1 00:00:02,960 --> 00:00:05,280 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of 2 00:00:05,360 --> 00:00:10,920 Speaker 1: My Heart Radio. Hey, welcome to Stuff to Blow your 3 00:00:10,920 --> 00:00:14,760 Speaker 1: Mind Listener Mail. My name is Robert Lamb and I'm 4 00:00:14,840 --> 00:00:17,200 Speaker 1: Joe McCormick. And if you haven't noticed, there's a bit 5 00:00:17,239 --> 00:00:20,680 Speaker 1: of a scheduling reversal this week. That's just one of 6 00:00:20,720 --> 00:00:23,200 Speaker 1: the things that happens every now and then these these days. 7 00:00:23,239 --> 00:00:26,239 Speaker 1: So I think this is the listener Mail episode that 8 00:00:26,239 --> 00:00:28,639 Speaker 1: would normally go in the Monday slot. You're going to 9 00:00:28,680 --> 00:00:31,440 Speaker 1: be hearing it on a Tuesday. But but we'll be 10 00:00:31,480 --> 00:00:34,959 Speaker 1: back with our regular core episodes on Wednesday and Thursday 11 00:00:35,000 --> 00:00:38,519 Speaker 1: of this week. Okay, housekeeping done, Robert, You ready to 12 00:00:38,640 --> 00:00:46,840 Speaker 1: jump into the mail bag, Let's do it. Okay, maybe 13 00:00:46,880 --> 00:00:50,360 Speaker 1: I should start with this message from Eric about the 14 00:00:50,479 --> 00:00:53,920 Speaker 1: artifact on the sugar light. Eric says, good morning, gentlemen. 15 00:00:54,280 --> 00:00:56,800 Speaker 1: Here I am to bug you again. Eric, I can't 16 00:00:56,800 --> 00:00:58,600 Speaker 1: remember what you bugged us about in the past, but 17 00:00:58,640 --> 00:01:03,640 Speaker 1: I'll take your word for it. Eric says, why in movies, cartoons, anime, etcetera, 18 00:01:04,000 --> 00:01:08,080 Speaker 1: our radiation and nuclear reactors always portrayed as having a 19 00:01:08,319 --> 00:01:13,839 Speaker 1: green glow. Cherenkov radiation typically produces a blue glow. Eric 20 00:01:14,640 --> 00:01:17,040 Speaker 1: and that's the whole question. I think this is really 21 00:01:17,040 --> 00:01:20,480 Speaker 1: good because when you see, uh see like a radioactive 22 00:01:20,480 --> 00:01:22,800 Speaker 1: waste or stuff of the nuclear plan on the Simpsons, 23 00:01:22,840 --> 00:01:25,240 Speaker 1: it's always green, right, But if you actually look at 24 00:01:25,280 --> 00:01:28,199 Speaker 1: the glow emanating from say the water, the cooling water 25 00:01:28,319 --> 00:01:31,039 Speaker 1: around a nuclear reactor, there is a glow, but it 26 00:01:31,160 --> 00:01:34,400 Speaker 1: is blue. It's that blue Cherenkov light. But I do 27 00:01:34,520 --> 00:01:37,119 Speaker 1: think I have a good guess about where the green 28 00:01:37,240 --> 00:01:40,360 Speaker 1: glow thing comes from. And this actually I think briefly 29 00:01:40,440 --> 00:01:44,800 Speaker 1: came up in our episodes about halo imagery, unless I'm mistaken, 30 00:01:44,880 --> 00:01:48,000 Speaker 1: but but this is my best guess. I think it 31 00:01:48,160 --> 00:01:51,639 Speaker 1: is probably based on the history of radio luminescent paint. 32 00:01:52,320 --> 00:01:54,560 Speaker 1: Uh So, in the early twentieth century you had these 33 00:01:54,560 --> 00:01:57,360 Speaker 1: famous paints like un Dark was the trade name of 34 00:01:57,400 --> 00:02:00,000 Speaker 1: one of them, but there were a number of radio 35 00:02:00,040 --> 00:02:03,400 Speaker 1: minescent paints. Undark was made by the US Radium Corporation, 36 00:02:04,000 --> 00:02:07,640 Speaker 1: and radioluminescent paint had to have a few ingredients to work. 37 00:02:07,840 --> 00:02:12,160 Speaker 1: One was a radioactive element, typically radium, and then there 38 00:02:12,160 --> 00:02:14,600 Speaker 1: would also be a chemical in the paint called a phosphour, 39 00:02:14,680 --> 00:02:17,960 Speaker 1: which means a chemical that glows in the presence of radiation, 40 00:02:18,800 --> 00:02:22,200 Speaker 1: so the radium irradiates the phosphour and then the phosphour 41 00:02:22,240 --> 00:02:26,320 Speaker 1: emits light in response. And I think specifically in the 42 00:02:26,440 --> 00:02:30,120 Speaker 1: undark paint, they use zinc sulfide as the phosphour along 43 00:02:30,160 --> 00:02:33,080 Speaker 1: with a bit of copper content, which I believe helped 44 00:02:33,160 --> 00:02:36,280 Speaker 1: give the light a green color. So I'm not sure, 45 00:02:36,320 --> 00:02:40,320 Speaker 1: but my best guess is that popular consciousness of green 46 00:02:40,440 --> 00:02:45,679 Speaker 1: glowing radium paint turned into a natural association between ionizing 47 00:02:45,760 --> 00:02:49,440 Speaker 1: radiation and the color green. M though I can't help 48 00:02:49,480 --> 00:02:52,799 Speaker 1: but wonder if another, at least small factor in this 49 00:02:53,000 --> 00:02:57,360 Speaker 1: is the the idea and some cultures, particularly some European cultures, 50 00:02:57,360 --> 00:03:00,840 Speaker 1: that green was the color of of like the fairy 51 00:03:00,880 --> 00:03:05,520 Speaker 1: folk of people from beyond. If you know, a potent, supernatural, 52 00:03:05,600 --> 00:03:10,440 Speaker 1: otherworldly uh color to have about your person. Oh yeah yeah. 53 00:03:10,480 --> 00:03:12,919 Speaker 1: Going way back to our episode about Jenny green teeth, 54 00:03:12,960 --> 00:03:15,200 Speaker 1: it reminds me of that old like superstition we read 55 00:03:15,200 --> 00:03:17,360 Speaker 1: about it. There there was some like catalog of folk 56 00:03:17,440 --> 00:03:20,920 Speaker 1: tales from old from the British Isles, and one of 57 00:03:20,919 --> 00:03:23,160 Speaker 1: them was about a like a mother in law telling 58 00:03:23,200 --> 00:03:25,880 Speaker 1: the daughter in law never to wear a green dress 59 00:03:26,000 --> 00:03:29,400 Speaker 1: because it would draw the ire of the fairies, and 60 00:03:29,400 --> 00:03:31,359 Speaker 1: I have to say, even today, and if you were 61 00:03:31,400 --> 00:03:34,120 Speaker 1: to see somebody wearing all bright green walking down the street, 62 00:03:34,240 --> 00:03:35,800 Speaker 1: I mean it would. It would catch your attention. You 63 00:03:35,880 --> 00:03:37,760 Speaker 1: might you might wonder what was going on there. You 64 00:03:37,840 --> 00:03:45,839 Speaker 1: might wonder if you're about to get pinched. Yeah, all right, 65 00:03:45,880 --> 00:03:47,880 Speaker 1: here's another one. This one comes to us from d 66 00:03:49,200 --> 00:03:52,520 Speaker 1: Hi there. I was both horrified and amused to realize 67 00:03:52,560 --> 00:03:54,920 Speaker 1: whilst listening to your recent podcast The Waiting, but no 68 00:03:55,000 --> 00:03:59,160 Speaker 1: mention was made of England smiley face. Instead, we were 69 00:03:59,200 --> 00:04:01,680 Speaker 1: subjected to a hole one minute and twenty two seconds 70 00:04:01,720 --> 00:04:05,480 Speaker 1: of waiting in line during the French Revolution shutters smiley 71 00:04:05,480 --> 00:04:10,280 Speaker 1: face here in Blighty, which I am told means England queuing, 72 00:04:10,360 --> 00:04:13,920 Speaker 1: as it is properly called, is rightly considered a national pastime. 