1 00:00:00,240 --> 00:00:27,440 Speaker 1: Ridiculous History is a production of I Heart Radio. Welcome 2 00:00:27,440 --> 00:00:30,840 Speaker 1: back to the show, Ridiculous Historians. Thank you, as always 3 00:00:30,920 --> 00:00:34,240 Speaker 1: so much for tuning in. Shout out to our super 4 00:00:34,280 --> 00:00:40,240 Speaker 1: producer Casey Pagrib, Shout out to our guest producers Max 5 00:00:40,320 --> 00:00:47,360 Speaker 1: William Andrew Howard. Let's welcome them all within inaugural pie 6 00:00:47,600 --> 00:00:49,760 Speaker 1: in the face. That's how he hates people here on 7 00:00:49,920 --> 00:00:55,480 Speaker 1: Ridiculous History. I've been I have been in a pie fight, 8 00:00:55,560 --> 00:00:57,920 Speaker 1: have you know? I have not been, but this news 9 00:00:57,920 --> 00:01:01,840 Speaker 1: of this inaugural hazing situation as news to me. I've 10 00:01:01,840 --> 00:01:03,760 Speaker 1: never ever gotten a pie in the face. Ben. It 11 00:01:03,840 --> 00:01:07,360 Speaker 1: sounds really unpleasant and messy and sticky. It's it's fun. 12 00:01:07,400 --> 00:01:11,280 Speaker 1: I've I've done it mainly under the auspices of sketch comedy, 13 00:01:11,400 --> 00:01:13,640 Speaker 1: so I knew the pie was coming, and I think 14 00:01:13,680 --> 00:01:17,520 Speaker 1: that's a key factor in how one receives a pie 15 00:01:17,520 --> 00:01:20,800 Speaker 1: to the face. It definitely is been. You know, my 16 00:01:20,880 --> 00:01:23,920 Speaker 1: first exposure to pies in the face was probably on 17 00:01:24,240 --> 00:01:27,440 Speaker 1: Nickelodeon shows like Doubledare, and you can't do that on 18 00:01:27,480 --> 00:01:30,880 Speaker 1: television and stuff, and obviously by that point it's such 19 00:01:30,920 --> 00:01:34,760 Speaker 1: a cliche. Amazingly for for the right reasons, cliche thing 20 00:01:34,800 --> 00:01:38,080 Speaker 1: in comedy and to see them kind of like revive it, 21 00:01:38,240 --> 00:01:41,119 Speaker 1: you know for a younger audience, is that it's it's inspiring. Ben, 22 00:01:41,280 --> 00:01:44,280 Speaker 1: after doing the research for this episode, Yeah, yeah, it's 23 00:01:44,319 --> 00:01:48,640 Speaker 1: one of those legendary physical comedy or slapstick tropes up 24 00:01:48,640 --> 00:01:51,520 Speaker 1: there with slipping on a banana peel, which is much 25 00:01:51,560 --> 00:01:54,400 Speaker 1: more difficult than it looks. I don't want to go 26 00:01:54,440 --> 00:01:56,440 Speaker 1: into the nuts and bolts of why I tried to 27 00:01:56,480 --> 00:01:59,640 Speaker 1: figure that out. But even if you are one of 28 00:01:59,640 --> 00:02:02,760 Speaker 1: those are people who says I don't really like comedy, 29 00:02:03,080 --> 00:02:07,640 Speaker 1: your says that I don't know someone, some imaginary person 30 00:02:07,960 --> 00:02:11,440 Speaker 1: who is just all set to have a really wholesome 31 00:02:11,840 --> 00:02:15,320 Speaker 1: change of heart, hopefully maybe in this episode. Uh, this 32 00:02:15,400 --> 00:02:18,200 Speaker 1: is the thing. Pie throwing is going to be familiar 33 00:02:18,240 --> 00:02:20,679 Speaker 1: with anybody, even if you don't consider yourself a fan 34 00:02:20,720 --> 00:02:25,080 Speaker 1: of comedy or slapstick comedy specifically. And when you look 35 00:02:25,120 --> 00:02:28,480 Speaker 1: into it like we did along with Gabe, our research associate, 36 00:02:28,560 --> 00:02:31,880 Speaker 1: what you'll find is that it has a very, very 37 00:02:31,919 --> 00:02:36,600 Speaker 1: surprisingly long history, so much so that our history of 38 00:02:36,639 --> 00:02:38,880 Speaker 1: the pie in the face gag is going to be 39 00:02:38,960 --> 00:02:40,920 Speaker 1: a two parter. We couldn't fit all of it in 40 00:02:40,960 --> 00:02:43,400 Speaker 1: one episode. Could we know? We couldn't. And this is 41 00:02:43,440 --> 00:02:48,440 Speaker 1: the rare but increasingly less rare, proactive two parter, So 42 00:02:49,120 --> 00:02:51,440 Speaker 1: here we are, So Here we are, Here we Are. 43 00:02:51,720 --> 00:02:56,400 Speaker 1: It's funny if you think about why slapstick had such 44 00:02:56,400 --> 00:02:59,160 Speaker 1: a day in the sun for so long, what you 45 00:02:59,320 --> 00:03:02,000 Speaker 1: learn is that it since to you slapstick comedy during 46 00:03:02,000 --> 00:03:06,880 Speaker 1: the era of silent film silent moving pictures, because you know, 47 00:03:07,600 --> 00:03:09,440 Speaker 1: it was way easier to show a joke to the 48 00:03:09,440 --> 00:03:11,640 Speaker 1: audience than tell them about it. And you know, that's 49 00:03:11,680 --> 00:03:14,000 Speaker 1: still sort of like an important ethos in filmmaking. They 50 00:03:14,000 --> 00:03:17,080 Speaker 1: always say show don't tell. That's why, like voiceover narration 51 00:03:17,160 --> 00:03:20,200 Speaker 1: is considered kind of a hackneyed and cliche technique. I'm 52 00:03:20,200 --> 00:03:23,679 Speaker 1: looking at you, Ridley Scott with Blade Runner original cut, 53 00:03:23,720 --> 00:03:24,960 Speaker 1: But then I think he made up for it in 54 00:03:24,960 --> 00:03:27,560 Speaker 1: the director's cut. But it's true and and it's not 55 00:03:27,680 --> 00:03:31,160 Speaker 1: only because of the show don't tell idea, because there 56 00:03:31,200 --> 00:03:35,200 Speaker 1: literally was no sound with which to tell the contrast 57 00:03:35,320 --> 00:03:38,880 