WEBVTT - Listener Mail: Near-death by Saxon 0:00:02.960 --> 0:00:05.280 Welcome to Stuff to Blow Your Mind, a production of 0:00:05.360 --> 0:00:11.000 My Heart Radio. Hey, welcome to Stuff to Blow your 0:00:11.039 --> 0:00:15.160 Mind Listener Mail. This is Robert Lamb and I'm Joe McCormick. 0:00:15.240 --> 0:00:17.720 And in today's very special episode of Stuff to Blow 0:00:17.760 --> 0:00:20.160 Your Mind Listener Mail, the mail bought Carnie will be 0:00:20.200 --> 0:00:23.560 played by special guest star John Saxon. Everybody, get a 0:00:23.600 --> 0:00:28.400 round of applause. Okay, Robert, you ready if I jump 0:00:28.560 --> 0:00:31.400 right into this first message about the tide of gold, 0:00:31.640 --> 0:00:39.800 Let's do it. Okay, this comes from Joseph, He writes, 0:00:40.360 --> 0:00:45.160 I just recently listened to the episode from June about 0:00:45.240 --> 0:00:48.320 harvesting gold from the ocean. I wanted to share that 0:00:48.360 --> 0:00:51.720 I received my master's degree in chemistry from San Francisco 0:00:51.760 --> 0:00:55.680 State University for studying a class of proteins known as 0:00:56.120 --> 0:00:59.200 and I think this would be phido key laton's uh 0:00:59.440 --> 0:01:01.640 if it'd be pronounced kind of like the word key lation, 0:01:01.760 --> 0:01:04.880 which is about bonding to metals. And that's also what 0:01:05.000 --> 0:01:07.360 these things do, I believe, so I think it's phyto 0:01:07.440 --> 0:01:11.640 keelatons or PCs. PCs are a family of sulfur rich 0:01:11.720 --> 0:01:15.920 peptides which are induced in plants yeast and fungi exposed 0:01:15.920 --> 0:01:19.520 to heavy metals and are thought to detoxify metals by 0:01:19.560 --> 0:01:25.600 forming PC metal complexes. I specifically studied PC cadmium complexes 0:01:25.680 --> 0:01:29.800 isolated from jimsunweed, native to California. It was the first 0:01:29.840 --> 0:01:32.720 study to report the size and nature of native PC 0:01:32.800 --> 0:01:37.240 cadmium complexes from plant tissue samples. Maybe I should start 0:01:37.280 --> 0:01:39.920 trying to round up investors from my new company to 0:01:39.920 --> 0:01:42.880 get more gold out of the soil. It might just work. 0:01:43.440 --> 0:01:45.640 Check out the paper if you're interested. And then Joseph 0:01:45.920 --> 0:01:48.120 links to the paper on which he's one of the 0:01:48.120 --> 0:01:50.880 co authors, published in the Journal of Mass Spectrometry in 0:01:50.960 --> 0:01:54.600 the R nine and Joseph says, thanks so much for 0:01:54.640 --> 0:01:58.520 the podcast. I'm now subscribed on Spotify. Joseph excellently well, 0:01:58.560 --> 0:02:02.400 thank you, Joseph, apreciate the subscription. But more to the point, 0:02:02.480 --> 0:02:06.360 we appreciate the the the expert feedback here on on 0:02:06.480 --> 0:02:09.920 this past episode and always happy to give people ideas 0:02:09.960 --> 0:02:19.960 for hoaxes, scams and scammers. All right, here we have 0:02:20.080 --> 0:02:23.440 another one. We keep getting email regarding our episodes on 0:02:23.600 --> 0:02:26.320 queueing on standing in line, and we love it because 0:02:26.360 --> 0:02:28.400 we knew this would be something that everybody would have 0:02:28.800 --> 0:02:33.280 some sort of insight on, personal, cultural, historic, et cetera. 0:02:34.200 --> 0:02:37.320 Hi Joe and Robert Joe's comments about the zipper merge 0:02:37.360 --> 0:02:41.440 when lanes are closed reminds me of a similar phenomenon 0:02:41.440 --> 0:02:44.919 that I experienced in Boston. It's something that outsiders generally 0:02:44.960 --> 0:02:47.919 perceived as rude and crazy, but I think it makes 0:02:48.000 --> 0:02:51.040 perfect sense, and it is to use some new vocabulary, 0:02:51.560 --> 0:02:56.720 almost a Parado improvement. In Boston, where the roads are narrow, 0:02:56.919 --> 0:03:00.120 there are rarely left turn lanes. At traffic lights, is 0:03:00.240 --> 0:03:02.720 very common for a left turner waiting at a red 0:03:02.800 --> 0:03:05.960 light to jump the light, making their left turn as 0:03:06.000 --> 0:03:08.520 soon as the light turns