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CLASSIC: Yes, Those are Corpses in the Diorama · Ridiculous History

• 0:00
  Speaker 1: Ridiculous historians. Thank you, as always so much for tuning in.
• 0:04
  Speaker 1: This is a classic episode for you. Some of us
• 0:08
  Speaker 1: are on the road, some of us are on adventures.
• 0:11
  Speaker 1: But before we go, you know, we couldn't leave you
• 0:15
  Speaker 1: without a dope. Beat to step two and been Bullen
• 0:18
  Speaker 1: joined with our super producer Max Williams. Max, there are
• 0:23
  Speaker 1: corpses in dioramas, or there were?
• 0:26
  Speaker 2: There were?
• 0:26
  Speaker 3: Or are they still in dioramas? So when I saw
• 0:29
  Speaker 3: the title of this one, so a little behind the scenes.
• 0:32
  Speaker 3: These episodes are from before I worked on the show,
• 0:34
  Speaker 3: so I'm learning these normally with like you know, the listeners.
• 0:38
  Speaker 3: But it reminded me of when we did the crash
• 0:41
  Speaker 3: Test Dummies episode a couple of years back, Yeah, where
• 0:43
  Speaker 3: it was like, oh, they used corpses in the past
• 0:45
  Speaker 3: to test them and then the answer was they still
• 0:48
  Speaker 3: use corpses. Are they still using corpses in dioramas?
• 0:51
  Speaker 1: Ben, Well, I'm glad you asked, Max, because if they are,
• 0:56
  Speaker 1: it is not sanctioned today. However, in this classic episode,
• 1:01
  Speaker 1: we're going to learn how the Carnegie Museum of Natural
• 1:05
  Speaker 1: History did use corpses in dioramas. If you're interested in
• 1:12
  Speaker 1: learning about more strange uses for corpses. Check out the
• 1:16
  Speaker 1: earlier car Stuff episode on the Grizzly history of crash
• 1:20
  Speaker 1: test dummies, as well as our Ridiculous History episode on
• 1:24
  Speaker 1: the same subject. For now, folks, if you get squigged
• 1:28
  Speaker 1: out by things that are a little bit macabre, then
• 1:33
  Speaker 1: this episode might not be for you, but for everybody else.
• 1:38
  Speaker 1: Welcome to Ridiculous History. Ridiculous History is a production of iHeartRadio. Hello. Hello, Hello,
• 2:12
  Speaker 1: friends and neighbors. Thank you for tuning in. We'd like
• 2:15
  Speaker 1: to start today's show with a question, what was the
• 2:19
  Speaker 1: first museum you went to, or, if you prefer, what's
• 2:25
  Speaker 1: the weirdest exhibit you have ever seen in a museum?
• 2:28
  Speaker 2: Are you asking me? Or is this for the is that?
• 2:30
  Speaker 2: Are we pulling the audience?
• 2:31
  Speaker 1: This is foreveryone.
• 2:32
  Speaker 2: Do we have to wait for the results to come in.
• 2:34
  Speaker 1: We'll have to wait for you all listening. But I'd
• 2:38
  Speaker 1: like to hear from you now. I'm Ben your knowing.
• 2:40
  Speaker 2: Oh, thank you, Ben, Thank you for introducing me. I
• 2:42
  Speaker 2: appreciate it. The first, that's a first? Is that a first?
• 2:44
  Speaker 4: That's a first?
• 2:45
  Speaker 1: I feel like we're getting more organic with our intros.
• 2:49
  Speaker 2: Almost like we're getting a little familiar. It's like we've
• 2:52
  Speaker 2: done a few of these.
• 2:53
  Speaker 1: It's like we're becoming veterans. Which funny story. Did you
• 2:58
  Speaker 1: notice that in the initial pro for this show we're
• 3:02
  Speaker 1: referred to as veteran podcasters.
• 3:04
  Speaker 2: Veteran podcasters, that means we've been to podcast war.
• 3:08
  Speaker 1: That's true. We came out changed. But the only way
• 3:12
  Speaker 1: we got through that, and the only way we get
• 3:14
  Speaker 1: through this show, of course, is with our super producer,
• 3:17
  Speaker 1: Casey Pegrom that part of the intro. We're always going
• 3:21
  Speaker 1: to keep it.
• 3:21
  Speaker 5: I'll never get tired of it. And I mean that
• 3:23
  Speaker 5: with my whole entire heart. Speaking of whole entire hearts,
• 3:26
  Speaker 5: I will answer real quick your question. I recently went
• 3:30
  Speaker 5: to a museum that had that was by far the
• 3:34
  Speaker 5: most bizarre and amazing display of stuff I'd ever experienced.
• 3:39
  Speaker 5: A place called the Museum of Death in Los Angeles,
• 3:42
  Speaker 5: was also one in New Orleans, and it has everything
• 3:45
  Speaker 5: from preserved human hearts, you know, in glass.
• 3:49
  Speaker 2: Jars, to fetuses. There's a whole section on embalming and
• 3:56
  Speaker 2: funereal kind of relics from, you know, the way they
• 3:58
  Speaker 2: used to do things back in in times. Spoiler alert
• 4:02
  Speaker 2: wasn't pretty and an array of grizzly, grizzly crime scene photos,
• 4:06
  Speaker 2: the likes of which I've never seen anywhere in my
• 4:09
  Speaker 2: entire life, just the stuff of nightmares.
• 4:11
  Speaker 1: Follow up question, Yes, do they have a gift shop? Oh?
• 4:14
  Speaker 2: Big time. I bought a coffee mug. And one of
• 4:17
  Speaker 2: the things they also had in this museum was a
• 4:20
  Speaker 2: whole room devoted to taxidermy, in particular a section with
• 4:25
  Speaker 2: beloved pets that had been taxidermized.
• 4:29
  Speaker 1: Taxi dermy, taxidermy.
• 4:31
  Speaker 2: That seems better, That seems more right, taxt boom.
• 4:34
  Speaker 1: If you want to be cool, what about you?
• 4:35
  Speaker 2: Ben?
• 4:36
  Speaker 1: Thanks for asking, man. Yeah, I love museums. It's no secret.
• 4:40
  Speaker 1: Anybody who interacts in the world as social media and
• 4:44
  Speaker 1: finds me on there will typically see that. Whenever I
• 4:48
  Speaker 1: travel to a new city, the first thing I want
• 4:50
  Speaker 1: to do is find a museum. And we are very fortunate,
• 4:54
  Speaker 1: you and Casey and I altogether, because the United States
• 4:59
  Speaker 1: is chock full of fantastic museum just lousy with them,
• 5:03
  Speaker 1: just lousy, rife with them. There should be a museum
• 5:05
  Speaker 1: about museums. Is that too metal?