Speaker 1: and the way you know, early film and early comedy 58 00:03:39,280 --> 00:03:42,720 Speaker 1: was was shot was such that a pie had a 59 00:03:42,840 --> 00:03:46,960 Speaker 1: perfect level of color to make it pop in the frame. Yeah, 60 00:03:47,040 --> 00:03:49,760 Speaker 1: that's a good point there. And it's also true that 61 00:03:50,240 --> 00:03:54,720 Speaker 1: this phenomenon does not originate with silent film. It goes 62 00:03:54,800 --> 00:03:58,680 Speaker 1: back to the days of the vaudeville circuit. That's where 63 00:03:58,720 --> 00:04:03,320 Speaker 1: we first see documented purposeful cases of tossing a pie 64 00:04:03,360 --> 00:04:06,840 Speaker 1: at someone's face for a laugh, and it was always 65 00:04:06,880 --> 00:04:11,480 Speaker 1: extra funny to the vaudeville audience if the victim was 66 00:04:11,920 --> 00:04:15,280 Speaker 1: real posh and real fancy. Seeing someone dressed as a 67 00:04:15,320 --> 00:04:18,600 Speaker 1: hobo get hit with a pie is not as subversive 68 00:04:18,800 --> 00:04:21,240 Speaker 1: as seeing, you know, someone dressed as the Duke of 69 00:04:21,760 --> 00:04:25,840 Speaker 1: um Earl on water, but getting hit with totally. It's 70 00:04:25,880 --> 00:04:29,719 Speaker 1: because inherently, you know, kind of lowers your guard or 71 00:04:29,760 --> 00:04:31,520 Speaker 1: cuts you down to size, you know, if you're some 72 00:04:31,600 --> 00:04:34,640 Speaker 1: kind of high salutant swell and then like the humble 73 00:04:34,720 --> 00:04:37,280 Speaker 1: tramp hits you in the face with a pie. It's 74 00:04:37,320 --> 00:04:39,680 Speaker 1: a way of kind of like normalizing everyone, and like 75 00:04:39,720 --> 00:04:41,640 Speaker 1: it's like allowing you to kind of laugh at yourself 76 00:04:41,760 --> 00:04:44,080 Speaker 1: or be really grumpy and you know, stamp away and 77 00:04:44,120 --> 00:04:47,000 Speaker 1: a huff. Yeah. Yeah. And there's also there's some good 78 00:04:47,040 --> 00:04:50,400 Speaker 1: comedic theory that goes into this as well. It's part 79 00:04:50,400 --> 00:04:53,839 Speaker 1: of a larger structure, you could say, of the ideas 80 00:04:53,880 --> 00:04:56,839 Speaker 1: of good narrative storytelling, which is there must be a 81 00:04:56,880 --> 00:05:00,279 Speaker 1: status switch. It's interesting for the audience of one of 82 00:05:00,320 --> 00:05:03,160 Speaker 1: low status, you know, goes from poper to prints, if 83 00:05:03,160 --> 00:05:06,400 Speaker 1: someone of high status goes in the opposite direction, and 84 00:05:06,440 --> 00:05:09,360 Speaker 1: a pie fight is a very quick way to do that. 85 00:05:09,640 --> 00:05:13,560 Speaker 1: It's also a beautiful way to end a story that 86 00:05:13,600 --> 00:05:16,520 Speaker 1: doesn't really have an ending, right. A lot of silent 87 00:05:16,560 --> 00:05:19,520 Speaker 1: films above little bits are just kind of here is 88 00:05:19,760 --> 00:05:22,560 Speaker 1: an anthology of things that we think are funny. How 89 00:05:22,600 --> 00:05:24,839 Speaker 1: do we end it? That's right, And in the earliest 90 00:05:24,920 --> 00:05:27,440 Speaker 1: days of it, back in the pre filmed days, it 91 00:05:27,520 --> 00:05:29,880 Speaker 1: was definitely used as a device to like break up 92 00:05:29,920 --> 00:05:32,800 Speaker 1: a sketch or you know, kind of change gears right, 93 00:05:32,839 --> 00:05:34,880 Speaker 1: because it's sort of like, is this event that then 94 00:05:34,880 --> 00:05:36,719 Speaker 1: everyone has to remark upon, and then it gives you 95 00:05:36,760 --> 00:05:39,760 Speaker 1: almost this like like a sleight of hand ability to 96 00:05:39,800 --> 00:05:42,480 Speaker 1: kind of change course and then have people like focus 97 00:05:42,520 --> 00:05:44,400 Speaker 1: on one thing and then now they're looking at the 98 00:05:44,400 --> 00:05:46,800 Speaker 1: new scene that's kind of formed around it. Yeah, it's 99 00:05:46,839 --> 00:05:49,719 Speaker 1: got some of the similar vibes to the famous Benny 100 00:05:49,839 --> 00:05:54,120 Speaker 1: Hill Chase montages. They're like, let's just make it as 101 00:05:54,160 --> 00:05:59,359 Speaker 1: Steve Massa described absurd, antarctic, and funny. That's him speaking 102 00:05:59,440 --> 00:06:05,200 Speaker 1: about the cream pie fight as a visual non sequitur 103 00:06:05,279 --> 00:06:08,000 Speaker 1: in an excellent New York Times article called comedy Sweet 104 00:06:08,000 --> 00:06:11,919 Speaker 1: Weapon the cream Pie, But Noel. When we are looking 105 00:06:12,040 --> 00:06:15,440 Speaker 1: at the history of the pie fights or the pie 106 00:06:15,480 --> 00:06:18,159 Speaker 1: in the face, if we are looking to the world 107 00:06:18,160 --> 00:06:22,880 Speaker 1: of film, it seems like opinions differ on which silent 108 00:06:22,960 --> 00:06:27,320 Speaker 1: film had the quote first pie fight. We've got like 109 00:06:27,400 --> 00:06:30,800 Speaker 1: three different opinions here, and now it's borderline controversial. Band. 110 00:06:30,800 --> 00:06:32,360 Speaker 1: Do you think it's okay for us to wade into 111 00:06:32,400 --> 00:06:34,880 Speaker 1: these waters? I think, you know what, I think we 112 00:06:34,920 --> 00:06:37,440 Speaker 1: can throw a pie or two of conversation here and 113 00:06:37,520 --> 00:06:39,719 Speaker 1: maybe we can talk. Maybe after we go through the 114 00:06:39,720 --> 