1 00:00:02,960 --> 00:00:05,280 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of 2 00:00:05,360 --> 00:00:10,680 Speaker 1: My Heart Radio. Hey, welcome to Stuff to Blow your Mind. 3 00:00:10,760 --> 00:00:14,960 Speaker 1: Listener mail. My name is Robert Lamb and I'm Joe McCormick, 4 00:00:15,000 --> 00:00:17,800 Speaker 1: and we're uh. I guess this is our first batch 5 00:00:17,920 --> 00:00:20,560 Speaker 1: of from the mail bag since the holiday. Yeah, how 6 00:00:20,600 --> 00:00:23,360 Speaker 1: was your holiday, Joe? Oh? It was good? That was yours? 7 00:00:24,320 --> 00:00:26,079 Speaker 1: It was it was good, laid back, you know. I 8 00:00:26,079 --> 00:00:28,920 Speaker 1: got to got to do a lot more miniature painting 9 00:00:29,000 --> 00:00:31,680 Speaker 1: than usual. I got to do a little uh writing, 10 00:00:31,720 --> 00:00:34,599 Speaker 1: just for fun. So that was nice. What what miniatures 11 00:00:34,680 --> 00:00:36,840 Speaker 1: did you paint? Let's see? I did? Oh? I did 12 00:00:36,920 --> 00:00:40,000 Speaker 1: uh three cpo and R two D two three cpo? 13 00:00:40,360 --> 00:00:45,519 Speaker 1: Is that like? I'm sorry? R two and cpo? What 14 00:00:45,680 --> 00:00:47,519 Speaker 1: is it? What's you go with to Jordan's names? Yeah? 15 00:00:47,720 --> 00:00:52,199 Speaker 1: I love uh yeah, no, I painted those guys up. 16 00:00:52,280 --> 00:00:54,520 Speaker 1: I got those for Christmas as a gift, along with 17 00:00:54,560 --> 00:00:57,840 Speaker 1: their little pot that they land in. Oh that's wonderful. 18 00:00:59,120 --> 00:01:02,080 Speaker 1: Well are you ready to jump right into these messages? 19 00:01:03,320 --> 00:01:04,720 Speaker 1: Let's do it. What do we got? What is the 20 00:01:05,000 --> 00:01:12,440 Speaker 1: mail bot Carney you have for us today? It looks 21 00:01:12,480 --> 00:01:16,040 Speaker 1: like this first one is about our episode on holiday Inventions. 22 00:01:16,080 --> 00:01:19,160 Speaker 1: I think these were mostly inventions related to Christmas trees. 23 00:01:19,720 --> 00:01:23,360 Speaker 1: This comes from Brett. Brett says, Hello, gentlemen, I was 24 00:01:23,400 --> 00:01:26,160 Speaker 1: recently listening to your Holiday Inventions episode when you were 25 00:01:26,200 --> 00:01:29,679 Speaker 1: discussing a particular antique tree ornament. It was one that 26 00:01:29,880 --> 00:01:32,600 Speaker 1: bubbled when it got warm from a light. I think 27 00:01:32,640 --> 00:01:34,640 Speaker 1: it was Joe who mentioned that it was filled with 28 00:01:34,760 --> 00:01:39,280 Speaker 1: methylene chloride. This got my attention. As an organic chemist, 29 00:01:39,400 --> 00:01:43,440 Speaker 1: we use methylene chloride or dichloro methane d c M daily. 30 00:01:44,200 --> 00:01:47,520 Speaker 1: D c M is an ideal solvent for many organic compounds. 31 00:01:47,600 --> 00:01:51,320 Speaker 1: It's volatility and hence low boiling point and ability to 32 00:01:51,400 --> 00:01:55,240 Speaker 1: dissolve many organic compounds make readily make it ideal for 33 00:01:55,320 --> 00:01:58,040 Speaker 1: our line of work. To help convince ourselves that we 34 00:01:58,040 --> 00:02:01,800 Speaker 1: were able to synthesize a desired compound, we used instruments 35 00:02:01,840 --> 00:02:05,280 Speaker 1: such as nuclear magnetic resonance or n MR to help 36 00:02:05,360 --> 00:02:09,399 Speaker 1: determine a structure's identity. D c M easily is removed 37 00:02:09,480 --> 00:02:14,200 Speaker 1: under reduced pressure under vacuum, therefore reducing the probability of 38 00:02:14,240 --> 00:02:18,680 Speaker 1: contaminating and maybe maybe overlapping with the desired peak. D 39 00:02:18,760 --> 00:02:21,560 Speaker 1: c M feels very cool when it touches your glove 40 00:02:21,720 --> 00:02:24,920 Speaker 1: quickly penetrating it and entering through the skin, providing a 41 00:02:24,960 --> 00:02:28,160 Speaker 1: tingling sensation that we try not to let this happen. 42 00:02:28,480 --> 00:02:31,680 Speaker 1: One thing I find amazing of a solvent such as 43 00:02:31,760 --> 00:02:35,240 Speaker 1: d c M is its weight. Having two chlorine atoms 44 00:02:35,280 --> 00:02:38,000 Speaker 1: attached to a carbon center. You can feel the weight 45 00:02:38,040 --> 00:02:41,919 Speaker 1: difference compared to something like isopropanol per volume, and an 46 00:02:41,960 --> 00:02:46,240 Speaker 1: even heavier solvent that is closely related is chloroform basically 47 00:02:46,360 --> 00:02:49,000 Speaker 1: d c M with an extra chlorine, and you can 48 00:02:49,080 --> 00:02:52,560 Speaker 1: really feel the effect of the extra chlorine. Uh, the 49 00:02:52,600 --> 00:02:56,239 Speaker 1: effect of one atom difference. It always fascinates me where 50 00:02:56,240 --> 00:02:59,880 Speaker 1: a conversation will go during your episodes Organic synthesis during 51 00:03:00,040 --> 00:03:03,480 Speaker 1: Holiday Inventions episode why Not. That is the power of 52 00:03:03,560 --> 00:03:06,799 Speaker 1: words and thought. Thank you as always for providing such 53 00:03:06,800 --> 00:03:10,640 Speaker 1: thought provoking content. Happy holidays, Brett, Well, thanks for getting 54 00:03:10,639 --> 00:03:13,040 Speaker 1: in touch Brett. The power of words and thought. I 55 00:03:13,040 --> 00:03:16,680 Speaker 1: have never thought to uh to summarize our ideology that way. 56 00:03:16,760 --> 00:03:19,120 Speaker 1: Maybe that's what it is. We just follow the words 57 00:03:19,120 --> 00:03:21,760 Speaker 1: and the thought. But yeah, I appreciate hearing from Brett. Here. 58 00:03:22,000 --> 00:03:24,720 Speaker 1: This this listener knows their chemistry. This, this was a 59 00:03:24,760 --> 00:03:32,399 Speaker 1: delightful email. All right, here's another one. This one comes 60 00:03:32,440 --> 00:03:36,200 Speaker 1: to us from Kate and it goes as follows. Dear 61 00:03:36,280 --> 00:03:38,640 Speaker 1: Robert and Joe, I just finished listening to your episode 62 00:03:38,640 --> 00:03:41,320 Speaker 1: on heavy water, and I was really excited to hear 63 00:03:41,360 --> 00:03:44,680 Speaker 1: you mention the kinetic isotope effect. I am a research 64 00:03:44,760 --> 00:03:49,120 Speaker 1: scientist and our lab uses D two oh frequently um 65 00:03:49,280 --> 00:03:52,880 Speaker 1: in our study of enzyme mechanics. One of the truly 66 00:03:52,920 --> 00:03:56,680 Speaker 1: amazing aspects of the enzyme chemistry is the coupling of 67 00:03:56,720 --> 00:04:01,279 Speaker 1: the movements of electrons and protons hydrogen adam without their electrons. 