1 00:00:02,960 --> 00:00:05,280 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of 2 00:00:05,360 --> 00:00:10,920 Speaker 1: I Heart Radio. Hey, welcome to Stuff to Blow your Mind. 3 00:00:11,119 --> 00:00:14,920 Speaker 1: Listener Mail. My name is Robert Lamb and I'm Joe McCormick. 4 00:00:14,960 --> 00:00:17,400 Speaker 1: And today we're reading messages that you've sent in over 5 00:00:17,440 --> 00:00:19,480 Speaker 1: the past couple of weeks. So most of them concern 6 00:00:19,600 --> 00:00:22,160 Speaker 1: episodes that played in that time period. Occasionally there will 7 00:00:22,160 --> 00:00:24,759 Speaker 1: be one or two that reaches deep into the archive, 8 00:00:24,840 --> 00:00:27,080 Speaker 1: but that's okay. We're always happy to hear about stuff 9 00:00:27,120 --> 00:00:29,960 Speaker 1: that came out a while ago. Today our mail bought 10 00:00:30,040 --> 00:00:35,680 Speaker 1: Carney smells heavily of of not just eggs, not just sulfurous, 11 00:00:35,720 --> 00:00:38,479 Speaker 1: but like burned eggs, and I think that's that's a 12 00:00:38,520 --> 00:00:40,479 Speaker 1: bad sign of things to come. But rob do you 13 00:00:40,520 --> 00:00:42,239 Speaker 1: mind if I jump right in with this message from 14 00:00:42,320 --> 00:00:50,640 Speaker 1: Derek go for it? Okay. This is from the replay 15 00:00:50,680 --> 00:00:52,960 Speaker 1: of our episode Into the Egg Chamber, in which we 16 00:00:53,040 --> 00:00:56,080 Speaker 1: did talk about various not just the biology of egg 17 00:00:56,200 --> 00:00:59,720 Speaker 1: laying an egg incubation, but also how cooked eggs can 18 00:00:59,720 --> 00:01:02,920 Speaker 1: some times explode and so oh and one more thing 19 00:01:02,920 --> 00:01:05,840 Speaker 1: before I start this, I I edited this message to 20 00:01:05,920 --> 00:01:08,840 Speaker 1: remove various apologies for the length of the email, And 21 00:01:08,840 --> 00:01:11,560 Speaker 1: here I want to issue a public service announcement. Folks. 22 00:01:11,760 --> 00:01:13,960 Speaker 1: If it's too long to read, that's okay. We either 23 00:01:14,120 --> 00:01:15,920 Speaker 1: we just won't read it, or we'll pare it down 24 00:01:15,959 --> 00:01:17,600 Speaker 1: before we read it. Either way, there is no need 25 00:01:17,640 --> 00:01:19,839 Speaker 1: to apologize about the length of email. So I'm gonna 26 00:01:19,840 --> 00:01:22,440 Speaker 1: try to try to avoid that in the future. When 27 00:01:22,600 --> 00:01:24,480 Speaker 1: you know, one sentence here there might get through, but 28 00:01:24,520 --> 00:01:26,560 Speaker 1: I'm trying to dance around it. We'll see how well 29 00:01:26,600 --> 00:01:30,520 Speaker 1: we do so, Derek says, Hey, Robert and Joe, I'm 30 00:01:30,560 --> 00:01:33,280 Speaker 1: writing in regards to your recent vault episode into the 31 00:01:33,319 --> 00:01:36,759 Speaker 1: egg Chamber. The strangest thing happened about a week after 32 00:01:36,800 --> 00:01:39,720 Speaker 1: listening to the episode. I came back from work late 33 00:01:39,800 --> 00:01:43,200 Speaker 1: at night to discover that someone had left something burning 34 00:01:43,280 --> 00:01:46,120 Speaker 1: on the stove. Rushing to check what it was, I 35 00:01:46,120 --> 00:01:49,080 Speaker 1: found they had been trying to boil two eggs. I 36 00:01:49,120 --> 00:01:51,200 Speaker 1: don't know how much time had passed by the time 37 00:01:51,200 --> 00:01:54,000 Speaker 1: I got to it, but all the water had evaporated 38 00:01:54,040 --> 00:01:56,640 Speaker 1: from the pot, even though the lid was still on. 39 00:01:57,400 --> 00:02:00,360 Speaker 1: You can imagine what happened next. I went rate for 40 00:02:00,400 --> 00:02:02,960 Speaker 1: the lid, and what followed was a loud bang, with 41 00:02:03,000 --> 00:02:05,040 Speaker 1: the lid flying out of my hand and what I 42 00:02:05,040 --> 00:02:09,440 Speaker 1: can only describe as egg shrapnel flying everywhere. Anyway, no 43 00:02:09,520 --> 00:02:13,919 Speaker 1: one was hurt, and no one is owning up to it. 44 00:02:13,040 --> 00:02:15,639 Speaker 1: This is this? Is this a family situation or a 45 00:02:15,680 --> 00:02:18,400 Speaker 1: roommate situation? I wonder I like to imagine that this 46 00:02:18,440 --> 00:02:22,520 Speaker 1: is just Derek and one other person. He's being very 47 00:02:22,560 --> 00:02:25,720 Speaker 1: polite in his vagueness about placing Blaine. H No, it 48 00:02:25,840 --> 00:02:28,960 Speaker 1: was you, man, But why did I have the bowl 49 00:02:29,040 --> 00:02:33,720 Speaker 1: bart um? Anyway, Derek goes on to say, I've been 50 00:02:33,720 --> 00:02:36,120 Speaker 1: listening to your podcast for almost five years now and 51 00:02:36,160 --> 00:02:38,080 Speaker 1: have been loving every minute of it. The topics you 52 00:02:38,120 --> 00:02:41,040 Speaker 1: cover have something for everyone. I recently started a new 53 00:02:41,160 --> 00:02:43,680 Speaker 1: job and for someone who is as socially awkward as 54 00:02:43,720 --> 00:02:46,400 Speaker 1: I am, your podcast to save me many times because 55 00:02:46,400 --> 00:02:48,560 Speaker 1: I can always bring up a different, interesting or weird 56 00:02:48,639 --> 00:02:51,440 Speaker 1: topic of discussion. Thanks for all your hard work. And 57 00:02:51,520 --> 00:02:54,240 Speaker 1: I've tried to attach a picture of the eggs so 58 00:02:54,400 --> 00:02:57,280 Speaker 1: rob I feel scrolled down in our document here these 59 00:02:57,320 --> 00:03:00,520 Speaker 1: are Derek's eggs. I think this is a it occasion 60 00:03:00,600 --> 00:03:03,040 Speaker 1: to use the thanks I Hate It meme. This truly 61 00:03:03,080 --> 00:03:07,200 Speaker 1: does look absolutely revolting, and it looks like it smells 62 00:03:07,240 --> 00:03:12,880 Speaker 1: like stomach churning Yeah, this is thanks for sending. Now. 63 00:03:12,919 --> 00:03:14,400 Speaker 1: I guess this would go in line with what we 64 00:03:14,440 --> 00:03:16,560 Speaker 1: talked about in the end of the Egg Chamber episode, 65 00:03:16,600 --> 00:03:19,960 Speaker 1: where there was the phenomenon of hard boiled eggs. I 66 00:03:20,000 --> 00:03:23,639 Speaker 1: think often having been reheated in the microwave, that when 67 00:03:23,639 --> 00:03:26,320 Speaker 1: somebody pierces them with a fork or bites into them, 68 00:03:26,360 --> 00:03:29,520 Speaker 1: they will suddenly explode. And it's not known for sure 69 00:03:29,560 --> 00:03:32,520 Speaker 1: why that happened, but the best hypothesis seems to be 70 00:03:32,560 --> 00:03:36,480 Speaker 1: that there are little pockets of superheated steam that form 71 00:03:36,600 --> 00:03:39,640 Speaker 1: inside the matrix of the oolk and when those pockets 72 00:03:39,640 --> 00:03:42,240 Speaker 1: get released, they rapidly expand and kind of turned the 73 00:03:42,280 --> 00:03:44,760 Speaker 1: egg into a bomb. Yeah, and that seems like that 74 00:03:44,840 --> 00:03:47,360 Speaker 1: maybe what happened right here in this picture. Yeah, maybe 75 00:03:47,400 --> 00:03:50,880 Speaker 1: moving the pot disturbed it or something, but I wonder 76 00:03:51,000 --> 00:03:53,480 Speaker 1: that anyway. That's uh. I'm glad no one was harmed. 