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 --> 00:00:10,440 Speaker 1: My Heart Radio. Hey you welcome to Stuff to Blow 3 00:00:10,480 --> 00:00:13,760 Speaker 1: your Mind Listener Mail. This is Robert Lamb and I'm 4 00:00:13,800 --> 00:00:17,120 Speaker 1: Joe McCormack, and today it's listener mail on the podcast. 5 00:00:17,360 --> 00:00:19,680 Speaker 1: We do that every Monday, so we'll be reading back 6 00:00:19,680 --> 00:00:21,439 Speaker 1: some of the messages that you've sent in over the 7 00:00:21,480 --> 00:00:24,239 Speaker 1: past week or two. Rob. If you don't mind, I'm 8 00:00:24,239 --> 00:00:27,520 Speaker 1: going to jump right in with this email about tumbleweeds. 9 00:00:27,960 --> 00:00:36,559 Speaker 1: Go for it. Okay, this is from Nan. Nan says Hi, 10 00:00:36,720 --> 00:00:39,400 Speaker 1: Robert and Joe, thanks for another great episode of Stuff 11 00:00:39,400 --> 00:00:41,559 Speaker 1: to Blow Your Mind on a topic I deal with 12 00:00:42,200 --> 00:00:45,040 Speaker 1: many days of the year, but which few other people 13 00:00:45,040 --> 00:00:47,800 Speaker 1: seem to be aware of. I work at a landfill 14 00:00:47,880 --> 00:00:52,559 Speaker 1: in California that is constantly battling tumbleweeds, though I thankfully 15 00:00:52,600 --> 00:00:56,080 Speaker 1: haven't seen one moving while on fire. The biggest hazard 16 00:00:56,120 --> 00:00:58,320 Speaker 1: we deal with is that they tend to blow into 17 00:00:58,360 --> 00:01:02,160 Speaker 1: our drainage channels, rolling down the channels much like a 18 00:01:02,240 --> 00:01:05,039 Speaker 1: hot wheels car on a track, and get stuck at 19 00:01:05,040 --> 00:01:08,800 Speaker 1: our storm drain inlets, causing flooding and erosion that can 20 00:01:08,880 --> 00:01:13,360 Speaker 1: potentially expose buried trash. Oh this sounds kind of familiar. 21 00:01:13,400 --> 00:01:17,280 Speaker 1: I think we talked about tumbleweeds clogging ditches and culverts 22 00:01:17,280 --> 00:01:21,200 Speaker 1: and drainage pipes and stuff their nature's wet wipes. If 23 00:01:21,240 --> 00:01:23,040 Speaker 1: that statement confused you, by the way, go back and 24 00:01:23,120 --> 00:01:24,679 Speaker 1: check out our episode. I think it was called the 25 00:01:24,720 --> 00:01:30,199 Speaker 1: Soap Dragon. Anyway, Nan goes on. We do our best 26 00:01:30,200 --> 00:01:33,440 Speaker 1: to remove the Russian thistle before it becomes tumbleweed, but 27 00:01:33,600 --> 00:01:36,920 Speaker 1: there's often more than we can manage. Goats are our 28 00:01:36,959 --> 00:01:40,880 Speaker 1: greatest ally in this battle. They'll happily eat Russian thistle 29 00:01:40,959 --> 00:01:44,119 Speaker 1: on extremely steep slopes that our maintenance crews aren't able 30 00:01:44,160 --> 00:01:48,080 Speaker 1: to climb, eliminating potential fire and flooding hazards, and keeping 31 00:01:48,120 --> 00:01:51,480 Speaker 1: the landfill safe for everyone. I'm including a photo showing 32 00:01:51,560 --> 00:01:55,000 Speaker 1: some of our goat landscapers at work. They're great Pyrenees. 33 00:01:55,080 --> 00:01:59,200 Speaker 1: Watchdog and a huge pile of tumbleweeds clogging a drainage channel. 34 00:01:59,400 --> 00:02:02,640 Speaker 1: For scale, the dog is about three ft tall, So Rob, 35 00:02:02,640 --> 00:02:05,400 Speaker 1: I suppose we should explain the picture we're looking at. 36 00:02:05,640 --> 00:02:08,480 Speaker 1: There is a dog looks kind of sad, but he's 37 00:02:08,520 --> 00:02:11,200 Speaker 1: sitting there looking into the camera. And then behind the 38 00:02:11,240 --> 00:02:13,760 Speaker 1: dog on the hill, Uh, there there are many goats 39 00:02:13,760 --> 00:02:16,960 Speaker 1: scattered about, and uh, I don't know, calling back to 40 00:02:17,160 --> 00:02:19,160 Speaker 1: part two of our episode, I don't know if the 41 00:02:19,160 --> 00:02:23,840 Speaker 1: goats look much like tumbleweeds. Oh really, I was thinking this. Yes, 42 00:02:23,880 --> 00:02:28,160 Speaker 1: finally I have some clarification. Uh, these tumbleweeds look vaguely 43 00:02:28,200 --> 00:02:30,960 Speaker 1: goat shaped. Yes, I don't know. I see a certain 44 00:02:31,120 --> 00:02:34,040 Speaker 1: synchronicity between the form of the goat and the form 45 00:02:34,040 --> 00:02:36,800 Speaker 1: of the tumbleweed. Um. My only regret is that we 46 00:02:36,840 --> 00:02:38,720 Speaker 1: do not have a camel in the shot as well. 47 00:02:39,080 --> 00:02:40,960 Speaker 1: Oh yeah, that would be good to have camels in 48 00:02:41,000 --> 00:02:43,840 Speaker 1: the distance. So but wait, they look like a goat 49 00:02:43,840 --> 00:02:47,880 Speaker 1: when they are under the wagon, right right? Okay. Unfortunately 50 00:02:47,960 --> 00:02:50,160 Speaker 1: we did not in time for this episode get any 51 00:02:50,200 --> 00:02:53,280 Speaker 1: Mongolian listeners writing in to explain the goat and wagon thing. 52 00:02:53,440 --> 00:02:56,200 Speaker 1: I still really hope we do. But but I think 53 00:02:56,280 --> 00:02:59,359 Speaker 1: these are essentially under the wagon because the the tumbleweed 54 00:02:59,440 --> 00:03:02,079 Speaker 1: under the wagon, it's the tumbleweed that is no longer mobile. 55 00:03:02,639 --> 00:03:04,720 Speaker 1: It is no longer out there. It is here and 56 00:03:04,800 --> 00:03:08,399 Speaker 1: it is stuck and it is immobile. Uh. And that's 57 00:03:08,400 --> 00:03:10,960 Speaker 1: the same case with these tumbleweeds in this photo. They 58 00:03:10,960 --> 00:03:13,639 Speaker 1: are stuck in the drainage ditch. They're not going anywhere, 59 00:03:14,000 --> 00:03:17,360 Speaker 1: and therefore the goats are are perfectly uh you know, 60 00:03:17,400 --> 00:03:20,400 Speaker 1: in scale with them. The dog, however, is much larger 61 00:03:20,440 --> 00:03:22,840 Speaker 1: than the tumbleweeds. Yes, though, as we talked about that, 62 00:03:22,919 --> 00:03:25,040 Speaker 1: you know, when when all the tumbleweeds clump up, they 63 00:03:25,080 --> 00:03:28,320 Speaker 1: form a mighty large pile, and it starts calling to 64 00:03:28,360 --> 00:03:32,400 Speaker 1: mind that um that quote from the Botanical Manual talking 65 00:03:32,400 --> 00:03:35,080 Speaker 1: about them in the middle of the nineteenth century, before 66 00:03:35,120 --> 00:03:37,680 Speaker 1: they even came to the North America, talking about them 67 00:03:37,680 --> 00:03:40,840 Speaker 1: on the Russian step and describing a massive tumbleweeds linked 68 00:03:40,880 --> 00:03:43,520 Speaker 1: together as I think it was like a giant in 69 00:03:43,600 --> 00:03:47,760 Speaker 1: his seven League boots. Anyway, Nan finishes up by saying, 70 00:03:47,760 --> 00:03:50,320 Speaker 1: looking forward to hearing part two of this episode take 71 00:03:50,360 --> 00:03:53,360 Speaker 1: care of friends. Nan, all right, well, thanks for sending that, 72 00:03:53,400 --> 00:03:57,200 Speaker 1: and when we look forward to even more tumbleweed uh inside, 73 00:03:57,320 --> 00:04:00,840 Speaker 1: coming in from the the Great American desert and beyond. 