68 00:04:01,640 --> 00:04:04,920 Speaker 1: The coupling has the effect of lowering the activation energy 69 00:04:04,920 --> 00:04:08,080 Speaker 1: of key steps, helping reactions occur faster and more efficiently. 70 00:04:08,960 --> 00:04:11,800 Speaker 1: By observing enzyme turnover in H two O and D 71 00:04:11,880 --> 00:04:14,920 Speaker 1: two oh, this kind of coupling can be identified. This 72 00:04:14,960 --> 00:04:18,400 Speaker 1: work is highly relevant both to biochemical research and to 73 00:04:18,440 --> 00:04:21,719 Speaker 1: the design of new catalysts. Right now, chemists are working 74 00:04:21,760 --> 00:04:25,680 Speaker 1: on engineering this kind of step into synthetic catalysts, and 75 00:04:25,800 --> 00:04:29,840 Speaker 1: understanding how enzymes work helps guide their work. Our lab 76 00:04:29,880 --> 00:04:33,640 Speaker 1: also uses aqua regia as we do work with nanoparticles 77 00:04:33,640 --> 00:04:36,279 Speaker 1: as well, and acquareggia is the only thing that will 78 00:04:36,320 --> 00:04:39,359 Speaker 1: clean our glassware. So this episode hit, a hit a 79 00:04:39,480 --> 00:04:42,400 Speaker 1: double when it comes to my lab experience. Thanks for 80 00:04:42,440 --> 00:04:44,880 Speaker 1: all the fun and informative episodes. You guys keep me 81 00:04:44,920 --> 00:04:48,560 Speaker 1: company when I am doing the routine upkeep of laboratory life. 82 00:04:48,600 --> 00:04:52,719 Speaker 1: All the best, kate ps. You guys should think about 83 00:04:52,800 --> 00:04:56,360 Speaker 1: doing an episode on gold nanoparticles. They have really interesting 84 00:04:56,400 --> 00:04:59,640 Speaker 1: modern applications as well as a fascinating historical aspect. The 85 00:04:59,680 --> 00:05:02,479 Speaker 1: red color in some stained class was prepared from a 86 00:05:02,520 --> 00:05:05,760 Speaker 1: mix of gold salts and tannic acid, which it turns 87 00:05:05,800 --> 00:05:08,240 Speaker 1: out is a way to make nano clusters of gold 88 00:05:08,279 --> 00:05:12,040 Speaker 1: that I used in my graduate work. Interesting listeners. Bringing 89 00:05:12,040 --> 00:05:15,280 Speaker 1: the chemistry today, bringing the gold as Yeah, I would. 90 00:05:15,480 --> 00:05:17,640 Speaker 1: I can't remember if we've done it as a designated 91 00:05:17,640 --> 00:05:20,360 Speaker 1: episode on gold before. It seems like we should have. 92 00:05:21,040 --> 00:05:23,120 Speaker 1: Maybe we did and I forgot it, but either way, 93 00:05:23,320 --> 00:05:25,720 Speaker 1: we should do it. I mean, the show has been 94 00:05:25,720 --> 00:05:28,839 Speaker 1: going a long time, but uh yeah, I often wonder 95 00:05:28,880 --> 00:05:30,839 Speaker 1: when I wanted to do a new episode, I'm like, oh, 96 00:05:31,240 --> 00:05:34,120 Speaker 1: was this done like eight years ago or something that 97 00:05:34,120 --> 00:05:35,920 Speaker 1: would be hard to figure out. It doesn't even matter 98 00:05:35,960 --> 00:05:37,760 Speaker 1: if it was done eight years ago. You know, it's 99 00:05:37,800 --> 00:05:40,280 Speaker 1: like there's gonna be enough new stuff to cover. That's 100 00:05:40,279 --> 00:05:42,120 Speaker 1: always my approach. It's like, if we did it before, 101 00:05:42,760 --> 00:05:45,400 Speaker 1: it's probably worth doing again because either there's new science, 102 00:05:45,400 --> 00:05:49,400 Speaker 1: there are new wrinkles, there's stuff that we didn't find before. Uh, 103 00:05:49,440 --> 00:05:52,479 Speaker 1: you know, it's it's it's similar to the whole situation. 104 00:05:52,480 --> 00:05:55,640 Speaker 1: Remember early on, when these podcasts were just starting out 105 00:05:55,760 --> 00:05:58,400 Speaker 1: under the house Stuff Works banner, everyone was sort of 106 00:05:58,480 --> 00:06:02,119 Speaker 1: hyper alert to, oh, should we cover this subject because 107 00:06:02,240 --> 00:06:04,800 Speaker 1: stuff you should know just did this subject, or history 108 00:06:04,920 --> 00:06:06,960 Speaker 1: did just did this subject. And it took a while 109 00:06:07,000 --> 00:06:09,440 Speaker 1: for everyone to realize, of course, we're gonna cover subjects 110 00:06:09,440 --> 00:06:11,800 Speaker 1: that other people have covered. Sometimes we're gonna hit the 111 00:06:11,839 --> 00:06:14,000 Speaker 1: lotto and they're gonna publish in the same week without 112 00:06:14,040 --> 00:06:16,880 Speaker 1: anybody knowing about them. But everybody's gonna bring their own 113 00:06:17,680 --> 00:06:20,239 Speaker 1: men to the to the information. You know, they're gonna 114 00:06:20,520 --> 00:06:25,040 Speaker 1: find different areas to focus on and have different um, 115 00:06:25,600 --> 00:06:28,640 Speaker 1: different side thoughts on what they're discussing. Yeah, I know 116 00:06:28,680 --> 00:06:31,080 Speaker 1: that's happened to us before, where we published an episode 117 00:06:31,080 --> 00:06:33,240 Speaker 1: on something the same week that Josh and Chuck did, 118 00:06:33,360 --> 00:06:35,799 Speaker 1: and then people ask us, did you do this on purpose? 119 00:06:36,160 --> 00:06:39,200 Speaker 1: Why would we do that on purpose? Now we just 120 00:06:39,320 --> 00:06:41,039 Speaker 1: we just don't know what the other shows are doing. 121 00:06:41,080 --> 00:06:43,919 Speaker 1: We don't like share calendars or anything, but we should 122 00:06:43,920 --> 00:06:51,640 Speaker 1: win something when we line up like that. Okay, this 123 00:06:51,760 --> 00:06:55,960 Speaker 1: next message is about fingernails. It comes from Brent. Brent says, Hi, 124 00:06:56,080 --> 00:06:59,160 Speaker 1: Robert and Joe. First of all, I love the podcast 125 00:06:59,200 --> 00:07:01,880 Speaker 1: and listen to it instantly while working on art projects, 126 00:07:01,880 --> 00:07:05,680 Speaker 1: doing chores, playing video games, are just driving around. I 127 00:07:05,720 --> 00:07:08,320 Speaker 1: find every topic fascinating and love to learn new things 128 00:07:08,360 --> 00:07:10,360 Speaker 1: from you guys every day. You're both a delight to 129 00:07:10,400 --> 00:07:13,520 Speaker 1: listen to. Thank you brand if I remember correctly. In 130 00:07:13,600 --> 00:07:16,520 Speaker 1: one of the Fingernail episodes, Robert mentioned the idea of 131 00:07:16,560 --> 00:07:20,120 Speaker 1: a superhero who uses their fingernails as a way of 132 00:07:20,160 --> 00:07:23,480 Speaker 1: measuring how much they have used their powers. Well, I 133 00:07:23,520 --> 00:07:25,520 Speaker 1: don't have an example of a hero. I do have 134 00:07:25,600 --> 00:07:29,800 Speaker 1: an example of a villain. And uh, brannan, I want 135 