green, essentially cutting off the 0:03:08.520 --> 0:03:12.359 oncoming driver who is going straight through. In general, the 0:03:12.520 --> 0:03:15.360 driver in the oncoming lane will at least be prepared 0:03:15.400 --> 0:03:18.160 for this maneuver, and often will even wave the left 0:03:18.200 --> 0:03:21.400 turner ahead to make sure all involved parties are on 0:03:21.480 --> 0:03:25.400 the same page. This all results in an imperceptible loss 0:03:25.440 --> 0:03:28.280 of time for all cars in the oncoming direction, but 0:03:28.400 --> 0:03:30.880 saves all of the cars behind the left turner from 0:03:30.919 --> 0:03:33.839 having to wait for the entire light cycle in order 0:03:33.880 --> 0:03:36.720 to drive straight through the intersection. I have never seen 0:03:36.760 --> 0:03:39.200 this done outside of Boston, but to me, it makes 0:03:39.200 --> 0:03:43.400 perfect sense. It seems like a win for everyone involved. John, 0:03:43.440 --> 0:03:45.800 I think this does take place outside of Boston. I 0:03:45.840 --> 0:03:49.520 believe this is probably something that's just common in very 0:03:49.680 --> 0:03:53.120 busy urban streets that are tight with a lot of 0:03:53.160 --> 0:03:55.760 traffic on them, and is less common and you know, 0:03:55.800 --> 0:03:58.320 places where traffic is moving at a more leisurely pace 0:03:58.440 --> 0:04:01.680 or there's more room for every ready to get around. Yeah, 0:04:01.680 --> 0:04:03.600 I mean here here in Atlanta, we do have some 0:04:03.600 --> 0:04:06.880 some hellish left turns and some and some strains. I 0:04:07.720 --> 0:04:10.800 know other cities have these as well, obviously, but reversible 0:04:10.800 --> 0:04:14.320 turn lanes. Oh no, that that is the whoever came 0:04:14.400 --> 0:04:16.560 up with that idea. I'm sure it seemed like a 0:04:16.560 --> 0:04:19.120 good idea at the time, but I guess it's reversible 0:04:19.200 --> 0:04:22.400 lanes rather. Oh yeah, not eternally sorry, Yeah, the reverse. 0:04:22.880 --> 0:04:25.240 So there's like one major road at least here in 0:04:25.279 --> 0:04:28.680 town that for a long stretch has three lanes in 0:04:28.720 --> 0:04:31.800 the middle lane changes directions depending on what time of 0:04:31.880 --> 0:04:33.040 day it is or I don't know if it does 0:04:33.080 --> 0:04:35.840 that anymore. It usually does, it totally does, it still does. 0:04:36.360 --> 0:04:39.880 And the souper, the super infuriating and dangerous. Part of 0:04:39.920 --> 0:04:42.520 it is that, yes, some people know this, some people 0:04:43.000 --> 0:04:45.920 are not aware of it or have forgotten about it. 0:04:46.040 --> 0:04:48.400 And some people will treat that middle lane as a 0:04:48.480 --> 0:04:51.839 turn lane, regardless of what time of day it is 0:04:51.880 --> 0:04:55.760 and who is actually supposed to be in that lane. Um, yeah, 0:04:55.880 --> 0:05:00.680 it gets it gets insane anyway, John continues, I realized 0:05:00.720 --> 0:05:02.320 this is a little late, but I've spent the last 0:05:02.320 --> 0:05:05.680 two weeks on an unplanned visit to my hometown of Madison, 0:05:06.240 --> 0:05:09.080 Wisconsin to help make arrangements for my mom, who had 0:05:09.080 --> 0:05:11.479 a stroke two weeks ago. She's doing well in rehab, 0:05:11.600 --> 0:05:14.600 but I will be up here right until my teaching 0:05:14.640 --> 0:05:17.239 year starts to get her settled into a new living arrangement. 0:05:17.320 --> 0:05:20.239 Having you guys in my ear has made the driving, packing, 0:05:20.240 --> 0:05:22.880 and even the waiting much easier. So thanks for being 0:05:22.920 --> 0:05:26.719 there yours. John. Oh well, that's so nice to hear, John, 0:05:26.760 --> 0:05:34.799 and I hope for the best for your mom. Absolutely Okay. 0:05:34.839 --> 0:05:38.200 This next message is from Gabe. Gabe says dear Robert 0:05:38.240 --> 0:05:40.480 and Joe. Hello, there, I've been listening to stuff to 0:05:40.520 --> 0:05:42.480 blow your mind off and on for a few years now, 0:05:42.520 --> 0:05:45.880 and always come back to you. Guys for delightful science stuff. 