WEBVTT - Comedic Impressions of the Wild

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<v Speaker 1>Welcome to Stuff to Blow Your Mind from how Stuff

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<v Speaker 1>Works dot com. Hey, you wasn't a stuff to blow

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<v Speaker 1>your mind. My name is Robert Lamb and I'm Julie Douglas. Julie,

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<v Speaker 1>what's your impression of comedic impressionists? You know, the rich

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<v Speaker 1>Littles of the world who who apply their their comedic

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<v Speaker 1>trade by impersonating other celebrities. Do you want me to

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<v Speaker 1>do an impression of rich Little doing other comedians? Because

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<v Speaker 1>I don't know, because it's kind of like I imagine,

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<v Speaker 1>there is no rich Little like at the behind all

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<v Speaker 1>these these masks. There must be this void, and so

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<v Speaker 1>if you try to impersonate the void, it's the whole

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<v Speaker 1>universe implodes on itself. It's my impression of him. Well,

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<v Speaker 1>I love impressionists, particularly good ones, because I think it's

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<v Speaker 1>you know, one level is high hilarious, right, because you're

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<v Speaker 1>recognizing someone in a different context. But also the powers

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<v Speaker 1>of mimicry are just amazing to me, and some of

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<v Speaker 1>that rang true for me when we were talking about

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<v Speaker 1>um Vaudevillians and people working their dummies and the ventriloquists.

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<v Speaker 1>I mean that to me is a real skill. It

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<v Speaker 1>may not get you a lot of dates, but hey,

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<v Speaker 1>it's it's good stuff with me. I think it was

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<v Speaker 1>the movie The Trip with Steve Coogan in it, where

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<v Speaker 1>you have the two characters that have this very long

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<v Speaker 1>and uh and entertaining bit where they're they're they're having

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<v Speaker 1>these this duel of Michael Caine impersonations that is one,

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<v Speaker 1>hands down, one of the best film moments out there.

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<v Speaker 1>It is. It's it's pretty great because there they each

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<v Speaker 1>they're taking different Michael Kaine's from different periods of history,

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<v Speaker 1>different points, different films, and Michael Kaine's lifespan. They are

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<v Speaker 1>then they also have their own individual takes and preferences

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<v Speaker 1>when it comes to the Michael Caine impersonation and uh.

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<v Speaker 1>In a way, all of that nuance and all of

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<v Speaker 1>that variety in the impersonation of a specific thing ties

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<v Speaker 1>in nicely into what we're about to talk about in

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<v Speaker 1>this episode, because we're gonna focus on these comedic impressionists

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<v Speaker 1>in the wild and why animals might go into this territory,

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<v Speaker 1>why would they do it, how they do it, And

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<v Speaker 1>we're gonna cover some extreme mimics that you might not

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<v Speaker 1>have ever thought of as having this ability. Yeah, we're

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<v Speaker 1>gonna start with birds, which you know, you're probably aware

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<v Speaker 1>that birds use a little bit of mimicry in their

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<v Speaker 1>birds song. But then later on we're gonna get into

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<v Speaker 1>some other animals that may surprise you. They surprise me. Yeah,

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<v Speaker 1>and mockingbird's car alarms. That's gonna be probably zero surprise

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<v Speaker 1>to everybody, right, Yeah, the mocking bird is uh, it's

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<v Speaker 1>pretty great, really, and we're talking about a very ultimately

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<v Speaker 1>creative bird. The vast majority of songbirds out there they

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<v Speaker 1>learn and memorize their songs from a mentor you know,

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<v Speaker 1>they're the father bird or another singing male. But the

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<v Speaker 1>mocking bird takes their sounds from the environment around them.

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<v Speaker 1>So there they may take a little bit of a

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<v Speaker 1>bird song. Here they're listening to this bird and that

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<v Speaker 1>bird they're incorporating into their own unique song. Or indeed,

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<v Speaker 1>they're hearing the sound of frogs or a barking dog.

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<v Speaker 1>And uh, if there happens to be a a human

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<v Speaker 1>settlement nearby, well then that just opens the door to

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<v Speaker 1>a whole new world of artificial sounds to add to

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<v Speaker 1>their uh unique statement. I think mocking birds are actually

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<v Speaker 1>pretty formidable in terms of something to be feared, at

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<v Speaker 1>least for me, because not only will they mad dog

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<v Speaker 1>you you know, and try to swoop in, but they

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<v Speaker 1>can sit there and and mimic a car, alarm, or

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<v Speaker 1>cellphone or a dog. They're a little insane to me. Yeah.

