1 00:00:02,960 --> 00:00:05,360 Speaker 1: Welcome to Stuff to Blow Your Mind production of My 2 00:00:05,480 --> 00:00:10,640 Speaker 1: Heart Radio. Hey you welcome to Stuff to Blow your 3 00:00:10,680 --> 00:00:13,800 Speaker 1: Mind listener mail. My name is Robert lamp and I'm 4 00:00:13,880 --> 00:00:16,120 Speaker 1: Joe McCormick, and it's Monday, the day of the week 5 00:00:16,160 --> 00:00:18,440 Speaker 1: that we bring you some messages from the mail bag, 6 00:00:18,480 --> 00:00:21,520 Speaker 1: messages that you yourselves out there, have sent into the 7 00:00:21,560 --> 00:00:24,760 Speaker 1: show account, which, by the way, you can reach at 8 00:00:24,960 --> 00:00:28,479 Speaker 1: Contact at Stuff to Blow your Mind dot com if 9 00:00:28,520 --> 00:00:30,920 Speaker 1: you ever have feedback on an episode that we air, 10 00:00:31,120 --> 00:00:33,279 Speaker 1: or if you just want to share something interesting with us, 11 00:00:33,520 --> 00:00:36,760 Speaker 1: get in touch anytime contact at Stuff to Blow your 12 00:00:36,760 --> 00:00:40,800 Speaker 1: Mind dot com. Let's see robbiny business before I jump 13 00:00:40,880 --> 00:00:44,560 Speaker 1: right in with this message from Ahmed. Uh no business 14 00:00:44,640 --> 00:00:47,559 Speaker 1: that I can think of, No good love a day 15 00:00:47,560 --> 00:00:51,320 Speaker 1: without business. All right. Uh, let's see here. Uh Ahmed 16 00:00:51,400 --> 00:00:56,160 Speaker 1: writes on a monster fact that you did about parasitic control. 17 00:01:01,600 --> 00:01:04,080 Speaker 1: I'm it, says hi Robert and Joe. I'm ed again 18 00:01:04,160 --> 00:01:09,679 Speaker 1: happy your recent monster fact about behavior controlling parasites and 19 00:01:09,840 --> 00:01:13,920 Speaker 1: taxo plasma Gandhi made me think of this recent paper. 20 00:01:14,200 --> 00:01:18,559 Speaker 1: And then he links to a paper from uh. Well, 21 00:01:18,640 --> 00:01:23,679 Speaker 1: it's it's on the nature domains communications biology. The exact 22 00:01:23,720 --> 00:01:26,240 Speaker 1: methodologies of the paper are way out of my wheelhouse, 23 00:01:26,240 --> 00:01:29,760 Speaker 1: but it seems like the authors looked at wolves over 24 00:01:29,840 --> 00:01:33,880 Speaker 1: many years, living in areas that overlap with mountain lions 25 00:01:33,959 --> 00:01:38,440 Speaker 1: where a wolf could be exposed to taxo, then looking 26 00:01:38,480 --> 00:01:41,919 Speaker 1: at those that did get infected at some point versus 27 00:01:41,959 --> 00:01:45,760 Speaker 1: those that didn't. They found that taxo infection was associated 28 00:01:46,120 --> 00:01:51,160 Speaker 1: with forty six times increased chance of becoming a pack leader. 29 00:01:51,880 --> 00:01:54,520 Speaker 1: That looks to me like a whopping effects size and 30 00:01:54,600 --> 00:01:57,520 Speaker 1: maybe shows a way in which taxo infection can actually 31 00:01:57,560 --> 00:02:00,080 Speaker 1: benefit the host, though I guess the full benef it 32 00:02:00,240 --> 00:02:02,600 Speaker 1: versus cost analysis would have to talk to the wolves 33 00:02:02,640 --> 00:02:06,040 Speaker 1: who shouldn't have gone for pack leader but did, but 34 00:02:06,120 --> 00:02:12,519 Speaker 1: did it anyways under parasitic overconfidence. Keep up the good work, Ahmed. Um, well, 35 00:02:12,720 --> 00:02:14,760 Speaker 1: I'm at this. Thank you for sending this. This was 36 00:02:14,840 --> 00:02:17,440 Speaker 1: really interesting. So I looked up the reference. Uh, it 37 00:02:17,560 --> 00:02:21,560 Speaker 1: is indeed a paper published in Communications Biology in two 38 00:02:21,720 --> 00:02:26,600 Speaker 1: by Meyer at All called Parasitic infection increases risk taking 39 00:02:26,639 --> 00:02:31,160 Speaker 1: in a social intermediate host carnivore. Uh so yeah, I 40 00:02:31,200 --> 00:02:34,160 Speaker 1: think the I think the wolf is you know, not 41 00:02:34,360 --> 00:02:38,200 Speaker 1: meant to be the primary carrier of this, this parasitic 42 00:02:38,280 --> 00:02:43,520 Speaker 1: organism the toxoplasmosis parasite, but it has this effect on 43 00:02:43,639 --> 00:02:47,040 Speaker 1: wolves that it seems to have on other organisms of 44 00:02:47,320 --> 00:02:52,840 Speaker 1: making them essentially more brazen take more risks, which has 45 00:02:52,960 --> 00:02:57,359 Speaker 1: uh an interesting downstream series of consequences where it might 46 00:02:57,440 --> 00:03:00,239 Speaker 1: make that animal more likely to do something danger risks 47 00:03:00,240 --> 00:03:02,800 Speaker 1: and get killed, but it also might make that animal 48 00:03:03,000 --> 00:03:06,760 Speaker 1: more likely to achieve some kind of big positive outcome, 49 00:03:06,800 --> 00:03:08,680 Speaker 1: the kind of thing that you get if you win 50 00:03:09,080 --> 00:03:13,040 Speaker 1: playing with high risk, high reward gambles. Yeah, Ta Gandhi 51 00:03:13,240 --> 00:03:16,480 Speaker 1: is is a fascinating subject, one that I haven't looked 52 00:03:16,480 --> 00:03:19,080 Speaker 1: at in earnest in many years, but maybe it's something 53 00:03:19,080 --> 00:03:20,680 Speaker 1: we should come back around, because there's been a lot 54 00:03:20,680 --> 00:03:23,160 Speaker 1: of a lot of research, and I think there continues 55 00:03:23,200 --> 00:03:25,600 Speaker 1: to be a lot of research into it. But I 56 00:03:25,639 --> 00:03:28,880 Speaker 1: think if I remember correctly at the basic level, the 57 00:03:28,880 --> 00:03:32,359 Speaker 1: parasite wants to return to the body of a cat 58 00:03:32,919 --> 00:03:35,280 Speaker 1: and therefore tries to get the host eaten by a 59 00:03:35,280 --> 00:03:39,200 Speaker 1: big cat um and uh and sometimes it's been perhaps 60 00:03:39,240 --> 00:03:42,880 Speaker 1: the wrong host to actually carry out that life cycle. 