WEBVTT - Mechanical Bulls!

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<v Speaker 1>Welcome to Stuff you should know, a production of I

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<v Speaker 1>Heart Radio. Hey you, and welcome to the podcast. I'm

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<v Speaker 1>Josh and there's Chuck. Jerry is not here. She stepped

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<v Speaker 1>away for a minute digitally speaking, but she's still here

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<v Speaker 1>in spirit. So this is stuff you should know. Jerry's

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<v Speaker 1>looking for love and all the wrong places, right, that's right.

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<v Speaker 1>And Chuck. I was not really cognizant of what was

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<v Speaker 1>going on when all of this was happening. But there's

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<v Speaker 1>a period of time where like country was just beyond

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<v Speaker 1>cool in America, like it was the popular culture. Yeah,

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<v Speaker 1>I mean I really remember it. And you're, what five

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<v Speaker 1>years younger at least never gets old. Uh. It is

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<v Speaker 1>a time that I remember well in the TV show

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<v Speaker 1>Dallas and when country, you know, had these big crossover

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<v Speaker 1>stars like Eddie Rabbit and Juice Newton and Mickey Gilly

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<v Speaker 1>and Kenny Rogers and Kenney Rogers was making these big

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<v Speaker 1>Hollywood movies and Dolly Parton was making big Hollywood movies.

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<v Speaker 1>It was it was an interesting time, and it was

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<v Speaker 1>it was sort of the beginning of the change of

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<v Speaker 1>country music from sort of more underground outlaw cowboy Johnny Cash,

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<v Speaker 1>Willie Nelson, Whale and Jennings stuff to the big A

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<v Speaker 1>M A's country thing that we see today. And I

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<v Speaker 1>think the transition was kind of happening back then in

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<v Speaker 1>the seventies early eighties. That seems to be where it

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<v Speaker 1>finds its roots is is in this area of this

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<v Speaker 1>era where it turned into pop basically yeah. And the

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<v Speaker 1>transition from um, like you were saying that kind of

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<v Speaker 1>outlaw like hardcore country, um, you pop by way of

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<v Speaker 1>easy listening, which is a pretty hard left turn if

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<v Speaker 1>you think about it. But this that easy listening UM

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<v Speaker 1>was featured prominently on the sound check for a movie

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<v Speaker 1>called Urban Cowboy, which in one of the more surprising

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<v Speaker 1>things I've ever come across in our research in the

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<v Speaker 1>thirteen years we've been doing this. Happy anniversary by the way,

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<v Speaker 1>um yeah, like right now it's right basically yeah, alright

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<v Speaker 1>and close enough to that's worth saying happy anniversary for um.

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<v Speaker 1>One of the more surprising things I've ever come across

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<v Speaker 1>is that, since we're talking about mechanical bulls today, you

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<v Speaker 1>can't tell the story of mechanical bulls without John Travolta.

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<v Speaker 1>I know, right, who knew? Not me? Did you know

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<v Speaker 1>that that was tied together intimately Urban Cowboy and Mechanical Bulls. Well,

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<v Speaker 1>it was a big surprise for me, in a pleasant

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<v Speaker 1>one too, Like I'm still on cloud nine enough for

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<v Speaker 1>learning about that. Yeah, I mean this was I guess

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<v Speaker 1>I was a little kid, so you would have been

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<v Speaker 1>just a babe at the time, So it makes sense

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<v Speaker 1>that this is more cemented in my memory. But I

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<v Speaker 1>remember Urban Cowboy. I just remember it all being a

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<v Speaker 1>very big deal, like people like Olivia Newton John where

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<v Speaker 1>where people were making country albums that normally didn't because

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<v Speaker 1>it was just the hot ticket. It was a big deal. Yeah,

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<v Speaker 1>it really was. Um And like I like, I watched

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<v Speaker 1>enough um ME TV and stuff to to to be

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<v Speaker 1>able to recognize this era. It seemed weird to me.

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<v Speaker 1>Uh it's I think it stands for memorable entertainment television.

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<v Speaker 1>It's all like old three runs from the seventies. Is

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<v Speaker 1>it a channel or is it like a streaming app?

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<v Speaker 1>It's a channel. Um, we have one of those like antenna's.

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<v Speaker 1>You can get a digital antenna and there's a lot

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<v Speaker 1>of like really good um rerun Like, uh, what's the

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<v Speaker 1>word I'm looking for. I guess nostalgic TV out there

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<v Speaker 1>and me, TV is one of them. But anyway, you know,

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<v Speaker 1>every once in a while, probably every six their seventh

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<v Speaker 1>episode of Bionic Woman or six Million Dollar Man will

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<v Speaker 1>suddenly have some weird country trucker lumberjack theme going on,

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<v Speaker 1>and you can tell it's like it's because that was

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<v Speaker 1>the cool thing, right then, you know it was. I mean,

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<v Speaker 1>like I said, Dallas was a big TV show, and

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<v Speaker 1>the Dallas Cowboys and the Dallas Cowboy Cheerleaders was the

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<v Speaker 1>biggest thing going, and and b J and the Bear

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<v Speaker 1>and the Dukes of Hazard and right it was. It

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<v Speaker 1>was this weird time in America where like the Southern

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<v Speaker 1>and Western country western culture was at the four it's

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<v Speaker 1>it's very strange, and it coincided with punkin new wave,

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<v Speaker 1>and you know, it's it's a very weird kind of

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<v Speaker 1>cool time in this country, I think. But the one

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<v Speaker 1>of the things that came out of this, one of

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<v Speaker 1>the things that was popular at the time that really

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<v Speaker 1>tied into this country zeitgeist that was like the basis

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<v Speaker 1>of the pop culture at the time was mechanical bull riding,

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<v Speaker 1>right that that is some thing you would do if

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<v Speaker 1>you were trying to show off at some bar. It

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<v Speaker 1>doesn't matter where the bar was in the United States,

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<v Speaker 1>and I suspect in other parts of the Western world

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<v Speaker 1>as well, um that that you would ride a mechanical

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<v Speaker 1>bull wearing a cowboy shirt and tight jeans even though

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<v Speaker 1>you were from you know, Miami or something like that. Yeah,

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<v Speaker 1>it's funny. When I was reading this and they were saying, like,

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<v Speaker 1>they have him in New York, and they had him

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<v Speaker 1>in New York, in Los Angeles, and it's popular everywhere.

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<v Speaker 1>The first thing I thought was, I bet they had

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<v Speaker 1>him in Japan. Surely I was looking. I'm like, I

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<v Speaker 1>wonder if it's just some like throwback retro uh like

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<v Speaker 1>mechanical bull riding trend somewhere in the world. I couldn't

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<v Speaker 1>find any any mention of it anywhere, but surely it

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<v Speaker 1>is somewhere, you know. It seemed like a good fit.

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<v Speaker 1>But the mechanical bull, if you don't know what one is,

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<v Speaker 1>you're not under a rock. Everybody. You could be very

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<v Speaker 1>much aware of many things in the world and not

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<v Speaker 1>know what one is. It is. Boy, Chuck, you've really

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<v Speaker 1>softened and Mellot in your old age, I really have

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<v Speaker 1>h it is. It is a a simulation of bull

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<v Speaker 1>riding the rodeo sport of bull riding. It isn't literally

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<v Speaker 1>a mechanical bull, and we'll talk about how it's made

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<v Speaker 1>and what it looks like, but you know it's uh,

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<v Speaker 1>go google a picture. You sit on it and someone

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<v Speaker 1>is in control of it on the other end, and

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<v Speaker 1>it mimics the bucking of a bull as if a

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<v Speaker 1>human were riding on it. And they are very popular

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<v Speaker 1>in bars, touristy bars usually and maybe in Japan. There's

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<v Speaker 1>one in New York City at Johnny Utahs. I have

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<v Speaker 1>some stories about later. But um, the mechanical bull basically

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<v Speaker 1>can be used to train a rodeo rider, although it's

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<v Speaker 1>usually just for entertainment purposes. Yeah, it's really interesting about

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<v Speaker 1>what you just said that it's used for training. Is

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<v Speaker 1>it's not entirely clear if the mechanical bull was used

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<v Speaker 1>to train rodeo riders first, or was used as an

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<v Speaker 1>amusement at Honky Tonk bars first and then became used

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<v Speaker 1>to train rodeo riders. It has a really hazy origin

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<v Speaker 1>and it's possible that it evolved um in parallel and

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<v Speaker 1>multiple places, because there there was a need for training

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<v Speaker 1>rodeo riders on artificial bulls because part of rodeo that

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<v Speaker 1>kind of grew out in the nineteenth century in America

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<v Speaker 1>as um rodeo riding developed based on some of the

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<v Speaker 1>Mexican blood sports with bulls um As they made their

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<v Speaker 1>way up north in the United States the southwestern US,

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<v Speaker 1>um bull riding just kind of came out of nowhere

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<v Speaker 1>rather than you know, toreo doors um. It was. It

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<v Speaker 1>got translated into bull riding, and if you want to

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<v Speaker 1>train on riding a bull, your way better off finding

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<v Speaker 1>something to simulate the bowl and learning how to ride

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<v Speaker 1>a bull by riding a bull. You know. Yeah, although

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<v Speaker 1>you know what it did see somewhere and I couldn't

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<v Speaker 1>verify it in a lot of places, but I did

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<v Speaker 1>see in the sixteenth century in Mexico they were actually

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<v Speaker 1>riding bulls. Uh yeah, so that might have just been

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<v Speaker 1>a part of the blood sport of bull fighting. If

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<v Speaker 1>you're a tough guy and you see a bull, you say,

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<v Speaker 1>I'm gonna ride that bull. Watch this maybe so uh.