00:07:29,800 --> 00:07:32,320 Speaker 1: to say, correct me if I'm wrong. I think this 136 00:07:32,440 --> 00:07:36,320 Speaker 1: was not in original Fingernail episodes, but it was in. 137 00:07:36,720 --> 00:07:39,560 Speaker 1: It was response to another listener mail that brought up 138 00:07:39,600 --> 00:07:42,800 Speaker 1: a story from Uh. I believe it was from Maori 139 00:07:42,960 --> 00:07:46,920 Speaker 1: legend about a god or a figure who uses their 140 00:07:46,920 --> 00:07:50,240 Speaker 1: fingernails to to keep a fire going. Yes, yeah, and 141 00:07:50,280 --> 00:07:51,880 Speaker 1: I just said, well, that would be a great sort 142 00:07:51,920 --> 00:07:55,320 Speaker 1: of visual um thing to work with in a a 143 00:07:55,360 --> 00:07:58,800 Speaker 1: in a modern superhero tale. Yeah yeah, so BRN goes 144 00:07:58,840 --> 00:08:01,320 Speaker 1: on and says, warning, your nail trauma ahead. But it's 145 00:08:01,360 --> 00:08:04,840 Speaker 1: just like one paragraph. I was recently reading a Japanese 146 00:08:04,880 --> 00:08:08,480 Speaker 1: manga called Chainsaw Man, and in one of the story arcs, 147 00:08:08,480 --> 00:08:10,360 Speaker 1: a villain appears who has made a pact with a 148 00:08:10,440 --> 00:08:13,320 Speaker 1: demon for every time she wants to use the power 149 00:08:13,320 --> 00:08:17,200 Speaker 1: of the demon, she must sacrifice one fingernail. I thought 150 00:08:17,240 --> 00:08:19,520 Speaker 1: it was very interesting to have the limitations of a 151 00:08:19,560 --> 00:08:23,080 Speaker 1: power be the amount of fingernails you have and the 152 00:08:23,120 --> 00:08:25,640 Speaker 1: amount of time it would take for them to grow back. 153 00:08:26,040 --> 00:08:28,480 Speaker 1: This character isn't a very prominent one, but the moment 154 00:08:28,520 --> 00:08:30,520 Speaker 1: I saw her, I thought of your show anyway, thank 155 00:08:30,560 --> 00:08:34,240 Speaker 1: you for all you do, Brent. Interesting. I gotta look 156 00:08:34,280 --> 00:08:36,920 Speaker 1: up Chainsaw Man. I'm hooked by the title alone. I 157 00:08:37,240 --> 00:08:40,120 Speaker 1: like that. I'm assuming it's like Chainsaw Man has like 158 00:08:40,240 --> 00:08:43,719 Speaker 1: some chainsaw attributes. But the vision of it that I 159 00:08:43,760 --> 00:08:45,400 Speaker 1: would I would hope for one that I kind of 160 00:08:45,600 --> 00:08:47,400 Speaker 1: I would idly think about in the past was like, 161 00:08:47,440 --> 00:08:49,839 Speaker 1: what have you had a person or an entity that 162 00:08:50,040 --> 00:08:52,960 Speaker 1: was made entirely out of chainsaws, but not not the 163 00:08:53,679 --> 00:08:56,719 Speaker 1: like engine of the chainsaw, but just like the intangible 164 00:08:57,080 --> 00:08:59,760 Speaker 1: nous of the chainsaw, you know, like there's something to 165 00:08:59,800 --> 00:09:03,560 Speaker 1: it chainsaw that is beyond like any specific part of it. 166 00:09:03,559 --> 00:09:08,120 Speaker 1: It is just like the roaring gears of the thing. Yeah. Well, 167 00:09:08,520 --> 00:09:10,880 Speaker 1: in like a gnostic sense the same way, how like 168 00:09:11,000 --> 00:09:14,520 Speaker 1: God can have different emanations of qualities that are themselves 169 00:09:14,559 --> 00:09:19,160 Speaker 1: creators of planes of existence, the chainsaw can produce divine emanations. 170 00:09:19,559 --> 00:09:22,760 Speaker 1: So there's like a quality of chainsaw nests that is 171 00:09:22,800 --> 00:09:25,280 Speaker 1: its own deity. And I gotta say, I just looked 172 00:09:25,320 --> 00:09:27,920 Speaker 1: up chainsaw Man, and what I like about chainsaw Man, 173 00:09:28,080 --> 00:09:30,720 Speaker 1: having never seen him before, is he doesn't just have 174 00:09:30,840 --> 00:09:33,600 Speaker 1: chainsaws for hands. He also has a chainsaw for a head. 175 00:09:33,840 --> 00:09:36,199 Speaker 1: That's a good touch. Oh, I'm looking at it now 176 00:09:36,240 --> 00:09:40,600 Speaker 1: as well. And yes, this is solid. I approved this message. 177 00:09:40,840 --> 00:09:42,520 Speaker 1: If it had just been hands, I don't know if 178 00:09:42,520 --> 00:09:44,080 Speaker 1: I would have been with it. But the head, the 179 00:09:44,120 --> 00:09:52,760 Speaker 1: head thing seals the deal. Yeah. All right, here's another 180 00:09:52,800 --> 00:09:55,319 Speaker 1: one for us. This one comes to us from Raphael 181 00:09:55,880 --> 00:09:58,400 Speaker 1: and it has to do with our episodes on Spinning. 182 00:09:59,000 --> 00:10:01,240 Speaker 1: Dear Robert and Joe, thank you for your amazing podcast 183 00:10:01,280 --> 00:10:04,360 Speaker 1: every week. I look for to your unique discussions connecting science, culture, 184 00:10:04,400 --> 00:10:07,760 Speaker 1: and history. As a professional scientists, maintaining my sense of 185 00:10:07,760 --> 00:10:10,880 Speaker 1: wondering curiosity about the world is very important in my career, 186 00:10:10,960 --> 00:10:13,520 Speaker 1: and you help stretch the boundaries of my imagination far 187 00:10:13,559 --> 00:10:17,240 Speaker 1: outside my area of expertise. After listening for several years, 188 00:10:17,280 --> 00:10:19,160 Speaker 1: I am finally taking the plunge on writing in after 189 00:10:19,280 --> 00:10:22,040 Speaker 1: Robert's call for comments on the utility of spinning in 190 00:10:22,120 --> 00:10:25,760 Speaker 1: combat situations. My wife and I have participated in combat 191 00:10:25,800 --> 00:10:28,240 Speaker 1: sports or practice martial arts for most of our lives. 192 00:10:28,480 --> 00:10:32,959 Speaker 1: Though having trained with truly dedicated professional instructors and Olympic medalists, 193 00:10:33,000 --> 00:10:36,600 Speaker 1: we cannot think of ourselves as anything more than enthusiastic amateurs. 194 00:10:36,840 --> 00:10:40,240 Speaker 1: What perspective I cannot offer you in depth I can 195 00:10:40,360 --> 00:10:43,760 Speaker 1: offer you in breadth of experience. I ask your question 196 00:10:43,840 --> 00:10:46,480 Speaker 1: about spinning in combat on our weekly Zoom call with 197 00:10:46,520 --> 00:10:49,760 Speaker 1: two of our close friends who are also experienced martial artists. 198 00:10:49,800 --> 00:10:52,160 Speaker 1: Between the four of us, we have seventy plus years 199 00:10:52,200 --> 00:10:54,600 Speaker 1: of experience across a diverse set of martial arts and 200 00:10:54,679 --> 00:10:58,880 Speaker 1: combat sports. Initial reactions to the idea of spinning strikes 201 00:10:58,920 --> 00:11:02,600 Speaker 1: and combat were mixed too incredulous. After some discussion, our 202 00:11:02,640 --> 00:11:06,320 Speaker 1: general consensus was that spinning does have combat utility, but 203 00:11:06,440 --> 00:11:09,240 Speaker 1: not in the ways presented in many films and video games. 