1 00:00:02,960 --> 00:00:05,280 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of 2 00:00:05,360 --> 00:00:11,080 Speaker 1: My Heart Radio. Hey, welcome to Stuff to Blow your Mind. 3 00:00:11,320 --> 00:00:15,280 Speaker 1: Listener Mail. My name is Robert Lamb and I'm Joe McCormick. 4 00:00:15,320 --> 00:00:18,000 Speaker 1: And today we're answering your listener mail. Or I don't 5 00:00:18,000 --> 00:00:19,720 Speaker 1: know how much answering we're gonna do. We're at least 6 00:00:19,720 --> 00:00:22,240 Speaker 1: gonna read your listener mail. We might offer thoughts about it, 7 00:00:22,239 --> 00:00:23,760 Speaker 1: we might just put it out there and let it 8 00:00:23,840 --> 00:00:26,880 Speaker 1: let it hang. But we're gonna get into some stuff 9 00:00:26,880 --> 00:00:29,840 Speaker 1: about our episode on the Lock and Key, some responses 10 00:00:29,840 --> 00:00:33,960 Speaker 1: to bug funerals, and we're going to address the ongoing 11 00:00:34,159 --> 00:00:37,840 Speaker 1: stream that maybe we'll never stop of listener mail about 12 00:00:37,880 --> 00:00:39,880 Speaker 1: robot jocks. It seems like people just can't get that 13 00:00:39,920 --> 00:00:42,720 Speaker 1: out of their heads. And it's been a pleasant surprise 14 00:00:42,800 --> 00:00:45,040 Speaker 1: because when I when I I think that was one 15 00:00:45,080 --> 00:00:48,319 Speaker 1: that I I selected, and I was thinking to myself, Man, 16 00:00:48,320 --> 00:00:51,800 Speaker 1: this one's so hard to find right now, perhaps I'm 17 00:00:51,840 --> 00:00:54,000 Speaker 1: the only one who out there who has any kind 18 00:00:54,000 --> 00:00:56,960 Speaker 1: of fond memories of this movie. Uh So it's been 19 00:00:57,040 --> 00:00:58,800 Speaker 1: nice to see that other folks remember it as well. 20 00:00:58,920 --> 00:01:01,160 Speaker 1: Now that's been an abso lute highlight of weird house 21 00:01:01,160 --> 00:01:03,840 Speaker 1: cinema for me so far. I I think about robot 22 00:01:03,920 --> 00:01:07,000 Speaker 1: jocks at least once a day. And we didn't even 23 00:01:07,040 --> 00:01:09,399 Speaker 1: realize the serendipity when we picked it that one of 24 00:01:09,400 --> 00:01:14,520 Speaker 1: the places it's actually streaming is called to be That's 25 00:01:14,560 --> 00:01:17,080 Speaker 1: oh man. I didn't even really really put that together, 26 00:01:17,120 --> 00:01:25,000 Speaker 1: but that's true. Yeah. Uh. Do you want to read 27 00:01:25,000 --> 00:01:28,039 Speaker 1: this first message about our bug funeral episode from Jim 28 00:01:28,040 --> 00:01:31,679 Speaker 1: in New Jersey. Yes, Jim in New Jersey, a longtime 29 00:01:32,200 --> 00:01:36,480 Speaker 1: Listener mail correspondent here right in and says, Robert and Joe, 30 00:01:36,600 --> 00:01:38,680 Speaker 1: you missed one of the best stories about E. O. 31 00:01:38,800 --> 00:01:41,880 Speaker 1: Wilson and the Scent of Death for Ants. Radio Lab 32 00:01:41,920 --> 00:01:44,319 Speaker 1: featured it a bit over ten years ago and include 33 00:01:44,600 --> 00:01:46,520 Speaker 1: included a link for this you can look it up 34 00:01:46,720 --> 00:01:49,120 Speaker 1: so by looking for Hey, I'm Dad, the story of 35 00:01:49,120 --> 00:01:51,560 Speaker 1: the very lively Aunt. Oh, and we should say the 36 00:01:51,600 --> 00:01:54,680 Speaker 1: subject line of Jim's email was Aunt's yelling I'm not 37 00:01:54,800 --> 00:01:59,680 Speaker 1: dead yet anyway, Jim continues once the signal of death 38 00:01:59,760 --> 00:02:02,520 Speaker 1: is an air which takes about two days. Any ant 39 00:02:02,600 --> 00:02:05,240 Speaker 1: that happens by grabs the corpse and carries it through 40 00:02:05,240 --> 00:02:08,880 Speaker 1: the colony to a refuse pile designated the graveyard and 41 00:02:09,000 --> 00:02:11,959 Speaker 1: dumps it on a mound of also dead ants. Wilson 42 00:02:11,960 --> 00:02:15,640 Speaker 1: wrote in his autobiography, I thought maybe with the right chemicals, 43 00:02:15,760 --> 00:02:21,120 Speaker 1: I could create an artificial corpse. Wilson discovered that oleic acid, 44 00:02:21,440 --> 00:02:24,320 Speaker 1: just a tiny, a teeny sorry drop of it was 45 00:02:24,360 --> 00:02:28,000 Speaker 1: all the ants had to sniff to think dead. One day, 46 00:02:28,040 --> 00:02:30,639 Speaker 1: he took a drop of the chemical and gently deposited 47 00:02:31,000 --> 00:02:33,840 Speaker 1: it on an ant that had the misfortune of walking by. 48 00:02:33,960 --> 00:02:36,600 Speaker 1: Wilson describes how as soon as he dabbed the ant, 49 00:02:36,720 --> 00:02:39,959 Speaker 1: the next ant that came near, grabbed his aunt, slung 50 00:02:40,000 --> 00:02:42,400 Speaker 1: it on its back, hiked over to the graveyard, and 51 00:02:42,440 --> 00:02:45,160 Speaker 1: though the aunt was still very much alive kicking you know, 52 00:02:45,400 --> 00:02:49,440 Speaker 1: says ed, flug it into the refuse pile. Dead is 53 00:02:49,480 --> 00:02:51,480 Speaker 1: what you smell, not what you see, if you were 54 00:02:51,520 --> 00:02:54,160 Speaker 1: an aunt. So though it tried to clean itself over 55 00:02:54,200 --> 00:02:56,160 Speaker 1: and over, the minute it returned to the colony, it 56 00:02:56,240 --> 00:02:59,480 Speaker 1: was grabbed, carried, and slung back on the pile. The 57 00:02:59,600 --> 00:03:02,760 Speaker 1: zombie aunt was eventually able to clean itself sufficiently and 58 00:03:02,800 --> 00:03:06,400 Speaker 1: rejoin the nest. Jim in New Jersey. Uh, that is morbid, 59 00:03:06,480 --> 00:03:09,880 Speaker 1: but yes, very funny. Actually, I don't know if this 60 00:03:09,960 --> 00:03:13,240 Speaker 1: was clear in the text of Jim's email, but I 61 00:03:13,280 --> 00:03:16,000 Speaker 1: think that middle section was actually a quote from that 62 00:03:16,160 --> 00:03:20,200 Speaker 1: NPR piece. We should just clear Okay. Yeah, and in 63 00:03:20,240 --> 00:03:23,080 Speaker 1: that case, yeah, definitely go back and listen to it. 64 00:03:23,160 --> 00:03:26,560 Speaker 1: Radio Lab has always been a wonderful show. Uh, And 65 00:03:26,880 --> 00:03:30,680 Speaker 1: there archives are are rich and deep, as is the 66 00:03:30,760 --> 00:03:34,760 Speaker 1: Aunt Graveyard. I would say, no resentment of rivalry whatsoever. 