1
00:00:00,240 --> 00:00:27,600
Speaker 1: Ridiculous History is a production of iHeartRadio. Welcome back to

2
00:00:27,640 --> 00:00:31,080
Speaker 1: the show Ridiculous Historians. Thank you, as always so much

3
00:00:31,120 --> 00:00:34,360
Speaker 1: for tuning in. We're here. We're live and direct, in

4
00:00:34,520 --> 00:00:39,720
Speaker 1: full effect with some architecture for you. And first off,

5
00:00:39,800 --> 00:00:43,239
Speaker 1: let's shout out the architect of our podcasts are what

6
00:00:43,360 --> 00:00:50,120
Speaker 1: an only superproducer, mister Max Williams. Woo. I liked you.

7
00:00:50,320 --> 00:00:52,840
Speaker 1: I liked your kind of classic radio dj en show.

8
00:00:52,880 --> 00:00:56,320
Speaker 1: They're live and in full effect with the architects than

9
00:00:56,520 --> 00:01:00,320
Speaker 1: our podcast set. Yeah, there we go. Let's keep it going.

10
00:01:00,760 --> 00:01:04,440
Speaker 1: Um yeah, yeah, So I'm Ben your Noel and Noel,

11
00:01:04,560 --> 00:01:07,080
Speaker 1: You and I might be I don't want to speak

12
00:01:07,120 --> 00:01:09,080
Speaker 1: for you, my friend, but we might be a little

13
00:01:09,160 --> 00:01:11,960
Speaker 1: punchy coming in today. What do you think. Yeah, it's

14
00:01:11,959 --> 00:01:14,040
Speaker 1: from all those children I was punching on the plane.

15
00:01:14,400 --> 00:01:18,080
Speaker 1: We wouldn't let it go. We were we were like

16
00:01:18,200 --> 00:01:20,920
Speaker 1: eternally because we hang out a lot, and we were

17
00:01:21,200 --> 00:01:25,600
Speaker 1: we were eternally in these social situations where if we're

18
00:01:25,600 --> 00:01:28,520
Speaker 1: not sitting right next to each other. Uh, Noel, you

19
00:01:28,640 --> 00:01:32,720
Speaker 1: and I are texting like kids passing notes in class. Yeah,

20
00:01:32,760 --> 00:01:34,800
Speaker 1: that's what texting is really, you know, the end of

21
00:01:34,800 --> 00:01:38,760
Speaker 1: the day. It's it's a modernized note passing. It was

22
00:01:38,760 --> 00:01:41,640
Speaker 1: funny too. We had a fla out from Austin. We

23
00:01:41,680 --> 00:01:44,919
Speaker 1: had a lovely time at south By Southwest meeting people,

24
00:01:45,760 --> 00:01:48,400
Speaker 1: doing panels, all that kind of stuff. And on the

25
00:01:48,440 --> 00:01:55,040
Speaker 1: plane back we had a genuine Marvel superhero on our flight. Yes, sir, yeah,

26
00:01:55,160 --> 00:01:58,000
Speaker 1: I think you were sitting somewhere different in the terminal

27
00:01:58,160 --> 00:02:02,560
Speaker 1: and I U I texted you because we were on

28
00:02:02,600 --> 00:02:08,360
Speaker 1: the same flight with two world famous celebrities, well one

29
00:02:08,560 --> 00:02:14,400
Speaker 1: very world famous celebrity, Anthony Mackie, who plays First Falcon

30
00:02:14,480 --> 00:02:16,679
Speaker 1: and now the new Captain America at Marvel Films. I

31
00:02:16,720 --> 00:02:18,560
Speaker 1: didn't know that he was the new Captain America. By

32
00:02:18,600 --> 00:02:20,799
Speaker 1: the way, that was a giant spoiler for the MCU

33
00:02:20,840 --> 00:02:24,760
Speaker 1: ben My bad, because I know you care so much,

34
00:02:25,120 --> 00:02:27,120
Speaker 1: but I don't care. I care enough to be part

35
00:02:27,160 --> 00:02:30,280
Speaker 1: of the conversation. Who was the second more important celebrity,

36
00:02:30,360 --> 00:02:33,000
Speaker 1: if I might ask, it was none other than if

37
00:02:33,000 --> 00:02:37,639
Speaker 1: we could get a drum roll Max or not a

38
00:02:37,760 --> 00:02:47,000
Speaker 1: drum roll A sinister. Yeah, there it is Jonathan Strickland,

39
00:02:47,240 --> 00:02:51,880
Speaker 1: aka the Quister, who really wanted us to know he

40
00:02:52,000 --> 00:02:54,360
Speaker 1: sat He was sitting in first class it was like

41
00:02:54,560 --> 00:02:58,400
Speaker 1: really insisted upon himself. Yeah, no, for sure, and I'm

42
00:02:58,440 --> 00:03:01,239
Speaker 1: just glad the plane made it. You know, the nefarious

43
00:03:01,280 --> 00:03:05,639
Speaker 1: plans didn't didn't cause some sort of in air catastrophe. Um,

44
00:03:05,960 --> 00:03:08,080
Speaker 1: but no, to be to be true, to be real,

45
00:03:08,200 --> 00:03:10,399
Speaker 1: let's let's do that for a second. Yeah, we were

46
00:03:10,440 --> 00:03:13,480
Speaker 1: actually we're actually really friends with Jonathan's strictly. We played

47
00:03:13,520 --> 00:03:17,760
Speaker 1: mini golf together. This wonderful like I think it had

48
00:03:17,800 --> 00:03:19,920
Speaker 1: been around since the forties or something that was called

49
00:03:19,919 --> 00:03:22,880
Speaker 1: like Peter Pan Mini Golf in Austin, and it's this

50
00:03:23,000 --> 00:03:24,239
Speaker 1: the kind of thing you think of. I think a

51
00:03:24,280 --> 00:03:26,960
Speaker 1: lot of our hometowns probably have places like this. For me,

52
00:03:27,000 --> 00:03:29,280
Speaker 1: it was called putt put golf and games where you

53
00:03:29,320 --> 00:03:32,280
Speaker 1: have these like waterfalls and you know, like giant elephant

54
00:03:32,320 --> 00:03:35,000
Speaker 1: sculptures and things made a concrete or some other you

55
00:03:35,000 --> 00:03:38,280
Speaker 1: know material. This place was all like down the rabbit

56
00:03:38,320 --> 00:03:42,240
Speaker 1: Hole kind of Alice in Wonderland, psychedelic rabbits and literally

57
00:03:42,360 --> 00:03:45,560
Speaker 1: rabbit holing vibes, creepy clowns. We did some cool social

58
00:03:45,560 --> 00:03:47,760
Speaker 1: shoots for stuff they don't want you to know, so

59
00:03:47,880 --> 00:03:51,160
Speaker 1: be on the lookout for those if those things exist. Yeah,

60
00:03:51,160 --> 00:03:52,840
Speaker 1: I think they're gonna work out. I felt pretty good

61
00:03:52,840 --> 00:03:56,040
Speaker 1: about them, you know, I felt like we I feel

62
00:03:56,080 --> 00:03:59,200
Speaker 1: like we were having fun. And fun is contagious, right,

63
00:03:59,520 --> 00:04:04,440
Speaker 1: hopefully still more contagious than COVID. We Uh, this is

64
00:04:04,480 --> 00:04:06,800
Speaker 1: what I was thinking. I'm really glad you brought this up, Noll,

65
00:04:06,840 --> 00:04:13,160
Speaker 1: because put Putt is purposely spiteful architecture, and our pal

66
00:04:13,800 --> 00:04:20,720
Speaker 1: research associate Jeff Bartlett has been obsessed with spiteful architecture

67
00:04:21,279 --> 00:04:24,640
Speaker 1: for a while. But what do we mean when we

68
00:04:24,680 --> 00:04:28,680
Speaker 1: talk about spite architecture? Is it what it sounds like?

69
00:04:29,080 --> 00:04:30,840
Speaker 1: I guess so. I mean, you know, well, in the

70
00:04:30,880 --> 00:04:35,200
Speaker 1: context of Putt PUTT, it's literally things obstructing your success,

71
00:04:35,200 --> 00:04:39,080
Speaker 1: you know, barriers to you thinking that that cute, little

72
00:04:39,320 --> 00:04:42,680
Speaker 1: multicolored ball into that hole. I think we all actually

73
00:04:42,680 --> 00:04:47,080
Speaker 1: did pretty well. But spite buildings are specifically pieces of

74
00:04:47,080 --> 00:04:52,000
Speaker 1: construction intended to irritate and in an act of protest.

75
00:04:52,440 --> 00:04:55,240
Speaker 1: So you know, I think we all hear love curb

76
00:04:55,279 --> 00:04:57,520
Speaker 1: your enthusiasm. There's a string of episodes in one of

77
00:04:57,560 --> 00:05:00,480
Speaker 1: the more recent seasons about us opening a spite or

78
00:05:00,800 --> 00:05:04,680
Speaker 1: because Larry has a beef with Mocha Joe for whatever reason,

79
00:05:04,839 --> 00:05:06,919
Speaker 1: I can't quite remember what. It doesn't matter because it's petty.

80
00:05:06,960 --> 00:05:09,240
Speaker 1: It's all about human pettiness that show. So he starts

81
00:05:09,279 --> 00:05:13,600
Speaker 1: another store next to him, another coffee shop. Thank it's

82
00:05:13,640 --> 00:05:16,520
Speaker 1: just called Larry's something maybe see like Larry's Mocha Joe.

83
00:05:16,520 --> 00:05:18,560
Speaker 1: I don't remember. It was something along those lines. And

84
00:05:18,640 --> 00:05:22,000
Speaker 1: he has like an absurd toilet or something in them.

