1 00:00:00,240 --> 00:00:27,600 Speaker 1: Ridiculous History is a production of I Heart Radio. Welcome 2 00:00:27,680 --> 00:00:32,000 Speaker 1: back to the show Ridiculous Historians. Thank you, as always 3 00:00:32,159 --> 00:00:36,800 Speaker 1: for tuning in. Please do not leave the podcast until 4 00:00:36,960 --> 00:00:40,440 Speaker 1: the ride has come to a complete stop. I'm not 5 00:00:40,479 --> 00:00:42,479 Speaker 1: going to do that voice the whole time, but I 6 00:00:42,479 --> 00:00:44,480 Speaker 1: thought it was cool to start that way. My name 7 00:00:44,600 --> 00:00:49,360 Speaker 1: is Ben Bleep Bleep, Blue Blue Blop. My name is noll. Uh. 8 00:00:49,400 --> 00:00:54,680 Speaker 1: We're talking about robots today, romans, and we're uh, we're 9 00:00:54,760 --> 00:01:00,280 Speaker 1: doing it with the uh uh, the digital spirit, actual 10 00:01:00,320 --> 00:01:07,000 Speaker 1: guidance of our super producer, Casey Pegram. Now, long time 11 00:01:07,200 --> 00:01:10,960 Speaker 1: listeners to both this show and our other show stuff, 12 00:01:10,959 --> 00:01:13,120 Speaker 1: they don't want you to know. You probably know that 13 00:01:13,160 --> 00:01:16,120 Speaker 1: a lot of people have been worried for a a 14 00:01:16,280 --> 00:01:21,720 Speaker 1: while now about the idea that increased automation and increasingly 15 00:01:21,760 --> 00:01:27,520 Speaker 1: sophisticated robots and artificial intelligence programs will one day drive 16 00:01:27,760 --> 00:01:34,720 Speaker 1: the organic meat bag of humanity out of the employment market. Uh. 17 00:01:34,920 --> 00:01:38,480 Speaker 1: It's something that we've we've talked about extensively, and we're 18 00:01:38,480 --> 00:01:42,840 Speaker 1: not going to be too conspiratorial today, but we are 19 00:01:42,959 --> 00:01:46,920 Speaker 1: here to tell you that this fear of the rise 20 00:01:47,000 --> 00:01:51,760 Speaker 1: of robots dates back much much further than many folks 21 00:01:52,280 --> 00:01:54,800 Speaker 1: might imagine, No, what do you think of when you 22 00:01:54,920 --> 00:01:58,560 Speaker 1: just when you hear the word robot? Um, you know 23 00:01:58,640 --> 00:02:01,240 Speaker 1: I think of I tend to conjure the image of 24 00:02:01,280 --> 00:02:05,320 Speaker 1: like the classic robot, uh, the sort of tin man 25 00:02:05,560 --> 00:02:08,800 Speaker 1: esque model of of the robot. Uh, you know, a 26 00:02:08,919 --> 00:02:14,760 Speaker 1: metal being, sort of a humanoid type thing, um that 27 00:02:14,880 --> 00:02:17,920 Speaker 1: has sort of herky jerky movements, possibly some sort of 28 00:02:17,960 --> 00:02:23,480 Speaker 1: antenna um, an automaton if you will, lightbulb eyes maybe 29 00:02:23,639 --> 00:02:28,440 Speaker 1: totally yeah, yeah, yeah, that kind of retro futuristic nineteen 30 00:02:28,560 --> 00:02:32,959 Speaker 1: fifties era robot, maybe the maid from the Jetsons or 31 00:02:33,440 --> 00:02:41,359 Speaker 1: uh maybe the uh, the automaton in the fantastic film Metropolis. 32 00:02:41,400 --> 00:02:45,320 Speaker 1: It's weird because for most of us listening to the show, 33 00:02:45,440 --> 00:02:48,320 Speaker 1: now most of us humans at least, uh, the word 34 00:02:48,440 --> 00:02:51,760 Speaker 1: robot or the concept has been around all of our lives, 35 00:02:52,280 --> 00:02:57,440 Speaker 1: but the word robot is fairly recent in this language 36 00:02:57,480 --> 00:03:01,760 Speaker 1: of ours. It comes from a check author, novelist, and 37 00:03:01,800 --> 00:03:07,120 Speaker 1: playwright named Carol Choppeck. He was born in eighteen eighty Pastway, 38 00:03:07,200 --> 00:03:10,840 Speaker 1: nineteen eight. In nineteen twenty he wrote a play called 39 00:03:10,960 --> 00:03:15,919 Speaker 1: Are You Are Rosslam's Universal Robots? And this is where 40 00:03:16,040 --> 00:03:20,120 Speaker 1: we get the phrase robot from the etymology is pretty 41 00:03:20,160 --> 00:03:24,880 Speaker 1: interesting and not super optimistic, no. It it came from, 42 00:03:24,919 --> 00:03:28,679 Speaker 1: you know, the period in history where serfdom was a thing, 43 00:03:28,800 --> 00:03:32,040 Speaker 1: and this idea of like lords and surfs and you know, 44 00:03:32,080 --> 00:03:34,920 Speaker 1: having a manner and having like the lower class essentially 45 00:03:34,920 --> 00:03:39,160 Speaker 1: being indentured servants that would you know, work for the 46 00:03:39,360 --> 00:03:43,320 Speaker 1: right to subsist on the manner on the land of 47 00:03:43,400 --> 00:03:46,920 Speaker 1: like the upper class by you know, doing kind of 48 00:03:47,040 --> 00:03:49,760 Speaker 1: lowered class peasant type work, the kinds of things that 49 00:03:50,000 --> 00:03:53,280 Speaker 1: the upper crust would never you know, deign to do. Um, 50 00:03:54,040 --> 00:03:56,720 Speaker 1: the idea that you were sort of paying your way 51 00:03:56,920 --> 00:04:02,480 Speaker 1: by doing this forced labor, and it kind of created 52 00:04:02,600 --> 00:04:07,920 Speaker 1: this construct in the zeitgeist um that you can see 53 00:04:08,240 --> 00:04:12,440 Speaker 1: in things like Mary Shelley's Frankenstein or the legend of 54 00:04:12,480 --> 00:04:16,440 Speaker 1: the Gullum, which was a Yiddish Zeck kind of folklore thing. 55 00:04:16,520 --> 00:04:20,240 Speaker 1: This notion of this sort of man made uh, you know, 56 00:04:20,440 --> 00:04:23,920 Speaker 1: creature that would do the bidding of its master and 57 00:04:24,000 --> 00:04:27,359 Speaker 1: are you are um really crystallizes that and becomes like 58 00:04:27,400 --> 00:04:31,840 Speaker 1: a very early science fiction work in that it uh 59 00:04:32,200 --> 00:04:37,080 Speaker 1: describes this creature as a worker who quote lacks nothing 60 00:04:37,320 --> 00:04:40,800 Speaker 1: but a soul um and it would you know, perform tasks. 61 00:04:40,800 --> 00:04:42,880 Speaker 1: It was it was meant to be, you know, mass 62 00:04:42,920 --> 00:04:47,440 Speaker 1: produced to do the bidding of man. And uh. Copeck 63 00:04:48,000 --> 00:04:52,440 Speaker 1: initially called these creatures labori um, and that was of 64 00:04:52,480 --> 00:04:56,160 Speaker 1: course the Latin root for the word labor. But he 65 00:04:56,200 --> 00:04:59,080 Speaker 1: wanted something that was a little sexier. He thought he 66 00:04:59,160 --> 00:05:03,560 Speaker 1: sounded to quote bookish, and his brother Joseph came up 67 00:05:03,600 --> 00:05:07,000 Speaker 1: with the word roboti um and the English just of 68 00:05:07,080 --> 00:05:10,599 Speaker 1: course is robots. And you know, surprise, surprise, in in 69 00:05:10,680 --> 00:05:13,320 Speaker 1: the twist of the century that now we see as 70 00:05:13,360 --> 00:05:16,159 Speaker 1: just like almost cliche and like such a trope. The 71 00:05:16,279 --> 00:05:22,320 Speaker 1: automatons in the play ultimately revolt against their human masters um, 72 00:05:22,360 --> 00:05:26,080 Speaker 1: you know, causing a genocide of sorts. Uh, the uprising 73 00:05:26,240 --> 00:05:30,760 Speaker 1: of the robots, and that it was meant to be 74 00:05:30,880 --> 00:05:34,680 Speaker 1: a political kind of work. It was describing the plight 75 00:05:35,080 --> 00:05:39,080 Speaker 1: of these lower class people, these these indangered servants, and 76 00:05:39,120 --> 00:05:41,719 Speaker 1: the idea they were going to be able to revolt. Uh. 77 00:05:41,760 --> 00:05:45,960 Speaker 1: And in fact, if I'm not mistaken, ben Kopeck was 78 00:05:47,080 --> 00:05:50,200 Speaker 1: also kind of describing the rise of Nazism, and he 79 00:05:50,360 --> 00:05:54,120 Speaker 1: was persona no grata to the Gestapo and Hitler himself 80 00:05:54,600 --> 00:05:57,520 Speaker 1: and actually ended up like on their list of you know, 81 00:05:58,080 --> 00:06:01,560 Speaker 1: kill on site. He had a death warrant out on him. Um. 82 00:06:01,600 --> 00:06:05,000 Speaker 1: But I guess unfortunately for Hitler he didn't have the 83 00:06:05,040 --> 00:06:09,080 Speaker 1: pleasure of carrying out that death warrant because in Copack 84 00:06:09,200 --> 00:06:11,360 Speaker 1: died of the flu at the at the age of 85 00:06:11,400 --> 00:06:16,880 Speaker 1: forty eight, which is terribly young. Also, uh, topic described 86 00:06:16,920 --> 00:06:20,279 Speaker 1: are You are routinely as his least favorite work, even 87 00:06:20,320 --> 00:06:24,479 Speaker 1: though it is by far as most well known today 88 00:06:24,560 --> 00:06:28,960 Speaker 1: and audiences disagree with chopicic it's probably his most popular 89 00:06:29,000 --> 00:06:32,880 Speaker 1: work for audiences. People love the play across Europe. In 90 00:06:32,920 --> 00:06:36,280 Speaker 1: the US, it should go without saying that shortly thereafter, 91 00:06:36,839 --> 00:06:41,480 Speaker 1: robots became the number one love of many science fiction authors. 