1 00:00:03,040 --> 00:00:06,560 Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio. 2 00:00:10,360 --> 00:00:14,120 Speaker 2: Hey, welcome to Stuff to Blow your Mind listener Mail. 3 00:00:14,520 --> 00:00:15,520 Speaker 2: My name is Robert. 4 00:00:15,360 --> 00:00:18,680 Speaker 3: Lamb and I am Joe McCormick, and hey. It is 5 00:00:18,720 --> 00:00:22,800 Speaker 3: one of our classic end of Halloween season listener mail episodes. 6 00:00:22,800 --> 00:00:24,440 Speaker 3: We always kind of have to do some clean up 7 00:00:24,560 --> 00:00:25,800 Speaker 3: after October. 8 00:00:26,160 --> 00:00:28,440 Speaker 2: Whoa, whoa, whoa. I'm going to stop you right there, Joe. 9 00:00:29,040 --> 00:00:33,559 Speaker 2: October still going. Today is October thirty sixth Halloween is 10 00:00:33,600 --> 00:00:37,440 Speaker 2: still going strong. I refuse to hear any differently from 11 00:00:37,479 --> 00:00:40,240 Speaker 2: anyone out there keeping the Halloween train going. 12 00:00:41,080 --> 00:00:44,120 Speaker 3: Our mailbot Carney, of course, was tpeed by some neighborhood 13 00:00:44,159 --> 00:00:47,320 Speaker 3: kids on Halloween night and now and then got rained on. 14 00:00:47,560 --> 00:00:50,760 Speaker 3: So it's kind of a mess in here, but Carney's 15 00:00:50,760 --> 00:00:54,840 Speaker 3: getting cleaned up. And yeah, the Halloween messages keep rolling in, 16 00:00:54,920 --> 00:00:57,320 Speaker 3: so we'll feature some today and probably some more later 17 00:00:57,400 --> 00:00:57,840 Speaker 3: this month. 18 00:00:58,040 --> 00:01:00,680 Speaker 2: Yeah. Absolutely, So if you're listening to you're like, oh, yeah, 19 00:01:00,680 --> 00:01:02,680 Speaker 2: I meant to write in about that Halloween episode, but 20 00:01:02,720 --> 00:01:05,399 Speaker 2: now it's too late. It is not too late, keep them. 21 00:01:05,480 --> 00:01:09,200 Speaker 2: We will read Halloween listener mail episodes in December if 22 00:01:09,280 --> 00:01:12,400 Speaker 2: need be, so don't worry about that at all. 23 00:01:12,880 --> 00:01:14,760 Speaker 3: All right, Rob, do you mind if I kick things 24 00:01:14,760 --> 00:01:17,680 Speaker 3: off with this message from Matt about the Hogs of Hell. 25 00:01:18,080 --> 00:01:19,560 Speaker 2: Yeah, let's have it, okay. 26 00:01:19,600 --> 00:01:22,199 Speaker 3: Of course, Hogs of Hell was a series we did 27 00:01:22,560 --> 00:01:26,320 Speaker 3: about monster pigs that we got into some benevolent divine 28 00:01:26,360 --> 00:01:28,520 Speaker 3: pigs as well. But in the first episode of that 29 00:01:28,560 --> 00:01:32,400 Speaker 3: series we talked mostly about demonic pigs and pig monsters 30 00:01:32,400 --> 00:01:35,320 Speaker 3: from mythology and from horror movies. And then in the 31 00:01:35,360 --> 00:01:38,720 Speaker 3: second episode we talked about the Intela Daunts, which have 32 00:01:38,920 --> 00:01:41,960 Speaker 3: been in the popular press referred to as hell pigs. 33 00:01:42,319 --> 00:01:45,759 Speaker 3: These are mammals that first appeared in the Eocene Epic 34 00:01:45,840 --> 00:01:49,440 Speaker 3: and flourished in the subsequent epics, died out in the Miocene. 35 00:01:50,000 --> 00:01:52,720 Speaker 3: They're not actually pigs. We discovered in the end that 36 00:01:52,720 --> 00:01:56,559 Speaker 3: they're more closely related to whales and hippopotamuses, maybe making 37 00:01:56,560 --> 00:01:58,120 Speaker 3: them even more strange. But they have a lot of 38 00:01:58,160 --> 00:02:01,760 Speaker 3: pig like features. And in fact, over the weekend I 39 00:02:01,800 --> 00:02:05,000 Speaker 3: got to go to one of America's great museums. I 40 00:02:05,040 --> 00:02:09,400 Speaker 3: was at the Field Museum in Chicago, and I came 41 00:02:09,520 --> 00:02:15,320 Speaker 3: across an antilidant skull. The skull was massive, amazing, awe inspiring. 42 00:02:15,600 --> 00:02:19,520 Speaker 3: It had cheek flanges going out to you. You can't 43 00:02:19,520 --> 00:02:22,480 Speaker 3: imagine until you see it how far these cheekbones pop out. 44 00:02:22,960 --> 00:02:25,440 Speaker 3: I was thinking of them like outriggers on a canoe. 45 00:02:27,600 --> 00:02:30,640 Speaker 2: Yeah, it's quite an impressive specimen, and indeed, to your point, 46 00:02:30,760 --> 00:02:32,400 Speaker 2: such an amazing museum, one of the best. 47 00:02:32,880 --> 00:02:35,240 Speaker 3: Anyway. This first message is for Matt and it is 48 00:02:35,280 --> 00:02:44,840 Speaker 3: about hell hogs, subject line the Mucklocks. Good day, Rob 49 00:02:44,880 --> 00:02:48,919 Speaker 3: and Joe. Overjoyed to see you chatting about demon hoggs. 50 00:02:49,000 --> 00:02:50,959 Speaker 3: There's a case I wanted to share with you, which 51 00:02:51,000 --> 00:02:54,000 Speaker 3: I think is right up this particular street. The case 52 00:02:54,000 --> 00:02:59,680 Speaker 3: pertains to the Mucklocks in County Roscommon, Ireland. The Mucklocks 53 00:02:59,680 --> 00:03:04,760 Speaker 3: are earth in formations in an area called Rathkron. Specifically, 54 00:03:04,840 --> 00:03:08,520 Speaker 3: they are linear earthworks said to have been gouged from 55 00:03:08,560 --> 00:03:12,359 Speaker 3: the earth by a magical wild bore from the other 56 00:03:12,440 --> 00:03:16,560 Speaker 3: world muk being Gaelic for pig. The bore is said 57 00:03:16,560 --> 00:03:20,760 Speaker 3: to have leapt from the depths of Owenegat, also called 58 00:03:20,919 --> 00:03:24,040 Speaker 3: the Gate of Hell, and the Cave of the Cats, 59 00:03:24,360 --> 00:03:27,120 Speaker 3: which is fairly close by the Cave is one of 60 00:03:27,160 --> 00:03:31,560 Speaker 3: those wonderfully spooky but inconspicuous entrances to the fairy other world, 61 00:03:31,880 --> 00:03:34,760 Speaker 3: and itself said to be the physical home of the 62 00:03:34,880 --> 00:03:39,040 Speaker 3: Morrigan and one of, if not the most important places 63 00:03:39,080 --> 00:03:42,360 Speaker 3: pertaining to the origins of Sawen. I got to climb 64 00:03:42,440 --> 00:03:44,960 Speaker 3: into the cave with a local archaeologist a couple of 65 00:03:45,040 --> 00:03:48,640 Speaker 3: years back. It was pretty metal. For context, both of 66 00:03:48,680 --> 00:03:51,960 Speaker 3: these landscape features are set within a wider area, featuring 67 00:03:52,040 --> 00:03:55,520 Speaker 3: some two hundred and forty archaeological monuments in a six 68 00:03:55,600 --> 00:03:59,760 Speaker 3: kilometer square area. It is wild. I've attached a drone 69 00:03:59,760 --> 00:04:03,200 Speaker 3: in provided to me by the aforementioned archaeologist, so that 70 00:04:03,240 --> 00:04:05,560 Speaker 3: you can see what I mean. I will also attach 71 00:04:05,600 --> 00:04:09,520 Speaker 3: a photo from inside the cave, although you can't see much. Finally, 72 00:04:09,560 --> 00:04:11,680 Speaker 3: I wrote an article on the place and some of 73 00:04:11,720 --> 00:04:16,320 Speaker 3: the conservation efforts ongoing with local farmers and then folks. 74 00:04:16,360 --> 00:04:18,280 Speaker 3: If you want to look up Matt's article about this, 75 00:04:19,440 --> 00:04:21,480 Speaker 3: it is from April of this year and the article 76 00:04:21,680 --> 00:04:25,800 Speaker 3: is called how to Sustainably Farm on Ancient Monuments and 77 00:04:25,880 --> 00:04:29,279 Speaker 3: so the Matt's article is about the competing concerns of 78 00:04:29,400 --> 00:04:32,400 Speaker 3: the preservation of archaeological sites, many of which are just 79 00:04:32,520 --> 00:04:35,159 Speaker 3: earth and mounds. So it's not like Great Stoneworks, but 80 00:04:35,279 --> 00:04:38,040 Speaker 3: like the mound, the pile up of the earth is 81 00:04:38,120 --> 00:04:41,400 Speaker 3: the site, and then the grazing needs of local cattle 82 00:04:41,440 --> 00:04:42,400 Speaker 3: and sheep farmers. 83 00:04:43,320 --> 00:04:43,520 Speaker 2: Rob. 84 00:04:43,560 --> 00:04:45,640 Speaker 3: I've put the images that Matt attach with the email 85 00:04:45,680 --> 00:04:48,600 Speaker 3: and the outline for you to look at. Here the 86 00:04:48,640 --> 00:04:51,240 Speaker 3: mouth of the cave, well, actually I'm seeing two different things. 87 00:04:51,279 --> 00:04:53,080 Speaker 3: I think One is the mouth of the cave as 88 00:04:53,080 --> 00:04:56,320 Speaker 3: seen from the outside. There's daylight pouring in. It looks 89 00:04:56,440 --> 00:04:59,040 Speaker 3: a little bit spooky. But then there's this other thing 90 00:04:59,080 --> 00:05:01,040 Speaker 3: I believe a little bit are there down the cave 91 00:05:01,120 --> 00:05:04,799 Speaker 3: mouth that is just like the esophagus of a great 92 00:05:04,920 --> 00:05:05,720 Speaker 3: stone beast. 93 00:05:06,360 --> 00:05:10,359 Speaker 2: Yeah. Yeah, I would say that the outside image with 94 00:05:10,480 --> 00:05:14,280 Speaker 2: the greenery list looks like a still from the game Missed, 95 00:05:14,720 --> 00:05:18,719 Speaker 2: whereas the interior cavern image looks like something from Silent 96 00:05:18,800 --> 00:05:21,120 Speaker 2: Hill too. Totally good. 97 00:05:23,200 --> 00:05:26,240 Speaker 3: Matt finishes by saying, aside, this whole area is an 98 00:05:26,279 --> 00:05:30,520 Speaker 3: absolute treasure trove of stories both archaeological and folklorical, might 99 00:05:30,560 --> 00:05:33,600 Speaker 3: be worth exploring further. Thanks again for your time and 100 00:05:33,680 --> 00:05:36,760 Speaker 3: the show, Matt. Oh and then Matt also includes a 101 00:05:36,800 --> 00:05:40,680 Speaker 3: ps correcting something he said in an email a while 102 00:05:40,720 --> 00:05:43,640 Speaker 3: back that apparently we didn't catch. He says that he 103 00:05:43,680 --> 00:05:48,359 Speaker 3: wrote a note pertaining to clay and clay infrastructure. I 104 00:05:48,400 --> 00:05:50,520 Speaker 3: wonder if this was in the series we did on 105 00:05:50,640 --> 00:05:53,760 Speaker 3: mud where we ended up talking about mud brick construction. 