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 --> 00:00:10,720 Speaker 1: My Heart Radio. Hey, welcome to Stuff to Blow Your Mind. 3 00:00:10,840 --> 00:00:15,040 Speaker 1: Listener Mail. My name is Robert Lamb and I'm Joe McCormick, 4 00:00:15,160 --> 00:00:17,599 Speaker 1: and we're gonna jump right into the messages that we've 5 00:00:17,600 --> 00:00:20,520 Speaker 1: received from you over the past week. Rob if you're ready, 6 00:00:20,560 --> 00:00:22,320 Speaker 1: I'm going to jump right in with this first message 7 00:00:22,320 --> 00:00:31,520 Speaker 1: from j Let's do it okay, Jay says, Dear Robert 8 00:00:31,560 --> 00:00:36,120 Speaker 1: and Joe, medium time listener here, love the show, etcetera, etcetera. 9 00:00:36,400 --> 00:00:39,640 Speaker 1: I was recently listening to your episode on the Universal Solvent, 10 00:00:40,040 --> 00:00:42,600 Speaker 1: as is my habit, I was listening while at work. 11 00:00:42,680 --> 00:00:45,680 Speaker 1: I'm a doctoral candidate in a chemical field, so in 12 00:00:45,720 --> 00:00:48,440 Speaker 1: this instance that means I was working in a chemical lab. 13 00:00:48,760 --> 00:00:52,239 Speaker 1: So color me surprised when I heard you mentioned piranha solution, 14 00:00:53,000 --> 00:00:57,200 Speaker 1: which is an aqueous solution of sulfuric acid and hydrogen peroxide. 15 00:00:57,640 --> 00:01:00,319 Speaker 1: Not because you were wrong, but because piranha has been 16 00:01:00,360 --> 00:01:03,400 Speaker 1: a normal part of my life and I never reflected 17 00:01:03,400 --> 00:01:06,880 Speaker 1: on its peculiar properties and never considered them something special. 18 00:01:07,319 --> 00:01:09,520 Speaker 1: So when it came up, I immediately walked over to 19 00:01:09,560 --> 00:01:13,200 Speaker 1: the dedicated Piranha workspace in the lab and snapped a 20 00:01:13,240 --> 00:01:17,160 Speaker 1: picture attached Roba put it in our document here. There's 21 00:01:17,160 --> 00:01:19,200 Speaker 1: no grand point I'm trying to make. I just figured 22 00:01:19,200 --> 00:01:21,320 Speaker 1: you might get some enjoyment out of seeing a physical 23 00:01:21,360 --> 00:01:24,320 Speaker 1: representation that some of the exotic topics you discuss are 24 00:01:24,440 --> 00:01:28,320 Speaker 1: everyday stuff to others. Kind regards Jay and Jay is 25 00:01:28,360 --> 00:01:30,919 Speaker 1: attached a picture of what is known as the Piranha 26 00:01:31,200 --> 00:01:35,200 Speaker 1: fume cupboard, an absolutely beautiful cellar door of a pair 27 00:01:35,240 --> 00:01:38,200 Speaker 1: of words, Yes and it's I should drive home that 28 00:01:38,240 --> 00:01:40,680 Speaker 1: it does look very every day. This looks. This looks 29 00:01:40,760 --> 00:01:43,280 Speaker 1: very professional, very normal. It does not look like something 30 00:01:43,319 --> 00:01:45,280 Speaker 1: that would you would find in a Bond villain layer 31 00:01:45,400 --> 00:01:48,720 Speaker 1: or anything like that. But it's it's neat. Nonetheless, just 32 00:01:49,160 --> 00:01:57,480 Speaker 1: a little snapshot of of everyday life involving Piranha fume cupboards. Yeah, 33 00:01:57,560 --> 00:01:59,680 Speaker 1: one minute you're getting the groceries, the next minute you're 34 00:01:59,720 --> 00:02:08,560 Speaker 1: working in the Piranha fume covered Okay, Rob, you want 35 00:02:08,560 --> 00:02:11,280 Speaker 1: to do this? Next message from Anna, Yeah, this one 36 00:02:11,720 --> 00:02:14,519 Speaker 1: is a response to our episode on Subterines. This is 37 00:02:14,560 --> 00:02:19,240 Speaker 1: a vault episode, um and it writes high Robert, Joe, 38 00:02:19,280 --> 00:02:22,440 Speaker 1: and Seth, I enjoyed your recent vault episode on subterines. 39 00:02:22,560 --> 00:02:24,520 Speaker 1: In the episode, you were amusing how it is kind 40 00:02:24,520 --> 00:02:27,239 Speaker 1: of dumb that so many digging machines are called the 41 00:02:27,400 --> 00:02:30,480 Speaker 1: mole when there are so many other digging creatures out there. 42 00:02:30,520 --> 00:02:33,120 Speaker 1: I agree. I think a much better name would be 43 00:02:33,240 --> 00:02:36,200 Speaker 1: the wombat. A wombat is basically a creature that already 44 00:02:36,240 --> 00:02:38,960 Speaker 1: looks like some kind of industrial device designed by a 45 00:02:38,960 --> 00:02:41,640 Speaker 1: wacky engineer. It is as if they're trying to make 46 00:02:41,680 --> 00:02:44,000 Speaker 1: a small tank that can dig, but it also has 47 00:02:44,040 --> 00:02:46,720 Speaker 1: to be cute and furry. It has some extra whack 48 00:02:46,840 --> 00:02:50,360 Speaker 1: features like backwards pouch so dirt doesn't get flicked in 49 00:02:50,400 --> 00:02:55,000 Speaker 1: while digging, and cube shaped pooh. I believe that was 50 00:02:55,080 --> 00:02:59,200 Speaker 1: a cube shape poo was an Ignoble Award winning um 51 00:02:59,360 --> 00:03:03,320 Speaker 1: topic at one point. That's correct. They continue, and if 52 00:03:03,360 --> 00:03:05,800 Speaker 1: you are going to design something to be used in battle, 53 00:03:06,120 --> 00:03:10,000 Speaker 1: combat already rhymes with wombat. That rhymes, and you know 54 00:03:10,040 --> 00:03:13,920 Speaker 1: it rhymes. Thanks for all your great work. It keeps 55 00:03:13,919 --> 00:03:16,480 Speaker 1: me entertained while I have to scan and date documents. 56 00:03:16,720 --> 00:03:19,680 Speaker 1: This includes a lot of time removing staples, so I 57 00:03:19,720 --> 00:03:24,320 Speaker 1: really appreciate something that keeps my mind active. Thanks Anna, Anna. 58 00:03:24,400 --> 00:03:26,400 Speaker 1: We are so glad we could enliven your times at 59 00:03:26,440 --> 00:03:29,080 Speaker 1: the Staple Mill. I wonder if we could do an 60 00:03:29,080 --> 00:03:31,840 Speaker 1: episode on the stapler. The invention of the stapler perhaps 61 00:03:32,960 --> 00:03:35,680 Speaker 1: is that one that's like actually not interesting. We keep 62 00:03:35,720 --> 00:03:38,680 Speaker 1: wondering if we're gonna like come across an invention like 63 00:03:38,720 --> 00:03:41,960 Speaker 1: this at some point. Um, Yeah, I guess the thing is, 64 00:03:42,040 --> 00:03:43,960 Speaker 1: I know we've looked into some before where they just 65 00:03:44,000 --> 00:03:47,240 Speaker 1: don't catch our our fancy, but we haven't. Actually, I 66 00:03:47,240 --> 00:03:50,040 Speaker 1: don't think we've actively researched the stapler yet. We'll take 67 00:03:50,080 --> 00:03:58,320 Speaker 1: the stapler challenge. We'll see if we can make it work. Alright. 68 00:03:58,360 --> 00:04:01,040 Speaker 1: This next message is from my Mia says, Hey, Joe 69 00:04:01,040 --> 00:04:03,800 Speaker 1: and Robert love the podcast. I was listening to your 70 00:04:03,840 --> 00:04:07,760 Speaker 1: episode on the Comfort in the Box and your descriptions 71 00:04:07,800 --> 00:04:11,360 Speaker 1: of anchor rights reminded me of the modern phenomenon of 72 00:04:11,440 --> 00:04:15,640 Speaker 1: hikiko mori. Hikiko mori has been defined as a state 73 00:04:15,720 --> 00:04:18,400 Speaker 1: that has become a problem by the late twenties that 74 00:04:18,520 --> 00:04:22,800 Speaker 1: involves cooping oneself up in one's home and not participating 75 00:04:22,960 --> 00:04:25,960 Speaker 1: in society for six months or longer. But that does 76 00:04:26,000 --> 00:04:30,280 Speaker 1: not seem to have another psychological problem as its principal source. 