0:05:46.200 --> 0:05:48.599 I was listening to the recent episodes on queuing, and 0:05:48.600 --> 0:05:51.240 I thought of a potentially interesting example of queueing that 0:05:51.279 --> 0:05:54.840 I've experienced. I live in Washington State, where we rely 0:05:54.920 --> 0:05:57.400 on ferry boats to get to certain islands or across 0:05:57.440 --> 0:06:00.720 bodies of water. These ferries are often either the only 0:06:00.839 --> 0:06:03.679 route or the quickest route. To get on the ferries, 0:06:03.760 --> 0:06:06.880 you often have to wait in lines of cars, sometimes 0:06:06.920 --> 0:06:11.360 for hours, and line cutting or attempted line cutting certainly happens. 0:06:11.640 --> 0:06:14.839 It is advertised and treated as a real significant threat. 0:06:15.200 --> 0:06:17.800 Signs are put up along the queuing route with numbers 0:06:17.800 --> 0:06:20.680 to call, the with numbers to call to report quote 0:06:20.800 --> 0:06:25.080 interlopers and local in queue protests to these interjections is 0:06:25.120 --> 0:06:29.840 often severe, characterized by horn honks and sometimes shouting. This 0:06:29.920 --> 0:06:32.840 example struck me as interesting because it seems to hybridize 0:06:32.880 --> 0:06:35.719 the ideas of waiting in traffic as a queue and 0:06:35.880 --> 0:06:38.880 waiting in lines for a more quantifiable commodity e g. 0:06:39.080 --> 0:06:42.200 A bagel sandwich. I was curious what psychology was at 0:06:42.240 --> 0:06:45.880 play here that, at least anecdotally, people waiting waiting in 0:06:45.880 --> 0:06:48.480 the car and ferry lines seem more eager to defend 0:06:48.520 --> 0:06:52.000 the line than queues on foot. Anyway, Thanks very much 0:06:52.000 --> 0:06:56.240 for your excellent content and I look forward to future episodes. Gabe, Well, 0:06:56.279 --> 0:06:58.719 that's interesting. I mean, it instantly makes me think back 0:06:58.760 --> 0:07:03.560 to research we come in our our episode on vehicular 0:07:03.600 --> 0:07:07.920 cognition about how we perceive ourselves and how we perceive 0:07:08.000 --> 0:07:11.960 others when we're in a driving environment, and how some 0:07:12.160 --> 0:07:15.200 of these uh, some of the constraints that might be 0:07:15.240 --> 0:07:17.600 there otherwise they're washed away when we're in a vehicle. 0:07:18.320 --> 0:07:22.000 There's another distinction I wonder about, which is um I 0:07:22.040 --> 0:07:26.680 wonder if we tend to naturally behave differently when we're 0:07:26.760 --> 0:07:30.800 waiting for something like waiting for a product or service, 0:07:30.880 --> 0:07:32.600 a waiting in line and to drive through at a 0:07:32.640 --> 0:07:36.880 bank or at a restaurant, versus when we are in 0:07:36.920 --> 0:07:40.960 a transition period, meaning we're waiting to get somewhere or 0:07:41.080 --> 0:07:43.680 not to you know, not for the product or service, 0:07:43.920 --> 0:07:46.200 but we're just trying to in our minds sort of 0:07:46.240 --> 0:07:48.840 like escape wherever we are now and get you know, 0:07:48.960 --> 0:07:51.560 get back home. I think often you know, when people 0:07:51.600 --> 0:07:54.720 would be really frustrated or try to get somewhere on time, 0:07:54.760 --> 0:07:57.200 get to work on time. I wonder if we actually 0:07:57.240 --> 0:07:59.920 have less tolerance for waiting in these sort of trans 0:08:00.000 --> 0:08:03.840 positioning traveling states because the waiting for a ferry, you're 0:08:03.880 --> 0:08:06.559 still it's kind of combining the two. It's like waiting 0:08:06.560 --> 0:08:09.560 in a drive through, but it's also like waiting in traffic. 