• 5:08
  Speaker 2: That's way too many.
• 5:09
  Speaker 5: You immediately get swallowed up into some kind of time
• 5:12
  Speaker 5: space wormhole.
• 5:13
  Speaker 1: So what would the gift shop sell? Would they sell
• 5:15
  Speaker 1: gift shops? I can't even then, Noel is shaking his head. Here.
• 5:20
  Speaker 1: The Carnegie Museum of Natural History is the setting for
• 5:24
  Speaker 1: our episode today, or at least our starting point. And
• 5:30
  Speaker 1: have you been to the Carnegie pas?
• 5:31
  Speaker 2: I have not. I am a shamefully under museumed. I've
• 5:35
  Speaker 2: been to a handful of cool art museums, but not
• 5:38
  Speaker 2: very many natural history museums. I've been the one in
• 5:40
  Speaker 2: New York. I've been to the matt Obviously, there's a
• 5:42
  Speaker 2: natural history museum here in Atlanta, Fernbank, fern Bank that
• 5:46
  Speaker 2: I have never been to. Spoiler alert. We might take
• 5:48
  Speaker 2: a trip there one day for a little extra credit.
• 5:52
  Speaker 1: Yes, behind the scenes, I have been cajoling Casey and
• 5:56
  Speaker 1: Noel to come check out fern Bank. I have nothing
• 5:59
  Speaker 1: but good thing to say about it.
• 6:00
  Speaker 2: Do they have a mammoth?
• 6:02
  Speaker 1: They do not, as far as I know.
• 6:05
  Speaker 2: Now, I'm not going.
• 6:06
  Speaker 1: Okay, well, I will text you pictures.
• 6:09
  Speaker 2: I'll go great. Great.
• 6:10
  Speaker 1: They also have an IMAX.
• 6:11
  Speaker 2: I don't want to. I don't want to experience fomo.
• 6:14
  Speaker 1: Right right, especially at a museum.
• 6:16
  Speaker 2: No museum, fomo is the worst.
• 6:18
  Speaker 1: So the Carnegie Museum of Natural History has a wealth
• 6:24
  Speaker 1: of exhibits, and this is a story prestigious institution. One
• 6:30
  Speaker 1: of their exhibits is called Lion Attacking a Dromedary.
• 6:35
  Speaker 5: Yeah, and you know, it's funny. I've seen they call
• 6:38
  Speaker 5: them dioramas, which I think is interesting. When I think
• 6:40
  Speaker 5: of a diorama, I think of the shoe getting out
• 6:43
  Speaker 5: of a shoe box and cut out little you know,
• 6:45
  Speaker 5: the baby Jesus or something. But no, these this is
• 6:48
  Speaker 5: a diorama in that it's posed taxidermid creatures in very
• 6:54
  Speaker 5: dramatic throes of action. Right, this one is no exception.
• 6:59
  Speaker 5: It is a dramedary, a camel and a lion that
• 7:03
  Speaker 5: is just like I mean, it's really quite remarkable.
• 7:05
  Speaker 2: There's a dead female lion on the ground.
• 7:08
  Speaker 5: Inexplicably, they don't you don't really understand what happened to
• 7:11
  Speaker 5: the dramedary gnaw it.
• 7:12
  Speaker 1: To death because you stomp it, more likely.
• 7:14
  Speaker 2: Stomp it, I guess, yeah, I guess they they've got
• 7:17
  Speaker 2: some stomping power.
• 7:18
  Speaker 5: But the lion is just on it, just set upon
• 7:20
  Speaker 5: this dramendary that is, you know, just in these throes
• 7:23
  Speaker 5: of agony. Its head, you know, rearing back, its teeth exposed,
• 7:27
  Speaker 5: and it just looks really pained.
• 7:28
  Speaker 2: And then on top of this drameddary is a rider,
• 7:33
  Speaker 2: right ben mm hmm. Absolutely, So this is a snapshot.
• 7:38
  Speaker 2: It's as though you're viewing a three D photograph, a tableau.
• 7:43
  Speaker 2: We're entering in media arrests in the middle of the story,
• 7:46
  Speaker 2: and there is a rider here, a man who is
• 7:50
  Speaker 2: riding the camel being attacked by this lion, possibly an
• 7:53
  Speaker 2: act of vengeance on the male lion's part, because you'll
• 7:57
  Speaker 2: notice when you pull up the photo the man is
• 8:02
  Speaker 2: holding a knife in his right hand as he leans
• 8:06
  Speaker 2: away from the attacking male lion. And just to get
• 8:10
  Speaker 2: this out of the way, we know that taxidermy can
• 8:13
  Speaker 2: seem a little controversial or even creepy to some people
• 8:17
  Speaker 2: a little bit, and that's understandable. We know that the
• 8:23
  Speaker 2: animals in this are taxidermy. They were once living and
• 8:27
  Speaker 2: now they have been transformed into these sculptures. But there
• 8:32
  Speaker 2: was a strange, gruesome twist that people discovered after this
• 8:39
  Speaker 2: diorama was made, and it's the following. It turns out
• 8:43
  Speaker 2: the rider in this diorama is not entirely artificial. Yeah,
• 8:48
  Speaker 2: I mean, that's certainly. The implication here is that, okay,
• 8:51
  Speaker 2: the lion's taxidermy, the lion asksays, the dramedary is, but
• 8:55
  Speaker 2: the guy on top is, you know, presumed to be
• 8:58
  Speaker 2: a mannequin of some sort. Mostly, yeah, that's true, except
• 9:01
  Speaker 2: when you take a good look at this guy's face
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  Speaker 2: very expertly rendered, might I add by French taxidermist and
• 9:09
  Speaker 2: naturalist Eduard Verreau in the mid eighteen hundreds, very very
• 9:15
  Speaker 2: amazing attention to detail on this guy's face. But when
• 9:18
  Speaker 2: you look at the teeth, there's something about it. It's
• 9:20
  Speaker 2: a little off or maybe a little too on.
• 9:24
  Speaker 1: Yeah, I like the phrase, a little too on the
• 9:29
  Speaker 1: teeth give it away. And in the early nineteen nineties,
• 9:35
  Speaker 1: conservation records indicated that the conservators of the museum and
• 9:40
  Speaker 1: of the piece said, wait a second, I know my
• 9:44
  Speaker 1: mannequin teeth, and these teeth are too real.