204 00:11:09,280 --> 00:11:11,320 Speaker 1: Before I get much further, I will point out something 205 00:11:11,480 --> 00:11:14,640 Speaker 1: that may seem obvious when evaluating anything in martial arts 206 00:11:14,679 --> 00:11:18,200 Speaker 1: or self defense. The effectiveness of any particular technique is 207 00:11:18,240 --> 00:11:21,400 Speaker 1: always dependent on the specific context in which it is used. 208 00:11:21,760 --> 00:11:25,720 Speaker 1: Particularly in martial arts and sports that includes competitive sparring. UH, 209 00:11:25,800 --> 00:11:28,559 Speaker 1: the rules and restrictions in place for safety and that 210 00:11:28,600 --> 00:11:31,760 Speaker 1: define the scoring system will heavily influence the combat style 211 00:11:31,960 --> 00:11:34,600 Speaker 1: and what is considered to be effective. This is certainly 212 00:11:34,640 --> 00:11:38,360 Speaker 1: the case in competition taekwondo, which seems like one of 213 00:11:38,520 --> 00:11:42,760 Speaker 1: the modern martial arts that employs the most spinning strikes. Thankfully, 214 00:11:42,800 --> 00:11:45,880 Speaker 1: even modern m m A includes rules that prohibit many 215 00:11:45,880 --> 00:11:48,600 Speaker 1: of the most effective and damaging attacks that would in 216 00:11:48,679 --> 00:11:52,080 Speaker 1: reality be the best survival options in a lethal self 217 00:11:52,080 --> 00:11:56,240 Speaker 1: defense situation. Modern combat sports also generally prohibit the best 218 00:11:56,280 --> 00:11:59,640 Speaker 1: self defense techniques of all running away as fast as possible. 219 00:12:01,320 --> 00:12:04,600 Speaker 1: That would be interesting if that was always an option, 220 00:12:04,640 --> 00:12:06,880 Speaker 1: you know, right, if that was like a strategy you 221 00:12:06,880 --> 00:12:10,760 Speaker 1: could deploy in the ring yeah, Oh he's trying to 222 00:12:11,240 --> 00:12:14,640 Speaker 1: He's trying the runaway. I don't know how that works. 223 00:12:14,679 --> 00:12:17,480 Speaker 1: But back to the outcome of our conversation, we all 224 00:12:17,520 --> 00:12:20,600 Speaker 1: agree that that full spinning strikes used at longer fighting 225 00:12:20,600 --> 00:12:22,760 Speaker 1: distances the kind of moves you mentioned on the show 226 00:12:23,000 --> 00:12:25,600 Speaker 1: are a pretty bad idea. In most one on one combat, 227 00:12:25,840 --> 00:12:29,120 Speaker 1: spinning punches and kicks can generate significant power, but require 228 00:12:29,200 --> 00:12:32,559 Speaker 1: you to sacrifice balance, stable footing, and present your back. 229 00:12:33,040 --> 00:12:36,839 Speaker 1: If initiated at standard kicking and punching ranges, they are 230 00:12:36,840 --> 00:12:41,040 Speaker 1: easily anticipated and therefore countered. Spinning kicks in particular, also 231 00:12:41,080 --> 00:12:44,520 Speaker 1: require a high level of skill, athleticism, and flexibility. A 232 00:12:44,559 --> 00:12:47,560 Speaker 1: martial artist can achieve the same level of striking power 233 00:12:47,679 --> 00:12:50,360 Speaker 1: with none of the drawbacks using half turns instead of 234 00:12:50,400 --> 00:12:53,679 Speaker 1: full rotations. Many attacks that appear to be spins are 235 00:12:53,720 --> 00:12:58,200 Speaker 1: actually multiple half turned strikes in sequence. There are situations, 236 00:12:58,240 --> 00:13:01,199 Speaker 1: such as the one represented in the video of Joaquin 237 00:13:01,320 --> 00:13:05,280 Speaker 1: Buckley's competition knockout kick, where a spinning move can help 238 00:13:05,360 --> 00:13:09,120 Speaker 1: you escape a bad situation or attack from an unexpected angle. 239 00:13:09,520 --> 00:13:12,560 Speaker 1: Someone with sufficient skill might use spinning strikes effectively in 240 00:13:12,559 --> 00:13:16,560 Speaker 1: the right circumstances, but such instances seem like exceptions that 241 00:13:16,679 --> 00:13:19,640 Speaker 1: prove the rule, and they go onto to share some 242 00:13:19,640 --> 00:13:22,160 Speaker 1: more details that we don't have time to get into here, 243 00:13:22,160 --> 00:13:25,960 Speaker 1: but basically getting into say spotting techniques that are a 244 00:13:26,000 --> 00:13:29,040 Speaker 1: part of everyday training exercises, just how you how you 245 00:13:29,160 --> 00:13:33,960 Speaker 1: utilize a spin, But they continue quote everyone also agreed 246 00:13:34,000 --> 00:13:37,200 Speaker 1: spins are very useful in multiple attack or situations. When 247 00:13:37,200 --> 00:13:40,200 Speaker 1: facing multiple opponents, it is all about maintaining mobility and 248 00:13:40,200 --> 00:13:43,079 Speaker 1: preventing yourself from being overwhelmed. Spins are a useful way 249 00:13:43,080 --> 00:13:46,040 Speaker 1: to dodge, reorient in a new direction, and quickly spot 250 00:13:46,040 --> 00:13:49,000 Speaker 1: other opponents or escape opportunities. If you want to see 251 00:13:49,000 --> 00:13:51,599 Speaker 1: this in action, just watch a basketball, American football, or 252 00:13:51,679 --> 00:13:55,839 Speaker 1: rugby game. Spins are frequently employed to break past opponents 253 00:13:56,040 --> 00:13:58,760 Speaker 1: or dodge tackles. The utility of spinning to deal with 254 00:13:58,840 --> 00:14:02,360 Speaker 1: multiple attackers applies to armed as well as on armed combat. 255 00:14:02,840 --> 00:14:05,400 Speaker 1: Some of the katana and short staff exercises I know 256 00:14:05,520 --> 00:14:08,360 Speaker 1: include spinning footwork based on the assumption that you have 257 00:14:08,400 --> 00:14:12,720 Speaker 1: to quickly reient to deal with armed attackers from multiple directions. 