61 00:03:43,480 --> 00:03:44,960 Speaker 1: But again, it's been a while since I've looked at 62 00:03:45,000 --> 00:03:47,960 Speaker 1: the t gandhi in detail, but maybe that's something we 63 00:03:47,960 --> 00:03:49,400 Speaker 1: should we should come back around to see what the 64 00:03:49,720 --> 00:03:52,640 Speaker 1: latest is on TI gandhi. Well, actually, maybe let's look 65 00:03:52,640 --> 00:03:54,760 Speaker 1: at just a little more detail from this one study, 66 00:03:54,760 --> 00:03:58,600 Speaker 1: because I did think this was really interesting. So, uh, 67 00:03:58,000 --> 00:04:01,080 Speaker 1: they talked about how they were looking at animals within 68 00:04:01,240 --> 00:04:04,960 Speaker 1: Yellowstone National Park in the United States, that's up in Wyoming, 69 00:04:05,640 --> 00:04:09,840 Speaker 1: and uh, they have wild populations of large land predators there, 70 00:04:09,880 --> 00:04:15,360 Speaker 1: including wild wolves or Canis lupus and wild cougars or 71 00:04:15,360 --> 00:04:18,400 Speaker 1: puma concolor um. I don't know how you say that 72 00:04:18,400 --> 00:04:22,000 Speaker 1: species named concolor concolor c O N c O l 73 00:04:22,080 --> 00:04:24,480 Speaker 1: O R. And in this case they say that the 74 00:04:24,560 --> 00:04:28,559 Speaker 1: cougar is the definitive host of of T. Gandhi and 75 00:04:29,040 --> 00:04:33,159 Speaker 1: the gray wolf is an intermediate host and uh, to 76 00:04:33,160 --> 00:04:35,479 Speaker 1: to read from their abstract here they write quote, here, 77 00:04:35,480 --> 00:04:39,000 Speaker 1: we use twenty six years of wolf behavioral, spatial and 78 00:04:39,120 --> 00:04:42,960 Speaker 1: sero logical data to show that wolf territory overlap with 79 00:04:43,040 --> 00:04:47,200 Speaker 1: areas of high cougar density was an important predictor of infection. 80 00:04:47,920 --> 00:04:51,440 Speaker 1: In addition, zero positive wolves were more likely to make 81 00:04:51,520 --> 00:04:55,679 Speaker 1: high risk decisions such as dispersing and becoming a pack leader, 82 00:04:56,160 --> 00:05:01,320 Speaker 1: both factors critical to individual fitness and wolf vital rates. Okay, 83 00:05:01,360 --> 00:05:05,520 Speaker 1: So when wolves are infected with toxoplasma, they are more 84 00:05:05,560 --> 00:05:10,719 Speaker 1: likely to incur into cougar infested areas and more likely 85 00:05:10,760 --> 00:05:14,080 Speaker 1: to come in contact with cougars. They're also, as Ahmed 86 00:05:14,160 --> 00:05:18,080 Speaker 1: said in the original email, more likely to apparently take 87 00:05:18,200 --> 00:05:23,080 Speaker 1: social risks or confrontational behaviors that could involve them becoming 88 00:05:23,120 --> 00:05:25,880 Speaker 1: the leader of the pack, which actually does increase their 89 00:05:25,920 --> 00:05:30,080 Speaker 1: mating fitness the author's right quote. Due to the social 90 00:05:30,200 --> 00:05:34,200 Speaker 1: hierarchy within a wolf pack, we hypothesize that the behavioral 91 00:05:34,240 --> 00:05:39,080 Speaker 1: effects of toxoplasmosis may create a feedback loop that increases 92 00:05:39,080 --> 00:05:43,920 Speaker 1: spatial overlap and disease transmission between wolves and cougars. So 93 00:05:44,120 --> 00:05:47,160 Speaker 1: I think the the proposed in here I'm referring to 94 00:05:47,279 --> 00:05:50,560 Speaker 1: there there's sort of a helpful flow chart illustration within 95 00:05:50,640 --> 00:05:55,440 Speaker 1: the article. I think the proposed or hypothesized chain reaction 96 00:05:55,480 --> 00:05:58,320 Speaker 1: goes like this. You've got both the wolves and the 97 00:05:58,320 --> 00:06:03,520 Speaker 1: cougars in the park. An infected cougar somehow infects wolves 98 00:06:03,520 --> 00:06:07,480 Speaker 1: with t GANDHI, and this could happen through uh, like 99 00:06:07,600 --> 00:06:11,960 Speaker 1: a wolf eating cougar scat, or through eating a dead 100 00:06:12,000 --> 00:06:16,360 Speaker 1: cougar's body, or through some kind of other environmental contact, 101 00:06:16,800 --> 00:06:19,040 Speaker 1: and then you end up with infected wolves that are 102 00:06:19,080 --> 00:06:23,200 Speaker 1: carrying this parasite. These wolves take higher risks. The wolves 103 00:06:23,240 --> 00:06:27,320 Speaker 1: that take higher risks become pack leaders or disperse, and 104 00:06:27,520 --> 00:06:33,640 Speaker 1: the infected pack leaders lead uninfected pack males into risky situations, 105 00:06:33,680 --> 00:06:38,080 Speaker 1: which include contact with cougars in cougar territory, which means 106 00:06:38,240 --> 00:06:43,160 Speaker 1: more uninfected wolves, Uh, get infected by cougars and they 107 00:06:43,480 --> 00:06:46,719 Speaker 1: learned to take risks like approaching cougars because that's what 108 00:06:46,720 --> 00:06:50,000 Speaker 1: their pack leader does. M h. It's kind of a 109 00:06:50,080 --> 00:06:53,159 