74 00:04:01,280 --> 00:04:02,560 Speaker 1: This is what I bet we're going to get a 75 00:04:02,600 --> 00:04:05,560 Speaker 1: lot of mail about. I hope so, I think. So. 76 00:04:11,120 --> 00:04:13,160 Speaker 1: All right, here's another one. This one comes to us 77 00:04:13,160 --> 00:04:18,680 Speaker 1: from Michael in Germany. Um, hey, Joe and Robert, longtime listener. 78 00:04:18,720 --> 00:04:21,920 Speaker 1: But my first submission I just listened to the Listener 79 00:04:21,960 --> 00:04:24,520 Speaker 1: Mail episode where you talk about how an ancient Greek 80 00:04:24,880 --> 00:04:27,800 Speaker 1: the future is perceived as behind in the past in 81 00:04:27,880 --> 00:04:31,960 Speaker 1: front of you. This had me thinking of Plato's Cave allegory. 82 00:04:32,240 --> 00:04:36,279 Speaker 1: He obviously conceived that story thinking in ancient Greek. Maybe 83 00:04:36,279 --> 00:04:38,760 Speaker 1: there is a time component to it that is lost 84 00:04:38,800 --> 00:04:41,080 Speaker 1: on us who think of the future as something that 85 00:04:41,200 --> 00:04:44,359 Speaker 1: lies in front. The people in the cave are watching 86 00:04:44,400 --> 00:04:48,080 Speaker 1: shadows in front of them, projected by something behind them. 87 00:04:48,160 --> 00:04:51,320 Speaker 1: As they keep progressing toward the exit of the cave, 88 00:04:51,560 --> 00:04:55,040 Speaker 1: they are going forward in time, discovering more truths about 89 00:04:55,040 --> 00:04:58,800 Speaker 1: how the world really works. Somehow, the progress of the 90 00:04:58,839 --> 00:05:01,359 Speaker 1: people in the cave makes a lot more sense to 91 00:05:01,400 --> 00:05:04,520 Speaker 1: me when thinking about it with an added dimension of time. 92 00:05:04,960 --> 00:05:08,640 Speaker 1: Greetings from Germany, Michael. You know, I hadn't considered this, 93 00:05:08,760 --> 00:05:13,479 Speaker 1: but this is very thought provoking. Yeah, yeah, um, you know, 94 00:05:13,920 --> 00:05:16,520 Speaker 1: I guess we've touched on the cave before on the show. 95 00:05:17,480 --> 00:05:18,520 Speaker 1: I don't know if it's the kind of thing we 96 00:05:18,520 --> 00:05:21,479 Speaker 1: could ever do a full treatment of, but I know 97 00:05:21,560 --> 00:05:23,160 Speaker 1: it's come up a time or two. That's one of 98 00:05:23,200 --> 00:05:25,359 Speaker 1: those things. I don't know, how is that like something 99 00:05:25,400 --> 00:05:27,800 Speaker 1: basically everybody learns about in high school, or is it 100 00:05:27,839 --> 00:05:29,880 Speaker 1: not as common as that. I don't think I learned 101 00:05:29,880 --> 00:05:32,839 Speaker 1: about it in high school, or or if I was 102 00:05:32,880 --> 00:05:34,800 Speaker 1: supposed to, I did not. It was one of those 103 00:05:34,800 --> 00:05:37,159 Speaker 1: things where later on I would read other things and 104 00:05:37,200 --> 00:05:39,000 Speaker 1: they would of course refer back to it. I feel 105 00:05:39,000 --> 00:05:41,520 Speaker 1: like it's one of those things that's it's almost impossible 106 00:05:41,560 --> 00:05:45,120 Speaker 1: to avoid for too long in life, because somebody's gonna 107 00:05:45,200 --> 00:05:47,600 Speaker 1: reference it, and you're gonna say, well, what's that. I 108 00:05:47,680 --> 00:05:49,760 Speaker 1: better look it up and find out. Well, it's worth 109 00:05:49,800 --> 00:05:51,680 Speaker 1: looking up yourself if you actually don't know what we're 110 00:05:51,680 --> 00:05:54,960 Speaker 1: talking about. But yeah, it's a famous allegory, uh in 111 00:05:55,080 --> 00:05:59,400 Speaker 1: the writings of Plato about the difference between uh, the 112 00:05:59,520 --> 00:06:02,279 Speaker 1: you know, I deal reality as things truly are, and 113 00:06:02,360 --> 00:06:05,960 Speaker 1: our perceptions of things, which he compares to, you know, 114 00:06:06,040 --> 00:06:08,640 Speaker 1: the shadows of things cast on the wall of a 115 00:06:08,680 --> 00:06:11,000 Speaker 1: cave from the mouth of a cave, and we're only 116 00:06:11,000 --> 00:06:13,560 Speaker 1: looking at the shadows, but we believe we're looking at 117 00:06:13,560 --> 00:06:16,719 Speaker 1: the true forms, unaware that the true forms lie behind 118 00:06:16,839 --> 00:06:19,719 Speaker 1: us in the mouth of the cave. There's a wonderful 119 00:06:19,800 --> 00:06:22,600 Speaker 1: ted Ad video on this topic. If you're so, If 120 00:06:22,600 --> 00:06:24,720 Speaker 1: you're if you wanted just a rual crash course. In 121 00:06:24,720 --> 00:06:28,200 Speaker 1: this look for the ted Ad video Plato's allegory of 122 00:06:28,279 --> 00:06:31,080 Speaker 1: the cave. Yeah, it's it'll it'll get you where you 123 00:06:31,120 --> 00:06:38,919 Speaker 1: need to go. Okay, I'm gonna slide on over to 124 00:06:38,960 --> 00:06:42,279 Speaker 1: the next message, which is also about our time travel episodes. 