WEBVTT - STBYM Listener Mail: Translucent Black Capes

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey you welcome to Stuff to Blow your Mind listener mail.

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<v Speaker 2>This is Robert Lamb.

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<v Speaker 3>And this is Joe McCormick. And hey everybody, we are

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<v Speaker 3>back after being out for a week. You know, we

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<v Speaker 3>have an auspicious beginning here because, as our producer JJ

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<v Speaker 3>just let us know, we began this recording session at

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<v Speaker 3>the exact moment that Agent Dale Cooper enters Twin Peaks

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<v Speaker 3>at the beginning of the series. This is February twenty fourth,

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<v Speaker 3>eleven thirty am. So I don't know what to make

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<v Speaker 3>of that, but maybe off to get some pie today.

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<v Speaker 2>All right, well, let's go ahead and jump into some

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<v Speaker 2>listener mail here. We've got some really good ones, a

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<v Speaker 2>number of listener mail pieces devoted to our episodes on

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<v Speaker 2>Cotton Candy. But first, this one comes to us from

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<v Speaker 2>Troy regarding our episode on Io. This is, of course,

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<v Speaker 2>the one of the moons of Jupiter that we revisited

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<v Speaker 2>in full on the podcast. Troy writes, Hi, Joe, Robert,

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<v Speaker 2>and JJ, I recently listened to your podcast about Io

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<v Speaker 2>having volcanic eruptions strong enough to reach exit velocity. Then

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<v Speaker 2>you mentioned several ideas related to achieving exit velocity from Earth,

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<v Speaker 2>but did not mention Verne's book Jules vern Of course,

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<v Speaker 2>I am probably not the only one, but this reminded

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<v Speaker 2>me of the classic book by Jules vern where some

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<v Speaker 2>gun club guys decided to shoot a cannon ball at

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<v Speaker 2>the Moon. Later in the story, the cannon ball is

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<v Speaker 2>scrapped for a more capsule shape so the ball won't spin.

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<v Speaker 2>Somebody proposes to make the ball. Essentially a ship from

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<v Speaker 2>the Earth to the Moon eighteen sixty five and its sequel,

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<v Speaker 2>Around the Moon eighteen seventy by Jules vern Our pioneering

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<v Speaker 2>works of science fiction and depict an ambitious attempt to

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<v Speaker 2>send men to the Moon using a massive cannon. The

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<v Speaker 2>story follows the Baltimore based Gun Club, a group of

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<v Speaker 2>artillery enthusiasts led by President MP Barbicane. After the end

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<v Speaker 2>of the American Civil War, the club seeks a new

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<v Speaker 2>challenge and decides to construct an enormous cannon to launch

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<v Speaker 2>a projectile to the Moon. Eventually, Barbicane, Arden and Barbicane's

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<v Speaker 2>rival turned ally, Captain Nickel, decide to travel inside the

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<v Speaker 2>projectile themselves. In Around the Moon the sequel, the three

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<v Speaker 2>passengers experience weightlessness, observe Earth and the Moon from space,

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<v Speaker 2>and face the danger of being trapped in orbit. A

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<v Speaker 2>near miss with the Moon results in their capsule falling

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<v Speaker 2>back to Earth, where they safely land in the ocean.

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<v Speaker 2>Right Troy goes on to discuss some of the technology

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<v Speaker 2>used in this science fiction book. The massive cannon named

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<v Speaker 2>the Columbiad, is nine hundred feet two hundred and seventy

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<v Speaker 2>four meters long and is built in a deep pit

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<v Speaker 2>dug into the ground in Tampa, Florida. It is designed

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<v Speaker 2>to fire an enormous hollow aluminum shell the spacecraft carrying

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<v Speaker 2>the three men. To reach the Moon, the projectile needs

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<v Speaker 2>to achieve an escape velocity of l two hundred meters

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<v Speaker 2>per second approximately twenty five thousand miles per hour. Burne's

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<v Speaker 2>calculations were impressively close to modern physics, though the concept

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<v Speaker 2>of using a canon to achieve such speeds would be

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<v Speaker 2>lethal due to the extreme acceleration. I thought the book

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<v Speaker 2>had great character development and attention to detail. They even

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<v Speaker 2>had a type of water mattress designed to push the

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<v Speaker 2>water out of vents during the initial launch to dampen

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<v Speaker 2>the g forces give up the great work. Troy. Ps

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<v Speaker 2>one more thing. I also thought it was impressive how

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<v Speaker 2>they decided to point the canon vertically at the moon,

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<v Speaker 2>but had to bury the whole cannon to prevent the

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<v Speaker 2>canon from exploding. One of the main characters had body

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<v Speaker 2>parts missing due to one of his canons accidentally exploding,

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<v Speaker 2>so they decided to bury the canon for extra strength.

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<v Speaker 3>Oh thank you, Troy. Yeah, interesting contribution. So I never

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<v Speaker 3>read this novel. I read several other things by Jules

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<v Speaker 3>Vern when I was younger, and I had a copy

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<v Speaker 3>of this book, And now I'm ashamed to say that

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<v Speaker 3>I was discouraged from ever reading it because I was

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<v Speaker 3>sort of glancing through it and thinking, I don't think

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<v Speaker 3>they're going to see any aliens in this. This feels

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<v Speaker 3>like an alien's free space adventure book, and I'm just

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<v Speaker 3>not interested in that. Looking back on that now, I

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<v Speaker 3>think that was a narrow minded way to approach science fiction,

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<v Speaker 3>But I don't know that's how I was then.

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<v Speaker 2>Yeah, I think maybe I've only ever read twenty thousand

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<v Speaker 2>Leagues under the Sea, though I don't remember much about

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<v Speaker 2>the experience. My kid recently had to read it for school,

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<v Speaker 2>and I don't think they enjoyed the experience. But then again,

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<v Speaker 2>such as the case sometimes when you're having to read

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<v Speaker 2>things for school.

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<v Speaker 3>I remember liking twenty thousand Leagues and I read Journey

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<v Speaker 3>to the Center of the Earth and I liked that.

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<v Speaker 2>Yeah. I know. I've seen multiple film versions of various

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<v Speaker 2>Vern novels, and a number of those are a lot

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<v Speaker 2>of fun. I don't think we've covered one on Weird

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<v Speaker 2>House Cinema though, have we? Have we covered a Vern's

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<v Speaker 2>a direct Vern's adaptation?

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<v Speaker 3>Well, we did Invention for Destruction, which I think it

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<v Speaker 3>was a loose adaptation of a different not of a

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<v Speaker 3>novel by Jules Vern. I forget the name of it. Sorry,

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<v Speaker 3>I just had to look it up. The Vern novel

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<v Speaker 3>that was based on was called Facing the Flag alternately

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<v Speaker 3>for the Flag from eighteen ninety six.

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<v Speaker 2>Yeah. Yeah, And the film that we watched was a

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<v Speaker 2>nineteen fifty eight black and white science fiction adventure film, yeah,

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<v Speaker 2>which was wonderful. Yes, I remember it as being very

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<v Speaker 2>visually pleasing.

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<v Speaker 3>But to your point, yeah, there are some great movie

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<v Speaker 3>adaptations of Vern. I mean, the twenty thousand Leagues with

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<v Speaker 3>James Mason is how do you beat that? It's James Mason.

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<v Speaker 2>All right, but all this has just been a preface

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<v Speaker 2>to Cotton Candy Joe dig into the Cotton Candy Force.

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<v Speaker 3>Oh all right, let's see. Well here, I'm going to

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<v Speaker 3>start with this message you pulled in from discord from

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<v Speaker 3>listener Eric. Eric says, I'm usually over in the Weird

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<v Speaker 3>House channels, but I recently listened to the Cotton Candy

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<v Speaker 3>two parter. I was especially drawn to these episodes because

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<v Speaker 3>I used to work at a movie theater with a

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<v Speaker 3>cotton candy machine, and not to toot my own horn,

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<v Speaker 3>but I got pretty skilled at spinning some of the biggest,

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<v Speaker 3>fluffiest bags of cotton candy you've ever seen. One thing

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<v Speaker 3>I don't think was touched on, though it's probably obvious,

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<v Speaker 3>is just how sticky the process is. Most cotton candy

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<v Speaker 3>sessions left me covered in tiny sugar crystals embedded in

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<v Speaker 3>my hair and eyelashes, to the point where I felt

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<v Speaker 3>the need to wash my face afterwards. But it gets worse.

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<v Speaker 3>Sometimes after running around cleaning theaters, I'd be sweaty and

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<v Speaker 3>we'd need to whip up a fresh batch. Oh, the

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<v Speaker 3>sugar would stick to my face and even my eyelids.

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<v Speaker 3>Just imagine trying to blink with sticky eyelids. Despite all that,

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<v Speaker 3>making cotton candy was ridiculously fun and none of it

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<v Speaker 3>stopped me from becoming the resident cotton candy master at

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<v Speaker 3>my theater. Anyway. Great episodes, awesome job guys. Thank you Eric.

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<v Speaker 3>That is so gross. Just thinking about that makes my

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<v Speaker 3>skin crawl, and so I have no choice but to

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<v Speaker 3>respect your courage.