Speaker 1: vicious cycle. Yeah, the side of things. The cycle continues 110 00:06:53,240 --> 00:06:56,440 Speaker 1: here anyway, Very cool study. Thank you for sending it 111 00:06:56,480 --> 00:06:59,400 Speaker 1: in on it. Yeah, and again they've been there's been 112 00:06:59,440 --> 00:07:01,039 Speaker 1: so many in US and studies over the years with 113 00:07:01,080 --> 00:07:05,839 Speaker 1: t Candy of some looking at it proposed changes to 114 00:07:05,920 --> 00:07:16,840 Speaker 1: human behavior as well. Yeah, alright. This next one comes 115 00:07:16,840 --> 00:07:20,160 Speaker 1: to us from Adam. Adam wrote in about music and 116 00:07:20,200 --> 00:07:24,760 Speaker 1: weird health cinema subjectal line some musical Easter eggs and 117 00:07:24,800 --> 00:07:28,080 Speaker 1: weird house cinema. So uh, this is in part a 118 00:07:28,200 --> 00:07:31,160 Speaker 1: response to the episodes that I did with Seth about 119 00:07:31,520 --> 00:07:38,480 Speaker 1: hidden material in records and musical recordings. Hello Robert Joe, Max, 120 00:07:38,480 --> 00:07:41,160 Speaker 1: and Seth, whom I see seed because this email is 121 00:07:41,200 --> 00:07:45,080 Speaker 1: heavily music focused. I recently listened to both episodes on 122 00:07:45,200 --> 00:07:48,520 Speaker 1: the history of back masking and other musical Easter eggs, 123 00:07:49,080 --> 00:07:50,880 Speaker 1: and I thought I could chime in with some of 124 00:07:50,920 --> 00:07:53,520 Speaker 1: my favorite examples of these and one example of back 125 00:07:53,560 --> 00:07:57,840 Speaker 1: masking allegation I find quite funny. The first of these 126 00:07:57,880 --> 00:07:59,880 Speaker 1: isn't really a musical easter egg in the sense the 127 00:08:00,000 --> 00:08:02,280 Speaker 1: you talked about in the episode, but I was reminded 128 00:08:02,280 --> 00:08:05,600 Speaker 1: of it while listening to your episodes about whistling and 129 00:08:05,640 --> 00:08:08,120 Speaker 1: thought now would be a good time to email about it. 130 00:08:08,720 --> 00:08:10,840 Speaker 1: In one of them, Joe went off on a brief 131 00:08:10,880 --> 00:08:14,320 Speaker 1: tangent about reconstructions of ancient music and how eerie many 132 00:08:14,360 --> 00:08:17,440 Speaker 1: of them sound. Hearing this and knowing you were both 133 00:08:17,640 --> 00:08:21,240 Speaker 1: hieronymous Bosh fans, I thought I could inform you if 134 00:08:21,280 --> 00:08:25,160 Speaker 1: you aren't already aware of the hieronymous Bosh Butt music. 135 00:08:26,360 --> 00:08:29,640 Speaker 1: In the right panel of Bosh's Too triptych The Garden 136 00:08:29,680 --> 00:08:32,640 Speaker 1: of Earthly Delights, a demon can be seen inscribing a 137 00:08:32,720 --> 00:08:36,400 Speaker 1: musical score on the posterior of a center which acquire 138 00:08:36,520 --> 00:08:40,520 Speaker 1: sings from recreations of this score exist on YouTube and 139 00:08:40,559 --> 00:08:43,760 Speaker 1: they're haunting accompaniment to the painting and also quite humorous 140 00:08:43,840 --> 00:08:46,520 Speaker 1: because of the origin. I would love to hear that. 141 00:08:48,720 --> 00:08:52,720 Speaker 1: As far as more direct cases of backmasking, time stretching, 142 00:08:52,800 --> 00:08:55,559 Speaker 1: locked grooves and other musical mayhem, there are quite a 143 00:08:55,600 --> 00:08:59,400 Speaker 1: few examples. I really enjoy the song Empty Spaces off 144 00:08:59,440 --> 00:09:02,000 Speaker 1: of the Pink Floyd album. The Wall actually contains a 145 00:09:02,040 --> 00:09:06,160 Speaker 1: backmask message, which played forward adds a fitting ambiance of 146 00:09:06,160 --> 00:09:09,920 Speaker 1: foreboding to the song. Played backwards, however, Roger Waters can 147 00:09:09,960 --> 00:09:13,480 Speaker 1: be heard saying, hello, looker, congratulations, you have just discovered 148 00:09:13,480 --> 00:09:16,480 Speaker 1: the secret message. Please send your answer to Old Pink 149 00:09:16,520 --> 00:09:20,920 Speaker 1: care of the Funny Farm chial front before producer James 150 00:09:21,000 --> 00:09:26,959 Speaker 1: Guthrie can be heard saying Roger Waters. Then wife Carolines 151 00:09:27,000 --> 00:09:29,400 Speaker 1: on the phone saying so the voice is saying Roger 152 00:09:29,520 --> 00:09:33,120 Speaker 1: Carolines on the phone. Uh. Similarly, Waters had wanted the 153 00:09:33,160 --> 00:09:37,000 Speaker 1: song Perfect Sense Part One on his solo album Amused 154 00:09:37,000 --> 00:09:39,600 Speaker 1: to Death to start the song with a sample of 155 00:09:39,679 --> 00:09:43,280 Speaker 1: Howe's death monologue from two thousand and one, a sample 156 00:09:43,360 --> 00:09:46,280 Speaker 1: present on the two fifteen rerelease of the album, but 157 00:09:46,360 --> 00:09:48,840 Speaker 1: was initially denied the ability to use the sample by 158 00:09:48,920 --> 00:09:54,920 Speaker 1: Kubrick in lieu of example, Kubrick, Uh, you wouldn't expect 159 00:09:55,040 --> 00:09:57,360 Speaker 1: him to give your permission, would you? Now you gotta 160 00:09:57,400 --> 00:09:59,480 Speaker 1: you gotta wait, wait a little bit before you can 161 00:09:59,520 --> 00:10:02,040 Speaker 1: actually go back and say, hey, can I have it now? 162 00:10:02,280 --> 00:10:05,800 Speaker 1: And the answers yes. In lieu of the sample, Waters 163 00:10:05,800 --> 00:10:09,160 Speaker 1: included a very similar sounding snippet of audio with the 164 00:10:09,200 --> 00:10:13,280 Speaker 1: same heavy breathing and a reversed vocal when played backwards, 165 00:10:13,320 --> 00:10:15,040 Speaker 1: a tongue in cheek message to kuber It can be 166 00:10:15,120 --> 00:10:19,440 Speaker 1: heard with Waters saying, Julia, However, in the light and 167 00:10:19,600 --> 00:10:22,680 Speaker 1: visions of the issues of Stanley, we changed our minds. 