125 00:06:42,720 --> 00:06:45,839 Speaker 1: This one was from Kevin. Kevin says, I just listened 126 00:06:45,839 --> 00:06:49,679 Speaker 1: to your episodes on Time Traveler zero. In the second episode, 127 00:06:49,720 --> 00:06:52,440 Speaker 1: when you introduce the topic of time travel in sleep 128 00:06:52,480 --> 00:06:55,840 Speaker 1: and Dreams, my mind immediately went to the concept of 129 00:06:56,279 --> 00:07:00,279 Speaker 1: rack to the future. In nautical parlance, a rack is 130 00:07:00,279 --> 00:07:03,680 Speaker 1: a sailor's bed. The pun intended phrase is used to 131 00:07:03,880 --> 00:07:06,680 Speaker 1: describe individuals in the navy who spend all of their 132 00:07:06,720 --> 00:07:10,520 Speaker 1: precious little free time asleep, thereby engaging in a form 133 00:07:10,560 --> 00:07:14,240 Speaker 1: of personal time travel by hastening their perceived passage of 134 00:07:14,280 --> 00:07:17,440 Speaker 1: time towards the day when deployment and its endless cycle 135 00:07:17,480 --> 00:07:21,000 Speaker 1: of standing duty is over. Some people read or watch 136 00:07:21,080 --> 00:07:24,760 Speaker 1: movies or work out, and others simply rack to the future. 137 00:07:25,720 --> 00:07:28,520 Speaker 1: I've never heard that expression. That's great though, Yeah, I 138 00:07:28,560 --> 00:07:31,760 Speaker 1: mean neither. My mind went to like the rack, the 139 00:07:31,840 --> 00:07:34,240 Speaker 1: torture rack at first, so I thought it had had 140 00:07:34,280 --> 00:07:35,960 Speaker 1: something to do with that, But of course that would 141 00:07:36,360 --> 00:07:38,800 Speaker 1: that would really have the opposite effect. If you're putting 142 00:07:38,840 --> 00:07:42,440 Speaker 1: yourself into a novel predicaments of pain, that's just going 143 00:07:42,480 --> 00:07:46,920 Speaker 1: to make time feel like it's stretching out even further 144 00:07:46,960 --> 00:07:48,600 Speaker 1: and further, and you're obviously not going to sleep in 145 00:07:48,600 --> 00:07:51,360 Speaker 1: that condition. This also reminds me of something that's come 146 00:07:51,440 --> 00:07:55,600 Speaker 1: up on the show before, but the research about the 147 00:07:55,600 --> 00:07:59,440 Speaker 1: the difference in the perceived length of time in retrospect 148 00:07:59,600 --> 00:08:02,440 Speaker 1: versus in the moment, and how that's very often an 149 00:08:02,480 --> 00:08:06,480 Speaker 1: inverse relationship, Like things that feel like they're taking a 150 00:08:06,520 --> 00:08:09,440 Speaker 1: long time in the moment shrink to a point in memory, 151 00:08:09,480 --> 00:08:12,560 Speaker 1: whereas events that fly by really quickly in the moment 152 00:08:12,720 --> 00:08:16,000 Speaker 1: and to expand in memory. Yeah, Like it's hard to 153 00:08:16,720 --> 00:08:19,080 Speaker 1: it's often hard to think back on times we were 154 00:08:19,120 --> 00:08:24,200 Speaker 1: really profoundly bored because how ultimately how memorable is that? Right? Right? Yeah, 155 00:08:24,240 --> 00:08:27,800 Speaker 1: But especially novel experiences. You know, when you're you're experiencing 156 00:08:27,840 --> 00:08:30,440 Speaker 1: something new and surprising, it goes by in the blink 157 00:08:30,440 --> 00:08:32,920 Speaker 1: of an eye, but then you have usually a much 158 00:08:32,920 --> 00:08:36,000 Speaker 1: more solid memory of it later on down the road. Right, 159 00:08:41,440 --> 00:08:44,160 Speaker 1: all right, This next one comes to us from Ziggy, 160 00:08:44,240 --> 00:08:46,800 Speaker 1: and it's in reference to one of our vault episodes 161 00:08:47,320 --> 00:08:51,720 Speaker 1: on sink holes. Um So Ziggy writes, I'm currently listening 162 00:08:51,720 --> 00:08:54,560 Speaker 1: to your vault episode on Sinkhole's Part one. I am behind. Yes, 163 00:08:54,800 --> 00:08:57,400 Speaker 1: I often have thoughts about episodes, but since I am 164 00:08:57,480 --> 00:08:59,800 Speaker 1: usually a few weeks behind, I haven't felt that sending 165 00:08:59,800 --> 00:09:02,840 Speaker 1: any of them would be useful. However, I grew up 166 00:09:02,840 --> 00:09:05,240 Speaker 1: in a town where sinkholes were a part of everyday life. 167 00:09:05,559 --> 00:09:07,439 Speaker 1: I grew up in a small mining town in the 168 00:09:07,520 --> 00:09:11,800 Speaker 1: upper Peninsula of Michigan. We had large swaths of our 169 00:09:11,880 --> 00:09:15,000 Speaker 1: town just fenced off. You were not allowed to go there. 170 00:09:15,320 --> 00:09:17,800 Speaker 1: There had once been neighborhoods in this area, but the 171 00:09:17,840 --> 00:09:21,480 Speaker 1: houses and shops have been demolished and everyone evacuated because 172 00:09:21,520 --> 00:09:24,840 Speaker 1: it turned out the mine tunnels under these neighborhoods were 173 00:09:24,840 --> 00:09:29,120 Speaker 1: caving in. We called this area the caving Grounds. It 174 00:09:29,200 --> 00:09:31,520 Speaker 1: was such a part of life that every year from 175 00:09:31,600 --> 00:09:35,080 Speaker 1: kindergarten through eighth grade, we had to have a safety 176 00:09:35,080 --> 00:09:38,760 Speaker 1: presentation at school about why we shouldn't go in them. 177 00:09:38,880 --> 00:09:42,440 Speaker 1: People died, houses got swallowed up, all sorts of horror stories, 178 00:09:42,480 --> 00:09:47,280 Speaker 1: including pictures. It was traumatizing for little me. Imagine my 179 00:09:47,360 --> 00:09:50,600 Speaker 1: surprise that when they opened up a large portion of 180 00:09:50,640 --> 00:09:54,560 Speaker 1: caving grounds and rebranded it as hiking and biking trails 181 00:09:54,880 --> 00:09:57,680 Speaker 1: in high school, we were suddenly not just allowed, but 182 00:09:57,840 --> 00:10:00,960 Speaker 1: expected to run on land that we had been scared 183 00:10:01,000 --> 00:10:04,520 Speaker 1: away from our entire lives. Nobody on my cross country 184 00:10:04,520 --> 00:10:07,360 Speaker 1: team ever fell in a sinkhole, but our shoes did 185 00:10:07,400 --> 00:10:10,959 Speaker 1: get very orange. Iron mines will do that. Much of 186 00:10:11,000 --> 00:10:13,280 Speaker 1: the caving grounds are still closed off. I'm not sure 187 00:10:13,400 --> 00:10:16,120 Speaker 1: how they decided which portions were safe and which were not, 188 00:10:16,520 --> 00:10:19,520 Speaker 1: but people who go in the closed off parts still 189 00:10:19,880 --> 00:10:24,120 Speaker 1: do die. Don't swim in sinkhole's kids anyway. Thanks for 190 00:10:24,160 --> 00:10:26,199 Speaker 1: reading this, and I hope it was at least a 191 00:10:26,240 --> 00:10:29,360 Speaker 1: little interesting. Growing up in the Upper Peninsula was an 192 00:10:29,360 --> 00:10:33,200 Speaker 1: amazing childhood