Roar: The Most Dangerous Movie Ever Made?

11:21Josh Clark:I had never heard of Acton, actually. It said it's 40 miles north, but I think I'd heard of Soledad Canyon, but Acton is new to me. I guess that's where you go when you want to raise lions.

11:32Chuck Bryant:Right. The locals leave you alone when you show up with a bunch of lions, right? And they did. They bought a bunch of acreage and created a compound. And even the compound was bought with an eye toward the ultimate goal of making this movie.

11:45Josh Clark:Yeah. I mean, they wanted to film it like, you know, as lions who lived in a house. And so they created everything was kind of built as a movie set to be. So they landscaped it with, you know, it was supposed to be in Africa, set in Africa. So they landscaped it with plants and architectural styles that might have mimicked Southern Africa. They put in an artificial pond. And then eventually they would move there a few years later in 1976 and live on the property and kind of get to work on that movie.

12:14Chuck Bryant:Yeah, that was about the year that they started was 76. I say we take a break and we'll get into actually making the film because this is about the point where things start to get a little bonkers.

12:25Josh Clark:That's right. We'll be right back.

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15:22Chuck Bryant:Chuck, before we get back into it, I have a Tippi Hedren fact that I found. She is the only actress to be directed by Hitchcock, Charlie Chaplin, and Ed Wood Jr. Nice. Yeah, that's quite a career.

15:37Josh Clark:Yeah, I like that Venn diagram.

15:39Chuck Bryant:So, yeah. Okay, so we're at the filming, the beginning of filming. The cameras are rolling, and the cameras just kept rolling.

15:48Josh Clark:Yeah, they kept rolling. You know, by this point, they had more animals. I believe you mentioned they started collecting more, but specifically they had tigers by that point. They had leopards. They had panthers. They had cougars. Notably, they had, I mean, this was self-described by Tippi Hedren, And those were just sort of the big cats. They also had flamingos and ostriches and storks and swans and sheep. And they even had an elephant, which made an appearance in the movie. And these are all pets living there together, again, with the aim that they would all know one another by that point and be docile enough to be animal actors.

16:27Chuck Bryant:Yeah. Yeah.

16:28Josh Clark:But as you would imagine, they had a hard time raising money for the project because mainly they didn't have much of a project except for a loose idea, I guess.

16:38Chuck Bryant:No, they had a bunch of real estate. They ended up self-financing this thing mostly. So they sold a bunch of their real estate to put the cash into this film. I think Noel was one of the producers on The Exorcist, and he made a bunch of money off of that. He was essentially an investor in it. So he got an executive producer credit and I guess some of the back plum. Is that what it's called? Back plum? Yeah. Back end? Sure, the back end. But it's plummy. Okay. Anyway, he had a bunch of money from The Exorcist. They threw that into and they were like, okay, this is going to be such a cool movie that no one's ever done anything like this before.

17:19Chuck Bryant:We're just going to make our money back a million times over. And initially, the whole idea, remember, they had seen that pride of lions living in this, and that was kind of what kicked this off. So the whole thing was very lion-centric. But I think the working titles were Lions or Lions, Lions, and More Lions. Those are definitely working titles, I think.

17:40Josh Clark:Yeah, it makes Roar look pretty great by comparison as a title.

17:44Chuck Bryant:It does. Yeah, you could see Noel, like, dropping his gin and tonic, thinking, like, I got it.

17:50Josh Clark:Yeah.

17:50Chuck Bryant:But you said they collected a bunch of other animals, some of which do not live in Africa. Like Siberian tigers do not live in Africa, but that didn't stop them. So they expanded the scope even more because they wanted their whole family of big cats and animals to be able to star in this movie. So they ended up kind of expanding the focus of the whole thing.

18:09Josh Clark:Yeah, for sure. They didn't even have a script. And, you know, Marshall was not a writer. Like, you know, like you said, he invested in The Exorcist. I don't think anyone ever confused him with a creative in Hollywood. But he did write the script. He got some ideas from Tippy. He wrote the script, said he was going to direct the film. And it was a family adventure. So he was going to have all of his family in it, which was, you know, young Melanie. And then he had two sons from a previous marriage, Jerry and John. And they were all going to be in it. But they were like, we need a real deal, like regular lead actor for the male role to play like the patriarch of this family.

