WEBVTT - Toys, Part 3

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<v Speaker 1>This holiday season discovered the true meaning of Christmas in

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<v Speaker 1>all of us. I'm not really into the holidays, sorry.

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<v Speaker 1>Jack Warmby thought he had it all, a big city job,

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<v Speaker 1>a beautiful wife, and a phone that worked in his car,

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<v Speaker 1>but his life was missing one thing. I am sent

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<v Speaker 1>to Tallows here to administer ful Christmas. I'd bring hot

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<v Speaker 1>chain forged in life. It's burning my skin. It's the

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<v Speaker 1>story of one man, one Bronze age automaton, and a

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<v Speaker 1>whole lot of Christmas year. Welcome to Invention, a production

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<v Speaker 1>of I Heart Radio. Hey you, welcome to Invention. My

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<v Speaker 1>name is Robert Lamb and I'm Joe McCormick, and we're

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<v Speaker 1>back with part three of our exploration of invented toys.

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<v Speaker 1>In the previous episodes, we talked about stuff like the frisbee,

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<v Speaker 1>the Jack in the Box, the slinky, the hula hoop.

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<v Speaker 1>What else do we do? Oh? We did jigsaw puzzles.

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<v Speaker 1>We did uh uh yeah, Jack in the Box? Uh

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<v Speaker 1>number let's um, we can't remember what we talked about

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<v Speaker 1>on here? Yeah, who hoop, frisbee? Uh, A number of

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<v Speaker 1>different toys. I mean, really, you just gotta go back

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<v Speaker 1>in the bag and started digging around to see what

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<v Speaker 1>we discussed. But today I wanted to start off by

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<v Speaker 1>talking about one of the most basic toys you could

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<v Speaker 1>possibly have. You know, when I was a kid, I

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<v Speaker 1>had lots of favorite toys. I remember being very partial

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<v Speaker 1>to some branded Jurassic Park action figures, and actually I

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<v Speaker 1>had the car, you know, like the car that the

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<v Speaker 1>t Rex steps on. So there's like a Sam Neil

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<v Speaker 1>action figure. Oh yeah, totally sammyl action figure. He's got

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<v Speaker 1>the hat on and he One of the funny things

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<v Speaker 1>about the Jurassic Park action figures is that they would

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<v Speaker 1>come with weapons that they did not possess at all

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<v Speaker 1>in the film. So they've got like an Ellie Sattler

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<v Speaker 1>action figure Laura Dern's likeness, with like a grappling hook gun,

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<v Speaker 1>like I don't remember the scene in the movie where

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<v Speaker 1>she had that. Well, this was sort of this was

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<v Speaker 1>the late nineties, um, and I was you're you're a

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<v Speaker 1>little younger than me, so I was. I wasn't at

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<v Speaker 1>at action figure age at this point anymore. So maybe

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<v Speaker 1>I was beyond it, but still still going, well, I

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<v Speaker 1>don't know, that's a that's a whole another discussion, because

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<v Speaker 1>ultimately my take is you can get action figures anytime

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<v Speaker 1>you want during your life, because all they are ultimately

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<v Speaker 1>their their deities. They're they're little icons that inspire you

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<v Speaker 1>and you can you can play with them or just

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<v Speaker 1>be inspired by them at any point in your life.

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<v Speaker 1>But um, at that point in my life, they weren't

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<v Speaker 1>really on my radar. But now I'm excited by the

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<v Speaker 1>idea of having a Jeff Goldblum action figure. Yeah, what

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<v Speaker 1>weapon did Jeff Goldblum have? I think maybe he had

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<v Speaker 1>he had like a gun that shot a net or something.

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<v Speaker 1>How would he have that? Maybe it was shooting like

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<v Speaker 1>a like a graph for like mapping the grids of

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<v Speaker 1>his is parabolas and all that when he's doing his calculations.

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<v Speaker 1>There is that that theme and action figures, especially where

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<v Speaker 1>it's like it's not enough that you have the likeness

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<v Speaker 1>of a person or a creature or an entity to

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<v Speaker 1>the it's not enough that you can then engage in imagination,

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<v Speaker 1>play with it, and and even and even pose it.

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<v Speaker 1>I like having a posable figure. I grew up in that,

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<v Speaker 1>you know, the air of g I. Joe's and it

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<v Speaker 1>was nice to have all those those joints move. But

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<v Speaker 1>but then there's this level of like, Nope, it needs

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<v Speaker 1>some sort of gun. It needs something to have a gun.

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<v Speaker 1>It's got to have some sort of not only something

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<v Speaker 1>looks like a gun, a functional projectile implement that can

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<v Speaker 1>fire the grappling hook or the net at another action figure.

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<v Speaker 1>And I think it's largely about so you can have

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<v Speaker 1>the action moment in the commercial where one figure does

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<v Speaker 1>something to knock over another. Yes, that that's totally it.

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<v Speaker 1>I think it may also be driven on the supply

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<v Speaker 1>side sometimes, like, oh, we figured out how to make

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<v Speaker 1>this little shooter thing, what action figure can we pair

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<v Speaker 1>that with? Yes? Uh? And and we'll come back to

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<v Speaker 1>this discussion of action figures and and movie and TV

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<v Speaker 1>properties towards the end of the episode. Right, But I

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<v Speaker 1>want to go way simpler than that. So this has

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<v Speaker 1>no guns, no moving parts, no likenesses of Sam Neil

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<v Speaker 1>or Laura Dern. I had lots of favorite toys, But

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<v Speaker 1>what did I get the most sustained enjoyment out of

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<v Speaker 1>I think it's got to be blocks, right, Like I

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<v Speaker 1>spent more time with building blocks than any other kind

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<v Speaker 1>of toy. Because of course blocks can be anything. So

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<v Speaker 1>there's like an infinite amount of play that you can

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<v Speaker 1>do with them, though I still remember the pain of

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<v Speaker 1>trying to build with blocks in a room completely covered

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<v Speaker 1>in soft carpet. That wayalizes death, you know, like you

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<v Speaker 1>build a tower, but then you smite its ruin on

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<v Speaker 1>the carpeted stair because it's just unstable. It's true, yeah,

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<v Speaker 1>I I also have a lot of fond memories of

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<v Speaker 1>playing with this one set of standard wooden blocks. Well

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<v Speaker 1>most of them were standing, but you also had some

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<v Speaker 1>specialty pieces. I was especially pleased with these these double

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<v Speaker 1>arches that you could use that you'd be used to

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<v Speaker 1>make a bridge, or you could put them together to

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<v Speaker 1>make like a circular entrance in something. And I think

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<v Speaker 1>a lot of my imagination play with them was based

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<v Speaker 1>on Raiders of the Lost Dark, those scenes where Indiana

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<v Speaker 1>Jones and others are going into these you know, ridiculously

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<v Speaker 1>unrealistic tim spaces, these uh you know, anti chambers and

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<v Speaker 1>uh and so forth, and you know, I just had

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<v Speaker 1>to reconstruct those and send some g I Joes down there.

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<v Speaker 1>I think blocks are very interesting as toys because building

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<v Speaker 1>with blocks is a kind of play that combines the

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<v Speaker 1>ultimate in freedom and the ultimate in constraint, right, it

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<v Speaker 1>has like no established goals rules, no winning conditions unless

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<v Speaker 1>it's not really a game, and yet it has extremely

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<v Speaker 1>tight and non negotiable constraints based in physics and materials.

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<v Speaker 1>And so it's a very different kind of play than

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<v Speaker 1>a lot of the imagination play that you would do

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<v Speaker 1>where you know, you might have action figures there, where uh,

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<v Speaker 1>you know, your action figure play is just not very

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<v Speaker 1>limited by physics. Usually a lot of it's just like

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<v Speaker 1>happening in the imagination with the action figure as a prop.

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<v Speaker 1>A different thing is going on with the blocks, Like

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<v Speaker 1>you're trying to stack them on top of each other.

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<v Speaker 1>You're trying to get them to behave to like stand

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<v Speaker 1>up in a certain way. You know. Yeah, absolutely, yeah,

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<v Speaker 1>you're you have like this this basic physical enterprise at

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<v Speaker 1>the heart of your your play, no matter how much

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<v Speaker 1>imagination you then put on top of that. Yeah. So,

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<v Speaker 1>asking the question when toy blocks were invented, obviously we

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<v Speaker 1>don't know that. It seems that people have been using

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<v Speaker 1>various kinds of homemade toy building materials for centuries, maybe

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<v Speaker 1>even thousands of years, but we just frankly don't know

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<v Speaker 1>when it began. Um So I was reading a great

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<v Speaker 1>article in the history of blocks as tools for learning

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<v Speaker 1>and as toys by an author named Karen Hewitt, who

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<v Speaker 1>is a scholar of education. Um she's a toy designer

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<v Speaker 1>and she has curated museum exhibitions on the history of

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<v Speaker 1>educational toys. This article was called Locks as a Tool

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<v Speaker 1>for Learning Historical and Contemporary Perspective, published in the journal

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<v Speaker 1>Young Children in two thousand one and so um Here

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<v Speaker 1>it begins by observing that building based play among children

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<v Speaker 1>probably predates dedicated block toys, because you can even watch

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<v Speaker 1>children today improvised with building based play using natural materials

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<v Speaker 1>like rocks and sticks, or constructor or like constructed or

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<v Speaker 1>artificial materials often discarded by adults, you know, like construction,

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<v Speaker 1>scrap containers, boxes. I remember getting so much enjoyment out

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<v Speaker 1>of empty boxes when I was young. Oh yeah, empty

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<v Speaker 1>boxes are are loads of fun. And on top of that,

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<v Speaker 1>of course, you know, the the children of builders will

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<v Speaker 1>inevitably not only play with the debris leftover from building,

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<v Speaker 1>but they will imitate the building activity that they see

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<v Speaker 1>in the parents. Sure so, yeah, just watching the way

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<v Speaker 1>kids pick up things that are not specifically intended as

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<v Speaker 1>toy filding materials and then turn them into toy building materials.

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<v Speaker 1>That makes it pretty clear that construction play probably long

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<v Speaker 1>predates having dedicated toy blocks. I mean, even you can

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<v Speaker 1>think about sand castles. How long have people been making

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<v Speaker 1>sand castles where you know, Neolithic people's making sand castles

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<v Speaker 1>as possible? Absolutely, yeah, I mean the sand castle is

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<v Speaker 1>just playing in the sand, digging in the sand. There's

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<v Speaker 1>just something irresistible about it. Yeah. So I think it's

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<v Speaker 1>clear that building blocks are not a toy that invents

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<v Speaker 1>a fundamentally new kind of play the way say a

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<v Speaker 1>slinky or a jack in the box would. There's no

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<v Speaker 1>way to play with a slinky before the slinky existed.

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<v Speaker 1>There's no way to play with the jack in box

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<v Speaker 1>jack in the box before that existed. But you could

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<v Speaker 1>basically have blocks in nature, you know, rock sticks, all

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<v Speaker 1>that kind of stuff. Rather, I think toy blocks offer

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<v Speaker 1>a clean, safe, and convenient way of facilitating the kind

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<v Speaker 1>of construction play that children pick up naturally without any prompting,

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<v Speaker 1>whenever random materials are available. Though I do have a

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<v Speaker 1>question about this, and I couldn't find an answer to this.

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<v Speaker 1>Does Homo sapiens have a building instinct that would manifest

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<v Speaker 1>even without any exposure to a culture of construction and

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<v Speaker 1>artificial structures. Or do children need to see artificial structures

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<v Speaker 1>and witness adults building things in order to get the

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<v Speaker 1>urge to build as play. Yeah, that's that's a tough

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<v Speaker 1>one to I mean, almost an impossible one to investigate. Yeah,

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<v Speaker 1>it's like studying on language children. You have to you

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<v Speaker 1>have to. It would require, you know, an act of

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<v Speaker 1>extreme deprivation in order to study what it would be like.

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<v Speaker 1>It's like to deny a child access to like blocks

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<v Speaker 1>or the idea of plocks, to the idea of play.

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<v Speaker 1>You know. That's says something that's very difficult, if not impossible,

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<v Speaker 1>to study. I'm not suggesting we try it, No, absolutely

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<v Speaker 1>not so. Hewitt points out that thinkers have long connected

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<v Speaker 1>children's orientation towards construction based play with learning and the

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<v Speaker 1>needs of a developing brain. She mentions Plato comminists uh

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<v Speaker 1>Pestelozzi and Jehan Pierg and apparently this even came up

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<v Speaker 1>with the English Enlightenment philosopher John Locke in s and

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<v Speaker 1>a treatise called Some Thoughts concerning Education, John Locke wrote, quote,

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<v Speaker 1>the chief art is to make all that children have

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<v Speaker 1>to do sport and play too. Learning anything they should

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<v Speaker 1>be taught might be made as much a recreation to

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<v Speaker 1>their play as their play is to their learning. So specifically,

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<v Speaker 1>Lock here points to children's play with what we now

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<v Speaker 1>know today as alphabet blocks. They existed at the time too,

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<v Speaker 1>that they didn't I don't think they were being like

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<v Speaker 1>mass manufactured at the time. They weren't like you know,

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<v Speaker 1>big toy companies putting these out. But some kids just

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<v Speaker 1>had blocks they were playing with that had letters inscribed

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<v Speaker 1>on them. This reminds me of the origins of the

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<v Speaker 1>jigsaw puzzle, or more specifically, the the dissected map that

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<v Speaker 1>we discussed in the last EPISOD. So it's something that

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<v Speaker 1>began as not even a mass reduced toy, but like

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<v Speaker 1>an educational aid. Yes, and this would have been not

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<v Speaker 1>always as fully accepted and intuitive as it is just today.

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<v Speaker 1>Like so, Locks actually trying to make a case for

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<v Speaker 1>using a child's natural tendency towards play as a means

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<v Speaker 1>of education. Like you know, he's saying, if the child

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<v Speaker 1>automatically wants to play with alphabet blocks, it is no chore,

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<v Speaker 1>and thus the child better learns the alphabet and to

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<v Speaker 1>put this in context, a lot of the prevailing sentiment

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<v Speaker 1>about childhood education in late seventeenth century England would have

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<v Speaker 1>focused on like hard work and discipline through threats of punishment,

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<v Speaker 1>and uh a Lock instead emphasized that children could learn

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<v Speaker 1>through play and enjoyment, and he Witt suggests that this

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<v Speaker 1>view contributed to a sort of reevaluation of toys, with

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<v Speaker 1>more adults coming to see them, uh, To see toys

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<v Speaker 1>less as like sinful icons of idleness and more as

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<v Speaker 1>tools for informing and exercising and developing mind, something that's

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<v Speaker 1>actually a social good and useful. I'm not sure if

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<v Speaker 1>the same would apply to Laura Dern's grappling hook guns,

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<v Speaker 1>but I think you could definitely make the case with

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<v Speaker 1>building blocks. Uh So. Hewitt writes that in the mid

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<v Speaker 1>to late nineteenth centuries, some manufacturers in Europe in the

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<v Speaker 1>US actually then began to mass produce building block toys.

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<v Speaker 1>Uh And this could often be kind of a side

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<v Speaker 1>business of something like. Imagine you've got a woodworking company

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<v Speaker 1>and you're cutting wood for you know, whatever it is

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<v Speaker 1>that you're mainly selling. You tend to have a lot

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<v Speaker 1>of small scraps of wood left over. Could you actually

0:12:38.120 --> 0:12:40.480
<v Speaker 1>turn those for a profit? Could you shape them into

0:12:40.559 --> 0:12:43.200
<v Speaker 1>building blocks and make money off of what would otherwise

0:12:43.240 --> 0:12:46.040
<v Speaker 1>be a waste product? And hew ittt writes that since

0:12:46.080 --> 0:12:49.679
<v Speaker 1>the mid nineteenth century, there have been three main avenues

0:12:49.760 --> 0:12:52.960
<v Speaker 1>linking learning and play with respect to toy blocks. So

0:12:53.320 --> 0:12:55.360
<v Speaker 1>the first one is what we're already talking about. It's

0:12:55.400 --> 0:13:00.520
<v Speaker 1>building itself. It's learning about basic physics and material properties

0:13:00.520 --> 0:13:03.760
<v Speaker 1>with hands on building experience. Uh. This is, of course

0:13:03.800 --> 0:13:06.280
<v Speaker 1>one of the most important parts of education. Sometimes it

0:13:06.320 --> 0:13:09.120
<v Speaker 1>gets under emphasized when we think about education because it's

0:13:09.120 --> 0:13:12.240
<v Speaker 1>not a technical subject you really learn in school. It's

0:13:12.280 --> 0:13:15.600
<v Speaker 1>something that children just have to learn intuitively with hands

0:13:15.600 --> 0:13:19.120
<v Speaker 1>on experience in the world. Absolutely, it just allows for

0:13:19.280 --> 0:13:24.600
<v Speaker 1>further experimentation with the natural properties of reality. Sure. Uh.

0:13:24.600 --> 0:13:27.680
<v Speaker 1>And then okay, So the second thing is surfaces of

0:13:27.720 --> 0:13:33.119
<v Speaker 1>blocks as a place to represent symbols like letters, numbers, words.