77 00:04:31,120 --> 00:04:33,760 Speaker 1: Oh okay, so would that mean like, it's not necessarily 78 00:04:33,880 --> 00:04:36,480 Speaker 1: agoraphobia or something else like that that has as a 79 00:04:36,560 --> 00:04:39,760 Speaker 1: symptom staying at home, But it's just like the the 80 00:04:39,839 --> 00:04:42,800 Speaker 1: act of staying cooped up at home by itself. I 81 00:04:42,800 --> 00:04:47,200 Speaker 1: guess interesting. Yeah, I wonder anyway Maya goes on. Though 82 00:04:47,240 --> 00:04:50,480 Speaker 1: not a religiously motivated ascetic lifestyle, there seemed to be 83 00:04:50,520 --> 00:04:53,719 Speaker 1: a lot of similarities. Uh, talking about similarities to the 84 00:04:53,720 --> 00:04:58,000 Speaker 1: anchoritic tradition. I hope you guys are safe over there, Maya. Rob. 85 00:04:58,040 --> 00:05:01,200 Speaker 1: Do you know anything about this this condition? Um? I 86 00:05:01,200 --> 00:05:03,080 Speaker 1: don't know. I don't think I've looked at any anything 87 00:05:03,120 --> 00:05:07,600 Speaker 1: about it before. Um, but it's it's interesting it. I 88 00:05:07,640 --> 00:05:10,240 Speaker 1: wonder if it how much of it is tied to 89 00:05:10,440 --> 00:05:15,040 Speaker 1: just sort of modern urban living, you know, and smaller 90 00:05:15,120 --> 00:05:18,000 Speaker 1: environments that that people didn't to to to reside. And 91 00:05:18,000 --> 00:05:19,839 Speaker 1: and of course, as we kind of mused in in 92 00:05:19,920 --> 00:05:24,400 Speaker 1: that episode, I just wonder what impact the global pandemic 93 00:05:24,440 --> 00:05:29,039 Speaker 1: will have on this sort of thing moving forward, you know. So, 94 00:05:29,120 --> 00:05:31,560 Speaker 1: I know it is a is a Japanese term that 95 00:05:31,640 --> 00:05:34,880 Speaker 1: comes from the Japanese language, but I would assume that 96 00:05:34,960 --> 00:05:37,760 Speaker 1: this is not just an isolated cultural phenomenon in Japan, 97 00:05:37,800 --> 00:05:41,080 Speaker 1: but probably describes something that is has a broader reality 98 00:05:41,120 --> 00:05:43,880 Speaker 1: in the world. Um, I would wonder if this kind 99 00:05:43,880 --> 00:05:47,760 Speaker 1: of thing becomes more common in the Internet age. Yeah, 100 00:05:47,760 --> 00:05:50,280 Speaker 1: I mean, because that does allow you to be somewhat 101 00:05:50,640 --> 00:05:54,839 Speaker 1: socially connected, uh and and connected via media to the 102 00:05:54,960 --> 00:05:58,960 Speaker 1: to the rest of the world while occupying your small place. Yeah. 103 00:05:58,960 --> 00:06:02,680 Speaker 1: I kept thinking about that, the anchorite situation, and I 104 00:06:02,760 --> 00:06:05,200 Speaker 1: was like talking to my wife about it over over vacation, 105 00:06:05,520 --> 00:06:07,040 Speaker 1: and I was like, yeah, and you're you're just right 106 00:06:07,080 --> 00:06:09,200 Speaker 1: there in the church walls and you'd get to watch 107 00:06:09,279 --> 00:06:12,640 Speaker 1: church whenever you want. Um, like that was your that's 108 00:06:12,640 --> 00:06:15,480 Speaker 1: your only channel, that's your only web page, is whatever's 109 00:06:15,520 --> 00:06:19,080 Speaker 1: going on in church at that given moment. But nowadays, 110 00:06:19,480 --> 00:06:21,240 Speaker 1: you know you can just you can be hooked up 111 00:06:21,279 --> 00:06:23,880 Speaker 1: to all churches at all times. I was talking to 112 00:06:23,920 --> 00:06:25,919 Speaker 1: one of my friends about it, who ended up looking 113 00:06:25,960 --> 00:06:28,160 Speaker 1: into it himself, and he said that he came across 114 00:06:28,240 --> 00:06:30,880 Speaker 1: some examples at least or at least one example where 115 00:06:31,640 --> 00:06:35,520 Speaker 1: the person could leave their cell but only into the church, 116 00:06:35,760 --> 00:06:38,640 Speaker 1: and that was, like, I guess a variation. So normally 117 00:06:38,680 --> 00:06:40,680 Speaker 1: you'd be totally stuck in the cell and you can 118 00:06:40,680 --> 00:06:43,359 Speaker 1: just view the church through a window. The other version 119 00:06:43,400 --> 00:06:45,240 Speaker 1: is there's a door going into the church, but you 120 00:06:45,279 --> 00:06:49,320 Speaker 1: can't leave the door of the church going outside. Is 121 00:06:49,320 --> 00:06:53,279 Speaker 1: that better or worse? I don't know. I mean, of course, 122 00:06:53,320 --> 00:06:55,640 Speaker 1: so part of the reality is like you're you're pooping 123 00:06:55,680 --> 00:06:59,760 Speaker 1: in there, right, so, um, I don't know. It means 124 00:06:59,880 --> 00:07:03,440 Speaker 1: you you occupy the closest bathroom to the church, to 125 00:07:03,600 --> 00:07:08,560 Speaker 1: to the sanctuary itself. That's a good point. See in 126 00:07:08,600 --> 00:07:11,040 Speaker 1: the middle of the sermon, somebody's knocking on your door, like, 127 00:07:11,120 --> 00:07:15,080 Speaker 1: really need to use your pot, but you can't because 128 00:07:15,080 --> 00:07:23,320 Speaker 1: it's sacred, right all right. Here's another one. This comes 129 00:07:23,360 --> 00:07:27,320 Speaker 1: to us from Helen on the topic of an iconism. Hello, 130 00:07:27,440 --> 00:07:29,960 Speaker 1: Robert and Joe. I just finished listening to the first 131 00:07:30,080 --> 00:07:32,840 Speaker 1: of the Anichonism series, and of course the second isn't 132 00:07:32,840 --> 00:07:35,760 Speaker 1: available yet, so this may be premature, but listening to 133 00:07:35,800 --> 00:07:39,080 Speaker 1: the episode, and particularly hearing about the religious symbol of 134 00:07:39,120 --> 00:07:43,720 Speaker 1: the conical stone connected to afroddity, reminded me about C. S. 135 00:07:43,800 --> 00:07:47,440 Speaker 1: Lewis's book Until We Have Faces This, by the way, 136 00:07:47,440 --> 00:07:49,520 Speaker 1: this is one I have not read. I read a 137 00:07:49,520 --> 00:07:51,200 Speaker 1: fair amount of C. S. Lewis back in the day, 138 00:07:51,240 --> 00:07:53,440 Speaker 1: but I never read till we have faces. No, I 139 00:07:53,480 --> 00:07:56,800 Speaker 1: haven't either, so this is new to me. Helen continues. 140 00:07:57,200 --> 00:07:59,840 Speaker 1: Quote in this novel, which retells the story of Cupid 141 00:07:59,840 --> 00:08:03,000 Speaker 1: and Psyche from the perspective of Psyche's sister, that is deeply, 142 00:08:03,040 --> 00:08:06,240 Speaker 1: deeply limited synopsis, and I apologize to all the literary 143 00:08:06,280 --> 00:08:09,480 Speaker 1: scholars who wrote their thesis on this book and would object. 144 00:08:10,000 --> 00:08:13,760 Speaker 1: There is a deity known as unget connected, I believe 145 00:08:13,840 --> 00:08:16,720 Speaker 1: with Aphrodite, whose icon in her own temple is a 146 00:08:16,760 --> 00:08:20,720 Speaker 1: great stone. Beyond that, holding the gods and the self 147 00:08:20,800 --> 00:08:23,760 Speaker 1: is a major theme in the book, obviously, both in 148 00:08:23,840 --> 00:08:26,720 Speaker 1: that Psyche was expressly forbidden from looking upon the face 149 00:08:26,760 --> 00:08:29,520 Speaker 1: of her divine lover, and that the main character struggles 150 00:08:29,520 --> 00:08:32,600 Speaker 1: with her appearance, described from her youth as particularly ugly 151 00:08:32,760 --> 00:08:36,360 Speaker 1: in direct contrast to the other worldly beauty of Psyche. 152 00:08:37,040 --> 00:08:40,000 Speaker 1: When the main character begins acquiring power in her city 153 00:08:40,000 --> 00:08:42,640 Speaker 1: state and ultimately becomes queen, she makes a point of 154 00:08:42,679 --> 00:08:45,520 Speaker 1: covering her face with a veil. Over time, enough people 155 00:08:45,559 --> 00:08:48,640 Speaker 1: have either forgotten the specifics of her appearance or never 156 00:08:48,679 --> 00:08:51,199 Speaker 1: seen her face to begin with, and the rumors begin. 157 00:08:51,520 --> 00:08:55,680 Speaker 1: Is she impossibly beautiful? Is she monstrous? This unknowable mystique 158 00:08:55,679 --> 00:08:58,480 Speaker 1: becomes central to her image as a queen, while at 159 00:08:58,480 --> 00:09:01,240 Speaker 1: the same time continuing the theme of what it means 160 00:09:01,280 --> 00:09:03,600 Speaker 1: to be seen, to be known, and to be either 161 00:09:03,760 --> 00:09:07,600 Speaker 1: ugly or beautiful. Again, apologies to all literary scholars everywhere. 