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Speaker 1: Welcome to Stuff to Blow Your Mind production of My

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Speaker 1: Heart Radio. Hey you welcome to Stuff to Blow Your Mind.

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Speaker 1: My name is Robert Lamb and I'm Joe McCormick, and

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Speaker 1: we're back for part two of talking about helmets. Last time,

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Speaker 1: we had a lot of fun. We we talked about

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Speaker 1: caterpillars piling up their old exoskeleton heads on top of

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Speaker 1: their current heads. We talked about helmets from the ancient

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Speaker 1: Greek world. We talked about horned helmets and where those

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Speaker 1: motifs came from, the association with vikings, and and we

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Speaker 1: had so much more. And we're back today. Yeah, this

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Speaker 1: episode is going to be more of a um a

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Speaker 1: selection of various helmets and helmet traditions, uh from different

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Speaker 1: parts of the world. Um, we are going to get

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Speaker 1: into samurai armor a bit more. We toil. We very

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Speaker 1: briefly mentioned it in the first episode, and I've figured

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Speaker 1: it was deserving of a deeper dive. But before we

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Speaker 1: get into that, we're going to touch on just a

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Speaker 1: really bizarre helmet from European tradition. Yeah, this is one

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Speaker 1: that we were sort of planning on talking about last time,

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Speaker 1: but I guess we ran out of time. But if

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Speaker 1: if you're if you're talking about horned helmets and you're

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Speaker 1: just looking around for historical examples worth mentioning, you are

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Speaker 1: bound to come across one that is I would say

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Speaker 1: literally unbelievable, and I mean literally unbelievable in the correct

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Speaker 1: use of the word literally, because when you see it,

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Speaker 1: you will be inclined to think, there is no way

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Speaker 1: this is actually an early sixteenth century artifacts this is

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Speaker 1: a prop from a Terry Gilliam movie. Oh. Absolutely had

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Speaker 1: the exact same response when I first came across because

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Speaker 1: if you if you start researching helmets, and if you

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Speaker 1: start looking on using image searches to find examples, you

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Speaker 1: find a lot of of creative energy that has gone

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Speaker 1: into the creation of fictional helmets and sort of artistic

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Speaker 1: um twists on fictional helmets and sci fi helmets. Everything.

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Speaker 1: You have to do a fair amount of of digging

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Speaker 1: around to make sure that what you're looking at is

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Speaker 1: something from the real world. And when I looked at this,

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Speaker 1: this is just this is just too weird. I figured

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Speaker 1: this is some bizarre art experiment here. There's no way

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Speaker 1: that this was an actual helm from European history. Well

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Speaker 1: it is, I think a bizarre art experiment. But it's like,

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Speaker 1: you know, five years old. Uh so, No, it's not

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Speaker 1: from Terry Illium movie. It's not from the set of Legend.

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Speaker 1: This is a helmet that is known as the horned

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Speaker 1: helmet of the English King Henry the Eighth. It is

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Speaker 1: astonishingly bizarre. It is definitely worth actually looking up an

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Speaker 1: image of if you have a chance, but I am

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Speaker 1: going to describe it if you're not in a place

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Speaker 1: where you can look it up right now. So you

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Speaker 1: can read about this artifact and see close up photos

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Speaker 1: at the website for the British Royal Armories Collection and leads.

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Speaker 1: This helmet was commissioned as part of an armor set

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Speaker 1: in fifteen eleven by then Holy Roman Emperor maximil In

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Speaker 1: the First and it was given as a gift to

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Speaker 1: King Henry. So Henry the eighth when he's a young man,

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Speaker 1: he's given this, this helmet and this suit of armor

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Speaker 1: as a gift. But I'm wondering what a gift like

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Speaker 1: this was supposed to signify, given its visual features. So

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Speaker 1: first of all, it's a helmet that's made of steel.

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Speaker 1: It's very close fitting, it's got features and a couple

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Speaker 1: of other metals. It's got a pair of corkscrew rams

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Speaker 1: horns made of sheet iron. And if you're trying to

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Speaker 1: picture this, they're not the tightly curled like Princess Leiah

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Speaker 1: rams horns. They're not the sticky bun rams horns. They're

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Speaker 1: like the curling out like a corkscrew that you would

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Speaker 1: use to open a bottle of wine. Then on the

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Speaker 1: face it has spectacles like glasses. Spectacles made of copper alloy,

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Speaker 1: so they shine in a kind of different color than

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Speaker 1: the rest of the face, and the spectacles may once

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Speaker 1: have been gilded. So this is a helmet that fully

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Speaker 1: encloses the head with front facing flats that hinge open

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Speaker 1: like a flower spreading its petals in the sunlight, you know,

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Speaker 1: or like the face of the demag organ in uh

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Speaker 1: in stranger things. You know, it's got the petals that

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Speaker 1: open up. So it's got two side plates that hinge

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Speaker 1: out to the right and the left. So imagine these

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Speaker 1: would fold over sort of the the the jaw area.

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Speaker 1: The side burns and they flap out, and then the

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Speaker 1: face plate hinges up over the forehead. And so you

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Speaker 1: can open the flaps up like this and put the

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Speaker 1: helmet on by sliding it over the back of your

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Speaker 1: head and then you close the plates around the sides

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Speaker 1: in front of your head, which I have to admit it,

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Speaker 1: it's kind of hard for me to picture just looking

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Speaker 1: at an image of the helmet. I think most of

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Speaker 1: the images, if not all, the images you run across,

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Speaker 1: are of the closed helmet, as if it's being worn

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Speaker 1: and it's sealed up. Yeah. Actually, though, you can look

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Speaker 1: it up on the Royal Armory's website. They've got a

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Speaker 1: video with a curator at the museum. They're unfolding the

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Speaker 1: flaps and showing you how it works, So you can

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Speaker 1: check that out on their website if you're interested. But so,

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Speaker 1: the front of the front plate on this helmet, the

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Speaker 1: face plate is carved with a level of intricacy that's

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Speaker 1: almost kind of awkward, you know how when somebody like

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Speaker 1: makes a parody of something but they put way too

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Speaker 1: much effort into it. If you look close at this

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Speaker 1: face plate, you will see these delicate wrinkles etched in

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Speaker 1: around the eyes, and stubble all around the mouth and lips,

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Speaker 1: and a texture that looks almost like pours across the

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Speaker 1: cheeks and the nose. The expression on the face is

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Speaker 1: really hard to describe. It's something I guess the way

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Speaker 1: I could come closest just to say it is a

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Speaker 1: demonic rictus. Uh. It suggests I must scream, but my

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Speaker 1: lips are stapled together, loosely stapled together, but stapled together. Yeah,

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Speaker 1: I mean it's yeah, it is really hard to describe um. Certainly,

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Speaker 1: you know, the stubble is very interesting, especially in light

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Speaker 1: of mustaches on helms that we mentioned in the last

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Speaker 1: episode and and well up again in this episode later. Uh.

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Speaker 1: But yeah, this this expression, it's it is hard to

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Speaker 1: categorize because it it is intimidating. There's this there is

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Speaker 1: a sense of that when I look at this helmet,

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Speaker 1: I cannot imagine thinking that anyone who would wear this

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Speaker 1: um has good intentions. Like there's a there's a vileness

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Speaker 1: to it, you know. There there's the mouth is making

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Speaker 1: you get the impression it's making a sound kind of

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Speaker 1: like a you know, it's a there's a goblin esque

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Speaker 1: aspect to it. I will say that the the the

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Speaker 1: expression on the mouth of this face reminds me of

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Speaker 1: some of the faces that Willem Dafoe polls in some

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Speaker 1: of his various villainous roles. You know, this kind of

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Speaker 1: intense um grim lenoid kind of a smile, but but

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Speaker 1: not necessarily a happy smile or not a happiness that

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Speaker 1: is shared by other people in the room. Yeah, it's

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Speaker 1: it's like part Memlin or Goblin, part mad scientist, and

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Speaker 1: part Willem Dafoe in Streets of Fire. But so apparently

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Speaker 1: after the English Civil War, so this would be about

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Speaker 1: a hundred years after Henry the Eighth to death. After

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Speaker 1: the English Civil War, most of the rest of Henry's

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Speaker 1: armor was discarded. It was you know, used for scrap metal.

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Speaker 1: But for some reason, this helmet, this this grotesque, bizarre

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Speaker 1: horned helmet was preserved. And it's quite possibly just because

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Speaker 1: it looked so weird. You know, you can almost kind

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Speaker 1: of imagine Oliver Cromwell finding this and thinking like, yes, okay,

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Speaker 1: this is an accurate representation of the monarchy. But another

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Speaker 1: thing is something that we talked about in the last episode,

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Speaker 1: which is the dual use of helmets. Helmets that you know,

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Speaker 1: you might wonder like, would this actually be very useful

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Speaker 1: in battle or you know, if it was actually designed

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Speaker 1: to protect the head in battle, wouldn't it wouldn't it

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Speaker 1: be kind of different than it is. And this is

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Speaker 1: another one of those helmets where it's just hard to

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Speaker 1: imagine it being very practical for a fighting scenario. It's

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Speaker 1: got the curling horns which just scream, you know, grab me,

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Speaker 1: knock me, use me as a lever. Uh and uh. This,

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Speaker 1: this intuition that we get from looking at this thing,

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Speaker 1: is in fact historically correct, because this wasn't fighting armor.

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Speaker 1: This was party armor. Um. I actually found a similar looking,

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Speaker 1: though less elaborate helmet in the online collection of the

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Speaker 1: Swedish Royal Armory Museum because I was trying to find

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Speaker 1: other examples of helmets kind of like this that we're

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Speaker 1: used as party armor, ceremonial armor instead of armor for battle.

