1 00:00:00,240 --> 00:00:27,200 Speaker 1: Ridiculous History is a production of I Heart Radio being 2 00:00:27,240 --> 00:00:31,200 Speaker 1: Anito's Ridiculous Historians. Thank you so much as always for 3 00:00:31,440 --> 00:00:34,680 Speaker 1: tuning in. My name is Ben, and I am over 4 00:00:34,720 --> 00:00:37,560 Speaker 1: the moon today because we get a chance to talk 5 00:00:37,600 --> 00:00:40,520 Speaker 1: about one of my favorite books growing up. Hey Ben, 6 00:00:40,520 --> 00:00:43,400 Speaker 1: I'm Nolan. I I have the song Return of the 7 00:00:43,440 --> 00:00:45,800 Speaker 1: Mac stuck in my head because I just date macaroni 8 00:00:45,840 --> 00:00:49,320 Speaker 1: and cheese on our episode pause uh for a quick 9 00:00:49,600 --> 00:00:51,960 Speaker 1: five minute lunch. My kid made some and I had 10 00:00:52,000 --> 00:00:53,720 Speaker 1: a couple of bites, and all of a sudden, Return 11 00:00:53,760 --> 00:00:55,680 Speaker 1: of the maca stuck in my head. I'm not gonna 12 00:00:55,720 --> 00:00:58,920 Speaker 1: sing it for copyright infringement reasons, but I hope it's 13 00:00:58,920 --> 00:01:01,520 Speaker 1: in all of your heads too. It's funny, you know, 14 00:01:01,600 --> 00:01:04,560 Speaker 1: I had never actually heard that song, but I'll look 15 00:01:04,560 --> 00:01:08,000 Speaker 1: it up after after we record today. And there's our 16 00:01:08,120 --> 00:01:11,800 Speaker 1: I see down here in our zoom call. Uh. You 17 00:01:11,880 --> 00:01:18,119 Speaker 1: know a Blue Sky super producer Casey pegram himself with 18 00:01:18,560 --> 00:01:20,880 Speaker 1: you know you've got the disappearing mic thing going on 19 00:01:21,000 --> 00:01:23,080 Speaker 1: to man, which I think is a cool look. Yeah. 20 00:01:23,080 --> 00:01:25,280 Speaker 1: If I if I shift my my body in a 21 00:01:25,319 --> 00:01:27,600 Speaker 1: certain direction and blocked the light, the mic appears to 22 00:01:27,640 --> 00:01:30,520 Speaker 1: float in mid air without a stand and then if 23 00:01:30,520 --> 00:01:32,200 Speaker 1: I move you can kind of see the stand come in. 24 00:01:32,360 --> 00:01:35,240 Speaker 1: But my background is a photo entitled Bliss, and it 25 00:01:35,360 --> 00:01:38,160 Speaker 1: was the default wallpaper for Windows ninety eight. I believe 26 00:01:38,400 --> 00:01:42,399 Speaker 1: the much maligned Windows was Windows. Wasn't Windows ninety eight maligned? 27 00:01:42,440 --> 00:01:44,680 Speaker 1: Or that was Windows two thousand that was maligned? I think, 28 00:01:44,800 --> 00:01:46,840 Speaker 1: wasn't it? I want to say, I think ninety eight 29 00:01:46,920 --> 00:01:48,640 Speaker 1: was kind of buggy m E. I think was the 30 00:01:48,640 --> 00:01:52,200 Speaker 1: one that everybody really really hated. Yes, Millennium Edition. Yeah, 31 00:01:52,240 --> 00:01:55,960 Speaker 1: and the diehards of us instead ended up getting Windows 32 00:01:56,120 --> 00:01:59,080 Speaker 1: two thousand or Windows XP or something. That's right. I 33 00:01:59,080 --> 00:02:02,640 Speaker 1: remember XP was okay, was good too, but it was 34 00:02:02,680 --> 00:02:05,440 Speaker 1: it was It was meant for like more like professional 35 00:02:05,560 --> 00:02:08,239 Speaker 1: enterprise kind of stuff, but it just sort of ended 36 00:02:08,280 --> 00:02:10,720 Speaker 1: up that everybody used it because Emmy was so buggy. 37 00:02:10,880 --> 00:02:14,240 Speaker 1: Emmy was like the was like the new Coke or 38 00:02:14,280 --> 00:02:19,239 Speaker 1: the clear Pepsi of Microsoft. Exactly exactly. Wow, those os 39 00:02:19,320 --> 00:02:21,040 Speaker 1: is are all like twenty years old at this point. 40 00:02:21,160 --> 00:02:24,000 Speaker 1: Oh man. People people listening to this, they're probably thinking, 41 00:02:24,040 --> 00:02:28,919 Speaker 1: what are you? When you get to the point Ben 42 00:02:28,960 --> 00:02:31,440 Speaker 1: was said he was over the moon about something. What 43 00:02:31,480 --> 00:02:33,480 Speaker 1: was you can tell us, Ben, why are you over 44 00:02:33,520 --> 00:02:38,080 Speaker 1: the moon again? Oh? Man, I'm so glad you asked. Yeah, 45 00:02:38,120 --> 00:02:43,239 Speaker 1: this is a story that takes us to don Quixote. 46 00:02:43,720 --> 00:02:47,080 Speaker 1: Don Qyxote, as many of us will remember, is the 47 00:02:47,320 --> 00:02:52,280 Speaker 1: story of an eccentric man who believes that he is 48 00:02:52,480 --> 00:02:56,799 Speaker 1: a night. This is a fictional story, but it has 49 00:02:56,960 --> 00:03:00,919 Speaker 1: a lot in common with the true story of Emperor 50 00:03:00,960 --> 00:03:03,640 Speaker 1: Norton of the United States, which I believe we did 51 00:03:03,639 --> 00:03:09,160 Speaker 1: an earlier episode on. Anyway, don Quixote, the eponymous star 52 00:03:09,400 --> 00:03:12,880 Speaker 1: of the show in this novel, goes on a ton 53 00:03:12,919 --> 00:03:17,200 Speaker 1: of misadventures because he is head over heels in love 54 00:03:17,360 --> 00:03:22,000 Speaker 1: with Dulcinea. In the real world, Dulcinea is a peasant, uh, 55 00:03:22,040 --> 00:03:26,560 Speaker 1: and Don Quixote is not exactly a real world night. 56 00:03:27,080 --> 00:03:29,679 Speaker 1: This was written by a guy named Miguel de Savantes, 57 00:03:30,120 --> 00:03:34,680 Speaker 1: and it's still a hugely popular book today. And today 58 00:03:34,840 --> 00:03:37,920 Speaker 1: you can see the whole story published as like one thing. 59 00:03:38,320 --> 00:03:41,240 Speaker 1: But when it first came out in sixteen o five, 60 00:03:41,720 --> 00:03:44,440 Speaker 1: it was it was like the first half of the story, 61 00:03:44,640 --> 00:03:48,600 Speaker 1: and then the second half was published in sixteen fifteen, 62 00:03:48,760 --> 00:03:53,720 Speaker 1: and our story takes place between those two volumes, and 63 00:03:54,040 --> 00:03:56,320 Speaker 1: this one's a doozy. This is this is so cool. 64 00:03:56,640 --> 00:03:59,400 Speaker 1: That's true. Man, that's pretty big gap. But it really 65 00:03:59,400 --> 00:04:04,680 Speaker 1: speaks to how much of a blockbuster this thing was. Um. 66 00:04:04,720 --> 00:04:09,960 Speaker 1: It's considered one of the first true great novels, you know, Uh, 67 00:04:10,040 --> 00:04:13,320 Speaker 1: not the first, I believe there was a Japanese UH 68 00:04:13,440 --> 00:04:16,600 Speaker 1: one that was considered like the very first example of 69 00:04:16,640 --> 00:04:19,960 Speaker 1: a novel. We have to remember that, you know, movable 70 00:04:20,000 --> 00:04:24,880 Speaker 1: type was a relatively new development in the Western world. 