1 00:00:02,960 --> 00:00:06,080 Speaker 1: Welcome to Stuff to Blow Your Mind production of iHeartRadio. 2 00:00:10,080 --> 00:00:12,559 Speaker 1: Hey you welcome to Stuff to Blow your Mind Listener Mail. 3 00:00:12,680 --> 00:00:15,680 Speaker 1: This is Robert Lamb and this is Joe McCormick. And 4 00:00:15,800 --> 00:00:17,759 Speaker 1: it's Monday, the day of each week that we read 5 00:00:17,760 --> 00:00:20,560 Speaker 1: back some messages from the mail bag. If you are 6 00:00:20,600 --> 00:00:22,960 Speaker 1: a listener to the Stuff to Blow Your Mind podcast 7 00:00:23,000 --> 00:00:25,480 Speaker 1: and you've never gotten in touch before, why not write us. 8 00:00:26,079 --> 00:00:29,000 Speaker 1: You can email us at contact at stuff to Blow 9 00:00:29,040 --> 00:00:33,400 Speaker 1: your Mind dot com. Anything is fair game, of course, always, 10 00:00:33,800 --> 00:00:36,440 Speaker 1: corrections are welcome. We have a correction at the top 11 00:00:36,479 --> 00:00:40,159 Speaker 1: of today's episode, but also just feedback thoughts, anything to 12 00:00:40,200 --> 00:00:42,559 Speaker 1: add on previous episodes, if you want to suggest a 13 00:00:42,640 --> 00:00:44,680 Speaker 1: topic for us to do in the future, if you 14 00:00:44,760 --> 00:00:46,800 Speaker 1: just want to share something that you think we would 15 00:00:46,840 --> 00:00:48,839 Speaker 1: find interesting, or if you just want to say hi, 16 00:00:49,000 --> 00:00:51,440 Speaker 1: tell us your story, tell us I don't know how 17 00:00:51,479 --> 00:00:54,000 Speaker 1: where when you found out about the show or what 18 00:00:54,400 --> 00:00:57,280 Speaker 1: you listen for. Any of that's fair game right in 19 00:00:57,520 --> 00:01:02,280 Speaker 1: contact at Stuff to Blow your Mind dot com. Let's see. 20 00:01:02,360 --> 00:01:04,720 Speaker 1: So when we do get corrections, we try to put 21 00:01:04,720 --> 00:01:07,280 Speaker 1: them near the top of the listener mail episode. I've 22 00:01:07,280 --> 00:01:10,960 Speaker 1: got one about last week's listener mail where we made 23 00:01:10,959 --> 00:01:14,280 Speaker 1: a bird error. So well, if you don't mind, I'm 24 00:01:14,280 --> 00:01:16,320 Speaker 1: going to kick us off with the New Zealand bird 25 00:01:16,360 --> 00:01:21,119 Speaker 1: correction here. Ok okay, So we accidentally last week conflated 26 00:01:21,160 --> 00:01:26,520 Speaker 1: two different bird species. We were discussing the animal conservation 27 00:01:26,680 --> 00:01:30,800 Speaker 1: series called Last Chance to See, which was I think both, 28 00:01:31,560 --> 00:01:33,679 Speaker 1: I believe, both a book and maybe a series for 29 00:01:33,720 --> 00:01:35,480 Speaker 1: the BBC or something. But it had a couple of 30 00:01:35,560 --> 00:01:39,000 Speaker 1: runs and a later one of the runs here was 31 00:01:39,120 --> 00:01:42,840 Speaker 1: hosted by Mark Carwardine, who is a British zoologist who 32 00:01:42,880 --> 00:01:45,560 Speaker 1: wrote a book about whales that we consulted a lot 33 00:01:45,560 --> 00:01:48,440 Speaker 1: in our Gray Whale series, and also Stephen Fry. But 34 00:01:48,600 --> 00:01:51,920 Speaker 1: in this series there was a male specimen of an 35 00:01:52,000 --> 00:01:56,280 Speaker 1: endangered species of New Zealand bird which decided on camera 36 00:01:56,400 --> 00:02:00,840 Speaker 1: to start mating furiously with Mark Carwardine's head, and I 37 00:02:00,920 --> 00:02:04,280 Speaker 1: mentioned that I thought this was the cacapo. That was correct, 38 00:02:04,400 --> 00:02:08,720 Speaker 1: but one of us incorrectly connected it to a specie 39 00:02:09,040 --> 00:02:11,360 Speaker 1: to a species of bird that came up in another 40 00:02:11,440 --> 00:02:14,720 Speaker 1: older bit of Listener mail in which a bird attacked 41 00:02:14,720 --> 00:02:17,799 Speaker 1: a car in New Zealand and started dismantling it. I think, 42 00:02:17,840 --> 00:02:20,240 Speaker 1: like removing the gasket around the window or something. I 43 00:02:20,240 --> 00:02:22,320 Speaker 1: think there was also a mother in law in this story. 44 00:02:22,360 --> 00:02:25,000 Speaker 1: Do you remember more of the details, Rob, I do not, 45 00:02:25,200 --> 00:02:28,079 Speaker 1: did kind of a vague memory of this one. Anyway, 46 00:02:28,120 --> 00:02:30,600 Speaker 1: To clear up the confusion, we heard from Peggy on 47 00:02:30,680 --> 00:02:34,400 Speaker 1: Facebook who said, just listen to this week's mail. I 48 00:02:34,440 --> 00:02:37,160 Speaker 1: have to correct, as I hope some actual Kiwis will do. 49 00:02:37,520 --> 00:02:41,120 Speaker 1: The cacapo is a rare, flightless New Zealand parrot, of 50 00:02:41,160 --> 00:02:44,600 Speaker 1: which the most famous Sirocco has indeed humped a head 51 00:02:44,720 --> 00:02:47,760 Speaker 1: or two, I guess a human head. And then the 52 00:02:47,840 --> 00:02:50,760 Speaker 1: other bird is the Kia, a not so rare New 53 00:02:50,840 --> 00:02:54,560 Speaker 1: Zealand parrot that likes to tear cars apart. And then 54 00:02:54,960 --> 00:02:58,320 Speaker 1: finally Peggy says, maybe a weird extant New Zealand birds 55 00:02:58,400 --> 00:03:02,160 Speaker 1: episode is in order. Yeah, I mean the birds of 56 00:03:02,160 --> 00:03:05,720 Speaker 1: New Zealand are pretty