73 00:04:14,520 --> 00:04:18,280 Speaker 1: As George Mike's rightly observed quote in Englishman, even if 74 00:04:18,279 --> 00:04:22,880 Speaker 1: he is alone, forms an orderly queue of one joking aside, 75 00:04:23,040 --> 00:04:25,960 Speaker 1: I have direct experience on this alone at a bus 76 00:04:26,040 --> 00:04:29,320 Speaker 1: stop or at the bank, I'll unconsciously orient myself as 77 00:04:29,320 --> 00:04:33,160 Speaker 1: if I'm the first in an imperceptible que You can't 78 00:04:33,200 --> 00:04:37,520 Speaker 1: possibly complete two episodes on waiting without recourse to mentioning 79 00:04:37,520 --> 00:04:41,360 Speaker 1: the religious fervor with which queuing is regarded and beaten 80 00:04:41,440 --> 00:04:44,599 Speaker 1: into children from a young age in England. I trust 81 00:04:44,600 --> 00:04:47,680 Speaker 1: and expect that this honest oversight is corrected in your 82 00:04:47,720 --> 00:04:51,200 Speaker 1: second episode. You're devoted fan from England, d D. I 83 00:04:51,240 --> 00:04:53,159 Speaker 1: guess we couldn't read them out loud, but this email 84 00:04:53,200 --> 00:04:57,320 Speaker 1: has a higher than average quotient of like asky, winking, 85 00:04:57,360 --> 00:05:00,280 Speaker 1: smiley faces and stuff. So I'm assuming you're out as 86 00:05:00,320 --> 00:05:03,719 Speaker 1: mad as you claim. Uh. I think he backed this 87 00:05:03,800 --> 00:05:06,479 Speaker 1: up with a couple of subsequent emails. But but D 88 00:05:06,920 --> 00:05:10,720 Speaker 1: fear not. We shall be covering English queuing in Queuing 89 00:05:10,760 --> 00:05:13,400 Speaker 1: Part two. Already have a bunch of stuff about it 90 00:05:13,680 --> 00:05:22,120 Speaker 1: in the document for when we record that episode, alright. 91 00:05:22,160 --> 00:05:25,280 Speaker 1: This next message comes from Adam. Adam says hello, I 92 00:05:25,320 --> 00:05:29,240 Speaker 1: love this episode again referring to queuing, and it made 93 00:05:29,240 --> 00:05:32,040 Speaker 1: me think of a bit. In Mark Marrin's most recent 94 00:05:32,120 --> 00:05:35,679 Speaker 1: stand up special, in Times Fun, he talks specifically about 95 00:05:35,680 --> 00:05:38,480 Speaker 1: how it used to feel to wait in line without 96 00:05:38,480 --> 00:05:42,040 Speaker 1: a phone. He describes the emptiness and boredom of eating 97 00:05:42,040 --> 00:05:45,120 Speaker 1: a sandwich alone on your lunch break, or just waiting 98 00:05:45,160 --> 00:05:47,880 Speaker 1: to take another step forward in line while peeking over 99 00:05:47,920 --> 00:05:50,160 Speaker 1: to the side to see what's going on up ahead. 100 00:05:50,640 --> 00:05:53,600 Speaker 1: There's a similar compulsion in an elevator, and it feels 101 00:05:53,600 --> 00:05:56,120 Speaker 1: like you're the weird one if you don't have your 102 00:05:56,160 --> 00:05:59,680 Speaker 1: phone out. Just wondering your thoughts on how cell phones 103 00:05:59,720 --> 00:06:06,039 Speaker 1: have changed the dynamic and psychology of how we wait. Thanks, Adam, Oh, totally, Adam. 104 00:06:06,080 --> 00:06:08,839 Speaker 1: I mean they've changed many things about our lives, and 105 00:06:08,880 --> 00:06:10,520 Speaker 1: this is one big part of them. I think for 106 00:06:10,560 --> 00:06:15,560 Speaker 1: people who have phones, there's probably much less boredom in 107 00:06:15,640 --> 00:06:18,400 Speaker 1: general in your life than there would have been, you 108 00:06:18,440 --> 00:06:21,400 Speaker 1: know before before people had mobile phones with access to 109 00:06:21,440 --> 00:06:24,480 Speaker 1: the internet, but that might be sort of compensated with 110 00:06:24,680 --> 00:06:29,479 Speaker 1: a proportional increase in the amount of anxiety. Yeah, you're 111 00:06:29,640 --> 00:06:33,560 Speaker 1: maybe doing less soul crushing, just just experiencing less soul 112 00:06:33,560 --> 00:06:36,440 Speaker 1: crushing boredom as you wait in line, But if you're 113 00:06:36,480 --> 00:06:40,159 Speaker 1: alleviating that by engaging in say soul crushing social media 114 00:06:40,320 --> 00:06:43,799 Speaker 1: use or um, I don't know. I mean some games 115 00:06:43,839 --> 00:06:46,760 Speaker 1: are good, but some games, cell phone games can feel 116 00:06:46,800 --> 00:06:50,760 Speaker 1: a little u um yeah, mind numbing and uh. And 117 00:06:50,800 --> 00:06:53,720 Speaker 1: certainly I think there's some there's some models of of 118 00:06:53,720 --> 00:06:57,320 Speaker 1: of mobile gaming out there that are perhaps not the 119 00:06:57,600 --> 00:07:00,359 Speaker 1: most honest in the way they go after you know 120 00:07:00,520 --> 00:07:02,440 Speaker 1: a lot of you know, hidden costs. And also you 121 00:07:02,520 --> 00:07:06,479 Speaker 1: might have mixed feelings about your engagement with that Rob. 122 00:07:06,760 --> 00:07:08,680 Speaker 1: I wonder what you think about his other thing about 123 00:07:08,680 --> 00:07:11,160 Speaker 1: how you're the weird one if you don't have your 124 00:07:11,160 --> 00:07:15,720 Speaker 1: phone out. I have absolutely felt this pressure before two. 125 00:07:16,080 --> 00:07:19,120 Speaker 1: I've felt pressure to do stuff on my phone in public, 126 00:07:19,560 --> 00:07:23,680 Speaker 1: not because I didn't want to be bored, but because 127 00:07:23,800 --> 00:07:26,760 Speaker 1: there's some kind of threat of awkwardness. There's kind of 128 00:07:26,760 --> 00:07:30,560 Speaker 1: a looming i don't know, uh, social threat from other 129 00:07:30,640 --> 00:07:34,120 Speaker 1: people that like they might perceive you as being creepy 130 00:07:34,280 --> 00:07:37,200 Speaker 1: or something if you're not keeping your eyes down on 131 00:07:37,240 --> 00:07:40,120 Speaker 1: your phone. It does that make any sense? Yeah? Yeah, 132 00:07:40,160 --> 00:07:42,760 Speaker 1: I mean when when phones come out, there is this 133 00:07:42,880 --> 00:07:46,280 Speaker 1: sense that whatever they're doing, they are engaged. They may 134 00:07:46,280 --> 00:07:49,120 Speaker 1: be engaged socially with somebody, you know, they may be 135 00:07:49,240 --> 00:07:52,960 Speaker 1: texting their significant other or something, or they're doing work 136 00:07:53,360 --> 00:07:57,080 Speaker 1: or you get they are working on something, even even 137 00:07:57,080 --> 00:07:59,360 Speaker 1: if they're playing a game. It's interesting how I think 138 00:08:00,120 --> 00:08:04,520 Speaker 1: for the rampant use of smartphones, if you were seen 139 00:08:04,640 --> 00:08:07,360 Speaker 1: playing a game Boy in public and you were you know, 140 00:08:07,400 --> 00:08:09,960 Speaker 1: perhaps not a child, there would be I don't know 141 00:08:10,000 --> 00:08:11,440 Speaker 1: if it would be you know, looked down upon, but 142 00:08:11,480 --> 00:08:13,840 Speaker 1: I think it would have a different energy, whereas today, yeah, 143 00:08:13,920 --> 00:08:16,760 Speaker 1: you just you pull your phone out. If there's some 144 00:08:16,880 --> 00:08:19,680 Speaker 1: level of social awkwardness, you pull out your phone. If 145 00:08:19,680 --> 00:08:22,200 Speaker 1: it's one thing I've noticed, I myself have done this 146 00:08:22,280 --> 00:08:25,720 Speaker 1: if I'm dining alone, um, which I never really had 147 00:08:25,760 --> 00:08:28,160 Speaker 1: a problem with before, I would, you know, occasionally I would. 148 00:08:28,200 --> 00:08:30,080 Speaker 1: I would do it, and I'd often like bring a book, 149 00:08:30,240 --> 00:08:33,400 Speaker 1: and and by bringing a book I felt like, well, 150 00:08:33,400 --> 00:08:34,840 Speaker 1: I have something to do if I get bored, but 151 00:08:34,880 --> 00:08:37,440 Speaker 1: also I have a purpose here, like this is my 152 00:08:37,440 --> 00:08:40,600 Speaker 1: my thing that I'm doing whilst I dine and um, 153 00:08:40,640 --> 00:08:43,040 Speaker 1: and pulling out a phone can have the same well, 154 00:08:43,080 --> 00:08:44,920 Speaker 1: it seems like it has the same level of like 155 00:08:45,320 --> 00:08:48,160 Speaker 1: social signaling. It's like I am not alone here, I 156 00:08:48,240 --> 00:08:51,680 Speaker 1: am fully engaged whilst eating by myself in this booth. 157 00:08:52,240 --> 00:08:54,640 Speaker 1: You just have the feeling that if you didn't have 158 00:08:54,760 --> 00:08:57,560 Speaker 1: your phone out and you weren't or a book or something. 159 00:08:57,640 --> 00:08:59,400 Speaker 1: You know, if you're just sitting there just kind of 160 00:08:59,440 --> 00:09:03,040 Speaker 1: looking or round and not doing anything in particular, you 161 00:09:03,280 --> 00:09:06,240 Speaker 1: wonder if other people are looking at you being like jeez, 162 00:09:06,280 --> 00:09:10,360 Speaker 1: what's that guy's deal? Yeah, no, it I mean, I 163 00:09:10,360 --> 00:09:13,800 Speaker 1: I think my use of of the smartphone it definitely 164 00:09:13,840 --> 00:09:17,280 Speaker 1: makes some weights a lot easier. I have like one 165 00:09:17,640 --> 00:09:20,480 Speaker 1: game in particular that I'll come back to that uh, 166 00:09:20,600 --> 00:09:23,840 Speaker 1: that that engages my mind and has a certain level 167 00:09:23,880 --> 00:09:26,959 Speaker 1: of strategy to it. Uh and uh and so I 168 00:09:27,640 --> 00:09:29,960 Speaker 1: pretty much only play it when I'm suddenly in a 169 00:09:30,000 --> 00:09:33,000 Speaker 1: situation where I'm waiting and I can't work on anything else, 170 00:09:33,080 --> 00:09:36,280 Speaker 1: you know. Uh. So I ultimately I would say, yes, 171 00:09:36,400 --> 00:09:40,280 Speaker 1: smartphones have been a great tool against the enemy of waiting. 172 00:09:40,600 --> 00:09:43,840 Speaker 1: Is it Monument Valley? No, it's It's actually a game 173 00:09:43,880 --> 00:09:48,239 Speaker 1: called Nurashima hex. It's a Polish and uh, post apocalyptic 174 00:09:48,800 --> 00:09:51,680 Speaker 1: like a little battle game, but it's um it's hex based. 175 00:09:51,679 --> 00:09:53,360 Speaker 1: It's grid Bay, you know, it's like a grid of 176 00:09:53,400 --> 00:09:57,079 Speaker 1: hexes and um there, each each army has a different strategy. 177 00:09:57,120 --> 00:09:59,280 Speaker 1: And yeah, I find it. I find it very engaging 178 00:09:59,280 --> 00:10:01,040 Speaker 1: when I play at a hole, you know suddenly right 179 00:10:01,080 --> 00:10:03,839 Speaker 1: in um which is interesting the youth. When we're talking 180 00:10:03,880 --> 00:10:07,200 Speaker 1: about waiting and video games, that will actually come into 181 00:10:07,200 --> 00:10:11,000 Speaker 1: play in the second episode of the Waiting series that 182 00:10:11,040 --> 00:10:17,880 Speaker 1: we're doing. All right, you want to do this next 183 00:10:17,920 --> 00:10:23,040 Speaker 1: message from Richard Sure. Richard writes, Hi, guys, really enjoyed 184 00:10:23,080 --> 00:10:25,800 Speaker 1: your last episode on queuing this week. It reminded me 185 00:10:25,880 --> 00:10:28,480 Speaker 1: of two things I have learned about queuing in the past. 186 00:10:29,280 --> 00:10:32,840 Speaker 1: I remember an interesting BBC article on a study by 187 00:10:32,880 --> 00:10:36,640 Speaker 1: a Danish researcher who found that actually the most efficient 188 00:10:36,679 --> 00:10:40,319 Speaker 1: way of queuing is actually last person to join a 189 00:10:40,440 --> 00:10:44,440 Speaker 1: cue gets served first. It encourages people to stagger their 190 00:10:44,559 --> 00:10:47,679 Speaker 1: arrival times at a queue as not to end up 191 00:10:47,720 --> 00:10:50,640 Speaker 1: too early, although I suspect it may not be very 192 00:10:50,640 --> 00:10:52,839 Speaker 1: practical in the real world. Here is a link to 193 00:10:52,880 --> 00:10:56,080 Speaker 1: the article. Include a link to the article. Also, I 194 00:10:56,120 --> 00:10:58,720 Speaker 1: am reminded of a holiday to Portugal a few years 195 00:10:58,720 --> 00:11:00,720 Speaker 1: back when I discovered that there is a law in 196 00:11:00,800 --> 00:11:03,120 Speaker 1: Portugal that dictates that if you have a baby or 197 00:11:03,160 --> 00:11:06,440 Speaker 1: small child, you were allowed to go to the front 198 00:11:06,480 --> 00:11:08,960 Speaker 1: of any queue there. Unfortunately I did not have any 199 00:11:09,040 --> 