WEBVTT - Listener Mail: Beans and Babel

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<v Speaker 1>Welcome to Stuff to Blow Your Mind production of My

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<v Speaker 1>Heart Radio. Hey you welcome to Stuff to Blow Your

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<v Speaker 1>Mind listener mail. My name is Robert Lamb and I'm

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<v Speaker 1>Joe McCormick. And today it is Monday, the day of

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<v Speaker 1>the week. We readback some messages you've sent into the

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<v Speaker 1>show account. Which we often say at the end of

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<v Speaker 1>the show, but we should say it up front. It

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<v Speaker 1>is contact at stuff to Blow your Mind dot com

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<v Speaker 1>if you ever want to get in touch. Let's see.

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<v Speaker 1>So I'm going to start off with this message from Josh,

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<v Speaker 1>which has to do with your interview on story Machines

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<v Speaker 1>and UH and our episodes own document duplication. All right, Well,

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<v Speaker 1>just a reminder when we get into these stories, if

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<v Speaker 1>you want to create one yourself, you can go to

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<v Speaker 1>story hyphen Machines dot net UH and you can try

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<v Speaker 1>it out for yourself. Josh says, Hey, Robert and Joe. Oh,

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<v Speaker 1>I've been having so much fun playing around the story

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<v Speaker 1>generating AI you guys recently talked about. I used this

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<v Speaker 1>as an opportunity to throw back to one of my

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<v Speaker 1>favorite episodes that you guys have done, discussing the Library

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<v Speaker 1>of Babel, the mind bending thought provoking nature of the

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<v Speaker 1>whole concept of stuck with me. Since I heard the

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<v Speaker 1>episode years ago. I couldn't pass up the opportunity to

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<v Speaker 1>know what would happen if one could actually find the book,

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<v Speaker 1>the one that holds the key to the mysteries of

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<v Speaker 1>the library. I give you title the book, and then

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<v Speaker 1>if I'm reading the punctuation here right, I think Josh

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<v Speaker 1>begins with the with the the feed incidents. After wandering

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<v Speaker 1>for countless years in the library of Babel, I had

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<v Speaker 1>finally stumbled upon the book. From here, the Machine rights

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<v Speaker 1>a tone of unimaginable knowledge and power. It contained the

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<v Speaker 1>secrets to all things. I could control the elements, some

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<v Speaker 1>in spirits, and even travel through time. With this book,

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<v Speaker 1>I could become the most powerful being in the Uni Verse.

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<v Speaker 1>But the book had a price. In order to read it,

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<v Speaker 1>I had to sacrifice my own soul. I hesitated for

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<v Speaker 1>a moment, but then decided that it was worth it.

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<v Speaker 1>I opened the Tone and began to read. But as

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<v Speaker 1>I did, something began to change within me. The power

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<v Speaker 1>of the book was intoxicating, and I began to feel

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<v Speaker 1>like I was in control. The longer I read, the

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<v Speaker 1>more I became consumed by the magic of the tone.

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<v Speaker 1>I didn't notice when the other library patrons began to

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<v Speaker 1>disappear or when the police arrived to take the book away.

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<v Speaker 1>All I could focus on was the knowledge contained within

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<v Speaker 1>the pages. And then suddenly the book was gone. I

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<v Speaker 1>was alone, naked and exposed to the elements. The price

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<v Speaker 1>of the book had been my soul. Josh says he

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<v Speaker 1>left the story as it was generated on the first attempt,

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<v Speaker 1>but was very attempted to change the word police into

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<v Speaker 1>the word inquisitors to fit more with the original story.

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<v Speaker 1>But he says it, but oh well, I'm still satisfied.

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<v Speaker 1>Thanks and keep up the good work. Josh. PS. If

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<v Speaker 1>you want to throw in another thought of mine, as

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<v Speaker 1>this is my first time writing in I briefly wanted

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<v Speaker 1>to touch on the document bloat that you guys mentioned

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<v Speaker 1>in your fact similar episodes. I work in healthcare and

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<v Speaker 1>the documentation slash note writing burden is definitely one of

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<v Speaker 1>the largest contributors to healthcare worker burnout. This is made

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<v Speaker 1>worse by the fact that certain notes are required to

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<v Speaker 1>have certain content for insurance and billing purposes, even if

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<v Speaker 1>not exactly useful to the readers. Slash other healthcare providers.

