WEBVTT - Listener Mail: Fume Cupboard

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of

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<v Speaker 1>My Heart Radio. Hey, welcome to Stuff to Blow Your Mind.

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<v Speaker 1>Listener Mail. My name is Robert Lamb and I'm Joe McCormick,

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<v Speaker 1>and we're gonna jump right into the messages that we've

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<v Speaker 1>received from you over the past week. Rob if you're ready,

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<v Speaker 1>I'm going to jump right in with this first message

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<v Speaker 1>from j Let's do it okay, Jay says, Dear Robert

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<v Speaker 1>and Joe, medium time listener here, love the show, etcetera, etcetera.

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<v Speaker 1>I was recently listening to your episode on the Universal Solvent,

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<v Speaker 1>as is my habit, I was listening while at work.

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<v Speaker 1>I'm a doctoral candidate in a chemical field, so in

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<v Speaker 1>this instance that means I was working in a chemical lab.

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<v Speaker 1>So color me surprised when I heard you mentioned piranha solution,

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<v Speaker 1>which is an aqueous solution of sulfuric acid and hydrogen peroxide.

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<v Speaker 1>Not because you were wrong, but because piranha has been

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<v Speaker 1>a normal part of my life and I never reflected

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<v Speaker 1>on its peculiar properties and never considered them something special.

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<v Speaker 1>So when it came up, I immediately walked over to

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<v Speaker 1>the dedicated Piranha workspace in the lab and snapped a

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<v Speaker 1>picture attached Roba put it in our document here. There's

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<v Speaker 1>no grand point I'm trying to make. I just figured

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<v Speaker 1>you might get some enjoyment out of seeing a physical

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<v Speaker 1>representation that some of the exotic topics you discuss are

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<v Speaker 1>everyday stuff to others. Kind regards Jay and Jay is

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<v Speaker 1>attached a picture of what is known as the Piranha

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<v Speaker 1>fume cupboard, an absolutely beautiful cellar door of a pair

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<v Speaker 1>of words, Yes and it's I should drive home that

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<v Speaker 1>it does look very every day. This looks. This looks

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<v Speaker 1>very professional, very normal. It does not look like something

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<v Speaker 1>that would you would find in a Bond villain layer

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<v Speaker 1>or anything like that. But it's it's neat. Nonetheless, just

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<v Speaker 1>a little snapshot of of everyday life involving Piranha fume cupboards. Yeah,

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<v Speaker 1>one minute you're getting the groceries, the next minute you're

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<v Speaker 1>working in the Piranha fume covered Okay, Rob, you want

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<v Speaker 1>to do this? Next message from Anna, Yeah, this one

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<v Speaker 1>is a response to our episode on Subterines. This is

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<v Speaker 1>a vault episode, um and it writes high Robert, Joe,

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<v Speaker 1>and Seth, I enjoyed your recent vault episode on subterines.

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<v Speaker 1>In the episode, you were amusing how it is kind

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<v Speaker 1>of dumb that so many digging machines are called the

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<v Speaker 1>mole when there are so many other digging creatures out there.

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<v Speaker 1>I agree. I think a much better name would be

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<v Speaker 1>the wombat. A wombat is basically a creature that already

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<v Speaker 1>looks like some kind of industrial device designed by a

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<v Speaker 1>wacky engineer. It is as if they're trying to make

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<v Speaker 1>a small tank that can dig, but it also has

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<v Speaker 1>to be cute and furry. It has some extra whack

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<v Speaker 1>features like backwards pouch so dirt doesn't get flicked in

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<v Speaker 1>while digging, and cube shaped pooh. I believe that was

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<v Speaker 1>a cube shape poo was an Ignoble Award winning um

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<v Speaker 1>topic at one point. That's correct. They continue, and if

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<v Speaker 1>you are going to design something to be used in battle,

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<v Speaker 1>combat already rhymes with wombat. That rhymes, and you know

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<v Speaker 1>it rhymes. Thanks for all your great work. It keeps

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<v Speaker 1>me entertained while I have to scan and date documents.

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<v Speaker 1>This includes a lot of time removing staples, so I

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<v Speaker 1>really appreciate something that keeps my mind active. Thanks Anna, Anna.

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<v Speaker 1>We are so glad we could enliven your times at

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<v Speaker 1>the Staple Mill. I wonder if we could do an

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<v Speaker 1>episode on the stapler. The invention of the stapler perhaps

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<v Speaker 1>is that one that's like actually not interesting. We keep

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<v Speaker 1>wondering if we're gonna like come across an invention like

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<v Speaker 1>this at some point. Um, Yeah, I guess the thing is,

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<v Speaker 1>I know we've looked into some before where they just

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<v Speaker 1>don't catch our our fancy, but we haven't. Actually, I

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<v Speaker 1>don't think we've actively researched the stapler yet. We'll take

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<v Speaker 1>the stapler challenge. We'll see if we can make it work. Alright.

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<v Speaker 1>This next message is from my Mia says, Hey, Joe

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<v Speaker 1>and Robert love the podcast. I was listening to your

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<v Speaker 1>episode on the Comfort in the Box and your descriptions

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<v Speaker 1>of anchor rights reminded me of the modern phenomenon of

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<v Speaker 1>hikiko mori. Hikiko mori has been defined as a state

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<v Speaker 1>that has become a problem by the late twenties that

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<v Speaker 1>involves cooping oneself up in one's home and not participating

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<v Speaker 1>in society for six months or longer. But that does

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<v Speaker 1>not seem to have another psychological problem as its principal source.

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<v Speaker 1>Oh okay, so would that mean like, it's not necessarily

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<v Speaker 1>agoraphobia or something else like that that has as a

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<v Speaker 1>symptom staying at home, But it's just like the the

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<v Speaker 1>act of staying cooped up at home by itself. I

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<v Speaker 1>guess interesting. Yeah, I wonder anyway Maya goes on. Though

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<v Speaker 1>not a religiously motivated ascetic lifestyle, there seemed to be

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<v Speaker 1>a lot of similarities. Uh, talking about similarities to the

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<v Speaker 1>anchoritic tradition. I hope you guys are safe over there, Maya. Rob.

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<v Speaker 1>Do you know anything about this this condition? Um? I

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<v Speaker 1>don't know. I don't think I've looked at any anything

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<v Speaker 1>about it before. Um, but it's it's interesting it. I

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<v Speaker 1>wonder if it how much of it is tied to

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<v Speaker 1>just sort of modern urban living, you know, and smaller

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<v Speaker 1>environments that that people didn't to to to reside. And

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<v Speaker 1>and of course, as we kind of mused in in

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<v Speaker 1>that episode, I just wonder what impact the global pandemic

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<v Speaker 1>will have on this sort of thing moving forward, you know. So,

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<v Speaker 1>I know it is a is a Japanese term that

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<v Speaker 1>comes from the Japanese language, but I would assume that

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<v Speaker 1>this is not just an isolated cultural phenomenon in Japan,

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<v Speaker 1>but probably describes something that is has a broader reality

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<v Speaker 1>in the world. Um, I would wonder if this kind

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<v Speaker 1>of thing becomes more common in the Internet age. Yeah,

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<v Speaker 1>I mean, because that does allow you to be somewhat

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<v Speaker 1>socially connected, uh and and connected via media to the

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<v Speaker 1>to the rest of the world while occupying your small place. Yeah.