71 00:04:24,960 --> 00:04:30,200 Speaker 1: Johannes Guttenberg UM took UH some methods that were pioneered 72 00:04:30,200 --> 00:04:33,760 Speaker 1: by the Chinese UM to create the printing press when 73 00:04:33,800 --> 00:04:37,120 Speaker 1: he combined them with paper. UM. And you know, obviously 74 00:04:37,160 --> 00:04:40,159 Speaker 1: the Bible was the most popular early use of the 75 00:04:40,200 --> 00:04:44,400 Speaker 1: printing press UM, and a different kind of political tracts 76 00:04:44,400 --> 00:04:46,960 Speaker 1: and treatises and stuff like that. But the novel, like 77 00:04:47,000 --> 00:04:51,400 Speaker 1: a full length novel, was relatively new thing. Um. Don 78 00:04:51,520 --> 00:04:58,440 Speaker 1: Quixote really benefited from this ability to mass produce printed works. Yeah, 79 00:04:58,560 --> 00:05:02,839 Speaker 1: and this made it less expensive to become literate, to 80 00:05:02,920 --> 00:05:06,000 Speaker 1: be able to read. So now that more people are reading, 81 00:05:06,120 --> 00:05:10,960 Speaker 1: there's a bigger market for printed books. And this this cycle, 82 00:05:11,080 --> 00:05:15,400 Speaker 1: luckily still UH is still in play today. Don Quixote 83 00:05:16,360 --> 00:05:20,800 Speaker 1: as a as a story as a publication benefits from this, 84 00:05:21,279 --> 00:05:23,480 Speaker 1: and it's funny because it's a little bit of a 85 00:05:23,520 --> 00:05:26,080 Speaker 1: meta narrative. And we'll explain what you mean by that 86 00:05:26,400 --> 00:05:28,480 Speaker 1: in in a little while, but let's talk about how 87 00:05:28,560 --> 00:05:32,640 Speaker 1: much of a blockbuster this was. So was first printed 88 00:05:32,640 --> 00:05:36,440 Speaker 1: in six five. Just ten years later there are more 89 00:05:36,480 --> 00:05:40,840 Speaker 1: than thirteen thousand copies. Getting some of this information from 90 00:05:40,880 --> 00:05:44,800 Speaker 1: an excellent article in Smithsonian. Uh don Quyote, of course, 91 00:05:44,839 --> 00:05:48,320 Speaker 1: originally written in Spanish, but it becomes popular as a 92 00:05:48,360 --> 00:05:52,240 Speaker 1: foreign publication in other parts of the world. In Brussels, 93 00:05:52,320 --> 00:05:58,120 Speaker 1: in Hamburg, there's an English translation Shakespeare. Yes that Shakespeare. 94 00:05:58,160 --> 00:06:01,000 Speaker 1: Old Willie Shakes himself reads it, and he likes it 95 00:06:01,120 --> 00:06:06,279 Speaker 1: so much that he apparently writes a play based on 96 00:06:06,279 --> 00:06:08,960 Speaker 1: one of the stories in the novel, which is a 97 00:06:09,000 --> 00:06:11,560 Speaker 1: neat fact that I did not know. Yeah, and I 98 00:06:11,560 --> 00:06:14,760 Speaker 1: think it was lost right, And he supposedly co wrote 99 00:06:14,800 --> 00:06:17,400 Speaker 1: it with someone, which is interesting because that was not 100 00:06:17,480 --> 00:06:19,520 Speaker 1: really a thing. Uh he was, you know, there was 101 00:06:19,600 --> 00:06:24,279 Speaker 1: some talk that Christopher Marlowe was potentially actually Shakespeare actually 102 00:06:24,320 --> 00:06:26,120 Speaker 1: wrote some of Shakespeare's plays that are but you don't 103 00:06:26,120 --> 00:06:28,720 Speaker 1: think of Shakespeare as being someone who like buddies up 104 00:06:28,720 --> 00:06:31,520 Speaker 1: with the co author. He's kind of a one man 105 00:06:31,560 --> 00:06:36,560 Speaker 1: band there. But yeah, he wrote a play called cardagno Um, 106 00:06:36,640 --> 00:06:39,840 Speaker 1: which was based on one of those uh kind of 107 00:06:39,920 --> 00:06:43,520 Speaker 1: meta tales within don Quixote. Just to set it up 108 00:06:43,560 --> 00:06:46,159 Speaker 1: really quickly, Ben, this is obviously a very important book 109 00:06:46,200 --> 00:06:48,520 Speaker 1: for you in your life. I personally have not read 110 00:06:48,560 --> 00:06:51,960 Speaker 1: the whole thing. I read the first several chapters as 111 00:06:51,960 --> 00:06:54,200 Speaker 1: an assignment, like in school, the one where he's talking 112 00:06:54,200 --> 00:06:55,960 Speaker 1: about fighting the windmills and all of that. I think 113 00:06:55,960 --> 00:06:58,400 Speaker 1: most people are familiar with, but I do not know 114 00:06:58,600 --> 00:07:02,680 Speaker 1: the other tales. But um, there's a frame story where 115 00:07:02,720 --> 00:07:05,880 Speaker 1: like a historian this sort of talking about finding the 116 00:07:06,040 --> 00:07:10,080 Speaker 1: lost uh, you know texts that referenced this, uh, this 117 00:07:10,240 --> 00:07:13,240 Speaker 1: story within the story. Where does it go from there? Ben? 118 00:07:13,720 --> 00:07:17,960 Speaker 1: This is interesting. At at the very end of that, 119 00:07:18,640 --> 00:07:21,080 Speaker 1: what would be the first volume of don Quixote in 120 00:07:21,120 --> 00:07:24,800 Speaker 1: six five, there's this setup, like you mentioned, it's very 121 00:07:24,800 --> 00:07:29,480 Speaker 1: clever setup where a scholar has quote unquote uncovered these 122 00:07:29,520 --> 00:07:34,120 Speaker 1: documents revealing the continued adventures of don Quixote, and the 123 00:07:34,160 --> 00:07:38,000 Speaker 1: scholar says, you know, eventually I would love to publish 124 00:07:38,000 --> 00:07:43,000 Speaker 1: them Servant's final words in this book, they translate to 125 00:07:43,040 --> 00:07:46,600 Speaker 1: something like, you know, I'll finish them, or quote, perhaps 126 00:07:46,680 --> 00:07:50,520 Speaker 1: someone else will sing with a better plectrum. A plectrum 127 00:07:50,600 --> 00:07:53,040 Speaker 1: is you know, it's a pick, like like you would 128 00:07:53,080 --> 00:07:55,760 Speaker 1: use a pick on a guitar. And and so some 129 00:07:55,800 --> 00:07:59,960 Speaker 1: people have kind of interpreted that message as an invitation, 130 00:08:00,000 --> 00:08:06,080 Speaker 1: sation from Cervantes himself to other authors to continue the story, 131 00:08:06,400 --> 00:08:08,680 Speaker 1: which is, you know, it's a thing that could happen. 132 00:08:09,120 --> 00:08:12,520 Speaker 1: But uh, that that goes to one of the big 133 00:08:12,600 --> 00:08:16,840 Speaker 1: questions was he asking, was really asking some other author 134 00:08:17,280 --> 00:08:20,480 Speaker 1: to pick up the pen and take us further into 135 00:08:20,560 --> 00:08:23,320 Speaker 1: the life of Don Quixote, or was he just you know, 136 00:08:23,400 --> 00:08:25,480 Speaker 1: kind of styling on it at the end with a 137 00:08:25,520 --> 00:08:30,120 Speaker 1: little mic drop. Either way, somebody did take him up 138 00:08:30,120 --> 00:08:33,080 Speaker 1: on what they saw as an invitation. It's true. And 139 00:08:33,080 --> 00:08:35,600 Speaker 1: and just just to backtrack ever so slightly, just to 140 00:08:35,640 --> 00:08:38,760 Speaker 1: give you a sense of what a massive hit this 141 00:08:38,920 --> 00:08:43,880 Speaker 1: was in the early days of broad printing distribution um 142 00:08:43,880 --> 00:08:46,120 Speaker 1: in the first edition, which I was trying to find, 143 00:08:46,400 --> 00:08:48,120 Speaker 1: Like I just said, I saw this in the research 144 00:08:48,160 --> 00:08:49,880 Speaker 1: and was thinking, like I wonder if you can get 145 00:08:50,120 --> 00:08:54,240 Speaker 1: a sixteen oh five first edition of Don Quixote. I'm 146 00:08:54,280 --> 00:08:57,320 Speaker 1: sure it's probably one of the most valuable, uh you know, 147 00:08:57,800 --> 00:08:59,800 Speaker 1: rare books that you could you could own, but I 148 00:09:00,000 --> 00:09:03,040 Speaker 1: didn't even find a price. But I'm sure it's very, very, 149 00:09:03,160 --> 00:09:06,360 Speaker 1: very precious. Um. But yeah, after that first edition in 150 00:09:06,480 --> 00:09:11,600 Speaker 1: sixteen o five, there were new editions printed across Castile 151 00:09:11,800 --> 00:09:15,360 Speaker 1: and Aragon which created and this isn't a huge number 152 00:09:15,360 --> 00:09:18,480 Speaker 1: of it at the time, and considering the largely you know, 153 00:09:18,840 --> 00:09:21,400 Speaker 1: there was manual parts of this printing situation. It was 154 00:09:21,480 --> 00:09:25,079 Speaker 1: movable because it was movable by hand. Um. There were 155 00:09:25,160 --> 00:09:28,960 Speaker 1: thirteen thousand, five hundred copies from the first ten years, 156 00:09:29,360 --> 00:09:33,800 Speaker 1: and then it gained notoriety outside of its native land, 157 00:09:33,960 --> 00:09:39,080 Speaker 1: uh is in places like Brussels, Milan and Hamburg in Germany. 