0:08:09.600 --> 0:08:13.600 As the escape says, here, m I wonder too if 0:08:13.720 --> 0:08:16.040 if there's a hint of this to it as well. 0:08:16.120 --> 0:08:18.080 So if we're if we're waiting in line with other 0:08:18.120 --> 0:08:21.960 people to get that bagel sandwich, we know, on some 0:08:22.080 --> 0:08:24.120 level we all have a shared objective here. We all 0:08:24.160 --> 0:08:26.880 want that sweet bagel sandwich, you know. We that's that's 0:08:26.880 --> 0:08:29.760 why we're here. Maybe we feel that some of us 0:08:29.800 --> 0:08:32.400 deserve it more than others, but but we all have 0:08:32.440 --> 0:08:35.600 the same goal. Whereas if it's just people driving somewhere 0:08:35.679 --> 0:08:39.000 or you know, you can I guess you could lean 0:08:39.040 --> 0:08:41.599 into an interpretation where, hey, we're just all trying to 0:08:41.640 --> 0:08:44.400 get home, We're all trying to get to someplace where 0:08:44.400 --> 0:08:45.920 we need to be, or hey, we're all just trying 0:08:45.960 --> 0:08:47.800 to get to work in the morning, something of that nature. 0:08:48.200 --> 0:08:51.120 But it also is ambiguous enough that you could perhaps 0:08:51.240 --> 0:08:53.120 lean more into this idea of like, well, I'm just 0:08:53.120 --> 0:08:54.760 trying to get home. I don't know what this guy 0:08:54.840 --> 0:08:56.839 is trying to do. He's maybe he's he's just he 0:08:56.920 --> 0:08:58.600 just wants to go home and watch a football game 0:08:58.679 --> 0:09:00.400 or something. He's just in a hurry off or something 0:09:00.400 --> 0:09:03.559 that doesn't matter as much as my thing, which is 0:09:03.840 --> 0:09:07.440 ultimately a very unfair, um criticism to make. I mean, 0:09:07.440 --> 0:09:09.280 they maybe they have to go to the bathroom really bad. 0:09:09.360 --> 0:09:13.280 I don't know. I mean, not that it excuses dangerous 0:09:13.320 --> 0:09:17.640 driving or anything, but um, you know, everyone conceivably has 0:09:17.640 --> 0:09:20.120 a reason for what they're doing. Oh, this is totally 0:09:20.120 --> 0:09:21.800 how we think. I mean, I think I said this 0:09:21.840 --> 0:09:24.160 in one of the queuing episodes of the difference between 0:09:24.320 --> 0:09:26.880 you and everybody else on the road is that you've 0:09:26.920 --> 0:09:30.160 got somewhere you need to be, yeah, yeah, and everyone 0:09:30.200 --> 0:09:33.319 else just wants to be somewhere and is impatient about 0:09:33.320 --> 0:09:36.880 getting there or too patient about getting there, depending on 0:09:36.960 --> 0:09:44.480 how fast they're driving. All right, here's another one who 0:09:44.520 --> 0:09:46.960 comes to us from Alex Hi, Joe, and Robert. I've 0:09:46.960 --> 0:09:48.960 listened to your podcast for a handful of years, and 0:09:49.000 --> 0:09:52.560 sometimes I get unreasonably excited at the episode titles before 0:09:52.559 --> 0:09:56.280 having played them. Recently, regression to the mean and Reconsider 0:09:56.360 --> 0:09:59.640 the Bean had me cheering with my cats. I'm not 0:10:00.280 --> 0:10:03.439 on cinema, but still love when cinema spills into your 0:10:03.480 --> 0:10:07.000 other discussions. The joy you both find in linking ideas 0:10:07.000 --> 0:10:10.559 with media is infectious, even if I don't get the references. 0:10:10.600 --> 0:10:13.520 Thanks for your hard work and love your stuff, Alex. 0:10:14.000 --> 0:10:16.360 What what's the common thread with regression to the mean 0:10:16.440 --> 0:10:20.200 and reconsider the Bean? They rhyme, That's what I was thinking. 0:10:20.240 --> 0:10:24.640 But could that be it? Um? Alex is just looking 0:10:24.679 --> 0:10:27.000 for the next line in the in that rap song 0:10:27.120 --> 0:10:29.319 that they've been working on forever. I mean, I get 0:10:29.400 --> 0:10:32.479 maybe it's just you know, those lined up with with 0:10:32.480 --> 0:10:35.520 with Alex's particular interests, I guess more than other things. 0:10:36.000 --> 0:10:39.160 Um and and anyway, as well as far as cinema goes, 0:10:39.160 --> 0:10:43.079 hopefully our word how cinema episodes allow us to allow 0:10:43.240 --> 0:10:47.040 room for our more obscure cinema references to to grow 0:10:47.240 --> 0:10:50.160 without you know, taking up too much space in some 0:10:50.240 --> 0:10:52.000 of our core episodes. I don't know. We'll see how 0:10:52.000 --> 0:11:00.120 it goes, all right. This next message is about the 0:11:00.240 --> 0:11:03.400 episode on the Speaking Sword. This one comes from Nada 0:11:03.520 --> 0:11:07.680 and the subject line is the animate sound Lineman. I 0:11:07.720 --> 0:11:10.040 had to