106 00:05:55,520 --> 00:05:57,599 Speaker 3: That sounds right to me. But anyway, Matt goes on 107 00:05:57,680 --> 00:06:02,520 Speaker 3: to say, quote specifically old drainage tile in crop fields. 108 00:06:02,839 --> 00:06:05,280 Speaker 3: In this email, I mentioned that the old tiles were 109 00:06:05,279 --> 00:06:07,479 Speaker 3: fit together in just such a way that water could 110 00:06:07,520 --> 00:06:09,919 Speaker 3: get through to drain I don't know why I said that, 111 00:06:09,960 --> 00:06:12,880 Speaker 3: because it's wrong. The water enters the tiles through the 112 00:06:12,920 --> 00:06:18,200 Speaker 3: porous surface of the constructed clay material. Okay, so good job, 113 00:06:18,279 --> 00:06:21,880 Speaker 3: good job catching yourself on that mat. But also thank 114 00:06:21,920 --> 00:06:24,120 Speaker 3: you for the email. And yeah, this is really interesting. 115 00:06:24,200 --> 00:06:27,640 Speaker 3: I knew nothing about one got to the Gate to 116 00:06:27,720 --> 00:06:29,640 Speaker 3: Hell or the Cave of Cats, So I'm gonna have 117 00:06:29,680 --> 00:06:31,520 Speaker 3: to look that up, learn more about it, and maybe 118 00:06:31,520 --> 00:06:32,599 Speaker 3: it will come back on the show. 119 00:06:33,520 --> 00:06:38,039 Speaker 2: Yeah. Yeah, And this is exactly the sort of local 120 00:06:38,080 --> 00:06:42,440 Speaker 2: detail and personal experience or expertise that we love to 121 00:06:42,480 --> 00:06:45,080 Speaker 2: see in a listener mail. So this is great. Thanks 122 00:06:45,080 --> 00:06:49,600 Speaker 2: for sending all this all right, This next one comes 123 00:06:49,600 --> 00:06:52,680 Speaker 2: to us from Lindsey. The title the email is hell 124 00:06:52,760 --> 00:06:54,919 Speaker 2: Hogs and Avelina's for Halloween. 125 00:06:56,160 --> 00:06:57,880 Speaker 3: Oh, that's right, And this sort of has to do 126 00:06:57,960 --> 00:07:00,040 Speaker 3: with At the end of the series, we were talking 127 00:07:00,040 --> 00:07:02,760 Speaker 3: a bit about the difference between wild pigs and pekearees. 128 00:07:03,040 --> 00:07:06,760 Speaker 3: They're very similar pecrees or different families of mammals, but 129 00:07:06,800 --> 00:07:08,039 Speaker 3: they look very pig like. 130 00:07:08,560 --> 00:07:13,800 Speaker 2: Yeah, all right, and I'm reading this. There's almost a 131 00:07:13,920 --> 00:07:16,720 Speaker 2: cowboy song cadence to this particular email, but I'm not 132 00:07:16,720 --> 00:07:18,400 Speaker 2: going to try and sing it as a cowboy song. 133 00:07:18,480 --> 00:07:27,320 Speaker 2: But okay, at any rate, Robert and Joe. Out here 134 00:07:27,360 --> 00:07:30,520 Speaker 2: in far West Texas, we have havelinas and in wetter 135 00:07:30,640 --> 00:07:34,920 Speaker 2: zones with more coverage, feral hogs. Faral hogs are far 136 00:07:35,000 --> 00:07:38,280 Speaker 2: more destructive and could be a potential threat. Have Alinas 137 00:07:38,280 --> 00:07:41,600 Speaker 2: are about knee high and are far more curious than aggressive, 138 00:07:42,120 --> 00:07:44,880 Speaker 2: while the haveolinas are permanent residents. We tend to see 139 00:07:44,880 --> 00:07:47,160 Speaker 2: them moving up and down our hill in the spring 140 00:07:47,240 --> 00:07:50,440 Speaker 2: and fall. It lacks precision, but we often talk about 141 00:07:50,560 --> 00:07:53,440 Speaker 2: change of seasons when they come through. What they have 142 00:07:53,520 --> 00:07:56,440 Speaker 2: taken to is coming down the hill, walking halfway around 143 00:07:56,480 --> 00:07:59,120 Speaker 2: the house on a wood porch, then jumping down four 144 00:07:59,160 --> 00:08:02,520 Speaker 2: feet off the end, and where they continue down the hill. 145 00:08:02,640 --> 00:08:05,040 Speaker 2: For some reason, they like doing it very early in 146 00:08:05,080 --> 00:08:08,200 Speaker 2: the morning. I refer to it as the devil's hoof 147 00:08:08,240 --> 00:08:12,160 Speaker 2: beats going to see the neighbors. Not that we're so angelic, 148 00:08:12,320 --> 00:08:15,560 Speaker 2: We're just dull, just part of life out here, like 149 00:08:15,600 --> 00:08:18,600 Speaker 2: the midsummer mule deer bucks that sleep under the front 150 00:08:18,600 --> 00:08:22,000 Speaker 2: porch in the middle of the day. Happy bat Week, y'all, 151 00:08:22,080 --> 00:08:25,040 Speaker 2: Lindsey and I had to look this up. Yes, that 152 00:08:25,200 --> 00:08:28,480 Speaker 2: week is indeed October twenty fourth through the thirty first. 153 00:08:29,000 --> 00:08:31,080 Speaker 2: I don't think we've ever celebrated on the show before. 154 00:08:31,120 --> 00:08:33,520 Speaker 2: Maybe we should do that next year. We're ginerally just 155 00:08:33,720 --> 00:08:37,040 Speaker 2: distracted with all the Halloween shenan against. But if you 156 00:08:37,040 --> 00:08:39,560 Speaker 2: want to learn more about bat Week, go to batweek 157 00:08:39,679 --> 00:08:40,199 Speaker 2: dot org. 158 00:08:40,760 --> 00:08:42,640 Speaker 3: Now, I actually did want to bring up something I 159 00:08:42,679 --> 00:08:45,880 Speaker 3: remember about Halina's from when I was in West Texas. 160 00:08:45,920 --> 00:08:47,800 Speaker 3: There was a one time my wife and I went 161 00:08:47,840 --> 00:08:50,920 Speaker 3: to visit some family who were working in Big beIN 162 00:08:51,040 --> 00:08:54,760 Speaker 3: National Park in West Texas and Big Ben by the way, 163 00:08:55,000 --> 00:08:56,320 Speaker 3: if you ever get a chance to go there, it 164 00:08:56,400 --> 00:09:00,280 Speaker 3: is a beautiful area of the Chisos Mountains and the 165 00:09:00,720 --> 00:09:03,200 Speaker 3: desert there. I did not realize that I was a 166 00:09:03,240 --> 00:09:05,280 Speaker 3: fan of the desert until I went to Big Bend, 167 00:09:05,320 --> 00:09:09,280 Speaker 3: and it's a really amazing place. But there are havelinas 168 00:09:09,320 --> 00:09:12,319 Speaker 3: out there. There are these wild pig like animals. And 169 00:09:12,760 --> 00:09:15,160 Speaker 3: if you think that they are not as threatening or 170 00:09:15,200 --> 00:09:18,720 Speaker 3: as metal as wild pigs, maybe they're not, I don't know, 171 00:09:18,760 --> 00:09:23,000 Speaker 3: as aggressive. Maybe they're more curious and cue. But they 172 00:09:23,040 --> 00:09:26,959 Speaker 3: do eat the scariest looking cactuses you have ever seen. 173 00:09:27,040 --> 00:09:29,680 Speaker 3: So like, you'll look at a cactus and not only 174 00:09:29,720 --> 00:09:31,160 Speaker 3: do you not want to touch it, you don't want 175 00:09:31,200 --> 00:09:34,080 Speaker 3: to get within ten feet of it. The spines are 176 00:09:34,120 --> 00:09:37,760 Speaker 3: just unreal and the and as so like prickly pears 177 00:09:38,000 --> 00:09:40,840 Speaker 3: and cactus, these little pig like animals will just walk 178 00:09:40,920 --> 00:09:42,640 Speaker 3: right up to them and just chomp them up. It 179 00:09:42,679 --> 00:09:44,040 Speaker 3: goes straight into the mouth. 180 00:09:44,720 --> 00:09:47,319 Speaker 2: Yeah. Yeah, it's quite impressive. And you know, I don't know, 181 00:09:47,360 --> 00:09:48,599 Speaker 2: you look at one and they kind of look like 182 00:09:48,640 --> 00:09:51,280 Speaker 2: they're half cactus anyways, So yeah, I guess it all 183 00:09:51,320 --> 00:09:51,839 Speaker 2: makes sense. 184 00:09:52,400 --> 00:09:54,080 Speaker 3: I don't even know how that works. Maybe we'll have 185 00:09:54,120 --> 00:09:56,120 Speaker 3: to research this one day, but I feel like I 186 00:09:56,120 --> 00:09:58,800 Speaker 3: could no more like eat a box of nails than 187 00:09:58,840 --> 00:10:00,880 Speaker 3: eat one of these things. And they just chew them 188 00:10:00,960 --> 00:10:01,319 Speaker 3: right up. 189 00:10:01,679 --> 00:10:03,760 Speaker 2: Yeah, yeah, that would be interesting to do. With their 190 00:10:04,040 --> 00:10:07,560 Speaker 2: various robust digestive systems of the natural world that we 191 00:10:07,600 --> 00:10:11,000 Speaker 2: could consider for sure. But anyway, Lindsey, thanks for riding 192 00:10:11,000 --> 00:10:13,439 Speaker 2: in from the desert. This is great all right. 193 00:10:13,480 --> 00:10:16,360 Speaker 3: Still on the subject of hogs from Hell, this message 194 00:10:16,360 --> 00:10:24,840 Speaker 3: is from Jeff. Jeff says, greetings, Rob and Joe. I 195 00:10:24,880 --> 00:10:28,960 Speaker 3: can't think about pigs in film without thinking of Haiau Miyazaki. 