67 00:03:34,840 --> 00:03:43,000 Speaker 1: Please go listen to Radio Lab. Yes, okay. This next 68 00:03:43,040 --> 00:03:46,800 Speaker 1: message picks up from one of the tangents we went 69 00:03:46,840 --> 00:03:49,920 Speaker 1: on in our Funeral for a Bug episodes. You remember, 70 00:03:49,920 --> 00:03:52,280 Speaker 1: in that episode we started talking about some of the 71 00:03:52,320 --> 00:03:56,720 Speaker 1: weird ironyes of pastoral poetry. So pastoral poetry is a 72 00:03:56,800 --> 00:03:59,920 Speaker 1: you know, long running genre going back into the ancient 73 00:04:00,040 --> 00:04:04,440 Speaker 1: world but still continuing into recent times, where the main 74 00:04:04,560 --> 00:04:07,200 Speaker 1: thrust of it is that it sort of celebrates the 75 00:04:07,320 --> 00:04:11,839 Speaker 1: rural existence as a as a as a peaceful, beautiful 76 00:04:12,120 --> 00:04:16,120 Speaker 1: thing that is uncomplicated by all of the I don't 77 00:04:16,120 --> 00:04:20,599 Speaker 1: know the sin and complexity of of city life. And 78 00:04:20,720 --> 00:04:23,920 Speaker 1: so this message comes from Jacob and it picks up 79 00:04:23,920 --> 00:04:28,039 Speaker 1: on one particular comment we had there subject line pastoral 80 00:04:28,160 --> 00:04:32,120 Speaker 1: ism and YouTube. Jacob says, hey, Joe and Rob first 81 00:04:32,160 --> 00:04:34,720 Speaker 1: time writer a longtime listener. I was listening to the 82 00:04:34,800 --> 00:04:37,640 Speaker 1: January twenty one episode Funeral for a Bug and you 83 00:04:37,760 --> 00:04:42,120 Speaker 1: wondered if shows like The Great British Baking Show were 84 00:04:42,200 --> 00:04:45,680 Speaker 1: modern pastorals. I think there's something to that, but I 85 00:04:45,720 --> 00:04:49,360 Speaker 1: can do one better. Since the pastoral, according to poets 86 00:04:49,400 --> 00:04:53,520 Speaker 1: dot Org, idealizes a rural life and landscape, I couldn't 87 00:04:53,520 --> 00:04:56,400 Speaker 1: help but think of the sub genre of YouTube videos. 88 00:04:56,440 --> 00:05:01,719 Speaker 1: I've recently become addicted to building things, especially building things 89 00:05:01,760 --> 00:05:06,840 Speaker 1: by hand using traditional techniques like blacksmithing, hand tool woodworking, 90 00:05:07,160 --> 00:05:10,200 Speaker 1: timber framing, and so on. I've had quite a few 91 00:05:10,200 --> 00:05:12,920 Speaker 1: in my subscription feed. But if you stand out as 92 00:05:12,960 --> 00:05:17,240 Speaker 1: fitting the definition, primitive technology seems like the er example. 93 00:05:17,320 --> 00:05:21,760 Speaker 1: But Mr Chickadee, Dylan Iwakuni, and t A Outdoors are 94 00:05:21,800 --> 00:05:24,480 Speaker 1: some that I think also fit into the pastoral tradition. 95 00:05:24,800 --> 00:05:28,480 Speaker 1: They usually have minimal dialogue, are set outside, and focus 96 00:05:28,520 --> 00:05:32,080 Speaker 1: on the tool work. Unlike some other woodworking or maker 97 00:05:32,160 --> 00:05:36,160 Speaker 1: centered channels, there's no attempt to instruct. It's literally watching 98 00:05:36,240 --> 00:05:39,000 Speaker 1: someone build a cabin or a kiln or something out 99 00:05:39,000 --> 00:05:42,880 Speaker 1: of basic materials like stone, wood or clay using hand 100 00:05:42,920 --> 00:05:46,600 Speaker 1: powered tools. I'm struck by this comment from the poets 101 00:05:46,640 --> 00:05:51,240 Speaker 1: dot Org definition quote. Ironically, the conventions of the pastoral 102 00:05:51,360 --> 00:05:56,360 Speaker 1: genre were established by sophisticated urban poets whose beautific portrayals 103 00:05:56,400 --> 00:06:01,560 Speaker 1: of rural life perpetuated fantasies and misconceptions about the rural lifestyle. 104 00:06:02,120 --> 00:06:04,200 Speaker 1: And yeah, that that was definitely one of the ironies 105 00:06:04,279 --> 00:06:06,040 Speaker 1: we we touched on in the episode. It was like, 106 00:06:06,240 --> 00:06:08,320 Speaker 1: all this stuff about how how nice it would be 107 00:06:08,400 --> 00:06:10,600 Speaker 1: to be a shepherd, but you know, written by someone 108 00:06:10,640 --> 00:06:12,920 Speaker 1: who's never been a shepherd and doesn't realize what kind 109 00:06:12,920 --> 00:06:16,240 Speaker 1: of work is involved. But back to Jacob's message. Jacob says, 110 00:06:16,560 --> 00:06:20,000 Speaker 1: I've done a little woodworking and home renovation, and working 111 00:06:20,040 --> 00:06:23,279 Speaker 1: by hand is slow and physically demanding. It can be 112 00:06:23,400 --> 00:06:25,600 Speaker 1: fun the way a good workout is fun. But the 113 00:06:25,680 --> 00:06:28,800 Speaker 1: idealized notion that somehow this is the good life, the 114 00:06:28,880 --> 00:06:33,200 Speaker 1: simple life, is way off. Rural life meant subsistence farming 115 00:06:33,320 --> 00:06:35,920 Speaker 1: or labor, and that typically meant living on the edge 116 00:06:35,920 --> 00:06:39,359 Speaker 1: of starvation one bad season or one serious injury or 117 00:06:39,400 --> 00:06:44,200 Speaker 1: illness away from disaster. Hardly a desirable lifestyle, which makes 118 00:06:44,200 --> 00:06:47,039 Speaker 1: me wonder what the appeal is for these channels, Because 119 00:06:47,040 --> 00:06:51,160 Speaker 1: I'm hopelessly addicted, and judging by their subscribers, I'm not 120 00:06:51,200 --> 00:06:54,520 Speaker 1: the only one. It's soothing to watch and listen to us. 121 00:06:54,960 --> 00:06:57,960 Speaker 1: Some of them even tagged their videos as a s MR. 122 00:06:58,680 --> 00:07:01,679 Speaker 1: But more than that, I'm gil ty of romanticizing exactly 123 00:07:01,760 --> 00:07:05,200 Speaker 1: what I criticized above. I'm currently building a work bench 124 00:07:05,279 --> 00:07:07,600 Speaker 1: for the and the first thing I decided to do 125 00:07:07,880 --> 00:07:10,440 Speaker 1: was to do it all by hand. I don't have 126 00:07:10,480 --> 00:07:13,280 Speaker 1: a great explanation for why, other than that it takes 127 00:07:13,360 --> 00:07:15,760 Speaker 1: all my focus and as such puts me in a 128 00:07:15,800 --> 00:07:19,440 Speaker 1: sort of flow or zen meditation state. It's also a 129 00:07:19,480 --> 00:07:22,640 Speaker 1: bit of time travel learning a traditional craft. It helps 130 00:07:22,640 --> 00:07:25,360 Speaker 1: you understand an era not your own. But that's a 131 00:07:25,480 --> 00:07:28,480 Speaker 1: luxury of the relatively rich. If I were doing this 132 00:07:28,560 --> 00:07:30,840 Speaker 1: for a living and hoping to sell enough to feed 133 00:07:30,880 --> 00:07:34,720 Speaker 1: my family, I doubt I'd be calm or philosophical about it. 134 00:07:34,800 --> 00:07:36,840 Speaker 1: Since it's a hobby, though, I can work at my 135 00:07:36,920 --> 00:07:40,360 Speaker 1: own slow pace and think deep thoughts or listen to 136 00:07:40,440 --> 00:07:43,040 Speaker 1: deep podcasts like Stuff to Blow your Mind while I 137 00:07:43,080 --> 00:07:45,400 Speaker 1: do it. Love the show, keep up the good work, 138 00:07:45,680 --> 00:07:47,840 Speaker 1: and you can absolutely read this on air with my 139 00:07:47,920 --> 00:07:51,040 Speaker 1: name if you choose. Thanks Jacob, Well, Jacob we're always 140 00:07:51,120 --> 00:07:53,120 Speaker 1: assuming we can read this on air with your name 141 00:07:53,160 --> 00:07:55,480 Speaker 1: with the we we tend to leave off last names 142 00:07:55,480 --> 00:07:58,280 Speaker 1: if you supply them. And if you're writing in about 143 00:07:58,360 --> 00:08:01,280 Speaker 1: something and you you would prefer no name attached at all, 144 00:08:01,680 --> 00:08:04,000 Speaker 1: that's perfectly cool. Just let us know that that's the case. 145 00:08:04,080 --> 00:08:06,120 Speaker 1: Oh yeah, and you can also write to us uh 146 