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<v Speaker 1>I kept thinking about that, the anchorite situation, and I

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<v Speaker 1>was like talking to my wife about it over over vacation,

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<v Speaker 1>and I was like, yeah, and you're you're just right

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<v Speaker 1>there in the church walls and you'd get to watch

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<v Speaker 1>church whenever you want. Um, like that was your that's

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<v Speaker 1>your only channel, that's your only web page, is whatever's

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<v Speaker 1>going on in church at that given moment. But nowadays,

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<v Speaker 1>you know you can just you can be hooked up

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<v Speaker 1>to all churches at all times. I was talking to

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<v Speaker 1>one of my friends about it, who ended up looking

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<v Speaker 1>into it himself, and he said that he came across

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<v Speaker 1>some examples at least or at least one example where

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<v Speaker 1>the person could leave their cell but only into the church,

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<v Speaker 1>and that was, like, I guess a variation. So normally

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<v Speaker 1>you'd be totally stuck in the cell and you can

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<v Speaker 1>just view the church through a window. The other version

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<v Speaker 1>is there's a door going into the church, but you

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<v Speaker 1>can't leave the door of the church going outside. Is

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<v Speaker 1>that better or worse? I don't know. I mean, of course,

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<v Speaker 1>so part of the reality is like you're you're pooping

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<v Speaker 1>in there, right, so, um, I don't know. It means

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<v Speaker 1>you you occupy the closest bathroom to the church, to

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<v Speaker 1>to the sanctuary itself. That's a good point. See in

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<v Speaker 1>the middle of the sermon, somebody's knocking on your door, like,

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<v Speaker 1>really need to use your pot, but you can't because

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<v Speaker 1>it's sacred, right all right. Here's another one. This comes

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<v Speaker 1>to us from Helen on the topic of an iconism. Hello,

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<v Speaker 1>Robert and Joe. I just finished listening to the first

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<v Speaker 1>of the Anichonism series, and of course the second isn't

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<v Speaker 1>available yet, so this may be premature, but listening to

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<v Speaker 1>the episode, and particularly hearing about the religious symbol of

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<v Speaker 1>the conical stone connected to afroddity, reminded me about C. S.

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<v Speaker 1>Lewis's book Until We Have Faces This, by the way,

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<v Speaker 1>this is one I have not read. I read a

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<v Speaker 1>fair amount of C. S. Lewis back in the day,

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<v Speaker 1>but I never read till we have faces. No, I

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<v Speaker 1>haven't either, so this is new to me. Helen continues.

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<v Speaker 1>Quote in this novel, which retells the story of Cupid

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<v Speaker 1>and Psyche from the perspective of Psyche's sister, that is deeply,

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<v Speaker 1>deeply limited synopsis, and I apologize to all the literary

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<v Speaker 1>scholars who wrote their thesis on this book and would object.

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<v Speaker 1>There is a deity known as unget connected, I believe

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<v Speaker 1>with Aphrodite, whose icon in her own temple is a

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<v Speaker 1>great stone. Beyond that, holding the gods and the self

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<v Speaker 1>is a major theme in the book, obviously, both in

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<v Speaker 1>that Psyche was expressly forbidden from looking upon the face

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<v Speaker 1>of her divine lover, and that the main character struggles

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<v Speaker 1>with her appearance, described from her youth as particularly ugly

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<v Speaker 1>in direct contrast to the other worldly beauty of Psyche.

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<v Speaker 1>When the main character begins acquiring power in her city

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<v Speaker 1>state and ultimately becomes queen, she makes a point of

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<v Speaker 1>covering her face with a veil. Over time, enough people

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<v Speaker 1>have either forgotten the specifics of her appearance or never

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<v Speaker 1>seen her face to begin with, and the rumors begin.

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<v Speaker 1>Is she impossibly beautiful? Is she monstrous? This unknowable mystique

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<v Speaker 1>becomes central to her image as a queen, while at

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<v Speaker 1>the same time continuing the theme of what it means

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<v Speaker 1>to be seen, to be known, and to be either

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<v Speaker 1>ugly or beautiful. Again, apologies to all literary scholars everywhere.

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<v Speaker 1>It is an intricate novel, much more so than I

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<v Speaker 1>have laid out here, and very worthy of bringing up

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<v Speaker 1>in conversation, not just because of the seed at the

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<v Speaker 1>center that is the story of Cupid and Psyche, but

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<v Speaker 1>also because the lens applied by C. S. Lewis's own

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<v Speaker 1>faith and perspective as a Christian author known for weaving

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<v Speaker 1>Christian symbolism into his written works see as Lan. Thank

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<v Speaker 1>you for the great listens, Helen. Oh thanks Helen. That

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<v Speaker 1>sounds really interesting. It's I've never read it, but right

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<v Speaker 1>up my alley a bit. I was. I've been thinking

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<v Speaker 1>about C. S. Lewis his work recently because the ended

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<v Speaker 1>up watching The Lion, the Witch and the Wardrobe and

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<v Speaker 1>the Four Kids recently, and then the boys been reading

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<v Speaker 1>a couple of them because he wanted to. He was

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<v Speaker 1>interested in reading more from the Narnia series, so he's

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<v Speaker 1>been reading them and we've been thinking about watching some

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<v Speaker 1>more of the films. So I've had just some of

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<v Speaker 1>that stuff idly kicking around my brain. So it's interesting

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<v Speaker 1>to hear back from a listener regarding the writings of C. S. Lewis. Yeah,

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<v Speaker 1>I'd be interested to revisit those. I read them when

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<v Speaker 1>I was a kid. I reflecting on them now, I

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<v Speaker 1>seem I think I would probably enjoy the earlier novels

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<v Speaker 1>in that series better than the later ones, where the

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<v Speaker 1>it seems like in the later ones maybe the Christian

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<v Speaker 1>allegories get a little too overt. Yeah, that that I

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<v Speaker 1>guess that would be my word. I never read any

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<v Speaker 1>of the Narnia books until I did the first one

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<v Speaker 1>with my my son. I ended up reading a lot

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<v Speaker 1>of Lewis work later on, like the Space Trilogy and

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<v Speaker 1>so forth. Yeah, screwtape the classics alright. This next message

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<v Speaker 1>comes from Ben Ben Rights. Hi, Robert and Joe. Thanks

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<v Speaker 1>for your two recent episodes on aniconism as a devout Catholic.

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<v Speaker 1>It tugged on a lot of thoughts and ideas for me,

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<v Speaker 1>always a sign of a good episode. As you went

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<v Speaker 1>through your rapid fire list of modern pop culture examples

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<v Speaker 1>of antichonism, One example struck me as notably absent from

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<v Speaker 1>your list Wilson the Neighbor and the TV show Home Improvement.

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<v Speaker 1>His face was never shown, and the show often went

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<v Speaker 1>to hilarious lengths to keep it concealed. This maintained the

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<v Speaker 1>mystery of this character, who was the wise, independable dispenser

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<v Speaker 1>of knowledge and reason. I never watched Home Improvement, so

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<v Speaker 1>I'm only in the vaguest sense aware of this character.

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<v Speaker 1>But he is he is supposed to be a normal human, right, Yeah,

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<v Speaker 1>I think so. He wouldn't he like always behind a

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<v Speaker 1>fence or something. Yeah, I vaguely remember like seeing images

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<v Speaker 1>of this or clips that. Yeah, it's it's he's behind

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<v Speaker 1>a fence. He's the neighbor that's talking to what's his name,

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<v Speaker 1>the main character, buzz like Tim Allen, Tim Allen, Yeah,

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<v Speaker 1>and um, and you only ever see the top of

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<v Speaker 1>his head, like eyes eyes up is all you ever see.

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<v Speaker 1>So but but presumably I'm guessing there is the rest

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<v Speaker 1>of his body. It's not like like a hideous otherworldly

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<v Speaker 1>being from the you know, from the nose down or

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<v Speaker 1>anything like that was famous nineties teen dreamboat Jonathan Taylor

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<v Speaker 1>Thomas also on that show, I think he was. Yeah,

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<v Speaker 1>but who played Wilson? Was Wilson someone of note? Was

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<v Speaker 1>he the guy from the Munsters? Or you just sound

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<v Speaker 1>like the guy from the Munsters had kind of fred

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<v Speaker 1>Ward kind of quality? Right? Oh? Interesting, hold on, not

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<v Speaker 1>fred Ward? Who am I thinking of? I apologize to everyone.

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<v Speaker 1>I'm really jet lagged, so a lot of my associations

0:12:23.600 --> 0:12:27.559
<v Speaker 1>are coming u. Yes, Seth this chimed in and told

0:12:27.640 --> 0:12:29.640
<v Speaker 1>us that I'm thinking of fred Gwinn, not fred Ward.