168 00:10:22,880 --> 00:10:25,840 Speaker 1: We have decided to include a backwards message Stanley for 169 00:10:25,920 --> 00:10:28,920 Speaker 1: you and for all of the other book burners, before 170 00:10:29,240 --> 00:10:33,440 Speaker 1: unintelligibly screaming in a Scottish accent. Waters seemed fond of 171 00:10:33,440 --> 00:10:37,079 Speaker 1: including secret jokes and tracks, as there's also one on 172 00:10:37,160 --> 00:10:41,480 Speaker 1: the nineteen sixty nine music cong Crete Pink Floyd's song 173 00:10:41,840 --> 00:10:44,560 Speaker 1: several species of small furry animals gathered together in a 174 00:10:44,559 --> 00:10:48,200 Speaker 1: cave and grooving with a picked When played at half 175 00:10:48,200 --> 00:10:52,120 Speaker 1: speed around four thirty two, Waters can be heard saying 176 00:10:52,440 --> 00:10:56,040 Speaker 1: that was pretty avant garde, wasn't it? It's funny when 177 00:10:56,040 --> 00:10:59,959 Speaker 1: you say these Roger Waters phrases without his accent. They 178 00:11:00,040 --> 00:11:06,240 Speaker 1: a sound kind of goofy um. Anyway, they continue. Another 179 00:11:06,280 --> 00:11:09,960 Speaker 1: funny experimental use all the techniques you discussed in the 180 00:11:10,000 --> 00:11:12,360 Speaker 1: second part is the locked groove on the final disc 181 00:11:12,400 --> 00:11:16,360 Speaker 1: of Lou Reid's Metal Machine Music. I find this use 182 00:11:16,360 --> 00:11:18,679 Speaker 1: of the lock grow funny because the original Vinyl released 183 00:11:18,720 --> 00:11:21,960 Speaker 1: the album listed the runtime of side four as sixteen 184 00:11:22,000 --> 00:11:26,359 Speaker 1: o one or infinite because of it, meaning that Wikipedia 185 00:11:26,440 --> 00:11:31,160 Speaker 1: list the album's run time as sixty eleven slash infinite 186 00:11:31,200 --> 00:11:34,000 Speaker 1: infinity sign. In addition, I like that the inclusion of 187 00:11:34,040 --> 00:11:36,199 Speaker 1: this lock groove feels like a final middle finger to 188 00:11:36,280 --> 00:11:39,560 Speaker 1: listeners off an album filled with middle fingers, like the 189 00:11:39,600 --> 00:11:42,640 Speaker 1: allusions to classical music read included as an attempt to 190 00:11:42,640 --> 00:11:46,360 Speaker 1: get our c A to release it on their classical label. Now, wait, 191 00:11:46,400 --> 00:11:49,559 Speaker 1: did y'all actually talk about Metal Machine Music in the episode? 192 00:11:50,280 --> 00:11:53,440 Speaker 1: I don't remember us talking about it. If we did, 193 00:11:53,720 --> 00:11:56,560 Speaker 1: it may have just been a quick listing of it. 194 00:11:56,800 --> 00:11:58,559 Speaker 1: Uh yeah, But I don't think we really got around 195 00:11:58,520 --> 00:12:00,800 Speaker 1: albumtil all day. Or is this an album familiar with Joe? 196 00:12:01,600 --> 00:12:03,560 Speaker 1: I've never listened to the whole thing all the way through, 197 00:12:03,640 --> 00:12:05,760 Speaker 1: but I've heard parts of it, so it's you know, 198 00:12:05,840 --> 00:12:08,240 Speaker 1: Lou Reed's album that is famous for being just sort 199 00:12:08,240 --> 00:12:13,840 Speaker 1: of like squealing painful noise. Ah, that sounds like a riot. Well, 200 00:12:14,360 --> 00:12:17,599 Speaker 1: let's see um. In addition, there's an example of a 201 00:12:17,679 --> 00:12:21,000 Speaker 1: musical easter egg hiding visual information in a spectrogram, like 202 00:12:21,040 --> 00:12:24,320 Speaker 1: you mentioned in the game Minecraft. In game, there are 203 00:12:24,360 --> 00:12:27,320 Speaker 1: several different vinyl discs that can be collected and played. 204 00:12:27,360 --> 00:12:29,960 Speaker 1: One of these, simply titled eleven, has an in game 205 00:12:30,000 --> 00:12:32,680 Speaker 1: graphic resembling a broken record, and when played, consists of 206 00:12:32,679 --> 00:12:36,079 Speaker 1: a vinyl hiss, a series of mildly creepy sound effects 207 00:12:36,080 --> 00:12:39,920 Speaker 1: that seemed to portray someone running from a monster, and static. 208 00:12:41,280 --> 00:12:45,320 Speaker 1: I had no idea Minecraft had spooky stuff like that, 209 00:12:45,400 --> 00:12:46,760 Speaker 1: And I thought it was a game where you, like, 210 00:12:47,240 --> 00:12:49,160 Speaker 1: I don't know, hit blocks with a pick and then 211 00:12:49,280 --> 00:12:52,920 Speaker 1: get diamonds out. Well, you know, the monsters come for 212 00:12:53,000 --> 00:12:55,640 Speaker 1: you at night. I know I've played enough to know 213 00:12:55,800 --> 00:12:59,959 Speaker 1: that happens, but yeah, I neither I nor my son 214 00:13:00,120 --> 00:13:03,560 Speaker 1: have gotten any deeper into it. But anyway, the spectrogram. 