WEBVTT - Listener Mail: We Got Robots, We Got Cave Men

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey, welcome to Stuff to Blow Your Mind Listener Mail.

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<v Speaker 3>This is Robert Lamb and this is Joe McCormick. Now, Hey,

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<v Speaker 3>if you've been listening to the show for the past

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<v Speaker 3>few years but maybe tuned out over the past month

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<v Speaker 3>or so, you might not be aware that we've changed

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<v Speaker 3>up our format a little bit on listener Mail. For

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<v Speaker 3>a while, we had been doing it as a weekly

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<v Speaker 3>offering every Monday, but for the time being, we're trying

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<v Speaker 3>out a different schedule, which is more like what we

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<v Speaker 3>used to do going several years back. We used to

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<v Speaker 3>run listener Mail in a Tuesday Thursday slot every so often,

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<v Speaker 3>you know, whenever the mail bag would accumulate sufficiently, And

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<v Speaker 3>that's what we're doing for now. So we're bringing you

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<v Speaker 3>listener Mail today. We've got messages on all kinds of topics.

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<v Speaker 3>We've got stuff about warships, ramming, we've got stuff about

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<v Speaker 3>we've got stuff about ninjas, we've got stuff about horned lizards.

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<v Speaker 3>It's all over the place, and lots of responses to

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<v Speaker 3>the warriors, way more than we can get to, but

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<v Speaker 3>we'll do our best to give a somewhat representative sample.

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<v Speaker 2>Well where do we even begin to dive in here, Joe.

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<v Speaker 3>Well, let's see. I'm going to start things off with

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<v Speaker 3>this message from Ian about our series on Dust. All right,

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<v Speaker 3>Ian says, dear Robin, Joe, I was listening to the

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<v Speaker 3>fifth episode of your series on Dust, in which you

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<v Speaker 3>talk about dust storms and dust devils. In the discussion

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<v Speaker 3>of dust storms, you briefly mentioned plants abilities to prevent

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<v Speaker 3>such storms by securing the soil with their roots and

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<v Speaker 3>acting as wind breaks. I am from southern Kansas, where

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<v Speaker 3>we are very familiar with using plants as wind breaks.

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<v Speaker 3>When you drive through any rural area, you will see

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<v Speaker 3>about every quarter to half mile a straight line of

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<v Speaker 3>true planted between the wheat fields. Those were planted in

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<v Speaker 3>direct response to the dust Bowl and are still maintained

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<v Speaker 3>to this day. They were always just in the background

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<v Speaker 3>to me. I never thought about them until one time

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<v Speaker 3>we were driving to South Dakota to visit family and

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<v Speaker 3>I noticed somewhere around the Kansas Nebraska border the tree

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<v Speaker 3>lines disappeared. I don't know what cultural reasons underlie this difference,

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<v Speaker 3>whether they weren't hit as hard by the dust bowl

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<v Speaker 3>and never had them in the first place, or if

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<v Speaker 3>they used to have them but haven't maintained them. Whatever

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<v Speaker 3>the reason, it always stands out to me when we

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<v Speaker 3>drive through, how strange the landscape looks without the trees.

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<v Speaker 3>Dust devils are another thing we are very familiar with

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<v Speaker 3>around here. I've always associated them with mid morning in

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<v Speaker 3>the late summer or early fall. I never thought about

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<v Speaker 3>why until you described how they are formed. It makes

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<v Speaker 3>perfect sense now that around that time of day the

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<v Speaker 3>air is still somewhat cooler from overnight, but the sun

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<v Speaker 3>is starting to heat up the ground, creating the temperature

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<v Speaker 3>inversion you discussed. I've seen them most often unpaved surfaces

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<v Speaker 3>such as basketball courts or parking lots, especially gravel ones,

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<v Speaker 3>which must provide the smooth, open surface they require. The

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<v Speaker 3>ones we see are typically quite small, maybe twenty or

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<v Speaker 3>thirty feet high and five or so feet across, very wispy,

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<v Speaker 3>and extremely transient, often lasting only a couple of minutes.

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<v Speaker 3>Definitely not anything that could cause damage we have real

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<v Speaker 3>tornadoes for that. They are quite captivating, though they tend

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<v Speaker 3>to fade in and out of view as the amount

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<v Speaker 3>of dust they're carrying varies, and sometimes will seem to

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<v Speaker 3>almost stop rotating and fade away altogether before picking up

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<v Speaker 3>speed and strength again. Children especially find them in thralling,

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<v Speaker 3>as I did myself when I was a kid. Thanks

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<v Speaker 3>as always for your work, especially in highlighting the wonder

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<v Speaker 3>of seemingly mundane things. I never would have guessed dust

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<v Speaker 3>would be such a rich topic of discussion, but I'm

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<v Speaker 3>glad to have learned my mistake. Ian Well, thank you

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<v Speaker 3>so much and yeah, interesting email. I recall also seeing

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<v Speaker 3>dust Devil's form a little bit when I was a kid,

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<v Speaker 3>also on gravel or paved surfaces. That's exactly what I

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<v Speaker 3>associate them with them being unlike oh, I don't know,

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<v Speaker 3>like over the gravel and then edging onto the concrete

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<v Speaker 3>basketball court on the playground outside my elementary school.

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<v Speaker 2>Yeah, I too have definite memories of seeing them kick

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<v Speaker 2>up on little paved areas and so forth, you know,

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<v Speaker 2>parking lots sort of scenarios.

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<v Speaker 3>I'm also intrigued by the tree line mystery. I didn't

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<v Speaker 3>have time to look this up before we recorded today,

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<v Speaker 3>but I wonder if there was a if there is

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<v Speaker 3>an answer out there to this, Why the tree lines

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<v Speaker 3>between the Fields and Kansas but not Nebraska all right.

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<v Speaker 2>This next one comes to us from Tim tim Rights

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<v Speaker 2>in on the horned lizards. Tim Wrights fellas, I only

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<v Speaker 2>have some heartfelt nostalgia to add to your blood spitting

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<v Speaker 2>lizard dropped today. I was born in Midland, which is

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<v Speaker 2>firmly in the Texas horny toad range. We moved from

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<v Speaker 2>Texas to the East Coast when I was almost five,

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<v Speaker 2>so catching, playing with and building little makeshift terrariums for

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<v Speaker 2>my legion of horny toads is still one of my

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<v Speaker 2>most vivid memories of my brief origins in Texas. They

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<v Speaker 2>were really pretty gentle little lizards and would quickly go

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<v Speaker 2>to sleep if you flipped them over and rub their belly.

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<v Speaker 2>It's good they had spikes because they were pretty easy

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<v Speaker 2>to catch, even for a four year old. They definitely

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<v Speaker 2>would spit blood at you if you surprised them, but

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<v Speaker 2>as these were the only lizards I'd ever known up

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<v Speaker 2>to this point, I was more surprised later to find

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<v Speaker 2>out that all lizards didn't bleed out of their eyes. Again,

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<v Speaker 2>maybe from the vantage of a four year old, I

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<v Speaker 2>just didn't notice, but I don't ever remember anything eating them.

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<v Speaker 2>All the dogs in the area learned real fast that

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<v Speaker 2>the juice wasn't worth the squeeze, so the thorns and

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<v Speaker 2>the blood must have done their job. Again, take everything

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<v Speaker 2>I say as veiled through the eyes of a child,

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<v Speaker 2>But forty years later, it was a real nostalgic run

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<v Speaker 2>for me today listening to this one.

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<v Speaker 3>Thanks Tim, Thank you, Tim. That's an interesting detail that

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<v Speaker 3>you said the dogs just left them alone. I wonder

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<v Speaker 3>if that is a product of past experience, like they

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<v Speaker 3>got the blood Jets one time, it tasted bad enough

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<v Speaker 3>that they just don't mess with them at all, or

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<v Speaker 3>or what. Yeah, by the way, did we end up

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<v Speaker 3>calling those episodes here come the blood Jets.

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<v Speaker 2>I don't think we did, but I remember having that

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<v Speaker 2>Brian Eno reference in the notes at least. I can't

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<v Speaker 2>even remember if we specifically said it at one point

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<v Speaker 2>or another, but it's always in the background.

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<v Speaker 3>Whatever we actually used. I know at one point a

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<v Speaker 3>title I had somewhere in my head was like warm

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<v Speaker 3>blood squirting from the Lizard's eye, which sounds like a

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<v Speaker 3>Jallo movie. You know, they have those great titles that

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<v Speaker 3>are like a whole sentence or like a lot of words.

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<v Speaker 2>We ended up using a variation of that blood squirting

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<v Speaker 2>from the lizard's eye. Okay, okay, so we did kind

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<v Speaker 2>of in focus sense of that your vice is a

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<v Speaker 2>lizard's eye and I am the blood or something.

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<v Speaker 3>Yeah, all right, we got another message about the Texas

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<v Speaker 3>horned lizards. This one is from Lindsay. Lindsay says, gentlemen,

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<v Speaker 3>longtime listener, thanks for the horny toad episode. US Texans

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<v Speaker 3>love our horny toads with personal memories from childhood. This

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<v Speaker 3>is a theme, isn't it. Yeah, Lindsay says, I know

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<v Speaker 3>that TCU. I think that's Texas Christian University mascot horned

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<v Speaker 3>frogs is one of the heavy researchers in their conservation.

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<v Speaker 3>We have several species throughout the Chiuawan Desert. I'm supporting

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<v Speaker 3>some local research on the mountain shorthorn in the Davis Mountains.

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<v Speaker 3>Keep doing what you're doing, right on, y'all.

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<v Speaker 2>Lindsay.

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<v Speaker 3>PS, now here's a topic, SWITCHERU. I write this while

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<v Speaker 3>watching Highlander two, the Renegade version. You've picked the wrong version, Lindsay,

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<v Speaker 3>we go back in time and stop you.

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<v Speaker 2>They don't make it easy, as we've discussed, to select

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<v Speaker 2>the correct version.

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<v Speaker 3>So yeah, but anyway, Lindsay says, and I ask myself,

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<v Speaker 3>what on earth does this have to do with the original,

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<v Speaker 3>and when does Clancy Brown show up? God to love

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<v Speaker 3>raw Hide from Buckaroo BONDSI, maybe it's not coming through,

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<v Speaker 3>but this email has a lot of line breaks in it,

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<v Speaker 3>so it reads kind of like a poem.