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<v Speaker 1>And then the nineteen thirties in the United States, the

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<v Speaker 1>Rodeo Cowboy Association was formed, so it was a full

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<v Speaker 1>deal by the nineteen thirties, the one thing we do

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<v Speaker 1>know is that the precursor to the mechanics, the mechanized

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<v Speaker 1>or mechanical bull, was the bucking barrel, which, um, if

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<v Speaker 1>you could just do an image search for bucking barrel,

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<v Speaker 1>you've probably seen these at some point. It is a

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<v Speaker 1>barrel like an oil barrel, tipped on its side, with

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<v Speaker 1>a saddle on it, and its suspended off the ground

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<v Speaker 1>and tied at four corners with some pretty heavy duty

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<v Speaker 1>tight rope. And um, you would go sit on that

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<v Speaker 1>that barrel, on that saddle, and you would have four

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<v Speaker 1>ranch hands try and throw you off of it. And

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<v Speaker 1>imagine that was a lot of fun. Yes, which I

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<v Speaker 1>mean it's dangerous in and of itself, especially if the

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<v Speaker 1>ranch hands are jerks, but it's a lot safer than

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<v Speaker 1>riding a bull. When you're practicing writing to ride a bull, Yeah,

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<v Speaker 1>I would. I would write a bucking barrel. If I

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<v Speaker 1>was at one of those uh city slickers like cattle

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<v Speaker 1>rustling things and they were like, you want to get

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<v Speaker 1>on the bucking barrel, partner, I'd say, heck yeah, but

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<v Speaker 1>I would. You could not pay me to get on

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<v Speaker 1>a real mechanical bull. Oh, I don't know. I was

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<v Speaker 1>watching some um there's like mechanical bull throw compilations, people

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<v Speaker 1>falling off mechanical bulls. I watched quite a bit of this.

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<v Speaker 1>What's the funniest ones are the ones that happened in

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<v Speaker 1>slow motion, Like the camera's on in slow motion, is

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<v Speaker 1>just the person who is sliding off in slow motion. Yeah,

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<v Speaker 1>that's usually how it works instead of really being thrown, right,

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<v Speaker 1>it seems like legs on there. Pretty not dangerous. So

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<v Speaker 1>I would ride a mechanical bullet I ever encountered one. Yeah,

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<v Speaker 1>I'm not into it. That's fine, I won't yum your yuck. Well,

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<v Speaker 1>I mean there, we'll talk injuries later on. It's uh

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<v Speaker 1>oh yeah, pretty badly. I think we should. That's that's

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<v Speaker 1>it's worth saying. We're like, you can really get injured

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<v Speaker 1>on a mechanical bull maybe not live bul level, but

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<v Speaker 1>don't ride live bulls anyway. Let's just put that one

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<v Speaker 1>out there, and then if you're gonna ride a mechanical bull,

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<v Speaker 1>no that it's still very dangerous and can be. That's right. So, um,

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<v Speaker 1>should we take a break, Sure, Yeah, let's do it.

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<v Speaker 1>I'm not we won't come to blows. It's fine, it's fine.

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<v Speaker 1>I'll just go along one. All right, we'll take a

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<v Speaker 1>break and then we'll talk more about this funny thing.

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<v Speaker 1>Right after this m hm, so chuck um. I was saying, like,

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<v Speaker 1>the origins of mechanical bulls are fairly hazy. Um. We

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<v Speaker 1>are pretty sure that they came from the bucking barrel

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<v Speaker 1>that that preceded them, but it's not entirely clear that

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<v Speaker 1>the mechanical bull descended from the bucking barrel in the

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<v Speaker 1>rodeo world or into the amusement world. First, like Ed

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<v Speaker 1>put this together for us, and he looked high and

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<v Speaker 1>low to find primary source but couldn't find one. But

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<v Speaker 1>he saw a lot of like mentions of a place

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<v Speaker 1>called Bertrand Island, an amusement park in New Jersey that

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<v Speaker 1>supposedly had a mechanical bull back in the thirties. Yeah,

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<v Speaker 1>this was in New Jersey, and I think this is

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<v Speaker 1>what the deal is. I saw this referenced a lot online,

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<v Speaker 1>and there is a coffee table book about Bertrand Island

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<v Speaker 1>amusement Park. And I bet you dollars to donuts there's

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<v Speaker 1>a picture of this rightem cowboy ride in that book,

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<v Speaker 1>because they all referenced this book. But I didn't have

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<v Speaker 1>time nor the inclination to buy this book to prove

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<v Speaker 1>it to myself. But I have a feeling that there

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<v Speaker 1>was a picture of this right um cowboy ride in

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<v Speaker 1>this in this coffee table book about Bertrand Island Amusement

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<v Speaker 1>Park in the nineteen thirties. Okay, I've got a great idea.

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<v Speaker 1>Let's get in the way back machine and we'll go

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<v Speaker 1>to the printing of that book and we'll look through

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<v Speaker 1>one of the books. Are you ready? Well, why don't

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<v Speaker 1>we just go back to the Bertrand Island Amusement Park

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<v Speaker 1>in the thirties and ride the thing. I guess we

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<v Speaker 1>could have done. Okay, all right, let's see that. I mean,

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<v Speaker 1>we can go to a book branding shop. Okay, we'll

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<v Speaker 1>go to Bertrand Island. You're ready, look at it? Okay,

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<v Speaker 1>here we are there. It is there, it is. We

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<v Speaker 1>have definitively proven it. There was a rightem cowboy mechanical

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<v Speaker 1>bowl um Bertrand what year is it? Right now? Uh?

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<v Speaker 1>While I'm looking at my uh shark surf watch and

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<v Speaker 1>it says two. Okay, mechanical bull at Bertrand Island Amusement Park.

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<v Speaker 1>All right, I guess we should just go back, all right, well,

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<v Speaker 1>it's weird that we went back and we didn't ride

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<v Speaker 1>it or getting saltwater taffy or hit the big strongman

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<v Speaker 1>bell like could have just gone to do the printing

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<v Speaker 1>press place. I guess we should have. Huh. Probably had

0:13:29.559 --> 0:13:31.760
<v Speaker 1>a little candy dish with saltwater taffy there that we

0:13:31.800 --> 0:13:34.959
<v Speaker 1>could have gramped. So if you talk mechanical bulls, you're

0:13:35.000 --> 0:13:37.960
<v Speaker 1>gonna hear the name Sherwood cry or come up a lot. Uh.

0:13:38.000 --> 0:13:42.360
<v Speaker 1>Some people might mistakenly say he invented the mechanical bull. Uh.

0:13:42.480 --> 0:13:44.520
<v Speaker 1>Certainly is could be looked at as the sort of

0:13:44.520 --> 0:13:48.679
<v Speaker 1>grandfather of the mechanical bull. But he owned a mechanical

0:13:48.760 --> 0:13:51.560
<v Speaker 1>bull in his saloon in the seventies. That will get

0:13:51.600 --> 0:13:54.640
<v Speaker 1>too later. But it was built by a man name

0:13:55.160 --> 0:13:57.600
<v Speaker 1>Actually I don't know if he built it. Joe Turner

0:13:57.640 --> 0:14:00.640
<v Speaker 1>built it. But Joe Turner and knew my scope at

0:14:00.640 --> 0:14:04.960
<v Speaker 1>the very least, held a patent for this mechanical ball. Right. Um,

0:14:05.000 --> 0:14:06.920
<v Speaker 1>I saw it with my own two eyes, but it's

0:14:06.960 --> 0:14:12.960
<v Speaker 1>from six So Joe Turner definitely didn't invent the mechanical ball,

0:14:13.120 --> 0:14:15.920
<v Speaker 1>though he was an inventor of the mechanical bull. But

0:14:16.080 --> 0:14:19.240
<v Speaker 1>we can say definitively since Sherwood Cryer bought the patent

0:14:19.280 --> 0:14:22.320
<v Speaker 1>from Joe Turner, that Sherwood Cryer is not the inventor

0:14:22.360 --> 0:14:24.720
<v Speaker 1>of the mechanical Bull, even though I believe even um

0:14:24.760 --> 0:14:28.840
<v Speaker 1>Wikipedia cites him as the inventor. Yeah, I was surprised

0:14:28.880 --> 0:14:33.200
<v Speaker 1>to see that, UM, But yeah, he's very widely held

0:14:33.280 --> 0:14:36.440
<v Speaker 1>to be the the the inventor. But he even said

0:14:36.640 --> 0:14:39.000
<v Speaker 1>there was an interview with him in the Austin Chronicle

0:14:39.120 --> 0:14:42.320
<v Speaker 1>in the late nineties where he said he talked about

0:14:42.360 --> 0:14:44.640
<v Speaker 1>how he bought it off of UM Joe Turner for

0:14:44.680 --> 0:14:49.440
<v Speaker 1>thirty dollars, and it will become clear why he did

0:14:49.440 --> 0:14:51.240
<v Speaker 1>that and why that was actually a really good move

0:14:51.320 --> 0:14:54.680
<v Speaker 1>on his part later on. That's right. But if you

0:14:54.720 --> 0:14:57.280
<v Speaker 1>want to talk about the mechanics of the mechanical Bull,

0:14:57.400 --> 0:15:01.680
<v Speaker 1>it is a hydraulic based machine that has a couple

0:15:01.720 --> 0:15:04.520
<v Speaker 1>of motors on it. It's got a a center shaft

0:15:04.560 --> 0:15:07.080
<v Speaker 1>and a main gearbox that make up the spin motor,

0:15:07.480 --> 0:15:10.640
<v Speaker 1>and that's the one that's gonna spin. It's gonna turn

0:15:10.680 --> 0:15:13.720
<v Speaker 1>it back and forth. That usually when you see them operated,

0:15:13.760 --> 0:15:16.840
<v Speaker 1>they usually rarely even go a full three sixty before

0:15:16.840 --> 0:15:18.960
<v Speaker 1>they turn back and go the other way, because that's

0:15:19.000 --> 0:15:21.160
<v Speaker 1>kind of the whole object is to keep this thing

0:15:21.160 --> 0:15:24.320
<v Speaker 1>moving in different directions. Right and it's turned back, and

0:15:24.360 --> 0:15:28.200
<v Speaker 1>the other direction is usually very sudden and harsh. That

0:15:28.360 --> 0:15:31.800
<v Speaker 1>is abrupt. There's abrupt, thank you buddy, UM. And then

