1 00:00:02,960 --> 00:00:05,360 Speaker 1: Welcome to Stuff to Blow Your Mind production of My 2 00:00:05,480 --> 00:00:11,280 Speaker 1: Heart Radio. Hey, welcome to Stuff to Blow your Mind. 3 00:00:11,840 --> 00:00:15,640 Speaker 1: Listener mail. My name is Robert Lamb and I'm Joe McCormick, 4 00:00:15,680 --> 00:00:17,720 Speaker 1: and we're back with you after being off for a week. 5 00:00:18,440 --> 00:00:20,520 Speaker 1: We uh, this is Monday, of course, the day of 6 00:00:20,520 --> 00:00:22,599 Speaker 1: the week that we read back messages that you've sent 7 00:00:22,680 --> 00:00:26,920 Speaker 1: into the show. Our contact address is contact at stuff 8 00:00:26,960 --> 00:00:28,720 Speaker 1: to Blow your Mind dot com. We always say that 9 00:00:28,760 --> 00:00:30,400 Speaker 1: at the end of episodes, but I don't know if 10 00:00:30,440 --> 00:00:32,800 Speaker 1: people are tuning out at the last moments, and sometimes 11 00:00:32,800 --> 00:00:34,440 Speaker 1: they miss the address. So if you want to get 12 00:00:34,479 --> 00:00:36,440 Speaker 1: in touch and you've never made it that far in 13 00:00:36,440 --> 00:00:38,960 Speaker 1: an episode before, it is contact at stuff to Blow 14 00:00:39,000 --> 00:00:41,440 Speaker 1: your Mind dot com. Rob do you mind if I 15 00:00:41,560 --> 00:00:44,240 Speaker 1: kick things off here with this message from Emily? Yeah, 16 00:00:44,280 --> 00:00:51,120 Speaker 1: I go for it, all right. This is about our 17 00:00:51,159 --> 00:00:53,280 Speaker 1: episodes called what were they called in the end, the 18 00:00:53,320 --> 00:00:56,040 Speaker 1: Beast War and Apron or something like that, something to 19 00:00:56,040 --> 00:00:58,000 Speaker 1: that effect. Yeah, we had a number of clever titles 20 00:00:58,280 --> 00:01:04,000 Speaker 1: lined up, clever and medium clever, uh, but these are 21 00:01:04,000 --> 00:01:07,280 Speaker 1: all about animals cooking, not necessarily with heat, but preparing 22 00:01:07,400 --> 00:01:10,520 Speaker 1: meals in one way or another. And so Emily writes 23 00:01:10,560 --> 00:01:14,160 Speaker 1: in with a with a message subject line potatoes, and 24 00:01:14,280 --> 00:01:16,679 Speaker 1: the context of this message in particular is that we 25 00:01:16,720 --> 00:01:19,399 Speaker 1: talked about a study looking into the question of whether 26 00:01:19,520 --> 00:01:23,600 Speaker 1: apes like chimpanzees tend to prefer cooked or raw versions 27 00:01:23,720 --> 00:01:26,680 Speaker 1: of the same food, and the study found in most 28 00:01:26,680 --> 00:01:29,600 Speaker 1: cases they liked the cooked foods better, and the examples 29 00:01:29,600 --> 00:01:33,319 Speaker 1: would be things like carrots, sweet potatoes, and beef, but 30 00:01:33,600 --> 00:01:37,720 Speaker 1: with a few exceptions, including the seemingly bizarre fact that 31 00:01:38,080 --> 00:01:41,240 Speaker 1: on average, chimpanzees and other apes didn't much have a 32 00:01:41,319 --> 00:01:45,759 Speaker 1: preference between raw and cooked white potatoes. So like, oh yeah, 33 00:01:45,800 --> 00:01:49,320 Speaker 1: I'll take my carrots cooked and my rusted potato raw definitely, 34 00:01:49,720 --> 00:01:51,760 Speaker 1: or at least with the potato don't care if it's 35 00:01:51,800 --> 00:01:55,080 Speaker 1: cooked or raw. Anyway, Onto Emily's message, Emily says, Hi, 36 00:01:55,240 --> 00:01:58,560 Speaker 1: Robin Joe, longtime listener here. Always enjoy the fun and 37 00:01:58,600 --> 00:02:01,440 Speaker 1: weird science you talk about. Just finished listening to the 38 00:02:01,480 --> 00:02:04,440 Speaker 1: first part of the Beast War and Apron and was 39 00:02:04,480 --> 00:02:07,560 Speaker 1: reminded of a practice of mine as a kid regarding 40 00:02:07,640 --> 00:02:10,760 Speaker 1: raw versus cooked potatoes. When I was growing up, I 41 00:02:10,800 --> 00:02:14,400 Speaker 1: would sneak a raw potato slices my mom was peeling 42 00:02:14,400 --> 00:02:17,320 Speaker 1: and preparing them for cooking. She never scolded me for 43 00:02:17,360 --> 00:02:20,080 Speaker 1: the practice, and frequently these were potatoes we'd grown in 44 00:02:20,080 --> 00:02:24,320 Speaker 1: our own garden, which felt safe somehow. My husband did 45 00:02:24,440 --> 00:02:27,480 Speaker 1: the same as a kid, and will still sneak a 46 00:02:27,600 --> 00:02:30,760 Speaker 1: raw potato piece when we prepare dinner. Wow, that is 47 00:02:30,800 --> 00:02:34,239 Speaker 1: a true m F e O discovery there. That is 48 00:02:34,280 --> 00:02:38,160 Speaker 1: a rare matchup. Anyway, Emily says for me, I loved 49 00:02:38,200 --> 00:02:42,359 Speaker 1: the earthy taste before cooking. Weird but delicious. Thanks again, 50 00:02:42,400 --> 00:02:45,400 Speaker 1: and keep up the good work, Emily. Well, that's interesting, 51 00:02:45,440 --> 00:02:48,400 Speaker 1: you know. Now that that Emily has shared this story, 52 00:02:48,520 --> 00:02:52,079 Speaker 1: I have to say, it does sort of um spark 53 00:02:52,160 --> 00:02:55,560 Speaker 1: of some vague childhood memory, Like maybe I maybe, like 54 00:02:55,600 --> 00:02:58,160 Speaker 1: I remember the like the crinkle cutter for the fries 55 00:02:58,240 --> 00:03:01,200 Speaker 1: that my mom would use, and I might I might 56 00:03:01,240 --> 00:03:03,880 Speaker 1: have like a memory of having like a crinkle cut 57 00:03:03,919 --> 00:03:07,120 Speaker 1: fry that had not been cut yet. Uh and yeah, 58 00:03:07,480 --> 00:03:09,520 Speaker 1: but it's it's very faint, you know. I had a 59 00:03:09,560 --> 00:03:13,480 Speaker 1: general impression, and this may be based in no fact whatsoever, 60 00:03:13,639 --> 00:03:17,840 Speaker 1: but a general impression that eating raw potatoes was somehow unsafe. 