1 00:00:03,000 --> 00:00:08,160 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 2 00:00:09,920 --> 00:00:12,399 Speaker 2: Hey you welcome to Stuff to Blow your Mind listener mail. 3 00:00:12,480 --> 00:00:13,760 Speaker 2: This is Robert Lamb. 4 00:00:13,720 --> 00:00:16,800 Speaker 3: And this is Joe McCormick. And hey everybody, we are 5 00:00:16,880 --> 00:00:19,599 Speaker 3: back after being out for a week. You know, we 6 00:00:19,640 --> 00:00:23,119 Speaker 3: have an auspicious beginning here because, as our producer JJ 7 00:00:23,360 --> 00:00:26,400 Speaker 3: just let us know, we began this recording session at 8 00:00:26,400 --> 00:00:29,920 Speaker 3: the exact moment that Agent Dale Cooper enters Twin Peaks 9 00:00:29,960 --> 00:00:32,600 Speaker 3: at the beginning of the series. This is February twenty fourth, 10 00:00:32,920 --> 00:00:36,040 Speaker 3: eleven thirty am. So I don't know what to make 11 00:00:36,040 --> 00:00:39,040 Speaker 3: of that, but maybe off to get some pie today. 12 00:00:40,920 --> 00:00:42,839 Speaker 2: All right, well, let's go ahead and jump into some 13 00:00:42,880 --> 00:00:45,720 Speaker 2: listener mail here. We've got some really good ones, a 14 00:00:45,800 --> 00:00:49,000 Speaker 2: number of listener mail pieces devoted to our episodes on 15 00:00:49,080 --> 00:00:52,040 Speaker 2: Cotton Candy. But first, this one comes to us from 16 00:00:52,120 --> 00:00:56,960 Speaker 2: Troy regarding our episode on Io. This is, of course, 17 00:00:57,000 --> 00:01:01,280 Speaker 2: the one of the moons of Jupiter that we revisited 18 00:01:01,320 --> 00:01:09,600 Speaker 2: in full on the podcast. Troy writes, Hi, Joe, Robert, 19 00:01:09,600 --> 00:01:12,480 Speaker 2: and JJ, I recently listened to your podcast about Io 20 00:01:12,560 --> 00:01:16,160 Speaker 2: having volcanic eruptions strong enough to reach exit velocity. Then 21 00:01:16,200 --> 00:01:19,600 Speaker 2: you mentioned several ideas related to achieving exit velocity from Earth, 22 00:01:19,760 --> 00:01:23,839 Speaker 2: but did not mention Verne's book Jules vern Of course, 23 00:01:24,800 --> 00:01:27,480 Speaker 2: I am probably not the only one, but this reminded 24 00:01:27,480 --> 00:01:29,760 Speaker 2: me of the classic book by Jules vern where some 25 00:01:29,920 --> 00:01:32,720 Speaker 2: gun club guys decided to shoot a cannon ball at 26 00:01:32,760 --> 00:01:35,440 Speaker 2: the Moon. Later in the story, the cannon ball is 27 00:01:35,600 --> 00:01:39,680 Speaker 2: scrapped for a more capsule shape so the ball won't spin. 28 00:01:40,080 --> 00:01:44,240 Speaker 2: Somebody proposes to make the ball. Essentially a ship from 29 00:01:44,280 --> 00:01:46,600 Speaker 2: the Earth to the Moon eighteen sixty five and its sequel, 30 00:01:46,640 --> 00:01:50,320 Speaker 2: Around the Moon eighteen seventy by Jules vern Our pioneering 31 00:01:50,320 --> 00:01:53,200 Speaker 2: works of science fiction and depict an ambitious attempt to 32 00:01:53,240 --> 00:01:56,120 Speaker 2: send men to the Moon using a massive cannon. The 33 00:01:56,160 --> 00:01:59,400 Speaker 2: story follows the Baltimore based Gun Club, a group of 34 00:01:59,520 --> 00:02:05,040 Speaker 2: artillery enthusiasts led by President MP Barbicane. After the end 35 00:02:05,080 --> 00:02:07,520 Speaker 2: of the American Civil War, the club seeks a new 36 00:02:07,600 --> 00:02:10,000 Speaker 2: challenge and decides to construct an enormous cannon to launch 37 00:02:10,000 --> 00:02:14,160 Speaker 2: a projectile to the Moon. Eventually, Barbicane, Arden and Barbicane's 38 00:02:14,280 --> 00:02:18,840 Speaker 2: rival turned ally, Captain Nickel, decide to travel inside the 39 00:02:18,880 --> 00:02:22,799 Speaker 2: projectile themselves. In Around the Moon the sequel, the three 40 00:02:22,800 --> 00:02:26,680 Speaker 2: passengers experience weightlessness, observe Earth and the Moon from space, 41 00:02:27,080 --> 00:02:29,760 Speaker 2: and face the danger of being trapped in orbit. A 42 00:02:29,840 --> 00:02:32,680 Speaker 2: near miss with the Moon results in their capsule falling 43 00:02:32,720 --> 00:02:35,239 Speaker 2: back to Earth, where they safely land in the ocean. 44 00:02:35,840 --> 00:02:38,320 Speaker 2: Right Troy goes on to discuss some of the technology 45 00:02:38,400 --> 00:02:43,000 Speaker 2: used in this science fiction book. The massive cannon named 46 00:02:43,160 --> 00:02:46,440 Speaker 2: the Columbiad, is nine hundred feet two hundred and seventy 47 00:02:46,480 --> 00:02:48,320 Speaker 2: four meters long and is built in a deep pit 48 00:02:48,480 --> 00:02:51,440 Speaker 2: dug into the ground in Tampa, Florida. It is designed 49 00:02:51,440 --> 00:02:55,080 Speaker 2: to fire an enormous hollow aluminum shell the spacecraft carrying 50 00:02:55,120 --> 00:02:57,760 Speaker 2: the three men. To reach the Moon, the projectile needs 51 00:02:57,800 --> 00:03:01,240 Speaker 2: to achieve an escape velocity of l two hundred meters 52 00:03:01,240 --> 00:03:04,320 Speaker 2: per second approximately twenty five thousand miles per hour. Burne's 53 00:03:04,320 --> 00:03:07,760 Speaker 2: calculations were impressively close to modern physics, though the concept 54 00:03:07,760 --> 00:03:10,880 Speaker 2: of using a canon to achieve such speeds would be 55 00:03:11,000 --> 00:03:14,480 Speaker 2: lethal due to the extreme acceleration. I thought the book 56 00:03:14,520 --> 00:03:17,520 Speaker 2: had great character development and attention to detail. They even 57 00:03:17,600 --> 00:03:20,200 Speaker 2: had a type of water mattress designed to push the 58 00:03:20,240 --> 00:03:23,320 Speaker 2: water out of vents during the initial launch to dampen 59 00:03:23,360 --> 00:03:27,120 Speaker 2: the g forces give up the great work. Troy. Ps 60 00:03:27,160 --> 00:03:29,680 Speaker 2: one more thing. I also thought it was impressive how 61 00:03:29,720 --> 00:03:32,560 Speaker 2: they decided to point the canon vertically at the moon, 62 00:03:32,760 --> 00:03:35,400 Speaker 2: but had to bury the whole cannon to prevent the 63 00:03:35,440 --> 00:03:38,600 Speaker 2: canon from exploding. One of the main characters had body 64 00:03:38,600 --> 00:03:41,560 Speaker 2: parts missing due to one of his canons accidentally exploding, 65 00:03:41,560 --> 00:03:44,440 Speaker 2: so they decided to bury the canon for extra strength. 66 00:03:44,760 --> 00:03:49,080 Speaker 3: Oh thank you, Troy. Yeah, interesting contribution. So I never 67 00:03:49,160 --> 00:03:51,560 Speaker 3: read this novel. I read several other things by Jules 68 00:03:51,640 --> 00:03:54,080 Speaker 3: Vern when I was younger, and I had a copy 69 00:03:54,160 --> 00:03:58,320 Speaker 3: of this book, And now I'm ashamed to say that 70 00:03:58,480 --> 00:04:02,280 Speaker 3: I was discouraged from ever reading it because I was 71 00:04:02,320 --> 00:04:06,320 Speaker 3: sort of glancing through it and thinking, I don't think 72 00:04:06,320 --> 00:04:08,560 Speaker 3: they're going to see any aliens in this. This feels 73 00:04:08,600 --> 00:04:12,600 Speaker 3: like an alien's free space adventure book, and I'm just 74 00:04:12,640 --> 00:04:15,200 Speaker 3: not interested in that. Looking back on that now, I 75 00:04:15,200 --> 00:04:18,200 Speaker 3: think that was a narrow minded way to approach science fiction, 76 00:04:18,360 --> 00:04:20,360 Speaker 3: But I don't know that's how I was then. 77 00:04:21,720 --> 00:04:24,039 Speaker 2: Yeah, I think maybe I've only ever read twenty thousand 78 00:04:24,080 --> 00:04:26,240 Speaker 2: Leagues under the Sea, though I don't remember much about 79 00:04:26,240 --> 00:04:30,640 Speaker 2: the experience. My kid recently had to read it for school, 80 00:04:31,160 --> 00:04:33,359 Speaker 2: and I don't think they enjoyed the experience. But then again, 81 00:04:33,560 --> 00:04:35,280 Speaker 2: such as the case sometimes when you're having to read 82 00:04:35,320 --> 00:04:36,000 Speaker 2: things for school. 83 00:04:37,279 --> 00:04:40,440 Speaker 3: I remember liking twenty thousand Leagues and I read Journey 84 00:04:40,480 --> 00:04:42,040 Speaker 3: to the Center of the Earth and I liked that. 85 00:04:42,920 --> 00:04:45,839 Speaker 2: Yeah. I know. I've seen multiple film versions of various 86 00:04:46,440 --> 00:04:48,880 Speaker 2: Vern novels, and a number of those are a lot 87 00:04:48,920 --> 00:04:52,360 Speaker 2: of fun. I don't think we've covered one on Weird 88 00:04:52,360 --> 00:04:54,600 Speaker 2: House Cinema though, have we? Have we covered a Vern's 89 00:04:54,680 --> 00:04:56,080 Speaker 2: a direct Vern's adaptation? 