00:08:06,440 --> 00:08:08,080 Speaker 1: with a message that you would prefer us not to 147 00:08:08,080 --> 00:08:09,960 Speaker 1: read on air. Just make sure you note that in 148 00:08:10,000 --> 00:08:13,320 Speaker 1: the email. But yeah, I thought this was a really 149 00:08:13,360 --> 00:08:16,040 Speaker 1: interesting message, and I think this is this is onto 150 00:08:16,080 --> 00:08:20,240 Speaker 1: something that is very interesting. So there there are multiple 151 00:08:20,240 --> 00:08:23,240 Speaker 1: threads to to pull on here. One is, yes, this uh, 152 00:08:23,240 --> 00:08:29,440 Speaker 1: this sort of idealization of traditional rural types of labor uh, 153 00:08:29,480 --> 00:08:34,400 Speaker 1: you know, farming type labor, woodworking type labor um and 154 00:08:34,400 --> 00:08:37,800 Speaker 1: and the difference between doing that labor as a hobby 155 00:08:37,880 --> 00:08:41,000 Speaker 1: where you have no time constraints really and you can 156 00:08:41,080 --> 00:08:44,120 Speaker 1: just explore it at your leisure versus doing that kind 157 00:08:44,160 --> 00:08:47,640 Speaker 1: of labor to survive, which is which is very different. 158 00:08:47,679 --> 00:08:50,800 Speaker 1: I often think about this difference, um with cooking. You know, 159 00:08:50,840 --> 00:08:53,200 Speaker 1: I do a lot of cooking at home, actually really 160 00:08:53,280 --> 00:08:57,319 Speaker 1: enjoy cooking. Uh. And sometimes people will say like, oh, 161 00:08:57,360 --> 00:08:59,439 Speaker 1: have you ever thought about, you know, being a chef 162 00:08:59,440 --> 00:09:02,600 Speaker 1: for working in restaurant. I have worked in restaurants, not 163 00:09:02,640 --> 00:09:04,439 Speaker 1: as a cook. I've worked as a you know server, 164 00:09:04,960 --> 00:09:07,040 Speaker 1: you know, bus boy and all that, and it's a 165 00:09:07,080 --> 00:09:09,120 Speaker 1: totally different thing. I think a lot of people don't 166 00:09:09,160 --> 00:09:12,400 Speaker 1: realize that if you're working in a restaurant kitchen, it 167 00:09:12,520 --> 00:09:17,840 Speaker 1: is not the same kind of leisurely recreational fun activity 168 00:09:17,880 --> 00:09:19,400 Speaker 1: as it would be if you're just sort of like 169 00:09:19,480 --> 00:09:22,680 Speaker 1: cooking on a week weekend at home. Uh. There you 170 00:09:22,720 --> 00:09:26,120 Speaker 1: have these intense time constraints, a lot of different types 171 00:09:26,160 --> 00:09:31,200 Speaker 1: of labor to manage and prioritize. It's often highly stressful. Uh. 172 00:09:31,240 --> 00:09:35,000 Speaker 1: And it's just a totally different experience than recreationally cooking 173 00:09:35,000 --> 00:09:37,080 Speaker 1: in a home kitchen. Yeah. Yeah, I think this is 174 00:09:37,080 --> 00:09:41,240 Speaker 1: often the case with with various hobbies and and uh 175 00:09:41,440 --> 00:09:45,200 Speaker 1: and activities like like, for instance, I engage in some 176 00:09:45,280 --> 00:09:48,480 Speaker 1: of the miniature and model painting and and you know, 177 00:09:48,520 --> 00:09:50,599 Speaker 1: it's really fun and calming. But if I were to 178 00:09:50,880 --> 00:09:53,640 Speaker 1: if if I were doing this exact task or something 179 00:09:53,679 --> 00:09:55,760 Speaker 1: like it, and I was having to crank something out, 180 00:09:55,920 --> 00:09:57,600 Speaker 1: you know, if I was part of a production line 181 00:09:57,880 --> 00:09:59,360 Speaker 1: or if I were I don't know, if you were 182 00:09:59,360 --> 00:10:02,040 Speaker 1: to apply it, say, um, you know, being a colorist 183 00:10:02,280 --> 00:10:06,640 Speaker 1: or something, um, you know for manuscripts or comics or something. Uh. 184 00:10:06,679 --> 00:10:08,480 Speaker 1: You know, if you potentially get into that situation where 185 00:10:08,520 --> 00:10:11,080 Speaker 1: you're just having to to just do so much of it, 186 00:10:11,120 --> 00:10:14,080 Speaker 1: you don't have that the potentials there to to to 187 00:10:14,200 --> 00:10:16,760 Speaker 1: lose hold of that zen state that you go into 188 00:10:16,800 --> 00:10:20,000 Speaker 1: when you do it. In fact, I've I've followed like 189 00:10:20,160 --> 00:10:23,800 Speaker 1: really skilled miniature painters before and uh, and in some 190 00:10:23,840 --> 00:10:26,280 Speaker 1: cases they've had to. They've they've done like a certain 191 00:10:26,320 --> 00:10:29,240 Speaker 1: amount of professional work, you know, like they're selling pieces 192 00:10:29,240 --> 00:10:32,040 Speaker 1: that they've painted and they're doing commissions. But then they 193 00:10:32,040 --> 00:10:34,760 Speaker 1: have to scale back and stop doing that. And part 194 00:10:34,760 --> 00:10:36,920 Speaker 1: of it is sometimes the fact that it it makes 195 00:10:36,960 --> 00:10:39,559 Speaker 1: the hobby less fun. You know, your hobbies become less hot, 196 00:10:39,720 --> 00:10:43,760 Speaker 1: less fun sometimes when they become your job, which is 197 00:10:43,800 --> 00:10:46,800 Speaker 1: one of the the disappointing facts of life. I guess 198 00:10:47,200 --> 00:10:49,320 Speaker 1: another thing I would say about that is, I think 199 00:10:49,360 --> 00:10:52,679 Speaker 1: what it's really I think the really crucial element is 200 00:10:52,720 --> 00:10:55,440 Speaker 1: not whether or not it's a job that you get 201 00:10:55,440 --> 00:10:59,440 Speaker 1: paid for, but it is about, um, whether there is 202 00:10:59,600 --> 00:11:02,600 Speaker 1: specific fically sort of like time and stress pressure on you. 203 00:11:02,640 --> 00:11:05,160 Speaker 1: Because the same dynamic that I talked about with restaurant 204 00:11:05,160 --> 00:11:08,400 Speaker 1: cooking can certainly be true for home cooking if you're 205 00:11:08,440 --> 00:11:11,040 Speaker 1: just like trying to you know, make meals on a 206 00:11:11,080 --> 00:11:13,040 Speaker 1: weeknight and you know you're trying to do it as 207 00:11:13,040 --> 00:11:14,920 Speaker 1: fast as you can to feed the family and that 208 00:11:15,000 --> 00:11:17,440 Speaker 1: kind of thing. There, there's just a big difference between 209 00:11:17,520 --> 00:11:20,080 Speaker 1: being able to do something at your own pace and 210 00:11:20,120 --> 00:11:23,280 Speaker 1: needing to do something on a timetable, yeah, and dealing 211 00:11:23,280 --> 00:11:26,080 Speaker 1: with outside stressors that aren't there necessarily if you're just 212 00:11:26,120 --> 00:11:29,800 Speaker 1: engaging in a hobby. Um. Now, interestingly enough, on the 213 00:11:29,800 --> 00:11:34,160 Speaker 1: the idea of videos about crafts, I've really enjoyed watching 214 00:11:34,559 --> 00:11:37,160 Speaker 1: some videos dealing with painting, and I found them very 215 00:11:37,160 --> 00:11:40,720 Speaker 1: calming in a similar way. Like there's there's one guy online, 216 00:11:40,920 --> 00:11:46,560 Speaker 1: uh these the moniker Sarastro, and he has all these videos, 217 00:11:46,880 --> 00:11:50,040 Speaker 1: has a very calming voice, and