WEBVTT - Listener Mail: Warlocks in the Sky

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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 you welcome to Stuff to Blow

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<v Speaker 1>your Mind. Listener mail. My name is Robert Lamb and

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<v Speaker 1>my name is Joe McCormick. Again, It's Monday, the day

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<v Speaker 1>of the week that we read back some messages you've

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<v Speaker 1>sent into the show account. Recently, I've been trying to

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<v Speaker 1>remember to say the email address towards the beginning of

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<v Speaker 1>these episodes lately. It is contact at Stuff to Blow

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<v Speaker 1>your Mind dot com. If you want to get in

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<v Speaker 1>touch show with feedback on any episodes we do. If

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<v Speaker 1>you just want to tell us something interesting, if you

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<v Speaker 1>want to ask a question, whatever you want, you know

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<v Speaker 1>you can write in just to say hi. It's contact

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<v Speaker 1>at Stuff to Blow your Mind dot com. Rob If

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<v Speaker 1>you don't mind, I'm going to start off with this

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<v Speaker 1>message from Lurch, which relates to several episodes. Yeah, Lurch

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<v Speaker 1>it up, Lurch says, good warning, gentlemen, allow me to

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<v Speaker 1>start by flogging a dead lamb, referring back to the

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<v Speaker 1>vegetable lamb of tartary. Wow, we have really been getting

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<v Speaker 1>some stragglers on this one. That's been going on for

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<v Speaker 1>months now. Yeah, this is not sometimes you can you

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<v Speaker 1>know an episode is going to generate a certain amount

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<v Speaker 1>of feedback. Some uh, some don't actually come through like

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<v Speaker 1>you expect they will, and something like the vegetable lamb

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<v Speaker 1>of Tartary just continue to pull in the listener contents,

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<v Speaker 1>which which I love. I love being surprised like that.

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<v Speaker 1>I think I've noticed a pattern that the definitely we

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<v Speaker 1>get the most email in response to any episode that

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<v Speaker 1>offers listeners a chance to tell us about their dreams,

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<v Speaker 1>not like their hopes and dreams, but their nighttime, sleepy dreams. Yeah.

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<v Speaker 1>I guess that's what y'all are like. Okay, anyway, Lurch

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<v Speaker 1>goes on to say, referring referring back to the vegetable

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<v Speaker 1>lamb of Tartary, I was struck by the apparent fact

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<v Speaker 1>I may be misremembering that the earliest references to the

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<v Speaker 1>lamb slash gourd were as food. Knowing how and thoughtful

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<v Speaker 1>humans are to strangers, it seems quite possible that a

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<v Speaker 1>traveler was once offered baked lamb in a gourd as

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<v Speaker 1>a feast provided by some host as a joke. Of

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<v Speaker 1>such things are history made? Well, that's that's an interesting

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<v Speaker 1>point I have had in the past, when I was

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<v Speaker 1>more of a meat eater, I did have meat in

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<v Speaker 1>a pumpkin ones, So such a dishes do exist. It's

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<v Speaker 1>been so long I forgot what the earliest accounts, where

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<v Speaker 1>was it, Sir John Mandeville? And didn't he but I

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<v Speaker 1>think he said like it it was a fully formed

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<v Speaker 1>little lamb. Yeah, you have these different versions of it, right,

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<v Speaker 1>complicated are the roots of the vegetable lamb of tartary? Okay,

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<v Speaker 1>Lurch goes on to say, I'm just glad it didn't

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<v Speaker 1>catch on. Speaking of cooking, let me now turn my

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<v Speaker 1>attention to cauldron's I'm positive I'm not the first to

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<v Speaker 1>float this hypothesis, so I'm rather surprised it wasn't given

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<v Speaker 1>at least a passing mention. In the episodes, several times

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<v Speaker 1>you guys mentioned that cauldrons have been found hidden deliberately

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<v Speaker 1>placed in relatively secure locations, such as bogs. I've never

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<v Speaker 1>thought of a bog as a secure location. But okay, yeah,

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<v Speaker 1>it's a solid investment. Always invest in bogs. Yes, yeah,

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<v Speaker 1>I can't lose, Lurch says. Relatively speaking, I'd suggest that

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<v Speaker 1>cauldrons were expensive back in the day, and of course

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<v Speaker 1>they're still pretty heavy. Uh yeah. Of course this goes

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<v Speaker 1>along with something we talked about in one of the

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<v Speaker 1>later Cauldron episodes about that paper, arguing that cauldron's had

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<v Speaker 1>social significance because they were sort of something that would

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<v Speaker 1>be used, probably not in preparing normal everyday meals, but

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<v Speaker 1>for preparing communal meals. So if you had a cauldron,

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<v Speaker 1>that was kind of like showing off your your wealth

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<v Speaker 1>and community significance and your power to uh to assert

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<v Speaker 1>social dominance by hosting feasts. But springboarding off the idea

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<v Speaker 1>that cauldrons are expensive, Lurch says, if a horde of

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<v Speaker 1>rampaging outsiders were threatening your home, but you couldn't flee

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<v Speaker 1>with your valuables, what would you do what everybody else

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<v Speaker 1>in that situation is done throughout history, Hide the good

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<v Speaker 1>china and the hope that it will still be there

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<v Speaker 1>when you return if you return. Of course, if you don't,

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<v Speaker 1>you still want to deny the good stuff to the

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<v Speaker 1>bad guys. Okay, so I think I understand Lurch is