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<v Speaker 2>Nice.

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<v Speaker 3>I had to look up who Clancy Brown was in

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<v Speaker 3>Buckaroo BONSI. Unfortunately he is not one of the John's,

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<v Speaker 3>not one of the alien guys, John Smallberry's or whatever

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<v Speaker 3>he I guess works for Peter Weller.

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<v Speaker 2>I think, yeah, it's been a long time stin. I've

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<v Speaker 2>seen that one, but it has quite an ensemble cast.

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<v Speaker 3>Yeah, but anyway, thank you, Lindsey. Clancy Brown never shows up,

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<v Speaker 3>You're never going to get to him, and Iland just

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<v Speaker 3>not in there. It's the sad facts.

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<v Speaker 2>All right. Let's jump over to Ninja mail. This one

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<v Speaker 2>comes to us from Mike. Mike says, Hey, guys, been

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<v Speaker 2>loving the series on Ninja Just real quick note on

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<v Speaker 2>Snake Eyes and storm Shadow from Gi Joe and Larry

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<v Speaker 2>Hannah's long running Gi Joe comic series, Issue three oh

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<v Speaker 2>eight just came out a few weeks ago. Storm Shadow

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<v Speaker 2>isn't actually a villain. In his first appearances in the

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<v Speaker 2>comic Storm Shadow went undercover in Cobra to find out

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<v Speaker 2>who framed him for the murder of his Sinsey, the

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<v Speaker 2>hard Master, but he's mostly been part of the Gijoe

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<v Speaker 2>team since then. Ninja's have always been a big part

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<v Speaker 2>of the comic series. Towards the end of the Marvel run,

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<v Speaker 2>Hasbro went extra ninja crazy and started introducing a lot

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<v Speaker 2>of ninja characters, even turning longtime characters like Scarlett and

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<v Speaker 2>Stalker into ninjas. They even briefly put Snake Eye's name

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<v Speaker 2>on the cover bigger than Gi Joe and featured a

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<v Speaker 2>group called Ninja Force. And we have an image here

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<v Speaker 2>and yeah, it's like Gi Joe starring and then huge

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<v Speaker 2>banner Snake Eyes and Ninja Force. So it's like g

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<v Speaker 2>I Joe presents Snake Guys?

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<v Speaker 3>Now? Is this email a sort of semi correction to

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<v Speaker 3>us talking about a one of the Ninjas and Gi

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<v Speaker 3>Jo being good and the other being evil, And the

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<v Speaker 3>idea is actually they were both primarily good, because you know,

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<v Speaker 3>how can you have ninjas as the bad guys? When

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<v Speaker 3>you're a kid, you just you want the ninjas to

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<v Speaker 3>be on your team because you love them.

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<v Speaker 2>They it seems like it ends up going this way.

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<v Speaker 2>In the comic books, this would have been what the nineties. Yeah,

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<v Speaker 2>so it does kind of back up what we were

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<v Speaker 2>talking about though. Yeah, the kids want the Ninjas to

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<v Speaker 2>be the good guys so much that even the bad

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<v Speaker 2>Ninjas are going to eventually cross over. It kind of

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<v Speaker 2>works that way anyway with any sort of cool villain.

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<v Speaker 3>Right, Yeah, they show up at first, they're acting kind

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<v Speaker 3>of mysterious and standoffish, but you know by the final

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<v Speaker 3>act they're going to be a standing right alongside the hero.

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<v Speaker 2>Yeah. I have to I have to admit I didn't.

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<v Speaker 2>I never went too deep into the G I. Joe

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<v Speaker 2>lore because at some point I saw the GI Joe

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<v Speaker 2>movie that they put out. This would have been nineteen

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<v Speaker 2>eighty seven's G I. Joe The Movie, And this is

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<v Speaker 2>the one that had all sorts of like weird ideas

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<v Speaker 2>in it, where there's like a place in like a

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<v Speaker 2>place called Cobra Law and the Himalayas, and they are

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<v Speaker 2>all these like grotesque monsters. And I don't know, maybe

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<v Speaker 2>I just saw it too young of an age, because

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<v Speaker 2>on the surface, all this sounds weird. And great, right,

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<v Speaker 2>but it really like hit me the wrong way, and

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<v Speaker 2>I'm like, I don't really don't like where they're going

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<v Speaker 2>with this whole Gi Joe thing, and I kind of

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<v Speaker 2>I kind of phased out of the franchise at that point.

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<v Speaker 3>I think, really leaning into the utopian spiritual themes of

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<v Speaker 3>the G I. Joe universe.

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<v Speaker 2>Yeah, and there was like a lot of like weird

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<v Speaker 2>body horror stuff in it. I don't know, I mean all,

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<v Speaker 2>you know, obviously all things that I definitely came around to,

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<v Speaker 2>but maybe I just wasn't ready for these ideas yet.

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<v Speaker 2>In my Gi Joe animated motion pictures.

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<v Speaker 3>I don't know if this is the movie or if

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<v Speaker 3>it was just an episode of the two TV show,

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<v Speaker 3>but a G I. Joe cartoon that really sticks in

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<v Speaker 3>my mind from childhood was there. The the Joe's are

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<v Speaker 3>being attacked by a bunch of you know, bat evil

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<v Speaker 3>robots or something, and they're blasting them with their their

0:12:12.920 --> 0:12:16.000
<v Speaker 3>laser guns, and the laser guns are having no effect

0:12:16.040 --> 0:12:18.480
<v Speaker 3>on the robots. So one of the the Joe's, I

0:12:18.480 --> 0:12:21.040
<v Speaker 3>guess it's like a tough guy, I want to say,

0:12:21.080 --> 0:12:23.440
<v Speaker 3>Sergeant Slaughter, but I think that may have actually been

0:12:23.480 --> 0:12:25.240
<v Speaker 3>a wrestler and not a G I Joe.

0:12:25.280 --> 0:12:27.440
<v Speaker 2>It was both Oh okay, yeah.

0:12:27.120 --> 0:12:30.559
<v Speaker 3>Okay, Sergeant's laughter or I don't know if that's really

0:12:30.600 --> 0:12:34.280
<v Speaker 3>who it was. This like tough sergeant character is like,

0:12:34.320 --> 0:12:36.199
<v Speaker 3>here's how we're going to defeat them. We're going to

0:12:36.320 --> 0:12:40.400
<v Speaker 3>use our bare hands, like the energy weapons no effect.

0:12:40.520 --> 0:12:42.640
<v Speaker 3>But they run in and they like rip the robots

0:12:42.679 --> 0:12:45.160
<v Speaker 3>apart with their hands and that works.

0:12:46.679 --> 0:12:51.600
<v Speaker 2>Nice. Yeah, I kind of forgot this sergeant Slaughter was

0:12:51.320 --> 0:12:53.280
<v Speaker 2>was part of the whole franchise there, at least for

0:12:53.280 --> 0:12:55.960
<v Speaker 2>a little bit, stands out in my mind. Maybe it

0:12:56.000 --> 0:12:58.679
<v Speaker 2>was only like a few cameos, but I just assume

0:12:58.760 --> 0:13:00.520
<v Speaker 2>he was just all G I Joe. I kind of

0:13:00.520 --> 0:13:03.400
<v Speaker 2>sometimes forget that he was also a human being as well.

0:13:03.960 --> 0:13:06.319
<v Speaker 3>But anyway, back to the main theme. I do think

0:13:06.360 --> 0:13:09.240
<v Speaker 3>it's true that like the ninjas in Gi Joe have

0:13:09.360 --> 0:13:13.360
<v Speaker 3>got to be the absolute core, the bullseye of the

0:13:13.400 --> 0:13:18.520
<v Speaker 3>americanized pop culture ninja phenomenon. All right, I'm going to

0:13:18.559 --> 0:13:20.880
<v Speaker 3>move on to some other emails that connect one of

0:13:20.880 --> 0:13:25.520
<v Speaker 3>our historical show topics to some fictional media. So we

0:13:25.679 --> 0:13:28.480
<v Speaker 3>just did a series on the war galleys of the

0:13:28.520 --> 0:13:33.800
<v Speaker 3>ancient Mediterranean, especially the famous Trirem, which was used in

0:13:33.880 --> 0:13:37.360
<v Speaker 3>naval battles as a ramming weapon. In the ship to

0:13:37.440 --> 0:13:40.520
<v Speaker 3>ship combat, these ships would ram each other to try

0:13:40.520 --> 0:13:44.319
<v Speaker 3>to damage and immobilize each other in battle. And Rob

0:13:44.360 --> 0:13:47.760
<v Speaker 3>you ended up bringing up ramming between ships and a

0:13:47.800 --> 0:13:49.119
<v Speaker 3>science fiction context.

0:13:49.120 --> 0:13:51.160
<v Speaker 2>What was the specific thing you were talking about was

0:13:51.160 --> 0:13:54.640
<v Speaker 2>a warhammer. I think in the third episode I brought

0:13:54.679 --> 0:13:57.760
<v Speaker 2>up warhammer, but earlier I just was kind of spitball

0:13:57.800 --> 0:14:01.200
<v Speaker 2>and I was thinking, well, hey, Star Trek has always

0:14:01.240 --> 0:14:07.079
<v Speaker 2>essentially been naval combat transferred into a space scenario, so

0:14:07.320 --> 0:14:09.280
<v Speaker 2>they had to have had some ramming speed going on

0:14:09.360 --> 0:14:10.920
<v Speaker 2>at some point. Yeah.

0:14:11.000 --> 0:14:14.240
<v Speaker 3>Yeah, So we asked about that, and what do you know,

0:14:14.400 --> 0:14:17.320
<v Speaker 3>multiple listeners got in touch to tell us about Star Trek.

0:14:17.440 --> 0:14:21.080
<v Speaker 3>Who would have thought. So, this first message is from Jim,

0:14:21.280 --> 0:14:29.800
<v Speaker 3>subject line Star Trek Ramming. Jim says, you asked for it.

0:14:29.960 --> 0:14:33.240
<v Speaker 3>Here it is number one. In Star Trek First Contact,

0:14:33.520 --> 0:14:37.240
<v Speaker 3>the Federation is fighting a borg Cube. Wharf is in

0:14:37.280 --> 0:14:41.600
<v Speaker 3>command of the Defiant, a smaller ship from DS nine.