he's engaging and painting 218 00:11:50,040 --> 00:11:53,000 Speaker 1: different miniatures and you know, covering the basics and it's 219 00:11:53,040 --> 00:11:55,600 Speaker 1: just delightful content. Yeah, there's a lot of stuff like that. 220 00:11:55,640 --> 00:12:00,559 Speaker 1: I sometimes watch certain um types of process of deos 221 00:12:00,559 --> 00:12:04,680 Speaker 1: to relax, often like cooking videos. But also I've actually 222 00:12:04,679 --> 00:12:06,679 Speaker 1: watched some of these same types of videos that Jacobs 223 00:12:06,679 --> 00:12:09,520 Speaker 1: talking about and in his email here, just like people 224 00:12:09,600 --> 00:12:14,640 Speaker 1: building things or restoring things. It's nice if they're especially 225 00:12:14,679 --> 00:12:17,480 Speaker 1: if there's no talking, it's just kind of like uh 226 00:12:18,200 --> 00:12:25,080 Speaker 1: uh gentle, low volume environmental sounds while somebody is doing something, 227 00:12:25,840 --> 00:12:30,160 Speaker 1: uh efficiently, but not in a rushed way. Yeah, especially 228 00:12:30,160 --> 00:12:32,640 Speaker 1: on stuff like YouTube, you can you can definitely find 229 00:12:32,679 --> 00:12:35,559 Speaker 1: those videos that have that very YouTube feel and kind 230 00:12:35,559 --> 00:12:38,600 Speaker 1: of a disc jockey kind of narration. Like there's some 231 00:12:39,120 --> 00:12:42,400 Speaker 1: there's some miniature painting YouTubers that are are very good 232 00:12:42,640 --> 00:12:45,719 Speaker 1: at what they do and are very educational and informative 233 00:12:45,760 --> 00:12:48,680 Speaker 1: about the craft. But they're not as relaxing as this 234 00:12:48,720 --> 00:12:52,319 Speaker 1: guy in particular because they everything's maybe just a little 235 00:12:52,360 --> 00:12:56,840 Speaker 1: bit pushed further in that YouTube, you know, Starge direction. 236 00:13:02,160 --> 00:13:04,520 Speaker 1: All right, here's another one for us. This is Spinning 237 00:13:04,640 --> 00:13:08,240 Speaker 1: and Dizziness vestibular system plus a dash of robot jocks 238 00:13:08,440 --> 00:13:11,920 Speaker 1: from Jared, Hi, Robert, and Joe catching up on a 239 00:13:12,000 --> 00:13:14,440 Speaker 1: backlog that got built up this past fall. I had 240 00:13:14,480 --> 00:13:18,360 Speaker 1: an experience related to spinning, dizziness, etcetera. I've been motion 241 00:13:18,440 --> 00:13:21,560 Speaker 1: sensitive since my adolescence. I was more sensitive and pronto 242 00:13:21,559 --> 00:13:25,240 Speaker 1: dizziness when doing flat circles versus vertical circles. Think spinning 243 00:13:25,240 --> 00:13:28,800 Speaker 1: while standing up versus doing somersaults. When I was nineteen, 244 00:13:28,840 --> 00:13:30,640 Speaker 1: a group of friends made a day trip to a 245 00:13:30,760 --> 00:13:33,000 Speaker 1: local tourist attraction and we stopped at a city park 246 00:13:33,040 --> 00:13:34,920 Speaker 1: for our lunch. On the way back, a bunch of 247 00:13:34,920 --> 00:13:37,800 Speaker 1: them took to the merry go round round about and 248 00:13:37,840 --> 00:13:40,720 Speaker 1: I really got it going. I held back, knowing about 249 00:13:40,720 --> 00:13:43,560 Speaker 1: what what was about to happen. Thanks to peer pressure, 250 00:13:43,600 --> 00:13:46,120 Speaker 1: I eventually gave in and joined them. They got it 251 00:13:46,160 --> 00:13:48,600 Speaker 1: going really fast, and pretty soon I started to feel awful. 252 00:13:49,080 --> 00:13:52,160 Speaker 1: It was so evident that some of the group and 253 00:13:52,400 --> 00:13:54,440 Speaker 1: the one doing the pushing could actually see that I 254 00:13:54,480 --> 00:13:56,600 Speaker 1: was getting sick and stopped the spinning so I could 255 00:13:56,600 --> 00:14:00,240 Speaker 1: get off. I avoided getting physically ill, but it was loose. 256 00:14:00,400 --> 00:14:03,760 Speaker 1: I was also one who would ride the extreme roller 257 00:14:03,800 --> 00:14:06,959 Speaker 1: coasters at theme parks, but would have to rest between 258 00:14:07,080 --> 00:14:10,280 Speaker 1: rides to avoid getting sick. Earlier in my marriage, my 259 00:14:10,320 --> 00:14:13,559 Speaker 1: wife bought me a NASCAR ride along package for Christmas. 260 00:14:13,600 --> 00:14:16,400 Speaker 1: After doing half a dozen laps at speed, I think 261 00:14:16,400 --> 00:14:19,880 Speaker 1: my inner ear got a bit of a reset or recalibration, 262 00:14:19,920 --> 00:14:22,360 Speaker 1: because about a year later we went to a theme Park, 263 00:14:22,440 --> 00:14:24,240 Speaker 1: and I was able to ride the roller coasters with 264 00:14:24,240 --> 00:14:28,040 Speaker 1: barely any effect, And since then I have even been 265 00:14:28,080 --> 00:14:31,920 Speaker 1: able to ride the teacups at Disneyland. This is really interesting. 266 00:14:32,160 --> 00:14:35,120 Speaker 1: I wonder if the mechanism here, I guess what's being 267 00:14:35,160 --> 00:14:37,520 Speaker 1: implied by Jarrett is that it could be this kind 268 00:14:37,520 --> 00:14:41,000 Speaker 1: of vestibular plasticity that we talked about in the Spinning episodes. 269 00:14:41,640 --> 00:14:45,400 Speaker 1: Maybe sometimes with enough training, the brain can kind of 270 00:14:45,440 --> 00:14:50,080 Speaker 1: adapt and and desensitize itself somewhat to dizziness. Yeah, I 271 00:14:50,120 --> 00:14:52,280 Speaker 1: wonder if people have tried to make money off of 272 00:14:52,280 --> 00:14:54,440 Speaker 1: this with programs sort of like a couch to loop 273 00:14:54,480 --> 00:15:00,640 Speaker 1: to loop vestibular boot camp. But I'm interested, Jared, So 274 00:15:00,680 --> 00:15:04,800 Speaker 1: it seems like you you are motion sensitive, yet constantly 275 00:15:04,960 --> 00:15:08,400 Speaker 1: it sounds like you're seeking out extreme motion experiences. So 276 00:15:08,880 --> 00:15:11,400 Speaker 1: maybe you've got like a kind of a thrill seeking streak, 277 00:15:11,520 --> 00:15:14,240 Speaker 1: but also you get dizzy, or used to get dizzy. 278 00:15:14,680 --> 00:15:19,800 Speaker 1: That's a conundrum, all right. He continues, I also have 279 00:15:19,920 --> 00:15:22,840 Speaker 1: some thoughts about the plot and details of robot Shocks. 