0:13:33.600 --> 0:13:35.880
<v Speaker 1>Of course, we already talked about the example of alphabet

0:13:35.920 --> 0:13:38.880
<v Speaker 1>blocks and thus using the blocks as a way of

0:13:39.000 --> 0:13:42.600
<v Speaker 1>learning how to manipulate those symbols. Like Hewitt says that

0:13:42.920 --> 0:13:46.680
<v Speaker 1>this pairing of abstract symbols with blocks really exploded in

0:13:46.679 --> 0:13:50.240
<v Speaker 1>the mid eighteen hundreds, and it it seems like a

0:13:50.320 --> 0:13:53.360
<v Speaker 1>very relevant type of learning today, Like allowing the child

0:13:53.480 --> 0:13:57.840
<v Speaker 1>to physically move symbols around in real space. This sort

0:13:57.880 --> 0:14:00.199
<v Speaker 1>of is a is a physical model of the way

0:14:00.240 --> 0:14:05.440
<v Speaker 1>we metaphorically move symbols around in mental space to manipulate them. Yeah,

0:14:05.520 --> 0:14:09.000
<v Speaker 1>and basically and engaging. Are you know, are the visual

0:14:09.000 --> 0:14:12.760
<v Speaker 1>processes of our brain as well? Um? Yeah? Yeah, these

0:14:12.840 --> 0:14:15.760
<v Speaker 1>these are still tremendously helpful. You see them sometimes to

0:14:15.840 --> 0:14:19.920
<v Speaker 1>aid in uh, acquisition of foreign languages, etcetera. I was wondering,

0:14:19.960 --> 0:14:21.840
<v Speaker 1>did you ever when you were a kid us like

0:14:21.920 --> 0:14:25.840
<v Speaker 1>those um sort of balancing scale games with physical objects

0:14:25.920 --> 0:14:28.640
<v Speaker 1>to learn algebra, Like, so you're trying to balance two

0:14:28.640 --> 0:14:32.360
<v Speaker 1>sides of an equation in math? That no, No, I

0:14:32.400 --> 0:14:36.520
<v Speaker 1>feel like my math education was very based in just

0:14:36.920 --> 0:14:42.160
<v Speaker 1>wrote memorization of things, uh, you know, memorizing tables, uh,

0:14:42.600 --> 0:14:46.000
<v Speaker 1>learning tricks and so I really with with a second

0:14:46.000 --> 0:14:49.920
<v Speaker 1>grader who's going through like modern math education, it's been

0:14:50.000 --> 0:14:53.720
<v Speaker 1>very interesting to see just this seemingly drastic different approach

0:14:54.160 --> 0:14:57.640
<v Speaker 1>to learning how numbers work and uh and how quantities

0:14:57.680 --> 0:15:01.000
<v Speaker 1>compared to each other. It's a at times it's difficult

0:15:01.000 --> 0:15:03.160
<v Speaker 1>for me to even help him with it. Because I

0:15:03.160 --> 0:15:06.880
<v Speaker 1>feel like our our math educations are so different. But

0:15:06.880 --> 0:15:09.160
<v Speaker 1>but the way they're teaching him, I think is far

0:15:09.200 --> 0:15:10.920
<v Speaker 1>superior to what I had. Oh, you're not going to

0:15:11.000 --> 0:15:13.640
<v Speaker 1>be one of those adults complaining that kids aren't learning

0:15:13.640 --> 0:15:16.280
<v Speaker 1>stuff the same way you learned it. No, No, I'm

0:15:16.520 --> 0:15:18.560
<v Speaker 1>thank goodness they're learning in a different way because the

0:15:18.560 --> 0:15:20.520
<v Speaker 1>way I learned it, I feel like did not give

0:15:20.600 --> 0:15:24.720
<v Speaker 1>me a true appreciation for mathematics. Yeah, I feel much

0:15:24.800 --> 0:15:26.480
<v Speaker 1>the same way. But I think that's such a funny

0:15:26.480 --> 0:15:29.440
<v Speaker 1>impulse people have, Isn't it Like it's they're they're not

0:15:29.520 --> 0:15:31.280
<v Speaker 1>learning it the way I did. The way I did

0:15:31.320 --> 0:15:34.200
<v Speaker 1>has got to be superior. Somehow they're not learning it

0:15:34.240 --> 0:15:37.240
<v Speaker 1>poorly like I did. I will not stand for it. No.

0:15:37.400 --> 0:15:40.400
<v Speaker 1>I want my kid to be able to actually think

0:15:40.400 --> 0:15:44.440
<v Speaker 1>about numbers in ways that have eluded me my whole life. Yeah.

0:15:45.160 --> 0:15:48.040
<v Speaker 1>And then there's one third main way that Hewitt mentions

0:15:48.080 --> 0:15:50.920
<v Speaker 1>that blocks have been linked with learning, and that's the

0:15:50.960 --> 0:15:54.640
<v Speaker 1>transmission of cultural heritage through blocks. An example here would

0:15:54.640 --> 0:15:58.760
<v Speaker 1>be quote building a model of an important architectural structure,

0:15:58.960 --> 0:16:03.280
<v Speaker 1>and through this, pro says learning architectural styles. In fact,

0:16:03.440 --> 0:16:05.720
<v Speaker 1>an example, I was just thinking of was the original

0:16:05.720 --> 0:16:09.680
<v Speaker 1>Lincoln logs. You know, these were created by Frank Lloyd

0:16:09.720 --> 0:16:13.160
<v Speaker 1>Wright's son. I can't remember his first name, but one

0:16:13.240 --> 0:16:15.760
<v Speaker 1>of the sons of Frank Lloyd right, uh yeah. He

0:16:16.160 --> 0:16:19.240
<v Speaker 1>got a Lincoln log business going. And one of the

0:16:19.280 --> 0:16:21.920
<v Speaker 1>original things that you were supposed to do with Lincoln logs,

0:16:21.960 --> 0:16:24.920
<v Speaker 1>like you got these instructions on how to build Abraham

0:16:25.040 --> 0:16:29.520
<v Speaker 1>Lincoln's log cabin. Yeah, Lincoln logs. Okay. I'll acknowledge that

0:16:29.600 --> 0:16:33.480
<v Speaker 1>Lincoln logs do succeed as an educational toy, in in

0:16:33.560 --> 0:16:37.120
<v Speaker 1>the educating you in the basic way that a log

0:16:37.160 --> 0:16:40.160
<v Speaker 1>cabin is constructed, but that's pretty much. Yet I always

0:16:40.160 --> 0:16:43.680
<v Speaker 1>found them to be a very boring toy. Like you

0:16:43.840 --> 0:16:46.000
<v Speaker 1>played with them once and you're like, oh, yeah, that's okay,

0:16:46.000 --> 0:16:48.440
<v Speaker 1>that's all I can do with this. I'm gonna go

0:16:49.080 --> 0:16:52.160
<v Speaker 1>build something out of a block that allows me to

0:16:52.280 --> 0:16:54.280
<v Speaker 1>engage my mind a bit more. I was reading an

0:16:54.280 --> 0:16:58.000
<v Speaker 1>old New York Times article in about blocks by the

0:16:58.040 --> 0:17:03.000
<v Speaker 1>Canadian American architect and you pen professor v Told rib Chinsky,

0:17:03.040 --> 0:17:06.880
<v Speaker 1>and his comment about Lincoln logs was it was something like, well,

0:17:06.920 --> 0:17:12.040
<v Speaker 1>at least they smelled good. Yeah, I mean they were wouldn't.

0:17:12.040 --> 0:17:13.919
<v Speaker 1>I mean, I don't hate Lincoln logs, but I just

0:17:14.440 --> 0:17:18.440
<v Speaker 1>they never really resonated with me. But they certainly survived

0:17:18.480 --> 0:17:20.720
<v Speaker 1>due to that. And I think the first episode we

0:17:20.760 --> 0:17:22.720
<v Speaker 1>did on toys, we talked about this idea that toys

0:17:22.720 --> 0:17:25.600
<v Speaker 1>have a twenty year cycle that you you and you

0:17:25.640 --> 0:17:28.240
<v Speaker 1>have a certain toy as a child, and then twenty

0:17:28.320 --> 0:17:31.119
<v Speaker 1>years later, you know, give or take. If you have

0:17:31.240 --> 0:17:34.080
<v Speaker 1>children or their children in your life at all, you're

0:17:34.200 --> 0:17:37.480
<v Speaker 1>likely to give that toy anew if it's still on

0:17:37.560 --> 0:17:40.600
<v Speaker 1>the market, still available. And Lincoln logs are exactly like that.

0:17:40.720 --> 0:17:43.560
<v Speaker 1>My my son received Lincoln logs from members of the

0:17:43.600 --> 0:17:47.200
<v Speaker 1>family just because of that nostalgia. And how do they smell?

0:17:47.760 --> 0:17:49.640
<v Speaker 1>I smell fine, and you can still build a little

0:17:49.640 --> 0:17:51.879
<v Speaker 1>cabin out of it and then set him aside to

0:17:51.920 --> 0:17:56.239
<v Speaker 1>go do something more fun. But of course, another thing

0:17:56.600 --> 0:17:58.280
<v Speaker 1>points out is that there are plenty of cases of

0:17:58.320 --> 0:18:01.760
<v Speaker 1>blurring of the lines between these categories, right because, uh,

0:18:01.920 --> 0:18:04.240
<v Speaker 1>for example, a thing that was I think very common

0:18:04.240 --> 0:18:07.359
<v Speaker 1>in the nineteenth century was like you have a set

0:18:07.400 --> 0:18:10.119
<v Speaker 1>of blocks that you sold as a as a set

0:18:10.240 --> 0:18:14.320
<v Speaker 1>that would represent elements of Bible stories. And this combines

0:18:14.520 --> 0:18:18.560
<v Speaker 1>using the blocks themselves as a representation space for symbols

0:18:18.680 --> 0:18:22.720
<v Speaker 1>or referring to things somewhere else, but then also transmitting

0:18:22.720 --> 0:18:25.800
<v Speaker 1>cultural heritage through the Bible story aspect. I don't think

0:18:25.800 --> 0:18:27.800
<v Speaker 1>I've ever seen these. Would it have been essentially it

0:18:27.880 --> 0:18:30.919
<v Speaker 1>wasn't sequential art, right, it wasn't. I think there was

0:18:31.000 --> 0:18:34.320
<v Speaker 1>some sequential art like that, like Bible story sequential art.

0:18:34.359 --> 0:18:36.280
<v Speaker 1>And I think it was also like, you know, build

0:18:36.440 --> 0:18:39.119
<v Speaker 1>build Noah's Arc or something. Well, that sounds like a

0:18:39.119 --> 0:18:42.399
<v Speaker 1>good fit. Noah's Ark is the the most child friendly

0:18:42.480 --> 0:18:45.679
<v Speaker 1>portion of pretty much the whole Bible. So do they

0:18:45.720 --> 0:18:47.480
<v Speaker 1>have blocks of all the other people on the earth

0:18:47.480 --> 0:18:49.560
<v Speaker 1>getting drowned to death? No, No, we just focus on

0:18:49.600 --> 0:18:53.119
<v Speaker 1>the animals. It's the main thing. Uh. So she goes

0:18:53.200 --> 0:18:56.680
<v Speaker 1>into the history of a lot of individual block manufacturers

0:18:56.680 --> 0:18:59.000
<v Speaker 1>and their businesses. I decided I'm not going to go

0:18:59.040 --> 0:19:01.040
<v Speaker 1>into all that here to touch on a couple more

0:19:01.040 --> 0:19:04.159
<v Speaker 1>broad issues. Uh though, it is actually interesting and this

0:19:04.200 --> 0:19:06.320
<v Speaker 1>paper is worth looking up and giving a read if

0:19:06.320 --> 0:19:08.000
<v Speaker 1>you want to go deeper on just like what some

0:19:08.080 --> 0:19:11.760
<v Speaker 1>of these manufacturers were doing individually. But um uh. Hewitt

0:19:11.760 --> 0:19:15.000
<v Speaker 1>points out that despite the attempts to use blocks for education,

0:19:15.119 --> 0:19:18.800
<v Speaker 1>in numbers and letters and so forth. Children most often

0:19:18.960 --> 0:19:22.360
<v Speaker 1>play with blocks in terms of pure form like that.

0:19:22.440 --> 0:19:25.720
<v Speaker 1>When you actually watch the way children and engage with blocks,

0:19:26.280 --> 0:19:30.080
<v Speaker 1>most of the time they ignore the symbolic representations, they

0:19:30.440 --> 0:19:33.920
<v Speaker 1>ignore the letters on the alphabet blocks, and instead they

0:19:34.080 --> 0:19:37.160
<v Speaker 1>use them to build. They build little towers and little cities.

0:19:37.440 --> 0:19:40.680
<v Speaker 1>Usually the form and the physical base of construction play

0:19:40.960 --> 0:19:44.199
<v Speaker 1>seems more relevant to the child's mind than the abstract

0:19:44.280 --> 0:19:47.720
<v Speaker 1>content does. I don't know how that squares with your experience,

0:19:47.760 --> 0:19:50.280
<v Speaker 1>but yeah I would, I would say, so, yeah, it

0:19:50.359 --> 0:19:53.240
<v Speaker 1>does with mine. Yeah, Like if I had the Bible blocks,

0:19:53.280 --> 0:19:54.960
<v Speaker 1>I think I would just be trying to build like

0:19:55.000 --> 0:19:57.720
<v Speaker 1>an Indiana Jones temple out of them. Yeah, I think

0:19:57.760 --> 0:20:00.680
<v Speaker 1>that was my experience with with alphabet blocks as a kid.

0:20:00.880 --> 0:20:03.080
<v Speaker 1>I would use them to a certain extent to build with,

0:20:03.119 --> 0:20:06.399
<v Speaker 1>but they didn't They didn't provide as much flexibility in

0:20:06.480 --> 0:20:09.760
<v Speaker 1>terms of what you ultimately built compared to an actual

0:20:09.840 --> 0:20:12.320
<v Speaker 1>block set that had varying sizes. There's only something you

0:20:12.320 --> 0:20:17.200
<v Speaker 1>can do with identical cubes. Likewise, remember we were gifted

0:20:17.640 --> 0:20:21.359
<v Speaker 1>a very nice set of wooden alphabet blocks and character

0:20:21.400 --> 0:20:25.200
<v Speaker 1>blocks of when my son came into our life because uh,

0:20:25.240 --> 0:20:28.840
<v Speaker 1>they were they would have Mandarin characters on them, which

0:20:28.880 --> 0:20:30.480
<v Speaker 1>was very cool, and you know, you get kind of

0:20:30.480 --> 0:20:32.639
<v Speaker 1>excited about Ah, he has the learning tool that that

0:20:32.680 --> 0:20:35.080
<v Speaker 1>are that that is, that is this block set. But

0:20:35.200 --> 0:20:37.720
<v Speaker 1>then you know, ultimately the kids not that interested in

0:20:37.720 --> 0:20:40.440
<v Speaker 1>them and just wants to do uh, you know, age

0:20:40.440 --> 0:20:42.760
<v Speaker 1>appropriate things with them, which I guess he was like

0:20:42.760 --> 0:20:45.000
<v Speaker 1>like one one and a half at that point, and

0:20:45.080 --> 0:20:46.920
<v Speaker 1>you know, he just wants to knock them over or

0:20:46.960 --> 0:20:50.080
<v Speaker 1>throw them. Uh, he doesn't want to actually build and

0:20:50.520 --> 0:20:53.080
<v Speaker 1>much less think about the characters all that much. Oh

0:20:53.119 --> 0:20:55.920
<v Speaker 1>but that's actually interesting because another thing he talks about.

0:20:55.960 --> 0:20:59.560
<v Speaker 1>She makes a point about the importance of the tearing

0:20:59.680 --> 0:21:03.520
<v Speaker 1>down own aspect of block play. She says, this is

0:21:03.560 --> 0:21:06.320
<v Speaker 1>a crucial element that's under emphasized in some of the

0:21:06.440 --> 0:21:10.679
<v Speaker 1>you know, pedagogical theory, or maybe underappreciated by even some parents. Uh.

0:21:10.720 --> 0:21:13.760
<v Speaker 1>There's a section where she says, quote the destructive or

0:21:13.840 --> 0:21:18.320
<v Speaker 1>deconstructive activity characteristic of block play, an integral part of

0:21:18.320 --> 0:21:23.520
<v Speaker 1>this activity makes some adults uncomfortable. However, as in all learning,

0:21:23.560 --> 0:21:28.240
<v Speaker 1>we cannot understand until we take apart, examine, and rebuild. Um.

0:21:28.440 --> 0:21:30.440
<v Speaker 1>So you know, She's making a point that a lot

0:21:30.480 --> 0:21:32.959
<v Speaker 1>of parents might look at their child's tendency to want

0:21:33.000 --> 0:21:35.480
<v Speaker 1>to like knock over a tower of blocks and smash

0:21:35.480 --> 0:21:37.800
<v Speaker 1>it and everything, and you say, oh, no, is my

0:21:37.920 --> 0:21:40.600
<v Speaker 1>child some kind of you know, little King Kong and

0:21:40.720 --> 0:21:45.960
<v Speaker 1>little Godzilla? Are they just pure destructive impulse? But she's suggesting, no, this,

0:21:45.960 --> 0:21:48.480
<v Speaker 1>this is also an important part of learning. It's not

0:21:48.600 --> 0:21:51.200
<v Speaker 1>something to be afraid of. No, yeah, not at all,

0:21:51.200 --> 0:21:53.280
<v Speaker 1>but I mean it can it can be frustrating. I've

0:21:53.280 --> 0:21:56.119
<v Speaker 1>been frustrated with it when when when my son was

0:21:56.240 --> 0:21:58.560
<v Speaker 1>was much younger, you know, because you want you want

0:21:58.560 --> 0:22:00.480
<v Speaker 1>to engage with him, you want to play with them,

0:22:00.520 --> 0:22:03.560
<v Speaker 1>you want to play blocks with with your your child.