158 00:09:39,320 --> 00:09:41,880 Speaker 1: Uh And then there was of course an English translation, 159 00:09:41,920 --> 00:09:44,160 Speaker 1: and that's the one that Shakespeare got ahold of that 160 00:09:44,240 --> 00:09:47,160 Speaker 1: inspired him to write that lost play. But you're right, then, 161 00:09:47,320 --> 00:09:50,480 Speaker 1: it does. It does have this sense that he's passing 162 00:09:50,520 --> 00:09:52,720 Speaker 1: the baton in some way with that line about the 163 00:09:53,440 --> 00:09:58,560 Speaker 1: better plectrum or whatever. And somebody did take that quite literally, 164 00:09:58,760 --> 00:10:03,000 Speaker 1: whether they were doing in homage or as a straight 165 00:10:03,120 --> 00:10:06,400 Speaker 1: rip off to capitalize on the Uh, you know, absolute 166 00:10:06,559 --> 00:10:11,319 Speaker 1: blockbuster success of Don Quixote. A gentleman by the name 167 00:10:11,360 --> 00:10:16,760 Speaker 1: of Alfonso Fernandez de Avallaneda came out with in that 168 00:10:16,840 --> 00:10:21,240 Speaker 1: interim between um, the first and second, you know, installments 169 00:10:21,240 --> 00:10:24,480 Speaker 1: of Don Quixote of the Servantis don Quixote, Uh, came 170 00:10:24,480 --> 00:10:29,880 Speaker 1: out with a book called Segundo Tomo del Ingenio Hidalgo 171 00:10:30,040 --> 00:10:32,960 Speaker 1: don Quixote de la Mancha. I hope I did that 172 00:10:33,160 --> 00:10:37,440 Speaker 1: relative justice and then came out thanks been in sixteen fourteen, 173 00:10:38,040 --> 00:10:42,920 Speaker 1: like a year before the second installment The Servant is one. 174 00:10:43,000 --> 00:10:45,600 Speaker 1: He's been hiden, We've been working on this whole time. Um, 175 00:10:45,920 --> 00:10:47,839 Speaker 1: he just you know, was taking his sweet time. That's 176 00:10:47,840 --> 00:10:49,440 Speaker 1: that's a long gap between books, but you know, it 177 00:10:49,440 --> 00:10:52,000 Speaker 1: takes a long time to write books. Genius cannot be forced. 178 00:10:52,360 --> 00:10:56,760 Speaker 1: There we go. Yeah, Yeah, Segundo Tomo deloso hid don 179 00:10:56,880 --> 00:11:01,120 Speaker 1: Quixote de la Mancha just translates to the second volume 180 00:11:01,240 --> 00:11:06,000 Speaker 1: of the Ingenious Hidalgo Don Quixote of the Mansion. So 181 00:11:06,440 --> 00:11:09,880 Speaker 1: it's it's not the most creative title, but it doesn't 182 00:11:09,920 --> 00:11:12,240 Speaker 1: need to be because the idea is that people will 183 00:11:12,280 --> 00:11:15,000 Speaker 1: see this and they'll have read this book they love 184 00:11:15,160 --> 00:11:18,160 Speaker 1: and they'll immediately snap up the sequel. By the way, 185 00:11:18,200 --> 00:11:22,040 Speaker 1: that Alonso name, uh, that's probably a pen name, a pseudonym. 186 00:11:22,400 --> 00:11:25,600 Speaker 1: The thing is, people were expecting this book, right, They 187 00:11:25,600 --> 00:11:28,480 Speaker 1: have been expecting a sequel for nine years, kind of 188 00:11:28,520 --> 00:11:31,880 Speaker 1: like all our Song of Ice and Fire fans and 189 00:11:31,920 --> 00:11:35,760 Speaker 1: the audience are still like me waiting for George R. R. 190 00:11:35,880 --> 00:11:39,559 Speaker 1: Martin to publish Winds of Winter. George, if you're listening 191 00:11:39,600 --> 00:11:43,120 Speaker 1: to podcast, I hope you're using the quarantine time wisely. 192 00:11:43,520 --> 00:11:46,120 Speaker 1: I was about to say, uh, no, time like the president, 193 00:11:46,200 --> 00:11:49,080 Speaker 1: Georg's come on, man, get it done. I did read it. 194 00:11:49,120 --> 00:11:50,839 Speaker 1: There's a chapter of it that came out. It's it 195 00:11:51,040 --> 00:11:53,840 Speaker 1: would seemed great. I'm really exact because you know, I 196 00:11:53,840 --> 00:11:56,640 Speaker 1: think everyone I think honestly not to get too off 197 00:11:56,679 --> 00:12:00,400 Speaker 1: off track. Probably to his benefit that people were so 198 00:12:00,480 --> 00:12:03,680 Speaker 1: let down by the end of the series. So now 199 00:12:03,720 --> 00:12:06,839 Speaker 1: he's got a chance to kind of redeem the franchise, 200 00:12:06,880 --> 00:12:08,240 Speaker 1: you know, and really come out with the way that 201 00:12:08,320 --> 00:12:11,600 Speaker 1: he wanted to end it. And God help him if 202 00:12:12,240 --> 00:12:14,439 Speaker 1: he ends it in the exact same way, because that's 203 00:12:14,440 --> 00:12:17,640 Speaker 1: just gonna wow talk about I mean, it's one thing 204 00:12:17,679 --> 00:12:20,600 Speaker 1: to devote your time to a television series. It's another 205 00:12:20,640 --> 00:12:23,520 Speaker 1: thing to devote your time to, like these massive books 206 00:12:23,520 --> 00:12:26,640 Speaker 1: where he describes plates of food for twenty pages. You know, 207 00:12:26,960 --> 00:12:30,640 Speaker 1: I mean, seriously, people are gonna be pist Yeah. That 208 00:12:31,040 --> 00:12:34,960 Speaker 1: series is one of the best examples of why I 209 00:12:35,040 --> 00:12:39,320 Speaker 1: have a policy now of not reading fantasy series unless 210 00:12:39,360 --> 00:12:42,480 Speaker 1: they're already complete. I just I can't deal with it anymore. 211 00:12:42,600 --> 00:12:45,800 Speaker 1: The heartbreak. And that's the situation. A lot of these 212 00:12:45,880 --> 00:12:49,120 Speaker 1: fans of Don Quixote were, and they said, you know, 213 00:12:49,559 --> 00:12:57,679 Speaker 1: we gotta have something, give us something, right the Second 214 00:12:58,200 --> 00:13:01,559 Speaker 1: Quixote book. What everybody leaves the Second Kyote Book to 215 00:13:01,600 --> 00:13:06,520 Speaker 1: be is weird because first off, it's definitely unauthorized, and secondly, 216 00:13:07,000 --> 00:13:11,840 Speaker 1: in the preface there are personal attacks on Cervantes himself. 217 00:13:12,800 --> 00:13:16,679 Speaker 1: Uh they say, you know, bad things about the guy. 218 00:13:16,840 --> 00:13:19,960 Speaker 1: And of course word gets back around to Cervantes. He 219 00:13:20,040 --> 00:13:23,959 Speaker 1: reads this, and he gets p o. This grinds his gears, 220 00:13:24,280 --> 00:13:29,080 Speaker 1: and this book starts being called the false Keyhote and 221 00:13:29,080 --> 00:13:33,480 Speaker 1: and Cervantes feels affronted. He's like, you know what I made, Keyhote. 