look that word up. Actually, lineman L I 0:11:10.360 --> 0:11:15.240 M E N, and alignment means the the boundary of 0:11:15.400 --> 0:11:20.199 perceptibility or the threshold of perceptibility for something. So aligneman 0:11:20.360 --> 0:11:24.920 is like the point at which something goes from imperceptible 0:11:25.000 --> 0:11:29.200 to perceptible. You know, it's the lowest possible volume sound 0:11:29.320 --> 0:11:31.839 you can hear, or or amount of light you can 0:11:31.880 --> 0:11:35.160 perceive with your eyes or something. So anyway, Renata says, hi, 0:11:35.320 --> 0:11:37.800 Rob and Joe, oh, and I'm gonna skip a bit here, 0:11:37.800 --> 0:11:40.880 but she begins with the paragraph talking about saying she 0:11:41.120 --> 0:11:43.800 enjoys listening to the podcast, but also, like another listener 0:11:43.840 --> 0:11:46.959 who wrote in recently, enjoys listening to our episodes is 0:11:47.000 --> 0:11:50.200 a sleep aide, especially weird house cinema. No judgment, They're 0:11:50.600 --> 0:11:54.640 glad you're enjoying it. Um. But but then she goes 0:11:54.679 --> 0:11:57.160 on to say, anyway, I got the sleepy vibe from 0:11:57.160 --> 0:12:00.960 the whispers of the Speaking Sword until about thirty five 0:12:01.000 --> 0:12:04.720 minutes into the episode when you started to talk about agency, 0:12:04.800 --> 0:12:08.079 and then I could not fall asleep. I studied cognitive 0:12:08.080 --> 0:12:11.040 science in college, and this subject has always fascinated me. 0:12:11.400 --> 0:12:13.920 It reminded me of a thought experiment. I sometimes do 0:12:14.000 --> 0:12:16.160 when I'm bored and I've been looking for an excuse 0:12:16.200 --> 0:12:18.440 to write to you two about this. I think of 0:12:18.480 --> 0:12:22.760 the perceptual boundary between non agency and agency as a 0:12:22.840 --> 0:12:26.560 type of lineman or perceptual threshold, though I might be 0:12:26.600 --> 0:12:29.520 stretching the term too much. In the episode, you talked 0:12:29.559 --> 0:12:32.959 about movement as being key to the human perception giving 0:12:33.040 --> 0:12:36.800 agency to an object. So here's my thought experiment. What 0:12:37.000 --> 0:12:41.080 is the lineman of ascribing sentience or agency to a sound? 0:12:41.679 --> 0:12:44.160 And then, to take that a step further, what is 0:12:44.200 --> 0:12:48.079 the lineman to hear a sound as music. I can 0:12:48.120 --> 0:12:50.320 no longer remember where I was when I first thought 0:12:50.360 --> 0:12:53.040 about this, but probably outside and heard a sound that 0:12:53.080 --> 0:12:55.160 I couldn't immediately tell if it was coming from a 0:12:55.240 --> 0:12:58.080 human being or if it was just an ambient nature noise. 0:12:58.640 --> 0:13:00.839 I don't know if you experience this, but I often 0:13:00.880 --> 0:13:04.040 find myself hearing a weird sound than waiting until I 0:13:04.080 --> 0:13:06.240 hear it a few more times to decide if it's 0:13:06.280 --> 0:13:10.040 from a human, animal, electronic device, or just a noise. 0:13:10.600 --> 0:13:12.400 I don't have the answer to this question, and I'd 0:13:12.440 --> 0:13:14.120 love it if you could look into whether it has 0:13:14.160 --> 0:13:17.200 been studied. I since that rhythm has something to do 0:13:17.280 --> 0:13:19.959 with it. Either a sound is too regular and it 0:13:20.040 --> 0:13:23.520 is probably a faucet dripping, for example, or the sound 0:13:23.640 --> 0:13:26.480 is too irregular, like a branch hitting the side of 0:13:26.480 --> 0:13:29.200 the house in the wind, which brings me to music. 0:13:29.559 --> 0:13:33.000 I listened to ambient music sometimes again as a sleep aid, 0:13:33.040 --> 0:13:36.360 and you might be surprised how sparse and amorphous an 0:13:36.400 --> 0:13:39.719 ambient track can get. Before you say to yourself, this 0:13:39.800 --> 0:13:42.400 is just noise. I know. There have been studies on 0:13:42.440 --> 0:13:46.000 the extent to which animals have musical rhythm. Birds seem 0:13:46.040 --> 0:13:48.520 to get the closest to dancing and making music like 0:13:48.679 --> 0:13:52.520 sounds our music and rhythm on the same sentience continuum. 