196 00:10:29,360 --> 00:10:33,320 Speaker 3: For some reason, Miyazaki often draws himself as a pig, 197 00:10:33,679 --> 00:10:35,920 Speaker 3: and the inclusion of pigs in so many of his 198 00:10:36,040 --> 00:10:41,040 Speaker 3: movies seems to be his version of Hitchcock's cameos. Of course, 199 00:10:41,080 --> 00:10:44,120 Speaker 3: there is Porco Rosso and Rob. I haven't actually seen 200 00:10:44,160 --> 00:10:45,000 Speaker 3: that one, have you? 201 00:10:45,320 --> 00:10:47,600 Speaker 2: Yeah, yeah, Porko Rosso. I remember it as being good. 202 00:10:47,600 --> 00:10:50,520 Speaker 2: It's not one of my favorite Miyazaki films, but like, 203 00:10:50,960 --> 00:10:52,720 Speaker 2: it's not like any of them are bad or anything. 204 00:10:52,760 --> 00:10:55,680 Speaker 2: It's got a lot of you know, old timey fighter 205 00:10:55,679 --> 00:10:58,160 Speaker 2: planes in it and all, and have memory serves. Michael 206 00:10:58,240 --> 00:11:03,920 Speaker 2: Keaton voices pork Rosso in the dubbed version. 207 00:11:04,160 --> 00:11:06,959 Speaker 3: Yeah, but it's like an anthropomorphic pig who is a 208 00:11:07,440 --> 00:11:11,160 Speaker 3: pilot of a sort of World War One style fighter biplane. 209 00:11:11,440 --> 00:11:12,400 Speaker 2: Yeah, yeah, that's right. 210 00:11:13,440 --> 00:11:16,959 Speaker 3: Okay, So there is pork Rosso, But then Jeff goes 211 00:11:17,000 --> 00:11:20,280 Speaker 3: on to say, but on the Halloween frequency, there is Nago, 212 00:11:20,440 --> 00:11:25,000 Speaker 3: the infected bore god from Princess Mononoke, and the trauma 213 00:11:25,040 --> 00:11:29,080 Speaker 3: inducing scene from Spirited Away in which Chihiro's parents turn 214 00:11:29,200 --> 00:11:30,080 Speaker 3: into hogs. 215 00:11:30,520 --> 00:11:32,840 Speaker 2: Yeah, keep that one on your mind, because we're going 216 00:11:32,920 --> 00:11:36,240 Speaker 2: to be talking about Spirited Away this Friday on Weird 217 00:11:36,280 --> 00:11:39,559 Speaker 2: House Cinema. So today October the thirty sixth, if you 218 00:11:39,640 --> 00:11:43,160 Speaker 2: need something a little light but also a little scary 219 00:11:43,200 --> 00:11:46,400 Speaker 2: in places to distract you from whatever's going on in 220 00:11:46,440 --> 00:11:49,079 Speaker 2: your life of the world, fire up a copy of 221 00:11:49,120 --> 00:11:51,760 Speaker 2: Spirited Away. So it's a tremendous film. 222 00:11:52,040 --> 00:11:54,840 Speaker 3: Jeff goes on to say. Another image that jumps to 223 00:11:54,920 --> 00:11:59,200 Speaker 3: mind is the insanely creepy pig meme gif sampled from 224 00:11:59,240 --> 00:12:03,200 Speaker 3: the nineteen oherent In film like Cochon danser Rob. I 225 00:12:03,240 --> 00:12:05,600 Speaker 3: had to pull this up because I wasn't sure exactly 226 00:12:05,640 --> 00:12:07,400 Speaker 3: what it was referring to. But when I found it, 227 00:12:07,400 --> 00:12:09,120 Speaker 3: I was like, oh, yeah, this thing. I've seen this 228 00:12:09,200 --> 00:12:12,200 Speaker 3: on the internet. So it is a common gift used 229 00:12:12,280 --> 00:12:17,120 Speaker 3: to I don't know, just triggered like intense revulsion and fear. 230 00:12:17,800 --> 00:12:21,680 Speaker 3: It is of a man in a very well animated 231 00:12:21,800 --> 00:12:25,480 Speaker 3: pig mask in a black and white film with scary teeth, 232 00:12:25,640 --> 00:12:29,640 Speaker 3: you know, the long pig nose, snout, and it's so 233 00:12:29,679 --> 00:12:31,920 Speaker 3: it's like a person in a costume, but it's also 234 00:12:31,960 --> 00:12:35,400 Speaker 3: a very articulated piece of puppetry on the skull of 235 00:12:35,400 --> 00:12:38,760 Speaker 3: the costume. The mouth opens and closes, the tongue wags 236 00:12:38,760 --> 00:12:43,079 Speaker 3: and lashes out, and I was like, what is this from? Well, 237 00:12:43,120 --> 00:12:46,000 Speaker 3: I looked up like coshan danceer. So it is a 238 00:12:46,080 --> 00:12:49,160 Speaker 3: nineteen oh seven film that's like four or five minutes 239 00:12:49,240 --> 00:12:54,720 Speaker 3: long that is capturing something that was a popular stage performance. 240 00:12:54,760 --> 00:12:59,280 Speaker 3: I think a vaudeville performance in which a person in 241 00:12:59,400 --> 00:13:04,280 Speaker 3: a large pig costume with this puppet head pesters a 242 00:13:04,360 --> 00:13:07,360 Speaker 3: woman who first is trying to she's trying to have 243 00:13:07,400 --> 00:13:09,960 Speaker 3: a picnic. I think, like she's eating some food and 244 00:13:10,000 --> 00:13:12,760 Speaker 3: the pig guy in a suit is he's in a tuxedo. 245 00:13:12,880 --> 00:13:14,680 Speaker 3: He's like, hey, give me some of that food, and 246 00:13:14,720 --> 00:13:16,200 Speaker 3: he keeps trying to get the food from her, and 247 00:13:16,240 --> 00:13:18,840 Speaker 3: she's like, no, leave me alone. And then eventually she 248 00:13:19,160 --> 00:13:22,360 Speaker 3: rips the the pig man's clothes off and then the 249 00:13:22,400 --> 00:13:25,840 Speaker 3: pig looks humiliated and embarrassed, and then the pig man 250 00:13:25,960 --> 00:13:28,640 Speaker 3: and the woman suddenly all is well, and then they 251 00:13:28,679 --> 00:13:30,600 Speaker 3: just do a dance number that goes on for most 252 00:13:30,640 --> 00:13:31,720 Speaker 3: of the runtime of the film. 253 00:13:33,360 --> 00:13:35,400 Speaker 2: Yeah, yeah, this is this is one that I've seen 254 00:13:35,440 --> 00:13:40,640 Speaker 2: clips off before. It's quite it's it's it's amazing from 255 00:13:40,640 --> 00:13:44,120 Speaker 2: a you know, a technical standpoint. I remember showing this 256 00:13:44,760 --> 00:13:47,800 Speaker 2: to a friend of mine who is a puppeteer and 257 00:13:47,840 --> 00:13:50,920 Speaker 2: a fabricator, and yeah, he was really impressed with it. 258 00:13:51,040 --> 00:13:54,440 Speaker 2: He was like, yeah, they really did this upright. There's 259 00:13:54,480 --> 00:13:57,160 Speaker 2: also a colorized version of it out there that somehow 260 00:13:57,200 --> 00:13:59,520 Speaker 2: is even creepier because I think one of the things 261 00:13:59,520 --> 00:14:02,200 Speaker 2: about it is that, you know, it's this old footage 262 00:14:02,520 --> 00:14:07,959 Speaker 2: of a very you know, very convincing and you know, technically, 263 00:14:08,800 --> 00:14:14,079 Speaker 2: you know, well crafted and performed puppet slash suit effect. 264 00:14:14,520 --> 00:14:16,680 Speaker 2: And there's something about it being an old picture that 265 00:14:16,760 --> 00:14:19,600 Speaker 2: makes it feel like you're not watching a costume, but 266 00:14:19,640 --> 00:14:23,720 Speaker 2: you're watching some sort of actual beast, you know. So, yeah, 267 00:14:23,720 --> 00:14:25,040 Speaker 2: it's a lot of fun. If you haven't seen it. 268 00:14:25,520 --> 00:14:27,720 Speaker 3: There's an idea in my head that's not fully formed. 269 00:14:27,840 --> 00:14:30,640 Speaker 3: This may not come out right, but I'm thinking about 270 00:14:30,840 --> 00:14:35,360 Speaker 3: what are the qualities where an image from say one 271 00:14:35,440 --> 00:14:41,120 Speaker 3: hundred years ago, codes as creepy in terms of modern 272 00:14:41,240 --> 00:14:44,160 Speaker 3: sensibilities in a way that most creepy images from the 273 00:14:44,200 --> 00:14:47,000 Speaker 3: time do not. I'm thinking of this pig. I'm also 274 00:14:47,080 --> 00:14:50,680 Speaker 3: thinking of the famous image from the early film The 275 00:14:50,720 --> 00:14:53,040 Speaker 3: Man Who Laughs, which looks very much like a you know, 276 00:14:53,280 --> 00:14:58,920 Speaker 3: twenty first century joker. Like, what is it about. Occasionally 277 00:14:58,960 --> 00:15:01,400 Speaker 3: you get these little things or it doesn't look one 278 00:15:01,480 --> 00:15:04,280 Speaker 3: hundred years old, it looks like something that was supposed 279 00:15:04,280 --> 00:15:05,840 Speaker 3: to be creepy from last year. 280 00:15:06,520 --> 00:15:08,320 Speaker 2: Yeah. Yeah, We've touched on this a little bit on 281 00:15:08,360 --> 00:15:11,320 Speaker 2: weird House Cinema, talking at times about like pre code 282 00:15:11,920 --> 00:15:16,080 Speaker 2: horror films. You know how you know, there's often stuff 283 00:15:16,200 --> 00:15:18,880 Speaker 2: in those those pictures, sites and sounds or themes that 284 00:15:19,240 --> 00:15:22,960 Speaker 2: it hit a lot harder than you might expect when 285 00:15:23,000 --> 00:15:25,400 Speaker 2: you go back into say the nineteen thirties and look 286 00:15:25,440 --> 00:15:27,320 Speaker 2: at films, and you know, part of that is just like, 287 00:15:27,400 --> 00:15:29,600 Speaker 2: even if you know better, even if you know about, 288 00:15:29,640 --> 00:15:32,440 Speaker 2: like you know, the pre code cinema and some of 289 00:15:32,480 --> 00:15:34,360 Speaker 2: the things that they some of the elements that they 290 00:15:34,440 --> 00:15:38,160 Speaker 2: had him play there, there's something in your mind that 291 00:15:38,320 --> 00:15:42,840 Speaker 2: kind of just assumes that going backward through cinematic history. 