222 00:13:33,960 --> 00:13:36,800 Speaker 1: This is my dude, I am the one who writes 223 00:13:36,840 --> 00:13:39,400 Speaker 1: these stories. That's right. And you know I was thinking 224 00:13:39,440 --> 00:13:42,120 Speaker 1: about this man. I'm sure you were too. The notion 225 00:13:42,440 --> 00:13:45,160 Speaker 1: that we have today we're so you know, used to 226 00:13:45,200 --> 00:13:49,120 Speaker 1: have intellectual property um and and like you know, trademarking 227 00:13:49,120 --> 00:13:52,720 Speaker 1: a character, for example, I don't think would have been 228 00:13:52,760 --> 00:13:55,000 Speaker 1: in play at all, right, it would have just been 229 00:13:55,040 --> 00:13:59,320 Speaker 1: a matter of of decorum. You know. It was poor 230 00:13:59,400 --> 00:14:01,480 Speaker 1: formed to you what this guy did, but probably not 231 00:14:01,679 --> 00:14:05,920 Speaker 1: something that Servants could have taken any actual legal recourse. Again, 232 00:14:06,120 --> 00:14:10,040 Speaker 1: so instead, he, being a man known for his wits, 233 00:14:10,600 --> 00:14:13,840 Speaker 1: decided to retaliate in the way that he was most 234 00:14:14,240 --> 00:14:18,840 Speaker 1: equipped to do, which was to write, uh, this false 235 00:14:18,920 --> 00:14:25,080 Speaker 1: key Hotel idea into his true keyote sequel. Yeah, yeah, 236 00:14:25,160 --> 00:14:28,000 Speaker 1: it's brilliant. Just I want to step back just a 237 00:14:28,080 --> 00:14:31,320 Speaker 1: sec to give some context here. Uh, Servant is, in 238 00:14:31,360 --> 00:14:37,360 Speaker 1: addition to being an amazing writer, was also like continually broke. 239 00:14:38,000 --> 00:14:41,240 Speaker 1: He wasn't uh, he wasn't super wealthy, just sort of 240 00:14:41,960 --> 00:14:45,040 Speaker 1: writing a novel on some kind of ladi da vibe. 241 00:14:45,680 --> 00:14:49,480 Speaker 1: He needed the novel to succeed to help him with 242 00:14:49,600 --> 00:14:53,080 Speaker 1: his continual money problems. He even got put in prison 243 00:14:53,360 --> 00:14:58,000 Speaker 1: one time on accusations of embezzlement or defrauding the state. 244 00:14:58,200 --> 00:15:00,640 Speaker 1: Would those be about the same thing at pends. I guess. 245 00:15:00,640 --> 00:15:02,920 Speaker 1: I mean, I think that you can embezzle from anyone, 246 00:15:02,960 --> 00:15:06,800 Speaker 1: but defrauding the state would be uh like probably evading 247 00:15:06,840 --> 00:15:09,360 Speaker 1: taxes or something like that, or maybe like cheating on 248 00:15:09,400 --> 00:15:12,600 Speaker 1: his taxes. Perhaps, Yeah, he was he was a tax collector. 249 00:15:12,880 --> 00:15:15,720 Speaker 1: Oh wow, Okay, I got it. Was he a gambler 250 00:15:15,800 --> 00:15:18,080 Speaker 1: or something that he had alcohol problems? What was his deal? 251 00:15:18,080 --> 00:15:21,760 Speaker 1: Why was he always so uh so broken and evading 252 00:15:21,760 --> 00:15:25,000 Speaker 1: the law like that? Yeah, details are a little bit 253 00:15:25,840 --> 00:15:28,200 Speaker 1: foggy for me on that part. At least I don't 254 00:15:28,200 --> 00:15:30,800 Speaker 1: recollect it. I hope my English teachers aren't mad at 255 00:15:30,840 --> 00:15:34,040 Speaker 1: me if you all listen to the show. Uh, but 256 00:15:34,080 --> 00:15:37,400 Speaker 1: we do know that whatever the problem was, he definitely 257 00:15:37,520 --> 00:15:41,440 Speaker 1: had money issues, and he did not have the scratch 258 00:15:41,840 --> 00:15:44,760 Speaker 1: the pony bones, the cheddar or the moo law to 259 00:15:45,560 --> 00:15:48,920 Speaker 1: fight this through legal means whatever exists at the time. 260 00:15:49,320 --> 00:15:53,280 Speaker 1: So instead he wrote his own sequel, and he, as 261 00:15:53,280 --> 00:15:58,960 Speaker 1: he said, Noel, wove this irritation he felt into that sequel. 262 00:15:59,160 --> 00:16:04,360 Speaker 1: He actually made Don Quixote defeat an impostor who was 263 00:16:04,440 --> 00:16:08,960 Speaker 1: drawn from that unauthorized version, and in in his story, 264 00:16:09,320 --> 00:16:14,840 Speaker 1: Quixote's false double shows up, and Quixote has to, uh, 265 00:16:14,880 --> 00:16:17,800 Speaker 1: you know, Kyote has to take care of him. And 266 00:16:18,440 --> 00:16:21,840 Speaker 1: this is weird because we should say Servantes didn't all 267 00:16:21,920 --> 00:16:24,600 Speaker 1: of a sudden start writing this when he learned of 268 00:16:24,640 --> 00:16:29,560 Speaker 1: the fake sequel. He had been writing this the entire time. 269 00:16:30,160 --> 00:16:34,520 Speaker 1: And he opens his own preface with like a distract 270 00:16:34,920 --> 00:16:39,080 Speaker 1: against this other thing, saying, quote, gentle reader, how eagerly 271 00:16:39,160 --> 00:16:42,360 Speaker 1: must thou be looking forward to this preface expecting to 272 00:16:42,400 --> 00:16:46,000 Speaker 1: find their retaliation scolding an abuse against the author of 273 00:16:46,040 --> 00:16:48,960 Speaker 1: the second Don Quixote. And then he just sort of 274 00:16:49,000 --> 00:16:52,480 Speaker 1: like styles on him for a while and says, you know, 275 00:16:52,720 --> 00:16:55,920 Speaker 1: this guy is gonna get it, And the entire argument 276 00:16:55,960 --> 00:16:59,240 Speaker 1: that he's having with himself gets aired out in the 277 00:16:59,280 --> 00:17:02,600 Speaker 1: second novel. It's a really creative way to respond. Like 278 00:17:02,920 --> 00:17:06,600 Speaker 1: you see other authors, like maybe um Stephen King is 279 00:17:06,640 --> 00:17:09,960 Speaker 1: famous for like having critics kind of show up in 280 00:17:10,000 --> 00:17:14,119 Speaker 1: his work, but nowhere nearest extreme is what Savantes does well. 281 00:17:14,160 --> 00:17:18,440 Speaker 1: And considering how close the release of this false Keyxote 282 00:17:18,680 --> 00:17:20,760 Speaker 1: was to the release of the real one, he must 283 00:17:20,760 --> 00:17:22,800 Speaker 1: have added this stuff in late in the game, right, Like, 284 00:17:22,840 --> 00:17:24,840 Speaker 1: I mean, it's not like he was just he didn't 285 00:17:24,880 --> 00:17:27,760 Speaker 1: write his second one in response to this. He was 286 00:17:27,800 --> 00:17:30,840 Speaker 1: already planning it because the first one is done a cliffhanger, 287 00:17:31,040 --> 00:17:33,000 Speaker 1: and like you said, he needed the scratch because he 288 00:17:33,080 --> 00:17:37,639 Speaker 1: was experiencing extreme financial duress or whatever, so he must have, 289 00:17:37,920 --> 00:17:39,840 Speaker 1: you know, when he found out about this gotten so 290 00:17:40,040 --> 00:17:42,119 Speaker 1: hopping mad that he decided to go in and tweak 291 00:17:42,160 --> 00:17:44,280 Speaker 1: it a little bit um. And it makes sense because 292 00:17:44,280 --> 00:17:46,280 Speaker 1: the stories are a kind of modular they can be. 293 00:17:46,480 --> 00:17:49,520 Speaker 1: There's there's multiple, you know, kind of self contained stories, 294 00:17:49,560 --> 00:17:51,880 Speaker 1: and he was just able to add to one of them. 295 00:17:51,920 --> 00:17:54,439 Speaker 1: But I love I love the way he diss is 296 00:17:54,880 --> 00:17:57,800 Speaker 1: this guy in in the preface because he's basically the 297 00:17:57,840 --> 00:18:00,639 Speaker 1: same life now it's been It would be beneath me, 298 00:18:00,760 --> 00:18:04,600 Speaker 1: a gentleman of my stature, to call names and then 299 00:18:04,640 --> 00:18:06,920 Speaker 1: proceeds to call names in saying these are the things 300 00:18:06,920 --> 00:18:09,160 Speaker 1: that I won't do, which I always love that approach. 