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<v Speaker 1>We're reading this article from biotist Daniel Edelstein in an

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<v Speaker 1>article for Bay Nature, and he said, from one spring

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<v Speaker 1>to the next, an individual male mocking bird repeats a

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<v Speaker 1>minimum of thirty five to sixty three of his previously

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<v Speaker 1>heard song types, while at the same time adding more

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<v Speaker 1>songs to his delivery. As a result, his vocal repertoire

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<v Speaker 1>eventually grows to as many as two hundred at old age,

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<v Speaker 1>which is up to a year. She says, So one

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<v Speaker 1>reason for this would be reproductive fitness. Yeah, it comes

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<v Speaker 1>down what the what is the female mocking bird want?

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<v Speaker 1>She wants a male that has a really awesome song,

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<v Speaker 1>a really nice you know of a long song, a

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<v Speaker 1>complex song. And therefore it behooves the male mocking bird

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<v Speaker 1>to create such a song using any color, any pal

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<v Speaker 1>available to him. It's basically the bower bird scenario where

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<v Speaker 1>the bower bird creates this wonderful love nest out of

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<v Speaker 1>objects that it found finds. The mocking bird creates this

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<v Speaker 1>wonderful love song out of sounds that it encounters in

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<v Speaker 1>its environment, and it's scavenges from its environment right there,

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<v Speaker 1>Like if you if you meet with me, I've got

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<v Speaker 1>like two hundred songs of a juke box. That one

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<v Speaker 1>over there only fifty, right, So it becomes a more

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<v Speaker 1>appealing proposition for the female bird if that other bird

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<v Speaker 1>has the ability to pick up tunes to add to

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<v Speaker 1>its arsenal of vocal awe. So that's one reason. Now,

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<v Speaker 1>another reason that animals and nature might use it is deception,

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<v Speaker 1>of course, yes, and of course one of the classic

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<v Speaker 1>examples of this we we see we discussed this one before,

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<v Speaker 1>and this is not really a bird thing, but you

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<v Speaker 1>see a wild cat species in the Amazon. They want

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<v Speaker 1>to eat a delicious tamarin, those little bit of monkey creatures.

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<v Speaker 1>Yeah tamarin. Yeah, they're so cute but so delicious. I understand, Uh,

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<v Speaker 1>you want you want to eat some of those? What

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<v Speaker 1>do you do? You start mimicking their sounds? Cats are

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<v Speaker 1>of course great mimics. They manipulate us humans. Uh, the

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<v Speaker 1>their they're they're mimicking of of of of a baby

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<v Speaker 1>crying basically with their with their mewing and uh, and

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<v Speaker 1>they're not above pretending to be a tamarin and it

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<v Speaker 1>means they get to eat a nice tamarin on the

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<v Speaker 1>other end of that song. Yeah. So when the cat

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<v Speaker 1>in mimics and monkeys call, the tamarins are then compelled

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<v Speaker 1>to come down from the trees and investigate what is this?

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<v Speaker 1>Call this my baby, um, and then boom that the

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<v Speaker 1>cat pounces. Bottom line. In order to do this. In

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<v Speaker 1>order who manipulate animals around you with sound, you have

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<v Speaker 1>to have a certain amount of vocal flexibility. Yeah, we

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<v Speaker 1>know that humans obviously have it. Bats, dolphins, we've seen this. Uh. Songbirds, though,

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<v Speaker 1>are the masters of this vocal flexibility, that is listening

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<v Speaker 1>to and learning vocal cues from your surroundings. And the

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<v Speaker 1>reason that songbirds are so good at this is that

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<v Speaker 1>they have something called the syrings and this is the

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<v Speaker 1>sound producing organ and it's sort of the equivalent to

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<v Speaker 1>the human soundbox, though instead of being just right above

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<v Speaker 1>the tricky as ours is, it is actually located at

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<v Speaker 1>the junction of the two bronchi or air tubes leading

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<v Speaker 1>to the lungs. Yeah, the surnx features membranes that vibrate

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<v Speaker 1>and generate sound waves when air from the lungs passes