0:12:29.840 --> 0:12:34.560
<v Speaker 1>Fred Ward. That's right. Yes, he was in Tremors and

0:12:34.640 --> 0:12:39.480
<v Speaker 1>he was in that that noir movie with sorcery in it. Oh,

0:12:39.640 --> 0:12:42.760
<v Speaker 1>cast a deadly spell, cast a deadly spell? Yes? Oh? Oh?

0:12:43.040 --> 0:12:45.560
<v Speaker 1>Is that? Is that a candidate for Weird House someday?

0:12:45.559 --> 0:12:48.400
<v Speaker 1>Perhaps I've never seen it, but they're yeah, they're neither.

0:12:49.120 --> 0:12:53.000
<v Speaker 1>We're a couple of sort of Lovecraftian noir films of

0:12:53.000 --> 0:12:56.000
<v Speaker 1>of possible interest, and and that's certainly one of them.

0:12:56.000 --> 0:12:58.760
<v Speaker 1>That's I guess it was like an HBO production, right,

0:12:58.800 --> 0:13:00.839
<v Speaker 1>because it was always on h streaming. It was like

0:13:00.880 --> 0:13:04.079
<v Speaker 1>the one constant, one of the pillars of the whole thing.

0:13:04.120 --> 0:13:05.920
<v Speaker 1>It's like, we paid for this baby, so it's it's

0:13:05.920 --> 0:13:10.160
<v Speaker 1>always going to be available. Oh anyway, sorry to wrap

0:13:10.240 --> 0:13:13.280
<v Speaker 1>up Ben's email. Ben also says that he enjoys a

0:13:13.280 --> 0:13:16.040
<v Speaker 1>bunch of the stuff podcasts that he's listened to, to

0:13:16.280 --> 0:13:18.120
<v Speaker 1>us to stuff you should know, stuff you missed in

0:13:18.200 --> 0:13:21.640
<v Speaker 1>history class. Uh, he's listened to Invention, and he's about

0:13:21.679 --> 0:13:24.040
<v Speaker 1>to start listening to stuff mom never told you, and

0:13:24.080 --> 0:13:26.640
<v Speaker 1>says podcasts have helped me get through some truly dark times.

0:13:26.679 --> 0:13:30.120
<v Speaker 1>So thanks again, sincerely, been glad to hear from you, Ben,

0:13:30.160 --> 0:13:32.559
<v Speaker 1>Thanks for writing in. Yeah, and and certainly that's a

0:13:32.720 --> 0:13:35.760
<v Speaker 1>that's a good example with Wilson though, and I guess

0:13:35.800 --> 0:13:39.360
<v Speaker 1>also a reminder that that an ichonism need not mean

0:13:39.440 --> 0:13:42.840
<v Speaker 1>anything at all, just it can just be kind of

0:13:43.120 --> 0:13:46.800
<v Speaker 1>need as a visual choice or a visual gag. Yeah,

0:13:46.960 --> 0:13:55.520
<v Speaker 1>but the message is concerning anichonism. Continue, all right. This

0:13:55.559 --> 0:13:58.280
<v Speaker 1>one comes to us from Richard. Hi. Guys, the Anichonism

0:13:58.320 --> 0:14:01.280
<v Speaker 1>episodes were utterly fascinating for me and made me think

0:14:01.320 --> 0:14:04.680
<v Speaker 1>about devotion in a very different light. One thing, however,

0:14:04.760 --> 0:14:07.480
<v Speaker 1>struck me very quickly, which perhaps was worthy of much

0:14:07.520 --> 0:14:10.720
<v Speaker 1>closer attention. My perspective is one of a very lapsed

0:14:10.760 --> 0:14:15.480
<v Speaker 1>Catholic with a degree in Catholic theology interesting. In the episodes,

0:14:15.600 --> 0:14:19.200
<v Speaker 1>you use the term cross and crucifix pretty much interchangeably, when,

0:14:19.320 --> 0:14:22.600
<v Speaker 1>especially in this context, they have distinct meanings generally and

0:14:22.680 --> 0:14:25.640
<v Speaker 1>certainly in the realm of Catholic devotion, both Roman and Eastern.

0:14:26.120 --> 0:14:29.000
<v Speaker 1>Across is in its basic form, two pieces of wood,

0:14:29.400 --> 0:14:32.360
<v Speaker 1>one at right angles to the other, forming a cross beam.

0:14:32.400 --> 0:14:36.040
<v Speaker 1>A crucifix is a cross with crucially a representation of

0:14:36.080 --> 0:14:39.240
<v Speaker 1>crucified Jesus on it, whether a card figure or a

0:14:39.320 --> 0:14:46.120
<v Speaker 1>painting usually expired. You always got to check your expiration dates. Yeah,

0:14:45.120 --> 0:14:48.480
<v Speaker 1>but I have come across this distinction before. Yeah, the

0:14:48.480 --> 0:14:53.240
<v Speaker 1>crucifix is specifically the cross with Jesus on it. Yeah. Now,

0:14:53.880 --> 0:14:56.560
<v Speaker 1>you always see people using a cross against a vampire.

0:14:57.440 --> 0:14:59.760
<v Speaker 1>Can you also use a crucifix against the vampire? One

0:14:59.800 --> 0:15:02.960
<v Speaker 1>of assume, right, I think you can. Yeah, I would. Yeah.

0:15:03.040 --> 0:15:05.680
<v Speaker 1>I wonder if that would be more powerful or less.

0:15:05.720 --> 0:15:10.960
<v Speaker 1>Maybe that actually depends on your soteriology. Yeah, anyway, they continue.

0:15:11.200 --> 0:15:14.160
<v Speaker 1>The difference is therefore fairly significant when discussing the difference

0:15:14.160 --> 0:15:17.280
<v Speaker 1>between a physical representation and the divine slash God had

0:15:17.560 --> 0:15:20.400
<v Speaker 1>and an object associated with it. Even on the surface,

0:15:20.440 --> 0:15:23.920
<v Speaker 1>there's a very obvious representational difference between an inanimate object

0:15:24.080 --> 0:15:27.160
<v Speaker 1>and a literal representation of the Son of God. Books

0:15:27.160 --> 0:15:29.080
<v Speaker 1>have been written on the topic, but as a basic

0:15:29.160 --> 0:15:32.200
<v Speaker 1>one paragraph summary. Within Catholic theology, the cross is a

0:15:32.240 --> 0:15:36.200
<v Speaker 1>representation of God's grace and and of salvation and the resurrection.

0:15:36.320 --> 0:15:39.360
<v Speaker 1>The cross is empty. The crucifix is broadly the cost

0:15:39.360 --> 0:15:42.120
<v Speaker 1>of salvation, underlying christ suffering in the wages of sin.

0:15:42.680 --> 0:15:45.960
<v Speaker 1>This is one reason why Protestant churches generally skewed the

0:15:46.000 --> 0:15:48.720
<v Speaker 1>concept of the crucifix. As to put it very bluntly

0:15:49.120 --> 0:15:53.080
<v Speaker 1>and as somewhat of an over generalization. Protestant theology generally

0:15:53.120 --> 0:15:56.280
<v Speaker 1>favors the impact of God's grace and salvation over the

0:15:56.320 --> 0:16:01.080
<v Speaker 1>impact of the wages of sin. Within both Roman Catholic

0:16:01.120 --> 0:16:03.880
<v Speaker 1>and Eastern churches, the way crosses and crucifix are venerated

0:16:03.960 --> 0:16:06.600
<v Speaker 1>is subtly different, and I invite anyone to pay closer

0:16:06.640 --> 0:16:10.360
<v Speaker 1>attention when visiting churches, especially pre Reformation ones in Europe

0:16:10.640 --> 0:16:14.760
<v Speaker 1>and the Levant, when the churches were not specifically trying

0:16:14.800 --> 0:16:18.960
<v Speaker 1>to distinguish themselves from other Christian denominations. There is a