0:14:41.640 --> 0:14:46.120
<v Speaker 3>I guess Deep Space nine correct, and the Defiant takes

0:14:46.240 --> 0:14:50.480
<v Speaker 3>damage and Wharf declares ramming speed, but it never does

0:14:50.640 --> 0:14:53.800
<v Speaker 3>because the Enterprise comes to the rescue. But the fact

0:14:53.800 --> 0:14:56.000
<v Speaker 3>that he declared it means it's a thing.

0:14:56.560 --> 0:14:58.960
<v Speaker 2>Seems key that it would be like a Klingon thing, right,

0:14:59.040 --> 0:15:03.000
<v Speaker 2>kind of like your lastch effort. Yeah, I agree.

0:15:03.640 --> 0:15:08.040
<v Speaker 3>Number two in Star Trek Nemesis Picard crashes the Enterprise

0:15:08.280 --> 0:15:12.880
<v Speaker 3>into a Romulan ship called the Scimitar, heavily damaging both ships.

0:15:13.160 --> 0:15:16.880
<v Speaker 3>This was not at warp speed, however. There was also

0:15:16.960 --> 0:15:20.240
<v Speaker 3>an example in Star Wars The Last Jedi. Oh yeah,

0:15:20.280 --> 0:15:24.120
<v Speaker 3>I remember this one spoiler for I don't know the movies,

0:15:24.160 --> 0:15:25.960
<v Speaker 3>like seven years old at this point, but you know,

0:15:26.080 --> 0:15:30.080
<v Speaker 3>a spoiler for pivotal plot moments. Laura Dern plays a

0:15:30.160 --> 0:15:34.000
<v Speaker 3>character named Vice Admiral Holdo. She rams a Rebel ship

0:15:34.040 --> 0:15:38.280
<v Speaker 3>into a Star Destroyer at hyperspeed, destroying both ships. Thanks

0:15:38.280 --> 0:15:41.480
<v Speaker 3>for all the great shows, Jim, and then I'm going

0:15:41.520 --> 0:15:43.680
<v Speaker 3>to quickly tack on another one here that we got

0:15:43.680 --> 0:15:46.720
<v Speaker 3>from Jim in New Jersey. So a totally different Jim

0:15:46.800 --> 0:15:50.120
<v Speaker 3>wrote in on the same subject, Robert, Joe, and JJ

0:15:50.640 --> 0:15:53.440
<v Speaker 3>you asked about whether ramming ships were ever used in

0:15:53.520 --> 0:15:56.360
<v Speaker 3>Star Trek. One story came to mind. It's from Star

0:15:56.400 --> 0:15:59.400
<v Speaker 3>Trek Voyager the year of Hell, which was a two

0:15:59.480 --> 0:16:03.440
<v Speaker 3>part episode. Captain Janeaway uses the Voyager as a ramming

0:16:03.560 --> 0:16:06.640
<v Speaker 3>vessel when all other options have been eliminated, and then

0:16:06.720 --> 0:16:10.239
<v Speaker 3>Jim attaches a clip to a video of this scene.

0:16:10.560 --> 0:16:12.280
<v Speaker 3>So I went and looked at it. I've never seen

0:16:12.320 --> 0:16:15.000
<v Speaker 3>any Star Trek Voyager really, so I don't know much

0:16:15.120 --> 0:16:17.080
<v Speaker 3>of what's going on, but it appears this is a

0:16:17.120 --> 0:16:21.080
<v Speaker 3>storyline in which the Starfleet ship is facing off against

0:16:21.160 --> 0:16:25.200
<v Speaker 3>an enemy played by kurtwood Smith Clarence Bodiker from RoboCop.

0:16:26.320 --> 0:16:29.200
<v Speaker 3>In this episode of Star Trek, he has some kind

0:16:29.240 --> 0:16:34.080
<v Speaker 3>of time manipulation device and can reset to an earlier

0:16:34.200 --> 0:16:36.440
<v Speaker 3>kind of save point anytime he loses.

0:16:36.520 --> 0:16:36.880
<v Speaker 2>I think.

0:16:36.960 --> 0:16:40.120
<v Speaker 3>So it seems like mutual destruction is somehow the only

0:16:40.160 --> 0:16:42.160
<v Speaker 3>way to break the loop and escape.

0:16:43.320 --> 0:16:46.040
<v Speaker 2>Well, I just watched a couple of like pizza commercials

0:16:46.080 --> 0:16:49.560
<v Speaker 2>on YouTube and then saw the ramming sequence, and I

0:16:49.600 --> 0:16:54.880
<v Speaker 2>am getting the sense that ramming in these various spaceship scenarios,

0:16:55.160 --> 0:16:58.200
<v Speaker 2>it is all or nothing. It's just a full speed,

0:16:58.960 --> 0:17:04.320
<v Speaker 2>mutually assured just struction and not the carefully calculated procedure

0:17:05.760 --> 0:17:10.399
<v Speaker 2>maneuver that we talked about with the tryrems. So it

0:17:10.440 --> 0:17:14.000
<v Speaker 2>would be neat to see that version of space combat.

0:17:14.240 --> 0:17:17.479
<v Speaker 3>I guess a difference would be that the ships in

0:17:17.560 --> 0:17:20.280
<v Speaker 3>all of these scenes are not designed for ramming, whereas

0:17:20.320 --> 0:17:22.960
<v Speaker 3>the tryream is it is built with ramming in mind,

0:17:23.080 --> 0:17:25.800
<v Speaker 3>so it's constructed to be able to absorb the shock

0:17:26.080 --> 0:17:29.920
<v Speaker 3>and survive a ramming maneuver to damage the other ship

0:17:29.960 --> 0:17:34.560
<v Speaker 3>without taking critical damage itself. And generally space ships you

0:17:34.560 --> 0:17:37.000
<v Speaker 3>don't think they're not designed that way, but I suppose

0:17:37.040 --> 0:17:38.280
<v Speaker 3>you could make one like that.

0:17:38.920 --> 0:17:42.000
<v Speaker 2>Yeah, well, supposedly some of these ships in Warhammer. Again,

0:17:42.040 --> 0:17:46.040
<v Speaker 2>I never played Battlefleet Gothic or any of the sub

0:17:46.080 --> 0:17:49.879
<v Speaker 2>games that deal specifically with ship to ship combat, but

0:17:49.920 --> 0:17:51.840
<v Speaker 2>I may have to dig into it and see if

0:17:51.880 --> 0:17:54.560
<v Speaker 2>they're just doing an all or nothing ramming speed scenario

0:17:54.960 --> 0:17:57.840
<v Speaker 2>or if they are exploring something that is again a

0:17:57.840 --> 0:18:00.639
<v Speaker 2>little more nuanced and calculated, where you're kind of doing

0:18:00.680 --> 0:18:05.080
<v Speaker 2>a controlled nudge to rupture the hull. Yeah.

0:18:06.040 --> 0:18:08.639
<v Speaker 3>Also, I feel like this is not the first time

0:18:08.720 --> 0:18:13.480
<v Speaker 3>we've gotten multiple different responses to Star Trek related questions

0:18:13.520 --> 0:18:17.000
<v Speaker 3>from different listeners named Jim, do the gyms all track?

0:18:17.720 --> 0:18:29.520
<v Speaker 2>Maybe? So? All right? This next one is more of

0:18:29.520 --> 0:18:34.359
<v Speaker 2>a general or related response. This one comes to us

0:18:34.720 --> 0:18:39.640
<v Speaker 2>from Lee Lee wrights in and says the following, Hello, Rob, Joe,

0:18:39.680 --> 0:18:43.160
<v Speaker 2>and JJ, just listen to the first episode regarding ancient ores.

0:18:43.560 --> 0:18:46.760
<v Speaker 2>Having spent summers on camp staff during high school and college,

0:18:46.800 --> 0:18:49.679
<v Speaker 2>one of the subjects I taught was rowing. What you

0:18:49.720 --> 0:18:52.120
<v Speaker 2>were saying about these types of rowing locks was correct.

0:18:52.240 --> 0:18:55.040
<v Speaker 2>Our boats had the open type, basically a U shaped

0:18:55.119 --> 0:18:58.240
<v Speaker 2>rest for the oars. They really don't facilitate keeping the

0:18:58.280 --> 0:19:00.720
<v Speaker 2>oars in the boat. This is never more evident than

0:19:00.840 --> 0:19:02.960
<v Speaker 2>during a class of ten or more twelve to sixteen

0:19:03.040 --> 0:19:06.080
<v Speaker 2>year old boy scouts, many of which whom have never

0:19:06.400 --> 0:19:09.719
<v Speaker 2>been in a boat. The technique of turning the blade

0:19:09.720 --> 0:19:11.439
<v Speaker 2>of the ore so that it is parallel to the

0:19:11.440 --> 0:19:15.080
<v Speaker 2>water surface is called feathering. Yes, it cuts wind resistance,

0:19:15.119 --> 0:19:17.879
<v Speaker 2>but it can also allow the blade to skim the

0:19:17.920 --> 0:19:21.680
<v Speaker 2>top of an errant wave in rough water. Pinlocks fix

0:19:21.800 --> 0:19:24.120
<v Speaker 2>the ore to the boat. Like you said, this could

0:19:24.160 --> 0:19:27.280
<v Speaker 2>provide an advantage to ancient seafares by not requiring a

0:19:27.359 --> 0:19:31.120
<v Speaker 2>multitude of spares should ores fall overboard. The trade off

0:19:31.200 --> 0:19:34.720
<v Speaker 2>might be some speed. Looking forward to the next episode, Sincerely.

0:19:35.119 --> 0:19:36.879
<v Speaker 3>You know one thing we didn't get into.

0:19:37.119 --> 0:19:37.480
<v Speaker 2>I don't know.