• 9:48
  Speaker 5: Yeah, there's an amazing photograph of it up close on
• 9:51
  Speaker 5: a National Geographic article called one hundred and fifty year
• 9:53
  Speaker 5: old Diorama surprises scientists with human remains, Because yes, the
• 9:59
  Speaker 5: basis for this, this mannequin head was in fact a
• 10:02
  Speaker 5: human skull of undetermined or at least quite difficult to
• 10:07
  Speaker 5: determine origins. And they found this out after doing a
• 10:11
  Speaker 5: CT scan of the thing. So basically, the skull was
• 10:15
  Speaker 5: the basis. Everything was molded around the skull to get
• 10:18
  Speaker 5: that shape, and then the teeth were laid bare, you know,
• 10:22
  Speaker 5: like those are.
• 10:23
  Speaker 2: The teeth and it. You know, if you look at
• 10:24
  Speaker 2: this close up, you can really tell.
• 10:26
  Speaker 1: Yes, you can really tell because the face itself, which
• 10:31
  Speaker 1: has been constructed, as you mentioned, from the skull, the
• 10:34
  Speaker 1: face obviously builds on anatomical patterns. Muscles, the eyes are
• 10:39
  Speaker 1: clearly fake.
• 10:40
  Speaker 2: Right.
• 10:41
  Speaker 1: You get that it's supposed to be a person, but
• 10:44
  Speaker 1: you don't think it's a corpse until you see the teeth,
• 10:47
  Speaker 1: which are weathered, they're stained, there's some gaps in there,
• 10:52
  Speaker 1: they're ground flat in some places. And now that we
• 10:57
  Speaker 1: have the benefit of knowing what we're getting into two,
• 11:00
  Speaker 1: it clearly sticks out. But we have to wonder, were
• 11:03
  Speaker 1: we strolling through the Carnegie Museum if we would have
• 11:08
  Speaker 1: noticed this, would we be the kind of people who
• 11:11
  Speaker 1: stop and say, whoa, those teeth are too real? I
• 11:14
  Speaker 1: doubt it.
• 11:14
  Speaker 2: It took an expert, and like you mentioned earlier, Ben,
• 11:17
  Speaker 2: it wasn't until the early nineties that conservation records showed
• 11:21
  Speaker 2: that some of the folks involved in, you know, preserving
• 11:23
  Speaker 2: these artifacts, did suspect that the teeth were in fact real,
• 11:28
  Speaker 2: just the teeth. But it wasn't until just a couple
• 11:30
  Speaker 2: of years ago in twenty sixteen, when it was taken
• 11:33
  Speaker 2: off exhibit to be cleaned up and restored and also researched,
• 11:38
  Speaker 2: they discovered that it was in fact a human skull
• 11:42
  Speaker 2: and not just human teeth. So there's a really really
• 11:45
  Speaker 2: problematic story that led up to this discovery, and it
• 11:50
  Speaker 2: all starts with a family, the Verreaux family, a storied
• 11:56
  Speaker 2: taxidermy family. That's the thing.
• 11:58
  Speaker 1: Yeah, that's a real thing. They formed a family group. No,
• 12:03
  Speaker 1: I think it's time for Casey on the case. Guys.
• 12:09
  Speaker 4: I mean, I appreciate being called in for these French pronunciations,
• 12:12
  Speaker 4: but you really could have worked this one out yourself.
• 12:15
  Speaker 2: It's just the Maison vero.
• 12:16
  Speaker 1: Oh okay, and that concludes our episode of Casey on
• 12:21
  Speaker 1: the Case.
• 12:23
  Speaker 2: I would have said the Mason veras. We are very
• 12:27
  Speaker 2: lucky that Casey is.
• 12:28
  Speaker 5: I know, I know, if only he were an Englishman
• 12:30
  Speaker 5: and could tell us how to pronounce Kate's by. Kates
• 12:34
  Speaker 5: By could have saved me an embarrassing email.
• 12:37
  Speaker 1: So you have to wonder also whether the researchers felt
• 12:42
  Speaker 1: embarrassed when they discovered this. You mentioned the ct scan
• 12:46
  Speaker 1: and now we're diving into the history here, So Noel,
• 12:51
  Speaker 1: tell us a little bit more about this strange family.
• 12:54
  Speaker 5: Yeah, I've made fools of ourselves asking Casey to pronounce
• 12:57
  Speaker 5: Mason Vera. So I'm gonna go ahead and just go
• 12:59
  Speaker 5: out on a limit. Really triumdamnitist with these French names. Casey,
• 13:03
  Speaker 5: if you feel the need to chime in and school me,
• 13:05
  Speaker 5: go right ahead. You can call your own Casey on
• 13:07
  Speaker 5: the case segment, be Casey on Noles case. But the
• 13:10
  Speaker 5: Verreau family, the Verreaux clan, was made up of Jules,
• 13:14
  Speaker 5: Jean Baptiste Duard, and Alexis Verreaux, and they were all
• 13:18
  Speaker 5: how to do Casey, I'll allow it, okay, case He
• 13:25
  Speaker 5: didn't have to get on Nole's case, so we're good there.
• 13:26
  Speaker 2: Yeah, but they were all.
• 13:27
  Speaker 5: The sons of this really well renowned Parisian taxidermist by
• 13:32
  Speaker 5: the name of Jacques Philippe Verreau, who founded that house
• 13:37
  Speaker 5: of Verreau, the Maison Verreau.
• 13:39
  Speaker 2: Taxidermy company, and it was a big deal.
• 13:43
  Speaker 1: Yeah. Established in eighteen oh three, this is the earliest
• 13:48
  Speaker 1: known company that dealt in objects of natural history and
• 13:53
  Speaker 1: the funded collection expeditions across the globe. So they would
• 13:58
  Speaker 1: send agents and send, you know, members of the Verreaux
• 14:02
  Speaker 1: family out to places that most of Western Europe was
• 14:06
  Speaker 1: unfamiliar with to collect specimens, specimens, specimens.
• 14:11
  Speaker 2: Yeah, and that's going to get really creepy really quick.
• 14:16
  Speaker 2: So trigger warning. If you don't like the idea of
• 14:19
  Speaker 2: taxidermid humans, this is probably not the episode for you.
• 14:24
  Speaker 1: This does also involve quite a lot of institutionalized racism.
• 14:28
  Speaker 2: Oh yeah, yeah, that's a trigger warning for that too.
• 14:31
  Speaker 1: So so let's set the stage. As we said, they're
• 14:34
  Speaker 1: traveling around the globe. In eighteen thirty, while traveling in
• 14:40
  Speaker 1: what we now today know as Botswana, Jules Verreau witnessed
• 14:45
  Speaker 1: the burial of a warrior.
• 14:48
  Speaker 2: Yeah, he was about twenty seven years old presumably when
• 14:52
  Speaker 2: he died. I wasn't able to find a cause of death,
• 14:55
  Speaker 2: but he did die around eighteen thirty, and the Roe
• 15:00
  Speaker 2: brothers attended his burial. And you see, you might say
• 15:03
  Speaker 2: to yourself, oh that's nice, you know, they're they're participating
• 15:06
  Speaker 2: in the culture that they're trying to capitalize on.