0:22:04.320 --> 0:22:06.719
<v Speaker 1>But in doing that you're like, let's build something together,

0:22:06.840 --> 0:22:08.719
<v Speaker 1>and then the kid maybe is not that didn't much

0:22:08.760 --> 0:22:11.119
<v Speaker 1>into building or is not very good at it, but

0:22:11.200 --> 0:22:14.400
<v Speaker 1>then wants to destroy it at every level of construction.

0:22:15.920 --> 0:22:17.879
<v Speaker 1>Or sometimes you encounter it to where you have different

0:22:17.920 --> 0:22:19.800
<v Speaker 1>age groups and children and so you have like the

0:22:19.880 --> 0:22:22.120
<v Speaker 1>kid who's old enough to really want to build stuff,

0:22:22.560 --> 0:22:25.280
<v Speaker 1>be it with blocks or sand castle or what have you,

0:22:25.480 --> 0:22:28.680
<v Speaker 1>but the younger kid just wants to godzilla the heck

0:22:28.720 --> 0:22:30.960
<v Speaker 1>out of that sand city. U. Um. Yeah, and you

0:22:31.000 --> 0:22:33.360
<v Speaker 1>just have to realize that that is that I mean,

0:22:33.400 --> 0:22:36.200
<v Speaker 1>that's kind of how they learn. They're at a dissection

0:22:36.359 --> 0:22:40.960
<v Speaker 1>stage of architecture. Sure, like both phases are important. Yeah,

0:22:41.000 --> 0:22:44.480
<v Speaker 1>they're all about destroying new buildings, ironstruts into new button.

0:22:46.000 --> 0:22:47.840
<v Speaker 1>You know. One last thing that was in this paper

0:22:47.880 --> 0:22:49.960
<v Speaker 1>that I just point out because it's funny, is that

0:22:50.040 --> 0:22:52.720
<v Speaker 1>there's a part where she talks again. This was published

0:22:52.720 --> 0:22:55.240
<v Speaker 1>in two thousand one, and she talks about the sort

0:22:55.240 --> 0:22:59.280
<v Speaker 1>of recent development of digital construction environments, which are like

0:22:59.320 --> 0:23:03.720
<v Speaker 1>computer aims that are marketed as an alternative to physical blocks.

0:23:03.720 --> 0:23:05.359
<v Speaker 1>And the way she writes about it, it seems like

0:23:05.359 --> 0:23:07.960
<v Speaker 1>she's a little bit skeptical that these would, you know,

0:23:08.040 --> 0:23:10.919
<v Speaker 1>replace physical blocks, because you know, if you're two thousand one,

0:23:11.000 --> 0:23:12.840
<v Speaker 1>you're thinking, what kids want to play with their hands?

0:23:12.840 --> 0:23:16.040
<v Speaker 1>Why would you have digital three D blocks? But then

0:23:16.080 --> 0:23:19.439
<v Speaker 1>I was thinking, like, wait a minute, Minecraft, Yeah there

0:23:19.440 --> 0:23:21.840
<v Speaker 1>are plenty of examples of it. Um, But I too

0:23:21.880 --> 0:23:25.840
<v Speaker 1>am skeptical because yeah, there's something about the physical act

0:23:25.960 --> 0:23:28.320
<v Speaker 1>of the building, and even if you have great physics

0:23:28.680 --> 0:23:32.159
<v Speaker 1>in a virtual setting, which many of these games do, uh,

0:23:32.840 --> 0:23:36.000
<v Speaker 1>there's nothing like having the actual block. Oh sure, yeah, yeah,

0:23:36.000 --> 0:23:39.040
<v Speaker 1>you gotta have the physical objects there. Especially for younger kids,

0:23:39.040 --> 0:23:41.199
<v Speaker 1>I think maybe it's once you get older that you

0:23:41.240 --> 0:23:44.159
<v Speaker 1>can like abstract that level of play out to a

0:23:44.800 --> 0:23:47.320
<v Speaker 1>you know, an imagined space or to come back to

0:23:47.440 --> 0:23:51.240
<v Speaker 1>the jack in the box. Let's not discount the alarming

0:23:51.320 --> 0:23:55.919
<v Speaker 1>noise of a an epic wooden block tower falling onto

0:23:55.960 --> 0:24:00.520
<v Speaker 1>the kitchen floor that I think that's also an important

0:24:00.520 --> 0:24:04.880
<v Speaker 1>part of the experience. Another disadvantage of playing on carpeted floor, right, So,

0:24:05.240 --> 0:24:07.919
<v Speaker 1>so it's harder to build because the floor is less stable,

0:24:08.000 --> 0:24:10.400
<v Speaker 1>but also when it finally falls over, you don't even

0:24:10.480 --> 0:24:12.560
<v Speaker 1>get the clatter. Yeah, you don't scare everybody in the

0:24:12.600 --> 0:24:16.160
<v Speaker 1>house and the dog and the cat boat horrible. This

0:24:16.240 --> 0:24:18.560
<v Speaker 1>is my p s A for this episode. Find a

0:24:18.600 --> 0:24:21.440
<v Speaker 1>place with solid, hard floors for your children to play

0:24:21.480 --> 0:24:24.439
<v Speaker 1>with blocks. Don't make them play on carpet. All right,

0:24:24.480 --> 0:24:26.000
<v Speaker 1>it's time to take a quick break, but we'll be

0:24:26.080 --> 0:24:34.879
<v Speaker 1>right back with more invention about toys. Hey, everybody. Audible

0:24:35.000 --> 0:24:38.400
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<v Speaker 1>I was just traveling the other day. I was on

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0:25:56.960 --> 0:26:00.399
<v Speaker 1>audio book of of Lord of the Rings. It was

0:26:00.440 --> 0:26:02.960
<v Speaker 1>in the Two Towers, listening to the Rob Inglish reading.

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<v Speaker 1>I don't know if there are others, but that one's great.

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<v Speaker 1>You know, he like sings all the songs. It's wonderful. Yeah,

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<v Speaker 1>that's a great one to check out if you want

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<v Speaker 1>to roam Middle Earth. I love the way he sings

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<v Speaker 1>the Tom Bombadil song. Yeah, we're super into the never

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<v Speaker 1>dot com slash invention or text invention to five hundred

0:26:41.320 --> 0:26:45.439
<v Speaker 1>five hundred Again, that's audible dot Com slash Invention or

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<v Speaker 1>text Invention to five zero zero dash five zero zero.

0:26:50.720 --> 0:26:54.880
<v Speaker 1>All right, we're back. So we just talked about traditional blocks,

0:26:54.920 --> 0:26:58.240
<v Speaker 1>wooden blocks, a little bit of uh, you know, log

0:26:58.280 --> 0:27:02.080
<v Speaker 1>cabin action in there, some alphabet blocks as well. But

0:27:02.160 --> 0:27:04.000
<v Speaker 1>I think we all know that there is sort of

0:27:04.040 --> 0:27:07.359
<v Speaker 1>a final form of blocks in principle, you know, like

0:27:07.480 --> 0:27:10.439
<v Speaker 1>how the Power Rangers continually morph up into bigger and

0:27:10.520 --> 0:27:14.359
<v Speaker 1>better robots. The ultimate robot that they could achieve, I

0:27:14.359 --> 0:27:18.440
<v Speaker 1>think would have to be the Lego. Absolutely Legos. These

0:27:18.440 --> 0:27:21.119
<v Speaker 1>were a huge part of my childhood growing up in

0:27:21.160 --> 0:27:25.480
<v Speaker 1>the eighties and nineties. These interlocking plastic bricks and the

0:27:25.560 --> 0:27:28.879
<v Speaker 1>various building accessories that come with them allow you to

0:27:28.920 --> 0:27:33.760
<v Speaker 1>construct everything from castles to helicopters to spaceships. And I

0:27:34.160 --> 0:27:36.920
<v Speaker 1>would generally build what the instructions told me to, you know,

0:27:36.920 --> 0:27:39.960
<v Speaker 1>I'd follow the instructions once, then i'd throw the directions

0:27:39.960 --> 0:27:42.600
<v Speaker 1>away and then I would just free build whatever I wanted,

0:27:42.880 --> 0:27:46.119
<v Speaker 1>usually more castles, helicopters, and spaceships, but you know, of

0:27:46.200 --> 0:27:50.040
<v Speaker 1>my my own design. For instance, I remember watching the

0:27:51.200 --> 0:27:56.159
<v Speaker 1>helicopter film Blue Thunder, and what was almost certainly, you know,

0:27:56.320 --> 0:27:58.879
<v Speaker 1>far too young an age for an R rated action film,

0:27:59.320 --> 0:28:02.000
<v Speaker 1>and I became a cessed with the two choppers in

0:28:02.040 --> 0:28:05.080
<v Speaker 1>the film as a police attack chopper piloted by Roy

0:28:05.160 --> 0:28:08.560
<v Speaker 1>Scheider from Jaws. Yeah, and then the huge five hundred

0:28:08.560 --> 0:28:12.639
<v Speaker 1>schopper piloted by Evil test pilot Malcolm McDowell. Of of course,

0:28:12.920 --> 0:28:15.520
<v Speaker 1>you know Caligula and a clockwork orange fan. How have

0:28:15.600 --> 0:28:18.600
<v Speaker 1>I never seen this? And then oh, I should also

0:28:18.680 --> 0:28:22.159
<v Speaker 1>point out that Daniel Stern also had a role playing

0:28:22.160 --> 0:28:25.240
<v Speaker 1>a voyeuristic creep. Of course, of course what he man?

0:28:25.359 --> 0:28:27.960
<v Speaker 1>He was really getting typecast as creeps in the like

0:28:28.119 --> 0:28:31.240
<v Speaker 1>late eighties period. Yeah, I guess this would have been earlier.

0:28:31.280 --> 0:28:33.639
<v Speaker 1>And so like, how did he bust out of creep

0:28:33.640 --> 0:28:37.160
<v Speaker 1>phase and become the narrator of the Wonder Years? Well

0:28:37.800 --> 0:28:40.600
<v Speaker 1>maybe like a site unseen casting because he has a

0:28:40.600 --> 0:28:45.000
<v Speaker 1>great creep look and plays a fantastic creep. I mean, why,

0:28:45.160 --> 0:28:47.200
<v Speaker 1>you know, why try and get away from what works?

0:28:47.280 --> 0:28:50.200
<v Speaker 1>And Daniel Stern is is a natural You just it's

0:28:50.280 --> 0:28:53.600
<v Speaker 1>that that the six pack life that he's living. Okay,

0:28:53.640 --> 0:28:57.040
<v Speaker 1>But so this movie got you building lego helicopters. Yeah,

0:28:57.120 --> 0:28:59.960
<v Speaker 1>and and going back to our our destructive aspect of play.

0:29:00.640 --> 0:29:02.240
<v Speaker 1>One of my favorite things to do was to was

0:29:02.320 --> 0:29:05.000
<v Speaker 1>to build the two Blue Thunder helicopters and have them

0:29:05.080 --> 0:29:08.239
<v Speaker 1>dual and then uh, you know, they didn't have one

0:29:08.280 --> 0:29:10.320
<v Speaker 1>of them crash. And that's the great thing about a

0:29:10.400 --> 0:29:14.600
<v Speaker 1>Lego constructed vehicles. When it crashes, it breaks into pieces.

0:29:14.960 --> 0:29:18.120
<v Speaker 1>You have this believable you know, destruction, and then you

0:29:18.120 --> 0:29:20.400
<v Speaker 1>can perhaps have a little pilot have to put that

0:29:20.520 --> 0:29:22.680
<v Speaker 1>chopper back together so that he can get back in

0:29:22.760 --> 0:29:27.280
<v Speaker 1>the sky and defeat Malcolm McDowell once and for all. Wow. Again,

0:29:27.360 --> 0:29:30.600
<v Speaker 1>destruction an important part of play. Yeah, Like going back

0:29:30.640 --> 0:29:32.600
<v Speaker 1>to blocks real quick. I remember one thing that I

0:29:32.640 --> 0:29:35.120
<v Speaker 1>would do a lot with my wooden blocks. Would build

0:29:35.160 --> 0:29:38.280
<v Speaker 1>a wall, and then I had a battery power g

0:29:38.440 --> 0:29:41.240
<v Speaker 1>I Joe tank that would just would just basically just

0:29:41.360 --> 0:29:44.200
<v Speaker 1>move forward on these cool tracks and just have that

0:29:44.640 --> 0:29:47.360
<v Speaker 1>drive into the wall and see see if I could

0:29:47.360 --> 0:29:50.920
<v Speaker 1>build a wall strong enough to keep the tank from

0:29:50.920 --> 0:29:53.840
<v Speaker 1>plowing through it, and then also figure out how to

0:29:53.880 --> 0:29:56.320
<v Speaker 1>make the tank approach the wall so as to bust through.

0:29:56.480 --> 0:29:59.520
<v Speaker 1>I think I did something almost exactly like this with

0:29:59.320 --> 0:30:02.800
<v Speaker 1>the with the controlled car. Yeah, trying to build something

0:30:02.840 --> 0:30:05.920
<v Speaker 1>that it like couldn't get through. Yeah. Yeah, So, um,

0:30:05.960 --> 0:30:08.240
<v Speaker 1>you know, say what you know about war toys and

0:30:08.240 --> 0:30:09.800
<v Speaker 1>we'll have something to say about that. In a minute,

0:30:10.240 --> 0:30:13.840
<v Speaker 1>like a nice remote control remote control or just powered

0:30:14.040 --> 0:30:16.880
<v Speaker 1>tank toy or vehicle toy. It's great to send it

0:30:16.920 --> 0:30:21.320
<v Speaker 1>at a wall of blocks. So, uh, legos. Fast forward

0:30:21.480 --> 0:30:24.720
<v Speaker 1>twenty years via the twenty year rule we've been talking about,

0:30:25.040 --> 0:30:27.240
<v Speaker 1>and I have introduced my own sign to the joy

0:30:27.240 --> 0:30:29.960
<v Speaker 1>of legos, and he's into them big time. He's he's

0:30:29.960 --> 0:30:32.640
<v Speaker 1>more obsessed with instructions than I was, but he does

0:30:32.720 --> 0:30:35.360
<v Speaker 1>some freconstruction as well. He likes to make creatures out

0:30:35.400 --> 0:30:38.040
<v Speaker 1>of them, and most recently he made a falcore from

0:30:38.040 --> 0:30:41.320
<v Speaker 1>the Never Ending Story. Yeah. He also loves the Harry

0:30:41.320 --> 0:30:45.000
<v Speaker 1>Potter kits, especially the ones that have creatures in them. Um.

0:30:45.280 --> 0:30:48.920
<v Speaker 1>Also some of the Lego dinosaur kits he really digs. Uh.

0:30:48.960 --> 0:30:51.120
<v Speaker 1>And and I should also drive home that's stepping on

0:30:51.280 --> 0:30:54.560
<v Speaker 1>legos is still absolutely no fun but and but an

0:30:54.600 --> 0:30:58.480
<v Speaker 1>important part of the experience. So we've got to have

0:30:58.520 --> 0:31:01.120
<v Speaker 1>the backstory of the Lego. Right, where does this wonderful,

0:31:01.160 --> 0:31:04.840
<v Speaker 1>delightful toy come from? Well, it ties in nicely with

0:31:04.880 --> 0:31:08.360
<v Speaker 1>the history of building blocks themselves, because of course you

0:31:08.400 --> 0:31:11.920
<v Speaker 1>cannot have Lego building blocks without all the all the

0:31:11.960 --> 0:31:15.200
<v Speaker 1>forms that came before, especially just basic wooden blocks. And

0:31:15.280 --> 0:31:17.880
<v Speaker 1>it does begin in a carpenter shop with pretty much

0:31:17.880 --> 0:31:20.400
<v Speaker 1>the same scenario we're talking about earlier, where a carpenter

0:31:20.520 --> 0:31:25.120
<v Speaker 1>might construct toys out of uh, you know, leftover materials, etcetera,

0:31:25.680 --> 0:31:29.080
<v Speaker 1>and uh. In this particular master carpenter and joyner was

0:31:29.360 --> 0:31:33.280
<v Speaker 1>a man by the name of Ole Kirk Christensen who

0:31:33.280 --> 0:31:36.280
<v Speaker 1>worked in the village of bill And, Denmark. So he

0:31:36.320 --> 0:31:40.080
<v Speaker 1>opened a shop in nineteen thirty two, selling mostly household

0:31:40.120 --> 0:31:43.320
<v Speaker 1>wooden goods like ladders and things, but he also sold

0:31:43.360 --> 0:31:47.080
<v Speaker 1>some toys on the side, but the toys became increasingly

0:31:47.200 --> 0:31:51.360
<v Speaker 1>important to his business. In nineteen thirty four, the company

0:31:51.440 --> 0:31:55.719
<v Speaker 1>ends up adopting the name Lego from the Danish leg gaunt,

0:31:56.040 --> 0:31:59.600
<v Speaker 1>which means play well and by accident it also a

0:31:59.680 --> 0:32:03.600
<v Speaker 1>lego also means I put together in Latin nicely. And

0:32:03.640 --> 0:32:07.120
<v Speaker 1>then in nine five they marketed a wooden duck toy.

