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Speaker 1: This is Cato. When my father was in his forties,

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Speaker 1: I used to joke and laugh at him that when

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Speaker 1: he called me or before he got to my name,

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Speaker 1: he'd first rattle off his brother's name. He'd go Clifford,

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Speaker 1: I mean Clarence, I mean Vincent Ah Leicester, Leicester, Leicester,

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Speaker 1: That's that's your name. I have now started doing that

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Speaker 1: with my children, even though I only have one girl

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Speaker 1: one boy. But I now first go through my wife's

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Speaker 1: name before getting to to my daughter's name. I am

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Speaker 1: feeling the weight of my still relatively young young age.

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Speaker 1: But if you ever thought of this recalling a lyric,

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Speaker 1: my te's gone cold. I'm wondering why I got out

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Speaker 1: of bed at all. The morning rain clouds up my

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Speaker 1: window and I can't see it at all, and even if

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Speaker 1: I could, it'll all be gray. But your picture on

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Speaker 1: my wall it reminds me that it's not so bad.

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Speaker 1: It's not so bad at all. Where does that come from, Mario?

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Speaker 1: You would think it comes from Eminem's stand, but actually

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Speaker 1: it comes from Dido twenty five years ago when I

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Speaker 1: was a teenager, was in high school, ending high school

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Speaker 1: at that time, and I still remember those lyrics. Crystal clear,

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Speaker 1: but in this week you must have gone into a

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Speaker 1: room in your home to fetch something, open up the fridge,

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Speaker 1: and you're wondering, what have I been doing? Why am

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Speaker 1: I EO? Why is it that you can remember some

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Speaker 1: moments from your younger days as if it's literally yesterday

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Speaker 1: with crystal clear cat clarity, but you can't remember why

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Speaker 1: you walked into a room. New research utter the University

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Speaker 1: of Bristol, Professor Michel Spear recently writing around the breakthrough

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Speaker 1: on how our memory bank's work, and we spoke to

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Speaker 1: her the other day and we asked her why music

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Speaker 1: is so powerful in helping us remember things decades ago,

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Speaker 1: And so I asked her, why is it that we

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Speaker 1: can remember things from twenty five years ago but can't

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Speaker 1: remember why we walked into a room.

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Speaker 2: So to answer that, I'd like to tell you a

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Speaker 2: little bit about how memory generally works. So it isn't

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Speaker 2: as though it works like a filing cabinet. We're not

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Speaker 2: kind of storing stuff away, and it's not like a

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Speaker 2: video recorder either. It works in three stages. So first

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Speaker 2: you need to encode the information, and that means paying

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Speaker 2: attention to it. And sometimes we put labels to it.

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Speaker 2: Then we need to store it to make connections. And

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Speaker 2: then if you are thinking about and a kind of memory,

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Speaker 2: and it's the kind of final stage is actually retrieving it.

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Speaker 2: So and that works on the cues that we've put

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Speaker 2: in place and the kind of tags that we've assigned

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Speaker 2: to it. And when you do retrieve a memory, it's

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Speaker 2: never like a kind of a playback. It's reconstructed at

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Speaker 2: that point, and that might relate to the thing that's

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Speaker 2: triggered it as well. And the thing with music, the

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Speaker 2: thing that makes it kind of really kind of in

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Speaker 2: bed within long term memory is that it recruits multiple

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Speaker 2: systems and they get involved with the encoding. So you've

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Speaker 2: got the rhythm, you've got language, you've got movements. There

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Speaker 2: may or may not be some emotion as well. You know,

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Speaker 2: you've got the song that you played when you pass

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Speaker 2: your driving test versus just something that was in the background.

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Speaker 2: Sometimes you've got repetition as well. You hear a song

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Speaker 2: a lot and it just sinks in. So all of

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Speaker 2: those things, those kind of multiple factors do strength to

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Speaker 2: the encoding, and that's why some of these lyrics really

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Speaker 2: just sit there.

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Speaker 1: And so when you were a kid, and you were

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Speaker 1: bolting out the song and your mom said, well, I

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Speaker 1: hope you, I hope you you you remember your school

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Speaker 1: work that way? Is she wrong? Is it simply because

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Speaker 1: of all the effects that you mentioned of our music

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Speaker 1: and lyrics work and intertwine to create certain memories the

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Speaker 1: ease it different maybe if we were to use the

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Speaker 1: filing cabit and analogy a different place in how, for example,

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Speaker 1: schoolwork is stored.

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Speaker 2: Absolutely so, because you've got all of those factors that

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Speaker 2: are just kind of really a part of music, that

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Speaker 2: the rhythm, the repetition when it's a chorus, emotion. If

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Speaker 2: if it's something that you're signed to that as well,

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Speaker 2: I would I would say you're less likely to assign

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Speaker 2: that to schoolwork, less slightly to be emotional about it.