18:50Josh Clark:But they could not get any actor to sign on because, again, I don't think even people thought it would be that dangerous yet. They just knew it was not a good idea and it was bad. The script was terrible. So Marshall's like, you know what? I'll just do that, too.

19:03Chuck Bryant:Right. I'm sure they were like, what is wrong with everybody between not raising financing or getting a star?

19:10Josh Clark:Yeah.

19:10Chuck Bryant:So Noel wrote, directed, and starred in this movie, like you were saying. And that, from all of my experience, any movie that is written, directed, and starred in is essentially going to be not as good as it would be if any one of those were taken out of that equation. Oh, you think? Yeah, because there's no one there to tell the director or the writer or the lead actor, don't do this. Like, those things are supposed to be checks and balances, like the three branches of government in the United States. So if you have all of them together as one, you got a big problem. All right.

19:51Josh Clark:I disagree. But we'll just walk right past it.

19:53Chuck Bryant:All right. That's fine.

19:54Josh Clark:I mean, I think if you're terrible, then it's a bad idea. But there have been plenty of examples of great writer, director, actors and great films.

20:03Chuck Bryant:Okay. Name one besides Herbie the Love Bug.

20:06Josh Clark:Like most anything Clint Eastwood's ever been in. okay

20:13Chuck Bryant:I don't fully agree with that but okay yeah

20:17Josh Clark:alright I mean that's fine you can nitpick Clint Eastwood anyway like I said we don't need to debate this point

20:22Chuck Bryant:man it's just like the pot is just just simmering almost over but we're gonna walk past it like you said

20:28Josh Clark:yeah I think the point why this is bad is because he was not a talented human being right early on though Melanie Griffith is like I don't want to be in this movie I think the direct quote to her mom was, I don't want to come out of here with half a face. So she backed out. They got her friend to star instead, her friend who was an actor. But eventually she was like, you know what? I guess I will be in the movie. So she came back on board, and they completely reshot all the scenes. They're just burning through money at this point. But reshot the scene so Melanie could be back in the film.

21:01Chuck Bryant:Yeah, that friend was Patsy Nett, who went on to become an award-winning Foley artist. That's right. It's like you said, they're burning through money because there's something to remember here that I didn't think about until pretty far down the research. Like they were not shooting video. They were not using SD cards. They were using actual film stock over and over, like all sorts of film stock. And that stuff was expensive, wasn't it?

21:28Josh Clark:Oh, yeah. I mean, they, you know, at one point, because they had to essentially just keep cameras rolling and wait for the animals to do something interesting.

21:37Chuck Bryant:Yeah.

21:37Josh Clark:They were shooting, you know, six, seven, eight cameras at a time sometimes. And this was, I mean, this is something you routinely see now. But back then you didn't, you know, you maybe had three or four cameras max on like a huge, huge stunt. But rolling that many cameras just wasn't what you did typically back then on films, especially films of this size. So they were just burning money on film stock.

22:02Chuck Bryant:Yeah. And like you said, the reason why they were just running all the time is because the cats had zero training. Like you could not tell them like, OK, we need you to jump at this person because in this scene it calls for that. The cats would just look at you like I hear like, and that's it. Like, I don't know what you're saying. So occasionally they would do something interesting enough to use in the film. And then they reverse engineered it and wrote the plot around the stuff that they had filmed the cats doing.

22:34Josh Clark:Yeah. And all the animals. There was a scene where the elephant destroys a boat. And that scene is in there because the elephant destroyed a boat. It was not planned, but they were like, hey, we got a little bit of production value out of the elephant wrecking that boat. Right. So we got to put it in the movie. The other thing was these animals were, you know, they were raised in captivity and were used to laying around by the pool and laying in bed in a fairly sedate scene. So while they were pretty calm and chill as far as big cats go, in the movie when the real human actors are instructed to like yell and scream or to run away or something, that would incite or excite rather these animals in ways, you know, that they weren't prepared for either.