301 00:18:09,240 --> 00:18:12,639 Speaker 1: That's such a fun, backhanded way to to talk smack 302 00:18:12,720 --> 00:18:16,080 Speaker 1: to somebody. Yeah, I really, you know, I love that 303 00:18:16,240 --> 00:18:19,560 Speaker 1: style so much, and it's still it's still lands even 304 00:18:19,600 --> 00:18:22,440 Speaker 1: today in like if this guy were here now, he'd 305 00:18:22,480 --> 00:18:25,040 Speaker 1: be writing for last Week Tonight or the Daily Show. 306 00:18:25,359 --> 00:18:28,879 Speaker 1: Uh No, I think we have we have an excerpt here, right. 307 00:18:29,000 --> 00:18:30,840 Speaker 1: This is the part that I really liked, where he's 308 00:18:30,960 --> 00:18:33,880 Speaker 1: the whole backhanded, like who me kind of thing, where 309 00:18:33,880 --> 00:18:37,280 Speaker 1: he goes thou wouldst have me call him ass fool 310 00:18:37,680 --> 00:18:41,520 Speaker 1: and malapert but I have no such intention. Let his 311 00:18:41,560 --> 00:18:45,639 Speaker 1: offense be his punishment with his bread, let him eat it, 312 00:18:46,160 --> 00:18:48,800 Speaker 1: and there's an end of it. But that's not what 313 00:18:48,960 --> 00:18:52,720 Speaker 1: happens at all. He was not going to leave well 314 00:18:52,800 --> 00:18:56,119 Speaker 1: enough alone. Now, yeah, yeah, it's interesting. So one of 315 00:18:56,160 --> 00:18:58,720 Speaker 1: the things that really blew my mind when I first 316 00:18:58,760 --> 00:19:04,679 Speaker 1: read it is in second volume, don Quixote encounters like 317 00:19:04,720 --> 00:19:08,399 Speaker 1: a form of celebrity. In the second half of what's 318 00:19:08,440 --> 00:19:12,280 Speaker 1: published today is one volume, he beats characters who know 319 00:19:12,520 --> 00:19:16,200 Speaker 1: him from the publication of the first book, and then 320 00:19:16,320 --> 00:19:21,320 Speaker 1: in chapter fifty nine he learns of the rival sequel 321 00:19:21,680 --> 00:19:26,199 Speaker 1: of aving Ada's book, and he is livid. He's like, 322 00:19:26,240 --> 00:19:29,679 Speaker 1: this is not how I am. This book does not 323 00:19:30,000 --> 00:19:33,600 Speaker 1: tray me accurately. And from that point on, from chapter 324 00:19:33,720 --> 00:19:37,960 Speaker 1: fifty nine on, he just keeps making fun of this book, 325 00:19:38,040 --> 00:19:40,720 Speaker 1: like mercilessly. Yeah. One of the characters that he meets 326 00:19:40,760 --> 00:19:44,520 Speaker 1: from from the the Pretender, uh Quixote, is a character 327 00:19:44,600 --> 00:19:49,359 Speaker 1: named Don Alvaro Tarfe and Quixote in in the second installment, 328 00:19:50,000 --> 00:19:53,920 Speaker 1: makes him sign a waiver or an affidavit attested that 329 00:19:53,960 --> 00:19:57,360 Speaker 1: the two have never met before. This is wonderful. It's 330 00:19:57,400 --> 00:19:59,480 Speaker 1: just just like, yeah, he was really he was really 331 00:20:00,000 --> 00:20:02,919 Speaker 1: having a good time with this. Honestly, it's funny because 332 00:20:03,240 --> 00:20:06,680 Speaker 1: there are multiple examples of this, and you can imagine 333 00:20:06,920 --> 00:20:09,919 Speaker 1: for people who read this book, if they don't know 334 00:20:10,000 --> 00:20:14,439 Speaker 1: about the history behind this rival sequel, you can imagine 335 00:20:14,480 --> 00:20:17,560 Speaker 1: how confusing it gets because now, all of a sudden, 336 00:20:17,560 --> 00:20:20,880 Speaker 1: this is a story about a story, and Don Quixote 337 00:20:21,080 --> 00:20:26,080 Speaker 1: is having these like more money, more problems kind of situations. Uh. 338 00:20:26,119 --> 00:20:29,800 Speaker 1: There's there's one scene in chapter seventy where a character 339 00:20:29,840 --> 00:20:34,960 Speaker 1: named Altisidora recounts her journey. She's talking about traveling to 340 00:20:35,040 --> 00:20:38,479 Speaker 1: Hell and she sees some devils playing tennis with books 341 00:20:38,840 --> 00:20:44,400 Speaker 1: instead of balls, and she notices one book in particular. 342 00:20:44,480 --> 00:20:46,520 Speaker 1: We've got We've got a quote there too. I think 343 00:20:46,800 --> 00:20:50,640 Speaker 1: that's right. Uh. It says one of them was brand new, 344 00:20:50,680 --> 00:20:53,560 Speaker 1: well bound book. They gave such a stroke that they 345 00:20:53,640 --> 00:20:56,240 Speaker 1: knocked the guts out of it and scattered the leaves about. 346 00:20:56,600 --> 00:20:59,679 Speaker 1: Look what book that is, said one devil to another, 347 00:20:59,720 --> 00:21:02,600 Speaker 1: and the other replied, it is second part of the 348 00:21:02,680 --> 00:21:07,320 Speaker 1: history of don Quixote of La Mancha. Uh, yeah, it's 349 00:21:07,359 --> 00:21:11,280 Speaker 1: it's not not by sid Hammett, which was the like 350 00:21:11,720 --> 00:21:14,879 Speaker 1: the mist, I guess the historian that's this referenced in 351 00:21:14,920 --> 00:21:18,440 Speaker 1: the original Don Quixote. And yeah, he's this scholar who 352 00:21:18,520 --> 00:21:20,879 Speaker 1: was like, hey, I have more documents that will be 353 00:21:20,880 --> 00:21:23,240 Speaker 1: coming in the second book. Yeah. And then the other 354 00:21:23,280 --> 00:21:25,719 Speaker 1: devil said, out of this with it and into the 355 00:21:25,760 --> 00:21:29,560 Speaker 1: depths of hell with it, out of my sight? And 356 00:21:29,600 --> 00:21:32,240 Speaker 1: the other devil said, is it so bad? And then 357 00:21:32,280 --> 00:21:33,800 Speaker 1: then then you got to do this one? Then this 358 00:21:33,880 --> 00:21:37,240 Speaker 1: is great? So bad? Is it? Said the first devil 359 00:21:37,520 --> 00:21:40,439 Speaker 1: that if I had set myself deliberately to make a 360 00:21:40,480 --> 00:21:45,280 Speaker 1: worse I could not have done it. Wonderful, wonderful stuff, 361 00:21:46,119 --> 00:21:49,320 Speaker 1: really really fun, really making me want to read all 362 00:21:49,359 --> 00:21:52,280 Speaker 1: three of these just to see what's what? Um oh yeah, 363 00:21:52,320 --> 00:21:53,920 Speaker 1: and then yeah, and then you know, like we were 364 00:21:53,920 --> 00:21:56,960 Speaker 1: I was getting out earlier, there really was no copyright 365 00:21:57,040 --> 00:21:59,200 Speaker 1: law to speak of, and we have a little bit 366 00:21:59,240 --> 00:22:02,080 Speaker 1: more detail about that and how that looked like at 367 00:22:02,119 --> 00:22:05,679 Speaker 1: the time. Yeah, so is this the best way to 368 00:22:05,840 --> 00:22:09,920 Speaker 1: handle what is essentially fan fiction. I don't know, maybe not, 369 00:22:10,160 --> 00:22:14,400 Speaker 1: but it's like the coolest, funniest way. So i'm I'm 370 00:22:14,440 --> 00:22:18,520 Speaker 1: I'm not the best judge here. But Servantes was still 371 00:22:18,600 --> 00:22:23,800 Speaker 1: like about a century early to modern copyright law. Uh 372 00:22:23,840 --> 00:22:26,680 Speaker 1: you know, the thing called the Statute of Anne gets 373 00:22:26,680 --> 00:22:30,520 Speaker 1: signed about a hundred years later in England, not in Spain. 