WEBVTT - The Whistling, Part 4

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<v Speaker 1>Welcome to Stuff to Blow Your Mind production of My

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<v Speaker 1>Heart Radio. Hey you welcome to Stuff to Blow Your Mind.

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<v Speaker 1>My name is Robert Lamb and I'm Joe McCormick, and

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<v Speaker 1>we're back with part four of our series about Whistling.

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<v Speaker 1>This episode is going to be a little weird today

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<v Speaker 1>because we literally already recorded this episode and then lost

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<v Speaker 1>the whole thing to a technical glitch. Rob I'm to

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<v Speaker 1>understand that as I was talking when we were recording

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<v Speaker 1>this episode the first time, Uh, it was just constantly

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<v Speaker 1>making the sounds of hell in your ears and can

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<v Speaker 1>you describe the terror and the anguish um. It was

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<v Speaker 1>kind of like your dialogue was an a fix twin

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<v Speaker 1>remix the entire time, and so at first it was

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<v Speaker 1>I was like, Okay, I can I can put up

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<v Speaker 1>with this. Uh, this is fine. We've already gone so

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<v Speaker 1>far into the episode we should just you know, finish

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<v Speaker 1>it out. By the end of it. It was kind

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<v Speaker 1>of headache inducing, but I was like, well, at least

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<v Speaker 1>we got the episode. Uh, this is just audio distortion

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<v Speaker 1>that I'm hearing. It's not going to transfer over to

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<v Speaker 1>the recorded finished product. Sadly it did, and so here

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<v Speaker 1>we are. It's the worst. Yeah. We were like, well,

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<v Speaker 1>at least it won't be on the actual audio, and

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<v Speaker 1>then it was and so here we are. Okay, so

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<v Speaker 1>so this is this is take two. Yeah, it could

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<v Speaker 1>could have been much worse, So no big deal. Hey,

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<v Speaker 1>looking on the bright side, we got a rehearsal in there.

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<v Speaker 1>How often do we have a rehearsal for a podcast episode?

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<v Speaker 1>So I think it's gonna be stronger because of that,

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<v Speaker 1>do you think? So? I was like, is it going

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<v Speaker 1>to make the episode better or worse? I really don't know.

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<v Speaker 1>Well we'll see, we'll see better better, Okay. Alright, so

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<v Speaker 1>we're picking up in this series about whistling. Uh let's see,

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<v Speaker 1>what do we talk about in the previous episodes. Yeah,

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<v Speaker 1>so we're picking up where we left off from the

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<v Speaker 1>last Whistling episode, which was Whistling Part three, regarding superstitions

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<v Speaker 1>and beliefs concerning whistle ing. We were talking about whistling

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<v Speaker 1>as an ill omen at sea, as a potential mark

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<v Speaker 1>of witchcraft, and women has bad theater luck in England

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<v Speaker 1>and much more. Uh So we're going to continue this

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<v Speaker 1>journey through folklore and mythology concerning whistling, and we're going

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<v Speaker 1>to be referencing some of what we covered in another

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<v Speaker 1>previous episode about Chinese transcendental whistling, in which a specialized

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<v Speaker 1>Dallast form of whistling was almost like meditation, but was

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<v Speaker 1>also said to give one both insight and perhaps even

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<v Speaker 1>power over the energy of things in the world. So

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<v Speaker 1>once more I'm going to be referencing that excellent Whistling

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<v Speaker 1>and Antiquity paper by A. V. Van ste Kellenberg, but

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<v Speaker 1>also some other sources. Now, according to Edie Edwards, in

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<v Speaker 1>the two thousand nine paper The Principles of Whistling, a

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<v Speaker 1>ten dynasty text called shall Chi says that whistling simply

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<v Speaker 1>calls out to all spirits good or add and st.

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<v Speaker 1>Kellenberg summarizes, this is kind of a supernatural neutrality concerning whistling.

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<v Speaker 1>So whistling isn't something that is used by bad people

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<v Speaker 1>or necessarily used by good people. It's just it's this

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<v Speaker 1>thing that that signals out into the world around us,

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<v Speaker 1>into the unknown, and you know, you could potentially attract

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<v Speaker 1>the attention of things you don't want to attract the

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<v Speaker 1>attention of, but it also could be resident basically harmless.

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<v Speaker 1>It kind of depends on the circumstances. Yeah, the Rhapsody

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<v Speaker 1>on Whistling, which was a text we cited in a

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<v Speaker 1>previous episode. It talks about whistling having a kind of

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<v Speaker 1>withdrawing or distancing power on the whistler. It says, you know,

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<v Speaker 1>like the whistling gentleman sort of distances himself from the

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<v Speaker 1>things of the world and lets out a long drawn whistle. Yeah,

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<v Speaker 1>and that's a thread we're gonna definitely come back to.

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<v Speaker 1>But but first I wanted to add another note on

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<v Speaker 1>whistling in Chinese history. So first of all, you know,

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<v Speaker 1>anytime we're talking about Chinese history, uh, Chinese culture covers

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<v Speaker 1>a great deal of territory, both in terms of distance

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<v Speaker 1>and in terms of years. Uh. So you know, it's

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<v Speaker 1>it's it's hard to say with any certainty, like this

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<v Speaker 1>is the traditional Chinese view of it versus another thing.

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<v Speaker 1>But mainly I don't want to imply here that that

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<v Speaker 1>whistling was just something that Dallas sorcerers engaged in. I

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<v Speaker 1>was looking at the paper by Julung Sue from two

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<v Speaker 1>thousand six titled Whistling and It's Magico Religious Tradition A

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<v Speaker 1>comparative perspective, and this points out that there are han

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<v Speaker 1>dynasty accounts of women whistling for both sorrow. Uh, and

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<v Speaker 1>this seems in some cases tap into this idea of

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<v Speaker 1>sighing as well. Um, again, look at thinking back to

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<v Speaker 1>previous episodes where we've discussed whistling and it's similarity to

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<v Speaker 1>other nonlinqual linguistic sounds that we make, other breath based

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<v Speaker 1>sounds that can be used to communicate something or to

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<v Speaker 1>get somebody's attention. Yeah, and we were talking about cases

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<v Speaker 1>where sometimes it's maybe difficult to uh precisely translate a

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<v Speaker 1>word because a word could be interpreted as meaning like

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<v Speaker 1>whistling or could mean hissing or some other kind of

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<v Speaker 1>controlled expulsion of breath. There's sort of some blurry nous

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<v Speaker 1>in the the breath based lexicon. Now, according to Sue here,

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<v Speaker 1>it's not just for sorrow. There are also accounts of

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<v Speaker 1>women whistling out of happiness or joy. It does seem

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<v Speaker 1>like it is linked to traditions of whaling in some cases, uh,

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<v Speaker 1>you know, the sort of whaling one might might might

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<v Speaker 1>engage in, say at a grave, that sort of thing.

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<v Speaker 1>But also not just women in this. In other sources

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<v Speaker 1>as well, even the Yellow Emperor is said to whistle

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<v Speaker 1>but the terminology here might actually mean hiss or it

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<v Speaker 1>might mean a sigh. And in the Classic of Mountains

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<v Speaker 1>and Seas, the queen mother uses a whistle as a

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<v Speaker 1>kind of battle cry to just fly her for off city. Uh. So,

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<v Speaker 1>it's kind of a wide spectrum of possible uses for

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<v Speaker 1>the for the whistle, even within Chinese tradition here now,

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<v Speaker 1>Sue also points out that while yes, in English customs

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<v Speaker 1>and Western customs, there are a lot of these superstitions

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<v Speaker 1>against women whistling, particularly uh and we don't really see

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<v Speaker 1>this in Chinese traditions, though it is sometimes seen as

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<v Speaker 1>ominous in general whistling due to the connection between whistling

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<v Speaker 1>and various death rituals and you know, and attracting the spirits.

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<v Speaker 1>But it is more inherently magical and not gendered. Sue

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<v Speaker 1>also share some other examples from from Western traditions, you know,

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<v Speaker 1>for a comparative experience here, but they point out here

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<v Speaker 1>quote the Germans believe that a woman's whistling will make

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<v Speaker 1>the angels weep and the devil's rejoice. This is this

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<v Speaker 1>would be a fantastic basis for a German metal band,

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<v Speaker 1>all female metal band that just employs whistling instead of singing.

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<v Speaker 1>Now that's a that's a question to what a scent?

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<v Speaker 1>Has whistling been used in metal? The metal scene has

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<v Speaker 1>come to encompass a lot of different sounds and ideas,

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<v Speaker 1>but I don't know if they've gotten around whistling, have they? Well,

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<v Speaker 1>what's the metal version of the rule thirty four ideas?

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<v Speaker 1>Kind of like, if you can imagine it, there is

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<v Speaker 1>a metal a metal band of it, right, I guess

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<v Speaker 1>it depends on what you classify as metal too, Like

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<v Speaker 1>are the Scorpions metal? I don't know, probably not, probably not. Now.

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<v Speaker 1>Sue also shares that, among various Chinese minorities, whistling while

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<v Speaker 1>you work, as in you know, snow white and the

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<v Speaker 1>song that the Dwarfs sing, whistling while you work, at

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<v Speaker 1>least in the field was thought to to summon demons

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<v Speaker 1>to damage crops, or it could summon demons to damage crops,

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<v Speaker 1>so it was discouraged. This Sioux Stresses does not seem

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<v Speaker 1>to be linked to, say Dallas ideas regarding whistling, but

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<v Speaker 1>is instead rooted in particular folk traditions. Now here's another

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<v Speaker 1>really interesting one that that Sue brings up. Sue shares

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<v Speaker 1>an example from Mythrayism, So Mythrayism. For sci fi fans

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<v Speaker 1>out there, some of you might be familiar with this

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<v Speaker 1>religion because you may have watched the really excellently weird

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<v Speaker 1>HBO Max sci fi series Raised by Wolves, in which

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<v Speaker 1>one of the two factions that's going out into space

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<v Speaker 1>and colonizing other worlds are are devoted, uh, myth Rayists,

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<v Speaker 1>and you might you might well think, oh, this is

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<v Speaker 1>some sort of cool religion they made up for the show,

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<v Speaker 1>but it is not. It is this is a reference

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<v Speaker 1>to the Roman mystery cult of Mithras and in their

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<v Speaker 1>recorded rituals, and Joe, You're going to get into this

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<v Speaker 1>a little bit and talk about what what we mean

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<v Speaker 1>when we when we bring up the idea of recorded

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<v Speaker 1>rituals of of Mythraism. But supposedly there is a system

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<v Speaker 1>of whistling and tongue clicking that was used to attract

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<v Speaker 1>what Sue refers to as theeo morphics star deities, theeomorphic

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<v Speaker 1>meaning animal formed, so like beast beast forms of star gods. Yeah.

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<v Speaker 1>Now I haven't seen the show Raised by Wolves, but

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<v Speaker 1>I think I'm to understand you were saying that the

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<v Speaker 1>title there is a reference to like the myth about

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<v Speaker 1>the founding of Rome, the Romuliss and Rema story. Yeah,

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<v Speaker 1>that's right, that's that seems to be the direct reference

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<v Speaker 1>made there, and there are there's other references as well,

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<v Speaker 1>and just a lot of just sheer weirdness on top

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<v Speaker 1>of it. So if nothing else, it's a show that's

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<v Speaker 1>going to give you lots of strange imagry. It's kind

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<v Speaker 1>of like um Ridley Scott's continuation of the the Android

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<v Speaker 1>centered alien sequels or prequels that he was working on

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<v Speaker 1>m okay uh. So well, anyway, I love the idea

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<v Speaker 1>that the show would incorporate actual things about Mythrayism because

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<v Speaker 1>I've long thought we should do a series or at

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<v Speaker 1>leased an episode on Mythraism, because I find it really

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<v Speaker 1>interesting because it is a religion that clearly commanded an

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<v Speaker 1>enormous following and had huge cultural significance in the Roman Empire,

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<v Speaker 1>Like you can find the ruins of their underground temples

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<v Speaker 1>called mithri um uh and they're they're all throughout Roman settlements,

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<v Speaker 1>and yet we know way less about this religion than

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<v Speaker 1>one might assume. And one of the big reasons for

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<v Speaker 1>that is that as far as I understood, and I

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<v Speaker 1>guess the text that you just referred to, Uh, maybe

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<v Speaker 1>a counter example to this, but modern scholars generally thought,

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<v Speaker 1>we have basically no access to any primary literary sources

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<v Speaker 1>about the religion. So if it had religious texts, we

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<v Speaker 1>don't have any of them, and so what we know

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<v Speaker 1>about it we've had to try to like piece together

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<v Speaker 1>through detective work based on imagery and simple inscriptions and

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<v Speaker 1>archaeological clues and comments and references made by external writers

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<v Speaker 1>trying to say, hey, you know, this is what's going

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<v Speaker 1>on with mythraism. So for a kind of hopefully interesting analogy,

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<v Speaker 1>imagine trying to understand what chris Ganity was if it

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<v Speaker 1>like mostly died out and disappeared in the fourth century

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<v Speaker 1>or so, and we did not have any of the

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<v Speaker 1>writings of the New Testament or any other writings by

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<v Speaker 1>Church fathers or any other early Christians, and we were

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<v Speaker 1>trying to reconstruct what Christianity was based entirely on like

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<v Speaker 1>imagery and artifacts and what other external writers said about it.