00:06:42,720 Speaker 1: first three, we can figure out which one we think 115 00:06:42,839 --> 00:06:52,719 Speaker 1: is more likely. What I am completely with you. So 116 00:06:52,760 --> 00:06:55,600 Speaker 1: one of the first examples comes from Gilbert M. Bronco 117 00:06:55,720 --> 00:06:59,760 Speaker 1: Billy Anderson's film Mr. Flip, which came out nineteen o nine. 118 00:07:00,160 --> 00:07:01,800 Speaker 1: I'm not gonna lie. I had to go off Mike 119 00:07:01,839 --> 00:07:03,400 Speaker 1: for a second, be like, was there really there was 120 00:07:03,440 --> 00:07:06,680 Speaker 1: film in nineteen o nine. I feel like I'm obviously 121 00:07:06,720 --> 00:07:09,400 Speaker 1: not a Hollywood historian, but the stuff absolutely fascinates me, 122 00:07:09,480 --> 00:07:11,920 Speaker 1: and it follows it's sort of like, you know, I mean, 123 00:07:12,000 --> 00:07:15,240 Speaker 1: it's this guy's kind of a hell. He's this abusive 124 00:07:15,320 --> 00:07:17,920 Speaker 1: store manager, like of a general store in a town, 125 00:07:18,000 --> 00:07:21,440 Speaker 1: played by Ben Turpin, and that's Mr Flip And he 126 00:07:21,880 --> 00:07:24,360 Speaker 1: gets a pie to the face as is not fine 127 00:07:24,480 --> 00:07:28,400 Speaker 1: why I'm laughing after sexually harassing every single woman that 128 00:07:28,440 --> 00:07:31,560 Speaker 1: he encounters. That's sort of his thing. That's he's a hell. 129 00:07:31,680 --> 00:07:35,640 Speaker 1: But again, that device, that cream pie allows some sort 130 00:07:35,640 --> 00:07:38,720 Speaker 1: of like visual representation of him being cut down to 131 00:07:38,840 --> 00:07:41,880 Speaker 1: size and uh, kind of getting his retribution for all 132 00:07:41,920 --> 00:07:45,800 Speaker 1: of that, you know, awful hellish behavior. Yes. Also nineteen 133 00:07:45,800 --> 00:07:49,240 Speaker 1: o nine, that's the year that newspaper reporting of the 134 00:07:49,360 --> 00:07:52,800 Speaker 1: Jersey Devil the cryptod exploded. That has nothing to do 135 00:07:52,840 --> 00:07:55,320 Speaker 1: with today's episode. I'm just kind of on an info 136 00:07:55,440 --> 00:07:58,800 Speaker 1: dump getting rid of all these things I learned full 137 00:07:58,880 --> 00:08:01,560 Speaker 1: disclosure exactly has something to do with what we talked 138 00:08:01,560 --> 00:08:03,960 Speaker 1: about earlier today. It all kind of bleeds together. What 139 00:08:04,000 --> 00:08:06,920 Speaker 1: are we talking about history or cryptids? It's it's all 140 00:08:07,000 --> 00:08:09,040 Speaker 1: kind of, you know, two sides of the same coin. 141 00:08:09,320 --> 00:08:12,640 Speaker 1: Here's something I also didn't know. Mabel Norman, who is 142 00:08:12,680 --> 00:08:16,200 Speaker 1: one of the great woman comedians of all time comedians, 143 00:08:16,280 --> 00:08:18,280 Speaker 1: and I always like to say that, but who knows 144 00:08:18,280 --> 00:08:22,320 Speaker 1: that that's even appropriate. She was called often by the 145 00:08:22,360 --> 00:08:26,000 Speaker 1: press the female chaplain, which seems dismissive, but you know, 146 00:08:26,160 --> 00:08:29,880 Speaker 1: it was the It was the nineteen tense. And she 147 00:08:30,240 --> 00:08:34,320 Speaker 1: in a nineteen thirteen comedy called A Noise from the 148 00:08:34,400 --> 00:08:39,000 Speaker 1: Deep directed by Max Sennett, she throws a pie on 149 00:08:39,240 --> 00:08:43,079 Speaker 1: film at Fatty r Buckle. Max Sennet, the director also 150 00:08:43,160 --> 00:08:46,439 Speaker 1: known as the quote father of slapstick comedy. So those 151 00:08:46,480 --> 00:08:50,400 Speaker 1: are two of our big contenders for first pie throne. 152 00:08:50,760 --> 00:08:54,680 Speaker 1: But unfortunately you can't see a copy of A Noise 153 00:08:54,720 --> 00:08:57,079 Speaker 1: from the Deep today. No princes of the film are 154 00:08:57,120 --> 00:09:00,480 Speaker 1: known to exist, and so the pie in question has 155 00:09:00,520 --> 00:09:04,880 Speaker 1: become a little bit of a passion project. Intrepid entertainment 156 00:09:05,000 --> 00:09:09,120 Speaker 1: historians and the right right and a lot of them 157 00:09:09,160 --> 00:09:13,160 Speaker 1: rely on help from early descriptions of the scene at 158 00:09:13,160 --> 00:09:16,600 Speaker 1: the time by people who were able to watch the film, 159 00:09:16,640 --> 00:09:21,079 Speaker 1: including the author Andy Edmonds. That's right. Andy Edmonds wrote 160 00:09:21,080 --> 00:09:24,160 Speaker 1: a book on Fatty Arbuckle called Frame Up, and she 161 00:09:24,200 --> 00:09:27,240 Speaker 1: recounts kind of in the oral tradition, this event that 162 00:09:27,400 --> 00:09:29,880 Speaker 1: may or may not have happened exactly like that, and 163 00:09:29,920 --> 00:09:34,400 Speaker 1: I love everything about this. So apparently the crew of 164 00:09:34,520 --> 00:09:37,080 Speaker 1: the shoot, we're looking for some way, like we said, 165 00:09:37,120 --> 00:09:40,280 Speaker 1: to break up a comedy sequence, and there was some 166 00:09:40,360 --> 00:09:42,320 Speaker 1: you know, I have craft services, I guess. There was 167 00:09:42,640 --> 00:09:46,080 Speaker 1: a pile of pastries on a nearby craft services tray 168 00:09:46,200 --> 00:09:50,040 Speaker 1: or table, and Fatty or Roscoe, as his mother called him, 169 00:09:50,360 --> 00:09:53,640 Speaker 1: um saw an opportunity here for comedy gold. And he 170 00:09:53,679 --> 00:09:55,880 Speaker 1: grabbed one of these pies and he called Mabel over 171 00:09:56,080 --> 00:09:58,520 Speaker 1: and handed it to her and instructed her to throw 172 00:09:58,679 --> 00:10:04,040 Speaker 1: the pie in his Yeah, and Senate the director couldn't 173 00:10:04,120 --> 00:10:07,320 Speaker 1: hear what they were saying, and our Buckle wouldn't tell him. 174 00:10:07,400 --> 00:10:09,440 Speaker 1: It was probably like, I don't want to lose the magic. 