374 00:22:30,960 --> 00:22:33,360 Speaker 1: And so at this point in his life, even if 375 00:22:33,359 --> 00:22:36,840 Speaker 1: Servants had money to take someone to court, somehow, he 376 00:22:36,920 --> 00:22:39,120 Speaker 1: didn't have all the pieces that he needed. There wasn't 377 00:22:39,119 --> 00:22:43,359 Speaker 1: illegal framework. He didn't know the real name of this 378 00:22:43,600 --> 00:22:46,840 Speaker 1: cheeky author, and even if he could find them, you know, 379 00:22:47,240 --> 00:22:51,040 Speaker 1: how would he pay legal fees? So instead he went 380 00:22:51,200 --> 00:22:54,240 Speaker 1: uber petty and I approved because it made for some 381 00:22:54,320 --> 00:23:02,600 Speaker 1: fantastic literature. That's the thing about the printing press. I mean, 382 00:23:02,600 --> 00:23:04,280 Speaker 1: it was sort of a double edged sword. Like on 383 00:23:04,320 --> 00:23:06,800 Speaker 1: the one hand, if you were a writer with something 384 00:23:06,840 --> 00:23:09,400 Speaker 1: to say and with ideas that that you know, would 385 00:23:09,440 --> 00:23:12,359 Speaker 1: benefit from a broad audience, you were able to do 386 00:23:12,440 --> 00:23:14,800 Speaker 1: that for the first time ever as opposed to the 387 00:23:14,880 --> 00:23:18,360 Speaker 1: oral tradition. Were really so many of those stories had 388 00:23:18,440 --> 00:23:21,040 Speaker 1: no um ownership attached to them, and they were just 389 00:23:21,080 --> 00:23:24,080 Speaker 1: passed down and changed, and you know, there was never 390 00:23:24,240 --> 00:23:27,560 Speaker 1: even this idea of the author as celebrity, right. But 391 00:23:27,680 --> 00:23:30,040 Speaker 1: on the other hand, it made it a lot easier 392 00:23:30,080 --> 00:23:32,840 Speaker 1: to make copies of copies, and you know, without any 393 00:23:32,880 --> 00:23:35,879 Speaker 1: copyright protection and that you know statute of an you 394 00:23:35,920 --> 00:23:39,920 Speaker 1: were talking about, there was really no protection for people's ideas, 395 00:23:40,359 --> 00:23:43,000 Speaker 1: and it would be so easy for someone. I mean, 396 00:23:43,000 --> 00:23:46,560 Speaker 1: I guess the technology was prohibitively expensive, so everyone couldn't 397 00:23:46,720 --> 00:23:49,360 Speaker 1: own a printing press. Obviously that but that was really 398 00:23:49,359 --> 00:23:51,879 Speaker 1: the only protection you had if if some you know, 399 00:23:52,480 --> 00:23:57,239 Speaker 1: scrappy band of you know bootleggers wanted to pitch in 400 00:23:57,280 --> 00:23:59,359 Speaker 1: together and get a printing press or make one or 401 00:23:59,359 --> 00:24:03,000 Speaker 1: whatever they could, and they could just copy other popular 402 00:24:03,040 --> 00:24:05,880 Speaker 1: works and sell them the way people sell bootleg band 403 00:24:05,920 --> 00:24:08,919 Speaker 1: t shirts outside of the Colosseum. You know, Oh, oh, 404 00:24:09,240 --> 00:24:12,919 Speaker 1: I got like book leggers, so I love it. No, 405 00:24:13,000 --> 00:24:17,679 Speaker 1: it's true, and that's absolutely what happened, and so you know, 406 00:24:17,800 --> 00:24:22,520 Speaker 1: it made servantes much more tuned into what the who 407 00:24:22,560 --> 00:24:26,719 Speaker 1: the real enemy was, um that it wasn't people copying 408 00:24:26,800 --> 00:24:32,000 Speaker 1: the stories. It was the printers who just wanted to 409 00:24:32,040 --> 00:24:35,320 Speaker 1: make money off other people's ideas and they didn't care about, um, 410 00:24:35,520 --> 00:24:37,720 Speaker 1: you know, robbing these folks who put their heart and 411 00:24:37,760 --> 00:24:40,440 Speaker 1: soul into these creative works. They just wanted to make 412 00:24:40,480 --> 00:24:44,200 Speaker 1: a buck. Uh. And again it would have been folks 413 00:24:44,280 --> 00:24:47,560 Speaker 1: that had money that could afford to start printers that 414 00:24:47,600 --> 00:24:51,359 Speaker 1: would have been benefiting from this. So he began to 415 00:24:51,680 --> 00:24:56,040 Speaker 1: actually call out kind of this culture, call out print 416 00:24:56,080 --> 00:24:59,400 Speaker 1: shop owners who were doing this kind of stuff. Yeah. Yeah, well, 417 00:25:00,200 --> 00:25:07,440 Speaker 1: Kyhote calls out the printers. He goes to uh, there's spoilers. 418 00:25:07,520 --> 00:25:11,359 Speaker 1: By the way, there's a scene in the second volume 419 00:25:11,359 --> 00:25:15,679 Speaker 1: of Don Kyote where the main character goes into a 420 00:25:15,720 --> 00:25:21,440 Speaker 1: print shop and is astounded by how terrible printers are. 421 00:25:21,560 --> 00:25:25,600 Speaker 1: He says, they're cheating authors, they're cheating translators. And in 422 00:25:26,160 --> 00:25:31,040 Speaker 1: the story don Quixote, how how like being John Malkovich 423 00:25:31,160 --> 00:25:35,200 Speaker 1: is this? In the story don Quixote, don Quixote finds 424 00:25:35,240 --> 00:25:38,880 Speaker 1: in this print shop an unauthorized version of his actual 425 00:25:39,000 --> 00:25:42,399 Speaker 1: life and it's been printed while he's standing there, and 426 00:25:42,440 --> 00:25:46,200 Speaker 1: he's like, come on, guys, and he leaves and this 427 00:25:46,680 --> 00:25:49,040 Speaker 1: is weird because you know, you think about it, isn't 428 00:25:49,040 --> 00:25:52,840 Speaker 1: it kind of against Cervantes's interest to take a swing 429 00:25:52,880 --> 00:25:56,880 Speaker 1: at publishers When they're literally the way he's gonna get paid. Yeah, 430 00:25:56,880 --> 00:25:58,760 Speaker 1: it's interesting and if you want to read more about 431 00:25:58,800 --> 00:26:00,440 Speaker 1: this and get a little more into the minutia of 432 00:26:00,520 --> 00:26:03,640 Speaker 1: this side of the story, highly recommend this article from 433 00:26:03,680 --> 00:26:07,760 Speaker 1: Smithsonian by Martin Puckner called how a ripped off sequel 434 00:26:07,760 --> 00:26:12,200 Speaker 1: of Don Quixote predicted piracy in the Digital Age. Uh, 435 00:26:12,200 --> 00:26:14,000 Speaker 1: it's it's it's the outside the scope I think of 436 00:26:14,000 --> 00:26:16,960 Speaker 1: this episode, but certainly a really interesting can of worms 437 00:26:17,000 --> 00:26:18,760 Speaker 1: that was opened there, and and a and a double 438 00:26:18,840 --> 00:26:22,120 Speaker 1: edged sword. As all technology often is like we see 439 00:26:22,240 --> 00:26:26,560 Speaker 1: with you know, things like napster and electronic you know, 440 00:26:26,720 --> 00:26:30,159 Speaker 1: copies of software and cracking things and being able to 441 00:26:30,680 --> 00:26:33,000 Speaker 1: more or less steal but doesn't feel like stealing was 442 00:26:33,040 --> 00:26:35,679 Speaker 1: You're not actually stealing it from a human, you know, 443 00:26:35,840 --> 00:26:38,239 Speaker 1: you are just stealing an idea. So it's a lot 444 00:26:38,280 --> 00:26:40,359 Speaker 1: easier to justify, right, And I think that was really 445 00:26:40,720 --> 00:26:45,520 Speaker 1: really predicted that pretty intensely. Yeah, So it's funny because 446 00:26:45,680 --> 00:26:49,679 Speaker 1: this extends to all media, you know, anybody. I was 447 00:26:49,720 --> 00:26:53,679 Speaker 1: watching some old like VHS rips earlier, and I remembered 448 00:26:53,680 --> 00:26:57,000 Speaker 1: with a tinge of nostalgia that FBI warning that pops 449 00:26:57,119 --> 00:26:59,520 Speaker 1: up like when I saw that as a kid. I 450 00:26:59,520 --> 00:27:02,560 Speaker 1: took that very seriously. I didn't you know by the 451 00:27:02,600 --> 00:27:06,200 Speaker 1: time that, uh, that old ad against piracy for movies 452 00:27:06,280 --> 00:27:08,480 Speaker 1: came out, the one that was like you wouldn't download 453 00:27:08,480 --> 00:27:10,800 Speaker 1: a car, would you? By the time that came out, 454 00:27:11,200 --> 00:27:14,639 Speaker 1: I felt like I might download a car if I could. 