90 00:04:57,120 --> 00:05:00,280 Speaker 3: Well, we did Invention for Destruction, which I think it 91 00:05:00,400 --> 00:05:03,200 Speaker 3: was a loose adaptation of a different not of a 92 00:05:03,279 --> 00:05:07,040 Speaker 3: novel by Jules Vern. I forget the name of it. Sorry, 93 00:05:07,040 --> 00:05:08,839 Speaker 3: I just had to look it up. The Vern novel 94 00:05:08,839 --> 00:05:12,159 Speaker 3: that was based on was called Facing the Flag alternately 95 00:05:12,440 --> 00:05:14,680 Speaker 3: for the Flag from eighteen ninety six. 96 00:05:15,440 --> 00:05:17,560 Speaker 2: Yeah. Yeah, And the film that we watched was a 97 00:05:17,640 --> 00:05:22,360 Speaker 2: nineteen fifty eight black and white science fiction adventure film, yeah, 98 00:05:22,400 --> 00:05:25,120 Speaker 2: which was wonderful. Yes, I remember it as being very 99 00:05:25,200 --> 00:05:26,039 Speaker 2: visually pleasing. 100 00:05:26,640 --> 00:05:28,559 Speaker 3: But to your point, yeah, there are some great movie 101 00:05:28,560 --> 00:05:31,320 Speaker 3: adaptations of Vern. I mean, the twenty thousand Leagues with 102 00:05:31,400 --> 00:05:34,480 Speaker 3: James Mason is how do you beat that? It's James Mason. 103 00:05:36,040 --> 00:05:37,679 Speaker 2: All right, but all this has just been a preface 104 00:05:37,720 --> 00:05:40,719 Speaker 2: to Cotton Candy Joe dig into the Cotton Candy Force. 105 00:05:41,160 --> 00:05:43,360 Speaker 3: Oh all right, let's see. Well here, I'm going to 106 00:05:43,400 --> 00:05:46,159 Speaker 3: start with this message you pulled in from discord from 107 00:05:46,360 --> 00:05:54,480 Speaker 3: listener Eric. Eric says, I'm usually over in the Weird 108 00:05:54,520 --> 00:05:57,560 Speaker 3: House channels, but I recently listened to the Cotton Candy 109 00:05:57,600 --> 00:06:01,000 Speaker 3: two parter. I was especially drawn to these episodes because 110 00:06:01,360 --> 00:06:04,320 Speaker 3: I used to work at a movie theater with a 111 00:06:04,360 --> 00:06:07,559 Speaker 3: cotton candy machine, and not to toot my own horn, 112 00:06:07,640 --> 00:06:10,280 Speaker 3: but I got pretty skilled at spinning some of the biggest, 113 00:06:10,560 --> 00:06:14,800 Speaker 3: fluffiest bags of cotton candy you've ever seen. One thing 114 00:06:14,880 --> 00:06:17,520 Speaker 3: I don't think was touched on, though it's probably obvious, 115 00:06:17,600 --> 00:06:21,680 Speaker 3: is just how sticky the process is. Most cotton candy 116 00:06:21,720 --> 00:06:25,960 Speaker 3: sessions left me covered in tiny sugar crystals embedded in 117 00:06:26,080 --> 00:06:29,280 Speaker 3: my hair and eyelashes, to the point where I felt 118 00:06:29,279 --> 00:06:32,839 Speaker 3: the need to wash my face afterwards. But it gets worse. 119 00:06:33,240 --> 00:06:37,479 Speaker 3: Sometimes after running around cleaning theaters, I'd be sweaty and 120 00:06:37,680 --> 00:06:41,279 Speaker 3: we'd need to whip up a fresh batch. Oh, the 121 00:06:41,360 --> 00:06:44,640 Speaker 3: sugar would stick to my face and even my eyelids. 122 00:06:45,080 --> 00:06:49,320 Speaker 3: Just imagine trying to blink with sticky eyelids. Despite all that, 123 00:06:49,360 --> 00:06:52,440 Speaker 3: making cotton candy was ridiculously fun and none of it 124 00:06:52,520 --> 00:06:56,159 Speaker 3: stopped me from becoming the resident cotton candy master at 125 00:06:56,160 --> 00:07:00,800 Speaker 3: my theater. Anyway. Great episodes, awesome job guys. Thank you Eric. 126 00:07:00,880 --> 00:07:04,839 Speaker 3: That is so gross. Just thinking about that makes my 127 00:07:04,880 --> 00:07:07,200 Speaker 3: skin crawl, and so I have no choice but to 128 00:07:07,600 --> 00:07:08,640 Speaker 3: respect your courage. 129 00:07:08,920 --> 00:07:11,880 Speaker 2: Yeah, it shockingly close to killer clowns from outer space 130 00:07:12,000 --> 00:07:13,200 Speaker 2: territory with that story. 131 00:07:13,680 --> 00:07:17,480 Speaker 3: Yeah, makes you think they could get you cocooned pretty easy. Yeah. 132 00:07:17,640 --> 00:07:20,640 Speaker 2: I did not have any cotton candy over the break, 133 00:07:20,680 --> 00:07:23,720 Speaker 2: but I went with my family and some friends to 134 00:07:23,880 --> 00:07:27,720 Speaker 2: San Diego Zoo, which is a pretty amazing zoo. A 135 00:07:27,720 --> 00:07:30,760 Speaker 2: lot of cotton candy there. Having done these episodes about 136 00:07:30,760 --> 00:07:34,160 Speaker 2: cotton candy, I was just seeing it everywhere in ways 137 00:07:34,160 --> 00:07:36,360 Speaker 2: that I normally maybe don't pay that much attention to it. 138 00:07:39,000 --> 00:07:42,000 Speaker 2: But I did feel a certain residual stickiness at times. 139 00:07:42,040 --> 00:07:46,440 Speaker 2: When I watched a child consuming a big cone of 140 00:07:46,480 --> 00:07:49,560 Speaker 2: the stuff, you can almost like feel the sugar in 141 00:07:49,600 --> 00:07:53,320 Speaker 2: the air. Occasionally there was some discarded on the ground, 142 00:07:53,720 --> 00:07:56,800 Speaker 2: and there was actually at least one like automated cotton 143 00:07:56,840 --> 00:07:59,640 Speaker 2: candy machine. I didn't really spend much time with it 144 00:07:59,640 --> 00:08:02,600 Speaker 2: because I want to attract any of the children and 145 00:08:02,680 --> 00:08:06,480 Speaker 2: our party over to it. But I was tempted at 146 00:08:06,480 --> 00:08:08,440 Speaker 2: that point. I was like, if this, if no one 147 00:08:08,480 --> 00:08:10,800 Speaker 2: was around, I might put some money in this machine 148 00:08:10,840 --> 00:08:11,560 Speaker 2: and see what happens. 149 00:08:11,720 --> 00:08:14,600 Speaker 3: Sneak away for stealth adult cotton candy. 150 00:08:14,920 --> 00:08:18,080 Speaker 2: Yeah, all right, This next one comes to us from Phoenix. 151 00:08:23,440 --> 00:08:26,320 Speaker 2: Phoenix says, good morning. I enjoyed the Invention podcast so 152 00:08:26,440 --> 00:08:28,040 Speaker 2: much and was sad to see it go, So I'm 153 00:08:28,080 --> 00:08:31,440 Speaker 2: always thrilled when you guys dive back into these topics. Now, 154 00:08:31,440 --> 00:08:34,280 Speaker 2: what is Phoenix talking about here? Well, for a short while, 155 00:08:35,440 --> 00:08:39,000 Speaker 2: Joe and I had a separate podcast titled Invention. You 156 00:08:39,040 --> 00:08:41,240 Speaker 2: can still find that podcast feed out there, and we 157 00:08:41,240 --> 00:08:44,679 Speaker 2: did I don't remember how many episodes, each one tied 158 00:08:44,720 --> 00:08:47,160 Speaker 2: to an Invention. Now, at some point or another, I 159 00:08:47,200 --> 00:08:49,640 Speaker 2: think all those episodes were republished in the Stuff to 160 00:08:49,640 --> 00:08:53,960 Speaker 2: Blow your Mind podcast feed, and we've continued on with 161 00:08:54,040 --> 00:08:57,320 Speaker 2: the spirit of those episodes, occasionally doing some sort of 162 00:08:57,320 --> 00:09:00,240 Speaker 2: an Invention themed episode, and we usually work the world 163 00:09:00,240 --> 00:09:03,800 Speaker 2: Invention into the title, just to make it clear that's right. 164 00:09:03,880 --> 00:09:06,880 Speaker 3: So while we no longer produce Invention as a separate 165 00:09:06,920 --> 00:09:09,920 Speaker 3: show on its own feed on a set schedule it 166 00:09:10,000 --> 00:09:12,640 Speaker 3: lives on, we will still keep doing these episodes from 167 00:09:12,679 --> 00:09:13,319 Speaker 3: time to time. 168 00:09:13,559 --> 00:09:16,280 Speaker 2: Yeah, I mean go check them out. The show does 169 00:09:16,320 --> 00:09:20,560 Speaker 2: get listened, so I stand by those episodes. There were 170 00:09:20,559 --> 00:09:24,240 Speaker 2: a lot of fun anyway, Phoenix continues, I just wanted 171 00:09:24,240 --> 00:09:26,760 Speaker 2: to share a little something. As a teenager, I worked 172 00:09:26,760 --> 00:09:29,199 Speaker 2: at an amusement park and occasionally I had to make 173 00:09:29,240 --> 00:09:32,040 Speaker 2: the cotton candy. As you guys stated, it has a 174 00:09:32,200 --> 00:09:34,400 Speaker 2: very short shelf life. Part of this is because it 175 00:09:34,440 --> 00:09:37,199 Speaker 2: absorbs the moisture in the air. But another attractive feature 176 00:09:37,200 --> 00:09:39,320 Speaker 2: of cotton candy is how light an aira it is, 177 00:09:39,679 --> 00:09:42,160 Speaker 2: and that does not last very long because it starts 178 00:09:42,200 --> 00:09:44,559 Speaker 2: to collapse and condense under its own weight within a 179 00:09:44,640 --> 00:09:47,320 Speaker 2: matter of hours, and so by the second half of 180 00:09:47,320 --> 00:09:49,880 Speaker 2: the day, any pre made cotton candy was pretty second 181 00:09:50,000 --> 00:09:53,120 Speaker 2: rate to the fresh stuff. We actually wouldn't make very 182 00:09:53,200 --> 00:09:55,680 Speaker 2: much of it, and someone would make new bags every 183 00:09:55,720 --> 00:09:57,960 Speaker 2: few hours to try and keep it nice and fresh 184 00:09:57,960 --> 00:10:00,559 Speaker 2: for the patrons. Thanks again for all ways sharing such 185 00:10:00,600 --> 00:10:02,400 Speaker 2: amazing and wonderful topics, Phoenix. 