0:19:37.480 --> 0:19:39.760
<v Speaker 3>Maybe you read about this in that book you were reading,

0:19:39.840 --> 0:19:43.760
<v Speaker 3>Rob but about whether spare ores would have been the

0:19:43.800 --> 0:19:47.199
<v Speaker 3>thing in the war galleys of the ancient Mediterranean, So

0:19:47.280 --> 0:19:50.280
<v Speaker 3>like if you're on a trirem and you drop your

0:19:50.320 --> 0:19:52.520
<v Speaker 3>ore into the ocean. In fact, I don't even even

0:19:52.600 --> 0:19:54.520
<v Speaker 3>know if that's possible. Maybe they were secured to the

0:19:54.520 --> 0:19:56.320
<v Speaker 3>boat in some way with a pin like Lee is

0:19:56.320 --> 0:19:59.800
<v Speaker 3>talking about. I don't know, But did they carry spares?

0:20:00.280 --> 0:20:03.320
<v Speaker 3>I know one of the techniques I read about in

0:20:03.359 --> 0:20:05.679
<v Speaker 3>addition to ramming the hull of the boat was to

0:20:05.840 --> 0:20:07.800
<v Speaker 3>sort of go against the side of the boat and

0:20:07.840 --> 0:20:10.600
<v Speaker 3>try to shear its oars off. So if that happened,

0:20:10.640 --> 0:20:13.320
<v Speaker 3>did you have spars on board to, you know, to

0:20:13.560 --> 0:20:15.960
<v Speaker 3>kind of quickly try to replace the ones you'd lost.

0:20:16.520 --> 0:20:18.000
<v Speaker 2>This is a great question. I'm going to have to

0:20:18.040 --> 0:20:21.120
<v Speaker 2>bust out the ancient mariners and see if case gets

0:20:21.119 --> 0:20:24.520
<v Speaker 2>into it or not. But yeah, it seems like you

0:20:24.520 --> 0:20:28.840
<v Speaker 2>would run the risk if not losing them, because in theory,

0:20:28.880 --> 0:20:30.959
<v Speaker 2>you'd have a pretty crack team here that would not

0:20:31.000 --> 0:20:32.800
<v Speaker 2>lose their oars. This would not be the twelve to

0:20:32.840 --> 0:20:35.040
<v Speaker 2>sixteen year old boy scouts. I've never been in a boat,

0:20:35.400 --> 0:20:39.440
<v Speaker 2>but in a combat scenario. Certainly it seems like you, yeah,

0:20:39.480 --> 0:20:41.919
<v Speaker 2>you could get splintered oars, broken oars, and then what

0:20:41.960 --> 0:20:44.399
<v Speaker 2>are you going to do in order to restore your power?

0:20:44.920 --> 0:20:47.280
<v Speaker 2>Or is it one of those situations where again you're

0:20:47.280 --> 0:20:50.160
<v Speaker 2>getting into that calculus of not weighing the boat down

0:20:51.320 --> 0:20:53.679
<v Speaker 2>and you're just kind of going with all right, we

0:20:53.760 --> 0:20:55.560
<v Speaker 2>just need to make sure that it's as you know,

0:20:56.080 --> 0:20:59.520
<v Speaker 2>that everything is optimized as much as possible, and you're

0:20:59.560 --> 0:21:02.720
<v Speaker 2>gonna have to worry about splintered ores when and if

0:21:02.760 --> 0:21:04.919
<v Speaker 2>that occurs. All right.

0:21:05.000 --> 0:21:08.680
<v Speaker 3>This next message is from yet another gem, the Gym's overfloweth.

0:21:09.600 --> 0:21:19.719
<v Speaker 3>This is subject line Rowboat mosh Pit. Listening to your

0:21:19.760 --> 0:21:21.919
<v Speaker 3>episodes on rowing and wanted to let you know that

0:21:21.960 --> 0:21:25.840
<v Speaker 3>I discovered that some of the audience for Viking metal

0:21:25.880 --> 0:21:29.200
<v Speaker 3>bands will often sit down on the ground and row

0:21:29.480 --> 0:21:32.960
<v Speaker 3>on mass and then Jim attaches several videos of this

0:21:33.040 --> 0:21:35.280
<v Speaker 3>taking place. I watched one of these. It's at a

0:21:35.760 --> 0:21:38.760
<v Speaker 3>concert of the melodic death metal band Amon m Arth.

0:21:39.160 --> 0:21:41.200
<v Speaker 3>I don't know if I'm saying that right, but they're

0:21:41.280 --> 0:21:44.240
<v Speaker 3>like a I think a Swedish melodic death metal band.

0:21:44.520 --> 0:21:46.040
<v Speaker 2>Okay, yeah, I'm not familiar with them.

0:21:46.160 --> 0:21:48.720
<v Speaker 3>The name of the band is the name of Mount

0:21:48.720 --> 0:21:51.800
<v Speaker 3>Doom from Tolkien in like one of the languages of Tolkien.

0:21:52.400 --> 0:21:54.680
<v Speaker 2>Yeah. I just pulled up some of these videos as well.

0:21:54.800 --> 0:21:58.240
<v Speaker 2>I was not familiar with this, but as someone who

0:21:59.000 --> 0:22:02.360
<v Speaker 2>often likes certain types of metal but has never ever

0:22:02.440 --> 0:22:05.160
<v Speaker 2>wanted to be in a mosh pit, I applaud this. Yes,

0:22:05.560 --> 0:22:08.960
<v Speaker 2>this is a far better situation for someone like me

0:22:09.119 --> 0:22:11.880
<v Speaker 2>like I would rather be in there pretending to row

0:22:11.880 --> 0:22:12.200
<v Speaker 2>a boat.

0:22:12.640 --> 0:22:15.119
<v Speaker 3>I totally agree. Yeah, so you're pretending to be in

0:22:15.160 --> 0:22:20.960
<v Speaker 3>like a Viking galley instead of pretending to fight one another. Yeah.

0:22:21.000 --> 0:22:23.800
<v Speaker 3>But to describe for those who can't see it for themselves, yeah,

0:22:23.840 --> 0:22:25.919
<v Speaker 3>it's like, instead of a mash pit down on the

0:22:25.960 --> 0:22:28.679
<v Speaker 3>floor in front of the stage, it has just tons

0:22:28.720 --> 0:22:32.240
<v Speaker 3>of people lined up and they are pretending to row,

0:22:32.600 --> 0:22:35.560
<v Speaker 3>and they're they're chanting row on the beat of the

0:22:35.560 --> 0:22:39.440
<v Speaker 3>song as the band is playing. So yeah, again, much

0:22:39.480 --> 0:22:43.080
<v Speaker 3>better than a fighting mashpit in my opinion. But this

0:22:43.119 --> 0:22:46.159
<v Speaker 3>is really interesting to me because it's reverse engineering the

0:22:46.240 --> 0:22:49.159
<v Speaker 3>idea of using the steady beat of a piece of

0:22:49.240 --> 0:22:52.000
<v Speaker 3>music to time the power strokes on a war galley.

0:22:52.080 --> 0:22:56.280
<v Speaker 3>So here they are recreationally rowing on the beat to

0:22:56.440 --> 0:22:59.520
<v Speaker 3>enhance their enjoyment of music. And this makes me think

0:22:59.520 --> 0:23:02.280
<v Speaker 3>about how something we didn't much get into in the

0:23:02.320 --> 0:23:06.199
<v Speaker 3>episodes on these ancient oar ships was the idea of

0:23:06.320 --> 0:23:09.840
<v Speaker 3>using music or drums to synchronize the rowing of the crew.

0:23:11.000 --> 0:23:14.360
<v Speaker 3>In movies, these ships are often depicted with pounding drums.

0:23:14.359 --> 0:23:17.000
<v Speaker 3>You know, they've got somebody with this big, tempany looking

0:23:17.080 --> 0:23:19.680
<v Speaker 3>kind of drum just pounding up and down to keep

0:23:19.720 --> 0:23:23.200
<v Speaker 3>everybody in sync. But I decided to check and see

0:23:23.200 --> 0:23:25.560
<v Speaker 3>if that was truly the case, like, do we have

0:23:25.680 --> 0:23:29.560
<v Speaker 3>evidence that ships had these drums like this? And apparently

0:23:29.600 --> 0:23:32.040
<v Speaker 3>the answer is no, there is not much evidence for

0:23:32.080 --> 0:23:34.800
<v Speaker 3>the use of drums. In fact, I found some evidence

0:23:34.840 --> 0:23:38.520
<v Speaker 3>to the contrary. I was reading an article that had

0:23:38.520 --> 0:23:41.959
<v Speaker 3>some reporting on experiments carried out by the Trirem Trust.

0:23:42.000 --> 0:23:44.480
<v Speaker 3>To remember, Rob, you were talking about this in the episode.

0:23:44.480 --> 0:23:48.720
<v Speaker 3>These were the people who built the Olympius, the floating hypothesis.

0:23:48.720 --> 0:23:50.480
<v Speaker 3>Do you want to do a quick refresher on that.

0:23:50.920 --> 0:23:55.000
<v Speaker 2>Yeah. Yeah. The basic idea here being that we don't

0:23:55.040 --> 0:23:58.119
<v Speaker 2>really know much for certain about the tryrems. We have,

0:23:59.119 --> 0:24:03.399
<v Speaker 2>you know, very scant physical evidence. We have descriptions in

0:24:03.440 --> 0:24:06.720
<v Speaker 2>ancient literature, but that's about it. So the idea was, well,

0:24:06.800 --> 0:24:10.600
<v Speaker 2>let's take what we know, let's build this floating hypothesis.

0:24:10.760 --> 0:24:13.840
<v Speaker 2>Let's try and build one based on the limited information,

0:24:13.920 --> 0:24:15.720
<v Speaker 2>and at least then we have a starting point and

0:24:15.800 --> 0:24:17.920
<v Speaker 2>we can test it out and then have these various

0:24:17.960 --> 0:24:22.919
<v Speaker 2>disagreements and considerations about how much this differs from a

0:24:22.960 --> 0:24:23.960
<v Speaker 2>possible reality.

0:24:24.400 --> 0:24:26.240
<v Speaker 3>Right, And so one of the cool things about this

0:24:26.320 --> 0:24:28.720
<v Speaker 3>ship again, we don't know that this is exactly how

0:24:28.760 --> 0:24:32.199
<v Speaker 3>the ancient trirems worked, but it seems probably pretty close.