455 00:27:14,800 --> 00:27:16,800 Speaker 1: That was the most interesting part of that. P s A. 456 00:27:17,320 --> 00:27:21,040 Speaker 1: But yeah, you're right. This has such an excellent relevance 457 00:27:21,520 --> 00:27:25,200 Speaker 1: to today, to the world where we're moving beyond physical 458 00:27:25,240 --> 00:27:29,040 Speaker 1: media into you know, zeros and ones that you can 459 00:27:29,080 --> 00:27:33,359 Speaker 1: send back and forth across the world. So hats off, 460 00:27:33,560 --> 00:27:36,560 Speaker 1: you know, to servants. I wish more people would handle 461 00:27:36,600 --> 00:27:40,560 Speaker 1: piracy this way. Wouldn't that be, like, I don't know, 462 00:27:40,760 --> 00:27:44,280 Speaker 1: we don't We don't have as much creative piracy I 463 00:27:44,280 --> 00:27:46,320 Speaker 1: want to say here in the US, like there's not 464 00:27:46,400 --> 00:27:51,439 Speaker 1: an unauthorized Avengers coming out Revengers. Well no, no, actually 465 00:27:51,440 --> 00:27:53,720 Speaker 1: that's not entirely true. Then there's this company called the 466 00:27:53,920 --> 00:27:57,440 Speaker 1: uh what are they called, um, the Asylum who makes 467 00:27:57,480 --> 00:28:03,000 Speaker 1: these movies called Mockbusters Streets video guys. So, but they 468 00:28:03,200 --> 00:28:07,440 Speaker 1: really do genuinely capitalize Back in the days of video 469 00:28:07,520 --> 00:28:10,720 Speaker 1: stores especially, I guess now in terms of browsing thumbnails 470 00:28:10,720 --> 00:28:15,280 Speaker 1: of people having brand confusions. So instead of transformers, they've 471 00:28:15,280 --> 00:28:18,719 Speaker 1: got trans morphers, and instead of snakes on a plane, 472 00:28:18,760 --> 00:28:22,359 Speaker 1: they've got snakes on a train. And it's just different 473 00:28:22,480 --> 00:28:25,919 Speaker 1: enough that someone might accidentally rent the wrong one. And 474 00:28:25,960 --> 00:28:28,199 Speaker 1: these are the folks that are responsible, I believe, for 475 00:28:28,320 --> 00:28:30,600 Speaker 1: like the Shark Canado movies, or maybe it was like 476 00:28:30,880 --> 00:28:33,879 Speaker 1: Mega Shark versus Giant Squid or stuff like that, but 477 00:28:34,200 --> 00:28:38,680 Speaker 1: total schlockmeisters. But that, to me is is a relatively 478 00:28:38,760 --> 00:28:43,080 Speaker 1: interesting form of plagiarism. Yeah, yeah, especially uh, I can't 479 00:28:43,080 --> 00:28:45,520 Speaker 1: be the only one who has seen so many of 480 00:28:45,520 --> 00:28:47,880 Speaker 1: those on Netflix, you know what I mean, They're all 481 00:28:47,920 --> 00:28:50,920 Speaker 1: over the place. Netflix is very much like the video 482 00:28:51,440 --> 00:28:55,040 Speaker 1: streaming version of that meme where the parents says we 483 00:28:55,120 --> 00:28:57,640 Speaker 1: can't eat out, we have food at home, and then 484 00:28:57,680 --> 00:29:00,000 Speaker 1: you look over at the movie that's food at home 485 00:29:00,400 --> 00:29:04,959 Speaker 1: and it's like the Revengers or Spirit Slappers, Spirit Slappers. 486 00:29:05,560 --> 00:29:09,880 Speaker 1: I love it, but yeah, servants, you know uh. He 487 00:29:09,880 --> 00:29:12,320 Speaker 1: he kind of felt a little burned by all of this, 488 00:29:12,480 --> 00:29:16,040 Speaker 1: and he was obviously a really smart, witty uh fellow, 489 00:29:16,280 --> 00:29:21,800 Speaker 1: and he decided to unequivocally kill off his character. I 490 00:29:21,840 --> 00:29:24,120 Speaker 1: don't want to spoil it too much, because again I 491 00:29:24,640 --> 00:29:26,760 Speaker 1: haven't read this, and I really want to because this sounds. 492 00:29:26,800 --> 00:29:29,680 Speaker 1: I didn't realize how kind of trippy and meta the 493 00:29:29,720 --> 00:29:32,000 Speaker 1: whole thing is, So I'm super looking forward to digging 494 00:29:32,000 --> 00:29:35,760 Speaker 1: into this for maybe my quarantine reading. Um. But yeah, 495 00:29:35,800 --> 00:29:37,600 Speaker 1: he he made it. He left no room for there 496 00:29:37,600 --> 00:29:42,680 Speaker 1: to be a sequel and completely closed the book on 497 00:29:43,080 --> 00:29:47,280 Speaker 1: on don Quixote closed the book. Totally stole that from 498 00:29:47,280 --> 00:29:50,560 Speaker 1: a blog post, by the way, so just don't accuse 499 00:29:50,600 --> 00:29:55,320 Speaker 1: me of plagiarizing nypl dot org slash blog slash slashforth 500 00:29:55,400 --> 00:30:01,040 Speaker 1: lash slash kse dash falts dash quyhote ridiculou this history. Folks, 501 00:30:01,200 --> 00:30:04,920 Speaker 1: come for the historical headline, but do please stay for 502 00:30:05,040 --> 00:30:09,560 Speaker 1: our quarantine crowd work. Uh. You know, there's one interesting 503 00:30:09,600 --> 00:30:12,440 Speaker 1: theory I think. I think this is a good like 504 00:30:12,520 --> 00:30:16,240 Speaker 1: speculative note maybe to end on for today. I don't 505 00:30:16,280 --> 00:30:19,040 Speaker 1: know if you guys have heard this, but we still 506 00:30:19,040 --> 00:30:22,400 Speaker 1: don't know and we probably never really will know who 507 00:30:22,480 --> 00:30:27,800 Speaker 1: the author of that unauthorized sequel is. Some historians have 508 00:30:28,120 --> 00:30:32,360 Speaker 1: argued that it may have been Servantes himself. What yeah, 509 00:30:32,400 --> 00:30:36,800 Speaker 1: that he may have been having this this weird pr stunt. 510 00:30:37,320 --> 00:30:42,880 Speaker 1: I don't think that's super likely, but if so, it is, yeah, wow, 511 00:30:43,440 --> 00:30:47,240 Speaker 1: manufacturing a beef with yourself with a made up version 512 00:30:47,280 --> 00:30:50,120 Speaker 1: of yourself and then writing it into Oh my god. 513 00:30:50,120 --> 00:30:51,720 Speaker 1: The more I think about it, but I want to 514 00:30:51,760 --> 00:30:53,880 Speaker 1: believe that that's true. I don't even care about the evidence. 515 00:30:53,920 --> 00:30:56,200 Speaker 1: I'm just gonna choose to believe it that's true because 516 00:30:56,240 --> 00:30:58,920 Speaker 1: that is fantastic. And did Servantas write anything else? Or 517 00:30:58,960 --> 00:31:00,520 Speaker 1: was he? That was he was kind of one and 518 00:31:00,600 --> 00:31:03,040 Speaker 1: done guy. He was just so influential with that one 519 00:31:03,080 --> 00:31:05,760 Speaker 1: work that he just kind of faded out. He wrote 520 00:31:05,760 --> 00:31:10,120 Speaker 1: a lot of food reviews, uh, and for furniture reviews. 521 00:31:10,480 --> 00:31:16,000 Speaker 1: Really no, Okay, well, yeah, I would have believed that 522 00:31:16,360 --> 00:31:19,800 Speaker 1: he did. Uh. He's you know, by far best known 523 00:31:19,920 --> 00:31:24,320 Speaker 1: for don Quyote, but he wrote a number of other 524 00:31:24,560 --> 00:31:29,320 Speaker 1: things as well, um, including poems. Uh. He was apparently 525 00:31:29,360 --> 00:31:33,760 Speaker 1: not a super great poet, kind of like uh Ernest anyway, 526 00:31:33,920 --> 00:31:35,800 Speaker 1: you know what I mean. His gift was more for prose. 