1
00:00:05,840 --> 00:00:08,760
Speaker 1: Hey, welcome to Stuff to Blow Your Mind. My name

2
00:00:08,800 --> 00:00:12,120
Speaker 1: is Robert Lamb and I'm Joe McCormick, and it's Saturday.

3
00:00:12,200 --> 00:00:15,760
Speaker 1: Time for an episode from the vault. This one asks

4
00:00:15,840 --> 00:00:19,000
Speaker 1: the question, can Rob and Joe really make an episode

5
00:00:19,000 --> 00:00:21,319
Speaker 1: of Stuff to Blow Your Mind about the concept of

6
00:00:21,320 --> 00:00:25,759
Speaker 1: a leg lamp? Can they? We did? Yes, this was

7
00:00:25,840 --> 00:00:28,800
Speaker 1: I was surprised as anyone, and it turned off that way,

8
00:00:28,840 --> 00:00:31,040
Speaker 1: But yeah we did one. Uh who did this episode

9
00:00:31,040 --> 00:00:34,800
Speaker 1: of major award calling back of course holiday film a

10
00:00:34,880 --> 00:00:38,959
Speaker 1: Christmas story and talking about leg shaped lamps and then

11
00:00:39,040 --> 00:00:43,519
Speaker 1: diving into the deep ancient and occult history of lamps

12
00:00:43,560 --> 00:00:45,840
Speaker 1: and other objects shaped in the likeness of a human

13
00:00:45,920 --> 00:00:49,479
Speaker 1: leg or foot. This is from the holiday season from

14
00:00:49,600 --> 00:00:52,320
Speaker 1: last year. Uh so we hope you enjoy it, either

15
00:00:52,360 --> 00:00:58,000
Speaker 1: again or for the first time. Now. Welcome to Stuff

16
00:00:58,040 --> 00:01:07,280
Speaker 1: to Blow Your Mind, a production of My Heart Rate Deo. Hey,

17
00:01:07,400 --> 00:01:09,720
Speaker 1: welcome to Stuff to Blow your Mind. My name is

18
00:01:09,840 --> 00:01:13,960
Speaker 1: Robert Lamb and I'm Joe McCormick. And this is gonna

19
00:01:14,000 --> 00:01:17,400
Speaker 1: be our last core at our last new Core episode

20
00:01:17,760 --> 00:01:20,000
Speaker 1: of the year. And what do we have for you here?

21
00:01:20,040 --> 00:01:23,679
Speaker 1: Another holiday episode? And we really didn't know until just

22
00:01:23,800 --> 00:01:26,680
Speaker 1: a few days ago exactly what the holiday episode would be.

23
00:01:26,760 --> 00:01:30,520
Speaker 1: We were talking about doing an episode on reindeer related stuff,

24
00:01:30,560 --> 00:01:32,840
Speaker 1: and maybe we'll do that next year. We and then

25
00:01:32,880 --> 00:01:35,119
Speaker 1: we were talking about, well, let's let's we've done previous

26
00:01:35,160 --> 00:01:38,520
Speaker 1: episode where we talked about holiday inventions, Christmas inventions and

27
00:01:38,560 --> 00:01:41,280
Speaker 1: so forth, maybe we could do another one of those,

28
00:01:41,520 --> 00:01:44,520
Speaker 1: and um uh, you know, we started looking into some

29
00:01:44,600 --> 00:01:51,360
Speaker 1: topics and we wound up focusing entirely upon the holiday

30
00:01:51,360 --> 00:01:53,760
Speaker 1: film A Christmas Story, well not just on the movie,

31
00:01:53,760 --> 00:01:56,760
Speaker 1: on the movie's most sacred prop that's right. And I

32
00:01:56,760 --> 00:01:58,520
Speaker 1: mean for a little bit they we were thinking, well,

33
00:01:58,640 --> 00:02:00,080
Speaker 1: look at all the things that are to talk abou

34
00:02:00,160 --> 00:02:03,120
Speaker 1: in a Christmas story. We could talk about soap poisoning,

35
00:02:03,760 --> 00:02:06,360
Speaker 1: freezing your tongue to a flagpole, the dangerous posed by

36
00:02:06,360 --> 00:02:11,160
Speaker 1: BB guns, how furnaces work. I gotta say, I having

37
00:02:11,240 --> 00:02:14,359
Speaker 1: looked into the medical literature on soap poisoning, first of all,

38
00:02:14,440 --> 00:02:17,720
Speaker 1: it is a real thing. Second, that's some pretty dark territory,

39
00:02:17,880 --> 00:02:20,359
Speaker 1: not not not the most fun way to head into

40
00:02:20,360 --> 00:02:22,239
Speaker 1: the holidays. Well, I mean it's pretty dark in that

41
00:02:22,360 --> 00:02:24,359
Speaker 1: Christmas story. You know. There he is he's a he's

42
00:02:24,400 --> 00:02:26,600
Speaker 1: a child, and he's blind and his parents feel such

43
00:02:26,639 --> 00:02:28,800
Speaker 1: remorse for having him put that bar of soap in

44
00:02:28,840 --> 00:02:30,560
Speaker 1: his mouth. Now, from what I could tell in my

45
00:02:30,560 --> 00:02:33,320
Speaker 1: brief investigation, I don't think it's dangerous to put a

46
00:02:33,320 --> 00:02:35,440
Speaker 1: bar of soap in your mouth for a few minutes,

47
00:02:35,480 --> 00:02:38,000
Speaker 1: but you definitely don't want to like eat a significant

48
00:02:38,000 --> 00:02:42,840
Speaker 1: amount of it, right, So, so so poisoning is a thing. Yes, Okay,

49
00:02:43,240 --> 00:02:45,880
Speaker 1: don't don't swallow soap. But like I said, we're not

50
00:02:45,880 --> 00:02:48,160
Speaker 1: We're not focusing on the soap here. We're talking. We're

51
00:02:48,160 --> 00:02:52,239
Speaker 1: gonna be talking about, um, the Old Man's Major Award.

52
00:02:52,280 --> 00:02:55,200
Speaker 1: We're gonna be talking about that leg lamp now, Rob.

53
00:02:55,200 --> 00:02:57,480
Speaker 1: I don't know if you've had this experience, but I

54
00:02:57,520 --> 00:03:01,320
Speaker 1: can say most of my exposure to to a Christmas

55
00:03:01,360 --> 00:03:05,040
Speaker 1: story the movie comes in the form of a sort

56
00:03:05,080 --> 00:03:09,520
Speaker 1: of running, droning background noise that's going on at a

57
00:03:09,520 --> 00:03:13,000
Speaker 1: at a some kind of family house around Christmas while

58
00:03:13,040 --> 00:03:15,960
Speaker 1: it's just playing on an infinite loop on some cable

59
00:03:16,040 --> 00:03:18,520
Speaker 1: TV station that that is turned on in a room

60
00:03:18,520 --> 00:03:22,679
Speaker 1: I might not even be in very much, But when

61
00:03:22,720 --> 00:03:26,200
Speaker 1: this happens, I noticed that this must have something to

62
00:03:26,200 --> 00:03:28,560
Speaker 1: do with like the patterns with which I come and

63
00:03:28,600 --> 00:03:30,919
Speaker 1: go into certain rooms in the house, so that that

64
00:03:31,000 --> 00:03:32,839
Speaker 1: would be an interesting thing to study on its own.

65
00:03:33,160 --> 00:03:36,120
Speaker 1: But will pretty frequently have the experience of seeing one

66
00:03:36,160 --> 00:03:39,960
Speaker 1: scene in the movie like five times in the same day,

67
00:03:40,040 --> 00:03:42,600
Speaker 1: and it's always the same scene. And for me, it

68
00:03:42,640 --> 00:03:46,720
Speaker 1: has definitely been the scene where the old man is

69
00:03:46,760 --> 00:03:49,400
Speaker 1: in the house and and a big crate arrives and

70
00:03:49,400 --> 00:03:51,160
Speaker 1: it was that we get the lines about it being

71
00:03:51,200 --> 00:03:54,680
Speaker 1: FREGGI lay and he digs through the straw and then

72
00:03:54,760 --> 00:03:58,480
Speaker 1: pulls out this glorious leg lamp. Yeah, I have I

73
00:03:58,480 --> 00:04:01,640
Speaker 1: have a similar experience with a Christmas story. Um, it

74
00:04:01,680 --> 00:04:04,080
Speaker 1: would there were so there are. There have been some

75
00:04:04,120 --> 00:04:08,000
Speaker 1: dedicated viewings of it, uh you know, throughout the years. Um,

76
00:04:08,040 --> 00:04:11,080
Speaker 1: but most of it it's just it's on TV during Christmas,

77
00:04:11,120 --> 00:04:13,360
Speaker 1: and therefore you watch it or you watch part of it,

78
00:04:13,680 --> 00:04:15,680
Speaker 1: and so when you actually sat down and watch it

79
00:04:15,680 --> 00:04:17,920
Speaker 1: in its entirety, there will be these scenes that you

80
00:04:17,960 --> 00:04:20,800
Speaker 1: remember really vividly, and then there are scenes that you

81
00:04:20,839 --> 00:04:22,560
Speaker 1: didn't realize we're part of the movie at all. That

82
00:04:22,680 --> 00:04:26,160
Speaker 1: sort of thing. I should probably inform everyone what this

83
00:04:26,200 --> 00:04:29,040
Speaker 1: movie has. A number of you were probably familiar with it,

84
00:04:29,120 --> 00:04:32,039
Speaker 1: some of you were not Uh. This was a three

85
00:04:32,080 --> 00:04:35,760
Speaker 1: holiday film that was based on the writings of Jane Shepherd,

86
00:04:35,880 --> 00:04:38,520
Speaker 1: particularly on the book In God We Trust All Others

87
00:04:38,600 --> 00:04:43,680
Speaker 1: Pay Cash. It's one boy's account of childhood holiday dreams, desires,

88
00:04:43,720 --> 00:04:46,880
Speaker 1: and fears. It's a fun movie with with some solid

89
00:04:47,000 --> 00:04:49,280
Speaker 1: laughs in it, some some some good heart, but not

90
00:04:49,320 --> 00:04:52,479
Speaker 1: to a sappy degree, especially for a holiday film. And

91
00:04:52,720 --> 00:04:54,720
Speaker 1: in some ways you could almost think of it as

92
00:04:54,760 --> 00:04:57,680
Speaker 1: kind of like a a proto Simpsons, you know, like

93
00:04:57,720 --> 00:05:01,400
Speaker 1: it's it's some of the gags that they get up

94
00:05:01,440 --> 00:05:03,880
Speaker 1: to in a Christmas story are the sorts of things

95
00:05:03,920 --> 00:05:05,919
Speaker 1: that would happen on The Simpsons later on. But of

96
00:05:05,920 --> 00:05:09,240
Speaker 1: course the Simpsons leans more into more into the satire

97
00:05:09,640 --> 00:05:12,880
Speaker 1: and more into like pop cultural references, you know what

98
00:05:12,920 --> 00:05:14,560
Speaker 1: I'm talking about. Like that, you can't you imagine an

99
00:05:14,560 --> 00:05:17,800
Speaker 1: episode where Homer gets some sort of obnoxious award that

100
00:05:17,839 --> 00:05:19,560
Speaker 1: he wants to display at the front of the house.

101
00:05:20,080 --> 00:05:23,400
Speaker 1: Marge doesn't like it, and uh, and maybe something terrible

102
00:05:23,520 --> 00:05:26,800
Speaker 1: ends up happening to the award and he he blames her. Yeah,

103
00:05:26,920 --> 00:05:28,680
Speaker 1: now that you say that, I can't imagine that being

104
00:05:28,680 --> 00:05:31,560
Speaker 1: a plotline. Okay, yeah, I mean Ralphie is essentially a

105
00:05:31,600 --> 00:05:35,600
Speaker 1: good boy, uh, whereas Bart is a bad boy. So uh,

106
00:05:35,800 --> 00:05:38,280
Speaker 1: you know we have to take that into account as well. Yeah,

107
00:05:38,400 --> 00:05:41,279
Speaker 1: Bart would not dream of getting a BB gun for Christmas.

108
00:05:41,320 --> 00:05:43,200
Speaker 1: He would just go and I don't know, shoplift to

109
00:05:43,240 --> 00:05:46,080
Speaker 1: be begun or something. Yeah, oh well, I mean I

110
00:05:46,080 --> 00:05:48,800
Speaker 1: hope he learned his lesson from that Christmas episodes of

111
00:05:48,800 --> 00:05:51,720
Speaker 1: The Simpsons where he did shoplift. Remember, Oh that's right.

112
00:05:51,760 --> 00:05:54,240
Speaker 1: Oh I remember that One's actually very sad because his

113
00:05:54,320 --> 00:05:58,719
Speaker 1: mother is very disappointed in him. And yeah, strings, Yeah,

114
00:05:58,800 --> 00:06:01,080
Speaker 1: that's It's a solid episode like that sort of Simpson's

115
00:06:01,120 --> 00:06:04,520
Speaker 1: episode reminds me a lot of of of this, though

116
00:06:04,520 --> 00:06:06,960
Speaker 1: in a weird way. That Simpsons episode is more serious

117
00:06:07,800 --> 00:06:11,000
Speaker 1: than a Christmas story is. Yeah, what is it? He steals?

