WEBVTT - Listener Mail: The Flood

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of

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<v Speaker 1>My Heart Radio. Hey, welcome to Stuff to Blow your

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<v Speaker 1>Mind listener Mail. My name is Robert Lamb and I'm

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<v Speaker 1>Shoe McCormick, and I think we can start today by

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<v Speaker 1>jumping right in on the first batch of listener mail,

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<v Speaker 1>which is in response to our episodes on sinkholes. Are

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<v Speaker 1>you ready rob it okay? This first message comes to

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<v Speaker 1>us from Thomas. Thomas says, I was just listening to

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<v Speaker 1>your episode on sinkholes. While not actually a sinkhole. The

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<v Speaker 1>episode reminded me of an event that happened while I

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<v Speaker 1>was living in the loop in downtown Chicago. I was

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<v Speaker 1>in law school at the time and in turning at

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<v Speaker 1>a law firm on Whacker Drive. I had an office

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<v Speaker 1>with a window overlooking the Chicago River. Pretty sweet for

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<v Speaker 1>a young intern. One day, I was watching as a

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<v Speaker 1>crew were driving pilings basically giant logs into the river

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<v Speaker 1>bed next to the Kinsei Bridge. I could feel the

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<v Speaker 1>reverberation of the pounding even up in the high rise

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<v Speaker 1>where I was located. Suddenly everyone started running around like

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<v Speaker 1>something bad had happened. Looking toward the water, I could

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<v Speaker 1>see what was causing the chaos, a giant whirlpool had

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<v Speaker 1>appeared right where they were pounding the pilings. Within minutes,

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<v Speaker 1>the area was surrounded by fire trucks and emergency vehicles.

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<v Speaker 1>Then helicopters appeared. After a period of time, a voice

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<v Speaker 1>came over the emergency system in the building and announced

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<v Speaker 1>that there had been ordered an evacuation of the loop

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<v Speaker 1>and that we had to leave the building. Going downstairs,

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<v Speaker 1>I walked out into what I can only describe as

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<v Speaker 1>a calm version of a Godzilla movie. The streets were

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<v Speaker 1>filled with people and police and firemen were directing everyone

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<v Speaker 1>to leave the loop immediately. They had called in the

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<v Speaker 1>L train cars and just started piling everyone into them

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<v Speaker 1>and sending them outside of the loop. I ended up

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<v Speaker 1>on the South side of Chicago, and I eventually made

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<v Speaker 1>it to a friend's house and was unable to returned

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<v Speaker 1>to my apartment for several days. It ends up that

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<v Speaker 1>what had occurred was one of the pilings pierced through

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<v Speaker 1>the roof of an abandoned subway line. The water immediately

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<v Speaker 1>started rushing in and sucked the piling through the hole.

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<v Speaker 1>The hole then started expanding, and the Chicago River was

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<v Speaker 1>effectively draining through the hole and filling the entire underground

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<v Speaker 1>rail system, and the reason for the evacuations the sub

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<v Speaker 1>basements of the high rise buildings in the loop. The

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<v Speaker 1>fire department was concerned that they were going to lose

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<v Speaker 1>integrity of the sub basements for buildings like the Sears Tower,

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<v Speaker 1>and like dominoes, they would topple over. They tried everything

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<v Speaker 1>to cover the whole, but the force of the water

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<v Speaker 1>was too strong. At one point they had put divers

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<v Speaker 1>in the water with a large metal plate, but even

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<v Speaker 1>that got sucked through and almost killed one of the divers. Finally,

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<v Speaker 1>they were able to block the hole with a quick

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<v Speaker 1>drawing cement that is used in underwater construction. This gave

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<v Speaker 1>them enough time to put permanent covers over the whole,

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<v Speaker 1>and they were finally able let everyone back into the loop.

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<v Speaker 1>This lasted for three or four days, and the damage

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<v Speaker 1>cost almost two billion dollars. The humorous side of the

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<v Speaker 1>story is that while they call it the Great Chicago

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<v Speaker 1>Flood of nine two, it was a flood with no

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<v Speaker 1>visible water. There is also a humorous story about why

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<v Speaker 1>they call it the Great Leak. It ends up that

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<v Speaker 1>floods are not covered under insurance, but leaks are so

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<v Speaker 1>they tried to classify it as a leak for insurance purposes.

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<v Speaker 1>And then he links to a wiki for the event

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<v Speaker 1>and a link to a Chicago Tribune article from which

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<v Speaker 1>has some black and white pictures. So, and then finally

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<v Speaker 1>Thomas says, I hope this blows your mind. Well, that

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<v Speaker 1>definitely did. I was not aware of this event. Yeah, yeah,

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<v Speaker 1>I mean neither. This is this is all new to me,

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<v Speaker 1>the great leak. I like it, though, I mean I'm

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<v Speaker 1>not in favor of great leaks occurring and causing property damage,

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<v Speaker 1>but it's it's a fascinating little bit of history that

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<v Speaker 1>I had somehow missed out on. What really scary part

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<v Speaker 1>to me is imagining being a dive or sent down

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<v Speaker 1>to try to cap the league while it's still suctioning

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<v Speaker 1>water through it. Yeah. It's like urban cave diving or something. Yeah, yeah,

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<v Speaker 1>but with a drain at the bottom. All right, here's

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<v Speaker 1>another one. This one comes to us from Eric. Greetings,

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<v Speaker 1>My good sirs. I just listened to part one of

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<v Speaker 1>your episode on sinkholes, where you speculate about the reason

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<v Speaker 1>heaven always seems to be in the sky whereas hell

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<v Speaker 1>always seems to be under the Earth, and I have

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<v Speaker 1>a theory to contribute. It's because of gravity. Ancient people

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<v Speaker 1>didn't understand gravity the way we do, and they could

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<v Speaker 1>easily observe its effects on the surface of the Earth.

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<v Speaker 1>And so it makes sense to me that Heaven would

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<v Speaker 1>be above where humans cannot go freely, if at all,

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<v Speaker 1>whereas Hell would be below, where unwise or unlucky humans

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<v Speaker 1>can end up whether they want to or not. In short,

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<v Speaker 1>you must drive to reach Heaven, but must drive not

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<v Speaker 1>to end up in Hell, which seems to me like

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<v Speaker 1>both literally and metaphorically sound. What do you think about that, Joe, Oh, yeah,

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<v Speaker 1>I think that kind of makes sense. I mean, another

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<v Speaker 1>way I would put it is that I think some

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<v Speaker 1>ancient ideas of hell as a place of punishment evolved

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<v Speaker 1>from a sort of afterlife concept that is more generally

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<v Speaker 1>the grave. I talked about this some with Bard Irmin

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<v Speaker 1>when when he was a guest on the podcast last year,

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<v Speaker 1>and he wrote a whole book about the evolution of

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<v Speaker 1>at least the Jewish and Greco Roman and Christian beliefs

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<v Speaker 1>about heaven and hell, and there I think the the

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<v Speaker 1>older ideas is that in most cultures of the region,

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<v Speaker 1>there was no like reward or punishment in the afterlife

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<v Speaker 1>early on. The earlier beliefs are just that when you die,

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<v Speaker 1>you go to this place that might be called something

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<v Speaker 1>like sheol, which is like the gray if if there

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<v Speaker 1>is any life after death, it's just this kind of

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<v Speaker 1>like shadow of your former existence where nothing much happens

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<v Speaker 1>and it's kind of gloomy and boring. Or maybe there's

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<v Speaker 1>no afterlife at all. You're just in the ground, and

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<v Speaker 1>over time that translates more into the afterlife you don't want.