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<v Speaker 1>So it's a really fascinating problem. And one of the

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<v Speaker 1>most common images in Roman Mythraism is apparently an important

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<v Speaker 1>scene from their mythology of the god Mithrus slaughtering some

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<v Speaker 1>kind of divine bull. But there's another interesting complication here too,

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<v Speaker 1>which is that there is a pre Roman Persian cult

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<v Speaker 1>of Mithrus or or Metra, which is a Zoroastrian or

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<v Speaker 1>pre Zoroastrian god of the Persian people who's kind of

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<v Speaker 1>a solar deity of justice, who I think was associated

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<v Speaker 1>with contracts and the honoring of bargains. And then later

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<v Speaker 1>you get this widespread Roman mystery cult that seems to

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<v Speaker 1>be based on an appropriated version of that deity. And

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<v Speaker 1>of course we know the Romans loved absorbing and reprocessing

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<v Speaker 1>other cultures gods, you know, like the main Roman pantheon

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<v Speaker 1>is mostly a photocopy of the Greek. And then you've

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<v Speaker 1>got the Persian Mithras becoming the Roman savior god of

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<v Speaker 1>some kind, and even the way you can think about

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<v Speaker 1>a Jewish messianic figure in Jesus and the original context

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<v Speaker 1>of monotheistic Judaism rather quickly becomes a popular savior god

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<v Speaker 1>to people throughout the Empire who had been polytheists up

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<v Speaker 1>until the moment they converted to Christianity. So that whole

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<v Speaker 1>process is really interesting. But the idea of a text

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<v Speaker 1>of Mythraism was very interesting to me because I didn't

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<v Speaker 1>think we had one of these. But this is referring

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<v Speaker 1>to something called the myth rest Liturgy, which I think

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<v Speaker 1>is commonly dated to roughly the fourth century. But there's

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<v Speaker 1>dispute about whether it actually reflects original Mithraic theology or

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<v Speaker 1>whether it's some kind of later synthesis. Yeah, this is

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<v Speaker 1>the quote from it that Sue shares in the paper. Quote.

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<v Speaker 1>But after you have said the second prayer, where silence

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<v Speaker 1>is twice commanded, then whistle twice and clicked twice with

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<v Speaker 1>the tongue, and immediately you will see stars coming down

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<v Speaker 1>from the disc of the sun, five pointed in large

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<v Speaker 1>numbers and filling the whole air. But say once again, silence, silence,

0:13:31.080 --> 0:13:35.600
<v Speaker 1>whistle twice, click twice, and then shut up. Here come

0:13:35.679 --> 0:13:39.400
<v Speaker 1>the gods. Now coming back to we're talking earlier about

0:13:40.080 --> 0:13:45.839
<v Speaker 1>like scholars in the woods in Chinese history, Um, there

0:13:45.920 --> 0:13:48.240
<v Speaker 1>is this idea that comes up, Sue mentions, and we

0:13:48.320 --> 0:13:51.800
<v Speaker 1>see this in like the Han dynasty, for example, where

0:13:51.800 --> 0:13:56.280
<v Speaker 1>you would have Confucian scholars other reclusive scholars who would

0:13:56.280 --> 0:13:59.520
<v Speaker 1>whistle as a means of expressing disdain for the world

0:14:00.120 --> 0:14:04.360
<v Speaker 1>and or their absolute freedom. Uh so this is an

0:14:04.360 --> 0:14:07.320
<v Speaker 1>interesting concept, and it was also done by other classes

0:14:07.360 --> 0:14:11.400
<v Speaker 1>as well, uh, Sue writes. Quote in general, poets, hermits,

0:14:11.679 --> 0:14:15.160
<v Speaker 1>and people of all types in the Six Dynasties utilized

0:14:15.320 --> 0:14:20.120
<v Speaker 1>whistling to express a sense of untrammeled individual freedom, or

0:14:20.160 --> 0:14:24.560
<v Speaker 1>an attitude of disobedience to authority or traditional ceremony, or

0:14:24.560 --> 0:14:28.880
<v Speaker 1>to dispel suppressed feelings and indignation. Whistling was not limited

0:14:28.920 --> 0:14:31.080
<v Speaker 1>to a certain class, but was practiced by men from

0:14:31.120 --> 0:14:34.280
<v Speaker 1>all walks of life. I love this idea of whistling

0:14:34.320 --> 0:14:37.600
<v Speaker 1>as a kind of like middle finger to social customs

0:14:37.640 --> 0:14:40.760
<v Speaker 1>and authority. So it's like you might imagine, um, you know,

0:14:40.840 --> 0:14:44.600
<v Speaker 1>the behavior of Diogenes the cynic or something, just completely

0:14:44.800 --> 0:14:47.840
<v Speaker 1>behaving in inappropriate ways in public as a as an

0:14:47.880 --> 0:14:52.400
<v Speaker 1>expression of contempt for norms and authority. Yeah, I whistle,

0:14:52.480 --> 0:14:55.440
<v Speaker 1>I do what I want now. Another paper I looked

0:14:55.480 --> 0:14:58.080
<v Speaker 1>to when I was looking around for various superstitions, We

0:14:58.160 --> 0:15:01.560
<v Speaker 1>of course found superstitions regarding whistling at sea, but we

0:15:01.640 --> 0:15:05.800
<v Speaker 1>also find them in another interesting place below the surface

0:15:05.800 --> 0:15:10.920
<v Speaker 1>of the earth in mines. Oh yeah, and I hadn't

0:15:10.920 --> 0:15:12.960
<v Speaker 1>really thought about this, but this is apparently a big one.

0:15:13.160 --> 0:15:15.880
<v Speaker 1>Uh paper, I was looking at an older paper. This

0:15:15.960 --> 0:15:20.400
<v Speaker 1>is California Miners Folklore. This is from a two edition

0:15:20.520 --> 0:15:27.160
<v Speaker 1>of California Folklore Quarterly written by Wayland D. Hand And um, yeah,

0:15:27.200 --> 0:15:30.160
<v Speaker 1>it's it's it's a really interesting read. This one's out

0:15:30.160 --> 0:15:32.280
<v Speaker 1>there on the internet if anyone wants a deeper dive

0:15:32.360 --> 0:15:37.880
<v Speaker 1>into it. But uh, for example, he goes into the

0:15:37.960 --> 0:15:41.720
<v Speaker 1>fear of the Tommy Knockers in the Tunnels. Now, Rob,

0:15:41.720 --> 0:15:46.320
<v Speaker 1>I am only familiar with Tommy Knockers from the Stephen

0:15:46.400 --> 0:15:48.600
<v Speaker 1>King novel or actually I never read the novel. I

0:15:48.640 --> 0:15:51.920
<v Speaker 1>think I watched the made for TV movie adaptation of it,

0:15:52.720 --> 0:15:55.560
<v Speaker 1>which is quite bad, and I think Stephen King himself

0:15:55.600 --> 0:15:59.920
<v Speaker 1>regards that as a terrible book. But but I don't

0:16:00.000 --> 0:16:02.640
<v Speaker 1>know what the original reference here is in the book.

0:16:02.680 --> 0:16:05.880
<v Speaker 1>I think it's aliens. Yeah, I can never get very

0:16:05.880 --> 0:16:11.200
<v Speaker 1>far with the book. But not aliens here, No, but

0:16:11.280 --> 0:16:14.400
<v Speaker 1>it but it apparently refers to a fair variety of things,

0:16:14.440 --> 0:16:16.600
<v Speaker 1>and they're very haunting and they kind of I feel

0:16:16.600 --> 0:16:20.360
<v Speaker 1>like they also kind of connect to perhaps older European

0:16:20.520 --> 0:16:24.280
<v Speaker 1>ideas of creatures that live in the earth, getting into

0:16:24.360 --> 0:16:28.440
<v Speaker 1>you know, various ideas of dwarves and so forth. Yeah,

0:16:28.480 --> 0:16:32.000
<v Speaker 1>the Cobald. This is what Hand writes in the paper.

0:16:32.520 --> 0:16:35.680
<v Speaker 1>These denizens of the deep dark chambers of the earth

0:16:35.960 --> 0:16:40.520
<v Speaker 1>are conceived in different forms as disembodied spirits of dead

0:16:40.600 --> 0:16:45.080
<v Speaker 1>miners hovering in a working as patrons, or as little

0:16:45.120 --> 0:16:49.640
<v Speaker 1>men elf like be whiskered and wizzened. They are usually

0:16:49.680 --> 0:16:53.480
<v Speaker 1>thought of as benign, occasionally even assisting in the location

0:16:53.560 --> 0:16:57.200
<v Speaker 1>of ore bodies. If they are not so well disposed,

0:16:57.520 --> 0:17:02.720
<v Speaker 1>their conduct tends to be mischievous rather than malignant. Many

0:17:02.760 --> 0:17:06.639
<v Speaker 1>California miners, though not having themselves seen these creatures in person,

0:17:07.000 --> 0:17:10.720
<v Speaker 1>recall having seen small effigies of them made of clay

0:17:10.760 --> 0:17:13.919
<v Speaker 1>and set upon portal, sets to a tunnel or on

0:17:14.040 --> 0:17:18.800
<v Speaker 1>the lagging or elsewhere where their patronage is desired. So

0:17:18.920 --> 0:17:21.600
<v Speaker 1>I love that image of not only the idea that

0:17:21.960 --> 0:17:26.280
<v Speaker 1>there are these beings living elsewhere in the tunnels, but

0:17:26.680 --> 0:17:30.400
<v Speaker 1>there's this kind of uh we talked about a little,

0:17:30.640 --> 0:17:32.600
<v Speaker 1>you know, we were talking about when when people set

0:17:32.640 --> 0:17:35.520
<v Speaker 1>to see, when they return, when they're when seamen are

0:17:35.560 --> 0:17:38.639
<v Speaker 1>are out there on the waters there the newer religions

0:17:38.680 --> 0:17:41.119
<v Speaker 1>that they have taken to might be set aside for

0:17:41.160 --> 0:17:44.439
<v Speaker 1>the older ways the older gods, and here we have

0:17:44.600 --> 0:17:50.639
<v Speaker 1>this example of of California miners potentially having little altars

0:17:51.119 --> 0:17:55.320
<v Speaker 1>to to kind of dwarven Elvin beings in the minds.

0:17:55.640 --> 0:17:59.400
<v Speaker 1>That's too good. So Hand discusses some other ideas as well,

0:17:59.440 --> 0:18:02.240
<v Speaker 1>you know, the go some dead miners working in the tunnels.

0:18:02.720 --> 0:18:07.960
<v Speaker 1>Um also phantom white mules, headless mules, and strange lights.

0:18:08.000 --> 0:18:11.280
<v Speaker 1>Apparently he said that there weren't really that many creature

0:18:11.359 --> 0:18:14.560
<v Speaker 1>myths concerning the minds, though occasionally you would have like

0:18:14.560 --> 0:18:16.600
<v Speaker 1>a cat come down into the minds and would just

0:18:16.640 --> 0:18:18.960
<v Speaker 1>scare the b Jesus out of everybody, because it would

0:18:19.119 --> 0:18:21.359
<v Speaker 1>either way, I'm imagining, you know, the cat would get

0:18:21.400 --> 0:18:25.680
<v Speaker 1>down there, it would be lurking about, its eyes gleaming

0:18:25.800 --> 0:18:29.360
<v Speaker 1>and the light and just give everyone the proper spooks.

