1 00:00:02,960 --> 00:00:05,280 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of 2 00:00:05,360 --> 00:00:11,240 Speaker 1: My Heart Radio. Hey, welcome to Stuff to Blow your Mind. 3 00:00:11,560 --> 00:00:15,440 Speaker 1: Listener Mail. This is Robert Lamb and I'm Joe McCormick, 4 00:00:15,560 --> 00:00:17,840 Speaker 1: and it's the first listener mail of the new year. 5 00:00:17,960 --> 00:00:21,319 Speaker 1: It's two and the mail bag overflow it We have 6 00:00:21,360 --> 00:00:24,479 Speaker 1: a lot of messages to catch up on, so some 7 00:00:24,560 --> 00:00:27,560 Speaker 1: of these will go back a little bit into December. 8 00:00:27,680 --> 00:00:30,800 Speaker 1: But you know that's what we gotta do. Yeah, yeah, 9 00:00:30,880 --> 00:00:38,320 Speaker 1: let's do it. Okay. I think maybe I'm gonna start 10 00:00:38,320 --> 00:00:41,239 Speaker 1: with a message from Tom. This was in response to 11 00:00:41,400 --> 00:00:44,599 Speaker 1: the couple of episodes we did about the history of 12 00:00:44,680 --> 00:00:48,800 Speaker 1: time travel, thought and so a refresher on on what 13 00:00:48,880 --> 00:00:51,600 Speaker 1: Tom brings up. In particular. In these episodes, we talked 14 00:00:51,640 --> 00:00:58,400 Speaker 1: about how languages generally conceptualized time using metaphors based on space. 15 00:00:58,560 --> 00:01:01,200 Speaker 1: So we talked about time like it's a type of space. 16 00:01:01,240 --> 00:01:04,360 Speaker 1: You know, you arrive at home, or you can arrive 17 00:01:04,480 --> 00:01:08,480 Speaker 1: at four uh, And how for English and many other 18 00:01:08,520 --> 00:01:14,319 Speaker 1: modern languages, we picture that time, that spacelike time, with 19 00:01:14,440 --> 00:01:17,319 Speaker 1: the future situated in front of us, in the past 20 00:01:17,440 --> 00:01:21,080 Speaker 1: behind us. And in part two of that episode, we 21 00:01:21,160 --> 00:01:25,280 Speaker 1: discussed one uh one previous piece of listener mail, where 22 00:01:25,319 --> 00:01:28,280 Speaker 1: somebody got in touch to say that this spatial orientation 23 00:01:28,400 --> 00:01:33,200 Speaker 1: is reversed for Cantonese speakers. That for Cantonese speakers, the 24 00:01:33,240 --> 00:01:36,400 Speaker 1: future is behind you and the past is in front. 25 00:01:36,840 --> 00:01:39,199 Speaker 1: And so Tom picks up on this by saying, Hi, guys, 26 00:01:39,600 --> 00:01:43,080 Speaker 1: I just finished listening to Time Traveler zero part two. 27 00:01:43,440 --> 00:01:47,119 Speaker 1: The Cantonese example of a reversed spatial metaphor for time 28 00:01:47,160 --> 00:01:50,800 Speaker 1: orientation reminded me of something from an introductory book about 29 00:01:50,840 --> 00:01:54,480 Speaker 1: linguistics which I have attached. According to this guide, the 30 00:01:54,640 --> 00:01:59,720 Speaker 1: ancient Greeks oriented themselves in time linguistically, just as it 31 00:01:59,800 --> 00:02:03,560 Speaker 1: is in Cantonese. The past, being visible and known, is 32 00:02:03,640 --> 00:02:07,880 Speaker 1: perceived as in front or ahead, whereas the unknown slash 33 00:02:07,920 --> 00:02:11,440 Speaker 1: invisible future is behind. I have no idea if this 34 00:02:11,520 --> 00:02:13,880 Speaker 1: is still true of the Greek language of today. The 35 00:02:13,919 --> 00:02:17,600 Speaker 1: book is Linguistics, a Graphic Guide by Trask and maybelin 36 00:02:17,960 --> 00:02:21,800 Speaker 1: Thanks love the show, Tom. Uh So, I found this 37 00:02:21,840 --> 00:02:24,440 Speaker 1: really interesting, and I actually I looked this book up 38 00:02:24,480 --> 00:02:27,200 Speaker 1: and uh and found a PDF of it where I 39 00:02:27,200 --> 00:02:29,680 Speaker 1: could look at the couple of pages in question here. 40 00:02:30,080 --> 00:02:33,560 Speaker 1: And according to these authors, it is indeed as Tom says, 41 00:02:33,680 --> 00:02:37,840 Speaker 1: but there was another interesting thing about it, which is that, Uh, 42 00:02:37,919 --> 00:02:42,160 Speaker 1: at first I imagined that the distinction here was that 43 00:02:42,320 --> 00:02:46,040 Speaker 1: the spatial metaphor for time among future in front people 44 00:02:46,120 --> 00:02:49,040 Speaker 1: like like English speakers like us, uh, the future in 45 00:02:49,040 --> 00:02:52,680 Speaker 1: front people that their metaphors would be based on travel. So, 46 00:02:53,000 --> 00:02:55,839 Speaker 1: for example, if you're walking forward, the place you will 47 00:02:55,840 --> 00:02:59,519 Speaker 1: occupy in the future is in front of you, Whereas 48 00:02:59,560 --> 00:03:02,680 Speaker 1: whereas I assume sort of the difference was that future 49 00:03:02,840 --> 00:03:07,440 Speaker 1: in back people would not be thinking about travel or movement, 50 00:03:07,560 --> 00:03:10,960 Speaker 1: but instead would have spatial metaphors for time based on 51 00:03:11,320 --> 00:03:15,200 Speaker 1: looking at things in space rather than moving through space, 52 00:03:15,240 --> 00:03:17,520 Speaker 1: in which case it totally makes sense that the future 53 00:03:17,639 --> 00:03:21,760 Speaker 1: is hidden behind you in the past is visible in front. Yeah, 54 00:03:21,960 --> 00:03:23,639 Speaker 1: you know. And I think one of the things that's 55 00:03:23,639 --> 00:03:27,280 Speaker 1: interesting about this is if you if you think about 56 00:03:27,320 --> 00:03:29,040 Speaker 1: some some of the things we've actually discussed in the 57 00:03:29,040 --> 00:03:32,399 Speaker 1: show recently, if you think about the power of nostalgia, 58 00:03:32,560 --> 00:03:37,280 Speaker 1: if you you think about the power of um, of myth, 59 00:03:37,400 --> 00:03:41,800 Speaker 1: and you think about such concepts as a future shock, um, 60 00:03:41,840 --> 00:03:44,000 Speaker 1: it makes sense that the future would be the thing 61 00:03:44,520 --> 00:03:48,520 Speaker 1: overtaking us moving from behind, not the thing that we're 62 00:03:48,760 --> 00:03:53,320 Speaker 1: we're boldly and accurately moving into Oh well actually yeah, 63 00:03:53,400 --> 00:03:55,480 Speaker 1: in stating that, so you've gotten ahead of me here 64 00:03:55,560 --> 00:04:01,120 Speaker 1: the uh behind you? Right? Um, So what I was 65 00:04:01,160 --> 00:04:04,000 Speaker 1: saying was I initially assumed that the difference was based 66 00:04:04,000 --> 00:04:07,920 Speaker 1: on a moving versus looking distinction, but at least according 67 00:04:07,960 --> 00:04:11,040 Speaker 1: to the way Trask and Mabelan presented in this book, Actually, 68 00:04:11,680 --> 00:04:16,360 Speaker 1: both ways of conceptualizing time as space have some kind 69 00:04:16,360 --> 00:04:19,280 Speaker 1: of idea of movement through space. It's just a question 70 00:04:19,320 --> 00:04:22,640 Speaker 1: of what is doing the moving. So in this book, 71 00:04:22,680 --> 00:04:25,120 Speaker 1: the way they present it is that while modern English 72 00:04:25,120 --> 00:04:29,920 Speaker 1: speakers imagine ourselves moving forward through time toward the future, 73 00:04:30,000 --> 00:04:33,360 Speaker 1: so the timeline is like a fixed space and we're 74 00:04:33,480 --> 00:04:37,680 Speaker 1: traveling through it, the ancient Greeks would have imagined themselves, uh, 75 00:04:37,920 --> 