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<v Speaker 1>It becomes associated with a place of punishment after death,

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<v Speaker 1>whereas there's some kind of other existence in some other

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<v Speaker 1>place if you're being rewarded, and that could be a uh,

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<v Speaker 1>that could be a temporal afterlife in which at some

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<v Speaker 1>point you are resurrected bodily from the grave to your reward,

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<v Speaker 1>or it could be as in the like the Greek view,

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<v Speaker 1>the Platonic view, a place where the immaterial soul goes

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<v Speaker 1>after death. Yeah, yeah, I think that that sounds sounds reasonable.

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<v Speaker 1>I also, I guess have to to come back to

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<v Speaker 1>this idea that just the idea of beings or voices

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<v Speaker 1>originating from places that cannot be reached by humans or

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<v Speaker 1>are not easily reached by humans, really resonates with us.

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<v Speaker 1>So certainly that you know that can apply to the

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<v Speaker 1>sky and to the cosmos above, you know, the visible

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<v Speaker 1>uh universe, but also the unseen world beneath the earth

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<v Speaker 1>mountain tops, but also um interior spaces like the hollows

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<v Speaker 1>of volcanoes. I'm instantly reminded of the uh uh the

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<v Speaker 1>the documentary, the Herza documentary that we we recently watched

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<v Speaker 1>on the volcanoes talking about the where they're talking to

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<v Speaker 1>the individual who had gone to the volcano and uh

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<v Speaker 1>and had like met with being with a with a

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<v Speaker 1>being from the interior, that sort of thing. Yeah, But

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<v Speaker 1>despite all that, I mean, I also very much can

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<v Speaker 1>see the intuitive logic of what Eric here is saying that,

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<v Speaker 1>like if if they're if you're sorting afterlives or other

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<v Speaker 1>planes of existence into a good place that is good

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<v Speaker 1>to get too, but hard to get to, in a

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<v Speaker 1>bad place that is easy to get to and painful. Yeah,

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<v Speaker 1>the the updown trajectory seems quite clear there. I wonder

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<v Speaker 1>if they're I've never run across it, but I wonder

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<v Speaker 1>if there is a culture that has an inversion of

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<v Speaker 1>that or perhaps some sort of fantasy treatment that intentionally

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<v Speaker 1>goes through the sort of world building exercise of inverting

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<v Speaker 1>that of having you have to work to earn your

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<v Speaker 1>place in the ground in the world below, but if you,

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<v Speaker 1>you know, just live a careless lifestyle, then you'll eventually

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<v Speaker 1>float free and be lost to the uh you know,

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<v Speaker 1>the cosmic horrors above, the lay and the Morlocks. Yeah, yeah, yeah, yeah.

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<v Speaker 1>They never any reversal of that. That That would be interesting.

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<v Speaker 1>They well, it's need how the the other Way and

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<v Speaker 1>the Morlocks were both horrible fates in their own way, right, Yeah,

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<v Speaker 1>all right, Well that was just half of Eric's uh

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<v Speaker 1>that I don't want to skip over the praise section

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<v Speaker 1>of the email. Uh, he writes, Anyway, just a thought

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<v Speaker 1>I had while listening, and I wanted to share. I've

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<v Speaker 1>been listening to the podcast for ages, not only since

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<v Speaker 1>before Christian left, but before Joe and Christian joined, and

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<v Speaker 1>I've rarely missed an episode. I was disappointed when the

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<v Speaker 1>Invention podcast stopped being its own thing, but I'm pleased

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<v Speaker 1>that you've kept the spirit of it going with your

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<v Speaker 1>periodic Invention episodes, and I've really enjoyed the little artifact

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<v Speaker 1>shorts and Weird House Cinema. Keep up the great work

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<v Speaker 1>and thank you for the excellent content. Farewell and stay

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<v Speaker 1>safe Eric. Thanks Eric. Yeah. Oh and you know, speaking

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<v Speaker 1>of Christian we had mentioned Christians Kickstarter recently on the

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<v Speaker 1>show for Corridor Magazine. That kicks or was successful. So

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<v Speaker 1>Corridor Magazine is going to be a real thing. It's

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<v Speaker 1>going to be a reality in the months ahead. When

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<v Speaker 1>they have like a date and or website announced, I'll

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<v Speaker 1>share it with everybody, probably in the listener mail episode.

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<v Speaker 1>That is excellent news. Everybody keep an eye out if horror,

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<v Speaker 1>weird fiction is your thing. All right, it looks like

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<v Speaker 1>the mail bot is coming forth with more um hellish

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<v Speaker 1>content for us here Joe, Yeah, more afterlife stuff. So

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<v Speaker 1>this comes from Rachel. Rachel says, Hi, guys, I've been

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<v Speaker 1>listening to your show for many years now, and I

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<v Speaker 1>really enjoyed the things you discuss. Some of the stuff

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<v Speaker 1>is a bit over my head, but fun to listen to. Nonetheless,

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<v Speaker 1>as a former neuroscience major in college and future neurologist

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<v Speaker 1>in medical school currently, especially like the brain related episodes.

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<v Speaker 1>I've also got a soft spot for the monster episodes

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<v Speaker 1>as a fan of horror Anyway, the reason for this

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<v Speaker 1>email isn't related to any of that, as you might

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<v Speaker 1>have guessed by the subject line. What I'm really writing

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<v Speaker 1>for is to ask this. A while ago, one of

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<v Speaker 1>you mentioned a companion to Dante's Divine Comedy, or maybe

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<v Speaker 1>just the Inferno. I can't remember that. Gave good footnotes

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<v Speaker 1>and such for understanding the context of the time, but

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<v Speaker 1>I can't recall which episode it was in, so I

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<v Speaker 1>can't go back and check. Do you remember which author

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<v Speaker 1>translator you recommended? From a quick Internet search, it sounds

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<v Speaker 1>like maybe the one by Mark musa Is is a

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<v Speaker 1>good start. I'm not sure if either of you guys

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<v Speaker 1>had other thoughts. It'll probably be quite some time before

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<v Speaker 1>i'll actually get around to reading it. I've got a

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<v Speaker 1>whole shelf full of untouched books that I've collected while

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<v Speaker 1>in school and haven't had time for, but I'm hoping

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<v Speaker 1>to get to it someday. Thanks Rachel, Well, Rachel, I'm

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<v Speaker 1>I'm no Dante scholars, so I don't have extensive opinions.

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<v Speaker 1>I haven't surveyed like a lot of different translations, but

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<v Speaker 1>I can tell you the ones I've read and and

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<v Speaker 1>my thoughts on them. So when I read The Divine

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<v Speaker 1>Comedy last year, I read, uh, the The Inferno translation

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<v Speaker 1>by the American poet Robert Pinsky, and that translation has

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<v Speaker 1>some in to no it's with it that are pretty good.

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<v Speaker 1>For the Purgatorio and the Paradiso actually used two different translations,

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<v Speaker 1>combining the translations and the notes there. One was the

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<v Speaker 1>additions of the Purgatorio and the Parody so by Jean

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<v Speaker 1>and Robert Hollander. I think Gene Hollander was a poet.