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<v Speaker 1>over them. And you have muscles to control the details

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<v Speaker 1>of the song production in the bird. And so the

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<v Speaker 1>more elaborate than the muscles than the more elaborate the song. Yeah,

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<v Speaker 1>and it's amazing because think about it's sort of like

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<v Speaker 1>having an accordion tucked in right above yours able to

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<v Speaker 1>produce these these really nuanced sounds. Yeah, it's easy to

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<v Speaker 1>This is one of those things that it is easy

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<v Speaker 1>to take for granted as a human because we have

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<v Speaker 1>uh this uh, this vocal flexibility. We can create so

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<v Speaker 1>many sounds. We can not only sound like each other,

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<v Speaker 1>we can sound like we can sound like like various

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<v Speaker 1>other creatures in nature or man made devices. I mean,

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<v Speaker 1>we have all these books. What sound does the truck make? Room, room?

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<v Speaker 1>What sound does the cat make? Me? Now we're doing it.

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<v Speaker 1>It's it's amazing. We can do just about anything. Yeah,

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<v Speaker 1>Bobby mcpahirn, I was thinking about this, He's got to

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<v Speaker 1>have some of the highest vocal flexibility of any human around. Yeah,

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<v Speaker 1>if he was willing to, he could just he could

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<v Speaker 1>eat tamarins all day. Just call him in He would

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<v Speaker 1>be completely fine out in the wild would all right, Hey,

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<v Speaker 1>another another thing here that could be adaptive. All right,

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<v Speaker 1>we're gonna take a break and when we come back,

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<v Speaker 1>we're gonna get into some of the more extreme mimics

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<v Speaker 1>that we find in nature. Alright, we're back. You had

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<v Speaker 1>mentioned BBC's Life of Birds, which features a songbird called

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<v Speaker 1>the superb liar bird earlier bird. Yeah, we get a

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<v Speaker 1>great scene of that and Borrow stalking through the chi

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<v Speaker 1>um and uh and in stalking the liar bird, Yeah,

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<v Speaker 1>he is. He's actually in a dense forest in Australia,

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<v Speaker 1>and um, it's wonderful because he's able to narrate what

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<v Speaker 1>is going on with this lear bird, which is really

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<v Speaker 1>rolling out the big guns in terms of its vocal flexibility.

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<v Speaker 1>And you see this amazing mimicry going on of not

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<v Speaker 1>just the sounds it hears around us around it in nature,

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<v Speaker 1>but some of the human made sounds that it overhears. Yeah,

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<v Speaker 1>such as a camera shutter. Yeah, camera shutter that I

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<v Speaker 1>mean perfectly imitates the camera shutter obviously heard probably the

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<v Speaker 1>crew doing that a chainsaw, because he could hear construction

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<v Speaker 1>going on in the surrounding area, as is the human

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<v Speaker 1>habitats moved in on its own in a car alarm. Yes,

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<v Speaker 1>and twenty different species of birds. So I mean this

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<v Speaker 1>one is like the Fonzi of birds. Yeah. The librard

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<v Speaker 1>is either of two species of ground dwelling Australian bird.

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<v Speaker 1>And it's interesting that, in addition to having this immense

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<v Speaker 1>repertoire of sounds at this disposal, the male librard also

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<v Speaker 1>has a huge, beautiful fanning tail. So they're really the

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<v Speaker 1>full package. I think so too. That's why I say

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<v Speaker 1>fans of birds here. Um. Now, that would be somewhat expected,

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<v Speaker 1>But what I probably would not expect is an Asian

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<v Speaker 1>elephant able to mimic a human. Yes, this one really

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<v Speaker 1>surprised me. This is UH has to do with a

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<v Speaker 1>twenty two year old Asian elephant that lives in the Soul,

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<v Speaker 1>Korea zoo, and supposedly the elephant has learned to reproduce

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<v Speaker 1>five Korean words uh on hello, uh anga, sit down, no,

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<v Speaker 1>you will lie down, and good by placing uh. And

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<v Speaker 1>it does this by placing its trunk inside its mouth

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<v Speaker 1>to modulate sound, kind of like uh when you see

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<v Speaker 1>a trumpet player put their hand in in the in

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<v Speaker 1>the front of it, or when you see a French

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<v Speaker 1>horn player, where of course your your hand is always