00:04:42,240 Speaker 1: standing in place and the timeline itself being the thing 76 00:04:42,320 --> 00:04:45,839 Speaker 1: that moved. So you're standing still, looking out over the 77 00:04:45,880 --> 00:04:49,279 Speaker 1: past as it recedes away from you, and the future 78 00:04:49,400 --> 00:04:53,520 Speaker 1: rushes towards you and overtakes you from the rear. Yeah. Yeah, 79 00:04:53,720 --> 00:04:56,280 Speaker 1: I mean, like I said this, this seems like it 80 00:04:56,320 --> 00:04:58,040 Speaker 1: would be more in keeping with the way a lot 81 00:04:58,080 --> 00:05:01,520 Speaker 1: of us actually experienced change, rather than how we we 82 00:05:01,600 --> 00:05:04,600 Speaker 1: think we anticipate change. I agree. I think that there's 83 00:05:04,640 --> 00:05:07,000 Speaker 1: a lot that's useful to that kind of metaphor, and 84 00:05:07,040 --> 00:05:10,800 Speaker 1: it's clear that many languages apparently still largely look at 85 00:05:10,839 --> 00:05:14,360 Speaker 1: it this way today. Uh so, yeah, how does that 86 00:05:14,440 --> 00:05:16,719 Speaker 1: change the way you think about, you know, planning in 87 00:05:16,760 --> 00:05:19,200 Speaker 1: your life and all kinds of things. If the timeline 88 00:05:19,279 --> 00:05:22,120 Speaker 1: is what moves like a river that flows around you 89 00:05:22,520 --> 00:05:26,440 Speaker 1: and you are standing there facing downstream, uh yeah, and 90 00:05:26,520 --> 00:05:29,120 Speaker 1: it raises all kinds of questions like, for example, if 91 00:05:29,120 --> 00:05:32,240 Speaker 1: the ancient Greeks, if some ancient Greek author had come 92 00:05:32,320 --> 00:05:35,640 Speaker 1: up with the idea of a time machine, would they 93 00:05:35,680 --> 00:05:38,120 Speaker 1: be likely to think of that as a vehicle like 94 00:05:38,160 --> 00:05:40,840 Speaker 1: a you know, a chariot that travels through time. Maybe not, 95 00:05:41,000 --> 00:05:43,920 Speaker 1: I mean maybe they'd be more likely to I don't 96 00:05:43,920 --> 00:05:46,480 Speaker 1: know how they conceptualize it's something that that changes the 97 00:05:46,520 --> 00:05:50,479 Speaker 1: flow of the river or something. Yeah. Yeah, yeah, I 98 00:05:50,480 --> 00:05:52,599 Speaker 1: mean we would have to to think, I guess about 99 00:05:52,640 --> 00:05:56,880 Speaker 1: the what sort of of of metaphors they would lean 100 00:05:56,920 --> 00:06:00,279 Speaker 1: heavily on and thinking about time And so in action 101 00:06:00,320 --> 00:06:02,719 Speaker 1: to this, I started looking around for other examples of 102 00:06:02,720 --> 00:06:05,719 Speaker 1: of other languages that think about time like this with 103 00:06:05,800 --> 00:06:09,520 Speaker 1: the future in back in the past, in front. And 104 00:06:09,880 --> 00:06:12,120 Speaker 1: I did find some other examples. So, for example, I 105 00:06:12,120 --> 00:06:15,200 Speaker 1: came across a book chapter by a German, a syriologist 106 00:06:15,279 --> 00:06:18,719 Speaker 1: named Stephen M. Mall. I don't know much about him otherwise, 107 00:06:18,720 --> 00:06:21,279 Speaker 1: but in this book chapter he at least talks about 108 00:06:21,320 --> 00:06:26,000 Speaker 1: how ancient Mesopotamian languages like Acadian and Sumerian did the 109 00:06:26,040 --> 00:06:29,880 Speaker 1: same thing. They framed time as the as situated with 110 00:06:29,920 --> 00:06:32,760 Speaker 1: the past in front of you and the future behind you. 111 00:06:33,400 --> 00:06:36,960 Speaker 1: And in this chapter Mall links this two elements of 112 00:06:37,000 --> 00:06:40,520 Speaker 1: ancient Mesopotamian culture, which he claims were strongly focused on 113 00:06:40,560 --> 00:06:44,360 Speaker 1: the past and on tradition. And I also came across 114 00:06:44,480 --> 00:06:47,440 Speaker 1: a claim where I wasn't able to hunt down the 115 00:06:47,440 --> 00:06:50,080 Speaker 1: original source of this, So so I'm not a certain 116 00:06:50,080 --> 00:06:53,080 Speaker 1: about it, but at least the claim that some Pacific 117 00:06:53,120 --> 00:06:56,480 Speaker 1: island people's also conceptualized the past is in front and 118 00:06:56,560 --> 00:06:59,359 Speaker 1: the future behind. Yeah, and come back to you know 119 00:06:59,360 --> 00:07:01,760 Speaker 1: what one of them we're talking about in those episodes, 120 00:07:01,760 --> 00:07:04,880 Speaker 1: the idea of mythic time, you know Alioti's treatment of 121 00:07:04,880 --> 00:07:07,720 Speaker 1: of mythic time. Uh, you know, it would it would 122 00:07:07,720 --> 00:07:10,000 Speaker 1: make sense. You have these ancient cultures that are that 123 00:07:10,080 --> 00:07:13,320 Speaker 1: are that are more focused on what came before the 124 00:07:13,360 --> 00:07:17,240 Speaker 1: important time that birthed what we are today. So one 125 00:07:17,240 --> 00:07:19,480 Speaker 1: thing I would be really interested in now, and in fact, 126 00:07:19,640 --> 00:07:22,440 Speaker 1: i'd be kind of surprised if somebody hasn't already done 127 00:07:22,480 --> 00:07:24,800 Speaker 1: this work and I just haven't come across it yet, 128 00:07:24,840 --> 00:07:29,040 Speaker 1: would be sort of establishing a family tree of of 129 00:07:29,080 --> 00:07:32,520 Speaker 1: spatial time conceptualizations, because we have pretty good ideas of 130 00:07:33,200 --> 00:07:37,080 Speaker 1: what languages are descended from which ancestral languages today just 131 00:07:37,160 --> 00:07:39,720 Speaker 1: kind of like we can make family trees for organisms, 132 00:07:39,760 --> 00:07:42,720 Speaker 1: you know, And so I would be interested to see 133 00:07:42,760 --> 00:07:47,320 Speaker 1: the historical flows of like where different spatial time metaphors 134 00:07:47,760 --> 00:07:50,720 Speaker 1: come from and how they trickle down into the different 135 00:07:50,800 --> 00:07:54,680 Speaker 1: language groups today. Do any of these, uh, languages or 136 00:07:54,720 --> 00:07:57,240 Speaker 1: cultures have more of a crab based idea of time 137 00:07:57,280 --> 00:08:00,679 Speaker 1: that you're moving sideways? And yeah, I'm for the president. 138 00:08:01,440 --> 00:08:04,280 Speaker 1: What a perfect call back? Yeah, great question. I don't know. 139 00:08:09,800 --> 00:08:11,680 Speaker 1: All right, here's when it comes to us from Josh 140 00:08:11,760 --> 00:08:15,000 Speaker 1: Josh rides Hi. Guys, first, you three are my pandemic 141 00:08:15,080 --> 00:08:19,520 Speaker 1: survival kit. This cannot be overstated, neither can the gratitude 142 00:08:19,560 --> 00:08:22,320 Speaker 1: I feel now. It seems to me that the timing 143 00:08:22,440 --> 00:08:25,720 Speaker 1: of time travel machines corresponds to the fact that machines 144 00:08:25,800 --> 00:08:29,840 Speaker 1: were in fact responsible for time dilation. If your friend 145 00:08:30,200 --> 00:08:33,560 Speaker 1: lives a day's horse ride away, and now a train 146 00:08:33,760 --> 00:08:36,040 Speaker 1: or car can get you there in a couple of hours, 147 00:08:36,400 --> 00:08:40,240 Speaker 1: the machine has essentially transported you back in time. You 148 00:08:40,320 --> 00:08:42,760 Speaker 1: leave in the morning and somehow arrive in the morning 149 00:08:42,800 --> 00:08:46,480 Speaker 1: instead of that night. One can