85
00:05:22,040 --> 00:05:26,000
Speaker 1: But anyway, it's that's so, that's a spike. This architecture

86
00:05:26,040 --> 00:05:28,840
Speaker 1: is irrelevant there. It's more about the business itself. Here

87
00:05:28,880 --> 00:05:32,960
Speaker 1: we're talking about making human pettiness and all of that

88
00:05:33,040 --> 00:05:39,640
Speaker 1: stuff literally manifest through buildings. Yeah, the idea is that

89
00:05:39,720 --> 00:05:43,240
Speaker 1: you are going to you're going to get back at

90
00:05:43,320 --> 00:05:48,400
Speaker 1: someone in a lasting way. And we see spike architecture

91
00:05:48,760 --> 00:05:51,600
Speaker 1: around the world. It's one of those things where once

92
00:05:51,640 --> 00:05:55,200
Speaker 1: you recognize what it is, you will have an embarrassment

93
00:05:55,200 --> 00:05:59,000
Speaker 1: of riches when it comes to finding examples. A lot

94
00:05:59,040 --> 00:06:04,640
Speaker 1: of the origin stories of these edifices, these structures, these statues,

95
00:06:04,680 --> 00:06:08,760
Speaker 1: these buildings, a lot of them are you know, kind

96
00:06:08,760 --> 00:06:11,920
Speaker 1: of embellished. They become a selling point, especially if the

97
00:06:11,920 --> 00:06:15,400
Speaker 1: thing is a little older. But we're going to encounter

98
00:06:15,960 --> 00:06:20,839
Speaker 1: some amazing, ridiculous history here, we're talking spurned lovers, we're

99
00:06:20,880 --> 00:06:25,920
Speaker 1: talking feuds between siblings, and of course we're talking everybody's

100
00:06:25,960 --> 00:06:33,719
Speaker 1: favorite vengeance. Avengers are the architects of spite buildings sometimes

101
00:06:34,080 --> 00:06:38,159
Speaker 1: And there's something really interesting here from a great mental

102
00:06:38,200 --> 00:06:42,599
Speaker 1: philoss article called Houses Built out of Spite by Virginia

103
00:06:42,680 --> 00:06:48,680
Speaker 1: Claire McGuire, where the author notes, most towns haven't oddity

104
00:06:48,800 --> 00:06:53,600
Speaker 1: or two an architectural oddity, and it's the building locals

105
00:06:53,720 --> 00:06:58,000
Speaker 1: love to point out to visitors. This happens pretty often

106
00:06:58,200 --> 00:07:02,320
Speaker 1: in the United States, but it's everywhere in Europe, you

107
00:07:02,360 --> 00:07:05,080
Speaker 1: know what I mean. Like you you might drop by

108
00:07:05,240 --> 00:07:08,240
Speaker 1: for a pint or you're getting you know, you're getting

109
00:07:08,240 --> 00:07:11,800
Speaker 1: a snack, and then someone says, oh, this building was

110
00:07:11,840 --> 00:07:15,480
Speaker 1: built in you know, the thirteen hundreds, and it was

111
00:07:15,560 --> 00:07:18,760
Speaker 1: built because so and so was considered to be a

112
00:07:18,800 --> 00:07:21,880
Speaker 1: witch like you never know, well, I mean, you know,

113
00:07:21,960 --> 00:07:24,440
Speaker 1: certainly in the earlier days that you're talking about there,

114
00:07:24,720 --> 00:07:27,080
Speaker 1: it might have been easier to do one of these things,

115
00:07:27,200 --> 00:07:30,080
Speaker 1: you know, because property wasn't maybe quite as much as

116
00:07:30,160 --> 00:07:32,080
Speaker 1: much of a premium as it is today in terms

117
00:07:32,080 --> 00:07:35,440
Speaker 1: of cost. Because this certainly is a weird flex you know,

118
00:07:35,600 --> 00:07:39,120
Speaker 1: I mean you gotta have resources, you gotta own property,

119
00:07:39,400 --> 00:07:42,920
Speaker 1: and you gotta have enough money to throw away on

120
00:07:43,040 --> 00:07:46,600
Speaker 1: a relatively useless building. Maybe not useless, and it has

121
00:07:46,640 --> 00:07:48,920
Speaker 1: its own uses, and perhaps it could be designed to

122
00:07:48,960 --> 00:07:52,240
Speaker 1: obstruct the view or to take away from, you know,

123
00:07:52,280 --> 00:07:55,200
Speaker 1: the prominence of another building on the block. But they

124
00:07:55,240 --> 00:07:58,200
Speaker 1: can't also just be constructed. It's almost like cutting your

125
00:07:58,200 --> 00:08:00,440
Speaker 1: nose off despite your face, where it's like you're dumping

126
00:08:00,440 --> 00:08:04,120
Speaker 1: all this money just into feeding a feud. One hundred percent.

127
00:08:04,720 --> 00:08:08,280
Speaker 1: That's the That's the thing. This genre we can call

128
00:08:08,360 --> 00:08:13,840
Speaker 1: it of architecture is not built to make poetry tangible.

129
00:08:14,000 --> 00:08:18,400
Speaker 1: It's not built necessarily as some great, you know, veneration

130
00:08:18,640 --> 00:08:21,920
Speaker 1: of a loved one. It's it's built to like do

131
00:08:22,240 --> 00:08:27,680
Speaker 1: very petty things like block someone's view and and frustrate

132
00:08:27,720 --> 00:08:31,240
Speaker 1: the neighbors. It shows what, you know, what it is,

133
00:08:31,760 --> 00:08:37,000
Speaker 1: spite architecture, spite buildings. They're the first next door energy

134
00:08:37,480 --> 00:08:42,440
Speaker 1: really and uh yeah, and the motivations vary. But what

135
00:08:42,480 --> 00:08:46,080
Speaker 1: we wanted to do today and perhaps the first of

136
00:08:46,120 --> 00:08:52,120
Speaker 1: a recurring series, is to talk about some examples, because

137
00:08:52,480 --> 00:08:57,920
Speaker 1: you might be surprised. Few ridiculous historians they date back.

138
00:08:58,320 --> 00:09:00,920
Speaker 1: People have been petty for a while. Maybe we start

139
00:09:00,920 --> 00:09:10,040
Speaker 1: with the Trevy Fountain. What do you think? Sure, the

140
00:09:10,040 --> 00:09:14,119
Speaker 1: Trevy Fountain was built in the seventeen hundreds and arguably

141
00:09:14,360 --> 00:09:17,520
Speaker 1: is an iconic structure in realm, is one of Rome's

142
00:09:17,520 --> 00:09:22,320
Speaker 1: most iconic attractions. It was erected on the site of

143
00:09:22,400 --> 00:09:24,120
Speaker 1: it was we know, the Romans were really good at

144
00:09:24,120 --> 00:09:27,559
Speaker 1: like building aqueducts and like moving water around and kind

145
00:09:27,559 --> 00:09:30,400
Speaker 1: of created the first systems of plumbing for for you know,

146
00:09:30,679 --> 00:09:33,760
Speaker 1: for all intents and purposes. And so this was actually

147
00:09:33,800 --> 00:09:37,319
Speaker 1: built at the site of an important water source in

148
00:09:37,400 --> 00:09:41,440
Speaker 1: ancient Rome. And it's made of the same material as

149
00:09:41,559 --> 00:09:46,600
Speaker 1: the Roman Coliseum, which is called travertine stone. And the

150
00:09:46,600 --> 00:09:50,440
Speaker 1: Trevy Fountain really is, you know, a modern marvel, you know,

151
00:09:50,559 --> 00:09:52,680
Speaker 1: because of the way that it is able to using

152
00:09:52,720 --> 00:09:57,160
Speaker 1: gravity alone, funnel water into into a really cool, you know,

153
00:09:57,240 --> 00:10:00,959
Speaker 1: water feature that's also functional. Yeah, And if you look

154
00:10:01,000 --> 00:10:03,360
Speaker 1: at this now, what you'll see is the Greek god

155
00:10:03,360 --> 00:10:07,719
Speaker 1: of the sea, Oceanus. Cool name, not too common in

156
00:10:07,800 --> 00:10:12,480
Speaker 1: kids today, but Oceanus is surrounded by the mur folk,

157
00:10:12,640 --> 00:10:16,640
Speaker 1: by mr people and looking upon you know, in a

158
00:10:16,720 --> 00:10:21,040
Speaker 1: very stately manner of Oceanus is looking upon gallons of

159
00:10:21,080 --> 00:10:25,120
Speaker 1: flowing water. But if you look very closely, you'll see

160
00:10:25,200 --> 00:10:29,240
Speaker 1: something called the Ace of Cups. And if you are

161
00:10:29,360 --> 00:10:35,520
Speaker 1: familiar with fountains and sculpture, then you might say, huh,

162
00:10:35,559 --> 00:10:40,599
Speaker 1: this one doesn't really fit. This feels like an afterthought.

163
00:10:40,880 --> 00:10:45,040
Speaker 1: Almost The thing is the Ace of Cups, and the

164
00:10:45,080 --> 00:10:50,600
Speaker 1: Trevy fountain is not there to be part of the picture.

165
00:10:50,640 --> 00:10:53,880
Speaker 1: It's not there to be part of the tableau. People

166
00:10:54,000 --> 00:10:58,680
Speaker 1: believe that it was put there in the service of pettiness.

167
00:10:58,200 --> 00:11:01,880
Speaker 1: There's there's no water flowing. It kind of gets in

168
00:11:01,920 --> 00:11:06,440
Speaker 1: the way. You can't really, I don't know see it,

169
00:11:06,440 --> 00:11:09,079
Speaker 1: And I guess we should point out to know that

170
00:11:09,120 --> 00:11:12,800
Speaker 1: the Ace of Cups is the street name. The public

171
00:11:13,120 --> 00:11:17,480
Speaker 1: gave it that name. All this thing does, if you

172
00:11:17,559 --> 00:11:20,240
Speaker 1: look at it from the right angle, all the Ace

173
00:11:20,280 --> 00:11:24,120
Speaker 1: of Cups does is block the view of the fountain.