92 00:06:41,680 --> 00:06:44,520 Speaker 1: I mean, just consider everything Isaac Asimov did with the 93 00:06:44,560 --> 00:06:48,520 Speaker 1: Three Laws of Robotics, which later find themselves in a 94 00:06:48,560 --> 00:06:53,120 Speaker 1: non fictional work by roboticists and by people who are 95 00:06:53,120 --> 00:06:57,160 Speaker 1: working in the field of AI. And with each new 96 00:06:57,400 --> 00:07:02,080 Speaker 1: story about robots, they became, um, a little bit closer 97 00:07:02,120 --> 00:07:06,880 Speaker 1: to human at least that's that's the trend. Uh. And 98 00:07:07,360 --> 00:07:11,160 Speaker 1: since since this origin point of the term robot, which 99 00:07:11,240 --> 00:07:14,680 Speaker 1: as you mentioned, it explores the kind of the creation 100 00:07:15,280 --> 00:07:19,280 Speaker 1: myth that we see also in Frankenstein, or in the 101 00:07:19,360 --> 00:07:22,560 Speaker 1: idea of the golem, that man could make something the 102 00:07:22,600 --> 00:07:26,360 Speaker 1: way that God made man. With this, there comes this fear, 103 00:07:26,840 --> 00:07:30,840 Speaker 1: are we going too far as a species? Have we 104 00:07:32,000 --> 00:07:36,680 Speaker 1: crossed some sort of metaphysical line or some sort of 105 00:07:36,680 --> 00:07:43,920 Speaker 1: line of divinity. People have been terrified that robots will 106 00:07:43,960 --> 00:07:47,000 Speaker 1: take all of the jobs on the planet for more 107 00:07:47,040 --> 00:07:51,840 Speaker 1: than two centuries. Way back in New York Times had 108 00:07:51,880 --> 00:07:56,880 Speaker 1: a book review called will Machines Devour Man? And you 109 00:07:56,920 --> 00:08:00,760 Speaker 1: can see the illustration here and just look it up online. Uh, 110 00:08:01,080 --> 00:08:04,239 Speaker 1: it's accompanied by this picture of a person being fed 111 00:08:04,360 --> 00:08:08,080 Speaker 1: into a sausage grinder. And then there are other things 112 00:08:08,080 --> 00:08:10,280 Speaker 1: like there was a drawing called Vision of the Machine 113 00:08:10,320 --> 00:08:14,720 Speaker 1: Age that showed thousands of people cowering under these gigantic 114 00:08:14,880 --> 00:08:18,640 Speaker 1: mechanical cogs and gears like worker ants, ghosts in a 115 00:08:18,720 --> 00:08:23,320 Speaker 1: machine of their own design. So we often have this 116 00:08:23,680 --> 00:08:28,600 Speaker 1: implicit assumption that robots are gonna be kind of humanoid, right, 117 00:08:28,920 --> 00:08:31,720 Speaker 1: that they're gonna have a torso with a head, two arms, 118 00:08:31,760 --> 00:08:34,960 Speaker 1: two legs, same number of limbs as a human. However, 119 00:08:35,640 --> 00:08:39,640 Speaker 1: nowadays many real robots we see kind of have that 120 00:08:39,920 --> 00:08:46,080 Speaker 1: schematic from the waist up. The first ever real robot, 121 00:08:46,520 --> 00:08:49,959 Speaker 1: real humanoid robot was built by a guy named Ron 122 00:08:50,000 --> 00:08:55,800 Speaker 1: Wensley in nineteen Uh. The robot was named Herbert Televox, 123 00:08:56,080 --> 00:08:58,640 Speaker 1: so shout out to you Herbert. Herbert could do the 124 00:08:58,679 --> 00:09:01,600 Speaker 1: following things. Her could lift the receiver to get a 125 00:09:01,600 --> 00:09:05,480 Speaker 1: telephone call and operate switches well, which was a big 126 00:09:05,480 --> 00:09:09,360 Speaker 1: deal because that was a profession, you know, switchboard operator. UM. 127 00:09:09,440 --> 00:09:12,640 Speaker 1: And I could see how this would would seemingly put 128 00:09:12,679 --> 00:09:14,960 Speaker 1: a lot of those people in a state of anxiety 129 00:09:15,040 --> 00:09:17,440 Speaker 1: or it's like, well what am I going to do 130 00:09:17,480 --> 00:09:20,240 Speaker 1: if the robots swoops thing? Because that was specialized kind 131 00:09:20,240 --> 00:09:22,240 Speaker 1: of training that went into that type of job to 132 00:09:22,280 --> 00:09:23,839 Speaker 1: be able to operate the switchboards and if all of 133 00:09:23,840 --> 00:09:27,280 Speaker 1: a sudden you're not needed anymore, what do you do then? Uh? 134 00:09:27,400 --> 00:09:31,120 Speaker 1: This robot couldn't speak or communicate really, it was very 135 00:09:31,200 --> 00:09:36,440 Speaker 1: task driven. UM eventually was updated where it could say 136 00:09:36,480 --> 00:09:39,840 Speaker 1: two simple sentences on on the phone like you know 137 00:09:40,160 --> 00:09:43,360 Speaker 1: which again, we're we're there. We don't have switchboard operators anymore, 138 00:09:43,360 --> 00:09:46,120 Speaker 1: and all that stuff is automated and it's definitely not 139 00:09:46,200 --> 00:09:50,400 Speaker 1: like a humanoid robot in a room with limbs and 140 00:09:50,440 --> 00:09:52,440 Speaker 1: a voice, but it's all like in the cloud or 141 00:09:52,480 --> 00:09:56,200 Speaker 1: it's in computer service. So Uh. The most important feature 142 00:09:56,320 --> 00:10:00,800 Speaker 1: of of Herbert Televox was its ability to listen um 143 00:10:00,840 --> 00:10:03,440 Speaker 1: because it had a very sensitive microphone that was placed 144 00:10:03,480 --> 00:10:06,000 Speaker 1: close to the telephone receiver. Uh. And then it could 145 00:10:06,000 --> 00:10:08,839 Speaker 1: then respond based on these voice commands. The idea of 146 00:10:08,880 --> 00:10:11,880 Speaker 1: voice commands seems like a really modern thing, but it wasn't. 147 00:10:12,160 --> 00:10:14,320 Speaker 1: It really was like in the earliest days of this 148 00:10:14,400 --> 00:10:17,480 Speaker 1: type of computing and this type of robotics. Uh. It 149 00:10:17,480 --> 00:10:23,160 Speaker 1: would respond to sound and pitch and these would then communicate. 150 00:10:23,240 --> 00:10:28,400 Speaker 1: This information would communicate to the machine and and give 151 00:10:28,440 --> 00:10:31,480 Speaker 1: it a corresponding set of instructions that it could then 152 00:10:31,679 --> 00:10:34,080 Speaker 1: act out whatever you know, task was was asked of it. 153 00:10:34,600 --> 00:10:38,560 Speaker 1: Very simple, obviously very rudimentary, um, based on the appliance 154 00:10:38,600 --> 00:10:42,920 Speaker 1: that it was using. Yeah, and this was just the 155 00:10:43,120 --> 00:10:48,080 Speaker 1: starting point for Westinghouse Electric and Manufacturing Company. They went 156 00:10:48,120 --> 00:10:51,560 Speaker 1: on to create a thing they called Electro the Moto 157 00:10:51,600 --> 00:10:55,480 Speaker 1: Man in N seven and yes, that's Electro with a K. 158 00:10:56,679 --> 00:10:59,319 Speaker 1: A lot of people will tell you that's the first 159 00:10:59,520 --> 00:11:04,880 Speaker 1: real humanoid robot. Electro was created by Joseph Barnett, made 160 00:11:04,880 --> 00:11:09,439 Speaker 1: from aluminum and steel and capable of performing twenty six 161 00:11:09,480 --> 00:11:15,240 Speaker 1: different things they called routines, what waking up, talking, counting, 162 00:11:15,559 --> 00:11:18,800 Speaker 1: and of course smoking because it was the nineteen thirties. 163 00:11:19,840 --> 00:11:22,800 Speaker 1: And uh, that's right. There's actually a clip we can 164 00:11:22,840 --> 00:11:27,160 Speaker 1: play really quickly from a demonstration of Electro the motor Man. 165 00:11:27,720 --> 00:11:31,959 Speaker 1: I believe it was at the nineteen thirty seven World's Fair. 166 00:11:32,920 --> 00:11:35,360 Speaker 1: All right, now, Electro, I know you enjoy these, and 167 00:11:35,400 --> 00:11:37,040 Speaker 1: I'm really going to try to give you a nice 168 00:11:37,040 --> 00:11:40,360 Speaker 1: pleasure out of these. So there you are. You got that. 169 00:11:40,760 --> 00:11:46,840 Speaker 1: Now hold onto him, you mate, Now smoke this cigarette. 