WEBVTT - Listener Mail: Legend of a Mind

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of

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<v Speaker 1>My Heart Radio. Hey you welcome to Stuff to Blow

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<v Speaker 1>your Mind a listener mail. This is Robert Lamb and

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<v Speaker 1>this is Joe McCormick, and it's Monday, the day of

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<v Speaker 1>the week. We read back some messages you've sent into

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<v Speaker 1>the show account, which I always say at the end

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<v Speaker 1>of the episode, I'll say at the beginning this time

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<v Speaker 1>it is contact at stuff to Blow your Mind dot

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<v Speaker 1>com if you ever want to get in touch, maybe

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<v Speaker 1>a little bit more accessible up here, Rob did did

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<v Speaker 1>you and Seth do some kind of teenage Mutant Ninja

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<v Speaker 1>Turtles related uh listener mail episode? While I was out? Yes,

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<v Speaker 1>basically we I pulled up to listener mails. UH one

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<v Speaker 1>about elden Ring and Cauldron's Okay, are you have you

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<v Speaker 1>played that game? Do you have any Yeah? Yeah, I have.

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<v Speaker 1>With this Cauldron character, I think maybe I think I've

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<v Speaker 1>come across him once. Okay, I'm I'm progressing very slowly

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<v Speaker 1>in elden Ring. Okay, well, I guess it's this is

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<v Speaker 1>what you missed that one because it has spoilers in

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<v Speaker 1>it for elden Ring. But yeah, we also talked about

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<v Speaker 1>the new Teenage meeting Ninja Turtles arcade game Shredders Revenge,

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<v Speaker 1>So that was pretty fun, just a little reminiscent about

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<v Speaker 1>old Turtles games and Turtles movies and the cartoon a

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<v Speaker 1>little bit. Well, we got some feedback on the episode

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<v Speaker 1>coming up later on, but first, I guess we should

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<v Speaker 1>talk about document duplication because we got this message from Ian,

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<v Speaker 1>who has written in before to provide a lawyer's perspective

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<v Speaker 1>on several issues. Always nice to have, and Ian had

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<v Speaker 1>thoughts about originals and copies. So Rob, if you don't mind,

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<v Speaker 1>I'm gonna jump right into this one. Go for it.

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<v Speaker 1>Dear Rob and Joe. I was recently listening to your

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<v Speaker 1>two part episode about the history of duplicating documents, and

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<v Speaker 1>I was struck by your discussion of the fact that

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<v Speaker 1>in ancient times, the written record of an agreement or

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<v Speaker 1>other legally significant proclamation would sometimes embody the legal rights

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<v Speaker 1>in responsivelities associated with it, and that destroying the record

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<v Speaker 1>would be tantamount to terminating those rights and responsibilities. Yeah,

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<v Speaker 1>this was in the context of of practices in ancient

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<v Speaker 1>Greece having to do with like uh contracts and decrees

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<v Speaker 1>by rulers and treaties and so forth, that there was

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<v Speaker 1>a widespread assumption that in order to show that this

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<v Speaker 1>document was no no longer held true or was no

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<v Speaker 1>longer in force, you would have to destroy all the

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<v Speaker 1>copies of that document. Ian continues. You mentioned that in

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<v Speaker 1>modern times we do not think of written records in

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<v Speaker 1>this way, and for instance, would not have to destroy

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<v Speaker 1>an out of date employee handbook as a way of

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<v Speaker 1>showing it was no longer in force. You're absolutely correct

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<v Speaker 1>in most instances. But as an attorney, I am well

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<v Speaker 1>acquainted with one area where originals do carry the metaphysical

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<v Speaker 1>embodiment of abstract concepts they represent. That is the law.

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<v Speaker 1>The law, particularly trial procedure, is filled with instances where

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<v Speaker 1>originals have a level of importance that exceeds what society

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<v Speaker 1>in general gives them. With wills, for example, the original

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<v Speaker 1>truly embodies the wishes of the uh. Oh, I don't

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<v Speaker 1>know this word. Testator or testator, I'm gonna say testator, uh,

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<v Speaker 1>the person who made the will, to the extent that

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<v Speaker 1>if the testator voluntarily destroys the original will, it does

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<v Speaker 1>render that will null and void. And even if copies exist,

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<v Speaker 1>they are of no effect. So while a scene in

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<v Speaker 1>a movie with a character tearing up an iou may

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<v Speaker 1>not actually have any meaning. If they tear up a will,

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<v Speaker 1>it most certainly does. More generally, there is a principle

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<v Speaker 1>in courtroom procedure known as the best evidence rule, which

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<v Speaker 1>requires that the original of a document or a video

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<v Speaker 1>or audio recording, etcetera be presented rather than a copy.

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<v Speaker 1>A copy is only allowed if the original has been lost, destroyed,

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<v Speaker 1>or is otherwise unavailable. Even then you're not technically admit

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<v Speaker 1>the copy is direct evidence in its own right. It's

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<v Speaker 1>always the original that is legally relevant, and the copy

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<v Speaker 1>is merely admitted as evidence of what the contents of

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<v Speaker 1>the original were. So if so, if you have a

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<v Speaker 1>theft caught on security video and do not have access

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<v Speaker 1>to the original video, you may present a copy not

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<v Speaker 1>to prove that the accused committed the theft, but to

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<v Speaker 1>prove that the original video showed the accused committing the theft.

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<v Speaker 1>It's definitely a case of legal hair splitting, but as

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<v Speaker 1>a practical matter, copies are typically treated as simply admissible,

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<v Speaker 1>at least in my jurisdiction. But that is the technical

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<v Speaker 1>legal theory underlying that sort of evidence, and I suspected

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<v Speaker 1>dates back to a time when copies of documents were

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<v Speaker 1>uncommon or inexact. Yeah, this sounds like it would be

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<v Speaker 1>based on a world where copies may introduce changes or

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<v Speaker 1>errors as a as a regular matter of course, rather

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<v Speaker 1>than an era of digital duplication Inan goes On. Also

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<v Speaker 1>tangentially related to the legal realm, if you ever get

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<v Speaker 1>a speeding ticket, you may encounter a modern use of

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<v Speaker 1>carbon paper. Many police still write their tickets on a

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<v Speaker 1>stack of carbon paper, which yields the original ticket and

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<v Speaker 1>two copies for us locally, the bottom or pink copy

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<v Speaker 1>is given to the person who got the ticket, the

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<v Speaker 1>middle or green copy goes to the court, and the

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<v Speaker 1>original white copy goes to the local prosecutor. It has

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<v Speaker 1>always seemed odd to me that the copy that is

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<v Speaker 1>the hardest to read is the one given to the

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<v Speaker 1>person accused of the traffic violation. Uh. And then finally,

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<v Speaker 1>I'm gonna summarize Ian's last point, But it's an interesting

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<v Speaker 1>comparison between illuminated manuscripts, which we talked about in the

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<v Speaker 1>with relevance to the idea of fact simile, that sometimes

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<v Speaker 1>copying a document is not only accurately capturing the code

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<v Speaker 1>of its text, but literally capturing every element of the

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<v Speaker 1>design of each page, such as with you know, medieval

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<v Speaker 1>manuscripts that might have illustrations or beautiful calligraphy or something

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<v Speaker 1>like that. And Ian compares this to the novel House

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<v Speaker 1>of Leaves, which I think is a great point of comparison,

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<v Speaker 1>because that's a novel that is not just the code

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<v Speaker 1>of its text, but it is how each individual page appears,

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<v Speaker 1>because it's a lot many parts of that novel are

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<v Speaker 1>sort of weird sort of artifacts or imagery that they're

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<v Speaker 1>like documents as documents, not documents as just the text

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<v Speaker 1>of the document. Yeah, it's it's kind of it's kind

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<v Speaker 1>of a one of a kind book. Uh, quite a

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<v Speaker 1>rewarding experience, but yeah, difficult to compare to most other books.