fascinating. Um, yeah, these are. These 57 00:03:05,720 --> 00:03:11,000 Speaker 1: are both interesting species, same family, different genus. Uh. The 58 00:03:11,400 --> 00:03:15,720 Speaker 1: the CACAPOAH believe, is critically endangered, whereas the Kia is 59 00:03:15,840 --> 00:03:19,880 Speaker 1: just endangered. So yeah, I'd be up for any any 60 00:03:20,880 --> 00:03:24,160 Speaker 1: sort of avian exploration in future episodes. All right, Rob, 61 00:03:24,200 --> 00:03:26,480 Speaker 1: do you want to do this message from Angelo about 62 00:03:26,520 --> 00:03:29,880 Speaker 1: your artifact episode on the pinata. Yeah, this was a 63 00:03:29,919 --> 00:03:38,880 Speaker 1: response to an artifact episode talking about the pinata. Angelo 64 00:03:39,000 --> 00:03:40,960 Speaker 1: says Hi Robin Joe. I was listening to the artifact 65 00:03:41,000 --> 00:03:44,080 Speaker 1: episode on the pinata possibly having its origin in China 66 00:03:44,160 --> 00:03:47,560 Speaker 1: and making its way west to Spain than Mexico. What's 67 00:03:47,560 --> 00:03:50,000 Speaker 1: interesting to me is that growing up in the Philippines, 68 00:03:50,200 --> 00:03:52,800 Speaker 1: we have a combination of things related to the pinata. 69 00:03:53,320 --> 00:03:55,520 Speaker 1: The first is the use of a suspended clay pot 70 00:03:55,560 --> 00:03:58,920 Speaker 1: filled with candy and even coins at fiestas and birthday parties. 71 00:03:59,200 --> 00:04:01,480 Speaker 1: Kids are usually line folded and have to swing to 72 00:04:01,520 --> 00:04:04,240 Speaker 1: break the pot to release the goodies within. The other 73 00:04:04,360 --> 00:04:07,880 Speaker 1: is the parole, a Christmas lantern usually shaped as a star, 74 00:04:08,120 --> 00:04:12,240 Speaker 1: made of Japanese paper with bamboo. We don't try to 75 00:04:12,240 --> 00:04:15,160 Speaker 1: break these. Instead, they're lit up, originally with candles, but 76 00:04:15,280 --> 00:04:18,760 Speaker 1: now with electric lights. If tradition is true that these 77 00:04:18,800 --> 00:04:22,240 Speaker 1: were brought by Spanish colonizers to the Philippines and not 78 00:04:22,400 --> 00:04:26,120 Speaker 1: part of indigenous Filipino traditions, it's fascinating to think that's 79 00:04:26,120 --> 00:04:28,480 Speaker 1: something that the Chinese could have brought on a shorter 80 00:04:28,520 --> 00:04:33,000 Speaker 1: trip across the sea. Instead circumnavigated the globe to finally 81 00:04:33,080 --> 00:04:36,440 Speaker 1: end up in the Philippine Archipelago. Thanks for all the 82 00:04:36,440 --> 00:04:38,720 Speaker 1: great podcasts. You guys are always so informative and fun 83 00:04:38,800 --> 00:04:41,839 Speaker 1: to listen to on my commute. Angela, that is a 84 00:04:41,839 --> 00:04:44,839 Speaker 1: fascinating possibility if it is true in this case, Yeah, 85 00:04:44,839 --> 00:04:49,040 Speaker 1: it's it's amazing, an amazing example of how cultural memes 86 00:04:50,440 --> 00:04:54,279 Speaker 1: really make it around. Yeah, okay, So thank you for 87 00:04:54,279 --> 00:04:57,600 Speaker 1: the message, Angelo. So I'm going to do a message 88 00:04:57,640 --> 00:05:00,880 Speaker 1: about our series on t This one comes from a 89 00:05:00,960 --> 00:05:04,240 Speaker 1: listener named Joe. Joe spelled just Jo without the E. 90 00:05:04,480 --> 00:05:08,719 Speaker 1: In fact, they call themselves Joe without the E but 91 00:05:08,800 --> 00:05:16,080 Speaker 1: with some Tea for the purpose of this message. So 92 00:05:16,360 --> 00:05:18,880 Speaker 1: Joe without the E, but with some Tea, says dear 93 00:05:19,040 --> 00:05:22,720 Speaker 1: Joe and Robert. Hello, once again, I binged the Tea 94 00:05:22,800 --> 00:05:25,960 Speaker 1: episodes recently and would like to tell you about Malaysia's 95 00:05:26,120 --> 00:05:32,359 Speaker 1: national drink, Tataric. The name Tataric comes from ta, the 96 00:05:32,480 --> 00:05:37,560 Speaker 1: hockey and name for tea, while Tarik means pull in Malay. 97 00:05:37,600 --> 00:05:41,200 Speaker 1: Invented by the Indian Muslims on the Malay Peninsula after 98 00:05:41,279 --> 00:05:43,800 Speaker 1: World War Two, this drink is made with a strong 99 00:05:44,120 --> 00:05:47,800 Speaker 1: black tea and condensed milk. It's mixed by pouring it 100 00:05:47,960 --> 00:05:52,200 Speaker 1: rapidly and repeatedly between two mugs or containers, often at 101 00:05:52,279 --> 00:05:56,000 Speaker 1: great heights, and with some degree of showmanship. This produces 102 00:05:56,000 --> 00:05:58,680 Speaker 1: a lovely froth on top and ensures the drink is 103 00:05:58,800 --> 00:06:02,000 Speaker 1: very well mixed. It's a popular drink, suitable for all 104 00:06:02,080 --> 00:06:05,320 Speaker 1: hours of the day, and it's quite a treat to watch, 105 00:06:05,560 --> 00:06:08,760 Speaker 1: I guess, meaning watching the preparation if you've never seen 106 00:06:08,800 --> 00:06:11,960 Speaker 1: it before. And then Joe attaches a link to a 107 00:06:12,080 --> 00:06:15,279 Speaker 1: video of like a vendor in a marketplace doing these 108 00:06:15,360 --> 00:06:19,440 Speaker 1: tea pouring stunts that are true quite amazing. They seem 109 00:06:19,480 --> 00:06:22,440 Speaker 1: to defy physics. So I guess this dude in the 110 00:06:22,560 --> 00:06:26,479 Speaker 1: video is just so skilled at pouring between these metal 111 00:06:26,520 --> 00:06:29,760 Speaker 1: pictures that the only way I could think of just 112 00:06:29,880 --> 00:06:32,520 Speaker 1: to describe it is it looks more like a mass 113 00:06:32,640 --> 00:06:36,919 Speaker 1: of dough being stretched between the pictures than actually a 114 00:06:37,000 --> 00:06:40,039 Speaker 1: liquid pouring freely through the air, which though it is, 115 00:06:40,600 --> 00:06:43,520 Speaker 1: it is the latter. Another funny thing about this video 116 00:06:43,720 --> 00:06:47,440 Speaker 1: is that Leanne Rhymes is just blasting in the background 117 00:06:48,080 --> 00:06:52,320 Speaker 1: and that how do I Dream? Or how do I whatever? 