Molehills: Giallo Blood, The Lawn, Christmas Geese, and more!

During the first season of Mount Molehill there were a lot of episode topics that, for one reason or another, just didn’t work. In this episode, we take a look back at some of the topics that didn't quite make the cut. Why is the fake blood in giallo films so weird looking? Why don't we eat goose for Christmas anymore? Who invented the lawn?

 

Thanks for listening to the first season of Mount Molehill! Stay subscribed to the feed to hear about what we have in the works!

 

This episode of Mount Molehill was written, produced, and edited by Chris, with music by Chris and Alex Bainter / CC BY. This podcast features materials protected by the Fair Use guidelines of Section 107 of the Copyright Act. All rights reserved to the copyright owners.

Episode Transcript

(00:05):
Hi, everyone.
The episode that I had planned to releasethis week isn't quite finished yet,
but I think it'll be worth the wait.
This episode of Mount Molehill that you'reabout to hear was originally intended
to be the last episode of the season.
So there's a lot of stuff in itabout it being the final episode,
but I wanted to let you know thatthere will, in fact, be another

(00:25):
episode coming out on October 30th.
Enjoy.
Hello, everyone.
I wanted to start off by saying thankyou to anyone who has listened to
the show during its first season.

(00:46):
Sincerely, thank you all.
It's your support that keeps me going.
Producing a podcast like thisas one person is a lot of work.
There's recording, editing,running social media, researching.
There's a lot that goes intoeach episode of Mount Molehill.
But perhaps the most difficultpart of the process is choosing

(01:08):
the topics for an episode.
It's not for lack of ideas, becauseI have a very long list of potential
episode topics that I add to every timea weird question pops into my head.
But it's more that not everyidea I have will necessarily have
enough meat on the bones to turninto a 20 to 40 minute podcast.
And I won't really know ifthat's the case or not until I've

(01:30):
already started investigating.
So there were a lot of topicsthis year that, for one reason or
another, just didn't make the cut.
Sometimes it's because I just can'tfind enough information to craft a
compelling episode about the topic.
Other times it's because I feelthe mystery is too nebulous
or the topic is too esoteric.

(01:51):
But most often it's because themystery I want to delve into is easily
solved with a simple Google search.
And so in the final episodeof the first season of Mt.
Molehill, I wanted to give you guyssome insight into how the sausage is
made and cover a few of the topicsthat didn't quite make the cut.

(02:13):
If you've listened to my old podcast,or if you've listened to any of my guest
appearances on other podcasts, You'llknow that I'm a huge movie fan, and
that I especially like horror movies.
One thing I've always foundfascinating about horror is how
different cultures adapt the genre.
Italian cinema birthed its own subgenre of horror known as giallo.

(02:35):
Giallo is Italian for yellow, andthe genre is so named because the
pulp novels in which the genreoriginated typically had yellow covers.
These stories are thrillers withmystery and police procedural elements,
and giallo films often incorporateaspects of slashers, psychological
thrillers, and sexploitation.

(02:56):
Gialli are somewhat idiosyncraticand share similar content,
themes, music, and visuals.
One of the idiosyncrasies associatedwith the giallo genre is that the fake
blood used in them is brightly colored,almost neon, and is of a very thick
consistency, making it completely opaque.

(03:16):
I had always wondered why that is.
Is it simply a stylistic choice, or isit rooted in something culturally deeper?
Alfred Hitchcock famously used chocolatesyrup for the fake blood in the
infamous shower scene in 1960's Psycho.
That was fine and dandy for a blackand white film, but once most movies

(03:37):
transitioned to color film, the needfor a more realistic fake blood arose.
The most common formulation was simple,corn syrup, food coloring, and cornstarch.
But in the 1970s, chemical conglomerate3M introduced a new product marketed to
the film industry, Nextel simulated blood.

(03:59):
The most significant advantage of theproduct was that it claimed to not leave
any stains on clothing, skin, or props,which was a major benefit for film
crews that needed to perform multipletakes involving the use of fake blood.
This was in contrast to previous versionsof Fake Blood that did leave stains making
it difficult to get the desired shotswithout needing to change clothes, redo

(04:22):
makeup, or clean up the set between takes.
It sounded almost too good to betrue, and it sort of was, because for
all its advantages, Nextel simulatedblood didn't really look like blood.
On a lot of film stocks, it lookedmore like orange house paint.
So while Nextel simulated blood becamevery popular in the 1970s, the decade

(04:46):
in which the giallo really took off inItaly, it was quickly ditched in the 1980s
in favor of more realistic concoctions.
Last Christmas, I watched a lot ofChristmas movies and one thing I
noticed is that it seems like everyone'salways preparing a Christmas goose.