162 00:09:07,760 --> 00:09:10,600 Speaker 1: It is an intricate novel, much more so than I 163 00:09:10,679 --> 00:09:13,680 Speaker 1: have laid out here, and very worthy of bringing up 164 00:09:13,720 --> 00:09:16,520 Speaker 1: in conversation, not just because of the seed at the 165 00:09:16,520 --> 00:09:18,920 Speaker 1: center that is the story of Cupid and Psyche, but 166 00:09:19,000 --> 00:09:21,440 Speaker 1: also because the lens applied by C. S. Lewis's own 167 00:09:21,440 --> 00:09:24,680 Speaker 1: faith and perspective as a Christian author known for weaving 168 00:09:24,720 --> 00:09:28,920 Speaker 1: Christian symbolism into his written works see as Lan. Thank 169 00:09:28,960 --> 00:09:31,880 Speaker 1: you for the great listens, Helen. Oh thanks Helen. That 170 00:09:31,920 --> 00:09:34,720 Speaker 1: sounds really interesting. It's I've never read it, but right 171 00:09:34,800 --> 00:09:37,040 Speaker 1: up my alley a bit. I was. I've been thinking 172 00:09:37,040 --> 00:09:40,640 Speaker 1: about C. S. Lewis his work recently because the ended 173 00:09:40,720 --> 00:09:44,000 Speaker 1: up watching The Lion, the Witch and the Wardrobe and 174 00:09:44,040 --> 00:09:48,120 Speaker 1: the Four Kids recently, and then the boys been reading 175 00:09:48,160 --> 00:09:50,760 Speaker 1: a couple of them because he wanted to. He was 176 00:09:50,840 --> 00:09:53,719 Speaker 1: interested in reading more from the Narnia series, so he's 177 00:09:53,720 --> 00:09:56,360 Speaker 1: been reading them and we've been thinking about watching some 178 00:09:56,400 --> 00:09:59,080 Speaker 1: more of the films. So I've had just some of 179 00:09:59,120 --> 00:10:01,640 Speaker 1: that stuff idly kicking around my brain. So it's interesting 180 00:10:01,679 --> 00:10:05,400 Speaker 1: to hear back from a listener regarding the writings of C. S. Lewis. Yeah, 181 00:10:05,400 --> 00:10:07,720 Speaker 1: I'd be interested to revisit those. I read them when 182 00:10:07,760 --> 00:10:10,880 Speaker 1: I was a kid. I reflecting on them now, I 183 00:10:10,960 --> 00:10:14,600 Speaker 1: seem I think I would probably enjoy the earlier novels 184 00:10:14,640 --> 00:10:17,000 Speaker 1: in that series better than the later ones, where the 185 00:10:17,679 --> 00:10:19,560 Speaker 1: it seems like in the later ones maybe the Christian 186 00:10:19,559 --> 00:10:24,400 Speaker 1: allegories get a little too overt. Yeah, that that I 187 00:10:24,440 --> 00:10:26,080 Speaker 1: guess that would be my word. I never read any 188 00:10:26,080 --> 00:10:29,280 Speaker 1: of the Narnia books until I did the first one 189 00:10:29,320 --> 00:10:31,880 Speaker 1: with my my son. I ended up reading a lot 190 00:10:31,920 --> 00:10:35,280 Speaker 1: of Lewis work later on, like the Space Trilogy and 191 00:10:35,280 --> 00:10:46,199 Speaker 1: so forth. Yeah, screwtape the classics alright. This next message 192 00:10:46,200 --> 00:10:50,079 Speaker 1: comes from Ben Ben Rights. Hi, Robert and Joe. Thanks 193 00:10:50,120 --> 00:10:53,680 Speaker 1: for your two recent episodes on aniconism as a devout Catholic. 194 00:10:53,720 --> 00:10:55,800 Speaker 1: It tugged on a lot of thoughts and ideas for me, 195 00:10:55,960 --> 00:10:58,880 Speaker 1: always a sign of a good episode. As you went 196 00:10:58,960 --> 00:11:02,079 Speaker 1: through your rapid fire list of modern pop culture examples 197 00:11:02,120 --> 00:11:05,960 Speaker 1: of antichonism, One example struck me as notably absent from 198 00:11:05,960 --> 00:11:09,880 Speaker 1: your list Wilson the Neighbor and the TV show Home Improvement. 199 00:11:10,280 --> 00:11:13,079 Speaker 1: His face was never shown, and the show often went 200 00:11:13,120 --> 00:11:16,560 Speaker 1: to hilarious lengths to keep it concealed. This maintained the 201 00:11:16,640 --> 00:11:20,120 Speaker 1: mystery of this character, who was the wise, independable dispenser 202 00:11:20,160 --> 00:11:23,440 Speaker 1: of knowledge and reason. I never watched Home Improvement, so 203 00:11:23,480 --> 00:11:26,240 Speaker 1: I'm only in the vaguest sense aware of this character. 204 00:11:26,840 --> 00:11:29,840 Speaker 1: But he is he is supposed to be a normal human, right, Yeah, 205 00:11:29,840 --> 00:11:32,280 Speaker 1: I think so. He wouldn't he like always behind a 206 00:11:32,320 --> 00:11:36,760 Speaker 1: fence or something. Yeah, I vaguely remember like seeing images 207 00:11:36,760 --> 00:11:38,640 Speaker 1: of this or clips that. Yeah, it's it's he's behind 208 00:11:38,640 --> 00:11:42,559 Speaker 1: a fence. He's the neighbor that's talking to what's his name, 209 00:11:42,600 --> 00:11:45,520 Speaker 1: the main character, buzz like Tim Allen, Tim Allen, Yeah, 210 00:11:45,600 --> 00:11:48,320 Speaker 1: and um, and you only ever see the top of 211 00:11:48,360 --> 00:11:51,400 Speaker 1: his head, like eyes eyes up is all you ever see. 212 00:11:51,440 --> 00:11:54,440 Speaker 1: So but but presumably I'm guessing there is the rest 213 00:11:54,440 --> 00:11:57,199 Speaker 1: of his body. It's not like like a hideous otherworldly 214 00:11:57,240 --> 00:11:59,920 Speaker 1: being from the you know, from the nose down or 215 00:12:00,000 --> 00:12:04,800 Speaker 1: anything like that was famous nineties teen dreamboat Jonathan Taylor 216 00:12:04,840 --> 00:12:08,120 Speaker 1: Thomas also on that show, I think he was. Yeah, 217 00:12:08,200 --> 00:12:10,520 Speaker 1: but who played Wilson? Was Wilson someone of note? Was 218 00:12:10,600 --> 00:12:12,520 Speaker 1: he the guy from the Munsters? Or you just sound 219 00:12:12,520 --> 00:12:14,720 Speaker 1: like the guy from the Munsters had kind of fred 220 00:12:14,760 --> 00:12:18,080 Speaker 1: Ward kind of quality? Right? Oh? Interesting, hold on, not 221 00:12:18,200 --> 00:12:21,040 Speaker 1: fred Ward? Who am I thinking of? I apologize to everyone. 222 00:12:21,080 --> 00:12:23,600 Speaker 1: I'm really jet lagged, so a lot of my associations 223 00:12:23,600 --> 00:12:27,559 Speaker 1: are coming u. Yes, Seth this chimed in and told 224 00:12:27,640 --> 00:12:29,640 Speaker 1: us that I'm thinking of fred Gwinn, not fred Ward. 225 00:12:29,840 --> 00:12:34,560 Speaker 1: Fred Ward. That's right. Yes, he was in Tremors and 226 00:12:34,640 --> 00:12:39,480 Speaker 1: he was in that that noir movie with sorcery in it. Oh, 227 00:12:39,640 --> 00:12:42,760 Speaker 1: cast a deadly spell, cast a deadly spell? Yes? Oh? Oh? 228 00:12:43,040 --> 00:12:45,560 Speaker 1: Is that? Is that a candidate for Weird House someday? 229 00:12:45,559 --> 00:12:48,400 Speaker 1: Perhaps I've never seen it, but they're yeah, they're neither. 230 00:12:49,120 --> 00:12:53,000 Speaker 1: We're a couple of sort of Lovecraftian noir films of 231 00:12:53,000 --> 00:12:56,000 Speaker 1: of possible interest, and and that's certainly one of them. 232 00:12:56,000 --> 00:12:58,760 Speaker 1: That's I guess it was like an HBO production, right, 233 00:12:58,800 --> 00:13:00,839 Speaker 1: because it was always on h streaming. It was like 234 00:13:00,880 --> 00:13:04,079 Speaker 1: the one constant, one of the pillars of the whole thing. 235 00:13:04,120 --> 00:13:05,920 Speaker 1: It's like, we paid for this baby, so it's it's 236 00:13:05,920 --> 00:13:10,160 Speaker 1: always going to be available. Oh anyway, sorry to wrap 237 00:13:10,240 --> 00:13:13,280 Speaker 1: up Ben's email. Ben also says that he enjoys a 238 00:13:13,280 --> 00:13:16,040 Speaker 1: bunch of the stuff podcasts that he's listened to, to 239 00:13:16,280 --> 00:13:18,120 Speaker 1: us to stuff you should know, stuff you missed in 240 00:13:18,200 --> 00:13:21,640 Speaker 1: history class. Uh, he's listened to Invention, and he's about 241 00:13:21,679 --> 00:13:24,040 Speaker 1: to start listening to stuff mom never told you, and 242 00:13:24,080 --> 00:13:26,640 Speaker 1: says podcasts have helped me get through some truly dark times. 