175 00:10:09,720 --> 00:10:12,560 Speaker 1: Just trust me, bro, just roll the cameras. So he said, okay, 176 00:10:12,600 --> 00:10:14,400 Speaker 1: I trust you. He let the cameras roll, and he 177 00:10:14,480 --> 00:10:16,800 Speaker 1: used a wide angle, and then at some point in 178 00:10:16,800 --> 00:10:19,960 Speaker 1: the scene, Mabel took a pie, reared back, and then 179 00:10:20,120 --> 00:10:23,960 Speaker 1: flu popped it into our Buckle's face. Everybody cracked up 180 00:10:24,360 --> 00:10:27,439 Speaker 1: while filming it, which is a good sign audiences felt 181 00:10:27,440 --> 00:10:29,640 Speaker 1: the same way, and this became part of the primary 182 00:10:29,679 --> 00:10:33,560 Speaker 1: foundation of film slapstick, and then from there, you would 183 00:10:33,559 --> 00:10:36,800 Speaker 1: see a pie throwing scene in all sorts of comedies, 184 00:10:36,840 --> 00:10:39,200 Speaker 1: both by Senate because he was not above using the 185 00:10:39,240 --> 00:10:43,920 Speaker 1: same gag multiple times, and by his competitors and his rivals. 186 00:10:44,400 --> 00:10:48,080 Speaker 1: But there's a third film that enters the chat here, 187 00:10:48,360 --> 00:10:52,199 Speaker 1: also directed by Senate. That's right. Senate directed another short 188 00:10:52,320 --> 00:10:55,600 Speaker 1: called The Ragtime Band, And it's a little hazy here, 189 00:10:55,600 --> 00:10:57,800 Speaker 1: but it seems like he got the idea to have 190 00:10:58,000 --> 00:11:01,640 Speaker 1: characters throw baked goods at each other from the story 191 00:11:01,720 --> 00:11:05,480 Speaker 1: of the shoot that we don't have a print of anymore, 192 00:11:05,520 --> 00:11:09,080 Speaker 1: from a Noise from the Deep where Mabel Norman, you know, 193 00:11:09,240 --> 00:11:11,880 Speaker 1: through that pie at Fatty r. Buckle. So this is 194 00:11:11,920 --> 00:11:14,200 Speaker 1: like kind of like this weird, you know, echo chamber 195 00:11:14,200 --> 00:11:17,840 Speaker 1: of Hollywood lore. But it seems like that's it may 196 00:11:17,880 --> 00:11:20,240 Speaker 1: have also been just another story of that happening in 197 00:11:20,280 --> 00:11:23,000 Speaker 1: real life that she was like irritated at. Ben Turpin, 198 00:11:23,080 --> 00:11:26,160 Speaker 1: the actor who played Mr. Flip himself, What do you think, Ben, Yeah, 199 00:11:26,320 --> 00:11:30,360 Speaker 1: it's it's interesting. But regardless of which of those three 200 00:11:30,800 --> 00:11:35,520 Speaker 1: narratives is accurate, we know that pie throwing blew up 201 00:11:35,640 --> 00:11:38,800 Speaker 1: in a big way around that time. Somewhere between nineteen 202 00:11:38,800 --> 00:11:42,920 Speaker 1: o nine and nineteen thirteen, and after that it was everywhere. 203 00:11:43,080 --> 00:11:47,720 Speaker 1: Charlie Chaplin threw pies in nineteen sixteens behind the screen. 204 00:11:48,240 --> 00:11:52,280 Speaker 1: This became a comedy trope, the epitome of a comedy trope. 205 00:11:52,480 --> 00:11:54,880 Speaker 1: And shout out to our friend Rowan, who made some 206 00:11:54,920 --> 00:11:59,160 Speaker 1: appearances on her earlier series Idiomatic for the People when 207 00:11:59,160 --> 00:12:01,400 Speaker 1: he came up with a race I just love, he said, 208 00:12:01,640 --> 00:12:08,160 Speaker 1: support the tropes. Indeed, thank you for your Yes, you've 209 00:12:08,200 --> 00:12:12,439 Speaker 1: done us, You've done us. Proud yes. And so after this, 210 00:12:12,559 --> 00:12:16,040 Speaker 1: for over a century this was a common occurrence in 211 00:12:16,120 --> 00:12:19,520 Speaker 1: slapstick comedies. And this is thanks in part to Max 212 00:12:19,600 --> 00:12:24,240 Speaker 1: Senate and Keystone Studios. Keystone Studios was started by Senate 213 00:12:24,280 --> 00:12:27,720 Speaker 1: back in nineteen twelve, and the studio was often called 214 00:12:27,840 --> 00:12:31,080 Speaker 1: a comedy pioneer. They had a huge hand and making 215 00:12:31,200 --> 00:12:35,200 Speaker 1: pie throwing ubiquitous. They did and bent. Do you remember 216 00:12:35,280 --> 00:12:39,160 Speaker 1: that one time when you and me and our buddy 217 00:12:39,160 --> 00:12:42,280 Speaker 1: Alex Williams, who composed our theme, were in Los Angeles 218 00:12:42,360 --> 00:12:43,920 Speaker 1: and we were walking down We had gone to like 219 00:12:43,920 --> 00:12:46,200 Speaker 1: an awards thing, and we were all kind of suited 220 00:12:46,280 --> 00:12:48,200 Speaker 1: up a little bit and we were walking down Hollywood 221 00:12:48,200 --> 00:12:52,439 Speaker 1: Boulevard like more in the Las Vilas portion, and somebody 222 00:12:52,559 --> 00:12:56,320 Speaker 1: yelled Keystone cops at us. Yes, I was accused of 223 00:12:56,320 --> 00:12:59,240 Speaker 1: being a cop no less than three times that, which 224 00:12:59,280 --> 00:13:01,160 Speaker 1: was funny because as by the end of that