118
00:06:11,000 --> 00:06:13,440
Speaker 1: It's like a video game. It's like the bone Storm

119
00:06:13,520 --> 00:06:17,120
Speaker 1: for whatever. Yeah, it's like essentially like a Mortal Kombat

120
00:06:17,160 --> 00:06:19,800
Speaker 1: type game that just seems like the greatest thing ever.

121
00:06:19,880 --> 00:06:23,760
Speaker 1: And they have like the muscled Santa Claus and the commercial. Yeah,

122
00:06:23,960 --> 00:06:26,760
Speaker 1: so we're not gonna give a Christmas story the full

123
00:06:26,800 --> 00:06:29,440
Speaker 1: weird house cinema treatment or anything here today. But I

124
00:06:29,480 --> 00:06:31,720
Speaker 1: do want to just point out real quickly a few

125
00:06:31,720 --> 00:06:33,920
Speaker 1: of the people involved in it because it's kind of fun.

126
00:06:34,440 --> 00:06:36,679
Speaker 1: First of all, I was directed by Bob Clark, who

127
00:06:36,760 --> 00:06:42,200
Speaker 1: also directed the notorious holiday proto slasher Black Christmas in four,

128
00:06:42,839 --> 00:06:44,919
Speaker 1: which I have never seen, but it had a It

129
00:06:44,960 --> 00:06:49,279
Speaker 1: had a great cast, including Olivia Hussey, Margo Kidder, Kira

130
00:06:49,360 --> 00:06:51,960
Speaker 1: Dulia from two thousand and one of Space Odyssey, and

131
00:06:52,000 --> 00:06:55,840
Speaker 1: of course weird how cinema favorite John Saxon. Everybody at

132
00:06:55,839 --> 00:06:59,400
Speaker 1: home do a push up for John Saxon right now. Uh.

133
00:06:59,440 --> 00:07:03,160
Speaker 1: He also directed Death Dream Murder by Decree, which is

134
00:07:03,200 --> 00:07:07,080
Speaker 1: a Sherlock Holmes versus Jack the Rippers story, two Porky's movies,

135
00:07:07,520 --> 00:07:13,640
Speaker 1: two Baby Geniuses movies, Porky's and Baby Geniuses. Yeah, yeah,

136
00:07:14,640 --> 00:07:16,960
Speaker 1: but still there's some good stuff in there. He passed

137
00:07:17,000 --> 00:07:19,520
Speaker 1: away in two thousand seven, but I think a Christmas

138
00:07:19,560 --> 00:07:22,440
Speaker 1: story is likely to remain his his legacy, Like this

139
00:07:22,480 --> 00:07:24,440
Speaker 1: is the one that's gonna really stick. So I guess

140
00:07:24,720 --> 00:07:28,320
Speaker 1: Black Christmas also has its place in film history as well. Sure,

141
00:07:28,840 --> 00:07:30,640
Speaker 1: and uh, as far as the cast has well, has

142
00:07:30,680 --> 00:07:34,640
Speaker 1: a wonderful cast Christmas story, but the two main characters

143
00:07:34,640 --> 00:07:37,280
Speaker 1: worth pointing out for our purposes. The Old Man has

144
00:07:37,320 --> 00:07:40,840
Speaker 1: played played by the always terrific Darren McGavin. This is

145
00:07:40,840 --> 00:07:42,760
Speaker 1: the guy who played cold Shack the night Stalker. I

146
00:07:42,760 --> 00:07:45,040
Speaker 1: think he was also in the Arnold Swartzenegger film Raw

147
00:07:45,160 --> 00:07:50,240
Speaker 1: Deal Okay. And the mom is played by Melinda Dillon,

148
00:07:50,320 --> 00:07:53,160
Speaker 1: who was in Harry and the Henderson's as well as

149
00:07:53,160 --> 00:07:57,040
Speaker 1: Spontaneous Combustion, which is one of the films that we

150
00:07:57,120 --> 00:07:59,440
Speaker 1: covered on Weird House Cinema this year. Did she play

151
00:07:59,560 --> 00:08:03,200
Speaker 1: like the creepy scientist? She am? I right about that.

152
00:08:03,640 --> 00:08:05,920
Speaker 1: It's really hard to remember. Everybody else just kind of

153
00:08:07,760 --> 00:08:11,720
Speaker 1: grows dim against the burning fire. That is uh, that

154
00:08:11,880 --> 00:08:15,240
Speaker 1: is a Doroff's performance in that. Brad Dorriff is just

155
00:08:15,320 --> 00:08:17,600
Speaker 1: so good. Yeah, I just double checked she she's the

156
00:08:17,640 --> 00:08:20,440
Speaker 1: German scientist. I think at some point Brad Dorroff goes

157
00:08:20,480 --> 00:08:23,120
Speaker 1: to her house and maybe she catches on fire, and

158
00:08:23,200 --> 00:08:25,800
Speaker 1: I don't know, probably that's probably the generally how it goes. Um.

159
00:08:26,120 --> 00:08:27,920
Speaker 1: But I don't want to sell her short because Melinda

160
00:08:27,960 --> 00:08:31,160
Speaker 1: Dylan is a great actor as well. She was she

161
00:08:31,240 --> 00:08:33,800
Speaker 1: was in Close Encounters of the Third Kind and Absence

162
00:08:33,800 --> 00:08:36,800
Speaker 1: of Malice. In that she was nominated for two Academy

163
00:08:36,800 --> 00:08:39,839
Speaker 1: Awards and one Tony Award. Okay, but we don't want

164
00:08:39,840 --> 00:08:41,600
Speaker 1: to leave anybody out for the like eight people in

165
00:08:41,640 --> 00:08:44,760
Speaker 1: the audience who have never seen this movie or even

166
00:08:44,800 --> 00:08:47,880
Speaker 1: just seen this sequence in the movie on five times

167
00:08:47,880 --> 00:08:51,160
Speaker 1: in the same day on Christmas. But what's the deal

168
00:08:51,200 --> 00:08:53,640
Speaker 1: with the major award? Well, it is, as we've been saying,

169
00:08:53,679 --> 00:08:56,280
Speaker 1: a major award. It is something he has won for

170
00:08:56,400 --> 00:09:00,800
Speaker 1: his achievements, uh, in a game. And what is the game? Well,

171
00:09:00,840 --> 00:09:04,480
Speaker 1: I think it's like it's like a trivia contest, maybe

172
00:09:04,480 --> 00:09:08,319
Speaker 1: done through the mail from a newspaper. Though I think

173
00:09:08,320 --> 00:09:12,120
Speaker 1: it's worth saying that he actually does not supply most

174
00:09:12,160 --> 00:09:14,480
Speaker 1: of the answers on the contest. He has to ask

175
00:09:14,880 --> 00:09:17,720
Speaker 1: Melinda Dillon and she actually knows the answers. Then he

176
00:09:17,800 --> 00:09:20,000
Speaker 1: fills them in and it sends it off or something,

177
00:09:20,080 --> 00:09:24,160
Speaker 1: and apparently wins this trivia contest by answering questions like

178
00:09:24,200 --> 00:09:26,840
Speaker 1: what is the name of the Lone Rangers and nephews Horse.

179
00:09:28,040 --> 00:09:31,000
Speaker 1: But later in the film, after he receives his major award,

180
00:09:31,040 --> 00:09:33,959
Speaker 1: when people ask him how what it was for, he says,

181
00:09:34,080 --> 00:09:41,120
Speaker 1: it's for mind power. Yeah, so it's it's this wonderful design.

182
00:09:41,160 --> 00:09:43,840
Speaker 1: It is a lamp that is shaped like a woman's

183
00:09:43,920 --> 00:09:47,880
Speaker 1: leg wearing a fishnet stocking with the shade resembling a

184
00:09:47,960 --> 00:09:50,960
Speaker 1: kind of mini skirt or short hoop drafts or something.

185
00:09:51,640 --> 00:09:54,240
Speaker 1: And um, as we as we learned in the show,

186
00:09:54,240 --> 00:09:57,160
Speaker 1: it's it's an item of much controversy in the household.

187
00:09:57,520 --> 00:10:00,360
Speaker 1: And um, and it's clear that Mom does not like

188
00:10:00,480 --> 00:10:02,600
Speaker 1: this lamp and certainly does not think it belongs at

189
00:10:02,600 --> 00:10:06,600
Speaker 1: the front of the house where neighbors can see it. Uh,

190
00:10:06,640 --> 00:10:09,360
Speaker 1: you know, it's already Uh, it's it's becoming a topic

191
00:10:09,400 --> 00:10:13,240
Speaker 1: of discussion in the neighborhood. And then what happens there

192
00:10:13,280 --> 00:10:17,000
Speaker 1: is an accident. Somebody is cleaning too close to the

193
00:10:17,080 --> 00:10:20,880
Speaker 1: lamp and it is accidentally destroyed. Now, I think one

194
00:10:20,880 --> 00:10:22,960
Speaker 1: of the great points of humor in the movie is

195
00:10:23,040 --> 00:10:26,960
Speaker 1: that it is never made clear why a lamp shaped

196
00:10:27,040 --> 00:10:30,680
Speaker 1: like a sexy leg is the prize for winning this

197
00:10:30,760 --> 00:10:34,360
Speaker 1: newspaper contest, Like that there's no connection there, Like why

198
00:10:34,360 --> 00:10:36,960
Speaker 1: would this be what you get? Uh? And it's just

199
00:10:37,000 --> 00:10:41,320
Speaker 1: not explained. Yeah, I mean it doesn't even say anything, um,

200
00:10:41,360 --> 00:10:43,640
Speaker 1: you know on the lamp. It's not like the award

201
00:10:43,679 --> 00:10:45,160
Speaker 1: is shaped like a lamp. No, this is just a

202
00:10:45,240 --> 00:10:48,600
Speaker 1: lamp that shaped like a leg. Um, but but he is.

203
00:10:48,800 --> 00:10:50,720
Speaker 1: He is fond of it. He thinks it is wonderful.

204
00:10:50,920 --> 00:10:53,920
Speaker 1: She does not. It becomes a uh, it becomes a

205
00:10:53,960 --> 00:10:56,880
Speaker 1: controversial issue between the two of them. It is destroyed.

206
00:10:57,240 --> 00:11:00,400
Speaker 1: An attempt to rebuild the leg lamp seems pow ssible,

207
00:11:00,400 --> 00:11:02,560
Speaker 1: but we'll never know if it was successful. We we

208
00:11:02,559 --> 00:11:05,480
Speaker 1: we we we suspect that it was not. That this

209
00:11:05,520 --> 00:11:08,800
Speaker 1: is something that, once broken can never be repaired. Well.

210
00:11:08,840 --> 00:11:11,000
Speaker 1: I think also there's a little bit of subtlety there,

211
00:11:11,040 --> 00:11:13,200
Speaker 1: because when the old man is trying to repair it

212
00:11:13,280 --> 00:11:15,960
Speaker 1: with glue and failing, you sense in him a kind

213
00:11:15,960 --> 00:11:20,679
Speaker 1: of a kind of waning enthusiasm, where it may be,

214
00:11:20,920 --> 00:11:24,679
Speaker 1: in fact that he is realizing that his wife was

215
00:11:24,720 --> 00:11:30,440
Speaker 1: correct in thinking that this lamp is rather tacky. Yeah, yeah,

216
00:11:30,559 --> 00:11:35,120
Speaker 1: but he didn't want to admit it earlier. Right, So

217
00:11:35,240 --> 00:11:38,000
Speaker 1: this is this lamp. This is a hilarious part of

218
00:11:38,040 --> 00:11:40,679
Speaker 1: the film. This is based on the chapter My Old

219
00:11:40,720 --> 00:11:43,600
Speaker 1: Man and the Siviest Special Award that heralded the birth

220
00:11:43,640 --> 00:11:46,920
Speaker 1: of pop art from the nine novel in God We

221
00:11:46,960 --> 00:11:50,160
Speaker 1: Trust All Others pay cash. But it's really taken on

222
00:11:50,200 --> 00:11:53,720
Speaker 1: a life of its own since then, Um, you can

223
00:11:53,800 --> 00:11:58,040
Speaker 1: now buy like replicas of the lamp, reproductions of the

224
00:11:58,040 --> 00:12:01,160
Speaker 1: rent lamp in various sizes. You can get Christmas tree

225
00:12:01,280 --> 00:12:03,480
Speaker 1: ornaments where the Christmas I mean, you can basically get

226
00:12:03,559 --> 00:12:06,880
Speaker 1: Christmas tree ornaments of it, or even Christmas lights of

227
00:12:06,920 --> 00:12:10,359
Speaker 1: the lamp. Like the lamp has become like this, um,

228
00:12:10,400 --> 00:12:13,840
Speaker 1: this weird symbol all its own. I was. I was

229
00:12:13,880 --> 00:12:19,400
Speaker 1: reading about it on read Craiger's blog Inventor's Digest, And

230
00:12:19,440 --> 00:12:23,240
Speaker 1: apparently Shepherd was inspired to create this fictional lamp based

231
00:12:23,360 --> 00:12:27,640
Speaker 1: on knee high soda ads that he remembered seeing a

232
00:12:27,720 --> 00:12:30,880
Speaker 1: magazine showing two shapely legs up to the knee. Uh.