174
00:11:24,480 --> 00:11:28,280
Speaker 1: And that's where we find a spiteful story. Yeah, it's funny.

175
00:11:28,280 --> 00:11:31,640
Speaker 1: I'm trying to get a good image of it. Let's see.

176
00:11:32,160 --> 00:11:34,079
Speaker 1: The Ace of Cups, by the way, is a Tarot

177
00:11:34,080 --> 00:11:38,320
Speaker 1: card that revolves all around love. You know, whether it's

178
00:11:38,360 --> 00:11:42,400
Speaker 1: inverted or upside down or whatever it might be. So Okay,

179
00:11:42,440 --> 00:11:44,679
Speaker 1: the ace of Cups, I guess, is is it this

180
00:11:44,840 --> 00:11:49,720
Speaker 1: rock feature at the base kind of yeah, yeah, yeah, yeah, yeah.

181
00:11:49,720 --> 00:11:53,440
Speaker 1: So it's basically okay, oh let me see, Oh here

182
00:11:53,440 --> 00:11:56,040
Speaker 1: you go. No, no, no no, yeah, okay, so it's no,

183
00:11:56,160 --> 00:11:59,120
Speaker 1: there's a natural kind of rock feature where the stone

184
00:11:59,240 --> 00:12:02,079
Speaker 1: is less, you know, hewn, it's just a little more

185
00:12:02,120 --> 00:12:05,680
Speaker 1: like rough rock faces. And then you have this thing

186
00:12:05,720 --> 00:12:10,400
Speaker 1: that looks kind of like a vase, right like like

187
00:12:10,480 --> 00:12:12,600
Speaker 1: sort of like something that you might a planter of

188
00:12:12,679 --> 00:12:14,480
Speaker 1: some kind, but it doesn't have any plants in it,

189
00:12:14,679 --> 00:12:17,840
Speaker 1: and it's carved into the stone, sitting on the ridge

190
00:12:18,040 --> 00:12:21,000
Speaker 1: of you know, the kind of ledge surrounding the structure

191
00:12:21,520 --> 00:12:24,760
Speaker 1: and sort of globe like with some sort of filigreed

192
00:12:24,960 --> 00:12:27,200
Speaker 1: little details on it. And then it kind of comes

193
00:12:27,240 --> 00:12:30,360
Speaker 1: up to a point. But you're right, it is just

194
00:12:30,520 --> 00:12:34,360
Speaker 1: big enough that from a distance it could obstruct your

195
00:12:34,480 --> 00:12:39,240
Speaker 1: view of the most important aspects of the fountain itself.

196
00:12:39,760 --> 00:12:43,400
Speaker 1: And it's actually what would be considered a travertine vase,

197
00:12:44,080 --> 00:12:48,240
Speaker 1: and it was specifically tied to blocking a view from

198
00:12:48,240 --> 00:12:52,079
Speaker 1: a nearby salon, you know, or a barber shop. Right,

199
00:12:52,600 --> 00:12:56,480
Speaker 1: we're getting to it. Yeah, So back in the seventeen hundreds,

200
00:12:56,600 --> 00:12:59,880
Speaker 1: there's this Italian guy. He's an architect. His name is

201
00:13:00,240 --> 00:13:05,880
Speaker 1: Nikola Salvi, and he wins a contest sponsored by the

202
00:13:05,880 --> 00:13:08,439
Speaker 1: pope at the time, the pope was Clement the twelfth,

203
00:13:08,880 --> 00:13:16,439
Speaker 1: and in seventeen thirty two Nicolas starts working on this sculpture,

204
00:13:16,800 --> 00:13:22,160
Speaker 1: this installation. It takes a long time. It's not going

205
00:13:22,200 --> 00:13:24,440
Speaker 1: to the fountain is not going to be done until

206
00:13:24,840 --> 00:13:28,840
Speaker 1: thirty years later, in seventeen sixty two. Yeah, so for

207
00:13:28,960 --> 00:13:31,600
Speaker 1: three decades, we want to see both sides here. For

208
00:13:31,640 --> 00:13:36,320
Speaker 1: three decades, all of the people living in the neighborhood

209
00:13:36,800 --> 00:13:41,079
Speaker 1: are living with construction. And if you like our pal

210
00:13:41,240 --> 00:13:44,520
Speaker 1: superproducer Max Williams, have ever had to go about your

211
00:13:44,559 --> 00:13:48,440
Speaker 1: daily business amid construction, You know, it can wreak havoc

212
00:13:48,480 --> 00:13:51,640
Speaker 1: on your nerves. You know, traffic is worse. There's an

213
00:13:51,640 --> 00:13:56,559
Speaker 1: eternal clang clang, You got construction crews yelling and wolf whistling.

214
00:13:57,240 --> 00:14:03,000
Speaker 1: There was one guy who was perticularly annoyed about this.

215
00:14:03,559 --> 00:14:07,360
Speaker 1: We've got a good quote about the legend the legendary

216
00:14:07,440 --> 00:14:11,560
Speaker 1: barber here. Yeah, and the barber was essentially becoming a

217
00:14:11,640 --> 00:14:14,520
Speaker 1: nuisance for the project. And he was, you know, this

218
00:14:14,559 --> 00:14:17,000
Speaker 1: is a huge undertaking that was gonna take a long time.

219
00:14:17,120 --> 00:14:20,280
Speaker 1: There's gonna be some construction, and this barber didn't like

220
00:14:20,400 --> 00:14:24,080
Speaker 1: the fact that there was this loud, noisy hubbub going

221
00:14:24,120 --> 00:14:28,000
Speaker 1: on outside of his shop. Of course, you know, Salvey's

222
00:14:28,040 --> 00:14:31,480
Speaker 1: the architects. He can't. He designed the thing, but he

223
00:14:31,520 --> 00:14:35,080
Speaker 1: can't necessarily, you know, speed up the process. Right, There's

224
00:14:35,080 --> 00:14:37,880
Speaker 1: only so much you can do, especially when you're working

225
00:14:37,880 --> 00:14:40,760
Speaker 1: with like hand tools and stuff like that. But the

226
00:14:40,800 --> 00:14:45,760
Speaker 1: barber just wouldn't back down. So Salve decided rather than

227
00:14:46,360 --> 00:14:50,080
Speaker 1: maybe hear the barber out, or placate him in some way,

228
00:14:50,200 --> 00:14:52,200
Speaker 1: or do what they do with movie shoots where they

229
00:14:52,600 --> 00:14:55,120
Speaker 1: pay off people a little bit that are inconvenience by

230
00:14:55,160 --> 00:14:58,320
Speaker 1: the shooting, which of course wouldn't last thirty years. But instead, no,

231
00:14:58,560 --> 00:15:00,680
Speaker 1: he decided not to take the high your own, but

232
00:15:00,760 --> 00:15:06,120
Speaker 1: instead to take the road of revenge most sweet or foul,

233
00:15:06,680 --> 00:15:10,840
Speaker 1: whichever just decides you're on, I guess. So he decided

234
00:15:10,920 --> 00:15:14,280
Speaker 1: to add in this little feature, which is it really

235
00:15:14,360 --> 00:15:16,200
Speaker 1: is kind of an example of spite of cutting off

236
00:15:16,200 --> 00:15:18,720
Speaker 1: your nose aspite your face, because it doesn't fit in

237
00:15:18,720 --> 00:15:21,240
Speaker 1: with the aesthetic of the thing at all. Like we've

238
00:15:21,280 --> 00:15:24,800
Speaker 1: already said, it's odd, and it kind of is distracting,

239
00:15:25,200 --> 00:15:28,200
Speaker 1: but it's also not so distracting that it that it

240
00:15:28,320 --> 00:15:31,520
Speaker 1: causes any kind of real issue with enjoying the piece

241
00:15:31,600 --> 00:15:36,440
Speaker 1: from other angles, right right, unless you are looking from

242
00:15:36,440 --> 00:15:39,560
Speaker 1: the angle of that barber shop. This is a very

243
00:15:39,680 --> 00:15:42,400
Speaker 1: big like Urslon, as he said, this is a very

244
00:15:42,400 --> 00:15:46,080
Speaker 1: big screw you. You're never gonna be able to see

245
00:15:46,120 --> 00:15:50,160
Speaker 1: this from your place since you complain so much. Now,

246
00:15:50,640 --> 00:15:55,600
Speaker 1: revenge is a dangerous, dangerous sword, right, It does as

247
00:15:55,680 --> 00:15:58,640
Speaker 1: much harm to the person seeking revenge as it does

248
00:15:58,720 --> 00:16:03,120
Speaker 1: to the subject of that. And so Nicola Salve doesn't

249
00:16:03,120 --> 00:16:07,800
Speaker 1: get to see whether his petty plan works because he

250
00:16:07,880 --> 00:16:12,080
Speaker 1: passes away in seventeen fifty one, well before the project

251
00:16:12,120 --> 00:16:16,680
Speaker 1: he's completed, eleven years before it's done. And the barbershop,

252
00:16:16,800 --> 00:16:19,880
Speaker 1: if you go there now, the barbershop is not around either.