243 00:13:26,679 --> 00:13:30,120 Speaker 1: So thanks again, sincerely, been glad to hear from you, Ben, 244 00:13:30,160 --> 00:13:32,559 Speaker 1: Thanks for writing in. Yeah, and and certainly that's a 245 00:13:32,720 --> 00:13:35,760 Speaker 1: that's a good example with Wilson though, and I guess 246 00:13:35,800 --> 00:13:39,360 Speaker 1: also a reminder that that an ichonism need not mean 247 00:13:39,440 --> 00:13:42,840 Speaker 1: anything at all, just it can just be kind of 248 00:13:43,120 --> 00:13:46,800 Speaker 1: need as a visual choice or a visual gag. Yeah, 249 00:13:46,960 --> 00:13:55,520 Speaker 1: but the message is concerning anichonism. Continue, all right. This 250 00:13:55,559 --> 00:13:58,280 Speaker 1: one comes to us from Richard. Hi. Guys, the Anichonism 251 00:13:58,320 --> 00:14:01,280 Speaker 1: episodes were utterly fascinating for me and made me think 252 00:14:01,320 --> 00:14:04,680 Speaker 1: about devotion in a very different light. One thing, however, 253 00:14:04,760 --> 00:14:07,480 Speaker 1: struck me very quickly, which perhaps was worthy of much 254 00:14:07,520 --> 00:14:10,720 Speaker 1: closer attention. My perspective is one of a very lapsed 255 00:14:10,760 --> 00:14:15,480 Speaker 1: Catholic with a degree in Catholic theology interesting. In the episodes, 256 00:14:15,600 --> 00:14:19,200 Speaker 1: you use the term cross and crucifix pretty much interchangeably, when, 257 00:14:19,320 --> 00:14:22,600 Speaker 1: especially in this context, they have distinct meanings generally and 258 00:14:22,680 --> 00:14:25,640 Speaker 1: certainly in the realm of Catholic devotion, both Roman and Eastern. 259 00:14:26,120 --> 00:14:29,000 Speaker 1: Across is in its basic form, two pieces of wood, 260 00:14:29,400 --> 00:14:32,360 Speaker 1: one at right angles to the other, forming a cross beam. 261 00:14:32,400 --> 00:14:36,040 Speaker 1: A crucifix is a cross with crucially a representation of 262 00:14:36,080 --> 00:14:39,240 Speaker 1: crucified Jesus on it, whether a card figure or a 263 00:14:39,320 --> 00:14:46,120 Speaker 1: painting usually expired. You always got to check your expiration dates. Yeah, 264 00:14:45,120 --> 00:14:48,480 Speaker 1: but I have come across this distinction before. Yeah, the 265 00:14:48,480 --> 00:14:53,240 Speaker 1: crucifix is specifically the cross with Jesus on it. Yeah. Now, 266 00:14:53,880 --> 00:14:56,560 Speaker 1: you always see people using a cross against a vampire. 267 00:14:57,440 --> 00:14:59,760 Speaker 1: Can you also use a crucifix against the vampire? One 268 00:14:59,800 --> 00:15:02,960 Speaker 1: of assume, right, I think you can. Yeah, I would. Yeah. 269 00:15:03,040 --> 00:15:05,680 Speaker 1: I wonder if that would be more powerful or less. 270 00:15:05,720 --> 00:15:10,960 Speaker 1: Maybe that actually depends on your soteriology. Yeah, anyway, they continue. 271 00:15:11,200 --> 00:15:14,160 Speaker 1: The difference is therefore fairly significant when discussing the difference 272 00:15:14,160 --> 00:15:17,280 Speaker 1: between a physical representation and the divine slash God had 273 00:15:17,560 --> 00:15:20,400 Speaker 1: and an object associated with it. Even on the surface, 274 00:15:20,440 --> 00:15:23,920 Speaker 1: there's a very obvious representational difference between an inanimate object 275 00:15:24,080 --> 00:15:27,160 Speaker 1: and a literal representation of the Son of God. Books 276 00:15:27,160 --> 00:15:29,080 Speaker 1: have been written on the topic, but as a basic 277 00:15:29,160 --> 00:15:32,200 Speaker 1: one paragraph summary. Within Catholic theology, the cross is a 278 00:15:32,240 --> 00:15:36,200 Speaker 1: representation of God's grace and and of salvation and the resurrection. 279 00:15:36,320 --> 00:15:39,360 Speaker 1: The cross is empty. The crucifix is broadly the cost 280 00:15:39,360 --> 00:15:42,120 Speaker 1: of salvation, underlying christ suffering in the wages of sin. 281 00:15:42,680 --> 00:15:45,960 Speaker 1: This is one reason why Protestant churches generally skewed the 282 00:15:46,000 --> 00:15:48,720 Speaker 1: concept of the crucifix. As to put it very bluntly 283 00:15:49,120 --> 00:15:53,080 Speaker 1: and as somewhat of an over generalization. Protestant theology generally 284 00:15:53,120 --> 00:15:56,280 Speaker 1: favors the impact of God's grace and salvation over the 285 00:15:56,320 --> 00:16:01,080 Speaker 1: impact of the wages of sin. Within both Roman Catholic 286 00:16:01,120 --> 00:16:03,880 Speaker 1: and Eastern churches, the way crosses and crucifix are venerated 287 00:16:03,960 --> 00:16:06,600 Speaker 1: is subtly different, and I invite anyone to pay closer 288 00:16:06,640 --> 00:16:10,360 Speaker 1: attention when visiting churches, especially pre Reformation ones in Europe 289 00:16:10,640 --> 00:16:14,760 Speaker 1: and the Levant, when the churches were not specifically trying 290 00:16:14,800 --> 00:16:18,960 Speaker 1: to distinguish themselves from other Christian denominations. There is a 291 00:16:19,000 --> 00:16:22,680 Speaker 1: separate discussion to be had about the second diagonal crossbar 292 00:16:22,840 --> 00:16:25,960 Speaker 1: on Eastern Orthodox crosses and crucifixes, but that is not 293 00:16:26,040 --> 00:16:29,560 Speaker 1: directly connected to the issue of an ichonism. Keep up 294 00:16:29,560 --> 00:16:31,920 Speaker 1: the good work helping my brain, working on my daily 295 00:16:31,920 --> 00:16:37,040 Speaker 1: communite to work. Richard's some work, Richard. Uh yeah, well 296 00:16:37,400 --> 00:16:39,400 Speaker 1: this is interesting. Thanks for getting in touch. I feel 297 00:16:39,400 --> 00:16:41,040 Speaker 1: like this is something that was on the tip of 298 00:16:41,040 --> 00:16:42,880 Speaker 1: my tongue in the episode, but maybe it just never 299 00:16:42,960 --> 00:16:46,560 Speaker 1: came up as the difference between the the the occupied 300 00:16:46,600 --> 00:16:50,080 Speaker 1: cross with Jesus on it represented figurally versus the the 301 00:16:50,120 --> 00:16:54,000 Speaker 1: empty cross just as an inanimate symbol. But yeah, thanks 302 00:16:54,040 --> 00:16:56,760 Speaker 1: for this explanation. I think you're generally on the mark 303 00:16:56,800 --> 00:17:00,480 Speaker 1: about the the trends in the theological implications of the 304 00:17:00,480 --> 00:17:11,879 Speaker 1: two different symbols. Alright. This next message is in response 305 00:17:11,920 --> 00:17:14,560 Speaker 1: to our episodes about beans, and it comes from Windy 306 00:17:14,760 --> 00:17:19,080 Speaker 1: in China. Wendy says, Hello, Robert and Joe. Love the podcast. 307 00:17:19,400 --> 00:17:22,320 Speaker 1: Longtime listener, but I'm a little behind recently and had 308 00:17:22,359 --> 00:17:25,640 Speaker 1: just heard the episodes about beans. When I heard about 309 00:17:25,680 --> 00:17:28,720 Speaker 1: the yard long beans and you said that you didn't 310 00:17:28,760 --> 00:17:31,200 Speaker 1: know how to eat them, I instantly knew I had 311 00:17:31,200 --> 00:17:33,640 Speaker 1: to write to you. I haven't caught up to date still, 312 00:17:33,720 --> 00:17:36,600 Speaker 1: so please excuse me if anyone had already mentioned it. 313 00:17:37,080 --> 00:17:39,720 Speaker 1: In most of the regional cuisines of China, the long 314 00:17:39,760 --> 00:17:43,920 Speaker 1: beans are for frying, for example, Sichuan style spicy fry 315 00:17:44,040 --> 00:17:47,320 Speaker 1: with dry red hot pepper, or simply fried with some 316 00:17:47,440 --> 00:17:50,120 Speaker 1: pork meat, like how you can fry most vegetables with. 317 00:17:50,480 --> 00:17:52,920 Speaker 1: But my favorite way of preparing the yard long beans 318 00:17:53,000 --> 00:17:57,720 Speaker 1: is definitely the fermented sour yard long beans called pickled 319 00:17:57,800 --> 00:18:01,480 Speaker 1: Chinese long beans. Um oh, and I'm gonna try the 320 00:18:01,480 --> 00:18:06,560 Speaker 1: pronunciation on this swan do jao. I hope that's close. 