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<v Speaker 2>Yeah, it shockingly close to killer clowns from outer space

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<v Speaker 2>territory with that story.

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<v Speaker 3>Yeah, makes you think they could get you cocooned pretty easy. Yeah.

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<v Speaker 2>I did not have any cotton candy over the break,

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<v Speaker 2>but I went with my family and some friends to

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<v Speaker 2>San Diego Zoo, which is a pretty amazing zoo. A

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<v Speaker 2>lot of cotton candy there. Having done these episodes about

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<v Speaker 2>cotton candy, I was just seeing it everywhere in ways

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<v Speaker 2>that I normally maybe don't pay that much attention to it.

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<v Speaker 2>But I did feel a certain residual stickiness at times.

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<v Speaker 2>When I watched a child consuming a big cone of

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<v Speaker 2>the stuff, you can almost like feel the sugar in

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<v Speaker 2>the air. Occasionally there was some discarded on the ground,

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<v Speaker 2>and there was actually at least one like automated cotton

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<v Speaker 2>candy machine. I didn't really spend much time with it

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<v Speaker 2>because I want to attract any of the children and

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<v Speaker 2>our party over to it. But I was tempted at

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<v Speaker 2>that point. I was like, if this, if no one

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<v Speaker 2>was around, I might put some money in this machine

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<v Speaker 2>and see what happens.

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<v Speaker 3>Sneak away for stealth adult cotton candy.

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<v Speaker 2>Yeah, all right, This next one comes to us from Phoenix.

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<v Speaker 2>Phoenix says, good morning. I enjoyed the Invention podcast so

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<v Speaker 2>much and was sad to see it go, So I'm

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<v Speaker 2>always thrilled when you guys dive back into these topics. Now,

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<v Speaker 2>what is Phoenix talking about here? Well, for a short while,

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<v Speaker 2>Joe and I had a separate podcast titled Invention. You

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<v Speaker 2>can still find that podcast feed out there, and we

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<v Speaker 2>did I don't remember how many episodes, each one tied

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<v Speaker 2>to an Invention. Now, at some point or another, I

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<v Speaker 2>think all those episodes were republished in the Stuff to

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<v Speaker 2>Blow your Mind podcast feed, and we've continued on with

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<v Speaker 2>the spirit of those episodes, occasionally doing some sort of

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<v Speaker 2>an Invention themed episode, and we usually work the world

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<v Speaker 2>Invention into the title, just to make it clear that's right.

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<v Speaker 3>So while we no longer produce Invention as a separate

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<v Speaker 3>show on its own feed on a set schedule it

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<v Speaker 3>lives on, we will still keep doing these episodes from

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<v Speaker 3>time to time.

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<v Speaker 2>Yeah, I mean go check them out. The show does

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<v Speaker 2>get listened, so I stand by those episodes. There were

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<v Speaker 2>a lot of fun anyway, Phoenix continues, I just wanted

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<v Speaker 2>to share a little something. As a teenager, I worked

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<v Speaker 2>at an amusement park and occasionally I had to make

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<v Speaker 2>the cotton candy. As you guys stated, it has a

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<v Speaker 2>very short shelf life. Part of this is because it

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<v Speaker 2>absorbs the moisture in the air. But another attractive feature

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<v Speaker 2>of cotton candy is how light an aira it is,

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<v Speaker 2>and that does not last very long because it starts

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<v Speaker 2>to collapse and condense under its own weight within a

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<v Speaker 2>matter of hours, and so by the second half of

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<v Speaker 2>the day, any pre made cotton candy was pretty second

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<v Speaker 2>rate to the fresh stuff. We actually wouldn't make very

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<v Speaker 2>much of it, and someone would make new bags every

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<v Speaker 2>few hours to try and keep it nice and fresh

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<v Speaker 2>for the patrons. Thanks again for all ways sharing such

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<v Speaker 2>amazing and wonderful topics, Phoenix.

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<v Speaker 3>I wonder if there is a selection process in play,

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<v Speaker 3>like the cotton candy vendor sees a person approaching and decides,

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<v Speaker 3>does this person are they gonna be the type who

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<v Speaker 3>complains if they don't get the good stuff? Or is

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<v Speaker 3>this a kid who's not going to know the difference,

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<v Speaker 3>Like you can give them the old collapsing cotton candy

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<v Speaker 3>and it's just just fine.

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<v Speaker 2>Yeah, Or maybe do they need a little enticing Do

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<v Speaker 2>they need to see someone making cotton candy to sort

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<v Speaker 2>of cinch the cell to the child and or the

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<v Speaker 2>parents who have to produce the money that sort of thing.

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<v Speaker 3>Can you imagine though, the parent who tries to bargain

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<v Speaker 3>with you, So the parents like, no, no, I'm not

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<v Speaker 3>paying for that old cotton candy, I need fresh stuff

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<v Speaker 3>for my kid.

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<v Speaker 2>Yeah, oh, I can imagine that. I can also imagine

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<v Speaker 2>the reverse. You're like, don't give me that fresh stuff.

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<v Speaker 2>I want the old stuff. Give it to me a discount.

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<v Speaker 3>Oh well, speaking of that, that will tie into our

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<v Speaker 3>next message. Are you ready for me to read this

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<v Speaker 3>one from Sheldean.

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<v Speaker 2>Let's do.

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<v Speaker 3>Okay? Sheldyan says, Hi, Rob, Joe, and JJ, it's such

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<v Speaker 3>a weird coincidence that you did the two episodes on

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<v Speaker 3>cotton candy because it's been on my mind recently. I

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<v Speaker 3>loved it as a kid, but as an almost fifty

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<v Speaker 3>year old, it's just too sweet now. So I'm South

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<v Speaker 3>African and we call it candy floss there. My recollection

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<v Speaker 3>is that as a child, we'd have to go to

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<v Speaker 3>the beach to get candy floss. There were usually vendors

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<v Speaker 3>selling various types of foods, and if we wanted fresh floss,

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<v Speaker 3>that was the place to go. But we could also

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<v Speaker 3>usually get it at markets, fairs or fetes. Another interesting

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<v Speaker 3>variance is we'd get it in a plastic bag. I've

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<v Speaker 3>never had candyfloss on a stick or holder of any type.

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<v Speaker 3>Even when my kids were young, that was the way

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<v Speaker 3>of it, but by the time they came along early

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<v Speaker 3>two thousands, we could also buy candy floss at the

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<v Speaker 3>shops in small airtight buckets. In Afrikaans, it's got a

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<v Speaker 3>great name spook a sim or maybe a spoke a sim,

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<v Speaker 3>which means ghost breath, keep up the great work regards Sheldane.

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<v Speaker 3>And then here's the ps that ties into what you

0:12:08.200 --> 0:12:11.640
<v Speaker 3>were saying, rob Ps. I forgot to add having candy

0:12:11.640 --> 0:12:14.760
<v Speaker 3>floss in a plastic bag also helped create the way

0:12:15.000 --> 0:12:18.080
<v Speaker 3>I like to eat it. You'd have to unknot the bag,

0:12:18.120 --> 0:12:20.679
<v Speaker 3>which is always puffed full of air, and then I'd

0:12:20.720 --> 0:12:25.400
<v Speaker 3>squash the floss flat into a sugary piece of crunchy board.

0:12:25.679 --> 0:12:26.960
<v Speaker 3>The best way to eat.

0:12:26.720 --> 0:12:31.280
<v Speaker 2>It, I mean, fair enough, that's just not a wrong

0:12:31.320 --> 0:12:32.120
<v Speaker 2>way to eat cotton.

0:12:32.559 --> 0:12:34.800
<v Speaker 3>I say, with affection, what is wrong with you?

0:12:37.320 --> 0:12:40.440
<v Speaker 2>Well? I will say that had I grown up being

0:12:40.480 --> 0:12:44.280
<v Speaker 2>exposed to cotton candy as ghost breath candy, I would

0:12:44.280 --> 0:12:46.120
<v Speaker 2>have probably had it a bit more, and maybe it

0:12:46.120 --> 0:12:50.200
<v Speaker 2>would have a warmer place in my heart. All right,

0:12:50.280 --> 0:12:52.560
<v Speaker 2>let's see what else do we have from the cotton

0:12:52.640 --> 0:12:56.360
<v Speaker 2>candy archives here. This one comes to us from Pat.

