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Oh Man, James Joyce was a Dirty Dude! · Ridiculous History

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  Speaker 1: Ridiculous History is a production of iHeartRadio. Welcome back to
• 0:27
  Speaker 1: the show, Ridiculous Historians. Thank you, as always so much
• 0:31
  Speaker 1: for tuning in. We are going toward the end of
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  Speaker 1: the year. We couldn't be more excited. Uh and and
• 0:37
  Speaker 1: you know, like a lot of people post Thanksgiving, we're
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  Speaker 1: we're sort of loosening our our figurative belts here this
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  Speaker 1: this episode, this episode.
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  Speaker 2: Oh even not just drop.
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  Speaker 1: This episode needs a disclaimer, fellow Ridiculous Historians. It contains
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  Speaker 1: some pretty bulls info well beyond PG thirteen. All true.
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  Speaker 1: As such, it may not be appropriate for all the
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  Speaker 1: kiddos and the loved ones in the crowd.
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  Speaker 3: I would say, definitely not appropriate for anyone. It's like
• 1:12
  Speaker 3: what they say the beginning of South Park. It's just
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  Speaker 3: this one is not for anyone that you shouldn't listen
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  Speaker 3: to it. No, I'm kidding. If we aroused your curiosity,
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  Speaker 3: well carry on, so be it.
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  Speaker 1: Yes, shout out to our super producer, mister Max Williams.
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  Speaker 1: I am what Ben Bola and you are, mister Noel Brown.
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  Speaker 1: We are joined with a returning guest, the one the
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  Speaker 1: only Alex Circa famous for having terrible taste in podcasts.
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  Speaker 1: Thank you for being here, alex So, I mean, yes, yes,
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  Speaker 1: we have. We've talked about this one for a while,
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  Speaker 1: and this is our episode about James Joyce. As you
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  Speaker 1: could probably tell from the title, we're exploring a bit
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  Speaker 1: of this guy's background beyond his law order than life
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  Speaker 1: status as a literary icon.
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  Speaker 3: And famous I patch wearer. Right, isn't he an eye
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  Speaker 3: patch guy?
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  Speaker 1: Terrible eyed, poor guy struggled with his eyesight?
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  Speaker 3: Well, I always remember, like you know, there's like all
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  Speaker 3: those kind of I guess they have him in all
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  Speaker 3: of the locations of Barnes and Noble. In the cafe
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  Speaker 3: of most Barnes and Nobles is a giant portrait of
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  Speaker 3: James Joyce, and he's got like an eye patch and
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  Speaker 3: his glasses on over the eye patch, and man if
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  Speaker 3: if only those Barnes and Noble folks knew what this
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  Speaker 3: guy got up to you, Maybe they do, and they're
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  Speaker 3: just trying to, I don't know, expose people to some
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  Speaker 3: of the darker sides of sexuality through their you know,
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  Speaker 3: Starbucks decor.
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  Speaker 1: That's how they get you. That's our new Moral Panic
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  Speaker 1: twenty twenty four. You heard it here first. Yeah, it's weird.
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  Speaker 1: The last time I was in Dublin, I realized that
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  Speaker 1: no matter what store you go to in Dublin, they
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  Speaker 1: are going to inevitably sell two things. One some copy
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  Speaker 1: of a James Joyce book and to some sort of spirit, some.
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  Speaker 4: Sort of liquor.
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  Speaker 1: Usually, weirdly enough, if they sell James Joyce books, they
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  Speaker 1: also sell the whiskey Jamison like stationary stores, dude, like
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  Speaker 1: the lawn care hardware store is also saying, hey, do
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  Speaker 1: you want to copy a Dubliners Do you want to
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  Speaker 1: be drunk while you trim the hedges?
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  Speaker 3: You're gonna need to drink this entire bottle of Jamison
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  Speaker 3: to wrap your head around Ulysses, Because man, that's a
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  Speaker 3: tough read. And yet I believe considered to be one
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  Speaker 3: of the greatest works of literature in the English language.
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  Speaker 3: He's always kind of eluded me a little bit. I
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  Speaker 3: don't know how you feel about.
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  Speaker 1: It, Yeah, I mean, look, Joyce was not as prolific
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  Speaker 1: as some other authors considered part of the Western canon.
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  Speaker 1: But to your point, Noel, his work did inform, inspire,
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  Speaker 1: continues to challenge and frankly confuse millions of people throughout
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  Speaker 1: the world.
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  Speaker 4: Today.
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  Speaker 1: He's got a sort of dichotomy about him. There's the
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  Speaker 1: public image on one hand, isolated, somewhat savant esque character,
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  Speaker 1: imprisoned by his own genius, hiding away writing stories. One
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  Speaker 1: of the you'll enjoy this one. One of the famous
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  Speaker 1: recurring stories about James Joyce is that he would agonize
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  Speaker 1: dude over three words and that would be his day.
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  Speaker 1: And he famously, let's see you, famously tried to burn
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  Speaker 1: stuff he had written, and his partner Nora, who we
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  Speaker 1: will learn a lot more about today, save stuff from
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  Speaker 1: the fire. One time he did a drive by to
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  Speaker 1: drop off a manuscript to his editor and like literally
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  Speaker 1: ram by the editor's house, threw it on the doorstep.
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  Speaker 4: And ran away weeping.
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  Speaker 1: He was in that.
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  Speaker 3: World complex fellow contained multitudes.
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  Speaker 1: That's the public image.
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  Speaker 4: But we're talking about it, boy hattie. Let me tell
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  Speaker 4: you what I found.
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  Speaker 3: I mean, I like to think of myself as not
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  Speaker 3: particularly a prudish person, but some of this stuff had
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  Speaker 3: me blushing just reading the outline. Some of the exerts
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  Speaker 3: from this guy's letters to his beloved, which we're going
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  Speaker 3: to get to. James Joyce, to start with first things first,
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  Speaker 3: was born in Ireland. James Augustine Aloysius my favorite names Joyce, Dublin,
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  Speaker 3: February second, eighteen eighty two. He was the eldest of
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  Speaker 3: ten children in his family to survive infancy, as we
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  Speaker 3: know a lot of infant mortality back in the day,
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  Speaker 3: and at age six he went to a boarding school,
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  Speaker 3: a Jesuit boarding school called Gosh Klongow's.
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  Speaker 4: Yeah, I think that's might be right.
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  Speaker 3: Clongows Would College, which was described as the Eton of Ireland.
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  Speaker 3: I don't think I understand that reference, Ben, What is
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  Speaker 3: Eton referencing?
