1 00:00:02,960 --> 00:00:05,280 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of 2 00:00:05,360 --> 00:00:11,280 Speaker 1: My Heart Radio. Hey, welcome to Stuff to Blow your Mind. 3 00:00:11,480 --> 00:00:14,520 Speaker 1: My name is Robert Land, and I'm Joe McCormick, and 4 00:00:14,640 --> 00:00:17,200 Speaker 1: it's Monday. Of course it is time for listener mail. 5 00:00:17,720 --> 00:00:19,800 Speaker 1: I don't know if I have any anything interesting at 6 00:00:19,800 --> 00:00:21,400 Speaker 1: all to say at the beginning of this one, except 7 00:00:21,520 --> 00:00:23,840 Speaker 1: should we just jump right into the moons of Mars. 8 00:00:24,200 --> 00:00:32,080 Speaker 1: Let's do it right into the arms of Mars. Okay, 9 00:00:32,440 --> 00:00:34,520 Speaker 1: do you mind if I do this? First message from Eric, 10 00:00:34,840 --> 00:00:38,400 Speaker 1: go for it, Eric says, Hi, Joe and Robert and 11 00:00:38,479 --> 00:00:42,360 Speaker 1: producer Seth loved the episodes on Phobos and Demos. I 12 00:00:42,400 --> 00:00:44,839 Speaker 1: had a couple of things I wanted to mention. I 13 00:00:44,960 --> 00:00:47,080 Speaker 1: might have missed it, but I didn't hear you mentioned 14 00:00:47,120 --> 00:00:50,680 Speaker 1: that Phobos orbits so close to Mars that it appears 15 00:00:50,720 --> 00:00:55,440 Speaker 1: to travel backwards, meaning that it rises in mars western 16 00:00:55,560 --> 00:00:58,480 Speaker 1: sky and sets in the east. This is because it 17 00:00:58,600 --> 00:01:02,760 Speaker 1: is lower than area synchronous orbit, or an orbital altitude 18 00:01:02,760 --> 00:01:05,920 Speaker 1: at which a satellite would complete one orbit per one 19 00:01:06,000 --> 00:01:10,800 Speaker 1: rotation of the planet. Demos is above ario stationary orbit, 20 00:01:11,080 --> 00:01:13,800 Speaker 1: so it rises in the east like the Sun, but 21 00:01:13,880 --> 00:01:16,959 Speaker 1: its orbit is low enough that if it rose at sunset, 22 00:01:17,000 --> 00:01:20,440 Speaker 1: it would set at about midnight rather than close to dawn. 23 00:01:20,840 --> 00:01:23,520 Speaker 1: Earth's moon has a similar motion, but it only moves 24 00:01:23,560 --> 00:01:27,520 Speaker 1: about thirteen degrees per day relative to the stars. You 25 00:01:27,560 --> 00:01:30,800 Speaker 1: mentioned that Phobos has gravity, so you would still fall 26 00:01:30,840 --> 00:01:34,400 Speaker 1: down if you jumped. While this is true, it's incomplete. 27 00:01:34,800 --> 00:01:38,080 Speaker 1: A typical jump speed is about three meters per second 28 00:01:38,200 --> 00:01:41,119 Speaker 1: or about five ft per second, which means that an 29 00:01:41,120 --> 00:01:43,759 Speaker 1: equivalent jump on Phobos would get you to a height 30 00:01:43,800 --> 00:01:47,560 Speaker 1: of about nine hundred meters or three thousand feet. The 31 00:01:47,720 --> 00:01:51,040 Speaker 1: escape velocity of Phobos is eleven meters per second, which 32 00:01:51,080 --> 00:01:53,320 Speaker 1: is quite a bit more than your typical jump speed 33 00:01:53,320 --> 00:01:56,320 Speaker 1: of between two and four meters per second. That said, 34 00:01:56,400 --> 00:01:59,480 Speaker 1: a high jumper could get above two kilometers, and a 35 00:01:59,600 --> 00:02:04,240 Speaker 1: pole alter could almost certainly reach escape velocity. Wow. That's interesting, though, 36 00:02:04,280 --> 00:02:07,920 Speaker 1: I wonder if that's calculating pull vaulter speed, UH vertical 37 00:02:07,960 --> 00:02:12,160 Speaker 1: speed or or horizontal speed. I'm not sure, but anyway, 38 00:02:12,480 --> 00:02:16,480 Speaker 1: Eric goes on Demos is another story. It's escape velocity 39 00:02:16,560 --> 00:02:19,240 Speaker 1: is two point five meters per second, which is definitely 40 00:02:19,320 --> 00:02:23,040 Speaker 1: possible for anyone in reasonably good physical shape. So if 41 00:02:23,080 --> 00:02:25,880 Speaker 1: you landed there on demos, you would probably want to 42 00:02:25,919 --> 00:02:29,040 Speaker 1: either wait yourself down or tether yourself if you go 43 00:02:29,080 --> 00:02:31,840 Speaker 1: out on a space walk. Note that my numbers don't 44 00:02:31,880 --> 00:02:34,200 Speaker 1: take into account the fact that the force of gravity 45 00:02:34,280 --> 00:02:37,240 Speaker 1: decreases as you get further away from the surface, or 46 00:02:37,280 --> 00:02:40,400 Speaker 1: the dramatic changes in gravity due to the extreme variation 47 00:02:40,480 --> 00:02:44,320 Speaker 1: in terrain height, which on Phobos varies from zero point 48 00:02:44,360 --> 00:02:47,360 Speaker 1: four percent to zero point nine percent of Earth gravity 49 00:02:47,440 --> 00:02:51,720 Speaker 1: at the highest and lowest points, respectively. Anyways, just some 50 00:02:51,760 --> 00:02:54,560 Speaker 1: things I find fascinating about the Martian moons. Thanks for 51 00:02:54,600 --> 00:02:57,040 Speaker 1: the great episode and keep up the good work. Eric. 52 00:02:57,600 --> 00:03:00,120 Speaker 1: Oh that's excellent. Thank you Eric for writing in with that. 53 00:03:00,240 --> 00:03:04,239 Speaker 1: I I know the backwards uh nature of Phobos. I 54 00:03:04,280 --> 00:03:06,400 Speaker 1: know that came up in the research, and for some 55 00:03:06,480 --> 00:03:09,000 Speaker 1: reason or another I ended up not putting it in. 56 00:03:09,080 --> 00:03:10,799 Speaker 1: I think I just maybe got too distracted by the 57 00:03:10,840 --> 00:03:13,760 Speaker 1: other weird things about it. But but yes, this is 58 00:03:13,840 --> 00:03:16,920 Speaker 1: very much the case. Yeah, awesome email, Eric. Thank you 59 00:03:17,240 --> 00:03:25,160 Speaker 1: love stuff like this. All right, what do we have next? 60 00:03:25,400 --> 00:03:28,560 Speaker 1: What does the mail bot Carney have for us? Okay, well, 61 00:03:28,600 --> 00:03:30,360 Speaker 1: this next one is very short, so maybe I'll do 62 00:03:30,440 --> 00:03:33,000 Speaker 1: this one too and then let you take over after that. 63 00:03:33,080 --> 00:03:36,480 Speaker 1: So this one is from Brian, and this is responding 64 00:03:36,560 --> 00:03:40,000 Speaker 1: to the part