0:15:31.840 --> 0:15:36.080
<v Speaker 1>there's another motor usually above the bottom motor, and that

0:15:36.080 --> 0:15:39.440
<v Speaker 1>that that motor has to do with UM moving pistons

0:15:39.480 --> 0:15:42.440
<v Speaker 1>up and down. Like imagine a platform that that the

0:15:42.560 --> 0:15:45.200
<v Speaker 1>saddle sits on that the build the bowl is built

0:15:45.240 --> 0:15:48.360
<v Speaker 1>around that. The rider actually sits on this platform. It

0:15:48.400 --> 0:15:50.760
<v Speaker 1>moves from side to side and up and down and

0:15:50.880 --> 0:15:55.239
<v Speaker 1>left and right. So you have a you have a

0:15:55.240 --> 0:15:58.600
<v Speaker 1>a lot of yaw control is what you need, UM

0:15:58.600 --> 0:16:00.720
<v Speaker 1>when it comes to riding a mechanic ankle bull because

0:16:00.720 --> 0:16:03.760
<v Speaker 1>there's also there's pitch yaw and what's the third one

0:16:04.680 --> 0:16:07.880
<v Speaker 1>role role? You got all three of those going on

0:16:08.360 --> 0:16:11.960
<v Speaker 1>in this mechanical ball. I believe right. Uh, if you

0:16:12.000 --> 0:16:13.600
<v Speaker 1>see one of these in a bar, or if you

0:16:13.680 --> 0:16:16.200
<v Speaker 1>rent one, I love that. Ed did the research in

0:16:16.840 --> 0:16:18.800
<v Speaker 1>Ed lives in Buffalo, New York and said, and Buffalo,

0:16:18.880 --> 0:16:21.600
<v Speaker 1>you can rent one for three hours for nine bucks

0:16:21.640 --> 0:16:24.440
<v Speaker 1>and it comes with the operator and everything. I heard

0:16:24.480 --> 0:16:27.000
<v Speaker 1>that and then I thought that might be a have

0:16:27.160 --> 0:16:30.960
<v Speaker 1>been a fun fiftieth birthday party, but unfortunately quarantine to

0:16:31.120 --> 0:16:33.760
<v Speaker 1>be like three or four people standing around. That's not

0:16:33.840 --> 0:16:36.520
<v Speaker 1>You could ride it on zoom for all of the

0:16:36.520 --> 0:16:41.920
<v Speaker 1>other party guests. But it is mounted very very securely

0:16:42.000 --> 0:16:45.240
<v Speaker 1>to a big floor plate and uh, it is surrounded.

0:16:45.240 --> 0:16:47.800
<v Speaker 1>I think Sherwood Choir would drive around and collect mattresses

0:16:47.840 --> 0:16:50.440
<v Speaker 1>at first, but now they have this big inflatable ring

0:16:50.520 --> 0:16:54.440
<v Speaker 1>basically that surrounds it. And uh, it's got a saddle.

0:16:54.480 --> 0:16:58.560
<v Speaker 1>It's it's usually the horse itself is um fiberglass or

0:16:58.680 --> 0:17:01.680
<v Speaker 1>or it's it's metal maybe, but it's covered in this

0:17:02.000 --> 0:17:05.120
<v Speaker 1>sort of thick padding with leather and then a real

0:17:05.160 --> 0:17:09.479
<v Speaker 1>deal saddle. Yeah, and um, the ones today there, you

0:17:09.520 --> 0:17:12.720
<v Speaker 1>know there. There are plenty built in the seventies and

0:17:12.800 --> 0:17:16.240
<v Speaker 1>eighties and even in the nineties that look like old

0:17:17.000 --> 0:17:21.359
<v Speaker 1>carnival fun house rides. Basically the controllers are real like

0:17:21.400 --> 0:17:24.080
<v Speaker 1>old and Yankee looking and colorful and kind of cool

0:17:24.119 --> 0:17:28.439
<v Speaker 1>in retro. The ones today are um touchscreen. They have

0:17:28.640 --> 0:17:32.080
<v Speaker 1>like speakers built into them. The padding around them isn't

0:17:32.119 --> 0:17:35.680
<v Speaker 1>like a mattress, they're like blown air, like a bouncy castle.

0:17:35.800 --> 0:17:38.639
<v Speaker 1>Kind of thing. Um. So when you get thrown, it's

0:17:38.680 --> 0:17:42.160
<v Speaker 1>it's like doesn't feel like anything is actually kind of pleasant. Um.

0:17:42.640 --> 0:17:46.040
<v Speaker 1>And the controllers are much more computerized and less mechanized

0:17:46.040 --> 0:17:48.840
<v Speaker 1>than they used to be in times past. Yeah, and

0:17:48.920 --> 0:17:51.159
<v Speaker 1>these days if you look at Urban Cowboy too, it

0:17:51.240 --> 0:17:54.119
<v Speaker 1>is just sort of the body if you would of

0:17:54.200 --> 0:17:57.719
<v Speaker 1>the bowl. Uh. Now, if you go to a Johnny

0:17:57.800 --> 0:18:00.000
<v Speaker 1>Utah's in New York or any kind of fun house,

0:18:00.480 --> 0:18:02.679
<v Speaker 1>are you getting free drinks there or something? No? I

0:18:02.760 --> 0:18:04.679
<v Speaker 1>just learned of it, and I didn't know that there

0:18:04.720 --> 0:18:07.640
<v Speaker 1>was still an urban cowboy type place in New York

0:18:07.680 --> 0:18:09.600
<v Speaker 1>that you could go. I think it's it's got to

0:18:09.600 --> 0:18:12.160
<v Speaker 1>be close to Times Square. It's in Midtown and urban

0:18:12.359 --> 0:18:16.359
<v Speaker 1>urban Cowboy bar that's referential to point break. It's like

0:18:16.680 --> 0:18:22.000
<v Speaker 1>man covering all the bases. Um. You they have a

0:18:22.040 --> 0:18:24.960
<v Speaker 1>little fake foam bull heads and horns, and apparently you

0:18:24.960 --> 0:18:27.400
<v Speaker 1>can even find them with if you want to ride

0:18:27.440 --> 0:18:31.000
<v Speaker 1>a bison or or a ram like a sheep, you

0:18:31.040 --> 0:18:32.879
<v Speaker 1>can get a sheep's head put on or a ram's

0:18:32.880 --> 0:18:35.639
<v Speaker 1>head put on. It goes even more than that. I

0:18:35.760 --> 0:18:41.320
<v Speaker 1>literally you there's a hammer head, shark, camel, hot dog,

0:18:41.400 --> 0:18:45.800
<v Speaker 1>banana and then apparently there are there's like the this

0:18:46.480 --> 0:18:50.080
<v Speaker 1>tawdry thread of bull riding, there's a sexual element to it.

0:18:50.119 --> 0:18:54.879
<v Speaker 1>I think, uh yes, sure, I mean Ed ed found

0:18:54.920 --> 0:18:58.199
<v Speaker 1>one of the settings is sexy right right on the

0:18:58.200 --> 0:19:03.159
<v Speaker 1>actual operations of one machine. ED found it was like pro, intermediate,

0:19:03.200 --> 0:19:06.680
<v Speaker 1>beginner and sexy. So it's definitely fair to say, okay,

0:19:06.720 --> 0:19:11.000
<v Speaker 1>And also what I turned up goes way beyond a

0:19:11.080 --> 0:19:15.040
<v Speaker 1>sexy setting. There's there's a penis one you can get sure,

0:19:15.520 --> 0:19:19.159
<v Speaker 1>there's a one woman called Horny Hannah, and there's a

0:19:19.200 --> 0:19:26.560
<v Speaker 1>guy named Randy Roger Boy. So it gets pretty um stupid. Sure,

0:19:27.320 --> 0:19:32.120
<v Speaker 1>it gets pretty like dark bachelorette party really quick with

0:19:32.680 --> 0:19:34.880
<v Speaker 1>when you if you if you wanted to go that way,

0:19:34.880 --> 0:19:37.200
<v Speaker 1>apparently you can you can make it go that way.

0:19:37.560 --> 0:19:40.520
<v Speaker 1>That's right. We were just speaking of the settings. There

0:19:40.560 --> 0:19:44.560
<v Speaker 1>are those automated settings, usually that you can just hit

0:19:44.640 --> 0:19:47.280
<v Speaker 1>pro or beginner or whatever, but you can also be

0:19:47.359 --> 0:19:50.800
<v Speaker 1>in control. And I think the automated settings are much

0:19:50.800 --> 0:19:52.520
<v Speaker 1>more common these days. I think back in the urban

0:19:52.560 --> 0:19:56.840
<v Speaker 1>cowboy days was very much about a human operator trying

0:19:56.880 --> 0:20:01.720
<v Speaker 1>to you know, really simulate a rodeo. For these sort

0:20:01.760 --> 0:20:06.840
<v Speaker 1>of about say pseudo competitions. They were competitions in bars. Yeah,

0:20:06.880 --> 0:20:08.480
<v Speaker 1>I mean there would be like you know, you could

0:20:08.480 --> 0:20:13.879
<v Speaker 1>win you know, a hundred bucks or something like that. Okay, alright,

0:20:13.960 --> 0:20:17.320
<v Speaker 1>so so there was like a competition, but um also

0:20:17.440 --> 0:20:19.560
<v Speaker 1>like in bars, it was you know, just to show

0:20:19.560 --> 0:20:22.239
<v Speaker 1>off to like that was the whole reason. That's the

0:20:22.400 --> 0:20:25.760
<v Speaker 1>entire reason for mechanical bulls. If you're sitting there wondering, like,

0:20:25.800 --> 0:20:29.359
<v Speaker 1>why does anybody do this, it's basically to just show

0:20:29.400 --> 0:20:34.200
<v Speaker 1>off to stay on as long as you possibly can, basically,

0:20:34.440 --> 0:20:38.080
<v Speaker 1>And so, like you're saying with the original operator, the

0:20:38.160 --> 0:20:43.480
<v Speaker 1>operator's job was too humiliate you. That was the whole dynamic.

