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Speaker 1: Hey, everybody, we're going on tour and you can come

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Speaker 1: out and see us in Orlando on August twelfth, Nashville

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Speaker 1: on September sixth, and we're gonna wrap it all up

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Speaker 1: on September ninth in our hometown of Atlanta, GA.

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Speaker 2: That's right, And these are the last shows of the year.

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Speaker 2: This has been a really good show this year. We're

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Speaker 2: super excited about it, and this is going to be

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Speaker 2: your only chance to be in the theater with us,

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Speaker 2: and you know, like fifteen sixteen hundred of your closest pals.

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Speaker 1: So go to stuff youshould know dot com and check

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Speaker 1: out our tour page for links and information, and you

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Speaker 1: can also go to link tree slash sysk for the

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Speaker 1: same stuff. We'll see you guys this August and September.

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Speaker 2: Welcome to Stuff you Should Know, a production of iHeartRadio.

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Speaker 1: Hey, and welcome to the podcast. I'm Josh, and there's

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Speaker 1: Chuck and Jerry's here too. You can't see her, but

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Speaker 1: you can if you relax your eyes lose focus, she

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Speaker 1: may just pop right out at you and be like, hey,

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Speaker 1: I'm Jerry.

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Speaker 2: Could meet youa you thought I wasn't real? All you

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Speaker 2: need her lazy eyes.

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Speaker 1: That's well, no, actually it doesn't work if you have

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Speaker 1: lazy eye.

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Speaker 2: I know that's the opposite.

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Speaker 1: We'll get to that later.

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Speaker 2: I would love to see Jerry in in a Magic

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Speaker 2: I poster popping out in my room.

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Speaker 1: All right. You know, well, you know, it's actually become

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Speaker 1: so easy to do. There's so many programs out there

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Speaker 1: now that you do it.

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Speaker 2: Huh.

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Speaker 1: You could at the very least a more capable and

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Speaker 1: skilled stuff you should know, listener, probably could.

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Speaker 2: I'll just keep talking about it.

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Speaker 1: There you go.

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Speaker 2: That's what we're talking about.

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Speaker 3: Though.

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Speaker 2: If you are a person of a certain age, and

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Speaker 2: you were either like a teenager or up probably in

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Speaker 2: the nineteen nineties early nineteen nineties, yep, then you probably,

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Speaker 2: at some point, much like Ethan Suppley in the movie

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Speaker 2: Mall Rats, would stand somewhere in a shopping mall at

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Speaker 2: a wooden kiosk, staring at a poster, waiting for that

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Speaker 2: shark or that sale to come out from the background

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Speaker 2: of that poster. Yeah, the hidden, the hidden trick.

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Speaker 1: I tried it so many times, and I think maybe

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Speaker 1: one out of fifty I was able. Oh yeah, I

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Speaker 1: was not good at it, but I have to say Chuck.

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Speaker 1: After researching it yesterday and today, my eye muscles have

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Speaker 1: never been in better shape than they are right now.

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Speaker 2: Did you try looking at them again?

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Speaker 1: Yes, I've been popping and locking and like just I'll

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Speaker 1: be like here, give it to me, bam, I'll see

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Speaker 1: that one. Oh, let's see another one.

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Speaker 2: Actually, I've got it, Yes, I did.

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Speaker 1: I finally relax. I guess is what it comes down to.

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Speaker 1: But I've gotten to the point where I can, once

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Speaker 1: I see it, I don't have to keep that focus.

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Speaker 1: I can actually look around inside the picture from like

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Speaker 1: different angles and stuff.

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Speaker 2: It's really cool. Yeah. I got to that point too,

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Speaker 2: to where like at first I would do the trick

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Speaker 2: where you like in the book version, where you would

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Speaker 2: hold it very close to your face and slowly back

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Speaker 2: it away, because as we'll see, that's one technique to

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Speaker 2: see what the hidden picture. But then I got to

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Speaker 2: where once you once you sort of contrain yourself, then

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Speaker 2: you can just sort of look at it like you said,

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Speaker 2: and you know, the little trick with your eyes, and

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Speaker 2: then there's that polar bear or whatever.

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Speaker 1: Yeah, but I should say it's been it's been brought

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Speaker 1: to our attention. I guess ever since the Millie Vanilli

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Speaker 1: episode that even like that kind of definition is not

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Speaker 1: necessarily enough for some of our listeners. So I feel like, no,

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Speaker 1: I think we should go a little further. If you've

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Speaker 1: never seen a magic eye poster or you know generically

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Speaker 1: called the stereogram, what we're talking about is a a strange,

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Speaker 1: seemingly random pattern of different colors almost splattered across a poster,

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Speaker 1: and that if you relax your eyes is a certain

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Speaker 1: way so that you focus as if you're looking beyond.

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Speaker 2: The poster, like right through it. Yeah.

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Speaker 1: Hm, in some sort of magic scientific way that will explain,

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Speaker 1: sort of a three dimensional image suddenly forms. You suddenly

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Speaker 1: see a three D image that you cannot see if

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Speaker 1: you're if you're not looking at it the right way. Yeah,

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Speaker 1: when you do see it, there's it's almost inevitable you're

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Speaker 1: gonna say wow, oh, gosh or something like that. It's

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Speaker 1: thrilling every single time it is.

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Speaker 2: It appears to kind of jump away from the rest

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Speaker 2: of the image. But nice definition. But I think we

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Speaker 2: should go back because there's kind of a long and

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Speaker 2: winding road to how we eventually got to the early

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Speaker 2: nineteen nineties with these magic eye posters. That were you know,

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Speaker 2: they were real fad and we'll get to that. You know,

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Speaker 2: they sold a lot of those things in a short

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Speaker 2: amount of time. But it goes all the way back

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Speaker 2: to the early scientists of the world trying to figure

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Speaker 2: out how in the world when you have two eyeballs

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Speaker 2: that are spaced about sixty something millimeters apart. You know,

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Speaker 2: if they're spaced apart, they're gonna be seeing things f

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Speaker 2: from a slightly different perspective. And how in the world

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Speaker 2: do we do that and come up with like a

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Speaker 2: solid focus on things?

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Speaker 1: Yeah, I mean I had never really thought about it before,

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Speaker 1: but binocular vision is what you're talking about. And yeah,

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Speaker 1: by rights, we have two eyes, and like you said,

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Speaker 1: they're separated by a certain amount of distance, So why

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Speaker 1: don't we see two images of.

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Speaker 2: The world, Yeah, very lightly from one another. Right.

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Speaker 1: What It turns out that if we did do that,

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Speaker 1: we probably wouldn't be able to see with depth perception.

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Speaker 1: It's very crazy kind of It's called stereopsis is another

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Speaker 1: word for depth perception, and it is in combining those

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Speaker 1: two images that each eye gives the brain that we're

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Speaker 1: able to see in one complete picture that has depth

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Speaker 1: and richness and uh, maybe even a little kindness depending

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Speaker 1: on what you're looking at.

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Speaker 2: Yeah, and the brain does this immediately. It figures it

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Speaker 2: out so fast you don't even know what's happening. But

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Speaker 2: we can go all the way back to our friend Ptolemy,

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Speaker 2: who talked about quite a bit. Yeah, second century Roman astronomer.

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Speaker 2: And this is one of sort of the early ideas

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Speaker 2: that were was put forward. And you know, they, as

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Speaker 2: as with all things sort of science, they put forward

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Speaker 2: some ideas that aren't quite right and they're refined over

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Speaker 2: the years until they get to the reality of it.

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Speaker 1: This is an ain't quite right one.

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Speaker 2: Yeah, ain't quite right because told me he thought that

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Speaker 2: your eyes sent out raise basically visual rays that hid

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Speaker 2: an object, and when we're seeing something in focus, that

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Speaker 2: means it's even it's kind of hard to explain how

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Speaker 2: bad it is that the eyeball rays will converge on

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Speaker 2: an object. And when they converge on that object, that's

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Speaker 2: when you can see something in focus, basically, and if.

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Speaker 1: They converge in it too much, they burn it to

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Speaker 1: a cinder. Excellently, he had it, he picked up there's

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Speaker 1: two things. He had it backwards. We're actually accepting rays

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Speaker 1: rather than shooting him out, so he's kind of getting there.

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Speaker 1: And then he noticed that our two eyes create an

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Speaker 1: that's our focus. It can be wide narrow, depending on

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Speaker 1: what we're looking at. If it's far away, the focus

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Speaker 1: is going to be at a sharper angle. If it's closer,

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Speaker 1: it's going to be at a wider angle. And he

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Speaker 1: was onto something, but he didn't. He who wasn't able

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Speaker 1: to really put two and two together, and then he

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Speaker 1: died and that was it for him.

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Speaker 2: Yeah, that's right. So up next, I guess we can

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Speaker 2: flash forward to this Arab scholar name all has In

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Speaker 2: is what I'm going to say.

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Speaker 1: I think that's great, right.

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Speaker 2: And he basically said, all right, what we have is

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Speaker 2: an ability to sense this convergence of our eyes when

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Speaker 2: they focus on an object. And what this is called basically,

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Speaker 2: I don't know if he even said the word depth,

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Speaker 2: but it helps us figure out how far something is,

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Speaker 2: which is depth.

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Speaker 1: Yes, And so his idea was that we could we

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Speaker 1: had some sort of sense that we was so involuntary

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Speaker 1: we weren't even aware of it, and that's how we

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Speaker 1: knew its true. Yeah, for sure, but still not quite right.

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Speaker 1: There about six hundred years later, Kepler and Descartes kind

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Speaker 1: of picked up on something similar, and they said, rather

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Speaker 1: than being able to sense the degree of convergence that

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Speaker 1: our eyes are focusing, we actually can feel how our

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Speaker 1: eyes are rotating at any given point, and that's how

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Speaker 1: we know where our eyes are focused or not focused.