0:24:32.920 --> 0:24:36.200
<v Speaker 3>And so they were able to run human experiments with it,

0:24:36.320 --> 0:24:39.320
<v Speaker 3>like to not just test the structure, but to test

0:24:39.480 --> 0:24:42.520
<v Speaker 3>how the operation of such a ship would work. And

0:24:42.600 --> 0:24:46.280
<v Speaker 3>so they experimented with different ways of using music or

0:24:46.400 --> 0:24:49.280
<v Speaker 3>sound to synchronize the crew. Now I read in this

0:24:49.400 --> 0:24:54.280
<v Speaker 3>article that they used like electronic loudspeakers to synchronize the

0:24:54.359 --> 0:24:58.600
<v Speaker 3>rowing strokes. But of course, you know, ancient Greek armies

0:24:58.600 --> 0:25:01.159
<v Speaker 3>and ancient Phoenician armies and stuff would not have or

0:25:01.280 --> 0:25:04.400
<v Speaker 3>navy excuse me, navies would not have had electronic speakers,

0:25:04.440 --> 0:25:08.960
<v Speaker 3>of course, So like, how did they synchronize everyone? And

0:25:09.119 --> 0:25:13.200
<v Speaker 3>the trials that they conducted found that drums as well

0:25:13.240 --> 0:25:18.200
<v Speaker 3>as singing and read pipes were all ineffective. They did

0:25:18.200 --> 0:25:22.199
<v Speaker 3>not really work to synchronize the crew, And strangely, the

0:25:22.400 --> 0:25:26.720
<v Speaker 3>type of musical organization they found that worked the best

0:25:26.920 --> 0:25:31.640
<v Speaker 3>was communal humming. Humming was the best way. Humming by

0:25:31.640 --> 0:25:34.920
<v Speaker 3>the whole crew, everybody humming together was the best way

0:25:34.960 --> 0:25:39.080
<v Speaker 3>to synchronize rowers without modern technology, and it improved ship

0:25:39.160 --> 0:25:41.000
<v Speaker 3>velocity by more than ten percent.

0:25:42.200 --> 0:25:44.960
<v Speaker 2>That's interesting. I mean, I guess the thing about humming

0:25:45.040 --> 0:25:47.919
<v Speaker 2>is pretty much everybody can do it. I guess I

0:25:47.960 --> 0:25:51.040
<v Speaker 2>say that with the confidence of someone who's not researched it.

0:25:52.440 --> 0:25:56.600
<v Speaker 2>There may be people who cannot hum, but I don't know.

0:25:56.800 --> 0:25:58.000
<v Speaker 2>It makes a lot of sense to me. And of

0:25:58.040 --> 0:26:01.000
<v Speaker 2>course you don't need to drag some drums or any

0:26:01.040 --> 0:26:04.080
<v Speaker 2>additional even so much as a reed flute aboard the vessel.

0:26:04.119 --> 0:26:08.120
<v Speaker 2>At that point, it's the internal instrumentation. And I mean,

0:26:08.160 --> 0:26:11.399
<v Speaker 2>and again it ties directly into the human engine powering

0:26:11.480 --> 0:26:11.760
<v Speaker 2>the thing.

0:26:12.080 --> 0:26:14.159
<v Speaker 3>But to come back on the other side, in this article,

0:26:14.240 --> 0:26:17.840
<v Speaker 3>they quote a scholar who we talked about in The

0:26:17.880 --> 0:26:22.800
<v Speaker 3>Warship's episode named Boris Rankov, who is a classic scholar

0:26:22.840 --> 0:26:26.199
<v Speaker 3>and was involved in the creation and also works as

0:26:26.320 --> 0:26:31.479
<v Speaker 3>like a rower he's like a trained oarsman, but worked

0:26:31.560 --> 0:26:35.560
<v Speaker 3>on the Trireme Trust and Rankov says, humming worked really

0:26:35.600 --> 0:26:39.240
<v Speaker 3>well in the experiments, but there's no literary record of

0:26:39.320 --> 0:26:41.720
<v Speaker 3>that actually happening in history, so this is not something

0:26:41.720 --> 0:26:45.119
<v Speaker 3>we're told that the ancient Greeks ever did. Fascinating to

0:26:45.119 --> 0:26:48.760
<v Speaker 3>think about, though, like why humming as a group would

0:26:48.760 --> 0:26:52.679
<v Speaker 3>work better than a drum beat a or you know,

0:26:52.840 --> 0:26:54.199
<v Speaker 3>general singing or music.

0:26:54.920 --> 0:26:58.200
<v Speaker 2>Interesting. Yeah, I wonder if if we get there's an

0:26:58.200 --> 0:26:59.840
<v Speaker 2>episode in that, you know, we could come back and

0:26:59.840 --> 0:27:02.560
<v Speaker 2>do episode on humming. I think we did one on whistling.

0:27:03.080 --> 0:27:03.600
<v Speaker 2>Yeah we did.

0:27:03.680 --> 0:27:07.000
<v Speaker 3>Yeah, Yeah, where we talked about like whistle languages and stuff.

0:27:07.200 --> 0:27:11.399
<v Speaker 2>Yeah, bookmarkt for later. Yeah, all right, let's see. Here's

0:27:11.440 --> 0:27:14.320
<v Speaker 2>the here's another one dealing with our episodes on burning hair.

0:27:14.840 --> 0:27:22.959
<v Speaker 2>This one comes from John. John says, Hello, Robert, Joe,

0:27:22.960 --> 0:27:24.840
<v Speaker 2>and JJ. I have a couple of childhood memories that

0:27:24.880 --> 0:27:28.520
<v Speaker 2>I thought might be worth sharing. First, regarding aliens, Note

0:27:28.640 --> 0:27:30.399
<v Speaker 2>this was a long time ago, in any part of

0:27:30.400 --> 0:27:33.520
<v Speaker 2>this memory could be flawed. I remember, as an adolescent

0:27:33.600 --> 0:27:39.320
<v Speaker 2>reading a comic about alien xenomorph exterminators and presumably these

0:27:39.359 --> 0:27:42.120
<v Speaker 2>are these are human exterminators, by the way, who infiltrated

0:27:42.160 --> 0:27:46.840
<v Speaker 2>and destroyed it there the Xenomorph's colonies. As I understood it,

0:27:46.880 --> 0:27:50.359
<v Speaker 2>aliens only responded to a specific scent that humans released

0:27:50.359 --> 0:27:53.280
<v Speaker 2>when they are afraid. So the characters in the comic

0:27:53.280 --> 0:27:55.800
<v Speaker 2>book took a drug that completely numbed their ability to

0:27:55.840 --> 0:27:58.720
<v Speaker 2>experience fear and could then flamethrow their way through the

0:27:58.720 --> 0:28:02.040
<v Speaker 2>alien colony with essential no resistance. Once they'd been on

0:28:02.040 --> 0:28:03.880
<v Speaker 2>the job for a while, they stopped taking the drug

0:28:03.880 --> 0:28:06.640
<v Speaker 2>because they didn't feel any fear anymore even without it.

0:28:07.000 --> 0:28:09.280
<v Speaker 2>I always thought it was a cool and extreme version

0:28:09.320 --> 0:28:11.760
<v Speaker 2>of fake it till you make it. Doesn't sound cannon,

0:28:12.040 --> 0:28:13.920
<v Speaker 2>but I enjoyed the idea of it. Wow.

0:28:14.080 --> 0:28:18.560
<v Speaker 3>Interesting that there's just like so much secondary expanded alien

0:28:18.680 --> 0:28:21.239
<v Speaker 3>universe lore that I have no idea of, and I

0:28:21.240 --> 0:28:24.040
<v Speaker 3>feel like I'm like an alien super fan, but I

0:28:24.040 --> 0:28:25.960
<v Speaker 3>only really know like the Core movies.

0:28:26.480 --> 0:28:28.400
<v Speaker 2>Yeah, yeah, there's tons of it in the comic books,

0:28:28.800 --> 0:28:32.399
<v Speaker 2>various novelizations. I was recently kind of getting up to

0:28:32.440 --> 0:28:35.400
<v Speaker 2>speed on some of the recent novels that have come out,

0:28:35.480 --> 0:28:40.000
<v Speaker 2>and some of them are pretty well regarded, so I

0:28:40.000 --> 0:28:41.920
<v Speaker 2>don't know, I have to dig deeper. If anyone out

0:28:41.920 --> 0:28:44.000
<v Speaker 2>there has a favorite write in, I'd love to hear

0:28:44.040 --> 0:28:47.040
<v Speaker 2>from you. But yeah, I also agree that this may

0:28:47.040 --> 0:28:50.640
<v Speaker 2>not be canon, but it's an interesting concept, like the

0:28:50.680 --> 0:28:53.160
<v Speaker 2>sort of concept that you could imagine working outside of

0:28:53.160 --> 0:28:56.600
<v Speaker 2>the Alien franchise. You know, is sort of an analysis

0:28:56.600 --> 0:28:56.960
<v Speaker 2>of fear.

0:28:57.440 --> 0:28:59.120
<v Speaker 3>Well, it kind of reminds me of something that shows

0:28:59.160 --> 0:29:02.560
<v Speaker 3>up in like some vampire movies, where like the vampire

0:29:03.080 --> 0:29:06.560
<v Speaker 3>repellent properties of a cross are only effective if the

0:29:06.600 --> 0:29:10.160
<v Speaker 3>person wielding it has faith or something. Yeah, I know

0:29:10.200 --> 0:29:11.880
<v Speaker 3>it's like that in Fright Night, but I think it's

0:29:11.920 --> 0:29:13.400
<v Speaker 3>like that in some other media as well.

0:29:13.800 --> 0:29:17.880
<v Speaker 2>All right, anyway, he continues here. Secondly, regarding burning hair,

0:29:18.000 --> 0:29:20.200
<v Speaker 2>I have a memory of returning to a family friend

0:29:20.240 --> 0:29:23.120
<v Speaker 2>gathering after going outside to light the grill and being

0:29:23.120 --> 0:29:25.640
<v Speaker 2>accused of having put on mascaro while I was out.