in our Phobos and Demos part one 65 00:03:40,200 --> 00:03:43,720 Speaker 1: where we talked about the conspiracy theory guy Alex Jones 66 00:03:44,280 --> 00:03:48,160 Speaker 1: claiming in an interview that Buzz Aldrin, the astronaut the 67 00:03:48,200 --> 00:03:50,680 Speaker 1: Apollo Love an astronaut who's been to the Moon, that 68 00:03:50,800 --> 00:03:54,840 Speaker 1: Aldrin had admitted to him that the Phobos monolith, this 69 00:03:54,960 --> 00:03:57,880 Speaker 1: big boulder on the surface of Phobos, was the work 70 00:03:57,920 --> 00:03:59,880 Speaker 1: of Aliens and that it had something to do with 71 00:04:00,040 --> 00:04:03,040 Speaker 1: Egypt and all this stuff. Uh. And I was like, what, 72 00:04:03,280 --> 00:04:05,520 Speaker 1: I don't believe buzz Aldrin said that. So I looked 73 00:04:05,560 --> 00:04:08,200 Speaker 1: it up and in the interview that he was referring 74 00:04:08,240 --> 00:04:11,120 Speaker 1: to the claim he attributed to Aldrin was actually something 75 00:04:11,160 --> 00:04:14,119 Speaker 1: older and said to make fun of, like he said 76 00:04:14,160 --> 00:04:17,080 Speaker 1: it as a joke and then explicitly disavowed it. He 77 00:04:17,160 --> 00:04:20,640 Speaker 1: was like laughing and said, obviously I don't believe that. Uh. 78 00:04:20,680 --> 00:04:23,680 Speaker 1: So Brian is responding to that, and Brian says, I 79 00:04:23,680 --> 00:04:28,120 Speaker 1: couldn't help but be reminded of how poorly text captures conversation, 80 00:04:28,480 --> 00:04:32,359 Speaker 1: either by accident or by ill intent, depending on the interpreter. 81 00:04:32,839 --> 00:04:36,359 Speaker 1: The best popular example is my cousin Vinny and Ralph 82 00:04:36,480 --> 00:04:40,440 Speaker 1: Maccio's character being interviewed by the police. Rather than repeat 83 00:04:40,480 --> 00:04:43,440 Speaker 1: the issue, here is the video and Brian attaches a 84 00:04:43,440 --> 00:04:45,640 Speaker 1: link to this scene from My Cousin Vinny, Rob, Do 85 00:04:45,640 --> 00:04:47,400 Speaker 1: you do you know this movie? You know the scene? 86 00:04:47,680 --> 00:04:49,880 Speaker 1: I do not. I've I've never seen My Cousin Vinny 87 00:04:50,040 --> 00:04:52,400 Speaker 1: and did vaguely aware of it because of you know, 88 00:04:52,440 --> 00:04:54,599 Speaker 1: though it's supposed to be good, has a good performance 89 00:04:54,600 --> 00:04:56,679 Speaker 1: as good actors in it. Yeah, this is a classic 90 00:04:56,760 --> 00:05:00,039 Speaker 1: like legal comedy, I guess it's also it's like a 91 00:05:00,080 --> 00:05:02,440 Speaker 1: weird like it's a fish out of water movie. So 92 00:05:02,520 --> 00:05:05,960 Speaker 1: it's got Joe Pesci playing this tough guy from Brooklyn 93 00:05:06,080 --> 00:05:09,560 Speaker 1: who happens to be the cousin of a kid played 94 00:05:09,560 --> 00:05:13,599 Speaker 1: by Ralph Maccio who gets uh who gets falsely accused 95 00:05:13,640 --> 00:05:16,520 Speaker 1: of murder in a small town in Alabama while he's 96 00:05:16,560 --> 00:05:18,880 Speaker 1: on the way to the beach. And so there's a 97 00:05:18,920 --> 00:05:21,600 Speaker 1: scene in the movie where Ralph Maccio and his friend 98 00:05:21,600 --> 00:05:23,560 Speaker 1: have just been driving along on the highway and they 99 00:05:23,560 --> 00:05:26,080 Speaker 1: get pulled over by police and they end up being 100 00:05:26,160 --> 00:05:29,440 Speaker 1: interrogated by police for a murder, but they don't realize 101 00:05:29,480 --> 00:05:32,039 Speaker 1: that that's why they're they've been captured. They think that 102 00:05:32,120 --> 00:05:34,920 Speaker 1: they've been captured because one of them accidentally shoplifted a 103 00:05:34,960 --> 00:05:37,920 Speaker 1: can of tuna, and so because they think they're they're 104 00:05:37,960 --> 00:05:39,960 Speaker 1: on account of the tuna, they're all they're all just 105 00:05:40,000 --> 00:05:41,960 Speaker 1: saying like, yeah, we'll just admit to it. It's fine, 106 00:05:42,000 --> 00:05:44,839 Speaker 1: We're sorry, we did it. Sorry. I guess it's taking 107 00:05:44,839 --> 00:05:48,280 Speaker 1: too long to explain anyway. The the sheriff eventually asks them, 108 00:05:48,360 --> 00:05:51,320 Speaker 1: so when did you shoot the clerk, and Ralph Machio responds, 109 00:05:51,720 --> 00:05:56,320 Speaker 1: I shot the clerk. I shot the clerk. Uh with incredulity. 110 00:05:56,320 --> 00:05:59,640 Speaker 1: But then the transcript of that interview is read back 111 00:05:59,680 --> 00:06:02,919 Speaker 1: and ward with him just repeatedly admitting that he shot 112 00:06:02,960 --> 00:06:04,919 Speaker 1: the clerk. And I think that's what Brian is getting 113 00:06:04,920 --> 00:06:08,080 Speaker 1: at here. Okay, I guess. Well, like I said, I've 114 00:06:08,120 --> 00:06:10,520 Speaker 1: never seen it, but but I am familiar with it 115 00:06:10,560 --> 00:06:14,680 Speaker 1: because of course Fred Gwynn is in it. Hermann Judge, 116 00:06:14,720 --> 00:06:16,560 Speaker 1: I think. But yeah, he was of course Herman Munster 117 00:06:16,800 --> 00:06:22,320 Speaker 1: and he played Jed Crandell in the Pet Cemetery that Road. Yeah, yeah, 118 00:06:22,360 --> 00:06:24,520 Speaker 1: he was. Arguably I think he was. He was maybe 119 00:06:24,560 --> 00:06:26,960 Speaker 1: the best part about that movie, Like he gave a 120 00:06:27,000 --> 00:06:30,359 Speaker 1: really solid performance. Yes, and in my cousin Vinny, he 121 00:06:30,360 --> 00:06:34,680 Speaker 1: plays a very very uh stiff Alabama judge who does 122 00:06:34,720 --> 00:06:39,919 Speaker 1: not take kindly to any any Brooklyn nonsense. But anyway, Brian, 123 00:06:39,960 --> 00:06:41,800 Speaker 1: I mean, so, if you were to look at a 124 00:06:41,839 --> 00:06:44,240 Speaker 1: transcript of what buzz Aldrin said, I mean, even in 125 00:06:44,279 --> 00:06:46,360 Speaker 1: the transcript, it would be clear because he would say, 126 00:06:46,400 --> 00:06:49,040 Speaker 1: I don't He says, I don't believe that. But if 127 00:06:49,080 --> 00:06:51,520 Speaker 1: you listen to it, it's even clearer because he's like 128 00:06:51,640 --> 