215 00:13:03,720 --> 00:13:06,160 Speaker 1: If the file for this song is displayed as a spectagram, 216 00:13:06,200 --> 00:13:08,440 Speaker 1: the static at the end displays what looks like the 217 00:13:08,480 --> 00:13:11,520 Speaker 1: face of the default player character Steve, and the numbers 218 00:13:11,720 --> 00:13:14,320 Speaker 1: one to one eight. This number has been interpreted to 219 00:13:14,320 --> 00:13:16,680 Speaker 1: be a visual signature from the composer of the majority 220 00:13:16,720 --> 00:13:19,439 Speaker 1: of the game's music, C four one eight, where C 221 00:13:20,160 --> 00:13:24,240 Speaker 1: is hexadecimal for twelve. This song and the discovery of 222 00:13:24,280 --> 00:13:26,560 Speaker 1: the secret in the spectrogram has led to a lot 223 00:13:26,600 --> 00:13:30,240 Speaker 1: of elaborate fan theories, but like the Boch motif, this 224 00:13:30,360 --> 00:13:33,359 Speaker 1: just seems to be another musician finding an overly elaborate 225 00:13:33,360 --> 00:13:37,640 Speaker 1: way to sign their work. As well as actual uses 226 00:13:37,640 --> 00:13:40,080 Speaker 1: of back masking and other ways of hiding information, you 227 00:13:40,120 --> 00:13:43,280 Speaker 1: talked about various allegations of backmasking during the Satanic Panic. 228 00:13:43,640 --> 00:13:46,120 Speaker 1: One allegation of backmasking from this period that I find 229 00:13:46,200 --> 00:13:51,720 Speaker 1: especially egregious case of people finding Satanic messages just because 230 00:13:51,760 --> 00:13:54,040 Speaker 1: they're looking for them, is a claim that the theme 231 00:13:54,080 --> 00:13:57,760 Speaker 1: song to the popular television show Mr. Ed a Horse 232 00:13:57,880 --> 00:14:01,199 Speaker 1: is a Horse. Okay, I wasn't familiar with this one. 233 00:14:01,640 --> 00:14:05,320 Speaker 1: Uh more details here. In twenty years after the show 234 00:14:05,360 --> 00:14:08,600 Speaker 1: went off the air, a preacher from South Ohio claimed 235 00:14:08,600 --> 00:14:12,440 Speaker 1: that when reversed, the message reads quote the source is 236 00:14:12,440 --> 00:14:16,400 Speaker 1: Satan and quote. Someone heard this song from Satan could 237 00:14:16,400 --> 00:14:20,520 Speaker 1: be heard. According to a Chicago Tribune article from the time, 238 00:14:20,640 --> 00:14:23,080 Speaker 1: the preacher stated that quote Satan can be an influence 239 00:14:23,120 --> 00:14:25,000 Speaker 1: whether you know it or not. We don't think they 240 00:14:25,000 --> 00:14:28,080 Speaker 1: did it on purpose, and we're not getting down on Mr. Ed. 241 00:14:28,320 --> 00:14:32,640 Speaker 1: That would be like kicking baseball out of America. So 242 00:14:32,640 --> 00:14:37,119 Speaker 1: so that the idea was that they unconsciously encoded satanic 243 00:14:37,160 --> 00:14:40,480 Speaker 1: messages into the theme song and Mr. Ed, Yeah, I 244 00:14:40,520 --> 00:14:43,520 Speaker 1: guess that's the charge. But then you can't fault Mr. Ed. 245 00:14:43,600 --> 00:14:45,360 Speaker 1: So it's like we're gonna we're gonna give you a 246 00:14:45,400 --> 00:14:51,640 Speaker 1: pass on this about I mean, what what are any 247 00:14:51,680 --> 00:14:54,400 Speaker 1: of them talking about? I mean that, as we went 248 00:14:54,400 --> 00:14:58,280 Speaker 1: into in in that episode and has been discussed many times, 249 00:14:58,440 --> 00:15:02,520 Speaker 1: it's you have people of this caliber who just kind 250 00:15:02,520 --> 00:15:05,280 Speaker 1: of go on this unending quest to find proof of 251 00:15:05,320 --> 00:15:08,760 Speaker 1: the satanic in music played backwards, and if you play 252 00:15:08,880 --> 00:15:11,480 Speaker 1: music backwards, you'll find something, and if you lean into 253 00:15:11,480 --> 00:15:14,280 Speaker 1: it enough you can interpret some of it is satanic. 254 00:15:14,400 --> 00:15:17,560 Speaker 1: And I guess it just eventually just becomes this thing 255 00:15:17,640 --> 00:15:19,960 Speaker 1: you do all the time. But to your point, it 256 00:15:19,960 --> 00:15:22,560 Speaker 1: doesn't really reveal anything at that point, does it. It's 257 00:15:22,600 --> 00:15:25,120 Speaker 1: just kind of like, well, I mean, are you even 258 00:15:25,160 --> 00:15:28,640 Speaker 1: able to really hold that up as proof that the 259 00:15:28,640 --> 00:15:31,440 Speaker 1: Satanic realm and therefore the heavenly realm exists. I don't know, 260 00:15:31,520 --> 00:15:36,720 Speaker 1: It just seems kind of pointless at that point. Yeah. Anyway, Uh. 261 00:15:36,760 --> 00:15:39,320 Speaker 1: The email continues the idea that people somehow have a 262 00:15:39,320 --> 00:15:42,520 Speaker 1: subconscious pro Satan bias, but not a subconscious bias to 263 00:15:42,520 --> 00:15:44,880 Speaker 1: hear messages they deliberately want to hear despite them not 264 00:15:44,920 --> 00:15:48,600 Speaker 1: being there. Is demonstrative of how absurd this whole phenomenon 265 00:15:48,840 --> 00:15:52,400 Speaker 1: was agreed. Furthermore, this disclaimer didn't stop the preacher's accusation 266 00:15:52,680 --> 00:15:55,560 Speaker 1: from angering the founder of the International Mr. Ed Fan Club, 267 00:15:55,600 --> 00:15:58,960 Speaker 1: who said that quote, I am completely astounded. We have 268 00:15:59,200 --> 00:16:02,240 Speaker 1: Kadafi bomb people in airports, we have starving homeless people 269 00:16:02,320 --> 00:16:04,840 Speaker 1: right here in America, and this so called Christian chooses 270 00:16:04,880 --> 00:16:07,560 Speaker 1: to lambass Mr Ed wake Up and smell the