61 00:03:18,240 --> 00:03:21,080 Speaker 1: H Emily has the note about they came from the 62 00:03:21,120 --> 00:03:23,360 Speaker 1: garden at home, so somehow it seemed safe, And I 63 00:03:23,360 --> 00:03:25,959 Speaker 1: guess that's juxtaposed with an impression that they would be 64 00:03:26,040 --> 00:03:28,320 Speaker 1: unsafe if they came from the grocery store. I don't 65 00:03:28,320 --> 00:03:30,560 Speaker 1: know if that would actually make any difference whatsoever, But 66 00:03:32,000 --> 00:03:34,040 Speaker 1: I don't know that was my feeling. But now that 67 00:03:34,080 --> 00:03:36,400 Speaker 1: I think about it, I don't know why I think that. 68 00:03:36,480 --> 00:03:38,640 Speaker 1: Maybe that's not true. So I'm not making a comment 69 00:03:38,680 --> 00:03:40,480 Speaker 1: one way or another about that. If you're in if 70 00:03:40,480 --> 00:03:42,920 Speaker 1: you're thinking about eating raw potatoes, look it up for yourself. 71 00:03:43,400 --> 00:03:46,080 Speaker 1: I have not researched this subject. My sun will come 72 00:03:46,160 --> 00:03:49,200 Speaker 1: up and asked to try things when I'm cooking, and uh, 73 00:03:49,360 --> 00:03:51,080 Speaker 1: if you asked about the potato, I've always just been like, oh, 74 00:03:51,080 --> 00:03:53,200 Speaker 1: you don't want to eat raw potato. But if he's 75 00:03:53,200 --> 00:03:55,560 Speaker 1: asking about the carrot, I'll definitely give him some of 76 00:03:55,560 --> 00:03:57,560 Speaker 1: the carret, especially if I have to use the mandolin 77 00:03:57,680 --> 00:04:01,280 Speaker 1: on the carrots, and I get really nervous, uh using 78 00:04:01,320 --> 00:04:03,960 Speaker 1: the mandolin the closer it gets to my knuckles. So 79 00:04:04,120 --> 00:04:06,480 Speaker 1: you know, I'll generally stop with like an inch or 80 00:04:06,560 --> 00:04:09,280 Speaker 1: more of carrot left, and I'll be like, who wants this? 81 00:04:09,400 --> 00:04:11,320 Speaker 1: And he'll take it? Do you not have one of 82 00:04:11,360 --> 00:04:15,000 Speaker 1: those guards. It has no guard. No, it's just uh, 83 00:04:15,360 --> 00:04:17,240 Speaker 1: it's just get as close to your knuckles as as 84 00:04:17,279 --> 00:04:19,599 Speaker 1: you as you dare. So I should look into this. 85 00:04:19,640 --> 00:04:22,240 Speaker 1: If there's a model with a with a guard of 86 00:04:22,279 --> 00:04:25,240 Speaker 1: some sort. You got the Wild West Mandolin. Yeah, but 87 00:04:25,279 --> 00:04:27,760 Speaker 1: now I'm excited to hear that there's something safer out there. 88 00:04:28,279 --> 00:04:30,279 Speaker 1: I've been thinking there's got to be a better way, 89 00:04:30,320 --> 00:04:32,039 Speaker 1: and and lo and behold, it sounds like there's a 90 00:04:32,040 --> 00:04:40,320 Speaker 1: better way. All right. Here's another bit of listener mail. 91 00:04:40,400 --> 00:04:45,000 Speaker 1: This comes to us from U lurch gs Uh lurch 92 00:04:45,080 --> 00:04:49,080 Speaker 1: gs rights. Good morning, gentlemen. As usual, I'm listening to 93 00:04:49,120 --> 00:04:51,400 Speaker 1: your show as I drive down the road. In the 94 00:04:51,480 --> 00:04:54,000 Speaker 1: portion of the reference episode where you're talking about the 95 00:04:54,040 --> 00:04:58,359 Speaker 1: Japanese macaque, you point out the rather overwhelming tendencies for 96 00:04:58,480 --> 00:05:02,040 Speaker 1: new learned behaviors to be from older to younger members 97 00:05:02,080 --> 00:05:04,040 Speaker 1: of the group. At my age, I like to think 98 00:05:04,040 --> 00:05:07,520 Speaker 1: of this as top down dissemination. I'm sure others have 99 00:05:07,600 --> 00:05:10,280 Speaker 1: pointed out the exception in the human world. I find 100 00:05:10,320 --> 00:05:14,560 Speaker 1: it glaringly obvious. The cell phone initially catching on with 101 00:05:14,680 --> 00:05:17,039 Speaker 1: young professionals, which I was at the time deep in 102 00:05:17,080 --> 00:05:20,000 Speaker 1: the early throws of high speed Internet I t and 103 00:05:20,040 --> 00:05:23,520 Speaker 1: eventually became nearly ubiquitous. It's reached the point where there 104 00:05:23,560 --> 00:05:27,159 Speaker 1: are phones and services designed specially for people with more 105 00:05:27,240 --> 00:05:31,159 Speaker 1: life experience. The same trends apply to home computers and 106 00:05:31,200 --> 00:05:34,440 Speaker 1: internet access, though possibly