0:29:26.000 --> 0:29:28.880
<v Speaker 2>Turns out I had sinned my eyelashes, leading them to

0:29:28.960 --> 0:29:32.040
<v Speaker 2>look really thick. I seem to recall whenever I saw

0:29:32.240 --> 0:29:35.200
<v Speaker 2>hair burn, it always left a bulb on the end

0:29:35.200 --> 0:29:38.240
<v Speaker 2>of the hair. Anyway, you know how they say you

0:29:38.280 --> 0:29:41.200
<v Speaker 2>shouldn't use gasoline to light a grill. Uh huh, Well

0:29:41.320 --> 0:29:44.600
<v Speaker 2>you really shouldn't use gasoline to relight a grill that's

0:29:44.600 --> 0:29:47.480
<v Speaker 2>still pretty hot. I'm pretty sure that using gasoline was

0:29:47.520 --> 0:29:50.720
<v Speaker 2>fairly common practice in my household. Who but I don't

0:29:50.760 --> 0:29:54.040
<v Speaker 2>think i'd ever tried it in a re lighting scenario.

0:29:54.200 --> 0:29:56.440
<v Speaker 2>I poured the gas on and nothing happened. So I

0:29:56.520 --> 0:30:00.360
<v Speaker 2>lit a match and whoosh, the fumes lit up ediately

0:30:00.600 --> 0:30:03.880
<v Speaker 2>from a good distance away. Lesson learned. Thanks for the

0:30:03.920 --> 0:30:09.120
<v Speaker 2>insightful and thought provoking podcasts as always, Hi, Renata, yours John.

0:30:09.400 --> 0:30:12.520
<v Speaker 3>Oh yeah, this listener John has gives a shout out

0:30:12.520 --> 0:30:15.880
<v Speaker 3>to another friend who's a listener, Renata, who also writes.

0:30:15.560 --> 0:30:19.720
<v Speaker 2>In a lot Well, definitely, yeah. Take John's advice here,

0:30:19.760 --> 0:30:22.240
<v Speaker 2>and please do not use gasoline to start your fires.

0:30:22.480 --> 0:30:26.280
<v Speaker 3>In fact, I don't even for less danger related reasons.

0:30:26.320 --> 0:30:29.120
<v Speaker 3>I don't even recommend using lighter fluid as a great

0:30:29.160 --> 0:30:31.360
<v Speaker 3>way to start a grill. The chimney starters are great

0:30:31.400 --> 0:30:34.440
<v Speaker 3>if you're doing a charcoal grill. They work fantastic. It's

0:30:34.440 --> 0:30:35.200
<v Speaker 3>the best way to go.

0:30:35.440 --> 0:30:37.400
<v Speaker 2>I agree. I don't do a lot of charcoal grilling,

0:30:37.440 --> 0:30:39.400
<v Speaker 2>but when I do, I use the tower and it

0:30:39.520 --> 0:30:41.920
<v Speaker 2>works and it's fast and he can depend on it.

0:30:42.080 --> 0:30:46.200
<v Speaker 2>So no flammable liquids are required. Yeah, I mean you

0:30:46.240 --> 0:30:49.880
<v Speaker 2>got to be safe with those two obviously, but we.

0:30:50.000 --> 0:30:54.160
<v Speaker 3>Think anything that's on fire, yeah, but limit your dangers well.

0:30:54.200 --> 0:30:57.000
<v Speaker 3>To clarify apart from safety considerations, I would also just

0:30:57.040 --> 0:30:59.479
<v Speaker 3>say that in my experience, I feel like lighter fluid

0:30:59.520 --> 0:31:04.080
<v Speaker 3>can sometimes kind of impart some unpleasant aromas.

0:31:03.440 --> 0:31:04.040
<v Speaker 2>To the food.

0:31:05.800 --> 0:31:08.120
<v Speaker 3>But yeah, Jimny starter a little bit of newspaper in

0:31:08.160 --> 0:31:08.560
<v Speaker 3>the bottom.

0:31:08.640 --> 0:31:10.840
<v Speaker 2>You're golden. Can you dig it? Can you dig it?

0:31:10.960 --> 0:31:12.840
<v Speaker 2>Can you dig it? Can you dig it? Can you

0:31:12.880 --> 0:31:14.320
<v Speaker 2>dig it?

0:31:14.520 --> 0:31:16.520
<v Speaker 3>Okay, we do have a lot of messages still to

0:31:16.520 --> 0:31:19.760
<v Speaker 3>get to, but Carney, our mailbot is over here, just

0:31:19.920 --> 0:31:23.600
<v Speaker 3>repeatedly asking in a digitized voice whether or not we

0:31:23.720 --> 0:31:26.720
<v Speaker 3>can dig it, And so I think we are being

0:31:26.800 --> 0:31:31.760
<v Speaker 3>asked to proceed to the Warriors' responses. All right, all right,

0:31:31.800 --> 0:31:41.160
<v Speaker 3>This first message is from Maxim. Maxim says, Hello, Robert

0:31:41.160 --> 0:31:43.120
<v Speaker 3>and Joe. First of all, thank you for all the

0:31:43.200 --> 0:31:46.440
<v Speaker 3>excellent content and all your shows in various forms. I

0:31:46.480 --> 0:31:49.160
<v Speaker 3>only casually tune into Weird House as I am only

0:31:49.200 --> 0:31:53.160
<v Speaker 3>a mild cinophile, But when you're doing The Warriors, I

0:31:53.200 --> 0:31:57.040
<v Speaker 3>am down like Charlie Brown during your most recent Weird

0:31:57.040 --> 0:31:59.560
<v Speaker 3>House episode about The Warriors, you made a statement about

0:31:59.560 --> 0:32:01.800
<v Speaker 3>how the film seems to take place in a slightly

0:32:01.960 --> 0:32:06.320
<v Speaker 3>alternate world, a not quite New York, New York. I

0:32:06.360 --> 0:32:09.640
<v Speaker 3>think you missed an interesting comparison John Wick.

0:32:10.600 --> 0:32:12.360
<v Speaker 2>Ah, I didn't think about this, and I've only seen

0:32:12.360 --> 0:32:13.560
<v Speaker 2>the first John Wick movie.

0:32:13.640 --> 0:32:16.240
<v Speaker 3>Oh same here. I've also only seen the first one,

0:32:16.760 --> 0:32:20.920
<v Speaker 3>so I from what I understand, I think the lore

0:32:21.160 --> 0:32:25.680
<v Speaker 3>gets more complex as it goes on. Okay, anyway, Maxim continues,

0:32:25.800 --> 0:32:29.880
<v Speaker 3>Not only is John Wick four an obvious homage to

0:32:29.920 --> 0:32:32.880
<v Speaker 3>The Warriors, with everything from a DJ calling out the

0:32:32.920 --> 0:32:37.400
<v Speaker 3>local Paris gangs to attack Wick too the final duel

0:32:37.440 --> 0:32:40.560
<v Speaker 3>at Sunrise, but I also think that an argument could

0:32:40.600 --> 0:32:44.680
<v Speaker 3>be made that both films exist in the same grungy universe.

0:32:45.320 --> 0:32:47.960
<v Speaker 3>If we accept that both John Wick and The Warriors

0:32:48.040 --> 0:32:51.400
<v Speaker 3>happened in the same universe, then The Warriors is not

0:32:51.720 --> 0:32:54.560
<v Speaker 3>just an excellent cult classic, it is cemented as a

0:32:54.680 --> 0:32:59.200
<v Speaker 3>John Wick prequel. Was Cyrus trying to join the High Table?

0:32:59.480 --> 0:33:01.160
<v Speaker 3>I don't know what that is. I assume that's a

0:33:01.200 --> 0:33:04.160
<v Speaker 3>John Wick thing where the Gangs of New York looking

0:33:04.200 --> 0:33:07.760
<v Speaker 3>to elevate their service. Was this the origin of the

0:33:07.880 --> 0:33:11.360
<v Speaker 3>League of assassins that exist in john Wick. Was john

0:33:11.400 --> 0:33:14.320
<v Speaker 3>Wick one of the orphans? Or if we really want

0:33:14.360 --> 0:33:16.840
<v Speaker 3>to get crazy, is john Wick the love child of

0:33:16.880 --> 0:33:20.440
<v Speaker 3>Swan and Mercy. This is the crossover experience we need,

0:33:20.520 --> 0:33:25.200
<v Speaker 3>far more than any DC Marvel multiverse shenanigans. Just wanted

0:33:25.200 --> 0:33:26.960
<v Speaker 3>to share my thoughts and see what you thought about

0:33:26.960 --> 0:33:30.840
<v Speaker 3>this potentially better than Marvel ip crossover. Also, are there

0:33:30.880 --> 0:33:33.440
<v Speaker 3>any other films you think might fit into this shared

0:33:33.520 --> 0:33:39.840
<v Speaker 3>universe theory? Ooh, thanks Maxim. I wish I could comment

0:33:39.880 --> 0:33:42.840
<v Speaker 3>on this more having more john Wick knowledge, but I

0:33:42.920 --> 0:33:44.920
<v Speaker 3>just haven't made it to the rest of those movies yet.

0:33:45.240 --> 0:33:47.920
<v Speaker 2>Yeah, yeah, yeah, saying I only saw the first one,

0:33:48.040 --> 0:33:50.320
<v Speaker 2>he Avenged his Dog, and I thought it was over,

0:33:50.400 --> 0:33:52.280
<v Speaker 2>but I guess there was more story to tell there.

0:33:53.440 --> 0:33:56.960
<v Speaker 3>I've been assured that nothing bad happens to a dog

0:33:57.000 --> 0:33:59.160
<v Speaker 3>in the other movies, because that was kind of hard

0:33:59.200 --> 0:34:00.800
<v Speaker 3>for me to get past than the first one.

