1 00:00:02,960 --> 00:00:06,080 Speaker 1: Welcome to Stuff to Blow Your Mind production of iHeartRadio. 2 00:00:10,000 --> 00:00:12,600 Speaker 1: Hey you welcome to listener mail from Stuff to Blow 3 00:00:12,680 --> 00:00:15,760 Speaker 1: Your Mind. This is Robert Land and this is Joe McCormick. 4 00:00:15,840 --> 00:00:17,720 Speaker 1: And it's Monday, the day of each week that we 5 00:00:17,760 --> 00:00:21,200 Speaker 1: reback some messages from the mail bag. If you are 6 00:00:21,239 --> 00:00:23,480 Speaker 1: a listener to Stuff to Blow your Mind and you've 7 00:00:23,520 --> 00:00:26,079 Speaker 1: never gotten in touch with us before, why not ride in. 8 00:00:26,760 --> 00:00:30,360 Speaker 1: You can contact us at contact at stuff to Blow 9 00:00:30,400 --> 00:00:34,040 Speaker 1: your Mind dot com. All kinds of messages are fair game. 10 00:00:34,120 --> 00:00:36,239 Speaker 1: Of course, feedback on the episodes we've put out in 11 00:00:36,240 --> 00:00:40,839 Speaker 1: the past, if you have things to add, corrections, you know, 12 00:00:41,200 --> 00:00:44,319 Speaker 1: general appreciation, any of that is fine. But you can 13 00:00:44,320 --> 00:00:48,800 Speaker 1: also just share anything you find interesting. Let's see, Rob, 14 00:00:48,840 --> 00:00:50,720 Speaker 1: do you mind if I kick things off today with 15 00:00:50,760 --> 00:00:54,160 Speaker 1: this message from Michael about our series on horror Vakawee. 16 00:00:54,640 --> 00:00:57,840 Speaker 1: Go for it, okay. Horror Vakawee was the idea of 17 00:00:57,880 --> 00:01:06,080 Speaker 1: Fear of the Void, and Michael says, Hey, Robin, Joe, 18 00:01:06,200 --> 00:01:08,320 Speaker 1: I'm a bit behind. I think you've done a few 19 00:01:08,360 --> 00:01:11,760 Speaker 1: listener mail episodes since these were aired, but I did 20 00:01:11,760 --> 00:01:13,920 Speaker 1: want to share a thought I had while listening to 21 00:01:13,920 --> 00:01:16,640 Speaker 1: the Horror Vakawe series. I think it was somewhere during 22 00:01:16,680 --> 00:01:20,560 Speaker 1: episode one that you mentioned the difference between nothing and 23 00:01:20,680 --> 00:01:24,920 Speaker 1: a vacuum as something people have struggled to understand throughout history. 24 00:01:25,520 --> 00:01:28,720 Speaker 1: It made me think of the Nothing from The never 25 00:01:28,880 --> 00:01:32,360 Speaker 1: Ending Story. The ultimate villain in that movie was purely 26 00:01:32,400 --> 00:01:36,040 Speaker 1: the lack of existence and quite literally represents the fear 27 00:01:36,120 --> 00:01:38,319 Speaker 1: of emptiness. I know it's a bit of a stretch 28 00:01:38,360 --> 00:01:40,400 Speaker 1: from the discussions you had in this series, but I'm 29 00:01:40,400 --> 00:01:43,040 Speaker 1: curious if this came to either of your minds while 30 00:01:43,080 --> 00:01:46,160 Speaker 1: thinking about Horror of Aakawee Rob. I would be shocked 31 00:01:46,200 --> 00:01:47,800 Speaker 1: if it did not come to your mind, as I 32 00:01:47,840 --> 00:01:49,880 Speaker 1: know you are a huge fan of The never Ending 33 00:01:49,920 --> 00:01:53,640 Speaker 1: Story in its multiple forms. Yeah, I think it did 34 00:01:53,640 --> 00:01:56,520 Speaker 1: cross my mind, but I didn't ended up not incorporating 35 00:01:56,520 --> 00:01:59,560 Speaker 1: it into the note to the discussion. But but yeah, 36 00:02:00,000 --> 00:02:02,920 Speaker 1: ever Ending Story. Both the film and Michael Enda's original 37 00:02:02,960 --> 00:02:05,800 Speaker 1: novel are both both very dear to me. So it's 38 00:02:05,800 --> 00:02:08,560 Speaker 1: at some point I would like to perhaps do an 39 00:02:08,600 --> 00:02:10,880 Speaker 1: ever ending story for Weird Helps. I think that there's 40 00:02:10,919 --> 00:02:12,959 Speaker 1: a lot of fun stuff to talk about there as 41 00:02:12,960 --> 00:02:14,919 Speaker 1: a refresher. This is picking up on what we talked 42 00:02:14,919 --> 00:02:18,200 Speaker 1: about in that series about like ancient philosophers, at least 43 00:02:18,240 --> 00:02:20,960 Speaker 1: in some cases, not seeming to be able to grasp 44 00:02:21,040 --> 00:02:24,800 Speaker 1: the concept of empty space, like that they couldn't envision 45 00:02:24,919 --> 00:02:28,040 Speaker 1: such a thing as they're being three dimensions of space 46 00:02:28,200 --> 00:02:31,079 Speaker 1: and it being an existing space that had nothing in it. 47 00:02:31,440 --> 00:02:34,880 Speaker 1: I think that for some of them, for example, like Aristotle, 48 00:02:35,240 --> 00:02:37,160 Speaker 1: they just thought, well, if there's nothing in it, then 49 00:02:37,200 --> 00:02:40,040 Speaker 1: it can't exist, because there's got to be something somewhere 50 00:02:40,120 --> 00:02:42,919 Speaker 1: for something to exist. Of Course, now we know that, 51 00:02:42,960 --> 00:02:46,160 Speaker 1: you know, space is in a way not nothing because 52 00:02:46,160 --> 00:02:50,200 Speaker 1: space has property, is like, there are characteristics of space, 53 00:02:50,720 --> 00:02:55,000 Speaker 1: So it's not the same thing as non existence. Though, 54 00:02:55,040 --> 00:02:57,720 Speaker 1: then you start getting into questions about like, well, what 55 00:02:57,760 --> 00:03:00,960 Speaker 1: would it mean for non existence to this? Could that? 56 00:03:01,240 --> 00:03:05,000 Speaker 1: Is that even a coherent concept? Um? But yeah, so 57 00:03:05,000 --> 00:03:07,000 Speaker 1: so I don't know where the nothing from the Never 58 00:03:07,120 --> 00:03:09,280 Speaker 1: Ending Story falls in there? Is it? Is it like 59 00:03:09,919 --> 00:03:12,320 Speaker 1: is it like sort of a destructive force or just 60 00:03:12,400 --> 00:03:16,760 Speaker 1: a negation force? How would you characterize it? Rob? Well, Um, 61 00:03:16,919 --> 00:03:20,720 Speaker 1: I'd need to revisit the novel to really get in, 62 00:03:20,840 --> 00:03:22,680 Speaker 1: I mean to really get in deep there, because the 63 00:03:22,720 --> 00:03:25,359 Speaker 1: novel definitely goes deeper on a lot of these concepts 64 00:03:25,440 --> 00:03:30,519 Speaker 1: and and is very contemplative on various paradoxes, because the 65 00:03:30,960 --> 00:03:34,040 Speaker 1: first half of the novel is essentially the movie, but 66 00:03:34,080 --> 00:03:36,320 Speaker 1: then there's an entire second half of the adventure that's 67 00:03:36,400 --> 00:03:39,440 Speaker 1: kind of like I would I would compare it easily 68 00:03:39,480 --> 00:03:42,600 Speaker 1: to Doon Messiah. You know. It's like the first one 69 00:03:42,680 --> 00:03:44,760 Speaker 1: is the rise of the of a tray you and 70 00:03:44,880 --> 00:03:48,320 Speaker 1: the Rise of Bastion, and in the second half of 71 00:03:48,320 --> 00:03:50,760 Speaker 1: the novel is kind of I wouldn't say it's necessarily 72 00:03:50,760 --> 00:03:53,000 Speaker 1: about his fall, but it's about sort of what what 73 00:03:53,120 --> 00:03:56,440 Speaker 1: happens after one achieves power, or what happens after one 74 00:03:57,120 --> 00:03:59,720 Speaker 1: achieves their dreams, et cetera. There's a lot of a 75 00:03:59,760 --> 00:04:01,880 Speaker 1: lot of fun, weird stuff that happens in the second 76 00:04:01,880 --> 00:04:06,200 Speaker 1: part as well. Uh, some of which is reflected in 77 00:04:06,240 --> 00:04:10,240 Speaker 1: the never Ending Story too the movie, but but not really. 78 00:04:10,280 --> 00:04:11,920 Speaker 1: That's that one's kind of a mass but it has 79 00:04:11,920 --> 00:04:14,920 Speaker 1: some many monsters in it. But anyway, the nothing um, 80 00:04:14,960 --> 00:04:17,599 Speaker 1: I guess the short version is that the nothing is 81 00:04:17,880 --> 00:04:22,120 Speaker 1: um it's it's it's a vacancy. Yeah, it's it's. It's 82 00:04:22,240 --> 00:04:24,880 Speaker 1: it's it's that it is erasure as well, but it's 83 00:04:24,880 --> 00:04:29,560 Speaker 1: also not a conscious entity. It is um it's kind 84 00:04:29,560 --> 00:04:33,800 Speaker 1: of a result, and there are agents behind the nothing 85 00:04:33,920 --> 00:04:37,400 Speaker 1: that are pushing it. And in in the book they 86 00:04:37,440 --> 00:04:40,480 Speaker 1: really some of the characters really get into doupth describing 87 00:04:40,560 --> 00:04:44,200 Speaker 1: or sort of teasing what those powers beyond the nothing are. 88 00:04:44,480 --> 00:04:48,040 Speaker 1: All right, there's a second half of Michael's message here. 89 00:04:48,120 --> 00:04:50,560 Speaker 1: Michael goes on to say, for a different concept on 90 00:04:50,600 --> 00:04:54,520 Speaker 1: the same topic. Part of my job involves writing legal documents, 91 00:04:54,760 --> 00:04:57,320 Speaker 1: and one of the things many people have probably seen 92 00:04:57,560 --> 00:05:00,960 Speaker 1: but never really put much thought into, is when a 93 00:05:01,040 --> 00:05:04,680 Speaker 1: page ends before the document ends, and instead of leaving 94 00:05:04,760 --> 00:05:07,200 Speaker 1: a true blank space, you will see a box in 95 00:05:07,279 --> 00:05:11,680 Speaker 1: the document that reads this space intentionally left blank. It's 96 00:05:11,680 --> 00:05:13,840 Speaker 1: always something I have to stop to think about. Is 97 00:05:13,880 --> 00:05:17,000 Speaker 1: this blank space too big and therefore needs filler? Or 98 00:05:17,040 --> 00:05:19,000 Speaker 1: can I leave a few lines empty at the end 99 00:05:19,040 --> 00:05:23,360 Speaker 1: of the page without upsetting the expectation of the document's fullness. 100 00:05:23,760 --> 00:05:27,920 Speaker 1: Thanks for everything you do, Michael. I actually went to 101 00:05:28,240 --> 00:05:32,279 Speaker 1: read about like the history of you know these this 102 00:05:32,320 --> 00:05:35,440 Speaker 1: page intentionally left blank markings and stuff to see if 103 00:05:35,080 --> 00:05:38,720 Speaker 1: there was anything really interesting about it. Not really, I mean, 104 00:05:38,720 --> 00:05:42,919 Speaker 1: I think it's mostly just like to avoid the avoid 105 00:05:42,960 --> 00:05:45,760 Speaker 1: confusion about whether you're looking at a printing error or 106 00:05:45,800 --> 00:05:49,000 Speaker 1: something like it. You know, was this space supposed to 107 00:05:49,000 --> 00:05:51,760 Speaker 1: be here? Or did something get left out that line? 108 00:05:51,800 --> 00:05:55,480 Speaker 1: Just as sure as you nothing was left out. I 109 00:05:55,560 --> 00:05:57,880 Speaker 1: don't remember if this actually happened. I remember I had 110 00:05:57,920 --> 00:06:01,360 Speaker 1: a creative writing teacher once who said that they knew 111 00:06:01,400 --> 00:06:04,200 Speaker 1: an author who tried to get their publishers behind the 112 00:06:04,279 --> 00:06:09,520 Speaker 1: idea of including a large chunk of blank pages in 113 00:06:09,680 --> 00:06:12,320 Speaker 1: the at the end of the novel that he was 114 00:06:12,360 --> 00:06:15,760 Speaker 1: having published, because you wanted the ending to feel more 115 00:06:15,800 --> 00:06:19,159 Speaker 1: sudden and more of a surprise. So you would be 116 00:06:19,160 --> 00:06:20,720 Speaker 1: reading through it and you'd be like, oh, it's over now, 117 00:06:20,760 --> 00:06:23,839 Speaker 1: Oh my goodness. Which I don't think the publishers end 118 00:06:23,960 --> 00:06:26,280 Speaker 1: up going for that, but you do. You still get 119 00:06:26,320 --> 00:06:29,279 Speaker 1: that experience occasion. I had that experience pretty recently with 120 00:06:29,279 --> 00:06:32,080 Speaker 1: a book where I didn't realize, like reading on a kindle, 121 00:06:32,120 --> 00:06:35,640 Speaker 1: I didn't realize that there was a glossary and some 122 00:06:35,720 --> 00:06:37,960 Speaker 1: sort of extra bit on the end of the novel, 123 00:06:38,279 --> 00:06:39,880 Speaker 1: and so when it ended, I was like, oh, wow, 124 00:06:39,880 --> 00:06:43,479 Speaker 1: we're already there, and I was a little surprised. That's 125 00:06:43,480 --> 00:06:47,599 Speaker 1: a great idea to have surprise for the ending, but yeah, 126 00:06:47,680 --> 00:06:50,760 Speaker 1: I feel like you couldn't do it with blank pages 127 