• 15:10
  Speaker 1: But wait, yeah, because what happened later that night.
• 15:13
  Speaker 2: Basically they stole the body. They they grave dug.
• 15:17
  Speaker 1: Yeah, they functioned as resurrection men, you know.
• 15:20
  Speaker 5: Which is such a That was actually a trivia question
• 15:23
  Speaker 5: last night where we played trivia resurrection man. The question was, actually,
• 15:28
  Speaker 5: what is the less pleasant name for the old timey
• 15:34
  Speaker 5: practice of resurrection men that would be frowned upon today
• 15:38
  Speaker 5: because resurrection men implies that you're it's like a profession,
• 15:42
  Speaker 5: You're like doing a service of some kind.
• 15:44
  Speaker 1: You're right. It sounds a lot better than grave.
• 15:47
  Speaker 2: Robberts or a professional defiler.
• 15:49
  Speaker 1: Yes, yes, So when Jules sneaks in the burial site,
• 16:01
  Speaker 1: he steals the skin, the skull, and several bones. He
• 16:07
  Speaker 1: intended to ship this body back to France. He prepared
• 16:11
  Speaker 1: and preserved it using the tricks of his trade, his craft,
• 16:16
  Speaker 1: and he augmented it with metal wire, wooden boards, and
• 16:20
  Speaker 1: he also stuffed it.
• 16:21
  Speaker 5: Yeah, there's a really grizzly quote from this fantastic New
• 16:25
  Speaker 5: York Times article called Africa Rejoices as a wandering soul
• 16:29
  Speaker 5: finds rest. That's sort of a prelude to a happy
• 16:33
  Speaker 5: ending that we'll talk about a little bit. But apparently,
• 16:37
  Speaker 5: according to a guide, a taxidermy guide published in the
• 16:40
  Speaker 5: eighteen thirties, in order to properly preserve a dead human quote,
• 16:45
  Speaker 5: it is necessary to make a circular incision around the
• 16:48
  Speaker 5: fingertips and peel back the skin as if it were
• 16:53
  Speaker 5: a glove.
• 16:54
  Speaker 1: Right, And that is a genuine thing. This is a
• 17:00
  Speaker 1: very nuts and bolts, step by step process. And so
• 17:05
  Speaker 1: they bring this corpse, the stolen corpse, back to France,
• 17:09
  Speaker 1: to Paris specifically, and they also bring a lot of
• 17:12
  Speaker 1: other stuff with them, like.
• 17:14
  Speaker 5: A metric crap ton of specimens from some estimates in
• 17:18
  Speaker 5: the neighborhood of you know, several thousand individual creatures.
• 17:23
  Speaker 1: Right right, mostly animals. Oh yeah, except for this one
• 17:29
  Speaker 1: stolen body. And when they brought it back, they didn't
• 17:36
  Speaker 1: immediately showcase this. This was just included in their package.
• 17:39
  Speaker 1: And actually, as we found, they left it in their
• 17:42
  Speaker 1: shop for a while. Isn't that correct? That is absolutely correct.
• 17:45
  Speaker 5: Been they had it propped up as some kind of
• 17:48
  Speaker 5: macabre display. It fitted with feathers and you know, made
• 17:52
  Speaker 5: out to be this sort of example of this native
• 17:56
  Speaker 5: kind of like a weird trophy or something.
• 17:59
  Speaker 2: It's really pretty.
• 18:01
  Speaker 1: Vile, right, And there was a lot of othering that
• 18:04
  Speaker 1: was very common in scientific circles of the day. So
• 18:08
  Speaker 1: to them, taking and preserving the corpse of a human
• 18:12
  Speaker 1: being was essentially no different from taking and preserving the
• 18:16
  Speaker 1: corpse of an exotic animal. The weird thing about this
• 18:21
  Speaker 1: is that it was pretty common, almost a status symbol
• 18:25
  Speaker 1: at the time, to have taxidermied animals.
• 18:28
  Speaker 2: Of course, you've.
• 18:29
  Speaker 5: Seen like the hunting lodges of the rich and powerful
• 18:32
  Speaker 5: with you know, just dozens of zebra heads and elephant
• 18:36
  Speaker 5: heads and all this kind of I mean, I'm not
• 18:38
  Speaker 5: gonna like dang anybody's hobby or whatever, but there does
• 18:42
  Speaker 5: come a point where it feels a little gross to
• 18:45
  Speaker 5: me personally.
• 18:46
  Speaker 1: And inhuman a little bit.
• 18:48
  Speaker 5: I'm all about hunting for meat and feeding your family
• 18:50
  Speaker 5: and using every part of the animal that stuff. But
• 18:52
  Speaker 5: when you see pictures of these CEOs, you know, holding
• 18:55
  Speaker 5: up elephant tusks and given the thumbs up that all
• 18:59
  Speaker 5: right now, I'm grandstand right, let me get off my soapbox.
• 19:01
  Speaker 2: But they were celebrated, these Vero brothers, right the climate
• 19:05
  Speaker 2: in France when they returned was one of jubilation. They
• 19:08
  Speaker 2: were welcome back with open arms. In fact, there was
• 19:11
  Speaker 2: a report in La Constitutional from November fifteenth of eighteen
• 19:15
  Speaker 2: thirty one that described their return in glowing detail, calling
• 19:19
  Speaker 2: them young compatriots of France, and you know, just really
• 19:22
  Speaker 2: a lot of patriotic fervor surrounding their return.
• 19:25
  Speaker 5: And the the La Constitutional article described their most shall
• 19:31
  Speaker 5: we say, rare specimen as such, and this is hang
• 19:35
  Speaker 5: on to your hats, folks, but their greatest curiosity is
• 19:39
  Speaker 5: an individual of the nation of Bejuanas. This man preserved
• 19:43
  Speaker 5: by the means by which naturalists prepare their specimens and
• 19:46
  Speaker 5: reconstitute their form and so to speak, their inert life.
• 19:50
  Speaker 5: He is of small stature, black of skin, his head
• 19:53
  Speaker 5: covered by short, wooly and curly hair, armed with arrows
• 19:57
  Speaker 5: and a lance. Clothes in antelope skin with a bag
• 20:02
  Speaker 5: made question mark. Yeah, but the bad question mark made
• 20:04
  Speaker 5: of bush pig, full of small glass beads, seeds and
• 20:08
  Speaker 5: of small bones.
• 20:10
  Speaker 1: So with great acclaim, the Ureau outfit returns to Paris.