253
00:16:20,280 --> 00:16:24,760
Speaker 1: So it was just one guy said, hey, you're ruining

254
00:16:24,800 --> 00:16:28,840
Speaker 1: my neighborhood with this construction, and this other guy saying, hey,

255
00:16:29,040 --> 00:16:32,200
Speaker 1: you're being such a problem. I wish you the worst

256
00:16:32,280 --> 00:16:36,840
Speaker 1: view in town. Indeed, and you know it still could

257
00:16:36,840 --> 00:16:39,240
Speaker 1: be worse. I mean, they live in Rome, which is

258
00:16:39,240 --> 00:16:42,960
Speaker 1: a beautiful, beautiful place. So the views are pretty good

259
00:16:43,040 --> 00:16:45,120
Speaker 1: no matter which way you look. But there you go.

260
00:16:45,320 --> 00:16:48,760
Speaker 1: That's a pretty simple piece of spite architecture, right, just

261
00:16:48,800 --> 00:16:51,440
Speaker 1: a little feature, not even a whole building. Like what

262
00:16:51,560 --> 00:16:54,200
Speaker 1: if you built a spite fountain that took thirty years,

263
00:16:54,240 --> 00:16:59,560
Speaker 1: that would be wild and incredibly really a real commitment

264
00:16:59,600 --> 00:17:01,840
Speaker 1: to the bid. So now we're going to talk about

265
00:17:01,880 --> 00:17:06,439
Speaker 1: another piece of architecture that's not a fountain or a vaz,

266
00:17:06,560 --> 00:17:10,080
Speaker 1: but a wall known as the Jealous Wall. And we

267
00:17:10,160 --> 00:17:15,200
Speaker 1: talked about the ace of cups representing love, and this

268
00:17:15,280 --> 00:17:18,520
Speaker 1: is about love as well jealousy. It's a very interesting

269
00:17:18,640 --> 00:17:22,600
Speaker 1: facet of love, isn't it. Yeah, the Jealous Wall definitely

270
00:17:22,640 --> 00:17:26,360
Speaker 1: sounds like a Depeche Mode song Depeche Listen, You're welcome

271
00:17:26,640 --> 00:17:31,960
Speaker 1: us Depeche by Guys Depeche. Yeah, this thing is what's

272
00:17:31,960 --> 00:17:35,840
Speaker 1: called a folly. It's a neo Gothic folly. And remember

273
00:17:35,960 --> 00:17:41,400
Speaker 1: from our episode on architectural follies and garden Hermit's back

274
00:17:41,440 --> 00:17:44,920
Speaker 1: in the day. Yeah, this is you know, big put

275
00:17:44,960 --> 00:17:48,680
Speaker 1: putt energy here. It was built in Ireland at an

276
00:17:48,720 --> 00:17:53,800
Speaker 1: abbey in Mullenger, County, Westmeath by a guy named Robert Rockfort,

277
00:17:54,119 --> 00:17:57,840
Speaker 1: also in the seventeen hundreds. In about seventeen sixty, just

278
00:17:57,960 --> 00:18:01,639
Speaker 1: a year before the Trevy fo this completed. And the

279
00:18:01,720 --> 00:18:05,800
Speaker 1: whole reason he built this wall was because he was

280
00:18:06,119 --> 00:18:10,800
Speaker 1: mad at his brother George. And his brother George built

281
00:18:10,880 --> 00:18:13,600
Speaker 1: a house or an estate you could really call it

282
00:18:13,640 --> 00:18:19,320
Speaker 1: called Tettenham Park House, and it looked better than Robert's house,

283
00:18:19,480 --> 00:18:24,679
Speaker 1: Belvedere House, and he was very, very envious technically of

284
00:18:25,320 --> 00:18:30,320
Speaker 1: his brother. Robert thought that his wife, lady named Mary Molesworth,

285
00:18:30,960 --> 00:18:35,360
Speaker 1: was having an affair with another one of the Rockfort brothers,

286
00:18:36,000 --> 00:18:40,240
Speaker 1: and he locked her up in their own home for

287
00:18:40,440 --> 00:18:45,560
Speaker 1: thirty years. It's just it's just weird, you know. So Okay,

288
00:18:45,760 --> 00:18:48,640
Speaker 1: the Jealous wall doesn't look good either. It doesn't look

289
00:18:48,680 --> 00:18:51,280
Speaker 1: like the Trevy Fountain. It's like it's built to look

290
00:18:51,320 --> 00:18:55,320
Speaker 1: like a ruin. Yeah. It's in Belvidere House in Ireland's

291
00:18:55,560 --> 00:18:59,920
Speaker 1: county West Smith and it's essentially just yeah, like you said,

292
00:19:00,000 --> 00:19:06,399
Speaker 1: I mean, it's a very unpleasant, unadorned, kind of raggedy wall,

293
00:19:06,520 --> 00:19:09,879
Speaker 1: like something that was left over from a demolition, you know.

294
00:19:10,520 --> 00:19:14,080
Speaker 1: And essentially it was kind of that, right, like what

295
00:19:14,119 --> 00:19:17,639
Speaker 1: was the construction like it doesn't look super creative. It

296
00:19:17,680 --> 00:19:20,959
Speaker 1: looks like it's built to appear older than it is,

297
00:19:21,080 --> 00:19:25,040
Speaker 1: and its purpose is entirely to block his brother's view

298
00:19:25,280 --> 00:19:29,080
Speaker 1: of the Belvedor House. This is a story of three brothers. Really,

299
00:19:29,480 --> 00:19:33,080
Speaker 1: brotherly feuds are always very interesting because it seems like

300
00:19:33,119 --> 00:19:37,800
Speaker 1: they go hard and long. Yeah, so these folks are

301
00:19:38,040 --> 00:19:41,600
Speaker 1: you could call them semi aristocratic, you know, their upper

302
00:19:41,640 --> 00:19:47,080
Speaker 1: middle class for their time in the seventeen thirties. Robert

303
00:19:47,160 --> 00:19:53,800
Speaker 1: Rockford wants to marry this artistic eng Stuard from Dublin.

304
00:19:53,920 --> 00:19:57,040
Speaker 1: I think calling her youngsters unfair. She is only sixteen

305
00:19:57,080 --> 00:19:59,560
Speaker 1: years old at the time. She's the Mary Molesworth we

306
00:19:59,680 --> 00:20:06,640
Speaker 1: mentioned earlier, and Molesworth initially wasn't super vibing with Robert,

307
00:20:06,680 --> 00:20:11,120
Speaker 1: but they eventually decided to begin a relationship. They settled down.

308
00:20:11,160 --> 00:20:17,399
Speaker 1: They had four children, but Robert couldn't Robert got what

309
00:20:17,480 --> 00:20:20,879
Speaker 1: he wished for monkey pass style, and he had some regrets.

310
00:20:20,880 --> 00:20:25,520
Speaker 1: He was always traveling because first he had political duties

311
00:20:25,680 --> 00:20:29,640
Speaker 1: and secondly he didn't really like his family. So his

312
00:20:29,800 --> 00:20:34,600
Speaker 1: young wife would go visit her brother in law Arthur,

313
00:20:35,000 --> 00:20:37,639
Speaker 1: to get away from taking care of the kids. Arthur

314
00:20:37,840 --> 00:20:44,719
Speaker 1: was the couple's nearest neighbor, and Robert started getting sour

315
00:20:44,800 --> 00:20:47,359
Speaker 1: on the marriage, and one day comes up to Mary

316
00:20:47,440 --> 00:20:52,920
Speaker 1: and says, you're sleeping with my brother Arthur. And Arthur said, dude, no,

317
00:20:53,560 --> 00:20:56,560
Speaker 1: I'm not sleeping with my sister in law. But then

318
00:20:56,640 --> 00:21:01,480
Speaker 1: Mary said, yeah, you know what, Rob, I am, and

319
00:21:01,560 --> 00:21:06,439
Speaker 1: we should get divorced and a counselor unclear whether this

320
00:21:06,560 --> 00:21:09,840
Speaker 1: actually happened or whether just at the time she thought

321
00:21:09,840 --> 00:21:12,120
Speaker 1: this would be the easiest way out of the marriage.

322
00:21:12,520 --> 00:21:16,320
Speaker 1: The heat's going at Arthur, he flees the country, and

323
00:21:16,920 --> 00:21:21,120
Speaker 1: Irish divorce law is pretty strict, so the couple can't

324
00:21:21,119 --> 00:21:24,160
Speaker 1: break up. They have to be in that situation, unfortunately

325
00:21:24,200 --> 00:21:27,560
Speaker 1: has happened to some other people where you're no longer

326
00:21:27,600 --> 00:21:32,199
Speaker 1: in a romantic relationship and now your roommates. Yeah. I mean,

327
00:21:32,200 --> 00:21:34,359
Speaker 1: because you have to get the blessing literally of the

328
00:21:34,440 --> 00:21:37,520
Speaker 1: church to have a divorce. It has to be you know,

329
00:21:38,119 --> 00:21:42,199
Speaker 1: it has to adhere to some pretty strict guidelines, you know,

330
00:21:42,320 --> 00:21:46,760
Speaker 1: for them to give that approval. Right, Yeah, one hundred percent.

331
00:21:47,520 --> 00:21:51,359
Speaker 1: I think you could get something annulled, but that would

332
00:21:51,359 --> 00:21:55,520
Speaker 1: be the version of like expagation of a legal record. Well,

333
00:21:55,560 --> 00:21:58,160
Speaker 1: hell Man We even have cases where it was hard

334
00:21:58,200 --> 00:22:01,320
Speaker 1: for kings to get divorced, right, yes, you know, or

335
00:22:01,320 --> 00:22:03,479
Speaker 1: they had to change the laws or you know, like

336
00:22:03,800 --> 00:22:07,199
Speaker 1: you know, kind of finagle some special favors from the

337
00:22:07,240 --> 00:22:11,119
Speaker 1: clergy right and sort of flex their kingly privilege. But

338
00:22:11,440 --> 00:22:15,600
Speaker 1: for regular folks it was super super difficult, Yes, super

339
00:22:15,720 --> 00:22:22,720
Speaker 1: duper difficult. So Robert is now an MP. He's an earl.