233
00:12:30,880 --> 00:12:33,000
Speaker 1: He remembered these from from being from when he was

234
00:12:33,040 --> 00:12:36,080
Speaker 1: a boy. And then for the film production designer Ruben

235
00:12:36,160 --> 00:12:38,839
Speaker 1: Freed Uh he did the rest. And the lamp is

236
00:12:38,840 --> 00:12:42,560
Speaker 1: apparently protected by two different trademarks. Uh. They've been mass

237
00:12:42,600 --> 00:12:44,880
Speaker 1: produced over the years, and yes you can buy them

238
00:12:44,920 --> 00:12:48,200
Speaker 1: today as functional lamps. When this movie came out, you

239
00:12:48,200 --> 00:12:49,719
Speaker 1: can only dream of such a thing. I think they

240
00:12:49,720 --> 00:12:52,560
Speaker 1: made like just a handful of these for the film,

241
00:12:52,600 --> 00:12:56,280
Speaker 1: But now it is achievable by anyone. Now, correct me

242
00:12:56,320 --> 00:12:58,160
Speaker 1: if I'm wrong, But I believe I read somewhere that

243
00:12:58,240 --> 00:13:02,000
Speaker 1: the original lamp prop made for the film no longer exists.

244
00:13:02,520 --> 00:13:05,440
Speaker 1: That is what I was reading as well. Yeah, lost

245
00:13:05,440 --> 00:13:07,880
Speaker 1: to history like so many great works, like many of

246
00:13:07,920 --> 00:13:12,640
Speaker 1: the artworks of the Parthenon, or just think the great antiquities,

247
00:13:12,679 --> 00:13:17,440
Speaker 1: they just fade to time. Well, speaking of antiquities, obviously this,

248
00:13:17,440 --> 00:13:20,400
Speaker 1: this can't be where the story begins and ends, right,

249
00:13:20,480 --> 00:13:22,320
Speaker 1: There has to be more of it. There has to

250
00:13:22,320 --> 00:13:25,680
Speaker 1: be more to the lamp that is a leg and

251
00:13:25,720 --> 00:13:28,160
Speaker 1: the leg that is a lamp. By god, if there's

252
00:13:28,200 --> 00:13:33,280
Speaker 1: not more to it, will make more to it. Absolutely. Well,

253
00:13:33,360 --> 00:13:35,319
Speaker 1: let's go to the obvious place to discuss all of

254
00:13:35,360 --> 00:13:36,840
Speaker 1: this is to go way back and just talk about

255
00:13:36,920 --> 00:13:39,520
Speaker 1: lamps in general. The lamp and the movie is of

256
00:13:39,559 --> 00:13:42,840
Speaker 1: course an electric lamp with origins in the early nineteenth century.

257
00:13:42,880 --> 00:13:46,360
Speaker 1: But the history of illumination technology goes way back. Obviously,

258
00:13:46,720 --> 00:13:49,920
Speaker 1: you can think to our invention episodes on fire technology.

259
00:13:50,080 --> 00:13:53,480
Speaker 1: And indeed the most basic form of illumination technology is

260
00:13:53,520 --> 00:13:56,920
Speaker 1: of course a mere torch or a burning brand of

261
00:13:57,000 --> 00:14:00,720
Speaker 1: some sword, or even a very primitive you know, burning stick.

262
00:14:01,320 --> 00:14:05,240
Speaker 1: Uh you know, these wall get it done. But according

263
00:14:05,280 --> 00:14:08,840
Speaker 1: to Brian M. Fagan and Garrett G. Fagan um in

264
00:14:08,920 --> 00:14:12,760
Speaker 1: the UH in the seventy grade. Inventions of the ancient world.

265
00:14:13,320 --> 00:14:16,880
Speaker 1: UM wick burning lamps go back at least as far

266
00:14:16,920 --> 00:14:20,360
Speaker 1: as the Late Paleolithic period. It's thirty thousands through ten

267
00:14:20,400 --> 00:14:23,360
Speaker 1: thousand years ago. All you need is a reservoir of

268
00:14:23,440 --> 00:14:26,440
Speaker 1: fuel and a wick made from plant fiber or even

269
00:14:26,440 --> 00:14:29,520
Speaker 1: something like human hair. And the fuel itself can be

270
00:14:29,760 --> 00:14:32,480
Speaker 1: any number of things. That can be oil, it can

271
00:14:32,520 --> 00:14:35,800
Speaker 1: be fat, and sometimes salt was added to oil to

272
00:14:35,880 --> 00:14:39,760
Speaker 1: keep it from overheating. Uh. Tons of lamps survived from

273
00:14:39,760 --> 00:14:42,720
Speaker 1: the ancient world as these were, of course widespread and

274
00:14:42,800 --> 00:14:47,240
Speaker 1: extremely useful pieces of technology. Uh. They illuminate your environment.

275
00:14:47,360 --> 00:14:50,280
Speaker 1: They turn uh night time, well not it doesn't turn

276
00:14:50,400 --> 00:14:52,440
Speaker 1: nighttime into day, but you know, it provides some of

277
00:14:52,440 --> 00:14:55,120
Speaker 1: the illumination that you would have in the daytime in

278
00:14:55,160 --> 00:14:58,400
Speaker 1: a nice concentrated form. Yeah. And I think one of

279
00:14:58,440 --> 00:15:01,520
Speaker 1: the things that's useful about a lamp or like a candle.

280
00:15:01,920 --> 00:15:04,320
Speaker 1: We've talked about this on UH Core episodes of the

281
00:15:04,320 --> 00:15:09,080
Speaker 1: show before, is that they they provide moderate light for

282
00:15:09,160 --> 00:15:12,440
Speaker 1: a long period of time. They're constructed so as to

283
00:15:12,720 --> 00:15:17,320
Speaker 1: gradually slowly feed the fuel into the flame rather than

284
00:15:17,400 --> 00:15:20,080
Speaker 1: have the fire just burned through the fuel source as

285
00:15:20,080 --> 00:15:22,280
Speaker 1: fast as it possibly can, like it would with you

286
00:15:22,320 --> 00:15:24,000
Speaker 1: know many other things like a you know, a lit

287
00:15:24,000 --> 00:15:27,960
Speaker 1: stick or something. Yeah. So the technology here, the the

288
00:15:28,000 --> 00:15:30,400
Speaker 1: device itself allows you to make the most out of

289
00:15:30,440 --> 00:15:33,000
Speaker 1: your limited fuel. Now real quick, I want to want

290
00:15:33,000 --> 00:15:36,840
Speaker 1: to just mention the Fagans quickly. Um Brian Fagan, of course,

291
00:15:36,840 --> 00:15:39,520
Speaker 1: Brian and Fagan is uh is someone I sade a

292
00:15:39,520 --> 00:15:43,440
Speaker 1: lot on the show um Starters. The That Great Inventions

293
00:15:43,440 --> 00:15:45,600
Speaker 1: book is super useful. But he's written a number of

294
00:15:45,760 --> 00:15:48,560
Speaker 1: volumes and still has books coming out, including a new

295
00:15:48,600 --> 00:15:53,520
Speaker 1: book with Nadia Durrani titled Climate Chaos Lessons on Survival

296
00:15:53,560 --> 00:15:57,520
Speaker 1: from Our Ancestors. Now. The other Fagan, though, Garrett G. Fagan,

297
00:15:57,880 --> 00:16:00,800
Speaker 1: was an Irish American ancient historian, best known for his

298
00:16:00,920 --> 00:16:04,560
Speaker 1: social histories of Roman bathing and the Spectacles of the

299
00:16:04,680 --> 00:16:07,240
Speaker 1: Roman Arena. And I could be wrong on this, but

300
00:16:07,280 --> 00:16:10,040
Speaker 1: I do not believe these two Pagans are related at all.

301
00:16:10,440 --> 00:16:13,040
Speaker 1: They just happen to work together in this one chapter, uh,

302
00:16:13,200 --> 00:16:16,160
Speaker 1: in the seventy grade Inventions of the Ancient World that

303
00:16:16,360 --> 00:16:21,600
Speaker 1: deals with illumination technology. Okay, so lamps go very far

304
00:16:21,640 --> 00:16:26,240
Speaker 1: back for into the Paleolithic period, right, and lamp technology

305
00:16:26,280 --> 00:16:29,880
Speaker 1: of this basic sword can be found from throughout Mesopotamia,

306
00:16:29,960 --> 00:16:33,480
Speaker 1: and the shape of the reservoir varies, so you could

307
00:16:33,520 --> 00:16:36,320
Speaker 1: you can use basically found objects as your reservoir. So

308
00:16:36,400 --> 00:16:39,720
Speaker 1: seashells were often used because these were naturally occurring shallow

309
00:16:39,800 --> 00:16:43,040
Speaker 1: bowls with ridges to accommodate a wick at one end.

310
00:16:43,640 --> 00:16:46,800
Speaker 1: But then once you start making artificial reservoirs for your

311
00:16:46,880 --> 00:16:51,600
Speaker 1: oil or your fat, whatever you're burning your fuel, um,

312
00:16:51,720 --> 00:16:54,240
Speaker 1: then you're making them out of pottery or even metal.

313
00:16:54,440 --> 00:16:57,760
Speaker 1: And this allows for all manner of simple and ornate

314
00:16:57,960 --> 00:17:01,560
Speaker 1: lamp designs. And you know where we're going with that, right, Oh,

315
00:17:01,640 --> 00:17:05,800
Speaker 1: of course. Yeah. The obvious question is how many of

316
00:17:05,840 --> 00:17:09,679
Speaker 1: these lamps were shaped like legs? Well, are you going

317
00:17:09,720 --> 00:17:13,280
Speaker 1: to tell me? Well, this is a difficult question to answer, Joe.

318
00:17:14,440 --> 00:17:16,919
Speaker 1: Humans have, of course, always love to craft things in

319
00:17:16,960 --> 00:17:20,880
Speaker 1: the likeness of animals and or themselves, and animal legs

320
00:17:20,880 --> 00:17:23,840
Speaker 1: and feet have always been a favorite motif. In fact,

321
00:17:24,240 --> 00:17:26,920
Speaker 1: uh Fagan includes an image of one in the book.

322
00:17:27,280 --> 00:17:31,399
Speaker 1: It's a first century CE brazier from Pompey with beautiful

323
00:17:31,680 --> 00:17:34,640
Speaker 1: like animal feet supporting it and of course, we still

324
00:17:34,640 --> 00:17:37,879
Speaker 1: see this today with you know, tubs anything. It's like

325
00:17:37,920 --> 00:17:40,280
Speaker 1: it's like the human Artistan can't help it. It's like,

326
00:17:40,600 --> 00:17:45,159
Speaker 1: why have put feet upon this device or this prop

327
00:17:45,280 --> 00:17:47,920
Speaker 1: or this piece of furniture? Uh? Could I not make

328
00:17:47,960 --> 00:17:50,720
Speaker 1: those feet like actual feet? Uh? And I guess you

329
00:17:50,720 --> 00:17:53,200
Speaker 1: can even say there's a bit of biomimicry there as well,

330
00:17:53,240 --> 00:17:55,240
Speaker 1: like if you're going to support an object with these

331
00:17:55,760 --> 00:17:59,040
Speaker 1: like stumpy pods, uh, well maybe make them look like

332
00:17:59,080 --> 00:18:01,840
Speaker 1: a foot. That's true. In fact, you've got me thinking

333
00:18:01,840 --> 00:18:06,320
Speaker 1: about how often the legs of you know, fancier pieces

334
00:18:06,359 --> 00:18:11,000
Speaker 1: of furniture are kind of shaped to be organic or

335
00:18:11,080 --> 00:18:12,919
Speaker 1: flesh like in a way. They might have kind of

336
00:18:12,960 --> 00:18:15,520
Speaker 1: curves on them, similar to a human leg or to

337
00:18:15,600 --> 00:18:19,280
Speaker 1: an animal leg, even if they're not explicitly trying to

338
00:18:19,320 --> 00:18:22,200
Speaker 1: depict a human or animal leg like with toes and stuff,

339
00:18:22,560 --> 00:18:24,960
Speaker 1: right though, of course, there are plenty of explicit depictions

340
00:18:25,000 --> 00:18:27,199
Speaker 1: out there where it's like it's straight up looks like

341
00:18:27,240 --> 00:18:29,080
Speaker 1: the foot of a lion or a goat or what

342
00:18:29,160 --> 00:18:36,680
Speaker 1: have you. Thank you, thank you, thank so. Looking around

343
00:18:36,680 --> 00:18:39,320
Speaker 1: in the history of lamp designs, um, you know, I'm

344
00:18:39,359 --> 00:18:42,920
Speaker 1: sure I missed something interesting, But I've come across two