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  Speaker 4: So Eaton is.
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  Speaker 1: Referencing one of the most prestigious or prestigious colleges, institutes
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  Speaker 1: of higher learning in the United Kingdom. It's in Burghing.
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  Speaker 4: So eventually James and his brother uh stanislass.
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  Speaker 1: They're killing it with the names well done.
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  Speaker 3: Get They both get admitted for free to this Jesuit
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  Speaker 3: grammar school called Belvidere College. From there he goes on
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  Speaker 3: to University College Dublin, uh and also studies under the Jesuits,
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  Speaker 3: which of course is a very you know, stoic religious order.
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  Speaker 1: When you drop kick your jacket and you gave through
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  Speaker 1: the door. I love mister Belvidere.
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  Speaker 3: Oh mister Belvidge, drop kick your jacket. Uh huh, that's
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  Speaker 3: a little I never knew the lyrics of that song. Wow,
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  Speaker 3: it's weird to me that I learned them. But you
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  Speaker 3: know you're a fan of sitcom theme tunes that tell
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  Speaker 3: the tale of the story before even the first thing.
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  Speaker 1: You know, well.
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  Speaker 5: Listens to them by himself when we're not around. Yes,
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  Speaker 5: I know that from my surveillance stuff that I.
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  Speaker 4: Put into his new apartment. Yes, thank you, thank you.
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  Speaker 4: Keep anythithiasists?
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  Speaker 1: Sure, sure, and so James Joyce studies languages the way
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  Speaker 1: that we study the Halcyon era of sitcom themes that
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  Speaker 1: explain themselves. He without hyperbole. This guy reads absolutely everything
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  Speaker 1: he could get his hands on. He does, however, prioritize
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  Speaker 1: reading the stuff the Jesuits don't want him to read.
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  Speaker 3: M m, yeah, that does kind of ring true. On
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  Speaker 3: October thirty first, nineteen oh two, he graduates with a
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  Speaker 3: bachelor degree, and all, all of the while, he's just
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  Speaker 3: writing away, writing, writing, writing. Britannica puts it thusly. He
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  Speaker 3: wrote verses and experimented with short prose passages that he
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  Speaker 3: called epiphanies, a word the Joyce used to describe his
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  Speaker 3: accounts of moments when the real truth about some person
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  Speaker 3: or object was revealed, A.
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  Speaker 1: Little less sooteric, a little less aoteric, Baby Jay. He
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  Speaker 1: also is like many people in this situation, many artists
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  Speaker 1: then and now. He is struggling to find a way
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  Speaker 1: to pay the bills while he is pursuing what he
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  Speaker 1: feels is his true noble vocation. He dabbles with medicine.
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  Speaker 1: He studies at this San Genevieve library. His mother falls
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  Speaker 1: ill in nineteen oh three, and so in April of
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  Speaker 1: that year he returns to Dublin and he moves around
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  Speaker 1: town trying like different occupations, and just like we see
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  Speaker 1: with so many other very talented people, he's like a
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  Speaker 1: compass and he's swinging wildly. It takes a second for
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  Speaker 1: him to find his true north. Around this time, he
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  Speaker 1: starts writing an autobiographical novel. It's called Stephen Hero and
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  Speaker 1: we'll talk about that more in a sec and it's
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  Speaker 1: largely ignored by both him and the world. This big
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  Speaker 1: break doesn't occurred on nineteen oh four, when he gets
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  Speaker 1: his first writing job.
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  Speaker 3: That's right, he gets a gig as a working writer
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  Speaker 3: for the Irish Homestead. He gets paid I believe a
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  Speaker 3: British pound per short story that he submits to this publication.
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  Speaker 3: Then in June of nineteen oh four, June tenth, he
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  Speaker 3: meets the love of his life, one Nora Barnacle.
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  Speaker 4: Sounds like a made up character in a.
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  Speaker 3: James Choice novel, And yeah, we've already hinted their relationship
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  Speaker 3: does take a bit of a turn toward the kinky, saucy,
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  Speaker 3: very saucy. Indeed, we're gonna get there. The Irish Homestead
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  Speaker 3: Ben you pointed out in the outline is something of
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  Speaker 3: a reader's digest type publication, so not something you would
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  Speaker 3: typically think of containing pornographic material. And he wasn't writing
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  Speaker 3: this kind of stuff, you know. He saved those types
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  Speaker 3: of missives for his personal, private secret nighttime he times. Hmm.
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  Speaker 4: Yeah, you have to.
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  Speaker 1: Wonder what he would think about hearing our podcast today.
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  Speaker 1: I think it would like, you're absolutely on the money there, Nol.
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  Speaker 1: The stories he's writing at this position in the turn
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  Speaker 1: of the century, we could think of him like a blogger,
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  Speaker 1: almost like a paid commentator or reviewer of some sort.
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  Speaker 1: He's not going to become a millionaire off this, obviously,
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  Speaker 1: but there is something beautiful to making a living, even
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  Speaker 1: in part off of one's creative acts, whether that be sculpture, music, literature, dance,
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  Speaker 1: you name it. This is where he starts writing these stories,
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  Speaker 1: these short stories that are going to later be collected
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  Speaker 1: and published in an anthology she called Doubliners in nineteen fourteen,
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  Speaker 1: and Dubliners contains one of the most universally warshiped or
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  Speaker 1: looked up to short stories in the Western canon, which
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  Speaker 1: is The Dead. If you haven't read it, if you
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  Speaker 1: find James Joyce to be intimidating because of ulysses or
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  Speaker 1: because of that other thing he wrote, Finnigan's Wake often
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  Speaker 1: confused with a book. We can promise you that I
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  Speaker 1: walked down the street for that way. We can promise
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  Speaker 1: you that Dubliners is much more accessible, and The Dead
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  Speaker 1: is just it's a wonderful story.
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  Speaker 4: Yeah.
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  Speaker 3: I've read not a word of James Joyce's work, so
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  Speaker 3: this is good advice for me.
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  Speaker 4: You have read, we'll get to it.
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  Speaker 3: Well. I've read some of his words, yes, but not
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  Speaker 3: in any of his official output. So you know he
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  Speaker 3: does progress. I guess you could call it, or perhaps devolved,
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  Speaker 3: but no, no, no, let's say progress. His work gets
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  Speaker 3: much more complex and esoteric and experimental. Really, I mean,
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  Speaker 3: it's my understanding that Ulysses just it kind of messes
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  Speaker 3: with the form of what a book which should be,
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  Speaker 3: and like how you know, perspective and all of the
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  Speaker 3: thing that they aren't.