00:11:11,360 Speaker 1: kids with me at the time, But next time I 200 00:11:11,360 --> 00:11:14,000 Speaker 1: am in Portugal, I look forward to holding my baby 201 00:11:14,040 --> 00:11:17,800 Speaker 1: aloft and floating to the front of any queue. Thanks 202 00:11:17,840 --> 00:11:21,240 Speaker 1: for all the interesting shows, guys, Richard. Now it is 203 00:11:21,280 --> 00:11:24,319 Speaker 1: interesting how a young child can definitely get you to 204 00:11:24,400 --> 00:11:26,800 Speaker 1: the front of a line at times. I've encountered this 205 00:11:26,840 --> 00:11:31,080 Speaker 1: while traveling, especially when my son was was younger, and 206 00:11:30,920 --> 00:11:33,120 Speaker 1: and especially if he happened to get upset. There was 207 00:11:33,160 --> 00:11:35,640 Speaker 1: one time we were traveling with another couple that had 208 00:11:35,679 --> 00:11:38,760 Speaker 1: a child just a little bit younger, and they the 209 00:11:38,760 --> 00:11:40,480 Speaker 1: two of them had some sort of like spat and 210 00:11:40,480 --> 00:11:43,920 Speaker 1: then they both were crying, and we immediately got to 211 00:11:43,960 --> 00:11:46,040 Speaker 1: the front of the line. I think, I forget what 212 00:11:46,040 --> 00:11:49,040 Speaker 1: what airport we were at. It may have been, it 213 00:11:49,080 --> 00:11:51,000 Speaker 1: may have been in a different country too, so, but 214 00:11:51,080 --> 00:11:54,120 Speaker 1: I don't remember the details off hand. But but I 215 00:11:54,320 --> 00:11:58,840 Speaker 1: wonder if we get into different cultural ideas about the 216 00:11:58,880 --> 00:12:01,679 Speaker 1: about standing in line and at queuing, like, does the 217 00:12:01,679 --> 00:12:04,000 Speaker 1: crying infant automatically get you to the front of the 218 00:12:04,000 --> 00:12:07,120 Speaker 1: line or is that an unfair advantage? Well, I mean 219 00:12:07,240 --> 00:12:09,679 Speaker 1: it seems like that's sort of in everybody's interest, right, 220 00:12:09,720 --> 00:12:12,560 Speaker 1: because the nobody wants to be hanging around with the 221 00:12:12,559 --> 00:12:16,600 Speaker 1: crying children while they're waiting the whole time. But also, man, 222 00:12:16,640 --> 00:12:19,319 Speaker 1: that's set's a that sets up some bad incentives, right. 223 00:12:19,720 --> 00:12:24,199 Speaker 1: It teaches the children, you mean, you might train them 224 00:12:24,200 --> 00:12:26,240 Speaker 1: to to so that you can go to the front 225 00:12:26,240 --> 00:12:28,440 Speaker 1: of the line. Huh. Well, This reminds me we're talking 226 00:12:28,440 --> 00:12:33,000 Speaker 1: about this um before the podcast episode that the fabulous 227 00:12:33,040 --> 00:12:38,559 Speaker 1: actor Brad Dorriff can allegedly cry on cue for acting purposes. 228 00:12:38,800 --> 00:12:42,280 Speaker 1: I wonder if actors with that ability, if they does 229 00:12:42,320 --> 00:12:45,280 Speaker 1: it work even an adult is weeping uncontrollably or is 230 00:12:45,320 --> 00:12:47,080 Speaker 1: that more of a let's get this person out of 231 00:12:47,080 --> 00:12:49,840 Speaker 1: the line and and have somebody interview them type situation. 232 00:12:49,960 --> 00:12:52,679 Speaker 1: I don't know. Brad Doriff only waits in line in 233 00:12:52,840 --> 00:13:02,880 Speaker 1: character is grim a warm tongue. Okay. This next message 234 00:13:02,920 --> 00:13:06,560 Speaker 1: comes from Maya. Maya says, hi, guys, thanks for an 235 00:13:06,559 --> 00:13:10,040 Speaker 1: awesome podcast and so on about standing in line and 236 00:13:10,080 --> 00:13:13,280 Speaker 1: the amount of people behind you. I recently had the 237 00:13:13,400 --> 00:13:16,040 Speaker 1: very opposite experience. I think this is referring to in 238 00:13:16,080 --> 00:13:19,560 Speaker 1: the episode we talked about seeing people accumulate behind you 239 00:13:19,600 --> 00:13:23,440 Speaker 1: in line can be pleasurable, right because it's it produces 240 00:13:23,520 --> 00:13:26,160 Speaker 1: this feeling that like you have made progress, and and 241 00:13:26,200 --> 00:13:29,080 Speaker 1: also that the thing you want is in high demand. Yeah, 242 00:13:29,080 --> 00:13:31,240 Speaker 1: and in hand, It's been shown, at least in some studies, 243 00:13:31,280 --> 00:13:34,360 Speaker 1: to enhance the value of the thing you're waiting in 244 00:13:34,440 --> 00:13:37,520 Speaker 1: line for. Yeah, Maya goes on, I was waiting in 245 00:13:37,559 --> 00:13:41,040 Speaker 1: line to get my first vaccine dose long live science. 246 00:13:41,400 --> 00:13:44,120 Speaker 1: Knowing that there were just three hundred doses available that 247 00:13:44,200 --> 00:13:47,480 Speaker 1: day and to first come, first served scenario, I realized 248 00:13:47,520 --> 00:13:50,280 Speaker 1: that there were just about twenty people behind me in line, 249 00:13:50,720 --> 00:13:53,720 Speaker 1: because after that people were turned away due to capacity. 250 00:13:54,360 --> 00:13:57,040 Speaker 1: As I realized that, my gratitude and all the positive 251 00:13:57,080 --> 00:13:59,679 Speaker 1: feelings went through the roof. This is, of course, and 252 00:13:59,800 --> 00:14:01,720 Speaker 1: it total, but I do believe you didn't mention the 253 00:14:01,760 --> 00:14:05,920 Speaker 1: scenario of first come, first serve and finite resources. Again, 254 00:14:05,960 --> 00:14:10,080 Speaker 1: thank you and greetings from Sweden. Maya. Well, thanks Maya. Yeah, 255 00:14:10,240 --> 00:14:13,040 Speaker 1: this is an interesting point though this is complicated by 256 00:14:13,040 --> 00:14:16,959 Speaker 1: the fact of like seeing just twenty people in line 257 00:14:17,000 --> 00:14:20,520 Speaker 1: behind you, paired with the knowledge that at a certain 258 00:14:20,520 --> 00:14:23,840 Speaker 1: point they cut off new people getting in line because there, 259 00:14:23,880 --> 00:14:27,000 Speaker 1: you know, that's the maximum capacity they have to give away. 260 00:14:27,200 --> 00:14:30,000 Speaker 1: Uh that that like adds on another level, because there's 261 00:14:30,040 --> 00:14:33,800 Speaker 1: like you were imagining an invisible line farther beyond that 262 00:14:33,880 --> 00:14:36,520 Speaker 1: and you don't even know how far back that line goes. 263 00:14:36,920 --> 00:14:39,840 Speaker 1: And paired with the fact that like, uh that, at 264 00:14:39,920 --> 00:14:42,000 Speaker 1: least to you, like the value