0:16:19.000 --> 0:16:22.680
<v Speaker 1>separate discussion to be had about the second diagonal crossbar

0:16:22.840 --> 0:16:25.960
<v Speaker 1>on Eastern Orthodox crosses and crucifixes, but that is not

0:16:26.040 --> 0:16:29.560
<v Speaker 1>directly connected to the issue of an ichonism. Keep up

0:16:29.560 --> 0:16:31.920
<v Speaker 1>the good work helping my brain, working on my daily

0:16:31.920 --> 0:16:37.040
<v Speaker 1>communite to work. Richard's some work, Richard. Uh yeah, well

0:16:37.400 --> 0:16:39.400
<v Speaker 1>this is interesting. Thanks for getting in touch. I feel

0:16:39.400 --> 0:16:41.040
<v Speaker 1>like this is something that was on the tip of

0:16:41.040 --> 0:16:42.880
<v Speaker 1>my tongue in the episode, but maybe it just never

0:16:42.960 --> 0:16:46.560
<v Speaker 1>came up as the difference between the the the occupied

0:16:46.600 --> 0:16:50.080
<v Speaker 1>cross with Jesus on it represented figurally versus the the

0:16:50.120 --> 0:16:54.000
<v Speaker 1>empty cross just as an inanimate symbol. But yeah, thanks

0:16:54.040 --> 0:16:56.760
<v Speaker 1>for this explanation. I think you're generally on the mark

0:16:56.800 --> 0:17:00.480
<v Speaker 1>about the the trends in the theological implications of the

0:17:00.480 --> 0:17:11.879
<v Speaker 1>two different symbols. Alright. This next message is in response

0:17:11.920 --> 0:17:14.560
<v Speaker 1>to our episodes about beans, and it comes from Windy

0:17:14.760 --> 0:17:19.080
<v Speaker 1>in China. Wendy says, Hello, Robert and Joe. Love the podcast.

0:17:19.400 --> 0:17:22.320
<v Speaker 1>Longtime listener, but I'm a little behind recently and had

0:17:22.359 --> 0:17:25.640
<v Speaker 1>just heard the episodes about beans. When I heard about

0:17:25.680 --> 0:17:28.720
<v Speaker 1>the yard long beans and you said that you didn't

0:17:28.760 --> 0:17:31.200
<v Speaker 1>know how to eat them, I instantly knew I had

0:17:31.200 --> 0:17:33.640
<v Speaker 1>to write to you. I haven't caught up to date still,

0:17:33.720 --> 0:17:36.600
<v Speaker 1>so please excuse me if anyone had already mentioned it.

0:17:37.080 --> 0:17:39.720
<v Speaker 1>In most of the regional cuisines of China, the long

0:17:39.760 --> 0:17:43.920
<v Speaker 1>beans are for frying, for example, Sichuan style spicy fry

0:17:44.040 --> 0:17:47.320
<v Speaker 1>with dry red hot pepper, or simply fried with some

0:17:47.440 --> 0:17:50.120
<v Speaker 1>pork meat, like how you can fry most vegetables with.

0:17:50.480 --> 0:17:52.920
<v Speaker 1>But my favorite way of preparing the yard long beans

0:17:53.000 --> 0:17:57.720
<v Speaker 1>is definitely the fermented sour yard long beans called pickled

0:17:57.800 --> 0:18:01.480
<v Speaker 1>Chinese long beans. Um oh, and I'm gonna try the

0:18:01.480 --> 0:18:06.560
<v Speaker 1>pronunciation on this swan do jao. I hope that's close.

0:18:07.080 --> 0:18:10.280
<v Speaker 1>And she links a video showing how these are being prepared,

0:18:10.840 --> 0:18:13.159
<v Speaker 1>and in describing the video, Wendy says she's using the

0:18:13.240 --> 0:18:17.040
<v Speaker 1>shorter kind of beans, but most Chinese use the longer kind.

0:18:17.560 --> 0:18:21.440
<v Speaker 1>There are also some different ways to ferment. Some use water, salt,

0:18:21.480 --> 0:18:24.879
<v Speaker 1>and brand seasoning the whole beans. Some cut them up

0:18:24.920 --> 0:18:28.560
<v Speaker 1>before and only put salt without water. This results in

0:18:28.680 --> 0:18:31.480
<v Speaker 1>some differences in taste and texture. I've also heard that

0:18:31.520 --> 0:18:34.200
<v Speaker 1>if you want the beans to remain crunchy after being pickled,

0:18:34.520 --> 0:18:37.159
<v Speaker 1>pick the beans young and they will be better than

0:18:37.240 --> 0:18:40.640
<v Speaker 1>the fully ripe ones. Uh. You know I love fermented vegetables,

0:18:40.680 --> 0:18:42.920
<v Speaker 1>so this sounds right, up my alley. I don't think

0:18:43.000 --> 0:18:45.080
<v Speaker 1>I've had this before, but now I've got to try

0:18:45.119 --> 0:18:47.040
<v Speaker 1>it out. Maybe I can find it at I wonder

0:18:47.160 --> 0:18:50.560
<v Speaker 1>is this is this specifically a Sichuan pickled vegetable or

0:18:50.640 --> 0:18:54.320
<v Speaker 1>is this uh? I guess she doesn't say. Anyway, Wendy

0:18:54.359 --> 0:18:57.000
<v Speaker 1>goes on, however you ferment it, it is great to

0:18:57.040 --> 0:18:59.919
<v Speaker 1>cook with it with minced meat after being cut in

0:19:00.119 --> 0:19:04.560
<v Speaker 1>smaller pieces, or where I'm from the southwest regions of China,

0:19:04.600 --> 0:19:08.960
<v Speaker 1>like Guangxi, Guizao or Junan Province, you simply put the

0:19:09.000 --> 0:19:11.720
<v Speaker 1>cut up beans in rice noodles as an add on.

0:19:12.320 --> 0:19:15.520
<v Speaker 1>It's made popular nationally by the famous rice noodle dish

0:19:15.560 --> 0:19:20.840
<v Speaker 1>called low c fin or which means the Luzau River

0:19:20.960 --> 0:19:24.560
<v Speaker 1>snails rice noodle. WHOA, that sounds cool. It's a very

0:19:24.560 --> 0:19:28.239
<v Speaker 1>common ingredient in Guangxi cuisine and an important element in

0:19:28.600 --> 0:19:32.120
<v Speaker 1>Guiland rice noodle too. People also cut up and fry

0:19:32.200 --> 0:19:34.480
<v Speaker 1>the fermented beans with some oil and red pepper. It's

0:19:34.520 --> 0:19:37.760
<v Speaker 1>great as a small dish to eat with rice or porridge.

0:19:38.240 --> 0:19:40.159
<v Speaker 1>Really like the show and looking forward to learning more

0:19:40.200 --> 0:19:43.800
<v Speaker 1>interesting facts, theories, history and stories, et cetera. All good

0:19:43.840 --> 0:19:46.919
<v Speaker 1>stuff best Wendy awesome. Well, yeah, I always love to

0:19:46.920 --> 0:19:49.879
<v Speaker 1>hear from from our listeners in China, and indeed I

0:19:49.880 --> 0:19:52.120
<v Speaker 1>was looking at the video here these look These look great,

0:19:52.200 --> 0:19:55.600
<v Speaker 1>you know, very vibrant looking. And it's also you know,

0:19:55.880 --> 0:20:03.800
<v Speaker 1>Vegan recipe obviously. Yeah, all right, this one comes to

0:20:03.840 --> 0:20:07.400
<v Speaker 1>us from Steve titled Invention of Beds. Hi, I'll thanks

0:20:07.400 --> 0:20:09.720
<v Speaker 1>for the podcast. Only discovered it a couple of months ago,

0:20:09.800 --> 0:20:12.240
<v Speaker 1>and I've been binging. I just listened to your Invention

0:20:12.280 --> 0:20:16.000
<v Speaker 1>episode on beds and you were discussing sleep patterns. I'm English,

0:20:16.280 --> 0:20:18.879
<v Speaker 1>but for a few years in the early aughts, I

0:20:18.920 --> 0:20:22.360
<v Speaker 1>lived in uh Seville, south of Spain, down by Morocco.

