WEBVTT - Part One: The Surrealists Were Even Cooler Than You Thought

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<v Speaker 1>Hello, and welcome to Cool People Did Cool Stuff. You

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<v Speaker 1>thought I forgot how to introduce my podcast. I would

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<v Speaker 1>never forget how to introduce my podcast, because I'm Margaret Kiljoy,

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<v Speaker 1>the host of Cool People Who Did Cool Stuff, And

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<v Speaker 1>this is what I do for a living, and I'm

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<v Speaker 1>good at my job. But with me today is my guest,

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<v Speaker 1>Caitlyn Dante.

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<v Speaker 2>Hi, Caitlin, Oh, Hi, thanks for having me.

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<v Speaker 1>Yeah. People, if they're keeping track, you were on when

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<v Speaker 1>we talked about Oh God, was anti fascism in film?

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<v Speaker 1>Was that you?

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<v Speaker 2>Yes? And it was specifically oh because we talked about

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<v Speaker 2>someone named Shrek Max Streck.

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<v Speaker 1>Yeah.

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<v Speaker 2>Yeah. And then there was another episode on the printing people.

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<v Speaker 1>Who were the printers? Yes, yeah, all right, Well I

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<v Speaker 1>have you on for good ones and that's cool because

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<v Speaker 1>today is a good one.

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<v Speaker 2>Can't wait.

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<v Speaker 1>The other person who's on for the good ones. There's

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<v Speaker 1>only good ones is Sophie our producer. Hi, Sophie.

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<v Speaker 3>Hi, Caitlyn Fear.

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<v Speaker 1>Beforehand, I asked Caitlin what they could do if I

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<v Speaker 1>had completely forgotten my script, what they would do an

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<v Speaker 1>episode on And we're not doing that. That's not what's

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<v Speaker 1>happening today. I have a script in front of me.

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<v Speaker 1>But Caitlin said Paddington Bear. Yeah, Kaitlyn, who's Paddington Bear

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<v Speaker 1>for the listeners. He's a cool bear who did cool

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<v Speaker 1>stuff and he's just a little sweetie pie. He loves marmalade.

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<v Speaker 1>He is Sally.

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<v Speaker 2>He wears a Duffel coat.

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<v Speaker 1>Oh that's it.

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<v Speaker 4>I've definitely been with Caitlin where they were doing a

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<v Speaker 4>show and then fans gave Caitlin orange marmalade. Mm hmm,

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<v Speaker 4>yeah that's happened.

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<v Speaker 2>Yeah, people give me all kinds of Paddington paraphernalia. And yeah,

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<v Speaker 2>he based I mean Paddington. He kind of dismantled the

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<v Speaker 2>prison industrial complex in Paddington two.

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<v Speaker 1>Okay, okay.

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<v Speaker 2>He also fought back against racism and xenophobia and like

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<v Speaker 2>anti immigration sentiments in Paddington I, and who knows what

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<v Speaker 2>will happen in Paddington three.

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<v Speaker 1>So it sounds like he has a lot in common

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<v Speaker 1>with people we're gonna talk about today. Ooh, it's some

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<v Speaker 1>Paddington's cooler in some ways. Our audio engineers Ian Everyone's

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<v Speaker 1>to say hi in Hi ian y. Our music The

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<v Speaker 1>music was done forced by unwoman who has a new

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<v Speaker 1>album out that you should check out on band camp

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<v Speaker 1>or wherever you. I don't know enough about how music

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<v Speaker 1>is distributed. It's probably on Spotify two, I don't know.

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<v Speaker 1>But today we're gonna do an art history day. Oh

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<v Speaker 1>but don't worry, there's still going to be revolvers. Oh good, Yeah,

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<v Speaker 1>because did you ever take art history?

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<v Speaker 2>I did not. I know so little about art history.

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<v Speaker 2>I did.

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<v Speaker 1>It is the boringest class I've ever taken in my life.

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<v Speaker 1>So vay do you concur is it?

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<v Speaker 2>Yeah?

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<v Speaker 3>I get.

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<v Speaker 4>I took ap RT history in high school with a teacher,

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<v Speaker 4>with a teacher who took it more seriously than a

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<v Speaker 4>heart surgeon takes heart surgery.

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<v Speaker 2>WHOA.

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<v Speaker 1>I took art history when I briefly went to art school,

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<v Speaker 1>and it's the only class I've ever failed in my

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<v Speaker 1>life because it had no connection to anything that interested

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<v Speaker 1>me at the time. Because my hypothesis, art history is

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<v Speaker 1>taught as if it's boring, as if it's only about

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<v Speaker 1>the ways that people like represented objects through time being

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<v Speaker 1>like and now they represented them with more color and

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<v Speaker 1>less color and shit like that. Right today, we're going

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<v Speaker 1>to talk about the Surrealists.

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<v Speaker 2>That's awesome.

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<v Speaker 1>Yeah, I'm excited to talk about the Surrealists, because what

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<v Speaker 1>I learned about them was just like, oh, they chose

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<v Speaker 1>to paint things and they had melting clocks or whatever.

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<v Speaker 1>To be fair, I also just said that I failed

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<v Speaker 1>art history, so maybe they taught me more and I

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<v Speaker 1>was asleep. But what the pieces like meant was stressed,

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<v Speaker 1>but in this abstract way, as if art was its

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<v Speaker 1>own realm. Kind of like how philosophy is boring as

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<v Speaker 1>shit unless it's connected to daily life. That's my hypothesis.

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<v Speaker 2>Mh.

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<v Speaker 1>The Surrealists. What do you know about the Surrealists? What

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<v Speaker 1>have you heard about these folks?

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<v Speaker 2>I don't know the difference between Like if you were like, oh,

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<v Speaker 2>you know, like Cubism and Surrealists and the other styles, Yeah,

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<v Speaker 2>I wouldn't be able to identify who did what what

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<v Speaker 2>eras they were popular, and I don't I have I

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<v Speaker 2>have no information. This is a huge gap knowledge.

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<v Speaker 1>Okay, I think I'm going to be able to present

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<v Speaker 1>it where it's actually going to be exciting. I don't

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<v Speaker 1>know whether will make you care about the Surrealist art itself.

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<v Speaker 1>Although I actually really like some of the Surrealist art.

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<v Speaker 1>The Surrealists were all about daily life. They actually didn't

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<v Speaker 1>set out to be an art movement. They set out

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<v Speaker 1>to be a revolutionary organization of artists aiming to overthrow

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<v Speaker 1>the world order, and not just like philosophically, but like

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<v Speaker 1>with guns and shit as necessary. Oh hell yeah, that said,

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<v Speaker 1>probably most of them would have preferred to let other

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<v Speaker 1>people handle the guns. Well, they did the painting, let's

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<v Speaker 1>be real, And they did all of this as part

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<v Speaker 1>of the larger leftist project, starting off communist, moving ever

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<v Speaker 1>more towards friend of the Pod anarchism, though obviously they

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<v Speaker 1>all as individuals took different routes to different destinations. But

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<v Speaker 1>that is the selfclaimed surrealist group's movement. Okay, we are

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<v Speaker 1>going to structure this episode differently, a bit less linearly.

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<v Speaker 1>Partly I'm going to pretend like it's because the Surrealists

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<v Speaker 1>would have liked it that way.

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<v Speaker 3>They would, I.

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<v Speaker 1>Actually think they would have. Yeah, there's this word that's

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<v Speaker 1>used by the descendant of the Surrealists, the Situationists, who

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<v Speaker 1>are really involved in like late sixties France, lefty revolution

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<v Speaker 1>of everyday life type stuff. And they had this concept

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<v Speaker 1>called the derieve, which is this kind of pretentious but

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<v Speaker 1>also really cool idea of taking wandering around the city

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<v Speaker 1>to be an art form, right, and so like the

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<v Speaker 1>derive is just literally like you like walk out your

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<v Speaker 1>house and you go different places than you would have

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<v Speaker 1>and you just let the and you move from like

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<v Speaker 1>one situation in context to another rapidly. And it's a

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<v Speaker 1>very urban thing for that, right, is a thing that

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<v Speaker 1>works because it is urban. I really like the derieve

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<v Speaker 1>and you can recontextualize the city at random and you'll

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<v Speaker 1>learn different things. So we're going to take a reeve

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<v Speaker 1>through surrealist history and we'll start off with some of

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<v Speaker 1>the things they did, not some of the things they thought,

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<v Speaker 1>or some of the things that they painted or wrote.

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<v Speaker 1>We're gonna start with a story about World War two,

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<v Speaker 1>because apparently everything is about goddamn World War two, and

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<v Speaker 1>also on this podcast, everything is about a goddamn lesbian

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<v Speaker 1>and or non binary surrealist couple who found themselves on

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<v Speaker 1>death rope during the Nazi occupation. Who these two folks,

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<v Speaker 1>Claude Kaa and Marcel Moore, And they were both probably

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<v Speaker 1>would have called themselves women. They both took men's names.

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<v Speaker 1>Claude isn't could be either name, but Marcel is a

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<v Speaker 1>man's name, and Claude at the very least espoused a

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<v Speaker 1>non binary identity. I'm not gonna I'm just gonna use

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<v Speaker 1>she because I'm not gonna like retroactively be like you are,

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<v Speaker 1>the following kind of thing that we currently talk about, right,

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<v Speaker 1>I don't know sure. I don't think she would have

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<v Speaker 1>given a shit no matter what pronounce someone used for them.

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<v Speaker 1>And I'm only going to use one name for each one,

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<v Speaker 1>not because they were like terrified of anyone speaking their

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<v Speaker 1>dead name. That concept wasn't around, and they called each

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<v Speaker 1>other often. They called each other by their birth names.

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<v Speaker 1>But I'm doing it because I can't keep track of

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<v Speaker 1>more than one name for a person there, which really

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<v Speaker 1>helps me in the modern like queer trans world. But

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<v Speaker 1>I'm just gonna call them Claude and Marcel.

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<v Speaker 2>Yeah.

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<v Speaker 1>Claude ca A was born with a woman's name in

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<v Speaker 1>not A city in western France in eighteen ninety four,

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<v Speaker 1>and she was born into a prominent family of Jewish intellectuals.

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<v Speaker 1>Her father ran a newspaper, her uncle was one of

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<v Speaker 1>the great symbolist poets. I could not tell you what

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<v Speaker 1>that means because I have a similar level of understanding

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<v Speaker 1>of some of these things. If I haven't if they

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<v Speaker 1>didn't fight Nazis. I don't really know anything about them yet,

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<v Speaker 1>you know, sure I will. I kind of know what

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<v Speaker 1>the romantics. They would have thrown explosives at Nazis had

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<v Speaker 1>there been Nazis to throw them at. Anyway, Claude grew

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<v Speaker 1>up bilingual. She grew up speaking French and English, and

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<v Speaker 1>she went to school in England and France both And

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<v Speaker 1>when she went to school in England, like boarding school,

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<v Speaker 1>when she was like a teenager preteen, I think maybe

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<v Speaker 1>she met anti Semitic abuse at the hands of her classmates.

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<v Speaker 1>Because everything is awful, and she fell in love young,

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<v Speaker 1>and she stayed that way for the rest of her

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<v Speaker 1>life with the one person. And this is like one

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<v Speaker 1>of my favorite romances in history. This might be my

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<v Speaker 1>favorite romance I've ever recovered on this show.

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<v Speaker 2>Ooh.

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<v Speaker 1>Although it started off when she was fifteen, her dad

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<v Speaker 1>married a Jewish woman with a seventeen year old daughter, Marcel,

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<v Speaker 1>and they fell madly in love. The two stepsisters. Later

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<v Speaker 1>Marcel took There's two versions of the story. Either Marcel

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<v Speaker 1>took the boy's name first and then Claude took one later,

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<v Speaker 1>or they both took it at the same time while

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<v Speaker 1>they were living in Paris, US. I like the version

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<v Speaker 1>where they took it at the same time for no

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<v Speaker 1>good reason, and I have no It's my favorite thing

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<v Speaker 1>about trying to tell a single linear narrative out of

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<v Speaker 1>history when there's perfectly good arguments that completely contradict each

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<v Speaker 1>other about minor things, and then you get obsessive about it,

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<v Speaker 1>and then you cross reference everything and you don't get

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<v Speaker 1>an answer. I don't know if you've had this, and.

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<v Speaker 2>Then it's twenty hours later and you're like, oh, no,

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<v Speaker 2>I still have so much to do.

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<v Speaker 1>Yeah. I don't always sleep Wednesday nights. We record on Thursdays,

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<v Speaker 1>just so everyone listening now knows what day I record.

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<v Speaker 2>Gasp.

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<v Speaker 1>Yeah, I don't know what they'll do with it, but

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<v Speaker 1>I still don't trust people. Do not Okay, anyway, I've

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<v Speaker 1>decided to trust.

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<v Speaker 2>You still like to know when you know, they like

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<v Speaker 2>to have that insider information. Yeah, they like it when

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<v Speaker 2>the curtain is pulled back and yeah, really kind of

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<v Speaker 2>mundane details are revealed.

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<v Speaker 1>You see me with my hair unbrushed.

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<v Speaker 2>Yeah.

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<v Speaker 1>So they moved to Paris. They were living together, and

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<v Speaker 1>they were rich kids. They are living off of their

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<v Speaker 1>family money, which is good work if you can get it.

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<v Speaker 2>Right.

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<v Speaker 1>They often called each other by their birth names and

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<v Speaker 1>then use the boys' names, as they're like pen names,

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<v Speaker 1>but other times they totally used these other names. I

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<v Speaker 1>think they were pretty fluid about it. It's also so

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<v Speaker 1>they joined the Surrealist movement. We'll get to that, but

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<v Speaker 1>this is their lesbianism, alongside of a lot of Surrealist

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<v Speaker 1>men's open or closeted homosexuality earned the surrealis the epithet,

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<v Speaker 1>which is now a compliment of being a homosexual organization

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<v Speaker 1>has always been fairly welcoming to the case. Obviously, there's

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<v Speaker 1>homophobia everywhere. It's like, we're talking about nineteen twenties and thirties. Nothing,

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<v Speaker 1>it's perfect. Yeah, but yeah, a lot of them are game,

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<v Speaker 1>including Claude and Marcel most to the rest of the

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<v Speaker 1>Surrealists and most of the Western left. Claude. We have

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<v Speaker 1>more written about Claude. She's like more famous, right. She

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<v Speaker 1>spent the early nineteen twenties and nineteen thirties involved in

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<v Speaker 1>communism and the Communist Party, joining a group called the

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<v Speaker 1>Association of Revolutionary Writers, and this was buds with the

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<v Speaker 1>Surrealists because the Surrealists at this time were also really

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<v Speaker 1>into the Communist Party. This didn't last their interest in

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<v Speaker 1>the Communist Party, which was controlled by Russia. Right, So

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<v Speaker 1>in nineteen thirty two, she's like, Oh, the surrealism thing,

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<v Speaker 1>we're all organizing together. It seems cool. Sign me up.

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<v Speaker 1>She starts showing work at all the surrealist exhibitions and

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<v Speaker 1>all that shit. I do not understand the art world.

0:12:42.280 --> 0:12:44.320
<v Speaker 1>Like I have an understanding of like how it works,

0:12:44.480 --> 0:12:50.120
<v Speaker 1>but I don't get it or like care shit. Sure,

0:12:50.320 --> 0:12:52.240
<v Speaker 1>someone who's listening who cares, is like, why is this

0:12:52.320 --> 0:12:55.240
<v Speaker 1>bitch to surrealists? I care about other shit. They did

0:12:55.240 --> 0:12:57.480
<v Speaker 1>a lot, and I love the art they made. I

0:12:57.600 --> 0:13:01.239
<v Speaker 1>just don't give a shit about the world of exhibitions

0:13:01.280 --> 0:13:02.120
<v Speaker 1>and stuff.

0:13:02.640 --> 0:13:06.000
<v Speaker 2>Right, Yeah, I guess I've never even thought about it.

0:13:06.040 --> 0:13:08.160
<v Speaker 2>I don't know how I feel about it because I've

0:13:09.280 --> 0:13:13.400
<v Speaker 2>I don't know, I've done no thinking about it.

0:13:13.440 --> 0:13:17.280
<v Speaker 1>There's no reason too. And the only reason I have

0:13:17.360 --> 0:13:19.440
<v Speaker 1>like a weird anger about it is because I like

0:13:19.520 --> 0:13:23.000
<v Speaker 1>all the anti art movements that like, actually, the surrealists

0:13:23.240 --> 0:13:26.680
<v Speaker 1>claim to be against the bourgeois art world and anyway whatever.

0:13:27.080 --> 0:13:30.080
<v Speaker 1>By the late nineteen thirties, the Surrealists were sick of

0:13:30.120 --> 0:13:34.800
<v Speaker 1>Stalin and they were getting really into Trotsky, which is like, hey,

0:13:34.960 --> 0:13:38.079
<v Speaker 1>state communism still seems okay, but like Stalin is a

0:13:38.120 --> 0:13:42.440
<v Speaker 1>motherfucker and authoritarianism is bad, right, So she joins the

0:13:42.480 --> 0:13:46.240
<v Speaker 1>International Federation for an Independent Revolutionary Art because nothing can

0:13:46.280 --> 0:13:48.480
<v Speaker 1>have a fucking nice, normal name. Everything has to be

0:13:48.520 --> 0:13:50.160
<v Speaker 1>the blah blah blah blah blah blah blah blah.

0:13:50.040 --> 0:13:51.840
<v Speaker 2>Blah, so many syllables.

