1 00:00:02,960 --> 00:00:06,080 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 2 00:00:07,880 --> 00:00:09,840 Speaker 1: Hey you welcome to Stuff to Blow your Mind. A 3 00:00:10,000 --> 00:00:13,560 Speaker 1: listener mail This is Robert Lamb and this is Joe mccormay. 4 00:00:13,680 --> 00:00:15,720 Speaker 1: Can it's a Monday, the day of each week that 5 00:00:15,760 --> 00:00:19,480 Speaker 1: we read back some messages from the mail bag. If 6 00:00:19,560 --> 00:00:22,239 Speaker 1: you are a listener to Stuff to Blow your Mind 7 00:00:22,280 --> 00:00:24,240 Speaker 1: and you have never gotten in touch with us before 8 00:00:24,280 --> 00:00:26,560 Speaker 1: by email, why not give it a shot. You can 9 00:00:26,600 --> 00:00:29,680 Speaker 1: write us at contact at stuff to blow your Mind 10 00:00:29,880 --> 00:00:32,960 Speaker 1: dot com. All sorts of messages are fair game. Of course, 11 00:00:33,000 --> 00:00:36,800 Speaker 1: feedback on existing episodes, that's always welcome. If you've got 12 00:00:36,840 --> 00:00:39,360 Speaker 1: anything interesting to add to what we said, or if 13 00:00:39,360 --> 00:00:42,239 Speaker 1: you've got corrections or just additional thoughts, any of that, 14 00:00:42,320 --> 00:00:44,879 Speaker 1: send it our way. Also, if you want to suggest 15 00:00:45,120 --> 00:00:49,800 Speaker 1: topics for future episodes, that's always welcome. If you just 16 00:00:49,840 --> 00:00:52,960 Speaker 1: want to share something that you've thought of that's interesting 17 00:00:53,080 --> 00:00:55,880 Speaker 1: that you think we might be interested into, that's fair 18 00:00:55,880 --> 00:00:58,040 Speaker 1: game as well. Just send it all. Yeah, I mean, 19 00:00:58,040 --> 00:01:00,440 Speaker 1: there are whole episodes in the past from a lot 20 00:01:00,480 --> 00:01:03,200 Speaker 1: of listeners, and certain episodes generate a lot of comments, 21 00:01:03,200 --> 00:01:06,400 Speaker 1: but they're there episodes in the vault that have never 22 00:01:06,800 --> 00:01:10,520 Speaker 1: generated commentary from listeners before, so you could be the 23 00:01:10,560 --> 00:01:13,759 Speaker 1: first go back, find something interesting, rite in about it. Well, 24 00:01:13,800 --> 00:01:16,760 Speaker 1: we'll chat about it all right, let's see, Rob, do 25 00:01:16,760 --> 00:01:20,800 Speaker 1: you want to read this next message from Josh. Sure, Well, 26 00:01:20,880 --> 00:01:23,760 Speaker 1: let's see before this one a little introduction. This is 27 00:01:23,840 --> 00:01:27,560 Speaker 1: related to a digression in our episodes on Fear of 28 00:01:27,600 --> 00:01:33,480 Speaker 1: the Void about how some people need to apparently withdraw 29 00:01:33,640 --> 00:01:36,800 Speaker 1: to a relative vacuum, to a kind of void like 30 00:01:37,040 --> 00:01:40,080 Speaker 1: environment to focus on creative work. And there there are 31 00:01:40,080 --> 00:01:42,119 Speaker 1: different versions of this, you know, some people might have 32 00:01:42,160 --> 00:01:44,920 Speaker 1: like a featureless office with an empty desk and nothing 33 00:01:44,920 --> 00:01:48,480 Speaker 1: but their typewriter or computer, or like a retreat to 34 00:01:48,600 --> 00:01:51,640 Speaker 1: a place that's relatively free of distractions and so forth. 35 00:01:52,160 --> 00:01:53,920 Speaker 1: And of course some people are exactly the opposite and 36 00:01:53,960 --> 00:01:57,880 Speaker 1: want to surround themselves with stimulating imagery while they're while 37 00:01:57,880 --> 00:02:06,760 Speaker 1: they're working. But Josh got into touch about that. Digressions 38 00:02:06,800 --> 00:02:09,520 Speaker 1: as high Joe, Robert and JJ I found your reference 39 00:02:09,560 --> 00:02:12,440 Speaker 1: to vacuums for art creation interesting, as I had not 40 00:02:12,520 --> 00:02:15,880 Speaker 1: thought about why certain circumstances are so helpful for different 41 00:02:15,880 --> 00:02:19,760 Speaker 1: types of art, especially with writing. Quiet allows my brain 42 00:02:19,800 --> 00:02:22,160 Speaker 1: to fully develop an idea without interruption and for a 43 00:02:22,200 --> 00:02:25,880 Speaker 1: story follow a cogent path without being pulled aside by 44 00:02:26,040 --> 00:02:30,200 Speaker 1: unwanted inputs. With writing, I basically need the vacuum of silence, 45 00:02:30,240 --> 00:02:33,880 Speaker 1: whereas withdrawing and sculpture, I prefer music as it interferes 46 00:02:33,919 --> 00:02:36,440 Speaker 1: with my speech center, providing a different kind of vacuum. 