23:20Chuck Bryant:I know. I felt bad about that. It confused them. That's sad. They were like, why are our friends, you know, yelling?

23:26Josh Clark:Yeah, and, you know, we're going to get to some of the darker stuff later. This isn't all just, like, funny.

23:32Chuck Bryant:No, good point. So this whole thing, the entire film takes about five years to film. And not just because the animals weren't doing what you'd want them to almost all the time. There were some real catastrophes that they ran into that were just totally unavoidable. But this is a very dangerous set. Like, that is the through line here. If you haven't picked up on that, people are interacting with, you know, domesticated to an extent, but they're still very much wild, fully grown lions, tigers, leopards. And that's what's going on. They're filming that. They're filming like the lions jumping on people and attacking people.

24:15Chuck Bryant:And so this is like a really dangerous set. At the same time, because they were using all this stuff. there's a strange realism to the whole thing, especially the violence that the animals inflict on the humans because it actually was what was going on.

24:31Josh Clark:Yeah, for sure. I mean, they had a hard time sustaining funding because of this. They had a hard time sustaining a crew because of this. I think in total over the five years, they had about 140 different crew members because people, you know, they would get on set, they would work for a little while. Either there would be, you know, know, something terrible and horrifying would happen, or they would just realize, like, you know, you know when you get on one of those shows where you're just like, this is not a professional outfit. Right. So get out of there as quickly as I can get something else going.

25:01Josh Clark:They're shooting it all at this compound for Africa there, sort of deep outside Los Angeles. And people started getting hurt. I think 70 cast and crew members ended up getting injuries. and if you look at the Alamo Drafthouse trailer that they put out online, at the end it'll show, as they're announcing the cast, it would freeze frame on that cast member and in parentheses give their name and then say what their most major injury was on set.

25:31Chuck Bryant:Right. Probably the biggest one was Jan de Bontz. You probably recognize him from such films as Heart of a Champion, the Ray Mancini story. or Roar, but he was the cinematographer for this movie, and he took it like three weeks after this whole thing started. He got it bad, where a lion essentially scalped him from the back half of his head backward.

26:02Josh Clark:Yeah, 220 stitches, but he would complete the film. And before you start emailing us, I got to stem the tide, Josh, unfortunately. Jan de Bont is very much known for being a big-time action movie director.

26:15Chuck Bryant:Oh, yeah? Yeah.

26:17Josh Clark:I mean, you were kidding, right? Yeah. Okay. Just making sure. He directed Speed and Twister and some other, you know, very big movies later on. But this was his first film in the United States. And I think that's probably why he kept coming back, because it was his first film in the States. And maybe he didn't think it would be such an idea to quit his first movie here.

26:36Chuck Bryant:Sure. Yeah, because that's a really good point. he was a very talented cinematographer by this time. Like, that's one of the other things he's very well known for, not just directing. So, like, this movie, this, like you said, completely, like, unprofessional outfit where the writer, director, and star has no experience in any of those fields has a world-class cinematographer working for it, which makes the whole thing even that much more bizarre when you watch it, apparently.

27:04Josh Clark:Yeah, for sure. So, you know, speaking of, John Marshall, I believe he was one of the sons, he got bit on the head. He tripped and fell during a scene. And of course, again, I don't think we mentioned that not only were the animals not prepared for some of this stuff, but they didn't have a full staff of animal wranglers on hand. Like anytime you have a, I mean, it really depends. But if it's like a big cat or something like this, you've got a team of people there for each one. And, you know, they had some help, but they weren't staffed like they needed to be.

27:39Chuck Bryant:No, and I think those are also the same crew that kind of came and went over time. They're like, this is nuts, dude. I don't want to have anything to do with this.

27:46Josh Clark:Oh, yeah. They didn't want their name on this thing because they saw where it was going.