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<v Speaker 1>suggesting that somebody may have just hidden a cauldron in

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<v Speaker 1>the bog for safe keeping, rather than intentionally depositing it

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<v Speaker 1>there as a sacrifice to the gods, as has often

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<v Speaker 1>been assumed. Yeah, it's an interesting hypothesis. It's my understanding

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<v Speaker 1>that the historians are are going on more than just

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<v Speaker 1>the finding of cauldrons in bogs. I mean, we have

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<v Speaker 1>other things that have been entered there, such as bodies

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<v Speaker 1>and so forth, that there there seems to be a

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<v Speaker 1>strong understanding that these were sacred places, that they were

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<v Speaker 1>maybe considered you a place between. Right, you might find

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<v Speaker 1>bodies in the bog that are not just anybody, but

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<v Speaker 1>somebody who looks pretty strongly like a case of human

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<v Speaker 1>sacrifice or something like that. Okay. Uh. Finally, Lurch said,

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<v Speaker 1>I turned my attention to weird house in particular Planet

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<v Speaker 1>of the Vampires, one of my all time favorite movies.

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<v Speaker 1>During your commentary, Joe mentioned that he loves a good uniform.

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<v Speaker 1>I think we both said that I quite agree. Let

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<v Speaker 1>me share my favorite, the uniforms of the Technocrats in

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<v Speaker 1>Things to Come. What puts these uniforms at the top

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<v Speaker 1>of the list is the absolutely over the top helmet.

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<v Speaker 1>In my opinion, these are the best cinematic uniforms ever made.

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<v Speaker 1>Robbi included some pictures for you to look at. We

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<v Speaker 1>can come back and uh and address these in a bit,

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<v Speaker 1>but just to finish lurches message. On a side note,

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<v Speaker 1>near the end of the movie is a set that

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<v Speaker 1>leaves me in stitches every time I watch. They're preparing

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<v Speaker 1>to use a huge gun to fire people into space

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<v Speaker 1>to the moon. Aside from the fact that this idea

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<v Speaker 1>cannot work, why is there a site on the end

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<v Speaker 1>of the barrel? Thank you for helping the miles go

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<v Speaker 1>by more quickly, lurch. Okay, so I guess we should

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<v Speaker 1>briefly introduce the idea of Things to Come. This this

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<v Speaker 1>movie from the thirties. I believe I talked about it

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<v Speaker 1>in the previous Listener mail episode that I did by

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<v Speaker 1>myself while you were out of town once. Yeah, yeah,

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<v Speaker 1>this is um this is one of those films. I've

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<v Speaker 1>never actually seen it, but I'm familiar with it, and

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<v Speaker 1>of course I've been admiring this space suit for for ages.

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<v Speaker 1>Things to Come n six widely regarded as a sci

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<v Speaker 1>fi classic, and what one that Michael Weldon actually had

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<v Speaker 1>of the psychotronic film Guides lists as one of his

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<v Speaker 1>top ten films of the nineteen thirties. This one's also

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<v Speaker 1>notable because H. G. Wells adapted his own novel for

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<v Speaker 1>the screen in this one, and I believe this is

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<v Speaker 1>the only time that he did this. Uh so, Yeah,

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<v Speaker 1>these space suits are pretty great. They have basically imagine

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<v Speaker 1>a traditional space suit, and there's a lot of same

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<v Speaker 1>noess in space suit designs and science fiction. Now imagine

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<v Speaker 1>one that has enough room for your head to grow

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<v Speaker 1>in size by what uh and the three sizes are more.

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<v Speaker 1>Or one that has enough room for the most outrageous

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<v Speaker 1>hairstyle imaginable. If you ever played Golden I for the

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<v Speaker 1>Nintendo sixty four and you use the cheat known as

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<v Speaker 1>d K mode, where it would turn all the characters

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<v Speaker 1>into Donkey Kong with giant heads and arms. This is

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<v Speaker 1>a space suit made for for DK mode people. Yeah, yeah,

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<v Speaker 1>it's but the thing is so yes, you can when

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<v Speaker 1>you describe it like this, it sounds ridiculous. It does

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<v Speaker 1>look a little ridiculous, but it also looks really cool

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<v Speaker 1>in a way that's hard to really drive home. Wine.

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<v Speaker 1>I think part of it is that it just does

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<v Speaker 1>look so different, and therefore it feels like a product

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<v Speaker 1>of a of a of a different age. Yeah, I agree.

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<v Speaker 1>I love a big, very sort of globular helmet like this.

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<v Speaker 1>You know, I always love the helmets in Alien, like

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<v Speaker 1>in the Alien franchise, because they're kind of oh, you know,

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<v Speaker 1>they're like a big glass ball on the front. Yeah, yeah,

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<v Speaker 1>those are those are solid helmets for sure. Now coming

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<v Speaker 1>back to what Lurch says, a out the space gun

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<v Speaker 1>that's gonna send people into orbit in the movie. Yeah,

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<v Speaker 1>I never noticed this before, but it is true. The

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<v Speaker 1>barrel of this giant guns, this is not something that

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<v Speaker 1>would be held by a human. It's like building sized.

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<v Speaker 1>It has an iron sight at the end of the barrel,

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<v Speaker 1>like somebody's going to be looking down it aim. Yeah,

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<v Speaker 1>I believe. Weldon also said in his summary of the

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<v Speaker 1>city that he thinks like it's it's one of those

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<v Speaker 1>films you can really only compare it to Metropolis, like

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<v Speaker 1>he in terms of the scope of it. And I

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<v Speaker 1>guess the end of the time period of science fiction involved.