170 00:11:48,640 --> 00:11:51,760 Speaker 1: Go on. Oh yes, still act Joe. You don't need 171 00:11:51,760 --> 00:11:53,520 Speaker 1: to lie to it. Daunt you all right, here you are, 172 00:11:56,400 --> 00:11:59,320 Speaker 1: and folks, he's only two years or two, just learning. 173 00:11:59,760 --> 00:12:02,880 Speaker 1: And clip came from a YouTube video posted on odd 174 00:12:03,000 --> 00:12:06,800 Speaker 1: History called Electro the Smoking Robot. And I highly recommend 175 00:12:06,880 --> 00:12:09,160 Speaker 1: checking out the whole thing because it shows the schematic 176 00:12:09,280 --> 00:12:11,760 Speaker 1: of like what the design of this thing was, and 177 00:12:11,920 --> 00:12:15,520 Speaker 1: it's you know, very rudimentary. A lot of gears, um. 178 00:12:15,559 --> 00:12:20,240 Speaker 1: It actually had a photoelectric tube to detect different colors 179 00:12:20,240 --> 00:12:22,560 Speaker 1: that would allow it to respond um. And it was 180 00:12:22,720 --> 00:12:25,319 Speaker 1: full of like you know, gears and drive shafts and 181 00:12:25,320 --> 00:12:28,760 Speaker 1: like things look like bicycle chains, and then a bellows 182 00:12:28,920 --> 00:12:31,480 Speaker 1: that would operate the mouth so that it could smoke, 183 00:12:31,559 --> 00:12:34,040 Speaker 1: which is clearly a bit of a gimmick. Can't quite 184 00:12:34,040 --> 00:12:35,840 Speaker 1: see what the function of that is outside of look 185 00:12:35,880 --> 00:12:38,960 Speaker 1: it's almost like a real person, but it's a lot. 186 00:12:39,080 --> 00:12:43,160 Speaker 1: It's very clunky, very very heavy, and not particularly elegant, 187 00:12:43,400 --> 00:12:46,480 Speaker 1: uh in terms of you know, function, But I made 188 00:12:46,520 --> 00:12:50,120 Speaker 1: a big splash. Imagine him. Yeah, and it's the boys 189 00:12:50,120 --> 00:12:54,000 Speaker 1: a beast. He's like seven seven feet tall. Uh. This 190 00:12:54,080 --> 00:12:57,160 Speaker 1: also gives us an opportunity to explore one of my 191 00:12:57,760 --> 00:13:02,320 Speaker 1: favorite parts of science fiction as a genre, which is 192 00:13:02,760 --> 00:13:08,440 Speaker 1: that science fiction is really a creative endeavor that functions 193 00:13:08,600 --> 00:13:14,040 Speaker 1: in step with science fact, it would be naive to 194 00:13:14,679 --> 00:13:17,640 Speaker 1: say that these two robots were not in some way 195 00:13:17,720 --> 00:13:21,120 Speaker 1: inspired by the fiction going on at the time. One 196 00:13:21,160 --> 00:13:23,440 Speaker 1: of the Big Ones mentioned it at the top of 197 00:13:23,440 --> 00:13:26,319 Speaker 1: the show Metropolis. It's an amazing film. It's one of 198 00:13:26,360 --> 00:13:32,079 Speaker 1: my favorites. Actually. In nineteen twenty seven, this becomes the 199 00:13:32,120 --> 00:13:35,680 Speaker 1: first movie to have what's called machine and minch or 200 00:13:35,760 --> 00:13:39,560 Speaker 1: machine men. Uh. And this is a well we can't 201 00:13:39,600 --> 00:13:43,760 Speaker 1: call her a female robot, but a guynid or female 202 00:13:43,800 --> 00:13:48,479 Speaker 1: shaped robot. This is like, even if you haven't seen Metropolis, 203 00:13:48,520 --> 00:13:53,880 Speaker 1: I guarantee you you know the look of this robot. 204 00:13:54,480 --> 00:13:57,959 Speaker 1: The entire film is silent, it's black and white. It's 205 00:13:58,000 --> 00:14:02,240 Speaker 1: directed by the legendary Fritz la Get this. It's in 206 00:14:04,440 --> 00:14:08,079 Speaker 1: and Metropolis, so it's it's coming out in real life 207 00:14:08,080 --> 00:14:12,120 Speaker 1: six years from now. And Metropolis is about a massive 208 00:14:12,200 --> 00:14:16,360 Speaker 1: city with the same name that is based on the 209 00:14:16,480 --> 00:14:23,040 Speaker 1: brutal labor conditions of the underclass right and everybody in 210 00:14:23,120 --> 00:14:28,000 Speaker 1: Metropolis vast majority. They live a slave like existence to 211 00:14:28,320 --> 00:14:33,920 Speaker 1: sustain the lives of a privileged minority and their children 212 00:14:33,960 --> 00:14:37,240 Speaker 1: that are cared for and inspired by Maria, who was 213 00:14:37,280 --> 00:14:40,760 Speaker 1: the heroine of the show. She brings these kids to 214 00:14:40,840 --> 00:14:46,720 Speaker 1: a forbidden garden of the ruling class and eventually, spoiler 215 00:14:47,520 --> 00:14:52,920 Speaker 1: her just goodness overwhelms the son of Metropolis as ruler. 216 00:14:53,240 --> 00:14:56,640 Speaker 1: He falls in love with her Starcross lovers YadA, YadA, YadA, 217 00:14:56,880 --> 00:15:01,720 Speaker 1: and then he joins up with the proletary it Um. 218 00:15:01,800 --> 00:15:06,120 Speaker 1: There's this famous image of Maria as a robot, and 219 00:15:06,160 --> 00:15:09,800 Speaker 1: it's based on the robot created in the laboratory of 220 00:15:09,840 --> 00:15:12,760 Speaker 1: the city's mad scientists to look like the dead wife 221 00:15:13,000 --> 00:15:17,120 Speaker 1: of the guy rules Metropolis. I don't want to totally 222 00:15:17,120 --> 00:15:21,880 Speaker 1: spoil the ending, but that that clearly inspires this real 223 00:15:22,000 --> 00:15:26,040 Speaker 1: life creation of things like electro the motto man I 224 00:15:26,080 --> 00:15:28,520 Speaker 1: love they called moto man oh, but I mean, gosh, 225 00:15:28,600 --> 00:15:32,000 Speaker 1: how prescient it was that Are you are play by Chopic? 226 00:15:32,360 --> 00:15:34,800 Speaker 1: You know, I mean every this is really the same story. 227 00:15:34,840 --> 00:15:39,240 Speaker 1: It's about society where these automatons are created um to 228 00:15:40,040 --> 00:15:44,040 Speaker 1: you know, do the work of the privileged upper class 229 00:15:44,240 --> 00:15:46,800 Speaker 1: and then ultimately revolt or there's like an uprising of 230 00:15:46,840 --> 00:15:51,200 Speaker 1: the proletariat, right, which is represented by these robots. So 231 00:15:51,640 --> 00:15:53,480 Speaker 1: there's a twist. We're talking about a lot of things. 232 00:15:53,520 --> 00:15:56,200 Speaker 1: We're talking about literature, we're talking about science fiction tropes, 233 00:15:56,280 --> 00:15:58,760 Speaker 1: all of this kind of coming together and coalescing into 234 00:15:58,800 --> 00:16:00,480 Speaker 1: something that we now just think of as like so 235 00:16:00,600 --> 00:16:03,640 Speaker 1: ubiquitous in terms of the terminator or the Matrix or 236 00:16:03,680 --> 00:16:07,120 Speaker 1: so many of these ideas of ai um and androids 237 00:16:07,240 --> 00:16:10,120 Speaker 1: that like, you know, Philip K. Dicks may do Android's 238 00:16:10,160 --> 00:16:13,200 Speaker 1: Dream of Electric Sheet, which became the incredibly influential film 239 00:16:13,200 --> 00:16:16,360 Speaker 1: Blade Runner that created the whole kind of cyberpunk aesthetic, 240 00:16:16,960 --> 00:16:20,720 Speaker 1: but it was another movie, not science fiction in the 241 00:16:20,840 --> 00:16:23,840 Speaker 1: least that really pushed a lot of this stuff forward, 242 00:16:24,000 --> 00:16:26,880 Speaker 1: not only in terms of the ability to create amazing cinema, 243 00:16:27,400 --> 00:16:30,280 Speaker 1: but in terms of this whole argument of like are 244 00:16:30,400 --> 00:16:33,760 Speaker 1: the robots going to steal our jobs? Because it was 245 00:16:33,800 --> 00:16:38,200 Speaker 1: a film called The Jazz Singer starring Al Jolson um 246 00:16:38,240 --> 00:16:41,760 Speaker 1: that was released on October six of nineteen seven by 247 00:16:41,760 --> 00:16:44,760 Speaker 1: Warner Brothers. That was the first talkie, you know, it 248 00:16:44,840 --> 00:16:47,480 Speaker 1: was the first one that used what's called synchronized sound, 249 00:16:48,000 --> 00:16:50,240 Speaker 1: uh it had. It was very novelty at the time, 250 00:16:50,280 --> 00:16:52,040 Speaker 1: and a lot of folks thought that it was going 251 00:16:52,120 --> 00:16:54,560 Speaker 1: to be something like three D or smell a vision 252 00:16:54,640 --> 00:16:56,560 Speaker 1: that would be like a little novelty that would then 253 00:16:56,840 --> 00:17:00,360 Speaker 1: go away because surely, you know, the masses were ready 254 00:17:00,360 --> 00:17:02,120 Speaker 1: for this, or not even weren't ready for this. But 255 00:17:02,160 --> 00:17:06,280 Speaker 1: it was just two out there, right, and it didn't 256 00:17:06,560 --> 00:17:09,360 Speaker 1: do that at all. In fact, it created this revolution 257 00:17:09,680 --> 00:17:14,640 Speaker 1: in film that required a lot of technological advancement. Right. 