0:18:30.320 --> 0:18:33.320
<v Speaker 1>But there there were also these superstitions about about the

0:18:33.600 --> 0:18:37.040
<v Speaker 1>bad luck concerning well, first of all bringing women anywhere

0:18:37.040 --> 0:18:40.600
<v Speaker 1>near the cave, but also there was a widespread superstition

0:18:40.640 --> 0:18:44.560
<v Speaker 1>against anyone whistling down there, and it seems to be

0:18:44.640 --> 0:18:47.919
<v Speaker 1>sort of twofold. On one hand, there was a real

0:18:48.000 --> 0:18:51.640
<v Speaker 1>fear of vibrations in the caves, and so the there's

0:18:51.680 --> 0:18:54.200
<v Speaker 1>this idea that you know, shouldn't whistle because you don't

0:18:54.200 --> 0:18:56.160
<v Speaker 1>know what that's gonna do. You're gonna set up vibrations

0:18:56.160 --> 0:18:59.399
<v Speaker 1>that could potentially cause a cave in. But it also

0:18:59.440 --> 0:19:03.879
<v Speaker 1>seems inked to this older wider idea that if you're whistling,

0:19:04.119 --> 0:19:07.560
<v Speaker 1>you could draw in spirits and hand shares. A fun

0:19:07.560 --> 0:19:11.880
<v Speaker 1>little rhyme here quote whistle by night you'll bring the sprite.

0:19:12.200 --> 0:19:15.199
<v Speaker 1>Whistle by day you'll drive them away. And this is

0:19:15.200 --> 0:19:18.280
<v Speaker 1>not a sprite you want to bring, right, right, or

0:19:18.400 --> 0:19:20.800
<v Speaker 1>certainly you don't want them. You don't want anything going

0:19:20.840 --> 0:19:22.520
<v Speaker 1>on down there in the mind. You don't want you

0:19:22.560 --> 0:19:25.280
<v Speaker 1>don't want any spirits balking about. You don't want any

0:19:25.359 --> 0:19:28.520
<v Speaker 1>vibrations going wild. You want everything to just be as

0:19:28.520 --> 0:19:31.600
<v Speaker 1>safe and quiet as possible. Right, Okay, so this is

0:19:31.760 --> 0:19:34.000
<v Speaker 1>this is not like a friendly tinker bell. This would

0:19:34.000 --> 0:19:36.040
<v Speaker 1>be a sprite that's gonna maybe pollute your oar or

0:19:36.119 --> 0:19:38.840
<v Speaker 1>make a rock fall in your head or something. Yeah. Yeah, though,

0:19:38.840 --> 0:19:40.320
<v Speaker 1>I guess coming back to the idea of the Tommy

0:19:40.400 --> 0:19:42.120
<v Speaker 1>Knockers that it kind of comes back to the sort

0:19:42.160 --> 0:19:44.520
<v Speaker 1>of neutrality of spirits. Right. It's the idea that well,

0:19:44.520 --> 0:19:49.399
<v Speaker 1>there there, there are or maybe spirits around. Um, they

0:19:49.440 --> 0:19:51.560
<v Speaker 1>might do some bad things, they might do some good things.

0:19:51.800 --> 0:19:55.320
<v Speaker 1>We probably shouldn't call them. We shouldn't call an extra spirits,

0:19:55.560 --> 0:19:57.439
<v Speaker 1>and we should try and be on the on the

0:19:57.480 --> 0:20:06.080
<v Speaker 1>good side of any spirits that are present. Now, I

0:20:06.119 --> 0:20:08.600
<v Speaker 1>think all of the examples we've talked about so far

0:20:08.840 --> 0:20:13.800
<v Speaker 1>are superstitions. Uh. The the way that whistling relates to

0:20:13.840 --> 0:20:17.359
<v Speaker 1>monsters or spirits or dangerous entities is that it's something

0:20:17.480 --> 0:20:21.280
<v Speaker 1>humans could do that might in some cases attract them.

0:20:21.400 --> 0:20:24.760
<v Speaker 1>So you know, be careful about whistling because you might

0:20:24.760 --> 0:20:27.520
<v Speaker 1>get a monster on your tail. But I was thinking about,

0:20:27.520 --> 0:20:31.200
<v Speaker 1>are there are there stories of monsters that themselves whistle

0:20:31.480 --> 0:20:34.720
<v Speaker 1>or are you or do something like whistling? Yeah, I

0:20:34.800 --> 0:20:37.040
<v Speaker 1>was curious about this. I first of all, I turned

0:20:37.040 --> 0:20:39.880
<v Speaker 1>to Carol Rose, who has two Extraordinary volumes, one about

0:20:39.920 --> 0:20:42.200
<v Speaker 1>monsters and giants and so forth, and the others more

0:20:42.200 --> 0:20:45.639
<v Speaker 1>about fairies and sprites. And there's some overlap between the

0:20:45.640 --> 0:20:47.920
<v Speaker 1>two books, but they are also things in each book

0:20:47.920 --> 0:20:51.040
<v Speaker 1>that are not covered by the other, and so there

0:20:51.040 --> 0:20:53.040
<v Speaker 1>were at least a couple of examples that stood out.

0:20:53.600 --> 0:20:57.040
<v Speaker 1>One of them is an interesting monster of the people

0:20:57.280 --> 0:21:01.480
<v Speaker 1>of the Zingu River in Brazil, and this creature was

0:21:01.560 --> 0:21:05.920
<v Speaker 1>called minata karaia, and these are said to have been

0:21:06.040 --> 0:21:09.080
<v Speaker 1>giants that were as tall as the trees, with fruit

0:21:09.160 --> 0:21:12.800
<v Speaker 1>growing out of their armpits, which the giants then consumed

0:21:12.880 --> 0:21:17.600
<v Speaker 1>to sustain themselves. So it sounds like they weren't themselves dangerous.

0:21:17.600 --> 0:21:20.080
<v Speaker 1>They weren't like eating humans. But they're big, tall giants.

0:21:20.119 --> 0:21:22.240
<v Speaker 1>So if they're coming your way, you want to know

0:21:22.280 --> 0:21:24.280
<v Speaker 1>to get out of their out of their way. And

0:21:24.400 --> 0:21:27.200
<v Speaker 1>the way you knew this is because the male giants

0:21:27.640 --> 0:21:31.560
<v Speaker 1>had a hole in the top of their head and

0:21:31.760 --> 0:21:35.480
<v Speaker 1>it emitted a high pitched whistle when they moved. This

0:21:35.560 --> 0:21:38.680
<v Speaker 1>is a good monster. Okay, so we got armpit autophagi.

0:21:38.800 --> 0:21:41.480
<v Speaker 1>They eat the fruit of their own armpits and their

0:21:41.480 --> 0:21:48.280
<v Speaker 1>heads whistle. Yeah. Now another monster that Rose shares here

0:21:48.560 --> 0:21:51.600
<v Speaker 1>is uh is a Russian creature that I think we

0:21:51.960 --> 0:21:54.440
<v Speaker 1>might well describe as a sort of a harpy, or

0:21:54.480 --> 0:21:58.119
<v Speaker 1>at least a harpy in them the way that modern

0:21:58.480 --> 0:22:00.600
<v Speaker 1>people will think of the harpy a kind of bird

0:22:00.680 --> 0:22:03.240
<v Speaker 1>human hybrid, though in this case I think they're They

0:22:03.280 --> 0:22:06.600
<v Speaker 1>tend to be more male than female. And its name

0:22:06.840 --> 0:22:11.480
<v Speaker 1>is Solve Rochtmas and in Russian folklore it's said to

0:22:11.840 --> 0:22:16.080
<v Speaker 1>give a piercing whistle and this whistle will kill anyone

0:22:16.119 --> 0:22:18.679
<v Speaker 1>who hears it, and then the monster will come and

0:22:18.760 --> 0:22:23.280
<v Speaker 1>rob your corpse, rob your corps. So it's looking for money. Yeah,

0:22:23.760 --> 0:22:26.800
<v Speaker 1>it's not not here to eat you either. It's interested

0:22:26.840 --> 0:22:29.399
<v Speaker 1>in one thing, and it's whatever money you got on

0:22:29.440 --> 0:22:35.200
<v Speaker 1>you checking your armpits for fruit. Yeah. But here in

0:22:35.560 --> 0:22:38.000
<v Speaker 1>it's kind of an interesting theme because the next monster

0:22:38.040 --> 0:22:40.640
<v Speaker 1>I wanted to mention also is not going to kill you.

0:22:41.080 --> 0:22:43.840
<v Speaker 1>This one just wants to scare you real bad. Uh.

0:22:43.880 --> 0:22:47.400
<v Speaker 1>This is yokai. I was looking around in Yokai traditions

0:22:47.400 --> 0:22:50.000
<v Speaker 1>because I'm thinking, well, that's just such a rich font

0:22:50.080 --> 0:22:53.720
<v Speaker 1>of creatures and beings that it makes sense that there'd

0:22:53.720 --> 0:22:55.800
<v Speaker 1>be something out there that whistled. And the one that

0:22:55.880 --> 0:22:59.879
<v Speaker 1>I found some descriptions of it that I found translated

0:22:59.880 --> 0:23:02.959
<v Speaker 1>to of course mentioned whistling is something it does. Others

0:23:02.960 --> 0:23:05.800
<v Speaker 1>don't mention it, so um, I can't be one and

0:23:05.880 --> 0:23:08.800
<v Speaker 1>to present certain if this is something that is actually

0:23:08.920 --> 0:23:11.920
<v Speaker 1>part of it or in a lot of these yokaia too,

0:23:12.000 --> 0:23:15.040
<v Speaker 1>they and when you get into modern ghost stories as well,

0:23:15.160 --> 0:23:17.560
<v Speaker 1>like there's there's there, there's still kind of rich and alive,

0:23:17.640 --> 0:23:19.840
<v Speaker 1>so something's could added, and also some things could added

0:23:19.840 --> 0:23:26.680
<v Speaker 1>in translation. But this one is called um Oa guru batari,

0:23:26.720 --> 0:23:31.360
<v Speaker 1>and its name apparently means nothing but blackened teeth, which

0:23:31.359 --> 0:23:34.480
<v Speaker 1>already sounds pretty pretty amazing. So this is this is

0:23:34.480 --> 0:23:36.800
<v Speaker 1>the way this yokai has encountered. She appears as a

0:23:36.840 --> 0:23:40.720
<v Speaker 1>beautiful woman in a traditional wedding kimono, and I guess

0:23:40.720 --> 0:23:42.800
<v Speaker 1>you might see her at a distance, and in some

0:23:42.840 --> 0:23:45.320
<v Speaker 1>cases as you get as your your interest and you

0:23:45.320 --> 0:23:47.879
<v Speaker 1>move closer, she may whistle to get the attention of

0:23:47.920 --> 0:23:51.720
<v Speaker 1>single men. Other accounts say that she may speak in

0:23:51.760 --> 0:23:54.520
<v Speaker 1>the voice of a loved one. Um others don't seem

0:23:54.600 --> 0:23:56.760
<v Speaker 1>to mention any kind of real sound at all. But

0:23:56.880 --> 0:23:59.600
<v Speaker 1>as you get closer, this is the main thing that happens. She,

0:24:00.240 --> 0:24:03.520
<v Speaker 1>like a lot of these type creatures, will reveal her face.

0:24:03.920 --> 0:24:06.280
<v Speaker 1>And when she reveals her face, you find not a

0:24:06.400 --> 0:24:10.480
<v Speaker 1>not a beautiful humanoid face, but instead a face that

0:24:10.640 --> 0:24:13.960
<v Speaker 1>is largely blank except for a great, big, gaping mouth

0:24:14.040 --> 0:24:17.120
<v Speaker 1>that's filled with nothing but black into teeth. And then

0:24:17.119 --> 0:24:20.280
<v Speaker 1>she cackles, and you just scream and run a runaway,

0:24:20.400 --> 0:24:23.320
<v Speaker 1>terrified uh, and that's it. She's not interested in hurting you.

0:24:23.400 --> 0:24:25.399
<v Speaker 1>She's just here to scare the Bejesus out of you.

0:24:25.880 --> 0:24:30.120
<v Speaker 1>No eyes, no nos, just the teeth and but but yeah,

0:24:30.240 --> 0:24:32.720
<v Speaker 1>so so she doesn't bite your head off. It's just

0:24:32.800 --> 0:24:34.919
<v Speaker 1>to show you the teeth and and get you upset.