0:13:01.760 --> 0:13:04.880
<v Speaker 2>Pat says, I very much enjoyed your episodes on cotton candy. However,

0:13:05.120 --> 0:13:08.920
<v Speaker 2>I truly dislike cotton candy itself. I am not one

0:13:08.920 --> 0:13:11.600
<v Speaker 2>to eat many sweets. In fact, after the abundance of

0:13:11.640 --> 0:13:13.720
<v Speaker 2>candy from Halloween and Easter, I give a lot of

0:13:13.720 --> 0:13:16.920
<v Speaker 2>it to my sister, who consumed it quite quickly. I

0:13:16.960 --> 0:13:20.160
<v Speaker 2>took days to eat all of mine. Mom sometimes asked

0:13:20.160 --> 0:13:22.520
<v Speaker 2>if I was taking so long just to torture my sister,

0:13:22.600 --> 0:13:25.680
<v Speaker 2>and it did indeed torture her. As much as I

0:13:25.720 --> 0:13:29.080
<v Speaker 2>dislike cotton candy, I do like a pinch of maple

0:13:29.200 --> 0:13:32.720
<v Speaker 2>cotton candy. Living in the Northeast, we are blessed with

0:13:32.760 --> 0:13:36.080
<v Speaker 2>sugar maple trees, and someone must have decided to use

0:13:36.280 --> 0:13:39.960
<v Speaker 2>maple sugar to make cotton candy. It is amazing. One

0:13:40.000 --> 0:13:42.600
<v Speaker 2>pinch is enough so I can avoid a sugar crash,

0:13:42.760 --> 0:13:46.080
<v Speaker 2>but I'm always tempted to eat more. I'm glad I

0:13:46.160 --> 0:13:50.040
<v Speaker 2>found your podcast and the fantastic variety of subjects you cover.

0:13:50.840 --> 0:13:54.400
<v Speaker 3>Oh thanks so much, Pat, You know you've got me interested.

0:13:54.679 --> 0:13:57.360
<v Speaker 3>I am not usually very into the idea of eating

0:13:57.400 --> 0:13:59.719
<v Speaker 3>cotton candy, but maple flavored I would give that.

0:13:59.760 --> 0:14:02.319
<v Speaker 2>Ah, I would give it. I would give it a pinch,

0:14:02.840 --> 0:14:04.800
<v Speaker 2>much like this. I probably have a pinch of it,

0:14:05.120 --> 0:14:06.720
<v Speaker 2>and then I don't know, hold the rest under a

0:14:06.720 --> 0:14:11.320
<v Speaker 2>water foucet or something to destroy the evidence. But yeah,

0:14:12.160 --> 0:14:15.000
<v Speaker 2>that does sound interesting. Oh, by the way, Pat also

0:14:15.360 --> 0:14:18.880
<v Speaker 2>had a question about where to find the old Invention episodes.

0:14:20.560 --> 0:14:22.640
<v Speaker 2>You should still be able to find that podcast feed

0:14:22.720 --> 0:14:26.200
<v Speaker 2>out there wherever you get your podcasts, just look for

0:14:26.520 --> 0:14:30.520
<v Speaker 2>Invention or Invention podcast. Our names are going to be

0:14:30.600 --> 0:14:34.080
<v Speaker 2>mentioned in the about data. But I just did a

0:14:34.120 --> 0:14:38.120
<v Speaker 2>quick internet search and it seemed to come up pretty

0:14:38.160 --> 0:14:40.880
<v Speaker 2>easily on my end, So just turn around you should

0:14:40.920 --> 0:14:43.400
<v Speaker 2>be able to find it. If you're having trouble, email

0:14:43.480 --> 0:14:44.600
<v Speaker 2>us and we'll send you a link.

0:14:45.200 --> 0:14:47.960
<v Speaker 3>Side note, You can, of course listen however you want,

0:14:48.040 --> 0:14:49.840
<v Speaker 3>but if you just want to listen in a way

0:14:49.880 --> 0:14:51.640
<v Speaker 3>that helps us out the most, you might want to

0:14:51.640 --> 0:14:54.440
<v Speaker 3>listen if we've rerun the episode, listen to the one

0:14:54.520 --> 0:14:56.880
<v Speaker 3>on the stuff to blow your mind. Feed that gives

0:14:56.960 --> 0:14:57.760
<v Speaker 3>us another little ping.

0:14:58.240 --> 0:15:08.960
<v Speaker 2>Yeah, yeah, absolutely, all right, Joe, have we had enough

0:15:09.000 --> 0:15:10.120
<v Speaker 2>cotton candy for the day?

0:15:10.560 --> 0:15:13.080
<v Speaker 3>I think we have. Let's see, how about we do

0:15:13.120 --> 0:15:16.000
<v Speaker 3>some messages in response to our series on pretend play.

0:15:16.560 --> 0:15:20.040
<v Speaker 3>I'm gonna read this one from Sauna. Saana says hello

0:15:20.080 --> 0:15:23.240
<v Speaker 3>from Sweden. I've been listening to you guys for years

0:15:23.280 --> 0:15:27.000
<v Speaker 3>now and the pretend Play episodes were really interesting. I

0:15:27.120 --> 0:15:30.320
<v Speaker 3>work as a dentist in northern Sweden and I use

0:15:30.400 --> 0:15:34.440
<v Speaker 3>pretend play every week. The child patients, mostly between the

0:15:34.480 --> 0:15:37.200
<v Speaker 3>ages of four to seven, who have to go through

0:15:37.240 --> 0:15:39.600
<v Speaker 3>a filling of a tooth, can be a bit nervous

0:15:39.720 --> 0:15:43.720
<v Speaker 3>or scared by creating a story or a play around

0:15:43.800 --> 0:15:47.000
<v Speaker 3>the treatment, the whole thing usually goes more smoothly. The

0:15:47.120 --> 0:15:51.360
<v Speaker 3>drill becomes the shower, the cavity is the house of

0:15:51.400 --> 0:15:56.880
<v Speaker 3>the tooth bacteria or tooth trolls in Swedish what and

0:15:56.960 --> 0:16:01.480
<v Speaker 3>the filling material is the door to prevent new tooth

0:16:01.520 --> 0:16:05.400
<v Speaker 3>trolls going back into the tooth. The young children can

0:16:05.440 --> 0:16:08.160
<v Speaker 3>become really invested in the stories and it makes the

0:16:08.200 --> 0:16:12.960
<v Speaker 3>experience a bit more fun. Best regards Sauna, oh.

0:16:12.800 --> 0:16:17.120
<v Speaker 2>Man, tooth trolls, ghost Breath, There's so many wonders here

0:16:17.160 --> 0:16:19.440
<v Speaker 2>that I missed out on, while not missing out on

0:16:19.480 --> 0:16:22.840
<v Speaker 2>the things that they're not the awful things that bear the.

0:16:22.880 --> 0:16:25.760
<v Speaker 3>Name the House of the tooth Bacteria one of the

0:16:25.840 --> 0:16:27.520
<v Speaker 3>lesser known Christopher Lee films.

0:16:27.760 --> 0:16:30.280
<v Speaker 2>Yeah, but this is.

0:16:30.440 --> 0:16:32.840
<v Speaker 3>Delightful to think about, and it makes me wonder how

0:16:33.720 --> 0:16:36.440
<v Speaker 3>like you couldn't do this with adults because they would

0:16:36.480 --> 0:16:39.280
<v Speaker 3>be like, why are you playing this game and talking

0:16:39.320 --> 0:16:41.840
<v Speaker 3>about tooth trolls. I'm an adult. You know, people would

0:16:41.840 --> 0:16:45.800
<v Speaker 3>probably feel disrespected by trying to do this with them.

0:16:45.800 --> 0:16:48.400
<v Speaker 3>But I feel like if adults could be game for

0:16:48.520 --> 0:16:50.720
<v Speaker 3>this kind of thing, it might actually help.

0:16:52.000 --> 0:16:55.920
<v Speaker 2>Yeah, most adults are probably not going to react fondly too.

0:16:56.040 --> 0:17:00.200
<v Speaker 2>You've got tooth trolls, so you have to sugarcoat it.

0:17:00.760 --> 0:17:03.120
<v Speaker 3>Or you may not sugarcoat it, Like you can't play

0:17:03.200 --> 0:17:06.360
<v Speaker 3>the pretend game with adults. But even if it might

0:17:06.440 --> 0:17:09.280
<v Speaker 3>actually help with adults, if they were a game for it.

0:17:09.200 --> 0:17:11.560
<v Speaker 2>I think they. I think most adults would would and

0:17:11.760 --> 0:17:14.320
<v Speaker 2>would be in our game for a different sort of

0:17:14.320 --> 0:17:17.480
<v Speaker 2>sugar coating, you know. I feel like, you know, sometimes

0:17:17.480 --> 0:17:21.879
<v Speaker 2>it's just it's freshened up clinical language and so forth,

0:17:22.880 --> 0:17:26.480
<v Speaker 2>And I mean it's probably gonna vary worldview to worldview.

0:17:26.520 --> 0:17:28.320
<v Speaker 2>But yeah, I think I think you still have to

0:17:28.359 --> 0:17:32.119
<v Speaker 2>sugarcoat things for adults in these situations. It's just a

0:17:32.160 --> 0:17:34.560
<v Speaker 2>different form of sugarcoating, and maybe it's a little less

0:17:34.960 --> 0:17:37.760
<v Speaker 2>overtly fun. But I think you should maybe have the

0:17:37.760 --> 0:17:40.800
<v Speaker 2>option to sign on for pretend play. Why not? All right?

0:17:40.840 --> 0:17:48.399
<v Speaker 2>This one comes to us from Matt. Matt says, Hey, guys,

0:17:48.680 --> 0:17:50.360
<v Speaker 2>I thought I might drop you a line about something

0:17:50.400 --> 0:17:53.800
<v Speaker 2>I remember from my early childhood with regard to imaginative play.