27:50Chuck Bryant:So Melanie Griffith, who said that she didn't want to come out of this with half a face, came very close to that, actually. She got clawed by her eye. She needed 50 stitches. she also had to undergo cosmetic surgery to kind of reconstruct that part of her face that made it into the movie yeah that scene that was a very believable

28:13Josh Clark:attack scene

28:14Chuck Bryant:so you got a clumsy plot and actors you have a great cinematographer and now also you have genuine terror and blood that shows up in this essentially what's supposed to be like a kind of wacky comedy family adventure

28:31Josh Clark:Yeah, for sure. There were two cases of gangrene from, you know, getting bitten by infected cat mouths. Tippi Hedren was one. She got a lion bite, got gangrene. I'm not sure where she got it, but she ended up getting skin grafts. There was also a scene where she was riding on Timbo the elephant, and this animal wasn't used to being ridden and, like, had somebody, like, shouting and stuff like she was. Right. So it threw her off, fractured her ankle. And then Noel, the star and the director and madman behind all this, he got the other case of gangrene.

29:08Chuck Bryant:Yeah, Tippi Hedren getting thrown from the elephant and breaking her ankle, that made it into the movie as well. I know Noel got a bite on the hand trying to break up a fight between lions and started bleeding. That made it into the movie as well. So all of this stuff is just showing up. Two crew members lost digits. like over a six year period people kept coming back like the core people kept coming back and coming back and coming back there's one other thing to keep in mind too charles this was supposed to take place the action in the movie takes place over what maybe like a few days weeks months tops the actors involved are all aging like over the course of several years some of them teenagers under like you really undergo some serious like outward changes over the over like a few years in your teens.

30:00Chuck Bryant:And they had to kind of like deal with that as well. This is like reverse boyhood, essentially.

30:06Josh Clark:Yeah, for sure. There was also a flash flood which damaged some fencing. This is in 1978. So this is like two and a half years into this thing. And it damaged some of the fencing such that some of these big cats escaped. This is some of the darker stuff as far as the animals are concerned because they really played up the idea that like no animals were hurt in the filming of this like only humans but uh they recovered most of those animals but um allegedly the deputies uh there ended up having to shoot and kill three lions yeah and uh there was also a situation where the um i think there was a disease that spread through the cat community and some of them died it's hard to get like good verification on that, but I see plenty of places that claim that happened.

30:54Right.

30:55Chuck Bryant:And technically, none of this happened during filming. But yeah, I think that's just part of a problem when you have hundreds of big cats all living together. That's not how they live. That flood you mentioned, they had like 20 minutes of filming left. I think when there was a wildfire, they were down to like seven minutes, something like that. And it just kept getting set back and set back, that flood was so destructive that it destroyed a lot of the vegetation that made up the set. So they had to replant and then wait for it to grow back again. It just kept getting set back and set back. I have the impression, and I don't know if you got the same impression, that Tippy Hedron and Noel Marshall were so deep into this financially that they couldn't walk away.

31:43Chuck Bryant:They had to finish this because it had to be a hit or else they were in serious financial trouble. Did you get that same impression? Yeah, I mean, who knows what's going on. It's either that or just like the madman thing takes over.

31:59Josh Clark:But I know that they certainly had no chance of recovering any money if they stopped, and they knew that too. Right. And they were close to being done. Like you said, they did finally finish in the fall of 79. They had to shoot a little bit in Africa, but most everything was taking place there at their ranch. And they spent, and this was late 70s money, about$17 million, which is almost what Raiders of the Lost Ark cost. So they're definitely not getting their production value. And I'm sure a lot of that$17 million was just, you know, wasted money, like film stock and rebuilding things and just waiting around and waiting around and paying crew while you're waiting around.

32:44Chuck Bryant:Yeah, for sure. Yeah, I can't imagine that$17 million worth of production value made it into Roar from everything I've seen, you know?

32:52Josh Clark:I don't think$700 ,000 worth of production value, except I guess Yann de Bont shooting some nice looking stuff, probably. For sure.