0:32:07.360 --> 0:32:10.080
<v Speaker 1>They had a construction game that sort of thing, uh,

0:32:10.080 --> 0:32:12.800
<v Speaker 1>and they just kept continually building on this. In nineteen

0:32:12.880 --> 0:32:16.640
<v Speaker 1>forty six the company bought a plastic injection molding machine,

0:32:17.360 --> 0:32:20.320
<v Speaker 1>and by ninety nine the company was putting out two

0:32:20.440 --> 0:32:24.640
<v Speaker 1>hundred different plastic and wooden toys mostly I understand you know,

0:32:24.680 --> 0:32:27.960
<v Speaker 1>for sell in Denmark, and one of the toys that

0:32:27.960 --> 0:32:33.200
<v Speaker 1>they put out were automatic binding bricks. These were interlocking

0:32:33.240 --> 0:32:36.000
<v Speaker 1>bricks made out of plastic and if you look at

0:32:36.000 --> 0:32:38.280
<v Speaker 1>pictures off them, there pictures of them available on the

0:32:38.360 --> 0:32:41.080
<v Speaker 1>in the history section of Legos website, you'll see that

0:32:41.120 --> 0:32:44.840
<v Speaker 1>they mostly resemble Lego the Lego blocks of today, with

0:32:44.880 --> 0:32:48.000
<v Speaker 1>some you know, some noticeable differences, but the basic design

0:32:48.160 --> 0:32:50.720
<v Speaker 1>is there, the little cylindrical bits on the top that

0:32:50.760 --> 0:32:52.920
<v Speaker 1>allow them to interlock. You know, it's funny, I would

0:32:52.960 --> 0:32:55.680
<v Speaker 1>think with Legos that they must actually have some pretty

0:32:55.680 --> 0:32:59.880
<v Speaker 1>tight design parameters to to fit as well as they do.

0:33:00.120 --> 0:33:02.760
<v Speaker 1>You know, they don't have like parts that like lock

0:33:02.840 --> 0:33:05.719
<v Speaker 1>in place with any moving mechanisms, right, so they just

0:33:05.800 --> 0:33:08.600
<v Speaker 1>have to lock in place by pure rigid shape alone.

0:33:09.240 --> 0:33:13.240
<v Speaker 1>And this involves like them being just like the pegs

0:33:13.240 --> 0:33:16.440
<v Speaker 1>on the top fitting into the things on the bottom

0:33:16.520 --> 0:33:19.280
<v Speaker 1>just well enough that they stay together, but you know,

0:33:19.400 --> 0:33:22.160
<v Speaker 1>not so tightly that it's tough to put them together

0:33:22.320 --> 0:33:24.640
<v Speaker 1>or tough to put them pull them apart. Right, Yeah,

0:33:24.680 --> 0:33:26.920
<v Speaker 1>they they have to they have to work, and they

0:33:26.960 --> 0:33:29.880
<v Speaker 1>apparently worked pretty hard experimenting with them over the years

0:33:30.080 --> 0:33:33.360
<v Speaker 1>to to really get the fit. Uh, you know, tight

0:33:33.480 --> 0:33:36.680
<v Speaker 1>and dependable. Uh. They were experimenting with the plastic and

0:33:36.680 --> 0:33:41.000
<v Speaker 1>the plastic construction. They were not the first interlocking block

0:33:41.440 --> 0:33:44.320
<v Speaker 1>or brick, however, the key predecessor to all this would

0:33:44.320 --> 0:33:46.680
<v Speaker 1>have been Uh. I was reading that the Kitty Craft

0:33:46.760 --> 0:33:50.160
<v Speaker 1>self locking building brick, which was invented by Hillary Fisher

0:33:50.200 --> 0:33:53.680
<v Speaker 1>Page You Live nineteen o four through n seven. But

0:33:54.000 --> 0:33:59.480
<v Speaker 1>the automatic binding bricks of Lego were the immediate predecessor

0:33:59.560 --> 0:34:02.880
<v Speaker 1>to the like blocks we know today. They were only

0:34:02.920 --> 0:34:05.520
<v Speaker 1>sold in Denmark at first, and then in ninety three

0:34:05.680 --> 0:34:09.600
<v Speaker 1>they got a new name, Lego Merston or Lego Bricks,

0:34:10.040 --> 0:34:12.759
<v Speaker 1>and they steadily extended from their hitting the US and

0:34:12.800 --> 0:34:15.720
<v Speaker 1>Canada in sixty one, they go from a regional toy

0:34:16.400 --> 0:34:19.439
<v Speaker 1>to an international success. Now, one thing I was thinking

0:34:19.440 --> 0:34:22.520
<v Speaker 1>about regarding Lego and my own history of playing with

0:34:22.719 --> 0:34:26.279
<v Speaker 1>Lego Blue Thunder toys choppers blowing each other out of

0:34:26.280 --> 0:34:30.120
<v Speaker 1>the sky. Obviously, there was never an actual Blue Thunder

0:34:30.200 --> 0:34:33.200
<v Speaker 1>movie tie in Lego kit. I know, it's hard to

0:34:33.239 --> 0:34:36.200
<v Speaker 1>imagine a time when there were not a million Lego

0:34:36.280 --> 0:34:39.520
<v Speaker 1>movie tie ends on the shelf, But I started thinking

0:34:39.560 --> 0:34:41.680
<v Speaker 1>about it and I was like, oh, you know, um,

0:34:41.760 --> 0:34:44.239
<v Speaker 1>I don't know that I ever saw saying apache helicopter

0:34:44.400 --> 0:34:47.960
<v Speaker 1>Lego or any kind of a military helicopter Lego or

0:34:48.000 --> 0:34:51.840
<v Speaker 1>a tank or or you know, anything of that matter.

0:34:51.880 --> 0:34:54.759
<v Speaker 1>I mean, you'll see some science fiction, um, you know,

0:34:54.880 --> 0:34:59.120
<v Speaker 1>battle type stuff, some fantasy stuff, and to a certain extent,

0:34:59.200 --> 0:35:02.319
<v Speaker 1>medieval weapon read with the castles, But you don't really

0:35:02.320 --> 0:35:05.839
<v Speaker 1>see any war toys, despite the fact that there would

0:35:05.840 --> 0:35:08.480
<v Speaker 1>there would clearly be a market for that. Sure if

0:35:08.520 --> 0:35:11.880
<v Speaker 1>you if say Lego were to put out Lego models

0:35:11.960 --> 0:35:14.880
<v Speaker 1>of say, you know, stealth fighter, stealth bomber, uh, you know,

0:35:15.280 --> 0:35:19.200
<v Speaker 1>you know, the the osprey whatever the military aircraft happens

0:35:19.239 --> 0:35:22.040
<v Speaker 1>to be their neat planes, that would make neat kits, right,

0:35:22.080 --> 0:35:25.280
<v Speaker 1>It seems like a no brainer. So I was looking

0:35:25.280 --> 0:35:28.200
<v Speaker 1>into this and uh a little bit more, and I

0:35:28.600 --> 0:35:31.320
<v Speaker 1>ran across an excerpt from a two thousand ten progress

0:35:31.400 --> 0:35:33.840
<v Speaker 1>report that really drives home some of the key decision

0:35:33.880 --> 0:35:36.160
<v Speaker 1>making that goes on here. And I do think this

0:35:36.200 --> 0:35:40.520
<v Speaker 1>does get into the idea of destructive play, constructive play, etcetera.

0:35:41.440 --> 0:35:45.120
<v Speaker 1>Lego post these kind of reports, uh every year, addressing

0:35:45.120 --> 0:35:47.320
<v Speaker 1>a variety of topics that you might expect a major

0:35:47.360 --> 0:35:51.160
<v Speaker 1>toy manufactured to tackle, including social and environmental issues on

0:35:51.239 --> 0:35:54.120
<v Speaker 1>top of you know, more business level stuff. And this

0:35:54.160 --> 0:35:58.120
<v Speaker 1>particular progress report spelled out their key philosophy on weapons

0:35:58.160 --> 0:36:00.759
<v Speaker 1>in war in their toys, and so I just want

0:36:00.760 --> 0:36:03.200
<v Speaker 1>to read this again. This is coming directly from Lego,

0:36:03.280 --> 0:36:06.040
<v Speaker 1>So just bear in mind you're hearing like corporate messaging here,

0:36:06.400 --> 0:36:08.920
<v Speaker 1>but I think it does reveal a lot quote. A

0:36:09.040 --> 0:36:12.359
<v Speaker 1>large number of Lego Mini figures use weapons and are

0:36:12.400 --> 0:36:15.960
<v Speaker 1>assumably regularly being charged by each other's weapons as part

0:36:16.000 --> 0:36:19.160
<v Speaker 1>of children's role play. In the Lego Group, we acknowledge

0:36:19.160 --> 0:36:22.120
<v Speaker 1>that conflict in play is especially prevalent among four to

0:36:22.200 --> 0:36:24.920
<v Speaker 1>nine year old boys. An inner drive and a need

0:36:24.960 --> 0:36:27.560
<v Speaker 1>to experiment with their own aggressive feelings in order to

0:36:27.680 --> 0:36:31.680
<v Speaker 1>learn about other people's aggressions exists in most children. This

0:36:31.760 --> 0:36:34.400
<v Speaker 1>in turn enables them to handle and recognize conflict in

0:36:34.480 --> 0:36:38.439
<v Speaker 1>nonplay scenarios. As such, the Lego Group sees conflict play

0:36:38.480 --> 0:36:42.000
<v Speaker 1>as perfectly acceptable in an integral part of children's development.

0:36:42.040 --> 0:36:45.279
<v Speaker 1>We also acknowledge children's well proven ability to tell play

0:36:45.320 --> 0:36:48.680
<v Speaker 1>from reality. However, to make sure to maintain the right

0:36:48.719 --> 0:36:51.200
<v Speaker 1>balance between play and conflict, we have adhered to a

0:36:51.239 --> 0:36:54.919
<v Speaker 1>set of unwritten rules for several years. In two thousand ten,

0:36:55.080 --> 0:36:57.360
<v Speaker 1>we have formalized these rules in a guideline for the

0:36:57.440 --> 0:37:00.520
<v Speaker 1>use of conflict and weapons and Lego products. The basic

0:37:00.560 --> 0:37:03.960
<v Speaker 1>aim is to avoid realistic weapons and military equipment that

0:37:04.080 --> 0:37:06.719
<v Speaker 1>children may recognize from hot spots around the world, and

0:37:06.760 --> 0:37:10.640
<v Speaker 1>to refrain from showing violent or frightening situations when communicating

0:37:10.680 --> 0:37:13.560
<v Speaker 1>about Lego products. At the same time, the purpose is

0:37:13.640 --> 0:37:15.960
<v Speaker 1>for the Lego brand not to be associated with issues

0:37:15.960 --> 0:37:20.120
<v Speaker 1>that glorify conflicts and unethical or harmful behavior. So the

0:37:20.160 --> 0:37:25.160
<v Speaker 1>idea is that they are comfortable with allowing conflict conflict play,

0:37:25.239 --> 0:37:29.799
<v Speaker 1>including you know, uh, weapons and stuff in say historical

0:37:29.880 --> 0:37:33.439
<v Speaker 1>settings or fantasy settings or sci fi settings, but not

0:37:33.600 --> 0:37:37.400
<v Speaker 1>having like guns that you would recognize on you know,

0:37:37.480 --> 0:37:41.080
<v Speaker 1>being used in violence and armed conflict today. Correct. Yeah,

0:37:41.120 --> 0:37:42.719
<v Speaker 1>And I looked around at some of the more recent

0:37:42.760 --> 0:37:45.239
<v Speaker 1>reports to see if they, uh they had a more

0:37:45.280 --> 0:37:49.120
<v Speaker 1>recent voicing of this philosophy, and I was now not

0:37:49.160 --> 0:37:51.719
<v Speaker 1>able to come across it. It might exist out there.

0:37:52.080 --> 0:37:55.800
<v Speaker 1>Lego has a puts out a lot of communication, but

0:37:55.800 --> 0:37:57.279
<v Speaker 1>but it seems to be this, this seems to be

0:37:57.360 --> 0:38:00.560
<v Speaker 1>the standard they're still operating by. UH. And and I

0:38:00.600 --> 0:38:03.960
<v Speaker 1>think that's I acknowledge that this this makes sense for

0:38:04.120 --> 0:38:09.080
<v Speaker 1>a especially for an international uh company. You know that

0:38:09.080 --> 0:38:12.080
<v Speaker 1>that doesn't That doesn't say just situated in the United States,

0:38:12.560 --> 0:38:16.040
<v Speaker 1>for instance, say for instance, Lego put out a predator

0:38:16.120 --> 0:38:19.480
<v Speaker 1>drone kit, that would be that would be awful because

0:38:20.200 --> 0:38:24.120
<v Speaker 1>the context would be different and obviously in different parts

0:38:24.160 --> 0:38:27.280
<v Speaker 1>of the world. Uh and and uh and and arguably

0:38:27.440 --> 0:38:30.440
<v Speaker 1>like this, this particular kit, if it were to exist,

0:38:30.719 --> 0:38:34.319
<v Speaker 1>would bring a lot of ethical baggage with it that

0:38:34.360 --> 0:38:37.560
<v Speaker 1>you wouldn't necessarily want to inflict upon a child who

0:38:37.600 --> 0:38:39.160
<v Speaker 1>just wants to engage in the kind of play we're

0:38:39.160 --> 0:38:42.480
<v Speaker 1>discussing here. Yeah, this has got me thinking. I think conflict,

0:38:42.560 --> 0:38:45.560
<v Speaker 1>conflict play and violence and play could be something we

0:38:45.640 --> 0:38:47.280
<v Speaker 1>come back to and do an episode on and stuff

0:38:47.280 --> 0:38:50.400
<v Speaker 1>to blow your mind, because it's something that again it's

0:38:50.480 --> 0:38:53.000
<v Speaker 1>kind of like with the destructive play with blocks, you know,

0:38:53.280 --> 0:38:55.880
<v Speaker 1>like knocking down towers and stuff. It's the kind of

0:38:55.920 --> 0:38:58.879
<v Speaker 1>thing that I can totally understand why parents would look

0:38:58.920 --> 0:39:02.360
<v Speaker 1>at it and say like, this can't be healthy something,

0:39:02.600 --> 0:39:05.560
<v Speaker 1>something's wrong here. And yet you know, obviously millions of

0:39:05.600 --> 0:39:09.160
<v Speaker 1>people around the world grow up playing at games in

0:39:09.239 --> 0:39:12.680
<v Speaker 1>which the children pretend to kill each other and you know,

0:39:12.840 --> 0:39:14.960
<v Speaker 1>use toy guns and all that kind of stuff, And

0:39:15.000 --> 0:39:19.200
<v Speaker 1>it doesn't necessarily translate to you know, real aggressive or

0:39:19.239 --> 0:39:21.920
<v Speaker 1>violent behavior in adults. Maybe in some cases it does,

0:39:21.960 --> 0:39:25.120
<v Speaker 1>but it doesn't appear to UH to necessarily lead to

0:39:25.160 --> 0:39:27.799
<v Speaker 1>that conclusion. So I wonder what the actual research says

0:39:27.840 --> 0:39:29.360
<v Speaker 1>about that. Yeah, it would be fun to do a

0:39:29.400 --> 0:39:32.440
<v Speaker 1>deeper dive in it, because on another level, what children

0:39:32.440 --> 0:39:35.440
<v Speaker 1>are doing in imagination plays, they're making up stories, telling

0:39:35.480 --> 0:39:38.799
<v Speaker 1>stories and retelling stories. For instance, if you're if you're

0:39:38.840 --> 0:39:42.480
<v Speaker 1>playing with UH that there is a particular lego kit

0:39:43.120 --> 0:39:45.399
<v Speaker 1>that is a small one and it's just about one

0:39:45.440 --> 0:39:49.120
<v Speaker 1>of the showdowns between Harry Potter and Voldemort, which is

0:39:49.120 --> 0:39:52.880
<v Speaker 1>a battle which is a fight between a a murderous

0:39:53.040 --> 0:39:55.879
<v Speaker 1>villain and UH in the hero of the tale, which

0:39:55.880 --> 0:39:58.880
<v Speaker 1>of course is central to That's the kind of conflict

0:39:58.920 --> 0:40:01.080
<v Speaker 1>you have in so many men, so many legends, so

0:40:01.120 --> 0:40:04.920
<v Speaker 1>many important stories, and so you know, conflict played to

0:40:04.960 --> 0:40:08.359
<v Speaker 1>a certain extent is about embracing this aspect of our

0:40:08.360 --> 0:40:10.840
<v Speaker 1>our narratives. Yeah, it seems to me impossible that you

0:40:10.840 --> 0:40:14.520
<v Speaker 1>could like remove a child's desire to explore themes of

0:40:14.560 --> 0:40:17.799
<v Speaker 1>conflict in their play and in their imagination. I guess

0:40:17.840 --> 0:40:20.840
<v Speaker 1>the question is just like what types of physical toys

0:40:20.880 --> 0:40:24.320
<v Speaker 1>and models Actually, I don't know what drive development in

0:40:24.440 --> 0:40:27.000
<v Speaker 1>unhealthy directions, and I don't know if we actually have

0:40:27.000 --> 0:40:29.759
<v Speaker 1>any answers about that, Like, uh, I mean a whole

0:40:29.800 --> 0:40:32.480
<v Speaker 1>other issue. Of course, it's gun toy guns, you know,

0:40:32.920 --> 0:40:34.920
<v Speaker 1>and toy guns when I was a kid, Oh yeah,

0:40:34.960 --> 0:40:37.120
<v Speaker 1>I have some very realistic looking like you would just

0:40:37.200 --> 0:40:38.959
<v Speaker 1>have a water gun that just looks like a straight

0:40:39.000 --> 0:40:41.440
<v Speaker 1>up oozy black and everything, you know, and not not

0:40:41.640 --> 0:40:45.320
<v Speaker 1>brightly colored so that it's obvious. And nowadays, like we've

0:40:45.400 --> 0:40:47.920
<v Speaker 1>we've you know, for a few different reasons, we've we've

0:40:48.000 --> 0:40:52.279
<v Speaker 1>not let our son play with with toy guns. But

0:40:52.360 --> 0:40:54.120
<v Speaker 1>then on the other hand, he's into Harry Potter. He

0:40:54.160 --> 0:40:56.160
<v Speaker 1>has the wands, and so he'll go over to play

0:40:56.200 --> 0:40:59.800
<v Speaker 1>with a friend and they're just shooting straight um death curses.