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Speaker 2: Yeah, Descartes said, like googly eyes, you know exactly.

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Speaker 1: And so like it was just wrong, wrong, wrong. Finally,

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Speaker 1: in the eighteen thirties, an Englishman stepped up. His name

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Speaker 1: was Sir Charles Wheatstone. Yeah, and he said, I've got this.

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Speaker 1: Everybody check this out. I have invented an invention that

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Speaker 1: will prove that my hypothesis of binocular vision providing us

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Speaker 1: one single image with depth is actually from well take

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Speaker 1: a chuck.

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Speaker 2: Well, you know what's funny is in my notes I had.

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Speaker 2: Wheatstone says, quote, I got this nice exactly what you said.

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Speaker 1: It's simpatico.

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Speaker 2: What were you setting me up for?

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Speaker 1: I don't know.

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Speaker 2: Well, he had an invention. Can I just describe that

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Speaker 2: at least? Yeah?

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Speaker 1: The stereoscope.

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Speaker 2: Yeah, the stereoscope sat. The first version of this that

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Speaker 2: he introduced sat on a table. There's a great picture.

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Speaker 2: It turns out that Brian May of Queen is a

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Speaker 2: big wheatstone slash three D stereogram binocular vision enthusiast, and

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Speaker 2: so there's some cool pictures of him looking at this

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Speaker 2: through this original stereoscope. So it sits on a desk

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Speaker 2: and in the center you put your eyes up to

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Speaker 2: you know, what looks like a little viewmaster or a

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Speaker 2: VR headset basically, and it has these two angled mirrors,

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Speaker 2: one for each eye. So when you look through it,

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Speaker 2: it angles one eye out to the right and one

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Speaker 2: eye out to the left, and in that peripheral vision

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Speaker 2: on each side there's a little small wooden wall with

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Speaker 2: a picture on each one. So one eye is looking

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Speaker 2: at the left picture, the right eye is looking at

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Speaker 2: the right picture, and you you know, it has two

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Speaker 2: little thumbholes that you hold. It's very elegantly a little

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Speaker 2: steampunk looking thing.

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Speaker 1: It definitely is.

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Speaker 2: And that was how he basically proved this, by having

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Speaker 2: each eye look at two separate things, but they're both flat, flat,

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Speaker 2: flat images of the same thing. Basically.

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Speaker 1: That's really that's key.

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Speaker 2: Right.

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Speaker 1: So let's say you had an image of an apple cart.

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Speaker 1: You have two pictures of that apple cart, and your

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Speaker 1: eyes are seeing each one right, because there's that barrier

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Speaker 1: in between your two eyes, so your eye is just

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Speaker 1: seeing the left image, your right eye seeing just the

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Speaker 1: right image.

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Speaker 2: Right. Yes.

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Speaker 1: The distinction here, Chuck, and this is where Wheatstone like

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Speaker 1: really laid the foundation for understanding binocular vision is that

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Speaker 1: each of those pictures has to be slightly different in perspective.

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Speaker 2: That's right.

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Speaker 1: So either there's a slightly different angle, or you took

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Speaker 1: one picture and then moved a foot to the left

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Speaker 1: and took the other picture, and those are what you're seeing.

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Speaker 1: And what he showed is that the brain can sense

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Speaker 1: those slight, slight differences in perspective and that's what it

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Speaker 1: uses when it combines two images into one image in

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Speaker 1: your field of view to give it depth. That's how

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Speaker 1: it senses depth, those differences in perspective or angle that

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Speaker 1: each eye is feeding the brain as an image.

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Speaker 2: Yeah. And if you're thinking this sounds like the little

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Speaker 2: viewmaster that you had when you were a kid, that's

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Speaker 2: exactly what it is, same exact thing.

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Speaker 1: Yeah, And the same way that like the computer went

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Speaker 1: from like a room size thing to a PC to

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Speaker 1: a laptop to our phone. This this stereoscope did the

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Speaker 1: same thing. It was a big clunky thing, the steampunk version,

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Speaker 1: and then it got increasingly smaller and easier to handle

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Speaker 1: and more handy, although it was much less revolutionary than

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Speaker 1: the computer.

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Speaker 2: Yeah, they made it like, they made it more handheld.

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Speaker 2: Those in particular, there was in the eighteen forties there

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Speaker 2: was a Scottish physicist who will be pretty prominent in

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Speaker 2: this whole story named David Brewster, Sir David Brewster, and

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Speaker 2: he's the one that invented if you've ever seen one

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Speaker 2: of these in a museum or something, sort of the

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Speaker 2: early handheld version that looks like a little handheld steampunk

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Speaker 2: VR headset basically.

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Speaker 1: Yeah, like many binoculars with a slide yeah, coming out

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Speaker 1: of it that you use for focus.

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Speaker 2: Yeah, and you hold it up to your eyes and

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Speaker 2: it blocks out the rest of the light and stuff.

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Speaker 2: His more portable invention was coinciding with photography becoming more

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Speaker 2: and more developed in sort of like proper photography, and

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Speaker 2: so all of a sudden it was this popular thing,

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Speaker 2: and this was sort of the first fad of the stereogram.

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Speaker 2: There were a couple of big ones. It was one

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Speaker 2: of the nineteen nineties and one in the mid nineteenth century.

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Speaker 2: Queen Victoria went nuts for this thing in eighteen fifty

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Speaker 2: one at the Great Exhibition at Crystal Palace, and all

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Speaker 2: of a sudden, people just wanted these things to play

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Speaker 2: with and look through and marvel at. Yeah.

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Speaker 1: Right from the eighteen fifties to the nineteen thirties when

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Speaker 1: radio finally came in and took over that there was

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Speaker 1: basically not a parlor in the UK or America that

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Speaker 1: didn't have one of these things. Like you just amused

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Speaker 1: yourself with them. The fact that there were companies that

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Speaker 1: were producing hundreds of thousands or millions of different stereoscopic

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Speaker 1: images for you to look at. I mean, you could

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Speaker 1: just spend endless hours of entertainment looking at one thing

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Speaker 1: or another. And they would take images of like scenic landmarks.

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Speaker 1: Sure supposedly stereoscopic images of like Yellowstone. I think the

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Speaker 1: Yellowstone Area actually convinced congressmen back east that there actually

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Speaker 1: was an amazing wilderness out there that should that's worth preserved. Yeah, exactly.

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Speaker 1: It really made it pop. In other words, they also

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Speaker 1: very quickly started making porn with it. Everything that you

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Speaker 1: would imagine people doing when they figured out how to

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Speaker 1: make pictures that really stand out with depth, Yeah you did.

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Speaker 2: They were like, these are fantastic, but what's better than

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Speaker 2: a landscape? Ladies' ankles? Pretty much the original The original

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Speaker 2: piece of equipment used to make these were stereo cameras,

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Speaker 2: and they were these cameras with two lenses that kind

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Speaker 2: of mimic the eyes. They're said about eye with the

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Speaker 2: part and those were around for a while, and there

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Speaker 2: are still enthusiasts that own stereo cameras, as we'll see

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Speaker 2: in a little bit. That kind of figures into how

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Speaker 2: they became popular in the nineties. But in the United States,

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Speaker 2: while all this was going on, American surgeon Oliver Wendelholmes

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Speaker 2: senior papa of Oliver Wendelholmes Junior of the spring Court fame,

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Speaker 2: he's invented one in the United States and he's like,

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Speaker 2: you know what, this thing's so great, I'm not even

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Speaker 2: going to patent it. I want all kind of companies

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Speaker 2: to make these, and I want these spread far and wide.

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Speaker 2: I guess he was a surgeon, so he wouldn't hurt

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Speaker 2: her anything, right, and people, I think he's the one

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Speaker 2: that coined the term stereograph, and then the word stereogram

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Speaker 2: kind of became the go to for these images.

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Speaker 1: Yeah, everybody's like close, we're gonna switch it up just

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Speaker 1: a little bit. And still today, if you're an enthusiast

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Speaker 1: into stereoscopic photography, the stereogram is usually the term that

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Speaker 1: you'd use.

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Speaker 2: All right, I think that's a robust fifteen minutes.

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Speaker 1: Yeah, all of the nineteenth century stereogram viewers say bully, bully, bully.

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Speaker 2: That's right, bully in three D. So we'll be back

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Speaker 2: to talk about the next development, which was the auto

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Speaker 2: stereogram right after this.

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Speaker 3: If you want to know then you're in luck. Just

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Speaker 3: listen to joshcher seffus no.

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Speaker 1: Stuffus, no, all right, check. Now we finally get to

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Speaker 1: this stuff where I'm fascinated. Yeah, just riveted, right because

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Speaker 1: it's it's enough that our friends Wheatstone and Brewster contributed

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Speaker 1: the foundation to our understanding of binocular vision. But along

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Speaker 1: came in I think the nineteen fifties.

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Speaker 2: Boy, that sounds like a craft cocktail bar, isn't it.

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Speaker 1: Bruce Wheatstone Andrews like, you have to have the armband

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Speaker 1: or else you can't get employed.

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Speaker 2: There. I just got really thirsty. Sorry, go ahead.

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Speaker 1: There was a scientist a neuroscientist named Bella. ULA's had

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Speaker 1: tip to Chuck for that one who ran the Sensory

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Speaker 1: and Perceptual Processes department at AT and T Bell Labs. Again,

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Speaker 1: I think, I said in the fifties, and ULA's was,

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Speaker 1: I guess kind of focused on visual perception and figure

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Speaker 1: something out. They just like just in the same way

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Speaker 1: that that Wheatstone's invention kind of led to this neat

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Speaker 1: in this.

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Speaker 2: Neat party toy toy.

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Speaker 1: Yeah, ULA's invention kind of did the same thing, but

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Speaker 1: neither one of them were trying to create an amusement.