00:06:50,760 --> 00:06:53,240 Speaker 1: because you just noticed that too easily. I mean, even 128 00:06:53,240 --> 00:06:55,280 Speaker 1: if you're not reading ahead, you just kind of notice 129 00:06:55,360 --> 00:06:57,640 Speaker 1: that the end of the book didn't have anything on it. 130 00:06:57,680 --> 00:06:58,960 Speaker 1: I feel like you'd have to fill it up with 131 00:06:59,040 --> 00:07:01,840 Speaker 1: Laura ipsum or something thing. Yeah, And I do think 132 00:07:01,880 --> 00:07:05,480 Speaker 1: it's more gracefully achieved by having some sort of extra 133 00:07:05,560 --> 00:07:07,160 Speaker 1: material at the end. Or sometimes if it's like a 134 00:07:07,320 --> 00:07:09,320 Speaker 1: you know, an author with other books, or sometimes not 135 00:07:09,360 --> 00:07:12,280 Speaker 1: even the same author, you'll sometimes have like a preview 136 00:07:12,320 --> 00:07:15,040 Speaker 1: of another book at the end of a book, and 137 00:07:15,160 --> 00:07:18,400 Speaker 1: that can kind of accomplish the same goal, unless you're 138 00:07:18,440 --> 00:07:20,600 Speaker 1: really checking your watch on a book, which I've certainly 139 00:07:20,640 --> 00:07:22,880 Speaker 1: had that situation as well, But you're like, how how 140 00:07:22,880 --> 00:07:25,480 Speaker 1: long does this go on? Yeah? Maybe there's some sort 141 00:07:25,520 --> 00:07:32,480 Speaker 1: of a glosser at the end. Crap, there's not. Yeah, Well, anyway, 142 00:07:32,880 --> 00:07:34,760 Speaker 1: let's see Rob. Do you want to do this? Next 143 00:07:34,800 --> 00:07:38,400 Speaker 1: message from John? Yeah. This one is in a response 144 00:07:38,440 --> 00:07:41,560 Speaker 1: to a couple of episodes that Seth and I did 145 00:07:41,600 --> 00:07:45,120 Speaker 1: on hidden tracks while you were out on paternity leave. 146 00:07:50,280 --> 00:07:53,160 Speaker 1: John Right, Sollo, Rob, Joe and Seth hiding a track 147 00:07:53,240 --> 00:07:56,480 Speaker 1: either as a track after the last listed track or 148 00:07:56,520 --> 00:07:58,640 Speaker 1: after a long silent break in that track is all 149 00:07:58,640 --> 00:08:02,080 Speaker 1: too common. As you say, I remember learning of a 150 00:08:02,120 --> 00:08:04,400 Speaker 1: different form of hidden track back in the early days 151 00:08:04,400 --> 00:08:08,560 Speaker 1: of compact discs, back in the mid nineteen eighties, specifically 152 00:08:08,760 --> 00:08:12,320 Speaker 1: the hidden zero track. It didn't always work, I suppose 153 00:08:12,400 --> 00:08:16,120 Speaker 1: it varied by how the manufacturers programmed their players. But 154 00:08:16,160 --> 00:08:18,160 Speaker 1: if you put a CD in, press play in, then 155 00:08:18,720 --> 00:08:22,600 Speaker 1: rewound the track track back before the first song started, 156 00:08:22,760 --> 00:08:25,680 Speaker 1: there was another song hidden there. I remember I had. 157 00:08:25,720 --> 00:08:29,360 Speaker 1: They might be giants and rim discs with tracks like this, 158 00:08:29,440 --> 00:08:31,880 Speaker 1: but I haven't heard them in years because I only 159 00:08:31,880 --> 00:08:34,560 Speaker 1: have a computer CD DVD drive these days and it 160 00:08:34,600 --> 00:08:37,679 Speaker 1: doesn't work with this zero track hack. This type of 161 00:08:37,800 --> 00:08:40,480 Speaker 1: hidden track is popular enough there is a Wikipedia page 162 00:08:40,559 --> 00:08:43,800 Speaker 1: listing many of them, not nearly as many there as 163 00:08:44,040 --> 00:08:47,240 Speaker 1: on the more standard version hidden track page. This link 164 00:08:47,320 --> 00:08:50,120 Speaker 1: is the main page linking to an alphabetical list of 165 00:08:50,200 --> 00:08:53,960 Speaker 1: performers who have hidden tracks on their albums, and John 166 00:08:54,000 --> 00:08:57,160 Speaker 1: includes a couple of links here. Thanks for another great episode, John, 167 00:08:57,679 --> 00:09:00,520 Speaker 1: I was really combing through the list of album containing 168 00:09:00,600 --> 00:09:02,880 Speaker 1: hidden tracks to try to find one where it's like, 169 00:09:02,920 --> 00:09:06,520 Speaker 1: oh yeah, I remember this one. Um, I know I 170 00:09:06,720 --> 00:09:09,000 Speaker 1: had an album with a hidden zero track, but I 171 00:09:09,000 --> 00:09:10,920 Speaker 1: can't remember what it was, And all the ones I 172 00:09:10,960 --> 00:09:14,080 Speaker 1: could find on here that I recall were like, yeah, 173 00:09:14,120 --> 00:09:16,559 Speaker 1: ones where it just plays after the last track on 174 00:09:16,600 --> 00:09:19,599 Speaker 1: the CD, after a big gap, like remember there's a 175 00:09:19,760 --> 00:09:21,800 Speaker 1: there's a Queens of the Stone Age album that had 176 00:09:21,800 --> 00:09:26,680 Speaker 1: a track like that. But anyway, looking through this list, 177 00:09:26,720 --> 00:09:30,240 Speaker 1: the funniest example I found was that there are allegedly 178 00:09:30,400 --> 00:09:34,320 Speaker 1: two Jimmy Buffett albums with hidden tracks, and trying to 179 00:09:34,400 --> 00:09:38,240 Speaker 1: imagine Jimmy Buffett fans kind of mashing the buttons on 180 00:09:38,280 --> 00:09:41,840 Speaker 1: their CD players was it was a strongly amusing image. 