road. 271 00:16:07,600 --> 00:16:11,400 Speaker 1: Apple's Reverend Brown a truly devastating reply that makes me 272 00:16:11,440 --> 00:16:14,840 Speaker 1: worry about the consequences of ever upsetting a Mr. Ed fan. 273 00:16:15,600 --> 00:16:18,520 Speaker 1: I guess this was before the age of of social 274 00:16:18,560 --> 00:16:23,160 Speaker 1: media and like BEF related clickbait news websites, but you 275 00:16:23,200 --> 00:16:26,120 Speaker 1: can you just imagine the headlines like Mr ed Fan 276 00:16:26,480 --> 00:16:32,760 Speaker 1: roasts Reverend Brown, it's a different time, alright. Finally, Adam 277 00:16:32,800 --> 00:16:34,480 Speaker 1: gets around to a Weird House and says, I've also 278 00:16:34,560 --> 00:16:37,920 Speaker 1: enjoyed Weird House cinema and have a few suggestions listed below, 279 00:16:38,080 --> 00:16:40,000 Speaker 1: So yeah, we get take we can take uh, take 280 00:16:40,040 --> 00:16:42,360 Speaker 1: these one by one. Here Joe Eyes without a Face 281 00:16:42,440 --> 00:16:44,640 Speaker 1: nineteen sixty. I think this one briefly came out from 282 00:16:44,640 --> 00:16:47,080 Speaker 1: the show. In regards to films in the Criterion collection, 283 00:16:47,400 --> 00:16:49,320 Speaker 1: it may be a little too poetic for Weird House 284 00:16:49,360 --> 00:16:51,480 Speaker 1: that you've covered other art films, but it's one of 285 00:16:51,520 --> 00:16:55,360 Speaker 1: my favorite films and I'd be interested hearing your thoughts. Oh, 286 00:16:55,400 --> 00:16:56,880 Speaker 1: I don't know if there's such a thing as too 287 00:16:56,920 --> 00:16:59,200 Speaker 1: poetic for Weird House. I mean, I think we lean 288 00:16:59,400 --> 00:17:03,640 Speaker 1: more on kind of lower brow or B movies. But yeah, 289 00:17:03,680 --> 00:17:06,359 Speaker 1: we we're we're open to anything good or bad on 290 00:17:06,440 --> 00:17:08,439 Speaker 1: Weird House as long as it's you know, as long 291 00:17:08,480 --> 00:17:11,080 Speaker 1: as it's weird and interesting and fun. Yeah, we have 292 00:17:11,200 --> 00:17:13,560 Speaker 1: we we we try to keep a very diet and 293 00:17:13,560 --> 00:17:16,840 Speaker 1: then try and spread it out as long as it's 294 00:17:16,880 --> 00:17:20,840 Speaker 1: presentable for others at the table. Then within then we'll 295 00:17:20,880 --> 00:17:24,080 Speaker 1: we'll potentially look at it. I was in fact, just 296 00:17:24,160 --> 00:17:27,480 Speaker 1: looking at eyes without a face the other day, considering 297 00:17:28,600 --> 00:17:30,960 Speaker 1: watching it or rewatching. I think I saw it many 298 00:17:30,960 --> 00:17:33,959 Speaker 1: many years ago, um and reading a little bit more 299 00:17:34,000 --> 00:17:38,080 Speaker 1: about it, and yeah, it's it's a groundbreaking one, um 300 00:17:38,160 --> 00:17:40,520 Speaker 1: and one that uh that that still holds up and 301 00:17:40,600 --> 00:17:44,119 Speaker 1: its creepiness alright. The next one the Phantom of the 302 00:17:44,160 --> 00:17:48,320 Speaker 1: Paradise four. This is a rock opera retelling of Phantom 303 00:17:48,359 --> 00:17:51,720 Speaker 1: of the Opera Faust and Portrait of Dorian Gray, directed 304 00:17:51,720 --> 00:17:55,320 Speaker 1: by Brian to Palmer. It maybe too mainstream for Weird House. Also, 305 00:17:55,359 --> 00:17:57,479 Speaker 1: I wouldn't be surprised if you've both seen it already, 306 00:17:57,480 --> 00:18:00,119 Speaker 1: but I'd also be interested in hearing your thoughts. We 307 00:18:00,440 --> 00:18:04,080 Speaker 1: love Phantom of the Paradise. Uh, I've watched that one 308 00:18:04,119 --> 00:18:06,600 Speaker 1: a number of times. It's it's a it's a house 309 00:18:06,640 --> 00:18:09,679 Speaker 1: favorite here I I have not yet watched it. So 310 00:18:09,760 --> 00:18:11,639 Speaker 1: this one, this one would be a fun selection at 311 00:18:11,680 --> 00:18:13,720 Speaker 1: some point. It's come up on the show before due 312 00:18:13,720 --> 00:18:15,960 Speaker 1: to some of the connections in it. I think Garrett Graham, 313 00:18:16,000 --> 00:18:21,440 Speaker 1: isn't it Garrett Graham plays a glam rock Frankenstein named Beef. Uh. 314 00:18:21,880 --> 00:18:27,000 Speaker 1: It's really good alright. The next one, House from seven. 315 00:18:27,080 --> 00:18:30,080 Speaker 1: This is an absolutely insane Japanese horror comedy with special 316 00:18:30,080 --> 00:18:32,520 Speaker 1: effects glore that has been seen. It has to be 317 00:18:32,520 --> 00:18:35,080 Speaker 1: seen to be believed. The film was partially inspired by 318 00:18:35,200 --> 00:18:38,679 Speaker 1: ideas from the director's daughter, which makes sense as it 319 00:18:38,720 --> 00:18:42,440 Speaker 1: feels like a child's fever dream. Yeah, that doesn't make sense. 320 00:18:42,520 --> 00:18:46,560 Speaker 1: House Is Uh is of course horrifying. It is a 321 00:18:46,600 --> 00:18:49,520 Speaker 1: horror movie, but it also very much it sounds like 322 00:18:49,560 --> 00:18:51,280 Speaker 1: it comes from the mind of a child. It has 323 00:18:51,400 --> 00:18:55,880 Speaker 1: a very end then and then quality. Yeah, amazing poster too. 324 00:18:56,880 --> 00:19:00,639 Speaker 1: All right, now, this next one, Hyperspace slash Rim Illinois. 