00:06:55,440 Speaker 1: laughing when he's saying the thing that is attributed to him. 129 00:06:55,480 --> 00:06:58,840 Speaker 1: I mean, no, nobody genuinely listening to this could think 130 00:06:58,880 --> 00:07:01,880 Speaker 1: that he literally meant, yes, that the Aliens were practicing 131 00:07:01,920 --> 00:07:05,280 Speaker 1: building a pyramid on the moon Phobos. That's obviously not 132 00:07:05,360 --> 00:07:07,560 Speaker 1: what he meant to be, and it's clear through what 133 00:07:07,600 --> 00:07:10,760 Speaker 1: he says later, but it's also clear in the tone. 134 00:07:14,960 --> 00:07:19,080 Speaker 1: All Right, here's a short message from Olydia. Olydia writes, uh, 135 00:07:19,320 --> 00:07:23,000 Speaker 1: more moons. Love the podcast and definitely interested in more 136 00:07:23,080 --> 00:07:28,239 Speaker 1: space exploration. Thanks for the introduction to the Expanse. I mean, okay, 137 00:07:28,320 --> 00:07:31,520 Speaker 1: we we we we must have sent more moons. Yeah, yeah, 138 00:07:31,560 --> 00:07:34,480 Speaker 1: And indeed the Expanse continues to be a fun series. 139 00:07:34,520 --> 00:07:37,600 Speaker 1: I think they have, like the TV adaptation. I think 140 00:07:37,600 --> 00:07:40,600 Speaker 1: they have maybe one more season coming out, maybe two. 141 00:07:40,680 --> 00:07:42,000 Speaker 1: I don't know. It's and then it's one of those 142 00:07:42,000 --> 00:07:44,520 Speaker 1: that I think it could potentially be picked up by 143 00:07:44,560 --> 00:07:47,040 Speaker 1: somebody else. Uh. And of course they're There are a 144 00:07:47,120 --> 00:07:48,760 Speaker 1: number of books out there, and the books are good too. 145 00:07:48,760 --> 00:07:51,600 Speaker 1: I read the first one, and um, and my wife's 146 00:07:51,600 --> 00:07:58,960 Speaker 1: been reading on him this summer. All right. This next 147 00:07:59,000 --> 00:08:01,680 Speaker 1: message is about owns in Wyoming. I think this is 148 00:08:01,680 --> 00:08:04,360 Speaker 1: a response to an episode where we asked whether we 149 00:08:04,440 --> 00:08:07,640 Speaker 1: had any listeners in the very sparsely populated U S 150 00:08:07,640 --> 00:08:10,920 Speaker 1: state of Wyoming, and we heard from Brandon. Brandon is 151 00:08:10,960 --> 00:08:13,840 Speaker 1: not the only Wyoming eight what what do you call him? 152 00:08:13,840 --> 00:08:17,480 Speaker 1: Wyominger's not the only one to respond, but Brandon says, 153 00:08:17,640 --> 00:08:21,600 Speaker 1: I exist. During your episode about bones, you mentioned Wyoming, 154 00:08:21,640 --> 00:08:23,800 Speaker 1: and surely I am not the only avid listener to 155 00:08:23,840 --> 00:08:27,240 Speaker 1: your podcast, but I most certainly do exist. In the 156 00:08:27,360 --> 00:08:30,280 Speaker 1: interest of full transparency, there are much better places for 157 00:08:30,320 --> 00:08:34,200 Speaker 1: you to come in Wyoming than Uh. Brandon says that structure. 158 00:08:34,240 --> 00:08:36,280 Speaker 1: I think we were talking about a house made out 159 00:08:36,320 --> 00:08:39,400 Speaker 1: of bones that's somewhere in Wyoming, or it's made with 160 00:08:39,640 --> 00:08:44,360 Speaker 1: rocks that contained fossils to that extent. Yes, Brandon says, 161 00:08:44,400 --> 00:08:47,040 Speaker 1: I have seen it myself talking about this house, and 162 00:08:47,080 --> 00:08:51,040 Speaker 1: you're gonna have a hard time setting up. Wait, this 163 00:08:51,080 --> 00:08:52,560 Speaker 1: is referring. I think we said we might do a 164 00:08:52,559 --> 00:08:56,360 Speaker 1: live show there. Anyway, Brandon says, the Medicine Bow area 165 00:08:56,840 --> 00:08:59,400 Speaker 1: itself though it's worth a visit a lot of Native 166 00:08:59,400 --> 00:09:02,160 Speaker 1: American his story there and you can actually see very 167 00:09:02,200 --> 00:09:06,040 Speaker 1: close and actual medicine wheel. Brandon, Well, I'm still that 168 00:09:06,160 --> 00:09:08,040 Speaker 1: he did. You know, Brandon still did not talk me 169 00:09:08,040 --> 00:09:10,120 Speaker 1: out of it, because this still sounds like a great 170 00:09:10,120 --> 00:09:12,199 Speaker 1: place to record. We'll go there. It'll be difficult to 171 00:09:12,240 --> 00:09:14,800 Speaker 1: set up. We won't tell anybody about it, so it'll 172 00:09:14,840 --> 00:09:17,600 Speaker 1: just be us, uh and and then we're done, and 173 00:09:17,600 --> 00:09:21,040 Speaker 1: you'll never know if we were actually there, if we're lying. Yeah, yeah, no, no, 174 00:09:21,240 --> 00:09:23,800 Speaker 1: we would actually go there, okay, but we just we 175 00:09:23,800 --> 00:09:26,360 Speaker 1: wouldn't tell anybody, or maybe you know, we'd we'd let 176 00:09:26,480 --> 00:09:29,280 Speaker 1: we let Brandon know. Then Brandon could could watch like 177 00:09:29,360 --> 00:09:31,160 Speaker 1: through the window, I can't remember it has windows, or 178 00:09:31,200 --> 00:09:33,640 Speaker 1: not sign it. So we let Carney press his hands 179 00:09:33,640 --> 00:09:41,800 Speaker 1: into the wet cement and signed his name. All right, 180 00:09:42,160 --> 00:09:44,920 Speaker 1: here is a bit of a listener mail. This is 181 00:09:45,000 --> 00:09:48,240 Speaker 1: from mars uh, someone who identifies as Mars. I guess 182 00:09:48,280 --> 00:09:49,800 Speaker 1: so Mars is their name, Where Mars is the name 183 00:09:49,840 --> 00:09:51,920 Speaker 1: of of a god, people can be called Mars. To 184 00:09:52,320 --> 00:09:54,960 Speaker 1: go for it, they write, Hello, Robert and Joe. I 185 00:09:55,000 --> 00:09:56,880 Speaker 1: have happily added stuff to blow your mind to my 186 00:09:56,960 --> 00:09:59,320 Speaker 1: listening list since the beginning of COVID and check off 187 00:09:59,400 --> 00:10:02,720 Speaker 1: most episode except I'm sad to confess I avoid Weird 188 00:10:02,720 --> 00:10:04,840 Speaker 1: House Cinema for the sole reason that my current viewing 189 00:10:04,880 --> 00:10:07,840 Speaker 1: list is longer than my life expectancy and I don't 190 00:10:07,880 --> 00:10:12,720 Speaker 1: want to add anymore. Must seas fair enough, um, they continue. 