47 00:02:36,960 --> 00:02:39,480 Speaker 1: Although since I live in the Netherlands and speak less 48 00:02:39,520 --> 00:02:43,520 Speaker 1: than perfect Dutch, following stranger's conversations requires effort, so I 49 00:02:43,560 --> 00:02:47,720 Speaker 1: am able to tune people out. Making public transit, whether bus, 50 00:02:47,720 --> 00:02:51,320 Speaker 1: metro or train a comfortable English vacuum for writing. It 51 00:02:51,400 --> 00:02:54,160 Speaker 1: also helps that on public transit. The most important vacuum 52 00:02:54,200 --> 00:02:57,399 Speaker 1: I experience is that since I am professionally a carpenter, 53 00:02:57,680 --> 00:03:00,840 Speaker 1: I have an inability to do any work household chores, 54 00:03:01,080 --> 00:03:04,320 Speaker 1: providing a guilt vacuum. Thanks for the great four partner, 55 00:03:04,600 --> 00:03:08,720 Speaker 1: Josh Oh, several interesting things there, Josh, Yes, I definitely 56 00:03:08,840 --> 00:03:11,160 Speaker 1: agree with you there about the I don't know if 57 00:03:11,200 --> 00:03:13,320 Speaker 1: I would have used the word guilt, but yeah, what 58 00:03:13,400 --> 00:03:16,880 Speaker 1: you call guilt vacuum or a responsibility vacuum. Sometimes it 59 00:03:16,919 --> 00:03:20,239 Speaker 1: can be helpful to like go to a different place 60 00:03:20,360 --> 00:03:23,080 Speaker 1: to get one type of work done because you are 61 00:03:23,120 --> 00:03:26,400 Speaker 1: simply unable in that place to get done the other 62 00:03:26,440 --> 00:03:28,520 Speaker 1: things that you currently have to get done, so it 63 00:03:28,600 --> 00:03:32,440 Speaker 1: like forces you to focus. Yeah, yeah, I always I 64 00:03:32,520 --> 00:03:34,000 Speaker 1: used to back in the day when I took the 65 00:03:34,000 --> 00:03:36,680 Speaker 1: train every day, I always like that about the train. 66 00:03:36,760 --> 00:03:38,680 Speaker 1: It's like, oh, I can I can read on the train, 67 00:03:39,320 --> 00:03:41,560 Speaker 1: but you know it's going to go underground and then 68 00:03:41,560 --> 00:03:43,720 Speaker 1: I'm not gonna be able to connect on my phone 69 00:03:43,760 --> 00:03:45,640 Speaker 1: and worry about anything else. Or at least that used 70 00:03:45,640 --> 00:03:46,760 Speaker 1: to be the way it was. I guess now they 71 00:03:46,760 --> 00:03:50,560 Speaker 1: have wireless in all the tunnels so that people can 72 00:03:50,720 --> 00:03:54,240 Speaker 1: can just stress out NonStop. But time wise, when I 73 00:03:54,240 --> 00:03:55,960 Speaker 1: could pull out a book and felt like, well, I 74 00:03:56,000 --> 00:03:58,960 Speaker 1: have free range to just sit here and enjoy this 75 00:03:59,000 --> 00:04:01,800 Speaker 1: book right now. So I think we've heard from quite 76 00:04:01,840 --> 00:04:05,240 Speaker 1: a few listeners who tell us that they put us 77 00:04:05,280 --> 00:04:08,800 Speaker 1: on while they're doing like a visual arts drawing or 78 00:04:08,840 --> 00:04:11,440 Speaker 1: painting or sculpture. Yeah, it's true. We've heard from a 79 00:04:11,440 --> 00:04:12,960 Speaker 1: lot of a lot of artists. We don't hear from 80 00:04:13,000 --> 00:04:15,880 Speaker 1: a lot of writers who are like, yes, I want 81 00:04:15,880 --> 00:04:18,520 Speaker 1: to hear you guys chatter while I try and write dialogue. 82 00:04:18,600 --> 00:04:21,599 Speaker 1: I think that would be a problem. Yeah, maybe, unless 83 00:04:21,640 --> 00:04:23,800 Speaker 1: you don't speak English. Maybe then it'd be just the thing. 