77 00:03:53,720 --> 00:04:02,640 Speaker 1: I hope the culprit is found. Yeah, all right, here's 78 00:04:02,680 --> 00:04:04,560 Speaker 1: another bit of listener mail. This one comes to us 79 00:04:04,680 --> 00:04:10,160 Speaker 1: from the Home dat Abroad um Home dat Abroad Rights. Greetings, 80 00:04:10,200 --> 00:04:13,000 Speaker 1: Joe and Robert. There are many aspects of your two 81 00:04:13,040 --> 00:04:15,760 Speaker 1: partner on numbers that sparked great interest in thoughts for me. 82 00:04:16,040 --> 00:04:19,200 Speaker 1: But what inspired this note was your query concerning different 83 00:04:19,200 --> 00:04:23,120 Speaker 1: finger counting systems back in the seventies. Until third grade, 84 00:04:23,279 --> 00:04:26,159 Speaker 1: I was segregated from the larger student body and experimental 85 00:04:26,200 --> 00:04:30,080 Speaker 1: class that combined four years of interacting students and three 86 00:04:30,120 --> 00:04:34,280 Speaker 1: shared teachers. When the time came for educational seminars and conventions, 87 00:04:34,400 --> 00:04:36,520 Speaker 1: one of the three would rotate out to attend and 88 00:04:36,720 --> 00:04:39,800 Speaker 1: invariably return with new ideas and approaches to test on 89 00:04:39,839 --> 00:04:44,799 Speaker 1: our captive minds. One such convention during my first grade 90 00:04:44,880 --> 00:04:47,800 Speaker 1: year produced a new methodology for finger counting, which was 91 00:04:47,839 --> 00:04:51,440 Speaker 1: implemented immediately in the classroom. It consisted of using both hands. 92 00:04:51,760 --> 00:04:54,679 Speaker 1: The right represented single digits and the left was double digits. 93 00:04:54,839 --> 00:04:58,520 Speaker 1: The four right fingers were one and the thumb was five. 94 00:04:59,000 --> 00:05:02,200 Speaker 1: The left fing ers were each ten, with the thumb 95 00:05:02,279 --> 00:05:05,120 Speaker 1: as fifty. Just using the two hands, one could easily 96 00:05:05,160 --> 00:05:10,200 Speaker 1: count to If one extended from the left hand two 97 00:05:10,240 --> 00:05:13,880 Speaker 1: fingers and the thumb, while extending four right fingers, it 98 00:05:13,920 --> 00:05:17,159 Speaker 1: would produce the number seventy four. By shifting the fingers, 99 00:05:17,160 --> 00:05:20,360 Speaker 1: it became possible to quickly add, subtract, multiply, and divide. 100 00:05:20,720 --> 00:05:23,719 Speaker 1: It would take a much longer email to adequately describe 101 00:05:23,760 --> 00:05:26,880 Speaker 1: the various techniques that I still barely remember. But it 102 00:05:26,920 --> 00:05:29,480 Speaker 1: was smooth and easy and would often result in the 103 00:05:29,520 --> 00:05:32,560 Speaker 1: dropping of pencils. This became our go to method in 104 00:05:32,600 --> 00:05:36,880 Speaker 1: class for counting and learning the multiplication tables. Subsequently, it 105 00:05:36,920 --> 00:05:39,400 Speaker 1: allowed me to teach myself how to divide at least 106 00:05:39,400 --> 00:05:42,520 Speaker 1: a year before it was covered in the curriculum. The 107 00:05:42,560 --> 00:05:45,159 Speaker 1: system was not adopted outside of that class, which was 108 00:05:45,200 --> 00:05:47,960 Speaker 1: sadly disbanded when I entered fourth grade, and I have 109 00:05:48,080 --> 00:05:51,320 Speaker 1: never been able to track down information online about this method. 110 00:05:51,480 --> 00:05:54,520 Speaker 1: Despite it all, I default to that method to this 111 00:05:54,640 --> 00:05:57,719 Speaker 1: very day and risk the dropping of my phone in 112 00:05:57,839 --> 00:06:01,360 Speaker 1: lieu of pencils. Sheers the home down I brought. This 113 00:06:01,400 --> 00:06:05,000 Speaker 1: is really interesting. I've never heard about this before. Yeah, 114 00:06:05,080 --> 00:06:07,360 Speaker 1: this I would I would be very interested if anyone 115 00:06:07,440 --> 00:06:10,640 Speaker 1: out there listening knows what this counting system is. This 116 00:06:10,760 --> 00:06:14,040 Speaker 1: number system happens to be and uh, yeah, we need 117 00:06:14,120 --> 00:06:16,880 Speaker 1: to to to put a name to it. Maybe it's 118 00:06:16,960 --> 00:06:24,800 Speaker 1: number one. I don't know. Well, Rob. There is an 119 00:06:24,800 --> 00:06:27,880 Speaker 1: email we also got from longtime correspondent Jim in New 120 00:06:27,920 --> 00:06:31,200 Speaker 1: Jersey about a finger counting system that sounds kind of similar. Actually, 121 00:06:31,240 --> 00:06:34,200 Speaker 1: do you want to read this one too. Sure? This 122 00:06:34,279 --> 00:06:36,719 Speaker 1: is from Yes, from Jim in New Jersey, Robert and Joe. 123 00:06:36,960 --> 00:06:38,960 Speaker 1: Anyone with four fingers in a thumb on each hand 124 00:06:38,960 --> 00:06:42,279 Speaker 1: can easily count into basic arithmetic with number zero to 125 00:06:43,279 --> 00:06:47,039 Speaker 1: using a technique called chiss and bop. You use the 126 00:06:47,040 --> 00:06:50,440 Speaker 1: fingers on each hand mimicking one rod with a five 127 00:06:50,560 --> 00:06:54,120 Speaker 1: bead the thumb and four one beads the fingers. The 128 00:06:54,200 --> 00:06:57,520 Speaker 1: right hand represents units, the left hand represents tens. Jim 129 00:06:57,520 --> 00:07:01,239 Speaker 1: in New Jersey PS a podcast on non electronic computing 130 00:07:01,240 --> 00:07:03,880 Speaker 1: devices such as the Abbicus and slide rule would be 131 00:07:03,920 --> 00:07:08,039 Speaker 1: a good addition to this series. I just open this 132 00:07:08,120 --> 00:07:10,600 Speaker 1: up in another tab to look at it. Chisenbop is 133 00:07:10,720 --> 00:07:15,000 Speaker 1: a Korean finger counting system. Actually the word comes from 134 00:07:15,040 --> 00:07:19,560 Speaker 1: the Korean for finger calculation chi or chichi meaning finger 135 00:07:19,720 --> 00:07:24,040 Speaker 1: and scent pop or send beyop. I think for calculation. Oh, 136 00:07:24,240 --> 00:07:27,120 Speaker 1: very interesting and uh and I agree with Jim. I 137 00:07:27,160 --> 00:07:28,320 Speaker 1: think I think it would be great to do an 138 00:07:28,320 --> 00:07:31,960 Speaker 1: episode on non electronic computing devices. There's some really really 139 00:07:32,000 --> 00:07:35,080 Speaker 1: really fun stuff absolutely so I was just trying to 140 00:07:35,120 --> 00:07:39,040 Speaker 1: think about something funny, like what is the correct technological 141 00:07:39,080 --> 00:07:42,840 Speaker 1: analogy for the mental skill you learn that allows you 142 00:07:42,880 --> 00:07:46,920 Speaker 1: to better or more efficiently perform numerical and mathematical tasks 143 00:07:47,400 --> 00:07:50,880 Speaker 1: with the aid of body parts like fingers or external tools, 144 00:07:50,960 --> 00:07:52,960 Speaker 1: like the way that the Ashango bone might have been 145 00:07:53,040 --> 00:07:55,480 Speaker 1: used if the if the hypotheses about it are correct, 146 00:07:56,440 --> 00:07:58,160 Speaker 1: I guess what I'm looking for is something that is 147 00:07:58,200 --> 00:08:01,840 Speaker 1: neither quite software nor hardware, but the or maybe it 148 00:08:01,880 --> 00:08:04,440 Speaker 1: is a kind of software. Be the mental software upgrade 149 00:08:04,480 --> 00:08:07,920 Speaker 1: that makes better use of the existing hardware. Would that 150 00:08:07,960 --> 00:08:11,720 Speaker 1: be like the device drivers in your head? M yeah, 151 00:08:11,880 --> 00:08:13,600 Speaker 1: I don't know. I'm not sure what the what the 152 00:08:13,600 --> 00:08:16,880 Speaker 1: actual terminology for this would be, but as we explored 153 00:08:16,920 --> 00:08:19,000 Speaker 1: in those episodes, it