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