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<v Speaker 1>To be efficient in reviewing a patient's chart, one has

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<v Speaker 1>to become very good at skimming and inordinate volume of

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<v Speaker 1>text in order to identify and use some small piece

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<v Speaker 1>of actually useful information. With the ease of electronic charts,

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<v Speaker 1>digital copying, etcetera, it has certainly paved the way for

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<v Speaker 1>medical documentation to explode in terms of the amount to

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<v Speaker 1>write and a few. While there are definitely benefits to

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<v Speaker 1>electronic charting, the note bloat that has overtaken the system

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<v Speaker 1>is certainly a barrier and burden for much of day

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<v Speaker 1>to day practice. That's all for now, Josh, Well, thanks

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<v Speaker 1>for writing in, Josh. Uh. I enjoyed the note bloat

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<v Speaker 1>note here, but as as I've been enjoying, I really

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<v Speaker 1>enjoyed this UH, this bit of AI assisted text here.

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<v Speaker 1>I think the the impulse to go back and change

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<v Speaker 1>just a few things to perfect it, I think that

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<v Speaker 1>that probably speaks volumes regarding where we're going to be

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<v Speaker 1>going with AI human creative endeavors in the future. Well, yeah, Robert,

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<v Speaker 1>I don't know exactly how this UH meshes with your thinking,

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<v Speaker 1>but it seems to me unlikely that at any point

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<v Speaker 1>and even the middle distant future that AI is going

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<v Speaker 1>to be able to write stories that are truly compelling

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<v Speaker 1>from beginning to end in a way that you know,

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<v Speaker 1>would be like the stories humans could tell. But I

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<v Speaker 1>can certainly see how they could be a tool for

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<v Speaker 1>human writers. There's sort of a way of generating interesting

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<v Speaker 1>ideas that can fuel the real creativity that takes place

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<v Speaker 1>in the human brain. Yeah, yeah, it's it'll probably what's

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<v Speaker 1>the name of the little paper clip that used to

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<v Speaker 1>pop up on computers clippy clippy like clip, you will

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<v Speaker 1>pop up and instead of saying, oh, I see your

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<v Speaker 1>writing a letter, and be like, oh, I see your

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<v Speaker 1>writing a sci fi thriller involving robots and pets. I

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<v Speaker 1>have a few few ideas for how we might devolve

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<v Speaker 1>the plot. Yeah, I see that your story has an

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<v Speaker 1>infinite book. Would you like to have your protagonists lose

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<v Speaker 1>their soul? Absolutely? All right? Well, you know next we're

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<v Speaker 1>gonna we're gonna get into some leftovers, and you know

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<v Speaker 1>what's better when it comes to leftovers than beans uh.

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<v Speaker 1>This is a response to our Vault episode on beans uh.

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<v Speaker 1>This is a fun exploration in which we we got

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<v Speaker 1>to really get into some of like the supernatural ideas

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<v Speaker 1>around beans uh continues to fascinate me. But this is

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<v Speaker 1>what ghost Rock had to say. Hello Robert and Joe.

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<v Speaker 1>Longtime listener, first time emailer. Thank you to you and

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<v Speaker 1>your whole team for the excellent podcast. I love thinking

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<v Speaker 1>about the topics you've talked about in ways I had

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<v Speaker 1>never considered, as well as just the sheer fun of

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<v Speaker 1>your lighthearted approach. On listening to the rebroadcast or re

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<v Speaker 1>podcast of reconsider the Being Part two, a funny memory

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<v Speaker 1>resurfaced in my brain. Many years ago. David Letterman had

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<v Speaker 1>a daytime talk show predating the late night TV show.

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<v Speaker 1>Wow that Yeah, that would have been many years ago

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<v Speaker 1>for sure. For some reason, yeah, yeah, for some reason.

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<v Speaker 1>The only memory I have of it was an ad

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<v Speaker 1>for the show featuring a fake cooking segment, and it

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<v Speaker 1>went something like this, Today I'm cooking with David Letterman.

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<v Speaker 1>I'll show you how to make three bean salad with

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<v Speaker 1>only one kind of being and magic markers. Thanks again

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<v Speaker 1>for all you do and keep up the good work.

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<v Speaker 1>Ghost Rock. I've never seen this show, but that sounds

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<v Speaker 1>funny because who doesn't want to taste a magic marker?