goes way back. You know, this 154 00:08:19,080 --> 00:08:21,880 Speaker 1: actually makes me think about how while there are standard 155 00:08:22,320 --> 00:08:25,440 Speaker 1: finger counting systems, I guess there's nothing to prevent somebody 156 00:08:25,480 --> 00:08:28,760 Speaker 1: from coming up with a totally idiosyncratic finger accounting system, 157 00:08:28,880 --> 00:08:31,720 Speaker 1: right like just making up some system on their own 158 00:08:31,760 --> 00:08:34,079 Speaker 1: and using that. I wonder is anybody out there ever 159 00:08:34,200 --> 00:08:36,520 Speaker 1: did anybody do that? Did you go your own way 160 00:08:36,559 --> 00:08:40,680 Speaker 1: with finger counting, some sort of self taught uh finger 161 00:08:40,679 --> 00:08:43,320 Speaker 1: accounting system? Like you know, what kind of system would 162 00:08:43,360 --> 00:08:47,480 Speaker 1: we come up with if if one wasn't presented to us. Maybe, 163 00:08:47,520 --> 00:08:49,720 Speaker 1: like you know, each wrinkle on the back of your 164 00:08:49,760 --> 00:08:58,400 Speaker 1: knuckle means something. I'm not sure. Yeah, okay. We also 165 00:08:58,440 --> 00:09:01,160 Speaker 1: got some messages in response to the episode that Seth 166 00:09:01,200 --> 00:09:03,960 Speaker 1: and I did about musical free san Uh, Rob, do 167 00:09:03,960 --> 00:09:05,760 Speaker 1: you want to read this one from Hannah or should 168 00:09:05,800 --> 00:09:09,000 Speaker 1: I just I can jump in in Hi, Robert Joan 169 00:09:09,080 --> 00:09:13,200 Speaker 1: Seth loved the episode on musical Frissonne and although I'm 170 00:09:13,240 --> 00:09:16,400 Speaker 1: sure you're getting tons of emails like this one, I 171 00:09:16,480 --> 00:09:18,400 Speaker 1: wanted to share something that tends to set off my 172 00:09:18,440 --> 00:09:22,920 Speaker 1: own musical frisson. Crowds singing together. I think it is 173 00:09:22,920 --> 00:09:26,120 Speaker 1: a combination of a couple of things. First, is the 174 00:09:26,160 --> 00:09:29,160 Speaker 1: pure volume of that many people singing in unison and 175 00:09:29,200 --> 00:09:31,679 Speaker 1: probably at the top of their lungs. Second, I think 176 00:09:31,679 --> 00:09:34,680 Speaker 1: it is the almost magical feeling that comes from communal singing. 177 00:09:35,000 --> 00:09:37,719 Speaker 1: If I'm witnessing it in person, especially if I'm joining in, 178 00:09:37,840 --> 00:09:41,360 Speaker 1: I'm obviously feeling that magic directly. And even if I'm 179 00:09:41,400 --> 00:09:44,040 Speaker 1: listening to a recording of a sound of a crowd singing, 180 00:09:44,360 --> 00:09:46,360 Speaker 1: I can still get those chills because I can imagine 181 00:09:46,400 --> 00:09:49,760 Speaker 1: how awesome that moment must have felt. The last aspect 182 00:09:49,760 --> 00:09:52,520 Speaker 1: that does it for me, which I'm sure not everyone appreciates, 183 00:09:52,760 --> 00:09:56,720 Speaker 1: is that I love, love, love imperfect vocal performances, not 184 00:09:56,840 --> 00:10:00,000 Speaker 1: so much like wasted karaoke level, but maybe someone who 185 00:10:00,120 --> 00:10:02,800 Speaker 1: is untrained but giving it their best shot, or a 186 00:10:02,880 --> 00:10:06,480 Speaker 1: highly skilled vocalist who maybe loses control for a little bit. 187 00:10:06,720 --> 00:10:09,160 Speaker 1: I think it may tie into the performance, subverting my 188 00:10:09,240 --> 00:10:12,559 Speaker 1: expectations with things like a breath taken in a weird place, 189 00:10:12,600 --> 00:10:15,800 Speaker 1: a quick vocal crack, or a half second where they're 190 00:10:15,840 --> 00:10:18,360 Speaker 1: slightly out of tune but then lock in. I know 191 00:10:18,440 --> 00:10:20,080 Speaker 1: a lot of people are not really fans of the 192 00:10:20,120 --> 00:10:23,199 Speaker 1: crowd singing along during a concert quote I paid to 193 00:10:23,280 --> 00:10:25,960 Speaker 1: hear so and so singing, not their fans, which I 194 00:10:26,000 --> 00:10:28,320 Speaker 1: understand to some extent, But for me, it's one of 195 00:10:28,360 --> 00:10:30,719 Speaker 1: the things I love most about a live performance, and 196 00:10:30,800 --> 00:10:34,000 Speaker 1: something I've grown to appreciate even more since the pandemic 197 00:10:34,040 --> 00:10:36,520 Speaker 1: took it away. Not just experiencing something you love, but 198 00:10:36,640 --> 00:10:39,320 Speaker 1: experiencing the way other people love the same thing. Just 199 00:10:39,400 --> 00:10:43,839 Speaker 1: my two cents love the show so much. Hannah p s. 200 00:10:44,120 --> 00:10:47,040 Speaker 1: After Joe mentioned chrono trigger in a listener email episode, 201 00:10:47,120 --> 00:10:50,720 Speaker 1: I gotta know if any of you have played Zeno Gear. 202 00:10:51,080 --> 00:10:55,959 Speaker 1: Zeno was Zeno Gear Gears, Zeno Gears Gears? You know gear? 203 00:10:56,080 --> 00:11:00,240 Speaker 1: What was Alien Pinball Machine? Is this what we're we're 204 00:11:00,240 --> 00:11:04,520 Speaker 1: talking about? Alien Invall Machine, Zeno Gears? Or is it racing? 205 00:11:04,920 --> 00:11:07,520 Speaker 1: It's like Mario cartl really have no idea. Well, I 206 00:11:07,520 --> 00:11:10,600 Speaker 1: would guess it's an RPG from what Hannah is saying here. Okay, 207 00:11:10,640 --> 00:11:12,080 Speaker 1: she says I was a little too young to play 208 00:11:12,120 --> 00:11:13,880 Speaker 1: it when it first came out, but played it out 209 00:11:13,920 --> 00:11:16,360 Speaker 1: emulated last year, and there's a lot about it that 210 00:11:16,400 --> 00:11:21,680 Speaker 1: seems right up this show's alley, lots of max and gnosticism. Well, 211 00:11:21,679 --> 00:11:23,560 Speaker 1: obviously from what we were saying. No, I have not 212 00:11:23,600 --> 00:11:26,280 Speaker 1: played you Know Gears. I'm not like a big like 213 00:11:26,480 --> 00:11:29,920 Speaker 1: JRPG or even RPG in general. Guy, I just happened 214 00:11:29,920 --> 00:11:32,200 Speaker 1: to have at some point played Chrono Trigger, which is 215 00:11:32,240 --> 00:11:36,200 Speaker 1: a wonderful game for the Supernintendo. Um that is definitely 216 00:11:36,200 --> 00:11:39,000 Speaker 1: worth going back and revisiting on emulator or whatever if 217 00:11:39,040 --> 00:11:41,360 Speaker 1: you can. But but beyond that, I don't know a 218 00:11:41,360 --> 00:11:45,520 Speaker 1: lot about RPGs of that era. Well. Um, Hannah makes 219 00:11:45,520 --> 00:11:49,800 Speaker 1: some some great points about communal singing. Um, I don't 220 00:11:49,880 --> 00:11:52,400 Speaker 1: know if if I am necessarily is moved by just 221 00:11:52,880 --> 00:11:57,720 Speaker 1: choral performances so much. But I do appreciate the experience 222 00:11:57,760 --> 00:12:01,160 Speaker 1: of communal singing like I I enjoy singing as a 223 00:12:01,200 --> 00:12:04,600 Speaker 1: part of like a church congregation or um, you know, 224 00:12:04,679 --> 00:12:09,200 Speaker 1: doing like Elizabethan Christmas carols whilst begging for wassaal that 225 00:12:09,280 --> 00:12:11,560 Speaker 1: sort of thing. Uh. You know. Part of it is 226 00:12:11,600 --> 00:12:13,840 Speaker 1: like growing up with these songs and the shared culture 227 00:12:13,880 --> 00:12:18,679 Speaker 1: of these songs. But there's just something also fun about everybody, um, 228 00:12:18,720 --> 00:12:20,840 Speaker 1: you know, everybody singing these songs. At the same time, 