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<v Speaker 1>All right. We also heard back from some folks on

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<v Speaker 1>our Vault episode about Numerouscy. This one comes to us

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<v Speaker 1>from Anna, Hello, Robert, Joe, and Steath. I enjoyed your

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<v Speaker 1>recent Vault episode on Numerousy and whether it is innate

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<v Speaker 1>or learned. I was wondering how this relates to time

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<v Speaker 1>as a small child, you conceptualized time differently, Like when

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<v Speaker 1>you were told you can play for fifteen minutes, that

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<v Speaker 1>doesn't really have much meaning. You just stopped playing when

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<v Speaker 1>your mom says it's dinner time. But you do have

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<v Speaker 1>an idea of time passing. Rob's story about his son

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<v Speaker 1>reminds me of something that happened to my niece, Mim.

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<v Speaker 1>She was staying with my parents, Granny and granddad. To

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<v Speaker 1>her and my brother, her father had taken the opportunity

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<v Speaker 1>to go to the shops child free. Nim and Granny

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<v Speaker 1>were playing out front of the house. Mim asked when

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<v Speaker 1>will Daddy be home. Granny said, Daddy will be home soon,

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<v Speaker 1>and with the absolute confidence of a four year old,

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<v Speaker 1>Nim said, but it's soon. Now hard to argue with

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<v Speaker 1>that smiley face. I really enjoy all the content you

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<v Speaker 1>put out, and I love the way you presented. Keep

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<v Speaker 1>up the good work. That's great. And so the first

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<v Speaker 1>paragraph here about like being told you can play for

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<v Speaker 1>fifteen minutes as a child and that not really having meaning,

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<v Speaker 1>I think it's absolutely squares with my memories of childhood,

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<v Speaker 1>where time being given time periods up to a certain

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<v Speaker 1>point was very mysterious to me, and at a certain point,

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<v Speaker 1>I re remember deciding, like when I was asking on

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<v Speaker 1>a car trip how much time was left. Essentially, if

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<v Speaker 1>I was told anything less than an hour, I knew

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<v Speaker 1>that we would be there immediately. It's like, oh, okay,

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<v Speaker 1>we're pretty much there. And anything more than an hour,

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<v Speaker 1>I knew it would be forever. Yeah, I mean, it's

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<v Speaker 1>a it's it's a it's a timeless question, especially for children.

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<v Speaker 1>How soon as soon? How soon is now? All right?

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<v Speaker 1>Here's another one about our numerous the episodes. This is

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<v Speaker 1>from Andrea. Andrea says, Hi, Robert and Joe, I've been

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<v Speaker 1>listening to the show for at least four years, but

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<v Speaker 1>I've never written in until now. Your vault episode discussing

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<v Speaker 1>whether animals have been number since reminded me of a

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<v Speaker 1>cat we had years ago who was both very very

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<v Speaker 1>smart and very very strange. When she was a kitten,

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<v Speaker 1>one of her favorite pastimes was to go to the basement,

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<v Speaker 1>pick up a strip of rag that we had torn

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<v Speaker 1>up for staking tomato plants, carry it up the stairs

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<v Speaker 1>in her mouth, deposited on the kitchen floor, then return

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<v Speaker 1>to the basement for the next one. If, however, to

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<v Speaker 1>mess with her we removed rag number six while she

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<v Speaker 1>was down getting number seven. She would notice immediately when

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<v Speaker 1>she returned to become very upset and search for it

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<v Speaker 1>while me owing accusingly at us. We surmised from this

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<v Speaker 1>that she could indeed count I'm open to other explanations though.

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<v Speaker 1>Oh and then Andrea has some other comments about enjoying

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<v Speaker 1>listening to our show as as one drifts off to sleep.

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<v Speaker 1>But either way, yes, so we we we fully support

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<v Speaker 1>that usage as well. Um so so, Yeah, I think

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<v Speaker 1>this is an interesting story about the cat. Rob Have

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<v Speaker 1>you ever seen anything like this? Uh? No, but I

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<v Speaker 1>I absolutely have no reason to doubt that this cat

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<v Speaker 1>has a full range of numerousy. I mean, I can't

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<v Speaker 1>make any other hypothesis that could possibly explain this. This

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<v Speaker 1>cat has the maths. This cat will prove the Rimond conjecture. No,

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<v Speaker 1>I seriously though, I yeah, I don't even I really

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<v Speaker 1>don't even know what to make of this. I would,

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<v Speaker 1>I would seriously guess that the cat does not have

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<v Speaker 1>any kind of a number sense. Um, that there's some

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<v Speaker 1>other reason for one rag rather than the other rag,

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<v Speaker 1>but that it has nothing to do with the numbers

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<v Speaker 1>that are printed on there. Yeah, it's been a while

0:12:18.840 --> 0:12:21.680
<v Speaker 1>since we did the episode, so now I'm afraid it's

0:12:21.800 --> 0:12:23.720
<v Speaker 1>you know, we we talked about these things, and sometimes

0:12:23.720 --> 0:12:26.040
<v Speaker 1>they sort of partially leave my head, or sometimes more

0:12:26.080 --> 0:12:29.599
<v Speaker 1>than partially. I think it was that, you know that.