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Speaker 1: They were they were creating a way to prove a

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Speaker 1: hypothesis that they were interested in. And what he did

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Speaker 1: was come up with the random dot stereogram.

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Speaker 2: Yeah, so this is uh, he basically start by let's

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Speaker 2: say you have like a square or something that you

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Speaker 2: fill in randomly with black dots, and then within that

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Speaker 2: square you picked a part of it and decide on

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Speaker 2: like maybe a shape or something. So within that that square,

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Speaker 2: you'll say, all right, well, I'm gonna select a circle

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Speaker 2: within that, like maybe right in the middle, and I'm

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Speaker 2: going to create a second square that's just like the first,

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Speaker 2: except that circle in the center that I've selected is

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Speaker 2: just going to be shifted just a little bit, kind

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Speaker 2: of like we were talking about, that slight, slight difference

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Speaker 2: of perspective. Yeah, and then when you put these two

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Speaker 2: squares side by side, and when you look at these

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Speaker 2: two squares, you can look at it through a stereoscope

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Speaker 2: if you have one. But the key here is is

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Speaker 2: that he would prove that, like, hey, you can just

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Speaker 2: do this with your naked eye if you learn the

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Speaker 2: trick that people will be trying to figure out, you know,

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Speaker 2: up until twenty twenty three with future podcaster Josh Clark,

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Speaker 2: where you unFocus your eyes and then those circles appear

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Speaker 2: to sort of separate from the background.

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Speaker 1: Yeah, and so those two separate images, you still see them,

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Speaker 1: but what they do is combine to make a third

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Speaker 1: image in the center, and that's the one that has

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Speaker 1: the say, the circle popping out of it, right.

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Speaker 2: Yeah.

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Speaker 1: And Youlss obviously created the foundation for magic eye posters

355
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Speaker 1: with that. But what he did more than anything was

356
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Speaker 1: show that what our brain does when it takes in

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Speaker 1: those two separate images and slightly different perspectives because their

358
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Speaker 1: eyes are separated just ever so slightly, it compares basically

359
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Speaker 1: pixel for pixel each of the each of the images

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Speaker 1: that the eye send it and matches it up, and

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Speaker 1: then when it finds parts that don't quite match up,

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Speaker 1: it uses that to create the illusion of depth. And

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Speaker 1: that's what his random dot stereogram showed that what your

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Speaker 1: eye is doing is taking those two those two pictures

365
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Speaker 1: and matching up every single random dot in there and

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Speaker 1: then noticing all this is in a nanosecond, noticing what

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Speaker 1: it doesn't match up, and then that's that circle that

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Speaker 1: pops out. And then the way that he proved it

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Speaker 1: is because those two different pictures form a single image

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Speaker 1: in the center. Right, Yeah, So if you weren't looking

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Speaker 1: at two pictures, you were just using two eyes at

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Speaker 1: one picture, then that effect would still be produced. And

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Speaker 1: it really just kind of laid the foundation in showing

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Speaker 1: just exactly how our brain makes binocular vision into depth perception.

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Speaker 2: Right, So we're inching closer to the nineties and that

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Speaker 2: singular poster or coffee table book image that we all knew,

377
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Speaker 2: but it came to us in the nineteen seventies thanks

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Speaker 2: to a student of u Less's named Christopher Tyler, who

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Speaker 2: was a neuroscientist and he basically said, you know what,

380
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Speaker 2: we don't even need the two pictures. Everybody like you're

381
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Speaker 2: doing pretty good, but what if, like how mind blowing

382
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Speaker 2: would it be if we could do this all from

383
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Speaker 2: a single image. He called it the auto stereogram and

384
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Speaker 2: basically made it to where it's sort of like this,

385
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Speaker 2: like staring at a wallpaper. And in fact, I think

386
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Speaker 2: was he the one here? Then it was Brewster who

387
00:20:53,880 --> 00:20:56,280
Speaker 2: stared at wallpaper, and that's how they figured that out.

388
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Speaker 2: He was an odd duck, which is interesting. But Tyler

389
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Speaker 2: got together with a programmer named Maureen Clark and said, well,

390
00:21:03,200 --> 00:21:05,680
Speaker 2: we can probably figure this out with math, So that

391
00:21:05,720 --> 00:21:10,320
Speaker 2: they created an algorithm that could insert these images into

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Speaker 2: what looks like just almost like white noise on paper.

393
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Speaker 1: Yeah, And so they did away with all the crud,

394
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Speaker 1: those extra two images that still remain when that third

395
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Speaker 1: when they come together and form that illusory third image

396
00:21:22,600 --> 00:21:25,479
Speaker 1: in the middle. Yeah, so that you just see something

397
00:21:25,520 --> 00:21:27,840
Speaker 1: as you normally would see it. But if you adjust

398
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Speaker 1: your eyes just the right way, then that three D

399
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Speaker 1: image is going to come out. And now we finally

400
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Speaker 1: arrive in the nineteen seventies at the auto stereogram is

401
00:21:36,119 --> 00:21:40,440
Speaker 1: what they called it, which became better known eventually as

402
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Speaker 1: the Magic Eye poster.

403
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Speaker 2: Right, So, if you're listening to this and you're thinking,

404
00:21:45,840 --> 00:21:48,560
Speaker 2: all right, guys, this is the nineteen seventies. You keep

405
00:21:48,560 --> 00:21:52,080
Speaker 2: talking about the grunge era. How did we get from

406
00:21:52,080 --> 00:21:54,840
Speaker 2: the nineteen seventies to the grunge era or why didn't

407
00:21:54,840 --> 00:21:58,320
Speaker 2: we get there quicker? Basically? And one of the reasons

408
00:21:58,440 --> 00:22:02,280
Speaker 2: is this guy named Tom Shay. He's from Connecticut. He

409
00:22:02,400 --> 00:22:04,639
Speaker 2: has sort of a sounds like, sort of a hippie

410
00:22:04,640 --> 00:22:08,720
Speaker 2: dippy backstory through the nineteen sixties, working all kinds of

411
00:22:08,720 --> 00:22:11,960
Speaker 2: crazy jobs, but was like a super bright guy, a

412
00:22:12,160 --> 00:22:16,679
Speaker 2: mathematician and musician. Eventually got you know, real grown up

413
00:22:16,720 --> 00:22:20,920
Speaker 2: type jobs like helped NASA make their navigation systems, working

414
00:22:20,920 --> 00:22:24,680
Speaker 2: with a company called Intermetrics, and in the early nineties

415
00:22:24,840 --> 00:22:30,520
Speaker 2: landed at a British tech company called Pentica. And this

416
00:22:30,600 --> 00:22:33,000
Speaker 2: thing all came together really in the in the thing

417
00:22:33,000 --> 00:22:34,800
Speaker 2: that we all knew in love in the nineties because

418
00:22:34,800 --> 00:22:39,120
Speaker 2: of advertising. They had a product Pentica did called the

419
00:22:39,160 --> 00:22:43,879
Speaker 2: mime Capital mim in Circuit Emulator, and they were Boushet

420
00:22:44,000 --> 00:22:47,399
Speaker 2: was tasked to designing an ad for this thing, and

421
00:22:47,480 --> 00:22:49,560
Speaker 2: so he said, Hey, let's put a real mime in

422
00:22:49,600 --> 00:22:53,320
Speaker 2: this advertisement. It's all very serendipitous because it really is

423
00:22:53,440 --> 00:22:56,399
Speaker 2: this mime that they hired. It's either Lab or labby

424
00:22:56,520 --> 00:23:00,520
Speaker 2: Labb shows up on set and it turns out that

425
00:23:00,760 --> 00:23:05,879
Speaker 2: Lab was one of those stereo photography enthusiasts that still

426
00:23:05,920 --> 00:23:10,719
Speaker 2: had those you know, dual lensed stereo cameras. He happened

427
00:23:10,720 --> 00:23:13,080
Speaker 2: to bring this thing in on the set and Bashet

428
00:23:13,400 --> 00:23:18,000
Speaker 2: was like, OMG, what is that thing and just was like,

429
00:23:18,240 --> 00:23:20,199
Speaker 2: sounds like it was just instantly sort of taken with

430
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Speaker 2: his idea.

431
00:23:20,960 --> 00:23:23,800
Speaker 1: Yeah, he said it was the most compelling optical illusion

432
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Speaker 1: I'd ever seen.

433
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Speaker 2: There you haven't in his own words.

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Speaker 1: So what he did he said, Okay, I really appreciate

435
00:23:30,160 --> 00:23:31,959
Speaker 1: your help here, so I'm going to keep going with

436
00:23:32,000 --> 00:23:34,320
Speaker 1: this mime ad, but I'm also going to try to

437
00:23:34,359 --> 00:23:38,280
Speaker 1: make another ad using one of these auto stereograms, and

438
00:23:38,320 --> 00:23:41,560
Speaker 1: he did. He made one that had the hidden message

439
00:23:41,680 --> 00:23:45,720
Speaker 1: M seven hundred, which was a version of their in

440
00:23:45,840 --> 00:23:48,040
Speaker 1: circuit emulator that his company made.

441
00:23:48,359 --> 00:23:50,080
Speaker 2: Which who knows what that is. I even tried to

442
00:23:50,080 --> 00:23:50,640
Speaker 2: figure it out.

443
00:23:51,040 --> 00:23:54,439
Speaker 1: So the best I could see is that it's a like,

444
00:23:54,720 --> 00:23:58,680
Speaker 1: rather than using your computer to figure out if a

445
00:23:58,720 --> 00:24:03,720
Speaker 1: circuit like a microprocess or a circuit board works. This

446
00:24:03,800 --> 00:24:08,600
Speaker 1: thing emulates either your computer or a circuit board so

447
00:24:08,640 --> 00:24:11,960
Speaker 1: that you can find individual bugs and fix them. That's

448
00:24:12,000 --> 00:24:14,879
Speaker 1: the best I could come up with. It's still very confusing,

449
00:24:14,920 --> 00:24:16,399
Speaker 1: but that's yeah, that's that.