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Speaker 1: And there so there's this helmet in the Swedish Royal

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Speaker 1: Armories collection that belonged to the Swedish King Gustav Vasa,

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Speaker 1: who lived from four to fifteen sixty. And this helmet

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Speaker 1: has everything. It's got a dorsal fin, it's got a

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Speaker 1: carved mustache, it's got splayed eye holes, it's got a

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Speaker 1: grimace straight from hell. It does not have horns or spectacles, though,

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Speaker 1: and it is it is a beauty I do want

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Speaker 1: to come back to the idea of of dress armor

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Speaker 1: versus battle armor for a king because I know some

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Speaker 1: you know, if you're not, you know, super familiar with

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Speaker 1: the history of British royalty and battle, you might think, well,

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Speaker 1: you know, why would Henry have any armor but uh,

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Speaker 1: fancy armor for non combat events? Would a would a

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Speaker 1: king have battle armor? So Henry lived through fifteen forty seven. Uh,

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Speaker 1: And it's worth to put that in context of King

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Speaker 1: Richard the Third uh died of his wounds on August

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Speaker 1: eighty five, and he was the last English king to

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Speaker 1: die in battle. Um. So the idea of a king

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Speaker 1: having battle armor not entirely out of the question for

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Speaker 1: that time period. No, not at all. And uh and

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Speaker 1: you know, Richard the Third is not even thought of

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Speaker 1: as an especially like you know, he's not thought of

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Speaker 1: as a warrior king usually. But no, he rode straight

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Speaker 1: into battle. He was trying to kill Henry Tutor, who

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Speaker 1: was attacking him to usurp the throne, and he was

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Speaker 1: like literally in there in the fight himself. But just

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Speaker 1: to reference what the Swedish Royal Armories Museum says about

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Speaker 1: the helmets with face plates like this, you know. They

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Speaker 1: say that around the sixteenth century it was popular for

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Speaker 1: wealthy elites like kings and other nobility in Europe to

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Speaker 1: wear armor, including close helmets, to wear these things too celebrations, parades,

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Speaker 1: big parties, and in the early sixteenth century, they say

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Speaker 1: that it was common to where these with quote grotesque

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Speaker 1: visors in the form of animal or human faces like

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Speaker 1: this one, the one we were talking about a minute ago,

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Speaker 1: to enhance the festive atmosphere and heighten the sense of theatricality.

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Speaker 1: So I guess it's possible to some extent that the

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Speaker 1: weirdness of these face plate grotesques, like King Henry's horned

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Speaker 1: helm or King Gustav's weird looking face mat s here.

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Speaker 1: It's not just that something is being lost in translation

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Speaker 1: across time, language, and culture. It's possible that some of

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Speaker 1: them were supposed to look weird. They were supposed to

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Speaker 1: look funny. Yeah, it's like a masked ball, only a

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Speaker 1: lot more clinky. But when you really look into the

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Speaker 1: significance of the visual features, Henry the Eighth's horn helmet

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Speaker 1: gets even weirder. So I just want to mention a

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Speaker 1: couple more facts that are brought up by the Royal

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Speaker 1: Armories collection. One is that I mentioned the face plate

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Speaker 1: has spectacles, right, These cover the eyeholes, so their eye

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Speaker 1: holes in the face plate, and then these spectacles descend

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Speaker 1: down from a hinge at the bridge of the nose,

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Speaker 1: And that might look kind of weird to us today,

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Speaker 1: but this actually was a common format for spectacles at

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Speaker 1: the time. They would kind of have a rivet in

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Speaker 1: between these two separate arms that each went to one lens,

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Speaker 1: and it would fold down over the bridge of the nose,

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Speaker 1: so you can kind of clip it on your nose,

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Speaker 1: but on the mask. There's no indication that these spectacles

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Speaker 1: ever held lenses, so it appears they were decorative rather

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Speaker 1: than functional. But why would you have decorative spectacles without lenses,

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Speaker 1: I mean, the the the immediate answer that would come

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Speaker 1: to mind as well, if you if you had spectacles

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Speaker 1: on a lot, or you use them and they were

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Speaker 1: part of your identity, then you might want them replicated.

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Speaker 1: In the same way that people who have, like for instance,

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Speaker 1: warned glass eyeglasses for a long time and then have

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Speaker 1: lasic surgery might still keep some glasses with just plain

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Speaker 1: glass as lenses just because that's part of their look.

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Speaker 1: That's possible. I don't think spectacles were really considered part

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Speaker 1: of Henry's look, especially when he was young. Uh, there's

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Speaker 1: another thing they point out that that might be the

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Speaker 1: answer here. Apparently spectacles were an accessory that in the

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Speaker 1: sixteenth century often appeared in renderings of the stock character

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Speaker 1: from from culture at the time known as the food owl.

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Speaker 1: So I guess something kind of like the Shakespearean fool, right,

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Speaker 1: like touchstone and as you like it? Okay, so well.

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Speaker 1: On one hand, this is of course disappointing because it

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Speaker 1: sounds a bit like it's it's essentially like a nerd joke, right,

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Speaker 1: it's like making making fun of the very important individuals

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Speaker 1: at the time who at the time where we're using

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Speaker 1: them to get a lot of work done for the crown,

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Speaker 1: And here you're just gonna turn it around and use

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Speaker 1: it as a goofy trope because glasses look funny. So

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Speaker 1: it's possible that this is just a costume of the fool,

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Speaker 1: in the sense that a lot of times these fest

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Speaker 1: there would be festivals in which the fool is made king. Uh.

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Speaker 1: This is kind of perhaps a play on that. That's possible.

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Speaker 1: Here's another thing in that column. If Henry's helmet was

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Speaker 1: supposed to make him look like a fool. That would

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Speaker 1: also possibly explain the horns. Now, we mentioned in the

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Speaker 1: last episode that horns had appeared on European decorative helmets

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Speaker 1: and times gone by, but by the sixteenth century a

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Speaker 1: human depicted with horns had negative kind of stations, often

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Speaker 1: either demonic connotations or connotations specifically of cuckoldry. And this

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Speaker 1: gets really interesting for a for a brief diversion that

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Speaker 1: really does come back to the helmet. So I was

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Speaker 1: reading an article by a scholar named Una mckilvina, who

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Speaker 1: is a historian at the University of Melbourne, and she

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Speaker 1: argues that there was something of a popular obsession in

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Speaker 1: the early modern period with cuckoldry, this bizarre paranoia pulsing

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Speaker 1: through European culture during the Renaissance about wives cheating on

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Speaker 1: their husbands. And it shouldn't come as any surprise given

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Speaker 1: the sexual politics of the time, right, Yeah, So obviously

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Speaker 1: there's a lot of paternalism and misogyny rolled up into this.

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Speaker 1: There was this idea that women were more lustful than

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Speaker 1: men and less rational, less in control of their actions,

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Speaker 1: and that they could lose control of their behavior and

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Speaker 1: commit scandalous acts of infidelity, and as a res old,

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Speaker 1: a married man, by a virtue of being married to

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Speaker 1: a woman, was constantly at risk of being humiliated by

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Speaker 1: her cheating on him. Uh and this state of humiliation

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Speaker 1: was expressed through the imagery of invisible horns on the head.

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Speaker 1: This imagery shows up in Shakespeare in several different ways.

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Speaker 1: For example, in Much Ado about Nothing, there's a character

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Speaker 1: named Benedict who's being cynical about marriage, and Benedict says, basically, hey,

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Speaker 1: if I ever get married, I might as well quote

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Speaker 1: pluck off the bulls horns and set them in my forehead.

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Speaker 1: The ideas that he's like, what's the point. As soon

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Speaker 1: as you get married, a woman will cheat on you,

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Speaker 1: and then you'll have these horns. Now, it's not known

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Speaker 1: exactly where this link between horn imagery and sexual humiliation

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Speaker 1: comes from, but there are several theories. She mentions a few.

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Speaker 1: Some have to do with various types of castrated domestic animals,

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Speaker 1: such as the ox, which has horns, of course, or

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Speaker 1: the capon, which is a castrated male chicken. It was

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Speaker 1: once common, apparently to ingraft the spurs from the legs

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Speaker 1: of a capon into its comb so that it could

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Speaker 1: be told apart from the other roosters. And maybe this

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Speaker 1: had something to do with it. But we don't know

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Speaker 1: for sure where this imagery comes from. But here we

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Speaker 1: tie it back in with the spectacles because apparently during

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Speaker 1: the early modern period there were also popular associations between

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Speaker 1: cuckoldry imagery and the stock character of the fool. So

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Speaker 1: sometimes the fool might have been depicted with spectacles. Other

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Speaker 1: times the fool might have been depicted with horns. Okay,

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Speaker 1: so so it all again could be part of just

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Speaker 1: sort of the the trope cartoon character of the day

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Speaker 1: for the fool possibly. So, I mean, it just makes

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Speaker 1: me wonder, like, Maximilian, what are you trying to say

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Speaker 1: with this gift? Man? Yeah, it's it sounds like either

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Speaker 1: just h it really depends on to what extent you

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Speaker 1: get Henry's sense of humor, because this is this would

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Speaker 1: be kind of a dangerous gift to give a key

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Speaker 1: unless you knew he was really into this, right, Yeah,

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Speaker 1: And I want to be clear that I don't mean

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Speaker 1: to suggest that the Holy Roman Emperor Maximilian the First

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Speaker 1: was insinuating anything about Henry's marriage to Catherine of Aragon

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Speaker 1: at the time or anything like that. But it is

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Speaker 1: interesting that this elaborate gift helmet includes elements that exist

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Speaker 1: in this nexus of association with the character of the fool.

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Speaker 1: So yeah, it must suggest either I don't know, he's

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Speaker 1: that he thinks maybe Henry is going to have a

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Speaker 1: good sense of humor and will dress up in Fool's

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Speaker 1: armor for ceremonial occasions. I don't know. There is also

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Speaker 1: it really stinks of luxury to to have a helmet

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Speaker 1: like this, and helmets, says we've discussed in the previous episode.

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Speaker 1: You know, these are they're well crafted, um implements of

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Speaker 1: of battle like these are expensive items and to have

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Speaker 1: one that, for many reasons is is nonfunctional and could

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Speaker 1: even be something that would never be worn because it's

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Speaker 1: something of a but you know, perhaps like a white

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Speaker 1: elephant gift, you know. So maybe that that's part of

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Speaker 1: the the appeal of this helmet as well. I'm wondering

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Speaker 1: if it was kind of the horsehead mask of the

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Speaker 1: early undreds, oh man. So yeah, if they if they

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Speaker 1: could do selfies like this would be a helmet you'd

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Speaker 1: wear for your selfie. Now, speaking of Goofy helmets from

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Speaker 1: the medieval period. Specifically um one that I think a

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Speaker 1: lot of us have seen many times and it's always

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Speaker 1: kind of puzzles you on some reason is the hound

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Speaker 1: skull helmet, which comes from the German uns google or

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Speaker 1: or a hound's hood or sometimes translated as pig faced helmet.

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Speaker 1: So it's not quite a horn, but this helmet has

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Speaker 1: something that looks like a snout on the front of it, um,

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Speaker 1: you know, like the snout of say a indeed, a

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Speaker 1: hound or a pig. It has a very be steel

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Speaker 1: look to it. Uh and it even so it has

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Speaker 1: a very transformative nature to it. You see these nights

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Speaker 1: uh uh in depictions of nights dressed in this armor,

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Speaker 1: and they look kind of like Eastman, right. And this

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Speaker 1: is a common theme that we talked about in the

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Speaker 1: last episode, the zoom morphic mask or the theory anthropic mask,

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Speaker 1: the one that suggests transformation into an animal or having

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Speaker 1: some kind of animal characteristics, right. And and so this

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Speaker 1: style of armor also looks very goofy. It gets it

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Speaker 1: has kind of a spy versus spy feel, you know,

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Speaker 1: with like the pointed nose, very cartoony. So it raises

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Speaker 1: the question why do we see this design? Indeed, why

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Speaker 1: was this an extremely popular um form of the design?