118 00:06:53,880 --> 00:06:58,360 Speaker 1: And that's a song I associate so powerfully with getting haircuts. 119 00:06:58,400 --> 00:07:01,440 Speaker 1: When I was about twelve years old that it literally 120 00:07:01,480 --> 00:07:04,800 Speaker 1: makes me experience phantom smells. So like I'm watching the 121 00:07:04,880 --> 00:07:09,240 Speaker 1: video of the tea preparation and I'm smelling hairspray and 122 00:07:09,320 --> 00:07:11,800 Speaker 1: you know that burned smell of like a hair dryer 123 00:07:11,920 --> 00:07:15,160 Speaker 1: that's been used a lot. Interesting. Yeah, I didn't get 124 00:07:15,240 --> 00:07:17,040 Speaker 1: notes of that from this because I watched it with 125 00:07:17,040 --> 00:07:22,120 Speaker 1: the SoundOff, but it is an impressive feat of performance 126 00:07:22,280 --> 00:07:26,040 Speaker 1: beverage preparation. Wait, I just realized, I don't know if 127 00:07:26,040 --> 00:07:30,679 Speaker 1: this is a universal experience. I deeply associate like radio 128 00:07:30,880 --> 00:07:34,080 Speaker 1: soft rock hits with haircuts. Is that unique to me? 129 00:07:34,200 --> 00:07:37,160 Speaker 1: Or is that a common thing? Um? I guess it 130 00:07:37,160 --> 00:07:39,960 Speaker 1: depends on where you're getting your hair cut, right, I 131 00:07:39,960 --> 00:07:43,520 Speaker 1: mean yeah, different different salons are going to have a 132 00:07:43,520 --> 00:07:48,600 Speaker 1: different sort of musical ambiance going on. Yeah, I guess 133 00:07:48,640 --> 00:07:51,400 Speaker 1: it varies. I guess I went to a soft rock salon, 134 00:07:51,720 --> 00:07:54,320 Speaker 1: not just soft rock. It's like it's like Leanne rhymes, 135 00:07:54,360 --> 00:07:57,440 Speaker 1: that song Unbreak my Heart, say You Love Me Again? 136 00:07:57,680 --> 00:08:01,800 Speaker 1: All those are haircut songs to me anyway. Sorry, Let's 137 00:08:01,800 --> 00:08:06,920 Speaker 1: go back to Joe's message. They write there are tataric competitions. 138 00:08:07,000 --> 00:08:11,000 Speaker 1: While most tea lovers agree the whole leaves are better 139 00:08:11,040 --> 00:08:14,400 Speaker 1: for brewing. Tea. Dust is usually used to make tataric 140 00:08:14,520 --> 00:08:18,920 Speaker 1: because it produces a stronger flavor. Another tea related drink 141 00:08:18,960 --> 00:08:22,960 Speaker 1: you might be interested in is cham peng iced tea 142 00:08:23,040 --> 00:08:27,200 Speaker 1: plus coffee. The word chem means mix in Hokien. This 143 00:08:27,280 --> 00:08:30,400 Speaker 1: drink originates from Hong Kong, where it is called yinyong. 144 00:08:30,960 --> 00:08:34,000 Speaker 1: This name itself is a reference to Mandarin ducks, which 145 00:08:34,040 --> 00:08:38,360 Speaker 1: are called yun yong in Mandarin, and refers to how 146 00:08:38,640 --> 00:08:42,600 Speaker 1: two dissimilar things can come together in harmony. In Malaysia, 147 00:08:42,679 --> 00:08:45,760 Speaker 1: the ratio of tea to coffee is usually one to one, 148 00:08:45,880 --> 00:08:48,560 Speaker 1: whereas in Hong Kong it can be seven to three. 149 00:08:48,880 --> 00:08:52,760 Speaker 1: Although Malaysians use the phrase champing more often, It's Cantonese 150 00:08:52,840 --> 00:08:57,040 Speaker 1: name yin Yong is also well understood at most Chinese 151 00:08:57,040 --> 00:09:01,840 Speaker 1: coffee shops. Sarawak, located on the Borneo side of Malaysia, 152 00:09:01,960 --> 00:09:06,120 Speaker 1: has three layer tea. Here, it's usually called tacy Ping 153 00:09:07,200 --> 00:09:10,960 Speaker 1: or tacy Ping Special. It's made of black tea, the tay, 154 00:09:11,320 --> 00:09:15,800 Speaker 1: evaporated milk, the sea and palm sugar. The special the 155 00:09:15,840 --> 00:09:19,720 Speaker 1: word pang refers to ice. Palm sugar is carefully added 156 00:09:19,840 --> 00:09:23,000 Speaker 1: to the bottom of the cup, followed by evaporated milk 157 00:09:23,080 --> 00:09:26,440 Speaker 1: and then black tea. The drink is left unmixed, which 158 00:09:26,480 --> 00:09:30,120 Speaker 1: produces a three layered effect. You're supposed to mix it 159 00:09:30,120 --> 00:09:32,319 Speaker 1: with a straw before you drink, but you can choose 160 00:09:32,360 --> 00:09:37,240 Speaker 1: not to. Fascinating. Yeah, yeah, that parallels some other drinks, 161 00:09:38,280 --> 00:09:40,840 Speaker 1: alcoholic and non alcoholic in other cultures, where you have 162 00:09:40,880 --> 00:09:44,439 Speaker 1: some sort of a layering situation going on, and sometimes 163 00:09:44,480 --> 