181 00:09:42,600 --> 00:09:44,520 Speaker 1: One of the albums that as a hidden track is 182 00:09:44,600 --> 00:09:50,320 Speaker 1: allegedly called Banana wind h Well, you know, don't The 183 00:09:50,320 --> 00:09:54,600 Speaker 1: profit can be very cryptic in his messages. Yeah, I'm 184 00:09:54,640 --> 00:09:57,720 Speaker 1: looking at this list as well, and uh, I think 185 00:09:58,480 --> 00:10:00,520 Speaker 1: I'm familiar with some of these albums, Like there's an 186 00:10:00,520 --> 00:10:04,400 Speaker 1: Autecher album on here, there's some DJ Food and DK. 187 00:10:04,720 --> 00:10:08,480 Speaker 1: But I think most of the artists on here that 188 00:10:08,679 --> 00:10:12,160 Speaker 1: I'm into I got into after I was done with 189 00:10:12,240 --> 00:10:15,160 Speaker 1: CD players, so I don't really have any experience with 190 00:10:15,200 --> 00:10:17,959 Speaker 1: the track zero on their their work. It is amusing 191 00:10:17,960 --> 00:10:19,640 Speaker 1: that some of these artists did it more than once, 192 00:10:19,720 --> 00:10:23,000 Speaker 1: where they're like, that was great, Let's do that again. Oh, 193 00:10:23,160 --> 00:10:26,800 Speaker 1: I Monster is also in here. That's another band that 194 00:10:26,880 --> 00:10:28,679 Speaker 1: I really I really liked this album from two thousand 195 00:10:28,720 --> 00:10:34,000 Speaker 1: and three, never odd or even M But again I 196 00:10:34,040 --> 00:10:37,440 Speaker 1: got that album digitally at some point, and I have 197 00:10:37,520 --> 00:10:47,599 Speaker 1: no experience with the CD. Okay. This next message is 198 00:10:47,640 --> 00:10:51,600 Speaker 1: in response to our series on t This is from Jake. 199 00:10:52,200 --> 00:10:54,760 Speaker 1: Let's see and there there are a couple of subtopics here. 200 00:10:55,160 --> 00:11:00,800 Speaker 1: Jake begins by responding to our discussion on bertrand russell teapot, 201 00:11:00,840 --> 00:11:02,839 Speaker 1: analogy that was a tangent we did in one of 202 00:11:02,840 --> 00:11:06,920 Speaker 1: our episodes, and Jake compares Russell's teapot to the now 203 00:11:07,200 --> 00:11:11,160 Speaker 1: very well known satirical deity called the flying Spaghetti Monster, 204 00:11:11,320 --> 00:11:14,960 Speaker 1: which is an omnipotent wad of pasta containing several meatballs. 205 00:11:16,040 --> 00:11:19,520 Speaker 1: Jake writes quote referring to the spaghetti Monster quote. This 206 00:11:19,600 --> 00:11:23,000 Speaker 1: started as a similar type of thought experiment to the 207 00:11:23,040 --> 00:11:27,840 Speaker 1: teapot and Carl Sagan's Invisible Dragon, but more explicitly designed 208 00:11:27,840 --> 00:11:31,080 Speaker 1: to look like Christianity. In the years since the original 209 00:11:31,120 --> 00:11:33,640 Speaker 1: website went up, people have adopted the trappings of it 210 00:11:33,720 --> 00:11:37,800 Speaker 1: as a religion, entering it as their faith on census forms, 211 00:11:37,800 --> 00:11:40,479 Speaker 1: winning court cases, to be allowed to wear a colander 212 00:11:40,480 --> 00:11:44,840 Speaker 1: on their heads for official id as it is religious headgear, 213 00:11:45,240 --> 00:11:51,280 Speaker 1: and even churches with dedicated priests and regular services. And yeah, Jake, 214 00:11:51,360 --> 00:11:54,160 Speaker 1: this is interesting because we covered some aspects of this 215 00:11:54,200 --> 00:11:56,440 Speaker 1: in an episode we did many years ago now, and 216 00:11:58,520 --> 00:11:59,920 Speaker 1: I haven't heard it in a long time, so I 217 00:12:00,040 --> 00:12:02,400 Speaker 1: don't know how our discussion holds up. But we were 218 00:12:02,440 --> 00:12:07,680 Speaker 1: talking about a framework called hyper real religions, which was 219 00:12:07,720 --> 00:12:12,959 Speaker 1: basically a sociology of religion concept to describing postmodern religions 220 00:12:13,040 --> 00:12:17,920 Speaker 1: that are consciously based on explicitly fictional ideas, often from 221 00:12:17,920 --> 00:12:20,760 Speaker 1: pop culture. So there were a bunch of examples, but 222 00:12:20,840 --> 00:12:24,040 Speaker 1: one of them was Jediism, a religion based on the 223 00:12:24,160 --> 00:12:27,559 Speaker 1: Jedi Order from the Star Wars universe. And the Flying 224 00:12:27,559 --> 00:12:30,920 Speaker 1: Spaghetti Monster religion was another one. Though it began as 225 00:12:30,960 --> 00:12:34,440 Speaker 1: a parody, it sort of evolved to have more, I 226 00:12:34,480 --> 00:12:36,760 Speaker 1: don't know, things, kind of like a real religion would have. 227 00:12:37,200 --> 00:12:39,320 Speaker 1: And I think what's interesting is that a lot of 228 00:12:39,320 --> 00:12:42,240 Speaker 1: these religions by now seem to have at least some 229 00:12:42,320 --> 00:12:46,760 Speaker 1: members who claim to practice them sincerely, not just as 230 00:12:46,800 --> 00:12:49,319 Speaker 1: a joke or a parody or a way of making 231 00:12:49,360 --> 00:12:51,400 Speaker 1: a point, though obviously a lot of them kind of 232 00:12:51,400 --> 00:12:55,319 Speaker 1: started that way. And this phenomenon's interesting to me because 233 00:12:55,400 --> 00:12:59,440 Speaker 1: it suggests a religion can arise without a starting point 234 00:13:00,040 --> 00:13:04,200 Speaker 1: of literalist enchantment with the myths. Like no one starts 235 00:13:04,200 --> 00:13:06,719 Speaker 1: out by having a literal belief in the existence of 236 00:13:06,800 --> 00:13:10,440 Speaker 1: Jedi knights in the Force. Everybody understands Star Wars is fiction. 237 00:13:10,920 --> 00:13:14,720 Speaker 1: But nevertheless, you can kind of work up to a 238 00:13:14,840 --> 00:13:18,600 Speaker 1: feeling of sincere belief about a religion, I guess through 239 00:13:18,720 --> 00:13:24,120 Speaker 1: actions or contemplation, maybe through ritual repetition or just ongoing discourse, 240 00:13:24,160 --> 00:13:27,640 Speaker 1: you know, repeatedly talking about the central ideas. And even 241 00:13:27,679 --> 00:13:30,280 Speaker 1: if it starts just as a joke or something that 242 00:13:30,400 --> 00:13:32,880 Speaker 1: you did just for fun, it can kind of become 243 00:13:33,040 --> 00:13:38,440 Speaker 1: serious to you. And this in turn makes me wonder 244 00:13:38,559 --> 00:13:42,400 Speaker 1: about the origins of traditional religions. Like I've said this 245 00:13:42,480 --> 00:13:45,800 Speaker 1: on the show before, but I mean this really, Like, 246 00:13:45,880 --> 00:13:49,080 Speaker 1: are we so sure that the authors of the Book 247 00:13:49,120 --> 00:13:52,920 Speaker 1: of Genesis meant, for, say, the six day Creation story 248 00:13:52,960 --> 00:13:56,120 Speaker 1: to be taken as a literal, factual account of where 249 00:13:56,120 --> 00:13:59,640 Speaker 1: everything came from? Or is it possible they might have said, 250 00:14:00,080 --> 00:14:01,920 Speaker 1: we don't know where everything came from, We don't know 251 00:14:01,960 --> 00:14:03,840 Speaker 1: how it came to be, but here is an interesting 252 00:14:03,880 --> 00:14:06,440 Speaker 1: story that we tell, and this story maybe has some 253 00:14:06,520 --> 00:14:10,800 Speaker 1: things to say about our culture. And another thing this 254 00:14:10,920 --> 00:14:14,440 Speaker 1: connects to is something I just believe is true about people. 