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Speaker 1: This is not something where you just saw a few

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Speaker 1: examples of you know, relegated to the the you know,

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Speaker 1: the fancy affairs of a king. No, this was this

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Speaker 1: was a legit battle armor, and it was it was

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Speaker 1: a pretty widespread um uh throughout medieval Europe. Um. Let

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Speaker 1: me guess it was a beak for pecking the enemy.

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Speaker 1: It does kind of look like it looks kind of

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Speaker 1: you know, offensive in that regard, but it turns out

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Speaker 1: it did have two key purposes. So, first of all,

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Speaker 1: breathing is always uh an issue in a helmet like this.

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Speaker 1: You know, you put some sort of big metal contraption

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Speaker 1: over your head, Well, you still need to see out

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Speaker 1: of it, and you still need to breathe. Well, if

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Speaker 1: you just have a like a flat face mask in

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Speaker 1: front of you, there are only so many holes, so

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Speaker 1: many um events you can put in that thing to

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Speaker 1: allow you to breathe. But if it is elongated like this, uh,

359
00:20:22,400 --> 00:20:25,679
Speaker 1: then that allows for even more breathing holes. So it

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Speaker 1: depends on what example you pull up. Sometimes you pull

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Speaker 1: put you find an example of of this helmet and

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Speaker 1: it doesn't look like they're really that many they're not

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Speaker 1: really taking advantage of this feature, but others have a

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Speaker 1: lot of holes in the miss Essentially it's almost like

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Speaker 1: a whiffleball. But perhaps the more important aspect of this

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Speaker 1: design was that its shape would deflect blows to the face.

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Speaker 1: So if your face is shaped like a cone, it

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Speaker 1: is going to be harder for the enemy to land

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Speaker 1: a spear or a sword in such a way that

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Speaker 1: it's going to, you know, just through and cut your

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Speaker 1: face in half. Yeah, I see that. It's gotta it's

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Speaker 1: got a natural perrying formation. Yeah, so it and I

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Speaker 1: have to say it does also look kind of creepy

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Speaker 1: into humanizing and while also being kind of goofy uh.

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Speaker 1: You know. You also see lower slits in some of

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Speaker 1: these helmets, so they'll be like the upper is slip

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00:21:17,840 --> 00:21:19,960
Speaker 1: like clearly for for for viewing, and then there's a

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Speaker 1: lower slit that kind of looks like a mouth. And

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Speaker 1: I was reading about this in History of Armor eleven

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Speaker 1: hundred through seventeen hundred by PAULA. F. Walker, and the

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Speaker 1: author points out that most of these lower slits were

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Speaker 1: probably intended to allow the night to look down, which

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Speaker 1: makes us again, think of the the movement limitations and

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Speaker 1: the vision limitations in a helmet like this, How are

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00:21:41,600 --> 00:21:44,200
Speaker 1: you going to see what's going on below, you say,

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Speaker 1: in your lap on the horse or whatnot. Um you

387
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Speaker 1: know you're you gonna do a full body movement to

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Speaker 1: look down or do you need essentially lower windows in

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Speaker 1: your head cage so that you can see what's going

390
00:21:55,240 --> 00:21:58,040
Speaker 1: on down there? I see. Now, we talked about this

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Speaker 1: in the last episode. To the idea that and you're

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Speaker 1: designing armor and especially helmets, you're often that, uh, you're

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Speaker 1: working with trade offs, right, you know, you've got the

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00:22:06,320 --> 00:22:10,120
Speaker 1: level of protection versus what kind of limitations come along

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Speaker 1: with that protection. Sometimes it might be limitations and mobility,

396
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Speaker 1: especially for types of armor on the body, but with

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Speaker 1: helmets and armor on the head, you're gonna have limitations

398
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Speaker 1: to the senses. That's right. So apparently this is a

399
00:22:22,280 --> 00:22:26,320
Speaker 1: pretty successful design though. Um Walker writes that the style

400
00:22:26,560 --> 00:22:30,800
Speaker 1: here became universally used across Europe during the fourteenth century

401
00:22:31,200 --> 00:22:33,320
Speaker 1: and a lot of those were lost. But if you

402
00:22:33,400 --> 00:22:35,240
Speaker 1: survive today, so if you do a little bit of

403
00:22:35,280 --> 00:22:40,240
Speaker 1: image searching around online for a hound skulls or or huns,

404
00:22:40,280 --> 00:22:44,159
Speaker 1: google helmets, you'll find some really interesting examples. All right, well,

405
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Speaker 1: I guess we need to take a quick break, but

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Speaker 1: we'll be right back with more. Thank thank Alright, we're back.

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Speaker 1: So in the previous episode, we we mentioned the helm

408
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Speaker 1: of the samurai in passing, but there's just way too

409
00:22:58,040 --> 00:23:01,400
Speaker 1: much beauty and complexity in the Samurai tradition to leave

410
00:23:01,440 --> 00:23:03,240
Speaker 1: it at that. So I want I wanted to go

411
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Speaker 1: into it a bit more and a bit more detail

412
00:23:05,880 --> 00:23:08,800
Speaker 1: on what we're really looking at. When we behold examples

413
00:23:09,040 --> 00:23:13,520
Speaker 1: of Samurai armor, especially Samurai helms, which have to rank

414
00:23:13,840 --> 00:23:18,520
Speaker 1: among the most elegant military helmets ever created. Some of

415
00:23:18,520 --> 00:23:21,520
Speaker 1: them are so beautiful and looks so delicate I would

416
00:23:21,560 --> 00:23:25,080
Speaker 1: be afraid to touch them. Yes, yeah, that, and and

417
00:23:25,119 --> 00:23:29,000
Speaker 1: really they they're an art unto themselves. That also makes

418
00:23:29,160 --> 00:23:32,040
Speaker 1: searching up examples of it kind of difficult because people

419
00:23:32,040 --> 00:23:36,560
Speaker 1: continue to create riffs on Samurai armor and Samurai helmets,

420
00:23:36,600 --> 00:23:39,600
Speaker 1: and at times it it becomes a challenge to figure out, Okay,

421
00:23:39,640 --> 00:23:42,480
Speaker 1: am I looking at an actual military helmet? Am I

422
00:23:42,520 --> 00:23:44,800
Speaker 1: looking at this kind of showy military helmet. There's more

423
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Speaker 1: or less in line with the sort of fancy dress

424
00:23:47,240 --> 00:23:50,160
Speaker 1: helmets you know, a status symbol or am I looking

425
00:23:50,200 --> 00:23:52,840
Speaker 1: at something more recent, something that is a uh, you know,

426
00:23:53,240 --> 00:23:58,160
Speaker 1: a purely modern artistic flourish that is playing on samurai identity. Um,

427
00:23:58,200 --> 00:24:01,280
Speaker 1: it's there's a there's a whole world of design here.

428
00:24:02,119 --> 00:24:04,399
Speaker 1: But to go back to sort of the beginning, you

429
00:24:04,400 --> 00:24:07,720
Speaker 1: know what, what is a samurai? Just to refresh everybody,

430
00:24:07,760 --> 00:24:11,639
Speaker 1: This was the Japanese warrior class, which originally denoted the

431
00:24:11,960 --> 00:24:16,200
Speaker 1: bushy or aristocratic warriors, but eventually referred to all members

432
00:24:16,240 --> 00:24:18,600
Speaker 1: of the warrior class. They came to power in the

433
00:24:18,600 --> 00:24:22,600
Speaker 1: twelfth century and they held power till the Meiji restoration

434
00:24:22,720 --> 00:24:27,359
Speaker 1: in eighteen sixty eight. They grew out of the Kamakura period,

435
00:24:27,400 --> 00:24:31,119
Speaker 1: which would have been eleven ninety two through UH thirteen

436
00:24:31,160 --> 00:24:35,320
Speaker 1: thirty three, taking the pre existing refinement of the Imperial

437
00:24:35,359 --> 00:24:38,919
Speaker 1: court and transforming it through a unique mix of military skill,

438
00:24:39,359 --> 00:24:43,080
Speaker 1: warrior ethos, and stoicism. So you have elements of Zen, Buddhism,

439
00:24:43,320 --> 00:24:47,600
Speaker 1: Confucian thought, fill the old Pity and Shinto mixed together

440
00:24:47,760 --> 00:24:51,040
Speaker 1: into this uh, this code of the Bushido, which by

441
00:24:51,080 --> 00:24:54,760
Speaker 1: the nineteenth century also became just an ethical blueprint for

442
00:24:54,960 --> 00:24:57,800
Speaker 1: Japanese society itself. Now that's not to say that the

443
00:24:57,840 --> 00:25:00,560
Speaker 1: details of bushido were set in stone, as it did

444
00:25:00,640 --> 00:25:04,119
Speaker 1: drift depending on external influences such as the influence of

445
00:25:04,160 --> 00:25:08,680
Speaker 1: the aforementioned uh um, you know, outside philosophies. So the

446
00:25:08,720 --> 00:25:12,200
Speaker 1: samurai were loyal to specific feudal lords to an all

447
00:25:12,280 --> 00:25:16,200
Speaker 1: consuming degree. The warriors honor purpose in life, we're all

448
00:25:16,359 --> 00:25:20,720
Speaker 1: bound to these individuals. So, of course there's this long

449
00:25:20,760 --> 00:25:23,359
Speaker 1: history of Samurai armor, and its story is one of

450
00:25:23,440 --> 00:25:28,200
Speaker 1: just design evolution, continual tinkering, artistic embellishments, and at times

451
00:25:28,280 --> 00:25:31,320
Speaker 1: archaic revival. Uh when you basically see all of these

452
00:25:31,320 --> 00:25:34,119
Speaker 1: and other armor armor traditions as well. But some of

453
00:25:34,119 --> 00:25:38,080
Speaker 1: the earliest examples can be examined in terra coda figurines

454
00:25:38,119 --> 00:25:42,720
Speaker 1: and grave goods from the Tumulus period from CE two

455
00:25:42,800 --> 00:25:46,520
Speaker 1: fifty through five two, which shows us this uh uh,

456
00:25:46,720 --> 00:25:49,439
Speaker 1: the scaled armor that is we've just touched on this