to a lesser extent. I admit 107 00:05:34,480 --> 00:05:37,520 Speaker 1: I find these particular interests because yet I watched it 108 00:05:37,600 --> 00:05:41,440 Speaker 1: happen best regard from the road lurch g s. I 109 00:05:41,480 --> 00:05:44,080 Speaker 1: am at the age where I've started to note with 110 00:05:44,200 --> 00:05:48,200 Speaker 1: horror that I'm becoming the older person who doesn't get 111 00:05:48,240 --> 00:05:51,240 Speaker 1: some new piece of technology that uh, you know, like 112 00:05:51,320 --> 00:05:54,400 Speaker 1: I'm I'm the object of pity for my younger self 113 00:05:55,279 --> 00:05:57,240 Speaker 1: because like I used to always be the person, yeah, 114 00:05:57,240 --> 00:05:59,479 Speaker 1: I understand what's going on with this new piece of 115 00:05:59,520 --> 00:06:02,400 Speaker 1: software or this new app everybody's using or something, and 116 00:06:02,720 --> 00:06:05,320 Speaker 1: I and I sort of pity to the older folks 117 00:06:05,320 --> 00:06:08,000 Speaker 1: who seemed to bewildered by them. But now I'm in this, 118 00:06:08,120 --> 00:06:11,599 Speaker 1: I don't even know what all the snapchats and TikTok's. Uh, 119 00:06:11,839 --> 00:06:14,960 Speaker 1: it's it's a horrible transition to to watch within yourself. 120 00:06:15,400 --> 00:06:18,800 Speaker 1: Now you are becoming the beast master wandering the streets 121 00:06:19,080 --> 00:06:23,320 Speaker 1: of Yeah. But anyway, yes, totally and you know, I 122 00:06:23,320 --> 00:06:25,479 Speaker 1: I don't know this for sure, but I bet it's 123 00:06:25,480 --> 00:06:29,920 Speaker 1: probably a common pattern for cultural innovation across both humans 124 00:06:29,960 --> 00:06:33,560 Speaker 1: and other animal species that have you know, complex enough 125 00:06:34,120 --> 00:06:36,560 Speaker 1: behaviors and and learning that you can say they have 126 00:06:36,640 --> 00:06:40,359 Speaker 1: something analogous to culture. Uh, for cultural innovation to go 127 00:06:40,520 --> 00:06:44,719 Speaker 1: something like this. So, so a new behavior starts when 128 00:06:45,040 --> 00:06:49,479 Speaker 1: younger individuals with more plastic brains invent it and take 129 00:06:49,560 --> 00:06:54,160 Speaker 1: it up, and then that behavior slowly spreads to older individuals, 130 00:06:54,240 --> 00:06:57,920 Speaker 1: both by mimedic uptakes, so older individuals copying the younger 131 00:06:57,920 --> 00:07:01,839 Speaker 1: ones who invented it, and so by the original innovating 132 00:07:01,880 --> 00:07:05,400 Speaker 1: generation just aging up getting older. And then when new 133 00:07:05,440 --> 00:07:08,920 Speaker 1: generations are born, the very young learn the new behavior 134 00:07:09,120 --> 00:07:12,120 Speaker 1: from the older ones by copying. Of course, all this 135 00:07:12,240 --> 00:07:14,440 Speaker 1: is going to depend on the exact social structures of 136 00:07:14,480 --> 00:07:17,600 Speaker 1: a given species, because you know, you do hear about 137 00:07:18,760 --> 00:07:22,720 Speaker 1: species where you have individuals that that innovates something, but 138 00:07:22,880 --> 00:07:26,840 Speaker 1: then due to the way they're um they pass things 139 00:07:26,840 --> 00:07:29,600 Speaker 1: on or in some cases don't pass things on, that 140 00:07:30,000 --> 00:07:33,040 Speaker 1: particular practice will be lost, Like I believe this was 141 00:07:33,080 --> 00:07:37,320 Speaker 1: the case with some cheetahs that had learned how to 142 00:07:37,440 --> 00:07:41,640 Speaker 1: effectively take down ostriches. I believe, yes, the memory serves. 143 00:07:41,720 --> 00:07:45,680 Speaker 1: This was this was on BBC's Life documentary. It was 144 00:07:45,720 --> 00:07:49,600 Speaker 1: like three cheetahs that I believe we're brothers that had 145 00:07:50,040 --> 00:07:53,440 Speaker 1: learned an innovative strategy to help take down an ostrich 146 00:07:53,520 --> 00:07:55,760 Speaker 1: which you know, you might not think a bunch of ostriches, 147 00:07:55,800 --> 00:08:00,600 Speaker 1: but they're huge, and they're they're risky prey A cheetah. Certainly, 148 00:08:00,600 --> 00:08:03,320 Speaker 1: an individual cheetah risks a lot in trying to bring 149 00:08:03,360 --> 00:08:06,280 Speaker 1: that animal down. And if memory sir as one of 150 00:08:06,280 --> 00:08:08,120 Speaker 1: the take comes from it, too, was that, Okay, we 151 00:08:08,160 --> 00:08:10,120 Speaker 1: have these three male cheetahs who have learned how to 152 00:08:10,160 --> 00:08:14,960 Speaker 1: do this behavior. But male cheetahs don't pass on anything. 153 00:08:15,560 --> 00:08:19,080 Speaker 1: Uh so this particular innovation is going to be lost 154 00:08:19,120 --> 00:08:22,560 Speaker 1: when they die. Interesting, they can learn, but they learn alone. 