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June 6, 2021 32 mins

Tired of circuitous speech, vocal fry, upspeak, endless qualifiers, and the word "like" in every sentence? Asher goes through examples of categorical speech from Mad Men, Humphrey Bogart movies, and Gone With the Wind. He calls for us to embrace rather than fear ManHearted communication. Asher argues current, fashionable speech patterns and fad-banter lacks heart, soul, and brains.

Personally, I've always chafed at walking around on eggshells versus using plain blunt speech, which is itself a speech pattern. And we've taught a generation of adults that ingratiating apologetic, cautious circuitous in making a point language is more adult. So imagine if Rhett Butler had said possibly Scarlet, and I'm not saying this is like the only way to like look at it, but I don't so much care as maybe you would like hear that question at the end. Or what if bogey said, I feel like maybe I shouldn't have a hundred percent change from scotch to like martinis, and I'm not saying there's anything wrong with martinis, but I'm not going to talk like that. I hope you're not going to talk like that. And I think something fundamental is missing when we force ourselves into that external shell, that if we're truly adults, instead of using plain direct blunt speech, we have to be so circuitous that we can't be understood.

One of my favorite films is lay on the professional. And by the way, if you have not seen the international version, which is called lay on the professional, if the only one you've seen as the American bowel, the rise cut down safe, nice version called the professional. You haven't seen the movie. Everyone else in the world is seeing one with three scenes that haven't been cut out for our safety and protection, which are kind of stupid. And it's a different topic, but I encourage you to watch the uncut version for a variety of reasons. We can talk about if we ever address the topic of film, which I'm sure we will lay on the professional. You know, it's got Natalie Portman and John Reno and Gary Oldman as the dirty DEA agent the mega villain, et cetera. And I just love this, you know, he's, he's just gotten through eliminating an entire family along with his crew of agents in a busy apartment building.

And so they hear sirens and everybody says, ah, let's leave. And he says to one of his guys, you stay here. So the police are coming out. Yeah, you stay here. What should I tell him? He says, tell them I was doing my job. I love it. It's that simple. There's not that he didn't say like, just kind of convey that like we were, you know, in the process of trying to be pre none of that crap, he said the words, and you could say this is because it's movies, but I think that movies reflect the intention of a culture and the model that we're holding up for the kinds of people that we want to be. And I've seen a distinct evolution in movies and in popular media, in song, in film, in literature and in every other venue in political speech on Twitter and Twitter demands that you now it's 320 characters, but it used to be 140 demands that you be terrorist.

And we still see people mostly not saying it anything because they may Andrew to get to the point. I love it. When the police do confront Gary Oldman, his character says, I have time for this Mickey mouse. So I want to do a quick tour of some of the lines that we've come to know and love if you're my age or even 10, 15 years younger than me, or you're really young and just have a fancy for the kinds of film and TV that I like. So in other words, if you like things like Humphrey Bogart, you know, Maltese, Falcon, and you, you see in those some signs of what we might call or universally understand to be manhood. If you like that kind of stuff like me, then you're going to recognize some of these lines. Let's start with Rhett Butler. Because I actually think that a Rhett Butler does not get as much play as the classic tough guy, classic male icon as he...

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