imagine someone pondering this 150 00:08:46,559 --> 00:08:49,560 Speaker 1: at the time to think, what if machines get better 151 00:08:49,600 --> 00:08:52,120 Speaker 1: and better at this trick until you were arriving before 152 00:08:52,160 --> 00:08:55,120 Speaker 1: you have even left. The speed of travel has decreased 153 00:08:55,120 --> 00:08:58,760 Speaker 1: the association between space and time. Imagine what would happen 154 00:08:58,800 --> 00:09:00,719 Speaker 1: if someone built a shiny met a box that could 155 00:09:00,760 --> 00:09:06,000 Speaker 1: transport you at eight miles per hour. Thanks Josh, Yeah, 156 00:09:06,040 --> 00:09:09,240 Speaker 1: I think that's a very plausible idea about where a 157 00:09:09,280 --> 00:09:11,320 Speaker 1: lot of these time travel stories come from in like 158 00:09:11,360 --> 00:09:14,480 Speaker 1: the late nineteenth century. Now we know that there were 159 00:09:14,640 --> 00:09:18,040 Speaker 1: some time travel stories before them, but it really picks 160 00:09:18,160 --> 00:09:22,160 Speaker 1: up with time travel via a device or machine in 161 00:09:22,280 --> 00:09:26,600 Speaker 1: like the eighteen eighties and nineties. Yes, yeah, so you know, 162 00:09:26,640 --> 00:09:29,080 Speaker 1: I have to admit any time I'm on a long 163 00:09:29,120 --> 00:09:32,280 Speaker 1: flight that goes across time zones, I can't help but 164 00:09:32,320 --> 00:09:34,839 Speaker 1: think about time travel a little bit, you know, you 165 00:09:34,880 --> 00:09:36,600 Speaker 1: know the idea that you might get on a multi 166 00:09:36,640 --> 00:09:41,520 Speaker 1: hour flight, but due to time zone shenanigans, you're actually 167 00:09:41,559 --> 00:09:44,880 Speaker 1: only traveling, you know, like maybe one hour or two 168 00:09:44,880 --> 00:09:48,440 Speaker 1: hours through clock time. Then don't get me started about 169 00:09:48,440 --> 00:09:52,600 Speaker 1: flying backwards across the International day line or wait, is 170 00:09:52,600 --> 00:09:55,240 Speaker 1: it forwards or backwards? That makes I'm not sure, it 171 00:09:55,320 --> 00:10:04,480 Speaker 1: depends if you're flying Greek air or not. All right, 172 00:10:04,600 --> 00:10:08,640 Speaker 1: let's turn to some messages about music and memory. So 173 00:10:08,760 --> 00:10:13,760 Speaker 1: we got a number of messages about different musical mnemonic 174 00:10:13,800 --> 00:10:16,520 Speaker 1: devices that people learned in school, since that came up 175 00:10:16,520 --> 00:10:20,200 Speaker 1: in the episode, about what whether or not music helps 176 00:10:20,240 --> 00:10:23,960 Speaker 1: people memorize verbal information, and if it does do that, 177 00:10:24,080 --> 00:10:26,439 Speaker 1: how does it do that? What why, and how does 178 00:10:26,440 --> 00:10:28,559 Speaker 1: it work? So I'm not going to read all these, 179 00:10:28,600 --> 00:10:30,760 Speaker 1: but I did want to know that long time correspondent 180 00:10:30,840 --> 00:10:32,880 Speaker 1: Jim in New Jersey got in touch to say that 181 00:10:33,120 --> 00:10:37,120 Speaker 1: when he was in school, he learned a great little 182 00:10:37,160 --> 00:10:40,600 Speaker 1: little sing song verse about how to how to learn Latin, 183 00:10:40,640 --> 00:10:43,920 Speaker 1: and it included all of like conjugation and declension and stuff. 184 00:10:44,800 --> 00:10:46,839 Speaker 1: But I wanted to read another one. This one comes 185 00:10:46,920 --> 00:10:50,640 Speaker 1: from John John says, Dear Robert and Joe. Just a 186 00:10:50,679 --> 00:10:52,880 Speaker 1: few minutes into your episode on music and memory, a 187 00:10:53,040 --> 00:10:57,080 Speaker 1: very particular tune popped into my head. Pop Goes the Weasel, 188 00:10:57,480 --> 00:11:00,880 Speaker 1: except the lyrics weren't those of the nursery rhyme, but 189 00:11:00,920 --> 00:11:04,840 Speaker 1: the variables of the quadratic formula. If you'd like to 190 00:11:04,880 --> 00:11:08,280 Speaker 1: sing along, all over to A is the replacement lyric 191 00:11:08,400 --> 00:11:11,319 Speaker 1: for Pop Goes the Weasel? Uh? Can I sing this? 192 00:11:11,440 --> 00:11:14,000 Speaker 1: Or is the let's see as Pop Goes the Weasel 193 00:11:14,080 --> 00:11:18,400 Speaker 1: under under copyright enforcement. I think you're probably okay. Isn't 194 00:11:18,440 --> 00:11:24,000 Speaker 1: this like fair use or educational? We're gonna the big 195 00:11:24,040 --> 00:11:26,960 Speaker 1: Pop Goes the Weasel? Lawyers after us. Okay, So I 196 00:11:27,000 --> 00:11:29,480 Speaker 1: think it would go something like this, Please don't pillory 197 00:11:29,600 --> 00:11:32,679 Speaker 1: me if I if I say something wrong here, Um, 198 00:11:32,760 --> 00:11:36,120 Speaker 1: it would be like X equals negative B plus or 199 00:11:36,160 --> 00:11:39,400 Speaker 1: minus the square root of B squared minus four A 200 00:11:39,520 --> 00:11:45,280 Speaker 1: c all over to A. I think you nailed it. 201 00:11:45,320 --> 00:11:47,760 Speaker 1: I think you nailed it. I think it almost fits 202 00:11:47,760 --> 00:11:49,880 Speaker 1: the rhythm. It's a little difficult with the minus four 203 00:11:49,920 --> 00:11:54,920 Speaker 1: A c Unlet's I misunderstood that somehow. Anyway. John goes 204 00:11:54,920 --> 00:11:57,760 Speaker 1: on to say, my only remaining memory from this particular 205 00:11:57,840 --> 00:12:01,080 Speaker 1: high school math classes. That is, the teacher singing the 206 00:12:01,120 --> 00:12:04,520 Speaker 1: equation to the class, then the class responding with laughter 207 00:12:04,679 --> 00:12:07,640 Speaker 1: over its absurdity, and then the teacher's assurance that we'd 208 00:12:07,679 --> 00:12:12,040 Speaker 1: never forget the quadratic equation again. Well, nearly two decades later, 209 00:12:12,160 --> 00:12:15,960 Speaker 1: the jokes on us. Uh, thanks for being my second 210 00:12:16,040 --> 00:12:19,960 Speaker 1: favorite podcast in my Spotify one wrapped, but number one 211 00:12:20,080 --> 00:12:24,320 Speaker 1: in my heart. John, Oh, that's nice. Oh, and John 212 00:12:24,360 --> 00:12:26,840 Speaker 1: also says, ps, I can also still name all the 213 00:12:26,840 --> 00:12:29,240 Speaker 1: American presidents in order thanks to a song we were 214 00:12:29,280 --> 00:12:34,560 Speaker 1: taught in elementary school music and memory. It's a thing. Huh. Yeah, 215 00:12:34,559 --> 00:12:37,440 Speaker 1: I wonder what the tune was. I vaguely remember something 216 00:12:37,480 --> 00:12:39,720 Speaker 1: about that, but I don't think it's stuck with me. 217 00:12:40,080 --> 00:12:42,120 Speaker 1: So I've actually thought about this a good bit since 218 00:12:42,160 --> 00:12:46,040 Speaker 1: we did the music and Memory episode, like if music 219 00:12:46,120 --> 00:12:49,679 Speaker 1: does indeed aid with the formation of memory or the 220 00:12:50,040 --> 00:12:54,000 Speaker 1: with cementing verbal memories, Uh, why does it do that? 221 00:12:54,240 --> 00:12:57,720 Speaker 1: And I think I've got a pretty tentative take on this, 222 00:12:57,840 --> 00:13:01,040 Speaker 1: but obviously I'm still open minded about it. But I 223 00:13:01,080 --> 00:13:05,400 Speaker 1: think the two main reasons music probably helps people memorize 224 00:13:05,520 --> 00:13:08,600 Speaker 1: verbal information would be, first of all, something we talked 225 00:13:08,600 --> 00:13:11,480 Speaker 1: about in the episode, which is that? Uh? Which is 226 00:13:11,520 --> 00:13:15,240 Speaker 1: that music? The verbal content in music is structured, meaning 227 00:13:15,280 --> 00:13:18,760 Speaker 1: that lyrics have meter and rhyme, and they occur within 228 00:13:18,800 --> 00:13:21,480 Speaker 1: a regular structure, usually so like you know, you'll know 229 00:13:21,559 --> 00:13:23,960 Speaker 1: that the verse in this song has four lines, and 230 00:13:24,000 --> 00:13:26,160 Speaker 1: there this long, and then the chorus has this many 231 00:13:26,240 --> 00:13:29,400 Speaker 1: lines in there this long, and that structure is what 232 00:13:29,520 --> 00:13:32,560 Speaker 1: helps you complete a half formed thought or find the 233 00:13:32,600 --> 00:13:35,680 Speaker 1: next thought. So it might not be so much the 234 00:13:35,800 --> 00:13:38,640 Speaker 1: tune or the melody that helps you remember the words, 235 00:13:39,000 --> 00:13:42,800 Speaker 1: but the fact that when words are presented in music, 236 00:13:42,920 --> 00:13:46,640 Speaker 1: they're organized and structured in a way that helps you 237 00:13:47,000 --> 00:13:50,320 Speaker 1: fill in gaps. And then the second thing I think 238 00:13:50,559 --> 00:13:56,160 Speaker 1: is that you're probably more likely to spontaneously rehearse verbal 239 00:13:56,200 --> 00:13:59,920 Speaker 1: information that's set to music than you are too spontaneously 240 00:14:00,000 --> 00:14:03,679 Speaker 1: rehearse verbal information on its own. Uh. And and I 241 00:14:03,679 --> 00:14:06,679 Speaker 1: think this would tie into the idea that music is enjoyable, 242 00:14:06,720 --> 00:14:10,240 Speaker 1: Like we like music and when we and we want 243 00:14:10,280 --> 00:14:13,840 Speaker 1: to repeat it to ourselves. And so the pleasure in 244 00:14:13,960 --> 00:14:17,720 Speaker 1: the tune or the melody is like the inherent incentive 245 00:14:17,840 --> 00:14:20,760 Speaker 1: to sing it repeatedly to ourselves. And when you sing 246 00:14:20,800 --> 00:14:23,520 Speaker 1: it repeatedly to yourself, this has a side effect of 247 00:14:23,640 --> 00:14:35,640 Speaker 1: memory reinforcement through repetition and rehearsal. So that's my vibe. 248 00:14:37,640 --> 00:14:39,320 Speaker 1: All right. Well here's another one. This thing comes to 249 00:14:39,400 --> 00:14:42,560 Speaker 1: us from Matt. Matt says, Hey, Robert and Joe, with 250 00:14:42,600 --> 00:14:45,360 Speaker 1: regard to your discussion in your recent episode on music 251 00:14:45,360 --> 00:14:48,360 Speaker 1: and memory, I have an experience and some thoughts I 252 00:14:48,360 --> 00:14:52,040 Speaker 1: would like to share with you. First the experience one day, 253 00:14:52,040 --> 00:14:54,280 Speaker 1: when I was around thirteen or fourteen years old, I 254 00:14:54,320 --> 00:14:57,200 Speaker 1: was playing Metroid two on my game Boy while my 255 00:14:57,240 --> 00:15:00,840 Speaker 1: older sister was watching her then favorite show Dawson's Creek, 256 00:15:01,160 --> 00:15:04,920 Speaker 1: a show I was not particularly interested in by any means. Now, 257 00:15:05,000 --> 00:15:07,320 Speaker 1: this may seem like an odd, random fact to just 258 00:15:07,400 --> 00:15:09,800 Speaker 1: mention like that, but years later I went back and 259 00:15:09,840 --> 00:15:12,080 Speaker 1: decided to play the same game again, and wouldn't you 260 00:15:12,120 --> 00:15:14,520 Speaker 1: know it, when the music started playing, it was like 261 00:15:14,560 --> 00:15:18,080 Speaker 1: the show Dawson's Creek was playing again in the background. 262 00:15:18,120 --> 00:15:21,560 Speaker 1: I would even recall specific lines that I overheard during 263 00:15:21,640 --> 00:15:24,480 Speaker 1: that first play through. I thought you might find this 264 00:15:24,560 --> 00:15:28,160 Speaker 1: experience interesting, specifically because music seemed to be tied to 265 00:15:28,240 --> 00:15:32,160 Speaker 1: recalling information that I wasn't even paying attention to in 266 00:15:32,240 --> 00:15:35,920 Speaker 1: the first place. Anyways, onto my other thoughts. I was 267 00:15:35,960 --> 00:15:40,600 Speaker 1: thinking about one reason some may more readily recall verbal 268 00:15:40,640 --> 00:15:44,200 Speaker 1: information when put to music when compared to without could 269 00:15:44,200 --> 00:15:46,040 Speaker 1: be less to do with the music itself and more 270 00:15:46,040 --> 00:15:47,760 Speaker 1: to do with the fact that we generally enjoy the 271 00:15:47,800 --> 00:15:50,400 Speaker 1: experience of music far more than we do just hearing 272 00:15:50,440 --> 00:15:53,080 Speaker 1: words being repeated. I think it's safe to say when 273 00:15:53,120 --> 00:15:55,400 Speaker 1: we are engaged in something we enjoy, our brains are 274 00:15:55,400 --> 00:15:59,280 Speaker 1: also in turn more engaged than otherwise. More engaged brain 275 00:15:59,400 --> 00:16:03,120 Speaker 1: equals or retention. This brought on another thought. When we 276 00:16:03,160 --> 00:16:05,520 Speaker 1: try to use music in our studies, we typically have 277 00:16:05,720 --> 00:16:07,920 Speaker 1: some hand in the creation of the song we use. 278 00:16:08,320 --> 00:16:09,920 Speaker 1: I have heard that one of the best ways to 279 00:16:09,960 --> 00:16:12,160 Speaker 1: maintain a memory of something is to modify it in 280 00:16:12,240 --> 00:16:16,280 Speaker 1: some way in your mind, even as simply as restating 281 00:16:16,320 --> 00:16:19,720 Speaker 1: the information in a different way, such as thinking two thousand, 282 00:16:19,760 --> 00:16:23,840 Speaker 1: one thirty seven versus two one three seven. This is 283 00:16:23,960 --> 00:16:26,000 Speaker 1: essentially what we are doing when we are putting the 284 00:16:26,040 --> 00:16:29,160 Speaker 1: information we are trying to remember to music. It usually 285 00:16:29,200 --> 00:16:32,680 Speaker 1: involves some level of changing the phrasing or order of 286 00:16:32,720 --> 00:16:36,720 Speaker 1: the information to make it fit the music. At a minimum. Anyways, 287 00:16:37,080 --> 00:16:40,480 Speaker 1: love the podcast, keep up the fantastic content flowing into 288 00:16:40,520 --> 00:16:46,120 Speaker 1: my ear holes. Thanks Matt, Well, thank you, Matt. Uh yeah. 289 00:16:46,680 --> 00:16:50,840 Speaker 1: Regarding your point about modifying information to remember it better, 290 00:16:51,680 --> 00:16:54,440 Speaker 1: I've never looked into the empirical research on this, but 291 00:16:54,480 --> 00:16:58,440 Speaker 1: it certainly seems true from my first hand experience. Uh So. Obviously, 292 00:16:58,480 --> 00:17:01,680 Speaker 1: like you mentioned, the simplest version is just rephrasing something 293 00:17:01,760 --> 00:17:05,639 Speaker 1: and putting putting, say a an explanation or a summary 294 00:17:05,680 --> 00:17:08,520 Speaker 1: of some events or something into your own words. I 295 00:17:08,560 --> 00:17:12,520 Speaker 1: think definitely at least helps me remember it better. But also, 296 00:17:12,560 --> 00:17:14,879 Speaker 1: like you say, you know, putting something to a song 297 