457
00:25:49,480 --> 00:25:52,679
Speaker 1: briefly in the previous episode that is predominantly Chinese in

458
00:25:52,720 --> 00:25:57,000
Speaker 1: its design, but with few purely Japanese flourishes those would

459
00:25:57,080 --> 00:26:00,760
Speaker 1: follow uh. This was this is according to Samurai and

460
00:26:00,800 --> 00:26:05,200
Speaker 1: Illustrated History UH by Mitsuo Curi. Now, Curry points out

461
00:26:05,280 --> 00:26:09,800
Speaker 1: that this armor style resembles Chinese tongue and song style

462
00:26:10,320 --> 00:26:13,800
Speaker 1: lamelar armors. And that whether the Japanese ruling class of

463
00:26:13,800 --> 00:26:17,399
Speaker 1: the day, you know, originally migrated from Northern Asia, or

464
00:26:17,440 --> 00:26:21,920
Speaker 1: if native Japanese borrowed or imported foreign fighting techniques and technologies,

465
00:26:23,000 --> 00:26:26,000
Speaker 1: whichever it may be, it's still a controversial question. But

466
00:26:26,119 --> 00:26:29,800
Speaker 1: the films would have been either peaked or beaked, according

467
00:26:29,800 --> 00:26:32,800
Speaker 1: to Curry, now explain to me the difference there. So

468
00:26:33,000 --> 00:26:35,520
Speaker 1: basically there's gonna be either it's gonna gonna be kind

469
00:26:35,520 --> 00:26:37,119
Speaker 1: of almost like a cone at the top, you know,

470
00:26:37,520 --> 00:26:39,960
Speaker 1: or it's going to come out almost like the bill

471
00:26:39,960 --> 00:26:43,040
Speaker 1: of a cap. Okay that makes sense, Yeah, which you know,

472
00:26:43,600 --> 00:26:46,200
Speaker 1: not just I guess it would also protect your eyes

473
00:26:46,200 --> 00:26:48,320
Speaker 1: from the sun, but also it would help shield your

474
00:26:48,320 --> 00:26:51,760
Speaker 1: face from blows. But this is just essentially the beginning. Uh.

475
00:26:51,840 --> 00:26:53,960
Speaker 1: Curry's book is an excellent read if you want an

476
00:26:53,960 --> 00:26:56,600
Speaker 1: in depth history of the various styles of Samurai armor.

477
00:26:56,840 --> 00:27:00,639
Speaker 1: And indeed there are so many fascinating addition and add

478
00:27:00,680 --> 00:27:03,480
Speaker 1: ons that end up making up this armor. Again, there's

479
00:27:03,520 --> 00:27:07,879
Speaker 1: just continuous evolution. Uh. And and also given the modular

480
00:27:08,000 --> 00:27:11,720
Speaker 1: aspects of a lot of armor, traditions, but especially Samurai armor.

481
00:27:12,000 --> 00:27:14,159
Speaker 1: It gets even more intricate because you'll see like the

482
00:27:14,200 --> 00:27:16,600
Speaker 1: addition of a of a of a net guard here,

483
00:27:16,680 --> 00:27:20,280
Speaker 1: the refinement of cheek guards over here and then, and

484
00:27:20,320 --> 00:27:24,080
Speaker 1: also the evolution of just like the purely artistic aspects

485
00:27:24,119 --> 00:27:27,720
Speaker 1: of it. But as far as the helmet itself goes, uh,

486
00:27:27,760 --> 00:27:30,440
Speaker 1: here are a few interesting facts that that curry gets into.

487
00:27:31,119 --> 00:27:33,919
Speaker 1: So first of all, the top of the helmet bowl

488
00:27:34,160 --> 00:27:38,320
Speaker 1: features a small four centimeter hole called a hotchi manza

489
00:27:38,680 --> 00:27:41,199
Speaker 1: that apparently had a dual purpose. So first of all,

490
00:27:41,240 --> 00:27:45,120
Speaker 1: it provided provided ventilation, helping you breathe a little better

491
00:27:45,119 --> 00:27:48,359
Speaker 1: in the in the helmet um, but it also allowed

492
00:27:48,400 --> 00:27:51,640
Speaker 1: the warriors top knot hairstyle to be drawn up through it.

493
00:27:52,280 --> 00:27:55,320
Speaker 1: And what's interesting here is that this helps steady the helmet.

494
00:27:55,800 --> 00:27:59,120
Speaker 1: Uhar helmets had no inside liner and they were only

495
00:27:59,200 --> 00:28:01,760
Speaker 1: fixed to the head by the chin cord and the

496
00:28:01,800 --> 00:28:06,360
Speaker 1: top knot. I have never heard before of your actual

497
00:28:06,560 --> 00:28:10,919
Speaker 1: organic hair being used to secure a helmet in place,

498
00:28:11,000 --> 00:28:14,320
Speaker 1: but that is a brilliant idea. Yeah, as long as

499
00:28:14,440 --> 00:28:18,399
Speaker 1: the hairstyle matches up with that, Because apparently during the

500
00:28:18,440 --> 00:28:22,280
Speaker 1: thirteenth and fourteenth centuries, hairstyles change toward a looser style,

501
00:28:22,680 --> 00:28:25,040
Speaker 1: and there was growing concern as well that the holes

502
00:28:25,119 --> 00:28:28,320
Speaker 1: now only benefit of ventilation was overshadowed by the fact

503
00:28:28,320 --> 00:28:31,159
Speaker 1: that it provided a weak point for arrows when the

504
00:28:31,200 --> 00:28:34,880
Speaker 1: warrior charged head down at adversaries. So by the fifteenth

505
00:28:34,880 --> 00:28:38,200
Speaker 1: century it goes away as an actual whole, but you

506
00:28:38,240 --> 00:28:42,280
Speaker 1: still retain an exterior decorative flourish that it tests to

507
00:28:42,360 --> 00:28:46,760
Speaker 1: its previous existence. Uh, kind of a decorative groment um.

508
00:28:46,840 --> 00:28:49,920
Speaker 1: Because also it had other ideas. Other ideas were bound

509
00:28:49,960 --> 00:28:51,640
Speaker 1: up in it as well. There's this notion that the

510
00:28:51,640 --> 00:28:54,840
Speaker 1: whole allowed the ninety eight thousand gods of war to

511
00:28:55,040 --> 00:28:57,680
Speaker 1: enter into the warrior, and in fact, the fact that

512
00:28:57,720 --> 00:29:00,560
Speaker 1: the name Hatchi Manza apparently comes from the name hat Chiman,

513
00:29:00,680 --> 00:29:03,520
Speaker 1: which was a patron god of war, a Shinto god

514
00:29:03,560 --> 00:29:06,760
Speaker 1: who embraced Buddhism. I was reading about this um, or

515
00:29:06,840 --> 00:29:11,400
Speaker 1: actually I was listening to Anthony Cummins, an author and

516
00:29:11,440 --> 00:29:15,200
Speaker 1: translator on Samurai arms, armor and the tactics of warfare,

517
00:29:15,440 --> 00:29:19,080
Speaker 1: who also host a series of informative videos on YouTube

518
00:29:19,120 --> 00:29:21,920
Speaker 1: about the topic. So by designing the helmet this way,

519
00:29:21,960 --> 00:29:24,400
Speaker 1: the idea was that the gods of war could sort

520
00:29:24,440 --> 00:29:27,960
Speaker 1: of enter into the warrior and inhabit them and give

521
00:29:28,000 --> 00:29:31,200
Speaker 1: them strength and battle or guide their actions. Yeah, or

522
00:29:31,200 --> 00:29:35,640
Speaker 1: at least that was sort of the the philosophical ideas

523
00:29:35,680 --> 00:29:38,080
Speaker 1: that were attached to this whole, though it seems like

524
00:29:38,080 --> 00:29:41,000
Speaker 1: it was mostly for the hair, and certainly when you

525
00:29:41,160 --> 00:29:44,040
Speaker 1: begome become concerned that that it's going to be a

526
00:29:44,040 --> 00:29:47,080
Speaker 1: hole through which arrows will enter the warrior. It seems

527
00:29:47,120 --> 00:29:49,360
Speaker 1: like everyone's was it was pretty much on board with

528
00:29:49,400 --> 00:29:52,560
Speaker 1: the idea of sealing it up with something that's interesting.

529
00:29:52,600 --> 00:29:54,840
Speaker 1: I mean it makes you think about all these different

530
00:29:54,880 --> 00:29:58,520
Speaker 1: aspects of inventions that dwell for a long time in culture,

531
00:29:58,920 --> 00:30:00,680
Speaker 1: where they might have a rich and only had a

532
00:30:00,800 --> 00:30:04,719
Speaker 1: functional purpose, but then over time is the functional purpose

533
00:30:04,800 --> 00:30:08,040
Speaker 1: goes away. I wonder if people are more inclined to

534
00:30:08,120 --> 00:30:12,680
Speaker 1: read religious or cultural significance into that that element of

535
00:30:12,720 --> 00:30:15,160
Speaker 1: the invention. Yeah, I mean, it's one of the things

536
00:30:15,240 --> 00:30:18,080
Speaker 1: people do is we brood over our objects. We attached

537
00:30:18,240 --> 00:30:20,720
Speaker 1: an assign meaning to the things that we create and

538
00:30:20,720 --> 00:30:24,840
Speaker 1: the details of it, and sometimes those those are the

539
00:30:24,840 --> 00:30:27,200
Speaker 1: things that live on well past the functionality of a

540
00:30:27,200 --> 00:30:30,400
Speaker 1: particular element of the design. It makes me think of

541
00:30:30,440 --> 00:30:33,520
Speaker 1: like church bells, for instance, that were once functional and

542
00:30:33,600 --> 00:30:36,880
Speaker 1: signaling times of day for for worship or just for

543
00:30:36,960 --> 00:30:40,000
Speaker 1: time keeping in a locality, and then over time just

544
00:30:40,280 --> 00:30:42,840
Speaker 1: came to mean more. It is just something that is

545
00:30:42,880 --> 00:30:45,040
Speaker 1: part of what a church is, even though it's not.

546
00:30:45,240 --> 00:30:49,160
Speaker 1: Everybody's got a clock now. Yeah, shutters on houses another example.