527 00:31:35,800 --> 00:31:38,040 Speaker 1: I mean, let's be real kind of like n of 528 00:31:38,120 --> 00:31:42,160 Speaker 1: quote unquote poets. So yeah, tot take there. You gotta 529 00:31:42,200 --> 00:31:44,600 Speaker 1: be real good to make poetry work. I'm just putting 530 00:31:44,600 --> 00:31:47,400 Speaker 1: that out there. Oh yeah, yeah, I've often I've often 531 00:31:47,400 --> 00:31:50,760 Speaker 1: said the same thing. Your your estimation is actually more 532 00:31:50,840 --> 00:31:54,840 Speaker 1: generous than mine, just to be honest. But when when 533 00:31:54,840 --> 00:31:58,280 Speaker 1: you get to that ten percent, poetry is amazing. It's 534 00:31:58,360 --> 00:32:00,959 Speaker 1: just it just so happens that Savantes was not an 535 00:32:00,960 --> 00:32:06,080 Speaker 1: amazing poet. But he wrote, He wrote farces, he wrote 536 00:32:06,080 --> 00:32:11,040 Speaker 1: other stories. Uh, he wrote dialogues. Uh. He he was prolific, 537 00:32:11,240 --> 00:32:14,640 Speaker 1: you know, he was prolific. Uh, he was super petty. 538 00:32:14,720 --> 00:32:17,000 Speaker 1: I think he and Oscar Wilde would have been great 539 00:32:17,040 --> 00:32:21,640 Speaker 1: friends until they inevitably, uh fell out over probably over 540 00:32:21,760 --> 00:32:24,360 Speaker 1: some kind of pun you know. Oh I'm sure. I'm 541 00:32:24,400 --> 00:32:30,040 Speaker 1: sure it was a punishing beef. No, that's fine, No, No, 542 00:32:30,120 --> 00:32:33,200 Speaker 1: that was good. People can't see it. But I was nodding, 543 00:32:33,240 --> 00:32:35,000 Speaker 1: You were nodding and I and I was nodding at 544 00:32:35,040 --> 00:32:36,840 Speaker 1: your last quip as well. Ben So, I just don't 545 00:32:36,840 --> 00:32:38,360 Speaker 1: want anybody to think that we don't have each other's 546 00:32:38,360 --> 00:32:41,920 Speaker 1: backs here with our bad humor. Um. But yeah, this 547 00:32:42,000 --> 00:32:44,800 Speaker 1: is a great story, man. And the thing is that 548 00:32:44,880 --> 00:32:47,120 Speaker 1: really leads me to believe that maybe it really was him, 549 00:32:47,200 --> 00:32:50,960 Speaker 1: that it was just like a like elaborate publicity stunt. No, 550 00:32:51,000 --> 00:32:53,640 Speaker 1: one would have even known about this in history if 551 00:32:53,680 --> 00:32:55,760 Speaker 1: it hadn't have been for him making such a to 552 00:32:55,800 --> 00:32:57,920 Speaker 1: do about it and writing it in to his own 553 00:32:57,960 --> 00:33:02,080 Speaker 1: work and name dropping you know every turn. Uh. So, 554 00:33:02,760 --> 00:33:05,400 Speaker 1: really hats off to him for not only you know, 555 00:33:05,480 --> 00:33:08,600 Speaker 1: having the most clever way of responding to kind of 556 00:33:08,640 --> 00:33:12,320 Speaker 1: being ripped off, but for like kind of also big 557 00:33:12,400 --> 00:33:15,360 Speaker 1: upping the rip offer and sort of like making him 558 00:33:15,440 --> 00:33:17,520 Speaker 1: kind of stand the test of time and and and 559 00:33:17,640 --> 00:33:20,400 Speaker 1: have schmucks like us talking about Yeah, that's a good point. 560 00:33:20,480 --> 00:33:22,680 Speaker 1: It's kind of like to go back to the disk 561 00:33:23,040 --> 00:33:27,360 Speaker 1: mixtape example. One thing that a lot of celebrities in 562 00:33:27,400 --> 00:33:31,200 Speaker 1: the world of hip hop do is is gained notoriety 563 00:33:31,240 --> 00:33:34,920 Speaker 1: and attention by sort of manufacturing conflicts. You know. And 564 00:33:34,960 --> 00:33:37,400 Speaker 1: if you're an up and coming MC, for a long time, 565 00:33:37,840 --> 00:33:41,800 Speaker 1: the best path to success was to uh, was to 566 00:33:41,880 --> 00:33:45,840 Speaker 1: insult an established rapper and then have them mention you 567 00:33:46,400 --> 00:33:49,880 Speaker 1: on their album because that's so much free publicity. So 568 00:33:50,560 --> 00:33:52,760 Speaker 1: I'm with you there. No, I would also like to 569 00:33:52,800 --> 00:33:58,080 Speaker 1: believe that Cervantes did this entire thing himself. I don't 570 00:33:58,120 --> 00:34:01,880 Speaker 1: know if it's true, but boy I I wish it was. Uh. 571 00:34:02,160 --> 00:34:07,560 Speaker 1: This brings our tail for today to a close. What 572 00:34:07,600 --> 00:34:09,840 Speaker 1: do what do you think? Folks? Let us know. Do 573 00:34:09,880 --> 00:34:14,680 Speaker 1: you think Cervantes kind of ran a coln on everybody 574 00:34:14,680 --> 00:34:17,200 Speaker 1: in the literary world of the time, or do you 575 00:34:17,239 --> 00:34:22,480 Speaker 1: think that he really was responding sincerely to a counterfeiting attempt. Yeah, 576 00:34:22,520 --> 00:34:23,680 Speaker 1: let us know what you think. You can write to 577 00:34:23,760 --> 00:34:26,239 Speaker 1: us at Ridiculous at iHeart radio dot com. You can 578 00:34:26,320 --> 00:34:28,759 Speaker 1: check us out on Facebook and please do join our 579 00:34:28,800 --> 00:34:32,760 Speaker 1: Facebook group, the Ridiculous Historians, where there's always a good 580 00:34:32,840 --> 00:34:35,440 Speaker 1: memory and chit chat to be had and and and 581 00:34:35,840 --> 00:34:38,280 Speaker 1: Ben and I will occasionally lurk in there and pop 582 00:34:38,320 --> 00:34:41,080 Speaker 1: into the comments from time to time, So all you 583 00:34:41,120 --> 00:34:43,279 Speaker 1: have to do to get in is name one of 584 00:34:43,360 --> 00:34:47,040 Speaker 1: the three of us, or just say something humorous or 585 00:34:47,080 --> 00:34:49,640 Speaker 1: let us know that you you know, actually, uh, listen 586 00:34:49,680 --> 00:34:52,080 Speaker 1: to the show and aren't a Russian bought like Gabe Luisier. 587 00:34:52,280 --> 00:34:55,200 Speaker 1: I'm just kidding. We've established the US in fact real person. Uh. 588 00:34:55,280 --> 00:34:57,879 Speaker 1: Big thanks to him, our research associate extraordinaire who will 589 00:34:57,920 --> 00:35:00,960 Speaker 1: be appearing on the show very soon. Huge thanks to 590 00:35:01,000 --> 00:35:04,760 Speaker 1: super producer Casey Pegram Alex Williams who composed our theme, 591 00:35:05,200 --> 00:35:08,640 Speaker 1: and as always, thank you to another character you can 592 00:35:08,640 --> 00:35:12,799 Speaker 1: see lurking around our Facebook page Ridiculous Historians, the one 593 00:35:12,800 --> 00:35:16,960 Speaker 1: and only Jonathan Strickland, a k a. The Quister. Uh 594 00:35:17,000 --> 00:35:19,200 Speaker 1: if you if you summon him, he might show up, 595 00:35:19,239 --> 00:35:21,880 Speaker 1: But then again, we may show up too. We also 596 00:35:21,920 --> 00:35:25,439 Speaker 1: want to thank as always Eve's Jeff Cope. Shout out 597 00:35:25,440 --> 00:35:29,120 Speaker 1: to Cheryl Crow. Glad we glad we squashed that beef. Uh. 598 00:35:29,160 --> 00:35:33,319 Speaker 1: Shout out to uh Cervantes himself. Shout out to Don 599 00:35:33,400 --> 00:35:36,920 Speaker 1: Quixote and no thanks and shout out to you. We'll 600 00:35:36,920 --> 00:35:45,799 Speaker 1: see you next Sundflix. For more podcasts for my Heart Radio, 601 00:35:45,880 --> 00:35:48,520 Speaker 1: visit the I Heart Radio app, Apple Podcasts, or wherever 602 00:35:48,680 --> 00:35:50,200 Speaker 1: you listen to your favorite shows