0:20:43.880 --> 0:20:46.920
<v Speaker 1>You showing off, the operator trying to throw you off

0:20:46.920 --> 0:20:49.560
<v Speaker 1>in a very humiliating fashion. And so the more you

0:20:49.600 --> 0:20:51.600
<v Speaker 1>could stay on, or the longer you could stay on

0:20:51.840 --> 0:20:55.439
<v Speaker 1>despite the operator's best efforts, you know, the more of

0:20:55.480 --> 0:20:58.880
<v Speaker 1>a show off you are. I guess. Yeah, I mean,

0:20:59.040 --> 0:21:01.879
<v Speaker 1>it's not any different. It it's not a far cry

0:21:01.960 --> 0:21:05.199
<v Speaker 1>from any carnival game where it shows some sort of

0:21:05.240 --> 0:21:08.639
<v Speaker 1>feet of strength, whether you're hitting the thing with a

0:21:08.680 --> 0:21:11.800
<v Speaker 1>hammer to make the bell ring or the punching bag

0:21:11.880 --> 0:21:14.240
<v Speaker 1>to see how hard you can punch a thing, right,

0:21:14.560 --> 0:21:16.760
<v Speaker 1>and the ones that you rent today for the parties.

0:21:17.600 --> 0:21:20.080
<v Speaker 1>Uh ed described as an all in one entertainment center.

0:21:20.080 --> 0:21:21.719
<v Speaker 1>I mean it's got a built in p A system

0:21:21.800 --> 0:21:26.280
<v Speaker 1>with speakers and a microphone and amplifier, and it's electric

0:21:26.359 --> 0:21:29.880
<v Speaker 1>scoreboard and timer, and it's just this big thing now,

0:21:29.880 --> 0:21:32.880
<v Speaker 1>whereas it started out as just sort of this very

0:21:32.960 --> 0:21:38.840
<v Speaker 1>very rudimentary, hydraulic thing. Yeah. Um, which makes sense because

0:21:38.840 --> 0:21:40.199
<v Speaker 1>again this is the kind of thing that you can

0:21:40.240 --> 0:21:43.520
<v Speaker 1>rent like a bounty house, but for grown ups, although

0:21:43.520 --> 0:21:46.560
<v Speaker 1>they have little kids ones too. About those. And then

0:21:46.720 --> 0:21:49.880
<v Speaker 1>something else I saw is there's a um so there's

0:21:49.920 --> 0:21:52.680
<v Speaker 1>like the riding the bull version, there's also a surfboard

0:21:52.760 --> 0:21:56.359
<v Speaker 1>version that you stand on. And I actually saw a

0:21:56.440 --> 0:21:59.479
<v Speaker 1>video of a dude who combines those two. Look up

0:21:59.520 --> 0:22:03.080
<v Speaker 1>on YouTube. Man dances a mechanical bull wearing best Sunday

0:22:03.119 --> 0:22:07.760
<v Speaker 1>suit and this guy is in a bar wearing a tie,

0:22:09.560 --> 0:22:13.720
<v Speaker 1>not not just standing up dancing on a mechanical bull

0:22:13.800 --> 0:22:17.359
<v Speaker 1>that's going at a pretty moderate rate, and it is

0:22:17.400 --> 0:22:19.679
<v Speaker 1>one of the most astounding things I've ever seen in

0:22:19.680 --> 0:22:23.640
<v Speaker 1>my life. Amazing. Yeah, but there's the version you can

0:22:23.800 --> 0:22:25.920
<v Speaker 1>you can rent that or by I guess if you're

0:22:25.920 --> 0:22:27.800
<v Speaker 1>into that kind of thing. That is, it's like a

0:22:27.840 --> 0:22:31.280
<v Speaker 1>surfboard and like the bounty area around you. The padding

0:22:31.320 --> 0:22:34.160
<v Speaker 1>is like a wave kind of thing. It looks pretty cool.

0:22:34.440 --> 0:22:37.040
<v Speaker 1>Well that's fun. I thought so too. It looks fun

0:22:37.080 --> 0:22:39.159
<v Speaker 1>at least. So if you're going to ride one of

0:22:39.160 --> 0:22:42.280
<v Speaker 1>these things, I will say most of the videos I

0:22:42.320 --> 0:22:46.720
<v Speaker 1>saw at Johnny Utah's among others, is they they keep

0:22:46.720 --> 0:22:50.640
<v Speaker 1>it pretty tame. Although we'll talk about the dark side

0:22:50.640 --> 0:22:53.199
<v Speaker 1>of that in a bit too. But um, if if

0:22:53.240 --> 0:22:55.840
<v Speaker 1>you're going to get like a real ride, then you

0:22:55.880 --> 0:22:59.199
<v Speaker 1>want to go is forward on that thing towards the

0:22:59.200 --> 0:23:02.479
<v Speaker 1>head of the bull as much as you can. Uh,

0:23:02.720 --> 0:23:06.160
<v Speaker 1>you want to grip that bull with your inner thighs

0:23:06.240 --> 0:23:08.560
<v Speaker 1>and dig those heels in and keep your feet ahead

0:23:08.560 --> 0:23:12.159
<v Speaker 1>of you and point those toes. Apparently you want to

0:23:12.400 --> 0:23:14.280
<v Speaker 1>you know, they have a strap that you put your

0:23:14.320 --> 0:23:16.880
<v Speaker 1>hand in and then you put the other arm up.

0:23:17.720 --> 0:23:19.960
<v Speaker 1>They say to hang on with your non dominant hand.

0:23:20.400 --> 0:23:22.399
<v Speaker 1>That's all I've seen. That's all I've seen too. I

0:23:22.440 --> 0:23:24.080
<v Speaker 1>don't know. I feel like I would be stronger with

0:23:24.119 --> 0:23:27.800
<v Speaker 1>my dominant hand, but I don't know. I think you're

0:23:27.880 --> 0:23:31.640
<v Speaker 1>using your non dominant hand because any stupid hand can

0:23:31.680 --> 0:23:36.720
<v Speaker 1>hold onto a strap. Your dominant hand is balancing. You're

0:23:36.720 --> 0:23:39.240
<v Speaker 1>holding up in the air to balance, and you need

0:23:39.240 --> 0:23:43.520
<v Speaker 1>a little more finesse. That is why, right, Well, that's

0:23:43.600 --> 0:23:46.120
<v Speaker 1>my guess, and it makes sense to me because that's

0:23:46.160 --> 0:23:49.439
<v Speaker 1>my guess. And what you want to do is you

0:23:49.480 --> 0:23:51.840
<v Speaker 1>want to go opposite. That's the whole idea. If the

0:23:51.880 --> 0:23:55.800
<v Speaker 1>bull bucks forward, you want to lean back. If it

0:23:55.840 --> 0:23:58.280
<v Speaker 1>goes back, you want to lean forward towards its nose.

0:23:59.000 --> 0:24:01.280
<v Speaker 1>You want to keep those legs tightened down as much

0:24:01.320 --> 0:24:02.800
<v Speaker 1>as you can, and you want to try and keep

0:24:02.840 --> 0:24:06.800
<v Speaker 1>everything from the waist up as loose as possible. But again,

0:24:06.920 --> 0:24:10.720
<v Speaker 1>if you've been throwing down cowboy boot mugs full of

0:24:10.760 --> 0:24:14.720
<v Speaker 1>beer uh at Jill Roy Rogers, just do whatever you

0:24:14.760 --> 0:24:19.720
<v Speaker 1>want and good luck. So this this advice comes from

0:24:19.760 --> 0:24:25.720
<v Speaker 1>a pro rider named Will Roberts, and um he uh.

0:24:26.040 --> 0:24:29.320
<v Speaker 1>He basically says that if you take each one of

0:24:29.400 --> 0:24:34.520
<v Speaker 1>these movements as like a wave that you're riding, and

0:24:34.560 --> 0:24:38.919
<v Speaker 1>think of think of them um discreetly, as discreet motions,

0:24:39.200 --> 0:24:42.280
<v Speaker 1>and you're just handling each one at a time, you

0:24:42.320 --> 0:24:45.720
<v Speaker 1>could stay on indefinitely. He didn't say the indefinite part,

0:24:45.760 --> 0:24:47.840
<v Speaker 1>and said. In fact, he said, you shouldn't stay on

0:24:47.880 --> 0:24:50.040
<v Speaker 1>longer than fifteen seconds or else you're gonna get hurt,

0:24:50.480 --> 0:24:53.760
<v Speaker 1>like with at full bore. But I think you could

0:24:53.800 --> 0:24:57.480
<v Speaker 1>stay on indefinitely. Well, one of those videos I saw

0:24:57.760 --> 0:25:00.840
<v Speaker 1>was titled something about woman rides bull for so long

0:25:01.480 --> 0:25:04.800
<v Speaker 1>that video cuts out or something. How is that right? Like?

0:25:04.880 --> 0:25:06.920
<v Speaker 1>She never fell off, I mean it was going really slow,

0:25:06.960 --> 0:25:12.120
<v Speaker 1>but uh, you know she she hung in there hanging. Yeah,

0:25:12.160 --> 0:25:14.560
<v Speaker 1>I don't know. I'm not sure. It depends on which

0:25:14.560 --> 0:25:17.520
<v Speaker 1>one you're rented. Uh, well, if you like we said

0:25:17.520 --> 0:25:19.280
<v Speaker 1>the rental price, if you want to buy one of

0:25:19.280 --> 0:25:22.480
<v Speaker 1>these systems, it's about twenty grand. I saw that too,

0:25:22.520 --> 0:25:25.760
<v Speaker 1>But I also saw one on eBay for the suspiciously

0:25:25.840 --> 0:25:29.560
<v Speaker 1>low price of hundred, and it's possible the whole thing

0:25:29.600 --> 0:25:33.040
<v Speaker 1>was used. I think if if trampolines are one of

0:25:33.119 --> 0:25:35.080
<v Speaker 1>those things you buy and then end up just wanting

0:25:35.119 --> 0:25:38.120
<v Speaker 1>to get rid of, a mechanical bull is probably ten

0:25:38.320 --> 0:25:41.440
<v Speaker 1>x that, you know. Yeah, I don't know if I

0:25:41.480 --> 0:25:43.480
<v Speaker 1>would get on a mechanical bull where someone's like, I

0:25:43.560 --> 0:25:48.160
<v Speaker 1>got a really good deal on it, right, it's basically free.