229 00:12:21,000 --> 00:12:24,560 Speaker 1: you're getting your your sinking up your neural networks to 230 00:12:24,600 --> 00:12:28,280 Speaker 1: a certain extent and engaging in this sort of you know, 231 00:12:28,320 --> 00:12:32,280 Speaker 1: communal you know, uplifting of music. Yeah. I mean this 232 00:12:32,520 --> 00:12:34,760 Speaker 1: very much reminds me of stuff we talked about in 233 00:12:34,760 --> 00:12:38,480 Speaker 1: our episode on the the emotion of Kama Muda, which 234 00:12:38,520 --> 00:12:40,160 Speaker 1: has to do with, you know, the these sort of 235 00:12:40,480 --> 00:12:45,080 Speaker 1: communal emotions, and I I feel that very much with 236 00:12:45,520 --> 00:12:48,720 Speaker 1: crowds singing along to music that that they love. So 237 00:12:48,840 --> 00:12:51,600 Speaker 1: I love crowd singing along to music, though I have 238 00:12:51,679 --> 00:12:53,959 Speaker 1: the exact opposite reaction about something. Rob. I don't know 239 00:12:54,000 --> 00:12:55,679 Speaker 1: if you've ever been to a show like this where 240 00:12:56,480 --> 00:13:00,920 Speaker 1: the crowd just cannot shut up during rest sore pauses 241 00:13:01,040 --> 00:13:03,679 Speaker 1: in the music. So like anytime there's a rest or 242 00:13:03,720 --> 00:13:07,520 Speaker 1: anytime a song gets quiet, people start going whoa. It 243 00:13:07,760 --> 00:13:10,520 Speaker 1: drives me nuts. I hate really, I don't know. Sometimes 244 00:13:10,600 --> 00:13:12,680 Speaker 1: that's the time to woo. That's that's when you let 245 00:13:12,720 --> 00:13:15,080 Speaker 1: them know, like the song has been really hot and heavy, 246 00:13:15,120 --> 00:13:17,199 Speaker 1: and then you know, it goes down a little bit, 247 00:13:17,280 --> 00:13:19,679 Speaker 1: and and that's when you can get through to the 248 00:13:20,320 --> 00:13:23,200 Speaker 1: musicians on stage. Well maybe if it happens once in 249 00:13:23,240 --> 00:13:26,280 Speaker 1: a concert, okay, but I've been to concerts that literally 250 00:13:26,400 --> 00:13:31,440 Speaker 1: every quiet moment was filled with woo's and unacceptable. I 251 00:13:31,480 --> 00:13:36,080 Speaker 1: think sometimes I'm thinking particularly about well, I guess like 252 00:13:36,120 --> 00:13:38,120 Speaker 1: tool songs come to mind. That was the last concert 253 00:13:38,160 --> 00:13:41,439 Speaker 1: I went to. UM is that sometimes like the you're 254 00:13:41,480 --> 00:13:43,199 Speaker 1: you're on a ride with this song, and it can 255 00:13:43,200 --> 00:13:45,000 Speaker 1: be a rather long song, you know, and it's it's 256 00:13:45,040 --> 00:13:46,800 Speaker 1: it's hitting me hard, and then you finally get to 257 00:13:46,840 --> 00:13:48,800 Speaker 1: the part where things quiet down a little bit and 258 00:13:48,800 --> 00:13:52,200 Speaker 1: there's a short break, and you know, part of it 259 00:13:52,240 --> 00:13:54,000 Speaker 1: is it's quiet and I can yell and be heard, 260 00:13:54,040 --> 00:13:57,800 Speaker 1: but also it's it's it's like you've you've come out 261 00:13:57,800 --> 00:14:00,240 Speaker 1: of the tunnel, right you've you've you've reached be not 262 00:14:00,320 --> 00:14:02,160 Speaker 1: the end of the roller coaster, but like this is 263 00:14:02,160 --> 00:14:05,760 Speaker 1: your your chance to uh to express what you've been 264 00:14:05,800 --> 00:14:10,200 Speaker 1: feeling the last five minutes. I don't know now in 265 00:14:10,320 --> 00:14:13,920 Speaker 1: terms of people singing along with songs, I probably have 266 00:14:13,960 --> 00:14:17,079 Speaker 1: found it uh slightly annoying at times, but I tell 267 00:14:17,080 --> 00:14:21,000 Speaker 1: you I will take it every concert for the rest 268 00:14:21,000 --> 00:14:25,240 Speaker 1: of my life. Over anybody, UM, like visibly filming a 269 00:14:25,280 --> 00:14:29,680 Speaker 1: show using their their phone or essentially but like watching 270 00:14:29,720 --> 00:14:33,440 Speaker 1: the performance through their phone screen. That is the absolute worst, 271 00:14:33,760 --> 00:14:37,280 Speaker 1: because I'm trying to focus on the performance and instead 272 00:14:37,440 --> 00:14:40,840 Speaker 1: like your gooney face is illuminated by your phone, and 273 00:14:40,840 --> 00:14:43,160 Speaker 1: and there's the footage of the thing we're trying to 274 00:14:43,160 --> 00:14:46,160 Speaker 1: watch in real life, and uh and I have to 275 00:14:46,320 --> 00:14:49,920 Speaker 1: like look at that as well. Um that that gets 276 00:14:49,920 --> 00:14:53,720 Speaker 1: on my nerves to no end. Musicians love it. Look 277 00:14:53,720 --> 00:14:56,160 Speaker 1: out in the audience and just see a sea of phones. 278 00:14:58,480 --> 00:15:02,880 Speaker 1: But another thing, Hannaman shad this is the certain types 279 00:15:02,920 --> 00:15:07,160 Speaker 1: of imperfect vocal performances UH caused causing frees on for her, 280 00:15:07,760 --> 00:15:10,720 Speaker 1: and I can definitely identify with that. In fact, one 281 00:15:10,760 --> 00:15:13,400 Speaker 1: of the best examples of a frees on trigger of 282 00:15:13,640 --> 00:15:16,080 Speaker 1: in Like All of Music, which we played briefly in 283 00:15:16,120 --> 00:15:19,240 Speaker 1: that episode, is the backing vocal track from the Rolling 284 00:15:19,240 --> 00:15:21,520 Speaker 1: Stones song Gimme Shelter, which is sung by a singer 285 00:15:21,600 --> 00:15:25,280 Speaker 1: named Mary Clayton, who is a fantastic singer. But there's 286 00:15:25,280 --> 00:15:28,520 Speaker 1: a part where she's singing so hard that her voice 287 00:15:28,560 --> 00:15:32,400 Speaker 1: just kind of cracks, and and it's those cracking moments 288 00:15:32,440 --> 00:15:36,200 Speaker 1: where like the person who is a great singer is 289 00:15:36,240 --> 00:15:40,120 Speaker 1: singing with such intensity that like they're they're singing falters 290 00:15:40,160 --> 00:15:44,160 Speaker 1: that that's like incredibly powerful. Oh yeah, Mary and Faithful 291 00:15:44,200 --> 00:15:48,920 Speaker 1: is wonderful. Um, she's no, No, Mary, Mary Clayton is well. 292 00:15:48,960 --> 00:15:50,680 Speaker 1: I still stand by the fact that Mary and Faithful 293 00:15:50,760 --> 00:15:52,960 Speaker 1: is pretty great. She's great too. Didn't she have some 294 00:15:53,000 --> 00:15:56,280 Speaker 1: connection to the Stones? I think she was. She may 295 00:15:56,280 --> 00:15:58,280 Speaker 1: have sung with them. I think she and Mick jaggerbick 296 00:15:58,320 --> 00:16:01,440 Speaker 1: together at some point. Maybe that's where. Yeah. Anyway, yeah, 297 00:16:01,440 --> 00:16:04,200 Speaker 1: Mary Unfaithful. Uh, I really like her as well. The 298 00:16:04,280 --> 00:16:07,840 Speaker 1: memory remains. I'm gonna say it, great Metallica song. I 299 00:16:07,880 --> 00:16:10,160 Speaker 1: like that. I like that song. I'll put that I'll 300 00:16:10,200 --> 00:16:12,200 Speaker 1: cue that one up sometimes and listen to it. A 301 00:16:12,240 --> 00:16:18,320 Speaker 1: divisive pick I know load. Well, let's reload. I can't 302 00:16:18,320 --> 00:16:21,680 Speaker 1: remember it's unload unload. What's the other one? Yeah? But no, 303 00:16:22,000 --> 00:16:33,920 Speaker 1: this is Mary Clayton, but Mary unfaithful? Also very good? Yes, okay. 304 00:16:33,960 --> 00:16:37,000 Speaker 1: A few more messages about free soon. One comes from James. 