0:13:52.600 --> 0:13:55.320 Is there alignment for being able to detect that a 0:13:55.400 --> 0:13:58.680 sound was definitely intended as music by a human being 0:13:59.280 --> 0:14:02.480 versus an animal sound? And where does AI fit in? 0:14:02.960 --> 0:14:06.160 Thanks for inspiring me to ask these questions. Sorry, last time, 0:14:06.320 --> 0:14:08.959 I I think this is referring to a previous email. Uh, 0:14:09.080 --> 0:14:11.560 last time I said that your show doesn't give me chills. 0:14:11.720 --> 0:14:14.200 I was just being cheeky. I have I have a 0:14:14.240 --> 0:14:16.880 blast listening to you guys, even when it's putting me 0:14:16.920 --> 0:14:20.200 to sleep. Cheers, Renata. I think that other email was 0:14:20.240 --> 0:14:22.080 in response to the episode that Seth and I did 0:14:22.080 --> 0:14:26.280 about free so on. Yeah, but these are really interesting questions, 0:14:26.320 --> 0:14:29.800 I think, like, what are the limits of what we 0:14:29.920 --> 0:14:33.920 perceive as music? To some degree? I think that's going 0:14:33.960 --> 0:14:37.360 to be partially uh, you know, subjective, like some people 0:14:37.440 --> 0:14:40.320 just have you know, or you might say, more open 0:14:40.400 --> 0:14:43.640 minded about what they're willing to listen to and say, yeah, okay, 0:14:43.680 --> 0:14:46.200 this is music. But I guess to ask the question 0:14:46.240 --> 0:14:49.720 a little bit differently on average, like how much can 0:14:49.760 --> 0:14:53.880 you deviate from, say, the rhythmic norms of music before 0:14:54.040 --> 0:14:58.400 most people don't recognize a sound as even something intended 0:14:58.440 --> 0:15:01.600 to be music, you know. Yeah, I mean, on one hand, 0:15:01.640 --> 0:15:04.440 I think it's definitely gonna it's gonna vary from person 0:15:04.480 --> 0:15:09.720 to person. Um. I got to interview Stephen hill Uh, 0:15:10.400 --> 0:15:13.240 the creator of the Hearts of Space radio program years 0:15:13.240 --> 0:15:17.040 and years ago, and he spoke of people having an 0:15:17.080 --> 0:15:21.240 ambient DNA, of having sort of an innate inclination to 0:15:21.640 --> 0:15:25.200 um to love the more ambient styles of music out there, 0:15:25.280 --> 0:15:28.200 be it something you know, modern and synth based, or 0:15:28.280 --> 0:15:31.360 something that is more versed in classical music, or some 0:15:31.440 --> 0:15:34.720 sort of you know, cultural tradition. But that some people 0:15:34.960 --> 0:15:38.520 maybe are more inclined to uh, to to lean into 0:15:38.520 --> 0:15:41.000 those kind of sounds um. And I don't know if 0:15:41.040 --> 0:15:44.200 that actually is something that matches up with with anything 0:15:44.240 --> 0:15:46.000 scientific at all, or it's just kind of a fun 0:15:46.040 --> 0:15:48.800 way to think about these things. But but I do 0:15:48.840 --> 0:15:51.400 think it does vary from person to person. As someone 0:15:51.440 --> 0:15:55.040 who does listen to a fair amount of of ambient 0:15:55.120 --> 0:15:58.160 music and also some things that are categorized as noise music, 0:15:58.160 --> 0:16:00.280 I know that I I have a different thresh old 0:16:00.520 --> 0:16:02.840 compared to say my wife, Like there's stuff that that 0:16:03.040 --> 0:16:07.479 I will enjoy that that she might barely tolerate, and 0:16:07.480 --> 0:16:10.760 and we're continually working out those borders as we play 0:16:10.840 --> 0:16:13.840 music in the house. One example of variation on this 0:16:13.920 --> 0:16:15.720 that I wonder about, I can't remember if I mentioned 0:16:15.800 --> 0:16:18.400 this a minute ago, but I wonder about, like, what 0:16:18.440 --> 0:16:23.160 are the natural limits on tempo? So if if you 0:16:23.240 --> 0:16:27.640 have something that is occurring at regular intervals, uh, people 0:16:27.680 --> 0:16:30.160 will you know, can eventually start to pick that out 0:16:30.200 --> 0:16:32.160 as a kind of rhythm and maybe if there are 0:16:32.200 --> 0:16:36.000 certain tonalities associated with it, most people would say, Okay, 0:16:36.040 --> 0:16:38.280 I think this is the sound is intended to be 0:16:38.320 --> 0:16:41.760 a kind of music. But like how slow can the 0:16:41.840 --> 0:16:45.520 repetition of of whatever that sound is get or how 0:16:45.640 --> 0:16:49.359 fast can it get before you have foreclosed the possibility 0:16:49.440 --> 0:16:52.400 that anybody listening to it will think that it's supposed 0:16:52.440 --> 0:16:55.520 to be musical sound. If you imagine a song has 0:16:55.880 --> 0:16:59.320 has one beat per minute, would most people who hear 0:16:59.400 --> 0:17:03.480 that sound likely to perceive that as rhythm or perceive 0:17:03.600 --> 0:17:06.439 it as music spontaneously unless they were primed to in 0:17:06.480 --> 0:17:09.160 some way? I would guess probably not, But like what's 0:17:09.200 --> 0:17:11.680 the limit there? Like how slow can a tempo get? 0:17:11.720 --> 0:17:15.520 And consequently also how fast can it get before you 0:17:15.600 --> 0:17:18.120 reach the point where people are not hearing music, They're 0:17:18.160 --> 0:17:20.920 just hearing kind of a buzz or a whir As 0:17:20.920 --> 0:17:23.440 I say, this thunder is rumbling right outside my window. 0:17:23.480 --> 0:17:25.720 I don't know if he likes picking that up. It 0:17:25.760 --> 0:17:29.919 also reminds me of the the fictional drug in the 0:17:30.000 --> 0:17:33.840 Dune novels, Simuda, which that that which, of course you 0:17:34.200 --> 0:17:37.640 In the books, we're told that individuals will take Simuda 0:17:37.920 --> 0:17:40.560 in in order to enjoy Simuda music, which is a 0:17:40.600 --> 0:17:42.960 special kind of music that is just going to sound 0:17:43.000 --> 0:17:47.240 like just straight garbage unless you are currently using this 0:17:47.440 --> 0:17:50.760 mysterious narcotic was it like a chopped in screwed kind 0:17:50.760 --> 0:17:55.120 of thing. I don't know, but it also I think 0:17:55.119 --> 0:17:59.359 there was something similar in uh in a Brass Eyes Get, 0:17:59.840 --> 0:18:05.080 the British satire series from Chris Morris Um in which 0:18:05.119 --> 0:18:08.639 there were people who would take this fictional drug called 0:18:08.680 --> 0:18:11.679 cake and they would listen to some sort of music 0:18:11.720 --> 0:18:14.399 and of course it likes Samuda music. It sounds like 0:18:14.440 --> 0:18:18.840 garbage unless you are on this fictional drug. Have you 0:18:18.880 --> 0:18:21.560 seen the Cake episode, Joe, No, I haven't pressed. Oh 0:18:21.600 --> 0:18:24.760 it's it's so good. They are actually trolld um, actual 0:18:24.880 --> 0:18:28.919 British politicians into comment to commenting on the cake epidemic. 0:18:29.200 --> 0:18:33.359 Oh nice, nice, well like condemning this, this epidemic of 0:18:33.400 --> 0:18:43.000 degenerate culture. Yes, yes, calling out the cake in particular. Nice. 0:18:46.800 --> 0:18:48.480 Al right, Well, why don't we do a little bit 0:18:48.520 --> 0:18:51.720 of weird house cinema listener mail while we're at it. Uh, 0:18:51.760 --> 0:18:54.000 this is a really fun one. And this is where 0:18:54.040 --> 0:18:57.359 we got the title for this particular episode of listener mail. 0:18:57.680 --> 0:19:00.080 We heard from the home dad abroad, who I've I 0:19:00.080 --> 0:19:02.720 believe it was written in before because I remember that 0:19:02.720 --> 0:19:06.200 that moniker um. So they say, hey, Robert and Joe, 0:19:06.560 --> 0:19:09.399 just a silly little personal connection to John Sackson, the 0:19:09.440 --> 0:19:12.879 star of your Weird House Celebration Cannibal Apocalypse that I 0:19:12.960 --> 0:19:16.600 thought you might enjoy. And at this point the home 0:19:16.680 --> 0:19:18.960 Dad Abroad points out that they were employed as a 0:19:19.040 --> 0:19:23.240 key grip on a small budget film many years ago. 0:19:23.520 --> 0:19:29.719 It was like a medieval themed film that starred Mark Singer, 0:19:30.200 --> 0:19:34.000 Claudia Christian, and John Saxon, who, he says, it was 0:19:34.040 --> 0:19:37.640 a quote a quiet, contemplative and kind man if there 0:19:37.640 --> 0:19:41.359 ever was one. So wait, so Mark