186 00:10:02,840 --> 00:10:06,199 Speaker 3: I wonder if there is a selection process in play, 187 00:10:06,280 --> 00:10:11,199 Speaker 3: like the cotton candy vendor sees a person approaching and decides, 188 00:10:11,440 --> 00:10:13,720 Speaker 3: does this person are they gonna be the type who 189 00:10:13,760 --> 00:10:15,839 Speaker 3: complains if they don't get the good stuff? Or is 190 00:10:15,880 --> 00:10:17,680 Speaker 3: this a kid who's not going to know the difference, 191 00:10:17,800 --> 00:10:20,800 Speaker 3: Like you can give them the old collapsing cotton candy 192 00:10:20,840 --> 00:10:22,160 Speaker 3: and it's just just fine. 193 00:10:22,520 --> 00:10:24,960 Speaker 2: Yeah, Or maybe do they need a little enticing Do 194 00:10:25,040 --> 00:10:28,320 Speaker 2: they need to see someone making cotton candy to sort 195 00:10:28,320 --> 00:10:31,920 Speaker 2: of cinch the cell to the child and or the 196 00:10:31,960 --> 00:10:34,400 Speaker 2: parents who have to produce the money that sort of thing. 197 00:10:35,679 --> 00:10:38,120 Speaker 3: Can you imagine though, the parent who tries to bargain 198 00:10:38,160 --> 00:10:40,120 Speaker 3: with you, So the parents like, no, no, I'm not 199 00:10:40,160 --> 00:10:42,800 Speaker 3: paying for that old cotton candy, I need fresh stuff 200 00:10:42,840 --> 00:10:43,400 Speaker 3: for my kid. 201 00:10:44,400 --> 00:10:46,520 Speaker 2: Yeah, oh, I can imagine that. I can also imagine 202 00:10:46,520 --> 00:10:49,200 Speaker 2: the reverse. You're like, don't give me that fresh stuff. 203 00:10:49,240 --> 00:10:51,640 Speaker 2: I want the old stuff. Give it to me a discount. 204 00:10:51,920 --> 00:10:53,840 Speaker 3: Oh well, speaking of that, that will tie into our 205 00:10:53,880 --> 00:10:55,640 Speaker 3: next message. Are you ready for me to read this 206 00:10:55,679 --> 00:10:56,480 Speaker 3: one from Sheldean. 207 00:10:56,720 --> 00:10:57,160 Speaker 2: Let's do. 208 00:11:02,480 --> 00:11:06,080 Speaker 3: Okay? Sheldyan says, Hi, Rob, Joe, and JJ, it's such 209 00:11:06,080 --> 00:11:08,400 Speaker 3: a weird coincidence that you did the two episodes on 210 00:11:08,440 --> 00:11:11,560 Speaker 3: cotton candy because it's been on my mind recently. I 211 00:11:11,600 --> 00:11:14,120 Speaker 3: loved it as a kid, but as an almost fifty 212 00:11:14,240 --> 00:11:17,440 Speaker 3: year old, it's just too sweet now. So I'm South 213 00:11:17,480 --> 00:11:21,160 Speaker 3: African and we call it candy floss there. My recollection 214 00:11:21,320 --> 00:11:23,200 Speaker 3: is that as a child, we'd have to go to 215 00:11:23,240 --> 00:11:26,440 Speaker 3: the beach to get candy floss. There were usually vendors 216 00:11:26,480 --> 00:11:30,599 Speaker 3: selling various types of foods, and if we wanted fresh floss, 217 00:11:30,720 --> 00:11:33,240 Speaker 3: that was the place to go. But we could also 218 00:11:33,400 --> 00:11:37,520 Speaker 3: usually get it at markets, fairs or fetes. Another interesting 219 00:11:37,600 --> 00:11:40,439 Speaker 3: variance is we'd get it in a plastic bag. I've 220 00:11:40,480 --> 00:11:43,920 Speaker 3: never had candyfloss on a stick or holder of any type. 221 00:11:44,440 --> 00:11:46,560 Speaker 3: Even when my kids were young, that was the way 222 00:11:46,600 --> 00:11:49,000 Speaker 3: of it, but by the time they came along early 223 00:11:49,040 --> 00:11:52,080 Speaker 3: two thousands, we could also buy candy floss at the 224 00:11:52,160 --> 00:11:56,040 Speaker 3: shops in small airtight buckets. In Afrikaans, it's got a 225 00:11:56,040 --> 00:11:59,640 Speaker 3: great name spook a sim or maybe a spoke a sim, 226 00:12:00,240 --> 00:12:06,080 Speaker 3: which means ghost breath, keep up the great work regards Sheldane. 227 00:12:06,320 --> 00:12:08,200 Speaker 3: And then here's the ps that ties into what you 228 00:12:08,200 --> 00:12:11,640 Speaker 3: were saying, rob Ps. I forgot to add having candy 229 00:12:11,640 --> 00:12:14,760 Speaker 3: floss in a plastic bag also helped create the way 230 00:12:15,000 --> 00:12:18,080 Speaker 3: I like to eat it. You'd have to unknot the bag, 231 00:12:18,120 --> 00:12:20,679 Speaker 3: which is always puffed full of air, and then I'd 232 00:12:20,720 --> 00:12:25,400 Speaker 3: squash the floss flat into a sugary piece of crunchy board. 233 00:12:25,679 --> 00:12:26,960 Speaker 3: The best way to eat. 234 00:12:26,720 --> 00:12:31,280 Speaker 2: It, I mean, fair enough, that's just not a wrong 235 00:12:31,320 --> 00:12:32,120 Speaker 2: way to eat cotton. 236 00:12:32,559 --> 00:12:34,800 Speaker 3: I say, with affection, what is wrong with you? 237 00:12:37,320 --> 00:12:40,440 Speaker 2: Well? I will say that had I grown up being 238 00:12:40,480 --> 00:12:44,280 Speaker 2: exposed to cotton candy as ghost breath candy, I would 239 00:12:44,280 --> 00:12:46,120 Speaker 2: have probably had it a bit more, and maybe it 240 00:12:46,120 --> 00:12:50,200 Speaker 2: would have a warmer place in my heart. All right, 241 00:12:50,280 --> 00:12:52,560 Speaker 2: let's see what else do we have from the cotton 242 00:12:52,640 --> 00:12:56,360 Speaker 2: candy archives here. This one comes to us from Pat. 243 00:13:01,760 --> 00:13:04,880 Speaker 2: Pat says, I very much enjoyed your episodes on cotton candy. However, 244 00:13:05,120 --> 00:13:08,920 Speaker 2: I truly dislike cotton candy itself. I am not one 245 00:13:08,920 --> 00:13:11,600 Speaker 2: to eat many sweets. In fact, after the abundance of 246 00:13:11,640 --> 00:13:13,720 Speaker 2: candy from Halloween and Easter, I give a lot of 247 00:13:13,720 --> 00:13:16,920 Speaker 2: it to my sister, who consumed it quite quickly. I 248 00:13:16,960 --> 00:13:20,160 Speaker 2: took days to eat all of mine. Mom sometimes asked 249 00:13:20,160 --> 00:13:22,520 Speaker 2: if I was taking so long just to torture my sister, 250 00:13:22,600 --> 00:13:25,680 Speaker 2: and it did indeed torture her. As much as I 251 00:13:25,720 --> 00:13:29,080 Speaker 2: dislike cotton candy, I do like a pinch of maple 252 00:13:29,200 --> 00:13:32,720 Speaker 2: cotton candy. Living in the Northeast, we are blessed with 253 00:13:32,760 --> 00:13:36,080 Speaker 2: sugar maple trees, and someone must have decided to use 254 00:13:36,280 --> 00:13:39,960 Speaker 2: maple sugar to make cotton candy. It is amazing. One 255 00:13:40,000 --> 00:13:42,600 Speaker 2: pinch is enough so I can avoid a sugar crash, 256 00:13:42,760 --> 00:13:46,080 Speaker 2: but I'm always tempted to eat more. I'm glad I 257 00:13:46,160 --> 00:13:50,040 Speaker 2: found your podcast and the fantastic variety of subjects you cover. 258 00:13:50,840 --> 00:13:54,400 Speaker 3: Oh thanks so much, Pat, You know you've got me interested. 259 00:13:54,679 --> 00:13:57,360 Speaker 3: I am not usually very into the idea of eating 260 00:13:57,400 --> 00:13:59,719 Speaker 3: cotton candy, but maple flavored I would give that. 261 00:13:59,760 --> 00:14:02,319 Speaker 2: Ah, I would give it. I would give it a pinch, 262 00:14:02,840 --> 00:14:04,800 Speaker 2: much like this. I probably have a pinch of it, 263 00:14:05,120 --> 00:14:06,720 Speaker 2: and then I don't know, hold the rest under a 264 00:14:06,720 --> 00:14:11,320 Speaker 2: water foucet or something to destroy the evidence. But yeah, 265 00:14:12,160 --> 00:14:15,000 Speaker 2: that does sound interesting. Oh, by the way, Pat also 266 00:14:15,360 --> 00:14:18,880 Speaker 2: had a question about where to find the old Invention episodes. 