with very unique experiences. I didn't have that 193 00:10:33,280 --> 00:10:35,640 Speaker 1: much exposure to other ideas and cultures, though in your 194 00:10:35,640 --> 00:10:38,319 Speaker 1: podcast has helped me to learn so much. Thank you 195 00:10:38,400 --> 00:10:41,840 Speaker 1: for doing what you do. Ziki. Oh, thanks Ziggy, this 196 00:10:41,880 --> 00:10:45,319 Speaker 1: is really interesting. I was trying to snoop around and 197 00:10:45,480 --> 00:10:47,880 Speaker 1: uh figure out where you were talking about. I did 198 00:10:47,920 --> 00:10:50,880 Speaker 1: find a blog post on like sort of a travel 199 00:10:51,000 --> 00:10:54,440 Speaker 1: blog about a a place in the Upper Peninsula of 200 00:10:54,480 --> 00:10:57,800 Speaker 1: Michigan called it looks like it was called Nagani maybe 201 00:10:58,360 --> 00:11:01,280 Speaker 1: in e g. A u in e E that has 202 00:11:01,559 --> 00:11:03,439 Speaker 1: caving grounds on it. I don't know if this is 203 00:11:03,679 --> 00:11:05,640 Speaker 1: the same place you're talking about, but there are a 204 00:11:05,679 --> 00:11:07,600 Speaker 1: lot of pictures on this blog post. You can look 205 00:11:07,600 --> 00:11:10,320 Speaker 1: it up and uh and uh. It is very creepy 206 00:11:10,360 --> 00:11:14,560 Speaker 1: because there are remnants of a now abandoned settlement. So 207 00:11:14,600 --> 00:11:18,160 Speaker 1: there's like an you know, eerie abandoned playground and empty 208 00:11:18,240 --> 00:11:21,160 Speaker 1: houses and and things like that. Oh and uh and 209 00:11:21,400 --> 00:11:23,320 Speaker 1: just open pits where I guess there had been some 210 00:11:23,400 --> 00:11:26,280 Speaker 1: kind of pit mining going on. Yeah, thanks for this email. 211 00:11:26,280 --> 00:11:28,720 Speaker 1: I mean it reminds me a little bit of of 212 00:11:28,880 --> 00:11:31,440 Speaker 1: some of the the the the areas that I grew 213 00:11:31,520 --> 00:11:34,160 Speaker 1: up around at one point that were that had been 214 00:11:34,160 --> 00:11:39,080 Speaker 1: evacuated by the Tennessee Valley Authority when they were creating 215 00:11:39,120 --> 00:11:42,920 Speaker 1: some of their uh in this case, a a large 216 00:11:42,920 --> 00:11:45,720 Speaker 1: man made lake. And so you would find the old 217 00:11:45,760 --> 00:11:49,080 Speaker 1: homesteads where people had once lived, and you know, sometimes 218 00:11:49,080 --> 00:11:52,040 Speaker 1: he would be sunken graves and other times. One of 219 00:11:52,240 --> 00:11:54,400 Speaker 1: the things that always sticks with me is that the 220 00:11:54,440 --> 00:11:56,360 Speaker 1: house would be gone, there would be virtually you know, 221 00:11:56,360 --> 00:11:58,439 Speaker 1: a little or no sign of their people ever having 222 00:11:58,520 --> 00:12:03,560 Speaker 1: lived here. But the um but the the the like 223 00:12:03,559 --> 00:12:06,880 Speaker 1: the tulips or the butter cups I forget which that 224 00:12:07,040 --> 00:12:10,520 Speaker 1: had once lined the walkway to the front porch. They 225 00:12:10,559 --> 00:12:12,520 Speaker 1: would still come up, so you'd have this kind of 226 00:12:12,760 --> 00:12:15,599 Speaker 1: like ghost of a front yard still going on in 227 00:12:15,679 --> 00:12:18,600 Speaker 1: the middle of the woods. We wow, it's calling to 228 00:12:18,600 --> 00:12:21,480 Speaker 1: mind like a rock paper scissors type game, but it's 229 00:12:21,520 --> 00:12:25,480 Speaker 1: over time and the flower defeats brick. Yeah. Yeah, I 230 00:12:25,480 --> 00:12:27,960 Speaker 1: think they were buttercups. I think I seem to remember 231 00:12:28,000 --> 00:12:40,080 Speaker 1: them being yellow. Okay, well, Rob, if you're cool with it, 232 00:12:40,080 --> 00:12:42,160 Speaker 1: I think we should move on to mentioning a couple 233 00:12:42,360 --> 00:12:44,960 Speaker 1: of episodes in response to Weird House Cinema. So I'm 234 00:12:45,000 --> 00:12:49,040 Speaker 1: gonna do this first one from Stephen. Stephen says, Hey, guys, 235 00:12:49,120 --> 00:12:52,240 Speaker 1: thanks very consistently great podcast. I wanted to write a 236 00:12:52,280 --> 00:12:55,280 Speaker 1: few lines regarding your latest Weird House Cinema episode covering 237 00:12:55,280 --> 00:12:58,640 Speaker 1: the Hungarian animation movie. That movie was Son of the 238 00:12:58,640 --> 00:13:02,560 Speaker 1: White Mayor. Uh. Stephan says, now, I've not seen it yet, 239 00:13:02,559 --> 00:13:05,160 Speaker 1: but when you started talking about the director's career and 240 00:13:05,240 --> 00:13:09,199 Speaker 1: mentioned cartoons about a man named Gustav some thirty year 241 00:13:09,240 --> 00:13:12,280 Speaker 1: old childhood memories started to come back to me. The 242 00:13:12,360 --> 00:13:16,880 Speaker 1: thing is, these little cartoons called Gustavus were widely sold 243 00:13:16,920 --> 00:13:21,440 Speaker 1: to European TV networks and used as fillers between scheduled programming, 244 00:13:21,920 --> 00:13:24,600 Speaker 1: as they don't have a dialogue in any language, just 245 00:13:24,760 --> 00:13:27,720 Speaker 1: grunts and gibberish, which made them easy to market in 246 00:13:27,800 --> 00:13:32,600 Speaker 1: various countries. Uh. And now I vividly remember watching and 247 00:13:32,640 --> 00:13:34,920 Speaker 1: liking them as a kid. And I must object a 248 00:13:34,960 --> 00:13:37,920 Speaker 1: bit to you recommending the listeners to skip the Gustavus 249 00:13:37,960 --> 00:13:41,960 Speaker 1: cartoons when checking out the director's filmography a little smiley 250 00:13:42,000 --> 00:13:44,960 Speaker 1: face emoji. Did we tell people to skip them? Maybe 251 00:13:45,000 --> 00:13:47,520 Speaker 1: we did? Um, I guess we said something about like 252 00:13:47,559 --> 00:13:50,960 Speaker 1: the the ideal starting place would seem to be Son 253 00:13:51,000 --> 00:13:53,079 Speaker 1: of the White Mayor, even though some of the other 254 00:13:53,160 --> 00:13:56,560 Speaker 1: films were well received. That you know this, this, I 255 00:13:56,559 --> 00:13:58,600 Speaker 1: mean his his all. Mother said, you will never make 256 00:13:58,640 --> 00:14:02,040 Speaker 1: something as good as the I agree. Yeah, So gustav 257 00:14:02,120 --> 00:14:04,400 Speaker 1: did not seem to me to be the the artistic 258 00:14:04,480 --> 00:14:09,520 Speaker 1: pinnacle of of this animator's career. That the animator was 259 00:14:09,679 --> 00:14:12,360 Speaker 1: Marcel Yankovic, the director of Son of the White Mirror. 