33:00Chuck Bryant:So they finally finished filming. They get it edited. It's all ready to go. They've got their hands together. They're rubbing their hands. They're ready to start making some money back. And they cannot find anyone in the United States to sign on as a distributor, which is a huge problem, especially back then. You had no streaming services whatsoever. Like the way you saw a movie was to go to a movie theater. and the way you got your movie in movie theaters was by having a contract with the distributor to get that movie out to movie theaters so that you could have money coming back in. They did not have that in the United States.

33:33Chuck Bryant:They never got it in the U.S.

33:35Josh Clark:No, no release in the U.S. It was a non-union production, so that had something to do with it, but really the deal was it was just a really bad movie. Sure. And nobody wanted to release it. I think even at the time, they didn't think, Like, a distributor doesn't even think they can get it back based on how notorious you can trump up the advertising of, like, the most dangerous film ever made. Like, it was really that bad that they couldn't even get, like, cult B-movie status going for it, you know?

34:04Chuck Bryant:No, and there was a lot of buzz, too. I read some of the press tour that Tippy Hedren was doing in 1979 to help, you know, pump up the release of the movie. And, like, it was widely discussed. Apparently, it was shown widely in the U.K. and Ireland. But even all of that, it was, I think it grossed$2 million worldwide. Yeah. So they lost$15 million just out of the gate. And because it was never shown almost anywhere else, especially after its first run, they had like there's that was it. That's all they ever made off of it. Like they haven't slowly been making their money back. It just ended its life right then and there after it limped out of the last theater in the UK.

34:47Josh Clark:That's right. Let's take our second break, yeah?

34:50Chuck Bryant:Yeah.

34:51Josh Clark:All right, we'll be right back with a little bit more, believe it or not, about Roark right after this.

35:09Chuck Bryant:This episode is brought to you by Audi. We all know that feeling, a change of plans, an unexpected curve, a new opportunity. Instead of overthinking, what if you just said yes?

35:20Josh Clark:Yeah, with the all-new Audi Q3, the answer is easy. The Q3 is made for the yes life, with the power and room to handle whatever pops up.

35:28Chuck Bryant:Yes to adventure, yes to escape, yes to right now. Because saying yes without hesitation, that's real luxury.

35:36Josh Clark:The all-new Audi Q3, made for the yes life. Learn more at AudiUSA.com.

35:48Josh Clark:Let me tell you something we all already know. Taxes can be daunting. Oh yeah, it's like you sit down competently and five minutes later, you're questioning every life decision you ever made.

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36:17Josh Clark:Yeah, all you do is upload your documents in the TurboTax app and then live your life. You can check in anytime on a coffee break between errands or yes, even during a bathroom break. And meanwhile, a dedicated TurboTax expert is checking deductions and credits to help you get the best possible outcome.

36:32Chuck Bryant:And if a question comes up, you get unlimited expert help, even nights and weekends during tax season at no extra cost. So yeah, taxes don't have to be a time suck. Let a TurboTax expert handle it for you. Visit TurboTax.com to get started. Real-time updates are available on the iOS mobile app.

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37:45Josh Clark:Step in the sun All right, we're back. More about Roar, which, by the way, was about 100 minutes long. Livia did the great service of trying to break down, even without seeing it, the plot of this whole movie. I don't think we should kind of go over that because maybe spoilers if people want to try and find this thing, but almost certainly more because it's not a very good movie at all. But just loosely, it was a plot about an eccentric American scientist who spent a few years living in Tanzania is where it was set and then having his family come out there. And, you know, it was really about that simple.

38:31Josh Clark:Like these people, you know, there's a mistaken communication where the family comes right as the dad has gone to go to the airport So they walk into the scene where all these lions and it's really that bad. Like that's kind of the plot of the movie.

38:46Chuck Bryant:Yeah. And the overall theme of the movie is that this doctor in the time that he's been living in Tanzania started living among the wild animals he's studying and become like a family with them. Now his family, who hasn't been living with these animals, is showing up. And this is, I think, what I understand is that you start to see the process of them kind of coming around through all the attacks and hijinks and all that stuff. Until the overall message is, if you treat wild animals in a friendly manner, they're going to be friendly. If you are scared of them and you treat them hostily, they're going to respond as such.