0:24:35.200 --> 0:24:38.480
<v Speaker 1>Yeah yeah, just just just a ghost. Um. Now, I

0:24:38.480 --> 0:24:42.200
<v Speaker 1>didn't look super close at various pop culture and modern

0:24:42.560 --> 0:24:46.520
<v Speaker 1>whistling entities, but I thought I would mention briefly that

0:24:46.560 --> 0:24:49.200
<v Speaker 1>there is something called the whistling Fiend in Dungeons and

0:24:49.280 --> 0:24:52.600
<v Speaker 1>Dragons raven Loft setting that's supposed to be this like

0:24:52.640 --> 0:24:57.200
<v Speaker 1>this horrible monster, like a fiend from the pits of Hell,

0:24:57.840 --> 0:25:01.440
<v Speaker 1>but it will whistle beautifully as it's approaching, so before

0:25:01.480 --> 0:25:05.360
<v Speaker 1>anything goes goes terribly wrong, you'll hear the whistling. And

0:25:05.400 --> 0:25:08.520
<v Speaker 1>then if you happen to witness what it does when

0:25:08.520 --> 0:25:10.679
<v Speaker 1>it gets there, well it's whistling the whole time as

0:25:10.720 --> 0:25:13.760
<v Speaker 1>well as it's doing you know, horrible, gruesome things to people.

0:25:15.000 --> 0:25:17.480
<v Speaker 1>Now I was I was interested to run across this.

0:25:17.600 --> 0:25:20.480
<v Speaker 1>I don't really know much about old radio dramas, but

0:25:20.920 --> 0:25:23.800
<v Speaker 1>there was also an old radio drama about crime and

0:25:23.960 --> 0:25:28.040
<v Speaker 1>fate titled The Whistler, and apparently on this show, the

0:25:28.200 --> 0:25:32.320
<v Speaker 1>titular whistler kind of emerges out of the night. It's

0:25:32.440 --> 0:25:35.040
<v Speaker 1>very much a kind of uh, you know, crime noir

0:25:35.280 --> 0:25:38.840
<v Speaker 1>kind of a figure. You hear him whistling a catchy tune,

0:25:38.880 --> 0:25:41.439
<v Speaker 1>and then he serves as the narrator and kind of

0:25:41.440 --> 0:25:45.399
<v Speaker 1>host of the program. And there were apparently eight different

0:25:45.480 --> 0:25:48.879
<v Speaker 1>Whistler films during the nineteen forties, and the first of

0:25:48.920 --> 0:25:53.760
<v Speaker 1>them was The Whistler, and it was directed by William Castle,

0:25:54.680 --> 0:25:59.439
<v Speaker 1>William Castle of the Tingler fame. Yeah, so I have

0:25:59.560 --> 0:26:03.639
<v Speaker 1>to assume whom he installed special seats in the movie

0:26:03.720 --> 0:26:07.119
<v Speaker 1>theaters that what would the whistle into your bud or something.

0:26:08.280 --> 0:26:09.600
<v Speaker 1>I don't know, it sounds like the kind of thing

0:26:09.680 --> 0:26:11.679
<v Speaker 1>he would he would do, Yeah, I mean his he

0:26:11.800 --> 0:26:14.840
<v Speaker 1>is perhaps best remembered for figuring out what kind of

0:26:14.840 --> 0:26:17.080
<v Speaker 1>gimmick would get people into the theater. Maybe they just

0:26:17.119 --> 0:26:19.600
<v Speaker 1>the gimmick here was just the existing I p. I

0:26:19.640 --> 0:26:23.400
<v Speaker 1>don't know, but I don't think you really hear about

0:26:23.400 --> 0:26:26.040
<v Speaker 1>the Whistler much anymore. I think there was a nineteen

0:26:26.080 --> 0:26:28.760
<v Speaker 1>fifties TV series, and I don't know that anyone's really

0:26:28.760 --> 0:26:30.960
<v Speaker 1>gone back to this, but I like this idea because

0:26:30.960 --> 0:26:32.760
<v Speaker 1>it's essentially it's kind of like a crip keeper. You know,

0:26:32.800 --> 0:26:37.159
<v Speaker 1>it's an anthology host um. And apparently the deal with

0:26:37.240 --> 0:26:40.919
<v Speaker 1>the movies is you would have the same star actor

0:26:41.040 --> 0:26:43.399
<v Speaker 1>in each of them, uh, not not the Whistler but

0:26:43.480 --> 0:26:46.240
<v Speaker 1>somebody else, though each story is different and so he's

0:26:46.240 --> 0:26:48.000
<v Speaker 1>playing a different character. So so it's kind of like

0:26:48.000 --> 0:26:50.640
<v Speaker 1>the modern version would be. I don't know, Ryan Gosling

0:26:50.760 --> 0:26:54.000
<v Speaker 1>is in every Whistler movie, but Ryan Gosling plays a

0:26:54.080 --> 0:26:59.520
<v Speaker 1>different protagonist, uh, a different character that's that's all wound

0:26:59.600 --> 0:27:01.760
<v Speaker 1>up in some sort of tale of crime and fate.

0:27:02.200 --> 0:27:04.719
<v Speaker 1>We just got a producer, Chiman from Seth who, by

0:27:04.720 --> 0:27:08.200
<v Speaker 1>the way, is actually a devoted listener to The Whistler.

0:27:08.400 --> 0:27:09.879
<v Speaker 1>I mean, I don't know if you can be devoted

0:27:09.920 --> 0:27:12.720
<v Speaker 1>to something that is not currently produced, but he's a fan.

0:27:12.920 --> 0:27:15.800
<v Speaker 1>He says, it's great. You know this idea of that

0:27:15.920 --> 0:27:19.200
<v Speaker 1>the stranger who whistles, and they're there. It's unknown exactly

0:27:19.240 --> 0:27:22.480
<v Speaker 1>what their their knowledge is, what their powers. Maybe I

0:27:22.480 --> 0:27:24.320
<v Speaker 1>guess you do see that in a lot of a

0:27:24.320 --> 0:27:27.399
<v Speaker 1>lot of cinema. It's often we've had some listeners right

0:27:27.400 --> 0:27:29.720
<v Speaker 1>in and mentioned that Western's are a place where we

0:27:29.760 --> 0:27:34.119
<v Speaker 1>see a lot of of such suspicious whistling. Um. It

0:27:34.400 --> 0:27:39.560
<v Speaker 1>brings to mind a TV movie that I don't remember

0:27:39.680 --> 0:27:43.480
<v Speaker 1>was especially good, but but it was creepy and it

0:27:43.520 --> 0:27:46.879
<v Speaker 1>was called Into the bad Lands, and it starred Bruce

0:27:46.960 --> 0:27:51.960
<v Speaker 1>dern as this creepy old bounty hunter in black. And

0:27:52.040 --> 0:27:55.760
<v Speaker 1>if memory serves, uh, he does he does variously. He

0:27:55.800 --> 0:27:59.280
<v Speaker 1>cooks some eggs, he shoots some um, some outlaws and

0:27:59.760 --> 0:28:02.560
<v Speaker 1>dry him around kind of rotting behind his cart. Uh.

0:28:02.600 --> 0:28:05.280
<v Speaker 1>He smiles a big creepy grin. But I think he

0:28:05.359 --> 0:28:07.840
<v Speaker 1>also whistles in that one, And there's a particular ditty

0:28:07.920 --> 0:28:11.760
<v Speaker 1>that's reoccurring. Uh, So there there is something to this

0:28:11.920 --> 0:28:15.680
<v Speaker 1>the stranger who whistles. What is he whistling about? He's

0:28:15.840 --> 0:28:18.280
<v Speaker 1>kind of ties into some of these other ideas, like

0:28:18.280 --> 0:28:21.439
<v Speaker 1>like he's an outsider that is not tied to the

0:28:21.440 --> 0:28:24.320
<v Speaker 1>same rules as everything else. He may have some sort

0:28:24.320 --> 0:28:29.800
<v Speaker 1>of communication with knowledge beyond himself, with spirits, etcetera. Another producer,

0:28:29.880 --> 0:28:32.520
<v Speaker 1>Chime ins Seth, had a great example of this, and

0:28:32.640 --> 0:28:35.720
<v Speaker 1>it's Darryll Hannah and kill Bill who does a very

0:28:35.760 --> 0:28:39.280
<v Speaker 1>creepy whistling while she's uh she is on the way

0:28:39.320 --> 0:28:42.480
<v Speaker 1>to kill the protagonist. And that's a great example too,

0:28:42.520 --> 0:28:45.280
<v Speaker 1>because this is this is a female character whistling. So

0:28:45.320 --> 0:28:48.200
<v Speaker 1>many of these examples, even if we're touching on traditions

0:28:48.280 --> 0:28:51.120
<v Speaker 1>where where where whistling is not gendered, it seems like

0:28:51.120 --> 0:28:54.080
<v Speaker 1>a lot of them tend to involve male figures that

0:28:54.080 --> 0:28:57.560
<v Speaker 1>are whistling. So so yeah, great example seth. Alright, So

0:28:57.600 --> 0:29:02.160
<v Speaker 1>that's all I have for now anyway, concern whistling superstitions

0:29:02.160 --> 0:29:04.880
<v Speaker 1>and whistling monsters. Certainly we don't love to hear from

0:29:04.880 --> 0:29:06.880
<v Speaker 1>everyone out there who has additional things they would like

0:29:06.960 --> 0:29:11.560
<v Speaker 1>to bring up, be it you know, folkloric creatures, strange traditions,

0:29:11.800 --> 0:29:14.280
<v Speaker 1>and certainly any kind of you know, movie tie in

0:29:14.800 --> 0:29:17.560
<v Speaker 1>characters who whistle. I'd love to hear about any of that.

0:29:17.640 --> 0:29:19.960
<v Speaker 1>So yes, by all means right in So I guess

0:29:20.040 --> 0:29:22.480
<v Speaker 1>the next thing we should look at is some of

0:29:22.520 --> 0:29:26.240
<v Speaker 1>the psychology research on whistling, which I have to say,

0:29:26.280 --> 0:29:30.120
<v Speaker 1>I was shocked how sparse this literature is. There is,

0:29:31.000 --> 0:29:35.520
<v Speaker 1>from what I could tell, very little psychological research about

0:29:36.280 --> 0:29:39.000
<v Speaker 1>when and why people whistle. One of the only major

0:29:39.040 --> 0:29:42.200
<v Speaker 1>papers I could find on it wasn't really experimental in nature.

0:29:42.280 --> 0:29:45.400
<v Speaker 1>It was very theoretical and uh and though it had

0:29:45.440 --> 0:29:47.680
<v Speaker 1>a few interesting ideas in it that I do want

0:29:47.680 --> 0:29:50.320
<v Speaker 1>to talk about. To the extent that it is theoretical,

0:29:50.360 --> 0:29:53.720
<v Speaker 1>it seems kind of based in Freudianism, so it's gonna

0:29:53.720 --> 0:29:56.080
<v Speaker 1>be a big caveat there. But before we get to that,

0:29:56.600 --> 0:30:00.200
<v Speaker 1>I did want to talk about a medical ca east

0:30:00.240 --> 0:30:04.400
<v Speaker 1>report I came across that had a title that really

0:30:04.480 --> 0:30:09.520
<v Speaker 1>grabbed my attention. So this is a paper by Pollock

0:30:09.840 --> 0:30:13.280
<v Speaker 1>at All published in BMC Psychiatry in two thousand twelve,

0:30:13.640 --> 0:30:19.320
<v Speaker 1>and it's called Compulsive Carnival Song Whistling following Cardiac arrest

0:30:19.640 --> 0:30:24.960
<v Speaker 1>A case study Compulsive Carnival Song Whistling. Oh my goodness,

0:30:25.000 --> 0:30:29.480
<v Speaker 1>So is it the BA? Is that the music? You

0:30:29.480 --> 0:30:32.560
<v Speaker 1>think that? That's what I was assuming. Unfortunately, the case

0:30:32.600 --> 0:30:36.880
<v Speaker 1>report does not attach a recording or sheet music or anything, so,

0:30:37.160 --> 0:30:39.200
<v Speaker 1>and it doesn't name the tunes, so I don't know

0:30:39.240 --> 0:30:41.600
<v Speaker 1>what song it is. The most they say about it

0:30:41.720 --> 0:30:45.600
<v Speaker 1>is that it is a carnival song. Alright, what are

0:30:45.600 --> 0:30:48.040
<v Speaker 1>the options? Yeah, so you got that one is like

0:30:48.080 --> 0:30:52.360
<v Speaker 1>the Binny Hill theme? Possible? I don't know, Yeah, I think, Oh,

0:30:52.480 --> 0:30:54.280
<v Speaker 1>I don't want to get too far into this, because

0:30:54.320 --> 0:30:56.360
<v Speaker 1>this is like, this is a realm I know virtually

0:30:56.400 --> 0:30:59.200
<v Speaker 1>nothing about. But apparently there's a there's a fair amount

0:30:59.240 --> 0:31:02.080
<v Speaker 1>of what we I think of his circus music that

0:31:02.400 --> 0:31:05.120
<v Speaker 1>you know, we're talking about circus band stuff. We're talking

0:31:05.120 --> 0:31:09.200
<v Speaker 1>about waltzes and fox trots. Uh So, there, there's there's

0:31:09.200 --> 0:31:13.880
<v Speaker 1>probably a lot there. But the is the thing that

0:31:13.880 --> 0:31:18.200
<v Speaker 1>that mostly comes to the surface for for folks like me. Okay,

0:31:18.280 --> 0:31:21.840
<v Speaker 1>So in this case, report the medical history the patient.