292 00:15:42,880 --> 00:15:45,360 Speaker 2: From now, things are going to get tamer and more 293 00:15:45,360 --> 00:15:47,200 Speaker 2: innocent or something. I don't know, Like none of it 294 00:15:47,240 --> 00:15:51,560 Speaker 2: makes logical sense, but I still will sometimes surprise myself 295 00:15:51,600 --> 00:15:53,400 Speaker 2: when I pull something up from an old picture and 296 00:15:53,440 --> 00:15:56,320 Speaker 2: I'm like, oh, wow, that does hit really hard. I 297 00:15:56,360 --> 00:15:59,880 Speaker 2: guess it's probably some sort of modernity bias or I 298 00:16:00,040 --> 00:16:02,760 Speaker 2: don't know, but maybe there's kind of like a you know, 299 00:16:03,480 --> 00:16:07,560 Speaker 2: a line graph that peaks in the in the nineteen 300 00:16:07,600 --> 00:16:09,560 Speaker 2: eighties or something. In terms of my mind, you know, 301 00:16:09,600 --> 00:16:13,880 Speaker 2: where if anything is actually you know, effective before or 302 00:16:13,920 --> 00:16:17,040 Speaker 2: after that period by a significant number of decades, then 303 00:16:17,120 --> 00:16:18,880 Speaker 2: I'm amazed by it. 304 00:16:19,520 --> 00:16:21,960 Speaker 3: Yeah, I don't know if I think of it as effective. 305 00:16:22,080 --> 00:16:25,280 Speaker 3: But there are certain things that again to hit this list, 306 00:16:25,360 --> 00:16:29,000 Speaker 3: So that the scary pig face from Lacushon dan Sewer, 307 00:16:29,960 --> 00:16:32,800 Speaker 3: the image we see of the like the full costume 308 00:16:32,840 --> 00:16:35,880 Speaker 3: with the dark glasses from Mad Love, the laughing face 309 00:16:35,920 --> 00:16:38,440 Speaker 3: from the film The Man Who Laughs. You know, they 310 00:16:38,480 --> 00:16:41,080 Speaker 3: just don't look like images from the nineteen aughts to 311 00:16:41,160 --> 00:16:43,680 Speaker 3: the nineteen thirties. To me, they look like something conceived 312 00:16:43,720 --> 00:16:46,280 Speaker 3: more recently. And I don't know why that is, but 313 00:16:46,320 --> 00:16:51,000 Speaker 3: the yeah, the interesting thing to look into. Yeah, Jeff says, finally, 314 00:16:51,080 --> 00:16:53,480 Speaker 3: as a result of the closing song on the Pixies 315 00:16:53,560 --> 00:16:57,560 Speaker 3: album Bossa Nova, I always associate Havelina's with a mellow 316 00:16:57,640 --> 00:17:00,960 Speaker 3: sunset over the warm red rocks of Arizona, with Kim 317 00:17:01,000 --> 00:17:04,639 Speaker 3: Deal's angelic voice echoing in the breeze. And then Jeff 318 00:17:04,640 --> 00:17:07,359 Speaker 3: includes a link to the song have Alena by the Pixies, 319 00:17:08,080 --> 00:17:10,800 Speaker 3: which most of the lyrics are just saying the word 320 00:17:10,800 --> 00:17:13,159 Speaker 3: Havelena a million times, but it does say walking in 321 00:17:13,200 --> 00:17:16,639 Speaker 3: the breeze on the planes of Old Sagona, Arizona, among 322 00:17:16,680 --> 00:17:21,560 Speaker 3: the trees, so maybe it was inspired by watching Havelena's 323 00:17:21,640 --> 00:17:25,240 Speaker 3: root around. But then, finally, Jeff says, I have a 324 00:17:25,240 --> 00:17:28,639 Speaker 3: hard time thinking of them as savage, demonic beasts, but 325 00:17:28,680 --> 00:17:30,960 Speaker 3: then again, I've never had a family of them tear 326 00:17:31,080 --> 00:17:37,720 Speaker 3: up my garden. Hope this message wasn't too a booring Jeff, No, Jeff, 327 00:17:37,760 --> 00:17:38,919 Speaker 3: not boring at all. Thank you. 328 00:17:40,720 --> 00:17:43,520 Speaker 2: All right, This next one comes to us from Lee 329 00:17:48,000 --> 00:17:50,879 Speaker 2: Lee Wright. Sentence says, greetings, Rob, Joe, and JJ. Just 330 00:17:50,920 --> 00:17:53,560 Speaker 2: a quick hit today after listening to the latest episode 331 00:17:53,680 --> 00:17:56,320 Speaker 2: The idea of the fictional pigs or hogs of hell 332 00:17:56,400 --> 00:17:59,919 Speaker 2: discussion had me checking into the Shreder minions be By 333 00:18:00,280 --> 00:18:04,200 Speaker 2: and rock Steady, partially in order to check which was which, 334 00:18:04,520 --> 00:18:07,000 Speaker 2: but also to see if either showed up in the 335 00:18:07,119 --> 00:18:12,399 Speaker 2: TMNT live action films. That's teenage Mutant Ninja Turtles by 336 00:18:12,400 --> 00:18:16,600 Speaker 2: the way, for those of you not familiar with the abbreviation. 337 00:18:16,840 --> 00:18:19,199 Speaker 2: But yes, Bebop and rock Steady, I too always have 338 00:18:19,280 --> 00:18:21,879 Speaker 2: to look up to to remind myself which one is which. 339 00:18:22,400 --> 00:18:27,879 Speaker 2: And Bebop is the pig or boor Man, the Boorman mutant. 340 00:18:28,160 --> 00:18:30,160 Speaker 2: Rock Steady is the Rhino mutant. 341 00:18:30,840 --> 00:18:33,679 Speaker 3: And they make them punks. We've talked about this on 342 00:18:33,720 --> 00:18:35,920 Speaker 3: the show before. They're punks. Isn't that interesting? 343 00:18:36,080 --> 00:18:36,240 Speaker 2: Why? 344 00:18:36,359 --> 00:18:38,439 Speaker 3: Why are they punks? Like they are? They fans of 345 00:18:38,440 --> 00:18:42,160 Speaker 3: punk music and and they're off time from working for Shredder. 346 00:18:42,760 --> 00:18:44,560 Speaker 2: Oh yeah, yeah, you got to have a hobby. I mean, 347 00:18:46,840 --> 00:18:51,520 Speaker 2: so the email continues. Bbop is the anthropomorphic poresign character. 348 00:18:51,840 --> 00:18:55,000 Speaker 2: Except for the inherent ineptitude of the character, he's kind 349 00:18:55,000 --> 00:18:58,320 Speaker 2: of horrific. I agreed, like these two are just total stooges. 350 00:18:58,520 --> 00:19:01,560 Speaker 2: They're never really much of a threat and anything Ninja 351 00:19:01,560 --> 00:19:03,720 Speaker 2: Turtle related that I've ever seen, but they're a lot 352 00:19:03,720 --> 00:19:05,840 Speaker 2: of fun, like they're are like you may I can't 353 00:19:05,840 --> 00:19:08,160 Speaker 2: even remember in the Arcade game, you may fight these 354 00:19:08,200 --> 00:19:11,880 Speaker 2: guys on the first level. I don't recall pretty early on. 355 00:19:11,800 --> 00:19:14,000 Speaker 3: Though, Yeah, in the Arcade game, I think you fight 356 00:19:14,119 --> 00:19:17,119 Speaker 3: rock Steady first, the Rhino. When you're fighting in that 357 00:19:17,320 --> 00:19:19,280 Speaker 3: burning apartment building, you get to the end of it 358 00:19:19,320 --> 00:19:21,240 Speaker 3: and like a I don't know, some kind of pod 359 00:19:21,440 --> 00:19:23,360 Speaker 3: comes down and he pops out of it and you have. 360 00:19:23,320 --> 00:19:24,760 Speaker 2: To fight him. 361 00:19:24,800 --> 00:19:25,679 Speaker 3: I don't remember when. 362 00:19:25,560 --> 00:19:26,159 Speaker 2: You fight Bebop. 363 00:19:26,200 --> 00:19:27,159 Speaker 3: I guess the next level. 364 00:19:27,480 --> 00:19:30,760 Speaker 2: Yeah, but I mean there in reality, these would be 365 00:19:30,760 --> 00:19:34,560 Speaker 2: pretty horrific organisms to do battle with, so it seems 366 00:19:34,600 --> 00:19:37,760 Speaker 2: like they should rank higher than what Baxter Stockman though. 367 00:19:37,800 --> 00:19:40,840 Speaker 2: The fly dude, you know, like a human fly hybrid, 368 00:19:40,960 --> 00:19:45,040 Speaker 2: while you know, obviously horrific and grotesque, we wouldn't be 369 00:19:45,080 --> 00:19:47,240 Speaker 2: able to pack as much punch punch as a rhino 370 00:19:47,400 --> 00:19:51,439 Speaker 2: human hybrid. But we see similar things in like Spider Man, 371 00:19:51,600 --> 00:19:55,000 Speaker 2: Like Rhino is always like seems to be considered a 372 00:19:55,040 --> 00:19:58,919 Speaker 2: lower tier villain in the Spider Man universe, but like 373 00:19:59,040 --> 00:20:01,560 Speaker 2: in reality, like dude, that was, I don't think he's 374 00:20:01,600 --> 00:20:03,040 Speaker 2: part rhino, but he has like some sort of a 375 00:20:03,080 --> 00:20:05,880 Speaker 2: suit that makes him part rhino. Like, that's pretty, that's 376 00:20:05,920 --> 00:20:08,120 Speaker 2: pretty intimidating. That would be quite a fight. 377 00:20:08,840 --> 00:20:12,359 Speaker 3: Maybe I misunderstand. I'm not super up on Spider Man Lord, 378 00:20:12,400 --> 00:20:16,399 Speaker 3: but I understand Rhino to be a brute force kind of. 379 00:20:16,760 --> 00:20:20,440 Speaker 3: He's like pure muscle and strength and usually thus being 380 00:20:20,480 --> 00:20:22,639 Speaker 3: exploited by one of the smarter villains. 381 00:20:23,400 --> 00:20:29,360 Speaker 2: True. True. You know another pig related creature that comes 382 00:20:29,400 --> 00:20:32,639 Speaker 2: to mind. There's one of the minions in Guardians of 383 00:20:32,680 --> 00:20:36,919 Speaker 2: the Galaxy three, which is quite great. There is a 384 00:20:36,960 --> 00:20:42,240 Speaker 2: pig based mutant character or mutant robot cyborg underling that 385 00:20:42,280 --> 00:20:45,800 Speaker 2: they battle briefly. All right, so anyway, that's basically Lee's 386 00:20:45,960 --> 00:20:49,600 Speaker 2: entire email email. It ends with just a couple of 387 00:20:49,600 --> 00:20:52,639 Speaker 2: pictures of the creatures in question. 