255 00:14:15,480 --> 00:14:19,920 Speaker 1: If we spend enough time being interested in something, even 256 00:14:20,000 --> 00:14:24,040 Speaker 1: in a totally ironic way, over time our interest will 257 00:14:24,040 --> 00:14:26,640 Speaker 1: start to become more earnest. I think that's just a 258 00:14:26,640 --> 00:14:30,680 Speaker 1: feature of human psychology. If you consistently spend your time 259 00:14:30,800 --> 00:14:34,160 Speaker 1: thinking and talking about something as a joke, you will 260 00:14:34,280 --> 00:14:36,880 Speaker 1: end up thinking and talking about it with a kind 261 00:14:36,920 --> 00:14:41,160 Speaker 1: of with a more sincere appreciation, finding serious meaning in it. 262 00:14:41,640 --> 00:14:43,520 Speaker 1: And you could chalk this up to a number of 263 00:14:43,560 --> 00:14:45,200 Speaker 1: different things. You could say it's a kind of like 264 00:14:45,240 --> 00:14:48,320 Speaker 1: sunk cost fallacy about your own time and efforts thinking 265 00:14:48,360 --> 00:14:51,040 Speaker 1: and talking about that thing. Or you could say that 266 00:14:51,120 --> 00:14:53,280 Speaker 1: it's just that, you know, the more you think about anything, 267 00:14:53,360 --> 00:14:57,000 Speaker 1: the more it just you notice things about it that 268 00:14:57,120 --> 00:15:02,200 Speaker 1: resonate in more profound ways. But anyway, uh, yeah, yeah, 269 00:15:02,240 --> 00:15:07,120 Speaker 1: so I think that that raises a lot of interesting questions. Yeah, yeah, 270 00:15:07,160 --> 00:15:09,600 Speaker 1: this was this was a fun topic yeah, when we 271 00:15:09,720 --> 00:15:12,280 Speaker 1: approached it back in the day. Again, I haven't listened 272 00:15:12,320 --> 00:15:14,160 Speaker 1: to this and forever, so I don't know how it 273 00:15:14,200 --> 00:15:16,760 Speaker 1: holds up either. But um, yeah, there were other things 274 00:15:16,800 --> 00:15:20,320 Speaker 1: like Dudaism. I think it was a big one based 275 00:15:20,360 --> 00:15:24,160 Speaker 1: on the dude from The Big Lebowski and uh, yeah, 276 00:15:24,240 --> 00:15:27,520 Speaker 1: I don't know. It's it's it's interesting to think about. Um. 277 00:15:27,640 --> 00:15:30,880 Speaker 1: You know, with Star Wars, for example, I would not 278 00:15:30,920 --> 00:15:35,360 Speaker 1: say that I believe in Jediism or anything. But if 279 00:15:35,360 --> 00:15:37,720 Speaker 1: you have a story like like Star Wars, and you 280 00:15:37,960 --> 00:15:40,360 Speaker 1: like see you grow up with it, uh, if you 281 00:15:40,480 --> 00:15:45,000 Speaker 1: find yourself returning to it, uh in difficult times, if 282 00:15:45,040 --> 00:15:47,720 Speaker 1: you uh if if you have like a child who 283 00:15:47,720 --> 00:15:50,160 Speaker 1: gets into it. You know, these have the last two 284 00:15:50,160 --> 00:15:52,040 Speaker 1: have been my experience, or I guess all three have 285 00:15:52,160 --> 00:15:55,800 Speaker 1: been my experience. Like you can find yourself um more 286 00:15:55,840 --> 00:15:59,440 Speaker 1: attached to the material than you were previously. Uh. And 287 00:15:59,440 --> 00:16:00,960 Speaker 1: and you know, not to the point again where I 288 00:16:00,960 --> 00:16:04,440 Speaker 1: think Jediism is a thing or that the force is 289 00:16:04,480 --> 00:16:06,560 Speaker 1: real or anything like that, but it kind of gets 290 00:16:06,600 --> 00:16:08,800 Speaker 1: to the point where I like where there was a 291 00:16:08,800 --> 00:16:10,880 Speaker 1: time where I would you know, I would maybe make 292 00:16:10,920 --> 00:16:14,880 Speaker 1: fun of of elements and say the prequels. But nowadays 293 00:16:14,920 --> 00:16:16,840 Speaker 1: it's like there's a there's a joke that's maybe like 294 00:16:16,880 --> 00:16:20,400 Speaker 1: a little too hard on the Fall of Anakin Skywalker. 295 00:16:20,400 --> 00:16:22,000 Speaker 1: I'm kind of like, you shouldn't joke about that. That's 296 00:16:22,000 --> 00:16:24,120 Speaker 1: a serious story. A lot of people take that very seriously. 297 00:16:25,320 --> 00:16:27,040 Speaker 1: I don't know, and I don't know why exactly, you know, 298 00:16:27,080 --> 00:16:29,080 Speaker 1: but I think part of it is just, yeah, sort 299 00:16:29,080 --> 00:16:32,120 Speaker 1: of like clinging to it a little bit during um, 300 00:16:32,520 --> 00:16:35,720 Speaker 1: you know, in recent years, having a child grow up 301 00:16:35,720 --> 00:16:38,040 Speaker 1: with it and see it through through his eyes and 302 00:16:38,120 --> 00:16:41,520 Speaker 1: his experiences, you know, it kind of changes the way 303 00:16:41,520 --> 00:16:44,080 Speaker 1: you approach some of it. If I can psychoanalyze you 304 00:16:44,120 --> 00:16:46,480 Speaker 1: a little bit, Robert I, it seems to me, just 305 00:16:46,520 --> 00:16:49,120 Speaker 1: based on things you've said to me, that a lot 306 00:16:49,120 --> 00:16:51,920 Speaker 1: of this might be based in like showing the prequels 307 00:16:51,920 --> 00:16:54,920 Speaker 1: to your son and appreciating them together. It's like when 308 00:16:54,960 --> 00:16:57,240 Speaker 1: you see them again through the eyes of a child, 309 00:16:57,520 --> 00:17:02,240 Speaker 1: that really makes you you experienced them in a whole 310 00:17:02,240 --> 00:17:05,960 Speaker 1: new way. They come to me and something different to you. Yeah, 311 00:17:06,080 --> 00:17:08,359 Speaker 1: which film that we've covered for Weird House should a 312 00:17:08,440 --> 00:17:10,920 Speaker 1: religion be based upon? Though, if you had to had 313 00:17:10,960 --> 00:17:14,159 Speaker 1: to push for your own hyper real religion. Well, you