0:13:51.920 --> 0:13:55.200
<v Speaker 1>Yeah, yeah, that's all. I'm French too, I'm still sticking

0:13:55.240 --> 0:13:59.920
<v Speaker 1>to the English translations of these. And she's making art, right,

0:14:00.080 --> 0:14:02.600
<v Speaker 1>that's like her main thing. She's first and foremost remembered

0:14:02.640 --> 0:14:07.520
<v Speaker 1>as a photographer. She's called a self portraiture artist. This

0:14:07.559 --> 0:14:11.760
<v Speaker 1>is lesbian erasure because her partner took all the pictures.

0:14:12.920 --> 0:14:16.000
<v Speaker 1>Oh I see, okay, it's like she set them up.

0:14:16.000 --> 0:14:20.239
<v Speaker 1>There were collaborations, and we don't really know the details

0:14:20.280 --> 0:14:21.600
<v Speaker 1>of a lot of it, I don't think, but like

0:14:22.120 --> 0:14:24.280
<v Speaker 1>it was only like way later that people were like, oh,

0:14:25.040 --> 0:14:29.600
<v Speaker 1>Marcel was like actually taking all these pictures. It's fine,

0:14:29.840 --> 0:14:33.360
<v Speaker 1>It's like anyway, whatever, Wait, would.

0:14:33.160 --> 0:14:36.080
<v Speaker 2>They have been considered surrealist photographs?

0:14:36.280 --> 0:14:36.800
<v Speaker 3>Yeah?

0:14:36.840 --> 0:14:37.640
<v Speaker 1>So surrealism?

0:14:37.680 --> 0:14:39.600
<v Speaker 2>Does that even work?

0:14:39.960 --> 0:14:41.600
<v Speaker 1>Okay, so we're gonna talk about this more like next

0:14:41.640 --> 0:14:43.800
<v Speaker 1>week when we get really in the surrealism who they are.

0:14:43.960 --> 0:14:46.120
<v Speaker 1>But the basics of it is that surrealism is not

0:14:46.240 --> 0:14:49.680
<v Speaker 1>about like painting melting clocks or certain color palettes or

0:14:49.680 --> 0:14:54.640
<v Speaker 1>things like that. Surrealism is about reconfiguring the objects of

0:14:54.680 --> 0:15:01.240
<v Speaker 1>everyday life in a way that break out of make us,

0:15:01.280 --> 0:15:04.200
<v Speaker 1>break out of our assumptions about like what things are

0:15:04.240 --> 0:15:07.000
<v Speaker 1>and what things can be. Surrealism is basically like, we

0:15:07.040 --> 0:15:10.160
<v Speaker 1>want to pain dreams, like we want to destroy the

0:15:10.200 --> 0:15:13.840
<v Speaker 1>barrier between like the dream world and the waking world.

0:15:14.160 --> 0:15:16.480
<v Speaker 1>And so this is like part of their revolutionary stuff, right,

0:15:16.560 --> 0:15:19.920
<v Speaker 1>is that they're like, well, we want to we want

0:15:19.920 --> 0:15:21.960
<v Speaker 1>to live the way that we want to live. We

0:15:22.000 --> 0:15:24.160
<v Speaker 1>want to see our dreams come into reality, and we

0:15:24.200 --> 0:15:28.680
<v Speaker 1>want to get rid of this like stagnant, boring world

0:15:28.760 --> 0:15:30.400
<v Speaker 1>that we've been forced into. It's kind of a rich

0:15:30.440 --> 0:15:31.800
<v Speaker 1>kid problem for a lot of them. Some of them

0:15:31.800 --> 0:15:34.320
<v Speaker 1>are working class. We'll talk about some of those, sure,

0:15:34.840 --> 0:15:37.040
<v Speaker 1>but yeah, no, And actually men Ray is the most

0:15:37.040 --> 0:15:40.880
<v Speaker 1>famous surrealist photographer, although one of the techniques that he

0:15:40.960 --> 0:15:43.720
<v Speaker 1>supposedly developed was developed by a surrealist woman who he

0:15:43.800 --> 0:15:45.760
<v Speaker 1>was fucking who was completely ignored for a very long time.

0:15:45.800 --> 0:15:47.600
<v Speaker 1>We're gonna talk more about her. She's a very important

0:15:47.640 --> 0:15:51.120
<v Speaker 1>war correspondent. But surrealist photography is absolutely a thing.

0:15:52.200 --> 0:15:55.200
<v Speaker 2>I'm a Google image searching it right now.

0:15:55.400 --> 0:15:57.840
<v Speaker 1>Okay, I don't know what's gonna come up. Is there

0:15:57.840 --> 0:16:00.800
<v Speaker 1>gonna be a picture of like someone cutting someone's eyeball?

0:16:00.840 --> 0:16:05.040
<v Speaker 2>That's so whatever movie that's it? Because there's also like

0:16:05.520 --> 0:16:11.000
<v Speaker 2>surrealist film movement maybe or maybe I'm thinking of German Expressionism.

0:16:11.040 --> 0:16:13.080
<v Speaker 1>I don't they both come out of World War One.

0:16:13.120 --> 0:16:16.240
<v Speaker 2>But yeah, okay, so I that was the first thing

0:16:16.280 --> 0:16:18.760
<v Speaker 2>I thought of of like a surrealist photo. I was like, oh,

0:16:18.760 --> 0:16:21.160
<v Speaker 2>I wonder if it's like like that image of someone,

0:16:22.040 --> 0:16:25.080
<v Speaker 2>which is I don't want to think about it?

0:16:25.160 --> 0:16:26.520
<v Speaker 1>Well to me because we don't have to because that

0:16:26.560 --> 0:16:28.000
<v Speaker 1>was by Deli, and Deli was kicked out of the

0:16:28.000 --> 0:16:29.800
<v Speaker 1>Surrealist but for being a fascist. But we'll get to

0:16:29.840 --> 0:16:34.560
<v Speaker 1>that the no go ahead. Sorry what you say.

0:16:34.440 --> 0:16:36.680
<v Speaker 2>Though, Oh no, just that it's I mean, I guess

0:16:36.720 --> 0:16:41.520
<v Speaker 2>it's what you'd expect. It's like photography but surreal.

0:16:41.840 --> 0:16:44.400
<v Speaker 1>Yeah, it's like I don't know you you all can

0:16:44.440 --> 0:16:47.720
<v Speaker 1>google it at home. Objects that are not where you

0:16:47.800 --> 0:16:51.160
<v Speaker 1>necessarily expect objects to be, like in different contexts and stuff.

0:16:52.280 --> 0:16:55.600
<v Speaker 1>It's not abstract. It's like still representational art. You know

0:16:55.640 --> 0:17:00.200
<v Speaker 1>you can see, right, it's hard to describe. Yeah, but

0:17:00.400 --> 0:17:02.600
<v Speaker 1>like yeah, yeah, that's the beauty of it.

0:17:02.760 --> 0:17:03.160
<v Speaker 3>Perhaps.

0:17:03.680 --> 0:17:07.439
<v Speaker 4>Yeah, I think the like most common one that like

0:17:07.600 --> 0:17:10.160
<v Speaker 4>I think of is the guy with the apple covering

0:17:10.200 --> 0:17:15.959
<v Speaker 4>his face. That's like the most that the one that

0:17:16.000 --> 0:17:18.919
<v Speaker 4>I that when I'm like, oh this is what this is,

0:17:18.960 --> 0:17:19.760
<v Speaker 4>that's what I think of.

0:17:21.480 --> 0:17:25.480
<v Speaker 2>Yeah, yeah, I agree. And I had a photograph of

0:17:25.520 --> 0:17:27.520
<v Speaker 2>a painting. I can't even see the apple in the face.

0:17:27.680 --> 0:17:32.919
<v Speaker 2>I think that's the painting. Yes, it is apple in

0:17:32.920 --> 0:17:33.800
<v Speaker 2>front of face art.

0:17:34.119 --> 0:17:34.320
<v Speaker 3>Yeah.

0:17:34.400 --> 0:17:36.760
<v Speaker 2>Yeah, so there's a whole subgenre.

0:17:36.920 --> 0:17:39.160
<v Speaker 1>But you can do the same thing with a photo, right,

0:17:40.040 --> 0:17:44.480
<v Speaker 1>there's both. Oh okay, oh yeah, all right, Sophie paid

0:17:44.480 --> 0:17:47.439
<v Speaker 1>more attention art history than I did. There we go.

0:17:47.640 --> 0:17:49.080
<v Speaker 4>I passed my AP test, thank you.

0:17:49.560 --> 0:17:50.040
<v Speaker 1>Okay.

0:17:51.240 --> 0:17:55.040
<v Speaker 4>I was really scared of that teacher, like I, yeah,

0:17:54.240 --> 0:17:57.399
<v Speaker 4>I talk too much in class and guess where I

0:17:57.400 --> 0:17:58.120
<v Speaker 4>am now.

0:17:58.880 --> 0:18:02.480
<v Speaker 1>Yeah that's right. I have this theory about how I

0:18:02.520 --> 0:18:06.159
<v Speaker 1>got listening. I'm scared of him. Still, it's been a

0:18:06.200 --> 0:18:08.080
<v Speaker 1>long time, and I still have fear.

0:18:09.080 --> 0:18:10.680
<v Speaker 2>Sorry for your biggest fan.

0:18:11.800 --> 0:18:14.719
<v Speaker 3>That would be really cool, but don't tell me.

0:18:14.840 --> 0:18:15.560
<v Speaker 2>I don't need to know.

0:18:18.440 --> 0:18:25.560
<v Speaker 1>Yeah, you're just like that would be really creepy. Yeah, well, okay,

0:18:25.640 --> 0:18:30.240
<v Speaker 1>so back to the surrealist by first, Oh, do you

0:18:30.280 --> 0:18:32.840
<v Speaker 1>know what else? Is a juxtaposition of things that don't

0:18:32.880 --> 0:18:36.240
<v Speaker 1>belong together to create a strange hole and trying to

0:18:36.280 --> 0:18:38.000
<v Speaker 1>make it in the art world while at the same

0:18:38.000 --> 0:18:43.920
<v Speaker 1>time holding revolutionary values. It's the fact that we have advertising. Yep,

0:18:45.520 --> 0:18:53.359
<v Speaker 1>here's the Mads and we're back, and we are talking

0:18:53.400 --> 0:18:58.560
<v Speaker 1>about cloud cause art that she made with with Marcel,

0:18:59.240 --> 0:19:02.359
<v Speaker 1>and like, we have this assumption that women are supposed

0:19:02.359 --> 0:19:03.920
<v Speaker 1>to be obsessed with ourselves, so it's all seeing a

0:19:04.000 --> 0:19:06.800
<v Speaker 1>self portraiture is kind of my read on how this

0:19:06.960 --> 0:19:08.800
<v Speaker 1>is read, right, And you also have like all of

0:19:08.840 --> 0:19:11.879
<v Speaker 1>these like other famous women who did self portraiture and

0:19:11.880 --> 0:19:14.960
<v Speaker 1>stuff like that. But it was artistic collaboration with Marcel,

0:19:15.640 --> 0:19:18.000
<v Speaker 1>and we're gonna talk later about all the porn that

0:19:18.040 --> 0:19:21.360
<v Speaker 1>they took of each other and shit nice and she's

0:19:21.359 --> 0:19:25.320
<v Speaker 1>more reice only more recently getting any credit. So Claude

0:19:25.320 --> 0:19:28.719
<v Speaker 1>became sort of well known for the Paris photographs, although

0:19:28.960 --> 0:19:31.800
<v Speaker 1>really honestly really only got famous in the eighties, like

0:19:32.040 --> 0:19:35.640
<v Speaker 1>years and decades after she died or whatever. In classic

0:19:37.280 --> 0:19:43.199
<v Speaker 1>under misunderstood artist form, the two these photos that she

0:19:43.280 --> 0:19:46.600
<v Speaker 1>takes are really into fucking with gender and costume and

0:19:46.640 --> 0:19:49.680
<v Speaker 1>they're really fucking cool. And there's like photos of herself

0:19:49.680 --> 0:19:52.400
<v Speaker 1>talking to herself, and there's like like photos of her

0:19:52.800 --> 0:19:55.720
<v Speaker 1>like meeting her and like all of these like gender things,

0:19:55.720 --> 0:19:57.400
<v Speaker 1>and she has a shaved head and most of them

0:19:57.960 --> 0:20:01.560
<v Speaker 1>she's very androgynous looking. And at one point she wrote

0:20:02.560 --> 0:20:06.159
<v Speaker 1>masculine feminine it depends on the situation. Neuter is the

0:20:06.200 --> 0:20:10.400
<v Speaker 1>only gender that always suits me. I see you trying

0:20:10.400 --> 0:20:11.879
<v Speaker 1>to google it and her name is spelled like it

0:20:11.880 --> 0:20:12.600
<v Speaker 1>would be Kahun.

0:20:15.600 --> 0:20:20.479
<v Speaker 2>I got there, Okay, yes, and now I'm looking at

0:20:20.520 --> 0:20:23.119
<v Speaker 2>these images. Very cool.

0:20:23.359 --> 0:20:27.840
<v Speaker 1>Yeah, I really like her work. Like she's more famous

0:20:27.880 --> 0:20:29.600
<v Speaker 1>to me for some of her later work during the

0:20:29.640 --> 0:20:31.040
<v Speaker 1>Nazi occupation.

0:20:31.640 --> 0:20:31.800
<v Speaker 5>But.

0:20:33.560 --> 0:20:36.920
<v Speaker 1>She worked in every medium. She wrote and then Marcel

0:20:37.040 --> 0:20:39.960
<v Speaker 1>did the illustration. Like overall, it's like they both did photos,

0:20:40.040 --> 0:20:43.119
<v Speaker 1>but she was more the writer and Marcel was more

0:20:43.160 --> 0:20:46.040
<v Speaker 1>the illustrator. She did collages, which is a really big

0:20:46.080 --> 0:20:49.760
<v Speaker 1>important part of surrealist work. She sculpted, she did performance art,

0:20:49.920 --> 0:20:53.600
<v Speaker 1>they did propaganda, She wrote theory. She especially wrote about

0:20:53.640 --> 0:20:57.800
<v Speaker 1>the idea of perpetual insurrection. They also did some street fighting,

0:20:57.960 --> 0:21:01.800
<v Speaker 1>which is my favorite form of art. What they they,

0:21:02.160 --> 0:21:03.760
<v Speaker 1>I don't know they called it art or not. They've

0:21:04.480 --> 0:21:06.960
<v Speaker 1>they formed a group called Contra Attack, which I think

0:21:06.960 --> 0:21:11.240
<v Speaker 1>means counterattack, which they referred to as the quote Combat

0:21:11.320 --> 0:21:15.680
<v Speaker 1>Union of Revolutionary Intellectuals, and they joined that. They did

0:21:15.680 --> 0:21:19.720
<v Speaker 1>this alongside some other surrealists like Andre Bertrand Breton and

0:21:20.040 --> 0:21:25.359
<v Speaker 1>George Batai, and as far as I can tell, this

0:21:25.520 --> 0:21:27.639
<v Speaker 1>was like a magazine and they're talking about all this

0:21:27.720 --> 0:21:30.080
<v Speaker 1>like need for revolutionary stuff. It also seems like they're

0:21:30.119 --> 0:21:32.520
<v Speaker 1>throwing down in the streets because this is nineteen thirties

0:21:32.960 --> 0:21:35.639
<v Speaker 1>in Europe and there's fascists and they need to be

0:21:35.720 --> 0:21:39.960
<v Speaker 1>stopped right and at this point they're all moving further left.

0:21:40.200 --> 0:21:43.600
<v Speaker 1>They've already left Stalinism, now they're leaving Trotzkyism, and they're

0:21:43.600 --> 0:21:46.159
<v Speaker 1>making their way into anarchism. And they don't do it

0:21:46.200 --> 0:21:48.960
<v Speaker 1>as by necessarily being like, this is the ideology that

0:21:49.000 --> 0:21:51.960
<v Speaker 1>I want to check off, and instead they're like, actually

0:21:51.960 --> 0:21:54.479
<v Speaker 1>we like freedom and all of these Like we're going

0:21:54.520 --> 0:21:56.600
<v Speaker 1>to talk about this more in the longer piece, but

0:21:56.680 --> 0:21:59.360
<v Speaker 1>like all the communists are like, no, you can't draw

0:21:59.440 --> 0:22:02.560
<v Speaker 1>weird things. You have to draw very representational things and

0:22:03.240 --> 0:22:06.800
<v Speaker 1>uphold the workers in the following ways or whatever. My

0:22:06.880 --> 0:22:08.840
<v Speaker 1>favorite thing that I heard while researching this is our

0:22:08.960 --> 0:22:13.840
<v Speaker 1>history people referring to her as a libertarian. This is

0:22:15.560 --> 0:22:18.240
<v Speaker 1>I mean, it's a mistranslation. It is technically true. She

0:22:18.320 --> 0:22:21.960
<v Speaker 1>called herself a libertarian because she was a libertarian communist.

0:22:22.000 --> 0:22:24.760
<v Speaker 1>She was an anarchist. That's just how you refer to

0:22:24.840 --> 0:22:29.040
<v Speaker 1>it at the time where she lived, right, implying an

0:22:29.080 --> 0:22:36.600
<v Speaker 1>American libertarianism is entirely incorrect. Nineteen thirty seven, there's war

0:22:36.640 --> 0:22:39.600
<v Speaker 1>on the horizon. Anti Semitism is picking up in France,

0:22:40.760 --> 0:22:46.439
<v Speaker 1>and they're Jewish lesbians. So the Aazis are like, not

0:22:46.800 --> 0:22:48.400
<v Speaker 1>going to be a really good thing from their point

0:22:48.400 --> 0:22:51.960
<v Speaker 1>of view. I would say, no, yeah, did you know

0:22:52.040 --> 0:22:54.840
<v Speaker 1>you can move from France to the UK by going

0:22:54.840 --> 0:22:58.560
<v Speaker 1>to a small island immediately off the coast of France.