260 00:14:12,360 --> 00:14:16,000 Speaker 1: But anyway, Stefan goes on. What I remember most was how, 261 00:14:16,080 --> 00:14:19,119 Speaker 1: for the lack of a better word, exotic these cartoons 262 00:14:19,160 --> 00:14:21,680 Speaker 1: were for me, as a kid growing up in affluent 263 00:14:21,760 --> 00:14:26,280 Speaker 1: Scandinavia to see these crudely drawn gray cartoons from Eastern Europe, 264 00:14:26,320 --> 00:14:30,240 Speaker 1: filled with socialist realism and set to groovy lounge music. 265 00:14:31,040 --> 00:14:33,560 Speaker 1: I did recall thinking that the music choice and the 266 00:14:33,560 --> 00:14:37,800 Speaker 1: Gustav cartoon I watched was pretty funny. Anyway, Stefan says, 267 00:14:37,840 --> 00:14:41,040 Speaker 1: thanks anyway, thanks again for providing me with this memory 268 00:14:41,080 --> 00:14:45,200 Speaker 1: all the best. Stefan, Oh, that's awesome. Is as guy, 269 00:14:45,280 --> 00:14:47,600 Speaker 1: I did not expect to hear back from anyone about 270 00:14:47,600 --> 00:14:50,960 Speaker 1: the Gustav shorts, but it's interesting to have a little 271 00:14:51,000 --> 00:14:53,320 Speaker 1: more context on them. And uh yeah, I mean it 272 00:14:53,320 --> 00:14:56,160 Speaker 1: makes sense that they would be meable. I mean, grumbling 273 00:14:56,160 --> 00:14:58,640 Speaker 1: and taking away a naughty child slingshot is the same 274 00:14:58,680 --> 00:15:02,800 Speaker 1: in every language. It reminds me how I think we 275 00:15:02,800 --> 00:15:06,840 Speaker 1: were talking about silent films on the Invention podcast at 276 00:15:06,840 --> 00:15:08,960 Speaker 1: one point and was like one of the early many 277 00:15:09,000 --> 00:15:11,320 Speaker 1: sort of early shorts we were looking at was just 278 00:15:11,520 --> 00:15:14,400 Speaker 1: a comic short about a child playing a water host 279 00:15:14,440 --> 00:15:17,160 Speaker 1: prank on an adult. Do you remember this? Oh? That 280 00:15:17,240 --> 00:15:20,920 Speaker 1: was one of like the earliest movies that the sprinkler sprinkled. Yeah, 281 00:15:20,960 --> 00:15:22,400 Speaker 1: it was one of the what was it was it 282 00:15:22,560 --> 00:15:26,120 Speaker 1: Loomis Are Brothers or something? I think that sounds right. Yeah, 283 00:15:26,360 --> 00:15:29,720 Speaker 1: I was like one of the earliest silent films ever made. Yeah. Yeah, 284 00:15:29,840 --> 00:15:32,600 Speaker 1: So you know that that style of humor has has 285 00:15:32,720 --> 00:15:36,800 Speaker 1: has long been established in in cinema and in animation 286 00:15:36,840 --> 00:15:40,480 Speaker 1: as well. Speaking of animation, I wanted to briefly bring 287 00:15:40,560 --> 00:15:43,960 Speaker 1: something up that I I had flagged to to to 288 00:15:44,000 --> 00:15:45,840 Speaker 1: bring up in the center of the Wye Mayor episode 289 00:15:45,880 --> 00:15:47,320 Speaker 1: and then I didn't, but I thought I'd bring it 290 00:15:47,400 --> 00:15:51,240 Speaker 1: up here. I was thinking about animation, works of animation 291 00:15:51,320 --> 00:15:53,320 Speaker 1: that kind of stuck with me and made me rethink 292 00:15:53,400 --> 00:15:58,680 Speaker 1: what animation could do. And I distinctly remember either either 293 00:15:58,720 --> 00:16:00,960 Speaker 1: I was watching television as a as a kid at 294 00:16:00,960 --> 00:16:02,880 Speaker 1: one point or somebody called me into the room to 295 00:16:02,960 --> 00:16:08,160 Speaker 1: check something out, and it was this um animated adaptation 296 00:16:08,640 --> 00:16:11,880 Speaker 1: or or at least an adaptation of part of Wagner's 297 00:16:12,600 --> 00:16:16,840 Speaker 1: Rhyme Gold Opera, and uh, and it was it was 298 00:16:16,920 --> 00:16:21,000 Speaker 1: really interesting. I've I've I've looked it up subsequently and 299 00:16:21,040 --> 00:16:22,680 Speaker 1: it has you know, so I think some some pretty 300 00:16:22,680 --> 00:16:25,960 Speaker 1: cool looking animation with some you know, dwarves and sort 301 00:16:26,000 --> 00:16:29,280 Speaker 1: of goblin looking creatures, and then just full opera like 302 00:16:29,360 --> 00:16:32,920 Speaker 1: it's it's full opera. It's people singing, uh the opera here, 303 00:16:32,960 --> 00:16:37,120 Speaker 1: there's no dialogue otherwise, And I remember being completely, um, 304 00:16:37,160 --> 00:16:40,080 Speaker 1: you know, taken off guard by this. I looked it 305 00:16:40,160 --> 00:16:43,040 Speaker 1: up and this would I think have been And it 306 00:16:43,080 --> 00:16:46,160 Speaker 1: was an episode of a television program called Opera Fox. 307 00:16:46,880 --> 00:16:48,920 Speaker 1: So I wanted to throw that out there. I wonder 308 00:16:48,920 --> 00:16:52,040 Speaker 1: if anyone else has a distinct memory of having seen this, 309 00:16:52,400 --> 00:16:54,240 Speaker 1: and it also I was trying to think, was there 310 00:16:54,320 --> 00:16:57,960 Speaker 1: some other weird adaptation of Wagner that I saw as 311 00:16:57,960 --> 00:17:01,400 Speaker 1: a child, like something with there was either animated or 312 00:17:01,600 --> 00:17:03,960 Speaker 1: fantastic and had ships in it. I don't know. I 313 00:17:04,000 --> 00:17:06,520 Speaker 1: seem like I have another memory where I was just 314 00:17:06,600 --> 00:17:09,320 Speaker 1: astounded to see something that was opera that was also 315 00:17:10,080 --> 00:17:12,920 Speaker 1: some other medium. Are you thinking about the opening of 316 00:17:13,000 --> 00:17:16,119 Speaker 1: Highlander to the quickening? No, that is right, there's a 317 00:17:16,119 --> 00:17:21,080 Speaker 1: little opera there, right, that's where Ramirez rematerializes. No, no, 318 00:17:21,080 --> 00:17:22,960 Speaker 1: no, no no, no, you're you know I'm talking about when 319 00:17:23,080 --> 00:17:30,480 Speaker 1: um right, he's right, yes, falling asleep, old man McLeod, 320 00:17:30,600 --> 00:17:33,720 Speaker 1: falling asleep during an opera. But yes, then