321 00:18:07,080 --> 00:18:10,280 Speaker 1: And she links a video showing how these are being prepared, 322 00:18:10,840 --> 00:18:13,159 Speaker 1: and in describing the video, Wendy says she's using the 323 00:18:13,240 --> 00:18:17,040 Speaker 1: shorter kind of beans, but most Chinese use the longer kind. 324 00:18:17,560 --> 00:18:21,440 Speaker 1: There are also some different ways to ferment. Some use water, salt, 325 00:18:21,480 --> 00:18:24,879 Speaker 1: and brand seasoning the whole beans. Some cut them up 326 00:18:24,920 --> 00:18:28,560 Speaker 1: before and only put salt without water. This results in 327 00:18:28,680 --> 00:18:31,480 Speaker 1: some differences in taste and texture. I've also heard that 328 00:18:31,520 --> 00:18:34,200 Speaker 1: if you want the beans to remain crunchy after being pickled, 329 00:18:34,520 --> 00:18:37,159 Speaker 1: pick the beans young and they will be better than 330 00:18:37,240 --> 00:18:40,640 Speaker 1: the fully ripe ones. Uh. You know I love fermented vegetables, 331 00:18:40,680 --> 00:18:42,920 Speaker 1: so this sounds right, up my alley. I don't think 332 00:18:43,000 --> 00:18:45,080 Speaker 1: I've had this before, but now I've got to try 333 00:18:45,119 --> 00:18:47,040 Speaker 1: it out. Maybe I can find it at I wonder 334 00:18:47,160 --> 00:18:50,560 Speaker 1: is this is this specifically a Sichuan pickled vegetable or 335 00:18:50,640 --> 00:18:54,320 Speaker 1: is this uh? I guess she doesn't say. Anyway, Wendy 336 00:18:54,359 --> 00:18:57,000 Speaker 1: goes on, however you ferment it, it is great to 337 00:18:57,040 --> 00:18:59,919 Speaker 1: cook with it with minced meat after being cut in 338 00:19:00,119 --> 00:19:04,560 Speaker 1: smaller pieces, or where I'm from the southwest regions of China, 339 00:19:04,600 --> 00:19:08,960 Speaker 1: like Guangxi, Guizao or Junan Province, you simply put the 340 00:19:09,000 --> 00:19:11,720 Speaker 1: cut up beans in rice noodles as an add on. 341 00:19:12,320 --> 00:19:15,520 Speaker 1: It's made popular nationally by the famous rice noodle dish 342 00:19:15,560 --> 00:19:20,840 Speaker 1: called low c fin or which means the Luzau River 343 00:19:20,960 --> 00:19:24,560 Speaker 1: snails rice noodle. WHOA, that sounds cool. It's a very 344 00:19:24,560 --> 00:19:28,239 Speaker 1: common ingredient in Guangxi cuisine and an important element in 345 00:19:28,600 --> 00:19:32,120 Speaker 1: Guiland rice noodle too. People also cut up and fry 346 00:19:32,200 --> 00:19:34,480 Speaker 1: the fermented beans with some oil and red pepper. It's 347 00:19:34,520 --> 00:19:37,760 Speaker 1: great as a small dish to eat with rice or porridge. 348 00:19:38,240 --> 00:19:40,159 Speaker 1: Really like the show and looking forward to learning more 349 00:19:40,200 --> 00:19:43,800 Speaker 1: interesting facts, theories, history and stories, et cetera. All good 350 00:19:43,840 --> 00:19:46,919 Speaker 1: stuff best Wendy awesome. Well, yeah, I always love to 351 00:19:46,920 --> 00:19:49,879 Speaker 1: hear from from our listeners in China, and indeed I 352 00:19:49,880 --> 00:19:52,120 Speaker 1: was looking at the video here these look These look great, 353 00:19:52,200 --> 00:19:55,600 Speaker 1: you know, very vibrant looking. And it's also you know, 354 00:19:55,880 --> 00:20:03,800 Speaker 1: Vegan recipe obviously. Yeah, all right, this one comes to 355 00:20:03,840 --> 00:20:07,400 Speaker 1: us from Steve titled Invention of Beds. Hi, I'll thanks 356 00:20:07,400 --> 00:20:09,720 Speaker 1: for the podcast. Only discovered it a couple of months ago, 357 00:20:09,800 --> 00:20:12,240 Speaker 1: and I've been binging. I just listened to your Invention 358 00:20:12,280 --> 00:20:16,000 Speaker 1: episode on beds and you were discussing sleep patterns. I'm English, 359 00:20:16,280 --> 00:20:18,879 Speaker 1: but for a few years in the early aughts, I 360 00:20:18,920 --> 00:20:22,360 Speaker 1: lived in uh Seville, south of Spain, down by Morocco. 361 00:20:23,040 --> 00:20:25,159 Speaker 1: In the summer, in fact, most of the year, the 362 00:20:25,160 --> 00:20:27,159 Speaker 1: middle part of the day is so crazy hot that 363 00:20:27,200 --> 00:20:30,440 Speaker 1: it requires a siesta. This means that at least then. 364 00:20:30,720 --> 00:20:32,400 Speaker 1: I don't know what it's like now, but I can't 365 00:20:32,440 --> 00:20:35,240 Speaker 1: imagine it's changed the entire city, which shut down between 366 00:20:35,240 --> 00:20:38,800 Speaker 1: maybe two pm and five pm. After siesta, you'd maybe 367 00:20:38,800 --> 00:20:40,720 Speaker 1: go back to work for a few hours and do 368 00:20:40,840 --> 00:20:44,480 Speaker 1: social activities outdoors in the evenings when it was cooler. 369 00:20:44,760 --> 00:20:47,040 Speaker 1: Ten pm was a normal time to meet friends for 370 00:20:47,080 --> 00:20:50,240 Speaker 1: a beer, getting to bed, maybe at three am, maybe 371 00:20:50,280 --> 00:20:53,320 Speaker 1: sleeping five hours, then getting up for work. You'd supplement 372 00:20:53,400 --> 00:20:57,160 Speaker 1: this with three hours siestas in the afternoon. During Cista time, 373 00:20:57,280 --> 00:20:59,879 Speaker 1: it's too hot to do anything but sleep, have sex, 374 00:21:00,200 --> 00:21:03,920 Speaker 1: drink somewhere shady, or go to church. I'm not religious, 375 00:21:03,920 --> 00:21:07,800 Speaker 1: but those ancient, beautiful churches are always pleasingly cool inside. 376 00:21:08,680 --> 00:21:10,840 Speaker 1: I was working as an English teacher, and my work 377 00:21:10,960 --> 00:21:14,120 Speaker 1: day was split to allow for siesta and associated travel time. 378 00:21:14,520 --> 00:21:17,639 Speaker 1: That the same was true for most workers. During siestas, 379 00:21:17,640 --> 00:21:20,960 Speaker 1: shops shut, the city was silent. The saying was only 380 00:21:21,000 --> 00:21:23,680 Speaker 1: mad dogs that Englishmen go out in the noonday sun. 381 00:21:23,840 --> 00:21:27,240 Speaker 1: This Englishman declined to do so, but it took a 382 00:21:27,240 --> 00:21:29,360 Speaker 1: while to adjust to this pattern of sleeping a few 383 00:21:29,359 --> 00:21:31,480 Speaker 1: hours in the afternoon and a few more at night. 384 00:21:31,880 --> 00:21:34,560 Speaker 1: I love the only mad dogs and Englishmen go out 385 00:21:34,600 --> 00:21:37,399 Speaker 1: in the midday sun. Wonderful. I've heard that before, but 386 00:21:38,080 --> 00:21:40,760 Speaker 1: I'd never heard of an anecdote where it directly applied 387 00:21:42,760 --> 00:21:45,880 Speaker 1: anyway they could, did you? Uh? Somehow? When I when 388 00:21:45,880 --> 00:21:47,800 Speaker 1: I had made the adjustment, I felt it was a 389 00:21:47,840 --> 00:21:50,400 Speaker 1: healthier way to sleep, the fact that I was able 390 00:21:50,440 --> 00:21:52,639 Speaker 1: to adjust to a different routine of sleeping suggests to 391 00:21:52,680 --> 00:21:55,040 Speaker 1: me that perhaps our Western pattern of sleeping for a 392 00:21:55,080 --> 00:21:58,119 Speaker 1: long stretch during the night is not biologically imperative but 393 00:21:58,359 --> 00:22:01,600 Speaker 1: entirely cultural. Makes me wonder if there might be even 394 00:22:01,640 --> 00:22:04,280 Speaker 1: better ways to manage our need for sleep. I know 395 00:22:04,320 --> 00:22:07,240 Speaker 1: shift workers who struggle with night shifts and rotating shifts. 