547
00:30:49,240 --> 00:30:52,920
Speaker 1: You know, how often do you see shutters actually closed

548
00:30:52,920 --> 00:30:54,800
Speaker 1: on windows unless you're dealing with say like a beach

549
00:30:54,800 --> 00:30:57,200
Speaker 1: house or something. A lot of times you'll see examples

550
00:30:57,200 --> 00:30:59,880
Speaker 1: of this where the shutters either are never used or

551
00:31:00,240 --> 00:31:02,800
Speaker 1: even be incapable of being used. It could be a

552
00:31:02,840 --> 00:31:06,560
Speaker 1: purely decorative flourish. Yeah, it's interesting. So the main bowl

553
00:31:06,600 --> 00:31:09,920
Speaker 1: of the helmet or kabuto here was was the hatchie,

554
00:31:10,240 --> 00:31:13,120
Speaker 1: and you have the plated neck guard with this was

555
00:31:13,200 --> 00:31:16,720
Speaker 1: the shikorro, which is made of overlapping plates, and then

556
00:31:16,800 --> 00:31:19,520
Speaker 1: you have a brim or a visor as well, which

557
00:31:19,520 --> 00:31:22,560
Speaker 1: I kind of mentioned already. But then if you ever

558
00:31:22,560 --> 00:31:25,000
Speaker 1: look at a samurai helmet, you often see these wing

559
00:31:25,080 --> 00:31:29,640
Speaker 1: like or ear like backwards folding flaps, and these were

560
00:31:29,960 --> 00:31:33,200
Speaker 1: these were known as the fuka gaishi, and these were

561
00:31:33,200 --> 00:31:35,840
Speaker 1: the front parts of the neck guard. But they became

562
00:31:35,920 --> 00:31:39,800
Speaker 1: folded back like this to enhance visibility and to prevent

563
00:31:39,880 --> 00:31:42,640
Speaker 1: getting in the way of drawing a bow. So another

564
00:31:42,720 --> 00:31:46,120
Speaker 1: example of the evolution of the helmet being to a

565
00:31:46,160 --> 00:31:50,720
Speaker 1: certain extent aesthetic but also purely functional. And then you

566
00:31:50,760 --> 00:31:53,000
Speaker 1: have the sunamoto and this is the This is in

567
00:31:53,000 --> 00:31:55,760
Speaker 1: the front. It's a mounting point on the front of

568
00:31:55,760 --> 00:31:58,560
Speaker 1: the helmet and where you might have horns or antlers

569
00:31:58,640 --> 00:32:02,560
Speaker 1: or a flower motif or something like that. That added. Now,

570
00:32:02,800 --> 00:32:04,520
Speaker 1: something else that you see with a lot of these

571
00:32:04,560 --> 00:32:07,000
Speaker 1: helmets is that they don't just cover the top and

572
00:32:07,120 --> 00:32:09,200
Speaker 1: sides of the head, but they, like a lot of

573
00:32:09,200 --> 00:32:11,040
Speaker 1: the other helmets we've been talking about today, have a

574
00:32:11,040 --> 00:32:13,440
Speaker 1: face mask. Yeah. And this is often one of the

575
00:32:13,480 --> 00:32:16,959
Speaker 1: most you know, arresting aspects of the samurai helmet and

576
00:32:17,000 --> 00:32:21,280
Speaker 1: one that clearly resonates, uh in our fiction around the world.

577
00:32:21,320 --> 00:32:23,640
Speaker 1: I mean, you look at, say, the Darth Vader's helmet,

578
00:32:24,040 --> 00:32:27,280
Speaker 1: and there is a strong samurai element in its design.

579
00:32:27,800 --> 00:32:29,840
Speaker 1: Oh was it? Do you know if it was directly

580
00:32:29,880 --> 00:32:32,760
Speaker 1: inspired by samurai helmets? Uh? Well, I was. I looked

581
00:32:32,760 --> 00:32:34,600
Speaker 1: this up the other day and it seems like that

582
00:32:34,640 --> 00:32:37,520
Speaker 1: has been cited as one of the influences, though there

583
00:32:37,560 --> 00:32:40,720
Speaker 1: are a couple others, like there's some old sci fi

584
00:32:40,840 --> 00:32:43,480
Speaker 1: cereal with a helmeted bad guy that may have played

585
00:32:43,480 --> 00:32:46,680
Speaker 1: a role. Uh you know. Some others have pointed to

586
00:32:46,760 --> 00:32:49,720
Speaker 1: Dr Doom as another likely influenced, but it seems like

587
00:32:49,720 --> 00:32:52,240
Speaker 1: the samurai aesthetic was part of the influence for sure.

588
00:32:52,520 --> 00:32:55,120
Speaker 1: I do think George Lucas was was a fan of

589
00:32:55,200 --> 00:32:59,360
Speaker 1: Japanese cinema, wasn't he Like, Oh yeah, definitely, He's definitely

590
00:32:59,400 --> 00:33:03,120
Speaker 1: cited Curasawa is an influence for sure. So so yeah,

591
00:33:03,120 --> 00:33:05,080
Speaker 1: I think when you see Darth Vader, you're you're definitely

592
00:33:05,080 --> 00:33:09,360
Speaker 1: seeing some samurai influence there. Now on the samurai helmets,

593
00:33:09,400 --> 00:33:13,000
Speaker 1: of course, they these these masks often take on the

594
00:33:13,040 --> 00:33:17,200
Speaker 1: likeness of a human face, though often with very aggressive flourishes. Also,

595
00:33:17,280 --> 00:33:20,680
Speaker 1: you'll frequently find mustaches that have been added a lot

596
00:33:20,680 --> 00:33:22,720
Speaker 1: of times. They're kind of like you know, brush base.

597
00:33:22,800 --> 00:33:25,880
Speaker 1: They're they're they're were made with horse hair or something,

598
00:33:26,360 --> 00:33:29,160
Speaker 1: so there they actually have a brustlely aspect to them.

599
00:33:29,400 --> 00:33:31,800
Speaker 1: Oh man, that's so much better than the metal mustache

600
00:33:31,800 --> 00:33:36,000
Speaker 1: of Sutton Who and all these others. Yeah. Now, one

601
00:33:36,080 --> 00:33:38,560
Speaker 1: one thing to note about the face mask of the

602
00:33:38,560 --> 00:33:43,480
Speaker 1: samurai is there are actually several different varieties. So there's

603
00:33:43,560 --> 00:33:46,400
Speaker 1: the the hapuri, which Cury writes date back to the

604
00:33:46,480 --> 00:33:50,200
Speaker 1: Hayon period of seven to eleven eighty five, and they

605
00:33:50,240 --> 00:33:52,840
Speaker 1: covered the foreheads and the cheeks and a kind of

606
00:33:52,960 --> 00:33:55,640
Speaker 1: upside down you shape. You don't see that as much

607
00:33:55,680 --> 00:33:57,080
Speaker 1: when you just get you know, look for sort of

608
00:33:57,120 --> 00:34:02,960
Speaker 1: stereotypical uh samurai armor. Far more prevalent in just standard

609
00:34:03,160 --> 00:34:07,120
Speaker 1: samurai iconography is the partial face mask or menpo, which

610
00:34:07,160 --> 00:34:10,200
Speaker 1: emerged in the fourteenth or fifteen centuries to provide protective

611
00:34:10,239 --> 00:34:13,759
Speaker 1: coverage for the lower face that was apparently lost by

612
00:34:13,760 --> 00:34:16,360
Speaker 1: some of the design trends that were affecting other aspects

613
00:34:16,360 --> 00:34:19,040
Speaker 1: of the helmet. So this would have covered like basically

614
00:34:19,080 --> 00:34:22,440
Speaker 1: from the eyes uh down to the chin, and sometimes

615
00:34:22,440 --> 00:34:25,960
Speaker 1: there's a scaled net guard hanging below this. Another variety

616
00:34:26,120 --> 00:34:28,400
Speaker 1: was the the hen bow, which covered the nose to

617
00:34:28,560 --> 00:34:31,000
Speaker 1: chin area as well, but not the cheeks. Now, you

618
00:34:31,080 --> 00:34:34,680
Speaker 1: also see examples of the sulman, which covered the entire face,

619
00:34:35,080 --> 00:34:37,719
Speaker 1: and some of the examples of this are very uh

620
00:34:37,760 --> 00:34:40,600
Speaker 1: beautiful as well, But apparently this was not a popular

621
00:34:40,680 --> 00:34:44,719
Speaker 1: choice as it was said to be uncomfortable to wear. Uh,

622
00:34:44,760 --> 00:34:47,759
Speaker 1: So I guess, you know, just more constricting of your

623
00:34:47,840 --> 00:34:52,640
Speaker 1: face and perhaps limiting your your your senses a bit. Now,

624
00:34:52,680 --> 00:34:54,640
Speaker 1: the overall look and feel of the helmet was was

625
00:34:54,680 --> 00:34:57,839
Speaker 1: sometimes crafted to represent something about the warrior's character, such

626
00:34:57,880 --> 00:35:01,360
Speaker 1: as through an animal motif, and samurai tended to like

627
00:35:01,440 --> 00:35:07,120
Speaker 1: to stand out from the crowd. Um. In the book Samurai,

628
00:35:08,320 --> 00:35:12,040
Speaker 1: author Anthony J. Bryant points out that for early samurai,

629
00:35:12,320 --> 00:35:16,440
Speaker 1: crests were a privilege of rank. Uh. These date mono

630
00:35:16,560 --> 00:35:19,000
Speaker 1: were mounted on the front, sometimes on the sides, taking

631
00:35:19,040 --> 00:35:26,239
Speaker 1: the form of dragonflies, butterflies, crescent moons, disks, horns, various emblems, etcetera. Uh.

632
00:35:26,239 --> 00:35:29,040
Speaker 1: And they were mostly made of wood or paper mache,

633
00:35:29,120 --> 00:35:31,960
Speaker 1: even that had been painted and affixed to the helmets,

634
00:35:31,960 --> 00:35:33,759
Speaker 1: which I think is interesting because you're getting into this

635
00:35:33,800 --> 00:35:37,080
Speaker 1: area where okay, there's the purely functional aspects of the

636
00:35:37,080 --> 00:35:39,560
Speaker 1: helmet that are going to be made of more durable material.

637
00:35:39,880 --> 00:35:42,800
Speaker 1: But indeed, if you're gonna have some sort of uh,

638
00:35:42,840 --> 00:35:45,320
Speaker 1: you know, flourish affixed to the top of your helmet,

639
00:35:46,200 --> 00:35:48,440
Speaker 1: it makes more sense really that you would have it

640
00:35:48,600 --> 00:35:51,160
Speaker 1: constructed of paper mache or wood or something and not

641
00:35:51,280 --> 00:35:54,240
Speaker 1: be a physical part of the helmet that would again,

642
00:35:54,320 --> 00:35:56,600
Speaker 1: you know, send your your helmet flying or twist your

643
00:35:56,600 --> 00:35:59,359
Speaker 1: neck around if it were to catch a stray sword blow.