0:25:48.920 --> 0:25:51.080
<v Speaker 1>All right, let's take another break and we'll talk about

0:25:51.119 --> 0:25:53.760
<v Speaker 1>to me what is the most interesting part of this episode,

0:25:54.480 --> 0:25:58.600
<v Speaker 1>which is sort of the history of Gillies Saloon. Right

0:25:58.640 --> 0:26:28.920
<v Speaker 1>after this, Sorry Josh okay, Chuck, you promised to talk

0:26:28.960 --> 0:26:33.880
<v Speaker 1>about Gilly Saloon. What is that? Well, we talked about

0:26:33.960 --> 0:26:36.639
<v Speaker 1>Mr Cryer. He owned a saloon. It was really kind

0:26:36.640 --> 0:26:40.600
<v Speaker 1>of an oversized tent called Shelley's and Pasadena, Texas outside

0:26:40.600 --> 0:26:43.720
<v Speaker 1>of Houston, and this was in the early seventies, like

0:26:44.680 --> 0:26:47.680
<v Speaker 1>one and he would bring in country singers who weren't

0:26:47.720 --> 0:26:49.840
<v Speaker 1>big national acts yet, but they were sort of known

0:26:50.040 --> 0:26:52.960
<v Speaker 1>regionally and it was a popular bar, and it was

0:26:53.000 --> 0:26:56.280
<v Speaker 1>getting bigger and bigger because that was oil country. People

0:26:56.320 --> 0:26:58.800
<v Speaker 1>came in with some money and he said, you know what,

0:26:58.840 --> 0:27:01.960
<v Speaker 1>I think the needs to not be at tent, but

0:27:02.040 --> 0:27:04.840
<v Speaker 1>to be a real deal saloon. And he partnered up

0:27:04.840 --> 0:27:08.360
<v Speaker 1>with a man named Mickey Gilly right, and I mean

0:27:08.400 --> 0:27:10.480
<v Speaker 1>he gave him a pretty sweet deal. He said, look,

0:27:10.560 --> 0:27:12.399
<v Speaker 1>I want to build this thing out. I'm going to

0:27:12.480 --> 0:27:14.560
<v Speaker 1>build it out. We're gonna make it a more permanent

0:27:14.560 --> 0:27:17.960
<v Speaker 1>structure and turned it eventually into like a forty thousand

0:27:18.119 --> 0:27:23.240
<v Speaker 1>square foot bar, multiple multiple, multiple bars. Um that was

0:27:23.320 --> 0:27:27.679
<v Speaker 1>basically like a real deal Texas Roadhouse and honky tonk

0:27:28.160 --> 0:27:31.480
<v Speaker 1>Um you, Gilly, We're gonna name it after you and

0:27:31.560 --> 0:27:35.399
<v Speaker 1>you and your house band, um are gonna play basically

0:27:35.520 --> 0:27:38.560
<v Speaker 1>every night. And Gilly, did you say that that was

0:27:38.640 --> 0:27:43.080
<v Speaker 1>Jerry Lee Lewis's cousin? No, but he was? He? Yes,

0:27:43.160 --> 0:27:46.520
<v Speaker 1>he was Jerry Lee Lewis's cousin. Um still is possibly

0:27:46.560 --> 0:27:49.760
<v Speaker 1>is he's still alive? Yeah, Mickey Gilly is eighty five

0:27:50.119 --> 0:27:53.199
<v Speaker 1>and he had that big crossover hit with Looking for

0:27:53.280 --> 0:27:58.000
<v Speaker 1>Love or from the soundtrack, right, Uh, I don't Yeah,

0:27:58.040 --> 0:27:59.760
<v Speaker 1>it was it on the Urban Cowl Sounds. I'm pretty

0:27:59.760 --> 0:28:02.199
<v Speaker 1>sure was on the Urban Cowboys soundtrack yea yeah? Or

0:28:02.280 --> 0:28:09.720
<v Speaker 1>is is Buckwheat would call it? Uh booking panubub and um.

0:28:09.960 --> 0:28:12.640
<v Speaker 1>He was no slouch though he had forty two top

0:28:12.680 --> 0:28:16.040
<v Speaker 1>forty country singles in his career. So what's funny is

0:28:16.080 --> 0:28:18.199
<v Speaker 1>if I've read an interview with him, I think in

0:28:18.280 --> 0:28:22.640
<v Speaker 1>Texas Monthly on like the thirty fifth anniversary of Urban Cowboy,

0:28:22.760 --> 0:28:25.280
<v Speaker 1>and he basically talks about how, you know, he was

0:28:25.320 --> 0:28:29.439
<v Speaker 1>looking for love but it was an all all the

0:28:29.480 --> 0:28:33.719
<v Speaker 1>wrong places um he uh he he was looking for

0:28:33.880 --> 0:28:36.240
<v Speaker 1>stardom and he just could never quite get it. So

0:28:36.520 --> 0:28:40.200
<v Speaker 1>I guess he was one of those unsung like highly

0:28:40.240 --> 0:28:44.440
<v Speaker 1>successful people who never became a huge star. And apparently

0:28:44.480 --> 0:28:47.800
<v Speaker 1>he was trading on being Jerry Lee Lewis's cousin, was

0:28:47.840 --> 0:28:51.520
<v Speaker 1>doing like tribute shows, cover shows, that kind of stuff.

0:28:51.720 --> 0:28:55.080
<v Speaker 1>It was doing fine. But so when Um Sherwood Cryer

0:28:55.320 --> 0:28:58.040
<v Speaker 1>met up with him, informed a partnership with them, he

0:28:58.040 --> 0:29:02.520
<v Speaker 1>he became the namesake of Gail Least, this incredibly popular

0:29:03.000 --> 0:29:07.360
<v Speaker 1>honky talk outside of Houston. Um that that became the

0:29:07.440 --> 0:29:12.440
<v Speaker 1>setting for Urban Cowboy thanks to randomly enough uh an

0:29:12.640 --> 0:29:16.480
<v Speaker 1>Esquire article. Yeah, this reminded me very much. And it's

0:29:16.520 --> 0:29:21.400
<v Speaker 1>weird that they're both Trivolta. But Saturday Night Fever it's

0:29:21.440 --> 0:29:24.880
<v Speaker 1>tied even more closely than that. The very editor who

0:29:25.000 --> 0:29:28.120
<v Speaker 1>ran that Esquire article was the same co founder of

0:29:28.120 --> 0:29:31.440
<v Speaker 1>New York Magazine who ran Tribal Rights of the New

0:29:31.480 --> 0:29:34.880
<v Speaker 1>Saturday Night that gave rise that was the basis of

0:29:34.880 --> 0:29:37.640
<v Speaker 1>Saturday Night Fever. All right, so it all comes full circle.

0:29:37.720 --> 0:29:40.720
<v Speaker 1>I have I printed that out, the Tribal Rights of

0:29:40.760 --> 0:29:43.480
<v Speaker 1>Saturday Night back when we talked about it. I have

0:29:43.640 --> 0:29:45.520
<v Speaker 1>not read it yet, And now I'm going to pronout

0:29:45.560 --> 0:29:47.920
<v Speaker 1>the ballad of the Urban Cowboy in America's Search for

0:29:47.960 --> 0:29:51.200
<v Speaker 1>True Grit. And I'm gonna have just both those articles

0:29:51.240 --> 0:29:54.440
<v Speaker 1>sitting on my desk forever, probably, but I want to read.

0:29:54.480 --> 0:29:56.320
<v Speaker 1>I want to read them both because they were both

0:29:56.360 --> 0:29:59.680
<v Speaker 1>the basis of two sort of landmark seventies movies that

0:29:59.720 --> 0:30:03.200
<v Speaker 1>became cultural touchstones, and John Travolta was in both of them. Yeah,

0:30:03.280 --> 0:30:06.280
<v Speaker 1>it's really weird, but it's basically the same thing, except

0:30:06.520 --> 0:30:10.400
<v Speaker 1>one is disco said at a disco nightclub. The other

0:30:10.440 --> 0:30:13.560
<v Speaker 1>one is country music said at a country western bar.

0:30:13.920 --> 0:30:21.040
<v Speaker 1>But it's the same exact thing, same format, love, um, fighting, rivalry, jealousy,

0:30:21.200 --> 0:30:24.440
<v Speaker 1>competition on its basically on a weekend night while everybody's

0:30:24.480 --> 0:30:27.600
<v Speaker 1>getting trashed at a bar. It's just and they were

0:30:27.640 --> 0:30:30.560
<v Speaker 1>separated by two years. I think UM seventy six was

0:30:30.640 --> 0:30:33.800
<v Speaker 1>the Saturday Night UM New York magazine article and seventy

0:30:33.800 --> 0:30:37.280
<v Speaker 1>eight was the one that featured Gillies. Yeah, it's really

0:30:37.520 --> 0:30:41.280
<v Speaker 1>pretty interesting time in our country's history that they're almost

0:30:41.320 --> 0:30:44.080
<v Speaker 1>two sides of the same coin. And again, like I

0:30:44.120 --> 0:30:46.480
<v Speaker 1>mentioned earlier, this is all going on at the same

0:30:46.520 --> 0:30:50.440
<v Speaker 1>time that like punk music is is saying I hate

0:30:50.440 --> 0:30:55.360
<v Speaker 1>all of you people exactly and for good reason, looks

0:30:55.400 --> 0:31:03.920
<v Speaker 1>so so. This guy can't remember his name. Um, Irving. No,

0:31:04.240 --> 0:31:07.800
<v Speaker 1>he was one of the managers or promoters or he