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  Speaker 4: There aren't characters per se.
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  Speaker 3: I mean there are, but it's like it's all shifting
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  Speaker 3: perspectives and how would you describe the way Ulysses reads
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  Speaker 3: ben for anyone who maybe hasn't even attempted it.
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  Speaker 1: Yeah, Ulysses, I've got to get to give a shout
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  Speaker 1: out to the professors who ushered me through several courses
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  Speaker 1: in James Joyce, I needed a book club basically to
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  Speaker 1: read Ulysses because it is an epic novel, it expands
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  Speaker 1: throughout languages. The story it depicts is actually in terms
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  Speaker 1: of ad is ed plot, it's it's pretty straightforward, but
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  Speaker 1: it has a ton of illusions, a ton of formats
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  Speaker 1: that hadn't really happened before, and it has a stream
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  Speaker 1: of consciousness technique that I think made that that's probably
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  Speaker 1: one of the biggest speed bumps for people to get over.
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  Speaker 4: Right.
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  Speaker 1: Oh and there are a ton of puns in there.
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  Speaker 1: By the way, hashtag no pun left behind. Joyce may
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  Speaker 1: have started that, and honestly, he could have pumped his
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  Speaker 1: brakes just a little bit and be honest.
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  Speaker 3: So he does, you know, try in vain for quite
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  Speaker 3: some time to get Ulysses published, and he eventually does
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  Speaker 3: in nineteen twenty two, when he's forty, before it came
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  Speaker 3: out as an entire, you know, collected book. He publishes
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  Speaker 3: it in little installments, which is something we also know
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  Speaker 3: happened pretty commonly in a publication US literary magazine called
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  Speaker 3: The Little Review Adorable sounding, and the chapter that became
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  Speaker 3: known as NAUSICAA features the novel's main character, Leopold Bloom
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  Speaker 3: in a little self care, little self help, little self
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  Speaker 3: on a beach while staring at a seventeen year old
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  Speaker 3: beach dweller, nay a girl named Gertie McDowell.
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  Speaker 4: Nothing, there's wrong at all.
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  Speaker 1: Slightly Nabokov right, shades of Napakov and Lolita. Yeah, he
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  Speaker 1: in just this excerpt. This is something a lot of
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  Speaker 1: people get messed up. Just this excerpt, this Nausica, as
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  Speaker 1: you mentioned, that alone, gets an enormous amount of controversy
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  Speaker 1: because you know, it's super wronged not to not to
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  Speaker 1: undermine you there, Max, But obviously that was sarcasm. This
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  Speaker 1: is not cool stuff. It gets published in nineteen twenty again,
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  Speaker 1: just this excerpt, and this catches the attention of the
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  Speaker 1: daughter of a lawyer in New York. And this person
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  Speaker 1: refers the installment nausicaa to something called the New York
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  Speaker 1: Societ for the suppression of vice. A moral panic occurs,
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  Speaker 1: prosecution starts rolling.
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  Speaker 3: Yeah, and I believe Nausica is actually a character in
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  Speaker 3: the Odyssey by Homer.
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  Speaker 4: Yep, you're right. Ulysses is a character in the Iliad, right.
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  Speaker 5: And the Nauso Cans are a species of aliens and
• 15:23
  Speaker 5: star Trek, the ones who actually impale Card through the
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  Speaker 5: heart when he's a young man.
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  Speaker 3: That seeking in the phones and he's fallen knowledge.
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  Speaker 4: It's just for you right now, the fact.
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  Speaker 1: And then there's also Miyazaki's Nausica of the.
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  Speaker 3: Valley of the wind the Valley of the Winds, which
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  Speaker 3: is where I'm most familiar with that name from. But uh, yeah,
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  Speaker 3: it was so interesting when you start to dig into
• 15:52
  Speaker 3: some of the stuff. How often literary references, you know,
• 15:55
  Speaker 3: are very very important to understand a piece of pop
• 15:59
  Speaker 3: culture a little more deeply. I actually watched The Killing
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  Speaker 3: of the Sacred Deer Yurugus Lanthemo's film with my partner
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  Speaker 3: last night, and that is a reference to some stuff
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  Speaker 3: that happens battles between gods, like I believe the Killing
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  Speaker 3: of the Sacred Deer refers to. I think it's Artemis,
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  Speaker 3: who is like the goddess of the hunt and opposing god.
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  Speaker 3: A sacred deer from her forest is killed, and therefore
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  Speaker 3: a sacrifice is demanded. And they don't really go over
• 16:30
  Speaker 3: the top in the movie to make those references. They
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  Speaker 3: just use the names, and there's a reference to like
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  Speaker 3: an essay that one of the characters rites about that.
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  Speaker 3: But when you really dig in deeper, you understand kind
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  Speaker 3: of where a lot of the symbolism lies.
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  Speaker 4: And I think that's true here as well.
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  Speaker 1: Yeah, definitely true of Ulyssi's true of a lot of
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  Speaker 1: Joyce's work. Stephen Hero becomes a thing. He repurposes it,
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  Speaker 1: by the way, into a thing called a portrait of
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  Speaker 1: the artist as a young man, which is ten ten
• 16:58
  Speaker 1: no notes the best beginning, the best mention of a
• 17:02
  Speaker 1: moo cow in all of literature, probably also the only mention.
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  Speaker 1: But the editors of this place you mentioned the little review.
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  Speaker 1: They get taken to court and they get fined, and
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  Speaker 1: they're being prosecuted for publishing a work of obscenity. And
• 17:21
  Speaker 1: this meant, this ruling meant that publishers in the United
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  Speaker 1: States were prohibited from publishing Ulysses because the idea was
• 17:32
  Speaker 1: something like, well, we cannot define pornographic content, but we
• 17:37
  Speaker 1: know it, we know it when we witness it. And
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  Speaker 1: this irishman is severely off the.
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  Speaker 4: Rails, he is, indeed.
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  Speaker 3: So it's not until nineteen twenty two that an independent
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  Speaker 3: publisher in Paris decides to go to bat for Joyce
• 17:55
  Speaker 3: and his work Ulysses and publishes the complete novel. Sylvia Beach,
• 18:00
  Speaker 3: believe is the name of the independent publisher there.
• 18:02
  Speaker 1: And they had to be independent because look, even now
• 18:05
  Speaker 1: when you read this thing, there are some very racy passages.