0:17:54.400 --> 0:17:56.960
<v Speaker 2>There's one experience in particular that stands out in my mind.

0:17:57.040 --> 0:17:59.480
<v Speaker 2>I grew up in a highly religious family that had

0:17:59.520 --> 0:18:02.960
<v Speaker 2>the rule that we could not play outside on Sunday

0:18:03.240 --> 0:18:06.080
<v Speaker 2>to keep the Sabbath day holy and all that. On

0:18:06.200 --> 0:18:08.840
<v Speaker 2>the day in question, I snuck outside to do just that,

0:18:09.000 --> 0:18:12.400
<v Speaker 2>play outside with the other neighborhood kids. They were pretending

0:18:12.480 --> 0:18:14.879
<v Speaker 2>they were in a gang, and we were carrying around

0:18:14.920 --> 0:18:18.080
<v Speaker 2>sticks with grape fruits stuck to the end that they

0:18:18.119 --> 0:18:20.960
<v Speaker 2>called their weapons. This was in Florida, by the way,

0:18:21.040 --> 0:18:23.200
<v Speaker 2>so such fruit trees were not hard to come by.

0:18:23.760 --> 0:18:25.640
<v Speaker 2>Now the part I want to mention about this. At

0:18:25.640 --> 0:18:28.440
<v Speaker 2>my young age, I was uncertain whether they were pretending

0:18:28.600 --> 0:18:31.320
<v Speaker 2>or if they actually believed they were a threatening cohort

0:18:31.600 --> 0:18:35.960
<v Speaker 2>with these deadly fruits on sticks. Additional relevant information, I

0:18:36.000 --> 0:18:38.640
<v Speaker 2>believe that I might have some level of autism, though

0:18:38.640 --> 0:18:41.760
<v Speaker 2>no diagnosis was ever attempted due to my parents' religious

0:18:41.800 --> 0:18:45.119
<v Speaker 2>and political beliefs, and I am unsure if that uncertainty

0:18:45.160 --> 0:18:47.000
<v Speaker 2>is a sign of that or if it is a

0:18:47.040 --> 0:18:49.840
<v Speaker 2>common experience as we learned to model the minds and

0:18:49.880 --> 0:18:52.399
<v Speaker 2>behaviors of others. But in any case, I thought it

0:18:52.480 --> 0:18:54.960
<v Speaker 2>might be an interesting point of discussion for you guys.

0:18:55.320 --> 0:18:58.399
<v Speaker 2>Whatever your thoughts, I'd be interested to hear them this

0:18:58.560 --> 0:19:03.000
<v Speaker 2>regarding how to evaluate the gang of children whether they

0:19:03.000 --> 0:19:05.040
<v Speaker 2>were pretending to be in a gang or actually in

0:19:05.080 --> 0:19:05.480
<v Speaker 2>a gang.

0:19:07.800 --> 0:19:09.680
<v Speaker 3>They thought they were actually in a gang.

0:19:09.760 --> 0:19:12.400
<v Speaker 2>Yeah, yeah, I guess it's it's kind of difficult right

0:19:12.480 --> 0:19:16.880
<v Speaker 2>to gauge that because I'm just thinking, like the mindset

0:19:16.920 --> 0:19:18.720
<v Speaker 2>of the kids who are pretending to be in a gang,

0:19:18.760 --> 0:19:21.200
<v Speaker 2>At what point does that become being in a gang?

0:19:21.240 --> 0:19:24.399
<v Speaker 2>You know, even if you set out to pretend. Like

0:19:24.480 --> 0:19:27.960
<v Speaker 2>I remember part of my childhood, this would have been

0:19:27.960 --> 0:19:32.280
<v Speaker 2>in a few years that I lived in Canada, there

0:19:32.280 --> 0:19:36.160
<v Speaker 2>were kids that had these sticks with nails through them,

0:19:36.240 --> 0:19:37.960
<v Speaker 2>so it was like very mad Max and I guess

0:19:37.960 --> 0:19:40.119
<v Speaker 2>this was around the time of like road War or something,

0:19:40.960 --> 0:19:42.760
<v Speaker 2>but they were they were sticks with nails through them,

0:19:42.800 --> 0:19:45.439
<v Speaker 2>Like you could have messed somebody up with these, but

0:19:45.480 --> 0:19:48.560
<v Speaker 2>they were toys and the kids kind of acted like

0:19:48.640 --> 0:19:51.720
<v Speaker 2>they were in some sort of a post apocalyptic gang.

0:19:53.440 --> 0:19:55.440
<v Speaker 2>But since they had sticks with nails through them, who's

0:19:55.480 --> 0:19:56.199
<v Speaker 2>to say they were not.

0:19:56.920 --> 0:19:59.639
<v Speaker 3>Yeah, that race is a really good point. There. There

0:19:59.680 --> 0:20:03.560
<v Speaker 3>were different types of sort of pretend architecture for pretend

0:20:03.600 --> 0:20:07.639
<v Speaker 3>to play. So one is where the as if world

0:20:07.840 --> 0:20:12.760
<v Speaker 3>is changing objective facts about reality. The banana is really

0:20:12.840 --> 0:20:15.840
<v Speaker 3>objectively not a phone, but you can pretend it is.

0:20:16.440 --> 0:20:18.640
<v Speaker 3>But there are other types of pretend play where what

0:20:18.680 --> 0:20:23.560
<v Speaker 3>you're pretending about our mind states and intentions. So like

0:20:23.680 --> 0:20:28.640
<v Speaker 3>play fighting, the pretense there is like we're acting as

0:20:28.720 --> 0:20:32.000
<v Speaker 3>if we were really fighting, but we're not really fighting,

0:20:32.320 --> 0:20:34.960
<v Speaker 3>and all it would take for that to become really

0:20:34.960 --> 0:20:38.639
<v Speaker 3>fighting is a change in the minds and intentions of

0:20:38.720 --> 0:20:42.400
<v Speaker 3>the people playing, you know, so you're not like pretending

0:20:42.440 --> 0:20:45.119
<v Speaker 3>about some objective external fact in the world. You're just

0:20:45.160 --> 0:20:49.520
<v Speaker 3>pretending about what we're doing. And a gang is kind

0:20:49.520 --> 0:20:52.760
<v Speaker 3>of like that, isn't it. Yeah, Yeah, And to extend

0:20:52.760 --> 0:20:56.280
<v Speaker 3>from that point, I think with that second type of pretend,

0:20:56.320 --> 0:20:59.440
<v Speaker 3>where you're not pretending about objective facts in the world,

0:20:59.480 --> 0:21:03.800
<v Speaker 3>but you're pretending about intentions, it's easier to blur the

0:21:03.840 --> 0:21:09.440
<v Speaker 3>line between are we between are we just suspending disbelief

0:21:09.440 --> 0:21:11.840
<v Speaker 3>for the purpose of play, or do we really believe this?

0:21:11.960 --> 0:21:13.320
<v Speaker 3>It can kind of you can kind of get to

0:21:13.359 --> 0:21:17.119
<v Speaker 3>the point where you are intentionally not looking at that line.

0:21:17.240 --> 0:21:21.000
<v Speaker 3>You're like not, You're willing yourself not to notice whether

0:21:21.080 --> 0:21:23.119
<v Speaker 3>you are doing one or the other, at least for

0:21:23.240 --> 0:21:26.080
<v Speaker 3>the moment, and then something might an event might kind

0:21:26.119 --> 0:21:29.240
<v Speaker 3>of force you to acknowledge the line again and say, no,

0:21:29.359 --> 0:21:31.879
<v Speaker 3>this is really what we're doing. But I think a

0:21:31.880 --> 0:21:34.160
<v Speaker 3>lot of play as children, like when you get into

0:21:34.160 --> 0:21:38.600
<v Speaker 3>a kind of task, like, oh, we're trying to accomplish that,

0:21:38.680 --> 0:21:41.600
<v Speaker 3>you know. A listener wrote in I think at one

0:21:41.600 --> 0:21:47.800
<v Speaker 3>point about like collecting certain cicada shells to like get

0:21:47.840 --> 0:21:50.280
<v Speaker 3>a great bounty of money or something. You know, it's

0:21:50.359 --> 0:21:52.800
<v Speaker 3>like there's an objective fact about the world, like whether

0:21:52.840 --> 0:21:54.880
<v Speaker 3>you could actually get the money, but you're not at

0:21:54.880 --> 0:21:57.760
<v Speaker 3>that point yet whether you have to test whether that's true.

0:21:58.680 --> 0:22:01.119
<v Speaker 3>So instead you're just at the tensions point, are we

0:22:01.240 --> 0:22:06.880
<v Speaker 3>actually harvesting these cicada exoskeletons in order to get millions

0:22:06.920 --> 0:22:10.920
<v Speaker 3>of dollars? And you can kind just not look at

0:22:10.960 --> 0:22:13.240
<v Speaker 3>the fact of whether you really believe you're going to

0:22:13.320 --> 0:22:15.280
<v Speaker 3>get the money or not. You're just in the task

0:22:15.359 --> 0:22:16.679
<v Speaker 3>and you're fully absorbed.