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<v Speaker 1>uh in the bell of the horn. Yeah. And an

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<v Speaker 1>international team that's been studying the elephants says that this

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<v Speaker 1>is a holy novel method of vocal production and that

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<v Speaker 1>the trainers first noticed that the elephant was imitating them

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<v Speaker 1>in two thousand and four. And you know it's funny

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<v Speaker 1>is for years they probably said this elephant is imitating me,

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<v Speaker 1>I swear to you, and people probably it's spending a

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<v Speaker 1>little too much time around the elephant. But I love

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<v Speaker 1>this idea that this is this Not only is it

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<v Speaker 1>is it reproducing this sound and mimicking humans, but it's

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<v Speaker 1>doing so in this totally new way. For instance, I

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<v Speaker 1>don't think I've ever seen anything like this in a

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<v Speaker 1>like a science fiction but it sounds perfect. You know

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<v Speaker 1>that you'd have an alien species that communicates by sticking

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<v Speaker 1>a trunk into its mouth and and then mimicking you know,

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<v Speaker 1>human vocalizations well. And one of the things that they

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<v Speaker 1>think is important here are a key factor is that

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<v Speaker 1>it was separated from other elements at age five, very

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<v Speaker 1>early on, and then it was just surrounded by humans,

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<v Speaker 1>so so it inevitably reaches out. Yeah, I mean that

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<v Speaker 1>becomes essentially it's clan. And one of the other striking

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<v Speaker 1>things about this is that it wasn't being trained to

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<v Speaker 1>do it. This was holy came out of it, just

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<v Speaker 1>completely unprompted. Yeah. Now, key though, is that that whole

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<v Speaker 1>idea that it was was around humans, not around other elephants.

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<v Speaker 1>And we see kind of a similar theme in some

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<v Speaker 1>of these other animals who were going to discuss. The

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<v Speaker 1>next of which is a bluga whale, which I was

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<v Speaker 1>surprised they had anything to say at all and that

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<v Speaker 1>it wasn't really dirty, because I always find them to

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<v Speaker 1>be a particularly randy creature when I encounter them at

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<v Speaker 1>the aquarium. Those are the ones they're always showing off

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<v Speaker 1>their chunk, right yeah, um, which is they're wonderful and

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<v Speaker 1>I love to see them at our aquarium here in

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<v Speaker 1>Atlanta because they really do glide past the US and

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<v Speaker 1>they seemed to as though they were making contact with

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<v Speaker 1>your eye contact. Um. But yes, sometimes they can expose

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<v Speaker 1>themselves a bit. So let's go back to this is

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<v Speaker 1>when research is that the National Marine Mammal Foundation in

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<v Speaker 1>San Diego began to hear their bloga whale Knock saying

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<v Speaker 1>something that resembled out. And and what was interesting here

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<v Speaker 1>is that not only is it saying something that resembles out,

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<v Speaker 1>but it's it's speaking quote unquote uh and a lower

0:12:26.360 --> 0:12:28.559
<v Speaker 1>octave than it's actually than the octave it uses when

0:12:28.559 --> 0:12:33.200
<v Speaker 1>it's actually using its vocalizations. Yes. Eventually, Sam Ridgeway of

0:12:33.200 --> 0:12:35.920
<v Speaker 1>the U. S. Navy Marine Mammal Program at San Diego

0:12:36.080 --> 0:12:40.040
<v Speaker 1>recorded Knock and studied those vocalizations and came to that

0:12:40.120 --> 0:12:44.320
<v Speaker 1>conclusion that it was modulating its voice. And what you

0:12:44.320 --> 0:12:45.840
<v Speaker 1>would think is that it was doing that so that

0:12:45.880 --> 0:12:49.040
<v Speaker 1>it could be understood while it was mimicking. And what's

0:12:49.040 --> 0:12:51.080
<v Speaker 1>interesting about that too is that it would say that

0:12:51.240 --> 0:12:54.960
<v Speaker 1>when someone was in the tank with him out, get

0:12:55.040 --> 0:12:58.319
<v Speaker 1>out of here. Um. But Knock made the sounds by

0:12:58.320 --> 0:13:00.760
<v Speaker 1>inflating air sex to a high are pressure than he

0:13:00.800 --> 0:13:05.040
<v Speaker 1>did when he would make his normal whale vocalizations. Yeah,