of the thing you're 265 00:14:42,000 --> 00:14:44,160 Speaker 1: getting is not really in question, Like you know that 266 00:14:44,360 --> 00:14:47,760 Speaker 1: being vaccinated is very valuable. It's not like a consumer 267 00:14:47,800 --> 00:14:50,000 Speaker 1: product where you're gonna get home and be like, do 268 00:14:50,040 --> 00:14:51,680 Speaker 1: I like this or not? I don't know what you 269 00:14:51,680 --> 00:14:53,320 Speaker 1: know that where you've got to make up your mind 270 00:14:53,360 --> 00:14:56,720 Speaker 1: about it. Speaking of of that valuable vaccine, if you 271 00:14:56,960 --> 00:14:59,680 Speaker 1: are able to get it, please go get your vaccine. Yes, 272 00:14:59,760 --> 00:15:03,360 Speaker 1: tie ing into Maya's comment about finite resources, like, if 273 00:15:03,400 --> 00:15:06,080 Speaker 1: the vaccine is available to you, you you are in 274 00:15:06,120 --> 00:15:09,200 Speaker 1: a very lucky position right now. Yes, please get it 275 00:15:17,440 --> 00:15:20,480 Speaker 1: all right. Here is another one. This one comes to 276 00:15:20,560 --> 00:15:24,480 Speaker 1: us from Rory Rory Rites. Hey, gentlemen, I've been listening 277 00:15:24,480 --> 00:15:26,960 Speaker 1: for years, first time riding, keep up the good work. 278 00:15:27,400 --> 00:15:29,880 Speaker 1: Upon listening to your first episode on waiting and queues, 279 00:15:29,960 --> 00:15:32,480 Speaker 1: you discussed it, but I instantly thought of traffic. It's 280 00:15:32,480 --> 00:15:34,960 Speaker 1: waiting in line. I think the reason that traffic came 281 00:15:34,960 --> 00:15:37,520 Speaker 1: to mind so quickly is my perspective as an avid 282 00:15:37,600 --> 00:15:40,640 Speaker 1: motorcycle rider, and as a motorcycle rider, I think all 283 00:15:40,680 --> 00:15:43,360 Speaker 1: writers will tell you we see traffic a little differently 284 00:15:43,400 --> 00:15:46,240 Speaker 1: than the typical car driver. Maybe it is because we 285 00:15:46,320 --> 00:15:48,240 Speaker 1: are out in the open with our feet on the ground, 286 00:15:48,280 --> 00:15:51,160 Speaker 1: but sometimes it really feels like being in line when 287 00:15:51,200 --> 00:15:53,720 Speaker 1: stuck in traffic. It made me think of the motorcyclist 288 00:15:53,760 --> 00:15:58,600 Speaker 1: equivalent to the fast pass lane filtering. I live in Texas, 289 00:15:58,720 --> 00:16:02,320 Speaker 1: where lane filtering is legal, but lane filtering is the 290 00:16:02,360 --> 00:16:06,080 Speaker 1: act of a motorcycle filtering through slow moving stop traffic 291 00:16:06,080 --> 00:16:09,120 Speaker 1: by going between cars and lanes, typically no faster than 292 00:16:09,160 --> 00:16:12,160 Speaker 1: ten to fifteen miles per hour uh that traffic. It 293 00:16:12,280 --> 00:16:15,480 Speaker 1: is legal in California, and I think recently was made 294 00:16:15,560 --> 00:16:18,560 Speaker 1: legal in Utah. Lane filtering is not to be confused 295 00:16:18,560 --> 00:16:21,760 Speaker 1: with the lane splitting, which is the dangerous behavior of 296 00:16:21,760 --> 00:16:25,280 Speaker 1: when the motorcyclist disregards law and safety by cutting through 297 00:16:25,320 --> 00:16:28,160 Speaker 1: traffic at high speeds with no regard for the speed 298 00:16:28,200 --> 00:16:30,600 Speaker 1: in relation to traffic. I hope for a day when 299 00:16:30,680 --> 00:16:33,840 Speaker 1: lane filtering is legal it improves traffic by basically removing 300 00:16:33,840 --> 00:16:37,480 Speaker 1: the motorcycles from the equation of traffic and safely pushes 301 00:16:37,520 --> 00:16:39,640 Speaker 1: them to the front. But you could see where this 302 00:16:39,640 --> 00:16:42,200 Speaker 1: could create a problem, not with the actual act of 303 00:16:42,280 --> 00:16:45,520 Speaker 1: riding slowly between cars through traffic or to the front 304 00:16:45,600 --> 00:16:48,400 Speaker 1: of a red stoplight, but more with the subsequent road 305 00:16:48,480 --> 00:16:51,520 Speaker 1: rate from people who feel like motorcyclists are jumping the 306 00:16:51,600 --> 00:16:55,000 Speaker 1: line quote unquote and not waiting their turn. That sense 307 00:16:55,000 --> 00:16:57,080 Speaker 1: of injustice might be too much for some to bear 308 00:16:57,120 --> 00:16:59,960 Speaker 1: and sadly lead to violence. From what I hear, California 309 00:17:00,120 --> 00:17:02,120 Speaker 1: has had the law in place long enough to where 310 00:17:02,400 --> 00:17:05,199 Speaker 1: it is proper driving adequate to let motorcycles pass in 311 00:17:05,280 --> 00:17:07,880 Speaker 1: peace and maybe even move over a little for them. 312 00:17:08,080 --> 00:17:10,800 Speaker 1: But I know that even if made legal in Texas, 313 00:17:11,040 --> 00:17:14,280 Speaker 1: the territorial nature of drivers here would put the lane 314 00:17:14,320 --> 00:17:17,879 Speaker 1: filter in danger from cars blocking paths or even people 315 00:17:18,000 --> 00:17:21,600 Speaker 1: opening their car doors to prevent lane filtering from happening, 316 00:17:21,880 --> 00:17:24,560 Speaker 1: at least until everyone understands that it is in everyone's 317 00:17:24,600 --> 00:17:27,280 Speaker 1: best interest to let motorcycles go through. Just a couple 318 00:17:27,440 --> 00:17:30,119 Speaker 1: of my thoughts. Anyway, you have provided some great listening 319 00:17:30,119 --> 00:17:33,440 Speaker 1: over the years and hope for more to come. Thanks Rory. Wow, 320 00:17:33,520 --> 00:17:38,440 Speaker 1: this makes driving in Texas sound dangerous. Um. Yeah, I 321 00:17:38,320 --> 00:17:40,359 Speaker 1: I mean I wish I I don't know, I wish 322 00:17:40,359 --> 00:17:44,879 Speaker 1: I knew more about motorcycle culture and uh, motorcycle laws 323 00:17:44,920 --> 00:17:47,560 Speaker 1: to really comment on all of this. I'm just taking, uh, 324 00:17:47,720 --> 00:17:51,400 Speaker 1: you know, Rory at their word here. Uh, But the 325 00:17:51,400 --> 00:17:53,600 Speaker 1: the argument they make it makes sense to me, both 326 00:17:53,680 --> 00:17:57,879 Speaker 1: the arguments for this lane filtering, but also some of 327 00:17:57,920 --> 00:18:01,520 Speaker 1: the potential complications you've if people were sort of engaging 328 00:18:01,560 --> 00:18:05,280 Speaker 1: in that that that car mentality of of you know, 329 00:18:05,320 --> 00:18:07,840 Speaker 1: me versus everyone else, something we talked about a bit 330 00:18:07,920 --> 00:18:10,520 Speaker 1: in last year's episode, uh, or maybe it was the 331 00:18:10,560 --> 00:18:12,199 Speaker 1: year before last. I can't I can't recall. We did 332 00:18:12,200 --> 00:18:16,959 Speaker 1: an episode one October about the what happens to our 333 00:18:16,960 --> 00:18:20,199 Speaker 1: consciousness in an automobile UM and we went into some 334 00:18:20,280 --> 00:18:22,399 Speaker 1: of this. I think, you know, this reminds me that 335 00:18:22,760 --> 00:18:24,479 Speaker 1: I think I saw a bit of discussion in the 336 00:18:24,560 --> 00:18:29,359 Speaker 1: stuff to Blow your Mind Facebook module UM about about 337 00:18:29,520 --> 00:18:32,320 Speaker 1: late merging. Remember we talked in the episode about how, 338 00:18:32,359 --> 00:18:34,919 Speaker 1: despite how awful it looks and you hate the person 339 00:18:34,960 --> 00:18:39,000 Speaker 1: who's merging late, technically it would be much better if 340 00:18:39,080 --> 00:18:42,160 Speaker 1: everybody used all the lanes available to them as long 341 00:18:42,200 --> 00:18:44,320 Speaker 1: as they could, and then you merge one at a 342 00:18:44,400 --> 00:18:48,040 Speaker 1: time going through the bottleneck. UM. This is sometimes called 343 00:18:48,080 --> 00:18:51,960 Speaker 1: the zipper method or or late merging. Their multiple studies 344 00:18:52,240 --> 00:18:54,800 Speaker 1: showing that this is better in in many ways. It's 345 00:18:54,800 --> 00:18:58,560 Speaker 1: more efficient. It's doesn't necessarily get the cars through faster, 346 00:18:58,720 --> 00:19:01,240 Speaker 1: but it decreases the length of the backup on the road, 347 00:19:01,720 --> 00:19:04,280 Speaker 1: and it is much safer to have the cars merging 348 00:19:04,359 --> 00:19:06,600 Speaker 1: slowly in a predictable way, one at a time at 349 00:19:06,600 --> 00:19:09,080 Speaker 1: the bottleneck instead of trying to get in wherever they can. 350 00:19:09,480 --> 00:19:13,000 Speaker 1: But people, we're still reacting negatively to the idea of 351 00:19:13,080 --> 00:19:14,800 Speaker 1: late merging, and I think a lot of that is 352 00:19:14,840 --> 00:19:18,080 Speaker 1: based on the idea that when we see people merging late, 353 00:19:18,200 --> 00:19:22,000 Speaker 1: they're often zooming ahead to do so. So there's a line, 354 00:19:22,160 --> 00:19:24,000 Speaker 1: you know, their cars lined up in one lane, and 355 00:19:24,080 --> 00:19:28,040 Speaker 1: then somebody's ripping past them, uh, down the rest of 356 00:19:28,080 --> 00:19:30,399 Speaker 1: the open lane to try to get in quickly. I 357 00:19:30,400 --> 00:19:33,520 Speaker 1: would still not recommend that behavior. I mean, what would 358 00:19:33,560 --> 00:19:36,600 Speaker 1: be ideal is if people use all the lanes available 359 00:19:36,640 --> 00:19:38,600 Speaker 1: to them as long as they can at a slow 360 00:19:38,680 --> 00:19:42,400 Speaker 1: speed and then take turns merging one by one. Yeah, 361 00:19:42,440 --> 00:19:45,919 Speaker 1: that definitely makes sense, uh and just also safer if 362 00:19:46,160 --> 00:19:48,119 Speaker 1: nobody's like speeding head at a crazy pace. Now. The 363 00:19:48,119 --> 00:19:50,600 Speaker 1: thing about zippering, though, is even when you end up 364 00:19:50,600 --> 00:19:54,719 Speaker 1: in a zippring situation, they're still room for um evil 365 00:19:54,840 --> 00:19:58,360 Speaker 1: behavior as as you know, someone who doesn't quite understand 366 00:19:58,359 --> 00:20:00,640 Speaker 1: how zippers work, perhaps they've never used to zipper, maybe 367 00:20:00,640 --> 00:20:04,040 Speaker 1: their buttoned person and they think that occasionally two to 368 00:20:04,119 --> 00:20:07,040 Speaker 1: three teeth can go together on one side that it 369 00:20:07,080 --> 00:20:09,680 Speaker 1: doesn't need to be one per one to make the 370 00:20:09,760 --> 00:20:13,040 Speaker 1: zipper work. That's how you break your zipper, buddy, that's 371 00:20:13,040 --> 00:20:14,760 Speaker 1: how you break your zipper. It breaks the zipper. It 372 00:20:14,760 --> 00:20:17,120 Speaker 1: breaks the zipper for everyone. Um. You know. It's it's 373 00:20:17,160 --> 00:20:19,320 Speaker 1: like someone at a four way stop who thinks that, well, 374 00:20:19,400 --> 00:20:21,080 Speaker 1: if one car is going through, I can just give. 375 00:20:21,080 --> 00:20:23,080 Speaker 1: If I'm close enough behind them, then I can just 376 00:20:23,119 --> 00:20:25,280 Speaker 1: go through. It will just be one car. That's that's 377 00:20:25,320 --> 00:20:27,920 Speaker 1: just fine, Rob. I think what you don't understand about 378 00:20:27,960 --> 00:20:31,160 Speaker 1: this person is they've got somewhere to be. Yes, yeah, 379 00:20:31,200 --> 00:20:34,200 Speaker 1: they've their shows are on. I realized they've they've got 380 00:20:34,200 --> 00:20:36,439 Speaker 1: to get home. I mean that's the thing. Everybody just 381 00:20:36,480 --> 00:20:39,080 Speaker 1: gets into too big of a hurry out there on 382 00:20:39,119 --> 00:20:41,600 Speaker 1: the road. Uh. They just need a need to chill, 383 00:20:41,800 --> 00:20:43,840 Speaker 1: chill a bit to take it take it down a notch, 384 00:20:43,880 --> 00:20:51,560 Speaker 1: you know. Okay. I think we should finish up with 385 00:20:51,600 --> 00:20:54,520 Speaker 1: a couple of messages about weird how cinema. This one 386 00:20:54,680 --> 00:20:57,879 Speaker 1: comes from Stacy and it's about Godzilla versus head Or. 387 00:20:58,760 --> 00:21:02,000 Speaker 1: Stacy says, hi eyes, I just watched Godzilla versus head 388 00:21:02,080 --> 00:21:04,160 Speaker 1: Or today with my husband, and one of the first 389 00:21:04,160 --> 00:21:07,840 Speaker 1: things he said, was Wow, that was some disgusting looking water, 390 00:21:08,040 --> 00:21:11,679 Speaker 1: and I lulled. I listened to the podcast and I 391 00:21:11,720 --> 00:21:16,119 Speaker 1: don't remember you mentioning the weird gestures that Godzilla and 392 00:21:16,200 --> 00:21:20,399 Speaker 1: Hetera were trading, most notably the hand swiping across the 393 00:21:20,480 --> 00:21:25,040 Speaker 1: mouth followed by the wild forward arm chop. Godzilla did 394 00:21:25,040 --> 00:21:27,680 Speaker 1: this move over and over again. We were cracking up. 395 00:21:27,720 --> 00:21:31,160 Speaker 1: Did you notice this? What's that all about? Good episode 396 00:21:31,160 --> 00:21:35,440 Speaker 1: and another great watch for me, can't wait for more, Stacy, Well, 397 00:21:35,560 --> 00:21:38,320 Speaker 1: thanks Stacy. Yes, I did notice all the gestures. I 398 00:21:38,320 --> 00:21:40,240 Speaker 1: thought we sort of mentioned it, but it might have 399 00:21:40,240 --> 00:21:42,680 Speaker 1: gone by very fast. We didn't dwell on it certainly, 400 00:21:42,680 --> 00:21:45,840 Speaker 1: but yes, there were like, um, I don't even know 401 00:21:45,880 --> 00:21:48,280 Speaker 1: how to describe them. I mean, it wasn't just like 402 00:21:48,320 --> 00:21:51,520 Speaker 1: the the shoulder shrug and the eye rolling from Godzilla bit, 403 00:21:51,600 --> 00:21:55,760 Speaker 1: yet he was doing all these uh like wrestling style gestures. 