0:22:17.080 --> 0:22:20.600
<v Speaker 2>Yeah, yeah, that's a great point. Now Matt continues here,

0:22:20.600 --> 0:22:22.560
<v Speaker 2>Matt says, side note on a topic you covered in

0:22:22.600 --> 0:22:25.320
<v Speaker 2>the same episodes. When I was little, I wanted to

0:22:25.680 --> 0:22:28.479
<v Speaker 2>an imaginary friend so bad, but I didn't know how

0:22:28.520 --> 0:22:30.560
<v Speaker 2>to make that happen. In a way I imagined it.

0:22:31.080 --> 0:22:33.720
<v Speaker 2>I thought such a friend would have their own autonomous

0:22:33.800 --> 0:22:36.480
<v Speaker 2>mind and personality. But every time I tried to conjure one,

0:22:37.280 --> 0:22:40.240
<v Speaker 2>I was well aware that I was the one actively

0:22:40.320 --> 0:22:43.159
<v Speaker 2>choosing the choices of anyone I imagined. I had a

0:22:43.240 --> 0:22:46.879
<v Speaker 2>very strong imagination, but there definitely were no illusions or

0:22:46.880 --> 0:22:50.080
<v Speaker 2>confusion about the separation between what was real and what

0:22:50.160 --> 0:22:53.400
<v Speaker 2>I was imagining, and I was sad about that. Anyways,

0:22:53.440 --> 0:22:55.320
<v Speaker 2>loved the show and look forward to continuing to hear

0:22:55.359 --> 0:22:59.639
<v Speaker 2>more of it as time moves forward. Thanks Matt. I

0:22:59.680 --> 0:23:04.439
<v Speaker 2>love this point Matt raises about like wanting an imaginary friend,

0:23:06.000 --> 0:23:10.760
<v Speaker 2>because you know, I can't relate to that, to that specifically,

0:23:11.280 --> 0:23:14.680
<v Speaker 2>but I think you know, at different points in life

0:23:14.720 --> 0:23:19.280
<v Speaker 2>you sometimes encounter like different models of this, like people

0:23:19.359 --> 0:23:23.960
<v Speaker 2>who have on one level or another claimed or proclaimed

0:23:24.000 --> 0:23:27.080
<v Speaker 2>to have connection to the unseen world, you know, be

0:23:27.119 --> 0:23:31.600
<v Speaker 2>it like in a religious experience or you know, some

0:23:31.640 --> 0:23:35.320
<v Speaker 2>sort of like paranormal experience. However, it's you know, framed

0:23:35.320 --> 0:23:39.240
<v Speaker 2>in a particular worldview or belief system. And if you

0:23:39.440 --> 0:23:42.360
<v Speaker 2>want that thing and you believe that it is accessible

0:23:43.200 --> 0:23:46.119
<v Speaker 2>at least on some level, and then you know pine

0:23:46.160 --> 0:23:48.480
<v Speaker 2>for it, you know, you can feel left out for

0:23:48.600 --> 0:23:51.240
<v Speaker 2>not having it. Why like why have I not seen

0:23:51.280 --> 0:23:54.000
<v Speaker 2>the lights in the sky, Why have I not heard

0:23:54.240 --> 0:23:56.600
<v Speaker 2>like the voice of God in my head? And so forth?

0:23:57.000 --> 0:23:59.000
<v Speaker 2>And of course there are a million different answers for

0:23:59.680 --> 0:24:02.680
<v Speaker 2>why that is going to be the case, and they

0:24:02.680 --> 0:24:05.199
<v Speaker 2>have to do with everything from the sorts of stories

0:24:05.240 --> 0:24:08.480
<v Speaker 2>were told and how they relate it to objective reality,

0:24:09.240 --> 0:24:13.600
<v Speaker 2>also to just the different mental experiences that people have

0:24:13.680 --> 0:24:15.000
<v Speaker 2>across different mind states.

0:24:15.720 --> 0:24:21.159
<v Speaker 3>Yeah, that's all true. I also wonder about I don't know, Matt,

0:24:21.200 --> 0:24:24.040
<v Speaker 3>I don't know if you have an opinion on whether

0:24:24.080 --> 0:24:25.800
<v Speaker 3>this is the case or not, But I wonder if

0:24:26.080 --> 0:24:30.520
<v Speaker 3>when you're saying you're sad about your inability to have

0:24:30.560 --> 0:24:35.160
<v Speaker 3>an imaginary friend that had thoughts and actions that seemed

0:24:35.200 --> 0:24:38.160
<v Speaker 3>to come from outside yourself, were you said just simply

0:24:38.200 --> 0:24:42.200
<v Speaker 3>because like that couldn't happen, that your imaginary friend all

0:24:42.240 --> 0:24:44.480
<v Speaker 3>came from you and you were conscious of that, or

0:24:44.480 --> 0:24:47.359
<v Speaker 3>were you said in a relative sense because you thought

0:24:47.560 --> 0:24:52.040
<v Speaker 3>maybe other kids had had more of a feeling that

0:24:52.160 --> 0:24:55.520
<v Speaker 3>their imaginary friend's actions came from outside theirselves, and that like,

0:24:55.640 --> 0:24:59.560
<v Speaker 3>relative to their experience, you couldn't have the same experience.

0:25:00.040 --> 0:25:01.120
<v Speaker 3>H Does that make sense?

0:25:02.240 --> 0:25:02.480
<v Speaker 2>Yeah?

0:25:02.640 --> 0:25:05.240
<v Speaker 3>Yeah, in which case, I guess that also raises the

0:25:05.320 --> 0:25:08.600
<v Speaker 3>question like were the other kids actually able to feel

0:25:08.600 --> 0:25:11.760
<v Speaker 3>like their imaginary friends were coming from outside them or

0:25:11.800 --> 0:25:14.640
<v Speaker 3>is that just how it looked from the outside. Actually,

0:25:14.680 --> 0:25:18.280
<v Speaker 3>on the subject of pretend play feeling real to kids,

0:25:18.359 --> 0:25:21.439
<v Speaker 3>like the question of whether you know you're pretending or not,

0:25:21.560 --> 0:25:23.800
<v Speaker 3>or whether you remember in the moment that you're pretending,

0:25:24.520 --> 0:25:32.320
<v Speaker 3>we also got this message from Joy Joy, says Dear

0:25:32.400 --> 0:25:35.840
<v Speaker 3>Robert and Joe. The discussion on how much children believe

0:25:36.040 --> 0:25:39.199
<v Speaker 3>the things they pretend brought to mind an instance of

0:25:39.240 --> 0:25:42.200
<v Speaker 3>ongoing pretend play. Two of my friends and I devised

0:25:42.280 --> 0:25:46.000
<v Speaker 3>during recesses in elementary school. One day, we found the

0:25:46.080 --> 0:25:50.000
<v Speaker 3>name Penny written on a piece of litter. We decided

0:25:50.119 --> 0:25:54.359
<v Speaker 3>Penny was a ghost who haunted the school. Penny was good,

0:25:54.520 --> 0:25:57.920
<v Speaker 3>but there was another ghost who was evil. For many months,

0:25:58.000 --> 0:26:00.879
<v Speaker 3>we spent our recesses trying to solve the mystery of

0:26:00.960 --> 0:26:06.359
<v Speaker 3>the haunting, which included occasional cases of pretend possession. Looking

0:26:06.359 --> 0:26:08.600
<v Speaker 3>back on that pretend play a couple of years later,

0:26:08.680 --> 0:26:11.399
<v Speaker 3>it struck me that we never paused to consider the

0:26:11.480 --> 0:26:15.040
<v Speaker 3>question of if the ghosts were real or just a

0:26:15.080 --> 0:26:19.040
<v Speaker 3>collaborative story. We were making up our searches, and any

0:26:19.080 --> 0:26:22.240
<v Speaker 3>incidents of possession would end as soon as the school

0:26:22.320 --> 0:26:25.560
<v Speaker 3>bell rang to call us back from recess. And when

0:26:25.640 --> 0:26:28.639
<v Speaker 3>one of my friends accidentally broke something of mine, a

0:26:28.680 --> 0:26:31.320
<v Speaker 3>purple ribbon that I carried around and pretended was a

0:26:31.400 --> 0:26:35.960
<v Speaker 3>dragon in unrelated pretend play, broke that while pretending to

0:26:36.000 --> 0:26:40.240
<v Speaker 3>be possessed, I definitely blamed her and not the ghost.