258 00:14:12,760 --> 00:14:16,240 Speaker 1: The closest thing to a Tasmanian Devil style spin is 259 00:14:16,280 --> 00:14:20,320 Speaker 1: a stationary three sixty degree spin combined with a horizontal 260 00:14:20,440 --> 00:14:23,680 Speaker 1: sword slash performed at the very end of some sword kata. 261 00:14:23,960 --> 00:14:26,840 Speaker 1: My understanding is that this is not meant as any 262 00:14:26,880 --> 00:14:30,640 Speaker 1: sort of directed attack. Rather, you are checking every direction 263 00:14:30,680 --> 00:14:33,120 Speaker 1: for new opponents after you think you have defeated your 264 00:14:33,160 --> 00:14:36,440 Speaker 1: initial attackers. The sword slash is meant to give any 265 00:14:36,480 --> 00:14:39,640 Speaker 1: new attack or a reason to pause and maybe by yourself, 266 00:14:39,680 --> 00:14:43,640 Speaker 1: a potentially life saving moment. In the end, we concluded 267 00:14:43,680 --> 00:14:46,680 Speaker 1: that the obvious athleticism and easily visualized nature of spinning 268 00:14:46,720 --> 00:14:48,520 Speaker 1: punches and kicks is the reason that we see so 269 00:14:48,560 --> 00:14:50,920 Speaker 1: many of them in movies and video games. Just like 270 00:14:51,000 --> 00:14:54,680 Speaker 1: the reverse grip use on long blades and punching armored 271 00:14:54,680 --> 00:14:58,360 Speaker 1: opponents with unprediccted fists, spinning strikes are dramatic and fun 272 00:14:58,440 --> 00:15:01,400 Speaker 1: to watch, but probably best left on the screen anyway. 273 00:15:01,440 --> 00:15:04,200 Speaker 1: I hope this email provides a useful perspective. Our group 274 00:15:04,280 --> 00:15:06,600 Speaker 1: certainly had fun discussing the topic. Thanks for all your 275 00:15:06,600 --> 00:15:10,840 Speaker 1: great episodes, Raphael. Wow that was some depth, Rafael. Yeah, 276 00:15:10,840 --> 00:15:12,360 Speaker 1: that was great And like I said, we didn't even 277 00:15:12,560 --> 00:15:14,480 Speaker 1: have time to read all of that one but on 278 00:15:14,560 --> 00:15:18,800 Speaker 1: the show here. But yeah, I greatly appreciate folks chiming 279 00:15:18,800 --> 00:15:22,080 Speaker 1: in with their expertise, in this case dealing with spinning 280 00:15:22,080 --> 00:15:32,800 Speaker 1: in combat. All right, this next message comes to us 281 00:15:32,840 --> 00:15:36,840 Speaker 1: from Pearl, also about spinning. Pearl says, Hi, Robert and Joe, 282 00:15:37,040 --> 00:15:39,520 Speaker 1: in your episodes about spinning, you mentioned spinning in ballet 283 00:15:39,720 --> 00:15:43,080 Speaker 1: and separately, the feeling of being entranced as a spectator 284 00:15:43,240 --> 00:15:47,520 Speaker 1: of spinning persons, especially the Sufi dervishes. I wanted to 285 00:15:47,520 --> 00:15:49,880 Speaker 1: bring up a famous piece of ballet spinning lore that 286 00:15:49,960 --> 00:15:53,640 Speaker 1: will bridge these two ideas, where the trance state induced 287 00:15:53,680 --> 00:15:57,320 Speaker 1: by watching someone spin actually moves the story forward. It's 288 00:15:57,360 --> 00:16:01,000 Speaker 1: also explored in Aronofsky's Black Swan, but since the whole 289 00:16:01,040 --> 00:16:03,880 Speaker 1: film is one long, bad trip, this particular bit of 290 00:16:03,920 --> 00:16:07,720 Speaker 1: psychedelic spinning gets lost in the mix. In the classical 291 00:16:07,760 --> 00:16:11,400 Speaker 1: ballet Swan Lake, a crucial moment in the story comes 292 00:16:11,440 --> 00:16:14,000 Speaker 1: at the end of the second act, when the deceptive 293 00:16:14,040 --> 00:16:18,920 Speaker 1: black Swan o'deal secures the devotion of Prince Siegfried. She 294 00:16:18,960 --> 00:16:23,119 Speaker 1: accomplishes this by executing a series of consecutive whirling movements 295 00:16:23,200 --> 00:16:25,960 Speaker 1: on point over the course of thirty two counts of 296 00:16:26,040 --> 00:16:29,760 Speaker 1: feverish music, known as the Black Swan coda at the 297 00:16:29,840 --> 00:16:33,320 Speaker 1: rate of at least one spin per count. In modern productions, 298 00:16:33,360 --> 00:16:36,520 Speaker 1: this almost always comes in the form of thirty two 299 00:16:36,680 --> 00:16:40,720 Speaker 1: fuette turns French for whip, a type of pirouet in 300 00:16:40,720 --> 00:16:43,440 Speaker 1: which one leg is extended out to the side and 301 00:16:43,560 --> 00:16:47,080 Speaker 1: pulled back into the body, quickly creating the force necessary 302 00:16:47,080 --> 00:16:50,680 Speaker 1: to whip the body around on its axis. This movement 303 00:16:50,720 --> 00:16:53,560 Speaker 1: is done without ever placing the working leg, the one 304 00:16:53,640 --> 00:16:56,920 Speaker 1: doing the whipping motion, back down on the ground, enabling 305 00:16:56,960 --> 00:16:59,800 Speaker 1: the dancer to execute many more turns than would otherwise 306 00:16:59,800 --> 00:17:03,120 Speaker 1: be possible within the same amount of music. The Prince 307 00:17:03,440 --> 00:17:07,080 Speaker 1: and the audience is so entranced by the spinning that 308 00:17:07,200 --> 00:17:10,040 Speaker 1: all doubts about o'deal are dispelled, and he commits his 309 00:17:10,080 --> 00:17:13,320 Speaker 1: heart to her, now actually believing that she and the 310 00:17:13,359 --> 00:17:16,920 Speaker 1: white Swan odette are one and the same. After all, 311 00:17:17,240 --> 00:17:20,399 Speaker 1: how many enchanted mutant swan women could there possibly be 312 00:17:20,560 --> 00:17:24,639 Speaker 1: within one forest. The same idea has been used in 313 00:17:24,720 --> 00:17:28,920 Speaker 1: other ballets, and super quick, super athletic pirouetts are standard 314 00:17:28,920 --> 00:17:32,520 Speaker 1: practice for today's dancers, but watching the Black Swan coda 315 00:17:32,720 --> 00:17:36,720 Speaker 1: is still a mind altering experience, even for seasoned patrons 316 00:17:36,760 --> 00:17:39,280 Speaker 1: of the art form. I tried and failed to keep 317 00:17:39,320 --> 00:17:42,320 Speaker 1: this letter short. Ballet is a world full of weird, 318 00:17:42,400 --> 00:17:45,439 Speaker 1: morbid fairy tales and bizarre physical feats that need a 319 00:17:45,440 --> 00:17:48,320 Speaker 1: lot of explaining. My personal connection is that I've been 320 00:17:48,400 --> 00:17:51,840 Speaker 1: dancing ballet as a hobby since age three, including several 321 00:17:51,880 --> 00:17:55,760 Speaker 1: years on point. That's almost three decades, and I'm still fascinated. 322 00:17:55,960 --> 00:17:59,600 Speaker 1: Love the show Pearl and then Pearl attaches a video 323 00:17:59,640 --> 00:18:03,040 Speaker 1: that we can watch. Very cool. Yeah, in this video, 324 00:18:03,240 --> 00:18:12,040 Speaker 1: the turns got us on and on. It's unbelievable. All right, 325 00:18:12,119 --> 00:18:13,879 Speaker 1: here's another one for us. This is perfect because it 326 00:18:13,880 --> 00:18:17,439 Speaker 1: also deals with Russian storytelling. This one concerns the Leshy. 327 00:18:18,760 --> 00:18:21,640 Speaker 1: Dear Robert and Joe, I hope you're enjoying the holiday season. 