0:23:00.280 --> 0:23:03.200
<v Speaker 2>No, what do you wait?

0:23:04.119 --> 0:23:07.800
<v Speaker 1>The Isle of Jersey. Okay, it's just right off shore

0:23:07.840 --> 0:23:09.560
<v Speaker 1>of France. I had always assumed it was off shore

0:23:09.560 --> 0:23:12.880
<v Speaker 1>of England, but it's not. Okay, it's just right off

0:23:12.880 --> 0:23:15.840
<v Speaker 1>of France. It's technically its own country that belongs to

0:23:15.840 --> 0:23:19.800
<v Speaker 1>the UK for complicated reasons, probably involving like hundreds of

0:23:19.920 --> 0:23:21.880
<v Speaker 1>years of war. Like I think they had a hundred

0:23:21.960 --> 0:23:24.719
<v Speaker 1>year war. I have no idea when Jersey changed hands.

0:23:25.880 --> 0:23:28.920
<v Speaker 2>I just so it's I understand. Now, you can move

0:23:28.960 --> 0:23:31.640
<v Speaker 2>to the you're technically it's something owned by the UK,

0:23:31.760 --> 0:23:37.520
<v Speaker 2>but you're not like Mainland. I completely must understody.

0:23:36.560 --> 0:23:42.639
<v Speaker 1>No, no, no, sorry. They move right off of the

0:23:42.680 --> 0:23:45.280
<v Speaker 1>shore of France. It is the quickest way to get

0:23:45.320 --> 0:23:49.480
<v Speaker 1>to a country that is, you know, the UK, right right, okay,

0:23:50.840 --> 0:23:53.360
<v Speaker 1>And and they go a bit underground. As soon as

0:23:53.359 --> 0:23:55.840
<v Speaker 1>they get there, they revert to only going by their

0:23:55.840 --> 0:23:58.439
<v Speaker 1>birth names, and they claim to be sisters, which is

0:23:58.640 --> 0:24:05.560
<v Speaker 1>technically true. But they ran no further than that. German

0:24:05.600 --> 0:24:08.520
<v Speaker 1>troops landed in nineteen forty. I feel like I should

0:24:08.560 --> 0:24:11.199
<v Speaker 1>spoil this and say that they survived the war. I

0:24:11.280 --> 0:24:12.800
<v Speaker 1>just want to like get that out of the way,

0:24:12.840 --> 0:24:15.680
<v Speaker 1>because we're talking about like Jewish Lesbians who fight against Nazis,

0:24:15.720 --> 0:24:17.480
<v Speaker 1>and I just want to like lead with a little bit.

0:24:17.480 --> 0:24:20.479
<v Speaker 2>Of hope, yes, good to know.

0:24:20.880 --> 0:24:21.160
<v Speaker 5>Yeah.

0:24:21.200 --> 0:24:24.359
<v Speaker 1>Anyway, German troops land on the Isle of Jersey in

0:24:24.400 --> 0:24:26.640
<v Speaker 1>nineteen forty. They bomb the shit out of the place first,

0:24:26.680 --> 0:24:28.240
<v Speaker 1>they kill a bunch of people. It's not a good

0:24:28.240 --> 0:24:33.520
<v Speaker 1>way to make people like you, so Claude probably hearkening

0:24:33.560 --> 0:24:36.600
<v Speaker 1>back to a different anarchist woman who inspired the surrealist

0:24:36.640 --> 0:24:39.000
<v Speaker 1>that we'll talk about soon. She gets herself a pair

0:24:39.080 --> 0:24:44.640
<v Speaker 1>of revolvers and she starts doing target practice. Marcel is like, look, hey,

0:24:44.680 --> 0:24:48.000
<v Speaker 1>that like a for effort, but that might not go

0:24:48.080 --> 0:24:50.679
<v Speaker 1>real well right, Like, that's just that might not be

0:24:50.720 --> 0:24:54.440
<v Speaker 1>the most useful use of our one short, precious lives

0:24:54.440 --> 0:24:58.680
<v Speaker 1>on this earth. Let's fight them, but let's fight them

0:24:58.680 --> 0:25:03.840
<v Speaker 1>like surrealists. So for four years they fought the occupation.

0:25:04.640 --> 0:25:07.600
<v Speaker 1>And the way they did it is they constructed this huge,

0:25:07.640 --> 0:25:12.080
<v Speaker 1>elaborate false conspiracy, pretending that there was a conspiracy of

0:25:12.200 --> 0:25:18.719
<v Speaker 1>German soldiers who were deserting in mass and Marcel spoke German,

0:25:19.240 --> 0:25:22.200
<v Speaker 1>and so they started leaving secret messages for the Germans

0:25:22.240 --> 0:25:26.480
<v Speaker 1>to find. They were like missives from the initially fictitious

0:25:26.520 --> 0:25:29.879
<v Speaker 1>rebellion within German ranks, and they were all signed the

0:25:30.000 --> 0:25:35.199
<v Speaker 1>nameless soldier and they would slip this propaganda into the

0:25:35.240 --> 0:25:38.600
<v Speaker 1>pockets of German soldiers or push it through open windows

0:25:38.600 --> 0:25:43.800
<v Speaker 1>into empty German cars. And it's fucking cool. And I

0:25:43.840 --> 0:25:46.679
<v Speaker 1>want to quote. I'm going to quote from a piece

0:25:47.480 --> 0:25:50.200
<v Speaker 1>from an upcoming issue of the journal Batten, which is

0:25:50.400 --> 0:25:52.800
<v Speaker 1>published by Contagion Press, which is a press worth checking

0:25:52.840 --> 0:25:56.200
<v Speaker 1>out for all your wild queer history needs. The quote

0:25:56.240 --> 0:26:02.120
<v Speaker 1>is one of their earliest tracks, read fighting, Fighting without End, horrific,

0:26:02.160 --> 0:26:05.000
<v Speaker 1>fighting without end. They would just write that in German

0:26:05.080 --> 0:26:08.520
<v Speaker 1>and slip it into people's pockets. Okay, that will part,

0:26:08.560 --> 0:26:12.520
<v Speaker 1>wasn't the quote? Back to the quote. Other tracks simply

0:26:12.560 --> 0:26:16.119
<v Speaker 1>repeat the phrase on end without end. Theirs was a

0:26:16.160 --> 0:26:19.840
<v Speaker 1>conspiracy without names or ends, because they were not aiming

0:26:19.880 --> 0:26:22.600
<v Speaker 1>for revolution that would swap out the powerholders of the state,

0:26:22.680 --> 0:26:26.840
<v Speaker 1>but rather perpetual insurrection and the sensibilities of all. They

0:26:26.880 --> 0:26:30.760
<v Speaker 1>equipped themselves with new weapons charged with the contradiction, ambivalence,

0:26:30.760 --> 0:26:34.320
<v Speaker 1>and uncertainty of the without which is just some surrealistic

0:26:34.320 --> 0:26:36.680
<v Speaker 1>way of praising some shit I don't know whatever. Right

0:26:38.320 --> 0:26:41.199
<v Speaker 1>back to the quote, weapons without name, weapons aligned to

0:26:41.240 --> 0:26:45.680
<v Speaker 1>produce inner and outer ulterity. These nameless weapons included reports

0:26:45.680 --> 0:26:49.720
<v Speaker 1>from the war tips for psychic self defense, instructions for

0:26:49.800 --> 0:26:55.359
<v Speaker 1>casual sabotage, incitements to desertion with violence if necessary, and

0:26:55.400 --> 0:26:59.800
<v Speaker 1>aphorisms from Nietzsche ridiculing nationalism and the state. They were

0:27:00.080 --> 0:27:02.760
<v Speaker 1>posed in German in order to appear to be coming

0:27:02.800 --> 0:27:05.680
<v Speaker 1>from one of the soldiers themselves, written on rolling papers

0:27:05.920 --> 0:27:08.760
<v Speaker 1>and slipped into the pockets and threw fences around town.

0:27:10.760 --> 0:27:16.600
<v Speaker 2>So they were trying to convince this Nazi troops that

0:27:16.680 --> 0:27:20.240
<v Speaker 2>there were like, oh, there was a movement within yeah,

0:27:20.760 --> 0:27:25.600
<v Speaker 2>the yeah military that like people were trying to like

0:27:25.680 --> 0:27:29.920
<v Speaker 2>defect or whatever, just like, whoa, that's awesome.

0:27:30.320 --> 0:27:34.240
<v Speaker 1>And it worked too, did it all? We have one

0:27:34.320 --> 0:27:37.639
<v Speaker 1>quote about that we get to but they didn't know

0:27:37.640 --> 0:27:40.160
<v Speaker 1>whether it was working. I don't think. They just did

0:27:40.160 --> 0:27:42.600
<v Speaker 1>it for four years and it's like risky as shit, right,

0:27:42.680 --> 0:27:46.719
<v Speaker 1>and in nineteen forty four they get caught. They had

0:27:46.760 --> 0:27:51.919
<v Speaker 1>prepared for this, so they both took poison. This saved

0:27:51.960 --> 0:27:54.400
<v Speaker 1>their lives. They tried to kill themselves, but it saved

0:27:54.440 --> 0:27:57.360
<v Speaker 1>their lives because they didn't successfully kill themselves. But they

0:27:57.359 --> 0:27:59.840
<v Speaker 1>got so sick that they missed the last transport for

0:27:59.880 --> 0:28:05.359
<v Speaker 1>them concentration camps. Like I think the last transport from

0:28:05.480 --> 0:28:07.200
<v Speaker 1>Jersey to the concentration. I don't know it was the

0:28:07.280 --> 0:28:08.800
<v Speaker 1>last one of the day, but I think it was

0:28:08.840 --> 0:28:12.280
<v Speaker 1>like the last one total. And I want to go

0:28:12.320 --> 0:28:14.200
<v Speaker 1>back to quoting that article because it's just so good.

0:28:15.240 --> 0:28:18.520
<v Speaker 1>They remained imprisoned on Jersey, where they discovered why their

0:28:18.600 --> 0:28:22.080
<v Speaker 1>enemies considered them such a threat. The prison was filled

0:28:22.119 --> 0:28:25.680
<v Speaker 1>with German soldiers who had revolted or attempted to desert.

0:28:26.800 --> 0:28:28.800
<v Speaker 1>They all seemed to be aware of who the two

0:28:28.840 --> 0:28:32.760
<v Speaker 1>women were and showed them care and solidarity. The theory

0:28:32.800 --> 0:28:34.800
<v Speaker 1>of writing as a mean to engage others in a

0:28:34.840 --> 0:28:37.120
<v Speaker 1>process of becoming had proved itself.

0:28:38.480 --> 0:28:41.800
<v Speaker 2>This should be a movie. Yeah, my gosh, this is

0:28:41.880 --> 0:28:42.600
<v Speaker 2>so cool.

0:28:43.240 --> 0:28:43.520
<v Speaker 1>I know.

0:28:43.800 --> 0:28:47.320
<v Speaker 2>So the Okay, so they were slipping these secret notes

0:28:47.360 --> 0:28:50.160
<v Speaker 2>trying to and then and then it worked because the

0:28:50.280 --> 0:28:54.160
<v Speaker 2>various soldiers were like, wow, if someone like if there

0:28:54.160 --> 0:28:57.000
<v Speaker 2>are people in here like like being critical of what

0:28:57.040 --> 0:29:00.000
<v Speaker 2>we're doing, I feel that way too, So I'm gonna

0:29:00.320 --> 0:29:02.800
<v Speaker 2>so yeah, okay, yeah.

0:29:02.840 --> 0:29:05.320
<v Speaker 1>And then even the fact that the soldiers knew who

0:29:05.360 --> 0:29:07.520
<v Speaker 1>they were like kind of means the soldiers knew that

0:29:07.560 --> 0:29:09.240
<v Speaker 1>they got tricked and were chill with it.

0:29:10.240 --> 0:29:11.960
<v Speaker 2>They were going along with it because.

0:29:12.000 --> 0:29:14.600
<v Speaker 1>Because at this point it is a real rebellion, you know.

0:29:14.840 --> 0:29:17.520
<v Speaker 2>Mm hmmm, that is awesome.

0:29:17.840 --> 0:29:23.640
<v Speaker 1>Yeah, they did get sentenced to death. They were gay, Jewish,

0:29:23.640 --> 0:29:26.840
<v Speaker 1>anarchist radical rebels, so that is like four strikes in

0:29:26.880 --> 0:29:31.040
<v Speaker 1>the Nazi mind. Their home was confiscated, a bunch of

0:29:31.040 --> 0:29:33.320
<v Speaker 1>their art was destroyed. This is part of the reason

0:29:33.440 --> 0:29:39.000
<v Speaker 1>that Claude wasn't really known until the eighties. I want

0:29:39.000 --> 0:29:43.160
<v Speaker 1>to quote a German officer about them. The two Jewish

0:29:43.160 --> 0:29:46.280
<v Speaker 1>women who have just been arrested belonged to an unpleasant category.

0:29:46.800 --> 0:29:50.200
<v Speaker 1>These women had long been circulating leaflets urging German Schultz

0:29:50.280 --> 0:29:53.840
<v Speaker 1>soldiers to shoot their officers. At last they were tracked down.

0:29:54.320 --> 0:29:57.920
<v Speaker 1>A search of the house, fully full of ugly Cubist paintings,

0:29:58.320 --> 0:30:02.120
<v Speaker 1>brought to light a quan of pornographic material of an

0:30:02.240 --> 0:30:06.000
<v Speaker 1>especially revolting nature. One woman had her head shaved and

0:30:06.040 --> 0:30:09.760
<v Speaker 1>had been thus photographed in the nude from every angle thereafter,

0:30:09.880 --> 0:30:13.760
<v Speaker 1>she had worn men's clothes. Further nude photographs showed both

0:30:13.800 --> 0:30:18.480
<v Speaker 1>women practicing sexual perversion, exhibitionism, and flagellation.

0:30:20.000 --> 0:30:20.400
<v Speaker 5>Wow.

0:30:21.080 --> 0:30:24.160
<v Speaker 2>Yeah, Also, I bet he actually liked it.

0:30:24.600 --> 0:30:30.120
<v Speaker 1>I'm sure he did. I would too. It is a

0:30:30.800 --> 0:30:32.760
<v Speaker 1>I am mad the Nazis destroyed this.

0:30:33.680 --> 0:30:36.480
<v Speaker 2>Yeah, that is a huge bummer. Yeah.

0:30:37.520 --> 0:30:42.440
<v Speaker 1>But in nineteen forty five the island was liberated and

0:30:42.480 --> 0:30:45.840
<v Speaker 1>they were freed from the prison. Claude's health was fucked

0:30:45.920 --> 0:30:49.400
<v Speaker 1>up by that year in prison, and nine years later

0:30:49.440 --> 0:30:53.240
<v Speaker 1>she died at the age of sixty. Marcel lived on

0:30:53.360 --> 0:30:56.600
<v Speaker 1>for another eighteen years, but in nineteen seventy two she

0:30:56.680 --> 0:30:59.440
<v Speaker 1>was like fucking him out and killed herself. She was

0:30:59.440 --> 0:31:02.400
<v Speaker 1>probably seven nine or eighty, you know, I don't know

0:31:02.440 --> 0:31:06.560
<v Speaker 1>what went into her decision making. She was buried alongside

0:31:06.600 --> 0:31:10.120
<v Speaker 1>her partner in the churchyard of Saint Berlade Ballade, probably

0:31:10.400 --> 0:31:13.160
<v Speaker 1>an early medieval church, like an over one thousand year

0:31:13.160 --> 0:31:16.719
<v Speaker 1>old church under one headstone with two stars of David,

0:31:17.480 --> 0:31:24.080
<v Speaker 1>which is just fucking like relationship goals for like lesbian

0:31:24.120 --> 0:31:25.200
<v Speaker 1>Jewish rebels.

0:31:25.640 --> 0:31:25.880
<v Speaker 2>Right.

0:31:26.640 --> 0:31:29.360
<v Speaker 1>The legend on Jersey is that this church it was

0:31:29.360 --> 0:31:31.000
<v Speaker 1>going to be built in one place, right, This is

0:31:31.040 --> 0:31:33.320
<v Speaker 1>like and no one knows exactly when it was built,

0:31:33.320 --> 0:31:36.920
<v Speaker 1>but it was built before ten thirty, not in the morning,

0:31:36.960 --> 0:31:41.400
<v Speaker 1>but like the year the year, yeah, and it was

0:31:41.440 --> 0:31:43.240
<v Speaker 1>going to be built in one place. The worker started

0:31:43.240 --> 0:31:45.680
<v Speaker 1>digging foundations and then they like put down their tools

0:31:45.680 --> 0:31:47.960
<v Speaker 1>and stones for the night went home. When they came

0:31:48.000 --> 0:31:50.360
<v Speaker 1>back the next day, their tools had been moved over

0:31:50.400 --> 0:31:53.480
<v Speaker 1>a mile down to the beach, so they dutifully moved

0:31:53.520 --> 0:31:55.320
<v Speaker 1>all their shit back to the original place and got

0:31:55.360 --> 0:31:57.880
<v Speaker 1>back to work. The next night, the same thing happened.