39:24Chuck Bryant:The thing about this is, I think it was Richard Brody from The New Yorker, he points out that just consistently throughout the movie, this message is contradicted time after time after time where people are being friendly to these animals and the animals are like drawing blood and attacking them on screen in the movie. So the message itself was flawed out of the gate, even though it was, you know, an admirable one.

39:53Josh Clark:Yeah, another big flaw was that it was sort of a genre-less film. Yeah. Parts of it seem like home movies. Parts of it seem like comedy. Like a couple of the attacks are played as straight-up comedic. Parts of it are played up for the true terror. And the score even is all over the place. So the score sometimes feels like a horror movie. And the score sometimes feels like a comedy. I think Tippi Hedren says they based some of the stuff on old slapstick silent comedies. So it was completely rudderless. And that critic that you talked about, Richard Brody, one of his quotes was kind of back this up.

40:32Josh Clark:He said Marshall doesn't quite seem aware of the forms he's using. So it was just a big mess.

40:39Chuck Bryant:Yeah, big mess. I think that should be like the tagline. Right. Right. So, yeah, I guess if you if you're like, I got to see this, there are stuff. There are things you can see on online, but you just unless you're going to shell out 100 bucks, you're not going to see the whole movie. One of the cool things about this, though, is from the outset, Tibby Hedren and Noel Marshall were not just about like, let's just make a bunch of money exploiting animals. One of their stated purposes of making Roar was to take a significant amount of the proceeds and put it toward wild animal welfare. And they put their money where their mouth is, even though they lost a bunch of money, and they basically turned their compound into a place called the Cats of Shambhala, which is like they presented as a place of peace between animals and humans where they can come together in harmony.

41:31Chuck Bryant:It's still around today, and it's the home of the Roar Foundation, which is also still around today, which is still promoting money and lobbying for legislation on behalf of animal welfare.

41:44Josh Clark:Yeah, for sure. I mean, that is one positive. They would get divorced about a year after this movie. And he continued to support the Shambhala Project even after that, which was a good thing. But I don't want to paint Marshall as like some great dude because, you know, reading some of the accounts, it seems like he had a definite anger problem, was possibly violent with his own family. Definitely there were moments where his, you know, 14, 15-year-old stepdaughter is like really upset and crying and doesn't want to continue. And he's forcing her back into these scenes. So he was not a good dude.

42:23Josh Clark:So I don't want to portray this as just like sort of a fun family project gone wrong.

42:28Chuck Bryant:Yeah, there's an interview with his son, John, around the time that this was re-released by Drafthouse Films in 2015 where John was like, you know, we all had safe words that we could use when we were filming, if we were uncomfortable, that we could get, you know, removed from that situation and filming would stop. And he said there was at least one time when Melanie used her safe word and Noel just ignored it and made everybody keep filming. So, yeah, I think that was that's definitely worth pointing out for sure. But like you said, I mean, he's known for being an executive producer, investor on The Exorcist, and he's known for Roar, and he will always be known for Roar, from what I can tell.

43:09Josh Clark:Yeah, for sure. That's his legacy. In 1985, it got a little bit more attention because the Today Show had Tippi Hedren on because she had written a book, her autobiography, or at least about this, The Cats of Shambhala. So she was on there promoting that. They showed clips from Roar, and so it got a little bit of attention in the United States at the time, and then was kind of not heard from again until Draft House Films came along, like you said, in 2015. And, you know, played it up for what it was, which is a pretty bad, I mean, B-movie at best. I think most B-movies usually even have more of a plot than this thing did.

43:50Chuck Bryant:Yeah, that's where the tagline, the most dangerous film ever made, came from, which is very popular these days. And they also were the ones that came up with no animals were harmed during the making of Roar, but 70 members of the cast and crew were. And Tippi Hedren apparently was not at all happy about this portrayal. And the Roar Foundation asked her not to speak publicly about it. Apparently she was that mad about it. There is an Animal Planet documentary. I couldn't find that either, but it was called Roar, the most dangerous movie ever made. It came out in 2017. And then there's been reviews, especially after Alamo or the Drafthouse released it in 2015.