00:17:15,960 --> 00:17:19,160 Speaker 1: that that's doing something similar. You're forming like different levels 298 00:17:19,240 --> 00:17:22,080 Speaker 1: of connections with bits of information that seemed to help 299 00:17:22,119 --> 00:17:24,720 Speaker 1: but stick more. Another big one I think is making 300 00:17:24,840 --> 00:17:27,760 Speaker 1: puns about something like if you're trying to remember names, 301 00:17:28,400 --> 00:17:31,800 Speaker 1: if you make jokes about the names while you're trying 302 00:17:31,800 --> 00:17:35,680 Speaker 1: to memorize them, I feel like they stick a lot more. Yeah, yeah, 303 00:17:35,800 --> 00:17:39,040 Speaker 1: I mean another thing that it comes to mind is 304 00:17:39,440 --> 00:17:42,679 Speaker 1: like not Yeah, not can be a pretty complicated thing 305 00:17:42,720 --> 00:17:45,120 Speaker 1: to toutt h to to pull off. You know, there's 306 00:17:45,160 --> 00:17:47,200 Speaker 1: a lot a lot going on there. You're engaging your 307 00:17:47,560 --> 00:17:49,879 Speaker 1: you know, different memory systems here, and what do we 308 00:17:49,920 --> 00:17:53,400 Speaker 1: often do well, we end up um taking a little 309 00:17:53,480 --> 00:17:56,200 Speaker 1: narrative and applying it to it where we're not so 310 00:17:56,200 --> 00:17:58,240 Speaker 1: so much concerned about Okay, where's the left end go? 311 00:17:58,359 --> 00:18:00,399 Speaker 1: How do I what do I hold down this? No, 312 00:18:00,560 --> 00:18:02,679 Speaker 1: we talked about where does the rabbit go? And and 313 00:18:02,720 --> 00:18:05,240 Speaker 1: into what hole and so forth. What's the one Quin 314 00:18:05,359 --> 00:18:08,119 Speaker 1: says in Jaws that you comes out of the hole, 315 00:18:08,240 --> 00:18:11,400 Speaker 1: goes into the cave, goes around the poll, goes into 316 00:18:11,440 --> 00:18:13,800 Speaker 1: the cave again. Oh, that's a good one. I forgot 317 00:18:13,800 --> 00:18:16,280 Speaker 1: all about that part. Not too good, is it? Chief? 318 00:18:17,720 --> 00:18:19,920 Speaker 1: But as to the first half of your message, I mean, yeah, 319 00:18:19,920 --> 00:18:25,000 Speaker 1: clearly it sounds like you're forming um memory associations between 320 00:18:25,359 --> 00:18:27,919 Speaker 1: between like a video game or video game music, and 321 00:18:27,960 --> 00:18:32,760 Speaker 1: then some other environmental content, in this case Dawson's Creek. 322 00:18:32,800 --> 00:18:35,080 Speaker 1: But yeah, I feel like I probably have memories like that. 323 00:18:35,119 --> 00:18:37,040 Speaker 1: I can't call a specific one to mind right now. 324 00:18:37,040 --> 00:18:39,120 Speaker 1: But if I were to to fire up the game 325 00:18:39,160 --> 00:18:41,280 Speaker 1: Boy I played in you know when when I was 326 00:18:41,320 --> 00:18:44,119 Speaker 1: a little kid, and hear that, uh, you know, super 327 00:18:44,160 --> 00:18:47,359 Speaker 1: Mario Land music, I'm sure I would do well. I 328 00:18:47,400 --> 00:18:50,119 Speaker 1: think what I would think of is like being hot 329 00:18:50,160 --> 00:18:52,520 Speaker 1: in the backseat of the car. Did they leave you 330 00:18:52,560 --> 00:18:56,280 Speaker 1: in there just like a long you know, long car rides. 331 00:18:56,359 --> 00:18:59,919 Speaker 1: I think that was the primary Game Boy time. Okay, 332 00:19:00,080 --> 00:19:02,280 Speaker 1: but still I'm guessing like stuck to that kind of 333 00:19:02,440 --> 00:19:06,400 Speaker 1: um uh like, like like sweaty flesh, just just adhered 334 00:19:06,600 --> 00:19:09,439 Speaker 1: to the seat. They have to peel you out at 335 00:19:09,440 --> 00:19:12,480 Speaker 1: the end, still playing the game Boy. The Naga Hide, 336 00:19:12,480 --> 00:19:16,840 Speaker 1: the Naga Hide was was key. Oh yeah, yeah. Did 337 00:19:16,880 --> 00:19:18,359 Speaker 1: you know, by the way, I can't remember if we 338 00:19:18,359 --> 00:19:20,440 Speaker 1: were talked about this, did you know that the Nauga 339 00:19:20,520 --> 00:19:23,520 Speaker 1: Hide as a brand, had had its own mascot monster, 340 00:19:23,800 --> 00:19:26,800 Speaker 1: the Nauga Oh my goodness. I just looked this up 341 00:19:26,840 --> 00:19:29,399 Speaker 1: and no, I till this moment, I did not know 342 00:19:29,440 --> 00:19:32,240 Speaker 1: they had their own monster. But this is awesome. Look 343 00:19:32,240 --> 00:19:34,119 Speaker 1: at him. He's like a like the backside of a 344 00:19:34,520 --> 00:19:37,679 Speaker 1: Naga Hide chair. Yeah it's he's made out of Nauga hide. 345 00:19:37,680 --> 00:19:39,879 Speaker 1: But he's just all He's just a little toothy gritter 346 00:19:40,320 --> 00:19:42,760 Speaker 1: and he's a Naga, or at least that's what the 347 00:19:42,800 --> 00:19:46,080 Speaker 1: ad copy I'm I'm reading here is Naga the beast 348 00:19:46,160 --> 00:19:48,920 Speaker 1: from which we derive Naga Hyde. I I can only 349 00:19:48,960 --> 00:19:52,159 Speaker 1: imagine their extinct. Now, no Naugas were harmed in the 350 00:19:52,200 --> 00:19:56,200 Speaker 1: making of this Naga Hide. The company seems to still 351 00:19:56,240 --> 00:19:57,840 Speaker 1: be around, but I don't. But you go to their 352 00:19:57,880 --> 00:20:00,800 Speaker 1: website and there's no Naga monster aywhere, which seems like 353 00:20:00,840 --> 00:20:03,520 Speaker 1: a massive misstep. Well no, wait, there he is. He's 354 00:20:03,520 --> 00:20:05,680 Speaker 1: still on the website. I take it all the good God, 355 00:20:05,800 --> 00:20:08,760 Speaker 1: Oh my goodness, you can actually this. Maybe we'll have 356 00:20:08,800 --> 00:20:10,720 Speaker 1: to cut all this, but now I'm even more excited. 357 00:20:10,960 --> 00:20:15,840 Speaker 1: You can buy a Naga. They sell nagas. You're telling 358 00:20:15,880 --> 00:20:18,520 Speaker 1: me I can buy a Nauga. I have bought a Nauga. 359 00:20:18,960 --> 00:20:22,560 Speaker 1: My wife has bought for her. What color is it? 360 00:20:23,119 --> 00:20:26,080 Speaker 1: I think it's sort of teal. Oh nice, nice, good 361 00:20:26,160 --> 00:20:29,600 Speaker 1: Naga choice. Oh my goodness. This is one of those 362 00:20:29,640 --> 00:20:31,680 Speaker 1: moments where I feel like I've crossed over into another 363 00:20:31,720 --> 00:20:35,160 Speaker 1: dimension because this just seems like information I should have had. 364 00:20:35,520 --> 00:20:38,840 Speaker 1: I should have been been all about these Naugas. And 365 00:20:38,880 --> 00:20:42,440 Speaker 1: look at this, going to Naga hide dot com looking 366 00:20:42,480 --> 00:20:47,600 Speaker 1: at Naga Naga's for different seasons for oh my goodness, 367 00:20:50,080 --> 00:20:52,159 Speaker 1: that maybe this is what they do. Now you just 368 00:20:52,200 --> 00:20:54,080 Speaker 1: look at that cute toothy face and you think it 369 00:20:54,119 --> 00:20:56,240 Speaker 1: would not be so bad for my thighs to be 370 00:20:56,560 --> 00:20:59,160 Speaker 1: stripped of flesh as I'm peeled off of this creature. 