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<v Speaker 1>You know your kids all have that experience. You're sitting there,

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<v Speaker 1>You're looking at the colors. You're like, these markers have

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<v Speaker 1>different colors, just like skittles have different colors, and the

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<v Speaker 1>different colors on the skittles are flavors, So the markers

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<v Speaker 1>must have flavors too, right, It's it's logic. Well, this

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<v Speaker 1>implies to there's really no taste difference in the beans

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<v Speaker 1>that say business like Rancho Gordo is just one guy

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<v Speaker 1>with a magic mark with a few different magic markers

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<v Speaker 1>and one type of bean, and and he's just coloring

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<v Speaker 1>them with different markers and sending them out as different varieties.

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<v Speaker 1>This actually got me thinking about something, the three beans

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<v Speaker 1>salad joke. I was talking to Rachel about this before

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<v Speaker 1>we recorded. Uh. I must admit that as much as

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<v Speaker 1>I respect beans and I love beans, I enjoy eating them,

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<v Speaker 1>I find the phrase three beans salad immensely unappealing. And

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<v Speaker 1>perhaps this is related to the fact that I also

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<v Speaker 1>love pasta, but generally experienced revulsion that the idea of

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<v Speaker 1>pasta salad and just personal preference. If you like these things,

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<v Speaker 1>that's great, but for me, like there are some things

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<v Speaker 1>that work great tossed in a vitigrette, and served cold.

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<v Speaker 1>And those things do not include feusily noodles and kidney beans. Well,

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<v Speaker 1>I have to agree to disagree. I do love a

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<v Speaker 1>good bean salad. I love a good pasta salad. I

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<v Speaker 1>guess three beans salad. It also kind of implies there

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<v Speaker 1>just three beans in there, which which is also not accurate.

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<v Speaker 1>I think it's often like, I don't know, it's like

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<v Speaker 1>green beans. That's a little misleading, even though it is

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<v Speaker 1>the same species. That's still your old fazziolist. That's just

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<v Speaker 1>you know, without being shocked from the contato. Yeah, so

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<v Speaker 1>fresh green beans. And then I think usually kidney beans

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<v Speaker 1>and one other thing I don't know, candellini beans or something,

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<v Speaker 1>but I don't know. Again, I love beans, but I

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<v Speaker 1>think when they're cold that they have a kind of

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<v Speaker 1>more um merely kind of crystallized starch texture that I

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<v Speaker 1>do not enjoy as much as I enjoy the creamy

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<v Speaker 1>texture of a hot bean. That's my take. All right, Well,

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<v Speaker 1>let's move along. Looks like we have a little bit

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<v Speaker 1>of weird house cinema correspondents to get into here. Yeah,

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<v Speaker 1>let's see. Oh well, so before we get the weird

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<v Speaker 1>house cinema, there's one that's about previous listener mail, but

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<v Speaker 1>then sort of trending in the weird house direction. So

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<v Speaker 1>this concerns the previous listener mail about local horror hosts.

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<v Speaker 1>Remember the talk was about, you know, they used to

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<v Speaker 1>show like old horror movies on TV and it wouldn't

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<v Speaker 1>be just the movie. You'd have Al Lewis or Al

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<v Speaker 1>Elvira or somebody there like introducing the parts of the movie,

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<v Speaker 1>making jokes about it, doing the commercial breaks and so forth.

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<v Speaker 1>And and we were talking about the you know, distinct

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<v Speaker 1>pleasures of watching a movie that way, especially wanting to

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<v Speaker 1>find out about all the local media market horror hosts

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<v Speaker 1>that were less familiar with uh So here we heard

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<v Speaker 1>from Pat. Pat says enjoyed the listener mail today. I

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<v Speaker 1>got the impression you were unaware of the quote shock

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<v Speaker 1>package sold to local television stations by screen Jim's in

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<v Speaker 1>the late fifties. The horror hosts you mentioned were in

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<v Speaker 1>many cities. Mine was Zacherle, So I looked up Zacharly.

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<v Speaker 1>I was not previously familiar. I think this is somebody

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<v Speaker 1>named John Zacherley who did work as a horror host

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<v Speaker 1>but also had like a horror comedy novelty rock and

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<v Speaker 1>roll songs from the fifties, including one called a Dinner

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<v Speaker 1>with Drack in ninety eight. Rob, I think we should

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<v Speaker 1>listen to that for a moment and then comment on

0:10:37.440 --> 0:10:44.880
<v Speaker 1>it or dessert there was batwing confetti and the veins

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<v Speaker 1>of a mommy named Betty. I first frowned upon it,

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<v Speaker 1>but catch up on it. It tasted very much like spaghetti.