84 00:04:24,120 --> 00:04:27,800 Speaker 1: I guess. I don't know that our voices are that beautiful, 85 00:04:27,920 --> 00:04:31,320 Speaker 1: just in and out themselves. But all right, what else 86 00:04:31,360 --> 00:04:34,440 Speaker 1: do we have here? Joe? Oh, we've got one message 87 00:04:34,760 --> 00:04:37,680 Speaker 1: hearkening all the way back to our series on animal 88 00:04:37,760 --> 00:04:41,960 Speaker 1: throwing behavior non human animals throwing objects. This is from 89 00:04:42,000 --> 00:04:50,599 Speaker 1: ian Ian, says dear Rob and Joe. In listening to 90 00:04:50,600 --> 00:04:54,400 Speaker 1: your episodes on animals throwing things and the accompanying listener responses, 91 00:04:54,400 --> 00:04:57,400 Speaker 1: I was struck by a pattern. Most of your examples 92 00:04:57,440 --> 00:05:01,400 Speaker 1: of mammals throwing things, and all of the listener males, 93 00:05:01,440 --> 00:05:04,440 Speaker 1: at least that I've heard so far, involve the mammals 94 00:05:04,520 --> 00:05:09,120 Speaker 1: hiking the object backwards between their legs, rather than tossing 95 00:05:09,160 --> 00:05:12,039 Speaker 1: it up, as might seem more natural to a human. 96 00:05:12,560 --> 00:05:14,359 Speaker 1: The reason this stood out to me is that my 97 00:05:14,480 --> 00:05:17,520 Speaker 1: grandparents had a dog that, when she wanted to play 98 00:05:17,520 --> 00:05:20,480 Speaker 1: fetch and no one would accommodate her, would grab her 99 00:05:20,480 --> 00:05:23,840 Speaker 1: tennis ball in her teeth by the fuzz and then 100 00:05:23,960 --> 00:05:26,839 Speaker 1: toss her head up and back, causing the ball to 101 00:05:27,040 --> 00:05:30,200 Speaker 1: fly up over her back and behind her. She would 102 00:05:30,240 --> 00:05:32,960 Speaker 1: then proceed to chase after it, as in a normal 103 00:05:33,000 --> 00:05:35,719 Speaker 1: game of fetch and repeat the procedure until she got 104 00:05:35,760 --> 00:05:38,440 Speaker 1: tired or someone took pity on her and threw it 105 00:05:38,480 --> 00:05:41,240 Speaker 1: for her. She had pretty good range too, the ball 106 00:05:41,320 --> 00:05:44,160 Speaker 1: often traveling ten feet or so before hitting the ground, 107 00:05:44,520 --> 00:05:46,960 Speaker 1: and of course it would bounce and roll farther than that. 108 00:05:47,839 --> 00:05:49,880 Speaker 1: At the time, I just thought it was funny that 109 00:05:49,920 --> 00:05:52,520 Speaker 1: she would play fetch with herself. I didn't realize the 110 00:05:52,560 --> 00:05:56,440 Speaker 1: mechanics of her throwing method were apparently so rare among 111 00:05:56,520 --> 00:06:00,440 Speaker 1: quadrupedal mammals in a similar vein. As well as similar 112 00:06:00,440 --> 00:06:02,839 Speaker 1: to the listener who said their dog would drop their 113 00:06:02,960 --> 00:06:06,240 Speaker 1: puzzle feeder down the stairs, my father in law had 114 00:06:06,279 --> 00:06:09,080 Speaker 1: a dog who would take her tennis ball to the 115 00:06:09,120 --> 00:06:12,240 Speaker 1: top of the basement stairs, use her nose to gently 116 00:06:12,360 --> 00:06:15,320 Speaker 1: bump it over the edge, watch it rolled to the bottom, 117 00:06:15,480 --> 00:06:17,560 Speaker 1: then run down to retrieve it so she could do 118 00:06:17,600 --> 00:06:20,840 Speaker 1: it again, just like my grandparents dog. She would keep 119 00:06:20,880 --> 00:06:23,520 Speaker 1: doing this until she got tired or someone started an 120 00:06:23,520 --> 00:06:26,640 Speaker 1: actual game of fetch. Another thing that stood out to 121 00:06:26,640 --> 00:06:29,560 Speaker 1: me is that, unlike Joe's story about his dog throwing 122 00:06:29,600 --> 00:06:32,760 Speaker 1: its puzzle feeder or the listener whose dog would drop 123 00:06:32,800 --> 00:06:36,039 Speaker 1: theirs down the stairs, Neither of the dogs I've encountered 124 00:06:36,080 --> 00:06:39,000 Speaker 1: doing these things seem to be getting any tangible reward 125 00:06:39,120 --> 00:06:42,240 Speaker 1: beyond just playing, though of course fun can be a 126 00:06:42,240 --> 00:06:46,400 Speaker 1: powerful motivator. Anyway, just wanted to