0:34:01.440 --> 0:34:05.320
<v Speaker 2>Yeah, yeah, you know, I guess having not seen the

0:34:05.360 --> 0:34:07.520
<v Speaker 2>other john Wick movies, I'm also reminded of some other

0:34:07.560 --> 0:34:11.000
<v Speaker 2>movies that I haven't seen any of, and that being

0:34:11.040 --> 0:34:14.640
<v Speaker 2>the Purge movies. On the surface, Again, as someone who

0:34:14.680 --> 0:34:17.600
<v Speaker 2>has not watched them. It seems like the Purge shares

0:34:17.840 --> 0:34:22.239
<v Speaker 2>like some similarities with the Warriors universe in the sense that,

0:34:22.680 --> 0:34:25.480
<v Speaker 2>I don't know, you have a like a slightly alternate

0:34:25.520 --> 0:34:29.040
<v Speaker 2>reality affecting the way a lot of street level crime

0:34:29.120 --> 0:34:32.200
<v Speaker 2>is going down. I don't know. I was thinking about

0:34:32.200 --> 0:34:35.280
<v Speaker 2>that because I did just watch the new twenty twenty

0:34:35.280 --> 0:34:39.160
<v Speaker 2>four movie Jackpot that has Aquafina and John Cena in it,

0:34:39.440 --> 0:34:43.440
<v Speaker 2>which I thought was an amusing viewing, you know, pretty

0:34:43.440 --> 0:34:46.360
<v Speaker 2>fun movie, but gets into some of those ideas, like,

0:34:46.400 --> 0:34:48.400
<v Speaker 2>you know, those sort of what if scenarios that end

0:34:48.480 --> 0:34:52.480
<v Speaker 2>up having defining what the street level violence looks like.

0:34:53.200 --> 0:34:55.879
<v Speaker 3>I think the fact about the Warriors universe that would

0:34:55.920 --> 0:34:58.840
<v Speaker 3>be most important to fit with another universe is the

0:34:58.920 --> 0:35:03.839
<v Speaker 3>fact that the Bangs each wear costumes. That's like the

0:35:03.880 --> 0:35:06.239
<v Speaker 3>core difference is that this is a world where it's

0:35:06.280 --> 0:35:09.360
<v Speaker 3>just normal to have a gang dressed up as mimes

0:35:09.840 --> 0:35:12.960
<v Speaker 3>and a gang dressed up as baseball players. That's like,

0:35:13.760 --> 0:35:18.360
<v Speaker 3>that's a particular kind of alternate universe, not totally implausible

0:35:18.400 --> 0:35:22.040
<v Speaker 3>in reality, it's just not our reality. So what does

0:35:22.080 --> 0:35:25.600
<v Speaker 3>that fit with I'm not exactly sure, but it's close.

0:35:27.440 --> 0:35:29.320
<v Speaker 3>Oh and just one more thing to add on to

0:35:29.560 --> 0:35:33.680
<v Speaker 3>a maxim's email. Here Marcus wrote in with overlapping subject

0:35:33.760 --> 0:35:37.160
<v Speaker 3>matter to say John Wick four pays homage to the Warriors,

0:35:37.200 --> 0:35:40.800
<v Speaker 3>with the radio DJ using the same message, showing only

0:35:40.840 --> 0:35:43.759
<v Speaker 3>the tight shot of the mouth and says, obviously it's

0:35:43.800 --> 0:35:46.799
<v Speaker 3>not like Lynn Thigpen as she's no longer with us,

0:35:47.600 --> 0:35:51.160
<v Speaker 3>but this this DJ is announcing the increasing award on

0:35:51.239 --> 0:35:53.880
<v Speaker 3>the on the hit for John Wick throughout the movie.

0:35:54.360 --> 0:35:58.000
<v Speaker 3>So it sounds like this is an open, conscious play

0:35:58.040 --> 0:35:59.960
<v Speaker 3>on the Warriors, not just slightly similar.

0:36:00.880 --> 0:36:10.759
<v Speaker 2>Interesting, all right, there's another one. This comes to us

0:36:10.800 --> 0:36:13.080
<v Speaker 2>from Andrew. Andrew writes and it says, Hi, Robert, Joe

0:36:13.080 --> 0:36:15.080
<v Speaker 2>and JJ has always great work. While I like to

0:36:15.160 --> 0:36:17.600
<v Speaker 2>enjoy your core episodes on my commute, tuning into Weird

0:36:17.640 --> 0:36:19.680
<v Speaker 2>House Cinema has become my favorite part of Friday Night,

0:36:20.200 --> 0:36:23.279
<v Speaker 2>your recent discussion of The Warriors struck an interesting chord

0:36:23.320 --> 0:36:25.319
<v Speaker 2>for me. You briefly mentioned the two thousand and five

0:36:25.400 --> 0:36:28.319
<v Speaker 2>video game adaptation, but didn't spend much time on it.

0:36:28.400 --> 0:36:30.399
<v Speaker 2>That makes sense for a movie podcast, but it's worth

0:36:30.440 --> 0:36:32.719
<v Speaker 2>noting that the game was very well received in its

0:36:32.760 --> 0:36:35.719
<v Speaker 2>time and has been subsequently re released on newer consoles

0:36:35.760 --> 0:36:38.080
<v Speaker 2>over the years. While the film is rightfully considered a

0:36:38.120 --> 0:36:41.040
<v Speaker 2>cult classic, I suspect most people my age are younger

0:36:41.040 --> 0:36:43.400
<v Speaker 2>who are familiar with the Warriors came to it through

0:36:43.440 --> 0:36:46.160
<v Speaker 2>the game instead, And this makes sense. I think we

0:36:46.200 --> 0:36:50.520
<v Speaker 2>mentioned it was like a Rockstar Games release, so you know,

0:36:50.520 --> 0:36:54.920
<v Speaker 2>we've seen a lot of older film franchises re explored

0:36:54.960 --> 0:36:57.880
<v Speaker 2>through video games, but this would have been a rock

0:36:57.920 --> 0:37:00.239
<v Speaker 2>Star game. This would have been a big and I

0:37:00.280 --> 0:37:02.960
<v Speaker 2>was just kind of out of gaming, I think at

0:37:02.960 --> 0:37:07.000
<v Speaker 2>that time, and not really plugged into what was happening.

0:37:07.480 --> 0:37:07.640
<v Speaker 2>You know.

0:37:07.680 --> 0:37:09.680
<v Speaker 3>We were just chatting about it in the episode, and

0:37:09.800 --> 0:37:11.840
<v Speaker 3>it struck me as kind of strange in the moment

0:37:12.239 --> 0:37:15.040
<v Speaker 3>that they would adapt a game from a movie that

0:37:15.160 --> 0:37:17.440
<v Speaker 3>was like twenty five or thirty years old and not

0:37:17.640 --> 0:37:19.800
<v Speaker 3>like a recent release. That just seemed like a weird

0:37:19.840 --> 0:37:22.880
<v Speaker 3>thing to me. But then the more I thought about it,

0:37:22.920 --> 0:37:25.000
<v Speaker 3>I was like, oh, I guess that's not all that unusual.

0:37:25.040 --> 0:37:27.880
<v Speaker 3>In fact, one of my favorite movies and favorite video

0:37:27.920 --> 0:37:30.600
<v Speaker 3>games has been like that. Alien Isolation is like a

0:37:30.640 --> 0:37:36.160
<v Speaker 3>recent console, a recent generation video game adaptation, not adaptation

0:37:36.320 --> 0:37:39.160
<v Speaker 3>of the first Alien movie, but it's basically a game

0:37:39.280 --> 0:37:42.080
<v Speaker 3>sequel to the original Alien from seventy nine.

0:37:42.560 --> 0:37:44.759
<v Speaker 2>Yeah, and then I believe they did have DLC for

0:37:44.840 --> 0:37:47.719
<v Speaker 2>it where they brought back I think pretty much all

0:37:47.800 --> 0:37:51.240
<v Speaker 2>the living cast from the first Alien movie to do voices,

0:37:51.320 --> 0:37:54.400
<v Speaker 2>and you had like the you know in Nostromo scenario

0:37:54.440 --> 0:37:56.759
<v Speaker 2>to play out. I never actually played it. I guess

0:37:56.760 --> 0:37:58.799
<v Speaker 2>I've got it on the system there. I should fire

0:37:58.840 --> 0:38:00.879
<v Speaker 2>it up, But I only played through the core game.

0:38:01.440 --> 0:38:03.760
<v Speaker 3>I know what you're talking about. From what I recall.

0:38:03.960 --> 0:38:06.520
<v Speaker 3>That was not like a like a full game length,

0:38:06.960 --> 0:38:09.000
<v Speaker 3>story driven kind of thing. It was more kind of

0:38:09.000 --> 0:38:11.240
<v Speaker 3>like a little mini mini game or something.

0:38:12.520 --> 0:38:14.680
<v Speaker 2>Well even better, I'd have less time these days of

0:38:14.760 --> 0:38:18.280
<v Speaker 2>light times, so if it's short, I'm in all right anyway.

0:38:18.680 --> 0:38:23.520
<v Speaker 2>This lister Mail continues talking about the Warriors video game

0:38:23.560 --> 0:38:25.720
<v Speaker 2>adaptation from two thousand and five. Plot Wise, it starts

0:38:25.719 --> 0:38:28.040
<v Speaker 2>earlier than the film, but catches up about halfway through.

0:38:28.080 --> 0:38:30.440
<v Speaker 2>From there, it's essentially a playable version of the movie,

0:38:30.600 --> 0:38:32.799
<v Speaker 2>hitting the same story beats and taking the player through

0:38:32.800 --> 0:38:36.200
<v Speaker 2>the same set pieces. Having watched the movie sometime after

0:38:36.239 --> 0:38:38.400
<v Speaker 2>playing through it, it's easy to see how naturally the

0:38:38.480 --> 0:38:41.080
<v Speaker 2>game evolved from the film, which was on some level

0:38:41.200 --> 0:38:44.160
<v Speaker 2>just a string of combat encounters. You also mentioned the

0:38:44.200 --> 0:38:46.960
<v Speaker 2>need for more movies with uniform street gangs, and it

0:38:47.000 --> 0:38:49.279
<v Speaker 2>made me think of one of my favorites, twenty tens

0:38:49.320 --> 0:38:52.640
<v Speaker 2>Boon Raku. Like The Warriors, it features a few bands

0:38:52.640 --> 0:38:56.880
<v Speaker 2>of well coordinated Ruffians and an escalating series of fights. Stylistically,

0:38:56.880 --> 0:39:00.839
<v Speaker 2>it feels alternatingly like a stage play, a comic book,

0:39:00.880 --> 0:39:03.560
<v Speaker 2>and a video game, but it all hangs together pretty well.