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<v Speaker 1>I just want to point out that Dinner with Drack

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<v Speaker 1>does predate the Monster Ash, so if one is a

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<v Speaker 1>rip off of the other, it's it's Monster Mash that

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<v Speaker 1>came later. Yeah. It definitely lands in the expected zone

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<v Speaker 1>for what novelty hard track should be. But it's pretty

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<v Speaker 1>fun too. It has like a little bit of um

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<v Speaker 1>what a screening Jay Hawkins kind of vibe to it

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<v Speaker 1>without being that outlandish and bad in your face. Yeah,

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<v Speaker 1>it's got a real ripping saxophone lead. Uh, and the

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<v Speaker 1>lyrics are like we I was dining with Drack at

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<v Speaker 1>his house by the sea, and but I choked on

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<v Speaker 1>my wine when I discovered the main course was me classic, classic, good, good,

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<v Speaker 1>but not quite as good as lay Law as monster rapping.

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<v Speaker 1>Is that the first time we've mentioned Monster rapping on

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<v Speaker 1>the show Monster Rapping. Uh, No, we definitely talked we've

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<v Speaker 1>I think we've talked about it a little bit, um

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<v Speaker 1>Monsters wrapping, the crypt Keeper rap and so forth group

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<v Speaker 1>Keeper jam. Was it? No? No, no, the song Monster Rapping?

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<v Speaker 1>Remember the law a Monster rapping? Oh, the one that

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<v Speaker 1>is a very early dr dre worked on. Yeah. I

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<v Speaker 1>don't think we've talked about it on the show, have we?

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<v Speaker 1>But Oh, that's a that's an obscure but wonderful track

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<v Speaker 1>that everyone should, well not everyone, some people should look

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<v Speaker 1>up if you want, you know, everyone should. It's awesome

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<v Speaker 1>lay law l A y l a W Monster Wrapping.

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<v Speaker 1>It's beautiful, it is, it's it's one of the best

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<v Speaker 1>novelty Halloween tracks you could possibly find. Oh anyway, But

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<v Speaker 1>to finish Pat's message about the shock package sold by

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<v Speaker 1>screen Gems in the late fifties, um Pat says the

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<v Speaker 1>package included many of the Universal Studios classic monsters. My

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<v Speaker 1>family made a Saturday night for many years with these movies. Hey,

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<v Speaker 1>that's good family time. Often the print was very bad,

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<v Speaker 1>poor sound, crazy edits scratches. When these films were remastered,

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<v Speaker 1>many seemed like a new film. Thanks again, Pat. Yeah, yeah,

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<v Speaker 1>thanks for pointing this out. Yeah, the Shock Theater or

0:13:01.080 --> 0:13:07.200
<v Speaker 1>Shock package a bunch of what pre nineteen horror films

0:13:07.679 --> 0:13:09.360
<v Speaker 1>and you can pull up a list of these online.

0:13:09.600 --> 0:13:12.079
<v Speaker 1>There's a wicky about them. Uh yeah, some great stuff

0:13:12.120 --> 0:13:14.000
<v Speaker 1>on that list. I don't know the whole story that.

0:13:14.080 --> 0:13:15.800
<v Speaker 1>It makes me wonder, like, did they send out a

0:13:16.679 --> 0:13:21.040
<v Speaker 1>like a a daytime horror host kit. Uh, They're like,

0:13:21.080 --> 0:13:23.360
<v Speaker 1>you're gonna have to develop your own host. We can't

0:13:23.400 --> 0:13:26.679
<v Speaker 1>supply that. Here are some useful props to consider. Here

0:13:26.760 --> 0:13:31.040
<v Speaker 1>is some Google makeup to put on. Somebody. Find someone

0:13:31.080 --> 0:13:38.760
<v Speaker 1>in your organization that can do this. All right, here's

0:13:38.760 --> 0:13:41.400
<v Speaker 1>another one that someone comes to us from Jason. Jason says, Hi,

0:13:41.480 --> 0:13:44.360
<v Speaker 1>guys love the podcast, particularly the Weird House Cinema episodes.