0:13:05.040 --> 0:13:07.079
<v Speaker 1>I know that. The interesting thing here too is that

0:13:08.000 --> 0:13:12.240
<v Speaker 1>not later went on and died, but Knock actually stopped

0:13:12.360 --> 0:13:15.840
<v Speaker 1>doing this vocalization stunt, stopped saying out in the late

0:13:15.880 --> 0:13:18.760
<v Speaker 1>nineteen eighties, and the researchers theorizes is because he reached

0:13:18.760 --> 0:13:21.840
<v Speaker 1>sexual maturity. So there's this You get this sense that

0:13:21.880 --> 0:13:25.880
<v Speaker 1>there's this this point for an animal in captivity where

0:13:26.000 --> 0:13:29.520
<v Speaker 1>it's if it's not if it's not surrounded by other

0:13:29.559 --> 0:13:31.520
<v Speaker 1>members of his own species, or if the in close

0:13:31.600 --> 0:13:34.680
<v Speaker 1>approximity to humans, there is this period of time in

0:13:34.720 --> 0:13:38.080
<v Speaker 1>which they reach out and try to communicate with the

0:13:38.160 --> 0:13:41.560
<v Speaker 1>nearest organisms. Yeah, and again this is a case where

0:13:41.600 --> 0:13:44.760
<v Speaker 1>it was spontaneous, so it is noteworthy for that. Yeah,

0:13:44.760 --> 0:13:47.080
<v Speaker 1>they weren't trying to teach the beluga to speak and

0:13:47.120 --> 0:13:50.679
<v Speaker 1>do tricks. It just emerged and then as quickly as

0:13:50.720 --> 0:13:54.200
<v Speaker 1>it emerged, it went away. Now, one of the more

0:13:54.280 --> 0:13:58.160
<v Speaker 1>astounding examples to me, I think, just because of the clips,

0:13:58.200 --> 0:14:00.160
<v Speaker 1>you guys have got to check this out is a

0:14:00.320 --> 0:14:05.959
<v Speaker 1>harbor steal. Uh. It was actually an orphaned harbor seal

0:14:06.040 --> 0:14:09.160
<v Speaker 1>pup in the Cundy Harbor in Maine, and George and

0:14:09.200 --> 0:14:13.240
<v Speaker 1>Alice Swallow I picked it up in nine and took

0:14:13.240 --> 0:14:15.120
<v Speaker 1>it home with them and tried to raise it. They

0:14:15.200 --> 0:14:18.400
<v Speaker 1>named it Hoover, but when Hoover got too big, the

0:14:18.440 --> 0:14:21.840
<v Speaker 1>Swallows gave Hoover to the New England Aquarium of Boston.

0:14:22.600 --> 0:14:28.880
<v Speaker 1>So George Swallow told the aquarium employees at the time, Hey,

0:14:28.960 --> 0:14:30.920
<v Speaker 1>the seal can talk, and of course they said, I'm

0:14:30.960 --> 0:14:33.960
<v Speaker 1>sure again, you're spending too much time with this animal.

0:14:34.160 --> 0:14:38.160
<v Speaker 1>But when Hoover reached sexual maturity, he actually began to

0:14:38.200 --> 0:14:43.120
<v Speaker 1>speak more clearly, okay, with interesting trend compared to the buluga. Yes,

0:14:43.400 --> 0:14:46.360
<v Speaker 1>And here's the part that's just so crazy. When you

0:14:46.400 --> 0:14:51.080
<v Speaker 1>hear the clip with a Boston accent. I popped the

0:14:51.120 --> 0:14:54.000
<v Speaker 1>cot hovid yad, so I don't think I can do

0:14:54.040 --> 0:14:55.960
<v Speaker 1>about an accent? Can you do about an accent? And

0:14:56.040 --> 0:14:59.840
<v Speaker 1>run through these different words and phrases that Hoover could.

