May 30, 2026 • 27 mins
While the phrase 'weird flex' may be relatively recent, it turns out that this phenomenon is as old as human civilization. Join the guys with special guests Miles and Jack from The Daily Zeitgeist as they explore some of the strangest (and most petty) flexes in human history in the conclusion of this two-part episode.
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Speaker 1 (00:00):
Fellow ridiculous historians. We are returning with a dope beat
for you to step two, Step two, step two. Yeah,
for sure, we are returning with part two of History's
Weirdest Flexes. And guys, we had such a great time
on this one with our pals Jack and Miles from
(00:20):
the Daily Zeitgeist.
Speaker 2 (00:22):
You're certainly familiar with the phrase weird flex But okay,
and we go deep down the historical rabbit hole of
weird flexes. You enjoyed part one, Now dive right on
end to Part two.
Speaker 1 (00:37):
Ridiculous History is a production of iHeart Radio. Ridiculous History
is a production of iHeart Radio. And we're back. Thanks
(01:09):
for tuning in. Welcome to Part two of Weird Historical Flexes, or,
as we have come to find, perhaps a cruel historical Flexes.
I'm Ben, I am Noel, and that's our super producer
Casey Pegram, who, to our knowledge, has never eaten twenty tortoises.
We are not venturing into this alone, listeners. You recall
(01:29):
from our previous episode we had two of our favorite
fellow podcasters on and they decided to be kind enough
to return for the second part of this show. Let's
welcome the Daily Zeitgeist. Miles and Jack back on the air.
Speaker 3 (01:44):
WHOA, thanks for having us.
Speaker 4 (01:46):
Truth be told.
Speaker 2 (01:47):
They didn't really return so much as just stayed in
the same place, and we you know, through the Magical podcast,
we didn't have.
Speaker 5 (01:54):
To go in for a whole week. I'm so thirsty.
Speaker 3 (01:57):
Yeah, we just sat in our seats on pause.
Speaker 4 (01:59):
Doesn't it doesn't.
Speaker 2 (02:00):
Robert Evans have some like mountain dew that you guys
could have.
Speaker 3 (02:03):
Oh no, if we touch his mountain dew, we are
in like, we will actually be in harm's way.
Speaker 4 (02:08):
Okay, sometimes don't touch.
Speaker 3 (02:10):
We don't touch Evans's do.
Speaker 1 (02:12):
Yeah, sometimes sends me out of context text about that
and he's like, don't touch my lot and do And
I didn't know. I didn't know the number at first,
so I was very confused.
Speaker 5 (02:22):
No.
Speaker 3 (02:23):
One time I was driving with him and we saw
a person at a bus stop drinking a mountain dew
and he's like, rolled down your window, roll down your window,
and he stuck his head on, goes that's mine, and
that person was so confused and took it from him
and drove off. So that's what we're talking about. When
we talked to talk about Robert Evans.
Speaker 4 (02:39):
Uh what do you call that?
Speaker 3 (02:40):
His do privilege? Yeah yeah, do mania, do mania, whatever
you want, right he uh yeah.
Speaker 5 (02:47):
Whenever you're driving him somewhere, he never tells you when
to stop. He just rolls out of the.
Speaker 4 (02:51):
Car and like that, he's gone. It's it's it's crazy.
It's funny that.
Speaker 5 (02:56):
We're talking about over and there's an open flapping door.
Speaker 2 (02:59):
That's that's really dangerous for you and very disrespectful to
your vehicle. But you know, Robert is an interesting character.
I was speaking of sugary beverages. I'm going to do
sugary weird flex.
Speaker 1 (03:10):
Okay.
Speaker 2 (03:10):
So when Ben first hipped me to this one, it
was described in the article that I read in a
list on I nine as displays of opulence in the
UK during the seventeen hundreds, being.
Speaker 4 (03:25):
Piles of sugar just.
Speaker 2 (03:27):
Laying around the house like Tony like like scarface style,
just like say, hey, check out my sugar. This is
how much money I have because I'm showing you because
I have piles of sugar all over the house. And
you know, we think of that in terms of today
that just means you're keeping a very messy kitchen.
Speaker 4 (03:43):
But this was on display, but.
Speaker 2 (03:45):
As it turns out, it wasn't just piles of sugar,
or it may have been at first, but it actually
evolved into these really ostentatious sugar sculptures.
Speaker 4 (03:58):
Sweet get it, I do, Ben, I do get it?
Speaker 2 (04:02):
Uh? And I said seven six seventeen hundreds, and I
actually meant sixteen hundreds. But what's one hundred? You know,
what's what's what's what's that between fresh drops in the bucket?
So here's the thing. A decorative sugar was achieved by
using things like gum arabic and then it was mixed
into this kind of paste that you could sculpt into
these figures. And whether they were large sculptures that would
(04:25):
be on display constantly, or whether they were these kind
of small, little hardened sugary baked confections that that could
then be eaten. And the most bizarre part of this
to me is the fact that they were called subtleties
and they're not. They're not subtle at all. Right, that
a flex isn't meant to be subtle. The flex is
a flex is it's in your face, and like, check
(04:45):
out this weird thing that I'm doing, remark upon my wealth.
But they were called subtleties, and the smaller forms of
them that were these little creatures would be formed into
things like buildings or animals, and they were meant to
be admired before they were eaten. So they were eaten.
They were eaten. But here's the thing. It was all
in the king class, the nobles, knights, and clergy, and
(05:10):
you had to have a whole lot of expendable sugar
to make these things, to be able to spare enough
to actually kind of like sacrifice them for these kind
of weird little flexes or giant flexes the case might be.
And it was kind of this display of craftsmanship and
also culinary skills. But a lot of them actually were
(05:31):
satirical symbols or they had messages that were conveyed to
the guests. And Henry the Fifth when he was when
he received his coronation ceremony, he did that very thing.
Speaker 4 (05:46):
They were symbols that.
Speaker 2 (05:48):
Kind of confirmed his privilege as the basically a godlike
power as the king and also knights rites, and it
also highlighted the this whole concept that you could it
was almost this nihilistic idea that you could take something
that was artisanally created and that was meant to be
(06:08):
beautiful and you could remark on it and then you know,
admire it, but then devour it. As very similar to
your turtle story, Jack, where it's like, Okay, we're gonna
like note, you know, Darwin's gonna make notes about how
rare and beautiful these creatures are and we should, you know,
take care of them. And then I'm going to eat
it just to show that I am the master of
(06:28):
my own destiny and that no one is above me.
So that is totally what happened here. And then here's
the thing. Over time, it became less of a completely
upper class thing because sugar became less expensive and it
was something that you know, lower class people could afford too.
Speaker 4 (06:50):
But have you guys ever heard of the artist Carol Walker.
