1 00:00:04,160 --> 00:00:07,120 Speaker 1: Hey, and welcome to the short stuff. I'm Josh, there's Chuck, 2 00:00:07,160 --> 00:00:10,040 Speaker 1: there's j j over there. Let's get to it and 3 00:00:10,080 --> 00:00:15,880 Speaker 1: talk about maybe the most famous painting in all the world. Perhaps, 4 00:00:16,720 --> 00:00:21,880 Speaker 1: Um sag Clown Hobo by John Wayne Gazy. Right, have 5 00:00:22,000 --> 00:00:26,520 Speaker 1: you seen the Mona Lisa I have same here. I'm 6 00:00:26,520 --> 00:00:29,520 Speaker 1: sure your first impression, like many people, it was huh 7 00:00:29,720 --> 00:00:33,040 Speaker 1: sure as small, it's it's impossible to not have. You 8 00:00:33,080 --> 00:00:35,160 Speaker 1: can go into it saying I'm not going to think 9 00:00:35,200 --> 00:00:38,080 Speaker 1: that I've been prepped. I'm not going to let myself 10 00:00:38,120 --> 00:00:40,239 Speaker 1: think that, and you will think that. Yeah, it's two 11 00:00:40,320 --> 00:00:43,600 Speaker 1: ft six inches by one nine inches. It's a small 12 00:00:43,640 --> 00:00:46,040 Speaker 1: little painting, it is, and they have it behind some 13 00:00:46,280 --> 00:00:51,360 Speaker 1: seriously protective casing. You can't get too terribly close to it, 14 00:00:51,400 --> 00:00:53,440 Speaker 1: and you can get kind of close, but not you know, 15 00:00:53,479 --> 00:00:57,160 Speaker 1: you can't just walk up right on it. And um, 16 00:00:57,200 --> 00:00:59,720 Speaker 1: I think we talked a lot about the why they 17 00:00:59,720 --> 00:01:01,680 Speaker 1: have it under that casing in our How the Louver 18 00:01:01,720 --> 00:01:04,720 Speaker 1: Works episode, if I remember correctly, Yeah, I think we 19 00:01:04,800 --> 00:01:07,240 Speaker 1: covered that. Uh, this is a little more about the 20 00:01:07,319 --> 00:01:11,800 Speaker 1: lady herself. Um, they think for sure that Mona Lisa 21 00:01:11,880 --> 00:01:14,960 Speaker 1: was a person, a real person, and there's been a 22 00:01:15,000 --> 00:01:18,319 Speaker 1: lot of debate over the years, but the current thinking is, 23 00:01:18,600 --> 00:01:23,760 Speaker 1: what's her name? Oh boy, is Lisa Gerardini del gian 24 00:01:23,840 --> 00:01:29,720 Speaker 1: Condo um also known as Lagio Conda very nice because 25 00:01:29,760 --> 00:01:33,400 Speaker 1: she's a lady and she was a wealthy woman married 26 00:01:33,440 --> 00:01:36,399 Speaker 1: to a wealthy silk merchant. And the thinking is that 27 00:01:36,800 --> 00:01:41,040 Speaker 1: he had this commissioned to celebrate the birth of their 28 00:01:41,319 --> 00:01:44,240 Speaker 1: impending birth of a child. Yeah, and it's bizarre to 29 00:01:44,280 --> 00:01:47,680 Speaker 1: think that we don't we don't know much about the 30 00:01:47,720 --> 00:01:50,800 Speaker 1: Mona Lisa. It's not that old. I mean, um, da 31 00:01:50,880 --> 00:01:56,960 Speaker 1: Vinci started it, and I think fifteen three is when 32 00:01:57,000 --> 00:01:59,000 Speaker 1: he started the painting exactly, which is what I was 33 00:01:59,040 --> 00:02:02,400 Speaker 1: going to say eventually. Um, So it's not it's not 34 00:02:02,440 --> 00:02:06,120 Speaker 1: so ridiculously old that that it's just completely lost to history. 