0:31:21.880 --> 0:31:24.280
<v Speaker 1>In this case it's anonymous of course, so we don't

0:31:24.280 --> 0:31:26.880
<v Speaker 1>know their name. But it was a man who was

0:31:27.200 --> 0:31:31.600
<v Speaker 1>found unconscious in his car in February at the age

0:31:31.600 --> 0:31:35.000
<v Speaker 1>of forty eight, having suffered a heart attack. Um he

0:31:35.080 --> 0:31:37.640
<v Speaker 1>was in cardiac arrest for some period of time, but

0:31:37.840 --> 0:31:41.200
<v Speaker 1>he was reanimated successfully in the emergency room at a

0:31:41.240 --> 0:31:45.120
<v Speaker 1>nearby hospital, so he survived the heart attack he had.

0:31:45.720 --> 0:31:49.160
<v Speaker 1>His heart had stopped, there was reduced supply of oxygen

0:31:49.240 --> 0:31:52.840
<v Speaker 1>to the brain, but they resuscitated him and he was

0:31:52.880 --> 0:31:57.880
<v Speaker 1>all right. But during rehabilitation he presented with some symptoms,

0:31:57.960 --> 0:32:01.960
<v Speaker 1>including neurological impairment and uh So, several of the things

0:32:02.040 --> 0:32:07.200
<v Speaker 1>they report are disorientation, apathy. What they called brady phrenium,

0:32:07.320 --> 0:32:11.280
<v Speaker 1>meaning slowness of thought, short term memory problems and things

0:32:11.320 --> 0:32:16.880
<v Speaker 1>like that. And imaging particularly E. G. Showed decreased functioning

0:32:16.880 --> 0:32:19.920
<v Speaker 1>in the brain, especially in the bezo temporal areas, and

0:32:19.960 --> 0:32:23.760
<v Speaker 1>he continued to exhibit some neurological symptoms in the following years.

0:32:24.320 --> 0:32:26.640
<v Speaker 1>And here's where we get to the music. I'll read

0:32:26.680 --> 0:32:30.040
<v Speaker 1>straight from the case report quote. We were approached in

0:32:30.160 --> 0:32:33.400
<v Speaker 1>May two eight by the patient's wife, who got to

0:32:33.440 --> 0:32:36.720
<v Speaker 1>know our center of expertise through the internet. She was

0:32:36.800 --> 0:32:40.719
<v Speaker 1>close to desperation from listening to the whistling of the

0:32:40.800 --> 0:32:45.360
<v Speaker 1>same carnival song for nearly sixteen years. It would go

0:32:45.400 --> 0:32:48.800
<v Speaker 1>on for five to eight hours every day and got

0:32:48.800 --> 0:32:52.880
<v Speaker 1>worse when the patient was tired. So it's a mix

0:32:53.040 --> 0:32:57.160
<v Speaker 1>like obviously it's uh, you know, I was snagged by

0:32:57.200 --> 0:33:00.160
<v Speaker 1>the idea of of repetitive whistling of a carnival song,

0:33:00.200 --> 0:33:02.800
<v Speaker 1>but when you actually hear the details, it is I

0:33:02.840 --> 0:33:05.800
<v Speaker 1>don't know that it's a very unfortunate situation to imagine

0:33:05.840 --> 0:33:09.520
<v Speaker 1>that like the whistling of the same song goes on

0:33:09.640 --> 0:33:14.520
<v Speaker 1>four five to eight hours a day for sixteen years. Now.

0:33:14.520 --> 0:33:17.960
<v Speaker 1>The authors here talk about treatments that were tried, including

0:33:18.000 --> 0:33:23.040
<v Speaker 1>a drug called clamypramine, which is a tricyclic antidepressant that

0:33:23.200 --> 0:33:27.000
<v Speaker 1>is sometimes used to treat obsessive compulsive disorder, which obviously

0:33:27.000 --> 0:33:30.520
<v Speaker 1>share some features with what's being described here uh that

0:33:30.600 --> 0:33:35.080
<v Speaker 1>among other conditions. But basically this drug regimen did manage

0:33:35.120 --> 0:33:38.080
<v Speaker 1>to decrease the whistling by about half, but it also

0:33:38.160 --> 0:33:40.560
<v Speaker 1>came with some very difficult side effects in in this

0:33:40.600 --> 0:33:44.360
<v Speaker 1>man's case, and the repetitive whistling of a carnival song

0:33:44.440 --> 0:33:46.920
<v Speaker 1>NonStop for five to eight hours a day could be

0:33:46.960 --> 0:33:51.480
<v Speaker 1>considered an example of what psychiatrists would call compulsivity, which

0:33:51.520 --> 0:33:55.640
<v Speaker 1>the authors describe as quote, the repetitive, irresistible urge to

0:33:55.680 --> 0:33:59.840
<v Speaker 1>perform a behavior, the experience of loss of voluntary control

0:34:00.040 --> 0:34:03.920
<v Speaker 1>over this intense urge, and the tendency to perform repetitive

0:34:03.960 --> 0:34:07.680
<v Speaker 1>acts in a habitual or stereotyped manner. So they talk

0:34:07.720 --> 0:34:10.719
<v Speaker 1>about how the man would whistle the song on a

0:34:10.840 --> 0:34:14.160
<v Speaker 1>on a loop all day pretty much, and that at

0:34:14.200 --> 0:34:16.839
<v Speaker 1>certain points they could make him stop doing it, though

0:34:16.880 --> 0:34:21.840
<v Speaker 1>he reported after he stopped that he experienced anxiety um

0:34:21.880 --> 0:34:25.759
<v Speaker 1>and in their discussion, the authors explain how the man

0:34:25.800 --> 0:34:28.239
<v Speaker 1>in this report showed symptoms that could be consistent with

0:34:28.320 --> 0:34:32.560
<v Speaker 1>three different interpretations of his condition. So, first of all,

0:34:32.600 --> 0:34:35.800
<v Speaker 1>they talk about the idea of a frontal syndrome characterized

0:34:35.880 --> 0:34:40.479
<v Speaker 1>by impulsivity and disinhibition. I think frontal syndrome there because

0:34:40.560 --> 0:34:43.840
<v Speaker 1>it's the frontal lobe that is very important for inhibiting behavior.

0:34:43.920 --> 0:34:48.040
<v Speaker 1>That's your sort of like self control mechanism um. And

0:34:48.080 --> 0:34:51.680
<v Speaker 1>then second a compulsivity condition known as punding, which is

0:34:51.800 --> 0:34:56.440
<v Speaker 1>characterized by quote, purposeless and repetitive behavior such as collecting

0:34:56.600 --> 0:35:00.800
<v Speaker 1>or arranging things often related to the patient's personal hobbies

0:35:00.880 --> 0:35:04.719
<v Speaker 1>or occupation, and attributed to alterations of the brain's reward

0:35:04.840 --> 0:35:08.400
<v Speaker 1>and motor systems in both the ventral and dorsal stree atom.

0:35:08.440 --> 0:35:10.520
<v Speaker 1>And then the final interpretation would be a sort of

0:35:10.560 --> 0:35:15.799
<v Speaker 1>acquired form of obsessive compulsive disorder or o c D UH,

0:35:15.800 --> 0:35:18.320
<v Speaker 1>And there are other examples of people acquiring o c

0:35:18.520 --> 0:35:20.880
<v Speaker 1>D after a brain injury later in life. The o

0:35:21.000 --> 0:35:24.840
<v Speaker 1>c D is usually acquired gradually earlier on in life.

0:35:25.320 --> 0:35:28.640
<v Speaker 1>And they say all of these explanations matched the observations

0:35:28.680 --> 0:35:32.319
<v Speaker 1>in some ways but not in others. But one thing

0:35:32.640 --> 0:35:35.080
<v Speaker 1>they got into that I thought was interesting here was

0:35:35.120 --> 0:35:40.080
<v Speaker 1>talking about the different characteristics of impulsivity versus compulsivity in

0:35:40.120 --> 0:35:43.520
<v Speaker 1>the brain. So the rite quote, one may conclude that

0:35:43.560 --> 0:35:48.080
<v Speaker 1>the whistling with its repetitions is primarily compulsive rather than

0:35:48.160 --> 0:35:52.560
<v Speaker 1>impulsive or disinhibitive, as the patient had a constant urge

0:35:52.600 --> 0:35:56.319
<v Speaker 1>to whistle and felt anxiety when asked to stop rather

0:35:56.400 --> 0:36:00.400
<v Speaker 1>than acting without foresight. The fact that anxiety was felt

0:36:00.560 --> 0:36:04.160
<v Speaker 1>is in line with compulsivity rather than impulsivity, assuming that

0:36:04.200 --> 0:36:09.400
<v Speaker 1>compulsive behaviors are performed to prevent perceived negative consequences from happening.

0:36:09.920 --> 0:36:13.120
<v Speaker 1>So this is a useful distinction for thinking about because

0:36:13.120 --> 0:36:15.759
<v Speaker 1>when we you know, outside of the medical context, when

0:36:15.760 --> 0:36:19.960
<v Speaker 1>we think about these words impulsive or compulsive, they both

0:36:20.040 --> 0:36:23.120
<v Speaker 1>I think usually refer to situations where a person seems

0:36:23.120 --> 0:36:26.640
<v Speaker 1>to lack executive control. They lack the ability to control

0:36:26.680 --> 0:36:30.880
<v Speaker 1>their own behavior or prevent themselves from doing something, but

0:36:30.960 --> 0:36:35.480
<v Speaker 1>in very different ways. So in impulsivity, you feel an

0:36:35.560 --> 0:36:39.120
<v Speaker 1>urge to do something, but some process taking place in

0:36:39.120 --> 0:36:42.560
<v Speaker 1>your frontal lobe tells you that's not appropriate and stops

0:36:42.600 --> 0:36:45.319
<v Speaker 1>you from doing it. But the urge itself might be

0:36:45.400 --> 0:36:48.960
<v Speaker 1>something normal that, like we would all think of doing

0:36:49.000 --> 0:36:51.640
<v Speaker 1>for a second, it might cross our mind to do it,

0:36:51.680 --> 0:36:54.239
<v Speaker 1>but then we would turn away from actually doing it

0:36:54.600 --> 0:36:58.719
<v Speaker 1>because of some inhibition mechanism in the brain. Examples of

0:36:58.719 --> 0:37:01.600
<v Speaker 1>this include all kinds of stuff, spitting on the floor,

0:37:01.880 --> 0:37:05.920
<v Speaker 1>or making a rude or inappropriate comment and conversation, or

0:37:06.160 --> 0:37:08.879
<v Speaker 1>jumping out of a moving car. They can they can

0:37:08.960 --> 0:37:12.160
<v Speaker 1>vary wildly from you know, minor things to extreme things.

0:37:12.520 --> 0:37:15.280
<v Speaker 1>They would all be things though, that even a person

0:37:15.360 --> 0:37:19.440
<v Speaker 1>with typical neuro anatomy might think for a second about doing,

0:37:19.480 --> 0:37:22.000
<v Speaker 1>but then they would be able to stop themselves. All right.