396 00:22:07,440 --> 00:22:10,320 Speaker 1: The demands of capitalism are often inimical to healthy sleep, 397 00:22:10,600 --> 00:22:12,840 Speaker 1: but a short sleep and a nap later seemed to 398 00:22:12,920 --> 00:22:17,080 Speaker 1: work well. Perhaps there are other possibilities not yet explored. Anyway, 399 00:22:17,080 --> 00:22:19,280 Speaker 1: I just wanted to share my experience. Thanks for the podcast, 400 00:22:19,680 --> 00:22:22,560 Speaker 1: keep them coming. Oh and I'm loving the cinema ones too, 401 00:22:22,880 --> 00:22:27,120 Speaker 1: cheers Steve. Yeah, very interesting, Thanks Steve. I've definitely read 402 00:22:27,119 --> 00:22:30,600 Speaker 1: about Sista culture and um specifically in Spain, but I 403 00:22:30,640 --> 00:22:34,040 Speaker 1: wonder maybe are there other parts of the Mediterranean where 404 00:22:34,040 --> 00:22:38,159 Speaker 1: that's more common. Um Maybe so I would love to 405 00:22:38,200 --> 00:22:41,920 Speaker 1: hear about regional different regional approaches to the same problem. 406 00:22:41,960 --> 00:22:45,080 Speaker 1: You know. Yeah, I seem to recall when I visited 407 00:22:45,160 --> 00:22:47,920 Speaker 1: Italy that it I don't know if it had to 408 00:22:47,960 --> 00:22:50,960 Speaker 1: do with a Cista culture, but I do recall shops 409 00:22:51,000 --> 00:22:53,200 Speaker 1: and places being closed in the middle of the day 410 00:22:53,240 --> 00:22:57,000 Speaker 1: a lot. But maybe that's a coincidence. Yeah, maybe that's 411 00:22:57,040 --> 00:22:59,040 Speaker 1: just lunch break. I don't know now, I know in 412 00:22:59,119 --> 00:23:01,480 Speaker 1: terms of different sleep pink patterns, I think we've we've 413 00:23:01,520 --> 00:23:04,200 Speaker 1: touched on this before and I've seen this, uh this 414 00:23:04,680 --> 00:23:08,920 Speaker 1: discussed multiple places, the idea that maybe we're not supposed 415 00:23:08,960 --> 00:23:11,560 Speaker 1: to sleep, We're not really meant to sleep all the 416 00:23:11,600 --> 00:23:14,040 Speaker 1: way through the night in one giant chunk. You know 417 00:23:14,080 --> 00:23:15,600 Speaker 1: that at the very least, there's supposed to be a 418 00:23:15,640 --> 00:23:18,040 Speaker 1: period in which we wake up and do other things 419 00:23:18,119 --> 00:23:22,520 Speaker 1: and then return to slumber um, which I find myself 420 00:23:22,560 --> 00:23:24,560 Speaker 1: doing that sometimes, you know where it's like you you 421 00:23:24,600 --> 00:23:26,720 Speaker 1: sleep and you wake up and you can't sleep for 422 00:23:26,720 --> 00:23:29,120 Speaker 1: a little bit, so you watch the first half hour 423 00:23:29,280 --> 00:23:32,280 Speaker 1: of the Return of Swamp thing, you go back to sleep. 424 00:23:32,960 --> 00:23:34,719 Speaker 1: This seems to be where a lot of our our 425 00:23:34,800 --> 00:23:37,680 Speaker 1: weird house cinema ideas come from. It's like often lately 426 00:23:37,720 --> 00:23:40,679 Speaker 1: it seems like we're talking, You're like, well, yeah, you know, 427 00:23:40,760 --> 00:23:42,919 Speaker 1: I woke up at two am and I watched Transfers 428 00:23:43,000 --> 00:23:46,479 Speaker 1: and now here we are. Yeah. I mean if for 429 00:23:46,520 --> 00:23:48,120 Speaker 1: me anyway, it's like I wake up at a time 430 00:23:48,160 --> 00:23:50,240 Speaker 1: like that, my brain is not functioning well enough to 431 00:23:50,280 --> 00:23:53,280 Speaker 1: do anything else, including like look at a video game 432 00:23:53,400 --> 00:23:56,840 Speaker 1: or whatnot, But watching a you know, a weird movie 433 00:23:56,880 --> 00:23:59,440 Speaker 1: that generally that's about the right speed for the half 434 00:23:59,600 --> 00:24:07,399 Speaker 1: asleep brain and we're all thankful for it, well speaking, 435 00:24:07,400 --> 00:24:08,919 Speaker 1: a weird movie. So do we have some weird how 436 00:24:09,000 --> 00:24:11,960 Speaker 1: cinema specific listener mail to look at here? Yeah, we 437 00:24:12,040 --> 00:24:15,159 Speaker 1: got a couple on the cinema front. One comes from Amy. 438 00:24:15,200 --> 00:24:19,560 Speaker 1: Amy jumps into the ongoing Sean Connery Scottish accent in 439 00:24:19,680 --> 00:24:23,919 Speaker 1: Highlander saga, which has maybe we've now gotten more listener 440 00:24:23,920 --> 00:24:27,480 Speaker 1: mail about than anything else. Um, Amy says, Hi, all 441 00:24:27,560 --> 00:24:30,920 Speaker 1: the ongoing interest in Sean connery Scottish accent in Highlander 442 00:24:31,000 --> 00:24:34,520 Speaker 1: made me remember the audio component from my high school 443 00:24:34,800 --> 00:24:38,800 Speaker 1: Russian language class. We used a text book called Russian 444 00:24:38,880 --> 00:24:41,679 Speaker 1: for Everybody, and I can't remember if the audio was 445 00:24:41,800 --> 00:24:44,240 Speaker 1: part of the book or not. At any rate, I 446 00:24:44,240 --> 00:24:47,560 Speaker 1: remember watching videos of a Russian woman who had evidently 447 00:24:47,680 --> 00:24:51,320 Speaker 1: learned English in the Southern US as she had a 448 00:24:51,359 --> 00:24:55,879 Speaker 1: strange combination of Russian and Southern accents. She pronounced words 449 00:24:55,880 --> 00:24:59,800 Speaker 1: with a distinct Southern drawl. Okay, so maybe this in 450 00:25:00,000 --> 00:25:02,919 Speaker 1: warms the question of whether whether you would have a 451 00:25:02,920 --> 00:25:06,879 Speaker 1: Scottish accent if you learned English in Scotland, you know, 452 00:25:06,920 --> 00:25:09,520 Speaker 1: I feel like i've I've heard. I didn't think about 453 00:25:09,560 --> 00:25:12,800 Speaker 1: this in context of Sean Connery's accent, but I think 454 00:25:12,800 --> 00:25:16,080 Speaker 1: I had heard accounts of people before who had acquired 455 00:25:16,320 --> 00:25:20,360 Speaker 1: a foreign language with certain accents in play, and then 456 00:25:20,680 --> 00:25:22,600 Speaker 1: like people pick up on it. Like I think I 457 00:25:22,600 --> 00:25:25,479 Speaker 1: had heard about something of this nature with someone who 458 00:25:25,560 --> 00:25:28,480 Speaker 1: had learned I can't remember it was Japanese or Chinese, 459 00:25:28,800 --> 00:25:32,359 Speaker 1: but then when they went there, went to to China, Japan, 460 00:25:32,400 --> 00:25:35,000 Speaker 1: whichever the case was, Like people picked up on the 461 00:25:35,040 --> 00:25:38,160 Speaker 1: fact that they had a strange um, you know, regional 462 00:25:38,200 --> 00:25:40,920 Speaker 1: accent for someone who is clearly not from that region. 463 00:25:41,240 --> 00:25:44,240 Speaker 1: Amy's message continues also on the subject of the Punish 464 00:25:44,320 --> 00:25:47,920 Speaker 1: the Machine episodes. Whenever an electronic device isn't working, especially 465 00:25:47,920 --> 00:25:50,560 Speaker 1: on the occasions when printers don't work in my job, 466 00:25:50,640 --> 00:25:52,879 Speaker 1: my first thought is to unplug it and make it 467 00:25:52,920 --> 00:25:56,520 Speaker 1: think about what it's done. Thanks for reading, Amy, I 468 00:25:56,560 --> 00:25:59,399 Speaker 1: like that because it it, you know, the the weird 469 00:25:59,480 --> 00:26:03,240 Speaker 1: anthrom morphic reasoning. They're sort of maps onto the actual 470 00:26:03,400 --> 00:26:06,119 Speaker 1: best first step in troubleshooting, usually, which is turned it 471 00:26:06,119 --> 00:26:08,560 Speaker 1: off and turn it back on. Yeah, but yeah, should 472 00:26:08,640 --> 00:26:15,840 Speaker 1: teach it a lesson? It knows what it did. Yeah, 473 00:26:16,119 --> 00:26:19,080 Speaker 1: all right. We have another listener mail here related to 474 00:26:19,600 --> 00:26:22,199 Speaker 1: Weird House Cinema. This one comes to us via the 475 00:26:22,240 --> 00:26:25,440 Speaker 1: Stuff to Blow Your Mind discussion module Facebook group, which 476 00:26:25,480 --> 00:26:27,240 Speaker 1: is which is out there. You can you can join 477 00:26:27,280 --> 00:26:30,720 Speaker 1: their listeners who engage in discussions there about anything publishing 478 00:26:30,720 --> 00:26:33,320 Speaker 1: and the Stuff to Blow your Mind podcast feed. And 479 00:26:33,520 --> 00:26:37,480 Speaker 1: Ed had this to say regarding Hanuman versus seven Ultraman, Hi, 480 00:26:37,640 --> 00:26:39,760 Speaker 1: Robert and Joe. As a tie who was born in 481 00:26:39,800 --> 00:26:43,159 Speaker 1: the late seventies, I grew up watching this movie several times. 