450
00:24:16,880 --> 00:24:19,520
Speaker 2: And just so as a listener, you're not confused. That

451
00:24:19,560 --> 00:24:21,600
Speaker 2: has nothing to do with what happened. It was just

452
00:24:21,640 --> 00:24:25,359
Speaker 2: a product. It could have been a widget or whatever, definitely,

453
00:24:26,240 --> 00:24:28,960
Speaker 2: but the idea was it was another ad that he

454
00:24:29,040 --> 00:24:33,359
Speaker 2: actually used the technology to make a autostereogram for this ad.

455
00:24:33,520 --> 00:24:38,040
Speaker 1: And this ad was so it made such an impression

456
00:24:38,040 --> 00:24:40,720
Speaker 1: on people that it made it out of the pages

457
00:24:40,840 --> 00:24:48,080
Speaker 1: of Embedded Systems Engineering Magazine into something of like the

458
00:24:48,160 --> 00:24:51,560
Speaker 1: general corporate culture. And all of a sudden, at his

459
00:24:51,680 --> 00:24:57,480
Speaker 1: desk at Pentica, but Shea starts getting faxes from people saying, Hey,

460
00:24:57,760 --> 00:25:00,760
Speaker 1: can you make me and my company one of those

461
00:25:00,920 --> 00:25:04,560
Speaker 1: really neat ads that you made? And he ended up

462
00:25:04,640 --> 00:25:08,560
Speaker 1: kind of creating like a little mini side job for himself,

463
00:25:09,880 --> 00:25:14,320
Speaker 1: creating custom auto stereograms for people who faxed him and

464
00:25:14,359 --> 00:25:14,919
Speaker 1: asked for him.

465
00:25:15,520 --> 00:25:19,080
Speaker 2: Yeah, he was no artist, though, so very smartly. In

466
00:25:19,160 --> 00:25:21,640
Speaker 2: nineteen ninety one, he hooked up with a woman named

467
00:25:21,640 --> 00:25:26,000
Speaker 2: Sherry Smith, who was an artist, a freelancer, and I

468
00:25:26,000 --> 00:25:30,200
Speaker 2: think was also a computer graphics person, and so he said,

469
00:25:30,359 --> 00:25:32,720
Speaker 2: you're perfect. You're an artist and you know computer graphics,

470
00:25:33,040 --> 00:25:35,639
Speaker 2: so you can kick this thing up a notch and

471
00:25:36,119 --> 00:25:38,520
Speaker 2: basically make images that are a little more interesting to

472
00:25:38,520 --> 00:25:41,800
Speaker 2: look at. But it was still sort of an advertising

473
00:25:41,800 --> 00:25:45,040
Speaker 2: thing because they made one for American Airlines for their

474
00:25:45,080 --> 00:25:49,080
Speaker 2: in flight magazine that was really popular and apparently for

475
00:25:49,160 --> 00:25:51,639
Speaker 2: a while at least they would give away a bottle

476
00:25:51,640 --> 00:25:54,720
Speaker 2: of champagne. I would think a glass, but I guess

477
00:25:54,720 --> 00:25:57,080
Speaker 2: a bottle of champagne to the first person on the

478
00:25:57,119 --> 00:25:59,639
Speaker 2: flight who could find the image and say what it was.

479
00:26:00,119 --> 00:26:03,760
Speaker 2: Of course it was an airplane. But after the American

480
00:26:03,800 --> 00:26:07,040
Speaker 2: Airlines ad thing, Boshe was like, wait a minute, like

481
00:26:07,080 --> 00:26:09,480
Speaker 2: people are going nuts for this in ads. But I think,

482
00:26:09,600 --> 00:26:11,320
Speaker 2: like people are going so crazy for this, I think

483
00:26:11,359 --> 00:26:13,720
Speaker 2: we could just sell these somehow, right.

484
00:26:13,880 --> 00:26:17,439
Speaker 1: Take his job for making these four other companies and

485
00:26:17,520 --> 00:26:19,800
Speaker 1: just make them and sell them directly to the public.

486
00:26:20,040 --> 00:26:22,840
Speaker 1: And he actually started out doing mail order. He was

487
00:26:22,960 --> 00:26:25,760
Speaker 1: he realized he was onto something because he started doing

488
00:26:25,800 --> 00:26:28,520
Speaker 1: mail order in order to try to kick off a

489
00:26:28,560 --> 00:26:31,600
Speaker 1: fad that he could then go and license to other

490
00:26:31,680 --> 00:26:34,800
Speaker 1: people or partner with a big company and make himself

491
00:26:34,840 --> 00:26:38,040
Speaker 1: that much more desirable. He really approached this in a

492
00:26:38,080 --> 00:26:38,880
Speaker 1: smart way.

493
00:26:39,040 --> 00:26:41,880
Speaker 2: A kickstarter of the time probably was mail order exactly.

494
00:26:41,960 --> 00:26:44,480
Speaker 1: Yeah, that's a really great analogy. And he created a

495
00:26:44,640 --> 00:26:47,280
Speaker 1: company or either he created it or he already had

496
00:26:47,320 --> 00:26:52,240
Speaker 1: it and repurposed it. N period e period thing enterprises.

497
00:26:52,560 --> 00:26:57,320
Speaker 2: Very clever, very very clever anything. Yeah, and he dieted everyone.

498
00:26:57,440 --> 00:27:01,359
Speaker 1: He just one hundred percent, just to make sure instead

499
00:27:01,359 --> 00:27:05,040
Speaker 1: of N period e period what you're really saying is

500
00:27:05,160 --> 00:27:06,160
Speaker 1: a and y.

501
00:27:06,840 --> 00:27:09,280
Speaker 2: Thing anything anything.

502
00:27:09,320 --> 00:27:13,320
Speaker 1: We're anything enterprises, right, so anything N period e period

503
00:27:13,440 --> 00:27:18,199
Speaker 1: Thing Enterprises partnered with a Japanese company called Tenyoh and

504
00:27:18,280 --> 00:27:21,919
Speaker 1: Tenya was a magic trick maker. They still are as

505
00:27:21,960 --> 00:27:26,520
Speaker 1: far as I can tell, and they said, this actually

506
00:27:27,160 --> 00:27:30,000
Speaker 1: is amazing, and we think our friends in Japan are

507
00:27:30,000 --> 00:27:31,800
Speaker 1: going to go crazy for it, and they licensed it

508
00:27:31,880 --> 00:27:35,879
Speaker 1: and started publishing books based on the Magic Eye what

509
00:27:35,920 --> 00:27:38,280
Speaker 1: would come to be No Magic Eye as Magic Eye,

510
00:27:38,320 --> 00:27:40,400
Speaker 1: And apparently it was the ten Year company that said,

511
00:27:40,600 --> 00:27:42,520
Speaker 1: let's call it Magic Eye because the name you have

512
00:27:42,640 --> 00:27:43,640
Speaker 1: for it is stupid.

513
00:27:44,359 --> 00:27:48,040
Speaker 2: I disagree. They called it Magic Eye because, like you said,

514
00:27:48,040 --> 00:27:49,680
Speaker 2: they were a magic trick company and had a line

515
00:27:49,720 --> 00:27:53,199
Speaker 2: of magic this, magic that. But I think Boushat's original

516
00:27:53,320 --> 00:28:00,000
Speaker 2: name stereos hyphen or I guess Kama the Amazing Thing

517
00:28:00,400 --> 00:28:03,280
Speaker 2: gays toys, So you have to spell it out well,

518
00:28:03,400 --> 00:28:06,600
Speaker 2: S T A R E stare stereos. I kind of

519
00:28:06,640 --> 00:28:09,359
Speaker 2: like that. I think it's catchy. You forgot the hyphens, No,

520
00:28:09,680 --> 00:28:12,560
Speaker 2: S T A R E hyphen e hyphens right.

521
00:28:13,080 --> 00:28:16,440
Speaker 1: You know who would love this bishet? Guys Jonathan Strickland. Yeah,

522
00:28:16,560 --> 00:28:19,280
Speaker 1: he's a puny type, so I think Strickland would be like,

523
00:28:19,359 --> 00:28:20,879
Speaker 1: You're my kind of guy, for sure.

524
00:28:21,680 --> 00:28:24,280
Speaker 2: I think you should tell everyone, though, the great great

525
00:28:24,400 --> 00:28:28,399
Speaker 2: name of or rather the great translated name of the

526
00:28:28,880 --> 00:28:31,200
Speaker 2: first book that they put out in Japan of these.

527
00:28:31,160 --> 00:28:34,600
Speaker 1: So thank you for that. It's called Muru Muru Mega

528
00:28:35,080 --> 00:28:37,520
Speaker 1: yaka Nadu MAGICI.

529
00:28:37,760 --> 00:28:40,040
Speaker 2: Which means translated.

530
00:28:39,560 --> 00:28:42,200
Speaker 1: Your eyesight gets better and better in a very short

531
00:28:42,280 --> 00:28:44,280
Speaker 1: rate of time. Colon MAGICI.

532
00:28:45,440 --> 00:28:48,400
Speaker 2: That's so good, and it was a hit.

533
00:28:48,480 --> 00:28:50,960
Speaker 1: Apparently it was the best seller. Very quickly I think

534
00:28:50,960 --> 00:28:53,560
Speaker 1: they started I read they started selling them on street

535
00:28:53,600 --> 00:28:57,120
Speaker 1: corners and then very quickly after that, the first print,

536
00:28:57,520 --> 00:28:59,880
Speaker 1: the first printing ran out and they they made an

537
00:29:00,280 --> 00:29:01,960
Speaker 1: huge run and that sold out, and it was just

538
00:29:02,080 --> 00:29:04,920
Speaker 1: a hit in Japan. And it's interesting it went from

539
00:29:05,120 --> 00:29:09,160
Speaker 1: America to Japan and then back to America where it

540
00:29:09,240 --> 00:29:10,360
Speaker 1: really kind of blew up.