share those anecdotes as 127 00:06:46,440 --> 00:06:49,760 Speaker 1: I thought they had both interesting similarities and differences to 128 00:06:49,800 --> 00:06:53,039 Speaker 1: some of the other things you discussed. As other listeners 129 00:06:53,040 --> 00:06:54,839 Speaker 1: have said, I love the way you can take something 130 00:06:54,880 --> 00:06:57,600 Speaker 1: seemingly mundane and make it so interesting. Thanks for all 131 00:06:57,640 --> 00:07:01,360 Speaker 1: you do in well, thank you. I uh yet that 132 00:07:01,800 --> 00:07:05,040 Speaker 1: is interesting. Um. Another one of the distinctions I remember 133 00:07:05,160 --> 00:07:08,960 Speaker 1: making in these episodes was that it seemed almost all 134 00:07:09,040 --> 00:07:12,200 Speaker 1: of the non human throwing behavior we found, with a 135 00:07:12,240 --> 00:07:15,720 Speaker 1: few exceptions, uh you know, the ones in primates who 136 00:07:15,760 --> 00:07:19,280 Speaker 1: do targeted throwing, and possibly the examples and cephalopods and 137 00:07:19,280 --> 00:07:22,360 Speaker 1: so forth, most of the non human animal throwing behavior 138 00:07:23,000 --> 00:07:26,520 Speaker 1: seemed designed to have an effect on the projectile itself, 139 00:07:26,720 --> 00:07:31,000 Speaker 1: rather than designed to use a projectile to have an 140 00:07:31,000 --> 00:07:36,400 Speaker 1: effect on the target. So, for example, the the oh, no, 141 00:07:36,520 --> 00:07:38,680 Speaker 1: I forget which animal it was, there was some small 142 00:07:38,720 --> 00:07:41,880 Speaker 1: mammal that would throw millipedes in order to damage their 143 00:07:41,920 --> 00:07:46,880 Speaker 1: their armor plates. Was it a type of mongoose or something? Yeah, 144 00:07:46,920 --> 00:07:49,560 Speaker 1: And I think the dog in your example would still 145 00:07:49,600 --> 00:07:52,720 Speaker 1: fit into that category because the purpose of the throwing 146 00:07:53,560 --> 00:07:56,920 Speaker 1: is to do something to the ball, in this case, 147 00:07:56,960 --> 00:07:59,200 Speaker 1: to make the ball go far away so that it 148 00:07:59,280 --> 00:08:03,320 Speaker 1: can be retreat for fun, rather than to hit something 149 00:08:03,360 --> 00:08:06,160 Speaker 1: and cause an effect to the thing you're hitting. Yeah, 150 00:08:06,200 --> 00:08:09,600 Speaker 1: And you know, we just recently finished up recording our 151 00:08:09,720 --> 00:08:14,600 Speaker 1: series on gray whales and orcas. Orcas, I don't I 152 00:08:14,600 --> 00:08:16,840 Speaker 1: don't remember we mentioned them at all in our episodes 153 00:08:16,840 --> 00:08:18,840 Speaker 1: of the animals throwing things, but there are flots of 154 00:08:18,880 --> 00:08:22,560 Speaker 1: documented behavior, particular particularly from the bigs killer whales, of 155 00:08:22,840 --> 00:08:28,680 Speaker 1: throwing seals around, Yeah, which I think is fascinating behavior 156 00:08:28,680 --> 00:08:32,600 Speaker 1: because it's not it's not necessary for the killing of 157 00:08:32,640 --> 00:08:35,520 Speaker 1: the prey, especially with the seal, that they can make 158 00:08:35,600 --> 00:08:37,959 Speaker 1: short work of it once they have it, and at 159 00:08:38,000 --> 00:08:40,480 Speaker 1: times it's like gets really impressive. I've seen images where 160 00:08:40,480 --> 00:08:43,440 Speaker 1: it looks like they're they're using their mouth to sort 161 00:08:43,440 --> 00:08:46,000 Speaker 1: of throw the seal about. But then there's the one 162 00:08:46,080 --> 00:08:48,640 Speaker 1: video on the internet with someone captured footage of one 163 00:08:48,640 --> 00:08:51,679 Speaker 1: appearing to sort of like punt it a seal carcass 164 00:08:51,760 --> 00:08:55,640 Speaker 1: with its with its with its tail and make it 165 00:08:55,640 --> 00:08:58,200 Speaker 1: fly like something like eighty feet in the air. It's 166 00:08:58,280 --> 00:09:01,800 Speaker 1: quite impressive and hard to hard to think about in 167 00:09:01,920 --> 00:09:04,400 Speaker 1: terms of anything other than some sort of a play 168 00:09:04,840 --> 00:09:08,880 Speaker 1: type of feature. You know. I'm to understand it. Sometimes 169 00:09:08,880 --> 00:09:11,280 Speaker 1: the animals they play with they're not even necessarily things 170 00:09:11,280 --> 00:09:14,480 Speaker 1: they're going to well eat in their entirety, which they 171 00:09:14,679 --> 00:09:17,120 Speaker 1: often don't do. But also sometimes it's not something they're eating, 172 00:09:17,440 --> 00:09:21,600 Speaker 1: it's just they're seemingly playing with it. That's very strange. 