155 00:08:22,720 --> 00:08:25,680 Speaker 1: They learn, but they can't really share. And when you 156 00:08:25,720 --> 00:08:29,120 Speaker 1: contrast that with the particular skills of the human species, 157 00:08:29,160 --> 00:08:30,880 Speaker 1: I mean, it seems like one thing that's true about 158 00:08:30,960 --> 00:08:34,680 Speaker 1: us is we don't we don't really lose learned behavior 159 00:08:34,720 --> 00:08:37,360 Speaker 1: as nearly as much as other animals do, right, I mean, like, 160 00:08:37,400 --> 00:08:39,560 Speaker 1: once we learn a better way to do something, there's 161 00:08:39,559 --> 00:08:42,559 Speaker 1: a very good chance it will be shared and preserved. Yeah, 162 00:08:42,760 --> 00:08:44,440 Speaker 1: this would be a fun topic to come back to 163 00:08:44,440 --> 00:08:48,160 Speaker 1: them and discuss, like culture in in animals, because I 164 00:08:48,200 --> 00:08:57,760 Speaker 1: know there's some wonderful examples to look at, particularly with orcas. Yeah, okay, 165 00:08:57,760 --> 00:09:01,439 Speaker 1: this next message comes from Anna. This is about our 166 00:09:01,559 --> 00:09:04,640 Speaker 1: Days of the Week episodes. Uh and it says, hello, Robert, 167 00:09:04,720 --> 00:09:07,360 Speaker 1: Joe and Seth, enjoyed your recent episode on days of 168 00:09:07,360 --> 00:09:09,320 Speaker 1: the week. When you're talking about what day of the 169 00:09:09,320 --> 00:09:12,320 Speaker 1: week people like best. Remember there's some studies about this 170 00:09:12,559 --> 00:09:16,439 Speaker 1: huge surprise, people really like Fridays. Um and it says 171 00:09:16,800 --> 00:09:19,240 Speaker 1: I had the song Friday on my mind by the 172 00:09:19,320 --> 00:09:21,920 Speaker 1: easy Beats in my head. The Easy Beats are what 173 00:09:22,040 --> 00:09:25,920 Speaker 1: some people call Australia's answer to the Beatles. Anyway, the 174 00:09:26,000 --> 00:09:29,240 Speaker 1: song Friday on my Mind is very catchy. I think 175 00:09:29,280 --> 00:09:31,840 Speaker 1: by now someone must have done a study about songs 176 00:09:31,880 --> 00:09:33,920 Speaker 1: about days of the week. I'm sure it would be 177 00:09:33,960 --> 00:09:36,040 Speaker 1: pretty easy to compile a list of the top ten 178 00:09:36,080 --> 00:09:38,040 Speaker 1: songs that have a day of the week in their title, 179 00:09:38,320 --> 00:09:40,120 Speaker 1: and then work out which day of the week has 180 00:09:40,160 --> 00:09:42,800 Speaker 1: the most songs. I wonder if it changes through different 181 00:09:42,880 --> 00:09:46,280 Speaker 1: years or decades. At more optimistic times, are there're more 182 00:09:46,320 --> 00:09:49,200 Speaker 1: songs about Fridays. At more cynical or difficult times are 183 00:09:49,200 --> 00:09:52,200 Speaker 1: there're more songs about Mondays, such as the songs I 184 00:09:52,280 --> 00:09:56,400 Speaker 1: Hate Mondays or Manic Monday. But maybe during difficult times 185 00:09:56,400 --> 00:09:59,160 Speaker 1: people are inspired to write more optimistic songs, like how 186 00:09:59,200 --> 00:10:02,360 Speaker 1: some of the best comedy comes from difficult times. Anyway, 187 00:10:02,400 --> 00:10:05,760 Speaker 1: thanks for the thought provoking content, Anna, Well thanks Anna. 188 00:10:05,800 --> 00:10:07,920 Speaker 1: I did look up this song. I enjoyed it. I 189 00:10:07,960 --> 00:10:10,520 Speaker 1: don't know how much it sounds like the Beatles. I mean, 190 00:10:10,520 --> 00:10:12,160 Speaker 1: I guess kind of it has, you know, as the 191 00:10:12,200 --> 00:10:17,640 Speaker 1: general British invasion sound. But also I found the lyrics 192 00:10:17,640 --> 00:10:20,200 Speaker 1: and I thought they were so funny because let me 193 00:10:20,200 --> 00:10:22,400 Speaker 1: read part of the first first, it goes, Monday morning 194 00:10:22,520 --> 00:10:26,760 Speaker 1: feels so bad. Everybody seems to nag me. Coming Tuesday, 195 00:10:26,920 --> 00:10:30,880 Speaker 1: I feel better. Even my old man looks good. Okay. 196 00:10:32,520 --> 00:10:36,000 Speaker 1: I love this idea, though, of chronicling songs that refer 197 00:10:36,120 --> 00:10:38,560 Speaker 1: to specific days of the week. I feel like, like 198 00:10:38,559 --> 00:10:42,520 Speaker 1: like the challenge has been has been um has been 199 00:10:42,520 --> 00:10:45,280 Speaker 1: given that I need to put together a playlist. Uh, 200 00:10:45,360 --> 00:10:47,480 Speaker 1: that we all should put together playlists like pick pick 201 00:10:47,520 --> 00:10:50,600 Speaker 1: your favorite song that references each day of the week 202 00:10:51,000 --> 00:10:53,560 Speaker 1: and see what the results look like, would survey data 203 00:10:53,640 --> 00:10:56,880 Speaker 1: bear out that, in general, by Wednesday, everybody's old man 204 00:10:57,000 --> 00:11:01,120 Speaker 1: looks good? I don't. I was struggling to come up 205 00:11:01,120 --> 00:11:02,920 Speaker 1: with some Wednesday songs off the top of my head. 206 00:11:02,920 --> 00:11:04,840 Speaker 1: I was just pulling up a list, and I'm like, Okay, 207 00:11:05,200 --> 00:11:08,800 Speaker 1: Simon and Garfunkle apparently have a Wednesday song. Yeah, there's 208 00:11:08,840 --> 00:11:12,240 Speaker 1: a there's a Tory Amos Wednesday song, but most of 209 00:11:12,240 --> 00:11:15,320 Speaker 1: these I'm not familiar with. This