• 20:15
  Speaker 1: They display this body in their shop and eventually someone says,
• 20:22
  Speaker 1: you know what, I like this so much that I'm
• 20:24
  Speaker 1: going to buy it, And that was a Spanish nationalist
• 20:28
  Speaker 1: named Fransec Darter, and we don't have the exact amount
• 20:33
  Speaker 1: that he paid for this, but we do know we
• 20:36
  Speaker 1: do have a pretty solid timeline of what happened afterwards,
• 20:40
  Speaker 1: because this naturalist said, you know what, I'm not going
• 20:44
  Speaker 1: to take this and just set it up in my
• 20:46
  Speaker 1: living room. I'm going to take it to the global stage.
• 20:50
  Speaker 1: And that is how this poor unfortunate soul ended up
• 20:55
  Speaker 1: being displayed at the eighteen eighty eight Barcelona World Exhibition.
• 21:00
  Speaker 1: I say, Barthalona, you should Ibitha. Yes, yes, we were
• 21:04
  Speaker 1: making some jokes, but this is very, very troubling.
• 21:08
  Speaker 5: Yeah, It's all I can do is not be completely
• 21:11
  Speaker 5: bummed out by this.
• 21:12
  Speaker 2: But again, there is a happy ending, wait for it.
• 21:14
  Speaker 2: We're getting there.
• 21:15
  Speaker 1: It's on the way. So Darter didn't just buy this
• 21:18
  Speaker 1: one corpse. He had an extensive natural history collection and
• 21:24
  Speaker 1: when he passed away, his collection was sent to a museum.
• 21:29
  Speaker 5: That's right, It was the Museum of Natural History in Baniols, Spain.
• 21:34
  Speaker 1: So it was on display from nineteen sixteen at this
• 21:37
  Speaker 1: museum to nineteen ninety seven, when a controversy finally arose.
• 21:43
  Speaker 2: Yeah, I mean one that had been brewing for some time.
• 21:45
  Speaker 5: I don't know if we mentioned this, but I read
• 21:47
  Speaker 5: somewhere that they actually painted the skin of this person
• 21:51
  Speaker 5: a darker shade of black.
• 21:53
  Speaker 1: Right, Yeah, that is unfortunately absolutely true.
• 21:57
  Speaker 5: And it was it kind of became this sign of
• 22:00
  Speaker 5: you know, there's a history of Spanish people exploiting and
• 22:05
  Speaker 5: enslaving Africans.
• 22:08
  Speaker 1: I mean Western Europe of course, of course, of course.
• 22:11
  Speaker 5: But I'm just saying like this was a problematic thing
• 22:14
  Speaker 5: on many levels, on a humanitarian level, but also on
• 22:17
  Speaker 5: a ideological level, and what it represented and just was
• 22:21
  Speaker 5: not a good look. And yet this museum constantly fought
• 22:25
  Speaker 5: back against giving up this individual's remains to its home
• 22:32
  Speaker 5: country for a proper burial.
• 22:33
  Speaker 1: Yeah. There's an excellent article on the BBC that traces this,
• 22:37
  Speaker 1: titled the Man Stuffed and Displayed like a wild animal,
• 22:41
  Speaker 1: And in this they detail how, after, Asnol said, incredibly
• 22:47
  Speaker 1: strong resistance from the museum, this body was finally returned.
• 22:54
  Speaker 1: And this didn't happen until what was October fifth, two
• 22:58
  Speaker 1: thousand or so, child And when this warrior was returned,
• 23:04
  Speaker 1: they were to lay in state for a day in
• 23:07
  Speaker 1: the capital, and ten thousand people visited to pay their
• 23:12
  Speaker 1: last respects. Interesting side note here, nol it was a
• 23:18
  Speaker 1: Christian burial.
• 23:19
  Speaker 2: Really, I didn't catch you that tell me.
• 23:21
  Speaker 1: More so, the priest who was conducting this said, in
• 23:26
  Speaker 1: the spirit of Jesus Christ, who also suffered, you know,
• 23:30
  Speaker 1: we're going to lay this man to rest finally, And
• 23:35
  Speaker 1: the Foreign minister at the time said quote, we are
• 23:38
  Speaker 1: prepared to forgive, but we must not forget the crimes
• 23:42
  Speaker 1: of the past so that we don't repeat them.
• 23:45
  Speaker 2: That is interesting.
• 23:47
  Speaker 5: How do you feel about that though, being a Christian burial,
• 23:50
  Speaker 5: given the background, and given the brutal nature of this
• 23:55
  Speaker 5: uprooting of this person's remains, and then to ultimately have
• 23:59
  Speaker 5: their bare it'll be something completely unrelated to what they
• 24:02
  Speaker 5: likely believed in their in life.
• 24:05
  Speaker 1: Yeah, we have to ask ourselves these questions. You know,
• 24:09
  Speaker 1: was that in part a political play by the government
• 24:12
  Speaker 1: of the time. Was that a true, sincere effort, And
• 24:18
  Speaker 1: you know, if it was, if it was a true
• 24:20
  Speaker 1: and sincere and genuine effort to pay respects, then I'm
• 24:24
  Speaker 1: all for it. Although it is riddled with problems. And
• 24:28
  Speaker 1: here's what happened though, So you may have thought that
• 24:31
  Speaker 1: we already got to the good ending the light at
• 24:34
  Speaker 1: the end of the tunnel.
• 24:35
  Speaker 2: Oh, I thought we had did You got a twist?
• 24:37
  Speaker 2: You got a Shimolean twist. There's a little bit shamala
• 24:40
  Speaker 2: amnon twist.
• 24:41
  Speaker 1: There's a little bit, yeah, I'm talking about. Yeah, there's
• 24:44
  Speaker 1: a little bit of an Act three twist here. After
• 24:46
  Speaker 1: the burial and after laden state, the grave was neglected
• 24:50
  Speaker 1: for several years and the field that was around it
• 24:53
  Speaker 1: was being used as a football pitch. I'm sorry, come again,
• 24:57
  Speaker 1: as people were playing football. Oh okay, gotcha, football pitch.
• 25:00
  Speaker 1: And the Botswanan government later thankfully went back and restored
• 25:07
  Speaker 1: the site and enhanced it. They built a visitors center
• 25:10
  Speaker 1: and explanatory signs. As of now, it is still not
• 25:15
  Speaker 1: known what this man's name was, exactly where he came from,
• 25:21
  Speaker 1: or what his life was like.
• 25:22
  Speaker 5: Yeah, and to get back to what started the story
• 25:24
  Speaker 5: with the diorama of the drama Dairy right in the
• 25:29
  Speaker 5: Carnegie Museum.
• 25:30
  Speaker 1: The diorama Drama.