night, 225 00:13:01,520 --> 00:13:03,680 Speaker 1: I was in my cups and would not have been 226 00:13:03,840 --> 00:13:07,360 Speaker 1: a good representation of law. Candidly, none of us would 227 00:13:07,400 --> 00:13:09,880 Speaker 1: have been a good representation, no question about it, but 228 00:13:09,960 --> 00:13:12,160 Speaker 1: I did not. That is such an l a thing 229 00:13:12,240 --> 00:13:15,719 Speaker 1: to yell. Because the Keystone Cops were a famous kind 230 00:13:15,720 --> 00:13:18,920 Speaker 1: of comedy bit. I guess that Keystone Studios put out 231 00:13:18,960 --> 00:13:21,240 Speaker 1: so much that that kind of became. It almost seems 232 00:13:21,280 --> 00:13:23,680 Speaker 1: to me, I haven't seen this bit, but it sounds 233 00:13:23,720 --> 00:13:25,520 Speaker 1: to me like a little bit of a proto the 234 00:13:25,559 --> 00:13:28,320 Speaker 1: Benny Hill thing, where it's like, you know, sped up 235 00:13:28,400 --> 00:13:31,320 Speaker 1: kind of cops chasing around people and like fallen down 236 00:13:31,360 --> 00:13:35,400 Speaker 1: and looking like idiots. Yeah, that's always mentioned, the Benny 237 00:13:35,480 --> 00:13:38,480 Speaker 1: Hill montage. It works in a couple of different ways 238 00:13:38,520 --> 00:13:42,439 Speaker 1: here because it depicts chaos, right, you want comedic scenes 239 00:13:42,520 --> 00:13:46,960 Speaker 1: to escalate their steaks and become chaotic, find the comedy 240 00:13:47,000 --> 00:13:50,560 Speaker 1: in the chaos or unexpected connections. But then also from 241 00:13:50,559 --> 00:13:53,640 Speaker 1: a very structural standpoint, it's a great way to wrap 242 00:13:53,679 --> 00:13:58,600 Speaker 1: stuff up. The studio itself used this bit so often 243 00:13:58,679 --> 00:14:03,280 Speaker 1: that they became publicly owned for pie tossing, and the 244 00:14:03,400 --> 00:14:06,560 Speaker 1: studio eventually they this is how often they used this 245 00:14:06,640 --> 00:14:10,920 Speaker 1: idea of food fights, of throwing pies. Especially Eventually, Keystone 246 00:14:10,960 --> 00:14:15,679 Speaker 1: Studios needed its own bakery just to make prop baked goods, 247 00:14:16,080 --> 00:14:19,040 Speaker 1: and they were trying to figure out how they could 248 00:14:19,480 --> 00:14:24,640 Speaker 1: get a good pie connect They found the answer literally 249 00:14:24,680 --> 00:14:27,120 Speaker 1: across the street from the studio. There was a business 250 00:14:27,120 --> 00:14:31,680 Speaker 1: owner named Sarah Brenner showed a variety store at this location, 251 00:14:31,720 --> 00:14:34,520 Speaker 1: but she also was the pie person. She was the 252 00:14:34,560 --> 00:14:39,560 Speaker 1: pie plug for the studio. And uh, it's funny because 253 00:14:39,640 --> 00:14:41,760 Speaker 1: sometimes when they were pies that were made to be eaten, 254 00:14:42,080 --> 00:14:45,120 Speaker 1: they were actually pretty good. Charlie Chaplin called him the 255 00:14:45,120 --> 00:14:48,320 Speaker 1: best pies in town. But the thing is, if you 256 00:14:48,360 --> 00:14:51,320 Speaker 1: know anything about food as it's depicted on film, even 257 00:14:51,320 --> 00:14:53,640 Speaker 1: in the modern day, a lot of the stuff that 258 00:14:53,680 --> 00:14:56,760 Speaker 1: looks delicious on screen is not stuff you would want 259 00:14:56,800 --> 00:14:58,440 Speaker 1: to eat. In fact, a lot of times it's not 260 00:14:58,520 --> 00:15:00,960 Speaker 1: even food. It's not even edible, or it has like 261 00:15:01,000 --> 00:15:03,120 Speaker 1: you know, like I know that I've have been friends 262 00:15:03,120 --> 00:15:05,520 Speaker 1: with a few people who are food photographers, and they 263 00:15:05,560 --> 00:15:08,640 Speaker 1: put like clear nail polish on things sometimes to make 264 00:15:08,680 --> 00:15:12,000 Speaker 1: it like shine like for example, a pie even probably 265 00:15:12,040 --> 00:15:13,680 Speaker 1: could be or like a burger bun, you know, like 266 00:15:13,680 --> 00:15:16,160 Speaker 1: in a McDonald's dad, where it just looks so shiny 267 00:15:16,200 --> 00:15:18,360 Speaker 1: and perfect. The light hits it and that kind of glints. 268 00:15:18,600 --> 00:15:21,360 Speaker 1: That's because there's some sort of like noxious you know, 269 00:15:21,520 --> 00:15:24,360 Speaker 1: solvent of some kind painted onto the outside of it. 270 00:15:24,600 --> 00:15:27,720 Speaker 1: But this was true for prop pies as well, because 271 00:15:27,760 --> 00:15:29,920 Speaker 1: you needed, you know, not just any pie would do. 272 00:15:30,000 --> 00:15:32,200 Speaker 1: It needed to be weighted in a certain way. It 273 00:15:32,240 --> 00:15:34,280 Speaker 1: needed to pop for the color, for the black and 274 00:15:34,320 --> 00:15:36,280 Speaker 1: white like we were talking about, and it also needed 275 00:15:36,320 --> 00:15:38,680 Speaker 1: to explode like a blood squib, you know, when it 276 00:15:38,760 --> 00:15:48,560 Speaker 1: hit its target. The ones that Keystone ended up using 277 00:15:49,000 --> 00:15:53,440 Speaker 1: pretty often were especially made to be more ballistic heavy 278 00:15:53,520 --> 00:15:57,640 Speaker 1: duty pastry in Oxford Companion to Food by Alan Davidson, 279 00:15:57,920 --> 00:16:01,560 Speaker 1: the author describes them as you seeing a quote, especially 280 00:16:01,640 --> 00:16:05,480 Speaker 1: slurpy custard, which sounds gross, but