0:40:59.840 --> 0:41:02.640
<v Speaker 1>That just a gun. Yeah, it's like they're treating kind

0:41:02.640 --> 0:41:05.160
<v Speaker 1>of like a gun. And there they are flinging um

0:41:05.400 --> 0:41:08.920
<v Speaker 1>forbidden curry what are they called the I don't know anyway,

0:41:08.960 --> 0:41:12.000
<v Speaker 1>the bad curses you're not supposed to use, the death curses,

0:41:12.080 --> 0:41:17.120
<v Speaker 1>the Crucio curses. Yeah, we were right, yeah, like we were.

0:41:17.160 --> 0:41:19.839
<v Speaker 1>In fact, he was dressed as is Harry Potter. When

0:41:19.840 --> 0:41:22.200
<v Speaker 1>we were trick or treating, we went past a house

0:41:22.280 --> 0:41:24.200
<v Speaker 1>and he was like, Oh, we should go to that one.

0:41:24.320 --> 0:41:26.279
<v Speaker 1>And I'm like, I don't think that one's open. They

0:41:26.320 --> 0:41:28.040
<v Speaker 1>don't have the lights on, they don't have any candy.

0:41:28.280 --> 0:41:29.880
<v Speaker 1>And he he just points his wand to the house and

0:41:29.920 --> 0:41:37.040
<v Speaker 1>says uh in Cyndio very coldly. I was like, like, man, man,

0:41:37.400 --> 0:41:42.680
<v Speaker 1>that's that's cold, all right. But back to Legos. Another

0:41:42.760 --> 0:41:46.960
<v Speaker 1>interesting angle that I came across regarding Legos has to

0:41:47.000 --> 0:41:50.000
<v Speaker 1>do with what these blocks are constructed out off, and

0:41:50.040 --> 0:41:52.799
<v Speaker 1>of course they are made out of plastic. I was

0:41:52.840 --> 0:41:55.319
<v Speaker 1>reading a two thou eighteen New York Times article by

0:41:55.360 --> 0:41:59.080
<v Speaker 1>Stanley read titled Lego wants to completely remake its toy

0:41:59.200 --> 0:42:02.960
<v Speaker 1>bricks with out anyone noticing Now that title gives pretty

0:42:03.000 --> 0:42:05.840
<v Speaker 1>much everything away. There's no mystery what that article is about,

0:42:06.200 --> 0:42:08.759
<v Speaker 1>but the main point is that Lego wants to eliminate

0:42:08.840 --> 0:42:12.480
<v Speaker 1>its dependence on petroleum based plastics and build its toys

0:42:12.640 --> 0:42:17.040
<v Speaker 1>entirely from plant based or recycled materials by and this

0:42:17.080 --> 0:42:21.040
<v Speaker 1>is quite a challenge because the Lego block, which hopefully

0:42:21.080 --> 0:42:23.440
<v Speaker 1>everyone listening has some familiarity with it, like, these are

0:42:23.680 --> 0:42:28.160
<v Speaker 1>durable blocks, they stand the test of time. I'm able

0:42:28.200 --> 0:42:31.759
<v Speaker 1>to use blocks from my childhood and build things with

0:42:31.840 --> 0:42:34.840
<v Speaker 1>my my son using new blocks. And you can't really

0:42:34.840 --> 0:42:37.200
<v Speaker 1>tell the difference unless it's you know, unless a block

0:42:37.239 --> 0:42:39.839
<v Speaker 1>has been chewed on by a dog or something. They

0:42:39.880 --> 0:42:42.759
<v Speaker 1>held up really well. They hold their color. Uh, They're

0:42:42.800 --> 0:42:46.040
<v Speaker 1>able to dependently in interlock with each other. They can

0:42:46.080 --> 0:42:48.719
<v Speaker 1>be stepped on, they can go through the wash, you

0:42:48.840 --> 0:42:51.080
<v Speaker 1>name it. But at the end of the day, they

0:42:51.120 --> 0:42:56.239
<v Speaker 1>are plastic products that are made from petroleum, and so

0:42:56.440 --> 0:43:00.960
<v Speaker 1>Lego has been eyeing plant fibers, recycled bottle uh. And

0:43:00.960 --> 0:43:02.560
<v Speaker 1>they want to they want to get away from that

0:43:02.600 --> 0:43:05.759
<v Speaker 1>petroleum based origin. Namely, they want to get away from

0:43:05.800 --> 0:43:08.400
<v Speaker 1>a BS plastic which they've depended on. This is the

0:43:08.440 --> 0:43:10.719
<v Speaker 1>kind of plastic you find in computer keys and in

0:43:11.040 --> 0:43:15.480
<v Speaker 1>many mobile phone cases. It's tough, it's slightly elastic, and

0:43:15.520 --> 0:43:18.560
<v Speaker 1>it has a polished surface so it looks nice. Read

0:43:18.840 --> 0:43:20.839
<v Speaker 1>Read points out in this article that at the time

0:43:20.880 --> 0:43:24.839
<v Speaker 1>of its publication, Lego had already experimented with something like

0:43:24.880 --> 0:43:28.480
<v Speaker 1>two hundred different alternatives to a BS plastic, and at

0:43:28.520 --> 0:43:32.360
<v Speaker 1>that point nothing had really worked. So so a particular

0:43:32.400 --> 0:43:34.839
<v Speaker 1>solution might be too brittle, it might break, and if

0:43:34.880 --> 0:43:37.920
<v Speaker 1>it broke, in some cases it might break into sharpened pieces,

0:43:38.239 --> 0:43:41.600
<v Speaker 1>which is no good for a children's toy. In other cases,

0:43:41.600 --> 0:43:44.600
<v Speaker 1>it might be aesthetic, the colors wouldn't look right, et cetera.

0:43:44.800 --> 0:43:49.200
<v Speaker 1>So the quest continues at Lego, apparently to find a

0:43:49.320 --> 0:43:53.600
<v Speaker 1>proper a BS plastic substitute, something that is more sustainable,

0:43:53.600 --> 0:43:56.400
<v Speaker 1>that is less dependent on petroleum. But it is another

0:43:56.440 --> 0:43:59.799
<v Speaker 1>interesting thing to think about when it comes to toy

0:44:00.000 --> 0:44:01.839
<v Speaker 1>it's the toys that we make, the toys that we

0:44:02.120 --> 0:44:04.760
<v Speaker 1>have as part of our childhood and then recreate again

0:44:04.920 --> 0:44:07.720
<v Speaker 1>and share with children in our lives. Is that they

0:44:08.120 --> 0:44:11.040
<v Speaker 1>know they are made out of materials. And uh, you know,

0:44:11.040 --> 0:44:12.880
<v Speaker 1>we've talked a lot about older toys that are made

0:44:12.920 --> 0:44:15.160
<v Speaker 1>out of wood and so forth, but so many of

0:44:15.160 --> 0:44:17.360
<v Speaker 1>our toys in the modern age are made out of plastic.

0:44:17.440 --> 0:44:19.720
<v Speaker 1>Well yeah, I mean whatever kind of like large scale

0:44:19.800 --> 0:44:23.279
<v Speaker 1>or maybe environmental downsides you might point to. I mean,

0:44:23.400 --> 0:44:26.640
<v Speaker 1>it's it's clear why plastic is so dominant in the market.

0:44:26.680 --> 0:44:30.640
<v Speaker 1>I mean, has undeniable material benefits for especially the kinds

0:44:30.640 --> 0:44:34.040
<v Speaker 1>of uses you want in a children's toy. It's easy

0:44:34.120 --> 0:44:37.480
<v Speaker 1>to form and two different shapes and mass produced like that.

0:44:37.600 --> 0:44:41.239
<v Speaker 1>It's relatively safe. Yeah, it it makes it really has

0:44:41.320 --> 0:44:45.360
<v Speaker 1>made lego possible. Like you go back to that woodworker's origin.

0:44:45.920 --> 0:44:49.640
<v Speaker 1>Uh it was it was not really possible to make

0:44:49.800 --> 0:44:53.440
<v Speaker 1>an interlocking brick that works as well as a as

0:44:53.440 --> 0:44:56.799
<v Speaker 1>a plastic brick with with wooden materials. Oh man, trying

0:44:56.840 --> 0:44:59.600
<v Speaker 1>to imagine wooden legos. I wonder if somebody's out there

0:44:59.640 --> 0:45:03.839
<v Speaker 1>doing that. That's like somebody's uh, you know, passion craft. Yeah,

0:45:03.880 --> 0:45:05.840
<v Speaker 1>I don't know. I mean, I guess I could be

0:45:05.840 --> 0:45:08.640
<v Speaker 1>completely wrong here, but I'm guessing you could make some

0:45:08.800 --> 0:45:12.080
<v Speaker 1>form of metal lego. But that also doesn't sounds like

0:45:12.080 --> 0:45:14.960
<v Speaker 1>a great idea. Man, you think stepping on the plastic

0:45:14.960 --> 0:45:19.000
<v Speaker 1>One's wait, you step on the the steel the steel lego.

0:45:19.920 --> 0:45:22.000
<v Speaker 1>All right, we're gonna move on to another toy here.

0:45:22.200 --> 0:45:24.200
<v Speaker 1>This next one is not going to be as as

0:45:24.239 --> 0:45:28.279
<v Speaker 1>much of an in depth discussion, but I decided to

0:45:28.760 --> 0:45:31.759
<v Speaker 1>look into the origin of a toy that I don't

0:45:31.800 --> 0:45:35.719
<v Speaker 1>know if anyone feels anybody feels particularly strongly about in

0:45:35.760 --> 0:45:38.719
<v Speaker 1>a like a positive manner. But I'm talking about the

0:45:38.760 --> 0:45:46.000
<v Speaker 1>symbol banging monkey. That mechanical it is. If the jack

0:45:46.040 --> 0:45:47.760
<v Speaker 1>in the box is a toy, then the symbol banging

0:45:47.760 --> 0:45:49.960
<v Speaker 1>monkey is. I think of it as a prop in

0:45:50.000 --> 0:45:53.280
<v Speaker 1>a horror film. Yeah, it's mainly what it does these days,

0:45:53.880 --> 0:45:57.240
<v Speaker 1>so I'm sure everyone's familiar with it. It is a chimpanzee,

0:45:57.280 --> 0:46:00.600
<v Speaker 1>generally in a setting or squatting position. It is wearing

0:46:01.040 --> 0:46:04.680
<v Speaker 1>some sort of baby clothing. Generally it has a pair

0:46:04.680 --> 0:46:08.919
<v Speaker 1>of symbols which it crashes together over and over again. Mechanically.

0:46:09.600 --> 0:46:12.080
<v Speaker 1>Sometimes there's you know, there's movement to the eyes into them,

0:46:12.200 --> 0:46:15.120
<v Speaker 1>like the teeth, and its eyes generally have this kind

0:46:15.120 --> 0:46:17.920
<v Speaker 1>of like red rimmed appearance to them that makes it

0:46:17.960 --> 0:46:20.720
<v Speaker 1>look like it is completely insane. It has the devil

0:46:20.760 --> 0:46:24.080
<v Speaker 1>inside it. Yes, yes, as I was looking into this,

0:46:24.160 --> 0:46:27.040
<v Speaker 1>like where did this come from? And uh, basically it

0:46:27.160 --> 0:46:30.880
<v Speaker 1>seems to go back to the idea of organ grinders.

0:46:31.960 --> 0:46:34.040
<v Speaker 1>But you would have something, you know, somebody a street

0:46:34.120 --> 0:46:38.000
<v Speaker 1>musician essentially, with a performing monkey that may be dressed

0:46:38.080 --> 0:46:41.080
<v Speaker 1>in small clothing, you know, doll clothing or children's clothing,

0:46:41.360 --> 0:46:44.200
<v Speaker 1>maybe brandishing some sort of an instrument it's all about

0:46:44.280 --> 0:46:47.200
<v Speaker 1>amusing people and getting them to give you some money, uh,

0:46:47.400 --> 0:46:50.279
<v Speaker 1>you know, for the amusement. And then this would be

0:46:50.320 --> 0:46:53.840
<v Speaker 1>the mechanical version of it. And I've seen it traced

0:46:53.920 --> 0:46:57.520
<v Speaker 1>back to the musical Jolly Chimp created by the Japanese

0:46:57.560 --> 0:47:00.760
<v Speaker 1>company uh Dashian c K and then I teen fifties,

0:47:01.200 --> 0:47:04.560
<v Speaker 1>but then with additional versions popping up in Japan as

0:47:04.600 --> 0:47:07.560
<v Speaker 1>well and making their way to the US and other markets,

0:47:07.840 --> 0:47:10.800
<v Speaker 1>again with a number of different names, but generally revolving

0:47:10.800 --> 0:47:14.200
<v Speaker 1>around the fact that you have a clashing mechanical noise

0:47:14.560 --> 0:47:18.040
<v Speaker 1>and the likeness of a chimp. And indeed, especially with

0:47:18.040 --> 0:47:22.279
<v Speaker 1>those reddened eyes, they often provoke a sense of uneasiness. Uh.

0:47:22.320 --> 0:47:24.880
<v Speaker 1>They summoned both the spirit of the be steal chimp

0:47:25.320 --> 0:47:28.520
<v Speaker 1>and uh the idea of just mindless uh, you know,

0:47:28.560 --> 0:47:32.359
<v Speaker 1>automated behavior. There's not a lot of variations. The chimp

0:47:32.440 --> 0:47:34.680
<v Speaker 1>is not a music box, It is not playing a song.

0:47:34.800 --> 0:47:38.359
<v Speaker 1>It is just clashing symbols and uh. And it has

0:47:38.360 --> 0:47:40.200
<v Speaker 1>shown up in a number of different horror properties. The

0:47:40.239 --> 0:47:45.279
<v Speaker 1>best example is probably this short story by Stephen King

0:47:45.400 --> 0:47:48.520
<v Speaker 1>titled The Monkey. I remember this one. Yeah. The basic

0:47:48.600 --> 0:47:51.960
<v Speaker 1>idea here is that there's this cursed toy symbol monkey,

0:47:52.239 --> 0:47:55.799
<v Speaker 1>and every time it clashes its symbols, somebody dies. Yeah, yeah, yeah,

0:47:55.840 --> 0:48:00.000
<v Speaker 1>I remember this. Uh it was? Does the climax involved

0:48:00.040 --> 0:48:02.120
<v Speaker 1>of somebody like trying to go out on a lake

0:48:02.239 --> 0:48:04.520
<v Speaker 1>to throw it in the bottom or trying to get

0:48:04.520 --> 0:48:07.640
<v Speaker 1>away from it, but without without raising the suspicions of

0:48:07.680 --> 0:48:11.160
<v Speaker 1>the monkey? Um this This story again came out in

0:48:11.239 --> 0:48:14.600
<v Speaker 1>nineteen eighty. It was published in a magazine called Gallery,

0:48:14.719 --> 0:48:17.680
<v Speaker 1>which I believe was some sort of fine art magazine. Okay,

0:48:17.800 --> 0:48:21.279
<v Speaker 1>now I'm kidding is a skin magazine. But most of us,

0:48:21.320 --> 0:48:23.680
<v Speaker 1>probably most of us probably know it from a revised

0:48:23.800 --> 0:48:27.000
<v Speaker 1>version that was featured in nineteen eighty five Skeleton Crew,

0:48:27.320 --> 0:48:31.520
<v Speaker 1>which was one of Stephen King's great short story collections

0:48:31.520 --> 0:48:35.799
<v Speaker 1>of the day. Another source that some some people maybe

0:48:35.800 --> 0:48:39.520
<v Speaker 1>remember remembering the story from a nineteen eighty four film

0:48:39.560 --> 0:48:43.200
<v Speaker 1>titled The Devil's Gift, which tells the exact thing that

0:48:43.200 --> 0:48:46.280
<v Speaker 1>pretty much exactly the same story as the King short story,

0:48:46.719 --> 0:48:49.719
<v Speaker 1>but without any attribution to Stephen King. And most of

0:48:49.800 --> 0:48:52.960
<v Speaker 1>us know it from the MST three k Rift. Merlin

0:48:53.080 --> 0:48:57.759
<v Speaker 1>Shop of Mystical Wonders features an edited down cut of

0:48:57.840 --> 0:49:00.520
<v Speaker 1>this film that like it ends up like turn people

0:49:00.560 --> 0:49:04.200
<v Speaker 1>on fire and stuff. Yeah, yeah, yeah, it's it's it's

0:49:04.280 --> 0:49:07.000
<v Speaker 1>terrible but also good and also creepy. There's something about

0:49:07.040 --> 0:49:10.080
<v Speaker 1>this monkey that is legitimately creepy. And I should also

0:49:10.080 --> 0:49:13.200
<v Speaker 1>point out Stephen King's Skeleton Crew first edition and many

0:49:13.360 --> 0:49:16.560
<v Speaker 1>editions that came out afterwards. That collection had the symbol

0:49:16.560 --> 0:49:19.319
<v Speaker 1>banging monkey on the cover. And that's how I've got

0:49:19.320 --> 0:49:22.920
<v Speaker 1>on the symbol banging monkey. I mean, maybe not a

0:49:22.920 --> 0:49:25.040
<v Speaker 1>deep story. Maybe somewhere out there in the world we

0:49:25.040 --> 0:49:28.799
<v Speaker 1>have listeners who know a deeper tale of the monkey.