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<v Speaker 1>Unfortunately she passed away just the other year, um, but

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<v Speaker 1>I think she did the translation and her husband, Robert,

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<v Speaker 1>who is a Dante scholar or medieval literature scholar, did

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<v Speaker 1>the did the notes. But then also for the Purgatorio

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<v Speaker 1>and parody, so we kind of read them concurrently with

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<v Speaker 1>the John Chardie translation and footnotes, and in my experience,

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<v Speaker 1>we really liked the Gene Hollander translation, but chartis footnotes

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<v Speaker 1>were the most accessible, and sometimes they were they were

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<v Speaker 1>rather funny. They were good footnotes if you really don't

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<v Speaker 1>know anything and and just want to understand what's being

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<v Speaker 1>talked about in the poem at a at a pretty

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<v Speaker 1>basic level. The Hollander translation has great notes, but they

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<v Speaker 1>go deep. That seems more like a good resource for

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<v Speaker 1>scholars or something. Is just pages and pages of notes

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<v Speaker 1>on every canto. Awesome. Yeah, that that does sound like

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<v Speaker 1>like really good, good additions to to look to. For

0:12:08.880 --> 0:12:14.960
<v Speaker 1>my own part. I did uh Inferno and Purgatory via

0:12:15.080 --> 0:12:20.480
<v Speaker 1>the Robert M. Durling translations illustrated by Robert Turner. I

0:12:20.720 --> 0:12:22.920
<v Speaker 1>found those to be excellent. I I read those as

0:12:22.960 --> 0:12:26.800
<v Speaker 1>part of a college class on on Dante. I had

0:12:26.840 --> 0:12:28.839
<v Speaker 1>I forget that the professor's name, but I have was

0:12:28.880 --> 0:12:32.040
<v Speaker 1>at the University of Tennessee at Knoxville, and there is

0:12:32.080 --> 0:12:36.120
<v Speaker 1>this um, this fabulous Dante teacher, and he was this

0:12:36.679 --> 0:12:40.800
<v Speaker 1>kind of shortish Italian American man, and so he had

0:12:40.840 --> 0:12:42.640
<v Speaker 1>he had a wonderful accent, and he had this just

0:12:42.800 --> 0:12:46.520
<v Speaker 1>real enthusiasm for Dante. And I remember him talking about

0:12:46.520 --> 0:12:49.080
<v Speaker 1>how he was going to dresses Dante for Halloween, and

0:12:49.120 --> 0:12:51.079
<v Speaker 1>I asked him if he was going to have the pas?

0:12:51.520 --> 0:12:54.760
<v Speaker 1>Is it peace on the forehead as in Purgatory that

0:12:54.880 --> 0:12:57.120
<v Speaker 1>one has to work off? Oh? Yes, yes, the angel

0:12:57.160 --> 0:13:00.400
<v Speaker 1>carve seven pas into Dante the pilgrim's forehead, and there

0:13:00.440 --> 0:13:03.360
<v Speaker 1>each each time he goes up one level of the

0:13:03.360 --> 0:13:06.400
<v Speaker 1>Mountain of Purgatory, one of the peas is erased because

0:13:06.480 --> 0:13:09.560
<v Speaker 1>he's been purged of that one of the seven sins. Yeah.

0:13:09.600 --> 0:13:10.920
<v Speaker 1>So so I asked him he's gonna have the peas

0:13:10.960 --> 0:13:12.760
<v Speaker 1>on his forehead and he says, no, I'm in heaven.

0:13:13.040 --> 0:13:15.000
<v Speaker 1>You know, of course he's not going to go as

0:13:15.080 --> 0:13:18.280
<v Speaker 1>the as the infernal or the Purgatory Dante. He's the

0:13:18.280 --> 0:13:23.960
<v Speaker 1>Heavenly Dante. Um. But speaking of heaven. When I read these, um,

0:13:24.120 --> 0:13:27.960
<v Speaker 1>Durling and Turner had not put out their Paradiso yet.

0:13:28.679 --> 0:13:30.880
<v Speaker 1>I believe it's out there. It's probably been out for

0:13:30.920 --> 0:13:33.560
<v Speaker 1>like fifteen years at this point. But but I really

0:13:33.640 --> 0:13:36.440
<v Speaker 1>enjoyed those. But I also had it was also had

0:13:36.440 --> 0:13:38.160
<v Speaker 1>the benefit of being in a class and having a

0:13:38.160 --> 0:13:41.120
<v Speaker 1>really cool teacher, so I think he had some supplemental

0:13:41.160 --> 0:13:44.079
<v Speaker 1>information that he gave to us as well. Um. I

0:13:44.440 --> 0:13:46.720
<v Speaker 1>I feel like it's definitely a text that if you

0:13:46.760 --> 0:13:50.000
<v Speaker 1>can have the original Italian like in an opposing page,

0:13:50.040 --> 0:13:52.080
<v Speaker 1>like many of these do, and I think I think

0:13:52.200 --> 0:13:55.080
<v Speaker 1>Darlings did. It's it's cool, but you know, to get

0:13:55.160 --> 0:13:57.440
<v Speaker 1>even if you don't know Italian or not learning Italian,

0:13:57.480 --> 0:13:59.200
<v Speaker 1>it's neat to kind of pick out some of the words,

0:13:59.440 --> 0:14:02.720
<v Speaker 1>and it suspect actually neet with some of the demon names,

0:14:03.000 --> 0:14:06.680
<v Speaker 1>because I've noticed some additions do a full translation of

0:14:06.679 --> 0:14:09.959
<v Speaker 1>the demon names and others leave them um with their

0:14:10.000 --> 0:14:13.760
<v Speaker 1>sort of fantastic sounding names like scarmiglion um you know,

0:14:13.840 --> 0:14:17.160
<v Speaker 1>and you don't you don't necessarily want that translated into whatever.

0:14:17.280 --> 0:14:20.120
<v Speaker 1>I forget what Scarnigleon's calling him evil claws or what

0:14:20.240 --> 0:14:24.080
<v Speaker 1>evil clause or you know, or or pig nose or

0:14:24.120 --> 0:14:26.960
<v Speaker 1>whatever the case may be. But having those of those rich,

0:14:27.600 --> 0:14:31.000
<v Speaker 1>you know, Italian names, this is wonderful. Yeah, So anyway,

0:14:31.000 --> 0:14:33.640
<v Speaker 1>I recommend all the ones I used, I think they're good.

0:14:33.640 --> 0:14:36.080
<v Speaker 1>But but I would say, if you're looking for good

0:14:36.120 --> 0:14:40.000
<v Speaker 1>succinct footnotes, I think maybe the John Chardi translation is

0:14:40.400 --> 0:14:42.600
<v Speaker 1>the best to go with, just because the footnotes are

0:14:42.640 --> 0:14:45.320
<v Speaker 1>so accessible and so and it was a good translation

0:14:45.400 --> 0:14:48.040
<v Speaker 1>to he actually tries to do the rhyme, which some

0:14:48.080 --> 0:14:50.520
<v Speaker 1>of the other one must focus on less. But I

0:14:50.560 --> 0:14:52.880
<v Speaker 1>also really love Geene Hollander's translation. I don't know, So

0:14:53.280 --> 0:14:56.440
<v Speaker 1>I don't know. Just take your pick from the following,

0:14:56.880 --> 0:14:59.200
<v Speaker 1>but but I will emphasize yet again, like if you

0:14:59.240 --> 0:15:01.720
<v Speaker 1>are interested in reading the Divine comedy. It is not

0:15:01.760 --> 0:15:03.960
<v Speaker 1>going to make a lick of sense unless you get

0:15:04.000 --> 0:15:06.360
<v Speaker 1>some good footnotes to go along with it. Like it,

0:15:06.360 --> 0:15:12.280
<v Speaker 1>it is just crammed with with medieval like church politics

0:15:12.400 --> 0:15:16.800
<v Speaker 1>and and Tuscan Italian politics and and rest references to

0:15:16.880 --> 0:15:21.920
<v Speaker 1>recent history and the centuries previous. Yeah. Yeah, it is

0:15:21.960 --> 0:15:24.400
<v Speaker 1>not going to make the slightest bit of sense to

0:15:24.400 --> 0:15:27.080
<v Speaker 1>you unless you you get an addition that has some

0:15:27.120 --> 0:15:30.440
<v Speaker 1>good footnotes and you can explain what all the references

0:15:30.480 --> 0:15:39.320
<v Speaker 1>to proper nouns and all that are about. Absolutely all right,

0:15:39.400 --> 0:15:42.320
<v Speaker 1>here's another one. This comes to us from Shanny. Shanny

0:15:42.400 --> 0:15:45.720
<v Speaker 1>writes then and says, hi, too interesting notes about keys

0:15:45.960 --> 0:15:50.440
<v Speaker 1>from my culture of origin, Orthodox Judaism. I'm no longer observant,