0:31:58.600 --> 0:32:01.560
<v Speaker 1>The fairies did it, according to this legend, and the

0:32:01.560 --> 0:32:03.840
<v Speaker 1>workers took the hint and they were like, all right,

0:32:03.920 --> 0:32:06.440
<v Speaker 1>she'll never mind. We'll put the church where the fairies

0:32:06.440 --> 0:32:07.960
<v Speaker 1>want us to put the church instead of in there

0:32:08.000 --> 0:32:09.080
<v Speaker 1>like special fairy spot.

0:32:09.160 --> 0:32:09.280
<v Speaker 4>Right.

0:32:10.120 --> 0:32:13.720
<v Speaker 1>Oh, And apparently this is like a fairly common legend.

0:32:13.760 --> 0:32:15.600
<v Speaker 1>There's like a bunch of churches that it is legend.

0:32:15.600 --> 0:32:18.880
<v Speaker 1>But I don't care. I like that the fairies chose

0:32:18.920 --> 0:32:21.760
<v Speaker 1>where these women would rest in the end.

0:32:21.880 --> 0:32:25.320
<v Speaker 2>Yeah they knew. It's like they knew they were going

0:32:25.400 --> 0:32:26.960
<v Speaker 2>to come around a thousand years later.

0:32:27.080 --> 0:32:30.120
<v Speaker 1>Yeah, from a different religion. And fuck it, Well, the

0:32:30.120 --> 0:32:35.000
<v Speaker 1>fairies don't give a shit. Fairies at Christian Yeah, that's

0:32:35.080 --> 0:32:36.720
<v Speaker 1>kind of their old thing. They moved the church to

0:32:36.840 --> 0:32:39.560
<v Speaker 1>hit the fuck away from them. Yeah, they're like, this

0:32:39.600 --> 0:32:43.480
<v Speaker 1>is our spot. Yeah, get out of here. There's a

0:32:43.520 --> 0:32:46.240
<v Speaker 1>street named after the pair of them. Jointly in Paris

0:32:46.280 --> 0:32:49.040
<v Speaker 1>now and I'd like, hmm, I haven't off the top

0:32:49.080 --> 0:32:51.560
<v Speaker 1>of my head seen a street name that's like named

0:32:51.560 --> 0:32:55.080
<v Speaker 1>for more than one person, but like, oh yeah, what

0:32:55.200 --> 0:32:58.280
<v Speaker 1>a cool like that is non lesbian erasure. What eventually

0:32:58.320 --> 0:33:01.880
<v Speaker 1>happened was like lesbians to be an exposure, yeah exactly,

0:33:03.200 --> 0:33:04.840
<v Speaker 1>which is what they took lots of pictures of.

0:33:04.960 --> 0:33:10.000
<v Speaker 2>But it, yeah, in so many different ways because I

0:33:10.040 --> 0:33:12.080
<v Speaker 2>think about exposure photographs.

0:33:12.600 --> 0:33:14.360
<v Speaker 1>You know, it's true, it's true.

0:33:14.480 --> 0:33:16.719
<v Speaker 2>Something, Yeah, I'm smart.

0:33:16.840 --> 0:33:20.320
<v Speaker 1>Yeah, it's funny that mostly only Claude is remembered and

0:33:20.360 --> 0:33:22.720
<v Speaker 1>mostly for her photographs, and even then she was forgotten

0:33:22.720 --> 0:33:27.280
<v Speaker 1>for decades right until her photos were unearthed because history

0:33:27.320 --> 0:33:29.959
<v Speaker 1>in the art world have worked really hard to conflate

0:33:30.000 --> 0:33:32.960
<v Speaker 1>the surrealist down to a single dimension of just being artists.

0:33:33.480 --> 0:33:36.200
<v Speaker 1>Even though art for art's sake was like high on

0:33:36.240 --> 0:33:39.240
<v Speaker 1>their list of enemies, they absolutely hated the concept of

0:33:39.320 --> 0:33:43.760
<v Speaker 1>art for artsake. They believe that artists to express things right,

0:33:43.880 --> 0:33:47.800
<v Speaker 1>the artists to have an impact, you know, and that

0:33:47.920 --> 0:33:50.280
<v Speaker 1>like you have to actually participate in the world around you,

0:33:50.920 --> 0:33:53.400
<v Speaker 1>and her art matters too, and I really like her

0:33:53.480 --> 0:33:55.280
<v Speaker 1>art and feminist scholar see is one of the most

0:33:55.720 --> 0:33:57.640
<v Speaker 1>see her as one of the most important forerunners of

0:33:57.640 --> 0:34:04.600
<v Speaker 1>discussing gender's performance. And I think she's really fucking cool. Yeah,

0:34:04.880 --> 0:34:08.160
<v Speaker 1>but she was not alone in being a surrealist using

0:34:08.200 --> 0:34:11.000
<v Speaker 1>weird art shit to fuck with the Nazis. You want

0:34:11.000 --> 0:34:11.640
<v Speaker 1>to hear about more.

0:34:11.719 --> 0:34:14.000
<v Speaker 2>Okay, all right?

0:34:14.840 --> 0:34:17.480
<v Speaker 1>You know, like everyone from all across the world will

0:34:17.480 --> 0:34:19.319
<v Speaker 1>have known a thing for thousands of years, but then

0:34:19.360 --> 0:34:22.279
<v Speaker 1>when like white Western Europeans figured out, people suddenly are

0:34:22.320 --> 0:34:25.759
<v Speaker 1>like it's been invented, right, Yes, of course, like the

0:34:25.760 --> 0:34:28.920
<v Speaker 1>printing press that existed a thousand years earlier in China,

0:34:29.040 --> 0:34:32.360
<v Speaker 1>or gunpowder that existed in thousand years earlier in China,

0:34:32.400 --> 0:34:38.680
<v Speaker 1>and et cetera, et cetera. Well camouflage. Sun Zoo was

0:34:38.719 --> 0:34:42.000
<v Speaker 1>a Chinese general writing during the Warring States period hundreds

0:34:42.000 --> 0:34:45.200
<v Speaker 1>of years before the birth of Christ. In the book

0:34:45.239 --> 0:34:48.200
<v Speaker 1>The Art of War, he wrote, quote, all warfare is

0:34:48.239 --> 0:34:50.800
<v Speaker 1>based on deception. Hence, when we were able to attack,

0:34:50.840 --> 0:34:53.560
<v Speaker 1>we must seem unable. When using our forces, we must

0:34:53.600 --> 0:34:56.080
<v Speaker 1>appear inactive. When we are near, we must make the

0:34:56.200 --> 0:34:58.480
<v Speaker 1>enemy believe we are far away. When far away, we

0:34:58.560 --> 0:35:02.280
<v Speaker 1>must make him believe we are near. Like so, deception

0:35:02.640 --> 0:35:07.280
<v Speaker 1>is very important in conflict in war, right, and everyone

0:35:07.320 --> 0:35:12.360
<v Speaker 1>has used camouflage forever, but Western Europe wasn't as into

0:35:12.400 --> 0:35:15.759
<v Speaker 1>it for a very long time. It was used here

0:35:15.800 --> 0:35:18.239
<v Speaker 1>and there in Western armies. But camouflage comes back in

0:35:18.239 --> 0:35:20.439
<v Speaker 1>a big way in the First World War.

0:35:20.880 --> 0:35:23.640
<v Speaker 2>It wasn't the whole thing with like the I don't know, like,

0:35:25.040 --> 0:35:27.480
<v Speaker 2>not only do I know nothing about art history, I

0:35:27.480 --> 0:35:32.000
<v Speaker 2>know nothing about regular history too, just events. But I

0:35:32.040 --> 0:35:33.480
<v Speaker 2>was gonna say something like, yeah, it wasn't the whole

0:35:33.520 --> 0:35:36.880
<v Speaker 2>thing with like the American Revolutionary War, Like the British

0:35:36.960 --> 0:35:39.719
<v Speaker 2>were like, here I am in my red coat, like

0:35:39.760 --> 0:35:44.480
<v Speaker 2>the most obvious color, yeah, the most noticeable thing, not

0:35:44.880 --> 0:35:47.080
<v Speaker 2>the opposite really of camouflage.

0:35:47.239 --> 0:35:49.759
<v Speaker 1>Yeah, which actually, and we're gonna talk a little bit

0:35:49.800 --> 0:35:52.560
<v Speaker 1>more later too. But I was always just like, oh,

0:35:52.560 --> 0:35:56.160
<v Speaker 1>it's because they're all fucking idiots, right. That was like

0:35:56.480 --> 0:35:59.200
<v Speaker 1>that was like the it was actually a very conscious

0:35:59.239 --> 0:36:03.560
<v Speaker 1>decision that Western Europeans were making that intimidation was a

0:36:03.600 --> 0:36:08.799
<v Speaker 1>more important thing than like hiding. Oh okay, and so

0:36:08.800 --> 0:36:11.680
<v Speaker 1>that's why like here's my big fuck off castle, not

0:36:11.920 --> 0:36:15.279
<v Speaker 1>you can't figure out where I live. And it's like.

0:36:15.520 --> 0:36:18.160
<v Speaker 2>That's such a Broie way to be.

0:36:18.640 --> 0:36:21.319
<v Speaker 1>Yeah, and it's a Broie way that in World War

0:36:21.400 --> 0:36:27.080
<v Speaker 1>One didn't work anymore because the machine gun existed, and

0:36:27.120 --> 0:36:30.840
<v Speaker 1>you can kill a lot of bros in a very head.

0:36:30.760 --> 0:36:36.319
<v Speaker 2>Coat from far away and kill that person if you have, yeah,

0:36:36.320 --> 0:36:37.440
<v Speaker 2>that kind of artillery.

0:36:37.760 --> 0:36:43.200
<v Speaker 1>Yeah. And of course camouflage comes back first under the

0:36:43.320 --> 0:36:46.680
<v Speaker 1>name in France. And you know that because it's impossible

0:36:46.680 --> 0:36:48.479
<v Speaker 1>to spell the word camouflage.

0:36:48.920 --> 0:36:49.480
<v Speaker 2>It sure is.

0:36:49.600 --> 0:36:51.840
<v Speaker 1>Yeah. If there's a word that I cannot spell on

0:36:51.880 --> 0:36:54.440
<v Speaker 1>the first try, and it is a regular word in

0:36:54.480 --> 0:36:58.480
<v Speaker 1>the English language, it means it comes from France, like bureaucrat,

0:36:59.680 --> 0:37:03.200
<v Speaker 1>Oh yeah, bourgeois bourgeoisie.

0:37:03.400 --> 0:37:07.840
<v Speaker 2>Yeah, well I can't. How are you supposed to spell

0:37:08.000 --> 0:37:10.160
<v Speaker 2>bougie good? Because every time I write it, I was like, no,

0:37:10.239 --> 0:37:16.680
<v Speaker 2>that just says boogie yeah or borgies. Once ime, I

0:37:16.760 --> 0:37:19.439
<v Speaker 2>made this pin years ago, and it was like someone

0:37:19.440 --> 0:37:20.799
<v Speaker 2>in front of a machine I was a little edge

0:37:20.800 --> 0:37:23.160
<v Speaker 2>loaded anarchy kid, and I made this like one inch pin.

0:37:23.280 --> 0:37:24.799
<v Speaker 2>It's like a guy sit in front of an old

0:37:24.840 --> 0:37:27.960
<v Speaker 2>fashioned machine gun and it says death to the capitalist bourgeoisie.

0:37:28.440 --> 0:37:30.680
<v Speaker 2>Only I spelled it wrong, so I was actually saying

0:37:30.719 --> 0:37:35.719
<v Speaker 2>death of the capitalist women, rich people, okay, instead of

0:37:35.760 --> 0:37:42.440
<v Speaker 2>like all gender people. M m my, my lovely pedant

0:37:42.440 --> 0:37:45.000
<v Speaker 2>friend caught it and saved me a lot of embarrassment.

0:37:46.040 --> 0:37:47.040
<v Speaker 2>Good good, good good.

0:37:47.520 --> 0:37:52.360
<v Speaker 1>Anyway, in World War One, uh, there was a job

0:37:52.960 --> 0:37:56.160
<v Speaker 1>someone operating in the French camouflage units was a camoufloor.

0:37:57.480 --> 0:37:59.759
<v Speaker 1>And at the beginning of World one War one, a

0:37:59.760 --> 0:38:01.680
<v Speaker 1>painter showed up and was like, Yo, what about like

0:38:01.719 --> 0:38:03.960
<v Speaker 1>sick camouflage outfits? And the French army was like, no way,

0:38:04.000 --> 0:38:06.640
<v Speaker 1>we like our blue coats and red trousers. And then

0:38:06.719 --> 0:38:09.440
<v Speaker 1>just like absolute fuck tons of them died, and then

0:38:09.440 --> 0:38:12.640
<v Speaker 1>the army was like, what if horizon blue is a

0:38:12.719 --> 0:38:17.680
<v Speaker 1>nice color for her uniforms? Now? And so in World

0:38:17.719 --> 0:38:20.520
<v Speaker 1>War One, cubists and other artists stepped up and were like, hey,

0:38:20.800 --> 0:38:22.759
<v Speaker 1>we know how to deceive the eye. I am not

0:38:22.840 --> 0:38:25.000
<v Speaker 1>covering the Cubists today. I don't know as much about them.

0:38:25.000 --> 0:38:28.600
<v Speaker 1>The surrealist Love Picasso, who is a Cubist. And one

0:38:28.640 --> 0:38:29.879
<v Speaker 1>of the things that they would do is they sort

0:38:29.880 --> 0:38:33.600
<v Speaker 1>of explode out objects into sort of different geometries and

0:38:33.680 --> 0:38:36.600
<v Speaker 1>just like explore different ways of seeing the world, right,

0:38:37.480 --> 0:38:41.000
<v Speaker 1>And so Cubists were very good at a very different

0:38:41.000 --> 0:38:44.319
<v Speaker 1>style of camouflage. You ever heard of dazzle camouflage?

0:38:46.200 --> 0:38:48.759
<v Speaker 2>No, but it sounds fun.

0:38:48.840 --> 0:38:53.440
<v Speaker 1>It is. You should google damp dazzle camouflage and look

0:38:53.480 --> 0:38:55.680
<v Speaker 1>for a picture of a boat on it.

0:38:55.719 --> 0:38:59.879
<v Speaker 2>Okay, okay, dazzlemo. Well, how do you spell camera?

0:39:00.600 --> 0:39:02.279
<v Speaker 1>Just do camo. I'm sure it'll work.

0:39:03.360 --> 0:39:07.799
<v Speaker 2>Boat. Oh the boat comes up right away. Yeah, whoa okay.

0:39:07.360 --> 0:39:10.280
<v Speaker 1>And so what do you say to describe to the audience.

0:39:10.640 --> 0:39:16.880
<v Speaker 2>It's okay, so it looks like a war ship, but

0:39:17.000 --> 0:39:24.439
<v Speaker 2>it's got mostly horizontal black and white stripes. But they're

0:39:24.520 --> 0:39:28.960
<v Speaker 2>like they're not quite zig zaggy, but I don't.

0:39:29.400 --> 0:39:34.920
<v Speaker 1>Yeah, it's like a circus zebra, high contrast. Like it

0:39:35.000 --> 0:39:37.359
<v Speaker 1>does not hide the.

0:39:37.360 --> 0:39:40.239
<v Speaker 2>Ship, right, No, I would say not.

0:39:40.600 --> 0:39:42.719
<v Speaker 1>When you would normally think of camouflaging a boat, you

0:39:42.760 --> 0:39:45.640
<v Speaker 1>might think about painting it like water or islands or something.

0:39:46.440 --> 0:39:50.160
<v Speaker 1>Dazzle camouflage bright bold lines that dis rupted the eye

0:39:50.719 --> 0:39:53.239
<v Speaker 1>make it harder to discern how many ships there are,

0:39:53.440 --> 0:39:55.400
<v Speaker 1>what they're doing, and how fast they're going.

0:39:56.360 --> 0:40:00.000
<v Speaker 2>Oh okay, yeah it oh huh.

0:40:00.120 --> 0:40:02.080
<v Speaker 1>And there's like a bunch of people who claim to

0:40:02.080 --> 0:40:04.319
<v Speaker 1>have invented this. There was like a I think a

0:40:04.400 --> 0:40:08.120
<v Speaker 1>lawsuit about it, and eventually this marine painter, not a Cubist,

0:40:08.760 --> 0:40:11.160
<v Speaker 1>named Norman Wilkinson like one out and was like I

0:40:11.200 --> 0:40:14.359
<v Speaker 1>invented it first, you know. The Cubists were like, no way,

0:40:14.400 --> 0:40:19.040
<v Speaker 1>it was us, right, the jury is out. There's still

0:40:19.040 --> 0:40:22.280
<v Speaker 1>people who argue about whether or not it worked. Sure,

0:40:22.480 --> 0:40:26.720
<v Speaker 1>it seemed to slightly increase the chance that torpedoists would

0:40:27.040 --> 0:40:30.399
<v Speaker 1>miscenter mass because they wouldn't know which direction the ship

0:40:30.520 --> 0:40:34.280
<v Speaker 1>was going and like this is the like best guess

0:40:34.320 --> 0:40:37.960
<v Speaker 1>of running analysis. On the other hand, it seemed to

0:40:38.040 --> 0:40:40.680
<v Speaker 1>make it more likely to be seen overall, so it

0:40:40.719 --> 0:40:41.440
<v Speaker 1>was like kind of a.

0:40:42.680 --> 0:40:45.440
<v Speaker 2>It is not subtle, No, we're not talking.