0:12:30.120 --> 0:12:33.160
<v Speaker 1>I think the conclusion was that a lot of animals

0:12:33.200 --> 0:12:35.840
<v Speaker 1>seem to have maybe a sense of numerousy for a

0:12:35.880 --> 0:12:39.800
<v Speaker 1>few numbers, like like one to three or so, but

0:12:39.920 --> 0:12:42.680
<v Speaker 1>after that, differences get get kind of lost. Like you

0:12:42.679 --> 0:12:45.880
<v Speaker 1>wouldn't expect a non human animal to tell the difference

0:12:45.880 --> 0:12:50.480
<v Speaker 1>between six and seven, does that quantity? Yeah, like here's

0:12:50.480 --> 0:12:53.880
<v Speaker 1>six cat treats, here's seven cat treats. Um. Yeah, my

0:12:54.080 --> 0:12:55.880
<v Speaker 1>if my memory is correct on this, yeah, it means

0:12:55.920 --> 0:12:58.000
<v Speaker 1>that the cat probably can't tell the difference between those

0:12:58.080 --> 0:13:01.040
<v Speaker 1>quantities where it could tell the difference between say two

0:13:01.040 --> 0:13:05.120
<v Speaker 1>and seven, and in terms of the numbers six and seven,

0:13:05.920 --> 0:13:08.200
<v Speaker 1>absolutely not, unless I mean, they would have to be

0:13:08.240 --> 0:13:14.160
<v Speaker 1>some other factors involved, something sent related or I don't

0:13:14.160 --> 0:13:16.840
<v Speaker 1>even know if the sound related. It could be possible,

0:13:16.840 --> 0:13:19.080
<v Speaker 1>I guess if there was something attached to the uh

0:13:19.240 --> 0:13:23.240
<v Speaker 1>to to the strips um. Yeah, I don't know. There

0:13:23.280 --> 0:13:25.320
<v Speaker 1>have to be some other elements in play here. The

0:13:25.360 --> 0:13:28.240
<v Speaker 1>closest studn seed to that is my dog knows that

0:13:28.320 --> 0:13:31.600
<v Speaker 1>he gets too dog treats after dinner, and if he

0:13:31.720 --> 0:13:34.360
<v Speaker 1>just gets one, he knows that he has owed another

0:13:34.360 --> 0:13:36.520
<v Speaker 1>one he doesn't forget. But I don't know if he

0:13:36.559 --> 0:13:41.160
<v Speaker 1>were to get seven after dinner, he might just lose track. Yeah, well,

0:13:41.160 --> 0:13:45.040
<v Speaker 1>you're gonna have to test tonight. It's um, it's seven treats,

0:13:45.760 --> 0:13:47.160
<v Speaker 1>and then keep that up for a little bit and

0:13:47.160 --> 0:13:49.120
<v Speaker 1>then bring him down to six and see if he complains.

0:13:54.360 --> 0:13:56.040
<v Speaker 1>All right, you want to do some of these messages

0:13:56.080 --> 0:13:59.679
<v Speaker 1>about sky bridges. Yeah, this is one where I knew

0:13:59.720 --> 0:14:02.079
<v Speaker 1>we would to hear from from folks on these, and

0:14:02.120 --> 0:14:05.080
<v Speaker 1>I was not disappointed. This one comes to us from Jeff.

0:14:05.240 --> 0:14:08.840
<v Speaker 1>Jeff says, Hi, Robert and Joe. I just finished listening

0:14:08.960 --> 0:14:11.400
<v Speaker 1>through the first and second episode on sky bridges, and

0:14:11.440 --> 0:14:13.400
<v Speaker 1>I've got a few thoughts. I grew up and currently

0:14:13.400 --> 0:14:17.040
<v Speaker 1>live in Winnipeg, Manitoba, which regularly gets colder than negative

0:14:17.040 --> 0:14:19.400
<v Speaker 1>forty degrees celsius for days or weeks at a time

0:14:19.480 --> 0:14:22.360
<v Speaker 1>during the winter, and often gets warmer than thirty degrees

0:14:22.400 --> 0:14:25.920
<v Speaker 1>celsius in the summertime. As a result, our entire downtown

0:14:26.000 --> 0:14:29.120
<v Speaker 1>is basically connected by various sky bridges, underground tunnels, and

0:14:29.160 --> 0:14:32.720
<v Speaker 1>covered arcades, making quite simple to get from a person's

0:14:32.720 --> 0:14:35.520
<v Speaker 1>house then to work, and including a chance to walk

0:14:35.560 --> 0:14:38.680
<v Speaker 1>around underground tunnels to do some additional shopping on your

0:14:38.760 --> 0:14:41.720
<v Speaker 1>lunch break in the underground mall. I lived in a

0:14:41.800 --> 0:14:45.000
<v Speaker 1>high rise for a few years, and navigating indoors to

0:14:45.040 --> 0:14:48.280
<v Speaker 1>get to concerts, restaurants, and even my grocery shopping was

0:14:48.400 --> 0:14:51.080
<v Speaker 1>quite simple if I wanted to avoid it the elements.