280 00:15:22,920 --> 00:15:26,280 Speaker 1: Bring it on, regarding the discussion of combat by Champion 281 00:15:26,320 --> 00:15:29,120 Speaker 1: and why either side would choose this over on all 282 00:15:29,280 --> 00:15:32,520 Speaker 1: on all fight, all on all warfare. Considering the context 283 00:15:32,560 --> 00:15:34,840 Speaker 1: of the film, it is possible and maybe even likely, 284 00:15:34,920 --> 00:15:37,520 Speaker 1: that the market and the con fed could have been 285 00:15:37,720 --> 00:15:41,720 Speaker 1: numerically and or technologically equal or close enough. Also, in 286 00:15:41,760 --> 00:15:45,040 Speaker 1: the post apocalyptic context, both sides could have felt that 287 00:15:45,080 --> 00:15:47,520 Speaker 1: they couldn't afford to lose the number of people that 288 00:15:47,560 --> 00:15:51,480 Speaker 1: would die or be permanently disabled in combat, much less 289 00:15:51,480 --> 00:15:54,520 Speaker 1: the personnel and resources they would have been spent maintaining 290 00:15:54,520 --> 00:15:57,560 Speaker 1: a military. Also, you talked about the square cube law 291 00:15:57,640 --> 00:16:01,120 Speaker 1: coming into play in real world conditions round giant mechanical 292 00:16:01,160 --> 00:16:04,240 Speaker 1: war machines. In real life, the design would be focused 293 00:16:04,240 --> 00:16:06,960 Speaker 1: on stability and impact protection to avoid being crippled or 294 00:16:07,000 --> 00:16:09,920 Speaker 1: destroyed by falling, and in this type of warfare, being 295 00:16:09,960 --> 00:16:13,160 Speaker 1: able to shrink components without losing significant strength or power 296 00:16:13,400 --> 00:16:16,920 Speaker 1: would be the technological advantage. Imagine the Cold War and 297 00:16:17,000 --> 00:16:20,280 Speaker 1: both the US and NATO allies developed large mex suit 298 00:16:20,360 --> 00:16:23,560 Speaker 1: soldiers in the USSR and its warsaw packed allies did 299 00:16:23,600 --> 00:16:27,080 Speaker 1: the same. Knowing that physicists would be designing and building 300 00:16:27,120 --> 00:16:30,280 Speaker 1: around the square cube law, we would see the most 301 00:16:30,320 --> 00:16:32,680 Speaker 1: successful side be the one who could keep their suit 302 00:16:32,720 --> 00:16:36,480 Speaker 1: the smallest without suffering in armor or firepower. If you 303 00:16:36,560 --> 00:16:39,200 Speaker 1: made it through all that, thanks for entertaining my musings. 304 00:16:39,200 --> 00:16:43,320 Speaker 1: I love the show, Jared. Uh some really interesting thoughts, Jared. Yeah, 305 00:16:43,520 --> 00:16:46,240 Speaker 1: So if you were to take the robot Jock scenario 306 00:16:46,360 --> 00:16:50,600 Speaker 1: as real, where for some reason, these major superpowers in 307 00:16:50,640 --> 00:16:54,280 Speaker 1: a in an ongoing conflict are settling everything by mex 308 00:16:54,360 --> 00:16:59,320 Speaker 1: suit champion warfare, I can absolutely see because he, for example, 309 00:16:59,360 --> 00:17:01,880 Speaker 1: referred to this idea we talked about with JBS Haldane 310 00:17:01,960 --> 00:17:05,159 Speaker 1: and that famous essay about you know, if like a 311 00:17:05,200 --> 00:17:07,520 Speaker 1: mouse can fall down to mind shaft and survive, but 312 00:17:07,600 --> 00:17:10,480 Speaker 1: a larger animal falls down and splashes. And this just 313 00:17:10,520 --> 00:17:14,120 Speaker 1: because like as you scale up, the difference between between 314 00:17:14,160 --> 00:17:17,200 Speaker 1: your mass and the surface area of your body changes 315 00:17:17,240 --> 00:17:20,920 Speaker 1: in a nonlinear way, and thus, like larger falling objects 316 00:17:20,960 --> 00:17:23,239 Speaker 1: are more likely to get wrecked by falling. So if 317 00:17:23,240 --> 00:17:25,480 Speaker 1: you've got like a hundred foot tall robot, just falling 318 00:17:25,520 --> 00:17:27,480 Speaker 1: over is going to destroy it almost no matter what. 319 00:17:28,080 --> 00:17:30,720 Speaker 1: Uh So. Yeah, So the the impetus here in that 320 00:17:30,840 --> 00:17:34,720 Speaker 1: technological scenario would be on miniaturization. And it makes me 321 00:17:34,720 --> 00:17:37,520 Speaker 1: wonder if if that were real, Like if if as 322 00:17:37,640 --> 00:17:41,159 Speaker 1: much research and development as went into things like you know, 323 00:17:41,240 --> 00:17:44,280 Speaker 1: nuclear weapons, and rocketry and telemetry and all that kind 324 00:17:44,280 --> 00:17:47,480 Speaker 1: of stuff would actually just go into miniaturization of components. 325 00:17:47,560 --> 00:17:57,919 Speaker 1: That that is an interesting thought. All right, looks like 326 00:17:57,960 --> 00:18:01,280 Speaker 1: we have another bit of robot jocks related listener mail. 327 00:18:01,320 --> 00:18:02,800 Speaker 1: Do you want to take this one? Joe? Oh? Sure? 328 00:18:02,920 --> 00:18:07,119 Speaker 1: This comes from Joseph addressing the same question about a 329 00:18:07,200 --> 00:18:10,520 Speaker 1: robot jocks warfare and the logic of of champion combat. 330 00:18:10,560 --> 00:18:13,720 Speaker 1: We were saying, you know, why why would the force 331 00:18:13,800 --> 00:18:17,639 Speaker 1: with superior numbers and firepower agree to champion combat. It 332 00:18:17,640 --> 00:18:20,119 Speaker 1: seems like that that would just essentially be agreeing to 333 00:18:20,960 --> 00:18:25,000 Speaker 1: uh to lessening their odds and so and so like, 334 00:18:25,080 --> 00:18:28,119 Speaker 1: unless that the rules of champion warfare were imposed by 335 00:18:28,160 --> 00:18:30,600 Speaker 1: an alien civilization or something like that. It's it's hard 336 00:18:30,640 --> 00:18:34,000 Speaker 1: to imagine that actually happening. But Joseph has a thought. Uh, 337 00:18:34,080 --> 00:18:37,240 Speaker 1: he says. I had a minor comment to your review. Note, 338 00:18:37,240 --> 00:18:39,480 Speaker 1: I have actually seen this movie when I was younger. 339 00:18:40,119 --> 00:18:41,960 Speaker 1: You brought up the idea that a state with a 340 00:18:42,040 --> 00:18:44,960 Speaker 1: larger force would not have great pressure to accept having 341 00:18:45,040 --> 00:18:48,920 Speaker 1: single combat as a subscription, as the larger force had 342 00:18:48,960 --> 00:18:52,520 Speaker 1: the basic advantage. Here's one issue I see with that analysis. 343 00:18:52,560 --> 00:18:55,719 Speaker 1: This is stated after a nuclear war. Since a very 344 00:18:55,800 --> 00:18:58,399 Speaker 1: small group can use a nuclear weapon and destroy a 345 00:18:58,480 --> 00:19:01,680 Speaker 1: very large group, and since the damage to the civilian 346 00:19:01,720 --> 00:19:05,280 Speaker 1: population by nuclear weapons is also so massive and long lasting, 347 00:19:05,600 --> 00:19:08,480 Speaker 1: I think that most populations would enforce the ban on 348 00:19:08,520 --> 00:19:12,480 Speaker 1: war by fully refusing to participate. Even a very totalitarian 349 00:19:12,560 --> 00:19:15,560 Speaker 1: society can be brought to heal by a general public strike. 350 00:19:21,000 --> 00:19:23,040 Speaker 1: All right, here's another one. This one comes to us 351 00:19:23,040 --> 00:19:25,359 Speaker 1: from Sue, and this one is in regard to our 352 00:19:25,400 --> 00:19:28,919 Speaker 1: episode on the invention of the lock and key. Hello, guys, 353 00:19:28,960 --> 00:19:31,240 Speaker 1: I was listening to the listener mail where you mentioned 354 00:19:31,240 --> 00:19:33,840 Speaker 1: the idea that in video games you don't have universal 355 00:19:33,960 --> 00:19:36,800 Speaker 1: keys and are often guided in a way to navigate 356 00:19:36,840 --> 00:19:39,439 Speaker 1: you through the story. But I know a franchise that 357 00:19:39,480 --> 00:19:43,479 Speaker 1: goes against both concepts. In the Legend of Zelda series, 358 00:19:43,520 --> 00:19:46,760 Speaker 1: the main character Link collects small keys throughout the dungeons 359 00:19:46,760 --> 00:19:49,280 Speaker 1: in the game. While you generally get a small key 360 00:19:49,320 --> 00:19:51,600 Speaker 1: and then find a locked door shortly after, there are 361 00:19:51,600 --> 00:19:53,880 Speaker 1: a few levels in some of the games that allow 362 00:19:53,920 --> 00:19:56,760 Speaker 1: you to choose between more than one locked door. If 363 00:19:56,760 --> 00:19:59,560 Speaker 1: you don't break the game, you just end up completing 364 00:19:59,640 --> 00:20:02,600 Speaker 1: the in a slightly different order depending on your choices. 