• 25:31
  Speaker 2: Yeah, this all comes.
• 25:31
  Speaker 5: Back to something that you mentioned been an interesting angle,
• 25:34
  Speaker 5: which is museum ethics. There are still struggles between the
• 25:38
  Speaker 5: governments of the places of origin of many artifacts and
• 25:41
  Speaker 5: the museums that hold them in their collections, and it's
• 25:44
  Speaker 5: not cut and dry. It's not always like a matter
• 25:47
  Speaker 5: of just saying, hey, we should have that in our
• 25:50
  Speaker 5: country instead, you know, mister Carnegie or whatever.
• 25:54
  Speaker 2: You know. But with the remains, that is probably a
• 25:59
  Speaker 2: little more cut and dry. And you know, the museum
• 26:03
  Speaker 2: would certainly have been willing to return that skull if
• 26:06
  Speaker 2: they knew where to send it. But that's the rub right, right,
• 26:10
  Speaker 2: that's the problem. That's the heart of the matter, or
• 26:12
  Speaker 2: should we say the skull of the matter. Other than
• 26:16
  Speaker 2: knowing that this diorama was built by Edward Vrow in
• 26:20
  Speaker 2: the mid eighteen hundreds, we don't know the origin of
• 26:24
  Speaker 2: the skull. We don't know who it came from. We
• 26:27
  Speaker 2: don't know where they lived. We know very very little
• 26:31
  Speaker 2: about them. I tell you one thing we do know
• 26:33
  Speaker 2: is those of a rose were not cool. Oh creepy, creepy.
• 26:39
  Speaker 2: Have you seen the movie Taxidermia, Ben?
• 26:42
  Speaker 1: I have not. Should I check it out?
• 26:43
  Speaker 2: I think you should. It's really it's quite disturbing. It's
• 26:46
  Speaker 2: a have you seen it, Casey.
• 26:47
  Speaker 1: It's like a Hungarian movie.
• 26:49
  Speaker 2: It's a Hungarian movie. There's one character who shoots flames
• 26:51
  Speaker 2: out of his penis and different you know, odd characters.
• 26:55
  Speaker 2: Over time, it traces the lineage of this family, and
• 26:59
  Speaker 2: one of them becomes a taxidermist. And I'm gonna spoiler
• 27:03
  Speaker 2: alert real quick. See it. This isn't really it doesn't
• 27:05
  Speaker 2: really matter. It's more just a tableaux.
• 27:07
  Speaker 5: The guy builds a machine that allows him to taxidermy himself.
• 27:12
  Speaker 1: Finally, Yeah, this is fiction, right, I established this, folks.
• 27:17
  Speaker 2: What gave it away? Was it the flames out of them?
• 27:20
  Speaker 1: I don't know, man, It's a It's a wild and
• 27:22
  Speaker 1: fascinating world in which we live.
• 27:29
  Speaker 2: So check out taxidermy if you want to.
• 27:31
  Speaker 5: You know, if this got wet your appetite for creepy things,
• 27:35
  Speaker 5: it's it's worth a look.
• 27:36
  Speaker 1: It's worth a look. And most importantly, this controversy continues
• 27:41
  Speaker 1: to date and museums across the planet. We're going to
• 27:45
  Speaker 1: wrap it up, we hope to wan't oh so close.
• 27:49
  Speaker 4: Nooll, it's time, gentlemen.
• 27:53
  Speaker 2: What time is it.
• 27:54
  Speaker 1: For the coolist?
• 27:56
  Speaker 5: Of course, the mischievous, mirthful, and that is the Quista.
• 28:01
  Speaker 2: Oh my goodness, you were you were in high spirits
• 28:03
  Speaker 2: stead I've.
• 28:04
  Speaker 4: Won so many times I do not freaking know what
• 28:08
  Speaker 4: to do.
• 28:08
  Speaker 6: Yes, yes, yes, yes, Quist So this is the This
• 28:12
  Speaker 6: is the segment where our long standing nemesis of the show,
• 28:16
  Speaker 6: the Quist, Jonathan Strickland, comes to test our knowledge of
• 28:20
  Speaker 6: real versus fake history?
• 28:22
  Speaker 2: Are they the same person? Jonathan Strickland and the Quist
• 28:24
  Speaker 2: is a sort of a Superman Clark can It's a
• 28:26
  Speaker 2: ven diagram that has a lot of overlap. I got you, okay,
• 28:30
  Speaker 2: good enough, good to know who to hate.
• 28:32
  Speaker 4: It's just well, Noel, it's clear you've been sending me
• 28:35
  Speaker 4: little messages on our messaging system the entire day, and
• 28:40
  Speaker 4: it was very clear that I need to I need
• 28:43
  Speaker 4: to maybe ease off a bit, is what. That's the
• 28:45
  Speaker 4: message you're getting now?
• 28:47
  Speaker 1: This is news to me. What are you doing? Man?
• 28:49
  Speaker 2: I just you know, I just uh, I just told him.
• 28:52
  Speaker 4: It just things like, hey, you got a nice podcast
• 28:55
  Speaker 4: over there. It sure would be a shame if someone.
• 28:56
  Speaker 2: I don't know set fire to it something like that.
• 28:59
  Speaker 1: Yeah, wow, yeah, no, are you okay? Yeah?
• 29:01
  Speaker 5: I'm just really fed up with this Quiztor segment, but
• 29:04
  Speaker 5: people seem to like it, so I guess we have
• 29:06
  Speaker 5: to keep doing it forever.
• 29:07
  Speaker 4: Now. For those who do not know what the heck
• 29:09
  Speaker 4: is happening, I will explain so I come on the
• 29:12
  Speaker 4: show and has been alluded to earlier. I present a scenario.
• 29:17
  Speaker 4: The gentlemen here have three minutes to determine whether or
• 29:19
  Speaker 4: not said scenario represents an actual historical fact or if
• 29:23
  Speaker 4: I made's it up seas. I also create an arbitrary
• 29:28
  Speaker 4: rule that you have to follow if you wish to
• 29:30
  Speaker 4: ask any questions of yours truly the quizt this case,
• 29:35
  Speaker 4: because we're talking about dead people, your rule is going
• 29:39
  Speaker 4: to be a little little Tricksye. Before you could ask
• 29:43
  Speaker 4: a question, you must quote at least some portion of
• 29:48
  Speaker 4: the wonderful, wonderful song dead Man's Party by Oingo Boingo.
• 29:52
  Speaker 2: You could ask for more.
• 29:53
  Speaker 4: There you go, perfect, Danny Eefman vehicle Oingo Boingo.
• 29:56
  Speaker 2: Can I quote the horn part?
• 30:00
  Speaker 1: Absolutely?