325 00:19:00,680 --> 00:19:03,680 Speaker 1: It's four. This is the very first feature laying Star 326 00:19:03,720 --> 00:19:06,920 Speaker 1: Wars spoof and the origin of Lord Buckethead, a character 327 00:19:06,960 --> 00:19:10,080 Speaker 1: who would later become a satirical political candidate in the UK. 328 00:19:10,600 --> 00:19:13,840 Speaker 1: In addition to Star Wars, it features scenes spoofing many 329 00:19:13,880 --> 00:19:16,480 Speaker 1: other sci fi films, ranging from War of the Worlds 330 00:19:16,480 --> 00:19:19,560 Speaker 1: to Phantasm. It also has some wild connections for being 331 00:19:19,600 --> 00:19:22,159 Speaker 1: a low budget spoof film from the mid eighties. Overall, 332 00:19:22,200 --> 00:19:26,280 Speaker 1: it's a wonderful, funny and thoroughly underrated film. Never seen it. 333 00:19:27,119 --> 00:19:28,960 Speaker 1: I haven't seen it either, but I have I have 334 00:19:29,440 --> 00:19:33,119 Speaker 1: met and uh and and worked with the actor who 335 00:19:33,160 --> 00:19:36,960 Speaker 1: played the original Lord Buckethead some kind of the yeah, yeah, 336 00:19:37,880 --> 00:19:42,080 Speaker 1: all right, and then finally they suggest Labyrinth from six. 337 00:19:42,200 --> 00:19:44,040 Speaker 1: This one needs no introduction. It has come up several 338 00:19:44,080 --> 00:19:45,600 Speaker 1: times on both Weird House and Stuff to Play your 339 00:19:45,640 --> 00:19:47,880 Speaker 1: Mind episodes, but I'd love to see an episode dedicated 340 00:19:47,920 --> 00:19:50,479 Speaker 1: to it. It could even get the Dark Crystal treatment 341 00:19:50,520 --> 00:19:52,600 Speaker 1: and have a stuff to Blow your Mind episode dedicated 342 00:19:52,600 --> 00:19:55,760 Speaker 1: to the biology or folklore of the many fantastic and 343 00:19:55,800 --> 00:19:59,600 Speaker 1: wonderful creatures we see throughout the film. Yeah, Labyrinth is 344 00:19:59,600 --> 00:20:04,000 Speaker 1: a goal. Yeah, yeah, I was thinking about Labyrinth recently. Actually, 345 00:20:04,040 --> 00:20:08,159 Speaker 1: I put together one upcoming Monster Fact episode deals with 346 00:20:08,240 --> 00:20:11,560 Speaker 1: something from Labyrinth because I ended up getting a copy 347 00:20:11,680 --> 00:20:15,080 Speaker 1: of the new Labyrinth Bestierry Uh that came out that 348 00:20:15,359 --> 00:20:18,520 Speaker 1: has all new illustrations and stuff about all the creatures 349 00:20:18,520 --> 00:20:21,080 Speaker 1: in the film, and also I think some creatures from 350 00:20:21,080 --> 00:20:24,760 Speaker 1: perhaps some follow up fiction related to Labyrinth um or 351 00:20:24,800 --> 00:20:27,280 Speaker 1: perhaps prequel fiction related to Labyrinth. I don't I haven't 352 00:20:27,320 --> 00:20:30,359 Speaker 1: gotten into that section as much, but yeah, there's there's 353 00:20:30,400 --> 00:20:32,760 Speaker 1: a lot going on in Labyrinth. There's a lot to 354 00:20:32,800 --> 00:20:37,480 Speaker 1: potentially discuss. So many great creative minds and talents went 355 00:20:37,520 --> 00:20:40,240 Speaker 1: into it. I mean obviously you have Jim Hinson, Brian 356 00:20:40,280 --> 00:20:43,080 Speaker 1: Fraul and David Bowie and Jennifer Connelly. But I mean 357 00:20:43,119 --> 00:20:46,359 Speaker 1: you also have Terry Jones of Monty Python, uh there 358 00:20:46,400 --> 00:20:49,840 Speaker 1: on on the screenplay, so they're all these absurd touches 359 00:20:49,960 --> 00:20:54,359 Speaker 1: there as well. Yeah, and it's also just in terms 360 00:20:54,400 --> 00:20:56,520 Speaker 1: of like compared you can't help but compared to Dark Crystal. 361 00:20:56,600 --> 00:20:59,600 Speaker 1: Dark Crystal of course takes its world building very seriously 362 00:21:00,040 --> 00:21:03,080 Speaker 1: and does a fabulous job with it. Labyrinth also does 363 00:21:03,080 --> 00:21:05,320 Speaker 1: a fabulous job, but it is a it is a musical, 364 00:21:05,680 --> 00:21:08,320 Speaker 1: and it has this absurd quality to it, so it 365 00:21:08,359 --> 00:21:10,920 Speaker 1: goes in all these other different directions, and in a way, 366 00:21:11,000 --> 00:21:13,800 Speaker 1: it might it might be a more fun film to 367 00:21:13,840 --> 00:21:17,200 Speaker 1: discuss on on a Weird House episode because you do 368 00:21:17,280 --> 00:21:20,000 Speaker 1: have a lot of questions like what how does the 369 00:21:20,000 --> 00:21:24,119 Speaker 1: Goblin Army function? What exactly do do does Sarah want? 370 00:21:24,160 --> 00:21:27,399 Speaker 1: What exactly does does Jareth want? I mean there's a 371 00:21:27,400 --> 00:21:29,760 Speaker 1: lot to tie sack there. Yeah, I would say that 372 00:21:30,080 --> 00:21:32,560 Speaker 1: The Dark Crystal is more like a myth where you 373 00:21:32,600 --> 00:21:36,960 Speaker 1: get a view from a higher vantage point, whereas Labyrinth 374 00:21:37,040 --> 00:21:39,280 Speaker 1: is more like a fairy tale or you know, you 375 00:21:39,320 --> 00:21:41,760 Speaker 1: were just sort of injected into a world for a 376 00:21:41,760 --> 00:21:48,440 Speaker 1: series of events. Yeah, so all all solid suggestions here. 377 00:21:48,480 --> 00:21:50,520 Speaker 1: I mean, really, if we were if we were forced 378 00:21:50,560 --> 00:21:52,960 Speaker 1: to do all of these that were suggested, I think 379 00:21:52,960 --> 00:21:56,560 Speaker 1: we'd probably be doing pretty well. And then finally, Adam 380 00:21:56,760 --> 00:21:59,040 Speaker 1: wraps things up, says