267 00:14:20,560 --> 00:14:22,640 Speaker 2: You should still be able to find that podcast feed 268 00:14:22,720 --> 00:14:26,200 Speaker 2: out there wherever you get your podcasts, just look for 269 00:14:26,520 --> 00:14:30,520 Speaker 2: Invention or Invention podcast. Our names are going to be 270 00:14:30,600 --> 00:14:34,080 Speaker 2: mentioned in the about data. But I just did a 271 00:14:34,120 --> 00:14:38,120 Speaker 2: quick internet search and it seemed to come up pretty 272 00:14:38,160 --> 00:14:40,880 Speaker 2: easily on my end, So just turn around you should 273 00:14:40,920 --> 00:14:43,400 Speaker 2: be able to find it. If you're having trouble, email 274 00:14:43,480 --> 00:14:44,600 Speaker 2: us and we'll send you a link. 275 00:14:45,200 --> 00:14:47,960 Speaker 3: Side note, You can, of course listen however you want, 276 00:14:48,040 --> 00:14:49,840 Speaker 3: but if you just want to listen in a way 277 00:14:49,880 --> 00:14:51,640 Speaker 3: that helps us out the most, you might want to 278 00:14:51,640 --> 00:14:54,440 Speaker 3: listen if we've rerun the episode, listen to the one 279 00:14:54,520 --> 00:14:56,880 Speaker 3: on the stuff to blow your mind. Feed that gives 280 00:14:56,960 --> 00:14:57,760 Speaker 3: us another little ping. 281 00:14:58,240 --> 00:15:08,960 Speaker 2: Yeah, yeah, absolutely, all right, Joe, have we had enough 282 00:15:09,000 --> 00:15:10,120 Speaker 2: cotton candy for the day? 283 00:15:10,560 --> 00:15:13,080 Speaker 3: I think we have. Let's see, how about we do 284 00:15:13,120 --> 00:15:16,000 Speaker 3: some messages in response to our series on pretend play. 285 00:15:16,560 --> 00:15:20,040 Speaker 3: I'm gonna read this one from Sauna. Saana says hello 286 00:15:20,080 --> 00:15:23,240 Speaker 3: from Sweden. I've been listening to you guys for years 287 00:15:23,280 --> 00:15:27,000 Speaker 3: now and the pretend Play episodes were really interesting. I 288 00:15:27,120 --> 00:15:30,320 Speaker 3: work as a dentist in northern Sweden and I use 289 00:15:30,400 --> 00:15:34,440 Speaker 3: pretend play every week. The child patients, mostly between the 290 00:15:34,480 --> 00:15:37,200 Speaker 3: ages of four to seven, who have to go through 291 00:15:37,240 --> 00:15:39,600 Speaker 3: a filling of a tooth, can be a bit nervous 292 00:15:39,720 --> 00:15:43,720 Speaker 3: or scared by creating a story or a play around 293 00:15:43,800 --> 00:15:47,000 Speaker 3: the treatment, the whole thing usually goes more smoothly. The 294 00:15:47,120 --> 00:15:51,360 Speaker 3: drill becomes the shower, the cavity is the house of 295 00:15:51,400 --> 00:15:56,880 Speaker 3: the tooth bacteria or tooth trolls in Swedish what and 296 00:15:56,960 --> 00:16:01,480 Speaker 3: the filling material is the door to prevent new tooth 297 00:16:01,520 --> 00:16:05,400 Speaker 3: trolls going back into the tooth. The young children can 298 00:16:05,440 --> 00:16:08,160 Speaker 3: become really invested in the stories and it makes the 299 00:16:08,200 --> 00:16:12,960 Speaker 3: experience a bit more fun. Best regards Sauna, oh. 300 00:16:12,800 --> 00:16:17,120 Speaker 2: Man, tooth trolls, ghost Breath, There's so many wonders here 301 00:16:17,160 --> 00:16:19,440 Speaker 2: that I missed out on, while not missing out on 302 00:16:19,480 --> 00:16:22,840 Speaker 2: the things that they're not the awful things that bear the. 303 00:16:22,880 --> 00:16:25,760 Speaker 3: Name the House of the tooth Bacteria one of the 304 00:16:25,840 --> 00:16:27,520 Speaker 3: lesser known Christopher Lee films. 305 00:16:27,760 --> 00:16:30,280 Speaker 2: Yeah, but this is. 306 00:16:30,440 --> 00:16:32,840 Speaker 3: Delightful to think about, and it makes me wonder how 307 00:16:33,720 --> 00:16:36,440 Speaker 3: like you couldn't do this with adults because they would 308 00:16:36,480 --> 00:16:39,280 Speaker 3: be like, why are you playing this game and talking 309 00:16:39,320 --> 00:16:41,840 Speaker 3: about tooth trolls. I'm an adult. You know, people would 310 00:16:41,840 --> 00:16:45,800 Speaker 3: probably feel disrespected by trying to do this with them. 311 00:16:45,800 --> 00:16:48,400 Speaker 3: But I feel like if adults could be game for 312 00:16:48,520 --> 00:16:50,720 Speaker 3: this kind of thing, it might actually help. 313 00:16:52,000 --> 00:16:55,920 Speaker 2: Yeah, most adults are probably not going to react fondly too. 314 00:16:56,040 --> 00:17:00,200 Speaker 2: You've got tooth trolls, so you have to sugarcoat it. 315 00:17:00,760 --> 00:17:03,120 Speaker 3: Or you may not sugarcoat it, Like you can't play 316 00:17:03,200 --> 00:17:06,360 Speaker 3: the pretend game with adults. But even if it might 317 00:17:06,440 --> 00:17:09,280 Speaker 3: actually help with adults, if they were a game for it. 318 00:17:09,200 --> 00:17:11,560 Speaker 2: I think they. I think most adults would would and 319 00:17:11,760 --> 00:17:14,320 Speaker 2: would be in our game for a different sort of 320 00:17:14,320 --> 00:17:17,480 Speaker 2: sugar coating, you know. I feel like, you know, sometimes 321 00:17:17,480 --> 00:17:21,879 Speaker 2: it's just it's freshened up clinical language and so forth, 322 00:17:22,880 --> 00:17:26,480 Speaker 2: And I mean it's probably gonna vary worldview to worldview. 323 00:17:26,520 --> 00:17:28,320 Speaker 2: But yeah, I think I think you still have to 324 00:17:28,359 --> 00:17:32,119 Speaker 2: sugarcoat things for adults in these situations. It's just a 325 00:17:32,160 --> 00:17:34,560 Speaker 2: different form of sugarcoating, and maybe it's a little less 326 00:17:34,960 --> 00:17:37,760 Speaker 2: overtly fun. But I think you should maybe have the 327 00:17:37,760 --> 00:17:40,800 Speaker 2: option to sign on for pretend play. Why not? All right? 328 00:17:40,840 --> 00:17:48,399 Speaker 2: This one comes to us from Matt. Matt says, Hey, guys, 329 00:17:48,680 --> 00:17:50,360 Speaker 2: I thought I might drop you a line about something 330 00:17:50,400 --> 00:17:53,800 Speaker 2: I remember from my early childhood with regard to imaginative play. 331 00:17:54,400 --> 00:17:56,960 Speaker 2: There's one experience in particular that stands out in my mind. 332 00:17:57,040 --> 00:17:59,480 Speaker 2: I grew up in a highly religious family that had 333 00:17:59,520 --> 00:18:02,960 Speaker 2: the rule that we could not play outside on Sunday 334 00:18:03,240 --> 00:18:06,080 Speaker 2: to keep the Sabbath day holy and all that. On 335 00:18:06,200 --> 00:18:08,840 Speaker 2: the day in question, I snuck outside to do just that, 336 00:18:09,000 --> 00:18:12,400 Speaker 2: play outside with the other neighborhood kids. They were pretending 337 00:18:12,480 --> 00:18:14,879 Speaker 2: they were in a gang, and we were carrying around 338 00:18:14,920 --> 00:18:18,080 Speaker 2: sticks with grape fruits stuck to the end that they 339 00:18:18,119 --> 00:18:20,960 Speaker 2: called their weapons. This was in Florida, by the way, 340 00:18:21,040 --> 00:18:23,200 Speaker 2: so such fruit trees were not hard to come by. 341 00:18:23,760 --> 00:18:25,640 Speaker 2: Now the part I want to mention about this. At 342 00:18:25,640 --> 00:18:28,440 Speaker 2: my young age, I was uncertain whether they were pretending 343 00:18:28,600 --> 00:18:31,320 Speaker 2: or if they actually believed they were a threatening cohort 344 00:18:31,600 --> 00:18:35,960 Speaker 2: with these deadly fruits on sticks. Additional relevant information, I 345 00:18:36,000 --> 00:18:38,640 Speaker 2: believe that I might have some level of autism, though 346 00:18:38,640 --> 00:18:41,760 Speaker 2: no diagnosis was ever attempted due to my parents' religious 347 00:18:41,800 --> 00:18:45,119 Speaker 2: and political beliefs, and I am unsure if that uncertainty 348 00:18:45,160 --> 00:18:47,000 Speaker 2: is a sign of that or if it is a 349 00:18:47,040 --> 00:18:49,840 Speaker 2: common experience as we learned to model the minds and 350 00:18:49,880 --> 00:18:52,399 Speaker 2: behaviors of others. But in any case, I thought it 351 00:18:52,480 --> 00:18:54,960 Speaker 2: might be an interesting point of discussion for you guys. 352 00:18:55,320 --> 00:18:58,399 Speaker 2: Whatever your thoughts, I'd be interested to hear them this 353 00:18:58,560 --> 00:19:03,000 Speaker 2: regarding how to evaluate the gang of children whether they 354 00:19:03,000 --> 00:19:05,040 Speaker 2: were pretending to be in a gang or actually in 355 00:19:05,080 --> 00:19:05,480 Speaker 2: a gang. 356 00:19:07,800 --> 00:19:09,680 Speaker 3: They thought they were actually in a gang. 357 00:19:09,760 --> 00:19:12,400 Speaker 2: Yeah, yeah, I guess it's it's kind of difficult right 358 00:19:12,480 --> 00:19:16,880 Speaker 2: to gauge that because I'm just thinking, like the mindset 359 00:19:16,920 --> 00:19:18,720 Speaker 2: of the kids who are pretending to be in a gang, 360 00:19:18,760 --> 00:19:21,200 Speaker 2: At what point does that become being in a gang? 361 00:19:21,240 --> 00:19:24,399 Speaker 2: You know, even if you set out to pretend. Like 362 00:19:24,480 --> 00:19:27,960 Speaker 2: I remember part of my childhood, this would have been 363 00:19:27,960 --> 00:19:32,280 Speaker 2: in a few years that I lived in Canada, there 364 00:19:32,280 --> 00:19:36,160 Speaker 2: were kids that had these sticks with nails through them, 365 00:19:36,240 --> 00:19:37,960 Speaker 2: so it was like very mad Max and I guess 366 00:19:37,960 --> 00:19:40,119 Speaker 2: this was around the time of like road War or something, 367 00:19:40,960 --> 00:19:42,760 Speaker 2: but they were they were sticks with nails through them, 368 00:19:42,800 --> 00:19:45,439 Speaker 2: Like you could have messed somebody up with these, but 369 00:19:45,480 --> 00:19:48,560 Speaker 2: they were toys and the kids kind of acted like 370 00:19:48,640 --> 00:19:51,720 Speaker 2: they were in some sort of a post apocalyptic