• 18:10
  Speaker 1: I think one of the biggest misconceptions about Ulysses as
• 18:15
  Speaker 1: a work is that it is boring, or it is
• 18:20
  Speaker 1: slow or tempered or dry. It is none of those things.
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  Speaker 1: It is a cavalcade of this on top of this,
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  Speaker 1: which also references this, which also means this, and watch
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  Speaker 1: out for this part. And there's a lot of extremely
• 18:32
  Speaker 1: sexually explicit content there. Leopold Bloom, the main character, explores
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  Speaker 1: his sexual boundaries in a brothel. His wife Molly fantasizes
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  Speaker 1: about just I'll say it, just having really rough sex
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  Speaker 1: with a paramore. And this is all amid a huge
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  Speaker 1: collection of literary reference, his obscure religious quotations, trivia that
• 19:04
  Speaker 1: just struck Joyce as interesting while he was writing. It
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  Speaker 1: goes on and on and on.
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  Speaker 3: Well, and you know, taking into account his Jesuit education
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  Speaker 3: and upbringing, and knowing, you know how a lot of
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  Speaker 3: those schools, of course impose religious, you know, components to
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  Speaker 3: the educational process. It seems like he was bulking against that,
• 19:26
  Speaker 3: or at least pushing back against that. And so a
• 19:28
  Speaker 3: lot of the stuff in these books, or in this
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  Speaker 3: one in particular, could be considered pretty sacrilegious or even blasphemous.
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  Speaker 3: You know, there's a character named Buck Mulligan who he
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  Speaker 3: specifically uses as a way of mocking some of the
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  Speaker 3: rituals of the Catholic Church. And you got to think
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  Speaker 3: that Bloom, the Leopold Bloom character, is kind of Joyce
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  Speaker 3: writing about himself, like to a degree, because I mean,
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  Speaker 3: there's a lot him and his wife Molly are again
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  Speaker 3: talking about all of this you know, kind of rough
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  Speaker 3: sex type stuff. But he also muses is about being
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  Speaker 3: fisted in a brothel.
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  Speaker 1: Yeah, you know, James Joyce was a guy with a
• 20:11
  Speaker 1: great personal interest in the human Australia.
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  Speaker 4: Yeah, exactly.
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  Speaker 3: Uh, And so you know it definitely broke ground, like
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  Speaker 3: we said, in terms of like what what does a
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  Speaker 3: novel entail? Like, what is the form of a novel?
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  Speaker 3: So he was doing that likely you know, introducing a
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  Speaker 3: lot of these words too. I mean, like he's dropping
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  Speaker 3: the F bomb repeatedly, you know, as a way of
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  Speaker 3: referring to to sex. And I can't imagine that, you know,
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  Speaker 3: with the censorship of the time, that that would have
• 20:41
  Speaker 3: been something that was out there, you know, in printed form.
• 20:44
  Speaker 3: But maybe I'm wrong, I mean not to say that
• 20:47
  Speaker 3: I'm you know, necessarily saying that Joyce is the one
• 20:51
  Speaker 3: who introduced swearing into the vernacular. But as popular an
• 20:55
  Speaker 3: author as he became, and as lauded an author as
• 20:58
  Speaker 3: he became, he can't deny that he certainly probably helped
• 21:01
  Speaker 3: spread some of that stuff.
• 21:02
  Speaker 1: Absolutely and helped helped break down again the somewhat false
• 21:08
  Speaker 1: dichotomy of the literary world and the world of lived experience.
• 21:13
  Speaker 1: A lot of people who would drop f bombs left
• 21:17
  Speaker 1: and right. They would be scandalized to read that same
• 21:21
  Speaker 1: language in a novel, you know. And let's keep in mind,
• 21:24
  Speaker 1: this is not too far after the novel finally experienced
• 21:29
  Speaker 1: some sort of legitimization. Before then, the novel and Goosh,
• 21:34
  Speaker 1: even theater, they were considered low arts. They were considered
• 21:39
  Speaker 1: synonymous with grifting, and in the case of theater, they
• 21:42
  Speaker 1: were sometimes considered synonymous with sex work. It was a
• 21:46
  Speaker 1: very very different environment, and Ulysses is a very very
• 21:50
  Speaker 1: different book. I love that you pointed out format. You know,
• 21:53
  Speaker 1: all of a sudden, you turn a page and we're
• 21:56
  Speaker 1: in a screenplay or a script format. Another time you
• 21:59
  Speaker 1: turn a page, it's the front page of a newspaper.
• 22:02
  Speaker 1: That didn't really happen in novels before well.
• 22:05
  Speaker 3: And that could be a scandal of its own, you know,
• 22:07
  Speaker 3: because I mean, the key the gatekeepers of literature, you know,
• 22:12
  Speaker 3: tended to be very staunch in their like, you know,
• 22:15
  Speaker 3: interpretation of what a novel should be, what a play
• 22:18
  Speaker 3: should be, and it would be considered pretty you know,
• 22:22
  Speaker 3: I guess, blasphemous towards the art of literature, of writing,
• 22:26
  Speaker 3: to mess with that, to dare to say, who are you,
• 22:30
  Speaker 3: James Joyce, to try to you know, upset the apple
• 22:33
  Speaker 3: cart here and reinvent the wheel.
• 22:35
  Speaker 4: That is not how we do business.
• 22:37
  Speaker 3: But you know, these are why, That's why characters like
• 22:39
  Speaker 3: him are Figures like him are kind of considered to
• 22:41
  Speaker 3: be iconoclasts. You know, that word in and of itself, I
• 22:44
  Speaker 3: think points to people who break the mold and who
• 22:47
  Speaker 3: refuse to be pigeonholed. And I think that's why he's
• 22:50
  Speaker 3: very important, because he created a framework for experimentation, you know,
• 22:55
  Speaker 3: in form and invoice.
• 22:57
  Speaker 1: And in what was considered allowable discourse, right, literary discourse. Yeah,
• 23:04
  Speaker 1: and you know, obviously we got to give credit words
• 23:07
  Speaker 1: due Lysses was not the first modernist novel, or it
• 23:12
  Speaker 1: wasn't at least the only one to combine this experimental
• 23:16
  Speaker 1: quality with sexual content. DH Lawrence wrote The Rainbow that
• 23:22
  Speaker 1: was also censored, as of seeing a lot of books
• 23:26
  Speaker 1: were getting censored, poems and plays as well.
• 23:29
  Speaker 4: But this.