44:33Chuck Bryant:A lot of like those kind of online reviewers who just love like terrible movies really sank their teeth into this, if you'll excuse that.

44:44Josh Clark:Yeah, I think my favorite one is from Under the Radar. It said, based on its reputation alone, 1981's Roar is the citizen cane of films where actors were mauled by lions. That's pretty good.

44:58Chuck Bryant:Drew McWheeney also had a pretty memorable quote. They said that it feels like Walt Disney decided to make a snuff version of Swiss Family Robinson.

45:08Josh Clark:That's kind of on point. Yeah.

45:10Chuck Bryant:And, I mean, if you are like, I don't care about any of this. I just want to help the big cats. Like I said, the Shambhala Preserve is still around. The Roar Foundation is around, and they're accepting donations. I think they're down to like nine big cats now. Yeah. They've definitely whittled it down. I'm guessing that the other big cats kind of died of natural causes over time, hopefully. But yeah, there you go. And Tippi Hedren's still alive. She's coming up on her 100th birthday in 2030.

45:41Josh Clark:Well, I hope she doesn't listen to this.

45:43Chuck Bryant:I feel like we did it justice.

45:45Josh Clark:Yeah, which is exactly probably what she doesn't want to hear.

45:48Chuck Bryant:Okay, it's true. Well, if you're listening, Tippi, hats off to you. And since I did our annual hats off to Tippi Hedren, I just unlocked Listener Mail.

46:01Josh Clark:For a second, I thought you were going to say Tippi of the Hat to you.

46:05Chuck Bryant:After all the times we've done that, too, I can't believe we've never come up with that before.

46:09Josh Clark:I'm going to call this shouting out a good little thing that this company's doing. Because we heard from Robin about a company. Oh, let me just read it. Hey, guys, I listened to you from the mountains of western North Carolina near Asheville. And I just listened to the mangroves episode, notably one of my favorite trees. And I wanted to share information. That's me talking about it. Right, right. I wanted to share information on a company called Mang Gear, M-A-N-G, Gear. They make SPF shirts, and for every shirt they sell, they plant a mangrove tree. Nice. It's a nonprofit started by two brothers.

46:43Josh Clark:And when you do this, they send you a certificate, the GPS coordinates of the location. Oh, cool. Where your mangrove was planted. After listening to the episode, I couldn't help but share in case you wanted to show some support to their work. I listen all the time. Every episode is chock full of information, facts, and history. And let's not forget, you both are great hosts and make the show so interesting. Nice. And that is from Robin Motelik. And just go to mangear.com. That would be M-A-N-G-G-E-A-R.com. And check out those SPF shirts if you want to have a mangrove tree planted in your honor.

47:18Chuck Bryant:That was smart to add the extra G, or else they might not have gotten what they were doing across very well. If it was just Mangear.

47:25Josh Clark:I'm sure there's a website called Mangear that sells pubic hair shavers and stuff like that. Right.

47:32Chuck Bryant:Yeah. Who was that, Robin? Yeah. Okay. Thanks a lot, Robin. That was a great shout out. And thanks to the people at Mangear who are doing God's work and using GPS, which we did an episode on. And I guess if you want to get in touch with us like Robin did, you can send us an email to send it off to stuffpodcast at iheartradio.com.

47:55Josh Clark:Stuff You Should Know is a production of iHeartRadio. For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever you listen to your favorite shows.

48:11Chuck Bryant:We're always talking about how things work, and one thing that keeps your car running smoothly is regular oil changes. But life's busy, and the oil light always comes on at the worst time. Well, that's why there's Take 5 Oil Change. It doesn't just save time. It gives you control of your day back. You pull in, stay in your car, check something off your to-do list. No waiting room, no pressure. You're in and you're out in about 10 minutes. Oil changes include tire pressure checks and fluid top-offs, and the friendly staff explain everything and welcome you with a free water.

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50:29Chuck Bryant:This is an iHeart Podcast. Guaranteed Human.