0:15:50.520 --> 0:15:53.360
<v Speaker 1>but I am pretty enmeshed in the community because of

0:15:53.360 --> 0:15:57.000
<v Speaker 1>my very religious family. Number One, there is a Jewish

0:15:57.080 --> 0:15:59.640
<v Speaker 1>law the prohibits carrying anything outside of your home on

0:15:59.680 --> 0:16:03.360
<v Speaker 1>the sad, including your house keys. As a loophole, some

0:16:03.440 --> 0:16:07.880
<v Speaker 1>people have their keys set in jewelry or accessories such

0:16:07.920 --> 0:16:11.480
<v Speaker 1>as a bracelet, um, a broad brooch, or a belt,

0:16:11.960 --> 0:16:14.200
<v Speaker 1>because if the keys are part of your attire, it

0:16:14.320 --> 0:16:17.880
<v Speaker 1>is permissible to wear outside. Number two there is a

0:16:17.960 --> 0:16:21.960
<v Speaker 1>Jewish custom that before the first Sabbath after Passover, remembering

0:16:22.000 --> 0:16:24.360
<v Speaker 1>how the Jews were freed from Egypt and then wandered

0:16:24.360 --> 0:16:27.560
<v Speaker 1>homeless around the desert for forty years, many women will

0:16:27.560 --> 0:16:30.680
<v Speaker 1>place a key into their chola dough before baking it

0:16:30.960 --> 0:16:35.680
<v Speaker 1>as a uh segula, loosely defined good omen to always

0:16:35.720 --> 0:16:38.720
<v Speaker 1>have a home to live in. I'm not sure where

0:16:38.720 --> 0:16:41.040
<v Speaker 1>this tradition originated. I have a feeling that it is

0:16:41.080 --> 0:16:43.960
<v Speaker 1>based on an old Christian Easter tradition of forming bread

0:16:44.040 --> 0:16:46.240
<v Speaker 1>to look like a cross, but I haven't found anything

0:16:46.400 --> 0:16:49.760
<v Speaker 1>to substantiate that. I love your podcast, especially when it

0:16:49.920 --> 0:16:53.760
<v Speaker 1>somehow tries different cultures. I'm sorry, I think it's supposed

0:16:53.760 --> 0:16:57.080
<v Speaker 1>to be ties different cultures and histories together best shiny.

0:16:57.440 --> 0:17:01.200
<v Speaker 1>I also like it when it does that. Thank you, Seanny. Yeah,

0:17:01.240 --> 0:17:04.000
<v Speaker 1>this is really interesting. I love rituals like this like

0:17:04.080 --> 0:17:06.960
<v Speaker 1>the Another thing that I like when they come together

0:17:07.000 --> 0:17:11.320
<v Speaker 1>are the intersections of religious beliefs, rules and prohibitions sort

0:17:11.320 --> 0:17:14.960
<v Speaker 1>of interacting with the practicalities of life as we see explained,

0:17:15.240 --> 0:17:18.159
<v Speaker 1>especially in your first point there, Rob, do you'll do

0:17:18.200 --> 0:17:21.520
<v Speaker 1>you'll ever get holl of bread? Um? I guess we do.

0:17:21.680 --> 0:17:25.720
<v Speaker 1>I'm not remembering it offhand, um, but I think we have. Yeah,

0:17:25.720 --> 0:17:28.720
<v Speaker 1>there's some some places in town that make good. Yeah,

0:17:28.920 --> 0:17:32.840
<v Speaker 1>it's good. I am. I'm very much in favor of bread. Um.

0:17:32.880 --> 0:17:34.880
<v Speaker 1>I wonder have we ever done an episode that really

0:17:34.920 --> 0:17:39.360
<v Speaker 1>goes into any bit of Hebraic ritual. I mean, obviously

0:17:39.520 --> 0:17:41.560
<v Speaker 1>we've dealt with like the Ark of the Covenant and

0:17:41.600 --> 0:17:46.040
<v Speaker 1>all that, but any trying to come up in technology

0:17:46.119 --> 0:17:49.040
<v Speaker 1>based invention episodes. Yeah, I feel like it's come up

0:17:49.040 --> 0:17:52.440
<v Speaker 1>a good bit here and there. Maybe I'm just blinking.

0:17:52.520 --> 0:17:54.439
<v Speaker 1>I can only remember the arc all of a sudden,

0:17:54.720 --> 0:17:58.359
<v Speaker 1>so it's kind of all consuming like that. We had

0:17:58.400 --> 0:18:00.600
<v Speaker 1>a great piece of listener mails sometimes last year when

0:18:00.640 --> 0:18:03.520
<v Speaker 1>we did a couple of episodes about pointing that involved

0:18:03.640 --> 0:18:07.840
<v Speaker 1>the yawd, the little pointer stick with the finger on

0:18:07.840 --> 0:18:10.920
<v Speaker 1>it used for reading the Torah. That's right. Yeah, that's that.

0:18:11.040 --> 0:18:13.280
<v Speaker 1>That was a really good one. Okay, all right now

0:18:13.280 --> 0:18:16.119
<v Speaker 1>I feel better, Okay, Um, But yeah, I would like

0:18:16.160 --> 0:18:19.080
<v Speaker 1>if there any other topics of that nature, uh that

0:18:19.080 --> 0:18:21.639
<v Speaker 1>that we could be covering. Yeah, we'll have to let

0:18:21.720 --> 0:18:34.359
<v Speaker 1>us know, listeners. All right. This next message is about chemistry.

0:18:34.400 --> 0:18:36.520
<v Speaker 1>It refers back to our episode on heavy water, but

0:18:36.560 --> 0:18:39.480
<v Speaker 1>also a subsequent listener mail and it is from Brett

0:18:39.520 --> 0:18:42.720
<v Speaker 1>who has written in before. Brett says hello Robert and Joe.

0:18:42.800 --> 0:18:45.639
<v Speaker 1>I hope you were both doing well, and has treated

0:18:45.680 --> 0:18:49.040
<v Speaker 1>you kindly thus far. It's Brett again. I recently wrote

0:18:49.359 --> 0:18:52.199
<v Speaker 1>in about die chloro methane or d c M for

0:18:52.400 --> 0:18:56.000
<v Speaker 1>organic synthesis and the Christmas tree ornament which you read.

0:18:56.240 --> 0:18:59.240
<v Speaker 1>Thank you. During that listener mail, another listener wrote in

0:18:59.240 --> 0:19:01.680
<v Speaker 1>about heavy water her and it was then I realized

0:19:01.720 --> 0:19:04.159
<v Speaker 1>I missed that podcast and had to go back, so

0:19:04.240 --> 0:19:08.240
<v Speaker 1>pardon the late response. Deuturated water has a great history

0:19:08.240 --> 0:19:10.879
<v Speaker 1>and thank you for sharing it. As an organic chemist,

0:19:11.119 --> 0:19:14.320
<v Speaker 1>people in my field rely on the properties of deuterium daily,

0:19:14.680 --> 0:19:18.760
<v Speaker 1>not just for incorporation into potential active ingredients which you mentioned,

0:19:18.920 --> 0:19:23.119
<v Speaker 1>but also for for solvent to characterize our compounds that

0:19:23.160 --> 0:19:27.159
<v Speaker 1>we synthesize. Let me explain. I mentioned that chemists use

0:19:27.280 --> 0:19:31.000
<v Speaker 1>nuclear magnetic resonance or n MR to help provide us

0:19:31.000 --> 0:19:34.199
<v Speaker 1>with information about the type of carbon hydrogen bonds that

0:19:34.240 --> 0:19:38.159
<v Speaker 1>our compounds possess. The NMR is so finely tuned that

0:19:38.200 --> 0:19:40.960
<v Speaker 1>it detects the presence of these carbon hydrogen bonds with

0:19:41.040 --> 0:19:45.800
<v Speaker 1>great accuracy and precision reproducible, but in order to obtain