35 00:02:06,120 --> 00:02:10,440 Speaker 1: And yet it is because the the Giocondo family never 36 00:02:10,520 --> 00:02:13,120 Speaker 1: took possession of it. And the reason that they think 37 00:02:13,600 --> 00:02:16,080 Speaker 1: that they're almost certain that that is who it is, 38 00:02:16,160 --> 00:02:20,359 Speaker 1: that it's led Giaconda in that painting, um, is that 39 00:02:20,400 --> 00:02:24,800 Speaker 1: there there was a book written about it in the 40 00:02:24,880 --> 00:02:28,520 Speaker 1: time that Leonardo da Vinci's sons were still alive and 41 00:02:28,560 --> 00:02:31,240 Speaker 1: so still around. To refute this, if it was incorrect 42 00:02:31,760 --> 00:02:33,799 Speaker 1: that it was her, that she was the one who 43 00:02:33,880 --> 00:02:36,640 Speaker 1: was seated there. And then years and years later somebody 44 00:02:36,639 --> 00:02:39,400 Speaker 1: found a margin note somewhere in some book or some 45 00:02:39,480 --> 00:02:45,400 Speaker 1: notebook that said as much that Lisa Giardini Guerardini sorry 46 00:02:45,760 --> 00:02:48,200 Speaker 1: um was the Mona Lisa, and that she was going 47 00:02:48,240 --> 00:02:50,040 Speaker 1: to be sitting for this work that Da Vinci was 48 00:02:50,080 --> 00:02:53,680 Speaker 1: working on. Right, and they speculate about the impending pregnancy 49 00:02:53,720 --> 00:02:56,320 Speaker 1: because she has some kind of loose clothing on, and 50 00:02:56,360 --> 00:03:01,519 Speaker 1: that little smile uh is interpreted as, Oh, guess what's coming. 51 00:03:01,680 --> 00:03:05,040 Speaker 1: I'm about to get birth. I can't wait. So we 52 00:03:05,080 --> 00:03:07,400 Speaker 1: should probably talk a little bit about the um the 53 00:03:07,520 --> 00:03:10,480 Speaker 1: artistry of the Mona Lisa. I'm gonna go ahead and 54 00:03:10,800 --> 00:03:15,800 Speaker 1: throw it out there. Yeah. Oh really, are you crazy? 55 00:03:15,840 --> 00:03:17,800 Speaker 1: You don't like it? It's not that I don't like it. 56 00:03:17,840 --> 00:03:21,440 Speaker 1: I'm just I'm not a big fan of portraiture period. Uh. 57 00:03:21,520 --> 00:03:24,920 Speaker 1: Not a lot of portraits knocked me out like others. Um. 58 00:03:25,560 --> 00:03:28,680 Speaker 1: Other paintings do. UM. I can appreciate them, for sure, 59 00:03:29,320 --> 00:03:31,520 Speaker 1: but I've never looked at a portrait and been like, man, 60 00:03:31,639 --> 00:03:33,720 Speaker 1: I want that in my house so bad. Not a 61 00:03:33,800 --> 00:03:37,720 Speaker 1: big Rembrand fan, huh. So, um, I think one of 62 00:03:37,760 --> 00:03:41,040 Speaker 1: the reasons I appreciated Chuck is because I recently saw 63 00:03:41,160 --> 00:03:47,000 Speaker 1: Decoding Da Vinci Cova, a little Nova documentary Tom Hanks movie. Yeah, 64 00:03:47,720 --> 00:03:49,840 Speaker 1: he's got a mullet in and running around all over 65 00:03:49,840 --> 00:03:53,080 Speaker 1: the place. Um No, this was this was even more 66 00:03:53,160 --> 00:03:57,880 Speaker 1: legitimate than that. But they really go into, you know, 67 00:03:58,000 --> 00:04:01,880 Speaker 1: the techniques that he used in this painting, especially this 68 00:04:01,960 --> 00:04:06,040 Speaker 1: Fu Mouto method he's very well known for, which uses 69 00:04:06,840 --> 00:04:10,280 Speaker 1: shading and and um some other stuff. You're gonna have 70 00:04:10,280 --> 00:04:12,720 Speaker 1: to watch the nov episode for it to be explained. 71 00:04:12,760 --> 00:04:17,120 Speaker 1: But but the upshot of it is there's no lines 72 00:04:17,960 --> 00:04:20,640 Speaker 1: in the Mona Lisa. There's no hard lines, there's no 73 00:04:20,839 --> 00:04:24,359 Speaker 1: he didn't paint a line, he suggested lines. Every line 74 00:04:24,400 --> 00:04:27,880 Speaker 1: in that painting doesn't actually exist. It's all an illusion 75 00:04:27,920 --> 00:04:31,039 Speaker 1: created by the painting techniques that he was using on 76 00:04:31,080 --> 00:04:34,240 Speaker 1: the Mona Lisa. And they really