Speaker 1 (06:53):
Yes, actually, but I'm the worst person asked.
Speaker 4 (06:56):
You are the worst person. Now you're the best person,
ask me.
Speaker 1 (06:58):
So.
Speaker 2 (06:58):
Cara Walker is a New York City artist who does
You may have seen some of her work. They are
silhouette stuff, the silhouette stuff exactly, and they're depicting ante
bellum culture and just the brutal, the brutality of racism.
They're simultaneously kind of grotesque and they're beautiful, and they're
also kind of darkly comic, where there are these kind
(07:19):
of shadow figures in profile doing all these various things
that would have happened during those times. She did an
art installation in New York City in Brooklyn actually at
the former site of the Domino Sugar factory, and it
was called a Subtlety, and it was a giant sphynx
(07:40):
that was thirty five feet tall and was created with
just tons of this sugar paste and was molded into
a massive sphynx like sculpture with the face akin to
kind of the really really stereotypical image of like Jemima
or like the Mammy kind of trope. Yeah, yes, utterly racist,
(08:04):
and with kind of like a bandana on. And then
throughout the factory or all of these like kind of
like hidden messages talking about how you know, black people
were sort of commodified and to cut cane and to
participate in the sugar trade and all of that.
Speaker 4 (08:20):
So it's sort of taking this like.
Speaker 2 (08:21):
Old, kind of forgotten, weird flex the Subtleties, which, again,
since sugar was so rare, it was saying like, hey,
I've got so much money that I can take my
expense of sugar and make it into these like frivolous
things that are then devoured by my guests.
Speaker 1 (08:36):
And this was twenty fourteen when she did this.
Speaker 2 (08:38):
This was twenty fourteen exactly, and I think it's not
there anymore. But it attracted about four thousand viewers when
it first went on display, and it was a very
popular exhibition for quite some time. But yeah, what do
you guys think about that? There's a lot to unpacked there.
Speaker 3 (08:55):
Yeah, just piles of sugar just make me nervous as
someone who grew up in California, where ants appear out
of nowhere, and I was always raised to like even
rinse out cans or juice boxes because ants would show
up and always caused a lot of anxiety. But also,
but also hearing about the Kara Walker piece is good too,
(09:15):
you know, because reminding people that yes, you may have
these opulent displays in your homes, but at what cost?
Who were the people whose blood was spilled to even
get these things to your house? But yeah, I think
just like you know, piling stuff up is I've got
to say I'm not as impressed, you know, just a
pile of a thing, you know, like gold statues or
like gold piles, sugar piles, sugar statues. I mean, I
(09:38):
think we could go a little bit further than that,
but you know it's I'll rate that. I'll give it
a solid five on the flex chart.
Speaker 1 (09:46):
Ten. Yeah.
Speaker 3 (09:46):
Yeah, that's a five out of ten.
Speaker 5 (09:48):
That's a five out of ten for me, dude. Yeah.
Do we think that they called them like, was this
around the time that sarcasm was invented? Because the calling
them subtle these is like, so that sounds like the
sort of thing that would be invented when someone was like, wow,
that's subtle.
Speaker 3 (10:06):
Yeah, I think almost even naming it a subtlety, that's
actually the.
Speaker 1 (10:10):
Flex, that's flex.
Speaker 3 (10:11):
Yeah, that's a really good point. You really go, oh
that that that bit of subtlety there.
Speaker 2 (10:17):
I also, I also love, I love the notion of
this idea of the invention of sarcasm. I think that's
just like that all of a sudden, it just you know,
poofed into existence. People were like smart asses just overnight.
I think it's fantastic. But no, yeah, I completely agree.
It is utterly a snark to call these things subtlety
and even more leaning in to that opulent display. It's like, oh,
(10:39):
it's not it's no big deal, it's nothing, you know,
it's just you know, my opulence and absurd, obscene wealth.
Speaker 1 (10:45):
And terribly cruel. Because we have to also remember to
your point, Miles, especially at that time, in the age
of the subtleties, this was highly likely to be a
slave created sugar, you know what I mean. So that's
I would say, that's even less weird. Fle's more of
a brutal one.
Speaker 2 (11:09):
I will say this, there's something I wanted to add
a little later in the sixteen hundreds, there's actually a
cookbook from a royal cook in the in the court
named Robert May and he describes even taking this to
the next level, where there would be, for example, a
stag made of sugar, full size that bleeds wine when
an arrow is removed from it.
Speaker 4 (11:30):
That's like sticking in there.
Speaker 2 (11:32):
Or you've got like a castle that actually fires live
artillery rounds made of sugar, or you have something like
like a giant pie made of sugar that's filled with
live birds that then fly out when they crack open
the sugary crust.
Speaker 1 (11:49):
So does that take it? Does that take it up
to six or seven.
Speaker 4 (11:52):
Can I have a point back, please, gentlemen? Thank you?
Speaker 3 (11:55):
Oh yeah, no, no, no, that the cannon firing sugar. That's
an eight. That's an eight for sure. Yes, lest we.
Speaker 5 (12:04):
Start to think we're too superior to history again, guys,
I did this in the last episode. I have to
take it back to the two and three year old
birthday parties. Yeah, I frequent for just my own personal
fun on the weekends, but no, I have a three
year old son.
Speaker 3 (12:23):
You do have to dunk on your son, right, Like,
I went to so many parties this weekend. Did you
go to.
Speaker 5 (12:28):
He's not invited. But I was at a birthday party
very recently where they had a probably you know, it
was probably the size of it was bigger than any
dollhouse I've ever seen. It was a cake that was,
you know, taller than two people standing on each other's shoulders.
(12:52):
That was in the shape of like a castle. Also,
it was a Disney castle, obviously, And I overheard one
of the moms say, oh, get my daughter out of here.
I don't want her to see that cake because she
didn't want the competition for like her daughter's birthday.
Speaker 3 (13:10):
I was like, oh, that's so funny where something is
such a flex that you have to shield people's eyes.
Speaker 4 (13:16):
Yeah, right, because it could forever ruin them. Exactly.
Speaker 3 (13:19):
I can't let them think this is normal. I can't
let them think this is normal.
Speaker 5 (13:23):
So we're still creating subtleties. They're just a giant rich
kid birthday party cakes.
Speaker 1 (13:29):
I guess that's the new one. That's the new subtlety
and this. Okay, So so we we've got we've got
a pretty good track record of strange flexes now, but
we've been building up to an especially and especially weird
flex that's gonna come from you, Miles. So everybody listening,
if this was a somewhat uninteresting or lackluster show for
(13:54):
for so far, then.
Speaker 4 (13:56):
Why are you listening?