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<v Speaker 1>I think you might be able to compare it to

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<v Speaker 1>like William Blake, you know, the Originals, where the poems

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<v Speaker 1>are associated with with paintings or illustrations. There's kind of

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<v Speaker 1>an appearance of the page that adds to the value

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<v Speaker 1>of the text. Yeah. Yeah, it's it's one of these

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<v Speaker 1>which you do have to read it in in that

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<v Speaker 1>original format. You can't, like I can't imagine reading it

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<v Speaker 1>on a an e book format or an audio book format,

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<v Speaker 1>and certainly, uh, there's been a lot of discussions about

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<v Speaker 1>any kind of film or TV adaptation, though apparently was

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<v Speaker 1>sort of in the works not too long ago. But

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<v Speaker 1>I don't think it went anywhere. I don't know how

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<v Speaker 1>that would work. That doesn't I think it seems unadaptable.

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<v Speaker 1>I think if memory serves, like the principle was this is,

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<v Speaker 1>this cannot be a complete adaptation. It has to be

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<v Speaker 1>something that is kind of auxiliary to it. So sort

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<v Speaker 1>of like a continuation of the House of Leaves project

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<v Speaker 1>um as opposed to a a film version offset project.

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<v Speaker 1>You know. Yeah, and then finally Ian says thank you

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<v Speaker 1>as always for your entertaining and lightning podcast. I'll leave

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<v Speaker 1>you with one final thought about modern infinite copying and distribution.

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<v Speaker 1>If you mark every email as important, then none of

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<v Speaker 1>them are what wise words and I agree, um so yeah,

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<v Speaker 1>a couple of comments on that. Number One. I have

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<v Speaker 1>in my life received a speeding ticket that was written

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<v Speaker 1>on carbon paper, and I the copy I got, I

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<v Speaker 1>could not tell you what it said. It was not text,

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<v Speaker 1>it was just squiggles. And I always wondered that if

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<v Speaker 1>I'd had the resources of the time to like take

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<v Speaker 1>it to court and fight it out. I wonder if

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<v Speaker 1>the fact that the copy I had was completely illegible

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<v Speaker 1>would have been able to get me out of that ticket.

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<v Speaker 1>I don't know, Yeah, I don't know. We'll have to

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<v Speaker 1>I'll have to ask for more more legal insight from

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<v Speaker 1>listeners on that one. But yeah, this was I guess.

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<v Speaker 1>I was a teenager at the time, and I got

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<v Speaker 1>it in a place different from where I lived, so

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<v Speaker 1>it just wasn't yeah, I could do really, I just

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<v Speaker 1>had to pay it, all right. This one comes to

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<v Speaker 1>us from Laney. Hey, Robin, Joe, my name is Laney

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<v Speaker 1>and I'm from cut Off, Louisiana, and you can say

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<v Speaker 1>it on air. I wanted to write into you about,

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<v Speaker 1>in effect simily episodes. Even on the first episode, I

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<v Speaker 1>kept waiting for you all to talk about carbon copies.

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<v Speaker 1>I had to laugh when Joe talked about carbon copies

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<v Speaker 1>in the twenty one century, because I still use them today.

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<v Speaker 1>I'm a middle school teacher, and our behavior Consequences sheets

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<v Speaker 1>are on carbon cop our behavior and fractions fall into

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<v Speaker 1>three categories. Recessed attentions, minor infractions, and major infractions. Major

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<v Speaker 1>infractions are done completely on the computer, but our recessed

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<v Speaker 1>attention forms and minor infraction forms are on carbon copy

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<v Speaker 1>paper handouts for recessed detentions and minor infractions. The original

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<v Speaker 1>copy is for the students to bring home and have

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<v Speaker 1>the parents signed. The first carbon copy goes to the

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<v Speaker 1>teacher who writes the infraction ticket to keep their records,

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<v Speaker 1>and the second carbon copy goes to the disciplinary and

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<v Speaker 1>at school still using them in two and I don't

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<v Speaker 1>see them going away since. Also I remember when I

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<v Speaker 1>realized the CC on email stood for carbon copy mind blown,

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<v Speaker 1>mind blown emoji. Thanks for the incredible work you do,

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<v Speaker 1>Lanni from Louisiana. I thought this email was either a

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<v Speaker 1>very interesting coincidence or somehow indicative of something in the zeitgeist.

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<v Speaker 1>That two major remaining uses for carbon paper that have

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<v Speaker 1>been mentioned by listeners have to do with punishment, speeding

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<v Speaker 1>tickets and disciplinary records. Also interesting that in the school

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<v Speaker 1>the offender gets the original copy, or at least their

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<v Speaker 1>parents do, and in the speeding ticket the offender gets

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<v Speaker 1>the worst least least fidelity uh fight. What's the adjective

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<v Speaker 1>version of fidelity? The least uh? The least good copy.

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<v Speaker 1>Have you Have you ever gotten carbon paper from a

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<v Speaker 1>school or is that another thing here? I'm trying to

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<v Speaker 1>remember the last time I received a carbon A lot

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<v Speaker 1>of times, you know, you get carbon copy on stuff

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<v Speaker 1>and it's, um, it's not important. It's something that's it's

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<v Speaker 1>almost instantly thrown away. UM. So I'm not sure if

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<v Speaker 1>they're still using it in terms of like place places

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<v Speaker 1>I've been going in, like the local school. I don't know.

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<v Speaker 1>All right, you're ready to move on to some responses

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<v Speaker 1>to Cauldron's. Oh yeah, Cauldron's it's the it's the flavor

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<v Speaker 1>of the month. Let's do it, okay. Uh, we got

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<v Speaker 1>a cool message from Michaela. I'm gonna summarize and paraphrase

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<v Speaker 1>a few parts of it. So Michaela begins by saying

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<v Speaker 1>some nice things about the show and by recommending we

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<v Speaker 1>check out an email newsletter called Dracula Daily, which is

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<v Speaker 1>an interesting concept. Basically from what I can tell, it's

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<v Speaker 1>that since Dracula is an epistolary novel, meaning you know,

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<v Speaker 1>it's made up of fictional letters, diary entrees, newspaper articles,

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<v Speaker 1>and so forth. But I'll have a date attached to them.

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<v Speaker 1>You can actually serve up the novel along its own timeline,

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<v Speaker 1>So subscribers to Dracula Daily apparently receive the individual parts

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<v Speaker 1>of the novel on the dates of the year that

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<v Speaker 1>those parts are written or published within the fictional timeline.

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<v Speaker 1>I like that idea. Yeah, yeah, that's an interesting idea.

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<v Speaker 1>But finally, MICHAELA had something to add about our discussion

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<v Speaker 1>of stone soup. So to briefly refresh on the concept

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<v Speaker 1>of the sound stoop sound stoop stone soup tail. Uh.