is also a good 210 00:11:15,320 --> 00:11:18,000 Speaker 1: counterpoint to that that song by the Cure we ended 211 00:11:18,080 --> 00:11:22,440 Speaker 1: up riffing about extensively in those episodes, Tuesday's fine and 212 00:11:22,440 --> 00:11:28,280 Speaker 1: Wednesday to Tuesday's great and Wednesday too. Okay, Tuesday's great, 213 00:11:28,360 --> 00:11:40,400 Speaker 1: even my old man looks good. Let's see here. Oh okay, 214 00:11:40,559 --> 00:11:42,800 Speaker 1: do you want to move on to this message about 215 00:11:42,840 --> 00:11:45,960 Speaker 1: three pupiled Eye? Sure? This one comes to us from 216 00:11:46,040 --> 00:11:49,280 Speaker 1: Christopher Christopher Rights. Hey, guys, I just finished your latest 217 00:11:49,280 --> 00:11:53,160 Speaker 1: episode on multiple irises in Eyes. When you guys were 218 00:11:53,200 --> 00:11:56,480 Speaker 1: listing out pop cultural references at the end, it reminded 219 00:11:56,520 --> 00:11:58,719 Speaker 1: me of my old roommate from about a decade ago, 220 00:11:58,840 --> 00:12:03,280 Speaker 1: who was really into the anime um Naruto. I'm not 221 00:12:03,320 --> 00:12:05,840 Speaker 1: familiar enough with the show to completely track how it 222 00:12:05,920 --> 00:12:08,360 Speaker 1: worked in the narrative, but some of the characters when 223 00:12:08,440 --> 00:12:11,960 Speaker 1: doing something with ninja powers, seem to achieve different multi 224 00:12:12,080 --> 00:12:15,880 Speaker 1: iris or altered iris patterns. The visual of it was 225 00:12:15,880 --> 00:12:18,360 Speaker 1: pretty cool, so I figured I throw what little I 226 00:12:18,400 --> 00:12:22,040 Speaker 1: could gather into this email and then there's uh, we 227 00:12:22,040 --> 00:12:24,400 Speaker 1: would get it at least one image of yup. Here's 228 00:12:24,640 --> 00:12:27,720 Speaker 1: here's an eyeball that has the singular pupil in the middle, 229 00:12:27,800 --> 00:12:31,679 Speaker 1: but then it seems to be orbited by what three 230 00:12:31,840 --> 00:12:35,720 Speaker 1: different additional pupils that kind of look like commas, like 231 00:12:35,760 --> 00:12:38,520 Speaker 1: they have little tail spiraling out from them, kind of 232 00:12:38,559 --> 00:12:42,680 Speaker 1: spiral galaxy shaped. Yeah, Christopher says, love the show, looking 233 00:12:42,720 --> 00:12:46,920 Speaker 1: forward to the next episode. Best Christopher. I also know 234 00:12:47,160 --> 00:12:49,400 Speaker 1: absolutely nothing about the shows, but I looked it up. 235 00:12:49,440 --> 00:12:51,640 Speaker 1: It appears to be about a guy with blonde hair 236 00:12:51,679 --> 00:12:54,840 Speaker 1: who has cat whiskers, and I'm sure the Naruto fans 237 00:12:54,840 --> 00:12:57,880 Speaker 1: out there are screaming at their phones hearing three people. Robb, 238 00:12:57,880 --> 00:12:59,880 Speaker 1: I assume you know nothing as well. I do know 239 00:13:00,120 --> 00:13:04,680 Speaker 1: no um no Ruto. I recognize that I've seen you know, 240 00:13:04,720 --> 00:13:07,319 Speaker 1: images from it, but I should take a look. It's 241 00:13:07,440 --> 00:13:10,800 Speaker 1: I know people love it and I'm especially interested in 242 00:13:10,840 --> 00:13:13,800 Speaker 1: finding anything that I can we could watch as a 243 00:13:13,840 --> 00:13:19,040 Speaker 1: family that you know, that's creative and cool, because you know, 244 00:13:19,080 --> 00:13:21,959 Speaker 1: we've enjoyed some animated series. We've tried some animated series 245 00:13:22,000 --> 00:13:23,920 Speaker 1: that turned out to be just a little too too 246 00:13:24,040 --> 00:13:26,080 Speaker 1: much for a nine or ten year old to watch. 247 00:13:26,600 --> 00:13:29,360 Speaker 1: Um Full Full Metal Alchemist. It turns out is UM 248 00:13:29,520 --> 00:13:32,680 Speaker 1: is not uh necessarily for nine ten year older at 249 00:13:32,760 --> 00:13:34,240 Speaker 1: least not for my nine ten year olds. But but 250 00:13:34,320 --> 00:13:35,719 Speaker 1: it was great from what I watched that But I 251 00:13:35,760 --> 00:13:38,360 Speaker 1: look forward to continuing it when he's ready for it. 252 00:13:38,920 --> 00:13:41,280 Speaker 1: Uh So, I don't know, I'll look into it. Parents 253 00:13:41,280 --> 00:13:44,200 Speaker 1: out there, if you have opinions on any of this recommendations, 254 00:13:44,480 --> 00:13:47,000 Speaker 1: let me know. I think at least once per episode 255 00:13:47,000 --> 00:13:48,679 Speaker 1: from now on, you and I should end up talking 256 00:13:48,679 --> 00:13:51,760 Speaker 1: about a an anime show with a devoted fan base 257 00:13:51,800 --> 00:13:55,840 Speaker 1: that neither of us have seen. I mean, there there 258 00:13:55,880 --> 00:13:58,360 Speaker 1: are plenty of them, but I will say I will 259 00:13:58,480 --> 00:14:01,000 Speaker 1: drive home again what I watched A Full Metal Alchemist. 