258 00:17:14,720 --> 00:17:18,320 Speaker 1: So if you're doing silent films, cameras are very very loud, 259 00:17:18,800 --> 00:17:22,560 Speaker 1: and you didn't have to soundproof the cameras. You didn't 260 00:17:22,600 --> 00:17:26,680 Speaker 1: have to um, you know, encase them in these much larger, 261 00:17:26,760 --> 00:17:31,000 Speaker 1: bulkier um you know, Housings. I guess so early silent 262 00:17:31,080 --> 00:17:34,840 Speaker 1: films had more nimble cameras comparatively that could like do 263 00:17:35,040 --> 00:17:38,879 Speaker 1: much more poetic or balletic even like moves right, And 264 00:17:38,960 --> 00:17:40,800 Speaker 1: that was a big part of the aesthetic of of 265 00:17:40,840 --> 00:17:45,040 Speaker 1: early silent film. Um. But when people just were clamoring 266 00:17:45,160 --> 00:17:48,520 Speaker 1: for this sound sync, the technology had to go along 267 00:17:48,560 --> 00:17:50,640 Speaker 1: with it, because you can't have the cameras rattling away 268 00:17:50,640 --> 00:18:00,880 Speaker 1: if you're recording dialogue right and for the record. Uh, 269 00:18:01,080 --> 00:18:05,080 Speaker 1: there were tons of naysayers for talkies and they said 270 00:18:05,119 --> 00:18:09,960 Speaker 1: this is a fad. People aren't gonna wanna hear actors talk, 271 00:18:10,480 --> 00:18:14,960 Speaker 1: and history would prove that to be incorrect. Uh. The 272 00:18:15,040 --> 00:18:20,119 Speaker 1: Jazz Singer as a harbinger an omen of things to come. 273 00:18:20,880 --> 00:18:27,960 Speaker 1: And after it was released in musicians panicked because at 274 00:18:27,960 --> 00:18:32,320 Speaker 1: the time, during the silent film era, it was normal 275 00:18:32,359 --> 00:18:35,280 Speaker 1: to go to a movie theater and watch the film 276 00:18:35,480 --> 00:18:39,280 Speaker 1: with live musical accompaniment, which is something really cool. I 277 00:18:39,320 --> 00:18:42,440 Speaker 1: don't know, ridiculous historians. I don't know if you live 278 00:18:42,440 --> 00:18:45,359 Speaker 1: in a in a city or community where this is possible. 279 00:18:45,720 --> 00:18:48,399 Speaker 1: But here in the fair metropolis of Atlanta, we have 280 00:18:48,480 --> 00:18:52,080 Speaker 1: a we have a great classical community and every so 281 00:18:52,119 --> 00:18:56,880 Speaker 1: often you can watch films with a live score by 282 00:18:57,000 --> 00:19:02,240 Speaker 1: the Atlanta Symphony Orchestra, and I highly recommend it. And 283 00:19:02,240 --> 00:19:06,280 Speaker 1: and I'm somewhat envious of of the movie goers of 284 00:19:06,320 --> 00:19:08,920 Speaker 1: the past. Well, I don't know when's the last time 285 00:19:08,960 --> 00:19:12,760 Speaker 1: either of us went to a movie theater as well. Uh. 286 00:19:13,000 --> 00:19:15,479 Speaker 1: But here here's why they're worried. The musicians are worried 287 00:19:15,520 --> 00:19:23,360 Speaker 1: because synchronized sound means that their livelihood may become unnecessary 288 00:19:23,480 --> 00:19:26,760 Speaker 1: or even old fashioned. So in nineteen thirty, just three 289 00:19:26,880 --> 00:19:30,719 Speaker 1: years after the Jazz Singer, the American Federation of Musicians 290 00:19:31,040 --> 00:19:34,480 Speaker 1: forms a new group. It's called the Music Defense League. 291 00:19:34,680 --> 00:19:37,520 Speaker 1: I would love to see this as a superhero film. 292 00:19:37,560 --> 00:19:40,960 Speaker 1: They launched this crazy ad campaign to fight off the 293 00:19:41,000 --> 00:19:46,640 Speaker 1: advance of what they see as the menace of recorded sound, 294 00:19:46,840 --> 00:19:49,760 Speaker 1: and they make a They spent like over five hundred 295 00:19:49,800 --> 00:19:53,879 Speaker 1: thousand dollars in nineteen thirties. Money means it's time for 296 00:19:53,920 --> 00:19:56,399 Speaker 1: the inflation calculator. Oh, I think it is that we 297 00:19:56,480 --> 00:20:03,919 Speaker 1: gotta do that one, that blue calculator, calculator, calculator. And 298 00:20:04,280 --> 00:20:07,679 Speaker 1: the results are in five hundred thousand dollars in nineteen 299 00:20:07,800 --> 00:20:13,200 Speaker 1: thirty is equal to seven point seven nine million dollars 300 00:20:13,560 --> 00:20:16,879 Speaker 1: in and this was just running ads in newspapers and 301 00:20:16,920 --> 00:20:19,640 Speaker 1: like cartoons. For example, a lot of these ads would 302 00:20:19,640 --> 00:20:21,400 Speaker 1: be there's a there's a there's a bunch of really 303 00:20:21,440 --> 00:20:25,080 Speaker 1: good ones, but there's there's one. Uh lets, I can 304 00:20:25,080 --> 00:20:27,600 Speaker 1: describe this. There's a wheel like you used to steer 305 00:20:27,600 --> 00:20:30,359 Speaker 1: a ship, um and on each on one side of 306 00:20:30,400 --> 00:20:33,320 Speaker 1: it is sort of like a Greek god looking figure 307 00:20:33,560 --> 00:20:36,719 Speaker 1: holding a harp and reaching out and guiding the wheel, 308 00:20:36,960 --> 00:20:40,879 Speaker 1: while on the other side a menacing looking robot, you know, 309 00:20:41,040 --> 00:20:43,600 Speaker 1: like that robot that we described, the classic robot with 310 00:20:43,640 --> 00:20:46,520 Speaker 1: the you know, the full chrummey kind of jaw and 311 00:20:46,600 --> 00:20:50,040 Speaker 1: the boxy shape. The tag connected to it saying canned 312 00:20:50,240 --> 00:20:53,720 Speaker 1: music in theaters is lunging across the wheel and also 313 00:20:53,800 --> 00:20:55,359 Speaker 1: grabbing the other side of the wheel to try to 314 00:20:55,560 --> 00:21:00,080 Speaker 1: resteer the ship in clearly a bad direction. And the 315 00:21:00,080 --> 00:21:05,160 Speaker 1: the wheel is labeled musical culture oof yeah. And this 316 00:21:05,320 --> 00:21:10,080 Speaker 1: was framed as a call to arms for musicians and 317 00:21:10,200 --> 00:21:15,119 Speaker 1: fans of music. It was presented as protecting art with 318 00:21:15,160 --> 00:21:21,640 Speaker 1: a capital A from debasement or indeed perversion. And there 319 00:21:21,680 --> 00:21:24,680 Speaker 1: was another ad that said musicians were being put out 320 00:21:24,720 --> 00:21:29,400 Speaker 1: of work because Hollywood wanted the only needed a few 321 00:21:29,480 --> 00:21:34,040 Speaker 1: hundred musicians in recording studios to do music for all films. 322 00:21:34,680 --> 00:21:39,200 Speaker 1: And they even put little scare quotes around the word music, 323 00:21:40,320 --> 00:21:43,159 Speaker 1: saying that you know, if it's recorded, could it even 324 00:21:43,200 --> 00:21:47,119 Speaker 1: count as music. It's a it's a disingenuous argument, but 325 00:21:47,200 --> 00:21:51,159 Speaker 1: it's coming from a real and valid fear. And the 326 00:21:51,200 --> 00:21:55,800 Speaker 1: president of the American Federation of Musicians in had an 327 00:21:55,800 --> 00:22:00,880 Speaker 1: interview with modern mechanics who where he cristallize this view. 328 00:22:00,920 --> 00:22:05,960 Speaker 1: His name's Joseph in Weber, and he said, you know everything, 329 00:22:06,040 --> 00:22:08,040 Speaker 1: and he was pressing it too, by the way, he 330 00:22:08,080 --> 00:22:10,399 Speaker 1: was pretty right. He said the time is coming fast 331 00:22:10,440 --> 00:22:12,920 Speaker 1: when the only living thing around a motion picture house 332 00:22:12,920 --> 00:22:16,320 Speaker 1: will be the person who sells you your ticket. Everything 333 00:22:16,359 --> 00:22:19,359 Speaker 1: else will be mechanical. Uh. And then he has a 334 00:22:19,400 --> 00:22:22,760 Speaker 1: line where he says, look, we're not against scientific development, 335 00:22:22,800 --> 00:22:26,160 Speaker 1: but it can't come at the expense of art. We're 336 00:22:26,280 --> 00:22:30,320 Speaker 1: not opposed to mechanical music except when it is used 337 00:22:30,359 --> 00:22:35,120 Speaker 1: for artistic debasement. I think this is a disingenuous argument, Ben, 338 00:22:35,160 --> 00:22:37,800 Speaker 1: because the implication if you if you don't apply this 339 00:22:37,840 --> 00:22:41,600 Speaker 1: to music, shouldn't you also apply it to acting? Like 340 00:22:42,800 --> 00:22:45,199 Speaker 1: It seems to me that the same argument could be like, well, 341 00:22:45,560 --> 00:22:50,000 Speaker 1: it's reproduced mechanically, so it's not actually acting unless you're 342 00:22:50,040 --> 00:22:53,080 Speaker 1: seeing human beings do it in real time, you know. 343 00:22:53,200 --> 00:22:56,040 Speaker 1: So the nature of cinema in itself would I think 344 00:22:56,040 --> 00:22:57,840 Speaker 1: be called in a question by this kind of logic. 