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Speaker 2: And then also one of the factors in that initial

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Speaker 2: encoding when you're laying down memories is how much attention

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Speaker 2: you pay to it. So it may also depend on

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Speaker 2: how good of a pupil you are.

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Speaker 1: Is the utility also important? Look what schoolwork you have

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Speaker 1: to absorb, you have to analyze, and then you have

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Speaker 1: to in some circumstances simply just parrot or you would

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Speaker 1: have to for example, write an essay and to interpret

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Speaker 1: the information that you got, but belting out oasis, oh

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Speaker 1: Sally can wait, she's always too late as you're walking

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Speaker 1: on by. Is it's it's almost not pointless, it's harmless

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Speaker 1: and it's fun. Is it also what the utility is

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Speaker 1: of that memory?

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Speaker 2: It's again, it is harmless and it is fun. So

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Speaker 2: that might be an emotion that you put to it.

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Speaker 2: If we start thinking about kind of learning schoolwork, so

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Speaker 2: you might hear a three minute song several times over,

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Speaker 2: you're less likely to repeat a learning point that many times,

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Speaker 2: so that will come into it, and you know, and

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Speaker 2: then we get into less about memory and when we're

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Speaker 2: starting to think about schoolwork more about the way that

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Speaker 2: people learn. So then some people are visual learners, so

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Speaker 2: they prefer to kind of read what's on the page.

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Speaker 2: Some people prefer to have stuff read out to them.

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Speaker 2: So there are lots of ways of learning, and that

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Speaker 2: kind of very personal learning style does relate to the

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Speaker 2: encoding and the way that you lay things down. So

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Speaker 2: we're individuals in that what works for one person may

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Speaker 2: not work for another. But I guess the kind of

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Speaker 2: difference is likely to be the amount of repetition.

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Speaker 1: So why is it that I can bolt out the

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Speaker 1: lyric from twenty five years ago, but I have aging

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Speaker 1: forty two year old brain. It's not that old, but

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Speaker 1: I have a forty two year old brain down the list,

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Speaker 1: But I can walk into a room and not for

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Speaker 1: the foggiest recall why and what I'm doing this. It's

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Speaker 1: known as the as the doorway effect.

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Speaker 2: It's so with the kind of doorway analogy that's quite neat.

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Speaker 2: And so if you think about memories that they're not

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Speaker 2: that filing cabinet. They are about the kind of encoding,

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Speaker 2: laying down replay when if you think about kind of

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Speaker 2: memory as a series of episodes, because it's not recording,

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Speaker 2: it's a process. So when you walk into a different room,

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Speaker 2: the doorway has kind of acted as a boundary, and

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Speaker 2: so the memory that you laid down within the content

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Speaker 2: text of one room actually is quite fragile and it

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Speaker 2: changes when you walk into the next room. So it's

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Speaker 2: actually normal and perfectly normal that you might forget about that.

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Speaker 1: You spoke about. Memories are essentially reconstructed, and I kind

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Speaker 1: of imagine remember in Terminated Too and the mercurial liquid

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Speaker 1: man who someone gets brought back together, and if you

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Speaker 1: shoot out a part of his body, then he tries

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Speaker 1: to remoreph again. Is that how memories are made? And

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Speaker 1: is that how we could somewhat sometimes get inaccurate memories?

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Speaker 1: Oh no, it was a Tuesday. Oh no, but my

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Speaker 1: brain recalls it as a as a Wednesday. You wore

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Speaker 1: a yellow dress. No, actually it was a red dress.

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Speaker 1: Is that how sometimes we we must remember things. It's

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Speaker 1: all about the restructuring of all the stormy line to

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Speaker 1: what we call a memory.

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Speaker 2: Partly, so when we're laying those memories down when we're encoding,

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Speaker 2: it's almost as though you're putting labels on them, kind

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Speaker 2: of tags. So because it's not a recording, you're not

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Speaker 2: faithfully recording absolutely every aspect of, for example, the scene

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Speaker 2: that you've witnessed. There are certain things that you're picking out.

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Speaker 2: So when you retrieve it, you're going to retrieve it

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Speaker 2: because there's been a stimulus, something has made you retrieve

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Speaker 2: that memory, so you might pick out an aspect of

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Speaker 2: it over another. And this is why, for example, people's

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Speaker 2: memories of a very similar event do you differ because

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Speaker 2: they might have attributed different labels to it, so they're

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Speaker 2: remembering different aspects of the same thing.

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Speaker 1: That is, Professor Mischelspiel, what a lyric that you can record?

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Speaker 1: You can't remember what you're supposed to do? This oftening question. Yeah,

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Speaker 1: that's the what's the difference between a memory lapse and

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Speaker 1: a Mandela effect? Well, a memory lapse would be an

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Speaker 1: individual's personal failure to recall, whereas a Mandela effect and

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Speaker 1: Mandela effect is where there is maybe a group must

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Speaker 1: interpretation or a must remembering of history. I'll think of

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Speaker 1: some examples up next, but that's