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<v Speaker 1>You know, the story is that like someone in the story,

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<v Speaker 1>maybe a soldier or a traveler or a beggar or

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<v Speaker 1>somebody crafty, comes into a town and they have no

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<v Speaker 1>food of their own, but they bring a pot and

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<v Speaker 1>they put some water in it, and they put a

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<v Speaker 1>stone in the pot and they start to boil it.

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<v Speaker 1>And then locals come around asking, hey, what are you

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<v Speaker 1>doing there? And they say, well, I'm making some stone soup.

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<v Speaker 1>It's it's gonna be delicious, but you know, I need

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<v Speaker 1>a little bit of garnish, right, there's one ingredient I

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<v Speaker 1>don't have. And uh, they say, would you happen to

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<v Speaker 1>have an onion? That would really make the stone soup perfect?

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<v Speaker 1>And then I'll share it with you, and the person says, well, sure,

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<v Speaker 1>I'll contribute one onion, and by that same strategy they

0:12:28.080 --> 0:12:31.199
<v Speaker 1>can get in some carrots and some garlic and some

0:12:31.320 --> 0:12:34.480
<v Speaker 1>herbs and some seasoning, some salt and pepper, and some

0:12:34.559 --> 0:12:37.600
<v Speaker 1>meats and stuff, with each person thinking well, I'm just

0:12:37.640 --> 0:12:39.520
<v Speaker 1>contributing a little tiny bit, and then I get some

0:12:39.559 --> 0:12:41.800
<v Speaker 1>of this delicious soup, and by the end you have

0:12:41.880 --> 0:12:44.720
<v Speaker 1>an actual soup that's full of nutrition and flavor that

0:12:44.800 --> 0:12:47.960
<v Speaker 1>was built with no starting ingredients. So I think the

0:12:48.000 --> 0:12:52.280
<v Speaker 1>story is mostly supposed to be a parable about resourcefulness

0:12:52.360 --> 0:12:56.760
<v Speaker 1>and sharing and communal activities and stuff. But uh Michaela

0:12:56.800 --> 0:13:00.800
<v Speaker 1>contributes a sort of literal interpretation of the story. She says,

0:13:00.920 --> 0:13:02.680
<v Speaker 1>I don't remember where I heard this, but there was

0:13:02.679 --> 0:13:05.480
<v Speaker 1>a version of the story where the stone itself actually

0:13:05.480 --> 0:13:09.360
<v Speaker 1>added flavor to the stone soup. The story was that

0:13:09.440 --> 0:13:11.680
<v Speaker 1>it was still a ruse, but the stone carried some

0:13:11.800 --> 0:13:14.960
<v Speaker 1>flavors from previous soups it had been in. Perhaps the

0:13:15.000 --> 0:13:17.839
<v Speaker 1>stones used back then also contributed to the flavor of

0:13:17.880 --> 0:13:20.040
<v Speaker 1>the soups they were used in, not just if they

0:13:20.080 --> 0:13:22.920
<v Speaker 1>had been used in a soup before, but from minerals

0:13:22.920 --> 0:13:25.840
<v Speaker 1>that would leach out, adding to the overall nutrition via

0:13:25.880 --> 0:13:28.760
<v Speaker 1>small doses of iron, calcium, or salt and the like.

0:13:29.160 --> 0:13:31.840
<v Speaker 1>I don't know how scientifically viable this is at all,

0:13:31.880 --> 0:13:35.120
<v Speaker 1>but it makes some sense in my head. Well, MICHAELA,

0:13:35.120 --> 0:13:37.880
<v Speaker 1>I looked this up, and sure enough, I found several

0:13:37.880 --> 0:13:41.319
<v Speaker 1>accounts of people actually claiming to have used or two

0:13:41.320 --> 0:13:44.640
<v Speaker 1>have known people who use stones in soup for different

0:13:44.640 --> 0:13:48.840
<v Speaker 1>reasons such as supposedly adding flavor or nutrition. And again,

0:13:49.280 --> 0:13:51.520
<v Speaker 1>like you, I can't vouch for this actually working to

0:13:51.559 --> 0:13:54.880
<v Speaker 1>add much flavor nutrition, but that was the reasoning, and

0:13:55.000 --> 0:13:57.319
<v Speaker 1>it seems like this was a practice in some Depression

0:13:57.400 --> 0:14:00.360
<v Speaker 1>era American cooking, like with the idea that if you

0:14:00.400 --> 0:14:02.640
<v Speaker 1>had a stone that was used in a pot that

0:14:02.679 --> 0:14:05.120
<v Speaker 1>cooked previous soup, you put that stone in the next

0:14:05.120 --> 0:14:08.079
<v Speaker 1>soup pot. It's like a way of adding extra flavor.

0:14:08.200 --> 0:14:10.559
<v Speaker 1>It just you know, but brings it from the last spot.

0:14:11.559 --> 0:14:14.480
<v Speaker 1>But MICHAELA also had some comments on our discussion of

0:14:14.559 --> 0:14:18.360
<v Speaker 1>the earliest cooking pots, of those Joeman ceramic cooking pots

0:14:18.679 --> 0:14:21.400
<v Speaker 1>having round bottoms rather than flat one. So some of

0:14:21.440 --> 0:14:24.520
<v Speaker 1>the earliest ceramic cooking vessels were actually things that wouldn't

0:14:24.560 --> 0:14:26.480
<v Speaker 1>stand up on their own. They either probably had to

0:14:26.520 --> 0:14:29.800
<v Speaker 1>be suspended over a fire or or held in some

0:14:29.880 --> 0:14:34.640
<v Speaker 1>kind of holding frame or something. So MICHAELA says, spherical

0:14:34.720 --> 0:14:37.160
<v Speaker 1>earthen pots could have a few advantages off the top

0:14:37.200 --> 0:14:39.720
<v Speaker 1>of my head, being that a sphere has the greatest

0:14:39.800 --> 0:14:43.360
<v Speaker 1>volume to surface area ratio, It could proportionally hold more

0:14:43.400 --> 0:14:46.840
<v Speaker 1>than a cylindrical pot, and it would retain heat for longer.

0:14:47.200 --> 0:14:49.400
<v Speaker 1>I can also imagine if you're putting stones in it

0:14:49.480 --> 0:14:51.720
<v Speaker 1>to heat it up, having a spherical shape would mean

0:14:51.760 --> 0:14:54.840
<v Speaker 1>the rocks would fall to the same central point, less

0:14:54.840 --> 0:14:58.600
<v Speaker 1>fishing around for them. That that last idea, That that's

0:14:58.640 --> 0:15:01.600
<v Speaker 1>interesting anyway, Kala says, feel free to read this on

0:15:01.720 --> 0:15:04.480
<v Speaker 1>listener mail, edit out whatever to make it fit. I

0:15:04.520 --> 0:15:07.400
<v Speaker 1>would be delighted and to make my like decade. I

0:15:07.440 --> 0:15:09.360
<v Speaker 1>would love to see you guys if you come to

0:15:09.520 --> 0:15:13.000
<v Speaker 1>the Twin Cities. Well, if we ever, if we're ever

0:15:13.040 --> 0:15:15.240
<v Speaker 1>on tour, we will certainly announce it ahead of time.