173 00:09:21,720 --> 00:09:23,840 Speaker 1: I do recall when we were reading up for these 174 00:09:23,880 --> 00:09:26,160 Speaker 1: episodes that marine mammals were featured. I guess we just 175 00:09:26,200 --> 00:09:29,080 Speaker 1: didn't get into them in the series, but maybe we 176 00:09:29,080 --> 00:09:33,600 Speaker 1: could come back to that. I wonder, yeah, why that 177 00:09:33,640 --> 00:09:37,440 Speaker 1: would be. I think there's one theory about the loosening 178 00:09:37,559 --> 00:09:41,840 Speaker 1: skin that may then subsequently be ripped off of the animal, 179 00:09:42,440 --> 00:09:46,560 Speaker 1: but I haven't looked into it intremendous detail yet. That's grizzly. 180 00:09:46,800 --> 00:09:48,600 Speaker 1: That's it's a grizzly world out there for the organ 181 00:09:48,800 --> 00:09:52,280 Speaker 1: that's true. But once again, this would be something where 182 00:09:53,280 --> 00:09:56,760 Speaker 1: if it's not for fun, the imagine the purpose of 183 00:09:56,800 --> 00:09:59,280 Speaker 1: it is to do something to the projectile, not to 184 00:09:59,440 --> 00:10:02,720 Speaker 1: like hit something with it, right right, Yeah, Yeah, they're 185 00:10:02,760 --> 00:10:04,480 Speaker 1: not trying to like they're not trying to throw a 186 00:10:04,559 --> 00:10:14,679 Speaker 1: seal at a whale or something to that effect. Yeah, 187 00:10:15,120 --> 00:10:18,079 Speaker 1: all right, you know, turning to the world of Discord, 188 00:10:18,200 --> 00:10:20,200 Speaker 1: we do have a Discord page, and if you want 189 00:10:20,240 --> 00:10:22,440 Speaker 1: to access a Discord page, shoot us an email. We'll 190 00:10:22,440 --> 00:10:24,360 Speaker 1: send you the link. That's the best way to join it. 191 00:10:24,400 --> 00:10:26,280 Speaker 1: And it kind of keep seems to thus far keep 192 00:10:26,320 --> 00:10:28,640 Speaker 1: the Discord from being flooded. You know, it's kind of 193 00:10:28,640 --> 00:10:31,120 Speaker 1: a smaller community there, but we don't have just a 194 00:10:31,120 --> 00:10:35,559 Speaker 1: bunch of random folks there either. We have I'm gonna 195 00:10:35,720 --> 00:10:38,040 Speaker 1: just read. We'll start with let's sort of go through these. 196 00:10:38,040 --> 00:10:41,079 Speaker 1: First one here comes from Fletch. Fletch says, the discussion 197 00:10:41,120 --> 00:10:43,160 Speaker 1: of the Norse view of the heart. This was our 198 00:10:43,280 --> 00:10:47,720 Speaker 1: Valentine's Day episode or episodes. Reminded me of the novels 199 00:10:47,720 --> 00:10:51,319 Speaker 1: of Joe Ambercrombie where one character is advised, you must 200 00:10:51,360 --> 00:10:54,520 Speaker 1: make of your heart a stone, and that becomes something 201 00:10:54,520 --> 00:10:57,559 Speaker 1: of a mantra for her. Okay, so this is connecting 202 00:10:57,559 --> 00:11:00,920 Speaker 1: to those texts from ancient nor culture or I don't 203 00:11:00,920 --> 00:11:03,440 Speaker 1: know how ancient, but at least pre modern Norse culture, 204 00:11:04,760 --> 00:11:07,440 Speaker 1: with the idea that like the heart sort of is 205 00:11:07,480 --> 00:11:12,720 Speaker 1: the seed of kindness and positive emotion and caring and stuff. 