00:09:47,160 Speaker 1: it is frowned upon. Yes to stir those layers up, 164 00:09:47,559 --> 00:09:50,760 Speaker 1: Joe continues. The three layered version is most common in 165 00:09:50,800 --> 00:09:53,400 Speaker 1: the state, but there's a four layered version where pand 166 00:09:53,480 --> 00:09:55,800 Speaker 1: and sugar I believe you might know it as screw 167 00:09:55,880 --> 00:09:59,000 Speaker 1: pine is poured in after the palm sugar, creating a 168 00:09:59,080 --> 00:10:03,080 Speaker 1: green layer. The five layered version includes the panda sugar 169 00:10:03,320 --> 00:10:07,680 Speaker 1: and a layer of herbal grass jellies called ching chow 170 00:10:07,920 --> 00:10:11,000 Speaker 1: that float on top. In Malaysia, most shops will make 171 00:10:11,080 --> 00:10:15,760 Speaker 1: drinks with condensed milk by default, meaning that our drinks 172 00:10:15,840 --> 00:10:19,000 Speaker 1: here are all super sweet and super milky. To customize 173 00:10:19,000 --> 00:10:22,040 Speaker 1: your drink, you'll need our special code. You've got O 174 00:10:22,720 --> 00:10:26,920 Speaker 1: C and cosong O means no milk. C means use 175 00:10:26,960 --> 00:10:31,280 Speaker 1: evaporated milk instead of condensed, and cosong means no sugar. 176 00:10:31,960 --> 00:10:35,080 Speaker 1: It means empty in Malay. So if you ordered a 177 00:10:35,160 --> 00:10:38,880 Speaker 1: tao that would mean tea with no milk but yes sugar. 178 00:10:39,320 --> 00:10:42,600 Speaker 1: A Tao coo song you would get a tea no milk, 179 00:10:42,679 --> 00:10:46,120 Speaker 1: no sugar, whereas a t C cosong you would get 180 00:10:46,200 --> 00:10:49,680 Speaker 1: tea with evaporated milk no sugar. Hope you enjoyed reading 181 00:10:49,720 --> 00:10:52,200 Speaker 1: about these tea concoctions. Do give them a try if 182 00:10:52,240 --> 00:10:54,320 Speaker 1: you ever get the chance. As always, keep up the 183 00:10:54,360 --> 00:10:57,319 Speaker 1: great work, Live long and prosper. Joe without the E 184 00:10:57,600 --> 00:11:00,800 Speaker 1: but with some tea. Ah, this is awesome. Yeah, yeah, 185 00:11:00,800 --> 00:11:02,880 Speaker 1: I'd love to try some of these out. Sometime. I 186 00:11:02,920 --> 00:11:05,400 Speaker 1: will be on the lookout for a Malaysian tea house. 187 00:11:05,760 --> 00:11:08,200 Speaker 1: All right, here's one that comes to us from Dick. 188 00:11:13,559 --> 00:11:17,440 Speaker 1: Dick writes and then says, this anecdote was presented to 189 00:11:17,480 --> 00:11:20,040 Speaker 1: me as a coon many years ago. While I do 190 00:11:20,080 --> 00:11:22,840 Speaker 1: not presume to be enlightened, it has had a long 191 00:11:22,920 --> 00:11:25,920 Speaker 1: lasting effect on my worldview. I'm posting from memory, so 192 00:11:26,000 --> 00:11:28,200 Speaker 1: forgive me if I get it wrong. Quote. In the 193 00:11:28,200 --> 00:11:31,720 Speaker 1: olden times, four wealthy gentlemen met regularly to drink tea 194 00:11:31,800 --> 00:11:36,319 Speaker 1: and discuss lofty matters of philosophy and politics. Over the years, 195 00:11:36,360 --> 00:11:39,199 Speaker 1: they each competed to provide the best tea to their 196 00:11:39,280 --> 00:11:42,800 Speaker 1: guests as they visited each other's homes. As they were 197 00:11:42,840 --> 00:11:47,040 Speaker 1: wealthy beyond concern, vast fortunes were spent upon quietly outdoing 198 00:11:47,080 --> 00:11:50,160 Speaker 1: each other in this competition. They paid for ships to 199 00:11:50,200 --> 00:11:52,920 Speaker 1: be built to carry expeditions to the furthest corners of 200 00:11:52,960 --> 00:11:55,640 Speaker 1: the world to find the rarest tea. Hundreds of strong 201 00:11:55,679 --> 00:11:58,120 Speaker 1: men were employed just to carry the chests of gold 202 00:11:58,200 --> 00:12:01,600 Speaker 1: they spent over the decades. Finally, one day, when the 203 00:12:01,600 --> 00:12:04,560 Speaker 1: hosts serve the tea, the three guests cried out, you 204 00:12:04,640 --> 00:12:07,959 Speaker 1: have won. The competition is over. The tea is beyond compare. 205 00:12:08,080 --> 00:12:11,240 Speaker 1: We cannot imagine anything to equal it. Please tell us 206 00:12:11,240 --> 00:12:15,240 Speaker 1: where it comes from. The host said, this is called cha. 207 00:12:15,360 --> 00:12:17,960 Speaker 1: The peasants who work in my rice patties drink it 208 00:12:18,080 --> 00:12:23,880 Speaker 1: every day. Boom, all your pretensions laid waste. Yeah, I 209 00:12:23,880 --> 00:12:25,960 Speaker 1: mean that's how the coons work, right, They're supposed to 210 00:12:25,960 --> 00:12:28,480 Speaker 1: just flip the script on you. But I like, I mean, 211 00:12:28,520 --> 00:12:30,120 Speaker 1: this is a this is a good message. This is 212 00:12:31,080 --> 00:12:34,199 Speaker 1: I do like this one. I think it's absolutely true. 213 00:12:34,240 --> 00:12:38,400 Speaker 1: That's certainly not all, but many sort of quests for 214 00:12:38,559 --> 00:12:42,800 Speaker 1: nuances in minor variations of sensation, and you know, in 215 00:12:42,880 --> 00:12:46,280 Speaker 1: like a taste to domains, whether that's food or drink 216 00:12:46,400 --> 00:12:50,960 Speaker 1: or I don't know, audio fidelity or something. Things like 217 00:12:51,040 --> 00:12:54,200 Speaker 1: that are a lot of