345
00:18:42,960 --> 00:18:47,600
Speaker 1: different examples of UH from from from Greek and Roman

346
00:18:47,600 --> 00:18:51,439
Speaker 1: traditions that are that are pretty interesting, particularly when dealing

347
00:18:51,480 --> 00:18:56,920
Speaker 1: with the Greek ascos and the Greek alabastron. So an

348
00:18:56,920 --> 00:19:00,680
Speaker 1: ascos is an ancient Greek pottery vessel used to pour

349
00:19:00,800 --> 00:19:04,080
Speaker 1: liquids such as oils, so it is not quite a lamp,

350
00:19:04,440 --> 00:19:06,919
Speaker 1: though it could have been used to store lamp oil

351
00:19:07,119 --> 00:19:10,040
Speaker 1: and could have been used to refill lamps. And many

352
00:19:10,080 --> 00:19:13,720
Speaker 1: of these were decorated and decorational, sometimes in the form

353
00:19:13,880 --> 00:19:18,400
Speaker 1: of animals. And then an alabastron is similar. It's a

354
00:19:18,400 --> 00:19:22,439
Speaker 1: a pottery vessel often used for holding oils or perfumes,

355
00:19:22,560 --> 00:19:26,200
Speaker 1: named for the carved alabaster containers from Egypt that started

356
00:19:26,240 --> 00:19:29,520
Speaker 1: the design key and the key thing here is that

357
00:19:29,560 --> 00:19:34,119
Speaker 1: these are generally elongated, so um they are by their

358
00:19:34,200 --> 00:19:37,119
Speaker 1: very nature and their sort of generic form kind of

359
00:19:37,200 --> 00:19:40,159
Speaker 1: leg shaped. So you'll find both the of these in

360
00:19:40,560 --> 00:19:44,160
Speaker 1: various shapes and forms, and and they're littered throughout museums

361
00:19:44,160 --> 00:19:47,520
Speaker 1: and collections around the world. But I was able to

362
00:19:47,520 --> 00:19:52,679
Speaker 1: find some images of for starters, there's a leg shaped

363
00:19:52,720 --> 00:19:56,880
Speaker 1: ascos or alabastron that is or was in the collection

364
00:19:56,920 --> 00:20:00,639
Speaker 1: of the Royal Ontario Museum in Toronto, though I've had

365
00:20:00,640 --> 00:20:03,720
Speaker 1: trouble finding out any additional information about it. I might

366
00:20:03,760 --> 00:20:06,480
Speaker 1: have to ask anyone out there who has has visited

367
00:20:06,840 --> 00:20:09,840
Speaker 1: the Royal Ontario Museum or or can visit it now,

368
00:20:10,440 --> 00:20:12,200
Speaker 1: to go in and try and get me more answers

369
00:20:12,200 --> 00:20:15,520
Speaker 1: on this. But the image I found is indeed uh

370
00:20:15,560 --> 00:20:18,360
Speaker 1: an alabastron, or it appears to be an alabaster. It's

371
00:20:18,359 --> 00:20:20,080
Speaker 1: hard to figure out what the scale is here. It

372
00:20:20,200 --> 00:20:24,399
Speaker 1: is shaped like a essentially like a naked human leg,

373
00:20:25,280 --> 00:20:27,720
Speaker 1: and it's free standing. It looks like it had it

374
00:20:27,760 --> 00:20:31,080
Speaker 1: maybe has sandals drawn on it um and it was yeah,

375
00:20:31,280 --> 00:20:34,160
Speaker 1: used to hold oil or something. This gives new meaning

376
00:20:34,240 --> 00:20:36,800
Speaker 1: to the the expression that someone who can hold their

377
00:20:36,840 --> 00:20:40,400
Speaker 1: liquor has a quote hollow leg. Yes, this is indeed

378
00:20:40,680 --> 00:20:43,879
Speaker 1: hollow leg. I wonder if that yeah. I didn't even

379
00:20:43,920 --> 00:20:47,240
Speaker 1: think about that that that phrase. Um. Now I was

380
00:20:47,280 --> 00:20:49,639
Speaker 1: able to find more information on another one. There is

381
00:20:49,720 --> 00:20:53,199
Speaker 1: a Greek pottery alabastron in the shape of aggrieved or

382
00:20:53,320 --> 00:20:58,000
Speaker 1: armored leg from Corinth or Rhodes circus six century b

383
00:20:58,119 --> 00:21:01,199
Speaker 1: c E. And it's part or was I'm not sure of.

384
00:21:01,320 --> 00:21:05,200
Speaker 1: The Callos Collection in London included an image of this

385
00:21:05,400 --> 00:21:08,639
Speaker 1: uh for you to look at as well. Joe. So,

386
00:21:08,640 --> 00:21:12,480
Speaker 1: so this is less decorative um and but also is

387
00:21:12,520 --> 00:21:16,280
Speaker 1: not a naked leg. It has armor on it. Yeah,

388
00:21:16,320 --> 00:21:20,080
Speaker 1: this is more like an ancient RoboCop leg. Yeah. And

389
00:21:20,119 --> 00:21:23,639
Speaker 1: the Callos Collection website shares the following quote. The callous

390
00:21:23,720 --> 00:21:26,720
Speaker 1: example above is a very rare and fine alabasterone that

391
00:21:26,760 --> 00:21:29,040
Speaker 1: takes the shape of a leg protected by a grieve,

392
00:21:29,520 --> 00:21:32,560
Speaker 1: dating to the sixth century b c e. It is

393
00:21:32,600 --> 00:21:36,040
Speaker 1: an interesting example of a plastic vase from this period.

394
00:21:36,359 --> 00:21:39,320
Speaker 1: And note the use of the term plastic here. Uh.

395
00:21:39,320 --> 00:21:42,480
Speaker 1: It's not modern plastic obviously. This just means that it's molded,

396
00:21:42,520 --> 00:21:45,760
Speaker 1: and this is derived from the Greek verb plastine, meaning

397
00:21:45,760 --> 00:21:50,280
Speaker 1: to mold. Quote. The grief is outlined in black slip

398
00:21:50,880 --> 00:21:54,280
Speaker 1: and tapers towards the ankle area. The foot emerges beneath

399
00:21:54,520 --> 00:21:59,000
Speaker 1: with carefully insize details for the sandal and toes. Although

400
00:21:59,040 --> 00:22:03,000
Speaker 1: primarily used as a container, the form of this alabastron

401
00:22:03,080 --> 00:22:06,000
Speaker 1: as a grieved leg implies that it may also have

402
00:22:06,080 --> 00:22:10,560
Speaker 1: been used um at or dedicated to a sanctuary as

403
00:22:10,600 --> 00:22:13,719
Speaker 1: a votive offering There is a very similar example of

404
00:22:13,760 --> 00:22:18,600
Speaker 1: this rare type in the Museum of Pharmacia in Portugal,

405
00:22:18,760 --> 00:22:21,080
Speaker 1: and they include an inventory number and I was able

406
00:22:21,119 --> 00:22:25,480
Speaker 1: to look it up. It's number uh ten two, and

407
00:22:25,720 --> 00:22:28,160
Speaker 1: you get kind of a delightful rear view of this

408
00:22:28,240 --> 00:22:31,919
Speaker 1: free standing hollow leg was Okay, so it seems like

409
00:22:31,920 --> 00:22:34,640
Speaker 1: a bunch of ancient Greeks really uh pouring stuff out

410
00:22:34,680 --> 00:22:38,080
Speaker 1: of legs. Yeah. Now, again, these are not lamps. They're

411
00:22:38,119 --> 00:22:40,919
Speaker 1: merely containers that may have contained lamp oil and may

412
00:22:40,960 --> 00:22:44,199
Speaker 1: have been used to refill lamps. But we're not done yet. So,

413
00:22:44,240 --> 00:22:46,679
Speaker 1: as the Pagans point out, the Roman period was a

414
00:22:46,720 --> 00:22:50,439
Speaker 1: time of of pottery lamp mass production, and lamps of

415
00:22:50,440 --> 00:22:53,679
Speaker 1: every design were used for not only practical reasons, you know,

416
00:22:53,840 --> 00:22:56,879
Speaker 1: providing illumination when you need it, but also purely esthetic

417
00:22:56,920 --> 00:23:00,320
Speaker 1: reasons and even religious and occult reasons. And that brings

418
00:23:00,400 --> 00:23:04,760
Speaker 1: us to the next example, the Roman foot lamp. I

419
00:23:04,880 --> 00:23:09,119
Speaker 1: initially found these on the Ferraby Keeper blog by Wayne Ferraby,

420
00:23:09,280 --> 00:23:12,000
Speaker 1: a Brooklyn based writer, and I have to say this

421
00:23:12,040 --> 00:23:13,919
Speaker 1: is quite a good, good looking blog. Looks like a

422
00:23:13,920 --> 00:23:15,720
Speaker 1: lot of interesting content on here. I anyone wants to

423
00:23:15,760 --> 00:23:20,200
Speaker 1: check it out it's uh Farrabee Keeper dot WordPress dot com.

424
00:23:20,800 --> 00:23:23,600
Speaker 1: And uh, the great thing here is that we're not

425
00:23:23,640 --> 00:23:26,200
Speaker 1: just talking about one lamp. We're not talking about oh well,

426
00:23:26,240 --> 00:23:28,320
Speaker 1: here's the Roman foot lamp, and we we don't we

427
00:23:28,320 --> 00:23:30,639
Speaker 1: have no idea why they made this. Instead, we have

428
00:23:30,800 --> 00:23:35,119
Speaker 1: several different surviving lamps. And Uh, I've included images for

429
00:23:35,119 --> 00:23:37,080
Speaker 1: you to look at, Joe. I invite anyone out there

430
00:23:37,080 --> 00:23:40,280
Speaker 1: to either visit that Ferraby website or to to do

431
00:23:40,320 --> 00:23:42,640
Speaker 1: Google image searches so you can pull this up for yourself,

432
00:23:43,119 --> 00:23:47,400
Speaker 1: because these are these are wondrous and and really strange

433
00:23:47,480 --> 00:23:50,560
Speaker 1: to look at. They are lamps in the shape of

434
00:23:50,560 --> 00:23:55,439
Speaker 1: of a human foot, as the name implies. With with

435
00:23:55,440 --> 00:24:00,080
Speaker 1: with with essentially a stopper or lid um at the

436
00:24:00,080 --> 00:24:03,560
Speaker 1: aperture where the stump of the disembodied foot would be,

437
00:24:03,960 --> 00:24:07,080
Speaker 1: and then there's another aperture at the big toe, and

438
00:24:07,119 --> 00:24:09,639
Speaker 1: it is from this that the wick and therefore the

439
00:24:09,680 --> 00:24:12,760
Speaker 1: flame would emerge. Right, So I guess you would hold

440
00:24:12,800 --> 00:24:14,640
Speaker 1: this by the handle at the back of the foot,

441
00:24:14,640 --> 00:24:17,320
Speaker 1: so you're holding it like behind the heel, and then

442
00:24:17,359 --> 00:24:19,800
Speaker 1: you would have the flame sticking out of the big

443
00:24:19,840 --> 00:24:22,919
Speaker 1: toe at the front. Yes, if you were holding it.

444
00:24:22,960 --> 00:24:26,080
Speaker 1: But then, as we'll discuss, there are some questions regarding

445
00:24:26,119 --> 00:24:30,480
Speaker 1: exactly what one does with a foot lamp um. But

446
00:24:30,640 --> 00:24:32,639
Speaker 1: but I'm looking at it too. It also reminds me

447
00:24:32,680 --> 00:24:35,640
Speaker 1: a bit of depictions of the hand of Glory, the

448
00:24:35,640 --> 00:24:37,480
Speaker 1: you know, the occult item that is supposed to be

449
00:24:37,520 --> 00:24:41,840
Speaker 1: like the the the disembodied hand of a like a

450
00:24:41,880 --> 00:24:45,199
Speaker 1: criminals corpse that is then transformed in this into this

451
00:24:45,280 --> 00:24:49,000
Speaker 1: magical item that burns candle light from the fingertips and

452
00:24:49,040 --> 00:24:52,720
Speaker 1: you know, has strange energies and effects. Except this is

453
00:24:52,760 --> 00:24:55,080
Speaker 1: not a hand. This is a foot. It's not a

454
00:24:55,119 --> 00:24:59,480
Speaker 1: real it's a ceramic foot and uh, you know it's

455
00:24:59,560 --> 00:25:02,680
Speaker 1: it's a a foot of pottery and uh and yeah,

456
00:25:02,680 --> 00:25:05,520
Speaker 1: there is this flame that is emitting from either in

457
00:25:05,600 --> 00:25:08,000
Speaker 1: front of the toe or from the toe itself. It

458
00:25:08,040 --> 00:25:12,200
Speaker 1: depends on exactly how how the sculptor or has has

459
00:25:12,320 --> 00:25:15,919
Speaker 1: has arranged it. You know. Now, what I would wonder

460
00:25:16,160 --> 00:25:20,000
Speaker 1: is is this just like because somebody wanted an interesting

461
00:25:20,119 --> 00:25:22,480
Speaker 1: lamp and they made lamps that look like looked like

462
00:25:22,520 --> 00:25:25,159
Speaker 1: all kinds of things, or would a foot lamp have

463
00:25:25,280 --> 00:25:30,040
Speaker 1: a particular significance in say a religious or political context

464
00:25:30,200 --> 00:25:33,240
Speaker 1: or something. Yeah, and that is that is the riddle

465
00:25:33,440 --> 00:25:36,440
Speaker 1: that that that the rest of us are left having

466
00:25:36,480 --> 00:25:39,760
Speaker 1: to solve. So Ferraby points out that the symbols and

467
00:25:39,800 --> 00:25:42,040
Speaker 1: motifs of the ancient Romans don't always make sense to

468
00:25:42,119 --> 00:25:44,080
Speaker 1: us today, which I think is a very fair point.