(05:08):
But I've never actually seen aChristmas goose in real life.
In fact, I don't think I've everseen anyone eating goose anywhere.
So it got me thinking, where did thiswhole Christmas goose thing come from and
why doesn't anyone eat it today, despiteits ubiquity in Christmas related media?
I found out that goose was once apopular Christmas food in many parts

(05:31):
of the world, particularly in Europe,where it was once the traditional
centerpiece of the Christmas feast.
It was popular because it wasconsidered a luxury food that was
delicious and flavorful, making it aspecial treat for the holiday season.
However, over time, goose hasbecome less popular as a Christmas
food for several reasons.

(05:52):
One of the main reasons is that geeseare more expensive to raise than other
poultry, such as chickens or turkeys,and as a result, goose has become
less commonly consumed in general.
Another reason for the decline inpopularity of goose is that It can
be difficult to prepare and cook.
Unlike many other types of poultry, geesehave a high fat content, which can make

(06:15):
them difficult to handle in the kitchen.
They also require a longercooking time than other meats.
Which makes them less practicalfor busy families who may not
have the time or skill to preparea goose for Christmas dinner.
In addition, the rise in popularity ofother Christmas foods such as turkey and
ham has also contributed to the decline inpopularity of goose as a Christmas food.

(06:39):
These meats are more widely available andeasier to prepare than goose, and they
have become a more popular choice formany families during the holiday season.
Despite its decline in popularity,goose is still enjoyed as a
Christmas food in some parts of theworld, particularly in Germany and
other European countries, but...
For the most part, Goose hasbecome more of a niche food item

(07:01):
that is enjoyed by a select few.
If you've ever watched an oldercartoon, you probably know
what a cartoon bomb looks like.
It's round, black, and has a big fuse.
But I wondered why that is.
I don't think I've ever seen a realbomb that looks like that, so where

(07:22):
does this convention come from?
The use of cartoon bombs in popularculture dates back to the early days
of animation in the 1920s and 1930s,when animators were still experimenting
with new techniques and styles.
One of the earliest examples of a cartoonbomb can be found in the 1928 Walt
Disney cartoon Steamboat Willie, whichfeatured Mickey Mouse trying to stop a

(07:45):
bomb from exploding on his steamboat.
The design of the bomb was likelyinfluenced by real life bombs that
were used during World War I and II.
Which did often have a sphericalshape and a short fuse.
However, cartoonists and animators tookcreative liberties with the design,
making it more exaggerated and stylizedin order to make it easier to draw

(08:08):
and more visually appealing on screen.
And over time, the design ofthe cartoon bomb has evolved.
Some versions feature exaggeratedsparks, or smoke coming out of the
lit end, while others feature cartooncharacters holding comically oversized
or unrealistically shaped bombs.
But despite its simplified andstylized design, the cartoon bomb

(08:29):
has become a powerful symbol inpopular culture, representing
danger, violence, and destruction.
It's been used in countlesscartoons, the years.
And it continues to be a widely recognizedand enduring image in pop culture today.
Have you ever looked down at yourmailbox key, seen the words, do

(08:52):
not copy, and wondered why that is?
Well, I certainly have, and for somereason I thought that might be a good
topic for an episode, but the answer waseasily found and honestly kind of mundane.
Mail keys often say do not copyto ensure that the key does
not fall into the wrong hands.
These keys are usually only givento the person who rents or owns the

(09:14):
mailbox, and they are responsible forensuring that the mail remains secure.
The do not copy warning on mailkeys is intended to prevent
unauthorized duplication of the key.
If someone were to make a copy of the keywithout permission, they could potentially
gain access to the mailbox and stealimportant mail or sensitive information.
By adding the warning, it is hopedthat the owner of the mailbox will

(09:38):
take care to keep the key safe, and italso ostensibly serves as a deterrent
to anyone who might consider makingan unauthorized copy of the key.
Now, it is generally notillegal to copy mail keys.
But it is usually against the policy ofthe United States Postal Service to do so.
The USPS and many mailbox providerstypically issue a limited number

(10:02):
of keys to each mailbox and mayrequire that additional keys be
requested through proper channels.
Copying mailbox keys without permissioncould be considered a form of unauthorized
duplication of keys, which may lead tolegal consequences, especially if the
keys are used for criminal activity orto gain access to private mailboxes.