0:14:51.600 --> 0:14:54.040
<v Speaker 1>I also used to work at the University of Manitoba,

0:14:54.200 --> 0:14:56.840
<v Speaker 1>which is almost entirely connected by underground tunnels, so that

0:14:56.880 --> 0:14:58.920
<v Speaker 1>in the extreme cold, it is easy for students and

0:14:58.920 --> 0:15:01.440
<v Speaker 1>staff to get from building to building. A benefit to

0:15:01.480 --> 0:15:05.640
<v Speaker 1>having this protected connectivity that often goes overlooked is the

0:15:05.760 --> 0:15:10.120
<v Speaker 1>increased accessibility for people with mobility concerns, especially in a

0:15:10.120 --> 0:15:13.280
<v Speaker 1>city like Winnipeg that gets tremendous snow when ice builds

0:15:13.360 --> 0:15:16.600
<v Speaker 1>up throughout the year, and navigating with assistance devices and

0:15:16.800 --> 0:15:20.320
<v Speaker 1>bulky clothes can be quite difficult and cumbersome. I could

0:15:20.360 --> 0:15:22.360
<v Speaker 1>talk about the subject for hours, so I will end

0:15:22.440 --> 0:15:24.800
<v Speaker 1>it there, but I appreciate what you do. Keep up

0:15:24.800 --> 0:15:29.120
<v Speaker 1>the good work. Jeff Great points Jeff. Yeah, yeah, but

0:15:29.280 --> 0:15:31.840
<v Speaker 1>first on you know, a cold city or a city

0:15:31.840 --> 0:15:35.080
<v Speaker 1>that is often cold, and then the mobility issues that's

0:15:35.200 --> 0:15:43.440
<v Speaker 1>that's that's a big concern. Along the same lines with

0:15:43.560 --> 0:15:48.120
<v Speaker 1>the with the relationship between skybridge density and weather, we

0:15:48.240 --> 0:15:52.320
<v Speaker 1>got a message from Kenya. Kenya says, hello, I'm surprised

0:15:52.360 --> 0:15:56.840
<v Speaker 1>you focus so much on Atlanta instead of Minneapolis or St. Paul,

0:15:57.280 --> 0:16:01.080
<v Speaker 1>which have intricate mazes of skywalks connecting a good number

0:16:01.120 --> 0:16:04.000
<v Speaker 1>of buildings downtown. I went to St. Paul and a

0:16:04.040 --> 0:16:06.800
<v Speaker 1>work trip in the dead of winter. Our team stayed

0:16:06.800 --> 0:16:09.640
<v Speaker 1>at a hotel that wasn't on the Skyway, while the

0:16:09.720 --> 0:16:12.200
<v Speaker 1>client team stayed in a hotel that was connected to

0:16:12.200 --> 0:16:15.640
<v Speaker 1>the Skyway. I remember them showing up without their coats

0:16:15.680 --> 0:16:18.560
<v Speaker 1>while we were freezing. They forgot to tell us about

0:16:18.600 --> 0:16:21.600
<v Speaker 1>this on subsequent days. Walking to the work site from

0:16:21.640 --> 0:16:24.320
<v Speaker 1>our hotel, we walked to the closest building on the

0:16:24.360 --> 0:16:27.760
<v Speaker 1>Skyway and snaked our way through buildings to get to work.

0:16:28.240 --> 0:16:31.400
<v Speaker 1>Food convenience stores, a post office, and everything you could

0:16:31.440 --> 0:16:34.280
<v Speaker 1>need were in that maze. I would also love for

0:16:34.360 --> 0:16:37.160
<v Speaker 1>you guys to talk about underground tunnels that work the

0:16:37.160 --> 0:16:41.160
<v Speaker 1>way that skywalks do. At at one point in the

0:16:41.240 --> 0:16:45.200
<v Speaker 1>Crystal City part of Arlington, Virginia, there was no foot traffic.

0:16:45.360 --> 0:16:48.760
<v Speaker 1>Everything was underground. The Crystal City Underground isn't what it

0:16:48.880 --> 0:16:51.120
<v Speaker 1>used to be. At one time it had an arcade

0:16:51.160 --> 0:16:53.920
<v Speaker 1>in a movie theater. Now it just contained some lunch

0:16:53.960 --> 0:16:56.960
<v Speaker 1>spots in a theater while connecting several buildings to the

0:16:57.000 --> 0:17:00.240
<v Speaker 1>metro station. I've always thought it dark and day, but

0:17:00.320 --> 0:17:03.880
<v Speaker 1>it's a similar concept, just without sunlight. Toronto has a

0:17:03.880 --> 0:17:08.840
<v Speaker 1>similar underground tunnel system. Your show is always a good listen, Kenya, Well,

0:17:08.840 --> 0:17:11.560
<v Speaker 1>thank you, Kenya. Um Well, it's the first on the

0:17:11.560 --> 0:17:15.720
<v Speaker 1>Atlanta point. I mean, first of all, we are in Atlanta,

0:17:15.800 --> 0:17:17.359
<v Speaker 1>so it is kind of what's kind of neat to

0:17:17.480 --> 0:17:20.760
<v Speaker 1>focus a little bit on our home city here. But

0:17:20.840 --> 0:17:24.639
<v Speaker 1>also I found that some of the social elements in

0:17:24.800 --> 0:17:27.520
<v Speaker 1>play and some of the social criticism of of of

0:17:27.640 --> 0:17:31.800
<v Speaker 1>sky bridges in these in some of these connected walkways,

0:17:32.920 --> 0:17:35.960
<v Speaker 1>they're a little more pronounced here in Atlanta versus a

0:17:36.000 --> 0:17:40.800
<v Speaker 1>city that has extreme cold weather going on. But still

0:17:40.840 --> 0:17:43.560
<v Speaker 1>I'm very much enjoying these examples that are coming to

0:17:43.640 --> 0:17:47.480
<v Speaker 1>us from northern cities. And as for tunnels, so I