345 00:22:57,920 --> 00:23:02,000 Speaker 1: You know, it says canned drama, canned music, canned vaudeville. 346 00:23:02,480 --> 00:23:05,240 Speaker 1: We think the public will tire of mechanical music, will 347 00:23:05,280 --> 00:23:07,040 Speaker 1: want the real thing. I just think like they're they're 348 00:23:07,040 --> 00:23:10,560 Speaker 1: sort of picking and choosing and clearly have an agenda here. 349 00:23:10,760 --> 00:23:13,040 Speaker 1: I do think it's really funny, ben as the time 350 00:23:13,119 --> 00:23:14,919 Speaker 1: was coming fast and the only living thing around a 351 00:23:14,920 --> 00:23:17,159 Speaker 1: motion picture house will be the person who sells you 352 00:23:17,200 --> 00:23:19,800 Speaker 1: the ticket. Would love to see their thoughts around those, 353 00:23:19,840 --> 00:23:21,399 Speaker 1: you know, little touch screens that they have at all 354 00:23:21,440 --> 00:23:24,240 Speaker 1: the movie theaters now, and how so few even still 355 00:23:24,280 --> 00:23:28,159 Speaker 1: have box office people. Yeah. Yeah, And they put a 356 00:23:28,200 --> 00:23:31,800 Speaker 1: sexual panic in there too as a as a sort 357 00:23:31,840 --> 00:23:35,560 Speaker 1: of thread in the conversation they had. Going back to 358 00:23:35,880 --> 00:23:42,000 Speaker 1: that Syracuse Harold issue from November third ninety, there was 359 00:23:42,040 --> 00:23:47,679 Speaker 1: a robot shown ineffectively trying to soothe a baby, and 360 00:23:47,720 --> 00:23:51,160 Speaker 1: there would be other ads like the one from Centralia 361 00:23:51,280 --> 00:23:57,320 Speaker 1: Daily Chronicle in Washington in August. And this one, this 362 00:23:57,359 --> 00:24:00,960 Speaker 1: one is definitely like a moral panic thing. Uh. It 363 00:24:01,119 --> 00:24:03,960 Speaker 1: shows a dad going down the stairs of a house 364 00:24:04,560 --> 00:24:09,119 Speaker 1: yelling at his daughter, who is clearly a Greco Roman 365 00:24:09,240 --> 00:24:15,520 Speaker 1: muse and she's being wooed by a automaton that has 366 00:24:15,520 --> 00:24:19,240 Speaker 1: a helpful label canned music and theaters. It's like, look 367 00:24:19,280 --> 00:24:22,439 Speaker 1: at this unwelcome suitor who's been wooing the muse for 368 00:24:22,520 --> 00:24:27,280 Speaker 1: many dreary months without winning her favor. That's uh, that's 369 00:24:27,320 --> 00:24:31,280 Speaker 1: a weird one. That's loaded, um. And like you said, 370 00:24:31,840 --> 00:24:33,600 Speaker 1: it gets to the heart of it. You know, I 371 00:24:33,680 --> 00:24:35,840 Speaker 1: do agree. It's thistant, genuous. They are kind of picking 372 00:24:35,880 --> 00:24:39,199 Speaker 1: and choosing, um. But it gets the heart of it 373 00:24:39,240 --> 00:24:43,080 Speaker 1: when we look at the concept here is really deeper 374 00:24:43,119 --> 00:24:49,120 Speaker 1: than music or jobs. It's being portrayed as the definition 375 00:24:49,400 --> 00:24:52,800 Speaker 1: of a soul. And as they say in the office, 376 00:24:52,880 --> 00:24:59,040 Speaker 1: oh how the turntables, because today, as anyone can assure you, 377 00:24:59,119 --> 00:25:03,920 Speaker 1: the music industry is battling to protect recorded music, right, 378 00:25:04,160 --> 00:25:05,720 Speaker 1: that's right. I mean it's a little bit of a 379 00:25:05,760 --> 00:25:11,120 Speaker 1: different argument. It's more around you know, intellectual property and 380 00:25:11,160 --> 00:25:14,760 Speaker 1: like getting paid and making sure artists are treated fairly 381 00:25:14,920 --> 00:25:17,359 Speaker 1: when it comes to people listening to their music, you know, 382 00:25:17,440 --> 00:25:20,760 Speaker 1: on streaming services that pay them fraction of a penny. Uh. 383 00:25:20,800 --> 00:25:23,639 Speaker 1: And how it's becoming increasingly difficult to make a living 384 00:25:23,800 --> 00:25:27,880 Speaker 1: on recorded music alone, which is extra problematic considering we're 385 00:25:27,880 --> 00:25:30,040 Speaker 1: in the midst of a pandemic where live music has 386 00:25:30,119 --> 00:25:33,199 Speaker 1: essentially been you know, canceled for the time being. I 387 00:25:33,200 --> 00:25:35,919 Speaker 1: think a couple of interesting artists have have done it 388 00:25:36,119 --> 00:25:40,120 Speaker 1: sort of well, like the Flaming Lips did a live 389 00:25:40,160 --> 00:25:43,360 Speaker 1: concert where every member of the audience UM was housed 390 00:25:43,359 --> 00:25:45,680 Speaker 1: inside like a space bubble, you know, like one of 391 00:25:45,720 --> 00:25:48,359 Speaker 1: those like giant plastic bubbles that you can like roll 392 00:25:48,440 --> 00:25:50,880 Speaker 1: around in UM. But I would not say that's particularly 393 00:25:50,920 --> 00:25:54,160 Speaker 1: sustainable moving forward, more of a cool art project kind 394 00:25:54,160 --> 00:25:57,560 Speaker 1: of situation, but it's true. I mean, it's also something 395 00:25:57,600 --> 00:26:01,239 Speaker 1: that you've seen suspicion or round like you know, in 396 00:26:01,280 --> 00:26:05,000 Speaker 1: the eighties, for example, when synthesizers became more popular, well 397 00:26:05,119 --> 00:26:07,679 Speaker 1: not even the eighties, more like the sixties with mog 398 00:26:07,920 --> 00:26:11,439 Speaker 1: and um book La, the two kind of big names 399 00:26:11,480 --> 00:26:14,679 Speaker 1: in in electronic music and synthesis. There was this kind 400 00:26:14,680 --> 00:26:18,520 Speaker 1: of misconception that electronic music wasn't really music because it 401 00:26:18,640 --> 00:26:23,000 Speaker 1: somehow was not created by humans, which anyone that knows 402 00:26:23,040 --> 00:26:25,840 Speaker 1: anything about electronic music knows that it's just a tool, 403 00:26:26,119 --> 00:26:29,040 Speaker 1: just an instrument like a violin or piano or anything else. 404 00:26:29,200 --> 00:26:31,399 Speaker 1: It just makes different sounds and you can use it 405 00:26:31,640 --> 00:26:34,399 Speaker 1: as such, and it's a lot more flexible. Um. But 406 00:26:34,480 --> 00:26:38,160 Speaker 1: the idea that electronic music isn't music because the machine 407 00:26:38,240 --> 00:26:41,360 Speaker 1: is making it is sort of missing the point. Yeah, 408 00:26:41,359 --> 00:26:43,480 Speaker 1: and you can see another argument to take it even 409 00:26:43,480 --> 00:26:46,000 Speaker 1: further back in time, there were there were probably people 410 00:26:46,000 --> 00:26:50,880 Speaker 1: who said the creation of musical instruments or new musical 411 00:26:50,920 --> 00:26:55,320 Speaker 1: instruments will somehow debase the importance of the human voice. 412 00:26:55,440 --> 00:26:58,959 Speaker 1: Turns out they were wrong as well. But aside from 413 00:26:59,000 --> 00:27:01,840 Speaker 1: the realm of music, there were plenty of other fears 414 00:27:01,880 --> 00:27:06,359 Speaker 1: about the rise of machines or robots. Albert Einstein, during 415 00:27:06,400 --> 00:27:11,879 Speaker 1: the Great Depression, blamed machines for joblessness. John Maynard Keynes, 416 00:27:12,000 --> 00:27:16,960 Speaker 1: the famous economists, coined this phrase. He said, we're being 417 00:27:17,000 --> 00:27:25,160 Speaker 1: afflicted with a new disease, technological unemployment. This phrase exploded, 418 00:27:25,280 --> 00:27:28,880 Speaker 1: It was so popular. You can you can read more 419 00:27:28,920 --> 00:27:33,080 Speaker 1: about this in an excellent article on timeline dot com. 420 00:27:33,080 --> 00:27:36,919 Speaker 1: But there's one moment we have which is technically a 421 00:27:37,080 --> 00:27:42,360 Speaker 1: story of a robot actually rising to attack its creator. 422 00:27:42,480 --> 00:27:46,399 Speaker 1: It takes place, Yeah, it takes place in nineteen thirty two. 423 00:27:46,880 --> 00:27:51,160 Speaker 1: British inventor named Harry May is very excited to demonstrate 424 00:27:51,320 --> 00:27:55,120 Speaker 1: his newest creation, a robot called Alpha. Come on over, 425 00:27:55,200 --> 00:27:57,720 Speaker 1: he says to his friends. Check out my new robot. 