206 00:11:12,760 --> 00:11:15,280 Speaker 1: And for that reason, your heart must be shriveled and 207 00:11:15,360 --> 00:11:20,240 Speaker 1: small to allow you the appropriate level of cruelty needed 208 00:11:20,280 --> 00:11:23,280 Speaker 1: to be an effective warrior. Yeah, it's a very grim 209 00:11:23,360 --> 00:11:26,840 Speaker 1: dark warrior ethos, So it makes sense that it might 210 00:11:26,880 --> 00:11:29,360 Speaker 1: be in a Joe Ambercrombie novel. I've not read any 211 00:11:29,440 --> 00:11:32,240 Speaker 1: Joe Ambercrombie, but I've read authors that are sort of 212 00:11:32,320 --> 00:11:37,720 Speaker 1: Joe Ambercrombie adjacent. I know nothing of Joe Abercrombie. It's 213 00:11:37,880 --> 00:11:41,120 Speaker 1: it's like dark fantasy or grim dark fantasy, depending on 214 00:11:41,160 --> 00:11:43,360 Speaker 1: how you want to describe it. I guess that's what 215 00:11:43,400 --> 00:11:45,679 Speaker 1: I've always heard. All right, let's see I should read 216 00:11:45,720 --> 00:11:49,200 Speaker 1: something from Discord here. Well, we got one message from 217 00:11:50,000 --> 00:11:52,640 Speaker 1: is this dricks? I guess this way? I read it 218 00:11:52,679 --> 00:12:01,360 Speaker 1: in my head? Okay, Drix says. In terms of helping 219 00:12:01,440 --> 00:12:04,120 Speaker 1: the show, it was mentioned a few times to download 220 00:12:04,160 --> 00:12:07,319 Speaker 1: the latest episodes even if you don't listen right away. 221 00:12:07,400 --> 00:12:10,600 Speaker 1: I never actually download episodes, but stream them the same 222 00:12:10,720 --> 00:12:14,520 Speaker 1: day or next Should I also be downloading them? Okay? 223 00:12:14,520 --> 00:12:17,720 Speaker 1: I apologize if we created any confusion on this. Okay, 224 00:12:17,720 --> 00:12:20,040 Speaker 1: So here's what we were told by our people here. 225 00:12:20,400 --> 00:12:22,480 Speaker 1: I can't speak to this directly. This is how it 226 00:12:22,559 --> 00:12:26,920 Speaker 1: was explained to us. There are some platforms. Apple Podcasts 227 00:12:27,080 --> 00:12:31,440 Speaker 1: specifically was mentioned where some people had it set to 228 00:12:31,800 --> 00:12:35,440 Speaker 1: download all our new episodes automatically, so they're subscribed to us, 229 00:12:35,480 --> 00:12:37,320 Speaker 1: they think they're supposed to be getting our new stuff. 230 00:12:37,679 --> 00:12:43,319 Speaker 1: But Apple was automatically deactivating these downloads for some people, 231 00:12:43,760 --> 00:12:46,079 Speaker 1: and the reason might have been if you had not 232 00:12:46,440 --> 00:12:51,080 Speaker 1: listened to the five most recent of our episodes to publish. 233 00:12:51,120 --> 00:12:54,600 Speaker 1: This seemed especially to affect us because, as we constantly 234 00:12:54,600 --> 00:12:56,880 Speaker 1: hear from listeners, a lot of people like to save 235 00:12:57,000 --> 00:12:59,080 Speaker 1: us up for a week or two and then binge 236 00:12:59,080 --> 00:13:01,200 Speaker 1: all our episodes in a day or a day or two. 237 00:13:02,320 --> 00:13:03,960 Speaker 1: And you know, if you want to listen that way, 238 00:13:04,000 --> 00:13:07,319 Speaker 1: that's fine, But a downside of that is that apparently 239 00:13:07,480 --> 00:13:11,319 Speaker 1: that will sometimes for some reason make you stop getting 240 00:13:11,320 --> 00:13:14,520 Speaker 1: new episodes in your feed. Apple might interpret that as you, oh, 241 00:13:14,559 --> 00:13:16,959 Speaker 1: you don't listen to us anymore, and just stop giving 242 00:13:16,960 --> 00:13:19,760 Speaker 1: you our show. So, if you want to be helpful 243 00:13:19,840 --> 00:13:23,760 Speaker 1: to our shows numbers in a business sense or andy, 244 00:13:23,840 --> 00:13:25,679 Speaker 1: you just want to make sure that you're always getting 245 00:13:25,679 --> 00:13:28,480 Speaker 1: all our new stuff. Apparently, one way around this is 246 00:13:28,480 --> 00:13:31,240 Speaker 1: to try to always make sure you have listened to 247 00:13:31,520 --> 00:13:35,040 Speaker 1: at least one of the five most recent episodes to publish. 