482 00:26:43,400 --> 00:26:45,520 Speaker 1: I am surprised you guys could find and discuss it 483 00:26:45,840 --> 00:26:49,040 Speaker 1: in in deep detail despite the poor translation. You have 484 00:26:49,080 --> 00:26:52,880 Speaker 1: brought my nostalgic memory back today. Thank you, Ed. Oh 485 00:26:53,080 --> 00:26:55,760 Speaker 1: that just warms my heart. Yeah, it was. It was great. 486 00:26:55,760 --> 00:26:59,399 Speaker 1: Great to hear from from someone who observed, who watched 487 00:26:59,400 --> 00:27:02,879 Speaker 1: this film. Uh you know, back back in the day. Uh, 488 00:27:02,920 --> 00:27:05,040 Speaker 1: you know as as a part of thaigh culture. You know. 489 00:27:05,119 --> 00:27:07,520 Speaker 1: It's like because because that that that was part of 490 00:27:07,560 --> 00:27:09,800 Speaker 1: my experience was watching this and wondering what that would 491 00:27:09,800 --> 00:27:12,119 Speaker 1: be like. You know, what is it like? I I 492 00:27:12,200 --> 00:27:14,400 Speaker 1: guess in general. I love to hear stories like that, 493 00:27:14,440 --> 00:27:18,680 Speaker 1: where the new, you know, weird film for for us often, 494 00:27:18,800 --> 00:27:21,520 Speaker 1: especially as a you know, as a as an American viewer, 495 00:27:22,040 --> 00:27:24,879 Speaker 1: is to someone else just like a part of the 496 00:27:24,920 --> 00:27:29,040 Speaker 1: fabric of their childhood. Um, Like the Jack Frost film 497 00:27:29,119 --> 00:27:31,399 Speaker 1: is A is a great example of this um that 498 00:27:31,760 --> 00:27:34,080 Speaker 1: we've you know, discussed in passing on the show before 499 00:27:34,400 --> 00:27:37,600 Speaker 1: Russo finished movie. Yeah. Yeah, and I remember meeting, um, 500 00:27:37,960 --> 00:27:39,880 Speaker 1: somebody from the Czech Republic who was like, oh, yeah, 501 00:27:39,920 --> 00:27:42,639 Speaker 1: they showed this every Christmas. This was our Christmas movie, 502 00:27:42,920 --> 00:27:44,679 Speaker 1: you know, and and so it's it's I love I 503 00:27:44,720 --> 00:27:47,080 Speaker 1: love stories like that. Yeah, And it also makes you 504 00:27:47,119 --> 00:27:49,320 Speaker 1: reflect on how there are lots of things that you 505 00:27:49,359 --> 00:27:51,440 Speaker 1: watched when you were a child, and because you were 506 00:27:51,480 --> 00:27:54,800 Speaker 1: exposed to them often and early, they seem utterly mundane 507 00:27:54,880 --> 00:27:57,399 Speaker 1: or normal to you. But if somebody who didn't have 508 00:27:57,520 --> 00:28:00,840 Speaker 1: that exposure, like cultural or just exposure early in their 509 00:28:00,880 --> 00:28:05,680 Speaker 1: life came across them, they might seem tremendously weird to them. Yeah. Yeah, absolutely, 510 00:28:05,680 --> 00:28:08,480 Speaker 1: I mean, certainly there's a lot of tremendously weird films 511 00:28:08,480 --> 00:28:10,959 Speaker 1: that that I feel like we we all watched growing up, 512 00:28:10,960 --> 00:28:12,720 Speaker 1: but they're just a part of the fabric of our childhood. 513 00:28:13,200 --> 00:28:16,040 Speaker 1: Uh so we we often don't realize how how how 514 00:28:16,080 --> 00:28:18,639 Speaker 1: strange they are. Like sometimes it might be interesting to 515 00:28:18,720 --> 00:28:21,960 Speaker 1: get a a you know, a Russian adult today or 516 00:28:21,960 --> 00:28:25,399 Speaker 1: a tie adult today to watch the Disney movies that 517 00:28:25,480 --> 00:28:27,159 Speaker 1: we saw as a kid and say, like, what what 518 00:28:27,200 --> 00:28:29,600 Speaker 1: does this look like to you? Oh? Man? Yeah, if 519 00:28:29,640 --> 00:28:31,680 Speaker 1: there's anybody out there who can speak to that. Um, 520 00:28:31,720 --> 00:28:34,240 Speaker 1: you know, are you someone who was not exposed to 521 00:28:34,720 --> 00:28:38,480 Speaker 1: sort of a mess American and or Western children's films 522 00:28:38,560 --> 00:28:41,080 Speaker 1: until much later? And then and then in doing so, 523 00:28:41,200 --> 00:28:43,080 Speaker 1: what was that like? I mean, we don't even have 524 00:28:43,120 --> 00:28:46,200 Speaker 1: to go like Western, Like you see huge differences between 525 00:28:46,680 --> 00:28:49,840 Speaker 1: people who grew up, you know, watching American television versus 526 00:28:49,880 --> 00:28:53,080 Speaker 1: British television. Um, you know, things that are just like 527 00:28:53,120 --> 00:28:56,480 Speaker 1: common touchstones, Like there's apparently a film or a TV 528 00:28:56,520 --> 00:28:58,240 Speaker 1: series and I can't remember which called Stick of the 529 00:28:58,280 --> 00:29:00,600 Speaker 1: Dump that is a that is I don't know, not 530 00:29:00,680 --> 00:29:03,240 Speaker 1: something Americans know about for the most part, I think, 531 00:29:03,280 --> 00:29:06,880 Speaker 1: but but for for many British listeners, like, yeah, there's 532 00:29:06,920 --> 00:29:09,280 Speaker 1: this story about a kid who meets in Neandertal that 533 00:29:09,320 --> 00:29:11,200 Speaker 1: lives in the garbage dump and that's just a part 534 00:29:11,240 --> 00:29:14,240 Speaker 1: of what you grow up with. Whereas you know, I 535 00:29:14,240 --> 00:29:16,320 Speaker 1: I hear that as a it's a grown person. I'm like, 536 00:29:16,360 --> 00:29:18,560 Speaker 1: that just sounds really weird. Why would you rear a 537 00:29:18,640 --> 00:29:21,840 Speaker 1: child on such a strange concept. Yeah, even considering how 538 00:29:21,920 --> 00:29:23,640 Speaker 1: you know, because of shared language and all that, how 539 00:29:23,720 --> 00:29:27,400 Speaker 1: close British and American culture are, Like how weird Doctor 540 00:29:27,520 --> 00:29:30,520 Speaker 1: who is too? Americans who encounter it for the first time, 541 00:29:30,560 --> 00:29:33,000 Speaker 1: but like, you know, British kids who grew up watching it, 542 00:29:33,000 --> 00:29:36,280 Speaker 1: it seems very mundane and normal to them. Yeah, and 543 00:29:36,320 --> 00:29:38,520 Speaker 1: I wonder how much of this we're we're getting away from, 544 00:29:38,600 --> 00:29:41,720 Speaker 1: or we're getting into weirder areas I guess where parents 545 00:29:41,760 --> 00:29:46,960 Speaker 1: have more power to h to curate what their child, 546 00:29:47,080 --> 00:29:49,640 Speaker 1: what weird things their child are into. You know, it's 547 00:29:49,680 --> 00:29:51,880 Speaker 1: not just whatever is on television. In some cases, it's 548 00:29:51,920 --> 00:29:55,560 Speaker 1: like we're cherry picking, like the strangest and most beloved 549 00:29:55,600 --> 00:29:59,960 Speaker 1: things from our past and inflicting them on the children. Yeah. 550 00:30:00,080 --> 00:30:03,040 Speaker 1: Uh that I wonder exactly how best to frame it, 551 00:30:03,040 --> 00:30:05,280 Speaker 1: But that is something that could be an interesting episode 552 00:30:05,320 --> 00:30:07,840 Speaker 1: in some way. I don't know what angle to approach it, really, 553 00:30:07,840 --> 00:30:10,440 Speaker 1: but like the phenomenon of Okay, so you're an adult 554 00:30:10,480 --> 00:30:14,680 Speaker 1: who remembers, say, the Dark Crystal from your childhood or 555 00:30:14,720 --> 00:30:17,240 Speaker 1: something like that is something that was absolutely magical that 556 00:30:17,280 --> 00:30:19,320 Speaker 1: you just loved and you still have all these fond, 557 00:30:19,320 --> 00:30:21,720 Speaker 1: nostalgic memories for and you see the beauty of it 558 00:30:22,160 --> 00:30:24,720 Speaker 1: and you want to make your kid love it too. 559 00:30:25,080 --> 00:30:26,920 Speaker 1: What if they don't? What if you show it to 560 00:30:27,040 --> 00:30:28,560 Speaker 1: them and they just don't get it? Do you know 561 00:30:28,600 --> 00:30:30,920 Speaker 1: what I mean? Oh? Oh yeah, I mean I I 562 00:30:30,960 --> 00:30:33,360 Speaker 1: know from experience what that's like. And you just have 563 00:30:33,440 --> 00:30:35,880 Speaker 1: to you know, I guess you just have to roll 564 00:30:35,920 --> 00:30:38,400 Speaker 1: with it and realize, you know, they're not gonna love everything. 