541
00:29:11,200 --> 00:29:14,160
Speaker 2: Yeah, I guess Bashad didn't have from what I could tell,

542
00:29:15,120 --> 00:29:17,960
Speaker 2: he was partnered in Japan, but I guess still had

543
00:29:18,000 --> 00:29:21,680
Speaker 2: the rights to do it in the United States, even though,

544
00:29:21,680 --> 00:29:24,800
Speaker 2: as we'll see, like he didn't own this idea like

545
00:29:24,840 --> 00:29:27,520
Speaker 2: no one did, because other people came along later. It

546
00:29:27,640 --> 00:29:30,320
Speaker 2: was it wasn't like a specific technology you could patent

547
00:29:30,440 --> 00:29:33,640
Speaker 2: or anything. But he was the first person in the US,

548
00:29:33,640 --> 00:29:37,360
Speaker 2: it looks like, to bring it over here and partner

549
00:29:37,440 --> 00:29:41,200
Speaker 2: with a guy named Bob Slitski who was a former

550
00:29:41,560 --> 00:29:45,800
Speaker 2: colleague at Pentica. And it sounds like Slitski was a

551
00:29:45,800 --> 00:29:49,920
Speaker 2: guy who just made a more robust computer program to

552
00:29:50,040 --> 00:29:52,080
Speaker 2: automate the stuff, to make it easier to come up

553
00:29:52,080 --> 00:29:55,920
Speaker 2: with different images, and then also colorize it so they

554
00:29:55,960 --> 00:29:58,640
Speaker 2: were previously black and white, and all of a sudden

555
00:29:58,880 --> 00:30:03,080
Speaker 2: you could do these things which made them look sharper. Evidently,

556
00:30:04,240 --> 00:30:07,440
Speaker 2: they hooked up with a licensing agent named Mark Gregorrek

557
00:30:07,960 --> 00:30:10,680
Speaker 2: who said, hey, this thing like we could license the

558
00:30:10,720 --> 00:30:12,280
Speaker 2: cred out of this person. Thing we had to do

559
00:30:12,400 --> 00:30:14,600
Speaker 2: was get in a book, which they did in nineteen

560
00:30:14,640 --> 00:30:17,920
Speaker 2: ninety three, and that was that very first what ended

561
00:30:17,960 --> 00:30:20,920
Speaker 2: up being super popular Magic eyebook.

562
00:30:21,440 --> 00:30:23,680
Speaker 1: Yeah. I mean, think about how Saren dippis it is,

563
00:30:23,720 --> 00:30:26,120
Speaker 1: starting with Ron lab and then all of the people

564
00:30:26,200 --> 00:30:28,680
Speaker 1: he met along the way who ended up making this

565
00:30:28,840 --> 00:30:32,080
Speaker 1: the fad that it became. He really lucked out. He

566
00:30:32,120 --> 00:30:37,320
Speaker 1: fell backwards into something really interesting. But they released a

567
00:30:37,360 --> 00:30:39,760
Speaker 1: bunch of books. But while the first Magic Eyebook in

568
00:30:39,760 --> 00:30:42,680
Speaker 1: the United States was still fresh on the best seller list,

569
00:30:42,760 --> 00:30:44,880
Speaker 1: they released a second one and that quickly joined the

570
00:30:44,880 --> 00:30:47,800
Speaker 1: first one on the best seller list. America just went

571
00:30:47,920 --> 00:30:48,920
Speaker 1: nuts for these things.

572
00:30:49,040 --> 00:30:49,320
Speaker 2: Yeah.

573
00:30:49,440 --> 00:30:51,600
Speaker 1: One reason it went nuts is because there was a

574
00:30:51,640 --> 00:30:56,480
Speaker 1: certain measure of superiority that you could hold people who.

575
00:30:56,320 --> 00:30:58,000
Speaker 2: Couldn't do it, like you'd see it.

576
00:30:58,040 --> 00:31:01,600
Speaker 1: There were people out there, including me, you just couldn't

577
00:31:02,120 --> 00:31:04,200
Speaker 1: do it, and you just get so mad and frustrated,

578
00:31:04,200 --> 00:31:06,360
Speaker 1: and people who could do it found that really satisfying.

579
00:31:06,400 --> 00:31:07,480
Speaker 1: I've always suspected.

580
00:31:07,960 --> 00:31:10,239
Speaker 2: Yeah, it took me a while. It wasn't like I

581
00:31:10,320 --> 00:31:13,480
Speaker 2: instantaneously got it. But I eventually did. And that was

582
00:31:13,600 --> 00:31:15,320
Speaker 2: kind of the joke in Mall Rats. I don't know

583
00:31:15,320 --> 00:31:18,440
Speaker 2: if you ever saw that movie. I didn't, but it was,

584
00:31:18,880 --> 00:31:22,040
Speaker 2: you know, the Kevin Smith movie, I guess, right after

585
00:31:22,080 --> 00:31:25,320
Speaker 2: Clerk's and Ethan Suppley, like I said, would stare and

586
00:31:25,360 --> 00:31:27,600
Speaker 2: stare at it, and people were making fun of him,

587
00:31:27,640 --> 00:31:30,440
Speaker 2: and like there's one scene like these two little kids

588
00:31:30,480 --> 00:31:32,840
Speaker 2: came up and like got it right away, and he

589
00:31:32,960 --> 00:31:34,280
Speaker 2: just gets more and more frustrated.

590
00:31:34,320 --> 00:31:35,720
Speaker 1: So he's for that.

591
00:31:36,000 --> 00:31:37,840
Speaker 2: Yeah, that's sort of playing into what you were talking

592
00:31:37,880 --> 00:31:39,640
Speaker 2: about with just like feeling like a dummy if you

593
00:31:39,640 --> 00:31:40,160
Speaker 2: couldn't get it.

594
00:31:40,240 --> 00:31:42,800
Speaker 1: Yeah, and that definitely was a thing. I've read, you

595
00:31:42,840 --> 00:31:45,920
Speaker 1: know a number of like kind of retrospectives about it,

596
00:31:46,040 --> 00:31:48,280
Speaker 1: and most of them were from people who couldn't get it,

597
00:31:48,320 --> 00:31:51,720
Speaker 1: and they still seemed slightly bitter, but they still can't

598
00:31:51,720 --> 00:31:54,560
Speaker 1: get it, you know, thirty years on or whatever. But

599
00:31:55,360 --> 00:31:58,320
Speaker 1: it was. It was enormous, not just at mal kiosks,

600
00:31:58,360 --> 00:32:01,600
Speaker 1: but in books. There is a comic strip that's still

601
00:32:01,600 --> 00:32:04,320
Speaker 1: around that you can license through UPI if you want.

602
00:32:05,280 --> 00:32:09,400
Speaker 1: It showed up on Honeynut Cheerios boxes. There were postcards,

603
00:32:09,680 --> 00:32:11,880
Speaker 1: other companies came a call in and said, hey, we

604
00:32:11,920 --> 00:32:13,800
Speaker 1: want you to make some of these for us, like Disney.

605
00:32:14,000 --> 00:32:17,440
Speaker 1: I think CBS had them do something for like one

606
00:32:17,480 --> 00:32:22,000
Speaker 1: of their internal sales booklets. It just started showing up everywhere,

607
00:32:22,360 --> 00:32:26,120
Speaker 1: and I think the cream of the crop of like

608
00:32:26,400 --> 00:32:29,680
Speaker 1: additional stuff that came out of this was a book

609
00:32:29,760 --> 00:32:33,680
Speaker 1: that Boshet put together, a magic eyebook for Christmas called

610
00:32:33,720 --> 00:32:36,120
Speaker 1: do you See What I See?

611
00:32:37,120 --> 00:32:39,080
Speaker 2: That just presses Yeah, that's good.

612
00:32:39,120 --> 00:32:41,720
Speaker 1: I couldn't find one. I found a Christmas themed one,

613
00:32:41,760 --> 00:32:43,080
Speaker 1: but I don't think it was from the do you

614
00:32:43,160 --> 00:32:43,880
Speaker 1: See What I See?

615
00:32:43,880 --> 00:32:48,120
Speaker 2: Book? That's disappointing. It was a little bit so Bishey

616
00:32:48,560 --> 00:32:54,080
Speaker 2: basically said in nineteen ninety four, in one year he

617
00:32:54,280 --> 00:32:57,680
Speaker 2: estimates that they raked in between two hundred and a

618
00:32:57,720 --> 00:33:01,440
Speaker 2: quarter of a million bucks or sorry, quarter of a

619
00:33:01,480 --> 00:33:04,440
Speaker 2: billion billion dollars and hundred and fifty million.

620
00:33:04,520 --> 00:33:05,800
Speaker 1: Yeah, and that was I think the peak here in

621
00:33:05,840 --> 00:33:09,200
Speaker 1: ninety three or ninety four was it was huge.

622
00:33:09,480 --> 00:33:15,160
Speaker 2: All right, So Bashe is going strong. Early nineties, Like

623
00:33:15,200 --> 00:33:18,560
Speaker 2: I said, no one owned this idea. It's not a

624
00:33:18,560 --> 00:33:22,120
Speaker 2: particular technology. So people started jumping on board and doing

625
00:33:22,160 --> 00:33:25,240
Speaker 2: their own and the main standout to me, I think

626
00:33:25,360 --> 00:33:28,360
Speaker 2: is are the guys who if you saw them at

627
00:33:28,360 --> 00:33:31,800
Speaker 2: the mall kiosks, you probably saw the version from a

628
00:33:31,840 --> 00:33:34,640
Speaker 2: company called Hallusion art Prints.