Ramires comes 321 00:17:33,760 --> 00:17:38,840 Speaker 1: back in like a Scottish Shakespeare performance or something. It's 322 00:17:38,960 --> 00:17:40,600 Speaker 1: you know, it's it's a great work of theater, and 323 00:17:40,600 --> 00:17:44,600 Speaker 1: therefore it and incorporates other mediums as well. Michael Ironside 324 00:17:44,600 --> 00:17:47,439 Speaker 1: busts up a puppet show at one point. You know, Oh, 325 00:17:47,480 --> 00:17:50,120 Speaker 1: I just remembered that. Wait does he I just made 326 00:17:50,119 --> 00:17:52,480 Speaker 1: that thought? I made that up. But maybe he busting 327 00:17:52,560 --> 00:17:54,200 Speaker 1: up all kinds of things. Does he bust up a 328 00:17:54,200 --> 00:17:58,239 Speaker 1: puppet shop? Oh? Wow? Well, now I'm embarrassed. I think 329 00:17:58,280 --> 00:18:00,800 Speaker 1: as you've implanted a false memory in my head. I mean, 330 00:18:00,800 --> 00:18:04,359 Speaker 1: he busts up several instances of other people relaxing or 331 00:18:04,400 --> 00:18:06,920 Speaker 1: having a good time. It would be too, It would 332 00:18:06,920 --> 00:18:09,960 Speaker 1: be totally in character. Like there should be a scene 333 00:18:10,000 --> 00:18:12,280 Speaker 1: where Michael Arenside just walks up to a child and 334 00:18:12,320 --> 00:18:21,440 Speaker 1: takes away their Dolly and stomps on it. All right, 335 00:18:21,560 --> 00:18:24,400 Speaker 1: here's another one. This one comes to us from Miguel. Hey, 336 00:18:24,480 --> 00:18:26,359 Speaker 1: Robert and Joe. I have been meaning to write you 337 00:18:26,400 --> 00:18:28,439 Speaker 1: guys for some time now. Ever since I heard that 338 00:18:28,520 --> 00:18:30,760 Speaker 1: Joe has finally come around to playing D and D, 339 00:18:32,040 --> 00:18:34,040 Speaker 1: I have been eager to tell you both about the 340 00:18:34,080 --> 00:18:38,280 Speaker 1: Cobald Press. Bestierres although hesitant to write because I can't 341 00:18:38,320 --> 00:18:41,280 Speaker 1: imagine that you both haven't already come across these books. 342 00:18:41,600 --> 00:18:44,399 Speaker 1: Finally I decided it was worth writing in on the 343 00:18:44,440 --> 00:18:47,800 Speaker 1: off chance that you haven't already, Rob, You're gonna have 344 00:18:47,840 --> 00:18:49,639 Speaker 1: to explain because I actually have no idea what this 345 00:18:49,720 --> 00:18:52,119 Speaker 1: is about. Well, you know, I was not familiar with 346 00:18:52,119 --> 00:18:54,160 Speaker 1: this either. I've I have to to say, I've had 347 00:18:54,200 --> 00:18:58,719 Speaker 1: my hands full with Dungeons and Dragons monster manuals, just 348 00:18:58,800 --> 00:19:01,800 Speaker 1: with the the official applications that have come out. In fact, 349 00:19:02,440 --> 00:19:05,159 Speaker 1: um M, my my son was really interested in the 350 00:19:05,240 --> 00:19:07,159 Speaker 1: Dragon New Dragons book that came up, so we just 351 00:19:07,200 --> 00:19:09,600 Speaker 1: got that in in the mail and we're we're reading 352 00:19:09,640 --> 00:19:13,560 Speaker 1: about various dragons and Jim Dragons and so forth. So this, 353 00:19:13,680 --> 00:19:16,560 Speaker 1: if I am understanding this correctly, is like a third 354 00:19:16,560 --> 00:19:20,040 Speaker 1: party supplement with just additional monsters and takes on monsters, 355 00:19:20,400 --> 00:19:23,800 Speaker 1: and uh yeah, it looks really cool anyway, Miguel Can continues. 356 00:19:24,320 --> 00:19:28,080 Speaker 1: There are three fifth Edition Bestiary books the company has 357 00:19:28,080 --> 00:19:30,640 Speaker 1: published so far, and a fourth that was just announced 358 00:19:30,720 --> 00:19:34,439 Speaker 1: this week. They have started out many creatures that you 359 00:19:34,480 --> 00:19:37,440 Speaker 1: guys have covered on the show. For example, the Leshy, 360 00:19:37,600 --> 00:19:42,000 Speaker 1: the Hundun, and even the Nemeo. I'm always very excited 361 00:19:42,000 --> 00:19:44,240 Speaker 1: when you, too, touch on a creature that I have 362 00:19:44,320 --> 00:19:47,080 Speaker 1: heard about from these books. It's nice to get a 363 00:19:47,119 --> 00:19:50,280 Speaker 1: deeper look into the creatures beyond the few paragraphs the 364 00:19:50,320 --> 00:19:52,879 Speaker 1: books are limited to, and as always, I find endless 365 00:19:52,920 --> 00:19:56,760 Speaker 1: inspiration from the research you too have put together. Um. 366 00:19:56,800 --> 00:19:59,200 Speaker 1: I don't get the impression that either of you run 367 00:19:59,240 --> 00:20:01,199 Speaker 1: a D N D AIM, but I suspect that you 368 00:20:01,240 --> 00:20:04,639 Speaker 1: both would enjoy thumbing through Tone of Beasts one and 369 00:20:04,680 --> 00:20:07,720 Speaker 1: two and the Creature Codex. Perhaps if you're feeling up 370 00:20:07,760 --> 00:20:09,480 Speaker 1: for it, you can suggest the books to your d 371 00:20:09,800 --> 00:20:12,280 Speaker 1: M s and maybe, just maybe we'll end up facing 372 00:20:12,280 --> 00:20:15,119 Speaker 1: off against the subject of a future episode. Anyways, I 373 00:20:15,119 --> 00:20:17,440 Speaker 1: love the show and wanted to thank you for all 374 00:20:17,520 --> 00:20:19,679 Speaker 1: of the fabulous ways you have blown my mind and 375 00:20:19,720 --> 00:20:22,960 Speaker 1: influenced my homebrewed D and D world and campaigns. I'm 376 00:20:22,960 --> 00:20:24,960 Speaker 1: still setting on a quote you guys dropped in an 377 00:20:24,960 --> 00:20:27,879 Speaker 1: episode I can't remember which episode. For my B B 378 00:20:28,080 --> 00:20:31,680 Speaker 1: E G. Quote you have thus far, only thou has 379 00:20:31,760 --> 00:20:34,920 Speaker 1: the heart to go then turn we back and play 380 00:20:34,960 --> 00:20:38,879 Speaker 1: amidst the dust. Thanks Miguel. So when I read this 381 00:20:38,960 --> 00:20:41,840 Speaker 1: quote back, I was like, Oh, that seems vaguely familiar, 382 00:20:41,880 --> 00:20:44,920 Speaker 1: but I couldn't remember what it was from either, so 383 00:20:45,240 --> 00:20:47,520 Speaker 1: so I looked it up and I realized that this 384 00:20:47,560 --> 00:20:49,800 Speaker 1: is a quote I read in in a previous episode 385 00:20:49,960 --> 00:20:54,639 Speaker 1: UM where we were talking about an English translation of 386 00:20:54,680 --> 00:20:59,880 Speaker 1: a nineteenth century Hungarian play, a play that involves Lucif 387 00:21:00,359 --> 00:21:04,440 Speaker 1: traveling through time with Adam and Eve, showing them scenes 388 00:21:04,560 --> 00:21:07,840 Speaker 1: from throughout human history. And I think this quote is 389 00:21:07,880 --> 00:21:10,520 Speaker 1: from a scene in the future where the devil takes 390 00:21:10,560 --> 00:21:13,879 Speaker 1: Adam into space and Adam is afraid and here's the 391 00:21:14,000 --> 00:21:17,360 Speaker 1: here's the really crazy part. This play is called The 392 00:21:17,400 --> 00:21:21,000 Speaker 1: Tragedy of Man and it was adapted into an animated 393 00:21:21,040 --> 00:21:25,000 Speaker 1: film in two thousand eleven by Marcel Yankovich, the director 394 00:21:25,040 --> 00:21:27,080 Speaker 1: of Son of the White Mayor. We actually mentioned the 395 00:21:27,119 --> 00:21:30,679 Speaker 1: movie in the Weird House Cinema episode and it felt 396 00:21:30,760 --> 00:21:33,600 Speaker 1: slightly familiar to me, but I wasn't sure. This is 397 00:21:33,600 --> 00:21:35,680 Speaker 1: why we actually talked about the play it was based 398 00:21:35,720 --> 00:21:39,760 Speaker 1: on in another episode well while back. But for for 399 00:21:39,840 --> 00:21:42,240 Speaker 1: more context on that quote, I figured, Uh, it might 400 00:21:42,240 --> 00:21:44,680 Speaker 1: as well read a few lines here from that English translation. 401 00:21:44,760 --> 00:21:47,320 Speaker 1: So this is from The Tragedy of man Uh and 402 00:21:47,520 --> 00:21:50,160 Speaker 1: Lucifer and Adam are out in space, and Lucifer says, 403 00:21:50,600 --> 00:21:53,320 Speaker 1: so high are we now risen from the site? First 404 00:21:53,359 --> 00:21:56,760 Speaker 1: fades the beautiful, and then the great and mighty, until 405 00:21:56,800 --> 00:22:01,200 Speaker 1: at length not else remains to us than mathematics, cold, remote, 406 00:22:01,680 --> 00:22:04,960 Speaker 1: and Adam says, now fade the stars behind us. As 407 00:22:04,960 --> 00:22:08,119 Speaker 1: we fly, I see no end, I feel no obstacle, 408 00:22:08,400 --> 00:22:12,520 Speaker 1: without love, without conflict. What is life here? All is 409 00:22:12,600 --> 00:22:16,720 Speaker 1: cold and terror Lucifer. And Lucifer says, if thus far 410 00:22:16,880 --> 00:22:19,520 Speaker 1: only thou hast the heart to go, then turn me 411 00:22:19,680 --> 00:22:24,320 Speaker 1: back and play amid the dust. Oh nice that Lucifer 412 00:22:24,320 --> 00:22:26,520 Speaker 1: always had a way with words, well, and I like 413 00:22:26,600 --> 00:22:30,639 Speaker 1: that this passage is just him calling Adam chicken. But 414 00:22:30,760 --> 00:22:35,960 Speaker 1: it's difficult to translate buck buck buck Well. That's that's 415 00:22:35,960 --> 00:22:39,600 Speaker 1: certainly interesting synchronicity, though, with the link to Son of 416 00:22:39,600 --> 00:22:43,240 Speaker 1: the White Mayor. Now in in terms of dungeons and dragons. Yeah, 417 00:22:43,240 --> 00:22:45,360 Speaker 1: like I said, I don't think I was familiar with these, 418 00:22:45,440 --> 00:22:47,640 Speaker 1: these these Cobald Press books, but I'll have to look 419 00:22:47,680 --> 00:22:50,320 Speaker 1: these up. I have run a dn D campaign in 420 00:22:50,320 --> 00:22:54,280 Speaker 1: the past, and if if I can ever properly run 421 00:22:54,359 --> 00:22:56,520 Speaker 1: something physically on the table again. I'll probably do one 422 00:22:56,560 --> 00:22:58,639 Speaker 1: in the future, but for now, I'm I'm happy to 423 00:22:58,960 --> 00:23:02,840 Speaker 1: just be a player and uh and play via like 424 00:23:02,920 --> 00:23:06,000 Speaker 1: some of these online systems that have popped up to 425 00:23:06,000 --> 00:23:09,080 Speaker 1: help people through the through the pandemic. But yeah, I'm 426 00:23:09,080 --> 00:23:11,840 Speaker 1: having a good time. I'm playing a deer car right now. 427 00:23:11,920 --> 00:23:16,160 Speaker 1: That's a great dwarf. What a deer car. Yeah, they're 428 00:23:16,160 --> 00:23:20,240 Speaker 1: these these great dwarves that live in the underdark. Um 429 00:23:20,280 --> 00:23:23,720 Speaker 1: they have you know, magical powers and uh yeah, they're 430 00:23:23,720 --> 00:23:25,520 Speaker 1: they're they're pretty cool. There's a lot of deep lower 431 00:23:25,560 --> 00:23:29,280 Speaker 1: to them. Okay, well, I'm still relatively a novice. I'm 432 00:23:29,280 --> 00:23:32,119 Speaker 1: still playing in my in my first campaign as a player. 433 00:23:32,680 --> 00:23:34,480 Speaker 1: I don't know if I'll ever d M a campaign, 434 00:23:34,600 --> 00:23:36,960 Speaker 1: but if if that's far in the future for me, 435 00:23:37,000 --> 00:23:39,640 Speaker 1: if it ever happens. What level is your character? Oh 436 00:23:39,720 --> 00:23:41,720 Speaker 1: my well, I don't I could go dig it out. 437 00:23:41,720 --> 00:23:44,120 Speaker 1: We haven't. We haven't gotten together in a bit. Uh. 438 00:23:44,359 --> 00:23:47,720 Speaker 1: I think he's a rogue. I think maybe level four, 439 00:23:47,880 --> 00:23:51,040 Speaker 1: does that sounds Yeah? Once you by level four, you're 440 00:23:51,040 --> 00:23:54,400 Speaker 1: getting into some good stuff. Yeah. Yeah, he's learning. He's 441 00:23:54,400 --> 00:23:57,560 Speaker 1: got a special slide of hand tricks and second story work. 442 00:23:57,600 --> 00:24:00,159 Speaker 1: And all that that kind of stuff. I also want 443 00:24:00,200 --> 00:24:02,480 Speaker 1: to come back to something to go mentioned about learning 444 00:24:02,520 --> 00:24:06,040 Speaker 1: about so many of these creatures through Dungeons and Dragons 445 00:24:06,040 --> 00:24:10,159 Speaker 1: and in this case, these these Dungeons and Dragons related books, 446 00:24:10,200 --> 00:24:12,760 Speaker 1: because I feel like I had much the same experience 447 00:24:12,800 --> 00:24:15,440 Speaker 1: growing up. Um, you know, I had access to various 448 00:24:15,640 --> 00:24:18,520 Speaker 1: uh you know, mythology books and so forth, but I 449 00:24:18,560 --> 00:24:21,480 Speaker 1: was just suit always super into the monster