260 00:14:01,080 --> 00:14:04,240 Speaker 1: The newer series was pretty incredible. Just me, it was 261 00:14:04,280 --> 00:14:08,079 Speaker 1: just a little a little too dark in places for 262 00:14:08,400 --> 00:14:11,480 Speaker 1: my son to keep watching it. Um and but but 263 00:14:11,559 --> 00:14:19,560 Speaker 1: also just very inventive and very creative. All right, you 264 00:14:19,560 --> 00:14:22,120 Speaker 1: want to do some weird house cinema email? Yeah, let's do. 265 00:14:22,800 --> 00:14:25,000 Speaker 1: What do we have? What's what's rising to the surface here, 266 00:14:25,600 --> 00:14:28,480 Speaker 1: let's see. We got messages from Peter and Grace. Here 267 00:14:28,520 --> 00:14:31,400 Speaker 1: take your pick, all right, um, yeah, I can jump 268 00:14:31,400 --> 00:14:33,520 Speaker 1: in with one here. All right, this one comes to 269 00:14:33,560 --> 00:14:36,480 Speaker 1: us from Grace. Grace says, Hi, Rob and Joe. I 270 00:14:36,560 --> 00:14:38,800 Speaker 1: love stuff to blow your mind and weird. How cinema 271 00:14:38,840 --> 00:14:42,720 Speaker 1: episodes have become my go to whenever I have some downtime, 272 00:14:42,960 --> 00:14:45,520 Speaker 1: I go back to old episodes and listen over and 273 00:14:45,560 --> 00:14:48,880 Speaker 1: over again. Speaking of old episodes, my partner and I 274 00:14:48,920 --> 00:14:53,240 Speaker 1: recently watched Dr X and then re listen to the episode. 275 00:14:53,480 --> 00:14:55,800 Speaker 1: I have a couple of thoughts. Alright, so and then 276 00:14:55,800 --> 00:14:58,720 Speaker 1: we have bullet points. Thought number one, I think Dr 277 00:14:58,840 --> 00:15:02,440 Speaker 1: Wells shoes on the radiator that you described as boiling 278 00:15:02,480 --> 00:15:05,400 Speaker 1: are actually covered in mud. I think Wells put them 279 00:15:05,400 --> 00:15:08,240 Speaker 1: on the radiator because they are wet and muddy, showing 280 00:15:08,280 --> 00:15:10,960 Speaker 1: he has recently been outside and therefore wasn't in the 281 00:15:11,040 --> 00:15:14,920 Speaker 1: lab so could have killed the scrub woman. Oh, this 282 00:15:14,960 --> 00:15:16,920 Speaker 1: is one of those that's getting into the details of 283 00:15:16,960 --> 00:15:18,720 Speaker 1: something I haven't watched in a long time, so I 284 00:15:18,760 --> 00:15:21,440 Speaker 1: don't remember what this is. I do remember, I think 285 00:15:21,480 --> 00:15:23,040 Speaker 1: I was the one who was commenting about what was 286 00:15:23,120 --> 00:15:25,920 Speaker 1: up with those boots. They were like melting on the Radiatorum, 287 00:15:26,440 --> 00:15:29,640 Speaker 1: but it sounds like, yeah, I I buy this. This 288 00:15:29,720 --> 00:15:32,240 Speaker 1: was probably more mundane than I gave it credit. I 289 00:15:32,240 --> 00:15:34,080 Speaker 1: was just like, probably weirded out by everything else in 290 00:15:34,080 --> 00:15:35,640 Speaker 1: the movie, and I was like, why did now boots 291 00:15:35,640 --> 00:15:38,200 Speaker 1: are melting? The next note, though, is about something I 292 00:15:38,240 --> 00:15:40,880 Speaker 1: remember from dr X, which is the fact that it's 293 00:15:41,000 --> 00:15:43,880 Speaker 1: sort of in color. It's a very early attempt at 294 00:15:43,880 --> 00:15:47,040 Speaker 1: creating color films. It's not really full technicolor like we're 295 00:15:47,120 --> 00:15:50,400 Speaker 1: used to now. It was a kind of half in color. Yeah, 296 00:15:50,560 --> 00:15:53,960 Speaker 1: they're right. The red and green lens leading to orange 297 00:15:54,000 --> 00:15:56,840 Speaker 1: and green tints throughout the movie are so interesting to watch. 298 00:15:57,240 --> 00:15:59,720 Speaker 1: I also thought it was fitting that the beach scene 299 00:15:59,840 --> 00:16:02,600 Speaker 1: is the most realistic looking in terms of color, perhaps 300 00:16:02,640 --> 00:16:05,320 Speaker 1: because it had the most light. Not sure mechanically, whine 301 00:16:05,400 --> 00:16:08,200 Speaker 1: the colors would look more natural here, while in the 302 00:16:08,320 --> 00:16:11,360 Speaker 1: dark and lab heavy scenes the eerie effect is so 303 00:16:11,480 --> 00:16:15,920 Speaker 1: much stronger. And then here's the third Lee Tracy is 304 00:16:16,040 --> 00:16:19,520 Speaker 1: much stoogier than I was expecting. He obviously is part 305 00:16:19,520 --> 00:16:23,040 Speaker 1: of the overall fast talking newspaperman trope, but but is 306 00:16:23,160 --> 00:16:25,800 Speaker 1: much less smooth and less good at it than Carrie 307 00:16:25,840 --> 00:16:28,760 Speaker 1: Grant in his Girl Friday, for example. I got to 308 00:16:28,800 --> 00:16:31,280 Speaker 1: agree with that. Remember, Lee Tracy is the leading man 309 00:16:31,400 --> 00:16:33,320 Speaker 1: in this movie. He's like the guy who you know, 310 00:16:33,400 --> 00:16:36,240 Speaker 1: he's doing the whole investigation, he falls in love and 311 00:16:36,240 --> 00:16:39,600 Speaker 1: all that, but he's also just this I don't know 312 00:16:39,680 --> 00:16:42,120 Speaker 1: he he doesn't fit the mold of like what kind 313 00:16:42,160 --> 00:16:45,880 Speaker 1: of actor would have been cast in this role later on? Yeah, yeah, 314 00:16:45,920 --> 00:16:48,400 Speaker 1: I do remember him standing