Speaker 1 (13:57):
First because you believe in us, then you believe Miles
and more importantly, Myles, no pressure, but literally everything is
writing on you, my friend.
Speaker 3 (14:05):
Yeah. Well, I mean I when we were when we
were discussing doing this, I had a few ideas, but
I wanted to really bring it into the history thing
because recently, when I was in England, I went to
the you know, the the history museum there and saw
all the stolen history that is in there, and my
first idea was like, man, the English really know how
(14:25):
to flex on the rest of the world, because they
were like, I'll take your history and I'll keep it
here haha, and you can ask for it back, but
it doesn't mean I'm giving it back.
Speaker 4 (14:35):
And then as I.
Speaker 3 (14:35):
Looked into it more, I was like, Okay, so this
obviously it's a theme with how gigantic the British Empire
was at one time. But then I found out that
in Victorian England, one of the great flexes if you
were a person of means, was to obviously Egyptomania was
was huge in England, especially after the Napoleonic Wars and
(14:58):
things like that, but then it turned into a thing
where going to watch somebody just fully desecrate a mummy's body.
Mummy unwrappings were a huge flex if you had the
money to go to a live mummy unwrapping. Now, what
is a mummy unwrapping? Well, let me tell you that
was my question. Yes, Thomas Pettigrew, he was, you know,
(15:21):
he was like this surgeon and a man of science.
But then eventually the Egyptian bug. He got bit by
the egypt bug and started thinking like man you know,
like what's like, what's really going on under all those wraps?
And he decided, yes, here we go. This is something
I can do. I can combine many things science, I
can combine people's just obsession with the darkness of Egypt
(15:43):
or just the sort of otherness of Egypt and get
them and sell some tickets at the same time. So
he wasn't the first person to unroll a mummy in
front of an audience, but he was. He was the
guy who kind of mainstreamed it as being like a
performance where people would buy tickets to go and just
watch this thing happen live and in person.
Speaker 4 (16:03):
And can I stop you real quick?
Speaker 2 (16:04):
Did he do it like where he just like on
Scooby Doo where he just pulls the one string and
then the mummy just spins out like a car with
cartoon sound effects, and there's.
Speaker 3 (16:12):
Actually almost well, what's funny is there was someone in
France who was doing something similar to which is a
little more performative than just you know, sort of taking
the bandages off. In France, there were moments where they
would take a mummy that was going to be demummified
and put it like on this you know machine essentially
(16:33):
that made it look like the corpse was dancing as
the bandages were just ripped off the body, and people
were like, yo, that's cool, making it a real kind
of freaky performance. But in England, you know, England is
more about, as we said, the subtleties, so they they
took it a little more seriously, a little more dramatic
(16:56):
by you know, saying really, you know, just over the
elaborate monologues while then you know, cutting off all of
the bandages to demummify it when these mummy I guess
de rappings as they called him, were happening. The man
behind it, Thomas Pettigrew, had a few kind of dark
aims with doing this. One of the theories that people
(17:19):
have suggested that he was really also like, through de
mummifying these people, was trying to prove that ancient Egyptians
were actually Caucasian and not African origin, using like physiognomy
to like measure the cranium and things like that of
prenologists yeah, oh yeah, sorry, phrenology, right, or just to
basically be like, yeah, this is this is my fake
(17:41):
science to prove that the this old ancient empire was
actually in fact a Caucasian one, but again found this
way of everybody would come by watch the mummy get
de wrapped, and it was just like the biggest thing,
and it got so big that even there's even a
secondary flex to the d rappings. There was the Duke
(18:02):
of Hamilton at the time in eighteen fifty two when
one of his dying wishes was to have Pettigrew actually
mammify him and put him in an ancient Egyptian sarcophagus,
and he got his wish in eighteen fifty two. So
now we actually we've gone from people just being like,
let's just disrespect this ancient body to now let me
(18:23):
kick this ancient body out of the sarcophagus. Now let
me appropriate Mama fi me and put me in this sarcophagus.
And that's what happened.
Speaker 5 (18:31):
And then he did a mummy unwrapping and scared everybody.
Speaker 3 (18:33):
It was like that, no, I'm good, I'm good anyway,
coming to my birthday.
Speaker 1 (18:40):
That's like Bonnaru costume level appropriation. It's beyond bon Oh yeah,
oh wait, Coachella, that's the one.
Speaker 3 (18:48):
Yeah, yeah, yeah. He'd be like, I mean he acquired
a like an actual legitimate ancient sarcophagus and of like
a princess who wasn't named, but was like, that's that
will be my final sold to rest in.
Speaker 4 (19:00):
I say, more power to him. Go ahead and mummify yourself.
Speaker 2 (19:03):
That's sort of like a like a different version of
like go after yourself. Yeah, but get your own vehicle, right, absolutely?
Do you make build your own SARCOPHA guy?
Speaker 4 (19:10):
Guy just do? Oh yeah, and yeah.
Speaker 3 (19:12):
What's so funny is like he's actually because he's mummified
in a sarcophagus, he actually made it into the Encyclopedia
of Mummies. Oh yeah, which to me feels like a
little bit of a you know, sort of back door
entry to getting into college. Reminds me of Operations Varsity
Blues a little bit like did you earn it really?
Run a person of means who is able to buy
(19:32):
their own sarcophagus and then flex on people like that.
Speaker 5 (19:34):
People are always trying to buy their way into the
Encyclopedia Mummies.
Speaker 3 (19:38):
Yeah exactly. I mean it was a big problem, especially
in the eighties.
Speaker 1 (19:41):
I'm going to give that one. At first, I was like, man,
this is clearly eight or nine, but making appropriating someone
in death for your own death that knocks it to
attend to me the hubris alone.
Speaker 4 (19:55):
Not to mention that it is tickets are being sold.
Speaker 2 (19:59):
It's it's completely commodifying and appropriating some very sacred ritual
in someone's culture that you clearly do not understand or
care to understand. You're just using it for the amusement
of the public, and so then you're also playing into stereotypes.
Everything bad about this. So I think we should have
two scales. I think we should have the weird flex
(20:19):
scale and the cruelty scale.
Speaker 1 (20:21):
We have been going back and forth. Well, I will say,
on the upside, one good thing about this horrifically tragic
story is that in comparison, it makes the four of
us look pretty good because we haven't done that. It's
true yet.
Speaker 3 (20:41):
Oh yeah, right, no, nothing, I mean, but I mean,
I'm not gonna lie. I'm every night when I when
I envision my future, it's having so much wealth that
I could also buy a mummy just on rapid right.
I'm gonna be honest.
Speaker 5 (20:53):
I was gonna say, Okay, so, yes, this is what
we had instead of horror movies back then. But also
so this is something I could totally see working as
a flex in the modern world, Like if I was
at a party and someone was doing that, I'd be like,
that makes sense, and I'm impressed.