that might be kind of 218 00:12:54,240 --> 00:12:57,480 Speaker 1: placebo effect, and those differences aren't as great as the 219 00:12:57,520 --> 00:13:01,800 Speaker 1: people spending vast fortunes doing them might think they are. Yeah, 220 00:13:01,800 --> 00:13:04,000 Speaker 1: there are a number of different triggers that come into 221 00:13:04,000 --> 00:13:07,880 Speaker 1: play when when it comes to the valuely place and 222 00:13:08,160 --> 00:13:10,320 Speaker 1: even just a food product. You know, stuff like branding, 223 00:13:10,360 --> 00:13:15,640 Speaker 1: stuff like prior knowledge of where the food or part 224 00:13:15,840 --> 00:13:18,080 Speaker 1: or ingredients in the food or sourced from that sort 225 00:13:18,080 --> 00:13:21,240 Speaker 1: of thing, the experience and making it or preparing it. 226 00:13:21,400 --> 00:13:23,280 Speaker 1: You know, all these things come into play, and I 227 00:13:23,280 --> 00:13:25,920 Speaker 1: don't think that that that distracts from it at all. 228 00:13:25,920 --> 00:13:28,440 Speaker 1: If anything, it just adds the complexity of anything we 229 00:13:28,480 --> 00:13:32,680 Speaker 1: engage in. But this particular con also touches on a 230 00:13:32,800 --> 00:13:35,679 Speaker 1: very common trend you see throughout the world, and that 231 00:13:35,840 --> 00:13:40,240 Speaker 1: is the upper classes discovering something that the working class 232 00:13:40,320 --> 00:13:42,760 Speaker 1: does and then co opting it for their own enjoyment. 233 00:13:42,880 --> 00:13:46,080 Speaker 1: So it works on several levels. Yes, this tea has 234 00:13:46,120 --> 00:13:58,200 Speaker 1: the taste of authenticity. Now, all right, let's see this 235 00:13:58,400 --> 00:14:02,319 Speaker 1: next message comes from Chuck five. It's from the Vault 236 00:14:02,360 --> 00:14:07,199 Speaker 1: episode on the three pupiled eye. Chuck five says, greetings, 237 00:14:07,320 --> 00:14:09,559 Speaker 1: always love the show. I hope my writing in means 238 00:14:09,640 --> 00:14:13,319 Speaker 1: more than flattery. Two notes on your show on multiple 239 00:14:13,360 --> 00:14:17,200 Speaker 1: pupils or irises. The first is the tradition of a 240 00:14:17,280 --> 00:14:21,080 Speaker 1: Japanese luck doll called the Druma. When you buy one, 241 00:14:21,320 --> 00:14:24,680 Speaker 1: only one pupil is painted. You make a wish, and 242 00:14:24,720 --> 00:14:27,400 Speaker 1: when that wish comes true, you paint. In the second, 243 00:14:27,800 --> 00:14:31,440 Speaker 1: and the purpose of the Druma is complete. Now, in 244 00:14:31,480 --> 00:14:34,320 Speaker 1: a second note I'm not going to read directly, Chuck 245 00:14:34,360 --> 00:14:37,400 Speaker 1: mentions a specific tattoo artist in Tokyo who does a 246 00:14:37,440 --> 00:14:41,640 Speaker 1: lot of dragon designs. Apparently, says this person paints or 247 00:14:41,680 --> 00:14:45,560 Speaker 1: tattoos the eyes of the pupils last when making a dragon. 248 00:14:46,080 --> 00:14:49,320 Speaker 1: And then finally, Chuck five says, bonus, this is just 249 00:14:49,400 --> 00:14:51,880 Speaker 1: my observation. But going back to your fear of the 250 00:14:51,960 --> 00:14:54,960 Speaker 1: Void episode, I find it curious that the thing that 251 00:14:55,200 --> 00:14:59,000 Speaker 1: brings these depictions to life, or that gives them souls, 252 00:14:59,160 --> 00:15:02,720 Speaker 1: is actually the absence of something the pupil, which is 253 00:15:02,760 --> 00:15:05,640 Speaker 1: an aperture or whole. It makes me think of the 254 00:15:05,680 --> 00:15:08,000 Speaker 1: saying the eyes are the window to the soul. A 255 00:15:08,080 --> 00:15:10,800 Speaker 1: window is a whole, or at least a clear barrier 256 00:15:10,840 --> 00:15:13,400 Speaker 1: that lets you see into a hole. So what's inside 257 00:15:13,480 --> 00:15:17,440 Speaker 1: and not seen is what is mystical or poignant. Cheers Chuck. 258 00:15:17,520 --> 00:15:21,920 Speaker 1: Five mm. I'd kind of forgotten this about Daruma dolls, 259 00:15:21,920 --> 00:15:25,200 Speaker 1: but yeah, they're very these are these are very interesting 260 00:15:25,560 --> 00:15:29,960 Speaker 1: little artifacts. And also just the idea of the painting 261 00:15:29,960 --> 00:15:32,680 Speaker 1: of the eye makes the thing real. I can't remember 262 00:15:32,680 --> 00:15:34,920 Speaker 1: if we got into this at all discussed in these episodes, 263 00:15:34,920 --> 00:15:38,840 Speaker 1: but you know, this brings to mind various I believe 264 00:15:38,920 --> 00:15:44,160 Speaker 1: Chinese folk tales about magic paint brushes or individuals with 265 00:15:44,320 --> 00:15:47,360 Speaker 1: a power to bring paintings to life, And at least 266 00:15:47,360 --> 00:15:50,920 Speaker 1: in some of these accounts, one can prevent the painting 267 00:15:50,960 --> 00:15:53,360 Speaker 1: from coming to life by not painting the eye. But 268 00:15:53,480 --> 00:15:56,320 Speaker 1: once the eye is painted, well, then it will take 269 00:15:56,360 --> 00:15:58,560 Speaker 1: on life allow its own. Oh, it's like the left 270 00:15:58,600 --> 00:16:04,000 Speaker 1: inscription that animates the golem. Oh yeah, yeah, the finishing touches. Yeah, 271 00:16:04,120 --> 00:16:07,680 Speaker 1: all right, here's one that comes to us from Chuck. 