328 00:18:21,640 --> 00:18:23,560 Speaker 1: I'm a tremendous fan of your show. The first episode 329 00:18:23,600 --> 00:18:25,960 Speaker 1: I ever listened to was about Jupiter's Moons a few 330 00:18:26,040 --> 00:18:29,680 Speaker 1: years back. I was hooked after that. I so enjoyed 331 00:18:29,680 --> 00:18:32,600 Speaker 1: the episode about the leshy. It inspired my husband and 332 00:18:32,600 --> 00:18:35,320 Speaker 1: I to watch the folk tale season of The Storyteller 333 00:18:35,640 --> 00:18:38,480 Speaker 1: so great I waited until closer to Christmas to check 334 00:18:38,480 --> 00:18:41,560 Speaker 1: out the Russian movie you mentioned. Frosty a k a. 335 00:18:41,760 --> 00:18:46,119 Speaker 1: Jack frost a k a Morozko. This movie is a trip. 336 00:18:46,440 --> 00:18:48,200 Speaker 1: I wasn't sure what to make of it at first, 337 00:18:48,480 --> 00:18:50,920 Speaker 1: but the more it sinks in, the more I realized. 338 00:18:50,920 --> 00:18:53,880 Speaker 1: I love this movie. It is so colorful and imaginative. 339 00:18:54,240 --> 00:18:57,639 Speaker 1: The characters, songs, costumes, and effects are also great. I 340 00:18:57,760 --> 00:19:02,119 Speaker 1: definitely recommend the original Russian movie with English subtitles. Dubbing 341 00:19:02,200 --> 00:19:04,560 Speaker 1: just won't do, as you won't get to hear the 342 00:19:04,640 --> 00:19:10,960 Speaker 1: tiny soft voice of Nastia or um Ivanusca's hey Ulus. 343 00:19:11,160 --> 00:19:15,240 Speaker 1: I'm not sure I'm saying that right. Uluiyu song. The 344 00:19:15,280 --> 00:19:18,280 Speaker 1: Bobby Yaga kills it with her costume and crazy faces 345 00:19:18,320 --> 00:19:21,520 Speaker 1: and laughs. Father Frost costume is out of this world. 346 00:19:21,800 --> 00:19:26,040 Speaker 1: The step Sister and Uh and the Quarter are also hilarious. 347 00:19:26,520 --> 00:19:28,760 Speaker 1: I think some may not understand this movie, but if 348 00:19:28,800 --> 00:19:30,320 Speaker 1: you think of it as a Wizard of Oz or 349 00:19:30,359 --> 00:19:33,359 Speaker 1: Alison Wonderland from another culture, it makes sense. I think 350 00:19:33,440 --> 00:19:36,719 Speaker 1: this is one of my new Winter classics. Also, I 351 00:19:36,760 --> 00:19:39,440 Speaker 1: often think of the the Lesti story about the guy 352 00:19:39,480 --> 00:19:41,560 Speaker 1: who brought the Lessie to a wedding as a guest, 353 00:19:41,680 --> 00:19:44,920 Speaker 1: so ridiculous. I cracked myself up just thinking about it. Yeah, 354 00:19:45,000 --> 00:19:47,280 Speaker 1: that was a good one. That was It's just I 355 00:19:47,320 --> 00:19:50,520 Speaker 1: love the the weirdness of so many of those tales. 356 00:19:50,520 --> 00:19:53,160 Speaker 1: And and again, uh, if anyone's interested to go back, 357 00:19:53,760 --> 00:19:56,480 Speaker 1: I mentioned the author who has compiled so many of 358 00:19:56,480 --> 00:20:01,840 Speaker 1: these stories, and that book was tremendous. Anyway, continue, Um, 359 00:20:01,880 --> 00:20:03,800 Speaker 1: thank you so much for the wonderful podcast. It has 360 00:20:03,840 --> 00:20:06,760 Speaker 1: ignited so many fun adventures and explorations for me. Also, 361 00:20:06,960 --> 00:20:10,200 Speaker 1: you'll have the best podcast voices just saying happy holidays, 362 00:20:10,400 --> 00:20:16,399 Speaker 1: Leslie in Seattle, illegal flattery. Well, I'm glad you enjoyed 363 00:20:16,480 --> 00:20:19,680 Speaker 1: Jack Frost, because again, it is a beautiful movie. Most, 364 00:20:19,960 --> 00:20:21,479 Speaker 1: I feel like, well maybe not most, but a lot 365 00:20:21,520 --> 00:20:24,720 Speaker 1: of people in the US are probably only familiar with 366 00:20:24,720 --> 00:20:27,399 Speaker 1: it from Mystery Sense Theater three thousand. But it is 367 00:20:27,480 --> 00:20:30,080 Speaker 1: in and of itself just a beautifully made film with 368 00:20:30,119 --> 00:20:32,240 Speaker 1: a lot of wonderful stuff in it. So um, yeah, 369 00:20:32,280 --> 00:20:35,479 Speaker 1: I highly recommend folks check it out during the winter months. 370 00:20:35,760 --> 00:20:40,119 Speaker 1: I agree. Yeah, Um, it is both funny but also uh, 371 00:20:40,200 --> 00:20:42,120 Speaker 1: you know, if if you put yourself in the right 372 00:20:42,200 --> 00:20:45,159 Speaker 1: mindset and experience it as a as a as a 373 00:20:45,200 --> 00:20:47,479 Speaker 1: fresh fallen snow, you know, like it's sort of like 374 00:20:47,960 --> 00:20:51,520 Speaker 1: a new babe in the world. It's it's quite wonderful, 375 00:20:52,160 --> 00:20:57,320 Speaker 1: not a princess, a queen and Leslie thank you, yeah, 376 00:20:57,680 --> 00:21:05,280 Speaker 1: far too kind. I thought maybe we should wrap up 377 00:21:05,280 --> 00:21:08,720 Speaker 1: here with a question that may be relevant, because I 378 00:21:08,760 --> 00:21:11,879 Speaker 1: can't imagine we will stop using this point of comparison 379 00:21:11,880 --> 00:21:14,400 Speaker 1: as we go on. So Taylor, writing in about Weird 380 00:21:14,440 --> 00:21:18,520 Speaker 1: How Cinema, Taylor says, hey, Rob and Joe Taylor from 381 00:21:18,520 --> 00:21:21,160 Speaker 1: Salt Lake here with a simple question, could you define 382 00:21:21,280 --> 00:21:24,600 Speaker 1: pucci for me? This time has come up several times 383 00:21:24,600 --> 00:21:28,520 Speaker 1: in recent episodes, referencing both Sonic the Hedgehog and the 384 00:21:28,600 --> 00:21:32,000 Speaker 1: obnoxious teenage son from Ghost in the Machine. I don't 385 00:21:32,040 --> 00:21:35,280 Speaker 1: know if it's a generational gap or a cultural moment 386 00:21:35,320 --> 00:21:38,600 Speaker 1: I missed. I'm twenty five, but I've never heard this word, 387 00:21:38,760 --> 00:21:41,280 Speaker 1: and I now have burning curiosity to be looped in 388 00:21:41,640 --> 00:21:44,000 Speaker 1: since I don't know how it's spelled in this context. 389 00:21:44,119 --> 00:21:46,879 Speaker 1: Urban Dictionary has been less than helpful. So maybe you 390 00:21:46,880 --> 00:21:50,320 Speaker 1: can help a brother out with a little flaming barrel etymology. 391 00:21:50,359 --> 00:21:52,840 Speaker 1: As always, thanks for doing what you do and filling 392 00:21:52,880 --> 00:21:55,560 Speaker 1: the duller moments of my days with weird, thoughtful, edifying 393 00:21:55,640 --> 00:21:58,359 Speaker 1: ear candy. I'm really enjoying Weird How Cinema and the 394 00:21:58,400 --> 00:22:03,080 Speaker 1: recent diversity of content the best tailor. Yeah, I figured 395 00:22:03,119 --> 00:22:06,760 Speaker 1: this is probably worth explaining for other listeners who are 396 00:22:06,760 --> 00:22:09,440 Speaker 1: not as deeply rooted in Simpson's lore as we are, 397 00:22:09,480 --> 00:22:12,600 Speaker 1: because I I think sometimes I just like, you know, 398 00:22:12,680 --> 00:22:15,480 Speaker 1: like Shakespeare could assume that everybody in his audience knew 399 00:22:15,520 --> 00:22:18,000 Speaker 1: the Bible, so they all had the same point of comparison. 