manuals and 450 00:24:21,520 --> 00:24:25,280 Speaker 1: the Monster manual uh mon or Monstrous compendium supplements that 451 00:24:25,320 --> 00:24:27,239 Speaker 1: would come out, and they you know, they had all 452 00:24:27,280 --> 00:24:30,800 Speaker 1: these different additional worlds. You had stuff like the Raven 453 00:24:30,840 --> 00:24:33,040 Speaker 1: Loft monsters that would come out in the supplement, and 454 00:24:33,119 --> 00:24:36,400 Speaker 1: you had the car Tour supplement, which was who had 455 00:24:36,440 --> 00:24:38,800 Speaker 1: had a bunch of monsters that were based on on 456 00:24:39,000 --> 00:24:42,840 Speaker 1: Asian motifs, and so that particular supplement was probably where 457 00:24:42,880 --> 00:24:45,720 Speaker 1: I learned about a lot of things like the Kappa 458 00:24:45,880 --> 00:24:48,960 Speaker 1: and the Only and so forth for the first time. 459 00:24:49,320 --> 00:24:50,800 Speaker 1: Well roll, But I think I think I know your 460 00:24:50,800 --> 00:24:53,520 Speaker 1: personality well enough to recognize that you have a you 461 00:24:53,520 --> 00:24:59,560 Speaker 1: have a particular affinity for encyclopedic resources on creatures and monsters. 462 00:24:59,640 --> 00:25:01,720 Speaker 1: You love to have like a you love to have 463 00:25:01,840 --> 00:25:04,679 Speaker 1: them with like not just included in a narrative, but 464 00:25:04,720 --> 00:25:07,560 Speaker 1: with like a full entrigue that gives you, gives you 465 00:25:07,600 --> 00:25:10,800 Speaker 1: the stats, gives you the info. Right, I wish I would. 466 00:25:10,840 --> 00:25:13,160 Speaker 1: I love it when my monsters line up in alphabetical 467 00:25:13,280 --> 00:25:16,840 Speaker 1: order and and have some sort of rating system in place. 468 00:25:16,880 --> 00:25:19,600 Speaker 1: And I'm a real sucker for that. So listeners out there, 469 00:25:19,840 --> 00:25:23,639 Speaker 1: if you know of any other good monster books and 470 00:25:23,960 --> 00:25:26,840 Speaker 1: bestI areas and so forth, uh, send them my way. 471 00:25:26,880 --> 00:25:28,960 Speaker 1: I'm always delighted to learn about a new one, be 472 00:25:29,000 --> 00:25:32,200 Speaker 1: it something recent or something ancient. I mean, that's that's 473 00:25:32,200 --> 00:25:36,119 Speaker 1: where we we've we've actually generated some episodes out of that, 474 00:25:36,240 --> 00:25:38,879 Speaker 1: like realizing, oh I don't really know much about this 475 00:25:38,920 --> 00:25:45,560 Speaker 1: particular compendium of of strange, say Chinese mythological creatures. Maybe 476 00:25:45,600 --> 00:25:48,080 Speaker 1: we'll do an episode on it. Oh yeah, like the 477 00:25:48,119 --> 00:25:51,080 Speaker 1: Classic of the Mountains and Seas. Yeah that was great. Yeah, 478 00:25:51,119 --> 00:25:53,440 Speaker 1: that was basically me just jones in for a new 479 00:25:53,760 --> 00:25:56,680 Speaker 1: monster book. All right, we're gonna go ahead and call 480 00:25:56,720 --> 00:25:59,240 Speaker 1: it there, but we'll be back next week with another 481 00:25:59,440 --> 00:26:02,000 Speaker 1: episode of Stuff to blow your mind. Listener mail that 482 00:26:02,040 --> 00:26:04,919 Speaker 1: comes out on Mondays and on Tuesdays and Thursdays. We 483 00:26:04,960 --> 00:26:08,199 Speaker 1: put out the core episodes of Stuff to Blow your Mind, uh, 484 00:26:08,280 --> 00:26:12,800 Speaker 1: you know, primarily science and cultural, historical, philosophical content that 485 00:26:12,880 --> 00:26:16,200 Speaker 1: sort of thing. On Wednesdays we do an artifact or 486 00:26:16,240 --> 00:26:18,800 Speaker 1: indeed a monster fact episode where we focus on a 487 00:26:18,800 --> 00:26:25,080 Speaker 1: particular item, invention or or mythological creature. And then on 488 00:26:25,119 --> 00:26:27,280 Speaker 1: Friday's we do Weird House Cinema. That's our time to 489 00:26:27,320 --> 00:26:30,040 Speaker 1: set aside most serious matters and just talk about a 490 00:26:30,080 --> 00:26:33,680 Speaker 1: weird film. Um. If you want to find out more 491 00:26:33,760 --> 00:26:36,359 Speaker 1: about any of this, you can find all these episodes 492 00:26:36,440 --> 00:26:39,720 Speaker 1: in the Stuff to Blow your Mind podcast feed. Just 493 00:26:40,040 --> 00:26:43,280 Speaker 1: you know, listen and subscribe wherever you have the ability 494 00:26:43,320 --> 00:26:46,680 Speaker 1: to access that, rate and review if you want to 495 00:26:46,720 --> 00:26:49,239 Speaker 1: help us out in that regard. Uh. And then if 496 00:26:49,240 --> 00:26:51,080 Speaker 1: you go to stuff to Blow your Mind dot com, 497 00:26:51,119 --> 00:26:53,440 Speaker 1: I think that will still shoot you over to be 498 00:26:53,640 --> 00:26:55,919 Speaker 1: I heart listing for our shows, so you can definitely 499 00:26:55,920 --> 00:26:57,840 Speaker 1: listen to it there. But there are also some links 500 00:26:57,840 --> 00:26:59,639 Speaker 1: there that will take you out to some of our 501 00:26:59,680 --> 00:27:04,080 Speaker 1: various social media accounts as well as to the the 502 00:27:04,080 --> 00:27:05,959 Speaker 1: the t Public store that we have where you can 503 00:27:06,000 --> 00:27:09,560 Speaker 1: also buy some designs based on various episodes, and of 504 00:27:09,600 --> 00:27:13,960 Speaker 1: course just revolving around our our key logos. Huge thanks 505 00:27:14,000 --> 00:27:18,080 Speaker 1: as always to our excellent audio producer Seth Nicholas Johnson. 506 00:27:18,320 --> 00:27:20,040 Speaker 1: If you would like to get in touch with us 507 00:27:20,040 --> 00:27:22,640 Speaker 1: with feedback on this episode or any other, to suggest 508 00:27:22,760 --> 00:27:24,760 Speaker 1: topic for the future, or just to say hello, you 509 00:27:24,800 --> 00:27:27,840 Speaker 1: can email us at contact at stuff to Blow your 510 00:27:27,880 --> 00:27:37,399 Speaker 1: Mind dot com. Stuff to Blow Your Mind is a 511 00:27:37,400 --> 00:27:40,080 Speaker 1: production of I Heart Radio. For more podcasts for my 512 00:27:40,119 --> 00:27:43,080 Speaker 1: heart Radio, visit the i heart Radio app, Apple Podcasts, 513 00:27:43,160 --> 00:27:44,919 Speaker 1: or wherever you listen to your favorite shows.