404 00:21:55,760 --> 00:21:58,680 Speaker 1: I would guess. Yeah, they were straight up I interpreted 405 00:21:58,720 --> 00:22:01,760 Speaker 1: them as signature talk, the kind of signature taunts that 406 00:22:02,119 --> 00:22:05,560 Speaker 1: you might use in a wrestling or fighting video game. 407 00:22:06,080 --> 00:22:08,520 Speaker 1: Uh so yeah, it's for me. It was like, just 408 00:22:08,520 --> 00:22:11,080 Speaker 1: clear what what Godsill was doing, Like he's saying, all right, 409 00:22:11,119 --> 00:22:13,520 Speaker 1: let's do this, let's throw down I and maybe that 410 00:22:13,640 --> 00:22:16,080 Speaker 1: maybe there's actual message there. You know, it's like I 411 00:22:16,119 --> 00:22:19,440 Speaker 1: will roast you with my breath. Come to me this claw, 412 00:22:19,760 --> 00:22:23,600 Speaker 1: this breath. Uh, you have an appointment with doom. Right, 413 00:22:23,720 --> 00:22:26,080 Speaker 1: It's like we're putting the hand to the ear and 414 00:22:26,160 --> 00:22:28,480 Speaker 1: being like I can't hear you or I don't know 415 00:22:28,520 --> 00:22:30,520 Speaker 1: what the rob, you know, wrestling, what are the what 416 00:22:30,560 --> 00:22:33,680 Speaker 1: are the main like gest your taunts. I mean they're 417 00:22:33,680 --> 00:22:35,600 Speaker 1: a whole slew of them, but you know, that's definitely 418 00:22:35,720 --> 00:22:37,840 Speaker 1: a big one. But but yeah, I think I think 419 00:22:37,880 --> 00:22:39,920 Speaker 1: God's all is at the top of his game here. 420 00:22:39,960 --> 00:22:43,840 Speaker 1: He's he's letting head to run. No that I've got 421 00:22:43,920 --> 00:22:52,440 Speaker 1: your number. Let's do this, let's fight, all right, Rob, 422 00:22:52,480 --> 00:22:55,160 Speaker 1: Do you want to do this one? About the oh 423 00:22:55,200 --> 00:22:57,919 Speaker 1: about the song? Yeah? Yeah, I was excited to receive 424 00:22:58,000 --> 00:23:00,920 Speaker 1: this one. Uh. This one comes to us from let's 425 00:23:00,960 --> 00:23:04,640 Speaker 1: say Jim, Yeah not Jim from New Jersey at different gym, 426 00:23:04,840 --> 00:23:07,840 Speaker 1: one of the other many other gyms. Hello Robert and Jim. 427 00:23:08,119 --> 00:23:11,080 Speaker 1: In the Weird House Cinema episode on Godzilla versus Hetera, 428 00:23:11,200 --> 00:23:15,000 Speaker 1: Rob mentioned that guy Henrick composed a song in English 429 00:23:15,000 --> 00:23:17,479 Speaker 1: to take the place of Return the Sun in the 430 00:23:17,520 --> 00:23:20,960 Speaker 1: Bond movie esque opener of the dubbed version. Um, and 431 00:23:21,200 --> 00:23:23,200 Speaker 1: again we we have not seen the dub version, so 432 00:23:23,240 --> 00:23:25,919 Speaker 1: I was just speculating here. Rob also guessed that the 433 00:23:25,960 --> 00:23:29,960 Speaker 1: song wouldn't retain the strong environmental message of the Japanese original. 434 00:23:30,320 --> 00:23:32,280 Speaker 1: I think you both might be excited to learn that 435 00:23:32,320 --> 00:23:35,919 Speaker 1: this reasonable assumption is actually wrong. The English song is 436 00:23:35,920 --> 00:23:39,399 Speaker 1: titled Save the Earth, and Adrian Russ apparently co wrote 437 00:23:39,400 --> 00:23:42,360 Speaker 1: the lyrics with Henrick. If anything, it's even more on 438 00:23:42,400 --> 00:23:45,600 Speaker 1: the nose, with its environmental message consisting in large part 439 00:23:45,640 --> 00:23:48,120 Speaker 1: of a chorus of save the Earth to the same 440 00:23:48,160 --> 00:23:51,160 Speaker 1: tune as Returned the Sun. I think it's quite fun 441 00:23:51,160 --> 00:23:52,960 Speaker 1: in its own right, and I enjoyed it when later 442 00:23:52,960 --> 00:23:55,600 Speaker 1: in the movie Godzilla and the smag Monster are locked 443 00:23:55,600 --> 00:23:58,439 Speaker 1: in battle to the music of Save the Earth. I 444 00:23:58,520 --> 00:24:01,480 Speaker 1: quite enjoyed this episode. I've been enjoying weird House cinema 445 00:24:01,520 --> 00:24:04,919 Speaker 1: generally and love this selection. Godzilla Versus is my favorite 446 00:24:04,920 --> 00:24:07,760 Speaker 1: Godzilla movie, though I've yet to see shin Godzilla, and 447 00:24:07,760 --> 00:24:10,320 Speaker 1: we'll check it out. Thanks for the fun and thoughtful commentary, 448 00:24:10,600 --> 00:24:15,600 Speaker 1: Best Jim. Definitely do check out Shin Godzilla, but for reference. 449 00:24:15,680 --> 00:24:19,560 Speaker 1: Jim attached a link to the lyrics of both versions 450 00:24:19,600 --> 00:24:22,240 Speaker 1: of the song rob I've pasted them side by side 451 00:24:22,240 --> 00:24:24,439 Speaker 1: for us to look at here. Oh yeah, yeah, I 452 00:24:24,440 --> 00:24:27,320 Speaker 1: can definitely see some of the fabulous different instead of saying, 453 00:24:27,359 --> 00:24:31,440 Speaker 1: like the translated version of the original starts with islands fish, 454 00:24:31,520 --> 00:24:35,119 Speaker 1: where have you gone this? But save the Earth goes animals, 455 00:24:35,200 --> 00:24:38,960 Speaker 1: God's animals don't go away, don't go so yes, it 456 00:24:39,119 --> 00:24:42,560 Speaker 1: kind of, it's kind comes out strong. So I'm I'm 457 00:24:42,640 --> 00:24:45,600 Speaker 1: I'm relieved to be corrected on this, just like looking 458 00:24:45,640 --> 00:24:48,560 Speaker 1: at a factory pouring smoke into the air and saying, hey, 459 00:24:48,640 --> 00:24:54,480 Speaker 1: those are God's animals. The direct translation of the Japanese 460 00:24:54,560 --> 00:24:59,240 Speaker 1: version certainly has way more listing of chemicals. Yeah yeah, no, 461 00:24:59,480 --> 00:25:02,480 Speaker 1: I mean some nacles make it into the English version. 