0:26:40.680 --> 0:26:43.680
<v Speaker 3>So on some level we must have known it wasn't real,

0:26:44.080 --> 0:26:47.159
<v Speaker 3>but we pretended that we thought it was, even to

0:26:47.280 --> 0:26:52.679
<v Speaker 3>ourselves best regards. Joy, Well thanks Joy. Yeah, like we

0:26:52.720 --> 0:26:54.800
<v Speaker 3>were saying, that connects to what we were just talking about,

0:26:54.800 --> 0:26:58.560
<v Speaker 3>and it makes me think that they're actually like multiple

0:26:58.760 --> 0:27:03.040
<v Speaker 3>levels of the suspetn of disbelief. So you can engage

0:27:03.040 --> 0:27:06.919
<v Speaker 3>in sort of first order suspension of disbelief, where you

0:27:06.960 --> 0:27:09.320
<v Speaker 3>are just you enter a mind state where you can

0:27:09.359 --> 0:27:12.240
<v Speaker 3>participate in a pretend game or in a work of

0:27:12.280 --> 0:27:16.199
<v Speaker 3>fiction without constantly being interrupted by the thought that this

0:27:16.320 --> 0:27:18.080
<v Speaker 3>is not real. You can just sort of take it

0:27:18.160 --> 0:27:21.600
<v Speaker 3>as is in the moment, and that in a way

0:27:21.680 --> 0:27:26.560
<v Speaker 3>involves a second order suspension of disbelief, which is willing

0:27:26.680 --> 0:27:31.639
<v Speaker 3>yourself not to ask the question of or not to

0:27:31.840 --> 0:27:36.320
<v Speaker 3>examine the issue of whether you are suspending your disbelief

0:27:36.359 --> 0:27:39.320
<v Speaker 3>about the game or the story. Does that make sense?

0:27:39.760 --> 0:27:43.479
<v Speaker 2>Yeah, yeah, I mean yeah, it gets really complicated really

0:27:43.560 --> 0:27:47.280
<v Speaker 2>quickly when we get into contemplations of like the creative

0:27:47.320 --> 0:27:52.040
<v Speaker 2>process and the gameness as you say, of all of this.

0:27:52.800 --> 0:27:56.479
<v Speaker 3>Yeah, so we can be game for pretend while at

0:27:56.480 --> 0:28:00.000
<v Speaker 3>the same time, like if there is something that forced

0:28:00.320 --> 0:28:03.920
<v Speaker 3>us to exit that temporary state of gameness, we can

0:28:04.119 --> 0:28:07.040
<v Speaker 3>recall what's real and what's not, so it's not actually

0:28:07.080 --> 0:28:11.320
<v Speaker 3>a confusion, a confusion in a permanent sense about what's

0:28:11.320 --> 0:28:13.920
<v Speaker 3>real and what's not. But we get into these mind

0:28:13.920 --> 0:28:18.679
<v Speaker 3>states where we like, we don't want anything to uh,

0:28:18.760 --> 0:28:21.520
<v Speaker 3>to break the break the illusion, to force us to

0:28:21.640 --> 0:28:25.080
<v Speaker 3>consider whether we do really believe what we're doing or

0:28:25.119 --> 0:28:27.679
<v Speaker 3>what we're saying at the moment. We want to we

0:28:27.720 --> 0:28:31.080
<v Speaker 3>want to like not have to examine that question for

0:28:31.160 --> 0:28:31.800
<v Speaker 3>the time being.

0:28:32.240 --> 0:28:33.680
<v Speaker 2>Yeah. It reminds me of some of the examples we

0:28:33.720 --> 0:28:37.240
<v Speaker 2>talked about, UH, audience members cheering on a like a

0:28:37.280 --> 0:28:40.680
<v Speaker 2>pro wrestling performance, you know, yeah, where yeah, you don't

0:28:40.680 --> 0:28:43.840
<v Speaker 2>want to constantly come in and out of the willing

0:28:43.880 --> 0:28:46.280
<v Speaker 2>suspension disbelief. You want to you know, keep that going

0:28:46.360 --> 0:28:48.080
<v Speaker 2>for a little bit. It's going to be a massive

0:28:48.120 --> 0:28:49.720
<v Speaker 2>bummer if you have to keep coming in and out

0:28:49.720 --> 0:28:49.880
<v Speaker 2>of it.

0:28:50.000 --> 0:28:52.400
<v Speaker 3>Right, Yeah, so you like, you know it's not real,

0:28:52.480 --> 0:28:55.360
<v Speaker 3>but it's also annoying to you if somebody, if like you,

0:28:55.400 --> 0:28:57.080
<v Speaker 3>are reminded that it's not real.

0:28:57.320 --> 0:29:10.440
<v Speaker 2>Yeah, all right, let's go ahead and move on to

0:29:10.560 --> 0:29:15.520
<v Speaker 2>some weird house cinema listener mail here. This first one

0:29:15.520 --> 0:29:17.840
<v Speaker 2>I'm going to read. This one comes to us from Carrie.

0:29:18.360 --> 0:29:22.280
<v Speaker 2>Carrie writes Deer Robin Joe. Now that you've run the

0:29:22.320 --> 0:29:25.160
<v Speaker 2>thing from another world twice, unstuffed, blow your mind. I

0:29:25.200 --> 0:29:27.760
<v Speaker 2>believe one of those is where rerun you need to cover.

0:29:27.880 --> 0:29:32.000
<v Speaker 2>My other favorite sci fi monster movie nineteen fifty four's Them,

0:29:32.040 --> 0:29:36.600
<v Speaker 2>featuring giant radiation induced mutant ants running them up. It

0:29:36.680 --> 0:29:39.480
<v Speaker 2>has a good plot and work by some accomplished actors

0:29:39.560 --> 0:29:43.520
<v Speaker 2>James Whitmore, Edmund Gwyn, James Arnest a year before he

0:29:43.560 --> 0:29:46.520
<v Speaker 2>began his twenty year stint as Marshall Matt Dillon in

0:29:46.560 --> 0:29:50.560
<v Speaker 2>TV's gun Smoke, and small roles by Fess Parker, dub Taylor,

0:29:50.600 --> 0:29:53.160
<v Speaker 2>and an up and coming young actor named Leonard Nimoy.

0:29:53.680 --> 0:29:56.040
<v Speaker 2>For the time, most of the special effects are pretty

0:29:56.080 --> 0:29:58.680
<v Speaker 2>good too. If you haven't seen it, you should if

0:29:58.680 --> 0:30:01.560
<v Speaker 2>you've avoided doing so because of comments you've seen or

0:30:01.600 --> 0:30:04.760
<v Speaker 2>discounting it as schlock. Remember that kept you from watching

0:30:04.840 --> 0:30:07.000
<v Speaker 2>The Thing from Another World and you were glad you

0:30:07.080 --> 0:30:10.120
<v Speaker 2>finally did. Anyway, Please put it on your list and

0:30:10.240 --> 0:30:11.120
<v Speaker 2>keep up the good work.

0:30:11.440 --> 0:30:14.640
<v Speaker 3>Care Oh well, thank you, Kerry. Recommendation noted, and yes,

0:30:14.760 --> 0:30:16.640
<v Speaker 3>them has been on my list for a long time.

0:30:16.720 --> 0:30:19.280
<v Speaker 3>I know it's one of the peaks sort of atomic

0:30:19.360 --> 0:30:22.920
<v Speaker 3>age giant bug movies, which is fun. I've seen a

0:30:22.920 --> 0:30:24.880
<v Speaker 3>lot of the lesser ones, but I've never seen like

0:30:25.000 --> 0:30:28.000
<v Speaker 3>one of the main ones, which is this film. But

0:30:28.080 --> 0:30:30.760
<v Speaker 3>I was a little confused by your last comment about

0:30:31.120 --> 0:30:33.680
<v Speaker 3>avoiding it because it might be seen as schlock. Have

0:30:33.760 --> 0:30:37.040
<v Speaker 3>we ever expressed an unwillingness to watch schlock? That seems

0:30:37.120 --> 0:30:39.959
<v Speaker 3>quite out of character. This must be based on something

0:30:40.480 --> 0:30:43.000
<v Speaker 3>we said, or maybe I said, but I don't remember

0:30:43.000 --> 0:30:43.560
<v Speaker 3>what that would be.

0:30:44.080 --> 0:30:47.880
<v Speaker 2>I think what he's referring to here is that, in

0:30:47.960 --> 0:30:51.960
<v Speaker 2>talking about the original The Thing from Another World, I

0:30:52.000 --> 0:30:55.040
<v Speaker 2>believe I commented that I had always seen stills from

0:30:55.120 --> 0:30:58.680
<v Speaker 2>it and kind of discounted the picture because the monster

0:30:58.760 --> 0:31:03.440
<v Speaker 2>looked goofy, whereas if you if you experience the monster

0:31:03.640 --> 0:31:07.160
<v Speaker 2>within the context of the film, it's actually quite terrifying

0:31:07.360 --> 0:31:10.000
<v Speaker 2>and there's a great you know, there's great suspense in

0:31:10.040 --> 0:31:13.000
<v Speaker 2>that film. So I think that is what Carrie is

0:31:13.000 --> 0:31:13.440
<v Speaker 2>referring to.

0:31:14.360 --> 0:31:18.200
<v Speaker 3>That makes sense, and that's squares with my memory. Okay, well, yes,

0:31:18.280 --> 0:31:21.720
<v Speaker 3>we but we're not avoiding schlock. I guarantee you, Carrie,

0:31:21.800 --> 0:31:24.200
<v Speaker 3>I think you, if you've listened to the show enough,

0:31:24.240 --> 0:31:26.680
<v Speaker 3>we will engage with schlock. We go there.