gang. 371 00:19:53,440 --> 00:19:55,440 Speaker 2: But since they had sticks with nails through them, who's 372 00:19:55,480 --> 00:19:56,199 Speaker 2: to say they were not. 373 00:19:56,920 --> 00:19:59,639 Speaker 3: Yeah, that race is a really good point. There. There 374 00:19:59,680 --> 00:20:03,560 Speaker 3: were different types of sort of pretend architecture for pretend 375 00:20:03,600 --> 00:20:07,639 Speaker 3: to play. So one is where the as if world 376 00:20:07,840 --> 00:20:12,760 Speaker 3: is changing objective facts about reality. The banana is really 377 00:20:12,840 --> 00:20:15,840 Speaker 3: objectively not a phone, but you can pretend it is. 378 00:20:16,440 --> 00:20:18,640 Speaker 3: But there are other types of pretend play where what 379 00:20:18,680 --> 00:20:23,560 Speaker 3: you're pretending about our mind states and intentions. So like 380 00:20:23,680 --> 00:20:28,640 Speaker 3: play fighting, the pretense there is like we're acting as 381 00:20:28,720 --> 00:20:32,000 Speaker 3: if we were really fighting, but we're not really fighting, 382 00:20:32,320 --> 00:20:34,960 Speaker 3: and all it would take for that to become really 383 00:20:34,960 --> 00:20:38,639 Speaker 3: fighting is a change in the minds and intentions of 384 00:20:38,720 --> 00:20:42,400 Speaker 3: the people playing, you know, so you're not like pretending 385 00:20:42,440 --> 00:20:45,119 Speaker 3: about some objective external fact in the world. You're just 386 00:20:45,160 --> 00:20:49,520 Speaker 3: pretending about what we're doing. And a gang is kind 387 00:20:49,520 --> 00:20:52,760 Speaker 3: of like that, isn't it. Yeah, Yeah, And to extend 388 00:20:52,760 --> 00:20:56,280 Speaker 3: from that point, I think with that second type of pretend, 389 00:20:56,320 --> 00:20:59,440 Speaker 3: where you're not pretending about objective facts in the world, 390 00:20:59,480 --> 00:21:03,800 Speaker 3: but you're pretending about intentions, it's easier to blur the 391 00:21:03,840 --> 00:21:09,440 Speaker 3: line between are we between are we just suspending disbelief 392 00:21:09,440 --> 00:21:11,840 Speaker 3: for the purpose of play, or do we really believe this? 393 00:21:11,960 --> 00:21:13,320 Speaker 3: It can kind of you can kind of get to 394 00:21:13,359 --> 00:21:17,119 Speaker 3: the point where you are intentionally not looking at that line. 395 00:21:17,240 --> 00:21:21,000 Speaker 3: You're like not, You're willing yourself not to notice whether 396 00:21:21,080 --> 00:21:23,119 Speaker 3: you are doing one or the other, at least for 397 00:21:23,240 --> 00:21:26,080 Speaker 3: the moment, and then something might an event might kind 398 00:21:26,119 --> 00:21:29,240 Speaker 3: of force you to acknowledge the line again and say, no, 399 00:21:29,359 --> 00:21:31,879 Speaker 3: this is really what we're doing. But I think a 400 00:21:31,880 --> 00:21:34,160 Speaker 3: lot of play as children, like when you get into 401 00:21:34,160 --> 00:21:38,600 Speaker 3: a kind of task, like, oh, we're trying to accomplish that, 402 00:21:38,680 --> 00:21:41,600 Speaker 3: you know. A listener wrote in I think at one 403 00:21:41,600 --> 00:21:47,800 Speaker 3: point about like collecting certain cicada shells to like get 404 00:21:47,840 --> 00:21:50,280 Speaker 3: a great bounty of money or something. You know, it's 405 00:21:50,359 --> 00:21:52,800 Speaker 3: like there's an objective fact about the world, like whether 406 00:21:52,840 --> 00:21:54,880 Speaker 3: you could actually get the money, but you're not at 407 00:21:54,880 --> 00:21:57,760 Speaker 3: that point yet whether you have to test whether that's true. 408 00:21:58,680 --> 00:22:01,119 Speaker 3: So instead you're just at the tensions point, are we 409 00:22:01,240 --> 00:22:06,880 Speaker 3: actually harvesting these cicada exoskeletons in order to get millions 410 00:22:06,920 --> 00:22:10,920 Speaker 3: of dollars? And you can kind just not look at 411 00:22:10,960 --> 00:22:13,240 Speaker 3: the fact of whether you really believe you're going to 412 00:22:13,320 --> 00:22:15,280 Speaker 3: get the money or not. You're just in the task 413 00:22:15,359 --> 00:22:16,679 Speaker 3: and you're fully absorbed. 414 00:22:17,080 --> 00:22:20,600 Speaker 2: Yeah, yeah, that's a great point. Now Matt continues here, 415 00:22:20,600 --> 00:22:22,560 Speaker 2: Matt says, side note on a topic you covered in 416 00:22:22,600 --> 00:22:25,320 Speaker 2: the same episodes. When I was little, I wanted to 417 00:22:25,680 --> 00:22:28,479 Speaker 2: an imaginary friend so bad, but I didn't know how 418 00:22:28,520 --> 00:22:30,560 Speaker 2: to make that happen. In a way I imagined it. 419 00:22:31,080 --> 00:22:33,720 Speaker 2: I thought such a friend would have their own autonomous 420 00:22:33,800 --> 00:22:36,480 Speaker 2: mind and personality. But every time I tried to conjure one, 421 00:22:37,280 --> 00:22:40,240 Speaker 2: I was well aware that I was the one actively 422 00:22:40,320 --> 00:22:43,159 Speaker 2: choosing the choices of anyone I imagined. I had a 423 00:22:43,240 --> 00:22:46,879 Speaker 2: very strong imagination, but there definitely were no illusions or 424 00:22:46,880 --> 00:22:50,080 Speaker 2: confusion about the separation between what was real and what 425 00:22:50,160 --> 00:22:53,400 Speaker 2: I was imagining, and I was sad about that. Anyways, 426 00:22:53,440 --> 00:22:55,320 Speaker 2: loved the show and look forward to continuing to hear 427 00:22:55,359 --> 00:22:59,639 Speaker 2: more of it as time moves forward. Thanks Matt. I 428 00:22:59,680 --> 00:23:04,439 Speaker 2: love this point Matt raises about like wanting an imaginary friend, 429 00:23:06,000 --> 00:23:10,760 Speaker 2: because you know, I can't relate to that, to that specifically, 430 00:23:11,280 --> 00:23:14,680 Speaker 2: but I think you know, at different points in life 431 00:23:14,720 --> 00:23:19,280 Speaker 2: you sometimes encounter like different models of this, like people 432 00:23:19,359 --> 00:23:23,960 Speaker 2: who have on one level or another claimed or proclaimed 433 00:23:24,000 --> 00:23:27,080 Speaker 2: to have connection to the unseen world, you know, be 434 00:23:27,119 --> 00:23:31,600 Speaker 2: it like in a religious experience or you know, some 435 00:23:31,640 --> 00:23:35,320 Speaker 2: sort of like paranormal experience. However, it's you know, framed 436 00:23:35,320 --> 00:23:39,240 Speaker 2: in a particular worldview or belief system. And if you 437 00:23:39,440 --> 00:23:42,360 Speaker 2: want that thing and you believe that it is accessible 438 00:23:43,200 --> 00:23:46,119 Speaker 2: at least on some level, and then you know pine 439 00:23:46,160 --> 00:23:48,480 Speaker 2: for it, you know, you can feel left out for 440 00:23:48,600 --> 00:23:51,240 Speaker 2: not having it. Why like why have I not seen 441 00:23:51,280 --> 00:23:54,000 Speaker 2: the lights in the sky, Why have I not heard 442 00:23:54,240 --> 00:23:56,600 Speaker 2: like the voice of God in my head? And so forth? 443 00:23:57,000 --> 00:23:59,000 Speaker 2: And of course there are a million different answers for 444 00:23:59,680 --> 00:24:02,680 Speaker 2: why that is going to be the case, and they 445 00:24:02,680 --> 00:24:05,199 Speaker 2: have to do with everything from the sorts of stories 446 00:24:05,240 --> 00:24:08,480 Speaker 2: were told and how they relate it to objective reality, 447 00:24:09,240 --> 00:24:13,600 Speaker 2: also to just the different mental experiences that people have 448 00:24:13,680 --> 00:24:15,000 Speaker 2: across different mind states. 449 00:24:15,720 --> 00:24:21,159 Speaker 3: Yeah, that's all true. I also wonder about I don't know, Matt, 450 00:24:21,200 --> 00:24:24,040 Speaker 3: I don't know if you have an opinion on whether 451 00:24:24,080 --> 00:24:25,800 Speaker 3: this is the case or not, But I wonder if 452 00:24:26,080 --> 00:24:30,520 Speaker 3: when you're saying you're sad about your inability to have 453 00:24:30,560 --> 00:24:35,160 Speaker 3: an imaginary friend that had thoughts and actions that seemed 454 00:24:35,200 --> 00:24:38,160 Speaker 3: to come from outside yourself, were you said just simply 455 00:24:38,200 --> 00:24:42,200 Speaker 3: because like that couldn't happen, that your imaginary friend all 456 00:24:42,240 --> 00:24:44,480 Speaker 3: came from you and you were conscious of that, or 457 00:24:44,480 --> 00:24:47,359 Speaker 3: were you said in a relative sense because you thought 458 00:24:47,560 --> 00:24:52,040 Speaker 3: maybe other kids had had more of a feeling that 459 00:24:52,160 --> 00:24:55,520 Speaker 3: their imaginary friend's actions came from outside theirselves, and that like, 460 00:24:55,640 --> 00:24:59,560 Speaker 3: relative to their experience, you couldn't have the same experience. 