426 00:27:58,000 --> 00:28:02,080 Speaker 1: His name is Alpha. He can fire guns. What could 427 00:28:02,080 --> 00:28:05,120 Speaker 1: go wrong? What could go wrong? Indeed? Um, and so 428 00:28:05,280 --> 00:28:08,800 Speaker 1: you know, the robot is asleep, I guess, or in 429 00:28:09,440 --> 00:28:14,160 Speaker 1: shutdown mode in a chair, and um. May places a 430 00:28:14,200 --> 00:28:18,680 Speaker 1: weapon in its robot arms uh, and then walks over 431 00:28:18,760 --> 00:28:22,800 Speaker 1: across the room. Bizarre there doing this indoors, but this 432 00:28:22,880 --> 00:28:25,439 Speaker 1: is how the story goes. Walks across the room to 433 00:28:25,560 --> 00:28:28,359 Speaker 1: adjust a target that presumably is going to be the 434 00:28:28,359 --> 00:28:31,480 Speaker 1: center of the demonstration, and as he does so, Ben, 435 00:28:31,600 --> 00:28:37,200 Speaker 1: something shocking happens. That's right, as he's walking across the room, Alpha, 436 00:28:37,520 --> 00:28:41,640 Speaker 1: who weighs two tons by the way, slowly gets up 437 00:28:41,680 --> 00:28:44,360 Speaker 1: to his on his robo feet and he points the 438 00:28:44,400 --> 00:28:49,560 Speaker 1: gun and the people observing this are screaming and terror 439 00:28:49,880 --> 00:28:54,000 Speaker 1: at May. Watch out, it's turning on you. May turns 440 00:28:54,040 --> 00:28:56,600 Speaker 1: around and he sees that his robot has apparently come 441 00:28:56,680 --> 00:28:59,480 Speaker 1: to life and is now pointing the gun at him. 442 00:28:59,520 --> 00:29:03,320 Speaker 1: Alpha moves forward. The aventor throws his hand in front 443 00:29:03,320 --> 00:29:06,240 Speaker 1: of him his face to defend himself. Maybe he invented 444 00:29:06,240 --> 00:29:09,840 Speaker 1: a bulletproof hand earlier or something, I don't know. The 445 00:29:09,920 --> 00:29:13,520 Speaker 1: gun went off, and this means that Alpha technically became 446 00:29:13,560 --> 00:29:17,840 Speaker 1: the first robot to rise against his inventor. The media 447 00:29:17,920 --> 00:29:21,200 Speaker 1: went crazy about this. Yeah, I mean this is like 448 00:29:21,280 --> 00:29:24,840 Speaker 1: a real world example of of everything that science fiction 449 00:29:24,880 --> 00:29:29,200 Speaker 1: has predicted. Uh, you know, obviously as satire, but sometimes 450 00:29:29,200 --> 00:29:31,640 Speaker 1: people that that's lost on people. Um, but yeah, this 451 00:29:31,720 --> 00:29:36,640 Speaker 1: is the robot, you know, creations rising up to murder. Uh, 452 00:29:37,280 --> 00:29:39,840 Speaker 1: the us, the creator, this is all of us. This 453 00:29:39,920 --> 00:29:42,240 Speaker 1: is not only is it threatening our jobs, like as 454 00:29:42,280 --> 00:29:45,640 Speaker 1: Alpha going to now replace soldiers, Like what's what's gonna 455 00:29:45,680 --> 00:29:48,760 Speaker 1: what does this mean? And then okay, this is exactly 456 00:29:48,760 --> 00:29:51,680 Speaker 1: what we needed to hear. The alarms are sounding, the 457 00:29:51,800 --> 00:29:55,360 Speaker 1: robot rises up and shoots his master. Only that's not 458 00:29:55,360 --> 00:29:58,840 Speaker 1: really how it happened at all. Yeah, it didn't happen 459 00:29:58,920 --> 00:30:09,240 Speaker 1: that way, no matter what the the hyperbolic, juicy headlines 460 00:30:09,280 --> 00:30:13,840 Speaker 1: were saying. It turns out that Harry May is real, 461 00:30:14,080 --> 00:30:16,600 Speaker 1: first off, and he did have a robot. Alpha is 462 00:30:16,680 --> 00:30:19,800 Speaker 1: also real, and he did want to show his friends 463 00:30:19,840 --> 00:30:23,240 Speaker 1: the robot of fire a gun. But this was what 464 00:30:23,280 --> 00:30:27,800 Speaker 1: we would call user error. You see, the gun accidentally 465 00:30:27,800 --> 00:30:31,520 Speaker 1: went off as Harry was placing it in his robot's hand. 466 00:30:31,800 --> 00:30:34,560 Speaker 1: He was not shot. He got a minor burn on 467 00:30:34,640 --> 00:30:38,040 Speaker 1: his hand from the gunpowder. But people were willing to 468 00:30:38,400 --> 00:30:42,640 Speaker 1: believe this, that this robot had somehow, despite not having 469 00:30:43,320 --> 00:30:47,840 Speaker 1: the cognitive technology to even understand the concept of betrayal, 470 00:30:47,920 --> 00:30:52,880 Speaker 1: they thought Alpha had risen up and attacked Harry May. 471 00:30:53,160 --> 00:30:56,800 Speaker 1: And this panic, this resurrection of this panic at least, 472 00:30:57,360 --> 00:31:00,480 Speaker 1: is happening in part due to the social crime of 473 00:31:00,560 --> 00:31:03,440 Speaker 1: the time in the US. We have to remember this 474 00:31:03,680 --> 00:31:07,680 Speaker 1: came about during the Great Depression. By nineteen thirty three, 475 00:31:08,640 --> 00:31:13,240 Speaker 1: almost one out of four people in the US were unemployed. 476 00:31:13,320 --> 00:31:16,920 Speaker 1: Thirteen million were out of work, and you needed something 477 00:31:17,080 --> 00:31:21,400 Speaker 1: to blame, and there were tons of scapegoat candidates. Right, 478 00:31:21,600 --> 00:31:25,080 Speaker 1: blame the president, No, it's the weather. No, let's blame 479 00:31:25,120 --> 00:31:30,400 Speaker 1: the wealthy. And one of the things people blamed it 480 00:31:30,480 --> 00:31:34,760 Speaker 1: was robotics, that's right. And even outside of of the 481 00:31:35,080 --> 00:31:36,400 Speaker 1: play that we talked about at the top of the 482 00:31:36,400 --> 00:31:40,840 Speaker 1: show Are you are? Um, we had a fantastic illustration 483 00:31:40,880 --> 00:31:43,200 Speaker 1: of this, maybe not a robot exactly, but of the 484 00:31:43,240 --> 00:31:47,560 Speaker 1: idea of of playing god and and reanimating life, uh, 485 00:31:47,640 --> 00:31:50,720 Speaker 1: you know, in our own image with Frankenstein Mary Shelley's 486 00:31:51,040 --> 00:31:53,800 Speaker 1: story that remains incredibly popular and and um, you know, 487 00:31:54,040 --> 00:31:57,760 Speaker 1: reinterpreted um many many many times over today. And we 488 00:31:57,800 --> 00:32:02,560 Speaker 1: mentioned the original recounting, you know, incorrectly of this scenario 489 00:32:02,640 --> 00:32:06,240 Speaker 1: with May that was run in a Louisiana paper and 490 00:32:06,360 --> 00:32:08,960 Speaker 1: the piece was titled our Dread of Robots. But this 491 00:32:09,080 --> 00:32:12,960 Speaker 1: really caught fire, and another paper in Sandusky, Ohio published 492 00:32:13,000 --> 00:32:16,920 Speaker 1: another letter to the editor in September ninety two. The 493 00:32:17,040 --> 00:32:20,880 Speaker 1: editor's name was Bruce Katton, and he used that Mary 494 00:32:20,920 --> 00:32:23,840 Speaker 1: Shelley story in a very similar way to the editor 495 00:32:23,880 --> 00:32:27,400 Speaker 1: in Louisiana in saying, quote, a psychologist could probably make 496 00:32:27,440 --> 00:32:29,640 Speaker 1: a good deal of this fascinating dread of ours for 497 00:32:29,680 --> 00:32:33,760 Speaker 1: mechanical monsters, A machinery has created a revolution in our life. 498 00:32:33,960 --> 00:32:38,160 Speaker 1: The wage earner, the farmer, the soldier, the merchant, the politicians, 499 00:32:38,280 --> 00:32:41,400 Speaker 1: the schoolmaster, the printer, all of us, in every moment 500 00:32:41,400 --> 00:32:44,720 Speaker 1: of our lives lived differently than our ancestors lived because 501 00:32:44,760 --> 00:32:49,120 Speaker 1: of the constant increase in the mechanization of society. This 502 00:32:49,200 --> 00:32:52,640 Speaker 1: to me is a pretty even handed, uh description, wouldn't 503 00:32:52,640 --> 00:32:56,520 Speaker 1: you say, Ben, Yeah, Yeah, that's true. And props to 504 00:32:56,680 --> 00:33:00,920 Speaker 1: Bruce Chatton for explaining this in a objective way. That 505 00:33:01,040 --> 00:33:05,520 Speaker 1: trend continues, it never stopped. And this this is a 506 00:33:05,560 --> 00:33:08,480 Speaker 1: good segue to represent the other side of the argument, 507 00:33:08,520 --> 00:33:12,520 Speaker 1: the people who thought this was on balance a good thing. 