365 00:20:03,400 --> 00:20:06,199 Speaker 1: The only in dungeon exception most of the time is 366 00:20:06,280 --> 00:20:09,800 Speaker 1: the nightmare key or boss key, which is the only 367 00:20:09,880 --> 00:20:13,280 Speaker 1: one in a level that can unlock the boss in 368 00:20:13,359 --> 00:20:16,320 Speaker 1: the legend of Zelda Breath of the Wild. You also 369 00:20:16,440 --> 00:20:19,000 Speaker 1: don't even truly have to go through the story in 370 00:20:19,040 --> 00:20:22,719 Speaker 1: any particular order. Once you leave the starting area, you 371 00:20:22,760 --> 00:20:25,720 Speaker 1: can actually complete the four main dungeons in any order 372 00:20:25,760 --> 00:20:27,920 Speaker 1: that you like, or choose from what seems like ten 373 00:20:28,119 --> 00:20:31,880 Speaker 1: trillion side quests. But if you're really not feeling that, 374 00:20:31,920 --> 00:20:33,960 Speaker 1: you can technically race all the way to the final 375 00:20:34,000 --> 00:20:36,160 Speaker 1: boss from the start of the game. I've never tried 376 00:20:36,200 --> 00:20:39,200 Speaker 1: this myself, but it appears to be documented online by others. 377 00:20:39,880 --> 00:20:42,320 Speaker 1: Also about keys. My mom took my brother and I 378 00:20:42,440 --> 00:20:44,720 Speaker 1: shopping as kids, and when we came out of the 379 00:20:44,760 --> 00:20:47,840 Speaker 1: store we got to her hun day she was absolutely 380 00:20:48,080 --> 00:20:51,400 Speaker 1: appalled that someone somehow threw a bunch of trash inside. 381 00:20:51,760 --> 00:20:54,440 Speaker 1: Then she got this look on her face and screamed run. 382 00:20:54,600 --> 00:20:57,000 Speaker 1: Apparently that was her first reaction to realizing that her 383 00:20:57,040 --> 00:20:59,960 Speaker 1: car was parked down the lot further, but her key 384 00:21:00,200 --> 00:21:03,399 Speaker 1: unlocked an identical car that's sat closer to the store, 385 00:21:03,920 --> 00:21:08,000 Speaker 1: same wide Hondai. While we uh We still laugh about this, 386 00:21:08,160 --> 00:21:11,080 Speaker 1: but it's also creepy to think someone could be waiting 387 00:21:11,119 --> 00:21:14,000 Speaker 1: in your car because their key happens to work in 388 00:21:14,119 --> 00:21:18,560 Speaker 1: your car. Thanks for a great show. Oh that is 389 00:21:18,560 --> 00:21:22,280 Speaker 1: a harrowing experience. I've never actually unlocked somebody else's car, 390 00:21:22,320 --> 00:21:24,920 Speaker 1: but I have like gone up to other people's cars 391 00:21:24,960 --> 00:21:27,320 Speaker 1: that looked like mine. Oh yeah, I've I've done that 392 00:21:27,400 --> 00:21:28,840 Speaker 1: quite a bit. And they don't even have to look 393 00:21:29,280 --> 00:21:32,160 Speaker 1: exactly like mine. If it's just it's like a silver car, 394 00:21:32,280 --> 00:21:34,440 Speaker 1: I'll just go up to it and attempt to drive 395 00:21:34,480 --> 00:21:38,360 Speaker 1: it home. It's four wheels, basically close enough, close enough, 396 00:21:38,920 --> 00:21:41,040 Speaker 1: you know. I want to say also, I have not 397 00:21:41,160 --> 00:21:43,359 Speaker 1: had a lot of time for video games lately, but 398 00:21:43,440 --> 00:21:45,480 Speaker 1: the one game that I have been playing a little 399 00:21:45,480 --> 00:21:48,840 Speaker 1: bit often on is uh is Legend of Zelda Breath 400 00:21:48,840 --> 00:21:50,760 Speaker 1: of the Wild. I finally got into it. I wanted 401 00:21:50,800 --> 00:21:53,120 Speaker 1: to play it for a long time, and I would 402 00:21:53,160 --> 00:21:56,440 Speaker 1: just like to underline uh Sue's comments that's a Breath 403 00:21:56,480 --> 00:21:59,000 Speaker 1: of the Wild is a beautiful game. I mean, actually 404 00:21:59,040 --> 00:22:01,840 Speaker 1: beautiful it is. It's like a work of art. It's 405 00:22:01,920 --> 00:22:05,679 Speaker 1: just an absolutely wonderful piece of game design. This is 406 00:22:05,680 --> 00:22:09,040 Speaker 1: like a switch game or something. Yeah, um, there's something 407 00:22:09,280 --> 00:22:18,840 Speaker 1: deeply soothing about it. It's it's just excellent. Okay. This 408 00:22:18,920 --> 00:22:22,200 Speaker 1: next message comes from Bert, also about locks and keys. 409 00:22:22,359 --> 00:22:24,560 Speaker 1: Bert says, I'm meant to send this story after your 410 00:22:24,560 --> 00:22:26,760 Speaker 1: lock episode, but I listened while on the road and 411 00:22:26,800 --> 00:22:29,399 Speaker 1: forgot by the time I could. When I was in college, 412 00:22:29,400 --> 00:22:32,240 Speaker 1: I went to visit a friend. While they're his neighbor 413 00:22:32,280 --> 00:22:34,600 Speaker 1: locked himself out of his apartment for some reason I 414 00:22:34,640 --> 00:22:37,240 Speaker 1: can't remember. We decided to try all of our keys. 415 00:22:37,680 --> 00:22:40,919 Speaker 1: Mine opened his door for the heck of it. We 416 00:22:41,040 --> 00:22:44,600 Speaker 1: tried it on my friends door. It opened. We knocked 417 00:22:44,600 --> 00:22:47,600 Speaker 1: on his other side. Neighbor explained what was going on 418 00:22:47,760 --> 00:22:50,439 Speaker 1: and tried it on her door. It opened it. My 419 00:22:50,520 --> 00:22:54,120 Speaker 1: apartment key was a master key to their apartment building 420 00:22:54,280 --> 00:22:58,399 Speaker 1: or maybe complex. We called our respective apartment managers and 421 00:22:58,480 --> 00:23:01,880 Speaker 1: my lock was changed that night. All of these lock 422 00:23:01,920 --> 00:23:05,720 Speaker 1: and key emails filmed me with such confidence. And Bert 423 00:23:05,720 --> 00:23:07,920 Speaker 1: goes on to say, also a little note about Blue 424 00:23:07,920 --> 00:23:10,359 Speaker 1: Oyster Cult. I don't remember how that came up. Maybe 425 00:23:10,359 --> 00:23:12,560 Speaker 1: it was a message in a previous listener mail episode, 426 00:23:12,760 --> 00:23:15,280 Speaker 1: but Bert says on Blue Oyster Cult, check out the 427 00:23:15,359 --> 00:23:18,399 Speaker 1: live album E T I Live, I believe it is 428 00:23:18,480 --> 00:23:21,240 Speaker 1: the story you were talking about, maybe the one that's 429 00:23:21,280 --> 00:23:25,480 Speaker 1: like some kind of science fiction fantasy concept album. Uh. 430 00:23:25,520 --> 00:23:28,560 Speaker 1: And then Bird also says it includes more more Cock 431 00:23:28,680 --> 00:23:32,680 Speaker 1: songs that's Michael moorecock, such as black Blade Love the 432 00:23:32,720 --> 00:23:36,560 Speaker 1: Show Bert. Oh, that that must be uh, referencing to 433 00:23:36,760 --> 00:23:41,480 Speaker 1: l Rick's Sword. Yeah, I know nothing of this. Oh, 434 00:23:41,800 --> 00:23:44,000 Speaker 1: I mean I have. There are a whole bunch of Morelock. 