272 00:16:08,400 --> 00:16:11,040 Speaker 1: This is a different Chuck. There's not Chuck five. This 273 00:16:11,200 --> 00:16:14,320 Speaker 1: is just Chuck no number on this one, no version number. 274 00:16:19,280 --> 00:16:22,120 Speaker 1: Chuck writes in this and says, dear Rob, Joe, and JJ, 275 00:16:22,280 --> 00:16:25,080 Speaker 1: Hello again. I hope all of you are well. Thanks 276 00:16:25,160 --> 00:16:28,960 Speaker 1: once more for the informative and dry, lee hilarious episodes. 277 00:16:29,000 --> 00:16:31,320 Speaker 1: I stand by the sentimental comments I made about stuff 278 00:16:31,360 --> 00:16:33,720 Speaker 1: to blow your mind when you graciously read a previous 279 00:16:34,000 --> 00:16:36,440 Speaker 1: email of mine back in early January, about which I 280 00:16:36,440 --> 00:16:38,760 Speaker 1: was surprised and humble to be included in listener mail. 281 00:16:39,040 --> 00:16:41,400 Speaker 1: I'm writing this time primarily because if you're Washing of 282 00:16:41,400 --> 00:16:43,880 Speaker 1: the Waters episodes, you had a brief aside about the 283 00:16:43,880 --> 00:16:47,320 Speaker 1: custom of communal Roman public toilets, and now odd that 284 00:16:47,360 --> 00:16:51,840 Speaker 1: would be to our modern sensibilities. Romans doing one's business 285 00:16:51,880 --> 00:16:55,200 Speaker 1: while doing one's business was shown to humorous effect in 286 00:16:55,240 --> 00:16:59,160 Speaker 1: the first season of the Spartacus TV series. However, I 287 00:16:59,200 --> 00:17:01,840 Speaker 1: can share that I have unfortunately been part of having 288 00:17:01,840 --> 00:17:04,199 Speaker 1: to use essentially a communal line of toilets, and it 289 00:17:04,280 --> 00:17:06,879 Speaker 1: is a strange, awful experience. While it may not be 290 00:17:06,920 --> 00:17:09,480 Speaker 1: done anymore. When I went to Navy boot camp in 291 00:17:09,480 --> 00:17:13,120 Speaker 1: the nineteen nineties, our eighty person training company all had 292 00:17:13,160 --> 00:17:15,560 Speaker 1: to use the bathroom at the same approved time between 293 00:17:15,560 --> 00:17:19,160 Speaker 1: other training exercises and orientation lessons. The line of ten 294 00:17:19,240 --> 00:17:22,360 Speaker 1: or so toilets had no doors and minimal barriers between, 295 00:17:22,640 --> 00:17:24,800 Speaker 1: and a leader of the company had to stand watch 296 00:17:24,840 --> 00:17:28,199 Speaker 1: while the other recruits went. We found out later that 297 00:17:28,240 --> 00:17:31,159 Speaker 1: this was done to break down personal barriers, remind the 298 00:17:31,200 --> 00:17:34,680 Speaker 1: recruits that privacy was a luxury, and to prevent recruits from, 299 00:17:34,760 --> 00:17:38,200 Speaker 1: let's say, smuggling items like drugs or food on or 300 00:17:38,320 --> 00:17:42,359 Speaker 1: in their bodies. Appreciate private toilets, folks, but we should 301 00:17:43,000 --> 00:17:48,440 Speaker 1: pause to I guess, appreciate that and let that. Yeah. Yeah, 302 00:17:48,480 --> 00:17:51,280 Speaker 1: that sounds like you would break down barriers. Yeah, done, 303 00:17:51,359 --> 00:17:56,080 Speaker 1: I appreciate them. Okay, Chuck continues. Secondly, I wanted to 304 00:17:56,080 --> 00:17:59,000 Speaker 1: comment that I, being a kid who loved mythology and 305 00:17:59,040 --> 00:18:01,679 Speaker 1: monster movies, did see Clash of the Titans and a 306 00:18:01,720 --> 00:18:03,960 Speaker 1: packed movie theater as a nine year old kid in 307 00:18:04,040 --> 00:18:06,639 Speaker 1: nineteen eighty one. I'm also pretty sure I saw the 308 00:18:06,640 --> 00:18:09,119 Speaker 1: movie with my best friend, also nine, with no parents 309 00:18:09,119 --> 00:18:11,920 Speaker 1: around at all. I can definitely attest that the Medusa's 310 00:18:11,920 --> 00:18:14,879 Speaker 1: scene was absolutely terrifying to everyone in the theater. Hundreds 311 00:18:14,880 --> 00:18:17,480 Speaker 1: of people held their collective breadth as the creature hunted 312 00:18:17,520 --> 00:18:21,040 Speaker 1: down each hapless Greek red shirt. I had nightmares about 313 00:18:21,040 --> 00:18:24,680 Speaker 1: Medusa for months. That scene, followed up with the Calaboss fight, 314 00:18:24,960 --> 00:18:28,919 Speaker 1: was a fantastic one two punch. Absolutely agree. The Kracking 315 00:18:29,000 --> 00:18:32,400 Speaker 1: fight at the end was almost anticlimactic. After that, my 316 00:18:32,440 --> 00:18:34,679 Speaker 1: best friend loved the movie so much he decided he 317 00:18:34,720 --> 00:18:37,000 Speaker 1: wanted to be a fantasy artist. After that, he's been 318 00:18:37,040 --> 00:18:40,480 Speaker 1: illustrating comics and providing art for fantasy games for years now. 319 00:18:40,800 --> 00:18:43,879 Speaker 1: Oh wow, that's cool story. I also agree about the 320 00:18:43,960 --> 00:18:48,679 Speaker 1: anticlimacticness of the Kracking confrontation. Yeah, though at least it's 321 00:18:48,720 --> 00:18:52,760 Speaker 1: a different sort of confrontation and it's over pretty quickly. 