• 23:31
  Speaker 1: Visceral reaction of the reading public in a very real
• 23:35
  Speaker 1: way shaped twentieth century literature, and therefore literature in twenty
• 23:41
  Speaker 1: twenty three. As we know it today, it wasn't until
• 23:43
  Speaker 1: like nineteen thirty four that US courts got a little
• 23:49
  Speaker 1: more chill with regards to Lysses. They lifted their ban
• 23:55
  Speaker 1: that year, but the debate around what can and cannot
• 23:59
  Speaker 1: be said, perhaps more importantly, what should and should not
• 24:02
  Speaker 1: be considered literature, that continues today.
• 24:06
  Speaker 3: You know, it makes sense that it was the French
• 24:08
  Speaker 3: that that really we're willing to roll the dice here
• 24:11
  Speaker 3: because in nineteen twenty eight a novella by George Buttai
• 24:16
  Speaker 3: was released in France and it's called The Story of
• 24:19
  Speaker 3: the Eye, and yeah, involves some very you know, sadistic
• 24:27
  Speaker 3: and overtly sexual writing. You know, there's a really great
• 24:31
  Speaker 3: lyric of Montreal song where he's talking about meeting a
• 24:34
  Speaker 3: woman at a sweet Swedish festival. He says, standing at
• 24:37
  Speaker 3: a Swedish festival, just know he's like anit a woman
• 24:40
  Speaker 3: who could appreciate George Batai standing at a Swedish festival
• 24:44
  Speaker 3: discussing the Story of the Eye. I remember the guye
• 24:47
  Speaker 3: is used as a sexual device in that In that book.
• 24:50
  Speaker 1: And that that novella, I think the principal characters are
• 24:54
  Speaker 1: also teenagers, just to give you a heads up on
• 24:56
  Speaker 1: that one, folks. I mean, look, we can say Joyce
• 24:59
  Speaker 1: is crucial for his challenging or his expansion of expected
• 25:06
  Speaker 1: format accepted topics of conversation. But as anyone who has
• 25:11
  Speaker 1: read Ulysses knows, and again it is a really good book.
• 25:15
  Speaker 1: The hype is well deserved. It's worth it, as anyone
• 25:18
  Speaker 1: who has read it knows. His secure imagination was not
• 25:22
  Speaker 1: just a fictional feint. To your point, Leopold Bloom and
• 25:26
  Speaker 1: James Joyce have a little more income, And then you
• 25:30
  Speaker 1: might think, I keep going back to it, this point
• 25:32
  Speaker 1: of dichotomy. I was not aware of this until I
• 25:35
  Speaker 1: started studying the guy. But James Joyce apparently eschewed objectionable
• 25:41
  Speaker 1: or obscene language in his irl conversations. Like if you
• 25:45
  Speaker 1: met him, he would he would get sauced and he
• 25:49
  Speaker 1: would he might talk around or about body racy things,
• 25:56
  Speaker 1: but he wouldn't. He wasn't the type to use curse words.
• 25:59
  Speaker 1: I guess he's said it for the page.
• 26:01
  Speaker 4: Oh boy, did he ever were? Jeez, Louise, we're going
• 26:05
  Speaker 4: to get there.
• 26:06
  Speaker 3: He does, in fact pass away On January thirteenth of
• 26:09
  Speaker 3: nineteen forty one, at fifty eight in Zurich, Switzerland. Throughout
• 26:14
  Speaker 3: his career, he writes a play to your point that
• 26:16
  Speaker 3: he wasn't like mega prolific, but it's very interesting how like,
• 26:19
  Speaker 3: you know, several of the pieces of his works are
• 26:23
  Speaker 3: just really have stood the test of time in terms
• 26:25
  Speaker 3: of like being important pieces of literature.
• 26:28
  Speaker 4: He was sort of to play as well.
• 26:29
  Speaker 3: He did a little bit of journalism, some reviewing kind
• 26:32
  Speaker 3: of stuff, three books of poetry. But it wasn't really
• 26:37
  Speaker 3: until after he passed away that some.
• 26:39
  Speaker 4: Of these private.
• 26:42
  Speaker 3: Musings were unearthed and showed the extent to which he
• 26:48
  Speaker 3: was willing to go in expressing some of his more
• 26:53
  Speaker 3: off the menu sexual desires.
• 27:02
  Speaker 1: Yes, that's right, this literary legend, it turns out, was
• 27:06
  Speaker 1: a dirty, dirty boy.
• 27:09
  Speaker 3: You know.
• 27:09
  Speaker 1: Maybe the takeaway is be careful with your text messages
• 27:12
  Speaker 1: and your correspondencies. Let's go back to Nora Barnacle again,
• 27:16
  Speaker 1: real name Weird. He meets her on June sixteenth, nineteen
• 27:21
  Speaker 1: oh four. It is the same date that he will
• 27:24
  Speaker 1: later set Ulysses. Oh, and all of Ulysses, by the way,
• 27:27
  Speaker 1: happens in a very short time period. They elope to
• 27:32
  Speaker 1: Zurich in October of that year, but they go on
• 27:35
  Speaker 1: to have kind of an unconventional relationship for their time,
• 27:39
  Speaker 1: their long term partners, but they don't officially tie the
• 27:42
  Speaker 1: knot until nineteen thirty one. And there's this period in
• 27:47
  Speaker 1: time where it's around nineteen oh nine. James returns to
• 27:51
  Speaker 1: Dublin and he is hoping to get his anthology Dubliners published,
• 27:56
  Speaker 1: So what better place to try to get people to
• 27:59
  Speaker 1: publish that. His books are, also, by the way, not
• 28:02
  Speaker 1: sold at every store in Dublin.
• 28:03
  Speaker 4: Yet he's just.
• 28:04
  Speaker 1: Some guy and during his time in Dublin trying to
• 28:09
  Speaker 1: get Dublin Is published, he writes to the love of
• 28:13
  Speaker 1: his life, Nora, and he writes a lot, and he
• 28:18
  Speaker 1: writes extensively, and we're talking multiple times a day. We're like,
• 28:23
  Speaker 1: he is giving her sometimes like hourly updates on I
• 28:29
  Speaker 1: kid you not how often he is committing the sin
• 28:33
  Speaker 1: of onen They used to call it pleasuring himself masturbating,
• 28:38
  Speaker 1: and we are this is why we had such a
• 28:40
  Speaker 1: disclaimer at the beginning. Went back, I pulled some excerpts
• 28:45
  Speaker 1: of some of his letters, and the baffling thing is
• 28:48
  Speaker 1: these are not the dirtiest parts.
• 28:50
  Speaker 3: I think thus far we've managed to keep it PG.
• 28:55
  Speaker 4: Thirteen plus.