340
00:22:23,280 --> 00:22:27,680
Speaker 1: The British rulers in Dublin like him. He's untouchable, he's

341
00:22:27,760 --> 00:22:30,840
Speaker 1: beyond the law because he's buddied up with the people

342
00:22:30,880 --> 00:22:34,199
Speaker 1: who makes the laws. He helps decide what's legal. And

343
00:22:34,280 --> 00:22:37,720
Speaker 1: he gets mad that basically his ex wife, for all

344
00:22:37,760 --> 00:22:40,879
Speaker 1: intents and purposes, is in his home. So he builds

345
00:22:40,880 --> 00:22:43,440
Speaker 1: another house on his land. He says, I'm gonna live

346
00:22:43,480 --> 00:22:47,639
Speaker 1: here by myself at Belvidere House. Belvidere is really nice

347
00:22:48,480 --> 00:22:53,200
Speaker 1: at the time. It's palatial, it's mansion. But his brother

348
00:22:53,440 --> 00:22:58,920
Speaker 1: George builds an even better one on the same grounds.

349
00:22:59,440 --> 00:23:02,920
Speaker 1: And when Robert sees this, he entirely cuts his brother

350
00:23:03,000 --> 00:23:05,760
Speaker 1: out of his life. And he's starting to put the

351
00:23:05,800 --> 00:23:09,520
Speaker 1: pieces together. He's a bit conspiratorial. He says, you know,

352
00:23:10,119 --> 00:23:13,760
Speaker 1: my brother George had been really close to me, but

353
00:23:13,920 --> 00:23:17,840
Speaker 1: maybe he kind of turned me against my wife in

354
00:23:17,880 --> 00:23:20,520
Speaker 1: the first place. And at this point it's just worth

355
00:23:20,560 --> 00:23:24,240
Speaker 1: saying for those of us playing along at home, Robert

356
00:23:24,280 --> 00:23:26,760
Speaker 1: sounds like he's kind of a jerk, no, no question

357
00:23:26,800 --> 00:23:29,520
Speaker 1: about it. At the very least, he was a tricky

358
00:23:29,760 --> 00:23:33,160
Speaker 1: person to deal with the very strong personality. There are

359
00:23:33,200 --> 00:23:37,560
Speaker 1: other parts of his story that have some really sketchy

360
00:23:37,600 --> 00:23:42,160
Speaker 1: details associated with them, like suspicious deaths and all of that,

361
00:23:42,480 --> 00:23:45,200
Speaker 1: And a lot of these folks were members of his

362
00:23:45,240 --> 00:23:50,360
Speaker 1: own family. These were, you know, deaths that maybe would

363
00:23:50,400 --> 00:23:54,520
Speaker 1: have benefited from him, right, including his mother and father,

364
00:23:55,200 --> 00:23:59,359
Speaker 1: both of whom passed away at times that financially lined

365
00:23:59,480 --> 00:24:05,320
Speaker 1: up with Robert's interests. Let's just say yeah again, the

366
00:24:05,440 --> 00:24:09,560
Speaker 1: guy who was above the law was never convicted nor

367
00:24:09,840 --> 00:24:14,520
Speaker 1: implicated in these things. But it makes you think, so okay,

368
00:24:15,040 --> 00:24:19,560
Speaker 1: George's house, like we said, Tuttenham, is the reason for

369
00:24:19,640 --> 00:24:23,679
Speaker 1: this jealous wall, which is a nice, opulent folly ruin

370
00:24:24,000 --> 00:24:26,520
Speaker 1: and spilled to look like a ruin the same way

371
00:24:27,280 --> 00:24:29,720
Speaker 1: you know, put put architecture is meant to look fake.

372
00:24:30,560 --> 00:24:36,919
Speaker 1: Robert could not stand to look at his brother's new house,

373
00:24:36,960 --> 00:24:40,320
Speaker 1: which was nicer, so he built the Jealous Wall to

374
00:24:40,680 --> 00:24:45,520
Speaker 1: obstruct the direct line of sight between their homes. Mary,

375
00:24:46,040 --> 00:24:49,719
Speaker 1: who was basically imprisoned, lived with Robert until he died

376
00:24:49,800 --> 00:24:55,480
Speaker 1: in the seventeen seventies, and the whole time after they

377
00:24:55,480 --> 00:24:57,439
Speaker 1: had separated, the whole time she was like, look, I

378
00:24:57,760 --> 00:25:00,360
Speaker 1: never actually had an affair. I'm just trying to not

379
00:25:00,600 --> 00:25:06,400
Speaker 1: live with this crazy, crazy dude. And the laws are strange.

380
00:25:06,960 --> 00:25:10,680
Speaker 1: And Robert would go around to everybody in town and say, oh,

381
00:25:10,680 --> 00:25:18,119
Speaker 1: that Mary lady, she's crazy, right, It's it's tough and uh.

382
00:25:18,560 --> 00:25:21,640
Speaker 1: And also, I guess we should note that for the record,

383
00:25:22,400 --> 00:25:26,000
Speaker 1: pretty sure Robert never called it the jealous Wall. Pretty

384
00:25:26,040 --> 00:25:29,240
Speaker 1: sure other people were like, Wow, Robert's being a real

385
00:25:30,400 --> 00:25:34,520
Speaker 1: bagup poop right now. Yeah, backup, owners, Um, you know

386
00:25:34,600 --> 00:25:36,080
Speaker 1: it's true. I mean it's the same thing. You know,

387
00:25:36,160 --> 00:25:38,680
Speaker 1: things like this, often you don't really coin the name yourself.

388
00:25:39,240 --> 00:25:42,200
Speaker 1: Usually even like the name of a manner that sometimes

389
00:25:42,240 --> 00:25:44,040
Speaker 1: will be coined by the folks that live there. But

390
00:25:44,320 --> 00:25:45,879
Speaker 1: you know, it's like here in Atlanta, we've got the

391
00:25:46,000 --> 00:25:49,399
Speaker 1: murder Kroger that folks are desperately involved with the actual

392
00:25:49,400 --> 00:25:52,199
Speaker 1: business of Kroger desperately trying to rebrand out of that,

393
00:25:52,240 --> 00:25:54,959
Speaker 1: but it just sticks. You know. They can rebuild it

394
00:25:55,000 --> 00:25:58,120
Speaker 1: and fancy it up as much as they if they want,

395
00:25:58,160 --> 00:26:01,240
Speaker 1: but people will always remember it as the Kroger. This actually,

396
00:26:01,320 --> 00:26:05,640
Speaker 1: this attitude between brothers or like close friends really reminds

397
00:26:05,680 --> 00:26:08,560
Speaker 1: me a lot of a really incredible film that I

398
00:26:08,560 --> 00:26:10,639
Speaker 1: think you've seen as well, been The Banshees of Innish

399
00:26:10,640 --> 00:26:17,399
Speaker 1: Hearing m starring uh, what's his name, Brendan Gleeson and oh,

400
00:26:17,440 --> 00:26:21,960
Speaker 1: who's that lot? Right? He's awesome, He's phenomenal. That just

401
00:26:22,200 --> 00:26:27,160
Speaker 1: so you get a watch deleted scene from Batman with him.

402
00:26:27,240 --> 00:26:30,040
Speaker 1: Is the Joker? Yeah, he's he's a joker with like

403
00:26:30,080 --> 00:26:33,600
Speaker 1: a real acid burned face. But in the benches finish

404
00:26:33,640 --> 00:26:35,040
Speaker 1: here and he's sort of like this young, kind of

405
00:26:35,119 --> 00:26:39,440
Speaker 1: drunk kid who's very, very sad. But the story revolves

406
00:26:39,480 --> 00:26:42,640
Speaker 1: around a pair who were formerly best friends and then

407
00:26:42,680 --> 00:26:45,359
Speaker 1: one day one of them decides he doesn't want to

408
00:26:45,400 --> 00:26:47,920
Speaker 1: be friends anymore, and it's it's just about this this

409
00:26:48,200 --> 00:26:53,399
Speaker 1: kind of stubbornness, weaponized stubbornness, you know, that just taken

410
00:26:53,440 --> 00:26:56,720
Speaker 1: to the nth degree, and this kind of feud here

411
00:26:56,760 --> 00:26:59,040
Speaker 1: in the story about the Jealous Wall really reminds me

412
00:26:59,080 --> 00:27:01,040
Speaker 1: of the attitude I just want or if there's a

413
00:27:01,119 --> 00:27:05,160
Speaker 1: historical precedent in Irish culture of that level of stubbornness,

414
00:27:05,200 --> 00:27:07,680
Speaker 1: you know. And it's Colin Farrell, right, is the other

415
00:27:07,680 --> 00:27:11,359
Speaker 1: that's why? Who was also in The Batman? Yes, I

416
00:27:11,560 --> 00:27:15,840
Speaker 1: recognizable as the penguin now that's acting. Uh, it's funny,

417
00:27:15,880 --> 00:27:21,000
Speaker 1: we're I was hanging out and talking to one of

418
00:27:21,000 --> 00:27:23,880
Speaker 1: my friends about different people we met in Austin and

419
00:27:23,920 --> 00:27:26,880
Speaker 1: one of them said, well, any of those people could

420
00:27:26,880 --> 00:27:33,720
Speaker 1: have been Tilda Swinton. You would never know. So yeah,

421
00:27:33,760 --> 00:27:37,320
Speaker 1: Colin Farrell got to Swinton level stuff with that. So

422
00:27:38,119 --> 00:27:40,879
Speaker 1: if you go there now, you'll see Tuttenham House, the

423
00:27:40,960 --> 00:27:44,439
Speaker 1: fancy new one in this story has fallen into disrepair

424
00:27:45,040 --> 00:27:47,600
Speaker 1: and it's kind of a ruin. But you can still

425
00:27:47,600 --> 00:27:50,280
Speaker 1: get a tour of the Belvedere House and they'll tell

426
00:27:50,320 --> 00:28:00,639
Speaker 1: you the story of the Jealous Wall. You know what,

427
00:28:00,800 --> 00:28:03,840
Speaker 1: Let's let's stay with houses. Let's do two more houses.