0:31:07.840 --> 0:31:10.440
<v Speaker 1>had a lot to do with the Eagles. Um. He

0:31:10.520 --> 0:31:12.640
<v Speaker 1>bought the rights to that article for like two hundred

0:31:12.720 --> 0:31:15.120
<v Speaker 1>thousand dollars, which is a lot of money to spend

0:31:15.120 --> 0:31:19.760
<v Speaker 1>on a magazine article option at the time. And he

0:31:19.760 --> 0:31:22.040
<v Speaker 1>he just knew that no matter what happened, he was

0:31:22.080 --> 0:31:24.680
<v Speaker 1>going to have a huge soundtrack on his hands, just

0:31:24.760 --> 0:31:29.200
<v Speaker 1>like Saturday Night Fever. Um. And it worked twice. It

0:31:29.240 --> 0:31:32.160
<v Speaker 1>did work. He apparently wanted it to be all Eagles,

0:31:32.160 --> 0:31:34.240
<v Speaker 1>and the Eagles were like, no, that's okay. We suck

0:31:34.680 --> 0:31:37.240
<v Speaker 1>so terribly. We even we wouldn't want to do a

0:31:37.280 --> 0:31:41.000
<v Speaker 1>whole soundtop um. But I ended up being like a

0:31:41.040 --> 0:31:43.240
<v Speaker 1>really great soundtrack. I've never heard it, but I mean,

0:31:43.280 --> 0:31:46.960
<v Speaker 1>just looking at the roster. Kenny Rogers, Charlie Daniels, Bonnie

0:31:47.000 --> 0:31:51.320
<v Speaker 1>rate Um and Mickey Gilly had Looking for Love on

0:31:51.360 --> 0:31:54.000
<v Speaker 1>it as well. Yeah, it was. It was great. We

0:31:54.040 --> 0:31:57.000
<v Speaker 1>had the record in our house. Uh. Like you said,

0:31:57.080 --> 0:31:59.320
<v Speaker 1>they shot the movie, a lot of it was shot

0:31:59.400 --> 0:32:03.000
<v Speaker 1>at Gilly. Uh. That was the bar scene that you

0:32:03.000 --> 0:32:06.760
<v Speaker 1>know was predominant in the movie and the competition between

0:32:06.800 --> 0:32:10.480
<v Speaker 1>Scott Glenn and John Travolta. As you know, they battled

0:32:10.520 --> 0:32:14.960
<v Speaker 1>for for bragging rights, cash money, and Deborah Winger's heart

0:32:15.360 --> 0:32:18.840
<v Speaker 1>and glory of course the well the glory men. Scott

0:32:19.000 --> 0:32:22.200
<v Speaker 1>Um Scott. Yeah, I can't believe he just forgot his

0:32:22.280 --> 0:32:25.400
<v Speaker 1>last name. I think he's one of the coolest actors ever. Yeah.

0:32:25.440 --> 0:32:31.040
<v Speaker 1>Not a Carrodean, No, No, he's a Carredan plus yeah. He.

0:32:31.160 --> 0:32:32.920
<v Speaker 1>I think Scott Glenn was one of those that was

0:32:32.960 --> 0:32:36.160
<v Speaker 1>always I think he was always confused as a Carrodeine

0:32:36.200 --> 0:32:37.760
<v Speaker 1>with a lot of people because he sort of has

0:32:37.800 --> 0:32:40.920
<v Speaker 1>that look for sure. So it was the big success

0:32:40.920 --> 0:32:44.120
<v Speaker 1>of this movie that made Crier say, I need to

0:32:44.160 --> 0:32:46.680
<v Speaker 1>secure this patent because this thing is about to explode.

0:32:47.240 --> 0:32:50.680
<v Speaker 1>And I think by that point, uh, the gentleman who

0:32:50.760 --> 0:32:54.479
<v Speaker 1>he who held that patent, Yeah, Joe Turner said well,

0:32:54.560 --> 0:32:56.800
<v Speaker 1>let's up the price a little bit to to thirty

0:32:56.880 --> 0:33:00.800
<v Speaker 1>thou and criers Or still said, yeah, that's don't tell

0:33:00.840 --> 0:33:02.800
<v Speaker 1>this guy. But that's still a pretty good deal. Yeah.

0:33:02.840 --> 0:33:06.320
<v Speaker 1>Because the mechanical Bull is basically a third lead character

0:33:06.480 --> 0:33:09.520
<v Speaker 1>in this movie. Debra Winger, John Travolta and this mechanical

0:33:09.560 --> 0:33:14.240
<v Speaker 1>bull El Toro, the real mechanical bull at Gillies um

0:33:14.280 --> 0:33:17.040
<v Speaker 1>and became a huge part of the pop culture. And

0:33:17.040 --> 0:33:19.520
<v Speaker 1>in Sherwood Cryer was smart enough to realize how big

0:33:19.560 --> 0:33:21.200
<v Speaker 1>of a deal it was going to be bought the

0:33:21.240 --> 0:33:23.960
<v Speaker 1>patent for it. And now if you wanted a mechanical

0:33:24.000 --> 0:33:26.480
<v Speaker 1>bull for your bar that you just converted over to

0:33:26.600 --> 0:33:29.560
<v Speaker 1>a honky Tonk format, you had to go buy one

0:33:29.640 --> 0:33:32.560
<v Speaker 1>from Sherwood Cryer. And he made a lot of money

0:33:32.560 --> 0:33:35.360
<v Speaker 1>off of those, from what I understand he did. Uh.

0:33:35.440 --> 0:33:38.040
<v Speaker 1>I think he even won lawsuits when people tried to

0:33:38.560 --> 0:33:42.200
<v Speaker 1>dodge his license. And uh, yeah, he made a lot

0:33:42.240 --> 0:33:45.479
<v Speaker 1>of money off of this fad and it was indeed

0:33:45.520 --> 0:33:50.080
<v Speaker 1>a fad um for sure. Yeah. But like I said,

0:33:50.600 --> 0:33:54.240
<v Speaker 1>you go to Johnny Utahs. There was one on the

0:33:54.240 --> 0:33:56.120
<v Speaker 1>Sunset Strip to I don't know if it's still there.

0:33:56.160 --> 0:34:02.360
<v Speaker 1>There was a what's the name of that place? Another

0:34:02.440 --> 0:34:06.160
<v Speaker 1>canon Johnny movie I can't remember, but there was a

0:34:06.200 --> 0:34:08.480
<v Speaker 1>country western bar on the on the Sunset strip that

0:34:08.520 --> 0:34:12.120
<v Speaker 1>had a mechanical bull as well. Uh, I can't remember.

0:34:13.200 --> 0:34:15.920
<v Speaker 1>I can't remember either. I Um, I know exactly what

0:34:15.920 --> 0:34:17.640
<v Speaker 1>you're talking about and I can't remember the name of it.

0:34:17.640 --> 0:34:21.680
<v Speaker 1>It's super famous, right, it was for a while, and

0:34:21.719 --> 0:34:23.560
<v Speaker 1>it wasn't even that long ago, Like I think when

0:34:23.560 --> 0:34:27.920
<v Speaker 1>I lived there, it was still there super cuts, No,

0:34:28.360 --> 0:34:31.240
<v Speaker 1>not hogs and heifers. That was in the meatpacking district

0:34:31.239 --> 0:34:34.480
<v Speaker 1>in New York. But uh, this is what genuinely kicked

0:34:34.480 --> 0:34:36.600
<v Speaker 1>off that whole movement that we talked about at the beginning,

0:34:37.320 --> 0:34:40.120
<v Speaker 1>with Southern culture and Western culture kind of being at

0:34:40.120 --> 0:34:44.439
<v Speaker 1>the forefront and all these people doing crossover records and uh,

0:34:44.600 --> 0:34:47.400
<v Speaker 1>pop music and country sort of intertwining and the lines

0:34:47.440 --> 0:34:50.759
<v Speaker 1>being blurred, and the Dallas Cowboys and JR. Eu ing

0:34:51.160 --> 0:34:53.400
<v Speaker 1>like this sort of all started with Urban Cowboy and

0:34:53.480 --> 0:34:57.080
<v Speaker 1>this mechanical bull El Toro. I would argue that it

0:34:57.200 --> 0:35:02.640
<v Speaker 1>started before that, and that or been Cowboy was was

0:35:02.680 --> 0:35:06.360
<v Speaker 1>catching a wave that was developing. Yeah, yeah, and gets credit.

0:35:06.480 --> 0:35:08.400
<v Speaker 1>But I mean, like if you look at Convoy, that

0:35:08.560 --> 0:35:13.799
<v Speaker 1>Chris Christofferson movie, so that was a couple of years

0:35:13.800 --> 0:35:15.800
<v Speaker 1>before that, but it was the same year that article

0:35:15.920 --> 0:35:18.799
<v Speaker 1>was published in Esquire, So it was all kind of

0:35:18.840 --> 0:35:21.840
<v Speaker 1>coming together congealing at the same time. Yeah, every we

0:35:21.880 --> 0:35:24.680
<v Speaker 1>didn't kick it off, it capitalized early on on what

0:35:24.800 --> 0:35:27.120
<v Speaker 1>it was coming, for sure, but it came in a

0:35:27.280 --> 0:35:29.640
<v Speaker 1>like at a time when it could still be considered

0:35:29.680 --> 0:35:33.440
<v Speaker 1>cool and a huge contributor to the spread of it, right, Yeah,

0:35:33.480 --> 0:35:35.880
<v Speaker 1>And this was like, it's it's funny, Like I kind

0:35:35.880 --> 0:35:37.840
<v Speaker 1>of looked back with some fondness, even though it's it

0:35:37.920 --> 0:35:40.640
<v Speaker 1>wasn't my scene. But if you talk to any of

0:35:40.680 --> 0:35:43.080
<v Speaker 1>the old timers from back then, they called him Gilly Rats.