191 00:10:12,800 --> 00:10:15,080 Speaker 1: I make my living in the aviation industry and have 192 00:10:15,160 --> 00:10:19,800 Speaker 1: been watching the evolution of drones closely, not often with excitement. However, 193 00:10:20,240 --> 00:10:23,400 Speaker 1: this one really got me interested. The smell o coopter. 194 00:10:24,280 --> 00:10:27,760 Speaker 1: I'm completely in awe of this type of development. See 195 00:10:28,040 --> 00:10:31,200 Speaker 1: and then they included a link. Although does this bring 196 00:10:31,320 --> 00:10:34,079 Speaker 1: us closer to the singularity anyway? I love the show 197 00:10:34,120 --> 00:10:36,440 Speaker 1: and love the rabbit holes I can get sent down. 198 00:10:36,679 --> 00:10:39,439 Speaker 1: Keep up the great work, Mars, so I followed through 199 00:10:39,440 --> 00:10:41,439 Speaker 1: to this link. So this is a link to an 200 00:10:41,520 --> 00:10:44,240 Speaker 1: article on the web page for the American Society of 201 00:10:44,280 --> 00:10:47,120 Speaker 1: Mechanical Engineers the a s m E. And the the 202 00:10:47,240 --> 00:10:51,440 Speaker 1: article is called an Autonomous Drone Searches with Smell from 203 00:10:51,800 --> 00:10:56,040 Speaker 1: April by Michael Abrams, and so yeah, it describes this 204 00:10:56,120 --> 00:11:00,120 Speaker 1: tiny autonomous aerial vehicle that is guided by smells that 205 00:11:00,200 --> 00:11:02,240 Speaker 1: was designed by researchers who were like, hey, you know, 206 00:11:02,320 --> 00:11:06,080 Speaker 1: are our cars are starting to sort of see based 207 00:11:06,120 --> 00:11:09,440 Speaker 1: on light and our phones are listening, right, so so 208 00:11:09,520 --> 00:11:11,960 Speaker 1: why not add more senses to robots? And so they 209 00:11:12,559 --> 00:11:16,199 Speaker 1: tried to make this um old factorial lee sensitive if 210 00:11:16,200 --> 00:11:20,679 Speaker 1: that's the word robot, that is based on the olfactory 211 00:11:20,720 --> 00:11:25,040 Speaker 1: anatomy of moths. I'll just quote from Abraham's article here. 212 00:11:25,600 --> 00:11:28,440 Speaker 1: Moths are some of the most sensitive chemical sensors of 213 00:11:28,480 --> 00:11:32,240 Speaker 1: the insects. Thanks to some two odd million years of refinement, 214 00:11:32,280 --> 00:11:35,760 Speaker 1: they can find flowers or mates miles away. They're also 215 00:11:35,840 --> 00:11:38,680 Speaker 1: easy to breed and handle. The men Duca sex to 216 00:11:38,800 --> 00:11:42,120 Speaker 1: hawk moths used by the researchers are palm sized with 217 00:11:42,120 --> 00:11:46,120 Speaker 1: antennae that are roughly toothpick in diameter. The months were 218 00:11:46,120 --> 00:11:50,440 Speaker 1: anesthetized in a refrigerator before researchers detached the antennae, which 219 00:11:50,440 --> 00:11:54,920 Speaker 1: stays biologically and chemically active for four hours. Researchers connected 220 00:11:54,920 --> 00:11:58,160 Speaker 1: the antennae to a circuit board with tiny wires placed 221 00:11:58,160 --> 00:12:01,440 Speaker 1: at either end. They attached the antennae sensor to an 222 00:12:01,520 --> 00:12:04,760 Speaker 1: inexpensive off the shelf quad copter to create the device. 223 00:12:05,080 --> 00:12:07,360 Speaker 1: When the antenna picks up a scent, it sends an 224 00:12:07,360 --> 00:12:10,920 Speaker 1: electrical signal to the circuit board that directs the drone 225 00:12:11,000 --> 00:12:14,439 Speaker 1: according to a simple algorithm. This is this is this 226 00:12:14,520 --> 00:12:17,360 Speaker 1: is dark, this is weird. It goes to places I 227 00:12:17,400 --> 00:12:20,560 Speaker 1: didn't expect. The smellicopter. Yeah, it has a cute name, 228 00:12:20,600 --> 00:12:22,480 Speaker 1: though I did not think we were going to get 229 00:12:22,520 --> 00:12:26,840 Speaker 1: like a bio borg thing here. Uh now I'm wondering. Okay, 230 00:12:26,840 --> 00:12:29,360 Speaker 1: so there's gonna be like the drug dogs of the future, 231 00:12:29,480 --> 00:12:31,559 Speaker 1: Like you just release these over a city and they 232 00:12:31,600 --> 00:12:34,800 Speaker 1: like sniff out everybody, every house that has cannabis in it. 233 00:12:34,840 --> 00:12:37,240 Speaker 1: But but the author here claims they cite at least 234 00:12:37,240 --> 00:12:39,520 Speaker 1: one idea of how this could be used, which is 235 00:12:39,559 --> 00:12:43,800 Speaker 1: to locate disaster survivors in a disaster zone. So if 236 00:12:43,840 --> 00:12:46,480 Speaker 1: it's actually used for that, that sounds cool. Yeah yeah, 237 00:12:46,600 --> 00:12:50,960 Speaker 1: but yeah, certainly nefarious uses for it. Less ethical uses 238 00:12:51,000 --> 00:12:53,280 Speaker 1: for it come to mind. Uh. The The author here 239 00:12:53,320 --> 00:12:56,160 Speaker 1: also says that it could be used to pinpoint chemical 240 00:12:56,280 --> 00:12:59,960 Speaker 1: leaks or to find the source of greenhouse gases. So okay, 241 00:13:00,840 --> 00:13:04,920 Speaker 1: but anyway, Mars, Yeah, this this is very strange, so 242 00:13:04,920 --> 00:13:15,400 Speaker 1: so thanks for sending this our way. All right. Our 243 00:13:15,480 --> 00:13:18,400 Speaker 1: next bit of listener mail is one we meant to record. 244 00:13:18,559 --> 00:13:20,880 Speaker 1: I actually did record for last week's listener mail, but 245 00:13:20,880 --> 00:13:23,480 Speaker 1: then we held it back. Yeah. This was from one 246 00:13:23,520 --> 00:13:25,920 Speaker 1: of the many Dans that wrote to us last week. 247 00:13:26,160 --> 00:13:30,280 Speaker 1: We originally recorded a response to it, but this message 248 00:13:30,360 --> 00:13:33,880 Speaker 1: mentions the Digital Underground, the hip hop group which we 249 00:13:34,040 --> 00:13:37,320 Speaker 1: discussed in our response. And then right after we recorded 250 00:13:37,320 --> 00:13:39,920 Speaker 1: the episode, but before it was released, we saw news 251 00:13:39,920 --> 00:13:42,680 Speaker 1: on the Internet about the death of Gregory Jacobs, also 252 00:13:42,720 --> 00:13:45,559 Speaker 1: known as shock G of the Digital Underground. We thought 253 00:13:45,600 --> 00:13:48,319 Speaker 1: it'd be kind of weird to release our talking about 254 00:13:48,360 --> 00:13:50,680 Speaker 1: that without addressing the fact that he had passed away, 255 00:13:50,720 --> 00:13:54,080 Speaker 1: so we wanted to rerecord it for today. All right. 