0:17:47.520 --> 0:17:51.199
<v Speaker 1>mean don't don't tempt us. Uh, we'd we'd love to

0:17:51.240 --> 0:17:54.040
<v Speaker 1>do some episodes on tunnels in the future. I'm always

0:17:54.080 --> 0:17:59.520
<v Speaker 1>fascinated by subterranean passageways um for humans, for for trains

0:17:59.600 --> 0:18:04.399
<v Speaker 1>full of humans, for non human entities as well. So yeah,

0:18:04.480 --> 0:18:07.199
<v Speaker 1>that I think we could we could easily explore that

0:18:07.240 --> 0:18:09.720
<v Speaker 1>in the future. I I rob, I would say, you

0:18:09.760 --> 0:18:12.760
<v Speaker 1>have chronic tunnel bug in the brain. You you are

0:18:12.920 --> 0:18:15.440
<v Speaker 1>will never pass up a chance to talk about tunnels.

0:18:15.880 --> 0:18:17.960
<v Speaker 1>I'd I love a tunnel, and we have a feeling,

0:18:18.000 --> 0:18:20.200
<v Speaker 1>we have a we have some. We have some tunnels

0:18:20.200 --> 0:18:24.119
<v Speaker 1>here in Atlanta, though we're not nearly as underground a

0:18:24.160 --> 0:18:26.760
<v Speaker 1>city as as as many others. I mean, so's the

0:18:26.800 --> 0:18:29.800
<v Speaker 1>best examples are certainly far from here. But even then,

0:18:29.920 --> 0:18:31.520
<v Speaker 1>I love I love it when I'm in like a

0:18:31.520 --> 0:18:39.520
<v Speaker 1>train tunnel here in Atlanta on our Marta system. Alright,

0:18:39.560 --> 0:18:42.560
<v Speaker 1>one last message about sky bridges. This is from Pat.

0:18:42.800 --> 0:18:46.919
<v Speaker 1>Pat says, very interesting episodes, Thanks ever so much. I

0:18:47.000 --> 0:18:51.120
<v Speaker 1>was reminded of a not so spectacular example in Brooklyn.

0:18:51.240 --> 0:18:53.640
<v Speaker 1>When I was a boy, I loved visiting the Abraham

0:18:53.720 --> 0:18:57.560
<v Speaker 1>Strausse department store on Fulton Street in downtown Brooklyn. The

0:18:57.640 --> 0:19:00.760
<v Speaker 1>development and history of department stores is a cool subject.

0:19:01.160 --> 0:19:04.960
<v Speaker 1>This wonderful old store had many departments and an annex

0:19:05.040 --> 0:19:08.680
<v Speaker 1>building with availability of products not found in other department

0:19:08.760 --> 0:19:11.800
<v Speaker 1>stores in the sixties. At this one story, you could

0:19:11.800 --> 0:19:16.360
<v Speaker 1>buy quote underdrawers and I'm not sure I understand the

0:19:16.359 --> 0:19:18.960
<v Speaker 1>the accent being portrayed in this uh in this quote

0:19:19.040 --> 0:19:22.840
<v Speaker 1>underdrawers and the machine to wash them in One reached

0:19:22.880 --> 0:19:25.800
<v Speaker 1>the annex through a sky bridge. I loved this entrance

0:19:25.840 --> 0:19:29.399
<v Speaker 1>and I never missed the opportunity. You talked briefly about

0:19:29.520 --> 0:19:33.399
<v Speaker 1>roofs over cities. I read long ago about an idea

0:19:33.440 --> 0:19:37.400
<v Speaker 1>about creating a second level in Manhattan. The lower level

0:19:37.440 --> 0:19:41.359
<v Speaker 1>would be traffic only, the upper level would be pedestrian only. Sure,

0:19:41.440 --> 0:19:43.960
<v Speaker 1>there would be a dark underground, but this is not

0:19:44.080 --> 0:19:46.880
<v Speaker 1>a living space. It's a way of securing pedestrians from

0:19:46.880 --> 0:19:50.480
<v Speaker 1>the perils of vehicular traffic. Do keep up the fun work,

0:19:50.680 --> 0:19:53.879
<v Speaker 1>pat Well. That last point is very much in keeping

0:19:53.920 --> 0:19:57.119
<v Speaker 1>with some of the you know, the reasons behind creating

0:19:57.160 --> 0:19:59.600
<v Speaker 1>the sky bridges. Yeah, and and some of these sort

0:19:59.600 --> 0:20:04.080
<v Speaker 1>of fantas aastic architectural solutions like let's get the people

0:20:04.119 --> 0:20:07.000
<v Speaker 1>away from the from the vehicular traffic. Well, let's create

0:20:07.040 --> 0:20:09.479
<v Speaker 1>a safe barrier between the two. By the way, speaking

0:20:09.480 --> 0:20:12.159
<v Speaker 1>of Brooklyn, UM, I know I've mentioned this on the

0:20:12.160 --> 0:20:15.200
<v Speaker 1>show before, but if anyone out there, if you find

0:20:15.200 --> 0:20:18.600
<v Speaker 1>yourself in New York in Brooklyn as a tourist, or

0:20:18.640 --> 0:20:19.960
<v Speaker 1>maybe you just live there and you haven't checked this

0:20:19.960 --> 0:20:23.080
<v Speaker 1>out for yourself, the New York Transit Museum is excellent. Uh.