469
00:25:44,640 --> 00:25:47,000
Speaker 1: And uh and he He says that the best explanation

470
00:25:47,040 --> 00:25:49,760
Speaker 1: that he could find where that these were sort of

471
00:25:49,920 --> 00:25:54,320
Speaker 1: literal footlights placed on the floor or ground, especially at

472
00:25:54,359 --> 00:25:58,040
Speaker 1: the base of murals, which which is inter It's still

473
00:25:58,040 --> 00:26:00,359
Speaker 1: hard to figure out exactly like what at me, is

474
00:26:00,359 --> 00:26:02,560
Speaker 1: it just you know, pure novelty. It's like, well, it's

475
00:26:03,080 --> 00:26:04,600
Speaker 1: it's a foot lamp, or it's a it's a lamp

476
00:26:04,640 --> 00:26:06,840
Speaker 1: that goes on the ground where our feet are. Let's

477
00:26:06,840 --> 00:26:08,960
Speaker 1: make it in the shape of a foot as well. Well,

478
00:26:09,000 --> 00:26:11,160
Speaker 1: to call back to the Simpsons. That kind of reminds

479
00:26:11,200 --> 00:26:13,800
Speaker 1: me of why is their corn on the curtains in

480
00:26:13,840 --> 00:26:17,960
Speaker 1: the kitchen, I don't know, kitchen food corn? Yeah, Or

481
00:26:18,480 --> 00:26:21,919
Speaker 1: imagine um time travel or visiting our current agent finding

482
00:26:22,240 --> 00:26:26,480
Speaker 1: solar powered outdoor lights that look like mushrooms? Why do

483
00:26:26,560 --> 00:26:28,720
Speaker 1: they look like mushrooms? Well, I mean it basically comes

484
00:26:28,720 --> 00:26:32,240
Speaker 1: down to there on the ground where mushrooms are. Um,

485
00:26:32,320 --> 00:26:35,200
Speaker 1: so why not make them look like mushrooms? It amuses us.

486
00:26:35,560 --> 00:26:39,680
Speaker 1: It just makes sense, yes, But I decided to look

487
00:26:39,720 --> 00:26:41,920
Speaker 1: into this a little bit deep deeper, and I looked

488
00:26:41,920 --> 00:26:44,600
Speaker 1: in a book titled Light and Darkness and Ancient Greek

489
00:26:44,640 --> 00:26:47,639
Speaker 1: myth and Religion from two thousand ten. Uh. This has

490
00:26:47,760 --> 00:26:52,360
Speaker 1: numerous authors on it, but is edited by Christophilis and Levaniuk,

491
00:26:52,720 --> 00:26:55,359
Speaker 1: and they mentioned that Roman foot lamps were used in

492
00:26:55,560 --> 00:26:59,399
Speaker 1: incubation rituals, citing a couple of sources as well that

493
00:26:59,520 --> 00:27:02,159
Speaker 1: I try to follow, but I don't think they actually

494
00:27:02,160 --> 00:27:07,240
Speaker 1: have English translations. So incubation rituals or dream incubation rituals

495
00:27:07,280 --> 00:27:11,600
Speaker 1: involved involved sleeping in sacred places in order to receive

496
00:27:11,760 --> 00:27:15,439
Speaker 1: dreams or visions, and it seems that copious amounts of

497
00:27:15,520 --> 00:27:19,480
Speaker 1: lamps were often associated with many of the sites where

498
00:27:19,520 --> 00:27:23,720
Speaker 1: you would engage in incubation rituals, as described in a

499
00:27:23,840 --> 00:27:28,720
Speaker 1: book by Sandra Blakely titled God's Objects and Ritual Practice.

500
00:27:29,200 --> 00:27:31,320
Speaker 1: I don't remember what episode it was in the past,

501
00:27:31,320 --> 00:27:33,199
Speaker 1: but somehow this came up, but I think we were

502
00:27:33,240 --> 00:27:37,280
Speaker 1: talking about ancient rituals for dream incubation, specifically with regard

503
00:27:37,359 --> 00:27:40,920
Speaker 1: to the Greek god of healing and medicine Asclepius, where

504
00:27:41,800 --> 00:27:45,240
Speaker 1: people who were sick and wanted healing would come to

505
00:27:45,280 --> 00:27:48,200
Speaker 1: the temple of Asclepius and actually sleep in the temple

506
00:27:48,400 --> 00:27:50,679
Speaker 1: in order to like they'd make an offering or do

507
00:27:50,720 --> 00:27:53,320
Speaker 1: a ritual and they'd sleep in the temple in order

508
00:27:53,359 --> 00:27:57,000
Speaker 1: to receive a dream from the god as a form

509
00:27:57,040 --> 00:27:59,680
Speaker 1: of cure for their illness. Yeah, there you go. That

510
00:27:59,720 --> 00:28:02,240
Speaker 1: would that would be dreaming incubation. That's what we're talking

511
00:28:02,280 --> 00:28:06,000
Speaker 1: about here. But how do these lamps come into play?

512
00:28:07,359 --> 00:28:10,680
Speaker 1: I found another source that had some wonderful inside here.

513
00:28:11,119 --> 00:28:16,120
Speaker 1: Uh And this was a ninety six paper titled Material

514
00:28:16,280 --> 00:28:21,320
Speaker 1: on the Cult of Sarapis by Dorothy Kent Hill. And um,

515
00:28:21,359 --> 00:28:24,520
Speaker 1: I'm gonna read a quote from it here, but first

516
00:28:24,560 --> 00:28:27,040
Speaker 1: I want to run through a couple of things here

517
00:28:27,119 --> 00:28:31,520
Speaker 1: so that everyone will will know what what's being referred to. So,

518
00:28:31,560 --> 00:28:36,000
Speaker 1: first of all, Ureus is a curling snake motif probably

519
00:28:36,040 --> 00:28:38,800
Speaker 1: best recognized as a symbol of divine authority on the

520
00:28:38,800 --> 00:28:43,040
Speaker 1: heads of of of of Egyptian sarcophagus is. Uh. So,

521
00:28:43,080 --> 00:28:45,400
Speaker 1: I think everyone's probably seen one of these before, you know,

522
00:28:45,480 --> 00:28:48,880
Speaker 1: like a like a hooded cobra or a snake that

523
00:28:49,000 --> 00:28:51,480
Speaker 1: is emerging from a head dress or from the head

524
00:28:51,840 --> 00:28:54,560
Speaker 1: of one of these artistic depictions, also known as a

525
00:28:54,640 --> 00:28:59,720
Speaker 1: boss snake. Okay, yeah, and then Sarapis, it was a

526
00:29:00,040 --> 00:29:05,160
Speaker 1: echo Egyptian deity. He was introduced but not necessarily created

527
00:29:05,320 --> 00:29:08,520
Speaker 1: by Greek pharaoh Ptolemy the first Soda as an attempt

528
00:29:08,520 --> 00:29:12,600
Speaker 1: to unify Greek and Egyptian culture, specifically as a generaldine.

529
00:29:12,640 --> 00:29:15,160
Speaker 1: Pinch points out, in Egyptian mythology a di z he

530
00:29:15,240 --> 00:29:18,720
Speaker 1: was meant to be a combination of APIs and Osiris

531
00:29:18,720 --> 00:29:22,920
Speaker 1: and Zeus and Dionysus. Now, Sarapus is often depicted with

532
00:29:23,080 --> 00:29:27,280
Speaker 1: something on his head that might be confused by the

533
00:29:27,280 --> 00:29:30,840
Speaker 1: casual viewer as maybe something that is also involved in illumination,

534
00:29:30,920 --> 00:29:33,479
Speaker 1: Like it looks like you look at images of him

535
00:29:33,480 --> 00:29:34,960
Speaker 1: and it kind of looks like you're supposed to put

536
00:29:34,960 --> 00:29:38,040
Speaker 1: a candle on top of his head. Yeah, yeah, And

537
00:29:38,200 --> 00:29:40,480
Speaker 1: it doesn't really look like a hat or anything. It

538
00:29:40,520 --> 00:29:42,640
Speaker 1: just looks like there's some kind of like container or

539
00:29:42,760 --> 00:29:45,440
Speaker 1: bucket or something attached to his head in in the

540
00:29:45,480 --> 00:29:47,640
Speaker 1: form that he's in now, as as a piece of

541
00:29:47,640 --> 00:29:50,480
Speaker 1: statuary or something. Yeah, So at first I was thinking,

542
00:29:50,480 --> 00:29:53,760
Speaker 1: well that maybe it's illumination is involved in more ways

543
00:29:53,800 --> 00:29:56,400
Speaker 1: than one here, But as it turns out, Sarapis is

544
00:29:56,440 --> 00:29:59,320
Speaker 1: often depicted with this um with this thing on his

545
00:29:59,360 --> 00:30:03,200
Speaker 1: head called a a modius, which is a basket grain measure,

546
00:30:03,240 --> 00:30:07,400
Speaker 1: a Greek symbol for the land of the dead. Now,

547
00:30:07,480 --> 00:30:11,760
Speaker 1: in this text by by Dorothy Kent hill Um, she

548
00:30:11,840 --> 00:30:16,400
Speaker 1: includes two images of bronze lamps in the form of

549
00:30:16,480 --> 00:30:19,680
Speaker 1: human feet, and that they're very much like we've we've

550
00:30:19,720 --> 00:30:23,680
Speaker 1: described thus far, except there there's an extra interesting thing

551
00:30:23,720 --> 00:30:26,520
Speaker 1: about them. So, yes, you have the big toe or

552
00:30:26,800 --> 00:30:29,280
Speaker 1: or something just beyond the big toe that is clearly

553
00:30:29,320 --> 00:30:31,480
Speaker 1: designed for the wick to go in and for flame

554
00:30:31,520 --> 00:30:34,920
Speaker 1: to come out of. There is the the larger aperture

555
00:30:35,040 --> 00:30:38,680
Speaker 1: at the stump of the disembodied foot. But in both

556
00:30:38,720 --> 00:30:42,080
Speaker 1: of these you also have a rod that's basically going

557
00:30:42,120 --> 00:30:45,080
Speaker 1: up from the base of the heel. And uh and

558
00:30:45,080 --> 00:30:47,600
Speaker 1: and this is something that that she ends up reflecting on.

559
00:30:47,600 --> 00:30:49,640
Speaker 1: I should also add at the top of this this

560
00:30:49,880 --> 00:30:53,240
Speaker 1: rod that's emerging from the base of the heel, we

561
00:30:53,400 --> 00:30:58,440
Speaker 1: see once once more, this ureus symbol. We see the

562
00:30:58,440 --> 00:31:01,720
Speaker 1: curled snake. Oh yeah, there it is with the hood flared.

563
00:31:02,160 --> 00:31:04,520
Speaker 1: So this is what what she had to say. Quote.

564
00:31:04,880 --> 00:31:07,920
Speaker 1: Lamps modeled after parts of the body, especially the foot,

565
00:31:07,960 --> 00:31:11,040
Speaker 1: were very common in antiquity. Such a lamp might reflect

566
00:31:11,160 --> 00:31:14,240
Speaker 1: no more than a whimsical mood of a craftsman. But

567
00:31:14,320 --> 00:31:18,520
Speaker 1: the ureus immediately suggests a connection with the giant detached

568
00:31:18,520 --> 00:31:23,760
Speaker 1: sarapis feed recently studied by dal and Opsen. On these monuments,

569
00:31:23,760 --> 00:31:26,760
Speaker 1: the ureus is usually curled somewhere in the neighborhood of

570
00:31:26,760 --> 00:31:29,760
Speaker 1: the ankle. Here it coils on a rod which rises

571
00:31:29,800 --> 00:31:32,320
Speaker 1: at the back of the foot. The space between the

572
00:31:32,320 --> 00:31:34,080
Speaker 1: top of the foot and the tail of the snake

573
00:31:34,200 --> 00:31:37,960
Speaker 1: is great enough to accommodate a small bust of sarapis,

574
00:31:38,440 --> 00:31:41,320
Speaker 1: which would correspond in position to the busts on some

575
00:31:41,440 --> 00:31:44,520
Speaker 1: of the stone feet. We have observed that something was

576
00:31:44,560 --> 00:31:47,560
Speaker 1: attached to the cover, and may now suggest a bust

577
00:31:47,560 --> 00:31:50,640
Speaker 1: of the god as the most plausible candidate. If the

578
00:31:50,680 --> 00:31:54,000
Speaker 1: bust were placed in this position, the ureus would appear

579
00:31:54,040 --> 00:31:57,280
Speaker 1: to loom over the head of the god. Wait a minute,

580
00:31:57,280 --> 00:31:59,800
Speaker 1: so I feel like I must be understanding this wrong.