256 00:13:54,120 --> 00:13:56,800 Speaker 1: This one comes to us from Dan and says Hello, Robert, 257 00:13:56,920 --> 00:13:59,560 Speaker 1: Joe and Seth as an Avid. Stuff to blow your 258 00:13:59,559 --> 00:14:02,000 Speaker 1: mind list nerve for years, there is one film you 259 00:14:02,040 --> 00:14:04,280 Speaker 1: have sometimes mentioned that I am surprised you have not 260 00:14:04,320 --> 00:14:07,040 Speaker 1: covered yet on Weird House Cinema. No, not Highlander or 261 00:14:07,080 --> 00:14:09,960 Speaker 1: even Highlander to the quickening, the film I'm speaking of 262 00:14:10,240 --> 00:14:13,840 Speaker 1: is nothing but Trouble. This was a film I saw 263 00:14:13,920 --> 00:14:17,000 Speaker 1: midway through back in the nineties on HBO. I had 264 00:14:17,040 --> 00:14:19,920 Speaker 1: no idea what it was about, really, but immediately felt 265 00:14:19,920 --> 00:14:22,000 Speaker 1: like I needed to take a shower afterwards due to 266 00:14:22,000 --> 00:14:26,280 Speaker 1: the high amount of ikeyness, gore, and nauseous prosthetic makeup 267 00:14:26,360 --> 00:14:30,640 Speaker 1: on Dan Ackroyd and those weird mutant twins. However, this 268 00:14:30,680 --> 00:14:33,160 Speaker 1: was also the first time I heard Digital Underground without 269 00:14:33,200 --> 00:14:36,480 Speaker 1: knowing who they were, so it wasn't all bad. I 270 00:14:36,520 --> 00:14:38,800 Speaker 1: really enjoyed your episode on Weird Music from a couple 271 00:14:38,840 --> 00:14:41,040 Speaker 1: of weeks back, as well as the companion episode on 272 00:14:41,120 --> 00:14:45,080 Speaker 1: Record Store Society. I would like to recommend one music video, 273 00:14:45,160 --> 00:14:47,480 Speaker 1: although it may not be weird enough for your taste. 274 00:14:47,880 --> 00:14:51,000 Speaker 1: This is the video for George Clinton's electro funk classic 275 00:14:51,040 --> 00:14:54,240 Speaker 1: Atomic Dog. I've included a link below. Also, can you 276 00:14:54,240 --> 00:14:57,920 Speaker 1: please explain the phrase throwing cabbages into the audience? Rob 277 00:14:57,960 --> 00:15:01,120 Speaker 1: mentioned when you were discussing post bly in Michigan, and 278 00:15:01,160 --> 00:15:04,280 Speaker 1: I have no idea what this means. Dan Okay, so 279 00:15:04,360 --> 00:15:06,800 Speaker 1: a number of things to address in this message. Uh, 280 00:15:07,000 --> 00:15:09,560 Speaker 1: nothing but Trouble. I am pretty sure that came up 281 00:15:09,600 --> 00:15:13,520 Speaker 1: when we were talking about the Ridley Scott movie Prometheus, 282 00:15:13,560 --> 00:15:17,080 Speaker 1: and I was deriding, um, what's his name, Guy Pierce's 283 00:15:17,120 --> 00:15:19,360 Speaker 1: makeup in that movie by saying that it was so 284 00:15:19,440 --> 00:15:22,200 Speaker 1: awful he looks like dan Ackroyd and Nothing but Trouble, 285 00:15:22,200 --> 00:15:25,200 Speaker 1: which is kind of true. I've never seen all of 286 00:15:25,280 --> 00:15:27,520 Speaker 1: Nothing but Trouble. It's one of those movies I've seen 287 00:15:27,600 --> 00:15:30,600 Speaker 1: like parts of multiple times. They used to show it 288 00:15:30,600 --> 00:15:33,040 Speaker 1: on TV a lot, or at least I don't know. 289 00:15:33,800 --> 00:15:37,280 Speaker 1: It is a movie that is so ugly it literally hurts. 290 00:15:37,320 --> 00:15:40,680 Speaker 1: It's literally painful on the eyes and like in parts 291 00:15:40,680 --> 00:15:42,880 Speaker 1: of the head as you're watching it. It is a 292 00:15:43,000 --> 00:15:46,160 Speaker 1: unique film, though it is uniquely weird. It is. It 293 00:15:46,280 --> 00:15:50,120 Speaker 1: is a thing that emerged from dan Ackroyd's strange mind, 294 00:15:50,400 --> 00:15:53,640 Speaker 1: and I do love it for that's I guess it's 295 00:15:54,280 --> 00:15:59,760 Speaker 1: it's nobody's favorite movie, but I do find it perversely interesting. 296 00:16:00,040 --> 00:16:03,480 Speaker 1: And indeed that scene, uh where well, there are two 297 00:16:03,520 --> 00:16:06,200 Speaker 1: scenes I think we're digital underground performed, but the main 298 00:16:06,320 --> 00:16:08,960 Speaker 1: scene kind of coming back to Fred Gwinn there's this 299 00:16:09,160 --> 00:16:14,080 Speaker 1: uh this country courthouse scene and Digital Underground is on 300 00:16:14,160 --> 00:16:16,920 Speaker 1: tour and they've been brought in and uh a charge 301 00:16:16,920 --> 00:16:19,600 Speaker 1: with speeding or something. I don't remember, but they basically 302 00:16:19,640 --> 00:16:22,600 Speaker 1: perform as part of their defense or something to that effect. 303 00:16:22,720 --> 00:16:26,280 Speaker 1: So there's this huge musical number with Digital Underground performing 304 00:16:26,280 --> 00:16:29,000 Speaker 1: You Got Shocked Gene there he he he he takes 305 00:16:29,000 --> 00:16:31,840 Speaker 1: on the Humpty Hump persona you Got Tupac in there 306 00:16:31,880 --> 00:16:35,320 Speaker 1: as well, and then Dan Ackroyd's grotesque old man character 307 00:16:35,720 --> 00:16:40,560 Speaker 1: is uh is playing the organ. So it's it's tremendous 308 00:16:40,600 --> 00:16:42,720 Speaker 1: and I do I imagine for some people it was 309 00:16:42,800 --> 00:16:46,000 Speaker 1: there their introduction to Digital Underground, which was just a 310 00:16:46,080 --> 00:16:48,840 Speaker 1: you know, fabulous act, and Shock g was, you know, 311 00:16:48,920 --> 00:16:52,440 Speaker 1: undeniably a huge talent, so it was it was sad 312 00:16:52,480 --> 00:16:54,640 Speaker 1: to hear about his passing. Yeah, I was listening to 313 00:16:54,640 --> 00:16:58,520 Speaker 1: the Humpty Dance earlier today. It's fantastic. Yeah. The song 314 00:16:58,600 --> 00:17:00,760 Speaker 1: they do, uh, same old song is the same old 315 00:17:00,800 --> 00:17:03,840 Speaker 1: song that they perform ended in um nothing but Trouble. 