644
00:35:59,800 --> 00:36:03,839
Speaker 1: I yeah, that's extremely smart. Actually, paper mache adornments could

645
00:36:03,840 --> 00:36:06,799
Speaker 1: be They can still be seen, they can convey the

646
00:36:06,840 --> 00:36:10,200
Speaker 1: same symbolism, but they can't become a lever. Yeah, just

647
00:36:10,320 --> 00:36:13,080
Speaker 1: rip right off. Yeah, So it seems like that that

648
00:36:13,120 --> 00:36:16,160
Speaker 1: would be a key advantage here now in terms of

649
00:36:17,120 --> 00:36:20,799
Speaker 1: this sort of tug of war between aesthetics and uh

650
00:36:20,840 --> 00:36:25,120
Speaker 1: and and just utilitarian purpose. Uh, you certainly see things

651
00:36:25,120 --> 00:36:29,000
Speaker 1: perhaps going more in the direction of of just aesthetics.

652
00:36:29,160 --> 00:36:32,360
Speaker 1: When you consider the kawari kabuto or the changed helmets

653
00:36:32,440 --> 00:36:36,560
Speaker 1: or in usual helmets, and these are the more elaborate

654
00:36:36,640 --> 00:36:39,799
Speaker 1: examples of samurai helmets you'll you'll come across, and some

655
00:36:39,920 --> 00:36:43,000
Speaker 1: of the most beautiful, uh they were. They were expensive,

656
00:36:43,040 --> 00:36:45,800
Speaker 1: so only the wealthy were able to have them unless

657
00:36:45,840 --> 00:36:49,200
Speaker 1: they claimed them on the battlefield from a falling samurai.

658
00:36:49,239 --> 00:36:52,480
Speaker 1: But these would have been highly decorative helmets with unique

659
00:36:52,560 --> 00:36:56,160
Speaker 1: shapes or even the overall likenesses of an animal. So

660
00:36:56,200 --> 00:36:59,440
Speaker 1: instead of there being just this you know, this wooden

661
00:36:59,440 --> 00:37:01,800
Speaker 1: paper mission a flourish added to the front of the helmet,

662
00:37:01,960 --> 00:37:04,720
Speaker 1: like the helmet itself would be transformed like a parade

663
00:37:04,719 --> 00:37:09,240
Speaker 1: float into uh an animal or with any enormous animal

664
00:37:09,280 --> 00:37:11,680
Speaker 1: motif affixed to the top of it. So like the

665
00:37:11,880 --> 00:37:14,600
Speaker 1: entire thing is the body of a of a fish

666
00:37:14,840 --> 00:37:17,440
Speaker 1: or some kind of yokai or something. Yeah, there's a

667
00:37:17,440 --> 00:37:20,400
Speaker 1: pretty great fish based one that I've seen images of,

668
00:37:20,520 --> 00:37:23,400
Speaker 1: and there's also a really beautiful one from the seventeenth

669
00:37:23,440 --> 00:37:28,040
Speaker 1: century that apparently is in the Mets collection. I don't

670
00:37:28,040 --> 00:37:31,399
Speaker 1: think it's currently on display or hasn't been recently, but uh,

671
00:37:31,640 --> 00:37:35,759
Speaker 1: it's beautiful because it looks like this black cresting wave. Uh,

672
00:37:35,800 --> 00:37:39,239
Speaker 1: it's it's just elegant to behold and also kind of

673
00:37:39,239 --> 00:37:42,520
Speaker 1: shiny black. It looks a lot like like the material

674
00:37:42,600 --> 00:37:46,120
Speaker 1: of Darth Vader's helmet. Yes it does. Yeah, this one's

675
00:37:46,239 --> 00:37:49,600
Speaker 1: very Darth vadery and it's almost it's almost got like

676
00:37:49,600 --> 00:37:54,200
Speaker 1: a scorpion's tail aspect curling up at the top. Yeah.

677
00:37:54,320 --> 00:37:56,759
Speaker 1: So there's a there's tons more we could talk about

678
00:37:56,760 --> 00:37:59,520
Speaker 1: with some Samurai helmets and Samurai armor. We've only really

679
00:38:00,160 --> 00:38:02,239
Speaker 1: touched the you know, the tip of the iceberg here

680
00:38:02,520 --> 00:38:05,080
Speaker 1: for an example of just how many very designs you

681
00:38:05,160 --> 00:38:08,040
Speaker 1: come across. I was I was reading Samurai Armor though

682
00:38:08,080 --> 00:38:11,359
Speaker 1: one Tabby Art Museum Samurai Armor Collection Volume one by

683
00:38:11,360 --> 00:38:15,279
Speaker 1: Trevor Absalon and David Thatcher, and they the authors here,

684
00:38:15,360 --> 00:38:19,280
Speaker 1: point out that the kawari kabudah encompasses so many different

685
00:38:19,360 --> 00:38:21,640
Speaker 1: variations that like, for instance, there's this one that they

686
00:38:22,000 --> 00:38:25,239
Speaker 1: pull out. It's a design from the mid late Edo

687
00:38:25,360 --> 00:38:31,080
Speaker 1: period that has this horned helmet, horned samurai helmet. But

688
00:38:31,120 --> 00:38:34,439
Speaker 1: then over it is this hood. So this is hood

689
00:38:34,480 --> 00:38:37,560
Speaker 1: in place, and then the horns are sticking out through

690
00:38:37,560 --> 00:38:40,240
Speaker 1: the fabric of the hood. So that's just another example

691
00:38:40,280 --> 00:38:43,200
Speaker 1: of the rich variety you'll find with these helms. Joke,

692
00:38:43,280 --> 00:38:45,200
Speaker 1: and you pull up an image of this side. I'm

693
00:38:45,239 --> 00:38:48,480
Speaker 1: looking at it right now. This is cult movie material.

694
00:38:48,680 --> 00:38:52,000
Speaker 1: This is so good. So the hood, yes, the hood

695
00:38:52,000 --> 00:38:54,480
Speaker 1: has holes. The horns come through the holes. It's like

696
00:38:54,560 --> 00:38:58,160
Speaker 1: little sleeves for your horns. Uh. So creepy looking. And

697
00:38:58,160 --> 00:39:02,960
Speaker 1: then the face mask it has not just a bristly mustache,

698
00:39:03,280 --> 00:39:07,280
Speaker 1: but a whole briskly beard. Uh. And this is great

699
00:39:07,320 --> 00:39:09,320
Speaker 1: because like if you if you were to try to

700
00:39:09,400 --> 00:39:12,120
Speaker 1: kiss somebody wearing this mask, you would feel the bristles,

701
00:39:13,400 --> 00:39:17,799
Speaker 1: but legitimately creepy and beautiful to sign. Yeah, this is awesome. Alright, Well,

702
00:39:17,840 --> 00:39:19,520
Speaker 1: on that note, we're gonna take one more break. When

703
00:39:19,560 --> 00:39:22,240
Speaker 1: we come back, we're gonna discuss just a few more

704
00:39:22,280 --> 00:39:26,200
Speaker 1: examples of philut design from around the world and throughout history.

705
00:39:27,800 --> 00:39:31,520
Speaker 1: Thank thank thank all Right, we're back now, Robert, I

706
00:39:31,560 --> 00:39:34,280
Speaker 1: know you wanted to mention a bit about pre Columbian

707
00:39:34,320 --> 00:39:37,880
Speaker 1: cultures in meso America and South America. Yeah. I mean,

708
00:39:37,880 --> 00:39:41,040
Speaker 1: we've discussed um the Inca civilization on the show before,

709
00:39:41,120 --> 00:39:44,799
Speaker 1: as well as aspects of Aztec civilization, and especially when

710
00:39:44,800 --> 00:39:48,200
Speaker 1: we're talking about the Inca, we talked about their amazing

711
00:39:48,360 --> 00:39:52,440
Speaker 1: fiber based technologies. Um I believe we talked a lot

712
00:39:52,480 --> 00:39:54,879
Speaker 1: about their use of knots, as well as the use

713
00:39:54,880 --> 00:39:58,600
Speaker 1: of things like elaborate rope bridges. But it also played

714
00:39:58,640 --> 00:40:01,759
Speaker 1: into how they can truct did their body armor and

715
00:40:02,120 --> 00:40:05,760
Speaker 1: their helmets. So the Inca depended on quilted and padded

716
00:40:05,800 --> 00:40:10,200
Speaker 1: cotton tunics for body armor, with wooden plates added in places,

717
00:40:10,280 --> 00:40:14,160
Speaker 1: especially the back, I understand, and likewise their helmets were

718
00:40:14,160 --> 00:40:18,600
Speaker 1: mostly wooden. Apparently, generals or other prestigious individuals might have

719
00:40:18,680 --> 00:40:21,520
Speaker 1: theirs decorated with a little bit of copper as well.

720
00:40:21,960 --> 00:40:24,320
Speaker 1: Now you might wonder like, wait a minute, why would

721
00:40:24,360 --> 00:40:26,759
Speaker 1: wool be all that useful for armor, But I mean

722
00:40:26,960 --> 00:40:30,160
Speaker 1: think about helmets and pads of today that say a

723
00:40:30,160 --> 00:40:32,200
Speaker 1: football player would wear, or that you might wear if

724
00:40:32,239 --> 00:40:34,880
Speaker 1: you're riding a bicycle. These often involve a lot of

725
00:40:34,960 --> 00:40:37,920
Speaker 1: kind of soft padding elements which are quite useful if

726
00:40:37,960 --> 00:40:40,120
Speaker 1: you suddenly get hit on the head or hit somewhere

727
00:40:40,160 --> 00:40:42,319
Speaker 1: in the body. As that you know, they might not

728
00:40:42,400 --> 00:40:45,480
Speaker 1: stop a sword from stabbing you, but they can't slow

729
00:40:45,560 --> 00:40:49,000
Speaker 1: the acceleration or deceleration of impacts, which makes a big

730
00:40:49,000 --> 00:40:52,000
Speaker 1: difference in in protecting your body from injury. Right, so,

731
00:40:52,080 --> 00:40:53,759
Speaker 1: even if you are going to have some sort of

732
00:40:53,840 --> 00:40:57,400
Speaker 1: robust plating on your body, you also want some sort

733
00:40:57,440 --> 00:41:00,399
Speaker 1: of uh, some some sort of material there to help

734
00:41:00,440 --> 00:41:03,560
Speaker 1: absorb the blow as well, because otherwise, yeah, that the

735
00:41:03,600 --> 00:41:06,120
Speaker 1: sword might not break the skin, but the impact of

736
00:41:06,120 --> 00:41:11,480
Speaker 1: the sword might break several bones. So, uh, that's just