388 00:20:53,240 --> 00:20:54,879 Speaker 3: You know, I think I liked them more in the 389 00:20:55,119 --> 00:20:57,520 Speaker 3: cartoon I watched as a kid. Seeing them in the 390 00:20:57,600 --> 00:21:01,760 Speaker 3: in the realistic textured CGIs is really gross. I'm imagining 391 00:21:01,840 --> 00:21:06,720 Speaker 3: like feeling the hair on Bebop's belly. It's upsetting me. 392 00:21:07,400 --> 00:21:10,920 Speaker 2: Anyway, lady, thanks for writing in. Yeah, good stroll down 393 00:21:10,920 --> 00:21:14,280 Speaker 2: memory lane with the various pig newtons here. 394 00:21:21,880 --> 00:21:25,120 Speaker 3: Okay, more pig beings from Science Fiction. The next message 395 00:21:25,119 --> 00:21:28,200 Speaker 3: is from Jim, who says, hey, guys, loved your series 396 00:21:28,200 --> 00:21:31,560 Speaker 3: on hogs. I wanted to throw this in. On Star Trek, 397 00:21:31,680 --> 00:21:35,880 Speaker 3: there was the species known as the telewrites. Their facial 398 00:21:35,920 --> 00:21:38,640 Speaker 3: features were very pig like. They were one of the 399 00:21:38,680 --> 00:21:41,919 Speaker 3: founding species of the Federation. I guess, right up there 400 00:21:41,960 --> 00:21:47,080 Speaker 3: with the Vulcan. Huh. They tended to be argumentative and stubborn, 401 00:21:47,320 --> 00:21:50,720 Speaker 3: traits we ascribed to pigs. They appeared in episodes from 402 00:21:50,720 --> 00:21:54,080 Speaker 3: the original series Journey to Babbel and Whom the Gods 403 00:21:54,160 --> 00:21:59,040 Speaker 3: Destroy Love October for all the Halloween content. Jim, well, 404 00:21:59,080 --> 00:22:01,840 Speaker 3: thank you. Jim so so based on this, I didn't 405 00:22:01,880 --> 00:22:05,359 Speaker 3: know this, and I looked up some images rob first 406 00:22:05,400 --> 00:22:07,280 Speaker 3: in our outline for you to look at. Here I 407 00:22:07,320 --> 00:22:10,840 Speaker 3: found images of the Tellertes from some later series. I 408 00:22:10,840 --> 00:22:13,640 Speaker 3: think the main source of the images you're looking at 409 00:22:13,680 --> 00:22:16,760 Speaker 3: now is from Enterprise, in which these guys remind me 410 00:22:16,960 --> 00:22:20,720 Speaker 3: of like Peter Jackson's version of Tolkien's Dwarves. They look 411 00:22:20,800 --> 00:22:23,520 Speaker 3: kind of rough and grumpy, but also like loyal friends, 412 00:22:23,640 --> 00:22:27,040 Speaker 3: you know, good guys, and they are they look like 413 00:22:27,040 --> 00:22:30,280 Speaker 3: they're all voiced by John Reyes Davies Now, on the 414 00:22:30,280 --> 00:22:33,080 Speaker 3: other hand, I found an image of the Tellerites from 415 00:22:33,119 --> 00:22:37,679 Speaker 3: the original series. Horrifying. Looks like a mask that is 416 00:22:38,240 --> 00:22:40,880 Speaker 3: meant to be understood as a mask, not as skin 417 00:22:41,080 --> 00:22:43,480 Speaker 3: like it would be worn by the killer in a 418 00:22:43,600 --> 00:22:48,000 Speaker 3: nineteen eighty two slasher movie called Slaughterhouse. But I guess 419 00:22:48,000 --> 00:22:49,880 Speaker 3: it is not supposed to be a mask. It looks 420 00:22:49,920 --> 00:22:53,840 Speaker 3: like this is the face. So there's shaggy hair, shaggy beard, 421 00:22:54,440 --> 00:22:58,840 Speaker 3: pink skin, upturned pig like nose, and then empty dark 422 00:22:59,000 --> 00:23:01,440 Speaker 3: eye sockets without eyeballs in them. 423 00:23:02,760 --> 00:23:05,679 Speaker 2: Yeah, at least in this still you included here, the 424 00:23:05,720 --> 00:23:10,480 Speaker 2: Tellwright look is one of horror. I'm not really fair. 425 00:23:10,840 --> 00:23:13,320 Speaker 2: I never watched a lot of the original Star Trek series, 426 00:23:13,359 --> 00:23:16,080 Speaker 2: so I don't think I ever experienced them there, and 427 00:23:16,160 --> 00:23:19,320 Speaker 2: I didn't watch any of these more recent live action 428 00:23:19,440 --> 00:23:22,280 Speaker 2: Star Trek series where they also show up. But my 429 00:23:22,400 --> 00:23:26,160 Speaker 2: family and I we watched the first season of Star 430 00:23:26,200 --> 00:23:30,879 Speaker 2: Trek Prodigy, which is an animated Star Trek adventure show 431 00:23:31,240 --> 00:23:34,240 Speaker 2: of you know, the for the whole family that does 432 00:23:34,320 --> 00:23:37,880 Speaker 2: include a Tellwright main character as well as some supporting 433 00:23:37,920 --> 00:23:41,080 Speaker 2: Tellwrite characters. So I think that was the main place 434 00:23:41,119 --> 00:23:43,239 Speaker 2: where I was like oh, Tellwrights, this is a this 435 00:23:43,320 --> 00:23:45,240 Speaker 2: is a whole thing. This is like part of classic 436 00:23:45,480 --> 00:23:46,840 Speaker 2: track that they've brought back here. 437 00:23:47,960 --> 00:23:50,320 Speaker 3: Well, I knew nothing about this. Thank you Jim for 438 00:23:50,400 --> 00:23:52,879 Speaker 3: bringing it to our attention. Thank you to one of 439 00:23:52,920 --> 00:23:56,000 Speaker 3: the multiple gyms who likes to write in about Star Trek. 440 00:23:56,119 --> 00:23:56,480 Speaker 2: Not to. 441 00:23:58,080 --> 00:24:01,720 Speaker 3: Not to downplay your contributions, but I find that is interesting. 442 00:24:01,760 --> 00:24:05,120 Speaker 3: We have multiple Star Trek fans named Jim who get 443 00:24:05,119 --> 00:24:05,560 Speaker 3: in touch. 444 00:24:07,240 --> 00:24:10,080 Speaker 2: All right, here's one more pig message. This one comes 445 00:24:10,080 --> 00:24:13,080 Speaker 2: to us via Discord. If you would like to be 446 00:24:13,440 --> 00:24:15,680 Speaker 2: a part of the stuff to Blow your mind official discord, 447 00:24:16,000 --> 00:24:17,840 Speaker 2: just to email us and we'll send you the link 448 00:24:17,920 --> 00:24:21,560 Speaker 2: for the Discord server that email. If you don't have 449 00:24:21,600 --> 00:24:24,440 Speaker 2: it already, we'll mention that at the end of the podcast. 450 00:24:24,520 --> 00:24:32,399 Speaker 2: Here anyway, this one comes to us from Steve. Steve 451 00:24:32,480 --> 00:24:36,840 Speaker 2: Wright's for sure, even farm pigs are opportunistic omnivores. I 452 00:24:36,920 --> 00:24:39,040 Speaker 2: learned that the hard way. I was three or four 453 00:24:39,119 --> 00:24:41,360 Speaker 2: years old visiting a friend of my father's who lived 454 00:24:41,400 --> 00:24:44,479 Speaker 2: on a farm. My dad and his friend were talking 455 00:24:44,560 --> 00:24:46,720 Speaker 2: and lost track of me because I wanted to touch 456 00:24:46,760 --> 00:24:49,600 Speaker 2: the piggy. I figure out how to unlatch a small 457 00:24:49,680 --> 00:24:52,800 Speaker 2: gate walked into the pen and close the fence door 458 00:24:52,880 --> 00:24:56,160 Speaker 2: fully behind me. It was then I realized just how 459 00:24:56,200 --> 00:24:59,399 Speaker 2: big the pig was and how small I was. It 460 00:24:59,520 --> 00:25:03,960 Speaker 2: loudly snorted and charged toward me in unbridled terror. I 461 00:25:04,080 --> 00:25:06,600 Speaker 2: ran parallel to the perimeter of the fence as fast 462 00:25:06,640 --> 00:25:09,920 Speaker 2: as I could and began screaming in horror help while 463 00:25:09,960 --> 00:25:13,159 Speaker 2: crying uncontrollably. Just as I felt the breath of the 464 00:25:13,200 --> 00:25:15,800 Speaker 2: beast on the back of my neck and certain I 465 00:25:15,960 --> 00:25:18,320 Speaker 2: was done for, the son in law of my dad's 466 00:25:18,359 --> 00:25:22,000 Speaker 2: friend hurtled the fence and landed what must have been 467 00:25:22,119 --> 00:25:26,320 Speaker 2: a remarkable flying dropkick on the pig's ribcage. He shouted 468 00:25:26,359 --> 00:25:28,960 Speaker 2: at the pig, and it ran off, snorting angrily. That 469 00:25:29,080 --> 00:25:30,800 Speaker 2: dude was awesome, and he got me out of the 470 00:25:30,800 --> 00:25:33,840 Speaker 2: pen fast and uninjured. I proceeded to be balled out 471 00:25:33,840 --> 00:25:36,399 Speaker 2: by my father, but I did not care, as my 472 00:25:36,520 --> 00:25:39,440 Speaker 2: gratitude for not having been eaten alive was much more 473 00:25:39,480 --> 00:25:42,680 Speaker 2: powerful than anything he could say at that point. 474 00:25:43,720 --> 00:25:45,360 Speaker 3: Well, I can see why that would be a very 475 00:25:45,400 --> 00:25:47,800 Speaker 3: bold memory does remind me of I think we talked 476 00:25:47,840 --> 00:25:49,359 Speaker 3: about the scene at the beginning of The Wizard of 477 00:25:49,359 --> 00:25:52,240 Speaker 3: Oz where Dorothy goes into the pig pen and is 478 00:25:52,520 --> 00:26:02,560 Speaker 3: threatened by the pigs. Yeah, it seems quite scary. One 479 00:26:02,600 --> 00:26:06,320 Speaker 3: more brief thing from Discord regarding the hogs of Hell. 480 00:26:07,320 --> 00:26:11,040 Speaker 3: We were talking in the second episode about paleontology and 481 00:26:11,080 --> 00:26:15,040 Speaker 3: about antelodonts. We got into a section about paleo art 482 00:26:15,359 --> 00:26:17,760 Speaker 3: where we started talking about the you know, the difficulty 483 00:26:18,080 --> 00:26:21,679 Speaker 3: for a paleo artist in figuring out what the soft 484 00:26:21,720 --> 00:26:23,800 Speaker 3: tissue is of an animal looked like if the animal 485 00:26:23,880 --> 00:26:27,440 Speaker 3: is only preserved by you know, fossils of the bones, 486 00:26:28,119 --> 00:26:30,080 Speaker 3: how can you have an idea like how much soft 487 00:26:30,119 --> 00:26:32,480 Speaker 3: tissue they had on them, how bulky to depict them? 488 00:26:32,480 --> 00:26:36,000 Speaker 3: And we talked about the the the idea of shrink 489 00:26:36,000 --> 00:26:38,800 Speaker 3: wrapping animals, just sort of looking at the bones and 490 00:26:38,840 --> 00:26:43,000 Speaker 3: then imagining skin stretch tight over those bones. The point 491 00:26:43,000 --> 00:26:45,520 Speaker 3: being that if you're a paleo artist, it does involve 492 00:26:45,920 --> 00:26:50,920 Speaker 3: usually involves some kind of guesswork or making assumptions about 493 00:26:51,000 --> 00:26:54,680 Speaker 3: the soft tissue surrounding the bones, but also there are 494 00:26:54,720 --> 00:26:57,560 Speaker 3: ways of using science and things we know to inform 495 00:26:57,640 --> 00:27:00,359 Speaker 3: how you depict that soft tissue in the assumption you 496 00:27:00,400 --> 00:27:03,639 Speaker 3: make about it, so it's not all guesses there is 497 00:27:03,680 --> 00:27:05,960 Speaker 3: some science that goes into it. But anyway, on the 498 00:27:06,000 --> 00:27:09,480 Speaker 3: subject of that shrink wrapping, Robin on Discord said, just 499 00:27:09,560 --> 00:27:11,960 Speaker 3: listening to Hogs of Hell Part two, I believe the 500 00:27:12,040 --> 00:27:15,080 Speaker 3: shrink wrap animals you may have been thinking of was 501 00:27:15,160 --> 00:27:19,359 Speaker 3: the book All Yesterdays by Conway, Kosman and Nash. They 502 00:27:19,400 --> 00:27:23,399 Speaker 3: also did a fan submitted sequel, All Your Yesterdays. Blog 503 00:27:23,440 --> 00:27:25,640 Speaker 3: about it here. Pretty easy to search up for more 504 00:27:25,720 --> 00:27:28,080 Speaker 3: if you want so, folks, if you want to look 505 00:27:28,080 --> 00:27:30,720 Speaker 3: that book up, it is again called All Yesterdays. 