0:19:45.840 --> 0:19:49.359
<v Speaker 1>a spectra for the most part, we use deuturated solvents,

0:19:49.400 --> 0:19:54.960
<v Speaker 1>which all derive from heavy water. Deuturated solvents such as chloroform, methanol,

0:19:55.040 --> 0:19:58.600
<v Speaker 1>and dimethyl soul. Fox side allow the NMR to lock

0:19:58.760 --> 0:20:00.800
<v Speaker 1>and shim and I look that up. I didn't know

0:20:00.840 --> 0:20:02.800
<v Speaker 1>what that was, but that is a term in in UH,

0:20:02.960 --> 0:20:07.639
<v Speaker 1>the nuclear magnetic resonance to lock and shim based on

0:20:07.680 --> 0:20:11.760
<v Speaker 1>the carbon deuterium bond, allowing the instrument to focus on

0:20:11.800 --> 0:20:14.880
<v Speaker 1>the small amount of material we are concerned with. If

0:20:14.880 --> 0:20:18.880
<v Speaker 1>the solvent did not contain deuterium and only hydrogen, then

0:20:18.920 --> 0:20:21.760
<v Speaker 1>the solvent would drown out the signal for our compounds

0:20:21.800 --> 0:20:24.640
<v Speaker 1>because of how many more molecules of solvent there would

0:20:24.680 --> 0:20:28.280
<v Speaker 1>be compared to our material. And then Brett says, maybe

0:20:28.280 --> 0:20:30.840
<v Speaker 1>you know about the mole the m o L. I

0:20:30.840 --> 0:20:32.520
<v Speaker 1>don't know much about it. I think that is that

0:20:32.640 --> 0:20:35.840
<v Speaker 1>is a measure used in chemistry of like the number

0:20:35.880 --> 0:20:38.800
<v Speaker 1>of elementary particles in a sample. Or I think it's

0:20:38.800 --> 0:20:41.320
<v Speaker 1>the number of elementary particles that are equal to like

0:20:41.359 --> 0:20:45.600
<v Speaker 1>a certain number of grams of carbon or something um

0:20:46.040 --> 0:20:49.240
<v Speaker 1>but I'm no expert on that, but so I obviously

0:20:49.280 --> 0:20:52.280
<v Speaker 1>don't know a lot about it. Um Brett goes on.

0:20:52.680 --> 0:20:55.400
<v Speaker 1>We also use a deuterated solvent to help us understand

0:20:55.440 --> 0:20:59.520
<v Speaker 1>the mechanism of reaction, how a reaction might proceed by

0:20:59.600 --> 0:21:03.600
<v Speaker 1>change by exchanging a hydrogen for a deuterium adom which

0:21:03.600 --> 0:21:06.400
<v Speaker 1>when using n m R the carbon deuterium bond would

0:21:06.400 --> 0:21:09.719
<v Speaker 1>not be present. Amazing how we can obtain information on

0:21:09.800 --> 0:21:12.800
<v Speaker 1>something we cannot see, and how we rely on instruments

0:21:12.800 --> 0:21:15.320
<v Speaker 1>to help us figure out what we're doing. Thanks again

0:21:15.359 --> 0:21:18.679
<v Speaker 1>for always providing great fodder for the mind. Tritium topic

0:21:18.720 --> 0:21:23.480
<v Speaker 1>anytime soon, Best Brett, Tritium, of course, being the even

0:21:23.560 --> 0:21:26.879
<v Speaker 1>heavier hydrogen. You know, we were talking mainly about deuterium

0:21:26.880 --> 0:21:30.120
<v Speaker 1>in that episode, which is hydrogen that's got a one

0:21:30.200 --> 0:21:33.440
<v Speaker 1>neutron in the nucleus where it normally would have no neutrons.

0:21:33.600 --> 0:21:36.359
<v Speaker 1>Tritium has two neutrons and and it gets it gets

0:21:36.400 --> 0:21:39.520
<v Speaker 1>really hairy. Yeah, I've I've mined a lot of it

0:21:39.560 --> 0:21:42.320
<v Speaker 1>in No Man's sky before I forget what it's for

0:21:42.440 --> 0:21:44.440
<v Speaker 1>und because I've been I haven't played it in about

0:21:44.440 --> 0:21:46.879
<v Speaker 1>a month, but I look forward to picking him back

0:21:46.960 --> 0:21:50.040
<v Speaker 1>up it kind of. I think it's ultimately you know,

0:21:50.080 --> 0:21:52.280
<v Speaker 1>it's not the most educational games, but it's a it's

0:21:52.280 --> 0:21:54.920
<v Speaker 1>a pretty tame one to play with my son around

0:21:54.960 --> 0:21:57.880
<v Speaker 1>and let him play it some and it will hopefully

0:21:57.960 --> 0:22:00.800
<v Speaker 1>educate him about some of these elements. Maybe not like

0:22:00.840 --> 0:22:04.240
<v Speaker 1>what their actual purposes are, but the names of them are. Yeah,

0:22:04.280 --> 0:22:06.440
<v Speaker 1>just like the names will sink in and the abbreviations

0:22:06.440 --> 0:22:08.440
<v Speaker 1>will sink in. Like that's that's more than I had

0:22:08.480 --> 0:22:12.679
<v Speaker 1>in video games at his age. So yeah, same here. Great,

0:22:13.280 --> 0:22:15.680
<v Speaker 1>So yeah, maybe we go to even heavier hydrogen, will

0:22:15.720 --> 0:22:17.680
<v Speaker 1>do something on tridium, and then we can do what's

0:22:17.680 --> 0:22:22.600
<v Speaker 1>beyond heavy heavy hydrogen, like like death hydrogen or thrash hydrogen,

0:22:22.720 --> 0:22:30.080
<v Speaker 1>rash hydrogen, symphonic death hydrogen. That sounds good, all right. Um,

0:22:30.119 --> 0:22:33.480
<v Speaker 1>you know, we also receive some weird house Cinema listener

0:22:33.520 --> 0:22:36.320
<v Speaker 1>mails here, so we'll we'll dig into these a little bit. Uh.

0:22:36.359 --> 0:22:38.840
<v Speaker 1>And and I have to say that Carney the mail

0:22:38.880 --> 0:22:41.800
<v Speaker 1>butt has been very excited, um, because you know he's

0:22:41.840 --> 0:22:51.760
<v Speaker 1>he's very much into the idea of Champion combat. Uh.

0:22:51.760 --> 0:22:54.080
<v Speaker 1>This first one comes to us from Jim and New Jersey,

0:22:54.080 --> 0:22:56.840
<v Speaker 1>who of course is a is a regular listener mail

0:22:57.080 --> 0:23:00.920
<v Speaker 1>Um writer. He says, Robert and Joe. In Friday's Weird

0:23:00.920 --> 0:23:03.600
<v Speaker 1>House Cinema, you featured arena where you mentioned that the

0:23:03.640 --> 0:23:07.119
<v Speaker 1>password to a casino was swordfish. I don't know if

0:23:07.160 --> 0:23:09.640
<v Speaker 1>this is the first use of swordfish, but it appears

0:23:09.640 --> 0:23:13.200
<v Speaker 1>in the Marx Brothers movie Horse Feathers as the password

0:23:13.240 --> 0:23:17.120
<v Speaker 1>to a speak easy and Jim includes a clip. I

0:23:17.160 --> 0:23:19.560
<v Speaker 1>went and watched this, and this is a wonderful scene.