737
00:41:11,760 --> 00:41:14,200
Speaker 1: the inca in brief. But also I was looking around

738
00:41:14,200 --> 00:41:17,200
Speaker 1: at the the Aztec. According to Handbook to Life in

739
00:41:17,200 --> 00:41:21,600
Speaker 1: the Aztec World by Manuel uh Aguilar Marino, the Aztecs

740
00:41:21,840 --> 00:41:25,840
Speaker 1: also utilize similar cotton tunic body armor, and war leaders

741
00:41:25,960 --> 00:41:29,920
Speaker 1: would wear feathered tunics over these. So as far as

742
00:41:29,960 --> 00:41:32,480
Speaker 1: their helmets go, the helmets varied. Some were made from

743
00:41:32,520 --> 00:41:35,759
Speaker 1: wood and bone and decorated with feathers. Others were far

744
00:41:35,800 --> 00:41:39,400
Speaker 1: more animalistic, made in the likeness of a wild animal

745
00:41:39,520 --> 00:41:43,359
Speaker 1: of divine significance and associated with different warrior groups such

746
00:41:43,360 --> 00:41:47,319
Speaker 1: as wolves, coyotes, jaguars, and pumas and the And in

747
00:41:47,440 --> 00:41:50,719
Speaker 1: these mass the warrior would gaze out of the animal's

748
00:41:50,800 --> 00:41:54,000
Speaker 1: open mouth, and these were generally supported over a frame

749
00:41:54,040 --> 00:41:56,960
Speaker 1: of wood or quilted cotton. Yeah, and it's worth looking

750
00:41:57,040 --> 00:41:58,840
Speaker 1: up examples of these. A couple of the ones that

751
00:41:58,880 --> 00:42:01,960
Speaker 1: come to my mind are the jaguar warriors and the

752
00:42:02,000 --> 00:42:04,960
Speaker 1: eagle warriors. The jaguars and the eagles were like different

753
00:42:05,000 --> 00:42:09,120
Speaker 1: classes of military combatants in the in the ancient Aztec

754
00:42:09,200 --> 00:42:13,480
Speaker 1: or Mexico culture. Yeah, with a lot of sacred associations

755
00:42:13,520 --> 00:42:16,520
Speaker 1: with these animals. So it wasn't just like, hey, wouldn't

756
00:42:16,520 --> 00:42:18,360
Speaker 1: it be cool if I looked like a jaguar, wouldn't

757
00:42:18,360 --> 00:42:20,520
Speaker 1: I be intimidating like it? It went deeper to that

758
00:42:20,600 --> 00:42:24,920
Speaker 1: and was more entrenched in a in in a sacred

759
00:42:25,000 --> 00:42:29,120
Speaker 1: battle um ethos. But I wanted to to also talk

760
00:42:29,160 --> 00:42:32,680
Speaker 1: about another far flung example of helmet technology, and that

761
00:42:32,840 --> 00:42:36,320
Speaker 1: is the helmet that you would find um uh used

762
00:42:36,360 --> 00:42:40,960
Speaker 1: by the Hawaiian people. Interesting. Yeah, so, you know, I

763
00:42:41,000 --> 00:42:43,080
Speaker 1: do want to stress there's so many different variations in

764
00:42:43,120 --> 00:42:45,480
Speaker 1: warrior helms throughout human history, and there's there's a lot

765
00:42:45,520 --> 00:42:48,839
Speaker 1: of sameness to a certain degree. You see fabric, fiber, leather,

766
00:42:48,920 --> 00:42:51,960
Speaker 1: and hide helms across all cultures. Bone and wood are

767
00:42:51,960 --> 00:42:57,240
Speaker 1: frequently taken up as our metals, as metallurgical advancements and

768
00:42:57,600 --> 00:43:01,320
Speaker 1: um you know, and and also the local environment allow

769
00:43:02,320 --> 00:43:04,480
Speaker 1: but but these are a couple of reasons why it's

770
00:43:04,520 --> 00:43:10,960
Speaker 1: really neat to look at Polynesian technology, and specifically Hawaiian helmets.

771
00:43:11,000 --> 00:43:13,160
Speaker 1: So I would love to come back at some point

772
00:43:13,160 --> 00:43:16,360
Speaker 1: and do a proper look at Polynesian technology, because the

773
00:43:16,480 --> 00:43:20,440
Speaker 1: various cultures at this far flung tip of human expansion

774
00:43:21,520 --> 00:43:24,880
Speaker 1: are and we're really amazing and advanced in ways utterly

775
00:43:24,920 --> 00:43:27,440
Speaker 1: the fitting of their challenges. So here's one of the

776
00:43:27,440 --> 00:43:31,280
Speaker 1: interesting things about about Hawaiian warriors. So, given the complete

777
00:43:31,320 --> 00:43:34,880
Speaker 1: absence of iron on the volcanic islands, the ancient warriors

778
00:43:34,920 --> 00:43:39,920
Speaker 1: of Hawaii were instead masters of wooden spears, slings, wooden forks,

779
00:43:39,960 --> 00:43:43,000
Speaker 1: and daggers. Sometimes they had these two pronged eye daggers

780
00:43:43,640 --> 00:43:46,880
Speaker 1: as well as these unique shark tooth weapons for close

781
00:43:46,960 --> 00:43:49,600
Speaker 1: quarters combat. They kind of looked like in some cases

782
00:43:49,600 --> 00:43:51,520
Speaker 1: they look kind of like paddles or or kind of

783
00:43:51,520 --> 00:43:55,839
Speaker 1: like wooden daggers, but they're lined around the edges with

784
00:43:55,960 --> 00:43:59,960
Speaker 1: the saw blades made of sharks teeth. Uh So they

785
00:44:00,000 --> 00:44:03,160
Speaker 1: if you getting close enough, you know, you can essentially

786
00:44:03,280 --> 00:44:06,600
Speaker 1: you know, gut your enemy or or you know, slice

787
00:44:06,800 --> 00:44:09,799
Speaker 1: a vital part of their anatomy. They also had strangling

788
00:44:09,840 --> 00:44:13,480
Speaker 1: chords that sometimes featured shark teeth as well, and all

789
00:44:13,520 --> 00:44:16,879
Speaker 1: of this would would have been additionally incorporated into specialized

790
00:44:16,920 --> 00:44:21,480
Speaker 1: tactics and specialized martial arts as far as protection goes.

791
00:44:21,840 --> 00:44:25,000
Speaker 1: According to Warrior Arts and Weapons of Ancient Hawaii by

792
00:44:25,000 --> 00:44:28,120
Speaker 1: Sid Campbell, the warrior chieftains of old would wear a

793
00:44:28,239 --> 00:44:31,640
Speaker 1: brightly colored cape into battle, often slung on one arm

794
00:44:31,719 --> 00:44:35,840
Speaker 1: to deflect or snag spears. He writes, uh quote, so

795
00:44:36,040 --> 00:44:39,880
Speaker 1: these decorative capes looked more ceremonial than martial to foreigners

796
00:44:39,920 --> 00:44:44,080
Speaker 1: unaccustomed to the Kia's battle accouterments. They proved very effective

797
00:44:44,440 --> 00:44:48,200
Speaker 1: in instances of close range combat, which were frequent where

798
00:44:48,239 --> 00:44:51,879
Speaker 1: clubs and sharp toothed daggers were commonplace. The cape used

799
00:44:51,880 --> 00:44:57,360
Speaker 1: as a shield could also be a protective barrier to enshroud, deflect, perry,

800
00:44:57,520 --> 00:45:00,960
Speaker 1: or confine the enemy's weapon. The This reminds me of

801
00:45:01,000 --> 00:45:04,000
Speaker 1: some of the earliest examples of body armor that we

802
00:45:04,000 --> 00:45:06,680
Speaker 1: talked about it in the last episode which depicted on

803
00:45:06,719 --> 00:45:08,799
Speaker 1: the Royal Standard of Or. I think it was where

804
00:45:08,800 --> 00:45:13,400
Speaker 1: these ancient Mesopotamian warriors are shown wearing heavy leather capes

805
00:45:13,600 --> 00:45:17,000
Speaker 1: as armor and battle. Yeah. Absolutely, And I think in

806
00:45:17,000 --> 00:45:19,440
Speaker 1: the last episode two we we had a brief tangent

807
00:45:19,440 --> 00:45:22,560
Speaker 1: where we talked about the capes worn by Darth Vader

808
00:45:22,560 --> 00:45:27,000
Speaker 1: and Count Dooku and General Grievous in the Star Wars films. Uh.

809
00:45:27,000 --> 00:45:30,759
Speaker 1: And then so certainly there's historical presidents for the use

810
00:45:30,800 --> 00:45:33,880
Speaker 1: of capes as armor in close combat and in the

811
00:45:33,920 --> 00:45:35,719
Speaker 1: Star Wars universe. On top of that, they have this

812
00:45:35,800 --> 00:45:38,080
Speaker 1: idea that you have these garments made out of armor

813
00:45:38,160 --> 00:45:41,960
Speaker 1: weave which would be capable of dissipating blaster bolts or

814
00:45:42,000 --> 00:45:45,600
Speaker 1: at really and at least providing limited resistance to lightsabers.

815
00:45:45,920 --> 00:45:47,600
Speaker 1: And I do want to stress again that there there

816
00:45:47,640 --> 00:45:50,719
Speaker 1: would have been an entire martial arts at play here

817
00:45:50,760 --> 00:45:54,720
Speaker 1: in the use of these various weapons and this protective cape.

818
00:45:55,320 --> 00:45:57,799
Speaker 1: Now they also had helmets that would they would use,

819
00:45:58,000 --> 00:46:00,719
Speaker 1: and there at least two example polls of of it.