Speaker 3 (21:10):
If they were like.
Speaker 5 (21:11):
Defiling the historic object, it's like, I don't know, it's
still it's still just wildly insane and well it's weird.
We also have unboxing videos.
Speaker 3 (21:22):
Yeah, but I guess back then, right, they didn't have
the same sort of values where like we should actually
preserve history. They're like, oh, y'all got to see what
I just stole from Egypt real quick, let's watch we
unwrap this mummy, Whereas now it would be like, because
you're just merely destroying something of such value, it's like
it's like, look at this vase from the Ming Dynasty.
(21:42):
I'm about to just toss off the freeway off ramp.
That would be pretty cool.
Speaker 5 (21:46):
I could see it at a like Hollywood party of
some like caa agent or something like that, like somebody
who's cartoonishly a terrible person.
Speaker 3 (21:54):
I'm pretty sure, something like when they wanted to open
that mummy, that sarcophagus like last year, and you're like,
what's the mummy? What's the water in that? Sarcastic people
like I want to drink the mummy water.
Speaker 5 (22:04):
Yeah, mummy water.
Speaker 1 (22:05):
Remember that.
Speaker 2 (22:06):
I'm pretty sure Nick Cage had a mummy at one point,
so that's probably available because I think he I think
there's like a serious Nick Cage garage sale going on.
Speaker 4 (22:14):
He had a t rex skull, so surely he had
a mummy as well.
Speaker 2 (22:18):
I'm just conjecturing here, but I'd like to believe that
he did.
Speaker 1 (22:21):
Snap.
Speaker 4 (22:23):
He's a he's a He's an odd character.
Speaker 2 (22:25):
Geez, guys, this was a lot less fun than I
thought it was gonna be.
Speaker 4 (22:29):
And that is not on you. That is just on
history itself. Uh, come on history, Yeah, I think, I
mean yeah, yeah, no, No, I had a great time.
I had a great time. But these stories were most
of them were kind of bummers.
Speaker 2 (22:42):
I would say the the least bummery one was Ben's
uh decorative hobo story, and even that was pretty hermits.
I'm sorry, sorry decorative Hobo to appropriate what happened? Hey,
don't you accuse me of appropriation, sir? I would never,
I would.
Speaker 3 (23:00):
It all depends on what your flavor is A flex
I mean Jack's was about animal.
Speaker 5 (23:04):
Cruelty, Yeah, flexing on the animals.
Speaker 3 (23:07):
Yeah, subtleties was about slavery. Uh, the mind was about colonialism,
empire and the desecration of people's cultures.
Speaker 1 (23:15):
Yea.
Speaker 3 (23:16):
And then the other one was about taking advantage of
the destitute.
Speaker 5 (23:19):
Sure you know your bum son.
Speaker 3 (23:22):
Yeah, And I guess now, I guess nowadays the flexes
are better because now we're just saying, like, yeah, I
actually like I went to high school with Chris Rocks
kid and I beat him in basketball. So there's that,
all right, But okay.
Speaker 1 (23:37):
I'm gonna tell people that's a true story about you.
Speaker 4 (23:40):
Now.
Speaker 1 (23:40):
Are you cool with that?
Speaker 4 (23:41):
Yeah?
Speaker 1 (23:41):
Back me up if it comes up in conversation.
Speaker 3 (23:44):
Oh yeah, it's one of the many lies I do,
so don't worry.
Speaker 4 (23:46):
Yeah, it's well.
Speaker 2 (23:48):
Despite despite being kind of depressed right now, I'm also
really happy we got to do this and I did,
all things considered, have a really good time having you
guys on this show, and maybe we can make this
a regular thing. I think there's obviously way more historical
weird flexes that we can dig into and do this again.
Speaker 4 (24:04):
Thank you guys so much for coming on.
Speaker 1 (24:06):
I'm gonna do I.
Speaker 3 (24:07):
Got more in my back pocket right now.
Speaker 1 (24:08):
Let's do it. Yeah, I'm gonna I'm gonna actually take
it a step further, and I'm gonna try to make
some new, weird, historical flexes for the future that will
hopefully not be as terrible as these four turned out
to be. But guys, I know everybody listening is saying, well,
we enjoyed the hell out of hanging out with Jack
(24:29):
and Miles. Where can they find you before you come
back on this show?
Speaker 5 (24:34):
You guys can find us at The Daily Zeitgeist. It's
a podcast that we do, as the name would suggest,
daily every weekday, Monday through Friday. It's an hour rundown
of just everything that's happened in the zeitgeist, pop culture news.
Those are kind of the two big ones.
Speaker 3 (24:52):
Politics, politics, po tricks, you know, all of all of it.
Speaker 5 (24:57):
Yeah, and you can find me on Twitter at Jack
Underscore Obrien.
Speaker 3 (25:01):
Oh, you can find me on Twitter and Instagram at
Miles of Gray g r A.
Speaker 1 (25:04):
Y and I want to give you guys a shout
out to to make sure that all our listeners know this.
You heard correct, folks. That's a daily podcast. Casey Nol
and I do this about two times a week. So
I am beyond impressed that you guys not only did
your regular show but also came here to do a
(25:26):
show with us. So thank you. That's amazing our pleasure.
Speaker 5 (25:30):
We're big fans. We're thrilled to do it.
Speaker 3 (25:32):
Yeah, and it's you know, and our show isn't as
thorough as yours is. Again, we like to consider our
show a second rate podcastecond rate podcast. Just do it
a lot, that's all.
Speaker 1 (25:42):
So so check out check out the guys on Instagram
and Twitter if you want a closer look at the
second best garden gnome collection in East Los Angeles. That
that's a good callback if you listen to both episodes,
which you should. In the meantime, we're calling in to day.
We want to give a very late thanks and shout
(26:03):
out to our super producer, Casey Pegram.
Speaker 2 (26:06):
We'd like to thank Alex Williams who composed our theme,
Gabe Lucier who helps us out with research, and I'm
just miss Christopher. I'm gonna give him anotherhout out. Christopherciota's
Jonathan Strickland the quizz you Ben, I'd like to thank
you for being a friend and a confidante and all
the things that are in the Golden Girls theme.
Speaker 1 (26:23):
Song, and of course thanks again to Miles and Jack.
Thanks to everyone for checking this out. Hey, you know
what folks tell us about your favorite weird historical flexes
or even just very very petty things committed by historical
people of note.
Speaker 2 (26:40):
And who knows, maybe this will be a running thing
and we can include some of them in a future episode.
Speaker 4 (26:46):
Until then, we'll see you next time.