461 00:25:00,040 --> 00:25:01,120 Speaker 3: H Does that make sense? 462 00:25:02,240 --> 00:25:02,480 Speaker 2: Yeah? 463 00:25:02,640 --> 00:25:05,240 Speaker 3: Yeah, in which case, I guess that also raises the 464 00:25:05,320 --> 00:25:08,600 Speaker 3: question like were the other kids actually able to feel 465 00:25:08,600 --> 00:25:11,760 Speaker 3: like their imaginary friends were coming from outside them or 466 00:25:11,800 --> 00:25:14,640 Speaker 3: is that just how it looked from the outside. Actually, 467 00:25:14,680 --> 00:25:18,280 Speaker 3: on the subject of pretend play feeling real to kids, 468 00:25:18,359 --> 00:25:21,439 Speaker 3: like the question of whether you know you're pretending or not, 469 00:25:21,560 --> 00:25:23,800 Speaker 3: or whether you remember in the moment that you're pretending, 470 00:25:24,520 --> 00:25:32,320 Speaker 3: we also got this message from Joy Joy, says Dear 471 00:25:32,400 --> 00:25:35,840 Speaker 3: Robert and Joe. The discussion on how much children believe 472 00:25:36,040 --> 00:25:39,199 Speaker 3: the things they pretend brought to mind an instance of 473 00:25:39,240 --> 00:25:42,200 Speaker 3: ongoing pretend play. Two of my friends and I devised 474 00:25:42,280 --> 00:25:46,000 Speaker 3: during recesses in elementary school. One day, we found the 475 00:25:46,080 --> 00:25:50,000 Speaker 3: name Penny written on a piece of litter. We decided 476 00:25:50,119 --> 00:25:54,359 Speaker 3: Penny was a ghost who haunted the school. Penny was good, 477 00:25:54,520 --> 00:25:57,920 Speaker 3: but there was another ghost who was evil. For many months, 478 00:25:58,000 --> 00:26:00,879 Speaker 3: we spent our recesses trying to solve the mystery of 479 00:26:00,960 --> 00:26:06,359 Speaker 3: the haunting, which included occasional cases of pretend possession. Looking 480 00:26:06,359 --> 00:26:08,600 Speaker 3: back on that pretend play a couple of years later, 481 00:26:08,680 --> 00:26:11,399 Speaker 3: it struck me that we never paused to consider the 482 00:26:11,480 --> 00:26:15,040 Speaker 3: question of if the ghosts were real or just a 483 00:26:15,080 --> 00:26:19,040 Speaker 3: collaborative story. We were making up our searches, and any 484 00:26:19,080 --> 00:26:22,240 Speaker 3: incidents of possession would end as soon as the school 485 00:26:22,320 --> 00:26:25,560 Speaker 3: bell rang to call us back from recess. And when 486 00:26:25,640 --> 00:26:28,639 Speaker 3: one of my friends accidentally broke something of mine, a 487 00:26:28,680 --> 00:26:31,320 Speaker 3: purple ribbon that I carried around and pretended was a 488 00:26:31,400 --> 00:26:35,960 Speaker 3: dragon in unrelated pretend play, broke that while pretending to 489 00:26:36,000 --> 00:26:40,240 Speaker 3: be possessed, I definitely blamed her and not the ghost. 490 00:26:40,680 --> 00:26:43,680 Speaker 3: So on some level we must have known it wasn't real, 491 00:26:44,080 --> 00:26:47,159 Speaker 3: but we pretended that we thought it was, even to 492 00:26:47,280 --> 00:26:52,679 Speaker 3: ourselves best regards. Joy, Well thanks Joy. Yeah, like we 493 00:26:52,720 --> 00:26:54,800 Speaker 3: were saying, that connects to what we were just talking about, 494 00:26:54,800 --> 00:26:58,560 Speaker 3: and it makes me think that they're actually like multiple 495 00:26:58,760 --> 00:27:03,040 Speaker 3: levels of the suspetn of disbelief. So you can engage 496 00:27:03,040 --> 00:27:06,919 Speaker 3: in sort of first order suspension of disbelief, where you 497 00:27:06,960 --> 00:27:09,320 Speaker 3: are just you enter a mind state where you can 498 00:27:09,359 --> 00:27:12,240 Speaker 3: participate in a pretend game or in a work of 499 00:27:12,280 --> 00:27:16,199 Speaker 3: fiction without constantly being interrupted by the thought that this 500 00:27:16,320 --> 00:27:18,080 Speaker 3: is not real. You can just sort of take it 501 00:27:18,160 --> 00:27:21,600 Speaker 3: as is in the moment, and that in a way 502 00:27:21,680 --> 00:27:26,560 Speaker 3: involves a second order suspension of disbelief, which is willing 503 00:27:26,680 --> 00:27:31,639 Speaker 3: yourself not to ask the question of or not to 504 00:27:31,840 --> 00:27:36,320 Speaker 3: examine the issue of whether you are suspending your disbelief 505 00:27:36,359 --> 00:27:39,320 Speaker 3: about the game or the story. Does that make sense? 506 00:27:39,760 --> 00:27:43,479 Speaker 2: Yeah, yeah, I mean yeah, it gets really complicated really 507 00:27:43,560 --> 00:27:47,280 Speaker 2: quickly when we get into contemplations of like the creative 508 00:27:47,320 --> 00:27:52,040 Speaker 2: process and the gameness as you say, of all of this. 509 00:27:52,800 --> 00:27:56,479 Speaker 3: Yeah, so we can be game for pretend while at 510 00:27:56,480 --> 00:28:00,000 Speaker 3: the same time, like if there is something that forced 511 00:28:00,320 --> 00:28:03,920 Speaker 3: us to exit that temporary state of gameness, we can 512 00:28:04,119 --> 00:28:07,040 Speaker 3: recall what's real and what's not, so it's not actually 513 00:28:07,080 --> 00:28:11,320 Speaker 3: a confusion, a confusion in a permanent sense about what's 514 00:28:11,320 --> 00:28:13,920 Speaker 3: real and what's not. But we get into these mind 515 00:28:13,920 --> 00:28:18,679 Speaker 3: states where we like, we don't want anything to uh, 516 00:28:18,760 --> 00:28:21,520 Speaker 3: to break the break the illusion, to force us to 517 00:28:21,640 --> 00:28:25,080 Speaker 3: consider whether we do really believe what we're doing or 518 00:28:25,119 --> 00:28:27,679 Speaker 3: what we're saying at the moment. We want to we 519 00:28:27,720 --> 00:28:31,080 Speaker 3: want to like not have to examine that question for 520 00:28:31,160 --> 00:28:31,800 Speaker 3: the time being. 521 00:28:32,240 --> 00:28:33,680 Speaker 2: Yeah. It reminds me of some of the examples we 522 00:28:33,720 --> 00:28:37,240 Speaker 2: talked about, UH, audience members cheering on a like a 523 00:28:37,280 --> 00:28:40,680 Speaker 2: pro wrestling performance, you know, yeah, where yeah, you don't 524 00:28:40,680 --> 00:28:43,840 Speaker 2: want to constantly come in and out of the willing 525 00:28:43,880 --> 00:28:46,280 Speaker 2: suspension disbelief. You want to you know, keep that going 526 00:28:46,360 --> 00:28:48,080 Speaker 2: for a little bit. It's going to be a massive 527 00:28:48,120 --> 00:28:49,720 Speaker 2: bummer if you have to keep coming in and out 528 00:28:49,720 --> 00:28:49,880 Speaker 2: of it. 529 00:28:50,000 --> 00:28:52,400 Speaker 3: Right, Yeah, so you like, you know it's not real, 530 00:28:52,480 --> 00:28:55,360 Speaker 3: but it's also annoying to you if somebody, if like you, 531 00:28:55,400 --> 00:28:57,080 Speaker 3: are reminded that it's not real. 532 00:28:57,320 --> 00:29:10,440 Speaker 2: Yeah, all right, let's go ahead and move on to 533 00:29:10,560 --> 00:29:15,520 Speaker 2: some weird house cinema listener mail here. This first one 534 00:29:15,520 --> 00:29:17,840 Speaker 2: I'm going to read. This one comes to us from Carrie. 535 00:29:18,360 --> 00:29:22,280 Speaker 2: Carrie writes Deer Robin Joe. Now that you've run the 536 00:29:22,320 --> 00:29:25,160 Speaker 2: thing from another world twice, unstuffed, blow your mind. I 537 00:29:25,200 --> 00:29:27,760 Speaker 2: believe one of those is where rerun you need to cover. 538 00:29:27,880 --> 00:29:32,000 Speaker 2: My other favorite sci fi monster movie nineteen fifty four's Them, 539 00:29:32,040 --> 00:29:36,600 Speaker 2: featuring giant radiation induced mutant ants running them up. It 540 00:29:36,680 --> 00:29:39,480 Speaker 2: has a good plot and work by some accomplished actors 541 00:29:39,560 --> 00:29:43,520 Speaker 2: James Whitmore, Edmund Gwyn, James Arnest a year before he 542 00:29:43,560 --> 00:29:46,520 Speaker 2: began his twenty year stint as Marshall Matt Dillon in 543 00:29:46,560 --> 00:29:50,560 Speaker 2: TV's gun Smoke, and small roles by Fess Parker, dub Taylor, 544 00:29:50,600 --> 00:29:53,160 Speaker 2: and an up and coming young actor named Leonard Nimoy. 