305 00:16:37,360 --> 00:16:40,920 Speaker 1: I think this might be the same correspondent who we 306 00:16:40,920 --> 00:16:44,760 Speaker 1: were getting back and forth with about GEX at some point, 307 00:16:45,480 --> 00:16:48,440 Speaker 1: unless I'm mistaken anyway, James says, good day, Joe and 308 00:16:48,520 --> 00:16:52,120 Speaker 1: Seth and Robert Um was excited to see your recent 309 00:16:52,200 --> 00:16:54,880 Speaker 1: episode on the subject of musical free song appear in 310 00:16:54,960 --> 00:16:58,600 Speaker 1: my podcatcher. It's a sensation I've experienced for many years, 311 00:16:58,600 --> 00:17:00,800 Speaker 1: but only recently learned its name game, which I've been 312 00:17:00,840 --> 00:17:04,280 Speaker 1: pronouncing incorrectly. Whoops. I wouldn't worry about. I mean it 313 00:17:04,320 --> 00:17:07,040 Speaker 1: sounds like people just say different ways. Uh yeah, say 314 00:17:07,080 --> 00:17:10,520 Speaker 1: however you want. I most frequently feel it when I 315 00:17:10,520 --> 00:17:13,200 Speaker 1: have a strong personal memory tied to a song, such 316 00:17:13,280 --> 00:17:16,919 Speaker 1: as pop punk tunes by the Atari's that I listened 317 00:17:16,960 --> 00:17:21,280 Speaker 1: to endlessly while daydreaming about early crushes in high school. Additionally, 318 00:17:21,320 --> 00:17:24,520 Speaker 1: I've often found remixes of classic video game melodies trigger 319 00:17:24,560 --> 00:17:27,760 Speaker 1: frees on is they rekindle fond memories of a blissfully 320 00:17:27,840 --> 00:17:30,919 Speaker 1: wasted childhood. One that always does it for me is 321 00:17:30,960 --> 00:17:34,920 Speaker 1: the nerd core artist Mega Rand's track for the Gamers, 322 00:17:35,280 --> 00:17:38,560 Speaker 1: which features samples and lyrics related to many beloved games. 323 00:17:38,760 --> 00:17:41,040 Speaker 1: I'm curious if this song elicits frees on when the 324 00:17:41,040 --> 00:17:44,040 Speaker 1: build up completes uh and gives a gives a time 325 00:17:44,080 --> 00:17:46,760 Speaker 1: stamp here for others who grew up loving these games. 326 00:17:47,480 --> 00:17:50,119 Speaker 1: While I'd always assumed it was just a subjective feeling 327 00:17:50,160 --> 00:17:54,240 Speaker 1: based solely on personal memories and anticipatory dopamine release resulting 328 00:17:54,240 --> 00:17:58,840 Speaker 1: from rhythmic pattern recognition and prediction, makes sense too. I 329 00:17:58,920 --> 00:18:02,320 Speaker 1: noticed your examples of the replacements Alex Chilton and Mary 330 00:18:02,359 --> 00:18:06,840 Speaker 1: Clayton's singing on Give Give Me Shelter, both causing the fun, fuzzy, 331 00:18:06,920 --> 00:18:08,840 Speaker 1: warm feeling for me. So it's hard for me to 332 00:18:08,960 --> 00:18:12,159 Speaker 1: argue on the subject of the feeling itself. I associate 333 00:18:12,200 --> 00:18:14,639 Speaker 1: it more with a warm tingle than a cold shiver, 334 00:18:15,280 --> 00:18:17,720 Speaker 1: and the the term this is a term that was 335 00:18:17,720 --> 00:18:21,119 Speaker 1: cited about it skin orgasm. Though it's obviously not a 336 00:18:21,119 --> 00:18:25,000 Speaker 1: sexual experience, doesn't seem too far off problematic, though it 337 00:18:25,040 --> 00:18:27,960 Speaker 1: may be at any rate, this episode really hit home, 338 00:18:28,000 --> 00:18:31,159 Speaker 1: and as your recent video game correspondent. If you'd do 339 00:18:31,240 --> 00:18:33,479 Speaker 1: me the honor of bestowing such a title, I couldn't 340 00:18:33,520 --> 00:18:36,080 Speaker 1: resist replying to this one. Please keep up the great 341 00:18:36,119 --> 00:18:39,119 Speaker 1: work with one of my favorite podcast Cheers, James. I 342 00:18:39,600 --> 00:18:42,359 Speaker 1: love what what James brought up here about for some 343 00:18:42,880 --> 00:18:44,960 Speaker 1: and it's in its connection to two things where it's 344 00:18:45,000 --> 00:18:49,199 Speaker 1: not just the music that you're that that is in 345 00:18:49,240 --> 00:18:51,199 Speaker 1: your mind when you're experiencing this, but it's something that 346 00:18:51,240 --> 00:18:56,239 Speaker 1: has become immersed with the music, particular memories or in 347 00:18:56,280 --> 00:18:59,000 Speaker 1: my case, it will often be a song that I 348 00:18:59,040 --> 00:19:01,840 Speaker 1: was listening to while I was reading something that made 349 00:19:02,480 --> 00:19:04,200 Speaker 1: had a big impact on me, you know, a work 350 00:19:04,200 --> 00:19:08,320 Speaker 1: of fiction or or um a piece of music. I 351 00:19:08,359 --> 00:19:11,560 Speaker 1: was listening to a lot whilst envisioning a Dungeons and 352 00:19:11,640 --> 00:19:13,639 Speaker 1: Dragons campaign, that sort of thing, you know, where the 353 00:19:14,000 --> 00:19:18,520 Speaker 1: two becomes so uh linked together and then they also 354 00:19:18,680 --> 00:19:22,040 Speaker 1: there's like this feedback loop, I guess, or this uh 355 00:19:22,240 --> 00:19:25,920 Speaker 1: the system where each one makes the other more potent. 356 00:19:26,200 --> 00:19:28,720 Speaker 1: Like the music is more effective because it makes me 357 00:19:28,760 --> 00:19:32,040 Speaker 1: think of the Dungeons and dragon setting, and then you know, 358 00:19:32,160 --> 00:19:34,920 Speaker 1: thinking about the Dungeons and dragon setting is more, uh 359 00:19:35,280 --> 00:19:37,520 Speaker 1: more of an experience because of the music that I'm 360 00:19:37,520 --> 00:19:40,080 Speaker 1: listening to while I'm doing it. Music and a vacuum 361 00:19:40,080 --> 00:19:42,680 Speaker 1: can definitely elicit it, though. I think some of the 362 00:19:42,680 --> 00:19:44,960 Speaker 1: studies we were looking at found it was especially common 363 00:19:45,000 --> 00:19:48,040 Speaker 1: with things like film scores, and I think that there 364 00:19:48,080 --> 00:19:49,760 Speaker 1: may well be a reason to that. It's not just 365 00:19:49,920 --> 00:19:53,359 Speaker 1: that film scores are particularly free so on inducing in 366 00:19:53,480 --> 00:19:56,800 Speaker 1: sonic terms, but that they are paired with scenes in movies, 367 00:19:57,320 --> 00:20:00,840 Speaker 1: and these scenes bring their own emotional heft and sort 368 00:20:00,840 --> 00:20:03,760 Speaker 1: of compliment the song in various ways that they create 369 00:20:03,840 --> 00:20:07,639 Speaker 1: these emotional associations. Yeah, to just crank it up to 370 00:20:07,680 --> 00:20:11,440 Speaker 1: where it's just absolute emotional manipulation. Yeah, you know. A 371 00:20:11,520 --> 00:20:13,960 Speaker 1: quick example that comes to mind is the Hurdy Gurdy 372 00:20:14,040 --> 00:20:16,719 Speaker 1: Man song, which which I don't think I ever had 373 00:20:16,720 --> 00:20:19,520 Speaker 1: a real effect, right, Yeah, I don't think it ever. Really. 374 00:20:19,560 --> 00:20:22,119 Speaker 1: I always appreciate it as a nice song, but it 375 00:20:22,240 --> 00:20:25,000 Speaker 1: wasn't until I saw it used in the Fincher's Zodiac 376 00:20:25,240 --> 00:20:27,680 Speaker 1: Zodiac where it's like it's it took on a new 377 00:20:27,840 --> 00:20:30,280 Speaker 1: quality for me, and uh, and it just gives me 378 00:20:30,320 --> 00:20:32,560 Speaker 1: the shivers when I hear it now if it's used 379 00:20:32,560 --> 00:20:35,639 Speaker 1: in another I saw it recently in a TV show Um. 380 00:20:35,680 --> 00:20:38,080 Speaker 1: That was also had had a great sense of style 381 00:20:38,200 --> 00:20:42,400 Speaker 1: and in setting, but it instantly brought me back to Zodiac. Yeah. 382 00:20:42,440 --> 00:20:44,920 Speaker 1: It's funny how really good use of a pop song 383 00:20:45,160 --> 00:20:47,879 Speaker 1: in a movie can sort of change that song forever, 384 00:20:48,000 --> 00:20:50,320 Speaker 1: Like you can't think about it without thinking about the movie. 