400 00:22:18,000 --> 00:22:20,399 Speaker 1: I tend to assume everybody knows the Simpsons, but I 401 00:22:20,400 --> 00:22:23,840 Speaker 1: know that's not true. So this is from the Simpsons. Pucci. 402 00:22:24,320 --> 00:22:26,280 Speaker 1: I think Pucci is kind of one of the patron 403 00:22:26,400 --> 00:22:30,960 Speaker 1: saints of our era and history. Pucci is a soulless 404 00:22:31,000 --> 00:22:35,760 Speaker 1: media corporation's attempt to lure in young viewers with a 405 00:22:35,880 --> 00:22:40,680 Speaker 1: cringe inducing simulacrum of youth rebellion and subculture. Would you 406 00:22:40,720 --> 00:22:43,639 Speaker 1: say that's a fair definition? Yes, yeah, I think that 407 00:22:43,720 --> 00:22:46,919 Speaker 1: that sums it up nicely. So, but well, sorry, what 408 00:22:47,160 --> 00:22:48,920 Speaker 1: I was just gonna say, he's the he's the product 409 00:22:48,960 --> 00:22:52,720 Speaker 1: of pure corporate group think in terms of trying to 410 00:22:52,840 --> 00:22:58,400 Speaker 1: inject strategy and to creative endeavor. Yeah, so he's more 411 00:22:58,400 --> 00:23:00,600 Speaker 1: than one thing at once. I want to give you 412 00:23:00,640 --> 00:23:02,639 Speaker 1: the full spectrum of Pucci. If you've never seen the 413 00:23:02,680 --> 00:23:05,639 Speaker 1: episode So in the Simpsons, the context is that the 414 00:23:05,720 --> 00:23:08,680 Speaker 1: children can always be found watching the Itchy and Scratchy show. 415 00:23:08,720 --> 00:23:12,119 Speaker 1: It is a classic of sadistic cartoon violence between a 416 00:23:12,160 --> 00:23:14,679 Speaker 1: mouse and a cat. So you know, Barton Lisa on 417 00:23:14,720 --> 00:23:18,680 Speaker 1: Saturday morning will watch Itchy throw Scratchy into a volcano 418 00:23:18,800 --> 00:23:20,840 Speaker 1: and they laugh and all is right with the world. 419 00:23:21,240 --> 00:23:24,800 Speaker 1: But in the Pucci episode, the corporation that owns Itchy 420 00:23:24,840 --> 00:23:28,040 Speaker 1: and Scratchy decides that the show needs a new character 421 00:23:28,200 --> 00:23:32,240 Speaker 1: to boost ratings. So over the objections of the show's writers, 422 00:23:32,280 --> 00:23:35,280 Speaker 1: who are they are themselves portrayed as like pompous and 423 00:23:35,359 --> 00:23:40,480 Speaker 1: lazy um, but these meddling executives come in and mandate 424 00:23:40,520 --> 00:23:43,520 Speaker 1: that the show must now incorporate a new dog character 425 00:23:44,040 --> 00:23:47,439 Speaker 1: who is just you know, a sort of a very 426 00:23:47,520 --> 00:23:53,000 Speaker 1: uncool business person's idea of subcultures, but all different subcultures 427 00:23:53,040 --> 00:23:56,399 Speaker 1: thrown into a blender. So he's a leather jacket wearing 428 00:23:56,760 --> 00:24:01,600 Speaker 1: electric guitar, playing grunge hip hops for in sunglasses and 429 00:24:01,600 --> 00:24:05,160 Speaker 1: a backwards cap. Oh. Also, somehow Homer ends up being 430 00:24:05,200 --> 00:24:07,240 Speaker 1: the voice of Pucci within the show. I think that 431 00:24:07,280 --> 00:24:09,480 Speaker 1: they have like a big casting thing and he gets it. 432 00:24:09,520 --> 00:24:13,040 Speaker 1: For some reason. But then when the episode with Pucci 433 00:24:13,160 --> 00:24:16,520 Speaker 1: debuts and the kids watch it, Pucci is rightly despised 434 00:24:16,560 --> 00:24:19,680 Speaker 1: by all UH and is promptly written off the show. 435 00:24:19,840 --> 00:24:23,399 Speaker 1: There's this great scene where they UH like somebody dubs 436 00:24:23,400 --> 00:24:25,240 Speaker 1: in a line that says like I must go, my 437 00:24:25,359 --> 00:24:27,800 Speaker 1: planet needs me, and then they just lift the cell 438 00:24:27,920 --> 00:24:30,800 Speaker 1: out of the animation frame and then we get like 439 00:24:31,080 --> 00:24:33,880 Speaker 1: a subtitle saying that Pucci died on the way back 440 00:24:33,920 --> 00:24:36,240 Speaker 1: to his home planet. I think we had never been 441 00:24:36,240 --> 00:24:39,840 Speaker 1: told before that it was from another planet. Um, let's see, 442 00:24:39,880 --> 00:24:42,520 Speaker 1: that's what Pucci is put Pucci is actually several different 443 00:24:43,119 --> 00:24:47,040 Speaker 1: emblems at once. In one aspect, Pucci is a corporate 444 00:24:47,040 --> 00:24:52,040 Speaker 1: executives horribly confused and inauthentic understanding of what the kids 445 00:24:52,040 --> 00:24:55,240 Speaker 1: are into these days. And so Pucci is in that 446 00:24:55,359 --> 00:24:59,120 Speaker 1: respect a very poor and cringe inducing attempt to pander. 447 00:24:59,560 --> 00:25:02,879 Speaker 1: But I would say Pucci also represents the never ending 448 00:25:02,960 --> 00:25:08,200 Speaker 1: desire of business executives who own creative properties to interfere 449 00:25:08,359 --> 00:25:11,800 Speaker 1: in the creative processes of their employees with the near 450 00:25:11,880 --> 00:25:16,320 Speaker 1: guarantee of disastrous effects. So in that later sense, I 451 00:25:16,359 --> 00:25:19,720 Speaker 1: think to broaden the scope beyond just cartoons and media products. 452 00:25:20,000 --> 00:25:22,960 Speaker 1: I'd say that every time your boss tells you to 453 00:25:23,119 --> 00:25:25,960 Speaker 1: try doing X, and you already know that it's a 454 00:25:26,040 --> 00:25:28,800 Speaker 1: terrible idea because you know what you do day in 455 00:25:28,880 --> 00:25:31,080 Speaker 1: and day out, but your boss doesn't know. But you 456 00:25:31,119 --> 00:25:33,280 Speaker 1: have to do it anyway because your boss said so. 457 00:25:33,640 --> 00:25:35,960 Speaker 1: And then sure enough X proves to be a failure 458 00:25:36,000 --> 00:25:38,760 Speaker 1: and a terrible idea. X is a Pucci. That's a 459 00:25:38,760 --> 00:25:42,560 Speaker 1: Pucci situation. That that that's absolutely yet I think you've 460 00:25:42,600 --> 00:25:46,199 Speaker 1: summarized Pucci um that the episode, if anybody wants to 461 00:25:46,200 --> 00:25:50,200 Speaker 1: see it, it is specifically the fourteenth episode of season eight, 462 00:25:50,240 --> 00:25:53,200 Speaker 1: and it's titled The Itchy and Scratchy and Pucci Show. 463 00:25:53,560 --> 00:25:55,880 Speaker 1: I'd say I think about Pucci at least once a day. 464 00:25:56,320 --> 00:26:01,040 Speaker 1: I mean, Pucci is like Pucci, as much of a 465 00:26:01,119 --> 00:26:04,199 Speaker 