565 00:30:38,400 --> 00:30:40,520 Speaker 1: And if they love, if they take a shining to 566 00:30:41,320 --> 00:30:44,080 Speaker 1: you know, half the stuff that that you loved growing up, 567 00:30:44,120 --> 00:30:46,480 Speaker 1: then you're you're lucky that you could to experience it again. 568 00:30:46,760 --> 00:30:48,480 Speaker 1: And if they're not into it, well then you just 569 00:30:48,560 --> 00:30:50,840 Speaker 1: keep that just for you. You did. You did get 570 00:30:50,880 --> 00:30:53,800 Speaker 1: lucky with the Dark Crystal though, right, Yeah? But that 571 00:30:53,840 --> 00:30:56,840 Speaker 1: one was that one was hard. The Dark Crystal is 572 00:30:56,880 --> 00:30:59,400 Speaker 1: not one that he seems jazz to necessarily watch again 573 00:30:59,440 --> 00:31:03,960 Speaker 1: because it is kind of dark and serious in tone. Um, 574 00:31:04,000 --> 00:31:05,880 Speaker 1: But there are other things that I either haven't been 575 00:31:05,880 --> 00:31:09,240 Speaker 1: able to convince him to to give a shot to um, 576 00:31:09,280 --> 00:31:11,080 Speaker 1: you know, or I just maybe I waited too long, 577 00:31:11,200 --> 00:31:13,320 Speaker 1: or maybe it's not time yet. You know, that's Timing 578 00:31:13,400 --> 00:31:15,840 Speaker 1: is everything, and every kid is different, especially when you 579 00:31:15,840 --> 00:31:19,480 Speaker 1: get into some of the you know, the darker bits 580 00:31:19,520 --> 00:31:21,520 Speaker 1: of media. You know, like when is the right time 581 00:31:21,520 --> 00:31:23,920 Speaker 1: to show a child the never Ending Story? You know, 582 00:31:24,240 --> 00:31:25,600 Speaker 1: you don't want to go too early, you don't want 583 00:31:25,600 --> 00:31:26,920 Speaker 1: to go too late. I don't know, there's like a 584 00:31:26,920 --> 00:31:28,760 Speaker 1: sweet spot. But you want them you still want them 585 00:31:28,800 --> 00:31:31,400 Speaker 1: to feel it. That's the other weird thing about exposing 586 00:31:31,440 --> 00:31:35,000 Speaker 1: these these these types of of properties to our kids. 587 00:31:35,000 --> 00:31:40,080 Speaker 1: It's like there's part of this weird voyeuristic um thing 588 00:31:40,200 --> 00:31:43,360 Speaker 1: there where we want to we're experiencing it again through them, 589 00:31:43,400 --> 00:31:45,400 Speaker 1: but wherever mindful, Like what are they going to how 590 00:31:45,440 --> 00:31:47,760 Speaker 1: are they going to react when they find out that 591 00:31:48,080 --> 00:31:50,520 Speaker 1: the Darth Vader is Luke's father? You know, how are 592 00:31:50,520 --> 00:31:53,040 Speaker 1: they going to react when that when when the when 593 00:31:53,040 --> 00:31:56,560 Speaker 1: a tray use horse sinks into the swamp of despair 594 00:31:57,080 --> 00:32:00,239 Speaker 1: never Ending story? You know? Um even you know, even 595 00:32:00,280 --> 00:32:02,640 Speaker 1: though we we don't want them to hurt or anything 596 00:32:02,680 --> 00:32:06,480 Speaker 1: like that, but you know, we it's like we we're 597 00:32:06,520 --> 00:32:09,040 Speaker 1: watching them engage in the power of story and the 598 00:32:09,080 --> 00:32:13,320 Speaker 1: power of myth and and part of it is is 599 00:32:13,320 --> 00:32:17,000 Speaker 1: is anticipating engaging their reaction, you know, watching them watch 600 00:32:17,080 --> 00:32:19,480 Speaker 1: it but not yet not Stephen King's head way too 601 00:32:19,480 --> 00:32:23,200 Speaker 1: ear with my kid, I don't know. I mean, I 602 00:32:23,240 --> 00:32:26,400 Speaker 1: know kids that are already super into Penny Wise. The 603 00:32:26,400 --> 00:32:29,160 Speaker 1: clown that are that are about his age, so who know, 604 00:32:29,320 --> 00:32:31,960 Speaker 1: it varies from child to job. What's the right age 605 00:32:31,960 --> 00:32:35,080 Speaker 1: for the Tommy Knockers who? I don't know. I never 606 00:32:35,120 --> 00:32:39,480 Speaker 1: made it through the Tommy Knockers. I think they're making 607 00:32:39,480 --> 00:32:43,320 Speaker 1: it again though, right there are another version of they've 608 00:32:43,400 --> 00:32:46,440 Speaker 1: like run that dry on Stephen King material to adapt, 609 00:32:46,520 --> 00:32:48,800 Speaker 1: They're going into Tommy Knockers. I mean, I think just 610 00:32:48,880 --> 00:32:51,800 Speaker 1: everything gets snatched up, right, Uh, I don't know. The 611 00:32:51,840 --> 00:32:54,200 Speaker 1: weird thing with with king properties is, Yeah, it seems 612 00:32:54,200 --> 00:32:56,480 Speaker 1: like there's there's a lot of competition to to make 613 00:32:56,520 --> 00:32:58,640 Speaker 1: and remake all the novels, but there's still there's so 614 00:32:58,640 --> 00:33:02,280 Speaker 1: many great short stories that haven't really been adapted outside 615 00:33:02,280 --> 00:33:04,960 Speaker 1: of the you know, the agreement that he has. Uh, 616 00:33:05,240 --> 00:33:08,080 Speaker 1: what is it the Dollar Club where anybody can any 617 00:33:08,120 --> 00:33:10,760 Speaker 1: film student can make a Stephen King adaptation as as 618 00:33:10,760 --> 00:33:13,120 Speaker 1: a student film. Um that you know, he had so 619 00:33:13,120 --> 00:33:16,160 Speaker 1: many great weird short stories that I feel like could 620 00:33:16,200 --> 00:33:19,440 Speaker 1: be revisited. Oh yeah, totally. Anyway, I guess we should 621 00:33:19,440 --> 00:33:21,880 Speaker 1: probably wrap it up. Yeah, we're gonna go and close 622 00:33:21,920 --> 00:33:24,240 Speaker 1: out the mail for this episode of Stuff to Blow 623 00:33:24,280 --> 00:33:26,680 Speaker 1: Your Mind listener mail, but right in because we'll be 624 00:33:26,720 --> 00:33:28,800 Speaker 1: doing it again next Monday. We'd love to hear your 625 00:33:28,800 --> 00:33:33,200 Speaker 1: response to topics we covered in this episode. Response to UH, 626 00:33:33,680 --> 00:33:37,280 Speaker 1: recent or old Stuff to Blow Your Mind episodes, episodes 627 00:33:37,320 --> 00:33:39,920 Speaker 1: of Weird House Cinema. It's all fair game, so just 628 00:33:40,160 --> 00:33:43,080 Speaker 1: keep it coming. Yeah, send him on in Stuff the 629 00:33:43,080 --> 00:33:45,880 Speaker 1: bail bag for us. Yep, you can find us at UH. 630 00:33:46,600 --> 00:33:48,920 Speaker 1: Wherever you get your podcasts, you can find Stuff to 631 00:33:48,920 --> 00:33:50,800 Speaker 1: Blow your Mind Stuff to Blow your Mind podcast feed. 632 00:33:50,800 --> 00:33:52,520 Speaker 1: That's where we put it all out. Just rate, review 633 00:33:52,560 --> 00:33:54,959 Speaker 1: and subscribe if you have the chance. Huge things. As 634 00:33:55,000 --> 00:33:58,520 Speaker 1: always to our wonderful audio producer Seth Nicholas Johnson. 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