0:40:45.120 --> 0:40:49.840
<v Speaker 1>About and it's not done anymore. Although it's not done anymore,

0:40:49.880 --> 0:40:53.400
<v Speaker 1>mostly because like radar and other technology like methods of

0:40:53.400 --> 0:41:01.840
<v Speaker 1>detecting ships became more advanced there. And yeah, so Cubist

0:41:01.840 --> 0:41:05.919
<v Speaker 1>camouflage tended towards like bold lines that disrupt the eye. Right,

0:41:07.600 --> 0:41:12.040
<v Speaker 1>But camouflage importantly isn't just about having like cool uniforms, right,

0:41:12.400 --> 0:41:14.200
<v Speaker 1>And of course I don't know if this is part

0:41:14.200 --> 0:41:16.719
<v Speaker 1>of your world, but obviously camouflage is mostly known as

0:41:16.760 --> 0:41:19.080
<v Speaker 1>having the latest real tree baseball cap. So people know

0:41:19.120 --> 0:41:20.839
<v Speaker 1>that you're a cool rural queer even though you live

0:41:20.840 --> 0:41:27.200
<v Speaker 1>in New Orleans. Right, It's about disguising things more generally like. Also,

0:41:27.239 --> 0:41:29.040
<v Speaker 1>what they were starting to do during this war was

0:41:29.080 --> 0:41:32.680
<v Speaker 1>built fake trees to use as observationists, you know, kind

0:41:32.680 --> 0:41:37.240
<v Speaker 1>of like we have cell towers now, right, And Cubism

0:41:37.280 --> 0:41:40.239
<v Speaker 1>provides us sort of fundamental ideas to World War One camouflage,

0:41:40.480 --> 0:41:45.240
<v Speaker 1>but surrealism provides it for World War II camouflage. Most

0:41:45.239 --> 0:41:50.400
<v Speaker 1>of the camoufloors weren't surrealists, but they did partake in

0:41:50.600 --> 0:41:57.160
<v Speaker 1>buying stuff from things that were advertised to them on podcasts.

0:42:01.120 --> 0:42:06.080
<v Speaker 1>In the middle of a sentence, switched like that, pretty fancy.

0:42:06.320 --> 0:42:08.919
<v Speaker 1>This is what we do. We do fancy transitions.

0:42:09.880 --> 0:42:10.239
<v Speaker 2>Love it.

0:42:10.320 --> 0:42:13.480
<v Speaker 1>Yeah, if you're against my transitions, then you are anti

0:42:13.520 --> 0:42:18.000
<v Speaker 1>trans I'm sorry. Ahha, that's the worst fun I'll ever.

0:42:18.160 --> 0:42:26.800
<v Speaker 1>Here's some ads and we are back. So most of

0:42:26.800 --> 0:42:29.640
<v Speaker 1>the camoufloorers were not surrealists, but their styles and methods

0:42:29.640 --> 0:42:32.520
<v Speaker 1>were influential as fuck. The guy who wrote the UK

0:42:32.640 --> 0:42:35.880
<v Speaker 1>Military guide on camouflage was surrealist, and we'll get to him.

0:42:36.239 --> 0:42:39.000
<v Speaker 1>And so instead of fucking with the eye with strong lines,

0:42:39.080 --> 0:42:42.360
<v Speaker 1>it became about fucking with people's heads and also mimicking

0:42:42.400 --> 0:42:45.440
<v Speaker 1>the natural world. A lot of early camoufloors, if they

0:42:45.480 --> 0:42:49.200
<v Speaker 1>weren't painters, they were like zoologists, being like, yo, check

0:42:49.239 --> 0:42:50.960
<v Speaker 1>it out. Look how this bug looks like a different

0:42:51.000 --> 0:42:55.520
<v Speaker 1>kind of bug, you know. And the Surrealists were also

0:42:55.520 --> 0:42:58.800
<v Speaker 1>obsessed with mimicry because so much of their work is

0:42:58.800 --> 0:43:05.319
<v Speaker 1>about what objects can discuss other objects. So the main

0:43:05.400 --> 0:43:09.879
<v Speaker 1>camoufloor we're going to talk about the surrealist quaker named

0:43:10.000 --> 0:43:12.000
<v Speaker 1>Roland Penrose. It's been too long since we've had a

0:43:12.000 --> 0:43:15.640
<v Speaker 1>cool Quaker on this show. And wait, well the name

0:43:15.719 --> 0:43:19.080
<v Speaker 1>was what Roland Penrose. That's a cool name, I know,

0:43:19.160 --> 0:43:21.160
<v Speaker 1>and he's like sir rolland Penrose, but it's like never

0:43:21.160 --> 0:43:22.759
<v Speaker 1>written that way. I think he probably was like a

0:43:22.800 --> 0:43:25.560
<v Speaker 1>little bit of embarrassed because he's supposed to be counterculture,

0:43:25.640 --> 0:43:30.879
<v Speaker 1>right right. He helped establish the English Surrealist movement, which

0:43:30.920 --> 0:43:33.160
<v Speaker 1>started in a lot of ways with art shows to

0:43:33.200 --> 0:43:35.360
<v Speaker 1>send money to the anti fascists in Spain during the

0:43:35.360 --> 0:43:38.040
<v Speaker 1>Spanish Civil War. Like that was like, oh, we're going

0:43:38.080 --> 0:43:40.400
<v Speaker 1>to have the big Surrealist exhibition because we need to

0:43:40.400 --> 0:43:45.719
<v Speaker 1>send money to the people shooting francoists. You know, I

0:43:45.719 --> 0:43:47.640
<v Speaker 1>would argue to this day one of the most important

0:43:47.680 --> 0:43:50.200
<v Speaker 1>roles for artists and revolution is fundraising and drawing attention

0:43:50.239 --> 0:43:52.880
<v Speaker 1>of causes. This is where I was going to put it.

0:43:52.880 --> 0:43:54.719
<v Speaker 1>I actually wrote a little cue for myself to put

0:43:54.760 --> 0:43:56.680
<v Speaker 1>in an ad transition here, and I completely messed it up.

0:43:57.120 --> 0:43:59.319
<v Speaker 1>Because the benefit show does both of these things really well.

0:43:59.400 --> 0:44:03.120
<v Speaker 1>It draws a ten things, and it also normalizes support

0:44:03.160 --> 0:44:05.920
<v Speaker 1>for a thing. And this episode could be brought to

0:44:05.920 --> 0:44:08.600
<v Speaker 1>you by the concept of supporting or throwing benefit shows.

0:44:08.760 --> 0:44:10.480
<v Speaker 1>But since I forgot to use that que, there was

0:44:10.480 --> 0:44:15.320
<v Speaker 1>a bunch of capitalist shit that got stuck in, so well.

0:44:15.160 --> 0:44:16.560
<v Speaker 2>Hey, you could always go to it.

0:44:16.280 --> 0:44:24.359
<v Speaker 5>And Third, providing identification to law enforcement required in some

0:44:24.400 --> 0:44:28.280
<v Speaker 5>states and situations, giving them an address expedient in most circumstances.

0:44:28.600 --> 0:44:30.839
<v Speaker 5>Never discuss the events leading to arrest with anyone except

0:44:30.880 --> 0:44:34.080
<v Speaker 5>your lawyer, doctor, or therapist. Posting pictures of protests and

0:44:34.120 --> 0:44:37.200
<v Speaker 5>actions on social media may lead to complications. If you

0:44:37.200 --> 0:44:40.320
<v Speaker 5>have already talked to cops or experienced confusion about talking

0:44:40.320 --> 0:44:43.080
<v Speaker 5>to cops, call your attorney immediately, as these may be

0:44:43.200 --> 0:44:46.160
<v Speaker 5>signs of more serious legal problems. The concept of not

0:44:46.200 --> 0:44:47.920
<v Speaker 5>talking to cops does not provide legal advice, and the

0:44:47.960 --> 0:44:50.600
<v Speaker 5>foregoing statements are for informational purposes only. If you have

0:44:50.640 --> 0:44:54.240
<v Speaker 5>specific legal questions, consult an attorney.

0:44:55.800 --> 0:45:00.239
<v Speaker 1>And we're back before World War two. Penro In a

0:45:00.239 --> 0:45:03.839
<v Speaker 1>pacifist in proper Quaker form. In World War One, he'd

0:45:03.840 --> 0:45:07.800
<v Speaker 1>been a conscious conscientious objector driving an ambulance around in Italy.

0:45:08.440 --> 0:45:15.359
<v Speaker 1>So clearly actually conscientious objector, not like a coward or whatever. Yeah,

0:45:15.400 --> 0:45:18.879
<v Speaker 1>But nineteen thirty nine he ran a civilian camouflage unit

0:45:18.880 --> 0:45:21.880
<v Speaker 1>because basically at this point they're like England's going to

0:45:21.920 --> 0:45:26.040
<v Speaker 1>get invaded, Like we are alone against the communist menace,

0:45:26.160 --> 0:45:29.319
<v Speaker 1>and not the communist menace that comes later. We are

0:45:29.360 --> 0:45:33.359
<v Speaker 1>alone against the fascist menace. Right, We're in trouble. And

0:45:33.440 --> 0:45:35.279
<v Speaker 1>also we're getting all these air raids and shit, I

0:45:35.280 --> 0:45:37.600
<v Speaker 1>don't I remember what year the blitz started, but it's

0:45:37.600 --> 0:45:41.360
<v Speaker 1>the thing, right, And so he's helping businesses disguise themselves

0:45:41.400 --> 0:45:44.600
<v Speaker 1>from air raids, and he's working alongside another surrealist who

0:45:44.600 --> 0:45:47.759
<v Speaker 1>saw camouflage in practice, and that aforementioned Spanish Civil War.

0:45:48.200 --> 0:45:50.719
<v Speaker 1>Everyone at home, this is her why we've already had

0:45:50.760 --> 0:45:55.400
<v Speaker 1>the Spanish Civil War? Bingo checkbox. But soon enough he

0:45:55.440 --> 0:45:57.839
<v Speaker 1>finds himself a captain in the Royal Engineers, and he's

0:45:57.880 --> 0:46:01.440
<v Speaker 1>teaching camouflage techniques, and he teaches the fact that for

0:46:01.520 --> 0:46:04.120
<v Speaker 1>previous centuries, intimidation have been the way to do things

0:46:04.640 --> 0:46:09.120
<v Speaker 1>like ride elephants into battle, where red coats build huge castles.

0:46:09.480 --> 0:46:12.000
<v Speaker 1>But now there's artillery and machine guns, so hiding is

0:46:12.040 --> 0:46:18.399
<v Speaker 1>better than intimidation. The surrealists struggle to fit into military life, right.

0:46:18.719 --> 0:46:22.640
<v Speaker 1>They are not conformists. They're like, they mostly hate government

0:46:22.680 --> 0:46:25.440
<v Speaker 1>and capitalism and all this shit, but they hate Nazis more.

0:46:25.680 --> 0:46:27.960
<v Speaker 1>You know, it seems like World War two kind of

0:46:28.000 --> 0:46:30.560
<v Speaker 1>overrode a lot of political ideologies and people just threw

0:46:30.600 --> 0:46:33.359
<v Speaker 1>down wherever they could be the most effective. But they

0:46:33.440 --> 0:46:36.760
<v Speaker 1>kept doing things like adding like walking canes and funny

0:46:36.760 --> 0:46:39.160
<v Speaker 1>hats to their uniforms. I read about one person who

0:46:39.200 --> 0:46:41.800
<v Speaker 1>like wore his like coat when he like walked the

0:46:41.880 --> 0:46:45.160
<v Speaker 1>battlements or whatever, as he's like, you know, surveilling the

0:46:45.200 --> 0:46:47.120
<v Speaker 1>area or whatever. The fuck Sorry I said code, I

0:46:47.160 --> 0:46:52.680
<v Speaker 1>meant cape old timing, oh, old timing coat. And so

0:46:52.719 --> 0:46:56.280
<v Speaker 1>he's now a captain. His romantic partner and eventually wife

0:46:56.320 --> 0:46:59.280
<v Speaker 1>is another surrealist, a photographer from the US named Lee Miller,

0:47:00.080 --> 0:47:02.560
<v Speaker 1>who she had been one of the most sought after

0:47:02.640 --> 0:47:05.960
<v Speaker 1>models in New York City and then spent years inventing

0:47:06.000 --> 0:47:10.640
<v Speaker 1>new photographic techniques like solarization while fucking the surrealist photographer

0:47:10.680 --> 0:47:14.800
<v Speaker 1>Man Ray is more famous than her for whatever audiences

0:47:14.840 --> 0:47:17.839
<v Speaker 1>left to imagine why, and she leaves him and moves

0:47:17.880 --> 0:47:23.840
<v Speaker 1>to London. But warheaders has a correspondent and a photojournalist,

0:47:23.880 --> 0:47:25.800
<v Speaker 1>and she took photos of many of the most important

0:47:25.800 --> 0:47:27.799
<v Speaker 1>parts of the war, like the liberation of Paris, the

0:47:27.800 --> 0:47:31.040
<v Speaker 1>Blitz in London, and the thing that gave her PTSD

0:47:31.120 --> 0:47:33.239
<v Speaker 1>for the rest of her life, the horrors of concentration

0:47:33.320 --> 0:47:38.240
<v Speaker 1>camps during their liberation. What she got to do with camouflage. Well,

0:47:39.120 --> 0:47:44.759
<v Speaker 1>the surrealists really like naked people, especially naked ladies, and

0:47:45.000 --> 0:47:47.319
<v Speaker 1>as part of our derive through surrealism, I'm going to

0:47:47.320 --> 0:47:50.480
<v Speaker 1>go on alongside note about surrealism and feminism and naked

0:47:50.520 --> 0:47:56.160
<v Speaker 1>ladies and all that shit. Hell yeah, most of the

0:47:56.239 --> 0:47:59.520
<v Speaker 1>readings of surrealism i'd run across had basically that weren't

0:47:59.520 --> 0:48:04.440
<v Speaker 1>written women. Surrealists were basically like look at start off

0:48:04.480 --> 0:48:06.520
<v Speaker 1>as a boys club that only let women in, as muses,

0:48:06.560 --> 0:48:09.560
<v Speaker 1>not as people are artists, and they kind of sucked, right,

0:48:10.440 --> 0:48:13.160
<v Speaker 1>and that's fair, but that's not the whole story. Later,

0:48:13.239 --> 0:48:16.719
<v Speaker 1>feminist surrealists, to all the history better. Women absolutely had

0:48:16.719 --> 0:48:18.839
<v Speaker 1>to fight for inclusion and it was imperfect and women

0:48:18.880 --> 0:48:23.000
<v Speaker 1>were obsessed over in like objectifying and like muse ways.

0:48:23.440 --> 0:48:26.040
<v Speaker 1>But there are two things that are sounds familiar. Yeah,

0:48:26.360 --> 0:48:28.040
<v Speaker 1>that was why it was so easy for me to

0:48:28.120 --> 0:48:30.799
<v Speaker 1>like the Someone was like it was a shitty boys club,

0:48:30.800 --> 0:48:33.680
<v Speaker 1>and I'm like, yep, yeah, I've seen.

0:48:33.440 --> 0:48:36.040
<v Speaker 2>Those for almost everything.

0:48:36.520 --> 0:48:40.760
<v Speaker 1>I'm going to complicate it because I was reading feminist

0:48:40.800 --> 0:48:44.759
<v Speaker 1>surrealists talking about talking about in a really complicated way.

0:48:45.680 --> 0:48:49.920
<v Speaker 1>First they got better, like literally the same people got better.

0:48:51.640 --> 0:48:54.520
<v Speaker 1>In nineteen twenty four, the generally accepted a sort of

0:48:54.600 --> 0:48:58.759
<v Speaker 1>leader of the Surrealists, Andre Breton wrote, we shall be

0:48:58.840 --> 0:49:02.040
<v Speaker 1>masters of ourselves, masters of women and of love too,

0:49:02.320 --> 0:49:05.640
<v Speaker 1>because they're annoying boys club boys.

0:49:05.719 --> 0:49:06.000
<v Speaker 3>Yeah.

0:49:06.680 --> 0:49:10.360
<v Speaker 1>By the nineteen forties, the Surrealists were actively attached to

0:49:10.360 --> 0:49:13.880
<v Speaker 1>the feminist movement, and the same writer Breton wrote that

0:49:13.920 --> 0:49:16.400
<v Speaker 1>the time had come to quote make the ideas of

0:49:16.440 --> 0:49:18.480
<v Speaker 1>women prevail at the expense of those of men.

0:49:19.880 --> 0:49:23.720
<v Speaker 2>Okay, yeah, all right, sir.

0:49:24.600 --> 0:49:27.160
<v Speaker 1>Along the way most of the sexist men dropped out

0:49:27.160 --> 0:49:31.520
<v Speaker 1>of the movement, several male surrealists took their female partner's

0:49:31.600 --> 0:49:34.320
<v Speaker 1>last names. I don't even think before even getting married.

0:49:34.320 --> 0:49:36.160
<v Speaker 1>I think they were just like, whatever, her name's better,

0:49:36.200 --> 0:49:37.319
<v Speaker 1>fuck it, you.

0:49:37.239 --> 0:49:39.480
<v Speaker 2>Know, hell yeah.

0:49:39.520 --> 0:49:41.560
<v Speaker 1>And they were into free love instead of marriage, which

0:49:41.560 --> 0:49:45.560
<v Speaker 1>is absolutely a thing that could be just shitty misogyny. Right,

0:49:47.719 --> 0:49:50.920
<v Speaker 1>there's this complicated feminist icon. Andrea to Work and who

0:49:50.920 --> 0:49:52.680
<v Speaker 1>wrote about a lot about this in like the sixties

0:49:52.680 --> 0:49:55.480
<v Speaker 1>and seventies about how like hippie men are into free

0:49:55.480 --> 0:49:57.520
<v Speaker 1>love and abortion rights because they want sexual access to

0:49:57.520 --> 0:50:04.719
<v Speaker 1>women right right, But opposition to marriage was absolutely a

0:50:04.719 --> 0:50:07.760
<v Speaker 1>feminist issue, especially in the nineteenth and early twentieth centuries,

0:50:08.040 --> 0:50:12.560
<v Speaker 1>because legally marriage made women into property, right, so free

0:50:12.600 --> 0:50:17.640
<v Speaker 1>love was like a women's liberation argument from within radical circles.