506 00:27:31,520 --> 00:27:34,240 Speaker 2: Yeah, yeah, this is definitely it. I remember some of 507 00:27:34,280 --> 00:27:34,920 Speaker 2: these stills. 508 00:27:35,600 --> 00:27:38,440 Speaker 3: Okay, let's see next we should go to the messages 509 00:27:38,480 --> 00:27:41,720 Speaker 3: about high gravity. We got a number of responses from 510 00:27:41,840 --> 00:27:46,080 Speaker 3: brewers and people who are connected to brewers on the 511 00:27:46,119 --> 00:27:48,960 Speaker 3: subject of high gravity beer. So the context was this. 512 00:27:49,200 --> 00:27:53,160 Speaker 3: It was the previous October listener mail and we got 513 00:27:53,200 --> 00:27:56,560 Speaker 3: a message about an urban legend from Texas of a 514 00:27:56,600 --> 00:28:00,679 Speaker 3: haunted railroad track, including the detail that you could supposedly 515 00:28:00,720 --> 00:28:04,240 Speaker 3: have a ghost encounter by parking your car on the tracks, 516 00:28:04,280 --> 00:28:07,360 Speaker 3: putting it in neutral, and the ghosts would push your 517 00:28:07,440 --> 00:28:11,560 Speaker 3: car away from the tracks. So, first of all, acknowledging 518 00:28:11,640 --> 00:28:13,720 Speaker 3: that this is an ill advised thing to do on 519 00:28:13,800 --> 00:28:16,119 Speaker 3: any active railroad tracks don't do stuff like that. But 520 00:28:16,920 --> 00:28:20,119 Speaker 3: we talked about reasons for the illusion of the ghost push, 521 00:28:20,240 --> 00:28:24,040 Speaker 3: the most likely being that the railroad crossing is subject 522 00:28:24,160 --> 00:28:28,000 Speaker 3: to some kind of illusory slope. Maybe it appears flat 523 00:28:28,400 --> 00:28:31,280 Speaker 3: or appeers sloped in one direction, but in reality is 524 00:28:31,320 --> 00:28:34,080 Speaker 3: sloped in the other direction. And this is the case 525 00:28:34,119 --> 00:28:36,159 Speaker 3: with a lot of places around the world, many of 526 00:28:36,200 --> 00:28:40,600 Speaker 3: which are turned into tourist attractions called things like gravity hills, 527 00:28:40,680 --> 00:28:44,600 Speaker 3: where you can watch a ball appear to roll up hill. Now, 528 00:28:44,640 --> 00:28:47,880 Speaker 3: in reality, they sometimes start to explain these places by saying, oh, 529 00:28:47,920 --> 00:28:50,840 Speaker 3: there's some kind of gravity anomaly, there's like something buried 530 00:28:50,840 --> 00:28:54,040 Speaker 3: in the hill that makes like gravity go upwards or something. 531 00:28:54,960 --> 00:28:58,600 Speaker 3: In reality, in no case is there ever anything anomalous 532 00:28:58,600 --> 00:29:01,960 Speaker 3: about the gravity. Gravity is working normally. Instead, this is 533 00:29:02,040 --> 00:29:05,600 Speaker 3: caused by a visual illusion where the horizon is obscured. 534 00:29:05,680 --> 00:29:09,160 Speaker 3: You can't see the horizon for reference, and surrounding visual 535 00:29:09,240 --> 00:29:12,840 Speaker 3: cues create a false idea of what the flat plane 536 00:29:12,960 --> 00:29:16,239 Speaker 3: relative to the Earth's gravity would be. And so this 537 00:29:16,320 --> 00:29:18,960 Speaker 3: led Rob to suggest that somebody start a brewery for 538 00:29:19,160 --> 00:29:22,120 Speaker 3: high gravity beers at one of these gravity Hills, but 539 00:29:22,160 --> 00:29:25,200 Speaker 3: we actually did not know where the phrase high gravity 540 00:29:25,320 --> 00:29:28,520 Speaker 3: with respect to beer came from, so multiple people with 541 00:29:28,640 --> 00:29:32,640 Speaker 3: brewing knowledge wrote in to inform us. Let's see what Rob, Maybe, 542 00:29:32,680 --> 00:29:34,240 Speaker 3: do you want to read this message from Chris? 543 00:29:34,680 --> 00:29:43,600 Speaker 2: Certainly? Chris says on the topic of gravity and beer 544 00:29:43,800 --> 00:29:46,560 Speaker 2: slash the brewing process. I can provide a bit of 545 00:29:46,680 --> 00:29:50,960 Speaker 2: insight as I have a master brewer certification. The gravity 546 00:29:51,280 --> 00:29:54,240 Speaker 2: that may be noted in descriptions of beer is not 547 00:29:54,360 --> 00:29:57,320 Speaker 2: the gravity in the traditional sense, but a shortening of 548 00:29:57,360 --> 00:30:01,560 Speaker 2: the term specific gravity, which is used in the brewing 549 00:30:01,600 --> 00:30:05,200 Speaker 2: industry depending on region and testing method. There are other 550 00:30:05,280 --> 00:30:09,560 Speaker 2: terms such as degree, plato and bricks. He can be 551 00:30:09,600 --> 00:30:12,840 Speaker 2: making all this up, and I would, but anyway to 552 00:30:12,960 --> 00:30:17,320 Speaker 2: determine the amount of dissolved sugars in the warked name 553 00:30:17,560 --> 00:30:21,240 Speaker 2: for beer before it has been fermented, and then checked 554 00:30:21,280 --> 00:30:26,920 Speaker 2: again during and after fermentation, and it includes a link 555 00:30:27,120 --> 00:30:29,600 Speaker 2: to a source of the longer explanation you can get 556 00:30:29,600 --> 00:30:34,760 Speaker 2: pretty deep into fermentation science. Of course, anyway continues. This 557 00:30:34,800 --> 00:30:37,520 Speaker 2: is of particular importance because during the process of brewing 558 00:30:37,600 --> 00:30:40,520 Speaker 2: it does end up determining the potential for the end 559 00:30:40,640 --> 00:30:44,600 Speaker 2: alcohol by volume. So if you start with a high gravity, 560 00:30:44,720 --> 00:30:48,120 Speaker 2: meaning lots of potential sugars for the yeast to convert. 561 00:30:48,560 --> 00:30:52,480 Speaker 2: You can end with a higher ABV percentage, and this 562 00:30:52,520 --> 00:30:56,560 Speaker 2: can be calculated by the change in specific gravity. As 563 00:30:56,600 --> 00:31:01,080 Speaker 2: the yeast convert sugars to alcohol and carbon dioxide. During fermentation, 564 00:31:01,640 --> 00:31:04,880 Speaker 2: the specific gravity begins to drop closer to the reference 565 00:31:05,320 --> 00:31:08,960 Speaker 2: of one point zero zero zero, which would be the 566 00:31:09,000 --> 00:31:12,560 Speaker 2: specific gravity of water. There is so much more to 567 00:31:12,560 --> 00:31:14,840 Speaker 2: say on this topic, but I hope this short explanation 568 00:31:14,920 --> 00:31:17,440 Speaker 2: helped clear things up. I am not familiar with any 569 00:31:17,480 --> 00:31:20,240 Speaker 2: of these types of attractions that Joe had mentioned, but 570 00:31:20,320 --> 00:31:23,320 Speaker 2: if any local breweries have them near, I agree with Robert, 571 00:31:23,320 --> 00:31:26,440 Speaker 2: a collaboration beer slash naming must be in order. 572 00:31:26,680 --> 00:31:30,320 Speaker 3: Cheers, all right, a master brewer's stamp of approval for 573 00:31:30,400 --> 00:31:32,760 Speaker 3: your business idea. Rob So, are you gonna Are you 574 00:31:32,760 --> 00:31:34,840 Speaker 3: gonna watch this thing or you're just handing it off. 575 00:31:35,800 --> 00:31:37,040 Speaker 2: I'm gonna hand this off. 576 00:31:39,480 --> 00:31:42,800 Speaker 3: Well yeah, okay, So thank you, Chris. This does make sense. 577 00:31:42,800 --> 00:31:45,080 Speaker 3: So we were talking in the episode about how the 578 00:31:45,160 --> 00:31:48,320 Speaker 3: idea of the gravity of a beer. High gravity beer 579 00:31:48,360 --> 00:31:50,600 Speaker 3: refers to beer with more alcohol in it, but we 580 00:31:50,600 --> 00:31:52,200 Speaker 3: didn't know if that was just a cute name, or 581 00:31:52,240 --> 00:31:55,160 Speaker 3: if maybe it referred to something in the brewing process. 582 00:31:55,200 --> 00:31:57,480 Speaker 3: So it does refer to something in the brewing process. 583 00:31:57,800 --> 00:32:00,880 Speaker 3: It's not a direct measure of the alcohol content, but 584 00:32:01,040 --> 00:32:03,720 Speaker 3: it is an indirect measure of the alcohol content the 585 00:32:03,760 --> 00:32:08,440 Speaker 3: specific gravity of the wart and the brew later after fermentation. 