0:49:28.920 --> 0:49:32.000
<v Speaker 1>And uh, perhaps we'll even dare to share it with us,

0:49:32.320 --> 0:49:37.040
<v Speaker 1>providing that the dark, simple, clinging monkeys will allow you

0:49:37.080 --> 0:49:40.600
<v Speaker 1>to without smiting you with their satanic power. All right,

0:49:40.640 --> 0:49:42.640
<v Speaker 1>on that note, we're going to take another break, but

0:49:42.680 --> 0:49:45.840
<v Speaker 1>when we come back, we will discuss paper doll theaters

0:49:46.200 --> 0:49:54.760
<v Speaker 1>and some cartoon transformations. Alright, we're back. Okay, it seems

0:49:54.800 --> 0:49:58.200
<v Speaker 1>like we're doing paper dolls now. Yeah. I wasn't really

0:49:58.239 --> 0:50:01.880
<v Speaker 1>expecting to talk about paper dolls because I don't have

0:50:01.920 --> 0:50:05.720
<v Speaker 1>a lot of nostalgia for them. Um, like some some toys,

0:50:06.160 --> 0:50:08.320
<v Speaker 1>you know, they tend to have sort of gendered marketing,

0:50:08.800 --> 0:50:11.319
<v Speaker 1>and I don't think I was. I was ever, Like,

0:50:11.560 --> 0:50:14.319
<v Speaker 1>they were never really marketed for me or purchased for

0:50:14.400 --> 0:50:16.560
<v Speaker 1>me when I was a child. Oh, I should have

0:50:16.560 --> 0:50:19.080
<v Speaker 1>brought up that earlier. There's actually one one mentioned in

0:50:19.320 --> 0:50:23.160
<v Speaker 1>Hewitt's paper about blocks, how that there's some egregiously gendered

0:50:23.200 --> 0:50:25.799
<v Speaker 1>marketing in the history of of blocks, you know, like

0:50:25.880 --> 0:50:30.040
<v Speaker 1>advertising blocks as for the boy constructor you know, which

0:50:30.080 --> 0:50:32.799
<v Speaker 1>is just like obviously girls like playing with blocks too. Yeah,

0:50:32.840 --> 0:50:37.239
<v Speaker 1>I mean, I think gender targeting on toys tends to

0:50:37.719 --> 0:50:40.120
<v Speaker 1>be a bit dumb, but especially with with blocks, if

0:50:40.160 --> 0:50:43.400
<v Speaker 1>there was ever a truly gender neutral toy. Blocks are

0:50:43.400 --> 0:50:47.040
<v Speaker 1>real because it's not like physics is you know, it's

0:50:47.120 --> 0:50:51.719
<v Speaker 1>only Yeah, it's like it's it's part of the human experience.

0:50:52.480 --> 0:50:54.440
<v Speaker 1>So don't you know when a girl makes a tower

0:50:54.480 --> 0:50:59.280
<v Speaker 1>of things, it just can't fall over. Yeah, it's that's ridiculous.

0:50:59.280 --> 0:51:01.640
<v Speaker 1>So with paper dolls, I don't have a lot of

0:51:01.719 --> 0:51:04.239
<v Speaker 1>I remember my sisters had them, and I think I

0:51:04.239 --> 0:51:05.799
<v Speaker 1>would check them out from time to time, and they

0:51:05.800 --> 0:51:07.800
<v Speaker 1>were neat, you know, especially when you get into costume

0:51:07.880 --> 0:51:12.160
<v Speaker 1>changes on them. But I found an interesting rite up

0:51:12.160 --> 0:51:15.320
<v Speaker 1>on paper doll theaters in particular, and so that's mainly

0:51:15.320 --> 0:51:17.800
<v Speaker 1>what I want to talk about here. But but paper

0:51:17.800 --> 0:51:20.359
<v Speaker 1>dolls in and of themselves selves can be pretty cool.

0:51:20.640 --> 0:51:22.480
<v Speaker 1>And also if you expand that a little bit and

0:51:22.520 --> 0:51:26.560
<v Speaker 1>think also of things made out of cardboard, cardboard, cutouts,

0:51:27.160 --> 0:51:29.920
<v Speaker 1>folded paper that is used to create some sort of

0:51:29.960 --> 0:51:32.520
<v Speaker 1>likeness of a creature or a being. But of course

0:51:32.520 --> 0:51:35.280
<v Speaker 1>for to have these different types of toys, you have

0:51:35.280 --> 0:51:38.160
<v Speaker 1>have to have paper first. Now, if paper itself has

0:51:38.200 --> 0:51:39.919
<v Speaker 1>been with us for a long time since at least

0:51:39.920 --> 0:51:43.600
<v Speaker 1>the second century BC in China, spreading more broadly through

0:51:43.600 --> 0:51:46.640
<v Speaker 1>the Middle East in Europe in the thirteenth century, and

0:51:46.640 --> 0:51:48.480
<v Speaker 1>we'll have to come back and do a full invention

0:51:48.520 --> 0:51:51.680
<v Speaker 1>episode just on paper itself because it has a fascinating

0:51:51.719 --> 0:51:55.719
<v Speaker 1>history totally. But but of course it proved extremely important

0:51:55.880 --> 0:51:59.560
<v Speaker 1>for the conveyance of written language. It also was something

0:51:59.640 --> 0:52:02.640
<v Speaker 1>of a value treated as such. For instance, in Western

0:52:02.680 --> 0:52:04.960
<v Speaker 1>traditions we see see it in the value of books,

0:52:05.239 --> 0:52:07.680
<v Speaker 1>in the reuse of parchment. Oh yeah, that's one thing

0:52:07.719 --> 0:52:11.040
<v Speaker 1>that people often don't understand when dealing with like archaeology today.

0:52:11.040 --> 0:52:12.880
<v Speaker 1>It's like, why do we have all these old documents

0:52:12.880 --> 0:52:15.960
<v Speaker 1>where people would like write something on top of something

0:52:16.000 --> 0:52:18.680
<v Speaker 1>else that it doesn't make any sense, But it does

0:52:18.719 --> 0:52:21.239
<v Speaker 1>if you consider that writing media, the stuff you'd be

0:52:21.239 --> 0:52:23.399
<v Speaker 1>writing on was like expensive and hard to come by.

0:52:23.600 --> 0:52:25.800
<v Speaker 1>I mean, we live in a day of very disposable paper,

0:52:25.840 --> 0:52:27.880
<v Speaker 1>a day when, for instance, my son can come in

0:52:28.040 --> 0:52:30.400
<v Speaker 1>and just he can just go up to the printer,

0:52:30.600 --> 0:52:34.480
<v Speaker 1>grab a stack of blank sheets and just start drawing dinosaurs.

0:52:35.320 --> 0:52:39.439
<v Speaker 1>You know, the time was when that would be completely unacceptable.

0:52:39.880 --> 0:52:42.840
<v Speaker 1>Paper is not a plaything. Paper. In some cases, paper

0:52:42.920 --> 0:52:46.200
<v Speaker 1>was sacred. I mean paper was used uh in in

0:52:46.320 --> 0:52:48.960
<v Speaker 1>various you know, rituals and ceremonies. We see that in

0:52:49.000 --> 0:52:52.520
<v Speaker 1>Eastern examples especially, and there was there was something sacred

0:52:52.560 --> 0:52:54.120
<v Speaker 1>about It was a place where you you put the

0:52:54.160 --> 0:52:57.719
<v Speaker 1>written word, for example. Uh. And then of course in

0:52:57.719 --> 0:53:01.560
<v Speaker 1>the East we see origami arising, you know, an art

0:53:01.600 --> 0:53:05.680
<v Speaker 1>form that is about creating three dimensional entities humanoid or

0:53:05.680 --> 0:53:08.839
<v Speaker 1>animal or otherwise out of paper, and these date back

0:53:08.880 --> 0:53:12.719
<v Speaker 1>to around eight hundred C. We also see traditions of

0:53:12.760 --> 0:53:16.560
<v Speaker 1>paper puppetry in Asia, which also resonates with the sacred,

0:53:16.640 --> 0:53:19.680
<v Speaker 1>because puppetry at heart is a kind of magic to

0:53:19.719 --> 0:53:23.000
<v Speaker 1>imbue created likenesses with the animation of life. And then

0:53:23.040 --> 0:53:26.520
<v Speaker 1>then then to use these animations to tell stories. And

0:53:26.560 --> 0:53:29.360
<v Speaker 1>so we come back to the idea of European paper dolls,

0:53:29.400 --> 0:53:31.760
<v Speaker 1>which seemed to have popped up in the seventeenth, eighteenth

0:53:31.800 --> 0:53:36.760
<v Speaker 1>and nineteenth century, becoming basically widely more available and popular

0:53:36.800 --> 0:53:40.480
<v Speaker 1>as paper itself became more affordable, because that's the key fit.

0:53:40.880 --> 0:53:43.200
<v Speaker 1>For there to be, you know, toys made out of paper,

0:53:43.239 --> 0:53:45.239
<v Speaker 1>and then for there to be widespread toys met out

0:53:45.239 --> 0:53:48.080
<v Speaker 1>of paper, you've got to get the price point down. Sure.

0:53:48.400 --> 0:53:50.560
<v Speaker 1>So I was reading an article by Amelia soft for

0:53:50.680 --> 0:53:55.160
<v Speaker 1>j Store Daily titled paper Theaters the home entertainment of Yesteryear,

0:53:56.000 --> 0:53:58.480
<v Speaker 1>and it discussed, uh, you know, another detail of paper

0:53:58.480 --> 0:54:01.040
<v Speaker 1>doll history that I think I was largely unaware of.

0:54:01.200 --> 0:54:04.520
<v Speaker 1>I'm pretty sure I'd seen some reprinted paper theaters at

0:54:04.520 --> 0:54:07.799
<v Speaker 1>Atlanta's own Center for Puppetry Arts, but I didn't really

0:54:07.800 --> 0:54:10.359
<v Speaker 1>appreciate what I was looking at and realized that this

0:54:10.440 --> 0:54:14.879
<v Speaker 1>is essentially an entire puppetry art form that was very

0:54:14.920 --> 0:54:20.200
<v Speaker 1>popular at one point. So basically during the eight hundreds,

0:54:20.320 --> 0:54:23.799
<v Speaker 1>live theater was that was you know, was was all

0:54:23.840 --> 0:54:27.480
<v Speaker 1>the rage. It was extremely popular in Europe, especially in England.

0:54:27.840 --> 0:54:30.239
<v Speaker 1>It was the TV of the nineteenth century. If you

0:54:30.280 --> 0:54:32.160
<v Speaker 1>wanted if you wanted to see a story, if you

0:54:32.160 --> 0:54:34.480
<v Speaker 1>wanted to watch your stories, you needed to go watch

0:54:34.560 --> 0:54:37.319
<v Speaker 1>someone present them to you on a stage. But you

0:54:37.320 --> 0:54:41.319
<v Speaker 1>have to leave the house. True. Uh, and we'll get

0:54:41.320 --> 0:54:43.879
<v Speaker 1>to a way around that. But but performance was huge

0:54:43.880 --> 0:54:48.080
<v Speaker 1>soft rights. Uh that that theater goers at the time

0:54:48.360 --> 0:54:52.880
<v Speaker 1>rebelled against Covent Garden Theater over high ticket prices by

0:54:52.960 --> 0:54:56.120
<v Speaker 1>ringing bells during the show to disturb the actors, and

0:54:56.160 --> 0:55:00.879
<v Speaker 1>by bringing live pigs to the theater. Which fabulous. This

0:55:00.880 --> 0:55:02.759
<v Speaker 1>this gives me some ideas I think that we can

0:55:02.800 --> 0:55:05.799
<v Speaker 1>all use in dealing with, say, the likes of Ticketmaster

0:55:06.000 --> 0:55:08.440
<v Speaker 1>and so forth. Okay, you don't like those high prices,

0:55:08.480 --> 0:55:12.120
<v Speaker 1>you don't like those scalpers coming in. Everybody, bring a

0:55:12.600 --> 0:55:17.080
<v Speaker 1>bring a live pig and some bells to the next concert. Uh.

0:55:17.160 --> 0:55:21.440
<v Speaker 1>So you also have people attending unlicensed and illegal theaters

0:55:21.480 --> 0:55:24.759
<v Speaker 1>that were called blood tubs to feed their need for

0:55:24.880 --> 0:55:27.279
<v Speaker 1>live performance. People could not get enough of it. Wait

0:55:27.320 --> 0:55:29.680
<v Speaker 1>why were they called blood tubs? We have any idea?

0:55:29.840 --> 0:55:33.840
<v Speaker 1>I think they were just considered um potentially dangerous and

0:55:34.120 --> 0:55:38.320
<v Speaker 1>or violent. I mean, imagine going to an unlicensed venue

0:55:38.520 --> 0:55:42.480
<v Speaker 1>for I'm thinking like like a hard rock concert, punker metal,

0:55:42.800 --> 0:55:45.919
<v Speaker 1>you know, and some of the complications that could ensue. Yeah,

0:55:45.920 --> 0:55:48.560
<v Speaker 1>those punk house shows can get kind of rough. But

0:55:48.640 --> 0:55:53.080
<v Speaker 1>then there was the home version, often for children, paper theaters,

0:55:53.640 --> 0:55:55.319
<v Speaker 1>and you could at the time you could buy them

0:55:55.400 --> 0:55:59.000
<v Speaker 1>colored or uncolored for a manner of sense, and then

0:55:59.000 --> 0:56:01.200
<v Speaker 1>you could they would you everything you needed for a

0:56:01.640 --> 0:56:04.880
<v Speaker 1>for a stand up miniature performance. You'd have a stage,

0:56:04.920 --> 0:56:08.880
<v Speaker 1>a set character, striking dramatic poses. You know, you you

0:56:09.000 --> 0:56:11.680
<v Speaker 1>have to cut them out, uh, and then stand them up.

0:56:12.200 --> 0:56:14.000
<v Speaker 1>And of course it would also come with the script,

0:56:14.080 --> 0:56:17.120
<v Speaker 1>often times edited so that the child you know, could

0:56:17.120 --> 0:56:19.520
<v Speaker 1>handle it. If there was something, you know, body in there,

0:56:19.520 --> 0:56:22.440
<v Speaker 1>it would be removed. Amazing. So like instead of going

0:56:22.480 --> 0:56:25.480
<v Speaker 1>to the store and like buying a DVD, you could

0:56:25.680 --> 0:56:29.880
<v Speaker 1>you'd buy a set to do a paper puppet play

0:56:29.920 --> 0:56:33.160
<v Speaker 1>that comes with a script that tells you what to do. Yeah,

0:56:33.280 --> 0:56:36.279
<v Speaker 1>which which is amazing. Especially again, think of a time

0:56:36.320 --> 0:56:39.120
<v Speaker 1>when you didn't have DVDs, you didn't have vhs, you

0:56:39.160 --> 0:56:43.520
<v Speaker 1>weren't able to just catch the movie again on television later. Uh,

0:56:43.560 --> 0:56:46.000
<v Speaker 1>this might be the way to to re experience it

0:56:46.120 --> 0:56:48.520
<v Speaker 1>right in a way. It's very much like the like

0:56:48.560 --> 0:56:53.919
<v Speaker 1>a novelization of a film, uh, except more physical and

0:56:54.040 --> 0:56:57.600
<v Speaker 1>requiring your direct interaction to put on the performance. Yeah,

0:56:57.640 --> 0:57:00.239
<v Speaker 1>and so they were very popular, and according to saw It,

0:57:00.320 --> 0:57:03.279
<v Speaker 1>they likely lead to imagination play as well, much like

0:57:03.440 --> 0:57:05.759
<v Speaker 1>legos in this regard, I'd wager, you know, run it one,

0:57:06.040 --> 0:57:08.440
<v Speaker 1>run it through once, maybe with the script, and then

0:57:08.480 --> 0:57:11.360
<v Speaker 1>maybe you do a sequel to Uh. I don't know

0:57:11.480 --> 0:57:13.840
<v Speaker 1>much to do about nothing, much to do about nothing

0:57:13.880 --> 0:57:18.400
<v Speaker 1>to the revenge right first first his tragedy and then

0:57:18.400 --> 0:57:23.360
<v Speaker 1>his comedy. Yeah. Uh, now the price by the way, uh,

0:57:23.400 --> 0:57:25.600
<v Speaker 1>you know, manner of sense. It's actually referenced in the

0:57:25.600 --> 0:57:29.040
<v Speaker 1>title of a Robert Louis Stevenson essay about their appeal,

0:57:29.120 --> 0:57:32.240
<v Speaker 1>where he's kind of, you know, waxing nostalgic about his

0:57:32.240 --> 0:57:34.320
<v Speaker 1>his love of these when he was a Child's called

0:57:34.480 --> 0:57:39.640
<v Speaker 1>penny Plane twopence colored because the the plane version of

0:57:39.720 --> 0:57:43.080
<v Speaker 1>everything was cheaper, and if you got it already colored in,

0:57:43.160 --> 0:57:46.320
<v Speaker 1>you'd have to pay a little bit more, Okay, Uh Stevenson,

0:57:46.360 --> 0:57:48.240
<v Speaker 1>I was looking at this original piece. I looked it up.