0:50:18.640 --> 0:50:20.480
<v Speaker 1>And then the other thing that is really interesting and

0:50:20.480 --> 0:50:22.880
<v Speaker 1>complicates it, even when it was a weird, shitty boys club,

0:50:24.000 --> 0:50:26.840
<v Speaker 1>is that what they were doing was like fucking with masculinity.

0:50:27.640 --> 0:50:31.759
<v Speaker 1>Penelope Rosemont is an anarchist, an IWW member, and the

0:50:31.800 --> 0:50:34.359
<v Speaker 1>co founder of the Chicago Surrealist group, And she's one

0:50:34.400 --> 0:50:36.920
<v Speaker 1>of my favorite surrealist writers that I've read during all

0:50:36.960 --> 0:50:42.400
<v Speaker 1>this research, and she wrote quote as males who had

0:50:42.440 --> 0:50:49.120
<v Speaker 1>no use for any of the proffered models of maleness soldier, politician, cop, gangster, banker, businessman, athlete, bureaucrat,

0:50:49.239 --> 0:50:52.759
<v Speaker 1>or boss. The men who founded surrealism could be called

0:50:52.800 --> 0:50:55.960
<v Speaker 1>traitors for their sex. Not only did they reject such

0:50:56.040 --> 0:50:59.400
<v Speaker 1>quote masculine prerogatives as law and order, reason and logic,

0:50:59.840 --> 0:51:02.440
<v Speaker 1>they went so far as to champion their opposites, the

0:51:02.480 --> 0:51:08.279
<v Speaker 1>so called feminine virtues or vices, intuition, impulsiveness, and passivity

0:51:08.560 --> 0:51:11.560
<v Speaker 1>as in automatic writing and trans speaking. We didn't talk

0:51:11.560 --> 0:51:12.879
<v Speaker 1>about this yet, but like one of the main things

0:51:12.880 --> 0:51:15.080
<v Speaker 1>surrealists were into his automatic writing, where they just sit

0:51:15.120 --> 0:51:17.759
<v Speaker 1>down and like let the words flow, man, you know,

0:51:18.320 --> 0:51:20.160
<v Speaker 1>which was like probably cool and radical at the time,

0:51:20.200 --> 0:51:23.120
<v Speaker 1>but mostly I don't want to read it anyway. To

0:51:23.120 --> 0:51:28.200
<v Speaker 1>finish the quote in a brilliant manifesto, Aragon and Breton,

0:51:28.320 --> 0:51:32.480
<v Speaker 1>these are too early Surrealists hailed hysteria, a label commonly

0:51:32.480 --> 0:51:35.239
<v Speaker 1>tossed at women whose emotional upheavals exceeded the boundaries of

0:51:35.239 --> 0:51:41.280
<v Speaker 1>bourgeois propriety propriority stuff, as a supreme means of expression

0:51:41.440 --> 0:51:44.879
<v Speaker 1>French word. Probably yeah, probably, I think I noticed spell

0:51:44.960 --> 0:51:45.680
<v Speaker 1>up and not pronounce it.

0:51:45.719 --> 0:51:49.440
<v Speaker 2>Actually, oh well then it's maybe an English word.

0:51:49.520 --> 0:51:51.880
<v Speaker 1>Yeah, probably is. I'm just someone who grew up reading

0:51:51.920 --> 0:51:58.040
<v Speaker 1>a lot more. And I talked, and she went on

0:51:58.120 --> 0:52:01.360
<v Speaker 1>to add, despite their very real problems, confusions, and mistakes,

0:52:01.440 --> 0:52:03.799
<v Speaker 1>the first Surrealist group was probably the least sexist, male

0:52:03.840 --> 0:52:08.000
<v Speaker 1>dominated group of its time. And so I just I

0:52:08.040 --> 0:52:11.840
<v Speaker 1>found that so interesting because like because yeah, it was

0:52:11.880 --> 0:52:14.280
<v Speaker 1>just so easy to believe, like, I don't know, whatever,

0:52:14.280 --> 0:52:16.280
<v Speaker 1>fuck these guys, right right.

0:52:16.400 --> 0:52:20.160
<v Speaker 2>Well, also, if surrealists are their whole thing is to

0:52:20.440 --> 0:52:28.040
<v Speaker 2>like subvert like you know, what is considered quote unquote normal,

0:52:28.360 --> 0:52:33.719
<v Speaker 2>or like subvert the status quo, then yeah, that would

0:52:33.760 --> 0:52:37.239
<v Speaker 2>make sense that they would be more feminist than any

0:52:37.239 --> 0:52:40.719
<v Speaker 2>other movement. Yeah, but also it's still like whatever the

0:52:40.800 --> 0:52:43.280
<v Speaker 2>nineteen thirties, So yeah, you can only.

0:52:43.120 --> 0:52:50.080
<v Speaker 1>Get so far. Yeah, totally okay, And then like here's

0:52:50.120 --> 0:52:53.120
<v Speaker 1>a complicated one the reason that all this side note existed.

0:52:53.840 --> 0:52:59.120
<v Speaker 1>So so Penrose, Sir Penrose is teaching camouflage to soldiers, right,

0:52:59.680 --> 0:53:01.120
<v Speaker 1>and one of the things he does is I think

0:53:01.120 --> 0:53:02.640
<v Speaker 1>it's a slide, but he might just be holding up

0:53:02.680 --> 0:53:05.440
<v Speaker 1>a picture. He's like showing all this stuff about camouflage

0:53:05.480 --> 0:53:07.880
<v Speaker 1>and like the soldiers are dozing off, and then he

0:53:07.920 --> 0:53:10.200
<v Speaker 1>holds up a picture of his hot girlfriend naked except

0:53:10.239 --> 0:53:14.480
<v Speaker 1>for camouflage netting and then says, if camouflage can hide

0:53:14.560 --> 0:53:16.280
<v Speaker 1>Lee's charms, it can hide anything.

0:53:20.320 --> 0:53:21.680
<v Speaker 2>That that's good.

0:53:22.760 --> 0:53:26.040
<v Speaker 1>I like it, yeah, and like it's funny to me

0:53:26.080 --> 0:53:28.400
<v Speaker 1>because I'm like, all right, it's just some fucking like

0:53:30.239 --> 0:53:32.800
<v Speaker 1>here's like I want to show off that my girlfriend's hot,

0:53:32.840 --> 0:53:37.279
<v Speaker 1>like what. But it also he used it to try

0:53:37.280 --> 0:53:39.360
<v Speaker 1>and make soldiers pay attention to his lectures and it

0:53:39.920 --> 0:53:42.960
<v Speaker 1>worked and like the sleeping soldiers would like, wake up

0:53:43.000 --> 0:53:45.920
<v Speaker 1>and pay attention. It also got soldiers to come more

0:53:45.960 --> 0:53:47.520
<v Speaker 1>than once to his lectures.

0:53:48.360 --> 0:53:48.800
<v Speaker 2>Okay.

0:53:50.040 --> 0:53:53.439
<v Speaker 1>And also the other really important part of this, Lee

0:53:53.560 --> 0:53:55.920
<v Speaker 1>is an active and willing participant in this. It is

0:53:56.080 --> 0:53:58.680
<v Speaker 1>very likely that she set up the photo. She is

0:53:58.680 --> 0:54:02.680
<v Speaker 1>the photographer of the pair, so it's probably her fucking idea,

0:54:03.320 --> 0:54:04.200
<v Speaker 1>you know, right.

0:54:04.440 --> 0:54:06.040
<v Speaker 2>She'd be like, I know how to get meant to

0:54:06.080 --> 0:54:09.280
<v Speaker 2>pay attention. Yeah, my naked body.

0:54:09.440 --> 0:54:12.840
<v Speaker 1>It has worked historically, I see no reason why it'll

0:54:12.880 --> 0:54:17.320
<v Speaker 1>work again. And during all of this Lee, in particular,

0:54:17.440 --> 0:54:21.960
<v Speaker 1>especially after the war, Lee is suspected of communism, and

0:54:22.080 --> 0:54:24.600
<v Speaker 1>so she's like the British Red Scare I think wasn't

0:54:24.680 --> 0:54:26.360
<v Speaker 1>quite as bad, but it was like not great, you know,

0:54:27.120 --> 0:54:29.440
<v Speaker 1>And so they actually can't get higher ranking positions within

0:54:29.480 --> 0:54:35.520
<v Speaker 1>the British government as a result. Like, but the reason

0:54:35.560 --> 0:54:38.520
<v Speaker 1>we're talking about all this shit. So Penrose he publishes

0:54:38.560 --> 0:54:40.880
<v Speaker 1>the quote Home Guard Manual of Camouflage. I don't know

0:54:40.880 --> 0:54:43.200
<v Speaker 1>why I put quote that's just the title of it.

0:54:43.200 --> 0:54:45.480
<v Speaker 1>It's because I was too lazy to italicize the title.

0:54:45.560 --> 0:54:48.040
<v Speaker 1>Usually I remember to italicize the titles in my scripts,

0:54:48.320 --> 0:54:51.920
<v Speaker 1>but I didn't this time, which, actually, in retrospect annoys me,

0:54:51.920 --> 0:54:53.680
<v Speaker 1>because I'm the kind of pedant who really cares that

0:54:53.719 --> 0:54:57.839
<v Speaker 1>short stories are in quotes and books are in italics.

0:54:57.920 --> 0:55:02.880
<v Speaker 2>Yeah, I italicize the titles of movies in emails, I write.

0:55:02.840 --> 0:55:06.080
<v Speaker 1>Yeah, as well, you should, which as I should? Does

0:55:06.080 --> 0:55:07.640
<v Speaker 1>it make texting really frustrated?

0:55:08.680 --> 0:55:11.440
<v Speaker 2>I know, I'm like, how will people know that I'm

0:55:11.800 --> 0:55:14.840
<v Speaker 2>referring to a movie because it's not an italic.

0:55:14.520 --> 0:55:16.680
<v Speaker 1>You better make sure that you do your title casinge.

0:55:16.440 --> 0:55:20.200
<v Speaker 2>Right, Nerds, How to do that?

0:55:20.320 --> 0:55:25.719
<v Speaker 1>Oh, just by capitalizing the first letter of all the words.

0:55:25.719 --> 0:55:27.759
<v Speaker 2>Oh, I see I say it. Yes, yeah, of course

0:55:27.800 --> 0:55:28.239
<v Speaker 2>I did that.

0:55:28.400 --> 0:55:28.720
<v Speaker 5>Okay.

0:55:29.200 --> 0:55:31.080
<v Speaker 2>I thought that was like a special feature where it's like,

0:55:31.320 --> 0:55:34.360
<v Speaker 2>you know how some platforms let you make something in

0:55:34.640 --> 0:55:36.759
<v Speaker 2>bold by like putting asterisks on either.

0:55:36.920 --> 0:55:37.080
<v Speaker 4>Yeah.

0:55:37.160 --> 0:55:39.960
<v Speaker 1>I hate that because then it turns things into bold. Yeah.

0:55:40.040 --> 0:55:41.960
<v Speaker 2>Yeah, I'm like, why can't we do that for italics?

0:55:42.000 --> 0:55:42.239
<v Speaker 1>Though?

0:55:42.520 --> 0:55:44.520
<v Speaker 2>Well, it's the shortcut.

0:55:45.239 --> 0:55:46.120
<v Speaker 1>I'm sure it exists.

0:55:46.200 --> 0:55:49.520
<v Speaker 2>I'm gonna I'm gonna call mister Apple and say, hello,

0:55:49.800 --> 0:55:53.400
<v Speaker 2>my iPhone, I need to be able to talicize my

0:55:53.440 --> 0:55:56.480
<v Speaker 2>text messages. Okay, anyway, why.

0:55:56.200 --> 0:55:59.000
<v Speaker 4>Is that not a thing I was a second ago?

0:55:59.719 --> 0:56:02.200
<v Speaker 4>Well it signals better than I message, that's for sure.

0:56:02.480 --> 0:56:06.960
<v Speaker 4>But uh, Tim Apple, the fuck I was hating like

0:56:07.000 --> 0:56:07.600
<v Speaker 4>one minute ago.

0:56:07.719 --> 0:56:08.520
<v Speaker 3>Now I'm like, you know.

0:56:08.480 --> 0:56:13.799
<v Speaker 2>What, Yeah, you're right. Time to get fired up, Time

0:56:13.840 --> 0:56:16.879
<v Speaker 2>to become a surrealist. Yea, and Tim Apple.

0:56:17.040 --> 0:56:18.960
<v Speaker 1>What are you doing if you don't do this, I'm

0:56:18.960 --> 0:56:21.000
<v Speaker 1>going to convince you that there's a conspiracy of your

0:56:21.080 --> 0:56:23.680
<v Speaker 1>children to murder you for your their inheritance.

0:56:24.520 --> 0:56:27.560
<v Speaker 2>Yeah, we're gonna leave little notes in your pockets and yeah,

0:56:28.320 --> 0:56:29.160
<v Speaker 2>it's gonna.

0:56:29.000 --> 0:56:36.640
<v Speaker 1>Until your children actually have a conspiracy. This is good

0:56:36.640 --> 0:56:38.520
<v Speaker 1>and not legally.

0:56:37.719 --> 0:56:40.680
<v Speaker 2>One of the coolest. That's still one of the coolest

0:56:40.680 --> 0:56:43.640
<v Speaker 2>stories I've ever heard. No, I love it and it

0:56:43.680 --> 0:56:45.800
<v Speaker 2>needs to be a movie. I'm going to write this movie,

0:56:45.880 --> 0:56:46.920
<v Speaker 2>please do I heard.

0:56:46.760 --> 0:56:48.000
<v Speaker 1>You know how to write movies.

0:56:49.600 --> 0:56:52.920
<v Speaker 2>Well, if you're referring to my master's degree in screenwriting

0:56:52.920 --> 0:56:54.480
<v Speaker 2>from Boston University, which I.

0:56:54.440 --> 0:56:58.720
<v Speaker 3>Would never mentioned a whole hour in rich job, Caitlin,

0:57:00.320 --> 0:57:00.680
<v Speaker 3>thank you.

0:57:01.160 --> 0:57:03.080
<v Speaker 1>Yeah. I actually don't know if there's a movie about

0:57:03.080 --> 0:57:06.200
<v Speaker 1>this next one too, and there should be. It'd be

0:57:06.239 --> 0:57:08.399
<v Speaker 1>more likely to have that one to a movie because

0:57:08.400 --> 0:57:13.279
<v Speaker 1>it involves like tanks and men. But oh yeah, there's

0:57:13.320 --> 0:57:14.279
<v Speaker 1>another really good one.

0:57:14.360 --> 0:57:18.960
<v Speaker 2>I'm sure Michael Bay tried to. Yeah, yeah, do it.

0:57:19.440 --> 0:57:19.520
<v Speaker 5>So.

0:57:20.480 --> 0:57:23.880
<v Speaker 1>Penrose wrote the Home Guard Manual for camouflage, and it

0:57:23.960 --> 0:57:26.800
<v Speaker 1>covered how to make fake guns and fake people and

0:57:26.840 --> 0:57:30.080
<v Speaker 1>how to disguise the shadows from vehicles, right, because like

0:57:30.840 --> 0:57:32.720
<v Speaker 1>aircraft is now a big part, right, so you also

0:57:32.760 --> 0:57:35.160
<v Speaker 1>have to disguise everything, camouflage everything from up above.

0:57:36.200 --> 0:57:36.400
<v Speaker 2>Right.

0:57:37.120 --> 0:57:40.560
<v Speaker 1>So these surrealis in Britain they start camouflaging shit all

0:57:40.600 --> 0:57:45.600
<v Speaker 1>over the aisles. They're making concrete pillboxes in case everyone's

0:57:45.600 --> 0:57:48.920
<v Speaker 1>pretty convinced. The Germans are about to invade, right, and

0:57:48.960 --> 0:57:52.160
<v Speaker 1>so they set up pillboxes everywhere to shoot the Germans, right,

0:57:52.720 --> 0:57:55.560
<v Speaker 1>But they don't want the pillboxes to get bombed, so

0:57:55.600 --> 0:57:59.600
<v Speaker 1>they have to disguise them. So the surrealists and others

0:57:59.720 --> 0:58:03.720
<v Speaker 1>come in and they're turning them into houses, gas stations, cafes,

0:58:03.920 --> 0:58:07.200
<v Speaker 1>chicken houses, fancy ruins. This is how, you know, the

0:58:07.320 --> 0:58:09.800
<v Speaker 1>fucking like this is where artists show up. They're like,

0:58:09.840 --> 0:58:12.560
<v Speaker 1>we can do it. I've been waiting my life for this,

0:58:12.680 --> 0:58:14.880
<v Speaker 1>you know, military budget.

0:58:14.520 --> 0:58:18.880
<v Speaker 2>Turn this yeh pillbox into something that looks like stone hengs.