0:37:22.040 --> 0:37:23.680
<v Speaker 1>I think we can all think of examples of this

0:37:23.719 --> 0:37:25.600
<v Speaker 1>from our own life, where you have it's like it's

0:37:25.760 --> 0:37:27.960
<v Speaker 1>you're just in a situation and you may think of

0:37:28.000 --> 0:37:31.360
<v Speaker 1>like something just ridiculous or absurd or antisocial that you

0:37:31.440 --> 0:37:34.600
<v Speaker 1>theoretically could do, and then you sort of but you

0:37:34.640 --> 0:37:37.480
<v Speaker 1>recoil from it and you realize, oh, well, of course

0:37:37.520 --> 0:37:38.759
<v Speaker 1>I'm not going to do that. And it can be

0:37:38.800 --> 0:37:40.640
<v Speaker 1>a little shocking to think that you even thought about

0:37:40.640 --> 0:37:43.200
<v Speaker 1>doing that, Like why did I think that, hey, I

0:37:43.239 --> 0:37:45.160
<v Speaker 1>could take my wallet out and throw it off of

0:37:45.200 --> 0:37:48.520
<v Speaker 1>this building or off of this bridge that I'm on. Yeah. Yeah,

0:37:48.760 --> 0:37:50.879
<v Speaker 1>we did a whole episode one time called the imp

0:37:50.920 --> 0:37:53.960
<v Speaker 1>of the Perverse. That was about this idea that like

0:37:54.080 --> 0:37:56.279
<v Speaker 1>that there is some kind of It was about the

0:37:56.320 --> 0:37:59.239
<v Speaker 1>first half before the inhibition comes in. It's like, what

0:37:59.400 --> 0:38:02.040
<v Speaker 1>is that? Or to do things that are obviously not

0:38:02.160 --> 0:38:04.719
<v Speaker 1>in your best interests, but you suddenly just feel like, oh,

0:38:04.760 --> 0:38:06.680
<v Speaker 1>I should do that. But then you're able to put

0:38:06.719 --> 0:38:08.400
<v Speaker 1>the you know, put the lid on it and say no,

0:38:08.600 --> 0:38:11.400
<v Speaker 1>I shouldn't do that. People with a frontal syndrome often

0:38:11.440 --> 0:38:17.120
<v Speaker 1>have impulsivity problems because they whatever the normal disinhibition mechanism

0:38:17.120 --> 0:38:19.120
<v Speaker 1>in the brain is that has been damaged in some

0:38:19.239 --> 0:38:24.400
<v Speaker 1>way by their injury. So contrast that that impulsivity with compulsivity,

0:38:24.440 --> 0:38:27.720
<v Speaker 1>where a person also lacks the ability to stop themselves

0:38:27.800 --> 0:38:30.439
<v Speaker 1>from performing an action, but it's an action that they

0:38:30.600 --> 0:38:35.400
<v Speaker 1>feel they must do repetitively in order to prevent some

0:38:35.520 --> 0:38:39.239
<v Speaker 1>kind of bad consequence from happening. So remember it was

0:38:39.280 --> 0:38:42.640
<v Speaker 1>said that the man here would whistle constantly, but he

0:38:42.719 --> 0:38:46.480
<v Speaker 1>felt the immediate onset of anxiety if he stopped whistling

0:38:46.520 --> 0:38:49.080
<v Speaker 1>the carnival song. So that makes it sound more like

0:38:49.160 --> 0:38:52.400
<v Speaker 1>it's it's compulsivity here, that it's something that he felt

0:38:52.480 --> 0:38:57.120
<v Speaker 1>he had to do repetitively or else negative consequences would emerge.

0:38:58.000 --> 0:39:00.719
<v Speaker 1>And the case history here man is that the man

0:39:00.880 --> 0:39:04.440
<v Speaker 1>once worked as head of a carnival association. And the

0:39:04.480 --> 0:39:06.480
<v Speaker 1>authors don't say this, so we don't know this, but

0:39:06.560 --> 0:39:09.959
<v Speaker 1>it seems like a reasonable guess that the carnival tune

0:39:10.000 --> 0:39:12.480
<v Speaker 1>he was whistling was one he was familiar with from

0:39:12.520 --> 0:39:15.200
<v Speaker 1>his own past working uh, working as the head of

0:39:15.200 --> 0:39:19.080
<v Speaker 1>a carnival association, maybe even one he associated with a

0:39:19.200 --> 0:39:22.680
<v Speaker 1>time when he was more in control. That's fascinating because

0:39:22.680 --> 0:39:25.160
<v Speaker 1>it also this ties into sort of the power of music,

0:39:25.280 --> 0:39:28.040
<v Speaker 1>right like we have we we all use music, I

0:39:28.080 --> 0:39:31.320
<v Speaker 1>think at times to to augment our current mental state,

0:39:31.680 --> 0:39:37.760
<v Speaker 1>to draw in uh mental feelings of of of power

0:39:38.040 --> 0:39:42.400
<v Speaker 1>or assertiveness, but also uh sadness, whatever the case might be,

0:39:42.520 --> 0:39:45.360
<v Speaker 1>whatever we feel like we need to connect with that

0:39:45.520 --> 0:39:48.600
<v Speaker 1>is not our current state exactly. But it also ties

0:39:48.640 --> 0:39:51.200
<v Speaker 1>into something that came up in previous episodes. So here

0:39:51.239 --> 0:39:54.000
<v Speaker 1>again we have a case of a man who suffers

0:39:54.040 --> 0:39:56.880
<v Speaker 1>neurological damage after a period where his brain isn't getting

0:39:56.960 --> 0:40:00.600
<v Speaker 1>enough oxygen. Uh. He never had any symptoms of obsessive

0:40:00.640 --> 0:40:03.680
<v Speaker 1>compulsive disorder or anything before this, but after this event

0:40:04.080 --> 0:40:07.680
<v Speaker 1>he acquired this tendency to engage in compulsive whistling. And

0:40:07.719 --> 0:40:11.040
<v Speaker 1>I thought it was interesting that the whistling, if it

0:40:11.160 --> 0:40:14.400
<v Speaker 1>is best interpreted as a way of staving off anxiety,

0:40:14.520 --> 0:40:17.600
<v Speaker 1>which the authors here suggested, is it made me think

0:40:17.640 --> 0:40:21.400
<v Speaker 1>of our discussion about whistling past the graveyard or whistling

0:40:21.400 --> 0:40:25.520
<v Speaker 1>in the dark, other cases where it's commonly observed that

0:40:25.560 --> 0:40:28.920
<v Speaker 1>people whistle in order to push out of fear or

0:40:29.239 --> 0:40:32.919
<v Speaker 1>or or thoughts of danger. Yeah. Yeah, absolutely, yeah, yeah,

0:40:32.960 --> 0:40:42.200
<v Speaker 1>more and more whistling past the grave yard for sure. Now, again,

0:40:42.239 --> 0:40:44.600
<v Speaker 1>as I mentioned earlier, it seemed like the psychological research

0:40:44.640 --> 0:40:48.040
<v Speaker 1>on whistling was far less developed than I would have expected.

0:40:48.080 --> 0:40:50.279
<v Speaker 1>Maybe there are some great studies out there that I

0:40:50.320 --> 0:40:52.520
<v Speaker 1>just wasn't able to find, So if you if you

0:40:52.560 --> 0:40:54.720
<v Speaker 1>know of them, please send them into the show account

0:40:54.760 --> 0:40:57.080
<v Speaker 1>contact at stuff to Blow your Mind dot com. But

0:40:57.120 --> 0:40:59.800
<v Speaker 1>the other major one I found, and this was cited

0:41:00.040 --> 0:41:03.320
<v Speaker 1>in in some other papers, is a paper from nineteen

0:41:03.360 --> 0:41:06.680
<v Speaker 1>fifty nine published in the journal Language and Speech called

0:41:06.800 --> 0:41:10.200
<v Speaker 1>Win People Whistle, And it's by the you see San

0:41:10.239 --> 0:41:15.200
<v Speaker 1>Francisco professor of psychiatry Peter F. Austwald, As I said, earlier.

0:41:15.239 --> 0:41:17.200
<v Speaker 1>I do want to mention this one because it has

0:41:17.320 --> 0:41:19.640
<v Speaker 1>some interesting ideas in it, but also it is an

0:41:19.640 --> 0:41:23.439
<v Speaker 1>older paper. It clearly is not constricted by empirical method.

0:41:23.520 --> 0:41:26.480
<v Speaker 1>This is not like reporting on on original experiments. It's

0:41:26.520 --> 0:41:31.000
<v Speaker 1>more kind of theorizing about what whistling might mean and

0:41:31.440 --> 0:41:35.959
<v Speaker 1>why people whistle, based on models that seem at least

0:41:35.960 --> 0:41:38.600
<v Speaker 1>influenced by Freudianism. A lot of it's about, you know,

0:41:38.760 --> 0:41:43.200
<v Speaker 1>fixations that uh uh sort of emerge from childhood development.

0:41:43.239 --> 0:41:46.080
<v Speaker 1>But anyway, okay, so who is this guy who wrote this? Austwald.

0:41:46.600 --> 0:41:48.480
<v Speaker 1>He seems like a kind of interesting guy. So he

0:41:48.560 --> 0:41:52.920
<v Speaker 1>lived from nineteen to nineteen six, and his life is

0:41:53.440 --> 0:41:56.759
<v Speaker 1>sort of divided between an interest in psychiatry on on

0:41:56.760 --> 0:41:59.799
<v Speaker 1>one hand, and music and music history on the other.

0:41:59.840 --> 0:42:03.960
<v Speaker 1>So he wrote biographies of musicians and composers like Schumann

0:42:04.080 --> 0:42:07.160
<v Speaker 1>and Glenn Gould. But also, to quote from his New

0:42:07.200 --> 0:42:11.000
<v Speaker 1>York Times obituary quote, in nineteen eighty six, he founded

0:42:11.040 --> 0:42:15.279
<v Speaker 1>the Health Program for Performing Artists, a voluntary group of

0:42:15.320 --> 0:42:19.600
<v Speaker 1>specialists engaged in research, education, and clinical care of the

0:42:19.680 --> 0:42:24.160
<v Speaker 1>particular mental and medical problems afflicting musicians, dancers, and other

0:42:24.200 --> 0:42:28.600
<v Speaker 1>performing artists. Both professionals and students. And I thought that

0:42:28.640 --> 0:42:31.560
<v Speaker 1>was very interesting because now that I think about it,

0:42:31.560 --> 0:42:33.400
<v Speaker 1>it clearly makes sense that you could have a medical

0:42:33.440 --> 0:42:37.200
<v Speaker 1>center focused on the mental and physical health needs of

0:42:37.239 --> 0:42:39.960
<v Speaker 1>performing artists, in particular, because I'd imagine there would be

0:42:39.960 --> 0:42:43.680
<v Speaker 1>patterns in their needs, but it never occurred to me

0:42:43.719 --> 0:42:45.759
<v Speaker 1>that such a thing would exist. Yeah, I mean it

0:42:46.120 --> 0:42:49.400
<v Speaker 1>makes sense, right, because we have sports medicine. Athletes do

0:42:49.520 --> 0:42:52.200
<v Speaker 1>extreme things with their bodies that put special types of

0:42:52.200 --> 0:42:54.440
<v Speaker 1>wear and tear on them, and you could I think

0:42:54.480 --> 0:42:57.960
<v Speaker 1>you can very fairly say the same thing for performers,

0:42:58.040 --> 0:43:00.800
<v Speaker 1>especially when you're thinking about something like d ats or

0:43:01.000 --> 0:43:05.080
<v Speaker 1>vocal performance. Totally, But okay, what what does Ostfauld say

0:43:05.200 --> 0:43:09.440
<v Speaker 1>in this language psychology paper? Mainly, this article is focused

0:43:09.440 --> 0:43:13.040
<v Speaker 1>on questions of why humans whistle, what purpose it serves,

0:43:13.440 --> 0:43:16.200
<v Speaker 1>what whistling tends to mean, and how it differs from

0:43:16.200 --> 0:43:19.839
<v Speaker 1>other forms of noise production. I'm not gonna get into

0:43:19.880 --> 0:43:21.960
<v Speaker 1>everything he theorizes about in this paper, but I did