322 00:18:53,520 --> 00:18:56,119 Speaker 1: But but yeah, there's no being that Medusa fight. And 323 00:18:56,160 --> 00:18:59,440 Speaker 1: then Chuck says, lastly, I can't remember the exact context, 324 00:18:59,520 --> 00:19:02,040 Speaker 1: but it was an episode of Weird House Cinema regarding 325 00:19:02,119 --> 00:19:06,400 Speaker 1: I think some insane character changing jobs. But Rob said 326 00:19:06,600 --> 00:19:10,879 Speaker 1: the hilarious phrase quote, maybe this is where I'll apply myself. 327 00:19:10,920 --> 00:19:13,159 Speaker 1: This is a perfect T shirt slogan. May I use it? 328 00:19:13,400 --> 00:19:15,320 Speaker 1: And if so, may I get your T shirt sizes 329 00:19:15,359 --> 00:19:17,719 Speaker 1: so I can send you your own. Ha Keep up 330 00:19:17,720 --> 00:19:20,119 Speaker 1: the great work and take care It's fine with me 331 00:19:20,200 --> 00:19:22,520 Speaker 1: if you use it. I don't know what your opinion is, Rob, 332 00:19:22,600 --> 00:19:26,000 Speaker 1: but you will never take my T shirt size. Yeah, 333 00:19:26,119 --> 00:19:29,440 Speaker 1: still feel free to put this on a T shirt. Sincerely, 334 00:19:29,560 --> 00:19:33,040 Speaker 1: Chuck from San Diego. Yeah. I was recently in San Diego. 335 00:19:33,760 --> 00:19:36,760 Speaker 1: Really loved spending a week in that town. I've only 336 00:19:36,800 --> 00:19:39,320 Speaker 1: been there overnight one time, but it did seem like 337 00:19:39,359 --> 00:19:42,080 Speaker 1: a cool place. I'd like to spend more time there. Yeah. 338 00:19:42,440 --> 00:19:44,760 Speaker 1: All right, we got one more message about weird House cinema. 339 00:19:44,840 --> 00:19:54,520 Speaker 1: This comes from Daniel, subject line Child of Peach. Hi, 340 00:19:54,760 --> 00:19:57,639 Speaker 1: this is Daniel from Australia. Did you notice that the 341 00:19:57,800 --> 00:20:01,480 Speaker 1: music featured in the clip you play from this episode? 342 00:20:01,480 --> 00:20:04,680 Speaker 1: I guess from Child of Peach is from the nineteen 343 00:20:04,760 --> 00:20:09,320 Speaker 1: eighty six album Fourth Rendezvous by Jean Michel Jarre. Is 344 00:20:09,359 --> 00:20:12,160 Speaker 1: that how you say his name? I believe it's jar Oh, 345 00:20:12,200 --> 00:20:14,560 Speaker 1: I definitely. I definitely had to look it up, okay, 346 00:20:14,840 --> 00:20:18,639 Speaker 1: Jean Michel jar I wonder was this used with permission? 347 00:20:20,200 --> 00:20:23,960 Speaker 1: I doubt it. I remember that the old Japanese TV 348 00:20:24,119 --> 00:20:27,560 Speaker 1: show Monkey Magic in the late seventies and voice dubbed 349 00:20:27,600 --> 00:20:30,560 Speaker 1: in English, used mini samples from well known and lesser 350 00:20:30,600 --> 00:20:33,320 Speaker 1: known movies, and I found this distracting as my mind 351 00:20:33,320 --> 00:20:35,760 Speaker 1: went straight out of the story and into the movie. 352 00:20:35,800 --> 00:20:40,920 Speaker 1: The sound effects originally came from Cheers Daniel, great catch, Daniel. 353 00:20:41,359 --> 00:20:45,080 Speaker 1: I didn't recognize Jar's work in this film, But now 354 00:20:45,119 --> 00:20:47,960 Speaker 1: that you pointed out yet, this totally matches up with 355 00:20:48,000 --> 00:20:50,280 Speaker 1: some of what I've read about unlicensed use of music 356 00:20:50,359 --> 00:20:52,560 Speaker 1: and other Hong Kong and Thaiwanese films of this era. 357 00:20:52,920 --> 00:20:55,680 Speaker 1: I know Master the Flying Guillotine instantly comes to mind 358 00:20:56,080 --> 00:20:58,760 Speaker 1: as a film that a lot of fun has a 359 00:20:58,800 --> 00:21:02,320 Speaker 1: great soundtrack that, if memory serves, is probably not legit. 360 00:21:02,320 --> 00:21:04,600 Speaker 1: I think there's a lot of cool crowd rock that's 361 00:21:04,600 --> 00:21:07,960 Speaker 1: sampled and used in that film, and I don't know 362 00:21:08,040 --> 00:21:11,000 Speaker 1: that there was any kind of licensing involved in that. 363 00:21:11,520 --> 00:21:13,359 Speaker 1: I was also reading at some point in the past 364 00:21:13,440 --> 00:21:16,800 Speaker 1: year about a particular Taiwanese film that I think just 365 00:21:16,840 --> 00:21:20,160 Speaker 1: straight up uses some Morriconey Carpenter tracks from the thing. 366 00:21:21,920 --> 00:21:24,560 Speaker 1: Wait didn't somebody also write in to tell us that 367 00:21:25,520 --> 00:21:29,520 Speaker 1: The Thrilling Bloody Sword was using music that's either sounded 368 00:21:29,560 --> 00:21:33,080 Speaker 1: a lot like or was directly taken from a Japanese 369 00:21:33,160 --> 00:21:37,480 Speaker 1: TV show that sounds familiar. But I don't remember it specifically. Yeah, 370 00:21:37,480 --> 00:21:40,760 Speaker 1: it's my understanding that this sort of thing, you know, happened. 