out, and now nothing stands 315 00:16:48,400 --> 00:16:51,680 Speaker 1: out as much as the synthetic flesh though. Doctor ACTS 316 00:16:51,920 --> 00:16:56,800 Speaker 1: is where we get synthetic flesh, and that's that's what. Okay. 317 00:16:56,840 --> 00:16:59,320 Speaker 1: I do think about about this film from time to time, 318 00:16:59,440 --> 00:17:01,680 Speaker 1: especially I'm when I'm thinking about, oh, what are some 319 00:17:02,040 --> 00:17:03,760 Speaker 1: old films we could watch for a weird House and 320 00:17:03,800 --> 00:17:05,280 Speaker 1: I think back to Doctor XC, and I'm like, we 321 00:17:05,320 --> 00:17:09,720 Speaker 1: need something something else like Dr X. Yeah. Anyway, Grace 322 00:17:09,760 --> 00:17:11,600 Speaker 1: finishes out by saying, I really just wanted to say 323 00:17:11,600 --> 00:17:13,879 Speaker 1: that I've been loving the Weird House Cinema episodes and 324 00:17:13,920 --> 00:17:16,640 Speaker 1: then watching Doctor X was awesome, especially with the background 325 00:17:16,640 --> 00:17:19,800 Speaker 1: information from your episode. Thanks for so much amazing content. 326 00:17:19,840 --> 00:17:28,240 Speaker 1: All the best, Grace, Thank you, Grace. Okay, I'm gonna 327 00:17:28,240 --> 00:17:32,359 Speaker 1: do this message from Peter. Peter says, HI really enjoyed 328 00:17:32,400 --> 00:17:35,960 Speaker 1: your episode on Next of Ken. Remember this is the 329 00:17:35,960 --> 00:17:38,960 Speaker 1: the Australian horror movie we did a couple of weeks back. Now. 330 00:17:39,720 --> 00:17:42,240 Speaker 1: While I can't share a lot of official detail about it, 331 00:17:42,320 --> 00:17:45,720 Speaker 1: I do remember it from nineteen two. The film did 332 00:17:45,760 --> 00:17:48,280 Speaker 1: not get a cinema release at the time or at 333 00:17:48,320 --> 00:17:50,760 Speaker 1: any time as far as I can tell, but appeared 334 00:17:50,760 --> 00:17:53,400 Speaker 1: on home video at the end of that year. So 335 00:17:53,560 --> 00:17:57,359 Speaker 1: until the recent local blue ray release. Well that's kind 336 00:17:57,359 --> 00:18:01,439 Speaker 1: of a tongue twister. Recent local blue ray release. It 337 00:18:01,520 --> 00:18:05,159 Speaker 1: wasn't seen in widescreen nor heard in at least stereo. 338 00:18:05,359 --> 00:18:08,800 Speaker 1: I remember as an undergraduate student in Brisbane waiting for 339 00:18:08,880 --> 00:18:11,960 Speaker 1: a release that didn't come. The image of the girl 340 00:18:12,000 --> 00:18:14,560 Speaker 1: with the ball outside the mansion made the cover of 341 00:18:14,600 --> 00:18:19,159 Speaker 1: the industry Glossy Cinema Papers, which had run a multi 342 00:18:19,160 --> 00:18:22,959 Speaker 1: page feature on the film's production, A new Australian Gothic 343 00:18:23,040 --> 00:18:26,680 Speaker 1: horror that looks like that cover art I'm in And 344 00:18:26,720 --> 00:18:29,880 Speaker 1: then it was a four by three of glooy vhs 345 00:18:29,880 --> 00:18:34,000 Speaker 1: with compressed mono sound. Oh that's a tragedy, Peter goes on. 346 00:18:34,280 --> 00:18:37,240 Speaker 1: When a film doesn't appear when and where it should, 347 00:18:37,320 --> 00:18:40,560 Speaker 1: there are usually reasons unrelated to the film itself, like 348 00:18:40,720 --> 00:18:44,680 Speaker 1: licensing or contracts, and I have no idea what prevented 349 00:18:44,720 --> 00:18:47,399 Speaker 1: this one from joining what was still being called the 350 00:18:47,440 --> 00:18:51,359 Speaker 1: Australian film renaissance. Unlike a lot of local indies, it 351 00:18:51,400 --> 00:18:53,800 Speaker 1: didn't make it into the schedules of the then well 352 00:18:53,880 --> 00:18:57,040 Speaker 1: supported art house cinemas, and I never noticed it showing 353 00:18:57,040 --> 00:18:59,960 Speaker 1: on late night TV. Now it sits on the shelves 354 00:19:00,000 --> 00:19:03,280 Speaker 1: at retailers, beside the other discounted titles, waiting for someone 355 00:19:03,320 --> 00:19:06,080 Speaker 1: to take a chance on the interesting cover art Girl 356 00:19:06,400 --> 00:19:09,520 Speaker 1: Ball Mansion. I remember that I kept wanting it to 357 00:19:09,640 --> 00:19:12,639 Speaker 1: lift off into something more like a Hammer movie, and 358 00:19:12,680 --> 00:19:16,280 Speaker 1: thought little of it until the Blu ray restoration, which 359 00:19:16,400 --> 00:19:19,359 Speaker 1: really brings it to life and enhances all those non 360 00:19:19,520 --> 00:19:22,880 Speaker 1: or anti genre decisions you mentioned. Maybe now it could 361 00:19:22,920 --> 00:19:27,399 Speaker 1: get a look in on a big screen venue, mayhap, Peter. Yeah, 362 00:19:27,520 --> 00:19:30,439 Speaker 1: interesting now that the poster that that Peter mentions the 363 00:19:30,720 --> 00:19:32,679 Speaker 1: with the ball girl and Mansion. Yeah, this is one 364 00:19:32,720 --> 00:19:35,040 Speaker 1: off you started looking around for like next of ken 365 00:19:35,920 --> 00:19:38,360 Speaker 1: poster and make sure you put in two, otherwise you're 366 00:19:38,359 --> 00:19:41,880 Speaker 