0:20:23.200 --> 0:20:27.040
<v Speaker 1>It is in an old um subway station, and so

0:20:27.160 --> 0:20:29.840
<v Speaker 1>you get to check out these examples of older cars

0:20:29.960 --> 0:20:33.560
<v Speaker 1>with the older style advertisements on them on the train

0:20:33.600 --> 0:20:42.840
<v Speaker 1>tracks themselves in an actual subway station. All right, And

0:20:42.920 --> 0:20:45.280
<v Speaker 1>here's one more, and uh, this is I guess this is.

0:20:45.400 --> 0:20:47.120
<v Speaker 1>This is not really a direct response to a Weird

0:20:47.119 --> 0:20:48.919
<v Speaker 1>House so much, but it's kind of in keeping with

0:20:49.000 --> 0:20:51.320
<v Speaker 1>the stuff we talked about on Weird House. Uh, this

0:20:51.560 --> 0:20:55.440
<v Speaker 1>is a response to recent discussions of local TV horror hosts.

0:20:56.160 --> 0:20:59.000
<v Speaker 1>And uh, who does this? Who's this coming out? We're

0:20:59.040 --> 0:21:01.600
<v Speaker 1>not I was trying to I'm not sure what name

0:21:01.720 --> 0:21:04.760
<v Speaker 1>this guy wanted us to use, so we'll skip the name.

0:21:04.800 --> 0:21:09.600
<v Speaker 1>I guess. Okay, from somebody here comes some listener mail.

0:21:10.400 --> 0:21:14.320
<v Speaker 1>All I grew up on Sanny Terry hosting horror films

0:21:14.320 --> 0:21:16.560
<v Speaker 1>in the seventies and some of the eighties. The picks

0:21:16.600 --> 0:21:18.760
<v Speaker 1>on the wiki page don't do him justice. So I

0:21:18.760 --> 0:21:21.480
<v Speaker 1>have attached a picture for your viewing pleasure, enjoying the

0:21:21.520 --> 0:21:24.600
<v Speaker 1>show and encouraging you to keep up the good work. Uh,

0:21:24.640 --> 0:21:26.399
<v Speaker 1>and there's uh you know what we have what we

0:21:26.440 --> 0:21:29.800
<v Speaker 1>have your Joe, We have some pictures of Samuel Terry

0:21:29.840 --> 0:21:33.360
<v Speaker 1>and we were you shared some video footage with me earlier. Well,

0:21:33.440 --> 0:21:37.040
<v Speaker 1>so this picture is a screen grab I took that.

0:21:37.160 --> 0:21:40.920
<v Speaker 1>This listener attached some other links in the in the email.

0:21:41.040 --> 0:21:45.440
<v Speaker 1>But Sammy Terry, if you're not getting it yet, that's

0:21:45.480 --> 0:21:50.920
<v Speaker 1>a that is a pun name, like cemetery. But when

0:21:50.920 --> 0:21:53.560
<v Speaker 1>I was like, okay, I'm not familiar. Sammy Terry was

0:21:53.640 --> 0:21:58.960
<v Speaker 1>an Indianapolis area local TV horror host. You can look

0:21:59.040 --> 0:22:02.360
<v Speaker 1>up it's there's clips of him on YouTube. The one

0:22:02.480 --> 0:22:04.960
<v Speaker 1>I watched was an intro to some movie. I don't

0:22:05.000 --> 0:22:08.200
<v Speaker 1>know what movie he was going into, but he gave

0:22:08.280 --> 0:22:12.600
<v Speaker 1>the most bizarre monologue about how, um, let's see like

0:22:12.640 --> 0:22:15.680
<v Speaker 1>you could be running from a madman, and then while

0:22:15.720 --> 0:22:19.160
<v Speaker 1>you're running from the madman, perhaps you get abducted by aliens,

0:22:19.600 --> 0:22:22.119
<v Speaker 1>and then you finally make it home safe, only to

0:22:22.200 --> 0:22:26.240
<v Speaker 1>discover that your tap water has been poisoned by a

0:22:26.400 --> 0:22:30.199
<v Speaker 1>like brain eating virus. And uh so strap in for

0:22:30.200 --> 0:22:35.359
<v Speaker 1>the movie. Uh and when it introduces Sam Sammy Terry,

0:22:35.440 --> 0:22:37.840
<v Speaker 1>he gets out of a coffin, he stands up, he's

0:22:37.840 --> 0:22:40.879
<v Speaker 1>got he's got sort of a Frankenstein face makeup, he's

0:22:40.920 --> 0:22:44.000
<v Speaker 1>kind of green. Uh and he's got a big red

0:22:44.080 --> 0:22:47.720
<v Speaker 1>cape with a hood. And it introduces him with a

0:22:47.720 --> 0:22:51.399
<v Speaker 1>local news style chiron like a name tag at the

0:22:51.440 --> 0:22:53.840
<v Speaker 1>bottom of the screen, except it doesn't do the punt.