0:15:15.280 --> 0:15:17.440
<v Speaker 1>So yeah, if if we make it up that way,

0:15:17.560 --> 0:15:19.400
<v Speaker 1>you can be there. You can't help a thing back

0:15:19.440 --> 0:15:21.480
<v Speaker 1>of the stone soup thing though, and think, well, you

0:15:21.520 --> 0:15:24.840
<v Speaker 1>can also have certainly some magical thinking related the to

0:15:24.880 --> 0:15:27.720
<v Speaker 1>the idea that this stone was once in a really

0:15:27.760 --> 0:15:30.880
<v Speaker 1>good soup. If this stone were to be in your soup,

0:15:31.640 --> 0:15:34.880
<v Speaker 1>then surely years would be as delicious. Uh. In the

0:15:34.960 --> 0:15:36.560
<v Speaker 1>same way that you know, we've talked about this on

0:15:36.600 --> 0:15:39.160
<v Speaker 1>the show before, like ideas of say, um, you know,

0:15:39.200 --> 0:15:42.160
<v Speaker 1>treating a weapon to to cure the wound, sort of

0:15:42.360 --> 0:15:45.840
<v Speaker 1>a situation exactly. Uh. And it also makes me think

0:15:45.880 --> 0:15:48.720
<v Speaker 1>it could be a sort of magical version of the

0:15:48.800 --> 0:15:51.240
<v Speaker 1>idea of the infinite broth. I'm sure you've heard of.

0:15:51.360 --> 0:15:53.800
<v Speaker 1>You know, there are places that will just keep the

0:15:53.840 --> 0:15:57.320
<v Speaker 1>same pot of souper stew or broth bubbling for maybe

0:15:57.440 --> 0:16:00.280
<v Speaker 1>years at a time, and you'd be constantly taking parts

0:16:00.280 --> 0:16:02.360
<v Speaker 1>of it out to eat, but also adding to the

0:16:02.400 --> 0:16:05.040
<v Speaker 1>same pot. And uh and like they're I think there

0:16:05.040 --> 0:16:07.680
<v Speaker 1>are restaurants that do this. I can't remember where I've

0:16:07.680 --> 0:16:09.440
<v Speaker 1>read about this happening. I think I think this might

0:16:09.480 --> 0:16:12.160
<v Speaker 1>be a sort of Eastern phenomenon. But you just keep

0:16:12.240 --> 0:16:15.480
<v Speaker 1>the same pot going and uh. And I think the

0:16:15.520 --> 0:16:18.520
<v Speaker 1>idea is it just continually develops more and more complex

0:16:18.560 --> 0:16:21.800
<v Speaker 1>flavor over the years. Well, this reminds me though some

0:16:21.880 --> 0:16:25.480
<v Speaker 1>of the like the Irish and or Welsh smiths we

0:16:25.480 --> 0:16:28.120
<v Speaker 1>were looking at and talking about the cauldron as as

0:16:28.160 --> 0:16:32.880
<v Speaker 1>a source of infinite goodness. Perhaps that has some connections

0:16:32.880 --> 0:16:43.600
<v Speaker 1>to this as well. All right, let's go to another

0:16:43.600 --> 0:16:47.120
<v Speaker 1>one here. This one comes to us from Matt good Day.

0:16:47.160 --> 0:16:50.680
<v Speaker 1>Fellas really enjoyed the series and cauldrons. It was great

0:16:50.720 --> 0:16:53.040
<v Speaker 1>to hear so many insights about a significance of such

0:16:53.120 --> 0:16:56.920
<v Speaker 1>objects to Gaelic and Britonic cultures, as well as many

0:16:56.960 --> 0:17:01.040
<v Speaker 1>others mentioned. Discussions of cauldron esque ups and the communal

0:17:01.120 --> 0:17:04.879
<v Speaker 1>nature of cauldron's reminded me of the Gaelic and Gaelic

0:17:04.960 --> 0:17:10.399
<v Speaker 1>warning um um. They pronounced this wrong. Uh koatch, also

0:17:10.480 --> 0:17:14.880
<v Speaker 1>commonly known as quake, which I think is a Scots

0:17:15.000 --> 0:17:19.399
<v Speaker 1>version of the older Gaelic name a quat katch, is

0:17:19.440 --> 0:17:22.879
<v Speaker 1>a sort of ceremonial drinking vessel used for special occasions.

0:17:23.160 --> 0:17:26.120
<v Speaker 1>I've always pronounced it like quake, but I'm a full

0:17:26.160 --> 0:17:28.320
<v Speaker 1>blooded Canadian, so I leave it to our Scottish and

0:17:28.359 --> 0:17:34.280
<v Speaker 1>Irish cousins to clarify. So quake, uh kowatch, quatch quake Um.

0:17:35.119 --> 0:17:36.840
<v Speaker 1>I'm not not sure where to land on this one,

0:17:37.119 --> 0:17:41.679
<v Speaker 1>but not quatto, not quato. Anyway, my friends and I

0:17:41.760 --> 0:17:44.840
<v Speaker 1>have employed the We'll go with quake, since this is

0:17:44.840 --> 0:17:49.160
<v Speaker 1>in his voice to imbibe in a wee drum during

0:17:49.280 --> 0:17:53.040
<v Speaker 1>Robert Burns night suppers before COVID. Anyway, I believe they

0:17:53.040 --> 0:17:56.639
<v Speaker 1>are also used as part of wedding ceremonies. Despite getting

0:17:56.760 --> 0:17:59.800
<v Speaker 1>kilted up for my own betrothal, though my wife and

0:17:59.840 --> 0:18:02.080
<v Speaker 1>I did not share a drink from a quake at

0:18:02.080 --> 0:18:05.720
<v Speaker 1>our own ceremony, However, I have heard of others doing so.

0:18:06.400 --> 0:18:09.000
<v Speaker 1>I thought it was an interesting example, if not just

0:18:09.080 --> 0:18:11.800
<v Speaker 1>an extension of the discussion around the role of cauldron

0:18:11.840 --> 0:18:16.240
<v Speaker 1>like vessels in community relationships, feasting, etcetera. I imagine the

0:18:16.320 --> 0:18:18.639
<v Speaker 1>quake was an object for every day use back in

0:18:18.680 --> 0:18:21.640
<v Speaker 1>the day, but additionally would take on a ceremonial role

0:18:21.720 --> 0:18:26.000
<v Speaker 1>during events or cultural formalities uh such as when to

0:18:26.160 --> 0:18:29.840
<v Speaker 1>clan chieftains meet or when welcoming a stranger seeking shelter.

0:18:30.200 --> 0:18:32.760
<v Speaker 1>I don't have much direct knowledge myself. It just seems

0:18:32.800 --> 0:18:35.840
<v Speaker 1>logical given the nature of older clan based societies where

0:18:35.840 --> 0:18:39.800
<v Speaker 1>hospitality played such a critical role in community relations those

0:18:39.840 --> 0:18:43.199
<v Speaker 1>of the Gaelic world, just being one of many examples.

0:18:43.480 --> 0:18:46.679
<v Speaker 1>That's it. Just thought you might find it an interesting example. Matt,

0:18:47.080 --> 0:18:49.320
<v Speaker 1>that is interesting. I don't think I knew about this, uh,

0:18:49.400 --> 0:18:52.240
<v Speaker 1>this type of artifact though. Of course even in our

0:18:52.240 --> 0:18:55.920
<v Speaker 1>our episodes we talked about sometimes the gray line between

0:18:56.800 --> 0:19:00.560
<v Speaker 1>a bowl and a drinking vessel. Uh. Yeah, so there's

0:19:00.600 --> 0:19:02.800
<v Speaker 1>there's a certain amount of overlap. I think, yeah, what

0:19:02.960 --> 0:19:05.960
<v Speaker 1>is a grail? You know, you watch Monty Python. It's

0:19:05.960 --> 0:19:09.399
<v Speaker 1>a drinking cup, right, But but isn't a grail originally?