316 00:17:03,920 --> 00:17:08,040 Speaker 1: I don't know, I think so anyway, great track as well, 317 00:17:08,560 --> 00:17:10,680 Speaker 1: a number of hits and well beyond you know, just 318 00:17:10,720 --> 00:17:12,680 Speaker 1: the you know, the Humpty Dance, which because the most 319 00:17:12,720 --> 00:17:16,480 Speaker 1: famous uh digital underground track. They had so many great, 320 00:17:16,680 --> 00:17:19,560 Speaker 1: great tracks that came out, so uh, if you if 321 00:17:19,600 --> 00:17:21,199 Speaker 1: you've never heard them, go look them up. And if 322 00:17:21,200 --> 00:17:23,040 Speaker 1: you haven't heard him in a while, uh, now is 323 00:17:23,080 --> 00:17:25,320 Speaker 1: a good time. But wait, what was this thing? Also? 324 00:17:25,400 --> 00:17:29,600 Speaker 1: Yeah you said that, yeah, yeah, yeah. Oh. By the way, 325 00:17:29,720 --> 00:17:32,480 Speaker 1: I'm glad to hear you mentioned Record Store Society, which, 326 00:17:32,520 --> 00:17:35,400 Speaker 1: of course, uh, if you haven't heard our crossovers with Seth, 327 00:17:35,600 --> 00:17:37,960 Speaker 1: our producer Seth has a podcast called The Record Store 328 00:17:38,000 --> 00:17:39,920 Speaker 1: Society where they talk about music. We did a couple 329 00:17:39,960 --> 00:17:42,720 Speaker 1: of crossover episodes, so you can check those out, or 330 00:17:42,760 --> 00:17:44,920 Speaker 1: you can look up The Record Store Society wherever you 331 00:17:44,960 --> 00:17:48,240 Speaker 1: get your podcasts. But also, yeah, in that crossover episode 332 00:17:48,240 --> 00:17:51,639 Speaker 1: we did with seth, um, we talked about a music 333 00:17:51,720 --> 00:17:54,760 Speaker 1: video called Possibly in Michigan, and you said that it 334 00:17:54,840 --> 00:17:58,000 Speaker 1: was not quite at the throwing cabbages into the audience 335 00:17:58,080 --> 00:18:00,159 Speaker 1: level of comedy. So I think that's what Dan is 336 00:18:00,200 --> 00:18:02,840 Speaker 1: asking about. What does that mean? That was just my 337 00:18:03,119 --> 00:18:04,760 Speaker 1: sort of on the spur of the moment attempt to 338 00:18:04,800 --> 00:18:08,280 Speaker 1: try and explain how I felt about the varying levels 339 00:18:08,320 --> 00:18:14,240 Speaker 1: at which creators and performers and composers, etcetera. Are aware 340 00:18:14,280 --> 00:18:18,639 Speaker 1: of the audience, perhaps acknowledging the audience, toying with the audience, 341 00:18:19,080 --> 00:18:22,640 Speaker 1: and in the most extreme cases like straight up trolling 342 00:18:23,000 --> 00:18:26,400 Speaker 1: the audience, you know, or even provoking the audience, which 343 00:18:26,440 --> 00:18:29,080 Speaker 1: would be uh yeah, And I think I divided into 344 00:18:29,119 --> 00:18:31,040 Speaker 1: two categories there, But if I had to rethink it, 345 00:18:31,080 --> 00:18:33,879 Speaker 1: I would say, you've got you got four different levels. Roughly, 346 00:18:34,200 --> 00:18:37,440 Speaker 1: there's their performers that are throwing cabbages at each other 347 00:18:37,520 --> 00:18:40,119 Speaker 1: on the stage. They are performers that are doing that 348 00:18:40,240 --> 00:18:44,120 Speaker 1: and then occasionally allowing cabbage to fly into the audience. 349 00:18:44,440 --> 00:18:48,320 Speaker 1: Then there are the the performers who are throwing cabbages 350 00:18:48,440 --> 00:18:51,920 Speaker 1: into the audience, uh, you know, with intention, and then 351 00:18:51,920 --> 00:18:57,280 Speaker 1: there cases where they're throwing them at audience members. And uh, 352 00:18:57,280 --> 00:19:00,160 Speaker 1: I don't I'm still not sure this actually clarifies any thing, 353 00:19:00,280 --> 00:19:03,800 Speaker 1: but that's what I was talking about. Okay, So for you, 354 00:19:04,359 --> 00:19:08,359 Speaker 1: possibly in Michigan was throwing cabbages into the audience, but 355 00:19:08,440 --> 00:19:11,960 Speaker 1: not at the audience, I guess. So yeah, wait, maybe 356 00:19:11,960 --> 00:19:15,160 Speaker 1: I'm misremembering it. I don't think I'm going to explore 357 00:19:15,200 --> 00:19:17,080 Speaker 1: this topic too much further and go into like a 358 00:19:17,080 --> 00:19:20,359 Speaker 1: full thesis, but it's just sort of like the loose 359 00:19:20,359 --> 00:19:23,680 Speaker 1: way I sometimes think of Like sometimes I feel like um, 360 00:19:23,840 --> 00:19:26,600 Speaker 1: for instance, in electronic music and I D I d M, 361 00:19:26,720 --> 00:19:29,280 Speaker 1: sometimes there'll be a track and the track is really great, 362 00:19:29,320 --> 00:19:32,160 Speaker 1: but it will have some like atrocious title that sometimes 363 00:19:32,160 --> 00:19:35,160 Speaker 1: I feel like it's just like the creator is having 364 00:19:35,359 --> 00:19:39,160 Speaker 1: having a laugh at the perhaps at the audience's expense. 365 00:19:39,760 --> 00:19:41,960 Speaker 1: But sometimes it doesn't matter because the track is so good, 366 00:19:42,000 --> 00:19:44,560 Speaker 1: you know. But then also sometimes the track is just 367 00:19:44,680 --> 00:19:46,800 Speaker 1: really weird and weird to the point where I'm like, 368 00:19:46,840 --> 00:19:49,280 Speaker 1: come on, are you just testing me to see what 369 00:19:49,320 --> 00:19:51,560 Speaker 1: I'll put up with as a listener. I don't know, 370 00:19:51,840 --> 00:19:53,760 Speaker 1: you know. I feel like that's where there's some significant 371 00:19:53,800 --> 00:19:59,080 Speaker 1: overlap between electronic musicians and fast food menus. For sometimes 372 00:19:59,400 --> 00:20:01,439 Speaker 1: you ever get the feeling you're being trolled by a 373 00:20:01,440 --> 00:20:03,560 Speaker 1: fast food menu because they're trying to get you to 374 00:20:03,640 --> 00:20:06,119 Speaker 1: say the name of a fast food menu item that 375 00:20:06,280 --> 00:20:11,520 Speaker 1: is just absolutely uh just fatal to your personal dignity 376 00:20:11,560 --> 00:20:14,399 Speaker 1: to say out loud. Yeah and yeah. I mean it 377 00:20:14,400 --> 00:20:17,200 Speaker 1: can also take place in um, you know, independent restaurants 378 00:20:17,200 --> 