428
00:28:04,600 --> 00:28:09,160
Speaker 1: There's one guy named John Tyler who built something called

429
00:28:09,160 --> 00:28:14,280
Speaker 1: the Tyler Spite House in eighteen fourteen, and he built

430
00:28:14,320 --> 00:28:20,200
Speaker 1: an entire mansion just to stop the local town from

431
00:28:20,240 --> 00:28:24,320
Speaker 1: building a road. Yeah, that's the whole thing, right, that's

432
00:28:24,320 --> 00:28:30,119
Speaker 1: another flavor of these kinds of spike houses or spite buildings,

433
00:28:30,280 --> 00:28:36,520
Speaker 1: is trying to interfere with progress, you know. Yeah, and

434
00:28:36,680 --> 00:28:40,440
Speaker 1: it was going through his land, to be fair, but

435
00:28:40,920 --> 00:28:43,680
Speaker 1: he knew there was a local law that set authorities

436
00:28:43,720 --> 00:28:47,520
Speaker 1: can't build a road if a building's being constructed in

437
00:28:47,560 --> 00:28:52,640
Speaker 1: the way of that road. So this guy is pretty

438
00:28:52,680 --> 00:28:55,120
Speaker 1: great at his job. He's got his own foot he's

439
00:28:55,160 --> 00:28:58,840
Speaker 1: got his own historical footnotes. John Tyler's the first optimologist

440
00:28:58,960 --> 00:29:03,760
Speaker 1: in America or in the US to perform a cataract operation.

441
00:29:04,240 --> 00:29:07,600
Speaker 1: And they're in Frederick, Maryland. He is a big wheel.

442
00:29:07,720 --> 00:29:10,600
Speaker 1: He owns a lot of nice parcels of land that

443
00:29:10,680 --> 00:29:14,080
Speaker 1: he gets a public auctions. One of those parcels, on

444
00:29:14,200 --> 00:29:18,040
Speaker 1: the Courthouse Square is directly in the way of the

445
00:29:18,080 --> 00:29:23,719
Speaker 1: city's plans to extend Record Street south to meet a

446
00:29:23,760 --> 00:29:29,400
Speaker 1: place called Westpatrick Street. And this guy, I don't know

447
00:29:29,400 --> 00:29:31,400
Speaker 1: how you feel you all feel about this, but this

448
00:29:31,440 --> 00:29:34,520
Speaker 1: guy said, I don't want the road cutting across my land.

449
00:29:34,880 --> 00:29:39,240
Speaker 1: I don't like roads being next to my house, which

450
00:29:39,800 --> 00:29:42,880
Speaker 1: I don't know. It feels like that's a kind of

451
00:29:42,920 --> 00:29:46,560
Speaker 1: a rich person problem. Yeah, it's that nimby thing. Yeah,

452
00:29:46,560 --> 00:29:49,640
Speaker 1: in my backyard. It's the thing we see all the

453
00:29:49,640 --> 00:29:53,920
Speaker 1: time where it's like people want improvement, they want you know,

454
00:29:55,320 --> 00:29:58,160
Speaker 1: they want innovation or whatever, or maybe they don't, but

455
00:29:58,200 --> 00:30:00,720
Speaker 1: they don't want it to inconvenience that anyway, like the

456
00:30:00,760 --> 00:30:03,600
Speaker 1: construction of it. But you know, this also is sort

457
00:30:03,640 --> 00:30:06,280
Speaker 1: of an old school attitude about just no, things must

458
00:30:06,320 --> 00:30:10,360
Speaker 1: stay the same forever. You know, this is my world

459
00:30:10,360 --> 00:30:12,280
Speaker 1: and y'all just live in it, and you you know,

460
00:30:12,480 --> 00:30:14,520
Speaker 1: get out of my yard and all of that stuff.

461
00:30:14,880 --> 00:30:18,160
Speaker 1: So he found a building contractor that was ready to go,

462
00:30:18,360 --> 00:30:21,320
Speaker 1: like ready to start, you know, work immediately. And again

463
00:30:21,440 --> 00:30:24,840
Speaker 1: that probably required a little greasing of the wheels monetarily

464
00:30:24,880 --> 00:30:27,400
Speaker 1: because once again this is a bit of a luxury

465
00:30:27,440 --> 00:30:32,120
Speaker 1: of the wealthy, the spiked architecture flex. Right. So when

466
00:30:32,120 --> 00:30:35,880
Speaker 1: the road cruise arrived in the morning, they came upon

467
00:30:36,080 --> 00:30:40,080
Speaker 1: something alarming. They came upon a giant hole in the

468
00:30:40,080 --> 00:30:44,640
Speaker 1: ground where the road was meant to go. So, yeah,

469
00:30:45,480 --> 00:30:50,800
Speaker 1: and in that giant hole there were workmen at work

470
00:30:50,960 --> 00:30:55,040
Speaker 1: like they do, building a foundation, a foundation for what.

471
00:30:55,760 --> 00:30:59,600
Speaker 1: All the while our buddy John, doctor John, not that

472
00:30:59,680 --> 00:31:03,640
Speaker 1: doctor Jib was looking by, you know, sitting in a

473
00:31:03,760 --> 00:31:07,200
Speaker 1: chair just like I picture, like you described, just hands,

474
00:31:07,200 --> 00:31:14,320
Speaker 1: fingers steepled and just cackling. If not externally, certainly internally. Yeah,

475
00:31:14,360 --> 00:31:18,000
Speaker 1: it's nuts. And honestly, kudos to him for actually building

476
00:31:18,040 --> 00:31:20,479
Speaker 1: the house and following through, because he could have just

477
00:31:20,680 --> 00:31:24,120
Speaker 1: dug a hole and then said we're going to make

478
00:31:24,160 --> 00:31:26,840
Speaker 1: a house at some point, but he did build the house.

479
00:31:26,920 --> 00:31:31,080
Speaker 1: The house is around now. The most recent owners were

480
00:31:31,880 --> 00:31:35,640
Speaker 1: a family that's now based in the Philippines, the descendants

481
00:31:35,640 --> 00:31:39,120
Speaker 1: of World War Two naval hero Charles Parsons, Chick to

482
00:31:39,240 --> 00:31:43,840
Speaker 1: his friends. And when the Parsons were going to sell

483
00:31:43,880 --> 00:31:48,520
Speaker 1: the house, Myers family, who lived next door took an interest.

484
00:31:49,120 --> 00:31:52,520
Speaker 1: They had been super involved with historic properties and preservation

485
00:31:52,680 --> 00:31:56,840
Speaker 1: for several years. They restored their own house and then

486
00:31:57,120 --> 00:32:01,680
Speaker 1: they also run a be a little bed and breakfast

487
00:32:01,760 --> 00:32:05,520
Speaker 1: in so that one that one, I think is not

488
00:32:05,640 --> 00:32:09,080
Speaker 1: as dirty as the jealous wall right, because that guy

489
00:32:09,640 --> 00:32:12,040
Speaker 1: may have killed some people, right, No, No, that guy was.

490
00:32:12,240 --> 00:32:15,280
Speaker 1: That guy was trash. The jealous wall fellow maybe even

491
00:32:15,360 --> 00:32:17,400
Speaker 1: killed his own parents or have them killed. I think

492
00:32:17,400 --> 00:32:21,120
Speaker 1: the statute of limitations on slander has passed a long sense,

493
00:32:21,160 --> 00:32:24,880
Speaker 1: but still right, Like, I mean, this guy is essentially

494
00:32:24,920 --> 00:32:27,760
Speaker 1: building a house in the middle of what would be

495
00:32:27,800 --> 00:32:31,240
Speaker 1: a road. What were they using ben that allowed them

496
00:32:31,320 --> 00:32:34,120
Speaker 1: to encroach upon his property in the first place. Is

497
00:32:34,120 --> 00:32:37,080
Speaker 1: it sort of like that imminent domain thing that we know?

498
00:32:37,280 --> 00:32:39,480
Speaker 1: This is a little more modern, where like the government

499
00:32:39,560 --> 00:32:45,080
Speaker 1: can take part of private land for infrastructure improvement as

500
00:32:45,080 --> 00:32:47,640
Speaker 1: long as they pay fair market value or something along

501
00:32:47,640 --> 00:32:51,680
Speaker 1: those lines. Yeah. Yeah, it's it's like imminent domain. And

502
00:32:51,800 --> 00:32:54,800
Speaker 1: that's where you can see it all the time, especially

503
00:32:54,840 --> 00:32:57,200
Speaker 1: if you're in a growing city or a growing part

504
00:32:57,240 --> 00:33:01,360
Speaker 1: of town where a road gets widened and someone's front

505
00:33:01,440 --> 00:33:05,440
Speaker 1: yard as a result, goes back right five ten feet whatever.

506
00:33:05,640 --> 00:33:11,160
Speaker 1: And imminent domain can be pretty controversial to some people,

507
00:33:11,640 --> 00:33:13,800
Speaker 1: But it's, like you said, it's like a nimbi thing.