1: only getting Patrick Swayze. Um, you'll see this one. There's yeah, 367 00:19:41,880 --> 00:19:44,560 Speaker 1: there's one where it's the creepy little girl ball next 368 00:19:44,600 --> 00:19:48,720 Speaker 1: to her mansion behind her. There's also a variant that 369 00:19:48,840 --> 00:19:51,280 Speaker 1: I was seeing a lot of places where you have mansion, 370 00:19:51,800 --> 00:19:55,160 Speaker 1: red clouds and then like zombie hand coming down from 371 00:19:55,200 --> 00:19:59,440 Speaker 1: the clouds like horrible. Yeah, which it doesn't. I mean it, 372 00:19:59,560 --> 00:20:04,880 Speaker 1: I guess it's not completely um giving the wrong impression 373 00:20:04,880 --> 00:20:08,080 Speaker 1: of what the movie is. But it's it's weird. I mean, 374 00:20:08,080 --> 00:20:10,639 Speaker 1: I like it okay, but it it ultimately feels like 375 00:20:10,680 --> 00:20:13,240 Speaker 1: it's not a poster for this movie. I'm gonna challenge you. 376 00:20:13,280 --> 00:20:15,640 Speaker 1: I think it gives completely the wrong impression. I think 377 00:20:15,640 --> 00:20:18,960 Speaker 1: it's ugly as heck. I hate that main poster with 378 00:20:19,000 --> 00:20:21,199 Speaker 1: the hand coming out of the sky. I really like 379 00:20:21,280 --> 00:20:24,280 Speaker 1: the poster. I don't know what do I say poster. 380 00:20:24,400 --> 00:20:26,800 Speaker 1: I guess it's cover art. I really like the poster 381 00:20:26,920 --> 00:20:30,000 Speaker 1: that's just the sugarcube pyramid. I think that is very 382 00:20:30,040 --> 00:20:33,639 Speaker 1: a very interesting image. It does communicate the essence of 383 00:20:33,680 --> 00:20:37,320 Speaker 1: the film. Well, uh, that that's what it should be. Yeah, 384 00:20:37,359 --> 00:20:39,159 Speaker 1: that one, that one is the best. That's also the 385 00:20:39,160 --> 00:20:41,919 Speaker 1: one that's on the album cover for the Klaus Schultz 386 00:20:42,359 --> 00:20:47,439 Speaker 1: Um soundtrack. Absolutely gives you the right the right taste 387 00:20:47,440 --> 00:20:50,080 Speaker 1: of what's to come. But anyway, to come back to 388 00:20:50,240 --> 00:20:53,920 Speaker 1: Peter's message, I completely agree. It's such a shame when 389 00:20:53,920 --> 00:20:57,120 Speaker 1: a movie that looks this good only got a release 390 00:20:57,160 --> 00:20:59,479 Speaker 1: on some horrible medium. You know, it was only released 391 00:20:59,480 --> 00:21:03,360 Speaker 1: in a bad transfer onto VHS or something. Yeah, but 392 00:21:03,640 --> 00:21:07,280 Speaker 1: you know, greedily. For modern film fans, it I mean, 393 00:21:07,320 --> 00:21:09,119 Speaker 1: it is kind of nice when this sort of thing happens. 394 00:21:09,119 --> 00:21:13,440 Speaker 1: I mean it's where there's a film that you haven't 395 00:21:13,440 --> 00:21:17,480 Speaker 1: heard of, and suddenly it has been brought back into 396 00:21:17,480 --> 00:21:20,359 Speaker 1: the limelight to some extent and it's really good and 397 00:21:20,359 --> 00:21:22,320 Speaker 1: it's so or it or it has some creative ideas 398 00:21:22,359 --> 00:21:25,639 Speaker 1: in it. So it's it's especially if if you're you know, 399 00:21:25,680 --> 00:21:27,880 Speaker 1: like me, and you're perhaps more interested in older films 400 00:21:27,880 --> 00:21:29,760 Speaker 1: than you are in the new ones. It's like you 401 00:21:29,800 --> 00:21:32,159 Speaker 1: can you can wait on new releases from both the 402 00:21:32,200 --> 00:21:36,600 Speaker 1: future and the past. Yes, I totally agree. All Right, 403 00:21:36,640 --> 00:21:38,760 Speaker 1: we're gonna go and close up the mail bag there, 404 00:21:38,800 --> 00:21:42,639 Speaker 1: but we'll be back more listener mails. On Mondays, we 405 00:21:42,720 --> 00:21:46,200 Speaker 1: have short form artifact or monster fact episodes on Wednesday's 406 00:21:46,400 --> 00:21:48,920 Speaker 1: core episodes of Stuff to Blow Your Mind on Tuesday 407 00:21:48,960 --> 00:21:52,600 Speaker 1: and Thursday, and then on Fridays we set most of 408 00:21:52,600 --> 00:21:55,600 Speaker 1: the serious matters aside and we just talk about a 409 00:21:55,680 --> 00:21:57,960 Speaker 1: strange film, and then we have a little rerun in 410 00:21:57,960 --> 00:22:01,400 Speaker 1: the weekend. Huge thanks as always to excellent audio producer 411 00:22:01,480 --> 00:22:04,040 Speaker 1: Seth Nicholas Johnson. If you would like to get in 412 00:22:04,119 --> 00:22:06,760 Speaker 1: touch with us with feedback on this episode or any other, 413 00:22:06,920 --> 00:22:09,520 Speaker 1: to suggest topic for the future, or just to say hello, 414 00:22:10,000 --> 00:22:12,600 Speaker 1: you can email us at contact at stuff to blow 415 00:22:12,640 --> 00:22:22,280 Speaker 1: your Mind dot com. Stuff to Blow Your Mind is 416 00:22:22,359 --> 00:22:25,040 Speaker 1: production of I Heart Radio. For more podcasts for my 417 00:22:25,080 --> 00:22:28,040 Speaker 1: heart Radio, visit the i heart Radio app, Apple Podcasts, 418 00:22:28,080 --> 00:22:29,879 Speaker 1: or wherever you listen to your favorite shows.