586 00:32:08,560 --> 00:32:11,200 Speaker 3: That specific gravity gives you an idea of how much 587 00:32:11,240 --> 00:32:15,400 Speaker 3: alcohol will be in the final product. Now I mentioned 588 00:32:15,400 --> 00:32:18,240 Speaker 3: we got other messages on the topic of high gravity beer. 589 00:32:18,680 --> 00:32:21,160 Speaker 3: We got another one from Jeremy, and I wanted to 590 00:32:21,200 --> 00:32:24,800 Speaker 3: add a few details from this. Jeremy's message cites twenty 591 00:32:24,880 --> 00:32:28,280 Speaker 3: years of hobby brewing experience, so we got a real 592 00:32:28,800 --> 00:32:37,520 Speaker 3: what do you call it, an expert amateur here. One 593 00:32:37,520 --> 00:32:40,600 Speaker 3: thing Jeremy points out is that quote in the past, 594 00:32:41,000 --> 00:32:45,880 Speaker 3: high gravity brewing meant brewing a potent beer and diluting 595 00:32:45,920 --> 00:32:50,240 Speaker 3: it with water before packaging, bottling, etc. Less water in 596 00:32:50,280 --> 00:32:53,120 Speaker 3: the fermentation means you can make more beer with less 597 00:32:53,120 --> 00:32:56,400 Speaker 3: fermenttor space. Generally, it was a frowned upon practice for 598 00:32:56,560 --> 00:33:00,920 Speaker 3: adulterating beer. Ah, so that's a practical thing I hadn't considered. 599 00:33:01,000 --> 00:33:03,320 Speaker 3: That makes sense. So you brew a you make a 600 00:33:03,360 --> 00:33:06,400 Speaker 3: stronger brew Initially and then dilute it with water to 601 00:33:06,520 --> 00:33:09,000 Speaker 3: end up with your final beer. But I guess if 602 00:33:09,040 --> 00:33:10,680 Speaker 3: you want to, you know, really serve up one of 603 00:33:10,680 --> 00:33:13,959 Speaker 3: these strong doubles or triples or whatever, these days, you 604 00:33:14,080 --> 00:33:16,600 Speaker 3: just don't really dilute it. But it could go back 605 00:33:16,640 --> 00:33:19,160 Speaker 3: to an older practice of making more efficient use of 606 00:33:19,160 --> 00:33:23,360 Speaker 3: brewing space. Jeremy also gives some more details about the 607 00:33:23,760 --> 00:33:28,000 Speaker 3: relationship between the different gravity measurements through the brewing process. 608 00:33:28,400 --> 00:33:33,080 Speaker 3: So Jeremy says there are three key terms. There's original gravity, 609 00:33:33,480 --> 00:33:36,800 Speaker 3: which is quote a measurement of the fermentable and unfermentable 610 00:33:36,800 --> 00:33:41,040 Speaker 3: substances in the wart before fermentation. Original gravity is a 611 00:33:41,080 --> 00:33:46,040 Speaker 3: measure of the potential alcohol content of the beer. Specific 612 00:33:46,120 --> 00:33:49,520 Speaker 3: gravity is quote a measurement of the relative density of 613 00:33:49,520 --> 00:33:53,160 Speaker 3: the wart or must compared to water. And then final 614 00:33:53,280 --> 00:33:56,760 Speaker 3: gravity is quote a measurement of the wart after fermentation. 615 00:33:57,360 --> 00:34:01,280 Speaker 3: Comparing original gravity to final gravity can determine the exact 616 00:34:01,400 --> 00:34:05,280 Speaker 3: alcohol content of the beer. Alcohol content is limited by 617 00:34:05,320 --> 00:34:07,960 Speaker 3: the ability of the yeast to survive its own waste, 618 00:34:08,000 --> 00:34:11,360 Speaker 3: which are alcohol and carbon dioxide. The remainder is sugar 619 00:34:11,400 --> 00:34:14,840 Speaker 3: and thus and thus the sweetness of the final product 620 00:34:15,080 --> 00:34:20,239 Speaker 3: also called maltiness best, Jeremy, So thank you Jeremy, and 621 00:34:20,280 --> 00:34:22,920 Speaker 3: again thank you to everyone who wrote in about high 622 00:34:22,960 --> 00:34:23,680 Speaker 3: gravity beer. 623 00:34:24,239 --> 00:34:26,480 Speaker 2: Yeah, I feel like I know so much more now. 624 00:34:26,520 --> 00:34:29,360 Speaker 2: When I hear my Dungeons and Dragons friends talking about 625 00:34:29,520 --> 00:34:32,160 Speaker 2: high gravity beers, I have some idea of what they 626 00:34:32,200 --> 00:34:32,759 Speaker 2: mean by that. 627 00:34:33,560 --> 00:34:35,439 Speaker 3: If I recall, Rob me, correct me if I'm wrong. 628 00:34:35,560 --> 00:34:37,240 Speaker 3: You're not really a beer guy, are you. 629 00:34:37,320 --> 00:34:39,799 Speaker 2: No? No, No, not at all. So I just don't 630 00:34:39,840 --> 00:34:44,680 Speaker 2: know much about it. I admire the often creative labels 631 00:34:44,719 --> 00:34:47,520 Speaker 2: and names for all these various beers folks are drinking, 632 00:34:47,560 --> 00:34:51,319 Speaker 2: but I just don't know stuf I've ever gotten into. 633 00:34:51,520 --> 00:34:55,680 Speaker 2: Is you know, a cold corona once once in a 634 00:34:55,719 --> 00:34:58,279 Speaker 2: blue moon, but not a blue moon, which is also 635 00:34:58,280 --> 00:35:01,719 Speaker 2: a beer that's also some people favorites. I think all 636 00:35:01,719 --> 00:35:03,680 Speaker 2: the names for beers have been taken at this point. 637 00:35:04,239 --> 00:35:07,000 Speaker 3: I would be shocked if there were an Antiladont themed beer. 638 00:35:07,080 --> 00:35:08,520 Speaker 3: But prove me wrong, Internet. 639 00:35:08,960 --> 00:35:19,719 Speaker 2: Yeah, all right, let's get into a little weird house 640 00:35:19,719 --> 00:35:24,640 Speaker 2: cinema listener mail as we make our final journey through 641 00:35:24,680 --> 00:35:27,200 Speaker 2: this particular episode. This one comes to us from Daniel, 642 00:35:27,200 --> 00:35:30,080 Speaker 2: and it is a response to our recent episode on 643 00:35:30,440 --> 00:35:34,040 Speaker 2: prints of Darkness. Dear Robert and Joe, thank you again 644 00:35:34,080 --> 00:35:36,200 Speaker 2: for taking us on a cultural journey through a film 645 00:35:36,239 --> 00:35:38,759 Speaker 2: I will never watch for myself, Although I find it 646 00:35:38,840 --> 00:35:41,600 Speaker 2: enlightening to think about why the genre scares me, I 647 00:35:41,640 --> 00:35:45,440 Speaker 2: simply do not have the stomach for movie gore. Thankfully, 648 00:35:45,960 --> 00:35:50,120 Speaker 2: Weird House Cinema offers great insight into horror cinema without 649 00:35:50,200 --> 00:35:54,000 Speaker 2: upsetting my sleep. As for Joe's recent question of whether 650 00:35:54,120 --> 00:35:57,400 Speaker 2: or not an ancient language expert is able to translate 651 00:35:57,440 --> 00:36:02,360 Speaker 2: original text directly into English, the answer is yes. Several 652 00:36:02,440 --> 00:36:04,360 Speaker 2: years ago, I had the good fortune of attending a 653 00:36:04,400 --> 00:36:07,360 Speaker 2: tour of the Institute for the Study of Ancient Cultures 654 00:36:07,360 --> 00:36:10,480 Speaker 2: at the University of Chicago. The tour was led by 655 00:36:10,520 --> 00:36:14,680 Speaker 2: doctor Christopher Woods, professor of Sumerian and former director of 656 00:36:14,719 --> 00:36:18,480 Speaker 2: the Institute. In the Egyptian Gallery, doctor Woods stopped before 657 00:36:18,480 --> 00:36:22,080 Speaker 2: a replica cast from the original Rosetta Stone and began 658 00:36:22,200 --> 00:36:24,840 Speaker 2: reading the text to us. I was surprised and asked 659 00:36:24,840 --> 00:36:28,560 Speaker 2: if he memorized portions, and he said no. I learned 660 00:36:28,600 --> 00:36:32,279 Speaker 2: to read the languages for my work. It is not 661 00:36:32,400 --> 00:36:34,160 Speaker 2: often you get to hang out with people who read 662 00:36:34,200 --> 00:36:37,760 Speaker 2: dead languages on the fly. I was impressed be well. 663 00:36:38,120 --> 00:36:42,400 Speaker 2: Daniel ps. Yes, the ISAC was formerly known as the 664 00:36:42,440 --> 00:36:46,600 Speaker 2: Oriental Institute the Founders, which inspired Indiana Jones, according to 665 00:36:46,680 --> 00:36:47,440 Speaker 2: local legend. 666 00:36:47,920 --> 00:36:52,120 Speaker 3: Nice to be clear, this was referring to a scene 667 00:36:52,160 --> 00:36:55,040 Speaker 3: in Prince of Darkness where they bring in an expert 668 00:36:55,120 --> 00:36:58,880 Speaker 3: on ancient languages. I think, a theology student to translate 669 00:36:58,920 --> 00:37:01,600 Speaker 3: from a host of different an ancient languages Latin and 670 00:37:01,680 --> 00:37:04,560 Speaker 3: Coptic and Greek and stuff, because they're all jumbled up 671 00:37:04,600 --> 00:37:07,960 Speaker 3: in this ancient book. And she just like looks at 672 00:37:07,960 --> 00:37:10,560 Speaker 3: the book and then just starts typing an English translation 673 00:37:10,719 --> 00:37:14,240 Speaker 3: directly from the book onto a computer. And that struck 674 00:37:14,280 --> 00:37:18,000 Speaker 3: me as funny because I imagined that even an expert, 675 00:37:18,040 --> 00:37:20,280 Speaker 3: even the person with the most knowledge of these languages, 676 00:37:20,280 --> 00:37:23,080 Speaker 3: would probably need to use some reference materials and look 677 00:37:23,160 --> 00:37:25,759 Speaker 3: some stuff up. But it was just going straight from 678 00:37:25,760 --> 00:37:28,480 Speaker 3: one to the other, like total fluency. And so maybe 679 00:37:28,520 --> 00:37:31,239 Speaker 3: I was wrong. Maybe the experts in these languages really 680 00:37:31,239 --> 00:37:33,200 Speaker 3: can go that straight off the page. 681 00:37:33,400 --> 00:37:35,560 Speaker 2: Yeah, when they watch Prints of Darkness they're like, yeah, 682 00:37:35,600 --> 00:37:36,319 Speaker 2: that's how you do it. 683 00:37:37,800 --> 00:37:41,200 Speaker 3: But thank you, Daniel. Enlightning story. Okay, one more message 684 00:37:41,200 --> 00:37:43,799 Speaker 3: about weird House cinema. This one recommending a movie that 685 00:37:43,880 --> 00:37:46,120 Speaker 3: has been recommended to us before. We get a lot 686 00:37:46,120 --> 00:37:55,479 Speaker 3: of notes on this title. So Kathy writes in to say, 687 00:37:56,160 --> 00:37:58,719 Speaker 3: first of all, subject line of Kathy's email is is 688 00:37:58,760 --> 00:38:04,319 Speaker 3: it atomic? Email begins, yes, sir, very atomic. One of 689 00:38:04,320 --> 00:38:08,200 Speaker 3: the greatest lines ever delivered by Edward Everett Horton from 690 00:38:08,360 --> 00:38:11,920 Speaker 3: Fractured Fairy Tales fame. It is in nineteen fifty threes 691 00:38:12,080 --> 00:38:16,200 Speaker 3: the five Thousand Fingers of Doctor t Think low budget 692 00:38:16,280 --> 00:38:19,440 Speaker 3: Wizard of Oz combined with Alice in Wonderland, but with 693 00:38:19,640 --> 00:38:24,000 Speaker 3: LSD and minions. A crazy wizard kidnaps five hundred children 694 00:38:24,520 --> 00:38:28,239 Speaker 3: and forces them to play his giant piano. No metaphor there. 