0:19:09.840 --> 0:19:12.520
<v Speaker 1>I mean something like cauldron or maybe in some context

0:19:12.560 --> 0:19:21.400
<v Speaker 1>it does, all right. This next message is in response

0:19:21.440 --> 0:19:24.080
<v Speaker 1>to a previous Listener mail where somebody wrote in about

0:19:24.080 --> 0:19:28.600
<v Speaker 1>a traditional Mongolian dish and some interesting methods of animal

0:19:28.640 --> 0:19:32.840
<v Speaker 1>butchery and cookery. So this is from m M. Says Hi,

0:19:33.000 --> 0:19:35.000
<v Speaker 1>Robert and Joe. A couple of weeks ago, somebody wrote

0:19:35.000 --> 0:19:38.280
<v Speaker 1>about a traditional Mongolian dish where a goat's skull and

0:19:38.440 --> 0:19:42.040
<v Speaker 1>hide is used as a sealed vessel for cooking other ingredients,

0:19:42.040 --> 0:19:45.639
<v Speaker 1>and you asked about other cuisine traditions that did something similar.

0:19:46.280 --> 0:19:48.960
<v Speaker 1>Here in Colombia, we use that method to cook the

0:19:49.040 --> 0:19:53.440
<v Speaker 1>traditional lechona Spanish for suckling pig. Although the modern version

0:19:53.560 --> 0:19:55.880
<v Speaker 1>uses a full grown animal instead of a small one.

0:19:56.280 --> 0:19:59.360
<v Speaker 1>It evolved from an older Spanish tradition that was basically

0:19:59.400 --> 0:20:03.199
<v Speaker 1>an oven cooked spatch cocked piglet. To make lacona, the

0:20:03.200 --> 0:20:06.320
<v Speaker 1>pigs meat, bones, and organs are removed, while keeping the

0:20:06.359 --> 0:20:09.320
<v Speaker 1>skin of the back and torso with the head intact.

0:20:09.760 --> 0:20:12.240
<v Speaker 1>The meat is cut in small pieces and stuffed back

0:20:12.320 --> 0:20:16.880
<v Speaker 1>into the skin, mixed with spices, onions, green peas, sometimes

0:20:16.960 --> 0:20:20.920
<v Speaker 1>rice because it's cheap but sacrilegious according to the traditional recipe,

0:20:21.440 --> 0:20:24.400
<v Speaker 1>and then you stitch the skin to seal everything inside,

0:20:24.560 --> 0:20:27.040
<v Speaker 1>bathe it in orange juice, and cook the whole thing

0:20:27.040 --> 0:20:29.639
<v Speaker 1>in a brick oven until the inside is done and

0:20:29.680 --> 0:20:32.520
<v Speaker 1>has infused with the drippings from the skin's fat, and

0:20:32.560 --> 0:20:35.080
<v Speaker 1>the outer layer is thin and crispy, similar to the

0:20:35.119 --> 0:20:38.560
<v Speaker 1>skin in peking duck. A single achona can feed a

0:20:38.600 --> 0:20:42.800
<v Speaker 1>small army or an average Colombian family gathering winky face emoji,

0:20:43.480 --> 0:20:46.080
<v Speaker 1>with each person getting a generous scoop of the stuffing

0:20:46.160 --> 0:20:49.640
<v Speaker 1>along with a square of the thin, crispy skin. It's very,

0:20:49.760 --> 0:20:51.919
<v Speaker 1>very good, despite some people finding the side of a

0:20:51.960 --> 0:20:55.359
<v Speaker 1>pig's head a bit grotesque in medieval but let's not

0:20:55.440 --> 0:20:57.959
<v Speaker 1>forget that you guys over there didn't just put the

0:20:58.000 --> 0:21:01.440
<v Speaker 1>herbs and spices inside. The thanks Giving turkey. You used

0:21:01.480 --> 0:21:03.480
<v Speaker 1>to put pretty much all of the things that are

0:21:03.520 --> 0:21:06.919
<v Speaker 1>now served as side dishes inside the bird, so they

0:21:06.920 --> 0:21:09.240
<v Speaker 1>would cook with it and mix with its own flavor.

0:21:09.560 --> 0:21:12.199
<v Speaker 1>Today's practice of cooking the turkey on its own and

0:21:12.240 --> 0:21:15.320
<v Speaker 1>the stuffings on the side came with the popularization of

0:21:15.359 --> 0:21:19.159
<v Speaker 1>stovetop cooking and the appearance of some sanitary concerns in

0:21:19.200 --> 0:21:22.080
<v Speaker 1>the seventies. Keep up the good work, Love the show

0:21:22.440 --> 0:21:26.239
<v Speaker 1>m in Columbia. That's that's good. That reminds me of

0:21:26.280 --> 0:21:29.440
<v Speaker 1>something in Martin Wallon's book on Squid. I talked to

0:21:29.520 --> 0:21:32.800
<v Speaker 1>him on a recent episode of the show. Uh talks

0:21:33.080 --> 0:21:37.320
<v Speaker 1>a little bit about ancient use of culinary use of

0:21:37.320 --> 0:21:39.639
<v Speaker 1>of squid and how you would have it stuffed with,

0:21:39.720 --> 0:21:42.640
<v Speaker 1>say sheep's brains, at least according to one ancient recipe,

0:21:43.119 --> 0:21:46.399
<v Speaker 1>but that later on its discussed that the squid body

0:21:46.760 --> 0:21:51.439
<v Speaker 1>is essentially the perfect the perfect thing to stuff anything into,

0:21:51.600 --> 0:21:53.720
<v Speaker 1>Like it's just the perfect body cavity to make and

0:21:53.800 --> 0:21:57.159
<v Speaker 1>it's like nature's ravioli. I guess so Nature's dumpling, or

0:21:57.240 --> 0:22:00.520
<v Speaker 1>you can think that the ocean's sausage casing in it's

0:22:00.560 --> 0:22:03.920
<v Speaker 1>a tube like a like a sheep intestine or whatever. Yeah,

0:22:03.960 --> 0:22:06.840
<v Speaker 1>but I'm I'm all for yes, keep the pigs head

0:22:06.880 --> 0:22:10.120
<v Speaker 1>on it. Maybe, yes, it could be a big growth,

0:22:10.119 --> 0:22:13.360
<v Speaker 1>tesque and a bit medieval, but you know, people need

0:22:13.400 --> 0:22:15.800
<v Speaker 1>to know where their their porks coming from. Look a look,

0:22:15.840 --> 0:22:23.760
<v Speaker 1>your your your your feast in the face. All right.

0:22:23.800 --> 0:22:26.120
<v Speaker 1>This one comes to us from Ben Ben Rights in Hello,

0:22:26.119 --> 0:22:28.159
<v Speaker 1>stuff to blow your mind people's. I was so stoked

0:22:28.160 --> 0:22:30.720
<v Speaker 1>to hear your last email bag episode. I started typing

0:22:30.760 --> 0:22:33.879
<v Speaker 1>this message before the episode was over. I've been following

0:22:33.880 --> 0:22:37.920
<v Speaker 1>the progress of this game, Teenage Muting Turtles Shredders Revenge, uh,

0:22:38.840 --> 0:22:42.440
<v Speaker 1>uh and um for over a year, and I'm well impressed. Uh.