it's show business, right, 281 00:16:05,720 --> 00:16:07,920 Speaker 1: And there's a recent custard pies where used so much 282 00:16:07,920 --> 00:16:12,080 Speaker 1: more often. They're super messy, and most importantly, they don't 283 00:16:12,120 --> 00:16:15,160 Speaker 1: have a top crust, meaning that you'll get more of 284 00:16:15,200 --> 00:16:19,360 Speaker 1: a splat factor and it'll be less potentially dangerous for 285 00:16:19,400 --> 00:16:21,880 Speaker 1: your actors. Right. Think about like if you had like 286 00:16:21,920 --> 00:16:25,680 Speaker 1: a true lattice worked like cherry pie or something like that, 287 00:16:25,920 --> 00:16:27,640 Speaker 1: you know, it would hit you in the face and 288 00:16:27,760 --> 00:16:30,400 Speaker 1: the impact would be absorbed by that like lattice top 289 00:16:30,480 --> 00:16:34,680 Speaker 1: crust rather than like maximum splattery impact. So this was 290 00:16:34,840 --> 00:16:38,040 Speaker 1: very thoughtful and Fatty R. Buckle and Buster Keaton, who 291 00:16:38,120 --> 00:16:41,320 Speaker 1: was his protege, definitely know him from physical comedy stuff. 292 00:16:41,560 --> 00:16:44,080 Speaker 1: You know, the idea of like that set piece barn 293 00:16:44,160 --> 00:16:47,000 Speaker 1: door kind of falling down. He's the lands right in 294 00:16:47,040 --> 00:16:50,720 Speaker 1: the window. You know, very very physical, dangerous at times 295 00:16:51,000 --> 00:16:54,200 Speaker 1: comedy stunts that Buster Keaton would do. But he learned 296 00:16:54,240 --> 00:16:56,720 Speaker 1: everything he knew from Fatty R. Buckle, and between the 297 00:16:56,760 --> 00:17:00,240 Speaker 1: two of them they sort of furthered this formula left 298 00:17:00,240 --> 00:17:02,560 Speaker 1: for how to have the perfect pie impact for the 299 00:17:02,600 --> 00:17:07,040 Speaker 1: camera and for maximum laughs. Yes, you could call it 300 00:17:07,160 --> 00:17:09,879 Speaker 1: high impact. He could call it hi pie impact, just 301 00:17:09,960 --> 00:17:13,520 Speaker 1: pie impact, pen impact. I'm over I'm overthinking this. I'm 302 00:17:13,560 --> 00:17:15,080 Speaker 1: all the way there with you, Ben. And this was 303 00:17:15,160 --> 00:17:18,359 Speaker 1: in nineteen seventeen where these dudes took pie throwing to 304 00:17:18,680 --> 00:17:21,720 Speaker 1: the next level in a film called The Butcher Boy. 305 00:17:21,880 --> 00:17:25,720 Speaker 1: That was actually Keaton's first on screen appearance. Yeah, you 306 00:17:25,760 --> 00:17:30,040 Speaker 1: see the food fighting roots here. Artbuckle didn't go with 307 00:17:30,080 --> 00:17:32,200 Speaker 1: a pie for this when he went with a bag 308 00:17:32,240 --> 00:17:34,960 Speaker 1: of flower, and he wanted to make sure that he 309 00:17:35,040 --> 00:17:39,400 Speaker 1: caught Keaton absolutely by surprise, so he said, Okay, don't 310 00:17:39,400 --> 00:17:41,480 Speaker 1: look at this bag of flower coming. I don't want 311 00:17:41,480 --> 00:17:44,760 Speaker 1: you to flinch. Just don't look and turn around when 312 00:17:44,760 --> 00:17:48,560 Speaker 1: you hear me yell now. Keaton turned around here Arbuckle, 313 00:17:48,640 --> 00:17:51,160 Speaker 1: yell now, and turn around just in time to get 314 00:17:51,240 --> 00:17:53,520 Speaker 1: knocked on the floor by this bag of flower. And 315 00:17:53,560 --> 00:17:57,960 Speaker 1: so they probably rethought throwing just bags of flower people 316 00:17:57,960 --> 00:18:01,800 Speaker 1: and said, okay, maybe pies because you can will stand up. Yeah, 317 00:18:01,840 --> 00:18:03,720 Speaker 1: And it's basically, you know, it's flower. This is a 318 00:18:03,800 --> 00:18:06,520 Speaker 1: raw material experiment. And they realized, oh, maybe, like the 319 00:18:06,520 --> 00:18:09,280 Speaker 1: weight and half of a giant bag of flower hitting 320 00:18:09,280 --> 00:18:11,400 Speaker 1: somebody in the face is a little much. I'm sure 321 00:18:11,400 --> 00:18:14,920 Speaker 1: it was hilarious, but Keaton said in his memoir that 322 00:18:15,040 --> 00:18:19,399 Speaker 1: he absolutely got knocked on his backside when he was 323 00:18:19,480 --> 00:18:22,080 Speaker 1: hit by this thing. He said, he put my head 324 00:18:22,240 --> 00:18:25,720 Speaker 1: where my feet were. That's what that means. I mean 325 00:18:25,800 --> 00:18:30,280 Speaker 1: he knocked him on his Keister, on his buster Keister. 326 00:18:30,720 --> 00:18:34,720 Speaker 1: And so they had also, over time working with pies 327 00:18:34,720 --> 00:18:39,720 Speaker 1: in this comedic way, they had become increasingly sophisticated in 328 00:18:39,760 --> 00:18:42,919 Speaker 1: the construction of these stunt pies. What the the they 329 00:18:42,920 --> 00:18:46,640 Speaker 1: even detail it. Author Mary and Meade talks about this 330 00:18:46,960 --> 00:18:51,040 Speaker 1: recipe that Keaton came up with. First, they cooked two crust, 331 00:18:51,240 --> 00:18:54,359 Speaker 1: one inside the other until they're quite brittle, because a 332 00:18:54,440 --> 00:18:58,359 Speaker 1: double crust will prevent crumbling when you're throwing the pie. 333 00:18:58,720 --> 00:19:01,159 Speaker 1: And then secondly, you never used a tin plate that 334 00:19:01,200 --> 00:19:03,720 Speaker 1: could cut somebody in the face or the eye, right, 335 00:19:04,280 --> 00:19:07,960 Speaker 1: And they said, this happens