248 00:13:35,160 --> 00:13:38,120 Speaker 1: That being said, I mean, we're super grateful for any 249 00:13:38,160 --> 00:13:41,360 Speaker 1: of our listeners out there, So if you're taking any 250 00:13:41,800 --> 00:13:44,720 Speaker 1: step to listen to our show, we're grateful for it. 251 00:13:44,800 --> 00:13:49,160 Speaker 1: So yeah, don't don't stress out about it too much. Exactly, 252 00:13:49,200 --> 00:13:51,760 Speaker 1: listen to us however you want to listen. Whatever you 253 00:13:51,800 --> 00:13:54,600 Speaker 1: prefer is fine. Just be aware that some weird stuff 254 00:13:54,679 --> 00:13:57,320 Speaker 1: is going on with some of these platforms, and if 255 00:13:57,720 --> 00:14:00,160 Speaker 1: if you want to take an extra step just to 256 00:14:00,160 --> 00:14:02,200 Speaker 1: make sure you are helping us out, that would be 257 00:14:02,200 --> 00:14:04,360 Speaker 1: one way to do it, all right. Dipping back into 258 00:14:04,360 --> 00:14:07,800 Speaker 1: the discord here, a lot of people share on discord 259 00:14:07,920 --> 00:14:11,000 Speaker 1: various weird house cinema suggestions. One of the users that 260 00:14:11,040 --> 00:14:18,440 Speaker 1: does this allotted, Eric Eric says, coming in hot with 261 00:14:18,480 --> 00:14:22,840 Speaker 1: another recommendation because he was following up some of the 262 00:14:22,880 --> 00:14:25,640 Speaker 1: recommendations he had made any of the entries in the 263 00:14:25,680 --> 00:14:30,120 Speaker 1: original Yokai Monsters trilogy from the sixties, but particularly I'll 264 00:14:30,160 --> 00:14:33,960 Speaker 1: recommend one hundred Monsters. The creepy atmosphere mixed in with 265 00:14:34,040 --> 00:14:37,720 Speaker 1: some silliness makes these movies especially charming. The practical effects 266 00:14:37,720 --> 00:14:40,320 Speaker 1: and use of makeup and puppetry is absolutely delightful. They're 267 00:14:40,360 --> 00:14:44,360 Speaker 1: all currently on Shutter and AMC plus two. I'm gonna 268 00:14:44,400 --> 00:14:48,760 Speaker 1: say I've got these movies on the short list for me. Yeah. Yeah. 269 00:14:48,800 --> 00:14:52,040 Speaker 1: One hundred Monsters was one we were talking about selecting 270 00:14:52,040 --> 00:14:54,440 Speaker 1: for the hundredth Weird House Cinema because it seemed like 271 00:14:54,480 --> 00:14:56,960 Speaker 1: that would that would make sense, but we went in 272 00:14:56,960 --> 00:14:59,400 Speaker 1: a slightly different direction. But it's still on the radar. 273 00:15:00,040 --> 00:15:02,520 Speaker 1: But speaking of weird House Cinema, maybe we'll finish this 274 00:15:02,560 --> 00:15:11,680 Speaker 1: off with a weird house email. This one comes from Tom. Tom, 275 00:15:11,720 --> 00:15:15,320 Speaker 1: says high Robin Joe. This is Tom from Canada. Robot 276 00:15:15,360 --> 00:15:19,680 Speaker 1: Monster is indeed an enigma. As an aside, if you 277 00:15:19,680 --> 00:15:21,920 Speaker 1: haven't listened to this episode yet or see in the movie, 278 00:15:22,080 --> 00:15:24,840 Speaker 1: this is a movie from the early fifties that Rob 279 00:15:24,880 --> 00:15:28,120 Speaker 1: and I covered where Earth is invaded by aliens or 280 00:15:28,160 --> 00:15:31,640 Speaker 1: maybe just invaded by an alien, which is a guy 281 00:15:31,680 --> 00:15:34,880 Speaker 1: in a gorilla suit with a skull mask wearing a 282 00:15:35,280 --> 00:15:41,400 Speaker 1: like a astronaut helmet. Yeah, yep, that's it, and he's 283 00:15:41,440 --> 00:15:45,800 Speaker 1: called Roman. It's it's a very silly very entertaining movie. 284 00:15:45,800 --> 00:15:48,720 Speaker 1: I would say almost at the levels of Edwood, like 285 00:15:48,760 --> 00:15:52,640 Speaker 1: it is that level of schlock royalty. Oh but a 286 00:15:52,640 --> 00:15:56,760 Speaker 1: piece of background for Tom's email here is we were 287 00:15:56,960 --> 00:16:00,800 Speaker 1: incredibly perplexed as to whether the movie is supposed to 288 00:16:00,800 --> 00:16:02,960 Speaker 1: be a dream or not, because as one of those 289 00:16:03,000 --> 00:16:05,680 Speaker 1: double fake out endings where it was all a dream 290 00:16:05,960 --> 00:16:09,360 Speaker 1: or was it? Because then the Roman from the thing 291 00:16:09,880 --> 00:16:11,760 Speaker 1: you know, it's supposed to be like the whole alien 292 00:16:11,800 --> 00:16:13,840 Speaker 1: invasion was a dream, and then Roman walks out of 293 00:16:13,840 --> 00:16:16,160 Speaker 1: the cave again. So it's like, what's going on? Yeah, 294 00:16:16,240 --> 00:16:20,560 Speaker 1: very confusing, So Tom says Robot Monster is indeed an enigma. 