• 30:01
  Speaker 4: You can, absolutely, Yeah, we can do the whole thing.
• 30:05
  Speaker 1: You know what.
• 30:05
  Speaker 2: Yeah, that's it.
• 30:06
  Speaker 4: We're just throwing the segment out. We're just gonna jam
• 30:09
  Speaker 4: get out.
• 30:09
  Speaker 2: Oh no, we've already set it up, so lay.
• 30:13
  Speaker 1: It, lay it on us. And also I'm noticing that
• 30:16
  Speaker 1: your accents are a bit more dynamic today. You have
• 30:18
  Speaker 1: a lot of pep.
• 30:19
  Speaker 4: I drink like ten five hour energy drinks. Because I
• 30:24
  Speaker 4: got a lot of stuff coming up.
• 30:26
  Speaker 1: You're fifty hours deep.
• 30:27
  Speaker 4: That's right, all right, I can see next week.
• 30:31
  Speaker 2: Man.
• 30:32
  Speaker 1: Well, let's hope we can see through your deception, right
• 30:35
  Speaker 1: nol oh, man, I hope.
• 30:36
  Speaker 4: So here's your scenario. You will start the timer when
• 30:39
  Speaker 4: I give you the signal, which will be start the
• 30:43
  Speaker 4: timer here.
• 30:44
  Speaker 1: It is good good.
• 30:45
  Speaker 4: Italian artist Giovanni Balducci in the early seventeenth century got
• 30:50
  Speaker 4: a peculiar commission. He was hired to paint the portraits
• 30:54
  Speaker 4: of the upper crust of Naples. But these were very
• 30:57
  Speaker 4: special portraits, for they were missing important feature the subject's heads. See.
• 31:04
  Speaker 4: He was painting these portraits in the catacombs of San Guadioso,
• 31:09
  Speaker 4: where the decapitated heads of deceased hoity toitis were placed
• 31:13
  Speaker 4: in alcoves in the walls. Balducci painted frescoes of rich
• 31:18
  Speaker 4: people in their finery around these heads, which I must
• 31:23
  Speaker 4: stress still had flesh on them. Oh, and he did
• 31:28
  Speaker 4: it for free, because he considered it an honor. A
• 31:31
  Speaker 4: start the timer.
• 31:33
  Speaker 1: Don't run away, it's only me, yes, mister belin. Okay,
• 31:35
  Speaker 1: so is this still on display? Like? Could people still
• 31:40
  Speaker 1: go see it?
• 31:41
  Speaker 4: For a long time? It was not on display. But
• 31:43
  Speaker 4: in two thousand and six, some people who were trying
• 31:46
  Speaker 4: to attract more visitors to this particular part of Naples
• 31:49
  Speaker 4: got together and commissioned an entire fundraising event, and now
• 31:54
  Speaker 4: it is in fact open for you to tour.
• 31:56
  Speaker 5: So, Ben, do you picture this as being sort of
• 31:58
  Speaker 5: like those catacombs and pro or like the ostuary?
• 32:01
  Speaker 2: You know, it's like a church made of bones and
• 32:03
  Speaker 2: stuff like that. Obviously there's no more flesh.
• 32:06
  Speaker 1: That's the part that throws at me, sticking with me,
• 32:09
  Speaker 1: because flesh decomposed. Unless it's treated and preserved, flesh will
• 32:13
  Speaker 1: decompose or desiccate at some point.
• 32:15
  Speaker 2: I feel it.
• 32:16
  Speaker 4: Only necessary to say that when I said still had
• 32:19
  Speaker 4: flesh upon them, I meant at the time he was
• 32:20
  Speaker 4: painting the first.
• 32:21
  Speaker 5: Yeah, you know, but that's gross. He's that's gonna smell.
• 32:24
  Speaker 5: That's not gonna be fun painting around decomposing heads.
• 32:28
  Speaker 1: It was a different time, no old people were used
• 32:30
  Speaker 1: to different smells.
• 32:31
  Speaker 2: I don't know, I'm just I'm all bugaboo.
• 32:34
  Speaker 1: You could go either way. Yeah, do you have a question?
• 32:38
  Speaker 2: Not really, I don't want to speak to this man.
• 32:41
  Speaker 1: All right, I'm all dressed up with nowhere to go.
• 32:44
  Speaker 4: Yes, mister Bolin.
• 32:46
  Speaker 1: So two thousand and six, he said, is when this
• 32:50
  Speaker 1: went back on display. Has this artist done any other
• 32:56
  Speaker 1: work that we would be familiar with?
• 32:57
  Speaker 4: Not recently.
• 32:58
  Speaker 7: He's been dead for four hundred years. Come on, man,
• 33:01
  Speaker 7: Yes he's done. He's done other works. He was a
• 33:03
  Speaker 7: student of a Sorry Va Sorry, being a sixteenth century
• 33:07
  Speaker 7: Italian artist, mostly known for his biographies of other Italian artists.
• 33:11
  Speaker 7: But he has done other works. Most of them were
• 33:14
  Speaker 7: be considered uninspired.
• 33:17
  Speaker 4: You might say, don't be afraid.
• 33:20
  Speaker 2: Yes, no, I just wanted to do it. I don't
• 33:22
  Speaker 2: really have anything that's fair. All right, well I'm gonna
• 33:25
  Speaker 2: say false.
• 33:26
  Speaker 1: I am feeling true. You want to rochambeos? Okay, here
• 33:29
  Speaker 1: we go one, two, three?
• 33:31
  Speaker 2: Shoot? Oh now I want to go with yours?
• 33:35
  Speaker 4: Okay, yeah, So no wins. But he made the decision
• 33:37
  Speaker 4: to go with Ben's decision, which was the opposite of his.
• 33:40
  Speaker 4: What was your decision.
• 33:41
  Speaker 1: Again, Ben, we're locking it in?
• 33:42
  Speaker 4: Yes, yes, true, you have lucked in else God, I.
• 33:49
  Speaker 1: Know, Shelby, that's my again.
• 33:57
  Speaker 5: So this was that was I'm pretty from my seat
• 34:01
  Speaker 5: and did it dance?
• 34:01
  Speaker 4: I'm pretty sure you spiked the mic on that one buddy,
• 34:04
  Speaker 4: all right. So yes, in fact this is true. The
• 34:08
  Speaker 4: catacombs were closed to the public until two thousand and six.
• 34:12
  Speaker 4: These days there are not even skulls in those alcoves.