congratulations to Joe and the rest 381 00:21:59,040 --> 00:22:02,359 Speaker 1: of the McCormick family for the new arrival, farewell to Steth, 382 00:22:02,920 --> 00:22:06,199 Speaker 1: a warm welcome to Max. That's kind of ironic, and 383 00:22:06,240 --> 00:22:08,400 Speaker 1: it thanks to all of you for creating a wonderful, 384 00:22:08,440 --> 00:22:13,560 Speaker 1: fascinating and entertaining show. Sincerely, Adam. Oh, thank you, Adam. 385 00:22:13,600 --> 00:22:16,840 Speaker 1: I mentioned its ironic because Max is going to be 386 00:22:16,880 --> 00:22:20,480 Speaker 1: stepping back from being one of two producers and j 387 00:22:20,720 --> 00:22:22,480 Speaker 1: J is going to be stepping forward to be like 388 00:22:22,520 --> 00:22:26,240 Speaker 1: the prime producer. So nothing, nothing tragic going on. Max 389 00:22:26,320 --> 00:22:34,480 Speaker 1: is still very much around. Okay. One last message for today. 390 00:22:34,480 --> 00:22:38,320 Speaker 1: This is about weird house cinema. Lawrence says, Hey, guys, 391 00:22:38,440 --> 00:22:42,040 Speaker 1: thanks for your entry on Santa Claus Conquers the Martians. 392 00:22:42,440 --> 00:22:44,560 Speaker 1: I first saw this film with my brother and sister 393 00:22:44,640 --> 00:22:48,119 Speaker 1: back when it was in theaters. I have Wow, I 394 00:22:48,160 --> 00:22:50,600 Speaker 1: have the DVD and we'll be viewing it later today 395 00:22:50,640 --> 00:22:53,600 Speaker 1: as part of my Christmas ritual. I wanted to suggest 396 00:22:53,640 --> 00:22:56,040 Speaker 1: that maybe the right word to describe drop Oh as 397 00:22:56,080 --> 00:23:00,359 Speaker 1: a kind of lieutenant Santa on Mars is viceroy. Drop 398 00:23:00,359 --> 00:23:05,800 Speaker 1: O is Santa's viceroy of Mars. Thanks again, Lawrence. Uh, yeah, 399 00:23:05,840 --> 00:23:08,919 Speaker 1: that's interesting. I don't think I knew the exact definition 400 00:23:08,920 --> 00:23:11,760 Speaker 1: of viceroy, so I looked it up. It is a 401 00:23:11,880 --> 00:23:15,920 Speaker 1: ruler exercising authority in a colony on behalf of a sovereign. 402 00:23:16,280 --> 00:23:18,720 Speaker 1: That can make sense. So Santa Claus is the king, 403 00:23:18,880 --> 00:23:23,320 Speaker 1: but he's back on Earth. His representative on his I 404 00:23:23,359 --> 00:23:27,680 Speaker 1: guess his colonial influence over Mars is his viceroy. Yeah, 405 00:23:27,800 --> 00:23:32,280 Speaker 1: absolutely works. Yeah, drop O Viceroy of Mars. I'd like 406 00:23:32,320 --> 00:23:34,680 Speaker 1: to see the treatment of this for like a nineties 407 00:23:34,720 --> 00:23:39,640 Speaker 1: seventies sci fi paperback. It would would be amazing. Yes, 408 00:23:39,680 --> 00:23:42,560 Speaker 1: can you imagine how how Michael Whelan would render drop Oh? 409 00:23:44,760 --> 00:23:47,359 Speaker 1: I would have loved to have seen it. All Right, 410 00:23:47,400 --> 00:23:49,480 Speaker 1: we're gonna go and close the mail bag here, but 411 00:23:49,720 --> 00:23:52,000 Speaker 1: we'll be back next week with more listener mail as 412 00:23:52,000 --> 00:23:54,520 Speaker 1: long as you all keep it coming. So if you 413 00:23:54,560 --> 00:23:58,240 Speaker 1: have any thoughts about current episodes, past episodes, potential future 414 00:23:58,240 --> 00:24:01,400 Speaker 1: episodes of Core stuff, to Blow your Mind, weird house 415 00:24:01,400 --> 00:24:04,720 Speaker 1: sent uh, monster facts or even just stuff we having 416 00:24:04,720 --> 00:24:07,320 Speaker 1: to be talking about in other listener mail episodes right 417 00:24:07,320 --> 00:24:09,800 Speaker 1: in we would love to hear from you big thanks 418 00:24:09,880 --> 00:24:13,240 Speaker 1: to our audio producer today, Max Williams. Max has been 419 00:24:13,400 --> 00:24:17,600 Speaker 1: stepping in to help us out since Seth's departure. And uh, Max, 420 00:24:17,880 --> 00:24:20,920 Speaker 1: I know this is your your last regular episode. Maybe 421 00:24:20,960 --> 00:24:23,360 Speaker 1: you'll you'll you'll step in every now and then if 422 00:24:23,440 --> 00:24:25,760 Speaker 1: if JJ is out of town or something. But uh, 423 00:24:25,760 --> 00:24:27,960 Speaker 1: I just wanted to say it's been been really great 424 00:24:28,000 --> 00:24:30,399 Speaker 1: having you work on the show here and uh and 425 00:24:30,400 --> 00:24:33,159 Speaker 1: and hats off to you, thank you so much. He 426 00:24:33,359 --> 00:24:36,639 Speaker 1: is silently doing the handheart on the video chat for 427 00:24:36,720 --> 00:24:40,920 Speaker 1: you listening at home. Uh so, yeah, thanks thanks a lot, Max. Um. 428 00:24:41,160 --> 00:24:42,879 Speaker 1: Let's see. Oh, if you ever want to get in 429 00:24:42,960 --> 00:24:45,040 Speaker 1: touch with us here on the show, maybe have your 430 00:24:45,040 --> 00:24:47,960 Speaker 1: own message featured on Stuff to Blow your Mind listener mail, 431 00:24:48,480 --> 00:24:51,920 Speaker 1: you can write us at contact at stuff to Blow 432 00:24:52,000 --> 00:25:02,480 Speaker 1: your Mind dot com. Stuff to Blow Your Mind is 433 00:25:02,480 --> 00:25:05,159 Speaker 1: a production of I Heart Radio. For more podcasts from 434 00:25:05,160 --> 00:25:08,200 Speaker 1: my Heart Radio, visit the iHeart Radio app, Apple Podcasts, 435 00:25:08,280 --> 00:25:10,080 Speaker 1: or wherever you listen to your favorite shows.