435 00:23:44,280 --> 00:23:46,760 Speaker 1: I'm sorry, they're a whole bunch of more Cock Michael 436 00:23:46,760 --> 00:23:49,679 Speaker 1: more novels. I think he may have written about more 437 00:23:49,760 --> 00:23:52,160 Speaker 1: Locks at some point. He he wrote quite a bit. 438 00:23:52,560 --> 00:23:56,320 Speaker 1: I've only ever read the one, uh Elric book that 439 00:23:56,440 --> 00:23:58,239 Speaker 1: I have a bunch of the paperbacks sitting around here, 440 00:23:58,240 --> 00:24:00,639 Speaker 1: but I remember whichever one I read. I guess it 441 00:24:00,680 --> 00:24:03,280 Speaker 1: was el Rik of Melanimity. I remember it being a 442 00:24:03,320 --> 00:24:10,000 Speaker 1: lot of fun. Do you want to read this next 443 00:24:10,040 --> 00:24:13,359 Speaker 1: message from Matt? Yes, Matt says, Hey, guys, I just 444 00:24:13,400 --> 00:24:16,200 Speaker 1: wanted to chime in about keys. While as you would guess, 445 00:24:16,200 --> 00:24:18,240 Speaker 1: there is a lot of variants in number of keys 446 00:24:18,280 --> 00:24:20,679 Speaker 1: and key types and the evolution of how complex they 447 00:24:20,720 --> 00:24:23,680 Speaker 1: actually are. That's said, I'm going to be and I'm 448 00:24:23,680 --> 00:24:25,520 Speaker 1: going to be narrow minded. Here and just focus on 449 00:24:25,560 --> 00:24:28,240 Speaker 1: the Ford Motor Company. Ford was one of the worst 450 00:24:28,680 --> 00:24:31,840 Speaker 1: with key security for almost a century. Although today with 451 00:24:31,960 --> 00:24:34,879 Speaker 1: chips and modern tech your chances of finding a matching 452 00:24:34,920 --> 00:24:37,639 Speaker 1: car are pretty much zero. Back in the day that 453 00:24:37,720 --> 00:24:40,080 Speaker 1: was not the case. Though. In nineteen o eight Ford 454 00:24:40,119 --> 00:24:43,080 Speaker 1: had a total of two key types, so you had 455 00:24:43,080 --> 00:24:47,080 Speaker 1: a fifty fifty shot. Hold on, in nineteen o eight 456 00:24:47,080 --> 00:24:53,280 Speaker 1: they had keys at all. That's surprising, Yeah, okay, anyway, 457 00:24:53,320 --> 00:24:56,359 Speaker 1: it continues. In nineteen that was changed to three, and 458 00:24:56,359 --> 00:24:59,879 Speaker 1: then in nine Ford went to a nickel key instead 459 00:24:59,880 --> 00:25:03,320 Speaker 1: of brass and up the key total to a whopping five. 460 00:25:03,880 --> 00:25:05,560 Speaker 1: I know this was a long time ago, but in 461 00:25:05,640 --> 00:25:09,760 Speaker 1: nineteen seventy the total key types for Ford stood at sixteen. 462 00:25:10,400 --> 00:25:14,080 Speaker 1: This kept gradually rising in there were forty two versions 463 00:25:14,119 --> 00:25:16,960 Speaker 1: of the Ford Mustang key. The nineties brought about a 464 00:25:17,000 --> 00:25:20,000 Speaker 1: sharp rise in car theft and also security, and the 465 00:25:20,080 --> 00:25:23,000 Speaker 1: numbers rose sharply to the point where today your chances 466 00:25:23,000 --> 00:25:25,439 Speaker 1: of an identical key are pretty much zero. But just 467 00:25:25,520 --> 00:25:28,760 Speaker 1: thinking that you had a one and forty two shot 468 00:25:28,920 --> 00:25:31,840 Speaker 1: is rather funny. While Ford was far behind in key 469 00:25:31,880 --> 00:25:34,680 Speaker 1: tech for years, and other car makers actually did much better, 470 00:25:35,200 --> 00:25:37,360 Speaker 1: but I'm not trying to write a novella, so that's 471 00:25:37,400 --> 00:25:40,160 Speaker 1: just some fun info for you. Uh So, next time 472 00:25:40,200 --> 00:25:42,400 Speaker 1: you see an old Ford, just break out the old 473 00:25:42,520 --> 00:25:45,800 Speaker 1: key drawer and you might just get lucky. Thanks guys 474 00:25:45,880 --> 00:25:48,399 Speaker 1: for making life a little more interesting and helping me 475 00:25:48,400 --> 00:25:50,800 Speaker 1: seem smarter than I actually am. Have a wonderful day 476 00:25:50,800 --> 00:26:00,639 Speaker 1: and keep up the good work. Matt great Infomat. Thank you. Yeah. Okay, 477 00:26:00,680 --> 00:26:03,080 Speaker 1: we got one last message here. This one's from Aiden. 478 00:26:03,240 --> 00:26:05,959 Speaker 1: Aiden says, Hi, Robert and Joe. Oh and sorry, this 479 00:26:05,960 --> 00:26:08,399 Speaker 1: one is about our Vault episode on horseshoe crabs. But 480 00:26:08,440 --> 00:26:10,399 Speaker 1: actually Aiden says that, so I didn't really need to 481 00:26:10,440 --> 00:26:13,040 Speaker 1: pressage it. So Aiden says, I just heard your latest 482 00:26:13,080 --> 00:26:16,560 Speaker 1: Vault episode about horseshoe crabs. Um. As you were discussing 483 00:26:16,560 --> 00:26:20,600 Speaker 1: the extremely long history of horseshoe crabs and other stabilia morphs, 484 00:26:20,640 --> 00:26:23,320 Speaker 1: I was reminded of a recent episode where you discussed 485 00:26:23,440 --> 00:26:27,280 Speaker 1: search algorithms. One way to look at the evolutionary success 486 00:26:27,280 --> 00:26:29,520 Speaker 1: of horseshoe crabs could be in the terms of an 487 00:26:29,560 --> 00:26:34,679 Speaker 1: evolutionary search algorithm. Maybe they have stayed so consistent because 488 00:26:34,720 --> 00:26:38,359 Speaker 1: they are stuck in a local maximum of the evolutionary 489 00:26:38,400 --> 00:26:42,159 Speaker 1: fitness function. If we visualize this using the finding the 490 00:26:42,200 --> 00:26:44,520 Speaker 1: top of a mountain analogy that you mentioned in the 491 00:26:44,560 --> 00:26:48,440 Speaker 1: Search Algorithms episode, I think the horseshoe crabs mountain would 492 00:26:48,440 --> 00:26:51,600 Speaker 1: be very tall and very steep. The longevity of the 493 00:26:51,640 --> 00:26:55,280 Speaker 1: species would indicate that they have very high evolutionary fitness, 494 00:26:55,520 --> 00:26:58,240 Speaker 1: so I imagine their mountain peak is much taller than 495 00:26:58,280 --> 00:27:02,760 Speaker 1: that of many other organisms on Earth. Secondly, the consistency 496 00:27:02,800 --> 00:27:05,879 Speaker 1: of their body plan over such long time scales could 497 00:27:05,880 --> 00:27:08,879 Speaker 1: suggest that the slopes of their evolutionary mountain peak are 498 00:27:08,960 --> 00:27:12,560 Speaker 1: very steep. I e. For some reason, minor variations incur 499 00:27:12,640 --> 00:27:16,760 Speaker 1: a great evolutionary cost, preventing any changes from taking hold 500 00:27:16,800 --> 00:27:20,320 Speaker 1: within the population. It is also amusing to consider the 501 00:27:20,359 --> 00:27:23,680 Speaker 1: possibility that the humble horseshoe crab has not only found 502 00:27:23,680 --> 00:27:26,720 Speaker 1: a very stable local maximum, but