371 00:21:01,440 --> 00:21:09,320 Speaker 1: Oh man, Okay, you ready for this next message about 372 00:21:09,359 --> 00:21:13,440 Speaker 1: time and crabs? Yeah? Bring it on. Okay, this comes 373 00:21:13,480 --> 00:21:16,439 Speaker 1: from Scott. Scott says, Dear Robin, Joe, I've been a 374 00:21:16,440 --> 00:21:18,320 Speaker 1: big fan of the podcast for several years and have 375 00:21:18,440 --> 00:21:20,359 Speaker 1: been looking for an excuse to write in. After a 376 00:21:20,400 --> 00:21:24,159 Speaker 1: recent catchup binge, I now have several first Towards the 377 00:21:24,160 --> 00:21:26,960 Speaker 1: beginning of the episode Time Traveler zero, Part one, Joe 378 00:21:26,960 --> 00:21:31,000 Speaker 1: seemed to suggest that the metaphor killing time wasn't especially 379 00:21:31,040 --> 00:21:35,160 Speaker 1: evocative due to it being an overused cliche. I refute 380 00:21:35,160 --> 00:21:40,080 Speaker 1: this stance wholeheartedly. Okay uh. To this day, I cannot 381 00:21:40,119 --> 00:21:42,760 Speaker 1: hear this phrase without bringing to mind the scene from 382 00:21:42,800 --> 00:21:46,159 Speaker 1: the book The Phantom Tollbooth where the main character Milo 383 00:21:46,280 --> 00:21:50,880 Speaker 1: explains to talk a literal watchdog that he is just 384 00:21:51,080 --> 00:21:56,360 Speaker 1: killing time, which naturally infuriates the canine chronometer. If you're 385 00:21:56,400 --> 00:21:59,440 Speaker 1: unfamiliar with the work, it is a strange, meandering journey 386 00:21:59,440 --> 00:22:02,679 Speaker 1: through the achning of a board child's curiosity and wonder. 387 00:22:02,960 --> 00:22:06,359 Speaker 1: I highly recommend it to young readers. I've actually never 388 00:22:06,440 --> 00:22:09,000 Speaker 1: read it, but I've heard of it many times. Yeah, 389 00:22:09,119 --> 00:22:11,439 Speaker 1: I've never read it either, though it's it's been recommended 390 00:22:11,560 --> 00:22:14,000 Speaker 1: to name um, and it's been recommended as something for 391 00:22:14,160 --> 00:22:17,880 Speaker 1: young readers. But I think my son read a little 392 00:22:17,880 --> 00:22:19,080 Speaker 1: of it. I don't. I don't know if he's stuck 393 00:22:19,119 --> 00:22:21,200 Speaker 1: with it. But we're about to get to the part 394 00:22:21,240 --> 00:22:24,080 Speaker 1: of this email for which we must bring out the 395 00:22:24,080 --> 00:22:28,399 Speaker 1: dishes of drawn butter, because Scott says. Secondly, in a 396 00:22:28,440 --> 00:22:31,960 Speaker 1: recent Listener Mail episode, another writer suggested that the tarrask 397 00:22:32,280 --> 00:22:37,200 Speaker 1: from Dungeons and Dragons was actually a Godzilla sized crab. 398 00:22:37,680 --> 00:22:40,679 Speaker 1: A little later, you were lamenting the giant crabs of 399 00:22:41,240 --> 00:22:45,199 Speaker 1: Dungeons and Dragons low intelligence score, and you wondered if 400 00:22:45,240 --> 00:22:48,960 Speaker 1: somebody had home brewed the crab monsters from Attack of 401 00:22:49,000 --> 00:22:52,160 Speaker 1: the Crab Monsters. Yeah, this came up because the crab 402 00:22:52,240 --> 00:22:55,320 Speaker 1: monsters in the in the Roger Corman drive in movie 403 00:22:55,359 --> 00:22:58,920 Speaker 1: are not low intelligence there, and they are not only brilliant, 404 00:22:58,920 --> 00:23:02,520 Speaker 1: they have absorbed the minds of many men. And when 405 00:23:02,560 --> 00:23:04,879 Speaker 1: they when they eat your brains, they gain your knowledge. 406 00:23:05,840 --> 00:23:08,520 Speaker 1: Scott goes on, this is where I come in. I 407 00:23:08,600 --> 00:23:11,600 Speaker 1: am an aspiring D and D five E content producer, 408 00:23:11,640 --> 00:23:13,840 Speaker 1: and your show is often a well spring of excellent 409 00:23:13,880 --> 00:23:18,320 Speaker 1: monster ideas e g. The leshy Yeti crabs, et cetera. 410 00:23:18,640 --> 00:23:22,040 Speaker 1: I even purchased the much lauded Giants, Monsters and Dragons 411 00:23:22,080 --> 00:23:26,000 Speaker 1: book for inspiration. So when you mused about the stats 412 00:23:26,000 --> 00:23:29,480 Speaker 1: of crabs, I got to work now. Giant crabs are 413 00:23:29,480 --> 00:23:33,040 Speaker 1: mostly low level critters that any capable adventuring party should 414 00:23:33,080 --> 00:23:35,639 Speaker 1: have little problem dispatching. But if you make them a 415 00:23:35,640 --> 00:23:38,439 Speaker 1: bit larger, thicken their carapasts, and add some of the 416 00:23:38,480 --> 00:23:42,040 Speaker 1: abilities of an intellectual devour. I am assuming this is 417 00:23:42,240 --> 00:23:46,920 Speaker 1: an example of such the mind flare brainhounds. You've got 418 00:23:46,920 --> 00:23:50,320 Speaker 1: a pretty solid starting place for the aforementioned crab monsters. 419 00:23:50,720 --> 00:23:54,000 Speaker 1: I've included JPEG's of the end result and another of 420 00:23:54,080 --> 00:23:57,040 Speaker 1: my giant Yeti crab. I hope you enjoy them. You're 421 00:23:57,080 --> 00:24:00,399 Speaker 1: some of the most engaging and amusing science communicator out there, 422 00:24:00,440 --> 00:24:02,520 Speaker 1: and I can't wait to see what wonderful weirdness y'all 423 00:24:02,520 --> 00:24:06,719 Speaker 1: will bring my mostly mundane workday. Best Scott, Well, Scott, 424 00:24:07,000 --> 00:24:09,399 Speaker 1: this is a wonderful email. Thank you for getting in touch, 425 00:24:09,600 --> 00:24:12,600 Speaker 1: but you have made a major error. You forgot to 426 00:24:12,640 --> 00:24:14,960 Speaker 1: attach the images, so Rob and I are just sitting 427 00:24:15,080 --> 00:24:20,600 Speaker 1: here with like bereft. Yeah, I want to see this crap, 428 00:24:21,920 --> 00:24:24,160 Speaker 1: But I'm glad that that he's putting in the work 429 00:24:24,160 --> 00:24:26,520 Speaker 1: on this. This is something that needs to exist out 430 00:24:26,560 --> 00:24:29,880 Speaker 1: there in the at least in the Homebrew universe of 431 00:24:29,880 --> 00:24:33,600 Speaker 1: of monsters and also good I'm picking up Giants, Monsters 432 00:24:33,600 --> 00:24:35,640 Speaker 1: and Dragons by Carol Rose. I think I heard from 433 00:24:35,640 --> 00:24:39,000 Speaker 1: another listener who had recently acquired a copy of this book. 434 00:24:39,720 --> 00:24:43,760 Speaker 1: Just a tremendous treasure trove of of fantastic creatures for 435 00:24:43,800 --> 00:24:47,080 Speaker 1: anyone out there who, like me, loves loves a good 436 00:24:47,680 --> 00:24:51,800 Speaker 1: best fiery. Speaking of monsters, Joe, I do have to mention, Uh, 437 00:24:52,000 --> 00:24:54,280 Speaker 1: my wife and I started watching the second season of 438 00:24:54,320 --> 00:24:59,440 Speaker 1: The Witcher on Netflix. Okay, or The Witcher as as 439 00:24:59,600 --> 00:25:02,159 Speaker 1: our main character would say, which and uh, I have 440 00:25:02,240 --> 00:25:06,040 Speaker 1: to say second episode I think it is includes versions 441 00:25:06,080 --> 00:25:09,840 Speaker 1: of both the Leshy and Bobby Yaga. So whoa I 442 00:25:09,840 --> 00:25:12,520 Speaker 1: have to give give that show credit. Well, that's based 443 00:25:12,600 --> 00:25:17,400 Speaker 1: on like Polish monster folklore, isn't it, or at least 444 00:25:17,440 --> 00:25:20,520 Speaker 1: the novels are Polish. I believe so. Yes, So it 445 00:25:20,600 --> 00:25:22,639 Speaker 1: makes sense that you know that he would draw that 446 00:25:22,640 --> 00:25:27,280 Speaker 1: author would draw in these various folkloric concepts. Um, now 447 00:25:27,280 --> 00:25:28,880 Speaker 1: I can't