and yet his torso is still suffused with brilliance from inside, 667 00:36:27,520 --> 00:36:30,839 Speaker 1: like a lamp in which his gaze, now turned low, 668 00:36:31,360 --> 00:36:35,920 Speaker 1: gleams in all its power. Alright, alright. From here, he 669 00:36:35,960 --> 00:36:38,880 Speaker 1: goes on to describe this the kind of strange life 670 00:36:39,000 --> 00:36:43,080 Speaker 1: flowing through this uh, this dismembered UH sculpture from from 671 00:36:43,120 --> 00:36:46,280 Speaker 1: ancient Greece, and it ends with a line that's pretty 672 00:36:46,320 --> 00:36:49,480 Speaker 1: famous in in this translation, it says, for here there 673 00:36:49,600 --> 00:36:52,439 Speaker 1: is no place that does not see you. You must 674 00:36:52,520 --> 00:36:56,680 Speaker 1: change your life. So it's about Rolka's experience of looking 675 00:36:56,760 --> 00:37:00,960 Speaker 1: at this UH fragment of an a a sculpture of 676 00:37:01,000 --> 00:37:03,040 Speaker 1: the human form, that he sees it. I think he 677 00:37:03,080 --> 00:37:06,640 Speaker 1: sees it in the louver one day and UH and 678 00:37:06,760 --> 00:37:11,120 Speaker 1: having this profound kind of stirring and even frightening human 679 00:37:11,160 --> 00:37:14,920 Speaker 1: connection with it. Now, the word that appears as lamp 680 00:37:15,120 --> 00:37:18,239 Speaker 1: in this English version I think I've seen translated as 681 00:37:18,360 --> 00:37:22,759 Speaker 1: kendelabrum in others. But in any case, I like this 682 00:37:22,840 --> 00:37:25,680 Speaker 1: because the line in the poems seems to be confessing 683 00:37:25,760 --> 00:37:29,280 Speaker 1: the power of great sculpture, to suggest that there's something 684 00:37:29,320 --> 00:37:33,040 Speaker 1: more than just mimicry of the shape of a human 685 00:37:33,160 --> 00:37:36,520 Speaker 1: in great sculpture. It's not just that great sculpture gets 686 00:37:36,640 --> 00:37:39,440 Speaker 1: the the outline and the form and the contours of 687 00:37:39,600 --> 00:37:43,800 Speaker 1: human right, It's that in great sculptures, something actually seems 688 00:37:43,840 --> 00:37:49,000 Speaker 1: to be alive inside it, almost perceptibly moving or lighting up. 689 00:37:50,440 --> 00:37:52,880 Speaker 1: And I think this is the case for Rilka, even 690 00:37:52,920 --> 00:37:55,560 Speaker 1: though the sculpture he's looking at has arrived in the 691 00:37:55,600 --> 00:38:00,160 Speaker 1: modern world in a totally degraded form. He mentioned that 692 00:38:00,200 --> 00:38:02,960 Speaker 1: it has no head. He calls it a torso. So 693 00:38:03,080 --> 00:38:05,280 Speaker 1: I looked it up, and I think the actual artwork 694 00:38:05,640 --> 00:38:08,000 Speaker 1: that he's talking about here is usually understood to be 695 00:38:08,040 --> 00:38:10,799 Speaker 1: an artifact in the collection of the Louver called the 696 00:38:10,880 --> 00:38:14,960 Speaker 1: couross of Melitas or the torso of Melitas. So it 697 00:38:15,120 --> 00:38:19,080 Speaker 1: is the torso of this nude male figure that's a 698 00:38:19,160 --> 00:38:22,960 Speaker 1: very common form of sculpture in an archaic Greek art, 699 00:38:23,360 --> 00:38:26,759 Speaker 1: known as the corross, and this one was excavated from 700 00:38:26,800 --> 00:38:29,440 Speaker 1: the remains of Melitas. It is missing its head, it's 701 00:38:29,480 --> 00:38:32,640 Speaker 1: missing both arms, it's