• 34:15
  Speaker 4: They have crumbled to dust. Now they're just frescoes with
• 34:18
  Speaker 4: around a hole essentially where the head would be. But
• 34:22
  Speaker 4: at one point there were the actual recently deceased heads
• 34:27
  Speaker 4: of these rich people, including people who were described as princesses,
• 34:33
  Speaker 4: in those walls. It is under the basilica of Santa
• 34:36
  Speaker 4: Maria della Sanita. If you are ever in Naples, that
• 34:39
  Speaker 4: is the one you go to, and there are about
• 34:42
  Speaker 4: twenty frescoes in total.
• 34:44
  Speaker 5: So he painted these frescoes for free, surrounded by rotting,
• 34:49
  Speaker 5: decapitated heads, because it was an honor.
• 34:52
  Speaker 4: Yes, he thought, because this was this was supposed to
• 34:57
  Speaker 4: be a celebration of a person. The head was supposed
• 35:01
  Speaker 4: to be the center of the person's being, and that
• 35:04
  Speaker 4: he was there to to glorify that. That it was
• 35:08
  Speaker 4: such a great honor. He refused the fee that the
• 35:13
  Speaker 4: church tried to pay him in return for his work.
• 35:17
  Speaker 4: He said, no, no, no, I do this for them,
• 35:20
  Speaker 4: And so he refused payment, just.
• 35:22
  Speaker 1: Like You're out here doing this segment.
• 35:25
  Speaker 4: And I don't get paid for it.
• 35:26
  Speaker 2: You're exactly you're doing God's work.
• 35:29
  Speaker 1: You're you're paid at a shod and Floyd and Spite.
• 35:32
  Speaker 4: Came up short this one.
• 35:33
  Speaker 2: Well, you know what, man, you can't win them all.
• 35:35
  Speaker 4: I mean you you said today you literally won, you
• 35:39
  Speaker 4: literally won Rochambeau and you went with the other, you know,
• 35:42
  Speaker 4: because it was my gut.
• 35:43
  Speaker 2: I may have won the Roe Shambau, but my gut
• 35:45
  Speaker 2: said Ben was right, and.
• 35:47
  Speaker 1: You're getting a lot better at Rock Paper Sis right,
• 35:51
  Speaker 1: So not fair, man.
• 35:52
  Speaker 2: I'm starting to like this segment again.
• 35:55
  Speaker 1: This has been an emotional roller coaster on many counts. Whizzard,
• 36:00
  Speaker 1: thank you, I am required to say for coming onto
• 36:05
  Speaker 1: the show.
• 36:06
  Speaker 4: Pretty sure, I'm still ahead by one, you know what,
• 36:10
  Speaker 4: what's a.
• 36:10
  Speaker 1: Couple numbers between friends? So I have a feeling that
• 36:15
  Speaker 1: I have a feeling that Jonathan and Noel are a
• 36:19
  Speaker 1: bit more competitive than I am. So please, I.
• 36:22
  Speaker 2: Really did leap out of my seat and do a
• 36:25
  Speaker 2: hammer dancer.
• 36:25
  Speaker 4: And that really is absolutely true.
• 36:27
  Speaker 1: Yeah, but we may have won the battle, we have
• 36:32
  Speaker 1: not won the war.
• 36:34
  Speaker 2: The war still rages.
• 36:36
  Speaker 1: The war still rages, and something tells me that something
• 36:41
  Speaker 1: probably being super producer Casey pegrim that this is not
• 36:44
  Speaker 1: the last we've seen of the quister.
• 36:47
  Speaker 2: Yeah, I'm cool with that. I've got my dignity back. Now.
• 36:50
  Speaker 2: How about you, Ben, You never really lost it. You
• 36:53
  Speaker 2: weren't as invested in this as I was.
• 36:54
  Speaker 1: I don't think I'm invested, but it's just because I
• 36:56
  Speaker 1: find so many things fascinating. I look at it as
• 36:59
  Speaker 1: a learning experience.
• 37:02
  Speaker 4: Oh excuse me, guys, that's that's my chauffeur, he says,
• 37:06
  Speaker 4: this room for maybe just.
• 37:07
  Speaker 2: One more.
• 37:10
  Speaker 1: Well flat. And on that note, we'd like to thank
• 37:15
  Speaker 1: Jonathan Strickland, we'd like to thank Casey Pegrin, we'd like
• 37:18
  Speaker 1: to thank Alex Williams, who composed this track.
• 37:21
  Speaker 2: And most importantly, we'd like to thank you Ben.
• 37:26
  Speaker 1: Oh no, thank thank you, Nolan.
• 37:28
  Speaker 2: You're welcome.
• 37:29
  Speaker 1: The pleasure was.
• 37:30
  Speaker 2: More, it's shared, it's mutual pleasure, all right.
• 37:33
  Speaker 1: Well, before this bromance goes off the rails, we.
• 37:36
  Speaker 4: Are really uncomfortable.
• 37:37
  Speaker 1: Well it's too bad. It's too bad man. You chose
• 37:40
  Speaker 1: to sit in the middle.
• 37:40
  Speaker 2: That's true.
• 37:41
  Speaker 1: So we're gonna head out. Tune in next time when
• 37:44
  Speaker 1: we explore the strange story of a flying aircraft carrier.
• 37:48
  Speaker 5: It's sort of a sequel, kind of sort of Zeppelin too,
• 37:52
  Speaker 5: the Zeppelining Electric Zeppel.
• 37:56
  Speaker 2: I love it. And you know, Ben, you're you're quite
• 37:58
  Speaker 2: fond of airships. I know you're about this one.
• 38:00
  Speaker 1: Oh, I am thrilled, my friend. Why you might ask
• 38:04
  Speaker 1: not to tune in and find out. In the meantime,
• 38:06
  Speaker 1: you can find us on Instagram, Facebook, Twitter.
• 38:09
  Speaker 2: How's your vision board coming, dude?
• 38:10
  Speaker 1: It's going really well.
• 38:12
  Speaker 2: Yeah.
• 38:12
  Speaker 1: I had a moment where I just decided to take
• 38:15
  Speaker 1: off the Christopher Walking pictures.
• 38:18
  Speaker 5: I have a whole section online it's nothing but Christopher
• 38:20
  Speaker 5: walkin pictures, but with Steve Bushemi's eyes. I know you
• 38:23
  Speaker 5: keep texting me, you know, but hey, if you don't
• 38:26
  Speaker 5: want to do any of that stuff, you can just
• 38:28
  Speaker 5: write us an email directly. We're ridiculous at HowStuffWorks dot com.
• 38:31
  Speaker 5: And yeah, thanks to you already, thank Ben the debate
• 38:34
  Speaker 5: and switch there. But thanks to you folks for tuning
• 38:35
  Speaker 5: in joining us for another episode of ridiculous history.
• 38:38
  Speaker 2: We'll see you next time.
• 38:50
  Speaker 5: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,
• 38:53
  Speaker 5: or wherever you listen to your favorite shows,