629
00:33:34,600 --> 00:33:36,760
Speaker 1: And art prints emphasis on art I think.

630
00:33:37,560 --> 00:33:41,840
Speaker 2: Yeah. And so these guys, Paul Huber, who's an aerospace engineer,

631
00:33:41,880 --> 00:33:46,440
Speaker 2: and a software engineer named Mike Belinsky, they were turned

632
00:33:46,440 --> 00:33:48,120
Speaker 2: on by these things too, and they said, hey, this

633
00:33:48,240 --> 00:33:50,960
Speaker 2: is pretty great. We're two smart guys. We can build

634
00:33:50,960 --> 00:33:54,800
Speaker 2: our own computer program and algorithm to make these things ourselves.

635
00:33:54,880 --> 00:33:58,640
Speaker 2: And they started making these posters in ninety two, and

636
00:33:59,000 --> 00:34:01,840
Speaker 2: that those were the Hallusion art prints that you would

637
00:34:02,120 --> 00:34:03,680
Speaker 2: most likely those are the ones. Like I said that

638
00:34:03,720 --> 00:34:06,080
Speaker 2: you were seeing it at the kiosk for about twenty

639
00:34:06,120 --> 00:34:08,760
Speaker 2: to twenty five bucks. These guys were printing these things

640
00:34:08,760 --> 00:34:13,879
Speaker 2: for a quarter. Even with like if they're wholesaling these

641
00:34:13,880 --> 00:34:16,440
Speaker 2: things to the kiosk, they're still making some pretty good

642
00:34:16,480 --> 00:34:17,920
Speaker 2: dough off of that. Yeah, kind of mark.

643
00:34:17,840 --> 00:34:20,520
Speaker 1: Maybe ten bucks something like that off.

644
00:34:20,400 --> 00:34:23,160
Speaker 2: A poster awsome a quarter. It's good return.

645
00:34:23,280 --> 00:34:26,279
Speaker 1: Heck, yeah it is. And they started churning these things out.

646
00:34:26,320 --> 00:34:28,520
Speaker 1: But like I said, there's an emphasis on art prints,

647
00:34:28,560 --> 00:34:30,960
Speaker 1: Like they kind of saw theirs as it was different.

648
00:34:31,000 --> 00:34:33,879
Speaker 1: It was distinguished from the other ones because they were

649
00:34:33,920 --> 00:34:36,920
Speaker 1: just so well made. The problem is is people are like,

650
00:34:37,239 --> 00:34:39,520
Speaker 1: that's great, I can still get the same effect from

651
00:34:39,560 --> 00:34:41,919
Speaker 1: a similar one from one of your competitors for five

652
00:34:42,000 --> 00:34:45,120
Speaker 1: dollars at Spencer's rather than twenty five dollars at your

653
00:34:45,400 --> 00:34:48,920
Speaker 1: admittedly very charming Kiosk. Right, I'm gonna go with the

654
00:34:48,960 --> 00:34:52,200
Speaker 1: five dollars one. And so they set themselves up for

655
00:34:52,280 --> 00:34:54,239
Speaker 1: some pretty serious competition out of the gate.

656
00:34:54,840 --> 00:34:57,520
Speaker 2: Yeah, big time. And there are all kinds of people

657
00:34:57,560 --> 00:35:00,440
Speaker 2: pumping these things out. But like you said, you go

658
00:35:00,520 --> 00:35:03,200
Speaker 2: to the Kiosk, you get your ears pierced, sure by

659
00:35:03,200 --> 00:35:07,920
Speaker 2: a top quality seventeen year old twenty five times. Excuse me,

660
00:35:08,360 --> 00:35:11,439
Speaker 2: Oh don't know. I meant purchase a top quality poster. Okay,

661
00:35:11,480 --> 00:35:13,120
Speaker 2: but yeah, you're also getting your ear piers by a

662
00:35:13,160 --> 00:35:18,080
Speaker 2: top quality seventeen Claire's piercing Pagoda or Claies or something.

663
00:35:19,480 --> 00:35:22,680
Speaker 2: So Basha their company started to fade a little bit

664
00:35:22,719 --> 00:35:26,400
Speaker 2: because of the competition, and he thought, like when he

665
00:35:26,440 --> 00:35:31,239
Speaker 2: was interviewed in ninety four by Ink magazine, he thought

666
00:35:31,280 --> 00:35:33,560
Speaker 2: this was like, Hey, this is the beginning. We're going

667
00:35:33,640 --> 00:35:36,799
Speaker 2: to be huge. His literal quote was talking about being

668
00:35:36,840 --> 00:35:40,440
Speaker 2: a Disney of the twenty first century and like making

669
00:35:40,480 --> 00:35:43,879
Speaker 2: it into a big multimedia company. And then many years later,

670
00:35:44,040 --> 00:35:48,200
Speaker 2: in like the late twenty sixteen or twenty seventeen, he

671
00:35:49,080 --> 00:35:52,760
Speaker 2: reflected back and said, well, as it turns out, maybe

672
00:35:52,760 --> 00:35:55,480
Speaker 2: that was just my fifteen minutes and it wasn't that

673
00:35:55,560 --> 00:35:58,560
Speaker 2: much fun and it was really exhausting. He ended up

674
00:35:58,600 --> 00:36:03,680
Speaker 2: selling his majority State and Anything to Smith and another

675
00:36:03,719 --> 00:36:07,239
Speaker 2: one of the employees there who renamed it Magic Eye

676
00:36:07,640 --> 00:36:10,879
Speaker 2: and Smith's Cherry Smith still owns the company today.

677
00:36:10,960 --> 00:36:13,879
Speaker 1: Yeah, that original graphic artist he first partnered with, which

678
00:36:13,880 --> 00:36:15,200
Speaker 1: is pretty cool. I think that's great.

679
00:36:15,239 --> 00:36:16,960
Speaker 2: Yeah, you know, I bet they still make some dough

680
00:36:16,960 --> 00:36:17,800
Speaker 2: off of this. Yeah.

681
00:36:17,880 --> 00:36:21,840
Speaker 1: Can you imagine if today we were you know, you'd

682
00:36:21,880 --> 00:36:26,000
Speaker 1: tell your friend I'm going to Anything Enterprises this summer

683
00:36:26,360 --> 00:36:30,720
Speaker 1: and then we say World or Land. Yeah, just doesn't

684
00:36:30,760 --> 00:36:34,200
Speaker 1: quite have that ring, you know, No, it doesn't. So, Yeah,

685
00:36:34,239 --> 00:36:37,440
Speaker 1: that fad ran its course. Even during the heat of it.

686
00:36:37,520 --> 00:36:40,520
Speaker 1: Everybody but Boshet was well aware this is a fad,

687
00:36:41,000 --> 00:36:43,880
Speaker 1: and he knew, but he was hoping beyond hope that

688
00:36:43,960 --> 00:36:47,520
Speaker 1: he could turn it and parlay it into something else. Right. Yeah,

689
00:36:47,520 --> 00:36:50,000
Speaker 1: But as much as the rest of the world kind

690
00:36:50,000 --> 00:36:53,640
Speaker 1: of moved on from stereograms. They proved to be a

691
00:36:53,760 --> 00:37:02,600
Speaker 1: really useful training technique for people whose eyes don't align

692
00:37:02,680 --> 00:37:08,600
Speaker 1: properly because of poor muscular development, people with strabismus in particular.

693
00:37:09,280 --> 00:37:13,239
Speaker 2: Yeah, it almost they'll do like these little exercises. I'll

694
00:37:13,239 --> 00:37:15,400
Speaker 2: give you these exercises to do, and it's almost like

695
00:37:15,640 --> 00:37:18,960
Speaker 2: a workout for your eyeball, right, to build that muscle

696
00:37:18,960 --> 00:37:19,279
Speaker 2: back up.

697
00:37:19,360 --> 00:37:22,680
Speaker 1: Yeah, exactly. Apparently there's a critical window when you're young,

698
00:37:23,360 --> 00:37:26,839
Speaker 1: I think up to about three maybe four where your

699
00:37:26,880 --> 00:37:31,080
Speaker 1: brain learns to put together the two different pictures that

700
00:37:31,120 --> 00:37:34,239
Speaker 1: it's eye, your eyes are giving it into one cohesive hole,

701
00:37:34,600 --> 00:37:37,480
Speaker 1: and that if your eyes aren't aligned properly, or there's

702
00:37:37,520 --> 00:37:40,239
Speaker 1: another condition where one eye is way more dominant than

703
00:37:40,280 --> 00:37:43,759
Speaker 1: the other, your brain just disregards the picture from the

704
00:37:43,840 --> 00:37:47,319
Speaker 1: non dominant or non aligned eye and just relies on

705
00:37:47,440 --> 00:37:52,040
Speaker 1: the dominant or you know, straight eye and you don't

706
00:37:52,080 --> 00:37:54,880
Speaker 1: see in depth. You just have monocular vision. You're getting

707
00:37:54,920 --> 00:37:57,520
Speaker 1: information from both eyes. They both work just fine, but

708
00:37:57,600 --> 00:38:00,680
Speaker 1: your brain's just disregarding one and so you you're what's

709
00:38:00,680 --> 00:38:04,240
Speaker 1: called stereo blind. And they can correct that through surgery.

710
00:38:04,280 --> 00:38:08,160
Speaker 1: But after surgery, they start showing you magic eye posters

711
00:38:08,200 --> 00:38:09,120
Speaker 1: to train yourself.