0:31:27.040 --> 0:31:28.960
<v Speaker 2>Yeah, and I totally come back to them. I believe

0:31:28.960 --> 0:31:34.280
<v Speaker 2>I saw them or most of them on like a

0:31:34.360 --> 0:31:37.600
<v Speaker 2>daytime horror host scenario. This would have been the one

0:31:37.640 --> 0:31:41.600
<v Speaker 2>on like TBS that Grandma Monster hosted back in the day.

0:31:41.640 --> 0:31:45.360
<v Speaker 2>I distinctly remember watching at least part of this movie

0:31:45.760 --> 0:31:46.240
<v Speaker 2>on TV.

0:31:47.240 --> 0:31:50.880
<v Speaker 3>Al Lewis, Yeah, yeah, yeah, all right. This next message

0:31:50.920 --> 0:31:54.640
<v Speaker 3>about Weird House is from John. Subject line magic music

0:31:54.760 --> 0:31:56.800
<v Speaker 3>cue in the Brainiac movie.

0:31:57.280 --> 0:31:57.600
<v Speaker 2>Hmm.

0:31:58.160 --> 0:32:00.200
<v Speaker 3>This is something we asked about in the episode for

0:32:00.240 --> 0:32:02.720
<v Speaker 3>people to write in, and John answers a question we had.

0:32:08.080 --> 0:32:11.040
<v Speaker 3>John says, Hi, guys, I'm John from Salt Lake, long

0:32:11.200 --> 0:32:15.600
<v Speaker 3>longtime listener, occasional writer. I write music for movies, mostly

0:32:15.640 --> 0:32:19.120
<v Speaker 3>small independent films. In this week's Weird House Cinema Show,

0:32:19.160 --> 0:32:22.360
<v Speaker 3>you were talking about The Brainiac. At one point in

0:32:22.400 --> 0:32:26.400
<v Speaker 3>the movie, you mentioned a musical cue that sounds magical

0:32:26.600 --> 0:32:30.760
<v Speaker 3>or indicates that something magical has just happened, and asked

0:32:30.400 --> 0:32:34.680
<v Speaker 3>if it was a named thing. So, yeah, refresher, this

0:32:34.720 --> 0:32:37.640
<v Speaker 3>happened in the moment in The Brainiac where the count

0:32:37.880 --> 0:32:40.719
<v Speaker 3>is getting burned at the stake, but he looks up

0:32:40.720 --> 0:32:43.280
<v Speaker 3>and he sees a comet in the sky, and that

0:32:43.400 --> 0:32:46.480
<v Speaker 3>comet ends up being related to the brainy acts ability

0:32:46.480 --> 0:32:50.160
<v Speaker 3>to return hundreds of years later as this brain eating creature.

0:32:51.360 --> 0:32:55.080
<v Speaker 3>Unclear exactly whether the premise is fully magical or science fiction,

0:32:55.240 --> 0:32:58.600
<v Speaker 3>but it used this music cue on like a marimba

0:32:58.760 --> 0:33:02.520
<v Speaker 3>or a harp that was familiar to both of us.

0:33:02.560 --> 0:33:05.400
<v Speaker 3>It's like the thing that always triggers in a movie

0:33:05.480 --> 0:33:08.240
<v Speaker 3>or an old TV show when something magical or dream

0:33:08.400 --> 0:33:12.440
<v Speaker 3>like is happening, doulululu, you know. And we were asking,

0:33:12.520 --> 0:33:15.120
<v Speaker 3>is there a name for that musical cliche? So this

0:33:15.240 --> 0:33:18.840
<v Speaker 3>is what John is answering. John says, yes, there is

0:33:18.880 --> 0:33:22.640
<v Speaker 3>a named thing here. It's called the whole tone scale.

0:33:23.120 --> 0:33:25.760
<v Speaker 3>The whole tone scale is a six note scale, in

0:33:25.800 --> 0:33:29.920
<v Speaker 3>which each note is a whole tone away from its neighbors.

0:33:30.560 --> 0:33:33.360
<v Speaker 3>It was a favorite cue for magical scenes in TV

0:33:33.480 --> 0:33:37.200
<v Speaker 3>and movies from the sixties, such as Bewitched. This scale

0:33:37.280 --> 0:33:41.320
<v Speaker 3>is also used in other musical compositions too. Stevie Wonders

0:33:41.400 --> 0:33:44.240
<v Speaker 3>You Are the Sunshine of My Life is one such song.

0:33:44.840 --> 0:33:47.440
<v Speaker 3>The magical sound is often enhanced when the scale is

0:33:47.480 --> 0:33:50.160
<v Speaker 3>played on a harp or a marimba. Thanks for the

0:33:50.160 --> 0:33:53.800
<v Speaker 3>great shows, John, Well, thank you so much, John for

0:33:53.880 --> 0:33:57.040
<v Speaker 3>answering that question. And now that you've explained it, I

0:33:57.080 --> 0:33:59.720
<v Speaker 3>realized that I sort of know what you're talking about,

0:33:59.720 --> 0:34:01.960
<v Speaker 3>and even wonder if this may have come up in

0:34:02.000 --> 0:34:06.479
<v Speaker 3>the show in years past when we were talking about music,

0:34:06.800 --> 0:34:09.520
<v Speaker 3>Like we did some episodes about music being used in

0:34:09.560 --> 0:34:12.200
<v Speaker 3>horror movies and things like that. But I guess this

0:34:12.280 --> 0:34:15.360
<v Speaker 3>is sort of the curse of being barely semi literate

0:34:15.440 --> 0:34:17.799
<v Speaker 3>in music, as I am, like, I know just enough

0:34:17.880 --> 0:34:20.440
<v Speaker 3>music theory to screw around, but not enough to know

0:34:20.480 --> 0:34:23.000
<v Speaker 3>what I'm doing or talk about it. But anyway, to

0:34:23.040 --> 0:34:26.600
<v Speaker 3>make this concept clear, I made a little audio illustration

0:34:26.760 --> 0:34:31.200
<v Speaker 3>here of three scales. So we've got the C major scale,

0:34:36.080 --> 0:34:45.319
<v Speaker 3>then we've got the C minor scale, and then this

0:34:45.520 --> 0:34:48.480
<v Speaker 3>is the six note whole tone scale starting on C.

0:35:00.560 --> 0:35:02.719
<v Speaker 3>So if you think about the third one there in

0:35:02.760 --> 0:35:05.680
<v Speaker 3>relation to the first two, it seems kind of eerie

0:35:05.880 --> 0:35:11.240
<v Speaker 3>or magical. And again, I'm by no means an expert

0:35:11.280 --> 0:35:14.280
<v Speaker 3>on music theory or even in the psychology of music,

0:35:14.360 --> 0:35:17.520
<v Speaker 3>so I'm just speculating here, but I'm wondering if this

0:35:18.280 --> 0:35:24.000
<v Speaker 3>feels eerie or magical to people because it's musically ambiguous.

0:35:24.600 --> 0:35:27.560
<v Speaker 3>Most of the music we listen to is in a

0:35:27.880 --> 0:35:30.520
<v Speaker 3>major or a minor key, so there, you know, it's

0:35:30.560 --> 0:35:33.719
<v Speaker 3>one of those first two scales that we played. It's

0:35:33.760 --> 0:35:36.560
<v Speaker 3>a major or a minor key with a clear root note.

0:35:36.600 --> 0:35:41.120
<v Speaker 3>And even if people don't know music theory, we're intuitively

0:35:41.160 --> 0:35:44.200
<v Speaker 3>familiar with musical conventions because we listen to music, so

0:35:44.360 --> 0:35:46.840
<v Speaker 3>you know the cultural conventions of music and your culture.

0:35:46.880 --> 0:35:50.560
<v Speaker 3>You just kind of feel them. And we're usually expecting

0:35:50.560 --> 0:35:52.360
<v Speaker 3>a song to feel like a major key or a

0:35:52.360 --> 0:35:56.480
<v Speaker 3>minor key, and whole tone scale violates our expectations because

0:35:56.520 --> 0:36:00.279
<v Speaker 3>it refuses to feel like either a major or a

0:36:00.280 --> 0:36:02.759
<v Speaker 3>minor key. It's neither one. It's sort of pointing off

0:36:02.760 --> 0:36:06.400
<v Speaker 3>in both directions, and it also refuses to let you

0:36:06.480 --> 0:36:08.920
<v Speaker 3>know what the root note of the scale is, so

0:36:09.000 --> 0:36:12.280
<v Speaker 3>it feels like it is breaking the laws of music,

0:36:12.400 --> 0:36:16.080
<v Speaker 3>kind of like magic does, and so it's sort of unsortable,

0:36:16.120 --> 0:36:18.799
<v Speaker 3>and that makes it eerie and unsettling. That's my take.

0:36:19.200 --> 0:36:23.799
<v Speaker 2>Yeah, I can feel myself beaming up or shrinking, or

0:36:24.680 --> 0:36:27.440
<v Speaker 2>becoming gigantic in size, whatever the effects of the magic

0:36:27.520 --> 0:36:29.600
<v Speaker 2>slash science fiction happens.