545 00:29:53,680 --> 00:29:56,040 Speaker 2: For the time, most of the special effects are pretty 546 00:29:56,080 --> 00:29:58,680 Speaker 2: good too. If you haven't seen it, you should if 547 00:29:58,680 --> 00:30:01,560 Speaker 2: you've avoided doing so because of comments you've seen or 548 00:30:01,600 --> 00:30:04,760 Speaker 2: discounting it as schlock. Remember that kept you from watching 549 00:30:04,840 --> 00:30:07,000 Speaker 2: The Thing from Another World and you were glad you 550 00:30:07,080 --> 00:30:10,120 Speaker 2: finally did. Anyway, Please put it on your list and 551 00:30:10,240 --> 00:30:11,120 Speaker 2: keep up the good work. 552 00:30:11,440 --> 00:30:14,640 Speaker 3: Care Oh well, thank you, Kerry. Recommendation noted, and yes, 553 00:30:14,760 --> 00:30:16,640 Speaker 3: them has been on my list for a long time. 554 00:30:16,720 --> 00:30:19,280 Speaker 3: I know it's one of the peaks sort of atomic 555 00:30:19,360 --> 00:30:22,920 Speaker 3: age giant bug movies, which is fun. I've seen a 556 00:30:22,920 --> 00:30:24,880 Speaker 3: lot of the lesser ones, but I've never seen like 557 00:30:25,000 --> 00:30:28,000 Speaker 3: one of the main ones, which is this film. But 558 00:30:28,080 --> 00:30:30,760 Speaker 3: I was a little confused by your last comment about 559 00:30:31,120 --> 00:30:33,680 Speaker 3: avoiding it because it might be seen as schlock. Have 560 00:30:33,760 --> 00:30:37,040 Speaker 3: we ever expressed an unwillingness to watch schlock? That seems 561 00:30:37,120 --> 00:30:39,959 Speaker 3: quite out of character. This must be based on something 562 00:30:40,480 --> 00:30:43,000 Speaker 3: we said, or maybe I said, but I don't remember 563 00:30:43,000 --> 00:30:43,560 Speaker 3: what that would be. 564 00:30:44,080 --> 00:30:47,880 Speaker 2: I think what he's referring to here is that, in 565 00:30:47,960 --> 00:30:51,960 Speaker 2: talking about the original The Thing from Another World, I 566 00:30:52,000 --> 00:30:55,040 Speaker 2: believe I commented that I had always seen stills from 567 00:30:55,120 --> 00:30:58,680 Speaker 2: it and kind of discounted the picture because the monster 568 00:30:58,760 --> 00:31:03,440 Speaker 2: looked goofy, whereas if you if you experience the monster 569 00:31:03,640 --> 00:31:07,160 Speaker 2: within the context of the film, it's actually quite terrifying 570 00:31:07,360 --> 00:31:10,000 Speaker 2: and there's a great you know, there's great suspense in 571 00:31:10,040 --> 00:31:13,000 Speaker 2: that film. So I think that is what Carrie is 572 00:31:13,000 --> 00:31:13,440 Speaker 2: referring to. 573 00:31:14,360 --> 00:31:18,200 Speaker 3: That makes sense, and that's squares with my memory. Okay, well, yes, 574 00:31:18,280 --> 00:31:21,720 Speaker 3: we but we're not avoiding schlock. I guarantee you, Carrie, 575 00:31:21,800 --> 00:31:24,200 Speaker 3: I think you, if you've listened to the show enough, 576 00:31:24,240 --> 00:31:26,680 Speaker 3: we will engage with schlock. We go there. 577 00:31:27,040 --> 00:31:28,960 Speaker 2: Yeah, and I totally come back to them. I believe 578 00:31:28,960 --> 00:31:34,280 Speaker 2: I saw them or most of them on like a 579 00:31:34,360 --> 00:31:37,600 Speaker 2: daytime horror host scenario. This would have been the one 580 00:31:37,640 --> 00:31:41,600 Speaker 2: on like TBS that Grandma Monster hosted back in the day. 581 00:31:41,640 --> 00:31:45,360 Speaker 2: I distinctly remember watching at least part of this movie 582 00:31:45,760 --> 00:31:46,240 Speaker 2: on TV. 583 00:31:47,240 --> 00:31:50,880 Speaker 3: Al Lewis, Yeah, yeah, yeah, all right. This next message 584 00:31:50,920 --> 00:31:54,640 Speaker 3: about Weird House is from John. Subject line magic music 585 00:31:54,760 --> 00:31:56,800 Speaker 3: cue in the Brainiac movie. 586 00:31:57,280 --> 00:31:57,600 Speaker 2: Hmm. 587 00:31:58,160 --> 00:32:00,200 Speaker 3: This is something we asked about in the episode for 588 00:32:00,240 --> 00:32:02,720 Speaker 3: people to write in, and John answers a question we had. 589 00:32:08,080 --> 00:32:11,040 Speaker 3: John says, Hi, guys, I'm John from Salt Lake, long 590 00:32:11,200 --> 00:32:15,600 Speaker 3: longtime listener, occasional writer. I write music for movies, mostly 591 00:32:15,640 --> 00:32:19,120 Speaker 3: small independent films. In this week's Weird House Cinema Show, 592 00:32:19,160 --> 00:32:22,360 Speaker 3: you were talking about The Brainiac. At one point in 593 00:32:22,400 --> 00:32:26,400 Speaker 3: the movie, you mentioned a musical cue that sounds magical 594 00:32:26,600 --> 00:32:30,760 Speaker 3: or indicates that something magical has just happened, and asked 595 00:32:30,400 --> 00:32:34,680 Speaker 3: if it was a named thing. So, yeah, refresher, this 596 00:32:34,720 --> 00:32:37,640 Speaker 3: happened in the moment in The Brainiac where the count 597 00:32:37,880 --> 00:32:40,719 Speaker 3: is getting burned at the stake, but he looks up 598 00:32:40,720 --> 00:32:43,280 Speaker 3: and he sees a comet in the sky, and that 599 00:32:43,400 --> 00:32:46,480 Speaker 3: comet ends up being related to the brainy acts ability 600 00:32:46,480 --> 00:32:50,160 Speaker 3: to return hundreds of years later as this brain eating creature. 601 00:32:51,360 --> 00:32:55,080 Speaker 3: Unclear exactly whether the premise is fully magical or science fiction, 602 00:32:55,240 --> 00:32:58,600 Speaker 3: but it used this music cue on like a marimba 603 00:32:58,760 --> 00:33:02,520 Speaker 3: or a harp that was familiar to both of us. 604 00:33:02,560 --> 00:33:05,400 Speaker 3: It's like the thing that always triggers in a movie 605 00:33:05,480 --> 00:33:08,240 Speaker 3: or an old TV show when something magical or dream 606 00:33:08,400 --> 00:33:12,440 Speaker 3: like is happening, doulululu, you know. And we were asking, 607 00:33:12,520 --> 00:33:15,120 Speaker 3: is there a name for that musical cliche? So this 608 00:33:15,240 --> 00:33:18,840 Speaker 3: is what John is answering. John says, yes, there is 609 00:33:18,880 --> 00:33:22,640 Speaker 3: a named thing here. It's called the whole tone scale. 610 00:33:23,120 --> 00:33:25,760 Speaker 3: The whole tone scale is a six note scale, in 611 00:33:25,800 --> 00:33:29,920 Speaker 3: which each note is a whole tone away from its neighbors. 612 00:33:30,560 --> 00:33:33,360 Speaker 3: It was a favorite cue for magical scenes in TV 613 00:33:33,480 --> 00:33:37,200 Speaker 3: and movies from the sixties, such as Bewitched. This scale 614 00:33:37,280 --> 00:33:41,320 Speaker 3: is also used in other musical compositions too. Stevie Wonders 615 00:33:41,400 --> 00:33:44,240 Speaker 3: You Are the Sunshine of My Life is one such song. 616 00:33:44,840 --> 00:33:47,440 Speaker 3: The magical sound is often enhanced when the scale is 617 00:33:47,480 --> 00:33:50,160 Speaker 3: played on a harp or a marimba. Thanks for the 618 00:33:50,160 --> 00:33:53,800 Speaker 3: great shows, John, Well, thank you so much, John for 619 00:33:53,880 --> 00:33:57,040 Speaker 3: answering that question. And now that you've explained it, I 620 00:33:57,080 --> 00:33:59,720 Speaker 3: realized that I sort of know what you're talking about, 621 00:33:59,720 --> 00:34:01,960 Speaker 3: and even wonder if this may have come up in 622 00:34:02,000 --> 00:34:06,479 Speaker 3: the show in years past when we were talking about music, 623 00:34:06,800 --> 00:34:09,520 Speaker 3: Like we did some episodes about music being used in 624 00:34:09,560 --> 00:34:12,200 Speaker 3: horror movies and things like that. But I guess this 625 00:34:12,280 --> 00:34:15,360 Speaker 3: is sort of the curse of being barely semi literate 626 00:34:15,440 --> 00:34:17,799 Speaker 3: in music, as I am, like, I know just enough 627 00:34:17,880 --> 00:34:20,440 Speaker 3: music theory to screw around, but not enough to know 628 00:34:20,480 --> 00:34:23,000 Speaker 3: what I'm doing or talk about it. But anyway, to 629 00:34:23,040 --> 00:34:26,600 Speaker 3: make this concept clear, I made a little audio illustration 630 00:34:26,760 --> 00:34:31,200 Speaker 3: here of three scales. So we've got the C major scale, 631 00:34:36,080 --> 00:34:45,319 Speaker 3: then we've got the C minor scale, and then this 632 00:34:45,520 --> 00:34:48,480 Speaker 3: is the six note whole tone scale starting on C. 633 00:35:00,560 --> 00:35:02,719 Speaker 3: So if you think about the third one there in 634 00:35:02,760 --> 00:35:05,680 Speaker 3: relation to the first two, it seems kind of eerie 635 00:35:05,880 --> 00:35:11,240 Speaker 3: or magical. And again, I'm by no means an expert 636 00:35:11,280 --> 00:35:14,280 Speaker 3: on music theory or even in the psychology of music, 637 00:35:14,360 --> 00:35:17,520 Speaker 3: so I'm just speculating here, but I'm wondering if this 638 00:35:18,280 --> 00:35:24,000 Speaker 3: feels eerie or magical to people because it's musically ambiguous. 639 00:35:24,600 --> 00:35:27,560 Speaker 3: Most of the music we listen to is in a 640 00:35:27,880 --> 00:35:30,520 Speaker 3: major or a minor key, so there, you know, it's 641 00:35:30,560 --> 00:35:33,719 Speaker 3: one of those first two scales that we played. It's 642 00:35:33,760 --> 00:35:36,560 Speaker 3: a major or a minor key with a clear root note. 643 00:35:36,600 --> 00:35:41,120 Speaker 3: And even if people don't know music theory, we're intuitively 644 00:35:41,160 --> 00:35:44,200 Speaker 3: familiar with musical conventions because we listen to music, so 645 00:35:44,360 --> 00:35:46,840 Speaker 3: you know the cultural conventions of music and your culture. 