go to town explaining this, 77 00:04:34,320 --> 00:04:38,600 Speaker 1: and it really makes it that much easier to appreciate. Yeah. 78 00:04:38,640 --> 00:04:41,119 Speaker 1: Another thing that's mentioned here in the House of Works 79 00:04:41,200 --> 00:04:43,480 Speaker 1: article is the fact, and this kind of stood out 80 00:04:43,480 --> 00:04:46,440 Speaker 1: to me, is mostly when you see portraits, especially especially 81 00:04:46,480 --> 00:04:51,080 Speaker 1: oh my lord, uh from that era, is you have 82 00:04:51,200 --> 00:04:55,560 Speaker 1: someone in a room maybe and not necessarily a landscape 83 00:04:55,600 --> 00:04:59,080 Speaker 1: as well, or landscapes, and there were portraits and never 84 00:04:59,160 --> 00:05:03,080 Speaker 1: between shell meet, but he blended those two things together. Uh. 85 00:05:03,080 --> 00:05:05,720 Speaker 1: And there's a landscape behind the Mona Lisa and an 86 00:05:05,760 --> 00:05:08,760 Speaker 1: aerial perspective, and she's very much in a big open 87 00:05:08,839 --> 00:05:12,560 Speaker 1: space with this these mountains and winding paths behind her. 88 00:05:13,240 --> 00:05:15,480 Speaker 1: And your eye doesn't always go to that because you're 89 00:05:15,520 --> 00:05:19,320 Speaker 1: looking at that face and that smile, but that dreamy 90 00:05:19,400 --> 00:05:22,200 Speaker 1: landscape is certainly back there. Yeah, And I think what 91 00:05:22,200 --> 00:05:25,440 Speaker 1: what they're what they're remarking about is that is supposedly 92 00:05:25,480 --> 00:05:29,279 Speaker 1: an imaginary landscape and that people didn't paint imaginary ones. 93 00:05:29,720 --> 00:05:32,160 Speaker 1: And there're people have tried to prove that it actually 94 00:05:32,200 --> 00:05:35,960 Speaker 1: is an imaginary most recently a pair of Italian researchers 95 00:05:36,520 --> 00:05:40,560 Speaker 1: Olivia and Neshi and Rosetta Borkia. I don't do it 96 00:05:40,600 --> 00:05:42,760 Speaker 1: nearly as well as you, but they said, no, it's 97 00:05:42,760 --> 00:05:45,960 Speaker 1: this place in Montefeltro, in the east of Italy, east 98 00:05:45,960 --> 00:05:49,599 Speaker 1: of Florence on the Adriatic coast, and they're like, this 99 00:05:49,640 --> 00:05:52,440 Speaker 1: mountain is this one? This is this mountain? They said, 100 00:05:52,440 --> 00:05:54,800 Speaker 1: this bridge used to be there, but it's since been destroyed. 101 00:05:54,800 --> 00:05:56,560 Speaker 1: This lake is no longer here, is filled in my 102 00:05:56,640 --> 00:05:59,200 Speaker 1: mud sides. But they're pretty sure they pinpointed it. But 103 00:05:59,520 --> 00:06:03,040 Speaker 1: that doesn't necessarily mean they're correct. It's it's still speculative, 104 00:06:03,080 --> 00:06:04,760 Speaker 1: but they have they seem to have a pretty good 105 00:06:04,760 --> 00:06:06,320 Speaker 1: case to back it up. But a lot of the 106 00:06:06,440 --> 00:06:09,880 Speaker 1: position is that Legio Conda posed in front of that. No, no, 107 00:06:10,160 --> 00:06:13,279 Speaker 1: just that he he um he that's why he painted, 108 00:06:13,880 --> 00:06:17,440 Speaker 1: you know. Yeah, so so yeah. I don't think that 109 00:06:17,520 --> 00:06:19,920 Speaker 1: they were saying like he made her sit there for 110 00:06:19,960 --> 00:06:22,839 Speaker 1: four years or that she was ever even there, but 111 00:06:22,920 --> 00:06:25,120 Speaker 1: that it wasn't. Their point is that it's not a 112 00:06:25,160 --> 00:06:27,040 Speaker 1: made up landscape. Well no, I mean, I'm sure he 113 00:06:27,080 --> 00:06:28,799 Speaker 1: took a photograph of her right