0:22:42.480 --> 0:22:45.959
<v Speaker 1>And from here, he goes into a number of details

0:22:46.000 --> 0:22:51.360
<v Speaker 1>about his excitement for the game, his experience with the game. Uh.

0:22:51.400 --> 0:22:55.119
<v Speaker 1>Suffice to say he was very excited and very impressed.

0:22:55.640 --> 0:22:58.239
<v Speaker 1>But then he also mentioned Robert and Seth spoke of

0:22:58.280 --> 0:23:01.120
<v Speaker 1>the other teenage Meeting Ninja Turtle properties in the episode,

0:23:01.119 --> 0:23:03.480
<v Speaker 1>and I would like to throw in another couple. The

0:23:03.560 --> 0:23:07.040
<v Speaker 1>Last Ronan is a comic from I d W Publishing

0:23:07.040 --> 0:23:09.880
<v Speaker 1>that is being released as a trade paperback next month

0:23:09.960 --> 0:23:13.320
<v Speaker 1>and looks amazing. Also check out the most recent Teenage

0:23:13.359 --> 0:23:16.160
<v Speaker 1>Muting Ninja Turtles cartoon Rise of the Teenage Muting Ninja

0:23:16.200 --> 0:23:19.960
<v Speaker 1>Turtles available via Nickelodeon and Paramount Plus. Both are different

0:23:19.960 --> 0:23:24.600
<v Speaker 1>takes on the franchise on very opposite points of the spectrum.

0:23:24.680 --> 0:23:26.600
<v Speaker 1>Thank you for all the great content you make. I'm

0:23:26.640 --> 0:23:29.560
<v Speaker 1>glad I have stb y m as quote friends in

0:23:29.560 --> 0:23:35.000
<v Speaker 1>my ears. Keep up the great work, Cowabunga Dues Benjamin ps,

0:23:35.119 --> 0:23:40.040
<v Speaker 1>I'm a Raphael. What does that mean? If you're a Raphael?

0:23:40.080 --> 0:23:42.920
<v Speaker 1>Does that mean you're like moody and angry? Well, this

0:23:43.000 --> 0:23:46.280
<v Speaker 1>is one thing. Seth and I discussed that if you

0:23:46.320 --> 0:23:47.920
<v Speaker 1>have to select a turtle to be in one of

0:23:47.960 --> 0:23:51.440
<v Speaker 1>these games. Uh, there's the discussion that does this say

0:23:51.480 --> 0:23:54.160
<v Speaker 1>something about me? Uh? So Seth and I are both

0:23:54.200 --> 0:23:56.280
<v Speaker 1>Donna Donna Tello's I don't know if you have a

0:23:56.320 --> 0:23:58.560
<v Speaker 1>gut answer to which turtle you are, which one you

0:23:58.560 --> 0:24:01.600
<v Speaker 1>would select. I think I was also a Donna Tello,

0:24:01.680 --> 0:24:04.360
<v Speaker 1>But I don't know if that's psychologically revealing. I think

0:24:04.359 --> 0:24:07.840
<v Speaker 1>it was just because I regarded their weapons and thought

0:24:07.880 --> 0:24:10.320
<v Speaker 1>that his bow staff had the longest reach, which was

0:24:10.400 --> 0:24:14.240
<v Speaker 1>true in that really hard side scrolling in the S game. Ah. Well,

0:24:14.680 --> 0:24:16.240
<v Speaker 1>it helps to in this game as well. He does

0:24:16.320 --> 0:24:19.080
<v Speaker 1>have very long reach with it. My son, by the way,

0:24:19.200 --> 0:24:22.280
<v Speaker 1>is Rafael. So there you go. The other thing. I

0:24:22.320 --> 0:24:26.119
<v Speaker 1>did look up this this. Yeah, I mean Rafael in

0:24:26.119 --> 0:24:28.960
<v Speaker 1>their teenage years, you gotta watch out. Yeah, well Rafa

0:24:29.000 --> 0:24:31.320
<v Speaker 1>Rafael has got some some good news in that game. Uh.

0:24:31.400 --> 0:24:33.199
<v Speaker 1>This is the last Ronan. I did look up, and

0:24:33.240 --> 0:24:34.840
<v Speaker 1>it does look kind of interesting it. I think it's

0:24:34.920 --> 0:24:38.240
<v Speaker 1>like a futuristic situation where there's only one Turtle left,

0:24:38.920 --> 0:24:41.800
<v Speaker 1>uh kind of deal, and he's having to fight the powers,

0:24:41.920 --> 0:24:44.320
<v Speaker 1>the d and so forth. That's interesting. So I wonder

0:24:44.480 --> 0:24:47.840
<v Speaker 1>what Benjamin means here about saying the Last Ronan and

0:24:47.840 --> 0:24:50.720
<v Speaker 1>and Rise of the Turtles or opposites. I assume he

0:24:50.760 --> 0:24:53.359
<v Speaker 1>means like one is very dark and one is more

0:24:53.480 --> 0:24:55.960
<v Speaker 1>light and fun. Yeah, I think one is still for

0:24:56.040 --> 0:24:58.520
<v Speaker 1>the kids and one is for the more of the

0:24:58.640 --> 0:25:02.159
<v Speaker 1>you know, the not necessarily grown up audience. But you

0:25:02.160 --> 0:25:04.680
<v Speaker 1>know that the edge or comic book content I'm imagining,

0:25:04.800 --> 0:25:06.840
<v Speaker 1>which I think that has roots back to some of

0:25:06.840 --> 0:25:10.480
<v Speaker 1>the original uh comic book stuff regarding the teenage mutant

0:25:10.520 --> 0:25:13.600
<v Speaker 1>Ninja Turtles. Are you ready? Could could you? Or maybe

0:25:13.600 --> 0:25:15.480
<v Speaker 1>you and Seth take a stab at a couple of

0:25:15.600 --> 0:25:18.359
<v Speaker 1>random Turtles questions that popped into my head. They're both

0:25:18.400 --> 0:25:21.639
<v Speaker 1>about fashion in the Tin Tinja Turtles. Okay, so the

0:25:21.680 --> 0:25:24.840
<v Speaker 1>first one is, are Bebop and rock Steady supposed to

0:25:24.920 --> 0:25:28.919
<v Speaker 1>code as punks? Like Bebop's got the mohawk and the

0:25:28.920 --> 0:25:32.760
<v Speaker 1>nose ring and the fashion glasses. Is he supposed to

0:25:32.800 --> 0:25:35.359
<v Speaker 1>be a punk or is that just like as just

0:25:35.560 --> 0:25:38.520
<v Speaker 1>random uh stuff to to make him look cool? And

0:25:38.560 --> 0:25:39.959
<v Speaker 1>if he is supposed to be a punk, or if

0:25:39.960 --> 0:25:43.560
<v Speaker 1>they're both supposed to be punks, are they like, are

0:25:43.600 --> 0:25:46.000
<v Speaker 1>they into the music or did they be? Were they

0:25:46.000 --> 0:25:50.480
<v Speaker 1>transformed into punks after being exposed to the ooze? Could

0:25:50.560 --> 0:25:53.359
<v Speaker 1>they have become surfers or goths? What's the what's the

0:25:53.359 --> 0:25:55.480
<v Speaker 1>origin on this? Here? Well, Seth what and I have

0:25:55.520 --> 0:25:58.399
<v Speaker 1>to chime in? But my recollection on this is that

0:25:58.480 --> 0:26:02.199
<v Speaker 1>they were human beings already belonged to these subcultures and