385 00:20:50,359 --> 00:20:53,400 Speaker 1: For for me, it's both sides now. I can't hear 386 00:20:53,440 --> 00:20:56,400 Speaker 1: it without thinking of Hereditary. Oh yeah, I haven't seen 387 00:20:56,440 --> 00:20:59,320 Speaker 1: Hereditary yet. Oh wow. Okay, well, I don't know if 388 00:20:59,359 --> 00:21:02,400 Speaker 1: I know this song either, so I'm really look it up. 389 00:21:02,600 --> 00:21:06,120 Speaker 1: Joni Mitchell. Wait, wait, wait, how's it go? I've looked 390 00:21:06,160 --> 00:21:09,200 Speaker 1: at clouds from both sides now, from up and down? 391 00:21:09,520 --> 00:21:12,560 Speaker 1: I mean cheese if I do too much? Yeah, yeah, 392 00:21:12,640 --> 00:21:15,040 Speaker 1: you know. No, Okay, I know the song. Yes, Moons 393 00:21:15,119 --> 00:21:18,800 Speaker 1: and Junes and Ferris Wheels, the dizzy dancing way you 394 00:21:18,840 --> 00:21:22,680 Speaker 1: feel and pieces on the ground. So think that's a 395 00:21:22,680 --> 00:21:30,879 Speaker 1: different Sweet dreams and flying machines. Getting back to listener mail, Okay, uh, 396 00:21:31,119 --> 00:21:32,520 Speaker 1: let's see Rob, do you want to do this one? 397 00:21:32,560 --> 00:21:43,359 Speaker 1: From Robin here? Absolutely all right? From Robin Um. Also 398 00:21:43,359 --> 00:21:48,000 Speaker 1: addressing the Comfort in the Box episodes, Hi, Rob, Joe 399 00:21:48,000 --> 00:21:49,560 Speaker 1: and stuff, I am catching up on some of your 400 00:21:49,560 --> 00:21:52,520 Speaker 1: episodes from the latest round of work from home disruption, 401 00:21:52,800 --> 00:21:55,600 Speaker 1: and I tend to listen to more podcasts during regular 402 00:21:55,680 --> 00:21:59,639 Speaker 1: work than when working from home anyway, listening to your comfort. 403 00:21:59,640 --> 00:22:02,320 Speaker 1: In a cat addition episode, I had a short comment 404 00:22:02,560 --> 00:22:04,480 Speaker 1: on the idea of some kind of a three D 405 00:22:04,600 --> 00:22:08,240 Speaker 1: social chess that cats undergo with their square sitting behavior. 406 00:22:08,680 --> 00:22:12,840 Speaker 1: The young adult fiction author Diane Dwayne, in her on 407 00:22:12,880 --> 00:22:18,320 Speaker 1: her Majesty's Wizardly Service series about cat wizards, introduces the 408 00:22:18,359 --> 00:22:23,000 Speaker 1: concept of haish. It is essentially an ongoing game of 409 00:22:23,040 --> 00:22:27,240 Speaker 1: three D social chess where postures, sightlines, attention, position, actions, 410 00:22:27,240 --> 00:22:29,440 Speaker 1: et cetera all play a part. I found it a 411 00:22:29,440 --> 00:22:32,520 Speaker 1: particularly delightful and satisfying way to explain in fiction what 412 00:22:32,640 --> 00:22:36,159 Speaker 1: all cat owners or cat observer's notice exactly what you 413 00:22:36,200 --> 00:22:41,080 Speaker 1: were discussing? Uh, there sometimes inscrutable behavior. On a separate note, 414 00:22:41,359 --> 00:22:44,760 Speaker 1: for the experience of musical Frozen that was discussed in 415 00:22:44,800 --> 00:22:47,640 Speaker 1: the episode with Joe and Seth, the piece that always 416 00:22:47,680 --> 00:22:50,359 Speaker 1: gets me even now thinking about it as I type 417 00:22:50,440 --> 00:22:54,720 Speaker 1: is Mountains from the Interstellar soundtrack by hand Zimmer, crank 418 00:22:54,800 --> 00:22:57,040 Speaker 1: that baby up, and get ready to shiver. The entire 419 00:22:57,160 --> 00:23:01,439 Speaker 1: organ music content of this soundtrack is extremely evocative. Cheers 420 00:23:01,720 --> 00:23:05,960 Speaker 1: Robin film scores again, Yeah, and hand Zimmer. Hand Zimmer 421 00:23:06,000 --> 00:23:09,560 Speaker 1: is one of those artists that, Yeah, sometimes I barely 422 00:23:09,600 --> 00:23:13,600 Speaker 1: notice his music, but when he's a when he's working 423 00:23:13,640 --> 00:23:16,240 Speaker 1: at the right score and it's the right picture, Yeah, 424 00:23:16,520 --> 00:23:19,440 Speaker 1: he's he's amazing. I mean I tend to, I think, 425 00:23:19,520 --> 00:23:23,560 Speaker 1: over associate him with the way his Batman score sounded 426 00:23:23,720 --> 00:23:25,879 Speaker 1: was so very heavy on, like the brass part of 427 00:23:25,920 --> 00:23:30,160 Speaker 1: the orchestra, the kind of rang thing. But but yeah, 428 00:23:30,200 --> 00:23:32,640 Speaker 1: he's got more range than that. I believe other other 429 00:23:32,720 --> 00:23:36,520 Speaker 1: movies are more melodic. Maybe. Yeah, I think sometimes I 430 00:23:36,560 --> 00:23:39,560 Speaker 1: set myself up to dislike his his music just because 431 00:23:39,560 --> 00:23:42,200 Speaker 1: he's such a huge name that I forget that the Yeah, 432 00:23:42,200 --> 00:23:45,200 Speaker 1: he's he's got this terrific range and he's a he's 433 00:23:45,200 --> 00:23:47,800 Speaker 1: a famous composer for a reason. I think. I know, 434 00:23:48,000 --> 00:23:49,600 Speaker 1: I'll have to look it up after we record, but 435 00:23:49,680 --> 00:23:52,040 Speaker 1: I think I know this one from Interstellar and it 436 00:23:52,160 --> 00:23:59,399 Speaker 1: is it is moving, all right? Do we want to 437 00:23:59,440 --> 00:24:02,760 Speaker 1: wrap up and mentioning a couple of weird house cinema messages. 438 00:24:03,119 --> 00:24:06,359 Speaker 1: Let's do it, Okay. This first one comes from Scott. 439 00:24:06,520 --> 00:24:09,480 Speaker 1: Scott says, dear Robert and Joe I was delighted by 440 00:24:09,480 --> 00:24:12,680 Speaker 1: the subject of this week's Weird House Cinema episode, Death Moon, 441 00:24:13,040 --> 00:24:16,320 Speaker 1: because I happened to be moving to uh is it Kauaii? 442 00:24:16,520 --> 00:24:19,480 Speaker 1: Is that how you say it? Um? Kawaii for a 443 00:24:19,560 --> 00:24:22,120 Speaker 1: job opportunity. With that in mind, it would be very 444 00:24:22,160 --> 00:24:25,600 Speaker 1: interested in an episode dedicated to Hawaiian mythology. Per Robert's 445 00:24:25,600 --> 00:24:29,880 Speaker 1: request for listener feedback on the subject, best Scott, Okay, 446 00:24:29,920 --> 00:24:32,120 Speaker 1: we got we got a thumbs up for coming back 447 00:24:32,119 --> 00:24:35,040 Speaker 1: to Hawaiian mythology, and I imagine that would get heavily 448 00:24:35,040 --> 00:24:39,360 Speaker 1: into Hawaiian monsters, right, That's that's often our entry way 449 00:24:39,480 --> 00:24:42,840 Speaker 1: into such discussions. Um, I think you know, a little 450 00:24:42,880 --> 00:24:44,720 Speaker 1: a little of it might be coming a We have 451 00:24:44,760 --> 00:24:48,440 Speaker 1: some upcoming episodes that deal with with Polynesian culture, So 452 00:24:48,480 --> 00:24:50,120 Speaker 1: I don't know if we're going to get into any 453 00:24:50,160 --> 00:24:53,320 Speaker 1: mythology and those or not, but but certainly down the line, 454 00:24:53,359 --> 00:24:56,879 Speaker 1: I think we could do something that involves monsters that 455 00:24:57,000 --> 00:25:01,480 Speaker 1: gets into Hawaiian mythology. Those upcoming episode well, I don't 456 