and then just worked 114 00:06:28,800 --> 00:06:33,120 Speaker 1: from that, knowing da Vinci, he probably did. I will 115 00:06:33,160 --> 00:06:37,080 Speaker 1: say that the Mona Lisa's eyes following you, the Mona 116 00:06:37,080 --> 00:06:39,920 Speaker 1: Lisa effect, which he did not invent, but it is 117 00:06:39,960 --> 00:06:43,520 Speaker 1: referred to that way anyway. And I know you're pretty um, 118 00:06:43,560 --> 00:06:46,560 Speaker 1: pretty into this idea that eyes can follow you, that 119 00:06:46,640 --> 00:06:50,240 Speaker 1: works on a laptop even it does, and and that's 120 00:06:50,240 --> 00:06:54,159 Speaker 1: a whole other short stuff if you ask me. But this, um, 121 00:06:54,240 --> 00:06:58,720 Speaker 1: this this Mona Lisa effect. That being called that the 122 00:06:58,720 --> 00:07:01,600 Speaker 1: eyes following you around the room. The meaning that's actually 123 00:07:01,600 --> 00:07:05,720 Speaker 1: a misnomer because they've proven that the Mona Lisa does 124 00:07:05,760 --> 00:07:09,320 Speaker 1: not actually demonstrate the Mona Lisa effect. It did to me, man, 125 00:07:09,840 --> 00:07:12,040 Speaker 1: does it? I mean, I don't know. Maybe it was 126 00:07:13,320 --> 00:07:15,480 Speaker 1: the fact that I got super drunk at lunch, but 127 00:07:16,600 --> 00:07:19,240 Speaker 1: I was sitting at my desk and I was I 128 00:07:19,320 --> 00:07:21,640 Speaker 1: was going, you know, heavy, back and forth to the 129 00:07:21,720 --> 00:07:23,960 Speaker 1: left and right, and they seemed to be following me. 130 00:07:24,280 --> 00:07:27,120 Speaker 1: Or maybe it was suggested so I saw it that way. 131 00:07:27,160 --> 00:07:29,400 Speaker 1: I don't know. I wonder that, man, I wonder if 132 00:07:29,440 --> 00:07:32,920 Speaker 1: that is because when I looked and saw that she 133 00:07:33,000 --> 00:07:35,120 Speaker 1: doesn't have that effect, I was like, oh, yeah, I 134 00:07:35,160 --> 00:07:39,560 Speaker 1: totally see it. They some researchers measured where people pointed 135 00:07:39,600 --> 00:07:42,040 Speaker 1: on the screen or pointed on themselves where she was looking, 136 00:07:42,360 --> 00:07:45,760 Speaker 1: and most people said she was looking past them to 137 00:07:45,880 --> 00:07:50,200 Speaker 1: their right about a thirty degree angle. H Well, it 138 00:07:50,240 --> 00:07:53,040 Speaker 1: may have been power suggestion, yeah, for both of us. 139 00:07:53,080 --> 00:07:55,440 Speaker 1: Who knows. All right, Well, let's take a break here 140 00:07:55,640 --> 00:07:59,320 Speaker 1: and then we'll here you will hear we will say 141 00:08:00,040 --> 00:08:02,640 Speaker 1: a little bit about when and why the Mona Lisa 142 00:08:02,680 --> 00:08:31,560 Speaker 1: became soups famous. Alright, Chuck, I thought that break would 143 00:08:31,600 --> 00:08:36,080 Speaker 1: never come, right. So, um, it's funny to think as 144 00:08:36,120 --> 00:08:38,800 Speaker 1: famous as the Mona Lisa is, but she was fairly 145 00:08:38,840 --> 00:08:43,320 Speaker 1: neglected by the world until the mid nineteenth century. And 146 00:08:43,360 --> 00:08:46,440 Speaker 1: even then, just like a small little group of French 147 00:08:47,080 --> 00:08:51,080 Speaker 1: art critics finally discovered you know this da Vinci painting, 148 00:08:51,080 --> 00:08:54,240 Speaker 1: and we're like, this is a masterpiece. This is an 149 00:08:54,240 --> 00:08:58,120 Speaker 1: amazing work of Renaissance art. We haven't noticed all these 150 00:08:58,240 --> 00:09:00,920 Speaker 1: few hundred years, but it's amazing. They didn't really tell 151 