0:26:02.200 --> 0:26:05.800
<v Speaker 1>then they got used and transformed. But maybe I'm wrong

0:26:05.800 --> 0:26:08.280
<v Speaker 1>on that. Maybe they were an actual rhino and an

0:26:08.320 --> 0:26:11.520
<v Speaker 1>actual pig of some sort. Oh, Okay, I think I'm

0:26:11.560 --> 0:26:14.520
<v Speaker 1>going more with like the Ninja Turtles movie too, where

0:26:14.520 --> 0:26:17.640
<v Speaker 1>you just start with regular animals and then they're transformed

0:26:17.640 --> 0:26:20.159
<v Speaker 1>into human forms, but if they started as humans, that

0:26:20.200 --> 0:26:23.399
<v Speaker 1>would make way more sense. Okay, here's what I know. Okay,

0:26:23.440 --> 0:26:27.520
<v Speaker 1>hello everyone, it's out here. Um So, if you watch

0:26:27.600 --> 0:26:30.120
<v Speaker 1>the animated series. Now I know all of the series,

0:26:30.160 --> 0:26:33.359
<v Speaker 1>whether it's the comics, the movies, the animated series, et cetera,

0:26:33.440 --> 0:26:37.719
<v Speaker 1>they each have slightly different timelines. But picture those street

0:26:37.760 --> 0:26:43.119
<v Speaker 1>punks from Jason Takes Manhattan, Okay, the ones where it's like, gosh,

0:26:43.280 --> 0:26:46.240
<v Speaker 1>isn't New York or dirty filthy city? All these kids,

0:26:46.320 --> 0:26:49.600
<v Speaker 1>we don't understand where they're coming from. They're wearing crazy fashions.

0:26:49.600 --> 0:26:53.080
<v Speaker 1>What's with this? If you see pictures of bebop and

0:26:53.160 --> 0:26:57.160
<v Speaker 1>rock study before they mutate, that's exactly what they look like.

0:26:57.600 --> 0:27:02.879
<v Speaker 1>Those like filthy you know, nineteen seventies, nineteen eighties street

0:27:02.960 --> 0:27:04.960
<v Speaker 1>kids in New York. That that that that was our

0:27:04.960 --> 0:27:08.000
<v Speaker 1>five very Warriors, esk. You know they are there are

0:27:08.080 --> 0:27:11.159
<v Speaker 1>punk slash heavy metal criminals, as would appear in a

0:27:11.240 --> 0:27:14.240
<v Speaker 1>movie made by people who don't really understand these music

0:27:14.320 --> 0:27:18.880
<v Speaker 1>genres exactly that they there are mainstream cultures bastardizations of

0:27:18.920 --> 0:27:23.240
<v Speaker 1>these subcultures, and so therefore, yes they are punk. Yes

0:27:23.280 --> 0:27:26.040
<v Speaker 1>they are heavy metal, but only in the regard that

0:27:26.119 --> 0:27:28.600
<v Speaker 1>like a forty year old man who is writing a

0:27:28.720 --> 0:27:33.520
<v Speaker 1>children's cartoon show under sticking these concepts very good. I've

0:27:33.520 --> 0:27:35.920
<v Speaker 1>got a second question. Are you ready? I'm ready? Okay.

0:27:37.280 --> 0:27:41.440
<v Speaker 1>Also about fashion in Ninja Turtles, can anyone explain why

0:27:41.480 --> 0:27:44.920
<v Speaker 1>the reporter April O'Neil has classically been depicted wearing an

0:27:44.960 --> 0:27:48.399
<v Speaker 1>all yellow jumpsuit? Is that just random or is this

0:27:48.480 --> 0:27:52.600
<v Speaker 1>an outfit associated with TV journalism in some context that

0:27:52.640 --> 0:27:55.520
<v Speaker 1>I don't know that I'm not aware of. I have

0:27:55.600 --> 0:27:58.800
<v Speaker 1>my interpretation. How about how about you, Robert? Do you

0:27:58.800 --> 0:28:01.120
<v Speaker 1>do have a word on this? I never really thought

0:28:01.119 --> 0:28:04.879
<v Speaker 1>about it, but uh, I mean a good jumpsuit, A

0:28:04.920 --> 0:28:07.960
<v Speaker 1>jumpsuit is a good look, so I never right yellow.

0:28:08.000 --> 0:28:10.080
<v Speaker 1>I mean you could like super visible. I guess like

0:28:10.119 --> 0:28:13.360
<v Speaker 1>you're not. Here's Here's always been my interpretation. I bet

0:28:13.400 --> 0:28:16.399
<v Speaker 1>there's a real reason somewhere deep and like you know,

0:28:16.480 --> 0:28:19.600
<v Speaker 1>the the red conning of the Ninja Turtle world, I

0:28:19.640 --> 0:28:22.119
<v Speaker 1>always figured it was to let us know as the

0:28:22.160 --> 0:28:25.080
<v Speaker 1>audience that this is an action oriented woman, that she

0:28:25.200 --> 0:28:26.600
<v Speaker 1>is going to get out there and she's going to

0:28:26.720 --> 0:28:29.320
<v Speaker 1>run around, She's gonna do some stuff and then in

0:28:29.400 --> 0:28:33.040
<v Speaker 1>addition to that, this part is probably the childhood speculation.

0:28:33.440 --> 0:28:35.879
<v Speaker 1>The only yellow clothes that I would see as a

0:28:35.960 --> 0:28:38.720
<v Speaker 1>kid would be like a yellow like rain suit. So

0:28:38.800 --> 0:28:42.240
<v Speaker 1>I was assumed that she was like basically environment ready.

0:28:42.280 --> 0:28:44.120
<v Speaker 1>She could run down into the sewers. She could be

0:28:44.120 --> 0:28:46.479
<v Speaker 1>out on a dirty street and she could you know,

0:28:46.800 --> 0:28:50.280
<v Speaker 1>just you know, just just just just stay dry, mobile,

0:28:50.640 --> 0:28:54.360
<v Speaker 1>you know, well protected and in this in this jumpsuite.

0:28:55.040 --> 0:28:57.120
<v Speaker 1>I know what you mean. Actually, when I was a kid,

0:28:57.160 --> 0:29:00.440
<v Speaker 1>I think the closest way I had to make sense

0:29:00.440 --> 0:29:01.959
<v Speaker 1>of that was that it looks kind of like a

0:29:02.080 --> 0:29:06.800
<v Speaker 1>radiation suit. M hmm. It does give her like a

0:29:06.840 --> 0:29:10.720
<v Speaker 1>sense of official belonging, like she's you until it is

0:29:10.720 --> 0:29:13.200
<v Speaker 1>almost like a uniform, like I am supposed to be here,

0:29:13.200 --> 0:29:16.480
<v Speaker 1>I am here on official business, I am a reporter. Well,

0:29:16.520 --> 0:29:19.000
<v Speaker 1>I think we should bring that back the TVs TV

0:29:19.120 --> 0:29:23.480
<v Speaker 1>journalists on the scene now, full body, yellow jumpsuit. Okay,

0:29:23.480 --> 0:29:30.640
<v Speaker 1>thanks for your input, seth Rob. Do you want to

0:29:30.640 --> 0:29:34.520
<v Speaker 1>tackle one more message here? How about how about doing

0:29:34.560 --> 0:29:36.480
<v Speaker 1>this one about weird hout cinema? All right, this one

0:29:36.480 --> 0:29:39.160
<v Speaker 1>comes to us from James. James says, hello again, gents,

0:29:39.640 --> 0:29:42.040
<v Speaker 1>So I don't remember what James said last time, but

0:29:42.120 --> 0:29:46.280
<v Speaker 1>now he's saying stuff again. Um. I was excited to

0:29:46.280 --> 0:29:49.840
<v Speaker 1>see returned to the expansive collection of classic horror flis

0:29:49.920 --> 0:29:53.040
<v Speaker 1>referenced by The Misfits on your recent episode of Weird

0:29:53.040 --> 0:29:55.760
<v Speaker 1>House Cinema covering a Fiend without a Face. Well that'

0:29:55.760 --> 0:30:00.000
<v Speaker 1>saw that James was someone who wrote in about the Misfits.