know, 314 00:17:14,200 --> 00:17:16,200 Speaker 1: there are a couple of different ways to answer that question, 315 00:17:16,280 --> 00:17:20,280 Speaker 1: because there are some that naturally invite occult interpretations. So 316 00:17:20,400 --> 00:17:22,240 Speaker 1: you know, you get you got your done which horror, 317 00:17:22,280 --> 00:17:25,400 Speaker 1: and you got your oh what's it called the Devil 318 00:17:25,520 --> 00:17:28,720 Speaker 1: rides out? You know, like Christopher Lee in that movie 319 00:17:28,840 --> 00:17:31,359 Speaker 1: is almost asking to be your your your priest and 320 00:17:31,400 --> 00:17:35,080 Speaker 1: your shaman um. But on the other hand, i'd say, 321 00:17:35,080 --> 00:17:41,600 Speaker 1: you know, transfers too, that that's got some real mythological gusto. Yeah, yeah, 322 00:17:41,600 --> 00:17:43,679 Speaker 1: that's that's a pretty good pick, you know. And of 323 00:17:43,720 --> 00:17:45,439 Speaker 1: course some of the films we've talked about do have 324 00:17:45,520 --> 00:17:49,000 Speaker 1: actual mythologies at the heart of them, or they have 325 00:17:49,240 --> 00:17:53,679 Speaker 1: they're based on fictional franchises that people have invested so 326 00:17:53,760 --> 00:17:57,480 Speaker 1: much in that they they either achieve or nearly achieving 327 00:17:57,600 --> 00:18:00,960 Speaker 1: hyper real status. For instance, The Keeper, which was the 328 00:18:01,359 --> 00:18:04,040 Speaker 1: Russian adaptation of The Fellowship of the Rings. So I 329 00:18:04,080 --> 00:18:06,680 Speaker 1: guess it'd be kind of like Russian Orthodox tokenism there. 330 00:18:06,760 --> 00:18:10,000 Speaker 1: Oh yes, oh wait, I just thought to woor the Great, 331 00:18:10,040 --> 00:18:11,960 Speaker 1: I mean to bore the Great is a god, so 332 00:18:12,560 --> 00:18:15,760 Speaker 1: there you go. Oh but anyway, sorry, I gotta return 333 00:18:15,800 --> 00:18:20,640 Speaker 1: to Jake's message. So concluding the section about the parody religion, 334 00:18:21,240 --> 00:18:23,960 Speaker 1: Jake says, all this stuff maybe an indication that the 335 00:18:24,040 --> 00:18:28,760 Speaker 1: flying Spaghetti Monster religion quote has transitioned from the realms 336 00:18:28,800 --> 00:18:33,720 Speaker 1: of healing driftwood into the more mainstream territory of healing crystals. 337 00:18:33,720 --> 00:18:35,639 Speaker 1: That's referring to another thing we said in the episode 338 00:18:35,640 --> 00:18:39,880 Speaker 1: about how the ideas, even if there's no evidence for them, 339 00:18:39,920 --> 00:18:42,760 Speaker 1: take on a feeling of plausibility just if they're more 340 00:18:42,840 --> 00:18:48,200 Speaker 1: familiar than if unfamiliar. Okay, second half of Jake's message, 341 00:18:48,320 --> 00:18:51,240 Speaker 1: he says, in more directly tea related talk, you ask 342 00:18:51,280 --> 00:18:54,320 Speaker 1: for stories about listeners tea habits. Growing up, my parents 343 00:18:54,400 --> 00:18:57,320 Speaker 1: always left the tea bag in the mug when drinking tea, 344 00:18:57,480 --> 00:18:59,760 Speaker 1: so when I started drinking it, naturally this is what 345 00:18:59,800 --> 00:19:03,480 Speaker 1: I did. I never really internalized that it was unusual 346 00:19:03,600 --> 00:19:06,120 Speaker 1: until I was quite a lot older, although I learned 347 00:19:06,119 --> 00:19:08,560 Speaker 1: fairly quickly that when making tea for guests, I should 348 00:19:08,640 --> 00:19:11,480 Speaker 1: check if they wanted their tea bags removed. I've grown 349 00:19:11,480 --> 00:19:13,560 Speaker 1: out of the habit since moving out, mainly because I 350 00:19:13,600 --> 00:19:16,400 Speaker 1: have a small dog who loves to grab tea bags 351 00:19:16,440 --> 00:19:19,480 Speaker 1: out of any mug left within his reach and cause 352 00:19:19,520 --> 00:19:23,440 Speaker 1: a mess, throwing them around. Wow, But I do still 353 00:19:23,440 --> 00:19:26,520 Speaker 1: occasionally indulge. I'd like it because the tea gets progressively 354 00:19:26,520 --> 00:19:29,720 Speaker 1: stronger as you drink, so no two mouthfuls taste the same. 355 00:19:30,160 --> 00:19:33,040 Speaker 1: Ghost without saying that, I don't have a problem with 356 00:19:33,119 --> 00:19:36,320 Speaker 1: over steeped tea. Thanks again for the podcast. Keep up 357 00:19:36,320 --> 00:19:40,199 Speaker 1: the great work. Regards Jake, This is great. Yeah, I 358 00:19:40,240 --> 00:19:44,080 Speaker 1: mean it varies so much depending on what tea you're using. 359 00:19:44,119 --> 00:19:47,280 Speaker 1: I guess like in my household, we drink a lot 360 00:19:47,280 --> 00:19:50,040 Speaker 1: Againmacha tea. That's the one with the toasted rice, and 361 00:19:50,160 --> 00:19:53,359 Speaker 1: it is amazing tea and one that I have found 362 00:19:53,359 --> 00:19:57,159 Speaker 1: to be very forgiving of over steeping, especially on subsequent steeps. 363 00:19:57,160 --> 00:19:58,600 Speaker 1: But even the first steep you can kind of let 364 00:19:58,600 --> 00:20:00,280 Speaker 1: it go a little bit and it doesn't it too 365 00:20:00,359 --> 00:20:04,560 Speaker 1: sharp or too strong. Other teas I have you have 366 00:20:04,640 --> 00:20:06,120 Speaker 1: to It's like that first steep. You got to give 367 00:20:06,119 --> 00:20:10,760 Speaker 1: it like thirty seconds otherwise you're dimmed. But I sometimes 368 00:20:10,760 --> 00:20:13,560 Speaker 1: I do the Jake approach if I am drinking tea 369 00:20:13,560 --> 00:20:16,520 Speaker 1: in the studio, because sometimes I don't give myself enough 370 00:20:16,560 --> 00:20:18,720 Speaker 1: time to steep it before I go in, so I 371 00:20:18,760 --> 00:20:20,200 Speaker 1: got to bring it in here with the tea bag 372 00:20:20,240 --> 00:20:23,680 Speaker 1: still in, but with a little like ramikin or something 373 00:20:23,680 --> 00:20:25,119 Speaker 1: to put the tea bag in when it's time to 374 00:20:25,160 --> 00:20:27,439 Speaker 1: take it out. And that allows me to sort of 375 00:20:27,480 --> 00:20:29,760 Speaker 1: like