0:15:00.280 --> 0:15:02.000
<v Speaker 1>I don't know that I'm gonna sound like a Southie,

0:15:02.080 --> 0:15:07.440
<v Speaker 1>but the seal would say, I there, how yeah, get

0:15:07.480 --> 0:15:11.600
<v Speaker 1>out of here, get down, get down, Get down the

0:15:12.480 --> 0:15:15.960
<v Speaker 1>seventies right, yeah, get down, get down. Yeah. So there

0:15:15.960 --> 0:15:18.880
<v Speaker 1>are actual clips that the New England Aquarium has, so

0:15:18.960 --> 0:15:21.360
<v Speaker 1>you guys can check that out. But it is amazing

0:15:21.440 --> 0:15:26.280
<v Speaker 1>because it's so odd. You can't help it anthropomorphize animals

0:15:26.280 --> 0:15:29.440
<v Speaker 1>who are mimicking mimicking humans in the first place, But

0:15:29.480 --> 0:15:32.840
<v Speaker 1>then to hear the Boston accent, it's just another level

0:15:32.920 --> 0:15:37.160
<v Speaker 1>of amazing nous Indeed, now for this, uh, this next entry,

0:15:37.520 --> 0:15:39.520
<v Speaker 1>our last entry here, I want you to think back

0:15:39.880 --> 0:15:42.680
<v Speaker 1>to those those Michael Caine impersonations we were talking about,

0:15:43.120 --> 0:15:46.760
<v Speaker 1>because we're about to talk about goats. And what's what's

0:15:46.760 --> 0:15:50.480
<v Speaker 1>interesting with goats is that they only produce a couple

0:15:50.480 --> 0:15:53.000
<v Speaker 1>of different calls. They're not a lot of there's no

0:15:53.080 --> 0:15:55.800
<v Speaker 1>goat song, you know, They're the only saying a few

0:15:55.880 --> 0:16:00.240
<v Speaker 1>different things. So the idea that they're they're bleed eating

0:16:00.280 --> 0:16:02.040
<v Speaker 1>them out with any kind of variety, with any kind

0:16:02.040 --> 0:16:05.600
<v Speaker 1>of vocal flexibility is pretty mind blowing. Who would expect

0:16:05.600 --> 0:16:08.600
<v Speaker 1>this of goats? And there here to be clear too,

0:16:08.600 --> 0:16:12.160
<v Speaker 1>because I'm sure everybody has seen the yelling goat clips

0:16:12.200 --> 0:16:14.360
<v Speaker 1>out there. The goats that sound like humans, They are

0:16:14.360 --> 0:16:18.240
<v Speaker 1>not mimicking humans in a sense. They just happen to sound,

0:16:18.760 --> 0:16:22.280
<v Speaker 1>you know, arguably like humans, but they do have accents

0:16:22.800 --> 0:16:25.880
<v Speaker 1>among their own groups. And I thought this was pretty fascinating. Yeah,

0:16:26.120 --> 0:16:29.600
<v Speaker 1>reading about this, uh the NPR Scott Simon interview with

0:16:29.920 --> 0:16:35.080
<v Speaker 1>Professor Allan McAllen got of Queen Mary University of London,

0:16:35.640 --> 0:16:39.000
<v Speaker 1>co author to study showing that goats voices change as

0:16:39.040 --> 0:16:41.960
<v Speaker 1>they move from different environments. The idea here is that

0:16:42.040 --> 0:16:44.320
<v Speaker 1>it's uh. It has to group identity. It has to

0:16:44.360 --> 0:16:47.600
<v Speaker 1>do with the the goats you you grew up with

0:16:47.960 --> 0:16:52.120
<v Speaker 1>and uh and and took on the vocal accents off. Yeah,

0:16:52.120 --> 0:16:56.280
<v Speaker 1>because they're really highly social species. And so if they

0:16:56.320 --> 0:16:58.440
<v Speaker 1>get separated during the day, which is sometimes do they

0:16:58.480 --> 0:17:01.000
<v Speaker 1>want to be able to find each other here each other,

0:17:01.120 --> 0:17:03.640
<v Speaker 1>So it would make sense that they would take on accents,

0:17:03.640 --> 0:17:06.960
<v Speaker 1>and that those accents could change too, if they change

0:17:06.960 --> 0:17:09.600
<v Speaker 1>over their environment and they change their surrounding goats that

0:17:09.600 --> 0:17:11.800
<v Speaker 1>they're dealing with. And it also kind of gives us

0:17:11.800 --> 0:17:15.640
<v Speaker 1>a hint about the beginnings of our own vocal flexibility

0:17:15.720 --> 0:17:18.479
<v Speaker 1>in humans exactly. Yeah, I mean, you know, we're not

0:17:18.520 --> 0:17:21.760
<v Speaker 1>saying that in in you know, X number of years

0:17:21.840 --> 0:17:24.000
<v Speaker 1>or x thousands of years in the future, the goats

0:17:24.040 --> 0:17:27.760
<v Speaker 1>will have language, but all language begins with some degree

0:17:27.760 --> 0:17:30.760
<v Speaker 1>of vocal flexibility. Making this sound and making this one.