0:58:19.000 --> 0:58:25.240
<v Speaker 1>Yeah, what if the original Stonehenge was camouflage makes you think, yeah,

0:58:25.280 --> 0:58:28.440
<v Speaker 1>And and so there's lots of camoufloors. But the surrealists

0:58:28.440 --> 0:58:29.880
<v Speaker 1>and their students are the ones who went a little

0:58:29.920 --> 0:58:32.360
<v Speaker 1>bit extra. They made sure that it was like closed

0:58:32.400 --> 0:58:34.960
<v Speaker 1>for seasoned signs on the fake stores, and there's like

0:58:35.040 --> 0:58:39.360
<v Speaker 1>bathrooms in the fake cafes and all this shit, you know. Yeah,

0:58:39.400 --> 0:58:42.080
<v Speaker 1>and surrealists all over the Allied world are joining camouflage

0:58:42.120 --> 0:58:44.560
<v Speaker 1>units and basically preaching the wonders of tricking the eye,

0:58:44.600 --> 0:58:48.400
<v Speaker 1>and so are like sign painters and shit, Like every artist.

0:58:48.440 --> 0:58:50.680
<v Speaker 1>This is like what they're getting into but the surrealist

0:58:50.760 --> 0:58:52.000
<v Speaker 1>wrote the manual on it.

0:58:52.720 --> 0:58:53.160
<v Speaker 2>Got it.

0:58:53.360 --> 0:58:57.080
<v Speaker 1>Dolly claimed that all this was his idea. This is

0:58:57.120 --> 0:58:59.040
<v Speaker 1>not true. He had nothing to do with any of it.

0:58:59.440 --> 0:59:01.120
<v Speaker 1>And my the way I wrote him into the script

0:59:01.160 --> 0:59:03.760
<v Speaker 1>is Dali, that weird white supremacist asshole, got kicked out

0:59:03.760 --> 0:59:06.000
<v Speaker 1>of Surrealist for being friends with fascists in Spain who

0:59:06.080 --> 0:59:08.640
<v Speaker 1>might come up later try to take credit. But he

0:59:08.640 --> 0:59:09.240
<v Speaker 1>hadn't done shit.

0:59:10.120 --> 0:59:11.400
<v Speaker 2>This is Salvador.

0:59:11.480 --> 0:59:13.360
<v Speaker 1>Yeah, Salvador delim.

0:59:14.400 --> 0:59:17.400
<v Speaker 2>I would that's funny because this is how much like

0:59:18.080 --> 0:59:22.360
<v Speaker 2>history is rewritten and revised, Like when you said surrealist

0:59:22.480 --> 0:59:24.560
<v Speaker 2>art and then you're talking about like melting clocks. Right

0:59:24.560 --> 0:59:27.000
<v Speaker 2>at the beginning of the episode, I was like, oh, yeah,

0:59:27.240 --> 0:59:30.640
<v Speaker 2>Salvador Dolly, that's the one surrealist artist I could name

0:59:31.120 --> 0:59:33.440
<v Speaker 2>by name. Yeah. No, But it turns out he's not

0:59:33.480 --> 0:59:34.640
<v Speaker 2>even he got kicked out.

0:59:34.600 --> 0:59:36.160
<v Speaker 1>Well, and what he did is he showed up in

0:59:36.160 --> 0:59:38.840
<v Speaker 1>America and he was like, I am the surrealist and

0:59:38.880 --> 0:59:42.560
<v Speaker 1>he was like very good at capitalizing and self promotion,

0:59:44.080 --> 0:59:46.280
<v Speaker 1>and he was like, I am the surrealist painter. You know,

0:59:46.440 --> 0:59:53.080
<v Speaker 1>he's also a very good surrealist painter. Like but he's all,

0:59:53.760 --> 0:59:55.560
<v Speaker 1>he's in another part of the script. We'll talk more

0:59:55.600 --> 0:59:59.200
<v Speaker 1>about him. So, the coolest use of all this camoufloor shit.

1:00:00.000 --> 1:00:01.920
<v Speaker 1>You had your lesbian couple creating a fake rebellion with

1:00:01.920 --> 1:00:04.520
<v Speaker 1>the Nazi ranks until it became a real one. The

1:00:04.520 --> 1:00:09.600
<v Speaker 1>British managed to create an entire fake army through Operation Bertram,

1:00:10.000 --> 1:00:12.560
<v Speaker 1>and it was run by folks who studied under Penrose

1:00:12.920 --> 1:00:16.160
<v Speaker 1>and basically took the ideas from his book and put

1:00:16.160 --> 1:00:21.240
<v Speaker 1>them into life. There was this North African offensive by

1:00:21.240 --> 1:00:23.640
<v Speaker 1>the Allies coming up against a German force that it

1:00:23.720 --> 1:00:26.680
<v Speaker 1>was winning and driving the Allies back over and over again.

1:00:26.680 --> 1:00:29.520
<v Speaker 1>And the Allies needed a trick up their sleeve, and

1:00:29.720 --> 1:00:32.240
<v Speaker 1>they realized it wasn't just a matter of disguising some stuff.

1:00:32.320 --> 1:00:36.400
<v Speaker 1>They wanted to create an entire false story, right, So

1:00:36.440 --> 1:00:40.520
<v Speaker 1>they created two fake armored divisions in Egypt. They made

1:00:40.640 --> 1:00:43.560
<v Speaker 1>five hundred dummy tanks, one hundred and fifty dummy guns,

1:00:43.640 --> 1:00:49.840
<v Speaker 1>two thousand dummy transport vehicles. Meanwhile, the actual tanks and shit,

1:00:50.240 --> 1:00:53.240
<v Speaker 1>they're disguised too. This is like goofy movie stuff, right,

1:00:53.960 --> 1:00:57.000
<v Speaker 1>there's like pictures of the tanks, the actual tanks. Okay,

1:00:57.040 --> 1:00:59.320
<v Speaker 1>there's pictures of the disguise tanks, and they're like wire

1:00:59.400 --> 1:01:01.920
<v Speaker 1>framework that they like build some shit onto, Like I

1:01:01.920 --> 1:01:04.040
<v Speaker 1>think some of them are fucking paper mache and shit right,

1:01:04.760 --> 1:01:08.920
<v Speaker 1>whereas the actual tanks they're like building like truck shell

1:01:09.280 --> 1:01:11.280
<v Speaker 1>to go around it, you know, so it looks like

1:01:11.320 --> 1:01:13.480
<v Speaker 1>a truck within. The two halves fall apart, and then

1:01:13.480 --> 1:01:14.400
<v Speaker 1>there's a fucking tang.

1:01:15.720 --> 1:01:16.120
<v Speaker 4>Whoa.

1:01:17.960 --> 1:01:21.439
<v Speaker 1>This is likely the largest physical camouflage operation of all time.

1:01:21.560 --> 1:01:23.560
<v Speaker 1>It was certainly the largest one of World War two.

1:01:24.720 --> 1:01:28.560
<v Speaker 1>Mm hmmm, so Rommel this is a trojan horse?

1:01:28.760 --> 1:01:30.160
<v Speaker 2>Yeah, shit, sort of.

1:01:30.440 --> 1:01:32.040
<v Speaker 1>Yeah.

1:01:32.160 --> 1:01:36.600
<v Speaker 2>It also reminds me of Argo, a movie that I

1:01:36.640 --> 1:01:40.880
<v Speaker 2>would put that title in italics, of course if I

1:01:41.000 --> 1:01:45.000
<v Speaker 2>was writing this stone anyway, we're I don't remember it

1:01:45.040 --> 1:01:48.160
<v Speaker 2>super well. But it's like they pretended to be a

1:01:49.200 --> 1:01:52.680
<v Speaker 2>they made like a fake movie, or like they're like,

1:01:52.680 --> 1:01:55.400
<v Speaker 2>we're developing where they needed to go in and rescue

1:01:55.400 --> 1:01:58.680
<v Speaker 2>someone from another place, and then they're like, we can't

1:01:58.880 --> 1:02:02.040
<v Speaker 2>do that easilyunless we pretend that we're a movie crew.

1:02:02.240 --> 1:02:05.080
<v Speaker 2>Yeah is that? And I'm sure this was based on

1:02:05.160 --> 1:02:08.400
<v Speaker 2>true events in history. Buff I am a movie? Buff

1:02:08.480 --> 1:02:08.840
<v Speaker 2>I am?

1:02:09.520 --> 1:02:15.080
<v Speaker 1>Anyway? Well, it's like much in a very similar noble effort.

1:02:15.640 --> 1:02:18.560
<v Speaker 1>I once stuck into a punk show when I had

1:02:18.560 --> 1:02:22.120
<v Speaker 1>no money by taking empty pizza boxes and showing up

1:02:22.120 --> 1:02:24.720
<v Speaker 1>at the back door and saying, this is pizza for

1:02:24.800 --> 1:02:30.120
<v Speaker 1>the band. So sad, yeah, but the top okay. Actually

1:02:30.120 --> 1:02:32.480
<v Speaker 1>it was like a bunch of a film crew had

1:02:32.480 --> 1:02:35.040
<v Speaker 1>been like, hey you street kids, do you want this pizza?

1:02:35.160 --> 1:02:37.080
<v Speaker 1>And there's a little bit left in each box, and

1:02:37.120 --> 1:02:39.720
<v Speaker 1>so I compiled it into like one big like there

1:02:39.760 --> 1:02:41.320
<v Speaker 1>was like about a whole pizza's worth. I put it

1:02:41.360 --> 1:02:42.680
<v Speaker 1>in the top box so I could be like, Eh,

1:02:42.680 --> 1:02:45.920
<v Speaker 1>there's a pizza and then see. But then I went

1:02:45.960 --> 1:02:47.400
<v Speaker 1>in and I was like watching the show and I

1:02:47.400 --> 1:02:49.040
<v Speaker 1>was like this is fun. I was like, man, I'm hungry.

1:02:49.600 --> 1:02:52.640
<v Speaker 1>Oh shit, I know where there's some pizza. So I

1:02:52.680 --> 1:02:55.960
<v Speaker 1>went back to the green room and grabbed pizza. And

1:02:56.000 --> 1:03:00.120
<v Speaker 1>then the manager was like, hey, pizza person, did you pay?

1:03:00.640 --> 1:03:03.160
<v Speaker 1>And I'm like I did not. I will leave now.

1:03:06.320 --> 1:03:11.000
<v Speaker 1>So I got kicked out my hubris like Icarus, I

1:03:11.080 --> 1:03:17.440
<v Speaker 1>flew too close to the pizza shaped sun, which is

1:03:17.640 --> 1:03:18.400
<v Speaker 1>or is.

1:03:18.320 --> 1:03:22.200
<v Speaker 2>The is the sun shaped like pizza pizza? Or is

1:03:22.240 --> 1:03:25.360
<v Speaker 2>a piece of shape like a pizza in her egg?

1:03:27.880 --> 1:03:31.400
<v Speaker 2>That's moon hits your eye and pizza and that's and that's.

1:03:31.240 --> 1:03:32.720
<v Speaker 1>A more which is different than.

1:03:39.280 --> 1:03:42.040
<v Speaker 2>What's what joke? I have to sing the whole song

1:03:42.120 --> 1:03:42.600
<v Speaker 2>to get there.

1:03:43.360 --> 1:03:45.400
<v Speaker 3>But you did it, you got there. I'm so proud,

1:03:45.560 --> 1:03:46.480
<v Speaker 3>thank you, thank you.

1:03:47.600 --> 1:03:53.919
<v Speaker 1>So uh so. Rammel is the Nazi commander of this army,

1:03:54.120 --> 1:03:56.800
<v Speaker 1>that not the Allied army, but the Nazi army.

1:03:57.640 --> 1:03:58.040
<v Speaker 2>Mm hmm.

1:03:58.720 --> 1:04:01.440
<v Speaker 1>And he couldn't tell which was a way so which

1:04:01.480 --> 1:04:03.160
<v Speaker 1>was the fake army, which was the real army. So

1:04:03.160 --> 1:04:05.960
<v Speaker 1>he split his army in two, and the Allies beat

1:04:05.960 --> 1:04:07.880
<v Speaker 1>the shit out of him and has turned things around

1:04:07.880 --> 1:04:09.760
<v Speaker 1>for the British and the North African theater, at least

1:04:09.760 --> 1:04:12.360
<v Speaker 1>according to as far as I read, I read more

1:04:12.400 --> 1:04:14.080
<v Speaker 1>about the way that they made fake tanks and less

1:04:14.080 --> 1:04:17.800
<v Speaker 1>about the way it effected the course of the war. Right,

1:04:18.840 --> 1:04:21.040
<v Speaker 1>Penrose and Miller they got married after the war. They

1:04:21.080 --> 1:04:25.040
<v Speaker 1>had a kid, but Miller did have from being embedded

1:04:25.040 --> 1:04:28.720
<v Speaker 1>in the front, had pretty bad PTSD. Most of the

1:04:28.760 --> 1:04:30.720
<v Speaker 1>surrealists in their forties and sh at some at this

1:04:30.760 --> 1:04:34.080
<v Speaker 1>point weren't directly involved in the fighting. Most fled the war,

1:04:34.240 --> 1:04:37.480
<v Speaker 1>especially to New York City. But there's one other surrealist

1:04:37.480 --> 1:04:39.600
<v Speaker 1>whose wartime activity is interesting to me and is a

1:04:39.600 --> 1:04:46.240
<v Speaker 1>way to tie in surrealist concepts. Renee agreed. He is

1:04:46.280 --> 1:04:47.040
<v Speaker 1>a Belgian painter.

1:04:47.960 --> 1:04:48.360
<v Speaker 2>He's a guy.

1:04:48.400 --> 1:04:50.320
<v Speaker 1>Have you ever seen that this is not a pipe painting?

1:04:52.480 --> 1:04:57.120
<v Speaker 2>No, but here comes another Google search this is not

1:04:57.440 --> 1:04:58.240
<v Speaker 2>a pipe.

1:04:58.640 --> 1:05:02.480
<v Speaker 1>So he has a piece called I'll describe it for

1:05:02.520 --> 1:05:05.760
<v Speaker 1>the listeners. It's called the Treachery of Images. Everyone calls it.

1:05:05.800 --> 1:05:10.000
<v Speaker 1>This is not a pipe, and it is a It's

1:05:10.040 --> 1:05:12.120
<v Speaker 1>a picture of a pipe, like a painting of a

1:05:12.160 --> 1:05:14.160
<v Speaker 1>pipe that you like smoke out of, you know. And

1:05:14.200 --> 1:05:16.640
<v Speaker 1>it has pretty cursive lettering that says in French, this

1:05:16.720 --> 1:05:16.960
<v Speaker 1>is not.

1:05:16.960 --> 1:05:18.440
<v Speaker 3>A pipe, Caitlyn.

1:05:18.520 --> 1:05:20.320
<v Speaker 4>Once you google it, you'll be like, I've seen this

1:05:20.400 --> 1:05:22.200
<v Speaker 4>a million times, say, oh.

1:05:22.280 --> 1:05:23.520
<v Speaker 2>I actually never have.

1:05:24.080 --> 1:05:26.800
<v Speaker 1>Really, you live under different rocks. I live under a rock,

1:05:26.800 --> 1:05:28.120
<v Speaker 1>but you live under a different rock.

1:05:29.240 --> 1:05:32.480
<v Speaker 2>Yes, there are many types of rocks by which to

1:05:32.600 --> 1:05:34.880
<v Speaker 2>obscure you knowing things.

1:05:34.960 --> 1:05:37.000
<v Speaker 1>Okay, you have seen this for the first time. What

1:05:37.120 --> 1:05:37.800
<v Speaker 1>is your reaction?

1:05:38.240 --> 1:05:45.640
<v Speaker 2>Yeah, yes, fascinating. I it this. This is comedy, you know,

1:05:45.840 --> 1:05:48.600
<v Speaker 2>like a pipe. And then it says this is not

1:05:48.640 --> 1:05:49.040
<v Speaker 2>a pipe.

1:05:50.360 --> 1:05:52.600
<v Speaker 1>Yeah, so I.

1:05:52.520 --> 1:05:55.880
<v Speaker 4>Feel like I've seen this very commonly being used as

1:05:55.920 --> 1:05:56.680
<v Speaker 4>like a tattoo.

1:05:56.880 --> 1:05:59.840
<v Speaker 3>This is like a this is a no no, no,

1:06:00.200 --> 1:06:00.920
<v Speaker 3>this is not a body.

1:06:01.640 --> 1:06:03.960
<v Speaker 4>Yeah yeah, like I've seen it, but like the actual

1:06:04.000 --> 1:06:06.000
<v Speaker 4>pipe of it all, like I've seen it. I've seen.

1:06:06.440 --> 1:06:09.200
<v Speaker 4>I definitely know people have the statuo got it. This

1:06:09.280 --> 1:06:11.680
<v Speaker 4>is like a hugely popular thing.

1:06:12.160 --> 1:06:14.360
<v Speaker 1>The best niche meme I ever made that I don't

1:06:14.400 --> 1:06:17.120
<v Speaker 1>think you, either of you or any of our listeners

1:06:17.120 --> 1:06:19.919
<v Speaker 1>will get is I made one a meme that said, uh,

1:06:19.960 --> 1:06:21.280
<v Speaker 1>this is not a pipe bomb, and it was a

1:06:21.280 --> 1:06:22.840
<v Speaker 1>picture of a bicycle and it was done in the

1:06:22.880 --> 1:06:24.920
<v Speaker 1>same stuff. Do you get it?

1:06:25.560 --> 1:06:26.200
<v Speaker 3>I get it.

1:06:26.480 --> 1:06:26.760
<v Speaker 4>I do.