0:23:19.720 --> 0:23:23.280
<v Speaker 1>You know, the comedy of EON's past is uh, sometimes

0:23:23.320 --> 0:23:25.960
<v Speaker 1>just not very funny anymore, and often the often comedy

0:23:26.000 --> 0:23:29.520
<v Speaker 1>does not translate across generations very well. But this scene

0:23:29.560 --> 0:23:33.720
<v Speaker 1>is still really funny. It's great. It's uh, Groucho and

0:23:34.240 --> 0:23:37.440
<v Speaker 1>is it Checo or Checho a spell like Chico? I

0:23:37.440 --> 0:23:41.080
<v Speaker 1>guess Chico or Checho. Marks Um is on the inside

0:23:41.080 --> 0:23:43.760
<v Speaker 1>and Grouchos on the outside, and they're they're talking through

0:23:43.800 --> 0:23:47.080
<v Speaker 1>the little window in the door, and and Groucho has

0:23:47.119 --> 0:23:49.199
<v Speaker 1>got like three guesses to figure out how what the

0:23:49.240 --> 0:23:51.320
<v Speaker 1>password is, and he gets the hint that it's the

0:23:51.440 --> 0:23:54.560
<v Speaker 1>name of a fish, and his first guess is Mary,

0:23:55.080 --> 0:23:59.560
<v Speaker 1>which made me laugh a lot. Yeah, I I haven't

0:23:59.600 --> 0:24:02.520
<v Speaker 1>really seen in a bunch of Marx Brothers, um, and

0:24:03.000 --> 0:24:05.280
<v Speaker 1>I'm struggling to I mean, outside of just a few bits,

0:24:05.440 --> 0:24:07.080
<v Speaker 1>you know, clips here and there, Like I think they

0:24:07.080 --> 0:24:10.680
<v Speaker 1>did a mirror gag that that I think everybody has seen.

0:24:10.760 --> 0:24:13.600
<v Speaker 1>But but it is notable that, you know, especially for

0:24:13.680 --> 0:24:16.680
<v Speaker 1>like a previous generation of filmmakers would have been even

0:24:16.760 --> 0:24:20.400
<v Speaker 1>more familiar with Marx Brothers, you know, so it makes

0:24:20.400 --> 0:24:22.840
<v Speaker 1>sense that we see these little nods in these films

0:24:23.280 --> 0:24:25.800
<v Speaker 1>to some of their work. There's that great scene in

0:24:25.800 --> 0:24:28.520
<v Speaker 1>Indiana Jones in the Last Crusade where Sean Connery has

0:24:28.520 --> 0:24:31.400
<v Speaker 1>mailed his diary to Harrison Ford in order for safe

0:24:31.480 --> 0:24:34.119
<v Speaker 1>keeping because he's been captured by the Nazis, and then

0:24:34.160 --> 0:24:36.600
<v Speaker 1>Harrison Ford brings it with him when he comes to

0:24:36.680 --> 0:24:40.000
<v Speaker 1>rescue him. The Nazis get it, and Sean Connery says,

0:24:40.000 --> 0:24:43.760
<v Speaker 1>I should have mailed it to the Macks Brothers. Oh yeah,

0:24:43.760 --> 0:24:46.159
<v Speaker 1>I remember that. I haven't seen that one in forever.

0:24:47.359 --> 0:24:54.840
<v Speaker 1>I need to give it another go. Okay. This next

0:24:54.920 --> 0:24:58.560
<v Speaker 1>message comes from Tend. It is also about Arena. Uh.

0:24:58.760 --> 0:25:01.399
<v Speaker 1>Tend says, Dear Robert and Joe. I've been a listener

0:25:01.520 --> 0:25:03.879
<v Speaker 1>of your show for years and in particularly enjoying the

0:25:03.880 --> 0:25:06.960
<v Speaker 1>recent weird House Cinema episodes. The choices you featured really

0:25:06.960 --> 0:25:09.679
<v Speaker 1>are my types of movies. I think that's because I

0:25:09.720 --> 0:25:12.879
<v Speaker 1>appreciate seeing how well a production company, film crew, and

0:25:12.920 --> 0:25:15.960
<v Speaker 1>actors can do without having much of a budget. Even

0:25:15.960 --> 0:25:19.040
<v Speaker 1>though this means the walls sometimes shake and performances are

0:25:19.080 --> 0:25:22.879
<v Speaker 1>less than convincing, I love seeing those involved earnestly strain

0:25:23.000 --> 0:25:26.000
<v Speaker 1>in their depictions. I had a real flutter of excitement

0:25:26.000 --> 0:25:28.720
<v Speaker 1>when I saw you picked Arena to discuss, as I've

0:25:28.760 --> 0:25:31.000
<v Speaker 1>watched it not so long ago with my wife and

0:25:31.000 --> 0:25:33.679
<v Speaker 1>brother in law. We were very much entertained by the

0:25:33.760 --> 0:25:37.320
<v Speaker 1>varied and inventive alien designs as you described them. There

0:25:37.400 --> 0:25:39.160
<v Speaker 1>was one thing I was waiting for you to point

0:25:39.160 --> 0:25:41.600
<v Speaker 1>out about the movie, something I couldn't believe I had

0:25:41.600 --> 0:25:44.640
<v Speaker 1>seen and so needed to rewind and pause it to confirm.

0:25:44.720 --> 0:25:47.800
<v Speaker 1>As we watched. During fight scenes in the arena itself,

0:25:47.840 --> 0:25:50.080
<v Speaker 1>the camera often cuts to the audience and you can

0:25:50.119 --> 0:25:54.679
<v Speaker 1>see many unmoving dummies filling out the crowd. It's unbelievably

0:25:54.720 --> 0:25:57.600
<v Speaker 1>badly done, looks fully ludicrous, and just made me love

0:25:57.600 --> 0:25:59.960
<v Speaker 1>it more. You won't be able to watch Arena now

0:26:00.000 --> 0:26:02.679
<v Speaker 1>without seeing this, I promise. Thanks to you and your

0:26:02.720 --> 0:26:04.520
<v Speaker 1>team for all your work. I'm looking forward to the

0:26:04.560 --> 0:26:07.639
<v Speaker 1>future episodes. Uh. And then there's a different name at

0:26:07.680 --> 0:26:09.240
<v Speaker 1>the end of this than the name at the beginning,

0:26:09.280 --> 0:26:12.600
<v Speaker 1>which was Tended. I'll just stick with tend. Well. I

0:26:12.600 --> 0:26:15.920
<v Speaker 1>didn't I did not notice these, um these mannequins when

0:26:15.920 --> 0:26:20.240
<v Speaker 1>watching the film, too distracted by the cool aliens. But

0:26:20.560 --> 0:26:21.840
<v Speaker 1>it makes sense that they would be there. You need

0:26:21.880 --> 0:26:24.280
<v Speaker 1>to fill out a stadium, or if something that looks

0:26:24.280 --> 0:26:27.320
<v Speaker 1>like a stadium, you might want to plant some some

0:26:27.359 --> 0:26:29.800
<v Speaker 1>fake butts in the fake seats. You know what this

0:26:29.880 --> 0:26:32.280
<v Speaker 1>means is you were so riveted to the action in

0:26:32.320 --> 0:26:34.439
<v Speaker 1>the center of the frame that you were not You

0:26:34.480 --> 0:26:37.280
<v Speaker 1>were not even tempted to wander around with your eyes

0:26:37.320 --> 0:26:39.159
<v Speaker 1>to the periphery and see who might be sitting in

0:26:39.200 --> 0:26:42.320
<v Speaker 1>the audience. Another thing could be you know, at this

0:26:42.400 --> 0:26:44.720
<v Speaker 1>point in the pandemic like it, we're just not used

0:26:44.760 --> 0:26:47.840
<v Speaker 1>to seeing live crowd shots anymore. So it's like, wow,

0:26:47.880 --> 0:26:49.840
<v Speaker 1>that that looks right, that that must be what it's

0:26:49.960 --> 0:26:53.200
<v Speaker 1>it looks like to watch sports or something with with

0:26:53.200 --> 0:26:56.200
<v Speaker 1>with an audience viewing it. So this is weird. There

0:26:56.200 --> 0:26:58.919
<v Speaker 1>are some shows that are they have they're used to