because the once the plate hits, 336 00:19:08,400 --> 00:19:12,119 Speaker 1: it slides sideways at the moment of impact, which is 337 00:19:12,240 --> 00:19:14,680 Speaker 1: part of the gag, right. I mean, you know, we'll 338 00:19:14,680 --> 00:19:16,480 Speaker 1: get to it later, but like I always think of 339 00:19:16,480 --> 00:19:19,000 Speaker 1: the Loony Tunes kind of completely exaggerated version of that, 340 00:19:19,040 --> 00:19:21,720 Speaker 1: where the pie hits and it just slow most slides off, 341 00:19:21,840 --> 00:19:26,160 Speaker 1: leaving all the good behind right exactly exactly. And they 342 00:19:26,200 --> 00:19:31,440 Speaker 1: had specific recipes which I found pretty interesting. So after 343 00:19:31,480 --> 00:19:33,840 Speaker 1: they've got this crust and they say no tin plates, 344 00:19:34,080 --> 00:19:36,919 Speaker 1: they're gonna fill it with an inch of flour and 345 00:19:37,000 --> 00:19:40,399 Speaker 1: water paste. That's very thick, and then the rest of 346 00:19:40,440 --> 00:19:45,520 Speaker 1: the recipe varies on the person's appearance. I love this 347 00:19:45,640 --> 00:19:48,840 Speaker 1: so much. It gets so specific. They talk about if 348 00:19:49,000 --> 00:19:52,800 Speaker 1: a man in a suit, a light colored suit, was 349 00:19:52,960 --> 00:19:55,240 Speaker 1: to be the target, then they would add chocolate or 350 00:19:55,240 --> 00:19:58,440 Speaker 1: strawberry to add, you know, something that would completely wreck 351 00:19:58,520 --> 00:20:00,560 Speaker 1: their clothes and make it really clear that they had 352 00:20:00,600 --> 00:20:02,920 Speaker 1: been hit with something, and that black and white. If 353 00:20:03,119 --> 00:20:06,160 Speaker 1: a blonde was going to be hit, then custard would 354 00:20:06,200 --> 00:20:09,560 Speaker 1: not be used. Instead, it was a mixture of blackberries, flour, 355 00:20:09,680 --> 00:20:12,680 Speaker 1: and water topped with whipped cream, which is that classic 356 00:20:12,760 --> 00:20:15,159 Speaker 1: like double dare. And those were just literally pie plates, 357 00:20:15,240 --> 00:20:18,320 Speaker 1: you know, with whip cream, like in Revenge of the 358 00:20:18,400 --> 00:20:21,919 Speaker 1: Nerds where they're giving away pies that just have naked 359 00:20:21,960 --> 00:20:24,800 Speaker 1: pictures on the bottom of the plate, right, they're just 360 00:20:24,840 --> 00:20:28,240 Speaker 1: whipped cream over the pictures. Yeah, that's that's the most 361 00:20:28,280 --> 00:20:30,440 Speaker 1: basic version of a thing that you maybe could call 362 00:20:30,480 --> 00:20:34,080 Speaker 1: it pie. But this is so fascinating. Brunette's even had 363 00:20:34,119 --> 00:20:36,480 Speaker 1: their own category of pie. I love the idea of 364 00:20:36,560 --> 00:20:39,879 Speaker 1: ballistic pie that would be a lemon meringue filling um 365 00:20:39,960 --> 00:20:43,240 Speaker 1: to contrast with their darker hair. And Keaton even had 366 00:20:43,400 --> 00:20:46,719 Speaker 1: really specific recommendations on how to go about throwing it, 367 00:20:47,000 --> 00:20:49,880 Speaker 1: like how to you know, surprise your victim to get 368 00:20:49,920 --> 00:20:53,600 Speaker 1: like the maximum you know, genuine reaction. The shot put, 369 00:20:53,760 --> 00:20:56,680 Speaker 1: the shot put. That's right. He refers to several kind 370 00:20:56,720 --> 00:20:58,919 Speaker 1: of techniques of throwing pies, and he says this in 371 00:20:58,920 --> 00:21:01,520 Speaker 1: his memoir This is the Custard Pie Surprise. I was 372 00:21:01,560 --> 00:21:04,720 Speaker 1: about to heave its sweet faced Alice Faye in their 373 00:21:04,760 --> 00:21:08,359 Speaker 1: film Hollywood Cavalcade, which came out in nine. I worried 374 00:21:08,359 --> 00:21:11,400 Speaker 1: about her flinching. Besides spoiling the shot, that would mean 375 00:21:11,440 --> 00:21:14,600 Speaker 1: and this I love is it's so perfectly functional. This 376 00:21:14,640 --> 00:21:17,320 Speaker 1: would mean hours of delay while Alice took a shower, 377 00:21:17,520 --> 00:21:19,399 Speaker 1: got a whole new makeup job of hair do, and 378 00:21:19,440 --> 00:21:22,280 Speaker 1: was fitted for a duplicate close outfit. That makes sense. 379 00:21:22,280 --> 00:21:24,800 Speaker 1: That would have taken forever to reset that. It's like 380 00:21:24,800 --> 00:21:27,000 Speaker 1: a very small scale version of like doing some sort 381 00:21:27,040 --> 00:21:29,000 Speaker 1: of pyro event on a movie set where you like 382 00:21:29,040 --> 00:21:31,480 Speaker 1: blow up a bank or something. And so we can 383 00:21:31,560 --> 00:21:34,919 Speaker 1: already see that there's a lot of work going into 384 00:21:34,960 --> 00:21:39,680 Speaker 1: the comedy pie business. But when we return for part 385 00:21:39,760 --> 00:21:42,560 Speaker 1: two of our episode, we're gonna see that this goes 386 00:21:42,720 --> 00:21:47,840 Speaker 1: even further. It leads to something called the Battle of 387 00:21:48,080 --> 00:21:50,960 Speaker 1: the Century, which is the epic pie fight to end 388 00:21:51,080 --> 00:21:53,760 Speaker 1: all pie fights. What are we talking about. You'll have 389 00:21:53,840 --> 00:21:57,480 Speaker 1: to tune in for part two. And please, by the way, 390 00:21:57,720 --> 00:22:00,320 Speaker 1: just to be safe. We know, we explain how to 391 00:22:00,440 --> 00:22:05,240 Speaker 1: make various kinds of movie pies for throwing at people. 