581
00:31:59,840 --> 00:32:02,320
Speaker 1: But does this mean this would be a foot with

582
00:32:02,400 --> 00:32:05,160
Speaker 1: the head on the on the leg of the foot,

583
00:32:05,320 --> 00:32:08,480
Speaker 1: and then a snake over the head. Yeah. Yeah, that's

584
00:32:08,640 --> 00:32:11,080
Speaker 1: that's what I am. I am to understand here. It's

585
00:32:11,160 --> 00:32:13,920
Speaker 1: kind of like, here's a foot, let's put it. Or

586
00:32:14,040 --> 00:32:15,760
Speaker 1: or maybe we should think in reverse. I have a

587
00:32:15,800 --> 00:32:18,800
Speaker 1: bust of a of a god. I want to display um.

588
00:32:18,840 --> 00:32:20,920
Speaker 1: I want to display it. I don't want to just

589
00:32:21,000 --> 00:32:22,400
Speaker 1: lay it on the floor though. I need something to

590
00:32:22,400 --> 00:32:25,600
Speaker 1: hold it up, and also I need to illuminate it. Well,

591
00:32:25,640 --> 00:32:27,200
Speaker 1: I need a foot, and I need a foot that

592
00:32:27,240 --> 00:32:30,400
Speaker 1: emits fire, and and then you know they're able to

593
00:32:30,440 --> 00:32:33,680
Speaker 1: work the urus into it as the as the rod

594
00:32:33,680 --> 00:32:36,840
Speaker 1: that is holding the bust above the foot. And there's more,

595
00:32:37,040 --> 00:32:40,960
Speaker 1: because she writes quote the smoke rising before the god

596
00:32:41,160 --> 00:32:45,480
Speaker 1: from the lamp would create an eerie religious effect. Although

597
00:32:45,480 --> 00:32:48,480
Speaker 1: Sarapis was by no means the only deity honored on

598
00:32:48,640 --> 00:32:52,760
Speaker 1: Laps his frequent presence, there is evidence for the probability

599
00:32:52,840 --> 00:32:57,040
Speaker 1: of his guardianship over this bronze foot, referring to the

600
00:32:57,160 --> 00:33:00,120
Speaker 1: example that she's talking about in the article. Certainly, how ever,

601
00:33:00,320 --> 00:33:03,320
Speaker 1: there are not good grounds for connecting all foot shaped

602
00:33:03,400 --> 00:33:08,280
Speaker 1: lamps with the Sarapis cult. Interestingly enough, she also speculates

603
00:33:08,800 --> 00:33:12,680
Speaker 1: she she brings up Psalms one nineteen the world thy

604
00:33:12,720 --> 00:33:14,440
Speaker 1: word is a lamp into my feet and a light

605
00:33:14,520 --> 00:33:17,800
Speaker 1: into my path um, suggesting that you know, there are

606
00:33:17,880 --> 00:33:21,480
Speaker 1: various ways we could interpret a foot shaped lamp um

607
00:33:21,520 --> 00:33:24,000
Speaker 1: that in and and uh, and and again it comes

608
00:33:24,000 --> 00:33:25,840
Speaker 1: back to the basic question like how much of this

609
00:33:25,920 --> 00:33:28,840
Speaker 1: is novelty, how much of it is based in some

610
00:33:28,960 --> 00:33:32,600
Speaker 1: reference that just has not survived the ages, or indeed,

611
00:33:32,640 --> 00:33:35,440
Speaker 1: I mean I have to say this, this idea of

612
00:33:35,440 --> 00:33:39,000
Speaker 1: of the lamp being used to um to illuminate and

613
00:33:39,000 --> 00:33:42,280
Speaker 1: create like a smoky effect before the the image of

614
00:33:42,280 --> 00:33:45,680
Speaker 1: a god. Uh, there's something attractive about that. And and

615
00:33:45,680 --> 00:33:48,040
Speaker 1: perhaps this idea too, Yeah that it's like if well,

616
00:33:48,040 --> 00:33:49,960
Speaker 1: if I'm going to hold up the face of a

617
00:33:50,040 --> 00:33:53,160
Speaker 1: god on some sort of a stand, then I need

618
00:33:53,160 --> 00:33:54,680
Speaker 1: it to be in a foot as well. Like I

619
00:33:55,720 --> 00:33:59,080
Speaker 1: there's something about the compulsion there that is that's fascinating.

620
00:33:59,480 --> 00:34:03,080
Speaker 1: Like would be wrong to to to to to hold

621
00:34:03,160 --> 00:34:05,680
Speaker 1: up that bust of Sarapis without a foot, without a

622
00:34:05,720 --> 00:34:07,560
Speaker 1: human foot at the bottom? Would there be something kind

623
00:34:07,560 --> 00:34:10,120
Speaker 1: of blasphemous about that? I wonder, Well, it's funny how

624
00:34:10,160 --> 00:34:13,520
Speaker 1: the idea of a pedestal is derived from pad like foot,

625
00:34:13,560 --> 00:34:17,439
Speaker 1: but in this case it's literally a foot. Yeah, And

626
00:34:17,520 --> 00:34:19,400
Speaker 1: this is this is interesting too to think of in

627
00:34:19,600 --> 00:34:22,839
Speaker 1: comparison to a Christmas story, because obviously, with the Christmas story,

628
00:34:22,920 --> 00:34:25,040
Speaker 1: part of the whole deal with the lamp is that

629
00:34:25,120 --> 00:34:28,520
Speaker 1: it is objectification of the female form. It's the idea

630
00:34:28,520 --> 00:34:30,320
Speaker 1: of like, here is just the leg of a woman

631
00:34:30,360 --> 00:34:33,680
Speaker 1: that is sexy, um, you know, without taking you into

632
00:34:33,719 --> 00:34:36,839
Speaker 1: account the rest of her as a physical whole being

633
00:34:36,920 --> 00:34:39,719
Speaker 1: and of course as a person um. In this it

634
00:34:39,719 --> 00:34:41,600
Speaker 1: almost seems like we have the reverse where it's like, well,

635
00:34:41,640 --> 00:34:44,040
Speaker 1: if we're going to have something else attached to this

636
00:34:44,520 --> 00:34:47,080
Speaker 1: piece of a god, we need it to also be

637
00:34:47,200 --> 00:34:51,040
Speaker 1: a physical piece of said God. Perhaps, okay, I'm going

638
00:34:51,040 --> 00:34:53,719
Speaker 1: with you now. Realistically, I think that's about all the

639
00:34:53,719 --> 00:34:57,640
Speaker 1: connects these ancient foot lamps with a Christmas story, you know,

640
00:34:57,719 --> 00:35:01,000
Speaker 1: probably no more than to say making just including lamps.

641
00:35:01,000 --> 00:35:02,560
Speaker 1: It look like feeder legs is just the sort of

642
00:35:02,560 --> 00:35:06,560
Speaker 1: thing that human artisans might do. But I think if

643
00:35:06,560 --> 00:35:09,160
Speaker 1: we were to be unrealistic about the connection, we could

644
00:35:09,640 --> 00:35:12,640
Speaker 1: we could wonder that perhaps what has happened here is

645
00:35:12,640 --> 00:35:15,840
Speaker 1: the old man has has entered into the worship of

646
00:35:15,880 --> 00:35:19,279
Speaker 1: an ancient Greco Egyptian god and wishes to bring the

647
00:35:19,320 --> 00:35:24,320
Speaker 1: city of Cleveland under his domain. His wife, however, clearly

648
00:35:24,400 --> 00:35:28,200
Speaker 1: she serves the god Osiris, who Sarapis, you know, partially

649
00:35:28,239 --> 00:35:31,600
Speaker 1: replaces whereas it was introduced to replace, and so she

650
00:35:31,680 --> 00:35:34,640
Speaker 1: brings about the lamps destruction in a campaign to keep

651
00:35:34,680 --> 00:35:38,040
Speaker 1: Cleveland under the sway of the green skinned god. Yeah.

652
00:35:38,080 --> 00:35:40,680
Speaker 1: I think there's also some underworld stuff you can do

653
00:35:40,800 --> 00:35:43,240
Speaker 1: with him going into the basement to fight the furnace.

654
00:35:43,600 --> 00:35:47,319
Speaker 1: That seems to connect maybe somehow. Oh, but you know,

655
00:35:47,400 --> 00:35:49,160
Speaker 1: we also have to think about the fact that, okay,

656
00:35:49,239 --> 00:35:53,800
Speaker 1: if if the god Sarapis is also still Osiris into

657
00:35:53,880 --> 00:35:56,320
Speaker 1: some to to some extent, I mean, part of the

658
00:35:56,320 --> 00:35:59,480
Speaker 1: whole myth of Osiris is that his body is dismembered.

659
00:36:00,480 --> 00:36:02,160
Speaker 1: You know, that's part of the whole, uh, you know

660
00:36:02,160 --> 00:36:05,359
Speaker 1: Osirius Smith's cycle. It's about his death and resurrection. And

661
00:36:05,400 --> 00:36:08,239
Speaker 1: of course we see the lamp broken into pieces as well,

662
00:36:08,360 --> 00:36:12,239
Speaker 1: and an attempt, a failed attempt to resurrect it. That

663
00:36:12,400 --> 00:36:15,439
Speaker 1: that's very good. Kudo kudos to you. Rob. I'm I'm

664
00:36:15,480 --> 00:36:18,080
Speaker 1: just I'm just interpreting the work of the gods. Here,

665
00:36:18,239 --> 00:36:27,200
Speaker 1: I'm just a messenger. Yes, thank you, thank you. Now,

666
00:36:27,200 --> 00:36:30,400
Speaker 1: on the subject of tenuous connections to ancient art, I

667
00:36:30,440 --> 00:36:33,280
Speaker 1: wanted to talk about leg sculpture a little bit more broadly,

668
00:36:33,719 --> 00:36:37,279
Speaker 1: and at the risk of getting sappy, I also just

669
00:36:37,320 --> 00:36:40,080
Speaker 1: have to say that the idea of sculpture of the

670
00:36:40,160 --> 00:36:44,279
Speaker 1: human form as a lamp got me thinking about a

671
00:36:44,360 --> 00:36:46,920
Speaker 1: line in one of my favorite poems. I'm sure this

672
00:36:46,960 --> 00:36:48,759
Speaker 1: is what I've brought up on the show before. I

673
00:36:48,760 --> 00:36:52,040
Speaker 1: don't remember when, but it's the poem The Archaic Torso

674
00:36:52,080 --> 00:36:55,359
Speaker 1: of Apollo by Rainer Maria Rilka. I'm sure I've read

675
00:36:55,360 --> 00:36:58,439
Speaker 1: this one at you before. Rob. Let's see I read

676
00:36:58,440 --> 00:37:01,279
Speaker 1: a little bit and i'll see of rings a bell. Okay, well,

677
00:37:01,320 --> 00:37:03,719
Speaker 1: so this is the English translation by Stephen Mitchell. I

678
00:37:03,920 --> 00:37:06,400
Speaker 1: can't read the whole poem, but but it's worth looking

679
00:37:06,440 --> 00:37:09,400
Speaker 1: up The Archaic Torso of Apollo. It's an excellent poem.

680
00:37:09,920 --> 00:37:14,319
Speaker 1: But Stephen mitchell translation begins, we cannot know his legendary

681
00:37:14,400 --> 00:37:18,360
Speaker 1: head with eyes like ripening fruit, and yet his torso

682
00:37:18,560 --> 00:37:22,560
Speaker 1: is still suffused with brilliance from inside, like a lamp,

683
00:37:22,800 --> 00:37:26,439
Speaker 1: in which his gaze now turned low gleams in all

684
00:37:26,480 --> 00:37:30,600
Speaker 1: its power. Alright, alright. From here, he goes on to

685
00:37:30,680 --> 00:37:34,520
Speaker 1: describe this the kind of strange life flowing through this, uh,

686
00:37:34,560 --> 00:37:39,120
Speaker 1: this dismembered sculpture from from ancient Greece. And it ends

687
00:37:39,160 --> 00:37:42,560
Speaker 1: with a line that's pretty famous in in this translation.

688
00:37:42,600 --> 00:37:44,879
Speaker 1: It says, for here there is no place that does

689
00:37:44,960 --> 00:37:48,759
Speaker 1: not see you. You must change your life. So it's

690
00:37:48,800 --> 00:37:53,120
Speaker 1: about Rolka's experience of looking at this uh, fragment of

691
00:37:53,480 --> 00:37:56,680
Speaker 1: an an ancient sculpture of the human form that he sees.