Speaker 2 (26:56):
For more podcasts from iHeartRadio, visit the iHeartRadio app, apple Pie,
or wherever you listen to your favorite shows. For more
podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or
wherever you listen to your favorite shows.
Fellow ridiculous historians. We are returning with a dope beat
for you to step two, Step two, step two. Yeah,
for sure, we are returning with part two of History's
Weirdest Flexes. And guys, we had such a great time
on this one with our pals Jack and Miles from
(00:20):
the Daily Zeitgeist.
Speaker 2 (00:22):
You're certainly familiar with the phrase weird flex But okay,
and we go deep down the historical rabbit hole of
weird flexes. You enjoyed part one, Now dive right on
end to Part two.
Speaker 1 (00:37):
Ridiculous History is a production of iHeart Radio. Ridiculous History
is a production of iHeart Radio. And we're back. Thanks
(01:09):
for tuning in. Welcome to Part two of Weird Historical Flexes, or,
as we have come to find, perhaps a cruel historical Flexes.
I'm Ben, I am Noel, and that's our super producer
Casey Pegram, who, to our knowledge, has never eaten twenty tortoises.
We are not venturing into this alone, listeners. You recall
(01:29):
from our previous episode we had two of our favorite
fellow podcasters on and they decided to be kind enough
to return for the second part of this show. Let's
welcome the Daily Zeitgeist. Miles and Jack back on the air.
Speaker 3 (01:44):
WHOA, thanks for having us.
Speaker 4 (01:46):
Truth be told.
Speaker 2 (01:47):
They didn't really return so much as just stayed in
the same place, and we you know, through the Magical podcast,
we didn't have.
Speaker 5 (01:54):
To go in for a whole week. I'm so thirsty.
Speaker 3 (01:57):
Yeah, we just sat in our seats on pause.
Speaker 4 (01:59):
Doesn't it doesn't.
Speaker 2 (02:00):
Robert Evans have some like mountain dew that you guys
could have.
Speaker 3 (02:03):
Oh no, if we touch his mountain dew, we are
in like, we will actually be in harm's way.
Speaker 4 (02:08):
Okay, sometimes don't touch.
Speaker 3 (02:10):
We don't touch Evans's do.
Speaker 1 (02:12):
Yeah, sometimes sends me out of context text about that
and he's like, don't touch my lot and do And
I didn't know. I didn't know the number at first,
so I was very confused.
Speaker 5 (02:22):
No.
Speaker 3 (02:23):
One time I was driving with him and we saw
a person at a bus stop drinking a mountain dew
and he's like, rolled down your window, roll down your window,
and he stuck his head on, goes that's mine, and
that person was so confused and took it from him
and drove off. So that's what we're talking about. When
we talked to talk about Robert Evans.
Speaker 4 (02:39):
Uh what do you call that?
Speaker 3 (02:40):
His do privilege? Yeah yeah, do mania, do mania, whatever
you want, right he uh yeah.
Speaker 5 (02:47):
Whenever you're driving him somewhere, he never tells you when
to stop. He just rolls out of the.
Speaker 4 (02:51):
Car and like that, he's gone. It's it's it's crazy.
It's funny that.
Speaker 5 (02:56):
We're talking about over and there's an open flapping door.
Speaker 2 (02:59):
That's that's really dangerous for you and very disrespectful to
your vehicle. But you know, Robert is an interesting character.
I was speaking of sugary beverages. I'm going to do
sugary weird flex.
Speaker 1 (03:10):
Okay.
Speaker 2 (03:10):
So when Ben first hipped me to this one, it
was described in the article that I read in a
list on I nine as displays of opulence in the
UK during the seventeen hundreds, being.
Speaker 4 (03:25):
Piles of sugar just.
Speaker 2 (03:27):
Laying around the house like Tony like like scarface style,
just like say, hey, check out my sugar. This is
how much money I have because I'm showing you because
I have piles of sugar all over the house. And
you know, we think of that in terms of today
that just means you're keeping a very messy kitchen.
Speaker 4 (03:43):
But this was on display, but.
Speaker 2 (03:45):
As it turns out, it wasn't just piles of sugar,
or it may have been at first, but it actually
evolved into these really ostentatious sugar sculptures.
Speaker 4 (03:58):
Sweet get it, I do, Ben, I do get it?
Speaker 2 (04:02):
Uh? And I said seven six seventeen hundreds, and I
actually meant sixteen hundreds. But what's one hundred? You know,
what's what's what's what's that between fresh drops in the bucket?
So here's the thing. A decorative sugar was achieved by
using things like gum arabic and then it was mixed
into this kind of paste that you could sculpt into
these figures. And whether they were large sculptures that would
(04:25):
be on display constantly, or whether they were these kind
of small, little hardened sugary baked confections that that could
then be eaten. And the most bizarre part of this
to me is the fact that they were called subtleties
and they're not. They're not subtle at all. Right, that
a flex isn't meant to be subtle. The flex is
a flex is it's in your face, and like, check
(04:45):
out this weird thing that I'm doing, remark upon my wealth.
But they were called subtleties, and the smaller forms of
them that were these little creatures would be formed into
things like buildings or animals, and they were meant to
be admired before they were eaten. So they were eaten.
They were eaten. But here's the thing. It was all
in the king class, the nobles, knights, and clergy, and
(05:10):
you had to have a whole lot of expendable sugar
to make these things, to be able to spare enough
to actually kind of like sacrifice them for these kind
of weird little flexes or giant flexes the case might be.
And it was kind of this display of craftsmanship and
also culinary skills. But a lot of them actually were
(05:31):
satirical symbols or they had messages that were conveyed to
the guests. And Henry the Fifth when he was when
he received his coronation ceremony, he did that very thing.
Speaker 4 (05:46):
They were symbols that.
Speaker 2 (05:48):
Kind of confirmed his privilege as the basically a godlike
power as the king and also knights rites, and it
also highlighted the this whole concept that you could it
was almost this nihilistic idea that you could take something
that was artisanally created and that was meant to be
(06:08):
beautiful and you could remark on it and then you know,
admire it, but then devour it. As very similar to
your turtle story, Jack, where it's like, Okay, we're gonna
like note, you know, Darwin's gonna make notes about how
rare and beautiful these creatures are and we should, you know,
take care of them. And then I'm going to eat
it just to show that I am the master of
(06:28):
my own destiny and that no one is above me.
So that is totally what happened here. And then here's
the thing. Over time, it became less of a completely
upper class thing because sugar became less expensive and it
was something that you know, lower class people could afford too.
Speaker 4 (06:50):
But have you guys ever heard of the artist Carol Walker.
Speaker 1 (06:53):
Yes, actually, but I'm the worst person asked.
Speaker 4 (06:56):
You are the worst person. Now you're the best person,
ask me.
Speaker 1 (06:58):
So.