00:20:19,800 Speaker 1: that have kind of cute sie titles for things. Yeah, 379 00:20:19,840 --> 00:20:21,320 Speaker 1: and it's like will I say that out loud, or 380 00:20:21,320 --> 00:20:24,240 Speaker 1: will I just say I would like this sandwich or 381 00:20:24,840 --> 00:20:32,040 Speaker 1: something to that effect. Is it time for weird House 382 00:20:32,080 --> 00:20:34,440 Speaker 1: Cinema Listener Mail? I guess it is. We already sort 383 00:20:34,440 --> 00:20:36,399 Speaker 1: of got in there in the last message. Okay, so 384 00:20:36,520 --> 00:20:41,080 Speaker 1: this is from James. James says, Hi, guys, I've been 385 00:20:41,119 --> 00:20:44,000 Speaker 1: listening for several months and have been loving the podcast, 386 00:20:44,040 --> 00:20:46,240 Speaker 1: and I'm overdue in reaching out to give you props 387 00:20:46,960 --> 00:20:51,080 Speaker 1: regarding the Turbo Graphics sixteen segment of a recent listener 388 00:20:51,080 --> 00:20:53,080 Speaker 1: Mail episode. I think this all got started when we 389 00:20:53,080 --> 00:20:56,119 Speaker 1: were talking about Gunhead having some kind of adaptation for 390 00:20:56,160 --> 00:21:00,000 Speaker 1: the Turbo Graphics sixteen. Um. But anyway, in a previous 391 00:21:00,080 --> 00:21:03,480 Speaker 1: Listener mails, somebody brought up a game for the turbographics 392 00:21:03,520 --> 00:21:06,520 Speaker 1: that was like the most bizarre concept. It was like 393 00:21:06,560 --> 00:21:10,520 Speaker 1: a racing RPG, so you know where you'd have to 394 00:21:10,600 --> 00:21:13,480 Speaker 1: go around to different places on a map and like 395 00:21:13,640 --> 00:21:16,400 Speaker 1: meet and talk to people and convince them to race 396 00:21:16,520 --> 00:21:21,520 Speaker 1: with you. Uh, fantastic concept. But James here has an 397 00:21:21,560 --> 00:21:24,600 Speaker 1: answer of what this is. James says, it is a 398 00:21:24,680 --> 00:21:28,359 Speaker 1: racing game. It is called Final Lap twin. It's actually 399 00:21:28,440 --> 00:21:32,080 Speaker 1: a hybrid RPG racer with an overworld map complete with 400 00:21:32,200 --> 00:21:36,080 Speaker 1: random encounters, in which defeating opponents in races earns you 401 00:21:36,240 --> 00:21:39,639 Speaker 1: character money that can be spent on various car upgrades 402 00:21:39,720 --> 00:21:43,760 Speaker 1: in towns. There's an interesting boss battle mechanic too. It's 403 00:21:43,760 --> 00:21:46,480 Speaker 1: a terrific game. I mean, that sounds so weird. I 404 00:21:46,520 --> 00:21:49,439 Speaker 1: kind of have to look it up. I'm wondering what 405 00:21:49,560 --> 00:21:53,000 Speaker 1: other types of like niche games could also add an 406 00:21:53,080 --> 00:21:56,280 Speaker 1: RPG element. Could you have like an RPG pinball game 407 00:21:56,800 --> 00:21:58,960 Speaker 1: where you have to like go around to different pinball 408 00:21:59,040 --> 00:22:02,680 Speaker 1: cabinets and talk to people about them. I don't know, maybe, 409 00:22:03,119 --> 00:22:05,159 Speaker 1: I mean it sounds kind of good put the right 410 00:22:05,200 --> 00:22:07,520 Speaker 1: spin on it, and maybe some I don't make it. 411 00:22:07,560 --> 00:22:09,240 Speaker 1: I mean, in a way, it reminds me of the 412 00:22:09,320 --> 00:22:12,840 Speaker 1: various mini games that you have in sandbox games, you know, 413 00:22:12,920 --> 00:22:17,560 Speaker 1: like Big Grand, Theft Auto or cyberpunk style um things 414 00:22:17,560 --> 00:22:19,800 Speaker 1: where you're doing a lot of role playing and whatnot, 415 00:22:19,840 --> 00:22:22,840 Speaker 1: and then you're talking to people about playing pool with them, 416 00:22:22,920 --> 00:22:26,440 Speaker 1: or playing poker with them, or engaging in races with them. Right, 417 00:22:26,800 --> 00:22:30,320 Speaker 1: playing cards in Red did redemption and stuff, Yeah, which 418 00:22:30,320 --> 00:22:31,880 Speaker 1: was fun. That was my favorite part of that game. 419 00:22:31,920 --> 00:22:34,240 Speaker 1: I think, yeah, yeah, they should just made a full 420 00:22:34,240 --> 00:22:38,600 Speaker 1: on poker. Sim My funniest experience ever playing that game 421 00:22:38,680 --> 00:22:40,960 Speaker 1: was I spent a long time playing cards in a 422 00:22:41,040 --> 00:22:44,440 Speaker 1: room where like night and day came and went and 423 00:22:43,840 --> 00:22:46,600 Speaker 1: uh and you know, in the game, not in real life, 424 00:22:46,920 --> 00:22:49,160 Speaker 1: but I want a bunch of money. I was like victorious, 425 00:22:49,160 --> 00:22:51,520 Speaker 1: and I walked out of the cards room. And then 426 00:22:51,600 --> 00:22:55,200 Speaker 1: just immediately the moment I walked out the door, witnessed 427 00:22:55,280 --> 00:23:02,399 Speaker 1: my horse getting hit by a train. Yeah. You win some, 428 00:23:02,560 --> 00:23:06,160 Speaker 1: you lose some. Yeah, okay, James's message goes on, Uh, 429 00:23:06,280 --> 00:23:08,879 Speaker 1: let's see here. James says, the rest of the games 430 00:23:08,920 --> 00:23:12,119 Speaker 1: mentioned in that segment had me smiling, nodding, and reminiscing 431 00:23:12,119 --> 00:23:17,440 Speaker 1: fondly to other honorable mentions. Alien Crush, a grotesque HR 432 00:23:17,520 --> 00:23:20,320 Speaker 1: Geeger inspired pinball game. Hey there you go. I didn't 433 00:23:20,320 --> 00:23:24,120 Speaker 1: even know this was coming. A pinball game. Uh. Dragon Spirit, 434 00:23:24,280 --> 00:23:27,520 Speaker 1: an overhead shooter where the player controls a fire breathing 435 00:23:27,640 --> 00:23:33,000 Speaker 1: dragon and silent debuggers, a sci fi horror game competently 436 00:23:33,040 --> 00:23:37,880 Speaker 1: capturing the tension and terror of the original Alien movie. Huh, 437 00:23:38,240 --> 00:23:41,080 Speaker 1: terrible title, but you know that that sounds good. I 438 00:23:41,600 --> 00:23:45,199 Speaker 1: did look up stills of um that Geeger pinball machine 439 00:23:45,240 --> 00:23:47,960 Speaker 1: and Yeah, it does kind of look it's geeger Ask, 440 00:23:48,359 --> 00:23:51,000 Speaker 1: but more purply and pink. Yeah, it's like what if 441 