0:20:23.040 --> 0:20:25.159
<v Speaker 1>In the summer, in fact, most of the year, the

0:20:25.160 --> 0:20:27.159
<v Speaker 1>middle part of the day is so crazy hot that

0:20:27.200 --> 0:20:30.440
<v Speaker 1>it requires a siesta. This means that at least then.

0:20:30.720 --> 0:20:32.400
<v Speaker 1>I don't know what it's like now, but I can't

0:20:32.440 --> 0:20:35.240
<v Speaker 1>imagine it's changed the entire city, which shut down between

0:20:35.240 --> 0:20:38.800
<v Speaker 1>maybe two pm and five pm. After siesta, you'd maybe

0:20:38.800 --> 0:20:40.720
<v Speaker 1>go back to work for a few hours and do

0:20:40.840 --> 0:20:44.480
<v Speaker 1>social activities outdoors in the evenings when it was cooler.

0:20:44.760 --> 0:20:47.040
<v Speaker 1>Ten pm was a normal time to meet friends for

0:20:47.080 --> 0:20:50.240
<v Speaker 1>a beer, getting to bed, maybe at three am, maybe

0:20:50.280 --> 0:20:53.320
<v Speaker 1>sleeping five hours, then getting up for work. You'd supplement

0:20:53.400 --> 0:20:57.160
<v Speaker 1>this with three hours siestas in the afternoon. During Cista time,

0:20:57.280 --> 0:20:59.879
<v Speaker 1>it's too hot to do anything but sleep, have sex,

0:21:00.200 --> 0:21:03.920
<v Speaker 1>drink somewhere shady, or go to church. I'm not religious,

0:21:03.920 --> 0:21:07.800
<v Speaker 1>but those ancient, beautiful churches are always pleasingly cool inside.

0:21:08.680 --> 0:21:10.840
<v Speaker 1>I was working as an English teacher, and my work

0:21:10.960 --> 0:21:14.120
<v Speaker 1>day was split to allow for siesta and associated travel time.

0:21:14.520 --> 0:21:17.639
<v Speaker 1>That the same was true for most workers. During siestas,

0:21:17.640 --> 0:21:20.960
<v Speaker 1>shops shut, the city was silent. The saying was only

0:21:21.000 --> 0:21:23.680
<v Speaker 1>mad dogs that Englishmen go out in the noonday sun.

0:21:23.840 --> 0:21:27.240
<v Speaker 1>This Englishman declined to do so, but it took a

0:21:27.240 --> 0:21:29.360
<v Speaker 1>while to adjust to this pattern of sleeping a few

0:21:29.359 --> 0:21:31.480
<v Speaker 1>hours in the afternoon and a few more at night.

0:21:31.880 --> 0:21:34.560
<v Speaker 1>I love the only mad dogs and Englishmen go out

0:21:34.600 --> 0:21:37.399
<v Speaker 1>in the midday sun. Wonderful. I've heard that before, but

0:21:38.080 --> 0:21:40.760
<v Speaker 1>I'd never heard of an anecdote where it directly applied

0:21:42.760 --> 0:21:45.880
<v Speaker 1>anyway they could, did you? Uh? Somehow? When I when

0:21:45.880 --> 0:21:47.800
<v Speaker 1>I had made the adjustment, I felt it was a

0:21:47.840 --> 0:21:50.400
<v Speaker 1>healthier way to sleep, the fact that I was able

0:21:50.440 --> 0:21:52.639
<v Speaker 1>to adjust to a different routine of sleeping suggests to

0:21:52.680 --> 0:21:55.040
<v Speaker 1>me that perhaps our Western pattern of sleeping for a

0:21:55.080 --> 0:21:58.119
<v Speaker 1>long stretch during the night is not biologically imperative but

0:21:58.359 --> 0:22:01.600
<v Speaker 1>entirely cultural. Makes me wonder if there might be even

0:22:01.640 --> 0:22:04.280
<v Speaker 1>better ways to manage our need for sleep. I know

0:22:04.320 --> 0:22:07.240
<v Speaker 1>shift workers who struggle with night shifts and rotating shifts.

0:22:07.440 --> 0:22:10.320
<v Speaker 1>The demands of capitalism are often inimical to healthy sleep,

0:22:10.600 --> 0:22:12.840
<v Speaker 1>but a short sleep and a nap later seemed to

0:22:12.920 --> 0:22:17.080
<v Speaker 1>work well. Perhaps there are other possibilities not yet explored. Anyway,

0:22:17.080 --> 0:22:19.280
<v Speaker 1>I just wanted to share my experience. Thanks for the podcast,

0:22:19.680 --> 0:22:22.560
<v Speaker 1>keep them coming. Oh and I'm loving the cinema ones too,

0:22:22.880 --> 0:22:27.120
<v Speaker 1>cheers Steve. Yeah, very interesting, Thanks Steve. I've definitely read

0:22:27.119 --> 0:22:30.600
<v Speaker 1>about Sista culture and um specifically in Spain, but I

0:22:30.640 --> 0:22:34.040
<v Speaker 1>wonder maybe are there other parts of the Mediterranean where

0:22:34.040 --> 0:22:38.159
<v Speaker 1>that's more common. Um Maybe so I would love to

0:22:38.200 --> 0:22:41.920
<v Speaker 1>hear about regional different regional approaches to the same problem.

0:22:41.960 --> 0:22:45.080
<v Speaker 1>You know. Yeah, I seem to recall when I visited

0:22:45.160 --> 0:22:47.920
<v Speaker 1>Italy that it I don't know if it had to

0:22:47.960 --> 0:22:50.960
<v Speaker 1>do with a Cista culture, but I do recall shops

0:22:51.000 --> 0:22:53.200
<v Speaker 1>and places being closed in the middle of the day

0:22:53.240 --> 0:22:57.000
<v Speaker 1>a lot. But maybe that's a coincidence. Yeah, maybe that's

0:22:57.040 --> 0:22:59.040
<v Speaker 1>just lunch break. I don't know now, I know in

0:22:59.119 --> 0:23:01.480
<v Speaker 1>terms of different sleep pink patterns, I think we've we've

0:23:01.520 --> 0:23:04.200
<v Speaker 1>touched on this before and I've seen this, uh this

0:23:04.680 --> 0:23:08.920
<v Speaker 1>discussed multiple places, the idea that maybe we're not supposed

0:23:08.960 --> 0:23:11.560
<v Speaker 1>to sleep, We're not really meant to sleep all the

0:23:11.600 --> 0:23:14.040
<v Speaker 1>way through the night in one giant chunk. You know

0:23:14.080 --> 0:23:15.600
<v Speaker 1>that at the very least, there's supposed to be a

0:23:15.640 --> 0:23:18.040
<v Speaker 1>period in which we wake up and do other things

0:23:18.119 --> 0:23:22.520
<v Speaker 1>and then return to slumber um, which I find myself

0:23:22.560 --> 0:23:24.560
<v Speaker 1>doing that sometimes, you know where it's like you you

0:23:24.600 --> 0:23:26.720
<v Speaker 1>sleep and you wake up and you can't sleep for

0:23:26.720 --> 0:23:29.120
<v Speaker 1>a little bit, so you watch the first half hour

0:23:29.280 --> 0:23:32.280
<v Speaker 1>of the Return of Swamp thing, you go back to sleep.