712
00:38:09,920 --> 00:38:13,759
Speaker 2: Yeah, Ruby had something. It wasn't exactly this, but she

713
00:38:14,040 --> 00:38:17,279
Speaker 2: has has always had like when she's really tired, one

714
00:38:17,320 --> 00:38:20,680
Speaker 2: of her eyes can go wonky. Yeah it is. And

715
00:38:20,800 --> 00:38:22,279
Speaker 2: when she was little she wore a patch for a

716
00:38:22,320 --> 00:38:25,520
Speaker 2: little while and then you know, we've kept taking her

717
00:38:25,520 --> 00:38:27,160
Speaker 2: to the to the eye doctor all these years and

718
00:38:27,200 --> 00:38:30,080
Speaker 2: they finally were like, you know, it's fine, Like she's

719
00:38:30,120 --> 00:38:33,560
Speaker 2: she's basically corrected it. It still happens sometimes when she's

720
00:38:33,560 --> 00:38:36,759
Speaker 2: super tired, and I'll just say, I'll say, maybe, you know,

721
00:38:36,800 --> 00:38:40,120
Speaker 2: snap your eyes together, and she go zoop and she can.

722
00:38:40,200 --> 00:38:42,680
Speaker 2: She can do it on purpose, so she kind of

723
00:38:42,760 --> 00:38:46,040
Speaker 2: learned how to control it. I guess that's pretty cute. Yeah,

724
00:38:46,040 --> 00:38:46,640
Speaker 2: it's interesting.

725
00:38:46,920 --> 00:38:52,040
Speaker 1: So if you wanted to make a magic eye puzzle, Uh,

726
00:38:52,080 --> 00:38:55,160
Speaker 1: there's just a few things you need to know. Actually

727
00:38:55,160 --> 00:38:57,400
Speaker 1: you do. You don't really need to know anything about

728
00:38:57,400 --> 00:39:02,000
Speaker 1: it because today there's so many free like like stereogram

729
00:39:02,080 --> 00:39:04,279
Speaker 1: building software available.

730
00:39:05,400 --> 00:39:06,840
Speaker 2: You know, you need to know how to type the

731
00:39:06,840 --> 00:39:08,800
Speaker 2: word sailboat pretty much.

732
00:39:09,200 --> 00:39:11,440
Speaker 1: As a matter of fact, I was looking on how

733
00:39:11,480 --> 00:39:14,480
Speaker 1: to make a stereogram. I found an Instructibles article and

734
00:39:14,520 --> 00:39:17,080
Speaker 1: I opened it up said eight steps to making a

735
00:39:17,200 --> 00:39:22,560
Speaker 1: stereogram or auto stereogram image. Step one was download a

736
00:39:22,600 --> 00:39:29,000
Speaker 1: stereogram maker program. Key, yeah, exactly. But what you're doing is,

737
00:39:29,960 --> 00:39:31,400
Speaker 1: i'd say, we just kind of talk about how they

738
00:39:31,400 --> 00:39:33,359
Speaker 1: work real quick, okay before we eat.

739
00:39:33,440 --> 00:39:33,640
Speaker 3: Yeah.

740
00:39:34,080 --> 00:39:36,080
Speaker 2: I still don't quite get it. I mean I kind

741
00:39:36,120 --> 00:39:37,960
Speaker 2: of know how you can see one, but I still

742
00:39:38,000 --> 00:39:39,239
Speaker 2: don't quite get how they're made.

743
00:39:40,840 --> 00:39:45,400
Speaker 1: Oh I don't either. Ohh so mean, okay, I don't.

744
00:39:45,440 --> 00:39:48,040
Speaker 1: Actually there's a little bit that I kind of understand.

745
00:39:48,080 --> 00:39:53,160
Speaker 1: But from what I gather, they you take your image

746
00:39:53,600 --> 00:39:56,799
Speaker 1: and you make it separately. Right, So when you're when

747
00:39:56,840 --> 00:39:59,719
Speaker 1: you're looking at a magic I poster, there's usually not

748
00:39:59,800 --> 00:40:02,399
Speaker 1: much detail, especially in the ones from the nineties. It's

749
00:40:02,480 --> 00:40:05,560
Speaker 1: a star, it's a ball, it's a I think it's

750
00:40:05,560 --> 00:40:09,640
Speaker 1: a dragon kind of thing. It's just an outline a silhouette.

751
00:40:09,719 --> 00:40:13,400
Speaker 1: And they've gotten way more sophisticated since then to I

752
00:40:13,520 --> 00:40:15,919
Speaker 1: saw one today that was a squirrel and you could

753
00:40:15,920 --> 00:40:18,200
Speaker 1: see the pupil in the squirrel's eye like it was

754
00:40:18,440 --> 00:40:19,760
Speaker 1: really sophisticated.

755
00:40:19,960 --> 00:40:20,720
Speaker 2: Oh wow, they've.

756
00:40:20,560 --> 00:40:23,240
Speaker 1: Gotten really good at it. But what they do whether

757
00:40:23,280 --> 00:40:27,879
Speaker 1: it's primitive or really sophisticated. They're taking that image making

758
00:40:27,960 --> 00:40:31,600
Speaker 1: a silhouette, but they're giving the silhouette depth using gray scale.

759
00:40:32,000 --> 00:40:35,880
Speaker 1: So the lighter the gray color shading there is to

760
00:40:35,960 --> 00:40:39,000
Speaker 1: the silhouette, the closer it is to you, the darker

761
00:40:39,040 --> 00:40:41,160
Speaker 1: it is, the further way it is. Just like you

762
00:40:41,160 --> 00:40:44,359
Speaker 1: wouldn't like a regular like a charcoal drawing of something, right,

763
00:40:44,600 --> 00:40:47,600
Speaker 1: except there's nothing in the middle. And then the computer

764
00:40:47,800 --> 00:40:52,080
Speaker 1: program takes that computer generated image and it assigns different

765
00:40:52,160 --> 00:40:56,120
Speaker 1: values depending on how light or dark along the gray

766
00:40:56,160 --> 00:40:59,800
Speaker 1: scale each pixel is, and that's how much it gets displaced.

767
00:41:00,000 --> 00:41:03,280
Speaker 1: The lighter it is, the further away it gets just placed,

768
00:41:03,400 --> 00:41:06,360
Speaker 1: the more it's gonna pop out towards you, which indicates

769
00:41:06,400 --> 00:41:09,600
Speaker 1: that this part of the pictures in the foreground, it's

770
00:41:09,680 --> 00:41:12,240
Speaker 1: closer to you than say the rump of the squirrel.

771
00:41:12,880 --> 00:41:15,399
Speaker 2: Yeah, so the white parts would be closer, the dark

772
00:41:15,440 --> 00:41:18,840
Speaker 2: parts would appear more distant, and that creates the depth.

773
00:41:19,440 --> 00:41:22,120
Speaker 2: But then you still have to have that repeating pattern

774
00:41:22,200 --> 00:41:24,960
Speaker 2: laid out over the top of it, right, And I

775
00:41:24,960 --> 00:41:28,319
Speaker 2: mean that's basically you put that repeating pattern on top

776
00:41:28,760 --> 00:41:32,600
Speaker 2: and these vertical strips or rather a computer does, and

777
00:41:32,640 --> 00:41:35,640
Speaker 2: then that that program just translates the shades of those

778
00:41:35,680 --> 00:41:41,200
Speaker 2: pixels onto that depth map and via magic it all

779
00:41:41,200 --> 00:41:43,160
Speaker 2: comes together. Yeah, magic in program. It's neat.

780
00:41:43,160 --> 00:41:45,279
Speaker 1: And when I say sophisticated, I mean it. I saw

781
00:41:45,320 --> 00:41:47,440
Speaker 1: it in today. I'm really sad I didn't send it

782
00:41:47,480 --> 00:41:50,319
Speaker 1: to you. I meant to. But it is basically a

783
00:41:50,360 --> 00:41:53,360
Speaker 1: coral reef scene with different you can tell the different

784
00:41:53,400 --> 00:41:56,799
Speaker 1: kinds of fish, Like there's different clownfish closer in the foreground,

785
00:41:57,600 --> 00:42:00,440
Speaker 1: there's like triggerfish in the background, Like there's a middle

786
00:42:00,480 --> 00:42:03,280
Speaker 1: ground to the whole thing. Like that's how good they've gotten.

787
00:42:03,560 --> 00:42:05,839
Speaker 1: And like I was saying initially, when you see it

788
00:42:06,480 --> 00:42:09,080
Speaker 1: and you really see it, you can start looking around

789
00:42:09,160 --> 00:42:13,319
Speaker 1: inside the image. It's they it's just so amazing. You

790
00:42:13,320 --> 00:42:16,880
Speaker 1: just look up, like I guess, I think I searched

791
00:42:16,920 --> 00:42:21,920
Speaker 1: sophisticated stereograms or magic eye or something like that, and

792
00:42:21,960 --> 00:42:23,640
Speaker 1: it brought up some really good ones.

793
00:42:24,360 --> 00:42:27,239
Speaker 2: Yeah, it's uh. And what you mentioned earlier about like

794
00:42:28,200 --> 00:42:29,959
Speaker 2: the fact that you couldn't see him for so long,

795
00:42:30,480 --> 00:42:33,719
Speaker 2: you can only have this feeling once, which is not

796
00:42:34,000 --> 00:42:36,399
Speaker 2: ever being able to see one, to finally seeing your

797
00:42:36,400 --> 00:42:41,200
Speaker 2: first one. And when that picture jumps out from the

798
00:42:41,239 --> 00:42:45,600
Speaker 2: poster the very first time. It is like it's a thrill.

799
00:42:45,760 --> 00:42:48,399
Speaker 2: You're like, I finally got it. I see what you mean.

800
00:42:48,480 --> 00:42:51,920
Speaker 2: Because there's also this idea, which of course isn't true.