missing one leg up to the 702 00:38:32,719 --> 00:38:35,680 Speaker 1: upper thigh and the other leg from above the knee. Rob, 703 00:38:35,680 --> 00:38:37,719 Speaker 1: I've got an image from a couple of angles for 704 00:38:37,760 --> 00:38:40,040 Speaker 1: you to look at just down below here. Yeah, it 705 00:38:40,120 --> 00:38:42,719 Speaker 1: is quite quite striking. Yeah, that did the life like 706 00:38:43,880 --> 00:38:47,759 Speaker 1: muscle definition on this torso I agree. Even though it's 707 00:38:47,800 --> 00:38:50,239 Speaker 1: like missing most of the parts of the body, there's 708 00:38:50,239 --> 00:38:52,880 Speaker 1: still something a little bit haunting about it. I know 709 00:38:52,920 --> 00:38:55,560 Speaker 1: what Rolka is talking about because I see a kind 710 00:38:55,560 --> 00:38:58,520 Speaker 1: of hint of that that light or animating life force 711 00:38:58,600 --> 00:39:01,440 Speaker 1: in it, though in a in a muted or half 712 00:39:01,480 --> 00:39:04,439 Speaker 1: formed way, which I think is the ambiguity that makes 713 00:39:04,440 --> 00:39:08,120 Speaker 1: the sculpture an interesting subject for poetry. It's it's what 714 00:39:08,160 --> 00:39:10,560 Speaker 1: we we can't fully see or know about it that 715 00:39:10,680 --> 00:39:14,520 Speaker 1: makes it unsettling, and something kind of rings within our 716 00:39:14,600 --> 00:39:16,839 Speaker 1: chest when we look at it. And I think that's 717 00:39:16,840 --> 00:39:18,680 Speaker 1: the thing also that leads real good to say, you 718 00:39:18,760 --> 00:39:22,360 Speaker 1: must change your life. But but this leads me to 719 00:39:22,360 --> 00:39:25,759 Speaker 1: to the fuller observation I wanted to make connecting the 720 00:39:25,840 --> 00:39:28,920 Speaker 1: leg lamp to art history, which is that I think 721 00:39:28,960 --> 00:39:31,040 Speaker 1: you could make a pretty good case that when it 722 00:39:31,080 --> 00:39:35,200 Speaker 1: comes to sculpture of the human form, the legs are 723 00:39:35,239 --> 00:39:39,960 Speaker 1: the life. Now, why would I say that? Here's the 724 00:39:40,000 --> 00:39:42,960 Speaker 1: case I want to make. Uh. One thing that's interesting 725 00:39:43,000 --> 00:39:47,160 Speaker 1: about this sculpture, the coross of Melita's, is that it 726 00:39:47,200 --> 00:39:50,560 Speaker 1: seems to come from a period of transition in in 727 00:39:50,640 --> 00:39:53,719 Speaker 1: ancient Greek art, when Greek art was moving from what 728 00:39:53,800 --> 00:39:57,680 Speaker 1: modern art historians called the Archaic period into what we 729 00:39:57,760 --> 00:40:00,480 Speaker 1: now call the Classical period. And this train position was 730 00:40:00,560 --> 00:40:04,000 Speaker 1: sometime in the fifth century BC that seemed to be 731 00:40:04,120 --> 00:40:07,600 Speaker 1: roughly the turning point. And so rob to illustrate, I 732 00:40:07,600 --> 00:40:09,840 Speaker 1: want to let you look at a couple of statues 733 00:40:09,880 --> 00:40:13,000 Speaker 1: of the human form, both from ancient Greece, and so 734 00:40:13,080 --> 00:40:15,160 Speaker 1: there's gonna be one here you can look at on 735 00:40:15,200 --> 00:40:18,239 Speaker 1: the left that's typical of the Archaic style and one 736 00:40:18,280 --> 00:40:21,520 Speaker 1: on the right that's typical of the classical style. Uh. 737 00:40:21,560 --> 00:40:23,480 Speaker 1: These are both images I found on the website of 738 00:40:23,480 --> 00:40:26,040 Speaker 1: the met Museum, So both things in the collection there. 