1:06:28.360 --> 1:06:30.440
<v Speaker 1>There's a band called this Bike is a Pipe Bomb,

1:06:30.680 --> 1:06:32.920
<v Speaker 1>and there's a punk band from the early oughts, and

1:06:32.960 --> 1:06:36.080
<v Speaker 1>they pretty much just existed to get people's bikes cut

1:06:36.120 --> 1:06:39.720
<v Speaker 1>in half by the police because they made stickers that

1:06:39.760 --> 1:06:41.600
<v Speaker 1>said this bike is a pipe bomb, and people would

1:06:41.640 --> 1:06:45.400
<v Speaker 1>put them on their bicycles and entire cities have shut

1:06:45.480 --> 1:06:46.040
<v Speaker 1>down over this.

1:06:46.840 --> 1:06:48.160
<v Speaker 3>That's fucking clever.

1:06:48.560 --> 1:06:52.520
<v Speaker 1>Thank you, thank you, well done. I'm sorry to have

1:06:52.600 --> 1:06:53.800
<v Speaker 1>doubted your knowledge of.

1:06:55.240 --> 1:06:59.960
<v Speaker 3>Oh it's so good, but yeah sorry podcast.

1:07:00.320 --> 1:07:03.600
<v Speaker 1>Yeah yeah, okay, so this is not a pipe what

1:07:03.680 --> 1:07:07.160
<v Speaker 1>it is saying, I really like this piece. I also

1:07:07.200 --> 1:07:08.920
<v Speaker 1>think it's funny, and I don't have any object like.

1:07:09.760 --> 1:07:12.240
<v Speaker 1>It's an exploration of the difference between the symbol and

1:07:12.280 --> 1:07:16.600
<v Speaker 1>the symbolized. People would be like, but mcgreet, this is

1:07:16.640 --> 1:07:18.920
<v Speaker 1>a pipe, and he would be like, of course, it

1:07:18.960 --> 1:07:20.920
<v Speaker 1>is not a pipe. Just try to fill it with tobacco.

1:07:22.040 --> 1:07:25.360
<v Speaker 1>The surrealists were obsessed with semiotics, the study of symbols

1:07:26.160 --> 1:07:32.520
<v Speaker 1>and recognizing, like recognizing that words are arbitrary is sort

1:07:32.560 --> 1:07:35.200
<v Speaker 1>of a key to surrealism. In semiotics, you have the

1:07:35.240 --> 1:07:39.480
<v Speaker 1>signifier and the signified. The signifier is the expression and

1:07:39.560 --> 1:07:44.920
<v Speaker 1>the signified is the content. Right, so the signified isn't it?

1:07:44.960 --> 1:07:48.600
<v Speaker 1>But so it's like saying the word pipe, right, is

1:07:48.640 --> 1:07:52.000
<v Speaker 1>a is not a pipe? Right? Drawing a pipe is

1:07:52.040 --> 1:07:56.440
<v Speaker 1>not an actual pipe, and even the signified is not

1:07:56.600 --> 1:07:59.080
<v Speaker 1>exactly the thing. I want to quote a modern surrealist

1:07:59.120 --> 1:08:03.000
<v Speaker 1>author who goes by the name Merlin. For example, the

1:08:03.080 --> 1:08:06.280
<v Speaker 1>signifier bird refers to a particular idea which has been

1:08:06.320 --> 1:08:09.440
<v Speaker 1>constructed by humans in order to understand and refer to birds,

1:08:09.920 --> 1:08:13.400
<v Speaker 1>rather than an authentic object as it exists externally to humans.

1:08:13.880 --> 1:08:16.880
<v Speaker 1>The entire concept of a bird, in essence is a

1:08:16.920 --> 1:08:18.800
<v Speaker 1>metaphor the bird itself is not a bird.

1:08:20.320 --> 1:08:22.080
<v Speaker 2>I wish I was smart enough. I know.

1:08:24.280 --> 1:08:26.880
<v Speaker 1>Is the kind of shit that, like, I think it's

1:08:26.920 --> 1:08:28.679
<v Speaker 1>it's worth pointing out. It's just like you can stick

1:08:28.680 --> 1:08:30.880
<v Speaker 1>with like the pipe is not the word pipe, or

1:08:30.880 --> 1:08:33.240
<v Speaker 1>a drawing of a pipe is not a pipe, right, Yeah,

1:08:33.280 --> 1:08:36.120
<v Speaker 1>you can. You can signpost to something that the stop

1:08:36.160 --> 1:08:39.920
<v Speaker 1>sign doesn't make your car stop, you know. And it's like,

1:08:40.920 --> 1:08:43.639
<v Speaker 1>and it's interesting. It's funny because I'm like, in some ways,

1:08:43.680 --> 1:08:47.599
<v Speaker 1>I'm like, this doesn't really matter, right, Like this isn't

1:08:48.120 --> 1:08:51.880
<v Speaker 1>but it's I find it neat. I guess that's the

1:08:51.920 --> 1:08:53.280
<v Speaker 1>best I can say about it.

1:08:55.640 --> 1:08:58.440
<v Speaker 2>So do I am I limited understanding.

1:08:58.760 --> 1:09:02.880
<v Speaker 1>Yeah, you're gonna end up with the the tattoo. The

1:09:02.960 --> 1:09:05.439
<v Speaker 1>other thing I really like about mcgree besides the fact

1:09:05.439 --> 1:09:06.920
<v Speaker 1>that I didn't look up how to pronounce his name,

1:09:07.320 --> 1:09:10.840
<v Speaker 1>it's probably magree because I don't know. I should have

1:09:10.840 --> 1:09:12.599
<v Speaker 1>looked it up beforehand. I looked up so many words

1:09:12.640 --> 1:09:15.840
<v Speaker 1>for this fucking episode. He was a commercial painter, unlike

1:09:15.840 --> 1:09:17.880
<v Speaker 1>a Ball all the other surrealists, not all the other

1:09:18.080 --> 1:09:20.240
<v Speaker 1>Unlike most of the other surrealists I've talked about, he

1:09:20.240 --> 1:09:23.200
<v Speaker 1>actually had a work for a living. He wasn't a

1:09:23.320 --> 1:09:24.680
<v Speaker 1>ser you know.

1:09:26.439 --> 1:09:30.840
<v Speaker 2>Yeah, he wasn't a member of the bourgeoisie or the

1:09:31.360 --> 1:09:32.200
<v Speaker 2>boogie Yeah.

1:09:32.439 --> 1:09:40.559
<v Speaker 1>Yeah, he wasn't a boogeyman, a bougie man. He worked

1:09:40.600 --> 1:09:43.719
<v Speaker 1>as an advertising designer and a wallpaper maker and shit.

1:09:44.240 --> 1:09:47.320
<v Speaker 1>And so what he did is he painted this. This

1:09:47.439 --> 1:09:50.040
<v Speaker 1>painting did really well. It made him famous, right, so

1:09:50.080 --> 1:09:52.280
<v Speaker 1>he just painted it over and over again and sold

1:09:52.320 --> 1:09:57.240
<v Speaker 1>it every single time. Okay, and like that rules. I

1:09:57.280 --> 1:09:59.040
<v Speaker 1>went with one of my surrealist friends to see an

1:09:59.040 --> 1:10:02.879
<v Speaker 1>exhibition of these paintings once and was like, as a matterfucker,

1:10:02.960 --> 1:10:06.120
<v Speaker 1>knew how to make some money. He also made his

1:10:06.200 --> 1:10:11.920
<v Speaker 1>money spinning out forgeries of picassos and shit. Okay, And

1:10:12.439 --> 1:10:15.280
<v Speaker 1>during the Nazi occupation in World War Two, he also

1:10:15.320 --> 1:10:17.400
<v Speaker 1>turned his art to the direct forgery of money.

1:10:18.400 --> 1:10:19.000
<v Speaker 2>Okay.

1:10:19.320 --> 1:10:22.320
<v Speaker 1>And I far too often anti capitalists are too shy

1:10:22.400 --> 1:10:27.280
<v Speaker 1>to like actually just try to procure get the needs,

1:10:28.040 --> 1:10:31.160
<v Speaker 1>the things they need to eat, right, Like people are

1:10:31.160 --> 1:10:34.040
<v Speaker 1>like too afraid to go get fucking money. But he

1:10:34.120 --> 1:10:38.880
<v Speaker 1>once wrote, the confusion and panic that surrealism wanted to

1:10:38.920 --> 1:10:43.240
<v Speaker 1>create in order to bring everything into question were achieved

1:10:43.320 --> 1:10:46.280
<v Speaker 1>much better by the Nazi idiots than by us. This

1:10:46.320 --> 1:10:48.600
<v Speaker 1>is not a pro Nazi statement by him. It is

1:10:48.640 --> 1:10:52.160
<v Speaker 1>a questioning of the value of trying to shake things

1:10:52.240 --> 1:10:54.320
<v Speaker 1>up for the sake of shaking things up. It's like

1:10:54.479 --> 1:10:56.400
<v Speaker 1>Trump people will be like, oh, I want the whole

1:10:56.400 --> 1:10:58.559
<v Speaker 1>system shooken up, and someone's like, I'll shake up the system.

1:10:58.600 --> 1:11:01.160
<v Speaker 1>People are cool and they're like, oh, you're Nazi right.

1:11:02.840 --> 1:11:05.719
<v Speaker 1>He stayed in Belgium during the Nazi occupation, and basically

1:11:05.800 --> 1:11:08.280
<v Speaker 1>he was like, I can't paint dark shit anymore. I

1:11:08.320 --> 1:11:10.760
<v Speaker 1>need to offer hope in these nightmare times. So he

1:11:10.800 --> 1:11:14.120
<v Speaker 1>started painting with bright colors like flowers and shit, and

1:11:14.160 --> 1:11:19.200
<v Speaker 1>he called it sunlit surrealism. To quote him directly, before

1:11:19.240 --> 1:11:22.600
<v Speaker 1>the war, my paintings expressed anxiety. But the experiences of

1:11:22.640 --> 1:11:24.800
<v Speaker 1>war have taught me what matters in art is to

1:11:24.800 --> 1:11:28.240
<v Speaker 1>express charm. I live in a very disagreeable world, and

1:11:28.240 --> 1:11:32.080
<v Speaker 1>my work is meant as a counter offensive. Other historians

1:11:32.080 --> 1:11:34.280
<v Speaker 1>claim he switched styles so they wouldn't get labeled as

1:11:34.280 --> 1:11:37.120
<v Speaker 1>a degenerate artist and murdered by the Nazis, which is

1:11:37.160 --> 1:11:41.519
<v Speaker 1>also fair sure, but I tend to believe him. I

1:11:41.520 --> 1:11:43.439
<v Speaker 1>think he did it because, like the dark edgy shit

1:11:43.600 --> 1:11:48.599
<v Speaker 1>wasn't what's called for during a Nazi occupation. Then nineteen

1:11:48.680 --> 1:11:50.400
<v Speaker 1>forty eight, he's like, man, the war's over, I'm going

1:11:50.439 --> 1:11:51.920
<v Speaker 1>back to paint dark shit. This is what I like.

1:11:54.439 --> 1:11:56.840
<v Speaker 1>People like to say that surrealism fell apart after World

1:11:56.880 --> 1:11:59.640
<v Speaker 1>War Two. That absolutely is not true. What happened as

1:11:59.680 --> 1:12:02.920
<v Speaker 1>it became less the art darling of the bourgeoisie. They

1:12:02.920 --> 1:12:06.679
<v Speaker 1>all hated the bourgeois anyway, except Ali, but he doesn't count. Instead,

1:12:06.720 --> 1:12:10.080
<v Speaker 1>surrealism became a vibrant international anarchist movement that's still alive today.

1:12:10.120 --> 1:12:12.200
<v Speaker 1>Went on the influence of the sixties radicals in particular.

1:12:12.400 --> 1:12:16.240
<v Speaker 1>We will get to that next week, but first we're

1:12:16.240 --> 1:12:19.360
<v Speaker 1>gonna come back on Wednesday talk about surrealism before the war,

1:12:19.600 --> 1:12:23.960
<v Speaker 1>about surrealism before surrealism, and about a black sex magician

1:12:23.960 --> 1:12:27.120
<v Speaker 1>in the nineteenth century who paved their way.

1:12:27.520 --> 1:12:29.759
<v Speaker 2>Okay, can't wait.

1:12:30.400 --> 1:12:33.280
<v Speaker 1>That's my cliffhanger. I keep pointing out the things for

1:12:33.360 --> 1:12:35.160
<v Speaker 1>my cliffhanger. I've now done it every week. I need

1:12:35.200 --> 1:12:40.280
<v Speaker 1>to stop pointing it out. But if people don't want

1:12:40.280 --> 1:12:42.760
<v Speaker 1>a cliffhanger and want to go directly to the things

1:12:42.760 --> 1:12:45.080
<v Speaker 1>that you do, what should they do?

1:12:46.960 --> 1:12:52.200
<v Speaker 2>Well, you should listen to The Bechdel Cast, which is

1:12:52.200 --> 1:12:54.960
<v Speaker 2>a podcast that I co host with Jamie Loftis where

1:12:55.000 --> 1:13:01.360
<v Speaker 2>we talk about movies and from an intersectional feminist lens.

1:13:02.640 --> 1:13:08.320
<v Speaker 2>And uh, you can follow me on whatever social media

1:13:08.360 --> 1:13:13.000
<v Speaker 2>platforms don't absolutely suck, just kidding, it's all of them.

1:13:13.280 --> 1:13:22.400
<v Speaker 2>But I'm found at Caitlin Dronte and that's about it. Yeah, okay,

1:13:22.400 --> 1:13:27.080
<v Speaker 2>my worst job plugging myself ever. I think just now.

1:13:27.080 --> 1:13:29.679
<v Speaker 1>People should go listen to the Bechdeal Cast. It's funny.

1:13:29.680 --> 1:13:33.360
<v Speaker 2>Thank you, thank you. Margaret has been a guest. It's

1:13:33.400 --> 1:13:35.360
<v Speaker 2>true and we must have you back.

1:13:36.760 --> 1:13:38.320
<v Speaker 1>What was the name of this? Like a Swedish punk

1:13:38.400 --> 1:13:40.360
<v Speaker 1>movie we watched We Are the Best.

1:13:40.120 --> 1:13:41.120
<v Speaker 2>We Are the Best.

1:13:41.560 --> 1:13:45.120
<v Speaker 1>Yeah, it's very good. That's what I'm gonna plug is

1:13:45.400 --> 1:13:47.760
<v Speaker 1>people should go watch that movie and then listen to

1:13:47.920 --> 1:13:51.880
<v Speaker 1>the Bechdel Cast talking about it. Once again, I'm gonna

1:13:51.920 --> 1:13:53.680
<v Speaker 1>keep pointing out that there's something that's been in the

1:13:53.720 --> 1:13:56.800
<v Speaker 1>back of my mind to plug. I remember what it is.

1:13:57.120 --> 1:13:58.439
<v Speaker 1>For the past couple of weeks, I've been like, I

1:13:58.479 --> 1:14:01.759
<v Speaker 1>don't remember. There's a thing of just a plug. Tell

1:14:01.800 --> 1:14:04.919
<v Speaker 1>people about podcasts that you like. If you like this podcast,

1:14:04.920 --> 1:14:08.320
<v Speaker 1>tell people about it. Word of mouth is cooler than algorithms.

1:14:08.760 --> 1:14:12.240
<v Speaker 1>That's my plug. But you could also really like other

1:14:12.280 --> 1:14:16.240
<v Speaker 1>podcasts un Cooler Zone Media because they're also really good.

1:14:16.240 --> 1:14:19.040
<v Speaker 1>Because the cool thing about having a little umbrella, like

1:14:19.080 --> 1:14:23.479
<v Speaker 1>the little surrealist painting of umbrella anyway, is that it

1:14:23.520 --> 1:14:26.000
<v Speaker 1>has a lot of cool things under that umbrella. And

1:14:26.080 --> 1:14:28.360
<v Speaker 1>Sophie is the umbrella who shelters us from the rain

1:14:28.520 --> 1:14:30.000
<v Speaker 1>of the corporate world.

1:14:31.120 --> 1:14:31.880
<v Speaker 3>It may work.

1:14:32.600 --> 1:14:34.760
<v Speaker 4>Yeah, what do you need from me?

1:14:34.800 --> 1:14:35.040
<v Speaker 2>Now?

1:14:35.200 --> 1:14:36.240
<v Speaker 4>You need to plug something?

1:14:36.880 --> 1:14:38.439
<v Speaker 1>Yeah, it's up to you. You don't have to plug

1:14:38.479 --> 1:14:39.400
<v Speaker 1>anything if you don't want.

1:14:39.800 --> 1:14:42.080
<v Speaker 4>No, I want you to listen to sad Oligark, hosted

1:14:42.080 --> 1:14:46.519
<v Speaker 4>by jkn rhand. We just but we just wrapped it

1:14:46.760 --> 1:14:49.200
<v Speaker 4>the whole things out. Listen to it.

1:14:50.000 --> 1:14:51.760
<v Speaker 1>Oh hell yeah, now that's done. I'm going to go

1:14:51.800 --> 1:14:54.760
<v Speaker 1>listen to it. I binge listen. I felt really bad

1:14:54.760 --> 1:14:56.680
<v Speaker 1>that I haven't listened yet. I've been wanting to. Now

1:14:56.720 --> 1:15:01.040
<v Speaker 1>I'm going to go do it nice right now.

1:15:02.400 --> 1:15:04.200
<v Speaker 2>Bye bye.

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<v Speaker 4>Cool People Who Did Cool Stuff is a production of

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<v Speaker 4>cool Zone Media. For more podcasts from cool Zone Media,

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<v Speaker 4>visit our website Coolzonmedia dot com, or check us out

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<v Speaker 4>on the iHeartRadio app, Apple Podcasts, or wherever you get

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<v Speaker 4>your podcasts.