508 00:33:13,440 --> 00:33:16,680 Speaker 1: There were people who you know, would be doing ted 509 00:33:16,760 --> 00:33:20,440 Speaker 1: talks yea at this time if they were around people 510 00:33:20,480 --> 00:33:24,400 Speaker 1: like Walter S. Gifford. He was also in Interview and 511 00:33:24,520 --> 00:33:28,960 Speaker 1: Modern Mechanics. Gifford is a guy with skin in the game. 512 00:33:29,120 --> 00:33:31,720 Speaker 1: At the time of his ninety one interview, he is 513 00:33:31,800 --> 00:33:36,160 Speaker 1: president of the American Telephone and Telegraph Company, and he 514 00:33:36,200 --> 00:33:40,080 Speaker 1: says that the depressional pass and will enter a period 515 00:33:40,080 --> 00:33:44,120 Speaker 1: of prosperity the likes of which no country has seen before. 516 00:33:44,560 --> 00:33:47,920 Speaker 1: He was definitely a fan of what was called the 517 00:33:47,960 --> 00:33:52,440 Speaker 1: technocracy movement. We've heard the phrase technocrap before, sometimes as 518 00:33:52,440 --> 00:33:57,960 Speaker 1: an insult, sometimes as a compliment. Uh. This movement started 519 00:33:58,080 --> 00:34:01,840 Speaker 1: in nineteen you in New York and the idea is 520 00:34:01,880 --> 00:34:06,920 Speaker 1: that every world problem can be solved if we just 521 00:34:07,080 --> 00:34:12,520 Speaker 1: replace politicians with engineers and with scientists. They described this 522 00:34:12,560 --> 00:34:15,839 Speaker 1: as a revolution without bloodshed, as something that would lead 523 00:34:15,880 --> 00:34:19,600 Speaker 1: to a guaranteed income and end to crime and disease, 524 00:34:20,480 --> 00:34:25,239 Speaker 1: and they had a rhetorical question In one of their magazines. 525 00:34:26,320 --> 00:34:29,120 Speaker 1: The cover features a robot and the text under the 526 00:34:29,200 --> 00:34:33,560 Speaker 1: robot says, thirty million out of work in nine or 527 00:34:33,640 --> 00:34:40,399 Speaker 1: twenty thousand dollars guaranteed income for every family, which and 528 00:34:40,440 --> 00:34:44,840 Speaker 1: so they're probably going too far in the positive direction here, right, 529 00:34:44,880 --> 00:34:49,480 Speaker 1: because they're saying it's a panacea, which which it isn't. Uh. 530 00:34:49,600 --> 00:34:53,799 Speaker 1: And technocracy, actually it is a weird technocracy fell out 531 00:34:53,800 --> 00:34:58,680 Speaker 1: of popularity because of technology. One of the movement's founders, 532 00:34:58,680 --> 00:35:05,000 Speaker 1: a guy named Howard's, gave a just ridiculous speech on 533 00:35:05,120 --> 00:35:11,839 Speaker 1: January three and was broadcast on national radio. So they 534 00:35:11,840 --> 00:35:15,160 Speaker 1: looked kind of like clowns. You can find copies of 535 00:35:15,160 --> 00:35:19,799 Speaker 1: this online, but it's kind of like, uh, several years back, 536 00:35:19,880 --> 00:35:27,960 Speaker 1: when former presidential candidate Howard Dean had an unfortunate uh 537 00:35:28,160 --> 00:35:32,319 Speaker 1: it's a yeah, yeah, really high pitched and then you know, 538 00:35:32,520 --> 00:35:35,520 Speaker 1: from that point on his policies didn't matter as much 539 00:35:35,520 --> 00:35:37,880 Speaker 1: as the fact that there was this terrible sound bite 540 00:35:38,640 --> 00:35:42,640 Speaker 1: all to say we're still fighting technology today. The matrix 541 00:35:42,680 --> 00:35:47,239 Speaker 1: did not come cut out of whole cloth. Uh. Predictions 542 00:35:47,320 --> 00:35:50,839 Speaker 1: for the future really are a direct reflection of the 543 00:35:50,920 --> 00:35:54,680 Speaker 1: times in which they're created. And what I like about 544 00:35:54,680 --> 00:35:57,080 Speaker 1: that is it reminds me of Um. Have you ever 545 00:35:57,120 --> 00:36:02,520 Speaker 1: heard that old observation that a disguise is really an 546 00:36:02,560 --> 00:36:06,080 Speaker 1: autobiography of the person who chooses to wear it. No, 547 00:36:06,239 --> 00:36:09,640 Speaker 1: but I like that very much. So maybe maybe what 548 00:36:09,719 --> 00:36:13,479 Speaker 1: we're doing with our fears of the future is we're 549 00:36:13,560 --> 00:36:18,520 Speaker 1: exploring our fears of the modern day. You know, we've 550 00:36:18,520 --> 00:36:25,000 Speaker 1: seen us residents of every political stripe imaginable, Uh, be 551 00:36:25,120 --> 00:36:28,000 Speaker 1: concerned about the future, and more often than not, be 552 00:36:28,080 --> 00:36:32,680 Speaker 1: concerned about continual employment. It's really tough out there, you know. Uh. 553 00:36:32,760 --> 00:36:35,520 Speaker 1: There's a writer for Slate called for had Man Joe 554 00:36:35,880 --> 00:36:40,839 Speaker 1: who warned that in the future, even very highly educated 555 00:36:41,360 --> 00:36:45,000 Speaker 1: folks like doctors and scientists and lawyers might find their 556 00:36:45,120 --> 00:36:50,880 Speaker 1: jobs outsourced to robots or to AI. I don't know 557 00:36:50,920 --> 00:36:52,680 Speaker 1: what you I don't know what do you think? No, 558 00:36:52,920 --> 00:36:56,919 Speaker 1: Because to me, it seems like it should be interesting 559 00:36:57,680 --> 00:37:01,279 Speaker 1: to everyone to know that the panic about automation in 560 00:37:01,560 --> 00:37:05,040 Speaker 1: robotics is very old, but I don't think it will 561 00:37:05,040 --> 00:37:08,480 Speaker 1: put everybody out out of a job. It just seems 562 00:37:08,560 --> 00:37:11,279 Speaker 1: naive to say it won't put anyone out, because that's 563 00:37:11,320 --> 00:37:14,279 Speaker 1: clearly gonna happen. Heck, man, I mean, you know, you 564 00:37:14,360 --> 00:37:18,120 Speaker 1: and I have even seen stuff. We've been like shown 565 00:37:18,280 --> 00:37:21,920 Speaker 1: betas of software that can take a voice print of 566 00:37:21,920 --> 00:37:25,760 Speaker 1: of say a podcast and do a pretty convincing job 567 00:37:25,840 --> 00:37:29,279 Speaker 1: of like doing ads for example. Right uh, And there's 568 00:37:29,320 --> 00:37:31,759 Speaker 1: you know that the ads is how we make ourmoney 569 00:37:31,920 --> 00:37:35,080 Speaker 1: on this show. And even that idea or the idea 570 00:37:35,160 --> 00:37:38,120 Speaker 1: of like what if we don't need voice actors anymore 571 00:37:38,160 --> 00:37:40,360 Speaker 1: to like do audio books, or what if like you know, 572 00:37:40,880 --> 00:37:43,239 Speaker 1: we've got the technology has gotten good enough that we 573 00:37:43,280 --> 00:37:46,480 Speaker 1: don't even need actors anymore because the c g I 574 00:37:46,760 --> 00:37:49,200 Speaker 1: is so good and it's cheaper just to like, you know, 575 00:37:49,280 --> 00:37:52,280 Speaker 1: have computer animators do it all. I think that fear 576 00:37:52,400 --> 00:37:54,640 Speaker 1: is always present when you have a new technology that 577 00:37:54,680 --> 00:37:57,000 Speaker 1: comes out, but it takes such a long time for 578 00:37:57,000 --> 00:37:59,359 Speaker 1: it to get to the point where it's gonna be 579 00:37:59,400 --> 00:38:01,480 Speaker 1: a replacement for the human touch, And I think it's 580 00:38:01,560 --> 00:38:03,799 Speaker 1: would be naive for us to say that's never gonna 581 00:38:03,840 --> 00:38:07,200 Speaker 1: happen for our career. What about editors to edit video? 582 00:38:07,560 --> 00:38:10,719 Speaker 1: You know, surely if a good enough algorithm could edit 583 00:38:10,800 --> 00:38:14,359 Speaker 1: a video convincingly, right, Um, we haven't seen it quite yet, 584 00:38:14,360 --> 00:38:16,520 Speaker 1: but we know that that is certainly someone that some 585 00:38:16,560 --> 00:38:19,160 Speaker 1: people are in a lab right now trying their damnedest 586 00:38:19,200 --> 00:38:21,080 Speaker 1: to figure out. Yeah, and I think we'll see a 587 00:38:21,200 --> 00:38:25,040 Speaker 1: rise of neo Luddites along the way at some point. 588 00:38:25,200 --> 00:38:28,040 Speaker 1: Is people fear and fight against change. But I also 589 00:38:28,120 --> 00:38:32,960 Speaker 1: think there's there's an important thing that often gets lost 590 00:38:32,960 --> 00:38:39,400 Speaker 1: when we talk about utopian post work futures. Somewhere along 591 00:38:39,400 --> 00:38:42,840 Speaker 1: the line to a postwork future where no one truly 592 00:38:42,880 --> 00:38:45,839 Speaker 1: has to do anything unless they feel called to do it, 593 00:38:46,200 --> 00:38:49,560 Speaker 1: there would inevitably be a period of a post worker 594 00:38:49,760 --> 00:38:53,080 Speaker 1: future wherein people still have to provide for themselves, but 595 00:38:53,200 --> 00:38:56,960 Speaker 1: the opportunities to do so are increasingly limited. These are 596 00:38:57,080 --> 00:39:00,960 Speaker 1: real fears. There's there's a reason that this line of 597 00:39:01,040 --> 00:39:06,319 Speaker 1: thinking keeps happening. With that being said, I'm very much 598 00:39:06,360 --> 00:39:09,600 Speaker 1: forward to the future kind of person. In other shows, 599 00:39:10,200 --> 00:39:14,000 Speaker 1: we've explored the possibilities here, like the I wonder if 600 00:39:14,000 --> 00:39:18,640 Speaker 1: the if the American Federation of musicians could travel here 601 00:39:18,760 --> 00:39:22,719 Speaker 1: to as we record this. I wonder what they would think. 