739 00:40:26,440 --> 00:40:29,040 Speaker 1: But to describe them from you out there listening at home, 740 00:40:29,680 --> 00:40:34,520 Speaker 1: the older statue, I would say is very rigid, with 741 00:40:34,760 --> 00:40:39,919 Speaker 1: very straight upright posture. It is looking straight forward at 742 00:40:39,960 --> 00:40:43,920 Speaker 1: you with very square shoulders, and the head is pointed 743 00:40:44,040 --> 00:40:47,520 Speaker 1: straight towards you. So it's it's very just an aligned body. 744 00:40:47,640 --> 00:40:49,520 Speaker 1: In fact, I would say that in a lot of 745 00:40:49,560 --> 00:40:54,160 Speaker 1: ways it looks similar to sculpture from ancient Egypt. Yeah. 746 00:40:54,200 --> 00:40:56,760 Speaker 1: It it has a very two dimensional kind of appearance 747 00:40:56,760 --> 00:41:00,239 Speaker 1: to it. It's forward facing. Um, it does not even 748 00:41:00,239 --> 00:41:03,600 Speaker 1: though it is itself a three dimensional object, it is 749 00:41:03,640 --> 00:41:07,160 Speaker 1: not really like owning that three dimensional space, right. And 750 00:41:07,200 --> 00:41:08,640 Speaker 1: I want to be clear as I go ahead that 751 00:41:08,760 --> 00:41:11,279 Speaker 1: I would say, for my part, I think both of 752 00:41:11,320 --> 00:41:14,200 Speaker 1: these styles are beautiful, both striking in their own way. 753 00:41:14,239 --> 00:41:16,239 Speaker 1: I certainly would not say that I think one is 754 00:41:16,280 --> 00:41:18,760 Speaker 1: somehow better than the other, but there is a difference. 755 00:41:19,400 --> 00:41:21,719 Speaker 1: So when you look at the second kind, the sculptures 756 00:41:21,760 --> 00:41:24,920 Speaker 1: that are typical of the classical style beginning in the 757 00:41:24,960 --> 00:41:27,920 Speaker 1: fifth century b c E. A good example of this, 758 00:41:28,000 --> 00:41:29,839 Speaker 1: if you want to look it up at home. One 759 00:41:29,920 --> 00:41:33,080 Speaker 1: is called the dory f Os or the spear Bearer 760 00:41:33,160 --> 00:41:37,520 Speaker 1: by the ancient Greek sculptor Polyclitus p O L y 761 00:41:37,719 --> 00:41:41,080 Speaker 1: K L E I t O S. And these classical 762 00:41:41,120 --> 00:41:43,919 Speaker 1: ones are very different in that they have I would say, 763 00:41:43,920 --> 00:41:49,040 Speaker 1: this powerful lifelike quality that we see developing in this period. 764 00:41:49,560 --> 00:41:52,759 Speaker 1: It looks it looks like there is something alive and 765 00:41:52,840 --> 00:41:58,120 Speaker 1: even moving inside this this totally still hunk of dead rock. Yeah. 766 00:41:58,239 --> 00:42:01,640 Speaker 1: And I think if you've ever visited a sculpture garden, 767 00:42:01,800 --> 00:42:03,520 Speaker 1: gotten over and or got to do to see some 768 00:42:03,600 --> 00:42:06,360 Speaker 1: of these classical works reproductions of the classical works, you 769 00:42:06,360 --> 00:42:08,200 Speaker 1: know exactly what we're talking about. You know. It's that 770 00:42:08,600 --> 00:42:11,719 Speaker 1: that feeling that this is this is life that was captured, 771 00:42:12,239 --> 00:42:15,839 Speaker 1: uh and frozen. You know that you look at it 772 00:42:15,880 --> 00:42:18,200 Speaker 1: at one of these statues and it looks as if 773 00:42:18,239 --> 00:42:21,600 Speaker 1: it had just moved and it wasn't even necessarily posing 774 00:42:21,680 --> 00:42:24,400 Speaker 1: for the artist, you know. Yeah, that's a great comparison. 