0:36:29.320 --> 0:36:32.000
<v Speaker 3>To be writing a comment until you eat brains.

0:36:32.320 --> 0:36:36.279
<v Speaker 2>Yeah, all right, Well, you know, I think we have

0:36:36.520 --> 0:36:38.560
<v Speaker 2>we essentially have time for one more message, but I

0:36:38.600 --> 0:36:40.799
<v Speaker 2>have a couple of short ones here, so I'm I'm

0:36:40.800 --> 0:36:43.400
<v Speaker 2>going to try and roll through these really quickly. Okay,

0:36:43.920 --> 0:36:48.080
<v Speaker 2>all right, column writes in to purely to suggest for

0:36:48.160 --> 0:36:51.840
<v Speaker 2>weird House Cinema the nineteen eighty one film Kung Fu Zombie,

0:36:51.880 --> 0:36:56.359
<v Speaker 2>directed by sham Wa. This is not a film that

0:36:56.440 --> 0:36:59.719
<v Speaker 2>I was super familiar with, but just looking into it

0:36:59.719 --> 0:37:01.640
<v Speaker 2>a little little bit, let's see, it's from the director

0:37:01.800 --> 0:37:06.360
<v Speaker 2>of Inframan, which we've talked about. Good yeah, and it

0:37:06.480 --> 0:37:08.920
<v Speaker 2>has music ripped off from a James Bond movie. So

0:37:09.160 --> 0:37:13.560
<v Speaker 2>I think those are two strong compelling indicators. Plus zombies

0:37:13.640 --> 0:37:15.719
<v Speaker 2>plus kung fu very good.

0:37:15.760 --> 0:37:17.520
<v Speaker 3>Call him, you know how to get our attention. The

0:37:17.640 --> 0:37:19.799
<v Speaker 3>poster of it is I've got to see this. It's

0:37:19.880 --> 0:37:22.759
<v Speaker 3>kung Fu zombie dripping blood over the title and the

0:37:22.800 --> 0:37:26.480
<v Speaker 3>O in zombie is a skull, a pink skull. So yes,

0:37:26.520 --> 0:37:29.120
<v Speaker 3>I've got to see it, starring Billy Chong. I don't

0:37:29.120 --> 0:37:31.480
<v Speaker 3>know if we've seen anything else with Billy Chong, and

0:37:31.480 --> 0:37:34.080
<v Speaker 3>don't know if I know him, but he looks so determined.

0:37:34.080 --> 0:37:38.640
<v Speaker 3>He's like breaking free from some rope bindings and there's

0:37:38.680 --> 0:37:41.960
<v Speaker 3>water splashing everywhere. And then is this a flying kung

0:37:42.000 --> 0:37:43.520
<v Speaker 3>Fu vampire behind him?

0:37:43.800 --> 0:37:45.520
<v Speaker 2>It looks like it. Yeah, yeah, I don't think we've

0:37:45.520 --> 0:37:49.240
<v Speaker 2>talked about Billy Chong before, but yeah, Indonesian martial artist,

0:37:49.400 --> 0:37:52.200
<v Speaker 2>actor and stuntman Strong contenders.

0:37:52.239 --> 0:37:54.000
<v Speaker 3>Thank you call him yeah.

0:37:54.239 --> 0:37:57.359
<v Speaker 2>And then finally Jim rides in and says, hey, guys,

0:37:57.400 --> 0:37:59.440
<v Speaker 2>I think a Red Brown film fest sounds like a

0:37:59.440 --> 0:38:01.880
<v Speaker 2>lot of fun. I've seen many of his films and

0:38:01.920 --> 0:38:05.080
<v Speaker 2>he's had an interesting co star, Christopher Lee. They co

0:38:05.200 --> 0:38:09.600
<v Speaker 2>starred in Captain America two, Death Too Soon and Howling

0:38:09.680 --> 0:38:13.760
<v Speaker 2>Too Your Sister Is a Werewolf. Both are great weird films,

0:38:13.800 --> 0:38:14.920
<v Speaker 2>perfect for weird house.

0:38:15.239 --> 0:38:18.920
<v Speaker 3>Jim Thank you, Jim. I've seen The Howling Too, your

0:38:18.920 --> 0:38:22.759
<v Speaker 3>sister is a werewolf. I don't remember a lot about it,

0:38:22.840 --> 0:38:26.040
<v Speaker 3>except that it felt to me like the entire movie

0:38:26.080 --> 0:38:28.640
<v Speaker 3>was just Sybil Danning doing that pose that you see

0:38:28.680 --> 0:38:33.040
<v Speaker 3>in any still from the film. And as for the

0:38:33.200 --> 0:38:36.080
<v Speaker 3>Reb Brown Captain America or Captain America Too, I didn't

0:38:36.080 --> 0:38:39.120
<v Speaker 3>realize there was a second Reb Brown Captain America. I

0:38:39.200 --> 0:38:40.960
<v Speaker 3>may have already said this on the show recently. I

0:38:40.960 --> 0:38:43.400
<v Speaker 3>don't remember if this was on micro Off, but I

0:38:43.480 --> 0:38:48.520
<v Speaker 3>have been wanting to do an Alt Captain America fest

0:38:48.640 --> 0:38:52.439
<v Speaker 3>on Weird House, including the Albert Pyune directed movie from

0:38:52.600 --> 0:38:55.080
<v Speaker 3>I don't know nineteen ninety or whenever that was, and

0:38:55.200 --> 0:38:58.319
<v Speaker 3>the Reb Brown Captain America stuff, of which apparently there

0:38:58.360 --> 0:38:59.640
<v Speaker 3>were even more than I knew of.

0:39:00.840 --> 0:39:06.680
<v Speaker 2>Yeah, yeah, you've definitely denighned the the Captain America films recently,

0:39:06.719 --> 0:39:09.799
<v Speaker 2>and we both have recently watched The Howling, the original one,

0:39:09.840 --> 0:39:11.400
<v Speaker 2>so both of both of these films are kind of

0:39:11.480 --> 0:39:12.520
<v Speaker 2>under radar at the moment.

0:39:12.960 --> 0:39:15.880
<v Speaker 3>Oh and everybody just treat yourself to looking up some

0:39:16.000 --> 0:39:19.640
<v Speaker 3>stills of Christopher Lee in The Howling Too with the sunglasses.

0:39:19.920 --> 0:39:21.400
<v Speaker 3>Oh god, it's amazing.

0:39:23.719 --> 0:39:25.360
<v Speaker 2>All right, well, we're going to go ahead and close

0:39:25.360 --> 0:39:27.640
<v Speaker 2>it out there, but certainly you keep the Weird House

0:39:27.640 --> 0:39:32.759
<v Speaker 2>Cinema recommendations and suggestions coming, keep writing in with feedback

0:39:33.440 --> 0:39:35.560
<v Speaker 2>for our core episodes of Stuff to Blow Your Mind,

0:39:35.719 --> 0:39:39.680
<v Speaker 2>our short form episodes, anything else, past episodes of Invention.

0:39:40.160 --> 0:39:43.080
<v Speaker 2>It's all fair game. Just a reminder that Stuff to

0:39:43.120 --> 0:39:45.240
<v Speaker 2>bliw Your Mind is primarily a science and culture podcast,

0:39:45.239 --> 0:39:48.040
<v Speaker 2>with core episodes on Tuesdays and Thursdays. You can find

0:39:48.120 --> 0:39:50.240
<v Speaker 2>us wherever you get your podcasts. Just look for Stuff

0:39:50.280 --> 0:39:53.200
<v Speaker 2>to Blow your Mind. If you're on what Instagram, we're

0:39:53.320 --> 0:39:57.680
<v Speaker 2>s stbym podcast there, and if you're on a letterboxed

0:39:57.880 --> 0:40:00.600
<v Speaker 2>you can find our account. We are Weird House and

0:40:00.640 --> 0:40:01.959
<v Speaker 2>that's where you can keep up with all the movies

0:40:02.000 --> 0:40:04.040
<v Speaker 2>we've covered thus far on Weird House Cinema.

0:40:04.200 --> 0:40:08.000
<v Speaker 3>Huge thanks as always to our excellent audio producer Jjposway.

0:40:08.320 --> 0:40:09.759
<v Speaker 3>If you would like to get in touch with us

0:40:09.760 --> 0:40:12.160
<v Speaker 3>with feedback on this episode or any other, to suggest

0:40:12.160 --> 0:40:14.080
<v Speaker 3>a topic for the future, or just to say hello,

0:40:14.239 --> 0:40:16.759
<v Speaker 3>you can email us at contact at Stuff to Blow

0:40:16.800 --> 0:40:24.239
<v Speaker 3>your Mind dot com.

0:40:24.320 --> 0:40:27.279
<v Speaker 1>Stuff to Blow Your Mind is production of iHeartRadio. For

0:40:27.360 --> 0:40:30.160
<v Speaker 1>more podcasts from my heart Radio, visit the iHeartRadio app,

0:40:30.320 --> 0:40:33.080
<v Speaker 1>Apple podcasts, or wherever you listen to your favorite shows.