• 28:56
  Speaker 3: But this is the moment, fair listeners, where go down
• 29:01
  Speaker 3: the X rated rabbit. I don't even think I can
• 29:03
  Speaker 3: read some of this, man, I don't know this is
• 29:06
  Speaker 3: this is hard stuff.
• 29:08
  Speaker 4: I guess let's just give it a go. Max. You're
• 29:10
  Speaker 4: gonna have your hands full. I think I gotta at
• 29:12
  Speaker 4: least do some creative bleeps here. I'm just I'm just
• 29:15
  Speaker 4: glad I'm not having to read it.
• 29:17
  Speaker 1: Yeah. Also, again, sorry Alex, but thanks for coming on
• 29:20
  Speaker 1: the show.
• 29:22
  Speaker 5: We're gonna do an interesting one to come on.
• 29:25
  Speaker 4: Jeez.
• 29:25
  Speaker 1: No, all right, so let's do it this way. Uh,
• 29:30
  Speaker 1: We've got one main excerpt here. Again, this is not
• 29:33
  Speaker 1: the dirtiest one. But no, why don't you do the
• 29:35
  Speaker 1: otters for that first paragraph. I'll come in on the second.
• 29:38
  Speaker 3: Okay, Ben, I guess I'll I'll do. I'll play your games,
• 29:43
  Speaker 3: Wicked games Wicked. It's good, that's good, all right. I'm like, god, jeez,
• 29:49
  Speaker 3: I don't think I even do a voice on this.
• 29:51
  Speaker 3: I'm not gonna do a voice. No, I'm not.
• 29:53
  Speaker 4: I'm not.
• 29:54
  Speaker 3: I did as you told me, you dirty little girl,
• 29:57
  Speaker 3: and pulled myself off twice when I read your letter.
• 30:01
  Speaker 4: I am delighted to see that you do like being
• 30:03
  Speaker 4: fucked our sways.
• 30:04
  Speaker 3: Yes, now, I can't remember that night when I fucked
• 30:08
  Speaker 3: you for so long backwards. It was the dirtiest fucking
• 30:11
  Speaker 3: I ever gave you, Darling. My pre was stuck up
• 30:14
  Speaker 3: in you for hours, fucking in and out under your
• 30:17
  Speaker 3: upturned rump. I felt your fat, sweaty buttocks under my belly.
• 30:21
  Speaker 3: I don't even understand that logistically. Uh, and saw your
• 30:24
  Speaker 3: flushed face and mad eyes. I'm flushed a little bit
• 30:28
  Speaker 3: right now.
• 30:29
  Speaker 1: I know he I need this, Yeah, charming guy.
• 30:32
  Speaker 6: Charming guy wrote, it goes it goes on, It goes on,
• 30:36
  Speaker 6: It goes on, and we'll count the beef slater. Thank
• 30:40
  Speaker 6: you again, Marky Princess, He says, Uh, this is again
• 30:44
  Speaker 6: just one excerpt, he says, continuing at every I gave
• 30:48
  Speaker 6: you your shameless tongue come bursting out through your lips,
• 30:52
  Speaker 6: and if I gave you a bigger, stronger fuck than usual,
• 30:55
  Speaker 6: fat dirty farks came spluttering out.
• 30:58
  Speaker 1: Of your backside. You had a nurse full of farts
• 31:01
  Speaker 1: that night, darling, and I've hit them out of you,
• 31:03
  Speaker 1: big fat fellows, long windy ones, quick little merry cracks,
• 31:08
  Speaker 1: and a lot of tiny, little naughty fartings ending in
• 31:11
  Speaker 1: a long gush from your hole. It is wonderful to
• 31:14
  Speaker 1: a farting woman when every drives one out of her.
• 31:18
  Speaker 1: I think I would know Nora's fart anywhere December eighth,
• 31:22
  Speaker 1: nineteen oh nine.
• 31:23
  Speaker 3: Oh, you know it anywhere, You'll love to see it.
• 31:26
  Speaker 3: And then a very charming sign off, Yes, same, good night,
• 31:30
  Speaker 3: my little farting Nora, my dirty little bird. There is
• 31:34
  Speaker 3: one lovely word, darling, you have underlines to make me
• 31:38
  Speaker 3: pull myself off. Better write me more about that, and
• 31:41
  Speaker 3: yourself sweetly dirtier, dirtier.
• 31:45
  Speaker 1: And we don't have a lot of uh, what's the
• 31:49
  Speaker 1: words underlies. Yeah, we don't have a lot of correspondence
• 31:52
  Speaker 1: in return, so we're reading the absence of it. But
• 31:56
  Speaker 1: it seems like she was ten ten on board. No notes,
• 32:01
  Speaker 1: I mean a lot of notes, but they were all
• 32:03
  Speaker 1: like yes and notes.
• 32:04
  Speaker 3: Yeah and yes, and we did not do this topic
• 32:08
  Speaker 3: or pull these these excerpts, to Ben's point, these are
• 32:11
  Speaker 3: some of the if you can say tam or passor
• 32:15
  Speaker 3: just for farts and giggles, which there's probably a lot
• 32:18
  Speaker 3: of that going on in their bedroom, because farts to
• 32:22
  Speaker 3: make you giggles.
• 32:23
  Speaker 4: I'm sorry, I'm just I'm my imagination running while. But
• 32:25
  Speaker 4: this is history.
• 32:26
  Speaker 3: This is like stuff to be you know, dissected and
• 32:30
  Speaker 3: and kind of like this really does point to a
• 32:33
  Speaker 3: secret life of this very important, you know, literary figure.
• 32:38
  Speaker 3: The Paris Review, which is a fabulous publication. They wrote
• 32:42
  Speaker 3: a really great article really doing what I just said
• 32:45
  Speaker 3: much better than we ever could hear on the podcast. Uh,
• 32:47
  Speaker 3: and it shows the depths of his the depravity, the
• 32:51
  Speaker 3: levels of just you know this stuff.
• 32:53
  Speaker 4: I mean, this is modern sounding.
• 32:55
  Speaker 3: It is really also yeah, yeah, exactly, this is like
• 32:59
  Speaker 3: fan fiction, you know, and this is wild.
• 33:02
  Speaker 1: Also, I gotta say objectively, you can tell he loves language.
• 33:06
  Speaker 1: The description of farts, you know, come on, there's a
• 33:10
  Speaker 1: little Susian in there.