775 00:42:24,440 --> 00:42:28,279 Speaker 1: They often the classical sculptures look as if, you know, 776 00:42:28,400 --> 00:42:30,200 Speaker 1: you're a fly on the wall and you have just 777 00:42:30,360 --> 00:42:33,360 Speaker 1: frozen time in the middle of a scene, and and 778 00:42:33,360 --> 00:42:35,960 Speaker 1: and this is what was happening while say, you know, 779 00:42:36,000 --> 00:42:39,080 Speaker 1: the discus thrower was was winding up to throw, or 780 00:42:39,320 --> 00:42:42,120 Speaker 1: somebody was leaning back to regard someone who had just 781 00:42:42,320 --> 00:42:44,719 Speaker 1: entered the room. Does that make sense? Yeah? Yeah, yeah, 782 00:42:44,760 --> 00:42:46,520 Speaker 1: Like the spear bear here, he's kind of as the 783 00:42:46,600 --> 00:42:49,040 Speaker 1: post like, oh are you sculpting me? I'm sorry, I 784 00:42:49,040 --> 00:42:52,759 Speaker 1: was just standing here naked. Yeah. So the question is 785 00:42:52,880 --> 00:42:55,640 Speaker 1: what makes the difference, how do you go again? I 786 00:42:55,680 --> 00:42:58,720 Speaker 1: think both styles are wonderful, But what makes the difference 787 00:42:58,760 --> 00:43:02,120 Speaker 1: from this style that is striking as artwork but doesn't 788 00:43:02,120 --> 00:43:05,400 Speaker 1: look lifelike, to this kind of the classical period that 789 00:43:05,440 --> 00:43:07,759 Speaker 1: almost it feels like it has a pulse, you know, 790 00:43:07,800 --> 00:43:11,640 Speaker 1: it looks like there's something just about to move. I 791 00:43:11,640 --> 00:43:14,080 Speaker 1: think there are a number of changes in artistic technique, 792 00:43:14,120 --> 00:43:17,000 Speaker 1: and I fully admit that there's a lot about classical 793 00:43:17,120 --> 00:43:20,400 Speaker 1: art that I don't know or understand, But I I 794 00:43:20,480 --> 00:43:23,719 Speaker 1: am to understand that one of the most significant developments 795 00:43:23,760 --> 00:43:27,239 Speaker 1: here is a change in the approach to the depictions 796 00:43:27,360 --> 00:43:31,680 Speaker 1: of legs, hips, and posture, which would come to be 797 00:43:31,719 --> 00:43:36,400 Speaker 1: known by later artists and scholars as contra posto. So 798 00:43:36,680 --> 00:43:38,840 Speaker 1: I was trying to find a scinct definition of this. 799 00:43:38,920 --> 00:43:41,360 Speaker 1: I found one on a website for the National Galleries 800 00:43:41,400 --> 00:43:46,360 Speaker 1: of Scotland. So this museum describes contra posto as quote, 801 00:43:46,640 --> 00:43:50,720 Speaker 1: a standing human figure carrying its weight on one leg, 802 00:43:50,920 --> 00:43:54,879 Speaker 1: so that the opposite hip rises to produce a relaxed 803 00:43:55,000 --> 00:43:58,120 Speaker 1: curve in the body. Now, I hope when I say 804 00:43:58,160 --> 00:44:01,000 Speaker 1: that you can kind of picture lies like, Oh yes, 805 00:44:01,080 --> 00:44:03,560 Speaker 1: I have seen statues like this where the figure being 806 00:44:03,600 --> 00:44:06,120 Speaker 1: shown has all of their weight shifted to their back 807 00:44:06,239 --> 00:44:09,719 Speaker 1: leg and their other leg is kind of lifted and bent, 808 00:44:10,040 --> 00:44:13,920 Speaker 1: and this sort of causes a a shift, a