462 00:25:02,600 --> 00:25:06,200 Speaker 1: But I also think it is interesting that they throw 463 00:25:06,920 --> 00:25:09,480 Speaker 1: God in their right at the beginning. They throw in 464 00:25:09,520 --> 00:25:14,879 Speaker 1: a monotheistic um Western deity right at the beginning of this. 465 00:25:14,880 --> 00:25:17,119 Speaker 1: Because I've I've read, and I'm not an expert on this, 466 00:25:17,200 --> 00:25:22,560 Speaker 1: but this is often a critique of of particular translations 467 00:25:22,640 --> 00:25:26,119 Speaker 1: and and dubbings of Miyazaki's work. Is that you take, 468 00:25:27,160 --> 00:25:29,879 Speaker 1: you know, religious or quasi religious models that are present 469 00:25:29,920 --> 00:25:33,920 Speaker 1: in the film, and then in translating them for Western audiences, 470 00:25:34,160 --> 00:25:37,000 Speaker 1: you take something that is maybe you know, more about 471 00:25:37,040 --> 00:25:41,240 Speaker 1: like communal spirits and nature more like more like Shinto inspired, 472 00:25:41,640 --> 00:25:44,520 Speaker 1: and then you make it more in line with a 473 00:25:44,560 --> 00:25:48,800 Speaker 1: monotheistic view of God in nature, which I don't know. 474 00:25:49,000 --> 00:25:50,560 Speaker 1: I guess that. You know, there's a huge argument to 475 00:25:50,560 --> 00:25:52,919 Speaker 1: be made there. It's in translation, right, like what or 476 00:25:52,920 --> 00:25:55,320 Speaker 1: how much are you trying to maintain the original how 477 00:25:55,400 --> 00:25:58,240 Speaker 1: much are you trying to to literally translate it into 478 00:25:58,320 --> 00:26:02,639 Speaker 1: a different worldview for a totally different audience. I don't know, 479 00:26:02,880 --> 00:26:05,240 Speaker 1: And it did different arguments on both sides. I'm sure. 480 00:26:05,480 --> 00:26:08,399 Speaker 1: What's the deal with when we're moving we're moving moving 481 00:26:08,480 --> 00:26:10,879 Speaker 1: too the moon? Now? I don't think that's in the 482 00:26:10,880 --> 00:26:14,480 Speaker 1: original song we're moving, We're moving I don't know into 483 00:26:14,520 --> 00:26:16,439 Speaker 1: the moon. There was no moving to the moon that 484 00:26:16,520 --> 00:26:18,440 Speaker 1: I remember in that one. But unless it's kind of 485 00:26:18,440 --> 00:26:20,920 Speaker 1: a commentary on why aren't we focusing on the moon, 486 00:26:21,000 --> 00:26:22,760 Speaker 1: we need to focus on Earth, you know, like sort 487 00:26:22,760 --> 00:26:25,880 Speaker 1: of a space space program critique or something, Oh yeah, 488 00:26:25,920 --> 00:26:28,480 Speaker 1: that would make sense. Well, the Guy Hemrick version does 489 00:26:28,560 --> 00:26:32,600 Speaker 1: have the beautiful couplet and the solution stop the pollution. 490 00:26:33,160 --> 00:26:36,720 Speaker 1: Now that's inspired. That's that's right. Yeah, that rhymes, and 491 00:26:36,760 --> 00:26:40,480 Speaker 1: you know it rhymes. Alright. We we're gonna go ahead 492 00:26:40,480 --> 00:26:43,119 Speaker 1: and wrap up this edition of Stuff to Blow your 493 00:26:43,160 --> 00:26:45,560 Speaker 1: Mind listener mail, but certainly keep them coming. We have 494 00:26:45,640 --> 00:26:47,919 Speaker 1: more stuff that we didn't get to today that we'll 495 00:26:48,040 --> 00:26:51,439 Speaker 1: we'll try and incorporate in future installments. But you know, 496 00:26:51,560 --> 00:26:56,440 Speaker 1: keep keep writing in about current episodes, past episodes, upcoming episodes, 497 00:26:56,720 --> 00:26:58,879 Speaker 1: stuff to blow your mind, core episodes, as well as 498 00:26:58,880 --> 00:27:02,320 Speaker 1: our artifacts, uh, as well as Weird How Cinema. We 499 00:27:02,400 --> 00:27:04,320 Speaker 1: love all of your input and uh, you know, with 500 00:27:04,440 --> 00:27:06,119 Speaker 1: with Weird How Cinema, it's also nice to know, like 501 00:27:06,119 --> 00:27:09,840 Speaker 1: which which movie selections are are really landing with people 502 00:27:09,880 --> 00:27:13,080 Speaker 1: the best, uh, you know, because you can partially inform 503 00:27:13,119 --> 00:27:15,600 Speaker 1: where we go from here, you know totally. I mean, 504 00:27:15,640 --> 00:27:18,720 Speaker 1: we're gonna keep occasionally choosing films that most people have 505 00:27:18,840 --> 00:27:21,119 Speaker 1: not seen or heard of. But but but you know, 506 00:27:21,160 --> 00:27:24,600 Speaker 1: I feel like we we were trying to to to 507 00:27:24,720 --> 00:27:26,680 Speaker 1: to keep a mix of things where yeah, there're gonna 508 00:27:26,720 --> 00:27:29,280 Speaker 1: be some films that are easy to get or are 509 00:27:29,359 --> 00:27:32,320 Speaker 1: more well known, versus films that are maybe a little 510 00:27:32,359 --> 00:27:34,639 Speaker 1: more obscure and difficult to get a copy of. In 511 00:27:34,680 --> 00:27:36,920 Speaker 1: the meantime, if you want to catch up on your episodes, 512 00:27:37,000 --> 00:27:39,080 Speaker 1: you can find Stuff to Blow your Mind and the 513 00:27:39,080 --> 00:27:41,600 Speaker 1: Stuff to Blow your Mind podcast feed wherever you get 514 00:27:41,640 --> 00:27:44,840 Speaker 1: your podcasts normally, if we're not disrupting things, a bet 515 00:27:44,920 --> 00:27:47,280 Speaker 1: you're gonna find your core episodes on two season Thursday. 516 00:27:47,400 --> 00:27:49,920 Speaker 1: You're gonna find Artifact on Wednesday, listener mail on Monday, 517 00:27:49,920 --> 00:27:51,720 Speaker 1: and Weird How Cinema on Friday. A little we run 518 00:27:51,720 --> 00:27:54,600 Speaker 1: on the weekend for you as well. Huge things As 519 00:27:54,600 --> 00:27:57,840 Speaker 1: always to our excellent audio producer Seth Nicholas Johnson. If 520 00:27:57,880 --> 00:27:59,479 Speaker 1: you would like to get in touch with us with 521 00:27:59,560 --> 00:28:02,320 Speaker 1: feedback on this episode or any other, to suggest topic 522 00:28:02,359 --> 00:28:04,080 Speaker 1: for the future, or just to say hi, you can 523 00:28:04,119 --> 00:28:07,160 Speaker 1: email us at contact at stuff to Blow your Mind 524 00:28:07,320 --> 00:28:16,680 Speaker 1: dot com. Stuff to Blow Your Mind is a production 525 00:28:16,720 --> 00:28:19,480 Speaker 1: of I Heart Radio. For more podcasts for my Heart Radio, 526 00:28:19,680 --> 00:28:22,359 Speaker 1: visit the I Heart Radio app, Apple Podcasts, or wherever 527 00:28:22,400 --> 00:28:23,760 Speaker 1: you listen to your favorite shows.