Speaker 2 (06:58):
Cara Walker is a New York City artist who does
You may have seen some of her work. They are
silhouette stuff, the silhouette stuff exactly, and they're depicting ante
bellum culture and just the brutal, the brutality of racism.
They're simultaneously kind of grotesque and they're beautiful, and they're
also kind of darkly comic, where there are these kind
(07:19):
of shadow figures in profile doing all these various things
that would have happened during those times. She did an
art installation in New York City in Brooklyn actually at
the former site of the Domino Sugar factory, and it
was called a Subtlety, and it was a giant sphynx
(07:40):
that was thirty five feet tall and was created with
just tons of this sugar paste and was molded into
a massive sphynx like sculpture with the face akin to
kind of the really really stereotypical image of like Jemima
or like the Mammy kind of trope. Yeah, yes, utterly racist,
(08:04):
and with kind of like a bandana on. And then
throughout the factory or all of these like kind of
like hidden messages talking about how you know, black people
were sort of commodified and to cut cane and to
participate in the sugar trade and all of that.
Speaker 4 (08:20):
So it's sort of taking this like.
Speaker 2 (08:21):
Old, kind of forgotten, weird flex the Subtleties, which, again,
since sugar was so rare, it was saying like, hey,
I've got so much money that I can take my
expense of sugar and make it into these like frivolous
things that are then devoured by my guests.
Speaker 1 (08:36):
And this was twenty fourteen when she did this.
Speaker 2 (08:38):
This was twenty fourteen exactly, and I think it's not
there anymore. But it attracted about four thousand viewers when
it first went on display, and it was a very
popular exhibition for quite some time. But yeah, what do
you guys think about that? There's a lot to unpacked there.
Speaker 3 (08:55):
Yeah, just piles of sugar just make me nervous as
someone who grew up in California, where ants appear out
of nowhere, and I was always raised to like even
rinse out cans or juice boxes because ants would show
up and always caused a lot of anxiety. But also,
but also hearing about the Kara Walker piece is good too,
(09:15):
you know, because reminding people that yes, you may have
these opulent displays in your homes, but at what cost?
Who were the people whose blood was spilled to even
get these things to your house? But yeah, I think
just like you know, piling stuff up is I've got
to say I'm not as impressed, you know, just a
pile of a thing, you know, like gold statues or
like gold piles, sugar piles, sugar statues. I mean, I
(09:38):
think we could go a little bit further than that,
but you know it's I'll rate that. I'll give it
a solid five on the flex chart.
Speaker 1 (09:46):
Ten. Yeah.
Speaker 3 (09:46):
Yeah, that's a five out of ten.
Speaker 5 (09:48):
That's a five out of ten for me, dude. Yeah.
Do we think that they called them like, was this
around the time that sarcasm was invented? Because the calling
them subtle these is like, so that sounds like the
sort of thing that would be invented when someone was like, wow,
that's subtle.
Speaker 3 (10:06):
Yeah, I think almost even naming it a subtlety, that's
actually the.
Speaker 1 (10:10):
Flex, that's flex.
Speaker 3 (10:11):
Yeah, that's a really good point. You really go, oh
that that that bit of subtlety there.
Speaker 2 (10:17):
I also, I also love, I love the notion of
this idea of the invention of sarcasm. I think that's
just like that all of a sudden, it just you know,
poofed into existence. People were like smart asses just overnight.
I think it's fantastic. But no, yeah, I completely agree.
It is utterly a snark to call these things subtlety
and even more leaning in to that opulent display. It's like, oh,
(10:39):
it's not it's no big deal, it's nothing, you know,
it's just you know, my opulence and absurd, obscene wealth.
Speaker 1 (10:45):
And terribly cruel. Because we have to also remember to
your point, Miles, especially at that time, in the age
of the subtleties, this was highly likely to be a
slave created sugar, you know what I mean. So that's
I would say, that's even less weird. Fle's more of
a brutal one.
Speaker 2 (11:09):
I will say this, there's something I wanted to add
a little later in the sixteen hundreds, there's actually a
cookbook from a royal cook in the in the court
named Robert May and he describes even taking this to
the next level, where there would be, for example, a
stag made of sugar, full size that bleeds wine when
an arrow is removed from it.
Speaker 4 (11:30):
That's like sticking in there.
Speaker 2 (11:32):
Or you've got like a castle that actually fires live
artillery rounds made of sugar, or you have something like
like a giant pie made of sugar that's filled with
live birds that then fly out when they crack open
the sugary crust.
Speaker 1 (11:49):
So does that take it? Does that take it up
to six or seven.
Speaker 4 (11:52):
Can I have a point back, please, gentlemen? Thank you?
Speaker 3 (11:55):
Oh yeah, no, no, no, that the cannon firing sugar. That's
an eight. That's an eight for sure. Yes, lest we.
Speaker 5 (12:04):
Start to think we're too superior to history again, guys,
I did this in the last episode. I have to
take it back to the two and three year old
birthday parties. Yeah, I frequent for just my own personal
fun on the weekends, but no, I have a three
year old son.
Speaker 3 (12:23):
You do have to dunk on your son, right, Like,
I went to so many parties this weekend. Did you
go to.
Speaker 5 (12:28):
He's not invited. But I was at a birthday party
very recently where they had a probably you know, it
was probably the size of it was bigger than any
dollhouse I've ever seen. It was a cake that was,
you know, taller than two people standing on each other's shoulders.
(12:52):
That was in the shape of like a castle. Also,
it was a Disney castle, obviously, And I overheard one
of the moms say, oh, get my daughter out of here.
I don't want her to see that cake because she
didn't want the competition for like her daughter's birthday.
Speaker 3 (13:10):
I was like, oh, that's so funny where something is
such a flex that you have to shield people's eyes.
Speaker 4 (13:16):
Yeah, right, because it could forever ruin them. Exactly.
Speaker 3 (13:19):
I can't let them think this is normal. I can't
let them think this is normal.
Speaker 5 (13:23):
So we're still creating subtleties. They're just a giant rich
kid birthday party cakes.
Speaker 1 (13:29):
I guess that's the new one. That's the new subtlety
and this. Okay, So so we we've got we've got
a pretty good track record of strange flexes now, but
we've been building up to an especially and especially weird
flex that's gonna come from you, Miles. So everybody listening,
if this was a somewhat uninteresting or lackluster show for
(13:54):
for so far, then.
Speaker 4 (13:56):
Why are you listening?
Speaker 1 (13:57):
First because you believe in us, then you believe Miles
and more importantly, Myles, no pressure, but literally everything is
writing on you, my friend.