295 00:16:20,680 --> 00:16:22,840 Speaker 1: A part of the movie which might serve to cast 296 00:16:22,920 --> 00:16:26,200 Speaker 1: some clarity, though, is to know exactly when the Child's 297 00:16:26,320 --> 00:16:30,800 Speaker 1: dream starts. It has two potential starting points. Either when 298 00:16:30,880 --> 00:16:33,960 Speaker 1: young Johnny falls asleep in the desert with the others. 299 00:16:34,680 --> 00:16:37,960 Speaker 1: You remember they're out picnicking on a blanket surrounded by 300 00:16:38,040 --> 00:16:42,800 Speaker 1: rocks and they'll just like lay down on the desert 301 00:16:43,240 --> 00:16:46,880 Speaker 1: sand and fall asleep. So that could be one point, 302 00:16:47,240 --> 00:16:49,680 Speaker 1: but Tom goes on which would make all the following 303 00:16:49,680 --> 00:16:52,520 Speaker 1: a dream escape, including the arrival of Roman and the 304 00:16:52,560 --> 00:16:55,840 Speaker 1: shift in the roles of the adults, or the dream 305 00:16:55,960 --> 00:16:58,960 Speaker 1: starts at the cave, which makes the arrival of the 306 00:16:59,040 --> 00:17:02,880 Speaker 1: Roman reel, but the story itself just a dream. The 307 00:17:03,040 --> 00:17:06,120 Speaker 1: ending plays with both versions, as the story goes back 308 00:17:06,160 --> 00:17:10,639 Speaker 1: to reality following Johnny waking up, yet still entertaining the 309 00:17:10,680 --> 00:17:15,040 Speaker 1: idea that Roman did arrive all the best, Tom, Tom, 310 00:17:15,040 --> 00:17:17,160 Speaker 1: I think you've solved it. Maybe that's the second So 311 00:17:17,440 --> 00:17:21,880 Speaker 1: maybe it's it's a triple fake out. It's faking you out, 312 00:17:21,920 --> 00:17:24,160 Speaker 1: making you think that the whole movie was just a dream. 313 00:17:25,000 --> 00:17:28,439 Speaker 1: But then the reveal reveals that only part of the 314 00:17:28,480 --> 00:17:30,600 Speaker 1: movie was a dream. The part where the humans are 315 00:17:30,600 --> 00:17:33,600 Speaker 1: able to defeat Roman is the dream. It sounds to 316 00:17:33,640 --> 00:17:36,159 Speaker 1: me like the movies in superposition. That's that's how we 317 00:17:36,160 --> 00:17:38,600 Speaker 1: should approach it. I think that's that's a good way 318 00:17:38,640 --> 00:17:41,159 Speaker 1: of putting it. Yes, all right, well we're gonna go 319 00:17:41,200 --> 00:17:43,199 Speaker 1: ahead and close it out on that note here, But 320 00:17:43,240 --> 00:17:45,040 Speaker 1: we'd love to hear from everyone again, right in with 321 00:17:45,080 --> 00:17:48,240 Speaker 1: your thoughts on current episodes of Stuff to Blow Your Mind, 322 00:17:48,359 --> 00:17:52,600 Speaker 1: Weird House Cinema Listener mail or the Artifact or Monster 323 00:17:52,720 --> 00:17:56,720 Speaker 1: Fact episodes, or writing on past episodes of these or 324 00:17:56,880 --> 00:17:59,439 Speaker 1: future episodes episodes you'd like to see in the future, 325 00:17:59,640 --> 00:18:01,960 Speaker 1: topic you wish that we would revisit that sort of thing. 326 00:18:02,280 --> 00:18:05,600 Speaker 1: Everything is fair game, that's all right. So before we 327 00:18:05,640 --> 00:18:09,400 Speaker 1: close out, big thanks to our audio producer JJ Pauseway. 328 00:18:09,400 --> 00:18:11,480 Speaker 1: And if you do want to get in touch for 329 00:18:11,520 --> 00:18:14,399 Speaker 1: any of those reasons we listed before, you can email 330 00:18:14,480 --> 00:18:24,160 Speaker 1: us at contact at stuff to Blow your Mind dot com. 331 00:18:24,280 --> 00:18:26,960 Speaker 1: Stuff to Blow Your Mind is a production of iHeartRadio. 332 00:18:27,119 --> 00:18:30,040 Speaker 1: For more podcasts from my heart Radio, visit the iHeartRadio app, 333 00:18:30,200 --> 00:18:32,960 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.