1: figure as like an eleventh century Frenchman might think of 466 00:26:04,520 --> 00:26:07,840 Speaker 1: the mother Mary. You know, I maybe don't think about 467 00:26:07,920 --> 00:26:11,200 Speaker 1: him as much, but if I get enough work emails 468 00:26:11,680 --> 00:26:13,560 Speaker 1: covering the right topics in the course of the day, 469 00:26:13,600 --> 00:26:17,080 Speaker 1: I certainly think about Pucci and start thinking back and 470 00:26:17,480 --> 00:26:19,680 Speaker 1: to it, and I can't remember. I think I think 471 00:26:19,680 --> 00:26:21,280 Speaker 1: I watched it with the family. I think I showed 472 00:26:21,280 --> 00:26:26,800 Speaker 1: it to the boy recently um. In Pucci's debut episode, 473 00:26:26,840 --> 00:26:30,439 Speaker 1: he introduces himself with a Pucci rap, and then he 474 00:26:30,520 --> 00:26:37,440 Speaker 1: tells the children to always recycle. Yes, always recycled to 475 00:26:37,560 --> 00:26:44,760 Speaker 1: the extreme busted and he's like playing in a guitar 476 00:26:44,920 --> 00:26:47,440 Speaker 1: and dribbling a basketball. I think all at the same time, 477 00:26:48,960 --> 00:26:52,679 Speaker 1: m hm, should that? Should that wrap it up for today? 478 00:26:53,440 --> 00:26:54,919 Speaker 1: I think so. I mean, if you want to, if 479 00:26:54,960 --> 00:26:57,120 Speaker 1: you want to learn more about Pucci, you have your homework. 480 00:26:57,560 --> 00:26:59,760 Speaker 1: You know which episode is episode to go watch, and 481 00:26:59,760 --> 00:27:02,359 Speaker 1: he's only in that episode. I like that they've stuck 482 00:27:02,359 --> 00:27:04,560 Speaker 1: to their guns. I believe. I'm pretty sure that I'm 483 00:27:04,680 --> 00:27:07,080 Speaker 1: Seth will interrupt us here and let us know if 484 00:27:07,119 --> 00:27:09,399 Speaker 1: we're wrong. But I think they've stuck to their guns 485 00:27:09,760 --> 00:27:11,840 Speaker 1: and never brought Pucci back, which is the way it 486 00:27:11,840 --> 00:27:14,280 Speaker 1: should be. He truly died on the way back to 487 00:27:14,320 --> 00:27:17,160 Speaker 1: his home planet. But also this should be a good 488 00:27:17,160 --> 00:27:18,960 Speaker 1: prompt for listener mail. I mean, in the in the 489 00:27:19,000 --> 00:27:22,120 Speaker 1: broader understanding of Pucci. What's your Pucci? What's the Pucci 490 00:27:22,160 --> 00:27:24,639 Speaker 1: in your life? Yeah, I mean, sometimes it's hard to 491 00:27:24,680 --> 00:27:27,600 Speaker 1: find a pure Pucci like Pucci exists because we need 492 00:27:28,320 --> 00:27:31,400 Speaker 1: like the purity of the idea to take on a 493 00:27:31,400 --> 00:27:34,600 Speaker 1: corporeal form. Uh So it I feel like it's actually 494 00:27:34,640 --> 00:27:38,399 Speaker 1: a little difficult to find wild Pucci's out there. You know, 495 00:27:38,680 --> 00:27:42,040 Speaker 1: you can find just aspects of Pucci and other things generally. 496 00:27:42,119 --> 00:27:44,840 Speaker 1: But I'm I'm open to correction on this if you 497 00:27:44,880 --> 00:27:49,200 Speaker 1: have some examples of of Pucci, pure Pucci or Puccinus 498 00:27:49,280 --> 00:27:52,320 Speaker 1: or just slight Pucciness in the world. Let me know. 499 00:27:53,040 --> 00:27:55,679 Speaker 1: I think when we made the Sonic the Hedgehog comparison, 500 00:27:55,720 --> 00:27:57,840 Speaker 1: it was not in this broader understanding of the way 501 00:27:57,880 --> 00:28:02,479 Speaker 1: Pucci fits into, i know, dynamics of creative projects and 502 00:28:02,520 --> 00:28:06,159 Speaker 1: things that are owned by corporations. In that sense, Sonic 503 00:28:06,160 --> 00:28:08,080 Speaker 1: the Hedgehog is more of a Pucci in that he's 504 00:28:08,119 --> 00:28:12,280 Speaker 1: just like a cartoon animal who's got an attitude, uh 505 00:28:12,359 --> 00:28:15,280 Speaker 1: and was mandated that he should have an attitude by 506 00:28:15,359 --> 00:28:19,320 Speaker 1: some business owner. Right right, Yeah, So even Sonic is 507 00:28:19,359 --> 00:28:22,200 Speaker 1: not a pure example, but even the kid in um 508 00:28:22,760 --> 00:28:25,720 Speaker 1: uh in Ghost in the Machine is not is maybe 509 00:28:25,720 --> 00:28:28,600 Speaker 1: not pure Pucci, but he's as close to pure Pucci 510 00:28:28,880 --> 00:28:33,480 Speaker 1: as I've ever seen. Uh in cinema uncut Pucci deep dupe, 511 00:28:33,480 --> 00:28:35,080 Speaker 1: doude deep but deep dup. But we just got a 512 00:28:35,080 --> 00:28:38,560 Speaker 1: notification from Seth, who is even more of a Simpsons 513 00:28:38,600 --> 00:28:42,360 Speaker 1: nerd than we are, that Pucci has in fact returned 514 00:28:42,360 --> 00:28:45,760 Speaker 1: on multiple occasions in the Simpsons, but always only as 515 00:28:45,840 --> 00:28:49,440 Speaker 1: like a punchline cameo. Okay, well that's not that's good 516 00:28:49,480 --> 00:28:52,040 Speaker 1: to know, yeah, not as like, hey, here's another whole 517 00:28:52,080 --> 00:28:57,360 Speaker 1: Pucci episode. All right. Well, it looks like Carney the 518 00:28:57,360 --> 00:29:00,600 Speaker 1: mail body is shutting down for this episode, but we 519 00:29:00,640 --> 00:29:03,560 Speaker 1: will revive him next week and we will share more 520 00:29:03,960 --> 00:29:06,960 Speaker 1: listener mail with anyone who's willing to listen to them. 521 00:29:07,000 --> 00:29:08,920 Speaker 1: And if you want to uh yeah right into us, 522 00:29:09,040 --> 00:29:11,520 Speaker 1: let let us know, respond to stuff we talked about 523 00:29:11,560 --> 00:29:15,440 Speaker 1: in this episode, respond to current and past episodes of 524 00:29:15,440 --> 00:29:18,680 Speaker 1: Stuff to Blow Your Mind or Weird how Cinema. We 525 00:29:18,680 --> 00:29:20,960 Speaker 1: We would love to hear from you. In the meantime, 526 00:29:21,000 --> 00:29:22,760 Speaker 1: if you want to listen to other episodes in the 527 00:29:22,800 --> 00:29:25,760 Speaker 1: Stuff to Blow Your Mind, feed just as a rate review, 528 00:29:25,800 --> 00:29:27,760 Speaker 1: and subscribe wherever you have the power to do so. 529 00:29:28,400 --> 00:29:31,160 Speaker 1: Huge thanks as always to our excellent audio producer and 530 00:29:31,280 --> 00:29:34,720 Speaker 1: Simpson's expert, Seth Nicholas Johnson. If you would like to 531 00:29:34,760 --> 00:29:37,000 Speaker 1: get in touch with us with feedback on this show 532 00:29:37,160 --> 00:29:39,960 Speaker 1: or any other with the suggestion for a topic for 533 00:29:40,000 --> 00:29:42,480 Speaker 1: the future, or just to say hi. 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