keep sipping and sort of fine tune it, like, 376 00:20:29,760 --> 00:20:31,240 Speaker 1: am I there, yad, it's time to take it out. 377 00:20:31,280 --> 00:20:33,159 Speaker 1: Maybe I can push it a little further and then like, okay, 378 00:20:33,240 --> 00:20:36,199 Speaker 1: now it's the time. I used to assume that the 379 00:20:36,400 --> 00:20:40,719 Speaker 1: reason that tea cups were served on a little saucer 380 00:20:40,840 --> 00:20:43,160 Speaker 1: plate was so that you could take the tea bag 381 00:20:43,200 --> 00:20:45,080 Speaker 1: out and put it on the plate. But then I 382 00:20:45,160 --> 00:20:47,800 Speaker 1: thought the way that the saucer plates pre date the 383 00:20:47,920 --> 00:20:50,639 Speaker 1: use of tea bags for steeping. I'm sure like that 384 00:20:50,720 --> 00:20:52,240 Speaker 1: goes back to a time when you just have the 385 00:20:52,280 --> 00:20:54,160 Speaker 1: loose leaves in the in the pot and you pour 386 00:20:54,200 --> 00:20:56,639 Speaker 1: it out of the spout. Right, I assume I've never 387 00:20:56,680 --> 00:20:59,000 Speaker 1: really looked into that. I had an aunt who would 388 00:20:59,080 --> 00:21:02,640 Speaker 1: reportedly she was a great aunt, who would reportedly with 389 00:21:02,880 --> 00:21:05,800 Speaker 1: coffee or tea, I forget which would pour the tea 390 00:21:06,040 --> 00:21:09,080 Speaker 1: or coffee into the saucer so that it could cool, 391 00:21:09,920 --> 00:21:12,280 Speaker 1: which I that's not the right way to use it, right, 392 00:21:12,320 --> 00:21:16,240 Speaker 1: This has to be a novel use of the cup 393 00:21:16,280 --> 00:21:18,679 Speaker 1: and saucer. I get you know what I imagine. I 394 00:21:18,760 --> 00:21:22,280 Speaker 1: bet it's to rest your teaspoon on. If you're stirring 395 00:21:22,320 --> 00:21:25,159 Speaker 1: like milk indoor sugar into your tea, you got a 396 00:21:25,160 --> 00:21:28,040 Speaker 1: little teaspoon that goes on the saucer. I bet that's 397 00:21:28,040 --> 00:21:31,720 Speaker 1: why the saucer was invented. Yeah, spillage maybe as well. 398 00:21:31,760 --> 00:21:33,800 Speaker 1: I don't know. Yeah, see, we should goose should do 399 00:21:33,800 --> 00:21:40,920 Speaker 1: a whole invention on just spitball. Yeah, okay, let's see. Oh, Rob, 400 00:21:40,960 --> 00:21:42,720 Speaker 1: do you want to do this short one from Jeremy 401 00:21:42,760 --> 00:21:46,159 Speaker 1: about Finn McCool. Oh yeah, yeah, we've been rearing the 402 00:21:46,200 --> 00:21:48,720 Speaker 1: Finn McCool episodes from last year. As we approached Saint 403 00:21:48,760 --> 00:21:56,920 Speaker 1: Patty's Day again, Jeremy rights, Hello, Robert and Joe. While 404 00:21:56,920 --> 00:22:00,360 Speaker 1: listening to the recent Select's episode about Finn McCool, had 405 00:22:00,400 --> 00:22:03,520 Speaker 1: just reached the point of describing the Giants Causeway when 406 00:22:03,560 --> 00:22:07,600 Speaker 1: I rode past a sculpture representing the same formation. So 407 00:22:07,920 --> 00:22:12,240 Speaker 1: to be clear, Jeremy's not driving past the actual Giants Causeway, 408 00:22:12,240 --> 00:22:14,000 Speaker 1: but just something that looks like it and seems to 409 00:22:14,000 --> 00:22:16,920 Speaker 1: be intentionally crafted to look like it, And they included 410 00:22:16,920 --> 00:22:19,160 Speaker 1: a picture for us appears to be made out of 411 00:22:20,400 --> 00:22:26,200 Speaker 1: concrete pieces. How would you describe this concrete hexagons, little columns. 412 00:22:26,280 --> 00:22:31,440 Speaker 1: I guess it's to resemble the columnar basalt. But I've 413 00:22:31,520 --> 00:22:34,399 Speaker 1: never seen anything like this before, and I tried to 414 00:22:34,440 --> 00:22:36,440 Speaker 1: google it to figure out what. Jeremy does not say 415 00:22:36,480 --> 00:22:39,320 Speaker 1: where this is. So I was googling giants causeway sculpture 416 00:22:39,960 --> 00:22:42,800 Speaker 1: came up with zips, So I don't know. Yeah, you'd 417 00:22:42,800 --> 00:22:45,760 Speaker 1: have to do like a deep search based on the 418 00:22:45,920 --> 00:22:48,200 Speaker 1: There's some sort of a big house in the background, 419 00:22:48,320 --> 00:22:51,400 Speaker 1: kind of a manor house, but I know who knows 420 00:22:51,440 --> 00:22:56,360 Speaker 1: what that is really creepy with this, Yeah, Jeremy continues, 421 00:22:56,600 --> 00:22:59,199 Speaker 1: since it appears your podcasting powers have now reached the 422 00:22:59,280 --> 00:23:03,400 Speaker 1: point of auto generation. I was momentarily concerned the giants 423 00:23:03,400 --> 00:23:06,880 Speaker 1: would be next, but fortunately neither of them appeared. Should 424 00:23:06,920 --> 00:23:10,560 Speaker 1: I be concerned about listening to future episodes? Winky face 425 00:23:10,680 --> 00:23:15,320 Speaker 1: best regards Jeremy. Well, Jeremy, I think you may soon 426 00:23:15,359 --> 00:23:18,879 Speaker 1: be driving and find a gray whale encrusted with barnacles 427 00:23:18,920 --> 00:23:21,240 Speaker 1: laying across the road, so be careful going around the 428 00:23:21,480 --> 00:23:24,080 Speaker 1: tight corners. But thanks for writing him. This is amusing. 429 00:23:24,600 --> 00:23:26,959 Speaker 1: I gotta kick out of this, and it does make 430 00:23:27,000 --> 00:23:29,800 Speaker 1: me wonder about it. This has the there's an intentionality 431 00:23:29,840 --> 00:23:33,720 Speaker 1: to this work. This appears to be an actual work 432 00:23:33,760 --> 00:23:36,600 Speaker 1: of art here. This is not just we encounter a 433 00:23:36,680 --> 00:23:39,679 Speaker 1: lot of stuff. I guess this encountered this everywhere, but 434 00:23:39,960 --> 00:23:42,119 Speaker 1: particularly in the American South, you find a lot of 435 00:23:42,320 --> 00:23:45,840 Speaker 1: sort of like junkyard art that is kind This seems 436 00:23:45,840 --> 00:23:48,440 Speaker 1: to be kind of you know, there's an intentional, outsider 437 00:23:48,520 --> 00:23:50,600 Speaker 1: art approach to it, but there's also just sort of 438 00:23:50,640 --> 00:23:53,840 Speaker 1: like the effect of stuff piling up. And I don't 439 00:23:53,880 --> 00:23:56,800 Speaker 1: get that feel from what we're looking at here. Oh no, no, 440 00:23:56,840 --> 00:23:59,400 Speaker 1: this is a sculpture, definitely. Yeah. You kind of want 441 00:23:59,400 --> 00:24:01,520 Speaker 1: to climb on it like it looks. I'm surprised there's 442 00:24:01,520 --> 00:24:03,720 Speaker 1: no children on it here. I always want to climb 443 00:24:03,760 --> 00:24:06,280 Speaker 1: on everything. All right, I think we should call today's 444 00:24:06,320 --> 00:24:08,600 Speaker 1: episode there. We've got a few messages about Weird House, 445 00:24:08,640 --> 00:24:11,960 Speaker 1: but we will We'll save those for next week. All right. 