00:23:51,040 --> 00:23:53,800 Speaker 1: you were playing pinball, but the pinball was the insides 442 00:23:54,040 --> 00:23:56,520 Speaker 1: of an alien you were dissecting. I just looked it up. 443 00:23:56,560 --> 00:23:59,080 Speaker 1: Alien Crush has a really good picture of an alien 444 00:23:59,160 --> 00:24:01,280 Speaker 1: on like its box sort. It's got this thing with 445 00:24:01,320 --> 00:24:04,800 Speaker 1: many eyes, kind of a big pink v with you know, 446 00:24:04,880 --> 00:24:07,560 Speaker 1: I don't know, at least at least ten eyes. Anyway, 447 00:24:07,640 --> 00:24:10,400 Speaker 1: James goes on, I've been loving the Weird House Cinema 448 00:24:10,400 --> 00:24:13,120 Speaker 1: episodes as well. I was intrigued enough by your discussion 449 00:24:13,160 --> 00:24:15,879 Speaker 1: of frogs that I bought myself a used copy on 450 00:24:15,960 --> 00:24:18,720 Speaker 1: eBay while listening to the pod. I trust it will 451 00:24:18,760 --> 00:24:22,240 Speaker 1: be four dollars well spent. James. Yeah, let us know 452 00:24:22,320 --> 00:24:24,879 Speaker 1: the verdict once you watch it. This goes back a ways, 453 00:24:24,920 --> 00:24:28,520 Speaker 1: but the Battle for Indoor episode brought back enough nostalgia 454 00:24:28,600 --> 00:24:31,080 Speaker 1: for me to dig out the old VHS copy that 455 00:24:31,160 --> 00:24:34,240 Speaker 1: my dad helped me record back when it aired during 456 00:24:34,280 --> 00:24:37,560 Speaker 1: one of their rare free preview weeks back in the eighties. 457 00:24:37,600 --> 00:24:39,400 Speaker 1: Oh this is when they give you like the Disney 458 00:24:39,440 --> 00:24:42,359 Speaker 1: Channel for free for a week. I remember this. People 459 00:24:42,359 --> 00:24:44,320 Speaker 1: will take a lot off of it. Yep, they have. 460 00:24:44,440 --> 00:24:48,240 Speaker 1: You'd bust out the VCR, you need you programmed the VCR, 461 00:24:48,520 --> 00:24:51,399 Speaker 1: or you'd be there to to manually remove commercials if 462 00:24:51,440 --> 00:24:54,359 Speaker 1: it was a channel that had commercials. Yeah, yeah, uh. 463 00:24:54,400 --> 00:24:57,159 Speaker 1: And then James says, and wow, that one may have 464 00:24:57,240 --> 00:24:59,760 Speaker 1: been best left to my childhood memories as it does 465 00:24:59,800 --> 00:25:02,240 Speaker 1: not have the same charm for me as an adult. 466 00:25:02,520 --> 00:25:06,479 Speaker 1: You guys are brave, smiling bass again, kudos for an 467 00:25:06,560 --> 00:25:09,480 Speaker 1: entertaining and educational podcast. It's proven itself to be an 468 00:25:09,480 --> 00:25:14,320 Speaker 1: integral part of my remote work. Sanity cheers James. All Right, Yeah, 469 00:25:14,359 --> 00:25:16,240 Speaker 1: I don't know the battle for Indoor held up for me, 470 00:25:16,320 --> 00:25:19,000 Speaker 1: but maybe I would say maybe I'm more foolish than brave, 471 00:25:19,200 --> 00:25:23,440 Speaker 1: But but I like that one. And again I should 472 00:25:23,440 --> 00:25:26,399 Speaker 1: mention that the those that e wak movies are on 473 00:25:26,480 --> 00:25:29,880 Speaker 1: Disney Plus now they they finally they listen to us. 474 00:25:29,920 --> 00:25:31,879 Speaker 1: I guess they were like Rob and Joe said that 475 00:25:31,920 --> 00:25:33,840 Speaker 1: we need to put we need to put the ewak 476 00:25:33,880 --> 00:25:36,040 Speaker 1: movies back up, or we need to put them up 477 00:25:36,080 --> 00:25:39,240 Speaker 1: where people can can can watch them. And now you can't. 478 00:25:39,960 --> 00:25:43,200 Speaker 1: All right, We're gonna go ahead and close the mail bag. 479 00:25:43,280 --> 00:25:45,640 Speaker 1: Here but I'm excited to pick up where we left 480 00:25:45,640 --> 00:25:47,760 Speaker 1: off next time, because we didn't even get two discussions 481 00:25:47,800 --> 00:25:52,840 Speaker 1: of more discussions of Sean Connery's accent and Highlander and 482 00:25:52,920 --> 00:25:55,480 Speaker 1: so forth. There's some good stuff, yeah, already in the 483 00:25:55,520 --> 00:25:58,439 Speaker 1: chamber for next week. So join us again next Monday 484 00:25:58,480 --> 00:26:01,600 Speaker 1: for more listener mail. And and hey, send us listener mail, 485 00:26:01,760 --> 00:26:04,600 Speaker 1: impress us, send us something really interesting that we won't 486 00:26:04,640 --> 00:26:07,199 Speaker 1: be able to resist reading on air. That's right. And 487 00:26:07,240 --> 00:26:09,240 Speaker 1: in the meantime you can check out other episodes of 488 00:26:09,240 --> 00:26:11,520 Speaker 1: Stuff to Blow Your Mind and Weird how Cinema in 489 00:26:11,640 --> 00:26:13,920 Speaker 1: the Stuff to Blow Your Mind podcast feed, which you'll 490 00:26:13,960 --> 00:26:16,800 Speaker 1: find wherever you get your podcasts and wherever that happens 491 00:26:16,840 --> 00:26:19,520 Speaker 1: to be. We asked that you rate, review, and subscribe, 492 00:26:19,560 --> 00:26:23,160 Speaker 1: and you know, tell people about us, you know, so say, hey, 493 00:26:23,200 --> 00:26:27,560 Speaker 1: we heard this cool episode on frogs a fabulous motion picture, 494 00:26:28,680 --> 00:26:32,160 Speaker 1: so um yeah, just share us with your friends and family. 495 00:26:32,400 --> 00:26:35,480 Speaker 1: Huge thanks as always to our wonderful audio producer Seth 496 00:26:35,600 --> 00:26:37,960 Speaker 1: Nicholas Johnson. If you would like to get in touch 497 00:26:38,000 --> 00:26:40,240 Speaker 1: with us with feedback on this episode or any other, 498 00:26:40,320 --> 00:26:42,760 Speaker 1: to suggest a topic for the future, or just to 499 00:26:42,800 --> 00:26:45,400 Speaker 1: say hello, say something friendly, you can email us at 500 00:26:45,600 --> 00:26:56,000 Speaker 1: contact at Stuff to Blow Your Mind dot com. Stuff 501 00:26:56,000 --> 00:26:58,240 Speaker 1: to Blow Your Mind is production of I heart Radio. 502 00:26:58,560 --> 00:27:00,879 Speaker 1: For more podcasts for my heart Radio, visit the iHeart 503 00:27:00,960 --> 00:27:03,679 Speaker 1: Radio app, Apple Podcasts, or wherever you listen to your 504 00:27:03,720 --> 00:27:04,399 Speaker 1: favorite shows.