0:23:32.960 --> 0:23:34.719
<v Speaker 1>This seems to be where a lot of our our

0:23:34.800 --> 0:23:37.680
<v Speaker 1>weird house cinema ideas come from. It's like often lately

0:23:37.720 --> 0:23:40.679
<v Speaker 1>it seems like we're talking, You're like, well, yeah, you know,

0:23:40.760 --> 0:23:42.919
<v Speaker 1>I woke up at two am and I watched Transfers

0:23:43.000 --> 0:23:46.479
<v Speaker 1>and now here we are. Yeah. I mean if for

0:23:46.520 --> 0:23:48.120
<v Speaker 1>me anyway, it's like I wake up at a time

0:23:48.160 --> 0:23:50.240
<v Speaker 1>like that, my brain is not functioning well enough to

0:23:50.280 --> 0:23:53.280
<v Speaker 1>do anything else, including like look at a video game

0:23:53.400 --> 0:23:56.840
<v Speaker 1>or whatnot, But watching a you know, a weird movie

0:23:56.880 --> 0:23:59.440
<v Speaker 1>that generally that's about the right speed for the half

0:23:59.600 --> 0:24:07.399
<v Speaker 1>asleep brain and we're all thankful for it, well speaking,

0:24:07.400 --> 0:24:08.919
<v Speaker 1>a weird movie. So do we have some weird how

0:24:09.000 --> 0:24:11.960
<v Speaker 1>cinema specific listener mail to look at here? Yeah, we

0:24:12.040 --> 0:24:15.159
<v Speaker 1>got a couple on the cinema front. One comes from Amy.

0:24:15.200 --> 0:24:19.560
<v Speaker 1>Amy jumps into the ongoing Sean Connery Scottish accent in

0:24:19.680 --> 0:24:23.919
<v Speaker 1>Highlander saga, which has maybe we've now gotten more listener

0:24:23.920 --> 0:24:27.480
<v Speaker 1>mail about than anything else. Um, Amy says, Hi, all

0:24:27.560 --> 0:24:30.920
<v Speaker 1>the ongoing interest in Sean connery Scottish accent in Highlander

0:24:31.000 --> 0:24:34.520
<v Speaker 1>made me remember the audio component from my high school

0:24:34.800 --> 0:24:38.800
<v Speaker 1>Russian language class. We used a text book called Russian

0:24:38.880 --> 0:24:41.679
<v Speaker 1>for Everybody, and I can't remember if the audio was

0:24:41.800 --> 0:24:44.240
<v Speaker 1>part of the book or not. At any rate, I

0:24:44.240 --> 0:24:47.560
<v Speaker 1>remember watching videos of a Russian woman who had evidently

0:24:47.680 --> 0:24:51.320
<v Speaker 1>learned English in the Southern US as she had a

0:24:51.359 --> 0:24:55.879
<v Speaker 1>strange combination of Russian and Southern accents. She pronounced words

0:24:55.880 --> 0:24:59.800
<v Speaker 1>with a distinct Southern drawl. Okay, so maybe this in

0:25:00.000 --> 0:25:02.919
<v Speaker 1>warms the question of whether whether you would have a

0:25:02.920 --> 0:25:06.879
<v Speaker 1>Scottish accent if you learned English in Scotland, you know,

0:25:06.920 --> 0:25:09.520
<v Speaker 1>I feel like i've I've heard. I didn't think about

0:25:09.560 --> 0:25:12.800
<v Speaker 1>this in context of Sean Connery's accent, but I think

0:25:12.800 --> 0:25:16.080
<v Speaker 1>I had heard accounts of people before who had acquired

0:25:16.320 --> 0:25:20.360
<v Speaker 1>a foreign language with certain accents in play, and then

0:25:20.680 --> 0:25:22.600
<v Speaker 1>like people pick up on it. Like I think I

0:25:22.600 --> 0:25:25.479
<v Speaker 1>had heard about something of this nature with someone who

0:25:25.560 --> 0:25:28.480
<v Speaker 1>had learned I can't remember it was Japanese or Chinese,

0:25:28.800 --> 0:25:32.359
<v Speaker 1>but then when they went there, went to to China, Japan,

0:25:32.400 --> 0:25:35.000
<v Speaker 1>whichever the case was, Like people picked up on the

0:25:35.040 --> 0:25:38.160
<v Speaker 1>fact that they had a strange um, you know, regional

0:25:38.200 --> 0:25:40.920
<v Speaker 1>accent for someone who is clearly not from that region.

0:25:41.240 --> 0:25:44.240
<v Speaker 1>Amy's message continues also on the subject of the Punish

0:25:44.320 --> 0:25:47.920
<v Speaker 1>the Machine episodes. Whenever an electronic device isn't working, especially

0:25:47.920 --> 0:25:50.560
<v Speaker 1>on the occasions when printers don't work in my job,

0:25:50.640 --> 0:25:52.879
<v Speaker 1>my first thought is to unplug it and make it

0:25:52.920 --> 0:25:56.520
<v Speaker 1>think about what it's done. Thanks for reading, Amy, I

0:25:56.560 --> 0:25:59.399
<v Speaker 1>like that because it it, you know, the the weird

0:25:59.480 --> 0:26:03.240
<v Speaker 1>anthrom morphic reasoning. They're sort of maps onto the actual

0:26:03.400 --> 0:26:06.119
<v Speaker 1>best first step in troubleshooting, usually, which is turned it

0:26:06.119 --> 0:26:08.560
<v Speaker 1>off and turn it back on. Yeah, but yeah, should

0:26:08.640 --> 0:26:15.840
<v Speaker 1>teach it a lesson? It knows what it did. Yeah,

0:26:16.119 --> 0:26:19.080
<v Speaker 1>all right. We have another listener mail here related to

0:26:19.600 --> 0:26:22.199
<v Speaker 1>Weird House Cinema. This one comes to us via the

0:26:22.240 --> 0:26:25.440
<v Speaker 1>Stuff to Blow Your Mind discussion module Facebook group, which

0:26:25.480 --> 0:26:27.240
<v Speaker 1>is which is out there. You can you can join

0:26:27.280 --> 0:26:30.720
<v Speaker 1>their listeners who engage in discussions there about anything publishing

0:26:30.720 --> 0:26:33.320
<v Speaker 1>and the Stuff to Blow your Mind podcast feed. And

0:26:33.520 --> 0:26:37.480
<v Speaker 1>Ed had this to say regarding Hanuman versus seven Ultraman, Hi,

0:26:37.640 --> 0:26:39.760
<v Speaker 1>Robert and Joe. As a tie who was born in

0:26:39.800 --> 0:26:43.159
<v Speaker 1>the late seventies, I grew up watching this movie several times.

0:26:43.400 --> 0:26:45.520
<v Speaker 1>I am surprised you guys could find and discuss it

0:26:45.840 --> 0:26:49.040
<v Speaker 1>in in deep detail despite the poor translation. You have

0:26:49.080 --> 0:26:52.880
<v Speaker 1>brought my nostalgic memory back today. Thank you, Ed. Oh

0:26:53.080 --> 0:26:55.760
<v Speaker 1>that just warms my heart. Yeah, it was. It was great.

0:26:55.760 --> 0:26:59.399
<v Speaker 1>Great to hear from from someone who observed, who watched

0:26:59.400 --> 0:27:02.879
<v Speaker 1>this film. Uh you know, back back in the day. Uh,

0:27:02.920 --> 0:27:05.040
<v Speaker 1>you know as as a part of thaigh culture. You know.