0:26:59.240 --> 0:27:02.760
<v Speaker 1>having a live studio audience, and now they still do,

0:27:02.960 --> 0:27:05.320
<v Speaker 1>but it's clearly a much reduced like people are sitting

0:27:05.440 --> 0:27:07.480
<v Speaker 1>very far apart from each other and there are many

0:27:07.560 --> 0:27:11.800
<v Speaker 1>fewer of them, and so when they clap, it sounds

0:27:11.840 --> 0:27:15.440
<v Speaker 1>so pathetic. You know, it sounds like five people clapping,

0:27:15.480 --> 0:27:17.520
<v Speaker 1>and it's just like it would be better without any

0:27:17.560 --> 0:27:21.280
<v Speaker 1>applause than every joke or line getting like a you know,

0:27:21.359 --> 0:27:24.720
<v Speaker 1>a smattering of laughter from five or six people, or

0:27:24.960 --> 0:27:27.240
<v Speaker 1>you know what what sounds like two people clapping in

0:27:27.280 --> 0:27:30.080
<v Speaker 1>an empty hall? Is this of what it was Saturday

0:27:30.160 --> 0:27:32.320
<v Speaker 1>Night Live? Do? This is this way you're referencing. No,

0:27:32.480 --> 0:27:33.919
<v Speaker 1>I feel like I've I've just seen a couple of

0:27:33.920 --> 0:27:36.800
<v Speaker 1>like talk shows, like late night talk shows doing something

0:27:36.840 --> 0:27:39.880
<v Speaker 1>like this. Okay, well, I guess my my only experience

0:27:39.880 --> 0:27:43.880
<v Speaker 1>has been watching stuff like um like Colbert and Daily Show,

0:27:44.040 --> 0:27:46.919
<v Speaker 1>which don't have they are not even pretending to have

0:27:47.480 --> 0:27:50.199
<v Speaker 1>an audience. And then I kind of keep up with

0:27:50.240 --> 0:27:52.560
<v Speaker 1>some of the pro wrestling, so I kind of note

0:27:52.600 --> 0:27:56.840
<v Speaker 1>how different players in that sport have been reacting to

0:27:56.920 --> 0:28:00.520
<v Speaker 1>it like you have. For instance, you know, some places

0:28:00.720 --> 0:28:03.480
<v Speaker 1>and in sometimes during the pandemic just having no audience

0:28:03.480 --> 0:28:06.720
<v Speaker 1>at all, or to having like a completely fake audience

0:28:06.880 --> 0:28:09.560
<v Speaker 1>of just people from the locker room come out and

0:28:09.560 --> 0:28:13.359
<v Speaker 1>and you know, be enthusiastic. Or you have a smattering option,

0:28:13.560 --> 0:28:15.560
<v Speaker 1>or you have like a high tech like fill the

0:28:15.600 --> 0:28:18.560
<v Speaker 1>audience with TV screens and have people like zoom into

0:28:18.640 --> 0:28:21.480
<v Speaker 1>a tend I mean, there's there's so many different approaches

0:28:21.520 --> 0:28:25.040
<v Speaker 1>that have been taken, none of them perfect, but but

0:28:25.119 --> 0:28:27.280
<v Speaker 1>it's interesting to see. It's kind kind of like the

0:28:28.400 --> 0:28:33.359
<v Speaker 1>listener mail earlier talking about the earnest straining, right, Sometimes

0:28:33.400 --> 0:28:36.119
<v Speaker 1>that is the most interesting part. I've got an idea

0:28:36.200 --> 0:28:38.680
<v Speaker 1>that I think they should do. This seems perfectly realistic

0:28:38.720 --> 0:28:40.120
<v Speaker 1>to me. I mean, so on one hand, it would

0:28:40.120 --> 0:28:42.880
<v Speaker 1>seem very fake if you were to just pipe in

0:28:43.160 --> 0:28:46.240
<v Speaker 1>fake laughter or fake applause at each applause line, like

0:28:46.280 --> 0:28:49.200
<v Speaker 1>in a sitcom, you know, But I think you could

0:28:49.200 --> 0:28:54.160
<v Speaker 1>do real electronic laughter or applause where there are a

0:28:54.200 --> 0:28:57.000
<v Speaker 1>bunch of electronic viewers and they can like press a

0:28:57.040 --> 0:28:59.160
<v Speaker 1>certain button. They're watching in real time and they can

0:28:59.160 --> 0:29:01.720
<v Speaker 1>press a certain but every time they want to either

0:29:01.880 --> 0:29:05.080
<v Speaker 1>laugh or applaud, and that will create one sound of

0:29:05.160 --> 0:29:08.000
<v Speaker 1>one person laughing or applauding, And so you get real

0:29:08.120 --> 0:29:11.280
<v Speaker 1>reactions like the jokes that actually get up roorious laughter

0:29:11.480 --> 0:29:15.840
<v Speaker 1>will get up roarious laughter uh organically but mediated through

0:29:15.880 --> 0:29:18.960
<v Speaker 1>electronic devices. And and the ones that kind of bomb,

0:29:18.960 --> 0:29:22.320
<v Speaker 1>you'll hear them bomb. That's what I think should happen. Yeah, yeah,

0:29:27.680 --> 0:29:29.160
<v Speaker 1>all right, here's another one. This one comes to us

0:29:29.160 --> 0:29:31.480
<v Speaker 1>for me and Ian Rites. Even though this isn't a

0:29:31.520 --> 0:29:35.160
<v Speaker 1>comedy podcast, I derived some great belly laughs from your show.

0:29:35.760 --> 0:29:37.720
<v Speaker 1>You both know when to use it and when not.

0:29:37.920 --> 0:29:42.040
<v Speaker 1>To better leave some songs unsung than to sing them

0:29:42.040 --> 0:29:46.120
<v Speaker 1>out of season, right, your wise and worthy singers. Anyway,

0:29:46.160 --> 0:29:49.200
<v Speaker 1>I wanted to tell you, Joe that I genuinely laughed

0:29:49.200 --> 0:29:51.600
<v Speaker 1>out loud by myself when you said I want to

0:29:51.640 --> 0:29:54.880
<v Speaker 1>see Chewbacca fight job of the Hut from Marina episode

0:29:55.240 --> 0:29:57.600
<v Speaker 1>L O L. You couldn't have picked a funnier match

0:29:57.680 --> 0:30:01.320
<v Speaker 1>from Star Wars. Good Jess, Sir, peace out, Love you guys.

0:30:01.680 --> 0:30:06.840
<v Speaker 1>Uh Ian from St. Louis uh Ian the Far Too Kind.

0:30:07.000 --> 0:30:09.880
<v Speaker 1>But I think I am I seeing this right that

0:30:09.960 --> 0:30:14.080
<v Speaker 1>you were quoting from the Kalavla. I think right. If

0:30:14.120 --> 0:30:16.160
<v Speaker 1>I'm getting this right, I think at the beginning of

0:30:16.160 --> 0:30:19.280
<v Speaker 1>your your message, you're quoting a couple of lines the

0:30:19.280 --> 0:30:21.640
<v Speaker 1>better to leave some songs on sung than sing them

0:30:21.640 --> 0:30:23.760
<v Speaker 1>out of season. Is that not from the Kala Vla

0:30:23.920 --> 0:30:25.840
<v Speaker 1>that we read in a previous episode? I think you

0:30:25.920 --> 0:30:30.040
<v Speaker 1>might be right. Yeah, yeah, very very good. Uh deep

0:30:30.240 --> 0:30:34.520
<v Speaker 1>deep reference there. Yeah, and yeah, Chewbacca fighting job of

0:30:34.520 --> 0:30:37.600
<v Speaker 1>the Hut. It's a good matchup there. They're probably some

0:30:37.640 --> 0:30:39.600
<v Speaker 1>others we could we could really brainstorm if we set