00:25:01,480 --> 00:25:02,919 Speaker 1: want to spoil too much, but they're a little bit 457 00:25:02,920 --> 00:25:07,280 Speaker 1: more Polynesian science and technology focused. But but yeah, we should, 458 00:25:07,320 --> 00:25:10,840 Speaker 1: we should definitely do Polynesian Beasts and Wonders and stories 459 00:25:10,880 --> 00:25:18,840 Speaker 1: as well. Yeah, all right, here's another weird house cinema 460 00:25:18,920 --> 00:25:23,040 Speaker 1: listener mail. This one comes from Country. Hello guys, if 461 00:25:23,080 --> 00:25:25,720 Speaker 1: you're in search of a genre bending weird house film, 462 00:25:25,800 --> 00:25:31,200 Speaker 1: try to fine British space vampire flick Life Force from Yes. 463 00:25:32,480 --> 00:25:35,520 Speaker 1: It is streaming on Amazon Prime. I recommend it for 464 00:25:35,600 --> 00:25:39,040 Speaker 1: both the extremely dry line delivery by all the actors 465 00:25:39,200 --> 00:25:43,560 Speaker 1: and the improbably great uh special effects, some of which 466 00:25:43,760 --> 00:25:46,800 Speaker 1: are definitely practical, which I love. I clicked on this 467 00:25:46,840 --> 00:25:49,120 Speaker 1: flick thinking it would be a good, forgettable be movie 468 00:25:49,119 --> 00:25:51,440 Speaker 1: to play in the background while cooking, but it turned 469 00:25:51,480 --> 00:25:53,840 Speaker 1: out to be far too strange and original not to 470 00:25:53,880 --> 00:25:57,200 Speaker 1: actively watch. And also I vote yes to an episode 471 00:25:57,200 --> 00:26:01,040 Speaker 1: on cross cultural man beast myths. Thank for the hours 472 00:26:01,080 --> 00:26:05,000 Speaker 1: of free brain massaging Country. Oh and ps, the movie 473 00:26:05,000 --> 00:26:07,359 Speaker 1: staceships and creatures look a lot like the entities in 474 00:26:07,440 --> 00:26:10,040 Speaker 1: Watts blind Side. Oh. I never would have made a 475 00:26:10,040 --> 00:26:13,840 Speaker 1: connection to blind Side, but oh yeah, you you know us, 476 00:26:13,880 --> 00:26:16,480 Speaker 1: well you I think we I can say we both 477 00:26:16,520 --> 00:26:19,159 Speaker 1: love Life Force, right Oh yeah, I mean now, I 478 00:26:19,200 --> 00:26:21,160 Speaker 1: have to admit it's not a film that I've seen 479 00:26:22,480 --> 00:26:26,560 Speaker 1: in recent decades, but but it has I finally look 480 00:26:26,640 --> 00:26:28,320 Speaker 1: back on it, so I would be up for watching 481 00:26:28,320 --> 00:26:30,400 Speaker 1: it again at some point. It has so many bonkers 482 00:26:30,400 --> 00:26:34,840 Speaker 1: elements in it, some great practical effects. Toby Hooper. Yeah, 483 00:26:34,920 --> 00:26:39,800 Speaker 1: Toby Hooper at the Helm though, wasn't it was? It was? 484 00:26:39,800 --> 00:26:41,720 Speaker 1: Was somebody else involved in well as well in this? 485 00:26:41,920 --> 00:26:44,159 Speaker 1: Or was it Toby Hooper was the I know he 486 00:26:44,240 --> 00:26:46,240 Speaker 1: directed it, but I'm trying to remember if this was 487 00:26:46,280 --> 00:26:48,359 Speaker 1: like a big studio venture that had other fingers in 488 00:26:48,359 --> 00:26:51,920 Speaker 1: the pot. I'm looking it up now. Terrific cast though. 489 00:26:52,000 --> 00:26:54,560 Speaker 1: Oh well, it was written by none other than Dan O'Bannon, 490 00:26:54,640 --> 00:26:56,960 Speaker 1: who is Oh, that's who I was the Yeah, it's 491 00:26:56,960 --> 00:26:59,560 Speaker 1: also a Dan O'Bannon picture. Some of the great horror 492 00:26:59,560 --> 00:27:03,560 Speaker 1: inside by movies. Dan O'Bannon behind, of course, the writer 493 00:27:03,720 --> 00:27:10,119 Speaker 1: of Alien and Umtal writer. Yeah. Was he Total Recall? Okay? 494 00:27:10,119 --> 00:27:12,320 Speaker 1: He was involved in Total Recall? Yeah, well, if so, 495 00:27:12,520 --> 00:27:16,639 Speaker 1: that's a great movie. Also a writer director of Return 496 00:27:16,680 --> 00:27:19,639 Speaker 1: of the Living Dead, which is maybe my favorite zombie movie. 497 00:27:19,960 --> 00:27:22,400 Speaker 1: That's a great one. Yeah. I'm getting repped up into 498 00:27:22,440 --> 00:27:24,520 Speaker 1: some We're gonna have to do some zombie stuff for 499 00:27:24,560 --> 00:27:27,040 Speaker 1: Weird how Cinema going forward, because I I don't know 500 00:27:27,080 --> 00:27:30,359 Speaker 1: that we've done a proper zombie film yet, and there's 501 00:27:30,400 --> 00:27:33,560 Speaker 1: so many good ones and I'm I'm starting to fill 502 00:27:33,600 --> 00:27:36,400 Speaker 1: myself get into zombies again. It's coming back. Yeah, I'm 503 00:27:36,400 --> 00:27:39,440 Speaker 1: still weary. I mean, zombies were sort of my first 504 00:27:39,480 --> 00:27:42,320 Speaker 1: love when I was getting into horror movies, and really 505 00:27:42,640 --> 00:27:45,359 Speaker 1: I don't know, having having just total cinema geek outs, 506 00:27:45,440 --> 00:27:48,520 Speaker 1: I started with like Dawn of the Dead and all that, 507 00:27:48,760 --> 00:27:51,919 Speaker 1: and it was I for some reason, it felt unique 508 00:27:51,960 --> 00:27:53,480 Speaker 1: to me at the time, but I realized I was 509 00:27:53,560 --> 00:27:56,359 Speaker 1: part of a cultural zombie craze that took place in 510 00:27:56,400 --> 00:27:59,879 Speaker 1: the two thousands. I still don't know exactly why that 511 00:28:00,040 --> 00:28:03,200 Speaker 1: happened to be interesting to analyze culturally, like in terms 512 00:28:03,240 --> 00:28:06,280 Speaker 1: of what trends contributed. That may have just had to 513 00:28:06,280 --> 00:28:08,480 Speaker 1: do with things like they're being remakes of Dawn of 514 00:28:08,560 --> 00:28:11,480 Speaker 1: the Dead coming out then and stuff which I never 515 00:28:11,840 --> 00:28:14,280 Speaker 1: never actually saw. But yeah, I went zombie crazy, just 516 00:28:14,320 --> 00:28:16,399 Speaker 1: like everybody did in the two thousands, and then I 517 00:28:16,440 --> 00:28:19,960 Speaker 1: got so burned out on zombies I thought I never 518 00:28:20,000 --> 00:28:22,800 Speaker 1: wanted to see a zombie movie again. But but I'm 519 00:28:22,800 --> 00:28:25,440 Speaker 1: coming back around. Yeah, I think I was pretty burned 520 00:28:25,440 --> 00:28:27,359 Speaker 1: out on on um as well. For some reason, I 521 00:28:27,400 --> 00:28:31,080 Speaker 1: watched the news exc Snyder Army of the Dead picture 522 00:28:31,160 --> 00:28:34,399 Speaker 1: on the airplane on my recent trip, and uh, you 523 00:28:34,440 --> 00:28:38,840 Speaker 1: know it's it's and depressing. You know, it's a movie. 524 00:28:38,880 --> 00:28:42,880 Speaker 1: It's a If you're gonna watch an it really zombie 525 00:28:42,920 --> 00:28:46,520 Speaker 1: film on an airplane, then go for it. Um. I 526 00:28:46,560 --> 00:28:49,440 Speaker 1: skipped around in it. But then on the trip I 527 00:28:49,480 --> 00:28:52,480 Speaker 1: was reading the new Raven Loft Book for Dungeons and Dragons, 528 00:28:52,480 --> 00:28:55,600 Speaker 1: the fifth edition, and their use of the use of 529 00:28:55,680 --> 00:28:59,320 Speaker 1: zombies in one of the particular domains of dread in that. Uh, 530 00:28:59,440 --> 00:29:02,080 Speaker 1: that really captivated me. And now that I think that's 531 00:29:02,080 --> 00:29:04,640 Speaker 1: what has has has got me interested in zombies again. 