0:35:43.120 --> 0:35:47.920
<v Speaker 1>He's real. You know, these these local bar patrons that was,

0:35:48.280 --> 0:35:52.040
<v Speaker 1>they were the real deal. They hated all this stuff, man, Yeah,

0:35:52.120 --> 0:35:55.040
<v Speaker 1>because it brought in all the posers and the tourists

0:35:55.080 --> 0:35:58.480
<v Speaker 1>and yeah, you know people people on business trips passing

0:35:58.480 --> 0:36:01.120
<v Speaker 1>through Houston had to go to Gilly And I'm sure

0:36:01.120 --> 0:36:03.800
<v Speaker 1>it just took something that was really sacred and special

0:36:03.840 --> 0:36:07.680
<v Speaker 1>to them and and commodified it in a really sad way.

0:36:07.920 --> 0:36:10.640
<v Speaker 1>I'm sure it was terrible at least for a while.

0:36:10.680 --> 0:36:13.000
<v Speaker 1>And then I'm sure it went back to normal again generally,

0:36:13.320 --> 0:36:15.000
<v Speaker 1>and they were still on that bar stool in the

0:36:15.040 --> 0:36:19.839
<v Speaker 1>same place exactly. It's just all kind of happened around him. Um.

0:36:19.880 --> 0:36:24.600
<v Speaker 1>But speaking of that kind of country chic trend, that

0:36:24.719 --> 0:36:26.880
<v Speaker 1>urban cowboy was a huge part of I saw a

0:36:26.880 --> 0:36:32.120
<v Speaker 1>reference to a Fantasy Island episode from called Everybody Goes

0:36:32.160 --> 0:36:37.040
<v Speaker 1>to Gillies. Mickey Gilly played himself and his fantasy was

0:36:37.080 --> 0:36:39.960
<v Speaker 1>to make it big in the country music scene, and

0:36:40.000 --> 0:36:44.759
<v Speaker 1>I think may have gotten it. I think it was successful.

0:36:45.280 --> 0:36:47.840
<v Speaker 1>I wonder if Tattoo got up on that thing. I

0:36:47.880 --> 0:36:50.640
<v Speaker 1>don't know. I could not find the episode. I just

0:36:50.840 --> 0:36:53.080
<v Speaker 1>was reading about it, which is kind of disappointing, right

0:36:53.080 --> 0:36:55.720
<v Speaker 1>it comes to Fantasy Island. I wanted to see that movie,

0:36:55.800 --> 0:36:59.520
<v Speaker 1>the Lache movie with Peter Dinklage, but I never got

0:36:59.560 --> 0:37:01.640
<v Speaker 1>around to it. Did you see that? I forgot that

0:37:01.680 --> 0:37:04.480
<v Speaker 1>they made that. No, I haven't seen it. So as

0:37:04.520 --> 0:37:08.080
<v Speaker 1>far as Gillies goes, um, I wondered. You know, I

0:37:08.080 --> 0:37:09.640
<v Speaker 1>wasn't sure the deal and I was like, surely you

0:37:09.640 --> 0:37:12.520
<v Speaker 1>can still go to Gillies. But you can't because Gillies

0:37:12.600 --> 0:37:16.360
<v Speaker 1>burned to the ground. It did suspiciously. Apparently it was

0:37:16.440 --> 0:37:20.280
<v Speaker 1>ruled in Arson and this came after there was a

0:37:20.320 --> 0:37:25.600
<v Speaker 1>dispute between Mickey Gilly and Sherwood Cryer, and apparently Mickey Gilly,

0:37:25.680 --> 0:37:28.359
<v Speaker 1>who had been approached by Sherwood Crier to basically come

0:37:28.360 --> 0:37:32.360
<v Speaker 1>in as a partner on his bar, came out victorious, triumphant,

0:37:32.840 --> 0:37:35.360
<v Speaker 1>and UH ended up on the winning end of this

0:37:35.360 --> 0:37:38.600
<v Speaker 1>this dispute and apparently walked away with most of the profits.

0:37:39.000 --> 0:37:42.359
<v Speaker 1>And I guess Gilly said in at least one interview that,

0:37:42.520 --> 0:37:46.160
<v Speaker 1>um he he expected that it was Sherwood Crier who

0:37:46.160 --> 0:37:49.799
<v Speaker 1>had burned Gillies to the ground in n It's quite

0:37:49.840 --> 0:37:53.240
<v Speaker 1>an accusation, it really is. But I was reading again

0:37:53.280 --> 0:37:56.280
<v Speaker 1>that Texas Monthly article. I think it's called Urban Cowboy

0:37:56.320 --> 0:37:59.600
<v Speaker 1>turns thirty five. It's like an oral history, which is

0:37:59.640 --> 0:38:04.600
<v Speaker 1>the la easiest form of journalism, but it's still do Yeah. Well,

0:38:04.600 --> 0:38:06.520
<v Speaker 1>then I explained why they keep making them. I thought

0:38:06.520 --> 0:38:09.200
<v Speaker 1>it was just like I don't feel like actually writing today,

0:38:09.200 --> 0:38:13.520
<v Speaker 1>I'm just gonna transcribe. It's them. Well, you would like this,

0:38:14.000 --> 0:38:17.480
<v Speaker 1>you should read. It's very long and it's really in depth.

0:38:17.480 --> 0:38:19.680
<v Speaker 1>And they talked to some of the original Gilly rats,

0:38:19.719 --> 0:38:23.280
<v Speaker 1>and a couple of them who worked for Sherwood Cryer

0:38:23.840 --> 0:38:26.600
<v Speaker 1>have to say like this, this guy was an amazing

0:38:26.640 --> 0:38:29.359
<v Speaker 1>human being, but he was also somebody who would beat

0:38:29.440 --> 0:38:31.680
<v Speaker 1>someone with a pool que if like they were causing

0:38:31.680 --> 0:38:34.040
<v Speaker 1>trouble at Gillies and did do that, and like you

0:38:34.080 --> 0:38:37.239
<v Speaker 1>did not want to run a foul of this guy. Um,

0:38:37.320 --> 0:38:41.520
<v Speaker 1>but was also like a really fascinating, interesting, smart human

0:38:41.560 --> 0:38:44.520
<v Speaker 1>being too. Yeah, shout out to Texas Monthly too, that's

0:38:44.520 --> 0:38:47.680
<v Speaker 1>a really good rag. I really I read a couple

0:38:47.680 --> 0:38:50.000
<v Speaker 1>of things from there for some podcasts we're developing a

0:38:50.040 --> 0:38:52.680
<v Speaker 1>couple of years ago, and it was really good. They

0:38:52.719 --> 0:38:57.279
<v Speaker 1>did these great deep dive not not oral histories, but

0:38:57.400 --> 0:39:01.040
<v Speaker 1>like you know, long form. Yeah, there's a guy named

0:39:01.160 --> 0:39:04.920
<v Speaker 1>Skip something. Oh man, I can't remember Skip's name. I'll

0:39:04.920 --> 0:39:07.839
<v Speaker 1>look it up. Everybody, don't worry about it. But Skip

0:39:07.960 --> 0:39:10.879
<v Speaker 1>Hollandsworth or something like that. He's one of their better

0:39:11.000 --> 0:39:13.719
<v Speaker 1>journalists for long form at Texas Monthly. He's great. But

0:39:13.760 --> 0:39:15.719
<v Speaker 1>there's a lot of them. They have a good, good

0:39:15.719 --> 0:39:21.440
<v Speaker 1>stable there. Um. And then uh, they announced that there

0:39:21.440 --> 0:39:24.760
<v Speaker 1>would be a new Gillies but it's not just gonna

0:39:24.760 --> 0:39:27.160
<v Speaker 1>be a bar, it's gonna be a sixteen acre multi

0:39:27.239 --> 0:39:32.120
<v Speaker 1>use development. And apparently El Toro survived the fire and

0:39:32.160 --> 0:39:34.640
<v Speaker 1>they're bringing the original El Toro back just to put

0:39:34.640 --> 0:39:38.360
<v Speaker 1>on display. So I found one reference that El Toro

0:39:38.520 --> 0:39:41.400
<v Speaker 1>survived the fire. It was in the Ocalis Star banner.

0:39:41.920 --> 0:39:45.560
<v Speaker 1>What does anybody in Ocaliflorida. Now I don't know, but

0:39:46.040 --> 0:39:49.200
<v Speaker 1>they said that El Toro survived fire and then it

0:39:49.280 --> 0:39:54.239
<v Speaker 1>was moved to Cowboy Jack's in Woodberry, Minnesota. So it

0:39:54.280 --> 0:39:57.360
<v Speaker 1>looks a Cowboy Jack's. There is a cowboy right, I

0:39:57.360 --> 0:40:00.360
<v Speaker 1>thought so too. Cowboy Jack's makes no men and of

0:40:00.440 --> 0:40:03.160
<v Speaker 1>having the original or El Toro at any point, that's

0:40:03.160 --> 0:40:05.880
<v Speaker 1>suspicious because you would really lean into that. Oh dude,

0:40:05.920 --> 0:40:07.960
<v Speaker 1>it's all I would ever talk about to anybody. But

0:40:08.280 --> 0:40:11.920
<v Speaker 1>that's that's what the Ocalistar banner says. Cowboy Jack's does

0:40:11.960 --> 0:40:14.520
<v Speaker 1>not back it up. So who knows exactly what happened

0:40:14.520 --> 0:40:17.200
<v Speaker 1>to El Toro? That's right, Like, don't get on that

0:40:17.239 --> 0:40:20.560
<v Speaker 1>bullet Johnny Utah's, you're gonna catch something. You come right,

0:40:20.640 --> 0:40:25.319
<v Speaker 1>El Toro, You're gonna catch some Johnny demonic on that thing. Uh.

0:40:25.360 --> 0:40:28.759
<v Speaker 1>There was there were some injuries though that we um

0:40:28.760 --> 0:40:31.040
<v Speaker 1>would be remiss without mentioning there have been plenty of

0:40:31.120 --> 0:40:33.960
<v Speaker 1>lawsuits over the years. There was a woman in Santa

0:40:33.960 --> 0:40:36.640
<v Speaker 1>Barbara County that was left a quadriplegic when she landed

0:40:36.680 --> 0:40:39.719
<v Speaker 1>on her neck. So obviously if you get thrown off something,

0:40:39.760 --> 0:40:42.120
<v Speaker 1>if you land wrong, that can be bad news. Uh.