508
00:33:14,200 --> 00:33:17,960
Speaker 1: Most people like the idea of imminent domain so long

509
00:33:18,040 --> 00:33:22,000
Speaker 1: as it is not affecting them, right, Just like just

510
00:33:22,040 --> 00:33:25,080
Speaker 1: like what is it Cape Cod? Is it it's somewhere

511
00:33:25,080 --> 00:33:27,640
Speaker 1: in the northeast, in the nice area of the Northeast

512
00:33:28,160 --> 00:33:34,200
Speaker 1: where people generally love wind turbans or wind power, so

513
00:33:35,560 --> 00:33:39,000
Speaker 1: long as it's not blocking their view of the ocean.

514
00:33:39,080 --> 00:33:41,440
Speaker 1: That they paid millions of dollars for I don't know,

515
00:33:41,520 --> 00:33:44,720
Speaker 1: I mean spite. It's crazy. Maybe we do one more example,

516
00:33:44,880 --> 00:33:48,640
Speaker 1: what do we know about the Hollandsbury spite House. Yeah,

517
00:33:48,680 --> 00:33:50,240
Speaker 1: I'm sure they coined it as that right when the

518
00:33:50,240 --> 00:33:53,200
Speaker 1: moment they built there. This house has founded on spite,

519
00:33:53,480 --> 00:33:56,520
Speaker 1: yes exactly, that's its own kind of foundation. It's a

520
00:33:56,560 --> 00:33:59,200
Speaker 1: shaky foundation, I would argue, I don't think it's smart

521
00:33:59,240 --> 00:34:02,120
Speaker 1: to build or do anything based around spite. You know,

522
00:34:02,200 --> 00:34:05,640
Speaker 1: I'm a firm believer in good vibes. Start with positivity,

523
00:34:05,960 --> 00:34:08,759
Speaker 1: Start with positivity and and then you know, good things

524
00:34:08,760 --> 00:34:11,960
Speaker 1: will typically follow um when you start from spite, you know,

525
00:34:12,440 --> 00:34:15,640
Speaker 1: who knows what could happen. So yeah, most folks are

526
00:34:15,680 --> 00:34:19,919
Speaker 1: usually content with building a privacy fence around there how

527
00:34:19,960 --> 00:34:23,360
Speaker 1: their homes, you know, to keep prying eyes away, or

528
00:34:23,400 --> 00:34:27,120
Speaker 1: to kind of show where their property lines are, you know,

529
00:34:27,160 --> 00:34:29,480
Speaker 1: through just like a simple a simple fence, a privacy

530
00:34:29,520 --> 00:34:35,280
Speaker 1: fence or whatever. But John Hollinsbury, who was himself, yeah,

531
00:34:35,320 --> 00:34:40,400
Speaker 1: he was himself a brickmaker. He built a seven foot

532
00:34:40,480 --> 00:34:45,840
Speaker 1: wide house in eighteen thirty to prevent folks from using

533
00:34:46,160 --> 00:34:50,120
Speaker 1: his alley, using the alley next to his home. Because

534
00:34:50,160 --> 00:34:52,799
Speaker 1: he people kept using it as like a short cut,

535
00:34:52,880 --> 00:34:56,680
Speaker 1: like a cut through in their wagons, you know. Wagon

536
00:34:56,719 --> 00:35:00,479
Speaker 1: traffic kept popping through there, and um, I can see

537
00:35:00,480 --> 00:35:04,239
Speaker 1: that being irritating, you know, but it's also like it's

538
00:35:04,280 --> 00:35:08,240
Speaker 1: an odd solution to what seems like a simpler problem.

539
00:35:08,280 --> 00:35:11,239
Speaker 1: It's a bit extra, it's it's a bit extra. I'm

540
00:35:11,280 --> 00:35:15,000
Speaker 1: just gonna share some pictures here in our chat so

541
00:35:15,440 --> 00:35:18,480
Speaker 1: we can all see this. But it is a tiny

542
00:35:18,560 --> 00:35:22,799
Speaker 1: house if you see, Yeah, it's uh. There are two

543
00:35:22,880 --> 00:35:26,960
Speaker 1: windows and one door on the outside, and it, um,

544
00:35:27,560 --> 00:35:29,320
Speaker 1: it looks like something you would see in the canals

545
00:35:29,320 --> 00:35:33,239
Speaker 1: of Amsterdam, but this is in Alexandria, Virginia. It is

546
00:35:33,400 --> 00:35:36,239
Speaker 1: about seven feet wide, as you said, it's twenty five

547
00:35:36,239 --> 00:35:40,320
Speaker 1: feet deep. It is two stories. It's only three hundred

548
00:35:40,360 --> 00:35:45,560
Speaker 1: and twenty five square feet, and it's it's an alley.

549
00:35:45,600 --> 00:35:48,320
Speaker 1: He enclosed the alley and made the outside of it

550
00:35:48,360 --> 00:35:52,760
Speaker 1: look like a house because he was so mad about

551
00:35:52,920 --> 00:35:56,400
Speaker 1: not just horse drawn wagons, but people hanging out and

552
00:35:56,480 --> 00:36:00,719
Speaker 1: maybe doing some alley stuff in his alley. Nobody wants that.

553
00:36:01,800 --> 00:36:03,360
Speaker 1: You hate. You hate to see it, you know. It

554
00:36:03,360 --> 00:36:06,920
Speaker 1: really reminds me too, Ben of investigations that we've done

555
00:36:06,920 --> 00:36:08,640
Speaker 1: in the past for stuff they don't want you to

556
00:36:08,719 --> 00:36:13,120
Speaker 1: know about fake buildings, where you can create what appears

557
00:36:13,160 --> 00:36:15,640
Speaker 1: to be a building or a storefront or like the

558
00:36:15,680 --> 00:36:19,000
Speaker 1: facade of a building in order to cover up things

559
00:36:19,040 --> 00:36:22,640
Speaker 1: like electrical conduit, you know, an infrastructure, or like vents

560
00:36:22,760 --> 00:36:25,759
Speaker 1: or whatever from subways. And that is what I would

561
00:36:25,760 --> 00:36:29,600
Speaker 1: also typically associate with eminent domain, where if they there

562
00:36:29,640 --> 00:36:31,799
Speaker 1: was an episode of King of the Hill, I think,

563
00:36:31,880 --> 00:36:35,719
Speaker 1: where like the government used eminent domain to like put

564
00:36:35,760 --> 00:36:39,440
Speaker 1: a bunch of electrical stuff in a lot near Hank's house,

565
00:36:39,480 --> 00:36:41,520
Speaker 1: you know where they hang out in the alley, and

566
00:36:41,560 --> 00:36:44,279
Speaker 1: then in the end they were able to convince them

567
00:36:44,320 --> 00:36:49,239
Speaker 1: to build a fake house around it. Interesting, Okay, so

568
00:36:49,320 --> 00:36:52,840
Speaker 1: that makes it. Yeah, yeah, that's the usual compromise for

569
00:36:52,960 --> 00:36:58,080
Speaker 1: nimby stuff. But there is an entire quote unquote apartment

570
00:36:58,120 --> 00:37:00,960
Speaker 1: block in New York City that is just a con

571
00:37:01,160 --> 00:37:04,560
Speaker 1: ed power station and they will politely ask you to

572
00:37:04,760 --> 00:37:08,840
Speaker 1: stop walking around it because we've been there. But yeah,

573
00:37:08,880 --> 00:37:12,080
Speaker 1: they were polite, so this okay. So I'm torn about

574
00:37:12,120 --> 00:37:17,040
Speaker 1: this one because it sounds like the wagons were going

575
00:37:17,120 --> 00:37:20,920
Speaker 1: through so frequently that they were scarring the walls along

576
00:37:20,960 --> 00:37:23,759
Speaker 1: the alley and you can see the gouges left by

577
00:37:23,800 --> 00:37:27,759
Speaker 1: the wagon wheels in the living room today. So I

578
00:37:27,760 --> 00:37:30,080
Speaker 1: feel like, if he has the money and he does it,

579
00:37:30,200 --> 00:37:33,480
Speaker 1: and he owns the alley, then it's really an investment, right,

580
00:37:33,520 --> 00:37:38,040
Speaker 1: He can a creative solution honestly, for what I would

581
00:37:38,160 --> 00:37:41,560
Speaker 1: argue would be considered a menace. So I actually think

582
00:37:41,560 --> 00:37:45,719
Speaker 1: this guy wins in terms of like the least spiteful

583
00:37:45,960 --> 00:37:49,440
Speaker 1: spite house. You know, sure he's depriving people of their

584
00:37:49,480 --> 00:37:51,960
Speaker 1: cut through, but honestly, it's kind of rude to cut

585
00:37:51,960 --> 00:37:56,399
Speaker 1: through somebody's yard anyway, and I think kind of illegal, right,

586
00:37:57,160 --> 00:37:59,200
Speaker 1: It depends if you hop a fence and cut through

587
00:37:59,200 --> 00:38:02,040
Speaker 1: somebody's yard to get through, that's not okay, that's trespassing.

588
00:38:02,160 --> 00:38:04,799
Speaker 1: I mean, I'm sure he probably posted some version of

589
00:38:04,800 --> 00:38:09,279
Speaker 1: a no trespassing sign first and people just didn't care.

590
00:38:09,840 --> 00:38:15,200
Speaker 1: But there was a guy who bought this in nineteen

591
00:38:15,360 --> 00:38:18,760
Speaker 1: ninety for only one hundred and thirty five thousand dollars.

592
00:38:18,840 --> 00:38:21,400
Speaker 1: It's got a great location, but again it's really small.