0:43:21.960 --> 0:43:26.120
<v Speaker 1>want to focus on one part where he's sort of, uh,

0:43:26.400 --> 0:43:28.799
<v Speaker 1>taking a look at the phenomenology of whistling. What does

0:43:28.840 --> 0:43:32.040
<v Speaker 1>it feel like to whistle? Like? Is it pleasurable to people,

0:43:32.160 --> 0:43:34.400
<v Speaker 1>and if it is, which it often seems to be,

0:43:34.880 --> 0:43:37.799
<v Speaker 1>why is it pleasurable? So to check one of the

0:43:37.880 --> 0:43:41.239
<v Speaker 1>very Freudian boxes, he he argues that, first of all,

0:43:41.280 --> 0:43:44.960
<v Speaker 1>the act of whistling involves manipulation of the muscles in

0:43:45.000 --> 0:43:47.200
<v Speaker 1>the face and the mouth in a way that may

0:43:47.239 --> 0:43:51.680
<v Speaker 1>produce hedonic states and feelings of comfort and pleasure because

0:43:51.760 --> 0:43:55.800
<v Speaker 1>of its similarity to the facial and mouth movements of

0:43:55.960 --> 0:43:58.880
<v Speaker 1>what he calls oral gratification. And so he expands that

0:43:58.920 --> 0:44:01.799
<v Speaker 1>to all kinds of things like eating and smoking, but

0:44:02.120 --> 0:44:06.480
<v Speaker 1>he specifically ties it into the facial and mouth muscle

0:44:06.520 --> 0:44:09.400
<v Speaker 1>movements of a feeding infant. So this is one of

0:44:09.400 --> 0:44:12.160
<v Speaker 1>those things that, well, it's hard to disprove that, but

0:44:12.440 --> 0:44:15.360
<v Speaker 1>I'm not convinced there's much evidence to establish that exact

0:44:15.440 --> 0:44:18.200
<v Speaker 1>causal chain that like doing the same thing with your

0:44:18.239 --> 0:44:20.520
<v Speaker 1>face muscles that you did when you were a baby

0:44:20.520 --> 0:44:25.480
<v Speaker 1>in your mother's arms produces comfort and for the same reason. Uh,

0:44:25.520 --> 0:44:28.560
<v Speaker 1>I don't, I don't know how you would show that. Yeah,

0:44:28.600 --> 0:44:31.840
<v Speaker 1>And also I'd be skeptical that there's a general principle

0:44:32.000 --> 0:44:35.800
<v Speaker 1>that doing something with the you know, the skeletal muscle

0:44:35.880 --> 0:44:38.320
<v Speaker 1>in your body that is similar to what that muscle

0:44:38.360 --> 0:44:42.480
<v Speaker 1>does in some other unrelated activity that is pleasurable in

0:44:42.480 --> 0:44:45.400
<v Speaker 1>some way gives you pleasure in the secondary activity just

0:44:45.440 --> 0:44:48.000
<v Speaker 1>because you're using the same muscles. I don't know. I mean,

0:44:48.080 --> 0:44:51.399
<v Speaker 1>you could think of uh ways that you would use

0:44:51.440 --> 0:44:54.120
<v Speaker 1>the same muscles you might use in some pleasurable activity,

0:44:54.120 --> 0:44:57.279
<v Speaker 1>but it doesn't bring pleasure. Does just like pretending to

0:44:57.400 --> 0:44:59.799
<v Speaker 1>chew bring you the same kind of pleasure you get

0:44:59.800 --> 0:45:05.600
<v Speaker 1>from eating and so forth? Uh yeah, generally not Uh yeah, yeah,

0:45:05.600 --> 0:45:08.680
<v Speaker 1>you can't. You can't just say, pretend to be eating

0:45:08.680 --> 0:45:11.759
<v Speaker 1>your favorite dish and uh. I mean maybe if you're

0:45:11.800 --> 0:45:14.080
<v Speaker 1>hungry enough you can you complete into it a little bit.

0:45:14.160 --> 0:45:16.080
<v Speaker 1>I don't know, but yeah, for the most part, I

0:45:16.600 --> 0:45:19.640
<v Speaker 1>don't really put a lot of stock in this this notion. Yeah,

0:45:19.640 --> 0:45:21.439
<v Speaker 1>so I got doubts about that. But then he makes

0:45:21.440 --> 0:45:23.319
<v Speaker 1>some other points that I think are I don't know,

0:45:23.640 --> 0:45:27.320
<v Speaker 1>more worth considering. Uh, this next one is still sort

0:45:27.320 --> 0:45:30.000
<v Speaker 1>of along Freudian lines, but I think it's it's I

0:45:30.000 --> 0:45:32.000
<v Speaker 1>don't know, it feels different to me. So see what

0:45:32.040 --> 0:45:34.480
<v Speaker 1>you think about this. He says, quote. In addition to

0:45:34.520 --> 0:45:41.480
<v Speaker 1>the mouth and face whistling involves the respiratory structures. These structures, chest, abdomen, lungs,

0:45:41.560 --> 0:45:45.319
<v Speaker 1>wind pipes, and throat move of their own accord regulated

0:45:45.320 --> 0:45:50.080
<v Speaker 1>by neuronal and chemical processes beyond voluntary control. But the

0:45:50.120 --> 0:45:54.239
<v Speaker 1>whistler in effect willfully imposes his own rhythm, amplitude, and

0:45:54.400 --> 0:45:59.680
<v Speaker 1>organization pattern on these automatic movements. Psychological studies show that

0:45:59.760 --> 0:46:03.719
<v Speaker 1>if the individual is rewarded by attention or praise when

0:46:03.800 --> 0:46:07.839
<v Speaker 1>he first gains control over such automatic processes, he may

0:46:07.920 --> 0:46:12.399
<v Speaker 1>continue to expect satisfaction from this display of skill. As

0:46:12.440 --> 0:46:16.080
<v Speaker 1>will be shown later, whistling arouses the attention of listeners,

0:46:16.160 --> 0:46:20.399
<v Speaker 1>so that the whistler's bodily mastery is almost universally rewarded

0:46:20.440 --> 0:46:23.480
<v Speaker 1>in some way. And I don't know at a at

0:46:23.480 --> 0:46:25.799
<v Speaker 1>a gut level, this seemed a little more plausible to

0:46:25.840 --> 0:46:28.759
<v Speaker 1>me that there could be like a learned association of

0:46:28.840 --> 0:46:34.759
<v Speaker 1>positive reinforcement upon gaining conscious control over previously automatic or

0:46:34.800 --> 0:46:37.920
<v Speaker 1>autonomic processes. And I think one of the main ideas

0:46:37.960 --> 0:46:40.600
<v Speaker 1>this ties into here is like toilet training, that you know,

0:46:40.640 --> 0:46:43.840
<v Speaker 1>there could be some kind of bleed over with pleasure

0:46:44.080 --> 0:46:48.680
<v Speaker 1>upon a general pleasure upon taking conscious control of things

0:46:48.760 --> 0:46:51.200
<v Speaker 1>like breath, and that would sort of check out with

0:46:51.280 --> 0:46:52.879
<v Speaker 1>other things. I mean, there are a lot of things

0:46:52.960 --> 0:46:57.480
<v Speaker 1>people do to seemingly bring themselves pleasure and comfort just

0:46:57.600 --> 0:47:02.000
<v Speaker 1>by taking conscious control of breath, which is normally automatic. Yeah,

0:47:02.040 --> 0:47:05.080
<v Speaker 1>this does remind me of certain potty training techniques for

0:47:05.080 --> 0:47:07.279
<v Speaker 1>for kids where there will be for instance, if you're

0:47:07.320 --> 0:47:10.319
<v Speaker 1>you're you're trying to teach the the the very young

0:47:10.440 --> 0:47:15.240
<v Speaker 1>child to have some degree of control over when they defecate. Uh,

0:47:15.640 --> 0:47:17.520
<v Speaker 1>there's a there's a like a technique where you're that

0:47:17.560 --> 0:47:20.719
<v Speaker 1>you're getting them to hum while they do it. So

0:47:20.800 --> 0:47:22.360
<v Speaker 1>it's yeah, I can see where you can have a

0:47:22.360 --> 0:47:24.480
<v Speaker 1>lot of connection between the two here. Oh and in

0:47:24.760 --> 0:47:26.560
<v Speaker 1>the next section I want to talk about he actually

0:47:27.000 --> 0:47:30.759
<v Speaker 1>ties directly into that. So oust Bald writes, quote, some

0:47:30.920 --> 0:47:33.600
<v Speaker 1>of the emotions that accompany the act of whistling would

0:47:33.600 --> 0:47:37.480
<v Speaker 1>appear to result from wishful thoughts and magical fantasies in

0:47:37.520 --> 0:47:41.000
<v Speaker 1>the mind of the whistler. Whistling, because it involves the

0:47:41.040 --> 0:47:44.920
<v Speaker 1>production of wordless sounds, may bring back memories of that

0:47:45.080 --> 0:47:48.319
<v Speaker 1>very early period during which the child could not distinguish

0:47:48.400 --> 0:47:51.640
<v Speaker 1>between those sounds which came from the outside world and

0:47:51.719 --> 0:47:54.880
<v Speaker 1>those sounds which came from his own body. During this

0:47:54.960 --> 0:47:59.120
<v Speaker 1>phase of personality development. One is unsure of the significance

0:47:59.239 --> 0:48:03.040
<v Speaker 1>of sound. One cannot tell whether a certain noise, say

0:48:03.080 --> 0:48:07.600
<v Speaker 1>one's footsteps, has personal meaning referable only to his own body,

0:48:08.200 --> 0:48:10.759
<v Speaker 1>or has a public meaning with some reference to the

0:48:10.800 --> 0:48:14.719
<v Speaker 1>world of other people. In this confused state, the individual

0:48:14.800 --> 0:48:17.160
<v Speaker 1>may come to believe that the sounds he produces have

0:48:17.280 --> 0:48:22.279
<v Speaker 1>some causal relationship to what he experiences. Whistling, like other

0:48:22.360 --> 0:48:28.360
<v Speaker 1>noises he makes, may thus be associated with fantasies of omnipotence, which,

0:48:28.520 --> 0:48:33.760
<v Speaker 1>unless corrected by reality, can lead to delusions of grandeur. Uh.

0:48:33.800 --> 0:48:35.799
<v Speaker 1>This was really interesting to me because think about how

0:48:35.800 --> 0:48:38.560
<v Speaker 1>many things we've already looked at where there's some belief that,

0:48:38.600 --> 0:48:41.680
<v Speaker 1>like whistling gives you power to like change the external

0:48:41.719 --> 0:48:45.200
<v Speaker 1>world somehow. Yeah yeah, ties directly into the wind magic

0:48:45.280 --> 0:48:47.920
<v Speaker 1>we've been discussing and uh and getting, and even connects

0:48:47.920 --> 0:48:52.040
<v Speaker 1>back to the the Taoist transcendental whistling as well totally,

0:48:52.440 --> 0:48:56.200
<v Speaker 1>or even the Terence mckenneth thing. Yeah yeah, yeah, but okay,

0:48:56.239 --> 0:49:00.120
<v Speaker 1>So coming back to this, um Ostfald writes, quote, Occasionally

0:49:00.239 --> 0:49:04.880
<v Speaker 1>parents or other adults inadvertently encourage magical behavior in their children,

0:49:05.280 --> 0:49:08.880
<v Speaker 1>and thus reinforce fanciful thoughts about whistling and other sounds.

0:49:09.040 --> 0:49:13.360
<v Speaker 1>For example, nurses have been known to employ whistles to quote,

0:49:13.520 --> 0:49:18.520
<v Speaker 1>make the child urinate and kindly. Grandparents not infrequently whistle

0:49:18.600 --> 0:49:22.359
<v Speaker 1>away the aches and bruises of a youngster. Yeah. Yeah,

0:49:22.400 --> 0:49:25.120
<v Speaker 1>I can see the whip again, whistling as the as

0:49:25.120 --> 0:49:27.120
<v Speaker 1>a sound of wind, but also the sound of water

0:49:27.600 --> 0:49:29.960
<v Speaker 1>moving water. We touched on that and then some of

0:49:30.000 --> 0:49:31.799
<v Speaker 1>these ideas that you can get an ox or a

0:49:31.800 --> 0:49:36.560
<v Speaker 1>horse to drink water by whistling at it um, which

0:49:36.840 --> 0:49:39.279
<v Speaker 1>there may not be anything to that, but using it

0:49:39.320 --> 0:49:41.719
<v Speaker 1>as some sort of a potty training. Yeah, that I

0:49:41.760 --> 0:49:46.000
<v Speaker 1>can imagine the humming sound being for the deification that

0:49:46.120 --> 0:49:49.000
<v Speaker 1>with the whistling sound being for uh, you know, the

0:49:49.000 --> 0:49:51.480
<v Speaker 1>creation of water with one's body, that sort of thing.