0:22:53.880 --> 0:22:56.680
<v Speaker 1>It calls him Samuel Terry, and then under that it

0:22:56.760 --> 0:23:00.400
<v Speaker 1>says Google, I guess as his occupation. Yeah, I don't

0:23:00.400 --> 0:23:03.240
<v Speaker 1>think I've seen footage of this guy before, but I

0:23:03.320 --> 0:23:05.040
<v Speaker 1>like the stick. I think he had a good thing

0:23:05.080 --> 0:23:07.960
<v Speaker 1>going here. He also had a pet, rubber spider named

0:23:07.960 --> 0:23:11.840
<v Speaker 1>George Nice. Yeah, it seems like the main things you

0:23:11.880 --> 0:23:14.840
<v Speaker 1>need needed for one of these uh these these daytime

0:23:14.880 --> 0:23:17.479
<v Speaker 1>horror host gigs, was you need a little bit of makeup,

0:23:18.240 --> 0:23:21.040
<v Speaker 1>a few props, you know, maybe you have you know,

0:23:21.200 --> 0:23:23.280
<v Speaker 1>some sort of a coffin and the shot get one

0:23:23.320 --> 0:23:26.359
<v Speaker 1>from the local funeral home. But then mostly you just

0:23:26.400 --> 0:23:29.399
<v Speaker 1>need to have a lot of enthusiasm to ham it

0:23:29.480 --> 0:23:31.840
<v Speaker 1>up in front of the camera and talk well, in

0:23:31.880 --> 0:23:36.040
<v Speaker 1>this example, about basically anything in order to set up

0:23:36.040 --> 0:23:38.879
<v Speaker 1>the motion picture. I would say that, at least in

0:23:38.920 --> 0:23:43.880
<v Speaker 1>the one clip I watched, Sammy Terry seemed less oriented

0:23:44.000 --> 0:23:48.359
<v Speaker 1>around puns and jokes than someone like Elvira or the

0:23:48.400 --> 0:23:51.720
<v Speaker 1>crypt Keeper, who they were just like chock full of

0:23:51.800 --> 0:23:55.760
<v Speaker 1>densely packed comedy about the movies. If I recall, Sammy

0:23:55.880 --> 0:23:59.959
<v Speaker 1>Terry seemed more like a sort of campy Hammy direct

0:24:00.080 --> 0:24:03.320
<v Speaker 1>to monologue about monsters and frights. I mean, maybe he

0:24:03.400 --> 0:24:07.320
<v Speaker 1>wasn't actual Ghoul. That's the thing we're doubting the authenticity

0:24:07.320 --> 0:24:10.439
<v Speaker 1>of the character. This is he's he's risen from the

0:24:10.440 --> 0:24:13.360
<v Speaker 1>tomb here and he's here to talk about tomb stuff.

0:24:13.600 --> 0:24:15.800
<v Speaker 1>He didn't even know there's a movie coming. I didn't

0:24:15.800 --> 0:24:20.320
<v Speaker 1>mean to disrespect his life's work. Google things are important. Well,

0:24:20.359 --> 0:24:22.760
<v Speaker 1>this was great. If anybody out there has any other

0:24:22.800 --> 0:24:26.199
<v Speaker 1>examples of local TV horrows, I'd certainly love to to

0:24:26.240 --> 0:24:28.920
<v Speaker 1>hear about them. Like I said, there there's so many

0:24:29.000 --> 0:24:31.320
<v Speaker 1>of them, um, each one with their own kind of

0:24:31.359 --> 0:24:35.240
<v Speaker 1>regional flare. I saw one very heartwarming YouTube comment that's

0:24:35.280 --> 0:24:39.280
<v Speaker 1>not a common phrase. Uh, where the whoever it was

0:24:39.280 --> 0:24:42.240
<v Speaker 1>was just like I remember every Friday night it was,

0:24:42.480 --> 0:24:46.200
<v Speaker 1>you know, some particular local pizza delivery place in Sammy Terry.

0:24:46.680 --> 0:24:49.600
<v Speaker 1>Ah see that was That was event television. That's what

0:24:49.640 --> 0:24:52.080
<v Speaker 1>they call it now. Yeah, all right, no, no, they

0:24:52.080 --> 0:24:55.960
<v Speaker 1>don't call it event television. Appointment television. That was appointment television.

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<v Speaker 1>All right, Well, we're gonna go ahead and close out

0:24:59.080 --> 0:25:01.680
<v Speaker 1>this mail bag. We'd love to hear from you. As always,

0:25:01.680 --> 0:25:04.480
<v Speaker 1>we do listener mail on Monday's in the Stuff to

0:25:04.520 --> 0:25:07.480
<v Speaker 1>Blow your Mind podcast feed right in about core episodes

0:25:07.480 --> 0:25:10.720
<v Speaker 1>of the show, past and present, right in about past,

0:25:10.880 --> 0:25:14.360
<v Speaker 1>present and future episodes of Weird House Cinema. Everything's fair game.

0:25:14.359 --> 0:25:16.199
<v Speaker 1>We'd love to hear from you, like Joe said at

0:25:16.200 --> 0:25:17.560
<v Speaker 1>the top of the episode, even if it's just to

0:25:17.560 --> 0:25:20.360
<v Speaker 1>say hi, huge things. As always to our excellent audio

0:25:20.400 --> 0:25:23.959
<v Speaker 1>producer Seth Nicholas Johnson. Once more, if you want to

0:25:24.000 --> 0:25:26.240
<v Speaker 1>get in touch with us for any reason at all,

0:25:26.320 --> 0:25:37.120
<v Speaker 1>it is contact at Stuff to Blow your Mind dot com.

0:25:37.240 --> 0:25:39.040
<v Speaker 1>Stuff to Blow Your Mind is a production of I

0:25:39.160 --> 0:25:42.040
<v Speaker 1>Heart Radio. For more podcasts for my Heart Radio, visit

0:25:42.040 --> 0:25:44.639
<v Speaker 1>the I Heart Radio app, Apple Podcasts or wherever you

0:25:44.680 --> 0:25:45.919
<v Speaker 1>listen to your favorite shows