692
00:37:56,880 --> 00:37:59,120
Speaker 1: I think he sees it in the louver one day

693
00:37:59,719 --> 00:38:04,040
Speaker 1: and uh and having this profound kind of stirring and

694
00:38:04,120 --> 00:38:07,719
Speaker 1: even frightening human connection with it. Now, the word that

695
00:38:07,760 --> 00:38:11,399
Speaker 1: appears as lamp in this English version I think I've

696
00:38:11,400 --> 00:38:15,920
Speaker 1: seen translated as kendelabrum in others. But in any case,

697
00:38:16,400 --> 00:38:18,680
Speaker 1: I like this because the line in the poem seems

698
00:38:18,719 --> 00:38:22,720
Speaker 1: to be confessing the power of great sculpture, to suggest

699
00:38:22,760 --> 00:38:26,440
Speaker 1: that there's something more than just mimicry of the shape

700
00:38:26,560 --> 00:38:29,200
Speaker 1: of a human in great sculpture. It's not just that

701
00:38:29,280 --> 00:38:32,719
Speaker 1: great sculpture gets the the outline and the form and

702
00:38:32,719 --> 00:38:36,440
Speaker 1: the contours of human right it's that in great sculpture,

703
00:38:36,600 --> 00:38:41,240
Speaker 1: something actually seems to be alive inside it, almost perceptibly

704
00:38:41,440 --> 00:38:45,799
Speaker 1: moving or lighting up. And I think this is the

705
00:38:45,800 --> 00:38:48,879
Speaker 1: case for Realka. Even though the sculpture he's looking at

706
00:38:48,960 --> 00:38:53,280
Speaker 1: has arrived in the modern world in a totally degraded form,

707
00:38:53,600 --> 00:38:56,120
Speaker 1: he mentions that it has no head. He calls it

708
00:38:56,160 --> 00:38:58,279
Speaker 1: a torso. So I looked it up, and I think

709
00:38:58,280 --> 00:39:01,400
Speaker 1: the actual artwork the he's talking about here is usually

710
00:39:01,480 --> 00:39:03,840
Speaker 1: understood to be an artifact in the collection of the

711
00:39:03,920 --> 00:39:08,239
Speaker 1: Louver called the coross of Melitas or the torso of Melitas.

712
00:39:08,320 --> 00:39:12,360
Speaker 1: So it is the torso of this nude male figure

713
00:39:12,440 --> 00:39:16,560
Speaker 1: that's a very common form of sculpture in an archaic

714
00:39:16,600 --> 00:39:19,759
Speaker 1: Greek art known as the coros, and this one was

715
00:39:19,880 --> 00:39:23,359
Speaker 1: excavated from the remains of Melitas. It is missing its head,

716
00:39:23,440 --> 00:39:26,719
Speaker 1: it's missing both arms. It's missing one leg up to

717
00:39:26,760 --> 00:39:29,839
Speaker 1: the upper thigh and the other leg from above the knee. Rob,

718
00:39:29,880 --> 00:39:31,880
Speaker 1: I've got an image from a couple of angles for

719
00:39:31,920 --> 00:39:34,200
Speaker 1: you to look at just down below here. Yeah, it

720
00:39:34,280 --> 00:39:36,920
Speaker 1: is quite quite striking. Yeah, that did the life like

721
00:39:37,360 --> 00:39:41,960
Speaker 1: muscle definition on this torso. I agree, even though it's

722
00:39:42,000 --> 00:39:44,439
Speaker 1: like missing most of the parts of the body. There's

723
00:39:44,440 --> 00:39:47,040
Speaker 1: still something a little bit haunting about it. I know

724
00:39:47,120 --> 00:39:49,719
Speaker 1: what Roka is talking about, because I see a kind

725
00:39:49,719 --> 00:39:52,720
Speaker 1: of hint of that that light or animating life force

726
00:39:52,800 --> 00:39:55,640
Speaker 1: in it, though in a in a muted or half

727
00:39:55,680 --> 00:39:58,600
Speaker 1: formed way, which I think is the ambiguity that makes

728
00:39:58,640 --> 00:40:02,319
Speaker 1: the sculpture an interesting subject for poetry. It's it's what

729
00:40:02,360 --> 00:40:04,759
Speaker 1: we we can't fully see or know about it that

730
00:40:04,880 --> 00:40:08,680
Speaker 1: makes it unsettling, and something kind of rings within our

731
00:40:08,800 --> 00:40:11,000
Speaker 1: chest when we look at it, and I think that's

732
00:40:11,040 --> 00:40:12,840
Speaker 1: the thing also that leads real good to say you

733
00:40:12,920 --> 00:40:16,520
Speaker 1: must change your life. But but this leads me to

734
00:40:16,520 --> 00:40:19,920
Speaker 1: to the fuller observation I wanted to make connecting the

735
00:40:20,000 --> 00:40:23,120
Speaker 1: leg lamp to art history, which is that I think

736
00:40:23,160 --> 00:40:25,239
Speaker 1: you could make a pretty good case that when it

737
00:40:25,280 --> 00:40:29,359
Speaker 1: comes to sculpture of the human form, the legs are

738
00:40:29,440 --> 00:40:34,160
Speaker 1: the life. Now why would I say that? Here's the

739
00:40:34,160 --> 00:40:37,120
Speaker 1: case I want to make. Uh. One thing that's interesting

740
00:40:37,160 --> 00:40:41,319
Speaker 1: about this sculpture, the coross of Melitas, is that it

741
00:40:41,400 --> 00:40:44,719
Speaker 1: seems to come from a period of transition in in

742
00:40:44,800 --> 00:40:47,879
Speaker 1: ancient Greek art, when Greek art was moving from what

743
00:40:47,960 --> 00:40:51,880
Speaker 1: modern art historians called the archaic period into what we

744
00:40:51,960 --> 00:40:55,279
Speaker 1: now call the Classical period, and this transition was sometime

745
00:40:55,400 --> 00:40:58,640
Speaker 1: in the fifth century BC. That seemed to be roughly

746
00:40:58,680 --> 00:41:01,719
Speaker 1: the turning point. Uh. And so rob to illustrate, I

747
00:41:01,800 --> 00:41:04,000
Speaker 1: want to let you look at a couple of statues

748
00:41:04,080 --> 00:41:07,200
Speaker 1: of the human form, both from ancient Greece, and so

749
00:41:07,239 --> 00:41:09,360
Speaker 1: there's gonna be one here you can look at on

750
00:41:09,400 --> 00:41:12,399
Speaker 1: the left that's typical of the archaic style, and one

751
00:41:12,480 --> 00:41:15,680
Speaker 1: on the right that's typical of the classical style. Uh.

752
00:41:15,719 --> 00:41:17,680
Speaker 1: These are both images I found on the website of

753
00:41:17,680 --> 00:41:20,200
Speaker 1: the met Museum, so both things in the collection there,

754
00:41:20,600 --> 00:41:23,239
Speaker 1: but to describe them from you out there listening at home.

755
00:41:23,880 --> 00:41:28,680
Speaker 1: The older statue, I would say is very rigid, with

756
00:41:28,920 --> 00:41:34,080
Speaker 1: very straight upright posture. It is looking straight forward at

757
00:41:34,120 --> 00:41:38,000
Speaker 1: you with very square shoulders, and the head is pointed

758
00:41:38,200 --> 00:41:41,800
Speaker 1: straight towards you. So it's it's very just an aligned body.

759
00:41:41,840 --> 00:41:44,000
Speaker 1: In fact, I would say that in a lot of ways,

760
00:41:44,080 --> 00:41:48,440
Speaker 1: it looks similar to sculpture from ancient Egypt. Yeah. It

761
00:41:48,560 --> 00:41:51,239
Speaker 1: it has a very two dimensional kind of appearance to it.

762
00:41:51,239 --> 00:41:54,799
Speaker 1: It's forward facing. Um, it does not even though it

763
00:41:55,080 --> 00:41:58,480
Speaker 1: is itself a three dimensional object. It is not really

764
00:41:58,600 --> 00:42:01,440
Speaker 1: like owning that three dimension call space, right, And I

765
00:42:01,480 --> 00:42:03,040
Speaker 1: want to be clear as I go ahead that I

766
00:42:03,040 --> 00:42:05,719
Speaker 1: would say, for my part, I think both of these

767
00:42:05,719 --> 00:42:08,480
Speaker 1: styles are beautiful, both striking in their own way. I

768
00:42:08,560 --> 00:42:10,760
Speaker 1: certainly would not say that I think one is somehow

769
00:42:10,880 --> 00:42:13,680
Speaker 1: better than the other, but there is a difference. So

770
00:42:13,680 --> 00:42:15,960
Speaker 1: when you look at the second kind, the sculptures that

771
00:42:16,040 --> 00:42:19,440
Speaker 1: are typical of the classical style beginning in the fifth

772
00:42:19,440 --> 00:42:22,319
Speaker 1: century b c e. A good example of this, if

773
00:42:22,360 --> 00:42:24,200
Speaker 1: you want to look it up at home. One is

774
00:42:24,200 --> 00:42:27,520
Speaker 1: called the dory for Os or the spear Bearer by

775
00:42:27,560 --> 00:42:32,000
Speaker 1: the ancient Greek sculptor Polyclitus p O L y K

776
00:42:32,360 --> 00:42:35,560
Speaker 1: L e I t O s. And these classical ones

777
00:42:35,640 --> 00:42:38,080
Speaker 1: are very different in that they have I would say,

778
00:42:38,120 --> 00:42:43,240
Speaker 1: this powerful lifelike quality that we see developing in this period.

779
00:42:43,719 --> 00:42:46,960
Speaker 1: It looks it looks like there is something alive and

780
00:42:47,040 --> 00:42:52,280
Speaker 1: even moving inside this this totally still hunk of dead rock. Yeah.

781
00:42:52,400 --> 00:42:55,840
Speaker 1: And I think if you've ever visited a sculpture garden

782
00:42:55,960 --> 00:42:58,080
Speaker 1: gotten over and Organda does, to see some of these

783
00:42:58,120 --> 00:43:00,600
Speaker 1: classical works and reproductions of the classical works, you know

784
00:43:00,640 --> 00:43:02,880
Speaker 1: exactly what we're talking about. You know. It's that that

785
00:43:03,000 --> 00:43:05,920
Speaker 1: feeling that this is this is life that was captured,

786
00:43:06,440 --> 00:43:10,000
Speaker 1: uh and frozen. You know that you look at it

787
00:43:10,040 --> 00:43:12,359
Speaker 1: at one of these statues and it looks as if

788
00:43:12,400 --> 00:43:15,760
Speaker 1: it had just moved and it wasn't even necessarily posing

789
00:43:15,840 --> 00:43:18,600
Speaker 1: for the artist, you know. Yeah, that's a great comparison.

790
00:43:18,640 --> 00:43:22,480
Speaker 1: They often the classical sculptures look as if, you know,

791
00:43:22,600 --> 00:43:24,400
Speaker 1: you're a fly on the wall and you have just

792
00:43:24,520 --> 00:43:27,560
Speaker 1: frozen time in the middle of a scene, and and

793
00:43:27,560 --> 00:43:30,160
Speaker 1: and this is what was happening while say, you know,

794
00:43:30,200 --> 00:43:33,239
Speaker 1: the discus thrower was was winding up to throw, or

795
00:43:33,480 --> 00:43:36,279
Speaker 1: somebody was leaning back to regard someone who had just

796
00:43:36,480 --> 00:43:38,919
Speaker 1: entered the room. Does that make sense? Yeah? Yeah, yeah,

797
00:43:38,920 --> 00:43:40,719
Speaker 1: Like the spear bear here, he's kind of as the

798
00:43:40,760 --> 00:43:43,200
Speaker 1: post like, oh are you sculpturing me? I'm sorry, I

799
00:43:43,239 --> 00:43:46,920
Speaker 1: was just standing here naked. Yeah. So the question is

800
00:43:47,080 --> 00:43:49,839
Speaker 1: what makes the difference? How do you go again? I

801
00:43:49,880 --> 00:43:52,920
Speaker 1: think both styles are wonderful, But what makes the difference

802
00:43:52,960 --> 00:43:56,240
Speaker 1: from this style that is striking as artwork but doesn't

803
00:43:56,320 --> 00:43:59,480
Speaker 1: look life like to this kind of the classical period

804
00:43:59,520 --> 00:44:01,920
Speaker 1: that almost it feels like it has a pulse, you know,

805
00:44:02,000 --> 00:44:05,839
Speaker 1: it looks like there's something just about to move. I

806
00:44:05,840 --> 00:44:08,280
Speaker 1: think there are a number of changes in artistic technique,

807
00:44:08,280 --> 00:44:11,160
Speaker 1: and I fully admit that there's a lot about classical

808
00:44:11,280 --> 00:44:14,600
Speaker 1: art that I don't know or understand, but I I

809
00:44:14,640 --> 00:44:17,919
Speaker 1: am to understand that one of the most significant developments

810
00:44:17,920 --> 00:44:21,440
Speaker 1: here is a change in the approach to the depictions

811
00:44:21,560 --> 00:44:25,840
Speaker 1: of legs, hips, and posture, which would come to be

812
00:44:25,920 --> 00:44:30,600
Speaker 1: known by later artists and scholars as contra posto. So

813
00:44:30,880 --> 00:44:33,000
Speaker 1: I was trying to find a succinct definition of this.