0:27:05.119 --> 0:27:07.520
<v Speaker 1>It's like because because that that that was part of

0:27:07.560 --> 0:27:09.800
<v Speaker 1>my experience was watching this and wondering what that would

0:27:09.800 --> 0:27:12.119
<v Speaker 1>be like. You know, what is it like? I I

0:27:12.200 --> 0:27:14.400
<v Speaker 1>guess in general. I love to hear stories like that,

0:27:14.440 --> 0:27:18.680
<v Speaker 1>where the new, you know, weird film for for us often,

0:27:18.800 --> 0:27:21.520
<v Speaker 1>especially as a you know, as a as an American viewer,

0:27:22.040 --> 0:27:24.879
<v Speaker 1>is to someone else just like a part of the

0:27:24.920 --> 0:27:29.040
<v Speaker 1>fabric of their childhood. Um, Like the Jack Frost film

0:27:29.119 --> 0:27:31.399
<v Speaker 1>is A is a great example of this um that

0:27:31.760 --> 0:27:34.080
<v Speaker 1>we've you know, discussed in passing on the show before

0:27:34.400 --> 0:27:37.600
<v Speaker 1>Russo finished movie. Yeah. Yeah, and I remember meeting, um,

0:27:37.960 --> 0:27:39.880
<v Speaker 1>somebody from the Czech Republic who was like, oh, yeah,

0:27:39.920 --> 0:27:42.639
<v Speaker 1>they showed this every Christmas. This was our Christmas movie,

0:27:42.920 --> 0:27:44.679
<v Speaker 1>you know, and and so it's it's I love I

0:27:44.720 --> 0:27:47.080
<v Speaker 1>love stories like that. Yeah, And it also makes you

0:27:47.119 --> 0:27:49.320
<v Speaker 1>reflect on how there are lots of things that you

0:27:49.359 --> 0:27:51.440
<v Speaker 1>watched when you were a child, and because you were

0:27:51.480 --> 0:27:54.800
<v Speaker 1>exposed to them often and early, they seem utterly mundane

0:27:54.880 --> 0:27:57.399
<v Speaker 1>or normal to you. But if somebody who didn't have

0:27:57.520 --> 0:28:00.840
<v Speaker 1>that exposure, like cultural or just exposure early in their

0:28:00.880 --> 0:28:05.680
<v Speaker 1>life came across them, they might seem tremendously weird to them. Yeah. Yeah, absolutely,

0:28:05.680 --> 0:28:08.480
<v Speaker 1>I mean, certainly there's a lot of tremendously weird films

0:28:08.480 --> 0:28:10.959
<v Speaker 1>that that I feel like we we all watched growing up,

0:28:10.960 --> 0:28:12.720
<v Speaker 1>but they're just a part of the fabric of our childhood.

0:28:13.200 --> 0:28:16.040
<v Speaker 1>Uh so we we often don't realize how how how

0:28:16.080 --> 0:28:18.639
<v Speaker 1>strange they are. Like sometimes it might be interesting to

0:28:18.720 --> 0:28:21.960
<v Speaker 1>get a a you know, a Russian adult today or

0:28:21.960 --> 0:28:25.399
<v Speaker 1>a tie adult today to watch the Disney movies that

0:28:25.480 --> 0:28:27.159
<v Speaker 1>we saw as a kid and say, like, what what

0:28:27.200 --> 0:28:29.600
<v Speaker 1>does this look like to you? Oh? Man? Yeah, if

0:28:29.640 --> 0:28:31.680
<v Speaker 1>there's anybody out there who can speak to that. Um,

0:28:31.720 --> 0:28:34.240
<v Speaker 1>you know, are you someone who was not exposed to

0:28:34.720 --> 0:28:38.480
<v Speaker 1>sort of a mess American and or Western children's films

0:28:38.560 --> 0:28:41.080
<v Speaker 1>until much later? And then and then in doing so,

0:28:41.200 --> 0:28:43.080
<v Speaker 1>what was that like? I mean, we don't even have

0:28:43.120 --> 0:28:46.200
<v Speaker 1>to go like Western, Like you see huge differences between

0:28:46.680 --> 0:28:49.840
<v Speaker 1>people who grew up, you know, watching American television versus

0:28:49.880 --> 0:28:53.080
<v Speaker 1>British television. Um, you know, things that are just like

0:28:53.120 --> 0:28:56.480
<v Speaker 1>common touchstones, Like there's apparently a film or a TV

0:28:56.520 --> 0:28:58.240
<v Speaker 1>series and I can't remember which called Stick of the

0:28:58.280 --> 0:29:00.600
<v Speaker 1>Dump that is a that is I don't know, not

0:29:00.680 --> 0:29:03.240
<v Speaker 1>something Americans know about for the most part, I think,

0:29:03.280 --> 0:29:06.880
<v Speaker 1>but but for for many British listeners, like, yeah, there's

0:29:06.920 --> 0:29:09.280
<v Speaker 1>this story about a kid who meets in Neandertal that

0:29:09.320 --> 0:29:11.200
<v Speaker 1>lives in the garbage dump and that's just a part

0:29:11.240 --> 0:29:14.240
<v Speaker 1>of what you grow up with. Whereas you know, I

0:29:14.240 --> 0:29:16.320
<v Speaker 1>I hear that as a it's a grown person. I'm like,

0:29:16.360 --> 0:29:18.560
<v Speaker 1>that just sounds really weird. Why would you rear a

0:29:18.640 --> 0:29:21.840
<v Speaker 1>child on such a strange concept. Yeah, even considering how

0:29:21.920 --> 0:29:23.640
<v Speaker 1>you know, because of shared language and all that, how

0:29:23.720 --> 0:29:27.400
<v Speaker 1>close British and American culture are, Like how weird Doctor

0:29:27.520 --> 0:29:30.520
<v Speaker 1>who is too? Americans who encounter it for the first time,

0:29:30.560 --> 0:29:33.000
<v Speaker 1>but like, you know, British kids who grew up watching it,

0:29:33.000 --> 0:29:36.280
<v Speaker 1>it seems very mundane and normal to them. Yeah, and

0:29:36.320 --> 0:29:38.520
<v Speaker 1>I wonder how much of this we're we're getting away from,

0:29:38.600 --> 0:29:41.720
<v Speaker 1>or we're getting into weirder areas I guess where parents

0:29:41.760 --> 0:29:46.960
<v Speaker 1>have more power to h to curate what their child,

0:29:47.080 --> 0:29:49.640
<v Speaker 1>what weird things their child are into. You know, it's

0:29:49.680 --> 0:29:51.880
<v Speaker 1>not just whatever is on television. In some cases, it's

0:29:51.920 --> 0:29:55.560
<v Speaker 1>like we're cherry picking, like the strangest and most beloved

0:29:55.600 --> 0:29:59.960
<v Speaker 1>things from our past and inflicting them on the children. Yeah.

0:30:00.080 --> 0:30:03.040
<v Speaker 1>Uh that I wonder exactly how best to frame it,

0:30:03.040 --> 0:30:05.280
<v Speaker 1>But that is something that could be an interesting episode

0:30:05.320 --> 0:30:07.840
<v Speaker 1>in some way. I don't know what angle to approach it, really,

0:30:07.840 --> 0:30:10.440
<v Speaker 1>but like the phenomenon of Okay, so you're an adult

0:30:10.480 --> 0:30:14.680
<v Speaker 1>who remembers, say, the Dark Crystal from your childhood or

0:30:14.720 --> 0:30:17.240
<v Speaker 1>something like that is something that was absolutely magical that

0:30:17.280 --> 0:30:19.320
<v Speaker 1>you just loved and you still have all these fond,

0:30:19.320 --> 0:30:21.720
<v Speaker 1>nostalgic memories for and you see the beauty of it

0:30:22.160 --> 0:30:24.720
<v Speaker 1>and you want to make your kid love it too.

0:30:25.080 --> 0:30:26.920
<v Speaker 1>What if they don't? What if you show it to

0:30:27.040 --> 0:30:28.560
<v Speaker 1>them and they just don't get it? Do you know

0:30:28.600 --> 0:30:30.920
<v Speaker 1>what I mean? Oh? Oh yeah, I mean I I

0:30:30.960 --> 0:30:33.360
<v Speaker 1>know from experience what that's like. And you just have

0:30:33.440 --> 0:30:35.880
<v Speaker 1>to you know, I guess you just have to roll

0:30:35.920 --> 0:30:38.400
<v Speaker 1>with it and realize, you know, they're not gonna love everything.

0:30:38.400 --> 0:30:40.520
<v Speaker 1>And if they love, if they take a shining to

0:30:41.320 --> 0:30:44.080
<v Speaker 1>you know, half the stuff that that you loved growing up,

0:30:44.120 --> 0:30:46.480
<v Speaker 1>then you're you're lucky that you could to experience it again.