0:13:44.800 --> 0:13:48.000
<v Speaker 1>I thought your review of Robot Jocks was great and

0:13:48.040 --> 0:13:50.000
<v Speaker 1>wanted to let you know I saw this film in

0:13:50.040 --> 0:13:52.680
<v Speaker 1>the theater at least half a dozen times in my

0:13:52.760 --> 0:13:56.320
<v Speaker 1>early teens. Yes, I was a total nerd, and I

0:13:56.400 --> 0:13:59.439
<v Speaker 1>don't regret it for a minute. I was surprised, though,

0:13:59.480 --> 0:14:02.720
<v Speaker 1>that you didn't mention Gary Graham appearing in Star Trek

0:14:02.920 --> 0:14:06.080
<v Speaker 1>Enterprise alongside one of the greatest ever wait for it,

0:14:06.280 --> 0:14:10.280
<v Speaker 1>the one and only Jeffrey Combs playing an and Dorian

0:14:10.400 --> 0:14:14.160
<v Speaker 1>commander with one broken antenna, which was never explained. Of course,

0:14:15.040 --> 0:14:19.080
<v Speaker 1>Mr Combs is absolutely one of the most underrated actors ever,

0:14:19.160 --> 0:14:20.880
<v Speaker 1>and if you were a fan, you should buy all

0:14:20.920 --> 0:14:24.680
<v Speaker 1>means check out the Justice League Unlimited animated series where

0:14:24.680 --> 0:14:27.880
<v Speaker 1>he does the voice of the question a hardcore conspiracy

0:14:27.920 --> 0:14:31.520
<v Speaker 1>theorist who holds nothing back. Hearing him explain that the

0:14:31.600 --> 0:14:35.160
<v Speaker 1>plastic tips of shoelaces are called aglets and that they

0:14:35.200 --> 0:14:38.440
<v Speaker 1>serve quote a far more sinister purpose is pure gold.

0:14:38.920 --> 0:14:41.000
<v Speaker 1>Thanks again for all the great content you put out there,

0:14:41.000 --> 0:14:43.720
<v Speaker 1>and keep up the good work, Jason ps. Including this

0:14:43.760 --> 0:14:47.160
<v Speaker 1>pick that I thought Robert would enjoy, and it is

0:14:47.360 --> 0:14:52.440
<v Speaker 1>uh a trio of images. We have the Enterprise here,

0:14:52.560 --> 0:14:54.240
<v Speaker 1>the U. S. S Enterprise, and it's as faster than

0:14:54.320 --> 0:14:57.880
<v Speaker 1>light travel in fiction. Uh, Star Trek we use warp engines,

0:14:57.920 --> 0:15:00.560
<v Speaker 1>and then we see a star Destroyer to the Star

0:15:00.600 --> 0:15:03.400
<v Speaker 1>Wars we use hyper drives, and then we see a

0:15:03.440 --> 0:15:06.960
<v Speaker 1>ship from Warhammer forty thousand and it says, uh, we

0:15:07.000 --> 0:15:09.800
<v Speaker 1>traveled through Hell, which is true. That's that's how they

0:15:09.880 --> 0:15:13.440
<v Speaker 1>got to get around. Basically that I think that's come

0:15:13.520 --> 0:15:15.680
<v Speaker 1>up on the show before because we commented that must

0:15:15.720 --> 0:15:18.840
<v Speaker 1>have been the inspiration for Event Horizon. Yeah. Yeah, a

0:15:18.840 --> 0:15:21.320
<v Speaker 1>lot of people have have connected those two, and again

0:15:21.360 --> 0:15:26.360
<v Speaker 1>Event Horizon was not shy about taking, uh, borrowing ideas

0:15:26.360 --> 0:15:30.320
<v Speaker 1>from other properties and sort of stitching together into into

0:15:30.440 --> 0:15:32.600
<v Speaker 1>into the movie. Um, so yeah, they might have. They

0:15:32.640 --> 0:15:35.640
<v Speaker 1>might very well have been inspired by by Warhammer to

0:15:35.720 --> 0:15:38.240
<v Speaker 1>create their what turned out to be a hell Drive

0:15:38.400 --> 0:15:41.120
<v Speaker 1>in that movie. So I've never heard of this DC

0:15:41.320 --> 0:15:43.920
<v Speaker 1>character the question before this is the one that was

0:15:44.120 --> 0:15:47.400
<v Speaker 1>voiced by Jeffrey Combs in the cartoon. But that sounds

0:15:47.400 --> 0:15:49.920
<v Speaker 1>like a great idea. I've always thought we should have

0:15:50.040 --> 0:15:56.200
<v Speaker 1>a superhero version of Dale Gribble. Yeah. I wasn't failiar

0:15:56.280 --> 0:15:58.360
<v Speaker 1>with this guy either, but I even I mean, DC

0:15:58.480 --> 0:16:00.640
<v Speaker 1>has been around for so long. Yeah, they a rich

0:16:00.760 --> 0:16:04.800
<v Speaker 1>rogues gallery. Uh and then they're always getting retooled and

0:16:04.880 --> 0:16:09.760
<v Speaker 1>rediscovered and recreated to uh to to to to re

0:16:09.880 --> 0:16:14.520
<v Speaker 1>debut in comics and in comic book related properties. But

0:16:14.560 --> 0:16:18.560
<v Speaker 1>I agree Jeffrey Combs, there's nothing like a Jeffrey Combs performance.