695 00:38:28,960 --> 00:38:31,239 Speaker 3: I am well into retirement, Yet a week doesn't go 696 00:38:31,320 --> 00:38:33,560 Speaker 3: by that this line doesn't run through my brain. At 697 00:38:33,560 --> 00:38:37,560 Speaker 3: some point said line is delivered about halfway through this clip, 698 00:38:37,640 --> 00:38:40,040 Speaker 3: and then she attaches a clip for us to watch. 699 00:38:40,360 --> 00:38:44,160 Speaker 3: I did watch it, and I love the colors. This 700 00:38:44,200 --> 00:38:47,480 Speaker 3: is a great looking film from the fifties. It's in color, 701 00:38:47,520 --> 00:38:50,560 Speaker 3: of course, and it looks like an absolute hoot. But 702 00:38:50,719 --> 00:38:53,279 Speaker 3: I will say in this one clip, the constant kind 703 00:38:53,320 --> 00:38:57,080 Speaker 3: of like boing boying honk sound effects are proving difficult 704 00:38:57,160 --> 00:38:59,040 Speaker 3: to get through, and so I'm wondering how much of 705 00:38:59,080 --> 00:39:01,759 Speaker 3: that is in the movie or or if it's just 706 00:39:01,840 --> 00:39:03,520 Speaker 3: this scene. If it's just the scene, I think I 707 00:39:03,560 --> 00:39:04,279 Speaker 3: could survive it. 708 00:39:06,120 --> 00:39:08,960 Speaker 2: Yeah. Yeah, I've never seen it, but it is one 709 00:39:08,960 --> 00:39:11,120 Speaker 2: that has been recommended a few different times, and I'll 710 00:39:11,120 --> 00:39:14,680 Speaker 2: see it pop up on lists of weird films. So, 711 00:39:14,960 --> 00:39:16,880 Speaker 2: I mean, folks seem to really get a lot out 712 00:39:16,920 --> 00:39:19,680 Speaker 2: of it. So it's it's on the list of Weird 713 00:39:19,719 --> 00:39:23,080 Speaker 2: House cinema candidates, so, you know, and every time somebody 714 00:39:23,680 --> 00:39:26,440 Speaker 2: mentions it again, we you know, we flag it once more. 715 00:39:26,520 --> 00:39:28,399 Speaker 2: So I don't know, maybe we'll have to get into 716 00:39:28,440 --> 00:39:32,920 Speaker 2: it in the not too distant future here, all right. Finally, 717 00:39:32,960 --> 00:39:37,120 Speaker 2: to end things on a Halloween note, I guess we're 718 00:39:37,160 --> 00:39:40,279 Speaker 2: gonna read one last one from our discord server. This 719 00:39:40,400 --> 00:39:47,840 Speaker 2: is from Adam. Adam says, listen to a bunch of 720 00:39:47,920 --> 00:39:50,799 Speaker 2: rocky ericson today for the first time. Incredible. That's the 721 00:39:50,880 --> 00:39:54,680 Speaker 2: second musician I've gotten into from y'all's recommendations on Weird House, 722 00:39:55,120 --> 00:39:58,880 Speaker 2: the first being Nursed with Wound. I don't know in 723 00:39:58,920 --> 00:40:01,200 Speaker 2: what context I reckon to Nurse with Wound. We were 724 00:40:01,200 --> 00:40:04,520 Speaker 2: probably talking about music for a film that was very 725 00:40:05,239 --> 00:40:09,520 Speaker 2: like Noisy in Cacophonus or something. But anyway, Adam says, 726 00:40:09,560 --> 00:40:12,120 Speaker 2: in return, I'd like to recommend the album songs from 727 00:40:12,120 --> 00:40:16,320 Speaker 2: the recently deceased by the Frankenstein Drag Queens from Planet 728 00:40:16,360 --> 00:40:20,800 Speaker 2: thirteen horror punk with three different tracks inspired by films 729 00:40:20,840 --> 00:40:23,120 Speaker 2: featured on Weird House. Uh. 730 00:40:24,040 --> 00:40:25,560 Speaker 3: I know nothing about this band. 731 00:40:26,160 --> 00:40:29,920 Speaker 2: I also know nothing about them, so I'm not familiar 732 00:40:29,960 --> 00:40:32,960 Speaker 2: with this act, but I'll have to check them out. Yeah, 733 00:40:33,000 --> 00:40:35,680 Speaker 2: pulling up this album and it's like, let's see, Oh yeah, 734 00:40:35,680 --> 00:40:40,640 Speaker 2: there's a creature from the Black Lagoon track, Black Yellow track. Okay, 735 00:40:41,400 --> 00:40:44,120 Speaker 2: what else is on here? Plan nine from outer Space 736 00:40:44,239 --> 00:40:48,000 Speaker 2: related track? So yeah, if nothing else, the horror references 737 00:40:48,000 --> 00:40:51,040 Speaker 2: are there. You gotta love an old horror punk song 738 00:40:51,080 --> 00:40:54,240 Speaker 2: that is just straight up the name of a movie, 739 00:40:54,960 --> 00:40:57,640 Speaker 2: very much in the Misfits style of things. So yeah, 740 00:40:57,680 --> 00:40:59,440 Speaker 2: thanks for the recommendation. I'll check them out. 741 00:41:00,080 --> 00:41:02,480 Speaker 3: Did you say Bride of Frankenstein or did I miss that? 742 00:41:02,920 --> 00:41:04,839 Speaker 2: I didn't mention it, but yes, to your point, yeah, 743 00:41:04,840 --> 00:41:06,840 Speaker 2: there is a Bride of Frankenstein. So it's probably like 744 00:41:07,160 --> 00:41:10,960 Speaker 2: at least four different tracks that reference movies that we've 745 00:41:10,960 --> 00:41:14,600 Speaker 2: talked about on the show before. I always enjoy this 746 00:41:14,680 --> 00:41:17,200 Speaker 2: sort of recommendation. There was a listener who wrote in 747 00:41:17,280 --> 00:41:22,400 Speaker 2: previously about the band Messer Chups, which is a surf 748 00:41:22,560 --> 00:41:28,120 Speaker 2: rock band from Saint Petersburg, Russia, that a lot of 749 00:41:28,160 --> 00:41:31,080 Speaker 2: their songs have to do with old horror movies and 750 00:41:31,280 --> 00:41:33,720 Speaker 2: they're at the light. I've been listening to a lot 751 00:41:33,760 --> 00:41:36,400 Speaker 2: of Messer Chops, if I'm saying that correctly, during this 752 00:41:36,440 --> 00:41:38,439 Speaker 2: Halloween season. It was a lot of fun to play 753 00:41:38,440 --> 00:41:40,240 Speaker 2: in the car, play in the house, and so forth. 754 00:41:40,320 --> 00:41:44,600 Speaker 2: So I will reiterate that recommendation for anyone out there 755 00:41:44,600 --> 00:41:47,160 Speaker 2: who wants a little spooky surf music in their life. 756 00:41:47,840 --> 00:41:50,080 Speaker 2: All right, So that's going to be it for this 757 00:41:50,360 --> 00:41:53,600 Speaker 2: episode of Stuff to blow your mind. Listener, mail, but 758 00:41:54,280 --> 00:41:56,880 Speaker 2: keep it coming. We'd love to hear from y'all. If 759 00:41:56,920 --> 00:42:01,280 Speaker 2: you have additional thoughts on Halloween episodes, pre Halloween episodes 760 00:42:01,400 --> 00:42:04,560 Speaker 2: or post Halloween episodes, it's all good. Just right in. 761 00:42:05,239 --> 00:42:07,040 Speaker 2: We'll have that email addressed for you here in just 762 00:42:07,080 --> 00:42:11,120 Speaker 2: a second. What else can we drive home here? Let's see. 763 00:42:11,239 --> 00:42:14,359 Speaker 2: If you're on Instagram, we are STBYM podcast. You can 764 00:42:14,400 --> 00:42:16,680 Speaker 2: follow us there if you want to join the discord. 765 00:42:17,120 --> 00:42:18,799 Speaker 2: We'll shoot you that link if you send us an 766 00:42:18,800 --> 00:42:22,239 Speaker 2: email asking for it. Let's see. Oh, we haven't done 767 00:42:22,239 --> 00:42:24,080 Speaker 2: this call out in a bit, but hey, if you 768 00:42:24,239 --> 00:42:26,279 Speaker 2: like the show, If you like what we do and 769 00:42:26,400 --> 00:42:31,000 Speaker 2: you haven't reviewed us, say on Apple on Apple Podcasts, 770 00:42:31,520 --> 00:42:34,520 Speaker 2: give us a nice little review that helps helps things out. 771 00:42:35,200 --> 00:42:40,319 Speaker 2: Keeps our star rating nice and fresh and shiny. Otherwise, Yeah, 772 00:42:41,480 --> 00:42:44,719 Speaker 2: we hope you're enjoying the show and spread the spread 773 00:42:44,760 --> 00:42:46,360 Speaker 2: the love. Tell other people about the show if you 774 00:42:46,360 --> 00:42:47,560 Speaker 2: think they might dig it as well. 775 00:42:48,120 --> 00:42:51,800 Speaker 3: Huge thanks as always to our excellent audio producer JJ Posway. 776 00:42:51,920 --> 00:42:53,560 Speaker 3: If you would like to get in touch with us 777 00:42:53,560 --> 00:42:56,160 Speaker 3: with feedback on this episode or any other, to suggest 778 00:42:56,160 --> 00:42:58,320 Speaker 3: a topic for the future, or just to say hello, 779 00:42:58,440 --> 00:43:01,080 Speaker 3: you can email us at contact that Stuff to Blow 780 00:43:01,120 --> 00:43:09,040 Speaker 3: your Mind dot com. 781 00:43:09,160 --> 00:43:12,120 Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For 782 00:43:12,200 --> 00:43:15,000 Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app, 783 00:43:15,120 --> 00:43:18,560 Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.