0:57:48.240 --> 0:57:50.320
<v Speaker 1>It's available online if you just do a search for

0:57:50.360 --> 0:57:53.320
<v Speaker 1>that title. And Robert Louis Stevenson. He writes about the

0:57:53.400 --> 0:57:56.640
<v Speaker 1>joy of coloring the pages himself. Uh that sometimes he

0:57:56.680 --> 0:58:00.800
<v Speaker 1>would get the colored version for the extracent, but it

0:58:00.800 --> 0:58:02.800
<v Speaker 1>would just it would feel wrong. He would feel like

0:58:02.800 --> 0:58:05.320
<v Speaker 1>he was cheating. Uh. And he would you know, he'd

0:58:05.320 --> 0:58:09.840
<v Speaker 1>stage your performance with the paper of figures. But then

0:58:09.880 --> 0:58:12.160
<v Speaker 1>he would end up studying the contents of the script

0:58:12.160 --> 0:58:16.360
<v Speaker 1>booklet a lot obsessively and uh and and his parents

0:58:16.760 --> 0:58:19.640
<v Speaker 1>would not necessarily understand, like why he wasn't playing with

0:58:19.680 --> 0:58:21.320
<v Speaker 1>it anymore. And He's like, Oh, it's like a big

0:58:21.360 --> 0:58:24.120
<v Speaker 1>meal that I've consumed. I've already consumed that I can't

0:58:24.160 --> 0:58:26.040
<v Speaker 1>I can't do it again. Mom and dad. You don't

0:58:26.160 --> 0:58:29.440
<v Speaker 1>understand the level of energy I'm putting into this, uh,

0:58:29.520 --> 0:58:34.720
<v Speaker 1>this paper theater. Uh. Soft also points out that Gotha's

0:58:34.760 --> 0:58:38.320
<v Speaker 1>son August would put on shows in a paper theater

0:58:38.440 --> 0:58:41.200
<v Speaker 1>and the quote the family cat always served as one

0:58:41.200 --> 0:58:45.080
<v Speaker 1>of the performers. Oh like getting in there and swatting

0:58:45.080 --> 0:58:48.440
<v Speaker 1>at the puppet. They would love that, so Soft concludes. Quote.

0:58:48.440 --> 0:58:50.760
<v Speaker 1>The magic of the paper theater was not that it

0:58:50.800 --> 0:58:53.720
<v Speaker 1>allowed children to replicate a beloved play in their home.

0:58:54.240 --> 0:58:57.120
<v Speaker 1>It was that it provided them with the raw materials,

0:58:57.120 --> 0:59:00.360
<v Speaker 1>either to copy or create to follow, or some vert

0:59:00.760 --> 0:59:03.919
<v Speaker 1>as they saw fit. So it gave children a full

0:59:04.040 --> 0:59:08.240
<v Speaker 1>cast and setting of physical representations for imagination play. And

0:59:08.280 --> 0:59:11.640
<v Speaker 1>in some cases, I imagine you know, it made you know,

0:59:12.320 --> 0:59:15.640
<v Speaker 1>such an array possible given that some children, um, you know,

0:59:15.760 --> 0:59:18.439
<v Speaker 1>many children even would not have had access to, say

0:59:18.760 --> 0:59:22.200
<v Speaker 1>a toy story for sue cast off material characters. You

0:59:22.200 --> 0:59:25.840
<v Speaker 1>wouldn't have like a toy chest of animals and people

0:59:25.960 --> 0:59:29.880
<v Speaker 1>representations thereof with which to do this kind of imagination play.

0:59:29.960 --> 0:59:32.640
<v Speaker 1>But one of these sets for a mere penny, you

0:59:32.680 --> 0:59:34.840
<v Speaker 1>would have good guys and bad guys in a setting

0:59:34.920 --> 0:59:37.560
<v Speaker 1>everything you need in the script, I mean the script

0:59:37.600 --> 0:59:39.160
<v Speaker 1>that seems like a huge part of it. I mean

0:59:39.200 --> 0:59:42.600
<v Speaker 1>I think about how actually this is seeming so weird

0:59:42.680 --> 0:59:44.120
<v Speaker 1>to me, But at the same time, I'm like, well,

0:59:44.240 --> 0:59:46.680
<v Speaker 1>that's sort of what I did with my action figures,

0:59:46.720 --> 0:59:49.680
<v Speaker 1>Like you know, when I played with like Jurassic Park

0:59:49.720 --> 0:59:51.880
<v Speaker 1>action figures or whatever, I could like have them sort

0:59:51.920 --> 0:59:55.840
<v Speaker 1>of put on a play. Yeah. Another thing that I

0:59:55.920 --> 1:00:00.320
<v Speaker 1>read was that people like Igmar Bergman and Orson Wells

1:00:00.360 --> 1:00:04.080
<v Speaker 1>would use toy theaters to stage things out uh in

1:00:04.200 --> 1:00:09.640
<v Speaker 1>miniature for actual for actual performances or productions. So you

1:00:09.680 --> 1:00:11.440
<v Speaker 1>know this in and of itself too. It's just a

1:00:11.520 --> 1:00:15.080
<v Speaker 1>useful exercise to be able to create in miniature what

1:00:15.200 --> 1:00:18.760
<v Speaker 1>you may one day create in real life as a

1:00:18.760 --> 1:00:24.240
<v Speaker 1>as an actual theatrical production or a cinematic production. Um. Yeah,

1:00:24.400 --> 1:00:27.800
<v Speaker 1>these were. These were super popular for for quite a while. Now,

1:00:27.840 --> 1:00:31.840
<v Speaker 1>among other things, television helped to decrease the appeal of

1:00:31.880 --> 1:00:35.000
<v Speaker 1>these paper theaters and toy theaters in general. But they

1:00:35.040 --> 1:00:38.440
<v Speaker 1>live on to this day. Uh, sometimes in a nostalgic

1:00:38.520 --> 1:00:40.960
<v Speaker 1>form and old toy kind of form. But then you

1:00:41.000 --> 1:00:43.760
<v Speaker 1>also see them utilized as a as a true craft

1:00:43.840 --> 1:00:46.600
<v Speaker 1>by some individuals, or even as a performance already, even

1:00:46.600 --> 1:00:49.880
<v Speaker 1>as a way of performing through a type of puppetry.

1:00:50.120 --> 1:00:52.400
<v Speaker 1>I feel like I want to get one of these things. Yeah,

1:00:52.480 --> 1:00:55.560
<v Speaker 1>I again, I have seen them for sale, or I've

1:00:55.560 --> 1:00:57.680
<v Speaker 1>seen updated versions of them for sale, let's say the

1:00:57.680 --> 1:00:59.840
<v Speaker 1>Center for Punctry Arts. So next time I go, I

1:01:00.000 --> 1:01:01.960
<v Speaker 1>have to check it out. Maybe they make a Jurassic

1:01:02.000 --> 1:01:05.200
<v Speaker 1>Park paper puppets set. It would be great, actually, you know,

1:01:05.640 --> 1:01:08.560
<v Speaker 1>because just think of it, instead of buying all these

1:01:08.600 --> 1:01:11.440
<v Speaker 1>big pieces of plastic or building amount of legos or

1:01:11.480 --> 1:01:14.520
<v Speaker 1>what have you, and then building things for the dinosaurs

1:01:14.520 --> 1:01:17.120
<v Speaker 1>to knock down out of bricks and blocks, what have you.

1:01:18.040 --> 1:01:20.600
<v Speaker 1>In paper form, you could have everything. You could have

1:01:20.720 --> 1:01:23.680
<v Speaker 1>all the major dinosaurs, all the major players. You can

1:01:23.760 --> 1:01:26.120
<v Speaker 1>even have a who's the lawyer in the first Jurassic Park?

1:01:26.800 --> 1:01:29.400
<v Speaker 1>Gennaro or what the actor's name? Well, I don't know

1:01:29.400 --> 1:01:31.800
<v Speaker 1>about either one. You can have that guy and you

1:01:31.800 --> 1:01:33.600
<v Speaker 1>could even rip him in half. He even comes into

1:01:33.600 --> 1:01:37.040
<v Speaker 1>two pieces. That's right. Yeah, very easy to dismember paper puppets.

1:01:37.920 --> 1:01:40.280
<v Speaker 1>You know what I'd do? What's that flip script? Then

1:01:40.280 --> 1:01:42.760
<v Speaker 1>you have dinosaurs make a park with humans, and then

1:01:42.760 --> 1:01:45.440
<v Speaker 1>the humans get loose. There you go, See, this is

1:01:45.440 --> 1:01:47.880
<v Speaker 1>exactly it like. It allows you to to make all

1:01:47.920 --> 1:01:50.400
<v Speaker 1>the changes, all the alterations that you you might be

1:01:50.440 --> 1:01:53.720
<v Speaker 1>inspired to to to create. Now, Robert, you promised me

1:01:53.800 --> 1:01:55.520
<v Speaker 1>that we would end up talking about some kind of

1:01:55.560 --> 1:01:59.000
<v Speaker 1>cartoon transformation. What's the deal here? All right? Yeah? I

1:01:59.040 --> 1:02:01.880
<v Speaker 1>have one final thing that you have to talk about here,

1:02:01.880 --> 1:02:04.000
<v Speaker 1>and it's something that I never thought that I would

1:02:04.560 --> 1:02:07.240
<v Speaker 1>I would really come up on the show. I'm gonna

1:02:07.840 --> 1:02:09.360
<v Speaker 1>what I'm gonna do here is I'm gonna list several

1:02:09.360 --> 1:02:13.040
<v Speaker 1>different Japanese cartoon characters made that were indeed each of

1:02:13.080 --> 1:02:15.120
<v Speaker 1>them made into some sort of toy, and I want

1:02:15.160 --> 1:02:17.480
<v Speaker 1>you to figure out what they have in common. You

1:02:17.520 --> 1:02:20.760
<v Speaker 1>have mum Rabbi Ever Living from ThunderCats. You remember Mama

1:02:21.000 --> 1:02:24.120
<v Speaker 1>I actually never watched, okay, So mom Raw is like

1:02:24.160 --> 1:02:29.720
<v Speaker 1>an old decrepit mummy like kind of a cat person mummy. Uh.

1:02:29.760 --> 1:02:32.520
<v Speaker 1>And then at a certain point in the show, he's

1:02:32.520 --> 1:02:35.120
<v Speaker 1>gonna have to battle, so he has to transform into

1:02:35.200 --> 1:02:38.880
<v Speaker 1>mum Rabi Ever Living, which is this big, like supermuscular

1:02:39.480 --> 1:02:43.880
<v Speaker 1>cat creature with like sort of Fulsa Doom esque Egyptian

1:02:44.160 --> 1:02:48.120
<v Speaker 1>inspired garb. It's like in Stephen Summers Mummy movies when

1:02:48.400 --> 1:02:52.720
<v Speaker 1>the skeleton critter turns into Arnold Oslou. Yeah, very similar.

1:02:53.000 --> 1:02:55.440
<v Speaker 1>I imagine they might have even been inspired by Mamra.

1:02:56.000 --> 1:03:00.160
<v Speaker 1>Another example Monstar Silverhawks. This was a villain and it

1:03:00.240 --> 1:03:04.160
<v Speaker 1>was a sci fi sort of counterpart to ThunderCats. Then,

1:03:04.200 --> 1:03:08.320
<v Speaker 1>of course we had Vultron. I definitely remember Vultron, and

1:03:08.360 --> 1:03:11.080
<v Speaker 1>then you had Sailor Moon aware of it, but I

1:03:11.120 --> 1:03:13.440
<v Speaker 1>never watched it, Okay, So what do they all have

1:03:13.480 --> 1:03:16.040
<v Speaker 1>in common? Well, I know the answer because I can

1:03:16.080 --> 1:03:18.360
<v Speaker 1>see your notes, but I haven't I don't know if

1:03:18.360 --> 1:03:21.200
<v Speaker 1>I would have gotten it otherwise. Clearly now that I

1:03:21.240 --> 1:03:23.600
<v Speaker 1>know the answer, it's that they all have like a

1:03:23.640 --> 1:03:26.600
<v Speaker 1>scene where they go like power up and then they

1:03:26.640 --> 1:03:30.680
<v Speaker 1>transform into their their higher form. That's right, Yeah, lengthy

1:03:30.760 --> 1:03:35.640
<v Speaker 1>transformation scenes. Um. And again I was not familiar with

1:03:35.680 --> 1:03:37.560
<v Speaker 1>all these properties. I don't think I've ever watched sailor

1:03:37.600 --> 1:03:40.480
<v Speaker 1>Moon and probably you know that gets into gendered marketing,

1:03:40.480 --> 1:03:43.240
<v Speaker 1>I'm sure. But I was a big ThunderCats and Vultron

1:03:43.320 --> 1:03:45.520
<v Speaker 1>fan growing up. I would catch silver Hawks when it

1:03:45.640 --> 1:03:47.920
<v Speaker 1>was on. I always found it like a little weird.

1:03:48.000 --> 1:03:50.080
<v Speaker 1>It was it was, it was didn't have the true

1:03:50.080 --> 1:03:54.560
<v Speaker 1>magic of ThunderCats. But these were fun shows. And yes,

1:03:54.640 --> 1:03:59.040
<v Speaker 1>the transformation scenes were awesome, and they sometimes would would

1:03:59.120 --> 1:04:01.160
<v Speaker 1>use like a full trans in sformation. Sometimes they would

1:04:01.200 --> 1:04:04.120
<v Speaker 1>use a shorter version of its seemingly depending on how

1:04:04.240 --> 1:04:06.040
<v Speaker 1>much you know, how much they had to pad out

1:04:06.080 --> 1:04:09.160
<v Speaker 1>the episode, because because that really seems to seem to

1:04:09.200 --> 1:04:11.840
<v Speaker 1>have been key here, right, because it's a great way

1:04:11.880 --> 1:04:14.520
<v Speaker 1>to pad out an animated series, especially when you consider

1:04:14.560 --> 1:04:18.120
<v Speaker 1>a show like ThunderCats, which went four seasons one hundred

1:04:18.160 --> 1:04:21.720
<v Speaker 1>and thirty episodes. Uh, silver Hawks only went one season

1:04:21.720 --> 1:04:24.840
<v Speaker 1>and it still has sixty five episodes, so they're really

1:04:24.880 --> 1:04:28.120
<v Speaker 1>turning these puppies out. Yeah, but you film a transformation scene,

1:04:28.160 --> 1:04:30.600
<v Speaker 1>you can basically just use the same one every time, right,

1:04:30.640 --> 1:04:33.280
<v Speaker 1>you can bank Like generally most of these were looking

1:04:33.320 --> 1:04:36.720
<v Speaker 1>at You're talking twenty seconds, which you know, maybe doesn't

1:04:36.720 --> 1:04:38.160
<v Speaker 1>seem about a lot when you but when you get

1:04:38.200 --> 1:04:42.120
<v Speaker 1>into the cost of animation, etcetera. Uh, it makes a difference.

1:04:42.160 --> 1:04:45.360
<v Speaker 1>It's a it's called the bank method apparently. Uh. By

1:04:45.400 --> 1:04:49.000
<v Speaker 1>the way, Sailor Moon five seasons, two hundred episodes. Wow.

1:04:49.080 --> 1:04:51.040
<v Speaker 1>So yes, on one hand, you can look at and say, well,

1:04:51.040 --> 1:04:53.200
<v Speaker 1>this is a good way to to to fill up

1:04:53.240 --> 1:04:55.840
<v Speaker 1>an episode. Just have have twenty seconds or so that

1:04:55.880 --> 1:04:58.720
<v Speaker 1>you can depend on, not counting the intro and the

1:04:58.760 --> 1:05:00.840
<v Speaker 1>outro to the episode. Would you're already going to be

1:05:00.880 --> 1:05:05.040
<v Speaker 1>pretty stationary. I was looking at j Store Daily again

1:05:05.080 --> 1:05:08.400
<v Speaker 1>and I ran across a post titled selling toys with

1:05:08.440 --> 1:05:12.040
<v Speaker 1>the Sailor Moon transformation sequence. And this was very insightful

1:05:12.080 --> 1:05:13.640
<v Speaker 1>and made me think about this in a new way.