corresponding 809 00:44:13,960 --> 00:44:16,520 Speaker 1: shift in the position of the hips, and then also 810 00:44:16,600 --> 00:44:20,480 Speaker 1: causes a kind of twist in the spine where it 811 00:44:20,560 --> 00:44:23,240 Speaker 1: looks like the character has been caught in the middle 812 00:44:23,440 --> 00:44:28,520 Speaker 1: of turning or leaning or or relaxing or something. And 813 00:44:28,560 --> 00:44:32,960 Speaker 1: the result is this, this powerful striking quality of life 814 00:44:33,080 --> 00:44:37,400 Speaker 1: caught in the middle of motion. Yeah. Absolutely. And again 815 00:44:37,440 --> 00:44:40,279 Speaker 1: this is in contrast to the posture that would have 816 00:44:40,320 --> 00:44:42,960 Speaker 1: been common for standing sculptures of the human form in 817 00:44:43,040 --> 00:44:46,000 Speaker 1: Greek art of the period just before this, the Archaic period, 818 00:44:46,239 --> 00:44:48,839 Speaker 1: where again the coross the the nude male figure would 819 00:44:48,880 --> 00:44:53,239 Speaker 1: usually have a rigid, straight posture with weight equally distributed 820 00:44:53,280 --> 00:44:56,640 Speaker 1: on both legs. Uh. And for again, for some reason, 821 00:44:56,640 --> 00:44:59,399 Speaker 1: while I think that is artistically beautiful, it doesn't look 822 00:44:59,480 --> 00:45:02,920 Speaker 1: a lie. If something happens when you twist the form 823 00:45:03,040 --> 00:45:06,120 Speaker 1: like that, the adjustment of the legs so that the 824 00:45:06,160 --> 00:45:09,279 Speaker 1: weight is on one leg and not the other, it 825 00:45:09,280 --> 00:45:12,680 Speaker 1: almost seems to peel back this opening in the shroud 826 00:45:12,760 --> 00:45:16,319 Speaker 1: that separates animate from inanimate. You you shift the weight 827 00:45:16,360 --> 00:45:18,719 Speaker 1: across the legs and the twist the hips in the 828 00:45:18,719 --> 00:45:22,400 Speaker 1: spine accordingly, and something just happens. Stone can become flesh, 829 00:45:22,840 --> 00:45:25,239 Speaker 1: and sculpture can sort of it can start to have 830 00:45:25,239 --> 00:45:29,080 Speaker 1: that glow, that unsettling quality of movement or soul. I 831 00:45:29,080 --> 00:45:32,239 Speaker 1: don't think I'd really thought about this much before, but yeah, absolutely, 832 00:45:32,280 --> 00:45:35,280 Speaker 1: you look at you look at these, uh these statues, 833 00:45:35,320 --> 00:45:37,040 Speaker 1: the ones that are the most lifelike. Can you do 834 00:45:37,160 --> 00:45:40,880 Speaker 1: see this kind of Uh, it's it's in the legs. 835 00:45:41,160 --> 00:45:43,680 Speaker 1: Often it's it's how though the weight is distributed. I 836 00:45:43,680 --> 00:45:45,719 Speaker 1: mean really one of the most iconic examples of this 837 00:45:45,760 --> 00:45:49,719 Speaker 1: would probably be Michaelangelo's David Um. Oh yeah, where if 838 00:45:49,719 --> 00:45:51,840 Speaker 1: you you look look at the legs and it's exactly 839 00:45:51,840 --> 00:45:54,480 Speaker 1: what we're talking about here. Well, yes, I think actually, 840 00:45:54,760 --> 00:45:57,439 Speaker 1: uh again, I admit I don't know a ton about 841 00:45:57,480 --> 00:45:59,400 Speaker 1: art history, but I think that this is something that 842 00:45:59,480 --> 00:46:03,239 Speaker 1: was kind anxiously sort of noticed and then recreated on 843 00:46:03,480 --> 00:46:07,839 Speaker 1: purpose by Renaissance