392 00:22:05,640 --> 00:22:08,240 Speaker 1: But please don't take that as us say you should 393 00:22:08,320 --> 00:22:11,359 Speaker 1: throw a pie at an unwilling person. No, you have 394 00:22:11,440 --> 00:22:13,840 Speaker 1: to have pie approval before. I mean, unless, like you're 395 00:22:13,960 --> 00:22:16,160 Speaker 1: working in comedy and it's understood that you know, by 396 00:22:16,280 --> 00:22:18,239 Speaker 1: entering into this there is the potential that you might 397 00:22:18,280 --> 00:22:20,320 Speaker 1: get here with a pie or a double dare situation. 398 00:22:20,359 --> 00:22:22,440 Speaker 1: That's something that you kind of like sign up for 399 00:22:22,560 --> 00:22:25,679 Speaker 1: when you get one of that set. Yeah, consensual pie 400 00:22:25,680 --> 00:22:28,159 Speaker 1: fights also as well learn in part two there's a 401 00:22:28,160 --> 00:22:30,959 Speaker 1: little bit of what you might call pie throwing ethics. 402 00:22:31,000 --> 00:22:34,760 Speaker 1: People like Buster Keaton thought that not everyone should get 403 00:22:34,760 --> 00:22:37,080 Speaker 1: a pie thrown at them. We'll tell you more about 404 00:22:37,119 --> 00:22:38,800 Speaker 1: this in the second part of our series on the 405 00:22:38,840 --> 00:22:41,560 Speaker 1: history of pie throwing. In the meantime, you know, I've 406 00:22:41,560 --> 00:22:45,560 Speaker 1: been dying to ask this whole episode, doll fellow ridiculous historians, 407 00:22:45,680 --> 00:22:47,719 Speaker 1: have you ever been in a pie fight or a 408 00:22:47,720 --> 00:22:50,879 Speaker 1: food fight. What happened? How to go down? Did you ever? Just? 409 00:22:50,960 --> 00:22:52,680 Speaker 1: I feel like we have at least one person the 410 00:22:52,760 --> 00:22:55,600 Speaker 1: audience who just slammed a pie in their own face. 411 00:22:56,080 --> 00:22:58,600 Speaker 1: That'd be fun. There is a game, like a kid's 412 00:22:58,680 --> 00:23:01,160 Speaker 1: game that you can get that involve these like spring 413 00:23:01,240 --> 00:23:04,240 Speaker 1: loaded hands that like shoot pies in your face, but 414 00:23:04,359 --> 00:23:06,720 Speaker 1: they really are just tiny little piethons that I believe. 415 00:23:06,760 --> 00:23:09,080 Speaker 1: You have to supply your own whip cream. It never 416 00:23:09,119 --> 00:23:11,240 Speaker 1: seemed like a very good bargain to me as a game, 417 00:23:11,359 --> 00:23:12,760 Speaker 1: like think of all the think of the whip cream 418 00:23:12,800 --> 00:23:15,880 Speaker 1: costs that would go into playing this game. Yeah, you've 419 00:23:15,880 --> 00:23:17,560 Speaker 1: got to think of the R O I or R 420 00:23:17,640 --> 00:23:25,800 Speaker 1: O pie I should say, Max, Uh, if you put 421 00:23:25,800 --> 00:23:27,640 Speaker 1: a wall PLoP in there, I'm not gonna be mad 422 00:23:27,680 --> 00:23:32,040 Speaker 1: at you. Thanks as always to our super producer Casey Begraham, 423 00:23:32,040 --> 00:23:36,119 Speaker 1: our producers Andrew Howard and Max Williams, and Uh you 424 00:23:36,240 --> 00:23:38,920 Speaker 1: can't help the shout out. The man himself, Alex Williams 425 00:23:38,920 --> 00:23:41,800 Speaker 1: composed this slapping track. As we mentioned earlier. He did 426 00:23:41,840 --> 00:23:45,280 Speaker 1: indeed one of our Keystone Cop brethren. If you want 427 00:23:45,280 --> 00:23:46,760 Speaker 1: to check us out on the internet, you can do 428 00:23:46,840 --> 00:23:49,760 Speaker 1: so ridiculous history. We're pretty much all the places that 429 00:23:49,840 --> 00:23:51,919 Speaker 1: would lead you to. You can also find Ben and 430 00:23:51,960 --> 00:23:54,640 Speaker 1: I as individual human people. I am on Instagram at 431 00:23:54,640 --> 00:23:57,440 Speaker 1: how Now Noel Brown. You can also find me on 432 00:23:57,440 --> 00:24:00,840 Speaker 1: Twitter at Ben Bulling h s W, where you can 433 00:24:00,880 --> 00:24:02,760 Speaker 1: get a sneak peek at some of the stuff I'm 434 00:24:02,800 --> 00:24:06,640 Speaker 1: working on. You can also drop by Instagram where I'm 435 00:24:06,720 --> 00:24:10,159 Speaker 1: at Ben Bolan bo w l I n okay. We 436 00:24:10,160 --> 00:24:13,120 Speaker 1: already think Alex Williams, who composed our theme twice. Even gosh, 437 00:24:13,160 --> 00:24:16,359 Speaker 1: we're on a roll. Gabe Lucier, our research associate extraordinaire. 438 00:24:16,600 --> 00:24:20,040 Speaker 1: Christopher hasciotes here in spirit. Jonathan Strickland, the Quister, may 439 00:24:20,359 --> 00:24:24,160 Speaker 1: ever mayhe rain. If one man that I know deserves 440 00:24:24,160 --> 00:24:27,280 Speaker 1: a pie in the face, it's Jonathan Strickland's a k 441 00:24:27,600 --> 00:24:30,560 Speaker 1: the Twister. Jonathan. If you're listening, I want you to 442 00:24:30,640 --> 00:24:35,440 Speaker 1: know that the future hurdles toward you unstoppable. Even now, 443 00:24:35,640 --> 00:24:39,159 Speaker 1: there is a pie, the pieces of a pie coming together, 444 00:24:39,560 --> 00:24:42,040 Speaker 1: aimed for your face. We'll see you next time, folks. 445 00:24:51,880 --> 00:24:53,960 Speaker 1: For more podcasts for my Heart Radio, visit the I 446 00:24:54,040 --> 00:24:56,960 Speaker 1: Heart Radio app, Apple podcast, or wherever you listen to 447 00:24:57,000 --> 00:24:57,920 Speaker 1: your favorite shows.