820
00:46:01,160 --> 00:46:04,720
Speaker 1: So first of all, there's this gourd mask helmet design

821
00:46:05,719 --> 00:46:11,280
Speaker 1: that it was traditionally known as macacay or makini I believe,

822
00:46:11,800 --> 00:46:14,919
Speaker 1: and they're also they've also been commonly referred to as

823
00:46:15,239 --> 00:46:18,640
Speaker 1: uh okay okay I believe. It's a it's actually a

824
00:46:18,680 --> 00:46:21,719
Speaker 1: popular cultural motif today. So if you if you do

825
00:46:21,800 --> 00:46:24,120
Speaker 1: some image searches for this or um you know, or

826
00:46:24,239 --> 00:46:27,440
Speaker 1: or do any amount of driving around the Hawaiian islands,

827
00:46:27,680 --> 00:46:30,279
Speaker 1: you will you will see examples of this where it

828
00:46:30,360 --> 00:46:32,520
Speaker 1: is like to describe it, it's kind of like a

829
00:46:33,000 --> 00:46:37,839
Speaker 1: gorge shape with kind of a big hourglass shape cut

830
00:46:37,840 --> 00:46:41,080
Speaker 1: into the front, allowing uh one to to to look

831
00:46:41,120 --> 00:46:44,680
Speaker 1: out and also exposing cheeps and nose region. There's often

832
00:46:44,760 --> 00:46:48,560
Speaker 1: kind of a feather based um um kind of a

833
00:46:48,600 --> 00:46:50,839
Speaker 1: mohawk or crest on the back of it. And then

834
00:46:50,880 --> 00:46:54,080
Speaker 1: you'll also have some material hanging down from the edges

835
00:46:54,200 --> 00:46:57,319
Speaker 1: covering the neck. Yeah, a lot of the examples I've

836
00:46:57,360 --> 00:47:00,320
Speaker 1: seen involved not a single space in the front of

837
00:47:00,320 --> 00:47:02,880
Speaker 1: the face, but with two whole separate eye holes. So

838
00:47:02,920 --> 00:47:04,840
Speaker 1: I guess you could do it multiple ways, but the

839
00:47:05,320 --> 00:47:06,920
Speaker 1: a lot of the ones I've seen, they end up

840
00:47:06,920 --> 00:47:09,920
Speaker 1: making you look kind of like Jack Skellington. Yeah, there

841
00:47:10,000 --> 00:47:11,560
Speaker 1: is kind of. I think that's one of the reasons

842
00:47:11,560 --> 00:47:15,040
Speaker 1: that it's such an interesting image and one that uh

843
00:47:15,400 --> 00:47:18,560
Speaker 1: that that that people keep coming back to. I mean,

844
00:47:18,560 --> 00:47:22,479
Speaker 1: aside from it's it's it's cultural relevance, it also has

845
00:47:22,520 --> 00:47:25,680
Speaker 1: this kind of skull like quality. It feels, you know,

846
00:47:25,960 --> 00:47:27,960
Speaker 1: if you're coming at it from a sci fi direction,

847
00:47:28,000 --> 00:47:30,799
Speaker 1: it almost feels like a space helmet. And also being

848
00:47:30,880 --> 00:47:33,560
Speaker 1: gourd based. It it's a little it's a little different.

849
00:47:33,640 --> 00:47:36,400
Speaker 1: It it um you know, it's it's uh, it's a

850
00:47:36,400 --> 00:47:39,759
Speaker 1: different tradition, a different way of of covering the head

851
00:47:39,800 --> 00:47:41,839
Speaker 1: and protecting the head. And apparently this would have been

852
00:47:41,840 --> 00:47:46,640
Speaker 1: a design that the very first European explorers to arrive

853
00:47:46,680 --> 00:47:49,760
Speaker 1: in a y you would have observed various warriors wearing.

854
00:47:50,040 --> 00:47:52,200
Speaker 1: Now there's also another variety of helmet and these would

855
00:47:52,239 --> 00:47:56,680
Speaker 1: have been more um artistic and more just purely for

856
00:47:56,680 --> 00:48:00,680
Speaker 1: for show, But there would have been a crested helmet

857
00:48:00,760 --> 00:48:05,000
Speaker 1: known as majol, and these would have been um uh

858
00:48:05,080 --> 00:48:08,080
Speaker 1: made of aerial vine roots that were woven into kind

859
00:48:08,080 --> 00:48:11,320
Speaker 1: of a basketry frame, so kind of a wicker helmet

860
00:48:11,680 --> 00:48:14,799
Speaker 1: that was then decorated with feathers. Again with this kind

861
00:48:14,800 --> 00:48:18,439
Speaker 1: of crested appearance to them, that reminds I think we

862
00:48:18,440 --> 00:48:21,040
Speaker 1: we easily remind a uh, you know, a Westerner of

863
00:48:21,160 --> 00:48:25,520
Speaker 1: various Greek helmets or some of the uh, the the

864
00:48:25,600 --> 00:48:29,080
Speaker 1: head gear that is associated with Tibetan monks. Yeah, it

865
00:48:29,120 --> 00:48:31,680
Speaker 1: certainly looks very elaborate and regal. I mean, you see

866
00:48:31,719 --> 00:48:33,920
Speaker 1: somebody wearing this, and it does suggest that they are

867
00:48:33,960 --> 00:48:37,480
Speaker 1: in charge. But there's something also about the images I've

868
00:48:37,480 --> 00:48:40,360
Speaker 1: seen of this type of helmet. The texture on the outside.

869
00:48:40,400 --> 00:48:42,560
Speaker 1: I'm not sure if that's original. It might be a

870
00:48:42,600 --> 00:48:46,000
Speaker 1: sign of of where weathering over time. It looks kind

871
00:48:46,000 --> 00:48:48,360
Speaker 1: of like coral. I know it's not made of coral,

872
00:48:48,440 --> 00:48:51,400
Speaker 1: but it's got that fuzzy pink kind of texture on

873
00:48:51,440 --> 00:48:53,840
Speaker 1: the outside. Yeah. Well, like the the use of feathers

874
00:48:53,880 --> 00:48:57,480
Speaker 1: in this helmet helmet, for example, um, if you're not,

875
00:48:57,480 --> 00:48:58,880
Speaker 1: if you haven't seen a picture of you may be

876
00:48:59,000 --> 00:49:02,160
Speaker 1: thinking of something that is very feather like, enormous feathers,

877
00:49:02,200 --> 00:49:04,400
Speaker 1: but a lot of these look to be very small feathers,

878
00:49:04,440 --> 00:49:09,360
Speaker 1: which creates a oh almost kind of a furry appearance

879
00:49:09,400 --> 00:49:11,839
Speaker 1: that it looks like it's something made from the fur

880
00:49:11,960 --> 00:49:15,759
Speaker 1: or some sort of fabulous multicolored mammal that that we

881
00:49:15,840 --> 00:49:19,239
Speaker 1: just don't know about, kind of sponge like almost like

882
00:49:19,719 --> 00:49:22,200
Speaker 1: you might imagine that if you were to touch the helm,

883
00:49:22,320 --> 00:49:26,719
Speaker 1: it would sting you. Yeah. So anyway, just another example

884
00:49:26,800 --> 00:49:30,960
Speaker 1: of the various materials and designs that have been used

885
00:49:31,360 --> 00:49:35,360
Speaker 1: to to cover the human skull, to enhance protection for

886
00:49:35,400 --> 00:49:39,120
Speaker 1: the human skull, but also transform the human body to

887
00:49:39,280 --> 00:49:42,600
Speaker 1: create some different idea of who we are and what

888
00:49:42,680 --> 00:49:45,520
Speaker 1: our status is in a given culture. Robert, I have

889
00:49:45,640 --> 00:49:48,319
Speaker 1: enjoyed this helmet journey. Yeah, there's been a lot of fun.

890
00:49:48,360 --> 00:49:50,799
Speaker 1: And of course we we only got to touch base

891
00:49:50,920 --> 00:49:53,680
Speaker 1: on on so few examples. I mean, there there's so

892
00:49:53,719 --> 00:49:58,240
Speaker 1: many other traditions and and again you people have whole

893
00:49:58,280 --> 00:50:01,680
Speaker 1: books about samurai arm or about you know, the martial

894
00:50:01,760 --> 00:50:05,279
Speaker 1: arts and uh an armory and uh and weaponry of say,

895
00:50:05,840 --> 00:50:09,759
Speaker 1: the Hawaiian people. So I hopefully this episode will be

896
00:50:09,800 --> 00:50:11,960
Speaker 1: more as a more of a starting point for folks

897
00:50:11,960 --> 00:50:15,240
Speaker 1: out there that one of these examples really perks your interest,

898
00:50:15,280 --> 00:50:17,640
Speaker 1: then look into it more because there's a lot of

899
00:50:17,640 --> 00:50:19,239
Speaker 1: a lot of cool material out there, a lot of

900
00:50:19,480 --> 00:50:25,520
Speaker 1: photography reconstructions, uh that that really make it rewarding. Absolutely. Now,

901
00:50:25,520 --> 00:50:27,960
Speaker 1: obviously we'd love to hear from everybody about this. Uh.

902
00:50:28,000 --> 00:50:30,399
Speaker 1: You know, if we've touched on a particular helmet that

903
00:50:30,719 --> 00:50:33,239
Speaker 1: is important to you culturally, we'd love to hear from you.

904
00:50:33,400 --> 00:50:35,000
Speaker 1: Or if it's we've just touched on a topic that

905
00:50:35,040 --> 00:50:39,360
Speaker 1: you have some additional insight regarding. Perhaps you've worn some

906
00:50:39,400 --> 00:50:42,400
Speaker 1: of these helmets, tried them on, or tried on reconstructions

907
00:50:42,400 --> 00:50:44,480
Speaker 1: of them. We would love to hear from you about

908
00:50:44,480 --> 00:50:46,600
Speaker 1: all of that. In the meantime, if you want to

909
00:50:46,680 --> 00:50:49,000
Speaker 1: check out other episodes of the show, you can find

910
00:50:49,040 --> 00:50:51,920
Speaker 1: us wherever you get your podcast and wherever that happens

911
00:50:51,960 --> 00:50:55,000
Speaker 1: to be if you have the ability to do so. Uh,

912
00:50:55,040 --> 00:50:58,480
Speaker 1: just rate, review, and subscribe, because those are just some

913
00:50:58,560 --> 00:51:00,719
Speaker 1: small acts that help us out all in the long run.

914
00:51:01,160 --> 00:51:04,160
Speaker 1: Huge thanks as always to our excellent audio producer Seth

915
00:51:04,239 --> 00:51:06,640
Speaker 1: Nicholas Johnson. If you would like to get in touch

916
00:51:06,680 --> 00:51:08,960
Speaker 1: with us with feedback on this episode or any other,

917
00:51:09,040 --> 00:51:11,480
Speaker 1: to suggest topic for the future, or just to say hi,

918
00:51:11,600 --> 00:51:14,399
Speaker 1: you can email us at contact. That's Stuff to Blow

919
00:51:14,440 --> 00:51:24,239
Speaker 1: your Mind dot com. Stuff to Blow your Mind is

920
00:51:24,280 --> 00:51:26,960
Speaker 1: production of I Heart Radio. For more podcasts for my

921
00:51:27,000 --> 00:51:29,960
Speaker 1: heart Radio, this is the i heart Radio app, Apple Podcasts,

922
00:51:30,040 --> 00:51:37,200
Speaker 1: or wherever you're listening to your favorite shows.