446 00:24:12,359 --> 00:24:15,440 Speaker 1: Just remindered everybody that Listener Mail publishes here on Mondays 447 00:24:15,440 --> 00:24:18,720 Speaker 1: and the Stuff to Blow your Mind podcast feed. Yeah, 448 00:24:18,760 --> 00:24:20,280 Speaker 1: if you want to keep up with what we're doing 449 00:24:20,359 --> 00:24:22,840 Speaker 1: on the show, really subscribe to a feed somewhere. That's 450 00:24:22,880 --> 00:24:25,359 Speaker 1: the best way to do it because we don't really 451 00:24:25,960 --> 00:24:28,720 Speaker 1: we don't really do much in the way of letting 452 00:24:28,760 --> 00:24:31,040 Speaker 1: folks know on social when there's a new episode or 453 00:24:31,080 --> 00:24:33,960 Speaker 1: any of that right now, So subscribing is the best 454 00:24:34,000 --> 00:24:35,359 Speaker 1: way to do it, and it helps off the show. 455 00:24:36,119 --> 00:24:37,560 Speaker 1: But let's see what else we got going on. We 456 00:24:37,560 --> 00:24:41,040 Speaker 1: got Tuesday, Rob, Can I add something though? Yes, yeah, 457 00:24:41,160 --> 00:24:44,520 Speaker 1: as our bosses have told us many times, at least 458 00:24:44,560 --> 00:24:48,200 Speaker 1: some podcast platforms out there, I think Apple Apple Podcasts 459 00:24:48,200 --> 00:24:51,000 Speaker 1: has been singled out there. There may be some weirdness 460 00:24:51,040 --> 00:24:53,560 Speaker 1: going on with people who are subscribed to our podcast, 461 00:24:54,040 --> 00:24:57,639 Speaker 1: but the platform stops auto downloading even though you didn't 462 00:24:57,640 --> 00:24:59,600 Speaker 1: tell it to do that. So if you're a fan 463 00:24:59,640 --> 00:25:00,880 Speaker 1: of the show and you want to make sure you're 464 00:25:00,880 --> 00:25:03,800 Speaker 1: always getting our new stuff, go in. Make sure that 465 00:25:03,880 --> 00:25:06,320 Speaker 1: you are, Make sure that you're subscribed if you meant 466 00:25:06,359 --> 00:25:08,880 Speaker 1: to be. Make sure that auto downloads are turned on. 467 00:25:09,000 --> 00:25:10,959 Speaker 1: Even if you had them turned on before. Somehow they 468 00:25:11,000 --> 00:25:13,040 Speaker 1: might have gotten turned off on their own. I don't 469 00:25:13,040 --> 00:25:15,320 Speaker 1: know why they do that, but that's what we've heard happens, 470 00:25:16,160 --> 00:25:18,560 Speaker 1: so just check on that. And we've also been told 471 00:25:18,600 --> 00:25:21,920 Speaker 1: that on some platforms, again specifically Apple Podcasts, it may 472 00:25:22,040 --> 00:25:25,760 Speaker 1: stop downloading episodes even if you have it set to 473 00:25:25,880 --> 00:25:29,040 Speaker 1: download episodes if you haven't listened to the last x 474 00:25:29,119 --> 00:25:32,119 Speaker 1: number maybe five episodes or something. So if you're one 475 00:25:32,160 --> 00:25:34,560 Speaker 1: of those people out there who likes to let them, 476 00:25:35,160 --> 00:25:37,280 Speaker 1: you know, save them up and then binge them, I mean, 477 00:25:37,640 --> 00:25:39,920 Speaker 1: you know that that's your right. You do that if 478 00:25:39,960 --> 00:25:42,360 Speaker 1: that's what you want, but just be aware that may 479 00:25:42,640 --> 00:25:45,320 Speaker 1: stop episodes from downloading. So if you want to make 480 00:25:45,320 --> 00:25:48,120 Speaker 1: sure you're always getting new episodes downloaded and you want 481 00:25:48,119 --> 00:25:50,280 Speaker 1: to help us out, a good idea might be to 482 00:25:50,960 --> 00:25:53,000 Speaker 1: just try to stay as current as you can, or 483 00:25:53,040 --> 00:25:56,160 Speaker 1: listen to at least one fresh episode per week, even 484 00:25:56,200 --> 00:25:58,280 Speaker 1: if you are saving them up to benj them on 485 00:25:58,320 --> 00:26:01,680 Speaker 1: the weekends or whatever. Yeah. Yeah, that way they'll digitally 486 00:26:01,680 --> 00:26:04,560 Speaker 1: manifest on your device so that they can physically manifest 487 00:26:04,600 --> 00:26:07,960 Speaker 1: in the world as you drive around. So again, he 488 00:26:07,960 --> 00:26:10,160 Speaker 1: has stuff to blow your mind. Podcast feed Core episodes 489 00:26:10,200 --> 00:26:13,600 Speaker 1: on Tuesdays and Thursdays, listenermail on Mondays. On Wednesdays, a 490 00:26:13,640 --> 00:26:16,640 Speaker 1: short form artifact or monster fact, and then on Friday's 491 00:26:16,640 --> 00:26:18,879 Speaker 1: Weirdhouse Cinema. That's our time to set aside most serious 492 00:26:18,920 --> 00:26:21,520 Speaker 1: concerns and just talk about a strange film huge thanks 493 00:26:21,520 --> 00:26:24,679 Speaker 1: to our audio producer JJ Pauseway. If you would like 494 00:26:24,760 --> 00:26:26,840 Speaker 1: to get in touch with us with feedback on this 495 00:26:26,880 --> 00:26:29,760 Speaker 1: episode or any other, to suggest a topic for the future, 496 00:26:29,880 --> 00:26:32,320 Speaker 1: or just to say hello, you can email us at 497 00:26:32,320 --> 00:26:42,160 Speaker 1: contact at stuff to Blow your Mind dot com. Stuff 498 00:26:42,200 --> 00:26:44,800 Speaker 1: to Blow Your Mind is a production of iHeartRadio. For 499 00:26:44,920 --> 00:26:47,680 Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app, 500 00:26:47,840 --> 00:26:50,600 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.