532 00:29:04,680 --> 00:29:07,440 Speaker 1: It's it's Dungeons and Dragons. It's it's done it once more. 533 00:29:08,120 --> 00:29:10,040 Speaker 1: But I guess we did watch a zombie movie, didn't wait, 534 00:29:10,080 --> 00:29:14,480 Speaker 1: we watched uh we watched the Shockwaves movie. Oh yeah, 535 00:29:14,520 --> 00:29:18,520 Speaker 1: I mean that was zombie light there. Um. Yeah, Well, 536 00:29:18,680 --> 00:29:21,760 Speaker 1: coming back to Tontry's recommendation here, Yeah, Life Forces is 537 00:29:21,800 --> 00:29:25,760 Speaker 1: absolutely bonkers. It is. It's funny. I've never thought about 538 00:29:25,800 --> 00:29:27,440 Speaker 1: it this way, but yeah, I think some of the 539 00:29:27,480 --> 00:29:31,960 Speaker 1: strangeness comes out of the out of mixing how bonkers. 540 00:29:31,960 --> 00:29:36,280 Speaker 1: The premise is with some of the extremely dry, very British, 541 00:29:36,400 --> 00:29:41,880 Speaker 1: you know, almost Charles Gray level of dryness, uh, performances 542 00:29:41,920 --> 00:29:45,400 Speaker 1: by some of the main actors. Yeah. And and then 543 00:29:45,400 --> 00:29:47,480 Speaker 1: also there are some very I don't know how juvenile 544 00:29:47,560 --> 00:29:50,080 Speaker 1: the plot is, but there were elements of it that 545 00:29:50,160 --> 00:29:54,720 Speaker 1: definitely appealed to juvenile viewers. Um. You know, there's the 546 00:29:54,760 --> 00:29:56,440 Speaker 1: silliness with the you know, some of the silliness of 547 00:29:56,480 --> 00:29:59,120 Speaker 1: the monsters and the basic concept. And then I think 548 00:29:59,120 --> 00:30:03,320 Speaker 1: there was a lot of arguably unnecessary female nudity in 549 00:30:03,360 --> 00:30:06,000 Speaker 1: the picture. Um. And then yet I have this sort 550 00:30:06,000 --> 00:30:09,760 Speaker 1: of this this very very dry British dialogue on top 551 00:30:09,800 --> 00:30:11,520 Speaker 1: of all that. But yeah, i'd be I'd be up 552 00:30:11,520 --> 00:30:14,360 Speaker 1: for looking at that movie again. Is that the second 553 00:30:14,360 --> 00:30:16,560 Speaker 1: movie that Dan O'Bannon made that was in some way 554 00:30:16,600 --> 00:30:20,560 Speaker 1: inspired by A Planet of the Vampires? I guess so, yeah, 555 00:30:20,600 --> 00:30:23,480 Speaker 1: because you can draw lines from Planet of the Vampires 556 00:30:23,600 --> 00:30:28,160 Speaker 1: to um to both Alien and this film. Um. So 557 00:30:28,240 --> 00:30:30,680 Speaker 1: that the Planet of the Vampires. That's another film I 558 00:30:30,720 --> 00:30:33,960 Speaker 1: watched on the airplane. Uh, that that one? Uh what 559 00:30:34,640 --> 00:30:37,280 Speaker 1: that was a streaming on the plane. Wow. I brought 560 00:30:37,320 --> 00:30:41,960 Speaker 1: it with me on my phone pre downloaded off of Prominent. Yeah, 561 00:30:42,080 --> 00:30:44,160 Speaker 1: and uh, and I've been meaning to watch it in 562 00:30:44,280 --> 00:30:47,440 Speaker 1: full and I finally did. Um and I think I 563 00:30:47,480 --> 00:30:49,560 Speaker 1: was telling you about this. It's it's It's not an 564 00:30:49,560 --> 00:30:54,440 Speaker 1: exciting movie in terms of plot or performance, but absolutely 565 00:30:54,440 --> 00:30:57,760 Speaker 1: breathtaking to look at, just wonderful visuals and colors and 566 00:30:57,960 --> 00:31:01,080 Speaker 1: sights and sounds. Well, speaking of movies that are right 567 00:31:01,120 --> 00:31:03,720 Speaker 1: to put on while you're cooking, as Tantry says, uh, 568 00:31:04,400 --> 00:31:06,960 Speaker 1: she did here, I I sometimes also put on movies 569 00:31:06,960 --> 00:31:08,840 Speaker 1: while I'm cooking or just while I'm hanging out with people. 570 00:31:08,880 --> 00:31:12,800 Speaker 1: Playing The Vampire is a fantastic movie to do that with. Yeah, 571 00:31:13,160 --> 00:31:15,160 Speaker 1: all right, Well we're gonna go ahead and close up 572 00:31:15,160 --> 00:31:17,720 Speaker 1: the mailbag here. I do have one last bit here, 573 00:31:17,760 --> 00:31:21,400 Speaker 1: and that is a plug for Corridor Magazine. As many 574 00:31:21,440 --> 00:31:23,960 Speaker 1: of you may remember, our former co host, Christian Sager, 575 00:31:24,320 --> 00:31:28,280 Speaker 1: masterminded a weird art fiction and non fiction publication called 576 00:31:28,320 --> 00:31:32,880 Speaker 1: Corridor last year. Uh, they ran a kickstarter that was successful, 577 00:31:33,240 --> 00:31:37,520 Speaker 1: and I'm I'm to understand that physical copies are currently 578 00:31:37,560 --> 00:31:40,080 Speaker 1: making their way to the owners. And if you didn't 579 00:31:40,120 --> 00:31:42,760 Speaker 1: get in on the kickstarter, you can pre order yourself 580 00:31:42,840 --> 00:31:45,880 Speaker 1: up a copy as well. Um, I think you just 581 00:31:45,960 --> 00:31:48,640 Speaker 1: go to the Kickstarter page for Corridor, but if you 582 00:31:48,640 --> 00:31:50,440 Speaker 1: want to go to their social media accounts to get 583 00:31:50,480 --> 00:31:52,800 Speaker 1: more of like a definite link to where you need 584 00:31:52,840 --> 00:31:57,320 Speaker 1: to go. On Facebook their Corridor Publications. On Twitter they 585 00:31:57,360 --> 00:32:02,920 Speaker 1: are Corridor Pubs, and on Instagram Corridor Publications. Uh so 586 00:32:03,000 --> 00:32:04,840 Speaker 1: pick it up. I've I've I have reviewed. I have 587 00:32:04,920 --> 00:32:07,160 Speaker 1: not had my hands on the physical copy of but 588 00:32:07,160 --> 00:32:10,800 Speaker 1: I've looked at a PDF, very colorful, full of all 589 00:32:10,840 --> 00:32:14,960 Speaker 1: sorts of exciting written works, and i even wrote a 590 00:32:15,040 --> 00:32:17,920 Speaker 1: futuristic shark short story in there that has a really 591 00:32:17,920 --> 00:32:20,800 Speaker 1: cool illustration. So check it out. If that's your thing, 592 00:32:21,040 --> 00:32:23,280 Speaker 1: it sounds great. I'd love to read it. Yeah, I'll 593 00:32:23,320 --> 00:32:26,200 Speaker 1: get you a copy, all right. Well, if you want 594 00:32:26,200 --> 00:32:28,200 Speaker 1: to write into us, do so. We'd love to hear 595 00:32:28,240 --> 00:32:30,560 Speaker 1: from you. We do stuff to blow your mind listener 596 00:32:30,600 --> 00:32:33,720 Speaker 1: mail every Monday, Tuesdays and Thursdays are our core stuff 597 00:32:33,760 --> 00:32:35,959 Speaker 1: to blow your mind episodes. On Wednesdays we do an 598 00:32:36,000 --> 00:32:38,720 Speaker 1: artifact and on Friday's That's Weird how Cinema. That's our 599 00:32:38,720 --> 00:32:41,520 Speaker 1: time to set aside most of the science and culture 600 00:32:41,720 --> 00:32:44,600 Speaker 1: and just focus on some sort of a weird motion picture. 601 00:32:44,920 --> 00:32:47,640 Speaker 1: Huge thanks as always to our excellent audio producer Seth 602 00:32:47,720 --> 00:32:50,040 Speaker 1: Nicholas Johnson. If you would like to get in touch 603 00:32:50,080 --> 00:32:52,320 Speaker 1: with us with feedback on this episode or any other, 604 00:32:52,440 --> 00:32:54,800 Speaker 1: to suggest a topic for the future, or just to 605 00:32:54,840 --> 00:32:58,520 Speaker 1: say hi, you can email us at contact at stuff 606 00:32:58,560 --> 00:33:08,200 Speaker 1: to Blow your Mind dot com. Stuff to Blow Your 607 00:33:08,200 --> 00:33:10,600 Speaker 1: Mind is a production of I Heart Radio. For more 608 00:33:10,640 --> 00:33:13,240 Speaker 1: podcasts for my heart Radio, visit the i heart Radio app, 609 00:33:13,400 --> 00:33:16,160 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.