Speaker 3 (14:05):
Yeah. Well, I mean I when we were when we
were discussing doing this, I had a few ideas, but
I wanted to really bring it into the history thing
because recently, when I was in England, I went to
the you know, the the history museum there and saw
all the stolen history that is in there, and my
first idea was like, man, the English really know how
(14:25):
to flex on the rest of the world, because they
were like, I'll take your history and I'll keep it
here haha, and you can ask for it back, but
it doesn't mean I'm giving it back.
Speaker 4 (14:35):
And then as I.
Speaker 3 (14:35):
Looked into it more, I was like, Okay, so this
obviously it's a theme with how gigantic the British Empire
was at one time. But then I found out that
in Victorian England, one of the great flexes if you
were a person of means, was to obviously Egyptomania was
was huge in England, especially after the Napoleonic Wars and
(14:58):
things like that, but then it turned into a thing
where going to watch somebody just fully desecrate a mummy's body.
Mummy unwrappings were a huge flex if you had the
money to go to a live mummy unwrapping. Now, what
is a mummy unwrapping? Well, let me tell you that
was my question. Yes, Thomas Pettigrew, he was, you know,
(15:21):
he was like this surgeon and a man of science.
But then eventually the Egyptian bug. He got bit by
the egypt bug and started thinking like man you know,
like what's like, what's really going on under all those wraps?
And he decided, yes, here we go. This is something
I can do. I can combine many things science, I
can combine people's just obsession with the darkness of Egypt
(15:43):
or just the sort of otherness of Egypt and get
them and sell some tickets at the same time. So
he wasn't the first person to unroll a mummy in
front of an audience, but he was. He was the
guy who kind of mainstreamed it as being like a
performance where people would buy tickets to go and just
watch this thing happen live and in person.
Speaker 4 (16:03):
And can I stop you real quick?
Speaker 2 (16:04):
Did he do it like where he just like on
Scooby Doo where he just pulls the one string and
then the mummy just spins out like a car with
cartoon sound effects, and there's.
Speaker 3 (16:12):
Actually almost well, what's funny is there was someone in
France who was doing something similar to which is a
little more performative than just you know, sort of taking
the bandages off. In France, there were moments where they
would take a mummy that was going to be demummified
and put it like on this you know machine essentially
(16:33):
that made it look like the corpse was dancing as
the bandages were just ripped off the body, and people
were like, yo, that's cool, making it a real kind
of freaky performance. But in England, you know, England is
more about, as we said, the subtleties, so they they
took it a little more seriously, a little more dramatic
(16:56):
by you know, saying really, you know, just over the
elaborate monologues while then you know, cutting off all of
the bandages to demummify it when these mummy I guess
de rappings as they called him, were happening. The man
behind it, Thomas Pettigrew, had a few kind of dark
aims with doing this. One of the theories that people
(17:19):
have suggested that he was really also like, through de
mummifying these people, was trying to prove that ancient Egyptians
were actually Caucasian and not African origin, using like physiognomy
to like measure the cranium and things like that of
prenologists yeah, oh yeah, sorry, phrenology, right, or just to
basically be like, yeah, this is this is my fake
(17:41):
science to prove that the this old ancient empire was
actually in fact a Caucasian one, but again found this
way of everybody would come by watch the mummy get
de wrapped, and it was just like the biggest thing,
and it got so big that even there's even a
secondary flex to the d rappings. There was the Duke
(18:02):
of Hamilton at the time in eighteen fifty two when
one of his dying wishes was to have Pettigrew actually
mammify him and put him in an ancient Egyptian sarcophagus,
and he got his wish in eighteen fifty two. So
now we actually we've gone from people just being like,
let's just disrespect this ancient body to now let me
(18:23):
kick this ancient body out of the sarcophagus. Now let
me appropriate Mama fi me and put me in this sarcophagus.
And that's what happened.
Speaker 5 (18:31):
And then he did a mummy unwrapping and scared everybody.
Speaker 3 (18:33):
It was like that, no, I'm good, I'm good anyway,
coming to my birthday.
Speaker 1 (18:40):
That's like Bonnaru costume level appropriation. It's beyond bon Oh yeah,
oh wait, Coachella, that's the one.
Speaker 3 (18:48):
Yeah, yeah, yeah. He'd be like, I mean he acquired
a like an actual legitimate ancient sarcophagus and of like
a princess who wasn't named, but was like, that's that
will be my final sold to rest in.
Speaker 4 (19:00):
I say, more power to him. Go ahead and mummify yourself.
Speaker 2 (19:03):
That's sort of like a like a different version of
like go after yourself. Yeah, but get your own vehicle, right, absolutely?
Do you make build your own SARCOPHA guy?
Speaker 4 (19:10):
Guy just do? Oh yeah, and yeah.
Speaker 3 (19:12):
What's so funny is like he's actually because he's mummified
in a sarcophagus, he actually made it into the Encyclopedia
of Mummies. Oh yeah, which to me feels like a
little bit of a you know, sort of back door
entry to getting into college. Reminds me of Operations Varsity
Blues a little bit like did you earn it really?
Run a person of means who is able to buy
(19:32):
their own sarcophagus and then flex on people like that.
Speaker 5 (19:34):
People are always trying to buy their way into the
Encyclopedia Mummies.
Speaker 3 (19:38):
Yeah exactly. I mean it was a big problem, especially
in the eighties.
Speaker 1 (19:41):
I'm going to give that one. At first, I was like, man,
this is clearly eight or nine, but making appropriating someone
in death for your own death that knocks it to
attend to me the hubris alone.
Speaker 4 (19:55):
Not to mention that it is tickets are being sold.
Speaker 2 (19:59):
It's it's completely commodifying and appropriating some very sacred ritual
in someone's culture that you clearly do not understand or
care to understand. You're just using it for the amusement
of the public, and so then you're also playing into stereotypes.
Everything bad about this. So I think we should have
two scales. I think we should have the weird flex
(20:19):
scale and the cruelty scale.
Speaker 1 (20:21):
We have been going back and forth. Well, I will say,
on the upside, one good thing about this horrifically tragic
story is that in comparison, it makes the four of
us look pretty good because we haven't done that. It's
true yet.
Speaker 3 (20:41):
Oh yeah, right, no, nothing, I mean, but I mean,
I'm not gonna lie. I'm every night when I when
I envision my future, it's having so much wealth that
I could also buy a mummy just on rapid right.
I'm gonna be honest.
Speaker 5 (20:53):
I was gonna say, Okay, so, yes, this is what
we had instead of horror movies back then. But also
so this is something I could totally see working as
a flex in the modern world, Like if I was
at a party and someone was doing that, I'd be like,
that makes sense, and I'm impressed.
Speaker 3 (21:10):
If they were like.
Speaker 5 (21:11):
Defiling the historic object, it's like, I don't know, it's
still it's still just wildly insane and well it's weird.