646 00:35:46,880 --> 00:35:50,560 Speaker 3: You just kind of feel them. And we're usually expecting 647 00:35:50,560 --> 00:35:52,360 Speaker 3: a song to feel like a major key or a 648 00:35:52,360 --> 00:35:56,480 Speaker 3: minor key, and whole tone scale violates our expectations because 649 00:35:56,520 --> 00:36:00,279 Speaker 3: it refuses to feel like either a major or a 650 00:36:00,280 --> 00:36:02,759 Speaker 3: minor key. It's neither one. It's sort of pointing off 651 00:36:02,760 --> 00:36:06,400 Speaker 3: in both directions, and it also refuses to let you 652 00:36:06,480 --> 00:36:08,920 Speaker 3: know what the root note of the scale is, so 653 00:36:09,000 --> 00:36:12,280 Speaker 3: it feels like it is breaking the laws of music, 654 00:36:12,400 --> 00:36:16,080 Speaker 3: kind of like magic does, and so it's sort of unsortable, 655 00:36:16,120 --> 00:36:18,799 Speaker 3: and that makes it eerie and unsettling. That's my take. 656 00:36:19,200 --> 00:36:23,799 Speaker 2: Yeah, I can feel myself beaming up or shrinking, or 657 00:36:24,680 --> 00:36:27,440 Speaker 2: becoming gigantic in size, whatever the effects of the magic 658 00:36:27,520 --> 00:36:29,600 Speaker 2: slash science fiction happens. 659 00:36:29,320 --> 00:36:32,000 Speaker 3: To be writing a comment until you eat brains. 660 00:36:32,320 --> 00:36:36,279 Speaker 2: Yeah, all right, Well, you know, I think we have 661 00:36:36,520 --> 00:36:38,560 Speaker 2: we essentially have time for one more message, but I 662 00:36:38,600 --> 00:36:40,799 Speaker 2: have a couple of short ones here, so I'm I'm 663 00:36:40,800 --> 00:36:43,400 Speaker 2: going to try and roll through these really quickly. Okay, 664 00:36:43,920 --> 00:36:48,080 Speaker 2: all right, column writes in to purely to suggest for 665 00:36:48,160 --> 00:36:51,840 Speaker 2: weird House Cinema the nineteen eighty one film Kung Fu Zombie, 666 00:36:51,880 --> 00:36:56,359 Speaker 2: directed by sham Wa. This is not a film that 667 00:36:56,440 --> 00:36:59,719 Speaker 2: I was super familiar with, but just looking into it 668 00:36:59,719 --> 00:37:01,640 Speaker 2: a little little bit, let's see, it's from the director 669 00:37:01,800 --> 00:37:06,360 Speaker 2: of Inframan, which we've talked about. Good yeah, and it 670 00:37:06,480 --> 00:37:08,920 Speaker 2: has music ripped off from a James Bond movie. So 671 00:37:09,160 --> 00:37:13,560 Speaker 2: I think those are two strong compelling indicators. Plus zombies 672 00:37:13,640 --> 00:37:15,719 Speaker 2: plus kung fu very good. 673 00:37:15,760 --> 00:37:17,520 Speaker 3: Call him, you know how to get our attention. The 674 00:37:17,640 --> 00:37:19,799 Speaker 3: poster of it is I've got to see this. It's 675 00:37:19,880 --> 00:37:22,759 Speaker 3: kung Fu zombie dripping blood over the title and the 676 00:37:22,800 --> 00:37:26,480 Speaker 3: O in zombie is a skull, a pink skull. So yes, 677 00:37:26,520 --> 00:37:29,120 Speaker 3: I've got to see it, starring Billy Chong. I don't 678 00:37:29,120 --> 00:37:31,480 Speaker 3: know if we've seen anything else with Billy Chong, and 679 00:37:31,480 --> 00:37:34,080 Speaker 3: don't know if I know him, but he looks so determined. 680 00:37:34,080 --> 00:37:38,640 Speaker 3: He's like breaking free from some rope bindings and there's 681 00:37:38,680 --> 00:37:41,960 Speaker 3: water splashing everywhere. And then is this a flying kung 682 00:37:42,000 --> 00:37:43,520 Speaker 3: Fu vampire behind him? 683 00:37:43,800 --> 00:37:45,520 Speaker 2: It looks like it. Yeah, yeah, I don't think we've 684 00:37:45,520 --> 00:37:49,240 Speaker 2: talked about Billy Chong before, but yeah, Indonesian martial artist, 685 00:37:49,400 --> 00:37:52,200 Speaker 2: actor and stuntman Strong contenders. 686 00:37:52,239 --> 00:37:54,000 Speaker 3: Thank you call him yeah. 687 00:37:54,239 --> 00:37:57,359 Speaker 2: And then finally Jim rides in and says, hey, guys, 688 00:37:57,400 --> 00:37:59,440 Speaker 2: I think a Red Brown film fest sounds like a 689 00:37:59,440 --> 00:38:01,880 Speaker 2: lot of fun. I've seen many of his films and 690 00:38:01,920 --> 00:38:05,080 Speaker 2: he's had an interesting co star, Christopher Lee. They co 691 00:38:05,200 --> 00:38:09,600 Speaker 2: starred in Captain America two, Death Too Soon and Howling 692 00:38:09,680 --> 00:38:13,760 Speaker 2: Too Your Sister Is a Werewolf. Both are great weird films, 693 00:38:13,800 --> 00:38:14,920 Speaker 2: perfect for weird house. 694 00:38:15,239 --> 00:38:18,920 Speaker 3: Jim Thank you, Jim. I've seen The Howling Too, your 695 00:38:18,920 --> 00:38:22,759 Speaker 3: sister is a werewolf. I don't remember a lot about it, 696 00:38:22,840 --> 00:38:26,040 Speaker 3: except that it felt to me like the entire movie 697 00:38:26,080 --> 00:38:28,640 Speaker 3: was just Sybil Danning doing that pose that you see 698 00:38:28,680 --> 00:38:33,040 Speaker 3: in any still from the film. And as for the 699 00:38:33,200 --> 00:38:36,080 Speaker 3: Reb Brown Captain America or Captain America Too, I didn't 700 00:38:36,080 --> 00:38:39,120 Speaker 3: realize there was a second Reb Brown Captain America. I 701 00:38:39,200 --> 00:38:40,960 Speaker 3: may have already said this on the show recently. I 702 00:38:40,960 --> 00:38:43,400 Speaker 3: don't remember if this was on micro Off, but I 703 00:38:43,480 --> 00:38:48,520 Speaker 3: have been wanting to do an Alt Captain America fest 704 00:38:48,640 --> 00:38:52,439 Speaker 3: on Weird House, including the Albert Pyune directed movie from 705 00:38:52,600 --> 00:38:55,080 Speaker 3: I don't know nineteen ninety or whenever that was, and 706 00:38:55,200 --> 00:38:58,319 Speaker 3: the Reb Brown Captain America stuff, of which apparently there 707 00:38:58,360 --> 00:38:59,640 Speaker 3: were even more than I knew of. 708 00:39:00,840 --> 00:39:06,680 Speaker 2: Yeah, yeah, you've definitely denighned the the Captain America films recently, 709 00:39:06,719 --> 00:39:09,799 Speaker 2: and we both have recently watched The Howling, the original one, 710 00:39:09,840 --> 00:39:11,400 Speaker 2: so both of both of these films are kind of 711 00:39:11,480 --> 00:39:12,520 Speaker 2: under radar at the moment. 712 00:39:12,960 --> 00:39:15,880 Speaker 3: Oh and everybody just treat yourself to looking up some 713 00:39:16,000 --> 00:39:19,640 Speaker 3: stills of Christopher Lee in The Howling Too with the sunglasses. 714 00:39:19,920 --> 00:39:21,400 Speaker 3: Oh god, it's amazing. 715 00:39:23,719 --> 00:39:25,360 Speaker 2: All right, well, we're going to go ahead and close 716 00:39:25,360 --> 00:39:27,640 Speaker 2: it out there, but certainly you keep the Weird House 717 00:39:27,640 --> 00:39:32,759 Speaker 2: Cinema recommendations and suggestions coming, keep writing in with feedback 718 00:39:33,440 --> 00:39:35,560 Speaker 2: for our core episodes of Stuff to Blow Your Mind, 719 00:39:35,719 --> 00:39:39,680 Speaker 2: our short form episodes, anything else, past episodes of Invention. 720 00:39:40,160 --> 00:39:43,080 Speaker 2: It's all fair game. Just a reminder that Stuff to 721 00:39:43,120 --> 00:39:45,240 Speaker 2: bliw Your Mind is primarily a science and culture podcast, 722 00:39:45,239 --> 00:39:48,040 Speaker 2: with core episodes on Tuesdays and Thursdays. You can find 723 00:39:48,120 --> 00:39:50,240 Speaker 2: us wherever you get your podcasts. Just look for Stuff 724 00:39:50,280 --> 00:39:53,200 Speaker 2: to Blow your Mind. If you're on what Instagram, we're 725 00:39:53,320 --> 00:39:57,680 Speaker 2: s stbym podcast there, and if you're on a letterboxed 726 00:39:57,880 --> 00:40:00,600 Speaker 2: you can find our account. We are Weird House and 727 00:40:00,640 --> 00:40:01,959 Speaker 2: that's where you can keep up with all the movies 728 00:40:02,000 --> 00:40:04,040 Speaker 2: we've covered thus far on Weird House Cinema. 729 00:40:04,200 --> 00:40:08,000 Speaker 3: Huge thanks as always to our excellent audio producer Jjposway. 730 00:40:08,320 --> 00:40:09,759 Speaker 3: If you would like to get in touch with us 731 00:40:09,760 --> 00:40:12,160 Speaker 3: with feedback on this episode or any other, to suggest 732 00:40:12,160 --> 00:40:14,080 Speaker 3: a topic for the future, or just to say hello, 733 00:40:14,239 --> 00:40:16,759 Speaker 3: you can email us at contact at Stuff to Blow 734 00:40:16,800 --> 00:40:24,239 Speaker 3: your Mind dot com. 735 00:40:24,320 --> 00:40:27,279 Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For 736 00:40:27,360 --> 00:40:30,160 Speaker 1: more podcasts from my heart Radio, visit the iHeartRadio app, 737 00:40:30,320 --> 00:40:33,080 Speaker 1: Apple podcasts, or wherever you listen to your favorite shows.