0:17:31.040 --> 0:17:34.600
<v Speaker 1>This sound means this, this sound means that, and and uh.

0:17:34.600 --> 0:17:37.760
<v Speaker 1>And we've also looked at the way language develops in humans.

0:17:37.760 --> 0:17:41.520
<v Speaker 1>I mean, a child's babble is you know, the baby talk.

0:17:41.880 --> 0:17:44.960
<v Speaker 1>It's it's nonsense, but it's mimicry. It's a mimicry is

0:17:44.960 --> 0:17:49.480
<v Speaker 1>the early stages of acquiring language. So do you want

0:17:49.480 --> 0:17:54.440
<v Speaker 1>to have a Michael Kane off? Ah, let's I don't

0:17:54.440 --> 0:17:57.280
<v Speaker 1>know that my Michael Caine is very good. Actually, I

0:17:57.280 --> 0:18:00.679
<v Speaker 1>don't even look at each other. She little ear yo

0:18:00.720 --> 0:18:04.400
<v Speaker 1>maybe mourns a little bit later. Oh god, that's awful. Yeah,

0:18:04.400 --> 0:18:06.960
<v Speaker 1>I think mom, Michael Kane is maybe an earlier Michael Kane,

0:18:07.000 --> 0:18:09.159
<v Speaker 1>and it's really not very good. I used to be

0:18:09.200 --> 0:18:11.399
<v Speaker 1>able to do a pretty good Sean Connery, but I

0:18:11.400 --> 0:18:13.320
<v Speaker 1>had to have a chunk of apple in my mouth,

0:18:13.600 --> 0:18:16.160
<v Speaker 1>and it was a later day Sean Connery, perhaps after

0:18:16.200 --> 0:18:18.119
<v Speaker 1>he had dentures. I'm not sure. Yeah, I'm gonna have

0:18:18.160 --> 0:18:22.159
<v Speaker 1>to work on my Michael Caine. Yeah, yeah, our our there, no,

0:18:22.359 --> 0:18:25.480
<v Speaker 1>my our mine is not good? All right. So there

0:18:25.520 --> 0:18:26.879
<v Speaker 1>you have it. A little inside of the world of

0:18:26.920 --> 0:18:31.480
<v Speaker 1>animals mimicking other animals, animals mimicking chainsaws, and oh and

0:18:31.600 --> 0:18:33.360
<v Speaker 1>in video games. That was one of the things about

0:18:33.359 --> 0:18:35.080
<v Speaker 1>the Liar Bird that I found that there are cases

0:18:35.080 --> 0:18:38.399
<v Speaker 1>where Liar Birds is imitating the gunshots in a video

0:18:38.440 --> 0:18:41.320
<v Speaker 1>game that it can hear um. And then you also

0:18:41.359 --> 0:18:44.280
<v Speaker 1>have animals that are mimicking us, and uh, and maybe

0:18:44.359 --> 0:18:47.080
<v Speaker 1>even the early stages of the goat language and then

0:18:47.160 --> 0:18:50.800
<v Speaker 1>humans mimicking other humans. Yes, so you want to learn

0:18:50.800 --> 0:18:52.879
<v Speaker 1>more about this and other topics you need to have

0:18:52.960 --> 0:18:54.680
<v Speaker 1>on over the Stuff to Go your mind dot com.

0:18:54.680 --> 0:18:57.560
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0:18:57.600 --> 0:19:00.000
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0:19:00.040 --> 0:19:02.040
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0:19:02.080 --> 0:19:04.080
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0:19:04.080 --> 0:19:09.120
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0:19:09.160 --> 0:19:11.600
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0:19:11.600 --> 0:19:13.040
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0:19:13.080 --> 0:19:14.680
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0:19:14.680 --> 0:19:20.760
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0:19:20.800 --> 0:19:23.240
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