0:40:42.520 --> 0:40:45.759
<v Speaker 1>A man in Bergenfield, New Jersey, in Bergen County that

0:40:45.840 --> 0:40:50.200
<v Speaker 1>was left with permanent injuries. And then at Johnny Utah's,

0:40:50.840 --> 0:40:53.520
<v Speaker 1>a New York woman won seventy thousand dollars because she

0:40:53.600 --> 0:40:57.160
<v Speaker 1>tore her a c l at Johnny Utah's, and her

0:40:57.239 --> 0:41:02.040
<v Speaker 1>lawyer said this, they just kind of throw people around

0:41:02.040 --> 0:41:06.960
<v Speaker 1>while they're drunk. I think that summed up the mechanical

0:41:07.000 --> 0:41:09.360
<v Speaker 1>bull about as good as anybody ever had. Yeah, that

0:41:09.440 --> 0:41:11.520
<v Speaker 1>was how he described the operators. He said, they just

0:41:11.560 --> 0:41:13.400
<v Speaker 1>kind of throw people around. And then I went to

0:41:14.320 --> 0:41:17.120
<v Speaker 1>YouTube looked up Johnny Utahs and if you want to

0:41:18.040 --> 0:41:21.360
<v Speaker 1>spend some time looking at very bad camera phone videos

0:41:21.520 --> 0:41:26.360
<v Speaker 1>of drunk friends filming drunk friends writing very slowly on

0:41:26.440 --> 0:41:29.239
<v Speaker 1>these mechanical bulls to bad music, you can do it.

0:41:29.600 --> 0:41:32.040
<v Speaker 1>But you can sort of see and a few of

0:41:32.080 --> 0:41:35.640
<v Speaker 1>these videos that would be some drunk lady or a

0:41:35.719 --> 0:41:40.480
<v Speaker 1>drunk guy who was just you know, being kind of obnoxious,

0:41:40.520 --> 0:41:43.200
<v Speaker 1>and you could tell that the but they weren't coming off,

0:41:43.960 --> 0:41:46.399
<v Speaker 1>and you could tell that the operator was would get

0:41:46.440 --> 0:41:48.799
<v Speaker 1>sick of it and they were going real slow. Then

0:41:48.800 --> 0:41:52.879
<v Speaker 1>there'd be like a and just a really quick little

0:41:52.920 --> 0:41:55.080
<v Speaker 1>flick of that switch and it would just like toss

0:41:55.120 --> 0:41:58.360
<v Speaker 1>him off of their real fast. There's no way that

0:41:58.560 --> 0:42:02.160
<v Speaker 1>there's not a term long mechanical bull operators for that move.

0:42:02.239 --> 0:42:06.719
<v Speaker 1>For that move, there has to be I wonder what

0:42:06.719 --> 0:42:09.600
<v Speaker 1>it is. If you know, please let us know because

0:42:09.680 --> 0:42:15.719
<v Speaker 1>we have to know. We got gillid Yeah, that's right. Um,

0:42:16.000 --> 0:42:19.719
<v Speaker 1>you got anything else? Thankfully? No? Okay, Well that's it

0:42:19.800 --> 0:42:22.320
<v Speaker 1>for mechanical bulls. If you want to know more about

0:42:22.320 --> 0:42:27.799
<v Speaker 1>mechanical bulls, then start watching throwing off mechanical bull videos. There's,

0:42:27.880 --> 0:42:30.640
<v Speaker 1>like you said, a lot of them. Uh. And since

0:42:30.680 --> 0:42:33.439
<v Speaker 1>I said throwing off mechanical balls, it's time for listener mail.

0:42:35.840 --> 0:42:37.600
<v Speaker 1>You know what. I was just thinking this could be

0:42:37.640 --> 0:42:41.880
<v Speaker 1>the jackhammers of the next generation of stuff. You should know, listeners.

0:42:42.320 --> 0:42:46.480
<v Speaker 1>Mechanical bulls, I don't know. I think urban cowboys saved

0:42:46.520 --> 0:42:51.120
<v Speaker 1>it without urban cowboy absolutely, I think, and to save

0:42:51.239 --> 0:42:53.080
<v Speaker 1>the day again. And then it hit me, I was like,

0:42:53.200 --> 0:42:56.799
<v Speaker 1>the common denominator hydraulics. We got to avoid hydraulics from

0:42:56.800 --> 0:43:00.319
<v Speaker 1>here on out. I think you might be right. All right,

0:43:00.360 --> 0:43:03.200
<v Speaker 1>so where are we listener mail? Yep? I think Jerry

0:43:03.200 --> 0:43:05.480
<v Speaker 1>already did the China all right, I'm gonna call this

0:43:05.960 --> 0:43:11.680
<v Speaker 1>c I a correction from anonymous. Oh hey, guys, have

0:43:11.680 --> 0:43:13.120
<v Speaker 1>been a stuff you should not listener for years. I

0:43:13.160 --> 0:43:15.720
<v Speaker 1>love the work you do. Someone who was formally employed

0:43:15.719 --> 0:43:18.799
<v Speaker 1>by the CIA, I particularly enjoy the latest episode on

0:43:18.880 --> 0:43:22.840
<v Speaker 1>Havana Syndrome. Have since left that job because of ethical concerns.

0:43:23.239 --> 0:43:25.000
<v Speaker 1>But I've one nit to pick, and that's when you

0:43:25.000 --> 0:43:27.920
<v Speaker 1>talk about people who work in the CIA. Uh, you

0:43:28.040 --> 0:43:32.160
<v Speaker 1>call them agents, which is not right. They're actually officers.

0:43:32.239 --> 0:43:36.880
<v Speaker 1>There's no such thing as the CIA agent. H this

0:43:35.920 --> 0:43:39.279
<v Speaker 1>is this is basically ruined the entire episode for them.

0:43:39.320 --> 0:43:41.400
<v Speaker 1>That one thing. No, they're nice, but I mean we

0:43:41.440 --> 0:43:44.279
<v Speaker 1>always say CI agent because we're children of television and film.

0:43:44.280 --> 0:43:46.360
<v Speaker 1>I didn't know if that's not even a thing. Everybody

0:43:46.360 --> 0:43:49.360
<v Speaker 1>says that. Uh, they say this. I know the media

0:43:49.400 --> 0:43:52.319
<v Speaker 1>gets wrong, gets this wrong a lot, so it's understandable

0:43:52.400 --> 0:43:55.120
<v Speaker 1>that's the terminology that folks use. But in the interests

0:43:55.120 --> 0:43:58.200
<v Speaker 1>of always learning and improving, I thought I'd passed this along. Um,

0:43:58.320 --> 0:44:01.600
<v Speaker 1>Josh actually did say officer a couple of times somewhere

0:44:01.640 --> 0:44:04.920
<v Speaker 1>in the middle, and that was the exception for you guys.

0:44:05.440 --> 0:44:08.600
<v Speaker 1>That's great. Other than this admittedly small quibble, I love

0:44:08.600 --> 0:44:10.960
<v Speaker 1>everything you guys do, and often use my favorite old

0:44:10.960 --> 0:44:13.000
<v Speaker 1>episodes to calm my anxiety or to help is I

0:44:13.040 --> 0:44:16.200
<v Speaker 1>fall asleep? Uh? Currently in the heavy rotation of the

0:44:16.200 --> 0:44:20.040
<v Speaker 1>max setterm incident in Star Wars Holiday special episode. Those

0:44:20.040 --> 0:44:23.040
<v Speaker 1>are that that will calm you down for sure. Yeah,

0:44:23.040 --> 0:44:25.880
<v Speaker 1>thanks very much for reading the message. All the best,

0:44:25.960 --> 0:44:29.799
<v Speaker 1>Anonymous and uh. Initially Anonymous said maybe use my initials

0:44:30.480 --> 0:44:32.680
<v Speaker 1>because it might be a little paranoid about this being

0:44:32.760 --> 0:44:36.680
<v Speaker 1>former CIA, but then they said, you know, how about

0:44:36.719 --> 0:44:39.200
<v Speaker 1>just no initials. I think that's smart. Just go with

0:44:39.280 --> 0:44:42.080
<v Speaker 1>anonymous exactly. In fact, I made this whole thing up.

0:44:42.120 --> 0:44:45.840
<v Speaker 1>There is no former officer that left for ethical concerns.

0:44:46.120 --> 0:44:52.359
<v Speaker 1>This listener mail will self destruct in three seconds. Two one. Well,

0:44:52.400 --> 0:44:54.640
<v Speaker 1>if you want to get in touch with us, we

0:44:55.000 --> 0:44:57.920
<v Speaker 1>love hearing from people, whether they are from the CIA

0:44:58.719 --> 0:45:04.640
<v Speaker 1>or the n s A or the FBI. Who else,

0:45:04.719 --> 0:45:08.960
<v Speaker 1>chuck oh a t F sure and that's it, no

0:45:09.000 --> 0:45:11.920
<v Speaker 1>one else? Okay, Um, if you want to get in

0:45:11.960 --> 0:45:14.120
<v Speaker 1>touch with us and send us some trade secrets, we

0:45:14.160 --> 0:45:16.040
<v Speaker 1>would love to hear that stuff. You can wrap it up,

0:45:16.120 --> 0:45:19.799
<v Speaker 1>send it in an email off to Stuff podcast at

0:45:19.800 --> 0:45:25.400
<v Speaker 1>iHeart radio dot com. Stuff you should know is a

0:45:25.480 --> 0:45:28.840
<v Speaker 1>production of I heart Radio. For more podcasts my heart Radio,

0:45:29.080 --> 0:45:32.200
<v Speaker 1>visit the iHeart Radio app, Apple Podcasts, or wherever you

0:45:32.239 --> 0:45:33.520
<v Speaker 1>listen to your favorite shows.