0:30:01.400 --> 0:30:04.040
<v Speaker 1>James continues, I immediately felt a sense of obligation to

0:30:04.040 --> 0:30:07.080
<v Speaker 1>seek out a used VHS copy on eBay and re

0:30:07.240 --> 0:30:10.480
<v Speaker 1>listen to the podcast after viewing it. Apologies for my

0:30:10.560 --> 0:30:14.200
<v Speaker 1>late email about this topic. Shipping took a while. Overall,

0:30:14.360 --> 0:30:16.800
<v Speaker 1>I thoroughly enjoyed both the movie and You're Hilarious in

0:30:16.840 --> 0:30:19.880
<v Speaker 1>depth analysis of the film, those sound effects were truly

0:30:19.920 --> 0:30:22.760
<v Speaker 1>something else, and I still ponder the folly work used

0:30:22.760 --> 0:30:27.000
<v Speaker 1>to produce the walking through the kicks cereal while slurping

0:30:27.040 --> 0:30:30.760
<v Speaker 1>noodle soup monster sounds. While the first two thirds of

0:30:30.800 --> 0:30:33.000
<v Speaker 1>the film did have me asking when are they going

0:30:33.040 --> 0:30:36.200
<v Speaker 1>to get to the fireworks factory, the climactic scenes at

0:30:36.200 --> 0:30:38.800
<v Speaker 1>the end made the whole experience well worth it. The

0:30:38.880 --> 0:30:42.760
<v Speaker 1>obviously dated, yet surprisingly good and gory stop motion animation

0:30:42.800 --> 0:30:45.880
<v Speaker 1>Battles left me yearning for a video game adaptation of

0:30:46.000 --> 0:30:50.400
<v Speaker 1>this schlocky old Jim Oh, that would be great. Yes, yeah,

0:30:50.440 --> 0:30:52.280
<v Speaker 1>I can, as long as you focused on again, the

0:30:52.360 --> 0:30:55.160
<v Speaker 1>last thirteen minutes of the film, don't. I guess you

0:30:55.160 --> 0:30:57.360
<v Speaker 1>could do a role playing sort of a thing with

0:30:57.400 --> 0:30:59.480
<v Speaker 1>the rest of the movie. I guess you could, or

0:30:59.840 --> 0:31:02.000
<v Speaker 1>I feel like it would be a great opportunity for

0:31:02.040 --> 0:31:05.280
<v Speaker 1>one of those side scroller movie adaptation video games that's

0:31:05.320 --> 0:31:07.479
<v Speaker 1>full of things that are not in the movie at all. Like,

0:31:07.560 --> 0:31:10.520
<v Speaker 1>so you play a guy jumping on platforms with the

0:31:10.520 --> 0:31:13.400
<v Speaker 1>pistol and there's brains flying at you. But then there's like,

0:31:13.440 --> 0:31:15.320
<v Speaker 1>I don't know, you know, clowns popping up out of

0:31:15.360 --> 0:31:18.120
<v Speaker 1>trash cans to bite you or something. That's how all

0:31:18.160 --> 0:31:20.720
<v Speaker 1>those those movie games were. They had stuff that was

0:31:20.760 --> 0:31:22.720
<v Speaker 1>never in the movie. Well, we know what the power

0:31:22.760 --> 0:31:24.840
<v Speaker 1>up would be in the game, that's for sure. Oh,

0:31:25.080 --> 0:31:27.400
<v Speaker 1>Ben's a drain, right, Yeah, you have to keep popping

0:31:27.400 --> 0:31:29.200
<v Speaker 1>those bensa drains in order to keep up with the

0:31:29.240 --> 0:31:34.080
<v Speaker 1>brain monsters. Yeah, all right, Well, James continues Random Tangent.

0:31:34.520 --> 0:31:37.040
<v Speaker 1>In a previous episode, one of you mentioned a friends

0:31:37.120 --> 0:31:40.760
<v Speaker 1>band doing a bluegrass cover of the Misfits Astro Zombies,

0:31:41.040 --> 0:31:43.680
<v Speaker 1>and this song has coincidentally been a staple in my

0:31:43.720 --> 0:31:47.600
<v Speaker 1>own solo acoustic open mic set for years. Smiley Face,

0:31:47.680 --> 0:31:50.880
<v Speaker 1>I'll start working on Fiend without a Face next. Perhaps

0:31:50.880 --> 0:31:53.720
<v Speaker 1>I'll try to send a recording someday. As always, I

0:31:53.720 --> 0:31:56.440
<v Speaker 1>am really enjoying your pod and appreciate the diversity of

0:31:56.440 --> 0:31:59.360
<v Speaker 1>topics and themes you cover. After the Ninja Turtles chat

0:31:59.400 --> 0:32:01.280
<v Speaker 1>with Seth, I'll have to seek out that new beat

0:32:01.360 --> 0:32:05.320
<v Speaker 1>him up game soon too, cheers James, Thank you, James.

0:32:05.720 --> 0:32:08.080
<v Speaker 1>All right, Well, we're gonna go ahead close up the

0:32:08.080 --> 0:32:10.160
<v Speaker 1>mail bag there, but we'd love to hear from everyone

0:32:10.200 --> 0:32:14.320
<v Speaker 1>out there. Uh So, right in you can find our

0:32:14.320 --> 0:32:16.680
<v Speaker 1>listener mail episodes on Mondays and the Stuff to Blow

0:32:16.720 --> 0:32:21.560
<v Speaker 1>Your Mind podcast feed Uh yeah, so right in past episodes,

0:32:21.560 --> 0:32:25.160
<v Speaker 1>current episodes, future episodes. Anything's fair game Huge thanks as

0:32:25.200 --> 0:32:29.120
<v Speaker 1>always to our excellent audio producer Seth Nicholas Johnson. Uh.

0:32:29.160 --> 0:32:30.640
<v Speaker 1>If you would like to get in touch with us

0:32:30.640 --> 0:32:33.200
<v Speaker 1>with feedback on this episode or any other, to suggest

0:32:33.200 --> 0:32:34.920
<v Speaker 1>a topic for the future, or just to say hello,

0:32:35.040 --> 0:32:37.560
<v Speaker 1>you can email us at contact at stuff to Blow

0:32:37.600 --> 0:32:47.200
<v Speaker 1>your Mind dot com. Stuff to Blow Your Mind is

0:32:47.240 --> 0:32:49.840
<v Speaker 1>a production of I heart Radio. For more podcasts for

0:32:49.920 --> 0:32:52.960
<v Speaker 1>my heart Radio, visit the i heart Radio app, Apple podcasts,

0:32:53.040 --> 0:32:54.800
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