0:39:03.960 --> 0:39:06.600
<v Speaker 2>It's also got a pretty stack cast, including Woody Harrelson,

0:39:06.640 --> 0:39:11.359
<v Speaker 2>Demi Moore, Josh hartnett, Ron Peerlman, and the absolutely incomparable

0:39:11.440 --> 0:39:14.279
<v Speaker 2>vocal talent of Mike Patton. I wouldn't say it's a

0:39:14.280 --> 0:39:17.960
<v Speaker 2>great movie, but it is deeply, delightfully weird. I recommend it.

0:39:18.000 --> 0:39:20.200
<v Speaker 2>Thanks as always for all your hard work, Andrew.

0:39:20.760 --> 0:39:23.520
<v Speaker 3>You know I looked up a few screenshots from this movie,

0:39:23.719 --> 0:39:27.000
<v Speaker 3>and a couple of them kind of reminded me of

0:39:27.000 --> 0:39:30.560
<v Speaker 3>another movie from years ago now that I enjoyed, which

0:39:30.719 --> 0:39:35.359
<v Speaker 3>was Stephen Chow's Kung Fu Hustle, which does have some

0:39:35.800 --> 0:39:38.440
<v Speaker 3>vaguely uniformed gangs in it. I think we only ever

0:39:38.480 --> 0:39:40.319
<v Speaker 3>see two, and one of them we only see at

0:39:40.320 --> 0:39:42.399
<v Speaker 3>the very beginning of the movie. So primarily there's only

0:39:42.560 --> 0:39:45.759
<v Speaker 3>one gang in the film, but it struck me as

0:39:45.800 --> 0:39:47.719
<v Speaker 3>the kind of universe where I don't know, if they

0:39:47.760 --> 0:39:50.439
<v Speaker 3>were to make more Kung Fu Hustle movies, there would

0:39:50.480 --> 0:39:53.880
<v Speaker 3>be there could be more gangs that had weird uniforms,

0:39:53.920 --> 0:39:58.279
<v Speaker 3>like a gang of mimes would fit in in that world. Okay,

0:39:58.320 --> 0:40:01.160
<v Speaker 3>I'm gonna round things off with a part of an

0:40:01.200 --> 0:40:04.600
<v Speaker 3>email from our listener, Jeff. This is a great email,

0:40:04.600 --> 0:40:06.880
<v Speaker 3>but it's very long, gets into a lot of different

0:40:06.960 --> 0:40:09.759
<v Speaker 3>stuff from different episodes, So I'm just gonna mention a

0:40:09.800 --> 0:40:17.960
<v Speaker 3>couple of things from the beginning of it. Jeff says, Hey, guys,

0:40:18.200 --> 0:40:21.200
<v Speaker 3>when I was listening to Joe explain that the distinct

0:40:21.280 --> 0:40:25.000
<v Speaker 3>smell of burning hair is caused by sulfur, my first

0:40:25.000 --> 0:40:27.920
<v Speaker 3>thought was, I'm made of sulfur. What the heck am

0:40:27.920 --> 0:40:30.759
<v Speaker 3>I eating that's full of sulfur. I didn't recall ever

0:40:30.800 --> 0:40:34.400
<v Speaker 3>seeing a sports drink advertised now with more sulfur, or

0:40:34.400 --> 0:40:36.560
<v Speaker 3>being told to eat a banana because it's full of

0:40:36.600 --> 0:40:40.160
<v Speaker 3>healthy sulfur. But then I thought about the smell of

0:40:40.239 --> 0:40:43.880
<v Speaker 3>rotting eggs and asparagus pa and quickly realized I must

0:40:43.960 --> 0:40:47.960
<v Speaker 3>be consuming sulfur. Every Day, thanks to the listener for

0:40:48.120 --> 0:40:51.280
<v Speaker 3>explaining the connection to amino acids. This is a reference

0:40:51.280 --> 0:40:55.000
<v Speaker 3>to a previous Listener Mail episode in which our correspondent

0:40:55.120 --> 0:40:59.280
<v Speaker 3>Ahmed got into the sulfur bonds that can be found

0:40:59.320 --> 0:41:03.520
<v Speaker 3>in the amino acid cysteine, and that the breaking of

0:41:03.560 --> 0:41:06.319
<v Speaker 3>these bonds is responsible for these sulfur smells that are

0:41:06.360 --> 0:41:10.640
<v Speaker 3>released when you burn certain types of proteins and things

0:41:10.680 --> 0:41:16.280
<v Speaker 3>like that. But anyway, Jeff also says, regarding pop culture

0:41:16.320 --> 0:41:19.759
<v Speaker 3>representations of Ninja's I wanted to call attention to the

0:41:19.920 --> 0:41:24.160
<v Speaker 3>nineteen eighty eight arcade Beat Them Up game Bad Dudes

0:41:24.280 --> 0:41:28.840
<v Speaker 3>Versus Dragon Ninja. It's got a self aware amusing eighty's motif,

0:41:29.040 --> 0:41:31.440
<v Speaker 3>and to the extent that there was a plot. The

0:41:31.480 --> 0:41:34.839
<v Speaker 3>game explains quote this is in all caps. By the way,

0:41:35.640 --> 0:41:39.680
<v Speaker 3>rampant ninja related crimes these days. White House is not

0:41:39.800 --> 0:41:43.680
<v Speaker 3>the exception. Once you start the game, it asks President

0:41:43.800 --> 0:41:47.120
<v Speaker 3>Ronnie has been kidnapped by the ninjas. Are you a

0:41:47.200 --> 0:41:51.279
<v Speaker 3>bad enough dude to rescue Ronnie? And then after that,

0:41:51.719 --> 0:41:55.240
<v Speaker 3>Jeff says, you just start hitting and kicking everything that moves.

0:41:56.400 --> 0:41:59.360
<v Speaker 3>I remember this, though I remember the words differently. I

0:41:59.400 --> 0:42:02.080
<v Speaker 3>believe you that you're correct to Jeff. I remember it

0:42:02.120 --> 0:42:04.720
<v Speaker 3>as like, are you a bad enough dude to rescue

0:42:04.760 --> 0:42:05.320
<v Speaker 3>the President?

0:42:06.719 --> 0:42:08.160
<v Speaker 2>Wow? I don't remember this one at all.

0:42:08.440 --> 0:42:11.840
<v Speaker 3>Yeah, I wonder if there were different versions it was

0:42:11.880 --> 0:42:15.120
<v Speaker 3>there one that was specifically Ronnie and another one that's like,

0:42:15.480 --> 0:42:18.160
<v Speaker 3>let's not name drop him, let's just call it the President.

0:42:20.120 --> 0:42:20.239
<v Speaker 2>Oh.

0:42:20.280 --> 0:42:22.080
<v Speaker 3>And also at the end of Jeff's email, there's a

0:42:22.120 --> 0:42:26.040
<v Speaker 3>digression about the theme music to Mortal Kombat, which we

0:42:26.080 --> 0:42:28.759
<v Speaker 3>talked about extensively in the Weird House Cinema episode on

0:42:28.840 --> 0:42:32.440
<v Speaker 3>the movie from the nineties, and Jeff says the Mortal

0:42:32.480 --> 0:42:35.960
<v Speaker 3>Kombat theme was one of his go to albums for

0:42:36.160 --> 0:42:39.120
<v Speaker 3>doom slash quake land parties. I guess this would be

0:42:39.120 --> 0:42:43.600
<v Speaker 3>in the nineties. I can only imagine the vibes. It

0:42:43.640 --> 0:42:45.920
<v Speaker 3>sounds like Mountain dew and Dorito's.

0:42:47.160 --> 0:42:50.240
<v Speaker 2>All part of a balanced diet. But thank you so much, Jeff.

0:42:50.600 --> 0:42:52.240
<v Speaker 2>All Right, well, we're going to go ahead and close

0:42:52.280 --> 0:42:54.799
<v Speaker 2>up the mail bag here today. Thank you Carney the

0:42:54.840 --> 0:42:58.920
<v Speaker 2>mail Bot for helping us with this. Hall We'll be

0:42:59.000 --> 0:43:00.799
<v Speaker 2>back in the future. For the time being, we're going

0:43:00.880 --> 0:43:04.080
<v Speaker 2>to continue with this schedule. Kind of gives us a

0:43:04.120 --> 0:43:07.640
<v Speaker 2>little breather. In between some of our multi episode series

0:43:08.440 --> 0:43:10.920
<v Speaker 2>a chance to catch up in that regard and then

0:43:10.960 --> 0:43:15.240
<v Speaker 2>also allow the mail bag to accumulate. So in the meantime,

0:43:15.280 --> 0:43:17.920
<v Speaker 2>feel free to write in though if you hear a

0:43:18.040 --> 0:43:20.319
<v Speaker 2>new episode of Stuff to Blow Your Mind or Weird

0:43:20.360 --> 0:43:24.120
<v Speaker 2>House Cinema that you have thoughts on you want to

0:43:24.160 --> 0:43:27.120
<v Speaker 2>provide some feedback right in, We'll read it and we

0:43:27.200 --> 0:43:29.959
<v Speaker 2>might just include it on a future episode of listener mail.

0:43:30.400 --> 0:43:33.680
<v Speaker 2>And yeah, and if you have ideas about what future

0:43:33.719 --> 0:43:36.799
<v Speaker 2>episodes of our core episodes you should consist of you

0:43:36.840 --> 0:43:40.480
<v Speaker 2>have topic suggestions, write in those are fair game as well.

0:43:40.480 --> 0:43:42.480
<v Speaker 2>And hey, if you have thoughts in an old episode

0:43:42.840 --> 0:43:44.719
<v Speaker 2>right in as well. We would love to hear from you.

0:43:45.120 --> 0:43:49.000
<v Speaker 3>Huge thanks as always to our excellent audio producer JJ Posway.

0:43:49.400 --> 0:43:51.120
<v Speaker 3>If you would like to get in touch with us

0:43:51.120 --> 0:43:53.640
<v Speaker 3>with feedback on this episode or any other, to suggest

0:43:53.640 --> 0:43:55.640
<v Speaker 3>a topic for the future, or just to say hello,

0:43:55.800 --> 0:43:58.680
<v Speaker 3>you can email us at contact at stuff to Blow

0:43:58.680 --> 0:44:06.120
<v Speaker 3>your Mind dot com.

0:44:06.320 --> 0:44:09.279
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0:44:09.360 --> 0:44:13.160
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