We also have unboxing videos.
Speaker 3 (21:22):
Yeah, but I guess back then, right, they didn't have
the same sort of values where like we should actually
preserve history. They're like, oh, y'all got to see what
I just stole from Egypt real quick, let's watch we
unwrap this mummy, Whereas now it would be like, because
you're just merely destroying something of such value, it's like
it's like, look at this vase from the Ming Dynasty.
(21:42):
I'm about to just toss off the freeway off ramp.
That would be pretty cool.
Speaker 5 (21:46):
I could see it at a like Hollywood party of
some like caa agent or something like that, like somebody
who's cartoonishly a terrible person.
Speaker 3 (21:54):
I'm pretty sure, something like when they wanted to open
that mummy, that sarcophagus like last year, and you're like,
what's the mummy? What's the water in that? Sarcastic people
like I want to drink the mummy water.
Speaker 5 (22:04):
Yeah, mummy water.
Speaker 1 (22:05):
Remember that.
Speaker 2 (22:06):
I'm pretty sure Nick Cage had a mummy at one point,
so that's probably available because I think he I think
there's like a serious Nick Cage garage sale going on.
Speaker 4 (22:14):
He had a t rex skull, so surely he had
a mummy as well.
Speaker 2 (22:18):
I'm just conjecturing here, but I'd like to believe that
he did.
Speaker 1 (22:21):
Snap.
Speaker 4 (22:23):
He's a he's a He's an odd character.
Speaker 2 (22:25):
Geez, guys, this was a lot less fun than I
thought it was gonna be.
Speaker 4 (22:29):
And that is not on you. That is just on
history itself. Uh, come on history, Yeah, I think, I
mean yeah, yeah, no, No, I had a great time.
I had a great time. But these stories were most
of them were kind of bummers.
Speaker 2 (22:42):
I would say the the least bummery one was Ben's
uh decorative hobo story, and even that was pretty hermits.
I'm sorry, sorry decorative Hobo to appropriate what happened? Hey,
don't you accuse me of appropriation, sir? I would never,
I would.
Speaker 3 (23:00):
It all depends on what your flavor is A flex
I mean Jack's was about animal.
Speaker 5 (23:04):
Cruelty, Yeah, flexing on the animals.
Speaker 3 (23:07):
Yeah, subtleties was about slavery. Uh, the mind was about colonialism,
empire and the desecration of people's cultures.
Speaker 1 (23:15):
Yea.
Speaker 3 (23:16):
And then the other one was about taking advantage of
the destitute.
Speaker 5 (23:19):
Sure you know your bum son.
Speaker 3 (23:22):
Yeah, And I guess now, I guess nowadays the flexes
are better because now we're just saying, like, yeah, I
actually like I went to high school with Chris Rocks
kid and I beat him in basketball. So there's that,
all right, But okay.
Speaker 1 (23:37):
I'm gonna tell people that's a true story about you.
Speaker 4 (23:40):
Now.
Speaker 1 (23:40):
Are you cool with that?
Speaker 4 (23:41):
Yeah?
Speaker 1 (23:41):
Back me up if it comes up in conversation.
Speaker 3 (23:44):
Oh yeah, it's one of the many lies I do,
so don't worry.
Speaker 4 (23:46):
Yeah, it's well.
Speaker 2 (23:48):
Despite despite being kind of depressed right now, I'm also
really happy we got to do this and I did,
all things considered, have a really good time having you
guys on this show, and maybe we can make this
a regular thing. I think there's obviously way more historical
weird flexes that we can dig into and do this again.
Speaker 4 (24:04):
Thank you guys so much for coming on.
Speaker 1 (24:06):
I'm gonna do I.
Speaker 3 (24:07):
Got more in my back pocket right now.
Speaker 1 (24:08):
Let's do it. Yeah, I'm gonna I'm gonna actually take
it a step further, and I'm gonna try to make
some new, weird, historical flexes for the future that will
hopefully not be as terrible as these four turned out
to be. But guys, I know everybody listening is saying, well,
we enjoyed the hell out of hanging out with Jack
(24:29):
and Miles. Where can they find you before you come
back on this show?
Speaker 5 (24:34):
You guys can find us at The Daily Zeitgeist. It's
a podcast that we do, as the name would suggest,
daily every weekday, Monday through Friday. It's an hour rundown
of just everything that's happened in the zeitgeist, pop culture news.
Those are kind of the two big ones.
Speaker 3 (24:52):
Politics, politics, po tricks, you know, all of all of it.
Speaker 5 (24:57):
Yeah, and you can find me on Twitter at Jack
Underscore Obrien.
Speaker 3 (25:01):
Oh, you can find me on Twitter and Instagram at
Miles of Gray g r A.
Speaker 1 (25:04):
Y and I want to give you guys a shout
out to to make sure that all our listeners know this.
You heard correct, folks. That's a daily podcast. Casey Nol
and I do this about two times a week. So
I am beyond impressed that you guys not only did
your regular show but also came here to do a
(25:26):
show with us. So thank you. That's amazing our pleasure.
Speaker 5 (25:30):
We're big fans. We're thrilled to do it.
Speaker 3 (25:32):
Yeah, and it's you know, and our show isn't as
thorough as yours is. Again, we like to consider our
show a second rate podcastecond rate podcast. Just do it
a lot, that's all.
Speaker 1 (25:42):
So so check out check out the guys on Instagram
and Twitter if you want a closer look at the
second best garden gnome collection in East Los Angeles. That
that's a good callback if you listen to both episodes,
which you should. In the meantime, we're calling in to day.
We want to give a very late thanks and shout
(26:03):
out to our super producer, Casey Pegram.
Speaker 2 (26:06):
We'd like to thank Alex Williams who composed our theme,
Gabe Lucier who helps us out with research, and I'm
just miss Christopher. I'm gonna give him anotherhout out. Christopherciota's
Jonathan Strickland the quizz you Ben, I'd like to thank
you for being a friend and a confidante and all
the things that are in the Golden Girls theme.
Speaker 1 (26:23):
Song, and of course thanks again to Miles and Jack.
Thanks to everyone for checking this out. Hey, you know
what folks tell us about your favorite weird historical flexes
or even just very very petty things committed by historical
people of note.
Speaker 2 (26:40):
And who knows, maybe this will be a running thing
and we can include some of them in a future episode.
Speaker 4 (26:46):
Until then, we'll see you next time.
Speaker 2 (26:56):
For more podcasts from iHeartRadio, visit the iHeartRadio app, apple Pie,
or wherever you listen to your favorite shows. For more
podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or
wherever you listen to your favorite shows.
Ridiculous History News
Hosts And Creators
Ben Bowlin
Noel Brown
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