• 33:11
  Speaker 3: And then if we talked about like you can, if
• 33:14
  Speaker 3: you have Alexa, you can ask Alexa to fart and
• 33:18
  Speaker 3: she'll say all She'll say, you want a little squeaky one,
• 33:21
  Speaker 3: a big fat fellow, long windy one.
• 33:23
  Speaker 4: I swear to god, it's like out of this letter.
• 33:26
  Speaker 4: It has to be. It really has to be a reference.
• 33:28
  Speaker 4: I'm not I'm not joking.
• 33:29
  Speaker 1: And James the Man was far more base, it would
• 33:34
  Speaker 1: seem than Joyce the author. This is this is true?
• 33:37
  Speaker 1: Why we telling you this? First farts are hilarious. Secondly,
• 33:41
  Speaker 1: we always say it's very important for this show. We
• 33:45
  Speaker 1: always say we must humanize these figures who loom large
• 33:49
  Speaker 1: and canon in history. There are people just like you.
• 33:52
  Speaker 1: We've humanized this guy. Well, let's humanize him just a
• 33:54
  Speaker 1: little bit more. Again, we're loose at the end of
• 33:56
  Speaker 1: the year. You might not know this, folks, because Street
• 34:00
  Speaker 1: kind of teaches us that people exist in isolation. That
• 34:03
  Speaker 1: is not true. A lot of the great writers of
• 34:06
  Speaker 1: this time they hung out with each other. They kicked
• 34:09
  Speaker 1: it the way that me and Nol and Max and
• 34:11
  Speaker 1: Alex you're invited to might kick it after work. Joyce
• 34:15
  Speaker 1: was a huge fan of the American writer Ernest Hemingway.
• 34:19
  Speaker 1: Ernest Hemingway had some I think because I think, especially
• 34:24
  Speaker 1: when you read his stance on bullfighting, I think he
• 34:27
  Speaker 1: had some sexual issues he was grappling with. But he
• 34:30
  Speaker 1: was a big bruiser. He was he was physically the
• 34:33
  Speaker 1: opposite of Joyce, and they both loved drinkings. They would
• 34:37
  Speaker 1: hang out in Paris. They would get sauced, and apparently
• 34:40
  Speaker 1: Joyce was the kind of guy who could be a
• 34:41
  Speaker 1: little annoying at parties. He would start bar fights when
• 34:45
  Speaker 1: he was drunk, pick fights with like random people, or
• 34:48
  Speaker 1: just annoy them to the point where they said, hey, buddy,
• 34:51
  Speaker 1: here's your chance. Shut up, and he.
• 34:53
  Speaker 2: Would be like, no, furthermore, tiny naughty little forties, and
• 34:57
  Speaker 2: then they would be about to swing on him, and
• 34:59
  Speaker 2: he would, literally, this is true, he would run and
• 35:03
  Speaker 2: hide behind the larger earnest Hemingway, and he would yell,
• 35:07
  Speaker 2: deal with him, Hemingway, deal with.
• 35:10
  Speaker 4: Him, Deal with him. He's going to hatch me. Wow,
• 35:14
  Speaker 4: you have you?
• 35:14
  Speaker 3: Have you seen what's that Woody Allen movie? Midnight in Paris?
• 35:19
  Speaker 3: Hemingway is a character in it. I want to say
• 35:23
  Speaker 3: Joyce is in it too. I can't remember, but it
• 35:25
  Speaker 3: would certainly be referencing this period that we're talking about
• 35:28
  Speaker 3: with all these you know, amazing literary figures, because Paris, again,
• 35:32
  Speaker 3: because they were just a lot more open about this stuff,
• 35:34
  Speaker 3: so folks could hang and talk about this kind of
• 35:36
  Speaker 3: stuff without fear of retribution or of societal you know
• 35:40
  Speaker 3: kind of I guess exile or whatever it might be.
• 35:43
  Speaker 3: So there was these salons or whatever. Who else was
• 35:46
  Speaker 3: it there was a woman and Gertrude Stein. You know,
• 35:52
  Speaker 3: those types of figures were all kind of hanging out.
• 35:54
  Speaker 3: I don't quite remember if if Joyce is featured in
• 35:58
  Speaker 3: the film, but Hemingway definitely is, and so it might
• 36:01
  Speaker 3: not align exactly, but Paris definitely seemed like a hotbed
• 36:04
  Speaker 3: of this kind of.
• 36:05
  Speaker 5: A quick Google search. Yes that according to Google, Yes,
• 36:10
  Speaker 5: Joyce is in the film.
• 36:11
  Speaker 4: Okay, great.
• 36:12
  Speaker 3: I haven't seen it since it came out, but I
• 36:13
  Speaker 3: do remember it being quite fun. And we've got Owen
• 36:15
  Speaker 3: Wilson being the sort of Connecticut Yankee type figure, saying
• 36:18
  Speaker 3: a lot of wows, you know, and having an interesting time.
• 36:22
  Speaker 1: And so with this, before we get into my perhaps
• 36:27
  Speaker 1: polemical but entirely correct opinions about Finnegan's Wake, we're going
• 36:31
  Speaker 1: to call it a day. We wanted to humanize stuff,
• 36:36
  Speaker 1: you know, folks. Again, it's the end of the year.
• 36:38
  Speaker 1: We're all getting we're all getting a little more relaxed
• 36:41
  Speaker 1: and loose, and we just thought farts are so funny.
• 36:45
  Speaker 1: This guy wrote so amazingly well about farts. And also
• 36:50
  Speaker 1: I don't think he would object to us humanizing him
• 36:54
  Speaker 1: a little.
• 36:55
  Speaker 3: You know, this makes me think of too, since we're
• 36:56
  Speaker 3: talking about Paris, isn't that where like the whole entertainment
• 37:01
  Speaker 3: discipline of fartistry was kind of a thing.
• 37:04
  Speaker 4: Flatulus, Yeah, there was. I think it did an episode
• 37:06
  Speaker 4: about it.
• 37:07
  Speaker 3: But today it was this guy who could like whistle
• 37:10
  Speaker 3: like tunes with his farts and do all kinds of
• 37:13
  Speaker 3: tricks fart fart tricks whatever, I don't know, and crowds.
• 37:18
  Speaker 4: Everybody was hugely, hugely popular.
• 37:21
  Speaker 3: So I guess Paris was the place man, and I've
• 37:24
  Speaker 3: only had the had the pleasure of visiting Paris as
• 37:27
  Speaker 3: an adult once. It's another thing too, where like that's
• 37:29
  Speaker 3: where the director Roman Polanski was able to kind of
• 37:33
  Speaker 3: live when he was an under fire in the United
• 37:36
  Speaker 3: States for let's just be real, sexually assaulting a minor.