0:16:18.600 --> 0:16:22.640
<v Speaker 1>I guess um he was in The Giver. Remember he

0:16:22.680 --> 0:16:26.240
<v Speaker 1>shows at the very end as the scientist who's doing

0:16:26.280 --> 0:16:29.200
<v Speaker 1>some kind of unethical experiment. Then he suddenly turns into

0:16:29.200 --> 0:16:31.320
<v Speaker 1>one of the big jiggling monsters, and then I think

0:16:31.360 --> 0:16:38.160
<v Speaker 1>it's uh disemboweled because the mcguffin gets thrown down his mouth. Yeah,

0:16:38.160 --> 0:16:41.080
<v Speaker 1>we haven't watched a pure Jeffrey Combs movie yet, like

0:16:41.120 --> 0:16:44.640
<v Speaker 1>something in which he stars, So I don't know. I

0:16:44.640 --> 0:16:46.440
<v Speaker 1>don't know if there there's one out there that would

0:16:46.480 --> 0:16:48.520
<v Speaker 1>be the right fit. Well, I don't think it's a

0:16:48.520 --> 0:16:50.800
<v Speaker 1>good movie at all, but I just do want to

0:16:50.840 --> 0:16:54.440
<v Speaker 1>remind you that the third Reanimator movie is the one

0:16:54.480 --> 0:16:57.720
<v Speaker 1>with that techno that euro disco song in it where

0:16:57.720 --> 0:17:03.000
<v Speaker 1>the chorus is reanimate your feet. Oh yes, yes, all right, Well,

0:17:03.000 --> 0:17:04.920
<v Speaker 1>on that note, we're gonna go ahead and close out.

0:17:05.560 --> 0:17:07.119
<v Speaker 1>But if we'd love to hear from everyone out there,

0:17:07.119 --> 0:17:09.000
<v Speaker 1>if you have responses to any of the listener mails

0:17:09.000 --> 0:17:14.840
<v Speaker 1>in this episode, right in, if you have responses to oh, current, past,

0:17:15.080 --> 0:17:17.840
<v Speaker 1>future episodes of Stuff to Blow your Mind, a Weird

0:17:17.880 --> 0:17:20.560
<v Speaker 1>how cinema, right in, we'd love to hear from you.

0:17:20.880 --> 0:17:22.960
<v Speaker 1>In the meantime, you'll find core episodes of the show

0:17:22.960 --> 0:17:24.760
<v Speaker 1>on Tuesdays and Thursdays, and the Stuff to Blow your

0:17:24.760 --> 0:17:28.120
<v Speaker 1>Mind podcast feed on Wednesday's We Do Short Form artifact

0:17:28.240 --> 0:17:30.840
<v Speaker 1>or monster Fact on Monday's We Do Listener mail, and

0:17:30.880 --> 0:17:33.600
<v Speaker 1>on Fridays we set aside most serious concerns to just

0:17:33.640 --> 0:17:36.280
<v Speaker 1>talk about a weird film. Huge thanks, as always to

0:17:36.280 --> 0:17:39.720
<v Speaker 1>our excellent audio producer Seth Nicholas Johnson. If you would

0:17:39.760 --> 0:17:41.960
<v Speaker 1>like to get in touch with us with feedback on

0:17:42.000 --> 0:17:44.720
<v Speaker 1>this episode or any other, to suggest a topic for

0:17:44.720 --> 0:17:46.959
<v Speaker 1>the future, or just to say hello, you can email

0:17:47.040 --> 0:17:57.359
<v Speaker 1>us at contact at stuff to Blow your Mind dot com.

0:17:57.480 --> 0:17:59.920
<v Speaker 1>Stuff to Blow Your Mind. It's production of I Heart Radio.

0:18:00.320 --> 0:18:02.480
<v Speaker 1>For more podcasts for my heart Radio, visit the i

0:18:02.520 --> 0:18:05.320
<v Speaker 1>heart Radio app, Apple Podcasts, or wherever you listen to

0:18:05.359 --> 0:18:06.159
<v Speaker 1>your favorite shows.