0:49:51.800 --> 0:49:54.560
<v Speaker 1>And that could actually have efficacy when you're whistling to

0:49:54.840 --> 0:49:57.600
<v Speaker 1>a person, right because they hear that that has some

0:49:57.680 --> 0:50:01.440
<v Speaker 1>associative significance for them. It may actually help motivate, i

0:50:01.480 --> 0:50:03.520
<v Speaker 1>don't know, going to the bathroom, or may actually make

0:50:03.560 --> 0:50:07.279
<v Speaker 1>them feel subjectively less pain or something like that. But

0:50:07.360 --> 0:50:10.920
<v Speaker 1>that could that could lead to the erroneous assumption therefore

0:50:11.400 --> 0:50:15.680
<v Speaker 1>that you can have have physically implausible control over the

0:50:15.719 --> 0:50:20.920
<v Speaker 1>external world with whistling somehow. Yeah, anyway. Ostwald then relates

0:50:21.000 --> 0:50:23.680
<v Speaker 1>this to reports tying directly back into our previous episode

0:50:23.680 --> 0:50:28.200
<v Speaker 1>about sailors who have intense superstitions about whistling and believe

0:50:28.280 --> 0:50:32.000
<v Speaker 1>that it contains powerful and dangerous magic. You know, again

0:50:32.000 --> 0:50:36.040
<v Speaker 1>whistling for the wind. And he also discusses magical beliefs

0:50:36.040 --> 0:50:39.879
<v Speaker 1>about whistling to summon birds and Celtic tales. Uh, and

0:50:40.360 --> 0:50:44.280
<v Speaker 1>this involves a mediating technology. Plenty of stories about beasts

0:50:44.360 --> 0:50:47.239
<v Speaker 1>and magical creatures that are commanded by a flute, you know,

0:50:47.280 --> 0:50:51.280
<v Speaker 1>think of the god pan and the magical cy rings

0:50:51.920 --> 0:50:57.640
<v Speaker 1>and so forth, but also the the piper pie piper. Yes,

0:50:58.680 --> 0:51:00.880
<v Speaker 1>but the interesting observe ration that sort of puts a

0:51:00.920 --> 0:51:03.480
<v Speaker 1>bow on this whole thing is he uh he ends

0:51:03.560 --> 0:51:06.759
<v Speaker 1>up talking about whistling as a form of non verbal signaling.

0:51:06.920 --> 0:51:11.000
<v Speaker 1>So uh here he would uh specifically not be talking

0:51:11.040 --> 0:51:14.160
<v Speaker 1>about actual languages that use whistles, where there's a full

0:51:14.239 --> 0:51:18.239
<v Speaker 1>language and the whistle is actually mean words. Um, so

0:51:18.440 --> 0:51:22.200
<v Speaker 1>you know, he's not talking about whistling with precise informational content,

0:51:22.280 --> 0:51:25.719
<v Speaker 1>but rather the more informal type of communication done via

0:51:25.719 --> 0:51:30.600
<v Speaker 1>whistling in in other contexts, he writes, quote, wordless signals

0:51:30.680 --> 0:51:33.799
<v Speaker 1>usually have a vague and imprecise meaning. They do not

0:51:34.080 --> 0:51:39.399
<v Speaker 1>usually communicate ideas, but serve rather to attract attention, And

0:51:39.480 --> 0:51:42.440
<v Speaker 1>he describes some of the same research we've already talked about,

0:51:42.760 --> 0:51:45.120
<v Speaker 1>for example, that whistling is a type of noise making

0:51:45.120 --> 0:51:48.719
<v Speaker 1>that travels especially well by concentrating energy and the wonderful

0:51:48.840 --> 0:51:51.880
<v Speaker 1>kill hurts range, which is the best window for for

0:51:51.960 --> 0:51:55.000
<v Speaker 1>humans to hear. It's sort of a perfect attention getter.

0:51:55.560 --> 0:51:58.680
<v Speaker 1>But in the context of most cultures, cultures where whistling

0:51:58.719 --> 0:52:02.200
<v Speaker 1>does not constitute a length, which it doesn't contain words

0:52:02.320 --> 0:52:05.520
<v Speaker 1>or precise information, again, it's meaning is vague. It's just

0:52:05.600 --> 0:52:09.839
<v Speaker 1>an attention getter. And personally, I think maybe it's in

0:52:09.920 --> 0:52:13.600
<v Speaker 1>this vagueness that a lot of the superstitions and ideas

0:52:13.640 --> 0:52:18.000
<v Speaker 1>about the magical danger of whistling could emerge, because it's

0:52:18.040 --> 0:52:20.360
<v Speaker 1>a it's sort of a one to punch. It's this paradox.

0:52:20.400 --> 0:52:24.399
<v Speaker 1>Whistling is like the most powerful signal you can make

0:52:24.440 --> 0:52:27.840
<v Speaker 1>with your body to attract attention. The most powerful sound

0:52:28.000 --> 0:52:30.960
<v Speaker 1>signal you can make, right, is this piercing sound. It

0:52:31.040 --> 0:52:34.520
<v Speaker 1>travels far, it makes people turn their heads. It's like

0:52:34.560 --> 0:52:38.480
<v Speaker 1>a beacon, and yet in most cases it doesn't form

0:52:38.600 --> 0:52:42.560
<v Speaker 1>precise words or phrases, so you can't be sure what

0:52:42.680 --> 0:52:46.680
<v Speaker 1>kind of attention you're attracting. It's just a general beacon.

0:52:46.760 --> 0:52:49.200
<v Speaker 1>It could attract a friend, or if you're in a

0:52:49.280 --> 0:52:51.680
<v Speaker 1>dangerous place, maybe you're on the sea, and they're all

0:52:51.760 --> 0:52:55.080
<v Speaker 1>kinds of forces at work, it could just as likely

0:52:55.120 --> 0:52:59.279
<v Speaker 1>attract unwanted attention, a dangerous enemy of some kind. And

0:52:59.360 --> 0:53:02.360
<v Speaker 1>because you can't form precise words with it, you also

0:53:02.520 --> 0:53:05.600
<v Speaker 1>don't know what you're saying or what you're asking for.

0:53:05.760 --> 0:53:07.920
<v Speaker 1>It's like the scene in the movie where you know,

0:53:08.000 --> 0:53:11.719
<v Speaker 1>you like read a spell from an ancient book in

0:53:11.719 --> 0:53:13.920
<v Speaker 1>another language, and you don't know what the words are,

0:53:14.040 --> 0:53:16.680
<v Speaker 1>so you don't know what kind of spell you're enacting

0:53:16.760 --> 0:53:19.640
<v Speaker 1>or what kind of trouble you're getting into. Yeah, or

0:53:19.800 --> 0:53:24.160
<v Speaker 1>thinking about the transmissions that we send into outer space,

0:53:24.320 --> 0:53:26.640
<v Speaker 1>or that are sent from somewhere else in outer space

0:53:26.680 --> 0:53:30.640
<v Speaker 1>by some you know, presumably intelligent or once intelligent species,

0:53:31.320 --> 0:53:35.080
<v Speaker 1>like the potential danger of just of whistling into the

0:53:35.640 --> 0:53:38.840
<v Speaker 1>cosmic darkness, and you don't know who is going to

0:53:38.920 --> 0:53:41.080
<v Speaker 1>receive the signal and what they'll make of the signal.

0:53:41.600 --> 0:53:45.520
<v Speaker 1>I think that's a perfect analogy. Yeah, it's like I

0:53:45.560 --> 0:53:48.160
<v Speaker 1>think a lot of these fears and superstitions about the

0:53:48.160 --> 0:53:51.440
<v Speaker 1>magical power of whistling would be like, uh, if somebody

0:53:51.440 --> 0:53:53.520
<v Speaker 1>in the real context said, I have created the most

0:53:53.560 --> 0:53:59.520
<v Speaker 1>powerful radio transmitter that will omnidirectionally broadcast an incredibly clear

0:53:59.680 --> 0:54:02.640
<v Speaker 1>power or full signal that any other intelligence out there

0:54:02.680 --> 0:54:05.319
<v Speaker 1>could detect. We don't know what they'll make of it,

0:54:05.360 --> 0:54:09.800
<v Speaker 1>but let's just start transmitting. There would obviously be some

0:54:09.800 --> 0:54:12.719
<v Speaker 1>some real concerns about that from from some of the

0:54:13.120 --> 0:54:17.520
<v Speaker 1>less sanguine of extraterrestrial theorists. Yeah. I mean, imagine if

0:54:17.520 --> 0:54:21.680
<v Speaker 1>we just pipe circus music out, like just NonStop circus music,

0:54:21.719 --> 0:54:23.919
<v Speaker 1>what would they make of it? Maybe maybe the killer

0:54:23.960 --> 0:54:26.680
<v Speaker 1>clowns from outer space show up. That's the problem. God

0:54:26.760 --> 0:54:29.399
<v Speaker 1>help us. All Right, Well, we're gonna go ahead and

0:54:29.400 --> 0:54:33.040
<v Speaker 1>wrap up this four part whistling series here, But again,

0:54:33.080 --> 0:54:35.320
<v Speaker 1>we'd love to hear from everyone out there, because whistling

0:54:35.360 --> 0:54:37.319
<v Speaker 1>is something that I think all of us have some

0:54:37.360 --> 0:54:40.320
<v Speaker 1>connection to. You can whistle, or you can't whistle, or

0:54:40.360 --> 0:54:42.640
<v Speaker 1>you can sort of whistle, or there's some sort of

0:54:42.640 --> 0:54:45.520
<v Speaker 1>cultural ideas about whistling. There's something about whistling in the

0:54:45.520 --> 0:54:48.560
<v Speaker 1>way you were brought up. Uh, they're whistling in in

0:54:48.680 --> 0:54:51.320
<v Speaker 1>various pieces of media. So all of this is fair

0:54:51.320 --> 0:54:53.560
<v Speaker 1>game right in and we would love to hear from you.

0:54:54.080 --> 0:54:56.279
<v Speaker 1>In the meantime, you can always find core episodes of

0:54:56.280 --> 0:54:58.319
<v Speaker 1>Stuff to Blow your Mind on Tuesdays and Thursdays and

0:54:58.320 --> 0:55:01.480
<v Speaker 1>the Stuff to Blow your Mind podcast feed. On Monday's

0:55:01.520 --> 0:55:03.680
<v Speaker 1>we do listener mail, on Wednesday's we do a short

0:55:03.719 --> 0:55:06.920
<v Speaker 1>form artifact or monster fact episode, and on Friday's we

0:55:06.960 --> 0:55:08.960
<v Speaker 1>do Weird How Cinema. That's our time to set aside

0:55:09.000 --> 0:55:11.440
<v Speaker 1>most serious concerns and just talk about a strange film.

0:55:11.760 --> 0:55:15.040
<v Speaker 1>Huge thanks as always, who are excellent audio producer Seth

0:55:15.120 --> 0:55:17.799
<v Speaker 1>Nicholas Johnson. Uh. If you would like to get in

0:55:17.880 --> 0:55:20.520
<v Speaker 1>touch with us with feedback on this episode or any other,

0:55:20.840 --> 0:55:22.920
<v Speaker 1>to suggest a topic for the future, or just to

0:55:22.960 --> 0:55:25.720
<v Speaker 1>say hello, you can email us at contact at stuff

0:55:25.760 --> 0:55:35.799
<v Speaker 1>to Blow your Mind dot com. Stuff to Blow your

0:55:35.800 --> 0:55:38.759
<v Speaker 1>Mind is production of I Heart Radio. For more podcasts

0:55:38.760 --> 0:55:41.920
<v Speaker 1>for My Heart Radio, visit the iHeart Radio app, Apple Podcasts,

0:55:41.960 --> 0:56:01.200
<v Speaker 1>or wherever you're listening to your favorite shows. Five n