• 37:39
  Speaker 3: I'm not saying that the Parisian people are inherently debauched
• 37:43
  Speaker 3: and and but but there is a certain lase fair
• 37:46
  Speaker 3: attitude towards what other parts of the world might consider perversion.
• 37:50
  Speaker 1: Roman Planski is a criminal and should answer for his
• 37:53
  Speaker 1: crimes fair. I know we're a fun show, but I
• 37:56
  Speaker 1: I can't leave that unsaid. Like and to the point
• 37:59
  Speaker 1: about to the point about Paris and Parisians.
• 38:03
  Speaker 4: Yes, this is.
• 38:05
  Speaker 1: Typically, especially in this time period. This is a font
• 38:08
  Speaker 1: of cultural interaction. This is the world of the salon
• 38:12
  Speaker 1: of the great thoughts, the great movements, be they Bowel
• 38:17
  Speaker 1: movements or you know, literary movement.
• 38:19
  Speaker 4: We had to go there.
• 38:20
  Speaker 2: I had to.
• 38:20
  Speaker 1: We had to. We're almost at the end, my friend,
• 38:23
  Speaker 1: we have to wonder how Thank you, Max, I'm flipping.
• 38:27
  Speaker 3: Also where Jim Morrison died in Paris. He was a
• 38:30
  Speaker 3: he loved Paris. I'm sorry you said, this is the end,
• 38:33
  Speaker 3: my only.
• 38:33
  Speaker 1: Friends, and this is where also historically a lot of
• 38:40
  Speaker 1: a lot of very prominent, very talented African American people
• 38:44
  Speaker 1: traveled to get away from the systemic racism of the
• 38:48
  Speaker 1: United States. So we owe Paris. Thank you, Melsuku. We
• 38:55
  Speaker 1: also we also got to tell you Finnegan's Wake is
• 38:59
  Speaker 1: over rated. Thanks as always to ours.
• 39:02
  Speaker 4: Do you really feel though about Finnegan's Wake? Ben, Finnigan's Wake.
• 39:05
  Speaker 1: I'm so glad you brought that up. Though. There is
• 39:11
  Speaker 1: a book club that has been studying Finnegan's Wake, I
• 39:14
  Speaker 1: kid you not for well over two decades, and when
• 39:17
  Speaker 1: they were asked when they would be done, they said, well,
• 39:20
  Speaker 1: you know, uh, it just goes in a cycle because spoiler,
• 39:24
  Speaker 1: it's impossible to spoil that book, but spoiler, the last
• 39:27
  Speaker 1: sentence is the first part of the uh sentence.
• 39:32
  Speaker 4: That's it's like a loop.
• 39:33
  Speaker 3: The book, Yeah, God Against The opening is sort of
• 39:36
  Speaker 3: like that King Gizzard in the Lizard Wizard record non
• 39:38
  Speaker 3: Agon Infinity.
• 39:40
  Speaker 1: Similar and I like that inspired by Yeah, James Choyce.
• 39:43
  Speaker 3: Now you can play that record on a loop and
• 39:45
  Speaker 3: it loops back around on itself.
• 39:46
  Speaker 4: It's pretty neat.
• 39:47
  Speaker 1: Those guys are great.
• 39:48
  Speaker 3: Yeah, and again, look let's just give credit where credit
• 39:51
  Speaker 3: is due once again, the idea of messing with a
• 39:55
  Speaker 3: pre existing form, you know, whether it be the album,
• 39:59
  Speaker 3: whether it be the book.
• 40:00
  Speaker 4: You know, you have things like what is a house
• 40:02
  Speaker 4: of leaves that.
• 40:03
  Speaker 3: Really experiments with like type set sure, and and you
• 40:06
  Speaker 3: know cyclical like writing that goes in spirals and all
• 40:09
  Speaker 3: of these kinds of things you can really think, I
• 40:11
  Speaker 3: think you know, correct me if I'm wrong, James Joyce
• 40:15
  Speaker 3: for pioneering that and for really kind of you know,
• 40:18
  Speaker 3: going on on a limb to allow others down the
• 40:21
  Speaker 3: line to be able to successfully experiment with forms, whether
• 40:25
  Speaker 3: it be literary, musical, cinematic, whatever. I think that's really important.
• 40:29
  Speaker 3: The first person that gets known for being a you know,
• 40:32
  Speaker 3: a an experimenter like that and gets some success that
• 40:36
  Speaker 3: allows future generations to do that kind of stuff too.
• 40:38
  Speaker 1: Yeah, so shout out to the lost generation of the
• 40:41
  Speaker 1: nineteen twenties. That's not just Joyce and Pound and Stein
• 40:45
  Speaker 1: in anyway, that's also folks like Ts Elliott, who, by
• 40:49
  Speaker 1: the way, is American. Sorry, Ts, everybody knows, stop pretending
• 40:54
  Speaker 1: to be British. Wow, jelical cats, they're delical people to day.
• 41:00
  Speaker 4: Okay, so we're gonna pause. Big big thanks of course
• 41:04
  Speaker 4: to our jelical cat, our super.
• 41:06
  Speaker 1: Producer, mister Max Williams. Big big thanks to our returning
• 41:10
  Speaker 1: guest Alex circa Alex.
• 41:12
  Speaker 4: How do we do?
• 41:13
  Speaker 2: I mean that was exciting.
• 41:14
  Speaker 4: I'm on the edge of my seat over here, all right, No,
• 41:20
  Speaker 4: this is this is good stuff.
• 41:21
  Speaker 3: Ben, you know, really thanks to Ben of course as
• 41:23
  Speaker 3: always for you know, being here and doing the show,
• 41:27
  Speaker 3: but also for being the research associate on this particularly
• 41:30
  Speaker 3: naughty body and haughty piece of piece of research.
• 41:35
  Speaker 1: And thanks to you as well, mister Brown. Well come back, folks,
• 41:40
  Speaker 1: We're gonna have some more episodes as we get closer
• 41:43
  Speaker 1: toward the end of the year. Spoiler alert, you might
• 41:47
  Speaker 1: learn some metamology about some very strange diseases, but there
• 41:50
  Speaker 1: will be other stuff too. We can't wait for you
• 41:53
  Speaker 1: to hear it, so join up with us, very very.
• 41:55
  Speaker 4: Super We'll see you next time, folks.
• 42:04
  Speaker 3: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,
• 42:08
  Speaker 3: or wherever you listen to your favorite shows.