602 00:39:23,520 --> 00:39:26,040 Speaker 1: All the idea that we're close to a world of 603 00:39:26,320 --> 00:39:30,520 Speaker 1: artificially generated scripts, were close to a world, maybe in 604 00:39:30,520 --> 00:39:33,440 Speaker 1: our lifetimes, where you could have an app on your phone. 605 00:39:34,120 --> 00:39:35,960 Speaker 1: I want to design this, but I'm not smart enough. 606 00:39:36,000 --> 00:39:37,960 Speaker 1: You could have an app on your phone where you say, okay, 607 00:39:38,040 --> 00:39:46,239 Speaker 1: take like Metropolis and the Gremlin's Big Trouble, Little China 608 00:39:46,360 --> 00:39:48,799 Speaker 1: and the jazz singer and put it all together in 609 00:39:48,800 --> 00:39:52,080 Speaker 1: a coherent story and then cast me and my friends 610 00:39:52,120 --> 00:39:54,920 Speaker 1: based on the photographs you have of us from social media, 611 00:39:55,200 --> 00:39:57,799 Speaker 1: as the principal actors, and then just let me see 612 00:39:57,800 --> 00:40:00,880 Speaker 1: it happen. That could happen. And that's not to say 613 00:40:00,880 --> 00:40:04,600 Speaker 1: that there isn't even an art in interacting with uh. 614 00:40:04,800 --> 00:40:08,080 Speaker 1: Let's call it generative technology, right, So, like that would 615 00:40:08,080 --> 00:40:11,719 Speaker 1: be a script that was generated electronically by artificial intelligence. 616 00:40:11,960 --> 00:40:16,920 Speaker 1: But there is a lot of interest in experimental music, 617 00:40:17,000 --> 00:40:20,840 Speaker 1: in generative music, where you kind of set some parameters 618 00:40:20,960 --> 00:40:23,200 Speaker 1: and then sort of see what happens. You know, it's 619 00:40:23,239 --> 00:40:27,919 Speaker 1: like uh uh, an artificially intelligence driven experiment where you're 620 00:40:28,080 --> 00:40:30,800 Speaker 1: sort of choosing the parameters and then like Brian, you know, 621 00:40:30,920 --> 00:40:34,000 Speaker 1: does this a lot, the incredible producer and ambient musician, 622 00:40:34,200 --> 00:40:36,839 Speaker 1: where he'll kind of make these generative things that will 623 00:40:36,840 --> 00:40:39,520 Speaker 1: just continue to evolve. And that's something that's used in 624 00:40:40,160 --> 00:40:42,520 Speaker 1: video game music, for example, where you can set these 625 00:40:42,520 --> 00:40:46,440 Speaker 1: parameters around an ambient tone and it will drift or 626 00:40:46,600 --> 00:40:49,560 Speaker 1: change based on certain things that you then set up, 627 00:40:49,600 --> 00:40:52,799 Speaker 1: like the way programming language works. So that's creative in 628 00:40:52,840 --> 00:40:54,839 Speaker 1: and of itself. Like I would, I would argue that's 629 00:40:54,840 --> 00:40:58,160 Speaker 1: not cheating, that's just being clever and using the tools 630 00:40:58,160 --> 00:41:01,399 Speaker 1: in an interesting way. Does using a typewriter mean you're 631 00:41:01,440 --> 00:41:05,759 Speaker 1: not writing? That's that's a similar question. Uh. And and 632 00:41:05,920 --> 00:41:10,279 Speaker 1: these are questions that we're going to continue exploring in 633 00:41:10,320 --> 00:41:14,840 Speaker 1: the future as as a species. But how fascinating is 634 00:41:14,880 --> 00:41:18,920 Speaker 1: it that over two hundred years ago many of our 635 00:41:18,960 --> 00:41:23,279 Speaker 1: fears remain almost exactly what they are today. Uh. We 636 00:41:23,360 --> 00:41:28,239 Speaker 1: hope you enjoyed this episode, Robots and humans alike. We 637 00:41:28,440 --> 00:41:31,160 Speaker 1: can't wait to hear from you. What do you think 638 00:41:31,719 --> 00:41:35,920 Speaker 1: the future of this trend will bring? We would love 639 00:41:35,920 --> 00:41:37,680 Speaker 1: to hear your thoughts. You can find us on Facebook, 640 00:41:37,719 --> 00:41:39,359 Speaker 1: you can find us on Instagram, you can find us 641 00:41:39,400 --> 00:41:43,560 Speaker 1: on Twitter. We'd like to recommend our Facebook page Ridiculous Historians. 642 00:41:44,040 --> 00:41:47,799 Speaker 1: You can also find us as individuals on the old 643 00:41:47,840 --> 00:41:50,719 Speaker 1: social meds, sure can. You can find me pretty much 644 00:41:50,719 --> 00:41:53,760 Speaker 1: exclusively on Instagram where I am at how Now Noel Brown, 645 00:41:54,280 --> 00:41:57,000 Speaker 1: and you can join up with me on Twitter where 646 00:41:57,040 --> 00:42:00,759 Speaker 1: I'm at ben Bull and hs w or witnessed my 647 00:42:00,880 --> 00:42:05,480 Speaker 1: various strange experiments, discoveries and tinkerings on my Instagram at 648 00:42:05,520 --> 00:42:10,320 Speaker 1: ben Bull and thanks as always to Christopher Hasiotis. Thanks 649 00:42:10,360 --> 00:42:14,839 Speaker 1: to our number one technological threat or the guy who 650 00:42:14,880 --> 00:42:18,000 Speaker 1: wants to be our number one technological threat, Jonathan Strickland's 651 00:42:18,000 --> 00:42:21,600 Speaker 1: aka The Quister all too human huge thanks to our 652 00:42:22,520 --> 00:42:25,319 Speaker 1: very human super producer Casey Pagraham. I wish he would 653 00:42:25,320 --> 00:42:27,000 Speaker 1: be able to get out on this conversation. I thought 654 00:42:27,000 --> 00:42:29,400 Speaker 1: that the film stuff would have been particularly of interest 655 00:42:29,400 --> 00:42:31,239 Speaker 1: to him, but we can now. We'll catch up on 656 00:42:31,239 --> 00:42:34,000 Speaker 1: that next time. UM. We hope his adventures are faring well. 657 00:42:34,320 --> 00:42:38,200 Speaker 1: Huge thanks to Alex Williams, who very humanly composed this theme. 658 00:42:38,560 --> 00:42:41,439 Speaker 1: Uh he used electronic technology, but it all came from 659 00:42:41,440 --> 00:42:48,200 Speaker 1: his heart and brain and his lovely, lovely hands thanks 660 00:42:48,200 --> 00:42:52,320 Speaker 1: to Gabelusier are also very human research associate. Um couldn't 661 00:42:52,320 --> 00:42:55,360 Speaker 1: do it without you, Gabe, Eve's Jeff Coates who the 662 00:42:55,640 --> 00:42:58,399 Speaker 1: catters out of the bag, Jay dot Ill the Jill 663 00:42:58,480 --> 00:43:02,959 Speaker 1: Scott Podcast. Eves has been instrumental in working with that team. 664 00:43:03,000 --> 00:43:05,440 Speaker 1: I had a little hand in it, barely just getting 665 00:43:05,440 --> 00:43:07,520 Speaker 1: things off the ground, and she's just taking the ball 666 00:43:07,520 --> 00:43:09,719 Speaker 1: and run with it. And as I'm really, really really 667 00:43:09,760 --> 00:43:11,799 Speaker 1: happy with that show. It is out in the world now. 668 00:43:11,840 --> 00:43:14,799 Speaker 1: I think there are two episodes fully live. Check out 669 00:43:14,960 --> 00:43:18,839 Speaker 1: j dot Il the podcast. Awesome. Yes, and I'd love 670 00:43:18,880 --> 00:43:22,680 Speaker 1: to have Eves back on the show again today. So 671 00:43:23,000 --> 00:43:25,319 Speaker 1: when you're right to her, tell her the guys say, Hi, 672 00:43:25,640 --> 00:43:28,840 Speaker 1: we can assure you that this show is at this 673 00:43:28,920 --> 00:43:33,400 Speaker 1: point uh not robotic. But if you are a robot 674 00:43:33,440 --> 00:43:35,200 Speaker 1: you're listening and you'd like to be a guest on 675 00:43:35,280 --> 00:43:38,440 Speaker 1: the show, uh, let us know. Just send send us 676 00:43:38,440 --> 00:43:46,720 Speaker 1: the text and binary We'll see you next time. Foloks. 677 00:43:46,760 --> 00:43:48,840 Speaker 1: For more podcasts for my Heart Radio, visit the I 678 00:43:48,880 --> 00:43:51,799 Speaker 1: Heart Radio app, Apple podcast, or wherever you listen to 679 00:43:51,840 --> 00:43:52,760 Speaker 1: your favorite shows.