I haven't read them, so I can't speak 448 00:25:28,880 --> 00:25:31,960 Speaker 1: to them, and I can't speak to how exactly these 449 00:25:32,000 --> 00:25:35,159 Speaker 1: episodes have adapted those works. But still, at the end 450 00:25:35,200 --> 00:25:37,720 Speaker 1: of the day, you have somebody fighting a variation on 451 00:25:37,800 --> 00:25:41,080 Speaker 1: the Leshy And yeah, my excitement was growing as they 452 00:25:41,080 --> 00:25:43,439 Speaker 1: started talking about this strange house in the in the 453 00:25:43,480 --> 00:25:46,160 Speaker 1: woods that had basilist lags, and I was like, Oh, 454 00:25:46,200 --> 00:25:49,280 Speaker 1: that's gonna be Bobba Yaga. Oh boy. So I haven't 455 00:25:49,320 --> 00:25:51,680 Speaker 1: read the books and I haven't seen the show. Well, 456 00:25:51,720 --> 00:25:54,080 Speaker 1: I think we sort of put on one of the 457 00:25:54,119 --> 00:25:56,359 Speaker 1: episodes of the show, just sort of in the background 458 00:25:56,359 --> 00:25:58,320 Speaker 1: for laughs. I I don't know. It might be a 459 00:25:58,320 --> 00:26:00,960 Speaker 1: great show. I haven't seen it, but I have played 460 00:26:01,000 --> 00:26:02,520 Speaker 1: one of the video games and it had a lot 461 00:26:02,560 --> 00:26:05,080 Speaker 1: of great monsters in it. Yeah yeah, I mean the 462 00:26:05,119 --> 00:26:07,760 Speaker 1: Monster the Monsters game is pretty solid in the show too, 463 00:26:07,800 --> 00:26:10,480 Speaker 1: based on on what I've seen, and the lead performance 464 00:26:11,040 --> 00:26:16,640 Speaker 1: very gravelly. Wait, it's that. It's the It's the really 465 00:26:16,640 --> 00:26:21,240 Speaker 1: buff gamer guy, isn't it. Henry Cavill. Yeah, yeah, yeah, 466 00:26:21,520 --> 00:26:24,680 Speaker 1: didn't he like a muscled nerd? He is? Yeah, get 467 00:26:24,760 --> 00:26:26,800 Speaker 1: used to him, because I think he's currently attached to 468 00:26:26,880 --> 00:26:29,720 Speaker 1: the Highlander reboot. I don't know who he's gonna play. 469 00:26:29,800 --> 00:26:33,399 Speaker 1: I hope the Kurgan. I think based on especially what 470 00:26:33,440 --> 00:26:35,000 Speaker 1: I've seen in The Witcher. It's like he's got the 471 00:26:35,000 --> 00:26:37,960 Speaker 1: gravelly voice, and I would like to see him play 472 00:26:37,960 --> 00:26:39,840 Speaker 1: a villain for a for for a change. And he's 473 00:26:39,840 --> 00:26:41,960 Speaker 1: a He's a solid actor, so I'm curious to see 474 00:26:42,000 --> 00:26:45,000 Speaker 1: what he could do. He was riveting in Hell Razor eight? 475 00:26:46,359 --> 00:26:48,960 Speaker 1: Was he was he in that? Or whichever one? The 476 00:26:49,000 --> 00:26:53,840 Speaker 1: one where the one where evil goes online? The virtual 477 00:26:53,880 --> 00:26:58,720 Speaker 1: reality he's in that? Oh? I was not aware of that. Oh, 478 00:26:58,800 --> 00:27:08,680 Speaker 1: it's it's it's great. It's not all right. Well, let's 479 00:27:08,720 --> 00:27:11,200 Speaker 1: close things out with a little weird house cinema listener mail. 480 00:27:11,320 --> 00:27:14,479 Speaker 1: This one comes to us from Alan. Alan writes, gents, 481 00:27:14,600 --> 00:27:17,120 Speaker 1: I recently stumbled upon your podcast and I have really 482 00:27:17,119 --> 00:27:20,080 Speaker 1: been enjoying it. The origins of the Chainsaw first caught 483 00:27:20,119 --> 00:27:22,680 Speaker 1: my attention. It's all great stuff, but my mind truly 484 00:27:22,760 --> 00:27:24,919 Speaker 1: did come bust a little when I saw you did 485 00:27:24,920 --> 00:27:27,680 Speaker 1: a weird House episode on Ewok's The Battle for Indoor. 486 00:27:28,640 --> 00:27:31,879 Speaker 1: I vaguely recall my sister and I'm watching this and 487 00:27:32,200 --> 00:27:34,560 Speaker 1: The Caravan of Courage when they first aired. But what 488 00:27:34,640 --> 00:27:37,639 Speaker 1: I remember most was watching and wearing out the VHS 489 00:27:37,720 --> 00:27:41,560 Speaker 1: tapes recorded from TV, complete with commercials and about a 490 00:27:41,720 --> 00:27:44,720 Speaker 1: second of a football game where I accidentally hit the 491 00:27:44,720 --> 00:27:48,000 Speaker 1: record button on the remote while watching. These movies were 492 00:27:48,000 --> 00:27:50,560 Speaker 1: a big part of our childhood, so much so that 493 00:27:50,680 --> 00:27:53,600 Speaker 1: my sister named her oldest daughter, now in her twenties, 494 00:27:53,960 --> 00:27:57,760 Speaker 1: after Sindel or Sindel. I can't remember how the character's 495 00:27:57,800 --> 00:28:00,399 Speaker 1: name is pronounced offhand. Yeah, see I in D E 496 00:28:00,560 --> 00:28:05,480 Speaker 1: L Yeah. Uh. Anyway, they continue, So uh, we were 497 00:28:05,520 --> 00:28:08,720 Speaker 1: all amazed how much she looked like Aubrey Miller through 498 00:28:09,000 --> 00:28:11,440 Speaker 1: her early childhood. Every once in a while she still 499 00:28:11,480 --> 00:28:14,920 Speaker 1: gets a knowing smile or an outright o MG from 500 00:28:14,960 --> 00:28:18,040 Speaker 1: the e walks right when people hear her name. Her 501 00:28:18,040 --> 00:28:23,840 Speaker 1: best friend is Wilfred Brimley. Um well, I have to say, 502 00:28:23,880 --> 00:28:26,720 Speaker 1: I think that's awesome. My son's first name, in large 503 00:28:26,720 --> 00:28:31,320 Speaker 1: part comes from Bastian Baltazar Bucks from The Never Ending Story. 504 00:28:31,440 --> 00:28:34,040 Speaker 1: So I think, I think, I think drawing on the 505 00:28:34,400 --> 00:28:37,960 Speaker 1: names of our cinematic and literary mythology are are are 506 00:28:38,040 --> 00:28:42,920 Speaker 1: totally totally called for inappropriate. Anyway, Alan continues, I don't 507 00:28:42,920 --> 00:28:45,880 Speaker 1: know if the tape still exists, possibly in my parents basement, 508 00:28:45,880 --> 00:28:48,120 Speaker 1: But I found the DVDs years ago and introduced my 509 00:28:48,200 --> 00:28:50,520 Speaker 1: kids to these gems. They are great fun and we 510 00:28:50,560 --> 00:28:53,040 Speaker 1: still watch them when we're looking to watch something fun 511 00:28:53,040 --> 00:28:56,000 Speaker 1: and not too heavy. My favorite character, of course, was Tick. 512 00:28:56,520 --> 00:28:59,480 Speaker 1: He was just awesome and there were a few years 513 00:28:59,560 --> 00:29:02,560 Speaker 1: where I thought I could actually make a glider like Wicked. 