371 00:21:41,880 --> 00:21:44,960 Speaker 1: But but yeah, I didn't catch this. Um, I'm not 372 00:21:45,040 --> 00:21:48,480 Speaker 1: super familiar with all of jars work. I've I've definitely 373 00:21:48,880 --> 00:21:52,280 Speaker 1: listened to some of his releases, and his father scored 374 00:21:52,359 --> 00:21:54,760 Speaker 1: some pretty big movies. I think he scored Eyes without 375 00:21:54,760 --> 00:21:57,560 Speaker 1: a Face oh wow, but did not write the Billy 376 00:21:57,640 --> 00:22:02,320 Speaker 1: Idol song. I don't think so now. But but but again, 377 00:22:02,480 --> 00:22:05,240 Speaker 1: I'm not sure of all his various collaborations over the years, 378 00:22:05,640 --> 00:22:08,560 Speaker 1: but I don't think John Michelle Jar has actually scored 379 00:22:08,600 --> 00:22:10,159 Speaker 1: a film. I was looking this up like I had 380 00:22:10,240 --> 00:22:13,640 Speaker 1: this false memory in my head that he had scored something, 381 00:22:14,400 --> 00:22:17,440 Speaker 1: But he has not to my knowledge. I could be 382 00:22:17,480 --> 00:22:19,080 Speaker 1: wrong on that, but I don't think he's He's ever 383 00:22:19,080 --> 00:22:23,520 Speaker 1: really gotten into scoring of films like his father. Anyway, 384 00:22:23,600 --> 00:22:26,080 Speaker 1: I love it when listeners catch things like this, so 385 00:22:26,320 --> 00:22:29,560 Speaker 1: oh yeah, so yeah, great, here, Daniel, you know, we 386 00:22:29,600 --> 00:22:32,080 Speaker 1: had another. I don't remember who pointed this out, as 387 00:22:32,080 --> 00:22:34,520 Speaker 1: may have been on our discord, but Thrilling Bloody Sword 388 00:22:34,560 --> 00:22:36,919 Speaker 1: is apparently being remastered like that one is actually going 389 00:22:36,960 --> 00:22:40,440 Speaker 1: to come out in an even better looking form at 390 00:22:40,480 --> 00:22:42,480 Speaker 1: some point in the future. I don't know if I 391 00:22:42,480 --> 00:22:47,160 Speaker 1: would want it, yea quote improved from the version I have. Yeah, 392 00:22:47,240 --> 00:22:49,000 Speaker 1: I know. It's that you get kind of attached to 393 00:22:49,040 --> 00:22:52,760 Speaker 1: the to the flaws, right, It's kind of like, do 394 00:22:52,840 --> 00:22:56,320 Speaker 1: you dare restore a classic org of art and you know, 395 00:22:56,400 --> 00:22:59,399 Speaker 1: will the will the restored piece feel more magical or 396 00:22:59,400 --> 00:23:02,560 Speaker 1: will some of the aura be degraded in this transformation. 397 00:23:03,040 --> 00:23:05,720 Speaker 1: I believe it's Air four four four four is the 398 00:23:05,720 --> 00:23:08,280 Speaker 1: company that's going to put it out. Yeah, with thrilling, 399 00:23:08,280 --> 00:23:11,880 Speaker 1: bloody sword. The grime and the hard baked subtitles are 400 00:23:11,880 --> 00:23:15,399 Speaker 1: definitely part of the appeal. But maybe that's just because 401 00:23:15,440 --> 00:23:18,160 Speaker 1: that's the way I'm used to it. So yeah, yeah, 402 00:23:18,160 --> 00:23:21,520 Speaker 1: I'm I'm excited to check it out and then maybe 403 00:23:21,560 --> 00:23:25,240 Speaker 1: again somebody will get around to restoring pot people if 404 00:23:25,280 --> 00:23:28,200 Speaker 1: you work in film restoration. The one that I would 405 00:23:28,240 --> 00:23:31,840 Speaker 1: love a really, really great Crisp New take on is 406 00:23:31,920 --> 00:23:34,600 Speaker 1: a Ship of Monster Is. It seems like there's no 407 00:23:34,680 --> 00:23:36,960 Speaker 1: really good disc out there of it, and it's it's 408 00:23:37,000 --> 00:23:41,200 Speaker 1: crying out for a restoration. Yeah, I mean, it's kind 409 00:23:41,200 --> 00:23:43,080 Speaker 1: of the story of some of these movies. It's like, 410 00:23:43,119 --> 00:23:46,719 Speaker 1: sometimes sadly, the better footage is lost, and there's just 411 00:23:46,720 --> 00:23:49,600 Speaker 1: doesn't exist anymore. But there have been plenty of spectacular 412 00:23:49,640 --> 00:23:54,840 Speaker 1: stories of supposedly lost of footage being found. Santo and 413 00:23:54,880 --> 00:23:57,600 Speaker 1: the Treasure of Dracula being one such example, where they 414 00:23:57,600 --> 00:24:00,480 Speaker 1: didn't think they had had any other foot to fall 415 00:24:00,520 --> 00:24:02,879 Speaker 1: back on, and then they found found something in the 416 00:24:02,960 --> 00:24:05,639 Speaker 1: vault somewhere, and so it's all the light of day again. 417 00:24:05,840 --> 00:24:08,760 Speaker 1: All right? Should we wrap it up there for today? Yeah, 418 00:24:08,840 --> 00:24:11,159 Speaker 1: let's go and wrap it up. This has been listener 419 00:24:11,240 --> 00:24:14,000 Speaker 1: mail for this week. We do these on Mondays and 420 00:24:14,040 --> 00:24:16,320 Speaker 1: the Stuff to Blow Your Mind podcast feed core episodes 421 00:24:16,320 --> 00:24:18,680 Speaker 1: on two season Thursdays. On Wednesdays we do a short 422 00:24:18,720 --> 00:24:21,440 Speaker 1: form artifact or monster fact, and on Fridays we set 423 00:24:21,480 --> 00:24:23,480 Speaker 1: aside most serious concerns to just talk about a weird 424 00:24:23,480 --> 00:24:26,119 Speaker 1: film on Weird ou Cinema. Huge thanks to our audio 425 00:24:26,200 --> 00:24:28,879 Speaker 1: producer jj Pauseway. If you would like to get in 426 00:24:28,920 --> 00:24:31,320 Speaker 1: touch with us with feedback on this episode or any other, 427 00:24:31,359 --> 00:24:33,439 Speaker 1: to suggest a topic for the future, or just to 428 00:24:33,480 --> 00:24:36,439 Speaker 1: say hello, you can email us at contact at stuff 429 00:24:36,440 --> 00:24:45,520 Speaker 1: to Blow your Mind dot com. Stuff to Blow Your 430 00:24:45,520 --> 00:24:48,560 Speaker 1: Mind is a production of iHeartRadio. For more podcasts from 431 00:24:48,560 --> 00:24:51,720 Speaker 1: my Heart Radio, visit the iHeartRadio app, Apple podcasts, or 432 00:24:51,760 --> 00:24:53,479 Speaker 1: wherever you listen to your favorite shows.