(10:22):
The proper channels for obtaininga copy of a mail key will depend on
the specific situation and context.
In general, if you are a tenantor resident of a property and need
a copy of a mail key, you shouldcontact the property management or
landlord and request one through them.
In some cases, such as for businesses ororganizations that require mail delivery

(10:45):
services, they may need to request acopy of a mail key through the USPS.
This can typically be done by submittinga written request and providing
proof of identity and authorization.
Riveting stuff.
In Season 6, Episode 1 of Everybody LovesRaymond, Ray's parents, Marie and Frank,

(11:07):
recapitulate one of their ongoing fights.
Hey father, let me ask you something.
Would you know who invented the lawn?
Oh, would you stop?
No one invented it, it's grass.
Oh yeah, so cavemen had lawns?
Yes, they were called fields, you baboon.
It's funny, but it also got me thinking.

(11:29):
Who did invent the lawn?
Well, unsurprisingly, we can'tpin down the invention of
the lawn to just one person.
But we do know enough about thehistory of lawns that it didn't seem
like it would be a very compellingtopic for an episode of the show.
The modern lawn as we know it todayoriginated in Europe in the 18th century.

(11:49):
At that time, wealthy landownersin France and England began to
create highly manicured lawns as asymbol of their status and wealth.
These lawns were inspired by thegardens of Italian renaissance
villas and the pastoral landscapesdepicted in landscape paintings.
One of the most influential figures in thedevelopment of the modern lawn was André

(12:11):
Le Nôtre, the French landscape architectwho designed the gardens of the Palace
of Versailles in the late 17th century.
Linot created a small area of grassknown as the tapas vert or green carpet
in the gardens which became a modelfor the manicured lawns that would
become popular in the 18th century.
During the 18th century, lawns becamea prominent feature of aristocratic

(12:35):
gardens and estates throughout Europe.
They were typically created by clearingan area of land and then carefully
sowing and tending to grass seed.
Initially, lawns were maintainedby labor intensive methods
such as scything and shearing.
But with the invention of thelawnmower in 1830, it became easier
and more efficient to maintain a lawn.

(12:56):
In the 19th and early 20th centuries,the popularity of the modern lawn
spread to North America, where it becamea symbol of the suburban lifestyle.
The growth of the suburban middleclass in the mid 20th century Led
to a surge in demand for residentiallawns, and today the modern lawn
is a ubiquitous feature of suburbanlandscapes in many parts of the world.

(13:21):
The final topic that didn't makethe cut for a full episode is a
personal one, and it's one that I'masking you guys for some help on.
It involves a weird baseballcap that I have that I'll
post pictures of on Instagram.
It's a brown hat with a patchon the front with the letters W.
C.
C.
F.
S.
C.

(13:41):
G.
A.
S.
And beneath those letters are acrossed rifle and shotgun above a black
object that I can't quite figure out.
I think it kind of looks like aWorld War II German stick hand
grenade, but I really don't know.
The tag on the inside of the hatsays Capital Caps, One Size Fits

(14:01):
All, Made in the Philippines.
I haven't been able to findany information on this hat.
I've found other hats made by CapitalCaps, and the hats were all made for
a variety of things, from companies tolocal sports to tourist trap souvenirs.
I believe I purchased the hat at an estatesale in Denton, Texas around 2014 to 2016.

(14:25):
That's all the informationthat I have at this point.
So I'm turning this mysteryover to you, dear listeners.
Thank you for listening to thepilot season of Mount Mole Hill.
I sincerely appreciate anyone who hastaken the time to listen to the show.
It's a labor of love.

(14:46):
A lot of work went into producing theseepisodes, and this season has sort of
been an experiment to test the watersand see if the show had any legs.
So if you'd like to hear moreepisodes in the future, just
reach out and let me know.
Get your friends to listen andfollow the show on the socials.

(15:08):
That's it.
The end of season one.
Mount Mole Hill is written, produced,and edited by me, Chris, with
music by myself and Alex Painter.
This podcast features materialsprotected by the fair use guidelines
of Section 1 0 7 of the Copyright Act.
All rights reserved tothe copyright owners.
If you have a molehill that you'd likeme to turn into a mountain, whether it's

(15:31):
a mystery that you just can't solve,or just an interesting topic you'd like
me to delve into, please reach out.
You can email me at MountMolehill [e-mail],
or you can call and leave me avoicemail at 5 0 5 2 1 8 6 8 9 4.
Follow us on Instagram to see updatesand supplemental material for the show.

(15:53):
Once again, thank you to anyonewho has listened to the show
or helped me out along the way.
And be sure to stay subscribed to the showon whatever podcatcher you're using to get
updates because, although this is the lastepisode, I may just have something else
coming down the pipe in the near future.