514 00:29:02,680 --> 00:29:05,200 Speaker 1: If he could do it, why couldn't I. Of course, 515 00:29:05,240 --> 00:29:07,760 Speaker 1: the answer to that question is because he's a fictional character, 516 00:29:07,920 --> 00:29:10,120 Speaker 1: though they're still part of me. The believes I could 517 00:29:10,160 --> 00:29:14,840 Speaker 1: if I had access to proper sized animal bones and skin. Well, 518 00:29:14,880 --> 00:29:18,040 Speaker 1: thanks again for allowing me to reminisce. Uh. The episode 519 00:29:18,080 --> 00:29:21,719 Speaker 1: was great. I really enjoyed it. Keep making great content, Alan. 520 00:29:22,160 --> 00:29:27,240 Speaker 1: Oh well, thanks Alan. Uh, Yeah, this is a heartwarming email. Uh. 521 00:29:27,440 --> 00:29:29,680 Speaker 1: The one thing, though, that really stuck in my mind 522 00:29:29,880 --> 00:29:34,920 Speaker 1: was the part of the much beloved VHS tape where 523 00:29:34,960 --> 00:29:37,960 Speaker 1: you accidentally taped over it with the second of something 524 00:29:38,000 --> 00:29:40,120 Speaker 1: else that Rob. I assume you had something like that 525 00:29:40,160 --> 00:29:43,000 Speaker 1: in your house. Everybody I know did. There's a famous 526 00:29:43,000 --> 00:29:46,280 Speaker 1: story in my in my wife's family where they they 527 00:29:46,320 --> 00:29:51,240 Speaker 1: I think they borrowed a friend's dearly dearly cherished a 528 00:29:51,360 --> 00:29:54,280 Speaker 1: copy of News e s on a VHS tape and 529 00:29:54,440 --> 00:29:57,760 Speaker 1: accidentally taped over one second of it with a you know, 530 00:29:57,880 --> 00:30:01,960 Speaker 1: personal injury lawyer ad. And they still remember what part 531 00:30:02,000 --> 00:30:05,240 Speaker 1: of news eas that where that happens. Oh yeah, I 532 00:30:05,240 --> 00:30:08,600 Speaker 1: mean the VHS medium. Uh, you know it had so 533 00:30:08,640 --> 00:30:10,720 Speaker 1: many wonderful things about it that at the time we 534 00:30:10,760 --> 00:30:13,880 Speaker 1: often took for granted. Um, you know, part of it was, 535 00:30:13,920 --> 00:30:17,200 Speaker 1: of course the ads. You know, it's fascinating to think about, 536 00:30:17,400 --> 00:30:18,960 Speaker 1: you know, to look back on, like all those times 537 00:30:19,000 --> 00:30:20,800 Speaker 1: where if you were really trying to do it right, 538 00:30:20,880 --> 00:30:23,760 Speaker 1: you would try and clip out the ads that nowadays. 539 00:30:23,800 --> 00:30:26,440 Speaker 1: I mean, that's what I would want to see. I 540 00:30:26,320 --> 00:30:27,960 Speaker 1: I don't just want to see that. If I want 541 00:30:27,960 --> 00:30:29,840 Speaker 1: to watch this movie that I caught on Sci Fi 542 00:30:29,920 --> 00:30:32,720 Speaker 1: Channel in the nineties, I can probably find it. But 543 00:30:32,800 --> 00:30:34,400 Speaker 1: what I would really love to do is is watch 544 00:30:34,440 --> 00:30:37,520 Speaker 1: all the ads with it is what commercy? Yeah, and 545 00:30:37,560 --> 00:30:40,600 Speaker 1: some of that stuff is just lost, I guess. Oh god, well, 546 00:30:40,680 --> 00:30:42,600 Speaker 1: I mean like it's the best part of watching the 547 00:30:42,600 --> 00:30:45,960 Speaker 1: Star Wars Holiday Special. Actually, yeah, I would never want 548 00:30:46,000 --> 00:30:50,320 Speaker 1: to see the Holiday special without the Ladies Garment Workers 549 00:30:50,400 --> 00:30:55,440 Speaker 1: Union commercial and tow Bore and all of that great stuff. Yeah, yeah, 550 00:30:55,480 --> 00:30:59,040 Speaker 1: it's it's pretty tremendous. Um. I think I still have 551 00:30:59,080 --> 00:31:00,800 Speaker 1: a few gyms like that, but there's a lot of 552 00:31:00,800 --> 00:31:03,520 Speaker 1: that stuff that I just lost. I do one thing 553 00:31:03,560 --> 00:31:06,680 Speaker 1: I remember from VHS some talking about VHS tapes that 554 00:31:06,720 --> 00:31:09,600 Speaker 1: were just used to death. We had a copy of 555 00:31:09,680 --> 00:31:13,080 Speaker 1: Jim Henson's Labyrinth, which is still of one of my 556 00:31:13,080 --> 00:31:15,400 Speaker 1: favorite films, but we just watched the hell out of 557 00:31:15,400 --> 00:31:18,280 Speaker 1: it so much that at one point the VHS tape 558 00:31:18,320 --> 00:31:23,000 Speaker 1: broke and we had it professionally repaired, which I can't imagine. 559 00:31:23,240 --> 00:31:25,040 Speaker 1: I don't even know how that worked, Like where did 560 00:31:25,120 --> 00:31:27,440 Speaker 1: my parents take it to get fixed? Who did that? 561 00:31:27,800 --> 00:31:29,760 Speaker 1: And why was it more cost effective than just buying 562 00:31:29,760 --> 00:31:32,680 Speaker 1: a new copy of Labyrinth. But when Labyrinth came back, 563 00:31:33,200 --> 00:31:35,800 Speaker 1: it was slightly warped, So it has this kind of 564 00:31:36,680 --> 00:31:39,560 Speaker 1: VHS now we would think of just like a VHS glitch, 565 00:31:39,960 --> 00:31:45,320 Speaker 1: kind of a aspect to the entire film, the entire 566 00:31:45,360 --> 00:31:48,760 Speaker 1: film plus the trailer to the Name of the Rose 567 00:31:48,800 --> 00:31:52,280 Speaker 1: that plays at the very beginning. And so nowadays, if 568 00:31:52,320 --> 00:31:55,480 Speaker 1: I watched Labyrinth or I watched that trailer, uh, it 569 00:31:55,560 --> 00:31:57,760 Speaker 1: just doesn't sound the same because it should be slightly 570 00:31:57,800 --> 00:32:01,920 Speaker 1: warped I'm still reeling from the idea of a VHS 571 00:32:02,000 --> 00:32:05,680 Speaker 1: tape repair person. I don't know who did that. That 572 00:32:05,760 --> 00:32:08,400 Speaker 1: sounds like the world's best job. Did they take it 573 00:32:08,440 --> 00:32:10,560 Speaker 1: to somewhere around town? Do they mail it off? I 574 00:32:10,560 --> 00:32:13,520 Speaker 1: don't know. I'll have to ask my mom about Mom. 575 00:32:13,600 --> 00:32:17,320 Speaker 1: If you're listening, um, call me. Well, we'll discuss Taneribell. 576 00:32:17,760 --> 00:32:21,760 Speaker 1: It's labyrinth spelled backwards. All right, Well, I think we 577 00:32:21,800 --> 00:32:24,040 Speaker 1: gotta call it there. But thank you everyone for getting 578 00:32:24,040 --> 00:32:26,280 Speaker 1: in touch, and we'll be I'm sure catching up on 579 00:32:26,320 --> 00:32:28,720 Speaker 1: more of the emails that came in over the holidays 580 00:32:28,760 --> 00:32:31,240 Speaker 1: in the weeks to come. That's right. And in the meantime, 581 00:32:31,280 --> 00:32:33,040 Speaker 1: if you want to check out other episodes of Stuff 582 00:32:33,080 --> 00:32:35,640 Speaker 1: to Blow Your Mind, we have core episodes on Tuesdays 583 00:32:35,640 --> 00:32:38,120 Speaker 1: and Thursdays and the Stuff to Blow your Mind podcast feed, 584 00:32:38,120 --> 00:32:40,840 Speaker 1: which you can find anywhere and everywhere you get your podcast. 585 00:32:40,920 --> 00:32:43,160 Speaker 1: We do listener Man on Monday, we do an Artifact 586 00:32:43,280 --> 00:32:46,360 Speaker 1: or Monster Fact on Wednesdays as a short form episode, 587 00:32:46,720 --> 00:32:48,760 Speaker 1: and on Fridays we do Weird How Cinema. That's our 588 00:32:48,800 --> 00:32:51,400 Speaker 1: time to put most serious matters aside and just talk 589 00:32:51,440 --> 00:32:54,000 Speaker 1: about a strange movie. H Thanks as always to our 590 00:32:54,040 --> 00:32:57,560 Speaker 1: excellent audio producer Seth Nicholas Johnson. If you would like 591 00:32:57,600 --> 00:32:59,640 Speaker 1: to get in touch with us with feedback on this 592 00:32:59,680 --> 00:33:01,840 Speaker 1: episod ode or any other, to suggest a topic for 593 00:33:01,840 --> 00:33:04,040 Speaker 1: the future, or just to say hello, you can email 594 00:33:04,120 --> 00:33:15,000 Speaker 1: us at contact at stuff to Blow your Mind dot com. 595 00:33:15,080 --> 00:33:17,600 Speaker 1: Stuff to Blow Your Mind is production of I Heart Radio. 596 00:33:17,920 --> 00:33:20,040 Speaker 1: For more podcasts for My Heart Radio, visit the i 597 00:33:20,080 --> 00:33:22,920 Speaker 1: Heart Radio app, Apple Podcasts, or wherever you listen to 598 00:33:22,920 --> 00:33:23,760 Speaker 1: your favorite shows.