artists looking back to classical art, Like 844 00:46:07,880 --> 00:46:09,880 Speaker 1: they they sort of noticed this about the legs and 845 00:46:09,960 --> 00:46:12,160 Speaker 1: the posture and said like, oh, hey, you know, let's 846 00:46:12,600 --> 00:46:15,000 Speaker 1: do like that and even kicking up, kicking up a 847 00:46:15,000 --> 00:46:18,759 Speaker 1: notch from there because I think the Renaissance artists took 848 00:46:18,800 --> 00:46:20,719 Speaker 1: it a step further where there would be sort of 849 00:46:20,760 --> 00:46:23,319 Speaker 1: like a double twist in the body like you see 850 00:46:23,320 --> 00:46:25,280 Speaker 1: on the David where the the you know, the legs 851 00:46:25,320 --> 00:46:28,200 Speaker 1: are the legs have the lower bodies weight shifted one 852 00:46:28,239 --> 00:46:30,600 Speaker 1: way and then the upper bodies kind of kind of 853 00:46:30,640 --> 00:46:34,440 Speaker 1: shifting back even in the other direction. Yeah, yeah, I'm 854 00:46:34,440 --> 00:46:38,319 Speaker 1: looking at a photo of it right now, and yeah, absolutely, 855 00:46:38,600 --> 00:46:41,279 Speaker 1: So there's my case. The legs are the life. It 856 00:46:41,320 --> 00:46:43,239 Speaker 1: makes me want to go and uh and and visit 857 00:46:43,280 --> 00:46:45,200 Speaker 1: a museum with a number of sculptures. I go to 858 00:46:45,239 --> 00:46:47,440 Speaker 1: the mat and started looking at the legs more because 859 00:46:47,880 --> 00:46:52,120 Speaker 1: often there's the legs are not the the the obvious 860 00:46:52,200 --> 00:46:55,120 Speaker 1: focal point of the statue. Instead, you're drawn to um 861 00:46:55,239 --> 00:46:57,360 Speaker 1: what you're drawn to, like the chest or you're or 862 00:46:57,560 --> 00:46:59,960 Speaker 1: or certainly with the nude statues, you might you know, 863 00:47:00,120 --> 00:47:03,200 Speaker 1: notice what is there or isn't there concerning the groin. 864 00:47:03,600 --> 00:47:06,640 Speaker 1: Oftentimes they have a weapon, or they're holding like the 865 00:47:06,640 --> 00:47:10,399 Speaker 1: head of a medusa, or they're fighting a centaur. There's 866 00:47:10,400 --> 00:47:13,040 Speaker 1: generally a lot going on. It's easy to miss the 867 00:47:13,120 --> 00:47:15,920 Speaker 1: legs and not think about these things. But but now 868 00:47:15,920 --> 00:47:17,600 Speaker 1: that it's been pointed out to me like I I 869 00:47:17,640 --> 00:47:19,520 Speaker 1: want to I want to go. I want to look 870 00:47:19,560 --> 00:47:21,880 Speaker 1: at the legs of some statues and see see to 871 00:47:22,120 --> 00:47:24,960 Speaker 1: what extent there uh there, you know their life is 872 00:47:25,000 --> 00:47:28,440 Speaker 1: brought about by this effect. Yeah, totally. Once you notice it, 873 00:47:28,480 --> 00:47:32,320 Speaker 1: you kind of can't unsee it. Yeah. So to conclude, 874 00:47:32,360 --> 00:47:36,440 Speaker 1: I guess you must change your life. And uh, and 875 00:47:36,480 --> 00:47:38,400 Speaker 1: how would you connect all of this to a Christmas 876 00:47:38,440 --> 00:47:40,960 Speaker 1: story and the major reward? Well, I told you it 877 00:47:41,000 --> 00:47:44,400 Speaker 1: was gonna be tenuous, but okay, you know leg sculpture, right, Uh, 878 00:47:45,360 --> 00:47:47,799 Speaker 1: that's what I got, all right, I know. Obviously we'd 879 00:47:47,800 --> 00:47:49,560 Speaker 1: love to hear from everyone