1:05:13.640 --> 1:05:17.240
<v Speaker 1>This was by Jacqueline Manski in October of twenty nine,

1:05:17.680 --> 1:05:20.240
<v Speaker 1>and it was largely a look at the work of

1:05:20.560 --> 1:05:25.959
<v Speaker 1>Comiko Sito in the Journal of Asian Studies the the

1:05:26.040 --> 1:05:29.120
<v Speaker 1>So this all points out that the transformation scenes like

1:05:29.240 --> 1:05:32.080
<v Speaker 1>the ones we've discussed, but more specifically like the one

1:05:32.120 --> 1:05:36.280
<v Speaker 1>in Sailor Moon are are more than we might imagine

1:05:36.320 --> 1:05:38.120
<v Speaker 1>they are. So in Sailor Moon, we have a normal

1:05:38.200 --> 1:05:41.960
<v Speaker 1>Japanese school girl girl and she transforms into the pretty

1:05:41.960 --> 1:05:46.640
<v Speaker 1>Guardians Sailor Moon, the Pretty Guardians. Yes. Uh, And apparently

1:05:46.680 --> 1:05:49.880
<v Speaker 1>this was like a standard part of magical girl animation

1:05:50.080 --> 1:05:52.800
<v Speaker 1>prior to Sailor Moon. And one presumes that, you know,

1:05:52.880 --> 1:05:55.800
<v Speaker 1>it connects to the transformations in the ThunderCats and Vultron

1:05:55.880 --> 1:05:59.560
<v Speaker 1>shows again just sort of like a differently gendered version

1:05:59.560 --> 1:06:02.760
<v Speaker 1>of the same thing. It dates back at least to

1:06:03.280 --> 1:06:07.680
<v Speaker 1>the N two animated series Minky Momo, which was a

1:06:07.720 --> 1:06:11.440
<v Speaker 1>magical princess show that featured a standard twenty three second

1:06:11.440 --> 1:06:15.040
<v Speaker 1>transformation scene. By the time Sailor Moon comes around, though,

1:06:15.400 --> 1:06:19.600
<v Speaker 1>they get that transformation scene up to forty seconds. This

1:06:19.680 --> 1:06:22.440
<v Speaker 1>is interesting that you've got this, you know, animation production

1:06:22.480 --> 1:06:24.880
<v Speaker 1>padding technique that is being used over and over in

1:06:24.920 --> 1:06:28.400
<v Speaker 1>all these different series to make the cartoon production more affordable.

1:06:28.400 --> 1:06:30.880
<v Speaker 1>But how does this connect to toys? All right? This

1:06:30.960 --> 1:06:33.400
<v Speaker 1>is what the Saito has to write about it. She

1:06:33.440 --> 1:06:36.760
<v Speaker 1>says a quote. Although the technique of reusing cells in

1:06:36.840 --> 1:06:40.480
<v Speaker 1>multiple episodes was not a new concept in itself, Momo,

1:06:40.920 --> 1:06:42.919
<v Speaker 1>by which she means Minkey Momo from A D two

1:06:43.200 --> 1:06:48.280
<v Speaker 1>successfully incorporated the well exploited robot animes bank method, in

1:06:48.320 --> 1:06:52.760
<v Speaker 1>which mechanical parts are captured in the camera's dynamic tracking

1:06:52.800 --> 1:06:58.040
<v Speaker 1>motion for the maximum effect of promoting the target merchandise. So,

1:06:58.200 --> 1:07:02.600
<v Speaker 1>in other words, if I'm understanding this correctly, it's you

1:07:02.640 --> 1:07:04.480
<v Speaker 1>ever see these scenes where it's like the show room

1:07:04.560 --> 1:07:09.040
<v Speaker 1>for an automobile. It's on this circular stage that's revolving

1:07:09.160 --> 1:07:11.440
<v Speaker 1>and all the fancy lights are on it to just

1:07:11.480 --> 1:07:15.680
<v Speaker 1>give you this three sixty fabulous uh, you know, NonStop

1:07:15.760 --> 1:07:18.960
<v Speaker 1>view of just how wonderful this vehicle is from every angle.

1:07:19.280 --> 1:07:22.520
<v Speaker 1>It's like the character creation screen and a wrestling video

1:07:22.560 --> 1:07:25.680
<v Speaker 1>game exactly. They'll let you rotate to every angle, you know,

1:07:26.120 --> 1:07:29.240
<v Speaker 1>inspect the feed, all all that stuff. Right. So, yeah,

1:07:29.440 --> 1:07:31.760
<v Speaker 1>if I'm understanding this correctly, the argument is that that

1:07:31.840 --> 1:07:34.240
<v Speaker 1>is what this is. Like, Yes, it's a it's a

1:07:34.240 --> 1:07:37.280
<v Speaker 1>banking method. Yes it's a it's part of each story there.

1:07:37.400 --> 1:07:40.320
<v Speaker 1>It's part of the imaginative element of the of the tail.

1:07:40.920 --> 1:07:45.280
<v Speaker 1>But so like you're trying to sell Vultron action figures

1:07:45.360 --> 1:07:48.960
<v Speaker 1>or sailor Moon action figures, and this allows you to

1:07:49.240 --> 1:07:52.160
<v Speaker 1>do that within every episode of the show, to have

1:07:52.240 --> 1:07:55.640
<v Speaker 1>like a merchandise show off segment that gives you lots

1:07:55.640 --> 1:07:58.880
<v Speaker 1>of different angles and stuff to examine the toy that

1:07:59.000 --> 1:08:01.960
<v Speaker 1>you want to buy. Yeah, so mum Raw does his

1:08:02.120 --> 1:08:05.760
<v Speaker 1>twenty second transformation scene up. I think I tried to

1:08:05.760 --> 1:08:09.280
<v Speaker 1>clock it. I think it's like twenty three seconds, and

1:08:09.680 --> 1:08:11.480
<v Speaker 1>and you look at it and you're like, man, Mama

1:08:11.600 --> 1:08:14.120
<v Speaker 1>is amazing. This is the centralvilla one of the show

1:08:14.240 --> 1:08:17.479
<v Speaker 1>is the best, and I simply must own the toy.

1:08:17.840 --> 1:08:20.200
<v Speaker 1>And I did own the toy of Mamra, Like I remember,

1:08:20.720 --> 1:08:22.599
<v Speaker 1>I didn't connect the two. But it's like I had

1:08:22.640 --> 1:08:25.200
<v Speaker 1>to have mom Raw. I had mam Raw. I had

1:08:25.240 --> 1:08:28.320
<v Speaker 1>none of the other ThunderCats, but I had to have Mmra.

1:08:28.439 --> 1:08:31.120
<v Speaker 1>And I probably would have gotten Monstar as well, but

1:08:31.160 --> 1:08:34.400
<v Speaker 1>I couldn't really move my eight year old funds around

1:08:34.520 --> 1:08:37.120
<v Speaker 1>enough to make it happen. But but this is a

1:08:37.360 --> 1:08:41.120
<v Speaker 1>couldn't get an injection of capital for that, right right? Yeah,

1:08:41.880 --> 1:08:44.599
<v Speaker 1>But but I think this is a really fascinating take

1:08:44.640 --> 1:08:46.800
<v Speaker 1>on on on it. I mean, obviously we know that

1:08:47.040 --> 1:08:49.520
<v Speaker 1>if there is a cartoon that has a toy line,

1:08:49.640 --> 1:08:52.360
<v Speaker 1>and sometimes the cartoon comes first, sometimes the toy line

1:08:52.400 --> 1:08:55.479
<v Speaker 1>comes first. Sometimes they're part of the same effort, we

1:08:55.520 --> 1:08:58.679
<v Speaker 1>know on some level that cartoon is about selling the toys.

1:08:58.720 --> 1:09:01.519
<v Speaker 1>Oh yeah, I mean it's totally the case was like Transformers, right,

1:09:01.600 --> 1:09:04.080
<v Speaker 1>the cartoon was there to sell the toys, but I

1:09:04.360 --> 1:09:08.080
<v Speaker 1>had not really considered something about the transformation, saying about

1:09:08.080 --> 1:09:11.720
<v Speaker 1>how this this might be a key uh tool in

1:09:11.800 --> 1:09:15.280
<v Speaker 1>the toy makers the toy marketers toolbox. Well that's funny

1:09:15.280 --> 1:09:18.639
<v Speaker 1>because now that I'm thinking of Transformers of course, duh,

1:09:18.680 --> 1:09:23.320
<v Speaker 1>I mean also extended transformations. Yeah, you see this once

1:09:23.360 --> 1:09:27.080
<v Speaker 1>you you sort of clued into this idea. You see

1:09:27.120 --> 1:09:31.320
<v Speaker 1>it in so many shows yet Transformers, even some shows

1:09:31.320 --> 1:09:33.559
<v Speaker 1>that are perhaps you know, not cartoons, I guess in

1:09:33.600 --> 1:09:36.040
<v Speaker 1>Power Rangers, stuff had to come together, some sort of

1:09:36.040 --> 1:09:39.120
<v Speaker 1>transformation had to happen. It becomes and part of this

1:09:39.200 --> 1:09:41.400
<v Speaker 1>too is it becomes a trope of such shows. Right,

1:09:41.400 --> 1:09:43.800
<v Speaker 1>It becomes a thing that people expect and they get

1:09:43.800 --> 1:09:46.400
<v Speaker 1>excited about, and maybe to a certain extent, the creators

1:09:46.439 --> 1:09:49.840
<v Speaker 1>don't even realize the ways that it can be used

1:09:49.840 --> 1:09:53.320
<v Speaker 1>that it has this this uh this marketing effect as well. Yeah,

1:09:53.360 --> 1:09:57.080
<v Speaker 1>this is really interesting. I've never considered this before. Now again,

1:09:57.160 --> 1:10:00.639
<v Speaker 1>I I only have personal experience with with mem Ras

1:10:00.840 --> 1:10:03.880
<v Speaker 1>and Monstar and Voltron. But I would love to hear

1:10:04.240 --> 1:10:07.120
<v Speaker 1>from anyone out there who can really speak to Sailor

1:10:07.160 --> 1:10:10.720
<v Speaker 1>Moon and some of these other princes transformation shows and

1:10:10.720 --> 1:10:12.720
<v Speaker 1>and and provide a little insight on this, you know,

1:10:12.840 --> 1:10:14.840
<v Speaker 1>now that I'm thinking about it, I actually have come

1:10:14.880 --> 1:10:18.920
<v Speaker 1>across other examples of this where like specifically cinema like

1:10:19.040 --> 1:10:25.439
<v Speaker 1>cinema techniques being used to emphasize toy selling aspects. The

1:10:25.439 --> 1:10:29.280
<v Speaker 1>main example I'm thinking of are in Batman movies, like

1:10:29.479 --> 1:10:33.479
<v Speaker 1>in the uh in the second Joel Schumacher Batman movie

1:10:33.520 --> 1:10:36.240
<v Speaker 1>Batman and Robin from I guess it was the late nineties.

1:10:36.680 --> 1:10:39.120
<v Speaker 1>I remember, there's all this talk after the film came

1:10:39.120 --> 1:10:43.080
<v Speaker 1>out about how like the film had been shaped by

1:10:43.200 --> 1:10:46.160
<v Speaker 1>the need to market toys that would be sold in

1:10:46.280 --> 1:10:49.960
<v Speaker 1>conjunction with the film. Uh so, like, you know, to

1:10:49.960 --> 1:10:54.240
<v Speaker 1>to emphasize the bat vehicles and stuff in certain ways

1:10:54.600 --> 1:10:57.120
<v Speaker 1>that would make it they thought more appealing for a

1:10:57.160 --> 1:10:59.880
<v Speaker 1>toy market. Yeah, I have to absolutely, you know, I

1:11:00.320 --> 1:11:01.680
<v Speaker 1>don't know if I ever saw that one all the

1:11:01.720 --> 1:11:04.800
<v Speaker 1>way through. But but even the earlier Batman movies, I

1:11:04.840 --> 1:11:08.280
<v Speaker 1>mean clearly you got to move some batmobiles and so

1:11:08.600 --> 1:11:11.240
<v Speaker 1>you feature the batmobile prominently. But then again, would it

1:11:11.320 --> 1:11:13.400
<v Speaker 1>be a Batman film if it didn't have a batmobile

1:11:13.439 --> 1:11:16.240
<v Speaker 1>in it? It becomes kind of hard to, uh, you know,

1:11:16.280 --> 1:11:19.320
<v Speaker 1>to to pull these elements apart again, right, I've been

1:11:19.360 --> 1:11:21.800
<v Speaker 1>trying to think of like an Arnold Schwarzenegger price ice

1:11:21.840 --> 1:11:24.920
<v Speaker 1>pun it did, it didn't didn't come together right. It

1:11:24.960 --> 1:11:29.280
<v Speaker 1>was such hilarious, uh and awful casting. As as as

1:11:29.400 --> 1:11:31.799
<v Speaker 1>Mr Freeze, It's one of the all time grades. Yeah,

1:11:31.880 --> 1:11:34.519
<v Speaker 1>because I remember even at the time I was already

1:11:34.640 --> 1:11:37.600
<v Speaker 1>I was always a Mr. Freeze fan, even like the

1:11:37.760 --> 1:11:41.040
<v Speaker 1>really crappy Mr Freeze, that version that you had in

1:11:41.080 --> 1:11:44.640
<v Speaker 1>the old Adam West uh series, I was still I

1:11:44.640 --> 1:11:47.240
<v Speaker 1>would still get excited for him when he was on

1:11:47.320 --> 1:11:49.439
<v Speaker 1>the screen. Oh, I didn't know that. I remember he

1:11:49.479 --> 1:11:52.080
<v Speaker 1>was always so scary and tragic in the animated series.

1:11:52.160 --> 1:11:54.679
<v Speaker 1>He's wonderful in the animated series. I fell in love

1:11:54.840 --> 1:11:57.160
<v Speaker 1>with him again, Uh, fell in love with him anew

1:11:57.280 --> 1:11:59.880
<v Speaker 1>when when that came out and then here comes Arnold

1:12:00.120 --> 1:12:03.960
<v Speaker 1>and you're like, who did this? Like who so completely

1:12:04.000 --> 1:12:06.960
<v Speaker 1>missed you know, missed the mark on what this character

1:12:07.200 --> 1:12:10.760
<v Speaker 1>is and what they should be cinematically. But they saw

1:12:10.760 --> 1:12:13.200
<v Speaker 1>a lot of toys though. That's true, and and it

1:12:13.320 --> 1:12:16.840
<v Speaker 1>is at least comedically noteworthy. All right, So there you

1:12:16.880 --> 1:12:19.120
<v Speaker 1>have it. I think this is good. I think we're

1:12:19.120 --> 1:12:21.640
<v Speaker 1>gonna close the toy bag for the year. It's been

1:12:21.680 --> 1:12:24.439
<v Speaker 1>a heck of a hall it has. Obviously there were

1:12:24.520 --> 1:12:27.320
<v Speaker 1>tons of toys we did not get to, but we

1:12:27.320 --> 1:12:29.639
<v Speaker 1>can always come back in the future, especially if these

1:12:29.640 --> 1:12:32.160
<v Speaker 1>are popular. And then of course, uh, you know, we're

1:12:32.160 --> 1:12:34.599
<v Speaker 1>gonna cover more invention inventions in the new year. We'd

1:12:34.600 --> 1:12:36.559
<v Speaker 1>love to hear from everyone out there. What do you

1:12:36.600 --> 1:12:40.760
<v Speaker 1>want to hear about, what technologies, what specific inventions, big inventions,

1:12:40.800 --> 1:12:43.960
<v Speaker 1>small inventions. Really I would love to hear from everyone

1:12:44.320 --> 1:12:47.000
<v Speaker 1>regarding like what you like about the show, if you

1:12:47.080 --> 1:12:50.080
<v Speaker 1>if you like invention, if you want Invention to keep going.

1:12:50.720 --> 1:12:54.519
<v Speaker 1>What sort of topics and content are are you finding

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<v Speaker 1>the most engaging. Do you like multi episodes that deal

1:12:57.280 --> 1:13:01.439
<v Speaker 1>with something bigger like photography? Do you like self contained

1:13:01.479 --> 1:13:04.840
<v Speaker 1>episodes that are looking at a singular invention. Do you

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<v Speaker 1>like grab bag episodes like these toy episodes? I would

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<v Speaker 1>just love to know what you think as a listener.

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<v Speaker 1>In the meantime, if you want to check out other episodes,

1:13:13.160 --> 1:13:16.320
<v Speaker 1>you can find us wherever you get your podcasts. You

1:13:16.320 --> 1:13:18.160
<v Speaker 1>can go to invention pod dot com and that I'll

1:13:18.200 --> 1:13:21.360
<v Speaker 1>take you to our to a page for us, and

1:13:21.600 --> 1:13:23.559
<v Speaker 1>uh yeah, wherever you get the show, just make sure

1:13:23.600 --> 1:13:25.760
<v Speaker 1>you rate and review. That is a great way to

1:13:26.120 --> 1:13:29.400
<v Speaker 1>support the show. Also subscribe. That way you'll always get

1:13:29.439 --> 1:13:32.559
<v Speaker 1>new episodes when they arrive. Huge thanks as always to

1:13:32.600 --> 1:13:35.760
<v Speaker 1>our excellent audio producer Seth Nicholas Johnson. If you'd like

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<v Speaker 1>to get in touch with us with feedback on this

1:13:37.800 --> 1:13:40.280
<v Speaker 1>episode or any other, to suggest topic for the future,

1:13:40.360 --> 1:13:42.840
<v Speaker 1>or just to say hello, you can email us at

1:13:42.960 --> 1:13:50.000
<v Speaker 1>contact at invention pod dot com. Invention is production of

1:13:50.040 --> 1:13:52.960
<v Speaker 1>iHeart Radio. For more podcasts from my Heart Radio because

1:13:53.000 --> 1:13:55.639
<v Speaker 1>the iHeart Radio app, Apple Podcasts, or wherever you listen

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<v Speaker 1>to your favorite shows. Two