801
00:42:51,960 --> 00:42:54,720
Speaker 2: But you know, I remember when they first came around

802
00:42:54,840 --> 00:42:57,120
Speaker 2: that I thought it was like some people thought it

803
00:42:57,160 --> 00:43:01,080
Speaker 2: was like a snipe punt, right, Yeah, there is no picture,

804
00:43:01,120 --> 00:43:02,560
Speaker 2: and it's just a way you fool your friends and

805
00:43:02,719 --> 00:43:05,080
Speaker 2: staring at a thing for an hour. So when you

806
00:43:05,120 --> 00:43:07,239
Speaker 2: finally have it jump out and it's proven to you,

807
00:43:07,560 --> 00:43:09,440
Speaker 2: it's a pretty remarkable feeling.

808
00:43:09,560 --> 00:43:11,919
Speaker 1: It is, And there were a couple over the last

809
00:43:12,080 --> 00:43:13,680
Speaker 1: day or so where I was like, wait a minute,

810
00:43:13,760 --> 00:43:17,880
Speaker 1: is this Surely somebody out there has done that for fun.

811
00:43:17,960 --> 00:43:20,520
Speaker 1: But yeah, the whole thing wasn't just a big in joke.

812
00:43:20,560 --> 00:43:22,479
Speaker 1: I'm sure some people thought that for real.

813
00:43:23,200 --> 00:43:25,279
Speaker 2: Yeah. So the trick that you can use, there's a

814
00:43:25,320 --> 00:43:28,040
Speaker 2: few tricks. One is the one I mentioned earlier, is like,

815
00:43:28,920 --> 00:43:31,480
Speaker 2: if it's not a poster and it's a piece of paper,

816
00:43:31,600 --> 00:43:34,080
Speaker 2: you can hold hold it very close to your nose

817
00:43:34,800 --> 00:43:36,919
Speaker 2: where you can't even really focus on it, and very

818
00:43:37,600 --> 00:43:41,279
Speaker 2: slowly pull it away, but try and keep your try

819
00:43:41,320 --> 00:43:45,160
Speaker 2: not to focus on it still. Some many of them

820
00:43:45,160 --> 00:43:48,719
Speaker 2: will have two little objects, like two dots above the

821
00:43:48,760 --> 00:43:51,600
Speaker 2: whole thing, and they say, like, stare at those and

822
00:43:51,680 --> 00:43:53,319
Speaker 2: unFocus until you see three of them.

823
00:43:53,520 --> 00:43:54,359
Speaker 1: Wasn't able to do that.

824
00:43:55,160 --> 00:43:57,320
Speaker 2: I am not able to do that either, or maybe

825
00:43:57,480 --> 00:43:59,960
Speaker 2: I didn't try long enough. But I always just base

826
00:44:00,480 --> 00:44:03,040
Speaker 2: once I did the nose trick, and you have sort

827
00:44:03,080 --> 00:44:04,680
Speaker 2: of taught your eye, like I said, you can just

828
00:44:04,719 --> 00:44:07,480
Speaker 2: sort of get it by just sort of unfocusing in

829
00:44:07,520 --> 00:44:09,120
Speaker 2: the middle distance.

830
00:44:08,880 --> 00:44:11,279
Speaker 1: Right, Yeah, that's the way that I do it. Just

831
00:44:11,320 --> 00:44:13,719
Speaker 1: relax the eyes and let it. Yeah, you just gotta

832
00:44:13,760 --> 00:44:14,280
Speaker 1: be patient.

833
00:44:14,920 --> 00:44:15,680
Speaker 2: Gotta be patient.

834
00:44:16,880 --> 00:44:19,520
Speaker 1: I guess that's it. I think basically everybody should go

835
00:44:19,560 --> 00:44:23,280
Speaker 1: out and start looking at auto stereograms. Huh.

836
00:44:23,360 --> 00:44:26,320
Speaker 2: Yeah, they're not a joke. Nope, they're really neat images

837
00:44:26,360 --> 00:44:26,960
Speaker 2: are really there?

838
00:44:27,040 --> 00:44:30,479
Speaker 1: Yeah, the first time, like you were saying, you see

839
00:44:30,480 --> 00:44:34,080
Speaker 1: one pyrotechnics go off and the final countdown starts playing,

840
00:44:34,120 --> 00:44:35,880
Speaker 1: it's it's triumphant.

841
00:44:36,040 --> 00:44:38,160
Speaker 2: It's pretty well you always had the final catin I'm playing,

842
00:44:38,200 --> 00:44:39,160
Speaker 2: So that's probably what that was.

843
00:44:39,320 --> 00:44:41,839
Speaker 1: Yes, I do you got anything else?

844
00:44:42,640 --> 00:44:43,399
Speaker 2: I got nothing else?

845
00:44:43,440 --> 00:44:43,719
Speaker 1: All right?

846
00:44:43,760 --> 00:44:44,200
Speaker 2: Everybody?

847
00:44:44,200 --> 00:44:46,160
Speaker 1: That means, of course, it's time for listener mail.

848
00:44:48,680 --> 00:44:52,000
Speaker 2: So, my friend, I'm just gonna pick one at random.

849
00:44:52,040 --> 00:44:55,680
Speaker 2: And when I say randomly select, I mean randomly select

850
00:44:55,719 --> 00:44:58,760
Speaker 2: from the large pool of people who wrote in about

851
00:44:58,760 --> 00:44:59,239
Speaker 2: your mask.

852
00:45:01,280 --> 00:45:04,600
Speaker 1: Oh, we talk about this. I guess I did not

853
00:45:04,640 --> 00:45:05,200
Speaker 1: see this one.

854
00:45:06,000 --> 00:45:09,000
Speaker 2: If you remember from the short stuff episode recently on

855
00:45:09,080 --> 00:45:12,800
Speaker 2: Fahrenheit to Celsius conversion, I even commended you on the

856
00:45:12,800 --> 00:45:15,239
Speaker 2: show for being brave enough to try public math again

857
00:45:16,520 --> 00:45:19,160
Speaker 2: and apparently didn't get it right again.

858
00:45:20,280 --> 00:45:22,040
Speaker 1: Is it really a surprise to anybody though?

859
00:45:23,760 --> 00:45:25,480
Speaker 2: I don't know, is it?

860
00:45:25,640 --> 00:45:25,680
Speaker 3: No?

861
00:45:27,560 --> 00:45:32,080
Speaker 2: Let me see here. Let's go with Jake Eichenberger. Hey, guys,

862
00:45:32,200 --> 00:45:34,080
Speaker 2: I haven't laughed out loud to myself in a while,

863
00:45:34,120 --> 00:45:37,239
Speaker 2: but hearing Chuck compliments Josh Bravery with attempting live math

864
00:45:37,480 --> 00:45:39,719
Speaker 2: really hit the spot. I'm sure you get a lot

865
00:45:39,760 --> 00:45:43,560
Speaker 2: of emails. But for Celsius to Fahrenheit, you add the

866
00:45:43,560 --> 00:45:48,400
Speaker 2: thirty two after the multiplication, not before. And I always

867
00:45:48,400 --> 00:45:52,600
Speaker 2: treat one point eight as diprection nine fifths because five

868
00:45:52,719 --> 00:45:55,719
Speaker 2: is easy to deal with. So, for instance, for twenty one,

869
00:45:56,200 --> 00:45:58,680
Speaker 2: I would use twenty plus one because I use the

870
00:45:58,680 --> 00:46:00,840
Speaker 2: fact that twenty is easily to divide by five to

871
00:46:00,920 --> 00:46:05,920
Speaker 2: my advantage here. So jeez, now I don't understand any

872
00:46:06,000 --> 00:46:10,319
Speaker 2: of this, so blah blah blah math stuff. Now add

873
00:46:10,360 --> 00:46:13,360
Speaker 2: the thirty two they came up with thirty six, So

874
00:46:13,400 --> 00:46:16,319
Speaker 2: thirty six plus thirty two is sixty eight. And don't

875
00:46:16,320 --> 00:46:19,200
Speaker 2: forget about the plus one from earlier. Every one degree

876
00:46:19,239 --> 00:46:21,759
Speaker 2: celsius is one point eight, so sixty eight plus one

877
00:46:21,760 --> 00:46:24,759
Speaker 2: point eight would be sixty nine point eight as the

878
00:46:24,800 --> 00:46:26,160
Speaker 2: optimal butterfly temperature.

879
00:46:26,280 --> 00:46:29,120
Speaker 1: Yeah, I like my version better, even though it produces

880
00:46:29,120 --> 00:46:30,279
Speaker 1: incorrect results.

881
00:46:32,480 --> 00:46:34,160
Speaker 2: I mean I wouldn't even have tried it, So hats

882
00:46:34,160 --> 00:46:34,799
Speaker 2: off to you for that.

883
00:46:34,840 --> 00:46:37,040
Speaker 1: Thank you, thank you for still commending me, and thank

884
00:46:37,080 --> 00:46:39,040
Speaker 1: you to uh who.

885
00:46:38,680 --> 00:46:42,120
Speaker 2: That was just Jake, and let's say all the others.

886
00:46:41,960 --> 00:46:46,040
Speaker 1: Jake at all, I appreciate you guys for correcting me.

887
00:46:46,920 --> 00:46:51,160
Speaker 1: Thank you for that. It's been a great day. If

888
00:46:51,200 --> 00:46:52,880
Speaker 1: you want to get in touch with us, like Jake

889
00:46:52,960 --> 00:46:56,520
Speaker 1: at All did, you can send us an email. Stuff

890
00:46:56,560 --> 00:47:02,640
Speaker 1: podcast at iHeartRadio dot com. Stuff you Should Know is

891
00:47:02,680 --> 00:47:04,040
Speaker 1: a production of iHeartRadio.

892
00:47:04,520 --> 00:47:08,879
Speaker 2: For more podcasts myheart Radio, visit the iHeartRadio app, Apple Podcasts,

893
00:47:09,000 --> 00:47:10,840
Speaker 2: or wherever you listen to your favorite shows.