593
00:38:21,920 --> 00:38:27,640
Speaker 1: It's just across the Potomac, and this guy says it

594
00:38:27,719 --> 00:38:31,600
Speaker 1: feels like it's a sailboat cabin. He says, you know,

595
00:38:31,760 --> 00:38:35,560
Speaker 1: I've rented it out for a while to people in

596
00:38:35,640 --> 00:38:38,879
Speaker 1: the past, and if you walk in now, you'll see

597
00:38:38,880 --> 00:38:42,680
Speaker 1: the front door open straight into the living room. There's

598
00:38:42,719 --> 00:38:47,080
Speaker 1: a regular, you know, like grown up size sofa, and

599
00:38:47,120 --> 00:38:51,200
Speaker 1: then there's just past that a really narrow, steep stairway

600
00:38:51,239 --> 00:38:54,720
Speaker 1: to the second floor. And under the stairs is the cupboard.

601
00:38:54,800 --> 00:38:57,440
Speaker 1: There's a little microwave oven. On the other wall. You

602
00:38:57,520 --> 00:39:00,360
Speaker 1: got the kitchen counter, you get a small sink, you

603
00:39:00,440 --> 00:39:04,960
Speaker 1: got under the counter, refrigerator, freezer, also small. There's a

604
00:39:05,040 --> 00:39:08,719
Speaker 1: table pushed against the wall. It's a micro house basically,

605
00:39:09,080 --> 00:39:12,239
Speaker 1: But you know, this reminds me of some of the

606
00:39:12,280 --> 00:39:17,600
Speaker 1: houses I've seen in Philadelphia that are also really small

607
00:39:18,440 --> 00:39:24,200
Speaker 1: and constructed just to sort of maximize the use of space.

608
00:39:24,840 --> 00:39:30,200
Speaker 1: I've always low key wanted to try living in one

609
00:39:30,239 --> 00:39:32,520
Speaker 1: of these places, but the problem is you'd want to

610
00:39:32,520 --> 00:39:35,319
Speaker 1: live by yourself. I feel like it's not enough for

611
00:39:35,400 --> 00:39:37,759
Speaker 1: two people. As a matter of fact, the guy who

612
00:39:38,520 --> 00:39:41,759
Speaker 1: owned it in the nineties one time you rented it

613
00:39:41,800 --> 00:39:44,239
Speaker 1: to a couple who wanted to live there and kind

614
00:39:44,280 --> 00:39:46,920
Speaker 1: of like a biosphere experiment and want to see if

615
00:39:46,920 --> 00:39:51,440
Speaker 1: they could survive living together that closely on around the

616
00:39:51,440 --> 00:39:54,120
Speaker 1: World Cruise. I love it. I mean, is this something

617
00:39:54,160 --> 00:39:56,759
Speaker 1: that's like, can you airbnb this place? It seems like

618
00:39:56,800 --> 00:40:00,520
Speaker 1: the kind of oddity attraction that would you know, encourage

619
00:40:00,560 --> 00:40:03,040
Speaker 1: that sort of thing. That's a great question. That's a

620
00:40:03,080 --> 00:40:07,600
Speaker 1: great question. It is America's skinniest home. I do not

621
00:40:07,800 --> 00:40:11,040
Speaker 1: know if it is up for rent now. There are

622
00:40:11,080 --> 00:40:14,160
Speaker 1: pictures on the Internet of folks like going through it,

623
00:40:15,920 --> 00:40:18,480
Speaker 1: so I don't know if they're, you know, renting it

624
00:40:18,600 --> 00:40:21,200
Speaker 1: or what. But I don't know. I wouldn't be surprised.

625
00:40:21,200 --> 00:40:24,239
Speaker 1: There certainly are oddities like that that you can you know,

626
00:40:24,320 --> 00:40:27,800
Speaker 1: like the Twilight House, you know, like wherever that is

627
00:40:27,840 --> 00:40:29,600
Speaker 1: an upstate New York or No. I think that's actually

628
00:40:29,600 --> 00:40:32,919
Speaker 1: an Oregon. Also, I think the Dungeon Family House here

629
00:40:32,920 --> 00:40:36,880
Speaker 1: in Atlanta, where like Outcasts and Goody Mob and all

630
00:40:36,920 --> 00:40:39,600
Speaker 1: those folks came up and making records in that literal

631
00:40:39,880 --> 00:40:42,480
Speaker 1: basement and they called the Dungeon Family. I think you

632
00:40:42,520 --> 00:40:45,640
Speaker 1: can still airbnb that place here in Atlanta. I believe

633
00:40:45,640 --> 00:40:49,000
Speaker 1: you're correct. You can. Also, if you want to rent

634
00:40:50,000 --> 00:40:54,240
Speaker 1: the Hollinsbury Spite House, the skinniest house in the United States,

635
00:40:54,840 --> 00:40:59,080
Speaker 1: then you're gonna want to contact Jack Sammy's say, m M.

636
00:41:00,760 --> 00:41:03,560
Speaker 1: They live there occasionally. I guess they stop by when

637
00:41:03,560 --> 00:41:09,200
Speaker 1: they're in town, but generally speaking, it is a private

638
00:41:09,280 --> 00:41:13,720
Speaker 1: residence and you definitely can't just walk through it, which

639
00:41:13,840 --> 00:41:21,440
Speaker 1: means our old pal John Hollinsbury was successful, and I

640
00:41:21,480 --> 00:41:25,280
Speaker 1: agree with you that means we officially a ridiculous historian

641
00:41:25,640 --> 00:41:30,960
Speaker 1: appoint him the winner of this spiked architecture episode. But

642
00:41:31,120 --> 00:41:34,720
Speaker 1: just this episode, because again, like I said in the beginning,

643
00:41:35,040 --> 00:41:38,160
Speaker 1: I feel like we're going to find multiple examples of

644
00:41:38,200 --> 00:41:41,120
Speaker 1: this maybe in future episodes. What do you think, Oh

645
00:41:41,200 --> 00:41:43,799
Speaker 1: for sure? I mean it's not that Again, it wasn't

646
00:41:43,800 --> 00:41:46,359
Speaker 1: something that I wasn't really aware of until Jeff turned

647
00:41:46,440 --> 00:41:49,319
Speaker 1: us on to it. Obviously something a phenomenon that he

648
00:41:49,360 --> 00:41:51,879
Speaker 1: has been fascinated with for a long time. And now

649
00:41:51,920 --> 00:41:53,759
Speaker 1: I think it's something that I'll keep an eye out

650
00:41:53,760 --> 00:41:55,960
Speaker 1: for it just even in like my you know, travels

651
00:41:56,000 --> 00:41:58,319
Speaker 1: and day to day and with that, we'd love to

652
00:41:58,360 --> 00:42:03,520
Speaker 1: hear your examples of spite architecture in your own neck

653
00:42:03,640 --> 00:42:06,960
Speaker 1: of the Global Woods. Now we will go toward I

654
00:42:07,000 --> 00:42:09,439
Speaker 1: think at some point we'll have to mention the more

655
00:42:09,560 --> 00:42:17,160
Speaker 1: hostile architecture like the patios and the benches studded with

656
00:42:17,280 --> 00:42:21,759
Speaker 1: things to prevent people from loitering or laying down, you

657
00:42:21,800 --> 00:42:24,440
Speaker 1: know what I mean? Like you see that everywhere. For now,

658
00:42:24,480 --> 00:42:26,560
Speaker 1: we love to hear more of the historical fun ones.

659
00:42:26,600 --> 00:42:29,959
Speaker 1: You can find us on our Facebook page, Ridiculous Historians.

660
00:42:30,440 --> 00:42:33,480
Speaker 1: We'll get social media going at some point for the show,

661
00:42:33,560 --> 00:42:36,720
Speaker 1: but for now you can also find us as individuals.

662
00:42:37,200 --> 00:42:39,680
Speaker 1: That's right. You can find me on Instagram exclusively where

663
00:42:39,680 --> 00:42:42,080
Speaker 1: I am at how now, Noel Brown Ben I believe

664
00:42:42,080 --> 00:42:44,920
Speaker 1: there are two spots on the seas of social meds

665
00:42:45,120 --> 00:42:47,960
Speaker 1: that people can can find you. Ah. Yes, if you

666
00:42:48,120 --> 00:42:53,240
Speaker 1: sail the high seas of the Internet, whether Ectocooler or ocean,

667
00:42:53,440 --> 00:42:56,040
Speaker 1: you can. You can find me most easily on a

668
00:42:56,040 --> 00:42:59,000
Speaker 1: couple places. I'll be on Instagram and a burst of

669
00:42:59,040 --> 00:43:02,040
Speaker 1: creativity calling my self app in Bulling Bowl I n

670
00:43:02,440 --> 00:43:04,080
Speaker 1: you can find me on Twitter where I'm app in

671
00:43:04,160 --> 00:43:08,040
Speaker 1: bulling HSW. Go to both of those places, sneak through

672
00:43:08,040 --> 00:43:11,160
Speaker 1: the Instagram stories, slide into the dms. You know what's

673
00:43:11,160 --> 00:43:13,399
Speaker 1: on your mind. You got some secret projects on the way.

674
00:43:13,440 --> 00:43:16,399
Speaker 1: As always, if you are on Twitter, you're gonna want

675
00:43:16,400 --> 00:43:20,239
Speaker 1: to get thee to a particular Twitter handle that of

676
00:43:20,280 --> 00:43:24,120
Speaker 1: our own mister Max Williams. Indeed, yes, you can find

677
00:43:24,160 --> 00:43:28,600
Speaker 1: me at atl Underscore Max Williams, which is where my

678
00:43:28,760 --> 00:43:33,279
Speaker 1: Twitter pages, Twitter pag to just thinking about there it is.

679
00:43:33,920 --> 00:43:43,279
Speaker 1: We'll see you next time, folks. For more podcasts from

680
00:43:43,280 --> 00:43:46,200
Speaker 1: My Heart Radio, visit the iHeartRadio app, Apple Podcasts, or

681
00:43:46,200 --> 00:43:48,240
Speaker 1: wherever you listen to your favorite shows