0:30:46.760 --> 0:30:48.480
<v Speaker 1>And if they're not into it, well then you just

0:30:48.560 --> 0:30:50.840
<v Speaker 1>keep that just for you. You did. You did get

0:30:50.880 --> 0:30:53.800
<v Speaker 1>lucky with the Dark Crystal though, right, Yeah? But that

0:30:53.840 --> 0:30:56.840
<v Speaker 1>one was that one was hard. The Dark Crystal is

0:30:56.880 --> 0:30:59.400
<v Speaker 1>not one that he seems jazz to necessarily watch again

0:30:59.440 --> 0:31:03.960
<v Speaker 1>because it is kind of dark and serious in tone. Um,

0:31:04.000 --> 0:31:05.880
<v Speaker 1>But there are other things that I either haven't been

0:31:05.880 --> 0:31:09.240
<v Speaker 1>able to convince him to to give a shot to um,

0:31:09.280 --> 0:31:11.080
<v Speaker 1>you know, or I just maybe I waited too long,

0:31:11.200 --> 0:31:13.320
<v Speaker 1>or maybe it's not time yet. You know, that's Timing

0:31:13.400 --> 0:31:15.840
<v Speaker 1>is everything, and every kid is different, especially when you

0:31:15.840 --> 0:31:19.480
<v Speaker 1>get into some of the you know, the darker bits

0:31:19.520 --> 0:31:21.520
<v Speaker 1>of media. You know, like when is the right time

0:31:21.520 --> 0:31:23.920
<v Speaker 1>to show a child the never Ending Story? You know,

0:31:24.240 --> 0:31:25.600
<v Speaker 1>you don't want to go too early, you don't want

0:31:25.600 --> 0:31:26.920
<v Speaker 1>to go too late. I don't know, there's like a

0:31:26.920 --> 0:31:28.760
<v Speaker 1>sweet spot. But you want them you still want them

0:31:28.800 --> 0:31:31.400
<v Speaker 1>to feel it. That's the other weird thing about exposing

0:31:31.440 --> 0:31:35.000
<v Speaker 1>these these these types of of properties to our kids.

0:31:35.000 --> 0:31:40.080
<v Speaker 1>It's like there's part of this weird voyeuristic um thing

0:31:40.200 --> 0:31:43.360
<v Speaker 1>there where we want to we're experiencing it again through them,

0:31:43.400 --> 0:31:45.400
<v Speaker 1>but wherever mindful, Like what are they going to how

0:31:45.440 --> 0:31:47.760
<v Speaker 1>are they going to react when they find out that

0:31:48.080 --> 0:31:50.520
<v Speaker 1>the Darth Vader is Luke's father? You know, how are

0:31:50.520 --> 0:31:53.040
<v Speaker 1>they going to react when that when when the when

0:31:53.040 --> 0:31:56.560
<v Speaker 1>a tray use horse sinks into the swamp of despair

0:31:57.080 --> 0:32:00.239
<v Speaker 1>never Ending story? You know? Um even you know, even

0:32:00.280 --> 0:32:02.640
<v Speaker 1>though we we don't want them to hurt or anything

0:32:02.680 --> 0:32:06.480
<v Speaker 1>like that, but you know, we it's like we we're

0:32:06.520 --> 0:32:09.040
<v Speaker 1>watching them engage in the power of story and the

0:32:09.080 --> 0:32:13.320
<v Speaker 1>power of myth and and part of it is is

0:32:13.320 --> 0:32:17.000
<v Speaker 1>is anticipating engaging their reaction, you know, watching them watch

0:32:17.080 --> 0:32:19.480
<v Speaker 1>it but not yet not Stephen King's head way too

0:32:19.480 --> 0:32:23.200
<v Speaker 1>ear with my kid, I don't know. I mean, I

0:32:23.240 --> 0:32:26.400
<v Speaker 1>know kids that are already super into Penny Wise. The

0:32:26.400 --> 0:32:29.160
<v Speaker 1>clown that are that are about his age, so who know,

0:32:29.320 --> 0:32:31.960
<v Speaker 1>it varies from child to job. What's the right age

0:32:31.960 --> 0:32:35.080
<v Speaker 1>for the Tommy Knockers who? I don't know. I never

0:32:35.120 --> 0:32:39.480
<v Speaker 1>made it through the Tommy Knockers. I think they're making

0:32:39.480 --> 0:32:43.320
<v Speaker 1>it again though, right there are another version of they've

0:32:43.400 --> 0:32:46.440
<v Speaker 1>like run that dry on Stephen King material to adapt,

0:32:46.520 --> 0:32:48.800
<v Speaker 1>They're going into Tommy Knockers. I mean, I think just

0:32:48.880 --> 0:32:51.800
<v Speaker 1>everything gets snatched up, right, Uh, I don't know. The

0:32:51.840 --> 0:32:54.200
<v Speaker 1>weird thing with with king properties is, Yeah, it seems

0:32:54.200 --> 0:32:56.480
<v Speaker 1>like there's there's a lot of competition to to make

0:32:56.520 --> 0:32:58.640
<v Speaker 1>and remake all the novels, but there's still there's so

0:32:58.640 --> 0:33:02.280
<v Speaker 1>many great short stories that haven't really been adapted outside

0:33:02.280 --> 0:33:04.960
<v Speaker 1>of the you know, the agreement that he has. Uh,

0:33:05.240 --> 0:33:08.080
<v Speaker 1>what is it the Dollar Club where anybody can any

0:33:08.120 --> 0:33:10.760
<v Speaker 1>film student can make a Stephen King adaptation as as

0:33:10.760 --> 0:33:13.120
<v Speaker 1>a student film. Um that you know, he had so

0:33:13.120 --> 0:33:16.160
<v Speaker 1>many great weird short stories that I feel like could

0:33:16.200 --> 0:33:19.440
<v Speaker 1>be revisited. Oh yeah, totally. Anyway, I guess we should

0:33:19.440 --> 0:33:21.880
<v Speaker 1>probably wrap it up. Yeah, we're gonna go and close

0:33:21.920 --> 0:33:24.240
<v Speaker 1>out the mail for this episode of Stuff to Blow

0:33:24.280 --> 0:33:26.680
<v Speaker 1>Your Mind listener mail, but right in because we'll be

0:33:26.720 --> 0:33:28.800
<v Speaker 1>doing it again next Monday. We'd love to hear your

0:33:28.800 --> 0:33:33.200
<v Speaker 1>response to topics we covered in this episode. Response to UH,

0:33:33.680 --> 0:33:37.280
<v Speaker 1>recent or old Stuff to Blow Your Mind episodes, episodes

0:33:37.320 --> 0:33:39.920
<v Speaker 1>of Weird House Cinema. It's all fair game, so just

0:33:40.160 --> 0:33:43.080
<v Speaker 1>keep it coming. Yeah, send him on in Stuff the

0:33:43.080 --> 0:33:45.880
<v Speaker 1>bail bag for us. Yep, you can find us at UH.

0:33:46.600 --> 0:33:48.920
<v Speaker 1>Wherever you get your podcasts, you can find Stuff to

0:33:48.920 --> 0:33:50.800
<v Speaker 1>Blow your Mind Stuff to Blow your Mind podcast feed.

0:33:50.800 --> 0:33:52.520
<v Speaker 1>That's where we put it all out. Just rate, review

0:33:52.560 --> 0:33:54.959
<v Speaker 1>and subscribe if you have the chance. Huge things. As

0:33:55.000 --> 0:33:58.520
<v Speaker 1>always to our wonderful audio producer Seth Nicholas Johnson. If

0:33:58.520 --> 0:34:00.600
<v Speaker 1>you would like to get in touch with us feedback

0:34:00.600 --> 0:34:02.760
<v Speaker 1>on this episode or any other, to suggest a topic

0:34:02.760 --> 0:34:04.760
<v Speaker 1>for the future, just to say hello, you can email

0:34:04.840 --> 0:34:15.560
<v Speaker 1>us at contact at Stuff to Blow Your Mind dot com.

0:34:15.640 --> 0:34:17.440
<v Speaker 1>Stuff to Blow Your Mind is a production of I

0:34:17.560 --> 0:34:20.439
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