out there. Do you do 880 00:47:49,600 --> 00:47:52,920 Speaker 1: you have additional insights on the history of lamps that 881 00:47:53,000 --> 00:47:56,440 Speaker 1: look like legs or feet, or the history of of 882 00:47:56,520 --> 00:48:01,080 Speaker 1: sculpture and um and and an artifice depicting legs and feet? 883 00:48:01,520 --> 00:48:03,839 Speaker 1: Certainly right in because we would love to hear from you. Also, 884 00:48:03,880 --> 00:48:08,360 Speaker 1: just additional thoughts on the deep occult uh secrets that 885 00:48:08,440 --> 00:48:12,040 Speaker 1: are hidden within the film A Christmas Story? Are you 886 00:48:12,080 --> 00:48:14,279 Speaker 1: going to fall asleep with it playing? To incubate a 887 00:48:14,400 --> 00:48:17,680 Speaker 1: dream that? Yeah, bring you a gift from the gods. 888 00:48:17,880 --> 00:48:20,440 Speaker 1: It is a film with multiple like dream and vision 889 00:48:20,480 --> 00:48:22,920 Speaker 1: sequences in it, so be kind of perfect for that. 890 00:48:24,440 --> 00:48:26,759 Speaker 1: All right, Like we said this, this will probably be 891 00:48:26,800 --> 00:48:30,000 Speaker 1: the last new episode of Stuff to Blow your Mind 892 00:48:30,040 --> 00:48:33,000 Speaker 1: for the year, but we'll be back in January with 893 00:48:33,080 --> 00:48:36,480 Speaker 1: all new episodes. Uh, we're gonna We're gonna be excited. 894 00:48:36,600 --> 00:48:39,000 Speaker 1: I'm excited to see what kind of topics we end 895 00:48:39,080 --> 00:48:41,640 Speaker 1: up discussing. We have a whole list of potential topics. 896 00:48:41,840 --> 00:48:45,200 Speaker 1: Stuff we've thought up, stuff that that you have submitted 897 00:48:45,239 --> 00:48:47,440 Speaker 1: to us, so we have we have plenty, plenty of 898 00:48:47,520 --> 00:48:51,439 Speaker 1: material to draw from and we're looking forward to it. Uh. 899 00:48:51,520 --> 00:48:54,200 Speaker 1: In the meantime, you can find all of our episodes 900 00:48:54,239 --> 00:48:56,320 Speaker 1: and the Stuff to Blow your Mind podcast feed wherever 901 00:48:56,360 --> 00:48:59,000 Speaker 1: you get your podcasts. Core episodes of the show on 902 00:48:59,040 --> 00:49:02,840 Speaker 1: Tuesdays and Thursdays, listener mail on Monday's Short Form Artifact 903 00:49:02,920 --> 00:49:05,640 Speaker 1: on Wednesdays, and on Fridays, we do Weird How Cinema. 904 00:49:05,680 --> 00:49:09,040 Speaker 1: That's our time to set aside most practical and serious 905 00:49:09,080 --> 00:49:12,680 Speaker 1: concerns and just talk about a strange film which thanks 906 00:49:12,719 --> 00:49:16,120 Speaker 1: as always to our excellent audio producer Seth Nicholas Johnson. 907 00:49:16,440 --> 00:49:18,080 Speaker 1: If you would like to get in touch with us 908 00:49:18,080 --> 00:49:20,600 Speaker 1: with feedback on this episode or any other, to suggest 909 00:49:20,760 --> 00:49:22,879 Speaker 1: topic for the future, just to say hello. You can 910 00:49:22,920 --> 00:49:25,800 Speaker 1: email us at contact at Stuff to Blow Your Mind 911 00:49:25,960 --> 00:49:35,840 Speaker 1: dot com Stuff to Blow Your Mind. It's production of 912 00:49:35,880 --> 00:49:38,520 Speaker 1: I Heart Radio. For more podcasts for my heart Radio, 913 00:49:38,719 --> 00:49:41,400 Speaker 1: visit the i heart Radio app, Apple Podcasts, or wherever 914 00:49:41,440 --> 00:50:01,000 Speaker 1: you're listening to your favorite shows. No, no, not