00:09:00,960 --> 00:09:04,040 Speaker 1: the rest of the world, and people like the Mona 152 00:09:04,080 --> 00:09:06,680 Speaker 1: Lisa was fine, but it wasn't until she was stolen 153 00:09:06,720 --> 00:09:09,080 Speaker 1: off of the wall in the Louver in nineteen eleven 154 00:09:09,400 --> 00:09:12,439 Speaker 1: that the world really sat up and took notice. It's 155 00:09:12,520 --> 00:09:15,200 Speaker 1: very much like that Cinderella song, you don't know what 156 00:09:15,320 --> 00:09:19,199 Speaker 1: you got until it's gone. That happened with the Mona 157 00:09:19,240 --> 00:09:23,480 Speaker 1: Lisa too. I think they wrote that about the Mona Lisa, right, probably, Yeah, 158 00:09:23,480 --> 00:09:28,160 Speaker 1: August twenty one, nineteen eleven. There were three handymen that 159 00:09:28,840 --> 00:09:31,360 Speaker 1: just kind of went out the side door with the 160 00:09:31,440 --> 00:09:34,640 Speaker 1: Mona Lisa. It took twenty six and this was kind 161 00:09:34,679 --> 00:09:37,439 Speaker 1: of evidence that she wasn't that big of a deal. 162 00:09:37,520 --> 00:09:39,960 Speaker 1: Yet it took a whole twenty six hours before anyone 163 00:09:40,000 --> 00:09:43,680 Speaker 1: even noticed she was gone. And um whereas today you know, 164 00:09:43,840 --> 00:09:47,320 Speaker 1: there would be alarm bells like second it was removed, 165 00:09:48,679 --> 00:09:52,319 Speaker 1: but it was put in the papers and all of 166 00:09:52,360 --> 00:09:54,520 Speaker 1: a sudden it kind of ran away in the press. 167 00:09:54,600 --> 00:09:58,000 Speaker 1: The loop shut down for a week and everyone from 168 00:09:58,040 --> 00:10:02,680 Speaker 1: Pablo Picasso to JP Morgan were named as potential suspects. Yeah, 169 00:10:02,760 --> 00:10:05,559 Speaker 1: they thought they thought JP Morgan was financing people to 170 00:10:05,679 --> 00:10:09,800 Speaker 1: steal them for steal like artworks for him. Amazing. Yeah, 171 00:10:09,840 --> 00:10:12,000 Speaker 1: and actually it's funny that raised this other thing. Chuck 172 00:10:12,040 --> 00:10:16,360 Speaker 1: real quick, there's um there are accusations against wealthy Chinese people, 173 00:10:17,120 --> 00:10:24,319 Speaker 1: um like who are funding art heists to repatriate Chinese art. 174 00:10:24,880 --> 00:10:27,600 Speaker 1: Interesting if there's like a whole string of art heists 175 00:10:27,600 --> 00:10:31,240 Speaker 1: around the world that are just um ancient Chinese works 176 00:10:31,240 --> 00:10:34,160 Speaker 1: of art and they think that some people in China 177 00:10:34,160 --> 00:10:36,760 Speaker 1: are financing it. It's It was a g Q article 178 00:10:36,800 --> 00:10:39,960 Speaker 1: called the Great Chinese Art Heist. Wow. Well, I certainly 179 00:10:40,000 --> 00:10:43,000 Speaker 1: believe in repatriation to a certain degree, but I don't 180 00:10:43,000 --> 00:10:46,720 Speaker 1: know if you should go to that length, right, Uh So, anyway, 181 00:10:46,880 --> 00:10:50,360 Speaker 1: the newspapers get it out, Lou shuts down. People were 182 00:10:50,360 --> 00:10:52,640 Speaker 1: coming to the museum to see what was known as 183 00:10:52,960 --> 00:10:56,679 Speaker 1: the Mark of Shame, that empty, you know, non cigarette 184 00:10:56,720 --> 00:11:00,640 Speaker 1: stained square on the wall, and every one went and went, 185 00:11:00,800 --> 00:11:06,679 Speaker 1: is that how big it is? That little non dusty square. Uh. 186 00:11:06,720 --> 00:11:09,080 Speaker 1: And then it took a full twenty eight months for 187 00:11:09,120 --> 00:11:12,319 Speaker 1: this thing to finally reappear with