0:30:39.640 --> 0:30:42.520
<v Speaker 1>our mind to it. I don't know. Um, like a

0:30:42.760 --> 0:30:46.080
<v Speaker 1>Wampa versus four Javas stacked on top of each other

0:30:46.400 --> 0:30:48.280
<v Speaker 1>in a trench coat. That would be neat. But if

0:30:48.320 --> 0:30:50.680
<v Speaker 1>you had a fight between Obi Wan Kenobi and Boba

0:30:50.720 --> 0:30:55.800
<v Speaker 1>Fette's dad, that'd be really weird. We had that, we

0:30:55.840 --> 0:30:58.760
<v Speaker 1>had that? That was that. I watched that one. That joke. Yeah,

0:30:59.560 --> 0:31:01.800
<v Speaker 1>the boy and I watched the first half of Attack

0:31:01.800 --> 0:31:04.840
<v Speaker 1>of the Clones together. Um and uh and that's a

0:31:04.840 --> 0:31:07.560
<v Speaker 1>pretty solid fight scene. I like that one. Okay, you've

0:31:07.560 --> 0:31:10.640
<v Speaker 1>got the various Mandalorian weapons uh in in in play

0:31:10.680 --> 0:31:13.320
<v Speaker 1>there against the Jedi. You've got kind of a kind

0:31:13.320 --> 0:31:16.360
<v Speaker 1>of a neat fight environment. Oh here's what I think

0:31:16.400 --> 0:31:20.600
<v Speaker 1>we should someday. Uh, if we're if we're feeling especially fresh,

0:31:20.680 --> 0:31:24.560
<v Speaker 1>we should do an episode of invention that's basically a

0:31:24.600 --> 0:31:28.240
<v Speaker 1>Boba Fette Invention special where we discuss all of his gadgets.

0:31:29.080 --> 0:31:31.600
<v Speaker 1>This we know actually did a blog post about this

0:31:31.680 --> 0:31:35.480
<v Speaker 1>at smooda music dot com where I um, I kind

0:31:35.480 --> 0:31:42.280
<v Speaker 1>of waxed. Uh maybe not philosophical, but I I contemplated

0:31:42.320 --> 0:31:44.600
<v Speaker 1>the weapons of the Mandalorian and was thinking about like

0:31:44.840 --> 0:31:48.080
<v Speaker 1>the idea of of the Mandalorian armor as being on

0:31:48.080 --> 0:31:50.720
<v Speaker 1>one hand, everything is geared about fighting a Jedi, like

0:31:50.760 --> 0:31:54.800
<v Speaker 1>how to best engage a Jedi and survive or even

0:31:54.920 --> 0:31:57.920
<v Speaker 1>um emerge victorious. But then also you get into this

0:31:58.000 --> 0:32:00.480
<v Speaker 1>idea of their armor and their weapons being at parts

0:32:00.520 --> 0:32:04.080
<v Speaker 1>of their religion, which is a fabulous topic with with

0:32:04.120 --> 0:32:06.160
<v Speaker 1>parallels to the real world. You think of things like

0:32:06.200 --> 0:32:10.280
<v Speaker 1>the Sikh religion and all um. But it may got

0:32:10.280 --> 0:32:14.600
<v Speaker 1>me thinking like what additional connotations might be absorbed by

0:32:14.640 --> 0:32:17.080
<v Speaker 1>some of these weapons, like the idea of say, like

0:32:17.120 --> 0:32:19.360
<v Speaker 1>the jet pack does the jet pack then becomes something

0:32:19.360 --> 0:32:23.040
<v Speaker 1>that symbolizes not is you know, not just about escaping distance,

0:32:23.320 --> 0:32:25.680
<v Speaker 1>creating distance between yourself and a JETI who's a deadly

0:32:25.800 --> 0:32:29.479
<v Speaker 1>melee combatant, but also something about the spirit, you know,

0:32:29.600 --> 0:32:32.840
<v Speaker 1>like the ascension of the spirit um, perhaps the fire

0:32:33.120 --> 0:32:35.600
<v Speaker 1>of the little flamethrower and the wrist like that becomes

0:32:35.640 --> 0:32:38.400
<v Speaker 1>something about like the purifying flame or something. You know,

0:32:38.600 --> 0:32:40.760
<v Speaker 1>Like there's so many directions you could go in with

0:32:40.800 --> 0:32:43.120
<v Speaker 1>all these different details of the armor that could almost

0:32:43.160 --> 0:32:46.680
<v Speaker 1>be like the iconography you encounter in a Hindu deity.

0:32:46.800 --> 0:32:49.320
<v Speaker 1>Like each you know, each little detail has some sort

0:32:49.320 --> 0:32:53.320
<v Speaker 1>of important meaning. Uh to those who would be you know,

0:32:53.400 --> 0:32:55.920
<v Speaker 1>a literate of those symbols. Well, if you're going to

0:32:56.000 --> 0:32:59.440
<v Speaker 1>be realistic about jet packs, it would unless I've not

0:32:59.560 --> 0:33:01.760
<v Speaker 1>kept up to date about what jet packs are capable

0:33:01.800 --> 0:33:04.320
<v Speaker 1>of these days, it seemed like it should symbolize riding

0:33:04.320 --> 0:33:06.760
<v Speaker 1>a dragon or riding a tiger, you know, something that

0:33:06.800 --> 0:33:09.480
<v Speaker 1>will very likely kill you and get out of control.

0:33:10.080 --> 0:33:13.320
<v Speaker 1>That that's often how it goes for the Mandalorians. But

0:33:13.440 --> 0:33:16.800
<v Speaker 1>you know, it's like short term victories, I guess, is

0:33:16.840 --> 0:33:20.560
<v Speaker 1>what they're they're focused on. All right, Well, the buzzer

0:33:20.840 --> 0:33:23.240
<v Speaker 1>on the mail body is going off. That means that

0:33:23.320 --> 0:33:26.120
<v Speaker 1>the time is is ended for today. That's it for

0:33:26.200 --> 0:33:28.640
<v Speaker 1>this episode of Stuff to Blow your Mind Listener Mail.

0:33:28.680 --> 0:33:31.000
<v Speaker 1>But we'll be back next week with more listener mail,

0:33:31.280 --> 0:33:34.920
<v Speaker 1>So just tune in then, uh in the meantime, definitely

0:33:34.920 --> 0:33:37.520
<v Speaker 1>feel free to reach out to us, your responses to

0:33:37.640 --> 0:33:41.280
<v Speaker 1>past episodes, your responses to this listener mail, uh, you know,

0:33:41.360 --> 0:33:43.520
<v Speaker 1>keep the conversation going by getting in touch with us,

0:33:43.760 --> 0:33:45.680
<v Speaker 1>and if you would like to listen to the show.

0:33:45.800 --> 0:33:47.960
<v Speaker 1>Just remember the Stuff to Blow Your Mind pod cast

0:33:48.040 --> 0:33:50.360
<v Speaker 1>feet can be found wherever you get your podcasts and

0:33:50.400 --> 0:33:53.160
<v Speaker 1>wherever that happens to be. Just rate, review, and subscribe

0:33:53.560 --> 0:33:56.240
<v Speaker 1>huge things as always to our excellent audio producer Seth

0:33:56.320 --> 0:33:58.640
<v Speaker 1>Nicholas Johnson. If you would like to get in touch

0:33:58.720 --> 0:34:00.840
<v Speaker 1>with us with feedback on this episode or any other,

0:34:00.920 --> 0:34:02.800
<v Speaker 1>to suggest a topic for the future, or just to

0:34:02.840 --> 0:34:05.880
<v Speaker 1>say hello, you can email us at contact that's Stuff

0:34:05.960 --> 0:34:15.400
<v Speaker 1>to Blow your Mind dot com. Stuff to Blow Your

0:34:15.400 --> 0:34:17.839
<v Speaker 1>Mind is a production of I Heart Radio. For more

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