Singer was that 0:19:41.520 --> 0:19:45.000 beast Master. That's beast Master himself. Yes, and we confirmed 0:19:45.040 --> 0:19:48.000 before we started recording this. Claudia Christian was in another 0:19:48.080 --> 0:19:51.160 movie that we did for Weird House Cinema, which was Arena, 0:19:51.320 --> 0:19:55.360 the alien boxing movie. Yes, yes, she was the love 0:19:55.400 --> 0:19:59.159 interest in Arena. Yeah, as she's also I think we 0:19:59.200 --> 0:20:02.000 didn't realize this when we recorded that episode, but I 0:20:02.080 --> 0:20:04.760 just recently found out that she was also in one 0:20:04.800 --> 0:20:06.960 of the movies that many years ago was one of 0:20:06.960 --> 0:20:11.080 my favorite terrible, terrible movies, which was the Steven Seagal 0:20:11.160 --> 0:20:15.320 film Half Past Dead starring Seagal and jaw Rule and 0:20:15.720 --> 0:20:20.560 Morris Chestnut. And uh, it's it is a truly awful film, 0:20:20.600 --> 0:20:23.439 but I remember it got one of the best Roger 0:20:23.480 --> 0:20:26.399 Ebert descriptors of any movie I've ever seen. In his review, 0:20:26.480 --> 0:20:30.120 he said that half Past Dead is is like an 0:20:30.119 --> 0:20:33.960 alarm that is going off in an unoccupied room. It 0:20:34.040 --> 0:20:39.800 does its job, it stops, and no one cares. All right, well, 0:20:39.840 --> 0:20:43.760 the home dat abroad continues here quote. During the shooting 0:20:43.800 --> 0:20:48.480 of the climactic sword fight betwixt Singer's Lancelot and Saxon's 0:20:48.520 --> 0:20:51.639 I want to say Voldemort, but definitely predated Harry Potter, 0:20:52.080 --> 0:20:54.440 I was moving along with the actors, holding a four 0:20:54.480 --> 0:20:58.160 by four soft bounce board for reflecting sunlight as phil 0:20:58.760 --> 0:21:01.840 onto the actor's face is to soften the harsh shadows 0:21:02.240 --> 0:21:06.320 on mostly overtight handheld close ups. I don't think the 0:21:06.359 --> 0:21:10.000 camera could even see the swords a good thing at 0:21:10.040 --> 0:21:13.800 that as Saxon lost his grip on the unnecessarily heavy 0:21:14.040 --> 0:21:16.840 and sharp punk of metal that the art department provided 0:21:17.240 --> 0:21:21.000 that took the kinetic energy from singer swords impact to 0:21:21.040 --> 0:21:24.399 carry it hurtling through the air, finding a point first 0:21:24.480 --> 0:21:27.760 purchase in the upper left center of the bounce board, 0:21:27.760 --> 0:21:30.800 I held an inch away from my chest, knocking me 0:21:30.920 --> 0:21:35.720 backwards and stumbling to the ground. The sword plunged through 0:21:35.720 --> 0:21:39.040 the inch thick layer of styrofoam, through the quarter inch 0:21:39.080 --> 0:21:43.280 foam core board, jutting out half an inch from my flesh, 0:21:43.560 --> 0:21:48.960 almost perfectly poised above my heart woe. After the director 0:21:49.080 --> 0:21:51.679 murmured cut and a couple of people asked if I 0:21:51.720 --> 0:21:54.639 was okay. I looked up to the smiling silhouette of 0:21:54.720 --> 0:21:58.560 John Saxon extending a hand to help me up. Next time. 0:21:58.600 --> 0:22:01.920 I won't miss he said, I have that bounced board 0:22:01.920 --> 0:22:05.760 to this very day, signed by him in character. Oh 0:22:06.000 --> 0:22:10.320 what a story. Uh? And then and then they had uh. 0:22:10.359 --> 0:22:12.280 And my son, who was twelve at the time, was 0:22:12.359 --> 0:22:16.720 unimpressed by the controversy surrounding the unexceptional Cannibal Holocaust. After 0:22:16.760 --> 0:22:20.960 he watched it, cheers the home dat Abroad. Okay, well 0:22:20.960 --> 0:22:25.240 you heard it here, every all twelve year old holocaust. No. No, 0:22:25.720 --> 0:22:29.840 I would say, absolutely, absolutely not. Um. Maybe, and I'm 0:22:29.840 --> 0:22:32.200 not sure if the Home Dad Abroad meant cannibal Apocalypse 0:22:32.240 --> 0:22:35.680 of cannibal Holocaust. But I I don't think either film 0:22:35.760 --> 0:22:39.040 is necessarily for twelve year olds. But that's just me. 0:22:39.440 --> 0:22:40.960 But I don't know twelve year olds are different. I 0:22:41.000 --> 0:22:44.119