814
00:44:33,080 --> 00:44:35,520
Speaker 1: I found one on a website for the National Galleries

815
00:44:35,560 --> 00:44:40,520
Speaker 1: of Scotland. So this museum describes contra posto as quote,

816
00:44:40,840 --> 00:44:44,880
Speaker 1: a standing human figure carrying its weight on one leg

817
00:44:45,120 --> 00:44:49,080
Speaker 1: so that the opposite hip rises to produce a relaxed

818
00:44:49,200 --> 00:44:52,279
Speaker 1: curve in the body. Now, I hope when I say

819
00:44:52,320 --> 00:44:55,200
Speaker 1: that you can kind of picture you realize, like, oh, yes,

820
00:44:55,280 --> 00:44:57,719
Speaker 1: I have seen statues like this where the figure being

821
00:44:57,760 --> 00:45:00,319
Speaker 1: shown has all of their weight shifted to their back

822
00:45:00,400 --> 00:45:03,920
Speaker 1: leg and their other leg is kind of lifted and bent,

823
00:45:04,200 --> 00:45:08,080
Speaker 1: and this sort of causes a a shift, a corresponding

824
00:45:08,120 --> 00:45:10,680
Speaker 1: shift in the position of the hips, and then also

825
00:45:10,800 --> 00:45:14,640
Speaker 1: causes a kind of twist in the spine where it

826
00:45:14,719 --> 00:45:17,400
Speaker 1: looks like the character has been caught in the middle

827
00:45:17,600 --> 00:45:22,719
Speaker 1: of turning or leaning or or relaxing or something. And

828
00:45:22,760 --> 00:45:27,120
Speaker 1: the result is this, this powerful, striking quality of life

829
00:45:27,280 --> 00:45:31,600
Speaker 1: caught in the middle of motion. Yeah. Absolutely. And again

830
00:45:31,600 --> 00:45:34,480
Speaker 1: this is in contrast to the posture that would have

831
00:45:34,520 --> 00:45:37,120
Speaker 1: been common for standing sculptures of the human form in

832
00:45:37,200 --> 00:45:40,160
Speaker 1: Greek art of the period just before this, the Archaic period,

833
00:45:40,400 --> 00:45:43,000
Speaker 1: where again the coross the the nude male figure would

834
00:45:43,080 --> 00:45:47,400
Speaker 1: usually have a rigid, straight posture with weight equally distributed

835
00:45:47,440 --> 00:45:50,800
Speaker 1: on both legs. Uh. And for again, for some reason,

836
00:45:50,840 --> 00:45:54,160
Speaker 1: while I think that is artistically beautiful, it doesn't look alive.

837
00:45:54,719 --> 00:45:57,719
Speaker 1: Something happens when you twist the form like that, the

838
00:45:57,760 --> 00:46:01,160
Speaker 1: adjustment of the legs so that the weight is on

839
00:46:01,160 --> 00:46:04,440
Speaker 1: one leg and not the other. It almost seems to

840
00:46:04,560 --> 00:46:08,160
Speaker 1: peel back this opening in the shroud that separates animate

841
00:46:08,200 --> 00:46:11,680
Speaker 1: from inanimate. You you shift the weight across the legs

842
00:46:11,680 --> 00:46:13,920
Speaker 1: and the twist the hips in the spine accordingly, and

843
00:46:14,000 --> 00:46:18,000
Speaker 1: something just happens. Stone can become flesh, and sculpture can

844
00:46:18,040 --> 00:46:20,200
Speaker 1: sort of it can start to have that glow, that

845
00:46:20,360 --> 00:46:23,759
Speaker 1: unsettling quality of movement or soul. I don't think I'd

846
00:46:23,760 --> 00:46:26,560
Speaker 1: really thought about this much before, but yeah, absolutely, you

847
00:46:26,560 --> 00:46:29,600
Speaker 1: look at you look at these uh, these statues, the

848
00:46:29,600 --> 00:46:31,600
Speaker 1: ones that are the most lifelike. Can you do see

849
00:46:31,640 --> 00:46:35,600
Speaker 1: this kind of Uh, it's it's in the legs. Often,

850
00:46:35,680 --> 00:46:38,000
Speaker 1: it's it's how though the weight is distributed. I mean

851
00:46:38,040 --> 00:46:40,160
Speaker 1: really one of the most iconic examples of this would

852
00:46:40,160 --> 00:46:44,040
Speaker 1: probably be Michaelangelo's David. Um. Oh yeah, where if you

853
00:46:44,040 --> 00:46:46,120
Speaker 1: you look look at the legs and it's exactly what

854
00:46:46,160 --> 00:46:49,720
Speaker 1: we're talking about here. Well, yes, I think actually, uh again,

855
00:46:49,760 --> 00:46:52,120
Speaker 1: I admit I don't know a ton about art history,

856
00:46:52,120 --> 00:46:54,760
Speaker 1: but I think that this is something that was consciously

857
00:46:55,000 --> 00:46:59,000
Speaker 1: sort of noticed and then recreated on purpose by Renaissance

858
00:46:59,080 --> 00:47:02,640
Speaker 1: artists looking act to classical art, like they they sort

859
00:47:02,640 --> 00:47:04,799
Speaker 1: of noticed this about the legs and the posture and

860
00:47:04,840 --> 00:47:07,319
Speaker 1: said like, oh, hey, you know, let do like that

861
00:47:07,440 --> 00:47:09,839
Speaker 1: and even kicking up kicking up a notch from there,

862
00:47:09,880 --> 00:47:13,440
Speaker 1: because I think the Renaissance artists took it a step

863
00:47:13,480 --> 00:47:15,680
Speaker 1: further where there would be sort of like a double

864
00:47:15,760 --> 00:47:18,120
Speaker 1: twist in the body like you see on the David,

865
00:47:18,160 --> 00:47:20,240
Speaker 1: where the the you know, the legs are the legs

866
00:47:20,280 --> 00:47:22,880
Speaker 1: have the lower bodies weight shifted one way and then

867
00:47:22,920 --> 00:47:25,799
Speaker 1: the upper bodies kind of kind of shifting back even

868
00:47:26,239 --> 00:47:29,759
Speaker 1: in the other direction. Yeah, yeah, I'm looking at a

869
00:47:29,800 --> 00:47:33,239
Speaker 1: photo of it right now, and yeah, absolutely, So there's

870
00:47:33,280 --> 00:47:35,799
Speaker 1: my case. The legs are the life. It makes me

871
00:47:35,840 --> 00:47:38,000
Speaker 1: want to go and uh and and visit a museum

872
00:47:38,000 --> 00:47:39,719
Speaker 1: with a number of sculptures. I go to the met

873
00:47:39,800 --> 00:47:43,280
Speaker 1: and started looking at the legs more because often there's

874
00:47:43,760 --> 00:47:47,000
Speaker 1: the legs are not the the the obvious focal point

875
00:47:47,000 --> 00:47:49,759
Speaker 1: of the statue. Instead, you're drawn to um what you're

876
00:47:49,800 --> 00:47:52,240
Speaker 1: drawn to, like the chest or you're or or certainly

877
00:47:52,280 --> 00:47:54,680
Speaker 1: with the nude statues, you might you know, notice what

878
00:47:54,800 --> 00:47:58,600
Speaker 1: is there or isn't there concerning the groin. Oftentimes they

879
00:47:58,600 --> 00:48:01,160
Speaker 1: have a weapon or their holding like the head of

880
00:48:01,200 --> 00:48:05,000
Speaker 1: a medusa, or they're fighting a centaur. There's generally a

881
00:48:05,000 --> 00:48:07,799
Speaker 1: lot going on. It's easy to miss the legs and

882
00:48:07,840 --> 00:48:10,359
Speaker 1: not think about these things. But but now that it's

883
00:48:10,360 --> 00:48:12,200
Speaker 1: been pointed out to me, like I I want to

884
00:48:12,440 --> 00:48:14,040
Speaker 1: I want to go. I want to look at the

885
00:48:14,080 --> 00:48:16,760
Speaker 1: legs of some statues and see see to what extent

886
00:48:16,840 --> 00:48:20,080
Speaker 1: there there. You know, their life is brought about by

887
00:48:20,200 --> 00:48:22,920
Speaker 1: this effect. Yeah, totally. Once you notice it, you kind

888
00:48:22,920 --> 00:48:26,799
Speaker 1: of can't unsee it. Yeah, So to conclude, I guess

889
00:48:26,840 --> 00:48:31,000
Speaker 1: you must change your life and uh, and how would

890
00:48:31,000 --> 00:48:33,000
Speaker 1: you connect all of this to A Christmas Story and

891
00:48:33,080 --> 00:48:35,319
Speaker 1: the major award? Well, I told you it was going

892
00:48:35,360 --> 00:48:38,560
Speaker 1: to be tenuous, but okay, you know leg sculpture, right, Uh,

893
00:48:39,320 --> 00:48:42,120
Speaker 1: that's what I got, all right now, Obviously we'd love

894
00:48:42,120 --> 00:48:43,840
Speaker 1: to hear from everyone out there. Do you do you

895
00:48:43,840 --> 00:48:47,359
Speaker 1: have additional insights on the history of lamps that look

896
00:48:47,440 --> 00:48:51,480
Speaker 1: like legs or feet or the history of of sculpture

897
00:48:51,520 --> 00:48:55,280
Speaker 1: and um and and an artifice depicting legs and feet?

898
00:48:55,680 --> 00:48:58,000
Speaker 1: Certainly right in because we would love to hear from you. Also,

899
00:48:58,080 --> 00:49:02,560
Speaker 1: just additional thoughts on the d occult uh secrets that

900
00:49:02,600 --> 00:49:06,200
Speaker 1: are hidden within the film A Christmas Story? Are you

901
00:49:06,239 --> 00:49:10,040
Speaker 1: going to fall asleep with it playing? To incubate a dream? That? Yeah,

902
00:49:10,480 --> 00:49:12,440
Speaker 1: bring you a gift from the gods. It is a

903
00:49:12,440 --> 00:49:15,400
Speaker 1: film with multiple like dream and vision sequences in it,

904
00:49:15,520 --> 00:49:19,520
Speaker 1: so it kind of perfect for that, all right. Like

905
00:49:19,560 --> 00:49:22,520
Speaker 1: we said this, this will probably be the last new

906
00:49:22,600 --> 00:49:24,719
Speaker 1: episode of Stuff to Blow your Mind for the year,

907
00:49:24,760 --> 00:49:29,280
Speaker 1: but we'll be back in January with all new episodes. Uh,

908
00:49:29,400 --> 00:49:31,600
Speaker 1: we're gonna We're gonna be exciting. I'm excited to see

909
00:49:31,600 --> 00:49:34,120
Speaker 1: what kind of topics we end up discussing. We have

910
00:49:34,239 --> 00:49:37,040
Speaker 1: a whole list of potential topics, stuff we've thought up,

911
00:49:37,400 --> 00:49:39,960
Speaker 1: stuff that that you have submitted to us, so we

912
00:49:40,000 --> 00:49:42,759
Speaker 1: have we have plenty, plenty of material to draw from

913
00:49:42,840 --> 00:49:46,440
Speaker 1: and we're looking forward to it. Uh. In the meantime,

914
00:49:47,040 --> 00:49:48,799
Speaker 1: you can find all of our episodes and the Stuff

915
00:49:48,840 --> 00:49:51,600
Speaker 1: to Blow your Mind podcast feed wherever you get your podcasts.

916
00:49:51,800 --> 00:49:55,120
Speaker 1: Core episodes of the show on Tuesdays and Thursday's Listener

917
00:49:55,120 --> 00:49:58,719
Speaker 1: Mail on Monday's short form artifact on Wednesdays, and on Fridays,

918
00:49:58,719 --> 00:50:00,719
Speaker 1: we do Weird How Cinema. That's our time to set

919
00:50:00,719 --> 00:50:04,799
Speaker 1: aside most practical and serious concerns and just talk about

920
00:50:04,800 --> 00:50:08,040
Speaker 1: a strange film. Huge thanks as always to our excellent

921
00:50:08,080 --> 00:50:11,279
Speaker 1: audio producer Seth Nicholas Johnson. If you would like to

922
00:50:11,320 --> 00:50:13,680
Speaker 1: get in touch with us with feedback on this episode

923
00:50:13,719 --> 00:50:16,080
Speaker 1: or any other to suggest topic for the future, just

924
00:50:16,160 --> 00:50:18,799
Speaker 1: to say hello, you can email us at contact at

925
00:50:18,840 --> 00:50:28,879
Speaker 1: stuff to Blow your Mind dot com. Stuff to Blow

926
00:50:28,880 --> 00:50:31,440
Speaker 1: Your Mind is production of I Heart Radio. For more

927
00:50:31,480 --> 00:50:34,080
Speaker 1: podcasts for my Heart Radio, visit the i heart Radio app,

928
00:50:34,239 --> 00:50:46,120
Speaker 1: Apple Podcasts, or wherever you listening to your favorite shows