has in fact found 503 00:27:26,760 --> 00:27:30,439 Speaker 1: the global maximum of the evolutionary fitness function, making it 504 00:27:30,480 --> 00:27:33,359 Speaker 1: the most fit organism on the planet or perhaps in 505 00:27:33,400 --> 00:27:36,159 Speaker 1: the universe. Maybe they're up there on the peak looking 506 00:27:36,200 --> 00:27:39,359 Speaker 1: down at all other organisms with their ten serious, little 507 00:27:39,400 --> 00:27:44,400 Speaker 1: compound eyes. Thanks for another great episode, best Aiden. That's 508 00:27:44,400 --> 00:27:46,640 Speaker 1: some some wonderful content there. I would like to suggest 509 00:27:46,800 --> 00:27:51,560 Speaker 1: to Planet Fitness that that you acquire the horseshoe crab 510 00:27:51,880 --> 00:27:54,680 Speaker 1: as a mascot immediately and have it featured on all 511 00:27:54,720 --> 00:27:56,919 Speaker 1: of your branding. Right, you are not fit until you're 512 00:27:56,960 --> 00:28:00,480 Speaker 1: a horseshoe crab. Keep keep pumping until you got those 513 00:28:00,600 --> 00:28:03,240 Speaker 1: uh what were their eyes made of? I've forgotten now 514 00:28:03,320 --> 00:28:07,240 Speaker 1: some some kind of interesting mineral eyes. Yeah, I mean 515 00:28:07,280 --> 00:28:08,680 Speaker 1: the horseshoe crab would make a good I mean, the 516 00:28:08,680 --> 00:28:11,760 Speaker 1: horseshoe crab is instantly identifiable. I think it would make 517 00:28:11,760 --> 00:28:15,760 Speaker 1: a great mascot for for any purpose, be at a logo, um, 518 00:28:15,880 --> 00:28:18,520 Speaker 1: for a business or a sports team mascot. I mean 519 00:28:18,520 --> 00:28:22,159 Speaker 1: that would be great white and horseshoe crabs. Yeah, somebody 520 00:28:22,200 --> 00:28:25,040 Speaker 1: out there must be. There's a there's a banana slugs, right, 521 00:28:25,080 --> 00:28:29,600 Speaker 1: somebody's gonna be horseshoe crabs. Yeah. Text somebody from that 522 00:28:29,600 --> 00:28:31,960 Speaker 1: that college sent some merch way back in the day. 523 00:28:32,000 --> 00:28:33,880 Speaker 1: They were like they were really proud of their their 524 00:28:33,960 --> 00:28:37,000 Speaker 1: bananas slugs, and banana slugs are great. They're having having 525 00:28:37,359 --> 00:28:39,120 Speaker 1: seen them in the wild now I could say they're 526 00:28:39,160 --> 00:28:42,200 Speaker 1: they're tremendous. Wait, who was like you see Santa Cruz 527 00:28:42,280 --> 00:28:44,760 Speaker 1: or something. I think so, you know, I'd have to 528 00:28:44,800 --> 00:28:46,360 Speaker 1: have to look it up. But yeah, you go into 529 00:28:46,520 --> 00:28:49,560 Speaker 1: into you know, into the big forest there, uh, and 530 00:28:49,680 --> 00:28:52,520 Speaker 1: you you see them there, and there their little you know, 531 00:28:52,640 --> 00:28:56,440 Speaker 1: yellow golden spirals there amid the leaf litter and all. 532 00:28:56,720 --> 00:28:59,520 Speaker 1: It's pretty great. Yeah, I was right. It's it's Santa Cruz. Yeah, 533 00:28:59,800 --> 00:29:02,240 Speaker 1: very a good mascot. But somebody out there, if you 534 00:29:02,240 --> 00:29:06,880 Speaker 1: don't already have uh the Horseshoe Crabs, go for it. Yeah. 535 00:29:06,920 --> 00:29:11,600 Speaker 1: I'm you know, I'm not a huge team sports uh person, 536 00:29:11,840 --> 00:29:15,840 Speaker 1: but I do enjoy whenever there is a a mascot 537 00:29:16,080 --> 00:29:18,560 Speaker 1: choice that kind of flips the script a little bit. 538 00:29:18,640 --> 00:29:22,840 Speaker 1: Like there there is a basketball team where they're the Wizards, right, 539 00:29:22,920 --> 00:29:27,000 Speaker 1: so they have an actual wash. Yeah. So I mean 540 00:29:27,040 --> 00:29:30,160 Speaker 1: I don't know to what extent they're really taking advantage 541 00:29:30,160 --> 00:29:32,040 Speaker 1: of that, but I think that's pretty cool where your 542 00:29:32,040 --> 00:29:37,760 Speaker 1: mascot is like an aged sorcerer or something. You know, Yeah, 543 00:29:37,920 --> 00:29:39,480 Speaker 1: there's so much you could do with that. And then 544 00:29:39,480 --> 00:29:41,920 Speaker 1: you got the raptors. I mean, that's really cool. I 545 00:29:41,960 --> 00:29:45,440 Speaker 1: remember being a kid and there was pressure to like football, 546 00:29:46,080 --> 00:29:49,080 Speaker 1: like NFL football, and I remember looking around and I'm like, well, 547 00:29:49,280 --> 00:29:52,240 Speaker 1: which of these mascots excites me. I guess it's the Vikings. 548 00:29:52,240 --> 00:29:55,920 Speaker 1: That's the only thing that is even halfway um, you know, 549 00:29:56,000 --> 00:29:58,080 Speaker 1: jumping out at me. So I think I bought a 550 00:29:58,280 --> 00:30:03,000 Speaker 1: Vikings pencil, um, and that was as far into NFL 551 00:30:03,040 --> 00:30:06,040 Speaker 1: post I got. Oh wait, no, if if no team 552 00:30:06,040 --> 00:30:09,560 Speaker 1: out there has yet adopted the slime mold as their mascot, 553 00:30:09,720 --> 00:30:13,440 Speaker 1: that's got to be that like the Peak. Yeah, they're 554 00:30:13,520 --> 00:30:17,280 Speaker 1: they're slow, but they're thorough, you know. Okay, should we 555 00:30:17,320 --> 00:30:19,520 Speaker 1: wrap it up there? Yeah, let's go ahead and wrap 556 00:30:19,560 --> 00:30:21,080 Speaker 1: it up for this week. But we'll be back next 557 00:30:21,080 --> 00:30:23,120 Speaker 1: week with more listener mail. So right in, you know, 558 00:30:23,240 --> 00:30:26,200 Speaker 1: right in in response to episodes that we've recorded, episodes 559 00:30:26,240 --> 00:30:29,400 Speaker 1: you think we should record new episodes, old episodes, your 560 00:30:29,440 --> 00:30:33,880 Speaker 1: responses to other listener mails you've heard, um, praise, corrections, 561 00:30:34,400 --> 00:30:36,959 Speaker 1: what have you. Uh, we'd love to hear from you. 562 00:30:37,080 --> 00:30:38,640 Speaker 1: And in the meantime, if you want to check out 563 00:30:38,640 --> 00:30:40,720 Speaker 1: other listener mail episodes. Other episodes of Stuff to Blow 564 00:30:40,800 --> 00:30:44,040 Speaker 1: your Mind are Friday episodes of Weird House Cinema or 565 00:30:44,080 --> 00:30:46,880 Speaker 1: those core episodes on Tuesdays and Thursdays. You can find 566 00:30:46,960 --> 00:30:49,160 Speaker 1: us wherever you get your podcasts. Just look for the 567 00:30:49,160 --> 00:30:51,959 Speaker 1: Stuff to Blow Your Mind podcast feed huge thanks as 568 00:30:52,000 --> 00:30:55,320 Speaker 1: always to our excellent audio producer Seth Nicholas Johnson. If 569 00:30:55,360 --> 00:30:57,240 Speaker 1: you'd like to get in touch with us with feedback 570 00:30:57,240 --> 00:30:59,440 Speaker 1: on this episode or any other, to suggest a topic 571 00:30:59,480 --> 00:31:01,240 Speaker 1: for the future, or just to say hello, you can 572 00:31:01,320 --> 00:31:04,120 Speaker 1: email us at contact at stuff to Blow your Mind 573 00:31:04,280 --> 00:31:13,600 Speaker 1: dot com. 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