an attempted re sale 188 00:11:12,880 --> 00:11:18,560 Speaker 1: from Vincenzo Perugia, and the owner of the art gallery 189 00:11:18,600 --> 00:11:21,720 Speaker 1: that was being offered this painting said, yeah, this is 190 00:11:21,760 --> 00:11:24,120 Speaker 1: the mona Lisa. You know what, I'm gonna make sure 191 00:11:24,200 --> 00:11:26,880 Speaker 1: you get a good reward for this. Just stick around 192 00:11:26,880 --> 00:11:28,760 Speaker 1: and stay right there. I'm gonna go in the other 193 00:11:28,800 --> 00:11:31,000 Speaker 1: room and make a quick phone call to the reward 194 00:11:31,080 --> 00:11:34,599 Speaker 1: center right and make sure you get your rewards and 195 00:11:34,800 --> 00:11:37,640 Speaker 1: just reward right there, reward. And then Homer Simpson just 196 00:11:37,640 --> 00:11:42,000 Speaker 1: stood in place and waited for the Italian uhl at 197 00:11:42,000 --> 00:11:46,040 Speaker 1: the com Yeah and he uh he got busted and 198 00:11:46,360 --> 00:11:48,640 Speaker 1: he got eight months in prison for this. It was 199 00:11:48,640 --> 00:11:51,560 Speaker 1: a pretty big art heist. But he was in Florence 200 00:11:51,600 --> 00:11:53,960 Speaker 1: trying to sell it. So he's stolen from the Louver 201 00:11:54,000 --> 00:11:57,719 Speaker 1: in Paris and His defense was, Napoleon stole this from 202 00:11:57,840 --> 00:12:01,840 Speaker 1: us uh, and I was repaid treating it myself. And 203 00:12:01,920 --> 00:12:04,600 Speaker 1: I think he actually kind of got you know, eight 204 00:12:04,640 --> 00:12:06,800 Speaker 1: months isn't exactly a slap on the wrist, but it's 205 00:12:06,840 --> 00:12:10,440 Speaker 1: also not a um, a ridiculous sentence, either for for 206 00:12:10,480 --> 00:12:13,080 Speaker 1: what he got so or for what he did so. Um. 207 00:12:13,120 --> 00:12:15,640 Speaker 1: I think that actually helped that defense worked. Do you 208 00:12:15,640 --> 00:12:18,320 Speaker 1: know if he read it out his two buddies, I 209 00:12:18,440 --> 00:12:20,320 Speaker 1: don't know, And I don't know if it would have 210 00:12:20,360 --> 00:12:23,040 Speaker 1: mattered because he was the one that lived with it 211 00:12:23,080 --> 00:12:26,000 Speaker 1: in like the false bottom of his steamer trunk in 212 00:12:26,040 --> 00:12:29,800 Speaker 1: his apartment for two years before he he tried to 213 00:12:29,800 --> 00:12:31,959 Speaker 1: sell it, so I don't know if it would have 214 00:12:32,000 --> 00:12:34,160 Speaker 1: helped at all. Man, I wish I had a false 215 00:12:34,200 --> 00:12:40,079 Speaker 1: bottom steamer trunk. Those are would be pretty handy. Oh oh, 216 00:12:40,280 --> 00:12:42,360 Speaker 1: I thought you meant like a bottom. No no, no, 217 00:12:42,400 --> 00:12:45,360 Speaker 1: it just a false bottom trunk sings like false bottom girls. 218 00:12:45,360 --> 00:12:47,200 Speaker 1: They make the rock and world go around kind of 219 00:12:47,440 --> 00:12:51,600 Speaker 1: false bottom. Stop it. Can we say that it's not 220 00:12:51,640 --> 00:12:54,840 Speaker 1: the seventies any longer? I think we're okay, okay, do 221 00:12:54,840 --> 00:12:58,800 Speaker 1: you got anything else? Nothing? Well? Then everybody short stuff 222 00:12:58,840 --> 00:13:05,040 Speaker 1: says Rivadrech. Stuff You Should Know is a production of 223 00:13:05,040 --> 00:13:07,839 Speaker 1: i Heeart Radio's How Stuff Works. For more podcasts for 224 00:13:07,920 --> 00:13:10,920 Speaker 1: my heart Radio, visit the iHeart Radio app, Apple Podcasts, 225 00:13:10,960 --> 00:13:15,719 Speaker 1: or wherever you listen to your favorite shows. H